Her first paid performance was on October 31, , at a Saskatoon club that featured folk and jazz performers. Although she never performed jazz herself in those days, Mitchell and her friends sought out gigs by jazz musicians. Mitchell said, "My jazz background began with one of the early Lambert, Hendricks and Ross albums. I considered that album to be my Beatles. I learned every song off of it, and I don't think there is another album anywhere—including my own—on which I know every note and word of every song.
But art was still her chief passion at this stage. When she finished high school at Aden Bowman Collegiate in Saskatoon, she took art classes at the Saskatoon Technical Collegiate with abstract expressionist painter Henry Bonli [34] and then left home to attend the Alberta College of Art in Calgary for the —64 school year.
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Here she felt disillusioned about the high priority given to technical skill over free-class creativity, [23] and felt out of step with the trend toward pure abstraction and the tendency to move into commercial art. After a year, at age 20, she dropped out of school, a decision that greatly displeased her parents, who could remember the Great Depression and valued education highly.
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She continued to play gigs as a folk musician on weekends at her college and at a local hotel. She sang at hootenannies and made appearances on some local TV and radio shows in Calgary. On the three-day train ride there, Mitchell wrote her first song, "Day After Day". A year later, Mitchell too played Mariposa, her first gig for a major audience, and years later Sainte-Marie herself covered Mitchell's work. Rejected from major folk clubs, she resorted to busking , [31] while she "worked in the women's wear section of a downtown department store to pay the rent.
She found her best traditional material was already other singers' property and would no longer pass muster. That's my song. I ran into it again in Toronto. She later wrote, "[He] left me three months pregnant in an attic room with no money and winter coming on and only a fireplace for heat. The spindles of the banister were gap-toothed—fuel for last winter's occupants.
Unable to provide for the baby, she placed her daughter, Kelly Dale Anderson, for adoption. The experience remained private for most of Mitchell's career, although she alluded to it in several songs, such as " Little Green ," which she performed in the s and recorded eventually for the album Blue. The existence of Mitchell's daughter was not publicly known until , when a roommate from Mitchell's art-school days in the s sold the story of the adoption to a tabloid magazine.
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Mitchell and her daughter met in When she could not express herself to the person she wanted to talk to, she became attuned to the whole world, and she began to write personally. A few weeks after the birth of her daughter in February , Mitchell was playing gigs again around Yorkville, often with a friend, Vicky Taylor, and was beginning to sing original material for the first time, written with her unique open tunings.
Chuck was immediately attracted to her and impressed by her performance, and he told her that he could get her steady work in the coffeehouses he knew in the United States. Sometime in late April , Mitchell left Canada for the first time; she traveled with Chuck Mitchell to the US, where the two began playing music together. She said, "I made my dress and bridesmaids' dresses. We had no money I walked down the aisle brandishing my daisies. The marriage and partnership of Joni and Chuck Mitchell ended with their divorce in early , and she moved to New York City to follow her musical path as a solo artist.
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She performed frequently in coffeehouses and folk clubs and, by this time creating her own material, became well known for her unique songwriting and her innovative guitar style. Folk singer Tom Rush had met Mitchell in Toronto and was impressed with her songwriting ability. He took "Urge for Going" to the popular folk artist Judy Collins , but she was not interested in the song at the time, so Rush recorded it himself. Collins also covered "Chelsea Morning", another recording that eclipsed Mitchell's own commercial success early on. While Mitchell was playing one night in the Gaslight South, [48] a club in Coconut Grove , Florida, David Crosby walked in and was immediately struck by her ability and her appeal as an artist.
Soon she was being managed by Elliot Roberts , who, after being urged by Buffy Sainte-Marie, had first seen her play in a Greenwich Village coffee house. Eventually she was signed to the Warners-affiliated Reprise label by talent scout Andy Wickham. Mitchell toured steadily to promote the LP. The tour helped create eager anticipation for Mitchell's second LP, Clouds , which was released in April This album contained Mitchell's own versions of some of her songs already recorded and performed by other artists: " Chelsea Morning ", " Both Sides, Now ", and "Tin Angel". The covers of both LPs, including a self-portrait on Clouds , were designed and painted by Mitchell, a blending of her painting and music that she continued throughout her career.
The following month, Reprise released her third album, Ladies of the Canyon. Mitchell's sound was already beginning to expand beyond the confines of acoustic folk music and toward pop and rock, with more overdubs, percussion, and backing vocals, and for the first time, many songs composed on piano, which became a hallmark of Mitchell's style in her most popular era. The album also included the already-familiar song "The Circle Game" and the environmental anthem " Big Yellow Taxi ", with its now-famous line, "they paved paradise and put up a parking lot. Ladies of the Canyon was an instant smash on FM radio and sold briskly, eventually becoming Mitchell's first gold album selling over a half million copies.
She made a decision to stop touring for a year and just write and paint, yet she was still voted "Top Female Performer" for by Melody Maker , a leading UK pop music magazine. The songs she wrote during the months she took off for travel and life experience appeared on her next album, Blue , released in June Comparing Joni Mitchell's talent to his own, David Crosby said, "By the time she did Blue , she was past me and rushing toward the horizon".
Blue was an almost instant critical and commercial success, peaking in the top 20 in the Billboard Album Charts in September and also hitting the British Top 3. The lushly produced " Carey " was the single at the time, but musically, other parts of Blue departed further from the sounds of Ladies of the Canyon. Her most confessional album, Mitchell later said of Blue , "I have, on occasion, sacrificed myself and my own emotional makeup, We all suffer for our loneliness, but at the time of Blue , our pop stars never admitted these things.
Mitchell later remarked, "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't pretend in my life to be strong. Mitchell decided to return to the live stage after the great success of Blue , and she presented new songs on tour which appeared on her next album, her fifth, For the Roses.
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The album was released in October and immediately zoomed up the charts. Court and Spark , released in January , saw Mitchell begin the flirtation with jazz and jazz fusion that marked her experimental period ahead. Court and Spark went to No. The LP made Mitchell a widely popular act for perhaps the only time in her career, on the strength of popular tracks such as the rocker " Raised on Robbery ", which was released right before Christmas , and " Help Me ", which was released in March of the following year, and became Mitchell's only Top 10 single when it peaked at No.
Express as what she called her first real backing group. In February , her tour with the L. Express began, and they received rave notices as they traveled across the United States and Canada during the next two months. A series of shows at L.
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In November, Mitchell released that album, Miles of Aisles , a two-record set including all but two songs from the L. Music Center, on March 4, were also included in the set. The live album slowly moved up to No. Mitchell went into the studio in early to record acoustic demos of some songs that she had written since the Court and Spark tour. A few months later she recorded versions of the tunes with her band. Her musical interests were now diverging from both the folk and the pop scene of the era, toward less structured, more jazz-inspired pieces, with a wider range of instruments.
On "The Jungle Line", she made an early effort at sampling a recording of African musicians, something that became more commonplace among Western rock acts in the s. In early , Mitchell traveled with friends who were driving cross country to Maine.
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Afterwards, she drove back to California alone and composed several songs during her journey which featured on her next album, 's Hejira. She stated that "This album was written mostly while I was traveling in the car. That's why there were no piano songs The album climbed to No. Hejira "did not sell as briskly as Mitchell's earlier, more "radio-friendly" albums, [but] its stature in her catalogue has grown over the years".
In she said, "I suppose a lot of people could have written a lot of my other songs, but I feel the songs on Hejira could only have come from me. In mid, Mitchell began work on new recordings that became her first double studio album. Close to completing her contract with Asylum Records, Mitchell felt that this album could be looser in feel than any album she'd done in the past.