Patti Smith: Horses (30th Anniversary Legacy Edition) - Disc 1 CD Track Listing

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Patti Smith Horses (30th Anniversary Legacy Edition) - Disc 1 (1975)
Horses (30th Anniversary Legacy Edition) - Disc 1 of 2\n2005 Arista/Columbia/Legacy\n\nOriginally Released November 1975\nCD Edition Released \nArista Remasters Series CD Released June 18, 1996\n30th Anniversary Legacy Edition 2CD Edition Released Nvember 8,2005 \n\nAMG EXPERT REVIEW: It isn't hard to make the case for Patti Smith as a punk rock progenitor based on her debut album, which anticipated the new wave by a year or so: the simple, crudelyplayed rock & roll, featuring Lenny Kaye's rudmentary guitar work, the anarchic spirit of Smith's vocals, and the emotional and imaginative nature of her lyrics -- all prefigure the coming movement as it evolved on both sides of the Atlantic. Smith is a rockcritic's dream, a poet as steeped in 60s garage rock as she is in French Symbolism; "Land" carries on from the Doors' "The End,"marking her as a successor to Jim Morrison, while the borrowed choruses of "Gloria" and "Land of a Thousand Dances" are more in tune with the era of sampling han they were in the '70s. ProducerJohn Cale respected Smith's primitivism in a way that later producers did not, and the loose, improvisatory song structures worked with her free verse to create something like a new spoken word/musical art form: Hoses was a hybrid, the sound of a post-Beat poet, as she put it, "dancing around to the simple rock & roll song." -- William Ruhlmann\n\nAmazon.com Editorial Review\nOn her 1975 debut, Smith was full of piss and vinegar, seriously interested in brining together high art and low three-chord rock & roll.As a result, her free-form poetry meshes with covers of "Gloria"and "Land of a Thousand Dances," and the album centers on two long, highfalutin' pieces, including the three-part suite (warning!waning! art!) "Land." (The CD version appends a messy live takeon The Who's "My Generation.") Led by Richard Sohl's piano, the arrangements don't exactly rock, and some of Smith's songwriting gets buried in its stylistic affectations (there's a great ong under "Redondo Beach"'s fake reggae). But the point of Horses was Smith's persona of volume, cunning and exile, and it comes through distinctly. --Douglas Wolk \n\nAMG EXPERT REVIEW: (30th Anniversary Legacy Edition) Patti Smith's catalog has aleady been remastered. Horses here comes in its originally remastered incarnationwith the same bonus track: a cover of the Who's "My Generation."This new, 30th Anniversary Legacy Edition, includes a bonus discwhich is a live version of the album -- ad the bonus track, recorded in on June 25 in London, England. While this band is looser, not as rehearsed as her original group, they still have plenty to offer. Original members Lenny Kaye, and Jay Dee Daugherty are here along with longtime bassistand pianist Tony Shanahan, guitarist Tom Verlaine (who played on the original album) and Red Hot Chili Peppers' bassist Flea, who also plays trumpet. The loose, "what the hell-let's-go-for-it" spirit this band plays with is infectious. Smith is in fne voice, and her swagger is not only intact, but pervasive. Her rapport with Kaye is symbiotic. Each trackhere roils and brims with wisdom, fire, and spit. "Kimberly" and"Gloria" simply strut with delight and joy. Kaye and Verlaine are loud as helland push Smith to get out in front, and it feels right. The three-part suite that makes up the nearly 18-minute "Land" is just plain scary. Smith transforms herself into the same hungry, angry Muse that possessed her 30 years ago. Her rage and her wllingness to go deep into the fabric of her poetry and the song are awe-inspiring. The live read of "My Generation" means something different than it did 40 years ago when Pete Townshend wrote it. And Smith indicts her generation -- the one Townshen commented on. She yells "My generation, we had dreams, we had dreams man and we f*ckin created George Bush! New generations, rise up, rise up, take to the streets. The world is yours. Change it. Change it." The sheer swirling rock chaos that takes ver the band isa fitting end. The only complaint is that while juxtaposing these two recordings side by side makes sense, one does have to wonder if a single disc of the concert might have made more, since fans have already purchased the remastered ersion. Making them buy it again to get the bonus disc seems just a tad unfair. -- Thom Jurek\n\nAmazon.com Product Description\nNovember 2005 marks the 30th anniversary of the release of Patti Smith's debut album, Horses, a groundbreaking rock & rol masterpiece which continues its unparalleled influence on rock music, style and culture. Arista/Columbia/Legacy Recordings will celebrate this musical milestone with the