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Woodstock
Released: Mar 29, 2006
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Songs of a Prairie Girl
Released: Apr 26, 2005
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The third in {$Joni Mitchell}'s ongoing series of thematic compilations drawn from her stellar back catalog, {^Songs of a Prairie Girl} is described by {$Mitchell} in her liner notes as "my... Continue[+]

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The third in {$Joni Mitchell}'s ongoing series of thematic compilations drawn from her stellar back catalog, {^Songs of a Prairie Girl} is described by {$Mitchell} in her liner notes as "my contribution to Saskatchewan's Centennial celebrations," an appropriate gesture since she spent most of her childhood in Saskatoon, a city in that Canadian province. Most of the songs on {^Songs of a Prairie Girl} deal in one way or another with childhood or adolescence, often with a bittersweet edge; there's little in the way of unbridled nostalgia, with {&"Let the Wind Carry Me"} and {&"Urge for Going"} expressing the desire to escape the boundaries of small-town life, and {&"Ray's Dad's Cadillac"} and {&"Song for Sharon"} recalling equal measures of joy and remorse in the misadventures of her teen years. {$Mitchell}'s music also splendidly conjures up the wintry space of the Canadian plains, especially on the epic {&"Paprika Plains"} from {^Don Juan's Reckless Daughter} (appearing here in a new mix that reduces the emphasis on the orchestra in favor of {$Joni}'s piano) and the symphonic version of {&"Cherokee Louise."} And while there are moments of remembered joy (particularly on {&"Harlem in Havana"}), for the most part {^Songs of a Prairie Girl} is, by design, a meditation on the broad and snowy spaces of Saskatchewan, and {$Mitchell} herself advises with tongue in cheek that the listeners should "get yourself a hot beverage and stand by the heater as you listen." As a collection of lesser-known material ({&"Raised on Robbery"} is the only "hit" here), {^Songs of a Prairie Girl} once again casts a well-considered glance on a less-explored aspect of {$Mitchell}'s work, and these songs convey the mingled pleasure and sadness of growing up with the careful eye of a true artist, as well as the crisp if faded memories of the home she left so many years ago. Beautiful stuff, and richly rewarding. ~ Mark Deming, All Music Guide

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Joni Mitchell Special Edition
Released: Jan 11, 2005
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Dreamland
Released: Sep 14, 2004
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{^Dreamland} is the second volume in {$Joni Mitchell}'s self-compiled series of "theme" retrospectives. The first, issued on the {@Geffen} label, was entitled {^The Beginning of Survival}. It... Continue[+]

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{^Dreamland} is the second volume in {$Joni Mitchell}'s self-compiled series of "theme" retrospectives. The first, issued on the {@Geffen} label, was entitled {^The Beginning of Survival}. It focused on songs that dug deep into social, cultural, political, and environmental themes, as "commentaries on the world in which we live." {^Dreamland} was compiled from her {@Asylum}, {@Reprise}, and {@Nonesuch} years and focuses, for lack of a better term, on the jazzier side of her catalog musically, including songs with lyrics are all highly imagistic in their makeup. Most are dealing with love and life in the process of moving through it. From {&"Free Man in Paris"} and the title track, to {&"In France They Kiss on Main Street,"} {&"Come in From the Cold,"} {&"Help Me,"} and of course, {&"You Turn Me on I'm a Radio,"} these songs turn the tide for the listener from the place of observing love to the terrain of being caught up in it, where everything is hyperreal and the senses are heightened. The other, tempered side of love is offered with the orchestral version of {&"Both Sides Now"} and {&"For the Roses."} But there are other songs, too, like {&"Furry Sings the Blues,"} which paints a nocturnal landscape of the {\blues} past, as visited by the protagonist in dreaming, or travel as an other reality in the orchestral reading of {&"Amelia,"} or in {&"California."} In each instance, the view of reality presented is distorted, either by memory, the acute hypersensitivity of the heart, or by the notion of displacement. All of these strains weave a new terrain from {$Mitchell}'s oeuvre. The package is, once again, a delight, featuring a fine appreciation by {$Cameron Crowe}, and reproductions of ten of {$Mitchell}'s paintings. While the material here has all been released before, as has always been the case with {$Mitchell}'s work, context is everything. This bold new context offers a startling view of the artist as auteur. ~ Thom Jurek, All Music Guide

