Elliott Smith decided he wanted to make a career out of music when he first heard The Beatles’ White Album. In April 2000, he released an album called Figure 8 that seemed like his attempt to recreate the spirit of that classic record via his own boundless talent. Charged through with ambition and emotion, the record featured the singer-songwriter dressing up his lonely melodies in ornate trappings. About 25 years after the release of Figure 8, every fresh listen reminds us what a rare talent Elliott Smith possessed.
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Studio-Hopping
When folks bandy the term “indie singer-songwriter” about, chances are an image of the late, great Elliott Smith pops into more than a few heads. Early in his career, Smith certainly fit that narrative. He emerged from his early band Heatmiser with a few solo records that showed off his desolate, stinging style.
But Smith’s wounded songs just refused to stay confined to a tiny cult following. Ben Affleck and Matt Damon fell in love with his 1997 album Either/Or and peppered Good Will Hunting with Smith music. An unlikely Oscar nomination followed.
Coming off that, Smith was signed to DreamWorks Records. The label had just started operations and was flush with cash to throw at niche artists like Smith, whose sales would probably never yield a high return on investment. His 1998 album XO showed off the increased budget in places. But he maintained the intense intimacy that separated his work from others.
Before making Figure 8, Elliott Smith switched coasts and settled in Southern California. To find the sounds he wanted, Smith bounced around to a few different studios and, to make The Beatles connection complete, landed at Abbey Road. Producers Tom Rothrock and Rob Schnapf helped him realize his artistic vision.
Smith also played the vast majority of the instruments. (One notable exception: Pete Thomas of The Attractions handled drums on three tracks.) The tour de force record turned out to be the last one Smith released while still alive. He died by suicide in 2003.
Revisiting ‘Figure 8’
At 16 songs long, Smith has ample room on the album to explore ways to deliver his point. He by no means abandons his gentler side on Figure 8. “Somebody That I Used To Know” and “Easy Way Out” both render disappointment and disgust at a former lover in the prettiest fashion possible.
Smith also delivers a kind of brooding rock sound throughout the album, with electric guitars swirling and thudding around his narratives. “Junk Bond Trader” and “Wouldn’t Mama Be Proud” spew some eloquent bile, while “Stupidity Tries” offers some sarcastic humor.
The production touches never overwhelm the material. Then again, Smith’s sense of melody and his idiosyncratic way with a lyric could handle just about anything thrown at them. Figure 8 peaks with “Better Be Quiet Now”. Full of lilting, lovely guitar fills, it features some of the most heartbreaking lyrics you’ll ever hear.
Some fans might like Smith in unadulterated fashion, where there’s nothing to buffer the potency of his songs. Figure 8 highlights his skills as a musician and arranger, giving you more of the full spectrum of what this one-of-a-kind artist could offer.
Photo by Theo Wargo/WireImage
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