Like most folk singers, Judy Collins started her career as an interpreter of traditional ballads. Pretty soon, though, she differentiated by choosing material by contemporary singer songwriters - starting with a young Bob Dylan in '63, and discovering a not-so-young songwriter called Leonard Cohen in 1966. At the time, the 30-something (practically middle aged, by 60's pop standards) Canadian was somewhat frustrated by his lack of success as a writer, and had just started trying to put his poems to music. He was nevertheless not confident and had never performed publicly before Collins took him under her wing, asking him to appear as a guest at a fundraiser she did, and then at a TV show she starred in. In '66, she included two of his songs in her 6th (and first gold-certified) LP, In My Life. With Cohen's fame as songwriter still not taking off, she decided to include three more of his songs in this follow-up, Wildflowers: here, modern classics "Sisters of Mercy" and "Hey, That's No Way to Say Goodbye" first saw the light of day, months before Cohen included them in his own debut LP. A third composition called "Priests" was never recorded by him. Always on the lookout for fresh talent, Collins decided to promote another unknown Canadian songwriter; this time a young lady called Joni Mitchell. She chose "Michael from Mountains" and "Both Sides Now" - later to appear in Mitchell's debut and her 2nd LP, respectively. Next to the ballads from the two unknown Canadians, she also included two foreign language songs: "La chanson des vieux amants" by French-Belgian Jacques Brel, and "Lasso! di donna" by medieval Florentine composer Francesco Landini. Lastly, she makes the transition from interpreter to songwriter, by including for the fist time three of her own compositions. These are soothing, meditative, pieces in sync with the rest of the album. "Albatross" in particular is quite impressive, from the poetic lyrics to the neo-classical arrangements by Joshua Rifkin, then a talented young Julliard graduate, and later a renowned Bach scholar. To me, the orchestral arrangements in this album are as big a part of its charm as Collins's crystal voice is. Rich, but also light and thoughtful, never bombastic or overtly sentimental as is often the case in pop music. The result is a baroque-pop-folk sound presaging what Renaissance and other prog bands did in the 70's. Of course, the album also includes a bona fide baroque ballad in the excellent "A Ballata of Francesco Landini - Lasso! di donna". Mitchell's "Both Sides Now" is the relatively most upbeat track; it was also released as a single, providing Collins with her first Top 10 as well as her first Grammy award. On the whole, listening to Wildflowers is a soothing experience, albeit not in a muzak way but in a deeper, more meditative, and ultimately satisfying, manner. To me, it is an album to get on CD - the pops and clicks of vinyl can get quite annoying when listening to atmospheric music on your stereo. I actually got this very cheaply, as part of the Original Album Series - a series that collects 5 albums in a small cardboard box - each CD is housed in a simple cardboard sleeve replicating the original vinyl album cover. Prices vary, but usually less than €20. It's a great way to familiarize yourself with the discography of an artist: instead of a single compilation, which is how I usually approach artists I want to get acquainted with, you get 5 original albums for the same price. Later, if one loves what they hear, they can always get it on vinyl.
***** for Sisters of Mercy, Albatross
**** for Since You Asked, A Ballata of Francesco Landini - Lasso! di donna, Both Sides Now, La chanson des vieux amants (The Song of Old Lovers), Hey That's No Way to Say Goodbye
*** for Michael from Mountains, Priests, Sky Fell
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