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Joni Mitchell: Love Has Many Faces

 A l b u m   D e t a i l s


Label: Elektra Recordings
Released: 2014.11.17
Time:
 59:45 / 58:14 / 60:35 / 60:12
Category: Pop/Rock
Producer(s): Joni Mitchell, Larry Klein
Rating:
Media type: 4 x CD
Web address: www.jonimitchell.com
Appears with:
Purchase date: 2014
Price in €: 1,00





 S o n g s ,   T r a c k s


Act 1: Birth of Rock & Roll Days

[1] In France They Kiss on Main Street (Joni Mitchell) - 3:18
[2] Ray's Dad's Cadillac (Joni Mitchell) - 4:33
[3] You Turn Me On I'm a Radio (Joni Mitchell) - 2:39
[4] Harlem In Havana (Joni Mitchell) - 4:26
[5] Car on a Hill (Joni Mitchell) - 2:59
[6] Dancin' Clown (Joni Mitchell) - 3:51
[7] River (Joni Mitchell) - 4:03
[8] Chinese Cafe/Unchained Melody (Joni Mitchell / Alex North / Hy Zaret) - 5:17
[9] Harry's House/Centerpiece (Jon Hendricks / Johnny Mandel / Joni Mitchell) - 6:47
[10] Shades of Scarlett Conquering (Joni Mitchell) - 4:58
[11] Number One (Joni Mitchell) - 3:47
[12] The Windfall [Everything for Nothing] (Joni Mitchell) - 5:13
[13] Come In from the Cold [Edited Version] (Joni Mitchell) - 3:36


Act 2: The light is hard to find

[1] Court and Spark (Joni Mitchell) - 2:46
[2] Not to Blame (Joni Mitchell) - 4:18
[3] Nothing Can Be Done (Larry Klein / Joni Mitchell) - 4:52
[4] Comes Love (Lew Brown / Sam H. Stept / Charles Tobias) - 4:28
[5] Trouble Child (Joni Mitchell) - 4:00
[6] No Apologies (Joni Mitchell) - 4:15
[7] Moon at the Window (Joni Mitchell) - 3:44
[8] Blue (Joni Mitchell) - 3:03
[9] Tax Free (Larry Klein / Joni Mitchell) - 4:15
[10] The Wolf That Lives in Lindsey (Joni Mitchell) - 6:33
[11] Hana (Joni Mitchell) - 3:42
[12] Hejira (Joni Mitchell) - 6:47
[13] Stay in Touch (Joni Mitchell) - 2:58
[14] Night Ride Home (Joni Mitchell) - 3:34


Act 3: Love has many faces

[1] You're My Thrill (Sidney Clare / Jay Gorney) - 3:51
[2] The Crazy Cries of Love (Don Freed / Joni Mitchell) - 3:53
[3] Love Put's on a New Face (Joni Mitchell) - 3:46
[4] Borderline (Joni Mitchell) - 4:47
[5] A Strange Boy (Joni Mitchell) - 4:17
[6] You Dream Flat Tires (Joni Mitchell) - 3:45
[7] Love (Joni Mitchell) - 5:38
[8] All I Want song review (Joni Mitchell) - 3:33
[9] Be Cool (Joni Mitchell) - 5:09
[10] Yvette in English (David Crosby / Joni Mitchell) - 5:17
[11] Just Like This Train (Joni Mitchell) - 4:23
[12] Carey (Joni Mitchell) - 3:03
[13] The Only Joy in Town (Joni Mitchell) - 5:09


Act 4: If you want me I'll be in the bar

[1] Don Juan's Reckless Daughter (Joni Mitchell) - 6:38
[2] Two Grey Rooms (Joni Mitchell) - 3:55
[3] God Must Be a Boogie Man (Joni Mitchell) - 3:55
[4] Down To You (Joni Mitchell) - 5:36
[5] A Case of You (Joni Mitchell) - 4:23
[6] The Last Time I Saw Richard song review (Joni Mitchell) - 4:58
[7] Raised On Robbery (Joni Mitchell) - 3:05
[8] Sweet Sucker Dance (Charles Mingus / Joni Mitchell) - 8:05
[9] Lakota (Larry Klein / Joni Mitchell) - 6:26
[10] Cool Water (Joni Mitchell / Bob Nolan) - 5:25
[11] Amelia (Joni Mitchell) - 6:46
[12] Both Sides Now (Joni Mitchell) - 5:44
[13] My Best to You (Isham Jones / Gene Willadsen) - 2:54

