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Bummed that on a list of a lot of only semi-obvious picks from artists with bigger, even better songs, Elliott Smith got stuck with “Needle in the Hay,” the song that most plays into the Elliott Smith Was Sad And Took Drugs And Sang About Himself Narrative, when, like Joni Mitchell or Neil Young or his heroes in Big Star and the Beatles, his “confessionalism” was as much storytelling and character study as it ever was diary-page.
Despite “Miss Misery,” it is admittedly the song I think he’s best known for; it is a great and powerful song, but he was and remains so much more than that.
Also, this: “Posthumously parsing Elliott Smith songs— for foreshadowing, for anything— feels like something of a fool’s errand in 2010.”
I don’t know, Amanda, does that mean David Foster Wallace’s books have no meaning now? Or the poems of, like, Samuel Coleridge? What an awfully slippery slope to look for an angle on.
Also really glad “1979” charted so high, song rules, the Pumpkins rule(d), suck it, cred.