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I am now in my 40's and something about Joni Mitchell's work and life moves me more than ever. Songs that seemed simple are not, lyrics that danced, do more than that now, so much more.
If you love Joni, you will enjoy, if not be moved through this tribute by truly unique singers. What do I like about this CD.
and I vow, Joni is truly one of the great singers and songwriters of our day, transcending her craft into true art. you can feel it as they sing her work.Prince will knock you over and Lenox singing Annie, well, I felt like water listening to it, so smooth, so beautiful, so real.
When I was young in the 60's, of course, we all heard Joni and loved her.she was big, she was everywhere and a hero. Her music for me has gone from popular to profound.
lots, but more than anything the way these pros love Joni, are grateful to her.
In any case it doesn't ruin the album for me. But if you're a McLachlan fan this track won't bother you. This is the main cover I've come to prefer to Joni's.Elvis Costello's "Edith and the Kingpin" is a lot of fun. I recommend it highly. I also happen to prefer Mehldau's solo playing to his ensemble work--he's an enormously skilled pianist and arranger.Bjork's "Boho Dance" is icy, silvery, magical, and yet surprisingly soulful. lang, James Taylor, and Emmylou Harris are surprisingly (refreshingly, satisfyingly) understated.The only piece I don't like is Sarah McLachlan's "Blue." This cover just doesn't contribute anything in terms of helping us to understand the original; it's just a cover, complete with a nearly spot-on imitation of Joni's vocal performance, sort of like a fan doing "shower singing." And the gutteral cry of what is arguably Joni's singlemost important song is undercut by the airy, wispy, Lillith Fair-ishness of the arrangement.
Ugh. Every fan of Joni Mitchell's early (i.e., pre-Hejira) work should hear this. Like the Stevens, this is a very intelligent reimagining. His singing is very expressive, and the arrangement really captures the feel of a sleazy lounge.Annie Lennox's "Ladies of the Canyon" makes use of a pedal point, ostinati, and tinkling sitar-like instruments to approach the Eastern mystical sound-world of the Beatles's "Tomorrow Never Knows." It's really hypnotic.The contributions from Prince, k. I play it all the time, and I have to admit, some of these covers have grown on me so much that I nearly prefer them to the originals.The most imaginative transformation is heard in Sufjan Stevens's "Free Man in Paris," a completely new, brass-driven composition related to Joni's only through the lyrics--a very interesting approach.Another standout is Brad Mehldau's "Don't Interrupt the Sorrow," which he does as a solo piano piece. This album is excellent.
He introduces a rhythmic ostinato in the left hand (bass) to imitate the pulses and syncopation of the original accompaniment. d.
Highly recommended. The rest of the cuts are also top class. The 1st 5 cuts are boring uncreative fare. Wow, do things take off on Prince's cut - contemp R & B / gospel / jazz but what a vocal performance and such an original arrangement. Creative and so "right" and musical they more than make up for the first 5.
Still, I think Sufjan Stevens' "Free Man In Paris" is a fitting tribute in this collection. Wow, tough room. For, whatever you think of the final result, clearly he was inspired by Joni and this is the result, rather than just another tired cover.Carry on, Sufjan.
I've been listening to kd Langs version of help me for almost five years from my saved tape; it was the most memorable performance for me during the concert and she did it barefoot; we can always count on kd to buck tradition. What's unfortunate is that many who buy may not have seen the actual broadcast that was touching and very well produced. This album is the result of a tribute to Joni hosted by TNT Network almost 5 years ago. While some find this missing a few cuts or some of her most popular songs, it is nonetheless a wonderful album. It's a shame that TNT didn't release the video of the broadcast.
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