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专辑中文名: All I Can Do – New Harvest…First Gathering
歌手: Dolly Parton
资源格式: MP3
版本: Remastered
发行时间: 2007年03月05日
地区: 美国
语言: 英语
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专辑介绍：
Dolly Parton —— 美国乡村音乐的常青树。
一般人都知道Dolly Parton有一副温婉的金嗓子，也知道她有着特别“宏伟”的胸部，但知道Parton还有一副超乎常人的商人头脑的人恐怕就不多了。这位现年55岁的美国乡村歌手，在其30多年的职业生涯里，演绎了无数乡村音乐的经典名曲，早已成为像Frank Sinatra那样的国际巨星。更让人惊叹不已的是，1986年她还不顾所有人的反对，坚持在家乡田纳西州的Pigeon Forge建立了名为“多莉山”(Dollywood)的主题公园。正是这一当初不招人待见的项目现在每年却给Dolly Parton创造着约3000万美元的纯利，使得她可以衣食无忧地安心于自己的音乐创作。
在第43届格莱美大奖上，这位已多次荣获“格莱美”大奖的乡村歌坛的常青树又获得了两项提名：《巡游祷告者》(Travelin’Prayer)；获最佳乡村歌曲女表演奖提名，《草是蓝色的》 (TheGrass Is Blue)；获最佳“蓝草”专辑提名。不仅如此，这位老而弥坚的歌星还在“格莱美”颁奖礼上作为特约嘉宾作精彩表演。
身高仅1米54的Dolly Parton是美国田纳西“烟山”地区一个有12个孩子的穷苦家庭中的老四。Parton的父母为负担这个庞大的家庭的衣食起居可以说是操碎了心。正是因为这样一种家庭环境，Dolly Parton的成长史简直可以说就是一部有关一个乡村女孩如何追求名声与财富以逃脱命运的苦海的经典教科书。从小就热爱歌唱的Parton在叔叔的帮助下，10岁便开始在电视上进行表演。1964年自高中毕业后，她便下定决心要成为一名乡村音乐的歌星。
现在的Parton早已功成名就，但她却从未脱离过她当年曾经极力逃避的故土与亲情。所以，最近老父亲的去世给Parton带来的打击比人们想象的要大得多。Parton在一家酒吧还曾为故去的父亲深情地唱起那首催人泪下的《斑驳的外套》(Coat of Many Colors)。当时，不仅Parton哭了，乐队哭了，台下的听众也被感动得热泪盈眶。
在多年的职业生涯里，Parton也曾经涉足于流行乐坛甚至好来坞电影界，但她始终没有忘却培养与造就了她的乡村音乐。近三年来，她接连发行的三部曲式的专辑《再次饥饿》(Hungary Again)、《草是蓝色的》(The Grass Is Blue)和《小麻雀》(Little Sparrow)则更加返璞归真――后两张专辑属于乡村音乐中更为纯净的“蓝草音乐”。
It’s difficult to find a country performer who has moved from country roots to international fame more successfully than Dolly Parton. Her autobiographical single “Coat of Many Colors” shows the poverty of growing up one of 12 children on a run-down farm in Locust Ridge, TN. At 12 years old she was appearing on Knoxville television; at 13 she was recording on a small label and appearing on the Grand Ole Opry. Her 1967 hit “Dumb Blonde” (which she’s not) caught Porter Wagoner’s ear, and he hired Parton to appear on his television show, where their duet numbers became famous. By the time her “Joshua” reached number one in 1970, Parton’s fame had overshadowed the boss’, and she had struck out on her own, though still recording duets with him. During the mid-’70s, she established herself as a country superstar, crossing over into the pop mainstream in the early ’80s, when she smoothed out the rough edges in her music and began singing pop as well as country. In the early ’80s, she also began appearing in movies, most notably the hit 9 to 5. Though her savvy marketing, image manipulation — her big, dumb blond stage persona is an act — extracurricular forays into film, and her flirtations with country-pop have occasionally overshadowed her music, at her core Parton is a country gal and a tremendously gifted singer/songwriter. Among her classics are “Coat of Many Colors,” “Jolene,” “Kentucky Gambler,” “I Will Always Love You,” “But You Known I Love You,” and “Tennessee Homesick Blues,” and they give a hint to why her contribution to bringing country music to a wide audience, not only in America but throughout the world, cannot be underestimated.
