WEBVTT

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I'm Adam Maness.

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And I'm Peter Martin.

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And you're listening to the You'll Hear It podcast.

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Music explored.

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Explored, brought to you today by Open Studio.

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Go to openstudiojazz.com for all your jazz lesson needs.

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Peter, we got a lot of cool stuff going on-

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Yes

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... at Open Studio right now. We've got new courses coming out-

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Yeah

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... from Larry Goldings.

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Yeah.

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Daniel Anastasio-

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Yes

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... on classical piano.

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Wait, say that again?

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Daniel Anastasio on-

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I love the way you say that name

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... classical piano.

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Classical.

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And by the way, a brand-new course called Jazz Piano for the Bandstand from

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you and from me.

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A collaborative affair, much as this podcast is.

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Very much like this podcast, except we're sitting in front of two beautiful grand

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pianos.

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You just looked at them.

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I just-

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I love that

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... I glanced over to check-

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You kissed one of them

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... because I love them.

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Yeah.

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Anyway, go to openstudiojazz.com.

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That's openstudiojazz.com for all

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your jazz lesson needs. Peter.

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Let's do this.

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I am buzzing today.

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You are.

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I am buzzing today. Not only is this one of my all-time favorite albums, I think

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this is one of the greatest albums of all time.

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I really think this is peak performance from one of our peak

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performers, Joni Mitchell's 1974 masterpiece, Court and Spark.

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To me, this is where I step into Joni fully.

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Mm.

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I love folk music. I love-

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You and quite a few other people

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... blue. I love all that stuff.

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Yeah.

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But to me, this is where I went from interested

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to obsessed with Joni Mitchell.

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Yeah.

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I listened to the hell out of this CD so much, I think

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I bought three of these CDs in my lifetime because they kept getting soda

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and coffee on them in my pickup trucks over the years when I was a kid.

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I love it so much. Every song. Musically, she goes to

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another level. But I also think lyrically, this might be her most

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slept-on album, because there's so many great stories, so many incredible

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lines in this album. I'm so geeked that we get to listen

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to this music today.

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Isn't it great? I love it as well. Isn't it great, though, when we have

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an album like this that you say that, "I bought it at least three times.

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Coffee stains on it."

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Oh, yeah.

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It's like a book-

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Yeah

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... that you put notes in and that you savor, and that if you

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give it away to someone, you almost want to, because you want to go get another

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one.

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Yeah.

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Because you get to kind of discover it again-

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Yeah

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... with that fresh copy. You know?

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I know.

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Now we've got Spotify and Apple Music. Isn't that fun?

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Whatever. This will be with me for the rest of my life.

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Yeah.

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I will have a physical media copy of this in some

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form or another for the rest of my life-

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Right. Yeah

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... and I will cherish it. So-

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And then it's also, we should say, I think this, well, it's Joni Mitchell's

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best-selling record, I believe, of all time.

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Yeah.

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Right?

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Yeah.

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And so this is a lot of people's entry point, I think, either at that time

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or later, and it's always fun when there's a blockbuster album like

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this-

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Yeah

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... for an artist, and there's a lot of, I think, artistic

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validation-

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But-

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... of that, because that doesn't always happen, right?

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Yeah. This is very similar, I think, to Michael Jackson's Thriller.

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Mm.

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Or Herbie Hancock's Head Hunters.

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Both of those albums were their best-selling albums of all time.

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Miles Davis, Kind of Blue, perhaps.

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Miles Davis. And they're also some of their greatest artistic achievements, and I

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would put

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Court and Spark in that category of-

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Right

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... yes, it's her best-selling album, it's her most commercially successful album,

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and it's one of, if not, I think, the most

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artistically successful albums.

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The achievement of this is unbelievable.

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Yeah.

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And the story behind it is really cool. We'll get to it in a second.

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I just want to do a little bit of catching up with Joni.

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Yes. Let's do.

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So Joni discovered in 1967,

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she gets signed to an album, and really it's all through David Crosby,

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who she was sort of dating, and then they produced her first

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album together called Songs to a Seagull in 1968.

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She's already writing songs for other people at this point, too, but this is sort

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of her introduction as an artist to the world.

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It's "Cactus Tree."

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Mm.

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There's a man who's been out sailing in a decade

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full of dreams. And he takes her to a schooner,

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and he treats her like a queen. Bearing beads from

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California with their amber stones and

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green.

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He has called her from the harbor.

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He has kissed her with his freedom.

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He has heard her off to starboard

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in the breaking and the breathing of the water

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we-

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Even in that introduction on her first

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album, you can hear

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she's already separating herself from

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folk singers-

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Yeah

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... her contemporaries.

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Yeah.

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The melodic and, you could hear other examples from that album, of

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harmonic sophistication that she's already bringing at a very young age here in her

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first

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efforts, is already pretty staggering.

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Yeah.

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Pretty staggering.

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And that ability to... It's such a big part, I think, of her very

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distinctive voice

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and her artistry, that ability to make these melodic leaps-

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Yeah

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... that inform the harmony-

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It's unbelievable

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... in such-

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She's the greatest

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... interesting and unusual ways.

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She's the greatest.

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And when we talk about distinctive, and I think we're going to see this as we lead

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up, and definitely in Court and Spark, and everything that she's done up until

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now is, when we talk about distinctive, Paul

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Simon, Michael Jackson, Marvin Gaye, all these great singers,

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Stevie Wonder-

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Yeah

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... that have this distinctive voice.

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They're copied a lot and, well, I would say Joni Mitchell has

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been super influential on songwriters and singers.

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She's not actually copied successfully very much.

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How could you?

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Yeah, exactly.

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Yeah.

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That's the distinctiveness.

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It's like trying to copy Thelonious Monk.

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Everybody's going to be like-

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Yeah

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... "Oh, yes. You're doing your Joni Mitchell thing."

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Yeah.

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It's so distinct.

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But very influential.

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Very influential.

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Very influential.

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And by the way, also, we're not You and I are musicians.

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We're piano players, which means we love the math of music.

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Yeah.

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We don't talk a lot about lyrics on this show-

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Right

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... I don't know if you've noticed. But she is a lyrical gangster.

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Oh. Yeah.

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That is-

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That might be her best

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... ridiculous lyrical output.

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Yeah.

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That is unbelievable imagery. And this is the theme of Joni's career is, she's

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a musician, she's an artist, she's a performer. She's a complete artist.

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She's a painter.

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Yeah.

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She's a poet.

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Yeah.

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She's a musician.

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Yeah.

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She's an incredible-

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Producer

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... performer.

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Yeah.

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She's a producer. She does every...

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Her art-

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Mixer. She remixed her own album.

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She-

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This one, actually

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... the craft of art is what she does.

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Yeah.

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Very well, at a very high level.

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Became a band leader, too.

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In multiple disciplines. She plays several instruments.

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She's one of the great vocalists of her generation.

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She's one of the great songwriters, she's one of the great poets. Unbelievable.

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Her second album... She'd now go on to make, Peter, an album of the year,

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an album a year, sorry, for the next four years.

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So she does five albums in five years-

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Yeah

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... before we get to Court and Spark.

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So we got-

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'69, '70, '71, '72

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...'69, her second album. Oh, how about this?

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Rows and flows of angel hair

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and ice cream castles in the

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air and feather

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canyons everywhere.

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I've looked at clouds that-

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Yeah, it's just both sides now from Clouds, Peter.

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Yeah.

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That's her sophomore effort.

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Mm.

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She goes on to make Ladies of the Canyon the very next year, 1970.

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This, of course, brings this to our attention.

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Woo.

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They paved paradise, put up a parking lot

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with a pink hotel, a boutique and a swinging

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hot spot.

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Don't it always seem to go that you don't know what

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you've got till it's gone. They paved paradise- Big Yellow Taxi from Ladies of the

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Canyon

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... that became an important sample.

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A very important sample. The very next year, she makes an album that we've covered

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here on the show last year.

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Yeah.

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Blue, in 1971. One of my favorite tracks from Joni,

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California.

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Sitting in a park in Paris, France.

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Reading the news and it sure looks bad. They won't give peace a chance.

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That was just a dream some of us had.

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Still a lot of lands to see, but I wouldn't want to stay

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here. It's too old and cold and settled in its

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ways here.

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Oh, but California.

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California.

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Man. Jo-

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We talked about it

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Yeah

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... maybe the best use of California in a lyric-

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Yeah, it's so great

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... of a melody.

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And I mean, you've already heard it on every example, and we're going to hear it

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quite a few times in Court and Spark. The master of the major seven.

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Buddy.

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With,

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the emotional pull of that-

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The greatest major seven composer ever, possibly.

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Yeah.

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And with the lyrics?

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Yeah.

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Ah.

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Yeah.

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Melody.

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1972 ends her five-year, five-album run with For the

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Roses. This is You Turn Me On I'm a Radio.

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Notice too, by the way, everything we've listened to, acoustic guitar heavy.

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Yeah.

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00:09:30.052 --> 00:09:31.012
Lot of one to four-

273
00:09:31.232 --> 00:09:31.262
Right

274
00:09:31.292 --> 00:09:33.432
... stuff going on chord change-wise. Very simple.

275
00:09:33.952 --> 00:09:36.232
Sophisticated, simple.

276
00:09:36.272 --> 00:09:36.492
Yeah.

277
00:09:36.732 --> 00:09:37.162
But nothing

278
00:09:38.152 --> 00:09:39.092
like what we're about to hear.

279
00:09:39.252 --> 00:09:41.052
Right. And I'd say everything has been...

280
00:09:41.772 --> 00:09:45.512
Driving into town with a dark cloud above you.

281
00:09:45.932 --> 00:09:48.832
Also in the category of folk, you could put it there.

282
00:09:48.852 --> 00:09:49.052
I-

283
00:09:49.062 --> 00:09:51.121
A little sloppy with the genre maybe, but yeah

284
00:09:51.352 --> 00:09:52.612
... folk rock, folk pop. Yeah, for sure.

285
00:09:52.712 --> 00:09:53.762
Not to typecast it, but-

286
00:09:53.762 --> 00:09:54.292
It's a great album

287
00:09:54.312 --> 00:09:55.092
... but that's going to change.

288
00:09:55.872 --> 00:09:59.752
So in 1973, after this album and this run that she

289
00:09:59.832 --> 00:10:00.472
goes on, she

290
00:10:01.932 --> 00:10:04.672
starts to tweak her musical vocabulary.

291
00:10:04.692 --> 00:10:04.722
Mm.

292
00:10:04.762 --> 00:10:07.552
She starts to hang out with some jazz musicians. Not a great idea.

293
00:10:07.692 --> 00:10:08.712
I'm just going to say that right here.

294
00:10:09.092 --> 00:10:12.772
No, but she meets, Tom Scott and the L.A. Express.

295
00:10:12.892 --> 00:10:12.982
Yeah.

296
00:10:13.432 --> 00:10:15.052
Who are in LA, obviously.

297
00:10:15.972 --> 00:10:18.432
And she takes a couple years off, and she writes

298
00:10:19.252 --> 00:10:23.072
this album, Court and Spark, and there's such a different feeling to this from

299
00:10:23.192 --> 00:10:26.412
everything we... I mean, there are hints of this kind of stuff in what we just

300
00:10:26.452 --> 00:10:29.732
heard in those albums that we just heard, but this is like, oh my gosh.

301
00:10:29.852 --> 00:10:33.172
Not only that, but she's almost 30 by the time she makes Court and Spark.

302
00:10:33.312 --> 00:10:33.422
Yeah.

303
00:10:33.432 --> 00:10:34.952
She's 24 when she makes her first album.

304
00:10:35.372 --> 00:10:35.532
She's

305
00:10:36.632 --> 00:10:37.522
30 years old. She's-

306
00:10:37.522 --> 00:10:38.132
She's lived some life

307
00:10:38.192 --> 00:10:39.622
... lived some life. You could hear it in her voice.

308
00:10:39.652 --> 00:10:41.172
Her voice is a little more mature.

309
00:10:41.492 --> 00:10:41.652
Mm-hmm.

310
00:10:41.752 --> 00:10:44.012
Her playing has gotten very mature.

311
00:10:44.042 --> 00:10:44.042
Yeah.

312
00:10:44.062 --> 00:10:47.852
Her piano playing is very mature on this album, and the songwriting

313
00:10:48.772 --> 00:10:49.572
blossoms-

314
00:10:49.872 --> 00:10:49.992
Yeah

315
00:10:50.012 --> 00:10:53.812
... into this, one of the richest harmonic and

316
00:10:53.852 --> 00:10:57.742
melodic color palettes that we've ever heard up to this

317
00:10:57.772 --> 00:11:01.632
point, along with incredible lyricism, along with incredible melodies, and a new

318
00:11:01.672 --> 00:11:03.042
production sensibility-

319
00:11:03.122 --> 00:11:03.632
Yeah

320
00:11:03.642 --> 00:11:07.232
... from these jazz musicians. So Court and Spark

321
00:11:07.832 --> 00:11:11.572
starts unbelievably with the title track.

322
00:11:25.412 --> 00:11:26.872
That's a theme that plays on this album-

323
00:11:26.972 --> 00:11:26.982
Yeah

324
00:11:26.992 --> 00:11:30.932
... is that minor seventh interval in those dotted quarter notes.

325
00:11:31.692 --> 00:11:35.242
Lucky to be neighbor with a sleeping role and a mad man's soul.

326
00:11:35.552 --> 00:11:39.332
He thought for sure I'd seen him dancing up a

327
00:11:39.392 --> 00:11:41.432
river in the dark.

328
00:11:41.592 --> 00:11:42.292
Her voice is lower.

329
00:11:42.532 --> 00:11:42.632
Yeah.

330
00:11:42.912 --> 00:11:44.792
Looking for a woman to court

331
00:11:45.632 --> 00:11:46.112
and spark.

332
00:11:46.172 --> 00:11:48.872
And the voice with piano as opposed to voice and guitar.

333
00:11:49.232 --> 00:11:50.552
She brings another flavor.

334
00:11:53.072 --> 00:11:55.352
Such a beautiful production moment.

335
00:11:56.632 --> 00:11:56.812
Ah.

336
00:11:57.572 --> 00:11:58.872
Hi-hat and the steel guitar-

337
00:11:58.972 --> 00:11:59.112
Yeah

338
00:11:59.552 --> 00:11:59.831
... on this.

339
00:11:59.842 --> 00:12:02.692
He was playing on the sidewalk for passing change.

340
00:12:02.892 --> 00:12:06.832
When something strange happened, glory train passed

341
00:12:06.842 --> 00:12:10.572
through him. So he buried the coins he made in People's Park

342
00:12:10.952 --> 00:12:14.092
and went looking for a woman to court

343
00:12:15.396 --> 00:12:17.456
All of a sudden, this modal interchange thing is happening.

