Loretta Lynnís inaugural Gospel Music Festival is getting major support and media coverage this week. The Loretta Lynn Ranch will play host to the first Loretta Lynn Gospel Music Festival in September 2013.
ďIts kind of like an old-time all-day singing and dinner on the ground,Ē Loretta said. ďI got to thinking. I have a big ranch where I live so I decided to throw a good ole Gospel weekend here! I want family and friends to bring a blanket, set up a picnic and then enjoy some of my favorite Gospel music singers! I may even come down and sing a song myself!
ďI hope it will be something we can keep going every year,Ē she continued. ďI already have a big campground and cabins where people can stay. We also have a big stage Ė we have concerts all summer and have done so since 1974.Ē
Scheduled to appear are Mark Lowry, The Hoppers, The Isaacs, Karen Peck & New River, Gold City, Rambo-McGuire, The Singing Cookes, The Freemans, Brian Free & Assurance, Michael Combs, Archie Watkins & Smoky Mountain Reunion, and The Sneed Family. For early arrivals, there will be a special bonfire and sing-a-long on September 27.
ďI should have started this years ago,Ē Loretta said. ďBut, itís never too late Ė I am inviting everyone to my ranch to have a great ole Gospel time! Itíll be a fun time for the whole family. Speaking of family, I want to thank Jeff Sneed and The Sneed Family for helping me plan and promote this Gospel Music Festival. We sure are looking forward to this special time!Ē
Legendary performer, Loretta Lynn headlined the Drury Lane Theatre in Oakbrook Terrace, Illinois for three consecutive sold-out weekend shows on Friday June 22nd, Saturday June 23rd and Sunday June 24th, 2012.
The gorgeous 980 seat theatre exhibited elegance and intimacy. Large crystal chandeliers overlooked comfortable red plush seating inside the proscenium styled venue giving each patron a clear view of the concert stage.
Before the Coal Minerís Daughter made her grand entrance, her beautiful twin daughters Patsy and Peggy also known as ďThe Lynns,Ē opened the show with a selection of songs from their latest record and a few covers. ďThatís All Iíve Got To Say,Ē ďSaraĒ and ďOne Of These Lonely Nights,Ē can be found on their album The Lynns II, and the girls take on Don Williamís classic, ďTulsa TimeĒ had the audience on their feet. Patsy and Peggy joked around with one particular woman in the front row who might have had just a little too much to drink, but that didnít stop her from telling them that she is theirs and Lorettaís #1 fan.
It was most recently announced at the historic Ryman Auditorium in Nashville, TN, this past May that Lorettaís fascinating life story will be adapted into a Broadway musical. Hollywood actress Zooey Deschanel, who joined Lynn onstage at the Ryman Auditorium to perform ďCoal Minerís Daughter,Ē will portray the coveted role.
As timeless as her vast catalogue of hit songs, the simple girl from Butcher Holler, Kentucky has not changed one bit since her humble beginnings; Lynnís unmistakable witty sense of humor and vivacious persona shined brighter and bolder than ever at each performance. One would be absolutely amazed at how strong and consistent her distinct vocals remain on the live stage.
Showing no sign of slowing down, Loretta Lynn has proved that age is nothing but a number and just because you canít get airplay on the radio any longer, neither of those two will stop her from doing what she loves best; sharing her life and songs with her beloved fans.
Lynn wasted no time serving up her awestruck audience with all the hits that they had come to hear. Opening up the show with a rousing version of ďThey Donít Make Emí Like My Daddy AnymoreĒ and ďYouíre Lookiní At Country,Ē the audience immediately rose to their feet with a standing ovation.
The excitement of the evening continued with additional ballads ďWhen A Tingle Becomes A Chill,Ē ďHere I Am Again,Ē ďBlue Kentucky GirlĒ to more up tempo numbers like the sassy, ďYou Ainít Woman Enough,Ē ďI Wanna Be Free,Ē ďFist City,Ē Oneís On The WayĒ and ďDonít Come Home A Drinkiní.Ē
Loretta kidded around with the audience and took personal requests for their favorite song of choice. She also shared the news that music legend Chubby Checker will join her on the weekend of July 5th to perform in honor of the late Conway Twitty at her ranch in Hurricane Mills, TN.
We would also like to mention that there will be a very special Conway Twitty exhibit unveiled on the same weekend in the Coal Minerís Daughter Museum. Lorettaís personal assistant, Tim Cobb has done an excellent job as curator of the museum through the years. Upon entering the museum, fans are taken on a multi-sensory journey into the life and career of Loretta Lynn complete with personal mementos, awards, outfits, family photos and more. We highly recommend our readers to take a trip down to Tennessee to visit the ranch.
Speaking of Conway, Loretta performed a sensational duet of ďLouisiana Woman, Mississippi ManĒ with her friend and band member, Bart Hansen, at the show. Fans were also treated to a touching version of ďSheís Got You,Ē originally recorded by the great Patsy Cline. During our interview with Loretta earlier in the day, she informed us that after Patsy had a hit with the song; she later recorded it and also had a #1 hit with it in 1977.
Loretta turned the stage over to her backup singers Lee Hilliard, Michael Lusk and Sheldon Feazel to harmonize on country classics ďMan Of Constant SorrowĒ and then join her on Gospel favorites ďEverybody Wants To Go To Heaven,Ē ďWho Says God Is DeadĒ and ďWhere No One Stands Alone.Ē
One of the most significant moments of the night was the strong response that Loretta received from the audience on the patriotic tune, ďGod Bless America Again.Ē Loud cheers and solid applause came from the entire theatre, and there were some who even stood up during the song to show their undying love for God and country. Last but not least, the signature song, ďCoal Minerís DaughterĒ closed out the 2 hour show.
1. They Donít Make ĎEm Like My Daddy Anymore
2. Youíre Lookiní At Country
3. When A Tingle Becomes A Chill
4. I Wanna Be Free
5. Here I Am Again
6. Fist City
7. Sheís Got You
9. Lead Me On
10. Louisiana Woman, Mississippi Man
11. Oneís On The Way
12. The Pill
13. Donít Come Home a Drinkiní
14. Dear Uncle Sam
15. Love Is The Foundation
16. Blue Kentucky Girl
17. Your Squaw Is On The Warpath
18. How Long
19. Man Of Constant Sorrow
20. Everybody Wants To Go To Heaven (But Nobody Wants To Die)
21. God Bless America Again
22. Who Says God Is Dead
23. Where No One Stands Alone
24. Coal Minerís Daughter
By the time the chorus comes around, you can usually tell if it‚Äôs a Loretta Lynn song. The iconic country singer is famous for threatening to send a rival to ‚ÄúFist City‚ÄĚ if she didn‚Äôt ‚Äúdetour around my town.‚ÄĚ To another would-be homewrecker, she once boasted, ‚ÄúYou ain‚Äôt woman enough to take my man.‚ÄĚ Lynn has also sung about social issues we‚Äôre debating to this day, from birth control (‚ÄúThe Pill‚ÄĚ) to the results of not taking it (‚ÄúOne‚Äôs on the Way‚ÄĚ).
