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";s:4:"text";s:8971:"Her boldest fears come out in her songs about madness, the last two on the album. I have this copy -- labels are exact with gramophone on label perimeter, same matrix numbers, etc -- the only difference is I have 1974 on both labels. Send us a tip using our anonymous form. female vocals, poetic, melodic, lush, acoustic, romantic, introspective, soft, love, mellow, longing, bittersweet, summer, CD Sized Album Replica, Limited Edition, Remastered, SHM, Release view [combined information for all issues]. Rate Your Music is an online community of people who love music. But in the following song, “Help Me,” she reverses herself — the strength is gone and love becomes a threatening force that one copes with rather than surrenders to. But if Joni Mitchell is capable of subtly edging around the notion of breakdowns, she’s unable to keep the same distance when singing about the men who dominate the album. On For the Roses, Joni Mitchell’s best lines were: “I’m looking way out at the ocean/ Love to see that green water in motion.” Here she uses water to evoke the breaking of another’s spirit: Some are gonna knock you Some will try to clock you It’s really hard to talk sense to you Trouble Child Breaking like the waves at Malibu. . . “Court And Spark” is about a drifter who suggests the possibility of her severing all inhibiting connections. Their is some background noise here and there too. The music was far more alive and involved. Overall superior in every way. The cut from the analogue master is impressive, taking a while to adjust to a generally brighter more immediate sound than other version's I've heard. Blue, her best album, defined a musical style of extraordinary subtlety in which the greatest emotional effects were conveyed through the smallest shifts in nuance. “Raised on Robbery” is pure release: She ducks every issue for an exhilarating fantasy. Sign up for our newsletter. the album is a masterpiece. . Use the boards for extended discussion. Court & Spark found Mitchell casting aside her earth mother affectations and revealing herself as the thoroughly modern, thoroughly complicated woman she is; the songs sustained familiar preoccupations with relationships but replaced courtly settings and naturalistic imagery with recognizably modern locales. Albums include Blue, Court and Spark, and Hejira. Likewise, don't respond to trollish comments; just report them and ignore them. She sees it as a further complication in the process of sorting out values. On “Free Man in Paris” and “People’s Parties” she moves from love to her other favorite subject: fame and its demands. 'John Bronco' Resurrects the Macho Seventies Pitchman, Boots and All, Flashback: Van Halen Play ‘Panama’ at the 2015 Billboard Music Awards, Stevie Nicks Joins TikTok, Nods to Viral ‘Dreams’ Challenge, Stevie Wonder Releases First New Music in 15 Years, Jerry Lee Lewis Announces 85th Birthday Livestream With Elton John, Bill Clinton, More, Demi Lovato, Finneas Team Up for Political Ballad ‘Commander In Chief’. It’s the album’s best love song — sophisticated, subtle and complete in itself. Together they flirt with insanity from a distance safe enough to show she can control even so threatening a concern. Don't post randomness/off-topic comments. incorrect label picture submitted. This is a very quiet and well pressed re-issue. On Court and Spark the music is less a reinforcement of the lyrics and more of a counterpoint to them. All the community rules apply here. Listened to this album after surgery. Joni Mitchell discography and songs: Music profile for Joni Mitchell, born 7 November 1943. But then on “Just Like This Train” she uses some fantasy imagery to define a relationship between freedom and time: “I used to count lovers like railway cars.” Now she doesn’t count anything and just lets things slide. Striking in its own way, it suffers from a possibly too literal conception. Can't recommend enough if you know this album. Format: 12" Vinyl, Year: 1974, Label: Asylum Records (7E-1001), Length: 36:58 . She then brings the performance back to its initial fantasy — the anticipation of waiting for a man. Joni Mitchell seems destined to remain in a state of permanent dissatisfaction — always knowing what she would like to do, always more depressed when it’s done. © Copyright 2020 Rolling Stone, LLC, a subsidiary of Penske Business Media, LLC. Don't comment just to troll/provoke. Be respectful! Catalog, rate, tag, and review your music. Simple songs like the title tune are almost as fulfilling. Votes are used to help determine the most interesting content on RYM. 7E-1001; Vinyl LP). To rate, slide your finger across the stars from left to right. This album ,which i, have has a sticker on it: "Digitally remasterd from the orginal master tapes Pacific microsonics HDCD. Even her most minimal work suggests a need for change and skepticism about its potential results. An album about an individual struggling with notions of freedom, it is itself freer, looser, more obvious, occasionally more raunchy, and not afraid to vary from past work. For that reason, the quick move into “Twisted” seems almost desperate. List and review the concerts you've attended, and track upcoming shows. "Label: side one/two on left, "stereo" and catalog # on right". Genres: Singer/Songwriter, Contemporary Folk, Folk Pop. Her own “Trouble Child” and Lambert-Hendricks-Ross’ “Twisted” deal with it in strikingly different ways: The former is tragic, the latter is a piece of comedy with an hilarious punch line that plays on the very notion of schizophrenia. Joni Mitchell discography and songs: Music profile for Joni Mitchell, born 7 November 1943. Want more Rolling Stone? Don't use this space to complain about the average rating, chart position, genre voting, others' reviews or ratings, or errors on the page. Any spoilers should be placed in spoiler tags as such. Released in 1982 on Asylum (catalog no. Jokes are fine, but don't post tactless/inappropriate ones. The actual opposites of Court and Spark — the thrill of courtship modulated by the fear of emotional commitment — suggest a series of choices that Mitchell touches on, passes through, and defines with astounding compression — the alternatives of love and freedom, trust and paranoia, security and rootlessness, concern for herself and for others, compromise and pursuit of perfection, and even sanity and insanity. Last night I played side A and then played an older copy of Court and Spark side A. When you rate your music, the site's music/social recommender can recommend similar music and … 7 on the Billboard Hot 100 in the first week of June, and reaching No. Not a massive issue but slightly disappointing. The cut attempts a contrast between very specific lyrics and dreamy musical interludes. Court and Spark, an Album by Joni Mitchell. On Court and Spark the music is less a reinforcement of the lyrics and more of a counterpoint to them. The lyrics lead us through concentric circles that define an almost Zen-like dilemma: The freer the writer becomes, the more unhappy she finds herself; the more she surrenders her freedom, the less willing she is to accept the resulting compromise. Because this is a secondary issue, you can only catalog it in the native format (or writable media). There are no reviews for this issue. The older copy was more detailed, louder, had greater instrument separation. Don't get in arguments with people here, or start long discussions. She never seems to know where she wants to draw the line in love, or if a line exists at all. But it is precisely on the songs about love that the new lightness in her music makes so much sense. Jealous loving makes her “crazy,” and so she now equates goodness entirely with the heart: She can’t find the one because she’s lost the other. The album’s most haunting song hangs on the deceptively simple line, “What are you gonna do about it/You’ve got no one to give your love to.”. side one a bit bassy, side two perfect. Last night I played side A and then played an older copy of Court and Spark side A. “Down To You” is every bit as intricate but works much better. To me she says: Now that we’ve taken a look, let’s get out of here — there’s nothing left to do but laugh. Court and Spark, Joni Mitchell’s sixth studio, has been her most commercially successful album, leading Rolling Stone magazine to call her the “Queen of Rock” in 1974. As good as melody, vocal and arrangement are, the lyrics overshadow them, with intimations of the album’s opposites: “Everything comes and goes . It is also sung with extraordinary beauty, from first note to last. .” she sings in “People’s Parties.” The song, musically related to the delightful “You Turn Me On (I’m a Radio),” is at once her least ambitious and most affecting work. 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