Dolly Parton’s singular voice takes centre stage with rock’s big names in her new album Rockstar

Parton had been nominated for induction to the Rock ’N’ Roll Hall of fame last year. She initially declined, saying her background was in country music, not rock. But she relented after announcing an intention to record a bona fide rock album. And here it is.

The 77-year-old singer has called upon an enormous number of big-name rock stars to help her realise her vision. Deep breath: Paul McCartney, Ringo Starr, Steven Tyler, Debbie Harry, Stevie Nicks, Mick Fleetwood, Sting… And they’re just the ones in their 70s and 80s. There are also appearances from Kid Rock, Simon Le Bon, Linda Perry, Lizzo, Pink and Parton’s goddaughter Miley Cyrus. And that is far from the full cast.

The country queen is clearly having a lot of fun here and only the most churlish would be disinclined to join in

At the centre of it all is Parton’s singular voice — and although there are nine original compositions, it’s what she does with old rock standards and newer songs only tangentially associated with the genre that makes the enterprise worthwhile.

The country queen is clearly having a lot of fun here and only the most churlish would be disinclined to join in. There’s a suitably rip-roaring take on Let It Be, with McCartney and Starr lustily singing along, while Every Breath You Take works especially well with Parton capturing the stalkerish aspect of the Police song.

Several of the covers don’t test her at all and, truthfully, the world does not need any covers of We Are the Champions — even the Queen version should only come out of cold storage for genuine sporting triumphs.

She’s on much more interesting ground when taking comparatively newer songs and stamping her own mark on them. That’s the case on Wrecking Ball, which Miley Cyrus had a big hit with 10 years ago. In Dolly’s hands, it’s reworked as a 1980s-style power rock ballad.

But just how much ‘rock’ is in Rockstar? There are lashing of electric guitars and meaty rhythm sections, but Parton’s country roots are rarely far away.

Of the originals, the most curious is I Dreamed About Elvis, a jaunty, hokey number that features an Elvis impression from country veteran Ronnie McDowell (who’s probably best known for his 1977 tribute song, The King is Gone). It’s far from a classic, but it finds Parton singing a snatch of her single I Will Always Love You. Presley had wanted to record it, but Parton blocked it as his manager Colonel Tom Parker had demanded at least half of the publishing rights.