Rickie Lee Jones ‎– The Sermon On Exposition Boulevard

New West Records ‎– NW6108
CD, Album

Tracklist Hide Credits

1 Nobody Knows My Name
Drums – Bernie LarsenPercussion – Rickie Lee JonesWritten-By – Cantelon*, Atanasoff*, Jones*
2 Gethsemane
Backing Vocals – Lee Cantelon, Peter AtanasoffWritten-By – Atanasoff*, Jones*
3 Falling Up
Acoustic Guitar – Pete Thomas, Rob SchnapfGuitar – Steve AbagonKeyboards [Moog] – Rickie Lee JonesWritten-By – Atanasoff*, Jones*
4 Lamp Of The Body
Keyboards – Rickie Lee JonesWritten-By – Atanasoff*, Jones*
5 It Hurts
Backing Vocals – Lee Cantelon, Peter AtanasoffSynthesizer – Bernie LarsenWritten-By – Atanasoff*, Jones*
6 Where I Like It Best
Written-By – Cantelon*, Atanasoff*, Jones*
7 Tried To Be A Man
Backing Vocals – Lee Cantelon, Rob SchnapfGuitar [Lead], Backing Vocals – Peter AtanasoffGuitar, Percussion – Rickie Lee JonesWritten-By – Jones*
8 Circle In The Sand
Backing Vocals – Lee Cantelon, Peter AtanasoffWritten-By – Larsen*, Cantelon*, Atanasoff*, Jones*Xylophone [Toy], Cymbal [Finger], Electric Piano [Wurlitzer] – Rickie Lee Jones
9 Donkey Ride
Cymbal [Finger], Dulcimer [Bowed], Tambourine – Rickie Lee JonesWritten-By – Atanasoff*, Jones*
10 7th Day
Guitar, Dulcimer, Electric Piano, Bass [Electric], Percussion – Rickie Lee JonesTrumpet – Jonathan StearnsWritten-By – Jones*
11 Elvis Cadillac
Bass [Electric], Percussion – Rickie Lee JonesWritten-By – Atanasoff*, Jones*
12 Road To Emmaus
Oud – Peter AtanasoffPercussion – Rickie Lee JonesWritten-By – Cantelon*, Atanasoff*
13 I Was There
Guitar, Keyboards – Rickie Lee JonesWritten-By – Jones*



Recorded at "Marc Chiat's Red Dog Studio", Culver City; "The Pass", Los Angeles; "Sunset Sound", Hollywood; and "Sound Image", Van Nuys.
Mastered at "Ocean Way".
"The Sermon On Exposition Boulevard" began recording at "Red Dog Marc Chiat's Art Studio" in Culver City, California during the summer of 2005 and was completed in the summer of 2006 at "Sunset Sound". The inspration for the songs came from the Lee Cantelon's book "The Words", a modern rendering of the words of Christ. Many of the songs on the completed CD are first-take improvisations (Nobody Knows My Name, Where I Like It Best, I Was There, Donkey Ride). From the beginning we worked in a sprit of community and collabration that seemed to spring from the text. (Rickie Lee Jones)

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November 9, 2016

In the summer, when I was young, I remember walking with synchronized steps to Rickie Lee Jones. Her music made me feel that one day we would burn buildings together, that one day we would set fire to great things. Rickie was my other half, my shadow, in a way that only the stars can grasp the idea of having an other half. I sang her songs at great volume in my head, and sometimes right out loud, often sounding like Patois, speeded up to 78 on the record player, so no one else could understand.

I haven’t felt that way about Rickie Lee Jones for quite some time. Sure, she was touted as the next Joni Mitchell, just as Mick and Keith were to John and Paul. But she was far more then a singer of folk songs. This was a women who was destined to be a living legend. Yes, she fell out of favor when she moved to music that was more complex and layered. She was dismissed even more when she embraced jazz ... and like Marianne Faithful she almost buried herself with heroin and cocaine. But through all of that turmoil she remained true to herself and her music, constantly pushing the boundaries, refining it’s direction, its message and structure.

“The Sermon On Exposition Boulevard” is almost beyond description. Your first impression is that she’s stripped it down to bare bones, flipping out phrases like Patti Smith would [then again, I have to remind myself that this is the person Patti got it from]. But then comes that sweet voice, balanced so precariously against a droning acoustic guitar ... all the while, she’s performing her own background vocals.

I want to jump ahead to the last song on the album, ‘I Was There,’ timing out at eight minutes and twenty one seconds; all of which will make you think of Bruce Springsteen’s ‘Jungleland’ and as the chords change, in walks Van Morrison’s ‘Take Me Back,’ but it’s all Rickie at her very best.

‘Tired To Be A Man’ is outstanding, worthy of any Rolling Stones or Creedence Clearwater Revival album. I can’t believe she’s managed to keep these sensational rock and roll licks hidden for so long. She does a marvelous twist with her voice, where it sounds like its coming right out of the center of the speakers and then the instruments are coming out all around it in pulsating waves. Just fine Rickie [sorry, I’m listening as I write].

This is a personal and very introspective album. There’s an artistic history and concept to this record, but you can discover how that came about by reading some other reviews. What’s important here is the quality of the music ... and it’s as good as you are ever going to get. Something changes with time, space, experience and age; and for a very lucky few, they are able to carry all of that over into their work with brilliance and grace.

The stand out numbers, the ones that will haunt your head are, ‘Falling Up, Gethsemane, It Hurts, Tried To Be A Man, Circle In The Sand, and Elvis Cadillac.’ Even if you were silly enough to throw the rest away, these songs alone would make your decision to purchase this album worth while.

Rickie’s found a summer band, for a great summertime sound, band mates who are fans, and it shows. No one steps out, no one steps on toes ... it’s all about the essence. The album will stun you at first, but once it makes you cry you’ll be in too deep to ever get out. The girl can rock ... I’ve waited so long for this record.

Review by Jenell Kesler