Just A Little Lovin'

Shelby's vocals are soulfully smokey and occasionally sensual on these excellent adaptations of some of Dusty Springfield's classic mid to late 1960's pop hits. These ingenious renditions are impressive, and relaxing easy listening music. This album is reflective of quality 'piano bar' music, with clarity of words, and simple, soft accompaniment and yet these songs feel very emotional, as conveyed by Shelby's soft, unique and quietly riveting style. Over the course of Shelby's career and album releases she has demonstrated and amazingly versatile voice, and the ability to delivery excellent music in various genres ~ impeccability! From awesome country, and rhythm and blues to pop - alternative. This is one of many excellent albums from an amazing talent. The album cover states ~ "inspired by Dusty Springfield" and indeed, 7 of the 10 tracks are Dusty's music. 1. Just A Little Lovin' ~ Was not a charted song for anyone in the U.S. but is a great album cut from "Dusty in Memphis" 2. Anyone Who Had A Heart ~ Cover of the 1964 top ten hit by Dionne Warwick. 3. You Don't Have To Say You Love Me ~ Great cover of Dusty Springfield's top 10 hit from 1966. 4. I Only Want To Be With You ~ Cover of Dusty Springfield's 1964 hit, which just missed the top 10. 5. The Look Of Love ~ Cover of Dusty Springfield's 1967 hit, which just missed the top 20. 6. Breakfast In Bed ~ Cover of Dusty Springfield's 1969 single, which didn't chart well, didn't get past #91. 7. Willie And Laura Mae Jones ~ Cover of Dusty Springfield's 1969 single, which didn't chart well, not past # 78. 8. I Don't Want To Hear It Anymore ~ Cover of Dusty Springfield's 1969 release that didn't break into the top 100. It was the B-Side of 'Windmills Of Your Mind" which was a top 40 hit. 9. Pretend ~ Self-penned song, which appears to be debuted on this album. 10. How Can I Be Sure ~ Cover of the 1967 top 10 hit by the Young Rascals. Conclusion ~ This is very soulful, enjoyable easy listening music. Great background or mood music.

People say imitation is the highest form of flattery. This album is much more than that, it is a tribute, an hommage, but it is also a solemn re-interpretation of a classic sixties record. Dusty in Memphis has grown into an iconic record in the history of music. It has become the inspiration of innumerable musicians of all genres. The lush orchestral sound and the delicately subtle vocals has made this a well beloved album, the one where you ceremoniously open the jewel case and formally press the play button while sitting in a warm room. You allow the sounds and the voice envelope you like a loving hug from an old friend. To take on this kind of a challenge is sheer madness, and Shelby Lynne has admitted as such. In her interview with NPR, she said she constantly berated herself for taking on the most beloved albums from a beloved singer. She also said she never drank more whiskey during the recording of an album. But this is a risk well taken, an interpretation well considered, and stupendously executed. She stripped away the orchestral lushness, singing the songs almost acapella. The structure was unadorned while the loveliness of her voice as well as the time tested strengths of the songs and lyrics stood front and center, strong and defiant. The production placed the ethereal and magical alchemy of a super talented singer along with the ideal material interweaved and danced in the air. It is lovely, emotional, captivating, and evocative. One can almost feel the spirit of Dusty rising from the speakers and looking on approvingly at Shelby Lynne, telling her:" You go girl! Make this yours!" The original was special and the hommage was more than up to the original's magic.

Shelby Lynne's tribute to Dusty Springfield embraces the material and makes it her own. "Anyone who had a heart could surely take me in his arms and always love me. Why won't you?" she sings on the classic Burt Bacharach melody that is probably more associated with Dionne Warwick in the United States. It's a bare emotional reading with the brushes prominently dense in the arrangement. She moves into another bare bones stunner, "You Don't Have to Say You Love Me," where she lets the sad lyric penetrate deeply, "Left alone with just a memory, Life seems dead & so unreal; There's nothing left but loneliness; There's nothing left to feel." "I Only Want to Be With You" gets a subtle samba flavor on what Shelby transforms into a soft jazz number, "Look what happened with just one kiss; I never knew that I could be in love like this." Ana Egge did an excellent version of "Breakfast in Bed" on the Tribute CD Forever Dusty . Shelby's version takes the Donnie Fritts-Eddie Hinton penned song and unleashes the ache against a minimalist arrangement. Tony Joe White's "Willie & Laura Mae Jones" may be one of the lesser known Dusty Springfield tracks, but Lynne lays down a swampy low-key version that ought to put a smile on Tony Joe's face. Shelby's self-penned "Pretend" is given a soft jazz treatment with an acoustic guitar backing. Dusty Springfield recorded the Rascles' "How Can I Be Sure." Lynne's version concludes this set with a spare acoustic treatment and becomes a song of romantic uncertainty and desire, "How do I know maybe you're trying to use me? Flying too high don't confuse me, Touch me but don't take me down." "Just a Little Lovin'" is an excellent set. Lynne transforms the familiar material into a new statement. Enjoy!

