Доллі Партон: відмінності між версіями
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Пісня 1974 року ''[[I Will Always Love You]]'', написана про розрив співпраці з Ваґонером, піднялася на першу позицію у кантрі чартах. Приблизно тоді ж [[Елвіс Преслі]] висловив бажання зробити кавер-версію. Партон спочатку зацікавилася, але менеджер Преслі сказав їй, що автор пісні, яку виконує Елвіс повинен відмовитися від більшої частини прав на неї, і Партон відмовилася, що дозволило їй упродовж багатьох років заробити на пісні мільйони доларів.
===1976–86: поп-музика ===
З 1974 по 1980 Партон постійно перебувала у [[Top 40|Top 10]] кантрі-чартів, а 8 її синглів підіймалися на першу позицію. Доллі мала свою власну передачу, яка називалася «Доллі». Її пісні співало чимало виконавців, зокреа Роуз Меддокс, Кітті Веллс, Олівія Ньютон-Джон, Еммілу Гарріс та Лінда Ронстадт, а сестри Партон Ренді й Стелла теж отримали власні контракти<ref name = allMusicGuide/>. Саме в цей період Доллі доклала зусиль, щоб пробитися до ширшої категорії слухачів і вийти за межі кантрі-музики. У 1976 вона підписала контракт з Лос-Анджелеською промоутерською фірмою [[Katz-Gallin-Morey]] і почала співпрацю з [[Сенді Геллін]].
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With her 1976 album ''[[All I Can Do (album)|All I Can Do]]'', co-produced by herself with Porter Wagoner, Parton began taking more of an active role in production, and began specifically aiming her music in a more mainstream, pop direction. Her first entirely self-produced effort, 1977's ''[[New Harvest - First Gathering|New Harvest ... First Gathering]]'', highlighted Parton's pop sensibilities, both in terms of choice of songs—the album contained covers of the pop and R&B classics "[[My Girl (The Temptations song)|My Girl]]" and "[[(Your Love Keeps Lifting Me) Higher and Higher|Higher and Higher]]" – and the album's production. While receiving generally favorable reviews, however, the album did not achieve the crossover success Parton had hoped for. Though it topped the country albums charts, it stalled at No. 71 on the pop albums chart; the album's single, "[[Light of a Clear Blue Morning]]" only reached No. 87 on the [[Hot 100]].
After ''New Harvest'''s disappointing chart performance, Parton turned to high profile pop producer [[Gary Klein (producer)|Gary Klein]] for her next album. The result, 1977's ''[[Here You Come Again (album)|Here You Come Again]]'', became her first million-seller, topping the country albums chart and reaching No. 20 on the pop albums chart; the [[Barry Mann]]-[[Cynthia Weil]]-penned [[Here You Come Again (song)|title track]] topped the country singles chart, and became Parton's first top-ten single on the pop charts (reaching number three). A second single, the double A-sided single "[[Two Doors Down]]"/"It's All Wrong But It's All Right" also topped the country singles chart and crossed over to the pop top twenty. For the remainder of the 1970s and into the early 1980s, many of Parton's subsequent singles charted on both pop and country charts, simultaneously. Her albums during this period were developed specifically for pop-[[crossover (music)|crossover]] success.
In 1978, Parton won a [[Grammy Award for Best Female Country Vocal Performance]] for her ''Here You Come Again'' album. She continued to have hits with "[[Heartbreaker (Dolly Parton song)|Heartbreaker]]" (1978), "[[Baby I'm Burning]]" and "[[You're the Only One (Dolly Parton song)|You're the Only One]]" (both 1979), all of which charted in the pop singles [[Top 40]], and all of which also topped the country-singles chart; 1979's "[[Sweet Summer Lovin']]" became the first Parton single in two years to not top the country singles chart (though it still nonetheless reached the top ten). During this period, Parton's visibility continued to increase, with television appearances in 1977, 1978 and 1979. A highly publicized candid interview on a ''[[Barbara Walters Special]]'' in December 1977 (timed to coincide with ''Here You Come Again'''s release) was followed by appearances in 1978 on [[Cher]]'s ABC television special, and her own joint special with [[Carol Burnett]] on CBS, ''Carol and Dolly in Nashville''. She also served as one of three co-hosts (along with [[Roy Clark]] and [[Glen Campbell]]) on the CBS special ''Fifty Years of Country Music''. In 1979, Parton hosted the NBC special ''The Seventies: An Explosion of Country Music'', performed live at the [[Ford Theatre]] in Washington, D.C., and whose audience included President [[Jimmy Carter]].
Parton's commercial success continued to grow during 1980, with 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 (Dolly Parton song)|9 to 5]]," which topped the country and pop charts in early 1981.<ref name = "allMusicGuide" />
With less time to spend songwriting as she focused on a burgeoning film career, during the early 1980s Parton recorded a larger percentage of material from noted pop songwriters, such as [[Barry Mann]] and [[Cynthia Weil]], [[Rupert Holmes]], [[Gary Portnoy]] and [[Carole Bayer Sager]].
[[File:Dolly Parton 2.jpg|right|160px|thumb|Dolly Parton in [[Honolulu]], Hawaii, 1983.]]
"[[9 to 5 (Dolly Parton song)|9 to 5]]", the theme song to the feature film ''[[Nine to Five]]'' (1980) Parton starred in along with [[Jane Fonda]] and [[Lily Tomlin]], not only reached number one on the country charts, but also, in February 1981, reached number one on the pop and the [[adult contemporary music|adult-contemporary]] charts, giving her a triple-number-one hit. Parton became one of the few female country singers to have a number-one single on the country and pop charts simultaneously. It also received a nomination for an [[Academy Award for Best Original Song]].
Parton's singles continued to appear consistently in the country Top 10: between 1981 and 1985, she had 12 Top 10 hits; 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 feature film ''[[The Best Little Whorehouse in Texas (film)|The Best Little Whorehouse in Texas]]'' (1982) scraping the Top 50 that year and her duet with [[Kenny Rogers]], "[[Islands in the Stream]]" (written by the [[Bee Gees]] and produced by [[Barry Gibb]]), spent two weeks at number one in 1983.<ref name = allMusicGuide /> Other chart hits during this period included Parton's chart-topping cover of the 1969 [[First Edition]] hit "[[But You Know I Love You]]" and "[[The House of the Rising Sun]]" (both 1981), "[[Single Women]]", "[[Heartbreak Express]]" and "[[Hard Candy Christmas]]" (1982) and 1983's "[[Potential New Boyfriend]]," which was accompanied by one of Parton's first music videos, and which also reached the U.S. dance charts.
She also continued to explore new business and entertainment ventures such as her [[Dollywood]] theme park, that opened in 1986 in [[Pigeon Forge, Tennessee|Pigeon Forge]], Tennessee.
By the mid-1980s, her record sales were still relatively strong, with "[[Save the Last Dance for Me]]", "[[Downtown (Petula Clark song)|Downtown]]", "[[Tennessee Homesick Blues]]" (all 1984); "[[Real Love (Dolly Parton and Kenny Rogers song)|Real Love]]" (another duet with Kenny Rogers), "[[Don't Call It Love]]" (both 1985); and "[[Think About Love]]" (1986) all reaching the country-singles Top 10. ("Tennessee Homesick Blues" and "Think About Love" reached number one. "Real Love" also reached number one on the country-singles chart and also became a modest pop-crossover hit). However, RCA Records did not renew her contract after it expired that year, and she signed with [[Columbia Records]] in 1987.<ref name = allMusicGuide/>
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