LARRY: For Joni everything is about feeling.
BRIAN: I can paint while she's painting, and we can paint together.
RENÉE: These orchestrations are enormous.
RAUL: She helps me imagine the world because she's so vivid with her lyrics.
AOIFE: I remember thinking she had written that song, just for me.
VINCE: The Kennedy Center, the National Symphony, really went the extra mile to bring it to the concert stage for the first time.
LALAH: It is not easy material to reinterpret because how do you mess with it?
It's pretty much perfect.
♪ ♪ ♪ ♪ ♪ AOIFE: I came upon a child of God, ♪ ♪ he was walking along the road.
♪ ♪ And I asked him, I said, ♪ "Where are you going?"
♪ And this he told me.
♪ He said, "I'm going down to Yasgur's Farm, ♪ ♪ I'm gonna join in a rock 'n' roll band.
♪ ♪ I'm gonna camp out on the land, ♪ ♪ I'm gonna try to get my soul free."
♪ ♪ We are stardust, ♪ we are golden.
♪ And we've got to get ourselves, ♪ ♪ back to the garden.
♪ Mmmm.
♪ Do, do, do, do, do, do, do.
♪ ♪ Do, do, do, do, do, do.
♪ ♪ He said, "well, then can I walk beside you?
♪ ♪ I have come here to lose the smog, ♪ ♪ And I feel like I'm a cog in somethin' turning.
♪ ♪ Oh, maybe it's the time of year.
♪ ♪ And maybe it's the time of man.
♪ ♪ I don't know who I am, ♪ But you know life is for learning.
♪ ♪ We are stardust, ♪ we are golden.
♪ And we've got to get ourselves ♪ ♪ back to the garden.
♪ And by the that time we got to Woodstock, ♪ ♪ we were half a million strong.
♪ ♪ And everywhere we looked, everywhere we looked, ♪ ♪ everywhere there was song, ♪ ♪ there was celebration.
♪ And I dreamed that I saw the bombers, ♪ ♪ they were riding shotgun in the sky.
♪ ♪ They were turning into butterflies.
♪ ♪ Up above our nation.
♪ We are stardust, ♪ billion-year-old carbon, ♪ we are golden.
♪ We are caught in the devil's bargain.
♪ ♪ And we've got to get ourselves, ♪ ♪ back to the garden.
♪ Oh-oh.
♪ (audience cheering and applause).
LARRY: The first record that we worked together on was called "Wild Things Run Fast".
Gradually through the recording of this album, we got to become better and better friends.
VINCE: I met Joni many years ago through Larry Klein, who was the producer of these two projects.
She was really all about the community of players and people that, that would add something to her stories.
BRIAN: I met Joni through a dear friend, he was supposed to meet with her and play her some of, you know, the new music he was working on and she was going to play some of her music, "Turbulent Indigo" it turns out at the time.
LARRY: "Turbulent Indigo" became a chronicle of the disillusion of our marriage.
We had been married by that time about 10 years, we still loved each other, we just reached a point where we were stuck.
BRIAN: I went to Los Angeles, you know, and, to, to start making uh, music with her.
It became "Taming the Tiger" album, but we played a lot of duo, just the two of us.
LARRY: We were talking one day and she expressed the desire to do a record of standards.
I started thinking about who to work on the arrangements with so that we could find something new to do in this genre and so that was what led me to Vince Mendoza.
VINCE: I was fortunate enough to be invited to write the arrangements and conduct the orchestra for the two Joni Mitchell orchestral projects.
They were both intended to be reworkings of some of the original recordings with new colors and telling her stories in different ways.
BRIAN: We had played so much duo and now all of the sudden's gonna be 50 people.
She at the mic like Sinatra you know, just delivering and so it was, it was special.
VINCE: In the end her music is about the stories and the words and you can tell the same story in a lot of different ways.
♪ ♪ ♪ JIMMIE: Just before our love got lost you said, ♪ ♪ "I am as constant as a northern star," ♪ ♪ And I said, "Constantly in the darkness ♪ ♪ Where's that at?
♪ If you want me I'll be in the bar."
♪ ♪ On the back of a cartoon coaster, ♪ ♪ In the blue TV screen light, ♪ ♪ I drew a map of Canada, ♪ Oh, Canada.
♪ With your face sketched on it twice.
♪ ♪ Oh, you're in my blood like holy wine.
