Customer Reviews

Xo

5 star:		(136)
4 star:		(18)
3 star:		(6)
2 star:		(0)
1 star:		(0)

 

 

The first album I ever heard of Elliot Smith was from the movie "Keeping the Faith." It was his song "pitseleh", from his album XO. This was enough to make me go out and buy the album, and I have yet to be disappointed.

There are two things that make this musician stand out in a crowd. First comes his incredible music. His harmonic textures and rhythmic off-beating constantly combine to create a much needed breath of fresh air in this bubblegum pop world. I didn't realize how tired I was of the same old songs (and the same boring song form, ABA) until I listened to Elliot, and found his songs so beautiful in their difference. Second, his lyrics are extremely beautiful and very well crafted. This is not easy pop with lyrics that don't mean anything important (or are already familiar because they say the exact same thing as every other pop band). Elliot tackles hard subjects such as depression and lonliness, and yet can balance it out with a song about personal change from something ugly into something beautiful ("independence day").

So it comes to this: though it's not quite polished, and can sometimes be a bit inscrutable, Elliot Smith's music is profound nonetheless. XO is, in my opinion, one of the best examples of this and well worth anything you pay for it.

Perhaps the best thing about "XO" is that we get to see Elliott Smith very clearly demonstrating the true range and depth of his talent. As amazing as "Roman Candle," "Elliott Smith," and "Either/or" are--and indeed, they are my favorite Elliott Smith albums--those albums require the listener to truly immerse himself in the music; special attention needs to be paid to all the quiet subtleties, or else much of the beauty and uniqueness can be lost. Smith's earlier albums require a desire on the listener's part to let the music bloom in all its glory; "XO" blossoms on first listen.

"XO" clearly stands out from Smith's previous work, simply based on how much production went into the album; no one could ever accuse "Roman Candle," "Elliott Smith," or "Either/or" of being over-produced. But I also think it would be a mistake to call "XO" overproduced. The rawness and urgency of Smith's music are not glossed over, which is generally what is meant when an album is accused of being overproduced. Instead, Smith's increased resources allow him to bring layers to his music that highlight--rather than detract from--the heart of his songs.

Songs such as "Waltz #1" and "Oh Well, Okay" demonstrate this point perfectly. These songs have all the lyrical and musical integrity and richness of Smith's earlier work, yet he simply could not have produced them earlier, particularly in the case of "Waltz #1." In spirit, however, these two songs--as well as the majority of the album--are a perfect continuation of Smith's work. That they are "fuller" songs, at least musically, allows Smith's talent to be more open and upfront, yet they still retain a certain quietness and subtlety.

Several songs stand out as noticeably different from Smith's earlier work, however. "Amity" sounds more like a song Smith would have written for Heatmiser than for a solo album; it is the one sour note on the album. I also find "Baby Britain" to be a new "type" of Smith song, though in this case the development is good. And the last song on the album, "I Didn't Understand," is a beautiful breathy a capella piece which very skillfully sums up the album's themes and brings it to a close.

"XO" had the chance of falling flat, precisely because of Smith's expanded resources; there was a chance that he would not be able to transition from his minimalistic sound to a fuller one. However, as "XO's" rich lushness demonstrates, Smith fulfilled the challenge well, and he produced a record that is true to the soul of his music.

After listening to Roman Candle I went out and bought XO, Figure 8 and Either/Or on the same day. Since I've spent the last week listening to the bunch of them non-stop, I can say this: XO is an excellent record - but not quite as excellent as the ones on either side of it.

To me, this record feels like R.E.M.'s "Monster" or Archer Prewitt's "White Sky," a transition record setting the scene for something greater. There're a lot of great songs on here, and they're full of all of Smith's trademarks; even the simplest phrases ("She looks so composed/So she is, I suppose") are cleverly delivered and beautiful in their simplicity. But there're also a lot of over-production which relies too much on the arrangement and not enough on the quiet passion or feeling which makes Elliott Smith the man. People here are saying that Elliott Smith is like the new Nick Drake, but Drake would never have produced a song like "Baby Britain," which is campy and unconvincing, even as though it's fun and has a neat-o harpsichord accent in the bridge. He hits the mark on songs like "Tomorrow, Tomorrow" or "Pitseleh," and I really like "Independence Day," but songs like "Amity" leave you feeling like you've just heard a B-side or an experiment, not a finished track. They're more produced than his other songs, but there's something lacking in the delivery or the songwriting. When Smith's not as his very, very best, he gets smothered under all his production. Sometimes it's lovely, as on "Bled White," but sometimes it's unnecessary, as on "Amity."

All the greatness-that-could-have-been on XO is realized on Figure 8, a real five-star record. I say, buy Figure 8 or one of Smith's earlier records before you buy XO. I listen to this CD all the time, but I listen to the others more, and I care about them more, too. I'd lend XO to a friend, I'd keep the others to myself.

Did this guy know how to write catchy hooks or what? Did this guy have a PROFOUND sense of melody and harmony or what?

I suppose I'd heard Elliott Smith at one time or another, possibly took note when watching The Royal Tennenbaums. But I really didn't know who this guy was until recently. I started hearing his name again and again though I can't recall where.

