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".
For Free
Joni Mitchell Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I went shopping today for jewels
The wind rushed around in the dirty town
And the children let out from the schools
I was standing on a noisy corner
Waiting for the walking green
Across the street he stood
And he played real good
Now me, I play for fortunes
And those velvet curtain calls
I've got a black limousine
And two gentlemen
Escorting me to the halls
And I play if you have the money
Or if you're a friend to me
But the one man band
By the quick lunch stand
He was playing real good, for free
Nobody stopped to hear him
Though he played so sweet and high
They knew he had never
Been on their T.V.
So they passed his music by
I meant to go over and ask for a song
Maybe put on a harmony
I heard his refrain
As the signal changed
He was playing real good, for free
Joni Mitchell's song For Free is a commentary on the commodification of art and the value we place on creativity. The lyrics follow two perspectives, the first being of a successful musician who plays for profit and fame, with the luxurious lifestyle that comes with it. The second perspective is that of a street musician who plays for nothing but the joy of it, who creates art that is ignored by the masses. The contrast between these two perspectives highlights the commercialisation of art, and the discrepancy between the value we place on art for its monetary value and art for its intrinsic value. The listener is invited to question their own beliefs about what constitutes valuable art and to ask themselves whether true joy can be derived from artistic expression without the need for material reward.
The first verse introduces the prosperous musician, who is staying in a luxurious hotel and has the means to buy jewels. On the other hand, the street musician is playing on a noisy corner, without a stage or a spotlight, but his music is just as beautiful. The second verse reiterates the point that the wealthy musician plays for a profit while the street musician plays for pure joy. Despite the fact that no one listens to the street musician, he continues to play because he loves what he does. The final verse takes on a longing tone as the singer reflects on how she missed out on an opportunity to appreciate the music of the street musician properly, and regretfully moves away from the scene.
Line by Line Meaning
I slept last night in a good hotel
Joni Mitchell had the privilege of staying in a comfortable hotel overnight.
I went shopping today for jewels
Joni Mitchell had the ability to afford and enjoy a luxurious shopping experience.
The wind rushed around in the dirty town
Despite the uncomfortable and chaotic environment, nature is still powerful and present.
And the children let out from the schools
The everyday lives of regular people continued, unaffected by her situation.
I was standing on a noisy corner
Joni Mitchell was in a crowded and bustling area.
Waiting for the walking green
She was waiting for the streetlight to allow pedestrians to cross.
Across the street he stood
A street musician was on the opposite side of the road from Joni Mitchell.
And he played real good
The musician was musically talented and skilled.
On his clarinet for free
The musician was playing music for the public without the expectation of compensation.
Now me, I play for fortunes
Joni Mitchell's own music career is a financially rewarding occupation.
And those velvet curtain calls
She receives recognition and applause, seemingly from higher society circles.
I've got a black limousine
She possesses a luxurious mode of transportation.
And two gentlemen
She is accompanied by escorts for her personal security.
Escorting me to the halls
Her escorts conduct her to her performances or engagements.
And I play if you have the money
Joni Mitchell generally only performs if patrons have money to pay for admission.
Or if you're a friend to me
She may also perform for those close to her.
But the one man band
The street musician is alone, without other performers.
By the quick lunch stand
He performs near a simple eatery without the surroundings of wealth and luxury.
He was playing real good, for free
Despite not being paid or receiving attention from passersby, the street musician was passionately and skillfully performing.
Nobody stopped to hear him
No one seems to notice the musician or stop to hear him play.
Though he played so sweet and high
The quality of his music is high, but still goes unnoticed.
They knew he had never
The public recognizes he is an unknown street performer and not a famous musician.
Been on their T.V.
The musician has not been seen on television, indicating he is not well-known.
So they passed his music by
People continue about their day, disregarding his performance.
I meant to go over and ask for a song
Joni Mitchell intended to approach the street musician and make a request.
Maybe put on a harmony
She would have potentially joined in with him by singing a complementary melody.
I heard his refrain
Joni Mitchell remembers the melody of the musician's performance.
As the signal changed
The streetlight changes, indicating that Joni Mitchell must continue walking and leave the area.
He was playing real good, for free
The musician has a genuine talent and passion for playing beautiful music for anyone to enjoy, regardless of compensation or recognition.
Lyrics © RESERVOIR MEDIA MANAGEMENT INC
Written by: Joni Mitchell
Lyrics Licensed & Provided by LyricFind
תומר בן ברוך
I slept last night in a good hotel
I went shopping today for jewels
The wind rushed around in the dirty town
And the children let out from the schools
I was standing on a noisy corner
Waiting for the walking green
Across the street he stood
And he played real good
On his clarinet for free
Now me I play for fortunes
And those velvet curtain calls
I've got a black limousine
And two gentlemen
Escorting me to the halls
And I play if you have the money
Or if you're a friend to me
But the one man band
By the quick lunch stand
He was playing real good for free
Nobody stopped to hear him
Though he played so sweet and high
They knew he had never
Been on their T.V.
So they passed his music by
I meant to go over and ask for a song
Maybe put on a harmony
I heard his refrain
As the signal changed
He was playing real good for free
Joni added these lyrics to the song during the 1983 tour:
Playing like a fallen angel
Playing like a rising star
Playing for a hat full of nothing
to the honking of the cars
Mark Seibold
Hearing this originally on the studio version recording from the early 1970s, was impressive enough.
