Joni Mitchell CLOUDS Reprise Records RS 6341 (1970 reissue gatefold) NM
  $   24

 


$ 24 Sold For
Nov 29, 2020 Sold Date
Nov 19, 2020 Start Date
$   6 Start price
6   Number Of Bids
  USA Country Of Seller
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Description

Joni Mitchell CLOUDS Reprise Records RS 6341 (1970 reissue gatefold)

Tracklist

A1 Tin Angel Producer – Paul Rothchild* 4:06 A2 Chelsea Morning 2:30 A3 I Don't Know Where I Stand 3:10 A4 That Song About The Midway 4:33 A5 Roses Blue 3:47

B1 The Gallery 4:06 B2 I Think I Understand 4:22 B3 Songs To Aging Children Come 3:03 B4 The Fiddle And The Drum 2:45 B5 Both Sides, Now 4:30

*(all photos are of the actual item)

  • Record Company – Warner Bros. Records Inc.
  • Copyright (c) – Siquomb Publishing Corp.
  • Recorded At – A&M Studios
  • Art Direction – Ed Thrasher
  • Composed By, Arranged By, Artwork [Cover Art] – Joni Mitchell
  • Engineer – Henry Lewy

Notes

Repress on 1970-75 solid tan "steamboat" label.
Packaged in a gatefold cover.
  • Matrix / Runout (Label Side A): 30,885
  • Matrix / Runout (Label Side B): 30,886
  • Matrix / Runout: 30885 RS6341 A 1-J
  • Matrix / Runout: 30885 RS6341 B 1E

 AllMusic Review by David Cleary
     Clouds is a stark stunner, a great leap forward for Joni Mitchell. Vocals here are more forthright and assured than on her debut and exhibit a remarkable level of subtle expressiveness. Guitar alone is used in accompaniment, and the variety of playing approaches and sounds gotten here is most impressive. "The Fiddle and the Drum," a protest song that imaginatively compares the Vietnam-era warmongering U.S. government to a bitter friend, dispenses with instrumental accompaniment altogether. The sketches presented of lovers by turns depressive ("Tin Angel"), roguish ("That Song About the Midway"), and faithless ("The Gallery") are vividly memorable. Forthright lyrics about the unsureness of new love ("I Don't Know Where I Stand"), misuse of the occult ("Roses Blue"), and mental illness ("I Think I Understand") are very striking. Mitchell's classic singer/songwriter standards "Chelsea Morning" and "Both Sides Now" respectively receive energetically vibrant and warmly thoughtful performances. Imaginatively unusual and subtle harmonies abound here, never more so in her body of work than on the remarkable "Songs to Aging Children Come," which sets floridly impressionistic lyrics to a lovely tune that is supported by perhaps the most remarkably sophisticated chord sequence in all of pop music. Mitchell's riveting self-portrait on the album's cover is a further asset. This essential release is a must-listen


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