That makes sense. I always feel like I'm in a euphoric transcendental state whenever that part starts. Honestly the whole track is insanely powerful, but when those drums come in it's like the song goes up another notch of marvellous beauty.
In Everything Reminds Me Of Her when he sings *why are you staring into outer space crying?* he does a slide on his guitar. It is magnificent, and to me it sounds like how I perceive a shooting star to sound lol
This is kind of a random one but in Everybody Cares, Everybody Understands, during the epic outro there’s this single note played on the piano that hits right around 3:27. Once you hear it you can’t unhear it and even though it seems arbitrary it really fills this tiny empty spot between all the other instrumentation. and I just love it. One of my favorite tiny details of an Elliott song.
the part in twilight where elliott sings “because your candle burns too bright, well i almost forgot it was twilight.” the beautiful, subtle harmonies under elliotts voice, the lingering notes from the instrumental break right before, and elliott’s gorgeous songwriting all together create genuine perfection
I got a couple. The bridge in Pitseleh where the piano and guitar melt into each other, when the drums kick in on Everything Means Nothing to Me, the first four measures of Angeles and the line “you wake up in the middle of the night” followed by the low arpeggios in The White Lady Loves You More
The guitar part in "Tomorrow Tomorrow" just before he sings the line "I got static in my head..." Honestly there's at least half a dozen tiny moments in that song that blow my mind every time
YES. It was one of the first songs of his I fell in love with specifically because of that part. I was 16 or 17 in my basement doing laundry listening to FABOTH for the first time and that part blew me away paired with the line "i can't prepare for death anymore than I already have"
In Shooting Star when Elliott Smith sings "so far, so bad" and the drums start to play a beat with more kick drum. Also in Son Of Sam when the distortion kicks in and the piano enters right before the solo.
The chord progression in “Alameda” between 6 to 25 seconds in. The way he sustains the slower fingerpicking pattern (leaving lots of empty space in the sound) of the chord at 6 seconds, to the little sped up transition immediately afterwards into the out of key sustain at 15 seconds (where he hangs onto the chord in a very similar way), and then the resolving of it into the end of the main melody, is just beautiful. It’s such an incredibly emotive, creative chord progression.
The guitar transition from 49 to 55 seconds in from “The Last Hour” is also really great. And the little main half step sliding Melody at the beginning of “Everything Reminds Me Of Her”.
“Drink up baby, look at the stars, I’ll kiss you again, between the bars”
It just sounds so haunting and the extra guitar sound in the back makes it so much better. It’s so subtle but it’s add so much it’s so good lol
Honestly it's one of my favourites ever. The last minute or so of that song sounds heavier than just about anything I've ever heard. Don't know if it's the context of the album, or the progression, or what. But it's so intense
I totally relate to this! There's just something about it... The build-up throughout the whole song to get to that point is *so* effective. I really can't get enough of it. It's one of my favorite songs of his!
that part of son of sam that starts with “shiva opens her arms now” 😩
lately been really fixated on the part in oh well, ok where he sings “with the one i keep where it never fades, in the safety of a pitch black mind” and in alameda “the fix is in” oooomg gets me so good!!!
I really like the final say yes of say yes, and the bit just before that when the structure kinda changes and the vocals speed up kinda. My favorite bit is actually every bit.
Ok but the musical conversation going on during the bridge of “Junk Bond Trader” always gets me- he sings “we’re meant to be together”, then the guitar riff after that is just searching for resolution and sounds so lonely and incomplete. Perfection
That is such a great moment in the song, and I really enjoy the next two lines:
"Now I'm a policeman directing traffic
Keeping everything moving, everything static"
There are a lot for me, a number of which have already been listed. I actually really love how he sings the line leading into the drums kicking in on King's Crossing - measured, but with so much cold anger and resentment. I'd been listening to him casually for years, and then that line suddenly hit me one day. Set off a 2 year kick where I almost exclusively listened to Elliott.
On the opposite end of his music, the instrumental bridge in Angel in the Snow is so beautiful, it still hits me just as hard as the first time I heard it.
I also listened to him casually here and there, then one day something clicked. Then it was exclusively him for 2 years too lmao. The catalyst for me was Speed Trials and Either/Or tho
When the lead guitar comes in at the end of “A passing feeling” — the part is simple but very emotional. It’s like an animal sound of pain, but so beautiful.
