-.:;:r---== I i Tlw MITCHELL Mystique

Joni Mitchell currently enjoys a status within to keep up. I haveafeelingthat most true art­ I suspect that music is simply ameans for Joan the Rock and Folk Establishment which I am ists are basically apolitical creatures--you have Baez of advancing non-musical causes; she certain she never .expected to attain and which to make a choice somewhere along the line sings "Tears of Rage" quite calmly, so deadpan -must be exquisitely uncomfortable; last year's between art and politics-- Dylan made his, and that it is almost camp. On the other hand, pet, Joni has now apparently developed into oddly enough, in opting for music and being Joni Mitchell also sings "The Fiddle and the almost a Totemic Figure ... .in the minds of true to his individual art, he came closer to Drum" calmly (through with angst; Joni is the Her Set of fans; she has emerged as some sort the soul of The People than ever before. Joan anast- queen, anyhow--" ...what will happen of REPLACEMENT for Joan Baez; It's kind of Baez made her choice too; I think, probably, if she tries ...?" and cats crying at the key­ like as though aMiss Folk-Rock America throne for the very reasons Stampfel criticizes her, it holes and everything ...) -- Anyway, this ner­ existed, from which the sweet-voiced and clean­ was not such a hard choice for her to make ... vous calmness is appropriate here, because it minded, but musically tepid Miss Baez is being In fact, I think the shift in priorities may have is a quiet and tentatively affirming song ... so asked to abdicate, so that Joni Mitchell--pro­ been almost a relief in getting her off the hook the basic question of whether the "Tears of musically; scorning "her -music" for long per­ Rage" type of protest song is more or less lific and creative poetess-singer--may succeed iods, laying it aside for the barricades, I wonder effective than a peace song like "The Fiddle her as a more fitting representative of today' s if she realized she was abdicating that invisi­ and the Drum" becomes obscured by the per­ newly-sophisticated and demanding young ble Miss J-RA throne, a throne to which there sonal motivations of the two performers, and music audience .....Evidence of this sur­ would be no returning. Her head may well further confused by the question of vocal prisingly widespread viewpoint was a story in be swimming from the shock of attacks like mannerisms ... There is no more point in vilify­ a recent issue of Crawdaddy titled "In the Stampfel's -- or, what I think is more likely, ing Joan Baez for being what she is and always Sweet By & Baez," by Peter Stampfel--founder she may not actually give a damn, because has been, than there would be point in chastis­ of a group known as The Holy Modal Rounders music never interested her as much as Social ing Joni Mitchell for writing a Can-Am friend­ and long a Greenwich Village folk-rock insider-­ Action anyhow; two years ago when Joan ship song rather than sitting-in downtown at in which Stampfel concluded that "Joan Baez gave a free concert on the Washington Monu­ draft board headquarters ...Some protestors is to Joni Mitchell as Minnie Mouse is to the ment grounds, a rebuttal to the DAR who re­ fired up the records, some poured bottles of White Goddess." Peter obviously feels he has fused to let her use their hall, an estimated their own blood over the records ...Instead, the situation down righteous ..... Personally, crowd of 25,000 turned out for the occasion Joni Mitchell's song says, in effect, 'let's look I think it was agrossly oversimplified statement and stayed for the concert, even though most at the record' -- and the questions our little of a situation that deserves deeper consider­ of them were backed up too far from the Canadian friend asks are not rehetoric; they ation. amplifiers to hear her ...as long as Joan can are heavy questions ..."How did you come/to ·And I wonder about the wisdom of musicians continue to get audiences of this size inter­ trade the fiddle for the drum ..." which all of actively involved in the same areas making such ested in her message, she will not care what us can profitably meditate .. . the critics or the Pop Establishment think of sweeping musical judgments--either good or I want to get back to mannerisms, because her; she lives in a whole different world from at the time I reviewed Joni Mitchell's first al­ bad--upon one of their number---not because that of the Fold-Rock Club. Stampfel and other articulate "progressive bum (Pictures I Hear, HP November 1968) •• rock" music players don't have a right to ex­ All this is an attempt to explain, in part, why those mannerisms and what I called her 'sing­ press opinions: they do and should ....but I think comparisons between Joan Baez and ular style' were bothering me a lot; I find, to too often these opinions sound like Pronounce­ Joni Mitchell are irrelevant.. Each one of them my relief and enjoyment in Clouds, that gen­ ments and Edicts, and some musicians are even is into an entirely different thing; they have erally Joni has subdued her histrionic leaning haughtier than critics in thinking that 1heir very similar vocal ranges and both play gui­ so that a Iistener does not feel forced into conclusions are above challenge; when actually, tars ... and, as far as I can tell, that is just admiration for the sheer technical prowess of about all