Don't Come Home A Drinkin' (With Lovin' On Your Mind)

It was fine.

It’s fine? But I’ll pass, won’t need to hear this again.

I didn't mind this album at all. I must be gettin' countrified as I age. I wouldn't choose to listen to this most days but I thought it filled the time just fine!

I like this kind of thing but this wasn’t a genre standout for me.

Conceptually I found this album very interesting. I find that a lot of people try to view this album from a modern perspective, but I think context of the time is very important for a piece like this. Women's rights in 1967 still had a long way to go, women couldn't easily get divorced and couldn't even open up there own bank account. Modern listeners question why she doesn't just leave his toxic ass, but it really was not that simple for a woman in the 60s. This album is a radical feminist statement for it's era giving a voice to the voiceless woman stuck in abusive marriages. With all that said, musically I did not care for this. It was alright for country standards, but I am in no way a country fan. Country from a male perspective could easily get 1 star. It would be interesting to see this album reworked in a Riot Grrl style, keeping the feminist message, but upping the energy. My biggest complaint is that a lot of the songs sound exactly the same. Favorite Track - Get What 'Cha Got And Go Least Favorite Track - I Really Don't Want To Know (or one of the other songs that sounds exactly like this one) ⭐️⭐️

I really enjoy old country. And Loretta has an incredible voice, rich and strong. These songs are all very similar, but they're performed well. Love the lap steel. FOUR STARS

I wish I could have known Loretta. She seems sweet.

A good time listen

A little too twee and old-fashioned for my liking. Some records have a certain something that keeps them sounding fresh even though they're the same age or older but this one didn't

Not a fan of country music.

I'm familiar with a bunch of Loretta Lyn songs, but I don't think any of these songs are ringing a bell. These songs are mostly the "Sad Loretta" type songs, but I kind of prefer the "Fightin' Loretta" songs more. This isn't bad though.

it reminds me to 'lurleen Lumpkin' from the simpsons

is this a cry for help?

Nice vibratto but 30 minites of complaining and romanticizing a toxic relationship is bleh

This is not for me but it's very competent and I think I could definitely enjoy it.

Really beautiful - what a voice!

I keep thinking oldies stuff like this will be boring and grating in its simplicity, but this was totally pleasant. She is funny and sounds great. I don’t need to listen more but it is good.

Some classic country right here.

Heavy metal da época

Loretta Lynn is a legend and her voice is fantastic as always, but this one is a little one note.

This is so good. The songs are great, the playing is great, and its 28 minutes, what more could you ask for

Bit too twee for mee

Old country is the best country and her voice is made for it. The songs blend together a bit too much and too much slide guitar pulls me out of a song. 2.5

This was really fun

Holy crap, just a non stop example of a toxic relationship, you two can't even stop cheating on each other (she got caught in the end)... But that's what makes good country music. I can't remember, did her truck break down? Welp! I can't believe I'm saying this... 4 stars?

Lots of classic country twang, with a good vocal performance and some fun guitar work. Nothing particularly fancy here, just typical country songs.

Une bonne vieille country girl avec une belle voix. Elle est surtout vue comme une pionnière de son temps, parce qu'elle avait pas peur d'écrire des chansons autobiographiques portant sur des thèmes comme la fidélité et l'avortement. Bien que très écoutable, ses chansons ne viennent pas tant me chercher que cela. On est entre le 2 et le 3.

Getting the vibe this relationship may not be all that solid

There goes my reason for living…

Seems okay for a 60’s record-but not my thing!

I genuinely have nothing of note to say. Loretta Lynn has a very nice voice, that's about it.

Good vocalist, decent songs, but there's just really nothing super special about this one.

It is a solid country listen. Loretta has a great voice in the record and the album is interesting throughout. 7/10 [SWAP]

Nice voice, nice songs.

I enjoyed the journey, big up Loretta, keep cheating.

Really enjoyed it. Kudos to Loretta's voice and the country guitar jangling sounds.

Pleasant to listen to, but not really for me and all the songs are basically the same song.

The way people on this website pathologically dislike country is wild to me…I love you Loretta Lynn

Short and sweet. Enjoyed Loretta’s singing. Just a shame the songs finish before really getting their claws in me

Oh man, this is the country music I like. Vintage sound, bluegrass feel, messy relationships, hillbilly nonsense. Give me that over whatever country music is popular today. 4/5

you know country music is not for me usually and maybe I was in a bad mood today

Completely plays into the trope of "Women in country only sing about men that wrong them" But that doesn't mean Loretta doesn't do it very very well

In terms of covering the most prominent figures in country music, it makes sense on paper to include at least one album from Loretta Lynn. As one of the most decorated female country recording artists, it sounded like a smart idea to include at least one of her works in the 1001 Albums books for historical significance. After listening to Don't Come Home a Drinkin' (With Lovin' on Your Mind), though, the best I could come away with was, "It's fine, I guess?" It's a solid enough record of originals and covers, albeit with a clear conservative bent in the lyrics and themes, as Loretta was looking for a steady, upright man to be faithful to. Like, there are multiple songs about terrible partners, either taken by another woman or by other vices like alcohol, usually placing Loretta as the victim. It's certainly not bad framing, but the fact that nearly every song can be viewed in this light and little else, with the same slow-burn, warm country tones, makes this record feel rather repetitive. It makes me wonder if a different record of hers, like Coal Miner's Daughter, would have made a better inclusion, or how distinct this is compared to her contemporaries like Patsy Cline or Merle Haggard. I get that the title track was her first number-one country hit, but I'm unsure whether the rest of the album stacks up. All's to say that I don't feel like I got much out of Don't Come Home a Drinkin' as an album. Again, it's fine, but I'm not certain how often I'll come back to this outside a few songs.

This is a problem. On one hand, you have Loretta Lynn's absolutely gorgeous voice; on the other, it's singing largely soupy, syrupy old-fashioned country. What to do, what to do?

I really like this type of country music. Certainly it's more genuine than the countrified pop/rock crap that we get today. This music makes me nostalgic for the ranching community where I grew up. However...... Boy can this woman pick men. Loretta is the poster child for staying single.

Not my thing but can see why she is so revered. Can almost small the heartache

Loretta Lynn was doing something genuinely radical here, and it’s worth saying plainly: a working class woman speaking directly and defiantly about the realities of her domestic life was not what Nashville was offering in 1967. The title track alone — essentially a woman drawing a clear line with her drunk husband — was controversial enough to get banned from some radio stations. That directness isn’t just historical context. It’s audible in every song. The limitation is that the record makes essentially one argument across its entire runtime. The thematic consistency that made it revolutionary is also what makes it feel same-samey as a full album listen. Every song is a variation on the same conversation with the same man about the same grievances, delivered within a fairly narrow range of tempos and arrangements. The mid-60s Nashville production is clean and tasteful, the pedal steel sits right where it should, but nothing here surprises you structurally once you’ve heard the first few tracks. Lynn’s voice carries it. It’s not conventionally beautiful, but it’s completely authentic — expressive, plain-spoken, and fully committed to the emotional truth of every lyric. That combination of conviction and courage is what pushes this into four-star territory despite the limited sonic range. Some records earn their place through variety and craft. This one earns it through nerve.

