Did anyone read Zadie Smith’s article about Joni Mitchell is last week’s New Yorker? Sort of interesting concept (although I read it just before going to sleep so may have lost some of the finer details). She described Joni as an artist she absolutely hated until one day she just loved her. There was no “I should really appreciate her so let me listen to her music more frequently” or “I appreciate her on a critical level.” I don’t know if I’ve ever had an experience like that before. Any of you? I would say my closest was seeing “Rosencrantz and Guildenstern Are Dead” – the first time detesting it’s pretentions and then the second time absolutely loving it. Maybe I became more pretentious, but that didn’t seem to be what Z. Smith was getting at.
I’ll have to look up that piece. I had a similar, immediate conversion to, at least, pre-fusion Joni Mitchell years ago that I’ve written about a little bit before and hope to flesh out in the coming week. I’ll see if I can share when I get a chance to collect my thoughts and the time is right.
I did read it, and apart from the fact that I have finally accepted that I am not going to ever have that breakthrough with Joni Mitchell, I kind of lost interest when Smith made it clear that her supposed conversion was really to the album Blue. (Am I remembering correctly?) Which, to me, is kind of like someone telling you what a huge Neil Young fan they’ve become and when you ask them what their favorite record is they say “Harvest, but then again that’s the only one I own.”
You are remembering correctly. I guess Blue is Joni Mitchell’s ZOSA?
I’ve managed to hear almost nothing of Joni’s. Like Mod with his aversion to Postpunk, I’ve avoided Joni due to the people who listen to her and get all rhapsodic.
Anyone out there a Joni fan who would be willing to elucidate us?
Glad to see the Japanese crowd was allowed to stand up and pump their fists.
The first time I’ve ever heard girls scream for The Clash.
Is there a singer who dropped or forgot more lyrics than Strummer? I think not.
There are several distinct phases of her career. I recommend you start listening to whichever record you think sounds the most promising.
Ladies of the Canyon: most of these songs, like “Circle Game” are her “standards”: the songs that after people heard (sometimes covers performed by other artists) got her noticed. The record has a laid back, folk feel. For the record, I’m not that enthusiastic about that sound.
Blue: a much more interesting sound, often very stripped down. The songs alternate between spare, piano ballads and the use of dulcimer, coupled with JM’s alternate guitar tunings. And, the oft-cited “confessional” nature of her songwriting on this record produces some brilliant songs, such as “The Last Time I Saw Richard.” If I could only take one JM record, I’d pick this one. Side note: has probably the catchiest, most upbeat song she ever wrote, “Carey.”
For the Roses: as this is considered a transitional effort, gets less attention than it deserves. A fuller, rock sound that produces several amazing songs, while still retaining an introspective feel. “Blond in the Bleachers” alone justifies this record. “You Turn Me On (I’m a Radio)” is a better country-rock song than most of the LA songwriter dudes could create.
Court and Spark: many consider this record the fullest expression of her artistic talent. Here’s where the jazz fusion sound starts: holds together pretty well, although at times, a little too smooth for some. Still, the playing is top notch, and I do like her use of more experimental rhythms.
The Hissing of Summer Lawns: considered one of her more challenging efforts. Songs are unpredictable, use some incredibly tricky jazz changes and difficult melodies that few could sing. I really like this record, overall.
Hejira: might be the best place to start. Has some jazz touches, while retaining pop hooks. Sort of a concept record about the urge to travel. Side note: “Coyote” is the song that JM sang with a largely confused the Band backing her on The Last Waltz.
After that, I think she gets too jazzy, and a bit too hung up on her own self-image as a member of the pop avant-guard for my liking.
I’m finally getting a chance to watch this. They’ve got a lot more balls left in them than they did when I saw them at U. Penn on the Combat Rock tour, which couldn’t have been too much later.
It’s not often we get to see a band featuring 2 members in headbands, is it?
I have no idea what heroin actually feels like or does to a person’s reflexes, but Topper Headon always seems to have all his fluid rock energy when drumming during clips from his supposedly worst years with the Clash. What an amazing drummer he was.
“Court and Spark: many consider this record the fullest expression of her artistic talent. Here’s where the jazz fusion sound starts: holds together pretty well, although at times, a little too smooth for some. Still, the playing is top notch, and I do like her use of more experimental rhythms” Dr. John.
I love Court and Spark. Its poetic, beautiful, passionate lyrics, Its such a gorgeous song with such wondrous imagery.
