Category Archives: Rickie Lee Jones

Today’s Top 5: As Brought to You by Karrie

In the first of what I hope to be an ongoing, occasional feature, I’m turning today’s Top 5 over to someone else – in this case, the Irish singer-songwriter Karrie, whose 2016 album Perpetual Motion I reviewed a few weeks back. She released the single, “I Don’t Hear You,” a few weeks back, too.

As detailed elsewhere, she got a late start in the music business, swapping horse training for singing after the economy tanked in 2009 -, though you wouldn’t know it from her music. (More on that here.) Job change aside, she still maintains her farm – and took time out of making hay (literally) to field my questions.

Did you sing around the home prior to transitioning to music? You have such a wonderful voice, I can’t imagine that you didn’t share it with, at the least, family and friends – and horses, for that matter. 

I come from a family of nine children. (I’m last in the line, the youngest.) Everyone can sing. When it’s not an unusual thing, it’s a given. We always sing at family get togethers. Having a big family puts you in line. My older sisters and brothers pretty much chose what music the younger ones heard. Joni Mitchell’s song “Carey” is on her 1971 album Blue; I was nicknamed after it.

I won’t ask your age, but it sounds like you were in your mid-30s when you shifted to music.

I was born in ’75 . That in mind, my influences were well embedded in my head by the time I wrote my very first song at 34, “Stay Away.” (It’s on my first album, Jelly Legged).

That first open-mic night – about how many people were in the audience? What song did you sing?

I don’t really like to recall my first gig . I think it was an ill chosen venue in Cork city. An open-mic night for rock music . Think I bombed!

About “I Don’t Hear You” – it’s such a wondrous piece. What inspired it? 

“I Don’t Hear You” is a song I wasn’t very careful about writing. Its content must be a delayed reaction to continuous pressures. Kinda like getting numb to something.

I hear what I imagine are several influences in it. The opening bass (as short as it is) reminds me of the opening to “Wichita Lineman,” for example, and the horns conjure the Style Council (my wife hears it, too, but we’re also Paul Weller fans; or she’s just saying so to humor me). Both add to my delight with the song. Were those nods intentional? Happy accidents?

I really love hearing about what people get from my music . This is funny because “Wichita Lineman” is right up there in my most favorite songs. An interesting note on this might be that I don’t write the instrumental music for my songs bar having some ideas here and there. I mostly write a cappella, probably 99% of the time. I do make sure my song is complete when I give it over to “wardrobe.” It’s a selfish thing I guess. Jimmy Smyth produced here. I don’t tell him how to play guitar.

——————–

And, with the Q&A out of the way, here’s today’s Top 5: As Brought to You by Karrie. They are not (necessarily) her all-time favorites, just songs that she loves –

1) Joni Mitchell – “Carey.” My memory of it is I was very small  My sisters would pick me up  in their arms and dance with me singing along to Joni. Joni Mitchell influences me now in almost everything I write.

2) John Martyn & Danny Thompson – “Sweet Little Mystery” from Live In Dublin. John Martyn lived in Ireland. He was alive here and I didn’t I know how important his music would be to me. I was still training horses when I heard him first on the radio and thought this guy is out on his own. It very nearly made me turn from horses years before I did. I wish I had sought him out. I think It would have made a very big difference to my then poor decision making. It still bothers me that I ignored my own self wanting to go hear him live. Such a regret.

3) Elvis Costello – “Brilliant Mistake.” This song is like a movie. It’s perfect in every way.

4) Rickie Lee Jones – “Flying Cowboys.” This, along with its video, is also so perfect. (Unfortunately, the video isn’t on YouTube. But the song is…)

5) Tom Petty & the Heartbreakers – “Don’t Come Around Here No More.”

And one bonus…

6) Thom Moore & Midnight Well – “Soldier On.”

 

Today’s Top 5: November 1984 (via Musician)

IMG_0993November 1984: Have I covered this month before? No, apparently not. Oh, I have a Top 5 that covers the previous month and also penned a remembrance of a Walter Mondale rally I attended (though not for the politics) that same October. It feels like I have, though, and I likely would’ve pivoted to an Of Concerts Past piece this week except for this:

On Friday, Bruce Springsteen & the E Street Band canceled tonight’s concert in Greensboro, N.C., to protest the state’s recently enacted anti-LGBT law.

As happenstance would have it, earlier in the week, while contemplating what this post should be about, I came across this exchange in a Chet Flippo-penned article in the November 1984 Musician magazine:

Musician: Are you going to vote this year?

