The 500 - #113 - Court and Spark - Joni Mitchell

I was inspired by a podcast called The 500 hosted by New York-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time.

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Album #:113
Album Title: Court and Spark
Artist: Joni Mitchell
Genre: Soft Rock, Jazz, Jazz Rock
Recorded: A&M Studios, Los Angeles, California

Released: January, 1974
My age at release: 8
How familiar was I with it before this week: A couple of songs
Is it on the 2020 list? Yes, at #110, rising 3 places

Song I am putting on my Spotify Playlist: Down To You

Recently, on March 29, 2026, the 55th Annual Juno Awards were broadcast from the TD Coliseum in Hamilton, Ontario. The night opened with a "surprise" appearance by my favourite band, Rush. I put the word surprise in quotations because their appearance had been rumoured for several days on many of the Rush message forums I visit. Still, I was delighted to hear the opening guitar riff to Finding My Way from the band's 1974 debut record blast through my home theatre system.

It was also the debut of the band’s new drummer, 42‑year‑old Anika Nilles, stepping into one of the most daunting roles in rock music. Nilles was not there to replace the inimitable Neil Peart, who died in January, 2020, after a battle with brain cancer. Rush has always been too honest for that kind of fiction. Instead, her presence behind the drums made something else possible. It allowed guitarist Alex Lifeson and bassist/singer Geddy Lee to continue making music together, a partnership that began when they met in junior high school in 1968. This June, that partnership will carry the septuagenarians, Nilles and keyboardist Loren Gold on a 48‑city tour spanning 16 countries. I have tickets to see them in Toronto in August, capping a lifetime of loyal fandom that began when I was 13.

The Juno Awards also chose their 2026 showcase to honour another Canadian music legend, singer/songwriter Joni Mitchell, who was recognized with the Lifetime Achievement Award.

Mitchell, born in Alberta and raised in Saskatchewan, had not appeared at the Junos since 1981, when she was inducted into the Canadian Music Hall of Fame. She was introduced at the 2026 Juno Awards in March by Prime Minister Mark Carney, who framed her not just as an artist but as a national treasure, saying her music “didn’t just provide the soundtrack to our lives... (it) shifted culture, inspired generations and redefined what songwriting could be."

Much of the coverage emphasized that the night’s event wasn’t about nostalgia or comeback mythology. Instead, Mitchell was likened to  an artist whose work has aged like fine wine because it was created to last,  rather than be trendy. Songs with a message that is just as prescient today as they were when they were written.

Mitchell in her younger years.

Court and Spark is one of two records by Mitchell that appear on The 500 list. The other, Blue, released three years earlier in 1971 appears at position #30. Critics at the time, including Robert Christgau of The Village Voice, described Court and Spark as a move away from radical self‑exposure toward clarity and functional songwriting, noting its “winning directness” and smoothness as deliberate maturity, not compromise. On Court and Spark, Joni no longer documents emotion as it happens, like she does on Blue. It is as if she is now inside relationships, careers, cities, expectations, writing like someone who understands how those systems actually function.

Album cover for Blue.

Mitchell has always been praised as an extraordinarily gifted musician. Her voice is transcendent and by the time we get to Court and Spark has lowered slightly to take on a warm, relaxed and almost conversational timbre. She is also an exceptional student of music who frequently used alternative guitar tunings to help her write. The distinct tunings were not just technical flourishes; they were compositional features, with each one providing a unique, emotional palette for her voice.

The 2026 Juno Awards closed with a musical tribute to the iconic songstress, with fellow Canadian  singers Sarah McLachlan and Allison Russell performing a brief medley of songs, including A Case Of You and Both Sides Now, before being joined by Mitchell in rendering Big Yellow Taxi.

Mitchell performs briefly at Juno Awards, 2026.

Mitchell, who suffered a nearly fatal brain aneurysm and stroke in 2015, had a tough time performing. She needed help onto the stage to join the younger singers.

