Rickie Lee Jones - Pirates (1981)

I recently read RLJ's memoir, Last Chance Texaco - the writing seems to come from a "you figure it out, I can't be bothered with specifics" mindset: metaphors are forced, and it's not linear, making some of the narrative difficult to follow. It can be frustrating at times but there are a few good parts. Same goes for this album.

A break-up album Jones made with the help of her then-boyfriend, Sal Bernardi, recorded after she split with Tom Waits, who is portrayed in the memoir as the one that got away. Jones plays around with imagery, time signatures, tempi, orchestration, and arrangements. For a pop album, sometimes it works, sometimes it doesn't. As I listen to this album, my thoughts are usually something along the lines of "this sounds like Steely Dan on drugs." That may or may not be fair, but in the introduction to her book Jones writes "My drug career was short-lived -- three years from 1980 to 1983." So maybe I'm not far off? The critics liked the album better than I do; I prefer The Magazine.

Press of the time:

• High Fidelity: "more colorfully populated and eventful than most movies"
• Musician: "her second album has arrived with images that are more ambiguous than sharp and an attitude that's more questioning than assertive."
• Robert Christgau (C+): "she writes and sings and composes as if she has something to hide. From herself, most likely."
• Rolling Stone (★★★★★): "not only comprehensive, but compulsive, compelling and as welcome as Christmas in July"
• Stereo Review: "an impressive display of seamless, ethereal, and hypnotic jazz singing."

In The Village Voice's annual 'Pazz & Jop' critic's list, this album placed at #5 for 1981.

Album chart peaks:

• US Billboard 200: #5
• Billboard Rock: #28
• CashBox: #8
• Rolling Stone: #3

Tracks: It seems the album has trouble getting going with false starts, too many style changes in the middle of a tune, etc. The middle third of the album is quite good: Woody And Dutch On The Slow Train To Peking (#31 rock), the title cut (#40 rock), and A Lucky Guy (#64 pop) - all in her signature shuffle style. Then the album fades out just as it faded in.

Personal Memory Associated with this CD: Around the time this album was released in 1981, I spent a week at church camp (they called it a 'youth workshop' but I know what's what). It was held in the plush environs of Trinity University in San Antonio so I had no complaints about tents, ticks, and sunburn. I met a bunch of good people that week and have even kept in touch with one of them for these past 40 years. I attended that workshop every July from 1981-84 and I looked forward to that week in late July every summer. Basically a week of small group therapy, the experiences did me a world of good. Plus, there were dances most every night and lots of pretty girls so I loved that. But church camp really doesn't have much to do with this album other than coincidental timing, so never mind. As you were.

Previously revisited for the blog:
The Magazine (1984)

Rickie Lee Jones - The Magazine (1984)

To be honest, other than her radio hits, I hadn't given much thought to Rickie Lee Jones in many years. But five years ago, I put together a list of Billboard magazine's jazz charts and found two of RLJ albums charted on said jazz charts. That got my attention, but then I noticed many of the social media accounts I follow mention albums such as The Magazine when listing the usual suspects in regard to "yacht rock" session musicians (i.e., Jeff Porcaro, David Hungate, Buzz Feiten, Neil Larsen, Jerry Hey, Steve Lukather, Steve Gadd - they're all here ). So, long story long, when I saw this beauty in the $2 clearance bin at the local used CD joint two years back, I didn't hesitate. Wise move on my part cuz this thing is fantastic.

Press of the time:

• Stereo Review: Best of the month.
• Rolling Stone (★★★★): "insists on staying one step ahead of herself and challenges her audience to keep up."
• Robert Christgau: B-
• CashBox: "Jones seems to have found a firm focus"
• Billboard: "what truly intelligent AC music can be"

"Truly intelligent AC music," huh? Sounds like something I'd get into. And I dig the risk-taking in the songwriting, even though some critics of the time did not. NME, however, ranked the album as 1984's tenth best.

I almost forgot: headphones mandatory.

Album chart peaks:

• US Billboard Top 200: #44
• Billboard Jazz: #20
• CashBox: #26
• CashBox CD: #16
• Rolling Stone: #16

Tracks: One of those albums that needs need to be heard top-to-bottom as it is apparent (to me, anyways) that a great deal of thought was put into the album sequencing. The singles were It Must Be Love (did not chart) and The Real End (#83 pop, #37 AC) but the Chuck E's in Love redux is Juke Box Fury.

Personal Memory Associated with this CD: None. While Jones had matured quite a bit for this album, the 1984 version of myself had not. So not only did I not hear this album until much later, I wouldn't have given the thing a second look in the record store bins. 1984 version of myself wasn't that bright.