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The Beginning of Survival
Released: Jul 27, 2004
Label: N\A

{^The Beginning of Survival} is a whopping 16-track collection from {$Joni Mitchell}'s {@Geffen} period, recorded between 1985-1998, and carefully chosen by the artist as "commentaries on the world... Continue[+]

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{^The Beginning of Survival} is a whopping 16-track collection from {$Joni Mitchell}'s {@Geffen} period, recorded between 1985-1998, and carefully chosen by the artist as "commentaries on the world in which we live." One has to wonder about the title: if by saying this is "the beginning of survival," {$Mitchell} is referring to her own retirement strategy -- she is no longer making new records. Or perhaps that we are now at the end of actual living and are on the other side of the garden of Eden she referred to in her song {&"Woodstock"} from so long ago. Are we at the beginning of a new era, one in which the strategies we once used to exist in a society together have been erased and new ones have come into play, where we make our way merely as individuals in isolation from and in competition with one another? Or perhaps the question is one of beginning to survive as a culture despite the onslaught of mediated images that now cancel out "the real thing," with rampant greed and the lust for objects of desire and power rather than desire itself. 
The sequencing here is so meticulous and effective that {^The Beginning of Survival} feels like a topical song cycle rather than a compilation. Tracks trace meaning and impression onto other tracks; they inform and elucidate themes of resistance in the face of the dark deluge that began the culture war in earnest during the 1980s, and which has come to signify the nature of American society in the 21st century with no signs of anything but further fragmentation. The opening words of {&"The Reoccurring Dream"} that begin this cycle state: "This is a reoccurring dream/Born in the dreary gap between/What we have now/And what we wish we could have...." A line that signifies a double meaning, one that is caught between the simulacrum of what we are offered as life, and the drive for life itself. And so it goes from this screed against consumerism to a track like {&"The Windfall (Everything for Nothing),"} moving on to the weariness with culture in {&"Dog Eat Dog,"} {&"The Beat of Black Wings,"} {&"Fiction,"} and {&"Sex Kills,"} to the meditation on other cultural, social, and ecological injustices in {&"The Three Great Stimulants,"} {&"Lakota,"} {&"Ethiopia,"} {&"No Apologies,"} and {&"The Magdalene Laundries,"} to the place of the spirit and the allegories of the great spiritual lessons in {&"Slouching Towards Bethlehem"} and {&"Passion Play,"} to the faint glimmer of hope in {&"Cool Water"} and {&"Impossible Dreamer."} Back and forth, around, down, and in, these songs swirl with her trademark weave of {\jazz}, {\rock}, and {\pop} into a long meditation on what has happened, and where we find ourselves, in this new world, truly "at the beginning of survival," deprived of the strategy of history because it has been canceled out. This is a provocative, wonderfully articulated, and gorgeously illustrated compilation (there is a series of nine of {$Mitchell}'s thematic paintings and one self-portrait of {$Mitchell} adorning the booklet) that sheds new light not only on the tunes, but on {$Mitchell}'s enduring contribution. ~ Thom Jurek, All Music Guide

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The Complete Geffen Recordings
Released: Sep 23, 2003
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For starters, hunters should not get their hopes up about any unreleased material on this box set -- there are exactly three cuts, two are unfinished {\demo} versions of songs already on their... Continue[+]

