All tapes are analog Outtakes (OT - not used for the master product); Outtake Masters (OTM); Incomplete (INC) - perhaps an introduction, verse, chorus, perhaps more or less; Safety Copies (safety - a direct copy of the finished product or multi-track); TV (television track, no vocal); marked PTM (Pulled To Master, meaning that section of tape has been removed to a master reel); or marked DNU (Do Not Use). Tape boxes were labelled by Janis & the engineer at the time of the original sessions; descriptions are as per box labels. Time signatures are given when available. Warning: 2" reels are very heavy! Vintage Ampex 456 tape from this era needs to be baked or hand-cleaned before it is playable. Tapes were stored in proper facilities such as Sony's Iron Mountain, and appear to be intact & playable; however, no definite warranty can be given as to their playability.

My partner Pat suggested putting these in the auction; when I asked why anyone would want a tape of incompletes, outtakes, and tracks that had been removed, she said "It's a great souvenir, to have the marked-up tape box with your notes and the actual reel you used. I would bid and use one for a doorstop, or a serving tray." A prophet in his own land...


272. BREEZE ON THROUGH: Written on spec for the film Twins 10/02/88, 1/4" 15 ips w/tones, Dave Pomeroy bass, Kenny Malone perc, piano & scat vocals by Janis. An odd jazzy piece. Kye Fleming and I got a call from her publisher at Almo Irving saying there was a new film being made featuring one huge guy and one short guy, and they needed "walking around music". Kye was gone for the day on another project, so I spent it scatting this to myself, then went into the studio with a couple of great players and laid it down.

273. SHADOW IN THE CITY: Outtake for publishing company, with band, 7 1/2 ips Dolby 10/11/75, reel to reel copy. I thought for sure this cut would go on my next album that year, but somehow me and Richard Davis were the only people who liked it....


274. MIRACLE ROW (2:14) & TAKE TO THE SKY (4:30): Single mixes 15 ips 1/19/77 with tones, Sterling Sound; "Miracle" is misspelled "Miricle". With vinyl album of Miracle Row. We tried to capture the flavor of my mom's barrio apartment with "Miracle Row"; "Take To the Sky" was a song about how I felt after 6 years of non-stop touring.

275. CANDLELIGHT (4:00) & I WANT TO MAKE YOU LOVE ME (3:20): Single mixes 15 ips 3/24/77 with tones, Dolby; with CD of Miracle Row. We always tried to do single mixes because radio's requirements are completely different than album requirements. The singles were usually brighter, more "pop-py", and sometimes a little shorter.


276. RESTLESS EYES & I REMEMBER YESTERDAY: Single mixes 1/4" undated, from The Mastering Lab LA, 15 ips Dolby eq, tones @ head, marked DNU. These singles were released first because the record company was concerned about a backlash on "Under the Covers".

277. UNDER THE COVERS & SUGAR MOUNTAIN: Single mixes 1/4" undated, from The Mastering Lab LA, 15 ips Dolby eq, tones @ head; with vinyl album of Restless Eyes. This original mix of "Under the Covers" ended up being rejected because of possible "offensive content"; the second mix bleeped those words for radio.

278. UNDER THE COVERS: Second single mix 1/4" 6/10/81 from The Record Plant, NY, 15 ips no Dolby, tones @ head; beeped for radio; with Restless Eyes CD. It's strange to think how many people are ready to get offended by something they hear on the radio. After all, you can always turn it off.

279. BIGGER THAN REAL & GET READY TO ROLL: 1/4" 2 track mixes reel 3, 3/15/81, tones on reel 1; safety, OT, TV, chorus edit. With vinyl album of Restless Eyes. I loved cutting "Get Ready to Roll" because it meant I could play the electric guitar - badly, but on record!

280. I BELIEVE I'M MYSELF AGAIN & DEAR BILLY: 1/4" 2 track master reel 7, 3/18/81, tones on master reel; safety master, OT, PTM, PTM; with Restless Eyes CD. I spoke with Janice Siegel of the Manhattan Transfer about my desire to do an old-fashioned group vocal on "I Believe I'm Myself Again"; she was supposed to come and do it with me but had a last-minute obligation, so I ended up doing all the vocal parts myself. Had a blast trying to sing in her range.

281. DOWN AND AWAY & PASSION PLAY: 1/4" 2 track remixes reel 9 3/31/81; PTM, INC, safety, OTM; with vinyl album of Restless Eyes. Neither of these songs made much sense to anyone but me and Abe Laboreal, the bass player (what is it with me and bass players?), but we put them on the album as "artist's songs" - songs the artist wanted on at any cost. They turned out to be the two songs everyone requested at shows. Ha ha ha.

282. DOWN AND AWAY & SUGAR MOUNTAIN: 1/4" 2 track safety masters; with Restless Eyes CD. We used to spend a fortune running safety masters of everything, then storing them in a different warehouse just in case. With the advent of modern technology it's no longer necessary to spend that much, thank goodness.

283. MASTER OUTTAKES SIDES A & B: Side A 1/2" 2 track 3/23/81 reel 1; I Remember Yesterday PTM, Under the Covers old mix, Restless Eyes PTM, I Believe I'm Myself Again PTM, Get Ready to Roll. Side B 1/2" 2 track 3/23/81; Dear Billy PTM, Down & Away old mix, Under the Covers old mix, Restless Eyes PTM, I Believe... PTM, Get Ready To Roll PTM. Sold as a lot. With Restless Eyes CD. About half of these have been pulled to the master reels, but the rest are interesting versions of those songs.


