When Patti Smith described her 1975 debut album "Horses" as “three-chord rock merged with the power of the word,” she was connecting herself to two artistic streams. First, there was the relatively simple “garage” sound of groups like Count Five, ? and the Mysterians, the Seeds, Chocolate Watch Band, etc., which she—and her longtime guitarist Lenny Kaye—felt epitomized the primal power of American rock. Second, she was asserting that the poetry of masters such as William Blake, Walt Whitman and Arthur Rimbaud, and their 20th century acolytes Allen Ginsberg, Lawrence Ferlinghetti and Charles Olson, could be spiritually integrated into music that would aspire to literary heights. As Bob Dylan, Leonard Cohen, Jim Morrison, Robert Hunter and other Smith-approved poet-composers had already proven, lyrics could be literature.
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