Radio Ethiopia

About

With <i>Radio Ethiopia</i>, the follow-up to Patti Smith’s stunning 1975 debut album <i>Horses</i>, the singer was determined to continue to push the edges of the envelope of poetry and rock ’n’ roll—and to execute the clause in her record contract that said she had complete creative control. Both Smith and Lenny Kaye, her guitarist and otherwise majordomo, have said that <i>Radio Ethiopia</i> wasn’t an album of song, that it was an album of <i>fields</i>—and that <i>this</i> was why critics and fans didn’t understand it. Everyone is wrong here. The main culprit on <i>Radio Ethiopia</i>—released in 1976, and credited to Patti Smith Group—is the album’s title track, a 10-minute stream-of-consciousness improv that then segues into a much shorter improv dubbed “Abyssinia.” So we’re talking no more than 12 minutes of free jazz, all of which took place at the end of the record—a challenge, for sure, but not the sole reason why some fans were turned off by <i>Radio Ethiopia</i>. What <i>really</i> frustrated listeners was the production. After the challenges of working with The Velvet Underground’s John Cale on <i>Horses</i>, it made sense that Smith would want to try working with a more commercial producer, which is what she got in Jack Dougla. But unlike Cale, Douglas had no idea who he was working with—or what they should sound like. .

via Apple Music

The Clerk says

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