AT LAST, after delighting audiences of all ages with his Rat Pack-style sophisticated swing, Michael Campari has made a record.

Three and a half years after returning to the city and 're-discovering' his voice, Michael has collected some of his most popular covers in to one compilation called Swingin' On A Star.

"I've been asked to do this for some time," says Michael, "but it's only now that I feel confident enough in my voice to make a recording. I wasn't happy with my recorded voice before."

Ironically, the fact that Michael had been having problems with laryngitis, despite classical training, has helped in the long run.

"Over the last couple of years I really put a strain on my vocal chords by overdoing it. But having learned to sing the proper way years ago, I have managed to over-compensate for my problem by breathing more deeply and opening the bellows even wider, which gives everything better support.

"My technique has improved as a result, giving me better breath control and an ability to keep over the top of the note which has improved my intonation."

The results are there for all to hear and Michael tackles huge numbers with seeming effortlessness, emulating the easy swing timing and casual croonability of his heroes, while at the same time injecting some of that unique emotive Campari magic.

Opening with two big band numbers popularised by Sinatra, I've Got The World On A String and You Make Me Feel So Young, Michael makes a bold statement from the start.

But listen carefully and you can hear a Plymouth twang on track one as he readily concedes.

"'Got a string around my finger' – you can hear the Janner 'r' there," he says. "But I don't mind that, I'm quite proud of my transatlantic Janner inflection, it keeps my identity."

All Of Me, a gentler offering, is done using the Buble arrangement very effectively while Fever, the song synonymous with Peggy Lee, also works well.

"When I was 17 I went into a record shop and bought a Julie London album," explains Michael, "and I've been drawn to this style of female vocalists ever since. That got me into Ella, Astrud Gilberto, Aretha Franklyn – and I've always been interested in taking female songs and reinterpreting them."

What A Difference at Day Makes is another case in point perhaps, best known in the Dinah Washington version.

"Such big phrases on that one; it's the most demanding in terms of breathing and phrasing…"

Two of Michael's favourite tracks close the album: Can't Take My Eyes off You – the Andy Williams classic and his signature tune, Dean Martin's That's Amore.

"I always close my live gigs with Amore," says Michael, "so that had to be in there."

Recorded at PMC, with backing tracks and masterfully mixed by resident producer Doc Collins, the album is a solo effort from Michael who is now to start working on a full album with his seven-piece 'big band', The Solar System.

"I'm doing more and more with The Solar System," he explains, "and I just felt the need to do a solo album before tackling an album with the band, otherwise I thought I'd never do it."

With an eye to playing more corporate gigs and festivals with the full line-up, you probably won't be seeing quite so much of Michael as a solo artist from now on.

But there's one venue to which he'll always return.

"The Queen's Arms on the Barbican is one of my absolute favourite places to play. You get such a great mix of young and old just loving the music and dancing."

Michael launched his album at The Sun and 3 Cantons in Soho, London, last night and will be having a Plymouth launch at Vue 2, on the Barbican next Thursday from 8.30pm.

He's also at the Rod and Line in Tideford next Tuesday, Valentine's night.

The album is available at gigs priced £7.