SESSIONS & SONGS


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224. PAGE 9 (STARS): Original Xeroxed typed lyric with old title, with 7 page annotated songbook chart (two of them - 1 bound & gummy, 1 plain); 1972. With out-of-print Stars songbook. I wrote this when I was "in luv" for the first time, deeply and completely, hoping to spend the rest of my life living in blissful harmony with another human being who could do no wrong. Duh. The song had no title; I couldn't think of one. I ran through five or six different permutations, then someone pointed out that it was drafted on page 9 of my workbook (I keep books with lyrics & notes in them, have since I was a kid), and that's how it got titled. By the way, I prefer Xeroxed lyrics to originals in the studio, since that way I can always make a "clean copy".
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225. PARTY LIGHTS (MIRACLE ROW): Original onionskin notes for the piano arrangement (choruses), which led to the writing of the music and lyrics for the chorus - half a staff page of piano parts, along with 6 page songbook chart with corrections; 1976. With out-of-print Miracle Row songbook. You would think that I'd remember my own parts, wouldn't you? but sometimes I get an idea at the piano or guitar (or at dinner, or in teh car), and don't have time to begin working on the song itself, so I sketch down the instrument part for later use.
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226. PARTY LIGHTS (MIRACLE ROW): Janis' original heavily annotated key copy and 4 other charts; 1976. With Miracle Row CD. Sometimes when there's a specific arranging idea in my head, it's important to write out the parts for the players. This song is built around my piano part, heavy on the bass upbeats, so it was vital that the drummer, bassist et al knew where I was going.

227. READY FOR THE WAR (REVENGE): Original first draft handwritten on two sides of an envelope @ 7"x5", bright red lettering and "Janis Ian" written on one side, with notation; 1993. With Revenge CD. Again, an idea can come any time, & I grab the first available paper. Pat always laughs and says if she's looking for the shopping list, all she has to do is check my recent song file. I wanted to have something to open my show with, that would delineate what I saw as the relationship between artist and audience, so I began this song.
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228. RIDE ME LIKE A WAVE (BREAKING SILENCE): Original first draft sketch with chord layout, notation, lyric ideas, on white legal paper 11"x8.5"; 1991. A nice piece. It unnerved me to write this song, because it was so blatantly sexual. Each draft seems to have a lot of starts & stops, until I finally decided to stop worrying & just write.
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229. RIDE ME LIKE A WAVE (BREAKING SILENCE): Original second draft with notation and chords on legal paper 11"x8.5", with many many corrections and changes. An extremely nice piece; 1992. As I started moving toward the body of the song, I caught myself editing my ideas because they made me so uncomfortable. I finally reached a point where I realized that uncomfortable ideas make for good songs, so I stopped editing and just began to write.
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230. RIDE ME LIKE A WAVE (BREAKING SILENCE): Original single page sketch of arrangement by Janis, with notes, notation, "1st scratch" and "Wave Xmas week 1992' written in corner, in red on regular staff paper with lots of cross-outs; 1992. Again, a very nice piece. This is the first "scratch" of an arrangement idea for the song; I wrote it out while watching television one winter night.
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231. RIDE ME LIKE A WAVE (BREAKING SILENCE): Two annotated session lyrics with Janis' engineering notes as well, along with a typed lyric; 1992. We cut this song "live", everyone playing and me singing at the same time, then threw on a second vocal for safety purposes.

232. RIDE ME LIKE A WAVE (BREAKING SILENCE): Original handwritten final lyric draft with chords, on yellow legal paper; 1992. Usually, if I have an idea for the arrangement when I'm writing the song, I take notes on the arrangement as soon as the structure of the song is worked out. This is the sort of thing I wind up with; if I don't have time to do the charts, I take this into the studio and "call out" the arrangement to the players.

233. ROSES (AFTERTONES): Original session lyrics with notations along with Janis' own arranger's chart and session chart, heavily annotated, plus with 5 other session charts; 1975. With out-of-print songbook of Aftertones. I don't know where this song came from; I wrote it standing on a beach in Greens Farms, Connecticut, listening to the gulls circling overhead.

