Elliott Smith Album: “Figure 8”

"Figure 8" sounds like what would have happened if Nick Drake had been asked to join The Beatles after Paul died in that horrible car accident. Elliott Smith's voice falls into the haunted, ethereal category currently helmed by Drake during his post-VW resurgence. And this album carries any number of Sgt. Pepper-like arabesques and musical pirouettes, all of which serve to nearly disguise the raw emotional content.

This is my introduction to Elliott Smith so I have no background in his earlier, less-lush work, and maybe I'm the better for it. ... since I have no basis of comparison, I'm prefectly free to get lost in the spider web of sound spun on "Figure 8". And, perhaps because I've recently had my heart broken, all the lyrics make sense instead of being maudlin or overwrought. I will, of course, reexamine this in a year or so when I feel better, but I have a feeling that this record will stand the test of time.

Standout tracks are the opener, "Son of Sam", a deceptively-jaunty song that sounds almost like Klaatu at a high-school carnival. "Everything Reminds me of Her" and "Everything Means Nothing to Me" are fraternal twins, each with a different sound, but inseperable - they should be played hand in hand in perpetuity. "Somebody that I used to Know" is heartbreakingly simple, deceptively upbeat and captures perfectly the sound of a man on the edge of regaining himself. The rest of the album is wonderful, but these are the tracks that pierced me.

I am grateful to the friend who introduced me to Elliott Smith and I can only hope that, if you buy "Figure 8" after reading this review, you will be grateful, too.

Critics are falling all over themselves to praise this album. But for some reason, many long-time Elliott fans have many less than kind things to say about Figure 8. I consider myself a relatively long time fan of Elliott (I have all five of his albums), and I think I understand why many feel that this album is below par (although I steadfastly disagree with them as you'll realize by the end of this review). The first time I heard Figure 8, I thought it was great, but a great album for Elliott would, for me, be on the bottom of a list of exemplary albums that he has previously released. I loved the production though, and I knew if I gave it a chance I would love it equally as much if not more so than his other albums. I think this production that drew me closer to it, repelled many Elliott fans. People who adore Roman Candle and the s/t (of which I am one) may think this is "overproduced" and as a result, not as passionate. I am here to tell you why that is not true and why, track by track this may be Elliott's finest album to date.

1. Son of Sam - Fabulous, the piano gets me going every time (boy can Elliott play that thing). The melody is great (as usual) and have you ever enjoyed hearing about a serial killer so much?

2. Somebody That I Used to Know - Very early Elliott, and the one that people who don't like this album generally name this track as their favorite. Terrific, Elliott and a guitar and a great vertical melody.

3. Junk Bond Trader - OK, it took me a while to get into this one, I don't know why, it's a great track. I love the keyboard at the intro, and the bells throughout the track. Very Elliott lyrics (even though I don't know them all yet). I love the guitar as well.

4. Everything Reminds Me of Her - very Passionate song with passionate vocals, great shimmering guitar work. Terrific lyrics. You can almost see the sun on the steeple. Beautiful.

5. Everything Means Nothing To Me - Perhaps my favorite on the album, perhaps my favorite Elliott song period. Imagine Brian Wilson during Surf's Up, and there's the opening melody. Absolutely gorgeous piano and vivid, heart-breaking words. I cannot say enough good things about this song to do it justice so I will move on.

6. L.A. - Perhaps the first Elliott song ever that can be described as "fun". This song has lots of musical ideas in it. Very very catchy, great harmonies, great words. Another one of my favorites. And he saves it all with "last night I was about to throw it all away."

7. In the Lost and Found (Honkey Bach) - another candidate for favorite track on the album. Very McCartney-esqu piano lick, with soaring harmonies. Mind-numbing (in a great way) bridge. Makes you want to repeat it, but you want to go on to the next tracks even worse.

8. Stupidity Tries - OK, so I had heard the live version of this about a million times before getting it on Figure 8, but it still rocks. Great chromatic melody, great lyrics, and I love the changes in dynamics. Fab.

9. Easy Way Out - Possibly the most gorgeous melody on figure 8. Soaring melody, absolutely biting lyrics, and a great arrangement with an instument I can't quite identify.

10. Wouldn't Mama Be Proud - Another one that took me a while to get into. But well worth the wait, fan-freakin'-tastic harmonies. Great lyrics. The instrumental reminds me a little of With a Little Luck (in a good way).

11. Color Bars - Great, great, great, fabulous piano, great words, and strig section that really adds.

12. Happiness - Have to admit, that I'm still getting into this one. I think it's because I had heard it a couple times before the album came out (broke my own rule) and that kind of ruined it for me. Still, I know it's a great song, I sure thought so before Figure 8 came out.

13. Pretty Mary K - another contender for favorite. Probably the best harmonies on the album. Great production. I love the lyrics too. Great track.

