JONI MITCHELL The Hissing Of Summer NIMBUS SUPERCUT

	£		99
	$		131

A BREAKDOWN OF THE ARTIST/S :-

Born Roberta Joan Anderson, 7 November 1943, Fort McLeod, Alberta, Canada. After studying art in Calgary, this singer-songwriter moved to Toronto in 1964, where she married Chuck Mitchell in 1965. The two performed together at coffee houses and folk clubs, playing several Mitchell originals including "The Circle Game". The latter was a response to Canadian Neil Young who had recently written "Sugar Mountain", a paean to lost innocence, which Mitchell herself included in her sets during this period. While in Detroit, the Mitchells met folk singer Tom Rush, who unsuccessfully attempted to persuade Judy Collins to cover Mitchell's "Urge For Going". He later recorded the song himself, along with the title track of his next album, The Circle Game. The previously reluctant Collins also brought Mitchell's name to prominence by covering "Michael From Mountains" and "Both Sides Now" on her 1967 album Wildflowers.

Following her divorce in 1967, Mitchell moved to New York and for a time planned a career in design and clothing, selling Art Nouveau work. Her success on the New York folk circuit paid her bills, however, and she became known as a strong songwriter and engaging live performer, backed only by her acoustic guitar and dulcimer. At this time the astute producer Joe Boyd took her to England, where she played some low-key venues. On her return she appeared at the Gaslight South folk club in Coconut Grove, Florida. Her trip produced several songs, including the comical tribute to "London Bridge", based on the traditional nursery rhyme. The song included lines such as "London Bridge is falling up/Save the tea leaves in my cup" Other early material included the plaintive "Eastern Rain", "Just Like Me" and "Brandy Eyes", which displayed Mitchell's love of sharp description and internal rhyme.

Mitchell was initially discovered by budding manager Elliot Roberts at New York's Cafe Au Go-Go, and shortly afterwards in Coconut Grove by former Byrds member, David Crosby. She and Crosby became lovers, and he went on to produce her startling debut album Joni Mitchell aka Song To A Seagull. Divided into two sections, "I Came To The City" and "Out Of The City And Down To The Seaside", the work showed an early folk influence that was equally strong on the 1969 follow-up Clouds, which featured several songs joyously proclaiming the possibilities offered by life, as well as its melancholic side. "Chelsea Morning" presented a feeling of wonder in its almost childlike appreciation of everyday observations. The title of the album was borrowed from a line in "Both Sides Now", which had since become a massive worldwide hit for Judy Collins. The chorus ("It's love's illusions I recall/I really don't know love at all") became something of a statement of policy from Mitchell, whose analyses of love - real or illusory - dominated her work. With Clouds, Mitchell paused for reflection, drawing material from her past ("Tin Angel", "Both Sides Now", "Chelsea Morning") and blending them with songs devoted to new-found perplexities. If "I Don't Know Where I Stand" recreates the tentative expectancy of an embryonic relationship, "The Gallery" chronicles its decline, with the artist as the injured party. The singer, however, was unsatisfied with the final collection, and later termed it her artistic nadir.

Apart from her skills as a writer, Mitchell was a fine singer and imaginative guitarist with a love of open tuning. Although some critics still chose to see her primarily as a songwriter rather than a vocalist, there were already signs of important development on her third album, 1970's Ladies Of The Canyon. Its title track, with visions of antique chintz and wampum beads, mirrored the era's innocent na‹vety, a feature also prevailing on "Willy", the gauche portrait of her relationship with singer Graham Nash. Mitchell is nonetheless aware of the period's fragility, and her rendition of "Woodstock" (which she never visited), a celebration of the hippie dream in the hands of Crosby, Stills, Nash And Young, becomes a eulogy herein. With piano now in evidence, the music sounded less sparse and the lyrics more ambitious. portraying the hippie audience as searchers for some lost Edenic bliss ("We are stardust, we are golden . . . and we've got to get ourselves back to the garden"). With "For Free" (later covered by the Byrds), Mitchell presented another one of her hobbyhorses - the clash between commercial acceptance and artistic integrity. Within the song, Mitchell contrasts her professional success with the uncomplicated pleasure that a street performer enjoys. The extent of Mitchell's commercial acceptance was demonstrated on the humorous "Big Yellow Taxi", a sardonic comment on the urban disregard for ecology. The single was a UK number 11 hit and was even more surprisingly covered by Bob Dylan.

