Magazine

The Magazine

by Rickie Lee Jones
     
 
No doubt to the consternation of Warner Bros. Records, Rickie Lee Jones took more than three years to follow up her second (and second Top Five, gold-selling) album, Pirates (1981) with The Magazine. (In the interim, the label issued the mini-album of live tracks and outtakes Girl at Her Volcano [1983].) But from the evidence of the finished

Overview

No doubt to the consternation of Warner Bros. Records, Rickie Lee Jones took more than three years to follow up her second (and second Top Five, gold-selling) album, Pirates (1981) with The Magazine. (In the interim, the label issued the mini-album of live tracks and outtakes Girl at Her Volcano [1983].) But from the evidence of the finished product, she might have been better advised to take a little longer. Her self-titled first album was a delightful collection of folk-jazz-pop, sparked by the hit single "Chuck E.'s in Love," but it also pointed toward the moodier and more ambitious Pirates. On The Magazine, Jones seems to be rewriting both albums at once. She begins and ends the LP with lengthy, studied compositions, each of which is launched by an instrumental prelude (music that pads out the album), first "Gravity," and then the three-part "Rorscharchs." This material finds her pondering abstract concepts, self-consciously writing in multiple metaphors and similes like someone who spent all night reading Keats. "The Weird Beast," the last part of "Rorscharchs," is weighted down by such lines as "Death speaks the foreign language we don't know." In between these pillars of obscurity, Jones has come up with a batch of songs that often try to recycle the vibe of her first album, notably "Juke Box Fury," which sounds like another "Chuck E.'s in Love," "It Must Be Love," and "The Real End." They're all good songs, but they're songs Jones has written before and better. Where once she sketched lively characters with a line or two of observed detail, now she calls out names -- Danny, Carol -- without cluing anyone in to who they are or why they matter. As usual, her melodies follow the contours of her singing, and producer James Newton Howard matches synthesizers and strings to the rhythms set up by talented session musicians like Steve Gadd, Nathan East, and Dean Parks. So, The Magazine sounds like a Rickie Lee Jones album, just one not on a par with her first two.

Product Details

Release Date:
10/25/1990
Label:
Reprise / Wea
UPC:
0075992511728
catalogNumber:
25117
Rank:
67321

Related Subjects

Tracks

Album Credits

Performance Credits

Rickie Lee Jones   Primary Artist,Synthesizer,Piano,Vocals
Victor Feldman   Percussion
James Newton Howard   Synthesizer,Strings,Conductor
Sal Bernardi   Acoustic Guitar,Vocals
Michael Boddicker   Synthesizer
Lenny Castro   Percussion
Nick DeCaro   Accordion
Nathan East   Bass
Howard "Buzz" Feiten   Guitar
Steve Gadd   Drums
Jerry Hey   Horn
David Hungate   Bass
Neil Larsen   Organ,Synthesizer,DX-7,Wurlitzer
Steve Lukather   Guitar
Marty Paich   Conductor
Jeff Porcaro   Drums
Dean Parks   Guitar
Jeff Pevar   Guitar,Mandolin,12-string Guitar
Greg Phillinganes   Synthesizer,fender rhodes

Technical Credits

Rickie Lee Jones   Arranger,Producer,Horn Arrangements,Art Direction
James Newton Howard   Producer,String Arrangements
Michael Boddicker   Programming
Jerry Hey   Horn Arrangements
Mark Linett   Engineer
Marty Paich   String Arrangements

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