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XO is the fourth studio album by American singer-songwriter Elliott Smith

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Arranged By – Elliott Smith, Shelly Berg, Tom Halm. Artwork By – Johnson And Wolverton, Portland, OR. Bass Saxophone, Baritone Saxophone, Flute – Bruce Eskovitz. Coordinator – Monique Rozendaal. Engineer – Alan Sanderson, Doug Boehm, Richard Barron. French Horn – R. James Atkinson. Mastered By – Stephen Marcussen. XO ‎(CD, Album, RP). DreamWorks Records, DreamWorks Records. 450 048-2, DRD 50048.

Band Name Elliott Smith. Album Name Xo. Type Album.

Elliott Smith disproves the assumption that major labels make artists sell out. He did anything but that on XO. He simply took his music to a brand new level with the equipment DreamWorks gave to him. From the lush, beautiful waltzes to the fun and upbeat middle section of the album, Smith covers a broad range of musical styles while always maintaining his distinctive musical qualities. Each song contains his lyrical and musical brilliance. It seems like the perfect album, almost too perfect

Elliott Smith’s major label debut arrived on the back of no little acclaim courtesy of Gus Van Sant’s film Good Will Hunting, to which the Nebraska-born singer-songwriter contributed a selection of tracks. One of those songs, Miss Misery, he performed at the 70th Academy Awards ceremony in March 1998. Evidently nervous in the spotlight, Smith nevertheless took the step to a larger stable for XO, which emerged just five months after his Oscars turn. The worst could have been expected, a move into commercial waters and the alienation of a solid, if then small, fanbase  . I’ll make it through – yet its tone is some way short of triumphant. Given Smith’s eventual suicide it’s natural to look for signs in his lyric-writing, and XO’s release came shortly after a slip into depression and a failed attempt to kill himself by running off a cliff. But this isn’t an album of impending release – it’s the sound of being enclosed, every turn just another step in a circle taken over, and over, and over. It’s perhaps because Smith couldn’t properly express his innermost issues through consistently brilliant music that the world lost such a talent in October 2003

Elliott Smith's producer Rob Schnapf doesn't jibe with the despondent myth of the deceased singer-songwriter and his breakout 1998 album, XO. "There's this quote from Billy Wilder: 'A career is only something you have had in retrospect,'" he says. At the time of XO, it was like - future's bright. This is going to be awesome. Elliott was at the top of his game before the demons had entered

Elliott Smith: XO (1998; DreamWorks). Kicking the Canon album selection, 1998. Pretty much all songs on all of Elliott Smith’s released recordings are immaculate on both the structural and engineering fronts, which doesn’t make them any less occasionally uncomfortable to listen to. At the moment of its release and after, XO was presumably forcing fans to choose an arbitrary binary preference  . In any case, XO remains an exemplary lesson of a musician graduating to the budgetary big-time and making intelligent use of his studio resources. On opener Sweet Adeline, the guitar is already different from the one deployed on the first three records, recorded more cleanly, with less four-track haze and more dynamic scope. The song is, nonetheless, recognizably a small acoustic number in the.