{"id":51869,"date":"2021-09-01T09:36:32","date_gmt":"2021-09-01T14:36:32","guid":{"rendered":"https:\/\/producelikeapro.com\/blog\/?p=51869"},"modified":"2021-09-01T13:32:52","modified_gmt":"2021-09-01T18:32:52","slug":"joni-mitchell-blue","status":"publish","type":"post","link":"https:\/\/producelikeapro.com\/blog\/joni-mitchell-blue\/","title":{"rendered":"\u201cSongs Are Like Tattoos\u201d: How Joni Mitchell\u2019s Blue Transformed The Singer-Songwriter"},"content":{"rendered":"<div class=\"produ-leaderboard-placement\" style=\"margin-left: auto;margin-right: auto;text-align: center;margin-bottom: 30px!important;\" id=\"produ-1874829436\"><script async=\"async\" src=\"https:\/\/securepubads.g.doubleclick.net\/tag\/js\/gpt.js\"><\/script>\n<script> var googletag = googletag || {}; googletag.cmd = googletag.cmd || [];<\/script>\n<div id=\"gpt-ad-7460789953612-0\">\n  <script>\n\tgoogletag.cmd.push(function() {\n\t\t\t\tgoogletag.defineSlot( '\/21927241144\/728x90-Leaderboard', [728,90], 'gpt-ad-7460789953612-0' )\n\t\t.addService(googletag.pubads());\n\t\t\t\twindow.advadsGamEmptySlotsTimers = window.advadsGamEmptySlotsTimers || {};\n\t\tconst timers                     = window.advadsGamEmptySlotsTimers;\n\n\t\ttimers['gpt-ad-7460789953612-0'] = setTimeout( function () {\n\t\t\tconst id = 'gpt-ad-7460789953612-0';\n\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\tdelete ( timers[id] );\n\t\t}, 1000 );\n\n\t\tif ( typeof window.advadsGamHasEmptySlotListener === 'undefined' ) {\n\t\t\tgoogletag.pubads().addEventListener( 'slotRequested', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] === 'undefined' ) {\n\t\t\t\t\treturn;\n\t\t\t\t}\n\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\ttimers[id] = setTimeout( function () {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}, 2500 );\n\t\t\t} );\n\t\t\tgoogletag.pubads().addEventListener( 'slotResponseReceived', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] !== 'undefined' ) {\n\t\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}\n\t\t\t\tif ( ! ev.slot.getResponseInformation() ) {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t}\n\t\t\t} );\n\t\t\twindow.advadsGamHasEmptySlotListener = true;\n\t\t}\n\n\t\tgoogletag.enableServices();\n\t\tgoogletag.display( 'gpt-ad-7460789953612-0' );\n\t} );\n  <\/script>\n<\/div>\n<\/div>[vc_row][vc_column][vc_column_text]<span style=\"font-weight: 400;\">In 1971, Joni Mitchell released one of the most influential and powerfully introspective albums of all time, <\/span><i><span style=\"font-weight: 400;\">Blue.\u00a0 <\/span><\/i><span style=\"font-weight: 400;\">In a tumultuous period of her young life, learning to balance fame alongside changing personal relationships, Mitchell held nothing back. She shared an incredible vulnerability that not only tapped into the spirit of her own generation at the start of the seventies, but that also inspired generations of aspiring songwriters and musicians to follow.\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Mitchell began her music career as a folk singer, but by 1968, she had written a hit single, \u201cBoth Sides Now\u201d for Judy Collins. The song appeared on Mitchell\u2019s 1969 album <\/span><i><span style=\"font-weight: 400;\">Clouds <\/span><\/i><span style=\"font-weight: 400;\">which showcased her songwriting talent and won her a Grammy for best Folk Performance. Mitchell\u2019s early work reveals her ability to synthesize the changing landscape of the world around her into musical form with songs like \u201cBig Yellow Taxi\u201d and \u201cWoodstock.\u201d Although she never actually attended the famed festival, her song became a hit for the band Crosby Stills Nash and Young in 1970 on their landmark album <\/span><i><span style=\"font-weight: 400;\">Deja Vu. <\/span><\/i><span style=\"font-weight: 400;\">Around this same time, she released her second album, <\/span><i><span style=\"font-weight: 400;\">Ladies of the Canyon <\/span><\/i><span style=\"font-weight: 400;\">which housed both \u201cBig Yellow Taxi\u201d and \u201cWoodstock. The album was an instant success in both radio play and sales.