You Show That Side Again but You Blamed It on Me Instead Nuala
THE Basics
Later the release of Folk is the New Black in 2006, Janis decided not to brand another record until she felt she had "an album's worth of impeccable songs". Although she released several individual "for the fans" items, and continued touring, she also set upwardly a whiteboard with a constantly rotating list of songs in process, songs she thought would make the cut, and thoughts most subjects she wanted to cover. 1 thing that became apparent over the years was her strong relationship with her fans, and the sense that she and they had come full circle – from "Society's Child" through "Stars" to "The Light at the Stop of the Line".
Once Covid-19 caused everyone to postpone their alive appearances, she became very busy with the Better Times Project, an effort to help other artists who could no longer back up scheduled new releases past appearing onstage or at conventions, or doing book signings, and all the other things that had been the norm to promote new works. For 5 months she and a volunteer put upward a new version by a new artist five days a week, resulting in the current 187 versions (with thirteen still waiting to be posted.)
During that fourth dimension, she continued to write.
Inside STORY
From Janis: I've e'er considered myself a writer get-go. I think the hardest affair for any artist, as we age, is to keep our edge, to avert the easy way out. After more than than 55 years every bit a professional author, it's not hard to use my experience to encompass up a bad line, or an awkward melody. I actually did not want to do that! I also realized that I'd never managed to make an entire album that felt like it lived upwards to the talent I was lucky enough to be born with. And, that my fourth dimension was finite – I understood that in a completely different mode as I turned lxx.
I was floating along through lockdown, tracking new songs on my whiteboard, when I looked at the list one mean solar day and thought "Omigosh, I'one thousand only lacking the farewell song, and I take an album!" I knew I wanted it to be sparse, but I wanted a fuller picture for "Resist" and "Amend Times Will Come." I'd worked with Randy Leago for years and years, I knew he'd understand my goals on "Resist" in a way few others could, so we began working long altitude . We'd check in every 3-4 weeks to make changes, add together or subtract, walking the thin line betwixt what the song itself demanded, and what my voice could sustain. We talked almost "existence in service to the song" and tried to stay true to that ethic.
Once we'd finished, I also asked him to add things like the wonderful obligato clarinet run on "Summertime In New York", and the moving harmonica on "Stranger."
I'd worked with Viktor Krauss on several projects and watched his growth as a producer, and since I was living on an island while he was nonetheless in Nashville, it was logical to enquire him to work on "Amend Times". Nosotros went through our mutual Rolodexes to pick the players, and looked on the slice as an arc – of the past two years with Covid, of my life as an artist, of the world in general. That may sound pretentious, but reflection is office of an creative person's chore, and ending the album with that cut but brings information technology full circle, for me.
I'd started "Swannnoa" during my first week instruction at the Swannanoa Gathering, and a year later on Beth Magill heard information technology and suggested I ask Nuala Kennedy to play whistle on information technology at a live show we were doing. Nuala in turn said John Whalen would be the perfect arranger, and then he was! The best compliment I've gotten about that song is when someone said "I've never heard that traditional ballad earlier – where's it from?"
My artist friends really turned out for me on this one, and I'm very proud that every unmarried person I asked to join responded with an immediate "Yes". I've never said this before, and I never volition say it over again, but this is the best album I've ever made. Let it rest there.
CREDITS
Produced past Janis Ian
* "Resist" produced by Randy Leago & Janis Ian.
* "Better Times Volition Come" produced by Viktor Krauss & Janis Ian.
