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Flying Cowboys

Editorial Reviews

All Music Guide - William Ruhlmann
Five years after the disappointing The Magazine, Rickie Lee Jones returned to form with Flying Cowboys, which shared much of the playful, childlike charm of her debut, Rickie Lee Jones, and some of the musically diffuse, lyrically ambitious form of its follow-up, Pirates. From the opening track, "The Horses," which suggested a mother's delight with her child as much as a lover's devotion, Jones reintroduced the joyous tone of her early work as well as establishing the Western theme that would run through the album -- cowboys, rodeos, horses, deserts -- without adding up to an actual storyline. The easy rhythms and lazy, flexible singing on the first few songs were ...
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Editorial Reviews

All Music Guide - William Ruhlmann
Five years after the disappointing The Magazine, Rickie Lee Jones returned to form with Flying Cowboys, which shared much of the playful, childlike charm of her debut, Rickie Lee Jones, and some of the musically diffuse, lyrically ambitious form of its follow-up, Pirates. From the opening track, "The Horses," which suggested a mother's delight with her child as much as a lover's devotion, Jones reintroduced the joyous tone of her early work as well as establishing the Western theme that would run through the album -- cowboys, rodeos, horses, deserts -- without adding up to an actual storyline. The easy rhythms and lazy, flexible singing on the first few songs were reminiscent of Laura Nyro's work with Labelle on their Gonna Take a Miracle album, after which Jones branched out into reggae and folk-blues, coming up with an affectionate bluesman voice on "Ghost Train." "Satellites," the college radio hit, used the sprung rhythms and surprising choral parts familiar from her popular early songs. If Jones could be obscure and unfocused as a writer, that weakness was also her strength, since it was an expression of the imagination that also produced her most striking musical effects. Producer Walter Becker may have helped keep things from getting as grandiose as they had on The Magazine, but it was really the artist herself who managed to rein in from that album's self-importance. If what resulted was not as accomplished as Pirates, it was the most accessible and enjoyable music Jones had made since her debut.
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Product Details

  • Release Date: 9/19/1989
  • Label: Geffen Records
  • UPC: 720642424629
  • Catalog Number: 24246
  • Sales rank: 37,320

Album Credits

Performance Credits
Rickie Lee Jones Primary Artist, Synthesizer, Multi Instruments
Peter Erskine Drums
Marty Krystall Clarinet, English Horn, Tenor Saxophone
Greg Mathieson Hammond Organ
Vince Mendoza Trumpet
Bob Sheppard Saxophone, Tenor Saxophone
Chris Hammer Smith Harmonica
Rob Wasserman Bass
Michael Ruff Background Vocals
Walter Becker Synthesizer, Bass
Sal Bernardi Electric Guitar, Background Vocals
Michael Boddicker Synthesizer
Randy Brecker Trumpet
Paulinho Da Costa Percussion
Kevin Dorsey Background Vocals
Howard "Buzz" Feiten Electric Guitar, Classical Guitar
Michael Fisher Percussion
Pascal Nabet-Meyer Synthesizer, Percussion
Michael Omartian Piano
Dean Parks Guitar, Electric Guitar
Greg Phillinganes Keyboards
John "J.R." Robinson Drums
Neil Stubenhaus Bass
William D. "Smitty" Smith Organ
Bob Zimmitti Percussion
Technical Credits
Robert Hart Engineer
Jim Keltner drum machine
The Robbs Engineer
Walter Becker Producer
Chris Dickie drum programming
Greg Laney Engineer
Mark Linett Engineer
Greg Penny Engineer
Ken Felton Engineer
Lavant Coppock Engineer
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