BLUE 50 (DEMOS & OUTTAKES), a digital EP that debuts five unreleased recordings from the making of Blue that will appear on the upcoming Archives collection. The striking cover of the BLUE 50 EP features the original Blue color treatment with a previously unseen alternate photo of Mitchell by Tim Considine from the same session as the original.

Painter-turned-folksinger Joni Mitchell had slipped stark saxophone solos into her prior album, For the Roses, and her singing had often hinted at a capacity for bluesier fare than her guitar- and piano-framed confessional ballads offered. None of those hints prepared fans for this sudden, expansive shift toward a much larger canvas--a sleeker, orchestrated pop style pulsing with jazz elements. Court & Spark found Mitchell casting aside her earth mother affectations and revealing herself as the thoroughly modern, thoroughly complicated woman she is; the songs sustained familiar preoccupations with relationships but replaced courtly settings and naturalistic imagery with recognizably modern locales. Deeply romantic, constantly questioning, classic tracks like the title song, "Help Me," "Free Man in Paris," "Same Situation," and "Raised on Robbery" display a more liberated Mitchell, ready to rumble with unbridled electric guitars (guest Robbie Robertson on "...Robbery"), even willing to poke fun at her own oh-so-sensitive rep with a hip cover of Annie Ross´s hilarious "Twisted."

羅伯塔·瓊·「瓊妮」·密契爾，是一個加拿大音樂家，作詞者，畫家。 密契爾的歌唱生涯始於故鄉，加拿大的西部小城薩斯喀徹溫省薩斯卡通市。六零年代中期，瓊妮輾轉多倫多、美國等地，在夜總會唱歌、街頭賣藝。隨後，她與1960年代中期在紐約市的民間音樂的萌芽有了聯繫。

Don Juan's Reckless Daughter is a 1977 double album by Canadian singer-songwriter Joni Mitchell. It is unusual for its experimental style, expanding even further on the jazz fusion sound of Mitchell's Hejira from the year before. Mitchell has stated that, close to completing her contract with Asylum Records, she allowed this album to be looser than anything she'd done previously.

羅伯塔·瓊·「瓊妮」·密契爾，是一個加拿大音樂家，作詞者，畫家。 密契爾的歌唱生涯始於故鄉，加拿大的西部小城薩斯喀徹溫省薩斯卡通市。六零年代中期，瓊妮輾轉多倫多、美國等地，在夜總會唱歌、街頭賣藝。隨後，她與1960年代中期在紐約市的民間音樂的萌芽有了聯繫。

羅伯塔·瓊·「瓊妮」·密契爾，是一個加拿大音樂家，作詞者，畫家。 密契爾的歌唱生涯始於故鄉，加拿大的西部小城薩斯喀徹溫省薩斯卡通市。六零年代中期，瓊妮輾轉多倫多、美國等地，在夜總會唱歌、街頭賣藝。隨後，她與1960年代中期在紐約市的民間音樂的萌芽有了聯繫。

羅伯塔·瓊·「瓊妮」·密契爾，是一個加拿大音樂家，作詞者，畫家。 密契爾的歌唱生涯始於故鄉，加拿大的西部小城薩斯喀徹溫省薩斯卡通市。六零年代中期，瓊妮輾轉多倫多、美國等地，在夜總會唱歌、街頭賣藝。隨後，她與1960年代中期在紐約市的民間音樂的萌芽有了聯繫。

"Both Sides, Now" is a single by Joni Mitchell. Her recording first appeared on the album Clouds, released in 1969. She re-recorded the song in a Jazz style for the album of the same name, released in 2000.
It is one of Joni Mitchell's best-known songs (with "Big Yellow Taxi," "Woodstock," and "A Case of You"). It was written in March 1967, inspired by a passage in Henderson the Rain King by Saul Bellow.
I was reading Saul Bellow's "Henderson the Rain King" on a plane and early in the book Henderson the Rain King is also up in a plane. He's on his way to Africa and he looks down and sees these clouds. I put down the book, looked out the window and saw clouds too, and I immediately started writing the song. I had no idea that the song would become as popular as it did.[1][2]
Judy Collins made the first commercially released recording of the song in 1968, shortly after Mitchell wrote it, which reached #8 on the U.S. pop singles charts and won a 1968 Grammy Award for Best Folk Performance. The record peaked at #3 on Billboard's Easy Listening survey, and has become one of Collins' signature songs.
Fairport Convention recorded the song as a demo in 1967. The band's recording did not become available until 2000, however, when it appeared on The Guv'nor Vol 4 by Ashley Hutchings. (A live recording featuring Judy Dyble from 1981 is included on Fairport's Moat on the Ledge album.)
Both Joni Mitchell's album Both Sides Now and a 2003 Mitchell rerecording of the song are featured in the 2003 movie Love Actually.
Rolling Stone ranked "Both Sides, Now" #170 on its list of the 500 Greatest Songs of All Time.
The song was published by Scholastic as a picture book, Both Sides Now, illustrated by Alan Baker, in 1992 (ocm24629360).

