Joni Mitchell

Joni Mitchell 1967-2004: SONGS OF A PRAIRIE GIRL

"This collection of songs and photographs is my contribution to Saskatchewan's Centennial celebrations. Get yourself a hot beverage and stand by the heater as you listen to these musical tales of long, cold winters, with a hint of short but glorious summers." - Joni Mitchell


  • Urge for Going
  • The Tea Leaf Prophecy (Lay Down Your Arms)
  • Cherokee Louise [Orchestral Version, 2002] - Featuring Herbie Hancock, Billy Preston, Paulinho Da Costa and Larry Klein
  • Ray's Dad's Cadillac
  • Let the Wind Carry Me
  • Don Juan's Reckless Daughter
  • Raised on Robbery
  • Paprika Plains [Previously Unreleased Remix]
  • Song for Sharon
  • River
  • Chinese Cafe/Unchained Melody
  • Harlem in Havana
  • Come in From the Cold [Edit]

    Booklet features beautiful photographs from Joel Bernstein

  • Joni Mitchell Chalk Mark In A Rain Storm

    Release Date: 25 October, 1990
    Label: Geffen

    Back when Joni Mitchell first began to make a name for herself as a singer and songwriter, what appeared to matter most about her music was the words. Sure, the melodies were important – she was a songwriter, after all, not a poet – but they always seemed secondary, merely a framework for her energies and the ideas of her lyrics.

    As Mitchell has grown older, however, the assumed priority of words over music has slowly reversed itself; what is being said in her songs has become less important than how it is being said. This shift in emphasis can partially be chalked up to her flirtations with jazz – it's kind of difficult to keep the focus on Joni Mitchell when the title proclaims Mingus – but for the most part, her shift in focus has less to do with musical style than with an attention to form, as she wrestles with music itself in an attempt to make the form of her songs as telling as their content.

    Ambitious? You bet, and as Chalk Mark in a Rain Storm makes clear, it does have its merits. It isn't simply that her wordplay is unusually clean and concise; she's finally found a credible means with which to merge literary devices with musical ones. "My Secret Place," for instance, uses its duet format and the similarities between her voice and Peter Gabriel's to illustrate the shifting confidences of shared intimacy, swapping lines or pulling back into separate verses as the balance within the relationship wobbles and shifts. "Lakota" goes even further, building its cadences off the rhythms of a native-American chant to lend Mitchell's lyrics an almost folkloric cast.

    Still, those aren't the sort of qualities anyone is likely to notice without concentrating some, and that's indicative of the album's Achilles' heel. Chalk Mark may have its strengths as a piece of songwriting, but melodic accessibility isn't one of them. Mitchell has no trouble setting up a hypnotic catch phrase strong enough to hold a song together, but she doesn't seem quite up to matching that construction with an equally strong melody line. As a result, the verses to "Number One" and "The Tea Leaf Prophecy" come across almost as afterthoughts, as if they'd been sketched in over the painstaking rhythm bed.

    Unsurprisingly, the album is at its most confident when Mitchell reworks existing melodies, as in her eerie resetting of "Corrina, Corrina" within "A Bird That Whistles" or her subtly stunning remake of the cowboy classic "Cool Water."

    To her credit, the sound of Chalk Mark is slick and enticing, with Mitchell making the most of her wide-ranging musical guests (the most unlikely and effective being Billy Idol, who growls engagingly through "Dancin' Clown"). Alluring as its surface is, though, this album doesn't invite repeated listenings; in that sense, Chalk Mark in a Rain Storm is all too aptly named, for its pleasures simply wash away with time. (RS 524)