234. THE SECRET LIFE OF J. EDDY FINK: Original first and second drafts of poem to go with the album, and handwritten list of titles for album sequencing, with corrections in red, marked " 2/68 " on sheet of ruled 3-hole school paper; 1968. With vinyl album The Secret Life of J. Eddy Fink. Along with my absolute passion for total control of my creative output (and almost everything else, according to my friends), from the very first album I made in 1966 I worked closely on the design of all cover art. This album was a peculiar one, made in the midst of my parent's divorce; it was finished just before I quit high school for the final time. To my recollection I was writing these notes out during a math class and was promptly bounced to the principal's for my inattention.
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235. SHADOW (HUNGER): Original handwritten third draft with notation at top and bottom, corrections, additional lyrics, on sheet of yellow legal paper; 1997. Very nice. I wrote this literally the afternoon before we began recording Hunger; it just fell out, almost in one piece, but then I got stuck on the middle & ending. It went through four complete drafts before I was happy; somehow, when you're writing this fast, you wind up using more paper than if you have time to think things out before you write them down.
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236. SHADOW (HUNGER): Janis' own heavily annotated session Xerox of a hand-written draft, with studio notes & lyric revisions written all over it in red, and a new portion of additional lyrics taped on, 13"x9"; 1997. I finished this song just in time for the session, and was still revising on this sheet as I began recording it live with a guitar. An embarrassing revelation of jealousy and pettiness on my part, it's turned into one of the biggest audience requests.
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237. SILLY HABITS (JANIS IAN II; GRAMMY NOMINEE FOR "MEL TORME & FRIENDS"): Handwritten first draft with entire song, lots of corrections and crossouts, unused lines, chords, on yellow legal paper; 1977. With Janis Ian II CD. One of the finer "whole" pieces in this collection, we already have an opening bid of $750.00. I had just been left, and was sitting on my coffee table feeling very sorry for myself, when someone knocked on the door (hence the line "sometimes I even knock"). I ignored the door and started writing.
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238. SILLY HABITS (JANIS IAN II; GRAMMY NOMINEE FOR "MEL TORME & FRIENDS"): Original handwritten chart with Janis' notes; 5 other charts including Janis' annotated key chart; 1977. With Janis Ian II CD. One of the big thrills of my life was when Mel Torme recorded this with me as a duet for his album. I wrote these charts for that date. Of course, Mel plays better piano (and drums, and anything else) than I could ever hope to, so the charts were kind of superfluous.

239. SILLY HABITS(JANIS IAN II; GRAMMY NOMINEE FOR "MEL TORME & FRIENDS"): Annotated lyric sheet from recording session, with chord indications, solo notes and other notes in red, marked "Janis' Copy"; 1977. With Janis Ian II CD. Mel and I received a Grammy Nomination for Best Duet after he recorded this; it was important to me that my own recorded version be different from his, so I rearranged it and changed the solo around.
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240. SLOW DANCE ROMANCE (MIRACLE ROW): Original handwritten chart along with Janis' heavily annotated chart and 6 others, plus typed annotated session session lyric, signed & dated "fall 1975"; 1975. With Miracle Row CD. I wanted something in a Dr. John groove when we went to record this, but it ended up just sounding like me.

240A. SO HERE YOU STAND (UNRECORDED, UNPUBLISHED): Original handwritten first draft of this early unrecorded and unpublished song, on a small piece of ruled spiral notebook paper with four verses, a number of corrections; 1967. I've had so many requests from fans to "put in something we've never seen" that I decided to throw this in with the lot. It's an angry song, written in the midst of my "Society's Child" days when a lot of performers resented my having gone too high too fast. I still couldn't afford much paper, so I crammed the whole thing in as best I could - it really runs over at the edges!