It was tough to see this legendary entertainer seem so frail. However, it warmed my heart to see the joy she took in performing. It was the same spark I saw on the faces of Lifeson and Lee when they opened the event a few hours earlier. I find it gratifying they they are  touring one more time, doing what they love. They are a reminder to all of us to cherish the art that dwells inside us and keep it alive for as long as we can.

The 500 - #136 - Greatest Hits - Elton John

I was inspired by a podcast called The 500 hosted by New York-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time.

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Album: #136
Album Title: Greatest Hits
Artist: Elton John
Genre: Rock, Pop
Recorded: Several Studios
Released: November, 1974
My age at release: 9
How familiar was I with it before this week: Very
Is it on the 2020 list? No
Song I am putting on my Spotify Playlist: Don't Let The Son Go Down On Me

Last spring, I had the incredible opportunity to direct The Lion King Jr. with the talented students at Sir Arthur Currie Public School in London, Ontario. It was a true team effort, and I was fortunate to collaborate with a dedicated group of colleagues who brought the production to life. We had a musical director who led the choir and prepared the songs, two teachers who choreographed the dancers, and a tech lead who managed everything from headset microphones to stage lighting. Several staff members designed costumes and built set pieces, while others handled marketing and ticket sales.

Poster for Sir Arthur Currie’s production of The Lion King Jr.

Nearly 150 students auditioned for just 15 speaking roles (13 of which included singing), and the talent on display was nothing short of extraordinary. Faced with such an abundance of gifted performers, we made the bold decision to double-cast the show, allowing more students to shine on stage. It was a bit of a gamble -- splitting our rehearsal time between two casts made my directorial debut far more challenging than I had anticipated. But in the end, it was worth every moment. I walked away with a deep appreciation for the art of directing and the magic that happens when a school community comes together to create something memorable.

Sir Arthur Currie students performing The Circle Of Life at the conclusion of  The Lion King Jr.

For many of our students, The Lion King Jr. was their first real introduction to the music of Sir Elton John, who composed most of the songs for Disney’s 1994 animated classic, along with lyricist Tim Rice. During our spring rehearsals, John's melodies were absolutely everywhere. They echoed from the stage, floated through the hallways, and popped up in the most unexpected places -- hummed at desktops during work periods, whistled between classes, or softly sung in the yard at recess. E.J. knows how to write a tune that sticks with you, and our school was happily buzzing with his unforgettable music for weeks.

I was about the same age as some of our youngest cast members when I first heard the music of John. I can’t say for sure which song I heard first, but chances are it was the irresistibly catchy Crocodile Rock that pulled me in. That’s the magic of his music – he knows how to craft a hook that sticks. His 1974 Greatest Hits album was an early testament to his talent that expanded exponentially throughout his career.  He followed up with Greatest Hits Volume II  three years later, and his third volume a decade after that. John and his longtime lyricist, Bernie Taupin, were a hit-making machine. In fact, John has landed 29 songs in the Billboard Top 10 -- ranking him fourth among pre-streaming artists, behind only Michael Jackson, The Beatles and Madonna.

Bernie Taupin (left) and Elton John in 2019.

However, he topped those talented performers, by being elevated to the highly exclusive EGOT Club -- reserved for artists who have managed to snag an Emmy, a Grammy, an Oscar and a Tony award with their work. Only 21 individuals have achieved this honour. Of them, a mere three entertainers have been pop music performers  –  Elton John, John Legend and Jennifer Hudson.

The memory of The Lion King Jr. at Sir Arthur Currie will fade with each graduating class; however, I feel that Elton John’s legacy will persist. His 1983 hit, I’m Still Standing, a defiant anthem of resilience, made its way onto our classroom playlist this year, a mix of old and new music curated by both students and me. One student in particular, Saqeef, who played Older Simba in The Lion King Jr. (see below), has already set his sights on performing the song at the Spring, 2026, edition of Currie’s Got Talent,  accompanying himself on piano. It’s a fitting choice, and a testament to how John’s music continues to inspire new generations -- after seven decades and 50 years since I first started humming his tunes.

Saqeef (right) as Older Simba in a scene from Sir Arthur Currie's
production of The Lion King Jr.

