Joni Mitchell

Roberta Joan "Joni" Mitchell CC (née Anderson; born

Joni Mitchell

November 7, 1943) is a Canadian-American singer-songwriter and

CC
painter. Drawing from folk, pop, rock, classical, and jazz,
Mitchell's songs often reflect on social and philosophical ideals as
well as her feelings about romance, womanhood, disillusionment
and joy. She has received many accolades, including ten Grammy
Awards and induction into the Rock and Roll Hall of Fame in
1997. Rolling Stone called her "one of the greatest songwriters
ever",[1] 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".[2]

Mitchell began singing in small nightclubs in Saskatoon,

Saskatchewan, and throughout western Canada, before moving on
to the nightclubs of Toronto, Ontario. She moved to the United
States and began touring in 1965. Some of her original songs
("Urge for Going", "Chelsea Morning", "Both Sides, Now", "The
Circle Game") were recorded by other folk singers, allowing her to
Mitchell performing in concert at the

sign with Reprise Records and record her debut album, Song to a
Universal Amphitheatre in August
Seagull, in 1968.[3] Settling in Southern California, Mitchell
helped define an era and a generation with popular songs like "Big 1974
Yellow Taxi" and "Woodstock". Her 1971 album Blue is often Born Roberta Joan
cited as one of the best albums of all time; it was rated the 30th Anderson
best album ever made in Rolling Stone's 2003 list of the "500 November 7, 1943
Greatest Albums of All Time",[4] rising to number 3 in the 2020 Fort Macleod,
edition.[5] In 2000, The New York Times chose Blue as one of the Alberta, Canada
25 albums that represented "turning points and pinnacles in 20th-
century popular music".[6] NPR ranked Blue number 1 on a 2017 Other names Roberta Joan
list of Greatest Albums Made By Women.[7] Mitchell
Joni Anderson
Mitchell switched labels and began exploring more jazz-influenced Citizenship Canada · United
melodic ideas, by way of lush pop textures, on 1974's Court and
States
Spark, which featured the radio hits "Help Me" and "Free Man in
Paris"[8] and became her best-selling album. Mitchell's vocal range Musical career
began to shift from mezzo-soprano to more of a wide-ranging Genres Folk · rock · jazz ·
contralto around 1975.[9][10][11] Her distinctive piano and open- pop
tuned guitar compositions also grew more harmonically and
Occupation(s) Singer-songwriter ·
rhythmically complex as she melded jazz with rock and roll, R&B,
painter
classical music and non-Western beats. In the late 1970s, she
began working with noted jazz musicians including Jaco Pastorius, Instrument(s) Vocals · guitar ·
Wayne Shorter, Herbie Hancock, and Pat Metheny as well as piano · dulcimer
Charles Mingus, who asked her to collaborate on his final Years active 1964–2002 ·
recordings.[12] She later turned to pop and electronic music and
2006–2007 · 2013
· 2022
engaged in political protest. She was awarded a Lifetime Labels Reprise · Asylum ·
Achievement Award at the 44th Annual Grammy Awards in Geffen · Nonesuch
2002[13] and became a Kennedy Center Honoree in 2021.[14] · Hear Music

Mitchell produced or co-produced most of her albums. A critic of Website jonimitchell.com (h

the music industry, she quit touring and released her 17th and last ttp://jonimitchell.co
album of original songs in 2007. Mitchell has designed most of her m)
own album covers, describing herself as a "painter derailed by
circumstance".[15]

Contents
Life and career
1943–1963: Early life and education
1964–1967: Career beginnings, motherhood, and first marriage
1968–1969: Breakthrough with Song to a Seagull and Clouds
1970–1972: Ladies of the Canyon and Blue
1972–1975: For the Roses and Court and Spark
1975–1977: The Hissing of Summer Lawns and Hejira
1977–1980: Don Juan's Reckless Daughter and Mingus
1981–1987: Wild Things Run Fast, Dog Eat Dog, and second marriage
1988–1993: Chalk Mark in a Rain Storm and Night Ride Home
1994–1999: Turbulent Indigo, Taming the Tiger, and divorce
2000–2005: Both Sides Now, retirement tour and retrospectives
2006–2010: Shine and other late recordings
2010–present: Health problems, recovery, and archival projects
Legacy
Guitar style
Influence
Rejection of Baby Boom counter-culture
Awards and honours
ASCAP Pop Awards
Grammy Awards
Juno Awards
Pollstar Concert Industry Awards
Discography
Citations
General sources
Further reading
External links

Life and career

1943–1963: Early life and education

Mitchell was born Roberta Joan Anderson on November 7, 1943, in Fort Macleod, Alberta, Canada, the
daughter of Myrtle Marguerite (née McKee) and William Andrew Anderson.[16] Her mother's ancestors
were Scottish and Irish;[17] her father was from a Norwegian family that possibly had some Sámi
ancestry.[18][19] Her mother was a teacher, while her father was a Royal Canadian Air Force flight
lieutenant who instructed new pilots at RCAF Station Fort Macleod.[20] She later moved with her parents
to various bases in western Canada. After World War II ended, her father worked as a grocer and her
family moved to Saskatchewan, living in Maidstone and North Battleford.[21] She later sang about her
small-town upbringing in several of her songs, including "Song for Sharon".

Mitchell contracted polio at age nine and was hospitalized for weeks. She also started smoking that year,
but denies that smoking has affected her voice.[22]

She moved with her family to the city of Saskatoon, which she considers her hometown, at age 11.[23]
Mitchell struggled at school; her main interest was painting. During this time she briefly studied classical
piano.[24] She focused on her creative talent and considered a singing or dancing career for the first
time.[25][26] One unconventional teacher, Arthur Kratzmann, made an impact on her, stimulating her to
write poetry; her first album includes a dedication to him.[27] She dropped out of school in grade 12
(resuming her studies later) and hung out downtown with a rowdy set until she decided that she was getting
too close to the criminal world.[25]

Country music began to eclipse rock around this time. Mitchell wanted to play the guitar, but since her
mother disapproved of country music's hillbilly associations,[28] she initially settled for the ukulele.
Eventually she taught herself guitar from a Pete Seeger songbook.[29] Polio had weakened her left hand, so
she devised alternative tunings to compensate; she later used these tunings to create nonstandard
approaches to harmony and structure in her songwriting.[30]

Mitchell started singing with her friends at bonfires around Waskesiu Lake, northwest of Prince Albert,
Saskatchewan. She widened her repertoire to include her favourite performers, such as Édith Piaf and Miles
Davis, at age 18. Her first paid performance was on October 31, 1962, at a Saskatoon club that featured
folk and jazz performers.[31][32] Although she never performed jazz herself in those days, Mitchell and her
friends sought out gigs by jazz musicians. Mitchell said, "My jazz background began with one of the early
Lambert, Hendricks and Ross albums." That album, The Hottest New Group in Jazz, was hard to find in
Canada, she says, "so I saved up and bought it at a bootleg price. I considered that album to be my Beatles.
I learned every song off of it, and I don't think there is another album anywhere—including my own—on
which I know every note and word of every song."[33]

After graduating from high school at Aden Bowman Collegiate in Saskatoon, Mitchell took art classes at
the Saskatoon Technical Collegiate with abstract expressionist painter Henry Bonli[34] and left home to
attend the Alberta College of Art in Calgary for the 1963–64 school year. She felt disillusioned about the
high priority given to technical skill over free-class creativity there,[24] and felt out of step with the trend
toward pure abstraction and the tendency to move into commercial art. She dropped out of school after a
year at age 20, a decision that greatly displeased her parents, who could remember the Great Depression
and valued education highly.

