Reckless Daughter
Page 44
Colaiuta, Vinnie, 354
Cold War, end of, 333–35
Cole, Nat King, 360
Coleman, Lisa, 291, 331
Coleman, Ornette, 269
Collins, Judy, 30, 47–50, 53, 55, 74, 75, 78; “Both Sides, Now” cover, 47–50, 64, 90, 94, 101, 105, 361; In My Life, 55; Mitchell and, 47–50, 52–53, 96, 115; Wildflowers, 47, 48, 55
Collins, Phil, 323, 326, 327, 328
color, 8, 40–41, 57, 58, 94, 144
Coltrane, John, xiii, 81, 142, 172, 222, 254, 281
Columbia Records, 72, 249
“Come in from the Cold,” 352
comics, 117–18
Considine, Tom, 130
“Conversation,” 115–16
“Cool Water,” 331
Corea, Chick, 375
Costello, Elvis, 196, 300, 332
Cotton, Elizabeth, 30
“Court and Spark,” 176–78
Court and Spark, 135, 138, 171–89, 197, 207, 220, 223, 279, 280, 290, 360; influence on other musicians, 187–89; L.A. Express and, 172–76, 183, 184; reviews, 176; sales, 178–79, 193, 284; songs, 176–89; success of, 178–79, 187–89, 193–95, 210, 284; tour, 190–93; vocal style, 176, 177. See also specific songs
covers, album, 86–87, 336, 366; Blue, 130; Clouds, 86–87; Don Juan’s Reckless Daughter, 256–58; For the Roses, 160, 228; Hejira, 228–29; The Hissing of Summer Lawns, 87; Ladies of the Canyon, 113, 117; Mingus, 87; Wild Things Run Fast, 292. See also specific albums
cowbell, 114
“Coyote,” 204, 206, 207, 210, 220, 228, 229, 230, 232, 245, 298
“Crazy Cries of Love, The,” 352
Cream, 222
Crete, 122, 132
Crosby, David, 43, 50, 68–73, 96–97, 104–105, 117, 123–24, 188, 333, 338; “Almost Cut My Hair,” 99–100; drug use, 148; Mitchell and, 68–73, 92, 97–98, 111, 124–25, 144, 183, 360; as Song to a Seagull producer, 71–81, 97; Woodstock and, 107–12
Crosby, Stills & Nash, 104–105, 124, 133, 134, 158, 246; “Our House,” 112–13, 124; “You Don’t Have to Cry,” 104
Crosby, Stills, Nash & Young, 107, 117; Woodstock and, 107–12; “Woodstock” cover, 111, 244
Crouse, Timothy, 41, 143
Crow, Sheryl, 178
Crowe, Cameron, 112, 132, 280, 331
Crusaders, 175
cumbia, 264
Curie, Marie, 10–11, 55, 120
D
“Dancin’ Clown,” 331
Danko, Rick, 222, 246
Darin, Bobby, 17
David Letterman, 343
Davis, Angela, 157
Davis, Miles, xiii, 24–25, 81, 84, 86, 98, 155, 172–74, 192, 199, 234, 253, 254, 263, 264, 275, 286, 292, 324, 344, 348, 349, 351; Bitches Brew, 173, 174, 259; drug use, 259–60; Kind of Blue, 111, 249; The Man with the Horn, 260; Mitchell and, 259–60, 275; “Nefertiti,” 269; Seven Steps to Heaven, 192
Davis, Richard, 142
Davis, Stephen, Hammer of the Gods: The Led Zeppelin Saga, 188
“Dawntreader, The,” 96–97
Dawson, Pic, 117
Day, Doris, 362
“Day After Day,” 31–32, 39
Debussy, Claude, xiii, 100, 177, 180, 199, 249; “Clair de Lune,” 177
Dee, Sandra, 17
De Niro, Robert, 200
Depression, Calgary, 30–31
Details magazine, 283
Detroit, 36–38, 342, 365; 1960s music scene, 37–39
Diamond, Neil, 244, 294
Dickens, Charles, 159
Dickinson, Emily, 130
Dickson, Sharolyn, 14–15
Diddley, Bo, 95, 115
