MOFI Ladies Of The Canyon [VINYL]

Ladies of the Canyon Marks the Beginning of Joni Mitchell's Creative Metamorphosis: Includes ''Big Yellow Taxi,'' ''Woodstock,'' and ''The Circle Game'' Pressed on MoFi SuperVinyl and Limited to 5,000 Numbered Copies: Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP Set Presents 1970 Album in Unparalleled Sound, Features New Liner Notes Ladies of the Canyon can be viewed as Joni Mitchell's coming-out party. Having recently moved to Lookout Mountain in Los Angeles' Laurel Canyon area - her house is depicted in a watercolor painting she made for the record's cover - the Canadian icon turned to her immediate surroundings for inspiration the while taking the pulse of national affairs, corporate enterprise, celebrity, and her relationship with Graham Nash. The 1970 album finds the singer-songwriter morphing into the groundbreaker who would shed folk music's constructs and wade into pop, jazz, soul, and poetry with a combination of depth, sophistication, self-examination, and acumen no one had ever heard. Sourced from the original analog master tapes, pressed on SuperVinyl at RTI on MoFi SuperVinyl, featuring new liner notes, and strictly limited to 5,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set delivers Ladies of the Canyon with bracing intimacy, detail, balance, and depth. Marking the first time the LP has received audiophile treatment, it's one of six iconic Mitchell records Mobile Fidelity is reissuing on definitive-sounding vinyl and SACD sets. Playing with organic warmth, superb clarity, and ample spaciousness, this collectible UD1S edition benefits from the inherent properties of SuperVinyl - a virtually nonexistent noise floor, reference-caliber groove definition, and ultra-silent surfaces among them. Primarily recorded solo, with spare accompaniment on select tracks, Mitchell practically takes up residence in your listening room. Her voice, piano, and guitar image with spot-on precision and three-dimensionality; the music is focused, emotional, natural. Auxiliary instrumentation - cello, clarinet, baritone saxophone, Milt Holland's deft percussion - is seamless, cohesive, steady. Notes bloom and decay as they do on a live stage; relatedly, the soundstage extends far and wide, with carbon-black backgrounds adding to the uncanny realism. The packaging of the Ladies of the Canyon UD1S set complements its distinguished status. Housed in a deluxe slipcase, both LPs come in special foil-stamped jackets with faithful-to-the-original graphics that illuminate the splendor of the recording. This UD1S reissue is made for listeners who prize sound quality and production, and who desire to engage themselves in everything involved with the album, including Michell's illustrative painting that serves as the cover art. Deemed ''powerful and brilliant'' upon release by The New York Times, Ladies of the Canyon followed Mitchell's first Grammy-winning effort (Clouds) and marked the first of six consecutive masterworks she made en route to becoming the most celebrated singer-songwriter of both her generation, and, arguably, all time. It's the first record on which the then-26-year-old featured the piano, a creative decision of immeasurable significance; first to attain platinum status, which transformed Mitchell into more than a folk figure; first to see her taking more chances with her singing; and the last on which she comes across upbeat, largely unencumbered by the complex themes and personal ache that would occupy her for the foreseeable future. Mitchell radiates confidence and courage, producing Ladies of the Canyon herself after realizing she didn't need the services of an outsider when she already knew what she wanted. She just required a competent and collaborative engineer, who she landed in Henry Lewy. Fittingly, on the record's affectionate title track, she celebrates community and a trio of women - all real, all from her Laurel Canyon neighborhood - who, individually, as a visual artist, free