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Hejira by  ReleasedNovember 1976Recorded1976Studio,  Length51:55Joni Mitchell chronology
(1975)Hejira
(1976)
(1977)

Hejira is the eighth studio album by Canadian singer-songwriter . The songs on the album were written during a series of road trips in 1975 and 1976, and reflect events that occurred during those trips, including several romantic relationships she had at the time. Characterized by lyrically dense, sprawling songs, as well as the overdubbed  playing of  (whom Mitchell had just met), Hejira continued the musician's journey beyond her pop records towards the freer, jazz inspired music she would implement on later recordings. Some of the songs were written while Mitchell traveled as a member of 's  tour, and she performed  with  at their final concert (later released as 's ).

The album did not sell as well as its predecessors, peaking at No. 22 in her native Canada. It reached No. 13 on the  pop album chart in the United States, where it was certified gold by the , and No. 11 in the UK, where it attained a silver certification. Critically, the album was generally well received, and in the years since its release, Hejira has been considered one of the high marks of her career.

Recording sessions

According to Mitchell, the album was written during or after three journeys she took in late 1975 and the first half of 1976. The first was a stint as a member of 's  in late 1975. During this time period, she became a frequent  user, and it would take several years for her to kick the addiction.

In February 1976, Mitchell was scheduled to play about six weeks of concert dates across the US promoting The Hissing of Summer Lawns. However, the relationship between Mitchell and her boyfriend  (who was acting as her drummer on the string of dates) soured, possibly due to Mitchell's fling with playwright and actor  during the Rolling Thunder Revue. Tensions became so fraught that the tour was abandoned about halfway through.

The third trip came soon after when Mitchell traveled across America with two men, one of them being a former lover from Australia. This trip inspired six of the songs on the album. She drove with her two friends from Los Angeles to , and then went back to California alone via  and the . She traveled without a driver's licence and stayed behind , relying on their habit of signaling when the police were ahead of them; consequently, she only drove in daylight hours.

During some of her solo journeys, Mitchell donned a red wig, sunglasses, and told the varying strangers she met that her name was either "Charlene Latimer" or "Joan Black." Despite the disguise, Mitchell was still sometimes recognized.

During the recording of her albums  and , Mitchell grew increasingly frustrated by the rock session musicians who had been hired to perform her music. "...There were  and subtleties and things that I thought were getting kind of buried." The session musicians in turn recommended that Mitchell start looking for jazz instrumentalists to perform on her records. In addition, her relationship with drummer John Guerin (which lasted through a significant portion of the mid-1970s) influenced her decision to move more towards experimental jazz music and further away from her folk and pop roots.

After recording the basic tracks that would become Hejira, Mitchell met bassist  and they formed an immediate musical connection; Mitchell was dissatisfied with what she called the "dead, distant bass sound" of the 1960s and early 1970s, and was beginning to wonder why the bass part always had to play the root of a chord. She overdubbed his bass parts on four of the tracks on Hejira and released the album in November 1976.

Dominated by Mitchell's guitar and Pastorius's , the album drew on a range of influences but was more cohesive and accessible than some of her later more jazz-oriented work. "", "Amelia", and "Hejira" became concert staples especially after being featured on the live album  alongside "Furry Sings the Blues" and "Black Crow".

Album title

The album title is an unusual transliteration of the Arabic word more commonly rendered as  or Hijra, which means "rupture", usually referring to the migration of the Islamic prophet  (and his companions) from  to  in 622. She later stated that when she chose the title, she was looking for a word that meant "running away with honor." She found the word "hejira" while reading the dictionary, and was drawn to the "dangling j, like in ... it's leaving the dream, no blame".

Cover art

The portrait of Mitchell on the front cover was taken by  and the other photographs were taken by  at , in , after an ice storm. Figure skater  appears on the back cover.

Songs

Mitchell has described the album as "really inspired... there is this restless feeling throughout it... The sweet loneliness of solitary travel", and has said that "I suppose a lot of people could have written a lot of my other songs, but I feel the songs on Hejira could only have come from me."

Hejira opens with "", about a  with a , speculated by several biographers to be Shepard. Mitchell would later perform the song with  at their 1976 farewell concert, which was eventually released under the title  (1978).

The second track on Hejira, "Amelia", was inspired by Mitchell's breakup with then- partner John Guerin, and described by her as almost an exact account of her experience in the desert. The song interweaves a story of a desert journey (the "hejira within the hejira") with the famous aviator  who mysteriously vanished during a flight over the Pacific Ocean. Mitchell has commented on the origins of the song: "I was thinking of Amelia Earhart and addressing it from one solo pilot to another... sort of reflecting on the cost of being a woman and having something you must do." The song, each verse of which ends with the refrain "Amelia, it was just a false alarm", repeatedly shifts between two keys, giving it a constant unsettled feeling.

