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MUSIC FOR THE GOOD  PEOPLE  
THE GREAT  AMERICAN SONG TRADITION  

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JONI MITCHELL

Monk, Katherine (2012). Joni: The Creative Odyssey of Joni Mitchell. Greystone Books. ISBN 978-1-55365-838-2.

Whitesell, Lloyd (2008). The Music of Joni Mitchell. Oxford Univ. Press. ISBN 978-0-19-530757-3.

Mercer, Michelle (April 7, 2009). Will You Take Me As I Am: Joni Mitchell's Blue Period. Free Press. ISBN 978-1-4165-5929-0.

Smith, Larry David (January 1, 2004). Elvis Costello, Joni Mitchell, and the Torch Song Tradition. Greenwood Publishing Group. ISBN 978-0-275-97392-6.

Whitall, Susan (2018). Joni on Joni: Interviews and Encounters with Joni Mitchell. Chicago Review Press. ISBN 978-0914090359.

"JoniMitchell.com – Biography: 1943–1963 Childhood Days". Jonimitchell.com. Retrieved November 26, 2014.

White, Timothy (December 9, 1995). "Joni Mitchell - A Portrait of the Artist"Billboard. June 10, 2019.

Wilson, Dave (February 14, 1968). "An interview with Joni Mitchell". Broadside. January 4, 2012.

Weller, Sheila (April 8, 2008). Girls Like Us: Carole King, Joni Mitchell, Carly Simon--And the Journey of a Generation. Simon and Schuster. p. 73. ISBN 978-0-7434-9147-1. February 11, 2017.

Fong-Torres, Ben, Rolling Stone interview with Joni Mitchell, May 17, 1969 "[I]n the fall of 1967, she met ... Andy Wickham. He signed her to Reprise."

Roberta Joan "Joni" Mitchell (née Anderson; born November 7, 1943) is a Canadian singer-songwriter.

Drawing from folk, pop, rock, and jazz, Mitchell's songs often reflect social and environmental ideals as well as her feelings about romance, confusion, disillusionment, and joy. She has received many accolades, including nine Grammy Awards and induction into the Rock and Roll Hall of Fame in 1997. 
Rolling Stone called her "one of the greatest songwriters ever",and AllMusic has stated, "When the dust settles, Joni Mitchell may stand as the most important and influential female recording artist of the late 20th century".

Mitchell began singing in small nightclubs in Saskatoon, Saskatchewan, and throughout western Canada, before busking in the streets and nightclubs of TorontoOntario. In 1965, she moved to the United States and began touring.

 

Some of her original songs ("Urge for Going", "Chelsea Morning", "Both Sides, Now", "The Circle Game") were covered by other folk singers, allowing her to sign with Reprise Records and record her debut album, Song to a Seagull, in 1968.

 

Settling in Southern California, Mitchell, with popular songs like "Big Yellow Taxi" and "Woodstock", helped define an era and a generation. Her 1971 album Blue is often cited as one of the best albums of all time; it was rated the 30th best album ever made in Rolling Stone's list of the "500 Greatest Albums of All Time".

 

In 2000, The New York Times chose Blue as one of the 25 albums that represented "turning points and pinnacles in 20th-century popular music".
In 2017, NPR ranked Blue number 1 on a list of Greatest Albums Made By Women.[7] Mitchell's fifth album, For the Roses, was released in 1972. She then switched labels and began exploring more jazz-influenced melodic ideas, by way of lush pop textures, on 1974's Court and Spark, which featured the radio hits "Help Me" and "Free Man in Paris" and became her best-selling album.

Around 1975, Mitchell's vocal range began to shift from mezzo-soprano to more of a wide-ranging contralto. Her distinctive piano and open-tuned guitar compositions also grew more harmonically and rhythmically complex as she explored jazz, melding it with influences of rock and rollR&B, classical music and non-western beats.

In the late 1970s, she began working closely with noted jazz musicians, among them Jaco PastoriusWayne ShorterHerbie HancockPat Metheny, as well as Charles Mingus, who asked her to collaborate on his final recordings.