Following a sabbatical, Mitchell returned with her most introspective work to date, Blue. Less melodic than her previous albums, the arrangements were also more challenging and the material self-analytical to an almost alarming degree. Void of sentimentality, the work also saw her commenting on the American Dream in "California" ("That was a dream some of us had"). Austere and at times anti-romantic, Blue was an essential product of the singer-songwriter era. On Blue, the artist moved from a purely folk-based perspective to that of rock, as the piano, rather than guitar, became the natural outlet for her compositions. Stephen Stills (guitar/bass), James Taylor (guitar), "Sneaky" Pete Kleinow (pedal steel) and Russ Kunkel (drums) embellished material inspired by an extended sojourn travelling in Europe, and if its sense of loss and longing echoed previous works, a new maturity instilled a lasting resonance to the stellar inclusions, "Carey", "River" and the desolate title track.

Any lingering sense of musical restraint was thrown off with 1972's For The Roses, in which elaborate horn and woodwind sections buoyed material on which personal themes mixed with third-person narratives. The dilemmas attached to fame and performing, first aired on "For Free", reappeared on the title song and "Blonde In The Bleachers" while "Woman Of Heart And Mind" charted the reasons for dispute within a relationship in hitherto unexplored depths. "You Turn Me On, I'm A Radio" gave Mitchell a US Top 30 entry, but a 15-month gap ensued before Court And Spark appeared. Supported by the subtle, jazz-based LA Express (led by Tom Scott), Mitchell offered a rich, luxuriant collection, marked by an increased sophistication and dazzling use of melody. The sweeping "Help Me" climbed to number 7 in the USA in 1974, bringing its creator a hitherto unparalleled commercial success. The emergence of Mitchell as a well-rounded rock artist was clearly underlined on Court And Spark with its familiar commentary on the trials and tribulations of stardom ("Free Man In Paris"). The strength of the album lay in the powerful arrangements courtesy of Tom Scott, and guitarist Robben Ford, plus Mitchell's own love of jazz rhythms, most notably on her amusing cover version of Annie Ross' "Twisted". The quality of Mitchell's live performances, which included stadium gigs during 1974, was captured on the live album Miles Of Aisles.

In 1975, Mitchell produced the startling The Hissing Of Summer Lawns, which not only displayed her increasing interest in jazz, but also world music. Her most sophisticated work to date, the album was less concerned with introspection than a more generalized commentary on American mores. In "Harry's House", the obsessive envy of personal possessions is described against a swirling musical backdrop that captures an almost anomic feeling of derangement. The Burundi drummers feature on "The Jungle Line" in which African primitivism is juxtaposed alongside the swimming pools of the Hollywood aristocracy. "Edith And The Kingpin" offers a startling evocation of mutual dependency and the complex nature of such a relationship ("His right hand holds Edith, his left hand holds his right/what does that hand desire that he grips it so tight?"). Finally, there was the exuberance of the opening "In France They Kiss On Main Street" and a return to the theme of "For Free" on "The Boho Dance". The album deserved the highest acclaim, but was greeted with a mixed reception on its release, which emphasized how difficult it was for Mitchell to break free from her "acoustic folk singer" persona. The Hissing Of Summer Lawns confirmed this new-found means of expression. Bereft of an accustomed introspective tenor, its comments on suburban values were surprising, yet were the natural accompaniment to an ever-growing desire to expand stylistic perimeters. However, although Hejira was equally adventurous, it was noticeably less ornate, echoing the stark simplicity of early releases. The fretless bass of Jaco Pastorius wrought an ever-present poignancy to a series of confessional compositions reflecting the aching restlessness encapsulated in "Song For Sharon", an open letter to a childhood friend. Though less melodic and textural than its predecessor, Hejira was still a major work. The dark humour of "Coyote", the sharp observation of "Amelia" and the lovingly cynical portrait of Furry Lewis, "Furry Sings The Blues", were all memorable.

