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House of Secrets
Leigh Harris
Very intimate, artfully breathing life into a program of different selections including songs by Doc Pomus, Brian Wilson, Jagger-Richards, Ray Davies, and herself.
Collection Contents
| # | Title | Length | ||
|---|---|---|---|---|
| 1 |
|
Like a Ghost | 5:02 | Play |
| 2 |
|
Incommunicado | 4:45 | Play |
| 3 |
|
Paint This Town | 4:48 | Play |
| 4 |
|
Devil Jumped a Rabbit | 4:43 | Play |
| 5 |
|
Backstreet Girl | 4:53 | Play |
| 6 |
|
Telephone Sleeping in My Bed | 3:47 | Play |
| 7 |
|
Evening in Paradise | 5:42 | Play |
| 8 |
|
Caroline No | 2:50 | Play |
| 9 |
|
Crazy Mirrors | 4:12 | Play |
| 10 |
|
Oklahoma USA | 3:04 | Play |
| 11 |
|
Midnight Star | 5:09 | Play |
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| Description | Amount |
|---|---|
| Bitmunk Marketplace Service | USD $0.98 |
| CD Baby Artist Royalty | USD $5.97 |
| CD Baby 9% Digital Distribution Cost | USD $0.54 |
| Bitmunk Download Service | USD $0.60 |
| Bitmunk MicroPayment Service | USD $0.01 |
| Total | USD $8.07 |
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Description
House of Secrets brings us a very intimate Leigh Harris, artfully breathing life into a program of wildly various selections including songs by Doc Pomus, Brian Wilson, Jagger-Richards and Ray Davies. Supported by a pool of exceptionally talented musicians, Harris stamps each performance with her own personality. There are fine originals by John Magnie and Glenn Patscha, two excellent Leigh Harris compositions ("Telephone Sleeping in My Bed" and "Crazy Mirrors"), and an exquisite rendition of Randy Handley's "Paint This Town" in a duet with pianist Joshua Paxton.
"This project kind of started out as a whole other idea of what I wanted the record to be. I was gonna record just my favorite bar tunes, real intimate, and I was going to call it After Hours. Then Magnie played 'Like a Ghost' for me on piano, and I wanted to record it. Then everything changed...it just got rounder and rounder and I started seeking other material."
From Offbeat - "On House of Secrets, New Orleans native Leigh Harris brilliantly explores her hometown's love of melodic song and dramtic presentation, turning what might otherwise be a folk-oriented set of emotion-laden originals and cleverly chosen covers into a light-down-low, saloon singer's delight. A prime example is her take on "Backstreet Girl" from the Rolling Stones' songbook, opening with only vocal and piano as the arrangement adds layers selectively, first form a pair of accordions, then a vocal chorus, finally building to a peak of full-bodied intensity briefly, before letting it all wash away. The effect is haunting, reminiscent of a French cabaret singer."