easter (1978) – patti smith group: arista records, AB-4171

Back in the mid-50’s there was an underground artistic movement rejecting the conformity of a conservative society in favor of experimentalism and freedom of subversive expression. It was called “Beat” and was best exemplified by writers like Ginsburg, Kerouac, and Burroughs; painters like Pollock and Rothko; and musicians like Parker, Dylan, and Brubeck.

Beat challenged the status quo by directly reacting to and questioning the rules. The target for beat art was the strict parameters dictating what was acceptable, and therefore by extension, all of society. The result was a tectonic shift in popular culture.

If that sounds familiar it’s because it is. A similar reaction took place in music in the mid-70’s in the form of a reaction to and questioning of the parameters dictating what was acceptable for music. It was called “Punk”, and the result was a tectonic shift in popular music.

So it’s not really too surprising that one of the first and most influential voices in this Punk revolution belonged to a young woman performance artist and free-form poet named Patti Smith who blended the aesthetic of the beats with the angst of the punks.

Easter is her third studio album, and remains a touchstone marking the border between the “before” and “after”.

Side 1: Till Victory Space Monkey Because The Night Ghost Dance Babelogue Rock N Roll Nigger
Side 2: Privilege (Set Me Free) We Three 25th Floor High On Rebellion Easter

This is another of those albums with that can unstick me in time and, like the Trafalmadorians did to Billy Pilgrim, whip me through the fabric of space back to being a dorky 19 year old college kid sitting in a dorm listening to records. So, in that sense, this is quite timeless.

It’s also timeless in another sense, in that while some of the songs may have a bit of dust on them, for the most part the album is not dated at all. Plus, it retains that sense of being pioneer of a new way of doing music. While there’s nothing experimental or challenging or revolutionary in terms of any of the music (like one would get with Zappa or Beefheart or Sun Ra), the album features a wide enough range of styles as to place it on the edge.  There are rock song, folk songs, spoken word "beat" songs, dirges, and minimalist experimental songs.


There is also considerable biblical influence, starting with the album title, and continuing through some of the design and songs. Some of the lyrics for Privilege (Set Me Free) are adapted from the 23rd psalm, and many of the songs deal with the ideas of death and resurrection.

This album also contains two of Smith’s most well-known songs. Because The Night (written by Bruce Springsteen) and Rock N Roll Nigger are both still as fresh, potent, and catchy as ever.

The only thing that really seems to have aged with this album is the genuine connection to the beats and their quaint, if not enviable, dedication to and belief in the power of art (particularly poetry) to elevate us above our plastic-fantastic lives.

Can you dig it, daddy-o?

 Up next: The best band from Ireland not called U2