JONI MITCHELL - 1968-1979 The Studio Albums (2012) 10CD BOX-SET / FLAC (image+.cue), lossless

One has to wonder why this box, Joni Mitchell's The Studio Albums 1968-1979, was issued only in the European market. During this period --and some would argue even after -- Mitchell had one of most consistent quality runs in pop history. She is one of the most influential songwriters and recording artists of the 20th century. Included here are Song to a Seagull, Clouds, Ladies of the Canyon, Blue, For the Roses, Court and Spark, Hissing of Summer Lawns, Hejira, the double album Don Juan's Reckless Daughter, and Mingus. The first four are regarded as her "singer/songwriter" era offerings, the next one (For the Roses) details her crossing over into pop success (without compromise, of course), and the final five as her "jazz period," an era that lasted longer than her tenure with Warner Bros, and into her years at Geffen. What's remarkable is that they are all indelibly Mitchell. From the earliest, her vocal phrasing and guitar playing were just off enough to underscore the depth and poetry in her lyrics. By the time she reached For the Roses, she was already inventing new melodic and rhythmic paths. By Hissing of Summer Lawns, Hejira, and especially on Don Juan's Reckless Daughter, she was off-road, cutting a new swath of rhythmic invention in popular music, utilizing jazz syncopation and harmonics, Brazilian and Latin rhythms, and even modal elements that seemed to make time, melody, and lyric concerns more elastic. There is a great anecdote from Robbie Robertson about Mitchell asking the Band to back her at the Watkins Glen rock festival. They were unable to play with her because only drummer Levon Helm could flow with her sense of groove. All these albums feature their own mini-LP sleeves (no fancy paper, sorry). There is no bonus material of any kind included. The art is not so much redone as extremely reduced, making most of the print small enough that reading can be difficult. There is no liner essay in the package, either. The plus -- in addition to a stellar body of music -- is that the price is right; each album prices out to considerably less than these recordings sell for individually.  by Thom Jurek 

1968 - Song To A Seagull 

Tracklist:
01. I Had A King 03:37
02. Michael From Mountains 03:41
03. Night In The City 02:29
04. Marcie 04:35
05. Nathan La Franeer 03:20
06. Sisotowbell Lane 04:04
07. The Dawntreader 05:04
08. The Pirate Of Penance 02:44
09. Song To A Seagull 03:51
10. Cactus Tree 04:38
00:38:08

Joni Mitchell's debut release is a concept album. Side one, subtitled "I Came to the City," generally exhibits songs about urban subjects that are often dour or repressed in some way. "Out of the City and Down to the Seaside," by contrast, is a celebration of nature and countryside, mostly containing selections of a charming, positive, or more outgoing nature. What sets this release apart from those of other confession-style singer/songwriters of the time is the craft, subtlety, and evocative power of Mitchell's lyrics and harmonic style. Numbers such as "Marcie," "Michael From Mountains," "The Dawntreader," and "The Pirate of Penance" effectively utilize sophisticated chord progressions rarely found in this genre. Verses are substantive and highly charged, exhibiting careful workmanship. "Song to a Seagull" has graceful and vivid lyrics about the joys of freedom set to a haunting, wide-ranging vocal line. Conversely, "Cactus Tree" explores the downside of a no-strings-attached approach to life, the fear of committing to a relationship (ironically wedding these words to a hopeful melody and pulsating guitar texture). "Marcie" utilizes poignant, twisting music set to desolately lonely lyrics about a jilted woman; the recurrent use of red and green imagery in the verses is especially clever. Character studies such as "I Had a King" and "Nathan la Franeer" are painfully bleak in contrast to the lithe domestic scene of "Sisotowbell Lane" and the winsomely reserved love song "Michael From Mountains." Unusual in her oeuvre are the overlapping dialogue prose manner of "The Pirate of Penance" and the jaunty honky tonk stylings of "Night in the City." Mitchell sings in a light, gossamer, at times diffident manner; vocal harmony is sparingly employed here. David Crosby's production is simple and effective. This excellent debut is well worth hearing.  by David Cleary 
Credits:
Bass – Stephen Stills
Guitar [Banshee] – Lee Keefer
Guitar, Piano, Vocals, Written-By, Artwork, Guitar [Banshee] – Joni Mitchel

