Janis Ian - Stars (1974) + Aftertones (1976) 2 CDs, Remastered Reissue 2010

×

Janis Ian - Stars (1974) + Aftertones (1976) 2 CDs, Remastered Reissue 2010

Close

Stars (1974):

After a three-year (1971-1974) hiatus, singer/songwriter Janis Ian (guitar/vocals) reinvented her craft on the groundbreaking Stars (1974) long-player. Her penchant for hauntingly beautiful melodies and incisive lyrics remains at the center of Ian's craft as she weaves an array of uniquely expressive observations with timeless poignancy. She has publicly acknowledged that the introspective title track that opens the album was inspired by Don McLean's "Vincent." Ian's reflections are almost naked in their intimacy as she looks within the psyche of celebrity and draws comparisons between the respective astral and physical bodies that "Stars" inhabit, albeit briefly in either case. The song's sparse acoustic guitar self-accompaniment is somewhat an anomaly as the remainder of the album incorporates various backing combos. The cosy and laid-back "Page Nine" demonstrates a jazzier side to Ian's arrangements and features some inviting contributions from percussion legend and studio heavyweight George Devens (vibraphone), who had been performing in Ian's studio coterie since her second release, For All the Seasons of Your Mind (1967). "The Man You Are in Me" is instrumentally highlighted by Richard Davis (bass), who impels the rhythm and provides Ian with a sonic backdrop beguiling the listener into its practically hypnotic melody. There is also a fair share of folk-infused material, ranging from the easygoing and heartfelt peon "Thankyous" to the decidedly more political and strident "Dance with Me" – which deals fairly directly with the Vietnam experience. Perhaps the best-known cut on Stars also obliquely references the war and is considered the disc's crown jewel. "Jessie" is a riveting love song that is as beautiful as it is soul-wrenchingly poignant. The delicate understated score only adds to the composition's empathy. "Applause" fittingly concludes the effort in a Broadway-esque fashion with a grandiose production reminiscent of something out of Cabaret or A Chorus Line. The understated and comparatively reticent middle section is dramatically bookended with an otherwise embellished and knowingly campy arrangement. Stars set the stage for Ian to further develop her mature and meditative themes utilizing a wide variety of musical styles – a hallmark that separated her from her weepy and otherwise introspective peers.

Review by Lindsay Planer, Allmusic.com

Aftertones (1976):

On Aftertones, Janis Ian (guitar/piano/vocals) continued the artistic, and to a lesser extent, the commercial success she garnered on her previous effort Between The Lines (1975). Once again, she assembled some of the finest session musicians from the Big Apple to animate her intimately sensitive sonic portraits and caricatures. Although Ian would not surpass the universality of "At Seventeen," much of this disc continues the theme and moods expressed as far back as Stars (1974). Ian's advanced folk sensibilities are emotional progressions away from the weepy and introspective nature heard from her mid-'70s singer/songwriter contemporaries. Part of Ian's enticement is the marriage between achingly beautiful melodies and thoroughly personalized lyrics. The album commences with the title track setting the tenor and sonic ambiance. The acoustic guitar and compact string section lend to "Aftertones" slightly baroque feel, which adds to the song's palpable isolation ("'Til all that's left to see are aftertones/I take them home/ We live alone"). The beautifully bitter "Love Is Blind," and the harrowing "Don't Cry, Old Man" are piercing in their honesty. They contrast the lighter fare of "I Would Like to Dance," as well as the tongue-in-cheek "Boy, I Really Tied One On," or the overtly kinky blues "This Must Be Wrong." "Goodbye to Morning" is a dark jazzy ode that stands out as one of the best sides on the album, featuring some distinct interaction between Richard Davis (acoustic bass) and Ian's own rambling, unplugged fretwork. Folk and gospel legends Odetta (vocals) and Phoebe Snow (vocals) join in on Aftertones magnum opus, "Hymn." The trio soulfully swaddle their subtle harmonies into a unified lead as they languidly allow their own vocal aftertones resonate with unencumbered majesty.

Review by Lindsay Planer, Allmusic.com

×

Janis Ian - Stars (1974) + Aftertones (1976) 2 CDs, Remastered Reissue 2010

Close

×

Janis Ian - Stars (1974) + Aftertones (1976) 2 CDs, Remastered Reissue 2010

Close

×

Janis Ian - Stars (1974) + Aftertones (1976) 2 CDs, Remastered Reissue 2010

Close