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Joni Mitchell: Big Yellow Taxi

 A l b u m   D e t a i l s


Label: Elap Music
Released: 1999.08.06
Time:
 43:35
Category: Pop/Rock
Producer(s): Joni Mitchell
Rating: *********. (9/10)
Media type: CD
Web address: www.jonimitchell.com
Appears with:
Purchase date: 2001.06.07
Price in €: 6,99



 S o n g s ,   T r a c k s


[1] Rainy Night House (J.Mitchell) - 3:22
[2] The Priest (J.Mitchell) - 3:39
[3] Blue Boy (J.Mitchell) - 2:53
[4] Big Yellow Taxi (J.Mitchell) - 2:16
[5] Woodstock (J.Mitchell) - 5:25
[6] The Circle Game (J.Mitchell) - 4:50
[7] Morning Morgantown (J.Mitchell) - 3:12
[8] For Free (J.Mitchell) - 4:31
[9] He comes for conversation (J.Mitchell) - 4:21
[10] Ladies of the Canyon (J.Mitchell) - 3:32
[11] Willy (J.Mitchell) - 3:00
[12] The Arrangement (J.Mitchell) - 3:32

 A r t i s t s ,   P e r s o n n e l


JONI MITCHELL - Guitar, Piano, Arranger, Composer, Keyboards, Vocals, Design, Cover Design

JIM HORN - Saxophone, Baritone Saxophone
PAUL HORN - Clarinet, Flute, Wind
DON BAGLEY - Cello Arrangement
TERRY ADAMS - Clarinet, Cello
THERESA ADAMS - Cello
RUSS KUNKEL - Drums
MILT HOLLAND - Percussion
SASKATUNES - Vocals, Backing Vocals
LOOKOUT MOUNTAIN UNITED DOWNSTAIRS CHOIR - Vocals, Choir, Chorus

HENRY LEWY - Engineer, Advisor

 C o m m e n t s ,   N o t e s


1987 CD Reprise 2-6376
1970 LP Reprise 6376
1990 LP Reprise 6376
1987 CS Reprise M5-6376
1999 CD Elap (Tyrolis)

This re-issue CD is the same as "Ladies of the Canyon" (April 1970).



This wonderfully varied release shows a number of new tendencies in Joni Mitchell's work, some of which would come to fuller fruition on subsequent albums. "The Arrangement," "Rainy Night House," and "Woodstock" contain lengthy instrumental sections, presaging the extensive non-vocal stretches in later selections such as "Down to You" from Court and Spark. Jazz elements are noticeable in the wind solos of "For Free" and "Conversation," exhibiting an important influence that would extend as late as Mingus. The unusually poignant desolation of "The Arrangement" would surface more strongly in Blue. A number of the selections here ("Willy" and "Blue Boy") use piano rather than guitar accompaniment; arrangements here are often more colorful and complex than before, utilizing cello, clarinet, flute, saxophone, and percussion. Mitchell sings more clearly and expressively than on prior albums, most strikingly so on "Woodstock," her celebration of the pivotal 1960s New York rock festival. This number, given a haunting electric piano accompaniment, is sung in a gutsy, raw, soulful manner; the selection proves amply that pop music anthems don't all have to be loud production numbers. Songs here take many moods, ranging from the sunny, easygoing "Morning Morgantown" (a charming small-town portrait) to the nervously energetic "Conversation" (about a love triangle in the making) to the cryptically spooky "The Priest" (presenting the speaker's love for a Spartan man) to the sweetly sentimental classic "The Circle Game" (denoting the passage of time in touching terms) to the bouncy and vibrant single "Big Yellow Taxi" (with humorous lyrics on ecological matters) to the plummy, sumptuous title track (a celebration of creativity in all its manifestations). This album is yet another essential listen in Mitchell's recorded canon.

David Cleary - All Music Guide



Joni Mitchell's third album offers a bridge between the artful but sometimes dour meditations of her earlier work and the more mature, confessional revelations of the classics that would follow. Voice and guitar still hew to the pretty filigree of a folk poet, but there's the giggling rush of rock & roll freedom in "Big Yellow Taxi," and the formal metaphor of her older songs ("The Circle Game," already oft-covered by the time of this recording) yields to the more impressionistic images of the new ones ("Woodstock"). The dark lyricism of her earliest ballads is intact (on "For Free" and "Rainy Night House"), yet there's a prevailing idealism here that sounds poignant alongside the warier, more mature songs to come on Blue and Court And Spark.