The move into jazz territory continued throughout 1978-79, first with the double album, Don Juan's Reckless Daughter, and culminating in her collaboration with jazz player Charlie Mingus. The latter was probably Mitchell's bravest work to date, although its invention was not rewarded with sales and was greeted with suspicion by the jazz community. On Mingus, she adapted several of the master musician's best-known compositions. It was an admirable, but flawed, ambition, as her often-reverential lyrics failed to convey the music's erstwhile sense of spontaneity. "God Must Be A Boogie Man" and "The Wolf That Lives In Lindsay", for which Mitchell wrote words and music, succeeded simply because they were better matched. A live double album, Shadows And Light featured Pat Metheny and Pastorius among the guest musicians.

At the start of the 80s Mitchell signed a long-term recording contract with Geffen Records and the first fruits of this deal were revealed on Wild Things Run Fast in 1982; following this she married bass player Larry Klein, and appeared to wind down her activities. A more accessible work than her recent efforts, Wild Things Run Fast lacked the depth and exploratory commitment of its predecessors. The opening song, "Chinese Cafe", remains one of her finest compositions, blending nostalgia with shattered hopes, but the remainder of the set was musically ill-focused, relying on unadventurous, largely leaden arrangements. Its lighter moments were well-chosen, however, particularly on the humorous reading of Leiber And Stoller's "Baby, I Don't Care".

The Thomas Dolby-produced Dog Eat Dog was critically underrated and represented the best of her 80s work. Despite such hi-tech trappings, the shape of the material remained constant with "Impossible Dreamer" echoing the atmosphere of Court And Spark. Elsewhere, "Good Friends", an up-tempo duet with Michael McDonald, and "Lucky Girl", confirmed Mitchell's new-found satisfaction and contentment. Chalk Mark In A Rain Storm continued in a similar vein, while including two notable reworkings of popular tunes, "Cool Water", which also featured Willie Nelson, and "Corrine Corrina", herein retitled "A Bird That Whistles". Their appearance anticipated the change of perspective contained on Night Ride Home, issued in 1991 following a three-year gap. Largely stripped of contemporaneous clutter, this acoustic-based collection invoked the intimacy of Hejira, thus allowing full rein to Mitchell's vocal and lyrical flair. Its release coincided with the artist's avowed wish to pursue her painting talents - exhibitions of her 80s canvases were held in London and Edinburgh - leaving future musical directions, as always, open to question.

The creatively quiet decade that followed did little to detract from her status, though many were pleased to witness her renaissance in the 90s. Rumours abounded in the 90s that her addiction to cigarettes had caused a serious throat ailment (her voice had become progressively lower and huskier); although this was never confirmed she was told to quit smoking, advice which she promptly ignored. After contributing a track, "If I Could", to Seal's 1994 album, she embarked on her first live dates in 12 years on a tour of Canada, before settling in to the studio once more to record Turbulent Indigo with production support from ex-husband Larry Klein in Los Angeles. Although it was not a major hit she won a Grammy in 1995 for Best Pop Album. Two contrasting compilations were released the following year, chronicling the commercial and non-commercial sides of the artist's oeuvre. Mitchell subsequently returned to the studio to record Taming The Tiger, a lush, textured album which echoed the sound of her mid-70s work. Both Sides Now was essentially an album of covers, one of which was an excellent version of Etta James' "At Last". Other highlights included a smokey string-laden recording of "Both Sides Now". Larry Klein produced and arranged this album and the follow-up, Travelogue. It was stated by Mitchell that this was her last album, but it is unlikely that fans will take this seriously.