Diltz, Henry, 117
Diner (movie), 296
“Dr. Junk, the Dentist Man,” 96, 98
Dog Eat Dog, xv, 289, 307–18, 322, 324, 331, 337, 351, 354, 359; production, 308–15; reviews, 316–17; songs, 310–15. See also specific songs
Dolby, Thomas, 308–15, 328, 333–34; as Dog Eat Dog producer, 308–15; “She Blinded Me with Science,” 308
Dolphy, Eric, 263
“Don Juan’s Reckless Daughter,” 206, 210, 223, 229, 255, 298
Don Juan’s Reckless Daughter, 187, 253–62, 265, 274, 281, 299, 301, 309; cover art and controversy, 256–58; reviews, 257, 261–62, 298; sales, 261; songs, 253–56; success of, 261–62. See also specific songs
Donlon, Denise, 345
Donovan, 65; “Season of the Witch,” 76
“Don’t Interrupt the Sorrow,” 196, 205, 207, 255
Dont Look Back (documentary), 80, 196
Doors, 91, 92, 117, 324
Dora (housekeeper), 305–306
Douglas, Dave, 98; Moving Portrait, 98; “Roses Blue” cover, 98
Down Beat, 233, 280
“Down to You,” 184–86, 220, 343; performance of, 185–86
“Dreamland,” 255–56
drugs, 70, 71, 123, 128–29, 131, 142, 144, 148, 157, 201, 203, 208, 245–46; Mitchell’s use of, 131, 204, 208, 218–24, 228, 229, 239–42, 303, 316
drums, 114, 115, 172, 259, 315; Blade on, 348–53; on Blue, 134, 135, 136; on Court and Spark, 174; Guerin on, 172–74, 223; on Ladies of the Canyon, 114–15
Dublin, 345
Du Bois, W.E.B., 277, 278
dulcimer, 133–34, 304; on Blue, 133–34, 135, 147
Duran Duran, 291
Dylan, Bob, xiv, 4, 47, 52, 64, 66, 67, 74, 80, 86–88, 93, 96, 99, 103, 119, 149, 157, 162, 180, 182, 196, 236, 244, 246, 294, 309, 324, 325, 335, 336, 369; Baez and, 80, 200–205; Blonde on Blonde, 199, 200; Blood on the Tracks, xiv, 142, 199, 200–201; “Blowin’ in the Wind,” 72, 99–100; bootlegs, 200–201; Bringing It All Back Home, 74, 199; “Chimes of Freedom,” 369; debut album of, 72; Desire, xiv, 172, 201; “Don’t Think Twice, It’s All Right,” 96; The Freewheelin’ Bob Dylan, 72; Gates of Eden, 80; “A Hard Rain’s A-Gonna Fall,” 72, 76; Highway 61 Revisited, 199; “Hurricane,” 199; “It Ain’t Me, Babe,” 96; “It’s All Over Now, Baby Blue,” 42; “It’s Alright, Ma (I’m Only Bleeding),” 80; “Like a Rolling Stone,” 46–47, 248; “Masters of War,” 72, 99; “Mr. Tambourine Man,” xiv, 36, 37, 68, 127–28; Mitchell and, 187–88, 198–212, 251, 353–55; Modern Times, xiv; 1965 UK tour, 80; Oh Mercy, 309, 328; “One More Cup of Coffee,” 251; as a painter, 251; “Positively 4th Street,” xiv, 46, 96; religious conversion, 202; Rolling Thunder Revue tour, 63, 198–209, 210, 243; “Sara,” 199; as songwriter, 46–47, 97, 100, 142, 187, 199; Street Legal, 217; “Tangled Up in Blue,” 142, 199; Time Out of Mind, 328, 353
Dylan, Sara, 199, 202, 251
E
Eagles, 211, 258
Earhart, Amelia, 220, 239
Eastwood, Kyle, From Here to There, 359
Edison, Harry, “Centerpiece,” 212
“Edith and the Kingpin,” 197
Elder, Boyd, 211
Elektra Records, 48, 50, 283
Eliot, T. S., 55, 265; Four Quartets, 265–68; The Waste Land, 270