I find the sound of each song very repetitive. Lyrics are cliched. Although maybe not back in 1967. Perhaps it was groundbreaking then?

it´s ok, like a good meal, but unseasoned, but I would put on a background. Today´s bird: Red Knobbed Coot

'So always make me wonder / Always make me guess / & even if I ask you / Oh darling, don't confess.' That's a tortured soul for ya, the kind that this genre, like the blues, so effortlessly, joyfully manifests. These songs are so much darker than you could really imagine, but Loretta's voice, like Dolly's, like Patsy's, & yes, like Tammy's, has got so much energy - so much devoted body & soul - that you'd be wont to have a good time listening to these 12 classic tracks, even the most morose of 'em: '& the love that kept this old heart beating / Has been shattered by the closing of a door.' For lovers of contradictions - dialectical interplay & things that don't quite make sense - this is a feast. Yeah, she should leave him. That's the point now, isn't it?

It would have been bad news to be her husband or boyfriend during the recording of this album. Just pure guy hate and I mean it in the “I know what you’re doing” sort of hate, not the smash your truck windows and murder you hate. That also makes this album less of a perfect album because the idea and song topics don’t really change at all. Other than that it’s good. Choice cut: Don’t Come Home A Drinkin

suddenly i'm a country girl 🤠

Álbum legal de country dos anos 1960. É interessante ver como essas artista soavam. É bem homogêneo e as vezes cansa. QoA Vesper.

12 songs in under 30 minutes is the punkest thing she could’ve done here.

Can’t remember a thing.

a country music album i enjoyed, mostly because it was only 28 minutes long

country that works out for me

Not a country fan at all, this was alright, the production was pretty good for 1967. She has a nice voice but a bit too much vibrato. Overall a 2 I suppose just since I'm not a country fan.

I am not a Country fan. Her voice is good, and the playing throughout is top-notch, but it's just not a sound I enjoy. 2 stars.

Whatever.

fav songs: i really don't want to know tomorrow never comes i’m living in two worlds heartbreak, twangy, love 40/100

Very samesy across the album and didn't do too much for me.

More country. This one was at least a bit more enjoyable

Not quite as upbeat or fast paced as the Nanci Griffith album, but had a very charming old country sound. Caught a little bit of pedal steel guitar in this one too. Sounds like something you would hear in the background of a little diner in some small desert town.

No. Just no.

madry przekaz plynacy juz z samego tytulu piles nie ruchaj

2.5 not bad reminds me of elvis

Lovely songs but damn I was feeling depressed yesterday and this shit did not help! Bummed me the fuck out! The power of music!

Country sucks.

The title song is a jukebox classic. The rest of the songs have a sameness to them.

3.5

Fun stuff

That good ol' boys music

I think I have a better appreciation for classic country music because this was pretty good. A lot of similarities to Dolly and June Carter’s sounds.

This album is basically Beyonce's Lemonade, but in the 60s. I dig the subject matter, but the tracks are really quite repetitive. 2.8/5

I fucked with this way more than I thought I would. Really female empowering "fuck men" rhetoric with funk and attitude, which I didn't expect from an album out in the 60s. I'd go back to this one.

Truly not my thing, sorry Loretta

I couldn't name a Loretta Lynn song with a gun to my head, nor do I think I have ever heard one. T1- She's got a hell of a voice. T2- How have I not listened to her before? I thought this was supposed to be a country album? Where's all the references to dirt roads, and pick-up trucks? Not one song about wanting to cut your grass, and drink your beer? NOTHING about fireball, or sugar shakers? No rapping!? What the hell kinda country album is this?

I love this album. Loretta is a queen.

60

oh miss loretta, how i owe you my life <3

Definitely not my cup of tea, but it was under 30 minutes and Loretta has a nice voice. My dad is a sucker for classic country so it reminded me of the shit I heard growing up.

please never again

How can you beat this? Loretta Lynn has such a deep canon it’s hard to know where to start. This is a great place.

Didn’t recognize a lot of the songs but it was very much Loretta. Don’t Come Home A Drinkin’ is worth the price of admission here.

ok loved this. kind of the queen of music for ladies who don’t like their husbands. this was more musically interesting than i expected too (not all the same tune like her christmas offerings)

I think a lot of modern country music still carries the negative influence of the slick Nashville Sound that took over in the 1960s. Loretta Lynn stood apart from that establishment and stayed true to her raw, authentic country style. She’s always been one of my favorite artists in the genre.

Sophisticated and pleasant country music. Nice songs, nice vocals, and nice arrangements. Not a masterpiece by any means, just... nice.

Boring ass country album with lyrics that only feel relatable to a 60s housewife, really hasn't aged all that well has it? Especially considering how much support Loretta Lynn showed towards the right wing throughout her life, this kind of shit really isn't surprising at all. I'll admit that she definitely has talent, but she hardly uses any of it and instead chooses to make an album that is completely generic on a musical level, and borderline unlistenable and cringey on a lyrical level.

A good country album and I hate country. Loretta keeps it fun and casual with great depth in the writing

I’m not the biggest country listener, so excitement wasn't my initial reaction when I saw it. But once I pressed play, something changed - after the first song, I found myself getting more and more drawn into the songwriting. There’s a sweet melancholy that pairs perfectly with the band's warm backing. Thematically, it stays coherent, even if the latter part becomes slightly repetitive. Still, Loretta Lynn's excellent vocal performance more than makes up for it. The best songs are "I Really Don’t Want to Know", "Tomorrow Never Comes", and "I'm Living in Two Worlds".

This is a great album for women 💅

she definitely got death threats for this album Would I listen again: No Deserves to be on this list: Yes 3.2

Country, 1967 -> 2

I feel I am betraying my roots by not enjoying twangy country music more, but I loved Coal Miner’s Daughter as a child.

Expertly performed, but the 60s really were the peak "complain about your spouse" time, weren't they?

1,5

This is fine for what it is, short and to the point lyrics of country swing from an icon.

The title track alone merits mid-level rating on its own. The rest is pleasant and pretty standard. Not bad. Not amazing. Just right for the right mood.

This checks a lot of country boxes. Cheatin’. Drank in’. The devil. Nice vocals on this, I’d tap my boot to this for a bit if you paired it with a boilermaker.

It’s fine. Decent listen but not sure I loved her voice as much as similar ladies around that era. We had one with Dolly, Linda Ronstadt and Emmylou that I thought was really good. Didn’t get the same feels from this. 2.75 but an easy 3 for the title of the opening track.

