Dolly Parton, 'Better Day'
Times are hard, but Dolly's here with a new album – and her trademark look-on-the-bright-side attitude – to tell you it's not all that bad. "Grindstones and rhinestones, that made up my life" – you know it, drag queens – "but I've shined like a diamond through sacrifice." And she does, making her cheery 12-track disc of original material a satisfying hit of happiness. This is pure Dolly, and the country legend is as charismatic and charming as ever on her 41st LP, which opens with her words-of-wisdom paean "In the Meantime." That song – and the couple that follow, like the beautifully harmonized ballad "Somebody's Missing You" – keep it traditional until the Disney-made cutesiness called "Together You and I." She follows it with "Country is as Country Does," a reminder that she hasn't forgotten her down-home roots – and good thing; this one's a splendidly sassy hoedown ditty. "Holding Everything" is a soaring sequel to her "I Will Always Love You" classic; "Better Day" is a bluesy talk-sing song that few could pull off. Both leave you fuzzy. Even at her most woebegone with "I Just Might," she's a fierce survivor. On "Better Day," Dolly's persona lets her get away with more than most artists could; she's sometimes shamelessly corny, delivering one-liners like "I'm quite content with who I am, and if you ain't, well kiss my ham." Always true to herself, it's hard not to always love her. Grade: A-
Vanessa Carlton, 'Rabbits on the Run'
On Vanessa Carlton's fourth album, it's like she's walked a thousand miles – from that image of the pop balladeer she once was. The ballads are there on "Rabbits on the Run," but they take on a Tori-lite sound, with that same etherealness. Having come out as bisexual last year and signing to an indie label could be catalysts for the sense of freedom she thankfully employs on this project, made of 10 songs that are as intimate as she's ever been. "Carousel" begins familiarly, and then drifts into a dreamy soundscape that sucks you in with its enchanting use of handclaps, orchestral airiness and Carlton's underrated voice. That's especially true on "Hear the Bells," where she hauntingly sings in her lower register – and sounds brilliantly moody doing so. "Fairweather Friend" builds like a Coldplay triumph; "Get Good" relies on guitar instead of piano to drive a hearty melody; and she takes a chance with "In the End," the closing piano ballad a la Sarah McLachlan's "Last Dance." Sonically, some of "Rabbits on the Run" is monotonous, and absolutely none of it sounds radio-made – though the jaunty "Tall Tales for Spring" or the almost-Taylor Swift "I Don't Want to Be a Bride" would probably have the broadest appeal. But this album's not meant for mainstream. And with music this good, so what? Grade: B
Also Out
Weird Al Yankovic, 'Alpocalypse'
A lot has happened in the five years since Weird Al's last album – like Lady Gaga, the muse for two songs on the music satirist's new installment of pop-song parodies. Besides the ridiculous and appropriately over-the-top "Perform This Way," he does his own version of "Poker Face" – called "Polka Face" – as a melody of mainstream hits. Elsewhere, he takes on celebrity-obsessed culture, forwarded junk emails and Craigslist – all are on point, and often very funny. But who knew he was romantic? On "If That Isn't Love," he charms with this lovely bit: "You're so beautiful you make a glorious sunset look like a big fat turd." Aww, thank you?
Gillian Welch, 'The Harrow & the Harvest'
The Americana legend's first album in eight years isn't an easy one. Its deep South-sounding ruminations on poverty, addiction and death (why of course) are nitty-gritty songs. Not even a Xanax could lift these up, and that's just fine – because, for the most part, Welch strangely soothes, even though none of the songs rise above a simmering tempo. Her bare-bones approach on traditionalism works especially well on "Hard Times," an encouraging nudge. The rest hits you hard, even if you don't actually know what hit you. It's one of the best kinds of albums, revealing itself slowly over time and making you feel something – even if all you feel is human.
