“UNLIKELY ANGEL: THE SONGS OF DOLLY PARTON” by Lydia R. Hamessley (University of Illinois Press, 312 pages, $20).
In recent years, Dolly Parton seems to have appeared in headlines or trending topic lists practically every day – for myriad reasons. Perhaps she’s brought Stephen Colbert to tears with her rendition of a traditional folk ballad. Or her philanthropic efforts are yielding a COVID-19 vaccine. Or she’s voicing support for Black Lives Matter. Or she’s addressing those rumors that her arms are covered with tattoos.
With “Unlikely Angel: The Songs of Dolly Parton,” musicologist Lydia Hamessley wants to return focus to Parton’s formidable skill as a songwriter. Hamessley argues persuasively that even after decades of prolific composition, resulting in dozens of studio albums and hundreds of recorded original songs, Parton has never received the public recognition that she deserves for her accomplished body of work.
A scholar specializing in Southern Appalachian music and a clawhammer banjo player, Hamessley brings broad knowledge to her discussion of Parton’s songs. While Parton’s methods may be “instinctive and emotional, not theoretical,” Hamessley believes that “musical analysis identifies and clarifies her intuitive musical choices.” In spite of her emphasis on the technical aspects of Parton’s compositions, Hamessley’s analysis remains accessible even to those unschooled in music theory. She draws on extensive research, including her own interviews and, as a result, the book is also filled with Parton’s own comments on her songs, creative process and career.
Hamessley groups Parton’s songs into “families of tunes,” or categories of subject matter and influence, rather than a chronological survey. “Dolly’s musical work is variegated and folds back on itself,” Hamessley argues, “with all the melodic, harmonic, textual and thematic overlaps that image brings.” Fittingly, some songs appear in several chapters, reflecting their richness and complexity.