Criticizing critics? I don't know if the remarks decrying those who think they know what Joni "should have done" were directed at me. I did not say I knew what Joni should have done, only what could have been had she taken a different direction. That's my take. Hopefully this album realized the vision SHE had, which the main thing. My truck with this album doesn't so much concern what Joni did on it. I just think it was mostly ruined by the heavy hand of Mr Mendoza. Like the garish gold frames Joni chooses for her humble artwork, his contribution is not my cup of tea, yet it is a major part of the sound. It's almost like Joni is a side(wo)man on a Vince Mendoza album.
I gave him my warm body I gave him power over me (Strange Boy) Some people have had the same complaint about Klein and Dolby's production on DED. That said, I do think there are some fine spots on the album. Dawntreader soars despite the weight of the arrangement. There are probably 5 or 6 songs I like quite a bit. And the recording itself, and the technical aspects of the mix are uniformly excellent. I just wonder what it would have sounded like with a different collaborator, maybe Phillip Glass or ??? [EMAIL PROTECTED] wrote: > And where is Herbie Hancock? He's mentioned in every review, the only place > he's missing is on the CD! > He is evident on the end of side 1- it is either Trouble Child or God Must Be a Boogie Man where you hear him. The credits, unlike her previous albums, are not track specific. Kate Bennett wrote: > Randy wrote >>FTR, stripped of it's rhythm, sounds like stillborn bachelor > pad music.<< > > that is so interesting to hear your reactions randy...i'm such a rhythm > freak but i didn't miss it here one bit...i have to listen to this cut again > but i recall listening last night in the dark that i felt i was being > transported up to BC- it was deep winter & i was looking out across the > water under a full moon...it had a haunting quality of her looking back in > time while standing in the same physical location where she wrote the > song.... That is such a nice description. Western classical music, before it began to be influenced by the music of Africa, had rhythm, but it did not have a beat. It is curious that Joni, who has been so heavily into the percussive- ness of African and South American music would put out something so "white", for lack of a better word. >>the hugely ponderous treatment of "Woodstock", at heart a musically simple song with earthy hippie-era lyrics.<< (Kate again) i was blown away (in a good way) by her treatment of woodstock...yes, it was once a simple song for a simpler time (or so it seems now) & was an anthem for a generation (i was at woodstock myself)... but her new arrangement makes a huge statement about what has happened to us all since those simple glory days...imo of course... I meant that it is a harmonically simple song, mainly two related minor cholds, a simple melody, and direct lyrics, like someone you met is talking to you. The grandioseness of the new version just doesn't, IMO, fit the song. Little Bird wrote: Taking criticism is par for the course for any artist. Besides, Joni is one of the most opinionated people around so I'm sure she can take it as easily as she can dish it out, although would probably rush to defend her art, LOUDLY, if given the chance to confront her critics. (Me) I agree with you that throwing your art out there to the public is exposing it to criticism. However, I think Joni does not take criticism well. She becomes strongly defensive, and seems to feel her work should not be questioned. If I thought for a second that Joni would read my comments, I would keep them to myself. Regarding criticism, Paul Kantner said that if you believe the good reviews, then you have to believe the bad ones, too, meaning, I think, that you should ignore them both and follow your (he)art. RR