Ellington, Duke, xiii, 16, 25, 86, 100, 172, 199, 263, 264
Elliot, Cass, 69, 78, 117, 136
Elliott, Ramblin’ Jack, 199
Ellis, Ray, 359
Eno, Brian, 72
environmentalism, 114, 119–20, 127, 333, 368
Erskine, Peter, 274, 275
Ertegun, Ahmet, 182
Ervin, Booker, 269, 270
“Ethiopia,” 312–13, 346, 356
Evans, Gil, 363
Everly Brothers, 9
Evers, Medgar, 88
F
“Fairlight Marimba,” 328
Farm Aid, 309, 343
Farrow, Mia, 180
Fassbinder, Rainer Werner, 339–41
Fayetteville, North Carolina, 94–95, 332
Feather, Leonard, 280
Feldman, Victor, 173, 192, 281, 292, 301
Feliciano, José, 195
feminism, 117, 118, 158, 356
Fender Rhodes, 274
Fez, New York City, 350–51
“Fiddle
and the Drum, The,” 100–101, 371
Fiddle and the Drum, The (ballet), xii, 101, 370–73
Fiedler, Bernie, 66–67
First Nation, 150
“Fishbowl, The,” 16–17
Fitzgerald, Ella, 52, 174
Fitzgerald, F. Scott, The Great Gatsby, 231
Flanagan, Bill, 103
folk music, 49, 52, 66, 172, 174; decline of, 66, 94, 179; Mitchell’s beginnings in, 30–43, 66–68, 85, 93, 114; Newport Festival, 52–54. See also specific musicians
Ford, Gayle, 214–16, 225, 227, 229
Ford, Robben, 14, 175, 191–92, 214, 221, 225, 229, 303
“For Free,” 114, 190
“For the Roses,” 153, 156–57, 158–59, 197, 365
For the Roses, 27, 152, 153, 156–64, 167, 171, 173, 174, 194, 359; cover art, 160, 228; reviews, 161, 163; sales, 163; songs, 153–55, 156–64; vocal quality, 158, 161. See also specific songs
Fort Macleod, Alberta, 3
Foulk, Ron and Ray, 324
Frampton, Peter, 129, 193
Freed, Donald, 337, 338, 339, 352, 355
“Free Man in Paris,” 4, 181–82
Freud, Sigmund, 152, 166, 196, 204, 219
Frey, Glenn, 261
Friedman, Kinky, 209, 211
“Furry Sings the Blues,” 90, 212, 229, 230, 231–32, 246, 258, 330
G
Gabriel, Peter, 294, 321–22, 326–29; “Biko,” 323; “In Your Eyes,” 331; “Mercy Street,” 322; Mitchell and, 326–32; “Sledgehammer,” 332; So, 321, 322, 328, 332
Gaga, Lady, 188
“Gallery, The,” 98
Gandalf, 37–38, 56
Garbarini, Vic, 271–72
Garland, Judy, 263
Gaslight, New York City, 38–39
Gaslight South, Miami, 97
Gaye, Marvin, 314, 360; “Trouble Man,” 314, 359, 364; “What’s Going On,” 142, 157
Geffen, David, 65, 70, 102, 107, 152, 181–82; Free Man in Paris and, 181–82; Mitchell and, 70, 102, 157, 163–64, 166, 171, 181–82, 187, 191, 193, 195, 267, 280, 282–84, 317, 331
Geffen Records, 283–84, 300
Genesis, 326, 327
Gershwin, George, 360
Gershwin, Ira, 360
Getz, Stan, 173, 174, 272
Gibb, Kilauren, 33, 334, 347, 355–59; birth of, 35; given up for adoption by Mitchell, 35–37, 40–41, 43, 132, 154, 158, 194, 284, 301–302, 313, 346–47, 352; as “Little Green,” 40–41, 143, 346–47, 356; relationship with Mitchell, 352, 355–59; secret messages in Mitchell’s songs for, 40–41, 143, 301–302, 346–47, 352, 356
Gibbs, Michael, 249–50
Gilbert, Ronnie, 49
Gillespie, Dizzy, 52, 174, 249, 268, 362
Gilliatt, Penelope, 296
