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All rights reserved.Joni Mitchell - Dreamland (CD 2004)
| Track Listing 1. Free Man In Paris 2. In France They Kiss On Main Street 3. Dreamland 4. Jungle Line 5. Furry Sings The Blues 6. You Turn Me On I'm A Radio 7. Carey 8. Big Yellow Taxi 9. California 10. Help Me 11. Nothing Can Be Done 12. Dancin' Clown 13. Come In From The Cold 14. Amelia (orchestral version 2002) 15. For The Roses (orchestral version 2002) 16. Both Sides Now (orchestral version 2002) 17. Circle Game
Album Notes Personnel include: Joni Mitchell (vocals, acoustic guitar, dulcimer); Chaka Khan (vocals); Stephen Stills (guitar); Jeff Baxter, Jose Feliciano, Larry Carlton, Robben Ford (electric guitar); Victor Feldman (electric piano); Jim Hughart, Max Bennett (bass guitar); John Guerin (drums, percussion); Russ Kunkel (drums); Manolo Badrena (congas); Jaco Pastorius (cowbells); Alex Acuna, Milt Holland (percussion); David Crosby, Graham Nash, James Taylor (background vocals).Producers: Joni Mitchell; Larry KleinCompilation Producer: Joni Mitchell.Liner Note Author: Cameron Crowe.Recording information: 1970 - 2002.Before DREAMLAND came along, there had been collections of Joni Mitchell's most popular recordings (HITS) and an accompanying volume of esoteric tunes (MISSES), as well as an anthology of Mitchell's latter-day Geffen material. This disc, however, is the closest thing to a definitive single-disc portrait of the convention-flouting, genre-defining singer/songwriter. It contains a brace of Mitchell's most-loved selections (such radio favorites as "Free Man in Paris," "Big Yellow Taxi," and "Help Me") alongside more arcane fare ("Nothing Can Be Done," "The Jungle Line"), and keeps things up to date by including some 21st-century orchestral versions of older songs ("Amelia," "Both Sides Now") where both Mitchell's voice and gravitas are noticably deepened. From the effervescence of "Carey" to the tribal rhythms of "Dreamland" and the murky atmospherics of "Furry Sings the Blues" (the titular reference being to bluesman Furry Lewis), one can't help but be astonished by both the abandon with which Mitchell recklessly breaks down the boundaries of songwriting and the grace with which she simultaneously redefines them. Editorial Reviews Uncut | |||||||||||||
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