This is clear: Loretta Lynn, who‚Äôs still a spitfire at 76, suffers no fools.
Born a coal miner‚Äôs daughter, ‚Äúin a cabin on a hill in Butcher Holler,‚ÄĚ as her signature song goes, Lynn has just written a new book. ‚ÄúHonky Tonk Girl: My Life in Lyrics‚ÄĚ is an overdue salute to Lynn‚Äôs 50-plus years of songwriting, with a reverent foreword by Elvis Costello.
Set for release on Tuesday, the book presents Lynn‚Äôs lyrics alongside her anecdotes about writing them. It‚Äôs also sprinkled with passages about musicians who have inspired her ‚ÄĒ from Kitty Wells to Jack White, who produced Lynn‚Äôs Grammy-winning 2004 album, ‚ÄúVan Lear Rose‚ÄĚ ‚ÄĒ as well as personal photos of Lynn throughout the years and handwritten lyrics scrawled on hotel stationery.On the phone from her home in Tennessee, Lynn recently reflected on the art of writing from the heart and why it was so important to her career, and sang the praises of a celebrated songwriter she hopes to meet one day: Bob Dylan
Q. Early in the book, you outline your approach to writing: ‚ÄúFor me, I could and can only write what I‚Äôve lived.‚ÄĚ Did songwriting come naturally to you?
A. It did, but I never could write before I started [writing songs]. I could never understand that. When I wrote my first song [‚ÄúI‚Äôm a Honky Tonk Girl,‚ÄĚ released in 1960], they started popping out every three or four days. It was a good thing because my writing is what got me my first recording contract in Nashville. They said, ‚ÄúWe don‚Äôt have anybody that can write for you,‚ÄĚ and I thought, ‚ÄúGod, what‚Äôs wrong with me?‚ÄĚ (Laughs.)
Q. Would you have been as successful if you hadn‚Äôt written your own songs?
A. No. I‚Äôve never been able to ask a writer for a song that I thought fit me right at the time. You have to be in the frame of mind of what you‚Äôre going through at the time. When I recorded my songs, that was exactly how I felt.
Q. I ask that question because music is full of great singers who never get their due because they don‚Äôt write. People really do relate to artists who write their own material.
A. I think so, too. They can put more into it when they sing it, and whoever is listening to that song can feel it.
Q. When do you know you‚Äôve got a good song on your hands?
A. Well, I think singers ‚Äď I‚Äôm not going to say all of them, because I hear some of them come out with the crummiest stuff ‚Äď I think most people that really write know when they‚Äôve got a good song. Me and Shawn Camp have been writing together. He‚Äôs one of the greatest little songwriters going right now. He‚Äôs kind of a bluegrass singer, but he can write any type of song.
Q. Was a song like ‚ÄúDear Uncle Sam,‚ÄĚ about a woman torn between the love of her country and the love of her man, controversial when you released it in 1966?
A. That was when I first started singing, back during the Vietnam War. My husband and I were listening to the radio to see if the disc jockeys were playing any of my records. And I said to my husband, ‚ÄúI am so sick of war. I don‚Äôt like war. I can‚Äôt take it.‚Äô‚Äô He said, ‚ÄúWell, why don‚Äôt you just write about it?‚Äô‚Äô So I got my pencil and paper out right then, and I wrote just how I was feeling. I sing that song every night. And you know, this has been the longest war we‚Äôve ever had in our lives. So many people want to hear it. When I look out and see people crying and wiping their eyes, it bothers me, because I know they‚Äôre going through something that I hope I never have to go through.
Q. Have you ever shied away from writing about something?
A. Nothing. If I think about it, I‚Äôm gonna write it. You may never know why, but I‚Äôm going to write it.
Q. I was astonished to learn in the book that ‚ÄúCoal Miner‚Äôs Daughter‚ÄĚ originally had eight more verses.
A. Yes. [My producer] Owen Bradley said, ‚ÄúLoretta, you take some of them verses off. There‚Äôs already been one ‚ÄėEl Paso,‚Äô and there will never be another.‚ÄĚ Remember, ‚ÄúEl Paso‚ÄĚ [a hit for country singer Marty Robbins] was real long, almost five minutes. That was the hardest thing I ever did, though, was take the verses off.
Q. Did you ever consider rerecording the song with the extra verses?
A. Well, I think I left the verses there that night [in the studio]. I just ran off and forgot them. But I don‚Äôt remember now what they were.
Q. You just broke my heart.
A. (Laughs.) Well, listen, if I‚Äôm ever going to put those verses back together, I‚Äôll send you a copy. You‚Äôll get the first dadgum one.
Q. I once read that you used to joke that everyone had the wrong idea about you and Tammy Wynette based on your songs. In real life, Tammy was the feisty woman you portrayed on record, and you were the one more likely to stand by your man.
A. That‚Äôs the truth. We laughed about that, too.
Q. The last time we spoke, you mentioned how much you admire Bob Dylan.
A. And I still haven‚Äôt got to meet him yet.
Q. Really? Should I make some calls for you?
A. You‚Äôre gonna have to. I need to meet that boy. I saw him the other day singing somewhere. It‚Äôs so funny to watch him sing. Have you noticed that? (Adopts a prim accent and sings): ‚ÄúThe answer my friend/Is blowin‚Äô in the wind.‚ÄĚ (Laughs.)
Q. What do you like about Dylan‚Äôs songs?
A. Well, you can‚Äôt beat that song, can you? I love that song. And Bob just knows how to put a song together. I‚Äôm not gonna say that he knows how to sing them. I‚Äôm just gonna say he knows how to put them together. (Laughs.) To watch him sing is the funniest thing I‚Äôve ever seen. I‚Äôm a big fan of his.
Q. I‚Äôm sure he‚Äôs a fan of yours, too.
A. I don‚Äôt know if he‚Äôs ever heard of me, you know.
Q. I guarantee you you‚Äôre wrong.
A. Well, I hope so. (Laughs.)
Q. The book ends with lyrics for several unreleased songs. Does that mean you‚Äôve got a new album coming soon?
A. Yes. I‚Äôve got a new Christmas album coming out. I‚Äôve got a new religious album cut. And I‚Äôve got another album cut of some of the biggest hits that I ever wrote for Decca and you can‚Äôt find anymore. I rerecorded them.
Q. I hear you‚Äôve also been writing with Bret Michaels from the band Poison.
A. Yes. He came down and cut one of his records in my little studio. I‚Äôm singing ‚ÄúThe Rose‚ÄĚ with him.
Q. The Bette Midler hit?
A. No, ‚ÄúEvery Rose Has Its Thorn.‚ÄĚ
Q. Oh, wow. That‚Äôs a surprise. And you‚Äôre also working with Elvis Costello?
A. Yes. He‚Äôs funny. He was telling somebody how he took his computer out and was writing on his laptop. And there was Loretta sitting with a pencil in her hand and a piece of paper. So that was our writing session. (Laughs.)