Springsteen: I’m not registered yet. I think I am gonna register and vote my conscience. I don’t know much about politics. I guess my politics are in my songs, whatever they may be. My basic attitude is people-oriented, you know. Kind of like human politics. I feel that I can do my best by making songs. Make some difference that way.

I’m not sure whether that means Bruce never voted before ’84 or just that he hadn’t in a long time, given that one’s voter registration doesn’t lapse overnight. That aside, it shows how he has grown from not knowing much about politics (or, perhaps, not wishing to discuss them) in 1984 to become a reliable liberal champion in the present. He campaigned for John Kerry in ’04 and barnstormed the country as part of the Vote for Change tour in ’08, after all. Anyone shocked or surprised or outraged that he decided to take a stand on this issue hasn’t been paying attention through the years; they’re likely the same folks who (still) mistake “Born in the U.S.A.” for a jingoistic paean.

Anyway, enough about the political and onto the music. Here’s today’s Top 5, as drawn from the November 1984 edition of Musician:

IMG_09941) Lindsey Buckingham – “Go Insane.” There’s a solid piece by one Sam Graham about Buckingham: “For the moment, [he] has canceled his reservations for insanity. The events of the past couple of years – in particular the torturous breakup of a six-year relationship – took him perilously close to the brink of personal and professional madness, but Buckingham has reeled himself back in. And the reel he used, the album appropriately titled Go Insane, not only loosely chronicles those events but serves as a cathartic release from them.”

The piece concludes with: “‘My life is so simple now. I’m living more or less alone, and all my focus is on this record. [Fleetwood Mac’s plans are uncertain at best.] That’s fine for the time being, although it can get lonely. I mean, I can’t handle going down to Le Dome to meet people.’ What he can handle is regaining some control over his life. ‘I lost my power in this world,’ [he] sings in ‘Go Insane,’ ‘cause I did not use it.’ That power, he observes, is ‘the power of discipline, the power to progress. There was a time when I really did think I’d lost it. But in the end, making this album was a reaffirming experience. I think I’m gaining some of that power back.’”

IMG_09962) Bruce Springsteen & the E Street Band – “Street Fighting Man.” Chet Flippo’s interview with the Boss is basically about the Born in the U.S.A. album and tour. Of the album, Springsteen says “I wanted the record to feel like what life felt like. You know, not romantic and not some sort of big heroic thing. I just wanted it to feel like an everyday, Darlington County kind of thing. Like ‘Glory Days,’ it sounds like you’re just talking to somebody; that’s what I wanted to do.”

He expounds on that a few questions later: “Born to Run and Nebraska were kind of at opposite poles. I think Born in the U.S.A. kind of casts a suspicious eye on a lot of things. That’s the idea…. These are not the same people anymore and it’s not the same situation. These are survivors and I guess that’s the bottom line. That’s what a lot of those characters are saying in ‘Glory Days’ or ‘Darlington County’ or ‘Working on a Highway.’“

And, finally, regarding the tour:

Musician: You’re doing the Rolling Stones’ “Street Fighting Man” as an encore. Is that a political statement?

Springsteen: I don’t know. I like that one line in the song, “What can a poor boy do but play for a rock ’n’ roll band?” It’s one of the greatest rock ’n’ roll lines of all time. It just seemed right for me to do it. It’s just fun. In that spot of the night it just fits in there. After “Born to Run,” we got to go up. That’s the trick. ‘Cause it’s hard to find songs for our encore. You gotta go up and then you gotta go up again. It has tremendous chord changes, that song. 

IMG_10013) U2 – “Pride (In the Name of Love).” J.D. Considine reviews U2’s The Unforgettable Fire, a good-but-not great album that includes, in my opinion, one of the greatest singles of the ‘80s, “Pride (In the Name of Love).” Considine says that it “sidetracks its tribute to the Reverend Martin Luther King’s non-violent struggle for civil rights through brash sloganeering. In a way, it’s almost a slap at their earlier songs, in which the desire to say something subsumed the message itself, until it sinks in that King died for ideas as basic as these slogans, a realization that’s as invigorating as it is frightening.”

IMG_10024) Rickie Lee Jones – “It Must Be Love.” Anthony DeCurtis opens his review of The Magazine with: “Blending early 60s R&B crack, beat-poet lyricism and cabaret jazz ease, Rickie Lee Jones’ best tracks turn the tough trick of using entirely familiar elements to disorient listeners’ expectations. Her infinitely elastic voice is the main instrument of this aural upset, wrapping itself around everyday words and feelings in ways that restore their meaning and wonder.”