♪ ♪ You taste so bitter, you taste so sweet ♪ ♪ Oh, I could drink a case of you, ♪ ♪ oh darling.
♪ ♪ And I'd still be on my feet.
♪ ♪ I'd still be on my feet.
♪ ♪ ♪ Oh, I am a lonely painter, ♪ ♪ I live in a box of paints.
♪ ♪ I'm frightened by the devil, ♪ ♪ and I'm drawn to those ones that ain't afraid.
♪ ♪ And I remember the time that you told me, you said, ♪ ♪ "Love is touching souls."
♪ Surely you touched mine ♪ ♪ 'Cause part of you pours out of me, ♪ ♪ In these lines from time to time.
♪ ♪ Oh, you're in my blood like holy wine.
♪ ♪ You taste so bitter, you taste so sweet.
♪ ♪ Oh, I could drink a case of you, ♪ ♪ oh darling.
♪ I'd still be on my feet.
♪ I'd still be on my feet.
(trumpet solo) ♪ I met a woman, ♪ she had a mouth like yours, ♪ ♪ she knew your lies, ♪ she knew your devils and your deeds.
♪ ♪ And she said, "Go to him, stay with him if you can, ♪ ♪ but be prepared to bleed."
♪ Oh, you're in my blood like holy wine.
♪ ♪ You taste so bitter, you taste so sweet.
♪ ♪ Oh, I could drink a case of you, ♪ ♪ darling.
♪ I'd still be on my feet.
♪ ♪ I'd still be on my feet, oh.
♪ ♪ I'd ♪ still be on my feet.
♪ Mmmmmm.
♪ Mmmmmm.
♪♪ (audience cheering and applause) I can easily remember the first time I heard Joni Mitchell's music, I had a dear roommate who was obsessed with her and I had uh, just started writing songs.
the first song he showed to me was "A Case Of You".
It paints such an image, it feels like a story that without being there you can, you can really see it and put yourself in the shoes of um, the, the person.
RENÉE: These orchestrations are enormous, they're very rich, um very cinematic, suddenly the light bulb went on and I thought, "I'm singing with orchestras every three days, I should reach out to Vince Mendoza and see if any of them are available."
What a better idea to have um, young singers and the next generation and the generation after that put their own stamp on this music.
AOIFE: The first time I hear "Travelogue" you know I was kind of like an early Joni purist at that point, I was still a teenager, um, and then heard "Travelogue", heard that song, heard that version, heard these orchestrations, and, and I was just like, what, what even is that?
And I feel that Vince Mendoza got something out of those songs.
VINCE: This is a very special event that The Kennedy Center and National Symphony really went the extra mile to bring it to the concert stage for the first time.
RENÉE: Her ability to sort of evoke the life of the performer, that was a theme she kept coming back to, which I found really interesting and of course she had extraordinary relationships.
(audience applause) Well one of Joni Mitchell's most popular and most often covered songs is "The Circle Game".
So she said, "It's a song about growing old and growing young."
And she wrote it to comfort a friend who was really worried about getting older.
He was about to turn 20.
(laughter).
I know.
So she told him there would be new and there would be better dreams, and that friend was Neil Young, so she was clearly right.
♪ ♪ Yesterday a child came out to wander.
♪ ♪ Caught a dragonfly inside a jar.
♪ ♪ Fearful when the sky was full of thunder.
♪ ♪ And tearful at the falling of a star.
♪ ♪ And the seasons, they go round and round.
♪ ♪ And the painted ponies go up and down.
♪ ♪ We're captive on a carousel of time.
♪ ♪ We can't return, we can only look behind, ♪ ♪ from where we came.
♪ And go round and round and round, ♪ ♪ in the circle game.
♪ Then the child moved 10 times 'round the seasons.
♪ Skated over 10 clear frozen streams.
♪ Words like, "When you're older" ♪ ♪ they must appease him.
♪ And promises of somedays make his dreams.
♪ ♪ And the seasons, they go round and round.
♪ ♪ The painted ponies go up and down.
♪ ♪ We're captive on a carousel of time.
♪ ♪ We can't return, we can only look behind, ♪ ♪ from where we came.
♪ And go round and round and round, ♪ ♪ in the circle game.
♪ 16 springs and 16 summers gone now.
♪ ♪ Cartwheels turn to car wheels through the town.
♪ ♪ And they tell him, "Take your time, ♪ ♪ it won't be long now, ♪ 'til you drag your feet to slow the circles down."