Q. What does Jack White think of all these new collaborators?
A. He loves it. Jack is a great person. He really is. You know he got married and he‚Äôs got two little girls. But him and his wife broke up. I hate that, especially after the kids. But I seen him the other day, and he looks good. He hadn‚Äôt changed a lick. His hair is still the same. Jack looks the same.
Q. When you think back on all the songs you‚Äôve written, is there anything that ties them all together, a common thread?A. I think just knowing that I spoke my mind on every song I ever wrote
Lynn who is undergoing reconstructive knee surgery has had to postpone her forth-coming tour dates to recover. For those of you who have purchased a ticket for September 3rd your ticket is valid for Ray Price. For those seeking a refund please contact the Music One ticket office at 512-371-6924. Please visit LorettaLynnRanch.net and LorettaLynn.com for all updated information.
NASHVILLE, Tenn. (AP) ‚ÄĒ Loretta Lynn has been sidelined by knee surgery.
A statement says the country music icon will cancel dates through a Sept. 3 show at her ranch in Hurricane Mills, Tenn.
She is scheduled to undergo reconstructive knee surgery and needs time to recover. Lynn says in the statement she's "sad" to cancel the shows, "but they tell me I've just got to stay off this knee for a while."
Lynn recently returned to live performances with a show at the Grand Ole Opry after being forced to cancel shows in Ohio and Connecticut because she was hospitalized for heat exhaustion. The 76-year-old Country Music Hall of Fame member said she had spent too much time in her garden in extreme heat.
Lynn will try to reschedule her missed dates.
In the May 2011 Country Special issue of People Magazine, country singer Rodney Atkins asks why country music icon Loretta Lynn keeps showing up in his dream. According to dream coach Paula Chaffee Scardamalia, who uses dreamwork with her clients and teaches it to groups around the country, one of Lynn's roles is as Atkins' Muse, and he needs to be writing down the songs she is singing to him because they have the potential for sales that keep climbingďOne of Lorettaís roles here,Ē says Scardamalia, ďis as Rodneyís Muse, inspiring him with the song she sings to him. And she serves as a symbol, both for Atkins style of musicósongs for the common man and womanóand for his potential to become, like Lynn herself, a country music icon. But if that is what he wants, then he needs to write down those songs that she sings to him on something other than a dream napkin!Ē
Scardamalia, who has studied and worked with her own and others dreams for more than 20 years, connected with People Magazine at the International Spa Association media event in New York City last August while doing short ten-minute sessions for journalists, editors, and producers. She was there to introduce the media to dream programs at The Lodge at Woodloch, a destination spa and resort in Hawley, PA. Scardamalia (http://www.diviningthemuse.com) uses dreamwork with her private clients, and also makes special appearances at Woodloch and other destination spas, to offer lectures to guests on how to use dreams as sources for inspiration, problem-solving, and personal insights.
Scardamalia says that dreams have many layers that are revealed over time and that it is important to pay attention to symbols, metaphors, and word puns in dreams.
ďWhat do we think of when we think of MacDonaldís? ď asks Scardamalia. ďWe donít just think of fast food. We think of fast food sold in great amounts. Remember those signs on the arches with the number of hamburgers sold? First thousands, then millions, then billions. If Rodneyís dream were my dream, that means the song Loretta is singing to me has the potential for sales that keep climbing. Iíd be keeping a journal and a voice recorder by my bed!Ē
Paula Chaffee Scardamalia, Dream Coach and Story Muse, helps her clients decipher their dreams, discover their personal, creative or business stories, and then deliver them to the world. She is a speaker, writer and the award-winning author of Weaving a Woman's Life: Spiritual Lessons from the Loom.
Vancouver turns 125 years old later this year, so the Vancouver Heritage Foundation is looking for 125 places deserving of a plaque.
Voting begins Wednesday on the groupís website.
The foundation, a charitable group, solicited online nominations in a program called ďPlaces That Matter.Ē
Some members of the public tuned in to their inner Chuck Davis Ė oh, we are so going to miss our avuncular Mr. Vancouver this quasquicentennial year Ė and suggested all kinds of worthy places.
Parks and bridges, churches and stadiums, even viaducts and corner groceries have been nominated.
One of the more intriguing suggestions is to have a plaque placed on the Granville Mall near Smithe Street to mark the site where the writer William Gibson had the inspiration that led to his coining the word ďcyberspaceĒ in his 1984 novel Neuromancer. He had peeked into an arcade, witnessing teenagers playing video games so intently that they were oblivious to their earthly circumstance.
A sports fan can support a plaque at baseballís Nat Bailey Stadium (where a young Brooks Robinson once impaled his arm on a fence) and Oppenheimer Park (which the storied Asahi team of Japanese-Canadians called home) and the Denman Arena (where the Vancouver Millionaires won the Stanley Cup in 1915).
A music fan can support a plaque at the Smiliní Buddha Cabaret, 109 E. Hastings St.; or the Malkin Bowl in Stanley Park; or the bump-and-grind Penthouse Cabaret, 1019 Seymour St.; or the psychedelic hangout Retinal Circus (earlier Danteís Inferno) at 1024 Davie St.
Not to mention the supper club hot spots such as Isyís or the Palomar or The Cave, with its papier-m‚chť stalactites.
One of the musical suggestions stands out.
Rob Howatson, a magazine writer, nominated the former site of a Fraserview chicken coop behind a bungalow in the 2500 block of Kent Avenue, near Elliott Street.
It is a worthy site for a plaque, for it was an event here that led to the first recording of one of the greatest country music stars of all time.
Yup, Loretta Lynn, the coal minerís daughter from Butcher Holler, Ken., had to come all the way to Vancouver for her big break.
Born into poverty, married at 13, she moved with her husband, whom she called Doolittle but others knew as Mooney for his history of running moonshine. The couple escaped the limits of Appalachia to live in Custer, Wash., a hamlet a few miles south of the border.
On her 18th birthday, by which time she had given birth to four children and suffered two miscarriages, Loretta received from her husband a $17 (U.S.) Harmony guitar from Sears, Roebuck and Co. He had in mind a singing career for his child bride.
Shy, nervous, uncertain as to her abilities and stumped on her first tryout when asked in which key she planned to sing (ďI didnít know what a key was and donít hardly know now,Ē she wrote in her 1976 autobiography), Mrs. Lynn began playing small halls and taverns around Whatcom County, earning as much as $5 per session. ďI thought I was a millionaire.Ē
A few years later, she earned a spot as one of 30 amateurs to perform on The Bar-K Jamboree, a live television show hosted by Buck Owens on KTNT (later KSTW) in Tacoma, Wash. Mrs. Lynn won the contest. Her prize was a wristwatch so cheap it broke the next day. But one of those who caught her performance on television up in Vancouver was Norman Burley, a lumber baron.
