Just a Little Lovin' [Vinyl] - Dark Publications

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Editorial Reviews:

Amazon.com
Though Shelby Lynne has already reinvented herself more than once, never has her musical transformation seemed more inspired than on this release that finds the maverick Nashville artist channeling Dusty Springfield. While much of the material comes from the classic Dusty in Memphis (where the British pop singer reinvented herself with a dash of Southern soul), Lynne has recorded more than another collection of covers. With the sparest of arrangements and superb production by Phil Ramone, she inhabits these songs from the inside out, frequently offering transformations that provide revelations on both the material and Lynne's artistry. Throughout, she embodies the wistfulness of the worldly-wise other woman; one who is willing to settle for what she needs. There's a heart-stopping intimacy to the album-opening title cut, and the acappella intro renews the familiar "You Don't Have to Say You Love Me." She recasts Springfield's earlier "I Only Want to Be with You" from jangly teeny-bop into a sultry and sophisticated ballad with a Brazilian lilt. In addition to material from such master tunesmiths as Burt Bacharach ("Anyone Who Has a Heart," a particularly seductive "The Look of Love") and Randy Newman ("I Don't Want to Hear It Anymore"), Lynne offers her own "Pretend" as a hit that Springfield could have had. The yearning rendition of the Rascals' "How Can I Be Sure" provides the perfect cap for an album that establishes Lynne as a superb interpretive stylist. --Don McLeese

Amazon.com
Shelby's new album, Just A Little Lovin', was inspired by one of her favorite singers, Dusty Springfield. The album features nine clasic songs associated with Dusty and one stunning original written by Shelby, inspired by Dusty.

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Album Description
UK edition of her 2008 album includes one bonus track: 'Wishin' And Hopin''. Just A Little Lovin' is a collection of songs originally recorded by Dusty Springfield that were close to Shelby's heart. She had wanted to do this record for a long time and she realizes the fruition with this 11 song set. Standouts include 'Anyone Who Had A Heart', 'The Book of Love', and 'Breakfast in Bed'. Universal.

Customer Reviews: Read 95 more reviews...

5 out of 5 stars

Dusty Would Be Proud! January 29, 2008
41 out of 50 found this review helpful

There are two ways this CD could have gone, and thankfully it's not crap. She's taking on Ms. Springfield like a seasoned heartbroken champ (which of course she is). She does it the way it should be done; every song here is sparse, fully realized and void of emptiness.

The major difference between Springfield and Lynne is in delivery, while most of what Springfield does on record is almost a heartbreaking, soulful coo. Lynne's voice is strongly powerful. Songs such as "You Don't Have to Say You Love Me," with its acappella, slightly echoed, opening, tricks the ear as if it's going to break out into the loud ripping rendition that it always gets. But Lynne plays it down, turns up regret and conviction in her voice and it's now a country torch ballad.

"Breakfast in Bed" is still a sultry, slippery ode, but Shelby's vocals are so assured, turning the lyrics almost into a demand and it works.

The show-stopper is her take on "Anyone Who Had a Heart." She keeps this song just under a boil, a languid piano, and vocals just above a drawl; it's perfection .. she plays it soft until her voice just soars for a brief moment, before falling back down to heartache, truly showing off the complete vision of this album.

You can see what Lynne takes from her love of Springfield: both women were and still are under-appreciated vocalists who deserve bigger audiences. It takes guts to take on an artist's most definable material and Lynne doesn't flinch once!

4 out of 5 stars

A Quiet Stunner January 30, 2008
39 out of 49 found this review helpful

As one of Dusty Springfield's biggest fans, I was both excited about and afraid to hear what Shelby Lynne was going to do with some of the songs most identified with the Great Beehived One. It kind of worried me that Ms. Lynne was going to release a "stripped down" production. After all, Dusty is most identified with what she herself called those "big ballady things," huge, Italian-style production numbers with all the stops pulled out, and the singer at full throttle. On the other hand, it was encouraging to hear that Lynne was not trying to imitate Dusty or invade her territory. Dusty, after all, had turned in the definitive versions of these numbers so, according to Shelby, the job was to interpret the songs in her own way, and as a reminder to her listeners of Springfield's neglected catalog. Today, Dusty's music reaches an ever-widening circle of discerning listeners, and is being rediscovered by old fans and revealed to younger pop music lovers. Yet, for all the burnishing of Dusty's legend, she remains a woefully underexposed musician, often still relegated to the "Oldies" bin in CD stores. Unfortunately, this may because only a handful of her songs ever get heard and are, strangely, somewhat OVER-exposed. About a dozen of her biggest hits get endlessly recycled, while only her die-hard fans know the rest of her 300-plus-song library.

