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Jolene, Jolene Jolene, Jolene...
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In the mid-'70s, Dolly Parton, the Tennessee mountain girl,
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was Nashville's leading female star.
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Meanwhile, over in California,
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baby boomers were discovering their own kind of country.
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I don't want your lonely mansion
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With a tear in every room...
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Linda Ronstadt, the West Coast country rock chick,
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was the biggest female pop star in America.
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And former folkie Emmylou Harris had gone from student to band leader
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and was taking country to the college crowd.
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Oh, Amarillo
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Now he won't come home no more...
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Three women from different backgrounds,
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with different audiences, but sisters in song.
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Silver threads and golden needles
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Cannot mend this heart of mine...
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Come in here.
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ALL: Silver threads and golden needles
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Cannot mend...
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All of a sudden, it was like, "Oh, my goodness,
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"this is such a great sound!"
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It was like, "Bam!" That sound was there,
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and we just were all kind of shocked by it.
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Well, he may know where I am sleeping
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Then perhaps he'll wait for me...
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Mainstream country had met West Coast cool
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and formed an unlikely alliance.
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'Emmy and Linda were both really shy and introverted girls.'
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Not Dolly. HE LAUGHS
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She was like shot out of a cannon.
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Howdy, partners!
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For Dolly, it was a reaching out into a different audience.
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And for Linda and Emmylou, it was honouring the music of Dolly Parton.
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They could have come from different countries,
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but they all loved mountain music.
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She had this authenticity, with that mountain music, that we both loved.
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Until the day
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They lay me
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Down.
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'They came from Scotland and Ireland mostly.
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'Plainish people.
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'With dry humour and gunpowder tempers.
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'Sentimental, too.
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'Lovers of song and respecters of God.'
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Dolly Rebecca Parton was born and raised in East Tennessee,
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the fourth of 12 children. Growing up dirt poor,
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she had big ambitions and dreamt of becoming a star.
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She wrote her first song aged seven, and music was her route to the top.
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There's that mountain sound that those people sing.
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And that's just built in my whole body.
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Those old mountain twirls and twists and things,
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it's just part of my Smoky Mountain DNA.
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In 1964, the 18-year-old Dolly headed to Nashville
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in the attempt to become a country star.
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Everybody knew the Grand Ole Opry came from Nashville.
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It's kind of all the people that want to be on Broadway, it's like,
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"We want to go to New York."
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So if you're a country singer, you want to go to Nashville.
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To much of the rest of America, the South was stuck in the past.
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The home of hillbillies, where girl singers were second-class citizens.
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Now, ladies and gentlemen, we'd like you to meet our little lady singer.
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She's an excellent songwriter, an outstanding artist.
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A very devoted wife and mother. A wonderful cook.
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She has a voice like an angel and a face to match.
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Let's meet and greet our little lady singer, Loretta Lynn. Here she is.
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I don't know your name
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I wouldn't know your face
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But you're out with the one I love
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Out there someplace...
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I loved Nashville because that's where I knew my dreams were
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going to come true, if they were going to come true at all,
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they were going to start there.
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Dolly's combination of homespun songwriting and showbiz smarts
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made her popular with the Nashville audience,
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and she scooped a record deal.
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Well, a good ways down the railroad track
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There was this little old rundown shack
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And in it lived a man I'd never seen
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Folks said he was a mean and a vicious man
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And you better not set foot on his land
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But I didn't think nobody could be that mean...
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I think Dolly always wanted to be a star,
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which I found incredibly sweet and innocent.
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You know, because she's done it. In an extraordinary way.
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But it comes from a place that's...
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When you're young and you have those dreams,
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and she was able to keep hold of that.
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'And now, in colour, it's The Porter Wagoner Show,
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'starring Porter Wagoner and the Wagonmasters,
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'with Speck Rhodes and Dolly Parton.'
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We're so glad to see you Kinda wondered how you been...
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And in 1967, Dolly became the girl singer
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for one of Nashville's biggest stars.
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Thank you, Dolly, and all the boys there, for helping me out.
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Dolly Parton had cut her teeth
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as the featured female artist in The Porter Wagoner Show.
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It was a very traditional type of role for a female artist.
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Often they weren't headliners. Even, you know, by the late 1960s,
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only a handful of female artists had really headlined their own show.
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It's a lesson too late for the learning
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Made of sand, made of sand
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In the wink of an eye my soul is turning
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In your hand, in your hand...
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Over on the East Coast, 19-year-old folk music lover
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Emmylou Harris was getting switched on to the music of this country duo.
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My brother was a big country music fan.
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And he said, "I want to play you something."
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And it was Dolly and Porter,
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but they were doing a Tom Paxton song, The Last Thing On My Mind.
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I could have loved you better
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Didn't mean to be unkind
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You know that was the last thing on my mind...
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I loved those duets with Porter.
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And of course Dolly's voice on that is so...
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When she sang with Porter,
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it was such a beautiful springboard for her voice.
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My coat of many colours
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That my papa made for me
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Made only from rags
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But I wore it so proudly...
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When a young Linda Ronstadt visited Nashville,
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she discovered Dolly was smarter than she chose to appear.
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I was invited to the Grand Ole Opry when I was in Tennessee,
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and Dolly was on stage
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singing with about a million petticoats in her skirt,
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just stacked out to there, her hair all up to there and her high heels.
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And she just looked like a beautiful Christmas tree.
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I mean, it was just a sight to behold, she was gorgeous.
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I know we had no money
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But I was rich as I could be
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In my coat of many colours
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My momma made for me
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Made just for me.
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She said, "Don't think I'm dumb just because I'm so country."
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It had not occurred to me that she was dumb. Anything but, you know?
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Dolly Parton was the Queen of Nashville, and now she had
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her eyes on a bigger prize, and nothing was going to stop her.
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She was definitely on the rise as a female country star.
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But the wider pop world didn't really know about her so much then.
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Up until this point in history,
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country music is sort of by and for adults.
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The music wasn't attractive to the vast youth market.
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'One, two, three, four!'
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While Dolly was conquering Nashville, the Beatles were
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igniting the rest of America, and a new generation was emerging.
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'But the pandemonium created by the 3,000 teenagers on hand
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'to greet the sortie of Britain's bristling Beatles
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'is something one might expect from a collision of planets.'
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Born in Arizona in 1946, the same year as Dolly Parton,
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Linda Ronstadt was a classic '60s kid who'd grown up on '50s radio.
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Across the border in Mexico were these huge transmitters,
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they could transmit stations that came from Tennessee
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or came from Chicago, came from New York.
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They would have been illegal if they had been on this side of the line, but they were across in Mexico.
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I listened to black gospel, white gospel, country music, rock'n'roll.
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And then of course tons of Mexican music,
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because we were right there on the border, my family is Mexican.
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Everybody in my family played and sang,
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including my grandmother and my great-aunts.
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They'd all, you know, play anything from operatic arias
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to Mexican love songs.
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My sister would sing the latest Hank Williams songs,
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or the latest rock'n'roll songs.
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It was really great, I liked that. Very eclectic.
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Linda left Tucson in 1964 after dropping out of college at 18,
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and went west, like so many of her generation.
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'60s kid Linda was drawn to Los Angeles and the Troubadour,
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which might as well have been
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a million miles away from the Grand Ole Opry.
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It was just the place to be seen and to play.
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And the main reason was that it had open mic night.
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So you want to be a rock'n'roll star?
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Then listen now to what I say
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Just get an electric guitar
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And take some time...
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You could go and sort of audition and sing and perform
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on an open mic night, you know?
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And get a job there opening for some bigger act.
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Then it's time to go downtown...
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Everyone assumes when there's any kind of musical movement
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that the members of it all necessarily hang out together
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and know each other, and sing together and play together,
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and often it's not really the case,
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but in LA it was the case.
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Everybody was there -
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Joni Mitchell, Neil Young, Carole King, James Taylor, The Byrds...
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There was this huge hodgepodge of great writers,
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and everybody that came into LA would drift through the Troubadour.
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It was at the Troubadour that Linda's band, the Stone Poneys,
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were signed after being spotted performing at a hoot.
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You and I travel to the beat of a different drum
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Oh, can't you tell by the way I run
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Every time you make eyes at me?
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It's true...
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It was Linda that stood out.
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Somebody had told me that there was this amazing girl singer
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who was, like, had this voice of extraordinary power and beauty,
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and also, you know, sang in bare feet and short shorts
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and was incredibly hot, and it was all true.
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That was the first time I heard her sing,
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and I was completely blown away.
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Saying I'm not ready for any person...
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The main things that stand out about Linda's voice,
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and I think it's one of the iconic voices in American music
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of our time, is the power.
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Oh, goodbye
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I'll be leaving I see no sense...
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For me, this is not a very large girl.
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She's a small girl and yet her voice is beyond powerful.
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That's what struck me about hearing her voice for the first time.
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I was just drawn to it.
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Ladies and gentlemen, the Troubadour
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is proud to present Linda Ronstadt.
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In 1968, Linda left the Stone Poneys and set about finding her niche.
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The record company Capitol was a little confused about
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should she go pure country or should she do rock?
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So combining those two things helped Linda, I think,
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fuse the elements of country and rock into her style,
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and I think led to most of what she did later.
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This is a song I learned from Patsy Cline,
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and it's called I Fall To Pieces.
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Linda embraced country, and she gave it a new kind of hipness,
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which saw it reaching out to the West Coast kids.
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I fall to pieces
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Each time someone speaks your name...
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I always turn back to what was in the living room
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in my childhood home before I was aged ten.
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If I didn't hear it by the time I was ten,
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I really couldn't do it with any authenticity.
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Don't Think Twice, It's All Right by Joan Baez
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Born just a year after Linda and Dolly was a singer
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who would go on to become one of their greatest collaborators.
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Emmylou Harris was raised a middle-class child of
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a military family in the suburbs of North Carolina.