 A r t i s t s ,   P e r s o n n e l


Joni Mitchell - Arranger, Bass, Billatron, Clavinet, Drum Programming, Dulcimer, Guitar, Acoustic Electric & Rhythm Guitars, Instrumentation, Keyboards, Liner Notes, Lyric Revision, Oboe, Omnichord, Orchestration, Paintings, Percussion, Piano, Producer, Synthesizer Drums, Vocals, Background Vocals, Vocal Samples

Larry Klein - Bass, Electric Bass, Guitar, Keyboards, Percussion, Producer
Larry Carlton - Acoustic & Electric Guitar
Alex Acuña - Bells, Percussion
Don Alias - Congas, Shaker
Ambrose - Trumpet
Jeff Baxter - Electric Guitar
Max Bennett - Bass
Chuck Berghofer - Bass, Acoustic Bass
Brian Blade - Drums
Dennis Budimir - Electric Guitar
Vinnie Colaiuta - Drums, Drum Samples
Cricket - Drums
Paulinho Da Costa - Percussion
Bill Dillon - Guitar, Pedal Steel Guitar
Thomas Dolby - Synthesizer Programming
Peter Erskine - Drums
Wilton Felder - Bass
Victor Feldman - Electric Piano, Vibraphone
Russell Ferrante - Oberheim Synthesizer
Chuck Findley - Trumpet
Robben Ford - Electric Guitar
Jay Gorney - Drums, Percussion
John Guerin - Drums, Percussion
Bobbye Hall - Drums, Percussion
Herbie Hancock - Piano, Electric Piano
Milt Holland - Congas
Jim Hugart - Bass
Jim Hughart - Bass
Mark Isham - Trumpet, Muted Trumpet
Plas Johnson - Tenor Saxophone
Manu Katché - Drums, Percussion
Russ Kunkel - Drums
Michael Landau - Guitar
Greg Leisz - Pedal Steel
Steven Lindsey - Organ
Steve Lukather - Electric Guitar
Graham Nash - Harmonica, Background Vocals
Jaco Pastorius - Bass
Wayne Perkins - Electric Guitar
Billy Preston - Hammond B3
Emil Richards - Water Gong
Robbie Robertson - Electric Guitar
Joe Sample - Keyboards, Piano, Electric Piano
Tom Scott - Horn, Reeds, Saxophone, String Arrangements, Woodwind
Bob Sheppard - Soprano Saxophone
Wayne Shorter - Soprano Saxophone, Saxophone
Stephen Stills - Bass, Guitar
James Taylor - Guitar, Acoustic Guitar, Background Vocals
Carlos Vega - Drums
Derek Watkins - Trumpet
Larry Williams - Prophet Synthesizer

Benjamin Orr - Vocals
Willie Nelson - Vocals
Kris Kello - Vocals, Voices
Billy Idol - Vocals
David Baerwald - Vocals
Iron Eyes Cody - Vocals
Tom Petty - Vocals
Pattie - Voices
Brenda Russell - Vocals
Rod Steiger - Spoken Word
Val - Voices
Charles Valentino - Vocals
Susan Webb - Vocals
David Crosby - Background Vocals

London Philharmonic Orchestra - Orchestra
Vince Mendoza - Arranger, Conductor
Jeremy Lubbock - String Arrangements
Dale Oehler - String Arrangements

David Bottrill - Engineer
Skip Cottrell - Engineer
Geoff Foster - Engineer
Steve Katz - Engineer
Dan Marnien - Engineer
Tony Phillips - Engineer
Mike Shipley - Engineer
Matt Lee - Assistant Assembly, Engineer
Femi Jiya - Barking, Engineer
Henry Lewy - Engineer
Steven Wessing - Assistant Assembly, Engineer
Bernie Grundman - Mastering
Kate Dear - Design Assistant, Layout Assistance
Boyd Elder - Spiritual Advisor
Lisa Glines - Design Assistant, Layout Assistance
Ken Jones - Transcription

