by lawrence tatio
I spent the best $10 of my week this morning (no disrespect to the $50 Sour Diesel that also surpassed my expectations) when I purchased Joni Mitchell’s 1975 release The Hissing Of Summer Lawns on the corner of N. 6th and Bedford. The cover is an embossed gray and green design by Mitchell herself, showing tribal natives wrestling an anaconda amidst a backdrop of New York City buildings. This was Joni’s 7th record and the follow up to Court and Spark. While it received initial commercial success, going gold and slotting in at #4 on the charts, the album received some criticism by contemporary music reviewers back in ‘75. Even Rolling Stone annoyingly tabbed it the worst titled album of the year. Fortunately time has pushed the critiques of years past well under the rug, and I found listening to this record to be an entirely pleasurable and personal experience.
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Brimming with enthusiasm to hear Joni’s voice on vinyl, the contents of the album jacket immediately coaxed me with a warm and honest introduction from Ms. Mitchell:
“This record is a total work
conceived graphically, musically, lyrically and accidentilly
-as a whole. The performances were guided by the given compositional
structures and the audibly inspired beauty of every player.
The whole unfolded like a mystery.
It is not my intention to unravel that mystery for anyone,
but rather to offer some additional clues..”
Prepped and ready (bowl packed), I sat down for my first listen of the 42 minute record. My heart and mind slowly eased into the experience.
Immediately I’m greeted by the upbeat rhythm of “In France They Kiss On Mainstreet” which cruises to an inspired confidence and exudes a fresh beginning. As the album develops, a clear and well conceived narrative emerges. “The Jungle Line” pulled me forward with a dark and progressive drum beat courtesy of an African field recording by the Drummers of Burundi. “Edith And The Kingpin” reminded me of potential danger and vulnerability, “Don’t Interrupt the Sorrow” kept my spirit afloat, and “Shades of Scarlet Conquering” rocked me gently into an instrumental meditation, constantly growing, before punctuating the conclusion of Side 1 with a perfect please and thank you.
Side 2 opens with title track “The Hissing Of Summer Lawns” which kept me teetering on the edge of skeptical positivity, and dawns an enchanting chorus of folky soulful swells. “The Boho Dance” opens the can of high society references and “Harry’s House” perpetuates it, rich with social commentary and trumpets before gliding into an impressive jazz keyboard outro, played by the legendary Joe Sample. “Sweet Bird” is a glorious set up and a preemptive good bye, complete with warnings on trust and connection.
“No one knows
They can never get that close
Guesses at most
Guesses based on what each set
of time and change is touching..”
And finally to “Shadows And Light,” a present worth waiting for. The pattern and layering of vocal harmonies seem to echo off the ceilings of the Sistine chapel. They are mystical, masterfully structured, and soul touching. A pure example of how Joni Mitchell may very well be the originator of modern day Baroque Pop, being carried forward by Bon Iver, Grizzly Bear, and Fleet Foxes.
So while I had never purchased a Joni Mitchell record, nor had I ever dedicated a gray and cloudy afternoon to the listening process, I was able to taste the sweet tea of satisfaction. The timelessness of a consummate artist and one of the brightest highlights of an era where lyrics were paramount, is a powerful energy to behold. I’m thankful for the opportunity my neighborhood street vendor afforded me when he pulled it out of the backseat of his van. A well played $10 bill.
One Comment
love this record