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">But fame came with a price, and in the spring of 1970, Mitchell decided to take a break from touring and performance. She told <\/span><i><span style=\"font-weight: 400;\">Rolling Stone <\/span><\/i><span style=\"font-weight: 400;\">later that year: <\/span><i><span style=\"font-weight: 400;\">\u201cI was being isolated, starting to feel like a bird in a gilded cage. I wasn\u2019t getting a chance to meet people. A certain amount of success cuts you off in a lot of ways. You can\u2019t move freely. I like to live, be on the streets, to be in a crowd and moving freely.\u201d<\/span><\/i><\/p>\n<p><span style=\"font-weight: 400;\">So Mitchell turned to travel &#8211; an experience which had stimulated musical creativity for her in the past. \u201cBig Yellow Taxi\u201d had been composed while on vacation in Hawaii, when she looked out from her hotel room to see a paved parking lot in the midst of a literal paradise.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">This new adventure took her to the island of Crete where she stayed in the hippie community of Matala, before traveling to several other European locations.\u00a0 It was these travels that provided the inspiration for <\/span><i><span style=\"font-weight: 400;\">Blue. <\/span><\/i><span style=\"font-weight: 400;\">She explained: <\/span><i><span style=\"font-weight: 400;\">\u201cBlue is partly a diary. It\u2019s me moving through a backdrop of our changing times. I was in Matala and we got beach tar on our feet and then I went to Ibiza and I went to a party down a red dirt road, then I went to Paris where it was too old and cold and everything was done. But it\u2019s also more than a diary. It\u2019s one chapter in the Great American Novel of my work.\u201d\u00a0 Blue <\/span><\/i><span style=\"font-weight: 400;\">may just represent a moment in Mitchell\u2019s artistic legacy, but for many listeners, it represented a profound shift in their understanding of self and the relationship to the world.\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The opening song of the album, \u201cAll I Want\u201d kicks off the storytelling of Mitchell\u2019s travels and heartbreak. It begins:<\/span><\/p>\n<p><i><span style=\"font-weight: 400;\">I am on a lonely road and<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">I am traveling, traveling, traveling, traveling<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">Looking for something, what can it be<\/span><\/i><\/p>\n<p><span style=\"font-weight: 400;\">It also introduces listeners to the gentle strings of her mountain dulcimer- an instrument whose sound she introduced to many listeners. She had picked up the instrument herself at the 1969 Big Sur Folk Festival.\u00a0 She later reflected on her discovery:\u00a0 <\/span><i><span style=\"font-weight: 400;\">\u201cI had never seen one played. Traditionally it\u2019s picked with a quill, and it\u2019s a very delicate thing that sits across your knee. The only instrument I had ever had across my knee was a bongo drum, so when I started to play the dulcimer I beat it. I just slapped it with my hands. Anyway I bought it, and I took off to Europe carrying a flute and this dulcimer because it was very light for backpacking around Europe. I wrote most of Blue on it.\u201d <\/span><\/i><span style=\"font-weight: 400;\">Mitchell\u2019s strumming and slapping on the dulcimer open the album and transport listeners into a sonic world that was completely her own.\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">If the singer-songwriter genre is founded in confessional songwriting, this album epitomizes it. Mitchell brings together\u00a0 powerful, poignant lyrics alongside unbelievably creative melodies and arrangements. In 1979, Mitchell reflected: <\/span><i><span style=\"font-weight: 400;\">\u201cThe Blue album, there&#8217;s hardly a dishonest note in the vocals. 