| The Rolling Stones – Lady Jane Lyrics | 1 year ago |
| @[UKHIST:42973] makes sense, and that he changed Mary to Marie, as "Mary" would be an awkward fit, as the first syllable is emphasized rather than the second. | |
| The Rolling Stones – Lady Jane Lyrics | 1 year ago |
| What leads me to think the guesses about historical 'figures in the monarchy are correct, is his usage of medieval words, like servant, pledge, troth. Also the guitar and melody has a decidedly medieval vibe. | |
| Elliott Smith – Division Day Lyrics | 8 years ago |
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I agree with randommusicdude. This is one of Elliott's saddest songs lyrically, but one of his happiest melodically. Division Day from my understanding is division of body and soul, the day you die. I believe the song is mostly about sexual abuse from his stepfather. Every time he would it would push him closer to division day, to suicide. "Spent a long time living with that Never could give it a name And when you don 't know what you' re Looking at it makes it much harder to take" There are accounts from friends of Elliott's that said he spoke of repressed memories, that he blocked out, but were of abuse, and they confused him and left him emotionally distraught. The second and fourth verses I believe are direct references to the abuse. The perpetual debt, that refers to the pain that will always be there from what he did to him. The pain that would lead to his death, that he clearly prophesized his suicide from a young age. The longer you live with that fantasy, the more engrained it becomes in your beliefs, and it builds up and becomes reality. This song I feel expresses how Elliott felt he was fated for suicide from early on. |
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| Elliott Smith – Clementine Lyrics | 8 years ago |
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It's so good. I love the tuning, it's something like CGCEAD. That low end sound is so warm and vibrant, it's like liquid gold being poured in your ears. But not hot. Relating loosely to the classic folk song Clementine, this is a folk song with a subtly sinister vibe. The lyrics are extremely folky as well as the melody, with an added dark and evil sound from the slack tuning. It's telling a simple story of a man drowning his sorrows in alcohol and ruminating on lost love. I believe the lyrics are meant to be taken literally, and some are there simply to lend to imagery and atmosphere. That's how I see it anyhow. The imagery in my head is so vivid for this song. Pictures of a corner street windowed pubs, dark orange copper filament street lights cast over the shiny black road, wet under a light drizzle. Lots of deep orange colours for some reason. The second line seems to be a favourite of many. Everybody knows the sound of tires streaking and slicking over a wet street. Elliott was great at connecting to his listeners with lyrics pulled deep from his subconscious. Not many people consciously have analyzed this sound, but when you hear the lyric it's like, "hey, yeah Elliott I know that sound, I like it too". The things everyone knows, but are never spoken of, for their utter simplicity - These things remind us we're all human, and it's like sharing a thought with another mind, which feels like blurring the lines between time and consciousness. It almost feels like sharing a moment, if you're extremely present while listening. It's strange and I can't explain it any better than that. He can connect to people through simple, blunt, literal lyrics, or deep metaphors that simply point to a notion or idea. He covered the spectrum, it's brilliant. Good job with Clementine though Elliott. He was freakishly talented, in all regards. With instruments, lyrical expression, trademark chord structuring , unique recording techniques, perfectly imperfect vocals; a fragile wounded tenor. All of that is showcased in Clementine, and practically all his songs actually. Words will never suffice... He's really, very, super good though. |
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| Elliott Smith – Tomorrow Tomorrow Lyrics | 8 years ago |
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This song is one of those songs you cant fully appreciate without a good set of headphones. The guitar during the interlude is too good. Nice dark sound to it. Personally I this song is about creative ruts. This is all just speculation, if course.... 'Straight to over' I think could refer to thoughts and ideas that enter your head when trying to write a song in the wrong mindset. An idea comes, and it's over-thought, you're inner critic shoots it down and its gone. Rather then flowing out without thinking it to death, when you're nice and present. The hammer at the lock is the sound of the overly conscious Elliott desperately trying to break into the subconscious where he can access his genius. But sometimes it feels complety locked behind a door. Give yourself a talk..... Someone- take a minute to stop and settle your mind, cos the harder you try to be creative the harder it gets. And make it sound like someone, a common songwriting method of drawing inspiration from another musician and try emulate their sound. It's almost like the narrator is creative mindset Elliott giving instruction to himself in the future next time he's in a rut, which most all artists go through, like a cycle. Noise is coming out. So now he's starting to get into it, and at last he's playing something rather then staring at blank pages for hours. If it's not out now, then tomorrow... Creativity is all about timing. Striking while the iron is hot. If he's not making any good riffs or lyrics, then it's just not gonna happen tonight. You can't force creativity. So call it a night, avid tomorrow or whenever, try again, just not tonight. Next couple lines seem to stray from topic, but a point is made that, seems to actually be Elliott giving himself a bit if credit. He's not failures art, he knows how to write music, they were wrong. Elliott was so self defeating, but he knew he was proud of his songwriting skill. Very humble yeah.. But I know part of him was defensive and protective of his music. Because he's human, and if there is one thing Elliott was good at, it was.. Music.... Clearly. Static in the head is all the thoughts and turmoil and noise of his thoughts that make any creative efforts totally frivolous. Tried to go to where it let.... Anything... -He tried following his weak attempts at forcing out average lines and progressions, but they' aren't satisfying or special and he knows it, so they all fall apart and quick quickly scrapped. Then again, it's not out by now, so call it a night, come back to it in the future when you're back in the zone. And it's interesting because when he was writing this song im sure he was in that perfect mind frame, so perhaps that's why he switches between referring to himself as 1st and 3rd person. At least I feel like when he says "you" it seems he simply means himself. Sometimes lyrics just sound better in different perspectives. If he was in that creative zone, you don't worry about things like that. Just put what sounds good. I think he mostly means "I" when he says "him" or "you" in most of his songs. This I've definitely sounds totally personal in my opinion, had nothing to do with anyone else but him. Admittedly I probably formed this theory to make the song about me lol, because in this context all of what I wrote I relate to as a songwriter. But the theory sure seems to fit the lyrics well. Regardless of what the song is about, this one is just a pleasure to perceive as a sound. It's so cool, and this one was mixed and mastered with wonderful sonic quality. Nice clean recording, which he did just as well as his lower fidelity style recording. I always felt it would have been a better choice as track #1 on XO. Sweet Adeline is a good choice too, but I think tomorrow tomorrow has more impact and would have set the album off perfectly. Ah well that's why I'm me a famous record producer lol. Cheers, Dustin |
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