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For starters, hunters should not get their hopes up about any unreleased material on this box set -- there are exactly three cuts, two are unfinished {\demo} versions of songs already on their respective albums -- {&"Two Grey Rooms"} and {&"Good Friends"} -- as well as an unreleased cover version of {$Dylan}'s {&"It's All Over Now Baby Blue."} But that's fine, just fine. The bottom line is that these records haven't been available in some time due to the profound folly of the accountants who run the {@Geffen} imprint who wouldn't know art if it were hanging in their living rooms. The box is stunning, gorgeous even in its earth-tone glory with a brilliant inset photograph by former husband and producer {$Larry Klein}. There are poignant photos, the albums in their original sleeves, a completely searing unapologetic set of liner notes from {$Mitchell}, reproductions of paintings, and more. {$Mitchell}'s comments, which introduce many of the songs here, are priceless. These and the liner notes are almost worth the price of the box. The only design problem seems to be that the booklet falls apart a bit from its stitching, but that's not really a big deal.
However, there is the music to contend with. When {$Mitchell} entered the '80s with {^Wild Things Run Fast}, her first studio album of the decade coming off the {^Mingus} and the transcendent {^Shadows And Light} tour. Lyrically, {$Mitchell} met the challenge head on, and musically, she did as she always did: followed her own Muse deeper into the realms of {\jazz} and {\classic American pop}. She collaborated with {$Larry Klein} for the first time -- as she has ever since -- and began using small core bands with {$Klein}'s bass as an anchor and numerous guests including {$Wayne Shorter}, {$Lionel Ritchie}, {$Brenda Russell}, {$Alex Acu�a}; even {$Grasshopper} from {$Mercury Rev} made an appearance on {^Night Ride Home}. On this box it becomes obvious that {^Wild Things Run Fast} set a template for four very different, yet linked, recordings. With its jazzy edges and its liberal use of early {\rock and roll} and {\classic R&B} (at one point in {&"Chinese Laundry"} {$Mitchell} does a very moving rendition of {&"Unchained Melody,"} and at another covers {$Leiber and Stoller}'s {&"You're So Square"}). 
Critics were downright hostile to {^Dog Eat Dog}, from the cover on in to the music. Given its dark meditations on the era, it's use of {$Thomas Dolby} and technology, it flew in the face of '80s-styled simple, shiny rock, and took to task both the rampant materialism of the age, and its complete abandonment of human concerns for commerce and cultural iconography. It also laughed at the forced simplicity of popular music at the time with a rampant sophistication and cool. {^Chalk Mark In A Rain Storm}, with its Native American themes and mystical {\jazz} tropes, is simply a brilliant recording that was received with kindness, and even some understanding by critics, but it sold miserably even though its guests reflected a who's who of the {@MTV} era: {$Peter Gabriel}, {$Billy Idol}, {$Don Henley}, {$Tom Petty}, and {$Wendy and Lisa} (from {$Prince}'s band). {^Night Ride Home} garnered decent reviews as well; it featured a stripped down, more acoustic sound, and is one of the most lyrically brilliant and ambitious of {$Mitchell}'s many albums. Here was a long reflection on endings, dark ambiguities, and the willingness to stay inside a place that offers no certainty in order to live one's way into an answer. Tracks like {&"The Windfall,"} {&"Slouching Toward Bethlehem,"} {&"Cherokee Louise,"} and {&"Come In From The Cold,"} offer a vision of steadfastness in dark and wavering trials of the soul. Her version of {$Dylan}'s {&"Baby Blue"} here is a real bonus; it's a revelatory reading of a monolithic song. Revealing her to still be full of the trickster's promise and the visionary's unwavering gaze into the future, this is a box set worthy of {$Mitchell}'s contribution. ~ Thom Jurek, All Music Guide

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Woman of Heart and Mind
Released: Jun 3, 2003
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This career retrospective of {$Joni Mitchell}'s life and music is a good, and for the most part, straightforward overview of her accomplishments through the beginning of the 21st century.... Continue[+]