This is a 3/4 tweener for me... Love me some LL and first track is an all time "some things never change" track. But it is pretty one note and doesn't stand out as a "great" album IMO. 3.5/5

A sharp, no-nonsense country record that feels direct and lived-in, built around strong storytelling and emotional clarity. The songs are concise but memorable, and the attitude carries real weight without excess polish. It’s not flashy, but the consistency and conviction make it land as a confident, high-quality listen.

Well, it’s better than I feared but worse than I hoped. My reaction to the first song was saying “I think I’m too gay for this” out loud lmao. There’s some cool steel guitar work and I Really Don’t Want to Know is a really sweet love song but this album generally didn’t make me feel anything

I am such a huge sucker for old-school Nashville Country. Even with how restrictive and repetitive the genre can be it just tickles a certain nostalgia for me and I can't quite understand why. Loretta Lynn and her beautiful voice stand among the greats from the scene, not only due to the longevity of her career but her voice's ability to transcend a constantly shifting country landscape. Don't Come Home A Drinkin' was released at the tail-end of the height of the Nashville Sound's popularity, but still captures the magic of that sound quite well. The eponymous track stands among some of the greatest country tracks of the 60s; impossibly catchy, beautifully produced, and an excellent showcase of Lynn's vocal. The rest is perfectly serviceable, never quite reaching the heights of that first track, but still pleasant enough. It doesn't do anything particularly new or interesting, but I don't think it's humanly possible to make Loretta Lynn sound bad.

Lynn's voice is fine, but I found these songs very homogenous. Just not a lot of variety, made for a relatively uninteresting album.

Very Tammy Wynette

nice country

A nice country/folk pop album that has some beautiful and simple arrangements. Her vocal talent is pretty great as well. Easy and pretty listen.

Inoffensive, perfectly pleasant country music. I vibed, but I will not return.

Overall a fairly enjoyable classic country western sound.

Dollar Store ripoff of Patsy Cline singing cutesy songs about spousal abuse and alcoholism. Hard pass.

Ugh! C&W

These old time country albums remind of being a kid in Kokomo. Dee, Gloria and Judy music. Can't say I like it, but it reminds me of some wonderful mothers. Not going to bash a legend, but this isn't really anything I would seek out. Also makes me think, would I ever been introduced to Prince and the likes, if I stayed? Would I have an open mind in closed mind state? Anyway, wear something purple and remember, I only want to see you laughing in the Purple Rain. A legendary artist. Just like Prince, but in a much different way. And that's OK! But for me, this album is a 2. 2

2.5 Well, I suppose it’s about time another classic country album shows up on this list. It’s not my favorite kind of music, nor my least favorite, but I can confidently say I have no idea why this one in particular is represented here. While I’m obviously not any kind of expert, this doesn’t feel like it’s doing anything special or that’s adding to my greater understanding of the genre in any meaningful way - she didn’t even write the vast majority of the songs here. I know that’s not uncommon with country, especially from this era, but I’m reaching out for something to grab onto here. My best guess as to the relevancy of this album is likely the feminism about it. It certainly hasn’t aged well in some ways, but I do appreciate her calling out her guy (presumably - I don’t think gender is ever specified) for being a drunken ass, and hell, if he cheats, she’s going to go right ahead and cheat too. Only fair, isn’t it? Those were honestly the better moments on the album, and they also happened to be the only ones penned (at least partially) by Lynn herself, so I wish we could have seen more of that. The title track is far and away the best, but for all my Jawbreaker fans out there, I think the biggest charm it held for me was imagining it as a reverse perspective to Kiss The Bottle - or maybe Kiss The Bottle is the sequel after our guy comes home drunk one time too many. Should have been kissing her. That’s all I got. I appreciate that it made me think of Jawbreaker, but this album is pretty forgettable otherwise.

Okay, now this is pretty generic country music, but I guess its from the genre's classic era, so it does have some charm. However, Loretta Lynn's 'Don't Come Home A Drinkin' (With Lovin' On Your Mind)' does have plenty of those country music clichés that don't really resonate with me: Southern drawl in the vocals, slide guitar etc. I do wonder if Loretta Lynn was a chief inspiration for Lurleen Lumpkin in The Simpsons...I mean, same initials, similar voice, similar subject matter...it wouldn't surprise me to be honest! 'Don't Come Home A Drinkin' (With Lovin' On Your Mind)' is by-the-numbers country music essentially. There's nothing too surprising or unique in the material, most songs are about love, life and winning/losing, complete with country twang guitars and honky-tonk beats and mostly cover songs, as it's still the 1960s and singer-somgwriters weren't as commonplace by this point. It's a decent sounding record, but as its country music that doesn't talk about dark subject matter (outlaws, murder etc.), it's not really my thing. Mind you, Lynn co-wrote the title track and wrote the final song, 'I Got Caught', so you've got to give her credit where it's due. Also, I guess the title track is a great reminder for drunk men to not be pricks to women, so that deserves some credit too! Best songs: 'Don't Come Home A Drinkin' (With Lovin' On Your Mind)', 'I Got Caught'

Heard some Loretta songs before. Country is a massive hit or miss for me but this album was actually quite good 3/5

This doesnt paint american men from the 1960's in a particularly good light. I found it a weird misogynistic time capsule but didn't enjoy the music. 28 mins felt like 2 hours

Love me some Loretta Lynn and this didn’t disappoint. I’ll be back to this. My first listen my favorite was “Saint To A Sinner”

It’s obviously very country which is not normally my thing but it’s Loretta Lynn and she’s amazing. Her voice in particular sounds incredible on this. 3.5

I am familiar with her name but I never listened to her music. I don’t know if I wanted to. Now that I have I can say that it’s not my cup of tea.

Ik wil country een eerlijke kans geven. Maar een album met alleen maar dezelfde liedjes over je lief die in de kroeg zit, vreemd gaat, maar o zo lief is, werkt me op de zenuwen. Loretta kan goed zingen en ik snap ergens wel dat het een goede country act is, maar na 2 a 3 nummers had ik het hele album wel gehoord. 4/10

Amazing record, this is the best ERA of country. Anything with spring reverb on it or plate reverb I'm here for it. Top Track: Making Plans

This actually isn't that bad. It's much better than the cover would suggest haha. She has a good voice too. There's a place for honky tonk country.

Good songs, lyrics, vocals. Country used to be good.

It is good. Fun and cheery country with a sinister dark undertone. I get why it is on the list and I enjoyed the listen. There goes my Everything and I'm living in two worlds are the standout tracks. I resonated a lot with this album. I gave it a second listen which was much more focused and upped my score from a 3 to a 4. 4 stars

She has a great voice but not my thing

I might have only given this a 2 but it's a pretty sad sack of an album

Will come back and listen

Get his ass Loretta

Meget "sådan noget man ville høre hjemme ved min bedstemor"-core bortset fra at det ikke er på dansk. Titelnummeret er lidt en banger, alle de andre lyder fuldstændig ens og som dårligere udgaver af titelnummeret.

