The Little Willies featuring Norah Jones

So, this bar band looks back to the days of Hank WIlliams and Wetern Swing, chucks in a couple of reasonable originals, bungs out an album which their mums and dads buy, and no-ones the wiser. Apart, of course, from the previousl mentioned Notah Jones factor, which means what should be an easy rolling ride becomes an object of massive media attention. Which puts a very unfair focus on what should be a easy ride. So, I may as well join in and critique the hell out of something which shouldn't be scrutinised to the nthe degree.

The Fred Rose number "Roly Poly" sets out their stall from the off, with a swinging little arrangement and co-vocals from Norah and Richard Julian. The Elvis classic "Love Me" is absolutely fabulous, especially with Norah taking the lead. "It's Not You It's Me" is one of the new tunes, but swings like it's 1933. Kris Kristoffersons song "'Best Of All Possible Worlds" suffers from not being Kris Kristofferson but then who is.

There's a couple of lesser numbers before Norah gets all playful on the Willie Nelson number "Gotta get Drunk" and it is a real blast to see her fooling around and having fun. Later on, they also have a go at "Night Life", but miss the mark that time. "Streets of Baltimore" is a stone cold Tompall Glaser classic and is the most 'country' song here, with Richard Julian taking the lead. To be fair, the album then tails off, bar the rollicking "Tennessee Stud", which is just plain funny. Although I'm sure Lou Reed will be delighted (*cough*) at the closing track, "Lou Reed", which has Richard Julian doing Lou doing country doing bad things to cattle.

"The biggest little bar band in New York" have been playing together since 2003, and this sounds just like it should. A group of friends having fun. Treat it like that rather than the Bible II and you'll have some fun.


Disappointing   March 15, 2006
 19 out of 28 found this review helpful

Awaited the delivery of this album with great anticipation. Played it. Thought I'd missed something. Played it again. Nope. I hadn't missed it. It wasn't there in the first place. That vital ingredient. Passion. Soul. Commitment. Call it what you will.

I wonder if any of the band (able musicians all) have ever actually listened to any country music. From the opening limp, bowdlerised "Roly Poly" to "Lou Reed" there's never any indication that any of them have actually connected with the material. Or wanted to, come to that. Here we are, the song is over there, and we'll keep this big chasm in between us, thank you very much. If you don't believe me, than just play The Little Willies' attempt at "Streets of Baltimore" with Gram Parson's version. Then weep at what has been done to music in the intervening 30-odd years.

Competent? Yes. Nice to see someone attempting something a little out of the mainstream? Yes. Making a big wad of cash? Certainly. Doing justice to the material? No way Jose.

Keep your hard-earned in your pocket, until you can find something by the late, great Gram. Or George Jones. Or anyone who is committed to what they are doing, not just treating it as a fashion item.