    Joni Mitchell Wild Things Run Fast

    Release Date: 26 June, 1992
    Label: Geffen

    Joni Mitchell's 13th album came at a time when her sales were dropping but her personal life was better than great! She married her bassist Larry Klein soon after this album was released towards the end of 1982, and Klein offers a major role in the music of 'Wild Things Run Fast'.
    It is not her greatest album by any means, but attempted to win back fans who had left her when she became more experimental from 1975 onwards.
    The music here is easily pop-rock, and has a distinct 80s sound. But that doesn't mean terrible synths, multitracked vocals etc. Mitchell does the '80s thing' with grace, and the music does not sound too dated at all. Her songs here are about love, with the catchy "Solid Love" an obvious reference to her relationship with Klein ("we've got this solid love").
    Some songs have good melodies but you can tell they're pretty weak ("Underneath The Streetlight", "Wild Things Run Fast"), but they are not at all bad songs.
    Probably the most stylish of these tunes is "Moon At The Window", a song that recalls her recent jazz endeavours with soprano sax in abundance. The song that rightfully gains the most attention is the opener, "Chinese Cafe - Unchained Melody", a strong song about the fast passage of time, with plenty of mentions of Carole King.
    If you are only interested in the great works of Joni Mitchell, then you should try albums such as 'Blue', 'Hejira' and 'The Hissing of Summer Lawns' (just three of an astonishing number!), but if you want to explore the less well-known albums and Joni's often-missed 80s work, 'Wild Things Run Fast' is a great record for you. It's not bland, it's very rhythmic and unlike a lot of Joni's other albums, you can actually dance to the upbeat nature of the songs.
    'Wild Things Run Fast' should be a lot more recognised than it actually is.

    Down at the Chinese Cafe, we'd be dreaming on our dimes/We'd be playing 'Oh my love, my darling' one more time," sings Joni Mitchell of the old times. The way Mitchell threads lyrics from the Righteous Brothers' "Unchained Melody" through her own "Chinese Cafe" signifies the passing of time that is central to Wild Things Run Fast. "Caught in the middle, Carol, we're middle-class," she sings in that opening cut. "We're middle-aged/We were wild in the old days."

    Joni Mitchell's music has taken dramatic turns over the past fourteen years, and she has produced a classic in each of three styles: folk (Blue), pop-rock (Court and Spark) and pop-jazz (Hejira). Lyrically, love has been Mitchell's main concern–the word gets fifty-seven mentions on this LP–and her shifts have been more subtle: from the arched but intimate innocent to the Hollywood high-lifer and, finally, to the romantic on the run from experience.

    Wild Things Run Fast might have been called Court and Hejira. It is almost a great record, on a par with For the Roses and Clouds. It alternates rhythmically scratchy rock with cocktail jazz keynoted by Larry Klein's elastic bass and Wayne Shorter's soprano sax. Similarly, it splits lyrical concerns between what happens at people's parties and what goes on in Mitchell's solitary salon.

    Thoughts on love dart through these songs like foxes in the underbrush, seeming at once to build toward answers, then tripping over contradictions. "Nobody's harder on me than me," sings the marooned lover in "Moon at the Window," bitter that people taste love and toss it but grateful that emotional thieves can't steal the sky. The images are rich and the jazzy vocal is warm, with harmonies cresting to imply a negative response to the question "Is it possible to learn How to care and yet not care?" By contrast, the singer's counsel in "Be Cool" is to "Smile–keep it light Be your own best friend tonight." "Be Cool" is a lightweight social study compared to an emotional imbroglio like "Moon at the Window." The lyrical slightness of "Be Cool," as well as the title cut and "Ladies' Man," is reflected in their flat musical settings.

    More ambitious is "You Dream Flat Tires," the album's best uptempo pop-rocker. "Woman she bounce back easy But a man could break both his legs," sings Lionel Richie in a vocal cameo. In the next song. "Man to Man," Mitchell ponders the price of failures and flat tires. "I don't like to lie," she admits, her voice caressing the shuffling melody, "but I sure can be phony when I get scared." Wild, wary and most assuredly scared, she looks at her new lover and wonders if he or she can still care.

    But those kinds of romantic ruminations are reduced to so much rhubarb in "Solid Love" and Leiber and Stoller's "(You're So Square) Baby, I Don't Care," the album's two standout rockers. Who needs to be cool when your baby just wants to kiss you "sweet and strong"? And when you've got a "solid love," why not damn the doubts with a simple, "Hot dog, darling"?

    It's appropriate that an album so immersed in love should end with the gospel. "Where, as a child, I saw it face to face Now I only know in part, fractions in me, of faith and hope and love," Mitchell sings in "Love," whose lyrics are beautifully adapted from First Corinthians 13:11-13. Albums like Blue and Court and Spark were bolder, younger steps; but now the older woman, wiser to the ways of the world, is satisfied to stake out smaller victories. By closing Wild Things Run Fast with a simple quote like "Love's the greatest beauty," Jo?? Mitchell is not saying anything that she hasn't said before, but she's changing the context. Finding love's spark in old pop tunes and older scriptures, she cops to the clichés of romance and, more than ever before, positions the struggle as a spiritual imperative. Dreaming on a dime, she listens to the past with hope for the future. (RS 383)