Disco de Elliott Smith: “Elliott Smith”

If I were pressed to choose a favorite Elliott Smith album--and that is a very hard decision indeed!--this one would make the cut. As a huge Elliott Smith fan, I find each of his albums amazing in their own unique way: "Roman Candle" for its starkness and startling beauty; "Either/Or" because it is here than Smith reached his full lyrical potential; "XO" because we finally get to see the incredible depths of music Smith could create; "Figure 8" for the challenges he presents to himself; and "from a basement on the hill" for the final insight into a beautifully talented and deeply troubled mind. But in the end, Smith's self-titled album stands out as a diamond among gems. It is here that we hear him come into his own, and the possibility this album presents--even if we know the end of his tale--lights up every song.

The first track, "Needle in the Hay," sets the tone for the album. It is stripped down, both musically and lyrically; the intimacy of the music and dead honesty of the lyrics make it seem as though you could reach out and touch Smith. "Needle in the Hay" is forthcoming about Smith's problems with drugs, like many other songs on the album--"St. Ides Heaven" and "The White Lady Loves You More" most obviously, as well as practically every other song in semi-hidden reference. The beauty of Smith's writing is that he is able to sing about these experiences without either glorifying them or falling into self-pity.

Several songs in particular stand out to me: "Alphabet Town," "Good to Go," and "The Biggest Lie." Smith has often been compared to Nick Drake, and while I believe he was not particularly fond of that comparison, I feel it is incredibly apt for "Alphabet Town." On the surface, the song has little in common with a Nick Drake song; however, the way Smith sings it--as though he must sing it, even though the effort required is inhuman--channels no one but Nick Drake. "Good to Go" falls into that camp as well, and is particularly touching and personal. "The Biggest Lie," the closing song on the album, strikes me as the most unique song. It is not a happy song, but Smith's tone changes; you get the sense that he feels cleansed, and the album ends with the possibility of hope.

I realize that much of this review speaks more to established Elliott Smith fans than to those newly introduced to Smith and looking to find a good starter album. But I think that is the nature of Elliott Smith: he either speaks straight to your heart or he doesn't, and if he does, the nature of the feeling is hard to explain. Try listening to "Elliott Smith" late at night, in a solitary drive over the loneliest part of town. If Smith *does* speak to your heart, you'll find this to be the most perfect setting, and the experience will allow you to feel both the depths of Smith's depression and the highs of his musical genius.

Elliott Smith (R.I.P.) is my favorite artist of all time. I have found something in his music that I have not found anywhere else. This album (his second) without a doubt conveys that "something" the most.

Some may say that this album is very depressing and melancholy but I believe that it conveys a plethora of various emotions (such as depression, insecurity, anger, jealousy, gratefulness, and so many others). I love the different feelings that Elliott's guitar playing alone can transmit. He can play so softly and with such beautiful chords that you feel comfortable and warm, or with such force and passion that you can share his feelings. The finger picking on "Satellite" is very pretty and technical. One thing I also really like is the harmonica on "Alphabet Town". I think it adds a good low to compliment his boyish and angelic voice. And his voice...where do I begin? He can sing a note so raspy and edgy as to enunciate pain, disgust, and emptiness. And yet, he can sing out so clearly that it sounds like it was sung by angels. Sometimes he sings barely above a whisper and the song sounds like a lullaby. In "St. Ides Heaven", he does a mesmerizing duet with Rebecca Gates. And let's not forget the lyrics on this album, which are absolutely breathtaking. Some deal with Elliott's heroin addiction, others deal with death and choices, among other things. My least favorite song on the album is "Southern Belle", but that song is still a 5/5. Point being: there is not a single bad song on this cd. If you don't mind the language in "Christian Brothers" and you like intimate and chill music then there is no reason or excuse you can give for not having this album.

*It is just such a shame that Steven Paul (aka Elliott) had to leave the way he did. I will never understand the pain he felt, but he will be deeply missed. Although he is gone, his spirit lives through his amazing and innovative music. Elliott has inspired me so much and I wish I could've seen him once or met him or something. But oh well. Thanks Elliott. Anyway, amazing record. Go pick it up.

the picture on the front of the album is how i feel when i listen to this cd. just freefalling to the bitter voice of elliot smith whispering "you can do it if you want to" in my ear. after i bought xo this was my next album and i'll say this now... i love love love love this album. the only album that even comes close to this in my favourites is either/or or ok computer by radiohead. but more on this album. it starts off with a simple song called needle in the hay. but simplicity is bliss! i would walk as many blocks as it would take simply to tell elliot how much i love this album. he fleshes out his usually sparse songs later on with coming up roses which always hits me when he says "i'm a junkyard full of false starts..." amazing! you can connect with it immediately. there really is nothing this man cannot do with a guitar wrenching emotions out of it simply by plucking the strings. although not a big step away from roman candle it's much stronger songwriting wise with some drums adding to the ambience usually provided simply by acoustic guitar. the only complaint about this album is length. clocking in at just over thirty seven minutes but it can feel like forever with a simple touch of the repeat button. i wish i could make something that would connect with someone as strongly as s/t has connected with me. although not a big fan of drugs and alcohol i have friends who are and these songs remind me of that. once again elliot outdoes himself which he would do again with either/or and xo.

I used think Nick Drake's "Pink Moon" was the most beautiful album that no one's ever heard, now I know it's this one.

This has, quite simply, some of the most beautiful pop music I've ever heard. Elliot Smith deserves more veneration than the whole assemblage of journalists who flock around the current flavour-du-jour could create in a year. Coming Up Roses and Satellite are two of the most amazing songs I've ever heard, and I've heard a lot of beautiful songs in my short span of years. Elliot Smith is not so much a musician as an aesthetic revelation, not a crafter of catchy songs, but a purveour of sublime visions. Dropping the pretentious stuff, this is really really good music made by someone who cares about music, not charming fashion statements.