Rickie Lee Jones: Rickie Lee Jones
Mobile Fidelity Sound Labs MFSL 1-089 (LP) (originally on Warner Bros. LP, 1979). Nick DeCaro, Johnny Mandel, orchestral arrangements; Lenny Waronker, Russ Titelman, prods. This is actually a nice record. I was somewhat surprised to find myself really enjoying it. All the songs were written by Miss Jones, who does share the credit with Alfred Johnson for two: "Weasel And The White Boys Cool" and "Company." Her lyrics are fresh and entertaining, and her music quite good. The only jarring note to me was her inept-sounding efforts to assume the lowah-class South'n accent that is apparently considered essential for success in popsingin'. It only muddles her diction and makes the lyrics even more difficult to understand. But there are hints of a good voice here. Ms. Jones uses her unusually wide-ranging voice extremely well; at times it seems almost like another instrument, as she switches from energetic love songs to wistful ballads. I especially enjoyed "Chuck E's In Love," "Easy Money," and "Danny's Ail-Star Joint."
The re-pressing is typical Mobile Fidelity, which after all these years should say it all. The balance of the accompaniments was excellent, and nothing seemed to be lacking. I imagine Miss Jones performs live frequently, and I would love to hear a recording of a live performance. The studio seems to detract from the impact of her music.
Even if you are not a pop-record fan, I think you might like to hear this one.—Margaret Graham
Mobile Fidelity Sound Labs MFSL 1-089 (LP) (originally on Warner Bros. LP, 1979). Nick DeCaro, Johnny Mandel, orchestral arrangements; Lenny Waronker, Russ Titelman, prods. This is actually a nice record. I was somewhat surprised to find myself really enjoying it. All the songs were written by Miss Jones, who does share the credit with Alfred Johnson for two: "Weasel And The White Boys Cool" and "Company." Her lyrics are fresh and entertaining, and her music quite good. The only jarring note to me was her inept-sounding efforts to assume the lowah-class South'n accent that is apparently considered essential for success in popsingin'. It only muddles her diction and makes the lyrics even more difficult to understand. But there are hints of a good voice here. Ms. Jones uses her unusually wide-ranging voice extremely well; at times it seems almost like another instrument, as she switches from energetic love songs to wistful ballads. I especially enjoyed "Chuck E's In Love," "Easy Money," and "Danny's Ail-Star Joint."