Did anyone read Zadie Smith’s article about Joni Mitchell is last week’s New Yorker? Sort of interesting concept (although I read it just before going to sleep so may have lost some of the finer details). She described Joni as an artist she absolutely hated until one day she just loved her. There was no “I should really appreciate her so let me listen to her music more frequently” or “I appreciate her on a critical level.” I don’t know if I’ve ever had an experience like that before. Any of you? I would say my closest was seeing “Rosencrantz and Guildenstern Are Dead” – the first time detesting it’s pretentions and then the second time absolutely loving it. Maybe I became more pretentious, but that didn’t seem to be what Z. Smith was getting at.
The Clash, live in Tokyo, 1982, full concert.
http://www.openculture.com/2012/12/the_clash_live_in_tokyo_1982_watch_the_complete_concert.html
I’ll have to look up that piece. I had a similar, immediate conversion to, at least, pre-fusion Joni Mitchell years ago that I’ve written about a little bit before and hope to flesh out in the coming week. I’ll see if I can share when I get a chance to collect my thoughts and the time is right.
I did read it, and apart from the fact that I have finally accepted that I am not going to ever have that breakthrough with Joni Mitchell, I kind of lost interest when Smith made it clear that her supposed conversion was really to the album Blue. (Am I remembering correctly?) Which, to me, is kind of like someone telling you what a huge Neil Young fan they’ve become and when you ask them what their favorite record is they say “Harvest, but then again that’s the only one I own.”
You are remembering correctly. I guess Blue is Joni Mitchell’s ZOSA?
I’ve managed to hear almost nothing of Joni’s. Like Mod with his aversion to Postpunk, I’ve avoided Joni due to the people who listen to her and get all rhapsodic.
Anyone out there a Joni fan who would be willing to elucidate us?
Glad to see the Japanese crowd was allowed to stand up and pump their fists.
The first time I’ve ever heard girls scream for The Clash.
Is there a singer who dropped or forgot more lyrics than Strummer? I think not.
There are several distinct phases of her career. I recommend you start listening to whichever record you think sounds the most promising.
Ladies of the Canyon: most of these songs, like “Circle Game” are her “standards”: the songs that after people heard (sometimes covers performed by other artists) got her noticed. The record has a laid back, folk feel. For the record, I’m not that enthusiastic about that sound.
Blue: a much more interesting sound, often very stripped down. The songs alternate between spare, piano ballads and the use of dulcimer, coupled with JM’s alternate guitar tunings. And, the oft-cited “confessional” nature of her songwriting on this record produces some brilliant songs, such as “The Last Time I Saw Richard.” If I could only take one JM record, I’d pick this one. Side note: has probably the catchiest, most upbeat song she ever wrote, “Carey.”
For the Roses: as this is considered a transitional effort, gets less attention than it deserves. A fuller, rock sound that produces several amazing songs, while still retaining an introspective feel. “Blond in the Bleachers” alone justifies this record. “You Turn Me On (I’m a Radio)” is a better country-rock song than most of the LA songwriter dudes could create.
Court and Spark: many consider this record the fullest expression of her artistic talent. Here’s where the jazz fusion sound starts: holds together pretty well, although at times, a little too smooth for some. Still, the playing is top notch, and I do like her use of more experimental rhythms.
The Hissing of Summer Lawns: considered one of her more challenging efforts. Songs are unpredictable, use some incredibly tricky jazz changes and difficult melodies that few could sing. I really like this record, overall.
Hejira: might be the best place to start. Has some jazz touches, while retaining pop hooks. Sort of a concept record about the urge to travel. Side note: “Coyote” is the song that JM sang with a largely confused the Band backing her on The Last Waltz.
After that, I think she gets too jazzy, and a bit too hung up on her own self-image as a member of the pop avant-guard for my liking.
Thank you, Dr. John!
WoW! Thanx for that link. Giving me a serious High School flashback here. Super Great!
I’m finally getting a chance to watch this. They’ve got a lot more balls left in them than they did when I saw them at U. Penn on the Combat Rock tour, which couldn’t have been too much later.
It’s not often we get to see a band featuring 2 members in headbands, is it?
I have no idea what heroin actually feels like or does to a person’s reflexes, but Topper Headon always seems to have all his fluid rock energy when drumming during clips from his supposedly worst years with the Clash. What an amazing drummer he was.
Now that I think of it, maybe Topper’s SynDrum fills were a sign of the toll the drug was taking.
“Court and Spark: many consider this record the fullest expression of her artistic talent. Here’s where the jazz fusion sound starts: holds together pretty well, although at times, a little too smooth for some. Still, the playing is top notch, and I do like her use of more experimental rhythms” Dr. John.
I love Court and Spark. Its poetic, beautiful, passionate lyrics, Its such a gorgeous song with such wondrous imagery.
I was referring to the record, not the song. I do like the record, especially the later songs on it, such as “Trouble Child.”