The Hissing of Summer Lawns
The Hissing of Summer Lawns is the seventh studio album by the Canadian-American singer-songwriter Joni Mitchell, released in November 1975 on Asylum Records. It continues the jazz-influenced sound of Mitchell's previous album, Court and Spark, with more unconventional and experimental material. It features sampling, synthesizers such as the Moog and ARP, and contributions from acts including the jazz-rock groups the L.A. Express and the Jazz Crusaders and James Taylor, David Crosby, and Graham Nash.
| The Hissing of Summer Lawns | ||||
|---|---|---|---|---|
| Studio album by | ||||
| Released | November 1975 | |||
| Recorded | 1975 | |||
| Studio | A&M (Hollywood) | |||
| Genre | ||||
| Length | 42:34 | |||
| Label | Asylum | |||
| Producer | Joni Mitchell | |||
| Joni Mitchell chronology | ||||
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| Singles from The Hissing of Summer Lawns | ||||
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The lyrics focus on women's experiences such as standing up to patriarchal norms ("Don't Interrupt the Sorrow") or frustrations with suburban life (the title track, "Harry's House"). As with many of her albums, Mitchell created the cover art. It depicts a painting depicting a group of men carrying a large snake superimposed over the Beverly Hills suburbs; Mitchell's house is shaded in blue.
While it did not spawn a major hit single like its predecessor, The Hissing of Summer Lawns reached number 4 in the US and remains Mitchell's last top-10 album. "In France They Kiss on Main Street", the only single, reached number 66 on the Billboard Hot 100.
The Hissing of Summer Lawns initially received negative reviews, with critics finding the jazz stylings a disservice to Mitchell's lyrics and comparing it negatively to Court and Spark. However, it later became one of her most acclaimed works. It appeared at number 258 in Rolling Stone's 2020 edition of its list of the 500 greatest albums of all time, and at number 217 in the third edition of Colin Larkin's All Time Top 1000 Albums in 2000.
Background edit
The slick jazz-pop sound Mitchell developed on Court and Spark (1974) would be pushed into more adventurous territory on The Hissing of Summer Lawns.[5] Some tracks reflect a fusion of jazz and "shimmering avant pop."[5] The album also uses an ARP synthesizer.[6]
On "The Jungle Line", Mitchell is credited with the first commercially released song to include a sample, featuring a looped recording of percussion by the African ensemble the Drummers of Burundi.[7] This interest in world music presaged the work of Peter Gabriel and Paul Simon in subsequent years.[5] In a 1983 interview for Musician Magazine Mitchell was asked what prompted her to use the drums. Mitchell explained: "Because I loved that Burundi warriors passage. It had a Bo Diddley lick in it which I took out and made into a loop and then ran this black cultural poem under it. I thought I was black for about three years. I felt like there was a black poet trapped inside me, and that song was about Harlem—the primitive juxtaposed against the Frankenstein of modern industrialization; the wheels turning and the gears grinding and the beboppers with the junky spit running down their trumpets. All of that together with that Burundi tribal thing was perfect. But people just thought it was weird."[8]
Songs edit
The first track, "In France They Kiss on Main Street", is a jazz-rock song about coming of age in a small town in the 1950s rock & roll era. (The song was released as the single from the album and reached number 66 on the Billboard charts.) "The Jungle Line" uses a field recording from Africa of the Drummers of Burundi (called 'warrior drums' in the credits), onto which are dubbed guitar, Moog synthesizer and the vocal line. The lyrics pay homage to the works of the French Post-Impressionist painter Henri Rousseau. Mitchell blends details of his works with imagery of modern city life, the music industry and the underground drug culture.
"Edith and the Kingpin" marks a return to jazz in a story of a gangster's new moll arriving in his home town. "Don't Interrupt the Sorrow" is an acoustic guitar-based song with stream-of-consciousness lyrics, focused on women standing up to male dominance and proclaiming their own existence as individuals. "Shades of Scarlett Conquering" is an orchestral-based piece about a modern southern belle basing her life and self-image on the stereotypes of the Scarlett O'Hara character from Gone with the Wind.
The second side begins with the title track, "The Hissing of Summer Lawns", which is about a woman who chooses to stay in a marriage where she is treated as part of her husband's portfolio. "The Boho Dance" comments on people who feel that artists betray their artistic integrity for commercial success, with an ironic glance at those who said this of Mitchell herself and parallels Tom Wolfe's The Painted Word.[9][10] "Harry's House / Centerpiece" concerns failing marriage as example of the loneliness of modern life and frames the jazz standard "Centerpiece" by Harry "Sweets" Edison and Jon Hendricks. "Sweet Bird" is a sparser acoustic track that is a slight return to Mitchell's so-called 'confessional' singer-songwriter style and addresses the loss of beauty power with ageing. Its lyrics indicate that it may also be a reference to Tennessee Williams's Sweet Bird of Youth. The final track is "Shadows and Light", consisting of many overdubs of her voice and an ARP String Machine (credited as an ARP-Farfisa on the album sleeve).
