Artist Credit
Richard Aaron Photography
Vic Anesini Mastering
Edie Baskin Photography
John Cale Bass, Guest Artist, Producer
Frank D’Augusta Assistant Engineer
Jay Dee Daugherty Drums, Musical Consultant
Danny Fields Photography
Bob Gruen Photography
Bob Heimall Design
Bob Irwin Mastering, Reissue Mastering
Lenny Kaye Bass, Composer, Guest Artist, Guitar, Vocals
Chris Kenner Composer
Bernie Kirsh Engineer, Mastering
Ivan Král Bass, Composer, Guitar, Keyboards, Vocals
Chuck Krall Photography
Allen Lanier Composer, Guitar, Keyboards, Producer
Bob Ludwig Mastering
Robert Mapplethorpe Photography
Van Morrison Composer
Huey “Piano” Smith & the Clowns Inspiration
Patti Smith Composer, Guitar, Liner Notes, Primary Artist, Vocals
Richard Sohl Composer, Piano
Pete Townshend Composer
Tom Verlaine Composer, Guest Artist, Guitar
Sherri Whitmarsh Design, Reissue Design

It isn’t hard to make the case for Patti Smith as a punk rock progenitor based on her debut album, which anticipated the new wave by a year or so: the simple, crudely played rock & roll, featuring Lenny Kaye’s rudimentary guitar work, the anarchic spirit of Smith’s vocals, and the emotional and imaginative nature of her lyrics — all prefigure the coming movement as it evolved on both sides of the Atlantic. Smith is a rock critic’s dream, a poet as steeped in ’60s garage rock as she is in French Symbolism; “Land” carries on from the Doors’ “The End,” marking her as a successor to Jim Morrison, while the borrowed choruses of “Gloria” and “Land of a Thousand Dances” are more in tune with the era of sampling than they were in the ’70s. Producer John Cale respected Smith’s primitivism in a way that later producers did not, and the loose, improvisatory song structures worked with her free verse to create something like a new spoken word/musical art form: Horses was a hybrid, the sound of a post-Beat poet, as she put it, “dancing around to the simple rock & roll song.”

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