By Benjamin Leatherman
By Glenn BurnSilver
By Glenn BurnSilver
By Troy Farah
By Roger Calamaio
By Mark Deming
By Glenn BurnSilver
By Brian Palmer
Every major recording artist has his "moment." It's that fleeting instant when the planets align in such a way that even an eccentric cult figure can bask in the pop-culture sunshine; when the fickle masses temporarily decide that you're the essence of hipness.
Elvis Costello had it with Armed Forces,and lost it almost overnight with some idiotic drunken babble in an Ohio hotel bar. Bob Dylan had it with "Like a Rolling Stone" and "Positively 4th Street," and lost it with "Can You Please Crawl Out Your Window?". Prince had it with Purple Rain and lost it with Around the World in a Day.
In September of 1998, pop auteur Elliott Smith had his moment. At the time, Smith was riding high on the acclaim he'd received for his musical contributions to the 1997 hit film Good Will Hunting.His song "Miss Misery" had been nominated for an Academy Award, and a white-suited, visibly uncomfortable Smith even performed the song at the Oscars, sandwiched between leather-lunged divas Trisha Yearwood and Celine Dion.
With the August 1998 release of XO-- Smith's debut with DreamWorks Records after releasing three indie solo discs, and two albums and an EP with the Portland grunge band Heatmiser -- music-biz expectations were high. Some pundits even speculated that Good Will Huntingwould ignite Smith's career as The Graduatehad done for Simon and Garfunkel.
The following month, Smith held court before an overflow crowd at the downtown Seattle venue Showbox. The gig drew many longtime Smith loyalists, the kind of fans who could, on command, recite the lyrics to "Between the Bars" or "Needle in the Hay." But you could also sense a sizable contingent who were there because they'd heard from a friend that this guy was the new rage. They looked on with excited curiosity as the scrawny, acne-scarred introvert in the wool cap played one melodic, emotionally insular song after another. They listened intently to his nearly indecipherable between-song mumbles.
Two years later, Smith's moment has come and gone, and it's obvious that there are no hit singles or platinum albums on the horizon for him. But he seems genuinely relieved that the hoopla has died down, and wishes he could forever escape the baggage that Good Will Huntingcreated for him.
"It was weird," the 30-year-old Smith says from a tour stop in Edinburgh, Scotland. "I went from being an anomalistic indie person to 'Oscar Guy.' And I didn't really like it. It seems that I'll never get away from it. It's kind of strange, because it doesn't have very much connection with what I'm trying to do. Those songs had all been released before, except for one song."
Smith's bout with fame unleashed a flood of media misconceptions and misinformation about him. Among the highlights: Good Will Huntingdirector Gus Van Sant discovered Smith playing in a coffee house in 1996 (Smith had already released two solo albums by that time); Smith had a fling with the film's female lead, Minnie Driver (just friends, he says); and his Oscar nomination was the fulfillment of a lifelong dream (pure fiction, he says).
On the musical front, the film's success cemented Smith's image as the minstrel of melancholy, a confessional folk troubadour. Many failed to notice that his intricate pop song structures had little in common with folk music.
Growing up in Dallas in the '70s, Smith's heroes had been the Beatles, Stevie Wonder and the Clash, not Woody Guthrie or Ramblin' Jack Elliott. But some critics mistook Smith's frequent use of the acoustic guitar as a signal that he was some kind of postmodern heir to the folk tradition.
"I was just using the technology that was available to me," he says. "You can do a lot of things on acoustic guitar. But to some people, the simple fact that you're playing an acoustic guitar means that it's folk music. I think that's ridiculous, but those are probably people who've never actually heard folk."
Actually, if Smith's work suggests the influence of any one artist, it's Big Star-era Alex Chilton. Smith often encores with Chilton's nostalgic ballad "Thirteen," and his best album, the intimate, home-made 1997 release either/or,was a gorgeous distillation of the best elements of Big Star's Radio Cityand Sister Lovers.
Smith ended either/orwith the acoustic track "Say Yes," an obvious homage to Radio City's acoustic closer, "I'm in Love With a Girl." To make the connection unmistakable, Smith's song began with the line: "I'm in love with the world/Through the eyes of a girl."
Like the early-'70s Chilton, Smith's voice is a high, fragile instrument that's on a first-name basis with heartache. It allows him to make even the most cryptic, code-language lyrics register viscerally.
Smith has been playing music since the age of 10, starting on piano and quickly gravitating to guitar. At the age of 14, he moved with his mother and two younger siblings from Dallas to Portland, Oregon.
It was in Portland where Smith jumped on the grunge bandwagon with the raucous but mediocre group Heatmiser. Meanwhile, he began building a collection of quieter, introspective material, which eventually found its way onto Roman Candle, his 1994 solo debut on the Cavity Search label, recorded at home on a four-track machine.