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Even the most educated ear will struggle to tell Womack and Parton apart, and in this context, this is most definitely a good thing. Norah Jones and Lee Ann Womack join La Parton on harmonies. And it never will.įortunately, and curiously, it’s Parton’s arrangement of the insufferably twee “Where Have All the Flowers Gone?” that revives Those Were the Days. Putting a little Nickel Creek bluegrass - presumably Bob had a previous engagement - under such a hackneyed old piece of pig’s ear does not make it a silken purse. It’s not as bad as Neil Young’s attempt, admittedly, but still, there are limits. Next up, a pedestrian version of “Blowing in the Wind” threatens to throttle Those Were the Days at birth. I hope you found all those facts interesting, because they’re significantly more fascinating than Parton’s lettuce-limp version of “Those Were the Days”, which sounds every bit as authentic as a three dollar bill and as much fun as a root canal in a back street dentist’s office. Something that could never be said about “Hey Jude”. Indeed, “Those Were the Days” was subsequently adopted for use at British football matches, where it is still in use today. Hopkin’s “Those Were the Days” was released simultaneously with the Beatles’ “Hey Jude” as the twin debut singles from the mop-tops’ fledgling Apple Records, and it was every bit as successful as Hopkin’s mentor’s own sing-along song. And it was only when Paul McCartney recruited Welsh teenager Hopkin to record the song in 1968 that it became little short of a sensation. It was in 1962, when Gene Raskin penned a set of English lyrics, that it became popular in the West. Although the song is mostly known as “Mary Hopkin’s ‘Those Were the Days'”, the origins of the melody are Russian and date from the 19th century.
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Inevitably, Parton starts with “Those Were the Days”. In a way, this is the story of the album as a whole. I loathe this song with a vengeance, and yet by the time she’s finished with it, Parton has me entirely on her side. The last song on Those Were the Days is “Imagine”. Sadly, of course, the First Lady of Country now stands accused of being a hippie. Having covered “Stairway to Heaven” on the last of those studio albums, she’s finally succumbed to the obvious temptation and recorded a covers album that features a dozen songs from the ’60s and ’70s, drafting in an all-star cast of supporting characters and as many of the original artists as she could track down. Now, following her recent live album, she’s turned her tonsils to something slightly different. Parton has released a trio of top notch bluegrass, country, and old time albums for Sugar Hill Records: The Grass Is Blue, Little Sparrow, and Halos and Horns.