01 – Two Doors Down
02 – Jolene
03 – Coat of Many Colors
04 – Only Dreamin’
05 – Little Sparrow
06 – The Grass Is Blue
07 – Do I Ever Cross Your Mind
08 – Here You Come Again
09 – Islands in the Stream
10 – 9 to 5
11 – I Will Always Love You
12 – Shattered Image
13 – My Tennessee Mountain Home

For close to five decades, Dolly Parton has been hitting the road, taking her music to the masses. Along the way, she’s released some albums that document the Parton concert experience – most notably 1970′s A Real Live Dolly and the disc that could be my favorite Dolly album of all time, 1994′s Heartsongs: Live From Dollywood. Both of those were recorded in her native East Tennessee home of Sevier County, but her latest live offering takes her a little bit down the road from Sevierville and Locust Ridge – all the way to London, England!

Though the setting might be a little bit different, the reception that Parton gets when she takes the stage is universal. She knows her audience, and the audience knows her. That bond is very apparent on cuts like “Two Doors Down,” “Coat Of Many Colors,” and the early Parton classics “Shattered Image” and “My Tennessee Mountain Home,” which will no doubt please many of Dolly’s fans who have been there since the days of Porter Wagoner and Black Draught!

The disc also contains some of the stories behind some of her biggest hits like “Jolene,” as well as a lively romp through what could very well be my favorite Dolly track of all time, “Here You Come Again.” Also included in the package is a DVD copy of the show that includes a few more songs, and rare behind-the-scenes interviews and footage of what takes place at a Parton show. So, whether you are in your car, or watching in front of the television, you can experience the warmth, humor, and talent of this unique American legend! --- Chuck Dauphin, musicnewsnashville.com

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01. Jolene
02. I Will Always Love You
03. We Used To
04. Harper Valley P.T.A.
05. D.I.V.O.R.C.E
06. Here You Come Again
07. Lovin' You
08. Bobby's Arms
09. 9 To 5
10. Do I Ever Cross Your Mind
11. Two Doors Down
12. Hold Me
13. It's My Time
14. In the Ghetto
15. Mama Say A Prayer
16. Love is Like A Butterfly

The majority of the 16 tracks featured on this CD were recorded in the years 1968-77, and 10 were written by Dolly herself, including “9 to 5” which dates from 1980.

Inevitably, many of the songs are available on other compilations. For instance, eight also appear on the excellent 3CD box set, “Legends” and the same number likewise do so on the very good 2CD album “The Essential Dolly Parton.” However, the version of “Two Doors Down” on “Greatest Hits” is not the one featured on “Legends.” Moreover, the recording of “I Will Always Love You” on “Greatest Hits” differs from the one found on the other compilations just mentioned. The version of “Two Doors Down” on “Greatest Hits” is Dolly’s favourite. It is a very catchy up-tempo number—Dolly was dissatisfied with the first recording (which appeared on early pressings of her album “Here You Come Again”) and replaced it with this much livelier track, complete with modified lyrics. The rendition of “I Will Always Love You” on “Greatest Hits” also exists on another Dolly compilation, “Love Songs”, and while restrained (Dolly keeps the emotion under control), is less subdued and reflective than the one that appears on “Legends” etc. Furthermore, the musical arrangement differs. On “Greatest Hits” the backing includes a harmonica, tasteful piano playing, and more prominent strings. I love both recordings of “I Will Always Love You.” However, on the whole the one on this CD is my favourite and I know several people who share my opinion. I am reluctant to cross swords with a fellow Parton fan, but I disagree with another reviewer’s claim that Dolly sings this version in a half-hearted, lacklustre way. Her performance is wonderfully expressive and the beauty of her voice shines through very clearly, as of course it does on the other recording.

