RICKIE LEE JONES
''LIVE AT RED ROCKS''
NOVEMBER 20 2001
67:29
1. Rodeo Girl/6:01
2. Satellites/5:53
3. We Belong Together/5:19
4. Coolsville/5:16
5. Weasel and the White Boys Cool/8:05
6. Chuck E.'s in Love/4:03
7. Just My Baby/5:14
8. Flying Cowboys/5:00
9. Youngblood/4:15
10. Don't Let the Sun Catch You Crying/5:45
11. Love Is Gonna Bring Us Back Alive/8:42
12. Gloria/3:57
Sal Bernardi /Accordion, Guitar (Electric), Harmonica, Vocals
Jeff Daniel /Keyboards, Vocals
Wayne Johnson /Guitar (Acoustic), Mandolin
Rickie Lee Jones /6-String Guitar, Guitar, Guitar (12 String), Guitar (Acoustic), Guitar (Electric), Piano, Producer, Vocals
John Leftwich /Bass, Vocals
Lyle Lovett /Guest Artist, Vocals
Tony Morales /Drums
Ron Powell /Percussion, Vibraphone
Michael Stewart /Guest Artist, Keyboards, Trumpet
REVIEW
by Jason MacNeil
One of the more eclectic souls when it comes to the outskirts of adult contemporary pop, Rickie Lee Jones originally didn't foresee this 2001 concert from Colorado being released. However, the disc is a welcomed array for die-hard fans and newcomers alike. With most of the songs running over five minutes, certain numbers take on a life of their own, particularly the supporting solos on "Weasel and the White Boys Cool." Opening with a rather rollicking "Rodeo Girl," the singer opts for a quieter, jazzier feel on later numbers such as "Just My Baby." There is a slight problem on the song, though, as her voice tends to get lost in the mix slightly, but such is the case with live shows and recordings of them. While touching on most of her more famous tracks, including "Chuck E.'s in Love," a few songs tend to get swallowed in a Muzak fashion, as is the case with "Don't Let the Sun Catch You Crying." It's a small price to pay, though, for the following Caribbean-tinged duet with Lyle Lovett on "Love Is Gonna Bring Us Back Alive." In "Coolsville," she sings that "the real singer's back in town." After hearing this album, listeners would agree that she definitely has a point.
BIOGRAPHY
by Jason Ankeny
Once touted as the natural successor to Joni Mitchell, singer/songwriter Rickie Lee Jones proved no less idiosyncratic or mercurial; like Mitchell, Jones experienced significant commercial success at the outset of her career, but a restless creative spirit -- combined with a stubborn refusal to fit comfortably into any one musical niche -- sealed her ultimate destiny as that of a highly regarded cult heroine.
Jones was born on November 8, 1954, in Chicago, but the volatile relationship between her mother and father resulted in an upbringing that led her everywhere from Phoenix, Arizona, to Olympia, Washington, where an expulsion ended her school career. As a teen, Jones left home and began drifting up and down the West Coast before settling in Los Angeles in the mid-'70s. There she worked a series of waitressing jobs while occasionally performing in area clubs, where she sang and honed her unique, Beat-influenced spoken word monologues. She also began a relationship with fellow boho Tom Waits.
Her first measure of success was as a songwriter; after her friend Ivan Ulz sang Jones' composition "Easy Money" over the phone to Lowell George, the ex-Little Feat frontman included it on his album Thanks I'll Eat It Here. Then in 1978 Jones' four-song demo came to the attention of Warner Bros. executive Lenny Waronker, who enlisted Russ Titleman to co-produce her self-titled 1979 debut LP. Spurred by the success of the jazz-flavored hit single "Chuck E's in Love," Rickie Lee Jones became a smash both commercially and critically, earning praise for Jones' elastic vocals, vivid wordplay, and unique fusion of folk, jazz, and R&B.
With 1981's follow-up, Pirates, she gave early notice that her music would not sit still; employing longer and more complex song structures, her lyrics tackled themes of evolution, change, and death. Two years later, she returned with Girl at Her Volcano, an EP collection of live jazz standards and studio outtakes; with 1984's The Magazine, she made another left turn, teaming with composer James Newton Howard for her slickest, most synth-driven outing to date.
After taking a few years off from recording, she resurfaced with 1989's sterling Flying Cowboys, produced by Steely Dan's Walter Becker and recorded with the aid of the wonderful Scottish trio the Blue Nile. Don Was took over the production reins for 1991's Pop Pop, on which Jones covered ballads ranging in origin from Tin Pan Alley to the Haight-Ashbury while backed by jazz players including Charlie Haden and Joe Henderson. After 1993's Traffic from Paradise, she embarked on an acoustic tour; Naked Songs, a document of those unplugged shows, followed in 1995. Ghostyhead was released in 1997 and the standards record It's Like This appeared three years later.
She returned to original material in 2003 with The Evening of My Best Day, an album that expressed her anger with contemporary American politics. During the summer of 2005, Rhino released the three-CD anthology Duchess of Coolsville. Two years later, The Sermon on Exposition Boulevard, a stunning collection of songs based on friend Lee Cantelon's 1997 book The Words, came out. Balm in Gilead followed in 2009. In 2012, Jones returned with the Ben Harper-produced covers album, Devil You Know.
