Album no. 102/1001
This is Loretta’s seventh (SEVENTH!) album. It came hot on the heels of A Country Christmas, and what a shame we didn’t get to listen to that.
The title track gave Loretta her first number one (on the country chart), and this was the first country album by a female singer to go gold, which is a fair achievement. She wrote or co-wrote three of the songs on this, including the title track.
This was a big deal in 1967, and a bigger deal in country music, which was (and remains) twenty to thirty years behind everything else.
Have you listened to this album before?
NK: Sorry Loretta, don’t know you from a bar of soap.
CL: No, I haven’t. I mean, it’s clearly going to be country though. Who says ‘a-drinkin’? Nobody, except for country people.
NK: The title track? I didn’t have one if I’m honest. The first one at least has a nice anti domestic violence message, but even then I think she’s treating the symptom not the cause. The guy is an alcoholic Loretta. Leave him. You deserve better.
CL: ‘I Really Don’t Want To Know’ was pretty good – I actually tried really hard to listen to the words on this album and I’m glad I did. A lot of it is pretty sappy – there’s no shortage of heartbreak on here – but I don’t think it’s HORRIBLE. (This is significantly high praise from me).
When would be the best time to listen to this?
NK: This album has twelve tracks, and is less than half an hour long. That’s amazing. The longest song is 2.54, and the shortest is 1.57. Even if you don’t like this (and I didn’t) you have to admire how concise it is. Verse, chorus, verse, chorus, country guitar lick, out. I admit that isn’t exactly a great recommendation, but this is the 102nd album on the list, and a lot of the previous 101 could have taken some lessons in brevity from old mate Loretta.
CL: The length (or lack of) is certainly an advantage here. Honestly though, I don’t think this album would be too out of place if you’re having a bit of relationship trouble. Chuck it on if you’re reaching a relationship crossroads. Poor Loretta – she’s not in a good way.
Why has this album been included on the list?
NK: Token country album? I’ve said it before and I’ll say it again, The Late Great Townes Van Zandt is better than every country album on this list (so far, but probably all the ones to come as well). Loretta can hit her notes, I’ll say that for her. But the songs and the music did not get me going, not at all not one bit.
CL: Well, I think this is the first country album from a woman on this list – solo lady artists haven’t featured very heavily thus far, especially not in the country genre – so that’s something.
NK: Country music must have existed in it’s own little universe. So far it seems to have been utterly unaffected by the seismic changes that have gone through every other genre in the 60s. Over in England The Beatles are doing LSD and making albums as a whole other imaginary band. Over on the east coast the Velvet Underground are writing songs about heroin and transvestites sung by an out-of tune German girl who can barely be heard over an insane Welshman playing the viola. Back in Nashville however, old mate Loretta is cranking out another 12 cowboy standards, don’t even worry about it. Welcome to Tennessee, where it’s alway 1959.
Will you be listening again?
CL: I mean, no I won’t. But I’m just proud of myself for getting through it and not hating it.
NK: NAH MATE RECKON I’M RIGHT HEY.
Listen to Don’t Come Home A Drinkin’ (With Lovin’ On Your Mind) on Spotify or buy it in iTunes.