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Joni Mitchell Both Sides Now Torrent Flac To Mp3

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Download discography Joni Mitchell on site losslessalbums.club. Quality: FLAC 24 bit / 96 kHz (Tracks) + FLAC 16 bit / 44.1 kHz (Tracks) Artist: Joni Mitchell Title: Both Sides Now Released: 1999/2012 Style: Vocal Jazz, Folk, Rock RAR Size: 1.13 Gb + 307 Mb.

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- (JazzPlanet) Joni Mitchell - Official Discography [email protected] TNT UF -
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Jazzplanet gives you the official discography of
'Joni Mitchell' in lossy format [email protected]
Discography
* Song to a Seagull (noto anche come Joni Mitchell) (196
* Clouds (1969)
* Ladies of the Canyon (1970)
* Blue (1971)
* For the Roses (1972)
* Court and Spark (1974)
* Miles of Aisles (live) (1975)
* The Hissing of Summer Lawns (1975)
* Hejira (1976)
* Don Juan's Reckless Daughter (1977)
* Mingus (1979)
* Shadows and Light (live) (1980)
* Wild Things Run Fast (1982)
* Dog Eat Dog (1985)
* Chalk Mark in a Rainstorm (198
* Night Ride Home (1991)
* Turbulent Indigo (1994)
* Taming the Tiger (199
* Both Sides Now (2000)
* Travelogue (2002)
* Shine (2007)
Grammy Awards
1969 Best Folk Performance Clouds Won
1974 Album of the Year Court and Spark Nomination
1974 Record of the Year 'Help Me' Nomination
1974 Pop Female Vocalist Court and Spark Nomination
1974 Best Arrangement Accompanying Vocalist(s) 'Down To You' Won
1976 Pop Female Vocalist The Hissing of Summer Lawns Nomination
1977 Best Album Package Hejira Nomination
1988 Pop Female Vocalist Chalk Mark in a Rain Storm Nomination
1995 Best Pop Album Turbulent Indigo Won
1995 Best Album Package Turbulent Indigo Won
2000 Best Female Pop Vocal Performance Both Sides, Now Nomination
2000 Best Traditional Pop Vocal Album Both Sides, Now Won
2002 Lifetime Achievement Award – Won
2007 Album of the Year River: The Joni Letters Won*
2007 Best Pop Instrumental Performance 'One Week Last Summer' Won
This is an excellent opportunity for you
Joni Mitchell was born Roberta Joan Anderson on November 7, 1943, in Fort Macleod, Alberta, Canada, to Bill Anderson and Myrtle Anderson (née McKee). Her mother's ancestors were Scottish and Irish;[9] her father's were Norwegian and Sami.[10] Her mother was a teacher, and her father an officer in the Royal Canadian Air Force. During the war years, she moved with her parents to a number of bases in western Canada. After the war, her father began working as a grocer, and his work took the family to Saskatchewan, to the towns of Maidstone and North Battleford.
Joni Mitchell was not only the voice of the female revolution, but also one of the most innovative musicians of the era. Despite her hippy roots, she developed an aristocratic, austere, 'adult' way of singing (often complemented by neo-classical piano playing), and used it to vivisect her own anxiety, while chronicling the psychological insecurity of her generation and of her sex. This ambitious program eventually wed her confessional style with fusion jazz and other non-rock idioms. Most of her art is autobiographical, dedicated to her own maturation and evolution, obsessed with the mission of finding a universal, historical meaning for her personal history. If Clouds (1969) and Ladies Of The Canyon (1970) were still folk-rock albums imbued with 'West-Coast sound', Blue (1971) marked a monumental step forward: it injected the stream of consciousness into the folk ballad, and her voice became a finely-tuned instrument, capable of both colloquial and operatic deliveries. This introspective diary relied on piano-based compositions that were intense, convoluted and slightly neurotic. Another paranoid self-analysis, another formidable act of her autobiographical drama, For The Roses (1972) closed that era of experimentation. Court And Spark (1974) was a much lighter and softer work, although it showed her prowess at absorbing elements of soul and jazz. Self-indulgence triumphed again on Hejira (1976), her second masterpiece, and another stunning musical application of the stream of consciousness. Her subsequent ventures into jazz and electronic arrangements were presumptuous and unfocused, with the notable exception of Night Ride Home (1991). Night Ride Home (Geffen, 1991) finds Mitchell in a soulful mood, boasting a voice that has rarely been so warm and elastic. The humble overture of Night Ride Home sets the 'domestic' tone. A couple of intruiguing meditations like Passion Play, with hypnotic guitar work, and Nothing Can Be Done, almost a neurotic version of Crosby Stills Nash & Young, and the harrowing, autobiographical account of sexual abuse of Cherokee Louise, take a few chances, but mostly Mitchell plays it safe with mellow tunes wrapped in charming arrangements such as Windfall and The Only Joy In Town. Of the two major work-outs, Slouching Towards Bethlehem is haunted by syncopated percussions, distant echoes and dancing guitar, while Come in From the Cold rolls gently in a soundscape of Enya-esque vocal effects and droning instruments. Mitchell is still faithful to her classic style (by the erratic standards of her colleagues), but seems to have re-discovered the power of melody and wed it to a more passionate perception of life. She has never sounded so 'black' as in the closing Two Grey Rooms, one of her most challenging vocal exercises. This is easily her best album since Hejira.
