Often, the classic records she made with Owen Bradley were cut in a handful of takes, but he was producing a fine-tuned machine. Working with a band of kindred garage punkers, including Dave Feeny of the Detroit-based country outfit Blanche, White insisted that Loretta and crew keep to a minimum of takes, preserving the energy and excitement of musicians cutting an album when the music is still fresh to their ears. The brilliance of Van Lear Rose is not just how the two approaches complement each other, but how the record captures the essence of Loretta Lynn's music even as it has flourishes that are distinctly Jack, such as the slide guitar that powers their duet, "Portland Oregon."Upon its release, Lynn claimed that the album is "countrier than anything I've ever cut," which is no doubt a reference to the charmingly ragged, lively feel of Van Lear Rose. Jack White works much the same way, adhering to traditional American musical conventions yet pushing against their borders, while imposing strict aesthetic rules for each of the White Stripes albums with the intent of giving each its own distinct feel. Loretta Lynn has always been an independent spirit, taking risks within the confines of Nashville country, yet respecting the rules of Music City. On paper, this sounds like a strange pairing, yet upon further inspection, it makes sense.
Word worked its way back to Lynn, and soon she invited Jack and Meg White down to her home and, not long after that, she agreed to cut a new album with Jack as the producer, which wound up being 2004's Van Lear Rose. The following year, Detroit garage punk duo the White Stripes dedicated their breakthrough album, White Blood Cells, to Loretta and covered her "Rated X" as a B-side. By the time Lynn decided to return to recording in 2000, Cash's path had been followed by other veterans like Merle Haggard, but Loretta turned out a fairly pedestrian comeback on Audium called Still Country, which garnered little attention, but then a funny thing happened.
Some tried to adjust to modern radio, some railed against it, and others, like Johnny Cash, retooled their sound and wound up appealing to a younger, hipper audience raised on alternative country.
As it happens, she left the spotlight at a time that was not kind to country legends like herself, as they were exiled from country radio and left with a fraction of their audience. Third Man Records Loretta Lynn retired from the music business in the '90s, returning to her home in Nashville to take care of her husband, Oliver Lynn, as he was dying. The crowd exploded in delight and pushed up to get a better look at the “Yeezus” rapper.Loretta Lynn - Van Lear Rose LP NEW Jack White Tyler treated the crowd to the original version of “Colossus,” featuring a much jazzier, lighter feel than the one that made “Goblin.” This would have been surprise enough until the beat for Kanye West’s “New Slaves” started up and an inspired West walked out on stage ripping through the hard-hitting lyrics. The visual played really well with Tyler’s affinity to jump from light-hearted fun material to dark, menacing subjects. He played standouts from “Bastard,” “Goblin” and “Wolf” set to a moving blue sky background reminiscent of Drake’s “Nothing was the Same” cover, except for when it would turn red during the ominous parts of his songs. In his traditional Vans, knee high socks, shorts and baseball cap - the uniform for the majority of teenagers attending the all-age affair - Tyler, The Creator took the stage next. Additionally, he created an intimate feeling by playing fan-favorite cuts that aren’t even his! He brought out Earl Sweatshirt for a fun rendition of Cam’Ron’s “Hey Ma,” and then went on to plays Bob Marley’s “Three Little Birds” to which the crowd sang every word.
Mac Miller turned the crowd up with a highly-energetic set running through his “Watching Movies with the Sound Off” and “Blue Slide Park” hits.