Loretta Lynn still ‘great’ with new album at 86

After savoring “Wouldn’t It Be Great,” it becomes clear that “great” is barely adequate to describe Loretta Lynn and her legacy. The same applies to her new album, which is due out on Friday; maybe “phenomenal” comes closer to assessing these 13 tracks.

Start with her songs themselves: Lynn wrote or co-wrote all but one of them, each with magnificent craftsmanship. The title cut makes this clear, from its vivid imagery and polished rhyme scheme to the exquisite balance of the music, which builds from verses to choruses without those overkill crescendos resorted to by clumsier composers. And she knows better than most how to find a perfect opening line: “I don’t suppose I’ll ever love him quite the way that I love you,” which practically pulls the listener into “Another Bridge To Burn.”

Then there’s the voice. Her sass and attitude drive the honky-tonk groove of “Ruby’s Stool,” and when she hollers the high notes on “Darkest Day,” we’re whisked to some Texas dance hall, complete with three-fiddle harmony over a two-step shuffle. Then, moments later, over just an acoustic guitar, she delivers an intimate paean to “My Angel Mother,” with a sentimentality that’s unapologetic and deeply touching.

Maybe “Lulie Vars” offers the best example of her artistry. It’s a “murder ballad,” in which a dark tale unfolds over a simple, repetitive melody. The accompaniment is basic – acoustic guitar and bass. Yet through the power of her phrasing, we are transported through verse after verse of the narrative. This is interpretive singing of the highest order.

This is vintage and contemporary Lynn, at the very peak of her powers. What’s perhaps most amazing is that she is already halfway through her 87th year. There are plenty of singers a quarter of her age who can draw inspiration and wisdom from this album. And if they did, well, wouldn’t that be great?