Sam Sutherland - Amazon.com essential recording



Zum Zeitpunkt der Veröffentlichung ihres dritten Albums (1970) war Joni Mitchell bereits zu einer gefeierten Persönlichkeit in Folkkreisen gewor- den, und ihre Freunde Crosby, Stills, Nash & Young sowie die Engländer Matthews Southern Comfort schickten sich mit Converversionen von "Woodstock" an, ihren Namen auch dem Rockpublikum bekanntzumachen. Das Original dieses Songs ist auf "Ladies Of The Canyon" enthalten, neben so wunderbaren Kompositionen wie "Morning Morgantown" und "For Free". Die (erstaunlich rauschfreie) CD ist der LP in puncto Frequenzgang, Räumlich- keit und Abbildung von Stimmen und akustischen Instrumenten weit überle- gen.

© Stereoplay



Ladies of the Canyon was a giant step forward for an artist whose first two albums contained only self -accompaniment to sparsely adorned folk tunes that sounded like demos. With her third album, Joni Mitchell expanded her musical horizons by incorporating jazz arrangements and more elaborate instrumentations.

Lyrically, Mitchell was outgrowing the wistfulness of earlier efforts and beginning to dramatize her life as an established artist struggling to balance ambition, love, and a fierce need for independence. Restlessness underlies the beauty of these songs, whose music largely consists of Mitchell accompanying herself on guitar or piano augmented by percussionist Milt Holland and sax player Jim Horn.

The singer can find peace neither in the romantic adventurism of "Willy" nor in the pleasures of home in "Blue Boy." The hit single "Big Yellow Taxi" elevated Mitchell from underground folk darling to a pop phenomenon. "Woodstock," one of her most celebrated songs, is too self-conscious to be an all-out anthem, but is still the album's most out-going, least analytical moment. "The Circle Game," the album's closer, asserts Mitchell's ability to express complex emotional states in plain language. A supple chorus courtesy of Crosby, Stills, Nash, and Young puts her personalized message across beautifully. The question 'Could I be more?' that concludes "The Arrangement" haunts the entire album. It is a question that Mitchell may well be asking herself as she reels from the self-exploration that makes this album a defining moment in the singer/songwriter genre.

© 1999 Music Imports. All Rights Reserved.
 

 L y r i c s


JONI MITCHELL 1966-69 Siquomb Publishing Co. BMI


MORNING MORGANTOWN

When morning comes to Morgantown
The merchants roll their awnings down
The milktrucks make their morning rounds
In morning, Morgantown

We'll rise up early, with the sun
To ride the bus while everyone is yawning
And the day is young
In morning, Morgantown

Morning Morgantown
Buy your dreams a dollar down
Morning any town you name
Morning's just the same

We'll find a table in the shade
And sip our tea and lemonade
And watch the morning on parade
In morning, Morgantown

Ladies in their rainbow fashions
Colored stop and go lights flashing
We'll wink at total strangers passing in
Morning, Morgantown

Morning Morgantown
Buy your dreams a dollar down
Morning any town you name
Morning's just the same

I'd like to buy you everything
A wooden bird with painted wings
A window full of colored rings
In morning, Morgantown.

But the only thing I have to give
To make you smile, to win you with
Are all the mornings still to live
In morning, Morgantown


FOR FREE

I slept last night in a good hotel
I went shopping today for jewels
The wind rushed around in the dirty town
And the children let out from the schools
I was standing on a noisy corner
Waiting for the walking green
Across the street he stood
And he played real good
On his clarinet, for free

Now me I play for fortunes
And those velvet curtain calls
I've got a black limousine
And two gentlemen
Escorting me to the halls
And I play if you have the money
Or if you're a friend to me
But the one man band
By the quick lunch stand
He was playing real good, for free

Nobody stopped to hear him
Though he played so sweet and high
They knew he had never
Been on their T.V.
So they passed his music by
I meant to go over and ask for a song
Maybe put on a harmony...
I heard his refrain
As the signal changed
He was playing real good, for free


