Joni Mitchell – Court and Spark (Hybrid SACD)
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€45,00
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Joni Mitchell – vocals, acoustic guitar, piano, clavinet (7) [click here to see more vinyl featuring Joni Mitchell]
Milt Holland – chimes (1)
David Crosby – backing vocals (3,7)
Graham Nash – backing vocals (3)
Tom Scott – woodwinds, reeds
Joe Sample – electric piano; clavinet (9)
Larry Carlton – electric guitar (all tracks except 6, 9, 10)
Max Bennett – bass guitar (all tracks except 3, 4, 10)
John Guerin – drums, percussion
Chuck Findley – trumpet (10-11)
José Feliciano – electric guitar (3)
Wayne Perkins – electric guitar (6)
Robbie Robertson – electric guitar (9)
Dennis Budimir – electric guitar (10)
Wilton Felder – bass guitar (3, 4)
Jim Hughart – bass guitar (10)
Susan Webb – backing vocals (7)
Cheech Marin, Tommy Chong – background voices (11)
Written by Joni Michell (1 to 10), Annie Ross (11), Wardell Gray (11)
1 SACD, gatefold jacket
Limited numbered edition
Original analog Master tape : YES
Stereo
Studio
Label : MOFI
Original Label : Asylum Records
Recorded in 1973 at A&M Studio, Hollywood
Engineered by Henry Lewy, Ellis Sorkin
Producered by Joni Mitchell
Mastered By Bernie Grundman
Design by Anthony Hudson
Photography By Norman Seeff
Originally released January 1974
Reissued in 2024
Tracks:
1. Court and Spark
2. Help Me
3. Free Man in Paris
4. People's Parties
5. Same Situation
6. Car on a Hill
7. Down to You
8. Just Like This Train
9. Raised on Robbery
10. Trouble Child
11. Twisted
Awards:
Rolling Stone's 500 Greatest Albums of All Time – Ranked #110
In 2004, Court and Spark was inducted into the Grammy Hall of Fame
Voted the best album of the year for 1974 in The Village Voice Pazz & Jop Critics Poll
Included in 1001 Albums You Must Hear Before You Die
Number 116 in Colin Larkin's All Time Top 1000 Albums
Reviews :
"Joni Mitchell reached her commercial high point with Court and Spark, a remarkably deft fusion of folk, pop, and jazz which stands as her best-selling work to date. While as unified and insightful as Blue, the album -- a concept record exploring the roles of honesty and trust in relationships, romantic and otherwise -- moves away from confessional songwriting into evocative character studies: the hit "Free Man in Paris," written about David Geffen, is a not-so-subtle dig at the machinations of the music industry, while "Raised on Robbery" offers an acutely funny look at the predatory environment of the singles bar scene. Much of Court and Spark is devoted to wary love songs: both the title cut and "Help Me," the record's most successful single, carefully measure the risks of romance, while "People's Parties" and "The Same Situation" are fraught with worry and self-doubt (standing in direct opposition to the music, which is smart, smooth, and assured from the first note to the last)." AllMusic Review by Jason Ankeny
"From being the folksy best friend of anyone who was anything in the West Coast music scene, Joni Mitchell has gradually and unevenly developed into a songwriter of considerable stature. Her sixth and best album to date, Court and Spark (Asylum), is currently the top seller in America, which is mildly surprising: it is both too solemn and too good for that.
Like the rest of her West Coast singer-songwriter mates (from Graham Nash through to Jackson Browne) she bases her songs around herself, her worries and experiences. What sets her work aside from the egocentric tedium that such a style can produce is both the sheer quality of her writing and performing, and her ability to deal with private thoughts in a public way, make personal experiences of general significance.
The album shows how rock is growing up, gracefully, maturely, and a little sadly, dealing with the concern of a now slightly ageing generation. The songs are of indecision, the inability to act or get away, tension and unease at a party, or just waiting for a friend who doesn’t turn up. Trivial experiences, many of them, but always with a hint of something seriously wrong behind them, whether alienation, loneliness or plain world-weariness.
Her writing is sometimes shatteringly honest, imaginative and with an underlying desperation. Down To You starts with the observation that “everything comes and goes, marked by lovers and styles of clothes” and moves off into a stark and evocatively understated impression of brief midnight passion followed by equally bleak non-communication with the world in general the next morning. The Same Situation is even more revealing and sad, with thoughts on yet another highly experienced lover and his problems (“like the church, like a cop, like a mother, you want me to be truthful”), and her own situation “caught in my struggle for higher achievement and my search for love that doesn’t seem to cease.”
Another song deals with the problems of fame. The title track hints back to For Free (on the Ladies of the Canyon album) in its concern for the ideals of a street musician who has the freedom that she has lost, stuck in Los Angeles “the city of the fallen angels.”
Miss Mitchell leads the kind of liberated, rich, glamorous; life that many mere mortals would envy. Her hang-ups are worthy of our note not because of any insight they give to her lifestyle, but because of the way she treats them. Her musicianship is as fine as her lyrics; her voice has lightness as well as intensity and copes admirably with the musical gymnastics of her writing, Her piano playing backs it up well, as do the predictably famous session musicians (everyone from Robbie Robertson to Jose Feliciano).
Most of what they have to play is slow and melodic, with two exceptions right at the end of the album. Raised on Robbery is a successful all-out rocker (with witty but still bleak lyrics), while the old Annie Ross hit Twisted is the only disappointment. Joni Mitchell can’t sing jazz, and this curious track sounds all the more wrong after her own major songs." The Guardian Review by Robin Denselow.
Ratings :
AllMusic : 5 / 5 ; Discogs : 4.21 / 5 ; Encyclopedia of Popular Music : 5 / 5 ; The Rolling Stone Album Guide : 5 / 5 ; Slant Magazine : 5 / 5