XO

Folk-punk singer/songwriter Elliott Smith rose from indie obscurity to mainstream success in 1997 on the strength of "Miss Misery," his Academy Award-nominated song from the film Good Will Hunting. A native of Portland, OR, Smith began writing and recording his first songs at age 14, later becoming a fixture of the city's thriving music scene; as a member of the band Heatmiser, he debuted in 1993 with the LP Dead Air, issuing his first solo effort Roman Candle on the tiny Cavity Search label a year later. For his 1995 self-titled album, Smith signed with the noted Kill Rock Stars label; Either/Or followed in 1997, around the same time that filmmaker and longtime fan Gus Van Sant requested permission to use the singer's music in his upcoming Good Will Hunting. Smith also composed a handful of new songs for the soundtrack, among them "Miss Misery," and when the Academy of Motion Picture Arts and Sciences announced its Oscar nominations the following February, the track was a surprise entry in the Best Original Song category. Although he did not win, Smith performed the song live at the televised Oscar broadcast, appearing on-stage alongside superstars Trisha Yearwood and eventual award-winner Celine Dion in one of the most notably surreal musical moments in recent memory. Smith's DreamWorks label debut, XO, followed later in 1998. Two years later he delivered Figure 8, which indulged in lush arrangements and orchestrations more so than any of his previous solo efforts. For the next two years, Smith labored over what was to be his next album, From a Basement on a Hill. He would not live to see its completion, however -- to the shock of friends and fans alike, Smith took his own life on October 21, 2003. The record was released two days shy of the first anniversary of his death.

A year before his major-label debut, XO, was released, it seemed unlikely that Elliott Smith would even be on a major, let alone having his record be one of the more anticipated releases of 1998. He had certainly earned a great deal of critical respect with his low-key, acoustic indie records and was emerging as a respected songwriter, but he hadn't made much of an impression outside of journalists, record collectors, and indie rockers. An Oscar nomination can change things, however. "Miss Misery," one of Smith's elegantly elegiac songs for Gus Van Sant's Good Will Hunting, unexpectedly earned an Academy Award nomination, and he was immediately thrust into the spotlight. He was reluctant to embrace instant celebrity, yet he didn't refuse a contract with DreamWorks, and he didn't shy away from turning XO into a glorious fruition of his talents. Smith's songs remain intensely introspective, yet the lush, Beatlesque production provides a terrifically charming counterpoint. His sweetly dark melodies are vividly brought to life with the detailed arrangements, and they sell Smith's tormented songs -- it's easy to get caught up in the tunes and the sound of the record, then realize later what the songs are actually about. That's a sign of a good craftsman, and XO proves that not only can Elliott Smith craft a song, but he knows how to make an alluring pop record as well.