1964–1967: Career beginnings, motherhood, and first marriage

She continued to play gigs as a folk musician on weekends at her college and at a local hotel. Around this
time she took a $15-a-week job in a Calgary coffeehouse called The Depression Coffee House, "singing
long tragic songs in a minor key". She sang at hootenannies and made appearances on some local TV and
radio shows in Calgary.[31] In 1964, at the age of 20, she told her mother that she intended to be a folk
singer in Toronto. She left western Canada for the first time in her life, heading east for Ontario. Mitchell
wrote her first song, "Day After Day", on the three-day train ride. She stopped at the Mariposa Folk
Festival to see Buffy Sainte-Marie, a Saskatchewan-born Cree folk singer who had inspired her. A year
later, Mitchell played Mariposa, her first gig for a major audience, and years later Sainte-Marie herself
covered Mitchell's work.

Lacking the $200 needed for musicians' union fees, Mitchell performed at a few gigs at the Half Beat and
the Village Corner in Toronto's Yorkville neighbourhood, but she mostly played non-union gigs "in church
basements and YMCA meeting halls". Rejected from major folk clubs, she resorted to busking,[31] while
she "worked in the women's wear section of a downtown department store to pay the rent."[35] She lived in
a rooming house, directly across the hall from poet Duke Redbird.[36] Mitchell also began to realize each
city's folk scene tended to accord veteran performers the exclusive right to play their signature songs—
despite not having written the songs—which Mitchell found insular, contrary to the egalitarian ideal of folk
music. She found her best traditional material was already other singers' property. She said she was told
"'You can't sing that. That's my song.' And I named another one. 'You can't sing that. That's my song.' This
is my introduction to territorial songs. I ran into it again in Toronto." She resolved to write her own
songs.[37]

Mitchell discovered that she was pregnant by her Calgary ex-boyfriend Brad MacMath in late 1964. She
later wrote, "[He] left me three months pregnant in an attic room with no money and winter coming on and
only a fireplace for heat. The spindles of the banister were gap-toothed—fuel for last winter's
occupants."[38] She gave birth to a baby girl in February 1965. Unable to provide for the baby, she placed
her daughter, Kelly Dale Anderson, for adoption. The experience remained private for most of Mitchell's
career, although she alluded to it in several songs, such as "Little Green", which she performed in the 1960s
and recorded eventually for the 1971 album Blue. In "Chinese Cafe", from the 1982 album Wild Things
Run Fast, Mitchell sang, "Your kids are coming up straight / My child's a stranger / I bore her / But I could
not raise her." These lyrics did not receive wide attention at the time.

The existence of Mitchell's daughter was not publicly known until 1993, when a roommate from Mitchell's
art-school days in the 1960s sold the story of the adoption to a tabloid magazine.[39][40] By that time,
Mitchell's daughter, renamed Kilauren Gibb, had already begun a search for her biological parents. Mitchell
and her daughter met in 1997.[41] After the reunion, Mitchell said that she lost interest in songwriting, and
she later identified her daughter's birth and her inability to take care of her as the moment when her
songwriting inspiration had really begun. When she could not express herself to the person she wanted to
talk to, she became attuned to the whole world, and she began to write personally.[42]

A few weeks after the birth of her daughter in February 1965, Mitchell was playing gigs again around
Yorkville, often with a friend, Vicky Taylor, and was beginning to sing original material for the first time,
written with her unique open tunings. In March and April she found work at the Penny Farthing, a folk
club in Toronto. There she met New York City-born American folk singer Charles Scott "Chuck" Mitchell,
from Michigan. Chuck was immediately attracted to her and impressed by her performance, and he told her
that he could get her steady work in the coffeehouses he knew in the United States.[43]

Mitchell left Canada for the first time in late April 1965. She travelled with Chuck Mitchell to the US,
where they began playing music together.[31] Joni, 21 years old, married Chuck in an official ceremony in
his hometown in June 1965 and took his surname. She said, "I made my dress and bridesmaids' dresses.
We had no money... I walked down the aisle brandishing my daisies."[44] Mitchell is both a Canadian and
U.S. citizen.[45]
While living at the Verona apartments in Detroit's Cass Corridor, the couple regularly performed at area
coffee houses, including the Chess Mate on Livernois, near Six Mile Road; the Alcove bar, near Wayne
State University; the Rathskeller, a restaurant on the campus of the University of Detroit; and the Raven
Gallery in Southfield.[46][47] She began playing and composing songs in alternative guitar tunings taught to
her by a fellow musician, Eric Andersen, in Detroit.[48] Oscar Brand featured her several times on his CBC
television program Let's Sing Out in 1965 and 1966. The marriage and partnership of Joni and Chuck
Mitchell ended with their divorce in early 1967, and she moved to New York City to follow her musical
path as a solo artist. She played venues up and down the East Coast, including Philadelphia, Boston, and
Fort Bragg, North Carolina. She performed frequently in coffeehouses and folk clubs and, by this time
creating her own material, became well known for her unique songwriting and her innovative guitar style.

1968–1969: Breakthrough with Song to a Seagull and Clouds

Folk singer Tom Rush had met Mitchell in Toronto and was impressed with her songwriting ability. He
took "Urge for Going" to the popular folk artist Judy Collins, but she was not interested in the song at the
time, so Rush recorded it himself. Country singer George Hamilton IV heard Rush performing it and
recorded a hit country version. Other artists who recorded Mitchell's songs in the early years were Buffy
Sainte-Marie ("The Circle Game"), Dave Van Ronk ("Both Sides Now"), and eventually Judy Collins
("Both Sides Now", a top ten hit for her, and "Michael from Mountains", both included on her 1967 album
Wildflowers). Collins also covered "Chelsea Morning", another recording that eclipsed Mitchell's own
commercial success early on.

While Mitchell was playing one night in 1967 in the Gaslight South,[49] a club in Coconut Grove, Florida,
David Crosby walked in and was immediately struck by her ability and her appeal as an artist.[50] She
accompanied him back to Los Angeles, where he set about introducing her and her music to his friends.
Soon she was being managed by Elliot Roberts, who, after being urged by Buffy Sainte-Marie, had first
seen her play in a Greenwich Village coffee house.[51] He had a close business association with David
Geffen.[52] Roberts and Geffen were to have important influences on her career. Eventually she was signed
to the Warners-affiliated Reprise label by talent scout Andy Wickham.[53] Crosby convinced Reprise to let
Mitchell record a solo acoustic album without the folk-rock overdubs in vogue at that time, and his clout
earned him a producer's credit in March 1968, when Reprise released her debut album, known either as
Joni Mitchell or Song to a Seagull.

Mitchell toured steadily to promote the LP. The tour helped create eager anticipation for Mitchell's second
LP, Clouds, which was released in April 1969. This album contained Mitchell's own versions of some of
her songs already recorded and performed by other artists: "Chelsea Morning", "Both Sides, Now", and
"Tin Angel". The covers of both LPs, including a self-portrait on Clouds, were designed and painted by
Mitchell, a blending of her painting and music that she continued throughout her career.