344
00:12:17.536 --> 00:12:19.776
She's borrowing from all these different keys.

345
00:12:19.816 --> 00:12:23.656
Her harmonics palette has gotten incredibly sophisticated.

346
00:12:26.196 --> 00:12:29.896
Seemed like he read my mind. He saw me

347
00:12:29.976 --> 00:12:33.196
mistrusting and still acting kind.

348
00:12:33.476 --> 00:12:37.336
He saw how I worried. Sometimes

349
00:12:37.716 --> 00:12:39.216
I worry sometimes.

350
00:12:39.256 --> 00:12:42.556
But it's not a gimmick, Peter. It's serving the song, the story of these lyrics-

351
00:12:42.596 --> 00:12:42.616
Yeah

352
00:12:42.626 --> 00:12:42.916
... which are

353
00:12:44.216 --> 00:12:45.676
insanely rich.

354
00:12:51.656 --> 00:12:55.516
All the guilty people, they say they've all seen the stain on

355
00:12:55.556 --> 00:12:59.436
their daily bread, on their Christian names.

356
00:12:59.466 --> 00:12:59.466
Mm.

357
00:12:59.596 --> 00:13:00.996
I cleared myself.

358
00:13:01.236 --> 00:13:01.245
Christian names.

359
00:13:01.245 --> 00:13:02.916
I sacrificed my blues.

360
00:13:04.036 --> 00:13:04.796
In these moments-

361
00:13:05.296 --> 00:13:06.966
And you could complete me.

362
00:13:06.966 --> 00:13:07.696
Where she just-

363
00:13:07.796 --> 00:13:11.496
I'd complete you

364
00:13:11.876 --> 00:13:13.956
... lets the song speak for itself.

365
00:13:14.136 --> 00:13:15.036
Ooh.

366
00:13:24.386 --> 00:13:24.726
His eyes were-

367
00:13:24.736 --> 00:13:25.316
Is that Larry Carlton?

368
00:13:25.346 --> 00:13:27.875
... the color of the sand in the sea.

369
00:13:27.996 --> 00:13:29.736
Larry Carlton's all over this album-

370
00:13:29.796 --> 00:13:29.806
Yeah

371
00:13:29.806 --> 00:13:30.506
... so I wouldn't be surprised.

372
00:13:30.576 --> 00:13:32.176
The more he talked to me, the more he reached me.

373
00:13:32.236 --> 00:13:35.516
But I couldn't let go of LA.

374
00:13:36.216 --> 00:13:39.156
City of the fallen

375
00:13:39.196 --> 00:13:40.276
angels.

376
00:13:40.356 --> 00:13:41.576
Fallen angels, LA.

377
00:13:51.236 --> 00:13:55.216
Chills, buddy, chills. Musically, lyrically, the story of the album has

378
00:13:55.296 --> 00:13:55.936
just been told.

379
00:13:55.956 --> 00:13:55.966
Yeah.

380
00:13:55.976 --> 00:13:56.996
It's like we just

381
00:13:57.856 --> 00:14:00.126
got an incredible introductory chapter-

382
00:14:00.236 --> 00:14:00.516
Yes

383
00:14:00.526 --> 00:14:01.496
... to what we're about to hear.

384
00:14:01.596 --> 00:14:04.626
And even though it's just the introduction,

385
00:14:05.456 --> 00:14:06.956
and it's very much like

386
00:14:07.956 --> 00:14:08.636
if you listen

387
00:14:09.556 --> 00:14:11.756
and you like it, how could you listen and not like it?

388
00:14:11.796 --> 00:14:15.766
But it draws you in to what's going to come next, but it also has a little bit

389
00:14:15.796 --> 00:14:16.876
of a

390
00:14:18.276 --> 00:14:20.196
preparatory epic flavor to it.

391
00:14:20.236 --> 00:14:20.876
Oh, 100%.

392
00:14:20.916 --> 00:14:21.166
You know what I mean?

393
00:14:21.186 --> 00:14:21.936
We're about to go deep.

394
00:14:22.036 --> 00:14:22.356
Yeah.

395
00:14:22.416 --> 00:14:22.625
Yeah.

396
00:14:22.716 --> 00:14:26.225
It's like with the little hints. And I want to throw something out, and I never

397
00:14:26.276 --> 00:14:29.056
totally thought about it because I've always felt that Joni

398
00:14:29.096 --> 00:14:31.376
Mitchell's lyricism,

399
00:14:32.556 --> 00:14:36.506
her composition, the way she plays guitar, the way she plays piano, the way she

400
00:14:36.536 --> 00:14:39.596
sings, the way she navigates a melody, the way she creates a melody,

401
00:14:39.976 --> 00:14:43.516
all that stuff is so well intertwined.

402
00:14:43.596 --> 00:14:43.696
Yeah.

403
00:14:43.816 --> 00:14:47.696
Right? I want to just throw this

404
00:14:47.716 --> 00:14:51.176
out there, and we can explore. You can give me your opinion, but we can also listen

405
00:14:51.216 --> 00:14:52.096
as we go to see,

406
00:14:53.716 --> 00:14:56.176
are her lyrics sort of the top, the king?

407
00:14:57.396 --> 00:15:01.336
And then everything else is important, but it's almost like everything

408
00:15:01.516 --> 00:15:02.416
serves the lyric.

409
00:15:02.516 --> 00:15:02.876
Yes.

410
00:15:02.916 --> 00:15:03.006
You know?

411
00:15:03.076 --> 00:15:03.176
Yes.

412
00:15:03.206 --> 00:15:03.896
Like the harmony-

413
00:15:04.156 --> 00:15:04.836
It serves the story.

414
00:15:05.096 --> 00:15:05.336
Yes.

415
00:15:05.376 --> 00:15:06.616
That's the highest level.

416
00:15:06.676 --> 00:15:10.596
Yes. Sometimes it's so weird, and the timing, and even when she'll go

417
00:15:10.616 --> 00:15:12.276
to a funny number of beats in a bar-

418
00:15:12.456 --> 00:15:12.536
Yeah

419
00:15:12.736 --> 00:15:16.636
... it's almost because that's the cadence of the story as she's

420
00:15:16.646 --> 00:15:19.256
telling, because her lyrics are very much like you're telling somebody-

421
00:15:19.436 --> 00:15:19.456
Yeah

422
00:15:19.466 --> 00:15:20.396
... like the greatest storytelling.

423
00:15:20.416 --> 00:15:20.596
Yeah.

424
00:15:20.796 --> 00:15:22.496
It's not about rhyming this and rhyming that.

425
00:15:22.556 --> 00:15:24.856
It's about taking the listener on a journey.

426
00:15:25.656 --> 00:15:29.385
She's doing right now, on this album, something that it would take

427
00:15:29.385 --> 00:15:31.576
three men in Tin Pan Alley to do.

428
00:15:31.596 --> 00:15:31.756
Mm.

429
00:15:32.416 --> 00:15:34.616
A musician, a lyricist, and an arranger-

430
00:15:34.626 --> 00:15:34.626
Yeah

431
00:15:34.626 --> 00:15:35.676
... to make something great.

432
00:15:35.776 --> 00:15:35.936
Mm.

433
00:15:36.196 --> 00:15:36.356
Right?

434
00:15:36.496 --> 00:15:36.616
Great point.

435
00:15:36.646 --> 00:15:39.316
An orchestrator, right? She's all of that right here.

436
00:15:39.376 --> 00:15:40.736
And an accountant. You forgot about that.

437
00:15:40.956 --> 00:15:42.336
Yeah. No, but she's

438
00:15:43.236 --> 00:15:47.196
playing three major roles that used to be done by different people, at the

439
00:15:47.216 --> 00:15:47.756
highest level.

440
00:15:47.936 --> 00:15:48.216
Yeah.

441
00:15:48.476 --> 00:15:51.356
That's what's so incredible about it, because she sets us up with Court and Spark,

442
00:15:51.436 --> 00:15:54.676
that title track, which feels like something big is going to happen.

443
00:15:54.776 --> 00:15:54.956
Right.

444
00:15:55.256 --> 00:15:56.316
And you know what she does next?

445
00:15:56.676 --> 00:15:56.856
Yes.

446
00:15:57.056 --> 00:15:57.816
F*****g delivers.

447
00:15:58.616 --> 00:15:59.556
Oh, yeah.

448
00:16:01.256 --> 00:16:03.676
Now the guitar is driving. Oh.

449
00:16:03.916 --> 00:16:07.816
Help me, I think I'm falling in love

450
00:16:07.916 --> 00:16:11.496
again. When I get that crazy

451
00:16:11.656 --> 00:16:14.876
feeling, I know I'm in trouble again.

452
00:16:15.336 --> 00:16:18.556
I'm in trouble 'cause you're a rambler and a gambler and a

453
00:16:18.596 --> 00:16:20.616
sweet-talking ladies' man.

454
00:16:20.776 --> 00:16:21.016
Come on.

455
00:16:21.076 --> 00:16:24.476
And you love your loving.

456
00:16:27.316 --> 00:16:30.536
Not like you love your freedom.

457
00:16:30.756 --> 00:16:34.096
Wow. This reminds me of 1974. These are some of my earliest

458
00:16:35.575 --> 00:16:38.215
memories. I was four years old. I mean, not of this record.

459
00:16:38.276 --> 00:16:38.946
It does. It sounds like 1974.

460
00:16:38.946 --> 00:16:40.095
This sounds like the '70s, yeah.

461
00:16:40.176 --> 00:16:41.856
It sounds like LA to me.

462
00:16:41.936 --> 00:16:42.025
Yes.

463
00:16:42.196 --> 00:16:42.816
It sounds-

464
00:16:43.016 --> 00:16:45.316
She's one of our greatest LA real writers.

465
00:16:45.456 --> 00:16:47.036
I mean, writers about LA.

466
00:16:47.256 --> 00:16:47.396
Yeah.

467
00:16:48.536 --> 00:16:49.126
A Canadian-

468
00:16:49.536 --> 00:16:49.936
Yeah

469
00:16:49.956 --> 00:16:50.616
... taking our jobs.

470
00:16:50.656 --> 00:16:50.896
Yeah.

471
00:16:52.286 --> 00:16:53.696
Help me, I think I'm falling.

472
00:16:53.776 --> 00:16:56.666
Every one of the help mes, where it, "Help, help."

473
00:16:57.756 --> 00:16:57.916
Yeah.

474
00:16:57.996 --> 00:17:00.116
She falls off of it in a harmony.

475
00:17:00.606 --> 00:17:02.056
And they build. Structurally, they build on each other every time.

476
00:17:02.066 --> 00:17:04.036
It's unbelievable. It's a real call for help.

477
00:17:04.136 --> 00:17:06.056
Hot, hot places come down to

478
00:17:06.956 --> 00:17:10.737
smoke and ash. We love our loving.

479
00:17:10.757 --> 00:17:11.896
And great artists

480
00:17:12.916 --> 00:17:16.116
have that ability to make it sound '70s without it sounding dated.

481
00:17:16.497 --> 00:17:17.606
Like it's totally its own time.

482
00:17:17.606 --> 00:17:17.896
It's timeless.

483
00:17:18.277 --> 00:17:22.176
Yeah. It's timeless, and it also takes you specifically back to that

484
00:17:22.237 --> 00:17:22.556
time.

485
00:17:24.616 --> 00:17:25.477
And you want to be there.

486
00:17:25.556 --> 00:17:27.196
And again, we're going to hit our flat seven.

487
00:17:33.646 --> 00:17:34.276
That's the theme.

488
00:17:34.426 --> 00:17:34.916
The parallel fifth.

489
00:17:36.416 --> 00:17:38.536
Now the best moment for me, my apex.

490
00:17:38.636 --> 00:17:41.676
Oh, didn't it feel good when we're sitting there talking.

491
00:17:41.936 --> 00:17:42.816
Or lying in our beds-

492
00:17:42.916 --> 00:17:44.456
Woo. Open up. Open it up

493
00:17:44.796 --> 00:17:47.736
... you danced with a lady with a hole in his stocking.

494
00:17:48.056 --> 00:17:49.216
Ooh, the mix on this.

495
00:17:49.316 --> 00:17:49.936
Oh, Sam.

496
00:17:50.056 --> 00:17:50.596
Flawless.

497
00:17:50.696 --> 00:17:51.016
Yeah.

498
00:17:51.816 --> 00:17:55.796
Didn't it feel good?

499
00:17:58.046 --> 00:17:58.046
Feel good.

500
00:17:58.076 --> 00:18:00.256
A little Stevie influence there on the Bee Gees.

501
00:18:02.156 --> 00:18:02.686
Didn't it feel good?

502
00:18:02.966 --> 00:18:02.966
Oh.

503
00:18:02.966 --> 00:18:05.336
Didn't it feel good?

504
00:18:23.936 --> 00:18:25.996
Take that melody for granted now because we've heard it so much?

505
00:18:26.066 --> 00:18:26.066
Yeah.

506
00:18:26.096 --> 00:18:27.796
That's such an insane melody.

507
00:18:27.876 --> 00:18:28.016
Yeah.

508
00:18:28.536 --> 00:18:29.256
So beautiful.

509
00:18:29.376 --> 00:18:29.575
Yeah.

510
00:18:29.996 --> 00:18:33.956
Unexpected. Also, Peter, just so you know, this song

511
00:18:34.136 --> 00:18:37.076
runs directly into the next song, "Free Man in Paris," so we're going to let it run

512
00:18:37.116 --> 00:18:37.756
directly in.

513
00:18:37.906 --> 00:18:37.906
Okay.

514
00:18:37.916 --> 00:18:40.796
And then the two songs after that kind of are one piece as well.

515
00:18:40.836 --> 00:18:40.846
Yeah.

516
00:18:40.856 --> 00:18:42.096
Which I think is a really cool thing.

517
00:18:42.246 --> 00:18:42.756
I love that.

518
00:18:48.716 --> 00:18:49.956
That's probably Carlton.

519
00:18:52.656 --> 00:18:53.056
Love this.

520
00:18:55.776 --> 00:18:56.096
Larry.

521
00:18:56.796 --> 00:19:00.216
It's that great LA

522
00:19:00.396 --> 00:19:00.866
session-

523
00:19:01.216 --> 00:19:01.376
Yeah

524
00:19:01.396 --> 00:19:02.246
... playing at the highest level.

525
00:19:02.296 --> 00:19:04.636
These cats are... We'll talk about L.A. Express in just a minute.

526
00:19:04.645 --> 00:19:06.816
They're a really incredible group of musicians.

