The two highpoints are the time-warped “Honky Tonk Girl,” which finds echoing guitars, a wheezing accordion, a reeling fiddle and no less than Patty Griffin on backup vocals buoying Lee Ann Womack for a velvety confession of her transformation from good girl to bar fly. Faith Hill seems to almost channel classic Tammy Wynette for her silky, smoky turn on the subtle sexual healer “Love Is The Foundation.” And Lucinda Williams’ raw, sung-almost-like-breathing “Somebody Somewhere (Don’t Know What He’s Missing Tonight),” is a lament floating on puddles of steel guitar tears Not that everything has to be that intense. Whether it’s the banged-up, real-world desire of “After the Fire Is Gone” with Steve Earle and Allison Moorer flexing old school, Van Lear Rose producer Jack White’s White Stripes saucy “Rated X” or Paramore’s leaned-down swagger fest “You Ain’t Woman Enough to Take My Man,” all are given an aggressiveness that unites fairly disparate musicians in the name of thrusting the truth front and center. But what’s ironic is not only how convincing someone like Kid Rock is on the bawdy fidelity anthem “I Know How,” but how compelling a power-country popper like Carrie Underwood is leaning into some deep old-school power-twang on “(If You’re Lookin’ at Me) You’re Lookin’ at Country.” Lynn’s songs transport the singers to her world. Given her importance, it really shouldn’t be surprising that this stellar tribute to Lynn attracted artists from across the spectrum of modern music. Aggressive, straight up and straight on, the Butcher Holler, Kentucky-born child bride who grew into the voice of working women in the ’60s and ’70s remains the 21st century standard. When you wanna talk about hard country singers, Loretta Lynn sets the bar. Coal Miner’s Daughter: A Tribute to Loretta Lynn
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