"Аттар: Патти Смиттің тұңғыш альбомы"

Horses is the debut studio album by American musician Patti Smith. It was released by Arista Records on November 10, 1975. A fixture of the mid 1970s underground rock music scene in New York City, Smith signed to Arista in 1975 and recorded Horses with her band at Electric Lady Studios in August and September of that year. She enlisted former Velvet Underground member John Cale to produce the album. The music on Horses was informed by the minimalist aesthetic of the punk rock genre, then in its formative years. Smith and her band composed the album's songs using simple chord progressions, while also breaking from punk tradition in their propensity for improvisation and embrace of ideas from avant garde and other musical styles. Smith's lyrics on Horses were alternately rooted in her own personal experiences, particularly with her family, and in more fantastical imagery. The album also features adaptations of the rock standards "Gloria" and "Land of a Thousand Dances". At the time of its release, Horses experienced modest commercial success and placed in the top 50 of the American Billboard 200 albums chart, while being widely acclaimed by music critics. Recognized as a seminal recording in the history of punk and later rock movements, Horses has frequently appeared in professional lists of the greatest albums of all time. In 2009, it was selected by the Library of Congress for preservation into the National Recording Registry as a "culturally, historically, or aesthetically significant" work.

Through frequent live performances over the previous year, by 1975 Patti Smith and her band had established themselves as a popular act within the New York City underground rock music scene. Further increasing their popularity was their highly attended two month residency at the New York City club CBGB with the band Television early that year. The title Horses reflected Smith's desire for a rejuvenation of rock music, which she found had grown "calm" in reaction to the social turmoil of the 1960s and the deaths of numerous prominent rock musicians. She elaborated: "Psychologically, somewhere in our hearts, we were all screwed up because those people died  We all had to pull ourselves together. To me, that's why our record's called Horses. We had to pull the reins on ourselves to recharge ourselves  We've gotten ourselves back together. It's time to let the horses loose again. We're ready to start moving again." Plans were made to book studio time with Dowd at Criteria in Miami, but these were complicated by his relationship with rival label Atlantic Records. Cale recalled that the band initially "sounded awful" and played out of tune due to their use of damaged instruments, forcing him to procure the band new instruments before work on the album began. The differences between the work ethics of Cale, who was an experienced recording artist, and of Smith, who at this point was primarily a live performer, became apparent early on in recording, and were a source of tension between the two artists, who frequently argued in the studio. Cale said in 1996 that Smith initially struck him as "someone with an incredibly volatile mouth who could handle any situation", and that as producer on Horses he wanted to capture the energy of her live performances, noting that there "was a lot of power in Patti's use of language, in the way images collided with one another." Author Joe Tarr identified a punk sensibility in the music's reliance on simple chord progressions, while William Ruhlmann of AllMusic cited Lenny Kaye's rudimentary guitar playing, the "anarchic spirit" of Smith's vocals, and the emotionally charged nature of Smith's lyrics as being representative of punk. AllMusic critic Steve Huey observed that Horses borrowed ideas from the avant garde, with the music showcasing the band's free jazz inspired interplay and improvisation, while still remaining "firmly rooted in primal three chord rock & roll." CMJ writer Steve Klinge found that the album's lyrics recalled the energy of Beat poetry and the "revolutionary spirit" of French poet Arthur Rimbaud, one of Smith's primary influences. Smith drew on different sources of lyrical inspiration on Horses, with some songs being autobiographical and others being rooted in dreams and fantastical scenarios. She left the genders of the songs' protagonists ambiguous, a stylistic choice she said was "learnt from Joan Baez, who often sang songs that had a male point of view", while also serving as a declaration "that as an artist, I can take any position, any voice, that I want." "Redondo Beach", whose lyrics concern a woman who commits suicide following a quarrel with the song's narrator, was written by Smith after an incident involving her and her sister Linda. The two had gotten into a heated argument, prompting Linda to leave their shared apartment and not return until the next day. "Kimberly" is a dedication to its namesake, Smith's younger sister, and finds the singer recounting a childhood memory of holding Kimberly in her arms during a lightning storm. Two songs on Horses are adapted from rock standards: "Gloria", a radical re imagining of the Them song incorporating verses from Smith's own poem "Oath", and "Land", already a live favorite, which features the first verse of Chris Kenner's "Land of a Thousand Dances". In "Land", Smith weaves the imagery of the Kenner song into an elaborate narrative about a character named Johnny—an allusion to the similarly named homoerotic protagonist of William S. Burroughs' 1971 novel The Wild Boys—while additionally referencing Arthur Rimbaud and, less directly, Jimi Hendrix, whom Smith imagined to be the song's protagonist, "dreaming a simple rock and roll song, and it takes him into all these other realms." The characterization of Johnny in "Land" was also inspired by photographer Robert Mapplethorpe—who was a close friend of Smith and shot the picture of her used for the Horses album cover—and his experiences in the New York S&M scene; in her memoir Just Kids (2012), Smith refers to Mapplethorpe and Burroughs, sitting together in CBGB, as "Johnny and the horse".

