- With four sides that are either White Hot or close to it this copy murdered the competition
- Rich, full-bodied, smooth, yet open and clear, this is about the best the album can sound
- Mastered by Bernie Grundman back when he was still cutting some of the best records around
- Joni Mitchell meets Weather Report is the best way to describe much of the vibe here
We had trouble finding copies that played consistently quietly on all four sides. This copy has an issue with side four, but the second best sounding side four was noisier, so we feel that this is still the best way to go for the album.
Rich and balance, the midrange is tonally right on the money, not thin the way so many copies were. Very open and clear yet still rich and solid.
Super punchy and dynamic, with a warm and full saxophone (always a tough test on a pop record), a clear, present piano and Joni’s voice front and center. Right up there with the best we heard.
Full-bodied and clear, no other copy had a side three as right as this one.
Balanced in the midrange — by far the toughest trick on this album — with punchy drums and deep bass, this one is very close to the best side four we heard.
Overture — Cotton Avenue
Talk to Me
Otis and Marlena
The Tenth World
Don Juan’s Reckless Daughter
Off Night Backstreet
The Silky Veils of Ardor
Don Juan’s Reckless Daughter is a 1977 double album by Canadian singer-songwriter Joni Mitchell. It is unusual for its experimental style, expanding even further on the jazz fusion sound of Mitchell’s Hejira from the year before. Mitchell has stated that, close to completing her contract with Asylum Records, she allowed this album to be looser than anything she’d done previously.
Much of the album is experimental, but especially so are: “Overture,” played with six simultaneous guitars, some in different tunings from others, with vocal echo effects; “The Tenth World,” an extended-length instrumental of Latin percussion; and “Dreamland,” which features only percussion and voices (including Chaka Khan).
Don Juan’s Reckless Daughter attracted contributions from prominent jazz musicians, including four members of Weather Report- Jaco Pastorius, Wayne Shorter, Manolo Badrena, and Alex Acuña, who would later become frequent collaborators of Mitchell’s.