 C o m m e n t s ,   N o t e s


In the '60s and '70s, Joni Mitchell was widely seen as the archetypal female singer/songwriter, the original Lady from the Canyon who sang passionate but laid-back songs full of organic wisdom about love and life. Of course, that image was never an accurate portrait of the sort of artist Mitchell was -- emotionally she was never hesitant to cut deep, even on languid acoustic numbers, and her skills as a lyricist, vocalist, and guitarist were estimable. One might imagine that the ambitious, marvelously crafted jazz-pop of 1974's Court and Spark was an effort by Mitchell to prove she was more than just a moody girl with a guitar, and much of her subsequent music of the '70s and '80s was not just an expression of her eclectic muse, but an ongoing project to show off the range and intelligence of her musical impulses. Mitchell has long been overdue for a career-spanning box set, and she's finally delivered one with Love Has Many Faces: A Quartet, a Ballet, Waiting to Be Danced, a four-disc 53-song collection compiled, annotated, and designed by Mitchell with the stated intent of dealing with love and human interaction in its many forms. At the same time, Love Has Many Faces is a writ-large summary of Mitchell's recorded legacy that finds her offering an idiosyncratic view of her career. A number of Mitchell's most popular songs from her early days, including "Big Yellow Taxi," "The Circle Game," "Chelsea Morning," "Cactus Tree," and "Woodstock," are missing from the program, with Mitchell putting a greater emphasis on material from largely overlooked albums like Wild Things Run Fast, Chalk Mark in a Rain Storm, and Night Ride Home. (The fact Mitchell wants us to recall "Dancin' Clown," an embarrassing duet with Billy Idol, is little short of astonishing.) Mitchell also presents several major selections in the orchestral re-recordings she created for the album Travelogue, and as she did on themed compilations such as Dreamland and Songs of a Prairie Girl, Mitchell has remixed a few of the tracks on this set. As a consequence, while most box sets are intended to summarize the career of an artist, Love Has Many Faces instead presents Joni's own preferred perspective on her music, where the jazzier and more stylistically ambitious creations take center stage and Joni the Folkie barely exists. Some fans might find this set's point of view to be a bit curious, especially since it favors less popular (and often less acclaimed) material over Mitchell's more celebrated compositions, but in this context, many of these songs play significantly better than they did on her uneven projects of the '80s and '90s, and the lyrical strength and bold musical vision that inform this music are genuinely remarkable on nearly every tune. For many fans, Love Has Many Faces may not be the Joni Mitchell box set they want, but as a summation of her own musical world-view, it's a powerful and revealing accomplishment.

Mark Deming - All Music Guide



No one will argue against the notion that Joni Mitchell is one of the most revered artists of our time, but few people outside her circle of devout followers truly understand her reputation as a historical revisionist. In other words, boy howdy does Mitchell make sure her legacy is represented just how she wants it to be.

It all started in 1996 when, upon her label’s insistence that Mitchell release a greatest hits compilation, she agreed to so long as another album of “greatest misses” was manufactured as well, leading to the aptly-titled compilations Hits and Misses being released on the same day. Then, starting with 2000’s Both Sides Now and continuing with 2002’s Travelogue, Mitchell became obsessed with doing jazzier, full-orchestra recreations of her own catalog, twisting and subverting her own hits in new and sometimes perplexing ways. While Travelogue especially remains an alternately fascinating and frustrating document of career revisionism, its existence is very important. For the four-disc box set Love Has Many Faces—which Mitchell compiled herself—she has decided to construct her legacy as she sees fit, culling deep cuts few would have ever thought warranted inclusion while also upsetting the status quo by substituting the orchestral versions of some of her hits over the studio originals. Ultimately, this makes for a sonic document that winds up telling Joni Mitchell’s story, but not the Joni Mitchell story.

As the title indicates, this compilation deals with songs about love in all its forms. However, even with that loose guiding principle, there are some questionable inclusions. When one thinks of Mitchell’s peons about love, the breezy sway of “Ray’s Dad’s Cadillac” from 1991’s Night Ride Home does not immediately spring to mind. Although it’s not a “hits” compilation per se (i.e. no “Big Yellow Taxi”, “Woodstock”, or even “Free Man in Paris”), a lot of the agreed-upon must-haves can be found here: “Car on a Hill”, “You Turn Me On I’m a Radio”, “River”, “Court and Spark”, “Blue”, “All I Want”, “Just Like This Train”, “Down to You”, “A Case of You”, “Raised on Robbery”, etc. Yes, “Both Sides Now” is included, albeit in sweeping late-period orchestral form. While some may question as to the inclusion of this version over the studio original, the case can be made that given this was the cut used in Love, Actually, so it would be the one younger fans are more familiar with.

