From: les@jmdl.com (onlyJMDL Digest) To: onlyjoni-digest@smoe.org Subject: onlyJMDL Digest V2002 #355 Reply-To: joni@smoe.org Sender: les@jmdl.com Errors-To: les@jmdl.com Precedence: bulk Archives: http://www.smoe.org/lists/onlyjoni Websites: http://www.jmdl.com http://www.jonimitchell.com Unsubscribe: mailto:onlyjoni-digest-request@smoe.org?body=unsubscribe onlyJMDL Digest Saturday, November 23 2002 Volume 2002 : Number 355 Sign up now for JoniFest 2003! http://www.jonifest.com ========== TOPICS and authors in this Digest: -------- Re:Subject: UK Review -- OUCH!!!!!!!!!!!!!!!!!!! [Rosanella ] jazz voice ["Kate Bennett" ] Re: 1st French point of view about Tlog [Rick and Susan ] Re: JMDL Digest V2002 #501 ["PAUL PETERSON" ] At last.... ["Mark or Travis" ] Re: At last.... ["Bree Mcdonough" ] T'log, first disc, first listen [Bruce Kimerer ] Intermission ["Mark or Travis" ] RE: that's no slut, that's a whore! ["Heather" ] Re: "Joni's yucky voice" [] Re: Intermission [Murphycopy@aol.com] fresh meat ["Kate Bennett" ] TRAVELOUGE REVIEWS/W&G [Cactustree78@aol.com] lobby card comments ["Mark or Travis" ] RE: SJMC "Sweet" Baby James? ["Jim L'Hommedieu \(Lama\)" ] Re: SJMC "Sweet" Baby James? [Julius Raymond ] ---------------------------------------------------------------------- Date: Sat, 23 Nov 2002 00:00:26 +0000 From: Rosanella Subject: Re:Subject: UK Review -- OUCH!!!!!!!!!!!!!!!!!!! Considering Joni's mature age, it is quite natural that her voice does not have a clear tone while reaching varying high octaves as it used to. Opera singers don't either, having to retire sometimes early. With regards to the UK Review, well...it's the 'UK Review'. Pretty much the usual boring criticism. The reality is, that Joni Mitchell is one woman with abundant guts to make quite a few people in the music industry be quite ashamed of themselves. Regards. Rosanella rosanella@ntlworld.com ------------------------------ Date: Fri, 22 Nov 2002 17:26:04 -0800 From: "Kate Bennett" Subject: Lyricists as poets??? Franklin>I believe most songwriters, including the author of the bestseller "The Craft of Lyrical Songwriting" would consider it a craft.< writing lyrics & melody is art, craft, inspiration & perspiration... Franklin> A TINY FRACTION?? What planet did you say you're from? Listened to any commercial radio lately - like in the last twenty years?< victor is correct...what you hear on commercial radio is but a tiny fraction of the music that is being produced & released throughout the world...commercial radio is not an accurate gauge as to the quantity & quality of music out there... Franklin> I'll assume this is a personal confession... difficult for who? That's an unmerited assumption. I've read scads of articles involving songs I've found to be lyrically sophisticated, tasteful and wonderful where the writer says, "it just all flowed right off the pen."< sure, some songs do flow off the pen & are considered a precious gift by the songwriter...however, the vast majority take some work (craft as you have mentioned)...a skilled lyricist can make the result appear easy... Franklin> And yes, unfortunately, as time will attest, lyric-writing is a lower "art" as you call it, than poetry. I would simply suggest that the two are mutually exclusive - truely timeless poetry being the "art", while contemporary lyric-writing would probably be considered more of a "craft" by most literary experts. << in your opinion... in mine, i don't subscribe to the 'this is art, this is not art' school of thought...nor would i give any credibility to any so-called literary experts who only understand lyric writing to be craft- if so they've never spent much time as a lyricist...(could this be a case of those who can, do, those who can't claim to be experts?) btw, if lyric writing is only craft then how would you explain a song that just flowed off the pen? ******************************************** Kate Bennett: www.katebennett.com Sponsored by Polysonics/Atlantis Sound Labs Over the Moon- "bringing the melancholy world of twilight to life almost like magic" All Music Guide ******************************************** ------------------------------ Date: Fri, 22 Nov 2002 17:37:05 -0800 From: "Kate Bennett" Subject: jazz voice >>Frankly though, I am having a lot of trouble getting around the smoker's voice in many of the songs. I find it distracting. I think from this point on the critics (it has already begun) are going to savage Joni for vocal deterioration.