From: les@jmdl.com (onlyJMDL Digest) To: onlyjoni-digest@smoe.org Subject: onlyJMDL Digest V1 #170 Reply-To: joni@smoe.org Sender: les@jmdl.com Errors-To: les@jmdl.com Precedence: bulk onlyJMDL Digest Sunday, August 29 1999 Volume 01 : Number 170 The Laborday JoniFest is happening this fall! For information: send a message to Join the mailing list at: ------- The Official Joni Mitchell Homepage is maintained by Wally Breese at http://www.jonimitchell.com and contains the latest news, a detailed bio, original interviews and essays, lyrics, and much more. ------- The JMDL website can be found at http://www.jmdl.com and contains interviews, articles, the member gallery, archives, and much more. ========== TOPICS and authors in this Digest: -------- "Holy Grail of Bassdom" ["Paul Castle" ] Robert Wyatt ["Catherine McKay" ] Welcome, questioning Joni ["Catherine McKay" ] Joni, is she god/dess or what? ["Catherine McKay" ] Tin angel/Teen angel ["Catherine McKay" ] The Sensitive Ones In Boston Herald 990827 ["Peter Holmstedt" ] re: where I was when ["Takats, Angela" ] Michael Franks Gig [Michael Paz ] Re: Michael Franks Gig ["Kakki" ] Under The Covers DVD ["Peter Holmstedt" ] Re: Where I was when ... ["John Low" ] New England coming down......... (VLJC) ["Steve Harper" ] ---------------------------------------------------------------------- Date: Sat, 28 Aug 1999 10:11:57 +0100 From: "Paul Castle" Subject: "Holy Grail of Bassdom" I enjoyed reading Brad Dietz's post on Jaco Pastorius, particularly as I have recently just finished reading Bill Milkowski's book "The Extraordinary and Tragic Life of Jaco Pastorius "The World's Greatest Bass Player" (Published by Miller Freeman Books, San Francisco) WallyK's (and many others) 'next' favourite poet, Arthur Rimbaud, is quoted after the acknowledgements: "He who is a legend in his own time is ruled by that legend. It may begin in absolute innocence but to cover up flaws and maintain the myth of Divine Power, one has to employ desperate measures." I must admit that this book, which I devoured pretty much in one sitting, has been haunting me a lot recently, especially as I have a very talented musician friend who is prone to self- destruction when something starts to go too well for him. This is what Joni says about Jaco in the book, as told to 'Musician' Magazine (apologies if this has appeared here before). "What can I say about Jaco? He was so accepting of everything going on around him at the same time that he was arrogant and challenging and always saying "I'm the baddest!" He was so alert and so involved in the moment. When people are in that state, they're generally fun to be with. He was very alive. There was a time when Jaco and I first worked together when there was nobody I'd rather hang with than him. A lot of people couldn't take him. Maybe that's my peculiarity, but then, I also have a fondness for derelicts. Jaco was a great spirit before his deterioration by these toxins. I thought he had wonderful eyes before drugs clouded them. Look at that portrait of him on his first album cover and see if he doesn't look like some Tibetan sage. When his talent and inspiration began to be corroded by the clouding over of perception that accompanies overindulgence in drugs and alcohol, then he became a tragic figure on the scene. He started to become unruly. In the meantime I lost contact with him. It was more of a drifting apart than a breaking off. He went off with Weather Report and they played Japan and I heard tales of him jumping into fountains naked, going amok in the Orient. I just didn't see him that much after the Shadows and Light tour. I think Jaco had a beautiful animal wisdom that I don't see as a madness at all. In Jaco, I saw some of those expressions as a celebration of life. Strange behaviour, certainly, but I don't think it was demented." _____________ PaulC ------------------------------ Date: Sat, 28 Aug 1999 15:55:27 GMT From: "Catherine McKay" Subject: Robert Wyatt I've never heard of Robert Wyatt, but if your list of your faves is any indication, I'm sure I would love his stuff. Can you tell me any more? cateri@hotmail.com ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Sat, 28 Aug 1999 16:11:34 GMT From: "Catherine McKay" Subject: Welcome, questioning Joni Is lurking a sin? Welcome to the digest. Of course you don't have to agree with Joni. She's not infallible. cateri@hotmail.com ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Sat, 28 Aug 1999 16:13:08 GMT From: "Catherine McKay" Subject: Joni, is she god/dess or what? Actually I should