Now, I've been buying and playing music for about 36 years - my first Lp purchase was The Beatles Magical Mystery Tour. My tastes range from the Fab Four to Miles Davis, John Coltrane, Eric Dolphy, King Crimson, Nick Drake, John Martyn, Tom Waits and so on. I like just about anything as long as it comes from the heart.

But I digress. I finally got around to purchasing an Elliott Smith CD - XO. Oh I agonized over whether to buy it, I'd never heard the guy, should I spend the 15 bucks on a guy I've never even heard or play it safe and buy that U2 collection?

Wow!!! I am so glad I purchased this CD! There is not one stinker track, it's all very skilled, wonderfully executed song writing. This is one of the best sessions I have ever heard, it is worth every penny! Don't agonize over it - Buy it! In a way, I'm glad I didn't discover Elliott Smith before he died, I would have been heartbroken. Waltz #1 is one of the most poinantly beautiful things these ears have ever heard and then it's followed by the rocker Amity - somehow it works. Elliot really was amazing!

Everytime I listen to XO I think I have picked a favorite track, then on the next listen it's a new favorite track and then on the next listen... and so it goes.

Don't just just sit there! Start clicking, buy it!

POSTSCRIPT SIX MONTHS LATER:

Along with Wilco's Yankee Hotel Foxtrot and the Shins' Chutes Too Narrow this is the most played CD in my collection. I still believe it is as close to perfection as a rock CD can ever be. It NEVER grows stale, one of a handful of truly great recordings from the pop genre.

ONE YEAR ON:

It's still a great CD, not getting a lot of rotation these days but I still love it. It is the only Elliott Smith CD I kept. The others were just too darn depressing.

Too often we save our kindest words for someone until after they're gone. Judging from the reviews of the posthumously-released "From a Basement on a Hill", this seems to be the case with Elliott Smith. Anyone claiming that "Basement" is Smith's finest work either hasn't heard XO, is letting grief cloud his judgement, or simply has no ear for music. In my opinion, about half the songs on "Basement" are little more than loose sketches of ideas for songs. A work-in-progress feeling permeates the album, and one can't help wondering how many of its songs would ever have seen the light of day if Smith were still with us.

Smith's first three solo outings were remarkably stripped-down, unembellished affairs (his first album was a collection of 4-track songs recorded in his bedroom, with Smith singing and playing guitar). Because of his initial lo-fi, DIY approach, many fans were disappointed when they heard he'd jumped to a major label and that his first release on Dreamworks would feature bigger production values.

They needn't have been worried. I can think of no CD in recent memory that better embodies Brian Wilson's attempt at crafting "miniature symphonies" than XO. String arrangements and piano abound (there's even the occasional horn), but XO doesn't sound big or bloated in the least. Smith's economy as a composer and arranger leaves each song with a hushed, intimate feel. And while his lyrics are actually quite dark, most of the songs themselves are so wispy and ethereal they feel as though they're about to evaporate.

That Rolling Stone magazine gave XO a three-star rating is utterly baffling to me. XO is simply pop perfection. There isn't a bad song on the album. There isn't even a so-so song. If you're a fan of The Beatles, The Beach Boys, and 60's-tinged folk pop and you don't own a copy of XO, there is a hole in music collection. Buy this album today. You won't regret it.

I've never written a review, but...

This is such an amazing album, my review will surely fail to render a complete picture of it's brilliance. Having crafted a moving soundtrack for Good Will Hunting (with mostly pieces of either/or), he shows amazing range with this, his next project. Frank lyrics, acoustic-based arrangements and moving harmonies are the background for this album that continues to reveal new, subtle beauty. Smith reworks the waltz twice into current, beautiful ballads. More upbeat songs like Question Mark and Bled White still manage to convey a longing, restless energy that moves though these songs. The guitar work is solid--from a George Harrison inspired weeping solo on Oh Well, Okay, to the furious acoustic tempo of Tomorrow, Tomorrow, the album retains a certain calmness, but never bores. It is an absolute masterpiece and an album that will never get old! Truly sublime!

The first time I'd heard Waltz #2 was during a drive. I heard it again the same day, and knew it would be a tremendous hit. Unfortunately, I missed the name of the artist and two painful weeks passed before the sparkle of the song flashed again on the radio. I pulled to the side of the road, determined to catch the name - Elliot Smith. I purchased XO with the feeling that it probably could not possibly contain another single song to compare with Waltz # 2, either in feel or flavor. Boy, were my ears ever so pleasantly surprised. Any avid Beatles/Badfinger fan, such as myself, will be charmed senseless by this man's melodic variance and vocal tone and range. His voice echoes the clarity and frailty of Paul McCartney's, while also carrying the growel and falsetto that John Lennon so cleverly fused. And he accomplishes this without the pretense of a copy-cat. You just know he's for real. Smith's got talent beyond anyone I've heard in many, many years. I play his CD for strangers, and they constantly rave, "Who is this guy?" My only complaint is the radio hasn't warmed to him nearly so much as he is deserving. "PLAY HIM MORE!" cry the Smith-starved ears in radioland.