<<< i think it fits so well but to each his own...btw, do the critics take tom waitts to task for his voice quality? how bout dylan? ******************************************** Kate Bennett: www.katebennett.com Sponsored by Polysonics/Atlantis Sound Labs Over the Moon- "bringing the melancholy world of twilight to life almost like magic" All Music Guide ******************************************** ------------------------------ Date: Fri, 22 Nov 2002 17:55:20 -0800 From: Rick and Susan Subject: Re: 1st French point of view about Tlog Laurent a ecrit: > Hi all, > Here it is, the first article about Travelogue in France. A very very good > article from Nick Kent in "Libiration". I hope you all can read french ;-) > http://www.liberation.fr/page.php?Article=68811# Here's my attempt at a translation: Travelogue Joni Mitchell just turned 59 and has chosen this moment to officially announce the she will not record again. She explains that she can no longer support the dishonesty and greed of the record companies and the music industry in general, and prefers to concentrate on her other gift, painting. However you interpret it, this declaration is a very bad omen for the future of popular music in which, over the last thirty-five years, Mitchell has shown herself to be a vital link, the equivalent of Dylan and Cohen as a lyricist, and an inspired goldsmith of sublime melodies. Travelogue (a 2 CD collection of 22 of her favorite compositions rearranged and rerecorded with a full symphony orchestra) comes across as her swan song: a disc of thrilling beauty, an impeccable tour de force and a demonstration of the timelessness of Mitchell and her songs. Drawn from every period of her career, these songs, interpreted in a marvelous voice haloed by wisdom and maturity, include too many highlights to name only one. Drop everything and buy this CD at once, in the hopes that it will make her change her mind. Rick (who only had to use Larousse 3 times to translate this and is pretty proud of himself.) ------------------------------ Date: Fri, 22 Nov 2002 21:26:15 -0500 From: "PAUL PETERSON" Subject: Re: JMDL Digest V2002 #501 From the Boston Globe: Joni, you never fail to surprise. Your truest fans, including this one, have traveled with you through an amazing range of expressions. We've seen you leap from the barefoot romance of "Blue" to the harsh political playlets of "Dog Eat Dog," and we've shared your musical shifts from jazz and African rhythms to Thomas Dolby's high-tech sonic adventures in the 1980s. Few singer-songwriters have grown into maturity with as much unpredictability and experimentation as you. And with as much diva free spirit. Condemning your imitators for their "girlie guile " and aligning yourself with Vincent Van Gogh, you have kept us dazzled with an unwillingness to play by the rules of fame. No self-editing, no false modesty, no audience pandering. When listeners wanted you in Birkenstocks, you wore heels; when we wanted more "Court and Spark" sweetness, you gave us the social raillery of "The Hissing of Summer Lawns." You've been stubbornly loyal to your muse, and we've always benefited. Until now, that is. Today, Joni Mitchell is releasing a new CD that many of her fans - definitely this one - will not want to play. Called "Travelogue," it is a reinterpretation of Mitchell by Mitchell, with Joni singing 22 of her previously released songs accompanied by a 70-piece orchestra, a choir, and notables such as Herbie Hancock and Wayne Shorter. An extension of the self-reimagining that began on 2000's orchestrated "Both Sides Now," it's Joni somewhere between Broadway and Bach. It's theatrical, it's grandiose, and it's not the Joni Mitchell I want to hear unless I'm looking for distraction in a dentist's waiting room. Lest you think that "Travelogue" is Mitchell Muzak, let me say that for what it is, it's quality. As always, Mitchell's production (with ex-husband Larry Klein) is meticulous. Each song is arranged to recall but not mimic the original, with formerly dominant riffs reduced to substatements on songs such as "Refuge of the Roads." Her voice is gracefully mixed in with the violins, bassoon, trumpets, and drums, and yet it remains clearly upfront. And her voice is as good as it has been in years - without the multioctave trilling that once distinguished it, of course, but with enough nuance to make her lyrics count. Her tones now have a husky warmth that, ironically enough, may partly result from decades of smoking. On the more successful songs, such as "The Dawntreader," her voice is gorgeously intimate. And I don't think Mitchell is remaking old material simply to get a new album into stores. There isn't cynicism behind these remakes so much as weariness. I hate to say it, but part of Mitchell's motivation in making "Travelogue" may be a lack of inspiration for writing new songs. Her painting continues to take her in new directions, and she may not have much more to say in words. By redoing old pieces, she may be trying to create a sort of epilogue to her songwriting years, a summarizing career statement. But Mitchell may be too smitten with the notion that her songs are more durable than we ever knew, that they can flourish in any musical setting. She has proven the versatility of some of her pieces