Turbulent Indigo (Reprise, 1994), which almost stands as a sociopolitical concept album, is a weaker album, despite the fact that the arrangements are among the most sophisticated of her career. Turbulent Indigo is to Night Ride Home what Court And Spark was to Blue. The overall feeling is one of a priestess lecturing people from her pedestal. Where Night Ride Home was pure, palpable emotion, Turbulent Indigo is condescending attitude. That said, How Do You Stop is one of her simplest and most effective melodies, and she continues to take vocal chances in Last Chance Lost, another of her 'black' songs (songs permeated by the feeling of black music). The jazz-rock instrumental wrapping is particularly charming in Sunny Sunday, that could have fit on Van Morrison's Moondance, and the sonic choreography is chillingly suspenseful in Sex Kills. But the heavy atmospheres of Turbulent Indigo, Borderline, The Magdelaine Laundries are more about ideas than music. The peak of pathos is reached at the end, with the lengthy The Sire Of Sorrow, featuring Wayne Shorter on sax, that reenacts the magic of her inner travelogues.
Unfortunately, Taming the Tiger (Reprise, 199 was a mediocre collection, the Wild Things Run Fast of this phase.
Both Sides Now (Reprise, 2000) is an album of orchestral ballads, mostly jazz and pop covers.
In august 2000, Mitchell held the first retrospective of her paintings.
Travelogue (Nonesuch, 2002) is a two-disc anthology.
Night Ride Home (Geffen, 1991) contiene due grandi brani (Slouching Towards Bethlehem, Come in From the Cold), un paio di intriganti meditazioni (Passion Play, Nothing Can Be Done) e Cherokee Louise, uno straziante ed autobiografico resoconto di abusi sessuali. Mitchell è incredibilmente fedele al proprio stile classico (soprattutto rispetto agli standard delle sue colleghe) e sembra aver riscoperto il potere della melodia. E’ senza dubbio il suo miglior disco dai tempi di Hejira.
Turbulent Indigo (Reprise, 1994), che si propone quasi come un concept album sociopolitico, è molto più debole del suo predecessore. L’album dà l’impressione di essere una predica alla gente dall’alto d un piedistallo, e molto raramente Joni Mitchell riesce a comunicare emozioni oltre che idee (The Magdelaine Laundries, Borderline). L’unica canzone che esce da questo discorso è la lunga The Sire Of Sorrow, nella quale compare Wayne Shorter, e che rappresenta una delle sue migliori canzoni di sempre.
Taming the Tiger (Reprise, 199 è la sua peggiore collezione dai tempi di Wild Things Run Fast.
Both Sides Now (Reprise, 2000) contiene ballade orchestrali, per lo più cover jazz e pop.
Nell’agosto del 2000, Joni Mitchell ha realizzato la sua prima retrospettiva di dipinti.
Travelogue (Nonesuch, 2002) è un’antologia di due dischi.
Coming almost a decade after the last studio album of original material, Shine (2007) proved that Mitchell had lost her inspiration. She had become the easy-listening muse (the instrumental overture One Week Last Summer, the laid-back Shine) of which she had been the antithesis in her heydays. Her vocals are opaque at best (certainly not suited for this kind of ballads) and her lyrics are so predictable that at times she sounds like the stereotypical grandmother nagging at everything new in society. Night of the Iguana displays the class of the consummate storyteller (and of a brainy guitar player), but it's the exception, not the rule.
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Aggiunto 27.01.12 - 05:01:36
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