We do not fault the Byrds for their love of Coltrane or for their evocative foray into country music (Sweetheart of the Rodeo AND before). In so doing, the world is drawn into the artist. What is odd is that much of the album is remarkably good… perhaps because they are, after all, remarkably good musicians.Įvery true artist draws themselves into the larger cultural dialog – their production / art then becomes part of that dialog: propelling it or subtly changing its trajectory. Peppers was released in July of 1967 and TSMR in November of the same year!) and serving as both a criticism of the “artificial” music of their time (by way of the Beatles). It is an album of their music, albeit, generated remarkably quickly (Sgt. It is a self-contamination perhaps however, at the same time, they remained true to themselves. Their Satanic Majesties Request is a case in point. There is no, and there can be no art that is original.
All art is a dialog of sorts: the artists (in this case, Jagger and Co.) are engaged in the world that is constantly flowing around them, not contained in some lifeless shell in which their originality can bare fruit. There are no blank-slates – minds that are not contaminated with what has come before. Peppers, to merely pass it off as such is to discredit any poetic or artistic process. While it is well known that this album is an ironic spoof on the Beatles and their over-produced, studio-centered production of Sgt. The artistic process is an evolutionary one that seems to develop in fits and starts.
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