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CD review
by RICK KANEBackwoods Barbie might not be one of Dolly Parton's more critically acclaimed records but as any half decent music fan knows, an ordinary Dolly Parton record is still better than most artists' best recordings. Yes, she is that good. And by the way, Backwoods Barbie is a lot better than the general reviews are saying. Dolly knows a thing or two about the music business, the emphasis equally on music and business. This album leads off with, Better Get to Livin, a toe tapping, thigh slapping bit of preaching about seeing the positive rather than negative of a situation. The next eleven songs cover, through a range of musical styles, the negative of love, loss and, well, living. In amongst the pathos and self pity there is plenty of word play, humour, wit, spunk and joie de vivre. The title song, written for a Dolly musical being staged later this year (and hitting Broadway in 2009) captures the essence of Dolly's story but more particularly, the essence of her musical skills. She plays to her audience and the perception of herself as a bit too hokey, a bit too blonde, yet at the same time ensuring that perception never sets ("I'm just a backwoods Barbie in a push-up bra and heels. I might look artificial, but where it counts I'm real.") She's 62. She is the real deal. However good her songwriting is (she can stand tall in country music's songwriter's hall of fame), it is her voice and singing that truly sets her apart. There are great songs on this album but her voice and commitment to the tune even lifts and carries the couple of weaker tracks. She belts out the bridge and final chorus of Smokey Robinson's Tracks of My Tears, after letting the song slowly burn and build. At first it jars slightly. Then you hear it as she would deliver it live and it knocks you over. Jesus and Gravity, her gospel song, gives her room to really stretch her vocals and show off and move even a non believer such as me into a bit of a Pentecostal groove. However, it is on the next track, Only Dreamin', a Celtic inspired tune, also one of the best songs on the record, that you hear Dolly at her best. Here Dolly's voice, songwriting, and purpose shine. Only Emmylou comes anywhere near Dolly in regard to older stateswomen of country music who consistently produce great new original music. Both have taken their art to a higher level in the last 10 or so years, producing some of their career best work. In Dolly's case, Backwoods Barbie is her attempt to recapture the commercial nature of her country pop sound. At her age it could be considered risky, after all what real chance has she got against the Mirandas and Gretchens rising up? For taking such a risk she should be applauded, and the youngster could learn a thing or three as well. Listen to Cologne or Shinola ("You don't know love from shinola") and you could be hearing the latest new country sensation. Music might be a business but for Dolly the song is the art. 31 March 2008 If you'd like to comment on this story email us and we'll put your contribution on our new-look letters & comments page. |
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