Sermon On Exposition Boulevard (Ltd) (Dlx)

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The Sermon on Exposition Boulevard, the new album by Rickie Lee Jones and her first for New West Records, is a beauty--soul-satisfying and sonically unique. Rickie Lee sounds completely tapped in, alive and vital, heading down some mighty interesting roads and discovering new magical essences. Lots of creative sparks here--plenty of them. She sounds like she's going through a transformation throughout the album in a way that's reminiscent of Van Morrison's performances on his classic album Astral Weeks. There's Rickie's spellbinding performance on the eight-plus free-flowing minutes of "I Was There," and so many other highlights here, including "Where I Like It Best," "Gethsemane," "Falling Up," "Circle in The Sand," "7th Day" and "Elvis Cadillac" and especially "Nobody Knows My Name."

What will certainly be most striking to some fans about The Sermon on Exposition Boulevard (to be released in February 2007) is that it rocks harder than any album the two-time Grammy Award winner has ever recorded. "Nobody Knows My Name," the striking opening track, might best be described as "minimalist pure pop punk rock," and the evocative, riff-'n'-hook-filled, stream-of-consciousness rant titled "Falling Up" follows in a similar decidedly art-rock manner. And yet, this music transcends all of its historical touchstones, taking the elements ("Wind, fire, water, laughter," explains Ms. Jones) and creating something that sounds totally new--full of grace, soul and adventurous sonic textures. Rickie Lee's vocals soar throughout the album. What's ultimately just as fascinating as the remarkable music on the new album, however, is that all 13 songs are inspired by the real words and ideas of one Jesus Christ. But before anyone reading this poses the obvious question of, "What in the world does a title like "Elvis Cadillac" have to do with the teachings of Jesus Christ?" perhaps a little history is in order.

Essentially what Rickie Lee Jones and her collaborators have done on The Sermon on Exposition Boulevard is to put Christ's words into a modern-day context, portraying those words in a way that anyone can understand. Hence, "Elvis Cadillac"--which not only talks about cruising around Heaven in the King's most famous vehicle, but also mentions the late, great Janis Joplin. After all, if anyone in recent history can be considered a secular Jesus, it would have to be Mr. Presley, arguably one of the "Christs" walking among us for that generation.

This Special Edition CD includes both a high resolution stereo and 5.1 surround mix. Also included is a bonus DVD with 40 minutes of behind the scenes footage and high resolution MP3s of the entire CD to download to your favorite MP3 player, as well as an expanded booklet with extra photos, artwork and liner notes.