羅伯塔·瓊·「瓊妮」·密契爾，是一個加拿大音樂家，作詞者，畫家。 密契爾的歌唱生涯始於故鄉，加拿大的西部小城薩斯喀徹溫省薩斯卡通市。六零年代中期，瓊妮輾轉多倫多、美國等地，在夜總會唱歌、街頭賣藝。隨後，她與1960年代中期在紐約市的民間音樂的萌芽有了聯繫。

羅伯塔·瓊·「瓊妮」·密契爾，是一個加拿大音樂家，作詞者，畫家。 密契爾的歌唱生涯始於故鄉，加拿大的西部小城薩斯喀徹溫省薩斯卡通市。六零年代中期，瓊妮輾轉多倫多、美國等地，在夜總會唱歌、街頭賣藝。隨後，她與1960年代中期在紐約市的民間音樂的萌芽有了聯繫。

Night Ride Home is the fourteenth album by Canadian singer-songwriter Joni Mitchell, released in 1991. It was the last of four albums she recorded for Geffen Records.

羅伯塔·瓊·「瓊妮」·密契爾，是一個加拿大音樂家，作詞者，畫家。 密契爾的歌唱生涯始於故鄉，加拿大的西部小城薩斯喀徹溫省薩斯卡通市。六零年代中期，瓊妮輾轉多倫多、美國等地，在夜總會唱歌、街頭賣藝。隨後，她與1960年代中期在紐約市的民間音樂的萌芽有了聯繫。

Joni Mitchell evolved from the smooth jazz-pop of Court and Spark to the radical Hissing of Summer Lawns, an adventurous work that remains among her most difficult records. After opening with the graceful "In France They Kiss on Main Street," the album veers sharply into "The Jungle Line," an odd, Moog-driven piece backed by the rhythms of the warrior drums of Burundi -- a move into multiculturalism that beat the likes of Paul Simon, Peter Gabriel, and Sting to the punch by a decade. While not as prescient, songs like "Edith and the Kingpin" and "Harry's House -- Centerpiece" are no less complex or idiosyncratic, employing minor-key melodies and richly detailed lyrics to arrive at a strange and beautiful fusion of jazz and shimmering avant pop.

羅伯塔·瓊·「瓊妮」·密契爾，是一個加拿大音樂家，作詞者，畫家。 密契爾的歌唱生涯始於故鄉，加拿大的西部小城薩斯喀徹溫省薩斯卡通市。六零年代中期，瓊妮輾轉多倫多、美國等地，在夜總會唱歌、街頭賣藝。隨後，她與1960年代中期在紐約市的民間音樂的萌芽有了聯繫。

羅伯塔·瓊·「瓊妮」·密契爾，是一個加拿大音樂家，作詞者，畫家。 密契爾的歌唱生涯始於故鄉，加拿大的西部小城薩斯喀徹溫省薩斯卡通市。六零年代中期，瓊妮輾轉多倫多、美國等地，在夜總會唱歌、街頭賣藝。隨後，她與1960年代中期在紐約市的民間音樂的萌芽有了聯繫。

羅伯塔·瓊·「瓊妮」·密契爾，是一個加拿大音樂家，作詞者，畫家。 密契爾的歌唱生涯始於故鄉，加拿大的西部小城薩斯喀徹溫省薩斯卡通市。六零年代中期，瓊妮輾轉多倫多、美國等地，在夜總會唱歌、街頭賣藝。隨後，她與1960年代中期在紐約市的民間音樂的萌芽有了聯繫。

羅伯塔·瓊·「瓊妮」·密契爾，是一個加拿大音樂家，作詞者，畫家。 密契爾的歌唱生涯始於故鄉，加拿大的西部小城薩斯喀徹溫省薩斯卡通市。六零年代中期，瓊妮輾轉多倫多、美國等地，在夜總會唱歌、街頭賣藝。隨後，她與1960年代中期在紐約市的民間音樂的萌芽有了聯繫。

羅伯塔·瓊·「瓊妮」·密契爾，是一個加拿大音樂家，作詞者，畫家。 密契爾的歌唱生涯始於故鄉，加拿大的西部小城薩斯喀徹溫省薩斯卡通市。六零年代中期，瓊妮輾轉多倫多、美國等地，在夜總會唱歌、街頭賣藝。隨後，她與1960年代中期在紐約市的民間音樂的萌芽有了聯繫。

民謠女歌手 Joni Mitchell 於一九七一年發行的經典之作。在六○年代的社運、學運已成過往雲煙後，回歸藝術家身分的Joni Mitchell，以纖細、感性之筆，寫下Blue中連篇美麗的樂章：“My Old Man”描繪無須法律約束就能地老天荒的愛情；“Blue"和“California”則以略帶憂傷的口吻，描繪社運結束後，發現社會仍無改變的惆悵； "The Last Time I Saw Richard"深刻描繪了知識分子的犬儒與失落……清淡如詩的口吻，娓娓道來日常的生活情境，蘊含的卻是極為深刻的社會觀察與生命哲思，充分展現「女性創作歌手第一人」的實力。