have said "She's not God. She's one of us." ;) cateri@hotmail.com ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Sat, 28 Aug 1999 17:37:04 GMT From: "Catherine McKay" Subject: Tin angel/Teen angel That is a really NEAT idea! I wonder if Joni could be persuaded to do a medley with Tin Angel and Teen Angel, a la Chinese Cafe/Unchained Melody? It could work! cateri@hotmail.com ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Sat, 28 Aug 1999 20:48:25 +0200 From: "Peter Holmstedt" Subject: The Sensitive Ones In Boston Herald 990827 Bonnie and pals Raitt high marks ( Daniel Gewertz ) Boston Herald ( Friday, August 27, 1999 ) Bonnie Raitt, Jackson Browne, Shawn Colvin, Bruce Hornsby and David Lindley, at the Tweeter Center, Mansfield, last night. It was a band that set the gold standard for American pop rock. The names tell part of the tale. Bonnie Raitt, Jackson Browne, Shawn Colvin, Bruce Hornsby: three decades of cogently rootsy, intelligent pop. But this was also a wonderfully organized three-hour show that was more than the sum of its starry parts. It was a true group effort with a smoothly shifting talent roster. There were duos, trios, striking harmonies, a mutual appreciation society. ``This is a present to ourselves,'' said Raitt. ``I'm having the time of my life!'' (It was also a family affair: her father, John Raitt, took a bow from the back of the stage.) Colvin, the ``youngster'' of the group, was just as thrilled. ``If you told me a few years ago I'd be playing with these people, I'd have just died,'' she said before the whole crew joined her for a moody, elegant version of ``Shotgun Down the Avalanche,'' a still dramatic song from her coffeehouse era. The only weakness of the night was a preponderance of mid-tempo mellowness that sometimes seemed closer to L.A. soft-rock than roots-savvy pop. Bruce Hornsby wasn't advertised as a headliner because of a recent, conflicting South Shore gig. But between piano, accordion and vocals, he dominated the night. As gifted and distinctive as he is, his plush jazz pop diffused some of the soulful blues-folk energy. It must be noted, though, that radically revamped jazzy versions of ``The Way It Is'' and ``Mandolin Rain'' were adored by the crowd of 9,000. The scope of the show was so wide momentum was sometimes sacrificed. The balladry by Colvin worked well, with ``Polaroids,'' and ``Mona Lisa,'' effectively moody. Raitt's ``Nick of Time,'' self-accompanied on piano, was devastating. The uptempo, urgent material by Browne was also a tonic, with David Lindley wailing like an inspired banshee on steel guitar and a crazy array of stringed instruments. ``The Pretender,'' ``Running On Empty'' and ``World in Motion'' were especially tasty. Lindley, who opened in frisky duet with drummer Wally Ingram, was as swampy down-home as Hornsby was uptown sophisticated. ------------------------------ Date: Sat, 28 Aug 1999 20:48:06 +0200 From: "Peter Holmstedt" Subject: The Sensitive Ones In Washington Post 990827 Shawn Colvin's Group Dynamics ( Geoffrey Himes ) Washington Post ( Friday, August 27, 1999 ) SHAWN COLVIN still remembers the first time she heard Jackson Browne sing. "I was playing pool one day in Carbondale, Illinois, where I was going to high school at the time," the singer-songwriter recalls, "and this record came on with both 'Take It Easy' and 'Rock Me on the Water.' Now I had heard the Eagles' version of 'Take It Easy' and Linda Ronstadt's version of 'Rock Me on the Water,' but I hadn't heard these versions. I said to my friend, 'This guy is doing material that really suits him. He has pickedout some good songs and has done something original with them.' "I was a little embarrassed when I learned it was Jackson and he had written those songs. But those songs became a part of who I was, because they said a lot of things I wanted to say. Jackson had a very specific sound I immediately liked. It was that California thing but not quite as slick as the Eagles; it was more personal. Plus I always thought he was a dreamboat. So when I finally met him, I had stars in my eyes, but he was very down-to-earth and very generous." Colvin and Browne are part of a special all-star band that's coming Thursday to the Merriweather Post Pavilion. Joining them are two more singer-songwriters, Bonnie Raitt and Bruce Hornsby, as well as a full band led by multi-instrumental whiz David Lindley, Browne's longtime collaborator. Filling out the lineup will be percussionist Wally Ingram, guitarist George Marinelli, Hornsby's keyboardist John Thomas and Browne's current rhythm