Elvis Presley
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http://www.elliottsmithbsides.com/index2.html
Great site, Basstrap probably is in the loop here already.....
Great site, Basstrap probably is in the loop here already.....
Elliot Smith B-sides
- Thread starter Elvis Presley
- Start date
The friendliest place on the web for anyone that follows U2.
If you have answers, please help by responding to the unanswered posts.
If you have answers, please help by responding to the unanswered posts.
Basstrap
ONE love, blood, life
- Joined
- Jul 6, 2000
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ah...no....I haven't seen this....wow
thanks!
The only single or EP I've ever managed to find in a music store is Division Day
thanks!
The only single or EP I've ever managed to find in a music store is Division Day
Basstrap
ONE love, blood, life
- Joined
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- 10,726
I cannot wait for this!!
ny times - Eight months later, Smith's valedictory work is taking its final shape in the same studio where he recorded much of the material on his most popular albums, 1998's "XO" and its 2000 follow-up, "Figure 8."
"Songs From a Basement on the Hill" is the album Smith had nearly completed when he died, and the work is being awaited by his cult of fans like a lost sacred text.
They probably won't be disappointed, judging by the sound of the propulsive folk reverie coming through the speakers. Smith's acoustic guitar picking eases down a scale, cradling his unmistakable, high-pitched voice as it sings a rueful couplet: "Burning every bridge that I cross / To find some beautiful place to get lost."
This is prime Smith, with the kind of meticulous, evocative lyric, bittersweet melody and intimate delivery that made him one of the most acclaimed singer-songwriters of his generation.
"Let's Get Lost" and the album's other songs have just undergone their final mixing, one more step in a painstaking construction process that was part detective work and part instinct.
"We're trying to respect whatever we can find out about what his wishes were, trying to make the record that he was making," says Rob Schnapf, who is overseeing the project with Joanna Bolme.
Both have long histories with Smith: Schnapf co-produced "XO" and "Figure 8," and Bolme was Smith's girlfriend in Portland, Ore., in the mid-'90s. She received her musical grounding from him and now plays bass in the band led by former Pavement singer Stephen Malkmus.
Both had been in sporadic contact with Smith in recent years and were called in by the singer's family to steer "Songs" to completion.
"Each record is different, and here we go again, this is another one," Schnapf says, summarizing the music he's been immersed in for weeks. "He's got his melodic sensibility ... but he's not doing the same thing again. He's just pushing the boundaries, sending out the probe."
Schnapf and Bolme are previewing a taste of the album on a recent morning, playing six songs that range from the spare, pensive "Let's Get Lost" to a clattering rock track called "Distorted Reality." Another song ends with two competing spoken recitations, one from each speaker, and in another the wobbling sound of a tape reel is audible beneath Smith's soft vocal.
"I think there's a bit of chaos, but it's a controlled chaos," Bolme says, aiming a remote control at the CD player to select another track.
"There's definitely a sonic thing," Schnapf adds. "He always played with form, and that continues.... I was always a fan of the littler, direct, intimate thing, and I'm just happy to see that he managed to do both again -- have this crazy big aural thing, and then be able to do a song just him and a guitar. The combination of the two makes both stronger."
Smith's nine-year solo career took him from the shadows of the indie-rock underground to, incongruously, the stage at the 1998 Academy Awards, where his song "Miss Misery," from "Good Will Hunting," was nominated for a best original song Oscar.
Despite that bubble of visibility and his ongoing critical reputation, Smith never made a big commercial breakthrough. His most popular album, with sales of 224,000, was "XO," his first for the major label DreamWorks.
Plans for this new record are falling into place. Though the singer was still under contract to DreamWorks, "Songs From a Basement on the Hill" was planned as a separate, independent project, and Smith's family is finalizing arrangements with an undisclosed label, hoping for a fall release.
Smith recorded the album in a Van Nuys studio he had furnished with vintage sound equipment, playing most of the parts himself. Though he left scores of songs behind, Schnapf and Bolme were able to assemble the album based on a list Smith had made indicating his vision for the record.
Says Schnapf, "This is the last living body of work. If anything happens after that, then it's just collected, it's not a concept that he had."
The pair were guided by Smith's written notes, rough mixes and alternate recordings, and by their own conversations with people who had been in the studio with him.
One day, Schnapf recalls, a casual reference by Smith's sister to "the Fourth of July grand finale" instantly explained the musician's intention for a previously puzzling fusillade of drums. And they also had their own histories with Smith to fall back on.
"There were little bits in the songs that would come up, and me and Rob would look at each other like, 'Ah, that's an Elliott thing,' " Bolme says. "Like his little goofy drum fill, or a guitar lick or something. We've had enough experience to know that would be the thing that Elliott would walk over and turn up."
ny times - Eight months later, Smith's valedictory work is taking its final shape in the same studio where he recorded much of the material on his most popular albums, 1998's "XO" and its 2000 follow-up, "Figure 8."