Keep in mind, however, that these hits are strewn about the four entire discs, interspliced with deep cuts culled from albums ranging from 2007’s polarizing Shine (“Hana”) to 1971’s Blue (but, strangely, nothing from her first three albums). Given that this is Mitchell basically rewriting her own history, it’s fascinating to see how she views her own strengths. Three cuts are culled from 1979’s Mingus and 1975’s The Hissing of Summer Lawns, one from 1977’s Don Juan’s Reckless Daughter, etc. Overall, Mitchell calls upon songs that aren’t so much “difficult” as they are heavy on artistic intent, as the spoken-word breakdown of “Harry’s House/Centerpiece” from Hissing doesn’t usually come up in first round discussions of Mitchell’s greatest achievements.

Regardless, the exclusion of songs like “Help Me” in favor of the painfully dated Billy Idol duet “Dancin’ Clown” and the regrettable “Tax Free” are definitely curious calls. Yet fans both casual and devout can still enjoy uncovering lesser-known fare like “The Only Joy in Town” and the woefully underappreciated 1991 Canadian hit “Come in From the Cold”. Through this box set, someone may get to uncover something like a quiet charmer like “Yvette in English”, but, again, this is only a portion of Joni Mitchell’s story, and the lack of songs like “Coyote”, “Night in the City”, and “Chelsea Morning” make for a frustrating portrait, and even if using the “love songs” dictum, there is still no reason why “Help Me” is shut out while 1988’s veiled showbiz lament “Number One” makes the final cut.

Then again, in 2004, Mitchell commissioned a triptych of compilations of her work, and between those three discs (the ‘80s-heavy The Beginning of Survival, the “classic hits”-focused Dreamland, and 2005’s Canadian-oriented Songs of a Prairie Girl), one thing became clear: Mitchell’s legacy is one that intensely hard to define. Chart hits alone won’t tell her story, nor will her own deep cut diving, which she again attempts with Love Has Many Faces. Sure, she gets closer to providing a definitive portrait here than with those 2004 comps but by holding on to some precious darlings that mean something to her but little to everyone else, she still doesn’t manage to stick the landing. Despite her obvious pop instincts, Mitchell prefers to remain an enigma, and Love Has Many Faces, while noble in intent, only furthers the idea that she is a capital-A artist, one who refuses to compromise her vision on what her own legacy should consist of, both for the better and for the worse. Love Has Many Faces is a great box set, but make no mistake: while it does tell Joni Mitchell’s story, it may not be the exact one you’ve been wanting to hear.

Evan Sawdey, 16 December 2014
PopMatters Interviews Editor



Career-spanning box set titled Love Has Many Faces: A Quartet, a Ballet, Waiting to Be Danced. The box set collects 53 remastered tracks over four discs, personally chosen by Mitchell. Love Has Many Faces will include a hardcover book by Mitchell that contains 53 lyrical poems (one for each song), six new paintings and extensive liner notes.

Amazon.com



Joni Mitchell has a lot on her mind. She’s calling me from Los Angeles (she splits her time between there and a home in British Columbia) to discuss a newly released four-disc box set of her work, Love Has Many Faces: A Quartet, A Ballet, Waiting to Be Danced, on which she collected 53 remastered songs from throughout her career. We begin by talking about a long autobiographical text she wrote as an accompaniment, which ends ominously with a bittersweet toast questioning whether or not musical talent is valued anymore. “Talent no longer means that much to the record companies because it doesn’t mean that much to this generation that doesn’t seem to have much talent,” she says. “They sit pushing buttons and looking at the Internet in the time that the generations before spent practicing an instrument.” I ask if, while assembling this compilation of her decades of work, she saw her influence on the music of today? “Where would I see that? On the radio? The stuff that’s on the radio bears no resemblance to my music. None at all. None,” she says. “People don’t write songs anymore, they get a phrase and repeat it—everything is formulaic: A copy of a copy of a copy of a copy. There’s nothing innovative.” What, then, is her advice for musicians trying to break through? “If they have it, they won’t need advice. I had no advice,” she says. “I just always did things the way I wanted to. I had no choice.”