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&#8217;t pretend in my life to be strong. Or to be happy. But the advantage of it in the music was that there were no defenses there either.\u201d<\/span><\/i><\/p>\n<p><span style=\"font-weight: 400;\">The songs capture the fears, desires and passions of Mitchell\u2019s experience at the turn of the seventies &#8211; her heartbreak and her love affairs.\u00a0 These are songs of vulnerability that express the complexities of human relationships. <\/span><span style=\"font-weight: 400;\">Mitchell doesn\u2019t offer a black and white picture of love and relationships, but takes us through their struggles.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Her songwriting often details true experiences. The song \u201cCarey\u201d is about a real person &#8211; Cary Raditz, an American working as a cook at Delfini\u2019s Cafe in Crete while she was there. Mitchell explained: <\/span><i><span style=\"font-weight: 400;\">&#8220;I had my dulcimer with me from the States. I used it to write &#8220;Carey&#8221; over a period of weeks in different locations in and around Matala as a birthday present for Cary. My lyric, &#8220;Oh Carey get out your cane&#8221; referred to a cane Cary carried with him all the time. He was a bit of a scene-stealer, and the cane was a theatrical prop for him.&#8221;<\/span><\/i><\/p>\n<p><span style=\"font-weight: 400;\">The song began as a birthday present, but it evolved over time. Raditz later told <\/span><i><span style=\"font-weight: 400;\">The Wall Street Journal <\/span><\/i><span style=\"font-weight: 400;\">that the version on Blue is similar to the one he heard in Matala, but not entirely the same. The final version sounds like a farewell to the pair&#8217;s time together, and isn\u2019t entirely flattering to the song\u2019s namesake.\u00a0 The final line of the chorus is\u2026.\u201dOh, you\u2019re a mean old daddy but I like you.\u201d\u00a0 Raditz admitted: <\/span><i><span style=\"font-weight: 400;\">\u201cI had a nasty, aggressive character then, and I was feisty. I was always getting into fights at the taverna &#8211; probably losing more than I won. I suppose she hung around me after her friend left because she knew people wouldn&#8217;t dare come up to my cave without permission, so it was a haven for her of sorts, even though the cave was small &#8211; around 8 by 16 feet.\u201d <\/span><\/i><span style=\"font-weight: 400;\">Raditz and Mitchell spent two months together, then traveled to Athens where they parted ways. Mitchell then flew to Paris, where she began writing another song of her experiences\u2026.\u201dCalifornia\u201d.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u201cCalifornia\u201d begins from the vantage point of Paris, and <\/span><span style=\"font-weight: 400;\">beautifully relates Mitchells travel experiences, alongside the depth of her longing for her adopted, California home. We not only hear about Paris, but also her travels in Crete and Spain.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Raditz makes another appearance on the album through the second verse of \u201cCalifornia\u201d where Mitchell sings of a \u201cred, red rogue.\u201d <\/span><span style=\"font-weight: 400;\">However, this inclusion was more surprising to <\/span><span style=\"font-weight: 400;\">Raditz who first heard it when he visited Mitchell in LA shortly before the album\u2019s release.He recalled: <\/span><i><span style=\"font-weight: 400;\">&#8220;Carey&#8221; didn&#8217;t surprise me, since I had heard it in Matala. &#8220;California,&#8221; however, was a shocker. I was taken aback that she referred to me as a &#8220;redneck on a Grecian isle.&#8221; I was from North Carolina, so my accent was strong, but I was hardly that. But look, she was just writing songs. You can&#8217;t really take these things all that seriously. And I did take her camera, as the song says, but I didn&#8217;t sell it. I gave it back to her later.