“She has no right”: the classic cover Joni Mitchell always hated
Joni Mitchell understands what makes a good cover. It’s not just about raw talent or the ability to mimic the original. It’s not about imitation or trying to outshine the original in a way it never could. More often, it’s about capturing a feeling and staying true to its essence, something that, in Mitchell’s world, makes covering her songs almost impossible.
For any other artist, claiming such a high standard might seem egotistical. However, Mitchell has more than earned her keep, making any remarks about her music adopting a quality most cannot reach seem entirely plausible. Not only this, but many of her songs are immensely personal, which means the so-called “essence” she tackles is entirely her own and no one else’s to play with.
After all, most of Mitchell’s discography captures specific moments in time when both she and the industry were entering significant transitionary periods. Blue, for instance, emerged at the tail-end of an entire era when uncertainty forced many industry factions into a desperate scramble for clarity. Mitchell, on the other hand, took this paranoia and made it art, reinventing what it meant to be a singer-songwriter.
This, among many other reasons, is what makes covering her songs an incredible challenge. Not only are many of her melodies difficult to master, but they also carry words and emotions deeply personal to her, making it nearly impossible for others to grasp their meaning fully. Still, that hasn’t stopped countless musicians from rising to the challenge, even if Mitchell doesn’t always give them her approval.
In Judy Collins’ early career, it was Mitchell who helped her find her footing, with ‘Both Sides Now’ emerging on the charts in 1968. Mitchell released her original as a part of Clouds in 1969, but this seemed to be a relationship rooted in mutually beneficial collaboration, particularly as many regard Collins’ version of ‘Both Sides Now’ to be the more emotionally resonant version.
However, Collins has since reflected on Mitchell’s hostility toward her version, though she reduces such negativity to jealousy. As she recalled to Vulture: “I remember hearing something about Joni not liking my version of the song, but I couldn’t care less. I’m sure she feels that way about a lot of people who sing her songs.” Adding: “I’m sorry she didn’t have the hit, but I’m sure glad I did! I think she’s a little jealous, but with her history of being this brilliant songwriter, she has no right to actually feel that way.”
Although Collins also recalled feeling “blown away” when she first heard Mitchell sing the song, her interpretation of Mitchell’s displeasure seems to point towards something more commercial-leaning than mere preciousness. However, this also seems somewhat misaligned, considering Mitchell usually only dislikes covers when they completely misread her intention. After all, it’s more likely she felt a strong connection to the song itself, so much that it made any other reimagination fall just below the bar.