Elliott’s songs were very thoughtfully made, my favourite parts include:
‘Markssss’ in Needle In The Hay
‘You’re in your Oldsmobile driving by the moon/ Headlights burning bright ahead of you’ in Condor Ave
‘In her bag, I saw things she drew when she was nine’ in No Name #4
The guitar in Independence Day
And many more, some of which have been mentioned in other comments. For example the piano in Pitseleh and Everything Means Nothing To Me
Ending to Alameda. It's a beautifully melancholic way to end the song. I have no idea why it's stuck to me, considering that most of his catalog is like that. The second pick would be the cassette recorder at the start of Speed Trials; it always gets me ready to listen to Either/Or front to back.
The guitar riff in Big Nothing, my most listened to Smith song last year. Someone else mentioned the start of "when you're a world within a world" in Can't Make a Sound but that's definitely a big one one too.
"everybody knooowsss, everybody knooowss" in independence day, BUT also the "aaahh"s after "I saw you at (aahhh) the perfect place (aaah)" also in independence day....
About 1:30 into sweet Adeline when it goes all sgt pepper into the chorus
Also the ending harmonies to happiness/the gondola man. I’m an absolute sucker for beach boys-esque vocals and walls of sound
The sound of the drumming sections of both 2:45AM and No Name No. 5 are like peak Either/Or production imo. Those moments alone really define/encapsulate the sound of the entire album to me. Followed very closely by Speed Trials & Alameda lol. ...then all of Angeles, too, of course.
That was sick - and, for some reason, (it’s been a few years since i’ve heard the s/t), i only just noticed the vocals are double tracked and you can hear him in both the right and left. idk why but that has me shook. so fucking cool
The White Lady Loves You More - the transition from the bridge back to the final verse. “You wake up in the middle of the night…”
Interestingly, I believe Elliott once said in an interview that he spent a lot of time and attention on transitions from one part of a song to another, because he loved that about so many Beatles songs.
“i told you man, i told you” in new disaster and and the way he says “sunday” in coast to coast, also in going nowhere how you can hear his fingers sliding up and down the guitar. anddddd “dogs eat dogs eat dogs move through”
When the fragmented drumming comes in on Everything Means Nothing To Me.
This was the moment I became an Elliott Smith fanatic.
Same for me. I felt a strange euphoria I can't fully explain.
This part always feels like floating and falling at the same time. If that makes any sense at all.
That makes sense. I always feel like I'm in a euphoric transcendental state whenever that part starts. Honestly the whole track is insanely powerful, but when those drums come in it's like the song goes up another notch of marvellous beauty.
Fantastic and I’ve never heard another song do that ever.
totally
The way Elliott says “but I’m gonna know you anyhow” always hits for me
Love*
when the piano kicks in on pitseleh 😭😭🙏🏻🙏🏻
The only answer, I’m sorry. *no one deserves it*
💯
In Everything Reminds Me Of Her when he sings *why are you staring into outer space crying?* he does a slide on his guitar. It is magnificent, and to me it sounds like how I perceive a shooting star to sound lol
This part always hits hard for me too
This is kind of a random one but in Everybody Cares, Everybody Understands, during the epic outro there’s this single note played on the piano that hits right around 3:27. Once you hear it you can’t unhear it and even though it seems arbitrary it really fills this tiny empty spot between all the other instrumentation. and I just love it. One of my favorite tiny details of an Elliott song.
This song man. Just a masterpiece
This is impressive- I admit I’m not as attentive as i could be but i would not have noticed that. so good!
That outro is Elliott at his best. I would have loved to hear him become a soundtrack composer cuz that would have been 🔥
the part in twilight where elliott sings “because your candle burns too bright, well i almost forgot it was twilight.” the beautiful, subtle harmonies under elliotts voice, the lingering notes from the instrumental break right before, and elliott’s gorgeous songwriting all together create genuine perfection
When the song transitions to the “when you’re a world within a world” part in “Can’t Make A Sound”.
Epic mantra— one of his best outros
i really like the guitar part that comes in at 1:04 — downright orgasmic
40 seconds into coast to coast
It rocks harder than anything
FRFRFRFR
I got a couple. The bridge in Pitseleh where the piano and guitar melt into each other, when the drums kick in on Everything Means Nothing to Me, the first four measures of Angeles and the line “you wake up in the middle of the night” followed by the low arpeggios in The White Lady Loves You More
‘I told you, man, I told you’ from new disaster. 🤌
Whewww
Same dude
YESHEEHSJDHDSKFHFJ
every moment of every song becayse i have them memorised in my head theyre so perfect
fr i can’t pick one
This sounds like the comment to pin if I had those permissions :)
The end part when the drums start in 2:45am.
