Dolly Parton - Just Because Im a Woman (14 tracks) +Album Reviews

Dolly's Very First Solo Album!

Mr. Scott G. Smith | Erskineville, NSW Australia | 10/17/2003

(5 out of 5 stars)

"This CD is a treasure for true Dolly fans -- it's her first solo release (A prior collection of recordings, "My Name Is Dolly Parton" notwithstanding), and the talent that would sustain one of the greatest music careers in history is evident here. Her voice, not overburdened by the thick arrangements usually accorded to debut artists of the time, shines through on these songs -- most of which you probably haven't heard before. (Since there's no tracklisting available here, I'll provide it myself! Baby Sister, The Bridge, False Eyelashes, I Wish I Felt This Way at Home, I'll Oil Wells Love You, I'm Running Out of Love, Just Because I'm a Woman, A Little Bit Slow To Catch On, Love and Learn, The Only Way Out, Try Being Lonely, You're Gonna Be Sorry, plus two bonus tracks from a live album, not available on CD, that was recorded in her old high school gym!). The roots of a legend, this is an absolute must-have for anyone interested in Dolly Parton, or just great country music in general."

An early classic

Peter Durward Harris | Leicester England | 04/28/2004

(5 out of 5 stars)

"Following her transfer to RCA at Porter Wagoner's insistence, this was Dolly's first solo album. In the sixties, her duets with Porter were considerably more successful, but I regard Dolly's early albums - solo and duet - as some of the finest that she recorded. This is not my favorite among them but I'm pleased to see it finally get a CD release in America. It was released in Europe on CD some years ago as half of a twofer, paired with her first duet album. On this re-mastered version, there are a couple of bonus tracks both live cuts, one of them being Coat of many colors before she did a studio recording.The main album shows what Dolly singing the kind of songs that she does best - traditional country songs about life as it really is in rural America. When she recorded this album, there was a lot of vibrato in her voice, which I love, but Dolly received advice to get rid of it if she could. Over the years, she gradually changed her voice and the vibrato disappeared altogether over time.Like Tammy and Loretta, Dolly established her reputation by recording some songs that women could relate to. On this album, the title track (proclaiming that women should not be blamed any more than men) is the clearest example of such a song, though men also love this song, perhaps for different reasons.Apart from the title track, Dolly has a few other warnings to men in songs such as You're gonna be sorry, Little bit slow to catch on and I'm running out of love. Dolly sings about a sister in trouble because of a man (Baby sister), having two men (I wish I felt this way at home), marrying for money (I'll oil wells love you), the struggle to achieve fame (False eyelashes), trying to keep her man (The only way out is to walk over me) and suicide (The bridge). Two tracks (Love and learn, Try being lonely) are sad ballads about former relationships.None of the songs on this album have become standards but that just means that there is all the more reason to by this album. Now, how about CD releases of In the good old days, My blue ridge mountain boy, Fairest of them all, Touch your woman, Bubbling over, Love is like a butterfly, Bargain store, The seeker/We used to and All I can do - not forgetting all those duet albums."

Most underrated

EriKa | Iceland | 03/02/2005

(4 out of 5 stars)

"People underestimate Dolly Parton, but she is a talented songwriter and entertainer, not to mention a shrewd businesswoman and quite a character. I am a lifelong fan, I am happy to admit, and this album has one of my childhood favorites, "Love and Learn". The live version of "Coat of Many Colors" is quite touching as well, very spare. Dolly's voice is full of the kind of ache that makes the songs here believable."

The headwaters of all that is Dolly Parton

hyperbolium | Earth, USA | 08/11/2004

(5 out of 5 stars)

"Having waxed an earlier LP for Monument, this isn't Parton's official solo debut, but with her meteoric rise to prominence as Porter Wagoner's duet partner, and her transfer to RCA, this 1968 release marks the true spiritual start of her solo career. It not only lays out the spare sound that would make her early recordings so powerful (and distinct from the countrypolitan records being churned out by Nashville at the time), but stakes out the songwriting prowess that would continue to shine to this very day.

In addition to a few of Wagoner's band members and fine Nashville studio hands (including stellar, and recently un-retired, steel player, Lloyd Green), Parton was lucky to have Chet Atkins' assistant Bob Ferguson at the producer's desk. In contrast to Atkins, Ferguson used a lighter sound that kept Parton and her background singers (including Anita Carter) front and center. Parton penned four of this set's tunes (the title track, the self-empowered "You're Gonna Be Sorry," the Bakersfieldian "I'll Oilwells Love You," and the powerful love-to-abandonment parable "The Bridge"), but she's also very well served by like-minded songs collected from others. "False Eyelashes" is a twangy tale of failed ambitions, and the self-discovery of Neal Merritt's "The Only Way Out (Is to Walk Over Me)" fits Parton's combination of fragility and resolve to a tee.

RCA's CD reissue adds two previously unreleased live tracks from 1970, one is the title tune, and the second of the first-ever recording of "Coat of Many Colors." While the latter doesn't have the heartstring-production of the subsequent hit single, it's sparse acoustic guitar accompaniment (rendering this nearly an a cappella performance) starkly frames its hymnal qualities. This is probably the only time you'll ever hear Parton announce on stage, "I'd like to do a song called 'The Coat of Many Colors'" and not hear the audience thunder with applause (until the end, of course). You can sense the breathless discovery of Parton's audience hearing this gem for the first time, and Parton's emotion in singing it for an audience that hasn't already heard the true-life story.

As great as Parton's hits are, it's even greater to hear them in the context of all the other fine songs she wrote and sang. A few of her later albums (e.g., 1971's "Coat of Many Colors") may edge this one slightly in overall strength, but this is a truly essential part of country music's heritage and a great place to begin one's appreciation of Parton's entire catalog."

Now, THIS is more like it!

hyperbolium | 01/18/2004

(5 out of 5 stars)

"At last!One of the biggest frustrations about the music industry has been BMG/RCA's atrocious treatment of the back catalog of Dolly Parton. Go to virtually any comprehensive music store (or check Amazon) and you will find literally dozens of "best of" compilations of Parton all containing "Here You Come Again," "I Will Always Love You," "Nine to Five" and several other hits repackaged over and over and over and over and over and over and over and over and over and over again.A few years ago BMG/RCA relaunched Buddha records as a reissue label and two long out of print album gems, "Coat of Many Colors," and "Jolene" were finally put out on CD. It was hoped that this would signify a new trend.Alas the reissues stopped for a while (aside for a pair of her pop albums and, of course, several MORE compilations with the same songs over and over again). Luckily we now how another gem making its very first appearance on CD.This is actually Parton's solo debut, and while it doesn't show off her songwrting talents as much as subsequent albums would (only a small handful of the songs here were written by Parton) it does show the world that there is more to Parton than the giggly Mae West meets Barbie image that she has acquired over the year and, more importantly, that there is more to her than the generic sounding slick pop sound that made her a mint in the late 70's and early 80's. Fans of REAL country will want to check this one out pronto as will anyone else who wants to encourage a more imaginative reissue program than BMG/RCA has generally been doing with the Parton catalog."

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