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

I hate when republicans are talented

Girl, leave him.

This is my most hated form of country. Sad sack crooner bullshit. Love sucks, you suck, I suck (but I'm going to blame it on you), everything's terrible so let's just make everything even more terrible (but it's your fault). I found exactly ZERO songs that were worth a second listen or even half a first listen. Hated it. This is why people don't like country music.

What vocals! A vibrato like Elvis, tone like Dolly, and great catchy and fun melodic songs from beginning to end. Top top country!

I'm very glad this album was included. Loretta Lynn's contribution to country music cannot be overstated. Her vocal performance is powerful and subtle. Female country singers are often noted for their powerful delivery, but Lynn showcases immense control and damn near perfect delivery (see 'I Really Don't Want to Know' for a masterclass in vocal delivery). The music itself is well crafted, and is more complex with its chord changes than one would think. It is designed to deliver the exact emotional resolution (or lack thereof) that the songwriter intends. In that, it excels.

No thanks. "This does not sound like a healthy relationship."

Country music values are so fucked up.

Oh Miss Loretta, you make me want to sit in a bar, drink whiskey, and cry. Great voice and phenomenal country record. Favorite tracks: "I Really Don't Want to Know", "Saint to a Sinner"

Very Dolly. A diversion from my usual listening but thoroughly enjoyable. Interesting lyrics in relation to the recent discussions about women's safety and consent. The typical country theme of women fighting for their men, who, ruined with drink, treat them ill!

Domestic battery doo bee doo bee doo

Classic weepy country. Loretta Lynn was such a badass. I can't help it, I love it.

I don't think this woman should be in this relationship anymore. 3/5

This has a very specific audience doesn't it!? Housewives, who's husband's are shits..... Unfortunately I don't fall into this category so it didn't really appeal. Very dated, both in how it sounded and thematically. Not my cup of tea. Perhaps if Loretta spent less time singing and recording songs, and more time doing as her husband told her, she may be in a better place, but alas

Wow these songs are so powerful because of her honesty, emotion, storytelling, and voice. The band is great too. Makes me want to listen to the rest of her discography as well.

Love her voice. So emotive. Really enjoy the arrangements and the mix too. Stripped down to the essentials so you can hear each element distinctly with the perfect amount of reverb and doubling thrown on the voice. It's so well balanced. A very warm and comfortable sound. Plus, she is a total badass. Nothing but respect for the brutal honesty being conveyed here.

Proper tear-in-my-beer stuff. Everything on here just works, from the instrumentation to that keening voice. Wonderful, and a hint of the controversy to come over 'The Pill', later on.

I’d file this under “this really aged badly”, only that I suspect it was bad right from the start.

Really enjoyed this. Made me read up on Lynn and, Trump aside, she sounds amazing.

Love a woman who is just as bad as a man :)

Some good, ol' fashioned, country-fried feminism. One loves the sharp and hard-edged voice, the crisp, straightforward playing, the sad-funny lyrics and overall songrwriting chops – basically everything but the cover photo. Pure country and old-fashioned in the best way.

Because country music is a style of music that is rigidly tied to tradition (or at least used to be), it’s difficult for me to tell if this is good, great, or just ok record…it sounds like many of the other country records from this era I’ve ever heard.

Whiskey dick has been a problem for decades.

Cute. But she needs a better man. That guy sounds like a jerk to her.

Bored. Nice slide playing, but same 2 country chords throughout.

Girl just leave him he ain't worth it

Don't like country music at the best of times but this mardy Dolly knock off was a bad example of it. Loretta needs to choose her partners better as this bunch of pricks have driven her to write the same song a bunch of times. At least Dolly adds jaunty tunes to the songs that are actually about job issues and domestic violence. Down with this sort of thing.

