Years before social media made it common for entertainers to interact one-on-one with their followers, Lynn nurtured her fan club. Lynn, in turn, was tightly connected to her fan community. Lynn’s personal struggles resonated intimately with her fans – a tumultuous marriage (Doolittle cheated on her repeatedly, she said after he died), and the drowning death of her son, Jack Benny Lynn, in 1984. In Rock’n’Reel, Lynn credited her success to “singing it like women lived it.” She also sang many songs by women writers, including three of her number ones. The saucy “Don’t Come Home A-Drinkin’ (With Lovin’ on Your Mind),” co-written with Peggy Sue Wright, set her lyrical agenda in stone. Lynn’s first No.1 hit came in early 1967. Lynn was part of a new breed of modern-minded country singers and songwriters – including Willie Nelson, Roger Miller, Hank Cochran, Bill Anderson, and Harlan Howard – who came to prominence in early-’60s Nashville and helped renew the style for a younger audience. Her first country Top 10 hit, “Success,” came in 1962, the same year she joined the Grand Ole Opry. Within months, Lynn and her family had moved to Nashville, and she signed with Decca Records. In 1960, Lynn issued her first single, “I’m a Honky-Tonk Girl,” on Zero, a small Canadian independent. “But six months later I left this band and got my own.” “I started singing and they put me right on the air,” Lynn recalled in a 1971 interview for The Great Speckled Bird.
Soon afterward, he persuaded a local country band to let Loretta sing. (For years, Lynn shaved three years off her age prior to 2002, she was believed to have married at 13, not 15.) She and her husband, Oliver “Doolittle” Lynn, had four children and lived on little money, but that would change after he bought her a guitar in 1953. Lynn was born in Frankfort, Kentucky, on April 14, 1932. I want you to keep that with you your whole recording life.” (The best overview of Lynn’s classic period is the 70-song Honky Tonk Girl, on Spotify.) And I think Loretta was standing right there.” In a 2004 interview with Uncut, Lynn would recall that Bradley had told her, “You’re the only girl singer who’s not afraid to walk in, tell it like it is, and walk out. “You have to be in the right place at the right time. “Women’s lib was also coming on at that time,” he told Rock’n’Reel in 2016. Owen Bradley, who signed Lynn to Decca Records in 1960, saw her popularity as consonant with the rise of feminism. They also caused considerable controversy, including radio station bans. Chart-topping songs like 1970’s autobiographical, assertive “Coal Miner’s Daughter,” 1972’s lament of sexual double standards for divorced women, “Rated ‘X,’” and “The Pill” in 1975, broke down lyrical and thematic barriers for women singers in the country field. By mid-decade, her records became more unadorned and direct, both musically and lyrically, in the classic honky-tonk tradition. Lynn’s early recordings had the strings and vocal choruses of the sweetened early-’60s ‘countrypolitan’ style. In the new millennium, Lynn’s profile was buoyed again by her 2004 collaboration with Jack White of the White Stripes, Van Lear Rose.
She had no fewer than 51 Top 10 singles, won three Grammy Awards, was the first woman named the Country Music Association’s Entertainer of the Year (in 1972), and was voted into the Country Music Hall of Fame and the Songwriters Hall of Fame.
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