they have in commo·n .... I think that a reporter or observer not person­ her voice at the expense of the mood-building Joni Mitchell is hardly a militant; there is of her songs; the only slightly irritating thing ally involved in the lives of musicians is some­ nothing of the political radical about her. The times in abetter situation for giving an unbiased I noticed about Clouds is that Joni -notably at one anti-war song in her new album Clouds, ease at the bottom as well as at the top of reaction to what is going down in the music "The Fiddle and the Drum," beats as gently her range -- tends to sing at either the extreme itself. Sometimes a personal disagreement-- or as the wings of adove. Where Dylan & Manuel's bottom ("Tin Angel" and "Both Sides Now") a personal affection--for aparticular performer Baez in her Dylan compendium)-rantsand rips, or tbe extreme top ("I Don't Know Where I can be a very large mote in the eye of a friend "The Fiddle and the Drum"(sung a capella by Stand" and the descant for "Songs to Aging with the best intentions in the world. The Joni) soothes and gentles .. .Joni Mitchell's song Children Come") -- t think her avoidance of most acute eye can lose focus from too close­ is not only anti-war, in the sense of formalized, the middle range, rather than mere show-offi­ up; the clubby atmosphere which permeates organized war games; -but also, anti-nihilism and ness -- is an attempt to ensure a variety of progressive pop, rock and folk music today anti-destructivism; and, really, anti being anti .. sound in an album depending almost wholly could be its downfall; All music to the people! · "Can we help you find the p-eace and the star I upon the variants of one flexible voice and The Beatles have always known this axiom and Oh my friend ..." Joni asks; and hearing it, one virtuoso guitar -- no 'production' to speak always practiced it. ...Dylan's Nashville Sky­ you have the feeling that she has searched of ...... Also, I noted that both of the line is solid evidence that he, too, has caught herself for an answer to the jams of the world songs done in the low voice and with such on ... and we realize that what he has been and that this song is the response she has dragged momentum are already famous; Tom searching for all these years, and now found, found -- not a kicker by any means. Joni speaks Rush recorded "Tin Angel," and, of course, is 'The People, Yes!' not only for herself but for those friends, ad­ Judy Collins and God knows who all (Dave Joan Baez has been seeking The People in mirers and devotees who are turning to her Van Ronk ·and Frank Sinatra and peopte like her own way; in the last few years she has words for their unique kind of lyrical com­ that) have sung "Both Sides Now." Apparent­ . become increasingly absorbed in political acti­ fort. It is ridiculous to try to "compare" Joan ly Joni was worried in these two cases about vism ...and at the same time more and more Ba2e singing "Tears of Rage/' to Joni -Mitdlell., · ...,. to · avoid associations with well-knowrr remote from the force-center and the change­ singing "The Fiddle and The Drum" ... sure, versions of her songs; there is a sense of center of popular music; the changes have been it's no contest. .. Some people might say Joan strain and self-consciousness in her phras­ coming very, very fast here and the truth is that doesn't interpret Dylan's words properly, when ings of the two songs, almost a feeling of Joan just hasn't been fast enough on her feet the· fact is that she doesn't interpret, period; embarrassment. The inclusion of two songs '26 I

.nttta so long ago may possibly have been world is likely to hive, at one time or another, munications; the Beatles do this as naturally ., il response to the urgings of admirers and encountered the dastardly "artistic" male .... as breathing, but very few others even attempt / friends, the kind of people who are sure that "I am a saint/Turn down your bed ...." ah, it. a SOitpriter's personal rendition must be the yes. Some of us airls are getting pretty sick "Songs to Aging Children Come ..." The _, correct and definitive one. It is not nee· of hearing tltat "Women Is losers" and that songs on this album are not happy songs, al· ~r Joan essarily so; the urgers were ill-advised in this " ....you'll have bad times, and he'll have together; every one of them reflects that Mitch· !s; she case - Judy Collins' "Both Sides Now," with good times/doing things that you won't under· ell angst, a sort of fine · veined emotional eadpan ils swooping swagger, is still happiest listening; stand ..." Tammy Wynette, Janis Joplin and conflict, and they are shot through with half· r hand, llld Tom Rush's ripe, fully-orchestrated and too many other intelligent but male-browbeaten hopefull unanswered questions. Even in "Chel· 1nd the comparatively up· tempo treatment of "Tin Ang· singer-songwriters are saying we have to grind sea Morning," the sunniest is shadowed some· 1i is the el" is exactly right. .... our teeth and bear it, because that's the wom­ what by the line " ...and we'll talk in present happen an's lot, that's the way it always has been. tense ... " a kind of moratorium line which hints he key­ Still, the inclusion ofthese older songs makes of other, tenser times and tenses. IOf useful comparison in the only area of com· Now Joni Mitchell is here with her delicate tis ner­ surgical instruments, and at last the world's I trust Joni Mitchell when she says; "Fear :ause it petition I canconsiderreallyvalid; the creator's is like a wilderland/stepping stones on sinking •n past performance. "Roses Blue," "That longest and most maltreated minority group l· .. so has a worthy musical champion, one of our sand ..." I believe she knows all about those ears of Sonc About the Midway," "I Think I Under· awful dreams that come to aging children some· stand," and especially, "The Gallery," show own sex, one who knows the ilk of her audi· or less ence; instead of forgiving her artistic cad, Joni times; about that half · wotld where every· Fiddle Joni Mitchell achieving new heights of subtle­ lets him hang by his own words. thing. is almost, but horribly not quite, the the per­ ty and complexity as a poet and composer ... same · · subtly disfigured dreams where you !rs, and Tbe other thing that mainly bothered me a­ "Chelsea Morning," possibly one of those think at first you are awake, then realize you f vocal llout Song to a Seaaull, a kind of adolescent leftovers from an earlier period, is, neverthe· are still asleep and have to try once again to n vilify­ sentimentality and slick-magazine banality in less, a delicious and satisfying imagist-poet wake up. Joni says: "Sometimes voices in always some of the ideas •• is almost indiscernible tidbit ·· it got me wishing my windows faced the night will call me back again ... " and what· :hast is· 10w - In fact, I am amazed at the amount of toward the sunrise; " ...and the sun poured ever it is drags you back again, and you HAVE to friend· 111otional growth evidenced by Joni Mitchell's in like butterscotch and stuck to all my try to wake up .... Dreaming like that is not own at sonas in the relatively short period of one year. senses ..." at all uncommon in places where the fiddle 1testors Joni still isn't exactly the meat and potatoes of It would be that "Song About The Midway" has been traded for the drum. Clouds is a per· ttles of pop, but a surprising amount of the content of is a variation or outgrowth of the old blues feet title for a song collection in which Joni nstead, Cllllllls stick to your ribs. "Roses Blue" is a "Crossroads," which the Cream and other Mitchell performs the beautiful and humane fs look distrubingly acute psychological study of an groups have done to death. service of lancing open some of our vaguely ~r little 1npleasant type of little lady you can meet Besides the title similarity, there is the re­ threatening dreamcloud·boils, and she washes ic; they in hip circles everywhere •• (Joe McDonald's peated phrase "Siowin' down/l'm gettin' tired!" them, with her healing rain .. .Joni, you look orne/to "Not So Sweet Martha lorraine" was probably like the last line in "Crossroads:" "I believe I'm sort of like a cute Minnie Mouse, but maybe ~all of Iller bi& sister) . The conception of this song sinkin' down ..." While "That Song About the there is something of the priestess, if not as a warning and a cautionary is proof of just Midway" is more ballad than blues, it gives the goddess, in yor. .. Merciful Minerva! as lllow well Joni is beginning to know her audi· you a sense of how an imagination like Joni's Wonder Woman used to say when she wante Mea use ence and to.know some of the kinds of things can take folk-contexts and traditional influ· to get going with some dea-ex-machina. first al· she can say that will be of help to the parti· ences and turn them into fresh personal com- Dbrigitta 1968)­ cular kinds of young people who will listen to er 'sing­ Iller and not to somebody like, say, Joan Baez .. find, to ...The Roses of this world are too far gone .at &en­ to be reached by the simple old-fashioned hu· and Minnie Mouse leaning manism and·brotherhood pleas of a Joan Baez :ed into ...the creative person in today's young and !WeSS Of ~uilding It is interesting that "Roses Blue" is con· ~g thing structed similarly to the dramatic mode that tably at misfired so badly in "The Pirate of Penance;" ! top of Joni now has something relevant to put in· extreme side a dramatic structure. Many of her earli· 'Now") er songs were "prettier" in a conventional Where I sense, more melodic and luscious than the o Aging newer work, which is more sinewy and them· ance of atically heavier; she has just about quit her· iOW·Offi· self of the cardboard draf\latics, the easy eli· 1riety of ches, and ·the mild but insistent self-pity of t wholly songs like "Penance," "Marcie," "Nathan La· ice and Franeer," and "I Had A King." Tbe 'saint' :o speak of "The Gallery" is a far more vivid and touch· :h of the iq character than the 'king' of "I Had A King." ~h such Joni's wonderfully subtle irony in "The Gallery" ~s; Tom fulfills the sly promise of last year's "Sisotow· course, Mil lane;" "The Gallery" could almost be II (Dave called a feminist song, feminist in the best 1ple like sense of the word·· Joni is a far cry from Em· pparent;. lltline Pankhurst, but this song opens the door !S about lor a whole new genre; a lady songwriter is 11-knowlf •ring to expose the chicanery, fraud and gen· sense of eral caddishness of a species of egomanical r phras­ ule artist ( or pseudo-artist), with whom some eling of of use are all too hurtfully familiar ... any o songs ;rt who hanas about the fringes of the pop 27

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