On November 17, 2023, Dolly Parton, beloved country star, released “Rockstar,” a two-hour cover album of rock standards with a few original tracks sprinkled throughout. Several covers also feature guest vocals from the original artists (Debbie Harry, Joan Jett, Sting, Kevin Cronin, and so on).

In February 2022, controversy arose when Parton was nominated to join the Rock & Roll Hall of Fame. At first, she declined, stating that she did not belong due to being a country performer. However, in April, she reconsidered her stance, telling NPR, “I’ll accept gracefully.”

It appeared that she was going to do just that: enter the quietly and gracefully, like other non-rock performers that had also been nominated.

Instead, she brought us “Rockstar” as her way of proving herself. The concept sounds reasonable in theory. Invite some of classic rock’s biggest singers to sing alongside Parton to give both her and themselves a little ego boost and the audience rock nostalgia, write a few original songs, and call it a day. It could be the ultimate rock album, a rock ‘n’ roll  extravaganza.

Unfortunately, this is not that.

While Parton’s venture into rock can be admired creatively, the album does not give much hope that she will be become the rockstar that the title promises. This is not to say that she cannot be one on top of a country singer. Parton has crossed over into other genres, mainly pop, before and has been fine.

Here, she struggles while giving a few good performances in between. This album falters in two major places: the covers that were recorded and Parton’s voice, or rather, what was left of it.

The choice to have mostly covers on the album is not a bad idea in and of itself.

Well-known covers already have mass appeal as opposed to an original song, which the artist takes a chance on releasing. Throw in some covers identical in sound to a beloved classic, get the original performers to hype it up on social media, and you have got an album that may grab some Grammy nominations. It might even win an award or two.

For “Rockstar,” the songs that have been recorded are the same ones that have been covered ad nauseam on album after album, making for a tired listening experience. “Stairway to Heaven” is often regarded as one of, if not the, greatest rock song by music fans, but to listen to someone else do it again and not do the song justice hurts. During the soft beginning, Parton does fine, but as it progresses and reaches its exciting climax, she wavers. When she holds the note for the line, “I wanna be a rock and not a roll,” it is not strong or loud enough to the point that listeners could distinguish where Parton’s voice ends and the wailing guitars begin. She has already performed the song on her 2002 album “Halos and Horns.” It could be her voice aging over 20 years or the production trying to capture the scope of the original song that renders it too much to take in. It could be both.

That mixes well into the second point, regarding Parton’s voice and the album’s production job.

Someone who has had a career as longstanding as Parton’s cannot be expected to sound just as they did at their peak. If they do, that is a remarkable gift. If not, then performers may settle into a singing style that still shows off their range in a way that makes people say, “Hey, they’ve still got it! And at their age too.”

Parton is difficult, annoying even, to listen to on this album. Despite her love for rock music and her attempt to cover these songs, it is a chore to get through. The fact that this album is two hours and 21 minutes long does not make it any easier. There are too many songs, and the choices resemble that of a local karaoke night. “(I Can’t Get No) Satisfaction,” “I Hate Myself for Loving You,” “We Are the Champions/We Will Rock You,” and “Free Bird,” among others are included.

But covers are about making the song unique to the artists. It is their spin on a beloved song. We are not all gifted with pipes like Robert Plant or Ann Wilson, so all we can do is hit the notes correctly and try to lend part of ourselves to the music. That is a cover well done.

The covers themselves are faithful, but plain. The instrumentals are too identical, making the songs less unique in execution. However, note-for-note replications are nothing compared to the production and its effects on Parton’s voice.

Parton is a lovely singer. Her distinct twang and subtle power make her a sweet, yet feisty performer. She is someone who may be performing in a glitzy gown, but can, with a look, let you know that she owns the room.

On “Rockstar,” Parton is not faring too well vocally. She struggles through squeaks and warbles, notably during the covers where she has to belt out the notes or raise her voice. She also seems to fight through taking brief breaths. The production causing her voice to sound distorted could be out of an attempt to make her sound better than she is, though it does no favors.

Notable examples in which this is obvious is in “Magic Man,” “Heart of Glass,” “Stairway to Heaven” and “(I Can’t Get No) Satisfaction.”

Her voice quivers through these songs, with “Heart of Glass” being especially hard to get through. The Blondie classic now sounds as though it was autotuned. If the production was trying to capture the new-wave sound in which the song was originally recorded in, embracing the disco feel, then what is left is a track that does not make Parton or Debbie Harry, who guest features, sound capable of singing. Their voices are too shaky.

In terms of Parton’s voice overall, the problem is not that she cannot sing anything, it is just that she may have been pushing her vocal range too far. When she can sing a slow, lower ballad, she shines. She is allowed to because the producers backed off, giving listeners the chance to hear her actual voice. Check out “What Has Rock and Roll Ever Done for Me,” “Every Breath You Take,” and “Baby, I Love Your Way.”

Her original tracks are also quite good. “World on Fire,” a song that some could view as another singer from a past generation moaning about the current state of the world, is a poignant critique that hits hard on sincerity and its message of finding peace. The title track tries to place Parton into a storyline in which she is a young aspiring rock star practicing in her bedroom, despite her parents who say otherwise. It does feel odd due to her age and musical background, though. She is not a rock star, and that is meant with respect to her legacy as an artist and entertainer.

Her best bet is to relax, hold back on the larger-than-life production trying to make it sound as big as possible and let us hear her voice more often. The Steven Tyler duet, “I Want You Back,” is also a fun ballad that shows her voice off well.

Fans likely would have rather seen a shorter album or something a bit more unique than what they were given. Cut most of the covers and leave the nine original tracks and one or two covers. Overall, while Parton makes a good effort to step into rock, “Rockstar” comes off as overdone and overwhelming.