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Having recently moved to Lookout Mountain in Los Angeles' Laurel Canyon area — her house is depicted in a watercolor painting she made for the record's cover — the Canadian icon turned to her immediate surroundings for inspiration the while taking the pulse of national affairs, corporate enterprise, celebrity, and her relationship with Graham Nash. The 1970 album finds the singer-songwriter morphing into the groundbreaker who would shed folk music's constructs and wade into pop, jazz, soul, and poetry with a combination of depth, sophistication, self-examination, and acumen no one had ever heard.\u003c\/p\u003e\n\u003cp\u003eSourced from the original analog master tapes, pressed on MoFi SuperVinyl at Fidelity Record Pressing on MoFi SuperVinyl, featuring new liner notes, and strictly limited to 5,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP set delivers Ladies of the Canyon with bracing intimacy, detail, balance, and depth. Marking the first time the LP has received audiophile treatment, it's one of six iconic Mitchell records Mobile Fidelity is reissuing on definitive-sounding vinyl and SACD sets.\u003c\/p\u003e\n\u003cp\u003ePlaying with organic warmth, superb clarity, and ample spaciousness, this collectible UD1S edition benefits from the inherent properties of SuperVinyl — a virtually nonexistent noise floor, reference-caliber groove definition, and ultra-silent surfaces among them. Primarily recorded solo, with spare accompaniment on select tracks, Mitchell practically takes up residence in your listening room. Her voice, piano, and guitar image with spot-on precision and three-dimensionality; the music is focused, emotional, natural. Auxiliary instrumentation — cello, clarinet, baritone saxophone, Milt Holland's deft percussion — is seamless, cohesive, steady. Notes bloom and decay as they do on a live stage; relatedly, the soundstage extends far and wide, with carbon-black backgrounds adding to the uncanny realism.\u003c\/p\u003e\n\u003cp\u003eThe deluxe packaging of the Ladies of the Canyon UD1S set complements its distinguished status. Housed in a deluxe slipcase, both LPs come in special foil-stamped jackets with faithful-to-the-original graphics that illuminate the splendor of the recording. This UD1S reissue is made for listeners who prize sound quality and production, and who desire to engage themselves in everything involved with the album, including Michell's illustrative painting that serves as the cover art.\u003c\/p\u003e\n\u003cp\u003eDeemed \"powerful and brilliant\" upon release by The New York Times, Ladies of the Canyon followed Mitchell's first Grammy-winning effort (Clouds) and marked the first of six consecutive masterworks she made en route to becoming the most celebrated singer-songwriter of both her generation, and, arguably, all time. It's the first record on which the then-26-year-old featured the piano, a creative decision of immeasurable significance; first to attain platinum status, which transformed Mitchell into more than a folk figure; first to see her taking more chances with her singing; and the last on which she comes across upbeat, largely unencumbered by the complex themes and personal ache that would occupy her for the foreseeable future.\u003c\/p\u003e\n\u003cp\u003eMitchell radiates confidence and courage, producing Ladies of the Canyon herself after realizing she didn't need the services of an outsider when she already knew what she wanted. She just required a competent and collaborative engineer, who she landed in Henry Lewy. Fittingly, on the record's affectionate title track, she celebrates community and a trio of women — all real, all from her Laurel Canyon neighborhood — who, individually, as a visual artist, free-spirited mother, and circus-raised imagineer, respectively, were all reflected in Mitchell herself. Akin to Trina, Annie, and Estrella, Mitchell also had an affinity for wearing beautiful clothes, hosting friends, baking sweets, and weaving \"a pattern all her own.\"\u003c\/p\u003e\n\u003cp\u003eThat pattern most famously materializes on the album's closing trio of songs — their unconventional placement on the record likely another sly acknowledgement of Mitchell's disdain for commercialism, or at the very least, catering to its demands — each, then and now, a classic. 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Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.\u003cbr\u003eMoFi SuperVinyl\u003c\/p\u003e\n\u003cp\u003eDeveloped by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound devised. Expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a carbonless dye (hold the disc up to the light and see) and produces ultra-quiet surfaces. 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One of the most important aspects of the effort — rhythmic grooves, natch — tremendously benefits from the fact the 48-minute album gets spread across four vinyl sides. The upgrade allows for a boost in groove velocity and near eradication of inner-groove distortion all the while enhancing high- and low-frequency reproduction. Unless you’ve got out-of-print 12-inch singles from this Billboard Top 20 set, you’ve never even come close to hearing how good it sounds. \u003c\/p\u003e\n\u003cp\u003eConstructed via a hybrid of instrumentation, singing, and samples, World Clique unfurls with a rainbow of colors, tones, details, and effects. This collectible reissue zeros in on the separation and spatial location crucial to the tracks, with clever touches such as supplementary echoes to panned vocals and hand claps in defined positions amid broad, deep soundstages. 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