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This career retrospective of {$Joni Mitchell}'s life and music is a good, and for the most part, straightforward overview of her accomplishments through the beginning of the 21st century. {$Mitchell} herself contributes a lot of interview comments, embroidered by interview material with quite a few of the musicians and professional associates she's worked with since the 1960s, including {$David Crosby}, {$Graham Nash}, {$David Geffen}, manager {$Elliot Roberts}, {$Larry Klein}, {$James Taylor}, {$Eric Andersen}, {$Tom Rush}, and {$Herbie Hancock}. Even more interesting is the impressive assemblage of live footage, taking in clips of performances, some quite rare (like an early-'70s scene of {$Mitchell} singing {&"You Turn Me On, I'm a Radio"} at a party, and a late-'60s clip of her doing a song she never put on her albums, {&"Just Like Me"}), going all the way back to 1966. There are also a great number of still photos used as the backdrop to interviews, many of them little-seen, going back to her childhood. The greatest concentration of material is from the last half of the 1960s, with the coverage fast-forwarding ever faster from that point on, and relatively cursory coverage of the 1980s and 1990s. Which is fine, to be blunt -- it's the earlier part of her career which is the most interesting. For big fans, the live footage gets a little frustrating in that only excerpts of songs are used, rather than complete performances; if a DVD of complete clips from her early career is ever managed, that would be a great thing. Also the chronology gets mildly jumbled, and familiarity with the basic outline of her career helps in following the story, since it's not heavy on basic details of what happened when. The bonus material includes outtakes from the interviews {$Mitchell} granted for the project (none too absorbing); four complete songs from a 1994 performance; a photo gallery; and a quite inessential promo (without any {$Mitchell} footage) for her {^Travelogue} album. ~ Richie Unterberger, All Music Guide

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Travelogue
Released: Nov 19, 2002
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According to {$Joni Mitchell}, {^Travelogue} is her final recorded work, and if that is so, it's a detailed exploration of moments in a career that is as dazzling as it is literally uncompromising.... Continue[+]

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According to {$Joni Mitchell}, {^Travelogue} is her final recorded work, and if that is so, it's a detailed exploration of moments in a career that is as dazzling as it is literally uncompromising. Over 22 tracks and two CDs (and as stunning package featuring a plethora of photographs of {$Mitchell}'s paintings), {^Travelogue} is a textured and poetic reminiscence, not a reappraisal, of her work -- most of it from the 1970s through the 1990s. A 70-piece orchestra, as well as {\jazz} legends {$Herbie Hancock}, {$Wayne Shorter}, and {$Kenny Wheeler}, drummer {$Brian Blade}, bassist {$Chuck Berghofer}, producer {$Larry Klein}, and organist {$Billy Preston}, among others, accompanies her. It's true that {$Mitchell} dabbled in this territory in 2000 on {^Both Sides Now}, but that recording only remotely resembles this one. Cast in this way it is true that this is no easy cruise, but given the nearly 40 years of her sojourn in popular music, {$Mitchell}'s work, particularly from the mid-'70s on, has been difficult for many to grasp on first listen and always gives up its considerable rewards, slowly making her records age well over time; they are not disposable as much of the music from her peers is. These completely recast songs cover the entirety of her career, from her debut, {^Song From a Seagull}, to {^Turbulent Indigo} (with certain albums not being represented at all). It's true there aren't high-profile cuts here except for {&"Woodstock,"} which is radically reshaped, but it hardly matters. When you hear the ultrahip, be-bopping {&"God Must Be a Boogie Man,"} there is an elation without sentimentality; in the scathing and venomous {&"For the Roses"} and {&"Just Like This Train,"} the bitterness and aggression in their delivery offers the listener an empathy with {$Mitchell}'s anger at the recording industry -- and anyone else who's crossed her. But while there is plenty of swirling darkness amid the strings here, there is also the fulfillment of prophecy; just give a listen to this version of {&"Sex Kills"} that bears its weight in full measure of responsibility and vision. Her voice, aged by years of smoking, is huskier and is, if anything, more lovely, mature, deep in its own element of strength. The restatement of {%W.B. Yeats}, {&"Slouching Toward Bethlehem,"} is more stunning now than ever before as is {&"Hejira."} In {&"The Circle Game"} and {&"Slouching Toward Bethlehem,"} you hear the ambition in {$Mitchell}'s musical direct as she has moved ever closer to the tone poem as a song form. Though it may not be as easy on first listen as {^Court and Spark}, {^Travelogue} will continue to unfold over time and offer, like her best work, decades of mystery and pleasure. ~ Thom Jurek, All Music Guide

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Girls in the Valley
Released: Dec 11, 2001
Label: N\A

{^Girls In The Valley} is a woefully short selection of ten {$Joni Mitchell} songs from German label {@Poptoones}. The songs are all easily available elsewhere, and there is really no reason to... Continue[+]

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Both Sides Now
Released: Apr 10, 2001
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Joni Mitchell

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