section-drummer Mauricio Lewack and bassist Kevin McCormick. "It isn't a song swap or four different shows," Colvin insists; "it's one long, seamless evening of entertainment. There's never less than two of us onstage at any time and there's often as many as 10 of us. Jackson, Bonnie, Bruce and I each do seven or eight songs of our own choosing but not all at once; they're interspersed throughout the evening and they're different from the album versions. I'll take a song of mine, like 'Shotgun Down the Avalanche,' and rather than staying true to the original, I'll have Bonnie playing slide, David playing violin and Bruce singing harmony. "It's a chance to be part of a band rather than just a front person and to do it with people whose music you really love. When you play or sing on someone else's song, you experience a different feeling than doing your own song. If it's something you've loved for years, like Jackson's 'Running on Empty,' it's like singing with the radio. Getting to sing and play on one of Bonnie's songs, like 'Love Sneakin' Up on You,' is a chance for me to get my ya-yas out; I'm not going to do a song like that in my regular set. "The tour came about as a result of a series of benefit concerts that Browne, Raitt and Hornsby did last year for the victims of Hurricane Mitch. In sharing vocals and instrumental parts, the three found that the pleasures of collaborating with peers were a welcome relief from the pressures of leading a band. Colvin, Lindley and the rest were invited along for the ride. Colvin was a natural choice, for she has played numerous benefit concerts with the other three. She has sung with Browne at the Bread & Roses Festival in San Francisco and at the Verde Valley School benefit in Arizona and once opened shows for him on a two-month tour. Hornsby played piano on Colvin's debut album, 1989's "Steady On," and she sang on his album, 1990's "A Night on the Town." Hornsby sang on Colvin's version of the Browne composition "Tenderness on the Block" on her 1993 album "Fat City," and Lindley played guitar on that album's "Polaroids." In 1997 Colvin sang with Raitt on the Grammy Awards show and at the Rainforest Foundation's annual benefit gala. "There's something special about playing a benefit," says Colvin. "Because you're freely giving of your time for a cause and because the audience is there for the same cause, there's a sense that you're allowed to do things a little differently. The audience doesn't have the attitude of, 'Hey, I paid to see a Bonnie Raitt concert; I want to hear her hits.' They're open to different things happening. "When I did the Rainforest benefit with Bonnie and Lyle [Lovett], we all did R&B songs. No one felt obligated to play the hits, and that made it fun. It's everyone's fantasy to get up and play a song they love with another artist they love. It's like recess from the regular school day. The purpose of this tour is to preserve that same atmosphere." Colvin may not be as well-known as her new bandmates, but she's had more success in recent years. Her 1996 album, "A Few Small Repairs" (Columbia), went platinum, won two 1997 Grammy Awards for Record of the Year and Song of the Year, and yielded a hit single, "Sunny Came Home." That song enabled Colvin to tie Celine Dion for most weeks ever (11) at the top of Gavin's Adult Contemporary chart. Since then Colvin has released a successful Christmas album, 1998's "Holiday Songs & Lullabies," and has begun work on her next disc. Once again co-writing and co-producing the material with her longtime partner John Leventhal, Colvin plans to finish the new project after the current tour and to release it next spring. "The general way John and I work," Colvin reveals, "is it's mostly my words and his music. I'll hear something of his and put words to it, or I'll write some words and he'll find some music he's already written that goes with my lyrics. That happened on the last record with the song, "The Facts About Jimmy." I showed him the words and he had a piece of music just sitting around that fit perfectly. "When I put the new record out and go to radio with a single, that will show whether the hit and the Grammys make any difference," Colvin adds. "I have a good relationship with my label and a loyal fan base, so I know I'll always have a career. But of course having a Top 40 hit can take it to another level. If it happens again, yes, I'll say my career's changed. If not, it was nice to have had a hit, but my life will continue as before. It's the second hit that determines the trajectory of your