♪ ♪ And the seasons, they go round and round, ♪ ♪ the painted ponies go up and down.
♪ ♪ We're captive on a carousel of time.
♪ ♪ We can't return, we can only look, ♪ ♪ behind, from where we came.
♪ ♪ And go round and round and round, ♪ ♪ in the circle game.
♪ So when the years spin by and now the boy is 20.
♪ ♪ Though his dreams have lost some grandeur coming true.
♪ ♪ There'll be new dreams, maybe better dreams, ♪ ♪ they'll be plenty of new dreams, ♪ ♪ Before the last revolving year is through.
♪ ♪ And the seasons, they go round and round.
♪ ♪ The painted ponies go up and down.
♪ ♪ We're captive on a carousel of time.
♪ ♪ We can't return, we can only look, ♪ ♪ behind, from where we came.
♪ ♪ And go round and round and round, ♪ ♪ in the circle game.
♪ And go round and round and round, ♪ ♪ in the circle game.
♪ Oooo, ahhhh.
♪ Ah, ah, ah.
♪ ♪♪ Thank you.
(audience cheering and applause).
VINCE: When you hear the soloist talking about their history with Joni's music and when they heard it, what time of their life they discovered it, they thought, "Oh I could be a musician and a poet and, and put a band together and, and you know, express myself that way."
RAUL: I think I probably first heard her in the music library in college, my friends sort of saying, you know we should start a band, we should write songs together and I remember listening to "Don Juan's Reckless Daughter", "Hejira" and then just, just being blown away by the variety, by the openness, by, by the eclecticism.
♪ Now if there's one rule to this game, ♪ ♪ everybody's gonna name, it's "be cool".
♪ ♪ Now if you're worried or uncertain, ♪ ♪ if your feelings are hurtin', ♪ ♪ you're a fool if you can't be cool.
♪ ♪ Charm 'em, don't alarm 'em, ♪ ♪ keep things light, ♪ keep your worries out of sight, ♪ ♪ play it cool, play it cool, ♪ ♪ 50-50, fire and ice.
♪ ♪ Now if your heart is on the floor, ♪ ♪ 'cause you've just seen your lover, ♪ ♪ comin' through the door with a new fool, ♪ ♪ be cool.
♪ Don't you sweat it, start right in right now, ♪ ♪ trying to forget it.
♪ Be cool.
♪ Don't get riled, ♪ smile, keep it light.
♪ ♪ Be your own best friend tonight.
♪ ♪ Play it cool, play it cool, ♪ ♪ 50-50, fire and ice.
♪ ♪ Oooh.
♪ Don't get jealous.
♪ Don't get over-zealous.
♪ Keep your cool.
♪ Don't whine.
♪ ♪ Kiss off that flaky valentine.
♪ ♪ You're nobody's fool.
♪ Be cool, fool.
(scatting) (scatting) ♪ Play it cool, play it cool, ♪ ♪ 50-50, fire and ice.
♪ ♪ Now if there's one rule to this game, ♪ ♪ everybody's gonna name, ♪ it's "be cool".
♪ If you're worried or uncertain, ♪ ♪ if your feelings are hurtin', ♪ ♪ you're a fool if you can't be cool.
♪ ♪ Charm 'em, don't alarm 'em.
♪ ♪ Keep things light.
♪ Keep your worries out of sight.
♪ ♪ And play it cool, play it cool, ♪ ♪ 50-50, fire and ice.
♪ ♪ (scatting) ♪ ♪♪ (audience cheering and applause) RAUL: These are songs about her and her experiences and her way of seeing the world.
RENÉE: I love her words, I love the poetry, but she's also musically really interesting.
BRIAN: I never had to count Joni Mitchell in because, you know, to be honest, I don't know if she ever count herself in, music begins.
GRAHAM: I mean normally, either the guy that wrote the song, or the lady that wrote the song would count it off, or the drummer would count it off because he's kind of the solid heartbeat of the band.
Nope, not with Joan.
BRAIN: There's something very unique about Joni's timing because even if you just watch her play the guitar and watch her right hand for instance.
She's her own drummer, it's, she doesn't need me up there, like, doing anything.
It's like, right there, all, the whole package.
So it's great, it makes it so easy for me because I can paint, while she's painting and we can paint together.
LALAH: She's just a poetic human being.
The way that she builds a lyric is so, kind of cinematic in your mind.