Highlights of “Greatest Hits” also include “D.I.V.O.R.C.E”; an impressive version of “In The Ghetto” (which Dolly sings in a poignant, heartfelt manner); and “Mama Say A Prayer”, none of which appear on “Legends” or “The Essential Dolly Parton.” All in all, this is a worthwhile collection that supplements more extensive compilations of Dolly material., amazon.com

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[01] Coat of Many Colors 03:02 						play
[02] Traveling Man 02:35 
[03] My Blue Tears 02:14 
[04] If I Lost My Mind 02:27 
[05] The Mystery of the Mystery 02:26 
[06] She Never Met a Man (She Didn't Like) 02:40 
[07] Early Morning Breeze 02:51						play 
[08] The Way I See You 02:43 
[09] Here I Am 03:14 
[10] A Better Place to Live 02:38
[11] My Heart Started Breaking 	
[12] Just As Good As Gone 	
[13] The Tender Touch Of Love 	
[14] My Blue Tears (Acoustic Demo)

Personnel:
- Dolly Parton – vocals, guitar
- Billy Sanford, Dave Kirby, Jerry Shook, George McCormick – guitar
- Pete Drake – pedal steel guitar
- Bobby Dyson – bass
- Jerry Carrigan – drums
- Buck Trent – banjo
- Mack Magaha, Johnny Gimble, Buddy Spicher – fiddle
- Hargus "Pig" Robbins, David Briggs – piano
- The Nashville Edition - backing vocals

Dolly Parton had a number of hits in the late '60s as Porter Wagoner's duet partner, yet solo success eluded her until her 1971 album Coat of Many Colors. The title track was a Top Ten single, and it effectively became her signature song, largely because it was a sweetly autobiographical tune about her childhood. That song, along with its two hit predecessors, "Traveling Man" and "My Blue Tears," were evidence that Parton was a strong songwriter, but the full album reveals the true depth of her talents. She wrote seven of the ten songs (Wagoner wrote the other three), none of which is filler. There isn't really a theme behind Coat of Many Colors, even if its title track suggests otherwise. Instead, it's a remarkably consistent album, in terms of songwriting and performances, but also remarkably diverse, revealing that Dolly can handle ballads, country-rockers, tearjerkers, and country-pop with equal aplomb. And while it is very short, clocking in at under a half-hour, there isn't a wasted moment on the album. It's a lean, trim album that impresses because of succinctness -- with its ten songs, it announced Parton as a major talent in her own right, not merely a duet partner. ---Stephen Thomas Erlewine, Rovi

This re-release of a classic Dolly Parton album is nostalgia at its finest. The title track is probably one of the top three defining songs of Dolly Parton's career. And considering the number of albums she has recorded through the years; that is saying quite a bit. Dolly's distinctive voice and the emotion behind her lyrics make it a winner for any collection.

The album was originally released in 1971, with two of the tracks actually recorded in 1969. Legacy and Sony BMG have re-released it with four additional tracks. Eight of the ten original tracks were written by Dolly and the remaining two tracks were written by Porter Wagoner. This was a major step for Parton in proving her capabilities not only as a solo artist, but also as a credible songwriter. Dolly's lyrics have always tended to deal with personal life experiences and she was never one to shy away from things that weren't widely discussed in public. "Coat of Many Colors" is a song that has not only withstood the test of time but is a personal story of her childhood. She even turned it into a very successful children's book. But it is the story of a coat that her mother made for her. Only instead of using a single piece of material, she pieced together rags to make a coat and kids at school were very cruel when she wore it. As the coat was being made, her mama had told her the Bible story of Joseph and his coat of many colors. It made the coat even more special to the young girl, and she was very hurt at the cruel teasing from her classmates. She tried to make them understand how special it was to her to no avail. It is a beautiful song with a powerful message that will never go out of date.

