by Ronnie D. Lankford, Jr.
Of the three 2007 Dolly Parton reissues from Sony, Jolene is the most absorbing musically and the most problematic lyrically. A sparkling production creates a rich backdrop for both &Jolene& and &When Someone Wants to Leave& (both Parton originals), mixing acoustic guitar, country instruments (steel guitar, dobro), and light percussion. This tasteful mix, nicely spread across the stereo spectrum with Parton front and center, is a joy to listen to. Lyrically, however, these songs are a long way from Loretta Lynn's &You Ain't Woman Enough to Take My Man.& Parton's female protagonists are downright pitiful, adrift in a world where a more attractive woman might take their man, where a woman cannot let go of a man who no longer loves her, and where a man is the &highlight& of her life (&Highlight of My Life.&) Jolene, originally released in 1974, feels like a shot across the bow of the feminist movement, a reaffirmation that many women still liked the men to wear the pants (women, presumably, who listened to old-fashioned country music). This seems somewhat peculiar now, in that no one -- looking at her long, distinguished career and commanding stage presence -- would accuse Parton of being a weak-kneed songbird. Still, the music and Parton's vocal prowess are in top form on Jolene, and &I Will Always Love You& is one of her best performances (which is saying a lot). Like it or loath it, Jolene offers a fascinating snapshot of an era in transition, and captures Parton at the top of her game.