This is a fun, classic country album. Loretta Lynn's voice is a pleasure to listen to, and there's a nice balance between the punchy, strident tunes and the sweet and sad ones. Fave Songs: Don't Come Home a Drinkin' (With Lovin' on Your Mind), I Really Don't Want to Know, The Shoe Goes on the Other Foot Tonight, Tomorrow Never Comes, I Can't Keep Away from You

This is a high mark on this style of sound. I Really Don't Want To Know is begging for a modern cover. Tomorrow Never Comes is a stage for Loretta to really air out what she can do. The Devil Gets His Dues has this awesome major 7th root vocal movement and it kicks ass. This whole album is great!

No conocía a Loretta Lynn. Creo que me he convertido en fan de Loretta Lynn (creo... es difícil de decir con alguien que por lo que leo tiene 60 discos y que acabo de conocer). Si hubiera un premio para mayor grado de disparidad entre calidad de la portada y calidad de la música sin duda al menos llegaría a los finalistas. Mientras lo escuchaba me llegó un punto de "eureka" de por qué de primera instancia me agradó tanto su música; su voz no se siente trabajada, justamente esa cara de "señora del coro de la iglesia" de la portada le queda a la perfección porque se siente como si fuera un amateur con una voz espectacular. Se oye dulce, simple, con potencia pero sin querer abusar de ella ni intentando lucirse. No se qué tan acertada sea mi apreciación sobre su poco o mucho entrenamiento vocal pero cualquiera que sea la respuesta el sonido de su voz es maravilloso. Pasando al siguiente punto, es un disco que se siente obligado a que se le ponga atención a las letras sobre todo al considerar que es un disco de Country en 1967. Temáticamente se me hace muy interesante y quizá importante el ver como se empiezan a colar ideas de la importancia de la mujer en este género y con un dejo de "no mamen pinches hombres". No podría decir que fuera un disco "feminista," no se siente sermoneador ni como tal que reproche directamente, pero sí como el inicio de algo que llevará a una mayor importancia temática para la mujer en el género. Me agrada que por un lado le baja el romantizar la idea del Outlaw Country (de lo cual quizá soy bastante culpable, sorry-not sorry, me sigue gustando aunque comprendo sus puntos problemáticos), y habla sobre el otro lado de la moneda y cómo en la vida real el "forajido" el alcohólico irredimible e incluso criminal es algo que a nadie le cae bien. En cuanto a su música es country country, no se complica, suena a lo que se piensa cuando alguien menciona el género, con mucha calidad, con la suavidad esperada que si uno no oye la letra te puede poner en un estado casi zen y si escuchas las letras a veces llegas a esa distonía entre una música dulce y letras que sorprenden en su temática; de eso se trata el country y en ese aspecto solo puedo decir que está muy bien armado. Una sorpresa muy agradable para algo que de inicio pensé iba a ser algo totalmente estándar o que hasta me iba a aburrir.

I don't mind a bit of melodic twangy country. This is almost too much of it but every time I got bored I looked at that velour jacket and sports shirt combo on the album cover and was invigorated again.

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

There's really only one category of music I'm prepared to say I outright hate and it's country, but I did listen, and I am sad to say my hatred is justified. This is music for inbreds with Stockholm Syndrome marriages. It's so sickly and syrupy, and it's from 1967? That revolutionary year? It sounds like it could have passed without notiuce in 1947. Objectively the songs are straight ahead ballady stuff that could be done in any traditional style but even then none really caught my ear except to make me grimace at the weeping steel guitars. And it's message seems to be "men are so cruel, but well us gals just gunna have to deal with it". Maybe she's giving a voice to women in this situation but I don't care. Oh and it seems she was a Republican influencer of many decades standing, yeah that fits. How do I give minus stars?

I thought I might be coming around to liking some county music. Seems that there are types I like and types I dislike. This is one I dislike. Maudlin, sentimental and just not very interesting. It was going to be two stars but she endorsed Trump so it'll be the one.

67 was the same year Hendrix had two of his absolute GOAT albums. Disraeli Gears by Cream. The Doors, by (you guessed it) The Doors. SERGEANT FUCKING PEPPERS. leave this shite in the dark ages.

I tried. I really did. I suspect that Ms. Lynn is like a very fine wine and requires and acquired taste, or a predisposition to embrace the full-bodied style that she portrays. I... lack that level of refinement. 1 star: DNF.