241. SOCIETY'S CHILD (JANIS IAN I): Originl first draft on both sides of one page of legal pad paper, with two extra unused verses, dated "12/65" in pencil; 1965. With vinyl album of Janis Ian. We already have an opening bid on this of $1,000.00. It's very odd to look back on the first draft of a song you've been singing for 33 years. I'd completely forgotten that this song originally had another title and two completely different verses. After we recorded it in 1966, Verve Folkways released the single twice; most stations wouldn't play it because of its controversial lyric (about a black boy and white girl dating). The Gavin Report, an industry trade sheet, said "Brilliant record, brilliant song - too bad it'll never see the light of day."
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242. SOCIETY'S CHILD AND THREE OTHER SONGS 1965 (JANIS IAN I): Handwritten on a sheet of children's music paper (7"x8") just after completion; contains first verse lead sheet of "Society's Child" with chords, notation, lyric & original title ("Baby, I've Been Thinking"). There are three other songs written out on front & back of this paper, including "Here's To" (see Broadside offering, under PRINT), "Janey's Blues" (Janis Ian I), and "Alien Girl" (unpublished/unrecorded). A prime purchase for a serious collector, this is the earliest hand-written example of Janis' songwriting and (according to her) contained her entire oeuvre to that date, with the exception of her very first song "Hair Of Spun Gold"; 1965. With vinyl album of Janis Ian. A gorgeous piece, we already have a bid on this of $500.00. Obviously I couldn't afford my own paper yet, I was only 13 1/2 at the time I wrote this. So I stole a sheet out of one of my piano exercise books amd wrote out one verse of each song, feeling very much like "a real writer". After the second release of the "Society's Child" single, the record company gave up; then Leonard Bernstein heard the song, featured it for almost ten minutes on a prime-time television special (remember, there were only 7 channels in the country then), and a hit was born.
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243. SOME PEOPLE (JANIS IAN II): Janis' own original annotated chart and 6 others; 1977. With vinyl record of Janis Ian II. Probably the meanest song I've ever written; my ex was leaving at the time, and doing it very sloppily. I hated everyone involved, including myself (who kept whining and pleading - I HATE that!). I tried to make the music sweet enough so that the lyrics would shock.

244. SOME PEOPLE'S LIVES (BREAKING SILENCE): Original first draft on yellow legal paper 13"x8.5", with huge amounts of notes covering the entire page; an excellent illustration of the writers' minds; spring 1986. With new "best of" songbook. One of the prime lots in this auction, we already have a bid of $1000.00. If I were bidding in this auction, I would go for this. The single sheet shows lots of cross-outs, revisions, rejects, returns to the original, rejects again - almost the entire writing process, step by step. As a writer who barely remembers their process, it's a wonderful chance to see my own & Kye Fleming's at work. We wrote this song in four days, and the first three days are this sheet of paper. We wrote like maniacs - at the table, in the car, in the bathroom, everywhere and anywhere. When it was done I turned to Kye and said "I've always wanted to write another song the caliber of 'Jesse' - thank you for helping me do it".
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245. STARS (STARS): Original handwritten third draft on torn-out page of ruled spiral notebook paper, with the entire song, unused verses, many corrections and additions. A wonderful look at what Janis was thinking at the age of twenty, when she wrote "the song that finally convinced people I was a real writer"; 1971-1972. With out-of-print Stars songbook. When I had a serious breakdown at the age of 17, one of the big contributing factors was a feeling on the part of the music industry that I'd been a "one-hit wonder" who would never write anything of significance again. There was even a rumor that my parents had written "Society's Child!" After I recovered somewhat (and spent two years working on therapy with Gerry Weiss, who quite literally saved my life), I decided that even I didn't know if I was a real writer. I set myself a task - write a song a day for two weeks, then a song every other day for two weeks, then two a week for a month. The songs were dreadful; just amazingly awful... but at the end of two months, I was listening to Don Mclean's "Vincent" over and over through the evening. Around 11 pm I sat down with a guitar and began writing; "Stars" is what came out. I wrote the entire thing in a couple of hours, adding an introductory verse the next morning. Right after that I rewrote the introduction and copied the whole "new version" out in longhand. And I remember thinking "Yes, I am a writer".
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246. STREETLIFE SERENADERS (JANIS IAN II): Two annotated 9-page charts including Janis' key copy, and 2 other session charts, each very long, along with a Xerox of the session lyrics with chords and page two of original notes, both annotated; 1977. With Janis Ian II CD. This was a good lesson for me - never write an immensely complicated song, based around an even more complicated piano part, chart it out, then expect everyone to be able to play it without rehearsals!

247. SUGAR MOUNTAIN (RESTLESS EYES & ABC-TV MOVIE-OF-THE-WEEK "FREEDOM"): Original 2 page handwritten lead sheet along with typed lyric; 1978. With vinyl record of Restless Eyes. My assignment for this part of the film was to write an old-fashioned children's folk song; Mare Winningham sung this in the movie, and I created the lead sheet for her to learn the chords & melody.

