When Alyson Camus and I got started trying to document the mystery surrounding Elliott Smith’s death we agreed upon one thing from the start. We Were wasting our time. It was too long ago, nobody but us cared, and nobody would go on the record. It was lost in time. And it was the definition of a lost cause.
But, as Margaret Mitchel noted in her novel “Gone With The Wind”, the only causes worth fighting for are the lost ones.
Perhaps that’s the only thing Alyson and I agree upon. I think Alyson sees Jennifer Chiba in a more negative light than I do. It seems to me that the very worst case scenario you can point to with Chica (and it is FAR FROM PROVEN) is a crime of passion (Wikipedia: “In the United States civil courts, a crime of passion is referred to as “temporary insanity”. This defense was first used by U.S. Congressman Daniel Sickles of New York in 1859 after he had killed his wife’s lover, Philip Barton Key, but was most used during the 1940s and 1950s.(unfaithful)”. A best case scenario would have Chiba guilty of criminal negligent homicide (though less like now), or, if she didn’t know First Aid, stupidity -which wasn’t a crime last time I looked.
That’s one thing Alyson and I appear to disagree upon. Now, here’s another: Alyson is a big Elliott Smith fan and I am . I don’t dislike him, and I completely glom why he brings such intense love from his fan base. But it doesn’t from me. Smith isn’t consistent enough for me. It’s one reason why me, who spends his life listening and writing about music, has held off writing about Smith.
But I could always change my mind. Some great songs have not been released yet (Alyson has forwarded them to me) and some great songs have been released. Plus there is no denying the brilliant Figure 8. A rare case in which a perceived sell out (Smith’s major label debut) leaves everybody better off with a cleaner product and a full band. And, except for bits and pieces of From A Basement On A Hill -and including the 00s boots I’ve listened to, Smith seemed to be hitting his stride.
So anyway, here is an Elliott Smith playlist.
Let’s Get Lost – Off Basement, this song is mired in melancholy and heroine. The title a reference to the gifted, heroine addicted English trumpet junkie Chet Baker and the song an old junkie fable about loving the white lady more than flesh and blood. It is a song about women for women and it is responded to best by women. Here is a comment off a lyric website: “this song brings me to tears. i am that girl that was begging “him” to stay. & he pushed & pushed until i couldn’t take it anymore. extremely depressing. i want so badly to get lost with him. but he would never let me.” It seems to me this woman completely nailed the Smith experience.
Miss Misery – Elliott Smith – I found “Good Will Hunting” a touch sacrosanct -I don’t mind having my soul fucked with but be a bit cooler about it. Same problem with Smith’s song. Deserved the Oscar nomination, deserved to win, but what does that mean? His spirits are low, his spirituality high, his guitar playing adept but the song is all emotions under rug swept.
Somebody That I Used To Know – This song works but not the same way as the rest of Figure 8 does, also not the same as his earlier stuff. It is a sun kissed melodic gem of a kiss off and moving in ways his more down beat material doesn’t achieve for me.
Suicide Machine – Legend has it this is the last song Smith ever wrote. Alyson called it a “fuck you to everybody”. It sounds just like George Harrison (I can just imagine Smith saying: “gimme some of that nice guitar”) and whoever is playing the guitar pieces (it doesn’t sound like Smith) is terrific.
Baby Britain – A self-portrait of sorts though I am sure Elliott woulda denied. The story of alcohol abuse uber alles as two guys (?) kill their brain cells to in front of a rock song which, with that flavorsome keyboards is not a million miles from a Squeeze like kitchen sink.
Son Of Sam – Starts with a jazz guitar, swings into a hard rock (COMPARATIVELY) and ends with Smith using his falsetto onlong streched out lines. A little bit of finger picking and yet another great song on a great album…
Waltz # 2 (XO) – I prefer other people’s writing about Elliott Smith to mine. I think I don’t feel him deeply enough to do him justice. This is what somebody by the name of Matt DeMann wrote in 2005: “Elliott Smith’s “Waltz #2(XO)” is by far one of the single most beautiful songs of the past decade. Smith once again encapsulates himself, lending his own angelic voice to compliment his gorgeous harmonies. The guitar play and Piano work is instantly recognizable as Smith. Probably the most poinient moments in the song are derrived from the chorus actaully. While Smith sings quietly under the mic and a light electric riff being played in the background. As he softly sings “I’m never gonna know you now/But I’m gonna love you anyhow” any true musician or poet will instantly feel the emotion and true beauty of Smith’s entire body of work. “Waltz” is known as one of Smith’s best and slightly more well known works, and hopefully it’s beauty will turn more people on to him whenever they hear it”
Stickman – I think this is off a boot and it is a highly arranged, multi harmony, layered piece of art-rock. Obtusely beautiful, almost psychedelic Beatley. Maybe this was where Smith was going to next…