From A Basement On The Hill (studio album) by Elliott Smith
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Elliott Smith bestography
The best album by Elliott Smith is Either/Or which is ranked number 139 in the list of all-time albums with a total rank score of 13,131.
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This album is rated in the top 2% of all albums on BestEverAlbums.com. This album has a Bayesian average rating of 80.3/100, a mean average of 79.7/100, and a trimmed mean (excluding outliers) of 80.6/100. The standard deviation for this album is 13.3.
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Se trata de un album muy equilibrado entre baladas y electricidad. Magnífico cierre para la carrera de un genio.
My 3rd favorite album of all time. The first time I heard it, I was familiar with only Figure 8 and no other Elliott Smith albums. I loved figure 8 but on first listen I thought this sounded like a crappy mess. Now I don't know how I could have ever felt that way, because it speaks to me on such a deep level. I think this is an album you really have to listen to in order to understand. For me at least, it just kind of went over my head at first. Once I came to appreciate it, and really to appreciate Elliott Smith in general as one of the greatest musicians ever, it brought me to tears with its perfection.
This might come off as even denser than Figure 8, even more scattered than XO, and more inconsistent than Either/Or. And you know, maybe it is all of those things at once. Nevertheless, listening to this posthumous mammoth of an album is one of the most intense and complete Elliott Smith experiences even without the story of his death in mind. I can't quite explain why, but this is one of his best.
Favorites: “Twilight”, “King’s Crossing”, “A Fond Farewell”, “Pretty (Ugly Before)”, “Coast to Coast”, “Memory Lane”, “Let's Get Lost”, “A Passing Feeling”, “Shooting Star”, “Last Hour”, “A Distorted Reality is Now a Matter of Necessity”
Può suonare strano che un album postumo sia il preferito tra quelli di un dato musicista ma per me, parlando di Elliott Smith, è proprio così. Non sapremo mai se "From a basement on the hill" sarebbe stato il primo disco di una nuova e più creativa fase della carriera di Elliott Smith se egli stesso non avesse deciso di interrompere la sua vita, ma sicuramente questo album postumo contiene delle canzoni con melodie più accattivanti rispetto a quelle dei dischi precedenti, i quali non sono mai riuscito a farmi piacere neanche lontanamente quanto questo.
I love this record, but it is a bit of a mess. The highs are great but the lows feel unfinished. If Smith had been able to oversee the completion of this record, it could have been one of his very best albums. As is, it's still quite good.
from a basement on the hill is possibly my all time favorite record. normally i don't play the favorites game with records (same kind of weird as 'best friend') but ever since i first fell in love with this album when I was 14 (i'm 27 now) and hundreds of listens later, it still holds up. I think there's something to say about the posthumous release as well. trying to imagine what he was feeling recording what would become his final tracks, sometimes it feels like he knew they would be. also seeing this come out after my two least favorite of his albums (x/o and figure 8 which both make me think of a line from sidewalk boss - "i'll be pumping out the product just a total waste). king's crossing hits on that feeling as well, and always makes me think of the rumor that he threatened to kill himself if his record company didn't release him after figure 8. This record feels like he was finally getting to make music he really enjoyed, without worrying about marketing himself or selling his feelings. Posthumous releases are so interesting partially because the artist never has to see it exist under the scrutiny of the public eye. i dunno. listen to it. Favorite tracks are passing feeling, fond farewell, coast to coast, twilight, king's crossing, last hour, shooting star, and little one. great b-side is stickman.
Nice collection of unknown things by an almost "unknown" songwriter. This guy totally deserved more recognition, even after his death.
A posthumous release from Elliot Smith. Whether or not this was the intended album by Smith, it stills holds up well together, and although it's not his best record, it still shows that Smith has plenty of good material left in him, the best being, pretty(ugly before), one of Smith's greatest ever songs. A good swansong from an artist who still had a lot more to give.
I was late coming to the Elliott Smith party, and this posthumously released record was the first of his that I heard. It's still my favorite. There is a gritty, uncompromising urgency to these pop songs that elevates this album above its admittedly gloomy tone and subject matter. "Fond Farewell" probably best exemplifies this aesthetic, and it's all the more cruel to listen to it now, knowing the unrelieveable pain that Smith himself must have been in when he wrote and recorded it.
Released a year after his suicide, I remember a profound sadness on my first listen of this album. I like Elliott Smith’s previous work, all the way back to his days with the band Heatmiser, and I could see in this heavier, raw set a real breakthrough in his music. There is still debate as to what this record would have been if Smith hadn’t committed suicide before it was completed, and I tend to think that some of the lighter moments might have become a tad darker.
That being said, this is a window into Smith’s tortured mind. Several tracks take on more weight realizing that these would be his last, sometimes to haunting effect. When he sings in “King’s Crossing”, “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” you have to think that he meant it.
For me, “Coast to Coast”, “King’s Crossing”, “A Passing Feeling”, “Shooting Star”, and especially the moving “A Distorted Reality Is Now A Necessity To Be Free” are raw, heavy, and wonderful. As one of my favorite albums, they still show that Elliott Smith had even better in him.
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