Janis Ian's Long Road To Independence ('The Early Years')

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petrolino
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Janis Ian's Long Road To Independence ('The Early Years') Nov 28, 2021 0:24:45 GMT NJtoTX likes this

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Post by petrolino on Nov 28, 2021 0:24:45 GMT

Janis Ian At Verve Records (1967 - 1969) : 'The Double Life Of J. Eddy Fink'

Janis Ian was born Janis Eddy Fink on April 7, 1951 in Farmingdale, New Jersey (some sources cite New York City, New York as being her birthplace) where she spent her early childhood living on a farm. Her father Victor Fink was a music teacher and he arranged for her to start taking piano lessons when she was two years old. Ian was a musical prodigy who played piano, guitar, harmonica and the French horn during her school years. She wrote her first song, 'Hair Spun Of Gold', when she was twelve, performed her first proper gig at the age of thirteen (at The Hootenanny in Greenwich Village), and composed her breakthrough single, 'Society's Child' (originally titled 'Baby I've Been Thinking'), when she was fourteen.

“My family are Jewish. Jews of my parents’ and grandparents’ generation tend to use music as a way to gather together, so we were always singing. In addition, my dad went to college after he served in the army; they paid for him to go and he eventually became a music teacher, so there’s a great passion in the family. I must have only been two-and-a-half when I put together that the sound coming from the piano was being made by my dad, and that was it. It was, ‘That’s what I’m going to do with my life. Forget everything else.’”

- Janis Ian, Songwriting Magazine

Karen Dalton, Suze Rotolo, Terri Thal, Bob Dylan & Dave Van Ronk walk the streets of New York City, New York in 1963

'In My Own Time' (1971) ~ Karen Dalton

Ian became a fixture on the folk club circuit in Greenwich Village, New York when she was still a young teenager. An early mentor was the Reverend Gary Davis whom she opened for at the Gaslight Cafe. During this time, Ian would do her school homework when she got home, then run down to a music club where she might see Joan Baez, Tim Buckley, Bob Dylan, Arlo Guthrie, Tom Paxton, Richie Havens or any number of folk artists out working the circuit.

'Janis Eddy Fink was born into a Jewish family in Farmingdale, New Jersey in 1951, where she spent the first five years of her life on a chicken farm. Although her upbringing was not religious, she still believes that her Jewish roots have remained an important influence throughout her life. "I grew up in a culturally Jewish family, not a religious one," she explains. "When I was younger, I think Judaism really formed a lot of my ethics and my moral standards. My Jewish roots are pretty important to me."
Having been nominated for a Grammy award for her self-titled debut album in 1967, she was befriended by some of the most iconic rock stars of the '60s, including Jimi Hendrix and Janis Joplin. "Nobody knew who was going to be a legend… they were just people who were very good to me when I was young," she says. "They didn't let my age interfere and they taught me what they could. I don't know how to explain what Janis and Jimi were like, but I certainly didn't look at them as icons, because they were my friends and because they weren't iconic back then.
"I remember doing cocaine with Hendrix, but it was a mistake, because I actually turned out to be allergic to cocaine," she giggles. "I was really fortunate, because I think I coke would have been the perfect drug for me - more speed and more energy.
"I have so many memories. I probably played with Hendrix 15 or 20 times during the time that I knew him, and I would absolutely love to hear that stuff, because I certainly never heard it back then."
Having become a star at such a young age, did she feel as if she had missed out by not having a more conventional life as a teenager? "It was good to start young and to learn that what matters is the music. I only know the life I lived, and I got most of my mistakes over with before I was 21. Instead of working in a day-job that I hated, I got to deal with everything from death threats to doing coke with Jimi Hendrix. I lived an entire life in my teen years, and I don't regret a second of it."
Within a few years, Ian had released a handful of mature albums, attempted suicide and retired from music altogether: "Yeah, I tried to kill myself when I was 18," she says casually, "but honestly, I'm not sure how much of that was adolescence, how much was just how I was born and how much was actually the pressure I was under. Somebody overdosed me with acid when I was 16, and I think I started fragmenting after that. Life in the spotlight doesn't leave you a lot of time to be creative, so I watched my songwriting go downhill and I decided to retire.
"This may sound pretentious, but I had already played Carnegie Hall by the time I was 17, so I'd pretty much done what I'd originally set out to do. I remember walking off the stage at the Philharmonic Hall and telling my manager I was stopping, and she laughed and said: 'Well, they all say that.' I said: 'Well, I'm actually doing it.' I moved out of New York, got some good therapy and I put myself back together and became a songwriter."'