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Unlike Dolly and Linda, she didn't have a musical upbringing.
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I didn't grow up in a family where people sang. I was the only one.
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I was, kind of, the weirdo.
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When the rooster crows at the break of dawn...
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College student Emmylou was inspired by the music of John Baez
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and Bob Dylan, and the protest songs rallying against the unrest
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of mid-'60s America.
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But don't think twice It's all right.
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Aspiring folk singer Emmylou headed east
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to the Greenwich Village folk scene of the late '60s.
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Calliope calling
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Children are falling in line to ride on the merry-go-round
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People are passing
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Children are laughing
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They want to ride on the merry-go-round...
253
00:14:11,000 --> 00:14:14,000
'Folk music drew me in through the storytelling.'
254
00:14:14,000 --> 00:14:16,000
Every ride is just the same...
255
00:14:16,000 --> 00:14:19,000
'I decided to try to go to New York and try to be a folk singer
256
00:14:19,000 --> 00:14:21,000
'after dropping out of college.'
257
00:14:21,000 --> 00:14:25,000
There is room for everyone...
258
00:14:25,000 --> 00:14:30,000
There were so many of us at my age who had long hair and wanted
259
00:14:30,000 --> 00:14:34,000
to be Joan Baez, but there'll only ever be one Joan Baez.
260
00:14:34,000 --> 00:14:38,000
Sometimes right and sometimes wrong
261
00:14:38,000 --> 00:14:43,000
You'll end up where you belong...
262
00:14:43,000 --> 00:14:45,000
I dabbled in country, but mainly I...
263
00:14:45,000 --> 00:14:47,000
To my shame, I kind of did it as a joke.
264
00:14:47,000 --> 00:14:50,000
563, 30, 30...
265
00:14:50,000 --> 00:14:53,000
At the dawn of a new decade, Nashville's country fell on
266
00:14:53,000 --> 00:14:55,000
one side of a divided nation -
267
00:14:55,000 --> 00:14:58,000
middle America versus the nation's youth.
268
00:14:58,000 --> 00:15:03,000
We don't smoke marijuana in Muskogee
269
00:15:05,000 --> 00:15:09,000
We don't take our trips on LSD
270
00:15:12,000 --> 00:15:17,000
We don't burn our draft cards down on Main Street
271
00:15:19,000 --> 00:15:23,000
Cos we like livin' right and bein' free...
272
00:15:25,000 --> 00:15:29,000
But Emmylou was about to discover the poetry of classic honky-tonk.
273
00:15:29,000 --> 00:15:33,000
How I went from folk to country is Gram Parsons.
274
00:15:33,000 --> 00:15:36,000
Christine's Tune by The Flying Burrito Brothers
275
00:15:36,000 --> 00:15:39,000
Gram Parsons saw the soul in country
276
00:15:39,000 --> 00:15:42,000
and championed it in his own unique rock'n'roll way.
277
00:15:43,000 --> 00:15:46,000
She's a devil in disguise
278
00:15:46,000 --> 00:15:50,000
You can see it in her eyes...
279
00:15:50,000 --> 00:15:55,000
Gram had a kind of a cult audience, you know, he...
280
00:15:55,000 --> 00:15:57,000
From The Byrds' Sweetheart Of The Rodeo,
281
00:15:57,000 --> 00:16:00,000
and then The Flying Burrito Brothers,
282
00:16:00,000 --> 00:16:03,000
there was definitely a, sort of,
283
00:16:03,000 --> 00:16:05,000
a country audience of kids who, like myself,
284
00:16:05,000 --> 00:16:10,000
hadn't really grown up with it, but Gram kind of made it cool.
285
00:16:10,000 --> 00:16:12,000
The Southern California country rock scene, you know,
286
00:16:12,000 --> 00:16:17,000
it was country music being played by longhairs for the first time,
287
00:16:17,000 --> 00:16:20,000
because, you know, Nashville was more conservative.
288
00:16:20,000 --> 00:16:25,000
We're gonna hold on...
289
00:16:26,000 --> 00:16:29,000
Wild child Gram was one of the West Coast rockers
290
00:16:29,000 --> 00:16:31,000
who took influence from Nashville's stars
291
00:16:31,000 --> 00:16:34,000
and wanted to find his very own girl singer.
292
00:16:34,000 --> 00:16:38,000
We're gonna ho-o-o-old on...
293
00:16:38,000 --> 00:16:40,000
We talked and he said, "I'm going to make a record
294
00:16:40,000 --> 00:16:42,000
"and I want to find someone to sing with."
295
00:16:42,000 --> 00:16:44,000
I said, "There's a wonderful woman working out of
296
00:16:44,000 --> 00:16:47,000
"Washington DC, Emmylou Harris. You need to call her up."
297
00:16:47,000 --> 00:16:49,000
The mention of...
298
00:16:49,000 --> 00:16:53,000
I was thinking to myself, "OK, well, let's see if she can cut it or not,"
299
00:16:53,000 --> 00:16:56,000
so I thought of one of the hardest country duets
300
00:16:56,000 --> 00:16:58,000
I could think of to do,
301
00:16:58,000 --> 00:17:01,000
which was That's All It Took.
302
00:17:01,000 --> 00:17:05,000
I tried so hard
303
00:17:05,000 --> 00:17:07,000
To let you go
304
00:17:07,000 --> 00:17:09,000
But look...
305
00:17:09,000 --> 00:17:15,000
And she just sang like a bird, and I said, "Well, that's it."
306
00:17:15,000 --> 00:17:18,000
And I sang with her the rest of the night,
307
00:17:18,000 --> 00:17:20,000
and then she just kept getting better and better.
308
00:17:20,000 --> 00:17:26,000
BOTH: And when today I heard them say your name
309
00:17:26,000 --> 00:17:31,000
That's all it took...
310
00:17:32,000 --> 00:17:34,000
I just got into it, I mean,
311
00:17:34,000 --> 00:17:37,000
and became a convert -
312
00:17:37,000 --> 00:17:40,000
almost obnoxious convert.
313
00:17:40,000 --> 00:17:45,000
He introduced her to the passion of...
314
00:17:45,000 --> 00:17:48,000
the poetry involved in country music.
315
00:17:48,000 --> 00:17:51,000
Ooh
316
00:17:51,000 --> 00:17:53,000
Las Vegas
317
00:17:53,000 --> 00:17:57,000
Ain't no place for a poor boy like me...
318
00:17:57,000 --> 00:18:01,000
Gram gave Emmylou country music.
319
00:18:01,000 --> 00:18:05,000
Emmylou, in turn, gave Gram the most wonderful singer -
320
00:18:05,000 --> 00:18:07,000
duet singer - he could find.
321
00:18:07,000 --> 00:18:09,000
Every time I hit your crystal city
322
00:18:09,000 --> 00:18:12,000
You know you're gonna make a wreck out of me...
323
00:18:14,000 --> 00:18:16,000
When I was learning about country,
324
00:18:16,000 --> 00:18:18,000
I felt, "This is something I'm really good at."
325
00:18:18,000 --> 00:18:23,000
You know, I felt like I had found my place, somehow.
326
00:18:23,000 --> 00:18:26,000
What she brought to him was a stability -
327
00:18:26,000 --> 00:18:31,000
a stable factor in getting him focused,
328
00:18:31,000 --> 00:18:33,000
cos I couldn't. I tried!
329
00:18:33,000 --> 00:18:40,000
Six Days On The Road by The Flying Burrito Brothers
330
00:18:40,000 --> 00:18:42,000
Well, I pulled out of Pittsburgh
331
00:18:42,000 --> 00:18:44,000
Rollin' down the eastern seaboard...
332
00:18:46,000 --> 00:18:49,000
Emmylou paid her dues on the road with Gram and the Fallen Angels,
333
00:18:49,000 --> 00:18:52,000
and it was in a Texan honky-tonk
334
00:18:52,000 --> 00:18:55,000
that her friendship with Linda began in 1973.
335
00:18:55,000 --> 00:18:56,000
We were in Texas.
336
00:18:56,000 --> 00:18:59,000
We were in Houston with the Neil Young tour
337
00:18:59,000 --> 00:19:01,000
and I heard that Gram and Emmy were in town.
338
00:19:01,000 --> 00:19:04,000
We ran into their road manager in the lobby of the hotel,
339
00:19:04,000 --> 00:19:06,000
and so we all decided that we'd go down
340
00:19:06,000 --> 00:19:08,000
to see their show after our show.
341
00:19:10,000 --> 00:19:15,000
It was 40 or 50 years ago
342
00:19:17,000 --> 00:19:21,000
A big shot played with time...
343
00:19:21,000 --> 00:19:23,000
And so we went to this biker bar where they were playing,
344
00:19:23,000 --> 00:19:25,000
and I was worried I wouldn't be able to hear Emmy properly,
345
00:19:25,000 --> 00:19:27,000
cos it was a really rowdy, noisy place,
346
00:19:27,000 --> 00:19:30,000
but the minute she started singing, the place just went dead quiet
347
00:19:30,000 --> 00:19:34,000
and everybody just had this worshipful attitude, you know?
348
00:19:36,000 --> 00:19:42,000
When you saw him talk his way
349
00:19:42,000 --> 00:19:46,000
Was when he showed his claws...
350
00:19:46,000 --> 00:19:49,000
When the two of them were onstage, it was like a musical love affair.
351
00:19:49,000 --> 00:19:51,000
They were just so focused.
352
00:19:51,000 --> 00:19:53,000
They had their mics set so that they could look right at each other,
353
00:19:53,000 --> 00:19:56,000
you know? And they would just follow each other exactly.
354
00:19:56,000 --> 00:19:59,000
It was a lovely, lovely musical thing.
355
00:19:59,000 --> 00:20:03,000
Ooh-ooh
356
00:20:03,000 --> 00:20:06,000
The new soft shoe
357
00:20:11,000 --> 00:20:16,000
Ooh, the new soft shoe
358
00:20:16,000 --> 00:20:17,000
Yeah...
