Composer: Joni Mitchell.

Personnel: Joni Mitchell (vocals, guitar, piano, keyboards); Joni Mitchell; Sneaky Pete Kleinow (guitar, steel guitar, pedal steel guitar); Stephen Stills (guitar, bass instrument, bass guitar); James Taylor Jr. (guitar); James Taylor (vocals, guitar); Russ Kunkel (drums).

Recording information: A & M Studios, Los Angeles, CA; A&M Studios, Hollywood, CA; A&M, Los Angeles, CA.

All tracks have been digitally mastered using HDCD technology.

Sad, spare, and beautiful, Blue is the quintessential confessional singer/songwriter album. Forthright and poetic, Joni Mitchell's songs are raw nerves, tales of love and loss (two words with relative meaning here) etched with stunning complexity; even tracks like "All I Want," "My Old Man," and "Carey" -- the brightest, most hopeful moments on the record -- are darkened by bittersweet moments of sorrow and loneliness. At the same time that songs like "Little Green" (about a child given up for adoption) and the title cut (a hymn to salvation supposedly penned for James Taylor) raise the stakes of confessional folk-pop to new levels of honesty and openness, Mitchell's music moves beyond the constraints of acoustic folk into more intricate and diverse territory, setting the stage for the experimentation of her later work. Unrivaled in its intensity and insight, Blue remains a watershed. ~ Jason Ankeny

BLUE marks the culmination of Mitchell's early, traditional singer/songwriter period, and it is one of the very best albums of that genre. Though she was already beginning to experiment with elements of pop and jazz, BLUE focuses on Mitchell's skill as a folk singer, showcasing her reedy, expressive voice in duet with her piano or guitar. The arrangements on the album--which feature keys, dulcimer, bass, and assorted percussion--are spare and tasteful, so much so that it is easy to overlook their sophistication.

Yet it is ultimately Mitchell's songs that make BLUE such a moving and memorable experience. "All I Want" establishes the themes of wandering and soul-searching that define much of the artist's work, while "My Old Man" and "Carey" explore relationships with a keen attention to detail and emotional truth. Songs like "California" shuffle along with a sunny yearning, but the predominant mood--true to the album's title--is lonely, plaintive and stark, with "River," the title track, and "The Last Time I Saw Richard" ranking with the saddest, most moving songs in the pop canon. An album of great intensity and confessional depth, BLUE closed the chapter on Mitchell's folk period beautifully, opening the gates for the bold new work to follow.

Rolling Stone (10/31/02, p.135) - Ranked #2 in Rolling Stone's "Women In Rock: The 50 Essential Albums" - "...An acoustic tour de force..."

Rolling Stone (8/5/71, p.43) - "...her songs, like James Taylor's, are only incidentally commercial: Her primary purpose is to create something meaningful out of the random moments of pain and pleasure in her life..."

Rolling Stone (9/30/71, p.42) - "...She writes beautiful tunes coupled with beautiful lyrics...what more could be asked of her? BLUE is her best album by far..."

Q (7/99, p.150) - Included in Q's Best Chill-Out Albums of All Time - "...tangible warmth....A solitary album, which conversely makes the listner feel less alone..."

Q (p.132) - 4 stars out of 5 - "The gold standard for the confessional school of '70s songwriters in one beguiling package."

Vibe (12/99, p.157) - Included in Vibe's 100 Essential Albums of the 20th Century

NME (Magazine) (10/2/93, p.29) - Ranked #28 in NME's list of the Greatest Albums Of All Time.

NME (Magazine) (9/18/93, p.19) - Ranked #9 in NME's list of The Greatest Albums Of The '70s.