The 500 - #139 - Rejuvenation - The Meters

I was inspired by a podcast called The 500 hosted by New York-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time.

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Album: #139
Album Title: Rejuvenation
Artist: The Meters
Genre: Funk, Swamp Rock
Recorded: Sea Saint Studios, New Orleans, Louisiana
Released: July, 1974
My age at release: 9
How familiar was I with it before this week: Not at all
Is it on the 2020 list? No
Song I am putting on my Spotify Playlist: It Ain't No Use

In 1967, after decades of service as a luxury transatlantic ocean liner and a World War II troopship, the Queen Mary was retired due to declining demand for ocean travel in the era of jet airplanes. The City of Long Beach purchased the ship with the vision of transforming it into a floating hotel, museum, and event space. The ship made its final voyage from Southampton to Long Beach, California that same year. It became a tourist attraction, offering historical tours, restaurants, convention rental space and overnight accommodation in the original staterooms.

I visited the pier where it was docked when on a trip to California and Nevada with my dad and my "Aunt" Jean in 1980. At the time, I was only marginally impressed by the 310-meter long boat. I wish I would have known more about its history. Built during the Great Depression, it is bigger than the Titanic, boasting Art Deco interiors, five dining rooms, two swimming pools, a library and a hospital. During World War II, it was nicknamed "The Grey Ghost" and transported more than 800,000 troops. It even set a maritime record when 16,683 passengers were on a single trip. Post war, it became a symbol of glamour and prestige, hosting stars who included Elizabeth Taylor, Clark Gable, Audrey Hepburn and Charlie Chaplin. 

Elizabeth Taylor on the deck of the Queen Mary.

As a teen, standing on that sun-warmed Californian pier, squinting at the grandeur of the Queen Mary with the kind of angsty detachment only a fifteen-year-old can muster, I had no idea about the history of this legendary ship. Indeed, the burgeoning rock fan in me had no idea that just five years earlier, Paul McCartney had thrown one of the most legendary parties in rock history aboard this historic vessel. It was March 24, 1975, and the former Beatles was fresh off recording his fourth studio record Venus and Mars with his new band Wings. To celebrate the recording, McCartney transformed the retired ocean liner's main ballroom into a floating fandango of music and star-studded excess.

Paul McCartney's fourth record with Wings, Venus And Mars.

In attendance was a who's who of music and pop culture including  Bob Dylan, Mick Jaggar, Joni Mitchell, Marvin Gaye, Cher, The Jackson Five, Dean Martin, Tony Curtis and George Harrison, in his first post-Beatles public appearance with Paul.

Entertainment news article celebrating the McCartney shindig.

McCartney had laid down much of Venus and Mars at Sea-Saint Studios in New Orleans, soaking in the city’s humid, music-infused magic. Immersed in the local scene, he discovered two electrifying acts: the legendary piano wizard Professor Longhair (whose New Orleans Piano sits at #222 on The 500) and a lean, locked-in five-piece funk machine called The Meters. Blown away by their groove, McCartney invited both to perform at his now-mythic Queen Mary bash. The impact? Seismic. So much so that Mick Jagger, in full rock god mode, declared The Meters “the best motherf*king band in the world” and immediately tapped them to open for The Rolling Stones’ 1975 World Tour. From the bayou to the ballroom, the funk had officially gone global.

A German poster promoting the Rolling Stones Tour (1975) with The Meters.

Rejuvenation was the fifth studio record by The Meters. It blended swampy grooves, syncopated rhythms, and sly vocals into a record that’s both laid-back and electrifying. Tracks such as Just Kissed My Baby and People Say are in a masterclass of funk minimalism and energetic fun. The eleven minute bluesy jam It Ain't No Use is a track I couldn't get enough of and was an easy pick for my The 500 Spotify Playlist.