A classic country album: drinking’, cheating’, and broken hearts. Lynn has a beautiful voice that carries the heartache she sings about and there is never any question what the song is about. The only thing that would have made this album better is if I had a bottle of whiskey to drown my sorrows with along with her.

Some of the best music of my youth!

Realised I was quite nostalgic about this music. Growing in Liverpool on the early 70s C&W was always a big part of the music scene from 40s onwards. Mainly due to US imports via port of Liverpool. There was a dedicated C&W DJ on local radio and this was a record often played on Sunday morning. Great voice and lyrics.

Normally when every song is identical on an album that’s a Negative, but for some reason it didn’t bother me with this album. Loved these country songs about heartbreaks and shitty dudes!

go off sis!!!!! that was a great album, great storytelling, clever lyrics, good sounds all around. and such a journey from start to end, im almost at the edge of my seat waiting to hear what happens next but also omg girl just let that man go... dump him!!!

This songbird knows all the feelings!

As someone going through a breakup, this album is phenomenal. It amazes me how the experience of being a woman has remained the same even through the generations. Incredible listen.

Every country cliche in the book and its glorious. Twangy guitars duelling, that lap steel slide sound, honky tonk barroom piano, close harmonies, simple cowboy chords and a basic oompa doompa bass, all performed and captured perfectly. It's an amazing collection snarky "I'm so goddamn sick of your bullshit" songs sung with an incredible combination pissed off verve and oh so sweet charm.

Just to clarify, Loretta preceded Dolly by about 10 years. Loretta is a fabulous singer, and her songs are typical of country during her time. Remember, in the 1950-1960 era poor women were in a pickle. No birth control so they popped out numerous kids and were completely dependent on their husbands for money. For most in rural areas, work wasn't paid well, and it was tough to get out of poverty. Boy did these songs hit home for so many people! I haven't heard her in a long time, and her vocals are stunning to me. They're perfect. I also like the arrangments. They're really strong and not over the top. 5 stars! Go Loretta!

I exclusively want to drink in barrooms that play Loretta Lynn

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.

I love this album. Loretta is a queen.

Don’t come home a drinkin, with McLovin on your mind

It's hard to consider now how the shocking the perspective of the title track was when first released. The likes of Alanis Morrisett, Liz Phair, Amy Winehouse, Sabrina Carpenter, Chapelle Roan, or any of the many more frank female singers owe a massive debt to Loretta Lynn's "tell it like it is" honesty. It was a fresh perspective then, and while not as jaw-dropping these days, it is still real and honest. Alas, that honesty revealed the state of play in Loretta's relationships. She said her music was apolitical, but the personal is always political; her honest and unvarnished accounts of her experiences as a woman obviously struck a chord with many and were not without controversy. Musically, this is classic Nashville country. Her voice is clear, compelling and full of character, much like her friend Patsy Cline (I will never understand why there isn't a Patsy Cline album on this list). I find it oddly formal in a way, but it clips along at a cracking pace and leaves me wanting more every time I get to the end. 3.5 stars, rounding down because she endorsed Donald Trump.

Highlight: Don't Come Home A Drinkin' (With Lovin' On Your Mind). The rest is rather unmemorable.

Title track is amazing, 5 stars for sure but the rest of the album get's a bit repetitive. Like most classic country, these artist were more singles orientated than album.

This is the usual type of music I say I don't like, but there's something about Lynn that's so complelling that you can't help but notice. I prefer Coal Miner's Daughter to this one, but this one was perfectly fine to listen to. Although I have to say that the quality of the recording itself took me out of the music a little bit, it's pretty bad.

Oldie country album that has short songs and simple lyrics which has made Loretta an icon. To me it’s an above average album but I don’t seem myself listening to it a lot. 6.6/10

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.

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

Plinky plainly outdated country shite.

Not terrible by any means, this just isn't really my thing. She's got a nice voice, but old timey country twang just doesn't do it for me.

I enjoy a bit of mournful country every so often but really… are the straights okay?