14. I Better Be Quiet Now - Great Melody, I just like this one a ton. A song you can really relate to.

15. Can't Make a Sound - Reminds me a little of Oh Well Okay, turned into a mini pop symphony. Love it. Another one of the best. Great semi - album closer. Takes the place of Everybody Cares Everybody Understands (which I also love).

16. Bye - I can't even listen to this track without feeling a little uneasy. I mean that in a good way. I really wish I could play piano that well. Fabulous way to end an album.

Well, there you have it. My very long winded review of Figure 8. I leave the album in a sense of awe (that may just be my fascination with "bye" but I don't think so). Please, please check this album out if you haven't already. If you have it and have already taken it off your rotation list, please put it back on and give it another chance. It is al miraculous album, truly Elliott is a work of art in progress and I hope he continues to be that way. If he does, every album he every puts out will be well worth owning.

After just learning the news of Elliott Smith's passing yesterday, I felt compelled to share the fact that his songwriting is on a higher caliber than most others, and it is unfortunate that his talent will probably remain a silent wonder to those of use who have had the pleasure of being introduced to his songwriting craft. This album is simply excellent. It can play over and over without getting old. It is a significant stride from the straightforward acoustic tracks that you may have heard from past records. Each record has its own unique aspects that make them worthwhile.

Figure 8 is an excellent compliment to the other Elliot Smith song collections. If you are even a remote fan of his style, yet enjoy a bit more production than most of his acoustic songs, this is the record for you. The melodies remain strong. The balance between some electric guitars, drums, and hooks are a welcome addition to this talented songwriter's acoustic folk-like melodic, slightly pop-rock influenced style.

Elliott Smith, thank you for your music while you were with us. Rest in peace. - Dave B., Chicago.

Steven Paul Smith was born on August 6, 1969 in Omaha. He later changed the name Steven to Elliott. He felt it sounded less "jock-like."

I do believe Elliott Smith had a really amazing if not sad and lonely kind of voice. I can feel a bit more uplifting type of mood coming from Elliott Smith's Figure 8, his best and last studio record before he died. Ever since the end of his band Heatmiser, his solo work became more personal and less abrasive. It's hard to imagine at one point he was part of just another small punk/grunge band, who not many have heard of.

Many would prefer "Either/Or." Which seems optimistic at times, but kind of sad to me. At this time few singer/songwriters could match Elliott's level of intensity through lo-fi "folk-punk" intimacy. That release sparked interest in the director of Good Will Hunting, Gus Van Sant- who used some of Elliott's songs for his picture. They met while Elliott lived in Portland. Also this exposure proppelled Elliott Smith to major-label status from Kill Rock Stars to Dreamworks. And then came XO in 1998. And Figure 8 in 2000. In my opinion this is his best. It flourishes with rich, multi-layered and more lush tracks. Not as intimate as his earlier solo works w/ the exception of "Everything Means Nothing to Me." This does seem happier though, at least compared to his other works. Definately one of the best solo albums and one of my favorites of this millenium. A wonderful timeless album from one of the better singer/songwriters after those "grunge era" days. My favorites here include: "Son of Sam"- "Junkbond Trader" -"Stupidity Tries" - "Easy Way Out" - "In the Lost & Found" -(for this song Elliott uses the same Abbey Road piano Paul McCartney played on "Penny Lane")

Elliott Smith has always been a long time Beatles fan. Even covered their song "Because"- which is on a import of Figure 8. I really do feel he approaches a kind of greatness w/ this almost perfect solo work. I just wish he was still alive creating more.

It's just really sad the way Elliott Smith died. Two stab wounds in his chest from a kitchen knife. And I believe the coroner at the time never came to a conclusion whether it was a homicide or a suicide. His death was on October 21 2003.

I give Figure 8- 5 stars. It is my favorite Elliott Smith album, if you haven't heard Elliott Smith before you really should give this a listen. Or pick up "Either/Or" if you like a softer sound, but both are essential from him.

Many "hardcore" Elliott Smith fans seem quick to judge and often pass this record off as "too over-produced", or the lyrics aren't as personal as past records. It couldn't be farther from the truth.

This record is the sound of an artist coming into his own, maturing, experimenting. It's still Elliott Smith through and through, there's no doubt about that. Some of the lyrics are a little more abstract- but they just require more patience and repeated listens to truly appreciate.

Elliott Smith crafted some of his best works of art on this album. He really accomplished some beautifuly constructed songs. I first heard this album after Either/Or and Self-titled, and my first impression was that it sounded more plugged in, obviously. But upon really listening to the album, it opens up and becomes so much more. Songs like 'Junk Bond Trader' or 'Can't Make A Sound' become amazing pop masterpieces. There are also enough songs similar to Elliott's past minimalist approach, just more polished than before.

Smith himself had stated that he didn't prefer big studios with high-tech recording equipment to stripped down efforts, or vice-versa... just that they were two different styles each unique to themselves, and that he enjoyed experimented with both. He really accomplishes that here and it's worth owning.