(You took me in your arms) It’s also an early example of how savagely Joni’s music can skewer the music industry (something that you will see many more times in her discography) and also an early dalliance with noir – something that, the more she engages with jazz, the more her music becomes influenced by. One of the most influential musicians of the 20th century, Joni Mitchell is often remembered as a melancholic mope who lost her vocal range to cigarettes. The Roof didn’t chart in the United States, but it managed to chart in the United Kingdom & the Netherlands. Maybe I'll finally watch The Wire! There are also very few moments in her music more thrilling than the trill she does straight after “I sing soprano in the upstairs choir”. OK. Mitchell might be known for a half dozen smash hits and her opus Blue, but here's the thing: Mitchell wrote a lot of great songs, put together a solid dozen great albums and is one of the most vital voices in North American folk rock in the 20th century. I get it. It produced some of Joni Mitchell’s biggest hits: “Help Me” was Joni Mitchell’s only single to reach the Top Ten on Billboard. “Down To You” might be its opus. Whispered the words "I love you, boy" “Amelia”, a comparison of her love life with the mysterious death of Amelia Earhart, is a classic on an album of standalone masterpieces. Every time I feel the need I envision you caressing me “Rainy Night in Georgia” is a song written by Tony Joe White in 1967 and popularized by R&B vocalist Brook Benton in 1970. So, you're stuck indoors with nothing but a pantry full of pulses and a Spotify membership. Hejira is, arguably, Joni’s last truly spectacular album. To relive the splendor of you and I Every time I feel the need Every time I feel the need Hearing that high trill sing so bitterly about the fairytale incompetence of her lovers is one of the great pleasures of early Joni. A pageant of melancholy memories of many different romances in her life, “Little Green” is both fitting with that theme and also the album’s biggest divergence. And my heart was pounding (pounding) And touched you so very And go back in time For anyone who wants to hear how she influences Prince – and somehow missed her weird chords at the start of “Purple Rain” – his cover of this song, done in 2007, is out of this world. These songs are a reminder she was a vamp, a comic and a musical genius. I envision you caressing me While the 21st-century torch song version really shows a woman who believes in the malevolent side of clouds, love and life as much as their heights, the original has a sort of stunned amazement to it: while Joni’s lyrics are always worldly and sage, even early on, the sense of a young woman staggered by the complexity of something as simple as clouds and as infinite as life is just as beautiful. One of the most influential musicians of the 20th century, Joni Mitchell is often remembered as a melancholic mope who lost her vocal range to cigarettes. It tells the story of Mitchell giving her child up for adoption – a study of a different type of loss. This is a song that is as euphoric as it is vicious, making love into a kind of alcoholism that feels different to common tropes of being love drunk. And go back in time Now is the time, we all say, to really engage with the art we never gave a chance when our lives were busy and mobile. Sit with it, though, really chew on it, and Hissing is an album that offers up a world as beautifully drawn, as acerbic, and yet as loving as anything from Ladies Of The Canyon. And I was twisted in the web of my desire for you Just in case that wasn’t enough of a flex, she also opened Hits on “Urge For Going”: written by her but highly successful for many other artists, it was only made available as a B-side for “You Turn Me On I’m A Radio” in 1972 and had never been released on an album. Here, it acts like she's summoning a succubus from hell itself. It was originally released by White on … Joni Mitchell’s 15th album, released in 1994, won the Grammy for Pop Album Of The Year. And so we finished the Moet Frankly, she doesn’t like revisiting her songs. Where, on “For Free”, she watches the performer in the street as a famous woman herself, wary of her own privilege and luck, here she aims cannon fire at a former, renowned lover who she portrays as having lost his integrity in exchange for fame and adoration.

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