The African theme of "The Jungle Line" also features on the album sleeve, with an image of dark-skinned people carrying a large snake (both were embossed on the original vinyl album cover). Both men and snake are superimposed on the Beverly Hills suburbs, with Mitchell's own house marked in blue (green for the UK issue) on the back cover.
Reception edit
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic | [5] |
| Christgau's Record Guide | B[11] |
| The Encyclopedia of Popular Music | [12] |
| MusicHound | [13] |
| Pitchfork | 10/10[14] |
| Rolling Stone | (mixed)[10] |
| The Rolling Stone Album Guide | [15] |
| Sounds | [16] |
| Martin C. Strong | 8/10[citation needed] |
| Uncut | 9/10[17] |
The album initially received harsh criticism. In Rolling Stone, Stephen Holden wrote that the album's lyrics were impressive but the music was a failure. "If The Hissing of Summer Lawns offers substantial literature, it is set to insubstantial music... Four members of Tom Scott's L.A. Express are featured on Hissing, but their uninspired jazz-rock style completely opposes Mitchell's romantic style... The Hissing of Summer Lawns is ultimately a great collection of pop poems with a distracting soundtrack. Read it first. Then play it."[10] Critic Robert Christgau called the musical accompaniment "the most ambitious of her career," but criticized Mitchell's choice of session musicians and opined that "only on a couple of cuts — 'The Jungle Line' and 'Don't Interrupt the Sorrow' — do these skillful sound effects strengthen the lyrics. The result is that Mitchell's words must stand pretty much on their own."[11]
The record's reputation has grown in stature over the years. Music writer Howard Sounes has called The Hissing of Summer Lawns Mitchell's masterpiece, "an LP to stand alongside Blood on the Tracks".[18] Prince, a lifelong fan of Mitchell, praised it in interviews;[19] he reportedly called it "the last album I loved all the way through."[20] Critic Jessica Hopper of Pitchfork noted that the album was originally felt as a betrayal by some listeners, but stated that while "it doesn't have the rhapsodic rep as Blue, it's unquestionably one of Mitchell's finest albums, and it is certainly her most timeless."[14]
Accolades edit
In 1977, at the 19th Grammy Awards, Mitchell was nominated for the Grammy Award for Best Female Pop Vocal Performance for the album.
It was voted number 217 in the third edition of Colin Larkin's All Time Top 1000 Albums (2000).[21] The album was included in Robert Dimery's 1001 Albums You Must Hear Before You Die.[22] in 2020, Rolling Stone ranked the album at number 258 in the 2020 edition of its 500 greatest albums of all time.[23]
Track listing edit
All tracks are written by Joni Mitchell, except where noted
| No. | Title | Length |
|---|---|---|
| 1. | "In France They Kiss on Main Street" | 3:19 |
| 2. | "The Jungle Line" | 4:25 |
| 3. | "Edith and the Kingpin" | 3:38 |
| 4. | "Don't Interrupt the Sorrow" | 4:05 |
| 5. | "Shades of Scarlett Conquering" | 4:59 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "The Hissing of Summer Lawns" | Joni Mitchell, John Guerin | 3:01 |
| 2. | "The Boho Dance" | 3:48 | |
| 3. | "Harry's House" / "Centerpiece" | Joni Mitchell; Jon Hendricks, Harry Edison | 6:48 |
| 4. | "Sweet Bird" | 4:12 | |
| 5. | "Shadows and Light" | 4:19 |
Personnel edit
Track numbering refers to CD and digital releases of the album.
- Joni Mitchell – vocals, acoustic guitar (tracks 1–4, 9), Moog (2), piano (5, 9), keyboards (7), ARP and Farfisa (10)
- Victor Feldman – electric piano (1, 5), congas (4), vibes (5), keyboards and percussion (6)
- Joe Sample – electric piano (3), keyboards (8)
- Larry Carlton – electric guitar (3–5, 9)
- Robben Ford – electric guitar (1), Dobro (4), guitar (8)
- Jeff Baxter – electric guitar (1)
- James Taylor – background vocals (1), guitar (6)
- David Crosby and Graham Nash – background vocals (1)
- Max Bennett – bass (1, 5–8)
- Wilton Felder – bass (3, 4)
- John Guerin – drums (except 2), Moog and arrangement (6)
- The Warrior Drums of Burundi (2)
- Chuck Findley – horn (3), trumpet (6, 8), flugelhorn (7)
- Bud Shank – saxophone and flute (3, 6), bass flute (7)
- Dale Oehler – string arrangement (5)
Technical
- Joni Mitchell – producer, cover design, illustration
- Henry Lewy – engineer, mix with Mitchell
- Ellis Sorkin – assistant engineer
- Bernie Grundman – mastering
- Joe Gastwirt – re-mastered at Ocean View Digital Mastering in W. Los Angeles for 1997 HDCD release [24]
- Norman Seeff – photography
Charts edit
| Chart (1975–1976) | Peak position |
|---|---|
| Australian Albums (Kent Music Report)[25] | 62 |
| Canada Top Albums/CDs (RPM)[26] | 7 |
| UK Albums (OCC)[27] | 14 |
| US Billboard 200[28] | 4 |
References edit
- ^ The following sources label the album jazz-pop:
- Corcoran, Michael. "Fifteen nails in the coffin". Dallas Observer. Retrieved March 3, 2023.