The cover photograph for Horses was taken by Robert Mapplethorpe at the Greenwich Village penthouse apartment of his partner Sam Wagstaff. Smith, shrouded in natural light, is seen wearing a plain white shirt, which she had purchased at a Salvation Army shop on the Bowery, and slinging a black jacket over her shoulder and her favorite black ribbon around her collar. Embedded on the jacket is a horse pin that Allen Lanier had given her. Smith described her appearance as recalling those of French poet Charles Baudelaire and, in the slinging of the jacket, American singer and actor Frank Sinatra. She recalled that Mapplethorpe "took, like, twelve pictures, and at about the eighth one, he said, 'I have it.' I said, 'How do you know?' and he said, 'I just know,' and I said, 'Okay.' And that was it." The black and white treatment and androgynous pose were a departure from the typical promotional images of female singers of the time. Arista executives wanted to make various changes to the photograph, but Smith overruled their suggestions. Clive Davis later wrote that he was initially conflicted about the image, recognizing its "power" but feeling that it would confuse audiences unfamiliar with Smith and her style of music. He put aside his reservations and approved the cover after coming to a realization that he needed "to trust her artistic instincts thoroughly". Feminist writer Camille Paglia later referred to the Horses cover photograph as "one of the greatest pictures ever taken of a woman." In 2017, World Cafe presenter Talia Schlanger wrote that "Smith's unapologetic androgyny predates a time when that was an en vogue or even available option for women, and represents a seminal moment in the reversal of the female gaze. Smith is looking at you, and could care less [sic] what you think about looking at her. That was radical for a woman in 1975. It is still radical today." Smith herself stated that she had not intended to make a "big statement" with the cover, which she said simply reflected the way she dressed.

On September 18, 1975, the same day that they finished recording Horses, Smith and her band performed a live show in support of the upcoming album at an Arista convention, where they were personally introduced by Clive Davis. They previewed five songs from the album: "Birdland", "Redondo Beach", "Break It Up", "Land", and, as their encore, "Free Money". In a contemporary account, journalist Lisa Robinson reported that the performance was met with an "ecstatic" response from the Arista executives in attendance. Horses was released on November 10, 1975. Commercially, it performed respectably for a debut album, despite receiving little radio airplay. In the United States, Horses peaked at number 47 on the Billboard 200 albums chart, remaining on the chart for 17 weeks. Reviewing the album for Rolling Stone, John Rockwell wrote that Horses is "wonderful in large measure because it recognizes the overwhelming importance of words" in Smith's work, covering a range of themes "far beyond what most rock records even dream of." Rockwell highlighted Smith's adaptations of "Gloria" and "Land of a Thousand Dances" as the most striking moments on the record, finding that she had rendered the songs "far more expansive than their original creators could have dreamed." The Village Voices Robert Christgau said that while the album does not capture Smith's humor, it "gets the minimalist fury of her band and the revolutionary dimension of her singing just fine." Horses had some detractors in the British music press. Street Life reviewer Angus MacKinnon found that the album's minimalist sound merely reflected Smith and her band's musical incompetence. Steve Lake's scathing review of Horses for Melody Maker attacked the album as an embodiment of "precisely what's wrong with rock and roll right now", panning it as "completely contrived 'amateurism'" with a "'so bad it's good' aesthetic". Conversely, Jonh Ingham of Sounds published a five star review of Horses, naming it "the record of the year" and "one of the most stunning, commanding, engrossing platters to come down the turnpike since John Lennon's Plastic Ono Band". Charles Shaar Murray of NME called it "an album in a thousand" and "an important album in terms of what rock can encompass without losing its identity as a musical form, in that it introduces an artist of greater vision than has been seen in rock for far too long." English television host and future Factory Records co founder Tony Wilson was so enthused by the record that he made repeated attempts to book Smith and her band for an appearance on his Granada Television program So It Goes. At the end of 1975, Horses was voted the second best album of the year, behind Bob Dylan and the Band's The Basement Tapes, in the Pazz & Jop, an annual poll of American critics published in The Village Voice. NME placed Horses at number 13 on its year end list of 1975's best albums. According to writer Philip Shaw in his 33⅓ book profiling the album, the enthusiastic reaction to Horses from the music press quickly assuaged observers' suspicions that Smith had sold out by signing to a major label. The positive critical reception, along with substantial promotional efforts by Arista, ensured that Horses enjoyed healthy, if not particularly high, sales.

