Dolly Parton has always been a curiously American phenomenon - product of Tennessee culture and background, she was a milestone of rural authenticity at home while Europe had seen her as a comical "kitch" queen for decades and it took a long time before (at least some) European listeners recognised her for what she is - talented country songwriter and successful crossover artist who grew up to be a music giant of biggest calibre. Beneath of all that fluff, wigs, make up and frills (and in spite of it) Parton is an incredibly lovable, eccentric and good-natured original who had succeeded simply because there is no one like her - today she is up there with Johnny Cash, George Jones and Tammy Wynette as one of all-time biggest stars of country music, the only difference being that others had fallen sideways or passed away while Parton works, records and sings her little heart out even today after almost 50 years. Parton also finances "Imagination Library" that provides free books for children in Tennessee and beyond.
I loved Parton as a kid trough her 1980s pop hits, but at that time I had no idea who she really was and how at that point she had completely metamorphosed from a Nashville superstar into pop icon - country purists raged and God knows what obstacles and sexism she had to endure but Parton managed to move to Los Angeles, into movies and pop charts. Here I will try to look back at her beginnings, before she moved into disco and Kenny Rogers duets.
Parton had released few cute singles that ranged from 1960s girl-group sound ("Don't Drop Out", "Busy Signal", "Ping Pong") to rockabilly ("What Do You Think About Loving?") before she had a chance to record her 1967. studio album debut that would put her on hit charts with three singles and introduce her to wider audience. Its incredibly sweet, spunky debut with embryo-voiced Parton who sounds like anybodies favourite baby sister (judging from album cover, recording companies had not used her sex appeal back than) and incredibly for the times, she wrote or co-wrote ten of twelve songs here, its all her own work! Because this is hard-core country, music is either assertive argument with no good lover (kind of Loretta Lynn material) or tearjerkers ("Put it Off Until Tomorrow") and Parton swims like a fish in the sea here, she really brings her personality here. Personally I love the uptempo material the best ("Dumb Blonde", "Something Fishy") but she is equally good at ballads ("Fuel to the Flame") and in only four years Skeeter Davis would record a whole album of Parton-written songs as a loving tribute to a this talented little lady. This album would later get attention of Porter Wagoner who adds Parton to his TV shows and her star will burn even brighter.
Parton's 1968. "Just Because I'm a Woman" was a move to big-time TV shows with Porter Wagoner and RCA recording company where she would get full star treatment. Its far better produced than its debut album, sounds less eccentric and more Nashville (Bob Ferguson is producer here, Anita Carter pops in for backings vocals) with usual share of argument songs, country weepies and occasional comic number ("I'll Oilwells Love You"). More songwriters are added here, though centrepieces are actually Parton's own songs, particularly dramatic "The Bridge" where pregnant and suicidal protagonist ends abruptly the story in the middle of the sentence. Perhaps because Parton was so over-exposed in her work with Wagoner, this album didn't chart as high as her debut, but she had a lot of hit duets at the time. Bill Owens have few good songs here ("I'm Running Out of Love") and title song is of course country classic now.
Parton's 1969. album is a spirited collection that starts with the bang - ""Don't Let it Trouble Your Mind" and "He's a Go Getter" are delicious Parton originals that find her in a excellent voice (she sounds better than ever before here). Almost all the songs are her own, except few covers ("Harper Valley PTA", "The Carroll County Accident" and "D-I-V-O-R-C-E") and as usual, she is like a little country butterfly with this instantly recognisable, cute voice. Occasionally Parton slips into corn ("Mine", "Mama, Say a Prayer") but this is where she was as artist at the point. She might be sentimental in the ballads but is excellent in uptempo songs.
The second 1969. album by Dolly Parton opens with somber version of "In the Ghetto" that stands in a contrast with next song, "Games People Play" in happy, countrified dress. Porter Wagoner's hit "Big Wind" is a delicious, happy country gospel in her hands, while "I'm Fed Up With You" is another uptempo "Dumb Blonde" sound alike. Her own material is very interesting here, apparently Parton really let her imagination running wild and she came up with several heavy drama stories - "Evening Shade" is about orphans burning the orphanage (with evil headmistress inside), protagonist of "My Blue Ridge Mountain Boy" could be relative of Bobbie Gentry's "Fancy" prostitute, "Daddy" is about father leaving poor mother for a younger woman and if you think this is enough country soap opera for one album, wait until you hear "Gypsy, Joe and Me" where all three protagonists die during song. In all of this, Parton chirps like a birdie so it takes some time before message of the lyrics actually sinks in. This album actually charted higher than any of her solo albums until than and it had three hit singles.
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