"Songs From a Basement on the Hill" is the album Smith had nearly completed when he died, and the work is being awaited by his cult of fans like a lost sacred text.
They probably won't be disappointed, judging by the sound of the propulsive folk reverie coming through the speakers. Smith's acoustic guitar picking eases down a scale, cradling his unmistakable, high-pitched voice as it sings a rueful couplet: "Burning every bridge that I cross / To find some beautiful place to get lost."
This is prime Smith, with the kind of meticulous, evocative lyric, bittersweet melody and intimate delivery that made him one of the most acclaimed singer-songwriters of his generation.
"Let's Get Lost" and the album's other songs have just undergone their final mixing, one more step in a painstaking construction process that was part detective work and part instinct.
"We're trying to respect whatever we can find out about what his wishes were, trying to make the record that he was making," says Rob Schnapf, who is overseeing the project with Joanna Bolme.
Both have long histories with Smith: Schnapf co-produced "XO" and "Figure 8," and Bolme was Smith's girlfriend in Portland, Ore., in the mid-'90s. She received her musical grounding from him and now plays bass in the band led by former Pavement singer Stephen Malkmus.
Both had been in sporadic contact with Smith in recent years and were called in by the singer's family to steer "Songs" to completion.
"Each record is different, and here we go again, this is another one," Schnapf says, summarizing the music he's been immersed in for weeks. "He's got his melodic sensibility ... but he's not doing the same thing again. He's just pushing the boundaries, sending out the probe."
Schnapf and Bolme are previewing a taste of the album on a recent morning, playing six songs that range from the spare, pensive "Let's Get Lost" to a clattering rock track called "Distorted Reality." Another song ends with two competing spoken recitations, one from each speaker, and in another the wobbling sound of a tape reel is audible beneath Smith's soft vocal.
"I think there's a bit of chaos, but it's a controlled chaos," Bolme says, aiming a remote control at the CD player to select another track.
"There's definitely a sonic thing," Schnapf adds. "He always played with form, and that continues.... I was always a fan of the littler, direct, intimate thing, and I'm just happy to see that he managed to do both again -- have this crazy big aural thing, and then be able to do a song just him and a guitar. The combination of the two makes both stronger."
Smith's nine-year solo career took him from the shadows of the indie-rock underground to, incongruously, the stage at the 1998 Academy Awards, where his song "Miss Misery," from "Good Will Hunting," was nominated for a best original song Oscar.
Despite that bubble of visibility and his ongoing critical reputation, Smith never made a big commercial breakthrough. His most popular album, with sales of 224,000, was "XO," his first for the major label DreamWorks.
Plans for this new record are falling into place. Though the singer was still under contract to DreamWorks, "Songs From a Basement on the Hill" was planned as a separate, independent project, and Smith's family is finalizing arrangements with an undisclosed label, hoping for a fall release.
Smith recorded the album in a Van Nuys studio he had furnished with vintage sound equipment, playing most of the parts himself. Though he left scores of songs behind, Schnapf and Bolme were able to assemble the album based on a list Smith had made indicating his vision for the record.
Says Schnapf, "This is the last living body of work. If anything happens after that, then it's just collected, it's not a concept that he had."
The pair were guided by Smith's written notes, rough mixes and alternate recordings, and by their own conversations with people who had been in the studio with him.
One day, Schnapf recalls, a casual reference by Smith's sister to "the Fourth of July grand finale" instantly explained the musician's intention for a previously puzzling fusillade of drums. And they also had their own histories with Smith to fall back on.
"There were little bits in the songs that would come up, and me and Rob would look at each other like, 'Ah, that's an Elliott thing,' " Bolme says. "Like his little goofy drum fill, or a guitar lick or something. We've had enough experience to know that would be the thing that Elliott would walk over and turn up."
Calluna
Rock n' Roll Doggie
Thanks, Elvis. The only b-side I own is the one that looks like a polaroid picture of him and just says Elliott Smith at the bottom. It came free with my copy of Figure Eight.
And I am definitely looking forward to the new album. I'm glad they are taking great pains to make it like Elliott would have wanted.
And I am definitely looking forward to the new album. I'm glad they are taking great pains to make it like Elliott would have wanted.
Wow. 
OP
OP
Elvis Presley
Rock n' Roll Doggie VIP PASS
pitchfork say.......
Elliott Smith's Final Album Due in October
Aaron Mandel reports:
Rock history is studded with deaths rooted in excess and hubris, Icarus tales that make the lives of departed stars seem like mixed blessings. Elliott Smith's apparent suicide last October was not one of this nature, though even his was fraught with its own issues. As tragic as any early death is, it was doubly so for Smith, a man held together by his music, unable to complete the album he'd spent four years writing.