284. THAT GRAND ILLUSION & THE BRIDGE (from the film "BETRAYAL"): Movie masters for the film Betrayal; 7" reel 1/4" 15 ips Dolby, tones @ head; with Janis Ian II CD. "Betrayal" was a wonderful film; dark, moody, scary, just the sort of thing I'd been searching for. My comments on "The Bridge" are in the Sessions & Songs area!

285. 8 TRACK CARTRIDGE MASTERS SIDES A & B: Side A 1/4" 15 ips 7/24/78, reel 2; My Mama's House, Hotels & One Night Stands, I Need to Live Alone Again, The Bridge, Silly Habits, Hopper Painting. Side B 1/4" 15 ips 7/24/78, reel 1; That Grand Illusion, Some People, Streetlife Serenaders, Tonight Will Last Forever, Do You Wanna Dance, The Bridge; sold as a lot. With vinyl album of Janis Ian II. I had to fight with Pat over entering these; she considers it her civic duty to maintain a collection of 8-track tape cartridges "just in case it ever comes back". Hmm...


286. HERE COMES THE NIGHT & TONIGHT WILL LAST FOREVER: Single mixes 1/4" copy 4/26/79 Dolby A Sterling Sound NY Ampex 456. With Night Rains CD. For more notes on this, see the Sessions & Songs area.

287. FLY TOO HIGH & NIGHT RAINS: Original single mixes 1/4" 9/05/79 Dolby A Sterling Sound NY Ampex 456, along with Have Mercy Love/Memories/Fly Too High (edited to 5:07) single mixes 1/4" copies 11/30/79 Dolby A Ampex 456; with large 12" single of Fly Too High. Sold as a lot. You never know what will be a hit, and where. "Fly Too High" came out worldwide at the end of 1979 and was an instant top ten everywhere but home. CBS felt it was "too different" from what I'd done before, and I'm afraid they didn't put much heart into it. Or maybe they were right, who knows. At any rate it did very well in the dance market (top 5) and nothing anywhere else, even though it hit #1 throughout Europe, Africa, and Australia.

288. NIGHT RAINS & LAY LOW 1/2" TWO-TRACK MIXES: Night Rains 8/10/79 reel 1 Ampex 456 Automated Sopund; mixes 18-19 along with Night Rains/Lay Low 1/2" 2 track mixes 8/10/79 reel 3 Ampex 456 Automated Sound Dolby; Night Rains mix 39-42 (42 PTM; TV) Lay Low mix 1-8; with Night Rains CD. Sold as a lot. I think Night Rains is my favorite album, because I have such good memories of making it musically. We did a lot that was cutting edge for that time, both musically and electronically; Leanne Unger, one of my favorite engineers, saw the project through.

289. LAY LOW 1/2" TWO-TRACK MIXES: 8/11/79 reel 4 Ampex 456 Automated Sound Dolby; mixes 9-21 along with Lay Low 1/2" 2 track mixes 8/11/79 reel 5 Ampex 456 Automated Sound Dolby; mixes 22-41; with Night Rains CD. Sold as a lot. We had a particularly wonderful engineer with us for this album named Leanne Unger; she put up with Ron Frangipane and me arguing, the musicians chiming in, moving from studio to studio in search of better sound. Totally focused and a joy to work with.

290. LAY LOW & HAVE MERCY LOVE 1/2" TWO-TRACK MIXES: 8/11/79 reel 6 Ampex 456 Automated Sound Dolby; mixes 42-63 and Have Mercy Love 1/2" 2 track mixes 8/07/79 reel 1, mixes 1-14; Ampex 456 Automated Sound, Dolby; with Night Rains CD. Sold as a lot. It's odd to see that a 1971 publishing acetate of "Have Mercy Love" can sit side by side with the 1979 recording. Some things take a while.

291. HAVE MERCY LOVE 2" 24 TRACK TAPE: 7/12/79 reel 1 Ampex 456 Dolby A, tones PTM; takes 1-4 OT, take 5 PTM; with vinyl album of Night Rains. I loved doing the vocals on this song, the three and four part harmonies interweaving with one another.

292. MEMORIES 2" 24 TRACK TAPE: 6/15/79 reel 10 Ampex 456 Dolby A; takes 4-8 OT; take 8 PTM. With Night Rains CD. My favorite "record" on the album (I differentiate between great "records" and great "songs"). Synthesizers were very new then, and I'd scored the whole thing in my head for electronic instruments, hoping we could go far enough to give the score visibility. The piano part was a bear to play.

293. LAY LOW 2" 24 TRACK TAPE: 7/13/79 reel 4 Ampex 456 Dolby A; takes 13-19 OT; take 20 PTM; with Night Rains CD. Fun to work with a southern/midwestern band who understand exactly what you mean when you say "Play it fast but lazy".

294. LAY LOW 2" 24 TRACK TAPE: 7/12/79 reel 3 Ampex 456 Dolby A; takes 4-12 OT, intercuts & good intro; with Night Rains CD. I sort of regretted going to 24-track (instead of 16 or 8) because it seemed to me you had to fit twice as much information on the same 2" of tape. It's still not my preferred mode of recording.

295. PHOTOGRAPHS 2" 24 TRACK TAPE: 6/21/79 reel 22 Ampex 456 Dolby A; takes 19-26 OT; take 22 PTM; with Night Rains CD. I got a call from a friend saying there was a Hume Cronyn/Jessica Tandy film called "Cocoon" in production, and they needed an end title. Oh God, I wanted that project. I adored Tandy. When we cut it for my own record I'd always worked with Richard Davis on upright bass, but Richard was unavailable for this time period, so I asked Ron Carter if he'd come in. The song ended up featuring his gorgeous, slinky bass part.

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