Joni Mitchell: Live at Carnegie Hall – 1969Live at Carnegie Hall, 1969

Joni Mitchell: Live at Carnegie Hall – 1969

When I was a little kid, I remember listening to albums from my parent’s collection that that have stuck with me throughout the ups and downs of life.

Throughout her career as a songwriter, painter and musician, Joni Mitchell has never made any excuses about being a strong Canadian woman, expressing herself in her art and music. Perhaps those memories ofClouds在60年代的唱片播放器上,帮助我享受和欣赏The Hissing of Summer Lawnseven more today. Mitchell’s蓝色的Ladies of the Canyonare two of my favorite late night headphone listening albums – I’ll never shy away from that emotional journey. Her unique voice, distinct guitar sound are never far from my turntable.

乔尼·米切尔(Joni Mitchell)在卡内基霍尔(Carnegie Hall)上首次改变职业的首次亮相的3张专辑盒套装在2021年后期首次发行,我很幸运地登陆了180-gram,三级LP,Snow White Vinyl版本。这款珠宝是敬业的乔尼粉丝必须拥有的。

从您第一次举行美丽但重型外套到沉浸在音乐中,住在卡内基音乐厅捕获a time and place in history. When a 25-year-old Joni Mitchell stepped on stage in her long vintage skirt on February 1, 1969 in front of a packed house, it was her first major concert. Her partner at the time, Graham Nash sat in the audience along with her parents and Bob Dylan. Her debut album,Song to a Seagull大卫·克罗斯比(David Crosby)制作的不到一年不到一年。这位加拿大人是加利福尼亚的新手,但熟悉在咖啡馆和夜总会表演。但这很大。

The black and white photo on the cover features Mitchell, pin-straight hair down her back, sitting at a Steinway, 3 mic stands, and her trademark Martin D-28 Dreadnought laying on an otherwise empty stage. If a picture could tell a story, this one certainly sets the tone for what a treasure that jacket holds, captured on vinyl. Joel Bernstein’s candid photographs, Mitchell’s handwritten changes to the set list and lyrics to蓝色男孩offer a glimpse into that night in New York.

在第一部比赛中,这个华丽的白色乙烯基进入了我的参考原声固体老式独家,并带有低输出Dynavector DV-20X2墨盒。专辑以欣赏的人群和米切尔(Mitchell.根据格雷厄姆·纳什(Graham Nash)写的笔记,她已经开始了这首歌,但不得不停下来。人群支持他们目睹的重要事件,给了她一个情人节,她举起了她,在舞台上微笑着。当她承认这种手势时,您会听到她声音中的紧张感,但是当她定居在“仙人掌树”中时,最初的犹豫融化了。从那一刻起,当她在那个著名的舞台上露出自己的心灵和灵魂时,她听起来很放松,自信和元素。她几乎为自己的钢琴弹弹道歉,但在“蓝色男孩”上钉了钉子。她在两者之间的轻松戏ther听起来更像是她与一小撮亲密人群进行的对话,而不是在她面前的3600个座位上解决。在2侧(我个人最喜欢的曲目)恒星a capella饰演“小提琴和鼓”follows her explanation of what it was like to be a Canadian living in America during this incredibly important time in history.

The second set starts with “Marcie”, a song for a friend. The initial nerves are a distant memory, and her voice confidently holds the listener’s attention. Immersed in the music, Mitchell continues her musical storytelling. Dedicating “Morning Morgantown”对她的父母来说,有一个意识到,这个年轻的女人一个人在舞台上,在她的第一场大型秀期间有她的朋友和家人来支持她,而不是经验丰富的专业人士,她习惯于向大批人群表演。第二套以“圆形游戏和小绿色”的混合体结尾。There is a poignant edge to her description of the latter track as being “about a little girl.” At that time in her career, not much was known about her personal struggle after surrendering her daughter for adoption in 1965. Perhaps only a few people in this crowd knew Mitchell’s longing and heartbreak. As she fluidly shifts between the 2 songs, the emotional connection to her story deepens, drawing your focus to the fusion.

The fifth side contains her encore, starting with “Michael From Mountains,” closing the show with “Urge For Going,” after she retunes her guitar and acknowledges how far it is from Saskatoon to Carnegie Hall. Her delightful fingerpicking on the final track draws the listener in as her voice delicately lifts and swells, describing a Sasketchewan winter.

她voic的颤音e, the sound of fingers plucking steel strings and the voices of the crowd singing with her onGet Togetherare clearly heard, even when in the background, reflecting the talent of Bernie Grundman’s mastering. Overall, this live recording is dynamic and well balanced without taking away from the artist alone on stage. The exquisite layers and passion behind the music are attained in this album. From the first play, this peek into music history has quickly become a frequent flyer on my TT.

Live at Carnegie hall, 1969is a gift from a place in history that needs to be remembered as a time of change and uncertainty. This album not only pulls the listener back to late 60′s free spirit hippy culture that embraced my parents, but draws you in with honest vulnerability and creativity. The special place I have for Joni Mitchell and her music throughout my life, in my collection and in Canadian music history, just grew by leaps and bounds. Two very enthusiastic Canadian thumbs up.


- Shanon McKellar