From: owner-joni-digest@smoe.org (JMDL Digest) To: joni-digest@smoe.org Subject: JMDL Digest V2011 #58 Reply-To: joni@smoe.org Sender: owner-joni-digest@smoe.org Errors-To: owner-joni-digest@smoe.org Precedence: bulk Unsubscribe: mailto:joni-digest-request@smoe.org?body=unsubscribe Website: http://jmdl.com JMDL Digest Thursday, February 24 2011 Volume 2011 : Number 058 ========== TOPICS and authors in this Digest: -------- girls like us [Robert Procyk ] Re: "Joni's Four Periods" [Bob.Muller@Fluor.com] Re: Rare video James, Joni and Don and Joni and Seal [Bob.Muller@Fluor.co] Laura Allan (NJC) [Steve Dulson ] Joni and Seal [Kate Johnson ] Re: Rare video James, Joni and Don and Joni and Seal [Gerald Notaro ] Re: "Joni's Four Periods" [LC Stanley ] Re: Joni and Seal [Gerald Notaro ] Re: Rare video James, Joni and Don and Joni and Seal and Fogelberg [] Small Joni mention on "Glee" [Gerald Notaro ] ---------------------------------------------------------------------- Date: Wed, 23 Feb 2011 14:14:00 -0600 From: Robert Procyk Subject: girls like us Kakki wrote: It is incredibly readable and hooks you right in. I was also ambivalent towards it in the sense that I thought it revealed TOO much personal and raw information about the girls. It made me cringe at times, but I still couldn't stop reading it. It's funny, because for me, that's what was so absolutely compelling about the book. I always sort of shake my head and don't quite get it when people will say "I don't care to know who was in mind with this song", etc. I want to know all the nitty-gritty details - who inspired what songs, who influenced an artist's work, what issues they were going through, what they were dealing with, what their flaws were at the time, the savoury and unsavoury bits of life. Especially with Joni - she shared so much, and just threw it out there with Blue, et al, but even with that, we sit here and say "well, I am pretty sure the woman who had a mouth like his was James's sister", but what I really want to know is a time-line of who she was with when, how that relationship affected her and her work, and how this messy business of life influenced her work. I also love how the book exposes Joni's life - I am sick of reading about the Joni who is above tv/popular music/popular culture and who just prophesizes doom. That's not Joan, but I think the more we are removed from what we know of her life, etc., that's who she is mistakenly seen as - - you know what I mean? It's like we forget that she's human. She can talk about how everything has gone to hell in a handbag and everyone hates everyone in traffic, and yada yada, but I mean, if it's so terrible out there, and LA is a big cesspool of superficiality, she still isn't packing her bags and retiring back to Saskatoon. And that's exactly what Girls Like us shows us - that she's a real person, and many of her experiences and relationships are revealed in her work, and that she's not just this icon on the mountain. She's a real person who is as messed up as much as we all are, who sometimes says one thing and does another, who has been hurt by others as m uch as we all have, and who is deliciously human. I recently read this Warren Zevon bio by his ex-wife, and it was fascinating, even though I know a total of two Zevon songs. Anyway, there's this story in there where he plays some song on the piano at this party and Joni makes some smart-ass remark like "well isn't that NICE" or something, and it totally devastated him - he was definitely on the sad end of "People's Parties" that night. Anyway, I like hearing about Joni NOT being the victim or the saint - that she is, again, like us. I was also incredibly fascinated with the Carly stuff as well. As much of a fan as I am of hers, I sort of had a different idea of who she was until I read the book. Anyway, the book just proved that we'd be great friends if we ever met - Carly, call me - I'm free for lunch. Now, if only someone could twist Sheila Weller to tackle the complicated life of Stevie Nicks. Stevie Nicks and Linda Rondstadt would make a nice bio. pairing.... just throwing it out to the universe ;) Rob ------------------------------ Date: Wed, 23 Feb 2011 15:16:18 -0500 From: Bob.Muller@Fluor.com Subject: Re: "Joni's Four Periods" Not to mention the fact that her post-reunion period with Kilauren has been plagued with some serious and abusive issues. Not exactly a Disney-fied "they all lived happily ever