After the recording sessions were finished, I took her to a TORONTO hair and make-up artist named MURRAY COOPER at "ALANA V'S". I had met him through my singer/actress friend and neighbour DINAH CHRISTIE. MURRAY was really something else, closely cropped hair, giant ELTON JOHN glasses, and wearing a kind of huge cape outfit, one of the most flamboyant people I've ever met. MURRAY worked his magic, and I watched ALANIS transformed in front of my eyes. Off we went to the photo shoot.

Once again ALANIS glided through the long session as if she was born to it. When I saw the proofs later, there were so many great shots, the really tough job was trying to pick the best one."


It's a shame I didn't take any pictures of my own of that time, considering all the things that followed in her life. But there are these. After the Photo shoot, ALANIS was booked to fly back to OTTAWA. We had some photobooth time to kill in downtown TORONTO. We went for a 'bite' at the EATON CENTER, and on the way out of the shopping complex, we passed one of those PHOTO machines. In we popped and goofed around for 4 snaps. ALANIS has two and I have the other two, so here they are. The next time I saw the other two shots, they were part of a collage of Photos that she always liked to make, and hang on her wall. She loved to keep a visual representation of her life and the people she cared about with this hobby.

"Over the next 10 months we tried and tried to get ALANIS a record deal. I used what connections I had, even hired TORONTO entertainment lawyers CLARK MILLER and PAUL SANDERSON, and with their connections got A&R people from most of the major record labels to listen. Every one was very encouraging, BUT, the answer was always "No". At the time, all I kept thinking was how can they not see the talent and potential in this little girl? Look at her pictures, listen to her singing, and listen to her writing. But later, in retrospect I understood their position. They just didn't know how to market her. She was 12 by then, but she wasn't writing "RAFFI" type children's songs, so they couldn't market her as a child. In an industry where music and sex appeal are often closely intertwined, she was still way too young to market as an adult. Even so, my, and ALANIS' frustration grew month by month.

We decided to go ahead anyway, and release the song on a 45rpm single. ALANIS and I came up with a record label name, LAMOR RECORDS. The L stood for LINDSAY the A for ALANIS, and MOR is the start of MORGAN and MORISSETTE. Also it sounds like the French word for "love", L'AMOUR.

fate fateb


We made 1300 copies, and using MPL PROMOTIONS, run by RICH'S wife MARY LYNN DODSON; we did our best to get a "hit record" on radio. We got good response, and in some cases excellent, but never quite in the numbers we needed.

All through that time period, I was going through quite a tumultuous period in my life. A separation, then divorce, along with kick-starting my solo career, as I had always performed as part of a larger unit, involving one or more other people. Traveling to and from OTTAWA was a six-hour drive, and over the next year I gradually stopped working professionally with ALANIS. There never was any break, it just 'felt right' for me to back away, and our friendship has not just lasted, but grown. Her mum got her connected with LESLIE HOWE, who for one had a hell of lot better studio than mine, and a great connection with MCA RECORDS. By the time LESLIE had recorded enough songs and filmed a VIDEO to impress JOHN ALEXANDER of MCA, ALANIS had turned 16. There is a huge difference between a 12 and 16 year old girl. Now she was starting to bloom. There has been a mountain of books and articles written about ALANIS' life from this time period on, some accurate, and some not so accurate, so I won't add to the heap. Other than the incredible support she got from her family, in my opinion, and I emphasize, in my humble opinion, the people who played key roles, professionally, in her incredible rise to where she is today, were, LESLIE HOWE, PRODUCER of her two MCA albums, JOHN ALEXANDER, the A&R head of MCA who signed ALANIS to her first major label. SCOTT WELCH, MANAGER extrordinaire, and overall 'nice guy', who got her the MAVERICK deal. GLEN BALLARD, musician, producer and co-writer of "JAGGED LITTLE PILL" It's been quite an education, to see individuals coming out of the woodwork, who "claim" to have helped "make" ALANIS what she is today. I too, would love to say, "I taught her EVERYTHING she knows!" But there is only one person who made ALANIS MORISSETTE and that's ALANIS herself. A lot of people played a part, but no one but her supplied the drive, the talent, and the spirit. She was going to get there anyway. If I hadn't responded to that first little cassette she sent me when she was just 9 years old, then she would eventually have found someone that would. That goes for everyone else in the chain of events that followed. I just feel so fortunate and proud to know such an individual like her, and to have played a small but meaningful part. Other than PAUL CANTIN'S "YOU OUGHTA KNOW", this is the fullest published and only first hand account, of my side of the story. I hope you enjoyed it. LINDSAY
Morissette family/Lindsay