Girl 🫸

I'll search for detailed information about this classic Loretta Lynn album to provide you with a comprehensive review. Let me search for more specific information about the album's tracklist, musical arrangements, and critical legacy to complete the review. **Don't Come Home A Drinkin' (With Lovin' On Your Mind)** *Loretta Lynn (Decca Records, 1967)* --- ### **Overview & Context** Released on February 6, 1967, *Don't Come Home A Drinkin'* represents a watershed moment in country music history. Recorded at Owen Bradley's Barn in Mount Juliet, Tennessee, this was Loretta Lynn's ninth studio album and the first by a female country artist to be certified Gold by the RIAA . It yielded Lynn's first-ever No. 1 single with the title track—a song co-written with her sister Peggy Sue that dared to address marital sexual expectations and alcoholism with unflinching directness . The album captures Lynn at the peak of her early creative powers, working with producer Owen Bradley (the architect of the "Nashville Sound") while maintaining the raw, Appalachian authenticity that distinguished her from the polished pop-country singers of the era. --- ### **Lyrical Analysis: The Unvarnished Truth** The lyrics on this album are revolutionary for 1967 country music. Lynn functions as a documentarian of working-class female existence, refusing to sanitize the hardships of rural marriage. **The Title Track** stands as a proto-feminist anthem disguised as a honky-tonk shuffle. Lines like *"Liquor and love, they just don't mix / Leave the bottle or me behind"* address what modern listeners recognize as sexual coercion within marriage—a taboo subject that Lynn approached not with academic theory but with lived experience . The song was inspired by her sister Peggy Sue's marital struggles and her own husband Doolittle's drinking, transforming private pain into public declaration . **"The Shoe Goes on the Other Foot Tonight"** (an Ernest Tubb cover) and **"I Got Caught"** flip the script on adultery narratives, presenting women who claim sexual agency without apology. **"Get What 'Cha Got and Go"**—clocking in at a brisk two minutes—is economic in its dismissal of a no-good partner: just pack and leave, no tears required. Even the ballads carry edge. **"I Really Don't Want to Know"** (a Don Robertson/Howard Barnes cover) handles jealousy with emotional sophistication, while **"Saint to a Sinner"** explores the Madonna-whore complex through a country lens. Lynn's writing (she has credits on four tracks) demonstrates what Owen Bradley called "the Female Hank Williams" quality—uncannily natural phrasing that feels conversational yet poetic . --- ### **Musical Style & Production** **The Nashville Sound with Grit** Owen Bradley's production employs the hallmarks of the Nashville Sound—smooth arrangements, background vocals, and polished instrumentation—yet retains enough steel guitar and honky-tonk piano to keep Lynn grounded in her Kentucky roots . The sessions utilized the legendary "Nashville A-Team" of session musicians, recording at Bradley's Barn with remarkable efficiency (three-hour blocks yielding multiple songs) . **Instrumentation & Arrangement** The musical palette is classic mid-60s country: crying steel guitar, Floyd Cramer-style piano flourishes (those signature "slip-note" thirds and sixths), walking bass lines, and tight, unobtrusive drumming . What distinguishes the production is its restraint—Bradley understood that Lynn's voice was the focal point, and the arrangements serve to highlight her vocal nuances rather than compete with them. **Vocal Performance** Lynn's voice here is remarkable for its controlled vibrato and conversational intimacy. On **"I Really Don't Want to Know,"** she employs a soft, aching delivery that stands in stark contrast to the defiant snarl of the title track. Her Kentucky accent isn't polished away; it's weaponized, adding authenticity to every line. --- ### **Themes: Gender, Class, and Autonomy** The album constructs a complex narrative of 1960s womanhood that rejects the passive "stand by your man" stereotype while acknowledging the economic and social constraints that kept women in difficult marriages. * **Sexual Politics**: The title track essentially advocates for consent within marriage—a radical notion for 1967 country radio . * **Economic Realism**: Songs like **"I'm Living in Two Worlds"** acknowledge the financial impossibility of leaving for many working-class women. * **Double Standards**: **"I Got Caught"** and **"The Shoe Goes on the Other Foot Tonight"** confront the hypocrisy of male infidelity versus female infidelity. Lynn called herself "on the woman's side" without claiming feminism explicitly, yet her work here provided a template for the women's liberation movement's later cultural infiltration . She gave voice to housewives who "went through that" but had no language for their frustration . --- ### **Influence & Legacy** *Don't Come Home A Drinkin'* established the commercial viability of female-written, female-sung country music that addressed adult themes. It paved the way for Dolly Parton's ascension, Miranda Lambert's aggression, and the entire tradition of "outlaw" female country artists . The album's success proved that country audiences would accept—and celebrate—songs that challenged patriarchal norms if they were delivered with enough sincerity and melodic craft. Lynn's influence extends to modern artists like Kacey Musgraves and Ashley McBryde, who continue her tradition of unvarnished storytelling . --- ### **Pros** 1. **Groundbreaking Subject Matter**: Addressed marital rape, alcoholism, and female agency before these were acceptable country radio topics . 2. **Songwriting Excellence**: Lynn's originals (co-written with her sister) demonstrate natural, unforced poeticism. "Don't Come Home A Drinkin'" remains a masterclass in economy—saying everything necessary in two minutes and six seconds. 3. **Vocal Mastery**: Lynn displays range from vulnerable whispers to commanding declarations, always maintaining her distinct Appalachian tone. 4. **Production Balance**: Bradley's polish never sanitizes Lynn's edge; the Nashville Sound serves rather than dominates the material. 5. **Historical Significance**: First Gold-certified album by a solo female country artist; opened doors for women as both singers and songwriters in Nashville . 6. **Brevity and Focus**: At 28 minutes, the album wastes no time. Every track serves the narrative arc of frustrated domesticity. ### **Cons** 1. **Formulaic Nashville Sound Elements**: Some tracks (**"Making Plans,"** **"I Can't Keep Away from You"**) adhere too closely to the mid-60s country formula, with predictable chord progressions and arrangements that blur together . 2. **Ballad Heaviness**: The slower numbers (**"There Goes My Everything,"** **"Tomorrow Never Comes"**) can feel maudlin to modern ears, leaning into the "tear in my beer" clichés that Lynn's uptempo tracks so effectively subvert . 3. **Limited Sonic Diversity**: The album maintains a consistent mid-tempo shuffle and waltz rhythm throughout; listeners seeking musical variety may find the sound palette repetitive after several tracks. 4. **Cover Material Variance**: While Lynn's originals shine, some covers (**"The Devil Gets His Dues"**) feel like filler compared to the urgency of her songwriting . 5. **Gender Essentialism**: While progressive for its time, some lyrics reinforce rather than challenge traditional gender roles (women as saints/sinners, men as inherently wayward), which can feel dated to contemporary feminist listeners . --- ### **Conclusion** *Don't Come Home A Drinkin'* is essential listening not merely as a historical artifact but as a living document of artistic courage. In 1967, while rock music pursued psychedelic experimentation, Loretta Lynn was conducting a quieter revolution—insisting that the interior lives of working-class women deserved documentation, that their anger was valid, and that country music could be a vehicle for social observation as sharp as any folk or rock contemporaries. The album succeeds because Lynn never lectures; she testifies. Whether refusing a drunk husband's advances or admitting to her own indiscretions, she maintains the moral high ground of honesty. Owen Bradley's production provides the commercial sheen necessary for radio success, but Lynn's voice—literal and literary—remains untamed. **Essential Tracks:** "Don't Come Home A Drinkin' (With Lovin' On Your Mind)," "I Really Don't Want to Know," "Get What 'Cha Got and Go," "The Shoe Goes on the Other Foot Tonight" **Verdict:** A landmark album that bridged traditional country craftsmanship with progressive (if unlabelled) feminist consciousness, establishing Loretta Lynn as one of American music's most vital storytellers.

