Easter

Super , Excellent

I have long had an on/off relationship with Patti Smith's "Horses" album, some days I like it and others, well let's just say I struggle to get my head around it; and that's where [and why] my Patti Smith collection had started and finished until I recently bought "Easter" out of the blue on one of my more positive days towards "Horses"."Easter" from 1978 was Smith's third album following the aforementioned "Horses" which had been critically lauded on its release and its successor, the less than critically lauded "Radio Ethiopia". So where on the "Horses" to "Radio Ethiopia" scale does "Easter" sit?"Easter" opens with the rocker "Till Victory", a complex number of varying tempos that these days sounds very late-'70s, but it's a good way to start. Like many of the tracks here I have no idea what second track "Space Monkey" with its Bowie/Ronson glam sound is about [perhaps I don't want to know], it is though in my opinion both the weakest and the artiest here. The Smith-Springsteen composition "Because the Night" that follows is of course the reason why the "Easter" album sold so well, it's more pop than rock but is still a cracking song. "Ghost Dance" has traces of native American in its beat and is an interesting genre defying number, I like it but I'm not really sure it works well in this company. "Babelogue" is a live piece of nasty angry ranting poetry that doesn't work for me, fortunately it only lasts 90 seconds, but for me that's 90 seconds too long. And then "Rock N Roll N*****" that closed the original side is the kind of American style, CBGB's style, heads-down-meet-you-at-the-end style of angry punk that the Patti Smith Group could do so well when they weren't being arty, it's great but it's inclusion of the N-word means you'll never hear it in polite company these days and can hardly blast it from the car stereo as befits a song of this quality."Privilege (Set Me Free)" that opened side two is a mix of mid-tempo angry rock with Smith reciting the words of Psalm 23 over the instrumental parts, OK it's arty but it's still a highlight. Smith then pleads her case for being recognised as more than just a poet-rocker with the torch ballad "We Three", it's surprisingly tender and Smith's voice carries it well. "25th Floor" is another crunchy solid mid-tempo guitar-led rocker that segues into "High on Rebellion" with Smith's spoken word polemic over the outro of the former continuing across the two and a half minute thrash of the latter, now this what I want from a rock-poet, this is Smith channelling Morrison. While the last and title track "Easter" is ponderous it's also strangely moving and I like it, I have no idea what Smith is singing about but assume it's full of religious mysticism as befits the title.My release then includes the six minute bonus track "Godspeed" that picks up where "Easter" left, more ponderous poetic mysticism, but this time I suspect drugs.And that's it. "Easter" doesn't reach the highs of "Horses" but neither does it reach the lows, the second side is stronger than the first but overall it's way more consistent and that's why it's more likely to be played in our house and why it's four stars nudging five from me.

On 23 Jan 1977 Patti Smith almost died on stage. Her Group were playing Aint It Strange + had reached the middle part of the song where Patti challenges the existence of God, invites Him to make a move , show her a sign He exists. As the band played harder + harder Patti spun round faster + faster. Then tripped over an onstage sound monitor + fell off the stage - a drop of 14 feet....struck down as it were by the Hand of God.The band thought she was dead. She'd broken her neck + for a time suffered a slight paralysis but fortunately went on to make a full recovery."Easter remained the only Patti Smith album cover that is in full colour until the release of Twelve. The album is a Resurrection , a time of sorrow + joy , so what better than a sleeve shot that combines earthy browns ( the soil of the grave ) + soft flesh pinks ( resurrection + life ) .The pose she strikes is defiant , assertive + above all strong. Gone is the vulnerable air of the previous album. The new resurrected Patti is pouting , eyes cast down , a mass of dark hair , eyebrows + eyelashes.The most notorious part of the cover shot is the visible armpit hair. It was a typically intelligent way to subvert the tradition of the female rock singers image. Patti appears to be bowing to the marketing clichés by revealing a stretch of inviting flesh but then the parody of the image becomes clear. The armpit hair reclaims the right for a female singer to appear in a pose that is sexual , erotic + powerful without compromising or debasing female dignity. Patti re-wrote the music industry rules yet again.And then there was that Voice : rich , rasping , simultaneously old + young , a banshee wail , a whisper , fragile , assured , sensuous , confrontational , sexual , defiant , other-worldly , deep , resonant , soulful , timeless , passionate , spooky + beautiful "Nick Johnstone ( 1997 /2012 )

It truly is remarkable the extent to which Patti Smith set out the template for women in music, influencing everyone from P.J.Harvey to K.T.Tunstall and a few hundred others in between. But Smith hasn't just achieved that - she actually trounces most of her male contemporaries too, in terms of lyrics, charisma, vocal performance and general all-round presence.Prior to this, Smith had actually had three books of poetry published, making her a multi-talented, multi-tasking woman, an artist, a creator. It almost seems insulting to think of women as mere child-bearers and wives when confronted with the wonder that is Patti Smith. Her legendary status in the music business is rivalled only by the likes of Nico and a few others. Her confident, trademark hollering in 'Till Victory' is captivating, the aural poetry of 'Space Monkey' is amazing, and the awesome power of 'Because The Night' is career-defining. Smith's ability in using words and language is top-notch and her voice is a force of nature.The likes of 'Ghost Dance' is moody and atmospheric, artistic and subtle, whilst the one minute and thirty seconds of 'Babelogue' is a pure adrenalin rush, as Smith recites her poetry with astonishing character and gusto. 'Rock N' Roll Nigger', meanwhile, is one of the finest songs to come out of the American punk scene, fast-paced, energetic and vital. Even slower numbers like 'We Three' are magnetic, showing a wide range of emotional depth, whilst 'Easter' itself carries on in this same vein, Smith's voice affecting, the music subtly beautiful.This is a potentially life-changing album from one of the most influential songwriters in the history of music. From her artistic stance on lyrics to her general appearance, Smith's influence is far-reaching. When K.D. Lang has the freedom to wear a shirt and tie combo, or Beth Ditto has the freedom to show unshaven armpits, or any woman in music displays a vivacious and boisterous onstage demeanour, they all have one woman to thank: Patti Smith. All hail the genius.

I've a couple of compilation CDs with 'Because the Night' on them but bought this Album which is re-mastered so I got a re-mastered copy of 'Because the Night' to listen to and it is sharper (especially background percussion). However, while I haven't time to play all of the tracks all of the way through yet, it seems on a quick flick through to contain some other great tracks that I'd never heard before. I'll update my review in due course.The CD itself comes in a 'traditional' plastic case along with a booklet that folds out and contains the lyrics of the tracks.

While 2 or 3 of the songs are not my cup of tea, this is a really good sounding album; not sure if it's in the original recording or the later mastering for CD but it sounds great. The music is not overly compressed and has good dynamics, when I play it on my main hifi stereo system it sounds like the band are in the room!