1970–1972: Ladies of the Canyon and Blue

In March 1970, Clouds produced her first Grammy Award for Best Folk Performance. The following
month, Reprise released her third album, Ladies of the Canyon. Mitchell's sound was already beginning to
expand beyond the confines of acoustic folk music and toward pop and rock, with more overdubs,
percussion, and backing vocals, and for the first time, many songs composed on piano, which became a
hallmark of Mitchell's style in her most popular era. Her own version of "Woodstock", slower than the
cover by Crosby, Stills, Nash & Young, was performed solo on a Wurlitzer electric piano. The album also
included the already-familiar song "The Circle Game" and the environmental anthem "Big Yellow Taxi",
with its now-famous line, "they paved paradise and put up a parking lot."
Ladies of the Canyon was an instant smash on FM radio and sold briskly, eventually becoming Mitchell's
first gold album (selling over a half million copies). She made a decision to stop touring for a year and just
write and paint, yet she was still voted "Top Female Performer" for 1970 by Melody Maker, a leading UK
pop music magazine. On the April 1971 release of James Taylor's Mud Slide Slim and the Blue Horizon
album, Mitchell is credited with backup vocals on the track "You've Got a Friend". The songs she wrote
during the months she took off for travel and life experience appeared on her next album, Blue, released in
June 1971. Comparing Joni Mitchell's talent to his own, David Crosby said, "By the time she did Blue, she
was past me and rushing toward the horizon".[54]

Blue was an almost instant critical and commercial success, peaking in the top 20 of the Billboard albums
chart in September and also hitting the British Top 3. The lushly produced "Carey" was the single at the
time, but musically, other parts of Blue departed further from the sounds of Ladies of the Canyon. Simpler,
rhythmic acoustic parts allowed a focus on Mitchell's voice and emotions ("All I Want", "A Case of You"),
while others such as "Blue", "River" and "The Last Time I Saw Richard" were sung to her rolling piano
accompaniment. Her most confessional album, Mitchell later said of Blue, "I have, on occasion, sacrificed
myself and my own emotional makeup, ... singing 'I'm selfish and I'm sad', for instance. We all suffer for
our loneliness, but at the time of Blue, our pop stars never admitted these things."[55] In its lyrics, the album
was regarded as an inspired culmination of her early work, with depressed assessments of the world around
her serving as counterpoint to exuberant expressions of romantic love (for example, in "California").
Mitchell later remarked, "At that period of my life, I had no personal defenses. I felt like a cellophane
wrapper on a pack of cigarettes. I felt like I had absolutely no secrets from the world and I couldn't pretend
in my life to be strong."[25]

1972–1975: For the Roses and Court and Spark

Mitchell decided to return to the live stage after the great success of Blue, and she presented new songs on
tour which appeared on her next album, her fifth, For the Roses. The album was released in October 1972
and immediately zoomed up the charts. She followed with the single, "You Turn Me On, I'm a Radio",
which peaked at No. 25 in the Billboard charts in February 1973.[56]

Court and Spark, released in January 1974, saw Mitchell begin the flirtation with jazz and jazz fusion that
marked her experimental period ahead. Court and Spark went to No. 1 on the Cashbox Album Charts. The
LP made Mitchell a widely popular act for perhaps the only time in her career, on the strength of popular
tracks such as the rocker "Raised on Robbery", which was released right before Christmas 1973, and
"Help Me", which was released in March of the following year, and became Mitchell's only Top 10 single
when it peaked at No. 7 in the first week of June. "Free Man in Paris" was another hit single and staple in
her catalog.

While recording Court and Spark, Mitchell had tried to make a clean break with her earlier folk sound,
producing the album herself and employing jazz/pop fusion band the L.A. Express as what she called her
first real backing group. In February 1974, her tour with the L.A. Express began, and they received rave
notices as they traveled across the United States and Canada during the next two months. A series of shows
at L.A.'s Universal Amphitheater from August 14–17 were recorded for a live album. In November,
Mitchell released that album, Miles of Aisles, a two-record set including all but two songs from the L.A.
concerts (one selection each from the Berkeley Community Theatre, on March 2, and the L.A. Music
Center, on March 4, were also included in the set). The live album slowly moved up to No. 2, matching
Court and Spark's chart peak on Billboard. "Big Yellow Taxi", the live version, was also released as a
single and did reasonably well (she released another version of the song in 2007).
In January 1975, Court and Spark received four nominations for Grammy Awards, including Grammy
Award for Album of the Year, for which Mitchell was the only woman nominated. She won only the
Grammy Award for Best Arrangement, Instrumental and Vocals.

1975–1977: The Hissing of Summer Lawns and Hejira

Mitchell went into the studio in early 1975 to record acoustic

demos of some songs that she had written since the Court and
Spark tour. A few months later she recorded versions of the tunes
with her band. Her musical interests were now diverging from
both the folk and the pop scene of the era, toward less structured,
more jazz-inspired pieces, with a wider range of instruments. The
new song cycle was released in November 1975 as The Hissing
of Summer Lawns. On "The Jungle Line", she made an early
effort at sampling a recording of African musicians, something
that became more commonplace among Western rock acts in the
1980s. "In France They Kiss on Main Street" continued the lush
pop sounds of Court and Spark, and efforts such as the title song
and "Edith and the Kingpin" chronicled the underbelly of Mitchell in 1975
suburban lives in Southern California.

During 1975, Mitchell also participated in several concerts in the Rolling Thunder Revue tours featuring
Bob Dylan and Joan Baez, and in 1976 she performed as part of The Last Waltz by the Band. In January
1976, Mitchell received a nomination for the Grammy Award for Best Female Pop Vocal Performance for
the album The Hissing of Summer Lawns, though the 1976 Grammy for that category went to Linda
Ronstadt.

In early 1976, Mitchell traveled with friends who were driving cross country to Maine. Afterwards, she
drove back to California alone and composed several songs during her journey which featured on her next
album, 1976's Hejira. She stated that "This album was written mostly while I was traveling in the car.
That's why there were no piano songs ..."[25] Hejira was arguably Mitchell's most experimental album so
far, owing to her ongoing collaborations with jazz virtuoso bass guitarist Jaco Pastorius on several songs,
namely the first single, "Coyote", the atmospheric "Hejira", the disorienting, guitar-heavy "Black Crow",
and the album's last song "Refuge of the Roads". The album climbed to No. 13 on the Billboard Charts,
reaching gold status three weeks after release, and received airplay from album-oriented FM rock stations.
Yet "Coyote", backed with "Blue Motel Room", failed to chart on the Hot 100. Hejira "did not sell as
briskly as Mitchell's earlier, more 'radio-friendly' albums, [but] its stature in her catalogue has grown over
the years".[57] Mitchell herself believes the album to be unique. In 2006 she said, "I suppose a lot of people
could have written a lot of my other songs, but I feel the songs on Hejira could only have come from
me."[57]

1977–1980: Don Juan's Reckless Daughter and Mingus

In mid-1977, Mitchell began work on new recordings that became her first double studio album. Close to
completing her contract with Asylum Records, Mitchell felt that this album could be looser in feel than any
album she had done in the past. She invited Pastorius back, and he brought with him fellow members of
jazz fusion pioneers Weather Report, including drummer Don Alias and saxophonist Wayne Shorter.
Layered, atmospheric compositions such as "Overture/Cotton Avenue" featured more improvisatory
collaboration, while "Paprika Plains" was a 16-minute epic that stretched the boundaries of pop, owing
more to Mitchell's memories of childhood in Canada and her study of classical music. "Dreamland" and
"The Tenth World", featuring Chaka Khan on backing vocals, were percussion-dominated tracks. Other
songs continued the jazz-rock-folk collisions of Hejira. Mitchell also revived "Jericho", written years earlier
(a version is found on her 1974 live album) but never recorded in a studio setting.

