Patti Smith’s Superbunny is a live record from 1976, recorded at the Fillmore East in New York City. It captures her early work with the band she formed before the release of Horses, and it plays like a rough, urgent snapshot of a performer just finding her footing. The sound quality is poor in places — microphones were placed too close, guitars crackle, vocals strain — but the energy underneath is real.
Track by Track
“Real Good Time” opens the record with a loose, almost improvised feel. It sets the tone for what follows: not polished, not careful, fully committed. “Set Me Free” and “I Move in Another Direction” are solid mid-tempo rockers that establish the band’s chemistry without much fuss.
“Kimberley” is one of the stronger moments here. It’s a quieter, more reflective song, and it holds together better than most of the album. “Money” follows with a simple, driving rhythm, though it doesn’t quite match the intensity of the earlier tracks.
“Redondo Beach” is a slow-burning number that stretches out, and it shows off the band’s patience. “Pale Blue Eyes” is the standout: a tender, fragile ballad that cuts through the fuzz of the recording. It’s the clearest moment on the record, and it’s why critics keep returning to it.
“Things Just Ain’t the Same” and “Land” are competent but unremarkable. They fill out the middle of the record without adding much. “Horses” closes the album, and it’s a fitting end — a forceful, insistent closer that matches the title track’s reputation.
What Works, What Doesn’t
The best moments on Superbunny are the ones where the band commits fully to a performance, regardless of the technical flaws. “Pale Blue Eyes” succeeds because the emotion carries it. “Kimberley” works because the arrangement is patient and precise. The lesser tracks suffer from a lack of focus — they’re competent, but they don’t demand attention.
The sound quality is the biggest hurdle. Microphones placed too close create a distorted, claustrophobic mix that can be fatiguing over the full runtime. That said, the imperfections also give the record a sense of immediacy — it feels like a live performance caught on tape, warts and all.
| Track | Length |
|---|---|
| Real Good Time | – |
| Set Me Free | – |
| I Move in Another Direction | – |
| Kimberley | – |
| Money | – |
| Redondo Beach | – |
| Pale Blue Eyes | – |
| Things Just Ain’t the Same | – |
| Land | – |
| Horses | – |
Final Word
Superbunny isn’t a great record, but it’s an important one. It captures a moment in Smith’s career when she was still finding her voice, and it shows a band that was capable of real intensity even when the production fell apart.
Key Facts
– Artist: Patti Smith
– Year: 1976
– Recorded live at the Fillmore East, New York City
– Tracks: 10
– Standouts: “Pale Blue Eyes,” “Kimberley,” “Horses”
The highlights justify the listen. The weaker tracks don’t hurt the record enough to sink it.
This is a live document with a purpose, not a studio statement. It’s worth hearing for the performances that shine through the noise.
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- Real Good Time
- Set Me Free
- I Move in Another Direction
- Kimberley
- Money
- Redondo Beach
- Pale Blue Eyes
- Things Just Ain’t the Same
- Land
- Horses
