I remember first hearing Joni Mitchell’s voice and thinking “That’s the sound I’ve been looking for”. Joni has a gorgeous voice for folk music, and a gentle lilting tone. So you can imagine when she wanted to make an album that was heavily rock and jazz influenced, her producers must have been just filled with joy. But thankfully they had faith in Joni, and the world now has Court and Spark.The album opens on the title track, a song that’s melody recalls the Blue-era Joni, but the instrumentation is much more full, with a rock drum beat and a almost music-hall sounding piano, making the track a good transition for folk-Joni fans to get into this new era. The next track is Joni’s biggest hit, “Help Me”, a fantastic old-school rock track with just the right twist of Joni’s spirit. This track could have been a Ronettes hit reworked by Ms. Mitchell, and it possesses such a life within it, especially during that “Didn’t it feel good?” bridge that evokes Marvin Gaye and the classic Motown feel. Is there any question why this is the track that brought Joni into the mainstream?
The next track, “Free Man In Paris”, written about famous producer David Geffen after a trip Joni and he took to Paris with the legendary Robbie Robertson and his brother, is like an all-star track. Not only is it one of Joni’s best tracks melodically, but it features David Crosby and Graham Nash on back-up vocals (yes, that IS why those harmonies sound so good) the Jose Feliciano on electric guitar. The drumbeat alone on this track should make it a classic, but every element comes together on this track, proving Joni with a full band is just as good as Joni with an acoustic. “People’s Parties” is a great track that sounds like an old-school Joni solo song that added a back-up band, and that back-up band is a perfect fit. Joni’s voice just floats above the music, reminding you that you don’t have to be howling to put soul into your music. A track like “Same Situation” seems to prove without a shadow of a doubt how much female singers today, ranging from the obvious Aimee Mann to I’ll-go-so-far-to-suggest Kelly Clarkson owe a debt to Joni. Sure, Aretha and Tina get all the credit, but look at the way Joni crafts her voice around each note. There’s passion without fury there. And it’s beautiful.
“Car On A Hill” features some gorgeous choral harmonies showing Joni was definitely having fun in the studio on this one. This track is a real Steely Dan-esque, laid-back rock track, and Joni pulls it off with flying colors. “Down To You” begins as a gentle piano ballad in the vein of classic Joni, which while not in keeping with the “new” image the album creates for her, is a nice departure. But slowly it builds with little flickers of other instruments coming in like fireflies on a summer evening. While other tracks may be more popular, I think “Down To You” is by far the album’s most ambitious track, and it succeeds in most if not all of it’s ambitions.
“Just Like This Train” has the same feel as “People’s Parties”, that idea of it being a classic Joni song with a band added, while “Raised On Robbery” is the exact opposite. You can’t imagine this track without the band behind it, especially when part of that band is part of The Band, since the electric guitar on this track is played by the legendary Robbie Robertson. Without a doubt, “Raised On Robbery” is the heaviest rock track on the album by a long shot, and must have been a shock to the system to any first time listener (I remember it sure as hell was to me), and yet Joni can do this track just as well as the softest, most lilting tracks on the album.
“Trouble Child” goes back to the Steely Dan vibe, and Joni does some of her best slides and really displays her vocal agility in a non-diva, non-irritating way. The album closes on “Twisted”, a Lambert, Hendricks & Ross track featuring, yes, you’re reading that right, Cheech Marin and Tommy Chong doing the spoken bits. This is the jazziest song on the album, and shows Joni could have had a great future in this genre just as much as folk. Admit it, this track is practically perfect, and for a folk singer, it’s incredible. It just proves Joni has no label other than “genius”.
Bottom line, this album is fantastic, and a true insiration as to what a musician can achieve with an open mind and great taste. Totally worth the listen. I truly hope you guys enjoy it as much as I did.
-Mike
See you guys next for #318: Back Stabbers by the O’Jays
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