Joni Mitchell - Turbulent Indigo
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Music CD Cover
Artist: Joni MitchellEdition: Music CD
Audio: English (Original Language)
CD Release Date: 1994-10-25
Music Label: Warner Bros / Wea
Soundtracks:
- Sunny Sunday
- Sex Kills
- How Do You Stop
- Turbulent Indigo
- Last Chance Lost
- The Magdalene Laundries
- Not to Blame
- Borderline
- Yvette in English
- The Sire of Sorrow (Job's Sad Song)
Free Music Notes for Turbulent Indigo
Free Music Review: Better than Average Mitchell, which is very good indeed!
Hit: 5 Stars
`Turbulent Indigo', written and performed by Joni Mitchell and company is at one in style of both music and cover art work with the later `Taming the Tiger'. Mitchell not only writes all the songs on both albums, but does all the paintings gracing the covers in a style which is plainly an homage to Vincent Van Gogh.
In both albums, Mitchell is also expanding her singing style, with one number having strong hints of Motown, some numbers having a bit of the Tina Turner about them, and several numbers showing what seems to be a strong influence from German Kurt Weill specialist Uta Lemper (or, Fraulein Lemper was influenced by these selections. I'm not too sure how far back Ms. Lemper's recordings may have been available in the United States. I first heard her CDs at least five years after the release of `Turbulent Indigo').
This album must almost invariably be judged on at least two different levels. The first is the more superficial and this is `How entertaining / moving / thought provoking are the performances?. In case you can't guess, these numbers from Ms. Mitchell are simply not the kind of thing you will hear from the average K. D. Laing, Tina Turner, or Barbara Streisand album. Ms. Mitchell continues in her role as the distaff Bob Dylan, the leading singer / songwriter still going strong from their start in the sixties. And, like Bob Dylan, Ms. Mitchell has probably not written a really catchy tune in some years. The other side of the coin is that with her adapting some of the song stylings of Ms. Turner and Fraulein Lemper (I believe), she has made her vocals much more interesting than they were back on the album `Blue'. Thus, you probably don't want to buy this album if you are on your way to a party, unless the party is being thrown by Lou Reed or Patty Smith.
On the other hand, there is the issue of Ms. Mitchell's songwriting, which, on this album, seems to be as strong as it has ever been. I believe it is better than on `Blue' or `Court and Spark' and even better than the later `Taming the Tiger'. On the surface, some of Ms. Mitchell's writing can seem as cryptic as Bob Dylan's early songs, but they aren't. There are no riddles or hopelessly obscure references. Her styling is that of the Bob Dylan who wrote `Percy's Song', except that the subject isn't indignation or protest, it's irony and anguish.
Based on my current experince with Ms. Mitchell's work, I consider this one of her better `later' albums. Please get it and listen to it carefully.
Turbulent Indigo Poster
The 1996 Grammy winner for best pop album, Joni Mitchell's Turbulent Indigo is the singer's most distinctive and rewarding work since Wild Things Run Fast in 1982. Coproduced by Mitchell and her longtime collaborator and former husband Larry Klein, Turbulent Indigo is perhaps the only one of her '80s and '90s discs on which she isn't unduly hampered by studio technology. Whereas her rotten taste in synthesizers lent an automatically dated sound to 1988's Chalk Mark in a Rain Storm and 1998's Taming the Tiger, here the gadgetry is unobtrusive and enhances the power of Mitchell's voice and guitar playing. It also helps that this batch of songs is particularly evocative and well written, ranging from the graceful "How Do You Stop," on which she wonders how to stop "love from slipping away," to the wonderful vignette "Yvette in English," which describes a chance encounter between Picasso and a reluctant model. Paintings and painters are obviously a major theme on the disc--the cover is Mitchell's portrait of herself in the guise of Van Gogh--but more striking is her pessimistic view of humanity. "The Magdalene Laundries" describes the fate of girls left pregnant and abandoned in convent laundry rooms, "Not to Blame" details "the miseries made of love" for all the world's battered wives, and the title of "Sex Kills" is entirely self-explanatory. "The Sire of Sorrow (Job's Sad Song)," the album's finale, is nothing less than the cries of the much-put-upon Job against a heartless God who makes "everything I dread and everything I fear come true." The plaintive beauty of the music helps sweeten the potential sourness of Mitchell's lyrics. Indeed, the contrast gives great force to Turbulent Indigo and confirms that Mitchell's intellectual prowess and willfully contrary outlook are two qualities sorely missing in the work of many of the contemporary songwriters who cite her as their godhead. --Jason AndersonFolk Music CDs
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