359
00:20:17,000 --> 00:20:20,000
And I had a little fleeting moment when I thought,
360
00:20:20,000 --> 00:20:22,000
"She's doing what I'm doing but she's doing it better."
361
00:20:22,000 --> 00:20:25,000
And I thought, "I can feel jealous or I can just really love her
362
00:20:25,000 --> 00:20:27,000
"like everybody else does."
363
00:20:27,000 --> 00:20:30,000
The new soft shoe...
364
00:20:31,000 --> 00:20:33,000
The admiration was mutual.
365
00:20:34,000 --> 00:20:36,000
I had seen her in New York,
366
00:20:36,000 --> 00:20:40,000
in my struggling Joan Baez wannabe days in the Village
367
00:20:40,000 --> 00:20:42,000
and had seen her, actually, perform,
368
00:20:42,000 --> 00:20:44,000
was incredibly jealous,
369
00:20:44,000 --> 00:20:47,000
and did not actually meet her.
370
00:20:47,000 --> 00:20:50,000
But Gram knew Linda, and I was introduced,
371
00:20:50,000 --> 00:20:53,000
and that became a very important relationship for me,
372
00:20:53,000 --> 00:20:54,000
as a friendship.
373
00:20:56,000 --> 00:20:59,000
Boulder To Birmingham by Emmylou Harris
374
00:21:01,000 --> 00:21:06,000
I don't want to hear a love song...
375
00:21:06,000 --> 00:21:10,000
Their friendship deepened in September 1973,
376
00:21:10,000 --> 00:21:14,000
when Emmylou's mentor Gram died from an overdose at just 26 years old.
377
00:21:14,000 --> 00:21:18,000
And I know there's life below me...
378
00:21:18,000 --> 00:21:23,000
When Gram died, Emmylou, along with everyone else, was shattered.
379
00:21:23,000 --> 00:21:27,000
I'd thought I was going to spend quite a lot of my life
380
00:21:27,000 --> 00:21:28,000
singing with Gram.
381
00:21:29,000 --> 00:21:34,000
And I don't want to hear a sad story
382
00:21:36,000 --> 00:21:41,000
Full of heartbreak and desire...
383
00:21:41,000 --> 00:21:45,000
I was the beneficiary of the fact that he went before me
384
00:21:45,000 --> 00:21:49,000
and, kind of, left me this, you know,
385
00:21:49,000 --> 00:21:52,000
this place that he had vacated.
386
00:21:52,000 --> 00:21:56,000
And I just had to figure out how to continue,
387
00:21:56,000 --> 00:21:58,000
and I had a lot of help.
388
00:21:58,000 --> 00:22:00,000
It was very hard on Emmy,
389
00:22:00,000 --> 00:22:04,000
and she came out to stay with me for a while in Los Angeles.
390
00:22:04,000 --> 00:22:06,000
Emmylou confronted her grief in song,
391
00:22:06,000 --> 00:22:10,000
and wrote the anthemic Boulder To Birmingham and played it to Linda.
392
00:22:11,000 --> 00:22:13,000
I watched it burn...
393
00:22:13,000 --> 00:22:16,000
She sat down in the living room and played me that song,
394
00:22:16,000 --> 00:22:18,000
I almost fell over.
395
00:22:18,000 --> 00:22:20,000
I mean, that's a really strong piece of material.
396
00:22:20,000 --> 00:22:24,000
I would rock my soul
397
00:22:24,000 --> 00:22:28,000
In the bosom of Abraham...
398
00:22:28,000 --> 00:22:32,000
And it broke my heart that Emmy had to go through what she had to go through to write about it,
399
00:22:32,000 --> 00:22:36,000
but it really established her as a serious songwriter.
400
00:22:36,000 --> 00:22:40,000
I would walk all the way
401
00:22:40,000 --> 00:22:43,000
From Boulder to Birmingham
402
00:22:43,000 --> 00:22:47,000
If I thought I could see
403
00:22:47,000 --> 00:22:51,000
I could see your face...
404
00:22:54,000 --> 00:22:55,000
Well, you really got...
405
00:22:55,000 --> 00:22:57,000
'Bringing me out to sing on her records,
406
00:22:57,000 --> 00:22:59,000
'having me come and sing at her shows -
407
00:22:59,000 --> 00:23:01,000
'she did a lot for me,
408
00:23:01,000 --> 00:23:05,000
'as the incredibly generous person that she is.'
409
00:23:05,000 --> 00:23:08,000
This was right before everything broke through for Linda,
410
00:23:08,000 --> 00:23:11,000
you know, who became the biggest rock star in the world.
411
00:23:12,000 --> 00:23:14,000
Feelin' better
412
00:23:14,000 --> 00:23:16,000
Now that we're through
413
00:23:16,000 --> 00:23:21,000
Feelin' better cos I'm over you...
414
00:23:21,000 --> 00:23:24,000
With the addition of Peter Asher as Linda's manager and record producer,
415
00:23:24,000 --> 00:23:28,000
her retro song choices and polished sound saw her star ascend.
416
00:23:28,000 --> 00:23:31,000
Oh, you're no good You're no good
417
00:23:31,000 --> 00:23:32,000
You're no good
418
00:23:32,000 --> 00:23:35,000
Baby, you're no good
419
00:23:35,000 --> 00:23:37,000
I'm going to say it again
420
00:23:37,000 --> 00:23:40,000
You're no good You're no good...
421
00:23:40,000 --> 00:23:41,000
She was doing both styles at that time,
422
00:23:41,000 --> 00:23:44,000
both the rockier stuff and the country stuff,
423
00:23:44,000 --> 00:23:49,000
and so radio embraced that single and it was a big, big hit.
424
00:23:49,000 --> 00:23:55,000
When will I be loved?
425
00:23:55,000 --> 00:23:58,000
She had hit single after hit single, huge tours...
426
00:23:58,000 --> 00:24:02,000
She was - no argument about it -
427
00:24:02,000 --> 00:24:05,000
the biggest female artist in rock at the time.
428
00:24:05,000 --> 00:24:11,000
When will I be
429
00:24:12,000 --> 00:24:16,000
Loved?
430
00:24:16,000 --> 00:24:20,000
Meanwhile, Emmylou was forging a solo career out of California,
431
00:24:20,000 --> 00:24:23,000
leading a hot band and an eclectic songbook that took in
432
00:24:23,000 --> 00:24:26,000
classic country and rock'n'roll.
433
00:24:26,000 --> 00:24:29,000
She brought to the country music audience, maybe,
434
00:24:29,000 --> 00:24:33,000
a more younger take on, you know, what a country singer,
435
00:24:33,000 --> 00:24:36,000
a young female country singer, could be.
436
00:24:36,000 --> 00:24:39,000
Oh, Amarillo
437
00:24:39,000 --> 00:24:41,000
What you want my baby for?
438
00:24:41,000 --> 00:24:46,000
As far as country-slash- rock-and-roll fusion happening,
439
00:24:46,000 --> 00:24:49,000
that was a really electrifying band.
440
00:24:49,000 --> 00:24:51,000
They could really play,
441
00:24:51,000 --> 00:24:54,000
and Emmylou was right out in front of that
442
00:24:54,000 --> 00:24:57,000
just with an enormous amount of energy
443
00:24:57,000 --> 00:25:00,000
and an enormous amount of focus.
444
00:25:00,000 --> 00:25:03,000
The sisterhood was set to expand when Emmylou and Linda discovered
445
00:25:03,000 --> 00:25:08,000
they shared a mutual appreciation of the girl from Tennessee.
446
00:25:08,000 --> 00:25:11,000
There weren't that many girl singers out there, so, you know,
447
00:25:11,000 --> 00:25:15,000
you'd think, "This is a like soul. I want to know who influences her.
448
00:25:15,000 --> 00:25:17,000
"Who is the most important person?"
449
00:25:17,000 --> 00:25:21,000
She wanted to know that about me and our answer was Dolly Parton.
451
00:25:25,000 --> 00:25:28,000
Jolene, Jolene, Jolene
452
00:25:28,000 --> 00:25:30,000
Jolene
453
00:25:30,000 --> 00:25:35,000
I'm begging of you Please don't take my man
454
00:25:36,000 --> 00:25:39,000
Jolene, Jolene, Jolene
455
00:25:39,000 --> 00:25:42,000
Jolene
456
00:25:42,000 --> 00:25:45,000
Please don't take him just because you can...
457
00:25:45,000 --> 00:25:47,000
Back in the South, as Linda and Emmylou were taking country to
458
00:25:47,000 --> 00:25:51,000
a rock crowd, Dolly was about to take classic country to the world.
459
00:25:51,000 --> 00:25:54,000
We'd both heard Jolene on the radio and gone,
460
00:25:54,000 --> 00:25:57,000
"Oh, my God, this girl can really sing." You know?
461
00:25:57,000 --> 00:25:59,000
She was singing like she was singing, I was just knocked out.
462
00:25:59,000 --> 00:26:01,000
Your smile is like a breath of spring
463
00:26:01,000 --> 00:26:04,000
Your voice is soft like summer rain
464
00:26:04,000 --> 00:26:07,000
And I cannot compete with you, Jolene...
465
00:26:07,000 --> 00:26:09,000
Sort of like that.
466
00:26:09,000 --> 00:26:11,000
We loved her songwriting.
467
00:26:11,000 --> 00:26:14,000
But we... Mainly we loved her voice.
468
00:26:14,000 --> 00:26:16,000
Nothin' I can do to keep from cryin'...
469
00:26:16,000 --> 00:26:19,000
Dolly's voice goes into that incredibly beautiful,
470
00:26:19,000 --> 00:26:21,000
lovely, sparkly place.
471
00:26:21,000 --> 00:26:23,000
Oh, and I can easily understand
472
00:26:23,000 --> 00:26:25,000
How you could easily take my man
473
00:26:25,000 --> 00:26:30,000
But you don't know what he means to me, Jolene...
