| |
|
This album opens with Dolly in motion climbing higher,
higher and still higher on a song called "Star of the Show".
If only it were a videodisc, we would see her spinning like
a whirlwind, casting off dagger-like rays of energy in all
directions. Goodness gracious, before she even gets
to "Great Balls of Fire", she sets our souls ablaze in the
opener, telling us things we already know about her in the
strongest, most definite tones she can muster.
On the surface, "Star of the Show" is a blistering update of
an old theme - that she will not play second fiddle, or
should I say second set of string arrangements, to anyone.
But underneath, we may assume that the reprehensible lover
in the song is but a symbol for a real person (partner, not
lover) from Dolly's recent past: "We sang a love song the
day that we met. You thought that we made the perfect
duet." "I'm nobody's co-star, I just play leading roles. I
won't play a part unless it's star of the show".
The spotlight dims and we are taken "Down" on the second of
four Parton compositions, followed by a very commercial
break, "You're the Only One". Then Dolly reaches briefly in
the past for some "Help!" in remebering the Beatles, only
tocome back looking straight ahead with "Do You Think That
Time Stands Still."
The level of excitement, which by now has diminished
somewhat, picks up again on side two. "Sweet Summer Lovin"
is a jewel of a mix. The "feeling free" spirit is captured
beautifully, with Dolly's voice held aloft by a unique blend
of horns and banjos, enhanced by an understated
beat. "Almost in Love" is a pleasant filler, followed by a
morsel of light supper club disco, "It's Not My Affair
Anymore".
Alas, Dolly fades away with "Sandy's Song", a haunting
melody akin to "Greensleeves". Although there is more motion
than emotion throughout, this is quite an interesting show.
And if you're expecting a knockout version of "Great Balls
of Fire", you won't be disappointed.
(This review was in Country Music magazine and written by
Bill Oakey)
|