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  1. José Feliciano – electric guitar on "Free Man in Paris" Wayne Perkins – electric guitar on "Car on a Hill" Robbie Robertson – electric guitar on "Raised on Robbery" Dennis Budimir – electric guitar on "Trouble Child" Wilton Felder – bass guitar on "Free Man in Paris" and "People's Parties" Jim Hughart – bass guitar on ...

  2. The year 1973 was relatively quiet for Joni Mitchell, at least as far as the public eye was concerned. She only performed a few times, once at a benefit concert, then a few shows with Neil Young; indeed, much of 1973 would be spent in the studio, finding the right musicians and the right metier for the songs that would make up her next album, 1974's Court And Spark.

  3. Court and Spark went double-platinum, yet Free Man in Paris remains its best-known song: a (crucially, non-judgmental) portrait of a music-biz type who’s "stoking the star-maker machinery...

  4. 23 de ago. de 2014 · Guest José Feliciano adds some Jerry Garcia-like interlude riffs on guitar. “People’s Parties” is a short song built on the strummed 12 string acoustic and recursive vocal melody. This song has no real structure but repeating verses until the “laughing it all away” and the direct fade to the piano ballad “Same Situation”.

  5. 17 de jan. de 2024 · The song’s mood of liberation is enhanced by a guest guitar appearance from José Feliciano, and harmonies sung by David Crosby and Graham Nash.

    • Jeanette Leech
  6. 17 de jan. de 2024 · The recording of Court And Spark was surprisingly sociable. Mitchell began dating Guerin. John Lennon, mid-‘lost weekend’, visited from another A&M studio, where he was making Rock ‘n’ Roll and one of his guitarists, José Feliciano stayed long enough to overdub extra guitar on ‘Free Man In Paris’.

  7. 15 de jul. de 2021 · Mitchell also populated the LP with a musical cross-section of guest artists including Robbie Robertson, José Feliciano, David Crosby and Graham Nash (to name but a few), whose collaborations helped further collapse boundaries resulting in a record that manages to not only feel extemporaneous, but deeply introspective, all the while ...