474
00:26:30,000 --> 00:26:33,000
In 1974, after seven years with Porter,
475
00:26:33,000 --> 00:26:35,000
Dolly decided to go it alone.
476
00:26:35,000 --> 00:26:37,000
Nashville's Music Row is buzzing today over
477
00:26:37,000 --> 00:26:39,000
yesterday's bombshell announcement -
478
00:26:39,000 --> 00:26:43,000
the $3 million lawsuit by Porter Wagoner against Dolly Parton.
479
00:26:43,000 --> 00:26:46,000
The suit charges Dolly with breach of contract.
480
00:26:46,000 --> 00:26:48,000
Dolly had a lot of faith in herself.
481
00:26:48,000 --> 00:26:51,000
Dolly believed she could do it on her own.
482
00:26:51,000 --> 00:26:53,000
It was very nervy, though,
483
00:26:53,000 --> 00:26:56,000
for a woman in country music to do what she did,
484
00:26:56,000 --> 00:26:59,000
which was to break out of her mentor's shadow,
485
00:26:59,000 --> 00:27:01,000
which was Porter Wagoner, leave his show,
486
00:27:01,000 --> 00:27:06,000
go out on her own as a solo artist and try to make it on her own.
487
00:27:06,000 --> 00:27:08,000
Dolly got herself big-time LA management
488
00:27:08,000 --> 00:27:11,000
and went Hollywood with her own country show.
489
00:27:11,000 --> 00:27:15,000
Ladies and gentlemen, Dolly Parton.
490
00:27:15,000 --> 00:27:18,000
The attitude in Nashville at the time was,
491
00:27:18,000 --> 00:27:20,000
"Well, she's leaving country music and we don't like her,"
492
00:27:20,000 --> 00:27:23,000
and, you know, this and that. And Dolly famously said,
493
00:27:23,000 --> 00:27:26,000
"I'm not leaving country - I'm taking it with me,"
494
00:27:26,000 --> 00:27:28,000
which is exactly what she did.
495
00:27:28,000 --> 00:27:30,000
Jolene
496
00:27:30,000 --> 00:27:31,000
Jolene...
497
00:27:31,000 --> 00:27:34,000
Country was the blue-collar sound of the rural South, so it seemed
498
00:27:34,000 --> 00:27:39,000
unlikely that a cool country curator would be captivated by Dolly.
499
00:27:39,000 --> 00:27:43,000
This next song, um, is written by Dolly Parton.
500
00:27:46,000 --> 00:27:49,000
She did Dolly's song Coat Of Many Colours every night,
501
00:27:49,000 --> 00:27:52,000
and, you know, her eyes would sparkle.
502
00:27:52,000 --> 00:27:55,000
You know, like, "I'm doing a Dolly Parton song."
503
00:27:55,000 --> 00:27:57,000
Back through the years
504
00:27:57,000 --> 00:28:01,000
I go wanderin' once again
505
00:28:02,000 --> 00:28:07,000
Back to the seasons of my youth I recall...
506
00:28:07,000 --> 00:28:10,000
'Coat Of Many Colours was... It had become'
507
00:28:10,000 --> 00:28:12,000
one of my favourite songs when I got into country.
508
00:28:12,000 --> 00:28:16,000
And, of course, there was a certain folk element to Dolly, too,
509
00:28:16,000 --> 00:28:19,000
because a lot of her writing was very storytelling.
510
00:28:19,000 --> 00:28:22,000
Momma sewed the rags together
511
00:28:22,000 --> 00:28:25,000
Sewin' every piece with love
512
00:28:25,000 --> 00:28:29,000
She made my coat of many colours
513
00:28:29,000 --> 00:28:32,000
That I was so proud of...
514
00:28:32,000 --> 00:28:34,000
To her audience, you know,
515
00:28:34,000 --> 00:28:37,000
which was counterculture audience, really, at the time,
516
00:28:37,000 --> 00:28:40,000
it was like, "And I'm introducing you to this great artist
517
00:28:40,000 --> 00:28:42,000
"that you may not know about."
518
00:28:42,000 --> 00:28:45,000
Though we didn't have much money
519
00:28:45,000 --> 00:28:47,000
I was rich as I could be...
520
00:28:47,000 --> 00:28:50,000
I had no idea they knew me or liked me.
521
00:28:50,000 --> 00:28:53,000
I just remembered loving their records.
522
00:28:53,000 --> 00:28:55,000
Momma made for me...
523
00:28:55,000 --> 00:28:59,000
A shared interest in harmony led to them becoming friends.
524
00:28:59,000 --> 00:29:02,000
I first invited Dolly when she came out to California,
525
00:29:02,000 --> 00:29:05,000
cos she was still living in Nashville, and when I knew
526
00:29:05,000 --> 00:29:08,000
she was coming over, the first thing I did was call Linda.
527
00:29:08,000 --> 00:29:09,000
I said, "I'll be right there,"
528
00:29:09,000 --> 00:29:12,000
so I got in my car and zoomed over as fast as I could.
529
00:29:12,000 --> 00:29:14,000
And, you know, they were sitting on the sofa talking,
530
00:29:14,000 --> 00:29:17,000
and I came in, and we talked for a second, then the guitar came out.
531
00:29:17,000 --> 00:29:19,000
And they were all excited to meet me.
532
00:29:19,000 --> 00:29:21,000
I was all excited to meet them.
533
00:29:21,000 --> 00:29:23,000
And so we said, "Well, we have to sing something."
534
00:29:23,000 --> 00:29:25,000
And we started singing the Carter Family song,
535
00:29:25,000 --> 00:29:28,000
Bury Me Beneath The Willow.
536
00:29:28,000 --> 00:29:33,000
Bury me beneath the willow
537
00:29:33,000 --> 00:29:36,000
Under the weeping willow tree
538
00:29:36,000 --> 00:29:41,000
Where he may know where I am sleeping
539
00:29:41,000 --> 00:29:45,000
And perhaps he'll weep for me...
540
00:29:45,000 --> 00:29:47,000
And all of a sudden, it was like,
541
00:29:47,000 --> 00:29:52,000
"Oh, my goodness! This is such a great sound."
542
00:29:52,000 --> 00:29:55,000
And it was like, bam! That sound was there, and we were just...
543
00:29:55,000 --> 00:29:57,000
We were all kind of shocked by it. We just went,
544
00:29:57,000 --> 00:30:00,000
"Wow, that's really something that's different from what we usually do
545
00:30:00,000 --> 00:30:03,000
"with other musicians that we jam and play and sing with."
546
00:30:03,000 --> 00:30:04,000
Let's do it again.
547
00:30:04,000 --> 00:30:10,000
Won't you bury me beneath the willow...
548
00:30:10,000 --> 00:30:13,000
In 1976, the trio took their sound public
549
00:30:13,000 --> 00:30:15,000
when Dolly invited them onto her show.
550
00:30:15,000 --> 00:30:17,000
That particular episode was different
551
00:30:17,000 --> 00:30:19,000
than all of the other Dolly episodes.
552
00:30:19,000 --> 00:30:25,000
The other Dolly episodes had kind of fakey banter and jokes and junk
553
00:30:25,000 --> 00:30:29,000
and this one, of all of the shows in that series,
554
00:30:29,000 --> 00:30:31,000
was the most purely musical.
555
00:30:31,000 --> 00:30:33,000
My momma used to sing a song called The Sweetest Gift,
556
00:30:33,000 --> 00:30:35,000
when she was a little girl,
557
00:30:35,000 --> 00:30:37,000
and she loved the record that you and Linda had on it and
558
00:30:37,000 --> 00:30:40,000
she asked me if I'd have you sing it today, so would you do that? Sure.
559
00:30:40,000 --> 00:30:44,000
Well, OK. This is for your momma. Right. And for mine.
560
00:30:47,000 --> 00:30:50,000
One day a mother...
561
00:30:50,000 --> 00:30:54,000
..went to a prison
562
00:30:54,000 --> 00:31:00,000
To see an erring but precious son
563
00:31:00,000 --> 00:31:03,000
She told the warden
564
00:31:03,000 --> 00:31:06,000
How much she loved him...
565
00:31:06,000 --> 00:31:09,000
Linda came from a singing family and you certainly came from
566
00:31:09,000 --> 00:31:13,000
a singing family. I definitely did, yeah. So I was really loving it.
567
00:31:13,000 --> 00:31:20,000
She did not bring to him a parole or pardon
568
00:31:20,000 --> 00:31:23,000
She brought no silver Brought no...
569
00:31:23,000 --> 00:31:25,000
As eager students of Dolly,
570
00:31:25,000 --> 00:31:29,000
Emmylou and Linda were excited by what she added to the music.
571
00:31:29,000 --> 00:31:34,000
The uniting thread is the mountain heritage.
572
00:31:34,000 --> 00:31:37,000
The Appalachian sound that Dolly just brings naturally to the music,
573
00:31:37,000 --> 00:31:39,000
because that's who she is.
574
00:31:39,000 --> 00:31:41,000
..a mother's smile
575
00:31:41,000 --> 00:31:47,000
She left a smile you can remember
576
00:31:47,000 --> 00:31:55,000
She's gone to heaven from heartache free...
577
00:31:55,000 --> 00:32:00,000
'She had this authenticity for that mountain music that we both loved,
578
00:32:00,000 --> 00:32:02,000
'but didn't feel we had the right...'
579
00:32:02,000 --> 00:32:05,000
Yes, we would sing it, but she was the real deal.
580
00:32:05,000 --> 00:32:07,000
..and e'er will be...
581
00:32:07,000 --> 00:32:11,000
She came out of the foothills and mountains of eastern Tennessee,
582
00:32:11,000 --> 00:32:19,000
with the real thing and I think, if you add that to the mix of...
583
00:32:19,000 --> 00:32:25,000
Emmy and Linda's relationship, it's like there's the...