CONVERSATION

He comes for conversation
I comfort him sometimes
Comfort and consultation
He knows that's what he'll find
I bring him grapes and cheeses
He brings me songs to play
He sees me when he pleases
I see him in cafes
And I only say, hello
And turn away before his lady knows
How much I want to see him
She removes him, like a ring
To wash her hands
She only brings him out to show her friends
I want to free him

Secrets and sharing soda
That's how our time began
Love is a story told to a friend
It's second hand
But I'll listen to his questions
I'll give my answers when they're found
He says she keeps him guessing
But I know she keeps him down
She speaks in sorry sentences
Miraculous repentances
I don't believe her
Tomorrow he will come to me
And he'll speak his sorrow endlessly and he'll ask me why
Why can't I leave her?

He comes for conversation
I comfort him sometimes
Comfort and consultation
He knows that's what he'll find


LADIES OF THE CANYON

Trina wears her wampum beads
She fills her drawing book with line
Sewing lace on widows' weeds
And filigree on leaf and vine
Vine and leaf are filigree
And her coat's a secondhand one
Trimmed with antique luxury
She is a lady of the canyon

Annie sits you down to eat
She always makes you welcome in
Cats and babies 'round her feet
And all are fat and none are thin
None are thin and all are fat
She may bake some brownies today
Saying, you are welcome back
She is another canyon lady

Estrella circus girl
Comes wrapped in songs and gypsy shawls
Songs like tiny hammers hurled
At beveled mirrors in empty halls
Empty halls and beveled mirrors
Sailing seas and climbing banyans
Come out for a visit here
To be a lady of the canyon

Trina takes her paints and her threads
And she weaves a pattern all her own
Annie bakes her cakes and her breads
And she gathers flowers for her home
For her home she gathers flowers
And Estrella, dear companion
Colors up the sunshine hours
Pouring music down the canyon-
Coloring the sunshine hours
They are the ladies of the canyon


WILLY

Willy is my child, he is my father
I would be his lady all my life
He says he'd love to live with me
But for an ancient injury
That has not healed
He said I feel once again
Like I gave my heart too soon
He stood looking thru the lace
At the face on the conquered moon
And counting all the cars up the hill
And the stars on my window sill
There are still more reasons why I love him

Willy is my joy, he is my sorrow
Now he wants to run away and hide
He says our love cannot be real
He cannot hear the chapel's pealing silver bells
But you know it's hard to tell
When you're in the spell if it's wrong or if it's real
But you're bound to lose
If you let the blues get you scared to feel
And I feel like I'm just being born
Like a shiny light breaking in a storm
There are so many reasons why I love him


THE ARRANGEMENT

You could have been more
Than a name on the door
On the thirty-third floor in the air
More than a credit card
Swimming pool in the backyard

While you still have the time
You could get away and find
A better life, you know the grind Is so ungrateful
Racing cars, whisky bars
No one cares who you really are
You're the keeper of the cards
Yes I know it gets hard
Keeping the wheels turning
And the wife she keeps the keys
She is so pleased to be
A part of the arrangement

You could have been more
Than a name on the door
On the thirty-third floor in the air
More than a consumer
Lying in some roam trying to die
More than a credit card
Swimming pool in the backyard
You could have been more than a name on the door
You could have been more than a name on the door
You could have been more
You could have been more
You could have been more


RAINY NIGHT HOUSE

It was a rainy night
We took a taxi to your mother's home
She went to Florida and left you
With your father's gun, alone
Upon her small white bed
I fell into a dream
You sat up all the night and watched me
To see, who in the world I might be

I am from the Sunday school
I sing soprano in the upstairs choir
You are a holy man
On the F.M. radio
I sat up all the night and watched thee
To see, who in the world you might be.

