elliott smith either or itunes.apple.com

I discovered, among other things, that I liked the early stuff more than I thought - and actually I prefer a lot of the New Moon songs to the stuff that ended up on the first two albums.

I appreciated Elliott's early music so much better when I heard it all in context, and when Heaven Adores You came out I finally sorted out ALL my Elliott Smith music in iTunes and compiled a massive playlist (178 songs, no bootlegs, plus Elliott's Heatmiser tracks) of everything I had, in chronological order. The whole Either/Or era is so epic - over 30 tracks spread out on several releases - it should really all be examined together. I know you already finished the first album, but it's not too late to double back and address all the New Moon songs from the 1993-1996 period. You were wondering aloud earlier about where or how to fit in some of the non-album tracks, so I would suggest you mix in the songs chronologically with the albums/eras they were recorded in. But I'll be following along, and you're doing a great job of providing a little synopsis of each track. That said, several of the early songs ('Half Right,' 'See You Later,' 'Needle In The Hay,' 'The Biggest Lie' and a few others) are among my favorite songs by anyone, anywhere, any time. I have all of Elliot's albums, singles and compilations, but I confess that I tend to gravitate more towards the 'studio' period, with XO and Figure 8 being my favorites. Just stumbled upon this thread today, and I want to thank for leading this massive undertaking. Elliott near-screaming 'You're killing a southern belle' is one of my all time favorite moments in his catalog. Like a few songs on S/T, this one really ramps up towards the end. I'm a sucker for fast songs and especially Elliott's fingerpicking, so maybe I'm bias.

I think this track is one of his coolest and interesting musically, extremely underrated in my opinion. There are a few funny live videos of him messing up just one or two notes and him stopping and looking so disappointed in himself. Elliott sometimes aborted songs midway because he made a mistake, and this one was probably the number 1 suspect for that. What's most impressive is that he's able to do all that and still sing the song perfectly on the live versions. This is definitely one of Elliott's hardest songs to play and it just blows my mind to think that he sat down and wrote all those chord changes and that lightning fast picking.

If I had three wishes, one of them would be to play guitar in this style and this well.

Elliott smith either or itunes.apple.com