after" story to be sure. Bob NP: Gregg Allman, "Tears Tears Tears" - ------------------------------------------------------------ The information transmitted is intended only for the person or entity to which it is addressed and may contain proprietary, business-confidential and/or privileged material. If you are not the intended recipient of this message you are hereby notified that any use, review, retransmission, dissemination, distribution, reproduction or any action taken in reliance upon this message is prohibited. If you received this in error, please contact the sender and delete the material from any computer. Any views expressed in this message are those of the individual sender and may not necessarily reflect the views of the company. - ------------------------------------------------------------ ------------------------------ Date: Wed, 23 Feb 2011 10:13:33 -0500 From: Bob.Muller@Fluor.com Subject: Re: Rare video James, Joni and Don and Joni and Seal A beautiful track on a wonderful album. Seal kinda faded after that but his first couple of records are amazing. Guess if I was married to Heidi Klum I wouldn't work as much either. The other one I love is Joni's backup vocal on Dan Fogelberg's "Nexus" - what a FUN surprise that was the first time I heard it. I also thought instantly of Hell when I heard the news about NZ. Looking at a map today though I see that Auckland is way up and away from Christchurch. I'm sure she's fine but would love a confirmation of that as well. Bob NP: The Decemberists, "Rox In The Box" - ------------------------------------------------------------ The information transmitted is intended only for the person or entity to which it is addressed and may contain proprietary, business-confidential and/or privileged material. If you are not the intended recipient of this message you are hereby notified that any use, review, retransmission, dissemination, distribution, reproduction or any action taken in reliance upon this message is prohibited. If you received this in error, please contact the sender and delete the material from any computer. Any views expressed in this message are those of the individual sender and may not necessarily reflect the views of the company. - ------------------------------------------------------------ ------------------------------ Date: Wed, 23 Feb 2011 16:31:40 -0500 From: Steve Dulson Subject: Laura Allan (NJC) Paul, doesn't she play dulcimer on most of those tracks? When I saw her (November 28, 1975 at The Magic Pan (a crepe house, nothing to do with pipes!) in San Francisco she only played dulcimer. Best, Steve the dulcimer guy. ------------------------------ Date: Wed, 23 Feb 2011 16:46:04 -0600 From: Kate Johnson Subject: Joni and Seal On 23-Feb-11, at 9:13 AM, Bob.Muller@Fluor.com wrote: > "If I > Could." She sounded just fabulous on that song.> Has anyone ever found the music video of that one, where the music matches the visuals? Kate of the North ~~ Stubblejumpin'Gal http://goldengrainfarm.blogspot.com ------------------------------ Date: Wed, 23 Feb 2011 17:48:01 -0500 From: Gerald Notaro Subject: Re: Rare video James, Joni and Don and Joni and Seal And a beautiful video. A match made in music heaven. Jerry On Wed, Feb 23, 2011 at 10:13 AM, wrote: > Could." She sounded just fabulous on that song.> > > A beautiful track on a wonderful album. Seal kinda faded after that but > his first couple of records are amazing. Guess if I was married to Heidi > Klum I wouldn't work as much either. > > The other one I love is Joni's backup vocal on Dan Fogelberg's "Nexus" - > what a FUN surprise that was the first time I heard it. > > I also thought instantly of Hell when I heard the news about NZ. Looking > at a map today though I see that Auckland is way up and away from > Christchurch. I'm sure she's fine but would love a confirmation of that as > well. > > Bob > > NP: The Decemberists, "Rox In The Box" > ------------------------------------------------------------ > The information transmitted is intended only for the person > or entity to which it is addressed and may contain > proprietary, business-confidential and/or privileged material. > If you are not the intended recipient of this message you are > hereby notified that any use, review, retransmission, dissemination, > distribution, reproduction or any action taken in reliance upon > this message is prohibited. If you received this in error, please > contact the sender and