Standing in Joni Mitchell's painting room, surrounded by her latest work, it's not hard to feel the rush of her creative process. There is a new series of landscapes, and Mitchell is asked which canvas was the breakthrough. She thinks for a moment, and then points to one. Early in its life, the painting was a nearly complete and mostly satisfying portrait of a rain forest, but Mitchell kept working on it until the entire work deepened and changed, and even an early influence of Cezanne became part of the under-painting. The work, still untitled, grew into what it is now – full of richness, finished, wildly her own, with a sense of life so powerful you can feel the wind in the trees. Looking at it, you can't help but realize the journey of the painting is the journey of Joni Mitchell herself.
She was born in Fort Macleod, Alberta, on Canadian prairies, the only child of Bill and Myrtle Anderson. She was a popular teen, with a passion for lindy dancing and secret musical heroes like Edith Piaf, Miles Davis, and Rachmaninoff. There were childhood dreams of being a classical pianist and a great painter, but she never thought of herself as a singer. Then, on the same day that a dentist pulled her wisdom teeth, "with bloody sutures still in my mouth," she plunked down 36 dollars for a baritone ukulele "and went from an extroverted good-time Charlie to a total introvert." Her best friend from high school recently recalled to her, "The uke went everywhere with you; you were always practicing, even standing in line for a movie." Another friend would implore her, "Put that thing down, Anderson, or I'm going to break it! Come and dance!"
She danced into whole new circles. Playing folk music at art college in Calgary was an easy way to pick up 15 dollars a night in clubs, "money for smokes, bowling, and the occasional movie." The songs were ones she'd heard on albums by The Kingston Trio and Judy Collins, but in her attempt to copy the arrangements from records, she began to develop an unmistakably personal style. Soon, on a train heading east to Ontario for the Mariposa Folk Festival, she wrote her first song, about traveling and the humming of the wheels. It was called "Day After Day."
Life was also thundering down the tracks. She was pregnant out of wedlock. In February 1965 she gave birth to t beautiful baby girl, but having no income, she was forced to put her child in foster care. Then she met American musician Chuck Mitchell, who got her the occasional booking in the Detroit area. They began performing as a duo and married in June 1965. Facing a grueling tour schedule and a bad marriage, she came to the agonizing decision to give up her child for adoption. It was a secret she'd kept for more than 30 years.
She covered the ache with a fevered forward motion. She wrote prolifically, and her songs progressed in huge leaps. She was more than beautiful, with a poet's heart and a still-strong attachment to the style and dancing of her youth. The combination was unforgettable to all those she met along the way.
Those early songs became her first round of classics. "Both Sides Now," recorded by Tom Rush and later one of her early heroes Judy Collins, was a "meditation on reality and fantasy… the idea was so big it seemed like I'd just scratched the surface of it." Another new one, "The Circle Game," was Joni's answer to a song she'd heard from fellow Canadian artist Neil Young. Together the two songs formed a memorable dialog – two budding songwriters, then barely 21, musing on the subject of lost youth.
More songs came swiftly and in large batches. Sometimes Mitchell would play them only two or three times in clubs and abandon them. By the time of her first album, she had 60 compositions, songs about movement and trains and the indelible characters she'd met on her travels. She'd written the songs in all-night sessions, in the back rooms of rough-and-tumble clubs, or in the small apartment she shared with Mitchell on West Ferry Street in Detroit and later in New York, where she moved after her marriage dissolved. Eric Anderson showed her an open-G tuning for guitar, and it opened many compositional avenues. Soon Mitchell was inventing her own tunings and with them came harmonic movement that was sophisticated and unusual. An early review in a major New York publication boldly declared her one of the most gifted composers that America had yet produced and likened her to Schubert. Humbled by the comment, she kept the clipping in her wallet for years and continued writing.
The early characterization of Joni Mitchell as a hollowed hippie icon was never quite accurate. Steeped in the rhythms of her teenage juke joints and dance halls, she was rock ‘n' roll in attitude. She may have been left to watch the boys [CSNY] take their rock-star bows or go off to play at the Woodstock Festival without her, but Joni stayed behind and wrote the anthem.