Mitchell is one artist that deserves a detailed biography; while we wait, Bill Ruhlmann's revealing 25,000 word interview for Goldmine magazine opened the door to the biographers. Karen O'Brien's Shadows And Light: The Definitive Biography is the best so far. Rightly regarded as one of the finest singer-songwriters of her generation, Mitchell has displayed more artistic depth and lyrical consistency than most of her illustrious contemporaries from the 70s. Her remarkable body of work encompasses the changing emotions and concerns of a generation: from idealism to adult responsibilities, while bearing her soul on the traumas of already public relationships. That she does so with lyrical insight and melodic flair accounts for a deserved longevity.

Discography:
Joni Mitchell aka Song To A Seagull (Reprise 1968)***, Clouds (Reprise 1969)***, Ladies Of The Canyon (Reprise 1970)****, Blue (Reprise 1971)*****, For The Roses (Asylum 1972)****, Court And Spark (Asylum 1974)*****, Miles Of Aisles (Asylum 1974)***, The Hissing Of Summer Lawns (Asylum 1975)****, Hejira (Asylum 1976)****, Don Juan's Reckless Daughter (Asylum 1977)***, Mingus (Asylum 1979)****, Shadows And Light (Asylum 1980)****, Wild Things Run Fast (Geffen 1982)***, Dog Eat Dog (Geffen 1985)***, Chalk Mark In A Rainstorm (Geffen 1988)***, Night Ride Home (Geffen 1991)****, Turbulent Indigo (Reprise 1994)***, Taming The Tiger (Reprise 1998)***, Both Sides Now (Reprise 2000)****, Travelogue (Nonesuch 2002)***.

THE RARITY OF THE RECORD :- Joni Mitchell's rarest album by far due to the fact that this was only produced for mail order by Hi-Fi Today magazine. Nimbus Supercut albums were a series of albums that were remastered and pressed by the legendary Nimbus for readers of Hi-Fi Today magazine and are extremely rare and sought after Lp's which can fetch upwards of a £1000 or more dependant on the artist. Only around 500 of each album in the series were ever made which makes this Lp virtually impossible to find and one in this condition even rarer still.

ABOUT NIMBUS :- Nimbus 'Supercut' Records: Nimbus Records have achieved somewhat of a legendary status within the audiophile circle for their 'Supercut' releases, which were only available by mail order through the Hi-fi magazines 'Practical Hi-fi' and 'Hi-fi Today' in the early 1980s. Nimbus mastered each release from the original master tapes using the best available mastering processes. Infact, Nimbus employed many techniques for each release that were not commonly used. For example, generally when bass moves from channel to channel on an LP, groove modulation is employed to reduce the movement of the stylus and this results in this bass being centered more over both channels. Most audiophiles would argue that this - and in fact anything, which changes the original recording should be avoided although this is common practise on most LPs. For example, the release of 'Joan Armatrading' had bass moving from channel to channel in several places, but Nimbus did not limit this, resulting in an outstanding pressing. Nimbus also had the ICI company produce an extremely pure vinyl for the LPs, which has amazing frequency reproduction and is virtually noise free - similar in quality to the 'super vinyl' used on earlier Mofi pressings. Due to their rarity and small pressing quantities, they are often more expensive than audiophile LPs from other labels, but the sums paid can be justified by the outstanding quality of the pressings and the fact that they tend to rise in value over time and as such are deemed as investments by some audiophiles. Other releases included Pink Floyd's 'Wish You Were Here', Beatles 'Sgt Pepper' and Wings 'Band on the Run' and many other excellent titles

THE COVER :- Single heavyweight textured sleeve with Nimbus Supercut sticker

THE LABEL :- Cloudy sky Asylum Records label

THE VINYL VISUALLY :- On initial inspection this beautiful piece of heavyweight quality vinyl sits perfectly flat on the turntable and retains all of its original very deep glossy shine and lustre. It looks like it has been barely played and lovingly cherished by its owner. I cannot see any areas of concern