\u201d<\/span><\/i><\/p>\n<p><span style=\"font-weight: 400;\">The final verse recalls her travels to Spain, with a party down a \u201cred dirt road\u201d which she has said in interviews refers to a real experience. All of these verses beautifully articulate the rich experiences of Mitchell\u2019s travels and explorations as she wrote <\/span><i><span style=\"font-weight: 400;\">Blue. <\/span><\/i><span style=\"font-weight: 400;\">The chorus is both relatable in its sense of longing for home, as well as a dreamy source of myth &#8211; one centered in the mystical imaginary of California.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">For a young person in her twenties, it&#8217;s perhaps unsurprising that so many songs detail the tumultuous experience of love. Songs like \u201cMy Old Man,\u201d \u201cA Case of You,\u201d \u201cThe Last Time I Saw Richard\u201d and it can be tempting to explore the songs in terms of the famous relationships Mitchell had during this period (Graham Nash, Leonard Cohen and James Taylor). But doing so might miss the point. <\/span><\/p>\n<p><span style=\"font-weight: 400;\">As we saw with the travel songs, Mitchell\u2019s songwriting is deeply personal and she pulls from real and true experiences, but they are also artistic explorations of her human experience. The personal is a way to access a universal.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In these songs we can find that universal. \u201cMy Old Man\u201d explores a kind of \u201cevery day love\u201d &#8211; one that feels like home.\u00a0 \u201cA Case of You\u201d beautifully weaves together the sense of pain and passion that comes with a romantic relationship.\u00a0 And \u201cThe Last Time I Saw Richard\u201d watches the hopeless abandon of a romance turn to cynicism.\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Mitchell explained that \u201cThe Last Time I Saw Richard\u201d was inspired by a conversation, rather than a specific relationship: <\/span><i><span style=\"font-weight: 400;\">&#8220;Patrick Sky, a fellow folksinger, said to me one night in a bar in New York, &#8216;Oh, Joni, you&#8217;re a hopeless romantic. There&#8217;s only one way for you to go. Hopeless cynicism. And that was it. That one little nugget became that song.&#8221;\u00a0<\/span><\/i><\/p>\n<p><span style=\"font-weight: 400;\">Another example of how Mitchell\u2019s truth gets turned into a universal experience is the song \u201cLittle Green\u201d.\u00a0 Many listeners are drawn to it without having any awareness of why she wrote it.\u00a0 Timothy Grouse even wrote about the ambiguity of the song in <\/span><i><span style=\"font-weight: 400;\">Rolling Stone <\/span><\/i><span style=\"font-weight: 400;\">magazine in 1971 saying: <\/span><span style=\"font-weight: 400;\">\u201cThe pretty, &#8220;poetic&#8221; lyric is dressed up in such cryptic references that it passeth all understanding.\u201d<\/span><span style=\"font-weight: 400;\">\u00a0 The song does not actually come from her \u201cBlue\u201d period at all. It was written several years earlier, in the mid-sixties, in response to the deep sadness Mitchell felt in giving her daughter up for adoption. Knowing its origin brings clarity to the lyrics:<\/span><\/p>\n<p><i><span style=\"font-weight: 400;\">Child, with the child, pretending<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">Weary of lies you are sending home<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">So you sign all the papers in the family name<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">You&#8217;re sad and you&#8217;re sorry, but you&#8217;re not ashamed.<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">Little Green, have a happy ending.<\/span><\/i><\/p>\n<p><span style=\"font-weight: 400;\">But this history wasn\u2019t revealed until 1997, meaning that for over two decades, listeners were able to connect with her very personal storytelling, without knowing the actual story.\u00a0 <\/span><\/p>\n<p><span style=\"font-weight: 400;\">When you listen to Blue, it&#8217;s clear that the record captures a sort of personal artistic expression that is hard to imitate.