584
00:32:25,000 --> 00:32:28,000
your gender's Mount Rushmore!
585
00:32:28,000 --> 00:32:35,000
The sweetest gift A mother's smile
586
00:32:35,000 --> 00:32:37,000
The sweetest gift
587
00:32:37,000 --> 00:32:44,000
A mother's smile...
588
00:32:44,000 --> 00:32:48,000
Ooh, I love that!
589
00:32:48,000 --> 00:32:50,000
'We really enjoyed each other's company.
590
00:32:50,000 --> 00:32:52,000
'It just seemed fun at the time.'
591
00:32:52,000 --> 00:32:55,000
I don't remember there being any trauma
592
00:32:55,000 --> 00:32:58,000
or worrying about the lighting or anything, because we were so young
593
00:32:58,000 --> 00:33:01,000
and we knew we looked good and we didn't have to worry about anything.
595
00:33:02,000 --> 00:33:04,000
Where are you?
596
00:33:04,000 --> 00:33:07,000
What are you doing in the audience?
597
00:33:07,000 --> 00:33:09,000
It's the only way we could get anything to eat.
598
00:33:09,000 --> 00:33:12,000
Oh, ha-ha! And we wanted to see the show from here.
599
00:33:12,000 --> 00:33:14,000
'Dolly Parton is larger than life
600
00:33:14,000 --> 00:33:17,000
'from the moment you lay eyes on her.'
601
00:33:18,000 --> 00:33:21,000
She was exotic!
602
00:33:21,000 --> 00:33:26,000
Er, taking nothing away from Linda or Emmylou,
603
00:33:26,000 --> 00:33:29,000
they were kind of girl next door,
604
00:33:29,000 --> 00:33:31,000
they were the really cute girls from down the street, you know,
605
00:33:31,000 --> 00:33:33,000
who could sing like birds.
606
00:33:33,000 --> 00:33:38,000
Play a song for me Applejack, Applejack
607
00:33:38,000 --> 00:33:42,000
Play a song for me and I'll sing...
608
00:33:42,000 --> 00:33:46,000
It wasn't only the viewers that were treated to this unlikely grouping.
609
00:33:46,000 --> 00:33:50,000
Musically, it opened up a whole new audience for all involved.
610
00:33:52,000 --> 00:33:57,000
I'd go down to Applejack's just almost every day, we'd sit and...
611
00:33:57,000 --> 00:34:01,000
'Although we were mismatched, in the worlds we came from,'
612
00:34:01,000 --> 00:34:04,000
once we opened our mouths to sing, you know,
613
00:34:04,000 --> 00:34:08,000
even though we didn't look like we would fit together,
614
00:34:08,000 --> 00:34:11,000
when you heard us, you felt it and you saw it.
615
00:34:11,000 --> 00:34:16,000
Play a song for me Applejack, Applejack
616
00:34:16,000 --> 00:34:20,000
Play a song Let your banjo ring...
617
00:34:21,000 --> 00:34:24,000
'The idea of Linda and Dolly and Emmylou
618
00:34:24,000 --> 00:34:27,000
'appearing on television together was a big deal.
619
00:34:27,000 --> 00:34:29,000
'It drew in three disparate audiences.'
620
00:34:29,000 --> 00:34:32,000
Linda brought her audience, er, Emmy hers
621
00:34:32,000 --> 00:34:34,000
and Dolly, of course, it was her show.
622
00:34:34,000 --> 00:34:38,000
Clap your hands with us! # Play a song for me...
623
00:34:38,000 --> 00:34:41,000
I think television did things like that for commercial reasons,
624
00:34:41,000 --> 00:34:45,000
but artistically, it ended up being incredibly helpful
625
00:34:45,000 --> 00:34:47,000
to all three of them as well.
626
00:34:47,000 --> 00:34:51,000
Linda Ronstadt and Emmylou, for Dolly, were street cred.
627
00:34:51,000 --> 00:34:53,000
'Really intense street cred.'
628
00:34:53,000 --> 00:34:56,000
Play a song for me...
629
00:34:56,000 --> 00:34:57,000
'For Linda and Emmylou,
630
00:34:57,000 --> 00:35:02,000
'it was honouring the authenticity of the music of Dolly Parton.'
631
00:35:02,000 --> 00:35:04,000
Look, this is a brilliant artist,
632
00:35:04,000 --> 00:35:06,000
you know, and I think the rest of the world
633
00:35:06,000 --> 00:35:08,000
has come around to that point of view.
634
00:35:08,000 --> 00:35:12,000
I think Emmy and Linda just saw it before the rest of the world did.
635
00:35:12,000 --> 00:35:14,000
Aw!
637
00:35:18,000 --> 00:35:21,000
That buzz, we just felt...
638
00:35:21,000 --> 00:35:24,000
At that moment, we all said, "We have to make a record!"
639
00:35:24,000 --> 00:35:26,000
We just wanted to do it for the music and we didn't know that
640
00:35:26,000 --> 00:35:29,000
it would be successful, we didn't care, we just wanted to do it.
641
00:35:29,000 --> 00:35:32,000
We figured we'd earned the right.
642
00:35:33,000 --> 00:35:37,000
In 1979, setting time aside from their solo careers, the trio began
643
00:35:37,000 --> 00:35:41,000
laying down tracks with Emmylou's husband, producer Brian Ahern.
644
00:35:41,000 --> 00:35:44,000
Mr Sandman
645
00:35:44,000 --> 00:35:46,000
Bring me a dream
646
00:35:46,000 --> 00:35:50,000
Make him the cutest that I've ever seen...
647
00:35:50,000 --> 00:35:52,000
But it soon became obvious
648
00:35:52,000 --> 00:35:56,000
that, musically, the approach they took wasn't working out.
649
00:35:56,000 --> 00:35:59,000
We got above our raison a little bit, because, all of a sudden,
650
00:35:59,000 --> 00:36:02,000
we thought, "Man, we could make a great pop record."
651
00:36:02,000 --> 00:36:04,000
..I'm so alone...
652
00:36:04,000 --> 00:36:06,000
But Brian just said, "This is a mistake.
653
00:36:06,000 --> 00:36:09,000
"This should almost be an acoustic record."
654
00:36:09,000 --> 00:36:12,000
It just wasn't how we had hoped to hear ourselves.
655
00:36:12,000 --> 00:36:14,000
It wasn't the right setting.
656
00:36:14,000 --> 00:36:17,000
We all kind of agreed. He's a very good producer,
657
00:36:17,000 --> 00:36:20,000
but it just, you know, it was a swing and a miss.
658
00:36:20,000 --> 00:36:23,000
So, we kind of retreated into our corners
659
00:36:23,000 --> 00:36:25,000
to figure out what to do next.
660
00:36:25,000 --> 00:36:28,000
In the early '80s, their careers continued on.
661
00:36:28,000 --> 00:36:31,000
Emmylou's passion still lay in roots country
662
00:36:31,000 --> 00:36:34,000
and she relocated to Nashville.
663
00:36:34,000 --> 00:36:36,000
Well, it comes to he who waits, I'm told
664
00:36:36,000 --> 00:36:41,000
But I don't need it when I'm old and grey
665
00:36:41,000 --> 00:36:43,000
Yeah, I want it today...
666
00:36:44,000 --> 00:36:48,000
Linda, meanwhile, continued to prove she was a musical jukebox
667
00:36:48,000 --> 00:36:51,000
with her versatility as she moved into the '80s...
668
00:36:51,000 --> 00:36:54,000
I know something about love
669
00:36:54,000 --> 00:36:58,000
You gotta want it bad If that guy's got into...
670
00:36:58,000 --> 00:37:01,000
..adding New Wave and even the Great American Songbook
671
00:37:01,000 --> 00:37:03,000
to her repertoire.
672
00:37:03,000 --> 00:37:07,000
I have got a crush
673
00:37:08,000 --> 00:37:12,000
My baby, on...
674
00:37:12,000 --> 00:37:17,000
You.
676
00:37:25,000 --> 00:37:28,000
In 1980, Dolly's ambition had paid off.
677
00:37:28,000 --> 00:37:29,000
She'd topped the charts around the world
678
00:37:29,000 --> 00:37:32,000
and was even a hit in Hollywood with her new pop sound.
679
00:37:32,000 --> 00:37:35,000
I tumble outta bed and I stumble to the kitchen
680
00:37:35,000 --> 00:37:37,000
Pour myself a cup of ambition
681
00:37:37,000 --> 00:37:40,000
Yawn and stretch and try to come to life...
682
00:37:40,000 --> 00:37:44,000
I think of it as Dolly finally, like kicking the ball through the...
683
00:37:44,000 --> 00:37:46,000
through the field goal. It's like she...
684
00:37:46,000 --> 00:37:48,000
she had the touchdown with that one.
685
00:37:48,000 --> 00:37:50,000
..from 9 to 5
686
00:37:50,000 --> 00:37:52,000
Workin' 9 to 5
687
00:37:52,000 --> 00:37:54,000
What a way to make a livin'
688
00:37:54,000 --> 00:37:56,000
Barely gettin' by
689
00:37:56,000 --> 00:37:58,000
It's all takin' and no givin'
690
00:37:58,000 --> 00:38:01,000
They just use your mind
691
00:38:01,000 --> 00:38:03,000
But they'll never give you credit
692
00:38:03,000 --> 00:38:05,000
It's enough to drive you
693
00:38:05,000 --> 00:38:08,000
Crazy if you let it...
694
00:38:10,000 --> 00:38:12,000
Like Dolly, in the mid-'80s,
695
00:38:12,000 --> 00:38:15,000
country music was obsessed with crossover and Nashville's Music Row
696
00:38:15,000 --> 00:38:19,000
was accused of being too slick and pop orientated.
697
00:38:19,000 --> 00:38:23,000
I'm going to bop with you, baby all night long
698
00:38:23,000 --> 00:38:25,000
I'm going to bop the night away...