That it definitely does hit me in the body.
GRAHAM: She writes about stuff that is timeless, "Sex Kills" perfect example, "Magdalene Laundries," perfect example, you know, she's writing about real things that happen to real people in a way that sets her apart from, from anybody.
♪ LALAH: I pulled up behind a Cadillac.
We were waiting for the light, And I took a look at the license plate.
It said "Just Ice".
Is justice "just ice"?
Governed by greed and lust?
Just the strong doing what they can.
And the weak doing what they must?
And the gas leaks.
And the oil spills.
And sex sells everything.
And sex kills.
Oh-oh, sex kills.
RAUL: Doctor's pills give you brand new ills.
Bills bury you like an avalanche.
And lawyers haven't been this popular, since Robespierre slaughtered half of France.
Indian chiefs with their old beliefs, know that the balance is undone-crazy ions.
You can feel it out in traffic.
Everyone hates everyone.
And the gas leaks.
And the oil spills.
BOTH: Sex sells everything.
RAUL: Sex kills.
LALAH: Sex kills.
RAUL: Sex kills.
Sex kills.
LALAH: All these jackoffs at the office, the rapist in the pool.
Oh, and the tragedies in the nurseries, little kids packin' guns to school.
RAUL: The ulcerated ozone, these tumors of the skin.
This hostile sun beating down on this massive mess we're in.
LALAH: And the gas leaks.
And the oil spills.
BOTH: Sex sells everything.
Sex kills.
RAUL: Mmm.
LALAH: Oh-oh.
Sex kills.
RAUL: Sex kills.
LALAH: Oh-oh sex kills.
RAUL: Mmmm.
LALAH: Sex kills.
RAUL: Sex kills.
(audience cheering and applause) GRAHAM: Joni had a brain that was on fire and was always wanting to do something special and something unexpected and that's what she's done all her life.
ROBERT: There's a handful of artists that when you hear them at different time periods, they don't sound like that same person.
Like literally, it's not like, "Oh the idea's changed, or the writing's changed," like no, you don't sound the same.
This, early Joni Mitchell and later Joni Mitchell sound like two totally different people, and they're both amazing.
She's two geniuses.
VINCE: She wanted to interface with jazz musicians, classical musicians, people to add different colors to her music.
CHRISTIAN: You know, adding lyrics to jazz songs has always been a touchy subject for a lot instrumentalists.
I think when you have someone who uses metaphors so beautifully and with such cleverness as, as, as Joni Mitchell, that one, everyone unanimously thought, ok, yea, that works.
RENÉE: She may have been the one to inspire me to love jazz.
So that's the beauty of mixing genre is you can open people's hearts and ears to new things.
GRAHAM: Before she was a musician, she was a painter.
One teacher I think told her that, you know, if she could paint with paint, she could paint with words.
And I think that's a very simple sentence but it's incredibly profound and it affected Joni in a really deep way.
RENÉE: She considered herself a poet and a painter and you know really an artist in every sense of the word.
RAUL: One of the things that really hit home for me about Joni was the, the images, you know the imagery um, I, I talked about you know, um, her being a painter with words.
She helps me imagine the world because she's so, so vivid with, with her lyrics.
♪ ♪ ♪ ♪ JIMMIE: I'm traveling in some vehicle.
♪ ♪ I'm sitting in some café.
♪ A defector from the petty wars, ♪ ♪ that shell-shocked love away.
♪ ♪ There's comfort in melancholy.
♪ ♪ When there's no need to explain.
♪ ♪ It's just as natural as the weather, ♪ ♪ in this moody sky today.
♪ In our possessive coupling.
♪ ♪ So much could not be expressed.
♪ ♪ So now I am returning to myself, ♪ ♪ these things that you and I suppressed.
♪ ♪ I see something of myself in everyone, ♪ ♪ right at this moment in the world.
♪ ♪ Snow gathers like bolts of lace, ♪ ♪ waltzing on a ballroom girl.
♪ (bass solo) ♪ You know it never has been easy.
♪ ♪ Whether you do or you do not resign.
♪ ♪ Whether you travel the breadth of extremities, ♪ ♪ or stick to some straighter line.
♪ ♪ Now there's a man and a woman sitting on a rock, ♪ ♪ they're either going to thaw out or freeze.
♪ Listen, sounds of Benny Goodman ♪ floatin' through the snow covered trees.