As for touching on subjects that were not widely discussed in that time period, she recorded a song called "Traveling Man." This song has actually been a favorite of mine for years. First because I enjoyed the music, and later when I was older and understood the lyrics I appreciated their message as well. It's written from the point of view of a young woman who thinks she is mature and worldly, but in truth she is very inexperienced. She is sneaking around with the older man, a traveling salesman, planning on running away with him and feeling like an adult because her mama doesn't know what she's doing. Meanwhile, her mama runs off with the man and she finds out that the guy was going out with both of them at the same time. It was quite a break through song in its time as far as the lyrical content of the song. While all the songs are good, those were the two really strong songs for me. The others are all stepping stones to her blossoming style and songwriting skills. Other notable songs for me were "My Blue Tears" and "Early Morning Breeze." Overall, this is a very enjoyable album to listen to. I love the simple style of the instruments without all the electronic jazz that is a part of today's album making process. It really makes the true vocal talents of Parton stand out. This is a "must have" for your music collection. --- Jolene Downs, countrymusic.about.com

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01. Dumb Blonde (Curly Putman) - 2:26
02. Your Ol' Handy Man (Dolly Parton) -	2:08
03. I Don't Want To Throw Rice (Dolly Parton, Bill Owens) - 2:20
04. Put It Off Until Tomorrow (Dolly Parton, Bill Owens) - 2:15
05. I Wasted My Tears (Dolly Parton, Bill Owens) - 2:15
06. Something Fishy (Dolly Parton) - 2:06
07. Fuel To The Flame (Dolly Parton, Bill Owens) - 2:37				play
08. The Giving And The Taking (Dolly Parton, Bill Owens) - 2:23
09. I'm In No Condition (Dolly Parton) - 2:08
10. The Company You Keep (Dolly Parton, Bill Owens) - 2:32			play
11. I've Lived My Life (Lola Jean Dillon) - 2:36
12. The Little Things (Dolly Parton, Bill Owens) - 2:23

Personnel:
- Dolly Parton - guitar, vocals

Hello, I'm Dolly was Dolly Parton's 1967 debut album.

Parton had previously contributed tracks to a 1963 Kitty Wells / Patsy Cline tribute album, but Hello, I'm Dolly represented her first full-length album. It contained Parton's hits "Dumb Blonde" (written by Curly Putman) and "Something Fishy" (Parton-penned), both of which reached the top twenty on the U.S. country singles charts, and the album itself reached #11 on the country albums chart, a remarkable achievement, considering that Parton was largely an unknown at that point.

The album (along with its two hit singles, which received a considerable amount of airplay) is largely credited with bringing Parton to the attention of Porter Wagoner, who, in late 1967, would invite Parton to join his band and appear on his weekly television show.

The album contains Parton's versions of three songs she wrote that were already hits for others by the time her debut album appeared, "Put it Off Until Tomorrow" (a hit for Bill Phillips), "Fuel to the Flame" which was a hit for Skeeter Davis, and "I'm in No Condition" which made the charts by Hank Williams Jr. although it was not a major hit.

Though she released a number of singles during her two-year tenure with Monument (1965–67), Hello, I'm Dolly was her only original album released during her time with the label. Shortly after its release, she joined Porter Wagoner's organization (appearing on his road show and his weekly syndicated television series), and signed with his label RCA. ---wiki

The charismatic Dolly Parton came on strong with these early session for Monument. At least half the songs are among her classics, while the rest of the material is hardly weak. The pedal steel playing is fantastic, and it would be worth the research to find out who the session men were, as they have gone uncredited on the original release, as well as subsequent repackagings. (In one two-fer release combining this album with As Long as I Love, the label squandered the inner gatefold on self-advertising rather than provide any information about these wonderful sessions.) The personality that Parton brought to her material is here in full force. "Dumb Blonde" and "Something Fishy" are the wisecracking, smart-cookie side of Parton, while "The Company You Keep"and "I've Lived My Life" show how adept she is at cramming country songs full of moralizing while providing the listener with plenty of enjoyment. ---Eugene Chadbourne, Rovi

