| | Hoagy Carmichael Star Dust Man CD Hoagy Carmichael Discography of CDs
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Our Price: $9.99  CDFor Sale Usually ships in 1-2 days
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Recorded in the mid 1940's.
Mid 1940's Recordings Hoagy Carmichael Star Dust Man Songs | 1. | Cow Cow Boogie | |
| 2. | How Little We Know | |
| 3. | Georgia on My Mind  | $0.99 | |
| 4. | Victory Train | |
| 5. | Everybody Has Seen Him But His Daddy | |
| 6. | Lazy River, (Up A) | |
| 7. | I Want to Be Happy | |
| 8. | Star Dust | $0.99 | |
| 9. | Old Music Master, The | |
| 10. | Sleepy Time Gal | |
| 11. | Two Sleepy People | $0.99 | |
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Star Dust Man Review
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Purchase Star Dust Man CD To buy, Click on price to add to cart | Peisha McPhee Out Of The Blue CD (1997)
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When one applies for a job, sometimes the response is that you're overqualified. The same may be the case for Peisha McPhee. Her classically trained, strong, clear voice of operatic proportions doesn't always fit well with the songs on the play list, songs that require somewhat more vocal dynamics than McPhee gives. Trying hard as she can to restrain her powerful voice, she comes on too strong for such pop material as "Ill Wind" and "Little Girl Blue," which require greater subtlety than McPhee provides. At the same time, her voice and demeanor go well with songs that have a strong emotional tug, such as "Who Can ...
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| | Suzy Bogguss Swing CD (2003)
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On her third self-released album, Suzy Bogguss, one of the finest female vocalists living and working in Nashville, allows one of her many passions to come to the surface on Swing. With Asleep at the Wheel's Ray Benson in the producer's chair, Bogguss kicks out 12 classy pop, jazz, and swing tunes with a smoking band making a timeless sound. Benson knows the feel of this music inside and out (and brought his violin player, the Stephane Grappelli-inspired Jason Roberts, along for the ride), and Bogguss, whose mom is a big Sinatra and Ella Fitzgerald fan, can sing virtually anything -- but has a special affinity for the swing book -- with a twist. There are nuggets of the repertoire here, such as Nat King Cole's "Straighten Up and Fly Right" and Duke Ellington's "Do Nothing 'Til You Hear From Me" as well as "Comes Love" -- closely associated with Billie Holiday -- and the great Ken Burgan tune "Sweetheart." But there's plenty of new material, too; there are five cuts by Nashville songwriter and jazz singer April Barrows, who writes in the Nat King Cole idiom with smart, modern lyrics; inventive melodies; and a wondrous sense of rhythm. Bogguss and husband and songwriter Doug Crider contributed one and Paul Kramer offered a pair. The jump in these tunes is fresh and new; there are no tired Diana Krall readings of the same old tunes here that had been better-recorded long before. The feel is jumping and smooth, such as on "Burning the Toast" by Barrows, in cut time with Roberts and pianist Floyd Domino floating with clarinetist John H.R. Mills against a popping double-bassline by Spencer Starnes and Benson's guitar. Recorded in Austin, TX, Swing feels loose, fancy free, and focused on exploration, bringing the essence of a song out into the idiom in which it was written. "It's New to Me" by Bogguss, Crider, and Kramer has a bluesy truth to it that is underscored by sax and clarinet wafting so warm from the fringes as Domino's right hand fills and comps slip in between lyric and horn arrangement to make the track just shine. The duet with Benson, "Cupid Shot Us Both With One Arrow," features Roberts doing the gypsy swing thing with passion ...
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The second major-label release by Old 97's frontman Rhett Miller is even better than its excellent predecessor, 2002's THE INSTIGATOR. This ...
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In 1996, I was looking to do an acoustic album. I had recorded the 9-piece horn band (The Gras-Dads) on “Gimme A Dollar.” And, then I recorded with a slightly more edgy Blues band on “Blues Junk.” But at this time, I was really wanting to pare down and try to get something that maybe I could support and tour on, as a solo act. In the year prior to recording, I had been heavily influenced by David Wilcox (the American one) and started experimenting with open-tunings. And, once I played around with it for an half-hour, the floodgates opened. The accidental chord voicings that I was lucky enough to happen upon, inspired new songs and textures that I just wasn’t getting from the standard tuning. It also allowed me the freedom to strum with my thumb while playing leads with my more forward phalanges. It was like “open tuning” was Scientology and I was Tom Cruise. I was way crazy into it.I ended up writing all of the songs except for two in a matter of weeks (fast,…for me). At about the same time, my close, close friend, fellow Baton Rougean , bass player, and “producer nonpareil,” Brad Cobb, called me up from his home in Los Angeles. As we talked, I told him that I was thinking of doing an acoustic album and he plainly said, “Why don’t you do it out here?” So, we worked a deal and I flew out to L.A. (to Brad’s O’Dark30 Studio) and had probably the most comfortable and relaxed two weeks of recording that I’ve ever done in my life. As a producer, Brad is the three “C”s; Calm, Creative, and Confident. We would meet every morning, put on some dark, dark, dark roast coffee, and talk about ...
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