1969 - Clouds 

01. Tin Angel 04:09
02. Chelsea Morning 02:35
03. I Don't Know Where I Stand 03:13
04. That Song About The Midway 04:37
05. Roses Blue 03:52
06. The Gallery 04:12
07. I Think I Understand 04:27
08. Songs To Aging Children Come 03:10
09. The Fiddle And The Drum 02:49
10. Both Sides, Now 04:34

00:37:42

Clouds is a stark stunner, a great leap forward for Joni Mitchell. Vocals here are more forthright and assured than on her debut and exhibit a remarkable level of subtle expressiveness. Guitar alone is used in accompaniment, and the variety of playing approaches and sounds gotten here is most impressive. "The Fiddle and the Drum," a protest song that imaginatively compares the Vietnam-era warmongering U.S. government to a bitter friend, dispenses with instrumental accompaniment altogether. The sketches presented of lovers by turns depressive ("Tin Angel"), roguish ("That Song About the Midway"), and faithless ("The Gallery") are vividly memorable. Forthright lyrics about the unsureness of new love ("I Don't Know Where I Stand"), misuse of the occult ("Roses Blue"), and mental illness ("I Think I Understand") are very striking. Mitchell's classic singer/songwriter standards "Chelsea Morning" and "Both Sides Now" respectively receive energetically vibrant and warmly thoughtful performances. Imaginatively unusual and subtle harmonies abound here, never more so in her body of work than on the remarkable "Songs to Aging Children Come," which sets floridly impressionistic lyrics to a lovely tune that is supported by perhaps the most remarkably sophisticated chord sequence in all of pop music. Mitchell's riveting self-portrait on the album's cover is a further asset. This essential release is a must-listen.  by David Cleary 

Credits 

Bass, Guitar – Stephen Stills 

Vocals, Guitar, Keyboards, Producer, Artwork, Written-By – Joni Mitchell 

1970 - Ladies Of The Canyon 

01. Morning Morgantown 03:13
02. For Free 04:31
03. Conversation 04:26
04. Ladies Of The Canyon 03:32
05. Willy 03:00
06. The Arrangement 03:34
07. Rainy Night House 03:24
08. The Priest 03:40
09. Blue Boy 02:54
10. Big Yellow Taxi 02:15
11. Woodstock 05:29
12. The Circle Game 04:55
00:45:00

This wonderfully varied release shows a number of new tendencies in Joni Mitchell's work, some of which would come to fuller fruition on subsequent albums. "The Arrangement," "Rainy Night House," and "Woodstock" contain lengthy instrumental sections, presaging the extensive non-vocal stretches in later selections such as "Down to You" from Court and Spark. Jazz elements are noticeable in the wind solos of "For Free" and "Conversation," exhibiting an important influence that would extend as late as Mingus. The unusually poignant desolation of "The Arrangement" would surface more strongly in Blue. A number of the selections here ("Willy" and "Blue Boy") use piano rather than guitar accompaniment; arrangements here are often more colorful and complex than before, utilizing cello, clarinet, flute, saxophone, and percussion. Mitchell sings more clearly and expressively than on prior albums, most strikingly so on "Woodstock," her celebration of the pivotal 1960s New York rock festival. This number, given a haunting electric piano accompaniment, is sung in a gutsy, raw, soulful manner; the selection proves amply that pop music anthems don't all have to be loud production numbers. Songs here take many moods, ranging from the sunny, easygoing "Morning Morgantown" (a charming small-town portrait) to the nervously energetic "Conversation" (about a love triangle in the making) to the cryptically spooky "The Priest" (presenting the speaker's love for a Spartan man) to the sweetly sentimental classic "The Circle Game" (denoting the passage of time in touching terms) to the bouncy and vibrant single "Big Yellow Taxi" (with humorous lyrics on ecological matters) to the plummy, sumptuous title track (a celebration of creativity in all its manifestations). This album is yet another essential listen in Mitchell's recorded canon. by David Cleary
Credits 
Arranged By [Assisted On Arrangements For Cello] – Don Bagley
Baritone Saxophone – Jim Horn
Cello – Teressa Adams
Clarinet, Flute – Paul Horn
Composed By, Arranged By – Joni Mitchell
Percussion – Milt Holland
Vocals [Bop Vocal By] – The Saskatunes
Vocals, Guitar, Cover, Piano – Joni Mitchell

