JANIS IAN ~ The Light at the End of the Line
![[Image: 81nWRSZdweL._SX425_.jpg]](https://m.media-amazon.com/images/I/81nWRSZdweL._SX425_.jpg)
“I’ve never said it before about an album, but I think this is my best album. It says everything I wanted to say, the way I’m pleased to say it, and having been lucky enough to be born with a lot of talent, it’s the first time in my life I feel like I really live up to the talent I was born with. That’s the monkey on the back of any artist – are you living up to the talent you were given?” - Janis Ian, taken from a Consequence of Sound live interview
If I had to sum up this album in one word, it would be ‘respect’.
She deals with a few provocative topics, displaced individuals/migrants, gender and race marginalisation, the quite unrealistic expectations society places on us, great loves, and equally great losses.
After a 15 year gap and at 70 years of age, she has declared that this is her final solo studio album and there is nowhere to hide – for her, or for the listener. She pulls absolutely no punches – none whatsoever, but she does it with aplomb – she’s had decades of practice after all. I was interested to learn that several of these tracks were recorded on the first take.
Despite speaking her mind with no holds barred, the songs and subject matter are approached quite gently and wisely (with one notable exception, and there is justification for that). This is a woman at the peak of her power and hard-won wisdom and there is no mistaking her intent.
The migrant song “Stranger” was thought provoking without being needling, almost more impactful for its smallness – there but for the randomness of birthplace, war, famine, pestilence and all sorts of other human rights affronts, perpetuated by any number of circumstances outside of anyone’s control, go I. At some point, we simply have to listen to the astronauts, who when seeing our precious blue planet from the dark loneliness of outer space, understand that borders are a ridiculous construct. I don’t know what the answer is, just sayin’.
Sometimes messages are more effective when thoughtfully and calmly relayed rather than yelled - “Resist” (the notable exception) is not one of those! The title says it all – it’s a call to action; what she is asking everyone to resist is not imagined, nor should it be dismissed – she puts under the spotlight those universal conditions that at least half the human race has to deal with their whole lives, to one extent or another, by virtue of gender. She is voicing the realities faced by women the world over, which while they may not sit comfortably with some people, are facts. That is about the most vociferous she gets and it's not anti-men - it's a plea to all human beings - women can be awful to one another as well, I am aware.
On the other hand, the first track asks us not to resist but to accept the march of time, especially – that it’s normal (unlike what our oh so plastic society dictates) and ok to develop lines, gray hair and the other physical marks that signal that we’re getting on a bit. That it’s what is underneath the skin that counts. All of which made think of Amor fati ... from Wiki – “Amor fati is a Latin phrase that may be translated as "love of fate" or "love of one's fate". It is used to describe an attitude in which one sees everything that happens in one's life, including suffering and loss, as good or, at the very least, necessary." Not too sure about this concept myself – being somewhat inclined to thinking the course of events can, and often should, be altered! Guess I’m not Buddhist material much, but anyway … mixing up my existential angst, and I digress …
The arrangements are most often stark and spare - Ms Ian and her acoustic guitar, perhaps another instrument or two. That said, there is more elaborate instrumentation on a couple of the tracks which get a little jazzier – some nice harmony vocals too – not sure of the personnel as yet but she enjoys collaborating with other artists and isn't shutting the door on that - only on her solo career.
As swansongs and testaments go – well done to her, say I. This is very much a lyric driven affair, executed with spontaneous yet unhurried care, courage, expertise, and a large helping of grace. Interesting to hear, and as I said at the beginning, deserving of respect.
This is her ode to Nina Simone, with whom she had a friendship, and who by all accounts was a rather troubled soul …
“I’ve never said it before about an album, but I think this is my best album. It says everything I wanted to say, the way I’m pleased to say it, and having been lucky enough to be born with a lot of talent, it’s the first time in my life I feel like I really live up to the talent I was born with. That’s the monkey on the back of any artist – are you living up to the talent you were given?” - Janis Ian, taken from a Consequence of Sound live interview
If I had to sum up this album in one word, it would be ‘respect’.
She deals with a few provocative topics, displaced individuals/migrants, gender and race marginalisation, the quite unrealistic expectations society places on us, great loves, and equally great losses.
After a 15 year gap and at 70 years of age, she has declared that this is her final solo studio album and there is nowhere to hide – for her, or for the listener. She pulls absolutely no punches – none whatsoever, but she does it with aplomb – she’s had decades of practice after all. I was interested to learn that several of these tracks were recorded on the first take.
Despite speaking her mind with no holds barred, the songs and subject matter are approached quite gently and wisely (with one notable exception, and there is justification for that). This is a woman at the peak of her power and hard-won wisdom and there is no mistaking her intent.
The migrant song “Stranger” was thought provoking without being needling, almost more impactful for its smallness – there but for the randomness of birthplace, war, famine, pestilence and all sorts of other human rights affronts, perpetuated by any number of circumstances outside of anyone’s control, go I. At some point, we simply have to listen to the astronauts, who when seeing our precious blue planet from the dark loneliness of outer space, understand that borders are a ridiculous construct. I don’t know what the answer is, just sayin’.
Sometimes messages are more effective when thoughtfully and calmly relayed rather than yelled - “Resist” (the notable exception) is not one of those! The title says it all – it’s a call to action; what she is asking everyone to resist is not imagined, nor should it be dismissed – she puts under the spotlight those universal conditions that at least half the human race has to deal with their whole lives, to one extent or another, by virtue of gender. She is voicing the realities faced by women the world over, which while they may not sit comfortably with some people, are facts. That is about the most vociferous she gets and it's not anti-men - it's a plea to all human beings - women can be awful to one another as well, I am aware.
On the other hand, the first track asks us not to resist but to accept the march of time, especially – that it’s normal (unlike what our oh so plastic society dictates) and ok to develop lines, gray hair and the other physical marks that signal that we’re getting on a bit. That it’s what is underneath the skin that counts. All of which made think of Amor fati ... from Wiki – “Amor fati is a Latin phrase that may be translated as "love of fate" or "love of one's fate". It is used to describe an attitude in which one sees everything that happens in one's life, including suffering and loss, as good or, at the very least, necessary." Not too sure about this concept myself – being somewhat inclined to thinking the course of events can, and often should, be altered! Guess I’m not Buddhist material much, but anyway … mixing up my existential angst, and I digress …
The arrangements are most often stark and spare - Ms Ian and her acoustic guitar, perhaps another instrument or two. That said, there is more elaborate instrumentation on a couple of the tracks which get a little jazzier – some nice harmony vocals too – not sure of the personnel as yet but she enjoys collaborating with other artists and isn't shutting the door on that - only on her solo career.
As swansongs and testaments go – well done to her, say I. This is very much a lyric driven affair, executed with spontaneous yet unhurried care, courage, expertise, and a large helping of grace. Interesting to hear, and as I said at the beginning, deserving of respect.
This is her ode to Nina Simone, with whom she had a friendship, and who by all accounts was a rather troubled soul …
"The surest sign that intelligent life exists elsewhere in the universe is that it has never tried to contact us." ~ Bill Watterson