All songs past Janis Ian; © Desperation Publishing (BMI)
Anthology ℗ 2021 Rude Girl Records, Inc.
one. I'thousand Nonetheless Continuing
Janis Ian: vocal, guitars
Randy Leago: cymbals, pianoforte
Viktor Krauss: upright bass
Engineers: Jon Perry (vocal, guitars), Randy Leago (percussion, pianoforte, final mix), Viktor Krauss (upright bass).
two. Resist
Produced by Randy Leago & Janis Ian
Janis Ian: acoustic guitars, main song
Randy Leago: everything else
Engineers: Jon Perry (Ian guitars & vocal); Randy Leago (everything else, editing, preliminary mix), Jared Anderson (editing, final mix)
three. Stranger
Janis Ian: vocal, nylon guitar
Randy Leago: harmonica
Engineers: Jon Perry (guitar, vocal); Randy Leago (harmonica, last mix)
four. Swannanoa
Arranged by John Whelan
Janis Ian: atomic number 82 vocal, audio-visual guitars
Nuala Kennedy: Irish gaelic whistle, harmonies
John Whelan: push accordion
Engineers: Jon Perry (Ian guitars, song), Nuala Kennedy (whistle, harmonies), John Whelan (squeeze box) ; Jared Anderson (final mix)
5. Wherever Expert Dreams Get
Janis Ian: vocal, acoustic guitar
Recorded alive in Baltimore, Doc
Engineer: Philip Clark
6. Perfect Little Girl
Janis Ian: vocal, pianoforte
Engineer: Brandon Bong
vii. Nina
Janis Ian: piano, vocal
Engineer: Gordon Hammond
8. Dancing With the Nighttime
Janis Ian: vocal, audio-visual guitar
Recorded direct to DAT at Granny White Studios
nine. Nighttime Side of the Sun
Janis Ian: song, guitar
Engineer: Gordon Hammond
10. Summer In New York
Janis Ian: vocal, pianoforte
Randy Leago: clarinet
Engineers: Brandon Bell (pianoforte, vocal), Randy Leago (clarinet, final mix)
11. The Light at the Stop of the Line
Janis Ian: vocals, audio-visual guitar
Engineers: Trevor Bystrom (Janis Ian); Jared Anderson (mix)
12. Better Times Will Come
Produced by Viktor Krauss & Janis Ian
Editing, mixing: Jared Anderson
Andrea Zonn: Violin, BG vocals
Diane Schuur: Scat solo, BG vocals
Janis Ian: Lead vocals, rhythm guitars
Jeff Coffin: Soprano Saxophone
Jim Brock: Percussion
Jim Hoke: Clarinet, baritone saxophone
Jim Oblon: Electric guitars
John Cowan: Lead vocals, BG vocals
Maeve Gilchrist: Celtic lever harp
Roy Agee: Trombone, banjo
Sam Bush: Mandolin
Steven May/BreviT: Percussion, synthesizer
Viktor Krauss: Upright bass, resonator guitar, synthesizer, percussion
Vince Gill: Audio-visual guitar solo
Special thank you to Jeff Evans, Randy Leago, and Tom Rashford, without whom this anthology would non have happened.
Also to Beth Cartwright, Colby Gustafson (mastering assistant), Dave & Deb Pate, D'Addario Strings & Accessories, G7th Capo Visitor, Jeannie & Bill Bystrom, Jill Reitmeyer, Joan Dans, Joan Maute, Jon Perry, Julian Dans, Julie Perry, Leanne Ungar, L R Baggs, Neumann Microphones, and Santa Cruz Guitars. Actress special thanks to Debra Hyslop for all her back up and understanding.
To the fierce women who inspire me, from my mother and grandmothers to Jennie Adams, Stella Adler, Janet D'Addario, Odetta, Merka Oser Fletcher, Nina Simone, and Miriam Theresa Winter. Last only far from least, to my wife Pat, who is dauntless when I am non, and kind when I cannot.
