My hunches have always told me that behind the scenes these pairings were not Joni's idea. If it WAS a natural evolution, like she says, why does she basically abandon the approach on her current records?
Harlem in Havana could potentially have lots of vocal throw-ins, but it doesn't. Same with "Love Puts On A New Face"...lots of male parts in that one, but sung by Joni. Same with "Facelift" & "No Apologies". And guess what? The songs are better because of it... Interesting position, Bob. Not often I don't agree with your position because, god knows, you are so damned right most of the time. It's frightening really. -Thanks for your take on her albums the last few mails. I really enjoyed your insite. I think Joni's use of 'other' voices did arise out of her own convictions. For instance, her interest in using Jimmy Swaggert on DED. As much as I enjoy Rod Steiger in film and on this disk, using Jimmy Swaggert would have put DED into an entirely different realm as a protest record. It would run the risk of 'dating' the material, -and certainly the risk of legal action, that said, Swaggert would have put teeth into the disk more solid than the soft metaphor of using Rod. --I have to say I loved reading that quote attributed to a miffed Steiger when Joan continually put in her 2 cents on his performance: "Larry, would you please get that woman out of here!" -Or something to that effect. I can sooo see that happening. Of course, it's the techno toys of Larry that help put her into this mode. Again, all that is mentioned in the Bio, like her benefit performance that leads to the Indian track on Lacota, seem to be at Joni's urging. There were 2 other DED mentions in the Bio that struck me as interesting: One, The mention that Thomas Dolby came into the project constructing and layering HIS production of the songs....and that none of his constructions were used. (Who says Joni was led about on this project?) And the other quote attributed to Larry Klein about what he liked most about Joni in recording: basically, that she always worked from what's best to convey each song. There was no formula or rote to the process. She would try something and if it didn't work, --on to something else. Anything and everything, but EVERYTHING to the service of conveying the power of a song. -I thought that was a marvelous insite into what makes Joni so vital to all of us; why her music unfolds in surprising ways; and why she's probably such an exhilarating bitch to work with. :-) On a side notes: I found it interesting that Lokota and Snakes and Ladders began as musical compositions Larry Klein wrote for someone else that Joni 'appropriated' because she like the music. I've often wondered how Joni went from 'open' guitar to 'open' piano. Part of it's easy, the hand takes on a particular spacing when playing a standard chord based on thirds. To 'open' the chords, all one would do is find different shapes. I would imagine Joni has particular hand shapes that she likes to use at the piano. -Is that possible? A few shapes would become 'home' and anchor her movement across the keyboard. -I would imagine that's how Woodstock went from piano to guitar. Yes? Since she probably didn't transcribe it, what she did was take the root chord shape of Woodstock and set her guitar to that open chord and went for the rest from there. Is my sleuthing correct on this??? As for Dancing Clown: Quit being such a logical ol' fuddy duddy, Bobbo. You have to put your mind back into a carefree (?) sixteen mode. -Happiness is the dance floor. Put on this disk. Search the closet for the old floods and grease the hair back. I'm positive this will open that song up for you. (Does the missus still have bobby socks?) --Before I go, thanks to everyone for such a fun read with 2002 Vol. 4. Delightful joni jabber and not an ounce of rancor. You guys rock.
