This is a complaint you will reading often from me: Including "Greatest Hits" albums on any "essential," "best of" or "greatest albums" list is a cop-out. We all know that anytime you or your buddies, co-workers, acquaintances, etc. discuss your "Top 10" or "desert island" musical picks that including a "Greatest Hits" album is prohibited. But Rolling Stone's list has quite a number of them, which I think is bogus.
Moving on, if you have ever seen the biopic Coal Miner's Daughter or read about Loretta Lynn's life, you know that her songs are full of experience unlike many of today's female country artists who have any number of writers who pen songs for them. Read up on Loretta's life and you'll find that the lyrics of "Coal Miner's Daughter" is entirely true. Lynn was raised as one of eight children (the youngest being Crystal Gayle) and was married at the age of 13. By 19, she had more kids than I could ever imagine having with the man she would be with (although not entirely happily) for 50 years.
Loretta Lynn sang about the things she felt, experiences, and loved. When you hear her belt out these lyrics, you know she feels every word. She also sang about topics that were more or less taboo in their time. Songs like "Rated X" (about life after divorce and the societal status of a divorcee) and "The Pill" (self-explanatory) helped Lynn to become frequently banned. On the other hand, she penned many of the songs with themes that would soon become tradition for country music.
I enjoyed these songs, especially "Fist City," for their bravado and charm. From listening to the album, I feel, as if, I would have liked to knock back a beer or two with Loretta and talk about life. Her songs are the makings of melodrama without ever feeling pitiful. Even the song "As Soon As I Hang Up the Phone," which involves the singer receiving a phone call from her significant other informing her that the rumors are true and he has moved on, teeters the fence of soap opera without ever crossing the line. Perhaps, this is because this is the same woman who adamantly states, "Don't Come Home A-Drinkin' (With Lovin' On Your Mind)" or challenges hussies by singing, "You Ain't Woman Enough To Take My Man." Loretta Lynn was the original country gal bad-ass.
My only complaint about the album has to do with the fact that it is a "Greatest Hits" album. Not only because of what I have previously argued, but due to the inclusion of a number of songs concerning the same themes. On separate albums, these songs shine in their individuality, but crammed together (there are 22 tracks on this album) they lose their luster and sound the same, at times. I mean, six of the first eight tracks begin with the word "You" and a multitude of others with "Well." Like I said, if you weren't listening to them back to back to back, you would probably never realize this, but on this album it's obvious.
Despite this, I will deem this album as worthy, but with hesitation. Sorry Loretta, but you're on the verge.
This album's cover is "Coal Miner's Daughter," which you can imagine the types of videos available. In the end, I choice this one not only because it is awful, but for the decorative sense.
-d.
Advanced Warning: The vast majority of what will follow is an angry rant. Anyone who has experienced my loud, wild eyed, lip frothing screeds can attest that the things I say may well cause hysteria, drug use, SIDS, and/or crying jags. I apologize in advance for any language and pray that putting my rage into writing will remove the worst of the vitriol.
Who the fuck puts a ‘best of’ cd on a list of the greatest albums of all time? That’s like me saying the Redwings are going all the way this year because Gordie Howe sure was great in ‘64. Doesn’t make any sense, right? That’s because I’d be talking out of my ass. I haven’t looked ahead to see how many more compilations are on this list, but I swear I may begin punching random children for each one that appears.
The main point of this whole list is to choose the best albums. ALBUMS! Not fucking songs. I love Queen, and their greatest hits is so stacked with great songs other bands should just give up and offer themselves as sacrifice to Freddie Mercury. But is it a great album the way A Night At the Opera is? Of course not. There isn’t a question. Could you imagine a compilation of Pink Floyd singles? It would destroy any cohesiveness and takes away from the art. Now, I know not all artists are interested in creating a sculpted soundscape that pulls you in from start to finish, but Rolling Stone chose the parameters, and then failed to stick by them.
Loretta Lynn has an undeniably great voice. Unlike most modern country singers, she has the ability to change her expression at will, leading to songs that tell a story in a way that is often lost any more. "After the Fire Is Gone" is a great example of this. Her interplay with Conway Twitty is tight, yet free to let emotion through. For most that would be a delicate balance, but with two talents of that magnitude it has a practiced ease. There are several songs featuring duets and they always ride that line expertly. Of course, the real point here is Lynn’s voice. She blasts her way through slow ballads and uptempo, borderline-rock alike. "Rated X" is a fun kiss off to both skanky behavior and lecherous men. "Louisiana Woman, Mississippi Man" is a classic bluegrassy love songs. Great fiddling and beautiful slide guitar. Regardless of your feelings on country music, just try not to tap your feet when the chorus kicks in.
That brings me to a point I made in my Steve Earle review. I complained about the lethargic musicians and bad arrangements. The complete opposite is true here. The group of instrumentalists assembled on these tracks is sickening in their abilities. Regardless of what’s happening with the melody, there is always some touch hidden deep in the mix. Whether it’s the wah guitar on "Trouble in Paradise" or the stride piano on "Out Of My Head and Back Into My Bed," the right touch is always found for the song. Considering most of these songs were recorded in the old Nashville days of ‘one and done’ recording sessions, it’s truly impressive what they accomplished.
Simply put, you either like Loretta Lynn or you hate the entire genre. I am obviously not a huge fan of country music, but talent transcends the boundaries of musical style. You will always find me happy to drink a Schlitz to some Willie or Johnny or Doug Kershaw or Gram Parsons, and you can keep Loretta Lynn on the list too. Pretty much the best female vocalist in country and western, her only competition probably comes from Emmylou Harris and Patsy Cline. That’s a pretty huge endorsement, and I hope even those that doubt give this one a chance.
Instead of a cover, here’s Patsy Cline’s version of one of my favorite songs from this collection, "She’s Got You."
-tfm
I began reading your portion when you e-mailed it to me and I thought we were in for some heavy arguments, but looks like we were saying the same things (albeit mine was much more calm ha).
ReplyDeletePretty much. I came off surprisingly subdued in writing.
ReplyDelete