Time changes everything. Joni Mitchell knew this in 1967 when she wrote a song about clouds and illusions at the tender age of 23. But she didn't really know it—not yet. It wasn't until the release of the joni mitchell both sides now album in February 2000 that the full weight of those lyrics finally landed.
Released at the dawn of a new millennium, this record wasn't just another collection of songs. It was a radical, smoky, orchestral reimagining of the "romantic journey." Critics at the time were polarized. Some missed the soaring, crystalline soprano of the Blue era. Others realized they were witnessing a masterclass in interpretation.
The Concept: Love as a Programmatic Suite
Honestly, calling this a "covers album" feels like a bit of a low blow. It’s way more than that. Mitchell, working alongside her ex-husband and long-time collaborator Larry Klein, designed the tracklist to mirror the arc of a modern relationship.
It starts with the flirtatious, wide-eyed "You're My Thrill" and "At Last." By the middle, the mood shifts. Things get heavy. You can hear the disillusionment creeping into the arrangements of "You’ve Changed" and "Answer Me, My Love."
Then there’s the inclusion of her own work.
She re-recorded "A Case of You" and the title track, "Both Sides, Now," placing them alongside jazz standards from the 1930s and 40s. It was a bold move. She was basically saying her own songwriting belonged in the Great American Songbook.
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She was right.
The Team Behind the Sound
To get that lush, cinematic feel, Mitchell didn't just hire a local wedding quartet. She went to London.
- The Orchestra: A 70-piece ensemble featuring members of the London Symphony Orchestra.
- The Arranger: Vince Mendoza. His charts are the secret sauce here—swirling, moody, and occasionally ominous.
- The Jazz Royalty: Herbie Hancock on piano and Wayne Shorter on saxophone.
Shorter’s contributions are especially haunting. His soprano sax on "A Case of You" doesn't just accompany Joni; it talks back to her. It’s a conversation between two people who have seen it all.
That Voice: From Soprano to Contralto
We have to talk about the voice.
By 2000, Joni’s range had dropped significantly. Some people blame the decades of American Spirit cigarettes. Joni herself has pointed to everything from vocal nodes to the lingering effects of childhood polio. Regardless of the "why," the "what" was undeniable: the "bird-like" trills of the sixties were gone.
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In their place was a weathered, husky, three-dimensional instrument.
When she sang "Both Sides, Now" in 1969, she was a girl pretending to be wise. In 2000, she was a woman who had actually lived the lines. When she sings “I really don’t know life at all,” on the 2000 version, it’s not a poetic musing. It’s a confession.
The interval of the song actually dropped a full fourth—from G major down to D major. It’s deeper, slower, and much more vulnerable.
What Most People Get Wrong About the 2000 Release
A common misconception is that this was a "lazy" late-career jazz standards project. You know the type—the kind aging rockers do when they run out of ideas.
But this wasn't a cash grab.
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The idea actually sparked back in 1998 after she sang "Stormy Weather" at a Don Henley fundraiser. She found it liberating to inhabit someone else's lyrics for a change. It allowed her to focus entirely on the performance.
The recording sessions at George Martin’s AIR Studios were legendary. During the final take of the title track, members of the orchestra were reportedly moved to tears. You can feel that energy in the recording. It’s not "perfect" in a digital sense; it’s "perfect" in an emotional one.
Why It Still Matters in 2026
Even now, decades after its release, the joni mitchell both sides now album serves as a blueprint for aging with dignity in the music industry. It didn't try to chase pop trends of the year 2000. It didn't use Auto-Tune to hide the grit in her throat.
It won two Grammys in 2001:
- Best Traditional Pop Vocal Album.
- Best Instrumental Arrangement Accompanying Vocalist(s) (for the title track).
More importantly, it found a second life in pop culture. Most people today recognize this version of "Both Sides, Now" from the 2003 film Love Actually. That scene with Emma Thompson? That was this version. It became the definitive "heartbreak" song for a whole new generation.
Actionable Steps for Listeners
If you’re ready to dive back into this record—or hear it for the first time—don’t just put it on as background music while you wash dishes.
- Listen in order: The "narrative arc" Larry Klein talked about only works if you listen from track 1 to 12.
- Compare the versions: Play the 1969 version of "Both Sides, Now" from the Clouds album, then immediately play the 2000 version. The contrast is the whole point.
- Watch the live performance: Look for the Painting with Words and Music DVD or clips from her 2000 tour. Seeing her face while she delivers these lines adds another layer of depth.
- Check the credits: Pay attention to Wayne Shorter's solos. He’s not playing "jazz" so much as he is playing "Joni."
The album is a reminder that there is beauty in the breakdown. Your voice might change. Your perspective definitely will. But if you're lucky, you'll eventually get to see things from both sides.