TopTenREVIEWS presents the music career and reviews of Joni Mitchell
Joni Mitchell
CAREER SPAN:
Decade
Album Score
# Albums
Ratings and rankings are based on all available critic reviews for each album.
Overall Band Score:
2.9135
Joni Mitchell Album Rankings
1
Before there was Alanis, Fiona, Tori, or any handful of female singer-songwriters with a predilection for painfully confessional lyrics, there was Canadian-born folk-pop chanteuse Joni Mitchell.
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2
The synthesizers are so warm. I've never heard such warm synthesizers outside a Hammond organ.
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3
When Rolling Stone came out with its second or third incarnation of the “Best Albums of All Time,” much fuss was raised when the highest position for a female solo artist was 30.
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4
OnFor the Roses, Joni Mitchell began to explore jazz and other influences in earnest.
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5
Let me speak," sings Joni Mitchell on "The Sire of Sorrow (Job's Sad Song)," "let me spit out my bitterness." Few songwriters could write, let alone convincingly convey, such blunt, honest language.
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6
This one is definitely more accessible, yet by no means worse.
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7
Clark Collis Clark Collis is a senior writer for EW Joni Mitchell's first album of (mostly) new material in nine years is reminiscent of a chapter from the singer-songwriter's past — not her famo
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8
Joni Mitchell evolved from the smooth jazz-pop ofCourt and Sparkto the radicalHissing of Summer Lawns, an adventurous work that remains among her most difficult records.
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9
Down at the Chinese Cafe, we'd be dreaming on our dimes/We'd be playing 'Oh my love, my darling' one more time," sings Joni Mitchell of the old times.
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10
Imagine if the Doors, The Byrds or Love had, long after their late '60s heyday, reconvened to record a quartet of brilliant albums, the first a double LP of classic, even epic, proportions issued just
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11
Joni started getting some commercial success here, primarily, I think, because the public tastes started drifting towards that whole singer-songwriter, soft-rock, country-schlock, James Taylor-meets-t
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12
Joni Mitchell'sHejirais the last in an astonishingly long run of top-notch studio albums dating back to her debut.
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13
In the months prior to the passing of legendary jazz bassistCharles Mingus, Joni Mitchell had been personally summoned by the bop pioneer to collaborate on a musical version ofT.S.
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14
Wilson Phillips's brutally catchy 1990 debut spawned widespread scoffing that the girls weren't much credit to their genes (the group consists of Michelle and John Phillips's daughtér Chynna and
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15
Ex-husbandLarry Klein, who serves as co-producer and musical director, explains in his liner notes that Joni Mitchell intended to tell the story of a "modern" romantic relationship in the songs, most
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16
The eighties weren't kind to Joni Mitchell, and the quintessential introspective singer-songwriter of the Sixties and Seventies disliked them right back.
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17
This is a reissue of social-commentary songs from five albums Joni Mitchell recorded between 1985 and 1998, when she was making music of luxurious, iconoclastic complexity.
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18
I have watched the Joni Mitchell specials on PBS where, in interviews, she is proven to be rather strange and off-putting.
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19
Miles of Aislesis a four-sided live album with a greatest-hits feel to it that collects 18 numbers from Mitchell's successful concert tour of last winter.
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20
Mitchell's quest for musical adventurousness continued full bore here, with both fascinating sound collages and superb contributions by Thomas Dolby making the major impact.
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22
Twelve years ago, when Joni Mitchell was taking a drubbing for Don Juan's Reckless Daughter and Mingus, two wildly peculiar albums that were commonly regarded as the rash, overambitious work of an in
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24
Dreamland is the second volume in Joni Mitchell's self-compiled series of "theme" retrospectives. The first, issued on the Geffen label, was entitled The Beginning of Survival.
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30
Her first solo album contains "Michael From The Mountains," a song already familiar to fans of Judy Collins , who'd already covered it. Production by David Crosby .
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32
In retrospect,Blueturns out to have been the album that displayed Joni Mitchell at her most buoyant and comfortable—with herself, with the nature of her talents, and with the conventions of pop s
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