Typically for original artists, the first album is by far the best - harp and voice with the occasional keyboard is all that is needed. Her collaborators have tainted her style and song-writing. Just leave well alone.
You are too harsh on Joanna. I do know what you mean - look at Regina Spektor, whose individuality (though not her talent) was, in my opinion, somewhat diluted in her later releases. But in Joanna's case, I believe that widening her group of accompanying musicians has actually enabled her to expand the reach of her genius. Yes - she uses other people, but she retains complete mastery over what they do, how they do it, and even how its recorded. In my opinion, Ys is her masterpiece. And don't forget that one of its tracks, out of only five on the album, was recorded completely unaccompanied. Another, Cosmia, was later issued with a pared back band, and I like both versions equally - each has its unique attributes. However, the two albums she has made since then are also amazing records. It's telling that the songs without accompaniment on Have One On Me, such as Autumn, Occident, and Jackrabbits, were the least "immediate" for me, but over time have rewarded repeated listens. On the other hand, the tracks like In California, Go Long, Anecdotes, and the title tracks of both HOoM and Divers, would not work as well or be as powerful / beautiful as they are without the addition of further instruments. And she remains perfectly capable of recording masterpieces with much simpler accompaniment, such as Soft As Chalk or Time, As A Symptom. I have harboured a little apprehension, prior to each new release, that she might dilute or even 'sell out' her vision. But each time, those fears have proved groundless. Whenever she chooses to release a new album, I am sure she will embody and reflect the changes in her life since Divers, but nothing she's done so far indicates that she will lose her integrity ... or her genius.
If you honestly can't see the beauty in Ys, Have One on Me, or Divers, then I don't understand how you can like any Joanna. This isn't a dig, I'm just ... the Divers song cycle and the Ys song cycle are earth-shattering. I love the early stuff, too. Just wow.
@@zachhocking9053 Thank you for your kind comment. I have listened to the recordings from the surprise show numerous times, especially those of the five new songs, and they are outstanding. I also enjoyed the performances of her two older songs that I have found. The "Go Long" was wonderful (I respect her choice to subtly change the lyric), and "Sawdust & Diamonds" seemed to be heading the same way, before the only recording I have found of it cuts out. I haven't warmed to the joint performance of the Fleet Foxes song - but in fairness I have not given it too many chances! However, the five new songs are of a very high standard - and I often do not warm to live versions of her songs until I at least know the studio renditions, because the audience recordings can obscure many of the nuanced and subtle details that make Joanna's work so unique. Here, though, even with some of the lyrics muffled by sneezes, glassware, mysterious rustlings, and badly timed whoops from the crowd, and the odd lapse from the star herself, all five of these songs really shine, and leave me hoping that she doesn't make too many changes when we eventually get a long-awaited new album. "Bombs are Whistling" and "Little Hand" are perhaps the least "hummable", but they certainly reward repeated listens, "No Wonder" (the only harp-led piece) is gorgeous and has an incredible world-weariness. "Marie at the Mill" combines the epic biographical story-telling of the track "Have One on Me" with the playfulness heard in parts of The Milk-Eyed Mender, whilst "The Air Again" is shaping up to be one of her very best! And I've interrupted typing this to see the just-announced news of her dates in Los Angeles this May - so hopefully London and other UK cities will soon follow...
These stripped versions are always so perfect
Glad I could find this version, thank you. No idea why I prefer this to the studio recording. Probably nostalgia
i like how eager she is here
I've been looking for this rendition for years! Thank You!
Thanks Alex!!!
beautiful
Thank you for posting this!
Typically for original artists, the first album is by far the best - harp and voice with the occasional keyboard is all that is needed. Her collaborators have tainted her style and song-writing. Just leave well alone.
You are too harsh on Joanna.
I do know what you mean - look at Regina Spektor, whose individuality (though not her talent) was, in my opinion, somewhat diluted in her later releases.
But in Joanna's case, I believe that widening her group of accompanying musicians has actually enabled her to expand the reach of her genius. Yes - she uses other people, but she retains complete mastery over what they do, how they do it, and even how its recorded.
In my opinion, Ys is her masterpiece. And don't forget that one of its tracks, out of only five on the album, was recorded completely unaccompanied. Another, Cosmia, was later issued with a pared back band, and I like both versions equally - each has its unique attributes.
However, the two albums she has made since then are also amazing records. It's telling that the songs without accompaniment on Have One On Me, such as Autumn, Occident, and Jackrabbits, were the least "immediate" for me, but over time have rewarded repeated listens. On the other hand, the tracks like In California, Go Long, Anecdotes, and the title tracks of both HOoM and Divers, would not work as well or be as powerful / beautiful as they are without the addition of further instruments. And she remains perfectly capable of recording masterpieces with much simpler accompaniment, such as Soft As Chalk or Time, As A Symptom.
I have harboured a little apprehension, prior to each new release, that she might dilute or even 'sell out' her vision. But each time, those fears have proved groundless. Whenever she chooses to release a new album, I am sure she will embody and reflect the changes in her life since Divers, but nothing she's done so far indicates that she will lose her integrity ... or her genius.
If you honestly can't see the beauty in Ys, Have One on Me, or Divers, then I don't understand how you can like any Joanna. This isn't a dig, I'm just ... the Divers song cycle and the Ys song cycle are earth-shattering. I love the early stuff, too. Just wow.
@@fremsleysballoonwell argued! What did you think of last year's surprise show that opened with a solo "go long"?
@@zachhocking9053 Thank you for your kind comment.
I have listened to the recordings from the surprise show numerous times, especially those of the five new songs, and they are outstanding. I also enjoyed the performances of her two older songs that I have found. The "Go Long" was wonderful (I respect her choice to subtly change the lyric), and "Sawdust & Diamonds" seemed to be heading the same way, before the only recording I have found of it cuts out. I haven't warmed to the joint performance of the Fleet Foxes song - but in fairness I have not given it too many chances!
However, the five new songs are of a very high standard - and I often do not warm to live versions of her songs until I at least know the studio renditions, because the audience recordings can obscure many of the nuanced and subtle details that make Joanna's work so unique. Here, though, even with some of the lyrics muffled by sneezes, glassware, mysterious rustlings, and badly timed whoops from the crowd, and the odd lapse from the star herself, all five of these songs really shine, and leave me hoping that she doesn't make too many changes when we eventually get a long-awaited new album.
"Bombs are Whistling" and "Little Hand" are perhaps the least "hummable", but they certainly reward repeated listens, "No Wonder" (the only harp-led piece) is gorgeous and has an incredible world-weariness. "Marie at the Mill" combines the epic biographical story-telling of the track "Have One on Me" with the playfulness heard in parts of The Milk-Eyed Mender, whilst "The Air Again" is shaping up to be one of her very best!
And I've interrupted typing this to see the just-announced news of her dates in Los Angeles this May - so hopefully London and other UK cities will soon follow...