| Artist |
Elliott Smith |
| Album Title: |
Elliott Smith |
| Album Cover: |
 |
| Primary Genre |
Rock: Soft Rock |
| Format |
Vinyl |
| Released |
07/21/1995 |
| Reissue Date |
09/24/2021 |
| Label |
Kill Rock Stars |
| Catalog No |
KRS 246 |
| Bar Code No |
7 59656 02466 2 |
| Reissue |
Yes |
| Remastered |
Yes |
| Packaging |
LP Sleeve |
| Tracks |
| A1.
|
Needle in the Hay (4:17)
|
| A2.
|
Christian Brothers (4:31)
|
| A3.
|
Clementine (2:46)
|
| A4.
|
Southern Belle (3:06)
|
| A5.
|
Single File (2:26)
|
| A6.
|
Coming Up Roses (3:11)
|
| B1.
|
Satellite (2:26)
|
| B2.
|
Alphabet Town (4:12)
|
| B3.
|
St. Ides Heaven (3:00)
|
| B4.
|
Good to Go (2:25)
|
| B5.
|
The White Lady Loves You More (2:25)
|
| B6.
|
The Biggest Lie (2:40)
|
|
| Date Acquired |
07/20/2021 |
| Personal Rating |
 |
| Acquired from |
Music Direct (Musicdirect.Com) |
| Purchase Price |
21.99 |
Web Links |
All Music Guide Entry:
Bandcamp entry:
Discogs Entry:
Wikipedia Entry: |
Notes |
Notes:
25th anniversary remaster. Remastered from the original source material.
Copyright and publishing Spent Bullets BMI 1995
Recorded Jan/Feb '95 at Leslie Uppinghouse's house except "Needle In The Hay" and "Alphabet Town" Sept '94 at Tony Lash's house. Mixed with much help from Tony and Leslie at Tony's house. Rebecca Gates courtesy [of] Sub Pop Records.
Credits:
Electric Guitar [Goes Electric] – Neil Gust (tracks: A5)
Harmony Vocals – Rebecca Gates (tracks: B3)
Mixed By – Elliott Smith, Leslie Uppinghouse, Tony Lash
Photography By [Cover] – JJ Gonson
Photography By [Inset] – Neil
Songwriter [Songs By] – Elliott Smith
Companies, etc.:
Copyright © – Spent Bullets
Published By – Spent Bullets
----------------------------------------------------------------------------------------------
Analyzed Folder: Elliott Smith - Elliott Smith_dr.txt
----------------------------------------------------------------------------------------------
DR Peak RMS Filename
----------------------------------------------------------------------------------------------
DR12 -0.49 dB -14.39 dB 01 - Needle in the Hay.aiff
DR11 -0.47 dB -14.78 dB 02 - Christian Brothers.aiff
DR15 -0.36 dB -17.50 dB 03 - Clementine.aiff
DR12 -0.35 dB -16.54 dB 04 - Southern Belle.aiff
DR13 -0.45 dB -15.45 dB 05 - Single File.aiff
DR12 -0.42 dB -15.35 dB 06 - Coming Up Roses.aiff
DR15 -0.57 dB -17.59 dB 07 - Satellite.aiff
DR11 -0.00 dB -14.48 dB 08 - Alphabet Town.aiff
DR12 -0.34 dB -15.00 dB 09 - St. Ides Heaven.aiff
DR13 -1.44 dB -16.33 dB 10 - Good to Go.aiff
DR14 -0.80 dB -17.84 dB 11 - The White Lady Loves You More.aiff
DR13 -1.37 dB -16.32 dB 12 - The Biggest Lie.aiff
----------------------------------------------------------------------------------------------
Number of Files: 12
Official DR Value: DR13
----------------------------------------------------------------------------------------------
|
|
| Reviews |
All Music Guide Review by Steve Huey:
Elliott Smith's self-titled second album was his first for the Kill Rock Stars label and also his first major artistic statement. Its sound is fairly similar to that of Roman Candle -- it's mostly just Smith and his gently fingerpicked acoustic guitar, embellished a bit more often with drums, harmony vocals, and the odd additional instrument. The main difference here is that Smith's melodies and lyrics reveal their greater strength and substance with repeated listens. And make no mistake, the songs do require repeated listens -- not just because of Smith's often whispery, spiderweb-thin delivery, but also because of his deceptively angular melodies and chord progressions, which threaten to float away until the listener hears them enough to latch on and know where they're going. Smith is often compared to Paul Simon or the Beatles in their softer moments, but perhaps the best touchstone for this early sound is Nick Drake's even more minimalistic Pink Moon; while Smith's language is rawer and tougher than Drake's haunting poetics, his songs also deal with depression and loneliness, creating an almost uncomfortable intimacy with their bare-bones arrangements. The quiet prettiness of Smith's sound can make it easy to overlook the darker, edgier side of his songs -- many of Smith's embittered characters cope with their dysfunctional relationships or breakups through substance abuse, while some of the lyrics read more like angry, defiant punk rants when separated from the music. Smith would flesh out his sound with the albums to come, but Elliott Smith contains the blueprint for his later successes, and more importantly, it's a fully realized work itself.
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| Cover 1 |
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| Cover 2 |
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| Cover 3 |
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| Cover 4 |
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| Cover 5 |
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| Cover 6 |
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| Cover 7 |
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| Cover 8 |
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| Cover 9 |
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