LP: Audiophile (Nimbus) Rickie Lee Jones 1st album
£
70
$
93
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Description
Rickie Lee Jones's famous self titled first album from 1979 ,but this is the incredibly rare Nimbus audiophile recut made in 1984 for the UK HiFi magazine Hifi for Pleasure and later available through HiFi News.
Tracks: 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)
The Nimbus remasters series recut or "Supercut" discs are widely sought after. They included Little Feat's Waiting for Columbus, Santana's Borboletta, Randy Newman's Little Criminals, the Beatles' Sgt Pepper and others.
The Nimbus vinyl was quieter and smoother than anything else in in use in Europe at the time, and because the company had rebuilt their Neumann cutting lathes from scratch and optimised every parameter of the cutting electronics the resulting discs were far nearer to the mastertape than anyone else was managing at the time. The dynamics and frequency extension as well as a revelatory level of low level detail are simply stunning and you end up wishing all records were mastered by Nimbus!
Released in 1979 but mostly recorded during 1978, when Jones was still just 23 years old, RICKIE LEE JONES is one of the forgotten albums of the last 25-30 years, a huge hit when first released but forgotten soon afterwards. If all you have to go on is "Chuck E.'s in Love", you don't know much about Rickie Lee.
This record encompasses so much feeling and plenty of different genres; Jones seems comfortable with rock, pop, funk, R&B, jazz and folk, and she is an able pianist and a sublime guitarist. "Chuck E.'s in Love", her only major hit, is a great swinging, jazzy tune but not the best cut on the album.
Jones' humour is displayed on "Chuck. E", the similarly upbeat be-bop of "Danny's All Star-Joint" and the lounge jazz-y "Easy Money", which in effect set the ball rolling for Jones when Little Feat frontman Lowell George first recorded it.
But she shows unmatched emotion on such cuts as "On Saturday Afternoons in 1963", a piano ballad that has become one of Tori Amos' favoured live covers, the cabaret of "Company" and, particularly, on the beautiful "The Last Chance Texaco", one of the album's best compositions.
Jones' hipster chick persona comes across on "Coolsville" and the groovy "Weasel and the White Boys Cool", both peppered with interesting characters (the album is consistent in that characters such as 'Bragger' appear more than once), but she is not gimmicky by any means (she really did lead the "jazz lifestyle").
RICKIE LEE JONES is an album that combines so many different musical elements it is rewarding on numerous levels. With each listen, new touches and flourishes leap out and it sounds remarkably fresh, 25 years after its original release. Her vocal mannerisms may put some people off (she has a tendency to change volume frequently and miss out letters of words), but no one can deny she is a vocalist of immense elasticity and a songwriter of extraordinary depth.,
Condition: Disc absolutely mint, no marks or minor grazes of any kind; Sleeve: spine has had sellotape (scotch tape) applied, and the lower left corner has a mild crease. there is a 2cm split to the top edge caused by the disc cutting through the card sleeve. Otherwise fine.
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