such beauty in Loretta Lynn’s restraint and control. Unhurried. that last song or rather, last laugh belongs entirely to her alone.

1.0 - Awful

I cannot stand to see a woman bleed from the mouth, it reminds me of that country and western music, which I cannot abide

I really expected to hate this as it’s not my thing at all but it was ok the lyrics were fun to listen to.

Favorite Track: Don’t Come Home A-Drinkin’ (With Lovin’ On Your Mind)

honky tonk country music Favorite track: Don't come home a-drinkin other picks: I really don't want to know, saint to a sinner

Nada fan del género, creo que es un gusto adquirido. No me gustó mucho, la verdad me costó acabarlo y eso que dura menos de 30 minutos. En fin, en gustos se rompen géneros

I do love Loretta Lynn's voice, but these songs are all just too much country twang and whine.

General thoughts: This album is just a collection of songs - with no additional value given - composed of very basic country tunes. Though the songs are very formulaic and repetitive at its core, they're short so the fail-retry factor is high making the full-listen not tiresome. The mix is terrible and only prioritizes the voice. Loretta's voice is actually good but there's this country accent which I really hate, this is completely personal preference. Her voice shines more for me on slow ballads. As for the lyrics, we of course have to appreciate the progressive takes on _some_ of the tracks. Guitar saves a couple of songs from falling, but the guitar bridges are actually part of the album's formula. Overall, not really bad but veeeery simplistic. Outstanding song(s): "I Really Don’t Want to Know". This soul-esque melancholic track hits different. We see Loretta singing with a different approach than usual resulting in a very sad yet emotional performance. For brief seconds we hear her more natural voice which is beautiful. Weakest song(s): I Can’t Keep Away From You Get What’cha Got and Go Cover: It's like they tried to make the most basic album in every possible sense Real rating: 2.5

Some sweet guitar licks in here.

Like it 3/5

What a voice. This was a good listen.

I liked how short it was. I did not enjoy this. To twangy.

Best Song: Donn't Come Home A-Drinkin' (With Lovin' On Your Mind). There's a quaint absurdity to it that makes it worth a laugh, especially given that its at the beginning of the album. Worst Song: Making Plans. The premise of this song is that her partner is making plans to leave her, so her response is to make plans to be sad about it. It would maybe be funny if played ironically, but it has this pathetic, "little old me" earnestness that is just frustrating. Overall: The best part about this is that it is blissfully short. I feel like this style of music has almost no relevance to the modern day, and I would argue that's for good reason. So plodding and formulaic, with what always feel like the exaggerated caricature of emotion rather than its genuine expression. Music for the funerals of the elderly.

I'm not into country music but this was okay. A lot of the same themes being repeated as elsewhere, mostly around infidelity. I felt the songs were more interesting coming from a woman instead of the usual parade of unfaithful men that make this music.

Standard country stuff. Ms Lynn has a lovely voice, and I can't say any of this was bad, in fact some of the lyrics were quite good. But it's kinda just standard. An interesting dive into the country time capsule.

What a crazy album cover! I can't imagine writing an album and naming it "Husband, you're a piece of shit" and then having a picture like that taken for the cover.

I'm not American enough for this. Abysmal.

4/5

loved

Temp

28 minutes of solid old school country music. I love it.

Soft country but not awful. Some good songs in there that are quite funny. I got caught the best?

Loretta has a great voice. If I enjoyed country music or woman singing about shitty husbands I would have rated this album higher.

Mostly pretty boring. I just don't like slow country much.

