Joni Mitchell Quotes (Author of Joni Mitchell) (page 2 of 3)
Joni Mitchell - Talk To Me
Talk to Me
It is unusual for its experimental style, expanding even further on the jazz fusion sound of Mitchell's Hejira from the year before. Mitchell has stated that, close to completing her contract with Asylum Records, she allowed this album to be looser than anything she'd done previously. Don Juan's Reckless Daughter was released in December to mixed reviews, but managed to peak at 25 on the Billboard charts and attained gold record status within three months. Much of the album is experimental, but especially so are: "Overture," played with six simultaneous guitars, some in different tunings from others, with vocal echo effects; "The Tenth World," an extended-length instrumental of Latin percussion; and "Dreamland," which features only percussion and voices including Chaka Khan. Most experimental of all is "Paprika Plains," a minute song played on improvised piano and arranged with a full orchestra; it takes up all of Side 2. In it, Mitchell narrates a first-person description of a late-night gathering in a bar frequented by Indigenous peoples of Canada , touching on themes of hopelessness and alcoholism. At one point in the narrative, the narrator leaves the setting to watch the rain and enters into a dreamstate, and the lyrics — printed in the liner notes but not sung — become a mixture of references to innocent childhood memories, a nuclear explosion and an expressionless tribe gazing upon the dreamer.
Mitchell wanted to make a new kind of song, one in which conversation could flower, in mid-phrase, into music. In , Cary Raditz, a recent graduate of the University of North Carolina, quit his job in advertising and headed to Europe to bum around with his girlfriend. They ended up in Matala, on the island of Crete, where they found a bunch of hippies living in a network of caves. Raditz soon decamped for Afghanistan in a VW bus; when he returned, his girlfriend had bailed, but there was word that a new girl was headed to Matala. Raditz and Mitchell shared a cave for a couple of months, travelled around Greece together, and parted ways. All she needed was her lyrics, preternaturally analytic, wry, and shrewd; her chords, largely self-invented, a kind of calligraphy of the moods; and her voice, which modulates from patter to rue to rhapsody in a single phrase.
There was a moon and a street lamp I didn't know I drank such a lot 'Till I pissed a tequila-anaconda The full length of the parking lot! Oh, I talk too loose Again I talk too open and free I pay a high price for my open talking Like you do for your silent mystery. We could talk about Martha We could talk about landscapes I'm not above gossip But I'll sit on a secret where honor is at stake! Mystery, talk to me. You could talk like a fool-I'd listen You could talk like a sage Anyway the best of my mind All goes down on the strings and the page That mind picks up all these pictures It still gets my feet up to dance Even though it's covered with keyloids From the "slings and arrows of outrageous romance" I stole that from Willy the Shake!
Mitchell began singing in small nightclubs in Saskatchewan and Western Canada and then busking in the streets and dives of Toronto. In she moved to the United States and, touring constantly, began to be recognized when her original songs "Urge for Going," "Chelsea Morning," "Both Sides, Now," "The Circle Game" were covered by notable folk singers, allowing her to sign with Reprise Records and record her own debut album in