Mitchell began singing in small nightclubs in Saskatoon, Saskatchewan, and throughout western Canada, before moving on to the nightclubs of Toronto, Ontario. She moved to the United States and began touring in 1965. Some of her original songs ("Urge for Going", "Chelsea Morning", "Both Sides, Now", "The Circle Game") were recorded by other folk singers, allowing her to sign with Reprise Records and record her debut album, Song to a Seagull, in 1968. Settling in Southern California, Mitchell helped define an era and a generation with popular songs like "Big Yellow Taxi" and "Woodstock". Her 1971 album Blue is often cited as one of the best albums of all time; it was rated the 30th best album ever made in Rolling Stone's 2003 list of the "500 Greatest Albums of All Time", rising to number 3 in the 2020 edition. In 2000, The New York Times chose Blue as one of the 25 albums that represented "turning points and pinnacles in 20th-century popular music". NPR ranked Blue number 1 on a 2017 list of Greatest Albums Made by Women.
Mitchell switched labels and began exploring more jazz-influenced melodic ideas, by way of lush pop textures, on 1974's Court and Spark, which featured the radio hits "Help Me" and "Free Man in Paris" and became her best-selling album. Mitchell's vocal range began to shift from mezzo-soprano to more of a wide-ranging contralto around 1975. Her distinctive piano and open-tuned guitar compositions also grew more harmonically and rhythmically complex as she melded jazz with rock and roll, R&B, classical music and non-Western beats. In the late 1970s, she began working with noted jazz musicians including Jaco Pastorius, Wayne Shorter, Herbie Hancock, and Pat Metheny as well as Charles Mingus, who asked her to collaborate on his final recordings. She later turned to pop and electronic music and engaged in political protest. She was awarded a Lifetime Achievement Award at the 44th Annual Grammy Awards in 2002 and became a Kennedy Center Honoree in 2021.
Mitchell produced or co-produced most of her albums. A critic of the music industry, she quit touring and released her 17th and last album of original songs in 2007. Mitchell has designed most of her own album covers, describing herself as a "painter derailed by circumstance".
Don Juan's Reckless Daughter
Joni Mitchell Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I came out two days on your tail
Those two bald-headed days in November
Before the first snowflakes sail
Out on the vast and subtle plains of mystery
A split tongue spirit talks
Noble as a nickel chief
Striking up an old jukebox
He says, "eagles in jet trails"
He says, "coils around feathers and talons on scales"
"Gravel under the belly plates"
He says, "wind in the Wings"
He says, "big bird dragging its tail in the dust
Snake kite flying on a string"
I come from open prairie
Given some wisdom and a lot of jive
Last night the ghosts of my old ideas
Reran on channel five
And it howled so spooky for its eagle soul
I nearly broke down and cried
But the split tongue spirit laughed at me
He says, "your serpent cannot be denied"
Our serpents love the whisky bars
They love the romance of the crime
But didn't I see a neon sign
Fester on your hotel blind?
And a country road come off the wall
And swoop down on the crowd at the bar
And put me at the top of your danger list
Just for being so much like you are
You're a coward against the altitude
You're a coward against the flesh
Coward, caught between yes and no
Reckless this time on the line for yes, yes, yes
Reckless brazen in the play
Of your changing traffic lights
Coward, slinking down the hall
To another restless night
As we center behind the eight ball
As we rock between the sheets
As we siphon the colored language
Off the farms and the streets
Here in good old "God save America"
The home of the brave and the free
We are all hopelessly oppressed cowards
Of some duality
Of restless multiplicity
(Oh, say can you see)
Restless for streets and honky-tonks
Restless for home and routine
Restless for country safety and her
Restless for the likes of reckless me
Restless sweeps like fire and rain
Over virgin wilderness
It prowls like hookers and thieves
Through bolt locked tenements
Behind my bolt locked door
The eagle and the serpent are at war in me
The serpent fighting for blind desire
The eagle for clarity
What strange prizes these battles bring
These hectic joys, these weary blues
Puffed up and strutting when I think I win
Down and shaken when I think I lose
There are rivets up here in this eagle
There are box cars down there on your snake
And we are twins of spirit
No matter which route home we take
Or what we forsake
We're going to come up to the eyes of clarity
And we'll go down to the beads of guile
There is danger and education
In living out such a reckless life style
I touched you on the central plains
It was plane to train my twin
It was just plane shadow to train shadow
But to me it was skin to skin
The spirit talks in spectrums
He talks to mother earth to father sky
Self indulgence to self denial
Man to woman
Scales to feathers
You and I
Eagles in the sky
You and I
Snakes in the grass
You and I
Crawl and fly
You and I
Oh, you and I, you and I, you and I
By the dawn's early light
You and I, you and I
You and I, you and I
Oh, you and I
The lyrics to Joni Mitchell's "Don Juan's Reckless Daughter" reflect a search for self-discovery and a reconciliation of opposing forces within oneself. The singer identifies herself as the reckless daughter of Don Juan, a legendary figure known for his seductive prowess. She comments on her arrival "two bald-headed days in November" and alludes to the changing of seasons. She feels connected to the vast and subtle plains of mystery, symbolizing the unknown pathways of life.
