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Joni Mitchell – Love Has Many Faces A Quartet, a Ballet, Waiting to Be Danced (2014) MP3@320kbps Beolab1700  Joni Mitchell – Love Has Many Faces A Quartet, a Ballet, Waiting to Be Danced Artist...............: Joni Mitchell Album................: Love Has Many Faces: A Quartet, a Ballet, Waiting to Be Danced Genre................: Singer/Songwriter Source...............: CD Year.................: 2014 Ripper...............: EAC (Secure mode) / LAME 3.92 & Asus CD-S520 Codec................: LAME 3.99 Version..............: MPEG 1 Layer III Quality..............: Insane, (avg. bitrate: 320kbps) Channels.............: Joint Stereo / 44100 hz Tags.................: ID3 v1.1, ID3 v2.3 Information..........: Posted by............: Beolab1700 on 06/12/2014 Tracklisting CD 1 In France They Kiss On Main Street Rayâ™s Dadâ™s Cadillac You Turn Me On Iâ™m a Radio Harlem in Havana Car On a Hill Dancinâ™ Clown River Chinese Cafe/Unchained Melody Harryâ™s House/Centerpiece Shades of Scarlett Conquering Number One The Windfall (Everything for Nothing) Come in from the Cold CD 2 Court and Spark No Apologies Trouble Child Not to Blame Nothing Can Be Done Comes Love Moon at the Window Blue Tax Free The Wolf That Lives in Lindsey Hana Hejira Stay in Touch Night Ride Home CD 3 Youâ™re My Thrill The Crazy Cries of Love Love Puts On a New Face Borderline A Strange Boy You Dream Flat Tires Love All I Want Be Cool Yvette In English Just Like This Train Carey The Only Joy In Town CD 4 Don Juanâ™s Reckless Daughter Two Grey Rooms God Must Be a Boogie Man Down To You A Case of You The Last Time I Saw Richard Raised on Robbery Sweet Sucker Dance Lakota Cool Water Amelia Both Sides Now My Best To You NOTE: Joni Mitchell re-recorded “Both Sides Now” and “A Case of You” for her 2000 album of the same name and a number of her other songs on 2002â™s Travelogue. The information below pertains only to the original versions of the songs, as we do not yet have confirmation as to which versions she has included on the forthcoming box set. CD 1, Tracks 1, 9-10 from The Hissing of Summer Lawns, Asylum, 1975 CD 1, Tracks 2, 12-13, CD 2, Tracks 5, 14 & CD 3, Track 13 from Night Ride Home, Geffen, 1991 CD 1, Track 3 from For the Roses, Asylum, 1972 CD 1, Track 4, CD 2, Tracks 2, 13, CD 3, Tracks 2-3 & CD 4, Track 13 from Taming the Tiger, Reprise, 1998 CD 1, Track 5, CD 2, Tracks 1, 3, CD 3, Track 11 & CD 4, Tracks 4, 7 from Court and Spark, Asylum, 1974 CD 1, Tracks 6, 11 & CD 4, Tracks 9-10 from Chalk Mark in a Rain Storm, Geffen, 1988 CD 1, Track 7, CD 2, Track 8, CD 3, Tracks 8, 12, & CD 4, Tracks 5-6 from Blue, Reprise, 1971 CD 1, Track 8 from Travelogue, Nonesuch, 2002 CD 1, Track 9 from The Hissing of Summer Lawns, Asylum, 1975 CD 2, Track 4, CD 3, Tracks 4, 10 from Turbulent Indigo, Reprise, 1994 CD 2, Track 6, CD 3, Track 1 from Both Sides Now, Reprise, 2000 CD 2, Track 7, CD 3, Tracks 6-7, 9 & CD 4, Track 2 from Wild Things Run Fast, Geffen, 1982 CD 2, Track 9 from Dog Eat Dog, Geffen, 1985 CD 2, Track 10, CD 4, Tracks 3 & 8 from Mingus, Asylum, 1979 CD 2, Track 11 from Shine, Hear Music, 2007 CD 2, Track 12, CD 3, Track 5 & CD 4, Track 11 from Hejira, Asylum, 1976 CD 4, Track 1 from Don Juanâ™s Reckless Daughter, Asylum, 1977 CD 4, Track 12 from Clouds, Reprise, 1969 In the â™60s and â™70s, Joni Mitchell was widely seen as the archetypal female singer/songwriter, the original Lady from the Canyon who sang passionate but laid-back songs full of organic wisdom about love and life. Of course, that image was never an accurate portrait of the sort of artist Mitchell was — emotionally she was never hesitant to cut deep, even on languid acoustic numbers, and her skills as a lyricist, vocalist, and guitarist were estimable. One might imagine that the ambitious, marvelously crafted jazz-pop of 1974â™s Court and Spark was an effort by Mitchell to prove she was more than just a moody girl with a guitar, and much of her subsequent music of the â™70s and â™80s was not just an expression of her eclectic muse, but an ongoing project to show off the range and intelligence of her musical impulses. Mitchell has long been overdue for a career-spanning box set, and sheâ™s finally delivered one with Love Has Many Faces: A Quartet, a Ballet, Waiting to Be Danced, a four-disc 53-song collection compiled, annotated, and designed by Mitchell with the stated intent of dealing with love and human interaction in its many forms. At the same time, Love Has Many Faces is a writ-large summary of Mitchellâ™s recorded legacy that finds her offering an idiosyncratic view of her career. A number of Mitchellâ™s most popular songs from her early days, including “Big Yellow Taxi,” “The Circle Game,” “Chelsea Morning,” “Cactus Tree,” and “Woodstock,” are missing from the program, with Mitchell putting a greater emphasis on material from largely overlooked albums like Wild Things Run Fast, Chalk Mark in a Rain Storm, and Night Ride Home. (The fact Mitchell wants us to recall “Dancinâ™ Clown,” an embarrassing duet with Billy Idol, is little short of astonishing.) Mitchell also presents several major selections in the orchestral re-recordings she created for the album Travelogue, and as she did on themed compilations such as Dreamland and Songs of a Prairie Girl, Mitchell has remixed a few of the tracks on this set. As a consequence, while most box sets are intended to summarize the career of an artist, Love Has Many Faces instead presents Joniâ™s own preferred perspective on her music, where the jazzier and more stylistically ambitious creations take center stage and Joni the Folkie barely exists. Some fans might find this setâ™s point of view to be a bit curious, especially since it favors less popular (and often less acclaimed) material over Mitchellâ™s more celebrated compositions, but in this context, many of these songs play significantly better than they did on her uneven projects of the â™80s and â™90s, and the lyrical strength and bold musical vision that inform this music are genuinely remarkable on nearly every tune. For many fans, Love Has Many Faces may not be the Joni Mitchell box set they want, but as a summation of her own musical world-view, itâ™s a powerful and revealing accomplishment. 
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