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Rock - Uscito il 13 dicembre 1975 | Arista - Legacy

Hi-Res Riconoscimenti La discoteca ideale Qobuz
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Rock - Uscito il 01 gennaio 1980 | Arista - Columbia - Legacy

Riconoscimenti La discoteca ideale Qobuz
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Rock - Uscito il 17 aprile 2007 | Columbia - Legacy

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Patti Smith sorprende ancora con Twelve, un album di versioni di classici del rock. I dodici brani scelti corrispondono ad artisti che hanno sicuramente influenzato la sua musica (Neil Young, The Beatles, The Doors), oppure ad altri che a loro volta sono stati senz'altro influenzati da Smith (Nirvana, Tears For Fears). © Jim Allen /TiVo
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Rock - Uscito il 23 agosto 2011 | Arista - Legacy

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Rock - Uscito il 19 marzo 2002 | Arista

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Rock - Uscito il 01 giugno 2012 | Columbia - Legacy

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Rock - Uscito il 01 luglio 1996 | Arista

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After years of silence, Patti Smith returned to music with a series of concerts in late 1995. It had been years since she had performed live -- for most of the '80s and '90s, she concentrated on domestic life. Following the death of her husband, Fred "Sonic" Smith, in early 1995, Smith began playing music in public again and those concerts eventually led to the triumphant comeback Gone Again. Her husband wasn't the only loved one Smith lost between 1988's Dream of Life and 1996's Gone Again -- her brother and her close friend Robert Mapplethorpe both died. Appropriately, grief and loss hang over Gone Again, but the overall effect is not one of indulgent melancholy. Instead, it's a sober but strengthing listen -- this is healing optimistic music. Like most of Smith's best work, the songs on Gone Again aren't proper songs, they're song poems, with cascading music and dense, inspired lyrics. Smith sounds more mature than her earlier records -- there are only a handful of out-and-out rockers, and most of the album is subtle and folky -- which gives the album extra weight. Gone Again is more than a comeback, it's a revitalization -- Patti Smith simply hasn't sound so engaged and provocative since Easter. © Stephen Thomas Erlewine /TiVo
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Rock - Uscito il 01 giugno 1988 | Arista - Legacy

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Rock - Uscito il 01 marzo 2000 | Arista

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Patti Smith's late-'90s comeback was devoted to reflective, intensely emotional music that explored her life in seclusion and the losses that forced her to reconnect with the larger world. They were acclaimed, ambitious, successful records, but they steered away from Smith's angry, activist muse, plus her penchant for visceral music. She rediscovers both on Gung Ho, her most immediate album in years. "Immediate" doesn't necessarily mean rock & roll, though. At times, she does reconnect with garage punk, notably on the Farifisa-fueled "Persuasion" and "Glitter in Their Eyes," which is graced by the guitar of Tom Verlaine, but her remarkable band -- featuring guitarists Lenny Kaye and Oliver Ray, bassist Tony Shanahan, and drummer Jay Dee Daugherty -- sounds direct and forceful even on the mid-tempo cuts that dominate the album. Smith doesn't shy away from the personal -- after all, the cover shot features her father, Grant, and the title track appears to deal with his war experiences -- but she works on a broader plane throughout the album, concentrating on larger, social messages even in the more intimate moments. The result may not be as haunting as Gone Again, but it's superficially nervier, reminiscent of a subdued, mature version of Easter. In other words, it's another handsome, shaded, and satisfying work from an artist who has reconnected with her muse. © Stephen Thomas Erlewine /TiVo
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Rock - Uscito il 01 giugno 1988 | Arista

The big difference between Patti Smith's four 1970s albums and this return to action after nine years lies in the choice of collaborator. Where Smith's main associate earlier had been Lenny Kaye, a deliberately simple guitarist, here her co-writer and co-producer (with Jimmy Iovine) was her husband, Fred "Sonic" Smith, formerly of the MC5, who played guitar with a conventional rock competence and who lent his talents to each of the tracks, giving them a mainstream flavor. In a sense, however, these polished love songs, lullabies, and political statements are not to be compared to the poetic ramblings of Smith's first decade of music-making -- she's so much...calmer this time out. But you can't help it. Where the Patti Smith of Horses inspired a generation of female rockers, the Patti Smith of Dream of Life sounds like she's been listening to later Pretenders albums and taking tips from Chrissie Hynde, one of her spiritual daughters. Dream of Life is the record of someone who is simply showing the flag, trying to keep her hand in, rather than announcing her comeback. Not surprisingly, having made it, Smith retreated from the public eye again until the '90s. © William Ruhlmann /TiVo
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Rock - Uscito il 30 settembre 1997 | Arista

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After a prolonged retirement, Patti Smith returned to action in 1996 with Gone Again. It was recorded after she suffered the loss of both her brother and her husband, Fred "Sonic" Smith, two losses so great that it's not surprising she is still exploring that pain on Peace and Noise, which quickly followed Gone Again in 1997. Patti had been working on Peace and Noise with Fred before his death, and its issues are appropriately more domestic than those on Gone Again. Throughout most of the record, she explores aging and raising children, trying to find a place for her family in the modern world while coming to terms with her aging rebelliousness. The music on Peace and Noise trims away the sonic bluster and anthemic rocking of Gone Again, preferring a sparse, piano-based musical foundation. As a result, her words resonate clearly and have a succinct, poetic power that was lacking on the otherwise worthy Gone Again. © Stephen Thomas Erlewine /TiVo
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Rock - Uscito il 27 aprile 2004 | Columbia - Legacy