527
00:19:09.916 --> 00:19:13.556
It's going to fade, but it's going to feel like we're picking right back up with

528
00:19:13.576 --> 00:19:15.196
the next track, "Free Man in Paris." Check this out.

529
00:19:22.696 --> 00:19:23.255
Same key.

530
00:19:23.576 --> 00:19:24.456
Same tempo, too, right?

531
00:19:26.476 --> 00:19:26.936
Close.

532
00:19:27.956 --> 00:19:28.895
You know who this is about, right?

533
00:19:30.096 --> 00:19:30.396
About?

534
00:19:31.596 --> 00:19:32.016
David Geffen.

535
00:19:32.076 --> 00:19:33.156
Oh, yeah, David Geffen, right. Of course.

536
00:19:33.536 --> 00:19:34.356
In Paris. Yeah.

537
00:19:34.466 --> 00:19:37.376
"The way I see it," he said-

538
00:19:37.436 --> 00:19:37.486
Oh, yeah. Right

539
00:19:37.486 --> 00:19:41.316
... "you just can't win it. Everybody's

540
00:19:41.416 --> 00:19:44.796
in it for their own gain. You can't please them all.

541
00:19:45.236 --> 00:19:47.796
There's always somebody calling you down.

542
00:19:47.936 --> 00:19:51.336
I do my best and I do good deeds, yeah.

543
00:19:52.096 --> 00:19:54.856
There's a lot of people asking for my time.

544
00:19:54.896 --> 00:19:58.256
They're trying to get ahead. They're trying to be a good friend."

545
00:19:58.296 --> 00:20:00.556
And she knows her range is-

546
00:20:00.956 --> 00:20:01.736
Oh, I like that

547
00:20:01.746 --> 00:20:05.676
... the nuances of each of the little micro range. She's a master of that.

548
00:20:06.216 --> 00:20:07.896
And she writes for that. I mean-

549
00:20:07.906 --> 00:20:11.716
"I felt unfettered and alive. There was nobody calling me up

550
00:20:11.816 --> 00:20:12.836
for favors."

551
00:20:12.976 --> 00:20:13.156
Woo.

552
00:20:13.266 --> 00:20:14.006
"And no one's future to decide."

553
00:20:14.006 --> 00:20:14.786
It's so good, dude.

554
00:20:15.796 --> 00:20:18.576
"You know I'd go back there tomorrow.

555
00:20:18.936 --> 00:20:22.526
But for the work I've taken on. Stoking the

556
00:20:22.636 --> 00:20:24.476
star-maker machine."

557
00:20:24.736 --> 00:20:27.476
You know what a flex it is to write an

558
00:20:27.516 --> 00:20:31.056
artistically viable and beautiful song about a

559
00:20:31.236 --> 00:20:32.056
record executive?

560
00:20:32.096 --> 00:20:34.336
I know. It's so literal, too.

561
00:20:34.996 --> 00:20:37.216
We really feel for David Geffen.

562
00:20:37.226 --> 00:20:37.516
Right.

563
00:20:38.056 --> 00:20:38.876
Oh, he's so busy.

564
00:20:38.936 --> 00:20:39.956
Well, he wasn't a billionaire yet.

565
00:20:39.966 --> 00:20:40.476
Being a star maker.

566
00:20:40.496 --> 00:20:42.256
To his credit. He wasn't quite a billionaire.

567
00:20:42.286 --> 00:20:44.936
But she does it to us. She's like, "Oh, yeah, he's trapped in his

568
00:20:45.836 --> 00:20:48.016
wheel, in his hypnotic..."

569
00:20:54.936 --> 00:20:54.946
Yeah.

570
00:20:54.946 --> 00:20:58.696
I deal in dreamers and telephone

571
00:20:58.716 --> 00:21:02.676
screamers. Lately I wonder what I do

572
00:21:02.736 --> 00:21:06.456
it for. If I had my way. I'd just walk through

573
00:21:06.496 --> 00:21:10.126
those doors and wander. Down the Champs

574
00:21:10.196 --> 00:21:11.616
Elysees.

575
00:21:11.896 --> 00:21:13.116
Champs Elysees

576
00:21:13.126 --> 00:21:14.046
Going café to cabaret.

577
00:21:14.086 --> 00:21:15.496
That's a hard lyric to throw in there.

578
00:21:15.556 --> 00:21:18.485
Leave it now for you and I. Find that very good cafe table by and by.

579
00:21:18.485 --> 00:21:20.176
Going cafe to cabaret is a great line.

580
00:21:24.596 --> 00:21:27.196
I was a free man in Paris.

581
00:21:27.556 --> 00:21:29.296
I felt so unfettered and alive.

582
00:21:30.496 --> 00:21:32.816
Nobody was calling me up for favors.

583
00:21:32.856 --> 00:21:32.865
Ben.

584
00:21:32.865 --> 00:21:33.356
And no one's future to decide.

585
00:21:33.396 --> 00:21:36.696
We don't throw the G word around on this podcast very often. We really don't.

586
00:21:36.876 --> 00:21:37.156
Gig?

587
00:21:37.836 --> 00:21:38.376
No, genius.

588
00:21:38.416 --> 00:21:38.456
Oh.

589
00:21:38.496 --> 00:21:40.256
She is legit such a genius.

590
00:21:40.296 --> 00:21:41.476
We throw that around every week.

591
00:21:42.616 --> 00:21:44.746
We use it sometimes, but she is truly-

592
00:21:44.776 --> 00:21:46.816
We don't throw it around a lot. We usually just say it.

593
00:21:46.896 --> 00:21:50.286
Just occasionally. Just once an episode. She is truly a genius, man.

594
00:21:50.296 --> 00:21:54.236
Has there been a record from '71 through '75 that we didn't use

595
00:21:54.276 --> 00:21:55.026
the G word in?

596
00:21:55.976 --> 00:21:56.796
What, gangsta?

597
00:21:57.696 --> 00:21:57.776
No.

598
00:21:58.076 --> 00:21:58.256
Okay.

599
00:21:58.376 --> 00:21:59.176
She truly is a genius.

600
00:21:59.276 --> 00:21:59.336
Yeah.

601
00:21:59.356 --> 00:22:02.266
So, Tom Scott and the L.A. Express, so it's Max Bennett,

602
00:22:03.276 --> 00:22:07.156
John Guerin, Larry Carlton, and Tom Scott were this jazz fusion band

603
00:22:07.216 --> 00:22:07.616
in LA.

604
00:22:07.686 --> 00:22:08.256
Yeah.

605
00:22:08.556 --> 00:22:10.366
This is what they sound like on their own from their

606
00:22:12.196 --> 00:22:14.636
self-titled 1976. This is "Midnight Flight."

607
00:22:15.616 --> 00:22:19.376
Hearing an album is one thing, but trying to play this stuff is a whole

608
00:22:19.496 --> 00:22:23.396
other thing. But that's exactly what we do and teach at Open Studio.

609
00:22:23.536 --> 00:22:27.096
World-class musicians, real instructors, all in one place.

610
00:22:27.176 --> 00:22:29.736
Go to openstudiojazz.com. That's

611
00:22:29.776 --> 00:22:33.116
openstudiojazz.com. Start your free trial today.

612
00:22:33.556 --> 00:22:34.116
Back to the show.

613
00:22:36.276 --> 00:22:38.786
Tom Scott involved in some very important records in the '70s.

614
00:22:38.856 --> 00:22:39.386
Tom Scott's a bad-

615
00:22:39.416 --> 00:22:40.366
His name keeps coming up

616
00:22:40.436 --> 00:22:40.996
... he's a bad dude.

617
00:22:42.275 --> 00:22:45.016
My dad had a ton of Tom Scott albums too, by the way, when I was growing up.

618
00:22:45.476 --> 00:22:45.486
Yeah?

619
00:22:45.516 --> 00:22:45.976
Great music.

620
00:22:46.016 --> 00:22:49.886
Remember, he usually wasn't on the cover. It'd be some mosaic picture or something.

621
00:22:49.916 --> 00:22:50.696
Oh, he had some covers.

622
00:22:50.776 --> 00:22:51.076
Oh, he had some covers?

623
00:22:51.106 --> 00:22:51.676
He had some covers.

624
00:22:51.736 --> 00:22:51.956
Okay.

625
00:22:51.976 --> 00:22:55.296
But yeah, I know what you're talking about. Yeah.

626
00:22:55.436 --> 00:22:56.096
Yeah.

627
00:22:58.536 --> 00:22:59.896
Starsky and Hutch, baby. Come on, man.

628
00:23:00.276 --> 00:23:02.256
Sing it the vibe there. That's the L.A.

629
00:23:02.296 --> 00:23:04.686
Express, but you can hear the sort of jazz influence that's-

630
00:23:04.736 --> 00:23:04.856
Yeah

631
00:23:04.866 --> 00:23:06.066
... that's running through this, but what they-

632
00:23:06.066 --> 00:23:09.636
And that was the sound that, I'm trying to think, they did a TV soundtrack,

633
00:23:10.116 --> 00:23:10.706
Tom Scott too.

634
00:23:10.716 --> 00:23:11.516
Oh, the L.A. Express did?

635
00:23:11.676 --> 00:23:14.086
Yeah. Or I know Tom Scott. That's the sound-

636
00:23:14.156 --> 00:23:14.326
Yeah

637
00:23:14.326 --> 00:23:16.416
... of the '70s. That's how great-

638
00:23:16.496 --> 00:23:16.736
Yeah

639
00:23:16.746 --> 00:23:19.386
... television bumper music was. Theme song stuff.

640
00:23:19.386 --> 00:23:20.546
Oh, it was so good, man. It was so good.

641
00:23:20.566 --> 00:23:21.676
It was so... Up until the early '80s.

642
00:23:22.416 --> 00:23:25.376
Okay, the next two tracks, "People's Parties" and "The Situation Game" are both

643
00:23:25.416 --> 00:23:28.696
short, but they definitely bleed into each other.

644
00:23:28.716 --> 00:23:30.676
In fact, for years, I just thought this was one song.

645
00:23:43.136 --> 00:23:43.416
Man,

646
00:23:44.896 --> 00:23:47.316
that's so good. So good.

647
00:23:49.636 --> 00:23:49.956
Woo.

648
00:23:50.476 --> 00:23:53.996
All the people at this party, they've got a lot of style.

649
00:23:54.156 --> 00:23:56.756
Very Paul Simon setting she's doing here, by the way.

650
00:23:57.016 --> 00:24:00.256
They've got passports, smiles. Some are friendly, some are cutting.

651
00:24:00.696 --> 00:24:02.736
Some are watching it from the wings.

652
00:24:02.756 --> 00:24:06.406
Some are standing in the center giving the get some

653
00:24:06.516 --> 00:24:07.896
thing.

654
00:24:08.756 --> 00:24:12.496
Oh, no baby gets attention and her eye paint's running

655
00:24:12.596 --> 00:24:16.116
down. She's got a rose in her teeth and a lampshade

656
00:24:16.156 --> 00:24:16.736
crown.

657
00:24:17.066 --> 00:24:18.776
Wilton Felder on bass. He's great.

658
00:24:18.796 --> 00:24:20.676
One minute she's so happy then she's crying on someone's knee.

659
00:24:21.056 --> 00:24:24.216
Saying, laughing and crying, you know it's the same

660
00:24:24.276 --> 00:24:26.586
release. I told

661
00:24:29.608 --> 00:24:33.048
Cry for a song, beauty. Cry for Eddie in the

662
00:24:33.148 --> 00:24:36.988
corner thinking he's nobody. And Jack behind his joker and

663
00:24:37.068 --> 00:24:40.908
stone cold Grace behind her fan. And me and my frightened

664
00:24:41.048 --> 00:24:43.768
silence thinking I don't understand.

665
00:24:44.268 --> 00:24:47.548
I feel like I am sleeping.

666
00:24:48.148 --> 00:24:49.428
Can you wake me?

667
00:24:49.528 --> 00:24:49.688
Yeah.

668
00:24:49.908 --> 00:24:52.718
You seem to have a broader sensibility.

669
00:24:53.248 --> 00:24:55.228
I'm just living on nerves and feelings-

670
00:24:56.148 --> 00:24:57.548
The fact that she holds it for this

671
00:24:57.558 --> 00:25:00.647
... with a weak and amazing mind. And coming to people's parties fumbling deaf,

672
00:25:00.708 --> 00:25:03.938
dumb, and blind. I wish I had more sense of

673
00:25:04.388 --> 00:25:08.108
humor. Keeping the sad news at bay.

674
00:25:08.408 --> 00:25:10.288
Throwing a lightness on these things.

675
00:25:10.608 --> 00:25:12.548
Laughing it all away.

676
00:25:12.628 --> 00:25:12.698
Here's

677
00:25:12.728 --> 00:25:19.048
the

678
00:25:19.058 --> 00:25:19.538
harmony.

679
00:25:19.648 --> 00:25:22.028
Laughing it all away.

680
00:25:26.268 --> 00:25:29.308
She could've done a whole other verse chorus of that, but she doesn't.

681
00:25:36.568 --> 00:25:36.658
Laughing it all away.

682
00:25:36.658 --> 00:25:37.028
Love that.

683
00:25:38.078 --> 00:25:40.728
Laughing it all away.

684
00:25:42.108 --> 00:25:44.448
We're going to switch the palette a little bit, but it's going to feel very

685
00:25:44.528 --> 00:25:47.768
seamless, although not on this. Yeah.

686
00:25:49.628 --> 00:25:50.588
It will.

687
00:25:55.208 --> 00:25:59.108
Again and again the same situation.

688
00:26:00.028 --> 00:26:02.828
For so many years.

689
00:26:02.888 --> 00:26:03.728
We're in three-four now.

690
00:26:03.848 --> 00:26:07.768
Tethered to a ringing telephone. In a room

691
00:26:07.868 --> 00:26:11.808
full of mirrors. A pretty girl in

692
00:26:11.908 --> 00:26:15.628
your bathroom. Checking out her

693
00:26:15.788 --> 00:26:16.868
sex appeal.

694
00:26:18.948 --> 00:26:21.748
I asked myself when you said you loved me.

695
00:26:22.468 --> 00:26:25.028
Do you think this can be real?

696
00:26:26.748 --> 00:26:27.088
This.

697
00:26:27.618 --> 00:26:31.308
Still I sent up my prayer. Wondering

698
00:26:31.388 --> 00:26:33.768
where it had to go.