THE VINYL PLAY GRADED :- On play grading this fantastic record I have found it to be a crystal clear and vibrant sound that hasn't lost any of it's magic over the past 30 years. It certainly sounds on play grading that it has barely been played with only the merest of static hiss on the run in and run out grooves, I'm sure even this will go away once the album has a couple of plays and cleans. The Nimbus Supercut series were renowned for their quality and this album is no exception. Overall I would say the vinyl plays to an Excellent Plus to Near Mint condition

THE SLEEVE FRONT CONDITION :- This sleeve was totally revamped by Nimbus, the original cover was a fragile gatefold sleeve that was prone to extensive wear. Nimbus took it and made it a heavyweight gatefold sleeve which was far less prone to caging wear. on. This sleeve has just some minor shelfwear in the corners due to storage buck still retains all of the original shine and feel that was intended. The all important Nimbus sticker is i mint and unblemished condition. I would rate the front of the cover as Excellent condition

THE GATEFOLD INNER CONDITION :- The inner gatefold contains full track details with lyrics on the one side and some tributes and information on the creation of the album on the other side. There are a few age related marks on the inner but no writing or tears. I would rate the inner gatefold as a strong Very Good condition owing to these age related marks.

THE SLEEVE REAR CONDITION :- The rear of the sleeve also provides track details and a footnote to Gothis Print Finishers Ltd who designed and printed the sleeve, there are the same signs of corner shelfwear as displayed on the front of the sleeve and some fraying to the top seam. I would rate the rear of the sleeve as Excellent Minus in condition.

THE SLEEVE ARTWORK :- The African theme of "The Jungle Line" is the premise on the album sleeve, with an image of natives carrying a huge captured snake (both were embossed or "raised" on the original vinyl album cover). The men and the snake are superimposed against the Beverly Hills suburbs, with Mitchell's own house marked in blue on the back cover.

THE LABEL SIDE ONE CONDITION :- Original Asylum Elektra label in near perfect condition free from stickers or writing and no damage at all, only slight signs of minimal plays around the spindle hole. Near Mint condition.

THE LABEL SIDE TWO CONDITION :- Original Asylum Elektra label in near perfect condition free from stickers or writing and no damage at all, only slight signs of minimal plays around the spindle hole. Near Mint condition.

THE STAMPERS :- NIMBUS ENGLAND is clearly stamped on both sides

THE SPINE CONDITION :- The writing on the spine is readable, no spine splits at all just some fraying due to shelf storage

THE INNER SLEEVE CONDITION :- Plain issue polylined sleeve free from splits and tears

THE EXTRAS :- No extras were given with this album

THE CATALOGUE NUMBER :- K 53018

THE YEAR OF RELEASE :-  1975

THE COUNTRY OF ORIGIN :-  UK

THE MATRIX NUMBERS :-  K 53018 A3  & K 53018 B2

STAMPERS :- NIMBUS ENGLAND

TRACK LISTING :-

SIDE ONE :-

1. IN FRANCE THEY KISS ON MAIN STREET
2. THE JUNGLE LINE
3. EDITH AND THE KINGPIN
4. DON'T INTERRUPT THE SORROW
5. SHADES OF SCARLET CONQUERING

SIDE TWO :-

1. THE HISSING OF SUMMER LAWNS
2. THE BOHO DANCE
3. a) HARRY'S HOUSE b) CENTREPIECE
4. SWEET BIRD
5. SHADOWS OF LIGHT

WHAT WE PLAY THE RECORD ON :- 

We use a Project 6 Perspex Turntable to play grade our records which delivers a rich authoritative sound and achieves a rich and weighty vibrancy unrivalled by the majority of decks within its price range

HOW WE CLEAN YOUR RECORD :- 

We use a V.P.I. HW-16.5 record cleaning machine to clean your vinyl. "A highly recommended machine" as quoted by Stereophile magazine. This removes any excess dirt before playing