Mr. Burleyís riches allowed him to dabble in sports (for a time he owned a share of the Vancouver Mounties baseball club with Nat Bailey, the founder of White Spot restaurants) and entertainment (he financed a record label called Zero Records). Mr. Burley invited the singer to come to Vancouver.
ďHe said he wanted to help us by giving us a contract to make a record,Ē she wrote in Coal Minerís Daughter. ďHe didnít wear any red suit or black boots, but that man looked like Santa Claus to us.Ē
She performed at a Fraserview dance hall, named for its previous use. The Chicken Coop was owned by Irene and Clare (Mac) McGregor, according to Mr. Howatson.
Don Grashey and Chuck Williams from the record label heard a voice reminiscent of Kitty Wells and as country as a jug of moonshine. They signed her and sent her to Hollywood to be recorded.
The label printed some 3,500 copies of a 45-rpm with Iím a Honky Tonk Girl and Whispering Sea. She made two other releases for Zero before jumping to Decca and launching the career that would make her a superstar.
Mr. Howatson has spent seven months researching the little-known story of the makeshift dancehall. He is still seeking anecdotes and ephemera and can be reached at firstname.lastname@example.org.
A site selection committee formed by the heritage foundation, including former city councillors Gordon Price and Marguerite Ford, will be guided by the public voting, which ends on the cityís birthday on April 6.
If the Chicken Coop doesnít get a plaque, then thereíll be Trouble in Paradise, as Loretta Lynn will be a Blue Kentucky Girl and the committee will have an appointment in Fist City with a Honky Tonk Girl.
Special to The Globe and Mail
Due to a torn cartilage in her right knee, which is requiring surgery causing Loretta Lynn to postpone her March 18th through March 29th tour dates at this time. Rescheduled dates will be added at a later date. We thank you for your understanding and patience. Please check with venues for further information on rescheduled dates. Thank you.
Hello Friends, just wanted to tell everybody, thank you for all
the get well wishes.. My Dr says I have a torn cartilage in my right
knee. And they need to fix it, so I had to cancel and reschedule some of
my up coming shows.. It ainít no big deal!! They say I will be in and
out of the hospital in a couple hours ! But I wonít be walking so good
for a couple weeks! Yaíll make sure to go on my web site and see when we
have the shows for March have been rebooked.. I love all of you and
thank you again for your prayersÖ
Saturday, March 19, 2011
Friday, October 14, 2011
Doors Open 6pm Showtime 8pm
Premium Reserved Seating- $48
Regular Reserved Seating- $38
As she celebrates 50 years in the business, Loretta Lynn may be the Queen of Country music, but her influence reaches far beyond Nashville.
One obvious example of this is shown on last year's Lynn tribute CD, "Coal Miner's Daughter," which featured such diverse acts as Sheryl Crow, Kid Rock and Jack White.
Cover story"Every one of them did a heck of a job," Lynn said in a telephone interview from her Tennessee home last week. "I was so proud of all of them. I think it's great that they all did this and I sure do appreciate it."
Lynn returns to the Calvin Theatre stage in Northampton on Saturday, where she wowed the audience with a stunning concert in 2007.
Lynn had quite the year in 2010. Along with the tribute album (to which she contributed vocals on some tracks) she also was honored by the Library of Congress by having the song "Coal Miner's Daughter" selected for preservation in its archives, and had a new type of rose named after her: The Loretta Lynn Van Lear Rose.
"It was a real honor to have 'Coal Miner's Daughter' picked like that," she said. "I didn't even realize they did things like that, so I couldn't believe it."
One reason Lynn is so revered by so many artists, particularly women musicians, is that she served as their role model. Before Lynn came along, there weren't a lot of female singer-songwriters, at least not many successful ones
Lynn said that the lack of role models when she started out made things harder than they might have been.
"There were some women singers but they mostly fell by the wayside after one hit," she said. "It was rough when I started, but I just got in and did my best and worked hard. I think writing my own material helped a lot because I wrote from the heart and people liked that."
Lynn said she also never thought she would still be going strong 50 years after she started singing professionally.
"I never imagined it, but I still love doing it," she said. "I enjoy working because I don't overwork, but I have a routine down. I used work a lot more, but now I pick my shows and sometimes I hold up better than anyone else on road."
One reason Lynn may be able to keep her energy at such a high level even while traveling is the improvised nature of her concerts.
Rather than going by a rote, scripted set list, she usually designs her concerts based on audience requests, something that would be daunting for many younger artists. She does it this way out of respect for her audience, she said.
"I let the crowd holler what they want to hear because they paid their way in to see me, and they are going to holler anyway," she said with a laugh. "You still sometimes get tired of singing your own songs but you have to do it, because the people deserve to hear what they want."
NORTH TONAWANDA, N.Y. (WIVB) - The landmark marquee is lit up for a country superstar Thursday night in North Tonawanda. Loretta Lynn has taken the stage at the Riviera Theatre.
The concert was a sellout, and the country music legend didn't disappoint the packed fans in the Riviera.The coal miner's daughter has 70 albums to her name and 50 years in the music industry. She's a big name for the theatre,
Album review - Loretta Lynn: 50th Anniversary Collection (Wrasse)
Friday February 25,2011
FIFTY years in the business has taken no toll whatsoever on the songs on this budget collection of nearly 40 tracks, all still fresher than your average daisy.
While some country stars are endlessly sobbing into their ginghams, the tone of this collection from the Coal Minerís Daughter is much more upbeat with feisty tracks such as You Ainít Woman Enough, Your Squaw Is On The Warpath and Fist City (ďif you donít want to go to Fist City, you better detour round my townĒ).