delete the material from any computer. > > Any views expressed in this message are those of the individual > sender and may not necessarily reflect the views of the company. > ------------------------------------------------------------ ------------------------------ Date: Wed, 23 Feb 2011 16:49:00 -0600 From: Kate Johnson Subject: Re: girls like us Go, Rob! I'm more like you, but there is a fine line. For example, I read a bio on Bette Davis where the author included something about the -- the -- um -- shmegma -- (well?) -- on Davis's leg after a sexual encounter, and I just -- well, I didn't *think* I was a prude, but that was TMI for me. Kate ------------------------------ Date: Wed, 23 Feb 2011 15:52:31 -0600 From: LC Stanley Subject: Re: "Joni's Four Periods" In raising children I have experienced a continual grieving over the death of a sort to their infancy, toddler stage, and childhood, etc. Yet I have the experience of these, and we have effected each other's identity. I can't imagine the depth of the grief Joni must have in missing out on raising her daughter. And possibly that was made more concrete through her reunion with Kilauren. I would want the help of a counselor if I was to face something so beyond my own comprehension. I agree with Mags. Love, Laura On Feb 23, 2011, at 10:11 AM, Mags wrote: > hi Jim, > I know I've mentioned this to you before, and I can understand completely that you might assume that Joni would have no more pain once she had reunited with her daughter Kilauren. I feel that it is safe to say that Joni, no doubt, continues to experience the pain of loss surrounding the birth of her child that she was unable to keep, for a myriad of reasons, many which we know, some we may not. I believe this is something that you just don't get over. Whilst it could be argued that once reunion has taken place, there's some kind of relief/release, I dare say that this can sometimes open up a whole new set of things. A mother and not a mother. The logic of not having any other "choice" but to surrender a child to adoption may seem like the right thing to do, and thereby creating a scenario where she did the best she could, felt she had no choice (social constraints did not support "unwed" mothers, that sort of thing). However, it is much, much more > complicated than that. There is a place inside where all of those experiences live, and sometimes, just when you think oh, it's okay now, Ive been reunited, I no longer have to feel bad, well..suffice to say that the grief remains, as it does with any other significant loss. > > Time does not necessarily heal. With time, you might learn how to live with this pain and devastating loss; but it doesnt go away. Ever. It's complicated and very difficult to explain. > > Mags > > > > > --- On Wed, 2/23/11, Lc Stanley wrote: > >> From: Lc Stanley >> Subject: Re: "Joni's Four Periods" >> To: "Jim" , "JMDL" >> Received: Wednesday, February 23, 2011, 8:01 AM >> Hi Jim, >> >> So what do you think about closer to "now," since her >> recording period slowed >> but did not end with the 4th period? Here is a nice >> chart of her >> work: http://en.wikipedia.org/wiki/Joni_Mitchell_discography >> >> Seems Joni is back to pain with Morgellons (http://www.morgellons.org/)... that >> is if she ever really left pain in the first place, which I >> think is debatable >> even in the realm of Kilauren. >> >> Love, >> Laura >> >> >> >> >> From: Jim >> To: JMDL >> Sent: Tue, February 22, 2011 10:00:25 PM >> Subject: "Joni's Four Periods" >> >> Hearing Sheila Weller talk about Joni giving up Kelly >> reminded me of a post from >> nine years ago. >> In it, I struck on the idea that pain was a pipeline to >> Joni's muse. At nine >> years old, the >> pain was polio. Later on, I believe the pain of >> separation from Kelly fueled >> all those great >> stories. >> >> Jim L'Hommedieu >> >> -------------------------- >> Contrary to popular opinion, I believe Joni Mitchell's >> recording career >> should be divided into four periods so far, not three. >> >> 1. Early Portraits >> 2. Master Storyteller >> 3. Intellect Engaged >> 4. In Pain No More >> >> --- >> I apologize in advance for the amateur psychology contained >> here. Joni >> Mitchell is a person, of course, and I respect that very >> much, but reviewers >> have always been allowed a certain amount of >> latitude. As you will see, >> I've taken considerable liberty with mine. "And so, I >> sit up