Ginsberg, Allen, 74, 200, 201, 226, 267
Girls (TV show), 4
“God Must Be a Boogie Man,” 276–77
Goffin, Gerry, 58, 148
“Goodbye Pork Pie Hat,” 270–72, 273
“Good Friends,” xv, 310
Gordon, Dexter, 269
Gorson, Arthur, 65
Gould, Glenn, 249
Grammy Awards, 3, 49, 220, 294, 353, 366, 367, 368; for Clouds, 93; for Collins’s “Both Sides, Now,” 49–50, 64, 101; for Turbulent Indigo, 336, 337
Grand-Maître, Jean, xii, 100, 370–73
Grateful Dead, 102
Gray, Wardell, “Twisted,” 186
Great Album theory, 141–42
Great Britain, 28, 89, 319, 321, 326, 328–29
Greece, 122, 130, 132, 133, 146
Green, Debbie, 237
Green Flag Song, 370
Greenpeace, 127, 322
Grogan, Emmett, 215–17
Grossman, Albert, 64–65
Grotjahn, Martin, 166, 168–70
Guardian, The, 116
Guerin, John, 172–76, 181, 204, 239, 252, 309, 338, 349, 351; Mitchell and, 172–76, 191, 193, 195, 196, 200, 210–16, 219, 223, 234, 235, 267, 286–88, 292, 299
guitar, 24, 30, 33, 81, 235, 289, 337; “Cotton Picking,” 30; Hendrix and, 81; Mitchell’s style of, 39–43, 59, 133, 135, 165, 172, 175–76, 191–92, 235, 247, 266, 303, 309, 312–13, 353–54; tunings, xvi, 39, 49, 50–51, 59, 86, 147, 172, 191–92, 237, 353
Guthrie, Woody, 119
H
Hackman, Don, 161
Hadi, Shafi, 279, 280
Haggard, Merle, 71
Half Beat, Toronto, 33, 66
Hamill, Peter, 321
Hamilton, George, IV, 39
Hammond, John, 53, 72, 182
Hancock, Herbie, 144, 173, 221, 254, 274, 363, 365; Gershwin’s World, 359–60; Mitchell and, 274–76, 329–30, 359–60, 375; River: The Joni Letters, 276, 329, 367
Handy, John, 269, 270
Handy, W. C., 231
Hanisch, Carol, “The Personal Is Political,” 162–63
Hannah, Daryl, 343
“Harlem in Havana,” 352
harmonica, 246
harmony, 4, 46, 50, 58, 101, 104, 128, 143, 162, 172, 175, 192, 208, 230, 264, 301; Crosby, Stills & Nash, 104–105, 246; Last Waltz concert, 246
Harris, Emmylou, 245
Harrison, George, 309
Harrison, Noel, 59
“Harry’s House,” 195–96, 212
Hawaii, 118–20
Hawkins, Coleman, 272
Headhunters, 274
Heckman, Don, 120, 139
“Hejira,” 230, 234–35, 281, 330
Hejira, xv, 32, 217, 219–24, 228–42, 245, 279, 281, 299, 301, 309, 329, 344, 348, 351; cover art, 228–29; reviews, 219, 298; songs, 229–42. See also specific songs
Helm, Levon, 244, 245
“Help Me,” 3, 178–79, 298; as Top 10 single, 178
Hemingway, Ernest, 295
Hendricks, Jon, 96, 186, 212, 270
Hendrix, Jimi, 71, 72, 81–84, 110, 136, 173, 223, 245; Are You Experienced, 72; Mitchell and, 81–84; songs of, 81
Henley, Don, 294, 331
Hilburn, Robert, 102
“Hissing of Summer Lawns, The,” 195, 255
Hissing of Summer Lawns, The, 87, 92, 194–98, 210–17, 229, 234, 255, 280, 291, 300–301, 309; cover art, 87; reviews, 218–19, 298; sales, 210; songs, 195–98; tour, 198, 202, 210–17, 219, 220, 221, 225, 255, 301. See also specific songs
Hit Parade, The, 9
Hodges, Johnny, 16, 172, 253
Holiday, Billie, 52, 86, 173, 174, 199, 273, 359–61; Lady in Satin, 359, 360
Holland, Milt, 114, 115