Don Juan's Reckless Daughter was released in December 1977. The album received mixed reviews but
still sold relatively well, peaking at No. 25 in the US and going gold within three months. The cover of the
album would later create occasional controversy: Mitchell was featured on the cover in blackface disguise,
wearing a curly afro wig, a white suit and vest, and dark sunglasses. The character, whom she called Art
Nouveau, was based on a pimp who, she says, once complimented her while walking down an LA street.
This character who symbolized her turn toward jazz and streetwise lyrics reappears in the concert video
'Shadows and Light', her contribution to the film anthology 'Love', and the music video for "Beat of Black
Wings".[58]

A few months after the release of Don Juan's Reckless Daughter, Mitchell was contacted by the esteemed
jazz composer, bandleader and bassist Charles Mingus, who had heard the orchestrated song "Paprika
Plains", and wanted her to work with him. She began a collaboration with Mingus, who died before the
project was completed in 1979. She finished the tracks, and the resulting album, Mingus, was released in
June 1979, though it was poorly received in the press. Fans were confused over such a major change in
Mitchell's overall sound, and though the album topped out at No. 17 on the Billboard albums chart—a
higher placement than Don Juan's Reckless Daughter—Mingus still fell short of gold status, making it her
first album since the 1960s to not sell at least half a million copies.

Mitchell's tour to promote Mingus began in August 1979 in Oklahoma City and concluded six weeks later
with five shows at Los Angeles' Greek Theatre and one at the Santa Barbara County Bowl, where she
recorded and filmed the concert. It was her first tour in several years, and with Pastorius, jazz guitarist Pat
Metheny, and other members of her band, Mitchell also performed songs from her other jazz-inspired
albums. When the tour ended she began a year of work, turning the tapes from the Santa Barbara County
Bowl show into a two-album set and a concert film, both to be called Shadows and Light. Her final release
on Asylum Records and her second live double album, it was released in September 1980, and made it up
to No. 38 on the Billboard charts. A single from the LP, "Why Do Fools Fall in Love?", Mitchell's duet
with The Persuasions (her opening act for the tour), bubbled under on Billboard, just missing the Hot 100.

1981–1987: Wild Things Run Fast, Dog Eat Dog, and second marriage

For a year and a half, Mitchell worked on the tracks for her next album.

While the album was being readied for release, her friend David Geffen, founder of Asylum Records,
decided to start a new label, Geffen Records. Still distributed by Warner Bros. (who controlled Asylum
Records), Geffen negated the remaining contractual obligations Mitchell had with Asylum and signed her
to his new label. Wild Things Run Fast (1982) marked a return to pop songwriting, including "Chinese
Cafe/Unchained Melody", which incorporated the chorus and parts of the melody of the famous The
Righteous Brothers hit, and "(You're So Square) Baby I Don't Care", a remake of the Elvis chestnut, which
charted higher than any Mitchell single since her 1970s sales peak when it climbed to No. 47 on the charts.
The album peaked on the Billboard charts in its fifth week at No. 25.

During this period she recorded with bassist and sound engineer Larry Klein, whom she married in 1982.

In early 1983, Mitchell began a world tour, visiting Japan, Australia, New Zealand, Ireland, the United
Kingdom, Belgium, France, Germany, Italy and Scandinavia and then going back to the United States. A
performance from the tour was videotaped and later released on home video (and later DVD) as Refuge of
the Roads. As 1984 ended, Mitchell was writing new songs when she received a suggestion from Geffen
that perhaps an outside producer with experience in the modern technical arenas that they wanted to
 explore might be a worthy addition. British synthpop performer and
producer Thomas Dolby was brought on board. Of Dolby's role, Mitchell
later commented: "I was reluctant when Thomas was suggested because he
had been asked to produce the record [by Geffen], and would he consider
coming in as just a programmer and a player? So on that level we did have
some problems ... He may be able to do it faster. He may be able to do it
better, but the fact is that it then wouldn't really be my music."[59]

The album that resulted, Dog Eat Dog, released in October 1985, turned
out to be only a moderate seller, peaking at No. 63 on Billboard's Top
Albums Chart, Mitchell's lowest chart position since her first album peaked
at No. 189 almost eighteen years before. One of the songs on the album,
"Tax Free", created controversy by lambasting "televangelists" and what
she saw as a drift to the religious right in American politics. "The churches
Mitchell performing in 1983
came after me", she wrote, "they attacked me, though the Episcopalian
Church, which I've seen described as the only church in America which
actually uses its head, wrote me a letter of congratulation."[17]

1988–1993: Chalk Mark in a Rain Storm and Night Ride Home

Mitchell continued experimenting with synthesizers, drum machines and sequencers for the recordings of
her next album, 1988's Chalk Mark in a Rain Storm. She also collaborated with artists including Willie
Nelson, Billy Idol, Wendy & Lisa, Tom Petty, Don Henley, Peter Gabriel, and Benjamin Orr of the Cars.
The album's first official single, "My Secret Place", was in fact a duet with Gabriel, and just missed the
Billboard Hot 100 chart. The song "Lakota" was one of many songs on the album to take on larger political
themes, in this case the Wounded Knee incident, the deadly battle between Native American activists and
the FBI on Pine Ridge Indian Reservation in the previous decade. Musically, several songs fit into the trend
of world music popularized by Gabriel during the era. Reviews were mostly favorable towards the album,
and the cameos by well-known musicians brought it considerable attention. Chalk Mark ultimately
improved on the chart performance of Dog Eat Dog, peaking at No. 45.

In 1990, Mitchell, who by then rarely performed live, participated in Roger Waters' The Wall Concert in
Berlin. She performed the song "Goodbye Blue Sky" and was also one of the performers on the concert's
final song "The Tide Is Turning" along with Waters, Cyndi Lauper, Bryan Adams, Van Morrison and Paul
Carrack.

Throughout the first half of 1990, Mitchell recorded songs that appeared on her next album. She delivered
the final mixes for the new album to Geffen just before Christmas, after trying nearly a hundred different
sequences for the songs. The album Night Ride Home was released in March 1991. In the United States, it
premiered on Billboard's Top Albums chart at No. 68, moving up to No. 48 in its second week, and
peaking at No. 41 in its sixth week. In the United Kingdom, the album premiered at No. 25 on the albums
chart. Critically, it was better received than her 1980s work. This album was also Mitchell's first since
Geffen Records was sold to MCA Inc., meaning that Night Ride Home was her first album not to be
initially distributed by WEA (now Warner Music Group).

1994–1999: Turbulent Indigo, Taming the Tiger, and divorce

To wider audiences, the real return to form for Mitchell came with 1994's Grammy-winning Turbulent
Indigo. The recording of the album coincided with the end of Mitchell's marriage to musician Larry Klein
after 12 years; Klein was also co-producer of the album.
Indigo was seen as Mitchell's most accessible set of songs in
years. Songs such as "Sex Kills", "Sunny Sunday",
"Borderline" and "The Magdalene Laundries" mixed social
commentary and guitar-focused melodies for "a startling
comeback".[60] The album won two Grammy awards,
including Best Pop Album, and it coincided with a much-
publicized resurgence in interest in Mitchell's work by a
younger generation of singer-songwriters.

In 1996, Mitchell agreed to release a greatest Hits collection,

despite initial concerns that such a release would damage Mitchell pets President Clinton's dog Buddy
sales of her catalog.[61] Reprise also agreed to release a in the Oval Office in 1998
second album, called Misses, that would include some of the
lesser-known songs from her career. Hits charted at No. 161
in the US, but made No. 6 in the UK. Mitchell also included on Hits, for the first time on an album, her first
recording, a version of "Urge for Going" which preceded Song to a Seagull but was previously released
only as a B-side.

Two years later, Mitchell released her final set of "original"

new work before nearly a decade of other pursuits, 1998's
Taming the Tiger. She promoted Tiger with a return to regular
concert appearances, including a co-headlining tour with Bob
Dylan and Van Morrison.

