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Such a down-home vocal style was Loretta’s birthright; it was more or less the way she had sang back in Kentucky, it was the style she took with her to Washington, and it was a vocal approach particularly well-suited to the duet sides she soon made in Nashville with honky-tonk legend Ernest Tubb. Patsy’s distinctive style, marked by dramatic slides, growls and crescendos, was more modern and “pop” sounding than that of Wells’ and the other female country singers of the day.It’s not surprising then that “Success,” the 1962 single that became Loretta’s first Top Ten hit (and that was later covered by Elvis Costello on his Almost Blue album) showcased Loretta in a full-throated, string-backed setting that’s more than a little reminiscent of Patsy Cline.Her latest album, the Jack White-produced Van Lear Rose, is poised now to remind the world yet again of Lynn’s power as a vocalist and her skill as a songwriter.As she puts it on “Story of My Life,” the new album’s closing track: “Not half bad for this ol’ KY girl, I guess… Listen close, I’ll tell it twice.” Loretta was born in Butcher Holler, Kentucky, the second of Clara and Ted Webb’s eight children.In her spare time, though, with Doo’s encouragement, she learned to play the guitar and began singing in the area.During one televised talent contest in Tacoma, hosted by Buck Owens, Loretta was spotted by Norm Burley who was so impressed he started Zero Records just to record her.She said, ' If a woman has it, it doesn't matter what she doesn't have, and if she doesn't have it, it doesn't matter what else she does have.' as much as Miss Loretta does," Brooks continues.
Which I loved."She walked right up to the driver's door. This is right out of Oklahoma, where I grew up," Brooks continues. She jumped in, scooted over and sat right in the middle. "I had to be seen."After sharing the memory of their evening out together, Brooks added his admiration for Lynn's historic achievements as an artist, and specifically as a woman in country music."She is a pioneer ...
And it's just gotten better every time, every second," Brooks told Lynn during the press conference.
"You know, I was 20 feet away from Katharine Hepburn, at Radio City Music Hall, when she said it, this beautiful thing she said.
Drawing upon her own experiences as a harried young wife and mother, and upon a homespun sense of humor at once both pointed and hilarious, Loretta issued warnings to soused and philandering hubbies everywhere—and to the female competition—that she was not to be trifled with.
In her words, “You better close your face and stay out of my way if you don’t wanna go to Fist City.” [Note: As on most of Lynn’s biggest solo hits, the studio band for the above numbers included members of Nashville’s famed A-Team: guitarist Grady Martin, six-string electric bassist Harold Bradley, bass player Junior Huskey, pianist Floyd Cramer, drummer Buddy Harman, and pedal steel guitarist Hal Rugg.] As the ’60s turned into the ’70s, Lynn forever solidified her reputation as an advocate for ordinary women.