Ramona Jan has a storied career as a pioneer who established herself as an audio engineer in an industry largely dominated by men. With Ramona’s connection to Mediasound, she orchestrated her band at the time -- the Comateens (in 1979) -- to record their first single, “Cool Chick/Danger Zone” on Teenmaster Records.
Ramona is also an esteemed author (Jon Bon Jovi’s first biography and more) while continuing her passion for creating music with Dizzy and the Romilars, Venus Fly Trap and Janturan.
I had the opportunity to talk to Ramona about the recent re-release of “Dangerzone/Elizabeth’s Lover” on 12” via Left For Dead Records.
Here is what transpired.
Scene Point Blank: Do you have many memories of recording the original single at Mediasound in 1979? With you being an audio engineer there at the time, I would assume you were fairly involved in the whole process of capturing the band’s energy. How do you find the single holds up today?
Ramona Jan: I hadn't listened to the single in maybe 40 years and when I did I was shocked at how contemporary it was, though I have little recollection of the actual session. Harvey J. Goldberg (now at The Late Show With Stephen Colbert) was the engineer on the project and although I did not engineer the record, I knew what he was doing. I had my mind on being the best musician I could be at the time.
Scene Point Blank: When working at Mediasound you met Nic North. How did that initial relationship develop to the point that you began writing music together?
Ramona Jan: Nick and I never wrote music together. Either he wrote a song or I wrote a song that we played together. I believe we met at Media in the winter of '77 or '78. I had already been there since '75. My first LP that I worked on was Coney Island Baby by Lou Reed. Anyway, I took a liking to him right away and we began rehearsing pretty much right away, although Nick is better at keeping dates.
Scene Point Blank: What memories do you have working on Lou Reed's Coney Island Baby?
Ramona Jan: I was 19 years old. I had considered Lou to be an old and ugly has been. I had heard of the Velvet Underground but never actually listened to them. I was compared to Nico when I was singing in the early days and I am not sure that I liked that comparison as I didn't think of her as an outstanding singer.
He doodled excessively on a piece of paper throughout the whole session. He didn't appear to be into it or, for that matter, into his own record. I took that to mean he wasn't very appreciative to be recording in a studio that was top notch and top dollar. Also, Godfrey Diamond, who was the producer of the record, was only 21 so there we were: 19 and 21 working with Lou. I didn't think at the time that Godfrey had the right production sensibilities for Lou. Mind you I haven't listened to that record at all since we made it. A lot of the mix points to me are out. I remember Godfrey pushing up the faders randomly to make things noisy or to make things edgy. I didn't think it was necessary.
Scene Point Blank:Any other recollections or stories of people you worked with at Mediasound?
Ramona Jan: Yes, I worked with plenty of people there. I worked with Frank Sinatra, I worked with Barry Manilow. I recorded Sesame Street every week. I worked with the Wrecking Crew of New York City. I worked with Ramones, Talking Heads, and Liza Minnelli. It was a broad range of people I worked with.
Scene Point Blank: Were you coming in from New Jersey and checking out bands before working at Media Sound and forming The Comateens?
Ramona Jan: No. I never check out bands. Not before, not now, not ever.
Scene Point Blank: Working in a studio and being an audio engineer at the time was predominantly a male-driven industry. Did you ever find that created barriers for you?
Ramona Jan: Very much so. I was bullied and sexually harassed on a weekly basis. I was also told I would never make it when they hired me. And this from a female manager.
Scene Point Blank: The original single’s songs were “Danger Zone” and “Cool Chick.” However, with the Left For Dead reissue “Danger Zone” is now paired with the original version of “Elizabeth's Lover.”
Ramona Jan: We couldn't get in touch with the writer of “Cool Chick,” Diana Dominici, in time to include “Cool Chick.” We needed her permission to re-release the song.
Scene Point Blank: How does this version differ from the version you later recorded with Dizzy and the Romilars?
Ramona Jan: This version is more raw and features an intro guitar line that I eliminated in Dizzy. Also, I believe this version has a “scratch” vocal on it. I never got to do a final vocal. It was just a guide. The Dizzy version has a final vocal performance.
Scene Point Blank: What eventually had you departing from The Comateens? It is stated there were some unfortunate misunderstandings.
Ramona Jan: Though I had originally formed the band with Nick and then I invited Lyn into the group, Nick and Lyn became a couple and there was a power shift that included many things. One early AM, I was told in a telephone call that I could no longer sing in my own band unless I took singing lessons. There was no discussion. Myself being a hot headed young gal, I just said I quit and hung up the phone. Though we ran into each other here and there very rarely, Nick and I really didn't speak in all these decades until now. So these interviews have been very healing.
Scene Point Blank: Was working at Mediasound where you first met the Ramones? Was there one Ramone that you were closer to than the others? Could you comment on each of them?