699
00:26:35.388 --> 00:26:36.537
And that harmony there is not-

700
00:26:37.137 --> 00:26:37.137
Heaven full of-

701
00:26:37.168 --> 00:26:40.528
Joni goes there occasionally, but that's not part of her regular rotation, so it

702
00:26:40.568 --> 00:26:41.528
has even more-

703
00:26:42.357 --> 00:26:44.508
... astronauts and no hero.

704
00:26:44.528 --> 00:26:45.608
I'm going to back it up. Listen to this.

705
00:26:45.808 --> 00:26:47.948
Listen to how the Rhodes comes in here, the production.

706
00:26:48.017 --> 00:26:50.808
Where it had to go.

707
00:26:52.128 --> 00:26:55.388
With Heaven full of astronauts-

708
00:26:55.808 --> 00:26:55.818
Ooh

709
00:26:55.828 --> 00:26:57.278
And the Lord on the ground.

710
00:26:57.308 --> 00:26:58.388
Oh, isn't that so-

711
00:26:59.408 --> 00:27:02.028
That's Buddy. Sam, Joe Sample's on a lot of this, but I don't know

712
00:27:02.068 --> 00:27:04.128
specifically what tracks

713
00:27:04.398 --> 00:27:04.718
But one poor, helpless human is lost and alone.

714
00:27:04.718 --> 00:27:07.908
Where does heaven clamor to be found?

715
00:27:10.588 --> 00:27:13.628
But in the struggle for higher position.

716
00:27:13.948 --> 00:27:14.938
In the search for love-

717
00:27:15.028 --> 00:27:18.548
She uses on this album, and a lot of her albums, those plagal movements.

718
00:27:18.577 --> 00:27:18.577
Yeah.

719
00:27:18.588 --> 00:27:21.148
Those movements that come down in fourths instead of fifths.

720
00:27:21.528 --> 00:27:23.568
So not like a perfect cadence-

721
00:27:23.678 --> 00:27:23.678
You hang on so heavily

722
00:27:23.678 --> 00:27:26.048
... but a plagal churchy thing that she does. Yeah.

723
00:27:26.088 --> 00:27:29.708
Fun fact, when I was young, I confused the plagal and the pagan

724
00:27:29.868 --> 00:27:30.348
cadence.

725
00:27:30.388 --> 00:27:30.788
Exactly.

726
00:27:30.828 --> 00:27:31.748
It was very confusing to me.

727
00:27:31.788 --> 00:27:32.328
Exactly, yeah.

728
00:27:32.878 --> 00:27:33.848
To serve I'm willing.

729
00:27:33.868 --> 00:27:34.948
I love this line right here.

730
00:27:35.948 --> 00:27:38.368
Like the church, like a cop, like a government-

731
00:27:38.378 --> 00:27:39.488
Like a cop. The way she says like a cop.

732
00:27:39.648 --> 00:27:39.788
Yeah

733
00:27:39.818 --> 00:27:42.588
You want me to be truthful.

734
00:27:42.648 --> 00:27:42.868
Oof.

735
00:27:43.988 --> 00:27:46.898
Sometimes you turn it on me like a weapon though.

736
00:27:47.548 --> 00:27:49.228
And I need your

737
00:27:49.288 --> 00:27:51.788
approval.

738
00:27:52.748 --> 00:27:55.248
Still I send up my prayer-

739
00:27:55.258 --> 00:27:55.768
There it is again

740
00:27:55.848 --> 00:27:58.268
Wondering who's there to hear.

741
00:27:58.668 --> 00:28:01.488
Dare I say, like Sondheim-esque? Almost?

742
00:28:01.498 --> 00:28:01.498
Yeah.

743
00:28:01.508 --> 00:28:02.168
That little move?

744
00:28:02.328 --> 00:28:03.288
A little bit. Yeah.

745
00:28:04.548 --> 00:28:07.857
Somebody who's strong and somewhat sincere.

746
00:28:08.108 --> 00:28:10.708
Send me somebody who's strong and somewhat sincere.

747
00:28:10.968 --> 00:28:14.408
Man, her lyrical directness-

748
00:28:14.857 --> 00:28:15.288
Just, they go

749
00:28:15.297 --> 00:28:18.728
... I think because there's other great folk writers that do that.

750
00:28:19.008 --> 00:28:20.528
But because of her harmonic

751
00:28:21.388 --> 00:28:22.448
sophistication-

752
00:28:22.488 --> 00:28:22.498
Yeah

753
00:28:22.498 --> 00:28:23.148
... at the right time.

754
00:28:23.168 --> 00:28:23.248
Yeah.

755
00:28:23.588 --> 00:28:25.768
But mainly her melodic leaps and stuff-

756
00:28:25.848 --> 00:28:25.968
Yeah

757
00:28:26.128 --> 00:28:28.498
... it makes it so she can get away with-

758
00:28:28.908 --> 00:28:29.048
Yeah

759
00:28:29.058 --> 00:28:31.888
... that directness that's so exciting.

760
00:28:31.928 --> 00:28:32.797
It's like a movie maker-

761
00:28:32.948 --> 00:28:33.568
I know

762
00:28:33.577 --> 00:28:37.018
... that just shows you the story exactly as it is, but all the drama is built into

763
00:28:37.028 --> 00:28:37.198
it, right?

764
00:28:37.248 --> 00:28:39.548
I know I'm going to get hate for a lot of Dylan-heads.

765
00:28:39.728 --> 00:28:39.828
Yeah.

766
00:28:39.928 --> 00:28:42.408
But it's like if Bob Dylan had more musical chops.

767
00:28:42.668 --> 00:28:43.008
Ooh.

768
00:28:43.348 --> 00:28:45.168
No shade on Bob Dylan.

769
00:28:45.228 --> 00:28:45.968
He said it.

770
00:28:46.168 --> 00:28:46.708
No, he's

771
00:28:47.848 --> 00:28:50.607
the greatest lyricist. But Joni Mitchell is up there.

772
00:28:50.888 --> 00:28:51.008
Yeah.

773
00:28:51.448 --> 00:28:52.048
Can do

774
00:28:52.908 --> 00:28:54.188
what he does, and also-

775
00:28:54.508 --> 00:28:54.558
Yeah

776
00:28:54.588 --> 00:28:56.728
... has this unbelievable musical prowess.

777
00:28:56.768 --> 00:28:56.868
Yeah.

778
00:28:56.988 --> 00:28:57.178
It

779
00:28:59.548 --> 00:29:03.308
almost makes me emotional how good she is in this period on this album.

780
00:29:03.568 --> 00:29:07.038
The harmonic moves, the melodic moves, but then also the stories she's telling

781
00:29:07.568 --> 00:29:09.418
are sometimes very funny-

782
00:29:09.748 --> 00:29:09.818
Yeah

783
00:29:09.848 --> 00:29:11.948
... sometimes very heartbreaking.

784
00:29:12.288 --> 00:29:12.828
And she's so-

785
00:29:12.988 --> 00:29:13.758
Very human. Always very human

786
00:29:13.758 --> 00:29:17.678
... very human. Also very human and just like, to me, this is one of those things,

787
00:29:17.708 --> 00:29:21.358
it's like when I see a great film or I see a great show, a great

788
00:29:21.428 --> 00:29:24.908
concert, where I'm just like, man, human beings do a lot of s****y things to each

789
00:29:24.988 --> 00:29:26.118
other, but sometimes we do this.

790
00:29:26.118 --> 00:29:26.358
That's right.

791
00:29:26.368 --> 00:29:26.718
You know what I mean?

792
00:29:26.788 --> 00:29:26.798
That's right.

793
00:29:26.798 --> 00:29:29.528
Sometimes we make this for each other, and that's really, really beautiful.

794
00:29:29.668 --> 00:29:33.448
I agree. And I think that directness with the

795
00:29:34.108 --> 00:29:37.568
lyrics, but such lived

796
00:29:37.578 --> 00:29:38.488
experience

797
00:29:39.768 --> 00:29:43.088
behind them, so the stories are just joyous or

798
00:29:43.148 --> 00:29:43.978
heart-wrenching or-

799
00:29:43.988 --> 00:29:44.148
Yeah

800
00:29:44.368 --> 00:29:45.618
... whatever she's putting across.

801
00:29:45.958 --> 00:29:49.658
But that combined with, as we said, the harmonic sophistication,

802
00:29:50.008 --> 00:29:53.868
but not to the point of, I actually don't really buy this like, "Oh, she went jazz

803
00:29:53.908 --> 00:29:57.558
on this." To me, that's not what this is about, because a lot of her ...

804
00:29:57.908 --> 00:29:58.398
There's nothing

805
00:29:59.268 --> 00:30:01.468
so crazy that she invented harmonically.

806
00:30:01.528 --> 00:30:05.158
I think her genius with the harmony, certainly you compare it to other folk or rock

807
00:30:05.188 --> 00:30:08.428
artists, you could say, oh yeah, she's using a lot more

808
00:30:08.888 --> 00:30:12.008
sophisticated harmony, but this is not like full-on jazz or anything like that.

809
00:30:12.208 --> 00:30:12.218
No.

810
00:30:12.228 --> 00:30:12.567
Or substitute.

811
00:30:12.628 --> 00:30:13.628
It's the combination of everything.

812
00:30:13.668 --> 00:30:14.308
It's the combination-

813
00:30:14.348 --> 00:30:14.358
The sum of the parts

814
00:30:14.358 --> 00:30:17.328
... but it's also the taste-making of when she uses them.

815
00:30:17.358 --> 00:30:17.997
Yeah. That's really good, yeah.

816
00:30:18.008 --> 00:30:20.108
It's always connected with the lyrics and the melody.

817
00:30:20.128 --> 00:30:21.108
And the same thing with the melody.

818
00:30:21.428 --> 00:30:23.848
She'll do a lot of diatonic major stuff-

819
00:30:24.108 --> 00:30:24.168
Yeah

820
00:30:24.178 --> 00:30:28.028
... but it's like she knows right when to land with that lyric, right at that major

821
00:30:28.108 --> 00:30:29.568
seventh, and the emotion-

822
00:30:29.808 --> 00:30:29.908
Yeah

823
00:30:29.968 --> 00:30:31.988
... and then the combination. Rhythm

824
00:30:32.932 --> 00:30:36.432
Well, the four, right? Lyrics, rhythm, harmony, and melody.

825
00:30:36.512 --> 00:30:38.522
I don't think anybody's better, especially during this period.

826
00:30:38.572 --> 00:30:42.152
There's one person I would put up, I'd put them in the same league, Stevie Wonder.

827
00:30:42.212 --> 00:30:42.372
Yeah.

828
00:30:42.472 --> 00:30:45.872
As being able to master all those. There's a lot of great writers that can do the

829
00:30:45.912 --> 00:30:49.152
three, but then you add the lyrics in and how that becomes sort of the

830
00:30:49.432 --> 00:30:49.972
tastemaker.

831
00:30:50.092 --> 00:30:52.982
One more element to your formula. The fifth element we'd like to say is-

832
00:30:53.002 --> 00:30:53.472
I love that band.

833
00:30:53.812 --> 00:30:56.552
Great. Is on this album specifically, the sound.

834
00:30:56.842 --> 00:30:56.852
Yes.

835
00:30:56.872 --> 00:30:59.252
Like when that Rhodes comes in, it comes in with a purpose.

836
00:30:59.292 --> 00:31:00.722
We're going to call that Joe Sample, because I love Joe Sample.

837
00:31:01.032 --> 00:31:02.792
We don't know if it is Joe Sample, but it's probably Joe Sample.

838
00:31:02.912 --> 00:31:03.032
Yeah.

839
00:31:03.132 --> 00:31:06.282
But it's like when that comes in and it's like it puts butter in the dish all of a

840
00:31:06.282 --> 00:31:06.282
sudden.

841
00:31:06.312 --> 00:31:09.812
Right. And which is really, I think is more a testament to the, obviously great

842
00:31:09.852 --> 00:31:11.361
playing, whoever's doing it, but the mix.

843
00:31:11.512 --> 00:31:11.672
Yeah.

844
00:31:11.712 --> 00:31:11.872
Right?

845
00:31:11.882 --> 00:31:12.532
The mix is unbelievable.

846
00:31:12.552 --> 00:31:13.992
The placement of it, the chorus.

847
00:31:14.052 --> 00:31:16.292
Buddy we're in '74. This is the king of the kick drum right here.

848
00:31:16.432 --> 00:31:17.312
It's literally the greatest.

849
00:31:18.072 --> 00:31:21.572
Everything ascended to '74, and it's just been, and now

850
00:31:21.732 --> 00:31:24.072
'74 to AI slop mixes now, right?

851
00:31:25.032 --> 00:31:27.072
We're getting now to the point of the album.

852
00:31:27.232 --> 00:31:27.462
You did yesterday.

853
00:31:27.472 --> 00:31:30.802
I love AI slop. We're getting to the point of the album where the next two songs

854
00:31:30.872 --> 00:31:33.832
might be two of the greatest recordings that Joni ever made.

855
00:31:33.852 --> 00:31:35.722
And the first one of those two, stick around for the one after this.

856
00:31:35.732 --> 00:31:37.111
So everything before this-

857
00:31:37.172 --> 00:31:37.992
Slop. Crap.

858
00:31:38.032 --> 00:31:38.212
And now we're finally getting...

859
00:31:38.262 --> 00:31:41.472
No, everything before this, genius, but this, "Car on a Hill" and "Down to You"

860
00:31:41.752 --> 00:31:42.972
are, I think, this

861
00:31:44.412 --> 00:31:46.571
run is the apex of the album for me.

862
00:31:47.292 --> 00:31:48.652
It's at the right place on the album.

863
00:31:53.612 --> 00:31:55.472
This is some of the great session playing.

864
00:31:55.552 --> 00:31:55.692
Oh.

865
00:31:55.712 --> 00:31:57.352
I've been sitting up waiting for the show to begin.

866
00:31:57.392 --> 00:31:58.212
Just that little intro.

867
00:31:59.472 --> 00:32:01.082
I've been listening to the sound of the beginning.

868
00:32:01.132 --> 00:32:04.352
There's a couple of chords on this track that are heartbreaker chords.

869
00:32:04.412 --> 00:32:04.772
Yeah.

870
00:32:04.802 --> 00:32:05.852
Say we are over three hundred.

871
00:32:05.872 --> 00:32:06.252
Or melter.

872
00:32:06.272 --> 00:32:09.732
Have no, maybe heart melter chords. No business being so emotional.

873
00:32:09.762 --> 00:32:09.862
Yeah.

874
00:32:09.952 --> 00:32:10.432
But they are.

875
00:32:10.532 --> 00:32:11.832
Waiting for a car.

876
00:32:11.862 --> 00:32:12.612
The placement of them.

877
00:32:12.852 --> 00:32:14.152
This little pre-chorus.