before, when she reshaped material for live performances on albums such as "Miles of Aisles" or on her excellent video "Painting With Words and Music." And her 2000 version of the simple, anthemic song "Both Sides Now" grew into a sunset reassessment of love and life thanks to a sedate orchestration. But the complicated songs that predominate "Travelogue," such as "Judgement of the Moon and Stars (Ludwig's Tune)," "The Sire of Sorrow (Job's Sad Song)," and "Slouching Toward Bethlehem," don't take on new shadings so much as they lose old ones. Mitchell's fierce intellectualism - what has made her music so superior to her imitators' - is sold short in a swelled-up musical setting where the instruments sound as though they could be cuing choreographed dance moves. Musings on fame such as "For the Roses" or "Troubled Child" are sadly diminished, and "Sex Kills," one of Mitchell's darkest observations about pollution, commercialism, and moral sickness, is rendered almost silly. And occasionally the arrangements force her into awkward enunciations, such as on "Amelia." Throughout her career, Mitchell has reached toward orchestration in interludes on songs such as "Down to You." But those bursts of thunder came at significant moments, not so consistently that they blurred together. On "Travelogue," all the careful orchestration ultimately prettifies a collection of brilliant songs, songs that frequently call for bite - even if their author has mellowed. Matthew Gilbert can be reached at gilbert@globe.com. ------------------------------ Date: Fri, 22 Nov 2002 18:27:40 -0800 From: "Mark or Travis" Subject: At last.... There are over 150 Joni mails in the ol' inbox tonight as I write this but I'm not going to read any of them. I went downtown to Borders today and picked up 'Travelogue'. I will be listening now, reading later. Bree, thank you again! Mark E in Seattle ------------------------------ Date: Fri, 22 Nov 2002 22:26:48 -0500 From: "Bree Mcdonough" Subject: Re: At last.... You are very welcome..... I'm very eager to hear your thoughts! Bree >There are over 150 Joni mails in the ol' inbox tonight as I write this but >I'm not going to read any of them. I went downtown to Borders today and >picked up 'Travelogue'. I will be listening now, reading later. > >Bree, thank you again! > >Mark E in Seattle _________________________________________________________________ Add photos to your messages with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ------------------------------ Date: Sat, 23 Nov 2002 00:24:27 -0400 From: Bruce Kimerer Subject: T'log, first disc, first listen Kate, I agree that many of the reviewers don't seem to have heard what I'm in the process of hearing. After reading so much about the deterioration of her voice, I was expecting (dreading) some kind of embarrassing rasp. That is not the case at all. I don't know what they're talking about. In fact, I feel her vocals are very effective indeed. And very musical (one critic remarked that she was 'narrating' the songs rather than singing them). Like any good artist, she knows how to make the absolute most of whatever limitations she may be faced with; allowing imagination, intelligence, talent, feeling and artistry to more than make up for any deficiency in technique. No, she doesn't have the range she once had (and frankly some of her early soprano moments get on my nerves), and the long, languorous vocal lines are now clipped, but she sure as hell can sell a song. I'm also pleasantly surprised by the arrangements, orchestrations and production. It seems the orchestra is used for punctuation, rather than the background wash of BSN, which I did not care for. It puts the rhythm and percussion back, which seems so much a part of Joni's musical style. Also, the vocals are more in front. I can hear every word -- which is so much the point. In fact, that's why Sire of Sorrow is such a revelation to me here. For some reason, the lyrics are hard for me to hear on TI. But now, in this new version, every word is clear, and I find it very moving. The emotional content overall is very powerful. Clearly, these songs culled from so many years of songwriting have a lot more going for them than 'picture postcard charms.' They are much more than pop cultural snapshots from the 60s, 70s, etc. I can't wait to hear the rest. But I'm going to listen to disc 1 through 2 or 3 times first. Bruce ------------------------------ Date: Fri, 22 Nov 2002 20:30:02 -0800 From: "Mark or Travis" Subject: Intermission Pausing between disks 1 & 2 to eat some dinner & absorb. A few first impressions: Intro to 'Love' - exquisite! I was looking to see which song came next at first but I decided to stop doing that and it's been fun trying to identify each song as it begins. Some of them are easy, some are not. This one almost threw me at first but I remembered hearing it on the Nonesuch site. It's a stunner! 