On Oct. 21, 2003, music lost an incredible voice.
Elliott Smith, the 34-year-old singer/songwriter was pronounced dead at a Los Angeles hospital. Smith died from a knife wound in his chest that appeared to be self inflicted. At the press deadline, the police-performed autopsy was inconclusive and officials were awaiting a final toxicology report from the coroner.
Elliott Smith was born to create beautiful records. Beginning with his band, Heatmiser, Smith crafted beautiful yet simple melodies and cerebral, wistful lyrics. After their masterpiece “Mic City Sons” Smith split from the group and began writing and recording his own songs with the aide of a songwriter’s best friend, a four track cassette player.
His first two records, 1994’s “Roman Candle” and his eponymous LP from 1995, were recorded in such a lo-fi manner. Regardless of the scratchy sound quality, the sincerity and honesty of his music permeated through to the listener. On songs like “No Name #3” and “Alphabet Town,” Smith appeared to be a modern day Dylan. On songs like “Needle in the Hay” (also featured in the film “The Royal Tenenbaums”), he sounded like something completely different.
1997’s “Either/Or” was completely different. He utilized a studio for the first time and fleshed out his songs with a band sound (he played all the instruments himself). It abandoned the haunting and sparse instrumentation of his first records, and it engulfed his songs in a world of boisterous sound. His songs were now not only simple and suggestive, but complex and encompassing.
It was around this time that a friend, director Gus Van Sant, visited Smith and asked him to contribute music to his film “Good Will Hunting.” Smith obliged and gave access to his catalog as well as recording a new song, entitled “Miss Misery.”
The film went on to earn many Oscar nominations, including one for Elliott and “Miss Misery,” only to lose to Celine Dion and her hit from “Titanic.” At this point, the press hailed Smith as the next big thing and expectations for his next record became huge.
1998’s “XO” was the first Elliott Smith record released on Dreamworks, a major label. Critics and fans were not upset. Smith delivered with a record of 14 mini-masterpieces that garnered comparisons to John Lennon’s best material. And it was a well suited comparison.
Smith had a flair for over-the-top instrumentation by now, and his lyrics were mostly about the truth that plagues us all, not unlike Lennon.
2000’s “Figure 8” would be his last record, even though he was recording one at the time of his death.
Elliott Smith will always be remembered as the underground songwriting genius that never got the respect he earned. As a singer/songwriter myself, I consider Elliott Smith one of my biggest inspirations and a hero of sorts.
He crafted honest, introspective and highly effective catalogs of material that brought all his thoughts to the surface. However sad it is, one must be thankful that he has left us with some of the best songs written in common times, something that will not be forgotten anytime soon.
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