The singer refers to a "split-tongue spirit," who speaks in colorful metaphors and imagery. He mentions snakes, eagles, feathers, and scales, suggesting the dual nature of existence. The singer alternates between restlessness and a yearning for safety, represented by honky-tonks and home. She recognizes a conflict between her inner serpent's desire for pleasure and her inner eagle's pursuit of clarity.
The song ends on a hopeful note, as the singer recognizes the interconnectedness of all things. She compares herself and her listeners to eagles in the sky and snakes in the grass, acknowledging that they are all part of the same web of life. The song suggests that true self-discovery and enlightenment can only be achieved by embracing all facets of one's identity.
Line by Line Meaning
I'm Don Juan's reckless daughter
I inherited my father's restless and reckless nature
I came out two days on your tail
I arrived two days after you
Those two bald-headed days in November
November days with no vegetation
Before the first snowflakes sail
Before the first snowfall
Out on the vast and subtle plains of mystery
In the mysterious and expansive plains
A split tongue spirit talks
A spirit with a conflicting nature speaks
Noble as a nickel chief
The spirit is a leader, but of low value
Striking up an old jukebox
Starting a conversation like playing an old song
And he says, "snakes along the railroad tracks"
There are dangers and temptations on the path of life
He says, "eagles in jet trails"
Opportunities are always flying by
He says, "coils around feathers and talons on scales"
There are conflicts between different desires and instincts
"Gravel under the belly plates"
The gritty reality of life
He says, "wind in the Wings"
The push and pull of life's forces
He says, "big bird dragging its tail in the dust
Even great things have their struggles and setbacks
Snake kite flying on a string"
Some things are only illusions, not real opportunities
I come from open prairie
I come from a place of freedom and adventure
Given some wisdom and a lot of jive
Raised with some knowledge and a lot of talk
Last night the ghosts of my old ideas
My past thoughts and beliefs resurfaced
Reran on channel five
Repeated in my mind like a TV channel
And it howled so spooky for its eagle soul
It scared me because it challenged my core beliefs
I nearly broke down and cried
It almost brought me to tears
But the split tongue spirit laughed at me
The conflicting voice within me found it amusing
He says, "your serpent cannot be denied"
Your animalistic desires cannot be ignored
Our serpents love the whisky bars
Our inner animal craves excess and indulgence
They love the romance of the crime
They enjoy the thrill of breaking the rules
But didn't I see a neon sign
Did I not notice a warning sign
Fester on your hotel blind?
Displayed in the window of your hotel
And a country road come off the wall
A fake depiction of a rural life
And swoop down on the crowd at the bar
And attract people seeking escape and excitement
And put me at the top of your danger list
And make me a prime risk-taker like you
Just for being so much like you are
Simply because I share your temperament
You're a coward against the altitude
You fear the heights of great opportunities
You're a coward against the flesh
You fear the temptations of the body
Coward, caught between yes and no
You are indecisive and afraid of making a choice
Reckless this time on the line for yes, yes, yes
Opting for risk and adventure over safety
Reckless brazen in the play
Bold in taking chances and defying expectations
Of your changing traffic lights
Of changing opportunities and experiences
Coward, slinking down the hall
You are hiding from your fears and challenges
To another restless night
Unable to find peace or contentment
As we center behind the eight ball
We are struggling and behind schedule
As we rock between the sheets
As we have passionate encounters
As we siphon the colored language
As we adopt the slang and culture of others
Off the farms and the streets
From the working and urban classes
Here in good old "God save America"
Here in the patriotic US
The home of the brave and the free
Where bravery and freedom should be valued
We are all hopelessly oppressed cowards
We are all prisoners of our fears and weaknesses
Of some duality
Of conflicting and opposing qualities
Of restless multiplicity
Of many different desires and personalities
(Oh, say can you see)
(Like in the national anthem)
Restless for streets and honky-tonks
Craving the excitement of city life and wild places
Restless for home and routine
Longing for the comfort of routine and home
Restless for country safety and her
Wishing for safety and stability
Restless for the likes of reckless me
Seeking the company of other risk-takers like myself
Restless sweeps like fire and rain
Restlessness spreads and intensifies like wildfire or rainstorm
Over virgin wilderness
Over unexplored and uncharted regions
It prowls like hookers and thieves
It moves stealthily and dangerously like criminals
Through bolt locked tenements
Through locked apartment buildings
Behind my bolt locked door
Behind my locked door
The eagle and the serpent are at war in me
My conflicting desires are battling it out
The serpent fighting for blind desire
The animalistic part of me fighting for immediate gratification
The eagle for clarity
My rational and clear-headed nature fighting for wisdom
What strange prizes these battles bring
