Review by Publisher's Weekly Review
The creative process is a central theme in this new book of conversations with singer/songwriter Joni Mitchell. The interviews between Mitchell and Canadian broadcaster, singer and musician Marom span from 1973 to 2012 covering a wide-range of topics, from Mitchells childhood and early career to her views on poverty and on relationships, but they always circle back to Mitchells music. Reproduced as transcripts, the conversations are interspersed with excerpts from interviews with Mitchells contemporaries. After Mitchell recounts how Elliot Roberts became her manager, Robertss account of the first time he saw her perform follows. Helpfully, whenever they refer to a specific song, its lyrics are reproduced in full. In some cases, they are included simply because they form a complementary juxtaposition to the subjects being discussed. The interviews are presented in full without any breaks that might interrupt the flow of an organic conversation, which does make it difficult for the reader to find a convenient place to pause or to go back and reread certain sections. The book, which includes photographs and reproductions of Mitchells paintings, makes for a compelling narrative of the creative life and is recommended for both Mitchell fans and for music lovers. (Sept.) (c) Copyright PWxyz, LLC. All rights reserved.
(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review
Musician and broadcast journalist Marom presents excerpts from three interviews that she held with groundbreaking artist Joni Mitchell. First in 1973, then later in the 1970s, and finally in 2012, Marom and Mitchell discuss not only Mitchell's life but also the changing tastes and understanding of society, fans, and fellow artists, as well as personal loss, obscurity, poverty, accolades, aging, and affluence. The audiobook is sprinkled with recitations of some of Mitchell's lyrics. Though poignantly placed within appropriate conversations, these words are never identified before the narrator begins to deliver them. In monograph form they are probably well positioned and easily recognizable. In oral form, however, these recitations suffer from the lack of music, beat, and timing. Narrator Carrington MacDuffie gives a flat performance, providing little differentiation between the two speakers. Her reading of Mitchell's lyrics is equally uninspired. Verdict This is a supplemental audio purchase for libraries with a specific need for biography and/or music-related audiobooks. ["This valuable book not only portrays an enduring artist but also reflects several decades of changing societal and musical culture," argues the starred review of the ECW hc, LJ 10/1/14.]-Lisa Youngblood, Harker Heights P.L., TX (c) Copyright 2015. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review
Three deep-running interviews with singer-songwriter Mitchell, by singer-journalist Marom. Conducted in 1973, 1979 and 2012, these are more conversations than interviews; Mitchell picks up Marom's questions and turns them about as she fashions an answer. She is as candid here as she is sometimes cryptic in her lyrics: revelatory, nervy, emotionally and existentially raw. She doesn't belabor her romantic relationships (as Rolling Stone was fond of doing) but fills in blanks about her younger days, alone and pregnant and destitute in Toronto, strumming her way to the big stage via a ukulele and weeks of practice. Mitchell is happier, it seems, talking about Nietzsche, Jung and the I Ching or summoning what it is like to be uniquely alive on stage: "One of the things I have had to battle is an almost euphoric feeling.You're up there alone and receiving all this mass adoration, and you're liking it." She bluntly shatters her fantasy-princess stereotype and speaks, without ornament, about a variety of issues. She blazes contempt for the ignorance of our species, speaks up for the role of depression in her art, and considers the discomfiture of affluence and the meaning of work. About her career arc? Q: "What was actually the turning point?" A: "Turning point? I don't see it as a turning point. I see it as a long, very slow gradual spectrum." In a later interview, she rejects the onstage sublimity she once discerned. "I was never addicted to applause....The measure for me was the art itself." But at any moment she can dive into the miracle of making music: "The great things nearly always come on the edge of an error. What comes after the error is spectacular." The gifted, adventurous musician talks as brilliantly as she writes and sings. Copyright Kirkus Reviews, used with permission.
Copyright (c) Kirkus Reviews, used with permission.