248. TAKE ME WALKING IN THE RAIN (REVENGE): Original second draft in blue and black ink, marked "2nd 9/94" on top left, lots of cross-outs, work on chorus and second verse, marked "Janis & Jenny" bottom right; 1994. With Revenge CD. I'd written this chorus in Provincetown the summer before, thinking about the small towns I'd grown up in and how much I wanted out of them... and then gotten completely stuck; Jenny Yates came over to write, and I showed it to her - she grabbed hold of it, shook it up and down, and we wound up with one of my favorite songs.

249. TAKE NO PRISONERS (REVENGE): Original first draft on both sides of a 12"x9" white envelope sent from Port Ewen, with annotated guitar part, sketches of lyrics, loads of notation and notes; 1994. With Revenge CD. An extremely colorful offering, frameable in glass on both sides so it can be reversed. We already have a bid on this of $500.00. Sooner or later every writer makes a statement concerning how they feel about being a writer; the ups and downs, the difficulty of writing "for the market" and still remaining true to one's soul. This song is my statement, and as far as I'm concerned, it (along with Some People's Lives) is the best of the bunch; even the stamps on the envelope are colorful & interesting.
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250. TAKE NO PRISONERS (REVENGE): Original second draft on sheet of yellow legal paper, the first time the song was "put together" in any kind of structured format. First verse and chorus are close to the final version, while second verse is in progress and third verse was jettisoned for another tactic. Marked "Take No Prisoners Dec 1994" on the side, with many unused lines and ideas; 1994. With Revenge CD. A nice piece. When I scribble concepts and single lines out for a first draft, as I did in this song, the second draft is what starts pulling it together from a bunch of ideas into an actual song. I'd forgotten the idea for this third verse - I already had "the writer", then "God", and was trying to figure out how to top God in this draft. I tried "the hero" but eventually wound up writing "the lover", which seemed more final.

251. TENDERNESS (REVENGE): Original first draft in three different inks on sheet of ruled yellow legal paper, marked "w/Buddy M June '94" in upper left by Janis, with notation, rhyme schemes, sketch of chorus and unused verse; 1994. With Revenge CD. Talk about favorite songs, Buddy Mondlock and I fell in love with this idea over lunch one day while he was saying "All I really want right now is a little tenderness from someone!" We had a great time writing it, but I always felt the recording fell somewhat flat - I envisioned much more a Motown treatment of the song. Still, a sweet sweet song, just like Buddy.

