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Many albums could be cited to support the claim that great suffering yields great art. Elliott Smith's XO should not be one of them. Smith's 1998 major label debut defies the "tortured singer-songwriter" stereotype, and takes up this defiance as a central theme. At a time when Smith was being groomed for a particular (and particularly condescending) brand of stardom, he produced a record that eviscerated one of the central assumptions of singersongwriterdom: that pain is beautiful. XO insists that romanticizing personal tragedy can only leave you "deaf and dumb and done." And it backs up this claim with some of the most artful and intelligent music of its day. Matthew LeMay writes an original take on a widely beloved album, steering clear of the sensationalist suicide angles that have dogged most analysis of Elliott Smith's extraordinary work.
Elliott Smith was one of the most gifted songwriters of the '90s, adored by fans for his subtly melancholic words and melodies.The sadness had its sources in the life.There was trauma from an early age, years of drug abuse, and a chronic sense of disconnection that sometimes seemed self-engineered.Smith died violently in LA in 2003, under what some believe to be questionable circumstances, of stab wounds to the chest.By this time fame had found him, and record-buyers who shared the listening experience felt he spoke directly to them from beyond:astute, damaged, lovelorn, fighting, until he could fight no more. And yet, although his intimate lyrics carried the weight of truth, Smith remained unknowable. In Torment Saint, William Todd Schultz gives us the first proper biography of the rock star, a decade after his death, imbued with affection, authority, sensitivity, and long-awaited clarity. Torment Saint draws on Schultz's careful, deeply knowledgeable readings and insights, as well as on more than 150 hours of interviews with close friends from Texas to Los Angeles, lovers, bandmates, music peers, managers, label owners, and recording engineers and producers. This book unravels the remaining mysteries of Smith's life and his shocking, too early end.It will be, for Smith's legions of fans and readers still discovering his songbook, an indispensable examination of his life and legacy.
Many albums could be cited to support the claim that great suffering yields great art. Elliott Smith's XO should not be one of them. Smith's 1998 major label debut defies the "tortured singer-songwriter" stereotype, and takes up this defiance as a central theme. At a time when Smith was being groomed for a particular (and particularly condescending) brand of stardom, he produced a record that eviscerated one of the central assumptions of singersongwriterdom: that pain is beautiful. XO insists that romanticizing personal tragedy can only leave you "deaf and dumb and done." And it backs up this claim with some of the most artful and intelligent music of its day. Matthew LeMay writes an original take on a widely beloved album, steering clear of the sensationalist suicide angles that have dogged most analysis of Elliott Smith's extraordinary work.
A compilation of photographs of musician Elliott Smith and transcriptions of interviews with people who knew him, accompanied by a compact disc of unreleased live recordings.
(Guitar Recorded Versions). A fixture on the Portland indie music scene, singer-songwriter Elliott Smith was introduced to the mainstream via his Oscar-nominated song "Miss Misery" from the Good Will Hunting soundtrack. This collection features that song and 17 others, from his first CD, through tracks released after his tragic and untimely death. Includes: Angeles * Clementine * Everything Means Nothing to Me * Pretty (Ugly Before) * Say Yes * Son of Sam * Waltz #2 (XO) * and more, plus a discography and an intro.
Many albums could be cited to support the claim that great suffering yields great art. Elliott Smith's XO should not be one of them. Smith's 1998 major label debut defies the "tortured singer-songwriter" stereotype, and takes up this defiance as a central theme. At a time when Smith was being groomed for a particular (and particularly condescending) brand of stardom, he produced a record that eviscerated one of the central assumptions of singersongwriterdom: that pain is beautiful. XO insists that romanticizing personal tragedy can only leave you "deaf and dumb and done." And it backs up this claim with some of the most artful and intelligent music of its day. Matthew LeMay writes an original take on a widely beloved album, steering clear of the sensationalist suicide angles that have dogged most analysis of Elliott Smith's extraordinary work.
The death of singer-songwriter Elliott Smith has been an open case for the last eighteen years. The Oscar-nominated musician died of two stab wounds in the chest after a fight with his girlfriend Jennifer Chiba on October 21st, 2003. Even though his death was first reported by the media as an alleged suicide, a police investigation was reopened after the results of the autopsy were made public. Because of Elliott's history with drug addiction, depression, and suicide ideation, it was not difficult for many people, fans included, to believe he had killed himself. However, the circumstances of his death, the findings of the autopsy, as well as a series of inconsistencies and discrepancies have left open the possibility of homicide.The book is written from the perspective of Alyson, a real-life fan who undergoes her own investigation, motivated by her sense of justice and desire to determine the truth. If the exact circumstances of Elliott Smith's tragic death cannot be established beyond a reasonable doubt, after some persistent and in-depth research of the case and the insight of more than 40 people, the story that emerges is quite different from the one that has been too often portrayed in the media. Even though Elliott had well-documented problems, the events surrounding his death appear to be much murkier than previously thought, making it more difficult to believe his death was a clear-cut suicide.
R.E.M.'s debut album, released in 1983, was so far removed from the prevailing trends of American popular music that it still sounds miraculous and out of time today. J. Niimi tells the story of the album's genesis - with fascinating input from Don Dixon and Mitch Easter. He also investigates Michael Stipe's hypnotic, mysterious lyrics, and makes the case for Murmur as a work of Southern Gothic art. EXCEPRT: In the course of an interview that took place some twenty years ago, Michael Stipe made passing reference to an essay that had a deep impact on him. It's what came to his mind when, after having been harangued by fans and journalists alike about Murmur's lyrics, already grown weary from having to continually entertain their broad speculations, he finally threw up his hands. "Anyone who really wants to figure out the words to our songs should probably read this essay, then go back and listen," Stipe told the interviewer. "It talks about how people misinterpret something that's being said, and come up with a little phrase or word that actually defines the essence of what the original was better than the original did." What Stipe was trying to say is that if you want answers to R.E.M., you're not only looking in the wrong place, you're also asking the wrong questions.
If You're Feeling Sinister shows how Belle & Sebastian transformed themselves over the space of a decade, from a slightly shambolic cult secret into a polished, highly entertaining, mainstream pop group. Along the way, the book shows how the internet has revolutionized how we discover new music-often at the cost of romance and mystery.