MUSIC The Latest From Folk’s First Ladies for many of my friends when Yet, most of this album is has no more we were in tenth grade. For rehashed Sixties sentiment secrets. some reason, I found her with the added jaundiced eye vision hollow then, and subse­ of the Seventies. If Carole quently it seems ten times as King really expects to provide ****** empty now. With the end of answers for the world’s prob­ Mingus, Joni Mitchell. Elektra/ this decade looming in a truly lems, she should come down Asylum Records, 1979. frightening way (Three Mile off her mountain and walk for Island, Skylab, Studio 54) it awhile on the street. Two by Cathy Lee doesn’t comfort me to know songs here prove she can touch that Carole King still lives in the ground as well as the sky. The expressions of female the country and writes about sensibility in the poetry/music/ the same things, she dealt with ****** visual art of Joni Mitchell’s al­ ten years ago. The sleeve of bums over the past decade have Touch the Sky assures us Spy, Carly Simon. Elektra appealed to me as much as the that King still wears her beat Records, 1979. works of admitted feminist art­ up overalls and continues to ists. With unflinching accuracy, look upward for answers. by Joyce Millman Mitchell has articulated the di­ Yawn. Most of these songs lemma of a new breed of com­ will be forgotten once the The title of Carly Simon’s mon woman: career-oriented, needle returns to its cradle. latest album, Spy, refers to better-educated, in control of The album opens with a a quote from Anais Nin: “I her own direction, but living in look at Seventies cynicism, am an international spy in the a society that permits women “Time Gone By.” Here, as on house of love.” only two roles—self-denial in many of the songs, King’s Those words suit Simon to favor of a lifelong mate or love­ minor toned melody and over­ perfection. In her seven less solitude. done lyrics are instantly previous albums she has In Mitchell’s earlier albums, recognizable. “I remember peeked through the keyhole at the “confessional” ones, she love in its various incarna­ done already. “Light A time gone by/ when peace and gave us painful glimpses of her Honest Lullaby, Joan Baez. tions, and has made at least Light,” by Janis Ian, and hope and dreams were high,” attempts and inability to shackle Portrait Records, 1979. two classic observations on the “Before the Deluge” by Jack- mourns Carole. Now, I’m no her free will in order to keep a reptile or anything, but subject, “That’s the Way I’ve by Susan Bencuya son Browne, are good exam­ man. But rather than endure a King’s assessment of past and Always Heard It Should Be” lonely and guilty life sentence, ples. “Light A Light” is from and “You’re So Vain.” that album everyone had in present is simply too vague for Joni Mitchell set her own spirit Joan Baez has been back in The trouble, then, arises not their apartment two years ago. me. Anyone who thinks that free. Her albums since 1972 the news lately, with her Open the Sixties were a fairyland of from Carly’s desire to concen­ Letter to the Socialist Republic “Between the Lines,” Baez’ show us a woman who scrutin­ version is pretty, too, but it’s peace, love and long hair trate on content she knows izes her emotional and concep­ of Vietnam stirring up a small couldn’t have been there. well, but from her unwilling­ furor in intellectual circles. almost exactly like Ian’s, and tual boundaries and creates a Carole King should know ness or inability to vary the visual/musical map of that Granted, it can be difficult to one gets the feeling that it’s form. Since 1972’s No been said before. Of course, better. The remainder of the multi-dimensional terrain. Leav­ fuse the North Vietnamese and album contains songs about Secrets, her efforts have Childe Harold, but Baez has we’ve heard “Before the De­ ing society’s roles for others to luge” too, and even with the self therapy, being good to veered increasingly toward play, Mitchell has refined and mixed politics and music for so yourself (“Move Lightly”), Carly Simon Albums, designer long and with so much success same Jackson Browne/Eagles/ sustained herself. West Coast guitar sound. giving up patterns to Find joie records for fashionable ears. Every one of Mitchell’s re­ that I was doubly interested in de vivre (“Crazy”), and the Spy sticks to the same the contents of her new album The title cut, “Honest Lul­ cent albums exhibits the wom­ laby,” is Janis Ian’s “At glory of country life (“Good format as its predecessors: an’s knack for mixing media: on Portrait Records, Honest Mountain People”). The lyrics some rock, some pop, some Lullaby. Seventeen” revisited, only perfectly matching lyrical poetry are forced and uninspired, ballads, some sexual politics, I was doomed to disappoint­ more smug. It begins: “Early, with different kinds of modern early in the game/I taught my­ even trite, and King’s voice some starry-eyed romance. music, using visual and