By: American Songwriter
ďThatís the country-est album Iíve ever done,Ē says Loretta Lynn in our Legends interview about 2004ís Van Lear Rose, the album she made with producer Jack White. ďI told [Jack] that and he said, ĎWell, thank you.í And heís not a country guy, heís rock and roll. But when my movie came out, he was nine years old and he said, ĎI sat in the theater and watched it all day long.í It just kept coming back on and he kept watching it. Heís a good guy, Jack White is.Ē
For the album, which went up for several Grammys and took home a few, Lynn worked with the core band of guitarist Jack White, drummer Patrick Keeler, bassist Jack Lawrence, and pedal steel guitarist Dave Feeney, all of whom appear in the video for the song (below). The Midwest rock crew turn ďPortland, OregonĒ into a bluesy romp, with heavy accents balanced by a slow-building instrumental intro. ďI didnít know [Jack] was gonna sing with me on ĎPortland, Oregon,íĒ says Lynn. ďI walked in the studio and I said, ĎWho is that man singing it with me, Jack?í and he said, ĎThatís me.í I like Jack. Anything he did I thought was cool.Ē
The song weaves a classic country tale Ė girl meets boy in a bar, drinks ensue, the rest is history. One of the songís main characters Ė the sloe gin fizz Ė would be more likely to pop up at the Roosevelt Hotel in 1930s New Orleans than in a honky tonk in Oregon Ė not to mention the fact that it would be served in a highball glass, not by the pitcher. But, Lynn is plenty convincing all the same, transforming hipster Portland, Oregon to suit her taste. The song seems like it could be based on something Lynn observed of her audienceís antics Ė much like ďYou Ainít Woman Enough For My ManĒ was inspired by a young woman telling Lynn about her marital troubles backstage one night. But, like any good country song, ďPortland, OregonĒ doesnít give away all its secrets and may just be pure fantasy. ďWhen I write a song, the melody just comes in my mind to fit that song,Ē says Lynn. ďAnd if itís a slow tempo, I think of a slow melody to get in that mood. I let the song come to me. I just gotta get by myself and get that song. And if it donít come easy, I lay it down. And sometimes Iíll pick it up, and sometimes I wonít ever go back to it.Ē ďPortland, OregonĒ won a Grammy in 2005 for Best Country Collaboration With Vocals. In the video for the song, White, aged 28 at the time, leans over and kisses the 70-year-old Lynn. If that ainít love, then tell me what is. Ė DAVIS INMAN
Well Portland, Oregon and sloe gin fizz
If that ainít love then tell me what is
Well I lost my heart it didnít take no time
But that ainít all Ė I lost my mind in Oregon
In a booth in the corner with the lights down low
I was moviní in fast, she was takiní it slow
Well I looked at him and caught him lookiní at me
I knew right then we were playiní free in Oregon
Next day we knew last night got drunk
But we loved enough for the both of us
In the morning when the night had sobered up
It was much too late for the both of us in Oregon
Well sloe gin fizz works might fast
When you drink it by the pitcher and not by the glass
Hey bartender before you close
Pour us one more drink and a pitcher to go
And a pitcher to goÖ
Written by Loretta Lynn
The Coal-Miners Daughter, Loretta Lynn, will be heading to Philadelphia in March to perform with The Secret Sissters at the new Temple Performing Arts Center (formerly the Baptist Temple).
Lynn is celebrating her 50th year in country music with a new tribute album, ďCoal Minerís Daughter: A Tribute to Loretta Lynn,Ē released today on Columbia Records and featuring a diverse group of contributing artists including Jack White, Reba McEntire, Kid Rock, Carrie Underwood, Paramore, Steve Earle, Lucinda Williams, Gretchen Wilson and Alan Jackson and Martina McBride.
ďTo make it in this business, you either have to be, first, great or different,Ē says Lynn. ďAnd I was the first to ever go into Nashville, singiní it like the women lived it.Ē
Temple Performing Arts Center is located at 1837 N. Broad St. (across from the Liacouras Center).
Tickets for the March 18 show go on sale Friday and are $62.50 and $72.50.
Information: 800-298-4200; www.Comcasttix.com.
Country Music Superstar Loretta Lynn performs live with The Secret Sisters. The Coal-Miners Daughter, Loretta Lynn celebrates her 50thyear in country music with a new tribute album, special Grammy salute and a concert in Philadelphia March 18th The Tribute album, ďCoal Minerís Daughter: A Tribute to Loretta Lynn,Ē on Columbia Records and features a diverse group of contributing artists including Jack White, Reba McEntire, Kid Rock, Carrie Underwood, Paramore, Steve Earle, Lucinda Williams, Gretchen Wilson and Alan Jackson and Martina McBride.
ďTo make it in this business, you either have to be first, great or different,Ē says living legend Loretta Lynn. ďAnd I was the first to ever go into Nashville, singiní it like the women lived it.Ē
Performance in Lew Klein Hall
Hey Best Coast, your recent and beautiful update of Loretta Lynnís ďFist CityĒ
sounded fresh. Couldíve been one of your own, tucked in between songs
about heartbreak and weed. Youíve reminded us just how 2K11 so many of
Lynnís 1960s sentiments are. Half her songs are about fighting, really
brutal, too. The other half: drinking. Hello rap. Those two subjects
have helped define modern hip-hop, conceits that inspire mix tapes and
scrapes. Loretta would hold her own, wouldnít flinch from Lil Kimís
hate. Nicki: listen up. Lorettaís dress in the following performance of
the song is time machine Nicki Minaj, a sparkle perfect for Barbs if she
were playing the Grand Ole Opry in a different era. Can we
give Loretta Lynn the tiara for worldís first female rapper? Check out a
video of her performance of ďFist CityĒ and Best Coastís cover after
Lynn has never again lived in Kentucky, but she, perhaps more than any other homegrown artist, is forever entwined with the hills and hollers of the Bluegrass State. When her song ďCoal Miner's DaughterĒ came out, she even inspired a name change for her birthplace, as Webb Hollow officially became Butcher Hollow.
ďMe and Doo went back and stayed some when we was in Washington,Ē she said, calling from her ranch in Tennessee. ďWe'd stay a couple, three months at a time, but I haven't lived there and I do miss old Kentucky. I really do.
ďI want me and Crystal and my other two sisters to go spend a week or two up in that holler, just stay in the old house, cook and build pallets on the floor and just have a good time. We're planning on doing that some time.ĒKentucky's rich history of music has included more than a few important artists ó Bill Monroe, Lionel Hampton, The Everly Brothers, Merle Travis, Rosemary Clooney ó with a collective impact as substantial as it is revered.
But perhaps none is as beloved as Lynn, who rose from the hollers of Van Lear in Johnson County to become an icon of country music and a symbol of the hard-scrabble land where she was born.Now 76, Lynn is enjoying a career resurgence. Last year, she celebrated her 50th anniversary in music by accepting a Grammy Lifetime Achievement Award, putting out a new edition of her ďCoal Miner's DaughterĒ autobiography, and even had a rose invented for her. The Loretta Lynn Van Lear will make its debut at her Tennessee ranch this spring.On Friday, Lynn returns home for a show at the Louisville Palace, about six months after her performance at the HullabaLOU Music Festival. That show took place in blistering midday heat that was sorely testing 28-year-olds, but Lynn has survived worse.She was born into poverty. Doolittle, who died in 1996, had a famously roving eye for all 48 years of their marriage. A son, Jack Benny, drowned at age 34. She was on the road for much of her children's upbringing; the stress caused such bad migraines that sometimes she'd pass out on stage.
And yet this year she's planning on releasing at least two albums, including her first collection of new songs since her 2004 comeback record, ďVan Lear Rose,Ē made with The White Stripes' Jack White. She and John Carter Cash have recorded more than 60 songs, enough for four albums, and she has added quite a few more shows to her touring schedule.
ďI just took a notion to work,Ē she said. ďI didn't do that much last year so I just thought I'd work this year like I used to, and I think I can do it, too. To tell you the truth, I think I hold up better than the younger girls because they just ain't into it like we were. You have to be able to work and forget about how hard it is, but I've always been used to working and it's never bothered me that much.
