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Artist: Joni Mitchell
Album: Shine
Label: HearMusic
Joni Mitchell has evolved into the artistic equivalent of
Campari: extremely bitter yet full of complex and subtle flavors. She has
often tackled difficult subject matter with thought and texture, while she
gracefully whisked her cigarette laden voice on top of jazz-inspired
rhythms and a guitar strumming style that could only be described as hers.
Although at times the acrid nature of her song writing has gotten the best
of her.
Her reign as leader of the confessional singer-songwriters
from the late 60s through the early 80s evolved into the queen of
complaint. Her last five studio recordings were peppered with a fervent
opposition to senseless cruelty, abusive politicians, spouse abuse,
vanity, sycophants and environmental polluters. Shine is an ebullient
ecological testament to Mitchell’s love and concern for what now matters
most to her.
The sonic dynamics are much more brilliant here than on
Taming The Tiger, but the composition style is similar. Thankfully, the
VG8 computer guitar hoo-ha which was ubiquitous on Tiger is notably
quieter on Shine. Here, many of the accompanying instruments are all
created via keyboards. The artificial tinny sound has a MIDI quality. Yet,
Greg Leisz’s steel pedal guitar masks these petit imperfections while
adding an arching soulful veil of embellishing sound.
Mitchell uses the piano here more so than since the
seventies. Her defiant block chord Nyro-esque arrangements and expressive
dynamics serve the lyrics and melodies well. The instrumental “One Week
Last Summer” opens the record and reveals an arrangement that would be
welcome on Court and Spark. Her sense of layering instruments (even if
they are mostly computerized) is a unique blend of colors from jazz,
orchestral and pop milieus. “This Place” is all acoustic guitar,
weeping steel pedal, horns (sic), and agile keyboard creating an
effervescent picture of Mitchell’s British Columbia home. She compares a
troublesome bear roughing up the neighborhood to big industry: “He’s
getting so bold but no one wants to shoot him/He’s got a right to roam
this land.”
“If I Had a Heart” and “Strong and Wrong” are full of
short lyrical exclamatory phrases that create a disjointed landscape,
enshrouded by the misery man has created for himself. Both are mellow
piano-based pieces which question wrong-doings and point the finger.
“Hana” is the ray of hope, the testament to the giver of good deeds.
Its up tempo electric-cum-acoustic Latin rhythm proves to be Joni’s most
enticing musical left turn in years.
“Night of the Iguana” employs a Tennessee Williams-inspired theme and is full of gusto,
polyrhythmic delight and a blistering guitar (though somewhat perfectly
buried in the mix). The title track and the Rudyard Kipling closer
“If” offer the listener a beacon of hope. “Shine” has gentle
shades of Brian Eno with lithe acoustic accompaniment by James Taylor and
Brian Blades. The dew-like drops of electronic sound offer a fragility
where Mitchell evokes strong pathos. “If” pulls the listener out of
the dirt and tells them that “You’ve got the fight/You’ve got the
insight.”
Shine shouldn’t be compared to her work of yesteryear. It
has a heart and soul and identity all of its own. Its lyrics are simple,
cut, and dry, but still full of blood, guts, and passion. The music is
soothing, rousing, complex and simple. This time, Mitchell succeeds in
balancing out the bitterness with some sweetness and hope. If Taming the
Tiger was Joni’s passive farewell, Shine is her passionate and
invigorated return.
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