Chalk Mark in a Rain Storm was Joni Mitchell’s 13th studio work, and the third of four for Geffen Records. The album followed 1985’s Dog Eat Dog, a departure for Mitchell, who used a lot of sequencing, drum programming, and Synclaviers. Thomas Dolby also produced that album.
For Chalk Mark in a Rain Storm, Mitchell assumed the production with bass-playing husband, Larry Klein. The result is a brilliant synthesis of organic electric and acoustic guitars, drums, digital synthesizers, and electric drums.
The album started life in Bath, England, in Peter Gabriel’s Ashcombe House studio. Klein had just completed work as a producer for Benjamin Orr’s solo debut in England and was asked by Peter Gabriel to record additional bass parts for his So album. Since the primary recording was done for So, Gabrial asked Klein if he wanted to use the studio.
Mitchell was traveling with her husband and had already composed “My Secret Place,” which would become the opening track for the album – and a fine one, at that. Her electric and acoustic guitars make a strong presence, and her acoustic piano adds to the haunting melody. Peter Gabriel provides a co-lead vocal which weaves into Mitchell’s vocal. At first listen, it’s hard to tell who is singing what part, yet the approach fits the lyrical theme of new love and bonding. Gabriel’s drummer Manu Katche handles all the acoustic drumming, adding a distinctly Afro-European flair to the tracks. “My Secret Place” is deceptively simple but one of the most effective openers on a Joni Mitchell album.
“Number One,” the b-side to “My Secret Place,” is at least as good. In fact, Robert Plant heard the demo and asked Larry Klein if he could record it for an upcoming solo album. Also recorded in England, “Number One” is less personal than the proceeding song and more about modern society. Unlike some of Dog Eat Dog, Mitchell was better able to balance passion while not coming across as self-righteous.
Mitchell again does the heavy instrumental lifting with multiple acoustic and electric guitar tracks, which are intertwined with drum programs and Klein’s multi-tracked bass. The synthesizer accents are subtle and organize sounding, and Benjamin Orr provides additional backing vocals with a Mitchell. The result is one of the best vocal performances on an album of solid vocal performances.
It’s easy to get caught up in the list of performers. But taking any of the big-time guests off of Chalk Mark in a Rain Storm would not change how good it is.
“Lakota” features Iron Eyes Cody, best known for appearing in the “Keep America Beautiful” PSA in the ’70s. His presence may be a defense against cultural appropriation, but it doesn’t help the storytelling in this third-person account of the wrongs committed by the white man on the Native Americans. “Lakota” is lyrically powerfully enough to stand its own.
Guitarist Mike Landau offers a melodic lead to Mitchell’s more nuanced guitar work, while Larry Klien provides a Cars-like synth part. Don Henley’s chanting with Cody adds additional gravitas to he song, but it becomes almost overkill.
Larry Klein co-wrote four songs on Chalk Mark in a Rain Storm, including “Lakota,” the following “The Tea Leaf Prophecy (Lay Down Your Arms),” “Snakes and Ladders” and “The Reoccurring Dream.” The first two were not originally intended for use by Mitchell, yet are an excellent fit for the album. “The Tea Leaf Prophecy” seems deeply personal.
Lyrically, Joni Michell shares a story based on what her mother endured as her father went off to World War II. Unfortunately, the song is just a relevant then as it is now regarding the foolishness of war. Mike Landau contributes a volume pedal-drenched lead guitar to supplement the core band, with Wendy Melvoin and Lisa Coleman of Prince’s Revolution providing backing vocals.
“Dancin’ Clown” seems otherworldly in comparison. The song is melodically the most simple on Chalk Mark in a Rain Storm, with a straightforward rock backbeat and bass part. The fire comes from co-lead vocalist Billy Idol: Mitchell is an able narrator of the tale, and Tom Petty falls flat, but Idol gives a balls-deep performance. Further credibility is provided by Steve Stevens, Idol’s longtime guitarist. Thomas Dolby also makes a cameo appearance on synth marimba.
Side 2 begins with a cover, sort of. “Cool Water” was initially written by Bob Nolan, before Mitchell beefed it up lyrically. Combining Mike Landau’s electric guitar with a flute-like programmed synth intro is memorizing. Willie Nelson’s vocal portrayal of Old Dan works on a number of levels, creating another gem.
“The Beat of Black Wings” features Joni Mitchell’s drum program as its musical core. Manu Katche handles the talking drum, with Benjamin Orr returning for vocal assistance. The brooding darkness of the music totally compliments the subject matter of war and death and disintegration. “The Beat of Black Wings” is often overlooked on this album, but should not be.
“Snakes and Ladders,” the duet with Don Henley, is almost a perfect pairing. Henley, portraying the arrogant alpha male, seems nearly too comfortable with the role of a cheating, conniving protagonist. His interaction with Mitchell is spot on. The story stings and the perspective, mainly told from a woman’s view, is a welcome change from typical rock fare. Henley has never sounded so animated on any project.
“The Reoccurring Dream,” with its Mike Landau power chords and Mitchell’s overdubbed vocals, is a shocker. Melodically complex and dense with soundscapes, guitars, and pounding drums, the song is three minutes of Joni Mitchell at her most adventurous. What’s it about? Greed, Ego? Who cares!
“A Bird That Whistles” (Corrina, Corrina) is an album-closing palette cleanser, with Mitchell’s acoustic dancing with her vocal while Wayne Shorter’s soprano sax evokes pure joy and abundance.
Chalk Mark in a Rain Storm produced no major hits but reached No. 45 on the American charts and No. 26 in the U.K. It also was nominated for a 1989 Grammy in the female best pop vocal category.
Fans often overlook Joni Mitchell’s Geffen-era albums. Too bad, as this one is another jewel in her musical crown.
- Mark Anthony K. Discusses Projekt Gemineye’s ‘Canada: Stories and Legends’ - November 16, 2024
- Projekt Gemineye – ‘Canada: Stories and Legends’ (2024) - November 9, 2024
- Jonathan Powell – ‘Mambo Jazz Party’ (2024) - November 3, 2024