\u00a0 In fact, for as much as the album has influenced generations of songwriters, we don\u2019t get many famous cover versions of the songs from this album &#8211; with the exception of \u201cRiver.\u00a0 \u201cRiver\u201d shares the album&#8217;s tone and emotional space, but is also quite unique. <\/span><\/p>\n<p><span style=\"font-weight: 400;\">The first notes we hear are Mitchell playing a melody on the piano that is hauntingly similar to\u00a0 \u201cJingle Bells\u201d. Her first lyrics tell us right away that it&#8217;s Christmas time. While Mitchell\u2019s performance is certainly her own, the melody is simple and singable.\u00a0 Joni Mitchell\u2019s official website lists it as her second most recorded song by other artists, and this includes major figures like Linda Ronstadt, Robert Downey Jr., Barry Manilow, Sarah McLachlan and James Taylor.\u00a0 Of the song, Mitchell once said with a smile: <\/span><i><span style=\"font-weight: 400;\">\u201c<\/span><\/i><i><span style=\"font-weight: 400;\">We needed a sad Christmas song, didn&#8217;t we? In the &#8220;bah humbug&#8221; of it all?\u201d<\/span><\/i><span style=\"font-weight: 400;\">\u00a0 And it is sad &#8211; the haunting piano, and the simplicity of the melody, and of course, the repetition of the line \u201cI wish I had a river to skate away on.&#8221;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The sadness is a little ironic, however, in the larger Mitchell biography. This is because the idea of Christmas holds a powerful, inspirational memory for her. At age 9, Mitchell had contracted polio and was told she wouldn\u2019t walk again. She desperately wanted to go home for Christmas, and under the lights of the Christmas tree in her hospital would practice her physical therapy exercises on her own &#8211; after everyone had gone to sleep, and after everyone had given up on her. The image of the Christmas tree at night thus holds a special place in her memory; she has even held onto a few of the original ornaments from the tree in her hospital room, in commemoration of her remarkable recovery.\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">T<\/span><span style=\"font-weight: 400;\">he Christmas scene heard in \u201cRiver\u201d is not the triumph of her childhood, but the melancholic loneliness of the rest of the <\/span><i><span style=\"font-weight: 400;\">Blue <\/span><\/i><span style=\"font-weight: 400;\">album. And yet it captures many of those childhood images, such as the tree, and the longing to escape from a confined state.\u00a0 It is the genius of Mitchell that she can bring all of these images and experiences together to create sonic masterpieces in which audiences can find their own truth.\u00a0 <\/span><\/p>\n<p><i><span style=\"font-weight: 400;\">Blue <\/span><\/i><span style=\"font-weight: 400;\">was recorded at A&amp;M studios in Hollywood. The studio building was originally built by Charlie Chaplan in 1917 on the corner of La Brea and Sunset in Hollywood as a film studio.\u00a0 In 1966, it was purchased by Herb Alpert and Jerry Moss &#8211; converting two soundstages and Chaplin\u2019s pool into a recording studio.\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">At the same time that Mitchell was recording <\/span><i><span style=\"font-weight: 400;\">Blue <\/span><\/i><span style=\"font-weight: 400;\">in Studio A<\/span><i><span style=\"font-weight: 400;\">, <\/span><\/i><span style=\"font-weight: 400;\">Carole King was recording her landmark 1971 record, <\/span><i><span style=\"font-weight: 400;\">Tapestry <\/span><\/i><span style=\"font-weight: 400;\">in Studio B. Mitchell was in a relationship with James Taylor during these sessions, which also coincided with the recording of his <\/span><i><span style=\"font-weight: 400;\">Mud Slide Slim and the Blue Horizon<\/span><\/i><span style=\"font-weight: 400;\">. There were many shared musicians and collaborations between the three albums. King recalled:\u00a0\u00a0<\/span><\/p>\n<p><i><span style=\"font-weight: 400;\">\u201cA constant stream of singers, musicians, friends, and family flowed in and out of the recording studios along Sunset Boulevard. At A&amp;M we commuted down the hall. Sometimes we commuted between A&amp;M and Sunset Sound &#8230; When I wasn&#8217;t working on my own album I drove to Sunset Sound to play as a sideman and sing background on James [Taylor&#8217;s] songs &#8230; Periodically James came over to A&amp;M to play acoustic guitar and sing background on my record. Physical proximity to me and romantic proximity to James brought Joni&#8217;s beautiful voice to both James&#8217; and my albums.