tonal ment. For someone who ac­ wears thin on the high notes. The result finds Simon touch­ cepts controversy so easily, self to sing and play/And use colors to evoke various moods a little trickery/on those who Her attitude may be seen as ing all the bases in a predict­ from playful to doubtful. Joan Baez is more daring po­ ambitious, but it rings false. able manner. Yet Spy is not litically than musically. The key never favored me....” Not Like jazz—which has increas­ only do we get to hear how hard For instance, the folksy without its intriguing qualities. ingly influenced her music in word for this album is “safe.” “Passing of the Days” could Simon’s singing, for in­ Paul Simon, who produced it’s been being Joan Baez, but the past few years—Mitchell’s we also get to help pat her have been embroidered on a stance, is still irresistible. She works appeal to an intelligent Honest Lullaby, has done a sampler in the kitchen of a is one of the very best. And beautiful job, so much so that on the back. Witness: “I took minority of inquisitive souls what I could get/And did the commune. The final song, once again, she is surrounded who remain unaffected by cat­ the album lacks any spontaneity “Seeing Red,” falls flat as by the cream of studio it might have had: it’s too things that I might do/For egorical dichotomies. those less fortunate....” Take well. The double entendre title musicians. One such inquisitive soul slick. On the other hand, he refers to her anger at the treat­ “Vengeance” and “Pure didn’t have much to work with, that, Jane Fonda! was Charles Mingus, the gen­ “Michael,” another Baez- ment given American Indians Sin” are two of the better cuts, erally acknowledged genius of songwise. Simon writes inter­ in this country, but she doesn’t both infectious rockers esting, unconventional melo­ penned tune, fares better. It’s jazz composition, arrangement not only beautiful, it’s tongue- come to any conclusion except featuring lowdown vocals and and bass playing. When some­ dies, and produces them in “we got to make it right.” sardonic lyrics a la “You’re So conventional forms, which in-cheek. (And on this album, one played some of Mitchell’s we could use a little subtlety.) Worth a mention, however, Vain.” Carly’s “I’m no lady” albums for him, Mingus decid­ works for him. But the songs are two songs that I could even act is honed to perfection here. Baez has chosen for this album The song celebrates a modern- ed he’d like to collaborate with day lover who compares her­ play again. The C&W flavored Her obvious delight in slum­ her. His original project was are for the most part very con­ “Dreamlike I Wander” ming as a street tough carries ventional and very unsurpris­ self to Barb’ry Allen and other to be a textural collage illu­ maids of constant sorrow. features a delicate piano these tunes. minating T.S. 'Eliot’s Four ing, melodically speaking. (played by Reese Williams) As for the. other songs, only Where Simon could have “Michael” is Joan Baez re­ Quartets with several kinds of minding you of where she which renders it quite lovely. the soft-rock “Love You By music and Mitchell’s singing perked them up with an un­ “You Still Want Her” is no­ Heart” and a ballad called expected instrument, or an in­ came from. It’s a private joke, her own translation of the poet’s and I like it. table lyrically, though the “Never Been Gone” really lyrics. Though she found the teresting solo, he has only melody is boringly repetitious. sound fresh, due mainly to made them more predictable. To give credit where credit is idea fascinating, Joni felt she due, Joan Baez’ voice is still Carole sings here of a friend Simon’s talent for creating couldn’t handle such an ambi­ Baez shines most when she she deeply cares for, though lovely, lush melodies. tries something new. For in­ quite capable of sending shivers tious project, and respectfully down my spine. However, their lifestyles differ dra­ Simon closes the album with declined. stance, the torchy, breathy matically. The other woman is “Memorial Day,” a Very Some time later, Mingus con-, “For All We Know,” a gem most of this album made my involved in drugs and destruc­ Serious suite depicting a sur­ tacted her again with six songs from the 1930’s, is a success. feet fall asleep. tive fast living, whereas Carole realistic Armageddon between he’d written for which he want­ This song is straight out of is cool “in the shelter of (her) the sexes. This is a well- ed her to compose the words. Casablanca, in the low, sexy ****** solitude.” Still, “You’ve intended attempt at a final “Two of them I never could style of a Lauren Bacall, and always thought your love for statement but, unfortunately, really get into,” Mitchell says. Baez does a very competent Touch the Sky, Carole her could save her/ and that’s Simon cannot restrain her “They were too idiomatic for rendition, with a spare and King. Capitol Records, 1979. how you get taken in.” lyrics from lapsing