ďI was telling my little granddaughter that I left behind 3,000 quarts of canned stuff when I left Washington state, and that was the hardest thing I've ever done was leaving all that. That was a lot of work.Ē
Lynn said that her new songs all touch on aspects of her life. She agreed that young music fans keep seeking her out because of the honesty of songs such as ďFist City,Ē ďYou Ain't Woman Enough (To Take My Man)Ē and ďWhen The Tingle Becomes A Chill.ĒďYou know, it's everyday life. They're all living it, and really, when I wrote these songs I thought I was just writing about how I lived,Ē she said. ďI had never thought anybody else had ever lived like me, and my songs tell the story. ĎFist City' and ĎYou Ain't Woman Enough' ó them women out there love 'em.ĒLynn was among the first women to become a major country star, following the path blazed by Kitty Wells, and she was a force on country radio for most of the 1960s, '70s and early '80s. She was the first woman to win the Country Music Association's entertainer of the year award, and several of her hits broke barriers in Nashville. ďThe PillĒ and ďRated XĒ addressed a woman's rights, for example, and ďDear Uncle SamĒ was an anti-war song released as Vietnam was heating upHer popularity peaked with the 1969 release of ďCoal Miner's Daughter.Ē A hit autobiography in 1976 had the same title, as did the 1980 film starring Sissy Spacek and Tommy Lee Jones.
ďYou know, I had six other verses to ĎCoal Miner's Daughter' and Owen Bradley, my producer at the time, said ĎLoretta, get in that room and take off six of them verses. There's already been one ĎEl Paso' and there'll never be another.'
ďI thought it was just a song about my life, and he never thought it'd be a hit. So I took six verses off and you know I never have found them six verses. I must have left them in the studio. I may have to add a couple more verses and do that thing again.ĒAs country music grew more pop in the 1980s, Lynn's star faded, and she spent much of the 1990s caring for an ailing Doolittle and expanding Loretta Lynn's Ranch in Hurricane Mills, Tenn. After Doolittle's death she fell into a depression that was only lifted when she began touring, and visiting fans old and new remains one of her favorite things. Her shows are 90 minutes of hits, and Lynn never fails to sing the songs that lifted her out of poverty.ďI doĒ enjoy touring, she said, ďand if I didn't I wouldn't do it. I'd just hang it up, but you know we turn them away just about everywhere we go Ö so what are you gonna do? They still come out. I'll work as long as I want to, let's just say it that way.ď
By Paul Zollo:
Some people are just born with it. With the gift for writing songs. Songs come to them, and they just need to write them down. It doesnít take any agony or even much thought, it just takes time with a guitar alone to capture them as they fly by. Thatís the case with Loretta Lynn. Right out of the gate, she wrote songs richer and deeper than the finest songs emerging out of Nashville. And she sang them with robust bravado, this little girl ďdressed up like Annie Oakley,Ē and ascended swiftly to Nashville royalty as one of country musicís greatest singers and songwriters.
Born in 1932 in Kentucky, she married her beloved Doolittle (Oliver Vanetta Lynn) when she was only 13, and had four of her six kids before she was an adult. He gave her a guitar for her 24th birthday, and she started playing and singing as if sheíd done it her whole life. Her first two songs, ďWhispering SeaĒ and ďIím A Honky Tonk GirlĒ were also the twin sides of her first single. And when people heard that voice with those songs, songs that reflected country life as it was really lived, they fell in love.
After those two, the songs kept coming. When the Nashville crowd first heard her music, they were stunned. Roy Acuff said he couldnít fathom how she could write such astounding songs Ė ďevery one a little movieĒ Ė after never writing before. Gradually she created a bounty of work, a deep well of country music splendor from which singers have drawn for years. A new tribute album, Coal Minerís Daughter, A Tribute to Loretta Lynn, has just been released, featuring Steve Earle, The White Stripes, Carrie Underwood, Kid Rock, Lucinda Williams and others, to coincide with the 50th anniversary of her debut.
Lynn attributes it all to telling the truth. But sometimes the truth wasnít what the good olí boys in Nashville wanted to hear, because it reflected too closely the reality of the changes America went through in the Ď60s, such as ďThe PillĒ and ďRated X,Ē both of which were promptly banned from radio, and both which went to Number 1, sparked by controversy.
Today sheís home in her sun-dappled writing room, tending, as she often must, to the business of being Loretta Lynn. But as anyone who knows her will attest, she is no diva, quite the opposite. When told that itís an honor for this writer to interview her, she just laughs, and says, ďHoney, donít say that. You can interview me anytime.Ē
You once said you would rather be remembered as a songwriter than a singer.
I would. Way before I started singing, I was trying to write. I lived out in the state of Washington and I had my four babies out there. I was trying to write everyday and I didnít know how. So I looked at the songbooks and thought that anyone could do that, so I just started writing. ďWhispering SeaĒ was my first song and then ďHonky Tonk GirlĒ was my second song.
Did songwriting come easy to you?
Yes. When I started writing, my husband was out on the ocean fishing, and I wrote ďWhispering Sea.Ē ďWhispering sea, roll on by, donít you listen to me cry.Ē
ďHonky Tonk GirlĒ came from a lady who kept coming into the little club. Doo got me a job working for five dollars on Saturday nights, a little club. She came every time I worked. She told me that her husband had left her for another woman. Sheíd sit there and cry. She picked strawberries with me during the time when strawberries were ripe. And when strawberry picking was over, she kept coming to the club and crying. And I wrote ďHonky Tonk GirlĒ from that.
So you have an idea first before you start writing?
Yes. I had to have a real reason to write a song. I wrote them about true things. And I just kind of kept that up. Iíd write the words by thinking and watching.
Do you write a whole lyric before the music?
No, I start the music on guitar with the first two or three lines.
Many of your songs are in odd keys, not normal guitar keys. ďHonky Tonk GirlĒ is in C#.
Yeah, I know it. I donít know why. They told me in Nashville they couldnít believe it, what youíre writing! All your keys are funny. ĎCause they wrote D, G and A, you know. I was going out on a limb a little bit, but I didnít realize that. I started playing rhythm guitar with my brother and a steel player when I first started singing. And I played barre chord rhythm. I had all sorts of notes on the guitar at that time, now I probably wouldnít remember all of them.
Since I learned all the keys, I just thought everybody did it that way. And evidently I was different. I was so far away from country music. I was a long way from Nashville, Tennessee.
I never knew another songwriter until I came to Nashville and met Harlan Howard. And he said, ďWho in the heck taught you to play rhythm guitar like that?Ē I said, ďI taught myself.Ē He said, ďI canít believe youíre the writer you are and taught yourself to play rhythm guitar like that.Ē But I did.
How old were you when you started playing?