release of Horses/Horses, a two-disc Legacy Special Edition of Patti Smith's ebut album, on Tuesday, November 8. \nDisc One of Horses/Horses features the original album, in its entirety,along with the bonus track, Patti's interpretation of the Who's classic "My Generation." Initially released as the B-side to "Gloria," the frst single from Horses, in 1975, "My Generation" features John Cale, the album's producer, on bass. The Legacy SpecialEdition of Horses has been remastered by Greg Calbi producing superior sound to previous editions of the album. \n\nThe second discof Horses/Horses showcases Patti Smith and her Band--Lenny Kaye (guitar), Jay Dee Daugherty (drums), Tony Shanahan (bass), Tom Verlaine (guitar) and featuring Flea from the Red Hot Chili Peppers--performing the complete Horses album live, with a "MyGeneration" encore, at the Royal Festival Hall in London on June 25, 2005. This historic performance of Horses was the culminating concert at the 2005 Meltdown Festival, which was curated by Patti Smith. (Lenny Kaye and Jay Dee Daugherty were both mmbers of the ensemble that played on the original Horses while Tom Verlaine was a guest artist on the 1975 album). \n\nHorses/Horses comes packagedwith a deluxe booklet featuring rare archival photographs, ephemera, lyrics and documentation of the 205 concert as well as PaulWilliams' provocative essay on "Gloria." \n\nAMAZON.COM CUSTOMERREVIEW\nExpanded version disappointing, March 22, 2006\nReviewer: Perry Tamte (Lynnwood, WA USA)\nHorses is one of the seminal "albums" from my youth. I loved t, and played it a lot, usually alone, since my peers didn't have the same reaction to it. One of my all-time, core favorites. For some reason, I've never replaced my original vinyl with a CD. When I saw the remastered version, Ihad to have it. I wihed I could have gone to the 2005 concert, so thought I'd really enjoy the double CD with the live version. Reviews here and on iTunes talked of how amazing the live versionwas, and reinforced my thoughts, so I went for the double CD. Listening to te studio version was just as fantastic as remembered. Not at all faded by time. Unfortunately, I can't say that aboutthe live version. I don't like the live version. At all. I feel a weird sense of disloyalty saying that, enough that I didn't want t admit it at first. I kept at it, with repeated listenings, hoping I'd warm to the differences. But...no. I'm forced to say that I much prefer the studio version. No, worse than that, I dislike the live version. So much so, that I no longer have thelive versions on my iPod. Maybe it's that effect of liking whatever version of a song you hear first, or possibly, since this was such acentral album in my formative years, the original sound has too much meaning for me to like anything else. Whatevr. I would havebeen better served by the single CD version. Since that makes mefeel older and more inflexible than I want to believe I am, I wish I hadn't bought it. Then, my reminisces wouldn't have any negative tinge. Oh well. I'll live. But, saveyourself. The studio version is 5+ stars excellent. Buy it.\n\nAMAZON.COM CUSTOMER REVIEW\none of the original alternatives, December 18, 2005\nReviewer:D. Schmittdiel (Clinton Twp., MI)\nIn the 1970's I owned two of Patti Smith's vinyl releases, 'Wve', and this disc, her debut LP, released in 1975. Though artist's such as Smith were part-punk,part-post psychedelia, the heir's apparent to hippie-inspired rock and roll, they still maintained a direct connection to the Baby Boom Generation, as eidenced by the non-Patti Smith compositions chosen for this disc, Van Morrison's 'Gloria', Chris Kenner's 'Land of a Thousand Dances' (previously recorded by Wilson Pickett), and on the remastered CD, Pete Townshend's 'My Generation'. Of course Patt Smith's versions, though possessing all the intensity and passion of the original versions (and then some), also lack the relative innocence of those renditions. In part, Smith's interpretations serve notice that that crown of rock's royalty hasbee passed to a new genre, if not a new generation. That new generation, perhaps more of an addendum to the Baby Boom Generation, included a greater openness to alternative lifestyles, as Smithsings love songs to 'Gloria' and 'Kimberly' in her uncomproising manner. \n\nI originally purchased 'Horses' due to a dearth of quality recordings being produced by my old standby's, such as Eric Clapton, Stephen Stills, Neil Young and Steve Winwood. At the time, Smith's version of 'Gloria' was receiving cosiderable FM airplay, and she seemed to be on the cusp of something new and exciting. While I wasn't enthused by the recording as a whole, it certainly was loud, raw, explicit, and challenging, qualities my previous favorites had apparently forsaken Smith's singing style was also completely