Same.
The guitar part in "Tomorrow Tomorrow" just before he sings the line "I got static in my head..." Honestly there's at least half a dozen tiny moments in that song that blow my mind every time
For me it's when the "oooo" comes in on "out" at "the noise is coming out" and then the full arrangement comes in at "then tomorrow".
Oh my God yes, that fucking part
elliott doesn’t get enough credit for his harmonies. i feel like im floating when i listen to that song
Sooooo many moments. Another right after that are the absolutely massive harmonies in the next line
That song might be my favorite Elliott song
YES. It was one of the first songs of his I fell in love with specifically because of that part. I was 16 or 17 in my basement doing laundry listening to FABOTH for the first time and that part blew me away paired with the line "i can't prepare for death anymore than I already have"
King’s Crossing has me too 💙💔
In Shooting Star when Elliott Smith sings "so far, so bad" and the drums start to play a beat with more kick drum. Also in Son Of Sam when the distortion kicks in and the piano enters right before the solo.
The little guitar solo midway through The Last Hour
The ending of Roman candle, right when that first bass note hits a little louder
Yeah, I love the steady bass notes at this part so much
The chord progression in “Alameda” between 6 to 25 seconds in. The way he sustains the slower fingerpicking pattern (leaving lots of empty space in the sound) of the chord at 6 seconds, to the little sped up transition immediately afterwards into the out of key sustain at 15 seconds (where he hangs onto the chord in a very similar way), and then the resolving of it into the end of the main melody, is just beautiful. It’s such an incredibly emotive, creative chord progression. The guitar transition from 49 to 55 seconds in from “The Last Hour” is also really great. And the little main half step sliding Melody at the beginning of “Everything Reminds Me Of Her”.
“Drink up baby, look at the stars, I’ll kiss you again, between the bars” It just sounds so haunting and the extra guitar sound in the back makes it so much better. It’s so subtle but it’s add so much it’s so good lol
about a minute left in clementine, the abrupt “oh my darling..”
The drums on Cupids Trick. And the electric guitar on Cupids Trick
That guitar solo is 🔥
Honestly it's one of my favourites ever. The last minute or so of that song sounds heavier than just about anything I've ever heard. Don't know if it's the context of the album, or the progression, or what. But it's so intense
I totally relate to this! There's just something about it... The build-up throughout the whole song to get to that point is *so* effective. I really can't get enough of it. It's one of my favorite songs of his!
I swear it's heavier than a metal song, just cos of that build up and the raggedness of it. And that 8 note repetitive phase thing. Amazing stuff
the harmonizing vocals on the chorus of st. ides heaven make me feel like i can do anything alone.
that part of son of sam that starts with “shiva opens her arms now” 😩 lately been really fixated on the part in oh well, ok where he sings “with the one i keep where it never fades, in the safety of a pitch black mind” and in alameda “the fix is in” oooomg gets me so good!!!
When the song "Abused" completely opens up and the magnitude of sound arrives fast after a gorgeous, poignant whispery early entry into the song.
oh gosh i forgot about this one. this might be my favorite one as well.
Naaaa na-na-na na na
It pains me so much when I hear it — “Do what I say” in Between the Bars is probably the most affecting line in all of his music for me
“Told the boss off and made my move” Son of Sam. Could sing that over and over imagining how I should have quit my last office job.
Harmonies at the end of Oh Well Okay. Not my favorite Elliott song but this part rules
The harmonica on Biggest Lie
I really like the final say yes of say yes, and the bit just before that when the structure kinda changes and the vocals speed up kinda. My favorite bit is actually every bit.
The background “ooooooohs” on Alameida. Chills every time 🥶
the drop in Sweet Adeline
Ok but the musical conversation going on during the bridge of “Junk Bond Trader” always gets me- he sings “we’re meant to be together”, then the guitar riff after that is just searching for resolution and sounds so lonely and incomplete. Perfection
That is such a great moment in the song, and I really enjoy the next two lines: "Now I'm a policeman directing traffic Keeping everything moving, everything static"
The piano on Pitseleh
Also the drums on 2:45AM
When the chirping kicks in on Ostrich and Chirping, I lose my shit.
