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*FREE* Direct Download - Joni Mitchell Dreamland The Best Of Joni Mitchell 2004 *FLAC*.torrent

Category: Music » Rock
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Joni Mitchell - Dreamland
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Artist...............: Joni Mitchell
Album................: Dreamland
Genre................: Folk/Rock
Source...............: CD
Year.................: 2004
Ripper...............: EAC (Secure mode) / LAME 3.92 & Asus CD-S520
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.2.1 20070917
Quality..............: Lossless, (avg. compression: 69 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........:

Ripped by............: Me on 09/03/2009
Posted by............: Me on 09/03/2009
News Server..........: news.astraweb.com
News Group(s)........: alt.binaries.sounds.mp3.metal.full.albums

Included.............: NFO, M3U, LOG, CUE.
Covers...............: Front Back

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Tracklisting
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1. (00:06:46) Joni Mitchell - Amelia (Orchestral Version, 2002)
2. (00:02:17) Joni Mitchell - Big Yellow Taxi
3. (00:05:47) Joni Mitchell - Both Sides Now (Orchestral Version, 2002)
4. (00:03:52) Joni Mitchell - California
5. (00:03:05) Joni Mitchell - Carey
6. (00:07:30) Joni Mitchell - Come In From The Cold
7. (00:03:52) Joni Mitchell - Dancin' Clown
8. (00:04:39) Joni Mitchell - Dreamland
9. (00:07:30) Joni Mitchell - For The Roses (Orchestral Version, 2002)
10. (00:03:04) Joni Mitchell - Free Man In Paris
11. (00:05:06) Joni Mitchell - Furry Sings The Blues
12. (00:03:24) Joni Mitchell - Help Me
13. (00:03:20) Joni Mitchell - In France They Kiss On Main Street
14. (00:04:52) Joni Mitchell - Nothing Can Be Done
15. (00:04:52) Joni Mitchell - The Circle Game
16. (00:04:24) Joni Mitchell - The Jungle Line
17. (00:02:40) Joni Mitchell - You Turn Me On I'm A Radio

Playing Time.........: 02:01:44
Total Size...........: 471.15 MB

NFO generated on.....: 09/03/2009 19:28:36
:: Generated by Music NFO Builder v1.20 - www.nfobuilder.com ::


Biography

When the dust settles, Joni Mitchell may stand as the most important and influential female recording artist of the late 20th century. Uncompromising and iconoclastic, Mitchell confounded expectations at every turn; restlessly innovative, her music evolved from deeply personal folk stylings into pop, jazz, avant-garde, and even world music, presaging the multicultural experimentation of the 1980s and 1990s by over a decade. Fiercely independent, her work steadfastly resisted the whims of both mainstream audiences and the male-dominated recording industry. While Mitchell's records never sold in the same numbers enjoyed by contemporaries like Carole King, Janis Joplin, or Aretha Franklin, none experimented so recklessly with their artistic identities or so bravely explored territory outside of the accepted confines of pop music, resulting in a creative legacy which paved the way for performers ranging from Patti Smith and Chrissie Hynde to Madonna and Courtney Love.

Born Roberta Joan Anderson in Fort McLeod, Alberta, Canada, on November 7, 1943, she was stricken with polio at the age of nine; while recovering in a children's hospital, she began her performing career by singing to the other patients. After later teaching herself to play guitar with the aid of a Pete Seeger instruction book, she went off to art college, and became a fixture on the folk music scene around Alberta. After relocating to Toronto, she married folksinger Chuck Mitchell in 1965, and began performing under the name Joni Mitchell.

A year later the couple moved to Detroit, MI, but separated soon after; Joni remained in the Motor City, however, and won significant press acclaim for her burgeoning songwriting skills and smoky, distinctive vocals, leading to a string of high-profile performances in New York City. There she became a cause célèbre among the media and other performers; after she signed to Reprise in 1967, David Crosby offered to produce her debut record, a self-titled acoustic effort that appeared the following year. Her songs also found great success with other singers: in 1968, Judy Collins scored a major hit with the Mitchell-penned "Both Sides Now," while Fairport Convention covered "Eastern Rain" and Tom Rush recorded "The Circle Game."

