The Enigma of Rickie Lee Jones I. There are many ways to approach the story of Rickie Lee Jones. But let’s start with an anecdote from studio drummer Jeff Porcaro, who was called in as session player on RLJ’s second album Pirates—allegedly because Jones had admired his brush work at a previous session.
Very interesting piece although you neglected to mention the beautiful album of original material called ‘Traffic from Paradise’ and the incredible trip-hop album ‘Ghostyhead’: her tour for this record was one of the most electrifying evenings of theatre I have ever experienced!
Terrific summary, Ted. I was recently talking to a band-mate of mine, one of NOLA's go-to bass players, James Singleton, about his sessions with Ricki Lee. Those are his tales to tell, not mine - so I'll just say that she's nothing if not consistent in her singular vision and determination, and how that challenges and impacts her collaborators.
Great piece, Ted. I'm writing an essay on Steely Dan that I frame with RLJ's touching and smart eulogy for Walter Becker in RS. I see her cover of "Show Biz Kids" makes your playlist. Good choice.
I loved this piece Ted...wondering what you thought of her memoir. The singular nature of that first album (and I’d say Pirates, too) makes a lot more sense with her account of absorbing so much pre-WW2 popular music, vaudeville and Broadway (the reoccurring paeans to West Side Story were wonderful and for me surprising). Overall it’s a very impressive book and the first two thirds make for gripping reading. Sudden fame and addiction leave little room for music, and the last third gets fuzzy and loses focus.
Im a fan of both RLJ and Porcaro (I play the drums). I read this story many years ago in Modern Drummer interview with Porcaro.
“RLJ’s biggest obstacles came from away from the piano and microphone “ sums it up for me. Not necessarily the choice of well established and proven studio musicians. Just my view. 😁
This piece prompted me to read her memoir “Last Chance Texaco: Chronicles of an American Troubadour”. As the old saying goes, “she paid her dues”. Like many rock/blues singers that venture into jazz, she didn’t get much encouragement from the jazz critics.
I come to this article (very well-written and analyzed) a year late. I agree completely with your lamenting the loss of Rickie Lee's voice in her second album. I actually went to high school and was best friends with Rickie's younger sister (Pamela Jo but just Pam in high school) and in the winter of 1980 taxied Rickie to and from a small sound studio at a local college where she was working on he second album "Pirates". Rickie played us some of the demo tracks in her kitchen one evening and asked what she should title the album. I voted for "Skeletons" - I loved the haunting poetry of the song. They went for the more uptempo "Pirates". Ah - memories from a bygone era of music.
Very interesting piece although you neglected to mention the beautiful album of original material called ‘Traffic from Paradise’ and the incredible trip-hop album ‘Ghostyhead’: her tour for this record was one of the most electrifying evenings of theatre I have ever experienced!
Great write up. I remember when she appeared with her first album and was in love. Wonderful overview of her music and career! PS: Created an Apple Music playlist based on your list at https://music.apple.com/us/playlist/rickie-lee-jones-by-tedgioia/pl.u-ovZAgTZoAN
Terrific summary, Ted. I was recently talking to a band-mate of mine, one of NOLA's go-to bass players, James Singleton, about his sessions with Ricki Lee. Those are his tales to tell, not mine - so I'll just say that she's nothing if not consistent in her singular vision and determination, and how that challenges and impacts her collaborators.
Saw her at the Academy of Music , phila in 1982.Woody and Dutch.
Great piece, Ted. I'm writing an essay on Steely Dan that I frame with RLJ's touching and smart eulogy for Walter Becker in RS. I see her cover of "Show Biz Kids" makes your playlist. Good choice.
I loved this piece Ted...wondering what you thought of her memoir. The singular nature of that first album (and I’d say Pirates, too) makes a lot more sense with her account of absorbing so much pre-WW2 popular music, vaudeville and Broadway (the reoccurring paeans to West Side Story were wonderful and for me surprising). Overall it’s a very impressive book and the first two thirds make for gripping reading. Sudden fame and addiction leave little room for music, and the last third gets fuzzy and loses focus.
An exceptional piece of music writing, bravo.
Great article.
Im a fan of both RLJ and Porcaro (I play the drums). I read this story many years ago in Modern Drummer interview with Porcaro.
“RLJ’s biggest obstacles came from away from the piano and microphone “ sums it up for me. Not necessarily the choice of well established and proven studio musicians. Just my view. 😁
This piece prompted me to read her memoir “Last Chance Texaco: Chronicles of an American Troubadour”. As the old saying goes, “she paid her dues”. Like many rock/blues singers that venture into jazz, she didn’t get much encouragement from the jazz critics.
I come to this article (very well-written and analyzed) a year late. I agree completely with your lamenting the loss of Rickie Lee's voice in her second album. I actually went to high school and was best friends with Rickie's younger sister (Pamela Jo but just Pam in high school) and in the winter of 1980 taxied Rickie to and from a small sound studio at a local college where she was working on he second album "Pirates". Rickie played us some of the demo tracks in her kitchen one evening and asked what she should title the album. I voted for "Skeletons" - I loved the haunting poetry of the song. They went for the more uptempo "Pirates". Ah - memories from a bygone era of music.
Great analysis of her career--and I was into it before I saw that you quoted from the interview I did with her for Vanity Fair!
Great analysis of her career--and I was into it before I saw that you quoted from my Vanity Fair interview with her!