Ok country

Putain, je ne vais pas vous mentir, quand j'ai vu la pochette et le titre de cet album dans la liste du "Grand Livre", j'ai eu un réflexe de recul presque pavlovien. "Don't Come Home A Drinkin' (With Lovin' On Your Mind)", sérieusement ? On dirait le titre d'une parodie du Saturday Night Live ou une caricature de redneck édenté jouant du banjo sur son perron. Moi qui me nourris quotidiennement de distorsions abyssales, de déflagrations industrielles ou de mélancolies urbaines, me voilà face à l'Amérique profonde, celle des champs de maïs, des pick-up trucks et des drapeaux étoilés. Je me suis dit : "Putain, ça va être trash...". Je m'attendais à une torture auditive, un truc dégoulinant de bons sentiments patriotiques ou de niaiserie sentimentale, le tout enrobé dans une sauce barbecue indigeste. Et puis, comme souvent avec ce foutu projet des 1001 albums, je me suis pris une claque. Pas une claque violente, non, plutôt une petite tapette sur la joue, genre "Eh, réveille-toi mon vieux, t'as des préjugés gros comme un camion". J'ai posé le diamant sur le vinyle (ou cliqué sur play, on ne va pas se la jouer puriste), et au final, j'ai été agréablement surpris. Voir très agréablement surpris. Dès les premières mesures, il y a un truc qui saute aux oreilles : la voix car il faut être honnête Loretta Lynn, ce n'est pas une chanteuse de karaoké de Nashville. Elle a une voix claire, puissante, une voix qui a vécu, une voix qui ne triche pas. C'est ce qu'on appelle le "terroir" dans le bon sens du terme. On sent la poussière, on sent la fatigue, mais on sent surtout une fierté inébranlable. Cet album sent bon la terre, l'authenticité, ici on est loin des productions aseptisées de la pop moderne ou même de la country-pop actuelle qui ressemble plus à du Céline Dion avec un chapeau de cow-boy. Là, c'est du brut, du vrai. Ce qui m'a frappé, c'est que cet album n'a pas pris une ride. Il est sorti en 1967, rendez-vous compte et pendant que les Beatles planaient sur "Sgt. Pepper" et que le Velvet Underground explorait les bas-fonds new-yorkais, Loretta Lynn, elle, réglait ses comptes avec le patriarcat dans les cuisines de l'Amérique rurale. Parce que oui, il faut parler des textes. Le morceau titre, "Don't Come Home A Drinkin' (With Lovin' On Your Mind)", c'est du punk avant l'heure, c'est une déclaration d'indépendance. En gros, elle dit à son mec : "Si tu rentres bourré, ne pense même pas à me toucher", c'est d'une modernité folle pour l'époque. On parle souvent du féminisme des années 70, mais Loretta était déjà sur le front, armée de sa guitare acoustique et de son franc-parler légendaire. Elle ne chante pas les fleurs bleues, elle chante la réalité crue des femmes de la classe ouvrière, celles qui doivent gérer un mari qui claque sa paie au bistro et qui revient la queue à l'air en espérant un câlin. Et elle, elle dit non. Putain, c'est fort. Musicalement, j'avais une grosse appréhension. Car je déteste le "crin-crin", ce violon country, ce truc plaintif et aigu qui vrille les tympans, c'est habituellement rédhibitoire pour moi. C'est souvent ce qui me fait fuir ce genre musical, mais ici, miracle ! Les arrangements sont d'une finesse absolue. Le violon est là, certes, on ne peut pas faire de la country sans fiddle, mais il est suffisamment en retrait pour ne pas bouffer tout l'espace. Il souligne, il accompagne, mais il n'agresse pas. Il laisse la place à la guitare, à la rythmique et surtout à cette voix incroyable. La production d'Owen Bradley (le mec derrière les grands succès de Patsy Cline) est aux petits oignons. C'est propre, c'est carré, ça sert la chanson sans en faire des caisses. Il y a une forme d'intemporalité dans cet album. C'est la preuve que la "bonne" country (et je précise bien la BONNE, pas la soupe commerciale) traverse les âges sans encombre. Pourquoi ? Parce qu'elle touche à des émotions universelles. La tristesse, la colère, la résignation, l'amour vache. Que l'on soit un gothique dépressif fan de Nick Cave ou un amateur de post-rock instrumental, on ne peut pas rester insensible à une telle sincérité. Quand Loretta chante, on la croit. On sait qu'elle a grandi dans une cabane, qu'elle est une "Coal Miner's Daughter" (fille de mineur), et qu'elle n'a pas appris la vie dans les livres mais à la dure. J'ai passé un moment vraiment plaisant avec ce disque. C'est court (à peine 30 minutes), ça va droit au but, pas de solos interminables ou de digressions psychédéliques inutiles. C'est efficace et chaque morceau est une petite histoire, une vignette de vie. On passe de la revendication féministe à la ballade plus traditionnelle sans jamais s'ennuyer. C'est marrant, en l'écoutant, je repensais à mes années chez le disquaire dans les années 90. Si un client m'avait demandé cet album à l'époque, je l'aurais probablement regardé de travers en lui tendant le dernier Mogwai ou le Godspeed You! Black Emperor et j'aurais eu tort. Le "Moi" de 25 ans était un petit con élitiste. Le "Moi" de 50 ans et des poussières réalise qu'il est passé à côté de quelque chose. Il y a une parenté étrange entre la noirceur de certains textes de country et la noirceur de l'indus ou du post-punk. C'est la même misère humaine qui est dépeinte, juste avec des instruments différents. Johnny Cash l'avait compris en reprenant Nine Inch Nails. Loretta Lynn, c'est un peu la même trempe. Une main de fer dans un gant de velours. Alors non, je ne vais pas revendre toute ma collection de Current 93 pour m'acheter des santiags et un chapeau de cow-boy (faut pas déconner non plus), mais cet album va rester pas loin de ma platine. C'est le genre de disque parfait pour un dimanche matin, ou pour une soirée où l'on a envie de quelque chose de simple, d'humain, de direct. Au final, je lui mets un beau 4 sur 5. C'est une note honnête pour un album qui a réussi l'exploit de me faire oublier mes préjugés et de me faire taper du pied (discrètement). Je le réécouterai avec plaisir, et c'est peut-être ça, la plus grande surprise de toute cette affaire. Comme quoi, on peut avoir usé ses fonds de culotte sur les bancs de la cold-wave et finir par apprécier une bonne vieille chanson de honky-tonk. La vie est pleine de surprises, et la musique aussi. Merci Loretta.

Short and sweet, palpable emotion and the music makes you tap your toes. Really enjoyed this.

Outside of the first and last songs, forgettable. Could not finish. Appreciate it for its own genre, storytelling type songs and guitar playing but not for me.

Gosh I love sad cowboy music. Cowgirl in this case!

I don't mind this era of classic country - it's not something I'd ever think to put on, but some good twangy slide guitar is always a cure for something.

I'm really not a fan of country - and this is really country. But Loretta Lynn is a boss - a total badass, and thanks to that I found a way to enjoy this. That and it is only 28 minutes long.

Pretty easy 5 for me. Brings back some fond memories

One of my favorite albums so far. If this whole list could be music from this era I would be happy

Both boring and disturbing.

girl

Not usually my kind of thing, but hell yeah girl. Her voice is nice and some of these are pretty catchy. Judging from the cover alone I would have guessed it was at least a decade earlier than 1967.

Actually pretty good old country. All the songs are about heartbreak, but that might be typical.

Maybe the saddest album I’ve ever heard.

I'm sorry, I'll listen to pretty much anything on this list but I draw the line at country and western. Just an endless self-pitying whine.

Prachtig! Kende d'r onbewust al van een duet met Conway Twitty, maar dit americana country album luistert zo lekker weg.

I really miss the days when songs were only 2 mins long. The whole album is 28 mins total, and a delight from start to finish. The cheeky and creative lyrics with Loretta's pretty much perfect voice allows for a very nice listening experience. Great album!

Actually loved this country album! Love her voice and she sang proto-feminism songs so mad respect!

6/10

I liked it a lot. Can’t believe I’d never heard this album before

Just not my jam. Just sounds too similar and I don’t really like the sounds..

Just divorce this motherfucker

Back when country was fun. Great album.

#820. I could almost copy/paste my review of that Dwight Yoakum album and just switch the pronouns. Because come on, the both of you- every song on the album can't be about how much your life sucks and how bad your partners are. That gets very tedious very quick. 2/5: nah

Ptdrrrr c'est bien hein mais force à elle, d’où tu te maries à 15 ans ma reuf

Fine

Not the best, some really old music

Hard pass, managed to get through 2 songs and that was that

Yep, this is country - (up)tight and wistful

Not terrible but not very exciting either and all rather negative lyrically.

Ei oo näköjään tämän tyyppinen kantri mun juttu. Levyn parasta antia oli sen lyhyys. Loretta on ihan hyvä laulaja, mutta ei näitä itkuvirsiä jaksa kuunnella levyllistä enempää.

Definitely not my thing

What country music really should be. 8/10

One hit. Couple good songs. Some filler.

Listened to this before I started the whole 1001 albums.

No va

Enjoyable country album. Loretta certainly is unlucky with men. If you like this Coal Miners Daughter and Van Lear Rose arebetter

I don't know what it is but goddamn it woman do country so much better. 4/5

Classic country can do no wrong in my book. It always sounds nice, and I love the simple relatability of the lyrics. This album in particular is also super short and ends before you can start to tire of the similarity of the songs.

