Joni Mitchell – Court and Spark
It’s not a good time to be saying anything less than glowing about Joni Mitchell, with her recent triumphant return to the stage. A lot of people love her music. I am not one of those people. The ones who love her are right to do so. And the rest of us are right not to.
Of course, it’s not allowed to be that simple. We struggle to understand why people don’t share our values and opinions. Is there something wrong with them? Or am I the problem? We are highly irrational about the things we love, and no better about the things we don’t.
Somewhere, there’s a Rammstein fan asking herself why she should give a shit about some old lady. I’m not quite there, but I can’t fake caring about Joni Mitchell’s music. Oh, it isn’t absolute – there are things on “Court and Spark” that I quite like, as there were on “Blue” (“A Case of You” still gives me chills) and the less-heralded “For the Roses” and “Chalk Mark in a Rain Storm”. But, for the most part, I have resisted the mighty weight of the Joni Mitchell Critical Complex.
When you read or talk about music, you will run into lots of people telling you that you’re wrong about something like this. They will explain patiently, as if speaking to a well-behaved child, why you are wrong: her intimate confessional lyrics, her melodies, her novel vocal style, her experiments with jazz. None of this is incorrect, but it misses the point. I don’t care how “great” she is, because I don’t care about the sounds she’s making. And if you don’t get enjoyment from what you’re listening to, why are you even listening to it? For all her greatness, give me something I enjoy. This isn’t broccoli, or cardio, or meditation, or any other thing I do (haphazardly) because it’s good for me. Give me cuddlecore, bedroom pop, emo. Give me my 50th play of “Welcome Interstate Managers”, my 100th play of “The Stranger”, my 250th of “My Aim is True”. But also give me artists that I had never even heard of until this very month: give me Cub, Freedy Johnston, Blake Babies, Leo Nocentelli, Leikeli 47, Hollie Cook. I hope you’ll check them out, but I won’t argue if they don’t do it for you. Just don’t tell me why I’m wrong to not love Joni.
Even some of the reasons given for why she is great don’t sit right with me. Does the personal nature of her lyrics make them better than less personal work? “My Sweet Annette” by Drive-By Truckers never fails to move me (pedal steel guitar is one of the most mournful instruments ever invented, and if you pair it with fiddle, I am pretty much done for), and that story absolutely did not happen to the writer. Artists make the personal universal and the universal personal: neither is intrinsically better than the other.
Or her voice. Yes, it’s distinctive, and you would know it anywhere. But what are you to do if you find it so displeasing that it distracts you from the song? This is sometimes what I experience with her work.
Often what I like in her music are the things that seem less like what I expected to hear. The shambling southern rock feel of much of the guitar work in “Free Man in Paris” (which I have been spontaneously singing over the past week). The boogie-woogie rhythms of “Raised on Robbery”. The minimalist funk of “Trouble Child”. The madcap silliness of “Twisted”. There are pleasant smooth jazz-adjacent moments throughout the record, and from what I know of her subsequent career, it turned out to be a sandbox that she quite enjoyed playing in.
“Court and Spark” is a perfectly fine pop record: I just don’t hear whatever it was that made critics decide it was the best album of its year, and I could listen to it one hundred times and probably never hear it. Luckily, I don’t have to: there’s always another play of “Purple Rain” waiting for me if I run out of ideas about what to put on next.
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Count me among the “nonfans” of Joni. I bought this very album when it came out, because it had the hit, “Help Me”, on it. Maybe because I was a teenager then, I didn’t really connect with it. I don’t know whether I’d feel any different hearing it now.