I am rewarded with unusual and unexpected outcomes
These hectic joys, these weary blues
Life is full of frenzied happiness and tiredness
Puffed up and strutting when I think I win
I become arrogant and boastful when I succeed
Down and shaken when I think I lose
I become depressed and doubtful when I fail
There are rivets up here in this eagle
The eagle (my rational nature) is sturdy and strong
There are box cars down there on your snake
The snake (my animal nature) carries heavy burdens
And we are twins of spirit
My two natures are inextricably connected
No matter which route home we take
No matter how different our choices are
Or what we forsake
Or what we sacrifice
We're going to come up to the eyes of clarity
We will ultimately see the truth
And we'll go down to the beads of guile
But first we will go through periods of deceit and dishonesty
There is danger and education
Risks and challenges bring growth and learning
In living out such a reckless life style
By embracing a daring and adventurous lifestyle
I touched you on the central plains
We met in the flatlands
It was plane to train my twin
It was easy to recognize the other part of me
It was just plane shadow to train shadow
It was like one shadow touching another
But to me it was skin to skin
But to me it was like touching my own skin
The spirit talks in spectrums
The conflicting voice within me expresses itself in different shades
He talks to mother earth to father sky
The voice within me is connected to nature and the universe
Self indulgence to self denial
My desires shift from excess to restraint
Man to woman
Masculinity and femininity within me shift
Scales to feathers
My animal and rational natures switch dominance
You and I
We face these same struggles and internal conflicts
Eagles in the sky
We both have opportunities and potential for greatness
Snake in the grass
We both have animalistic desires and hidden dangers
Crawl and fly
We oscillate between base instincts and lofty goals
Oh, you and I, you and I, you and I
Together we experience these internal struggles
By the dawn's early light
As we face a new day
You and I, you and I
Together we move forward
You and I, you and I
Side by side, facing our inner conflicts
Oh, you and I
Together on this journey
Lyrics © RESERVOIR MEDIA MANAGEMENT INC
Written by: Joni Mitchell
Lyrics Licensed & Provided by LyricFind
General Purpose
I'm Don Juan's reckless daughter
I came out two days on your tail
Those two bald-headed days in November
Before the first snowflakes sail
Out on the vast and subtle plains of mystery
A split tongue spirit talks
Noble as a nickel chief
Striking up an old jukebox
And he says, "snakes along the railroad tracks"
He says, "eagles in jet trails"
He says, "coils around feathers and talons on scales"
"Gravel under the belly plates"
He says, "wind in the Wings"
He says, "big bird dragging its tail in the dust
Snake kite flying on a string"
I come from open prairie
Given some wisdom and a lot of jive
Last night the ghosts of my old ideas
Reran on channel five
And it howled so spooky for its eagle soul
I nearly broke down and cried
But the split tongue spirit laughed at me
He says, "your serpent cannot be denied"
Our serpents love the whisky bars
They love the romance of the crime
But didn't I see a neon sign
Fester on your hotel blind?
And a country road come off the wall
And swoop down on the crowd at the bar
And put me at the top of your danger list
Just for being so much like you are
You're a coward against the altitude
You're a coward against the flesh
Coward, caught between yes and no
Reckless this time on the line for yes, yes, yes
Reckless brazen in the play
Of your changing traffic lights
Coward, slinking down the hall
To another restless night
As we center behind the eight ball
As we rock between the sheets
As we siphon the colored language
Off the farms and the streets
Here in good old "God save America"
The home of the brave and the free
We are all hopelessly oppressed cowards
Of some duality
Of restless multiplicity
(Oh, say can you see)
Restless for streets and honky-tonks
Restless for home and routine
Restless for country safety and her
Restless for the likes of reckless me
Restless sweeps like fire and rain
Over virgin wilderness
It prowls like hookers and thieves
Through bolt locked tenements
Behind my bolt locked door
The eagle and the serpent are at war in me
The serpent fighting for blind desire
The eagle for clarity
What strange prizes these battles bring
These hectic joys, these weary blues
Puffed up and strutting when I think I win
Down and shaken when I think I lose
There are rivets up here in this eagle
There are box cars down there on your snake
And we are twins of spirit
No matter which route home we take
Or what we forsake
We're going to come up to the eyes of clarity
And we'll go down to the beads of guile
There is danger and education
In living out such a reckless life style
I touched you on the central plains
It was plane to train my twin
It was just plane shadow to train shadow
But to me it was skin to skin
The spirit talks in spectrums
He talks to mother earth to father sky
Self indulgence to self denial
Man to woman
Scales to feathers
You and I
Eagles in the sky
You and I
Snakes in the grass
You and I
Crawl and fly
You and I
Oh, you and I, you and I, you and I
By the dawn's early light
You and I, you and I
You and I, you and I
Oh, you and I
AdvocateJ
Dear Fast Eddy, thanks for your observations and the points-to-be discussed that have been arisen.