Not my thing but story kept me listening

I like old country, but not this old country. The trope of the battered woman who returns to her husband despite the bruises is strong here. Despite the fact that she sounds like Dolly, she lacks any inkling of empowerment, which makes this album a bust for me.

This was better than I was expecting. She's got a really nice voice that suits the music perfectly. I wouldn't have chosen to listen to this, and even though it was nice I wouldn't seek it out again. It's got all the hallmarks of a solid 3 stars!

Her voice and music are great. The lyrics though...

Classic

Lovely. 4 *

Great album so far

She has a nice voice, but I. Just. Don't. Like. Country.

Familiar with title track but not the entire album. Solid 60s Nashville A Team country with an added dose of feminism.

classic country lovin

nice enough

Proto-Dolly? Very classic country vibes. Not really for me but listenable.

I wanted to like it more than I anticipated- no songs stuck out to me! Missed the mark.

Really loved this album. I had listened to her music before, but most of this album was new to me. I like a bunch of the songs. Definitely some were stronger than others. Overall such an amazing and influential country sound and record. Top Songs: Don’t Come Home a Drinkin’, I Really Don’t Want to Know, I Can’t Keep Away From You

Classic country album. Not my favourite Loretta album but still good.

Listens: 2 Standout Tracks: The Devil Gets His Due, I Got Caught You can't change my mind about country music being good. But, I will say, of all of the country music I've listened to so far, this sucks the least (ignoring Johnny Cash), weirdly. Unlike a metric shit ton of music coming out in the 60s about love, sex and women, you gotta give Loretta Lynn some credit for singing about infidelity/cheating, jealousy, relationship dependency, inappropriate relationships and a variety of shit that can go sideways in a relationship. She has a nice voice, and the subject matter is refreshing, so can overlook the twangy country music. If this was spun as like, a 1950s female Sinatra, I could really get behind it.

Nothing new and extraordianry, but nice oldschool honest country with great voice

I'm not always in the mood for this, but this album hit just right today.

I want to hate this but I don't.....so far. 3/5 very enjoyable to listen to but somewhat depressing. Having just lost my dad I don't want anything depressing right now. She's wonderfully talented

This is exactly the kind of album I was hoping to be forced to listen to! Probably not something I would’ve sought out on my own but I really liked it.

Really really enjoyed. Listened to twice and will revisit

This was a bit too country for me.

Coalminer's Daughter is my all-time, #1 favorite movie, but I've never thought of Loretta Lynn as an album artist (except for Van Lear Rose, I guess), so this was fun to digest in that way. Her golden voice is undeniable, the crack Nashville session musicians are locked and loaded throughout, and her subject matter is hilariously frank and emotionally honest. The queen!!!

Classic country, very honest way of singing, I enjoyed it as much as I could

Should probably leave this guy loretta

Good voice - songs very dull.

Fun and great stories about love in a relationship and the end of one with tears… I don’t love country but I had fun with this one and prefer older country albums than newer ones for sure. Great way to start my morning!

Iconic old school country, great storytelling, classic and twangy, adding to my kitchen albums

Loretta Lynn is a country music singer. 4

Some classic twang from Loretta Lynn and her band. I really appreciate that she really doesn't take any shit from her man at all, good for her. They really seemed to play it loose in the 60's so there's that. Loretta Lynn's voice is fantastic the band, despite never really opening things up, does their job in the back making for a very easy listening country album. Get What 'Cha Got and Go is my favourite followed closing by the title track, again I really just appreciate the snark that Loretta brings to the table on this album, I wasn't expecting that but I like it. 3 stars

I would rather listen to Einstürzende Neubauten ngl

Finally some country music to play. Reminds me of 1970's small towns and AM radio. Love it before listening 12 songs about heartbreak, loneliness, love, alcohol abuse and marital problems. One of the saddest albums I've heard lately.

161/1001 Loretta Lynn - Don't Come Home A Drinkin' (With Lovin' On Your Mind) Heard before? ❎ Revisit? ❎ This is the sort of country I hate. Whiny, a constant moaning session and then all the standard trappings musically. No.

Gee I’m not having a good run lately, lots of one dimensional albums from icons of eras gone by and genres I don’t enjoy - Sinatra, Aretha and now Loretta. Again, sure, she has a great voice, but this style of country is just not my cup of tea.

simple fun music, depressing lyrics make it less fun

It's amazing how something so dark can be so beautiful... and nobody did it better than Loretta Lynn.

++: I Really Don't Want to Know, Tomorrow Never Comes, The Devil Gets His Due, I'm Living in Two Worlds, Get Whatcha Got and Go +: Don't Come Home a Drinkin' (With Lovin' on Your Mind), There Goes My Everything, The Shoe Goes on the Other Foot Tonight, Saint to a Sinner, I Can't Keep Away from You, Making Plans, I Got Caught 7,0/10

Could have used a little variation in the song themes but great voice and great songs.

This was great!

yeah im not listening to ts.

Her voice is great. She influenced a whole bunch of artists to come. But, this album... it just felt like slow ballad after slow ballad packed with really, really obvious and uninspiring break-up lyrics. If it changed up or switched rhythm or was just a little bit more energetic, maybe I would've enjoyed it a bit more. Despite being only 28 minutes, it felt like almost double that. This is the type of album that I'd probably pass by at a yard sale or a thrift store and not think anything of it, probably thinking it's another unc classic, which it is. It just didn't do anything for me in particular. Her vocals are still great though. Loved the somewhat more upbeat instrumentals of "Saint to a Sinner", "The Devil Gets His Due", and "I Got Caught", which really helped break up the monotony of the slow ballad after slow ballad, which took up most of the first half. Favs: Saint to a Sinner, The Devil Gets His Due Dislikes: Don't Come Home A Drinkin', I Really Don't Wanna Know, There Goes My Everything ...

2.5 I fully appreciate her talent and her contribution - just not my jam. Though, as with a lot of country, do love the humor in the lyrics.

I’ll give it a two because it’s Loretta Lynn but it’s not my jam at all.

Lurleen Lumpkin

There's something kinda special about this particular style of country.

Hillbilly nonsense

butu gal nieko, jei bachuras palikes butu ka tik

Fuck Trump

It's uh, ok I guess? Yup this is indeed a woman singing country. Every song is the same. Lyrics, content, voice, melody, instrumentation. We get it, your husband sucks. For one song it was alright, for half an hour it was a snoozefest. 1.5/5 Favourite song: Don't have one, they were all identical.

My dad called this style of country "cryin' in your beer music"

Pure classic country music.

