Just A Little Lovin' (Remastered) Shelby Lynne

• 1 Just A Little Lovin 05:20
• 2 Anyone Who Had A Heart 03:38
• 3 You Don't Have To Say You Love Me 04:15
• 4 I Only Want To Be With You 03:55
• 5 The Look Of Love 03:23
• 6 Breakfast In Bed 03:24
• 7 Willie And Lauramae Jones 04:12
• 8 I Don't Want To Hear It Anymore 04:40
• 9 Pretend 03:09
• 10 How Can I Be Sure 03:37
• Total Runtime 39:33

Info for Just A Little Lovin' (Remastered)

Wenn eine Sängerin in den USA nach dem sechsten Album und Jahren des irrlichterns zwischen Country, Southern-Rock und Popmusik einen Grammy als beste neue Künstlerin bekommt, dann ist gehörig etwas schief gelaufen. Wenn diese Sängerin jetzt auch noch ein durch Dusty Springfield inspiriertes Album aufnehmen möchte, dann bildet sich ein ganz großes Fragezeichen und es gibt nur einen Menschen, der dieses in ein Ausrufezeichen verwandeln könnte. Das ist Springfields Produzent Phil Ramone, der Shelby Lynne in das legendäre Studio A von Capitol Records in Hollywood steckte, um dort ein unerwartet ruhiges und klanglich grandioses Album einzuspielen.

Shelby Lynne klingt nicht etwa so, als wollte sie Dusty Springfield imitieren und glücklicherweise hält sie sich auch von Son of a Preacherman fern. Stattdessen übernimmt sie Songs und gibt ihnen die Perspektive des Jahres 2008 - und diese sind in ihrer ruhigeren Version keinesfalls schlechter als die britischen Originale. Klanglich hören wir den typischen 60er-Jahre-Sound des Studios, bei dem man stets glaubt, Frank Sinatra würde gleich zum Duett antreten, allerdings mit den technischen Möglichkeiten eines top ausgestatteten Studios der Neuzeit. Selbst das verwendete Mikrofon für Shelby Lynne macht den Eindruck, als stammte es aus den sechziger Jahren und hätte schon die Stimmbänder aller möglichen Stars aus der Nähe gesehen. Phil Ramone ließ für einen klanglich extrem hohen Standard produzieren und für diese HighResAudio Ausgabe wurde deutlich mehr an Dynamik zugelassen als bei der Normalversion der CD. Jetzt darf ein Bass brummelnd im Raum stehen und das Schlagzeug tatsächlich verklingen.

Dies ist eines der wenigen Alben, bei denen schon beim Aufschieben der Regler am Mischpult zu hören ist, dass gleich etwas Großes passieren wird. Der Raum öffnet sich zwischen den Lautsprechern und dann wird jedem Neuling innerhalb von wenigen Augenblicken klar werden, worum es beim Thema High End eigentlich geht. Wir haben den vermessenen Anspruch, ein besonderes Erlebnis an einem fremden Ort nach Hause zu transportieren und nur sehr selten gelingt dies so wie bei dieser Aufnahme. Falls Sie also gelegentlich das Gefühl haben, diese ganze High-End-Geschichte wäre übertrieben: Hören Sie dieses Album – danach sind alle Zweifel beseitigt.

'Aus den Evergreens von 'Dusty In Memphis' schuf Shelby Lynne jetzt unter der Fuchtel des Veteranen-Teams Phil Ramone / Al Schmitt zwischen endlos elegantem Pop-Klassizismus und Torch-song- Emotion oszillierende Deutungen.' (F. Schöler, Stereo)

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.