The album was said to have been nearly finished at the time of Smith's passing last October. Now, having been sequenced and mixed by his longtime friends and cohorts Rob Schnapf and Joanna Bolme, Elliott's final album, From a Basement on the Hill, will be released October 19th on Anti- Records. Tracklist:
01 Coast to Coast
02 Let's Get Lost
03 Pretty (Ugly Before)
04 Don't Go Down
05 Strung Out Again
06 Fond Farewell
07 King's Crossing
08 Ostriches & Chirping
09 Twilight
10 A Passing Feeling
11 Last Hour
12 Shooting Star
13 Memory Lane
14 Little One
15 A Distorted Reality Is Now a Necessity to Be Free
Along with an alternate version of "A Distorted Reality Is Now a Necessity to Be Free", "Pretty (Ugly Before)" appeared late last year on a Suicide Squeeze seven-inch. The album version of "Distorted Reality" will appear August 10th on the Barsuk compilation Future Soundtrack for America, whose proceeds will benefit Moveon.org. The other tracks date from various periods in the album's long genesis, including two that had never been performed live ("Ostriches & Chirping" and "Twilight").
In spring of 2003, Smith told Under the Radar that much of the album, as it then stood, was recorded in first or second takes, sometimes while working without sleep for days on end. The finished version reportedly still bears the marks of this ragged creative process, as well as a combination of the sonic complexity of Smith's later solo albums and the lo-fi simplicity of his earlier ones. MTV reports that the record's opening features "mumbling spoken-word passages and ghostly noise," putting us solidly outside XO territory from the very start.
Nineteen songs from the Basement sessions will remain unreleased, with no current plans regarding their future. Smith's existing DreamWorks contract allowed for him to work concurrently with smaller labels on individual projects, so it's unclear whether, after the release of the album, the unused tracks will remain the property of DreamWorks, stay with Anti-, or just be gradually leaked via file-trading network Soulseek over the course of several years while fans clamor for a proper release. Ahh, who are we kidding? We're betting on Soulseek.
Elliott Smith's Final Album Due in October
Aaron Mandel reports:
Rock history is studded with deaths rooted in excess and hubris, Icarus tales that make the lives of departed stars seem like mixed blessings. Elliott Smith's apparent suicide last October was not one of this nature, though even his was fraught with its own issues. As tragic as any early death is, it was doubly so for Smith, a man held together by his music, unable to complete the album he'd spent four years writing.
The album was said to have been nearly finished at the time of Smith's passing last October. Now, having been sequenced and mixed by his longtime friends and cohorts Rob Schnapf and Joanna Bolme, Elliott's final album, From a Basement on the Hill, will be released October 19th on Anti- Records. Tracklist:
01 Coast to Coast
02 Let's Get Lost
03 Pretty (Ugly Before)
04 Don't Go Down
05 Strung Out Again
06 Fond Farewell
07 King's Crossing
08 Ostriches & Chirping
09 Twilight
10 A Passing Feeling
11 Last Hour
12 Shooting Star
13 Memory Lane
14 Little One
15 A Distorted Reality Is Now a Necessity to Be Free
Along with an alternate version of "A Distorted Reality Is Now a Necessity to Be Free", "Pretty (Ugly Before)" appeared late last year on a Suicide Squeeze seven-inch. The album version of "Distorted Reality" will appear August 10th on the Barsuk compilation Future Soundtrack for America, whose proceeds will benefit Moveon.org. The other tracks date from various periods in the album's long genesis, including two that had never been performed live ("Ostriches & Chirping" and "Twilight").
In spring of 2003, Smith told Under the Radar that much of the album, as it then stood, was recorded in first or second takes, sometimes while working without sleep for days on end. The finished version reportedly still bears the marks of this ragged creative process, as well as a combination of the sonic complexity of Smith's later solo albums and the lo-fi simplicity of his earlier ones. MTV reports that the record's opening features "mumbling spoken-word passages and ghostly noise," putting us solidly outside XO territory from the very start.
Nineteen songs from the Basement sessions will remain unreleased, with no current plans regarding their future. Smith's existing DreamWorks contract allowed for him to work concurrently with smaller labels on individual projects, so it's unclear whether, after the release of the album, the unused tracks will remain the property of DreamWorks, stay with Anti-, or just be gradually leaked via file-trading network Soulseek over the course of several years while fans clamor for a proper release. Ahh, who are we kidding? We're betting on Soulseek.
Basstrap
ONE love, blood, life
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- Jul 6, 2000
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- 10,726
that is so close!!
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