On the album, Mitchell had played a custom guitar equipped

Joni Mitchell and Peter Bogner listening to
premix of Herbie Hancock's Gershwin's
World (Venice Beach, California, in 1999)
with a Roland hexaphonic pickup that connected to a Roland
VG-8 modeling processor. The device allowed Mitchell to
play any of her many alternate tunings without having to re-
tune the guitar. The guitar's output, through the VG-8, was
transposed to any of her tunings in real-time.[62]

It was around this time that critics also began to notice a real
change in Mitchell's voice, particularly on her older songs; the singer later confirmed the change, explaining
that "I'd go to hit a note and there was nothing there".[63] While her more limited range and huskier vocals
have sometimes been attributed to her smoking (she was described by journalist Robin Eggar as "one of the
world's last great smokers"),[63] Mitchell believes that the changes in her voice that became noticeable in
the 1990s were because of other problems, including vocal nodules, a compressed larynx, and the lingering
effects of having had polio.[63] In an interview in 2004, she denied that "my terrible habits" had anything to
do with her more limited range, and pointed out that singers often lose the upper register when they pass
fifty. In addition, she contended that her voice had acquired a more interesting and expressive alto range
when she could no longer hit the high notes, let alone hold them as she had in her youth.[64]

2000–2005: Both Sides Now, retirement tour and retrospectives

The singer's next two albums featured no new songs and, Mitchell has said, were recorded to "fulfill
contractual obligations",[60] but on both she attempted to make use of her new vocal range in interpreting
familiar material. Both Sides Now (2000) was an album composed mostly of covers of jazz standards,
performed with an orchestra, featuring orchestral arrangements by Vince Mendoza. The album also
contained remakes of "A Case of You" and the title track "Both Sides, Now", two early hits transposed
down to Mitchell's now dusky, soulful alto range. It received mostly strong reviews and motivated a short
national tour, with Mitchell accompanied by a core band featuring her ex-husband Larry Klein on bass plus
a local orchestra on each tour stop. Its success led to 2002's Travelogue, a collection of re-workings of her
previous songs with lush orchestral accompaniments.

Mitchell stated at the time that Travelogue would be her final album. In a 2002 interview with Rolling
Stone, she voiced discontent with the current state of the music industry, describing it as a "cesspool".[1]
Mitchell expressed her dislike of the record industry's dominance and her desire to control her own destiny,
possibly by releasing her own music over the Internet.

During the next few years, the only albums Mitchell released were compilations of her earlier work. In
2003, her Geffen recordings were collected in a remastered four-disc box set, The Complete Geffen
Recordings, including notes by Mitchell and three previously unreleased tracks. A series of themed
compilations of songs from earlier albums were also released: The Beginning of Survival (2004),
Dreamland (2004), and Songs of a Prairie Girl (2005), the last of which collected the threads of her
Canadian upbringing and which she released after accepting an invitation to the Saskatchewan Centennial
concert in Saskatoon. The concert, which featured a tribute to Mitchell, was also attended by Queen
Elizabeth II. In the Prairie Girl liner notes, she wrote that the collection is "my contribution to
Saskatchewan's Centennial celebrations".

In the early 1990s, Mitchell signed a deal with Random House to publish an autobiography.[65] In 1998 she
told The New York Times that her memoirs were "in the works", that they would be published in as many
as four volumes, and that the first line would be "I was the only black man at the party."[66] In 2005,
Mitchell said that she was using a tape recorder to get her memories "down in the oral tradition".[67]

2006–2010: Shine and other late recordings

In an interview with the Ottawa Citizen in October 2006, Mitchell "revealed that she was recording her first
collection of new songs in nearly a decade", but gave few other details.[57] Four months later, in an
interview with The New York Times, Mitchell said that the forthcoming album, titled Shine, was inspired by
the war in Iraq and "something her grandson had said while listening to family fighting: 'Bad dreams are
good—in the great plan.'"[68] Early media reports characterized the album as having "a minimal feel ... that
harks back to [Mitchell's] early work" and a focus on political and environmental issues.[63]

In February 2007, Mitchell returned to Calgary and served as an advisor for the Alberta Ballet Company
premiere of "The Fiddle and the Drum", a dance choreographed by Jean Grand-Maître to both new and old
songs.[69] She worked with the French-Canadian TV director Mario Rouleau, well known for work in art
and dance for television, such as Cirque du Soleil.[70] She also filmed portions of the rehearsals for a
documentary that she is working on. Of the flurry of recent activity she quipped, "I've never worked so
hard in my life."[68]

In mid-2007, Mitchell's official fan-run site confirmed speculation that she had signed a two-record deal
with Starbucks' Hear Music label. Shine was released by the label on September 25, 2007, debuting at
number 14 on the Billboard 200 album chart, her highest chart position in the United States since the
release of Hejira in 1976, over thirty years previously, and at number 36 on the United Kingdom albums
chart. On the same day, Herbie Hancock, a longtime associate and friend of Mitchell, released River: The
Joni Letters, an album paying tribute to Mitchell's work. Among the album's contributors were Norah
Jones, Tina Turner, Leonard Cohen, and Mitchell herself, who contributed a vocal to the re-recording of
"The Tea Leaf Prophecy (Lay Down Your Arms)" (originally on her album Chalk Mark in a Rain
Storm).[71] On February 10, 2008, Hancock's recording won Album of the Year at the Grammy Awards. It
was the first time in 43 years that a jazz artist took the top prize at the annual award ceremony. In accepting
the award, Hancock paid tribute to Mitchell as well as to Miles Davis and John Coltrane. At the same
ceremony Mitchell won a Grammy for Best Instrumental Pop Performance for the opening track, "One
Week Last Summer", from her album Shine.

In 2009, Mitchell stated she had the skin condition Morgellons[72] and that she would leave the music
industry to work toward giving more credibility to people who suffer from Morgellons.[73]

In a 2010 interview with the Los Angeles Times, Mitchell was quoted as saying that singer-songwriter Bob
Dylan, with whom she had worked closely in the past, was a fake and a plagiarist. The controversial
remark was widely reported by other media.[74][75] Mitchell did not explain the contention further, but
several media outlets speculated that it may have related to the allegations of plagiarism surrounding some
lyrics on Dylan's 2006 album Modern Times.[74] In a 2013 interview with Jian Ghomeshi, she was asked
about the comments and responded by denying that she had made the statement while mentioning the
allegations of plagiarism that arose over the lyrics to Dylan's 2001 album Love and Theft in the general
context of the flow and ebb of the creative process of artists.[76]

2010–present: Health problems, recovery, and archival projects

Although Mitchell said that she would no longer tour or give concerts, she
made occasional public appearances to speak on environmental issues.[77]
Mitchell divides her time between her longtime home in Los Angeles, and
the 80-acre (32  ha) property in Sechelt, British Columbia, that she has
owned since the early 1970s. "L.A. is my workplace", she said in 2006,
"B.C. is my heartbeat".[78] Since 2011, she said she focuses mainly on her
visual art, which she does not sell and displays only on rare occasions.[79]

In March 2015, Mitchell suffered a brain aneurysm rupture,[80] which

required her to undergo physical therapy[81] and take part in daily
rehabilitation.[82] Mitchell made her first public appearance following the
aneurysm when she attended a Chick Corea concert in Los Angeles in
Mitchell at the 44th Annual
August 2016.[83] She made a few other appearances,[84][85] and in Kennedy Center Honors in
November 2018 David Crosby said that she was learning to walk again.[86] December 2021

Since 2018, Mitchell has approved a number of archival projects. In

September 2018, Eagle Rock Entertainment released the Murray Lerner-directed documentary Both Sides
Now: Live at the Isle of Wight Festival 1970, which included restored video footage and previously unseen
interviews with Mitchell, plus a separate program featuring the complete concert uninterrupted.[87] On
November 2, 2018, Mitchell released an 8-LP vinyl reissue of Love Has Many Faces: A Quartet, A Ballet,
Waiting to Be Danced.[88] A limited-edition blue vinyl edition of Blue followed in January 2019.[89]