The songs were often startling, wise beyond her years. Yet even an emotionally raw album like Blue was also filled with her own brand of humor, a Chuck Berry-like level of friskiness. Sometimes she'd even play a character, mimic a voice, laugh spontaneously, or even address friends, like the memorable Peace Corps worker she'd met on a Greek vacation ("Carey"). It was a long way from the girl who couldn't even dream of herself as a vocalist.
Court and Spark was another watershed recording, an album of startling clarity, and all the highs and lows of romantic attachment came under her study. More instruments and colors were added now too – it was a pop album like no pop album before it, the beginning of a new phase in her talents as an arranger. "Help Me," the album's opener, was her first Top 10 hit. Now Joni Mitchell's music was, for some listeners, as compelling as her words.
There was no looking back, and each new album would reach a surprising new level; her early years and influences had simply become the under-painting. The Hissing Of Summer Lawns upped the ante even further, and "The Jungle Line," included here, is a club mix favorite even today. It's also one of the earliest examples of sampling, with loops taken from a Burundi war chant. Mitchell presided over the session (for most of her career she worked without a producer), calling out the cuts to her engineer Henry Lewy. Bits of tape were dangling all over the console, Analog days indeed.
In 1976 she drove two friends back East in a used Mercedes-Benz and traveled back to the California alone. The solo return trip provided the imagery for one of her greatest songs, "Amelia," and the Earhart-ian spirit of flight characterized the entire Hejira album. "Furry Sings The Blues," taken from that recording, was an indelible snapshot of Memphis' legendary Beale Street, then on the verge of destruction. Mitchell's conversation with the bluesman Furry Lewis, also a master of the open tuning, is re-created in her vocal and in her song-spoken characterization. She really should try acting someday.
Sonically, the bar was raised again with Don Juan's Reckless Daughter. The double-album sessions were an exciting time for her, a period of further envelope pushing. Soon, the great jazz composer-bassist Charles Mingus would come calling with project ideas. Her work and spirit had captured his attention. Their subsequent collaboration, finished by Mitchell after Mingus' death, both excited and challenged her audience. Mingus marked the end of that explosive second phase of her career and the beginning of the period she calls her most creative and best, a run of five albums recorded in the ‘80s and ‘90s for Geffen Records. There was no precedent or playbook for the path her career would follow in the next few years.
The Geffen recordings were almost completely at odds with the glib pop landscape of the day, and though that easily qualifies as a badge of honor, those vivid albums, the product of much work and sterling songwriting, went comparatively unheard. Justice arrived when Turbulent Indigo went on to win the Grammy® for Pop Album of the Year, but finding appreciation for those recordings is a still-current passion for Mitchell. The day after winning the Grammy, Mitchell opened a newspaper to find herself absurdly relegated to "Then" in a then-and-now roundup of songwriters in the ‘90s. "This would never have happened to an Oscar® winner," she noted. (A powerful and timely selection of sings from this period were recently sequenced by Mitchell and issued as Beginning Of Survival.)
Joni Mitchell's work in the new millennium has been equally bold, a re-imagining of earlier songwriting in a symphonic context. Her vocals are deeper and more expressive than ever, and Both Sides Now and the most recent Travelogue provide several of the tracks selected for this set. Like many a visionary before her, Mitchell's projects sometimes take a few years to find their most appreciative audience. But like waves hitting the beach, back these recordings come, with increasing timeless power. Check out The Who's Pete Townshend writing on his Web site, just the other day: "I am listening to Joni Mitchell's CD called Travelogue. It is a revisit to her career with full orchestra. It is, quite simply a quantum masterpiece. Joni is at the peak of her powers. Even her paintings seem to me to be especially revelatory gathered as they are in the sleeve. Someone told me last night, after the Who's show at Madison Square Garden, that she plans no more recording. If she never made another record, this one will stand as a testament not only to her work, but to the greatness of American Orchestral music."
