The second album by Norah Jones' twangy side project bears all the markings of a full-time artist playing around with part-time sounds: It's a mostly faceless band playing well-known cover songs and obscure cover songs, all with an air of tossed-off effortlessness that pretty much guarantees a short shelf life. Still, Jones and the rest of the Little Willies (which is made up of session men and folk players Jones has gigged with) have a good time with the dozen songs on For the Good Times. Jones molds country music similar to the way she bends jazz on her solo albums, with a sticky drawl replacing her usual smoky phrasing. This is a tribute album to Loretta Lynn, Willie Nelson, and Dolly Parton by an N.Y.C. boho who hears and plays things a little less honky tonk and a little more uptown. — Gallucci
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