Dixie Carter | The Heart of Dixie

Go To Artist Page

Recommended if You Like
Dixie Carter Dixie Carter television star Dixie Carter Broadway star

More Artists From
United States - California - LA

Other Genres You Will Love
Jazz: Jazz Vocals Easy Listening: Crooners/Vocals Moods: Solo Female Artist
Sell your music everywhere
There are no items in your wishlist.

The Heart of Dixie

by Dixie Carter

Sultry, jazzy, intimate and powerful 1985 recording from Dixie Carter, star of stage, film and television (notably "Designing Women").
Genre: Jazz: Jazz Vocals
Release Date: 

We'll ship when it's back in stock

Order now and we'll ship when it's back in stock, or enter your email below to be notified when it's back in stock.
Continue Shopping
cd in stock order now
Buy 2 or more of this title's physical copies and get 10% off
Share to Google +1

To listen to tracks you will need to update your browser to a recent version.

  Song Share Time Download
1. If You're Going, Go
2:34 $0.99
2. Honeysuckle Rose
4:22 $0.99
3. Come a Little Closer
3:56 $0.99
4. Let's Do It (Let's Fall in Love)
3:12 $0.99
5. When the World Was Young / Young and Foolish
5:23 $0.99
6. Warm
3:45 $0.99
7. Beans Taste Fine
2:25 $0.99
8. I'm On Fire
2:43 $0.99
9. Sweet Blindness
3:54 $0.99
10. Just Like a Woman
4:55 $0.99
11. Hold Out for the Real Thing
3:38 $0.99
12. I've Always Been Crazy
2:31 $0.99
13. You're Gonna Make Me Lonesome When You Go
3:16 $0.99
Downloads are available as MP3-320 files.


Album Notes
Produced by Michele Brourman
Executive Producer: Hal Holbrook
Scott Colley - Acoustic Bass
Danny Jacob - Guitar
Novi Novog - Viola
Michele Brourman - Piano

"The finest cabaret singers usually fall into two types: they are either great singing actors or formidable vocal technicians. Dixie Carter happens to be both. As a singing actress, she represents a new archetype in the cabaret arena – the southern belle who has grown up and been to town and yet who has somehow retained an essential innocence. Miss Carter’s wonderfully flexible voice fully and thrillingly embodies the contradictions of such a personality. Without forcing herself into conventional stylistic avenues, she moves from the decorous sweetness of a trained lyric soprano to a dramatic, caterwauling speech-song that suggests the roughness of rock and the directness of country without really becoming either.

Dixie Carter is also one of the very few cabaret singers I’ve heard with the expressive range and stylistic understanding to do full and equal justice to Cole Porter and Bob Dylan, two American songwriters who sensibilities couldn’t be more opposite. In her version of Porter’s “Let’s Do It,” Miss Carter adopts a number of different voices to send up the haughty elocution of the composer’s devilish double entendres, and the result is one of the funniest – and sexiest – interpretations I’ve heard. Singing Bob Dylan’s “Just Like A Woman,” Miss Carter also brilliantly undercuts the song’s diction – in this case its tone of cryptic hipness – by becoming the character to whom Dylan addresses the song. She is any wild, slightly desperate, vulnerable person looking into a mirror and seeing the different layers of her own personality in a phantasmagoric moment of recognition. Miss Carter carries this portrayal all the way to its dramatic limits, just as she does with the increasingly tipsy narrator of Laura Nyro’s “Sweet Blindness” and the lustful protagonist of Bruce Springsteen’s “I’m On Fire.”

Just as impressive as her skill at creating desperate zany characters is Miss Carter’s ability to conjure a mood of intimate personal rapport with an audience. Especially on four ballads — John Wallowitch’s “Come A Little Closer,” David Buskin’s “Warm,” Michele Brourman and Karen Gottlieb’s “Hold Out For The Real Thing,” and a medley of “When The World Was Young” and “Young and Foolish” – Miss Carter communicates the essences of enchanted romantic states – achingly intimate late-night friendship in “Come A Little Closer,” the recognition of grown-up love in “Warm,” a tenacious inner faith in true love and happy endings in “Hold Out For The Real Thing,” and the quiet sadness of the successful sophisticate in “When The World Was Young.” The expressive thread that winds through these four songs is the singer’s trust in the truth of emotion – her certainty that feelings are all, or almost all of what life is about.

Michele Brourman’s brilliant arrangements for a small ensemble match Miss Carter’s singing in stylistic flexibility. Working as a musical director for Miss Carter and for Amanda McBroom, among others, Miss Brourman has done more than anyone to create an 80s cabaret style of arranging that embraces practically every pop and rock style, past and present. Like Miss Carter, Miss Brourman begins from a point of view that is part classical, part theatrical, but also deeply sympathetic to the blues, jazz, country, and rock. And her exquisitely refined arrangements mediate between the singer’s personality and the songwriter’s vision with an uncannily perfect sense of balance.

Dixie Carter and Michele Brourman have proven on stage – and now with this album – that there is much more to “cabaret” than the genre’s stereotypical image of aging Broadway stars resurrecting the past for a nostalgically minded cult audience. They, and a handful of others, are showing how gifted musicians, collaborating in the intimacy of a cabaret setting, can make statements that are very personal and deeply artistic."

— Stephen Holden



to write a review