'Run, Rose, Run' leaves us hoping Dolly Parton will one day release the classic late-era record she’s so clearly primed to make.
, a bluegrass-tinged set of originals that serves, naturally, as a companion to the forthcoming mystery novel Parton co-authored with best-seller James Patterson. As a bonus add-on to the book,works far better than anyone could hope for: the songs themselves, all written by Parton, are sturdy studies in traditional country, with several unexpected stunners. But , which feels mired by its tossed-off production, falls short of thriving on its own terms as a studio album.
First, the highlights: This album shows off Parton’s dexterity — as vocalist and writer — in a wide range of country and roots styles, from the traditional Eighties-style duet “Demons” with Ben Haggard , to the chilling Appalachian balladry of “Blue Bonnet Breeze,” to the fast-paced Stanley Brothers-indebted mountain music of “Dark Knight, Bright Future.” It’s a thrill to hear Parton, at 76, so firmly in command of her own artistry.
The main fault of Parton’s latest, then, apart from the sense that the album needs a companion novel to make sense of its own narrative, is its lackluster production. The record’s high Nashville gloss feels dated and applied indiscriminately, tending to flatten out the breakneck bluegrass originals while depriving the record’s most introspective moments of their drama.
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