The fourth of 12 children, Parton was born and raised in Locust Ridge, TN, just next to the Smoky Mountains National Forest. Parton’s family struggled to survive throughout her childhood, and often she was ridiculed for her poverty, yet often music soothed their worries. Though her farming father did not play, her half-Cherokee mother played guitar and her grandfather Reverend Jake Owens was a fiddler and songwriter (his “Singing His Praise” was recorded by Kitty Wells). When she was seven, her uncle Bill Owens gave her a guitar, and within three years she became a regular on WIVK Knoxville’s The Cas Walker Farm and Home Hour. Over the next two years, her career steadily increased, and in 1959 she made her debut on the Grand Ole Opry; the following year, she recorded her first single, “Puppy Love,” for Goldband.
When she was 14 years old, Parton signed to Mercury Records, but her 1962 debut for the label, “It’s Sure Gonna Hurt,” was a bomb and the label immediately dropped her. Over the next five years, she shopped for a new contract and did indeed record a number of songs, which were later reissued through budget-line records. She continued to attend high school, playing snare drum in the marching band. After she graduated, she moved to Nashville where she stayed with Bill Owens. Both songwriters pitched songs across Nashville to no success, and Parton began singing on demos. Early in 1965, both Parton and Owens finally found work when Fred Foster signed them to his publishing house, Combine Music; Foster subsequently signed her to Monument Records. Parton’s first records for Monument were marketed to pop audiences, and her second record, “Happy, Happy Birthday Baby,” nearly made the charts. In 1966, Bill Phillips took two of Parton’s and Owens’ songs — “Put It Off Until Tomorrow” and “The Company You Keep” — to the Top Ten, setting the stage for Parton’s breakthrough single, “Dumb Blonde.” Released early in 1967, the record climbed to number 24, followed shortly afterward by the number 17 “Something Fishy.”
The two hit Monument singles attracted the attention of country star Porter Wagoner, who was looking to hire a new female singer for his syndicated television show. Parton accepted the offer and began appearing on the show on September 5, 1967. Initially, Wagoner’s audience was reluctant to warm to Parton and chanted for Norma Jean, the singer she replaced, but with Wagoner’s assistance, she was accepted. Wagoner convinced his label, RCA, to also sign Parton. Since female performers were not particularly popular in the late ’60s, the label decided to protect their investment by releasing her first single as a duet with Wagoner. The duo’s first single, “The Last Thing on My Mind,” reached the country Top Ten early in 1968, launching a six-year streak of virtually uninterrupted Top Ten singles. Parton’s first solo single, “Just Because I’m a Woman,” was released in the summer of 1968 and was a moderate hit, reaching number 17. For the remainder of the decade, none of her solo efforts — even “In the Good Old Days (When Times Were Bad),” which would later become a standard — were as successful as her duets. The duo was named Vocal Group of the Year in 1968 by the Country Music Association, but Parton’s solo records were continually ignored. Wagoner and Parton were both frustrated by her lack of solo success, because he had a significant financial stake in her future — as of 1969, he was her co-producer and owned nearly half of the publishing company Owepar.
By 1970, both Parton and Wagoner had grown frustrated by her lack of solo success, and Porter had her sing Jimmie Rodgers’ “Mule Skinner Blues (Blue Yodel No. 8),” a gimmick that worked. The record shot to number three on the charts, followed closely by her first number one single, “Joshua.” For the next two years, she had a number of solo hits — including her signature song “Coat of Many Colors” (number four, 1971) — in addition to her duets. Though she had successful singles, none of them were blockbusters until “Jolene” reached number one in early 1974. Parton stopped traveling with Wagoner after its release, yet she continued to appear on television and sing duets with him until 1976.
Once she left Wagoner, Parton’s records became more eclectic and diverse, ranging from the ballad “I Will Always Love You” (number one, 1974) and the racy “The Bargain Store” (number one, 1975) to the crossover pop of “Here You Come Again” (number one, 1977) and the disco experiments of “Baby I’m Burning” (number 25 pop, 1978). From 1974 to 1980, she consistently charted in the country Top Ten, with no less than eight singles reaching number one. Parton had her own syndicated television show, Dolly, in 1976 and by the next year had gained the right to produce her own albums, which immediately resulted in diverse efforts like 1977’s New Harvest…First Gathering. In addition to her own hits during the late ’70s, many artists, from Rose Maddox and Kitty Wells to Olivia Newton-John, Emmylou Harris, and Linda Ronstadt, covered her songs, and her siblings Randy and Stella received recording contracts of their own.
Though she was quite popular, Parton became a genuine superstar in 1977, when the Barry Mann/Cynthia Weil song “Here You Come Again” became a huge crossover hit, reaching number three on the pop charts, spending five weeks at the top of the country charts, and going gold. Its accompanying album went platinum and the follow-up, Heartbreaker, went gold. Soon, she was on the cover of country and mainstream publications alike. With the new financial windfall, a lawsuit against Wagoner — who had received a significant portion of her royalties — ensued. By the time it was settled, she regained her copyrights while Wagoner was given a nominal fee and the studio the duo shared. In the wake of the lawsuit, a delayed duet album, Making Plans, appeared in 1980; its title track hit number two on the country charts.
