Various Artists - To: Elliott, From: Portland

A few years after Elliott Smith’s death, his legacy grows. Every struggling songwriter lists Smith as an influence, hoping for skill by association. A few years after losing Elliott, his absence is more pronounced, his brilliance finally being brought to light.

This is what happens when a musician dies. It happened with Kurt Cobain. It happened with Jeff Buckley. It even happened with that lead singer of Blind Melon.

We have our share of great musicians in Portland, but Elliott Smith reached the most critical prominence, and he was the most adored. When he moved to Los Angeles, we were hurt, but we still called him our own. We clung to his intricate songwriting when our only other rock star options were Courtney Taylor-Taylor and Art Alexakis.

We miss Elliott Smith. It took a few years, but the idea that Elliott Smith will never write another song has finally registered with me, and it bums me out.

There have been a few Elliott Smith tribute albums. Double D Records released A Tribute to Elliott Smith, which had some good covers until I realized that their quality was based solely on Elliott Smith’s mastery as a songwriter rather than the merit of the artists involved. The band Earlimart released an album of original work that seemed almost entirely influenced by the loss of their close friend, and Treble & Tremble seemed a more apt memorial than mere cover songs.

Earlier this year, some of Portland’s best bands got together for an Elliott tribute, and the results are amazing. Like most tribute albums, the quality rarely matches the originals, but the secret ingredient behind To: Elliott, From: Portland is love. Each song is an awestruck homage to a musician that influenced so many, and the heart behind the project is what makes it so great.

A few BWC favorites make the cut. The Decemberists cover “Clementine” (not to be confused with their original track of the same name), Dolorean makes a run at “The Biggest Lie” and Swords does a great job with “I Didn’t Understand”, wrapping the song with swirling organ chords.

It’s hard to pick a standout track because almost everything is good. Sexton Blake’s version of “Rose Parade” captures a quintessential song about a quintessential Portland tradition. To: Elliott also wields an impressive palate, with bands like Crosstide, Helio Sequence and Swords depending on electronic influences while Dolorean and Jeff Trott keep their renditions stripped down. Lifesavas may have the most surprisingly pleasing turn with their hip-hop crack at Figure 8’s “Happiness”.

By definition, tribute albums are disappointing. After all, no matter how good Jeff Trott’s version of “Wouldn’t Mama Be Proud” is, I still prefer listening to Elliott Smith sing his own songs. The only thing that can make a tribute album successful is the emotion behind the re-imagined tracks, and this is where To: Elliott, From: Portland surpasses all expectations. It is a love song from a city to its favorite musical son.

Filed Under: Musicians We Miss

Posted on March 15, 2006 12:00 AM