Listening to Love Has Many Faces: A Quartet, A Ballet, Waiting to Be Danced, it is easy to believe that Mitchell found her way without any guidance from anyone else. With her probing lyrics and piercing voice, Mitchell’s music has been experimental and original from the earliest days of her career. “When I first wrote ‘Both Sides Now,’ I thought it was a failure because it was such a big meditation,” she says. “I was 21.” Mitchell was raised on the prairies of Canada and stricken with polio at nine. At 21, she gave a daughter up for adoption, then found her way to the United States, eventually to California, to make a name for herself as a folk musician. There’s her warm and introspective music from the seventies, much of which she produced on her own. This work came as close to radio-friendly as her music ever would. “[David] Geffen said to me, ‘Come on, you can write a hit.’ So I wrote ‘You Turn Me On, I’m a Radio’ as a joke. It was my idea of a joke,” she says. “I had a couple of hits, but it wasn’t intentional. I was an album’s artist, not a single’s artist. And that’s got nothing to do with the hit parade.”

The box set places as much, if not more, emphasis on her later work—the music she’s made since the eighties, which found her experimenting with collaborative forays into jazz and orchestral music. “Getting my first band on Court and Spark was an exciting thing for me, finding musicians that could play my music,” she says. “It’s hard for a woman to lead men—they don’t like it, especially when you do something innovative. I hadn’t listened in many years, and the thing that impressed me the most was how well these people collaborated with me.” It’s the method, not necessarily the product, that Mitchell seems to enjoy most. “The creative process, when it’s going well, is delightful, it’s the best kind of child’s play, it’s a peak experience,” she says. “When the music is going well, I can’t think of anything more heavenly.”

Mitchell approached compiling the box set as though she were putting together a movie. “The process of sequencing and editing was taking each song as a scene and connecting it in the matter of documentary filmmaking,” she says. “[There’s] no more plot than that of Fellini’s Roma—this is a story, but it’s not a linear story.” Each disc represents something of a movement, or chapter, and as they weave through the decades inconsecutively, the themes of her songwriting tie them all together. Mitchell writes about love more than any other topic, from “Blue” up through “Love Puts on a New Face.” “[Love] was one of my many searches—it is the pinnacle of spiritual pursuit,” she says. “There were never love songs like this. They were all pie-in-the-sky, moon-June-croon, all written by men for women to sing. “Stand By Your Man”—they were all male fantasies. This is a female’s point of view on love.” If she’s become something of an icon for the unapologetic way she expresses one woman’s perspective, Mitchell never aimed to be a poster child. “I never wanted to represent anything. I just wrote. I’m an individual, and an individual can’t follow and doesn’t want to lead.”

Mitchell hopes that her sense of independence is in her music for everyone to hear. “Quit looking for your prince to come, quit looking for Jesus or God to save you,” she says. “You’re on your own. You’re going to have to get out of this hole yourself. A lot of [my music] is directed that way. I didn’t have any support. That’s the way I was raised. I had a lot of illness, and I was in hospitals by myself, struggling to learn to walk again with polio and so on. Even if somebody says that you’re never going to walk again, you don’t have to swallow it.” Her battles with record companies and continuing health issues notwithstanding, Mitchell says, “I’m very happy in my life. I have a lot of wars going on, but I’m up to it.”

Vouge



When Joni Mitchell hit the big 7-1 back on November 7, we put together a playlist in celebration of the famed Canadian singer-songwriter, talked a bit about her life and times and general awesomeness, and oh so casually mentioned how we were only a few short weeks away from the release of a new four-disc box set bearing “about as Mitchell-esque a title as you could hope for.” Well, the wait is over: Love Has Many Faces: A Quartet, A Ballet, Waiting to be Danced is now in stores…and, c’mon, were we right about that title, or were we right?

As our press release for the collection revealed, the collection was first conceived as the music to a ballet about love, but after spending 18 months trying to distill everything she’d written about love—and the lack of it—down to a single disc, Mitchell opted to abandon the ballet. “I wanted the music to feel like a total work—a new work,” she explains in the liner notes to the set. “No matter what I did, though, at that length, it remained merely a collection of songs.”

