Just A Little Lovin Shelby Lynne

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  • 1Just A Little Lovin05:20
  • 2Anyone Who Had A Heart03:38
  • 3You Don't Have To Say You Love Me04:15
  • 4I Only Want To Be With You03:55
  • 5The Look Of Love03:23
  • 6Breakfast In Bed03:24
  • 7Willie And Lauramae Jones04:12
  • 8I Don't Want To Hear It Anymore04:40
  • 9Pretend03:09
  • 10How Can I Be Sure03:37
  • Total Runtime39:33

Info for Just A Little Lovin

Just a Little Lovin' is the first album by Shelby Lynne following her release from Capitol Records and her first with Lost Highway. Shelby covers Dusty Springfield songs on a simple, no-frills recording with her smooth, sultry voice. The album is rounded out by a solitary Lynne original, 'Pretend.' It was recorded straight to analog tape at Los Angeles' Capitol Studio A. Simply beautiful!

'One day back in the Spring of ’05, I received an e-mail from Barry Manilow. We had met at a Grammy function a few years back. Turns out he digs my music. So we've kept in touch over the last couple of years. In Barry's e-mail he asked me if I had ever considered covering the Dusty Springfield songbook. I didn't respond at that time. I had just released my latest record on Capitol called Suit Yourself and was about to take off on the road for a few months. I couldn't wrap my head around anything but going on the road. But, somewhere in the back of my brain I kept the thought closely tucked away.

It wasn’t until May of ‘06 when I went to my manager Betty and asked her what she thought about the idea of recording the Dusty songs. She liked the idea, and thought I should do it. The thing is, I didn't want to just record these songs, I wanted to make the recording simple and important.

I needed the perfect producer, and hadn't figured that part out yet. I needed someone who would understand that these songs stand the test of time, and that Dusty Springfield is timeless. Phil Ramone would be that guy. The recording engineer - Al Schmitt - was chosen because this record had to sound perfect.

I had wanted to record at the Capitol building my whole career and this was the album to do it. All of the drama I had endured with Capitol Records up to this point finally came to an end. The very week we started recording this album, Capitol Records was no more. My deal with them ended, and for a while this record and I were without a label. That's where Lost Highway enters the picture. When they heard it, they loved it just the way it was. Plain and simple. Cut to tape and zero frills. So, we had a deal.

Dusty Springfield was a soulful singer. You can't ever fill her shoes. So I just set out to sing songs we all want to hear again. The road map I followed when cutting these, was the one she made years ago. It was easy. I just sang and let the songs do the work. I'm so glad I did. Dusty inspired it all.' - Shelby Lynne, July 2007

'The more you listen to Just a Little Lovin', the more it becomes clear that, while it's not a pairing that might have immediately sprung to mind...Lynne and Springfield aren't all that far apart in tone, delivery, and emotional wallop. While Dusty could ornament a musical line and accent lyrics in indelible ways that escape Lynne, the younger rebel does a creditable job of catching just enough of Dusty's mojo to show that she understands what made the originals so powerful.' (Robert Baird, Stereophile Magazine)

Shelby Lynne, vocals
Dean Parks, guitar
Rob Mathes, keyboards
Gregg Field, drums
Kevin Axt, electric and double bass

Recorded and mixed By Al Schmitt
Mastered by Doug Sax at The Mastering Lab
Produced by Phil Ramone

Shelby Lynne
was destined to be a singer. Born a singer. She was raised in rural Alabama by musical parents who stressed individuality and the importance of standing apart from others. A terrible student, but avid reader, she loved the written lyric and a beautiful melody. Around the house she was surrounded by country music from the past, Hank Williams, Dottie West, Waylon Jennings, as well as old 45′s that belonged to her parents stacked high with most all Everly Brothers, Beatles, Elvis. It was the old pop music that really turned her soul on. The harmonies that came so naturally to her from such an early age stemmed from her mother, a naturally gifted singer, who guided the diamond in the rough talent on rides to school on freezing Alabama mornings with her younger sister Allison. They sang three part harmonies to pass the time, which brought the threesome so close in life, and in music. The Mills Brothers, Ink Spots, Kay Starr, Everly’s and anything that needed a harmony – this was the car in which to find it.

Shelby started playing guitar by age seven in order to accompany herself on these songs. Her father was a weekend guitar player in bands and bars and taught her a three-chord progression in E, and from there the hunger for more was so intense she learned the rest on her own. By high school graduation, her mind was made up and a trip to Nashville was inevitable. Married to her high school sweetheart with dreams of country music success in mind, they packed and moved to Music City where she met veteran songwriter Bob Tubert. With only a cassette demo in hand, he took a chance and played the tape for the TV producer of a long since gone program on the Nashville Network called “Nashville Now,” hosted by Ralph Emory. After the performance, she was offered a record deal by CBS Records where legendary producer Billy Sherrill came out of semi retirement to produce her first record. It included a duet with country legend George Jones, who praised Lynne’s ability to “own” a song at such an early age. After five albums in Nashville, Lynne was hungry for a change from the Nashville system and searched for a record producer who wanted to collaborate on a project. She enlisted Bill Bottrell, who had produced for Michael Jackson, Madonna, and had big success with Sheryl Crow on the highly successful Tuesday Night Music Club. The album, I Am Shelby Lynne, was recorded on the Northern California coast in 1998.

With the critical success and recognition of I Am Shelby Lynne, she was awarded the Best New Artist GRAMMY® in 2000 – after nearly 13 years in the business. Love, Shelby was released in 2001, followed by a pair of intimate, self-produced albums – Identity Crisis (2003) and Suit Yourself (2005). She made her acting debut in 2005, playing Johnny Cash’s mother in the Fox Searchlight motion picture Walk the Line. Just a Little Lovin’, her critically acclaimed tribute to Dusty Springfield, was released in 2008.

Never one to go with the crowd, Shelby continues to stand apart from the mainstream music world. She recently founded her own label, EVERSO RECORDS. Lynne’s Tears, Lies, And Alibis, EVERSO’s first release, debuted at No. 16 on Billboard’s Top Independent Albums chart in April of 2010. A Top 10 hit at Americana radio, it was hailed by Newsday as “her strongest album in a decade,” a sentiment echoed by numerous critics. She followed Tears, Lies, And Alibis with her first-ever holiday collection, Merry Christmas, released in the fall of 2010.

Revelation Road – Shelby’s most personal record yet – was released on October 18, 2011. She wrote, recorded and produced the album, which included the single ““Heaven’s Only Days Down The Road.” The track was tapped by NPR Music as the “Song of the Day” and the accompanying video was added by CMT. After a yearlong solo acoustic tour, she released Revelation Road Deluxe Edition. In addition to the original disc, the box set included her first-ever live album, Live At McCabe’s, and her first live DVD, Live In London, plus five bonus acoustic tracks, a documentary on the making of Revelation Road and more.

This album contains no booklet.

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