This Womans Work: Patti Smiths Horses


I've learned a lot about the records. I love and don't love from classic album Sundays. It's a program of listening events created by broadcaster and journalist Pauline. Cosmo Murphy, which for music fan can sometimes feel like going to church, and that's fitting because they're always held on Sundays at these events. I learned about an album from artists producers and other smart music people. Then the lights went down the phones went off and the audience listened to the album together straight through no interruptions. That's it. It seems really simple. But hearing a record on pristine vinyl through a world class sound system revealed things I never noticed before the experience was eliminating an often moving even when the needle skipped to bring some of that album worship here to studio. Three sixty were teaming up with CAS for a series of stories called this woman's work, highlighting classic albums by female artists. The title. You probably figured out borrows from the song by Kate. Bush an artist we hope to feature in this series. These records represent women musicians at the peak of their creative powers, and whose influences felt all over the musical map. And this first story focuses on one of the most significant albums of the American punk movement. One that fused rock with free form poetry and drew many into the artistic nexus of New York City in the mid nineteen seventies. Here's Colleen this is arguably one of the most arresting opening lines on a debut album. Jesus dad for somebody sends banana Matton it's deliver with unequivocal power. And for many is the first introduction to an artist who become one of the most important game changers of rock and roll amass Lee. Stew. Mrs my oh, Lee belonged to may. Number hearing this opening indictment when listening to the album for the first time in my teenage bedroom. It's through me into the nucleus of Patti Smith's thrilling and scary environs worlds away from my suburban hometown to the dirt the chaos and the raw energy of New York City, and it made me feel like I could do anything. In fact, I moved to the city of few short years later. Punk is built upon a DIY attitude and along with the stooges EMC five Patti Smith is considered by many to be one of punk rocks founding mothers her debut album, horses was released at the end of nineteen seventy five a full five months before the first Ramones album. But it Agneta the punk explosion more impersonal, easy, rather than musicality, the album's sprawling free form music and poetry was the until of the three minute three court sound for which punk would eventually become known as the Patti Smith group. Guitarist Lenny Kaye remembers especially at that time Peng had yet to harden into specific definition. It wasn't say the Ramones template that it would become miss. Mostly an attitude of wanting to assume some kind of responsibility for oneself and. And find your own way. Will return to the show in a moment. But first I want to remind you that you can keep up with what we're looking at and working on by following us on Twitter at studio three sixty show. And now back to our story as the sixties slipped into the seventies. New York City was experiencing an identity crisis and rock and roll was experiencing a spirituality crisis. There was a general cynicism toward hippie ideals and New York City in particular was more adept at celebrating the individual a cohesive cultural center had not yet replaced the unifying force field of the sixties counterculture movement. This was especially true with music is different. Experimental strains began to fan out and spire by other forward thinking late sixties New York acts like the velvet underground and the east village electric duo the silver apples. Around this time. Lenny Kaye was working in a record shop and doing some writing on the side. And he remembers there were few venues for local bounds in new acts to play. But then he saw poster for the New York dolls and welcomed it as a new chapter in the downtown music. Sing. With their flamboyant crossdressing and defiant posturing, the New York dolls set the stage for glam rock, a fusion of the edgy rock and roll of the stooges and the theatrical cabaret scene that was flourishing in Greenwich village's gay community a community galvanized by the stonewall uprising in nineteen sixty nine.

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