It's true – Joni Mitchell is currently on hiatus from songwriting and recording. Perhaps the muse in on hold, she says, while she continues to refurbish her valued later-period work. Or maybe she's waiting for a few more waves to hit the beach. Or maybe it's even deeper. In 1997 she reunited with her daughter she hadn't seen in 32 long years. She says, "I started writing when I lost my daughter, and I stopped hen she came back." Now she paints. Her remarkable painting continues in full force, rarely displayed in public galleries in America but generously on display in the packaging of releases like this one.
Like her painting, like her songs, like her life. Joni Mitchell has never settled for the easy answers; it's the big questions that she's still exploring, like no one else, whether it's with a paintbrush, a guitar, a ukulele, or standing here, right now, in a room lined with fresh canvases. Over there on the table is a yellow legal tablet with the final listing of the songs on this album, written out in longhand, with a few last-minute changes. Such is the power of her work, and such is the difficulty of selecting some of her songs for a single record. Her songs belong so powerfully to those who hear them. How could you choose one and leave another behind? And then you realize it's easy if you think about it.
The masterpiece is Joni Mitchell.
-Cameron Crowe
1. FREE MAN IN PARIS
Produced by JONI MITCHELL
Featuring / JONI MITCHELL: vocals, acoustic guitar - LARRY CARLTON & JOSE FELICIANO: electric guitars - JIM HUGHART: bass - JOHN GUERIN: drums, percussion - DAVID CROSBY & GRAHAM NASH: background vocals
From the album Court and Spark, Asylum #1001 (1/74)
2. IN FRANCE THEY KISS ON MAIN STREET
Produced by JONI MITCHELL
Featuring / JONI MITCHELL: lead & background vocals, acoustic guitar - JEFF BAXTER & ROBBEN FORD: electric guitars - VICTOR FELDMAN: electric piano - MAX BENNETT: bass - JOHN GUERIN: drums - DAVID CROSBY, GRAHAM NASH & James Taylor: ADDITIONAL BACKGROUND VOCALS
From the album The Hissing Of Summer Lawns, Asylum #1051 (11/75)
3. DREAMLAND
Produced by JONI MITCHELL
Featuring / JONI MITCHELL & CHAKA KHAN: vocals - ALEX ACUŇA: shakers - JACO PASTORIUS: cowbells - DON ALIAS: snaredrum, sandpaper blocks - MANOLO BADRENA: congas - AIRTO: surdo (bass drum)
From the album Don Juan's Reckless Daughter, Asylum #701 (12/77)
4. THE JUNGLE LINE
Produced by JONI MITCHELL
Featuring / JONI MITCHELL: vocals, acoustic guitar, moog - BURUNDI: warrior drums
From the album The Hissing Of Summer Lawns, Asylum #1051 (11/75)
5. FURRY SINGS THE BLUES
Produced by JONI MITCHELL
Featuring / JONI MITCHELL: vocals, guitar - MAX BENNETT: bass - JOHN GUERIN: drums - NEIL YOUNG: harmonica
From the album Hejira, Asylum #1087 (11/76)
6. YOU TURN ME ON I'M A RADIO
Produced by JONI MITCHELL
Featuring / JONI MITCHELL: vocals, guitar - WILTON FELDER: bass - RUSS KUNKEL: drums - BOBBYE HALL: percussion - GRAHAM NASH: harmonica