699
00:38:25,000 --> 00:38:27,000
Through the late '70s and into the '80s,
700
00:38:27,000 --> 00:38:31,000
country music went through a few boom and bust cycles.
701
00:38:31,000 --> 00:38:34,000
Hello, Detroit auto workers
702
00:38:34,000 --> 00:38:38,000
Let me thank you for your time...
703
00:38:38,000 --> 00:38:40,000
The more it becomes an entertainment type of commodity
704
00:38:40,000 --> 00:38:44,000
the less, you know, true to its kind of country music roots
705
00:38:44,000 --> 00:38:45,000
the music itself became.
706
00:38:45,000 --> 00:38:48,000
Hello, Pittsburgh...
707
00:38:48,000 --> 00:38:49,000
It was a time when, you know,
708
00:38:49,000 --> 00:38:51,000
country music had sort of lost its identity.
709
00:38:51,000 --> 00:38:55,000
You work a 40-hour week for a livin'...
710
00:38:56,000 --> 00:38:59,000
By 1986, Dolly had acquired international stardom
711
00:38:59,000 --> 00:39:03,000
and, despite their crazy schedules, the trio decided it was time
712
00:39:03,000 --> 00:39:07,000
to reunite and finally make the album they wanted.
713
00:39:07,000 --> 00:39:09,000
Yeah!
714
00:39:11,000 --> 00:39:15,000
Well, look at us cowgirls! Howdy, pardners! Howdy, Dolly!
715
00:39:15,000 --> 00:39:19,000
You know... Thank you, folks.
717
00:39:20,000 --> 00:39:23,000
Now, this is a real big treat for me,
718
00:39:23,000 --> 00:39:25,000
because everybody, since I started the show,
719
00:39:25,000 --> 00:39:28,000
has wanted to know where Linda and Emmy are, because everybody kind of
720
00:39:28,000 --> 00:39:30,000
thinks of us as sisters, and you finally made it.
721
00:39:30,000 --> 00:39:33,000
We were all on different labels, we all had different managers,
722
00:39:33,000 --> 00:39:37,000
we all were scattered to the wind, all had obligations and tours,
723
00:39:37,000 --> 00:39:41,000
so we worked for years trying to pull off the first Trio album.
724
00:39:41,000 --> 00:39:45,000
This past year, Linda called Emmy and me up and said,
725
00:39:45,000 --> 00:39:49,000
"Let's do this album before we get so old we can't sing!"
726
00:39:49,000 --> 00:39:51,000
Or nobody's interested! Yeah!
727
00:39:51,000 --> 00:39:53,000
So we did the album...
728
00:39:53,000 --> 00:39:56,000
The friends wanted to bring back old-time mountain music just when
729
00:39:56,000 --> 00:40:00,000
it was slipping out of reach, but not everybody was on board.
730
00:40:00,000 --> 00:40:02,000
I don't think anybody liked the idea of three women singers,
731
00:40:02,000 --> 00:40:05,000
I don't think anybody liked the idea of us being not in a niche.
732
00:40:05,000 --> 00:40:07,000
It wasn't rock and roll, it wasn't country,
733
00:40:07,000 --> 00:40:10,000
it wasn't this, wasn't that, it was old-timey music.
735
00:40:16,000 --> 00:40:22,000
Oh, the pain of loving you...
736
00:40:22,000 --> 00:40:26,000
Trio was recorded in 1986 at Complex Studios in Los Angeles,
737
00:40:26,000 --> 00:40:29,000
with George Massenburg chosen as the producer
738
00:40:29,000 --> 00:40:30,000
to focus on their harmonies.
739
00:40:30,000 --> 00:40:33,000
The inspiration was to, as much as possible,
740
00:40:33,000 --> 00:40:39,000
capture that thing that they felt in just singing together live
741
00:40:39,000 --> 00:40:44,000
and comfortable and happy and just thrilled
742
00:40:44,000 --> 00:40:48,000
with the sounds that came out in a very live, very small context.
743
00:40:54,000 --> 00:40:57,000
The artists hand-picked some of the very best session players
744
00:40:57,000 --> 00:40:59,000
to capture their stripped-back sound.
745
00:41:00,000 --> 00:41:03,000
Dolly Parton, Emmylou and Linda Ronstadt
746
00:41:03,000 --> 00:41:06,000
are going to sing three-part harmony and then, there's a bunch of people
747
00:41:06,000 --> 00:41:09,000
that they really like to play with and I said, "Ooh, that's good!"
748
00:41:09,000 --> 00:41:14,000
And you get paid too! "OK! Well, that's fine with me.
749
00:41:14,000 --> 00:41:17,000
"That's just fine with me. Sign me up, sign me on."
750
00:41:23,000 --> 00:41:28,000
I was a little nervous maybe. I mean, we're all kind of on edge
751
00:41:28,000 --> 00:41:31,000
when you're working with people like that, you know,
752
00:41:31,000 --> 00:41:33,000
you want to do it right and...
753
00:41:33,000 --> 00:41:37,000
..you don't want to be the one who's going to mess up, you know.
754
00:41:37,000 --> 00:41:40,000
And especially when they have... when their ideas,
755
00:41:40,000 --> 00:41:45,000
their musical ideas, are pretty much better than your own, you know.
756
00:41:47,000 --> 00:41:49,000
A poet once said that
757
00:41:49,000 --> 00:41:55,000
something in a hill child dies when he goes down to level land.
758
00:41:58,000 --> 00:41:59,000
The trio wanted the album
759
00:41:59,000 --> 00:42:03,000
to evoke the old-timey songs of the mountains.
760
00:42:03,000 --> 00:42:07,000
We were chasing more agrarian music, you know, from the times that people
761
00:42:07,000 --> 00:42:10,000
really actually lived in the country and were more isolated.
763
00:42:12,000 --> 00:42:15,000
People sang together. The family sang together.
764
00:42:15,000 --> 00:42:18,000
They were, you know, stuck on these mountains, with valleys between 'em.
766
00:42:22,000 --> 00:42:26,000
Women in Appalachia were the song savers,
767
00:42:26,000 --> 00:42:29,000
were the song preservers, in the folk tradition.
768
00:42:29,000 --> 00:42:32,000
They're the ones that saved the old ballads,
769
00:42:32,000 --> 00:42:34,000
which are often from feminine points of view.
770
00:42:34,000 --> 00:42:40,000
I once did have a dear companion
771
00:42:40,000 --> 00:42:45,000
Indeed I called his love my own...
772
00:42:45,000 --> 00:42:49,000
I like to call it parlour music, the kind of thing that women might do
773
00:42:49,000 --> 00:42:52,000
in the 19th century - when their household chores are finished,
774
00:42:52,000 --> 00:42:55,000
they might have a few precious moments to sit down on the sofa
775
00:42:55,000 --> 00:42:59,000
and harmonise together and sort of share your sorrows and your joys.
776
00:42:59,000 --> 00:43:05,000
..and dreaming in some soft repose...
777
00:43:05,000 --> 00:43:07,000
'It's such a mournful song.'
778
00:43:07,000 --> 00:43:10,000
The first Jean Ritchie rendition of that,
779
00:43:10,000 --> 00:43:12,000
that Alan Lomax got... It's so mournful! ..it's so sad!
780
00:43:12,000 --> 00:43:14,000
Yeah. And it's within that tradition of
781
00:43:14,000 --> 00:43:18,000
female Appalachian songs, where they're just longing for some lover
782
00:43:18,000 --> 00:43:21,000
that's never going to come back... Yeah.
783
00:43:21,000 --> 00:43:25,000
..and the Trio took that and then they kind of raised it.
784
00:43:25,000 --> 00:43:32,000
Oh, have you seen my dear companion?
785
00:43:32,000 --> 00:43:38,000
For he was all this world to me...
786
00:43:38,000 --> 00:43:40,000
'There's a lot of light and hope in it. Mm-hm.
787
00:43:40,000 --> 00:43:43,000
'Even with this sad lyric, you feel like it's...'
788
00:43:43,000 --> 00:43:47,000
these women mourning a lover, but kind of they're together... Yeah!
789
00:43:47,000 --> 00:43:49,000
..and they're going to hold each other up.
790
00:43:49,000 --> 00:43:55,000
I'd join the wild birds in their crying
791
00:43:55,000 --> 00:44:02,000
Thinking of you and your sweet face...
792
00:44:02,000 --> 00:44:05,000
'Preserving these songs... Yeah. ..and bringing them into'
793
00:44:05,000 --> 00:44:10,000
a new generation that might not listen to the old things,
794
00:44:10,000 --> 00:44:12,000
you know, I think that it's...
795
00:44:12,000 --> 00:44:15,000
and I don't know who's doing that today.
796
00:44:15,000 --> 00:44:22,000
Oh, have you seen my dear companion?
797
00:44:22,000 --> 00:44:30,000
He was all this world to me.
798
00:44:31,000 --> 00:44:34,000
I'm very sentimental about all those songs.
799
00:44:34,000 --> 00:44:36,000
Linda and Emmy had done research
800
00:44:36,000 --> 00:44:38,000
on those things to find a lot of that stuff,
801
00:44:38,000 --> 00:44:41,000
because they came from, like I say, a different world than I did.
802
00:44:41,000 --> 00:44:45,000
I came from that place and so those songs were embedded in my psyche,
803
00:44:45,000 --> 00:44:49,000
in my soul, in my heart, in my mouth, you know.
804
00:44:49,000 --> 00:44:54,000
There's a little rosewood casket
805
00:44:54,000 --> 00:45:00,000
Resting on a marble stand...
806
00:45:00,000 --> 00:45:04,000
'Of course, those are the songs that I can sing the best, I think,'
807
00:45:04,000 --> 00:45:07,000
even though I like thinking I can do all kinds of stuff,
808
00:45:07,000 --> 00:45:12,000
but the truth is my truest gift really is that...
