Rolling Stone - p.823.5 stars out of 5
-- "[B]are-bones interpretations that are more light jazz than country, including a gorgeous 'Anyone Who Had a Heart.'"
Uncut - p.984 stars out of 5
-- "In squeezing all the Saturday night/Sunday morning feel from the originals, she refashions them into doleful folk-soul songs.....Effortless elegance is the order here."
Down Beat - p.814 stars out of 5
-- "Lynne fearlessly embraces the stripped-down format, often going a capella or with minimal, late night jazz lounge backing. The results are riveting..."
Mojo (Publisher) - p.1144 stars out of 5
-- "The key to her approach is simplicity...singing in a relaxed, intimate manner that's totally revealing and always soulful."
Blender (Magazine) - p.804 stars out of 5
-- "[This] delicately rendered tribute feels like a candid self-portrait painted in watercolors and tears."
Harp (magazine) (p.95) - "[T]his set of Dusty Springfield covers might just be her most unguarded. She captures the essence....Lynne shares Springfields' sultry purr..."
The Word (magazine) (p.97) - "Lynne shows that she is capable of communicating the nuances of a song better than perhaps any living singer you can think of outside of Willie Nelson and Bob Dylan."
Record Collector (magazine) - p.924 stars out of 5
-- "Shelby's Southern drawl drapes itself beautifully around a set of tunes that were pretty wonderful to start with."
Tributee: Dusty Springfield.
Personnel: Shelby Lynne (guitar); Dean Parks (guitars); Rob Mathes (keyboards); Kevin Axt (electric bass); Curt Bisquera, Gregg Field (drums).
Though she's ostensibly identified as a country singer, Shelby Lynne has ventured credibly into soul, pop, and jazz with the assurance of a true vocal talent. In retrospect, her various stylistic routes can be seen as prologue to JUST A LITTLE LOVIN', wherein she tackles the looming legacy of one of her aesthetic forebears, Dusty Springfield. Interestingly enough, the project was suggested by none other than Barry Manilow, apparently a pal of Lynne's, and the results bear out the wisdom of his notion. Tackling classics from Springfield's legendary mid-to-late-'60s recordings, Lynne wisely avoids flat-out imitation, opting instead for a stripped-down, low-key approach that should resonate well with those enamored of the post-Norah Jones croon universe as well as fans of Springfield's original (and considerably brassier) pop gems.