Rather than give up, she kept on sequencing and re-sequencing the material, eventually hitting creative paydirt. “I am a painter who writes songs,” she writes. “My songs are very visual. The words create scenes… What I have done here is to gather some of these scenes (like a documentary filmmaker) and by juxtaposition, edit them into a whole new work.”

And what a work it is, one which isn’t just limited to the music: in addition to the 53 songs, which Mitchell has organized into different thematic acts, the package also includes a book which features 54 lyrical poems, six new paintings, and an autobiographical text which allows listeners to peer into her recording process.

Putting Love Has Many Faces together felt decidedly cinematic to Mitchell, which is only fair when one considers the epic life she’s lived. “I had forty years of footage to review,” she writes. “Then, suddenly, scenes began to hook up. Then series began to form. Instead of it being an emotional roller coaster ride as it was before—crammed into one disc—themes began to develop. Moods sustained. I was getting there…When this long editorial process (two years) finally came to rest, I had four ballets or a four-act ballet—a quartet. I also had a box set.”

And now you have one, too.

Here’s the track listing, so you can see the diversity of the selections and the unique manner in which they’re ordered, but rest assured that you won’t be able to experience the full effect of Love Has Many Faces without listening to it yourself from start to finish.

Rhino.com



Joni Mitchell penned countless love songs in a Rock and Roll Hall of Fame career that has spanned nearly 50 years, but the Canadian singer/songwriter faced a daunting task when she challenged herself to condense her 17 albums into a single disc of her best songs about love and heartbreak. After spending 18 months on the project, Mitchell ended up with Love Has Many Faces: A Quartet, a Ballet, Waiting to Be Danced, a career-spanning four-disc collection focusing on Mitchell's most romantic works. The handpicked box set arrives November 17th via Rhino.

"I wanted the music to feel like a total work, a new work. No matter what I did, though, at that length, it remained merely a collection of songs," Mitchell said in a statement. "I am a painter who writes songs. My songs are very visual. The words create scenes... What I have done here is to gather some of these scenes (like a documentary filmmaker) and by juxtaposition, edit them into a whole new work.

"I had 40 years of footage to review," Mitchell continued. "Then, suddenly, scenes began to hook up. Then series began to form. Instead of it being an emotional roller coaster ride as it was before—crammed into one disc—themes began to develop. Moods sustained. I was getting there... When this long editorial process (two years) finally came to rest, I had four ballets or a four-act ballet-a quartet. I also had a box set."

Many of Mitchell's best cuts, like "River," "Hejira" and "Carey," are represented alongside later gems like "Both Sides Now" and "Not to Blame." All of Love Has Many Faces' 53 tracks have been newly remastered. The collection is Mitchell's first release since 2007's Shine.

Daniel Kreps - October 15, 2014
RollingStone.com



Joni Mitchells persönliche Auswahl von 53 remasterten Songs aus ihrer einzigartigen Karriere. Ihre ureigene Vision von Liebe auf 4 CDs!

Es sollte ursprünglich die Musik zu einer CD mit einem Ballett über die Liebe sein. Aber nachdem die innovative Songwriterin 18 Monate damit verbracht hatte, alles zusammenzubringen, was sie je über die Liebe – und deren Fehlen – geschrieben hat, ließ sie die Idee einer einzigen Disc fallen und weitete das Konzept auf eine 4-CD-Box aus. »Ich wollte, dass die Musik wie ein Gesamtwerk klingt – ein ganz neues Werk. Aber ganz egal, was ich tat, es blieb zunächst einfach eine Sammlung von Songs«, so schreibt sie in den Liner-Notes.

Aber Mitchell gab nicht auf. Sie ordnete die Songs immer wieder neu an, um sich selbst zu beweisen, dass das, was sie suchte, zu finden war. Nach zwei Jahren hatte sie ein Ballett mit vier Akten geschaffen, das auf den 53 Songs basiert, aus denen diese höchst inspirierende Sammlung besteht.