Ramona Jan: Yes, met the Ramones at Mediasound. Tommy is a great engineer and the most stable of the group. Joey is very smart but very shy. Johnny, very conservative, didn't want my name on the record. Dee Dee, whom I was closest with because he was very social.
Scene Point Blank: How surprised were you when they penned a song about you? Or was this something you knew was in the works?
Ramona Jan: Had no idea. I was very surprised.
Scene Point Blank: Perhaps you can clear up the mystery in “Sweet Little Ramona.“ Lyric is the following: “’cause she's a spy for the BBI.” The top guesses are the British Bureau of Investigation, haha? Maybe being a spy you can not disclose these top-guarded secrets!
Ramona Jan: Merely artistic license on their part. To be honest I didn't like the song because it claimed I always wanted to come over or something to that effect, which was not true.
Scene Point Blank: Working at the studio you met many other musicians over your tenure there. Are there any memorable experiences that stand out in your mind?
Ramona Jan: Working with Eno, particularly when he begged me to play on Music for Films.
Scene Point Blank: What stood out about working with Brian Eno?
Ramona Jan: Yes, Brian Eno begged me to work on Music For Films where I played the Hammond B3 organ. I actually do not play the Hammond B3 organ. For one thing, I can't reach the pedals! I had some knowledge of playing an organ as I had played one in church however that is not why he was asking me as he didn't have that knowledge. He just needed me to play it for some reason. We argued about it finally I asked him what key the song was in. It is alternative 3 by the way. He kind of skirted that answer and said just hit any note but the F#. I thought, “Oh I can do this. Apparently I am the only person he can find to do this.” I went into the studio with my feet dangling and I started improvising. Those long screechy notes you are hearing are mine. He didn't face me or give me directions during the recording. When the tape first started running I said, “There is a lot of noise on that tape -- where is the song?” To which he replied, “That is the song!” I thought, But there is no key or there is no beat. He told me not to worry. Anyway, it was a funny situation for a 19 year-old girl!
Scene Point Blank: Who was Venus Fly Trap?
Ramona Jan: Venus Fly Trap was a street performing group. It evolved out of a group called Trickster. Trickster had Patti Scialfa (who is now Mrs. Springsteen) and Soozie Tyrell and Lisa Lowell. This is why you now see Soozie and Lisa on tour with Bruce Springsteen. Anyways, when we formed Venus Fly Trap we were all very good friends -- the best of friends or, even, sisters. When Patti had gotten the tour with Bruce we all saw her off from her apartment where she had cooked us some lemon chicken. At the time I knew Patti was leaving Trickster so I told Soozie that I had songs, as I was mostly a songwriter, and wanted to hone in on my singing and it would be a perfect opportunity if you needed someone in the group now. I also proposed the idea of possibly forming a new group. Soozie was pretty thrilled that I had asked. We decided without Patti it wasn't Trickster so we came up with the name Venus Fly Trap. We each took names: Soozie was Venus, I was Fly, and Lisa became Trap. We became a better-known group around town at that time, maybe because of the timing.
We eventually ended up singing backup for David Johannsen when he formed Buster Poindexter for about two years. We warmed up with him and then we sang backgrounds with him. Working with him was great. I loved the New York Dolls growing up. I saw them once in a bar when I was really young. I always felt a kindred spirit to him, like I would somehow know him, and indeed I did. He never called me by my name. He called us like we were a pack...a pack of broads. He would address us as “You'se Broads.” He taught us a lot of rock moves like sticking your butt out and walking at the same time with a real pointy-toed walk. I really loved all of that part with David Johansen.
Scene Point Blank:Growing up what did you listen to? Was there one band that sparked the flame and passion for music?
Ramona Jan: I wasn't much of a music collector or listener, [which is] true to this day. I liked any album that had pop hooks and/or took one on a journey. Motown hits and soul singers had the hooks. Bowie's Ziggy had the journey. But, again, I didn't collect records. Mostly heard them at a friend's house.
Scene Point Blank: I understand you act as well as create mixed-media paintings. How important is art to you as a form of self-expression?
Ramona Jan: I had a difficult childhood. Art and music have helped me to cope.
Scene Point Blank: If they were to erect a statue of you in your hometown, what part of the statue do you think that the public would touch for good luck?
Ramona Jan:Maybe my hair? I've always had good hair.
Scene Point Blank: Are there any bands from the time you were in the Comateens that never got their dues or deserve recognition?
Ramona Jan: Probably Venus Fly Trap and Dizzy.
Scene Point Blank: During COVID, did you find that self-isolation hindered your creative process or have the opposite effect -- giving you more time to reflect and create?
Ramona Jan: Opposite effect: JANTURAN did lots of cam jams around the world including this one:
Scene Point Blank:How would you like to be remembered?
Ramona Jan: As someone who beat cancer naturally. I am currently in stage III.
Scene Point Blank: Any regrets or parting thoughts?
Ramona Jan: Just wished I had gone to the doctor more often for checkups.
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