She later turned again toward pop, embraced electronic music, and engaged in political protest.

In 2002, she was awarded a Lifetime Achievement Award at the 44th Annual Grammy Awards.

Mitchell is the sole producer credited on most of her albums, including all her work in the 1970s. A blunt critic of the music industry, she quit touring and released her 17th, and reportedly last, album of original songs in 2007. With roots in visual art, Mitchell has designed most of her own album covers. She describes herself as a "painter derailed by circumstance".

Big yellow taxi  (Joni Mitchell)

They paved paradise Put up a parking lot
With a pink hotel, a boutique And a swinging hot spot

Don't it always seem to go
That you don't know what you've got 'til it's gone?
They paved paradise Put up a parking lot

They took all the trees And put them in a tree museum
Then they charged the people A dollar and a half just to see 'em

Don't it always seem to go
That you don't know what you've got 'til it's gone?
They paved paradise Put up a parking lot

Hey, farmer, farmer Put away that DDT now
Give me spots on my apples But leave me the birds and the bees
Please!

Don't it always seem to go That you don't know what you've got 'til its gone?
They paved paradise Put up a parking lot

Late last night I heard the screen door slam
And a big yellow taxi took away my old man

Don't it always seem to go
That you don't know what you've got 'til it's gone?
They paved paradise Put up a parking lot

I said Don't it always seem to go
That you don't know what you've got 'til it's gone?
They paved paradise Put up a parking lot

They paved paradise Put up a parking lot
They paved paradise Put up a parking lot

Coyote  (Joni Mitchell)

No regrets Coyote
We just come from such different sets of circumstance
I'm up all night in the studios
And you're up early on your ranch
You'll be brushing out a brood mare's tail
While the sun is ascending
And I'll just be getting home with my reel to reel
There's no comprehending
Just how close to the bone & the skin & the eyes
And the lips you can get And still feel so alone
And still feel related Like stations in some relay
You're not a hit and run driver No no
Racing away

You just picked up a hitcher
A prisoner of the white lines on the freeway

We saw a farmhouse burning down
In the middle of nowhere
In the middle of the night
And we rolled right past that tragedy
Till we turned into some road house lights
Where a local band was playing
Locals were up kicking and shaking on the floor
And the next thing I know That coyote's at my door
He pins me in a corner and he won't take no
He drags me out on the dance floor And we're dancing close and slow
Now he's got a woman at home He's got another woman down the hall
He seems to want me anyway Why'd you have to get so drunk
And lead me on that way

You just picked up a hitcher
A prisoner of the white lines on the freeway

I looked a coyote right in the face
On the road to Baljennie near my old home town
He went running through the whisker wheat
Chasing some prize down And a hawk was playing with him
Coyote he's jumping straight up & making passes
He had those same eyes just like yours
Under your dark glasses Privately probing the public rooms
And peeking through keyholes in numbered doors
Where the players lick their wounds
And take their temporary lovers
Their pills & powders to get them through this passion play
I'll have no regrets Coyote
I just get off up aways

You just picked up a hitcher
A prisoner of the white lines on the freeway

Coyote's in the coffee shop He's staring a hole in his scrambled eggs
He picks up my scent on his fingers
While he's watching the waitresses' legs
He's too far from the Bay of Fundy From appaloosas and eagles and tides
And the air conditioned cubicles And the carbon ribbon rides
I'm spelling it out so clear Either he's going to have to stand & fight
Or take off out of here I tried to run away myself
To run away and wrestle with my ego And with this flame
He put here in this Eskimo In this hitcher
In this prisoner Of the fine white lines
Of the white lines on the free free way

Both sides now  (Joni Mitchell)

Rows and flows of angel hair And ice cream castles in the air
And feather canyons everywhere I've looked at clouds that way

But now they only block the sun They rain and they snow on everyone
So many things I would have done But clouds got in my way

I've looked at clouds from both sides now
From up and down, and still somehow
It's cloud illusions I recall I really don't know clouds at all

