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8440 Wilshire Blvd, Los Angeles, CA 90211
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Once touted as the usual successor to Joni Mitchell, singer/songwriter Rickie Lee Jones
Proved no less idiosyncratic or mercurial; like Mitchell, Jones experienced important commercial success at the outset of her career, but a fidgety original spirit -- combined with a stubborn refusal to fit contentedly into any one musical niche -- sealed her ultimate fate as that of a highly-regarded cult heroine.
Rickie Lee Jones was born on November 8, 1954, in Chicago, but the volatile relationship between her mother and father resulted in an education that led her everywhere from Phoenix, AZ, to Olympia, WA, where exclusion ended her school career. As a teen, Jones began drinking a lot, and eventually Rickie Lee Jones left home and began drifting up and down the West Coast before settling in Los Angeles in the mid-'70s. There Rickie Lee Jones worked a series of waitressing jobs while infrequently performing in area clubs, where Rickie Lee Jones sang and honed her unique, Beat-influenced spoken word monologues. Rickie Lee Jones also began a relationship with fellow boho Tom Waits.
Her first gauge of success was as a songwriter; after her friend Ivan Ulz sang Jones' composition "Easy Money" over the phone to Lowell George; the ex-Little Feat frontman incorporated it on his album Thanks I'll Eat It Here. Then, in 1978 Jones' four-song demo came to notice of Warner Brothers' executive Lenny Waronker, who enlisted Russ Titleman to co-produce her self-titled 1979 debut LP. Spurred by the success of the jazz-flavored hit single "Chuck E's in Love," Rickie Lee Jones became a smash both commercially and seriously, earning praise for Jones' elastic vocals, vivid wordplay and sole fusion of folk, jazz and R&B.
With 1981's follow-up, Pirates, Rickie Lee Jones gave early notice that her music would not sit still; employing longer and additional complex song structures, her lyrics tackled themes of evolution, change and death. Two years later, Rickie Lee Jones returned with Girl at Her Volcano, an EP collection of live jazz standards and studio outtakes; with 1984's The Magazine, she made another left turn, teaming with composer James Newton Howard for her nearly all slick, synth-driven outing to date.
Problems with alcohol, business difficulties and the birth of a daughter efficiently sidelined Jones for much of the decade; Rickie Lee Jones did not resurface until 1989's sterling Flying Cowboys, produced by Steely Dan's Walter Becker and recorded with the aid of the magnificent Scottish trio the Blue Nile. Don Was took over the production reins for 1991's Pop Pop, on which Jones covered ballads range in origin from Tin Pan Alley to the Haight-Ashbury while backed by jazz players including Charlie Haden and Joe Henderson. After 1993's Traffic From Paradise, Rickie Lee Jones embarked on an acoustic tour; Naked Songs, a document of those unplugged shows, followed in 1995. Ghostyhead was released in 1997 and the standards record It's Like This appeared three years later. Rickie Lee Jones returned to original material in 2003 with The Evening of My Best Day. Troughout the summer of 2005, Rhino released the 3CD anthology Duchess of Coolsville.