When you're hearing an artist for the first time, it's important to start with the right album: I firmly believe it can make the difference between becoming a die-hard fan and walking away underwhelmed. In the case of Elliot Smith, the right starting album is almost certainly "XO." Whether it's truly his best work I don't claim to know, particularly since I haven't heard all his albums yet, but it is an excellent introduction: it's (almost) instantly likeable while retaining many complexities that draw you in deeper with repeat listens. Chances are, hearing this will get you interested in his other music, and even if you end up liking only one Elliot Smith record, I'm betting that this will be it.

Also, for those who assume that Elliot Smith was one of those pretentious, self-involved adolescent artists (a la Dashboard Confessional), you couldn't be more wrong. I know, because I used to think the same thing, and I was wrong. The fact is that, even if you don't like the "intimate," "vulnerable" lyric style that people associate with Elliot Smith, you might still find plenty of reasons to like him. For one thing, the lyrics on XO contain a lot of emotion, but they are abstract in all the right ways and never simply sound like a singer talking about himself. For another... well, I have one word for you: songwriting. These are clever, melodic, unpredictable, and frequently stunning songs that Paul McCartney would have been proud of--and I mean 60s Paul, not current washed-up Paul. To make a long story short, if you are genuinely interested in music, don't avoid this album because of the hype: you owe it to yourself to listen. You might be disappointed. But I doubt it.

I have never written a review online before but I have become so obsessed with this album that I feel complused to share it with everyone. This urge has recently grown to not only include my friends and aquaintences, but people I have never and will never meet. I want to run up to strangers on the street and tell them about it. Every song on the album is beautiful, and some if you are a sensitive type, will probobly make you cry. I'm not a sensitive type and some of these songs make me cry. It's that good. Honest, personal, simple and complex at the same time, beautifully composed, arranged, and sung. This is definitly my favorite album by Elliott Smith, though I really love figure 8 too. Basically you'll have to listen to it yourself, though like most good music, it takes a few times playing it before you'll really get into it.

I have read previous reviews of Elliott Smith's "XO" and I was absolutely befuddled at why people put that they thought it wasn't as good as his other albums (and I have EVERY single one of Elliott's albums). XO is a marvelous journey through the mind of one of the most influential indie artists of the 20-21st centuries and hopefully beyond. I will agree, XO is very over-produced, but TRUST ME if you had the major label funding of Dreamworks records behind you, you would probably take advantage of the ability to make your music sound even more impressive, even with Elliott's other albums being very sparse and acoustically-rough sounding (even though I absolutely LOVE, I repeat LOVE all of Elliott's older works and Figure 8 as well). With such a genius behind his songs, how can you not stop and think about what a talent this man is? If I could rate XO higher, I would give it the highest possible rating humanly possible. Starting off the CD with "Sweet Adeline", you hear Elliott's previous works showing through but by the time of the chorus hits, you are pounded in the chest with slamming drums your toe along to as the piano and acoustic guitar pull themselves along to the climatic ending. Moving deeper into the CD you can definately hear his Beatles influence with "Baby Britian". There isn't one song on this entire CD that I utterly can't stop singing or hear it pulsating through my head. This man is an absolute genius and I recomend this album to anyone and piano. The album then rolls into "Tomorrow, Tomorrow", an acoustic tune that almost brings tears to your eyes. "Waltz #2" boasts a 3/4 time that you can't help but feel yourself tapping along to. Moving down the CD you can hear the definate Beatles influence in "Baby Britian", a wonderful bouncy tune about the desparities of drinking in a smoggy bar. This man can take something so dark and desolate and make it sound different just by the sound of his voice. "Pitseleh" and "Independence Day" are probably my favorites on the album. "Pitseleh" is a very sad acoustic tune that almost brings me to crying every time I hear it; it is just so beautiful. "Independence Day" is a simple sounding acoustic tune with beautiful harmonies to boot. "Bled White" and "Waltz #1" are next in line, and these two stand out in my mind. "Bled White" sounds like something Elliott had never done on his solo albums, in my mind, with its up-tempo drums and happy sing-a-long style. "Waltz #1" is probably the most over-shadowed tune of the album, but I find it utterly breathtaking. "Amity" is one that most people overlook because of it's simplistic lyrical content (repeating "Amity" over & over) but the song is very moving for me in the fact that there is so much power coming from a very reserved and softly spoken man. "Oh Well, OK" is my absolute favorite of the album, just in its simple nature with hauntingly stark melodies and harmonies. "Bottle Up and Explode!" is another stand-out on the album, complete with orchestra and pounding, perfect sounding drums. "A Question Mark" is a whimsicaly despondant song with the stylings of a blues sound with Elliott's personal touch. "Everybody Cares, Everybody Understands" is another heartfelt tale that leads into the acapella "I Didn't Understand". The ending song is something Elliott had never done in the past, with a wall-of-Elliott harmony that moves you to the ground. Anyone with any sense of musical taste will love "XO" and hopefully understand what this man is trying to get across to everyone.