Loretta Lynn is a legend at a caliber that very few ever reach. She’s been a member of the Grand ‘Ole Opry for more than 50 years, featured in the County Music Hall of Fame, won four Grammys, and even received a Presidential Medal of Freedom from Barack Obama in 2013. After a studio career that spans 41 albums and 55 years, Lynn is now reaching the twilight of her career and she’s doing so with grace.
Her 2017 album, Full Circle was nominated for the Best Country Album award at the 59th Grammy awards, and having signed with Legacy Records, she doesn’t seem to be done yet. This is especially the case due to the recent resurgence of the outlaw and traditional country styles. Wouldn’t It Be Great released earlier this week and it is yet another great addition to her catalog.
Lynn’s voice on this record is especially impressive, as she still sounds fantastic after her very long career. This is especially true on her higher, more open notes in tracks like “I’m Dying for Someone to Live For,” or the opening title track. She sings with a power and control that just doesn’t exist in modern country music.
This is made all the more impressive by the fantastic instrumentation on this album, which is easily it’s best quality. Sam Bush’s fiddle on “Another Bridge to Burn,” is just pure bluegrass and the electric guitars on “Don’t Come Home from Drinkin’” set the perfect tone for such a classic of country music. The bedrock to all of this is, of course, Mike Bub on the upright bass who holds down every song with an active, leading bass line. This instrumentation, more so than anything else, is what sets Wouldn’t It Be Great apart form other recent releases from older country icons.
This large band and wide pallet is masterfully helmed by John Carter Cash on production. The only son of Johnny Cash and June Carter, John is quickly becoming one of the best producers in country music with his simple but elegant style. His stereo imaging gives tracks like “Lulie Vars,” or “These ‘Ole Blues,” a very organic feel and he has a good ear for which instruments need to take center stage.
While the album carries plenty of crooning ballads, it is at its best when its fun. Listen to songs like “Ruby’s Stool,” or my personal favorite, “Ain’t No Time to Go,” which take almost an Irish slant with the loud fiddle, mandolin swells, and excellent banjo work by Larry Perkins. These tracks are best described as foot-tappers, and they’re some of the funnest country songs of the year.
Lyrically, the album is a bit of a mixed bag. “My Angel Mother,” is a moving and well crafted tribute and “The Big Man,” is a clinic in how to write religious music. On the other hand, “God Makes No Mistakes,” is a good example of how not to write religious music as it comes off as repetitive and answers few of the questions it poses and may be the weakest song in the track list. In addition, “Darkest Days,” one of Lynn’s oldest songs, repurposed for this project, shows it’s age a bit in it’s simple writing and rhyme scheme.
Many of the tracks on this album are older Loretta Lynn songs which she’s re-recorded for this album, and most of them gain something from the update. If one doesn’t, it would likely be the closer, “Coal Miner’s Daughter.” This is, of course, one of the most iconic songs in the country cannon, but nothing is improved by recording it again, especially since it was recorded as recent as 2012 before this.
On the other end of the album, the opener and title track is easily the highlight of this project. Loretta’s vocal is gentle but powerful, Randy Scruggs’ acoustic guitar lays an excellent bedding, and the lyrics are very well written, dealing with a woman asking her alcoholic husband to “throw the ‘ole glass crutch away.”
Loretta Lynn is one of the all time greats and her pairing with the John Carter Cash is more than fitting. The vocals are excellent, the instrumental pallet is broad and exciting, and Loretta Lynn commands respect in a way that few artists ever are able to.
Wouldn’t It Be Great avoids the trappings of sentimentality, for the most part, and instead presents the image of an icon continuing to master her craft.
HEAR WOULDN’T IT BE GREAT: https://open.spotify.com/album/4Uk33jRr1FKDvYBDy8J3Xr