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01. Here You Come Again (Barry Mann, Cynthia Weil) - 2:55
02. Baby Come Out Tonight (Ken McCord) - 3:24
03. It's All Wrong, But It's All Right (Dolly Parton) - 3:13
04. Me And Little Andy (Dolly Parton) - 2:35
05. Lovin' You (John Sebastian) - 2:20
06. Cowgirl & The Dandy (Bobby Goldsboro) - 3:42				play
07. Two Doors Down (Dolly Parton) - 3:03
08. God's Coloring Book (Dolly Parton) - 3:08
09. As Soon As I Touched Him (Ken Hirsh, Norma Helms) - 3:06
10. Sweet Music Man (Kenny Rogers) - 3:07						play

Personnel:
- Dolly Rebecca Parton - vocals
- Dean Parks - arranged by Rhythm, lead guitar, banjo 
- Nick DeCaro - arranged by strings, voices, accordion
- David Hungate - bass
- Al Perkins, Ben Benay, Dave Wolfert, Jay Graydon - guitars
- David Lindley - slide guitar
- Ed Greene - drums
- David Foster - keyboards, synthesizer 
- Jim Keltner - percussion
- Gene Morford, Jan Gassman, Marti McCall, Myrna Matthews, Nick DeCaro, Zedrick Turnbough - backing vocals
- Harry Bluestone, Jimmy Getzoff - concertmaster
- Frank DeCaro - contractor & coordinator
- Charles Koppelman - executive producer 
- Gary Klein – producer

It might be the short length of Dolly Parton's Here You Come Again that inevitably makes it feel like it just didn't quite all come together, yet there are plenty of high points, such as the catchy title tune, the grooving "It's All Wrong, But It's All Right," "Two Doors Down," and the typically Parton-esque charm of "Cowgirl and the Dandy." Some problems originate with the studio backup, which just isn't country enough. Sure, there's some pedal steel here and there, but an effort is obviously being made to steer her away from the hardcore country sound to whatever might have been perceived as being popular in the late '70s. This is still a few years before disco was to temporarily monopolize her aesthetic. The musicians here represent a smooth Los Angeles sound, with pickers such as David Lindley aboard. There are even synthesizer contributions from Ian Underwood, but from what he does one would hardly know that he had been a member of the avant-garde rock outfit the Mothers of Invention. --- Eugene Chadbourne, allmusic.com

By the time Here You Come Again was released October 29, 1977, Dolly Parton had angered her core fan base by embracing the slickly produced sound she played around with on New Harvest…First Gathering. It also proved a viable career move, as the album became her first to go platinum for sales of 1,000,000 copies. But quantity doesn’t always match quality – the majority of fans regard Here You Come Again as a dud. Of course, Parton isn’t the first, and certainly not the last, country singer to embrace a more “produced” sound. But for all the talk of Parton going pop, “Here You Come Again” proved her automatic add status at country radio – the title track spent five weeks at #1 on the singles chart and the album spent 35 weeks in the top ten and nine of those at number one on the album chart.

The title cut, one of her only big hits she didn’t have a hand in writing, would go on to win Parton the Grammy Award for Best Female Country Vocal Performance in 1978. But it was the crossover appeal of the music that got most upset – the title track would go on to peak at #3 on the pop singles chart. Following the massive success of “Here You Come Again,” on the pop chart, Parton’s label decided to sell her again to the mainstream audience by re-recording “Two Doors Down,” the album’s second and final single, with a looser arrangement. This new arrangement would replace the original on all subsequent pressings of the album.

The idea was to release “Two Doors Down” to the pop market, and ship “It’s All Wrong But It’s Alright” to country radio. The plan backfired, as “Two Doors Down” only peaked in the top 20 on the pop chart yet topped the country charts. “It’s All Wrong,” never received any pop airplay at all, but was another country #1.

Looking beyond the singles, Here You Come Again is largely forgotten today. If I’d heard “Me and Little Andy” out of context, I’d have a difficult time believing it was Parton. The childish vocal retains none of the charm and innocence she brought to classics like “Coat of Many Colors” or “Jolene.” One the other hand, “The Cowgirl and The Dandy,” preserves more of Parton’s country roots, but would’ve worked a lot more had it been blanked in an acoustic arrangement. The background singers only serve as a distraction from the sentiment of the song. “Lovin’ You” has a bouncy feel to it but you forget it as soon as it ends. “God’s Coloring Book,” a song about taking a walk and noticing all the colors around you, employs a been-there-done-that theme and comes up short in effecting a display of spirituality.

