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Tom Wopat: I've Got Your Number [Digipak] *

Track List

>I've Got Your Number
>Good Life, The
>Meeting Across the River
>Summer Dress
>Devil May Care
>Folks Who Live on the Hill, The
>Call Me
>Afterlife, The
>Since You've Asked
>Born to Be Blue
>I Still Feel That Way
>Secret O'Life
>I Won't Dance
>Here We Are Again

Album Notes

Personnel: Ben Butler, Bob Mann (guitar); Karen Karlsrud, Karl Kawahara, Sander Strenger, Kate Light, Garnett K. Dieffenbach, Mark Feldman , Robert Chausow, Ann Leathers, Jonathan Dinklage (violin); Mairi Dorman Phaneuf, Arthur Fiacco, Stephanie Cummins (cello); Aaron Heick, Charles Pillow, Bob Malach, Marc Phaneuf (saxophone); Bob Milikan, Tony Kadleck, Greg Gilbert (trumpet); John Fedchock, Alan Ferber (trombone); Henry Hey, John Oddo, Tedd Firth (piano); David Finck (acoustic bass, electric bass); Kevin Winard (drums, percussion); Peter Grant (drums).

Audio Mixer: Roy Hendrickson.

Liner Note Authors: David Finck; Tom Wopat.

Recording information: Avatar Studios, New York, NY (2012); MSR Studios, New York, NY (2012).

Photographer: Joey Cobbs.

Capitalizing on his small role in Quentin Tarantino's Django Unchained by running far, far away from country music, Tom Wopat indulges his swinging side on 2013's I've Got Your Number. Publicized as Wopat's tip of the hat to the Mad Men era, in truth I've Got Your Number isn't that far removed from the music Wopat has been making over the past decade. After Dukes of Hazzard went off the air, Wopat dedicated himself to the stage, which in turn led to a series of records of standards beginning with 2000's The Still of the Night. I've Got Your Number is cut from the same cloth, with the newest wrinkle being the addition of interpretations of songs by Bruce Springsteen, Paul Simon, and James Taylor, songwriters who don't belong to the Mad Men era. Wopat has mixed results with these -- "Meeting Across the River" turns into a bit of a dirge but "The Afterlife" benefits from a ring-a-ding-ding arrangement -- but anybody heading into this album expecting to chuckle at Wopat's big-band style will be sorely disappointed as he's an old hat at this game, ably navigating its swing and bounce. He's a perfectly fine singer and not a bad songwriter, penning a couple of OK originals and generally selling this amiable collection. Don't think of this as a possible camp classic, as it's not: it's straight-ahead old-fashioned swing, delivered by somebody who knows the music well. ~ Stephen Thomas Erlewine


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