Like a phoenix from the flames …
Did Anne Heap of Frogs really break up, as I said last time? Or did they merely sack me? You’d think I’d be able to tell the difference between these two scenarios, but ten months after the second AHOF gig, this happened:
A flagrant festival of nostalgia today — my apologies to the 6,999,996 of you were were not members of the short-lived heavy metal band Anne Heap of Frogs in Bishop’s Stortford in the late 1980s. This post is for me, Andy, Richard and Eddie (and maybe our mums).
The ticket you see above is from the first Anne Heap of Frogs concert, played on the evening of Saturday 26 September 1987, at the URC Church Hall in Water Lane, Bishop’s Stortford. Astonishing to think that was 28 years ago.
The excellent JoniMitchell.com website allows members to score Mitchell’s albums and songs. There is a page listing all songs by rating, but no analogous page that I can find with the album ranks. Being curious to see what the members’ wisdom-of-crowds had to say, I scraped the current scores off the 19 pages for her 19 studio albums, with the following results:
[See also previous and subsequent posts in this series.]
I’m trying to move quickly to catch up with myself — I’m still a few months behind — so apologies if these books are not given as much coverage as they deserve.
Joni Mitchell: In Her Own Words — Malka Marom
A truly fascinating set of three (very long) interviews, conducted many years apart, with the most endlessly fascinating singer-songwriter of them all. (If you don’t accept my assessment, ask David Crosby.) Malka Marom was a folk singer herself, so has a good angle on the issues that Joni is dealing with — personal, musical and poetic. They’re some of the most revealing interviews I’ve ever read, not in terms of salacious details but of slowly and effectively opening up essence of a person, revealing what makes her tick.
And I’d have to say that Joni doesn’t come out of it all that well, in the end. It’s apparent in all three interviews that she’s quite a self-focussed person, and that tendency becomes stronger and darker across the three interviews. Towards the end we read
I’m reliving old injuries. I’m reliving them and I’m telling the person off that I didn’t tell off. I’m trying to expel anger. And it hangs in the air and I go, ‘What that very satisfactory, when you said that to them? No.’ And then I kind of do it again.
For such a free spirit, she seems to find it hard to let go of old hurts and resentments. It’s a shame; but, no doubt, a part of what made her such an absolutely superb artist. And she really does stand alone.
Marom’s book is well worth reading for anyone who loves Joni’s work. Continue reading
I’ve been spending a lot of time in the music of Joni Mitchell recently, and I wanted to share an observation. It’s not news that her music is all about subverting expectations — see for example the ubiquitous use of the unresolved suspensions that she terms “chords of inquiry”. Here I want to draw attention to a few places where she makes consecutive parts of her lyrics contradict, or at least reinterpret, each other.
Just in case anyone’s brave enough to want to hear our set from Saturday night, I’ve been sent some rather good recordings by David Stephens, who ran the PA. If anything, the recording quality is rather too good, as it’s very unforgiving of my decidedly wobbly pitching. Fiona sounds superb, though.
Here’s our version of Chloe and Silas‘s gorgeous Tax Office Love Song:
Last night, Fiona and I played at the Mitcheldean Folk Festival’s pre-festival evening concert — a twenty-five minute set of eight songs. It went really well.