From the album For The Roses, Asylum #5057 (11/72)
7. CAREY
Produced by JONI MITCHELL
Featuring / JONI MITCHELL: vocals, dulcimer - STEPHEN STILLS: guitar, bass - RUSS KUNKEL: drums
From the album Blue, Reprise #2038 (6/71)
8. BIG YELLOW TAXI
Produced and Arranged by JONI MITCHELL
Featuring / JONI MITCHELL: vocals, guitar - MILT HOLLAND: percussion - THE SASKATUNES: bop vocals
From the album Ladies Of The Canyon, Reprise #6376 (3/70)
9. CALIFORNIA
Produced by JONI MITCHELL
Featuring / JONI MITCHELL: vocals, dulcimer - JAMES TAYLOR: acoustic guitar - SNEEKY PETE KLEINOW: pedal steel guitar - RUSS KUNKEL: drums
From the album Blue, Reprise #2038 (6/71)
10. HELP ME
Produced by JONI MITCHELL
Featuring / JONI MITCHELL: vocals, acoustic guitar - JOE SAMPLE: electric piano - MAX BENNETT: bass - JOHN GUERIN: drums, percussion - TOM SCOTT: horns, woodwinds
From the album Court and Spark, Asylum #1001 (1/74)
11. NOTHING CAN BE DONE
Produced by JONI MITCHELL & LARRY KLEIN
Featuring / JONI MITCHELL: vocals, acoustic guitar, keyboards - LARRY KLEIN: guitar, keyboards, bass - BILL DILLON: guitar - ALEX ACUŇA: percussion - DAVID BAERWALD: additional vocals
From the album Night Ride Home, Geffen #24302 (3/91)
12. DANCIN' CLOWN
Produced by JONI MITCHELL & LARRY KLEIN
Featuring / JONI MITCHELL: vocals - MICHAEL LANDAU & STEVE STEVENS: guitars - THOMAS DOLBY: Fairlight marimba - LARRY KLEIN: bass- MANU KATCHÉ: drums, percussion
From the album Chalk Mark In A Rain Storm, Geffen #24172 (3/88)
13. COME IN FROM THE COLD
Produced by JONI MITCHELL & LARRY KLEIN
Featuring / JONI MITCHELL: vocals, acoustic guitar, billatron, keyboards - LARRY KLEIN: guitar, bass, percussion - VINNIE COLAIUTA: drums - ALEX ACUŇA: percussion
From the album Night Ride Home, Geffen #24302 (3/91)
14. AMELIA
Produced by LARRY KLEIN & JONI MITCHELL
Arranged & Conducted by VINCE MENDOZA
Featuring [collective personnel for album] / JONI MITCHELL: vocals - JACOB HERINGMAN: lute - HERBIE HANCOCK & JOHN LENEHAN: piano - BILLY PRESTON: B-3 Organ - CHUCK BERGHOFER: acoustic bass - LARRY KLEIN: electric bass - BRIAN BLADE: drums - CHRIS BARON, PAULINHO DaCOSTA, STEVE HENDERSON, BILL LOCKHART, GLYN MATTHEWS & FRAN RICOTTE: percussion - RICHARD BERRY, RICHARD BISSELL, PHIL EASTOP, JOHN PIGNEGUY, DAVID PYATT, SIMON RAYNER, MIKE THOMPSON & RICHARD WATKINS: horns - SUE BOHLING: cornet, oboe - KENNY WHEELER: trumpet, flugelhorn - ANDY CROWLEY: trumpet, C-trumpet - PAUL ARCHIBALD, JOHN BARCLAY, STUART BROOKS, SIMON GARDNER & DEREK WATKINS: trumpets - PETER BEACHILL, PETER DAVIES, RICHARD EDWARDS, ROGER HARVEY & MIKE HEXT: trombones - DAVE STEWART: bass trombone - OWEN SLADE: tuba - ANDY FINDON, HELEN KEEN & ANNA NOAKES: flutes - NICK BUCKNALL, DAVE FUEST & HEATHER NICHOLL: clarinets - WAYNE SHORTER & PHIL TODD: soprano sax - PLAS JOHNSON: tenor sax - JOHN ANDERSON & CHRIS COWIE: oboes - JULIE ANDREWS, GAVIN McNAUGHTON & ROBIN O"NEILL: bassoons - RICHARD SKINNER: contra bassoon - MARK BERROW, DERMOT CREHAN, BEN CRUFTZ, LIZ EDWARDS, DAVID EMANUEL, SIMON FISCHER, ANTONIA FUCHS, PETER HANSON, HELEN HATHORN, REBECCA HIRSCH, JONATHAN EVANS JONES, PAT KIERNAN, BOGUSLAV KOSTECKI, JULIAN LEAPER, DOUGLAS MACKIE, RITA MANNING, PERRY MONTAGUE-MASON, JIM McLEOD, MIKE McMENEMY, EVERTON NELSON, JONATHAN REES, JACKIE SHAVE, KATHY SHAVE, JONATHAN STRANGE, CATHY THOMPSON, CHRIS TUMBLING, PAUL WILLEY DAVE WOODCOCK & WARREN ZIELINSKI: violins - RACHEL BOLT, CATHERINE BRADSHAW, GUSTAV CLARKSON, PHIL DUKES, TIM GRANT, GARFIELD JACKSON, ZOE LAKE, PETER LALE, DON McVEY, BOB SMISSEN, JUSTIN WARD & BRUCE WHITE: violas - DAVID BUCKNALL, DAVE DANIELS, ROBIN FIRMAN, PAUL ORTON, ANTHONY PLEETH, FRANK SCHAEFER & JONATHAN TUNNELL: celli - DAVID AYRE, SIMON BENSON, LEON BOSCH, PADDY LANNIGAN, CHRIS LAURENCE & MARY SCULLY: basses - SKAILA KANGA, HELEN TUNSTALL & HUGH WEBB: harps - GAVYN WRIGHT: orchestra leader
From the album Travelogue, Nonesuch #79817 (11/02)
15. FOR THE ROSES
Produced by LARRY KLEIN & JONI MITCHELL
Arranged and Conducted by VINCE MENDOZA
Featuring same personnel as within listing for "Amelia"
From the album Travelogue, Nonesuch #79817 (11/02)
16. BOTH SIDES NOW
Produced by LARRY KLEIN & JONI MITCHELL
Arranged & Conducted by VINCE MENDOZA
Featuring [collective personnel for album] / JONI MITCHELL: vocals - DAVE ARCH: piano - CHUCK BERGHOFER: bass - PETER ERSKINE: drums - FRANK RICOTTI: percussion - NIGEL BLACK, PHIL EASTOP, PAUL GARDHAM, JOHN PIGNEGUY, HUGH SEENAN, MIKE THOMPSON & RICHARD WATKINS: horns - JOHN BARCLAY, ANDY CROWLEY, GERARD PRESENCER, STEVE SIDWELL & DEREK WATKINS: trumpets - PETE BEACHILL, PETER DAVIES, RICHARD EDWARDS & NEIL SIDWELL: trombones - OWEN SLADE: tuba - PHIL TODD: flute, alto flute, clarinet - STAN SULZMAN: flute, clarinet - JAMIE TALBOT: flute, alto sax - ANDY FINDON & HELEN KEEN: flutes - IAIN DIXON: clarinet, bass clarinet - NICK BUCKNALL & ANTHONY PIKE: clarinets - WAYNE SHORTER: soprano & tenor sax (solo) - SUE BOHLING: oboe/cor anglais - JOHN ANDERSON: oboe - JULIE ANDREWS & GAVIN McNAUGHTON: bassoons - RICHARD SKINNER: contra bassoon - GAVYN WRIGHT: violin, concertmaster - VAUGHAN ARMON, DERMOT CREHAN, BEN CRUFT, SIMON FISCHER, ANTONIA FUCHS, ROGER GARLAND, WILF GIBSON, REBECCA HIRSCH, PATRICK KIERNAN, BOGUSLAV KOTECKI, JULIAN LEAPER, RITA MANNING, JIM McLEOD, PERRY MONTAGUE-MASON, MIKE McMENEMY, EVERTON NELSON, PETER OXER, MACIE J RAKOWSKI, GODFREY SALMON, MATTHEW SCRIVENER, JACKIE SHAVE, KATHY SHAVE, JONATHAN STRANGE, CATHY THOMPSON, CHRIS TOMBLING, DAVE WOODCOCK & WARREN ZIELINSKI: violins - DON McVAY, IVO VAN DER WERFF, BRUCE WHITE & KATIE WILKINSON: violas - DAVE DANIELS, PAUL KEGG, TONY LEWIS, HELEN LIEBMANN, MARTIN LOVEDAY, ANTHONY PLEETH & FRANK SCHAEFER: celli - MIKE BRITTAIN, CHRIS LAURENCE, ANTHONY PIKE & MARY SCULLY: basses - SKAILA KANGA: harp