Thanks to all of the outside exposure, Mitchell began to earn a strong cult following; her 1969 sophomore effort, Clouds, reached the Top 40, while 1970's Ladies of the Canyon sold even better on the strength of the single "Big Yellow Taxi." It also included her anthemic composition "Woodstock," a major hit for Crosby, Stills, Nash & Young. Still, the commercial and critical approval awarded her landmark 1971 record Blue was unprecedented: a luminous, starkly confessional set written primarily during a European vacation, the album firmly established Mitchell as one of pop music's most remarkable and insightful talents.

Predictably, she turned away from Blue's incandescent folk with 1972's For the Roses, the first of the many major stylistic turns she would take over the course of her daring career. Backed by rock-jazz performer Tom Scott, Mitchell's music began moving into more pop-oriented territory, a change typified by the single "You Turn Me On (I'm a Radio)," her first significant hit. The follow-up, 1974's classic Court and Spark, was her most commercially successful outing: a sparkling, jazz-accented set, it reached the number two spot on the U.S. album charts and launched three hit singles -- "Help Me," "Free Man in Paris," and "Raised on Robbery."

After the 1974 live collection Miles of Aisles, Mitchell emerged in 1975 with The Hissing of Summer Lawns, a bold, almost avant-garde record that housed her increasingly complex songs in experimental, jazz-inspired settings; "The Jungle Line" introduced the rhythms of African Burundi drums, placing her far ahead of the pop world's mid-'80s fascination with world music. 1976's Hejira, recorded with Weather Report bassist Jaco Pastorius, smoothed out the music's more difficult edges while employing minimalist techniques; Mitchell later performed the album's first single, "Coyote," at the Band's Last Waltz concert that Thanksgiving.

Her next effort, 1977's two-record set Don Juan's Reckless Daughter, was another ambitious move, a collection of long, largely improvisational pieces recorded with jazz players Larry Carlton and Wayne Shorter, Chaka Khan, and a battery of Latin percussionists. Shortly after the record's release, Mitchell was contacted by the legendary jazz bassist Charles Mingus, who invited her to work with him on a musical
interpretation of T.S. Eliot's Four Quartets. Mingus, who was suffering from Lou Gehrig's disease, sketched out a series of melodies to which Mitchell added lyrics; however, Mingus died on January 5, 1979, before the record was completed. After Mitchell finished their collaboration on her own, she recorded the songs under the title Mingus, which was released the summer after the jazz titan's passing.

Following her second live collection, 1980's Shadows and Light, Mitchell returned to pop territory for 1982's Wild Things Run Fast; the first single, a cover of the Elvis Presley hit "(You're So Square) Baby I Don't Care," became her first chart single in eight years. Shortly after the album's release, she married bassist/sound engineer Larry Klein, who became a frequent collaborator on much of her subsequent material, including 1985's synth-driven Dog Eat Dog, co-produced by Thomas Dolby. Mitchell's move into electronics continued with 1988's Chalk Mark in a Rain Storm, featuring guests Peter Gabriel, Willie Nelson, Tom Petty, and Billy Idol.

Mitchell returned to her roots with 1991's Night Ride Home, a spare, stripped-down collection spotlighting little more than her voice and acoustic guitar. Prior to recording 1994's Turbulent Indigo, she and Klein separated, although he still co-produced the record, which was her most acclaimed work in years. In 1996, she compiled a pair of anthologies, Hits and Misses, which collected her chart successes as well as underappreciated favorites. A new studio album, Taming the Tiger, followed in 1998. Both Sides Now, a collection of standards, followed in early 2000.

Two years later, Mitchell resurfaced with the double-disc release Travelogue. She announced in October 2002 that this would be her last album ever, for she'd grown tired of the industry. She told W magazine that she intended to retire. She also claimed she would never sign another corporate label deal and in Rolling Stone blasted the recording industry for being "a cesspool." By the time Travelogue appeared a month later, Mitchell had simmered down and her plans to call it quits had been axed. Numerous compilations and remasters appeared between 2002 and 2006, culminating in the release of the independent Shine in 2007.

Review from Amazon.com.

