![]() ![]() “The potential you’ll be that you’ll never see”, how good he could be, but he relies on drinking as an escape… almost as if alcohol is mocking him, because he won’t stop being an alcoholic so he will “never” see the potential he could be. “Drink up, baby” obviously about drinking. I personally think that it’s alcohol singing to him or the way he see’s alcohol. ![]() I’m also curious to hear your thoughts on the meaning of the title phrase, “between the bars.” The repeated “drink up, baby” line has me leaning toward the second interpretation. ![]() I’d love to hear some interpretations of this song because I can see it going one of two ways… it’s either about somebody helping out a suffering friend, or it’s a personification of substance abuse as an escape. ‘Between the Bars’ is a haunting track and one of my favorites in Smith’s catalog. Memorable tracks from Either/Or include ‘Angeles’ (I posted a nice cover version early last year), ‘Rose Parade’ (about Smith feeling out of place during that event… perhaps a very small-scale version of how he felt at the Oscars) and ‘Say Yes’ (a heartfelt love song, and the rare upbeat song in his catalog). He described it later as like “ around on the moon for a day.” One of the most surreal moments of the ceremony had Elliott Smith dressed in a white tuxedo joining hands with Celine Dion (who had performed the theme from Titanic) to take a bow in front of tens of millions of people worldwide. Smith also wrote an original song titled ‘Miss Misery’ for the film and was nominated for an Oscar. Several songs from this album (including today’s SOTD) showed up on the soundtrack of Gus Van Sant’s film Good Will Hunting. ![]() It hewed closely to his self-titled album in style and sound, but his songwriting reached a new peak. Elliott Smith released Either/Or, his most celebrated album, in 1997. ![]()
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