Rickie Lee Jones followed her eponymous 1979 debut a little over two years later with Pirates, an altogether darker and more ambitious affair that, three decades on, still sounds utterly glorious. It’s not a single-heavy kind of record but “Woody and Dutch on the Slow Train to Peking” was as good a choice as any, a sort of good-time bebop/R&B/jazz hybrid complete with invented percussion, handclaps, horns, and male backing vocals (alongside a suitably kittenish vocal from Jones) that’s almost like a logical step forward from the first album’s saucy “Danny’s All-Star Joint.”
The b-side, “Skeletons,” pares things back significantly to shine the spotlight on Jones’ spare, plaintive vocal/piano delivery (with some subtle, well-placed support from a string section.) Jones gives one of her most emotive vocal performances on this sad lullaby of love, life, and loss; it’s a complete mood change from the A-side but only serves to highlight Jones’ versatility and ability within various styles. Naturally, both these songs fit best on their parent album, which really is a stone cold classic, but as singles go it’s up there with Jones’ best.
Unfortunately it didn’t catch on in the same way that “Chuck E.’s in Love” did, and Jones would never again scale the commercial heights of the first record. But, as joyous and naughty and vibrant three decades later, “Woody and Dutch” still stands as one of Jones’ neglected classics.