1971 - Blue

01. All I Want 03:34
02. My Old Man 03:34
03. Little Green 03:27
04. Carey 03:03
05. Blue 03:05
06. California 03:50
07. This Flight Tonight 02:52
08. River 04:05
09. A Case Of You 04:23
10. The Last Time I Saw Richard 04:16
 00:36:13

Sad, spare, and beautiful, Blue is the quintessential confessional singer/songwriter album. Forthright and poetic, Joni Mitchell's songs are raw nerves, tales of love and loss (two words with relative meaning here) etched with stunning complexity; even tracks like "All I Want," "My Old Man," and "Carey" -- the brightest, most hopeful moments on the record -- are darkened by bittersweet moments of sorrow and loneliness. At the same time that songs like "Little Green" (about a child given up for adoption) and the title cut (a hymn to salvation supposedly penned for James Taylor) raise the stakes of confessional folk-pop to new levels of honesty and openness, Mitchell's music moves beyond the constraints of acoustic folk into more intricate and diverse territory, setting the stage for the experimentation of her later work. Unrivaled in its intensity and insight, Blue remains a watershed. by Jason Ankeny
Credits 
Drums – Russ Kunkel (tracks: 4, 6, 9)
Guitar – James Taylor (tracks: 1, 6, 9)
Steel Guitar [Pedal Steel] – Sneeky Pete (tracks: 6, 7)
Written-By – Joni Mitchell

1972 - For The Roses 

01. Banquet 03:01
02. Cold Blue Steel And Sweet Fire 04:17
03. Barangrill 02:51
04. Lesson In Survival 03:11
05. Let The Wind Carry Me 03:56
06. For The Roses 03:48
07. See You Sometime 02:56
08. Electricity 03:01
09. You Turn Me On I'm A Radio 02:39
10. Blonde In The Bleachers 02:42
11. Woman Of Heart And Mind 02:38
12. Judgement Of The Moon And Stars (Ludwig's Tune) 05:19
00:40:25

On For the Roses, Joni Mitchell began to explore jazz and other influences in earnest. As one might expect from a transitional album, there is a lot of stylistic ground explored, including straight folk selections using guitar ("For the Roses") and piano ("Banquet," "See You Sometime," "Lesson in Survival") overtly jazzy numbers ("Barangrill," "Cold Blue Steel and Sweet Fire," and hybrids that cross the two "Let the Wind Carry Me," "Electricity," "Woman of Heart and Mind," "Judgment of the Moon and Stars"). "Blonde in the Bleachers" grafts a rock & roll band coda onto a piano-based singer/songwriter main body. The hit single "You Turn Me on I'm a Radio" is an unusual essay into country-tinged pop, sporting a Dylanesque harmonica solo played by Graham Nash and lush backing vocals. Arrangements here build solidly upon the tentative expansion of scoring first seen in Ladies of the Canyon. "Judgment of the Moon and Stars" and "Let the Wind Carry Me" present lengthy instrumental interludes. The lyrics here are among Mitchell's best, continuing in the vein of gripping honesty and heartfelt depth exhibited on Blue. As always, there are selections about relationship problems, such as "Lesson in Survival," "See You Sometime," and perhaps the best of all her songs in this genre, "Woman of Heart and Mind." "Cold Blue Steel and Sweet Fire" presents a gritty inner-city survival scene, while "Barangrill" winsomely extols the uncomplicated virtues of a roadside truck stop. More than a bridge between great albums, this excellent disc is a top-notch listen in its own right. by David Cleary 
Credits:
Bass – Wilton Felder
Composed By – Joni Mitchell
Drums – Russ Kunkel
Harmonica – Graham Nash
Percussion – Bobbye Hall
Strings – Bobby Notkoff
Woodwind [Woodwinds], Reeds – Tommy Scott

