Parton embarked on the Backwoods Barbie Tour with 64 dates across North America and Europe from March through November 2008 to support the album.

[2] Parton revealed in an interview with The Republican that she planned to tour for about three months in 2007 to promote the album's release, which would be sometime in the spring or early summer.

[3] The Press Democrat covered Parton's February 2007 concert in Santa Rosa, where she revealed that the album's title had been changed to Backwoods Barbie and that it would feature a cover of Fine Young Cannibals' "She Drives Me Crazy", Smokey Robinson's "The Tracks of My Tears" and a newly recorded version of her 1966 composition "Put It Off Until Tomorrow" with Emmylou Harris and Rodney Crowell.

[4] Parton told The Las Vegas City Life that she had recorded a song for the album titled "Just a Wee Bit Gay" about a woman and her in-the-closet husband.

[8] It was confirmed by Danny Nozell to Billboard in August 2007 that the album was scheduled for a February 2008 release on Parton's new label, Dolly Records.

[10] The previously announced new version of "Put It Off Until Tomorrow" with Emmylou Harris and Rodney Crowell also failed to make the final track listing.

The music video for "Jesus & Gravity", directed by Steve Lippman, premiered on Perez Hilton's website on April 14 and was uploaded to Parton's YouTube channel later that day.

It also shows Parton walking through her childhood home in the Smoky Mountains (these shots were actually filmed at the Disney Ranch in California) and features a young Dolly applying homemade make-up of poke berries and burnt matches.

"[20] Jon Pareles of The New York Times gave a positive review, saying that "once again she's the voice of rural innocence all dressed up in big-city trappings, and still coming through as herself.

"[16] Writing for AllMusic, Steve Leggett gave the album three and a half stars and said, "Backwoods Barbie might not break the bank out there, and it would take a good deal of marketing and luck for any of these tracks to hit the top of the new country charts, but it shows that Parton can still deliver the package in fine style and only the fools among us would ever count her down and out, no matter how many bluegrass albums she does.

She also succeeds in producing a record that, after years of fine niche efforts in bluegrass and gospel, could actually make a bid for mainstream country radio airplay.

"[23] The Los Angeles Times felt that "the ratio of less-memorable tracks is higher than on those recent bluegrass outings, but there's enough of the Parton who is one of the greatest country writers and singers of the last half-decade to make it worth hearing.

"[16] Rolling Stone also gave a mixed review saying that too much of the album "comes off like the overproduced twang of younger country ingénues who try to sound like Dolly Parton.