\u201d<\/span><\/i><\/p>\n<p><span style=\"font-weight: 400;\">Taylor performed guitar on several tracks from <\/span><i><span style=\"font-weight: 400;\">Blue<\/span><\/i><span style=\"font-weight: 400;\">: <\/span><i><span style=\"font-weight: 400;\">\u201cI remember the sessions at A&amp;M Studios with Henry Lewy behind the glass. There was never anyone else there, just Joni, Henry and me. I played on \u201cAll I Want,\u201d \u201cCarey,\u201d \u201cCalifornia\u201d and \u201cA Case of You.\u201d She had written most of those songs in the previous year or so while traveling. Maybe that\u2019s why so many were composed on the three-string dulcimer: a nice, portable axe. Playing along with her spare dulcimer accompaniment, I was free to substitute whatever chords I felt, which was great; but of course, it was her voice and the songs themselves that make \u2018Blue\u2019 so singular.\u201d<\/span><\/i><\/p>\n<p><span style=\"font-weight: 400;\">Drummer Russ Kunkle, performed on all three of these massive albums. His memory of the session, naturally, recalls the unique rhythmic expression of Mitchell\u2019s playing: <\/span><i><span style=\"font-weight: 400;\">&#8220;Keeping time is like a heartbeat&#8230;You have to be steady, but be able to fluctuate without being abrupt. There was always a rhythmic template to Joni&#8217;s music, and she set it. She set it with what she played, or with the cadence of what she sang, or a combination of subdividing the tempo with what she was singing and the tempo of what she was playing, and they were always well matched. So, for me, what I had to do was find something that accentuated that template without being obtrusive. And that&#8217;s all I ever tried to do &#8211; just support that without getting in the way.&#8221;<\/span><\/i><span style=\"font-weight: 400;\"> Also playing on the album is \u201cSneaky Pete\u201d Kleinow of the Flying Burrito Brothers. Kleinow is credited with guitar and pedal steel guitar. Stephen Stills performed on bass for the album.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Mitchell produced the album herself, with Henry Lewy as the engineer.\u00a0 Lewy had worked with her for her two previous albums &#8211; <\/span><i><span style=\"font-weight: 400;\">Clouds<\/span><\/i><span style=\"font-weight: 400;\"> in 1969 and <\/span><i><span style=\"font-weight: 400;\">Ladies of the Canyon<\/span><\/i><span style=\"font-weight: 400;\"> in 1970, having met her initially, through David Crosby. Lewy explained to <\/span><i><span style=\"font-weight: 400;\">Music Connection <\/span><\/i><span style=\"font-weight: 400;\">in 1982: <\/span><i><span style=\"font-weight: 400;\">\u201c&#8230;Crosby told me about Joni Mitchell. he said, &#8220;I know this girl and I did her first album. She&#8217;s about due to do a second album for Warner Brothers. She doesn&#8217;t need a producer; she needs an engineer who cares and who listens.&#8221; I seemed to fall in that category, so I started with Joni as sort of an engineer\u2014not a producer.\u201d<\/span><\/i><span style=\"font-weight: 400;\">\u00a0 <\/span><span style=\"font-weight: 400;\">Lewy\u2019s patient and sensitive personality was the perfect match for Mitchell, who took a very exploratory approach to recording in the studio.<\/span><\/p>\n<p><i><span style=\"font-weight: 400;\">Blue <\/span><\/i><span style=\"font-weight: 400;\">was released on June 22, 1971 by Reprise Records.\u00a0 The album hit number 15 in the US on the Billboard 200 chart, number 9 in her native Canada on the Canadian RPM Albums Chart and Number 3 on the UK Albums Chart.