- The Jewish Chronicle

Barbara Dane & Janis Ian perform at a political rally in Chicago, Illinois in 1966

'When I Was A Young Girl' (1962) ~ Barbara Dane

Unfortunately, Ian became tied into a contract with experimental jazz label Verve Records that was simply too demanding. It required her to write at a pace quicker than an album a year, something that wasn't easy for a schoolgirl trying to get herself an education during daylight hours. She cut three records with one of the pioneers of the "girl group" sound dynamic, producer George 'Shadow' Morton, though Ian recalls the "out of it" Morton as being largely absent from the studio by the time she recorded the third of these. To this day, she rarely discusses any of the albums she recorded for Verve (or its imprint Verve Forecast).

“People used to ask Pete Seeger how he defined folk music and he’d always say ‘I’m not too concerned about trying to define the music itself. I just think of it as any music that builds community.”

- Joan Baez

Dave Van Ronk & Janis Ian

'Children, Go Where I Send Thee' - Odetta

Ian befriended jazz bassists Harvey Brooks (The Electric Flag) and Richard Davis (whom she'd work with on her 1975 album 'Between The Lines'). Davis had played with her Verve labelmate, Laura Nyro (Ian and Nyro both attended the High School of Music & Art in Manhattan, New York in the 1960s). Having parted ways with Morton, she entered the recording studio with producer Charles Calello (who'd also worked with Nyro) to record what would become her final album for Verve Records, 'Who Really Cares' (1971). Calello was from Newark, New Jersey and had been a member of Frankie Valli's group the Four Lovers, but he left before they transformed themselves into the Four Seasons. Calello was noted throughout his professional life for his support of New Jersey's musical community. He worked with Frank Sinatra (Hoboken), Sarah Vaughan (Newark), Paul Simon (Newark), Dionne Warwick (Orange) and Bruce Springsteen (Long Branch) among others.

"People need to come here and see Israel, like Janis Ian did. She came and played in Tel Aviv. She sold out three shows and could have sold more."

- Bonnie Brooks, The Times Of Israel

Janis Ian, Judy Collins & Leonard Cohen

'Plastic Jesus' - Tia Blake And Her Folk Group

Suffering from early burnout, Ian recorded the album 'Present Company' (1971) for Capitol Records with guitarist Jerry Corbitt (The Youngbloods) and then walked away from the music industry. However, the muse never left her, and she returned to the studio to record the album 'Stars' (1974) which brought her a new recording contract with Columbia. What followed were happier years for Ian who also got to record her composition 'Hymn' with one of her musical heroines, Odetta, alongside their friends Claire Bay and Phoebe Snow.

Fun Fact : Janis Ian was one of the guests on the first ever episode of 'Saturday Night Live' which aired on October 11, 1975.

'Often called a child prodigy, at two years old, Janis insisted on piano lessons from her music teacher father. By age three and a half, Janis was arguing with him over interpretations and fingering concerning her classical piano playing studies.
In 1960, when she was nine, Janis heard the singer Odetta on a Harry Belafonte television show. Janis was so enthralled by her sound and style that she convinced her mother to take them to see a Odetta performance at Rutgers. Janis knew from then that she wanted "... to sing, and play the guitar, and perform all over the place."'

- My Castle Treasures

Bruce Springsteen, DJ Ed Sciaky & Billy Joel visit Janis Ian backstage after her return concert in Philadelphia, Pennsylvania in 1974

'New Christ Cardiac Hero' (1967)

'Pro-Girl' (1967)

'Sunflakes Fall, Snowrays Call' (1967)

'Mistaken Identity' (1968)

'Orphan Of The Wind' (1969)

Janis Ian recently recorded the album 'Hope' (2021) which is her first studio album in 7 years. An outspoken critic of the Recording Industry Association of America (RIAA) from a long way back, Ian was effectively blacklisted from attending certain industry events for voicing her criticisms and concerns. She founded her own independent music label, Rude Girl Records, in 1992. She then created a publishing arm, Rude Girl Publishing. This has allowed her to retain creative control and work with greater freedom. She's also a journalist (she once wrote for 'The Advocate') and author (she writes science-fiction stories).

