Yes, Janie, and a good thing, too. What those albums did was present country in a form that was actually much closer to what it had been in the 40s and early 50s, before Nashville had begun to prettify the music with lush production arrangements, harmony choral backups, and orchestration. The sound was more immediate, and the use of traditional instrumentation like fiddle, mandolin, and banjo, took some C&W staples in a welcome roots direction.
The main crime of Sweetheart was that Parson's lead vocals were later overdubbed by Mcguinn, whose approximations of Gram's accent and style gave the record a slightly satirical and phony edge. Compare Christian Life which Gram, as a fan of the Louvins and a former divinity student, really meant, with Roger's yokal accent and spin on it. And I don't blame Roger for what he did, in face of a potential lawsuit by Lee Hazlewood against Columbia. But much of the gumption of the original recording was lost.