I listened to Dolly Parton’s new 2 1/2 hour-long ‘Rockstar’ album in one sitting. This is what I took away

Review by Dan Heching, CNN

(CNN) — It’s already a vital American truth that Dolly Parton is a national treasure, and has been for decades.

When the accolade of being inducted into the Rock and Roll Hall of Fame was heaped onto the septuagenarian singer-songwriter-actress-theme park owner and entrepreneur last year, a curious thing happened: Parton said no thank you, as politely as you’d imagine she would, because she didn’t think of herself as a luminary in the world of rock ‘n’ roll.

From there, Parton saw a challenge to become a rockstar in her own right, and after her husband suggested she do a rock album, she embarked on the journey, culminating with Friday’s release of her appropriately titled forty-ninth (!!) solo studio album, “Rockstar.”

The record is an event, clocking in at over 140 minutes with 30 tracks, plus three bonus songs on the limited edition CD. It calls to mind a not-too-long-ago era when albums were cohesive pieces of content (remember the concept of a “concept album”?).

“Rockstar” starts out gamely enough, with the original opening title track featuring Richie Sambora and including some spoken vocals that clue the listener in to the idea this is a rock album Parton wanted to make since she was a young thing.

The second track is also an original song, “World on Fire,” which dutifully tries to ruffle some feathers (like a rockstar would) by commenting on the state of the world today.

From there, the album dips heavily into some covers, and because Parton is who she is, it has the distinction of attracting an insane number of collaborators, many coming back to perform their most recognizable song, something most of them would probably not rehash if it weren’t for the chance to rehash with Dolly herself.

The results are a mixed bag. “Magic Man (Carl Version)” with Ann Wilson of Heart sounds incredible, while the less energetic “Long As I Can See the Light” with John Fogerty feels somewhat unnecessary. Other missteps include working with Kid Rock on an original track, as well as an equally unnecessary update of Queen’s “We Are the Champions/We Will Rock You.”

But it can all be forgiven by some of the “Rockstar’s” shiniest baubles, like Parton’s transcendent rendition of Prince’s “Purple Rain,” a version that feels respectful and pared down in a way that showcases her still-steely vocals. The thought occurred to me that I hadn’t heard a cover of “Purple Rain” … perhaps ever, because who would dare attempt such a thing since Prince left us? Dolly would, and it’s a good thing she did.

Another shining moment is Parton’s duet with her goddaughter Miley Cyrus for a gorgeous rework of the latter’s 2013 hit “Wrecking Ball” we didn’t know we needed.

To say Dolly lets her hair down on “Rockstar” would be an understatement, with fun moments including original team-ups with Stevie Nicks, Melissa Etheridge and Ronnie McDowell – the latter for a spirited tribute to Elvis Presley – in which their banter back and forth is just as engaging as the actual singing.

Her cover of “(I Can’t Get No) Satisfaction” by The Rolling Stones benefits from some new blood, brought by Pink and Brandi Carlile, while the immediate recognizability of songs like “Baby I Love Your Way” by Peter Frampton and “Keep on Loving You” by Kevin Cronin of REO Speedwagon make the album almost feel like a piece of sterling karaoke – and why should it be considered a bad thing?? (And yes, Frampton and Cronin come back for their respective ballads with Parton.)

Some song selections, like Elton John’s “Don’t Let the Sun Go Down On Me,” resuscitate the age-old conversation of what actually defines a rock ‘n’ roll song, but the experiment pays off thanks to Parton’s commitment.

Then there’s the nearly 8-minute-long take on “Stairway to Heaven,” featuring none other than Lizzo on her flute, which has its own name, Sasha Flute. It’s a combination of elements leading to something magical, even with the marked absence of the surviving members of Led Zeppelin.

All in all, it’s clear this was a labor of love for Parton, as heard evidently enough on tracks such as her revisit of 4 Non Blondes’ “What’s Up?” featuring Linda Perry and “Heartbreaker” with Pat Benatar and Neil Geraldo. While the immediate effect of listening to covers like these may elicit a smirk – like, really? She chose that one?! – Parton’s trademark ever-earnest nature comes through on the record in a way that is entirely hers, even with a staggering 21 cover songs in the tracklist.

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