Rickie Lee Jones - self-titled (1979) Vinyl and 50 similar items

Catalog Number: BSK-3296 Condition Details: Vinyl plays nicely; a few light hairlines (play-graded). Cover has a few creases near edges; light-scuffing and surface impressions (front/back). Inner-sleeve is original (generic white). Spine is easy-to-read with mild-wear. Minor shelf-wear along top/bottom-edges and corners. Opening is crisp with signs of light use and divots. Cream colored label with faint horizontal lines. (Not a cut-out.) Tracks: Chuck E.'s In Love On Saturday Afternoons In 1963 Night Train Young Blood Easy Money The Last Chance Texaco Danny's All-Star Joint Coolsville Weasel And The White Boys Cool Company After Hours (Twelve Bars Past Goodnight) About The Record: Rickie Lee Jones is the eponymous debut album of singer-songwriter Rickie Lee Jones. After arriving in California in the mid-1970s, Jones started taking songwriting more seriously, and by 1977 had met singer-songwriters Chuck E. Weiss and Tom Waits (Jones consequently became romantically involved with Waits). The album was released in the spring of 1979 to mostly favorable reviews propelled by the substantial jazz-pop hit single Chuck E.'s in Love, based on a rumored romance of her friend Chuck E. Weiss. The single became a US #4 hit during the summer, while the album, which went on to become a million seller, hit US #3. Jones was supported by a memorable slot on Saturday Night Live in April 1979, where she performed Chuck E.'s in Love and Coolsville. A second single, Young Blood, cracked the US Top 40 in late 1979, when Jones went on an international tour. By June 1981, the album had sold over two million copies in the US alone. The album cover contributed to the image of Jones as a stylish beret-wearing beatnik. Jones had said the inspiration of it was from a photo of her father (an aspiring musician and waiter) in a similar pose, lighting a cigarette while sitting on a beach towel at a Chicago beach along Lake Michigan, near where the family lived. Although Donna Summer had already been wearing berets and singer-songwriter Joni Mitchell wore one for the album cover of her 1976 album Herija, it was Jones Parisian-boho jazz sensibility that finally popularized it, propelling as a mainstay of hipster chic and (perhaps unintentionally) branding her image in the process. Despite Jones' beautiful looks and street gamine wildness, she would recall that people seemed to only recognize her in public when she was wearing the beret.