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Eilen Jewell Presents A Tribute To Loretta Lynn

Butcher Holler

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Customer Reviews

Cool tribute to Loretta Lynn

On last year’s Sea of Tears, Eilen Jewell stepped up from folk and country sounds to electric twang. She dropped the fiddle and harmonica of her earlier releases and sang solo with a rockabilly-styled trio of guitar, bass and drums. That same trio format, with the thoroughly stellar Jerry Miller on guitar and pedal steel, is employed for this terrific salute to Loretta Lynn. The band plays blue and lightly rocking across a dozen covers, melding Jewell’s jazz-tipped vocals with twang-heavy guitars and tempos that turn the ballads into sorrowful two-steppers and the rest into perfectly restrained rockers. You can hear Lynn in every track, but what you won’t hear is Jewell copying the subject of her tribute. Jewell isn’t as feisty a singer as Lynn, which keeps “Fist City” and “You Ain’t Woman Enough (To Take My Man)” from delivering the originals’ heat. To be fair, Lynn wrote and sang these songs when such outspokenness, at least from a female country singer, delivered a shock and element of liberation that’s not available to a contemporary vocalist. Jewell’s cool approach works perfectly on the sly “You Wanna Give Me a Lift” as she brushes off an overly amorous suitor with the lyric “I’m a little bit warm, but that don’t mean I’m on fire.” For “Don’t Come Home A- Drinkin’ (With Lovin’ on Your Mind),” Jewell offers a promise of forgiveness in place of a half-cocked frying pan, and it works very nicely. Lynn’s originals are filtered through Jewell’s influences, so while these new recordings pay homage to the hits, they’re distinct interpretations influenced by the blue emotions of Patsy Cline, Billie Holiday, Connie Francis, and the torchy styles of Big Sandy and Julie London. Jewell sings most everything solo, doubling herself on the superbly forlorn “I’m a Honky Tonk Girl” and leaving Miller’s guitar to provide the second voice elsewhere. Miller’s steel playing on “A Man I Hardly Know” is superb, and the bouncy “You’re Looking at Country” closes the album on a convincing note: Jewell’s a bit jazz, a bit blues, a bit rockabilly and a whole lot country. [©2010 hyperbolium dot com]

Fitting Tribute

When Jack White produced "Van Lear Rose" with Loretta Lynn in 2004, you could tell he knew exactly what he was doing; he showcased an artist on her own terms. Loretta as a songwriter is direct and painfully personal. If she lived it, she wrote about it. As a vocalist, she can sing anyone's songs and deliver but the songs from her life experience, like all the songs from "Butcher Holler," are Loretta Lynn from the jump. Like White, Eilen Jewell knows just what she is doing too. This collection showcases Loretta Lynn the songwriter and her personal point of view. I love the fact that the choice of songs here are not the most well known songs from Loretta's catalogue, in fact you won't hear Loretta sing some of these in her current live shows. However each song is a prime example of a woman who knows exactly who she is and a songwriter who after 50 years in the business can still connect with the listener.

Boston Globe review

Boston’s Eilen Jewell has multiple personalities — first with the Eilen Jewell Band, then with side projects the Sacred Shakers (old-timey country gospel) and Butcher Holler, her deft tribute to Loretta Lynn and the subject of this new release. Jewell is no coal miner’s daughter, hence some of Lynn’s gritty power is missing from these shinier, happier cover versions, but it’s still a great album. Jewell simply won’t be denied as she applies her disciple-like adoration to honky-tonk gems “Don’t Come Home A-Drinkin’ (With Lovin’ on Your Mind)’’ and “You Ain’t Woman Enough (To Take My Man),’’ while also capturing the early feminism of “Fist City.’’ She scores with precision rather than raw emotion, but she scores nonetheless. There’s an irresistible snap to these songs — they’re tight (only one track exceeds three minutes), deliciously twangy (credit guitarist Jerry Miller) and rendered without orchestrated frills. Jewell also made sure to only do songs that Loretta wrote herself, furthering the devotional aura. It’s hard to imagine Southern truckers roaring down the road blasting these tunes instead of Loretta’s, but less grizzled folks should love them. (Out tomorrow) STEVE MORSE

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