Whether or not one condones suicide (I don’t), you have to admit that the late Elliott Smith was a gifted songwriter and, to some, a charismatic performer. The excellent soundboard recording here chronicles his last visit to Austin prior to his self-inflicted death in October. With the exception of “Pretty Ugly Before” (which has some backing vocals) it’s a solo acoustic show, very intimate, and given before an adoring, hushed audience. Thumbs up to Thumbs Up! for unearthing this; while packaging is nominal (one-sided insert and tray panel, with color photos), the sound quality makes it a must-hear for any Smith fan.
Here’s a review of the show from the Austin Chronicle that pretty much tells you every thing you need to know. -- OSWALD
“Steamboat, May 3, 2003 "I need to write more pleasant songs," admitted Elliott Smith late one night in early May. He smiled and shook his head and continued strumming his Siren strings, pulling us closer to his rocky shore. He made believe that all was well in his world. Any rumors of his poor health and mind-set were dismissed with the opening chords of "Happiness," off 2000's Figure 8. "What I used to be will pass away, and then you'll see that all I want now is happiness for you and me." He sang of memories and parades, heaven and love, knowledge and justification. But then there was the hopelessness of a new tune, "Strung Out Again," as well as Either/Or's anxious "Say Yes," the song that vocalizes every surprise and disappointment felt by a lost soul and those that understand him. "I'm damaged bad at best," he explained. Cousins "Between the Bars" and "Waltz #2" followed suit. Smith's final visit to Austin was in tribute to friend and musician Glynn Allen Owens, who had recently died. The man-boy with slouched shoulders sat alone on the edge of the Steamboat stage, bathing in the blue lights that drenched his greasy dark hair, whispering his deepest secrets into the mic. He stuttered and paused, blushed and squirmed. All five of his full-length albums made an appearance during the set, alongside the one unreleased and hopefully still on the way. Basement on the Hill was all but complete according to Smith. This was going to be the album. However it's deciphered postmortem, Basement brought joy and awe on that night. Two encores into the performance, Smith returned one last time to say goodbye to his Austin legion. Keeping in stride with his penchant for covers, he chose a fitting one -- although we didn't know it at the time. "Blackbird singing in the dead of night ..." Then he was gone. Our Odysseus untied himself from the mast and went the way of the Sirens. There's a hole where he once sailed.”
