Rolling Stone (10/31/02, p.135) - Ranked #2 in Rolling Stone's "Women In Rock: The 50 Essential Albums" - "...An acoustic tour de force..."
Rolling Stone (8/5/71, p.43) - "...her songs, like James Taylor's, are only incidentally commercial: Her primary purpose is to create something meaningful out of the random moments of pain and pleasure in her life..."
Rolling Stone (9/30/71, p.42) - "...She writes beautiful tunes coupled with beautiful lyrics...what more could be asked of her? BLUE is her best album by far..."
Q (7/99, p.150) - Included in Q's Best Chill-Out Albums of All Time - "...tangible warmth....A solitary album, which conversely makes the listner feel less alone..."
Q (p.132) - 4 stars out of 5 - "The gold standard for the confessional school of '70s songwriters in one beguiling package."
Vibe (12/99, p.157) - Included in Vibe's 100 Essential Albums of the 20th Century
NME (Magazine) (10/2/93, p.29) - Ranked #28 in NME's list of the Greatest Albums Of All Time.
NME (Magazine) (9/18/93, p.19) - Ranked #9 in NME's list of The Greatest Albums Of The '70s.
Composer: Joni Mitchell.
Personnel: Joni Mitchell (vocals, guitar, piano, keyboards); Joni Mitchell; Sneaky Pete Kleinow (guitar, steel guitar, pedal steel guitar); Stephen Stills (guitar, bass instrument, bass guitar); James Taylor Jr. (guitar); James Taylor (vocals, guitar); Russ Kunkel (drums).
Recording information: A & M Studios, Los Angeles, CA; A&M Studios, Hollywood, CA; A&M, Los Angeles, CA.
All tracks have been digitally mastered using HDCD technology.
BLUE marks the culmination of Mitchell's early, traditional singer/songwriter period, and it is one of the very best albums of that genre. Though she was already beginning to experiment with elements of pop and jazz, BLUE focuses on Mitchell's skill as a folk singer, showcasing her reedy, expressive voice in duet with her piano or guitar. The arrangements on the album--which feature keys, dulcimer, bass, and assorted percussion--are spare and tasteful, so much so that it is easy to overlook their sophistication.
Yet it is ultimately Mitchell's songs that make BLUE such a moving and memorable experience. "All I Want" establishes the themes of wandering and soul-searching that define much of the artist's work, while "My Old Man" and "Carey" explore relationships with a keen attention to detail and emotional truth. Songs like "California" shuffle along with a sunny yearning, but the predominant mood--true to the album's title--is lonely, plaintive and stark, with "River," the title track, and "The Last Time I Saw Richard" ranking with the saddest, most moving songs in the pop canon. An album of great intensity and confessional depth, BLUE closed the chapter on Mitchell's folk period beautifully, opening the gates for the bold new work to follow.
ReviewsThere are currently no reviews, be the first one!
American Mavericks / Cowell: "Synchrony" Piano Concerto; Harrison: Concerto for Organ with Percussion Orchestra; Varèse: Amériques / Michael Tilson Thomas, San Francisco Symphony
Lo'Jo: Cinema el Mundo [Digipak] *
Philip Glass: Metamorphosis; The Hours / Lavinia Meijer, harp
Fauré: Requiem; Bach: Partitas, Chorales & Ciaconna / Tenebrae; Nigel Short, London Symphony Orchestra; Gordan Nikolitch, Grace Davidson, William Gaunt
Richard Strauss: The Complete Songs, Vol. 6 / Elizabeth Watts, Roger Vignoles, piano
Elgar: The Longed-for Light - Elgar's Music in Wartime / Susan Gritton, soprano; BBC Concert Orch., Wilson
Dawn Richard: Goldenheart [PA]
Handel's finest arias for Base Voice / Christopher Purves, bass