I started Joni Mitchell at the end of August 2020. I strongly recommend listening to all of her albums from Song to a Seagull up to Hejira.
Song to a Seagull (1968): B+
Clouds (1969): B
Ladies of the Canyon (1970): A-
Blue (1971): A+
For the Roses (1972): A+
Court and Spark (1974): A-
Miles of Aisles (1974): C+
The Hissing of Summer Lawns (1975): B-
Hejira (1976): B+
Don Juan's Reckless Daughter (1977): B-
Mingus (1979): C-
Shadows and Lights (1980): C+
Wild Things Run Fast (1982): B
Dog Eat Dog (1985): C+
Chalk Mark in a Rain Storm (1988): B-
Night Ride Home (1991): C+
Turbulent Indigo (1994): B-
Taming the Tiger (1998): C+
Both Sides Now (2000): B
Travelogue (2002): C+
Shine (2007): B-
Song to a Seagull (1968):
Mitchell's subtle vocal performance and the humble melodies caught me off guard initially but, in retrospect, all the charms of her best material show up in some form here. Her lyrics are already more poetic and thoughtful than nearly any musician, which is ultimately the biggest treat here. The only glaring problems with the album are the crude self-harmonization and the one-dimensionality of the album. A major talent already, she nevertheless has a number of better acoustic albums, which is why, as big a Joni Mitchell fan I am, I rarely revisit this one. B+
Clouds (1969):
While this has about three pretty dull songs--I don't understand what the big fuss is about "The Fiddle and the Drum," which is neither lyrically or musically compelling--Mitchell has made a decent progress in songwriting (yes, I know that "Chelsea Morning" and "Both Sides Now" were written even before her debut; I'm talking about the rest of the material). Mitchell's guitar strums are more assured and literary value of the lyrics are off the chart. Still, the production hurts Mitchell's voice, making this release her weakest until 1975. B
Ladies of the Canyon (1970):
Sometimes it takes a new album from an artist to realize the old one's faults. Case in point: the production of Ladies of the Canyon so beautifully captures Mitchell's voice, Clouds sounds crude in comparison. The piano significantly strengthens the album as a whole and the percussion subtlety enriches the guitar work. While I appreciate the diversity of the song subjects, many of the lyrics aren't as interesting or don't explore as much as I'd hoped, although "Morning Morgantown," "Ladies of the Canyon," "Big Yellow Taxi," and "Woodstock" are all top-notch. Three great songs to start the album, three great songs to finish, and a lot of nearly-greats in between. A-
Blue (1971):
The cliché (perhaps not in 1971), idealistic painting of California as some utopian paradise drags me, but isn't "California" a terrific song anyway? Writing personal songs is nothing new for Mitchell, but she reaches new depths within herself on these gloomy, stark pieces of music. Unlike Dylan's Blood on the Tracks, all of the songs are clearly written in her voice, written about real events, and she doesn't attempt to hide it. "All I Want" and "My Old Man" have specific references to ex-lovers James Taylor and Graham Nash respectively and "Little Green" is about her daughter, whom she gave up for adoption before her music career took off (this was not public knowledge at the time of the album's release). The complex melodies and unique guitar playing add character, intrigue, and melancholy to the album, and while melancholy is the primary subject, there are fun and beautifully poetic lyrics too: "when I think of your kisses, my mind see-saws" on the opener, "part of you pours out of me in these lines from time to time" on "A Case of You," and "the night is a starry dome" on "Carey," which are just three star lyrics in this vast sky. A+
For the Roses (1972):
First, listen to the music four or five times and don't initially be bothered by the fact there's nothing as lively as "All I Want" or "Carey" from Blue. Notice how lovely the subtle addition of a backing band is for the second verse of "Blonde on the Bleachers," the intoxicating the vocal melody on "Banquet," and the exquisite the guitar strumming on "Cold Blue Steel and Sweet Fire." Then, read the lyrics and follow how her disillusionment from the music business on "For the Roses" leads her to glorify the normal lives of everyday people on "Barangrill." Check out the incredible extended metaphors on the deeply poetic "Electricity" and the humorous but still impressive "You Turn Me on, I'm a Radio." It's as brilliant as Blue, her lyrics couldn't be better, and the return of sparse instrumental backing--which has become a bit jazzy--makes it a lot more hypnotic. I listen to For the Roses more than any other Joni album anyway. A+
Court and Spark (1974):
Because Court and Spark avoids the gloom of Blue and is more charming than For the Roses, I was worried when this didn't immediately strike me as being fantastic. It was obvious songs like "Help Me," "Free Man in Paris," and "Raised on Robbery" flourished in the pop environment, but--maybe because it was juxtaposed with the modesty of her two previous albums--Court and Spark was difficult to accept and I leaned on my initial dislike of "Twisted," which has grown on me but remains the weakest track, as justification for my misgivings on the whole album. But like Blue, every song became immensely rich musically with time and, like For the Roses, I came to fully appreciate Mitchell's understated swagger on quieter songs "The Same Situation," "Down to You," and "Just Like This Train” after reading Mitchell's lyrics, which have continued to be second to none since 1971. A-
Miles of Aisles (1974):
Even if her backing band wasn't pervasive half the time, Mitchell would have sounded much better without one altogether. That is not to say she would have sounded great: the biggest surprise of this live album is that she's doesn't keep your attention in the live setting as well as other unique voices Dylan and Young. C+
The Hissing of Summer Lawns (1975):