"Furry Sings the Blues", with Neil Young on harmonica, is an account of Mitchell meeting the  guitarist and singer  in , Memphis during a period when the surrounding area was being demolished. Lewis was displeased with Mitchell's use of his name. Mitchell would return to the song live in concert throughout the years. Like "Coyote", "Furry Sings the Blues" was sung by Mitchell at The Band's farewell concert. This version of the song was not included on the 1978 version of The Last Waltz but was included on the 2002 re-release. After not performing live since 2002, Mitchell played "Furry Sings the Blues" (as well as "Don't Interrupt the Sorrow" from  and "" from ) during her birthday tribute at  on June 18 and 19, 2013. This was Mitchell's final public performance to date.

"A Strange Boy" recounts the affair Mitchell had with one of the men she was traveling with from Los Angeles to Maine; he was a flight attendant in his thirties who lived with his parents.

"Hejira" is about Mitchell's reasons for leaving Guerin, and Mitchell described it as probably the toughest tune on the album to write. It features the bass work of Pastorius, who was inspired by Mitchell's use of multi-tracking with her guitar to mix four separate tracks of his carefully arranged bass parts, having them all play together at certain points of the tune.

Side two of Hejira begins with the epic "Song for Sharon", which at eight minutes and 40 seconds stands as the longest track on the album. The lyrics deal with the conflict faced by a woman who is deciding between freedom and marriage. The song references the places Mitchell went during her trip to New York City, including scenes at  guitar store in  and a visit to a fortune teller on . The song was allegedly written while Mitchell was high on cocaine at the end of her visit to the city.

The namesake of the song was her childhood friend Sharon Bell, who studied voice and wanted to be a singer when she was young but married a farmer; Mitchell wanted to be a farmer's wife, but ended up becoming a singer. The song also mentions the blowout fight and abandoned midwestern tour that served as the death knell for Mitchell's relationship with Guerin: "I left my man at a  junction, and I came out to  here to face the dream's malfunction."

According to biographer Sheila Weller, "Song For Sharon" also makes a coded reference to the March 1976 suicide of 's wife, fashion model Phyllis Major. Browne and Mitchell had a brief, "high-strung" affair in 1972; on at least one occasion, Browne allegedly physically abused Mitchell. After their relationship dissolved, Browne quickly married Major. Although Major had died from a , Mitchell sang "A woman I knew just drowned herself", and questioned if her suicide was a means of "punishing somebody".

"Black Crow"'s lyrics deal with the practical difficulty for Mitchell of traveling from her second home on .

"Blue Motel Room" was written at the DeSoto Beach Motel in . The song was inspired by the first breakup of the on-again-off-again relationship between Mitchell and Guerin. The lyrics express Mitchell's hopes of rekindling their relationship, and she tells her love interest to rebuff any other suitors: "Tell those girls that you've got , honey tell 'em you've got germs."

"Refuge of the Roads" was written about a three-day visit that Mitchell had made to the controversial Buddhist meditation master  in  on her way back to Los Angeles. According to Mitchell, it was during this visit in early 1976 that Trungpa cured her of her own cocaine addiction. She would later say that this track was one of her own favorite songs, and would rerecord the tune, along with "Amelia" and "Hejira", with a full orchestra for her 2002 album . The song also alludes to astronaut ' .

Release

The album was released in November 1976 by . Despite reaching No. 13 on the  pop album chart and attaining a  gold certification, it failed to garner significant radio airplay.

Reception Professional ratingsReview scoresSourceRatingB+9/10Le Guide du CDGOLD3/5Polari Magazine

Reviewing for , Ariel Swartley felt that Mitchell had abandoned melodies and memorable tunes in favour of "new, seductive rhythms" and "lush guitars", with the resulting sound, despite its "apparent simplicity", as "sophisticated and arresting as anything she's done".  critic  was impressed with the way that "Mitchell subjugates melody to the natural music of language itself".

In 1991 Rolling Stone placed the cover at No. 11 on its list of best album covers.

It was voted number 776 in the third edition of 's  (2000). In the 2020 edition of , it was ranked No. 133.

Track listing

All tracks are written by Joni Mitchell.

Side one "" – 5:01 "Amelia" – 6:01 "Furry Sings the Blues" – 5:07 "A Strange Boy" – 4:15 "Hejira" – 6:42 Side two "Song for Sharon" – 8:40 "Black Crow" – 4:22 "Blue Motel Room" – 5:04 "Refuge of the Roads" – 6:42