Customer Reviews

Blue

5 star:		(242)
4 star:		(15)
3 star:		(5)
2 star:		(2)
1 star:		(8)

 

 

If reading all the 5 star reviews here hasn't swayed you already, I'll say it again- buy this album. After receiving it as a gift from my MOM, (I'm in high school...) I wasn't sure how it could be any good. I listened to it a few times before I latched on to it, really. The warbling melodies of joni and her stark instrumentation makes for a difficult listen at first. But when you have gotten used to joni and her style, every track on the cd becomes worn in like a sumptous slipper. The absolute beauty of the music is worlds apart from what you hear on the radio or MTV. And it's a gateway to much of the other fantastic work joni has done- I've bought about 5 other joni cd's since last christmas when I got Blue. The point is- give it a chance. Whenever I try to tell my friends to listen to joni, I get teased. "Joni Mitchell? Folky outdated guitar player?" But if you take my advice and LISTEN to this record, you will be rewarded with it's richness. It has become an integral addition to my life, not just my cd rack.

As a teenager in the 70's, my listening tastes consisted of Led Zeppelin, the Eagles, Emerson Lake & Palmer, Yes, and lots of other supergroups. I got so tired of hearing Joni Mitchell's "Help Me" in the 70's, I changed stations everytime I heard one of her songs. Oh foolish youth...

Last week I bought my first Joni Mitchell album, Blue. I've been listening to it for a week and am simply amazed at Mitchell's songwriting, vocal range, melodies,....I could go on and on. There are no songs being written or sung like this today. Mitchell has the ability to paint pictures of her journeys through life that intrigue and fascinate us. (Nearly every one of these songs contains mention of a color...not an accident, I think.) Plus the songs are simply a joy to listen to. I used to be turned off by Mitchell's singing and vocal mannerisms. I'll admit that at first, Mitchell's voice was like fingernails on a chalkboard, but in not much time her voice becomes comfortable and welcome. Her vocal range is very impressive. I am anxious to hear some of her more recent work to see how her voice has held up since this album was released nearly 30 years ago. For me, Blue is gold.

`Blue' is Joni Mitchell's fourth album, first released in June, 1971, after the seminal and deservedly famous previous album, `Ladies of the Canyon'. Listening to `Blue' now, after 35 years, I am surprised that there is not a single memorable song on the whole album, compared to the five or more major anthems of the generation on the previous recording.

And yet, everything which is so strong and so good about Joni Mitchell's songwriting is on this album, in spades. Contrary to the title's inclination, most of the album seems to be more about times and places than it is about colors or moods.

The single strongest aspect of Mitchell's songwriting is her ability to evoke a mood by a great use of little details. Listening to the song `Carey' makes you look forward to spending some time at a place called the Mermaid café on some beach on the Riviera with the warm winds blowing in from Africa, as I contemplate going to Amsterdam or Rome.

Blue should not be the first Joni Mitchell album you should buy, but it should be near the top of your list. The album also gives you the sense that you may want to bypass all the `Best of' collections and stick to simply collecting all the original releases, as you really don't want to miss any of Ms. Mitchell's great little three minute dramas.

Blue was created by Joni Mitchell as her earlier phase was reaching its highest heights and before she turned towards a more jazz-influenced style (which produced the brilliant The Hissing Of Summer Lawns). It represents the absolute best of the "Singer-Songwriter" era of music of the late sixties and very early seventies.

Being a dude stumbling hopelessly into 40's and middle age, I'm gonna have a special fondness for this era despite the fact I also loved the late 70's punk era, the early 90's grunge era, and everything else that comes along like a fresh wave of energy, wiping everything clean and resetting all the popular music balance controls to the center detent. Each era seems to contain a few defining works that radiate strength, purity, passion and deep and wonderful ideas. Blue is one of those indelible moments. Joni Mitchell's undeniable original talent has secured her place in popular music history without question. Her impact on nearly anyone with ears, heart and mind to listen is unquestionable - like anything that powerful, her music lives on today and won't die. Something that strong can't die.

I often suffer from a tendency to try to analyze why a particular piece of music and lyrics is either powerful or pathetically weak - sort of like watching a movie and thinking about the camera motion, the cuts, the decisions the director made. But with the best and truest stuff -- the Bluest stuff -- I find I can't do that... the brilliance weakens me; talks to me in places I can't quite define. You can get that from Bach and from Coltrane, for example, and you will get that from Joni Mitchell on this breathtaking, irreplaceable album.

Joni Mitchell has explored virtually every musical and emotional nook and cranny during her lengthy and distinguished career - but "Blue" stands apart as her greatest acheivement. While instrumentally spare, the lyrics and melodies that comprise "Blue" are uncommonly rich, somethow grabbing one's attention immediately while revealing even more upon repeated listening.