''LIVE AT RED ROCKS''
NOVEMBER 20 2001
67:29
1. Rodeo Girl/6:01
2. Satellites/5:53
3. We Belong Together/5:19
4. Coolsville/5:16
5. Weasel and the White Boys Cool/8:05
6. Chuck E.'s in Love/4:03
7. Just My Baby/5:14
8. Flying Cowboys/5:00
9. Youngblood/4:15
10. Don't Let the Sun Catch You Crying/5:45
11. Love Is Gonna Bring Us Back Alive/8:42
12. Gloria/3:57
Sal Bernardi /Accordion, Guitar (Electric), Harmonica, Vocals
Jeff Daniel /Keyboards, Vocals
Wayne Johnson /Guitar (Acoustic), Mandolin
Rickie Lee Jones /6-String Guitar, Guitar, Guitar (12 String), Guitar (Acoustic), Guitar (Electric), Piano, Producer, Vocals
John Leftwich /Bass, Vocals
Lyle Lovett /Guest Artist, Vocals
Tony Morales /Drums
Ron Powell /Percussion, Vibraphone
Michael Stewart /Guest Artist, Keyboards, Trumpet
REVIEW
by Jason MacNeil
One of the more eclectic souls when it comes to the outskirts of adult contemporary pop, Rickie Lee Jones originally didn't foresee this 2001 concert from Colorado being released. However, the disc is a welcomed array for die-hard fans and newcomers alike. With most of the songs running over five minutes, certain numbers take on a life of their own, particularly the supporting solos on "Weasel and the White Boys Cool." Opening with a rather rollicking "Rodeo Girl," the singer opts for a quieter, jazzier feel on later numbers such as "Just My Baby." There is a slight problem on the song, though, as her voice tends to get lost in the mix slightly, but such is the case with live shows and recordings of them. While touching on most of her more famous tracks, including "Chuck E.'s in Love," a few songs tend to get swallowed in a Muzak fashion, as is the case with "Don't Let the Sun Catch You Crying." It's a small price to pay, though, for the following Caribbean-tinged duet with Lyle Lovett on "Love Is Gonna Bring Us Back Alive." In "Coolsville," she sings that "the real singer's back in town." After hearing this album, listeners would agree that she definitely has a point.
BIOGRAPHY
by Jason Ankeny
Once touted as the natural successor to Joni Mitchell, singer/songwriter Rickie Lee Jones proved no less idiosyncratic or mercurial; like Mitchell, Jones experienced significant commercial success at the outset of her career, but a restless creative spirit -- combined with a stubborn refusal to fit comfortably into any one musical niche -- sealed her ultimate destiny as that of a highly regarded cult heroine.
Jones was born on November 8, 1954, in Chicago, but the volatile relationship between her mother and father resulted in an upbringing that led her everywhere from Phoenix, Arizona, to Olympia, Washington, where an expulsion ended her school career. As a teen, Jones left home and began drifting up and down the West Coast before settling in Los Angeles in the mid-'70s. There she worked a series of waitressing jobs while occasionally performing in area clubs, where she sang and honed her unique, Beat-influenced spoken word monologues. She also began a relationship with fellow boho Tom Waits.
Her first measure of success was as a songwriter; after her friend Ivan Ulz sang Jones' composition "Easy Money" over the phone to Lowell George, the ex-Little Feat frontman included it on his album Thanks I'll Eat It Here. Then in 1978 Jones' four-song demo came to the attention of Warner Bros. executive Lenny Waronker, who enlisted Russ Titleman to co-produce her self-titled 1979 debut LP. Spurred by the success of the jazz-flavored hit single "Chuck E's in Love," Rickie Lee Jones became a smash both commercially and critically, earning praise for Jones' elastic vocals, vivid wordplay, and unique fusion of folk, jazz, and R&B.
With 1981's follow-up, Pirates, she gave early notice that her music would not sit still; employing longer and more complex song structures, her lyrics tackled themes of evolution, change, and death. Two years later, she returned with Girl at Her Volcano, an EP collection of live jazz standards and studio outtakes; with 1984's The Magazine, she made another left turn, teaming with composer James Newton Howard for her slickest, most synth-driven outing to date.
After taking a few years off from recording, she resurfaced with 1989's sterling Flying Cowboys, produced by Steely Dan's Walter Becker and recorded with the aid of the wonderful Scottish trio the Blue Nile. Don Was took over the production reins for 1991's Pop Pop, on which Jones covered ballads ranging in origin from Tin Pan Alley to the Haight-Ashbury while backed by jazz players including Charlie Haden and Joe Henderson. After 1993's Traffic from Paradise, she embarked on an acoustic tour; Naked Songs, a document of those unplugged shows, followed in 1995. Ghostyhead was released in 1997 and the standards record It's Like This appeared three years later.
She returned to original material in 2003 with The Evening of My Best Day, an album that expressed her anger with contemporary American politics. During the summer of 2005, Rhino released the three-CD anthology Duchess of Coolsville. Two years later, The Sermon on Exposition Boulevard, a stunning collection of songs based on friend Lee Cantelon's 1997 book The Words, came out. Balm in Gilead followed in 2009. In 2012, Jones returned with the Ben Harper-produced covers album, Devil You Know.
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