Rickie Lee Jones has produced a series of stellar albums (including her self-titled debut, Pirates and The Magazine, among others) and more than one head shaker (the dismal Pop Pop and 2009’s Ben Harper train wreck The Devil You Know). Perhaps one of the commonalities regarding her great albums is the use of strong, yet empathetic, producers. Jones’ better albums have been produced by a variety of giants including Lenny Waronker, James Newton Howard, and Russ Titelman.
Flying Cowboys, released on Sept. 26, 1989, marked another left turn in her career, coming five years after her mystifying yet ultimately satisfying release, The Magazine. It is rumored that when a journalist asked Rickie Lee Jones who would she like to work with on her next project, she remarked she wanted someone from Steely Dan.
Luckily for Jones, one half of Steely Dan was available and willing to take on the album.
She reportedly loved Steely Dan’s Royal Scam album, but apparently considered it “boy music.” There was some concern, too, that the spontaneity of her demos would not make it to the record. Any apprehension about Walter Becker not being a sympathetic producer was quickly dispelled in the first song, “The Horses.”
Becker does cast a Steely Dan-like sheen on the song (and gets co-writing credit), but he also allows Jones to produce a touching and vivid picture of parenthood. The producer brought in a familiar group of studio aces for the album, as well: “The Horses” prominently features Michael Omartian on piano and a moving drum track by John Robinson.
In interviews after the album’s release, Becker frequently commented that his approach to Rickie Lee Jones was to listen to her demo and determine what if anything was needed to compliment her songs. On tracks like “Just My Baby,” “Rodeo Girl,” “Ghost Train” and the remake of “Don’t Let the Sun Catch You Crying,” Walter Becker added a few additional colors but the original canvas Jones had from her demos was left intact. “Ghost Train” contained Jones’ demo vocals and guitar parts, with just the addition of Jim Keltner’s drum effect.
The single “Satellites” has a full-band sound but also an airiness in the recording, and an elegant Bob Sheppard soprano sax part. Becker picks up the bass and plays on the title track. As usual, he is rock solid with drummer Peter Erskine, marking a perfect contrast to Jones’ mystical and vivid lyrics.
Flying Cowboys makes the listener just how much further this Becker/Jones collaboration could go. Sadly, however, this is the only album that the two ever worked on together. Rickie Lee Jones took another musical turn with very unfortunate results, recording the covers album Pop Pop, produced by David Was. She later offered a poignant tribute when Becker passed away.
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