At Seventeen

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"At Seventeen"
An image of a woman showing her teeth with a finger on her lips while looking to the camera. She has large, curly hair. The words "Janis Ian", "At Seventeen" and "Stars" are placed over the image in the same font and black color. Words about the record company are also included.
Artwork for the US vinyl single
Single by Janis Ian
from the album Between the Lines
B-side
  • "Stars"
  • "Applause"
ReleasedJuly 1975
RecordedSeptember 17, 1974
Studio914 Sound Studios
Genre
Length4:43 (Album version)
3:56 (Remix Single version)
LabelColumbia
Songwriter(s)Janis Ian
Producer(s)Brooks Arthur
Janis Ian singles chronology
"When the Party's Over"
(1975) 		"At Seventeen"
(1975) 		"In the Winter"
(1975)

"At Seventeen" is a song by American singer-songwriter

live albums
.

Critics praised "At Seventeen", which earned Ian the

signature song. "At Seventeen" has been used frequently in television and films, like The Simpsons and Mean Girls; it has also been referenced in literature. Various recording artists and musicians, including Anita Kerr, Jann Arden, and Celine Dion, have covered "At Seventeen". The Hong Kong all-female band at17
named themselves after it in 2002.

Background and recording

"At Seventeen" was written by

New York Times article about a young woman who thought her life would improve after a debutante ball and her subsequent disappointment when it did not.[3][4] In the article the girl was 18, but Ian changed it to 17 to fit with her samba guitar instrumental.[4] She recalled feeling uncomfortable while writing "At Seventeen" as it predated the confessional song trend of the 1970s.[3] She was also uncertain about writing about high school when she had never experienced a homecoming or a prom.[4] She said she purposely took her time with the song to ensure it did not lose its "intensity";[4] she repeatedly stopped and started work on it over the course of three months.[3][5] At the time, she was living with her mother.[4]

During the recording process, which Ian described as "very tense", she worried she had accidentally stolen the melody from a different song and consulted with three friends about it. Arthur described the song as "just honest and straight from her heart", and felt it was different from folk or pop music. He said Ian was easy to work with as she had prepared by bringing lyric sheets and arrangements to the studio sessions.[3] Arthur and Ian had worked together on her 1966 single "Society's Child", during which they formed a close friendship.[6] "At Seventeen" was completed in roughly two or three days at 914 Sound Studios;[3][6] it was recorded on September 17, 1974.[7] The final version contains two combined takes, as the initial ending was deemed too weak compared to its start. Allen Klein listened in during a session and responded positively to the song.[3] Brooks Arthur, Larry Alexander, and Russ Payne were the audio engineers for "At Seventeen".[2]

Composition and lyrics

"At Seventeen"
Critics cited "At Seventeen" as bossa nova,[6][8] pop rock, jazz, and blues.[9] Ian originally wrote the song while playing a samba instrumental on her guitar.[4]
Problems playing this file? See media help.

"At Seventeen" is composed in the

common time and a moderate tempo of 126 beats per minute. Instrumentation is provided by a piano and a guitar. During the track, Ian's vocal range spans from the low note of G3 to the high note of A♭4.[10] Some commentators connected the song to bossa nova.[6][8] Mix magazine's Gary Eskow cited Ian's style as the opposite of Antônio Carlos Jobim's because she "explore[d] the belly of the bossa, the flip side of Ipanema".[6] John Lissner of The New York Times referred to the instrumental as having a "laid‐back bossa nova beat" and ostinato.[8] On the other hand, AllMusic's Lindsay Planer referred to "At Seventeen" as a mixture of pop rock, jazz, and blues,[9] and music scholar James E. Perone associated it more with jazz and a "coffeehouse folksinger" approach.[11] Perone described the song's style as more restrained compared to Ian's contemporaries.[11] A writer for Rolling Stone magazine associated "At Seventeen" with "sulk-pop".[12]

"At Seventeen" is a pop

repenting of lives unknown",[18] and remembering "The valentines I never knew/the Friday night charades of youth."[19]

Some commentators viewed "At Seventeen" as a type of anthem.[20][21][22] Melissa Etheridge and Billboard's Patrick Crowley interpreted the song as a gay anthem.[20][21] Crowley equated the awkwardness described in the lyrics to the confusion over one's sexual orientation.[20] Etheridge interpreted the line ("I learned the truth at seventeen") as discovering one's homosexuality. Ian said she was surprised at the LGBT support given to the song.[21] NPR included "At Seventeen" in its 2018 series on American anthems.[22]

Release and promotion

Release

Ian's manager and CBS felt the song was too long, and CBS was uncertain how to market a song with so many lyrics.[3] Producer Herb Gart had suggested that "When the Party's Over" be released as the lead single from Ian's seventh studio album Between the Lines rather than "At Seventeen". He reasoned that radio personalities would choose "At Seventeen" as the better single and feel smarter than the record label.[23] Alternatively, Arthur thought "When the Party's Over" was a more appropriate choice.[6] Gart asked radio stations to play only the first sixty seconds of "At Seventeen" followed by an advertisement for the song to encourage people to call in and request the rest. Ian said that Gart's promotional strategies were successful.[23]

"At Seventeen" was first released in July 1975.