I later purchased the double vinyl disc Miles of Isles, I think she performs it on there equally as well.
I see somebody mentions that Lana del Rey performed it, so that must mean something, as she is also a fine young vocalist.
What I'm impressed with when Joni performs this as her original number, is her superb ability to accompany herself with instrumentation, as you don't often see a woman playing a piano this well to accompany their vocals. As if watching her use over 50 different drop style personally invented guitar tunings, isn't enough to identify her as one of the most genius composing musicians, poets, and instrumentalists of the 20th century.
She was just seen accepting the Les Paul guitar award last year, and struggle to the stage with the help of being escorted by Herbie Hancock, as she was still recovering from her brain aneurysm that inflicted her several years ago.
I always felt that she was due so many more Grammy Awards.
Here's that recording that's on the Miles of Ailes album, that I have had that vinyl disc for over 40 years and just read the details on it this particular number. It was recorded in the Berkeley Theater in March of 1974. Whereas I believe most of the numbers on the album are recorded in the Hollywood Bowl which shows in the photo on the cover of the album.
This version is a little more uptempo and I think it's a higher quality recording, as her voice has also become deeper four years later than in this recording above from 1970.
I believe it's Tom Scott of the LA Express playing clarinet in the final verse here, yes his Jazz group is shown inside the opening cover of the album, and credited with most of the accompanyment of the Joni Mitchell songs on the two vinyl discs.
https://youtu.be/CUo9C1vUt0A
Mark Seibold
Hearing this originally on the studio version recording from the early 1970s, was impressive enough.
I later purchased the double vinyl disc Miles of Isles, I think she performs it on there equally as well.
I see somebody mentions that Lana del Rey performed it, so that must mean something, as she is also a fine young vocalist.
What I'm impressed with when Joni performs this as her original number, is her superb ability to accompany herself with instrumentation, as you don't often see a woman playing a piano this well to accompany their vocals. As if watching her use over 50 different drop style personally invented guitar tunings, isn't enough to identify her as one of the most genius composing musicians, poets, and instrumentalists of the 20th century.
She was just seen accepting the Les Paul guitar award last year, and struggle to the stage with the help of being escorted by Herbie Hancock, as she was still recovering from her brain aneurysm that inflicted her several years ago.
I always felt that she was due so many more Grammy Awards.
Here's that recording that's on the Miles of Ailes album, that I have had that vinyl disc for over 40 years and just read the details on it this particular number. It was recorded in the Berkeley Theater in March of 1974. Whereas I believe most of the numbers on the album are recorded in the Hollywood Bowl which shows in the photo on the cover of the album.
This version is a little more uptempo and I think it's a higher quality recording, as her voice has also become deeper four years later than in this recording above from 1970.
I believe it's Tom Scott of the LA Express playing clarinet in the final verse here, yes his Jazz group is shown inside the opening cover of the album, and credited with most of the accompanyment of the Joni Mitchell songs on the two vinyl discs.
https://youtu.be/CUo9C1vUt0A
And here's the original studio cut for the Ladies of the Canyon album. There is an accompaniment of cello at the end of the second verse, and in the final verse, and then in the final verse you'll hear the clarinet played by Paul Horn.
https://youtu.be/G1-HVBD3OMs
Danna Rey
I slept last night in a good hotel
I went shopping today for jewels
The wind rushed around in the dirty town
And the children let out from their schools
I was standing on a noisy corner
Waiting for the walking green
Across the street he stood
And he played real good
On his clarinet for free
Now me I play for fortunes
And those velvet curtain calls
I got a black Limousine and two gentlemen
Who escort me through these halls
And I'll play if you've got the money
Or if you're a friend to me
But the one man band
By the quick lunch stand
He's been playing real good for free
Nobody stopped to hear him
Though he played so sweet and high
They knew he had never been on their TV
So they passed his music by
I meant to go over and ask for a song
Maybe put on a harmony
I heard his refrain
As the signal changed
He was playing real good for free
MaddRezz
look at you kids and your vintage music
MrStubat
Just take out the word vintage and you might get a vague idea of reality.
jamesxh
@Teun Segers you’re part of the past but now you’re the future
Johnny Triviño
I think he is talk about LOVE not chemtrails
rats kobek
How did you going to do it.
Onota
Wait.. you commented this 4 years ago but Chemtrails came out only recently. How??
Tátas Revoluce
Joni, I know you will never read this or even know it was written, but I have to thank you for being alive. Thank you for all the memories and life's lessons your music brought us all. Because of you and this song I realised the best music is to be found on the streets and not on TV... or YouTube. I can not put on a melody with those I find that play real good for free, But I can leave them a $100 dollar tip from you by proxy. I always write on the bill "From Joni, You play reel good for free"
Formicola
I wonder if you were the person who gave me a $100 bill when I was busking in the cold, playing my home-made songs that nobody will hear except my husband, my babies and the strangers who walk by talking on their phones on their way to something important! Perhaps you didn't write on the bill on that occasion, or perhaps there are two people who appreciate those of us who have something to share but will never play anywhere but in the street. Thanks for being one of those two kind music lovers!
Lynda Clancy
Sweet...
Donna Bittner
I certainly appreciated everyone who played for free after this!!
And I definitely stop to hear them....