A Quote by Lee Ranaldo

I've always played acoustically - it's how I learned. I grew up listening to Leonard Cohen, Joni Mitchell, Neil Young, Dylan and what have you. — © Lee Ranaldo
I've always played acoustically - it's how I learned. I grew up listening to Leonard Cohen, Joni Mitchell, Neil Young, Dylan and what have you.
I didn't grow up listening to him - my parents listened more to Neil Young and Joni Mitchell - but I lived in a flatshare for two years, and my flatmate loved Leonard Cohen. He would always play him when he got home from the studio or something.
I do own CDs by Neil Young, Leonard Cohen, and Joni Mitchell, but I don't think of them as being major influences on my writing.
For someone like me, who has grown up with Joni Mitchell and Bob Dylan and Leonard Cohen, it's hard not to invest a lot of myself in what I do.
As a kid, I was listening to Aretha Franklin, Etta James and hip-hop as well as music my parents were listening to, like Joni Mitchell and Leonard Cohen.
My friends and I took songwriting very, very seriously. My hero was and still is Bob Dylan, but also people like Leonard Cohen and Joni Mitchell and that whole generation.
I grew up listening to Joni Mitchell's version of "A Case of You." My mom was a huge Joni Mitchell fan.
When I discovered Bob Dylan and Leonard Cohen, I could explore the records that inspired me on a different level and that led me to Joni Mitchell, who is maybe my favorite of all time, and Warren Zevon. Those artists that wrote the lyrics that you try for.
I was really lost for a while in my teens. I was angry. But when I found music - Bob Dylan, Neil Young, Joni Mitchell - it was a new discovery. It was a door to this other world where I wanted to be.
There really are two different schools of songwriting-American and Canadian. It's interesting. You guys have this history of guys like Paul Williams and Jimmy Webb, and they're different than Neil Young and Joni Mitchell and Leonard Cohen. All those weird voices come out of Canada. That's because it's so cold here we can hardly open our mouth. We get much less light in Canada. No wonder the writing's dark.
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.
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.
When you listen to early Leonard Cohen records or Joni Mitchell records, you feel like a window is being opened into someone's life.
[I have] my own view about [Bob] Dylan's Nobel prize. Which is, I'm firmly in the Nay camp. I do think the award is a category error, but that's not why. Not in itself. What bothers me is the perceived status of the categories. If pop lyricists were routinely considered for the prize as are authors and poets, I'd still think it mistaken, but I wouldn't much care. But I am quite certain that Joni Mitchell and Leonard Cohen, for example, both at the very least Dylan's equals as writers, have never been in the running and never will be.
You know, I grew up listening to Joni Mitchell.
Bob Dylan and Leonard Cohen. They're my biggest heroes. I love everything about Leonard Cohen: his lyrics and his voice. He seems like a really clever man, and Bob Dylan does as well. He's just really cool.
As a bit of loner, prone to melancholy, with a questionable sexuality, I found great solace in the words of-Dylan, Joni, John Prine and Leonard Cohen. The darker the better.
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