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Ladies of the Canyon Import

4.8 out of 5 stars 61 customer reviews

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Product details

  • Audio CD (13 Jan. 2008)
  • Number of Discs: 1
  • Format: Import
  • Label: Wea Japan
  • ASIN: B000GW88W4
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (61 customer reviews)
  • Amazon Bestsellers Rank: 1,231,976 in Music (See Top 100 in Music)

Product Description

Our product to treat is a regular product. There is not the imitation. From Japan by the surface mail because is sent out, take it until arrival as 7-14 day. Thank you for you seeing it.

Customer Reviews

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Top Customer Reviews

Format: Audio CD
LOTC was my intitation into the world of Joni Mitchell. Fourteen years old, with romantic notions about Woodstock as it approached the twentieth anniversary, I searched out the cassette to hear what Graham Nash had described.

The "Woodstock" anthem was the catalyst for LOTC success, but it is by no means the only, or even best, tune this effort offers. "Morning Morgantown" sets the scene for a recording that basically takes the listener through a pastoral panorama. Along the way are some observations about the intrusion of art meets commerce ( "For Free"), manipulative triangles ( " Conversation"), Gender roles ( the stunning " Arrangement"), and spiritual quest ( " The Priest"). Of course, another career launcher, " Big Yellow Taxi", graces this album, as well as Mitchell's camp classic " The Circle Game".

This might possibly be the best introduction one could have to Ms. Mitchell's extraordinary canon. Then, working back to the first two, already exquisit work will be found. Proceeding forward, the genuis takes shape. LOTC is music for mellowing.
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By carlosnightman VINE VOICE on 17 Sept. 2009
Format: Audio CD
Joni's third album is a massive leap forwards in terms of quality, melodically stronger, musically more adventurous, thematically there is a wider range, and it is also lyrically sharper. Blue may be the more critically acclaimed and overshadows much of her other work, but this is equally flawless and indeed contains more famous songs. Her first big hit Big Yellow Taxi is here, as well as one of the defining songs of the Sixties `Woodstock'. With this album Joni became the spokesperson for a generation and every song both sounds eternally rooted in the days they were written, and as fresh and relevant today. Ladies conveys the freedom and ideals of the Hippy movement, but is also full of the darker introspection which would fill her next album. At turns joyous and bleak, and never less than mesmerizing Ladies Of The Canyon is an album which stands high above the singer-songwriter offerings of today and is one which every music lover should hear.

`Morning Morgantown' opens the album in storybook style with Joni telling us about an idyllic morning in a small town, who she sees and everything that happens. With pleasant melodies, soft guitar accompanied by soothing piano in the chorus it is an elegant opener which has more in common with her previous album.

`For Free' is my favourite song on the album and the first which is primarily dominated by the piano. Casting many shadows with its atmosphere it speaks of the dark side of fame, causing loss of self, selfishness, guilt. Self-deprecating, ironic, and supremely descriptive the lyrics are among Joni's best. Avoiding a standard verse chorus convention the song grows in depth as it continues, with subtle strings added in the second half, and the piano melodies varying with each line to avoid repetition.
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Along with the classics Blue and Clouds, Ladies Of The Canyon is essential listening. Released in 1970, this is Joni Mitchell at her peak, and it contains the hit Big Yellow Taxi. Enjoy!
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Format: Audio CD
Joni's third album starts much like her first two, with guitar and vocals. Sounding elfin and youthful, Joni describes the awakening of 'Morning Morgantown', as "The merchants roll their awnings down / The milktrucks make their morning rounds." A lovely and reassuringly familiar start. But piano, thus far hardly present in her music at all, enters the mix on this first song, as do subtle percussive sounds. These are the first signs of further developments that will ultimately make this album a real departure from her previously super-minimal guitar/vocal soundscape.

Track two, 'For Free' is new territory; the first fully fledged piano-based song in Joni's recorded catalogue. She also sounds self-conscious, even a little guilty, about her status in the 'music biz', a new theme whose implications she would continue to explore as her success grew. It also anticipates the bleak melancholy, underpinned by her distinctive piano feel, which would figure so strongly on her seminal album Blue.

Drummer Russ Kunkel adds subtle brushwork to 'Conversation', which also uses recorder, flute ('For Free' already having brought in clarinet) and Joni's own ebullient harmony vocals: Joni is stealthily expanding her palette! It also introduces a slightly bitchy vibe, as the note of love is slightly soured by jealousy: she writes of her rival, with typically articulate scorn, "she speaks in sorry sentences, miraculous repentences, I don't believe her"!

The title track sounds, melodically and harmonically, like close-kin to material on her first album, but the degree of maturity and sophistication she's now achieving is on a higher level. And what a wonderful celebration of womankind.
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By The Guardian TOP 100 REVIEWERVINE VOICE on 16 July 2016
Format: Audio CD
Released in 1970, ‘Ladies of the Canyon’ sees Joni deepening and widening her songwriting skills to explore love & romance with ‘Willy’ (about Graham Nash) and ‘The Conversation’ and coming-of-age with the catchy ‘The Circle Game’.

Besides personal introspection, she reflects on the Woodstock Generation with ‘Woodstock’; CSNY’s more upbeat interpretation of the song became an international hit single, but Joni’s original is slower, quieter and altogether more poignant. CSNY supply vocal harmonies on many tracks here.

For the first time on LotC Joni used piano as the main accompanying instrument to many songs for a more reflective ‘indoor’ sound, in contrast to the more open-air & upbeat folk-guitar soundscape of songs like ‘Big Yellow Taxi’, the album’s unexpected hit single. This endows the collection with more light-and-shade than evident on the first two albums, and in overall style points the way to her fourth album, the magnificent classic ‘Blue’ where her true genius became obvious.
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