There’s no such thing as an album that’s a perfect 10 – but there those that are one notch below. The 9’s is an occasional series which explores some of those records.
Released: 1997
About
Elliott Smith always pushed back against the ‘Sad acoustic boy’ tag, even if the evidence suggested he was one of his generation’s most adept troubadors. Having moved to Portland as a teenager he eventually joined and then found himself increasingly disconnected from the rock orientated Heatmiser. His two solo albums while still with them – 1994’s Roman Candle and released the following year it’s eponymous successor – led to word-of-mouth cult status; his third would take him almost accidentally to a performance at the Oscars.
Why a 9?
Those who knew Smith well were adamant that in person he was self conscious but funny and smart, not a Nick Drake-esque introvert unable to express himself other than through his music. Either/Or marked a departure, although not it seemed one consciously designed to bring success; melodic but still hushed, the singer’s fragile, almost whispered vocals weren’t made for daytime radio consumption or MTV’s splashy post-grunge dynamics. The candlelit atmosphere though was addictive, and the likes of Ballad of Big Nothing, Angeles were revelatory, whilst emulating Drake’s finger picked gift for bending a melody to his whim, Between The Bars would prove to be an exquisite career apex.
Why Is Is Important?
Of itself, this was not a record that changed Smith’s life dramatically, up at least until director Gus Van Sant incorporated three of it’s songs into the soundtrack of the 1998 movie Good Will Hunting. As beautiful and melancholy as it is, Either/Or however is no Pink Moon. Instead it’s something of a ying to Jeff Buckley‘s prosaic yang, wearing greater modesty and less pretentious yes, but just as much keenly searching for an audience to love it.
You Should Listen To
Ballad of Big Nothing, Angeles, Between The Bars, Rose Parade
The Voice Of Unreason 