1974 - Court And Spark 

01. Court And Spark 02:46
02. Help Me 03:22
03. Free Man In Paris 03:03
04. People's Parties 02:15
05. The Same Situation 02:57
06. Car On A Hill 03:02
07. Down To You 05:38
08. Just Like This Train 04:24
09. Raised On Robbery 03:06
10. Trouble Child 04:00
11. Twisted 02:21
00;36:58

Joni Mitchell reached her commercial high point with Court and Spark, a remarkably deft fusion of folk, pop, and jazz which stands as her best-selling work to date. While as unified and insightful as Blue, the album -- a concept record exploring the roles of honesty and trust in relationships, romantic and otherwise -- moves away from confessional songwriting into evocative character studies: the hit "Free Man in Paris," written about David Geffen, is a not-so-subtle dig at the machinations of the music industry, while "Raised on Robbery" offers an acutely funny look at the predatory environment of the singles bar scene. Much of Court and Spark is devoted to wary love songs: both the title cut and "Help Me," the record's most successful single, carefully measure the risks of romance, while "People's Parties" and "The Same Situation" are fraught with worry and self-doubt (standing in direct opposition to the music, which is smart, smooth, and assured from the first note to the last). by Jason Ankeny
Credits
Bass – Max Bennett (tracks: 1, 2, 5 to 9, 11)
Composed By – Joni Mitchell (tracks: 1 to 10)
Drums, Percussion – John Guerin
Electric Guitar – Larry Carlton (tracks: 1 to 5, 7, 8, 11)
Electric Piano – Joe Sample
Producer, Vocals, Piano, Painting – Joni Mitchell
Woodwind, Reeds – Tom Scott

1975 - The Hissing Of Summer Lawns 

01. In France They Kiss On Main Street 03:19
02. The Jungle Line 04:26
03. Edith And The Kingpin 03:37
04. Don't Interrupt The Sorrow 04:05
05. Shades Of Scarlett Conquering 04:59
06. The Hissing Of Summer Lawns 03:01
07. The Boho Dance 03:50
08. Harry's House / Centerpiece 06:48
09. Sweet Bird 04:12
10. Shadows And Light 04:17
00:42:38

Joni Mitchell evolved from the smooth jazz-pop of Court and Spark to the radical Hissing of Summer Lawns, an adventurous work that remains among her most difficult records. After opening with the graceful "In France They Kiss on Main Street," the album veers sharply into "The Jungle Line," an odd, Moog-driven piece backed by the rhythms of the warrior drums of Burundi -- a move into multiculturalism that beat the likes of Paul Simon, Peter Gabriel, and Sting to the punch by a decade. While not as prescient, songs like "Edith and the Kingpin" and "Harry's House -- Centerpiece" are no less complex or idiosyncratic, employing minor-key melodies and richly detailed lyrics to arrive at a strange and beautiful fusion of jazz and shimmering avant pop.  by Jason Ankeny
Credits:
Acoustic Guitar – Joni Mitchell (tracks: 1 to 4, 8)
Bass – Max Bennett (tracks: 1, 5, 6 to 8), Wilton Felder (tracks: 3 to 4)
Drums – John Guerin (tracks: 1, 3 to 7)
Electric Guitar – Larry Carlton (tracks: 3 to 5, 8)
Electric Piano – Victor Feldman (tracks: 1, 5)
Flute – Bud Shank (tracks: 3, 9 to 7)
Guitar – Robben Ford (tracks: 1, 3)
Trumpet – Chuck Findlay (tracks: 6, 8)
Vocals, Mixed By, Illustration, Design – Joni Mitchell
Written-By – Joni Mitchell