Hollies, 104
Holly, Buddy, 245
Hollywood, 104, 129; collapse of studio system, 166; of early-mid 1970s, 157–58, 165–70; Hays production code, 166; parties, 168, 180, 200–201, 209
Horn, Trevor, 180
Hornby, Nick, High Fidelity, 184
Hubbard, Freddie, 275, 294
Hudgins, Johnny, 256
Hudson, Garth, 244, 245, 334
Hughes, Langston, 267
Hynde, Chrissie, 350–51
I
Ian, Janis, 49
Ian and Sylvia, 49
Idol, Billy, 331
“I Don’t Know Where I Stand,” 96
“I Had a King,” 41–43, 188
“Impossible Dreamer,” 290
Internet, 347
Intimate and Interactive (TV show), 345
Iraq War, 368
Ireland, 345–46
Isham, Mark, 352, 364
Isle of Wight festival, 324–25, 327
“I Think I Understand,” 94, 99–100
“It Was a Very Good Year,” 360–61
J
Jackson, Janet, 137, 332; “Got ’til It’s Gone,” 137
Jackson, Michael, 291; Thriller, 149, 292
James, Harry, 25
Japan, 302
jazz, xiii, 4, 52, 81, 96, 99, 111, 142, 154, 172–75, 186, 192, 221–22, 250, 253–54, 256, 259–60, 263–64, 309, 330, 348–50, 360–65; fusion, 253–60, 264, 275; Mingus–Mitchell
collaboration, 262–78; rock music crossover, 172–76, 192, 280, 308–309; West Coast, 173. See also specific musicians
Jazz Singer, The (movie), 256
Jefferson Airplane, 102, 109, 110
“Jericho,” 187, 255
Jesus Jones, “Right Here, Right Now,” 334–35
John, Elton, 283
Johnny Cash Show, The, 343
Johnson, Sy, 268
Jolson, Al, 256
Jones, John Paul, 222
Jones, Philly Joe, 348
Jones, Quincy, 129, 363
Jones, Rickie Lee, 271
Joplin, Janis, 65, 74, 245
Joseph, Nathan, 184, 243, 310, 325–26
Judaism, 147
“Judgement of the Moon and Stars,” 153–55, 365
Jung, Carl, 152, 196
“Jungle Line, The,” 288, 308
“Just Like This Train,” 172, 184
K
Kael, Pauline, 296
Kart, Larry, 280
Katché, Manu, 328, 331
Kay, Connie, 142
Keaton, Diane, 168
Kellaway, Roger, 192, 281
Kennedy, John F., 68, 290
Kennedy, Robert F., 100, 117, 290
Kent State massacre, 89
Kerouac, Jack, 201
Khan, Chaka, 255–56; Mitchell and, 255–56, 258
King, Carole, 58, 66, 129, 148, 158, 200; “I Feel the Earth Move,” 130; Mitchell and, 168, 170; A Natural Woman, 129; Tapestry, 129, 130
King, Martin Luther, Jr., 87, 88, 117, 290
King, Rodney, 342
Kingston Trio, 24
Kinks, 73; The Kinks Are the Village Green Preservation Society, 73, 142
Kipling, Rudyard, 14; “If,” xiii; Kim, 14
Kirk, Rahsaan Roland, 270
Klein, Larry, 92, 167, 292–96, 360, 363, 374–75; on bass, 292–94, 321–22, 351, 354, 355; divorce from Mitchell, 337–38, 355; marriage to Mitchell, 293–98, 307–308, 311, 318–21, 328–29, 337, 375; as Mitchell’s producer and musical director, 303, 311–12, 315, 319
Klonitsky, Marsha, 147
Knepper, Jimmy, 263, 269, 270
Kooper, Al, 46–47, 200; Mitchell and, 46–48
Kot, Greg, 354
Kratzmann, Arthur, 14–15, 31, 360
Kristofferson, Kris, 61, 131, 141
Kronos Quartet, 366
Kunkel, Leah, 136
Kunkel, Russ, 134, 135, 164, 216, 349; Mitchell and, 135–36, 174
Kusturica, Emir, xiv
L
Lacy, Susan, 15, 352