unique, and despite the fact her lyrics were at times incomprehensible, it was always a treat to hear her deliver them. I'm much more enthused by Smith numbers that possess a fast tempo and hungry, driving uitar work, such as the opening track, 'Gloria', promised for the rest of the disc. Unfortunately you have to work through the punk-reggae of 'Redondo Beach', and the punk-blues of 'Birdland' to get to the more serious pile driving excursions of 'Fre Money', 'Kimberly', and 'Break It Up'. These three tracks, in addition to 'Gloria', are to me the meat of the album. Although the slower numbers are outnumbered on the disc, since 'Birdland' and 'Land' time out at about nineteen minutes,they claimmuch of the available recording time. The original closer, 'Elegie', is also a slow track, timing out at 2:41. Smith added a bonus track, an unremarkable 3:16 live version of 'My Generation' to this remastered package. \n\nPatti Smith appeals to a mre artistically aware and elite crowd than rock and roll normally attracts. She spent time delivering her poetry without musicalsupport prior to 1975, and even on this disc at times reads rather than sings her writings. Nevertheless, Smith relies ona bare bones backing band of piano, bass, lead guitar, and drums, and the instrumental backing is simplistic as well. I never found PattiSmith's brand of performing as something I would consistantly listen to, but it did find a niche in my collectio, appealing as an alternative rather than a staple. I guess society as a whole possessed the same view, as only one Patti Smith song, 'Because theNight', ever cracked into the Top-40 (#13 in 1978). While I considered three stars, four is perhaps mor representative of 'Horses' overall value.\n\nAMAZON.COM CUSTOMER REVIEW\nHorses, May 12, 2006\nReviewer: finulanu "See, what happened was..." (In hiding)\nWhen it opens with a line like, "Jesus died for someone's sins but not for mine", you know yo're in for something good. Sure enough, that one line launches you into a forty-five minute album filled with graphic descriptions of sex and violence. (Listen to mypersonal favorite, Land, if you want proof). She sings her dark verses with so much ntensity, so much feeling that it makes Jim Morrison look like a raving drunk. Yes, it's that intense, people. And she somehow manages to turn a brutal tale of murder into the R&B nugget Land of a Thousand Dances, not to mention an even rawer versio of Gloria, the album's signature song. \nBest tunes include Gloria, Free Money, Kimberly, Break It Up and Horses, though every song on this album is thoroughly amazing.\n\nAMAZON.COM CUSTOMER REVIEW\na brilliant artist who begat a revolution, Januay 28, 2002\nReviewer: Ludwig J. Pluralist "avantepopgospeler" (Beacon, NY USA)\nPatti Smith's "Horses" starts out with some soft,mournful piano chords, courtesy of Richard Sohl. We then hear a most extraordinary, New York sounding voice, which declaes "Jesus died for somebody's sins/but not mine!" And from this moment on, the listener is brought into a kind of wild, subterranean world, a world of poetry and mythos, a world, which is an extension ofthe very soul of the greatest poet to ever becme a rock star. As the opening song, "Gloria" continues, picking up speed via Lenny Kaye's crunching guitar riffs and Jay Dee Daugherty's steady drumming, poetry merges with mid-60s garage punk, and a whole new world of possibility opens up. This isfollowed by the gentle, reggae derived "Redondo Beach," which, it turns out, is one of Patti's great vocal moments; there is a rhythm to her voice which serves this, and other songs, very well, as here, she sings a sad tale which contrasts with the pbeat sound of the song. "Birdland," one of the lengthier songs here, returns to the mournful sound ofthe beginnings of "Gloria" and is quite sublime. A few songs later is "Kimberly," Patti's tribute to her sister, with some great lyrics and a nice teady, rocking beat. It's one of my favorite all time Patti Smith songs. The record climaxes with "Land," a song sequence, in which Patti creates a near cinematic narrative, set in a high school filled with misfits. She brilliantly alludes to the poular culture of an earlier era. \n\nSo, with this record, which sounded like absolutely nothing else that came out in 1975, Patti Smith begat a revolution. She is a historic link betweenthe Dylan/Morrison/Lennon/Hendrix 60s and the CBGBs/Max's KansaCity punks of a few years later. Its hard to imagine folks like Courtney Love, Kurt Cobain, and all of today's female rockers like L7, Sleater-Kinney, and others, even existing, without her getting the ball rolling. While she is still a vibrant artit, this is the place to begin to explore the world of Patti Smith.