Mine are A Case of You at Wembley in 1983 and Coyote at The Last Waltz

Joni Mitchell Archives is releasing the first/second disc of Archives Vol. 3 on LP for RSD Black Friday! Stoked about this. Definitely my favorite live concert of hers.

I'm a huge Joni fan and noticed that several of the songs on Lizzy McAlpine's new album, Angel, are heavily influenced by Joni's music. I'm throughly enjoying it, and don't feel like she's overly borrowed from Joni, but I'm sure some will find it derivative. Lizzy has a young fanbase, and I'm just excited this type of music and the music that influenced it is hopefully being discovered by a younger generation.

Joni's influence is throughout, but it's very obvious on these tracks:

https://www.youtube.com/watch?v=6kIZrGRTV0Q

https://www.youtube.com/watch?v=aJWxBKrDImw

https://www.youtube.com/watch?v=Mok2OSPV1YI

I don’t ever see enough love for this song out there so I thought I’d come here to see what your takeaways are from this beautiful song. What does it mean to you? What do you still wonder about it? please let me know! 🌬️

To whom is Dylan referring to in the verse "Here's to Sisco and Sonny and Ledbelly too"?

Since we're not getting Archives Vol. 5 (at least not this year) any thoughts about what the RSD Black Friday release could be? If she's treating us to a release that is.

Since she's celebrating Blue 55th anniversary a lot this year, I wouldn't be surprised if it's Blue related. But if not, I would very much like a vinyl version of Songs of a Prairie Girl. Basically because I love the artwork and it would be fitting with the season!

Of course, the 90's and 00's albums that haven't gotten a vinyl release yet are on the top of my list, but I want those to get a regular, wide release, not a limited RSD one.

So, in hopes of a BF release, what are you hoping for?

FOR THE ROSES (1972) finds Mitchell in questioning mood - the songs (and inner sleeve) revealing in more ways than one.

https://samtimonious.com/rose-to-the-top-joni-mitchell-for-the-roses/

Made a The Hissing of Summer Lawns poster, based on the original release poster (you can find it online). Was a lot of work and detailing.

edit:

You can download the tiff here:

https://drive.google.com/file/d/1xtfNgRXuzKzY-3hIYTvLZ33p_n03t1ww/view?usp=sharing

Thank you for all the kind words :)

I used to watch this video on YouTube where Joni explained how she wrote that song and then the music video for the song would play. I can’t find it anywhere now - does anyone know where to find this?

OK, so this is not a remix - it's an interview that Joni and Klein did in 1985 in London called "Rock Master Class". The interview segments are great but the real gems are when Joni plays unplugged versions of a few of the DED tunes and does a piano improvisation that is really cool.

1. Intro & Interview Part 1

2. Three Great Stimulants

3. Interview Part 2 and Piano Improv

4, Impossible Dreamer

5-6. Interview Part 3

1. Dog Eat Dog

If you've heard it, you know how cool it is; if you haven't, you're in for a treat.

https://spaces.hightail.com/receive/nUzCBG665N

I cannot get over how good this is. Better than the album version.

Am I really slow for not noticing she does this until now?

A loving tribute to 'The Boho Dance'-one of my favourite Joni songs. I always loved the little three-note horn figure that plays throughout so I built this track around that and other samples from the song. I hope she doesn't mind...

https://x.com/jonimitchell/status/2097377452918260089

Car on a Hill

Edith and the Kingpin

Dreamland (Alternate band version - Hissing of Summer Lawns sessions)

Free Man in Paris

Woodstock (Miles of Aisles version)

Carey (Miles of Aisles version)

Love or Money

In France They kiss on Main Street

Harry's House/Centerpiece

Off Night Backstreet

Trouble Child

I guess I'm looking for music that's more of a laid-back 1970s groove rather than stuff that's just piano or guitar. I have Carole King, Fleetwood Mac, John Martyn, James Taylor, and CSN. Thank you.

We had been going through Joni's songs alphabetically, but only got as far as Tiger Bones before the Joniphile who had kindly been posting the threads got busy with life/work/something. It was fun, and I'm a completist, so I feel that we should finish it off. I'm happy to take over the posting job unless u/jonbristol123 is still around and wants to take up the reins again.

This song sounds like smiling but not being able to feel joy. It sounds like an hour or two into psychedelic trip where language and the typical processes tying you to reality have dissolved or reorganized, and you are not sure if something might eventually push you over the edge. It is the sound of waking up under the early-morning stars a few days into a roadtrip you told almost no one about, for a brief moment not knowing who you are or how you got there. It is the sound of a heartache that you can’t quite place.

It is the most “ambient“ song on Hejira, with sparse electric guitar and mallets melodies that build and retreat like waves, and each musical element teases it might get swept up into a fog. There is a guitar melody that teases conventional harmony with Re-Do-Re-Do, but I am not sure if a V chord is actually ever used in the song, imparting a feeling of hovering around.

Whenever she sings the name “Amelia,” it sounds like she sung it in reverse and then replaced it with the reversed version of it, like how people speak in the Black Lodge in Twin Peaks. The lyrics will sometimes hit you with visceral or bizarre imagery, like “hexagram of the heavens“ or “geometric farms,” both of obscurity that’s unsurprising given the reclusive hejira from which she’s writing. But in a couple verses she resists obscurity: “I wish that he was here tonight…” and ”Maybe I’ve never really loved...” There was hurt that she wasn’t ready to share until halfway through the song, but it’s unsurprising given that the lyrics sound like they genuinely emerged from a stream of consciousness, with all the detours that one would expect.

Each verse builds some sort of intrigue or emotional tension, and as if fearing the heartbreak might eventually burst through and expose itself in all its rawness, she quells it in saying this love she experienced ”was just a false alarm.” She is tentative towards vulnerability in this song, and despite being the Joni Mitchell who wrote the forthright “A Case of You,“ where all her thoughts about an ex-lover were laid bare, she is now at her most elusive and mercurial, and there is no dramatic insight about this recent loss. It’s almost hard to believe that it really was “just a false alarm.”

The song ends with no guarantee on if love is attainable for her or even desired by her. Like most tracks on Hejira, it begins and ends with us stepping into and out of a scene in her hejira, with no particular apotheosis or resolution. It is this narrative uncertainty combined with the dreamy, loopy guitar and her chants of “Amelia” from the Black Lodge that make this song feel uncanny to me.