Continuing my countdown of the songs on Beyoncé’s Cowboy Carter…
#19. ‘Jolene’
A Beyoncé cover of one of country’s most iconic songs — Dolly Parton’s ‘Jolene’ — should be a reason to celebrate. And this one is certainly a fun listen.
I do wish Queen Bey had delivered a faithful interpretation, though, rather than rewrite it as a rebuke to the woman trying to split up a marriage. The vulnerability, jealousy, and insecurity of the original is refreshingly, relateably human. This is a song that should have no room for bravado.
Or maybe flipping the script in that way is just the thought-provoking exercise an album this adventurous needs. I can see both arguments.
#18. ‘Riiverdance’
I love the sound and instrumentation of this track — including Beyoncé using her fingernails as percussion in another nod to Dolly Parton. The repetition of certain phrases can be a bit much at times, which costs the song a few slots in the ranking.
#17. ‘My Rose’
This is the shortest of Cowboy Carter‘s mini songs, clocking in at just 53 seconds. Beyoncé makes the most of that time, though, delivering some of the album’s loveliest harmonies on a sweeter lullaby than ‘Protector.’
Jolene, Jolene, Jolene, Jolene
I’m warnin’ you, don’t come for my man (Jolene)
Jolene, Jolene, Jolene, Jolene
Don’t take the chance because you think you can
[Verse 1]
You’re beautiful, beyond compare
Takes more than beauty and seductive stares
To come between a family and a happy man
Jolene, I’m a woman too
Thе games you play are nothing new
So you don’t want no hеat with me, Jolene
We’ve been deep in love for twenty years
I raised that man, I raised his kids
I know my man better than he knows himself (Yeah, what?)
I can easily understand
Why you’re attracted to my man
But you don’t want this smoke, so shoot your shot with someone else (You heard me)
[Chorus]
Jolene, Jolene, Jolene, Jolene
I’m warnin’ you, woman, find you your own man
Jolene, I know I’m a queen, Jolene
I’m still a Creole banjee bitch from Louisiane (Don’t try me)
[Verse 2]
There’s a thousand girls in every room
That act as desperate as you do
You a bird, go on and sing your tune, Jolene (What?)
I had to have this talk with you
‘Cause I hate to have to act a fool
Your peace depends on how you move, Jolene
[Bridge]
Me and my man crossed those valleys
Highs and lows and everything between
Good deeds roll in like tumblin’ weeds
I sleep good, happy
‘Cause you can’t dig up our planted seeds
I know my man’s gon’ stand by me, breathin’ in my gentle breeze
I crossed those valleys
Highs and lows and everything between
Good deeds roll in like tumblin’ weeds
Good and happy
‘Cause you can’t dig up them planted seeds
Jolene, Jolene, Jolene, Jolene, Jolene
I’ma stand by her, she gon’ stand by me, Jolene
[Outro]
I’ma stand by him, he gon’ stand by me
(I’ma stand by her, she gon’ stand by me)
I’ma stand by him, he gon’ stand by me, Jolene
Meet Me In Montauk 
I think the reworking of the lyrics so as to empower the singer and make her less of a victim is Beyoncé’s way of dealing with Jay Z’s infidelities.
I like the changes. If you are going to do a cover, particularly of such a known, iconic song, you should put your own spin on it.
Riiverdance at #18 is a little crazy, but I’ll allow it.
It’s been fun to listen to the album in order on a loop once again – it’s such a cohesive piece. I don’t envy the task of ranking it at all.
I do hear both arguments on the ‘Jolene’ front. When I first heard this cover, I was just smiling along with the changes and enjoying everything new. Having that Dolly sign off leading into the track does wonders as well. But at the end of the day I don’t think it hurts to have both interpretations. And it is meaningful to have a woman who is absolutely secure in her relationship (if we’re to assume this is Beyoncé’s POV – secure now in spite of past rockiness) encounter Jolene and deliver a warning rather than a pleading.
“I’m still a Creole banjee bitch from Louisiane (Don’t try me)” holds up as one of my favorite moments in an absolutely stacked album.
I do love that line as well 😀
I was reminded today of a song by Miranda Lambert called ‘Geraldene’ that takes a similar approach. It’s a more aggressive take on ‘Jolene’ that name-checks the earlier song but is otherwise new. I might have preferred this kind of a thing from Beyoncé rather than a cover with new lyrics.
I’m guessing Dolly prefers sharing a songwriting credit with Beyoncé.