The Hissing Of Summer Lawns
 
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The Hissing Of Summer Lawns

5 Nov 2007 | Format: MP3

£7.99 (VAT included if applicable)
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30
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3:19
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4:24
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3:36
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4:04
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4:57
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3:01
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3:50
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6:48
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4:11
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4:17

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Product details

  • Original Release Date: 5 Nov 2007
  • Release Date: 5 Nov 2007
  • Label: Rhino/Elektra
  • Copyright: 1974 Elektra/Asylum Records
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 42:27
  • Genres:
  • ASIN: B001F18FNC
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (44 customer reviews)
  • Amazon Bestsellers Rank: 3,303 in MP3 Albums (See Top 100 in MP3 Albums)

Customer Reviews

4.8 out of 5 stars
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Most Helpful Customer Reviews

36 of 36 people found the following review helpful By Ms. Felicia Davis-burden VINE VOICE on 6 July 2006
Format: Audio CD
This is Joni's expert analysis of LA life, as both observer and ambilvalent participant. A masterpiece it definitely is.

I must disagree with those who have said that 'Jungle Line' is sub-standard, weak or horrid. It is a wonderful portrayal of innocense newly lost on arrival in the 'jungle' of LA. The metaphor of Rouseau's art and the sounds of burundi drums, Moog synth and Joni's voice and guitar, work hypnotically together to break up the smooth veneer of the album as a whole (representing the smooth veneer of LA itself!) exposing the lusting and dangerous 'belly of the beast'. I actually see 'Jungle Line' as one of Joni's finest tracks.

'Edith and the King Pin' is a fine study of how an LA millionaire builds up his charmed hareem, seducing with jewels, champagne and drugs, choosing his women like Rouseau would his shades of paint. Another beautifully detailed highlight.

This is one of Joni's masterpieces. Along with Hejira, Blue and Court & Spark, Summer Lawns represents her artistic maturing and daring as a writer. A fabulous collection
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24 of 24 people found the following review helpful By Nocode on 5 Feb 2006
Format: Audio CD
While Hejira is my favourite Joni album this record is fighting it out with 'For the Roses' for second place. The record generally has quite a laid back feel to it. The opener takes up from where 'Court and Spark' left off, after that however the album becomes more adventurous without compromising on melody. Some have cticised the 'the jungle line.' True it isn't in keeping with the rest of the album and for that reason it perhaps disrupts the record's rhythm. Yet it is undeniably innovative. Other tracks, especially 'Harry's House/Centrepiece' incorporate overt forays into jazz. All in all this is an essential and original album.
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11 of 11 people found the following review helpful By Jeffrey M. Black on 14 Sep 2008
Format: Audio CD
Joni fans tend to divide between those those that prefer the naked confessional of 'Blue' and those that regard the jazzy trio of mid-70s albums that comprise 'Court & Spark', 'The Hissing of Summer Lawns' and 'Hejira' to be her creative peak. I'm in the latter category.

I first heard this album in a musical instrument shop. they were playing 'Harry's House' and the line "A helicopter lands on the Pan-Am roof like a dragonfly on a tomb" caused me to ask the staff what it was. Joni's lyrics are cinematic - like little movie pitches - and beautifully evocative of that period. That track and the album's title investigate the dark side of the suburban dream, set to cool jazzy accompaniment that will make everything else you listen to sound crude.

Elsewhere 'The Jungle Line' discovers Burundi drums a good five years before Adam Ant. 'Edith and The Kingpin' has luscious orchestration that seems to literally seduce you and the multi-layered harmonies of 'Shadows & Light' indicate an artist that is at the peak of her game.

The fact that this got lukewarm reviews on its release either shows how clueless some journalists can be or demonstrates how far ahead Joni was. An astonishingly good album.
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27 of 28 people found the following review helpful By A. Miller on 2 Nov 2006
Format: Audio CD
This was Melody Maker's album of the year in 1975 or thereabouts, so I bought it, played it twice and put it aside as rather uninteresting. Oh foolish youth, I fortunately did not take it down the local student-fund-raising second-hand store, but listened again and became gradually entranced by the melodic and lyrical flair contained therein. Barely a poor moment (the Jungle Line - sorry! - the Centrepiece interlude and Shadows and Light don't sit well with the rest, just to be picky) - the good stuff just keeps on coming. In France they Kiss... followed by [er...OK, where's that skip button!] then Edith ... Don't Interrupt ... Shades of Scarlett ... Hissing ... Boho Dance ... Harry's House... Sweet Bird.... The rest are perfectly fine, but those 8 are sublime, 30+ years on.

I have failed in my attempts to get friends to love this, but I sometimes sit after everyone has gone to bed with a glass of wine, and wallow in the combination of current appreciation and nostalgic association which old favourites engender. Sigh!
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5 of 5 people found the following review helpful By T. Edwards on 1 Oct 2007
Format: Audio CD
Along with the more obvious Blue, this is Joni's most career defining record. Whilst the former perfected her internal, almost confessional work, The Hissing of Summer Lawns epitomises her role as observer, or even satirist, and her musicianship. Broadly speaking it is a concept album that juxtaposes the human, the animal, and the spiritual in a dense series of portraits of - mostly - Californian life. Think of David Lynch movies and you get a little bit of an idea - the title refers to the hiss of sprinklers on grass, the keeping up of appearances, repressing of darker desires... you get the picture. Elsewhere she explores drug cultures and exploitation (The Jungle Line and Edith & The Kingpin), suburban desperation (the title track, Harry's House) and ruminates on what it all means (the two closers). Throughout her lyricism, once sparse and raw, is lush and layered with imagery - Shades of Scarlett Conquering (a sharp look at a young socialite) both sounds like something from Hollywood's golden age and looks/reads like it e.g. "with her impossibly gentle hands and her blood red fingernails". The depth of playing with a small team of musicians and engineer Henry Lewy never falters - varyingly paced with layers of latin, jazz, and african influences co-existing alongside Joni's own keyboard and guitar work. It's an album that rewards almost constant playing year on year, never failing to reveal more light, more shade. Not only important for Mitchell but a landmark in modern music.
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