878
00:32:14.392 --> 00:32:18.212
He makes friends easy, he's not like me.

879
00:32:18.672 --> 00:32:22.052
I watch for judgment anxiously.

880
00:32:22.792 --> 00:32:24.131
Nowhere in the city.

881
00:32:24.152 --> 00:32:24.632
That, yeah.

882
00:32:24.872 --> 00:32:26.292
Can that boy be.

883
00:32:26.352 --> 00:32:26.612
Yeah.

884
00:32:27.212 --> 00:32:27.552
Waiting for a car.

885
00:32:27.592 --> 00:32:30.392
I'd give my right arm to be able to write something like that.

886
00:32:30.652 --> 00:32:34.052
Climbing, climbing, climbing the hill.

887
00:32:42.132 --> 00:32:43.512
Edit. Hear it out.

888
00:32:47.012 --> 00:32:47.022
Yeah.

889
00:32:48.432 --> 00:32:49.452
Ah. There's that theme again.

890
00:32:49.872 --> 00:32:50.192
Oh, yeah.

891
00:32:53.212 --> 00:32:54.471
Climbing.

892
00:32:54.832 --> 00:32:55.312
This is very-

893
00:32:55.552 --> 00:32:55.662
Happy

894
00:32:55.662 --> 00:32:56.532
... actually very Stevie-ish.

895
00:32:56.912 --> 00:32:57.212
Yeah.

896
00:33:02.132 --> 00:33:05.912
Climbing.

897
00:33:12.912 --> 00:33:14.332
High-level flute playing, by the way.

898
00:33:15.812 --> 00:33:15.822
Yeah.

899
00:33:15.872 --> 00:33:16.472
There's the theme.

900
00:33:17.912 --> 00:33:18.192
Oh.

901
00:33:22.572 --> 00:33:24.152
That's crazy.

902
00:33:24.852 --> 00:33:26.442
Climbing.

903
00:33:26.532 --> 00:33:28.332
This is kind of Dan-esque there.

904
00:33:28.672 --> 00:33:31.272
Very Dan-esque. This whole thing has a Steely Dan-

905
00:33:31.372 --> 00:33:31.632
Yeah

906
00:33:31.772 --> 00:33:32.312
... tinge.

907
00:33:32.392 --> 00:33:32.792
In our small sphere.

908
00:33:32.832 --> 00:33:35.132
But this is a little more human.

909
00:33:35.232 --> 00:33:37.122
Still no buzzer, they don't appear.

910
00:33:37.192 --> 00:33:37.592
You said it.

911
00:33:37.952 --> 00:33:38.352
All right, turn it off.

912
00:33:39.932 --> 00:33:42.841
Mute that out. No, man, it's got a little more edge.

913
00:33:42.872 --> 00:33:44.812
It's clean, but it's got a little more edge.

914
00:33:44.892 --> 00:33:47.732
It always seems so righteous at first light.

915
00:33:47.752 --> 00:33:48.532
This line here.

916
00:33:48.812 --> 00:33:52.592
When there's so much laughter and there's so much spark.

917
00:33:52.692 --> 00:33:52.892
This.

918
00:33:52.972 --> 00:33:56.432
When there's so much sweetness in the dark.

919
00:33:56.592 --> 00:33:57.222
Sweetness. Joni.

920
00:33:57.252 --> 00:33:58.632
Sweetness in the harmony and the lyric.

921
00:33:58.812 --> 00:34:00.732
Where the chord goes in the lyric to the chord.

922
00:34:00.752 --> 00:34:00.762
Yeah.

923
00:34:00.762 --> 00:34:02.752
When there's so much sweetness in the dark, and it goes to that-

924
00:34:04.352 --> 00:34:05.112
Like minor 11.

925
00:34:05.172 --> 00:34:06.432
It's like a minor 11 thing.

926
00:34:06.772 --> 00:34:06.781
Help yourself.

927
00:34:06.832 --> 00:34:07.492
Unbelievable.

928
00:34:13.822 --> 00:34:15.973
Weird '70s segues. I love it. I'm here for it.

929
00:34:16.312 --> 00:34:16.932
Thank you, Joni.

930
00:34:17.062 --> 00:34:17.062
Yeah.

931
00:34:17.072 --> 00:34:19.432
This is unbelievable. That theme of that

932
00:34:20.453 --> 00:34:22.513
three over four. Dun, dun, dun, dun, dun.

933
00:34:22.533 --> 00:34:22.542
Yeah.

934
00:34:22.542 --> 00:34:24.632
That's throughout almost every song on this album.

935
00:34:24.652 --> 00:34:25.422
That was on Help Me, too.

936
00:34:25.453 --> 00:34:27.292
There's something that's on Help Me. It's on Court and Spark.

937
00:34:27.332 --> 00:34:29.743
It's on Free Man in Paris. And then Peter, next up,

938
00:34:31.112 --> 00:34:34.072
I don't know, do you love perfect songs? Because we got one.

939
00:34:41.432 --> 00:34:46.862
Mm.

940
00:35:08.592 --> 00:35:12.172
Everything comes and goes.

941
00:35:12.772 --> 00:35:15.992
Marked by lovers and styles of

942
00:35:16.092 --> 00:35:16.952
clothes.

943
00:35:16.992 --> 00:35:17.412
Mm.

944
00:35:18.672 --> 00:35:22.392
Things that you held high and told yourself were

945
00:35:22.472 --> 00:35:26.032
true. Lost or changing as the days come down to

946
00:35:26.112 --> 00:35:26.591
you.

947
00:35:27.712 --> 00:35:30.152
Down to you.

948
00:35:31.512 --> 00:35:35.192
Constant stranger, you're a kind person, you're a

949
00:35:35.292 --> 00:35:39.192
cold person too. It's down to you.

950
00:35:54.632 --> 00:35:58.072
You go down to the pickup station craving warmth and

951
00:35:58.172 --> 00:35:59.112
beauty.

952
00:36:00.212 --> 00:36:01.882
You settle for less than fascination.

953
00:36:01.882 --> 00:36:02.292
Clever net.

954
00:36:02.802 --> 00:36:04.892
A few drinks later you're not so choosy.

955
00:36:05.612 --> 00:36:09.272
When the closing lights strip off the shadows on this strange new

956
00:36:09.312 --> 00:36:10.592
flesh you've found.

957
00:36:11.492 --> 00:36:12.642
Joe Sample. I have to tell you, Sam-

958
00:36:12.642 --> 00:36:13.452
Clutched in the night to a lack of fig leaf

959
00:36:13.472 --> 00:36:13.562
... Joe Sample.

960
00:36:13.562 --> 00:36:16.772
You hurry to the blackness and the blankets.

961
00:36:17.092 --> 00:36:19.832
To lay down an impression and your

962
00:36:19.912 --> 00:36:24.512
loneliness.

963
00:36:36.240 --> 00:36:40.080
In the morning, there are lovers in the street. They look so high.

964
00:36:40.360 --> 00:36:43.700
You brush against a stranger and you both apologize.

965
00:36:44.320 --> 00:36:44.780
Incredible

966
00:36:45.860 --> 00:36:45.950
horn.

967
00:36:46.040 --> 00:36:49.740
Old friends seem indifferent, you must have brought that on.

968
00:36:50.160 --> 00:36:52.940
Old bonds have broken down. Love is

969
00:36:53.040 --> 00:36:55.519
gone.

970
00:36:56.060 --> 00:36:56.350
Wow.

971
00:36:57.300 --> 00:37:00.690
Ooh, love is gone. Written on your

972
00:37:00.780 --> 00:37:02.850
spirit this says so.

973
00:37:02.860 --> 00:37:04.220
David Crosby on some BVs there.

974
00:37:04.340 --> 00:37:04.660
Yeah.

975
00:37:05.720 --> 00:37:07.580
Love is gone.

976
00:37:08.000 --> 00:37:08.820
Transition.

977
00:37:11.430 --> 00:37:12.340
A bassoon?

978
00:37:12.460 --> 00:37:13.640
A little bassoon solo, buddy.

979
00:37:13.669 --> 00:37:14.419
I forgot about that.

980
00:37:27.040 --> 00:37:27.480
Bless you.

981
00:37:27.740 --> 00:37:29.380
Thank you. Bless you, my brother.

982
00:37:31.540 --> 00:37:32.800
This is so epic, man.

983
00:37:44.930 --> 00:37:47.060
Tempo. Push, pull back, push.

984
00:37:50.270 --> 00:37:51.180
A little sharp 11.

985
00:38:02.020 --> 00:38:04.040
It's so good. So good.

986
00:38:05.240 --> 00:38:07.340
When this was a multi-platinum record with all this?

987
00:38:07.620 --> 00:38:07.750
Yeah, man.

988
00:38:07.760 --> 00:38:09.580
That's crazy. What a time.

989
00:38:22.540 --> 00:38:22.960
French horn?

990
00:38:27.660 --> 00:38:28.680
Poly chord?

991
00:38:48.860 --> 00:38:49.100
Ooh.

992
00:38:59.220 --> 00:39:00.240
An E horn there?

993
00:39:00.360 --> 00:39:01.920
Yeah, or oboe. Clarinet.

994
00:39:03.620 --> 00:39:04.940
I wonder how much of that's Tom Scott.

995
00:39:06.680 --> 00:39:07.920
He's listed as woodwinds.

996
00:39:11.220 --> 00:39:14.480
Everything comes and goes.

997
00:39:14.920 --> 00:39:18.420
Pleasure moves on too early and trouble leaves too

998
00:39:18.560 --> 00:39:19.240
slow.

999
00:39:19.580 --> 00:39:21.540
So good. Pleasure moves on too early.

1000
00:39:22.360 --> 00:39:23.240
Trouble leaves too slow.

1001
00:39:23.320 --> 00:39:27.200
You finally got it made. Bad news comes knocking

1002
00:39:27.240 --> 00:39:30.580
at your garden gate. Knocking for

1003
00:39:30.680 --> 00:39:32.740
you.

1004
00:39:32.820 --> 00:39:33.320
Ooh.

1005
00:39:33.440 --> 00:39:37.180
Constant stranger. You're a brute, you're an angel, you can

1006
00:39:37.240 --> 00:39:40.339
crawl, you can fly too. It's down to

1007
00:39:40.460 --> 00:39:41.740
you.

1008
00:39:43.800 --> 00:39:46.820
It all comes down to you.

1009
00:39:50.580 --> 00:39:51.440
So sick, dude.

1010
00:39:51.820 --> 00:39:51.830
Mm.

1011
00:39:51.830 --> 00:39:52.400
It's so good.

1012
00:39:53.680 --> 00:39:54.089
It's just great.

1013
00:39:54.100 --> 00:39:57.560
Okay, we haven't even talked about, we've been talking about Joni the

1014
00:39:57.620 --> 00:39:59.640
lyricist, the arranger, the composer.

1015
00:39:59.700 --> 00:39:59.820
Yeah.

1016
00:40:00.080 --> 00:40:02.600
Guitar, piano. We haven't really talked about the voice.

1017
00:40:02.800 --> 00:40:03.260
Oh my God.

1018
00:40:03.560 --> 00:40:03.760
Right.

1019
00:40:03.880 --> 00:40:03.950
This-

1020
00:40:03.970 --> 00:40:05.130
Are we just taking that for granted, though?

1021
00:40:05.160 --> 00:40:06.120
We are taking it for granted.

1022
00:40:06.190 --> 00:40:06.190
Right.

1023
00:40:06.220 --> 00:40:06.400
So,

1024
00:40:07.380 --> 00:40:07.790
all this stuff-

1025
00:40:07.860 --> 00:40:08.560
Like the instrument.

1026
00:40:08.660 --> 00:40:11.380
Yeah, the instrument itself. This is what I was saying when we started it.

1027
00:40:11.440 --> 00:40:14.560
It's like you can hear a clear delineation between the album before this.

1028
00:40:16.560 --> 00:40:17.260
Let's skip ahead here.

1029
00:40:17.340 --> 00:40:21.300
Oh, honey, you turn me on. I'm a radio.

1030
00:40:21.800 --> 00:40:22.630
She's getting there, right?

1031
00:40:22.640 --> 00:40:22.820
Yeah.

1032
00:40:23.140 --> 00:40:24.640
But compared to what we just heard-

1033
00:40:24.760 --> 00:40:24.800
Yeah

1034
00:40:24.809 --> 00:40:28.640
... it's like it's getting, there's a lower resonance that she,

1035
00:40:28.720 --> 00:40:30.680
especially earlier in her career, didn't have yet.

1036
00:40:30.730 --> 00:40:30.730
Right.

1037
00:40:30.740 --> 00:40:31.760
And she's really

1038
00:40:33.080 --> 00:40:35.460
come into her own vocally here as well.

1039
00:40:35.620 --> 00:40:39.550
Yeah. And I've always felt like the way her, for sure, her voice,

1040
00:40:39.900 --> 00:40:42.180
as all voices evolve,

1041
00:40:43.820 --> 00:40:45.860
it was at a pivot point, maybe a little bit.

1042
00:40:45.880 --> 00:40:46.780
But also the way

1043
00:40:47.880 --> 00:40:49.920
her voice was recorded on this album.

1044
00:40:49.980 --> 00:40:50.040
Yeah.

1045
00:40:50.060 --> 00:40:53.139
And that's always, shout out to Henry

1046
00:40:53.780 --> 00:40:55.619
Lewy and Ellis Sorkin, the engineers.

1047
00:40:55.660 --> 00:40:56.740
We never give the engineers enough-

1048
00:40:56.780 --> 00:40:58.199
No, they crushed this one.

1049
00:40:58.240 --> 00:40:59.079
But all these decisions-

1050
00:40:59.100 --> 00:41:00.090
High fives all around, guys

1051
00:41:00.220 --> 00:41:00.400
Yeah.

1052
00:41:00.560 --> 00:41:00.770
Incredible.

1053
00:41:00.770 --> 00:41:03.570
And how the decisions are made. I know Joni's always very involved with that

1054
00:41:03.600 --> 00:41:04.180
process, too.

1055
00:41:04.230 --> 00:41:04.230
Yeah.

1056
00:41:04.240 --> 00:41:06.640
She's very much, she's one of those types of musicians.

1057
00:41:07.640 --> 00:41:09.120
But I always felt like this was

1058
00:41:10.060 --> 00:41:13.700
just the quintessential way to present

1059
00:41:13.840 --> 00:41:14.680
Joni's voice.

1060
00:41:14.740 --> 00:41:14.980
Yeah, I agree.