Moons and Junes and Ferris wheels The dizzy dancing way that you feel
As every fairy tale comes real I've looked at love that way

But now it's just another show You leave 'em laughing when you go
And if you care, don't let them know Don't give yourself away

I've looked at love from both sides now
From give and take, and still somehow
It's love's illusions I recall I really don't know love at all

Tears and fears and feeling proud To say "I love you" right out loud
Dreams and schemes and circus crowds I've looked at life that way

Oh, but now old friends they're acting strange
They shake their heads, and they tell me I've changed
Well something's lost, but something's gained
In living every day

I've looked at life from both sides now From win and lose and still somehow
It's life's illusions I recall I really don't know love at all

It's life's illusions that I recall I really don't know life at all

A case of you  (Joni Mitchell)

Just before our love got lost you said "I am as constant as a northern star"
And I said, "Constantly in the darkness Where's that at?
If you want me I'll be in the bar"

On the back of a cartoon coaster In the blue TV screen light
I drew a map of Canada Oh, Canada
With your face sketched on it twice

Oh, you're in my blood like holy wine You taste so bitter and so sweet
Oh, I could drink a case of you, darling And I would still be on my feet
Oh, I would still be on my feet

Oh, I am a lonely painter I live in a box of paints
I'm frightened by the devil And I'm drawn to those ones that ain't afraid

I remember that time you told me You said, "Love is touching souls"
Surely you touched mine 'Cause part of you pours out of me
In these lines from time to time

Oh, you're in my blood like holy wine You taste so bitter and so sweet
Oh, I could drink a case of you, darling
And still I'd be on my feet I would still be on my feet

I met a woman She had a mouth like yours
She knew your life She knew your devils and your deeds
And she said, "Go to him, stay with him if you can
but be prepared to bleed"

Oh, but you are in my blood You're my holy wine
You're so bitter bitter and so sweet
Oh, I could drink a case of you darling still I'd be on my feet
I would still be on my feet

Woodstock  (Joni Mitchell)

I came upon a child of God He was walking along the road
And I asked him, where are you going And this he told me...
I'm going on down to Yasgur's farm I'm going to join in a rock 'n' roll band
I'm going to camp out on the land I'm gonna try and get my soul free

We are stardust We are golden
And we've got to get ourselves
Back to the garden

Then can I walk beside you I have come here to lose the smog
And I feel to be a cog in something turning
Well maybe it is just the time of year
Or maybe it's the time of man I don't know who I am
But ya know life is for learning

We are stardust We are golden
And we've got to get ourselves
Back to the garden

By the time we got to Woodstock We were half a million strong
And everywhere there was song and celebration
And I dreamed I saw the bombers Riding shotgun in the sky
And they were turning into butterflies
Above our nation

We are stardust Billion-year-old carbon
We are golden Caught in the devil's bargain
And we've got to get ourselves
Back to the garden

Chelsea morning  (Joni Mitchell)

Woke up, it was a Chelsea morning, and the first thing that I heard
Was a song outside my window, and the traffic wrote the words
It came a-reeling up like Christmas bells, and rapping up like pipes and drums

Oh, won't you stay We'll put on the day 
And we'll wear it 'till the night comes

Woke up, it was a Chelsea morning, and the first thing that I saw
Was the sun through yellow curtains, and a rainbow on the wall
Blue, red, green and gold to welcome you, crimson crystal beads to beckon

Oh, won't you stay We'll put on the day
There's a sun show every second

Now the curtain opens on a portrait of today
And the streets are paved with passersby
And pigeons fly And papers lie Waiting to blow away

Woke up, it was a Chelsea morning, and the first thing that I knew
There was milk and toast and honey and a bowl of oranges, too
And the sun poured in like butterscotch and stuck to all my senses
Oh, won't you stay We'll put on the day
And we'll talk in present tenses

When the curtain closes and the rainbow runs away
I will bring you incense owls by night
By candlelight By jewel-light
If only you will stay Pretty baby, won't you
Wake up, it's a Chelsea morning

INTERVIEWS / DOCUMENTARY

SELECTED DISCOGRAPHY

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