Her cover of Kenny Rogers’ “Sweet Music Man,” which he took to #9 that year, is very good although I’ll always prefer Reba McEntire’s Alison Krauss-produced version from 2002. McEntire had the right arrangement to bring that song to life. But my favorite, and a bright spot among the non-singles is “As Soon As I Touch Him.” It’s the rare exception of a pop power ballad that actually works. It may be a far cry from her country roots, but if she had to go pop, this is how it should’ve been done.

In the end, it’s easy to see why Here You Come Again ranks low in Parton’s discography. The slicker sound casts Parton in a new and unflattering light. The title track will always be a classic, but that remains a shining moment in a ten-song collection marred by poor production choices that fails to fulfill the promise Parton set with her earlier, and much better, solo work. --- Jonathan Pappalardo, wordpress.com

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01. Jolene - 2:39
02. When Someone Wants To Leave - 2:03
03. River Of Happiness - 2:17
04. Early Morning Breeze - 2:43					play
05. Highlight Of My Life - 2:15
06. I Will Always Love You - 2:52				play
07. Randy - 1:49
08. Living On Memories Of You - 2:43
09. Lonely Comin' Down (Porter Wagoner) - 3:10
10. It Must Be You (Blaise Tosti) - 1:50

Personnel:
- Dolly Parton – lead vocals, guitar
- Jimmy Colvard, Dave Kirby, Bobby Thompson, Chip Young – guitar
- Pete Drake, Stu Basore – pedal steel guitar
- Bobby Dyson – bass
- Jerry Carrigan, Larrie Londin, Ralph Gallant, Kenny Malone – drums
- Buck Trent – banjo
- Mack Magaha, Johnny Gimble - fiddle
- Hargus "Pig" Robbins, David Briggs – piano
- Onie Wheeler – harmonica
- The Nashville Edition - background vocals

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. --- Ronnie D. Lankford, Jr., allmusic.com

In the liner notes to Coat of Many Colors, while telling the story behind the title track, Dolly Parton referred to herself as "sensitive," and her awareness, not only of her own feelings but also of those whom she loves, is what drove the formation of the material on Jolene. Indisputably, Porter Wagoner had played a huge role in launching Parton’s career, but his unwavering, iron-fisted domination over her public life had become too stifling for her to endure. Jolene was centered around I Will Always Love You, a song that became a chart-topping single for Parton and an even bigger hit for Whitney Houston. Although it was the only tune on the endeavor that directly addressed Parton’s decision to leave Wagoner behind, the fragile, aching sadness that clung to her tenderhearted goodbye expressed the difficulty of her decision. Her honest, emotional delivery, along with the stunning interpretation of Wagoner’s Lonely Comin’ Down that appeared later in the set, allowed its subject matter to inform the rest of the cuts on the outing, turning them from simple love songs into loosely knit metaphors for the dissolution of the duo’s relationship.

The problem with Jolene, however, is that even with this broader interpretation, several of its songs feel slight. Parton’s pledges of devotion (Highlight of My Life and Randy) are particularly egregious, and although her bubbly personality carries them, they truly are nothing more than fluffy filler. On the other hand, the title track, which tells the tale of a housewife who confronts her husband’s mistress, is one of the finest compositions that Parton ever penned. Its stripped down but insistent arrangement perfectly enhances the tension in her dramatic story. Likewise, on When Someone Wants to Leave and Living on Memories of You, she alternately ruminates upon a dying love affair and one that continues to haunt her long after it has ended. Two of the bonus tracks featured on the recently reissued rendition of Jolene — Another Woman’s Man and Barbara on Your Mind — are worthy additions in that they similarly revolve around broken relationships, examining them from different angles with heartfelt empathy. It’s here, in these tunes, that Jolene comes alive; and it’s here that Parton cemented her reputation as a first-rate performer and top-notch songwriter. --- John Metzger, musicbox-online.com