Listen to the title song, a love lament (apparently targeted at James Taylor, her then-boyfriend) that at first glance doesn't seem to have a structure, but somehow resonates long afterwards. "River" is more than just a breakup song, with its Christmas imagery starkly juxtaposed against Mitchell's angst. At the same time, Joni can be downright playful - "California" makes me grin from ear to ear every time I hear it (cool pedal steel work by the legendary Sneaky Pete) and even "Carey" (featuring Steve Stills's loping bass line) still stands up despite its heavy radio play in 1971.

"Blue" is (I believe) the best possible starting point in exploring Joni Mitchell's career, as it catches her blurring the line among pop, folk and jazz genres, breaking out of the hippie/folkie mold, and becoming an artistic force who would influence many for years to come.

Joni Mitchell is a name that I have known for years, since my early teens, yet never bothered to educate myself on. That all changed a few weeks ago when I bought "Blue." I had been recommended this album on a number of occasions and gradually became curious as to just what all the fuss was about. When I first listened to this album all the way through, I wasn't quite sure what to think but repeated listens have been extremely rewarding. The small flickers of genius that can be traced after a few listens expand into wide, gaping holes of blinding beauty once you become to know this album.

Blue was the fourth album from Joni Mitchell released in the summer of 1971. It was an almost-instant success and charted inside the Billboard Top 20, spending some 28 weeks on the chart. This album may not have sold millions of copies in America, but it is an album so raw and honest that no one can deny its importance. In the 34 years since its release, Blue is one of - if not the - most important female singer/songwriter albums in the history of music. Important in terms of how it broke new ground, important in terms of how it united a nation, and important most definitely in terms of pure vocal delivery, lyrical genius and complex yet seemingly subtle compositions. Ten songs form this album. Which is the best? Well, which is your favourite finger? The answer is impossible because each and every song on this album is unique and gorgeous in its own way.

The album opens with "All I Want." This song is a gorgeous, stunning opener as the guitar lightly dances around Joni's moonlight vocals with the dulcimer. The desperation in her voice is heartbreaking, yet optimistic. "My Old Man" is one of my favourites on the album. This is one of those songs that seems so simple yet it actually has a very complex structure. The melody is absolutely gorgeous and the vocal pitch that Joni uses in the line, "We don't need no piece of paper from the city hall" is perfectly executed. The lyrics are very reflective of simple life, gently passing by with Joni's vocals rising to points of almost excruciating love. "Little Green" is a very sad and melancholy song about a child put up for adoption. This song took quite a while to grow on me, but it's the little things such as the way Joni sings "He went to California" and "Weary of lies you are sending home" that creep up on you from behind and make you think how beautiful arranged they are. Joni has an absolutely amazing way with words, and the couplets she uses are evidence of some of the best poetry I've ever read in my life. She's not just a singer, she's an incredible poet.

"Carey" is a firm fan-favourite and is critically-lauded as one of Joni's best ever songs. This song is a bit more upbeat than the previous three and seems more complex because of the additional instruments, such as the drums, bass and guitar. Joni's vocals are adorable as always, and the way this song evokes images of Seventies America is achieved superbly. I love it when she sings, "Come on down to the Mermaid Cafe and I will buy you a bottle of wine!" The album title track, "Blue," is up next and is just awe-inspiring. This has to be one of the finest songs I've ever heard in my young life! There is such a bluesy quality to this song that fits in with the title, and also the cover art of Joni's bleak, half-exposed face. The piano is stunning and very evocative. I love the opening line and the way Joni sings about tattoos, perhaps one of the greatest analogies I've ever heard. The lyrical matter is very peace-ridden and hippie-like, with talk of needles, guns and grass. There's a stifled beauty as the piano gets back on its feet after Joni mumbles, "Lots of laughs" for the second time, for pure emphasis. "California" is a superb song that sees Joni hailing California because it's such an amazing place, at least in her eyes. There's a lot of cultural references here, especially to Rolling Stone and Vogue magazine. The pedal steel is used here superbly and creates a wonderfully tranquil atmosphere.

"This Flight Tonight" is a more rocking song, with a rougher edge to it. The lyrics speak about an aeroplane, and Joni singing about how she shouldn't have got on the flight. Of course the subject matter is simply a metaphor for a troubled relationship being torn at the seams. The way the vocals are arranged is beautiful, especially as Joni wails, "Oh starbright, starbright, you've got the loving that I like, all right." Superb song. The next song is the stunning masterpiece "River." This is easily my favourite song on the whole album. The piano intro reminded me instantly of Jingle Bells the first time I heard it! This evokes a Christmas atmosphere, and the fact that Joni wishes she could skate away on a river; rivers can only be skated on when they are ice on top, usually in winter, around Christmas time. These themes all link together to create an absolute masterpiece that can melt the hearts of any. The vocal delivery is flat out stunning, especially as Joni wails "I would teach my feet to fly!" as the piano takes melancholy stabs at your soul over and over. "A Case Of You" is one of Joni's most beloved songs and one of her best metaphoric songs ever. There's a lot to admire in this song, with beautiful piano work and gorgeous vocals filled with love. The album closes with "The Last Time I Saw Richard." This is another great piano-led song that has a minute-long intro before Joni begins singing. Joni sings about her time with this Richard back in Detroit in 1968, and the way she recites many of the conversations is almost intimidating in its honesty - so revealing and intimate.

