What a voice. With Elliott Smith it always comes down to that sweet, delicate quaver that could sing a rhino to sleep and make a soldier swoon. That voice is his gift and our blessing, and it sprinkles holy water all over Either/Or.
Not that there isn’t strong material here. “Alameda,” “Ballad of Big Nothing” and “Punch and Judy” show a classic songwriter’s touch that could give Mick Head or Neil Finn a run for their money in the Beatlesque craftsman stakes. And the emotions are righteous and raw – even at his most delicate Smith is still a punk at heart, and alcoholism, self-loathing and loneliness remain on the menu.
And why not, with that voice redeeming this album’s most bilious anti-sentiments (“Pictures of Me”) and lending depth to the weediest of arrangements (almost every other song). Come to think of it, even though much of this album features a full band and drums and amps and all that rock malarkey, you hardly notice. Either/Or feels like as much of an acoustic record as Five Leaves Left or Blood On The Tracks, which is partly down to the inconsequential playing and production, and partly because Smith’s performance is so engrossing.
If Elliott Smith calls his next record Elliott Smith Sings the Portland Metropolitan Area Phone Book, I’ll probably still buy it. And anyone who’s heard “Rose Parade” will understand why. I couldn’t quote you a single lyric from this song, yet I feel like I know exactly what it’s about. A tune so sad and sweet, and a voice that says everything without having to say anything at all. That’s a gift.
If you like Elliott Smith, check out:
Elliott Smith Roman Candle
Elliott Smith Figure 8
Elliott Smith Elliott Smith
Elliott Smith XO
Michael Head Introducing the Strands The Magical World of the Strands
Nick Drake Five Leaves Left
John Lennon Imagine
-- jf
at a glance...
