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Rockstar
Dolly Parton Unleashes Her Inner 'Rockstar': Album Review
In "Rockstar," Dolly Parton daringly swaps her country roots for rock 'n' roll, collaborating with icons like Sting, Steve Perry, Elton John, Lizzo, and the Beatles' Paul McCartney and Ringo Starr. This 30-track blend of originals and covers showcases her versatility, yet it cautiously skirts the full embrace of rock's raw spirit, reflecting a respectful homage more than a genre-defining transformation.
Released to the public on November 17th, Dolly Parton's "Rockstar" marks a significant moment where the cultural icon, affectionately known as the 'Backwoods Barbie,' swaps her acoustic guitar for an electric one. This ambitious journey through the crags and peaks of rock 'n' roll showcases Parton's relentless drive to challenge herself and venture into new realms. With a combination of nine originals and a hefty 21 covers, "Rockstar" is a tribute to Parton's adoration and respect for the genre, despite its execution often leaving more to be desired than expected.
The album kicks off energetically with the eponymous "Rockstar," where Parton proclaims her status with an energy that could ignite stadiums. With guitar riffs riffing and the beat electrifying, there's an expectation of rock-star pomp and showmanship, but despite catchy lyrics hinting at her ascent ("I'm on a roll, I'm on a streak, life's a song and I’m on beat"), there's an echo of anticipation for a grungier undertow that is never quite met.
In "Every Breath You Take," her collaboration with Sting on his iconic song, the opportunity for a creative reinterpretation is distinctly evident. However, this rendition stays within the bounds of comfort, more akin to a familiar duet than a venture into exciting new territory. "Open Arms," the cherished ballad by Journey, is delivered alongside Steve Perry, and while the soul-stirring potential between Perry's powerful belts and Parton's tender plaintiveness is immense, the performance feels reserved, not quite expanding into the emotive explosion that marked the original.
When Parton collaborates with Elton John on "Don’t Let The Sun Go Down on Me," there is an undercurrent of dormant possibility that is touched yet not fully unearthed. The track has its moments of luster, with both icons' vocals interweaving in a grand manner, but the partnership could have excavated deeper into a more stirring reinterpretation of the moving ballad.
The ambitious cover of Led Zeppelin’s "Stairway to Heaven," featuring the unconventional pairing with Lizzo and Sasha Flute, is as enticing on paper as it is in execution, albeit without the transformative punch that could have marked the album’s pinnacle of daring creativity. There’s no denying the talent and pure vocal prowess on display, but there's a perceptible reluctance to fully let loose and cascade into the abyss that rock often summons.
Amidst her original compositions, "World on Fire" confronts societal complacency with the urgency that is a hallmark of rock, yet musically, it remains tepid where one might expect a more fiery delivery. With rock being the proud, outspoken outcast of music genres, Parton's reserved approach results in a voice raised, yet not quite the rallying cry it could have been.
In her collaboration with Paul McCartney and Ringo Starr for “Let It Be,” a soaring sense of spirit is vivid. There's an elegance to how Parton's affectionate inflections merge with the earnestness of the original Beatles. Yet, one is left yearning for an edgier turn—a tinge of the gravelly upheaval that Parton, McCartney, and Starr are more than capable of crafting had the interpretations stretched beyond their comfort zones.
"I Dreamed About Elvis," featuring Ronnie McDowell, ventures into personal territory with a whimsical ode to the King of Rock 'n' Roll. Here, Parton interweaves her voice with the narrative ("And I dreamed I was standing with the King by my side, my heart beating so loud, I thought I'd died"), conjuring an endearing stretch of musical history that pays homage in grand and playful style. Yet, the track’s execution doesn’t harness the transformative energy of Elvis’ era, capturing adoration without the spark of reinvention.
Ann Wilson joins Parton in "Magic Man," a song that by all accounts could have been an explosive meeting of two musical supernovas. While their vocals navigate the terrain with grace, the song rests more as a courteous homage than a rambunctious ode that channels the true fiery essence of the heart's enigmatic mystic that the tune alludes to.
The collaborative spirit of rock is well-documented in "Rockstar," articulated through the lineup of guest artists who are rock royalty in their own rights. Pat Benatar, Joan Jett, and Neil Giraldo bring their namesake energy, yet the collision with Parton’s country-rooted style feels restrained, with each song teetering on the edge of potential greatness.
As "Rockstar" reaches its conclusion with Lynyrd Skynyrd’s "Free Bird," one anticipates an ascent to the prophetic freedom the song represents. Parton's rendition is sung with clarity and respect, yet the grit and sense of unchained liberation are diluted into a rendition that feels too polished for the rebellion it could incite.
Given the immense respect and enthusiasm Parton brings to "Rockstar," assigning a modest 4.5 out of 10 may seem harsh. But the album, while grand in scale and collaborative effort, fails to capture the rogue and raucous spirit of rock. The album often feels like a velvet-lined homage, restrained by its deference and garnished with Dolly’s undeniable charm—characteristics that while warm and welcoming, are incongruent with the wild, free, and rebellious nature that defines rock 'n' roll.
This album deviates undoubtedly from Parton's norm, solidifying the fact that her talent knows no boundaries. Yet, in her venture into rock terrain, one hopes for the dirt and grime beneath the glitter—a rawness that’s lost in the polish of "Rockstar." It reins in the wildness of rock into a well-composed yet tame echo, leaving an aftertaste of longing—for the untamed, pioneering spirit of Dolly Parton to have been let loose.
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