After a few moments of her voice to a simple, waltzing guitar, the Third Man Circus rolls into town, smashing it to bits. Take one listen to “Busted,” the Johnny Cash cover on the resulting LP, The Party Ain’t Over, and it’s clear that White’s stamp is on every lick and vamp. “I wasn’t sure if we’d see eye to eye,” she told Billboard in 2011, worried that White’s fingerprint might prove a little too heavy on her traditional country and rockabilly pipes. ![]() Unlike her contemporary Loretta Lynn, Wanda Jackson wasn’t so sure about the prospect of recording with White, who had approached her about producing an album. White Produces Wanda Jackson’s The Party Ain’t Over Parton hinted to in 2010 that a collaboration with White wasn’t out of the question: “You never know what I might do,” she said. When he sings, “please don’t take him/even though you can,” not resorting to a gender swap, it doesn’t matter if it’s a male or a female howling - he tells the story loud and clear, and that’s all that matters. Featured on the White Stripe’s 2004 DVD release Under Blackpool Lights, White turns the opening licks into a menacing vamp, his voice quivering where Parton’s hit her warbling yodel vibrato. White, a diehard Dolly fan, transformed the song into a virtual onomatopoeia, ripping into it with so much emotion and force you almost want to find Jolene and warn her to watch her back. “Jolene,” Parton’s 1973 song about a woman begging a beautiful temptress to keep her fingers off of her fella, is one of the most aching sonic pleas in music (and one of Rolling Stone‘s 500 Greatest of All Time). The White Stripes Cover Dolly Parton’s “Jolene” The two Grammy wins didn’t hurt, either.Ģ. When you hear them duet on “Portland, Oregon,” their voices perfectly mismatched, it’s obvious this is a case in harmonious contrasts. Van Lear Rose surprised fans not by being a blues-rock twist on Lynn’s Kentucky tradition, but by showing her spirit through a clear lens not seen since the Seventies. Lynn referred to White as one of her “idols” when they first shared the stage in 2003, a precursor to their partnership on 2004’s Van Lear Rose, her brilliant White-produced album that reintroduced the world to her rich, sexy sound and showed just how country a pale kid from Detroit can be (answer: pretty darn country). The admiration didn’t stop there: the band dedicated their 2001 release, White Blood Cells, to Lynn. White’s connection to the Coal Miner’s Daughter goes back as far as his White Stripes days - his partner (and ex-wife) Meg used to slam out a version of Lynn’s “Rated X” on her meager drum kit, which was as much of a tribute as it was an inside joke from one of rock’s most famously divorced couples. White and Loretta Lynn Partner Up For Van Lear Rose Now, on the eve of his newest solo offering, Lazaretto, we delve into six of White’s twangiest moments - which, based on the wailing fiddle of his new song, “Temporary Ground,” probably won’t be his last.ġ. Though he’s most often associated with dirty blues icons like Lightnin’ Hopkins, the Detroit native has always carried a taste for the Southern soul - often filling his stage with both distortion pedals and pedal steel. In fact, since moving to Tennessee in 2005, White has become a fixture not just in his black-and-yellow wonder factory, Third Man Records, but amongst the classic figures of Music Row, from Loretta Lynn, to Wanda Jackson, to the ghost of Hank Williams - even being anointed ”Music City Ambassador” by Nashville mayor Karl Dean. ![]() Rolling Stone‘s 100 Greatest Country Songs of All Time Jack White once surprised Dolly Parton by picking up her tab when they were both dining at the same Nashville restaurant - but buying a meal for the petite blonde legend certainly isn’t the only contribution the White Stripes founder has made to country music.
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