I have been listening to Elliott Smith a lot recently. This re-discovery was spurred by an excellent article on Pitchfork in October, commemorating the 10th anniversary of his tragic death.
I first discovered Elliott Smith in 2002, during my first year of university. I vividly remember the first time I heard “Needle In The Hay” as the soundtrack to Luke Wilson’s character’s suicide attempt in The Royal Tenenbaums. I still adore that film and that particular scene is probably my favourite music-sync moment in a film ever.
Elliott is undoubtedly one of the finest songwriters of my generation. I love that even after thousands of listens over 10+ years I’m still hearing new things in his music and lyrics. I love that his albums chart a progression – as he matured, Elliott started taking more risks sonically and lyrically. I love that as much as I obsess over choosing favourites and making lists, I can’t decide which album is his best or my favourite. Lately, I’ve been primarily listening to the B-sides collection New Moon and his last proper album, From A Basement On The Hill, both released posthumously. There’s a particular song from the latter that is killing me this week: “King’s Crossing.” Perhaps it’s partially because I live near Kings Cross station in London (though I doubt there is a connection between the two) but more likely it’s the realisation that this might be Elliott Smith’s greatest lyrical work.
“King’s Crossing” encapsulates so many different ideas and themes in under five minutes – fame, addiction, the creative process, death – and uses incredible, often harrowing imagery. In particular, I love the second half of the second verse: “the method acting that pays my bills keeps a fat man feeding in Beverly Hills / i got a heavy metal mouth that hurls obscenity and i get my check from the trash treasury because i took my own insides out.” If that doesn’t describe Elliott’s disillusionment with the entertainment industry, I don’t know what would.
“King’s Crossing” by Elliott Smith
the king’s crossing is the main attraction
dominoes are falling in a chain reaction
the scraping subject ruled by fear told me
whiskey works better than beer
the judge is on vinyl, decisions are final
and nobody gets a reprieve
and every wave is tidal – if you hang around
you’re going to get wet
i can’t prepare for death any more than i already have
all you can do now is watch the shells
the game looks easy that’s why it sells
frustrated fireworks inside your head
are going to stand and deliver talk instead
the method acting that pays my bills
keeps a fat man feeding in beverly hills
i got a heavy metal mouth that hurls obscenity
and i get my check from the trash treasury
because i took my own insides out
it don’t matter ‘cause i have no sex life
all i want to do now is inject my ex-wife
i’ve seen the movie and i know what happens
it’s christmas time
and the needles on the tree
a skinny santa is bringing something to me
his voice is overwhelming, but his speech is slurred
and i only understand every other word
open your parachute and grab your gun
falling down like an omen, a setting sun
read the part and return at five
it’s a hell of a role if you can keep it alive
but i don’t care if i fuck up
i’m going on a date with a rich white lady
ain’t life great?
give me one good reason not to do it
(because i love you)
so do it
this is the place where time reverses
dead men talk to all the pretty nurses
instruments shine on a silver tray
don’t let me get carried away
don’t let me get carried away
don’t let me be carried away
I’ve made a Spotify playlist of my 26 favourite Elliott Smith songs. I suggest listening on shuffle to get a full understanding of his range as a songwriter and the emotional dynamism of his music.