here, the >> critic." (1) >> --- >> >> In historical context, here's my argument. From the >> beginning, Joni was an >> artist. As a child, she sang and painted. Her >> Mom developed her intellect >> and discipline. At 9, her backbone was twisted up >> with polio. She >> underwent "the application of scalding compresses to her >> legs. The >> compresses were then removed, bringing the raw skin to the >> brink of >> blistering. Many doctors would later question the >> efficacy of this method, >> believing that its most lasting effect was not the >> physiological but >> psychological: the memory of the searing pain." (2) >> To escape the pain she >> took refuge in art. In the next passage from Karen >> O'Brien's book the >> emphasis is mine. >> >> >> "She'd been sent a colouring book to keep her occupied; the >> pictures were of >> old-fashioned English carol *singers*, with the *lyrics* >> printed alongside. >> Joan used cotton swabs - stained purple from the gentian >> violet used to >> treat her mouth ulcers - to *colour the illustrations*." >> (3) >> >> >> I am sure that Karen did not notice when she wrote her book >> how much is in >> those two sentences. Joni's whole career is right >> there. Nine-year-old >> Joan was meditating on singing, lyrics, and painting to >> offset her pain. >> It's all right there, at nine years old. >> >> Joan, nicknamed "Joni", evolved into a teenaged performer >> then began playing >> in coffee houses. As an art college student she >> obviously had tons of >> undeveloped talent but couldn't raise the dues to become a >> unionized >> nightclub singer. Her career was deadlocked. >> >> Then came Kelly/Kilauren. >> >> Joni kept an enormous and painful secret; she kept her >> daughter a secret >> from her parents. Ultimately, there was only one >> solution for her; she gave >> up Kelly/Kilauren for adoption. >> >> She must have been in severe anguish. She coped >> exactly as she did when she >> was nine. Joni meditated on singing, lyrics, and painting >> to offset her >> pain. Carrying an unbearable secret compelled Joni to >> become the exact >> opposite of a secret-keeper. She became the epitome >> of, the very embodiment >> of, the overtly open poet. I believe that withholding >> information was so >> disturbing that it empowered her to compensate by >> beautifully saying what >> was left. "The Lord gave, and the Lord hath taken >> away..."(4) It was >> impossible to express a single secret to her mother, but >> she became a >> vividly gifted lyricist, expressing everything else to the >> whole English >> speaking world. >> >> "In the beginning," Joni said, "I had a soprano voice so >> everyone compared >> me to Baez. I'd written a couple of songs but I just >> decided that the only >> way that I was going to be able to differentiate myself >> from any other of >> the singers was to have original material."(5) >> >> When others picked up on the quality of the early songs, >> some, were covered >> by others in the coffeehouse circuit. A few, like >> "Both Sides, Now" had >> lives as a singles on the radio way before Joni had a >> recording contract. >> >> >> "The cover versions of her songs had inevitably brought >> interest from the >> recording industry, but the offers were far from >> irresistible: >> >> 'Record companies offered me terrible slave labour deals in >> the beginning >> and I turned them down. I turned down [independent >> folk label] Vanguard. >> They wanted three albums a year or something. In the >> folk tradition, they >> come and stick a mike on the table in front of you, and >> they collect it in >> an hour and that's the album. And that output - I >> already saw Buffy >> [Saint-Marie] struggling under the weight of it. So I >> thought, no way.'" >> (6) >> >> >> She hired Elliot Roberts as her manager and apparently, >> assigned to him the >> task of getting the "right" deal. He said, >> >> >> ".... It was a transitional period in society and in >> history and you either >> *got* it or you didn't get it. We had to search for >> people who got it and >> once we did and found them, we found that there were an >> awful lot of them >> but they were just either underground or just coming [up], >> society was just >> changing, the long-hairs were just coming in, the war was >> just becoming a >> major issue, civil rights were [in] transition... we didn't >> have a niche >> yet, there was a very small underground, [Greenwich] >> Village, everyone had >> their little quaint, Bohemian areas, but there were very >> few forums for >> artists like Joan or for poetry or poets." (7) >> >> >> So Elliot kept looking for an understanding and flexible >> company. Karen >> noted, "Major labels like Columbia - an obvious choice >> given that it was >> home to Bob Dylan - and RCA turned him down."