1976 - Hejira

Tracklist
1 Coyote 5:00
Bass – Jaco Pastorius
Lead Guitar – Larry Carlton
Percussion – Bobbye Hall
2 Amelia 6:00
Lead Guitar – Larry Carlton
Vibraphone – Victor Feldman
3 Furry Sings The Blues 5:03
Bass – Max Bennett
Drums – John Guerin
Harmonica – Neil Young
4 A Strange Boy 4:15
Lead Guitar – Larry Carlton
Percussion – Bobbye Hall
5 Hejira 6:35
Bass – Jaco Pastorius
Clarinet – Abe Most
Percussion – Bobbye Hall
6 Song For Sharon 8:30
Bass – Max Bennett
Drums – John Guerin
7 Black Crow 4:20
Bass – Jaco Pastorius
Lead Guitar – Larry Carlton
8 Blue Motel Room 5:03
Acoustic Guitar – Larry Carlton
Bass – Chuck Domanico
Drums – John Guerin
9 Refuge Of The Roads 6:37
Bass – Jaco Pastorius
Drums – John Guerin
Horns – Chuck Findley, Tom Scott
 00:51:55

Joni Mitchell's Hejira is the last in an astonishingly long run of top-notch studio albums dating back to her debut. Some vestiges of her old style remain here; "Song for Sharon" utilizes the static, pithy vocal harmonies from Ladies of the Canyon's "Woodstock," "Refuge of the Roads" features woodwind touches reminiscent of those in "Barangrill" from For the Roses, and "Coyote" is a fast guitar-strummed number that has precedents as far back as Clouds' "Chelsea Morning." But by and large, this release is the most overtly jazz-oriented of her career up to this point -- hip and cool, but never smug or icy. "Blue Motel Room" in particular is a prototypic slow jazz-club combo number, appropriately smooth, smoky, and languorous. "Coyote," "Black Crow," and the title track are by contrast energetically restless fast-tempo selections. The rest of the songs here cleverly explore variants on mid- to slow-tempo approaches. None of these cuts are traditionally tuneful in the manner of Mitchell's older folk efforts; the effect here is one of subtle rolls and ridges on a green meadow rather than the outgoing beauty of a flower garden. Mitchell's verses, many concerned with character portraits, are among the most polished of her career; the most striking of these studies are that of the decrepit Delta crooner of "Furry Sings the Blues" and the ambivalent speaker of "Song to Sharon," who has difficulty choosing between commitment and freedom. Arrangements are sparse, yet surprisingly varied, the most striking of which is the kaleidoscopically pointillistic one used on "Amelia." Performances are excellent, with special kudos reserved for Jaco Pastorius' melodic bass playing on "Refuge of the Roads" and the title cut. This excellent album is a rewarding listen.  by David Cleary

1977 - Don Juan's Reckless Daughter 

Tracklist
1 Overture-Cotton Avenue 6:35
Bass – Jaco Pastorius
Drums – John Guerin
Guitar,vocals – Joni Mitchell
2 Talk To Me 3:40
Bass – Jaco Pastorius
Guitar,vocals – Joni Mitchell
3 Jericho 3:25
Bass – Jaco Pastorius
Bongos – Don Alias
Drums – John Guerin
Guitar,vocals – Joni Mitchell
Saxophone [Soprano] – Wayne Shorter
4 Paprika Plains 16:19
Bass – Jaco Pastorius
Drums – John Guerin
Orchestrated By, Orchestra [Conducted By] – Michael Gibbs
Piano, Vocals – Joni Mitchell
Saxophone [Soprano] – Wayne Shorter
5 Otis And Marlena 4:05
Acoustic Guitar, Vocals – Joni Mitchell
Electric Guitar – Larry Carlton
Percussion [Snare Drum] – John Guerin
Piano – Michel Colombier
6 The Tenth World 6:45
Bongos – Jaco Pastorius
Congas, Lead Vocals [Lead Voice] – Manolo Badrena
Congas, Vocals – Don Alias
Drums [Surdo] – Airto
Vocals – Alejandro Acuna, Chaka Khan, Joni Mitchell
7 Dreamland  4:37
Congas – Manolo Badrena
Cowbell – Jaco Pastorius
Drums [Surdo] – Airto
Percussion [Shakers] – Alejandro Acuna
Percussion [Snare Drum] – Don Alias
Vocals – Chaka Khan, Joni Mitchell
8 Don Juan's Reckless Daughter 6:40
Bass – Jaco Pastorius
Bells [Ankle Bells] – Alejandro Acuna
Guitar, Vocals – Joni Mitchell
Percussion [Shakers] – Don Alias
9 Off Night Backstreet 3:22
Bass – Jaco Pastorius
Drums – John Guerin
Orchestrated By – Michael Gibbs
Vocals – Glenn Frey, J. D. Souther, Joni Mitchell
10 The Silky Veils Of Ardor 4:02
Guitar, Vocals – Joni Mitchell

