Here You Come Again

Dolly Parton

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Here You Come Again Review

by Eugene Chadbourne

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.

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