In 1974, The Meters comprised Art Neville (keyboards, vocals); Leo Nocentelli (guitar); George Porter Jr. (bass); Zigaboo Modeliste (drums); and Cyril Neville (percussions, vocals). I was not familiar with this amazing funk band until discovering them in March, 2024 when I first heard their second studio record, Look-Ka Py Py (#214 on The 500). This record was even more exciting when it dominated my wife's and my background playlist this Thanksgiving weekend. 

Look-Ka Py Py album cover from The Meters.

Now, decades later, I find myself writing this from our cottage in the quiet lakeside hamlet of Port Burwell, Ontario, where history has a way of surfacing in unexpected forms. In 2012, my small town made its own bold maritime move, acquiring the decommissioned HMCS Ojibwa, an Oberon-Class submarine. The Ojibwa was built in 1965 by the Royal Canadian Navy. For more than 30 years, it prowled the depths of the Arctic Ocean during the Cold War, a silent sentinel in NATO operations. Fittingly, it too earned the nickname “The Grey Ghost”, echoing the Queen Mary’s wartime moniker. Now resting on dry land just down the road from where I am, the Ojibwa stands as a steel-clad reminder of Canada’s naval legacy...its cold corridors and sonar rooms whispering stories of stealth, tension, and resilience

Two vessels, worlds apart in purpose and design, yet united by history, mystery and the enduring power of human ingenuity. I imagine some teen standing outside this steel leviathan, squinting and muttering, “What even is this?” The teacher in me hopes that one day, he’ll look back and think, “Turns out, it was a story waiting to be heard.”

The 500 - #158 - Captain Fantastic And The Brown Dirt Cowboy - Elton John

I was inspired by a podcast called The 500 hosted by New York-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #158
Album Title: Captain Fantastic And The Brown Dirt Cowboy

Artist: Elton John

Genre: Rock, Pop, Country

Recorded: Caribou Ranch Studios, Nederland, Colorado

Released: May, 1975

My age at release: 9
How familiar was I with it before this week: Very

Is it on the 2020 list? No
Song I am putting on my Spotify Playlist: We All Fall In Love Sometimes/Curtains

A crisp Autumn afternoon in 1975 found a yellow school bus rumbling down a dusty gravel road near the village of Kingsville, Ontario. Kicking up dust clouds it trundled on its daily sojourn from Jack Miner Public School to the patchwork rural neighbourhoods nestled between corn fields, apple orchards and small copses of mixed trees dotted along the northern shores of Lake Erie. Inside, 40 students, aged 5 - 14, bursted with excitement and cacophonous conversation as they were jostled along familiar concession roads.

Perched on the edge of a cracked vinyl seat near the front sat a ten-year-old kid. Quiet and attentive, like a young sparrow on a wire listening to older birds, he soaked in the banter, slang, jokes and gossip being bandied back and forth by teens clumped at the back.. Unannounced, two pretty Grade 8 girls, effortlessly broke into song. Their voices, natural and pleasantly harmonious, rose above the chatter and the bus engine's hum.

"...And someone saved my life tonight
Sugar bear (sugar bear sugar bear...)
You almost had your hooks in me
Didn't you dear?
You nearly had me roped and tied
Altar bound, hypnotized, sweet freedom whispered in my ear
You're a butterfly
And butterflies are free to fly
Fly away
High away
Bye bye"

It was a tune I recognized from the radio -- Someone Saved My Life Tonight from Elton John's latest record, Captain Fantastic And The Brown Dirt Cowboy. The song had been inescapable that summer, but hearing those girls spontaneously belt it out transformed the music into something greater. In the dusty sunlight of that moment, it felt like a secret code permitted me to slip into the world of teen-age cool. As I sat there transfixed, I understood that a song was more than lyrics, melody and rhythm. It was a way to belong.

Captain Fantastic And The Brown Dirt Cowboy was the ninth studio record released by renowned English musician, singer and songwriter Sir Elton John in 1975. The lyrics provided  an autobiographical account of the early musical career of John (Captain Fantastic) and Bernie Taupin (The Brown Dirt Cowboy) who had been his song-writer since the pair met in 1967. As the story goes, Taupin and John independently responded to a magazine advertisement posted by Liberty Records which was looking to recruit new musical talent in London, England.  