(8) This >> next bit is crucial >> to understanding what releasing records means to >> Joni. "Electra had another >> chance to sign Joni but again opted out. Danny >> Fields, an Electra A&R man, >> had urged the company to take her on. Electra's high >> profile and acclaimed >> roster of folk-rock and neo-folk artists seemed to hold out >> the promise of >> fame and fortune - until, says Fields, Joni asked to design >> her own album >> covers. The Electra art department refused and the >> corporate hierarchy >> supported the decision. 'They said, no way. Our >> art department does the >> covers. You write the songs, you sing the >> songs. That's as far as it >> goes,' Fields recalled."(9) >> >> >> Elliot visited Mo Ostin at the only record company on >> America's west coast >> at Warner Brothers. >> >> >> "Elliot Roberts flew out to California armed with twenty of >> Mitchell's >> songs - almost all of the material that would later appear >> on her first two >> albums, including 'Both Sides, Now', 'Chelsea Morning', >> 'Michael From >> Mountains', 'That Song About The Midway', 'I Had A King', >> and 'I Don't Know >> Where I Stand'. He didn't have to do much >> persuading: >> >> 'Those are some of the greatest songs in history. How >> could you not hear >> that and go, 'I'd take a risk on that person'? And >> that's really what it >> was... the songs spoke for themselves literally, they >> really did.' >> >> The success of the cover versions of Mitchell's songs had >> also put Roberts >> in a strong bargaining position and he was able to >> negotiate an almost >> unprecedented concession, particularly for a new artist; >> his client was >> given complete artistic control over her albums, ranging >> from the cover art >> to sleeve notes and musical content: >> >> 'That was the hard part. They were not used to anyone >> saying, 'It has >> nothing to do with the money, we need creative >> control.' We had a long-term >> goal, Joan had a long-term goal and knew how her record >> should sound. She >> hadn't learned the craft yet but she knew she was going >> to. It was new and >> a bit different for [Warners] to give up control but they >> could see that >> times were changing drastically... Mo [Ostin] was an >> innovative man, he did >> the same for Hendrix and Van Morrison and Van Dyke Parks in >> that era, where >> he let them have pretty much creative control. No one >> understood the music, >> there were all these young kids, ... [the major labels] >> understood that >> there was a whole new generation and they looked a lot >> different [from] the >> generations they had previously been selling music to.'" >> (10) >> >> >> She naively and rightfully saw the albums as art >> projects. Each one a >> whole. With the early albums, her palette of colors >> was with words and open >> tunings on acoustic guitar. On the debut album, "Song >> To A Seagull", Joni >> plays guitar almost exclusively. Later, her new >> palette was different >> instruments, including dulcimer and a fully-exploited >> piano. The first >> period I'll call "Early Portraits". The lyrics were >> largely about personal >> reflection or portraits in isolation. The characters, >> like "Nathan >> LaFraneer", were usually set in isolation, not in >> interaction. >> >> In the second period, "Master Storyteller", she rendered >> exquisitely >> detailed stories and worked with a larger palette of >> players and layers. >> The stories were often about love engaged, entangled, >> dissolving, or >> disassembled. She included "found" objects like the >> Burundi warrior >> drummers. She consciously sought out a jazz-rock band >> then recruited >> particular players who had been innovators from Miles >> Davis's work. The >> "Master Storyteller" period includes an long, unbroken >> string of brilliant >> and innovative albums that no solo Beatle has yet >> matched. Her >> collaborators pushed her musically, taking her albums far >> beyond the >> beautiful-chick-with-a-guitar clichi to which she is >> forever bound in the >> public eye. >> >> The third period, "Intellect Engaged", saw her create >> 'thinking-woman' takes >> on poverty, famine, AIDS, and the myriad collection of what >> the modern world >> considers problems. Joni had come to an uneasy but >> long-lasting truce with >> her secrets. She often reflected on irony. Her >> main collaborator during >> this period, her long-time husband Larry Klein, brought a >> cool reserve and >> technical polish to these albums. These are very much >> studio creations; she >> commissioned countless sax solos, and moved them around as >> desired. This >> period was characterized by guest vocals from artists who >> happened to be >> renting studio time down the hall. As if the "kiln" >> had cool, each project >> took longer to "fire" than the last. >> >> The third phase was nearing an end when the divorce with >> Larry was happening >> and Turbulent Indigo was being formed in 1994. >> Divorce is never easy. Ripe >> to revisit her own pain, Joni immediately became inspired >> by a tabloid >> article and wrote about the societal misery inflicted upon >> unwed mothers in >> a bygone era. Kelly/Kilauren was in the foreground >> again. >> >> The third and fourth eras overlap but they are very >> different. In my >> opinion, 'hits' and 'misses' were the beginning of the >> fourth phase, "In >> Pain No More". Gone is the studied art work. >> Instead of taking months to >> paint cover art for 'hits', she used the first pun that >> popped into her >> head- a person who has been "hit" by a car. For >> "misses", she decided that >> mooning the viewer was a good way to express her distain >> for a public who >> had ignored her bravest work. The photo shoot for >> both albums was done in >> one day, as if on a single roll of film. The sudden, >> even reckless >> packaging decisions are certainly a break with the studied >> and endless >> polishing of the "Intellect Engaged" phase. The >> person who worked and >> reworked "Turbulent Indigo" is not the same person who >> pasted up >> deliberately skewed, misshapen letters for her greatest >> hits cover. Known >> in the past to take deliberate pains with sequencing an >> album, she swiftly, >> even recklessly, chose the cuts for "Misses" in a single >> day. In the past, >> she revisited canvases over and over again, tweaking and >> daubing. Not now. >> The perfectionism is gone. Joni delights now in >> delegating and making >> decisions quickly. >> >> The greatest hits collection helped the press and the >> public "put a frame >> around her" so to speak, to see her in the context of >> artists who have made >> rich contributions. Joni's career began to get >> recognition again as an >> innovator. By September 1996, she had won Billboard >> Magazine's Century >> Award, a Grammy for Turbulent Indigo, and was reluctantly >> inducted into the >> Rock And Roll Hall of Fame. To steal a line from >> Shawn Colvin, Joni was >> "knee deep in accolades". I suggest that something >> eased inside her. >> Perhaps more confident than ever, in December 1996, she >> suddenly granted >> lots of interviews and talked at length about an old topic >> that was suddenly >> open for public discussion: Joni was searching for >> Kelly/Kilauren. Joni was >> looking to stop running, to right a wrong, to move on, to >> get past the pain. >> >> Next came the album, "Taming The Tiger", and the rapid-fire >> approach >> continued. She invented a spirited carnival sound in >> "Harlem In Havana", >> swallowed Donald Freed's words for "The Crazy Cries Of >> Love", and threw a >> drink in "Lead Balloon". The cohesiveness of the >> lyrics from the "Master >> Storyteller" phase has been replaced with broad brush >> strokes. Taking a >> scattershot approach to modern ills, Joni swipes attorneys, >> rapists, >> sunshine, pawnbrokers, and astronauts in "No >> Apologies". Ironically, she >> even insults those who provided reefer in the old days, >> fearing that "Drug >> lords" are buying up the banks. >> >> The old brilliance shone through though. Read as >> text, this lyric >> beautifully expresses a new kinship, possibly a reunion. >> >> >> 'This is really something. >> People will be envious, >> But our roles aren't clear, >> So we musn't rush. >> Still, we're burning brightly, >> Clinging like fire to fuel. >> I'm grinning like a fool. >> Stay in touch. >> We should stay in touch. >> Oh! Stay in touch >> In touch >> Part of this is permanent. >> Part of this is passing. >> So we must be loyal and wary >> Not to give away too much >> Till