career." When the new album emerges, Colvin will support it with a solo tour where she will either perform alone or as the front person with a backing band. So she's enjoying her band of peers while she can. "I'm not completely satisfied with just being a solo performer," she admits. "That was a problem of mine in my earlier days, because I was always getting out of a band and being a solo performer and then feeling dissatisfied and getting back into a band. I could never decide which was the best way to go. Collaboration seems to be something I need; I just enjoy singing with other people. The camaraderie is very important, too; it's good not to be totally insulated in your own little world and the people who work for you." SHAWN COLVIN, JACKSON BROWNE Bonnie Raitt, Bruce Hornsby and David Lindley appear Thursday at the Merriweather Post Pavilion. © Copyright 1999 The Washington Post Company ------------------------------ Date: Sat, 28 Aug 1999 12:44:34 -0700 From: "P. Henry" Subject: Re: Essra and Joni and Woodstock Randy quoted: (btw, randy, great job of info getting!) just have to chime in on this one... I just want to say that I, for one, believe every word of this and I base my opinion on my personal acquaintence with Joni herself. even if it's *not* true, this is just like her. this, at least back when I knew her, is just how Joni created her art... from life! she didn't isolate herself and wait for a song to come to her in a vision or something... she opened her arms and her being to people and to life and wrote what she experienced and observed. this quote *does* say something for essra, but it also says something for Joni... this is *not* typical. most performers and musicians have their ego trips and distance themselves, but Joni was never like that. this is a quote from 'the confessional poet 1971-73' page of wallyB's bio section: "First of all I'll write something down and then I think: 'Oh, I like how the words sound together but it doesn't say anything.' When I finish a new song I take it and play it for my friends who are fine musicians and writers. I'm very impressed by their reaction to it. If they like it, I'm knocked out. I guess I write for those people. They're really my audience." no, I don't have a hard time believing this claim at all... but I may be wrong. I'm behind so maybe ol' simon has already weighed in with 'the real story', which he does so well, but that's *my* $.02! *S* pat NP: Tin Angel http://members.wbs.net/homepages/b/a/d/badwolff.html Angelfire for your free web-based e-mail. http://www.angelfire.com ------------------------------ Date: Sun, 29 Aug 1999 07:10:32 +1000 From: "Takats, Angela" Subject: re: where I was when This is an adorable story Bob, I enjoyed reading it and it brought a big smile to my face. There's no way I can sit thru Black Crow without drifting away and I know now not to put it on when I have company (my friend was very much offended when I did the big "shooosh, for a second, isn't this the best song, listen..." ooops) The guitar playing in BC lifts me to amazing heights and takes me back to dark fields near my university, cold, windy days with crows hovering above....sigh Your story also reminded me of my babysitting days....let me just say that the four and six year old girls down the end of my street know all the words to BYT - as well as some groovy dance moves and hand actions ;-) Ange Sydney <> ------------------------------ Date: Sat, 28 Aug 1999 16:39:43 -0500 From: Michael Paz Subject: Michael Franks Gig Hello All- I have been dying to get to the computer to share my experience this week with Michael Franks. What an amazing guy! We hit if off quite well and I was quite comfortable with him and I feel like he was with me as well. Instead of riding in the Limo bus he chose to ride with me and "keep me company". On the ride in from the airport I had Joni playing on the car cd player and we talked about her alot. I told him about Joni Fest and the list and that the songs we were listening to were selections I was preparing for my set at Joni Fest. He told me about hanging out with her years ago during the Guerin period. He currently is living in Woodstock and has a place down on an island in Fla. near Ft. Myers. To my surprise at the airport my hopes were confirmed that the Egan listed in the band was indeed Mark Egan from Pat Metheny's earlier work and a band with Danny Gotlieb called Elements. He is also an extremely nice man and we had quite a bit of time talking and hanging out. My friend Jack that works for the Limo company that I booked