Joni Mitchell’s ‘Archives Vol. 4: 1976-1980’ Unearths Buried Treasure From Her Most Creative and Challenging Era: Album Review
variety.comJem Aswad Executive Editor, Music The volumes of Joni Mitchell’s glorious vault-clearing series of “Archives” boxed sets are organized by musical eras, and the first three were relatively tidy: the folkie ‘60s, the “Ladies of the Canyon” era, and her commercial peak, the sleek jazz-pop of the “Court and Spark” years and its era-soundtracking singles “Free Man in Paris” and “Help Me.” “Archives Vol.
4: 1976-1980” is something different: the period when Mitchell pushed farther and farther away from her audience’s expectations.
There she is on the cover in her ubiquitous beret, scarf and sweater, the epitome of mid-‘70s cool, taking one last look at something she was already leaving behind.
The music of this era sprawls across “Hejira,” with its shimmering electric guitars and stately songs of travel and fast flings; the headlong move into jazz with the sprawling “Don Juan’s Reckless Daughter” (which is unfortunately better known for her appearance in blackface on the original cover); the daunting “Mingus,” co-written with the titular jazz great; and finally the mighty “Shadows and Light” live album.
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