Pattern: Dan Schuman, veer90.com
Mastered by Piper Payne at Infrasonic Mastering, Nashville, TN
Engineers: Jared Anderson for Evergreen Productions, Nashville; Brandon Bell/Southern Ground, Nashville; Jim Brock/Buddha View Studio; Philip Clark/live recording; Jeff Bury/ITA Studios, Nashville; Gordon Hammond/Audio Emporium, Nashville; Janis Ian/Granny White Studio; Viktor Krauss (Roy Agee, Jim Hoke, Sam Bush, John Cowan, Viktor Krauss, Jim Oblon)/Split Window Studio, Nashville; BreviT-Steven May/The Closet, Hinsdale MA; Jon Perry/Lord's day Coast Studio, Bradenton FL; Matt Rausch/Vince Gill/Bushwood Studio, Nashville; Jared Yates (Diane Schuur)/Tempo Heart Studios at Jem Productions, Palm Desert CA; Andrea Zonn/The Cutting Garden, Nashville.
Photo of original Library of Congress Rolodex card for copyright of "Society's Child"
Janis story: "I got my offset paying job as a performer when I was about fourteen. Had to take two buses from New York back to my dwelling house state of New Jersey, play two sets, then accept ii more than buses back domicile. Shows were Friday and Saturday night. I opened for a ring who were terribly excited to exist opening for Sam the Sham and the Pharaohs at Shea Stadium the next calendar month. The gig paid $39.50 a weekend plus costless soda. Past the time I deducted bus fare, I had simply enough money left to buy these green suede boots (which I thought were about the hippest matter in creation) and a hardcover book (A Wrinkle In Time).
Song BY SONG
THE Anthology Equally A WHOLE
This is a bloodshot moment for me… I've toured worldwide constantly since I was fourteen, so the decision to footstep back brings both relief, and sadness. Relief considering I love being at home, with my family unit, having long stretches to write songs and stories and books and things that I merely tin can't practice on the road. Sadness, because I love performing, I'm honored that 55-plus years after I even so have an audience, and I hope in that location's the occasional bit of fun still to be had in that area.
But one of the things these past two years have hammered into me is just how fragile our lives are, how brusk in the span of the universe – and how important it is to do what we love. At this historic period, at this moment, I desire to be with my friends and family, and that's just non possible with a full-time touring career.
I know people don't heed to things in sequence much whatsoever more, simply if you do, this album layout is an arc. "Arc" every bit in "rainbow", "arc" as in a circumvolve, "arc" every bit something that comes back to itself, and starts over again. Like my career, and hopefully, my life as an artist.
ane. I'M STILL STANDING
One of the big lessons "At Seventeen" taught me was that it applied to boys and girls, and to all ages. The get-go time I sang "I'chiliad Still Standing" was for a couple of songwriters in their early on twenty's. I'd been seeing the song as almost myself, older and wiser, saying "I'm nonetheless here! Still visible!" Simply and then I watched both of them, male and female, starting time to tear upwards and say "Omigosh, that'due south my song." It was thrilling, to know the vocal striking a universal. "I'm Still Standing," is available for purchase now at any of your favorite music services.
2. RESIST
The hardest thing for an artist to do as they get older is to go on their edge. Y'all ever run the danger of making something "edgy" simply for the sake of it, instead of creating something organic to yourself. The song "Resist" took most five years to cease, considering I wanted to go it right. I was uncomfortable with describing women as "sticky", couldn't figure out how to use spoken word without sounding fake (even though the folk and jazz traditions I come up from accept e'er used spoken discussion!), and finally, had no idea how to stop information technology. In one case finished, I enlisted Randy Leago'south assistance for the recording, information technology really came together. I love that lyrically it comes full circle, from the repetitious "She is. She is. She is" to "Resist. Resist. Resist."
3. STRANGER
My grandparents were immigrants, lucky enough to go far in America when the naturalization procedure was relatively fast. I've ofttimes said "I am the American Dream" –they came here so their children and grandchildren could have the chances they were denied. Nigh people don't empathize how cleaved our immigration process has become, that it can accept 10 or more years to just get working papers, let solitary go a citizen. So I asked myself two things: How would information technology exist if I all of a sudden had to leave the place I'd lived in all my life and go dorsum to a country I didn't know? And, if 1 of my forebears escaped with faked papers and came here to survive, should I be sent back because of it?