809
00:45:12,000 --> 00:45:14,000
that sound that really comes from the mountains,
810
00:45:14,000 --> 00:45:17,000
that is so true to who I truly am and how I grew up.
811
00:45:17,000 --> 00:45:22,000
..read them o'er for me tonight...
812
00:45:22,000 --> 00:45:25,000
We wanted to bring that part of her voice,
813
00:45:25,000 --> 00:45:29,000
that part of Dolly, back into Appalachia,
814
00:45:29,000 --> 00:45:34,000
and using it to our purposes too, having Dolly's voice there,
815
00:45:34,000 --> 00:45:38,000
and just Dolly's presence there, made us authentic.
816
00:45:40,000 --> 00:45:46,000
Last night as I lay on the boxcar
817
00:45:46,000 --> 00:45:53,000
Just waiting for a train to pass by...
818
00:45:53,000 --> 00:45:56,000
It became clear that the magic of the Trio was what they had
819
00:45:56,000 --> 00:45:59,000
discovered ten years previously - the blend of their voices.
820
00:45:59,000 --> 00:46:02,000
'Dolly, Linda and Emmy all had different voices -
821
00:46:02,000 --> 00:46:05,000
'decidedly different voices - but when they sang together,'
822
00:46:05,000 --> 00:46:09,000
their complexities dovetailed in ways that were
823
00:46:09,000 --> 00:46:12,000
at once idiosyncratic and incredibly beautiful.
824
00:46:12,000 --> 00:46:17,000
Will there be any freight trains in heaven?
825
00:46:19,000 --> 00:46:25,000
Any boxcars in which we might hide?
826
00:46:25,000 --> 00:46:29,000
They all had distinctive personalities
827
00:46:29,000 --> 00:46:32,000
in their voices, qualities,
828
00:46:32,000 --> 00:46:36,000
and I think that's what makes a really good, interesting blend.
829
00:46:36,000 --> 00:46:41,000
If you can blend, and have your own voice and put your own stamp on it,
830
00:46:41,000 --> 00:46:42,000
it's truly magical.
831
00:46:44,000 --> 00:46:49,000
Will we always have money to spare?
832
00:46:49,000 --> 00:46:53,000
There's a vibration that happens and, to me, it's very spiritual.
833
00:46:53,000 --> 00:46:56,000
It's like something else enters the room. Mm-hm.
834
00:46:56,000 --> 00:46:58,000
And that's like the overtone, but to me, it's just
835
00:46:58,000 --> 00:47:03,000
this vibration of otherness that lifts the whole thing.
836
00:47:03,000 --> 00:47:06,000
It's just an accident of nature. It's genes.
837
00:47:06,000 --> 00:47:07,000
You know, how our voices combined,
838
00:47:07,000 --> 00:47:10,000
they just happened to fill up parts of...
839
00:47:10,000 --> 00:47:13,000
Each person filled up a part that the other person didn't have.
840
00:47:13,000 --> 00:47:16,000
I think we sound like sisters. You never know.
841
00:47:16,000 --> 00:47:18,000
There are those groups that are not family,
842
00:47:18,000 --> 00:47:21,000
but they sound like they are, and when you can come across
843
00:47:21,000 --> 00:47:23,000
that combination, you've got something really good.
845
00:47:26,000 --> 00:47:30,000
As the Trio all approached their 40th birthday, they chose a song
846
00:47:30,000 --> 00:47:32,000
looking back to the girl groups of their teenage years
847
00:47:32,000 --> 00:47:35,000
as a song dedicated to the men in their lives,
848
00:47:35,000 --> 00:47:38,000
the Phil Spector song To Know Him Is To Love Him.
849
00:47:38,000 --> 00:47:42,000
To know, know, know him
850
00:47:42,000 --> 00:47:47,000
Is to love, love, love him
851
00:47:47,000 --> 00:47:51,000
Just to see him smile...
852
00:47:51,000 --> 00:47:55,000
A certain movie director was asked to direct the promo for the song.
853
00:47:55,000 --> 00:47:59,000
Well, you know, it was kind of like, "We should make a music video,"
854
00:47:59,000 --> 00:48:02,000
and I was going out with this guy that made films, so he could do it.
855
00:48:02,000 --> 00:48:04,000
It was that way, it was very casual.
856
00:48:08,000 --> 00:48:09,000
You know, I was the boyfriend,
857
00:48:09,000 --> 00:48:12,000
so, you know, I was sort of like the fly on the wall,
858
00:48:12,000 --> 00:48:15,000
but, you know, they would sit around and, a lot of the times,
859
00:48:15,000 --> 00:48:19,000
they'd talk about the loves lost or the love for a new boyfriend,
860
00:48:19,000 --> 00:48:22,000
or the new this, and all that kind of stuff, so there was a lot of that
861
00:48:22,000 --> 00:48:26,000
that they actually were living and they're very romantic about it.
862
00:48:26,000 --> 00:48:29,000
You know, it's... It's sort of Jane Austen-ish,
863
00:48:29,000 --> 00:48:34,000
if I can, like, put that there.
864
00:48:34,000 --> 00:48:38,000
..love, love, love him And I do...
865
00:48:38,000 --> 00:48:41,000
They are strong, brilliant women,
866
00:48:41,000 --> 00:48:46,000
who had had a variety of relationships with men
867
00:48:46,000 --> 00:48:52,000
and had emerged from all of these as, er, victorious.
868
00:48:52,000 --> 00:49:01,000
Why can't he see I...?
869
00:49:01,000 --> 00:49:05,000
LINDA: 'Emmy has a real heartbreak sound in her singing. It's like a...
870
00:49:05,000 --> 00:49:08,000
'Like I said, like she's pleading for her life and her sanity.'
871
00:49:08,000 --> 00:49:12,000
Someday, he will see...
872
00:49:12,000 --> 00:49:15,000
'Music has always had such an effect on me.
873
00:49:15,000 --> 00:49:19,000
'I think it opens up the vistas of our soul and our heart'
874
00:49:19,000 --> 00:49:24,000
and our humanness, it connects us to people and makes us feel that
875
00:49:24,000 --> 00:49:29,000
somehow we all, one way or another, share the same human experience.
876
00:49:29,000 --> 00:49:38,000
Those memories of you still haunt me, every night...
877
00:49:38,000 --> 00:49:42,000
Each singer has their own history and their own where they're from
878
00:49:42,000 --> 00:49:45,000
and what they do and, you know, it's not just the voices.
879
00:49:45,000 --> 00:49:51,000
'It's the culture behind the voices that blend and their struggles.
880
00:49:51,000 --> 00:49:54,000
'You know, they all had struggles.'
881
00:49:54,000 --> 00:49:57,000
ALL: ..they lay me down
882
00:49:57,000 --> 00:50:01,000
DOLLY: In dreams of you...
883
00:50:01,000 --> 00:50:03,000
LINDA: 'Dolly has a sound like a heartbroken child, you know,
884
00:50:03,000 --> 00:50:06,000
'like you've just absolutely smashed her hopes or something.'
885
00:50:06,000 --> 00:50:08,000
And she's strong, she's going to carry on,
886
00:50:08,000 --> 00:50:11,000
but she just has this heartbroken disappointment.
887
00:50:11,000 --> 00:50:14,000
But you're not there
888
00:50:14,000 --> 00:50:17,000
And I'm so lonesome...
889
00:50:17,000 --> 00:50:20,000
'We got very emotional ourselves many times
890
00:50:20,000 --> 00:50:24,000
'when we were singing certain songs. You know, we would feel it!'
891
00:50:24,000 --> 00:50:25,000
And when you get that much feeling,
892
00:50:25,000 --> 00:50:28,000
I mean, if you've got any feelings at all,
893
00:50:28,000 --> 00:50:32,000
it's going to kind of overflow, so that's what you hope to do.
894
00:50:32,000 --> 00:50:34,000
A decade after its conception,
895
00:50:34,000 --> 00:50:37,000
the acoustic country album was released and it flew in the face
896
00:50:37,000 --> 00:50:41,000
of the contemporary formulaic pop produced in Nashville at the time.
897
00:50:41,000 --> 00:50:45,000
There was some resistance to putting the record out at the beginning.
898
00:50:45,000 --> 00:50:49,000
It was not a slam dunk. You'd think it would be, but it wasn't.
899
00:50:49,000 --> 00:50:53,000
It hit Nashville like a bomb! They loathed it!
900
00:50:53,000 --> 00:50:57,000
For at least I could run They just died in the sun...
901
00:50:57,000 --> 00:50:59,000
They did play it on the radio.
902
00:50:59,000 --> 00:51:03,000
We didn't know, but we believed there was a market for this.
903
00:51:03,000 --> 00:51:07,000
Country was the way we pushed it. It got a lot of play, I think,
904
00:51:07,000 --> 00:51:11,000
also on adult contemporary and middle of the road stations
905
00:51:11,000 --> 00:51:13,000
and some, like, cool FM stations, you know.
906
00:51:13,000 --> 00:51:18,000
People were listening to country music that really weren't country.
907
00:51:18,000 --> 00:51:20,000
They really didn't like the twangy stuff.
908
00:51:20,000 --> 00:51:24,000
You know, they didn't like the steel guitars, and this was not that.
909
00:51:24,000 --> 00:51:29,000
This was real mountain music, so it was perfect, and I think we sold,
910
00:51:29,000 --> 00:51:32,000
like, four million records on the dang thing!
911
00:51:32,000 --> 00:51:37,000
When a flower grows wild it can always survive
912
00:51:37,000 --> 00:51:43,000
ALL: Wildflowers don't care where they grow...
913
00:51:43,000 --> 00:51:46,000
Trio went on to win Country Music Association awards,
914
00:51:46,000 --> 00:51:49,000
Academy of Country Music awards, Grammy Awards,
915
00:51:49,000 --> 00:51:51,000
gold record, platinum record!
916
00:51:51,000 --> 00:51:55,000
Four hit singles! It could not have been more successful. It was a...
