Loretta Lynn- Still Woman Enough
Label: Legacy
Producers: John Carter Cash and Patsy Lynn Russell
Arriving fifty years on from her most pivotal cultural moment, 1970’s classic Coal Miner’s Daughter, Still Woman Enough marks a staggering fiftieth studio release for country music icon Loretta Lynn, and is likewise the fourth in a series of five albums produced by John Carter Cash and her daughter, Patsy Lynn Russell. Staying true to the format of the previous entries in that series, which was most recently marked by 2016’s Full Circle, the album is a mixture of new tracks, covers and revisited songs from earlier in Lynn’s discography. Under this context, this is not going to make for a late-career landmark record a la Johnny Cash’s American Recordings, which is perfectly fine as Lynn already accomplished that back in 2004 with the dizzying Jack White-helmed Van Lear Rose. Rather what these recordings provide are charming and excellently produced albums that showcase a beloved artist who still performs with plenty of personality, conviction, and vocal vigor. Her signature twang has retained an impressive degree of power given both her approaching 89th birthday and an array of medical issues over the past several years. It’s a pure joy to hear an artist of Lynn’s heritage and stature sing, and you can likewise hear her own love in doing so throughout this body of songs.
The set opens with generous dose of female country star power as Reba McEntire and Carrie Underwood join her to form a fantastic trio on the sharp title track. Lynn more than holds her own with two of the leading ladies she paved the way for, and McEntire and Underwood’s twangy deliveries shine with high esteem and reverence for their duet partner. They clearly understand that this is still Loretta’s stage. From the opposite side of the country music landscape comes Americana favorite Margo Price, who also delivers a solid guest turn on a recreation of Lynn’s iconic hit, “One’s On the Way”. Dated as the song’s narrative may be in spots, it remains one of Lynn’s most entertaining tunes, and her voice and POV are a perfect match for the sassy Price. Their chemistry together is natural and it proves to be one of Lynn’s most full-bodied vocals on the entire album. Rounding out the solid collaborations on the record is fellow legend Tanya Tucker, who teams with Lynn for a rendering of the 1966 anthem “You Ain’t Woman Enough”. Coming off her own recent artistic renaissance, Tucker’s aged but rich rasp is in fine form here, and the pair injects their duet with the confident bite and spitfire the song requires.
The solo turns that comprise the balance of the project find the legend gracefully gliding through a cohesive variety of traditional country, with a healthy helping of bluegrass and gospel tinged detours for good measure. Her rendition of The Carter Family’s standard, “Keep on the Sunny Side” proves to be a stellar acoustic showcase for the very best qualities of her present-day voice, soaked in wisdom, perspective and beaming joy. Her phrasing is superb and its combination with the exquisite mandolin solos create a magic moment that recalls June Carter Cash’s likewise beautiful 2003 version. The same sound serves her particularly well also on the breezy, grassy jaunt of the lilting “I’ll Be All Smiles Tonight”.
Meanwhile, her 1960 debut single, “Honky Tonk Girl” receives a sterling resurrection and provides unneeded but appreciated evidence that deep steel guitar fills remain Loretta’s best instrumental companion. For the re-recording of her epic “Coal Miner’s Daughter” however, Lynn and company reimagine it as a recitation, which only further speaks to the humble, narrative wonders of classic country storytelling, and why Lynn is one of the true masters of the art. The ultimate triumph of the record however proves to be her cover of the Hank Williams gospel classic, “I Saw the Light”. She sounds absolutely reborn and as alive as ever on this wonderful delivery; it’s a joyous and celebratory representation of the very essence of Loretta Lynn, and the inspiring honesty and exuberance she’s built her monumental career upon.
Much praise should be given to aforementioned co-producers Carter Cash and Russell, as well as the impressively talented musicians assembled here. They color all of these performances with a clean and crisp production and an instrumental dexterity that dutifully showcases Lynn’s remaining powers as a vocalist and storyteller. The arrangements offer the same standards that were so prominent during Music City’s New Traditionalist boom in the late 80s and early 90s: deeply rooted in traditional country sounds and instruments, but paired with a polished and modern glow. They present a marvelous showcase for the sturdy vessel that Lynn’s voice remains today.
Still Woman Enough will surely entertain Loretta Lynn and country music aficionados, as well as anyone who merely has a general appreciation for the roots sounds and artists that have helped shape American music throughout its history. Loretta Lynn is pure and simple an American treasure, and sadly one of the few remaining artists from country music’s golden age. Therefore, it’s a true pleasure to hear her still singing with such vitality in the twilight of her life. No amount of years can tarnish the passion and verve of an artist of her caliber.
Track Listing
- “Still Woman Enough” featuring Reba McEntire and Carrie Underwood (Loretta Lynn, Patsy Lynn Russell)
- “Keep on the Sunny Side” (A.P. Carter)
- “Honky Tonk Girl” (Lynn)
- “I Don’t Feel At Home Anymore” (Traditional, arranged by Lynn)
- “Old Kentucky Home” (Stephen Foster, arranged by Lynn)
- “Coal Miner’s Daughter” (Recitation) (Lynn)
- “One’s On the Way” featuring Margo Price (Shel Silverstein)
- “I Wanna Be Free” (Lynn)
- “Where No One Stands Alone” (Mosie Lister)
- “I’ll Be All Smiles Tonight” (T.B. Ransom)
- “I Saw the Light” (Hank Williams)
- “My Love” (Lynn)
- “You Ain’t Woman Enough” featuring Tanya Tucker (Lynn)
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