'Judgment of the Moon & Stars' - I wanted to cheer & shout but I wanted to hear the music too so I didn't. I was doing some expressive arm movements toward the end. I do weird shit when I'm alone and listening to music I love sometimes. 'Flat Tires' - everything everybody's said about it. This version shows what a brilliant song it truly is. 'Slouching Toward Bethlehem' - reminded me of her live performance at the Gorge. Chilling. 'Sire of Sorrow' - male voices=Greek chorus. The first thing I thought of when somebody posted about this one. This song has always made me think of the classic Greek tragedies although I know the text is based on the book of Job from the Bible. The male voices as 'The Antagonists' just confirms it for me. This one had me doubled over, stifling noises coming up from my gut and squeezing tears from my eyes. The original is intense for me. This one is exquisite agony. May become my ultimate piece of cathartic music. Those of you who know me & remember what this song means to me will understand why. 'For the Roses' - I think this one just might be Norma Desmond. But she ain't all that hot on getting back in front of those cameras! This one's gonna take awhile to fully absorb it. 'God Must Be a Boogie Man' - This one is a delightful surprise. I'm glad she included a nod to Mingus. Very evident in the predominant bass line. She loved him and she's eternally grateful to him. Joni & Wayne=the Lady & Prez of the 21st century on this one. More later. Mark in Seattle ------------------------------ Date: Fri, 22 Nov 2002 23:37:53 -0500 From: "Heather" Subject: RE: that's no slut, that's a whore! just popping in with a joke: How do you make a hormone? Don't pay her ... get it? whore moan. I know ... it's stupid but all this talk about whores made me do it! ;-) Heather - -----Original Message----- From: owner-joni@jmdl.com [mailto:owner-joni@jmdl.com]On Behalf Of Mark Connely Sent: Friday, November 22, 2002 1:29 AM To: joni@smoe.org Subject: that's no slut, that's a whore! OK, so the bible tells of the Whore of Babylon, who is like the spirit of the anti-christ, and she is riding on the Beast of Revelation. The Beast is the force(s) that culminate in Armageddon. Am I getting warmer? Huh? mc ------------------------------ Date: Fri, 22 Nov 2002 20:36:40 -0800 From: Subject: Re: "Joni's yucky voice" I like the late 70's voice better than the early 'more bubbly' JM myself. As far as Joni's deteriorating voice is concerned,with respect to touring Travelogue - Let's keep in mind that Joni's voice sounded, in my opinion, dishearteningly weak on TTT, but then she went on tour and blew us all away in '98 - I couldn't believe how fucking good she sounded. I know full well that with each album the situation gets worse (especially with long periods between recordings), but I have a feeling that IF there is a tour, it'll only be a 5 or 6 city deal anyway. We'll see. - -Chris On Fri, 22 Nov 2002 15:05:34 -0800 (PST) Little Bird wrote: > I met a man in Montreal once in the "M" section > of a record store who was looking through the > Joni CDs. I told him I was a fan too and we > looked through some of them together. He said > he only liked her music up until Wild Things > Run Fast because after that, he said, "Her > voice got yucky." > > I actually prefer the husky alto to her > peaks-n'-valleys soprano of days gone by. I > think her voice reached its ideal pitch in the > mid to late 70s when it could glide seamlessly > over many octaves and multi-syllabic phrases > with ease. But I agree that the critics will > generally not be kind to Joni's singing > capabilities this time around. I noticed the > deterioration of her voice even since Both > Sides Now but tend to like it's rusty effect, > over all. > > I liked the comparison someone made of Joni's > voice to a horn. It is very brassy these days, > sort of trumpet-like and squeaky on the trills. > > > However, I think it will only serve to > marginalize her even further. If fans of her > work are finding it distracting, imagine what > the mainstream public will think. They won't > really know what to make of it. > > I imagine touring this album may prove to be > difficult for Joni if her voice is in rough > shape. > > -Andrew > Yahoo! Mail Plus - Powerful. Affordable. Sign > up now ------------------------------ Date: Fri, 22 Nov 2002 23:48:55 EST From: Murphycopy@aol.com Subject: Re: Intermission About 'Sire of Sorrow,' Mark writes: << This one is exquisite agony >> I couldn't help but laugh as I thought that Letterman might say, "'Exquisite Agony,' isn't that a Joni Mitchell album?" On a more serious note, there's lots of "exquisite agony" on T'log. (Or as W. B. Yeats might have said if he ever reviewed T'log, "terrible beauty.") Congratulations, Mark, for coming up with a phrase worthy of Yeats that so accurately describes much of the experience of listening to this. --Bob ------------------------------ Date: Fri, 22 Nov 2002 21:08:06 -0800 From: "Kate Bennett" Subject: fresh meat (as coyote rick would say i was blasting t'log tonight, the first chance i've had to hear on on the big stereo start to finish...