4. SWANNANOA
When I teach at the Swannanoa Gathering outside Asheville, Northward.C., I look out every morning on the Swannanoa River Valley, and the mountains effectually it. Such a rich surface area, musically and historically. It always feels like the land itself speaks to me, telling stories of the people who've lived there. I've frequently wondered what it was like to grow up in that location, mayhap 5th or 6th generation, and then suddenly have to leave considering you were drafted, or thrown out. How homesick yous would be! How you'd long for the sight of those trees, those flowers – you lot'd miss the place as much as the people, perchance even more than.
5. WHEREVER Good DREAMS GO
It'due south rare that a song grows out of a clear, real event, just I wrote this for a friend who'd lost a kid, to say they had every right to grieve. That the retentiveness couldn't, and shouldn't, die. How could you possibly go over something like that? You larn to live with it, only I don't think you ever "get over" it.
half dozen. PERFECT Fiddling GIRL
I went to come across fellow songwriter Cidny Bullens in a one-man testify about his transition from Cindy Bullens, born female, to Cid Bullens, male. One matter he said hit me very difficult – that one twenty-four hour period he'd realized he would always be trapped in a female person body. Forever. Silly as information technology sounds, I remember waking up 1 morning and realizing I was now besides one-time for Peter Pan to knock on my window and teach me to fly. It was a huge loss for me, because somewhere in my centre, I'd believed that ane day, I would exist able to wing. Information technology'due south important to recognize those sacred places inside us, and acknowledge them. It's vital. I started the song when I got abode that night, and finished it the side by side day.
7. NINA
"Nina" began with the introduction, which I'd play on guitar every night every bit I waited to become onstage. Lyrics began popping into my head, and I idea, "I do not want to write a vocal nearly Nina Simone!" Outside of being arguably the greatest all-around female musician, band leader, arranger, interpreter, performer I've ever seen, nosotros'd been friends, and information technology was non easy beingness friends with Nina. Quite the reverse. Still, as I wrote, I kept coming back to Nina. So I finally gave in and concentrated on making it alive up to her power and luminescence, without shying away from her other issues. As a lyricist, I think this is the best piece on the album. It'south a complicated slice, but and then again, Nina was a complicated soul.
8. DANCING WITH THE Dark
Nosotros've all got those days, don't we? Especially in the fourth dimension of Covid, when it's just also much, and nosotros desire to accept all our burdens and throw them into the sea, and then let the tide conduct them abroad. I've felt like that a lot these past few years, overwhelmed with concern, overwhelmed with relationships, overwhelmed by life.
9. Night SIDE OF THE SUN
I can't remember when the idea of writing a song from Lucifer's point of view took root in my head, but I practise recollect wondering if he was happy with the pick he'd fabricated. Looking dorsum at what he'd been, realizing he'd never exist able to redeem himself. Having to live without the aureate world he'd always taken for granted. And yet, still angry, even so arrogant, insisting he was right all forth. So much duality; what a fascinating graphic symbol. Stella Adler used to tell usa that you had to have sympathy for every graphic symbol you played, to see the whole of them; I tried to run across Lucifer's pain and regrets, as well as his blowing.
10. Summertime IN NEW YORK
I grew up on all kinds of jazz – Billie Holiday, Coltrane, Spivey, Monk – and I've always loved writing in that vein. One day I found myself missing New York so much! I grew up in Jersey, so at that place was always the blahs of looking across the river, part of the City and nevertheless not. And so nosotros moved, and I loved everything from the manner steam rises from the asphalt in summertime, to block parties I'd sneak into. Randy's clarinet manages to evoke Gershwin and the elevated train all at once. I love how thin this piece is; information technology takes a lifetime to acquire what not to write or play, and how important information technology is to get out space.
eleven. THE LIGHT AT THE END OF THE LINE
It took decades to get over the trauma of "Gild's Child", the violence and hatred I was subjected to when it came out. Part of the healing was deciding to stay after shows, meeting and connecting with my audience. One time I realized I was going to finish doing that, I wanted to tell them how much I love them. It sounds corny, but there it is.