917
00:51:55,000 --> 00:51:58,000
It was a masterpiece that was a commercial success. What a concept!
918
00:52:00,000 --> 00:52:03,000
After proving Nashville wrong with the success of Trio,
919
00:52:03,000 --> 00:52:06,000
the three tried to regroup, but it didn't run so smoothly
920
00:52:06,000 --> 00:52:08,000
and it took 13 years to release their next album.
921
00:52:10,000 --> 00:52:13,000
Naturally, none of the people that were in charge of us professionally
922
00:52:13,000 --> 00:52:15,000
were eager to do something that would take more time
923
00:52:15,000 --> 00:52:17,000
and make less money and be more trouble,
924
00:52:17,000 --> 00:52:20,000
so it was just really hard to get that happening,
925
00:52:20,000 --> 00:52:22,000
but we wanted to do it, cos we liked the music.
926
00:52:22,000 --> 00:52:24,000
..that matters
927
00:52:25,000 --> 00:52:28,000
Is the love that we share
928
00:52:28,000 --> 00:52:32,000
And the way that we care
929
00:52:32,000 --> 00:52:34,000
When we're gone
930
00:52:34,000 --> 00:52:37,000
Long gone.
931
00:52:37,000 --> 00:52:40,000
The trio stuck to its successful formula
932
00:52:40,000 --> 00:52:44,000
and Trio II was eventually released in 1999,
933
00:52:44,000 --> 00:52:47,000
following rumours of unharmonious struggles between the artists.
934
00:52:47,000 --> 00:52:50,000
One of us may be having a single coming out, so they said,
935
00:52:50,000 --> 00:52:53,000
"No, we can't put a Trio out!" It was those kind of things.
936
00:52:53,000 --> 00:52:54,000
It was more things, aggravations,
937
00:52:54,000 --> 00:52:59,000
brought on by other people or just things that couldn't be helped.
938
00:52:59,000 --> 00:53:04,000
And when we're gone, gone...
939
00:53:04,000 --> 00:53:06,000
But we loved each other,
940
00:53:06,000 --> 00:53:10,000
and Linda and Emmy are very close, they've stayed very, very close.
941
00:53:10,000 --> 00:53:12,000
The only thing that will have mattered...
942
00:53:12,000 --> 00:53:14,000
'It didn't affect my friendship with Emmy.
943
00:53:14,000 --> 00:53:17,000
'I mean, it just was a hard business thing,'
944
00:53:17,000 --> 00:53:20,000
that's all, you know. There are reasons those things happen
945
00:53:20,000 --> 00:53:21,000
and you just have to accept them.
946
00:53:21,000 --> 00:53:24,000
Er, can we look forward to a Trio III?
947
00:53:24,000 --> 00:53:27,000
Well, we'd like to. You can look forward to it.
948
00:53:27,000 --> 00:53:28,000
We're looking forward to it.
949
00:53:28,000 --> 00:53:31,000
And if this one does well enough for the record label to afford us
950
00:53:31,000 --> 00:53:34,000
to do it, that'd make a difference too, so get out and buy this record!
951
00:53:34,000 --> 00:53:37,000
We need the money. It costs a lot to look this cheap!
953
00:53:39,000 --> 00:53:42,000
And, following Trio's release, there was a resurgence
954
00:53:42,000 --> 00:53:45,000
and a return to country roots and old-time music.
955
00:53:47,000 --> 00:53:54,000
I am a man of constant sorrow...
956
00:53:54,000 --> 00:53:57,000
It did have influence on things like O Brother, Where Art Thou?,
957
00:53:57,000 --> 00:54:00,000
which also was a breakthrough in country music.
958
00:54:00,000 --> 00:54:02,000
It was so wacky!
959
00:54:02,000 --> 00:54:05,000
But it was a similar kind of music that the Trio is.
960
00:54:05,000 --> 00:54:11,000
It was that back to roots, the real deal stuff, you know.
961
00:54:11,000 --> 00:54:12,000
And it exploded!
962
00:54:19,000 --> 00:54:22,000
After our album came out, then Ricky Skaggs had a huge hit
963
00:54:22,000 --> 00:54:24,000
with traditional stuff and then it became...
964
00:54:24,000 --> 00:54:27,000
I think that our album really paved the road for
965
00:54:27,000 --> 00:54:29,000
people like Alison Krauss later on, you know.
966
00:54:29,000 --> 00:54:34,000
Till I find my way back to my heart
967
00:54:34,000 --> 00:54:40,000
For there's no-one but me gonna take my part...
968
00:54:40,000 --> 00:54:47,000
Alison Krauss has popularised that particular traditional sound -
969
00:54:47,000 --> 00:54:52,000
really soulful-sounding music - that Linda and Dolly and Emmy
970
00:54:52,000 --> 00:54:55,000
were plugged into before these artists came along.
971
00:55:06,000 --> 00:55:09,000
Trio III was not to be, when, in 2012, the trio realised
972
00:55:09,000 --> 00:55:12,000
they could never sing together again.
973
00:55:12,000 --> 00:55:16,000
When I heard that Linda had Parkinson's and she wasn't going
974
00:55:16,000 --> 00:55:19,000
to be able to sing, I mean, it cut me like a knife.
975
00:55:19,000 --> 00:55:24,000
It just killed me, and I can only imagine how she must feel!
976
00:55:24,000 --> 00:55:30,000
White snow
977
00:55:30,000 --> 00:55:34,000
In a deep sleep...
978
00:55:34,000 --> 00:55:36,000
This is kind of bittersweet,
979
00:55:36,000 --> 00:55:39,000
because there will be some things that people have not heard before
980
00:55:39,000 --> 00:55:42,000
that were recorded when she was still in her prime
981
00:55:42,000 --> 00:55:47,000
and that gorgeous voice was there for all the world to share in.
982
00:55:47,000 --> 00:55:53,000
..purple black sky...
983
00:55:55,000 --> 00:55:57,000
I think that showing Linda Ronstadt,
984
00:55:57,000 --> 00:56:00,000
you know, at the height of her powers as a singer,
985
00:56:00,000 --> 00:56:04,000
and in the company of these wonderful collaborators,
986
00:56:04,000 --> 00:56:07,000
will remind people what a force she was.
987
00:56:07,000 --> 00:56:11,000
Oh, that boy of mine
988
00:56:11,000 --> 00:56:13,000
By my side...
989
00:56:13,000 --> 00:56:16,000
'I did so many different kinds of music, you know.'
990
00:56:16,000 --> 00:56:19,000
It all came to me from the living room of the house that I grew up in,
991
00:56:19,000 --> 00:56:22,000
or it came from the radio or from my sister or brother,
992
00:56:22,000 --> 00:56:26,000
so it was just one of the other influences that I've absorbed.
993
00:56:26,000 --> 00:56:28,000
I'm just grateful I got a chance to do it.
994
00:56:28,000 --> 00:56:31,000
Well, I'll never be blue
995
00:56:31,000 --> 00:56:36,000
My dreams come true
996
00:56:36,000 --> 00:56:48,000
On Blue Bayou.
998
00:56:55,000 --> 00:56:57,000
Linda, Emmylou and Dolly were
999
00:56:57,000 --> 00:57:00,000
pioneers in bringing different cultures and music together
1000
00:57:00,000 --> 00:57:04,000
and raising the game for women in the country tradition.
1001
00:57:04,000 --> 00:57:07,000
The Trio now is, er...is legendary.
1002
00:57:07,000 --> 00:57:09,000
You meet these young women today
1003
00:57:09,000 --> 00:57:13,000
that, to them, they're formative musical figures.
1004
00:57:13,000 --> 00:57:16,000
Whether or not they'd describe themselves as feminists,
1005
00:57:16,000 --> 00:57:22,000
they so absolutely and clearly were, you know, way ahead of their time
1006
00:57:22,000 --> 00:57:24,000
in their determination to forge their own career,
1007
00:57:24,000 --> 00:57:28,000
regardless of what anybody else thought they should be.
1008
00:57:28,000 --> 00:57:31,000
People, I think, will look back when they're studying music...
1009
00:57:31,000 --> 00:57:33,000
Well, you like to think those kind of things,
1010
00:57:33,000 --> 00:57:36,000
like, when you're gone, how will you be remembered?
1011
00:57:36,000 --> 00:57:38,000
But I'd like to think, like, in school, in music school,
1012
00:57:38,000 --> 00:57:41,000
I think people will point to that Trio
1013
00:57:41,000 --> 00:57:44,000
and it'll have the best of all three of us.
1014
00:57:44,000 --> 00:57:46,000
I'll treasure it till the day I'm gone,
1015
00:57:46,000 --> 00:57:51,000
which we're old enough to be any day now, but... Any day now!
1016
00:57:51,000 --> 00:57:53,000
Knock on wood!
1017
00:57:53,000 --> 00:57:56,000
You don't knock You don't knock, you just walk on in
1018
00:57:56,000 --> 00:57:58,000
The door The door to Heaven's den
1019
00:57:58,000 --> 00:58:01,000
There's love There's love and joy for you
1020
00:58:01,000 --> 00:58:04,000
To share To share the whole day through
1021
00:58:04,000 --> 00:58:07,000
I know I know my friends are there
1022
00:58:07,000 --> 00:58:10,000
To rest To rest in the Heaven's nest
1023
00:58:10,000 --> 00:58:12,000
You don't knock...
1024
00:58:12,000 --> 00:58:19,000
You just walk on in.
1025
00:58:26,000 --> 00:58:28,000
'From the heights of the Scottish Highlands
1026
00:58:28,000 --> 00:58:32,000
'to the shores of East Anglia, I've travelled across Britain...'
1027
00:58:32,000 --> 00:58:33,000
We got a fish!
1028
00:58:33,000 --> 00:58:35,000
'..to learn about the food I cook for my family...'
1029
00:58:35,000 --> 00:58:38,000
Tell me, what is so good about these potatoes?84557
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