(lama is right about the balcony thing & joni at the edge with the orchestra down on the stage) as i was making dinner, called jeff in...it was kinda loud so he turned it down so we could talk...he started asking about the record, why she chose to do it this way, etc....i told him she'd always talked about her songs in terms of orchestra & composition...that he needed to listen to the whole thing, see the pictures, to assess it for himself...etc...i told him woodstock was on it & he asked me to play it so i did (he went over to the couch to close his eyes & listen)...i asked him if he wanted to hear amelia, yes...i told him she ended with circle game, he asked me to play that so i said okay but i'm going to play you the song before it which you've never heard...so i snuck in borderline too...;~} afterwards he said it was amazing...that he loved her voice...i told him some critics were slamming her for her voice...he said well its like she was a violin & now she is a cello... then i listened to the whole thing over again in the dark & when it was over i let it go to the next cd on the changer...which happened to be lotc...morning morgantown sounded so scratchy & dull sonically compared to what i'd just been listening too...& her voice sounded like a little girls! then for free- with violin & clarinet! forshadowing of things to come... i've been asked to do some local cd reviews recently (i owe them my patty griffin review)...& i just put in my request to review t'log to be sure that at least in this small town she can get a glowing review...i told the arts editor that she deserved to have someone who 'got it' to do the review...let's hope they see it that way too... maybe its because i grew up early on listening to classical arrangements & broadway musicals (west side story, king & i...remember i grew up as a gay guy...lol) that makes this record so easy to listen to & so familiar... ******************************************** Kate Bennett: www.katebennett.com Sponsored by Polysonics/Atlantis Sound Labs Over the Moon- "bringing the melancholy world of twilight to life almost like magic" All Music Guide ******************************************** ------------------------------ Date: Sat, 23 Nov 2002 01:06:48 -0500 From: Cactustree78@aol.com Subject: TRAVELOUGE REVIEWS/W&G First off I must say that Travelouge is amazing soo much bettre than I thought..Now im not Mr classical music I dont know Stravinsky from Stroganoff but i do know beautiful music when i hear it...Im in love with Refuge..I like the I well up with affection line even more..and The Dawntreader awesome...As far as the reviews go Im not sure reviewers have ever "gotten" jonis music or Joni as a person for that matter..For the record will and grace is worth watching simply for megan mullally and Andrew...excelent observation and analogy with the blackface..its so true that there are absolutley no tv shows dealing with gay themes that star gay people...And Queer As Folk gives us all a bad name...i thought it was gonna be about gay hippies listenin to early joni at 420... thats a joke.. sorta.. have a great weekend everyone ***Kev*** ps New Tori amos album AMAZING!! ------------------------------ Date: Fri, 22 Nov 2002 22:28:38 -0800 From: "Mark or Travis" Subject: lobby card comments Listening to both disks it took a couple of songs for me to really settle down and my mind to focus on the music. Maybe it needs an overture and an entr'acte, eh? Sex Kills - powerful. It really works and I wondered how she would pull it off. She did. Hejira - rolls along over an expansive landscape, up & down hills, through tunnels, over vast stretches of prairie - or maybe rides along like a sail boat moving up & down the swells. That guitar line isn't there (is it?) but I could swear I could hear it at times. Her nod to the other great bass player that colored her music. Larry seems to be channeling Jaco. Cherokee Louise - The rhythm of the original suggested the age she was writing about. Here she slows it down and there is more a sense of pathos than nostalgia. The Dawntreader - I loved this song long before I ever saw the Pacific Ocean (or any ocean). Once I became completely enamored with the sea it really enhanced my love of 'The Dawntreader'. Listening to this version I became acutely aware that the dynamics & cadence of this song are very much that of surf on a beach. Hearing her sing this one at this stage of her life after so many years was almost like hearing a whole new song. The arrangement really seems to illuminate every image she paints here. The peridots & periwinkle blue medallions and the gilded galleons