Two Miles High Music

Import only five CD box set containing a quintet of original albums from the Blues/Rock outfit: Dixie Chicken, Feats Don't Fail Me Now, Little Feat, Sailin' Shoes and The Last Record Album. Warner. 2010.

Yankee Doodle Bunny (The Holiday Bunny) Jimmy Durante/Sandpipers; On Top of Spaghetti; You re a Grand Old Flag Sandpipers; Fuzzy Wuzzy Betty Clooney; Casey at the Bat Mel Allen; Mighty Mouse Theme Terrytuners; I Love the Outdoors Dale Evans; The Ugly Duckling Art Carney, and more!

Micro Werks is proud to chronicle the classic children s label Little Golden Records from its inception in 1948 to its peak of popularity in the early '60s. Cowboys Never Cry Roy Rogers; I Like People (The Friendly Song) Jimmy Durante; Puff the Magic Dragon Sandpipers; Scuffy the Tugboat Albert Wilder/Gilbert Mack; Waitin for the Robert E. Lee Shari Lewis; Yankee Doodle Dandy Bert Parks/Sandpipers; Farmer Al Falfa Terrytooners, and more!

Japanese Limited Edition Issue of the Album Classic in a Deluxe, Miniaturized LP Sleeve Replica of the Original Vinyl Album Artwork.

Before Broadway was Disneyfied and Times Square became a mall, the best Broadway musicals were being written for Disney animated features by Alan Menken and the late Howard Ashman. Their songs for The Little Mermaid created the mold from which their even more popular work (Beauty & the Beast, Aladdin) would be cast. Almost every tune in Mermaid has its (slightly inferior) counterpart in Beauty, for example. But there's no topping the Oscar-winning calypso show-stopper, "Under the Sea"--in which a Caribbean crab convinces you that "Darlin' it's better/Down where it's wetter." Other songs, just as delightful, are even more impressive in the context of the movie. The rapturous "Kiss the Girl" accompanies a scene in which, despite the whispered urgings of creatures all around, the romantic hero does not act on the title's advice! That's the kind of abstract dramatic (OK, comedic) conceit you'd expect from Harold Pinter rather than Disney. And the gruesomely hilarious "Les Poissons" gives us a fisheye view of a kitchen where the seafood chef is a sort of French Ed Gein--a sadistic murderer who brutally tortures and chops up his victims, then eats them! Who says Disney never did black comedy? "...I stuff you with bread/It won't hurt, 'cause you're dead/And you're certainly lucky you are...." Lyricist Ashman may not have been Cole Porter, but he was the next best thing. --Jim Emerson

THE LITTLE WILLIES are Lee Alexander, Jim Campilongo, Norah Jones, Richard Julian and Dan Rieser. On their self-titled debut CD they cover a range of songs by Willie Nelson, Kris Kristofferson, Townes Van Zandt and Fred Rose, as well as bandmember originals.

One of the freshest country albums of the year comes not out of Nashville, but rather New York, from a sporadic band with the unlikely (and somewhat suggestive) moniker of the Little Willies. At times, the fivesome (named in homage to Willie Nelson) hearkens to the great historic western-swing bands--crack, loose-limbed musicians fronted by a hypnotically sublime girl singer. If that sleepy female voice (and her distinctive piano) sounds astonishingly like Norah Jones, that's because it is Jones, exploring the country side of the blues. The group--rounded out by Lee Alexander (bass), Jim Campilongo (electric guitar), Richard Julian (guitar, vocals), and Dan Rieser (drums)--formed in 2003 to play the Living Room on New York's Lower East Side and just do the classic American music they grew up enjoying. That's why their low-key labor of love, recorded without commercial expectations and promoted under the radar, includes both originals (including the achingly sweet "Easy as the Rain") and covers of Hank Williams's "I'll Never Get Out of This World Alive"; Nelson's "I Gotta Get Drunk" and "Nightlife"; Kris Kristofferson's "Best of All Possible Worlds"; Townes Van Zandt's "No Place to Fall"; and Leiber & Stoller's "Love Me" (made great by Elvis Presley). Throughout, the record maintains the slightly inebriated, bar-band feel of a live club performance, especially on "Lou Reed," a very funny saga of a cow-tipping incident possibly involving the dark rocker. This is an extraordinary record, not only for its musicianship, but for the infectious joy and exuberance of performers who remember just how fun it is to play music from the inside out. --Alanna Nash Got the Willies? New York City The Peter Malick Group featuring Norah Jones Jim Campilongo and the 10 Gallon Cats Jim Campilongo Slow New York Richard Julian Come Away with Me Norah Jones Table for One Jim Campilongo Feels Like Home Norah Jones

Louisa May Alcott's novel Little Women concerns four sisters in post-­Civil War Massachusetts, but at times it feels as if its musical adaptation should have been called "Little Woman," so focused on a single sibling it is. Both Allan Knee's book and Sutton Foster's natural charisma and energy help constantly train the spotlight onto tomboy Jo. Yet it's not that much of a problem because Foster is strong enough to carry the show. She gets excellent support from the rest of the cast and especially cabaret artist Maureen McGovern, who as Marmee gets two beautiful ballads ("Here Alone" and "Days of Plenty") that are tailor-made for her imperial, burnished tone, and could well acquire a life outside the show. Composer Jason Howland worked as either musical director or musical supervisor on three period-set Frank Wildhorn musicals (Jekyll & Hyde, The Scarlet Pimpernel and The Civil War), which gives him a distinct experience in dealing with the historical setting here. Although the score oftentimes veers to the bland side, Howland also shows encouraging signs of spryness ("Five Forever") and melodic confidence that at one point slyly honors Sondheim ("Astonishing"). Old-fashioned in the best possible way, Little Women makes a good complement to Wicked for those trying to entice a younger audience to the delights of the musical theater. --Elisabeth Vincentelli