I would sample this but wouldn’t listen. Love the vibes but ironically not vibing this

The saving grace with this one is that it's short. This is my least favorite genre, so take it with a grain of salt, but this feels like the exact same swing/honky-tonk beat all the way through. Her voice isn't too bad, but just didn't do anything for me. The lyrical content left a lot to be desired too. Fav tracks: Don't Come Home A-Drinkin' (With Lovin' On Your Mind), Get What 'Cha Got And Go

Not my favorite album. I'm much more of a fan of her later stuff, but I just love Loretta.

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.

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.

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?

I had enough after first 30 seconds. What the hell is this, why do people listen to it at all?

Well I am irritated my review of yesterday's album didn't stick. Also I am irritated by this album. This woman appears to have been in awful relationships. Also, this woman appears to have been awful in relationships. Dated, stale, grating, repetitive content about how terrible she and everyone around her are.

Dump this from the list

Loretta Lynn you absolute legend, churning out stompers like its nothing. This album came out 7 whole years before women in the US could take out a loan, a mortgage, or a credit card without the signature of a man. She sang of the lived experience of women in that time, and she was a rebel for it.

honky and tonky

Loretta is a legend for a reason. Strong album with loads of good tunes. One thing the generator has shown me, if I am going to listen to C&W I'd rather the artist be a woman. Their voices are much better suited for this style of music in my opinion. Loretta should have a few more albums on the list. Short and sweet. Dig it.

Probably shouldn’t be in the list - her earlier work perhaps. She is one of the absolute queens of country music, giving a woman’s perspective: just don’t call it feminism. Feisty, vulnerable, hurt, strong. Loretta Lynn.

Might be here because of the hit single, but it is very hard not to love it. Some of the standards are brilliant, There Goes My Everything in particular, it is the A team of Nashville Cats and she's well and truly into her stride by now. I'd think this is her 7th or 8th album. I love that this is early 1967 and she's putting out this incredible country music. Love it.

Intensely personal and at the same time relatable, Loretta Lynn was a fantastic lyricist and songwriter, able to simultaneously flip the bird to men trying to hold women down and yet still exist within the confines of country music that wasn’t quite ready for this kind of confessional, confrontational music from a lady. Nowadays it seems quaint, but this was nearly transgressive in the scene at the time. Until Loretta comes along, country music is mostly “stand by your man”. Loretta’s blend of humor and deeply personal, lived experience really sells this album, which alternates between bright and sunny, upbeat 60’s Nashville production and the the twangier cry in your beer downbeat stuff. It’s a tightly written album, 12 songs, 28 minutes, and doesn’t waste a moment of your time. The title track, “Get whatcha got and go”, and “the shoe goes on the other foot tonight” were my favorites- upbeat, catchy, clever, and sassy. Five stars for Loretta. ⭐️⭐️⭐️⭐️⭐️

Really good album, I feel like this one is way a very classic-sounding record but, still, one that has such great songs. I've enjoyed a lot listening to this one, very 60's country... a delight, truly a delight. So, I've loved it. So so much. Maybe it's not the most innovative thing I've ever listened to (of course), but it's a very pleasant listening, one that flows really well, also one that is very solid. All the songs are great. So, what else do I have to say? Sometimes it's also very nice to listen to albums like this one. And I certainly find this one a highlight.

I liked the album as it reminded me of being with my parents as they were big fans of country and western music. I preferred Loretta Lynn as a soloist rather than when she started singing with Conway Twitty.

Loretta Lynn dropped this album off in 1967 in the same year as Jimi Hendrix's "Are You Experienced". The beauty and wonder of American music is how vast the multitudes can be.

The best breakup album of all time?

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

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

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.

'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?

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

This is a great album for women 💅

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.

loved

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

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

Classic

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

Pure classic country music.

Drinking country

This woman loves to fight like she will punch anyone

Love it

I love Loretta Lynn. 5/5

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

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

Loretta wrote and played important American music. This is one of her classics.

Classic album from a country music queen, before the genre went to shit.