Joni's
starry nights
I'm
pleased to see that Joni Mitchell has been given a major biography, written by
New Zealander Karen O'Brien. I haven't
read the book but I hope the singer was cooperative, though it wouldn't be any
surprise if she wasn't. She would have
every right to say that she had already written her autobiography over the last
thirty years or so, in the lyrics to her songs.
In my opinion its a far better piece of literature than Dylan's equally
long-winded chronicle of himself..
Received
wisdom among people who haven’t really followed her career is that her
masterpiece was the album BLUE, a contemporary snapshot of the Woodstock
generation, but Mitchell moved on smartly from there. In
COURT AND SPARK, songs about David Crosby gave way to ones about David
Geffen. It seems to me that these have
stood the test of time better. Crosby's
world has gone whereas the world of Geffen is still with us. The squeaky hippie yodelling of Mitchells first and only number one single
Big Yellow Taxi, mellowed into a heavy smoker's silvery purring.
The album after COURT AND SPARK was even better, the one after that better
still and so on, until jazz, like a drug that helps at first, suffocated her
creative life. But then she got over
it. I remember reading a review of one
of her nineties records which said: this is probably the best seventeenth album
ever. That is the truly great thing
about Mitchell. She got to number
seventeen and kept on going. And, overall, she has continued to get better.
Her
emotional life was never easy.
Fascination turned quickly to litigation. On the album HEJIRA she sings about a strange
boy
weaving a course of grace and havoc
on a yellow skateboard
through midday sidewalk traffic
A
few albums later the strange boy, or someone very like him, is sueing her for
everything she's got. She hisses at him
You'd eat your young alive
For a Jaguar in the drive
When
she writes like that I, for one, can forgive her the occasion when she rhymed years with mirrors.
Her
nearest and dearest counselled her to give up these debilitating entaglements,
become an environmental campaigner, get into
charity. And for a while, she
did. But Mitchell is too much the artist
for all that. Misery is her meat and
drink.
There's a wide world of noble
causes, and lonely landscapes to discover -
the thirty-year- old millionaire sang. But all I wanna do right now is
find another lover.
Mitchell is an inveterate traveller, the original lonely planet. But she doesn't go on the road, like other Americans of her generation. She goes on hejira, takes flight, like Mohammed from the enemies
of true religion. HEJIRA ends with a
meditation on the smallness of human life.
In a highway service station, over
the month of June
was a photograph of the earth taken
coming back from the moon
and you couldn't see a city, on
that marble bowling ball
or a forest or a highway
or me here, least of all.
The
humility seems absolutely false. It somehow leaves me with the feeling that if
I was up in a spaceship, looking at the
earth, I would see the singer's face moving across the oceans and
continents.
But
who would have thought that, so late in the day, anyone would have found new
life in the rhyme of moon and June.
The album is an essential item in anyone's collection.
Her egoism is part and parcel of Mitchell's over-weening self-proclaimed but
under-recognised genius, like the curiously awful paintings that she inflicts
on us through her album covers. She has
said that she regards painting as her true vocation - such perversity could
well be a hallmark of genius. Music to
her is a base trade that she engages in with reluctance. Surveying her
brushwork, one can only thank God for the demise of the fold-out LP
sleeve.
Yet who would be without the self-portrait of
Joni as Van Gogh, complete with bandaged ear, on the cover of her '94 album
TURBULENT INDIGO - after HEJIRA, her best work to date?
As
she sails into grumpy old age the
fascination and love of life are still there, but in Joni's California, the
forces of revenge are on the rise.
lawyers haven't been this popular
since Robespierre slaughtered half of France
In
some of the most beautiful lines she has written, she laments her own beauty.
Once I was blessed, I was awaited like the rain
like eyes for the blind, like feet for the lame
Kings heard my words, and they
sought out my company
but now the janitors of Shadowland
flick their brooms at me.
These lines
are from Job's Sad Song, in which Joni, without a blush, compares herself to
God's most long-suffering victim.
Squarely confronting her creator/tormentor, she demands to know
What have I done to you
that you make everything I dread
and everything I fear
come true?
Let's hope
that, before it all comes true, she can find the acceptance that earned Job his
immortality.