Click on the headline to link to a Wikipedia entry for Joni Mitchell’s Ladies Of The Canyon.
American Masters; Joni Mitchell, PBS
I viewed the American Masters documentary (PBS)on folk rock/folk/jazz singer-song writer Joni Mitchell during a time when I have been re-reading Norman Mailer’s Marilyn- his take on the life of the legendary screen star Marilyn Monroe. And although there is no obvious connection between the lives or the talents of the two there is a tale of two generations hidden here. Marilyn represented for my parent’s generation, the generation that survived the Great Depression (the 1930s one, okay) fought and bled in World War II, the epitome of blond glamour, sex, and talent. To my more ‘sedate’ generation, the generation of '68 that tried to storm heaven, lost, and then for the most part gave up trying, blond-haired Joni represented the introspective, searching, quiet beauty that we sought as a symbol to represent our longings for understanding. As these documentary points out however much these two ‘represented’ our respective fantasies they also shared a common vulnerability attempting to be independent women. Such is the life of the great creative talents.
This well-done documentary traces Joni’s life from the snow-bound Canadian farmlands to her early rise to stardom at the tail-end of the folk revival of the 1960’s. It also traces the later twists in her creative career as she tried to break out of the ‘folkie’ milieu; the successful attempt to be a rocker; the less successful attempt to be a female Leonard Cohen searching the depths of her soul; the attempt to turn herself into a torch singer and later the attempt to take on the jazz idiom under the direction of the legendary Charlie Mingus: and, finally the semi-reversion to her youth under the banner of protest against some of the injustices of the world. Along the way various lovers, learners, hangers-on and fellow song writers give their takes on her place in the musical history of her time. This is always a welcome touch. Moreover, since she will have a big place in that history it helps tell us how influential she was in that endeavor.
Showing posts with label joni mitchell. Show all posts
Showing posts with label joni mitchell. Show all posts
Tuesday, March 20, 2012
Friday, January 28, 2011
* Once Again From The Free-Form Butterfly Breeze Lady- Joni Mitchell’s "Hejira"
Click on the headline to link to a YouTube film clip of Joni Mitchell performing Coyote.
CD Review
Hejira, Joni Mitchell, Asylum Records, 1976
The last time that I reviewed a Joni Mitchell album in this space I noted that I actually knew her work before I was aware of her as a performer, from her songs covered by other artists. And before that angel-edged voice linked to those 1960s wistful lyrics were introduced to me in the late 1960s how did I know Joni? Well, thanks to folk song singer/songwriter Tom Rush who covered her Circle Game and Urge For Going. Hardly an angel-edged introduction. But there is more. I also knew her work from Dave Van Ronk’s gravelly-voice cover of that same Urge For Going. Again, no angel-edged voice. No way. Sorry brother Van Ronk. So when I heard her Ladies Of The Canyon I already knew some things about. Except that trilly, echo in the night, voice of her’s put those songs, and others, on another, more ethereal level. Just the right voice for the mystic-seeking, dream-vision floating, and, ah, dope-addled 1960s.
I would argue, moreover, that if the average male “hippie”, and maybe, females as well, although I am not as sure about that, into folk and folk rock in those days was asked to give his opinion of his vision of what a 1960s folk-singing “chick” (that was one of our artless terms for women in those days, although not the most artless) should look and sound like that composite would come out to very much the Botticelli-like Joni Mitchell. That said, her work here on this album, Hejira, which is from the tail-end, the very tail-end, of the folk-rock boom and just before the 1960s dreams died, and died hard, and reflects a little harder edge, both lyrically and vocally, and a little more sense of the down side of this wicked old world. Stick outs are: Coyote, Song For Sharon, and Refuge On The Roads. Still nice.
CD Review
Hejira, Joni Mitchell, Asylum Records, 1976
The last time that I reviewed a Joni Mitchell album in this space I noted that I actually knew her work before I was aware of her as a performer, from her songs covered by other artists. And before that angel-edged voice linked to those 1960s wistful lyrics were introduced to me in the late 1960s how did I know Joni? Well, thanks to folk song singer/songwriter Tom Rush who covered her Circle Game and Urge For Going. Hardly an angel-edged introduction. But there is more. I also knew her work from Dave Van Ronk’s gravelly-voice cover of that same Urge For Going. Again, no angel-edged voice. No way. Sorry brother Van Ronk. So when I heard her Ladies Of The Canyon I already knew some things about. Except that trilly, echo in the night, voice of her’s put those songs, and others, on another, more ethereal level. Just the right voice for the mystic-seeking, dream-vision floating, and, ah, dope-addled 1960s.
I would argue, moreover, that if the average male “hippie”, and maybe, females as well, although I am not as sure about that, into folk and folk rock in those days was asked to give his opinion of his vision of what a 1960s folk-singing “chick” (that was one of our artless terms for women in those days, although not the most artless) should look and sound like that composite would come out to very much the Botticelli-like Joni Mitchell. That said, her work here on this album, Hejira, which is from the tail-end, the very tail-end, of the folk-rock boom and just before the 1960s dreams died, and died hard, and reflects a little harder edge, both lyrically and vocally, and a little more sense of the down side of this wicked old world. Stick outs are: Coyote, Song For Sharon, and Refuge On The Roads. Still nice.
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