into the me.” The others appear on classy piano accompaniment. Though King is removed and pretentiousness that has Joni’s latest and most daring “For All We Know” is, un­ by Holly Cara lucid, she admits that her love dogged her writing throughout album yet—Mingus, releas­ fortunately, one of the few high for her friend would make her her career. ed in memory of the jazz great points of the album. It’s not Carole King’s voice and pen leave her own security in an No doubt, Carly’s fans will who died before the work was li that there are so many low expressed the angst of the instant. It is a rare solid be pleased. But all in all, completed. points, it’s just that the music II early seventies; her album moment in Carole King’s Spy provides evidence that “Mingus” is the documenta- \kis bland. A lot of it has been Tapestry was nearly biblical work, and it is beautiful. for the time being at least, continuedor^jqg^^^^^^^g r 100% Polyester Fill! Case lots only Cash & Carry Manasian Mill (MUSIC 181 Vassar St. Cambridge, MA continued from page 16 taneity of a mature artist. blatant and uncompromising tion of a revolution in Mitchell’s Joni Mitchell has demanded separatism. work. The full and equal artis­ cooperation and respect in ex­ Alix’s story can be found in tic collaboration with a man of change for her self-sacrifice the songs, of course, and I’m stature in a different musical ever since she first started sing­ sure these classics will be sung domain has affected her out­ ing her mind. Charles Mingus across the country. If I have put more deeply than all the gave Ms. Mitchell what she anything disparaging to say lovers of her past efforts. She wanted. Joni’s been through a about this book, it is first and is no longer entirely in control. lot of love affairs, but Min­ foremost the fact that Dobkin In “A Chair in the Sky,” for gus is her first marriage. cannot or will not write of the example, she literally puts her­ conflicts she has had with self in Mingus’ place as she women since . Since shapes the words to fit his tune. Adventurous Alix she is so forthright both ar­ But Mitchell also maintains tistically and in person, I found a respectful distance between In Word & Song this surprising. We aren’t told them. Brief excerpts from taped how these conflicts happened, interviews let Mingus speak for Adventures In Women’s Music or even if they were resolved. (617)965-1130 himself in all his cranky, funky, by Alix Dobkin, Tomato Pub­ This kind of information is opinionated, obnoxious, warmi lications, Ltd., 1979, $8.50. important to women today as Lynda G. Christian and responsive glory. In her we confront the peculiar prob­ attorney at law own composition, “God Must by Holly Cara lems caused by the insularity Be a Boogie Man,” Joni ob­ of our community. If we would one wells avenue suite503 serves and reports her insights When Lavender Jane Loves examine the difficulties in newton messechuserrs02159 more in the manner of her Women was released over dealing with each other as well former self, but with abrupt five years ago, it was a land­ as we speak of our struggles (Mingusian) time changes. mark event: the first record with the patriarchy, we might Mitchell felt a correspondence created and produced by and really break the grip of these between Charles’ difficult mus­ for . At that time, Alix patterns. Another inconsistency ical concepts and the caca- Dobkin was one of a very few of the book is the extremely BOSTON phony of the wolf calls in a pioneers in the musical expres­ steep cover price. Those friends PSYCHOLOGICAL song she had been writing be­ sion of feminist politics of mine who would otherwise CENTER FOR­ fore she met him. On the album, and emotions. Her book Ad­ enjoy this book perhaps will EWOMEN 9 “The Wolf That Lives in Lind­ ventures in Women’s Music not be able to due to the cost. sey” appears to represent the will serve to clarify her work Still and all, if you love Dob­ Women psychologists, social! parts of the man she could and life, though certainly Alix kin’s music and you can spare Cheshire Cat Composition workers, psychiatrists, career! counselors and sex therapists never meet or understand. has never been inaccessible. the green, this is a book you offers working with and for women.1 Mitchell’s recognition of the To her credit, she has always will want to own. •Choice of 18 type families^ Individual, couple and groug similarity between artistic col­ made herself available for •Fast, accurate service . therapy. Licensed. laboration and romantic in­ discussions and sharing when Health insurance accepted. volvement appears, even more she visits women’s communi­ Rachel, Rachel: •Reasonable rates 266-0136 vividly on Side 2. Charles and ties. Sweet R & R 376 Boylston Street, Joni sing a duet to introduce The book is divided into sec­ Boston 02116 Call 426-3427 “Sweet Sucker Dance,” in tions, which include an auto­ which Mitchell’s recurrent in­ biography, details behind the Rachel