The Little Willies featuring Norah Jones [Enhanced]

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.

The first sing is a classic country western, "Roly Poly". The band jumps quickly frombass/thump to guitar and then Norah's piano plays. And, then Norah and Julian star with their vocals, jumping this number right into the front line.

The second tune "I'll Never Get Out" features Julian's vocals with Norah's back up. Campilongo's guitar shows his gift for handling blues and he sounds like a jazz afficianado

Elvis Presley's popular tune, "love Me' is the third song. Norah Jones does the lead vocals and Julian supports her. The blend beautifully and make this song their own.

"It's Not You It's Me" is a Julian original song that is as honky tonk as you can get with Norah showcasing her talent in a slower version of this jive.

Kris Kristofferson tune 'Best Of All Possible Worlds" is next and this faster pace that leads into a frenzied guitar solo, as well as Reiser are drumming and Alexander's bass work. Again Julian's and Norah are the vocals led this train driving beat.

One of my favorites, Tones van Zandts "No Place To fall" showcases Julian's vocals and features the talents of the entire group.

"Roll On" is another original tune, this one from bass man Alexander. Norah Jones's makes this song her own. Her lovely voice is made for this one.

"Gotta get Drunk" is a playful delivery that those of us who are fans of Norah Jones have not heard before.

The second Nelson number, "Nightlife," is a solid country blues once more led by Jones' vocals and skill.

"Streets of Baltimore" is another song that belongs on this album. Its pure country sound and made for Julian's vocals.

"Tennessee Stud" is a funny western story song. This tune stands out for its rolling piano and out-of-sight guitar work; its infectious thump and shuffle beat make it a solid country rocker.

The Little Willies rounds up with a couple of originals: the slow ballad "Easy As The Rain" which was penned by Julian and Campilongo, and is a beautiful love song.

The closing track is "Lou Reed," a playful little ditty that has Julian giving his best impression of the fellow New Yorker and rock pioneer. The entire band joins in on vocals and have a blast together, solidifying their "live" sound.

The Little Willies album is a joyous expression of talented musicians coming together to have a good time making music the way music should be made. Simple and maintaining a loose, live sound that keeps this album moving right along. The entire band is solid. This New York City unit is masterful at what they do. Highly Recommended.

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.