Shelby Lynne’s Just a Little Lovin’ is a quietly powerful reimagining of classic songs through a warm, sweet-jazz lens. From the first notes, Lynne’s voice, intimate, slightly husky, and emotionally direct, draws you into each arrangement. The album favors understated, elegant production that lets the melodies breathe; arrangements are tasteful and restrained, allowing the emotional core of each song to come forward without overstatement. Her take on “You Don’t Have to Say You Love Me” is a revelation. Stripped of theatrical excess, the track becomes a tender confession, Lynne turns familiar lines into a conversation, finding vulnerabilities and subtleties that make the lyric hit harder. It’s a fresh, nuanced interpretation that gives the song new emotional weight. “The Look of Love” is another highlight: sultry and soft, Lynne’s phrasing and timing transform the tune into a late-night vignette. The arrangement’s gentle sway complements her delivery, emphasizing mood over spectacle. Throughout the album, Lynne demonstrates impeccable taste in tempo and dynamics. She knows when to linger, when to pull back, and when a single note is enough to say everything. Standout qualities: consistently expressive vocal performances, cohesive production that honors the songs without overshadowing them, and a mood that’s both comforting and quietly dramatic. Even lesser-known tracks benefit from her interpretive gifts; the record feels like a thoughtfully curated late-evening set. If you enjoy vocalists who prioritize feeling and storytelling over vocal gymnastics, or you’re a fan of mellow jazz-inflected pop standards, Just a Little Lovin’ is a delightful listen. It renews familiar classics while offering a cohesive, intimate atmosphere that rewards repeated plays. Highly recommended for fans of smoky, sophisticated vocal work. A MUST HAVE!

One of the most difficult challenges in music is to do a cover of a classic song and rival or surpass the original version. Shelby Lynne definately accomplishes this on her "Just A Little Lovin" album. Most of the record are covers of classic Dusty Springfield songs. I have always been a fan of Dusty Springfield and the original version of many of her songs were big sounding productions featuring Dusty's powerhouse vocals. A good example is "I Only Want To Be With You" and "You Don't Have to Say You Love Me". Shelby Lynne has taken a very different approach and put her own version to each song with a much more laid back production and mellower vocals. Almost an acoustic jazz style vocal approach. This record has really grown on me since I first heard it and has become one of my favorite CDs. I can highly recommend it.

When I heard that Shelby Lynne was doing Dusty covers I thought - how boring . . . I love Shelby's voice but do we really need to keep hearing these same boring songs over and over again? How wrong I was! The whole album is very understated and that is it's beauty. At times it almost sounds like acapella and I found myself almost wishing it WAS acapella because Lynne has the most beautiful amazing voice and the talent to use her voice like very few artists I've ever heard. Ella Fitzgerald comes to mind, Patsy Cline, Nora Jones (some of the greatest singers of all time.) I absolutely fell in love with this CD. A few words to describe it: Hauntingly delicious, sexy as it gets, full of surprises and completely original - - a true work of art and a masterpiece. If you're looking for elevator music or schmaltzy pop music - something hum drum or run of the mill -- do not buy this cd. If you are looking for inspiration and 100% pleasure then DO buy this cd. And if you can't appreciate it - - maybe you should slow down and take a deep breath. BTW this cd is great for dinner, dancing . . . . and you know what else (use your imagination here) Perfect to go with a bottle of red wine, a dozen roses and a night with your sweetie. A great listen all around for driving, eating, walking or whatever it is you might be doing. I am 100% satisfied with my purchase of this cd. I am also very tired of all the whiners and complainers on the Internet - Please get a life! Maybe this cd will put the spark back in your tired life . . .

Shelby Lynne released the album "Just A Little Lovin'", which is a tribute to blue eyed soul singer Dusty Springfield- who is best known for her hit "Son Of A Preacher Man". On the surface, it seems like a country record, being that it was issued on the alt-country label Lost Highway Records. However, one listen to this album and it plays out like a soft rock album. Hardly a surprise given that the producer of the project is the Rick Rubin of soft rock, the legendary Phil Ramone, who is responsible for albums from Billy Joel, Chicago, Paul Simon, and Phoebe Snow. Besides, anyone who heard Shelby's 2000 effort "I Am Shelby Lynne" noticed a strong likeness to Dusty's signature sound. The album opens with the title track and later into the song "I Only Want To Be With You" which is reimagined as a ballad. She also takes on the Burt Bacharach penned "The Look Of Love" and pulls out all the stops on the album's best song "Anyone Who Had A Heart". Just about all of the songs are cover songs except "Pretend" which is the song penned by Shelby with Dusty in mind. Overall, it's a great album from Shelby who did justice to the songs. The only gripe is that the album leaves you wondering why she chose not to do "Son Of A Preacher Man".

