A Quote by Shawn Colvin

There were bars that began to have acoustic musicians play, it was 1970: Joni Mitchell, Jackson Browne, America, The Eagles, all that kind of stuff was popular. It was very easy for me to just kind of move in and be noticed.
I had been listening to Jackson Browne, The Eagles, and Linda Ronstadt. Ramones was not my kind of music. Now, I'm a huge fan and I get it. I wasn't initially a punk-rock fan. Now, I can appreciate what they stood for and who they were.
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 grew up listening to Joni Mitchell's version of "A Case of You." My mom was a huge Joni Mitchell fan.
When the Eagles were starting out in the early '70s, it would have been hard to imagine anyone in the fledgling, country-accented rock group someday seriously challenging the artistic punch of Neil Young or Joni Mitchell.
I've had mentors who were kind of the troubadour singer-songwriters, like Merle Haggard, Loretta Lynn, Joni Mitchell, Bob Dylan and Neil Young, and that's just what I've always liked - people who would talk real honestly about their lives and their circumstance.
My stuff was more of a folk coffeehouse thing, with more acoustic guitar, just me doing a single, and then adding on instruments and voices, with emphasis on lyrics and singing and light kind of acoustic jazz.
There have never been a lot of female guitarists out there, so most of my influences were male. Acoustically, I followed Joni Mitchell and Paul Simon. Also, John Lennon and Paul McCartney - both incredible acoustic guitar players.
I'm not the kind of guy who can be sitting around listening to Joni Mitchell, chilling. I'd rather bash my head against a wall.
I'm guilty of being perceived as having narrow taste. I went after the artists that I thought were important - Dylan, Joni Mitchell, Bruce Springsteen and stuff.
I visited New York in '63, intending to move there, but I noticed that what I valued about jazz was being discarded. I ran into `out-to-lunch' free jazz, and the notion that groove was old-fashioned. All around the United States, I could see jazz becoming linear, a horn-player's world. It made me realize that we were not jazz musicians; we were territory musicians in love with all forms of African-American music. All of the musicians I loved were territory musicians, deeply into blues and gospel as well as jazz.
I would say I grew up listening a lot to Barbra Streisand and Judy Garland and Joan Baez and Joni Mitchell. I grew up listening to those because my parents were kind of into folk music.
I was pretty strict in high school about who I would listen to. Musicians like Neil Young, Cat Stevens, Bob Dylan, Joni Mitchell... who were, in my opinion, great writers. The music mattered, but it held hands with the lyrics, and the personality was, overall, unsullied.
I mean, Philadelphia, if the Eagles were to win the Super Bowl, you kind of wonder how it'd change the city in some way. At the end of the day, as intense as Eagles fans are or as Philadelphia fans are, they really just love their team and they'll be happy either way. The Eagles have made Philadelphia proud.
I play in bars all the time in the States, so I'm kind of used to it. I've just got off the road with the family in Australia, and I enjoyed it but it feels really good to be getting back to doing this stuff.
I sit around and play acoustic guitar - usually acoustic, sometimes electric, occasionally piano, but more often guitar, just trying to come up with tunes. Ideas kind of pop into your head.
But recently I began to feel that maybe I wouldn't be able to do what I want to do and need to do with American musicians, who are imprisoned behind these bars; music's got these bars and measures you know.
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