1) Of course, the groove of "Don Juan" and the guitar strumming are similar to those featured in "Coyote"-Plus, both songs were composed in the key of C.
2) Being Joni herself the executive producer of this and the previous album "Hejira" and taking into account the similarities above, it is highly likely that the singer decided not to release "Don Juan" as a 7" single at the risk of leaving a "dejà-écouté" sensation on her audience that might have caused a bigger disappointment and drop of sales. And yes, there was only a 12-month lap between the two albums' releases.
Besides, she saved the tedious (and expensive) work of having to edit the running time of a song like she did with "Coyote" (actually, like other bands from the 70's
see Led Zeppelinshe didn't like the fact of editing her songs for fitting them into two-part 7-inch records. This kind of practice was said to spoil the listener's mood while enjoying a song, no mattter if it was intended for airplay). Instead, she released the shorter "Jericho" and "Off Night Backstreet" as singles.3) Allow me to insist about the role of Joni as producer: as a woman willing to take control of her own work in a man's world like music industry was (and still is), she was little by little given "carte blanche" to put on groove whatever she felt like making: new instruments, an ever growing rhythm section, electric elements, complete string and wind charts, teaming up with rock and jazz people and even developing XL structures that occupied up to one record side per piece (check out "Paprika Plains"). I guess this kind evolution-in-motion record by record was very surprising for both the audience and the critics. I can't say an exact figure of Mitchell's fans and their evolution, but they are what they are and one thing is for sure: they did not react the same way twice with every record, specially those who had seen them appear as a plain "folk" artist with piano and/or guitar and voice. Needless to say, among the folkies there were many voices of discontent because of this evolution, and some of them would give highly acidic critics when Joni came up with her following work "Mingus" and its unexpected and dramatic turn in style - A Jazz album! (OMG ,that was sort of a "sacrilege" for old rockers, so Mingus became a flop). Still, she has remained true to herself in every step of the way, regardless of commercial results and criticism, even in the records that came later.
Thanks again for reading and I hope I have put enough light on the subject for a better understanding.
St. Vodou
Is there anyone else here who didn’t realize for way too long that Mitchell is the guy in the cover art? Which has nothing to do with my thinking this album is further proof of genius. The range she shows here is phenomenal. Anyone who’s heard only her Woodstock-era stuff will be blown out of their Birkenstocks.
Stephen Eccles
Wish I had a dollar for every time I've listened to this song over the years. It just never gets old. Don Juan's Reckless Daughter (the song) is magical in the way it can lift my spirits when the darkness comes. Honestly, I always think of the sublime 'Hejira' album when I hear this song. Joni's guitar and Jaco's incomparable bass line remind me so much of the songs on Side One on Hejira, plus Song of Sharon on Side Two. As someone who's been healed by Joni's music many times over the years, I wish her emotional and spiritual healing during the hard times she's reportedly experiencing now. Bless you, Joni. Bless you . . .
AdvocateJ
@Gurvey Ramahanelo The guitar strumming in both songs is similar. Plus, both songs were in the key of C.
Julia Whitmore
One of my favorite songs of all time. Joni is always a poet, but in this song she especially shines lyrically. Every line is immaculate. My life goal is to learn this on guitar.
Kathryn Ross
Same as Coyote tuning Coyote the sequel
James Knodle
Same tuning as "Coyote"...
Like I Is
Love the story about Jaco's hands bleeding during this recording. He was basically grating his entire hand sliding down the strings for 5 minutes. But he was still pumped to hear the music.
Ken Vail
Jaco is a God
john dublyoo
@srb99100 Yes it's true, Joni recounts the story in one of her interviews about recording the track with Jaco in the studio. It was one of the rare times where she gave Jaco direction as to how she wanted his bass part played.
SoilentGr33n
@srb99100 Joni has sort of a blog on her site that's where I read it too.