Product Description

No Description Available.
Genre: Popular Music
Media Format: Compact Disk
Rating:
Release Date: 9-MAR-1989

Track Listing

1. Chuck E.'s in Love
2. On Saturday Afternoons in 1963
3. Night Train
4. Young Blood
5. Easy Money
6. Last Chance Texaco
7. Danny's All-Star Joint
8. Coolsville
9. Weasel and the White Boys Cool
10. Company
11. After Hours (Twelve Bars Past Goodnight)

Product Details

• Amazon Sales Rank: #1289 in Music
• Brand: JONES,RICKIE LEE
• Released on: 1990-10-25
• Number of discs: 1
• Dimensions: .22 pounds

Amazon.com
The breezy melodies and jazz stylings of Rickie Lee Jones's debut album are usually found in the works of more mature pop artists. It's only the exuberance of Jones's often cackling voice that reminds you that a 23-year-old is at the controls. And Jones's "little girl lost" perspective, while hanging out in mid-1970s Los Angeles with neo-Beat songwriters-barroom troubadours Tom Waits and Chuck E. Weiss, makes for colorful storytelling. In fact, her tale about Weiss, "Chuck E.'s in Love," hit the Top 10. But there's a lot more elegant stuff here: "Last Chance Texaco" is a soaring ballad about automobiles and broken hearts, and the Sinatra-esque "After Hours" features a lonely Jones singing to a lamppost. --Bill Crandall

Customer Reviews

A True American Original
Rickie Lee's self-titled debut album is essential listening for anyone who considers themselves a fan of jazz, female singer-songwriters, or plain old good music.
When this album hit the marketplace at the tail end of the 70's it was truly an oasis in what had become a rather boring era of music. Punk and disco had both burned themselves out, and the California singer/songwriter movement was on its last leg. There wasn't anything that could be considered "fresh" on the radio. And then, out of nowhere, came "Chuck E's In Love", heralding the advent of the most original artist of the era.
"RLJ" is primarily guitar based (Pirates, released 2 years later, would confirm the multi-instrumental power of Rickie), and the songs are so brilliant that as I write this, 25 years after this album was released, I can still play this music and think how fresh the sound remains. That's a testament to Rickie's writing and playing, which remain unmatched by any modern singer.
"Weasel And the White Boys Cool", a song about an acquaintance (Sal Bernardi), who would later become a lover remains my favorite from this disc. The guitar work on this song is incredible, and Rickie's vocals are playful and gorgeous. And her lyrics, while sometimes unintelligible upon first listen (the hiccuppy nature of her vocals, and her habit of eliding full syllables may turn off some listeners, but they are one of her most endearing traits), are as strong as any writer of popular music.

"Company" is a cabaret classic, and songs of longing like this tune fit Rickie's voice perfectly. This song has been covered many times since its release (Melissa Errico being the most recent), but nobody can capture Rickie's emotions while singing this tune.
"Danny's All Star Joint" is a genuine romp - its a shame Rickie doesn't play this song (and it's sister pieces, "Woody and Dutch" from Pirates, and "Juke Box Fury" from "The Magazine") more often in live shows. Rickie has an incredible way with uptempo pieces of this nature, and they are sorely missed on discs such as "Flying Cowboys".
"Last Chance Texaco" will break your heart if you ponder its meaning, and musically, it has to be one of the saddest uses of the guitar ever recorded. There is genuine heartbreak in this song, and no one conveys this type of feeling as well as Rickie.
"Coolsville" and "Easy Money" are wonderful songs, with what sound at first listen like incredibly simple arrangements. It is only after repeated listenings (and this album deserves such repeated listening) that the subtle complexities in the instrumentation, vocals and harmonies are revealed.
It still amazes me that an album this perfect was a debut release. And amazes me even further that she was able to avoid a spohmore slump by offering up the even more brilliant "Pirates". She is, in my opinion, the best singer of my generation, and a must-own for any serious music fan.

An Amazing Debut
One of the most startling things about Jones is her immediacy. Everything about her work has tremendous spontenaity, as if she suddenly broke into song on a streetcorner and a few passing musicians and back-up singers decided to join in--an effect that is particularly well captured on her self-titled debut. In some respects she seems to be the heir of such free-form artists as Laura Nyro and Patti Smith; she is certainly the forerunner to the more recently debuted Natalie Merchant, Alanis Moressette, and Jewel. But in the final analysis, Rickie Lee Jones is Rickie Lee Jones: there is no other quite like her.

Jones speciality is her remarkable ability to fuse whatever styles happens to catch her fancy and blend them into a seamless whole. "Chuck E.'s in Love," the hit single from this collection, is jazzy and funky and fun--and what most casual listeners think of when Jones comes to mind. But it is merely the introduction to her remarkable skill at combining diverse musical ideas. One of the most startling examples of this is "Last Chance Texaco," in which she combines elements of new age and jazz with a western flavor in a plantive, powerful ballad that likens failed love to broken-down cars going nowhere on an endless highway ("She was a block-busted blonde")--lyrics and vocal as brilliant as the music itself.

If Jones is frequently plantive in tone, she is also remarkably hip and funny. "Easy Money" mixes blues and jazz with a honky-tonk edge to tell a sly story of grifters on the make, and "Danny's All-Star Joint" mixes everything from swing to a sort of childhood nostalgia proto-rap ("Hey-hey boys, how bout a fight/cause here comes Rickie with her girdle on tight") in a truly fun filled portait of street life in a corner store hangout. It's all amazing stuff, shifting smoothly from powerful passions and tragedy to introspective musings to up-beat good times and pure musical joy.

While it is almost impossible to pick one single cut from the recording as a favorite, my favorite here is "Company," a ballad that artfully mixes traces of pop music and jazz in a memorable reflection on life-changes that cause friends to drift apart--and the longing that follows the separation. If you like good music that stretches the boundaries of style, you'll find it here. Strongly recommended.

Rickie Lee, so promising on this debut classic....
I bought this gem way back in the late 70's and it stood out
like the shiny diamond it was and this collection just summed
up all the great strengths and styles of Ricki. Even though she went
on to make some very compelling music(Pirates, the follow up was brilliant but withdrawn to me, I only played when I was alone at home), but it was still her
other standout. Nothing in my opinion
Ricki did after these first two albums were as superior, especially this first one!
It was such a mature effort for a 1st collection it took everybody by surprise, fans that loved great women singers/musicians hadn't heard anything quite like this
for years, not since the sophisticated earthy talents of Joni Mitchell, Phoebe Snow, Bonnie Raitt & Laura Nyro in the early to mid 70's. Ricki had a nice bohemian street-smart-finger popping-cool mixed with some beautiful piano laments. I also recall
how much I enjoyed Phoebe Snows debut, like Ricki, she had her
one and only hit song from the 1st collection. Great stuff to
revisit, just as relevant as anything out today. Another fine
example of quality music from this period.