lp arrive after 2 weeks....can't tell how disappointed i am from this purchase.. first time from amazon im receiving not original product. this all thing look like a rip off...the printing look so cheap and it full of pixels obviously not original be careful ...do not buy !!!! 1. lp arrive with completely damaged cover (very weird.... it wasn't packed at all ...just a big envelope with nothing to protect the lp.... for example - this week i received another lp from amazon which was packed like airplane black box 2. the lp has all kind of stains which don't come off even with record cleaning machine (did 2 rounds) 3.most important.... this album recorded in very high quality , this vinyl sound like radio from the 1920's it's completely unusable ...amazon take this thing back or i throw it in the garbage 4.. amazon - you are the best because of quality control and your service.... don't know how this one slip beneath your eyes for everyone else...be aware

Wer einmal "Breakfast in Bed" von UB40 mit Chrissy Hynde gehört hat, erkennt eine gute Band, zwei interessante Sänger und einen guten Song. Wenn Shelby Lynne diesen Song bringt, so verrucht und sexy und klagend wie die liebende und klammernde Frau nur klingen kann, wenn sie sich jeder Strophe langsam und fast genüsslich widmet, untermalt nur von sparsamer Begleitung und einem perfekten Hall, dann bekommt dieser ohnehin gute Song eine völlig neue Qualität. Der Hörer wird diese Interpretation niemals vergessen. Und so geht das Schlag auf Schlag bei diesem Album. Die Interpretationen sind so ungewöhnlich, Lynnes Stimme so emotional wie variabel, die Begleitung so sparsam wie angemessen - dies ist das mit Abstand beste Cover- und Tribute-Album, das ich seit Jahren gehört habe. Jede Interpretation ist originell, ausdrucksvoll und musikalisch ebenso sparsam wie passend begleitet. Man höre beispielsweise nur den 10. Titel, das nur von Dean Parks akustischer Gitarre begleitete "How Can I Be Shure" - das ist das grenzüberschreitend gesungene, zwischen Chanson, Gospel und Ballade schmalzfrei klagende Lied des Zweifels in der Liebe. Das geht einfach nicht besser. Und das Album ist eine audiophile Perle: Phil Ramone hat das bestmögliche Händchen für den perfekten Hall und die gute Begleitung für einen großen Sänger. Wie schon bei George Michaels grandios klingendem Album Songs From The Last Century schafft Ramone hier mit fantastischem Raumklang, grollendem Bass, krachenden Fender-Rhodes und den fein dazwischen gehenden Gitarren von Dean Parks für jeden Song eine passende Klangwelt. Das und die zwischen rabenschwarzem Kontraalt und sehnsuchtsvollem Sopran pendelnde Stimme von Shelby Lynne schaffen mit jedem Song eine schlüssige Interpretation, ein mitreißendes Musikerlebnis und eine toll klingende Klangwelt. Es ist mir ein Rätsel, wie eine so gute Musikerin, die seit ihrem Album "I Am Shelby Lynne" von 2000 mit einer Ausnahme nur hervorragende Alben produziert hat, so unbekannt sein kann. Kaufen. Hören!

Goid

Este es uno de los mejores discos que he escuchado en mi vida. La voz, las canciones, la producción y la instrumentación son excelentes. Para audiófilos 100%

This is a very classy album - beautifully understated performances (especially the title track), and very good recording quality (although I can hear the music from one layer of the analogue master tape, ghosting onto the adjacent layer, on the spool! Others have remarked the same thing to me, but it's not intrusive - it just adds a little nostalgic character). Overall, this album is warmly recommended if you have a decent hi-fi and like to kick your shoes off and recline, in the darkness, with your tipple of choice, with or without a companion. If you're anything like me, you'll enjoy playing this rather loud, since it is so laid-back and... well... just try it and see for yourself. Also, if you like this album, be sure to check out another of Shelby's albums, 'Suit Yourself', in particular the last track on that album (ambiguously labelled 'Track 12'), which is a very stripped-back cover of Brook Benton's 'Rainy Night in Georgia'. Although Amazon do not appear to offer an 'Auto-Rip', please don't let the reviews moaning about copy protection on that album dissuade you from buying it - with no disrespect intended, they are novices with insufficient experience to deal with such issues, but it really isn't difficult.

1曲目Just A Little Lovin' の最初の1音、ドラムがドシンと落ちるところで、完全に引き込まれる。いいなあ。シンプルすぎるほどシンプルなドラム、ギター、ベース、ときどきピアノ。丁寧なボーカル。雰囲気がジャズっぽい、いわゆる、ノラ・ジョーンズ後の女性ボーカルです。しかし実はSheryl Crowのようなアルバムもあって、それはそれで良いんだけれども、いまいちイメージが固定できないのが不利なところですね。でも、この人はキャリアも長いし、苦労もしてきてる人なので、安心して聴ける。というか、ウソ臭さがないので素直に聴ける。これは大事。 Dusty Springfieldのカバーということですが、僕の場合、4はBay City Rollersを、10はYoung Rascalsのほうを思い出しました。要するにスタンダードです。秋の夜長でも、春の日差しでも、冬の朝でも、1枚通していつでも聴ける。どこでも、だれとでも聴ける。最近少なくなった、愛着を感じることのできる1枚です。いい声だなあ。