♪ ♪ I'm porous with travel fever, ♪ ♪ yet I'm so glad to be on my own.
♪ ♪ Still the slightest touch of a stranger, ♪ set up trembling in my bones.
♪ I know, no one's going to show me everything, ♪ ♪ we come and go unknown.
♪ So deep and so superficial.
♪ ♪ Between the forceps and the stone, ♪ ♪ oh-oh.
♪ Now, I looked at the granite markers, ♪ ♪ these tributes to finality, ♪ to eternity.
♪ Then I looked at myself here chicken scratching ♪ ♪ for a piece of immortality.
♪ ♪ In the church, they light the candles, ♪ ♪ and the wax rolls down like tears.
♪ ♪ There's the hope and the hopelessness, ♪ ♪ I've witnessed all these years.
♪ ♪ We're only particles of change I know.
♪ ♪ We're just orbiting around the sun.
♪ ♪ Yet how can I have this point of view, ♪ ♪ when I'm always bound and tied to someone.
♪ ♪ White flags of winter chimneys, ♪ ♪ wave truce against the moon.
♪ ♪ In the mirrors of a modern bank, ♪ ♪ from the window of my hotel room.
♪ ♪ Oh, I'm traveling in some vehicle.
♪ ♪ I'm sitting in some café.
♪ A defector from the petty wars, ♪ ♪ until love sucks me back that way.
♪ ♪ Oh-oh-oh-oh.
♪ Oo-oo-yea-yea.
♪ ♪♪ (audience cheering and applause) GRAHAM: When she played me her songs for the first time, as a writer, I was shocked, I, I was stunned.
I had never heard music like this in my life.
It was so personal, so beautiful, so musical.
AOIFE: I remember, my mom, her favorite album was, and I think probably she would say still is, uh, "Ladies of the Canyon".
It's not even to a generation, it's to every generation that has come since then, you know I was born in, in the '80s, um, my mom was born in the '50s, and, and some of those early Joni records came out when my mom was still you know, a teenager.
I just love that we can share that where you, you, you get this music and it just hits you and I hope that it will continue to do it, I can't wait for my daughter to discover Joni Mitchell.
RAUL: Joni Mitchell is part of the reason that I became a musician that was more interested in putting the things that I love in music into my songs.
LALAH: In my mind, most things that I'm singing are a hat to Joni.
RENÉE: I always thought of her music as so specific and also vocally specific because she started as a high soprano.
I mean I remember being in my dorm room and harmonizing up above her and I, really exercising that top of my voice.
AOIFE: I do feel comfortable with these songs, I mean I'm getting to sing "River" and "Woodstock".
GRAHAM: "River" is a very personal song, I never have ever said, "Well that was written for me."
But I do recognize certain lines in that song that could only have been me.
It, it's an incredibly beautiful song.
AOIFE: I think that was the first time I really internalized that song, I'd obviously heard that record growing up at, whatever, you know, whoever I was in love with at that point.
I remember thinking that that, she had written that song just for me, like just for me and I think that everybody has their own moment with, with Joni songs.
♪ ♪ It's coming on Christmas.
♪ They're cutting down trees.
♪ ♪ They're putting up reindeer, ♪ ♪ and singing songs of joy and peace.
♪ ♪ Oh, I wish I had a river, ♪ I could skate away on.
♪ It don't snow here, ♪ it stays pretty green.
♪ Gonna to make a lot of money, ♪ ♪ then I'm going to quit this crazy scene.
♪ ♪ Oh I wish I had a river, ♪ I could skate away on.
♪ Oh I wish that I had a river so long, ♪ ♪ I would, ♪ teach my feet to ♪ fly.
♪ Oh, I wish I had a river, ♪ I could skate away.
♪ I made my baby cry.
♪ ♪ He tried hard to help me, ♪ you know, he put me at ease.
♪ ♪ And he loved me so naughty ♪ he made me weak in my knees.
♪ ♪ Oh, I wish I had a river, ♪ ♪ I could skate away on.
♪ I'm so hard to handle, ♪ I'm selfish and I'm sad.
♪ ♪ And now I've gone and lost ♪ ♪ the best baby that I ever had.
♪ ♪ Oh, I wish I had a river, ♪ ♪ I could skate away on.
♪ Oh I wish I had a river so long.
♪ ♪ I, ♪ would teach my feet to ♪ fly.