Last Edit: Dec 5, 2021 2:09:37 GMT by petrolino

"Movies are the enemy of the novel because they are replacing novels. Novelists shouldn’t write for the movies, unless, of course, they discover they’re no good at writing novels." - John Irving

petrolino
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"People aren't supposed to look back. I'm certainly not going to do it anymore." - Kurt Vonnegut

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Janis Ian's Long Road To Independence ('The Early Years') Nov 28, 2021 2:13:56 GMT

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Post by petrolino on Nov 28, 2021 2:13:56 GMT

Art Of Concord : The Mellifluous Mindwaves Of George 'Shadow' Morton

According to rock 'n' roll legend, musician, songwriter and record producer George 'Shadow' Morton was a big fan of one of Janis Ian's songs recorded by English rock group, the Shame, who came from Dorset. The Shame recorded one album before disbanding, 'The Shame' (1967), which included the single 'Don't Go 'Way Little Girl'. This song was composed by Ian and given to band member Greg Lake, soon-to-be bassist with King Crimson. Ian remembered it several years ago while posting a tribute online to Lake who died in 2016. Her version of the song appears on her debut album, 'Janis Ian' (1967).

"RIP, Greg Lake… Some of you may know that Greg’s first group was The Shame, and their first single was my song “Don’t Go Way Little Girl.” Most people don’t know that we intended to do a bunch of writing together, but we only managed one piece before obligations and management intervened. It never saw the light of day, sadly. Greg sent me a cassette of the track with a few suggested melodic bits, and I sent back a new cassette with my vocal and lyrics overdubbed onto it."

- Janis Ian

Genius or madman? ... Shadow Morton with Janis Ian

'Don't Go 'Way Little Girl' - The Shame

- - -

The Shangri-Las

'Personnel : Mary Weiss, Betty Weiss, Marge Ganser, Mary Ann Ganser.

History : These two pairs of sisters (the Gansers were twins) started singing at Queens, N.Y.'s Andrew Jackson High School in the early ‘60s. Discovered by New York deejay Bob Lewis and record producer George (Shadow) Morton, the group was signed to Kama Sutra Records and then moved to the Red Bird label, where the young women scored their first hit, “Remember (Walking in the Sand)"--it made the Top 5 in September, 1964. Seven weeks later, they roared to No. 1 with “Leader of the Pack,” a song that would be both covered (by countless acts including Bette Midler and--currently--Twisted Sister) and parodied (the Detergents’ “Leader of the Laundromat”). It even provided the title for a Broadway musical starring its co-writer, Ellie Greenwich. More hits and a British tour followed. Lead singer Mary Weiss was unable to go, though, since she was only 16; her sister took over her role. By 1966 the group had released two albums, but wasn’t scoring as high on the charts. That year, Red Bird folded, the Shangri-Las retired and Mercury released a “Golden Hits” LP.

Sound : The Shangri-Las’ career may have been a short one, but the foursome’s records still hold up beautifully after two decades. Most of the credit has to go to Morton, who produced the group and wrote some of its songs. Only Phil Spector could match or surpass him in terms of teen-rock melodrama. Despite the fact that they weren’t the equal of most “girl groups” as singers, and though they were reportedly tough to work with, the Weiss and Ganser sisters had something special too. They were the ultimate leather-clad, teased-hair motorcycle girls with hearts of gold. There’s a tense tough/sweet dichotomy in their performances that Morton enhances with over-the-top arrangements and sound effects. This album contains the songs that were both the Shangri-Las’ biggest hits and their best numbers: the hilarious, exciting “Leader of the Pack,” the ultra-romantic “Remember” and the racing, heartwarming “Give Him a Great Big Kiss.” But the quality doesn’t fall very far on the other well-chosen tracks. This was one of the few white female outfits whose recordings stood up alongside those of the best black groups of the era.'

- Terry Atkinson, Los Angeles Times

'The Shangri-Las was made up of two sets of sisters: Mary and Betty Weiss and identical twins Marge and Mary Ann Ganser. They all hailed from the Cambria Heights neighborhood of Queens, NY. The teens formed their girl-group in 1963, originally performing without a name. Over the years, the lineup changed a bit; only Mary Weiss remained in the group.
As Weiss recalled, "We rehearsed constantly, until the harmonies were perfected. I think our voices blended so well because we were two sets of sisters. In a brief period of time, we had a manager, and we started doing small gigs."
The Cambria Heights of that era was a hardscrabble, blue-collar neighborhood that was anything but posh. But it was precisely the toughness of Cambria Heights that gave the girls their unique edge. The Weisses and Gansers were true bad girls from Queens, and they were not to be messed with – an image that was a far cry from the prim and proper all-girl musical acts of the time. Even the name the group eventually chose nodded to Queens: the Shangri-La was a neighborhood restaurant.'

