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"Both Sides, Now" is a song by Joni Mitchell, and one of her best-known songs. First recorded by Judy Collins in 1967, it subsequently appeared on Mitchell's 1969 album ''Clouds''. She re-recorded the song in a lusher, orchestrated version for her 2000 album ''Both Sides Now''. Mitchell wrote "Both Sides, Now" in March 1967, inspired by a passage in ''Henderson the Rain King'', a 1959 novel 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.〔 〕〔 〕 Judy Collins recorded the first commercially released version of the song, shortly after Mitchell wrote it, for her 1967 ''Wildflowers'' album. In October 1968 it was released as a single, reaching #8 on the U.S. pop singles charts by December. In early 1969 it won a Grammy Award for Best Folk Performance.〔(【引用サイトリンク】url=http://www.allmusic.com/album/wildflowers-mw0000651146/awards )〕 The record peaked at #3 on Billboard's Easy Listening survey and "Both Sides, Now" has become one of Collins' signature songs. ''Rolling Stone'' ranked "Both Sides, Now" #171 on its list of The 500 Greatest Songs of All Time.〔(【引用サイトリンク】title=The 500 Greatest Songs of All Time: #171 Joni Mitchell, 'Both Sides,Now' )〕 == Description == "Both Sides, Now" is a plaintive song in a major key (F♯). Mitchell used a guitar tuning of E–B–E–G♯–B–E with a capo at the second fret. Although the texture is carefully crafted, it is harmonically one of Mitchell's more straightforward songs, using a modified I–IV–V chord progression consisting of F♯ (sometimes F♯maj7 or with an E♯ bass), B9 (/D♯ or /F♯), and C♯7(sus). The end of each verse adds a momentary blues feeling. The despondent feeling is created in part by an F♯ pedal point and an E♯ that often does not resolve upward but rather, in the bass, moves down to C♯ and F♯. Only in odd-numbered phrases of the verse does the E♯ resolve upward in the vocal. At times the vocal climb corresponds happily with the lyrical content ("the dizzy dancing ''way you feel''"), but at others the rise contrasts with the lyrical mood ("they rain and snow ''on everyone''"). In either case, the vocal returns to its predominantly downward pattern, most dramatically when the A♯ peak is soon followed by a fall of a seventh in, for example, "and if ''you care'', don't let them know" and "fea''ther can''yons everywhere".〔Whitesell, Lloyd (2008). ''The Music of Joni Mitchell''. New York: Oxford University Press. pp. 43–44〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Both Sides, Now」の詳細全文を読む スポンサード リンク
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