Well that song’s got nothing to do with the theme of this boxed set, and that was in the last ballet, which was about an ecology war. I also produced myself, so it took me until Blue to well, I’m sure.Įven “Big Yellow Taxi,” which is arguably your biggest hit, isn’t part of this. Other people like it, and I’m sure if I went back I’d find that I’m wrong. But I began to have what I considered to be a bad influence on my music, which leaked in on the second and third albums and I just find it hard to listen to personally. My first album was just natural, I’d been singing and playing in clubs and that’s the way I sang and played.
I don’t like my singing on my second and third albums.
All the songs characterize love in its different phases, yet the boxed set doesn’t include any songs from your first three albums, most notably Ladies of the Canyon. Love Has Many Faces, A Quartet, A Ballet, Waiting to Be Danced is a four-disc, remastered retrospective spanning your entire career. Below are excerpts from the conversation. But in a wide-ranging discussion with Billboard recently, Mitchell, 71, bears no regrets about her current condition and instead still finds all sorts of new pleasures in the creative process - whether it’s painting, revisiting her music, prepping a four-act ballet or an upcoming collection of short stories - that go far beyond her beloved voice.
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Of course, there’s reasons more serious for Mitchell’s lack of travel these days - the increasingly difficult impact of Morgellons Disease, a rare skin condition she’s had for years, which makes plane travel nearly impossible for the singer and has effectively rendered her unable to sing, perform or record ever again (making Shine‘s accompanying album her last “new” release). Originally, the compilation was intended as a 75-minute, one-disc collection that would accompany a ballet to be danced in early 2014 by the Alberta Ballet - her first production since 2007’s Shine - but Mitchell pulled it at the last minute to expand the piece.
It’s a project that’s had a journey nearly as complicated as the different phases of love described in Mitchell’s songs, both beloved (“A Case of You,” “Both Sides Now,” “River,” “Blue”) and more obscure (“The Wolf That Lives in Lindsey,” “My Best to You”), all restored from 16 of her 19 studio albums (Mitchell omitted songs from her first three records because, she says, “I don’t like my singing”).
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