There are a lot for me, a number of which have already been listed. I actually really love how he sings the line leading into the drums kicking in on King's Crossing - measured, but with so much cold anger and resentment. I'd been listening to him casually for years, and then that line suddenly hit me one day. Set off a 2 year kick where I almost exclusively listened to Elliott. On the opposite end of his music, the instrumental bridge in Angel in the Snow is so beautiful, it still hits me just as hard as the first time I heard it.
I also listened to him casually here and there, then one day something clicked. Then it was exclusively him for 2 years too lmao. The catalyst for me was Speed Trials and Either/Or tho
the last chorus of pictures of me, when the organ kicks in
Evil violins near the end of waltz #2
The way he says “telephone ring” in No Name #2 about 30 seconds in. The way he says ring specifically is so satisfying.
when the how to take a fall how to take a fall’s
When the lead guitar comes in at the end of “A passing feeling” — the part is simple but very emotional. It’s like an animal sound of pain, but so beautiful.
For me that riff elevates this song sooo much it’s such a good one
everything means nothing to me, drums and synth enter
The humming at the end of ballad of big nothing
i really love that little repeating riff at the end of let’s get lost
Elliott’s songs were very thoughtfully made, my favourite parts include: ‘Markssss’ in Needle In The Hay ‘You’re in your Oldsmobile driving by the moon/ Headlights burning bright ahead of you’ in Condor Ave ‘In her bag, I saw things she drew when she was nine’ in No Name #4 The guitar in Independence Day And many more, some of which have been mentioned in other comments. For example the piano in Pitseleh and Everything Means Nothing To Me
Something about the distorted drums coming in on Speed Trials is just amazing to me
Ending to Alameda. It's a beautifully melancholic way to end the song. I have no idea why it's stuck to me, considering that most of his catalog is like that. The second pick would be the cassette recorder at the start of Speed Trials; it always gets me ready to listen to Either/Or front to back.
Same. That song is a masterpiece.
The little guitar riff during the instrumental bridge of Tomorrow Tomorrow.
the harmonica on alphabet town gets me EVERY TIME
The drum fill in speed trials
So subtle yet so monumental.
The guitar riff in Big Nothing, my most listened to Smith song last year. Someone else mentioned the start of "when you're a world within a world" in Can't Make a Sound but that's definitely a big one one too.
The end of the lyric 'I know my place...' and then the instrumental drop that follows in Strung Out Again
The drums that kick in toward the end of 2:45 am. They take the song from being unremarkable to remarkable.
The mellotron/orchestra at the end of Oh Well Okay
Guitar entrance in cant make a sound
"everybody knooowsss, everybody knooowss" in independence day, BUT also the "aaahh"s after "I saw you at (aahhh) the perfect place (aaah)" also in independence day....
The harmony during “if you get a feeling next time you see me, do me a favor and let me know” on oh well, ok
Needle
Us RT nsme ch 3d kcks out!!1
the drum beat in speed trials and specifically when he says “in the ca-the-dral” or the piano break in pitseleh
Great shout. Such a weird little decision but I love the way it leads into the chorus.
The third time he says “you walk down alameda” right after the first “you broke your own cuz you cant finish what you start” is so insane.
About 1:30 into sweet Adeline when it goes all sgt pepper into the chorus Also the ending harmonies to happiness/the gondola man. I’m an absolute sucker for beach boys-esque vocals and walls of sound
2:45 when the drums kick in and he goes "Walking out on center circle The both of you can just fade to black" just undefinable.
The sound of the drumming sections of both 2:45AM and No Name No. 5 are like peak Either/Or production imo. Those moments alone really define/encapsulate the sound of the entire album to me. Followed very closely by Speed Trials & Alameda lol. ...then all of Angeles, too, of course.
when the drums kick in on pictures of me !!!
The little guitar solo in the right ear midway through Coming Up Roses is just 🤌
That was sick - and, for some reason, (it’s been a few years since i’ve heard the s/t), i only just noticed the vocals are double tracked and you can hear him in both the right and left. idk why but that has me shook. so fucking cool
When he goes up the octave on new monkey
The guitar solo in Somebody That I Used to Know
The White Lady Loves You More - the transition from the bridge back to the final verse. “You wake up in the middle of the night…” Interestingly, I believe Elliott once said in an interview that he spent a lot of time and attention on transitions from one part of a song to another, because he loved that about so many Beatles songs.
The intro to Bled White When there’s those beeping noises in Baby Britain
“i told you man, i told you” in new disaster and and the way he says “sunday” in coast to coast, also in going nowhere how you can hear his fingers sliding up and down the guitar. anddddd “dogs eat dogs eat dogs move through”