Stardust [Bonus Tracks]

1	Stardust 3:52
2	Georgia on My Mind 4:20
3	Blue Skies 3:34
4	All of Me 3:54
5	Unchained Melody 3:50
6	September Song 4:35
7	On the Sunny Side of the Street 2:36
8	Moonlight in Vermont 3:26
9	Don't Get Around Much Anymore 2:33
10	Someone to Watch Over Me 4:03
11	Scarlett Ribbons Bonus Track 4:29
12	I Can See Clearly Now Bonus Track 4:16

Barnes & Noble

With every country artist under the sun now laying claim to classic American pop territory, perhaps it's useful to point out that it was Willie Nelson who kicked this trend into high gear way back in 1978 with the Booker T. Jones -- produced Stardust. Twenty one years later, these bedraggled, lovingly arranged takes on Irving Berlin ("Blue Skies"), Hoagy Carmichael ("Stardust"), the Gerswhins ("Someone to Watch Over Me"), and other great tunesmiths still sound riveting and fresh. Bonus tracks here include a typically idiosyncratic version of "I Can See Clearly Now" and a heart-tugging caressing of "Scarlet Ribbons" that holds its own with Harry Belafonte's definitive version. David McGee

All Music Guide

At the height of outlaw country, Willie Nelson pulled off perhaps the riskiest move of the entire bunch. He set aside originals, country, and folk and recorded Stardust, a collection of pop standards produced by Booker T Jones. Well, it's not entirely accurate to say that he put away country and folk, since these are highly idiosyncratic interpretations of "Georgia on My Mind," "All of Me," "Moonlight in Vermont," and "Don't Get Around Much Anymore," blending pop, country, jazz, and folk in equal measures. It's not that Willie makes these songs his own, it's that he reimagines these songs in a way that nobody else could, and with his trusty touring band, he makes these versions indelible. It may be strange to think that this album, containing no originals from one of America's greatest songwriters, is what made him a star, and it continues to be one of his most beloved records, but it's appropriate, actually. Stardust showcases Nelson's skills as a musician and his entire aesthetic -- where there is nothing separating classic American musical forms, it can all be played together -- perhaps better than any other album, which is why it was a sensation upon its release and grows stronger with each passing year. Stephen Thomas Erlewine