- Outstanding Double Plus (A++) sound on both sides, this copy has Joni rockin’ like you will not believe
- Her last great record – fortunately for us audiophiles it’s spacious, open and powerful with present vocals and solid bass
- Relatively quiet, Mint Minus to Mint Minus Minus throughout – they don’t come any quieter in our experience
- “On her first new studio album of original material in five years, Joni Mitchell achieved more of a balance between her pop abilities and her jazz aspirations, meanwhile rediscovering a more direct, emotional lyric approach. The result was her best album since the mid-’70s.”
One of our favorite Joni Mitchell albums and one of the few good reasons to listen to new music in the ’80s.
Both sides are lively, dynamic, and tonally Right On The Money. The vocal clarity is excellent, allowing you to appreciate every last nuance of Joni’s performance. The bottom end is wonderful with punchy drums and lots of deep bass. The overall sound is smooth, sweet, rich, and full-bodied with a lovely, silky top end.
It’s a TAS list Super Disc with many good qualities, but you’d never know it from the typically lean, bass-shy pressing. Since this record can be a little cold sounding — it’s a modern recording after all — filling it out and warming it up a little is just what the doctor ordered. Our Hot Stamper pressings are rich and full-bodied with lovely warmth and presence.
I absolutely love the album. I think it’s one of Joni’s best, one of her many masterpieces if I may be so bold. One is only supposed to be allotted one masterpiece, but considering all the stylistic changes she’s been through, Joni has clearly earned the right to have as many as she likes. I count at least three so far and perhaps there will be more coming down the road, although I very much doubt it.
What excellent sides such as these have to offer is not hard to hear:
- The biggest, most immediate staging in a large acoustic space
- More Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes even as late as 1982
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments (and effects!) having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
- No doubt there’s more but we hope that should do for now. Playing the record is of course the only way to hear all of the above
Chinese Cafe/Unchained Melody
Wild Things Run Fast
Moon at the Window
(You’re So Square) Baby I Don’t Care
You Dream Flat Tires
Man to Man
Underneath the Streetlight
On her first new studio album of original material in five years and her debut for Geffen Records, Joni Mitchell achieved more of a balance between her pop abilities and her jazz aspirations, meanwhile rediscovering a more direct, emotional lyric approach. The result was her best album since the mid-’70s.