OVERALL GRADE: 10/10

This album has been in my collection for a couple of months, but I'd definitely consider it one of the best albums I'll ever buy. Joni Mitchell is an absolute songwriting legend. Her status is unparalleled by any other female musician in history, and the only other person who can be mentioned in the same sentence as her is Bob Dylan. Who knows, maybe I'll get into his music after being so taken with Joni. I definitely plan on buying more albums by Joni Mitchell, though it may take me a few years due to the sheer size of her back catalogue. I pity the previous reviewer because the lack of ignorance over such gorgeous music as this is unbelievable. Blue is a landmark, a revelation, and a truly remarkable achievement that will stand the test of time right up until even the turn of the 21st Century in 2099, never mind 1999.

If anyone ever doubts the sheer quality and depth of the singer songwriters of the late 1960s early 70s, play them this album. Joni Mitchell was part of a great wave of clever, sophisticated musicians with plenty to say and the talent and technique to express themselves perfectly. At the time she was one of many, over time its clear that she was one of the best. And among a handful of good albums recorded in the early 1970s this one is her absolute best. Which means its utterly brilliant.

A lyrical and musical masterpiece, subtle yet sophisticated, easy listening, yet profound and sometimes disturbing, Blue seems to get rediscovered by every generation of thoughtful music fans; I first heard it in 1986, 16 years after its release and took great pleasure in introducing it to some college kids recently.

Unlike many works by more famous artists of the era, what really keeps Blue fresh is its wonderful minimalism - less really is more in this case. Most of these songs feature simple accustic guitars leading to a sparse yet beautifully played sound. The musicians (including Taylor and Stills) have impeccable timing, and you won't hear better phrasing, ever. Its this wonderfully minimalist approach that has saved it from dating so badly, unlike other albums of the era and even some of Mitchell's later work such as Court and Spark.

The clean, melodic style and Joni's razor sharp voice make the cold clarity of CD the perfect medium to carry the message. And what a message, or messages there are; how many albums do you know that have no filler at all? The strength of the material is awesome, there really isn't a weak track on Blue, which might just make it unique.

1971: I was 20 and in college. This album shaped me and most of my friends. Whether fans of Grateful Dead, Iron Butterfly, Black Sabbath, King Crimson, Bob Dylan, Doors, Uriah Heep, Jethro Tull - this album found its way into their stacks. Those who haven't made it their own, are the less for it.

32 years ago I was sitting on a beach with a girl and she said to me "There is a line in a song that goes 'Just before our love got lost, you said "I am as constant as the northern star" and I said, "Constantly in the darkness. Where's that at! If you want me I'll be in the bar." And I was hooked! I listened to the album ("Blue") and it has followed me through my life - as an anthem - a paean of the sweetest poetry - a melody to life. My youngest daughter heard it some years ago and now Blue has become her companion. This is unrepeated beauty and the sweetest companion in love and sadness. Mitchell has done a lot of great stuff since but nothing that quite matches the exquisite emotional subtelty of this musical masterpiece. Give it a try. If you have the ear you won't regret it. If not, that's ok.

From the first time I heard this album until today, almost thirty years later, this has remained one of my all time favorite albums. It hangs together like one grand and complex piece of music, each song necessary and participating fully in the whole. The instrumentation was a great surprise to me at the time, being unfamiliar with the dulcimer and other folk instruments, but it suited the music perfectly.

I recently heard Joni in concert (for the first time) on a sort of torch song blues tour of songs from an earlier musical period in America, using a full orchestra for backup. At the end of the concert she sang some of the songs from her more well known period, and the song from BLUE brought the audience to their feet--myself included, although I yearned to hear her with the original instrumentation, even in the new version. It gave a subtle glow to the album that was missing with heavier musical support. BLUE is without a doubt Joni's best album, the one I couldn't bear to be without. Every time I get a new copy, and play it for a younger friend, unfortunate enough not to have known Joni's music through a parent or relative, I end up having to give it away.

I agree with the comment above, this is a CD where the singer-songwriter role is in perfect harmony with the work. The songs are an extension of Joni's heart and her life, and her voice is the perfect instrument upon which to play them. The spare and subtle orchestration allowed her unusual voice to soar and add something timeless to these songs which grieve, which measure loss, and which reach out to the pain in all of us bringing some relief, and some release.