Für »Love Has Many Faces« ordnete Joni Mitchell die Musik in thematisch unterschiedlichen Akten an, die es ihren Songs erlaubten, miteinander auf eine ganz neue Art in Verbindung zu treten. Ein Prozess, der große Ähnlichkeit mit der Ausarbeitung eines Films hat, wie sie sagt. »Ich musste Footage aus vierzig Jahren sichten. Dann begannen sich plötzlich die ersten Szenen zu bilden. Dann fanden sich Abfolgen und ganze Serien zusammen. Anstatt eine emotionale Achterbahn zu sein – wie es war, als alles auf einer CD zusammenpackt war – entwickelten sich nun Themen. Stimmungen entfalteten sich. Ich erreichte mein Ziel… Als dieser lange, zwei Jahre in Anspruch nehmende Prozess des Editierens endlich zum Ende kam, hatte ich vier Ballette – oder ein Ballett mit vier Akten – ein Quartett. Und ich hatte ein Box-Set.«

Wer mit der Musik Joni Mitchells bereits lange vertraut ist, wird viel Bekanntes aber auch sehr viel Frisches finden, denn es gibt eine ganze Reihe von Sound-Veränderungen. Newcomer in der Musik von Joni Mitchell haben ein aufregendes Abenteuer vor sich – eine Reise durch höchst originelle, harmonisch innovative Musik mit ungewöhnlicher Rhythmik. Einige der größten Musiker der Welt kommen auf Love Has Many Faces zusammen, die alle miteinander diese Betrachtung der vielen Gesichter der Liebe unterstützen.

»Love Has Many Faces« erscheint am 21. November. Es ist eine Kollektion, die von einer wirklichen Künstlerin zusammengestellt wurde. Sie selbst designte das Artwork. Zur Box gehört ein Buch mit 53 lyrischen Gedichten, sechs neuen Gemälden und einem autobiografischen Text, der den Aufnahmeprozess beschreibt. Er ist spaßig, mystisch und nicht zuletzt sehr informativ.

JPC.de



»Ein wahrer Musiktraum, klanglich exzellent und im Booklet ausführlich kommentiert.«

Audio, Februar 2015



»... die Kanadierin wählte, nach anfänglicher Folkzeit, für die Umsetzung ihrer sensiblen Kompositionen bevorzugt einfühlsam agierende Jazzmusiker. (...) Essenziell!«

Jazzthing, Februar / März 2015



»... ist ›Love Has Many Faces‹ ein wunderschöner Querschnitt durch das Oeuvre der ungekrönten Singer / Songwriter-Königin, kredenzt in makellosem Klang: Mastering-Guru Bernie Grundman gab einigen Titeln noch den letzten technischen Schliff.«

stereoplay, März 2015



Joni Mitchell hat zu Ehren ihrer inzwischen 40 Jahre währenden Karriere im Musikgeschäft ein Box-Set angekündigt, das auf 4 CDs noch einmal alle Höhepunkte ihres Musikerinnenlebens zusammenfassen soll. "Love Has Many Faces: A Quartet, A Ballet, Waiting To Be Danced" umfasst 53 (restaurierte) Songs der Songwriter-Ikone und wurde von Mitchell persönlich kuratiert.

Erscheinen wird das Set am 14. November via Rhino Records. Laut Plattenfirma sollen Mitchells frühe Songs “familiar but fresh" klingen. Dazu erklärt die Sängerin, die mit ihrem Album "Blue" in den vielen Listen der besten Alben aller Zeiten immer sehr weit vorne platziert ist (zum Beispiel hier), dass sie sich selbst als Universalkünstlerin versteht: "Ich bin eine Malerin, die Songs schreibt. Meine Lieder sind immer sehr visuell. Wörter erschaffen Szenen…Ich habe nun einfach (wie ein Dokumentarfilmer) einige dieser Szenen genommen und sie durch Gegenüberstellung zu einem völlig neuen Werk zusammengeschnitten."

Mitchell ging dabei soweit, die 53 in mehrere thematische Zusammenhänge wie z.B. "Ballette" zu stellen. Für die 70-Jährige ein Prozess, der einer Filmmontage glich: "Ich habe Film- und Fotomaterial aus den letzten 40 Jahren gesichtet. Dann begannen sich plötzlich einige Szenen durchzusetzen. Die Reihenfolge nahm so Gestalt an. Themen begannen sich zu entwickeln, Stimmungen wurden deutlicher. Als diese (zweijährige) editorische Arbeit vollendet war, hatte ich vier Ballette oder ein Ballett in vier Akten - also ein Quartett. Und ich hatte ein Box-Set zusammen."

Das Package enthält auch ein Hardcover-Buch mit 53 unterstützenden Poemen, sechs neuen Malereien und von Mitchell verfasste Liner-Notes.

RollingStone.de
 

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