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Read Ebook {PDF EPUB} Court and Spark by Sean Nelson Court and Spark by Sean Nelson. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 660326d91e662b41 • Your IP : 116.202.236.252 • Performance & security by Cloudflare. Sean Nelson Net Worth. Nelson formed Harvey Danger in 1993 and played with the band through to its farewell show in 2009. In addition to being the band's lead singer, he was also its Songwriter and keyboardist. The band's debut album Where Have All the Merrymakers Gone? was released in 1997 and was certified Gold by the RIAA for sales of 500,000 copies. The album contained the hit single "Flagpole Sitta", which was featured in the 1999 film American Pie and was later used as the theme song for the British sitcom Peep Show . Nelson joined the staff of the Seattle alternative weekly newspaper The Stranger in 1996 while still a member of Harvey Danger. He has held several positions at the publication, including web Editor, film Editor, copy Editor and associate Editor. He is currently the paper's arts Editor. In 2001, Nelson formed a second band, The Long Winters, with John Roderick. He left the band in 2004, and Roderick has continued the group as a largely solo effort. In 2006, Nelson published his first book, an entry in the 33⅓ series on Joni Mitchell's Court and Spark . His essay "Dead Man Talking" was published in the Da Capo anthology Best Music Writing 2008 . In 2008, Nelson co-wrote and played a supporting role in Humpday Director Lynn Shelton's third feature film My Effortless Brilliance, which enjoyed a successful run on the film festival circuit and was released on DVD by IFC Films in November 2009. He has also acted in David Russo's cult film festival hit The Immaculate Conception of Little Dizzle and alongside Dax Shepard in Kathryn Aselton's The Freebie, which was released in September 2010. Court and Spark by Sean Nelson. T his is Joni Mitchell�s jazz-pop genius in full bloom, which made the posies from her past records look like cold, blue steely dandelions. Even the palest entries (�Down To You,� �Peoples Parties,� �The Same Situation�) are colored with clever arrangements, while the warmest shine in technicolor wonder. Her ability to make such an album was evident in songs like �California� and �Electricity,� but they were skinny models compared to the Rubenesque beauties of �Help Me� and �Free Man In Paris.� For Court, Joni assembled some of the leading session players (Larry Carlton, Wilton Felder, John Guerin, Joe Sample, Tom Scott), many of whom would later appear on the sophisticated jazz- pop albums of Steely Dan, the most obvious reference point for this sort of music. And yet, as much a revelation as Court is, Mitchell quickly renounced it, refusing to play many of the songs on her subsequent tour. Proving that Neil Young hadn�t cornered the market on Canada�s mercury, she began a string of albums that delved deeper into jazz� difficult terrain and away from accessible pop music (though it�s the same artist at work in all of them). For me, Court represents the peak of her potential as a popular songwriter, moving past the dry confessional to become the sly social commentator. The music is like the background noise of the world at play, and Mitchell moves through it fluidly, gracefully. The lyrics, however, reveal a woman anything but in control: she�s worried (�Court and Spark�), falling (�Help Me�), anxious (�Car on a Hill�), deaf, dumb and blind (�People�s Parties�). In such company, the closing �Twisted� becomes less a playful game of one- upmanship than a waving of the white flag to her own internal demons. I tend to see Court as Joni caught in the starmaker machinery, her flailing mistaken for dancing, with �The Jungle Line� her heroic unstuckness from selfsame machine (hooray). 