- Hurt, Edd (March 7, 2013). "Brian Blade and his Fellowship Band live where jazz meets pop". Nashville Scene. Retrieved March 3, 2023.
- ^ The following sources label the album folk-jazz:
- Himes, Geoffrey (April 25, 2019). "Herbie Hancock and Joni Mitchell: Music & Lyrics". Jazz Times. Retrieved March 9, 2023.
- Connors, Bruce (January 30, 1976). "Joni 'jazzes' folk style in recent album Print-ready version" (PDF). The Bona Venture. Retrieved November 7, 2022.
- ^ Gill, Andy (May 9, 2015). "The academics have got pop wrong - here are the years when music really changed things". The Independent. Retrieved October 9, 2022.
- ^ The following sources label the album avant-pop:
- Hermes, Will. "Joni Mitchell Album Guide". Rolling Stone. Retrieved March 3, 2023.
- Grimstad, Paul (September 4, 2007). "What is Avant-Pop?". Brooklyn Rail. Retrieved October 1, 2016.
- ^ a b c d Ankeny, Jason (2011). "The Hissing of Summer Lawns – Joni Mitchell | AllMusic". AllMusic. Retrieved July 19, 2011.
- ^ Macpherson, Alex (January 14, 1996). "Joni Mitchell at 70: bolt from the Blue". The New York Times. Retrieved December 7, 2022.
- ^ Nelson, Sean (2007). 33 1/3: Joni Mitchell's Court and Spark. Bloomsbury Academic. ISBN 9780826417732.
- ^ "Joni Mitchell Library - Joni Mitchell is a Nervy Broad: Musician Magazine, January 1983". jonimitchell.com.
- ^ Mitchell, Joni. "Boho Dance – lyrics". Joni Mitchell. Retrieved May 29, 2018.
- ^ a b c Holden, Stephen (2011). . Rolling Stone. Archived from the original on January 24, 2009. Retrieved July 19, 2011.
- ^ a b Christgau, Robert (1981). "Consumer Guide '70s: M". Christgau's Record Guide: Rock Albums of the Seventies. Ticknor & Fields. ISBN 089919026X. Retrieved March 8, 2019 – via robertchristgau.com.
- ^ Larkin, Colin (2007). The Encyclopedia of Popular Music (4th ed.). Oxford University Press. ISBN 978-0195313734.
- ^ Graff, Gary; Durchholz, Daniel, eds. (1999). MusicHound Rock: The Essential Album Guide. Farmington Hills, MI: Visible Ink Press. p. 769. ISBN 1-57859-061-2.
- ^ a b "Joni Mitchell: The Studio Albums 1968–1979 | Album Reviews". Pitchfork. November 9, 2012. Retrieved May 24, 2013.
- ^ Brackett, Nathan; Hoard, Christian, eds. (2004). "Joni Mitchell". The New Rolling Stone Album Guide. London: Fireside. pp. 547–48. ISBN 0-7432-0169-8. Retrieved September 8, 2009. Portions posted at . rollingstone.com. Archived from the original on July 31, 2011. Retrieved May 29, 2018.
- ^ Lewis, Alan (December 13, 1975). (PDF). Sounds. p. 25. Archived from the original (PDF) on January 31, 2023. Retrieved August 3, 2023.
- ^ "Buyer's Guide: The Asylum Years, 1972–1975". Uncut. No. 305. October 2022. p. 93.
- ^ Sounes, Howard (2006). Seventies: The Sights, Sounds and Ideas of a Brilliant Decade. New York: Simon & Schuster Ltd. p. 244. ISBN 0743268598.
- ^ Errett, Joshua (April 22, 2016). "Prince loved Toronto and these 5 Toronto women". CBC News. Retrieved May 7, 2016.
- ^ Hermes, Will. "Joni Mitchell Album Guide". Rolling Stone. Retrieved March 3, 2023.
- ^ Colin Larkin, ed. (2006). All Time Top 1000 Albums (3rd ed.). Virgin Books. p. 105. ISBN 0-7535-0493-6.
- ^ Dimery, Robert, ed. (2013). 1001: Albums You Must Hear Before You Die. London: Cassell Publishing. p. 323. ISBN 978-1844037353.
- ^ "The 500 Greatest Albums of All Time: 284–213". Rolling Stone. Retrieved September 25, 2020.
- ^ "Joni Mitchell - News Item".
- ^ Kent, David (1993). Australian Chart Book 1970–1992: 23 years of hit singles & albums from the top 100 charts. St Ives, N.S.W, Australia: Australian Chart Book. ISBN 0-646-11917-6.
- ^ "Top RPM Albums: Issue 4078a". RPM. Library and Archives Canada. Retrieved April 7, 2021.
- ^ "Official Albums Chart Top 100". Official Charts Company. Retrieved April 7, 2021.
- ^ "Joni Mitchell Chart History (Billboard 200)". Billboard. Retrieved April 7, 2021.