Parton’s commercial success continued to grow during 1980, as she had three number one hits in a row: the Donna Summer-written “Starting Over Again,” “Old Flames (Can’t Hold a Candle to You),” and “9 to 5.” The latter was the theme song to Parton’s acting debut, 9 to 5. Also starring Jane Fonda and Lily Tomlin, the movie became a huge success, establishing Parton as a movie star. The song became her first number one pop single, as well. 9 to 5 gave Parton’s career momentum that lasted throughout the early ’80s. She began appearing in more films, including the Burt Reynolds musical The Best Little Whorehouse in Texas (1982) and the Sylvester Stallone comedy Rhinestone (1984). Parton’s singles continued to appear consistently in the country Top Ten: between 1981 and 1985, she had 12 Top Ten hits and half of those were number one singles. Parton continued to make inroads on the pop charts as well with a re-recorded version of “I Will Always Love You” from The Best Little Whorehouse in Texas scraping the Top 50 and her Kenny Rogers duet “Islands in the Stream” (which was written by the Bee Gees and produced by Barry Gibb) spending two weeks at number one.
However, by 1985 many old-time fans had felt that Parton was spending too much time courting the mainstream. Most of her albums were dominated by the adult contemporary pop of songs like “Islands in the Stream,” and it had been years since she had sung straightforward country. She also continued to explore new business and entertainment ventures such as her Dollywood theme park, which opened in 1985. Despite these misgivings, she had continued to chart well until 1986, when none of her singles reached the Top Ten. RCA Records didn’t renew her contract after it expired that year, and she signed with Columbia in 1987.
Before she released her Columbia debut, Parton joined forces with Linda Ronstadt and Emmylou Harris to record the rootsy Trio album. Trio became a huge hit, earning both critical and popular acclaim, selling over a million copies, and peaking at number six on the pop charts; it also spawned three Top Ten country singles: “To Know Him Is to Love Him,” “Telling Me Lies,” and “Those Memories of You.” Following the success of the album, she had a weekly variety television show, Dolly, on ABC that lasted only one season. Trio also provided a perfect launching pad for her first Columbia album, 1989’s White Limozeen, which produced two number one hits in “Why’d You Come in Here Lookin’ Like That” and “Yellow Roses.”
Though it looked like Parton’s career had been revived, it was actually just a brief revival before contemporary country came along in the early ’90s and pushed all veteran artists out of the charts. Parton had a number one duet with Ricky Van Shelton, “Rockin’ Years,” in 1991, but after that single, she slowly crept out of the Top Ten and later the Top 40. Parton was one of the most outspoken critics of radio’s treatment of older stars. While her sales had declined, she didn’t disappear. Despite her lack of sales, Parton remained an iconic figure in country music, appearing in films (the 1991 TV-movie Wild Texas Wind, 1992’s Straight Talk), selling out concerts, and releasing a series of acclaimed albums — including 1993’s Honky Tonk Angels, a collaboration with Tammy Wynette and Loretta Lynn — that all sold respectably. Furthermore, “I Will Always Love You” was covered in 1992 by Whitney Houston, who took it to number one on the pop charts; the single spent 14 weeks at number one, becoming the biggest pop hit of the rock & roll era (it was unseated four years later by Mariah Carey and Boyz II Men’s “One Sweet Day”).
In 1994, Parton published her autobiography, My Life and Other Unfinished Business. Treasures, her 1996 album, was a praised collection of unusual covers, ranging from Merle Haggard to Neil Young. Hungry Again followed in 1998, and early the following year she reunited with Ronstadt and Harris for a second Trio collection in addition to releasing the solo The Grass Is Blue. A rootsy effort, it was well received and prompted the release of more recordings like it on Little Sparrow from 2001 and Halos & Horns from 2002. The patriotic For God and Country appeared in 2003 and was followed by the CD and DVD Live and Well a year later. Those Were the Days from 2005 found Parton covering her favorite pop songs from the ’60s and ’70s.
专辑曲目:
01. All I Can Do
02. Fire That Keeps You Warm
03. When the Sun Goes Down Tomorrow
04. I’m a Drifter
05. Falling Out of Love with Me
06. Shattered Image
07. Boulder to Birmingham
08. Preacher Tom
09. Life’s Like Poetry
10. Hey, Lucky Lady
11. Light of a Clear Blue Morning
12. Applejack
13. My Girl (My Love)
14. Holdin’ on to You
15. You Are
16. How Does It Feel
17. Where Beauty Lives in Memory
18. (Your Love Has Lifted Me) Higher and Higher
19. Getting in My Way
20. There
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