Listening to Joni Mitchell, part two

Not in Order

I’m starting with the first record I heard by Joni, which was Ladies of the Canyon. When I was thirteen, Brother Steve brought it home from Minneapolis, where he attended art school. Home for me was a log cabin at a ranger station near the mouth of Gallatin Canyon, in Montana. Steve was my musical mentor, bringing me song after song because he hoped I’d love them. And I did, though Joni sang a little high for me.

These songs are so personal, a sung diary from a young woman in a magical world I longed for: music, artists, sunshine, longhaired men who were really still boys. A world to walk around in as opposed to getting into a car and driving somewhere, which is what we had to do to reach Bozeman. I was fascinated with boys but fearful of them. No “Morning Morgantown” for me, no rising from a man’s bed and venturing out in the city with my love. She might as well have been singing about the surface of the moon.

Besides, I was notoriously awful in the morning (still am).

The Sad Songs

I loved most the songs I could sing. “For Free” was keyed perfectly for me and it also told that haunting story. I’m sure my family got tired of listening to me crooooon alooooong to this song, as well as “Willie,” which I loved because I could break out the vibrato. Just imagine a thirteen year old girl warbling, “Willie is my chiiiiild, he is my faaaaather,” and then trying to hit the notes for “our love cannot be real.” Really. My parents could be very patient.

As a girl, I didn’t really understand “Conversation,” but an adult, I will tell you that “Conversation” has me shaking my head. It’s like “Poetry Man.” They capture a specific kind of heartbreak, the naive belief that you’d be better for a man than the woman he prefers. He banks the fires of his ego with your adoration, then returns to the woman he loves. Oh, my young heart bought right in, but my adult heart quietly ushers those men right on back to their homes.

I didn’t understand “The Arrangement” either, a song indicting capitalism, which is fine, and she does some interesting things with her voice, some truly haunting pyrotechnic runs that gave her nodes. But it meant nothing to me as a kid and I probably lifted the needle right over this one (remember how skilled we were at that?).

I loved “Rainy Night House” because it told me another non-relatable story, again with lovely vocal agility. It was also keyed low, so I could sing it without straining or offending the ears of my family. “Blue Boy” was another mystery I enjoyed, despite how troubling “roll her in his arms and give his seed to her” was to my virginal ears. As a girl, I thought it was about a statue that came to life, an idea I liked. As an adult I know it was one more song about Joni throwing her love away on a manchild.

The Happy Songs

Everyone knows and loves “Big Yellow Taxi,” and they should because it’s fun and playful and a pleasing antidote the heaviness that precedes it. But that goes right into “Woodstock.” And I’ll tell you, at age thirteen, as I sat there with headphones on and album cover in hand, listening to the lyrics of this song, I understood poetry for the first time. This song’s complex, layered lyrics sent my young mind spinning, enlarging, opening to the linguistic possibilities of metaphor.

“The Circle Game” is a singalong, and so sweet, and ends the record on a hopeful note after all the wooooo, and choral doom, and sad love stories on this record. But I saved the most important song for last.

The Ladies, the Canyon

“Ladies of the Canyon” enchanted and perplexed me at age thirteen. I listened to it over and over, because exactly which archetypal lady of the canyon would I be? Trina, Anna, Estrella, so deftly sketched and yet, so mysterious (as was this canyon of which she sang, I lived in a canyon myself but had never heard of Laurel Canyon or I’d probably have steeled my heart and taken off hitchhiking to reach it).

But back to the ladies. I thought these were the three choices available to me and I wasn’t sure where I fit. Trina was clearly a clothing artist (she wears her wampum beads? Seriously?). But hey, I had a really cool secondhand coat from my Grandma Lucille, so maybe, even though I was thirteen and too tall and curvy and pale and awkward. I started thrifting that year and wore outrageously strange clothing for an eighth grader, but it wasn’t exactly lace and filigree. I understood the look, I just couldn’t quite imagine myself pulling it off.

And then, in the next verse, bless her, Anna sat you down to eat while a horde of extremely fat cats and children twisted around her ankles. I could see this kitchen in my mind, and I liked it, but I didn’t enjoy making or eating most baked goods. I loved cats, but babies? Nope. Not a fan. Also, Anna was clearly the earth mother of the outfit. I was still planning to evade motherhood and I absolutely did not want to be Anna, nourishing, giving, fecund Anna, with her open door and all those goddamned baked goods. Anyone but Anna.

Estrella (Circus Girl) was definitely the most mysterious and arresting, so artistically described with “songs like tiny hammers hurled / at beveled mirrors in empty halls.” But then she was out there sailing seas and climbing banyans. Obviously I didn’t write songs or go on overseas adventures. Somehow I knew, at age thirteen, that I didn’t have the soul of an adventurer and feared I never would. Case in point, I never once ran away from home. But oh, how I wanted to be that woman, fearless and traveled, with her shattering songs and gypsy shawls.

You see how it all came out.

I really hate to break it to my thirteen year-old self, but of the three, I am most definitely the woman with the open door and the plump babies and the flowers on her table. It’s been small dogs over here, not cats. And I am no baker. But I’ll sit you down and feed you whenever you need it.