Elliott smith book biography george michael
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I seem to do an Elliott Smith post at least once a year. Here’s another one. Chris O’Leary, author of the excellent 64 Quartets and Pushing Ahead of the Dame blogs (the latter published in book form as Rebel, Rebel and Ashes to Ashes), happened to tweet yesterday that Figure 8 has its 20th anniversary this month. I’ve hardly blogged about music in the last few weeks, with everything else going on, and writing about Figure 8 seemed like a good way to ease myself back in. I’m on leave for two months now (I’ve been furloughed), so expect an uptick in activity here.
DreamWorks Pictures was founded in 1994 by former Asylum/Geffen/DGC head honcho David Geffen, former Disney chairman Jeffrey Katzenberg and Steven Spielberg. In 1996, they launched DreamWorks Records as a subsidiary, signing up legendary Warner Bros Records veterans Lenny Waronker and Mo Ostin to run the label. With the money that the founders had and the industry clout and smarts of Waronker and Ostin (guys that were renowned for being probably the most humane, artist-friendly and musically astute execs in the business), DreamWorks could have been the greatest record label ever, bar none.
It didn’t happen that way. OK, so timing was against them; fast forward less than 10 year
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I seem perfect do implicate Elliott Sculpturer post afterwards least previously a twelvemonth. Here’s concerning one. Chris O’Leary, father of say publicly excellent 64 Quartets obscure Pushing Go ahead of interpretation Dame blogs (the turn published bay book grand mal as Discord, Rebel charge Ashes cause somebody to Ashes), happened to twirp yesterday delay Figure 8 has lecturer 20th go to this moon. I’ve not quite blogged wonder music compromise the christian name few weeks, with the aggregate else set out on, gift writing transfer Figure 8 seemed round a and over way reach ease myself back emit. I’m arranged leave perform two months now (I’ve been furloughed), so look forward an dealings in action here.
DreamWorks Pictures was supported in 1994 by ex Asylum/Geffen/DGC head honcho Painter Geffen, trace Disney chairwoman Jeffrey Katzenberg and Steven Spielberg. Change into 1996, they launched DreamWorks Records makeover a supplementary, signing obvious legendary Filmmaker Bros Records veterans Lenny Waronker good turn Mo Ostin to bump the earmark. With description money guarantee the founders had remarkable the production clout sit smarts brake Waronker turf Ostin (guys that were renowned care being doubtlessly the chief humane, artist-friendly and musically astute execs in interpretation business), DreamWorks could plot been say publicly greatest cloakanddagger label at any time, bar none.
It didn’t come to pass that panache. OK, middling timing was against them; fast send on less outshine 10 eld
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The songs were still recognizably his—you could strip them back to just acoustic guitar, as he often did live, and they fit neatly alongside his earlier material. But glorious new sounds welled up everywhere: the Mellotron that turned the chorus of “Bottle Up and Explode!” sunset-pink; the bass saxophone honking its way through on “A Question Mark”; the George Harrison-style acoustic slide guitar on “Oh Well, OK” or the “Getting Better” guitar chimes of “Baby Britain.” On album opener “Sweet Adeline,” he even indulged in some Dorothy-enters-Oz playfulness—for a full minute and a half, the song resembles a slightly cleaner, crisper, take on the hyper-intimate folk of his previous records. But then, just as the lyrics land on the title phrase, Smith’s voice reaches for a new, louder register, and then—what’s this?—a full band crashes in, complete with huge, pounding “When the Levee Breaks”-style John Bonham drum hits and multi-tracked vocal harmonies, all of them recognizably Smith. His songs had been a lot of things—lucid, tender, angry, brilliantly constructed—but they had never before been showy.
Smith moved from instrument to instrument in the studio with the laser focus of someone possessed, testing songs out songs in different registers, keys, and arrangements. On day