252. THANKYOUS (STARS): Original handwritten second draft on sheet of ruled notebook paper, with unused third verse and chorus sections, first verse, unused second verse; 1972. With vinyl record of Stars. We already have a bid on this of $500.00. My mom and I went through some hard times, months when we did nothing but rage at one another, and months when we barely spoke for fear of saying something that would precipitate a final break. Around 1971 I finally figured out that she'd really done her best by me, that she adored me, and that I missed her terribly. I finished this song while I was living in her apartment, shamefacedly taking grocery money from her because I was hoping to write my next album and get a recording deal. I walked into her bedroom while she was standing on the bed hanging a picture, said "Mom, I wrote a new song", and began singing it. She stood facing the wall until I'd finished, then turned to me with tears rolling down her face. It was the first time I realized how much a song could heal; we began to be close, close friends after that.
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253. THROUGH THE YEARS (BREAKING SILENCE): Original handwritten first draft, with two long pieces of notation for vocal and for guitar, corrections, sketches, on yellow legal paper; 1991. An interesting look at a song's development; in the initial lyric sketch, Ian writes "This will be the last time you leave me". However, by the time she begins penning the "real" lyric, the song has become a statement of enduring love. People keep using this song for their weddings, which always amazes me (to think I would write something that normal!). I wrote it on a still dark night, when the house was asleep, sitting on a couch with a guitar thinking that it's a miracle to love and be loved.
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254. UNCLE WONDERFUL (UNCLE WONDERFUL): Original first draft of second verse and bridge, hand-written in red ink on yellow legal paper; 1983. With Uncle Wonderful CD. I made the Uncle Wonderful album in 1983, with my own money (which I still had then), and couldn't find a buyer. The songs were "too controversial", "too strong" for the cocaine-me-me-me '80's, they told me. The arrangements were "too upbeat" and "too harsh" for a Janis Ian record. It was finally released in Australia, to critical acclaim but low sales. This song, about incest, may be part of the reason.
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255. UNDER THE COVERS (RESTLESS EYES): Original handwritten second draft on short-form yellow legal paper, with first and second verse, chorus, third verse, lots of corrections and cross-outs. A good piece with "Spanish Gypsy Latin" written top left (Janis apparently undecided on which to use); 1980. With vinyl record of Restless Eyes. This song was on the last album I did before asking CBS to release me; it came out in 1981, and even then the single had to be "bleeped" because radio stations were worried I'd offend someone with it. I got really tired of that sort of stuff....
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256. UP THE MARKS & NINE-TO-FIVERS (ABC-TV MOVIE-OF-THE-WEEK "FREEDOM"):Original handwritten first draft in red ink on yellow legal pad paper, with loads of cross-outs and doodles, changes, corrections, added lines; 1979. The story "Freedom" was about a young girl who runs away with a carnival; Mare Winningham (star of the movie) and I had a wonderful night at the wrap party, which was held at the carnival site for just cast and crew. A "mark" is anyone at the carnival who's not carnival people; someone who spends their money on rigged games. The song needed to show Mare's character's contempt for the workaday world.
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257. WATERCOLORS (BETWEEN THE LINES): Original handwritten first draft on two seperate pages (the first on both sides), with first verse and bridge, second verse and bridge, lots of cross-outs and corrections covering all three pages completely, on yellow legal paper in brown, blue, and black ink; 1973. With CD of Between the Lines. A great look at "the writer's process", these sheets are full of annotations, comments, dead ends and failures, and well reflect the excitement a writer feels when attacking a new subject. A lovely piece; we already have a minimum bid on this of $250.00. Oh, I know it doesn't sound humble, but what a wonderful song this is. I trace my development as a writer through what seems to me a very logical pattern - "Stars" led to "Jesse" led to "Photographs" led to "Some People's Lives" led to "When Angels Cry" etc. Usually you can find the germination of a style in your early work, but "Watercolors" hit me out of the blue; I'd never written anything like it, nor have I since. At the time I remember thinking "this is the best song I've ever written".
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258. WATERCOLORS (BETWEEN THE LINES): Original typed annotated 2 page session lyric with handwritten notes, along with original handwritten 3 page onion-skin chart and 2 pages of handwritten orchestral notes; 1974. With CD of Between the Lines. I arranged this originally for a coloratura cello part at the end, my first experiment in "freestyle" writing for an instrument. It's still one of my favorite pieces.

259. WATERCOLORS (BETWEEN THE LINES): Janis' two annotated session charts as well as 15 other orchestral charts including Janis' two annotated key copies, Richard Davis' annotated chart, and three handwritten score parts (including George Ricci cello solo at the end); 1974. With CD of Between the Lines. I adore cello. I love cello. I would love to play cello, but have had to settle for writing cello parts others can play. This was my first effort.

260. WELCOME TO ACOUSTICVILLE (HUNGER): Original second draft, typed, with handwritten corrections, notes, & notation, 11"x8.5". Quite a few changes between this and the final recorded version; 1996. One of the most popular songs on Hunger, this draft was interesting to me (who'd forgotten a lot of it!) I began writing with the intention of a simple blues song based around a repetitive guitar part, and before I knew it I had myself stranded in the desert in a broken-down car, with a motel full of dead blues singers playing Martin D-18 guitars and inviting me to join them.
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261. WHAT DO YOU THINK OF THE DEAD? (THE SECRET LIFE OF J. EDDY FINK): Original handwritten final draft on torn-out piece of schoolbook paper (small spiral notebook) marked " 1/68 "; 1968. With vinyl copy of The Secret Life of J. Eddy Fink. This is a very '60's song to me, lots of cryptic references and a big attempt at looking "cool". Obviously I was still in school when I wrote this out, still getting into trouble for inattentiveness in class.
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262. WHEN ANGELS CRY (REVENGE): Original first sketch on small piece of music paper with notes for another song on the back, 3 3/4"x6 3/4"; 1992. With signed copy of Mary Fisher's "Angels In Our Midst", inscribed "To Janis, With my love and gratitude for being an 'angel in our midst' Love, Mary Fisher April '98", and Revenge CD. When I first started trying to write this song, it was called "Wait Until the Morning" and had a completely different chorus. The finished song was featured on General Hospital as the TV show tried to deal with AIDs in a principal character; they even had me come on & sing it after the character died.