1061
00:41:15.080 --> 00:41:18.980
There's a lot of variety over the years, not just as she evolved,

1062
00:41:19.020 --> 00:41:22.760
but the way she was recorded. But I always felt like this, because there's so much

1063
00:41:22.860 --> 00:41:23.200
beauty,

1064
00:41:24.180 --> 00:41:26.000
obviously, in her voice. She has a beautiful voice.

1065
00:41:26.100 --> 00:41:26.170
Yeah.

1066
00:41:26.240 --> 00:41:26.360
Right?

1067
00:41:26.560 --> 00:41:26.639
Yeah.

1068
00:41:26.700 --> 00:41:30.660
But then she has so much control. So there's a purity

1069
00:41:30.720 --> 00:41:34.280
there that she can go in and out of, that she totally controls.

1070
00:41:34.320 --> 00:41:37.960
This is not unique to her, but this is like when you're in that S

1071
00:41:38.000 --> 00:41:41.980
tier of vocalists that have an incredible voice and can control it, and then you've

1072
00:41:42.020 --> 00:41:42.580
got the

1073
00:41:43.600 --> 00:41:45.580
lyricism and all, and the phrasing.

1074
00:41:45.620 --> 00:41:45.810
Yeah.

1075
00:41:45.840 --> 00:41:46.200
Oh my God.

1076
00:41:46.300 --> 00:41:47.680
And then you capture it great, like you said.

1077
00:41:47.700 --> 00:41:51.560
And then, and when it's captured great, and I don't know, to me, this

1078
00:41:51.600 --> 00:41:53.980
kind of voice, the more direct, the more simple.

1079
00:41:54.020 --> 00:41:56.020
It's not huge either.

1080
00:41:56.060 --> 00:41:56.160
Yeah.

1081
00:41:56.200 --> 00:42:00.140
Her voice is big. It's a big voice, but it's not presented in this

1082
00:42:00.360 --> 00:42:01.400
grandiose way. It's just

1083
00:42:02.240 --> 00:42:02.570
the facts, man.

1084
00:42:02.570 --> 00:42:04.960
Well, that's what's so great about it, is it feels intimate.

1085
00:42:04.970 --> 00:42:04.970
Yeah.

1086
00:42:05.060 --> 00:42:06.580
It feels like you're having a conversation with someone.

1087
00:42:06.620 --> 00:42:09.540
But it's like if you're taking a picture of someone, a beautiful portrait, not a

1088
00:42:09.560 --> 00:42:12.120
whole bunch of, but really natural lighting.

1089
00:42:12.200 --> 00:42:12.280
Yeah.

1090
00:42:12.340 --> 00:42:15.320
Right? This is a very natural way to record her voice.

1091
00:42:16.100 --> 00:42:17.180
Next up is "Just Like This Train."

1092
00:42:21.280 --> 00:42:21.720
Oh, yeah.

1093
00:42:26.000 --> 00:42:29.880
I'm always running behind the

1094
00:42:30.020 --> 00:42:31.140
time.

1095
00:42:32.280 --> 00:42:34.500
Just like this train.

1096
00:42:35.180 --> 00:42:35.420
Ooh.

1097
00:42:36.320 --> 00:42:37.340
Shaking and

1098
00:42:38.636 --> 00:42:40.456
The bricks complain.

1099
00:42:40.936 --> 00:42:41.616
Her four to two.

1100
00:42:41.676 --> 00:42:43.196
Can we get some more pedal steel around here, buddy?

1101
00:42:43.276 --> 00:42:46.245
Yeah. Joni's four to two, back to one game is-

1102
00:42:46.736 --> 00:42:46.786
Done

1103
00:42:46.796 --> 00:42:47.596
... is unmatched.

1104
00:42:47.816 --> 00:42:48.516
Unmatched.

1105
00:42:48.576 --> 00:42:48.916
Truly.

1106
00:42:50.756 --> 00:42:51.616
Her Lydian too.

1107
00:42:51.676 --> 00:42:53.696
Her Lydian stuff on this album is incredible.

1108
00:42:58.736 --> 00:42:59.756
Yeah, if you don't know-

1109
00:43:00.576 --> 00:43:02.336
Her four to six is pretty damn good too.

1110
00:43:04.276 --> 00:43:08.256
This chord, you hear all over. This is when we talk about Lydian stuff.

1111
00:43:08.316 --> 00:43:09.775
Yeah. Sharp 11.

1112
00:43:11.196 --> 00:43:12.216
But this is more even, which-

1113
00:43:12.236 --> 00:43:12.386
And it resolves up, like

1114
00:43:12.386 --> 00:43:13.716
... I think what she did this is like

1115
00:43:15.465 --> 00:43:15.465
a

1116
00:43:16.596 --> 00:43:19.356
D over C, right? So it's like a D seven with the seventh in the bass

1117
00:43:20.976 --> 00:43:24.036
where you can resolve to that G. But she's using like

1118
00:43:25.076 --> 00:43:26.836
There was a major seventh in there too, I think.

1119
00:43:27.056 --> 00:43:27.736
Was there also like?

1120
00:43:29.026 --> 00:43:29.026
Yeah.

1121
00:43:29.056 --> 00:43:29.716
Yeah, it's gorgeous.

1122
00:43:31.696 --> 00:43:33.536
Just so harmonically sophisticated.

1123
00:43:34.616 --> 00:43:38.576
And she works into the writing how she connects the melody and the lyrics, we talk

1124
00:43:38.636 --> 00:43:42.036
about, with the harmony then. And so this is a harmonic concept, right?

1125
00:43:42.136 --> 00:43:44.176
Lydian, these are chords, this is vertical.

1126
00:43:44.436 --> 00:43:44.516
Yeah.

1127
00:43:44.996 --> 00:43:46.236
Her understanding.

1128
00:43:47.416 --> 00:43:51.396
She was somewhat famously didn't have a lot of theoretical knowledge of this

1129
00:43:51.476 --> 00:43:51.756
stuff.

1130
00:43:51.916 --> 00:43:52.076
Mm-hmm.

1131
00:43:52.136 --> 00:43:54.936
I think there were stories about her being in the studio and she's playing these

1132
00:43:54.996 --> 00:43:55.566
minor 11s and stuff.

1133
00:43:55.576 --> 00:43:56.516
She's doing shapes. Yeah.

1134
00:43:56.716 --> 00:44:00.596
Yeah. And somebody said, "Oh, that's that minor 11." She's like, "What is that?" So

1135
00:44:00.796 --> 00:44:00.856
by-

1136
00:44:00.896 --> 00:44:02.616
Which, by the way, everybody, is totally cool.

1137
00:44:03.096 --> 00:44:04.096
Well, yeah.

1138
00:44:04.236 --> 00:44:04.596
Yeah.

1139
00:44:04.756 --> 00:44:05.376
Look at the output.

1140
00:44:05.496 --> 00:44:07.996
No, some people feel like you've got to wait till you know everything. You don't.

1141
00:44:08.016 --> 00:44:08.086
You just-

1142
00:44:08.116 --> 00:44:09.846
Well, if you're not Joni Mitchell, you've got to know everything.

1143
00:44:09.896 --> 00:44:11.256
No, you don't. You just use your ear.

1144
00:44:11.276 --> 00:44:11.286
Yeah.

1145
00:44:11.286 --> 00:44:11.926
You do what you want.

1146
00:44:12.116 --> 00:44:14.446
Right. But it's like the output, but her ability

1147
00:44:14.536 --> 00:44:18.276
to... There is a part of theory,

1148
00:44:18.616 --> 00:44:21.946
actually, that is about understanding the

1149
00:44:23.376 --> 00:44:25.696
unspoken emotional impact of different sounds.

1150
00:44:25.856 --> 00:44:25.936
Yeah.

1151
00:44:25.986 --> 00:44:28.976
And we always think about it as, like I said, the vertical, right?

1152
00:44:28.996 --> 00:44:29.976
Because it's a chord.

1153
00:44:31.376 --> 00:44:35.256
But when we're singing, as pianists we'll play it, but singing, you can never,

1154
00:44:35.456 --> 00:44:38.576
unless you're Lea DeLaria, you can't sing more than one note at a time, right?

1155
00:44:39.096 --> 00:44:39.106
Yeah.

1156
00:44:39.176 --> 00:44:43.076
So, that's the most natural connection which great

1157
00:44:43.176 --> 00:44:44.856
vocalists and great writers like Joni-

1158
00:44:45.076 --> 00:44:45.176
Yeah

1159
00:44:45.236 --> 00:44:48.136
... understand on a level that's harder for us to understand.

1160
00:44:48.196 --> 00:44:51.376
But it all comes down to what is the emotional impact of the sharp 11?

1161
00:44:51.416 --> 00:44:55.136
Not what's the math of it. The math explains it, but then the

1162
00:44:55.176 --> 00:44:59.156
ability to go there when it's kind of happy, but optimistic, but it's a

1163
00:44:59.216 --> 00:44:59.556
little bit-

1164
00:44:59.796 --> 00:44:59.896
Yeah

1165
00:45:00.036 --> 00:45:03.556
... forlorn. And you can't say what it is. That's why we have these sounds, right?

1166
00:45:03.656 --> 00:45:06.146
You know what she does a lot on this too, speaking of all that, is like, if she's

1167
00:45:06.176 --> 00:45:06.906
in the key of C here,

1168
00:45:08.416 --> 00:45:10.326
she's got these, we talked about the plagals, right?

1169
00:45:10.376 --> 00:45:10.716
Where she

1170
00:45:11.756 --> 00:45:12.996
Take it to the church. Yeah.

1171
00:45:13.056 --> 00:45:15.556
And when she uses the Lydian sound, she'll do something like that, right?

1172
00:45:15.596 --> 00:45:19.076
She'll go from this closed, kind of like really warm but

1173
00:45:19.116 --> 00:45:22.916
boxy progression, and then she'll let the sky open up.

1174
00:45:23.336 --> 00:45:23.596
Yeah.

1175
00:45:25.256 --> 00:45:26.166
By doing that sort of like-

1176
00:45:26.196 --> 00:45:26.285
Yeah

1177
00:45:26.356 --> 00:45:27.816
... sharp 11 Lydian sound.

1178
00:45:27.856 --> 00:45:30.376
Because at that time, it's as much about where it's going to go.

1179
00:45:30.916 --> 00:45:30.926
Exactly.

1180
00:45:30.956 --> 00:45:31.166
You know?

1181
00:45:31.196 --> 00:45:31.616
Exactly.

1182
00:45:31.656 --> 00:45:32.476
And she's got that control.

1183
00:45:32.676 --> 00:45:35.386
Next up is "Raised on Robbery." I think this is definitely Joe Sample on the

1184
00:45:35.416 --> 00:45:35.956
clavinet here.

1185
00:45:36.856 --> 00:45:40.095
Yes. This was the only one I always knew it was him.

1186
00:45:40.996 --> 00:45:41.336
Ah.

1187
00:45:41.716 --> 00:45:42.296
I love you, Joe.

1188
00:45:42.456 --> 00:45:45.396
He was sitting in the lounge of the Empire Hotel.

1189
00:45:45.716 --> 00:45:49.016
He was drinking for diversion. He was thinking for himself.

1190
00:45:49.336 --> 00:45:52.336
A little money riding on the maple leaves.

1191
00:45:52.716 --> 00:45:55.596
Along comes a lady in lacey sleeves.

1192
00:45:55.696 --> 00:45:55.816
Huh.

1193
00:45:56.285 --> 00:46:00.076
She said, "Let me sit down, you know drinking alone's a shame.

1194
00:46:00.116 --> 00:46:02.456
It's a shame. It's a crying shame."

1195
00:46:02.996 --> 00:46:03.856
I've always thought like-

1196
00:46:04.216 --> 00:46:05.216
People say the sugar's sweet but they never taste the pain

1197
00:46:05.236 --> 00:46:06.916
... this is a track

1198
00:46:08.156 --> 00:46:11.936
where it's like, is it blues? Is it Americana? Is it country?

1199
00:46:12.576 --> 00:46:15.616
Is it folk? It's kind of everything, right? Rock.

1200
00:46:16.476 --> 00:46:19.656
Kids what I'm drinking, I was raised on robbery.

1201
00:46:19.696 --> 00:46:21.986
It's almost like a Fleetwood Mac because they could get away with doing this too.

1202
00:46:21.996 --> 00:46:23.476
Fleetwood Mac or Elton John.

1203
00:46:23.496 --> 00:46:23.876
Elton, yeah.

1204
00:46:23.936 --> 00:46:25.516
Something like that. Billy Joel, maybe.

1205
00:46:25.576 --> 00:46:25.896
Yeah.

1206
00:46:35.816 --> 00:46:39.736
I'm a pretty good cook, sitting on my groceries.

1207
00:46:39.896 --> 00:46:42.456
The lyrics of this are actually amazing.

1208
00:46:42.656 --> 00:46:45.706
I'm off to my kitchen, I'll show you my best

1209
00:46:45.796 --> 00:46:47.016
recipe.

1210
00:46:48.696 --> 00:46:49.956
Oh, control.

1211
00:46:50.356 --> 00:46:52.656
I try and I try, but I can't save a cent.

1212
00:46:52.996 --> 00:46:56.076
I'm up at the midnight cook, trying to make my rent.

1213
00:46:56.276 --> 00:46:59.756
I'm rough, but I'm pleasing, I was raised on robbery.

1214
00:47:00.936 --> 00:47:04.376
And even though there's so much thick backgrounds on this, this

1215
00:47:04.896 --> 00:47:08.076
track, I think on the whole album, is the most where she's placed in the mix.

1216
00:47:08.496 --> 00:47:10.356
It's almost like inside of the band.

1217
00:47:10.476 --> 00:47:10.656
Yeah.

1218
00:47:10.736 --> 00:47:11.636
Like almost underneath.

1219
00:47:11.656 --> 00:47:14.836
There's something on her voice too, some kind of delay or reverb or something

1220
00:47:14.856 --> 00:47:14.946
that's-

1221
00:47:15.016 --> 00:47:15.296
Yeah.

1222
00:47:16.116 --> 00:47:17.136
It's very intentional, I think.

1223
00:47:17.236 --> 00:47:18.396
Taking her back a little bit.

1224
00:47:18.406 --> 00:47:18.406
Yeah.

1225
00:47:19.556 --> 00:47:19.956
Yeah, right.

1226
00:47:24.276 --> 00:47:26.916
Yeah. She's just in there, right?

1227
00:47:29.196 --> 00:47:32.896
Rusty bought a '57 Biscayne. He bought it and then ditched.

1228
00:47:33.276 --> 00:47:35.495
He drank up all the rest at Sutter's Kitchen.

1229
00:47:35.516 --> 00:47:36.616
And what would you call this groove?