As a whole, though, he thinks Rickie Lee overreaches, and offers something of a confused conclusion: “[It] falls short of its greatest artistic goals, but its many achievements wouldn’t have meant so much within the context of any less full-hearted effort.”

IMG_10035) The Everly Brothers – “On the Wings of a Nightingale.” So, after a decade apart, Don and Phil came together for a much-praised reunion concert in London in 1983 and then recorded EB ’84, their first studio album in 11 years, with producer Dave Edmunds. This Paul McCartney-penned tune is (rightfully) called “charming,” but the uncredited reviewer isn’t thrilled with the rest. Frankie Miller’s “Danger Danger” is “stompy and undistinguished”; Jeff Lynne’s “The Story of Me” is “mawkish”; and Bob Dylan’s “Lay Lady Lay” is called “an oddball choice.” Dave Edmunds, too, is taken to task for his heavy-handed production, which – according to the writer – is laden with reverb, echo and compression.

 

Today’s Top 5: Classics, Old & New

Humans have lived, longed, loved, lost and loved again, forged wars and fought peace, and argued about politics familial, social and cultural, since the dawn of time. Such is the grist of poetry and song, of course, and while many lyrical laments litter the byways of history, forgotten, much has stuck around – thanks to the advent of, first, paper; second, recordings; and, last, the resonance of the works themselves. Whether they come from the pen of Wallace Stevens or piano of Carole King, or the hills of Appalachia, expressions of the heart, soul and psyche have remained constant through the ages. It’s why music, like all art, doesn’t come with an expiration date. We, as a people, live, long, love, lose and love again, and argue amongst ourselves, forever and ever. Amen.

I mentioned in my last post that I sent my niece CDs for her 21st birthday. (A few more than I intended, actually, but the prices on two were obscenely low.) Three harken back to the 1970s and the others hail from the past few years. The lines that lead from those of yore to the present are right there, to be heard.

One thing that I did, and I have no idea if it worked as intended, was to turn Amazon’s free gift cards into short notes about each album. So, for today’s Top 5: Classics, Old & New, here are the picks with my notes (and a bit extra) included.

1) Carole King – “So Far Away” from Tapestry, 1971. King, of course, is one of the all-time greats; and this album is, too. I wrote in the note, “Blue, Rickie Lee’s debut and Tapestry are stone-cold classics that have influenced many, including Diane Birch, FAK & the Staves.“ In retrospect, I should have singled out Tapestry specifically, as it was the top-selling album for 15 weeks in a row during the winter and spring of ’71. Rolling Stone rates it the No. 35 Album of All Time.

2) Joni Mitchell – “River” from Blue, 1971. I wrote: “This is rightfully considered one of the greatest singer-songwriter albums of all time, and has influenced generations of artists. ‘River’ is amazing.” Rolling Stone rates it the No. 30 Album of All Time.

3) Rickie Lee Jones – “Chuck E.’s in Love” from Rickie Lee Jones, 1979. I wrote: “Rickie Lee’s debut was and remains a stunner, building upon the blueprints laid down by Joni Mitchell, Laura Nyro and Patti Smith, among others.” I’d add: Rickie Lee radiates utter coolness on everything she does, which is why she’s the Duchess of Coolsville. (Her most recent album was one of my favorites from last year, too, for what that’s worth.)

4) Diane Birch – “Nothing but a Miracle” from Bible Belt, 2009. I wrote, borrowing an observation from my Diane: “This album, in many ways, is a modern-day Tapestry.” That’s a tad over-the-top, granted, but there’s no denying the charm of this modern-day wonder. I remember reading the review of it in Rolling Stone a month or so before its street date; it sounded like something I’d like, so I looked her up on Facebook, where she’d posted four of the songs from the album. Within a few minutes, Diane called in: “Who is that? I really like her!” We’ve been fans ever since.

5) First Aid Kit – “Cedar Lane” from Stay Gold, 2014. I wrote: “This was my favorite album of 2014 – FAK are two sisters from Sweden who mine an Americana sound.” Notes, of course, can’t include hyperlinks, so I’ll include one here instead: my Albums of the Year, 2014 post.

6) The Staves – “Make It Holy” from If I Was. 2015. I wrote: “This album is a gem – my favorite from last year.” (Here’s that post.)