Jarvis and Justis changed Domino’s sound somewhat – it’s a little shinier, doo-wop and even poppy, with a countrypolitan-style backing chorus in most of his new recordings, but the soulful vocal shines through. Why the collaboration came to an end is lost to the sands of time, but the new label, ABC, allegedly dictated that Domino record in Nashville rather than New Orleans, where he was assigned a new producer (Felton Jarvis) plus a new arranger (Bill Justis). Originally released in 1963, re-issued in 1975 and not since – and never on heavyweight violet-coloured vinyl with individual hand-numbering – Here Comes…Fats Domino was the first studio album Domino recorded away from the Imperial label in over 13 years, thus ending his long-standing relationship with producer/arranger/frequent co-writer Dave Bartholomew. Essential and inspiring listening for fans of Mitchell's work. In the style of the recent The Beatles: Get Back documentary, Blue Highlights reveals Mitchell’s process of writing and re-writing, illuminating listeners with unfinished but revelatory versions of some of her most iconic songs, including the original, staccato demo of canonical break-up ballad Case of You followed by a more caustic rendition with James Taylor while the two were in the first throws of romance. Keen to dispel the myth of creative divinity, Blue Highlights is the ninth issue from an ambitious project by Mitchell to make available previously unreleased material from across her vast archive. Fifty years from its initial release, Joni Mitchell’s Blue has achieved the kind of exalted adulation that can seem to weigh heavily on a record, especially one that brims with candid transparency and seemingly effortless poise.
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