1230
00:47:36.656 --> 00:47:39.286
He was drunk that whiskey, I was raised on robbery.

1231
00:47:39.296 --> 00:47:41.676
This is like a classic '70s rock groove to me.

1232
00:47:41.736 --> 00:47:41.995
Like this-

1233
00:47:42.036 --> 00:47:42.166
Yeah

1234
00:47:42.576 --> 00:47:42.996
... feels like-

1235
00:47:44.376 --> 00:47:47.496
But doesn't it have a little hint of shuffle on it too, though?

1236
00:47:48.436 --> 00:47:48.956
Not really.

1237
00:47:49.136 --> 00:47:49.686
That tickles. Yeah.

1238
00:47:49.696 --> 00:47:50.226
This feels like

1239
00:47:51.296 --> 00:47:53.736
anything from Rod Stewart during this time.

1240
00:47:53.796 --> 00:47:54.106
Don't say that.

1241
00:47:54.156 --> 00:47:55.056
Maggie May, you know?

1242
00:47:55.216 --> 00:47:55.396
Yeah.

1243
00:47:55.416 --> 00:47:55.856
To, like

1244
00:47:56.956 --> 00:47:58.296
you said, Fleetwood Mac or-

1245
00:47:58.776 --> 00:47:59.466
Yeah. It's got that drive

1246
00:47:59.496 --> 00:48:00.656
... Emerson, Lake & Palmer.

1247
00:48:00.716 --> 00:48:00.896
Yeah.

1248
00:48:00.936 --> 00:48:03.296
Well, maybe not that, but that kind of genre, right?

1249
00:48:03.356 --> 00:48:03.496
Yeah.

1250
00:48:03.516 --> 00:48:05.136
And it's really kind of an outlier on this.

1251
00:48:05.236 --> 00:48:07.836
But it'd be hard. Could you imagine make a chart and be like, '70s rock vibe?

1252
00:48:07.876 --> 00:48:07.886
Yeah.

1253
00:48:07.916 --> 00:48:09.236
Because that could be a couple things.

1254
00:48:09.476 --> 00:48:11.076
Yeah. Next up is "Trouble Child." Great song.

1255
00:48:14.916 --> 00:48:16.136
Penultimate, right? Yeah.

1256
00:48:19.716 --> 00:48:22.156
This is a well-sequenced album. I forgot about that.

1257
00:48:22.696 --> 00:48:23.485
It is so well-sequenced.

1258
00:48:23.536 --> 00:48:23.816
Wow.

1259
00:48:24.656 --> 00:48:25.236
Almost perfect.

1260
00:48:27.016 --> 00:48:27.696
Yeah. Perfect.

1261
00:48:28.096 --> 00:48:30.966
Up in a sterilized room where they-

1262
00:48:30.996 --> 00:48:32.236
There's that Lydian again. Yeah

1263
00:48:33.176 --> 00:48:35.376
... teach you to be lazy.

1264
00:48:35.536 --> 00:48:38.276
I feel like we, as jazz players, we waste that sound too much.

1265
00:48:39.096 --> 00:48:39.206
Like-

1266
00:48:39.216 --> 00:48:40.055
It's so powerful when she does it.

1267
00:48:40.136 --> 00:48:41.896
I know, but it's like she's using taste.

1268
00:48:42.356 --> 00:48:43.406
We just throw it around as a-

1269
00:48:43.476 --> 00:48:44.476
Easy

1270
00:48:47.424 --> 00:48:47.944
Countermelody

1271
00:48:47.954 --> 00:48:51.504
... bright and shining with all values known.

1272
00:48:52.484 --> 00:48:55.204
Dazzling you, keeping you from your

1273
00:48:55.284 --> 00:48:56.684
own.

1274
00:48:57.284 --> 00:48:57.294
Yeah.

1275
00:48:57.344 --> 00:49:01.304
Where is the lion in you to defy 'em when you're this weak

1276
00:49:01.324 --> 00:49:01.744
and this

1277
00:49:02.564 --> 00:49:04.144
spacey?

1278
00:49:11.884 --> 00:49:13.634
So what are you gonna do about it?

1279
00:49:13.664 --> 00:49:14.444
Chuck Findley on the horns.

1280
00:49:14.844 --> 00:49:16.664
You can't live life and you can't

1281
00:49:17.744 --> 00:49:19.924
leave it.

1282
00:49:20.023 --> 00:49:20.484
Yeah.

1283
00:49:21.584 --> 00:49:21.904
Slide.

1284
00:49:21.964 --> 00:49:24.784
Advice and religion, you can't take it.

1285
00:49:25.284 --> 00:49:28.744
You can't seem to believe it.

1286
00:49:31.544 --> 00:49:35.484
The peacock is afraid to parade.

1287
00:49:36.404 --> 00:49:38.504
You're under the thumb of the maid.

1288
00:49:41.304 --> 00:49:41.314
Yeah.

1289
00:49:41.314 --> 00:49:44.224
You really can't give love in this condition.

1290
00:49:44.384 --> 00:49:48.044
Still you know who you need is-

1291
00:49:48.904 --> 00:49:49.684
Troubled child

1292
00:49:49.704 --> 00:49:51.723
... me. They open and they close-

1293
00:49:51.783 --> 00:49:52.314
All right, Peter, we're gonna-

1294
00:49:52.354 --> 00:49:52.794
Yeah

1295
00:49:52.794 --> 00:49:54.764
... end with a cover. The only cover on the album.

1296
00:49:55.044 --> 00:49:56.714
Yes. Or is it? Yeah, it is.

1297
00:49:56.714 --> 00:49:59.844
Yeah, it's a cover. This is by Annie Ross of Lambert, Hendricks, & Ross.

1298
00:49:59.874 --> 00:49:59.874
Right, Lambert, Hendricks, & Ross.

1299
00:49:59.884 --> 00:50:00.654
And this is actually

1300
00:50:01.824 --> 00:50:05.614
written, the melody is from a solo by saxophonist Wardell

1301
00:50:05.664 --> 00:50:06.064
Gray.

1302
00:50:06.604 --> 00:50:07.844
Right. I always thought it was...

1303
00:50:08.824 --> 00:50:11.344
Well, you've got the facts. For some reason, I always thought this was James Moody,

1304
00:50:11.764 --> 00:50:13.064
but it's a famous solo.

1305
00:50:13.204 --> 00:50:15.274
Oh, you're gonna have to argue with Wikipedia on that take.

1306
00:50:15.274 --> 00:50:16.104
Oh, I'm sorry. You got the-

1307
00:50:16.464 --> 00:50:16.744
It's gonna take fun.

1308
00:50:16.784 --> 00:50:17.844
Do you have the Premium membership?

1309
00:50:20.264 --> 00:50:21.324
It's a blues. This is a blues.

1310
00:50:21.484 --> 00:50:23.844
Yeah, and it's just, I think it's... Well, look.

1311
00:50:24.384 --> 00:50:27.224
I want to experience this, as I said, coming from where we just were-

1312
00:50:27.304 --> 00:50:27.334
Okay

1313
00:50:27.344 --> 00:50:28.944
... because it was always a little jarring to me.

1314
00:50:28.974 --> 00:50:29.504
Okay. Okay, sure.

1315
00:50:29.564 --> 00:50:29.654
Yeah.

1316
00:50:30.294 --> 00:50:30.664
"Twisted."

1317
00:50:33.984 --> 00:50:35.004
I mean, the playing's great on it.

1318
00:50:35.084 --> 00:50:35.924
Chuck Findley on this album.

1319
00:50:37.164 --> 00:50:40.424
My analyst told me that I was right out of my head.

1320
00:50:40.544 --> 00:50:44.184
The way he described it, he said I'd be better dead than

1321
00:50:44.284 --> 00:50:44.584
live.

1322
00:50:44.704 --> 00:50:45.054
I mean-

1323
00:50:45.184 --> 00:50:46.844
I didn't listen to his chat

1324
00:50:46.884 --> 00:50:48.224
... Joni's technique, incredible

1325
00:50:48.234 --> 00:50:50.644
I knew all along that he was all wrong.

1326
00:50:50.744 --> 00:50:52.064
And I knew that he thought

1327
00:50:53.084 --> 00:50:55.384
I was crazy, but I know I don't own.

1328
00:50:57.124 --> 00:51:00.264
My analyst told me that I was right out of my head.

1329
00:51:00.464 --> 00:51:03.904
He said I'd need treatment, but I'm not that easily led.

1330
00:51:03.964 --> 00:51:07.204
He said I was the type that was most inclined.

1331
00:51:07.604 --> 00:51:10.404
Went out of his sight to be out of my mind.

1332
00:51:10.464 --> 00:51:12.783
And he thought I was nuts.

1333
00:51:12.824 --> 00:51:12.873
Hmm.

1334
00:51:12.944 --> 00:51:14.704
No more ifs, ands, or buts.

1335
00:51:15.764 --> 00:51:15.984
I mean-

1336
00:51:17.444 --> 00:51:21.384
They say, as a child, I appeared a little bit wild with all my crazy

1337
00:51:21.564 --> 00:51:25.464
ideas. But I knew what was happening, I knew I was a

1338
00:51:25.584 --> 00:51:29.144
genius. What's so

1339
00:51:29.224 --> 00:51:32.244
strange when you know that you're a wizard at three?

1340
00:51:33.084 --> 00:51:34.744
I knew that this was meant to be.

1341
00:51:37.104 --> 00:51:38.014
Now I heard that little children-

1342
00:51:38.014 --> 00:51:38.794
Chuck Findley's killing it

1343
00:51:38.884 --> 00:51:39.014
Geez

1344
00:51:39.014 --> 00:51:42.564
... were supposed to sleep tight. That's why I got into the

1345
00:51:42.624 --> 00:51:46.604
vodka one night. My parents got frantic, didn't know what to

1346
00:51:46.724 --> 00:51:50.364
do. But I saw some crazy scenes before I came to.

1347
00:51:50.464 --> 00:51:54.324
Now, do you think I was crazy? I may have been only three, but

1348
00:51:55.024 --> 00:51:58.844
I was swinging. They all laughed at Angry Young Men.

1349
00:51:59.584 --> 00:52:02.164
They all laughed at Edison and also at Einstein.

1350
00:52:02.504 --> 00:52:05.944
So why should I feel sorry if they just couldn't understand the

1351
00:52:06.024 --> 00:52:08.844
idiomatic logic that went on in my head?

1352
00:52:09.384 --> 00:52:12.324
I had a brain ever since they know. They used to laugh at me-

1353
00:52:12.334 --> 00:52:14.033
I mean, technically what she's doing is off the charts

1354
00:52:14.044 --> 00:52:14.734
But you don't dig it

1355
00:52:14.844 --> 00:52:15.904
... and I rode electric buses. All because I was-

1356
00:52:15.924 --> 00:52:16.744
I wanna hear what you think

1357
00:52:16.904 --> 00:52:17.324
... so damn intelligent.

1358
00:52:17.354 --> 00:52:18.164
Hold on. I wanna hear Cheech and Chong.

1359
00:52:18.224 --> 00:52:18.444
Okay.

1360
00:52:19.364 --> 00:52:19.924
That was a pump up.

1361
00:52:20.014 --> 00:52:22.764
Good driver, huh? Talk about chickens twisted, crazy, hoopty shooby.

1362
00:52:22.884 --> 00:52:26.834
You hear Flip City. My analyst told me that I was right out of my head.

1363
00:52:27.033 --> 00:52:27.033
Oh, yeah.

1364
00:52:27.064 --> 00:52:27.854
But I said, "Dear doctor-

1365
00:52:27.904 --> 00:52:29.844
I had some great Cheech and Chong albums from this era

1366
00:52:29.884 --> 00:52:30.144
... I just thought that you were scared."

1367
00:52:30.154 --> 00:52:30.313
Hell yeah.

1368
00:52:30.484 --> 00:52:30.574
Yeah.

1369
00:52:30.574 --> 00:52:30.574
Comedy LPs.

1370
00:52:30.574 --> 00:52:33.744
Because I have got a thing that's unique and new.

1371
00:52:34.124 --> 00:52:35.234
To prove it I'll handle-

1372
00:52:35.284 --> 00:52:36.384
The mix on Joni-

1373
00:52:36.474 --> 00:52:36.474
... half of you

1374
00:52:36.474 --> 00:52:38.464
... this is the only track on the album which I think is weird

1375
00:52:38.484 --> 00:52:40.044
Once you're wanted.

1376
00:52:40.084 --> 00:52:40.184
Well-

1377
00:52:40.224 --> 00:52:41.844
Like, she's not with the band.

1378
00:52:42.124 --> 00:52:45.404
And you know two heads are better than

1379
00:52:45.644 --> 00:52:46.704
one.

1380
00:52:46.764 --> 00:52:48.664
It's a jazz tune without a jazz mix, isn't it?

1381
00:52:49.004 --> 00:52:49.244
Yeah.

1382
00:52:49.364 --> 00:52:49.484
Yeah.

1383
00:52:49.624 --> 00:52:52.324
Yeah. And I love the mix on this album, and it's kind of like an ad.

1384
00:52:52.504 --> 00:52:54.724
There's some other albums I know like this, like an add-on track.

1385
00:52:54.984 --> 00:52:55.024
I agree.

1386
00:52:55.044 --> 00:52:56.014
It just doesn't make sense to me.

1387
00:52:56.064 --> 00:52:58.324
I agree it's an outlier, but I still find it delightful.

1388
00:52:58.624 --> 00:52:58.824
No, it's-

1389
00:52:58.834 --> 00:53:00.304
And I feel like you're a no-fun guy right now.

1390
00:53:01.564 --> 00:53:03.174
We can't have fun around here?

1391
00:53:03.224 --> 00:53:04.044
And you know, but you know what?

1392
00:53:04.444 --> 00:53:04.454
No.

1393
00:53:04.454 --> 00:53:07.544
On hearing it again, I hadn't heard this in a while, Joni's singing is stunning on

1394
00:53:07.604 --> 00:53:07.783
that.

1395
00:53:07.853 --> 00:53:07.853
Yeah.

1396
00:53:07.864 --> 00:53:10.884
I mean, she's not, I don't care about this, is she a jazz singer, is she not?

1397
00:53:10.944 --> 00:53:14.664
I mean, she's singing that. And if you wanna call that jazz, then yes, she

1398
00:53:14.844 --> 00:53:18.364
absolutely is. That's not her main jam, but she has these connections.

1399
00:53:18.724 --> 00:53:21.844
To me, actually, now that I'm remembering, it's like the rhythm section, to me-

1400
00:53:21.944 --> 00:53:21.974
Yeah

1401
00:53:21.984 --> 00:53:22.684
... is a little bit like-

1402
00:53:22.754 --> 00:53:22.974
No, I hear you

1403
00:53:23.224 --> 00:53:24.264
... dink dink dink. I know.

