JADED HONKY-TONK FROM THE MASTER

By: B

After my first listen to Van Lear Rose, I didn't know whether to recommend it to my college pals or my grandparents. Such is the mood created by Loretta Lynn and Jack White on this album. The result is a ballsy fusion of old-school country and guitar-driven garage rock, creating a sound not easily forgotten or replicated.

Van Lear Rose is technically Loretta Lynn's album. However, it is impossible to overlook the influence of White, who not only arranged and produced the piece, but added background instruments and vocals. Lynn and White make a perfect combination. Lynn lends her personal, candid lyrics and stellar voice while White offers his distorted guitar that functions as the spine of most tracks. White also incorporates other instruments, such as an organ and banjo, which thicken the sound and add to the originality.

Lynn's words never stray far from the common county music themes. Nearly every track involves boozing, cheating and fighting. Most tracks are vocally driven, another element common in country music. The success of the album hinges on Lynn's voice quality.

Van Lear Rose begins with the title track, a standard country song with Lynn recounting her parent's courtship in the town of Van Lear, Kentucky. She quickly shows us her vocal abilities, still strong and effortless at 69 years old.

The second track, "Portland, Oregon" is an enjoyable duet by Lynn and White, fusing solid lyrics ("Portland, Oregon and sloe gin fizz/ If that ain't love then tell me what is") with a grumbling guitar. Even the sneering "Uh-huh" sung by Jack and Loretta after every line has more attitude than most of today's country music.

"Women's Prison" is one of the two top tracks on Van Lear Rose. Loretta narrates a story of a woman killing her lover after he cheats on her. We follow her to the electric chair, the end a hushed, hazy verse from Amazing Grace. Just a fantastic song. White's guitar is emphasized heavily, creating a sound that can be liked by fans of both country and rock.

"Mrs Leroy Brown" is another great song from Van Lear Rose. It involves more cheating, boozing and fighting. Where Leroy was bad, bad, the Missus is simply mad. It is a honky-tonk sing-a-long country song, rocking harder than most while straying away from the White's familiar garage sound. "Mrs. Leroy Brown" may end up as the most well known of the tracks.

The most common theme in Van Lear Rose is the strength of character of Lynn. Lynn makes it well-known that she can stick up for herself and is not to be taken advantage of. She scares the hell out of me. In "Women's Prison" she kills a cheating lover, in "Mrs. Leroy Brown" she simply whoops ass on the Other Woman. And while she does show a soft side, the point is clear: Do not mess with Loretta Lynn.

For the most part, Lynn's lyrics are personal and engaging. Lynn sings of her late husband Doo in "Miss Being Mrs.", saying "I took my wedding band/ And put it on my right hand/ Oh I miss being a Missus tonight." In "Family Tree" Loretta, again singing to the Other Woman, says "I didn't come to fight/If he was a better man I might/But I wouldn't dirty my hands on trash like you." Though her words at times stray into clichéd honky-tonk, they are for the most part a refreshing change.

While there are three or four tracks that are too country to transcend the genre, the album on the whole is a refreshing departure from the clichéd, simplistic twang currently infecting the country music landscape. Lynn and White show us country is still alive.

Van Lear Rose is a solid album, bursting with personality and originality, two elements far too rare in the biz. Though at times clichéd, and possibly including a few too many standard ballads, this album is a good choice for any fan of country and country-tinged rock.

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POP RATING: 7

CRITICAL RATING: 7.8

B'S RATING: 7.5

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