12. BETTER TIMES Volition COME
Two days after John Prine died, I was doing laundry and found myself singing "Better times. Better times will come up". Pretty shortly the rest of the chorus came. I wrote the verses waiting for the clothes to dry, so sang it into my phone. That started the Improve Times Project (bettertimeswillcome.com). Artists of all sorts joined in, until I had shut to 200 unlike versions in everything from Mandarin Chinese to Dutch sign language, drawing books, videos, collages. I put up a new version every day for months, and people in lock-down wrote to say it helped them to face each new day.
When I recorded information technology for this album, I wanted my part to stay true to that beginning a capella version, but and so grow into something broader. I called Viktor Krauss, my favorite bass player, and asked him to co-produce something that would "show the times we've been living through". We went through our mental Rolodexes, enlisting friends similar Diane Schuur and Vince Gill, Jim Hoke and John Cowan. The direction was "Don't agree back!" and that'southward just what we got.
For me, this piece illustrates the arc of fright, isolation, promise, relief, and then render to fear we keep going through every bit we deal with this scourge. And information technology's a tribute to all the artists who go on to do our work, offer audiences an escape and a bit of joy, even as we've watched our ain professions atomize under the weight of information technology all.
LYRICS
i. I'One thousand STILL STANDING
See these lines on my face up?
They're a map of where I've been
And the deeper they are traced,
the deeper life has settled in
How practise we survive living out our lives?
And I would non merchandise a line
Make it smooth and fine
or pretend that time stands still
I want to rest my soul
here where it can grow without fear
Some other line, another year
I'chiliad still continuing here
Run into these marks on my peel?
They are the lyric of my life
Every story I brainstorm
just means another cease'southward in sight
Only lovers sympathise
Skin just covers who I am
CHORUS
Encounter these bruises, see these scars?
Hieroglyphs that tell the tale
Y'all can read them in the dark
through your fingertips, like Braille
And I would not trade a line
Go far smooth and fine
or pretend that fourth dimension stands still
I program to balance my soul
here where information technology tin grow without fear
Another line, some other year
I'g all the same continuing here
I'chiliad nevertheless standing here
I'm however standing here
2. RESIST
She is. She is. She is.
She is. She is. She is
She is. She is. She is
too brusk too fat too skinny
Too tall likewise obviously besides pretty
Too hot as well moisture likewise sticky
Too… picky
Oh, what an ugly girl. Oh, what an ugly girl.
Put her in high heels, so she can't run
Carve out between her legs then she tin can't come
Get her a dress, for piece of cake access
Tell everybody that she'southward just like all the rest
How long? How long, how long, how long
How long? How long, how long, how long
Tell me I'm ugly so I'll purchase your crap
Tell me you want me 'cause I don't talk dorsum
Tell me I acquit the original sin
Tell me I'm holy when I cover up my peel
Tell me that my body bears a permanent stain
Tell me we tin can marry if I surrender my proper name
Telephone call me your infant and so I never grow upwards
Tell me you love me when yous only desire to fu-fu-fu-
Funny how I whisper and you lot call back it's a roar
You lot ask me to the tabular array and then yous seat me on the floor
You desire me to be sexy. You want me to be pure.
I cannot be your virgin and I volition not be your whore.
Resist. Resist resist resist.
Resist. Resist resist resist.
It's a funny kind of thing, when you sing a trivial vocal
and you become a couple people to sing along
Information technology's the power of customs.
Authenticity changes your reality
I know it's hard to believe when they're yelling in your ear
and information technology'south the only vox you're able to hear
Just y'all enhance upwardly your fist and yous learn to resist
and you say "I will not disappear"
I will not disappear. I volition not disappear.
I will non disappear, I will not disappear.
I will not disappear.
Resist. Resist resist resist.
Resist. Resist resist resist.