From the album Both Sides Now, Reprise #47620 (2/00)
17. THE CIRCLE GAME
Produced & Arranged by JONI MITCHELL
Featuring / JONI MITCHELL: vocals, guitar - THE LOOKOUT MOUNTAIN UNITED DOWNSTAIRS CHOIR: background vocals
From the album Ladies Of The Canyon, Reprise #6376 (3/70)
All Songs Written by JONI MITCHELL EXCEPT "Nothing Can Be Done" by JONI MITCHELL & LARRY KLEIN
"THE CIRCLE GAME" ©1966 Crazy Crow Music. All rights administered by Sony/ATV Music Publishing 8 Music Square West, Nashville, TN 37203. All Rights Reserved. Used by permission. - "BOTH SIDES NOW" ©1967 Crazy Crow Music. All rights administered by Sony/ATV Music Publishing 8 Music Square West, Nashville, TN 37203. All Rights Reserved. Used by permission. - "BIG YELLOW TAXI" ©1970 Crazy Crow Music. All rights administered by Sony/ATV Music Publishing 8 Music Square West, Nashville, TN 37203. All Rights Reserved. Used by permission. - "YOU TURN ME ON I'M A RADIO" ©1972 Crazy Crow Music. All rights administered by Sony/ATV Music Publishing 8 Music Square West, Nashville, TN 37203. All Rights Reserved. Used by permission. - "FOR THE ROSES" ©1973 Crazy Crow Music. All rights administered by Sony/ATV Music Publishing 8 Music Square West, Nashville, TN 37203. All Rights Reserved. Used by permission. - "FREE MAN IN PARIS" " HELP ME" ©1974 Crazy Crow Music. All rights administered by Sony/ATV Music Publishing 8 Music Square West, Nashville, TN 37203. All Rights Reserved. Used by permission. - IN FRANCE THEY KISS ON MAIN STREET" "DREAMLAND" "THE JUNCLE LINE" ©1975 Crazy Crow Music. All rights administered by Sony/ATV Music Publishing 8 Music Square West, Nashville, TN 37203. All Rights Reserved. Used by permission. - "CAREY" "CALIFORNIA" ©1975 Joni Mitchell Publishing Corp. All rights administered by Sony/ATV Music Publishing 8 Music Square West, Nashville, TN 37203. All Rights Reserved. Used by permission. - "AMELIA" "FURRY SINGS THE BLUES" ©1977 Crazy Crow Music. All rights administered by Sony/ATV Music Publishing 8 Music Square West, Nashville, TN 37203. All Rights Reserved. Used by permission. - "DANCIN' CLOWN" ©1988 Crazy Crow Music. All rights administered by Sony/ATV Music Publishing 8 Music Square West, Nashville, TN 37203. All Rights Reserved. Used by permission. - "COME IN FROM THE COLD" ©1991 Crazy Crow Music. All rights administered by Sony/ATV Music Publishing 8 Music Square West, Nashville, TN 37203. All Rights Reserved. Used by permission. - "NOTHING CAN BE DONE" ©1991 Crazy Crow Music and Dee Klein Music. All rights on behalf of Crazy Crow Music administered by Sony/ATV Music Publishing 8 Music Square West, Nashville, TN 37203. All Rights Reserved. Used by permission.
All Songs Copyright Renewed.
All Rights Reserved. International Copyright Secured. Used by Permission.