On November 7, 2018, Mitchell attended the Joni 75: A Birthday Celebration concert in Los Angeles. To
celebrate her 75th birthday, artists James Taylor, Graham Nash, Seal, Kris Kristofferson, and others
interpreted songs written by Mitchell.[90] Fellow Canadian Diana Krall offered two performances.
Selections from that night's performances were released on DVD,[91] along with a separate CD release.[92]
A vinyl edition of the album was released for Record Store Day in April 2019.[93] Mitchell later attended
another tribute concert, Songs Are Like Tattoos, which featured Joni 75 participant Brandi Carlile
performing Mitchell's Blue album in full.[94]

Mitchell approved Joni: The Joni Mitchell Sessions, a book of photos taken and collected by Norman
Seeff, released in November 2018.[95] Mitchell also revisited her poetry with Morning Glory on the Vine, a
collection of facsimile handwritten lyrics, poetry and artwork originally compiled in 1971 as a gift for
friends and family.[96] The expanded and reformatted wide-release edition of Morning Glory on the Vine
was published on October 22, 2019, in a standard hardcover edition, as well as a limited signed edition.[97]

In September 2020, it was announced that Mitchell and Rhino Records had created the Joni Mitchell
Archives, a series of catalog releases containing material from the singer's personal vaults. The project's first
release, a five-disc collection titled Joni Mitchell Archives – Vol. 1: The Early Years (1963–1967), followed
on October 30, 2020. In April 2022 Mitchell received a Grammy Award for 'Best Historical Album' for this
release. She showed up personally to collect the award.[98][99] On the same day, Mitchell released Early
Joni – 1963 and Live at Canterbury House – 1967 (both culled from the 5-CD box set) as standalone vinyl
releases.[100]

A special remastered collection of Mitchell's first four albums (Song to a Seagull, Clouds, Ladies of the
Canyon and Blue) was released on July 2, 2021 as The Reprise Albums (1968–1971). The collection is the
first to feature a new mix of Mitchell's 1968 debut album, overseen by Mitchell herself. Commenting on the
original mix of Song to a Seagull, Mitchell called it "atrocious" and said it sounded like it "had been
recorded under a bowl of Jello."[101]

On January 28, 2022, Mitchell demanded that Spotify remove her songs from its streaming service in
solidarity with her long-time friend and fellow polio survivor Neil Young, who removed his tracks from the
streaming platform in protest against COVID-19 misinformation on the popular Spotify-hosted podcast The
Joe Rogan Experience.[102] She wrote on her website: "Irresponsible people are spreading lies that are
costing people their lives. I stand in solidarity with Neil Young and the global scientific and medical
communities on this issue."[103][104] British National Health Service doctor and author Rachel Clarke
tweeted: "Both Neil Young & Joni Mitchell … know painfully well how much harm, suffering & avoidable
death anti-vaxxers can cause."[103]

On April 1, 2022 Mitchell was honored as the 2022 MusiCares Person of the Year by the Recording
Academy. Mitchell was present at the Awards show accepting the award personally.[105][106][107]

On July 24, 2022, Joni Mitchell appeared unannounced as a special guest at the Newport Folk Festival in
Rhode Island, as part of a set billed as 'Brandi Carlile and Friends'.[108][109] It was Mitchell's first public
performance in 20 years. Supported by a group of well-wisher musicians, she participated in a 13-song set
of her own material and covers (including one as accompaniment only, playing electric guitar). Mitchell had
been hosting monthly music sessions, known as 'Joni Jams', at her home in Laurel Canyon, organised with
the help of singer-songwriter Carlile,[110] where musicians who turned up to play had included Elton John,
Paul McCartney, Bonnie Raitt, Harry Styles, Chaka Khan, Marcus Mumford and Herbie Hancock.[111]
The music sessions were assisting her recovery, and she was invited to join Carlile and others,
unannounced, in a low-key appearance at the Newport Folk Festival, where she had first played in 1969,
for a live performance of a 'Joni Jam'. She was given an ecstatic reception, and said afterwards, "I was
delighted and honoured. It gave me the bug for it."[112] Songs performed included "Carey", "Come in from
the Cold", "A Case of You", "Big Yellow Taxi", "Both Sides Now" and "The Circle Game".[113]

Legacy

Guitar style
External video
While some of Mitchell's most popular songs were written on the
piano, almost every song she composed on the guitar uses an Dr. Joni Mitchell (http://www.cbc.
open, or non-standard, tuning; she has written songs in some 50 ca/archives/entry/dr-joni-mitchell),
tunings, playing what she has called "Joni's weird chords". The
use of alternative tunings allows guitarists to produce 15:12, January 7, 2005, CBC Digital
accompaniment with more varied and wide-ranging textures. Her Archive[114]
right-hand picking/strumming technique has evolved over the
The Joni Mitchell Interview (http
years from an initially intricate picking style, typified by the guitar
s://www.youtube.com/watch?v=pEJ
songs on her first album, to a looser and more rhythmic style,
sometimes incorporating percussive "slaps". uiZN3jI8), 1:44:54, June 11, 2013,
q on CBC[115]
In 1995, Mitchell's friend Fred Walecki, proprietor of Westwood
Music in Los Angeles, developed a solution to alleviate her
continuing frustration with using multiple alternative tunings in live settings. Walecki designed a
Stratocaster-style guitar to function with the Roland VG-8 virtual guitar, a system capable of configuring
her numerous tunings electronically. While the guitar itself remained in standard tuning, the VG-8 encoded
the pickup signals into digital signals which were then translated into the altered tunings. This allowed
Mitchell to use one guitar on stage, while an off-stage tech entered the preprogrammed tuning for each song
in her set.[116]

Mitchell was highly innovative harmonically in her early work (1966–1972), incorporating modality,
chromaticism, and pedal points.[117] On her 1968 debut album Song to a Seagull, Mitchell used both
quartal and quintal harmony in "The Dawntreader" and quintal harmony in "Song to a Seagull".[118]

In 2003, Rolling Stone named her the 72nd-greatest guitarist of all time; she was the highest-ranked woman
on the list.[30]

Influence

Mitchell's approach to music struck a chord with many female listeners. In an era dominated by the
stereotypical male rock star, she presented herself as "multidimensional and conflicted ... allow[ing] her to
build such a powerful identification among her female fans".[119] Mitchell asserted her desire for artistic
control throughout her career, and still holds the publishing rights for her music. She has disclaimed the
notion that she is a "feminist"; in a 2013 interview she rejected the label, stating, "I'm not a feminist. I don't
want to get a posse against men. I'd rather go toe-to-toe; work it out."[120] David Shumway notes that
Mitchell "became the first woman in popular music to be recognized as an artist in the full sense of that
term.... Whatever Mitchell's stated views of feminism, what she represents more than any other performer
of her era is the new prominence of women's perspectives in cultural and political life."[119]

Mitchell's work has had an influence on many other artists, including Taylor Swift,[121] Björk,[121]
Prince,[122] Ellie Goulding, Harry Styles,[123] Corinne Bailey Rae, Gabrielle Aplin,[124] Mikael Åkerfeldt
from Opeth,[125] Pink Floyd's David Gilmour,[126] Marillion members Steve Hogarth and Steve
Rothery,[127][128] their former vocalist and lyricist Fish,[129] Paul Carrack,[130] Haim[131] and Lorde.[132]
Madonna has also cited Mitchell as the first female artist that really spoke to her as a teenager; "I was really,
really into Joni Mitchell. I knew every word to Court and Spark; I worshipped her when I was in high
school. Blue is amazing. I would have to say of all the women I've heard, she had the most profound effect
on me from a lyrical point of view."[133]