Sweet, Paradise The­ security threatens to spoil an­ recording of both Dobkin’s al­ ater, July 25, 1979. other relationship. By this time, bums (Lavender Jane Loves though, Joni has learned not Everything you need to Women and Living With Les­ by Holly Cara make your own picture to take her own blues so seri­ bians), notes on the songs frames. ously. The idea that “it’s only themselves, a chapter on Bal­ After six months of Save time and money! a dance” segues into “The Dry kan singing by Ellen Chan- curiosity and anticipation on Cleaner from Des Moines,” a tarelle, and music and lyrics of the part of the American 7 Upland Rd. lighthearted Mingus composi­ many of Dobkin’s songs. public, Rachel Sweet toured Cambridge, Me. 02140 tion with infectious, subtly as­ Dobkin’s autobiography her native land this summer 868-6797 sonant lyrics that reveal just a section is well-written and in­ for the first time. Sweet is one 76 Burlington MaN Rd. shade of the insightful humor teresting. Her account of join­ of the most compelling new “The Marketplace’ common to Afro-Americans. ing the Communist Party at artists of 1979, bringing us a Burlington, Ma. 01803 Describing a man playing a slot the age of seventeen is quite tasty mixture of country/ 273-1216 machine, Joni sings: “He amazing, when one considers western, pop and vintage rack got 3 oranges, 3 lemons, 3 ­ the political climate of the late and roll. Her extraordinary Materials Howe: ries, 3 plums/I’m losing my fifties. This action clearly pre­ voice has been compared to Instruction Tues, Wed. Thurs 10-9 taste for fruit/watching the dry sages the strength and commit­ Tanya Tucker, Brenda Lee, Workspace with tools Mon, Fri, Sat, 10-6 cleaner do it/like Midas in a ment Dobkin was to bring to and Dolly Parton. What is polyester suit.” lesbian feminism. perhaps simultaneously most The controversial but indis­ After an attempt at a folk­ and least important, Rachel putably classic collaboration singing career in Greenwich Sweet recently turned seven­ on this album is the well-known Village and her marriage, Alix teen years old. She’s been an paperback the “Goodbye Pork Pie Hat.” became pregnant with her entertainer since the age of booksmith Charles originally wrote the daughter, Adrian. It was then five, starting with talent Dedicated to musicsmith music in tribute to Lester that she began to see her alien­ shows, summer stock produc­ the fine art of browsing. Young. Mitchell’s lyrics—which ation from heterosexuality tions, and television com­ partially follow the changes more painfully than ever. mercials. Last year, she signed and partially improvise—move Soon after, in 1972, she met to England’s rather bizarre from parallels between the Liza Cowan on Cowan’s radio label, Stiff Records, and her paperbacks, hardcovers records & tapes, lives and music of Prez and show and left her husband. album Fool Around was Mingus in the past, to her own Alix began writing strong, released there last fall. present interracial involvement, political, personable songs of As an import, Fool sale books (30-80% off) including $4.99 to a street scene where black her own experiences coming Around received heavy air­ children are dancing. The root out. The women’s community play in America, and cause of racism appears with was more than eager for her brought it women’s studies discounted new shocking clarity, but Mitchell music. It’s difficult now to out domestically in July. foretells a brighter future. remember back to the time Besides introducing Rachel, it Vocally, as well as composi- when we had no musicians is also undoubtedly the start of children’s books releases weekly. tionally, Mingus foretells a and songwriters articulating an amazing songwriting career brighter future for Joni Mitchell. our new and splendid joys and for Liam Sternberg. It was She has finally entered the ranks fears. Sternberg, a friend of Rachel’s Also sale records of those jazz singers who play Lavender Jane Loves Women family, who sent her tapes to their vocal instrument cooper­ was released in early 1974, and Stiff Records, prior to her &tape£ from 1.98 atively with others in the band. for the first time lesbian fem­ signing. Mitchell takes chances with inist thoughts and dreams Watching Rachel perform her voice now, and sometimes reached the medium of vinyl. brings to mind her emphatic she gets a bit lost and has to The second album, Living With desire to be Bruce Springsteen, depend on Herbie Hancock or Lesbians, came out in 1976, rather than emulating a female Wayne Shorter or Jaco Pastor- by which time there was a huge role-model like Linda Ron- open until 11pm, mon-sat (noon-8, sun.) ius to bail her out. Mitchell demand for women’s music. It stadt. She wants to be taken 279 harvard st. (coolidge corner), brookline has sacrificed total control to didn’t do as well as Lavender seriously, and after seeing her gain the more challenging spon­ Jane, perhaps because of its continued on page 23