The things that remain after death are memories and survivors. On Gone Again (Arista), due to arrive in stores Tuesday, Patti Smith comes to terms, in her uniquely passionate yet straightforward way, with a multitude of mortalities, and in the process she creates her most profoundly affecting and stringently crafted record to date.death comes driving
death comes creeping
death comes
I can't do nothing
death goes
there must be something
that remains
Patti Smith, "A Fire of Unknown Origin"why must not death be redefined
Patti Smith, "Dancing Barefoot"
In the seventies, Smith styled herself as rock 'n' roll Poet, and broke new
artistic ground amid the punk ferment of the day. Records like her 1974
single "Hey Joe" and "Piss Factory," released on her lover/mentor Robert
Mapplethorpe's Mer label, and her 1975 debut album, Horses, gave one of the
truest visions of a fusion between free verse and left-
By 1979, after four albums, Smith had settled comfortably into her punk
priestess role; at that juncture, she exited the scene to marry ex-MC5
guitarist Fred "Sonic" Smith, raise a family, and tend her Michigan garden.
In 1988, Smith returned briefly with Dream of Life, a somewhat vague and
muddled collaboration with her husband; the album's sloganeering single
"People Have the Power" remains its most memorable track.
Smith's present renaissance
These deaths and others are at the core of Gone Again. In terms of its
subject matter, the record is not unprecedented: The death of songwriter Doc
Pomus was one motivating factor behind
Lou Reed's indelible 1992 album Magic and Loss, while the murder of John
Lennon resulted in Yoko Ono's powerful 1981 single "Walking on Thin Ice" and
album Season of Glass. All those works are unforgettable and largely bereft
of sentiment; Smith's may be even finer and more poignant. It reminds me of
nothing so much as beat poet Gregory Corso's farewell to Jack Kerouac,
"Elegiac Feelings American": Full of feeling, it never succumbs for an
instant to maudlin emotion.
For the album, Smith surrounded herself with old familiars and some new
collaborators. Guitarist Lenny Kaye and drummer Jay Dee Daugherty of the
Patti Smith Group are here, as is Tom Verlaine, who accompanied Smith at her
readings in the early days of the CBGB scene, when Television ruled the
roost. John Cale, who produced Horses, contributes organ on one track.
Among the newcomers are Tony Shanahan, who played bass for Smith's recent
tour dates; guitarist-
There's a lot of instrumental firepower there, but the sound of the album
is light, in keeping with the pared-
In truth, some rock 'n' rollers reared on Smith's early records might find
little to spark them here. Only a few numbers on the set can be called
"rock songs": the leadoff title song (an eerily prophetic tune cowritten by
Patti and Fred), the rifling "Summer Cannibals," and a staggering cover of
Dylan's "Wicked Messenger." Most of the songs are acoustic-
The subdued, folkish atmosphere
There were times in the seventies
Copyright © Chris Morris 1996
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