Neither passed the audition, however. As John departed, he mentioned to the desk clerk that writing lyrics was a challenge. He was handed a sealed envelope containing poetry from Taupin, which he read during his ride home on the London Underground. He was dumbfounded and completely rapt by the beauty of the words. More importantly, he could hear them sung in the numerous melodies he'd already composed in his head. The pair soon met and began a partnership that created more than 300 songs, including 40 Top Ten singles.

Elton John (left) and Bernie Taupin in the early 70s.

As an amateur writer, and a dabbler in verse and whimsy, I have been a fan of Bernie Taupin for fifty years. He and Elton became one of the greatest writing teams of all time -- on par with McCartney & Lennon (The Beatles), Jagger & Richards (The Rolling Stones), Benny Andersson & Bjorn Uleveus (ABBA) or the some of the legendary Brill Building Songwriters including Gerry Goffin & Carol King and Jerry Lieber & Mike Stoller. In 1985, ten years after that memorable September bus ride, I went through a heavy Elton & Bernie phase, collecting almost every record in their catalogue for my vinyl collection.

Nine records from Elton in the 1970s, four are on The 500.

Although I liked them all, my favourite was Captain Fantastic And The Brown Dirt Cowboy and it was one of the first albums I purchased on compact disc -- a revolutionary technology at the time. It is also one of my favourite records ever. Elton and Bernie were at the height of their musical powers as songwriters on this disc, and the final album featuring the full, classic line-up of Elton's band -- Davey Johnstone (guitar), Dee Murray (bass), Nigel Olsson (drum) and Ray Cooper (percussion). Their tight musicianship and brilliant backing vocals were outstanding. 

I became obsessed with Taupin’s beautifully crafted lyrics—exploring ambition, failure, pressure, friendship, love, and identity. Though deeply personal and introspective, his poetry struck a chord in me; I recognized myself in every line. At least I did as a single, nineteen-year-old clumsily seeking meaning in a gap year between high school and university.

Elton with his band (1975).

Perhaps I still do. Even as I penned this post on a caffeine-fueled Sunday morning, I found myself reflecting on Taupin's words in the eighth track, Writing -- a homage to the collaborative song-crafting process he and Elton navigated for six years. and would for 30 more.

And we were...

Not the kind to dawdle

Will the things we wrote today
Sound as good tomorrow?
We will still be writing
In approaching years
Stifling yawns on Sundays
As the weekends disappear

And as this weekend disappears, I'll leave this post behind, too, hoping it will "sound as good in approaching years". I will be back to talk more Elton and Bernie in about 22 weeks when their 1974 Greatest Hits release appears at #136.

The 500 - #181 - Natty Dread - Bob Marley and The Wailers

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #181
Album Title: Natty Dread
Artist: Bob Marley and The Wailers

Genre: Reggae, Reggae Rock

Recorded: Harry J. Studios (Kingston, Jamaica)

Released: October, 1974
My age at release: 9
How familiar was I with it before this week: A couple songs

Is it on the 2020 list? No
Song I am putting on my Spotify Playlist: Lively Up Yourself

In the winter of 2007, my wife and I made our first trip to Jamaica, accompanied by our friend and tour guide, Bill Gudgeon. Bill had been to the Caribbean island nation more than a dozen times, so we put our trust in him to help us navigate our first visit. Neither my wife, nor I are big fans of "all-inclusive resorts". We currently prefer to live among the locals and learn about the history, culture and cuisine from them. Despite its convenience and promise of security, all-inclusives feel a bit too culturally sanitized for our liking -- but, we can understand why people enjoy them, and our opinions are open to change.

An example of accommodations at a Jamaican resort.

The trip was fraught with obstacles from the start with a delay at the border overcome only by our prompt 3 a.m. departure time from London. Our plane needed to be de-iced before leaving Detroit, so we were hours late departing there. This led to us missing a connecting flight in Philadelphia and we had to spend our first vacation night in hotel rooms in Springfield, a small community about an hour outside the City of Brotherly Love. I did get a chance to order a Philly Cheesesteak sandwich and a Yuengling beer over lunch. I would later learn that the sandwich I got was a terrible knock-off. I still hope to get to Philly one day for an authentic cheesesteak from Jim's South Street ..."wit whiz!"

