| Artist |
Rickie Lee Jones |
| Album Title: |
Flying Cowboys |
| Album Cover: |
 |
| Primary Genre |
Pop |
| Format |
CD |
| Released |
09/26/1989 |
| Label |
Geffen Records/Warner Bros |
| Catalog No |
9 24246-2 |
| Bar Code No |
0 7599-24246-2 |
| Packaging |
Jewelcase |
| Tracks |
| 1.
|
The Horses (4:50)
|
| 2.
|
Just My Baby (4:49)
|
| 3.
|
Ghetto Of My Mind (6:16)
|
| 4.
|
Rodeo Girl (4:54)
|
| 5.
|
Satellites (4:58)
|
| 6.
|
Ghost Train (4:18)
|
| 7.
|
Flying Cowboys (5:05)
|
| 8.
|
Don't Let The Sun Catch You Crying (4:20)
|
| 9.
|
Love Is Gonna Bring Us Back Alive (4:55)
|
| 10.
|
Away From The Sky (5:34)
|
| 11.
|
Atlas' Marker (5:57)
|
|
| Date Acquired |
08/31/2019 |
| Personal Rating |
 |
| Acquired from |
Electric Fetus - Duluth |
| Purchase Price |
2.69 |
Web Links |
All Music Guide entry:
Discogs entry:
MusicBrainz entry: |
Notes |
© ℗ 1989 The David Geffen Company
Printed in U.S.A.
Mfg, by DADC
All songs published by Easy Money Music ASCAP except:
Track 8 published by Dick James Music, Inc. BMI.
Design – Praxis
Engineer [2nd] – Greg Laney, Ken Felton, Lavant Coppock, Robert Hart
Executive-Producer – Gary Gersh
Mastered By – Bernie Grundman
Mixed By – Greg Penny, Roger Nichols
Painting [Front Cover] – Jose Esteban Martinez
Photography By – Dewey Nicks
Producer – Walter Becker
Phonographic Copyright ℗ – The David Geffen Company
Copyright © – The David Geffen Company
Manufactured By – Warner Bros. Records Inc.
Recorded At – Studio 55, Los Angeles
Recorded At – The Village Recorder
Recorded At – Cherokee Studios
Mastered At – Bernie Grundman Mastering
Published By – Easy Money Music
Published By – Dick James Music, Inc.
Manufactured By – DADC – DIDX-005431
Barcode: 0 7599 - 24246 - 2
Matrix / Runout: DIDX-005431 2
SPARS Code: DDD
Other (DADC Code, Disc Face): DIDX 005431
----------------------------------------------------------------------------------------------
Analyzed Folder: Rickie Lee Jones - Flying Cowboys_dr.txt
----------------------------------------------------------------------------------------------
DR Peak RMS Filename
----------------------------------------------------------------------------------------------
DR19 -3.13 dB -26.46 dB 01 - The Horses.flac
DR13 -8.87 dB -25.90 dB 02 - Just My Baby.flac
DR24 -0.29 dB -26.63 dB 03 - Ghetto of My Mind.flac
DR16 -6.57 dB -25.98 dB 04 - Rodeo Girl.flac
DR17 -4.41 dB -25.18 dB 05 - Satellites.flac
DR18 -7.21 dB -32.47 dB 06 - Ghost Train.flac
DR16 -6.09 dB -24.21 dB 07 - Flying Cowboys.flac
DR14 -7.15 dB -26.31 dB 08 - Don't Let the Sun Catch You Crying.flac
DR19 -4.29 dB -25.40 dB 09 - Love Is Gonna Bring Us Back Alive.flac
DR16 -6.20 dB -29.33 dB 10 - Away from the Sky.flac
DR13 -4.37 dB -24.24 dB 11 - Atlas' Marker.flac
----------------------------------------------------------------------------------------------
Number of Files: 11
Official DR Value: DR17
----------------------------------------------------------------------------------------------
|
|
| Reviews |
AllMusic Review by 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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| Cover 1 |
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| Cover 2 |
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| Cover 3 |
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| Cover 4 |
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| Cover 5 |
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| Cover 6 |
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| Cover 7 |
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| Cover 8 |
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| Cover 9 |
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