From: owner-joni-digest@smoe.org (JMDL Digest) To: joni-digest@smoe.org Subject: JMDL Digest V2012 #202 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://jonimitchell.com JMDL Digest Wednesday, February 15 2012 Volume 2012 : Number 202 ========== TOPICS and authors in this Digest: -------- RE: Nathan ["Robert Sartorius" ] ---------------------------------------------------------------------- Date: Wed, 15 Feb 2012 10:38:46 -0500 From: "Robert Sartorius" Subject: RE: Nathan Bob M replied to Betsy: "I get 2/3 of that...I've not heard HER do Midnight Cowboy, just Donal Leace, and it's nothing to write home about. Pirate of Penance is also really terrible and doesn't belong on her first record when she had so many better songs. She should have canned Nathan La Franeer as well, come to think of it. But Chelsea Morning - I adore that one, those opening chords are just like throwing open the blinds and letting in the rays of a beautiful new day. It always makes me feel good." I 100% concur with Pirate of Penance. It does not fit the theme of the album, which otherwise paints realistic portraits of life (in the city, and by the seashore). Also, the musical style is Palinish to my ears. I also agree about Midnight Cowboy, which I have listened to only once (a deliberate number) and Chelsea Morning (which I have played and sung on my guitar many times - especially in the morning - as a "pick me up"). However, I am afraid that I must demur re Nathan. I love the lyrics of that song, which fit well on the "I Came To The City" side. (The editor in me has always changed the word "I'll" in line 4 to "we'll", and dislikes the duplication of the phrase "shared a common space", but I digress.) Have you ever met Nathan? I have. And having lived in NYC for a couple of years during my early 20s, I can relate pretty strongly to the feelings expressed on all 5 songs of side one. Moreover, Nathan serves as the transition, taking her out of the city and down to the seaside (by way of the tunnel). Here's what tickles me: The alliteration (I would not be surprised if it turned out that this was the song that "inspired" Helplessly Hoping.) Taking the cake were the lines With gangs and girly shows The ghostly garden grows But others are not far behind crawled the canyons tunnels tiled and turning Burglar bells and wishing wells Meter maids and peace parades Tickling phrases I hired a coach Eyebrows furrowed Grumbled at the grey Through the tunnels tiled and turning into daylight (I love that line) Filled it full of silver Left the fingers counting And the whole last verse gets me - especially the way that she pans out near the end to the endless (and empty) sky from the specific (and crowded) scenes she leaves. He asked me for a dollar more He cursed me to my face He hated everyone who paid to ride And share his common space I picked my bags up from the curb And stumbled to the door Another man reached out his hand Another hand reached out for more And I filled it full of silver And I left the fingers counting And the sky goes on forever Without meter maids and peace parades Finally, the litmus test for me - I really have enjoyed playing and singing this song over the years. It's just not in the same class as Pirate of Penance. True, Joni had some "better songs" that she could have used on her first record. But that record was a thematic one - and those other songs wouldn't have fit the art she envisioned. (And I love the way Cactus Tree ties the two sides together - the man who's been out sailing who takes her to his schooner, and the lady in the city who thinks she loves them all). Bobsart ------------------------------ End of JMDL Digest V2012 #202 ***************************** ------- To post messages to the list, send tojoni@smoe.org. Unsubscribe by clicking here: mailto:joni-digest-request@smoe.org?body=unsubscribe -------