1404
00:53:24.524 --> 00:53:24.754
I hear you. It's, uh-

1405
00:53:24.754 --> 00:53:28.224
And Chuck Findley's killing it. And I mean, once you push into something that's

1406
00:53:28.264 --> 00:53:29.684
gonna date it a little bit,

1407
00:53:30.664 --> 00:53:32.704
like, I'm jumping, I'm putting on a costume, right?

1408
00:53:32.864 --> 00:53:32.874
Mm-hmm.

1409
00:53:32.884 --> 00:53:36.044
And we're gonna go to jazz land for a second. We're gonna go jazz hands.

1410
00:53:36.104 --> 00:53:36.254
Mm-hmm.

1411
00:53:36.284 --> 00:53:40.224
It's got a little bit of that. It's so well done that it kinda works, and Joni is

1412
00:53:40.284 --> 00:53:43.364
the connective tissue, I think, from everything. What did you just write down?

1413
00:53:43.444 --> 00:53:44.484
Are you cursing me?

1414
00:53:44.544 --> 00:53:44.614
Yeah.

1415
00:53:44.664 --> 00:53:45.374
Are you stealing my password?

1416
00:53:45.404 --> 00:53:45.914
Yeah, yeah. No, I'm-

1417
00:53:45.914 --> 00:53:46.214
What's going on?

1418
00:53:46.714 --> 00:53:50.664
... I'm, yeah, I'm just writing about, "Must get new friends."

1419
00:53:51.244 --> 00:53:52.554
I'm just kidding. I'm just kidding. I'm just kidding.

1420
00:53:53.124 --> 00:53:55.184
No, I'm writing down my categories because it's time for some categories.

1421
00:53:55.194 --> 00:53:55.194
Okay.

1422
00:53:55.204 --> 00:53:55.714
Peter, what's your desert island track?

1423
00:53:55.744 --> 00:53:57.184
I wanna know what you think of it, though. Hold up.

1424
00:53:57.224 --> 00:53:59.374
You're kind of shirking your responsibility on that, Twisted.

1425
00:53:59.424 --> 00:54:02.244
I agree with you about the rhythm section, and I agree with you about how it was

1426
00:54:02.284 --> 00:54:04.944
recorded, but I do think it's really fun, and I think her performance is pretty

1427
00:54:04.964 --> 00:54:05.444
amazing.

1428
00:54:05.564 --> 00:54:05.664
Yeah.

1429
00:54:05.704 --> 00:54:05.874
Like, she-

1430
00:54:05.874 --> 00:54:07.104
Do you think it fits on this album?

1431
00:54:07.984 --> 00:54:10.954
Is it an app...? Do-

1432
00:54:10.964 --> 00:54:14.904
Does it take away from what may be a perfect record in some ways,

1433
00:54:14.944 --> 00:54:15.834
or in that category, at least?

1434
00:54:15.864 --> 00:54:16.324
It does not.

1435
00:54:16.444 --> 00:54:16.634
I think so.

1436
00:54:16.634 --> 00:54:18.004
I think if it were the third track, it would.

1437
00:54:18.304 --> 00:54:20.844
I think because it's the last track, we're going out on a bit of humor.

1438
00:54:20.924 --> 00:54:22.684
It's almost like the credits are rolling on a very-

1439
00:54:22.984 --> 00:54:22.994
Yeah

1440
00:54:22.994 --> 00:54:26.684
... on a very fun, because there's other funny moments in this album.

1441
00:54:26.824 --> 00:54:27.184
Yeah.

1442
00:54:27.244 --> 00:54:31.144
There's humor throughout it, and so I feel like she's going out on a

1443
00:54:31.204 --> 00:54:32.084
light-hearted moment.

1444
00:54:32.094 --> 00:54:32.094
Yeah.

1445
00:54:32.104 --> 00:54:33.324
And I think it's really fun.

1446
00:54:33.384 --> 00:54:33.814
Fair enough.

1447
00:54:33.824 --> 00:54:34.124
Yeah.

1448
00:54:34.134 --> 00:54:34.134
Fair enough.

1449
00:54:34.144 --> 00:54:36.644
It's only two minutes long, too. It's a very short way to go out.

1450
00:54:36.664 --> 00:54:36.814
Yeah.

1451
00:54:36.844 --> 00:54:38.164
Okay. Desert island tracks.

1452
00:54:38.204 --> 00:54:38.414
Only problem is it's two minutes-

1453
00:54:38.414 --> 00:54:38.954
What do you got? What do you got?

1454
00:54:38.964 --> 00:54:40.684
... that mess up perfection. That's what they say.

1455
00:54:41.544 --> 00:54:43.684
Desert island tracks. So I think,

1456
00:54:44.944 --> 00:54:47.974
I'm really ill-prepared. I mean, I think I'm gonna go with Help Me because I've

1457
00:54:48.184 --> 00:54:51.124
always loved that. And like, waking up in the middle of the night thinking about

1458
00:54:51.164 --> 00:54:51.724
this record.

1459
00:54:53.144 --> 00:54:56.144
But, Down to You. Hearing that, I hadn't heard that in a while.

1460
00:54:56.204 --> 00:54:56.624
That's-

1461
00:54:56.664 --> 00:54:57.294
That's some, that's unbelievable

1462
00:54:58.136 --> 00:55:01.126
Yeah. So I want to go either one. Can I go two? You can go two. Okay.

1463
00:55:01.156 --> 00:55:04.526
I'm going to go with "Car in a Hill." I think "Car in a Hill" is

1464
00:55:05.096 --> 00:55:08.136
now, after many years, it's so

1465
00:55:08.596 --> 00:55:12.416
incredible. Mm-hmm. And I love the little epic moment in the middle, and when it

1466
00:55:12.456 --> 00:55:13.236
comes back with the

1467
00:55:14.576 --> 00:55:16.396
. And just that one chord

1468
00:55:17.216 --> 00:55:20.706
when she sings the lyric, "So much sweetness in the dark." Here, I'll

1469
00:55:21.196 --> 00:55:24.796
queue it up here. Just the apex. After it comes back from the epic part.

1470
00:55:25.396 --> 00:55:28.696
When there's so much spark. When there's so much

1471
00:55:28.736 --> 00:55:32.696
sweetness in the dark. Waiting for a wonder-

1472
00:55:32.756 --> 00:55:34.536
It's one of my favorite moments in music. Yeah.

1473
00:55:34.576 --> 00:55:38.316
That line with that chord, I think, will always

1474
00:55:38.676 --> 00:55:40.896
give me goosebumps. Mm. Never fails to give me goosebumps. That's great.

1475
00:55:41.076 --> 00:55:41.976
That's saying something. Yeah.

1476
00:55:42.796 --> 00:55:43.556
Apex moment, what do you got?

1477
00:55:44.536 --> 00:55:48.436
Okay, so I love the transition from "People's

1478
00:55:48.446 --> 00:55:51.016
Parties" to "The Same Situation." I was remembering- That's good ...

1479
00:55:51.046 --> 00:55:52.396
on LP, it just goes straight through. Great, yeah.

1480
00:55:52.576 --> 00:55:56.516
Man, can we give a shout-out, and one of the, can we bring

1481
00:55:56.536 --> 00:55:58.776
back, or should we just- Love it. I miss it.

1482
00:55:59.056 --> 00:56:02.056
It's really the medley, the '70s medley, right? I miss it.

1483
00:56:02.515 --> 00:56:06.286
You know it if you- Superwoman into Where Were You When I Needed You. Yes.

1484
00:56:06.636 --> 00:56:09.566
From the radio, you never would know- No ... but it's just one song. Yeah.

1485
00:56:09.836 --> 00:56:12.646
But when you get the LP and you start to love it and you're like, "Oh." It's

1486
00:56:12.646 --> 00:56:14.196
fantastic. And then there's no bump going into, oh.

1487
00:56:14.356 --> 00:56:17.426
We still had it during the CD era, but we seem to have lost it during the Spotify

1488
00:56:17.436 --> 00:56:21.136
era. Hell yeah, we did. It sucks. Yeah. Yeah. I love you, Sweden.

1489
00:56:21.516 --> 00:56:22.455
Spotify, not so much.

1490
00:56:23.576 --> 00:56:25.296
For me, I have the bridge to help me.

1491
00:56:26.096 --> 00:56:28.416
Hot, hot places come down like rain.

1492
00:56:28.516 --> 00:56:29.536
After the second verse.

1493
00:56:29.676 --> 00:56:31.706
Salt and ash. We know our names.

1494
00:56:31.716 --> 00:56:34.546
The drums go to the bell of the ride cymbal. Yes.

1495
00:56:34.556 --> 00:56:36.476
This is all very tight through here. Yep.

1496
00:56:36.936 --> 00:56:37.466
But not like we.

1497
00:56:38.136 --> 00:56:40.816
All of a sudden, everything starts to open up.

1498
00:56:41.176 --> 00:56:43.856
And that's the- And her melody, "Oh, did it feel good.

1499
00:56:43.896 --> 00:56:47.316
We were sitting there talking, lying in the dark," is unreal. Yeah.

1500
00:56:53.156 --> 00:56:55.886
Back to that. Yeah. That's going to set it up.

1501
00:57:00.676 --> 00:57:03.756
Oh, did it feel good. We were sitting there talking.

1502
00:57:04.016 --> 00:57:05.166
Or lying in the dark.

1503
00:57:05.196 --> 00:57:06.696
Convertible tops down.

1504
00:57:07.106 --> 00:57:07.536
We danced through the midnight.

1505
00:57:07.596 --> 00:57:08.856
We're up in the canyon roads.

1506
00:57:09.276 --> 00:57:09.366
And we had a hole in the sky.

1507
00:57:09.366 --> 00:57:12.536
You could smell the saltwater. Yes. It's so amazing. The Covasure.

1508
00:57:13.556 --> 00:57:16.836
Yeah. Covasure water. Snob-o-meter, what do you got? Oh.

1509
00:57:17.076 --> 00:57:20.376
On a scale of one to 10, how snobby is this album? I'll tell you what I have first.

1510
00:57:20.856 --> 00:57:24.736
I mean- I'll tell you what I have first. I think it's a, oh, I'm sorry.

1511
00:57:27.316 --> 00:57:27.796
I'm sorry.

1512
00:57:29.036 --> 00:57:31.236
Peter, I'll tell you what I have first. Is there somebody else in the room with me?

1513
00:57:31.296 --> 00:57:33.096
I feel like I'm alone. I have a five.

1514
00:57:35.376 --> 00:57:38.496
Why did you tell me first? I knew there was a reason I was ignoring you.

1515
00:57:39.556 --> 00:57:42.716
Okay, good. No, don't even say anything. Yeah, that's it.

1516
00:57:42.776 --> 00:57:46.596
I'm going to go two on this. What the what? This is Joni's biggest hit.

1517
00:57:46.636 --> 00:57:48.616
That's true. Everybody loves- Okay ...

1518
00:57:48.836 --> 00:57:49.506
there's some people that

1519
00:57:50.716 --> 00:57:54.316
feel like they're not sophisticated enough, no, I wouldn't say that, to

1520
00:57:54.336 --> 00:57:56.116
appreciate Joni. She's

1521
00:57:57.316 --> 00:58:01.116
in that rare breed of artist that you could almost

1522
00:58:01.176 --> 00:58:02.956
say everything that she does,

1523
00:58:03.896 --> 00:58:07.676
except for people have a low level of attention span nowadays, but if it was

1524
00:58:07.716 --> 00:58:11.576
back to when people weren't so distracted, you could say everything she does is

1525
00:58:11.656 --> 00:58:15.016
a one or two- Yeah ... recorded. Yeah. You could make an argument. I hear that.

1526
00:58:15.176 --> 00:58:18.976
So that's why I would say two. And this is her biggest hit record.

1527
00:58:19.136 --> 00:58:22.816
I put five because I do think some of the sophistication, some of the arranging

1528
00:58:23.576 --> 00:58:24.196
as an album,

1529
00:58:26.796 --> 00:58:30.226
I don't know. It's not Drake. It might be her, but it's still her best selling, but

1530
00:58:30.236 --> 00:58:32.176
there's still these amazing chords. I don't know. Yeah.

1531
00:58:32.196 --> 00:58:34.516
But that was the time though. It's a tough one. Yeah. It's a tough one.

1532
00:58:34.576 --> 00:58:37.916
Okay, new category. Yeah. New category from Producer Liz. Yeah.

1533
00:58:38.236 --> 00:58:40.516
Is this Joni's best album? Yeah, I

1534
00:58:41.556 --> 00:58:43.396
think so, but I don't know her

1535
00:58:44.696 --> 00:58:48.636
total output enough to really say that, and so that's a safe answer for

1536
00:58:48.676 --> 00:58:51.516
me that her- Yeah. I would say that, right? Yeah, the correct answer is yes.

1537
00:58:52.096 --> 00:58:54.496
That's what I said. I know. You said, "I think so," which- Hey, Adam, can I go

1538
00:58:54.536 --> 00:58:54.836
first?

1539
00:58:56.736 --> 00:58:58.336
You said, "I think so," which is incorrect. It is yes.

1540
00:58:59.736 --> 00:59:03.546
So the correct answer for me or for you? What's your answer? It's yes. Okay.

1541
00:59:03.696 --> 00:59:06.556
It's for everybody it's yes. What happened to the other categories? I don't know.

1542
00:59:06.716 --> 00:59:09.396
Liz, what happened to our categories? Accoutrements. Accoutrements.

1543
00:59:09.536 --> 00:59:10.106
Joni did

1544
00:59:11.236 --> 00:59:13.676
make the cover herself. Yeah. Which is, again,

1545
00:59:14.935 --> 00:59:17.016
super gangster. This is the cover. Because Joni Mitchell. No.

1546
00:59:17.435 --> 00:59:21.296
Joni Mitchell is an art gangster. Yeah. She's the greatest.

1547
00:59:21.436 --> 00:59:23.166
Yeah. Thanks, Joni. Multitalented. Thank you so much, Joni.

1548
00:59:23.176 --> 00:59:26.136
Thank you, Joni Mitchell, and thanks, shout out, Tom Scott. For sure.

1549
00:59:26.316 --> 00:59:27.696
Joe Sample and the whole- Yeah, the whole crew ...

1550
00:59:27.706 --> 00:59:30.936
whole band, except on the last track. Unbelievable. Okay, till next time.

1551
00:59:31.156 --> 00:59:31.516
You'll hear it.