263. WHEN ANGELS CRY (REVENGE): Original second draft on yellow legal paper, with first and second verse changes and corrections, rhyme lists ("warning warming forming") and some notation; 1993. With signed copy of Mary Fisher's "Sleep With the Angels", inscribed "To Janis, Thank you for walking this road with so many angels. Love, Mary Fisher April '98", and Revenge CD. A lovely set. I have found over and over again that songs go where they want to go; there's very little you can do about it other than hanging on for dear life and hoping the horse doesn't throw you. That doesn't mean I write blind, but it does mean the writing leads me, rather than me leading it. I hoped the album this song was on would be a huge commercial success, so people could hear the song. Instead, it was featured on General Hospital. So many more people heard it that way, I've felt good about it ever since.
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264. WHEN ANGELS CRY (REVENGE): Original signed and dated final draft on legal-size ruled paper torn from a spiral notebook, small corrections and changes including new title (original was "Wait Until the Morning"), some notation; 1993. With signed copy of Mary Fisher's "My Name Is Mary" inscribed "To Janis, Together we will make a difference - With my gratitude and love for being a special 'angel'. Love, Mary Fisher April '98" and Revenge CD. Again, a lovely set. Mary Fisher is "that lady with AIDS who addressed the Republican Convention in 1992 and made them sit up and take notice." She's a good friend of ours, and gave me these books after hearing "When Angels Cry" for the first time.

265. WHEN THE PARTY'S OVER (BETWEEN THE LINES): Original handwritten 4 page lead sheet and Janis' annotated studio chart along with four other studio charts; 1973. With Between the Lines CD. As I look over these songs I keep thinking - we never knew which ones would be popular and which ones wouldn't stand the test of time. Who'd have thought this song, which opened the Between The Lines album, would be one of my most-recorded and requested, 26 years later?

266. WHY CAN'T YOU & I? (UNCLE WONDERFUL): Original handwritten second draft with first two verses, chords, rhyme lists ("truth, youth, tooth, fruit"), in-process bridge and third verse with lots of cross-outs, in green ink on yellow legal pad paper; 1982. With CD of Uncle Wonderful. This is one of my favorite songs, one I keep meaning to "pitch" to other artists and never quite get around to doing. A big ballad, with an elevated lyric, recorded with masses of strings and probably not the sort of thing my fans really want from me... hey, you gotta do what you gotta do!
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267. WILL YOU DANCE? (MIRACLE ROW): Janis' own two heavily annotated session charts and four other session charts; 1976. With vinyl album of Miracle Row. Another enormous hit in Japan, this was #1 for several months in the late '70's and is about to be reissued as a duet with Japanese recording artist Misao Asaoka. The only tango I've ever written, it's been used in Japan for everything from car and bank commercials to Nescafe coffee. Strange, huh?

268. WITHOUT YOU (STARS): Janis' 3 heavily annotated session charts, along with 9 other charts annotated by Janis, with notations and notes about harmonies; 1974. With vinyl record of Stars. One of the prettiest songs on that album, it's been recorded by a lot of other people. A great chance for me to do harmonies, stacked one on top of the other.

269. WITHOUT YOU (STARS): Original typed lyric by Janis approving liner notes, annotated in red and signed "OK by Janis JI"; 1974. With out-of-print Stars songbook. The liner on Stars was very important to me, since it was my first "grownup" album; I'm afraid I put everyone at CBS through hell changing and re-arranging the notes!

270. YOU'VE GOT ME ON A STRING (STARS): Original handwritten 4 page lead sheet, inexpertly taped together by Janis; 1974. With out-of-print Stars songbook. This was the first lead sheet I did for the Stars album, confusing for a novice arranger because the song switches from 4/4 to 12/8 and back again. I didn't know they made special tape to piece together music paper, so I just grabbed a roll of regular Scotch tape and went at it.

271. YOU'VE GOT ME ON A STRING (STARS): Janis' original handwritten charts, heavily annotated by her, including Brooks Arthur's (producer), Ron Frangipane's (arranger), Richard Davis' (bass), flute, and violin, plus two more charts. With out-of-print Stars songbook. When we finished recording this piece it just didn't seem to have the power I wanted at the end. Brooks and I talked for days about it, finally deciding to hire a guitarist to take a solo over the vocal. Unfortunately, the guitarist we wanted wasn't available. With the hubris of youth I said "let me have a crack at it". Brooks agreed, and I had the time of my life playing fuzz guitar over my own vocal.


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