But there are flashes of the old brilliance, including a precisely rendered “Between the Bars,” and even “Miss Misery,” a song Smith rarely returned to after its Oscar nomination. The pure self-loathing on the opening “King’s Crossing” is almost tangible. Still playing a wealth of new material destined for inclusion on From a Basement on the Hill, the laser focus of previous years is gone, in its place a ragged desperation. “Elliott was not a creation of his songs.” He’s right, of course, but it would take a healthy dose of denial to not hear a man nearing the end of his rope on this tape of an early 2003 gig. “The songs came from Elliott,” his friend Sean Croghan wrote in the liners for rarities collection New Moon.
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He could switch gears effortlessly, though: check out the solo mini-set here, including a hauntingly gorgeous “Easy Way Out.” This is Smith at his most confident, his most dynamic, his most accessible. ( Tracklist and legal download here) The Wiltern // L.A. Any fans expecting a mellow night must’ve been surprised by the explosive readings of “Son of Sam” and “Baby Britain,” among others, showcasing Smith’s scratchy, urgent electric guitar. This tape of the band in France is a high-energy thrill ride, with Smith leading his cohorts through hopped-up versions of XO’s highlights and rearranged older favorites, as well as a few previews of Figure 8. To support the more lushly produced XO, the songwriter toured with a lean trio made up of Quasi’s Sam Coomes on bass and backing vocals and Paul Pulvirenti on drums. Smith came to prominence as an acoustic troubadour, but he had his sights set on a bigger sound. ( Tracklist and legal download here) Le Pavillon Lion // Bourges, France // April 17, 1999 Less than a year later, he’d be performing at the Oscars, thanks to the inclusion of “Miss Misery” on the Good Will Hunting soundtrack. As uncomfortable as Smith sounds when not singing his songs, this was just the start of his time in the spotlight. His whisper-thin vocals cut to the quick with every phrase, while his elegant-yet-urgent guitar playing is note-perfect-check out the bone-chilling rendition of “Needle in the Hay” or the deceptively breezy “Say Yes” for proof. Awkward interview segments aside, the music here is captivating, a crystal clear example of Smith’s growing power as a live performer. But he did have Morning Becomes Eclectic’s inquisitive host Chris Douridas’ questions to deflect, whether about his influences (“I was really into Kiss and the Beatles”) or his upbringing (“let’s not get into that”).
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Promoting Either/Or in the cozy confines of KCRW's studio a few years later, Smith didn't have inattentive bar patrons to deal with.
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