XO - Elliott Smith

...sentimental about this particular album XO which I'm reviewing and fall into the trap of immortalising something on cult grounds alone. If you had no background knowledge of Elliott Smith and took this album on face value, there are certainly grounds for celebrating the discovery of a genuine diamond of a record. The songs form 14 sparkling facets, with depth and beauty whichever way you look at it.

So why is XO so good? Perhaps the ...
...up. It's a pop record that constantly switches genres, sliding from the intimacy of acoustic folk/country tracks like Pitseleh and Tomorrow Tomorrow, over to the rock-out numbers such as Amity, then taking you ballroom dancing to the lullaby whispers of Waltz no.1, whilst often landing you squarely amongst beatles/beach boys-esque pop classics as shown on Bled White and Baby Britain.

Here's how this album plays out..

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Being a cult hero is a two-edged sword. On the one hand you're appreciated for being individual, brilliant and anonymous to the mainstream. On the other, you suffer the fate of being liked just because it's "cool" to and never really properly understood.

Elliott Smith died in 2003 and took his place alongside cult figures, Buckley, Cobain, Drake and so on.. (not necessarily alphabetically, but you get the picture). Behind him he left a body of work that has the potential to be celebrated for longer than the 34 short years of his own life. But let's not get sentimental about this particular album XO which I'm reviewing and fall into the trap of immortalising something on cult grounds alone. If you had no background knowledge of Elliott Smith and took this album on face value, there are certainly grounds for celebrating the discovery of a genuine diamond of a record. The songs form 14 sparkling facets, with depth and beauty whichever way you look at it.

So why is XO so good? Perhaps the answer lies within the many contrasts that this album throws up. It's a pop record that constantly switches genres, sliding from the intimacy of acoustic folk/country tracks like Pitseleh and Tomorrow Tomorrow, over to the rock-out numbers such as Amity, then taking you ballroom dancing to the lullaby whispers of Waltz no.1, whilst often landing you squarely amongst beatles/beach boys-esque pop classics as shown on Bled White and Baby Britain.

Here's how this album plays out..

1. Sweet Adeline
This opening track starts life as a guitar scale practicing exercise, blending gently into an acoustic track that builds into a piano pounding, key changing monster that simmers back down to the cute & innocent riff that it started off as.

2. Tomorrow Tomorrow
Another great acoustic guitar led track showing off Elliott's nifty work with the axe and musing on his current state of mind with lyrics like "I've got static in my head".

3. Waltz No.2
This track seems to bring the album to life with the snare drum beating out a solid waltz rhythm, soon to be accompanied by catchy guitar and piano signatures. Elliott's vocals are excellent on this track and lyrically he paints a colourful picture of the world around him.

4. Baby Britain
Back into 4/4 time now and this pop drives forward at a steady pace with a very beatlesy atmosphere to it. The track is part homage to the beatles, part drinking song, and wholly infectious. A definite stand-out track.

5. Pitseleh
Bassist and drummer take a quick tea break here as Elliott makes another foray into acoustic territory with this subtle and intimate song. There's an insight into his tortured mood with lines such as "I'm so angry, I don't think it'll ever pass, and I was bad news for you, just because.."

6. Independence Day
The mood starts to lift with this gentle song showing off Elliott's trademark double-tracked vocals and beach boys harmonies.

7. Bled White
Right from the urgent guitar strum bars at the beginning of this one, you know this track means business. The drums and over-cooked Hammond lift this track high up and send you soaring again. Another one of the classics from this album as an insistent Elliott sings "don't you dare disturb me, don't complicate my peace of mind, while I'm balancing my past, Cos' you can't help or hurt me" - awesome!

8. Waltz no.1
An achingly beautiful waltz with the sweetest double-tracked vocals. This songs transports you to the middle of a dark and deserted ballroom with gentle piano/guitar work and you hardly notice the string section turn up to ensure that this track gets the perfect send-off. I don't know exactly how he pulls it off but it's simply stunning.

9. Amity
It's as if Elliott scolds himself for getting too sentimental as he cranks up the amps on this track and rocks out on this gritty New York themed track. Vocal highlight is the line "I'm a neon sign and I stay open all the time"

10. Oh Well Okay
Back down to earth again with this subtle paino based track. A definite come-down for Elliott as he sings "I've got pictures I just don't see it anymore". A very definite nod to George Harrisons guitar work in the solo late on in this song.

11. Bottle Up and Explode
A cynical and brilliant track as the tempo lifts and the whole spectrum of instruments come out for this pop number. Well produced and a million miles from his sparse sound on earlier works such as Needle In The Hay.

12. Question Mark
There's no stopping Elliott now as this track stomps around and reels you in with a great chorus. An angry song, but another great song to celebrate.

13. Everybody cares, Everybody Understands
Probably the most direct reference to Elliott's drug problems on the album as he berates the people who misunderstand him. Musically this album starts off with the solitary guitar strumming and then from out of nowhere this tracks explodes into a brooding climax to the penultimate track on the album.

14. I Didn't Understand
This is definitely not the way we wanted it too end and thank goodness Elliott went on to make a couple more albums, as the breezy harmonies on this acapella track bring a heart wrenching close to the album. The opening line of this song is almost a direct appeal not to abandon him in favour of other cheaper artists like James Blunt or Jack Johnson as he sings "thought you'd be out looking for the next in line to love, and ignore that I've been away" . How could we leave him after that? The answer is simply, that we don't.

On reflection, this album is one to be cherished. The song writing and production is outstanding throughout with very little to criticise. There is enough variety and originality to ensure that the repeat button on your listening device gets a rare workout. It's by no means a depressing album even though it touches on thoughts and feelings that most self-obsessed solo artists wouldn't have a clue about. Forget the cult appeal of Elliott Smith which does nothing to help the guy now, but get this album for the sheer quality of the music. Why settle for the cubic zirconia's of Blunt, Johnson and whatever radio-friendly puppet stuck on smash hits magazine when you can be listening to this true diamond which will be appreciated a good deal longer.

 

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