♪ Oh, ♪ I wish I had a river, ♪ I could skate away on.
♪ I made my baby say goodbye, ♪ ♪ goodbye.
♪ It's coming on Christmas, ♪ ♪ they're cutting down trees.
♪ ♪ They're putting up reindeer.
♪ ♪ Singing songs of joy and peace.
♪ ♪ Oh, I wish I had a river, ♪ I could skate away ♪ on.
♪ ♪ ♪♪ (audience cheering and applause) LARRY: We sent over a copy of the record to Herbie Hancock and Wayne Shorter who both played on "Both Sides Now".
I remember Herbie telling me, or us that he and Wayne cried all the way through "Both Sides Now" they both just wept and, and Joan and I just went, "Yes!
Ok, that's what we're after."
ROBERT: When Joni did, "Both Sides Now" with that orchestra and had Wayne on there, phew.
And I remember listening to it like literally, I probably listened to it 15 times in a row.
AOIFE: It's just so poignant.
Hearing somebody at that stage of her career and life sing a song that she had written so many years previous, it just tells such a story and puts you right there.
BRIAN: You know she's not necessarily thinking harmonically or is this fast or is this slow, she's thinking of this, unfolding story, this love song.
LALAH: The lyrics are there, the melodies are there, the changes are there, the process is to learn the song so that it's a part of my feelings and then just let it go.
JIMMIE: It always just feels so personal, as if you were there having a, a very intimate, private conversation that she just says every emotion that she felt and just takes you on that journey with her.
LALAH: My aim is to always make a love song for her, to be able to tell her all the things that I was never able to tell her through reinterpreting her magic.
♪ Bows and flows and angel hair.
♪ ♪ And ice cream castles in the air.
♪ ♪ And feather canyons everywhere.
♪ ♪ I've looked at clouds that way, ♪ ♪ but now they only block the sun.
♪ They rain and they snow on everyone.
♪ So many things I would have done, ♪ ♪ but clouds got in my way.
♪ I've looked at clouds from both sides now.
♪ ♪ From up and down and still somehow, ♪ ♪ it's clouds illusions I recall.
♪ ♪ I really don't know clouds, ♪ ♪ at all.
♪ Moons and Junes and Ferris wheels.
♪ ♪ The dizzy dancing way that you feel.
♪ ♪ As every fairy tale comes real, ♪ ♪ I've looked at love that way.
♪ ♪ Oh, but now it's just another show.
♪ And you leave 'em laughing when you go.
♪ And if you care, don't let them know.
♪ ♪ Don't give yourself away.
♪ I've looked at love from both sides now.
♪ ♪ From give and take and still somehow, ♪ ♪ it's love's illusions I recall.
♪ ♪ I really don't know love.
♪ Really don't know love at all.
♪ (trumpet solo) ♪ Tears and fears and feeling proud, ♪ ♪ to say, "I love you" right out loud.
♪ ♪ Dreams and schemes and circus crowds, ♪ ♪ I've looked at life that way.
♪ ♪ Oh, but now old friends are acting strange.
♪ ♪ They shake their heads ♪ and they say that I've changed.
♪ ♪ Well something's lost, ♪ ♪ and something's gained, ♪ in living every day.
♪ Oh, I've looked at life from both sides now, ♪ ♪ from win and lose and still somehow, ♪ ♪ it's love's illusion I recall.
♪ ♪ I really don't know life at all.
♪ Oh, I've looked at life from both sides now, ♪ from win and lose and still somehow, ♪ ♪ it's love's illusions I recall.
♪ ♪ I really don't know love, ♪ ♪ really don't know love, ♪ really don't know love, ♪ at all.
♪ Mmm, mmm, mmm, mmm.
♪ Ooooooo.
(audience cheering and applause) LALAH: Favorite Joni lines, well... RAUL: Man, there's so many.
LARRY: God, there's so many.
LALAH: I mean, how long do you have?
BRIAN: "We're stardust and we're golden, gotta get ourselves back to the garden."
Oh man.
AOIFE: "There's a man who's been out sailing in a decade full of dreams."
VINCE: "They're gonna aim their hoses on you, show them you won't expire."
GRAHAM: "He loved me so naughty, it made me weak in the knees."
LALAH: "No offense coyote, ♪ we just come from such ♪ ♪ different circumstance.
♪ ♪ I'm up at night in my studio, ♪ ♪ and you're up early on your ranch."
♪♪