Several artists have had success covering Mitchell's songs. Judy Collins's 1967 recording of "Both Sides,
Now" reached No. 8 on Billboard charts and was a breakthrough in the career of both artists. (Mitchell's
own recording did not see release until two years later, on her second album Clouds.) This is Mitchell's
most-covered song by far, with over 1,200 versions recorded at latest count.[134] Hole also covered "Both
Sides, Now" in 1991 on their debut album, Pretty on the Inside, retitling it "Clouds", with the lyrics altered
by frontwoman Courtney Love. Pop group Neighborhood in 1970 and Amy Grant in 1995 scored hits with
covers of "Big Yellow Taxi", the third-most covered song in Mitchell's repertoire (with over 300
covers).[134] More recent releases of this song included versions by Counting Crows in 2002 and Nena in
2007. Janet Jackson used a sample of the chorus of "Big Yellow Taxi" as the centerpiece of her 1997 hit
single "Got 'Til It's Gone", which also features rapper Q-Tip saying "Joni Mitchell never lies". "River",
from Mitchell's album Blue became the second-most covered song of Mitchell's in 2013 as many artists
chose it for their holiday albums.[134] Rap artists Kanye West and Mac Dre have also sampled Mitchell's
vocals in their music. In addition, Annie Lennox has covered "Ladies of the Canyon" for the B-side of her
1995 hit "No More I Love You's". Mandy Moore covered "Help Me" in 2003. In 2004 singer George
Michael covered her song "Edith and the Kingpin" for a radio show. "River" has been one of the most
popular songs covered in recent years, with versions by Dianne Reeves (1999), James Taylor (recorded for
television in 2000, and for CD release in 2004), Allison Crowe (2004), Rachael Yamagata (2004), Aimee
Mann (2005), and Sarah McLachlan (2006). McLachlan also did a version of "Blue" in 1996, and Cat
Power recorded a cover of "Blue" in 2008. Other Mitchell covers include the famous "Woodstock" by
Crosby, Stills, Nash and Young, Eva Cassidy, and Matthews Southern Comfort; "This Flight Tonight" by
Nazareth; and well-known versions of "A Case of You" by Tori Amos, Michelle Branch, Jane Monheit,
Prince, Diana Krall, James Blake, and Ana Moura. A 40th anniversary version of "Woodstock" was
released in 2009 by Nick Vernier Band featuring Ian Matthews (formerly of Matthews Southern Comfort).
Fellow Canadian singer k.d. lang recorded two of Mitchell's songs ("A Case of You" and "Jericho") for her
2004 album Hymns of the 49th Parallel which is composed entirely of songs written by Canadian artists.

Prince's version of "A Case of U" appeared on A Tribute to Joni Mitchell, a 2007 compilation released by
Nonesuch Records, which also featured Björk ("The Boho Dance"), Caetano Veloso ("Dreamland"),
Emmylou Harris ("The Magdalene Laundries"), Sufjan Stevens ("Free Man in Paris") and Cassandra
Wilson ("For the Roses"), among others.

Several other songs reference Joni Mitchell. The song "Our House" by Graham Nash refers to Nash's two-
year relationship with Mitchell at the time that Crosby, Stills, Nash and Young recorded the Déjà Vu album.
Led Zeppelin's "Going to California" was said to be written about Robert Plant and Jimmy Page's
infatuation with Mitchell, a claim that seems to be borne out by the fact that, in live performances, Plant
often says "Joni" after the line "To find a queen without a king, they say she plays guitar and cries and
sings". Jimmy Page uses a double dropped D guitar tuning similar to the alternative tunings Mitchell uses.
The Sonic Youth song "Hey Joni" is named for Mitchell. Alanis Morissette also mentions Mitchell in one
of her songs, "Your House". British folk singer Frank Turner mentions Mitchell in his song "Sunshine
State". The Prince song "The Ballad of Dorothy Parker" contains the lyric – " 'Oh, my favorite song' she
said – and it was Joni singing 'Help me I think I'm falling' ". "Lavender" by Marillion was partly influenced
by "going through parks listening to Joni Mitchell", according to vocalist and lyricist Fish,[135] and she was
later mentioned in the lyrics of their song "Montreal" from Sounds That Can't Be Made.[136] John Mayer
makes reference to Mitchell and her Blue album in his song "Queen of California", from his 2012 album
Born and Raised. The song contains the lyric "Joni wrote Blue in a house by the sea". Taylor Swift also
details Mitchell's departure from the music industry in her song "The Lucky One" from her 2012 album
Red.

In 2003, playwright Bryden MacDonald launched When All the Slaves Are Free, a musical revue based on
Mitchell's music.[137]

Mitchell's music and poems have deeply influenced the French painter Jacques Benoit's work. Between
1979 and 1989 Benoit produced sixty paintings, corresponding to a selection of fifty of Mitchell's
songs.[138]

Maynard James Keenan of the American progressive metal band Tool has cited Mitchell as an influence,
claiming that her influence is what allows him to "soften [staccato, rhythmic, insane mathematical paths]
and bring [them] back to the center, so you can listen to it without having an eye-ache."[121] A Perfect
Circle, another band featuring Keenan as lead vocalist, recorded a rendition of Mitchell's "The Fiddle and
the Drum" on their 2004 album eMOTIVe, a collection of anti-war cover songs.

Rejection of Baby Boom counter-culture

Mitchell has said that the parents of baby-boomers were unhappy, and "out of it came this liberated,
spoiled, selfish generation into the costume ball of free love, free sex, free music, free, free, free, free we're
so free. And Woodstock was the culmination of it." But "I was not a part of that," she explained in an
interview. "I was not a part of the anti-war movement, either. I played in Fort Bragg. I went the Bob Hope
route [i.e., touring to entertain military personnel] because I had uncles who died in the war, and I thought it
was a shame to blame the boys who were drafted."[120]

Awards and honours

Mitchell has received many honors from her home country of
Canada. She was inducted into the Canadian Music Hall of Fame
in 1981 and received the Governor General's Performing Arts
Award for Lifetime Artistic Achievement, Canada's highest honour
in the performing arts, in 1996.[139] Mitchell received a star on
Canada's Walk of Fame in 2000.[140] In 2002 she was named a
Companion of the Order of Canada, Canada's highest civilian
honour,[141] making her only the third popular Canadian singer-
songwriter (Gordon Lightfoot and Leonard Cohen being the other
two) to receive this honor. She received an honorary doctorate in
music from McGill University in 2004. In January 2007 she was Joni Mitchell's star on Canada's Walk
inducted into the Canadian Songwriters Hall of Fame. The of Fame
Saskatchewan Recording Industry Association bestowed upon Joni
their Lifetime Achievement Award in 1993. In June 2007 Canada
Post featured Mitchell on a postage stamp.[142]

Mitchell has received ten Grammy Awards during her career (eight competitive, one honorary), the first in
1969 and the most recent in 2022. She received a Grammy Lifetime Achievement Award in 2002, with the
citation describing her as "one of the most important female recording artists of the rock era" and "a
powerful influence on all artists who embrace diversity, imagination and integrity".[143]

In 1995, Mitchell received Billboard's Century Award. In 1996, she was awarded the Polar Music Prize. In
1997, Mitchell was inducted into the Rock and Roll Hall of Fame, but did not attend the ceremony.

In tribute to Mitchell, the TNT network presented an all-star celebration at the Hammerstein Ballroom in
New York City on April 6, 2000. Mitchell's songs were sung by many performers, including James Taylor,
Elton John, Wynonna Judd, Bryan Adams, Cyndi Lauper, Diana Krall, and Richard Thompson. Mitchell
herself ended the evening with a rendition of "Both Sides, Now" with a 70-piece orchestra.[144] The
version was featured on the soundtrack to the movie Love Actually.