\u00a0 The album\u2019s single, \u201cCarey\u201d barely hit the Billboard Hot 100 &#8211; peaking at number 93. It\u2019s a strong initial performance &#8211; no doubt &#8211; and reviews were equally positive\u2026.but its legacy has far outshined the album\u2019s initial commercial success.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">50 years later, it is largely viewed &#8211; by audiences, critics and especially other musicians &#8211; as one of the greatest albums of all time. In 2020, <\/span><i><span style=\"font-weight: 400;\">Rolling Stone <\/span><\/i><span style=\"font-weight: 400;\">rated it number 3 on their list of the \u201c500 Greatest Albums of All Time.\u201d In 2000 <\/span><i><span style=\"font-weight: 400;\">The New York Times <\/span><\/i><span style=\"font-weight: 400;\">named it one of 25 albums that represented \u201cturning points and pinnacles in 20th century popular music.\u201d\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">David Crosby recently reflected: <\/span><i><span style=\"font-weight: 400;\">\u201c<\/span><\/i><i><span style=\"font-weight: 400;\">For me, Blue is the best singer-songwriter album. Picking a song from it is like choosing between your children. Can you imagine a better song than A Case of You? She was so brilliant as a songwriter, it crushed me. But she gives us all something to strive for.\u201d\u00a0 <\/span><\/i><span style=\"font-weight: 400;\">It would be impossible to overstate the influence this album has had on generations of aspiring songwriters and musicians, alongside the influence it had on her own circle of musician friends at the turn of the seventies.\u00a0 In the midst of an impressive collection of phenomenal songwriters and musicians, Joni Mitchell bared her soul and brilliance with an unmatched level of honesty and abandon.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><b><i>Written by Caitlin Vaughn Carlos\u00a0<\/i><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Watch the\u00a0video below to learn more about Joni Mitchell&#8217;s &#8216;Blue&#8217;!<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_raw_html]JTNDaWZyYW1lJTIwd2lkdGglM0QlMjI1NjAlMjIlMjBoZWlnaHQlM0QlMjIzMTUlMjIlMjBzcmMlM0QlMjJodHRwcyUzQSUyRiUyRnd3dy55b3V0dWJlLmNvbSUyRmVtYmVkJTJGZHBveW13ZnNGNjAlMjIlMjB0aXRsZSUzRCUyMllvdVR1YmUlMjB2aWRlbyUyMHBsYXllciUyMiUyMGZyYW1lYm9yZGVyJTNEJTIyMCUyMiUyMGFsbG93JTNEJTIyYWNjZWxlcm9tZXRlciUzQiUyMGF1dG9wbGF5JTNCJTIwY2xpcGJvYXJkLXdyaXRlJTNCJTIwZW5jcnlwdGVkLW1lZGlhJTNCJTIwZ3lyb3Njb3BlJTNCJTIwcGljdHVyZS1pbi1waWN0dXJlJTIyJTIwYWxsb3dmdWxsc2NyZWVuJTNFJTNDJTJGaWZyYW1lJTNF[\/vc_raw_html][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column][vc_column_text]In 1971, Joni Mitchell released one of the most influential and powerfully introspective albums of all time, Blue.\u00a0 In a tumultuous period of her young life, learning to balance fame alongside changing personal relationships, Mitchell held nothing back. She shared an incredible vulnerability that not only tapped into the spirit of her own generation at&hellip;<\/p>\n","protected":false},"author":25,"featured_media":51870,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-51869","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-audio-engineering"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>\u201cSongs Are Like Tattoos\u201d: How Joni Mitchell\u2019s Blue Transformed The Singer-Songwriter - Produce Like A Pro<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/producelikeapro.com\/blog\/joni-mitchell-blue\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cSongs Are Like Tattoos\u201d: How Joni Mitchell\u2019s Blue Transformed The Singer-Songwriter - Produce Like A Pro\" \/>\n<meta property=\"og:description\" content=\"[vc_row][vc_column][vc_column_text]In 1971, Joni Mitchell released one of the most influential and powerfully introspective albums of all time, Blue.\u00a0 In a tumultuous period of her young life, learning to balance fame alongside changing personal relationships, Mitchell held nothing back. 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