B-sides on two separate single releases.[26][27] The album version was four minutes and forty-three seconds long,[9] and the single version was cut down to three minutes and fifty-six seconds.[27] On February 14, 1977, (Valentine's Day), Ian was sent 461 Valentine's Day cards in reference to the lyric ("Of valentines that never came").[28] She has subsequently included "At Seventeen" on compilation albums.[29] A remastered version of Between the Lines, including "At Seventeen", has also been made available;[30] on August 4, 2014, Ian released an acoustic version of "At Seventeen" through her label Rude Girl Records.[31][32]

Live performances

Ian was initially hesitant to perform the single live, describing it as deeply personal and fearing public ridicule.

morning show where Queen was promoting their 1975 single "Bohemian Rhapsody".[3] In the beginning, Ian toured with a drummer, bass player, and her tour manager.[4] Ian said she knew the song was successful when the size of the audience grew from 100 to 800.[3] Ian sang "At Seventeen" on Saturday Night Live's first episode on October 11, 1975, and the following year, she performed it on The Old Grey Whistle Test at the Shepherd's Bush BBC Television Theatre.[34] She also sang it on an episode of The Tonight Show, with guest host Steve Lawrence.[35]

Ian and

live albums.[44]

Critical reception and accolades

"At Seventeen" received a positive response from critics. A contributor for

Idolator's Mike Wass criticized "At Seventeen" as a "self-pitying and usually annoying single girl anthem".[49]

Ian received the

signature song.[52][53] According to Mike McPadden of VH1, the single had made Ian a "major mainstream folk-rock performer".[54]

Commercial performance

"At Seventeen" peaked at number three on the September 13, 1975 on Billboard Hot 100 chart, and remained on it for twenty weeks.[55] It reached number one on the Adult Contemporary Billboard chart for two weeks in August 1975, and stayed on the chart for fifteen weeks.[56] It also peaked at number one on the Cashbox top 100 chart,[57] and number six on its year-end pop singles chart.[58] On the Billboard Year-End chart, "At Seventeen" ranked number nineteen.[59] It also reached number twenty for pop and number two for easy listening.[60] According to Billboard, the song enjoyed a resurgence in sales after the Grammy Awards in 1976.[35]

"At Seventeen" also appeared on international charts. In Canada, the single peaked at number one on the RPM pop music playlist and number six on the RPM Top Singles chart.[61][62] On RPM's top two-hundred songs of 1975, it ranked number seventy-one.[63] "At Seventeen" reached number thirty-seven on the New Zealand Singles Chart for the week of October 10, 1975.[27] In Australia, it peaked at number eighteen on the Kent Music Report,[64] and was included at number eighty on the year-end chart.[65]

Ian cited the song's commercial success as making her an example of the American dream.[3] It was her first successful single since "Society's Child",[6] and her biggest success overall.[9][66] The Register-Guard's Lewis Taylor referred to a 1970s release of "At Seventeen" when Ian was broke, and music critics deemed her music not commercially viable, as the first of many comebacks. As of August 2004, the song has sold over a million copies.[67]

Usage in media

A photo of a woman looking to her right. Her hair is tied up and she is wearing a black dress.
Tina Fey covered the song for a 30 Rock episode; the original version was included in her film Mean Girls.

"At Seventeen" has been a popular choice for film and television soundtracks.

