Record Review: Dolly Parton - Backwoods Barbie (C+)

Backwoods Barbie

Dolly Parton’s Backwoods Barbie (February 2008) is an album of dramatic ups and downs. Starting out a little slow, at least for this reviewer’s tastes, it finally starts to sparkle after a few songs, heads back into the tank for a track or two, and then finishes strongly. Dolly has released forty-seven minutes of music on her own label so far, and some of it is great, and some of it is not so great.

The first track, and first single, “Better Get to Livin’” casts Dolly in the role of Dr. Phil. In trying to give advice to the rest of us about how to live, Dolly seems to have momentarily forgotten how to be interesting. Unfortunately it gets even worse with “Made of Stone.” This track is just plain forgettable. “Drives Me Crazy,” a modified cover of the song written and made famous by Fine Young Cannibals, is refreshing but still lacks inspiration. It tries to recreate the excitement of the original, only with bluegrass/country instrumentation. Unfortunately that doesn’t work as well here as it did with “Shine” in 2001. The title track, “Backwoods Barbie,” is very impressive lyrically, but here Dolly chooses the standard fiddle/steel guitar of late 80’s country that much of the beginning of this album seems to be trying to recreate.

The religious tune, “Jesus and Gravity” finally breaks out of the 80’s mold with key changes and an impressive buildup of energy throughout. It uses a choir for ambience, and Dolly gives her voice a real workout. Dolly’s voice, while still strong and perfectly in key, has taken on a whispering quality over the last few years, and this is showcased nicely on “Only Dreamin’.” She seems to be backing herself vocally. There are many elements in this song, various backup singers, the deeper strings, flute, solo violin, and an ever present softly strummed guitar. “Only Dreamin’” is the standout of the album.

“The Tracks of My Tears,” written by Johnny Rivers, isn’t a bad cover, but it unfortunately doesn’t offer anything that Smokey Robinson didn’t do much better. With “The Lonesomes,” we’re back to standard forgettable country fare. Thankfully this rough stretch doesn’t last so long.

“Cologne” comes on heartbreakingly strong, detailing the dilemma of a woman in love with a man who isn’t leaving his wife. “Shinola” uses a catchy tune and lyrics to entertain the listener. “I Will Forever Hate Roses” and “Somebody’s Everything” express staples of country music sentiment, but Dolly’s voice and musical sensibilities keep these two from being quite so dull as the first few tracks.

Dolly still looks like a million bucks, sings like an angel, and writes, well, like George Strait. Backwoods Barbie is a presentable collection of radio friendly country music. It doesn’t inspire, but there’s enough good here to assure us that Dolly will be a force in country music for years to come.

Record Review: Billy Joe Shaver - Everybody's Brother (B)

Billy Joe Shaver’s Everybody’s Brother (September 2007) can be described as the affirmation of faith by an aging and beaten-up honkeytonker. That classic honkeytonk twang is still the centerpiece of his vocal repertoire. Shaver’s ode to Jesus, this album features duets with many major stars including John Anderson, Marty Stuart, Tanya Tucker, and even Johnny Cash. The first duet with John Anderson, “Get Thee Behind Me Satan,” enjoys frequent play on GAC’s The Edge of Country. Standouts on the album include “When I Get My Wings,” which captures the intensity of the best parts of Tramp on Your Street (August 1993), and the Tanya Tucker duet “Played the Game Too Long.” Tanya’s voice sounds as perfectly reedy as it ever has.

Unfortunately the intensity of “When I Get My Wings” is lacking in most of the other tracks. One gets the feeling that Shaver’s own music isn’t so much about catharsis as much as it is about escape. Many of the slower tracks blend into each other a little bit, not providing distinctly memorable experiences. None of the tracks are painful to listen to, however, and when played in the background comfort the soul with their warm fuzziness.

A few of the songs get a little preachy. In fact, the most interesting song musically speaking, the title track, “Everybody’s Brother,” is essentially a song of invitation for a new age. It includes the line “With blind faith you will hit the mark, and seldom will you miss.” That aspect aside, the album is still good news, in that one of America’s great songwriters is still going strong and practicing his craft.

The fine treat of the whole record is the last track, the duet with Johnny Cash, recorded in 1970, “You Just Can’t Beat Jesus Christ.” Providing the inspiration for the name of the album, and presumably the name for the title track, this song is nostalgic of the very best of the collaboration between Cash and Jennings, and serves as a reminder that those glory years probably owed a great deal to the songwriting of Shaver. This one track is worth the price of the record.