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From the outset, Dusty exhibited an unnatural case of the jitters. She was so panic-stricken she froze at the mike. Years later, producer Jerry Wexler revealed Dusty was hesitant to intrude into an area she felt belonged exclusively to Aretha Franklin, and was intimidated to be working with the Memphis Cats.
By 1969, it had been two years since Dusty's last transatlantic hit. Her career needed a boost, and she was yearning to make an album that reflected her love of rhythm and blues.
Dusty's favorite song on the album was "I Don't Want to Hear it Anymore," written by then unknown composer Randy Newman. Like "Son of a Preacher Man" this is Bobbie Gentry territory, a song about growing up barefoot, brokenhearted, and irresistible to the opposite sex. Bathed in Dusty's sultry smoked hickory range, the heart-on-my-sleeve imagery is an adult panorama about love gone bad.
The orchestral accompaniment bounces along playfully with a touch of soul to remind you the opening cut, "Just a Little Lovin'," is supposed to be R & B. Drummer Gene Chrisman has that tight Roger Hawkins rap on his snare drumming that helps give the horn charts an energetic snap. Dusty's vocal is a tempting tease. Her phasing is unforced, polished, and the back up singers, The Sweet Inspirations, (featuring Whitney Houston’s mom, Cissy) provide a melodious backdrop.
A number of unique and successful female vocalists emerged in the late 60s, including the effervescent Petula Clark, whispery, romantic Christine McVie, sensual southern belle Bobbie Gentry [link widoczny dla zalogowanych], detached diva Julie Driscoll, and Mary O'Brien, aka Dusty Springfield, the English songbird with the beehive hair, raccoon eye make up and glittering evening gowns.
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Dusty began her career as a member of the Springfield’s with her brother, Tom. The folk combo scored a hit with "Silver Threads and Golden Needles" in 1962 before Dusty struck out on her own, scoring hits with "I Only Want to be With You" (1963) [link widoczny dla zalogowanych], "Wishin' and Hopin' (1964), "You Don't Have to Say You Love Me" (1966) and "The Look of Love" (1967).
With Tommy Cogbill nudging his bass and guitarist Reggie Young
The forlorn reed and string arrangement brings to mind the loneliness of Tony Joe White's anthemic "Rainy Night in Georgia." Dusty liked "I Don't Want to Hear it Anymore" so much she recorded a second Newman number [link widoczny dla zalogowanych], "Just One Smile."
"Just One Smile" begins with Young softly plucking his acoustic and Dusty singing in such a fragile, breathy tone that it sounds as if her voice - and her heart - are about to give way.
When you think of Dusty Springfield, the first song that comes to mind is "Son of a Preacher Man," a steamy slice of suggestive soul. Dusty’s drool-inspiring, come hither phrasing is backed by the Sweet Inspiration's self-assured testifying, Bobby Emmons' sweaty electric piano, Tom Dowd/Arif Mardin's swampy horn entries and Chrisman's pinpoint percussion.
So Wexler pulled Dusty out of Memphis. Despite the album's title, Dusty actually wound up recording her vocals in New York to a pre-recorded rhythm track, which caused yet another problem - she was used to recording live – but you’d never know it from the seamless finished product.
Atlantic Records sent Dusty to Memphis to record with the Memphis Cats (guitarist Reggie Young, keyboard player Bobby Emmons, drummer Gene Chrisman, and bassist Tommy Cogbill), a quartet that had backed Elvis, Wilson Pickett, and King Curtis.