The next morning, we caught a 5 o'clock flight to Washington's Dulles Airport before spending several hours yawning and waiting for a connecting flight to Jamaica. We arrived in Montego Bay that afternoon -- our luggage, however, had other plans. Was it in Philadelphia? Was it in Washington? Was it hiding here?

My wife, Angela. with our carry-on, waiting for  word on our missing luggage.

No one seemed to know. Reluctantly we shared our cell phone numbers with the airport staff and climbed into our rental car for a trip across the Nassau Mountains toward Treasure Beach in Saint Elizabeth Parish on the south side of the island. Just as we cleared Montego Bay’s busy traffic my cell rang. It was the airport, informing us our luggage had "arrived" or "been discovered". It didn't matter which. Bill happily turned the car around and we travelled back to retrieve the errant items. We set off again, well behind schedule.

Our route from Montego Bay to Treasure Beach, across the
Blue Mountains of Jamaica.

The rural roads across Jamaica are treacherous even for seasoned drivers. Poor Bill was fighting the dwindling light as he drove on the left side of the road with an unaccustomed stick-shift and a right-sided steering wheel. The switchback roads twisted and turned sharply as they climbed 1,000 metres over a hard, black surface of sedimentary rock called marl, which shatters easily and makes the edges jagged. Shredded tires are a distinct possibility for the unsuspecting driver.

Narrow, marl covered, winding Jamaican mountain roads.

At about 11 p.m., after 38 hours of exhausting travel, we arrived at our destination -- a short-term rental house overlooking the town of Treasure Beach. Billy assured me the view was spectacular; but I'd have to wait until morning to see it. Besides, it was time for a cold Red Stripe and a good night's sleep.

Bill and me on the outdoor balcony deck of our Treasure Beach abode.

The frustration and tension of those first couple days melted away quickly as we ate, drank, suntanned, swam and snorkeled beneath a healing Caribbean sun. A particularly good day found us floating in Frenchman's Bay on a pontoon boat chartered from Bill's longtime friend and Treasure Beach resident, Captain Dennis. We sampled  local agricultural products (wink), washed down with plenty of rum. And we leisurely bobbed on small flotation devices harnessed to the boat anchored in the calm waters of the Caribbean Sea. Reggae piped through the boat speakers supplied a healthy dose of Bob Marley’s greatest hits as well as a few deeper cuts.

Bob Marley performing in the 1970s.

I recognized songs from Natty Dread, the seventh album he made with his band The Wailers. It opens with the bluesy, up-tempo and celebratory Lively Up Yourself, followed by the well-known No Woman, No Cry, a nostalgic reflection on the reggae legend’s childhood in the impoverished Trenchtown ghettos of Kingston. The rest of the record contains a number of songs with political messages of rebellion – Marley’s way of seeking social justice and change for his fellow Jamaicans. Them Belly Full (But We Hungry) served as a lyrical warning to those in power: "A hungry mob is an angry mob." The closing track, Revolution, is a powerful lyrical argument about the need for radical change when people are being suppressed and controlled. That's the thing about Marley's music -- it can be up-tempo, reflective or politically charged and socially impactful. He knew how to connect with people in so many ways before his untimely death in 1981, at 36, of cancer.

Album cover for single release of  Them Belly Full (But We Hungry).

I've always been a fan of reggae and tend to throw on a Marley record when relaxing at home, or marking some papers for school. His sound is a panacea for my racing mind, calming me instantly. Now, when I hear his voice and easy-going tempo, it isn't hard to think back to that beautiful, peaceful day -- bobbing on gentle waves, sipping rum cocktails and soaking up the Caribbean sun. The travails of our journey a few days earlier – the delays and perilous mountain drive – washed away.

A view of Frenchman's Bay from the popular local bar, Jakes.