A Quote by Duncan Sheik
I did a song, "Court and Spark," for a Joni Mitchell tribute album that's yet to see the light of day. So she's someone I'd like to do something with, sure. I worked with the great guitar player Bill Frisell on Phantom Moon - that was fun. I'm such a fan; he's amazing.
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On first listening, Joni Mitchell's 'Court And Spark,' the first truly great pop album of 1974, sounds surprisingly light; by the third or fourth listening, it reveals its underlying tensions.
That's the music that I play at home all the time, Joni Mitchell. Court and Spark I love because I'd always hoped that she'd work with a band. But the main thing with Joni is that she's able to look at something that's happened to her, draw back and crystallize the whole situation, then write about it. She brings tears to my eyes, what more can I say? It's bloody eerie. I can relate so much to what she says. "Now old friends are acting strange/They shake their heads/They say I've changed."
I grew up listening to Joni Mitchell's version of "A Case of You." My mom was a huge Joni Mitchell fan.
Why would I want to sound like Joni Mitchell? I've got Joni Mitchell records, and they're great, and I couldn't possibly be that good.
I'm a huge fan of Joni Mitchell, and I think her music has inspired me lyrically and guitar-wise.
I don't know any guitar player, any of the real greats, who don't rate Joni Mitchell up there with the best of them.
It's one thing having a great song, but I think for me if you take it to the next level... say you had a guitar and a vocal, and the song was amazing but the vocalist wasn't that great and it just was a guitar and vocal acoustic track, switching that to something like an amazing voice singing the exact same song with the instrumentation being really nice and lush or unique in some way and interesting and diverse... I think it's all about the instrumentation and textures in the sound.
Joni Mitchell's someone who has tried to make sense of her own world, sometimes painfully, through song.
I listened to a lot of Joni Mitchell in high school. She was sort of an inspiration to me. I think she's a great lyricist, and she makes interesting choices.
Whenever I think I know something is a classic, or an amazing song, I realise it's still so subjective, because you and your friends could be talking about something, say, '(I Can't Get No) Satisfaction' - an amazing classic song - or someone would be like, "'Hey Jude' is an amazing song!", and I'd be like, "I don't really like it."
Chelsea Morning is a great Joni Mitchell song and I guess I'm partial to her lyrics because they show me a slightly different perspective on life.
When you love a song so much you have to sing, you know how you feel - it releases something in you that resonates as true, whether it's James Brown or Joni Mitchell.
Look, nobody is a bigger fan of Tommy Shaw than me. The day I met him in 1975 I knew he was going to be a great guitar player, performer and songwriter. I was his biggest fan, and I'm Styx's number one fan.
At 13 I taught myself piano from an old song book, and Joni Mitchell's 'Both Sides Now' was the first song I learned.
We're talking about an extremely prolific poet and songwriter and lyricist. That stuff comes off the top of her head. She [Joni Mitchell] will write exactly what she lives. If she puts some money in the soda machine, she'll write about putting money in the soda machine. "Dry Cleaner from Des Moines," on the Shadows & Light album, was about sitting next to a dry cleaner from Des Moines, playing a slot machine.
When the suggestion was made that I might consider doing music of Joni Mitchell, I thought it was a fantastic idea. Joni, I admire not only for her music but for her person, because she's a person that really stands out for what she believes in.
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