24. Well, I had four kids, one right after the other. And when all four kids were in school, I started writing. My husband got me a job making $5 on a Saturday night and I thought I was gonna get rich. I saved my money up and bought me a black skirt with fringe, and these cowboy boots Ė they were $14 Ė and, well, I looked like Annie Oakley. I didnít know that people didnít look like that. I come to Nashville and Iím the only one who walked in looking like a country singer, with my boots and my guitar round my neck, Iíve come to sing.
When I first started singing, although I was writing songs, I did other peopleís songs, like ďI Walked Away From The Wreck.Ē Owen Bradley told me, ďYou start doing your own stuff.Ē But I was afraid they wouldnít go over. I put out records, but they didnít do nothing until I started doing my own songs. And they went to Number 1. I was hitting home with them, I guess, with the honky tonk music.
Your songs are so rich in detail. Did that come naturally to you?
Yeah, it just come naturally. I think anyone could do it. I think a lot of people try to write songs that are a little out of reach. And they should just sit down and write what they know. And what they see.
ďCoal Minerís DaughterĒ is such a vivid picture of your childhood.
I had more verses. Owen Bradley said, ďLoretta, thereís already been one ĎEl Pasoí and weíll never have another one. Get in that room and start taking some of those verses off.Ē Yeah, I took six verses off.
Six? It has four we know, so it had 10 verses altogether?
Yeah, I had a whole story going. I wished Iíd never thrown them away. If Iíd kept them, I could record them now and put them back in the song.
You donít remember them at all?
No, but I should sit down and start rewriting on that song, and come up with some more verses. I threw them away and I should never have done that.
Itís amazing to think of you writing a song like that so easily Ė not only is it richly detailed, but you have great craft in there, like rhyming Butcher Holler with ďpoor manís dollar.Ē
Well, that was the truth. Everything that I put in that song was true. I lived all of it. Iíve lived a lot of stuff that I wrote. Of course Doo, my husband, wouldnít have wanted to heard that. But I did. I never had to lie about anything I was writing about. That was my problem. I didnít lie. And sometimes Owen would say, ďI donít know whether you should put that out there now. Doo might divorce you.Ē And Iíd say, ďLet him divorce me, itís the truth.Ē
And he never did.
No, he never did. He knew they were true.
Would you always play new songs for him?
Oh yeah. I let him hear it first.
Was he honest in his response?
Yeah, he never denied any of it. He was always honest. If he liked it, he liked it. If he didnít, heíd say, ďI donít think thatís so good.Ē And Iíd throw it away and start again.
Were you there when they shot the movie about your life, Coal Minerís Daughter?
Iíd seen some of it. I would fly into a place if Sissy [Spacek] needed me. Sometimes theyíd call me and say, ďLoretta, can you fly in? Sheís been crying all day.Ē Iíd fly in and thereíd be part of the movie that bothered her, and sheíd be crying, and Iíd try to shut her up. Iíd say, ďIím here, why are you crying?Ē
But she did such a good job. For the first year, I was doing two shows a night. And Iíd bring her onstage. I took her on the Opry with me four times before the movie started. It was so hard on me, but we made it.
What inspired ďYou Ainít Woman Enough For My ManĒ?
ďYou Ainít Woman EnoughĒ come to me when a little girl come back stage and said her husband didnít bring her to the show, he brought his girlfriend. This was before the show started, and she wanted me to look out the curtain and see what this girl looked like. I peaked out and there she was, painted up like you wouldnít believe. I looked round at the little girl that was talking to me. And she didnít have no makeup at all. And I said, ďHoney, she ainít woman enough to take your man.Ē
I went right straight to my dressing room and wrote it in ten minutes. Ten minutes and a lot of money I made on that song. A lot of people have recorded it.
Is writing a song in ten minutes unusual for you?
Sometimes they work, and sometimes they just wonít. Sometimes you get hung up on them. When that happens, you just throw it back, and maybe come back to it two or three weeks later.
Some of your songs were quite controversial, and even banned, such as ďThe Pill,Ē about birth control.
Oh yeah. ďThe Pill.Ē Also ďOneís On The Way.Ē They started hollering about some of the songs and banned them from the radio. But immediately, when people would hear theyíd been banned from the radio, theyíd hit Number 1 in a hurry. And then [radio] would have to play them. If they had listeners, theyíd have to play the one that was banned.
Did you enjoy making the album Van Lear Rose with Jack White?
Thatís the country-est album Iíve ever done. I told [Jack] that and he said, ďWell, thank you.Ē And heís not a country guy, heís rock and roll. But when my movie came out, he was nine years old and he said, ďI sat in the theater and watched it all day long.Ē It just kept coming back on and he kept watching it. Heís a good guy, Jack White is.
I didnít know he was gonna sing with me on ďPortland, Oregon.Ē I walked in the studio and I said, ďWho is that man singing it with me, Jack?Ē and he said, ďThatís me.Ē I like Jack. Anything he did I thought was cool.
Do you write the music for a song before you finish the words?
Yes. I write the melody as soon as I finish the first verse. Itís got to fit the song. If it donít fit the song, I donít think itíll come easy. But I think if it comes easy, then the melody is gonna be okay.
How do you create melodies yourself?
When I write a song, the melody just comes in my mind to fit that song. And if itís a slow tempo, I think of a slow melody to get in that mood. I let the song come to me. I just gotta get by myself and get that song. And if it donít come easy, I lay it down. And sometimes Iíll pick it up, and sometimes I wonít ever go back to it.
Can you write at any time of day?
Night is best.
When you come up with an idea, do you always write it down right away?
If I donít, Iíll never remember it. Iíve got to write it down right then, or Iíll lose it.
Do you remember writing ďMiss Being Mrs.Ē?
Oh yeah. You know, that just came, to be truthful with you, from one of those things where I just thought, ďI miss being Mrs. tonight.Ē When youíre not married anymore Ė which Iím not, my husband passed away 14 years ago Ė naturally, youíre gonna feel that way. And you just miss being Mrs.
Youíre good with wordplay like that. Like in ďCoal Minerís Daughter,Ē when you say ďI remember well the well where I drew water.Ē A beautiful use of language.
Well, when I thought of that I felt it was a good line to use. And then I got to thinking maybe nobody will really understand that line, so maybe I shouldnít use it. But I let it go anyway and thought, yeah, Iím gonna use it.
And we understand.
You knew it was good, didnít you? Well, bless your heart. Boy, Iíve drawn a lot of water out of that old well back in Kentucky. That was my job. To go and get the water.
Do you remember writing ďRated XĒ?
Yeah, that was about a married woman. Things didnít work out and she was divorced. I probably sat down and talked to her. She told me the story and I just wrote it.