- Ranker

"My cover band ... had a professional engagement the summer that we graduated high school at a teen club called The Ponytail in northern Michigan. They served Cokes. And a lot of big acts came through. I got to play drums behind the Shangri-Las, the Crystals, the Four Tops. Learned a lot ...
Mary, the lead singer of the Shangri-Las, had a really beautiful head of hair ... and I just remember being very happy in the back you know playing 'ts, ts, ts,' while she was going, 'remember, walking in the sand.'"

- Iggy Pop, Far Out

'Remember (Walking In The Sand)' - The Shangri-Las

- - -

Strange Behaviour

"From the beginning, Shadow Morton acquired, and cultivated, a reputation for eccentricity and unpredictability. As a teenager, the pianist and singer Billy Joel played on the first demo recording of Remember (Walking in the Sand) and recalled that Morton "had a very theatrical way of producing; he used to wear a cape in the studio and was very intimidating to a young kid like me". Mary Weiss described him as "colourful, unique and extremely talented, but very difficult to get into a room at a scheduled time".
When the Red Bird company folded in 1966 Morton took the Shangri-Las to the Mercury label, where they had less success. By this time, Morton had become the producer of the 15-year-old Janis Ian. He chose Society's Child, a tale of a doomed interracial romance, as her first single. However, as Ian recounted in her autobiography, Morton tried to persuade her to censor the lyric, saying: "I can guarantee you a No 1 record if you'll change just one word. Just change 'black' to anything else." Ian refused, and the record was a hit, but not a chart topper. Morton went on to produce Ian's first two albums.
He next produced the first album of the New York Rock & Roll Ensemble, who played rock music on classical instruments and featured future film-music composer Michael Kamen. Morton went on to work with a New York rock group called the Pigeons who specialised in lengthy, ponderous versions of recent hits. After their name was changed to Vanilla Fudge, Shadow Morton produced the hit You Keep Me Hanging On, a barely recognisable variation on a Supremes' recording, which was a US top 10 hit in 1968.
Although he was to produce three albums by Vanilla Fudge, Morton's alcohol consumption had affected his standing on the New York scene. In the late 60s, he found less work, with his only subsequent success being the 17-minute piece In-A-Gadda-Da-Vida (a garbled version of the phrase "in the garden of Eden") by the heavy rock band Iron Butterfly, which he was asked to supervise by Ahmet Ertegun of Atlantic Records. In one of several rambling interviews he gave late in life, Morton claimed that he contributed very little to the session because of his inebriation."

- Dave Laing, The Guardian

'In-A-Gadda-Da-Vida' - Iron Butterfly

- - -

Choice Cuts : Gettin' Heavy In The Studio With The Shadowman ...

'He's A Rainbow' - Janis Ian

'Dressed In Black' - George 'Shadow' Morton

'The Spell That Comes After' - Vanilla Fudge

'Spoiler' - Haystacks Balboa

'Do It' - Uncle Chapin

'Human Being' - New York Dolls

'Swallowed Up In The Great American Heartland' ~ Tom Pacheco

Last Edit: Dec 9, 2021 22:18:46 GMT by petrolino

"Movies are the enemy of the novel because they are replacing novels. Novelists shouldn’t write for the movies, unless, of course, they discover they’re no good at writing novels." - John Irving

Zos Revered Member @sydneybean Posts: 10,947	Janis Ian's Long Road To Independence ('The Early Years') Nov 29, 2021 14:00:57 GMT petrolino likes this Quote Select Post Deselect Post Link to Post Member Give Gift Back to Top Post by Zos on Nov 29, 2021 14:00:57 GMT Successful sci fi writer too.
	No more dreams of mystery chords

petrolino
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"People aren't supposed to look back. I'm certainly not going to do it anymore." - Kurt Vonnegut

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Janis Ian's Long Road To Independence ('The Early Years') Dec 4, 2021 23:24:01 GMT

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Post by petrolino on Dec 4, 2021 23:24:01 GMT

Janis Ian : "To The Stars And Beyond ..."