for airport transfers came out in a stretch limo (as a favor) to help me transfer the band and Michael back and forth from the hotel to House of Blues. Later that night after an incredible set at House of Blues and getting Michael tucked into bed at the hotel (with the better behaved musicians). A few of the band guys and myself went out on the Bourbon St. run. In the car again with Joni on the box Mark responded to Joni and talked about how much he like her. Big fan of Hissing and Hejira. He loves Edith and The Kingpin and was quite knowledgeable about the song titles etc. If I only would have had the guts to invite him to Joni Fest to play bass. Oh well there is still a week left and I have his email address etc. so maybe I'll get up the nerve. Don't wanna be too pushy. I will be eternally grateful to the Tour and Road managers that work for MF, for having me do their gig for them (they were out with Lilith Fair the lucky stiffs). As it turns out Michael tours only on the weekends and according to Charles his music director, they will be calling me for my services again. This will be fine with me (a great chance to hook up with Joni listers across the nation). I urge you guys to check out Michael's new album Barefoot on the Beach and definitely check out Mark Egan's stuff. Mark has a web site at www.markegan.com. You can order stuff directly from his page. If you like Metheny you will indeed like Mark. I love the Elements Illumination album. By the way on one of Mark's solo records "Beyond Words" you will find Joni Vet Don Alias on Percussion as well as guitarist Toninho Horta, who has collaborated with Pat Metheny as well. I guess I better stop gushing, reading this over I sound like a star struck teen age girl. The Lord continues to bless me with wonderful musical and magical experiences and I wish the same for all of you. Have a good weekend! Love and Peace Michael NP-Campfire Stories-Mark Egan ------------------------------ Date: Sat, 28 Aug 1999 15:05:25 -0700 From: "Kakki" Subject: Re: Michael Franks Gig Gush on, Michael! That's what we are here (hear;-) for! I was vicariously living your magical night with Franks and Egan >If I only would have had the guts to invite him to Joni Fest > to play bass. Oh well there is still a week left and I have his email > address etc. so maybe I'll get up the nerve. Ooohoo get yourself nervy! Kakki NP: Sheryl Crow - Anything But Down (with Greg Liesz on pedal steel) ------------------------------ Date: Sun, 29 Aug 1999 00:46:03 +0200 From: "Peter Holmstedt" Subject: Under The Covers DVD We finally finished our film "Under The Covers." Thanks to The Cameraguys Bill Day and Terry Schwartz for their film talents. We are very happy with the results. The film covers Gary Burden and Henry Diltz's story of album cover design from the mid '60s through the '70s featuring CSN, Eagles, Doors, Jackson Browne, David Cassidy, Jimmy Webb, America, Joni Mitchell, Steppenwolf, Mama Cass, CSNY and more. The program will release this fall only in the new JVC DVD machines. The quality is superb on DVD which includes a new digitally mixed audio track. It includes 16 chapters running 90 minutes. The retail availability on DVD will not happen until March of 2000. There will also be a TLC broadcast at the beginning of next year. We will also offer it on our site in the future. Henry's Gallery http://www.henrysgallery.com/ ------------------------------ Date: Sat, 28 Aug 1999 19:15:25 PDT From: "John Low" Subject: Re: Where I was when ... Marcel wrote: >This is an interesting thread. The question is why has Joni’s music >created> the effect of remembering where it was first heard. I believe it >is because> it is impressionistic. .....(snip)...Hence we remember vividly >what we were doing and where> we were when we FIRST heard the album. Then Mark in Seattle replied: >I find these comments interesting in light of the information that was >provided at the exhibit I saw of Impressionist painting recently. Part of >what the impressionists were trying to achieve was a more candid quality to >their work. Apparently they sought to capture the moment as it happens >instead of producing a more posed or composed picture. So maybe in the >process of painting her aural pictures, Joni manages to work some strange >magic and somehow she also captures the moments in our lives as we listen >to her. As a result, those moments are forever interwoven with her music.