I'm a stark believer in listening to every second of an album no matter how painful, but boy did I often skip "The Jungle Line," one of the most unlistenable songs I've heard this year. So let's talk about everything else: I've sat through this many times without taking any notice to it and I have yet to identify a single arresting track besides the opener. Upon reading the lyrics, I recognized their strength as poetry but usually spaced out from the lackluster melodies before deciphering their significance. I also started to care less and less about what they meant the closer the album got to ending, which is a damn shame. B-
Hejira (1976):
In working vigorously to make a perfect soundscape with the best studio musicians she could find, Mitchell takes herself and her music too seriously to perform anything as vocally charming, inventive, or swaying as her singing on Blue, For the Roses, and Court and Spark. She's also opted to stretch her songs out to an average length of 5:49 and, with few of the songs qualifying as fast-paced, most of them lose my attention after three and a half minutes. Being the major talent she is though, she basically gets away with both of these--her lyrics continue to be invaluable literature and the music is still pleasant, creative, and inspired. However, it's just too perfect and sedated--her vocal ease and humor on the impromptu version of "Coyote" with Bob Dylan and Roger McGuinn on rhythm guitar alone make it better than any song here (the music is better too). B+
Don Juan's Reckless Daughter (1977):
Always experimental, often boring, and occasionally derivative of Hejira, this is also Mitchell's most ambitious musical statement and it'd probably be just as interesting (more?) as Hejira if it was shortened to a single album--the 16 minute "Paprika Plains" is one of the songs that needs to go. Unfortunately, "just as interesting" wouldn't mean "just as good" and the excess material here delegitimizes most of the good songs like the title track, which musically sounds exactly like "Coyote." B-
Mingus (1979):
Yikes. C-
Shadows and Lights (1980):
Vocally, this is Mitchell's best live album. But I must admit, I wasn't a huge fan of Pastorius's bass playing even on Hejira and by now, I'm sick of him. Also, the selected songs are mostly ones released after Court and Spark. C+
Wild Things Run Fast (1982):
I don't care that this isn't a very serious release, I'm just thrilled my fav has released something after Hejira I can really latch onto. Of course, it's just pop--most of the lyrics aren't close to her best work--but that's part of the appeal. Check out "Solid Love," "(You're So Square) Baby, I Don't Care," and "You Dream Flat Tires"--real treats that are as fun as much of Court and Spark. B
Dog Eat Dog (1985):
Including this, today I listened to three 80s albums from 70s musicians--this, Storm Windows, and Dirty Work--which have such ridiculous covers that they are likely to cause most people to never give them a chance. Dog Eat Dog is generally ranked one of her worst albums because of the 80s production and the fact that Mitchell doesn't pick up a guitar for the whole album. However, none of the three albums are terrible listens at all--this is probably the worst (and has the worst cover art). "The Three Great Stimulants" and "Lucky Girl" have swaying vocals and well-crafted melodies that Mitchell is best at and even if a lot of the production and music is occasionally laughable, I've heard much worse. C+
Chalk Mark in a Rain Storm (1988):
Although not as pop-oriented as Wild Things Run Fast, musically this is just as texture-full and soothing. However, there are a few weak moments like "Number One," which layers too main backing vocals on the chorus "Got to be winner, trophy winner/Got to hold your head up, high up" which isn't even fun to begin with. "Lakota" has similar problems but beside "A Bird That Whistles"--which is merely fine--side 2 complies her strongest material since Hejira. Check out the synthesizers on "The Beat of Black Wing" and Willie Nelson's vocal contributions on "Cool Water." B-
Night Ride Home (1991):
The songs themselves aren't actually a terrible step down from Chalk Mark--the problem is that the songs are always too stretched out and usually slow. There aren't any terrible songs but there also isn't a song that has one iota of the swagger or loveliness of, say, "The Same Situation," "The Priest," or even "Solid Love." It seems as if songwriting for her has become a mindless, habitual process. C+
Turbulent Indigo (1994):
First, I'm glad that this a late-career project that isn't 60 minutes long just because it can be. Second, although there's nothing particularly catchy, there's a decent amount of this worth keeping: "Last Chance Lost," and "Sunny Sunday," "The Sire of Sorrow (Job's Sad Song)." The latter might be the first lengthy song of Mitchell's career I don't zone out to. B-
Taming the Tiger (1998):
Mostly boring with a few keepers, like basically everything since Wild Things Run Fast. Even though "Stay in Touch" and "Harlem in Havana" sound good when I listen to them, "Lead Balloon," the best song, is the only melody that has stuck with me after four listens. C+
Both Sides Now (2000):
It is with a slightly heavy head that I congratulate one of the greatest songwriters of the 70s for releasing her best album in nearly twenty years. Of course, I am not upset she released a good album nor do I lament that it could have been better--I'll take anything worthwhile from Joni. It's that this is her best work precisely because there are no new compositions. Her newly smoky vocals strengthen her grip on listeners and the jazzy orchestral arrangements are executed it perfectly--"Both Sides Now" is just as good here. B
Travelogue (2002):
I'd be lying if I didn't admit some of this is compelling. Despite being long enough to be a triple LP, this never gets too boring although I certainly didn't like taking some much time of my day listening to it. Check out the whole thing for yourself if you're so inclined, but if not, here's the ones I felt were particularly worthwhile: "Amelia," "Woodstock," "Judgement of the Moon and Stars," "Trouble Child," "Hejira," "Chinese Cafe," and "The Last Time I Saw Richard." C+
Shine (2007):
Musically, this is stronger than most of her late-career original work in that most of the melodies stick. However, Joni has turned into a late-career Neil Young--a frustrated senile who seems to be on the right side of things but doesn't show it all that intelligently or compellingly. B-