7E-1001 inner gatefold 7E-1001 back cover. COURT AND SPARK 2:46 HELP ME 3:22 FREE MAN IN PARIS 3:02 PEOPLE'S PARTIES 2:20 SAME SITUATION 3:05 CAR ON A HILL 2:58 DOWN TO YOU 5:36 JUST LIKE THIS TRAIN 4:23 RAISED ON ROBBERY 3:05 TROUBLE CHILD 3:57 TWISTED (Annie Ross/Wardell Grey) 2:18. JONI MITCHELL -- vocals, piano, clavinet, background voices, cover painting MAX BENNETT -- bass LARRY CARLTON -- electric guitar JOHN GUERIN -- drums and percussion JOE SAMPLE -- electric piano TOM SCOTT -- woodwinds & reeds, string arrangement Dennis Budimir -- electric guitar (10) Cheech & Chong -- background voices (11) David Crosby -- background voices (3,7) Wilton Felder -- bass (3,4) Jose Feliciano -- electric guitar (3) Chuck Findley -- trumpet (10,11) Milt Holland -- chimes (1) Jim Hughart -- bass (10) Graham Nash -- background voices (3) Wayne Perkins -- electric guitar (6) Robbie Robertson -- electric guitar (9) Susan Webb -- background voices (7) Henry Lewy -- sound engineer Anthony Hudson -- art direction/design Norman Seeff -- photography. REGION RELEASE DATE LABEL MEDIA ID NUMBER FEATURES US/AUSL January 1974 Asylum LP/LPQ/8T 7E/EQ/T8-1001 gatefold cover, avail. as quadrophonic UK February 1974 Asylum LP SYLA-8756 gatefold cover CAN 1974 Asylum LP 7ES-1001 gatefold cover JPN 1974 Asylum LP P-8412Y US 1980 Nautilus LP NR-11 gatefold cover, half-speed remaster UK Asylum LP K-53002 gatefold cover GER Asylum LP AS-53002 ZAN Asylum 2LP AUD-11305 repackaged w. Hissing of Summer Lawns as 2 ORIGINALS OF. GER Asylum CS 96-0276-4 repackaged w. FOR THE ROSES NET 1988 Warner CD 60593 US 1992 DCC CD GZS-1025 gold disc US 1997 DCC LP LPZ-2044 audiophile vinyl US 2000 Asylum CD E2-1001 gatefold cover. As part of Continuum's 33 1/3 series of in-depth album critiques, Sean Nelson has written a 118-page book on Court And Spark, which you can find here on Amazon for around $10. Apparently, I'm not the master of free time after all. Court and Spark by Sean Nelson. by Sean Nelson Crawdaddy December 20, 2006. Many books come out each year deconstructing rock music: The musicians, their albums, their songs, their showering habits, and their other habits. It's here where we'll take an excerpt of a book for you to check out before you make the purchase. As of now these will exclusively feature the venerable 33 1/3 series, which picks apart an album by a band or musician. In the future, we hope to include more rock books of all varieties. Joni Mitchell: Court and Spark - A Broader Sensibility. I suppose people have always been lonely, but this, I think, is an especially lonely time to live in. So many people are valueless or confused. Things change so rapidly. Rela​tionships don't seem to have any longevity. There isn't a lot of commitment to anything; it's a disposable society. ​Joni Mitchell, 1974. Of course, at this point, it feels as though I'm circling the airport of Court and Spark, trying desperately to clear the air of my deep admiration for the albums that preceded it before going in for a landing. Fair enough. Still, a fundamental question per​sists: How can you pick one album? How can you say, even tacitly, that Court and Spark is better than Blue, For the Roses, or Hissing of Summer Lawns? Or even Don Juan's Reckless Daughter, Dog Eat Dog, or any of the other Mitchell records C&S is empirically way better than. What does "better" even mean? And so forth. But again, the premise isn't that Court and Spark is the best Joni Mitchell album. As we all know, the best Joni Mitchell album is the one that's playing right now. You don't hear "All I Want" and long for "Down to You", or vice versa. No, the prem​ise is that if you regard the period between 1971 and 1975, from Blue to Summer Lawns as a single narrative​a musical Freitag's Triangle of sorts​then C&S is the unquestionable cli​max. It's the point at which Mitchell stepped outside herself just enough to communicate the breadth of the lonely time she felt herself living in, and by doing so, revealed more of herself than she ever had before. Blue is sharply first person (and presum​ably autobiographical) throughout. For the Roses, meanwhile, steps back somewhat to engage in overreaching social meta​phors ("Banquet", "Barangrill", "Electricity"), but also features a second- person voice that often sounds like a direct address to specific people ("Why do you have to be so jive?"; "You imitate the best and the rest you memorize"; "Where are you now? Are you in some hotel room? Does it have a view?" etc) and which therefore functions as first person in drag. Court and Spark is energized by a wider, more adventurous perspective than either of its predecessors: Third person narratives delivered by first person narrators, which is to say character studies, which is to say songs that manage to be personal​often devastat​ingly so​without needing to be autobiographical.

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