Airto & Neil Young appeared courtesy of Warner Bros. Records, Inc.
David Baerwald appeared courtesy of A&M Records
Max Bennett, Victor Feldman & John Guerin appeared courtesy of The L.A. Express- Caribou Records
Brian Blade appeared courtesy of Blue Note Records
Larry Carlton appeared courtesy of Chisa/Blue Thumb Records, Inc.
David Crosby & Chaka Kahn appeared courtesy of ABC Records, Inc.
Thomas Dolby appeared courtesy of EMI-Manhatten Records, a Division of Capitol Records, Inc.
Peter Erskine appeared courtesy of ECM Records and Fuzzy Music
Jose Feliciano appeared courtesy of RCA Records
Robben Ford appeared courtesy of Far Out Productions, Inc.
Herbie Hancock appeared courtesy of The Verve Music Group and Transparent Music
Graham Nash appeared courtesy of ABC Records, Inc. ("In France They Kiss On Main Street")
Jaco Pastorius appeared courtesy of Epic Records and Columby Productions, Inc.
Joe Sample appeared courtesy of The Crusaders and Chisa/Blue Thumb Records, Inc.
Wayne Shorter appeared courtesy of The Verve Music Group
James Taylor appeared courtesy of Warner Bros. Records, Inc. ("In France They Kiss On Main Street")
Compilation Produced by JONI MITCHELL
Executive Producers: ROBIN HURLEY & MIKE ENGSTROMM
Remastering: BERNIE GRUNMAN
Discographical Annotation: REGGIE COLLINS
Editorial Supervision: SHERYL FARBER
Art Direction & Design: JONI MITCHELL & MASAKI KOIKE
All Paintings by JONI MITCHELL
Paintings photographed by HUGH BROWN
Frames by JERRY SOLOMON
Project Assistance: JOHN AUSTIN, LEIGH HALL, MATTHEW ABELS & RANDY PERRY
Rhino Would like to Thank: SAM FELDMAN, ALISSE KINGSLEY & JOEL BERNSTEIN
From Joni:
Special thanks to ROBIN HURLEY for allowing me to make selections that were a little more adventurous and cohesive than just a lineup of hits.
Thanks to MIKE ENGSTROM for his enthusiasm and support.
Thanks to SHERYL FARBER for her company and skills in the editorial process.
Thanks to HUGH BROWN and MASAKI KOIKE for their assistance in the development of the package
And special thanks to CAMERON CROWE for taking time from his cinematic schedule to write these liner notes.
Worldwide Management:
STEPHEN MACKLAN & SAM FELDMAN
MACKLAM/FELDMAN MANAGEMENT INC.
1505 WEST 2ND AVE., SUITE 200
VANCOUVER BC CANADA V6H 374
management@mfmgt.com
Official Site:
www.jonimitchell.com
"FREE MAN IN PARIS" and "HELP ME" -1974 Asylum Records; "IN FRANCE THEY KISS ON MAIN STREET" and "THE JUNGLE LINE" -1975 Elektra/Asylum Records; "DREAMLAND" -1977 Asylum Records; "FURRY SINGS THE BLUES" -1976 Asylum Records; "YOU TURN ME ON I'M A RADIO" -1972 Asylum Records - "CAREY," "BIG YELLOW TAXI," "CALIFORNIA," and "THE CIRCLE GAME; "BOTH SIDES NOW" - 2000 Reprise Records - "NOTHING CAN BE DONE" and "COME IN FROM THE COLD" -1991 Geffen Records; "DANCIN' CLOWN" - 1988 Geffen Records, courtesy of Geffen Records, under license from Universal Music Enterprises. - "AMELIA" and "FOR THE ROSES" - 2002 Nonesuch Records.
This Compilation - 2004 Warmer Strategic Marketing, a Warner Group Company.
R2 76520 - ©2004 JONI MITCHELL. MANUFACTURED & MARKETED BY WARNER STRATEGIC MARKETING, A WARNER MUSIC GROUP COMPANY.
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