Resist, resist, resist. Resist, resist, resist, resist
Resist
3. STRANGER
I was once a stranger here
Running from a state of fearfulness
Left my dwelling and friends behind
Left the love I knew was mine
I was one time a stranger hither
Did not know a single word
Just knew what I had heard
Land of opportunity
congenital past people just like me
I was one time a stranger here
In my quondam town, there'south a lot of fear
One wrong word and you disappear
No one dares shed a single tear
It gets smaller every year
Now I accept to go out over again
Get out my family unit, leave my friends
Don't know where they're sending me
Only know that I volition be
a stranger there
Yes I volition exist a stranger there
4. SWANNANOA
Swannanoa, I tin hear you
call my proper name upon the current of air
If I autumn behind, don't worry
You volition see my confront again
You will run across my confront once more
Swannanoa, I am longing
for my home and then far away
I will carry you lot within me
from the cradle to the grave
From the cradle to the grave
And the mountains, and the mist
and the white clouds they kissed
And the sweetgum'south perfume in my hair
When these hard times have passed
I volition see you at last
Swannanoa, I'll be home to stay
Oh my darling, I'll be home to stay
REPEAT Last Section
5. WHEREVER Good DREAMS Become
Paint the walls in fairy tales
A ceiling full of stars
Mobiles hung in gay displays
in a higher place the cradle confined
Sometimes I recollect I hear
your laughter through the door
Then I remember
what I won't hear any more
Do you see me downwardly here?
Talking to the empty air?
In my memories of you lot,
I'm just a piffling closer to
wherever good dreams get up there
I was one time the only one
to brush away your tears
If e'er you are lonely,
I volition always be correct hither
and if you demand me,
you lot can wish upon a star
'cause I will always hear
your prayers in my heart
CHORUS
I wonder where you are this night
are you warm, and tucked in tight?
And do you ever visit me,
in your retention?
People think I'm crazy
to be belongings on and then long
but how tin can I get over you
when you're not actually gone?
CHORUS
half dozen. PERFECT Lilliputian GIRL
Pretend that you're a girl,
for the rest of your life
Pretend it for the world,
though yous know it isn't correct
If life'due south a fairy tale,
you can play your role and be
Be a perfect little daughter
for all the globe to see
but at that place'southward a sacred place inside
and information technology's a identify you only can't hide
If this whole broad globe would only encounter
they'd know y'all tried to be
a perfect picayune girl
Pretend it's all a dream
and one day you'll wake inside
to be somewhere in-between
where you left, and you arrived
And you'll know that dreams come truthful,
'crusade information technology's happening to y'all
Like a redbird finds the jump,
you will discover your season, likewise
'cause there's a sacred place inside
and information technology'south a place yous just can't hide
If this whole wide world could see
they'd know you tried to exist
a perfect lilliputian daughter
Blame information technology on the sunday
Arraign it on the moon
Blame it on the stars that shine
the aforementioned on me as you
'cause there's a sacred identify within
and it'south a place I but can't hide
If the world could meet inside of me
they'd know I tried to be a perfect little girl
Perfect little girl
Perfect trivial daughter
7. NINA
Nina, I can encounter your face,
caught upward in the song'southward embrace
Alphabets of lightning falling from your lips
Raining on your fingertips
Whatsoever kind of fool could run into,
you lot were always meant to be
Miracles in moonlight, worshipped from afar
Burning similar a shooting star
And how were you to know this world
was so damned hard on dazzler
Frightened by your lightning vocal
Nina, can't y'all see?
You were always cute to me
Crazy as a loon. In your ain cartoon
What a world those eyes must run into
When y'all hit the marking, yous stopped my middle
So you'd turn around and grind it
right into the basis. I'd find it
Cradled in the arms of song
Right where miracles belong
Melody and madness.
Sanctity and sadness.
A heart at war – nothing more than
But how were you to know this world
was then damned hard on beauty
Frightened by your lightning song
Nina can't you encounter?
