Joni Mitchell

Links

JoniMitchell.com
About Joni Mitchell on Wikipedia
Songwriters Hall of Fame
BBC Feature

The Voice of a Woman's Heart, Joni Mitchell

"Besame Mucho" is the title of a song written by the Mexican songwriter, Consuelo Velázquez. She was only sixteen when she wrote these memorable words, "Besame,Besame mucho. Como si fuere esta noche la ultimate vez."

Although the album Clouds with the song "Both Sides Now" was released around 1968, it's possible that Joni Mitchell was round about the same age as Consuelo Velázquez when she wrote: "I've seen clouds from both sides now, from up and down and still somehow, it's cloud illusions that I recall, I really don't know clouds at all."

Whereas young men generally don't seem to understand very much about anything before things actually happen to them, feminine literature and music abound with youthful prescience: an authentic grasp of human emotions well beyond their years without the need for direct experience.

Who knows how old Emily Jane Brontë was when she wrote these words in Wuthering Heights?

'This is nothing,' cried she: 'I was only going to say that heaven did not seem to be my home; and I broke my heart with weeping to come back to earth; and the angels were so angry that they flung me out into the middle of the heath on the top of Wuthering Heights; where I woke sobbing for joy. That will do to explain my secret, as well as the other. I've no more business to marry Edgar Linton than I have to be in heaven; and if the wicked man in there had not brought Heathcliff so low, I shouldn't have thought of it. It would degrade me to marry Heathcliff now; so he shall never know how I love him: and that, not because he's handsome, Nelly, but because he's more myself than I am. Whatever our souls are made of, his and mine are the same; and Linton's is as different as a moonbeam from lightning, or frost from fire.'

Wuthering Heights was published when she was 29, a year before she died. Going by biographical evidence Emily Brontë lived a rather sheltered life, more in the company of her sisters than anyone else, but somehow she knew about the power of feelings.

There is a certain suspense in Joni Mitchell's songs – a tension of memory that reaches straight into the hearts of those who have struggled, almost unbearably, with the contours of their own conscience. Her America is the land of hopes and dreams seen as a great big maze where everyone is looking for directions. In her stories, desire does not interlope with fulfilment but with disappointment. Hope brimming as fresh as breakfast and daisies greets us in the song "Morning Morgan Town", then in the same album Lady of the Canyon, a few tracks later, in "Rainy Night House", there is a brooding portrait of someone trying to escape his own destiny. Her lyrics are written in a narrative form in a literary equivalent to the technique known in painting as chiaroscuro – the art of making light and shade. Interestingly, Joni Mitchell is also an accomplished painter and illustrator.

In her songs the words draw pictures as they guide you into the mind's uncharted dimensions. She always knew very well what her main business was about. Here is a song about making music:


Real Good for Free

I slept last night in a good hotel
I went shopping today for jewels
The wind rushed around in the dirty town
And the children let out from the schools
I was standing on a noisy corner
Waiting for the walking green
Across the street he stood
And he played real good
On his clarinet, for free.

Now me I play for fortune
And those velvet curtain calls
I've got a black limousine
And two gentlemen
Escorting me to the halls
And I play if you have the money
Or if you're a friend to me
But the one man band
By the quick lunch stand
He was playing real good, for free.

Nobody stopped to hear him
Though he played so sweet and high
They knew he had never
Been on their T.V.
So they passed his music by
I meant to go over and ask for a song
Maybe put on a harmony...
I heard his refrain
As the signal changed
He was playing real good, for free.


from the album 'Lady of the Canyon'