we build a firm foundation.' (11) >> >> >> Joni's secret daughter was revealed to the world in an AP >> story on March 20, >> 1997. The reunion brought a resolution to her pain of >> giving up her >> Kelly/Kilauren. She was relieved of hiding from her >> mother. Pain-free, her >> interest in writing began to wane. Who needs >> catharsis if you don't have a >> problem? Joni has often said, "I sing my sorrow and I >> paint my joy." >> Here's the proof. Joni decided to sing rather than >> write for the next >> project. She hired Vince Mendoza to write new >> arrangements. She even >> delegated to Larry Klein the joy of picking songs. >> >> "Both Sides Now" was a critical success. Still under >> contract and possibly >> without the 'fire in her belly' to write new songs, >> suddenly her first-ever >> sequel sounded like a good idea. I can't wait to see >> if "the next one in >> the nest will glitter for them so." (12) The audience >> tapes of the "Both >> Sides Now" tour clearly show that Vince has done some more >> wonderful >> arrangements. My personal favorite is the upcoming >> "Judgement Of The Moon >> And Stars, (Ludwig's Tune)". Even if she never writes >> another word, she's >> given the world so much superlative work that her place in >> history is >> assured..... >> >> Not that she was aiming to secure a place in history. >> She was just working >> through her pain. >> >> >> Jim L'Hommedieu >> June 02, 2002 >> >> >> Sources >> ------------ >> 1. "For The Roses", JM >> 2. "Shadows and Light: The Definitive Biography", Karen >> O'Brien, Virgin >> Books Ltd, London 2001, p 24 >> 3. Ibid, p 25 >> 4. King James Bible, Job 1:21 >> 5. Ibid, p 48 >> 6. Ibid, pp 63-64 >> 7. Ibid, p 67 >> 8. Ibid, p 66 >> 9. Ibid, pp 66-67 >> 10. Ibid, pp 68-69 >> 11. "Stay In Touch", JM >> 12. "For The Roses", JM >> 13. "California", JM >> >> Thanks to Stephanie Morrison for getting me inspired. >> Thanks for the >> research assistance go out to Deb Messling, Brenda of JMDL, >> Jerry Notaro, >> Catherine McKay, and Vince Lavieri. As always thanks >> to Les Irvin, Jim >> Johanson, and the late >> Wally Breese for hosting the articles and discography >> (consulted but not >> noted, eh?) at jmdl.com& jonimitchell.com. >> >> All glories to Joni, always. >> >> "Will ya take me as I am? >> Will ya take me as I am? >> Will ya? >> Will ya take me as I am?" (13) ------------------------------ Date: Wed, 23 Feb 2011 18:15:44 -0500 From: Gerald Notaro Subject: Re: Joni and Seal Back when this song came out is was common at gay bars to show the videos on big projected screens while playing the music through a really great sound system. For some reason (like me requesting it all the time) a local place I hung out at played it a lot. I believe it was black and white, very beautifully done. But I haven't seen it since then. Jerry On Wed, Feb 23, 2011 at 5:46 PM, Kate Johnson wrote: > On 23-Feb-11, at 9:13 AM, Bob.Muller@Fluor.com wrote: > > > Could." She sounded just fabulous on that song.> >> > > Has anyone ever found the music video of that one, where the music matches > the visuals? > > Kate of the North > > ~~ > Stubblejumpin'Gal > http://goldengrainfarm.blogspot.com ------------------------------ Date: Wed, 23 Feb 2011 15:20:08 -0800 From: Subject: Re: Rare video James, Joni and Don and Joni and Seal and Fogelberg Bob, Thanks for mentioning Joni singing on "Nexus". I was downloading old Dan Fogelberg vinyl albums a few weeks ago and was racking my brain trying to remember his song with Joni's vocals. I keep thinking she also sang on another one of his songs but can't find it. Inside the Nether Lands cover there is a watercolor painting of Dan's half face. I thought it looked very much like Joni's work but it was painted by Dan. He was also very involved in painting and photography. I found an interview with Dan where he credits Joni numerous times as a great influence and inspiration. He also names "For The Roses" as his most favorite record. (Same here ;-) http://www.treehouse.org/fogelberg/intview7.html Kakki ------------------------------ Date: Wed, 23 Feb 2011 12:39:50 -0800 (PST) From: Catherine McKay Subject: Re: Another Joni moment on "30 Rock" Medicine Hat: a city in Alberta. I'm sure Tina would have chosen the name because it sounds funny. But not as funny as Head-Smashed-In Buffalo Jump, which is close to Fort MacLeod, birthplace of you-know-who. - ----- Original Message ---- > From: Randy Remote > To: Catherine McKay ; joni@smoe.org > Sent: Wed, February 23, 2011 2:23:28 PM > Subject: Re: Another Joni moment on "30 Rock" > > Love Tina and 30 Rock, she is apparently a Jonihead herself. > This song was surely devised to be in the background, as it is > not as obviously funny as her usual writing, but captures the > "raw nerve" vibe of Blue-era Joni. > "Medicine hat" ??? > RR > > From: "Catherine McKay" > > Turns out it was Tina herself who wrote a Joni parody called "Paints and > > Brushes." You can hear it here, separate out from the dialogue in the show, >so > > you can make out the words: > > http://nymag.com/daily/entertainment/2011/02/tina_fey_joni_mitchell.html ------------------------------ Date: Wed, 23 Feb 2011 15:31:50 -0800 From: Dave Blackburn Subject: Re: Rare video James, Joni and Don and Joni and Seal Seal IV is a fabulous CD; as good as the 2nd one. Human is weak (terrible sound for some reason) and the recent techno one downright rubbish. The Trevor Horn/Seal matchup was a winner. On Feb 23, 2011, at 7:13 AM, Bob.Muller@Fluor.com wrote: > Seal kinda faded after that but > his first couple of records are amazing. Guess if I was married to Heidi > Klum I wouldn't work as much either. ------------------------------ Date: Wed, 23 Feb 2011 15:40:29 -0800 From: Subject: Re: Video of Sheila Weller reading from 'Girls Like Us' Paul, That is very ethereal and beautifu musicl. It seems like the perfect soundtrack to your drive along country roads to see your dad. You can definitely hear the "Blue" connection, too. It's uncanny how she could easily pass for Joni's younger sister. I was surprised to learn she was a good friend and collaborator with my fave Bill Champlin! Kakki > Managed to get a copy of Laura Allan's album > 'Reflections' and listened to it yesterday on my > weekly 3 hour drive up to visit my dad (96th > birthday yesterday!) All very beautiful and other- > worldly driving along windswept country roads, > with her zither sounding so like wind chimes and > most tracks featuring flautist Paul Horn, sounding > like he did on the 'Inside The Taj Mahal' albums. > > Particularly liked 'As I Am' - a wonderful 10 minute > long solo improvisation on her zither - found it on > YouTube this morning - > > http://www.youtube.com/watch?v=5-8H6uXCE0s > > Not sure who is influencing who here (this album was > released in 1980) but I keep thinking she is going to > break into 'Blue' - and near the end she sings > > "As I am today I am tomorrow > A child of God > Learning how to love on this earth" > > with "Learning how to love" sounding so like > the final "There is your song from me" in Blue > > best to all > PaulC ------------------------------ Date: Wed, 23 Feb 2011 08:33:36 -0800 (PST) From: Catherine McKay Subject: Re: Small Joni mention on "Glee" Thanks, Jack. i didn't catch that, but I missed a few minutes when I left the room on an overly long commercial break. I was thinking that, since the generally too-good Rachel had her initiation into drinking too much, she might be inclined to sing "A case of you" at some point. There may yet be a Joni episode. in fact, maybe there could be a "Girls like us" episode. Carol King's music was played but not sung by the Glee kids. Maybe it's coming. > >From: "Merk54@aol.com" >To: anima_rising@yahoo.ca; joni@smoe.org >Sent: Wed, February 23, 2011 10:27:48 AM >Subject: Re: Small Joni mention on "Glee" > >She also mentions Both Sides Now later in the same episode. Something to the >effect of "How can I write another Both Sides Now if I've never lived?" > >Jack ------------------------------ Date: Wed, 23 Feb 2011 18:59:21 -0500 From: Gerald Notaro Subject: Small Joni mention on "Glee" Well there will be a Joni Mitchell episode if Jane Lynch has her way: http://lezgetreal.com/2010/07/newlywed-jane-lynch-is-nesting-wants-joni-mitchell-episode-of-glee/ Jerry On Wed, Feb 23, 2011 at 11:33 AM, Catherine McKay wrote: > Thanks, Jack. i didn't catch that, but I missed a few minutes when I left > the > room on an overly long commercial break. > > I was thinking that, since the > generally too-good Rachel had her initiation into > drinking too much, she > might be inclined to sing "A case of you" at some point. > > There may yet be a > Joni episode. ------------------------------ End of JMDL Digest V2011 #58 **************************** ------- To post messages to the list, send to joni@smoe.org. 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