Daughter Off The Wolf

For the third album collection of the Joni Mitchell Archives project, The Asylum Albums (1976-1980) covers what is arguably the knottiest and most challenging period in a career known for being knotty and challenging. While there are certainly fans who have a preference for Mitchell's diaristic/post-folk sounds of the late '60s/early '70s Reprise era or the exploratory fusions of pop and jazz of her first three Asylum albums, most of those fans can find space to love all (or at least most) of the work she released between 1968 and 1975.

For the third album collection of the Joni Mitchell Archives project, The Asylum Albums (1976-1980) covers what is arguably the knottiest and most challenging period in a career known for being knotty and challenging. While there are certainly fans who have a preference for Mitchell's diaristic/post-folk sounds of the late '60s/early '70s Reprise era or the exploratory fusions of pop and jazz of her first three Asylum albums, most of those fans can find space to love all (or at least most) of the work she released between 1968 and 1975. Utterly unbound by genre formality or commercial considerations—and also very explicitly chafing at the expectations put upon her by the music business—these three studio albums (and one equally unapologetic live album) proved to be much more divisive.

For the third album collection of the Joni Mitchell Archives project, The Asylum Albums (1976-1980) covers what is arguably the knottiest and most challenging period in a career known for being knotty and challenging. While there are certainly fans who have a preference for Mitchell's diaristic/post-folk sounds of the late '60s/early '70s Reprise era or the exploratory fusions of pop and jazz of her first three Asylum albums, most of those fans can find space to love all (or at least most) of the work she released between 1968 and 1975.

For the third album collection of the Joni Mitchell Archives project, The Asylum Albums (1976-1980) covers what is arguably the knottiest and most challenging period in a career known for being knotty and challenging. While there are certainly fans who have a preference for Mitchell's diaristic/post-folk sounds of the late '60s/early '70s Reprise era or the exploratory fusions of pop and jazz of her first three Asylum albums, most of those fans can find space to love all (or at least most) of the work she released between 1968 and 1975. Utterly unbound by genre formality or commercial considerations—and also very explicitly chafing at the expectations put upon her by the music business—these three studio albums (and one equally unapologetic live album) proved to be much more divisive.

For the third album collection of the Joni Mitchell Archives project, The Asylum Albums (1976-1980) covers what is arguably the knottiest and most challenging period in a career known for being knotty and challenging. While there are certainly fans who have a preference for Mitchell's diaristic/post-folk sounds of the late '60s/early '70s Reprise era or the exploratory fusions of pop and jazz of her first three Asylum albums, most of those fans can find space to love all (or at least most) of the work she released between 1968 and 1975.

For the third album collection of the Joni Mitchell Archives project, The Asylum Albums (1976-1980) covers what is arguably the knottiest and most challenging period in a career known for being knotty and challenging. While there are certainly fans who have a preference for Mitchell's diaristic/post-folk sounds of the late '60s/early '70s Reprise era or the exploratory fusions of pop and jazz of her first three Asylum albums, most of those fans can find space to love all (or at least most) of the work she released between 1968 and 1975. Utterly unbound by genre formality or commercial considerations—and also very explicitly chafing at the expectations put upon her by the music business—these three studio albums (and one equally unapologetic live album) proved to be much more divisive.

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