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01. The Letter - 2:01
02. I Remember - 3:40
03. Old Black Kettle - 2:30
04. Daddy's Working Boots - 2:51
05. Dr. Robert F. Thomas - 2:33
06. In The Good Old Days (When Times Were Bad) - 3:24
07. My Tennessee Mountain Home - 3:06					play
08. The Wrong Direction Home - 2:25
09. Back Home - 2:40									play
10. The Better Part Of Life - 3:11
11. Down On Music Row - 2:54
12. Sacred Memories - 2:41

Personnel:
- Dolly Parton – lead female vocals, guitar
- Jimmy Colvard, Jimmy Capps, Dave Kirby, Bobby Thompson, Chip Young – guitar
- Pete Drake – pedal steel guitar
- Don Warden – dobro
- Bobby Dyson – bass
- Jerry Carrigan – drums
- Buck Trent – banjo
- Mack Magah, Johnny Gimble – fiddle
- Hargus "Pig" Robbins – piano
- Charlie McCoy – harmonica
- Mary Hoephinger – harp
- The Nashville Edition - backing vocals

My Tennessee Mountain Home is one of the rootsiest records of Dolly Parton's career. With its affectionate homages and salutes to her childhood in Tennessee, the record is a direct and moving slice of mountain music that isn't dressed up in cosmopolitan production. Parton wrote every song on the record, creating a loose, musical autobiography with its 11 songs. Though the sound of the record isn't particularly rowdy, it is heartfelt and rootsy and Parton's songs -- "Old Black Kettle," "The Letter," "The Good Old Days When Times Were Bad," and "The Better Part of Life" -- are among her best, most affecting songs, much like My Tennessee Mountain Home itself. --- Stephen Thomas Erlewine, allmusic.com

Dolly Parton’s artistic breakthrough Coat of Many Colors may have been enveloped by a dark sense of sorrow, but sitting alongside her tales of bad relationships were hints that, as much as she wanted to be a star in Nashville, she also longed for and missed the companionship of her family. Building upon this concept, she formulated My Tennessee Mountain Home, her 1973 endeavor. Although the set wasn’t nearly as strong as Coat of Many Colors, it was an equally ambitious affair. In effect, Parton turned her homesickness into a full-fledged conceptual work that was filled with heartfelt reminiscences of her childhood. There were tributes to living a simple but happy life (Old Black Kettle), her father (Daddy’s Working Boots), and even the doctor who brought her into the world (Dr. Robert F. Thomas). She also touched upon her initial struggles to break into the Nashville scene (Down on Music Row) and outlined the harsh challenges that threatened her family’s survival (In the Good Old Days [When Times Were Bad]). Blinded by her longing for the past, there are moments on My Tennessee Mountain Home when Parton downplayed the difficulties that she and her family faced, though this was as much a result of her nostalgic loneliness as it was of her dignity and pride.

The real reason My Tennessee Mountain Home continues to miss the mark, however, has less to do with Parton’s lyrics than it does with the music that surrounds them. The blend of rock, country, pop, and folk that was featured on Coat of Many Colors wasn’t as well suited to My Tennessee Mountain Home’s songs. Instead of updating the Appalachian-bred folk of the Carter Family and the Louvin Brothers, Parton would have been better served by completely embracing the unvarnished mountain music of her youth. Then again, if she had followed this strategy, she never would have taken the crucial steps that landed My Tennessee Mountain Home’s title track at #15 on the country charts. Although commercial success later became the force that drove her — and considerably undermined many of her later outings — here, it’s barely a distraction. The addition of Sacred Memories to the recently reissued version of My Tennessee Mountain Home further enhances the aura that Parton was trying to create, and the sources of her strength — her family and her spirituality — never were made more apparent. ---.musicbox-online.com

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