RICKIE LEE JONES, Flying Cowboys USA 1st pressing EXCELLENT- LP Walter Becker

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26

  Rickie Lee Jones ?– Flying Cowboys Label: Geffen Records ?– GHS 24246 Format: Vinyl, LP, Album  Country: US Released: Sep 1989 Genre: Jazz, Rock, Pop, Folk, World, & Country Style: Afro-Cuban Jazz, Contemporary Jazz, Jazz-Rock, Soul-Jazz TracklistHide Credits A1 The Horses Backing Vocals – Kevin Dorsey, Michael Ruff (2) Bass – Neil Stubenhaus Drums – John Robinson (2) Electric Guitar – Buzz Feiten*, Dean Parks Keyboards – Greg Phillinganes Organ – William "Smitty" Smith* Percussion – Bob Zimmitti Piano – Michael Omartian Synthesizer [String] – RLJ* Written-By – Rickie Lee Jones, Walter Becker 4:47 A2 Just My Baby Acoustic Bass – Ed Alton Acoustic Guitar – Dean Parks Harmonica – Chris Smith (30) Keyboards – RLJ* Percussion – Michael Fisher Vibraphone [Vibes] – Gary Coleman Written-By – Pascal Nabet-Meyer, Rickie Lee Jones 4:44 A3 Ghetto Of My Mind Backing Vocals – Leslie Smith, RLJ*, The Waters Bass – Neil Stubenhaus Drums – John Robinson (2) Electric Guitar – Buzz Feiten*, Dean Parks Keyboards – Greg Phillinganes Percussion – Bob Zimmitti Steel Drums – RLJ* Written-By – Pascal Nabet-Meyer, Rickie Lee Jones 6:12 A4 Rodeo Girl Drum Programming, Recorded By – Chris Dickie Instruments [All] – RLJ* Written-By – Rickie Lee Jones 4:50 A5 Satellites Acoustic Guitar [Nylon String] – Buzz Feiten* Acoustic Guitar [Steel String] – Dean Parks Bass – Neil Stubenhaus Drums – John Robinson (2) Keyboards – Greg Phillinganes Percussion – Bob Zimmitti Saxophone [Sax] – Bob Sheppard Synthesizer – RLJ*, Walter Becker Written-By – Rickie Lee Jones 4:54 A6 Ghost Train Drum Machine [Effects] – Jim Keltner Guitar, Synthesizer – RLJ* Programmed By – Michael Bernard Written-By – Rickie Lee Jones 4:16 B1 Flying Cowboys Bass – Walter Becker Drums – Peter Erskine Electric Guitar – Dean Parks Electric Guitar, Backing Vocals – Sal Bernardi English Horn, Clarinet – Marty Krystall Synthesizer – Pascal Nabet-Meyer Trumpet – Vince Mendoza Written-By – Pascal Nabet-Meyer, Rickie Lee Jones, Sal Bernardi 5:02 B2 Don't Let The Sun Catch You Crying Backing Vocals – Sal Bernardi Bass – Rob Wasserman Percussion – Paulinho da Costa Programmed By [Strings] – Michael Bernard Saxophone [Sax] – Bob Sheppard Synthesizer, Drum Programming, Guitar – RLJ* Written-By – Fred Marsden, Gerrard Marsden*, Les Chadwick, Leo Maguire* 4:13 B3 Love Is Gonna Bring Us Back Alive Backing Vocals – Kevin Dorsey, RLJ*, Vonda Shepard Bass – Neil Stubenhaus Drums – John Robinson (2) Electric Guitar – Buzz Feiten* Harmonica – Chris Smith (30) Organ – RLJ* Organ [Hammond B-3] – Greg Mathieson Percussion – Bob Zimmitti Tenor Saxophone – Bob Sheppard, Marty Krystall Written-By – Pascal Nabet-Meyer, Rickie Lee Jones 4:51 B4 Away From The Sky Acoustic Guitar, Synthesizer – RLJ* Electric Guitar – Dean Parks Synthesizer [String] – Michael Boddicker Written-By – Rickie Lee Jones 5:30 B5 Atlas' Marker Bass – Neil Stubenhaus Drums – Peter Erskine Guitar – Dean Parks Percussion – Michael Fisher, Pascal Nabet-Meyer Programmed By [Keyboard] – Michael Bernard, Pascal Nabet-Meyer Synthesizer – RLJ* Trumpet – Randy Brecker Written-By – Rickie Lee Jones 5:58 Companies, etc. Manufactured By – Warner Bros. Records Inc. Pressed By – Specialty Records Corporation Phonographic Copyright (p) – The David Geffen Company Copyright (c) – The David Geffen Company Published By – Easy Money Music Published By – Dick James Music, Inc. Recorded At – Studio 55, Los Angeles Recorded At – The Village Recorder Recorded At – Cherokee Studios Mastered At – Precision Lacquer Credits Coordinator [Production], Management [Assistant to Gary Gersh] – Cindi Peters, Judith Haenel Coordinator [Production], Management [Assistant To Walter Becker And Rickie Lee Jones] – Carol Parks Design – Praxis (10) Engineer – Greg Penny (tracks: A1 to A3, A5 to B5), Mark Linett (tracks: A2, B1), Roger Nichols (tracks: A1 to A3, A6 to B4), The Robbs* (tracks: B2) Engineer [Second] – Greg Laney, Ken Felton, Lavant Coppock, Robert Hart (3) Executive-Producer – Gary Gersh Mastered By – Stephen Marcussen Mixed By – Greg Penny, Roger Nichols Painting [Front Cover] – Jose Esteban Martinez Photography By [Back Cover] – Dewey Nicks Producer – Walter Becker Notes Direct Metal Mastering Printed inner sleeve with lyrics & credits.  

USA FIRST PRESSING VINYL ALBUM WITH ORIGINAL PRINTED INNER SLEEVE.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR. SMALL FRONT PRICE STICKER MARK.   INNER SLEEVE[S] VERY GOOD+ WITH NO SEAM SPLITS.

DISC[S]: EXCELLENT MINUS. NO SCRATCHES, JUST A FEW LIGHT HAIRLINES. CLEAN LABELS.

Why buy a first or early pressing and not a re-issue or a ‘re-mastered’ vinyl album?

First and early pressings are pressed from the first generation lacquers and stampers. They usually sound vastly superior to later issues/re-issues (which, in recent times, are often pressed from whatever 'best' tapes or digital sources are currently available) - many so-called 'audiophile' new 180g pressings are cut from hi-res digital sources…essentially an expensive CD pressed on vinyl.  Why  experience the worse elements of both formats?  These are just High Maintenance CDs, with mid-ranges so cloaked with a veil as to sound smeared.  They are nearly always compressed with murky transients and a general lifelessness in the overall sound.  There are exceptions where re-masters/re-presses outshine the original issues, but they are exceptions and not the norm.

First or early pressings nearly always have more immediacy, presence and dynamics. The sound staging is wider.  Subtle instrument nuances are better placed with more spacious textures. Balances are firmer in the bottom end with a far-tighter bass. Upper-mid ranges shine without harshness, and the overall depth is more immersive.  Inner details are  clearer.

On first and early pressings, the music tends to sound more ‘alive’ and vibrant.  The physics of sound energy is hard to clarify and write about from a listening perspective, but the best we can describe it is to say that you can 'hear' what the mixing and mastering engineers wanted you to hear when they first recorded the music.  

     
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