'Stars : Original Stories Based On The Songs Of Janis Ian' (2003) is an anthology of science-fiction stories, written by various authors, that were inspired by Janis Ian's songwriting. 'Stars' is a song written by Ian in the 1970s that was the title track for her album, 'Stars' (1974). As Zos has mentioned, Ian is a sci-fi fanatic and an author herself. Her work has been published in the genre periodical 'Galaxy's Edge'. She also contributed to the experimental story collection, 'Women Writing Science Fiction As Men' (2003).

"This is all Anne McCaffrey's fault, because it was sitting at her kitchen table with herself and her daughter Gigi that I first heard the word "Worldcon". "What's a Worldcon?" I asked. Annie and Gigi were both horrified; then, with a look of deep concern on her face, Anne patted my hand and said "My dear ... You must go!"

- Janis Ian, foreword to 'Stars : Original Stories Based On The Songs Of Janis Ian'

Errant farm girl Janis Ian

'Stars' - Nina Simone

Ian is also the author of 'The Tiny Mouse' (2013), a children's book with illustrations by Dieter Schubert and Ingrid Schubert. Like fellow musician Kristin Hersh, Ian wrote songs and music to accompany her book. You can watch her perform one of these songs while previewing the book for her dog in a video she made and uploaded to youtube.

Janis Ian on tour in Netherlands in 1978

'Miracle Row' ~ Janis Ian

Fun Fact : There's a character called Janis Ian (played by Lizzy Caplan) in Mark Waters' high school comedy 'Mean Girls' (2004). Janis Ian's song 'At Seventeen', from the album 'Between The Lines' (1975), can briefly be heard in the movie. The song 'At Seventeen' was inducted into the Grammy Hall of Fame in 2008.

Last Edit: Dec 10, 2021 5:29:28 GMT by petrolino

"Movies are the enemy of the novel because they are replacing novels. Novelists shouldn’t write for the movies, unless, of course, they discover they’re no good at writing novels." - John Irving

petrolino
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"People aren't supposed to look back. I'm certainly not going to do it anymore." - Kurt Vonnegut

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Janis Ian's Long Road To Independence ('The Early Years') Dec 9, 2021 23:17:32 GMT

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Post by petrolino on Dec 9, 2021 23:17:32 GMT

Janis Ian & Brooks Arthur : Notes From The Underground

{~ Experiments In Engineering And Sound}

"Brooks Arthur still dreams of the little studio he owned in Blauvelt, New York in the early ‘70s; a converted gas station on a suburban highway next to an all-night diner in “upstate” New York. 914 Studios (pronounced: “nine-one–four,” the telephone area code there at the time) may have been one of the best sounding rooms Arthur recorded in. He ought to know: a songwriter and performer with ties to the Brill Building era, Arthur has engineered many famous records, including Van Morrison’s Astral Weeks, created the audio frame-work of some of Bruce Springsteen’s earliest, best work and enjoys hundreds of technical and production credits over more than fifty years: from Phil Spector-produced pop and early Van Morrison, to early Springsteen, Janis Ian and Neil Diamond, to mainstream artists like Liza Minnelli and Bette Midler.

Brooks’ business partner for a time - Phil Ramone, who produced and engineered some of the best records ever made – recruited Brooks for his “ear” and skill. Over the years, Brooks Arthur has worked with everybody, from legends like Dusty Springfield and Marvin Gaye to Peggy Lee and Marvin Hamlisch. One of these records — Janis Ian’s Between the Lines — has been a perennial of mine since it was first released in 1975. Between the Lines is a touchstone for me, musically and sonically. It was recorded at 914 Studios.
The fact that this studio was located just a few miles from my New York house has also fascinated me ever since I moved to Rockland County in 2003. It is a bit of an urban legend in these parts. By the time I got here, the studio was long gone - there were pieces of its history on the web, and mentions of the place in album credits. A flurry of press about the studio appeared recently: the Rockland County Historical Society has formally recognized 914 Studios as a landmark of our American musical heritage.
I’ve been chasing Brooks Arthur for an interview for a few months - not that he is elusive - he’s just really busy! My aim: to get an understanding of why a great recording sounds great, from the man who produced and engineered it. At the time of the recording, Arthur had a longstanding creative relationship with Ms. Ian and had built the studio where the recording was made. I figured this might help provide me (and readers) with some insight into the process of making a great recording.

Interviewing Brooks is also fun - he’s smart and there is a joy he communicates across the telephone line from the West Coast that transcends time, distance and the vicissitudes of life. He’s a charmer, warm, funny and quick-witted."

