Et puis, il y a eu un après : signature en major, Oscars face à Céline Dion, addictions en tout genre, grosse fatigue et disparition, en 2003, a seulement 34 ans.
The chord change in the chorus at the line, “that you don’t want around anymore” is just so devastatingly lonely. Pour Elliott Smith, il y a eu un avant Either/Or, troisième album sorti en février 1997.L’avant Le Portland souterrain, les publics qui parlent pendant ses concerts. The brushes on the percussion in Peyroux’s version approximate the finger picking pattern on the guitar in the original.ģ. The line, “drink up baby” sounds just as good being sung over an upright bass as it does accompanied by an acoustic guitar.Ģ. His music isn’t tethered to his era or his genre.ġ. Meanwhile, the versatility of Smith’s songwriting can be found in the variety of artists who have covered his work over the years: it’s often the artists who aren’t folk singers whose versions work best. In that 1997 Courant article, the author marveled at her ability to shift seamlessly from her own material to that of Patsy Cline to Fats Waller to Edith Piaf. This cover works perfectly, and I think it’s a testament the versatility of both parties.įirst, Peyroux can make any lyric sound as if it’s being sung in a smoky 1950s jazz bar in a Paris basement. Recorded in Portland, Oregon (Peyroux’s hometown) it yielded several beautiful modern folk masterpieces, including “Between The Bars,” which Peyroux would cover in 2004, following Smith’s suicide the previous year. Three weeks later, folk singer Elliott Smith released Either/Or. They hailed her debut album as “dreamy,” and analyzed the similarity between her vocal style and that of one of her greatest influences: Billie Holiday. On February 2, 1997, an article ran in the Hartford Courant about a young jazz singer named Madeleine Peyroux.