In 2008, Mitchell was ranked 42nd on Rolling Stone's "100 Greatest Singers" list and in 2015 she was
ranked ninth on their list of the 100 Greatest Songwriters of All Time.[145][146]

On February 12, 2010, "Both Sides, Now" was performed at the 2010 Winter Olympics opening ceremony
in Vancouver.[147]
To celebrate Mitchell's 70th birthday, the 2013 Luminato Festival in Toronto held a set of tribute concerts
entitled Joni: A Portrait in Song – A Birthday Happening Live at Massey Hall on June 18 and 19.
Performers included Rufus Wainwright, Herbie Hancock, Esperanza Spalding, and rare performances by
Mitchell herself.[148][149]

Owing to health problems, she could not attend the San Francisco gala in May 2015 to receive the SFJAZZ
Lifetime Achievement Award.[150]

In 2018, Mitchell was honoured by the city of Saskatoon, when two plaques were erected to commemorate
her musical beginnings in Saskatoon. One was installed by the Broadway Theatre beside the former Louis
Riel Coffee House, where Mitchell played her first paid gig. A second plaque was installed at River
Landing, near the Remai Modern art gallery and Persephone Theatre performing arts centre. As well, the
walkway along Spadina Crescent between Second and Third Avenues was formally named the Joni
Mitchell Promenade.[151][152]

In 2020, Mitchell received the Les Paul Award, becoming the first woman to do so.[153] She will be
honored as MusiCares Person of the Year in 2022.[154]

In 2021, Mitchell was nominated for the Grammy Award for Best Historical Album, for her Archives, Vol.
1: The Early Years (1963–1967) collection. She won the award on April 3, 2022.[155]

On December 4, 2021, Mitchell received the Kennedy Center Honor for a lifetime of achievement in the
performing arts at the Medallion Ceremony, held at the Library of Congress in Washington, D.C. The next
day, Mitchell attended the show at the Kennedy Center.[14]

ASCAP Pop Awards

Year Nominee / work Award Result

2005 "Big Yellow Taxi" Most Performed Song Won

Grammy Awards
 Year Category Work Result
1969 Best Folk Performance Clouds Won
Album of the Year Nominated
Best Pop Vocal Performance, Court and Spark
Nominated
Female
1974
Record of the Year "Help Me" Nominated
Best Arrangement Accompanying
"Down to You" Won
Vocalist(s)
Best Pop Vocal Performance,
1976 The Hissing of Summer Lawns Nominated
Female
1977 Best Album Package Hejira Nominated
Best Pop Vocal Performance,
1988 Chalk Mark in a Rain Storm Nominated
Female
Best Pop Album Won
1995 Turbulent Indigo
Best Album Package Won
Best Pop Vocal Performance,
“Both Sides, Now” Nominated
2000 Female
Best Traditional Pop Vocal Album Both Sides, Now Won
2002 Lifetime Achievement Award – Honored
Album of the Year River: The Joni Letters Won*
2008
Best Pop Instrumental Performance "One Week Last Summer" Won
Love Has Many Faces: A Quartet, a Ballet, Waiting
2016 Best Album Notes Won
to Be Danced
Joni Mitchell Archives – Vol. 1: The Early Years
2022 Best Historical Album Won
(1963–1967)

*Although officially a Herbie Hancock release, Mitchell also received a Grammy for her vocal contribution
to the album.

Juno Awards
 Year Nominee / work Award Result
1980 Nominated
Female Vocalist of the Year
Nominated
1981
Canadian Hall of Fame Won
Herself Folk Artist of the Year Nominated
1982
Nominated
Female Artist of the Year
1983 Nominated
Songwriter of the Year Nominated
1995
Turbulent Indigo Best Roots & Traditional Album Nominated
2000 Taming the Tiger Best Pop/Adult Album Nominated
2001 Both Sides, Now Best Vocal Jazz Album Won
2008 Herself Producer of the Year Won

Pollstar Concert Industry Awards

Year Nominee / work Award Result Ref.

1986 Tour Comeback Tour of the Year Nominated [156]

Discography
Studio albums

1968: Song to a Seagull

1969: Clouds
1970: Ladies of the Canyon
1971: Blue
1972: For the Roses
1974: Court and Spark
1975: The Hissing of Summer Lawns
1976: Hejira
1977: Don Juan's Reckless Daughter
1979: Mingus
1982: Wild Things Run Fast
1985: Dog Eat Dog
1988: Chalk Mark in a Rain Storm
1991: Night Ride Home
1994: Turbulent Indigo
1998: Taming the Tiger
2000: Both Sides Now
2002: Travelogue
2007: Shine
Citations
1. Wild, David (October 31, 2002). "Joni Mitchell" (http://jonimitchell.com/library/view.cfm?id=93
5) (reprint). Rolling Stone. Archived (https://web.archive.org/web/20200531091125/https://jo
nimitchell.com/library/view.cfm?id=935) from the original on May 31, 2020. Retrieved
March 9, 2007.
2. "Joni Mitchell Biography" (https://web.archive.org/web/20110424142644/http://www.allmusi
c.com/artist/p4930/biography). allmusic. Archived from the original (https://www.allmusic.co
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General sources
Monk, Katherine (2012). Joni: The Creative Odyssey of Joni Mitchell (https://books.google.c
om/books?id=4c-Lmidu_qQC&pg=PA1). Greystone Books. ISBN 978-1-55365-838-2.
Whitesell, Lloyd (2008). The Music of Joni Mitchell (https://books.google.com/books?id=xSm
JbcWcYA0C1&pg=PA1). Oxford Univ. Press. ISBN 978-0-19-530757-3.

Further reading
Mercer, Michelle (April 7, 2009). Will You Take Me As I Am: Joni Mitchell's Blue Period (http
s://books.google.com/books?id=ZHEIAQAAMAAJ). Free Press. ISBN 978-1-4165-5929-0.
Smith, Larry David (January 1, 2004). Elvis Costello, Joni Mitchell, and the Torch Song
Tradition (https://books.google.com/books?id=OO5hQBVPoOAC&pg=PA1). Greenwood
Publishing Group. ISBN 978-0-275-97392-6.
Weller, Sheila (April 8, 2008). Girls Like Us: Carole King, Joni Mitchell, Carly Simon—And
the Journey of a Generation (https://books.google.com/books?id=4n5LMaA2xMsC). Simon
and Schuster. ISBN 978-0-7434-9147-1.
Whitall, Susan (2018). Joni on Joni: Interviews and Encounters with Joni Mitchell. Chicago
Review Press. ISBN 978-0914090359.
Yaffe, David (2017). Reckless Daughter: A Portrait of Joni Mitchell (https://books.google.co
m/books?id=_RGMDQAAQBAJ). Farrar, Straus and Giroux. ISBN 978-0-374-71560-1.

External links
Official website (https://www.jonimitchell.com)
Joni Mitchell (https://www.allmusic.com/artist/joni-mitchell-mn0000270491) at AllMusic
The Emergence of Joni Mitchell – public radio special (http://www.paulingles.com/mitchell.ht
ml) by Paul Ingles
Joni Mitchell (https://www.imdb.com/name/nm0593474/) at IMDb
Joni Mitchell – Salon (https://web.archive.org/web/20110406121328/http://www.salon.com/p
eople/bc/2000/04/04/mitchell/index.html) at the Wayback Machine (archived April 6, 2011)
Joni Mitchell (http://www.rockhall.com/inductees/joni-mitchell) at Rock and Roll Hall of Fame
Radio New Zealand: Reflections on 1983 concert in Auckland (https://www.rnz.co.nz/audio/
player?audio_id=201782913)

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