You called me beautiful
You called your mother-she was very tanned
So you packed your tent and you went
To live out in the Arizona sand
You are a refugee
From a wealthy family
You gave up all the golden factories
To see, who in the world you might be


THE PRIEST

The priest sat in the airport bar
He was wearing his father's tie
And his eyes looked into my eyes so far
Whenever the words ran dry
Behind the lash and the circles blue
He looked as only a priest can, thru
And his eyes said me and his eyes said you
And my eyes said, let us try

He said, "You wouldn't like it here
No it's no place you should share
The roof is ripped with hurricanes
And the room is always bare
I need the wind and I seek the cold"
He reached post the wine for my hand to hold
And he saw me young and he saw me old
And he saw me sitting there

Then he took his contradictions out
And he splashed them on my brow
So which words was I then to doubt
When choosing what to vow
Should I choose them all-should I make them mine
The sermons, the hymns and the valentines
And he asked for truth and he asked for time
And he asked for only now
Now the trials are trumpet scored
Oh will we pass the test
Or just as one loves more and more
Will one love less and less
Oh come let's run from this ring we're in
Where the Christians clap and the Germans grin
Saying let them lose, crying let them win
Oh make them both confess


BLUE BOY

Lady called the blue boy, love,
She took him home
Made himself an idol, yes,
So he turned to stone
Like a pilgrim she travelled
Ta place her flowers
Before his granite grace
And she prayed aloud for love
To waken in his face
In his face, oh __________

Sometimes in the evening
He would read to her
Roll her in his arms
And give his seed to her
She would wake in the morning
Without him
And go to the window
And look out thru the pain
But the statue in her garden
He always looked the same
He looked the same, ah _________

Bring her boots of leather
And she will dance for him
Shyly from a feather fan
She'll glance for him
Here he comes after midnight
To find her again
He will come a few times more
Till he finds a lady statue
Standing in a door
In her door, oh __________


BIG YELLOW TAXI

They paved paradise
And put up a parking lot
With a pink hotel, a boutique
And a swinging hot spot
Don't it always seem to go
That you don't know what you've got
Till it's gone
They paved paradise
And put up a parking lot

They took all the trees
Put 'em in a tree museum
And they charged the people
A dollar and a half just to see 'em
Don't it always seem to go
That you don't know what you've got
Till it's gone
They paved paradise
And put up a parking lot

Hey farmer farmer
Put away that D.D.T. now
Give me spots on my apples
But leave me the birds and the bees
Please!
Don't it always seem to go
That you don't know what you've got
Till it's gone
They paved paradise
And put up a parking lot

Late last night
I heard the screen door slam
And a big yellow taxi
Took away my old man
Don't it always seem to go
That you don't know what you've got
Till it's gone
They paved paradise
And put up a parking lot


WOODSTOCK

I came upon a child of God
He was walking along the road
And I asked him, where are you going
And this he told me
I'm going on down to Yasgur's farm
I'm going to join in a rock 'n' roll band
I'm going to camp out on the land
I'm going to try an' get my soul free
We are stardust
We are golden
And we've got to get ourselves
Back to the garden

Then can I walk beside you
I have come here to lose the smog
And I feel to be a cog in something turning
Well maybe it is just the time of year
Or maybe it's the time of man
I don't know who l am
But you know life is for learning
We are stardust
We are golden
And we've got to get ourselves
Back to the garden

By the time we got to Woodstock
We were half a million strong
And everywhere there was song and celebration
And I dreamed I saw the bombers
Riding shotgun in the sky
And they were turning into butterflies
Above our nation
We are stardust
Billion year old carbon
We are golden
Caught in the devil's bargain
And we've got to get ourselves
Back to the garden


THE CIRCLE GAME

Yesterday a child came out to wonder
Caught a dragonfly inside a jar
Fearful when the sky was full of thunder
And tearful at the falling of a star
Then the child moved ten times round the seasons
Skated over ten clear frozen streams
Words like, when you're older, must appease him
And promises of someday make his dreams
And the seasons they go round and round
And the painted ponies go up and down
We're captive on the carousel of time
We can't return we can only look behind
From where we came
And go round and round and round
In the circle game

Sixteen springs and sixteen summers gone now
Cartwheels turn to car wheels thru the town
And they tell him,
Take your time, it won't be long now
Till you drag your feet to slow the circles down
And the seasons they go round and round
And the painted ponies go up and down
We're captive on the carousel of time
We can't return we can only look behind
From where we came
And go round and round and round
In the circle game

So the years spin by and now the boy is twenty
Though his dreams have lost some grandeur coming true
There'll be new dreams, maybe better dreams and plenty
Before the last revolving year is through
And the seasons they go round and round
And the painted ponies go up and down
We're captive on the carousel of time
We can't return, we can only look behind
From where we came
And go round and round and round
In the circle game

 M P 3   S a m p l e s


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