Horses cemented Smith as a central figure in the punk rock scene that was emerging in New York City around the time of the album's release. It has been frequently cited as the first punk rock album, and as one of the key recordings of the punk movement. In The Observer, Simon Reynolds wrote: "Pipping the Ramones' first album to the post by five months, Horses is generally considered not just one of the most startling debuts in rock history but the spark that ignited the punk explosion." Horses is considered a landmark for both punk and new wave music, inspiring "a raw, almost amateurish energy for the former and critical, engaging reflexivity for the latter", according to Chris Smith in his book 101 Albums That Changed Popular Music (2009). Philip Shaw stated that the album "created the template" for subsequent rock music of an "intelligent and self conscious, yet visceral and exciting" sensibility, identifying its influence on the alternative rock, indie rock, and grunge movements that followed the punk era. Variety critic David Sprague said that "Horses—which became the first major label punk rock album when Arista unleashed it in 1975—not only helped spread the gospel of Bowery art punk around the world, it set the tone for smart, unbending female rockers of generations to come." Various musicians have credited Horses as an influence. Viv Albertine of the Slits stated that the album "absolutely and completely changed" her life, adding: "Us girls never stood in front of a mirror posing as if we had a guitar because we had no role models. So, when Patti Smith came along, it was huge. She was groundbreakingly different." R. E. M.'s Michael Stipe bought a copy of Horses as a high school student and said that the album "tore [his] limbs off and put them back on in a whole different order", citing Smith as his primary inspiration for becoming a musician. Similarly, his R. E. M. bandmate Peter Buck cited attending the four Atlanta shows Smith played on her first US tour as the moment he started to seriously consider forming a group. Morrissey and Johnny Marr shared an appreciation for the record, and one of their early compositions for the Smiths, "The Hand That Rocks the Cradle", uses a melody based on that of "Kimberly". Courtney Love of Hole recounted that listening to Horses as a teenager helped encourage her to pursue a career in rock music, while PJ Harvey commented in 1992: "I heard Horses once and it was brilliant—not so much her music as her delivery, her words, her articulation. Her honesty." KT Tunstall wrote her hit single "Suddenly I See" (2004) about how she felt inspired to embrace her musical ambitions after seeing Smith on the cover of Horses. Horses has often been named by music critics as one of the all time greatest albums. Lars Brandle of Billboard wrote that the album had come to be regarded as "one of the finest in recorded music history." It has appeared in numerous professional lists of the best albums of the 1970s and of all time. In 2003 and 2012, Horses was ranked at number 44 on Rolling Stones list of the 500 greatest albums of all time, later placing at number 26 on a 2020 updated list. NME named it the 12th greatest album of all time in a similar list published in 2013. In 2006, Time named Horses as one of the "All Time 100 Albums", and The Observer listed it as one of 50 albums that changed music history. Three years later, the album was preserved by the Library of Congress into the National Recording Registry for being "culturally, historically, or aesthetically significant". Horses was inducted into the Grammy Hall of Fame in 2021. For the 30th anniversary of Horses, the full album was performed live by Smith on June 25, 2005 at the Royal Festival Hall, during the Meltdown festival, which Smith curated. She was backed by original band members Lenny Kaye and Jay Dee Daugherty, as well as Tony Shanahan on bass guitar and piano, Tom Verlaine on guitar, and Flea on bass guitar and trumpet. In 2015, Smith performed Horses in its entirety at a series of concerts celebrating its 40th anniversary. The original album has also been reissued in remastered form several other times, including on June 18, 1996 (both as a standalone CD and as part of the CD box set The Patti Smith Masters), and on April 21, 2012, on LP for that year's Record Store Day celebration.