Wednesday, April 14, 2010
Hey, Loretta...
As many of you know, I am a huge Loretta Lynn fan-- and today being her birthday, I thought I might take a moment to jot down a few thoughts I have on the road she forged for all women in music, but particularly for Appalachian women and those of us working in country music in particular. I wracked my brain this morning, trying to come to grips with a way to articulate what Ms. Lynn's music-- coupled with her experience making it-- really means to me.
A few weeks back a good friend of mine and I were batting stuff back and forth on the ubiquitous facebook page, and he asked me who Loretta Lynn is; "Is she a singer?"
I was amazed. How could someone not KNOW Ms. Lynn's ouvre? Her stature as an artist, a writer, a woman, a warrior?
Anyway, this here is what I told him:
Loretta Lynn is the iconic female trailblazer in American country music. A honky tonk maverick, she demurred from taking the "Stand By Your Man" stance of most of her peers, penning hits such as "Don't Come Home A Drinkin' With Lovin On Your Mind", "Your Squaw is on the Warpath Tonight", "Rated X", "One's on the Way", "The Pill"..., and won a grammy in 2005 at the age of 74 for her rock and roll collaboration with Jack White of the White Stripes for their studio album, "Van Lear Rose". Ms. Lynn was married at age 13 to "Doo" Lynn, and did not pick up a guitar until she was 26; transforming herself from housewife to country music superstar, she never lost touch with her rural roots, once telling a record executive, "Record?! I can't come to Nashville and record! I'm canning sausage!".
So in writing all this, I recalled a song that I don't sing that often anymore, but that I wrote as a tribute to her. Here are the lyrics, and a little pigdin recording I did a long time ago. I hope you like it.
"Country Girl's Lullabye"
Sister’s in the driveway, peddalin’ her life away
I try to play along to “The Pill”
I always wanted to sing like Loretta and I guess I always will
It was miles of dirt road to the nearest town
And no neighbors to holler, “turn the radio down”
So we listened to it loud and long as we could
sang along till thought we sang it just as good
Patsy, Dolly and Kitty and Emmylou
If not for them women pushin’ through every Kentucy’ gal’d be alone and blue
With a sound so sweet it’d get you high, keening so fierce it’d make you cry
They brought us the sound of a country girl’s lullabye
Them label reps on the Nashville scene, with their synthesizers and drum machines
Can’t tell me what nothin but a dollar means
The neighbors never holler “turn the radio down” because ol’ country’s gone to town
I turn it on to pick me up and it just lets me down
CMTV jumps and screams with girls more fit for magazines
Than singing about working peoples dreams
None of the sound gets me near high, and I just hang my head and cry
Is this the sound of a country girl’s lullabye?
I don’t know where all them years have gotten to
I spin that dial searching for a tune
half as true as “Sixteenth Avenue”
Work your hands to leather on that old guitar
saw that fiddle like you got some heart
Take back the sound from the boys in A & R
Break the radio and throw it in the pond
Lord knows where the music’s gone
And the ones that’s left behind gotta carry it on
With a sound so sweet it’d get you high
keening so fierce it’d make you cry
And listen to the sound of the country girl’s lullabye
I was born to sing a country girl's lullabye...
love,
Jamie Lyn
