Who Is Dolly Parton's Cover Song Jolene

Black and white teenagers listen alike to rock music on the radio and attended clubs to hear it, together. Rock ‘n’ Roll’s roots helped accustom white teens to black music through the lenses of white, male vocalists—a normalcy to ground these drastic changes in race relations. The stars, like Elvis Presley—know for his sexual and riveting performances—began to blur the line between different forms of music and more importantly, black and white music.3 Rock ‘n’ Roll music was a blend of these two different cultures, demonstrating the enormous consumer power of this emerging youth culture and giving it the power to unite an entire

Dolly Parton is so much more than what people see her as. She is much more than a “Barbie doll,” that is why I am going to inform the class about Dolly Parton’s early life, her career, and about information that most people do not know about her. Additionally, I want to make the class more familiar with some of Dolly Parton’s most sensible words, which serve as valuable quotes to live by. I want people to know how wonderful Dolly Parton is so that less people will possess negative opinion about her. Dolly Parton proves that there is so much more to people than just their looks.

This creates a beautiful blending of the two parts together and shows that this song was written to showcase the vocals.

Dolly is one of the few entertainers that will follow a song from start to finish being the songwriter, the singer, and producing the songs for album production.

In addition to the elements of music, musical concepts such melody, harmony, and texture are also important to “The Piece of Resistance.” The song’s melody was played in a smoothly, connected manner, which means it is best described as a legato. This smooth melody resulted in a consonance harmony in the piece. There is a distinct main melody played throughout the song played by the drums being accompanied by the other instruments. Ultimately resulting in the different sounds competing for attention, which is a characteristic of the piece’s polyphonic texture.

They have endured years of practice in order to perfect their voices and create their own unique style of singing. Parton’s perfect-pitch delivery of “Jolene” showed that she definitely practiced her vocals and body movements. However, in White’s rendition of “Jolene”, his intense, raw emotion oozes from every note he belts out. White’s raw performance of “Jolene” creates a depressing and tragic undertone. White’s passionate performance is obviously rehearsed, however, his raw emotions of anger and despair seem to be an unconscious

When listening to “The Santé Fe Jazz Combo,” you get a mellow feeling that courses through your body. Their opener “Recorda-Me,” which was my favorite piece, featured solos from Dr. Hamilton on Piano, Spencer Hoefert on Guitar, Ben Salhanick on Bass, Doc B on Alto Sax, Wyatt Thomas on Trombone, and Noah Woolard on Drum Set. The song had a moderate swing tempo that kept your feet tapping up until the solo. First, the brass rang through their part, then the electric instruments. Next came the bass; he was strumming so fast but he was barely audible. The pianist busting through with a tricky piano rift and the drummer finished it off with an intense solo. Every rim-shot sent a jolt into the air like lightning and the buzz rolls sounded like thunder. Noah’s part reminded me why I love playing the drums.

When we hear the song Brown-Eyed Girl, it is safe to assume the majority of us think of the Van Morrison version that was first introduced in his album Blowin’ Your Mind, released in 1967. Since that time the song’s legend and popularity have grown to unprecedented heights. Many artists have redone the song, some with a similar music style to Morrison (like Jimmy Buffet), and others of a completely different genre like the punk rock band Green Day. In my essay I will argue that the stylistic differences between the two songs are not a barrier. Rather, in combination with the similarities associating with cover songs, they form a bridge between two genres. In this case, it is achieved by

The music is rebellious and its uncompromising intensity is uncatagorizable for its urgent flooding past genre definitions. Miles’ music of the five-year period is unlike any music that preceded it, and still, 30 years later, so original, so Progressive, and so inadequately described.

Under the guidelines for covers Ruth Brown established in her article, “‘Miss Rhythm’ Speaks Out”, the cover version of “Shake Rattle and Roll” from Billy Haley and the Comets would be considered legitimate. Due to the racial hardships of the time period, you can say that Big Joe Turner didn’t receive the credit or attention he deserved for the originality of his version, and Billy Haley is indebted to him for that, but Haley’s version is just as valid under her guidelines. Ruth Brown wouldn’t view Haley’s version as a “bare-faced duplicate” with “no artistic merit whatsoever” because it isn’t exactly “note for note” Turner’s version (Ruth Brown, p. 12). Haley’s version moves at a much faster tempo and rhythm. It’s pace also is much more upbeat

The 1960s in America were a time of turbulence, and due to the Cold War, political assassinations, racial violence, and a developing hippie subculture the decade was essentially an all-inclusive. Every American’s life was affected by the radical change taking place during the 1960s, moreover one young woman from Port Arthur, Texas, embodied everything that the decade would come to be known for. Alice Echols’s book “Scars of Sweet Paradise: The Life and Times of Janis Joplin” covers Janis Joplin who was an outrageous and out of control rock singer and song writer who attempted to break through the restrictions of society. Though Joplin had an impact on changing of social norms, she was originally withheld by her family and later herself. The limitations

Throughout the 18 short pieces of the album, each one enveloped by a specific genre and mood, the band alternates between adventurous and prevailing approaches.

The off-beat sequences of the electric guitar create a reggae feel for the song endorsing it to be mellow. Throughout the song, the electric guitar does not have any solos but variations of its sequence are repeated throughout the structure of the song. Doing so gives the lead singers’ message more priority. The domination of the classic drum kit creates a ‘head-bobbing’ motion for some when listening to this song, helping it become more popular and an easily enjoyable song.

Darlene, played in a happy upbeat major key opens with a “one, two, three, four” allegro tempo count-in from John Bonham, which gives the song quadruple meter. Very similar to the take that eventually surfaced on “Coda”, it pummels along in friendly conjunct legato form, live in the studio style. This is clearly a consonant harmony, exemplifying verse and chorus form. Robert Plant’s vocal mix set can be detected after the “Pink carnation and a pick up truck” line. From that point he accompanies Jimmy Page’s delightful fortissimo solo adding, “I don’t care what they say, I love you anyway, I’ll drive you wild .” Like most of these Polar mixes, instead of fading out; the homophonic track grinds to a halt with a tinkling of John Paul Jones’ electric piano played mezzo forte.

Firstly, I choose the album Coat of Many Colors because of my strong love for country music. Dolly Parton is a well-known household name, and in my house is a name that is cherished. I personally believe that the 1970’s was one of country’s finest years, where the era produced many top hits. An example of one of these top hits is Parton’s Coat of Many Colors. The album also invoked my interest is learning about the ways that Parton changed country music. It is inspiring to hear about a strong female figure making her own career in a patriarchal society. This invoked my interest in the album, learning about the effects that this album had. Overall, I feel as this album personally spoke to me and intrigued me.