Specifications

Label New West Records
SKU 203931448
UPC 607396611225
UPC 14 00607396611225
Format CD
Release Date 2/6/2007
Links
Author Rickie Lee Jones
Compilation Appearance Sleepless In Seattle
Compilation Appearance Casey Kasem Presents: America's Top 10 Through The Years: 70s
Compilation Appearance Outlaws And Angels
Compilation Appearance Lullabies From The Axis Of Evil
Compilation Appearance Scarecrow
Compilation Appearance Jerry Maguire (ost)
Compilation Appearance Sweet Relief Viii:pennies From Heaven
Compilation Appearance Map To The Treasure:re Imagining Laur
Technical Info
Producer Lee Cantelon; Peter Atanasoff
CatalogID NW 6112
Lable Name New West (Record Label)
Released 02/06/2007
Original Release 2007
Number of Discs 1
SPARE Code n/a
Length 54m : 6s
Mono/Stereo Stereo
Studio/Live Studio
UPC 00607396611225
Album Notes and Credits
Personnel: Rickie Lee Jones (vocals, guitar, dulcimer, keyboards, Moog synthesizer, xylophone, bass guitar, percussion); Peter Atanasoff (guitar, oud, background vocals); Bernie Larsen (guitar, drums); Pete Thomas , Rob Schnapf (acoustic guitar); Joey Maramba (bass guitar); Jay Bellerose (drums); Lee Cantelon (background vocals).
After several albums of jazz and pop songbook standards, neo-beatnik hipster songstress Rickie Lee Jones released THE SERMON ON EXPOSITION BOULEVARD, one of the most inspired and well-crafted albums of her career. Reportedly based on the gospels of Christ, this album shouldn't be mistaken for Jones's born-again coming-out party. While the biblical references are numerous and not always subtle ("Donkey Ride"), the lyrical abstractions position the album as more about finding a peaceful self than about finding Jesus.
Musically, the album is varied yet cohesive. The listener is reminded of Jones's long-standing relationship with Tom Waits on the gritty "Tried to Be a Man," replete with a Waits-inspired raspy vocal. The most obvious reference point here, however, is the late-1990s and early-'00s albums of Lucinda Williams. This is "adult" music with a "contemporary," slightly "alternative" studio sheen, but it's far too impassioned on the one hand ("Lamp of the Body") and righteously swinging on the other ("Circle in the Sand"), to ever warrant a tag as bland and limiting as one encompassing those dreaded terms.
Professional Reviews
Entertainment Weekly (p.p.75) - "[E]nriched by roadhouse rhythms and her distinctive whiskey-soaked voice....It's still vintage Rickie..." -- Grade: B
Q (p.112) - 3 stars out of 5 -- "[T]he eight-minute 'I Was There' showcases her still extraordinary space-pixie vocal chops. Boldly different."
Uncut (p.98) - 4 stars out of 5 -- "SERMON's musical crudeness gives it a powerful immediacy. Strangely accessible and highly addictive, it's her best work in three decades."
No Depression (p.119) - "Jones' new songs are quite literally private prayers. It takes the coalescence of her still astonishingly expressive voice and a sympathetic, locked-tight band to transform those confessions."
Mojo (Publisher) (p.104) - 4 stars out of 5 -- "At times primordial, hallucinatory and sweetly self-examining..."
Artist Bio
Rickie Lee JonesRickie Lee Jones is one of the most acclaimed and talented singer-songwriters of our time. Her career spans nearly three decades of incredible musical output spanning many genres: folk, rock, jazz, soul, spoken word and pop. Always fearless, Rickie Lee has consistently pushed her seemingly limitless creative abilities, as well as the music industry's envelope.She first arrived on the scene in 1979, with a bang. Her first, self-titled album, released that year, received five Grammy nominations, including Best Song for "Last Chance Texaco", Best Album, Best Pop Vocal and Best Rock Vocal. As it happened, she won Best New Artist, and her career was launched. That album's eventual hit single, "Chuck E's in Love", was an unlikely success due to its bridge, in which the song virtually stops, and Rickie Lee speaks: "Is he here?...I look in the pool hall...Is he here? I look in the drug store. Is he here...?." Against the musical backdrop of that year, when disco and punk were on the rise, the fact that this song hit, and hit big, was phenomenal.Four months after that debut, Rickie Lee was gracing the cover of Rolling Stone, and 18 months later she was featured on the cover again, kneeling, pink lipsticked, in a black bra and nylons, with some black lace tied around her waist. Her fashion sense was, for that time, unusual and garnered outrageous critical reviews. Many others, such as Prince's musicians Wendy and Lisa, as well as Pat Benatar, started dressing in "Rickie Lee mode", lace gloves combined with slips or spandex pantsuits and a beret. Ultimately, the Material Girl herself picked up the trend and of course we know the rest. Rickie Lee Jones as fashion icon has been documented in detail, perhaps most evocatively by New Yorker writer Hilton Als, but has been largely unheralded as such in the years since. Likewise, Jones' 11 minute video in 1979 was so successful in launching her career that a year later MTV launched its new music video channel for the sole purpose of showing how new media (specifically, video) could truly launch musical careers.Jones released Pirates in 1981 and then Girl At Her Volcano in 1983, which offered listeners an challenging mixture of jazz and pop. 1984 saw the release of The Magazine, whereupon she took a five year hiatus and moved to Paris. Rickie Lee returned in 1988 to have her only child, Charlotte, and to write Flying Cowboys with Steely Dan and producer/musician Walter Becker on her new label, Geffen. While "Satellites" was a 1989 hit, she found real success with her duet with long time pal Dr. John on "Making Whoopie", which won both of them a Grammy for Best Jazz Performance. She had also been nominated the year before for a Grammy for Best Jazz Vocal for her rendition of "Autumn Leaves" on Rob Wassermann's Duets.Her next two records, Traffic from Paradise (1993) and Naked Songs (1995) were her final Geffen releases. Ghostyhead, released in 1997, is considered by many fans to be her best record and certainly among her most unusual, using ambient and aggressive rhythm tracks against which she recited impressionistic lyrics. The accompanying live shows to support that release were a Coltrane-like exploration of sound and emotion. Ghostyhead was followed by another extreme on It's Like This, a intimate and loving album of covers of a wide gamut of popular songs, from "The Low Spark of High Heeled Boys" to "Up the Lazy River". Continuing Rickie Lee's own tradition of mixing pop and jazz, It's Like This featured Taj Mahal, Joe Jackson, Ben Folds, and others and was nominated for the Grammy for Best Pop Album in 2000.
Disc 1
1 Nobody Knows My Name
2 Gethsemane
3 Falling Up
4 Lamp Of The Body
5 It Hurts
6 Where I Like It Best
7 Tried To Be A Man
8 Circle In The Sand
9 Donkey Ride
10 7th Day
11 Elvis Cadillac
12 Road To Emmaus
13 I Was There
Product Attributes
Artist Jones,Rickie Lee
Label New West
Music Format Compact Disc

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