The Hissing Of Summer Lawns
by Joni Mitchell

Nominally, Joni Mitchell is Folk. This is really only true insofar as it indicates where she began as a songwriter. Mitchell's career quickly evolved into something far greater, and progressively harder to define. The Hissing of Summer Lawns is not only the greatest example of Joni Mitchell's creative individuality as a musician, but is also arguably the point at which all of the disparate pieces that comprise the woman who is "Joni Mitchell" came together in perfect harmony. Her impeccable skill as a songwriter, her unique guitar style, her jazz influence; on the Hissing of Summer Lawns, all of these pieces come together into a whole that is far greater than its individual parts. These “parts” have all been around Joni Mitchell at various points in her career; her songwriting and guitar skill were there from the start, but even from her beginnings of a masterful folk storyteller, she was to go in a slightly different direction with each coming album; toying with and sometimes fully implementing, at various points in her career, everything from pop-melodicism to African rhythmic structures. But the most important influence that hovered around Mitchell’s work, (and which had been since the early 70s) was that of jazz. By the time her massive commercial breakthrough came 1974’s “Court and Spark”, her folk origins were all but absent. In their place stood melodic and thoughtful pop-influenced ballads of the kind of self-expression that we had seen in her confessional masterpiece “Blue”. It would appear that no matter what kind of music Mitchell is delving into at any given time, her songwriting skill (which, by the way, easily matches if not trumps the likes of fellow lyrical geniuses Bob Dylan and Neil Young) is always present, but with every new album, there is always a twist in the way with which her words are displayed. Mitchell’s lyrical prowess, along with her mature vision of pop song construction, may have taken the forefront of Court and Spark, what is often overlooked is what may have been the beginning of what was to define Joni Mitchell’s most ambitious and most artistically rewording period as a musician, and that is that “Court and Spark”, behind it’s romantic orchestration, actually exhibited a substantial jazz influence. Of course, that did nothing to prepare Mitchell’s fan base for what was to come. In 1975, Joni Mitchell releases “The Hissing of Summer Lawns”, an album where the jazz that was hinted at in its predecessor takes full form, just as the folk that defined her early career makes a reappearance, and fuses itself with her love for the likes of Charles Mingus and Jaco Pastorius into an album that can only be loosely defined as “Jazz-folk”, but that contains a degree of ambition and sheer unexpectedness far greater than such a narrow genre pigeonholing would suggest. In the end, The Hissing of Summer Lawns exists outside of the realm of normal classification or judgment. Further description would do this album no justice. Joni has crafted a world that is entirely her own, and to which no parallels can or should be drawn.

That was too analytical.


I want to give this album a hug.

It's absolutely incredible to think that this album was voted worst record of the year in rolling stone magazine. True, it's definitely an album that can go right by you on first listen, but repeated hearings brings out the beauty of the melodies in the songs. It's one of those LP's that just keeps getting better with each listen and features absolutely stunning songs in, don't interrupt the sorrow, Edith and the kingpin, and the excellent, the jungle line. Essential album from one of the greatest artist's of the seventies.

First off Rolling Stone slagged a lot of great records. They hated Zeppelin. Then 20 years later they "revise" their original dismissals and admit everyone was right all along. On to Hissing, not quite as good as it's predecessor Court and Spark , it nevertheless continues Mitchell's musical evolution which would peak on Hejira. The first 4 tracks are the strongest but other highlights are the title track and the amusing Harry's House. One weakness Joni's voice gets on my nerves after awhile.

If this were the only Joni Mitchell album, it would be considered great. But, she has made several which are even better: Blue, Hejira, Court & Spark etc.

One of the greatest jazz/pop albums ever recorded, and is right up there with some of the greatest jazz OR pop albums ever recorded. Stunning melodies, themes, lyrics and execution. To me this was the pinnacle of Joni's early work, despite how amazing are Court and Spark, Blue, For The Roses. I did not know Rolling Stone slagged this album when it was released, but they truly missed the boat in this instance. Pure grace and poetry, from her photograph to her artwork to the music itself, augmented by some outstanding musicians. Impeccable.