I love your song ďVan Lear Rose.Ē
I had to talk about Mommy in there. She had the biggest bluest eyes I ever seen. She was a beautiful woman. I remember back when she was 32, 33 years old. Mommy was so beautiful. I always wanted to be as beautiful as Mommy. Never made it. She had long black hair, beautiful blue eyes and a dark complexion. She was Indian and Irish. My father was Indian and Irish. And the Irish have great personalities you know. And most of them sing. People from Ireland, you know, they come into this country singing. Thereís a couple of them in Branson right now singing. And Indians are in touch with nature. Thatís me. I wrote about things that have happened. I probably took after the Indian part on that.
Do you remember writing ďYouíre Looking At Country?Ē
Yeah. I remember we came home. Weíve got about 12 or 1300 acres. I was out riding around and I looked over towards the field. Doo and Hattie all planted some corn, and I thought, ďNow youíre looking at country.Ē And immediately I come into the house and went to the writing room and wrote it.
Are there songs you start that you canít finish?
Oh yeah. Iíve had a lot of them. I donít know why I donít go back and finish them. I just kind of quit writing. I havenít written a song in a long time.
Lazy. But Iím gonna get back to it.
Youíve written so many classics that you have nothing left to prove.
True, I donít have a thing to prove, but if I write, Iím gonna prove something. Donít do anything that you canít do best. I donít believe in doing something that I donít know is good. If I go back to writing, I bet there will be a good song out of it. If I write ten songs, there will be three good ones out of it. I wonít dedicate my life to something thatís not good.
What advice would you give songwriters?
Write about the truth. If you write about the truth, somebodyís living that. Not just somebody, thereís a lot of people.
EILEN JEWELL "Butcher Holler: A Tribute to Loretta Lynn"
Kindred spirits: Loretta Lynn, Lucinda Williams, Patsy Cline
Show: Friday at Iota. Show starts at 9 p.m. 703-522-8340. www.iotaclubandcafe.com . $15.
Folk-country singer-songwriter Eilen Jewell goes all-out twang on "Butcher Holler: A Tribute to Loretta Lynn," a collection of a dozen songs by the coal miner's daughter re-recorded by Jewell and her three-piece backing band.
The album - named for Lynn's Kentucky hometown - isn't just a greatest-hits revue. Instead, Jewell pays tribute to Lynn's songwriting by selecting tunes that Lynn wrote herself. Even more impressive than Lynn's authorship, though, are the topics she tackled. Such subjects as adultery ("Another Man Loved Me Last Night") and rebounding with a stranger ("A Man I Hardly Know") may seem commonplace today, but they weren't exactly acceptable topics in the 1960s and '70s - especially sung from a woman's perspective.
Wisely, Jewell does little to reinterpret these songs. Her delivery is laid-back and her voice is sweet, but even that calm demeanor can't belie the strength and independence in these songs, from the sassy "Don't Come Home A-Drinkin' (with Lovin' on Your Mind)" to the threatened revenge in "Fist City." The Loretta Lynn that Eilen Jewell channels may sound sweet, but she packs a powerful punch.
- Catherine P. Lewis
Lynnís life has more than its share of gothic turns, and the singer swears her recent comeback began when she heard the voice of her dead husband telling her to get out of bed. Known for her floor-length gowns and poor family-planning, she may not seem like the portrait of a modern woman. But at a time when country music was still a boysí club, Lynn converted her personal history into chart-bursting hits that ranged from classic three-chord honky-tonk (ďDonít Come Home A-Drinkiní with Loviní on Your MindĒ) to controversial anthems of social change (ďThe PillĒ).
In one of her best-known songs, Lynn, who was born during the Great Depression and who won a Best Country Album in 2004 for the Jack White-produced Van Lear Rose, declares, ďWhen youíre looking at me, youíre looking at country,Ē which, while true, doesnít go quite far enough. Youíre also looking at history. ó Chris Davis
To celebrate the release of the multi-artist tribute album Coal Minerís Daughter: A Tribute to Loretta Lynn on November 9th, Sony Music Nashville presented country music legend Loretta Lynn with her very own rose. The first ďLoretta Lynn Van LearĒ rose plants Ė named after the artistís GRAMMYģ Award-winning album Van Lear Rose - will be delivered to the artistís ranch in the spring of 2011, with more available for purchase shortly after.
ďRoses have always been so special to me Ė Iíve loved them since I was a girl,Ē said Loretta. ďSo to have a rose named after one of my albums . . . well, Iím not sure I quite have the words for that! Iím just very, very honored. I canít wait to have those Van Lear roses blooming in my yard!Ē she added.
Developed by Brad Jalbert of Select Roses, the ďLoretta Lynn Van LearĒ classes as a floribunda, an ever-blooming hybrid known for its deep color. The bloomís hue is described as a rich apricot, and the buds on the rose open into a ďcottageĒ style flower. The plant is bushy and dense, growing to about 2 feet, considered an ideal size for most gardens or large containers.
ďThis is one of those roses that has turned out to be a crowd favorite at the nursery!Ē said Jalbert. ďIt is a very charming rose that all our customers have noticed when the test plants were on display.Ē
Both country music fans and rose enthusiasts will need to practice patience when trying to secure a ďLoretta Lynn Van LearĒ rose bush of their own: ďWe are just now building up stock of this rose, and will have a few plants available spring 2010 for our local customers here in British Columbia, with more being available in coming years,Ē said Jalbert. ďHowever, there will be a Canadian company, who ships to the US, who will have plants for mail order by the fall of 2011.Ē
Luckily, a new homage to one of countryís true musical pioneers is available now. Coal Minerís Daughter: A Tribute to Loretta Lynn has garnered an impressive collection of critical praise. Rolling Stone referred to the project as ďa tribute to the toughest Nashville queen ever, this record has a steely spine,Ē while the Los Angeles Times commented that ďthe broad reach of Loretta Lynnís influence is immediately evident in this saluteÖone of countryís true legends gets a consistently heartfelt tip of the hat from a representative swath of the countless lives her music has touched.Ē ďLoretta Lynn writes songs that knock you on your head and off your feet,Ē The Washington Post noted. ďFor 50-plus years, [Lynn] has stamped the country charts with her tunes of trouble, turmoil, payback and sweet satisfaction. And on this perfectly rough-around-the- edges tribute album, a host of like-minded musicians ó country and otherwise ó join in the fun and fury.Ē
2010 was a year of tributes and acknowledgements for this country music legend, as it marked the 50th anniversary of Loretta Lynnís chart debut in 1960. In January, Loretta was presented with the GRAMMY Lifetime Achievement Award in recognition of her legacy and career achievements. In June, ďCoal Minerís DaughterĒ was one of only 25 sound recordings chosen in 2010 for preservation within the National Recording Registry of the Library of Congress, which annually honors a select group of recordings for their cultural, historic, or aesthetic significance. Then in October, The Recording Academy hosted GRAMMY Salute to Country Music, celebrating Loretta at Nashvilleís Ryman Auditorium with a star-studded tribute concert. At the concert, Loretta was presented with the Presidentís Merit Award, honoring her cultural influence and contributions to country music.