You were e'er beautiful to me
viii. DANCING WITH THE Nighttime (THIS LONG NIGHT)
Take these burdens from my heart
Lay them downward beside the sea
They are vehement me autonomously
Permit them migrate away from me
Take this sorrow from my soul
I have prayed to observe some rest
It'south a weight I cannot hold
Information technology lays heavy on my breast
This long nighttime cannot last forever
This long night, sorrow shields the stars
Give me light
Illuminate the darkness in my center
Dancing with the dark
I'm dancing with the dark
Take these tears that bullheaded my eyes
I have lived besides long in shadows
Unbind these shuttered skies
My horizons are too narrow
Take my weariness and sorrow
Take the troubles I take borrowed
They volition all be here tomorrow
This long night cannot last forever
This long night, sorrow shields the stars
Requite me lite
Illuminate the secrets of my heart
I'm dancing with the dark
Dancing with the dark
9. Nighttime SIDE OF THE Dominicus
Things are different downward here
People say they beloved you, then they disappear
I'm the king of all I dreamed of,
just nobody seems to care
Things are unlike down hither
When I saturday at His correct hand
Passing judgment on the earth at His command
How He loved me, from to a higher place me
That's the thing I could not stand
when I sat at His correct mitt
It doesn't seem so far to fall
when you are up there, looking downward
but from the ground you run into eternity
and a distance so profound,
there'll exist no forgiveness now
A race that can't be run
A war that can't exist won
A song that tin can't be sung
just to feed my hunger
I don't need your honey
I don't demand your love to see what I've become
but wait at me, now
I am free, now
Complimentary to build my kingdom come
on the night side of the sun
Things are different down hither…
10. Summer IN NEW YORK
Summer in New York
Skies are blueish, but I'm beyond the river
Missing yous, only zippo similar earlier
Summer in New York
Jazz in Central Park
Chocolate kisses stolen in the dark
Rooftop romance. Sugar by the shore.
Summer in New York
What a fourth dimension we had!
Gone from good to bad
Remember how we would strut
and promenade the Strand
The men were hat in mitt
Fifth Avenue was oh, so yard!
The rut
came rising through our feet
When sin and sidewalk meet
y'all're dancing to a very different band
Oh, man
Now that we're apart,
the memory's more than precious than forever
Yous'll e'er be my Coney Isle middle
Summertime in New York
Summer in New York
Summer in New York
eleven. THE Lite AT THE End OF THE LINE
It's the stop of the line
and I know it's been rough
Oh, but time after fourth dimension,
information technology was always enough
You lot were there when I laughed
You were there when I cried
You are there as I tell you "Good-cheerio"
It's the finish of the line
and any they say,
I was yours, yous were mine
Just a heartbeat away
Close enough to be kissed
Far enough to be missed
From the cradle to silver and grey
In due time, there will be
someone else who volition see
all the practiced in your heart,
even though we're apart
Oh, how I've loved your center
In the blink of an center,
all that'southward left is the past
and the memories fade
'til there's silence, at last
Merely the song will remember
The spark will still smoothen
It's the light at the cease of the line
There's a light at the end of the line
12. BETTER TIMES WILL COME
Better times, better times volition come.
Better times, better times will come up.
When this world learns to live as one,
oh, improve times volition come
CHORUS
When we greet each dawn without fear
knowing loved ones soon will be nearly
And when the winds of state of war
cannot blow any more than
Oh, better times volition come
CHORUS
Though we live each day equally our concluding
nosotros know anytime soon it will pass
Nosotros will dance, we volition sing
in that never-ending spring
Oh, ameliorate times will come
Amend times, better times will come.
Better times, improve times will come.
When this world learns to live as one,
oh, ameliorate times will come
Oh, better times will come up
All songs by Janis Ian
Words & music past Janis Ian, © Agony Publishing (BMI)
All rights reserved; international copyright secured. Used by permission.
Source: https://janisian.com/music/the-light-at-the-end-of-the-line/
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