HOW WE PACKAGE YOUR RECORD :- 

Your record will be package very securely to minimise any risk of damage during transit. We remove the record from the outer sleeve unless asked not to do so. This helps to minimise the risk of seam splitting. We use a high quality record mailer which is designed to give superior protection for your vinyl record. We place stiffeners either side of the record for added protection. The album will also be placed in a 450 gram Poly outer sleeve for even extra added protection

POSTAGE AND PACKAGING CHARGES FOR UK CUSTOMERS :-

We advise that items reaching over £39.00 in price to be insured and sent by Special Delivery. This protects both of us and ensures better handling of the parcel during transit.We are in no way out to make money from postage. The postage price includes the record mailer, stiffeners and plastic sleeve. We just want your item to reach you in the best possible condition. A breakdown of insured postal services are listed below. Please choose to use the relevant postal service for your own protection as once these rare records are lost they can quite often seldom be replaced

FIRST CLASS RECORDED FOR RECORDS INSURED UP TO £39  :-   £3.75

SPECIAL DELIVERY NEXT DAY :- £6.40

POSTAGE AND PACKAGING FOR THE EUROPEAN UNION :-    

All records reaching under £15.00 are sent to the European Union by Airmail small packets. We will not ship abroad without insured post for items reaching over £15.00.

AIRMAIL SMALL PACKETS  :-  £6.00 (For items under £15.00)

INTERNATIONAL SIGNED FOR :-  £9.75 (For items £15.00 - £39.00)

INTERNATIONAL SIGNED FOR :- £11.99 (For items over 39.00)

POSTAGE AND PACKAGING FOR THE USA AND CANADA :- 

All records reaching under £15.00 are sent to the USA & Canada by Airmail small packets. We will not ship abroad without insured post for items reaching over £15.00.

AIRMAIL SMALL PACKETS  :-  £8.00 (For items under £15.00)

INTERNATIONAL SIGNED FOR :- £11.75 (For items £15.00 - 39.00)

INTERNATIONAL SIGNED FOR :- £16.00 (For items over £39.00)

POSTAGE AND PACKAGING FOR THE AUSTRALIA AND JAPAN AND ROW :- 

All records reaching under £15.00 are sent to the Australia & Japan by Airmail small packets. We will not ship abroad without insured post for items reaching over £15.00

AIRMAIL SMALL PACKETS  :-  £8.00 (For items under £15.00)

INTERNATIONAL SIGNED FOR :- £11.75 (For items £15.00 - £39.00)

INTERNATIONAL SIGNED FOR :- £16.00 (For items over £39.00)

NOTE FOR INTERNATIONAL BUYERS:

PLEASE AWAIT AN INVOICE BEFORE PAYING SO WE CAN WORK OUT THE CORRECT POSTAGE/SHIPPING CHARGES

BUYERS OF MULTIPLE ITEMS :- 

Postage prices and courier methods for multiple purchases will be calculated after the auction end. It is impossible for us at the pre auction stage to determine these prices as the final weight is unknown.If you are the winner of multiple items the please await contact from us or alternately contact us yourself for a breakdown of the shipping costs.You will only pay the stamp price + relevant packaging charges so there are big savings to be made with multiple purchases

HOW TO PAY FOR YOUR RECORD :-

We can accept the following payment methods

UK BUYERS :- 

• PayPal
• Personal cheque (Please allow to clear)
• Bankers Draft
• Postal Order

OVERSEAS BUYERS :-

• Paypal only

TERMS AND CONDITIONS :-

We always try to appraise the record for sale as openly and honestly as possible and provide plenty of pictures for you to look at but please be aware that errors however rare do occur and not everyone has the same audio  equipment. There is no problem that cannot be worked out in a civilised manner. We urge you to contact us so that we can discuss any small problems that may occur. We offer a refund of the purchase price for returned items within 7 days of purchase and are happy to help you with any questions or concerns you may have during the auction

SAVE US TO YOUR FAVOURITES LIST AS WE INTEND TO LIST MANY MORE RARE VINYL TREATS OVER THE COMING MONTHS AND YEARS