If you were wondering why so many musicians and critics (and fans) think so highly of Joni Mitchell's work, or if you've heard a few songs and would like to hear a broader sampling, Dreamland is the answer. It offers the heyday pop hits (Free Man in Paris, Help Me) some early folky touchstones, (Big Yellow Taxi, Circle Game), a selection from the fantastic jazz-rock masterpiece Hejira (Furry Sings the Blues), a delightful 80s comedy-drama with Billy Idol and Tom Petty in guest roles (Dancin' Clown) and much more, including some late career orchestral reinventions of earlier songs (Amelia, Both Sides Now). Dreamland is a delicious taste of the diverse and delightful Joni Mitchell catalog.

AND.

As one of the most dazzling and innovative musical artists of the Seventies, Joni Mitchell and her audience deserve an intelligently selected, genuinely comprehensive, and multi-disc box set culled from that era, the sole period of her career in which Mitchell's musical genius was evident and operative.

There's no question that Mitchell's muse and much of that talent inexplicably abandoned her upon the completion of 1979's Mingus; in an interview at that time, Mitchell stated that her musical journey and recording career were now largely things of the past; painting would be the artistic focus of her future.

However, Mitchell recorded again as early as 1982, creating the first mediocre album of her career with Wild Things Run Fast, and subsequently released a series of trite, tepid, and transparent pop albums that, however sincere in conception and theme, utterly embarrassed and degraded her former reputation as the premier songwriter, vocalist, and musician of the earlier decade. The sterling guitars, pianos, and horns were replaced with drum machines and synthesizers; where Mitchell had once collaborated with musicians of the caliber of Tom Scott, Jaco Pastorius, and Charles Mingus, collaborators now included Thomas Dolby, who produced 1985's Dog Eat Dog, Lionel Ritchie, and a chest-thumping, howling Billy Idol.

Few major artists have ever fallen as far or as hard as Mitchell did during this time; embarrassed critics who had thus far revered her tended to politely ignore each album upon release, while puzzled fans, dismayed by the absence of Mitchell's former instrumental mastery, depth, vision, and wisdom, simply stopped buying.

Sadly, Mitchell today declares her post-Seventies output to be her most distinguished and significant body of work, an assessment almost no other musician, critic, or fan agrees with; the recent compilation Beginning of Survival (2004), in fact, is wholly dedicated to promoting this unfortunate, but relentlessly defended, segment of Mitchell's career. Thus the title of Dreamland (2004), yet another third-rate, fragmentary, superfluous, and idiosyncratic Mitchell compilation, is suspicious at best and tellingly ironic at worst.

Dreamland, whose songs were selected by Mitchell herself, includes several of her most unusual and experimental Seventies compositions ("The Jungle Line," "Dreamland"), some of her most beautifully written and intricate pieces ("Furry Sings The Blues," "Amelia"), a handful of bona fide Mitchell radio classics ("The Circle Game," "Help Me," "Free Man In Paris," "Carey," "Big Yellow Taxi," and "Both Sides Now"), and a smattering of Eighties material (including the inexcusable "Dancing Clown," when "Moon At The Window," "Lucky Girl," "Ray's Dad's Cadillac," or "Two Grey Rooms," songs that bolster rather than degrade Mitchell's reputation, would have been far wiser choices). But instead of the original album versions of "Amelia," "For The Roses," and "Both Sides Now," those included are the inferior orchestrated versions culled from Both Sides Now (2000) and Travelogue (2002), a fact which finally damns Dreamland as only one more badly advised, late-era Joni Mitchell project.

Mitchell has long asserted that she is a rock n' roll artist, citing "Big Yellow Taxi," among other songs, as evidence. But rock n' roll artists of all varieties and both genders notoriously peak early in their creative lives, a syndrome that tragically applies to Mitchell as well.

Mitchell overadorns Dreamland with reproductions of her muddy, mediocre paintings, as she has other recent releases, a habit that suggests that Mitchell's judgement about her skill as a painter is as misguided as her sense of discrimination concerning her recording history.

The package also includes an extended, uncritical biographical essay by journalist, screenwriter, and Mitchell friend Cameron Crowe; Crowe makes at least one error, referring to "Help Me" as the "album opener" of 1974's popular Court And Spark, which the track is not; such blatant mistakes help substantiate the impression that Dreamland is a muddle from every angle of approach