A big chunk of the pop audience Joni Mitchell had earned with Court and Spark in 1974 deserted her in 1975 and 1976 when the follow-ups, The Hissing of Summer Lawns and Hejira, proved more difficult works. With the pretentious double album Don Juan's Reckless Daughter, Mitchell lost many of the loyal fans who'd stuck with her from the beginning, but who, upon hearing her here as she spread her obscure poetic observations and thin melodies across whole sides of the album, found her disengaged from the close, personal observations that filled her best songs. This was Mitchell's last album to go gold. by William Ruhlmann

1979 - Mingus 

01. Happy Birthday 1975 (Rap) 00:57
02. God Must Be A Boogie Man 04:35
03. Funeral (Rap) 01:07
04. A Chair In The Sky 06:42
05. The Wolf That Lives In Lindsey 06:33
06. I's A Muggin' (Rap) 00:07
07. Sweet Sucker Dance 08:04
08. Coin In The Pocket (Rap) 00:11
09. The Dry Cleaner From Des Moines 03:22
10. Lucky (Rap) 00:03
11. Goodbye Pork Pie Hat 05:36
00:37:23

In the months prior to the passing of legendary jazz bassist Charles Mingus, Joni Mitchell had been personally summoned by the bop pioneer to collaborate on a musical version of T.S. Eliot's Four Quartets. The project would entail Mitchell to condense the text for Mingus to score instrumentally. He planned on utilizing a full orchestra, as well as the more traditional guitar and bass. They would accompany Mitchell's vocals and the narration of selected portions of the text. After a few weeks of consideration, Mitchell's reaction was that "[she]'d rather condense the bible." Mingus then bestowed Mitchell with six melodies -- "Joni I" through "Joni VI" -- penned specifically for her. Mitchell spent a few weeks with Mingus -- who was totally immobilized from amyotropic lateral sclerosis (aka Lou Gehrig's Disease) -- during the spring of 1978. Their partnership advanced the half-dozen tunes. More importantly, it shook Mitchell from a three-month long writer's block/drought -- yielding two of her best late-'70s compositions: "God Must Be a Boogie Man" and the revisitation and completion of a track she'd been wood-shedding, now titled "The Wolf That Lives in Lindsey." Incidentally, the former piece was inspired by the opening chapters of Mingus' autobiography, Beneath the Underdog. Initial recordings during Mitchell's stay with Mingus in New York City produced several interesting experimental sessions with the likes of Stanley Clarke (bass), Jan Hammer (keyboards), John McLaughlin (guitar), Gerry Mulligan (baritone sax), and Tony Williams (drums). A few of these recordings -- while rumored to have been lost, destroyed, or made otherwise unavailable -- were leaked into the trading community in the late '90s. Arguably, Mitchell could not have chosen any finer musicians than the sextet she ultimately incorporated into this work. The luminaries include Herbie Hancock (electric piano), Wayne Shorter (soprano sax), Jaco Pastorious (bass/horn arrangements), Peter Erskine (drums), Don Alias (congas), and Emil Richards (percussion). Sprinkled amongst these soulfully jazzy pieces are five "raps," or aural snapshots of the time Mitchell and Mingus spent together. Sadly, Charles Mingus passed before he was able to listen to this timeless and ageless paean to his remarkable contributions to bop and free  by Lindsay Planer 
Credits:
Arranged By [Horns] – Jaco Pastorius (tracks: 9)
Bass – Jaco Pastorius
Congas – Don Alias
Drums – Peter Erskine
Electric Piano – Herbie Hancock
Featuring – Charles Mingus
Guitar, Vocals, Mixed By, Painting [Paintings] – Joni Mitchell
Percussion – Emil Richards
Soprano Saxophone – Wayne Shorter