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[Review] Joni Mitchell (1968)
This introduction to the artistry of Joni Mitchell doesn’t contain any big hits, but it’s a big step all the same.
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[Review] Joni Mitchell: Clouds (1969)
Her second album contains two of her best: “Chelsea Morning” and “Both Sides, Now.”
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Crosby, Stills, Nash & Young: “Woodstock” (1970)
Joni Mitchell crystallized a moment and CSN&Y shine their brilliant light through it.
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Joni Mitchell: “Big Yellow Taxi” (1970)
Give me spots on my apples, but leave me the birds and the bees and songs like these.
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[Review] Joni Mitchell: Blue (1971)
The record that launched a thousand dulcimer sales. Oh, and also one of the greatest works of art in the twentieth century.
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Joni Mitchell: “California” (1971)
Joni pines for California, then Canada, from Europe, on the second single culled from Blue.
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Joni Mitchell: For The Roses (1972)
A naturally brilliant but audibly deflated work that brings Joni’s jazzier sensibilities to the fore at the expense of a little joy.
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Joni Mitchell: “Raised On Robbery” (1973)
Not the worst song on Joni’s best album, but if you bought this hoping to spark your interest in Court, you were robbed.
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[Review] Graham Nash: Wild Tales (1974)
Fans didn’t go wild over this one, and it became the first Nash album not to go gold.
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[Review] Joni Mitchell: Court And Spark (1974)
This is the clouds parting, and the sun shining, and the insects trilling and the birds singing.
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Joni Mitchell: “Help Me” (1974)
Joni perfectly captures what falling in love feels like, and I’ve been head-over-heels for her ever since.
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Joni Mitchell: “Free Man In Paris” (1974)
Joni’s portrait of her former agent and rising recording industry star David Geffen, which Rolling Stone named to its Top 500 songs.