The Blacklist,[74] and in anti-bullying advertisements.[75]

The single was featured in three episodes of The Simpsons: "A Streetcar Named Marge", "El Viaje Misterioso de Nuestro Jomer", and "Chief of Hearts".[76][77][78] In "A Streetcar Named Marge", the lyrics are changed to describe the contestants of a beauty pageant. The A.V. Club's Nathan Rabin cited the scene as representative of the episode's satire on "loneliness and despair [transformed] into crowd-pleasing entertainment through wildly inappropriate showmanship".[77] In "El Viaje Misterioso de Nuestro Jomer", the song is used during Homer Simpson's search for a soulmate. Sarah Oliver of The A.V. Club felt it reflected the character's melancholy.[76]

"At Seventeen" has also been referenced in literature.[79][80] It was named in Jeffrey Eugenides' 1993 novel The Virgin Suicides, where four girls imprisoned in their own homes use it and other songs to communicate with the narrator and his friends.[79] Orson Scott Card titled his short story "Inventing Lovers on the Phone" from a line of "At Seventeen". Ian said that Card's work had inspired her own music, specifically the track "This House" from her 1993 studio album Breaking Silence.[80]

Formats and track listings

  1. "At Seventeen" –3:56
  1. "At Seventeen" –3:56
  2. "Stars" – 4:41
  1. "At Seventeen" –4:41
  2. "Applause" – 4:00
  • Digital download[31]
  1. "At Seventeen" –4:19

Credits and personnel

Credits adapted from the liner notes of Between the Lines.[2]

  • Acoustic bass – Richard Davis
  • Acoustic (steel string) guitar – Janis Ian, Al Gorgoni, David Snider
  • Vocals, Arrangement (horns) – Janis Ian
  • Drums – Barry Lazarowitz
  • Engineer – Brooks Arthur, Larry Alexander, Russ Payne
  • Flugelhorn – Burt Collins
  • Guitar (nylon) – Sal DeTroia, Janis Ian. Single version also featured Bucky Pizzarelli
  • Percussion – Barry Lazarowitz
  • Producer – Brooks Arthur
  • Trombone – Alan Raph
  • Written by – Janis Ian

Charts

Release history

Country Date Format Label
United States August 1975[82][27] 7 inch Columbia
November 20 1976[25]
August 4 2014[31] Digital download Rude Girl Records

Cover versions

A black-and-white image of a woman with short hair singing into a microphone.
Anita Kerr helped to popularize the song through her 1975 cover.

"At Seventeen" has been covered by various recording artists and musicians.

Claude Francois recorded a French version of the song, titled "17 ans", in 1975.[85] In 1988, cabaret singer Judith Cohen performed a cover of "At Seventeen" in her shows. Stephen Holden said that her performances of the song Bruce Roberts' "I Don't Break Easily" were "built to strong dramatic climaxes in which a key line abruptly changed the narrative perspective".[86] Tara MacLean recorded the song for the 1999 movie Teaching Mrs. Tingle,[87] and Paul Clinton believed the film's soundtrack added "energy and pacing to the story".[88] Chocolat covered a Yoshinori Sunahara-produced "At Seventeen" for her 1999 second studio album Hamster, which Billboard's Steve McClure described as having a "dark, ambient feel".[89] Ringo Sheena recorded the track "Seventeen" as a tribute to the Janis Ian song; Sheena cited Ian as one of her major influences, particularly for her voice.[90][91]

The

Edmée Daenen for their debut studio album Listen to Your Heart (2005).[97][98] AllMusic's David Jeffries enjoyed their cover, and described it as lacking the camp style previously used by the band.[97] Sitti did a cover for her debut studio album Café Bossa (2006),[99] and her live album My Bossa Nova Live! (2008).[100]

Young female singer with long dark hair is smiling toward the camera
Celine Dion covered "At Seventeen" for her album Loved Me Back to Life and performed it live on multiple occasions.

Producer

Stephen Erlewine of AllMusic called the cover "thoroughly colorless adult contemporary."[106] Dion also performed "At Seventeen" as part of a medley with her singles "A New Day Has Come" (2002) and "Unison" (1990) for her tour Celine Dion Live 2018.[107]

cover album Low Key. For the album, she included songs that she wanted to sing since childhood.[115] The same year, Rhonda Burchmore included her rendition of "At Seventeen" on her studio album Pure Imagination.[116][117] Burchmore chose the song based on what the Herald Sun's Jill Fraser referred to as "a deliberate move to more popstyle songs".[116]

"At Seventeen" is performed as part of the musical

Four Pink Walls, which the Rolling Stone's Brittany Spanos called a "savvy update" of the Ian original.[122] Saffron Monsoon (portrayed by Julia Sawalha) did a karaoke version of "At Seventeen" in the 2016 film Absolutely Fabulous: The Movie in a bar with drag queens.[123] The version was included on the film's official soundtrack.[124] Rachael Yamagata recorded "At Seventeen", along with other covers, to finance her fourth studio album Tightrope Walker (2016).[125] In 2018, American singer Sarah Partridge covered "At Seventeen" for her album Bright Lights and Promises: Redefining Janis Ian.[126][127] Partridge recorded her version with a septuple meter.[1]

See also

References

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Book sources

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