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Nearly 30 years and nine albums in, Patti Smith shows no signs of giving up, or giving in, despite the fact she expected to be quietly doing her work instead of making rock & roll albums and playing in front of audiences. But then 9/11, Afghanistan, war in Iraq. Smith lives the vocation of a poet in an old-world sense of that word. Once, bards were the gadflies of society. Smith's Trampin' is a work that directly evolves from that tradition and fits squarely in her oeuvre. Trampin' is Smith's first outing for new label Columbia. She and her bandmates -- Lenny Kaye, Jay Dee Daugherty, Tony Shanahan, and Oliver Ray -- walk the tightrope between in-your-face garage rock, poetic ballads, and raucous, improvisational pieces (à la "Radio Ethiopia"). Not surprisingly, Trampin' is a largely political album, but it is far from a didactic one. Smith's voice of resistance is a human one, not an ideological one. She and her band cut much of the record live from the floor, and with the exception of the field recorded sounds of children playing in the street in "Radio Baghdad" and immediate and guttural strings added to "My Blakean Year," it comes off as both an immediate and organic record. Smith celebrates what is unique and beautiful in this America while castigating those who would abolish it in favor of homogeneity and submission. Whether it is the razored, riff-driven rock of "Stride of the Mind," the tough, anthemic pounce of "Jubilee," or the haunting midtempo countrified tunes like "Mother Rose," "Trespasses," or "Cash," the sober-eyed critical examination, the exhortation to find the truth and to celebrate life are everywhere. Likewise, in longer pieces like "Ghandi" and "Radio Baghdad," modes and grooves are locked and loaded. Poetry, both sung and spoken, engages the swirling, wavelike roars of apocalyptic power and chaos her band creates and splits the seams with the authority of her language, which claims no authority but that of the victim -- which is all the authority there is. "My Blakean Year" is an acoustic anthem, the confession of a vision that is given full fruit in the largely acoustic "Peaceable Kingdom." The title track is also the closer. A duet between Smith's daughter Jesse Lee Smith's piano and Patti's voice, it is a folk song written in the gospel tradition. One can hear the ghosts of Woody Guthrie, Cisco Houston, and Mimi Fariña in seams between the keys under Jesse's fingers and the wavering, tender grain in Smith's voice. This is timeless music. It knows no age or subgenre classification; it is American music as it has been spoken the world over; it is rock & roll done as well as it can be by anybody. © Thom Jurek /TiVo
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Rock - Uscito il 04 luglio 1996 | Arista

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Rock - Uscito il 10 agosto 2004 | Columbia

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Rock - Uscito il 05 giugno 1974 | Rhino - Warner Records

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Rock - Uscito il 27 aprile 2004 | Columbia

Nearly 30 years and nine albums in, Patti Smith shows no signs of giving up, or giving in, despite the fact she expected to be quietly doing her work instead of making rock & roll albums and playing in front of audiences. But then 9/11, Afghanistan, war in Iraq. Smith lives the vocation of a poet in an old-world sense of that word. Once, bards were the gadflies of society. Smith's Trampin' is a work that directly evolves from that tradition and fits squarely in her oeuvre. Trampin' is Smith's first outing for new label Columbia. She and her bandmates -- Lenny Kaye, Jay Dee Daugherty, Tony Shanahan, and Oliver Ray -- walk the tightrope between in-your-face garage rock, poetic ballads, and raucous, improvisational pieces (à la "Radio Ethiopia"). Not surprisingly, Trampin' is a largely political album, but it is far from a didactic one. Smith's voice of resistance is a human one, not an ideological one. She and her band cut much of the record live from the floor, and with the exception of the field recorded sounds of children playing in the street in "Radio Baghdad" and immediate and guttural strings added to "My Blakean Year," it comes off as both an immediate and organic record. Smith celebrates what is unique and beautiful in this America while castigating those who would abolish it in favor of homogeneity and submission. Whether it is the razored, riff-driven rock of "Stride of the Mind," the tough, anthemic pounce of "Jubilee," or the haunting midtempo countrified tunes like "Mother Rose," "Trespasses," or "Cash," the sober-eyed critical examination, the exhortation to find the truth and to celebrate life are everywhere. Likewise, in longer pieces like "Ghandi" and "Radio Baghdad," modes and grooves are locked and loaded. Poetry, both sung and spoken, engages the swirling, wavelike roars of apocalyptic power and chaos her band creates and splits the seams with the authority of her language, which claims no authority but that of the victim -- which is all the authority there is. "My Blakean Year" is an acoustic anthem, the confession of a vision that is given full fruit in the largely acoustic "Peaceable Kingdom." The title track is also the closer. A duet between Smith's daughter Jesse Lee Smith's piano and Patti's voice, it is a folk song written in the gospel tradition. One can hear the ghosts of Woody Guthrie, Cisco Houston, and Mimi Fariña in seams between the keys under Jesse's fingers and the wavering, tender grain in Smith's voice. This is timeless music. It knows no age or subgenre classification; it is American music as it has been spoken the world over; it is rock & roll done as well as it can be by anybody. © Thom Jurek /TiVo
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Rock - Uscito il 02 giugno 2020 | Lockdown Music

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Rock - Uscito il 07 novembre 2016 | Wireless USA Records

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Rock - Uscito il 29 aprile 2021 | Cult Legends

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Rock - Uscito il 13 febbraio 2020 | GBMT