- Bill Hart, The Vinyl Press

Odetta & Janis Ian in the studio with producer Brooks Arthur during the recording of 'Aftertones' (1976)

"I knew Janis from Society’s Child. She is a great songwriter, a great performer and is a perfectionist. Carole King’s Tapestry — probably the most popular female singer-songwriter albums of the time, had gone off the charts. That was a truly great record, but Janis was very different: she had the writing chops and was a truly gifted talent, but inspired a whole different mood than Carole King. I also felt like I had been kicking around for a while - doing good, notable stuff, but I think there was this feeling that Janis and I shared - that this was “our time” to really knock it out of the park.
We worked on the album for several months. Janis would sketch out a song and we would have these pre-production meetings to decide what songs to use. Ron Frangipane, who was responsible for the string and horn arrangements, was part of the team. But I babysat every chart. I didn’t want to lose Janis’ folk-like quality by over-orchestrating, but I was a sucker for a romantic or telling string line. Janis was also involved in the arranging and had a lot of input on the record, for obvious reasons. We laid down the basic tracks, and each night, I would do a rough mix to get a sense of where we needed to go next.

Some people I know joke that it was all “the room.” But I worked hard on the recording to get it to sound intimate and spacious at the same time. A lot had to do with microphone placement and the mix, including decisions on panning: where the drums were placed in the mix, which guitar was panned to what side to give the recording dimension. I would do similar panning tricks with echo. That’s where my rough mixes each night paid off; to guide me to the next step. It’s a fairly complex recording, and we wanted it to sound intimate, have the benefit of instrumentation without sounding cluttered."

- Brooks Arthur, The Vinyl Press

Janis Ian & Brooks Arthur

"She may be the best America has had to offer popular music in my lifetime. A real truth-teller, and a genius polymath, to boot."

- Laura Seldon on Janis Ian, 'New Jersey Live'

Janis Ian at the piano

'Fly Too High (Extended Remix)' ~ Janis Ian & Giorgio Moroder

- - -

'I love the light, I love the changing season,

I love without much thought to reason,
I'd give it all if I could make you see,
I love the man that you were meant to be,
I love the man you are in me ...

I love the man who waits beside you,
I love the man who hides behind you,
I love the shadow though it disappears,
I love the afterglow reflected through the tears,
I love the shadow in my tears ...

Mmm, I love the dreams you can't remember,
Mmm, lost in the early waking hours,
I love the season of forever,

I'll live without the light of laughter,
I'll live without an ever after,
I'd give it all if I could make you see,
I need the man that you were meant to be,
I love the man you are in me ...'

- Janis Ian, 'The Man You Are In Me'

Janis Chaplin

'Insanity Comes Quietly To The Structured Mind'

- - -

Janis Ian - Live In Concert In 1976

Setlist

0:00:00 - Introduction
0:00:29 - When The Party's Over
0:03:46 - Stage Banter
0:04:31 - From Me To You
0:08:04 - Tuning
0:08:45 - The Man You Are In Me
0:12:05 - Song Introduction
0:13:30 - Boy, I Really Tied One On
0:17:07 - Tea & Sympathy
0:21:25 - Stage Banter
0:23:45 - Got To Get Up
0:26:46 - Roses
0:30:15 - Tuning
0:30:35 - Watercolors
0:35:26 - In the Winter
0:38:45 - Stage Banter
0:40:15 - Applause
0:44:27 - Introduction
0:45:32 - This Must Be Wrong
0:48:31 - Don't Cry Old Man
0:52:48 - Between the Lines
0:57:17 - Tuning
0:57:49 - At Seventeen (part 1)
1:00:57 - At Seventeen (part 2)
1:01:40 - Encore Applause
1:03:01 - I Would Like To Dance

Janis Ian at the Capitol Theatre in Passaic, New Jersey [Recorded : April 18, 1976]

Last Edit: Dec 10, 2021 5:16:08 GMT by petrolino

"Movies are the enemy of the novel because they are replacing novels. Novelists shouldn’t write for the movies, unless, of course, they discover they’re no good at writing novels." - John Irving

Janis Ian's Long Road To Independence ('The Early Years')

Post by petrolino on Nov 28, 2021 0:24:45 GMT

Post by petrolino on Nov 28, 2021 2:13:56 GMT

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Post by petrolino on Dec 9, 2021 23:17:32 GMT