< And I would like to add: I, too, have found this thread very interesting and I agree with Marcel and Mark. JM's lyrics have always been very strong visually (“painting with words and music”) and her imagery, as the recent “one-liners” thread demonstrated, is often striking, dramatic and memorable. I remember reading some comments by the poet Allen Ginsberg about how he had studied the way Cezanne used colour to juxtapose two disparate images and how this technique could induce in the observer quick, haiku-like flashes of illumination – or, as Ginsberg called them, “eyeball kicks”. Ginsberg attempted to apply this technique to his writing and, while I have not really thought the whole comparison through, I think that JM is probably doing much the same thing in her song writing. The “eyeball kicks” she can achieve can be so vivid that, when they happen, they imprint not only the song’s moment on our memory but, as Marks says, “the moments in our own lives as we listen to her”. For example, I think I had some such experience as this with “Carey” and the ‘picture’ she ‘painted’ in that song of the Mermaid Café. Juxtaposing the very earthy café scene with its noisy crowd of freaks and soldiers dancing and enjoying themselves to a soundtrack of “scratchy rock and roll” with the almost sublime image of the night sky’s “starry dome” and “Matalla Moon”, stirred my imagination in such a strong way. And, that scene in the song has remained forever linked to the quite different memory of the place where I first heard it. Listening to a small radio in the warm kitchen of an old house in Scotland in 1971, I experienced my first Joni “eyeball [eardrum] kick”! John (in Sydney). ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Sat, 28 Aug 1999 21:36:54 PDT From: "Steve Harper" Subject: New England coming down......... (VLJC) Ange wrote (and I hope she won't mind my sharing): "Hey there Steve Harper, So glad you decided to 'ooze' out of 'anonimity'.....really loved your post - - it was fresh and new and jumped right out at me!! So thanks...wish I could say that I was a travelling your way to Provincetown..but alas I live far far away over huge blue seas. Hope u have fun meeting up with some fellow listers! <> this made me :-) smile my little work day away...luv James Taylor, what a gorgeous song! - thanks for reminding me of it. I hope you have a ball at the carnival and that u keep on posting.... <> - please do and while your at it..I'd love to know your fav joni album? For me, it's a toss up between C&S and Hejira..but then I do luv FTR, and then there's Blue..... Catch ya later Steve - - Ange From across the sea" TO WHICH I REPLY....... Hey there, Angela-- thanks for the feedback! Glad my lil' post touched on something for you that day. That's one of the neat things about communicating with so many people at once--we all are going to have our own varying emotional reactions to the ways we put words together--and there are quite a few folks on this list who have a way with their words! New and creative turns of phrase have a way of really sticking with me (not suggesting necessarily that I made any great contribution with MY post : ) ) Sorry it took me a few days to reply--I've been away and disconnected, which has been kind of nice, really. I just returned to Atlanta from New England this evening. What a beautiful place! Now tell me if you think this is corny-- Thursday evening after dinner I walked down to Camden harbor in Maine (where I was staying and where my brother now lives, though not actually in the water, per se). I brought my portable CD player and Barry Manilow's "Weekend in New England" and listened and sang that song, and kind of had what I might call my "New England memory moment." That song (sappy and bombastic as it is) happens to be one of my favorites of that kind of music, and has been since I was, I don't know, eight years old. I remember singing the bridge in the shower: "I feel the change comin' I feel the wind blow! I feel brave and daring, I feel my blood flow!" - --and it did! I'm such a sucker for big feelings and letting it all hang out! (On later contemplation, I really should have been able to figure out I was gay long before I did. Slow learner, I guess! (Not that all men who would like a song like that have to be gay. Right? OOOH, I'm opening a can of worms with that......stay with me, folks.....)) Anyway, back to New England, what struck me about my first visit to the area was that my "vision" of what New England must be like (home of so much wonderful folk music, poetry (Emily Dickinson), subject of that almost mythical song for me) was really no different and no stronger to me from actually being there in the flesh. Not that