Album Review: Eilen Jewell – Butcher Holler: A Tribute to Loretta Lynn
A little over halfway through the year and already our Americana cups runneth over with stellar tribute albums featuring new takes on songs by Shel Silverstein and John Prine. Butcher Holler: A Tribute to Loretta Lynn finally gives the Coal Miner’s Daughter—one of country music’s finest, gutsiest songwriters and performers—her due. If any single roots artist is capable of tackling Lynn’s extensive body of work, it’s Eilen Jewell, whose star has been rising rapidly since her 2005 Gillian-meets-Lucinda debut Boundary County.
Eilen (rhymes with “feelin’”) Jewell has never shied away from her classic country influences; she’s always peppered her live shows with a Loretta Lynn cover or two, and last year’s country/rockabilly/blues tour de force Sea of Tears included a superb version of Lynn’s “The Darkest Day.”
With the exception of “I’m a Honky Tonk Girl,” Lynn’s 1960 debut single, Jewell sticks to the songs recorded during Lynn’s prime: 1966-1972. And aside from “Another Man Loved Me Last Night,” co-written with Lorene Allen, all songs were penned solely by Lynn. It would have been easy to record an album composed solely of hits, but Jewell balances Lynn’s best known songs like “Fist City” and “Don’t Come Home A Drinkin’ (With Lovin’ On Your Mind)” with lesser known gems like “Whispering Sea” and B-side “A Man I Hardly Know.”
Jewell’s dusky, languorous voice sounds nothing like Lynn, but her unbridled sass on “You Ain’t Woman Enough (To Take My Man)” is unmistakably Lynnesque, as is her heartwrenching vocal turn on poignant ballad “This Haunted House,” written following the death of Patsy Cline. If there’s one slightly dim moment on the album, it’s when the Boston-based singer mimics Lynn’s Kentucky accent on the otherwise excellent “You Wanna Give Me a Lift” as she coos “I’m a little bit warm, but that don’t mean I’m on fahhhr/You wanna take me for a ride in the backseat of your car/You wanna give me a lift but this gal ain’t going that far.” Granted, it’s necessary for the rhyme to work, but it also sounds awkward, as though Jewell is forcing herself to match Lynn’s inflection.
Jewell’s top shelf three-piece band remains largely in the background while sticking pretty close to the original arrangements, although guitar whiz Jerry Miller lends some sweet rockabilly licks to gospel tune “Who Says God is Dead.” Though her adoring covers are quite similar to the original versions, Jewell’s Butcher Holler never feels boring, a testament not only to the timeless nature of Lynn’s songwriting, but also to Jewell’s skillful and respectful interpretations.
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Well, I have to disagree with you on this one, Juli. I thought the album was a bore.
I love Jewell’s vibe, but I don’t think her voice is terribly dynamic. She does one thing very well, but that one thing wears thin after two or three songs. And in that sense, I think she makes these songs less than they should be.
I dunno–Ernest Tubb didn’t have a terribly dynamic voice either (though it’s one I love deeply), but he managed to sell his songs. I think Jewell does the same here–IMO few singers could ever sing one of Loretta’s songs as good as Loretta does, but Jewell comes pretty close.
So wait, are you comparing Eilen Jewell to Ernest Tubb? ;-)
I lump Eilen in with Brandi Carlile in the “Crtic’s Darlings of Americana Music” category where I just don’t grasp what people find so enthralling about them?
They both have a fair amount of talent, just not near as much as I think justifies the rabid dedication of their loyal fans.
The most relevant statement Juli made as far as I am concerned is:
“If any single roots artist is capable of tackling Lynn’s extensive body of work, it’s Eilen Jewell, whose star has been rising rapidly since her 2005 Gillian-meets-Lucinda debut Boundary County.” The musical intersection of Gillian Welch meets Lucinda Williams is one I would go great lengths to avoid! I’d much rather hear Amber Digby, Sunny Sweeney, or Kimberly Murray tackle Loretta’s songs than this gal with the goofy first name…
I haven’t heard this album yet, but the Loretta covers that she did at a recent show that I attended were pretty awesome. So, I’m looking forward to this. Her show was fantastic too, btw. She even rivaled Justin Townes Earle’s show and probably had the audience (who didn’t know who she was beforehand) eating out of the palm of her hand. I heard several people comment on what a pleasant surprise she was. So, I dig her.
And the crack about her name is juvenile, as usual for Rick.
Yeah and Rick is such a great name…almost as goofy as your review
Was expecting more.
Vocal doesn’t capture Loretta, steel parts played by lead no where near Hall Rugg for starters….