Perhaps the funny name, the cartoon make-up and hair, and the flamboyant ultra-feminine costumes did her in, and without the songwriting talent of say, Dolly Parton, she was not taken seriously. Critics have long sung Springfield's praises, but record sales never reflected her value as a singer, and as an artist who could capture the imagination of the masses. That's okay, of course. There are many wonderful talents out there who never gain widespread fame (and Dusty did have her brief moment in the sun). Shelby Lynne has experienced much under-appreciation throughout her own career. Often compared to Dusty, it then comes as no surprise that Shelby is a fan herself. This is her tribute, and it is a quiet stunner. The biggest surprise, for me, is Randy Newman's "I Don't Want To Hear It Anymore," long one of my all-time favorite Dusty songs. Her version still can't be touched, but boy, does Shelby come close! It's different, though. Dusty sounded utterly shattered, Shelby merely heart-broken. Of the other selections, including one fine original, there are few flaws. "The Look Of Love" is perhaps the weakest number, but it was one of Dusty's finest moments; the arrangement here doesn't do the song justice, although Shelby sings it well. If possible, however, Ms. Lynne tops Dusty's version of "Willie And Laura Mae Jones," sounding more natural and, well, Southern, than the English Dusty could, even with all the soulful yearning in her voice.

Most of this CD is very, very good. But I wish there had been a couple more up-tempo numbers. Also, Lynne didn't choose much from what I would call Dusty's "deep catalog." Six out of nine songs here are very well known indeed. I don't mind though, and if this fine, understated (and brief) album causes just a few more hundred people in the world to seek out the original Dusty Springfield recordings, than Shelby will have done her job. And on second thought, perhaps Lynne wanted to keep a sustained mood. Dusty's wonderful albums were all over the place, but her eclectic approach probably wouldn't have worked as well for Shelby. There's some variety of styles, nevertheless, so this collection doesn't become tedious.

A word about the instrumentation: beautiful. Some guitar and bass, occasional percussion and keyboards, and lots of space. This is about the subtle strength of Shelby's sensuous, effortless singing, and the instruments support it, rather than overwhelm it. Yes, I do miss the strings, and the wall of sound that Dusty loved to wrap around herself, like a big security blanket, which allowed her to give her all without fear of exposure. That was another time. Shelby was wise not to go there. I see this highly successful project as a staple in upcoming late nights when I can't, or don't want to, sleep. Sitting in a comfortable chair with a glass of wine, my feet propped up and my eyes closed, this is just that kind of relaxing, dreamy record.

3 out of 5 stars

Dusty homage on Valium February 13, 2008
15 out of 24 found this review helpful

I love Shelby's voice I do....but this entire album seems sung from deep within a coma. There wasn't an ounce of energy in evidence throughout the CD. It is lovely and haunting in its own way but anemic in tone and power. The sound was very similar to late-in-life Peggy Lee.

All that said, Shelby is always worth listening to.

1 out of 5 stars

Go buy the Dusty Sprinfield original instead. That's an order. February 17, 2008
14 out of 24 found this review helpful

The Dusty Springfield 'Memphis' album has been reissued with a slew of really strong bonus tracks. Go buy that immediately and quit thinking about this Shelby Lynne product.

If Lynne thinks she's going to ride the pop/soul coattails of Dusty Springfield into being considered an esteemed artist, well, given the music industry these days, she'll probably get it (she'll be considered more 'hip' because she 'knows' about the Memphis album) . That doesn't mean she's doing justice to these songs and it does not mean she delivers them with soul or sincerity. Quite the opposite; this record sounds like the marketing move of someone who's run a bit short on personal ideas and motivation. For example, her version of Willie and Laura Mae Jones is just awful; assembly-line country blues, indifferently jammed, with a lifeless PC reading of the lyrics, missing all of the naive charm that make Dusty's version so cool.

If you're buying this CD because you're a fan of Shelby and you've never even hear of Dusty Springfield, do yourself an incredible favor: skip this pointless, second-rate imitation (you can't even call it a tribute) and go find out about the real thing. You will be pleasantly surprised.

2 out of 5 stars

Melancholy, spare...a real downer February 2, 2008
13 out of 22 found this review helpful

As a Dusty Springfield fan, I prefer to remember her upbeat songs and delivery, compared to the melancholy, spare, depressing sound of this CD.

Shelby obviously has a great voice, but her prickly personality has probably been the greatest deterrent to acheiving mainstream stardom. This CD is apparently pleasing her diehard fans, but I can't see it going beyond that.

The CD could have benefitted from more uptempo songs.

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