I didn't feel the wonderful Summertime chill in the air (so different from the South) and see the beauty of the country and get some sense of the spirit of the people, but that a New England exists for me that is only mine; it is a memory of "memories" that I constructed when songs like "Weekend in New England" were so new and revelatory and moving to me, and life seemed to truly FLOW. And I wonder if the most poignant feelings we have as adults are the ones that refer us back to more innocent, childlike times? And on this trip I wondered most specifically when I will find the person with whom to share moments like that one. And, where are you, Angela, so "far, far away across the sea?" Steve Harper of Atlanta, Georgia, USA and recently of Provincetown, Massachusetts and Camden, Maine P.S. As to your request for my Joni favorite, if MAJORDOMO were after me, threatening to reproduce my note a hundred some odd times, I would fend him off with sweet and stout renditions of the tunes from "For the Roses," hoping their organic beauty would somehow sooth the savage CPU! ("I said, send me somebody who's strong and somewhat sincere!" Damn! that's Court and Spark, isn't it.....see, just goes to show you can't pick just one..... ; ) P.P.S. Thanks for reading, friends! ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Sun, 29 Aug 1999 01:44:32 -0500 From: "Happy The Man" Subject: RE: Yes, Joni & CDNow (Long) A couple of years ago CD Now use to have a list called "People who bought this artist" and then it would list a bunch of other groups. When Joni came up you would see the typicals, like Dylan, Young, Cohen, CSN, but one that always stood out was YES. Just sort of stood out as different compared to those listed. It didn't seem weird to me it was just the people it stood with and how their styles were a little different. I got into Joni about the same time I got into Yes. She made me lust they made me sweat. She drew pictures and visions they took me on trips. Joni made me understand, Yes made me dream. Oh those were great days. Yes has always been a group I went overboard. In 77 I saw them at the Forum, then the Long Beach arena and drove to see then in Vegas all in about 4 days. Hey, I had a job! Tormato I could stomach, Drama made me wence and I thought I was a Camera. But Union made me vomit, not only the Album but the concert. It was violent, two groups on the same stage that obviously had more tension then musical sense. Anderson's "Olias of Sunhillow" was a cool album, as was Squires "Fish out of Water" Brufords "One of a Kind" and "Feels Good to Me" still ranks as some of my all time favorites. My favorite was seeing the Tales tour: That and Genesis, Lamb Lies Down tour have to rank close to the best "I" have seen. Anderson's voice is awesome, what he does live just blows me away. Most Unhealded Yes albums: "Going for the ONe" Turn of the Century and Awaken are awesome, Seeing Steve Howe playing pedal steel during "Going for the ONe" was a sight to behold. "Talk" Though overall the album was week, Endless Dream ranks amoung some of the best 15 minute songs. I had it cranked once on a lonely stretch of highway only to find out the road wasn't that lonely and a ticket for flying down the road. I sent a letter to their management but they wouldn't pay for the ticket. "Anderson, Wakemen, Bruford and Howe" is not considered a Yes album because Squire bitched about it. To me it was better then anything that was being done without Wakemen, Bruford and Howe. the concert was great, and one of the highlights of the summer for me. Great album that I wish had gotten more support. Lastly, I saw them I think last summer, I see so many concerts now that they run together. they played at the Backyard in Austin, good concert but I was sick. Yes, rocks. and I can proudly say, "I am a Yes Fan!" Peace, Craig NP: Switchfoot ------------------------------ End of onlyJMDL Digest V1 #170 ****************************** The Song and Album Voting Booths are open! Cast your votes by clicking the links at http://www.jmdl.com/gallery username: jimdle password: siquomb ------- Don't forget about these ongoing projects: Glossary project: Send a blank message to for all the details. FAQ Project: Help compile the JMDL FAQ. Do you have mailing list-related questions? -send them to Trivia Project: Send your Joni trivia questions and/or answers to Today in History Project: Know of a date-specific Joni fact? - -send it to ------- Post messages to the list at Unsubscribe by sending "unsubscribe onlyjoni-digest" to ------- Siquomb, isn't she?