\n\nAMAZON.COM CUSTOMER REVIEW\nAn investment is needed, but well worth the payoff!!, February 24, 1999\nReviewer: A music fan\nI bought this album when Patti had her comeback with "Gne Again" in 1996. I didn't know what to expect, but I had a gut feeling that I needed to get to know her music. I listened to "Gone Again" a lot andlet this one fall by the wayside.\nI didn't start seriously listening to "Horses" for another two yers. At that time, I had to spend a lot of time with this album and its lyrics to start makingsense of it. I was a bit confused and challenged, but I knew that I loved what I heard and read. I saw her do a great live show in NYC, and I delved even deper into her music. \n\nSo after all of that work, it really started to pay off! I realized that layers and layers and layers of stuff existed in this one little record. It is a complex album to someone that has undergone the effortto deconstruct it but definitely won't strike any ears that have been tainted by too much pop music. \n\nSo the bottom line hereis that this album, like your best friend or lover, is difficultand demanding, but pays off tremendously if you've got the heartand mind fr it. This might sound a bit pretentious, but I am anunpretentious person (like Patti) and I have never been challenged by a rock-and-roll record like this!! \n\nI actually met PattiSmith in NYC a few months ago. Even though I spent only about 10secnds one-on-one with her, I knew who that woman was through her music and writings. From the moment I saw her face and heard her speak, I really did feel "surrounded by Horses, Horses, Horses, Horses..."\n\nHalf.com Details \nContributing artists: Jon Cale, Lenny Kaye, Tom Verlaine \nProducer: John Cale \n\nAlbum Notes\nPersonnel: Patti Smith (vocals); Ivan Kral (vocals, guitar, bass); Lenny Kaye, Allen Lanier, Tom Verlaine (guitar); Richard Sohl (piano); John Cale (bass); Jay Dee Daugherty (drms).\n\nRecordedat Electric Lady Studios, New York, New York. \n\nOriginally released on Arista (8362). Includes liner notes by Patti Smith.\n\nPersonnel include: Patti Smith; Flea, Jay Dee Daugherty, Lenny Kaye, Tom Verlaine, Tony Shanahan.\n\nRecoding information: Royal Festival Hall, London, England (1975 - 2005).\n\nWith the exception of Bob Dylan, few rock n' rollers explored poetry within the rock format as thoroughly as Patti Smith. By the mid-70's, Smith had been a regular poetry-reade in New York City clubs for years, and with a deep admiration for The Rolling Stones, it was only natural to set these poems to music. With an exciting rock band to back her up (including renowned music critic Lenny Kaye on guitar), Smith built up afollowing on the strength of the band's thrilling and trance-inducing live shows.\nProduced by ex-Velvet Underground bassist John Cale, HORSES was considered 'punk rock' when it was first released, but there was much more to it. Smith had agift for eing able to paint vivid pictures with her prose, as evidenced by a pair of 10-minute long epics, "Birdland" and "Land"(which consisted of 3 sections--"Horses," "Land of A Thousand Dances," and "La Mer"). Other tracks are more conventional, yet justas gripping--a cover of "Gloria," "Free Money," and "Kimberly,"plus a ragged live cover of The Who's "My Generation" (included on the '96 remastered CD edition as a bonus track). HORSES is a classic.\n\nIndustry Reviews\nRanked #31 in NME's list of he Greatest Albums Of All Time.\nNew Musical Express (10/02/1993)\n\nRanked #8 among The Greatest Albums Of The '70s - ...the words were monumental--an exceptional tribute to creativity unhinged...\nNewMusical Express (09/18/1993)\n\n5 Stars (out of5) - ...the brittle rock and wide-eyed transcendental journeying of 1975's accepted classic HORSES has lost none of its thrill...\nQ Magazine (11/01/1996)\n\nBloody Essential\nMelody Maker (07/13/1996)\n\n9 (outof 10) - ...Here is rock from the poin of view of a gifted writer who has reinvented herself as an alien creature, reared on Jean Genet and Rimbaud...\nNew Musical Express (07/20/1996)\n\nIncluded in Vibe's 100 Essential Albums of the 20th Century\nVibe (12/01/1999)\n\nRanked #5 in Rollng Stone's Women In Rock: The 50 Essential Albums - ...Rock & roll poetry was a bore until this Jersey girl showed up...\nRolling Stone (10/31/2002)\n\nIncluded in Q's 100 Best Punk Albums.\n\n\nRanked #44 in Rolling Stone's 500 Greatest Albums Of Al Time - ...A statement of faith in the transfigurative powers of rock & roll...\nRolling Stone (12/11/2003)\n\n5 stars out of 5 - [W]hat still stuns is Smith's reverie-like, stream-of-consciousness delivery.statement of faith in the transfigurative powers of rock & roll...\nRolling Stone (12/11/2003)\n\n5 stars out of 5 - [W]hat still stuns is Smith's reverie-like, stream-of-consciousness delivery.
This rock cd contains 9 tracks and runs 46min 41sec.
Freedb: 600aef09
Buy: from Amazon.com

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