01. Champagne Charlie
02. Please Don’t Talk About Me When I’m Gone
03. Sweet Sue (Just You)
04. The One Rose (That’s Left In My Heart)
05. Alabama Jubilee
06. Big Bad Bill (Is Sweet William Now)
07. Yearning (Just For You)
08. If Someone Would Only Love Me
09. I Hate A Man Like You
10. T.B. Blues

Leon Redbone - Guitar, Vocals
Julien Barber - Violin
Selwart Clarke - Viola
Eddie Davis - Drums
Jonathan Dorn - Tuba
Dennis Drury - Trombone
Tom Evans - Clarinet
William S. Fischer - Strings
Vince Giordano - Sax (Baritone), Tuba
Kathryn Kienke - Violin
Regis Landiorio - Violin
George Marge- 	Ocarina
Leon McAuliffe - Guitar (Steel)
Eurreal Montgomery - Piano
Kermit Moore - Cello
Sammy Price - Piano
Chris Whiteley - Trumpet
Ken Whiteley - Banjo, Washboard

From the opening track, "Champagne Charlie," to the dazzling finale, "T.B. Blues," Leon Redbone presents an introspective collection of blues and big band melodies in timeless fashion, a rare feat because of its release date in 1978. The record was highly acclaimed and regarded as the purest of jazz and classic blues by a remarkable legend and icon in this musical form. Most of the record, like the amiable "Sweet Sue (Just You)" and memorable "Big Bad Bill (Is Sweet William Now)," is filled with the best that blues and ragtime has to offer. The music itself is quite light and jolly during the more uplifting moments, with others such as "I Hate a Man Like You" very depressing and sorrowful. The band backing up Redbone is delightful, filled with jubilant horns, oboes, and trumpets. "T.B. Blues" closes out this record as a charming look back into the world of blues via pioneer Jimmie Rodgers. Two melodies written and composed by giant Jelly Roll Morton are featured here, with fresh and stunning new arrangements by Leon Redbone and company, "If Someone Would Only Love Me" and "I Hate a Man Like You." The record is somewhat poorly recorded, losing its listening ability though still portraying its exuberant style and antique mysteriousness. A charming and romantic listen and study of this period of ragtime and blues that will surely not disappoint the average listener. --- Shawn M. Haney, Rovi

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01. Diamonds Don’t Mean A Thing
02. Lovesick Blues
03. Reaching For Someone And Not Finding Anyone There
04. Somebody Stole My Gal
05. Steal Away Blues
06. Aw You Salty Dog
07. Border Of The Quarter
08. Someday Sweetheart
09. Whose Honey Are You?
10. Living With The Blues
11. Nobody Cares If I’m Blue
12. Think Of Me Thinking Of You

Leon Redbone - Guitar, Vocals
Howard Alden - Banjo, Guitar
Dan Barrett - Trombone
Giampaolo Biagi - Drums
Scott Black - Cornet
David Bromberg  - Dobro
Eddy Davis - Guitar (Tenor)
Big Jonny Dong - Tuba
Peter Ecklund - Cornet
Steve Fishell - Guitar (Steel)
Vince Giordano - Bass, Bass (Upright), Drums, Percussion, Sax (Bass), Tuba
Bobby Gordon - Clarinet
Joel Helleny - Trombone
Richard Hendrickson - Violin
Arnie Kinsella - Drums
Arnold Kinsella, Jr. - Drums
Biréli Lagrène - Guitar
Maggie - Vocals
Richard Maximoff - Violin
Emmett Miller & His Georgia Crackers 
Joe Muranyi - Clarinet
Ken Peplowski - Clarinet
Mac Rebennack - Piano
The Roches - Vocals
Alvin E. Roger - Violin
Andy Stein - Violin, Voices
Suzzy - Vocals
Terre - Vocals
Terry Waldo - Piano
Eric Weissberg - Guitar (Steel), Pedal Steel, Pedal Steel Banjo
Hank Williams, Jr. - Dialogue, Speech/Speaker/Speaking Part
Charlie Wilson - Clarinet

Redbone's conversational style fits anywhere from a coffeehouse setting to a concert to hawking detergent on TV. Here, in this reissue of an album he cut in 1987, he takes on everything from country & western tunes (the opening "Diamonds Don't Mean a Thing" and "Lovesick Blues," which features a dialogue with Hank Williams, Jr.) to old favorites like "Someday Sweetheart," "Somebody Stole My Gal," and "Aw You Salty Dog." The usual Dixieland backing augmenting his tasteful fingerpicked guitar work makes this a seamless addition to his discography. --- Cub Koda, Rovi

Canadian singer and guitarist, born 26 August 1949, Cyprus. While his gravelly baritone and omnipresent fedora, dark glasses, and Groucho Marx mustache made him one of the more distinct and recognizable characters in popular music, little is known about the neo-vaudeville crooner Leon Redbone. Throughout his career, he steadfastly refused to divulge any information about his background or personal life; according to legend, Redbone's desire to protect his privacy was so intense that when he was approached by the famed producer John Hammond, the contact number he gave was not his own phone, but that of a dial-a-joke service.

Because Redbone first emerged as a performer in Toronto during the 1970s, he was believed to be Canadian; his work, a revival of pre-World War II ragtime, jazz, and blues sounds, recalled the work of performers ranging from Jelly Roll Morton and Bing Crosby to blackface star Emmett Miller. He made his recording debut in 1976 with On the Track, which featured legendary jazz violinist Joe Venuti as well as singer/songwriter Don McLean; his 1977 follow-up Double Time even reached the U.S. Top 40 charts, largely on the strength of his frequent appearances on television's Saturday Night Live.

After 1978's Champagne Charlie, Redbone began recording only sporadically; following 1981's Branch to Branch, he waited four years before reentering the studio to cut Red to Blue. Invariably, his albums featured guest appearances from an eclectic cast of luminaries: while 1987's Christmas Island included a cameo by Dr. John, 1994's Whistling in the Wind included duets with Ringo Starr and Merle Haggard and 2001's Any Time featured contributions from such jazz luminaries as guitarist Frank Vignola, reedman Ken Peplowski, and bassist Jay Leonhart. Despite his low profile, Redbone has also earned a certain measure of fame as a fixture in various television advertising campaigns. ---discogs.com

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