sparkle and gleam through the blue-green of ocean water. You feel the roll of the harbor wake. You hear the songs that the rigging makes. You taste the spray and smell the salt air. This thing comes alive and breathes. And the way she sings 'and the dream of a baby' as if she can hardly bear to say it - heart-wrenching and very fine. Mark in Seattle ------------------------------ Date: Sat, 23 Nov 2002 02:06:48 -0500 From: "Jim L'Hommedieu \(Lama\)" Subject: RE: SJMC "Sweet" Baby James? Gotta agree. I've been thinking today that J.T. has consistently been interesting every single time out. I think he's been much more interesting than McCartney or Lennon, solo. Wierd, huh? Lama > From: owner-joni@jmdl.com [mailto:owner-joni@jmdl.com]On Behalf Of Jenny > Goodspeed > The poster child for musical innovation, James is not. > Yes he earns his bread and butter on a few precious > and not-so-precious hits - and it is a dismal > experience to see him in concert and be surrounded by > people who only want to hear songs off his greatest > hits - but he has made his mark as a songwriter -- not > pushing the boundaries or making waves, but by writing > little gems that have their place in the soundtracks > of many of our lives (sounds like a bad hallmark, I > know, but it is true). ------------------------------ Date: Sat, 23 Nov 2002 02:20:59 -0500 From: "Bree Mcdonough" Subject: Re: lobby card comments >The Dawntreader - I loved this song long before I ever saw the Pacific >Ocean >(or any ocean). Once I became completely enamored with the sea it really >enhanced my love of 'The Dawntreader'. Listening to this version I became >acutely aware that the dynamics & cadence of this song are very much that >of >surf on a beach. Hearing her sing this one at this stage of her life after >so many years was almost like hearing a whole new song. The arrangement >really seems to illuminate every image she paints here. The peridots & >periwinkle blue medallions and the gilded galleons sparkle and gleam >through >the blue-green of ocean water. You feel the roll of the harbor wake. You >hear the songs that the rigging makes. You taste the spray and smell the >salt air. This thing comes alive and breathes. And the way she sings 'and >the dream of a baby' as if she can hardly bear to say it - heart-wrenching >and very fine. Beautifully put, Mark! I'm reading your words while listening......dim lights....I'm at the great Pacific.... I think Joni's voice is exquisite .... perfect and fitting on this song... Oh since it's late......FUCK THE CRITICS....(sorry..this is a word I rarely utter....but fuck the critics..) 'Bree >Mark in Seattle _________________________________________________________________ Add photos to your e-mail with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail ------------------------------ Date: Fri, 22 Nov 2002 23:55:45 -0800 From: Julius Raymond Subject: Re: SJMC "Sweet" Baby James? Word. JT music is inextricably woven into the fabric of my life. I used to pick the lock on my big sister's bedroom door, sneak in, and read her incredibly juicy diary while playing her inspired record collection. I admit it. Sorry, Lynita. She had James Taylor: In the Pocket. I could sing you every song, side to side, without even thinking even now. It's burned into me I tell you. Lifelong favorite. And don't forget Joni's harmonies with JT on "Only One." That's a sweet song and the kind of golden music I wish Joni would remint on her own, frankly. Cruel jest to compare him to Lennon though, as much as I love me some JT. He's not all *that*. It's an apples to aardvarks comparison, really. I'd take JT tunes to a desert island before McCartney though, granted. - -Julius np: Patty Griffin, live. "Rain" > Gotta agree. I've been thinking today that J.T. has consistently been > interesting every single time out. I think he's been much more interesting > than McCartney or Lennon, solo. Wierd, huh? > > Lama > > > > From: owner-joni@jmdl.com [mailto:owner-joni@jmdl.com]On Behalf Of Jenny > > Goodspeed > > > The poster child for musical innovation, James is not. > > Yes he earns his bread and butter on a few precious > > and not-so-precious hits - and it is a dismal > > experience to see him in concert and be surrounded by > > people who only want to hear songs off his greatest > > hits - but he has made his mark as a songwriter -- not > > pushing the boundaries or making waves, but by writing > > little gems that have their place in the soundtracks > > of many of our lives (sounds like a bad hallmark, I > > know, but it is true). ------------------------------ End of onlyJMDL Digest V2002 #355 ********************************* ------- Post messages to the list by clicking here: mailto:joni@smoe.org Unsubscribe by clicking here: mailto:onlyjoni-digest-request@smoe.org?body=unsubscribe ------- Siquomb, isn't she? (http://www.siquomb.com/siquomb.cfm)