Old school country. Not for me

This makes me think I am a trad wife with a cheating husband who I never leave because at least he doesn't hit me

Yeah I change my mind about everything since Marty robbins album. This sucks ass and she needs to find a new relationship. Rip bro but this was terrible 2.5/10 1.2/5

Loretta could sing and write her own songs - entry level, bare minimum ability for entering the world of music. But this, like every Country album, sounds just like every other Country album. There's the slow sad song, and the shit-kicker. And all the way through is awful guitar and piano sounds. How many decades has this genre existed for now, and yet it hasn't changed, evolved, done anything different, anything exciting, or somehow managed to produce anything more than precisely those two songs.

I saw this album and wasn't expecting to enjoy it this much. My expectations were fast exceeded. I needed to go for a drive because I'm a human who drives places when I need to. I certainly wasn't expecting the first snow of the season, but that's what I got. I'm the kind of person who celebrates Christmas, but only the week of. I refuse to listen to Christmas music until about December 20th. This album set a similar tone to familiar Christmas music, nostalgic of snowy drives as a child. Musically, this album isn't that interesting, but it's fine for a country album of its age.

Yeah this is just really boring and 28 minutes too long. Sorry Loretta Lynn. I actually really love Coal Miner's Daughter, but this album is just so boring, not to mention very dated and almost hurts my ears. There is talent here, but I'd rather listen to other music.

sounds like you’d expect it to but that’s not a bad thing!!

Very country, but good vibes

Country not my thing

It was alright yeah

6/10 I mean obviously it is too Country and Western, but I can't get away from the quality of her voice and the heavy nostalgia that it brings with memories of my grandad.

Well, I can’t say I hated it but I sure as shit didn’t like it.

hyper chill j’ai beaucoup aimé

Drinking country

Ooof... She's talented vocally but what a sad sack.

Phew...

This is a good, solid classic country album. Nothing absolutely blows my socks off, but they are great songs, done well, by a pioneer in the genre, especially for women.

Solid c&w. Hits the beats, sticks to the theme, over before you know it.

This woman loves to fight like she will punch anyone

It's fine hut really nothing special, fell off a ton by the second half

Nothing mind blowing here, but it's certainly an easy listen if you can appreciate country. 3 Stars

Firstly, Lynn’s voice is quite beautiful and carries most of the music here. There’s a couple of standouts like the title track and closer, with most songs dealing with love and loss. It sometimes feels like a record that was built around a single, which by 1966 was a fairly dated approach to the album format. Still, Lynn’s voice and the themes help tie it all together and give it a coherency, even when some songs fail to stick in the mind.

Die Aufnahmen zu diesem Album entstanden in Bradley’s Barn in Nashville unter der Produktion von Owen Bradley. Loretta Lynn, US-amerikanische Country-Sängerin, setzt hier ihren direkten, unverblümten Stil fort. Besonders bekannt sind der Titelsong sowie „The Shoe Goes on the Other Foot Tonight“. Musikalisch bewegt sich das Werk klar im traditionellen Country der späten Sechziger, mit straighter Bandbegleitung und Lynns charakteristisch bestimmtem Vortrag. Insgesamt bietet das Album eine stimmige, persönliche Momentaufnahme ihrer damaligen Phase.

For those who love old time REAL country not the crap you hear today.

Maybe it had a lot of influence on country and folk music (I don't know), but I didn't enjoy listening to the album. It's just okay — old, forgettable, kinda bland. Still, the album isn't total shit, her voice is cool. 2/5 —————————————— No liked songs

Well, album 200 for me on this challenge and I’m happy with the title. Let’s see how it lands… 28 mins and 12 tracks. Feels clean, simple and the storytelling that feels so synonymous with this time and style. Pleasant enough as a sound, but kinda samey and slow moving. Obviously of it’s time and genre but not getting me going - meh

It's country AND western

Love it

Love the title of this album so much… but this type of country is so, so terrible

Best Track - "Don't Come Home A-Drinkin (With Lovin On Your Mind)"

Straightforward cheating and drinking’ country fare. But what a great voice with a beautifully controlled vibrato.

Quite dated but decent voice and tunes

It was okay.

Not being a fan of country music as a whole, this would always have been a hard listen for me. Mix in the topics of the lyrics and the overall approach to the themes, and it feels very submissive to me. That being said, it's a hard no, one of the few albums I could not listen to through the end. One small ratings bump upwards because of the apparent historical impact it had, but not AT ALL something I would consider to be listeneable again.

This was awesome. Similar vibe to Gunfighter Ballads and Trail Songs, but without the cowboy angle. I love the singer's voice, and the pedal steel guitar sound. And it's a nice snappy album too

Blech.

We've all been there right fellas?? LMAO j/k Anyways, I like her voice and some of the slide guitar in this. I like how she really doubles down on the shoe metaphors in The Shoe Goes On The Other Foot Tonight. "I thought that she was going to air some dirty laundry but it ended up just being a song about shoes!"

Not bad! She's got a great voice.

boring, odd inclusion

Golden

This project has shown me that I actually do like country music, primarily when it's authentic and original country like this. Loretta has a beautiful voice and is paired with equally lovely music to complement her. I do hope the men in her life stopped comin' home drunk, but I know this is a tale as old as time for women of the world. I'm grateful to be a gentle drunk; I think Loretta would have accepted me for who I am, even drunk.

I get that it’s classic but it’s hard to like. The lyrics are about an incredibly toxic relationship.

I enjoyed that more than I thought

I love Loretta Lynn. 5/5

firstly, i am the biggest hater of country music if its stereotypical, and a hater of feminism because of the trauma it once gave me. secondly, feminism is never popular in republican states and 60s country is a republican genre. thirdly, although country has evolved to enable johnny cash cover NIN, it is still largely a genre in which every song sound the same. so, 1/5.

Pretty unremarkable and boring for such a short album. Each song felt like the exact same 2ish minute jingle, with little difference or depth between them. At least it wasn't too long?

Happiest marriage in 1960s Tennessee:

I like the first song. Everything else was passable, but very unmemorable. I've heard it all done better before, all this did was recreate a 60s country pastiche. This album didn't have much to offer, so consequently I don't have much constructive criticism.

Decent listen but nothing memorable

What an album! I'm really getting into country because of this list. Great twangy guitars, nice lyrics, and a wonderful country voice. This was such a fun album, I had a blast listening to it. Not a bad song on it, every single one was a treat. The title track was really funny, Loretta Lynn is great at telling a story, and it's a fun upbeat number. And then I Really Don't Want To Know kicks in, and she slows it down, giving you this sad, sweet, lovely song. From there on almost every song flips back and forth between a fun lively track and a softer slow jam. And she nails both styles. What a vibe, easy 5 stars. Only negative thing I can say about this album is that she's making it hard for me to pick a best song, because they're all top notch. I'll go with Saint To A Sinner, that one just flows so well. Best song: Saint To A Sinner

I enjoyed this more than I was expecting. It was short and sweet, well maybe not sweet, sounded like someone wronged this lady.

All these review calling her a knock off Dolly? Loretta was doing it first!! This is country roots at it's finest!