Joni Mitchell - Hejira (2LP, 45 tours, Coffret, 1STEP)
Prix habituel
€195,00
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Joni Mitchell – Guitar, vocals [click here to see more vinyl featuring Joni Mitchell]
Guitar – Larry Carlton (A1-2, B2, C2, D1)
Bass – Jaco Pastorius (A1, B3, C2, D2), Max Bennett (B1, C1), Chuck Domanico (D1)
Percussion – Bobbye Hall (A1, B2-3)
Drums – John Guerin (B1, C1, D1-2)
Vibraphone – Victor Feldman (A2)
Harmonica – Neil Young (B1) [click here to see more vinyl featuring Neil Young]
Clarinet – Abe Most (B3)
Horns – Chuck Findley (D2), Tom Scott (D2)
Written by Joni Mitchell
2LPs, Box
Limited numbered edition
Original analog Master tape : YES
UD1S (UltraDisc One-Step)
Heavy Press : 180g SuperVinyl
Record color : black
Speed : 45 RPM
Size : 12'’
Stereo
Studio
Record Press : Record Technology Incorporated
Label : Mobile Fidelity
Original Label : Asylum Records
Recorded in 1976 at A&M Studios, Hollywood
Recorded by Henry Lewy
Mixed and produced by Joni Mitchell, Henry Lewy
Originally released in November 1976
Reissued in 2023
Tracks:
Side A:
- Coyote
- Amelia
Side B:
- Furry Sings The Blues
- A Strange Boy
- Hejira
Side C:
- Song For Sharon
- Black Crow
Side D:
- Blue Motel Room
- Refuge Of The Roads
Awards:
Rolling Stone's 500 Greatest Albums of All Time – Ranked 133
Colin Larkin's All Time Top 1000 Albums – Ranked 776
Reviews:
“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.” AllMusic Review by David Cleary
UltraDisc One-Step : Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.
Ratings :
AllMusic : 3.5 / 5 ; Discogs : 4.29 / 5