6-CD box-set (LP-size) with 80-page hardcover book, 160 tracks. Total playing time approx. 408 mns.

• The greatest male-female duet in country music!
• "They made all other duet teams sound like footnotes" (critic John Morthland).
• Includes 21 timeless hits: Holding On To Nothin', Just Someone I Used To Know, Daddy Was An Old Time Preacher Man, and Making Plans, as well as the #1 smash Please Don't Stop Loving Me!
• Also includes many rarities including their 1973 release of Here Comes The Freedom Train and live recordings.In all, 160 recordings!
• Features an in-depth biography by noted journalist and Dolly Parton biographer, Alanna Nash.

“…I was truly humbled by the high art and soul of duet singing and its power to tell the story of the human heart, broken and otherwise, but Porter and Dolly became the gold standard for me and remain so to this day. At a time when the airwaves and ipods spew out bloodless and over-calculated offerings of a once venerable genre, this is the real deal, my friends – country music the way God intended. And if there is a radio station in heaven, Porter and Dolly will always be in heavy rotation.” Emmylou Harris, Nashville, January 2014

Few partnerships in country music have left a legacy as enduring as Dolly Parton and Porter Wagoner. With “Just Between You And Me – The Complete Recordings 1967–1976,” Bear Family Records delivers the definitive chronicle of one of the genre’s most influential duos. This beautifully produced deluxe box set brings together, for the very first time, the complete RCA recording output of Porter and Dolly in one essential collection.

Across 160 tracks and six CDs, listeners can follow the full artistic journey of the duo, from their earliest collaborations to the recordings that helped define modern country music. Timeless classics such as “The Last Thing On My Mind,” “Tomorrow Is Forever,” “Just Someone I Used To Know,” and “Milwaukee, Here I Come” highlight the remarkable chemistry that made them country music’s most celebrated male-female vocal partnership.

Collectors and dedicated fans will especially appreciate the inclusion of rare material, previously unreleased recordings, and original master versions that were later altered for commercial release. These recordings offer a fascinating and authentic insight into the creative relationship between two legendary performers during a transformative era in Nashville history.

As expected from Bear Family Records, audio quality is exceptional throughout. Carefully restored masters reveal new depth, warmth, and detail while preserving the character of the original recordings. The LP-sized deluxe package also includes a lavish hardcover book featuring rare photographs, extensive liner notes, complete recording data, and expert historical commentary.

More than a box set, this collection serves as a landmark archive of country music history. It captures the evolution of two iconic artists whose influence continues to resonate across generations. For country enthusiasts, music historians, and lifelong fans alike, this extraordinary release stands as the ultimate tribute to the unforgettable partnership of Dolly Parton and Porter Wagoner.

DOLLY PARTON OBITUARY

Overcoming an impoverished childhood in eastern Tennessee to embrace superstardom in the country music field before crossing over to the mainstream pop world to star in movies and on television, Dolly Parton combined an unaffected vocal delivery that always remained true to her rural roots, an uncommonly prolific songwriting talent (she wrote many of her biggest hits and an estimated 3,000 songs in all), and an unabashedly sexy persona to achieve an exalted level of success attained by few singers in any genre. Every bit as astute in the business world as behind a mic, Parton’s Dollywood Company manages her popular Dollywood theme park in Pigeon Forge, Tennessee, as well as a number of other parks and venues (as of 2017, her net worth was estimated at $500 million). Her many philanthropic ventures included donating a million dollars to Vanderbilt University Medical Center to help develop Moderna’s COVID-19 vaccine.

Parton, who died on August 25, 2026, in Nashville, Tennessee, at age 80, hailed from a deeply musical and religious family. Born January 19, 1946, in a one-room cabin in Pittman Center, Tennessee, Dolly Rebecca Parton was one of a dozen children born to Robert Lee Parton, Sr. and his wife, Avie Lee. Her father was a sharecropper who moved his family to a farm in Locust Ridge when Dolly was still a small child. An inveterate reader, Parton soaked up knowledge like a sponge, no doubt abetting her blossoming songwriting skills; many of Parton’s best songs during her initial rise to fame derived from her dirt-poor childhood. At age 10, she performed on Cas Walker’s Farm and Home Hour, a radio and TV staple in Knoxville. In the spring of 1959, 13-year-old Dolly debuted on Eddie Shuler’s Lake Charles, Louisiana-based Goldband Records, her uncle and songwriting mentor Bill Owens scribing her rockabilly charmer Puppy Love.

Parton scored a one-off deal with Mercury Records in 1962, co-writing It’s Sure Gonna Hurt with Bill Owens for A&R man Jerry Kennedy (its B-side, The Love You Gave, sported decided pop overtones). The day after she graduated from high school in 1964, Parton moved to Nashville, where Owens had already set up shop. The pair signed with Fred Foster’s Combine Music Corporation, writing Dolly’s first rollicking pop-aimed ’64 single for Foster’s Monument label, What Do You Think About Lovin’, as well as penning Put It Off Until Tomorrow, a 1966 Top Ten C&W hit for Decca artist Bill Phillips. Ray Stevens wrote and produced Parton’s boisterous ’66 Monument platter Busy Signal, which verged on blue-eyed soul. That same year, Parton wed paving contractor Carl Dean, a marriage that endured for more than half a century.

Although she was no Dumb Blonde, that was the title of Dolly’s first Curly Putman-scribed C&W hit at the beginning of 1967, producer Foster ordering up a more overtly country setting for the feisty singer with steel guitar and a vocal chorus. Something Fishy, her self-penned Monument follow-up, did even better on the country charts that summer. C&W star Porter Wagoner chose Dolly to replace a departing Norma Jean in his touring troupe. Wagoner hosted a popular syndicated TV series that offered widespread exposure for Parton, although she initially had to overcome static from Norma Jean’s loyal fandom.

Wagoner helped bring his new duet partner over to the major RCA Victor label towards the end of ’67. At first, most of her bigger RCA hits came on duets with Wagoner, their The Last Thing On My Mind, Holding On To Nothin’, We’ll Get Ahead Someday, Yours Love, and Just Someone I Used To Know all crashing the C&W Top Ten before decade’s close. Parton’s initial solo outings for RCA didn’t chart as high, though a self-authored Just Because I’m A Woman did crack the Top 20 in 1968. Finally, in 1970, Dolly’s rousing revival of Jimmie Rodgers’ Mule Skinner Blues (Blue Yodel No. 8) vaulted to #3 on Billboard’s C&W charts, opening the floodgates for a tsunami of solo smashes.

Working with producer Bob Ferguson, Parton posted the first of her many country chart-toppers in early 1971 with her own vividly drawn composition Joshua. Coat Of Many Colors, her deeply touching #4 hit late that year, derived directly from personal experience during her childhood. Touch Your Woman was a major hit for Parton in 1972 before she reeled off consecutive C&W number ones in ’74 with the haunting Jolene, a gorgeous I Will Always Love You, and the lilting Love Is Like A Butterfly. Parton wrote I Will Always Love You as a farewell to Wagoner; she was preparing to leave his show to stand on her own (she could never have dreamed of just how mammoth Whitney Houston’s 1992 remake would be). Porter and Dolly continued to record duets that sold briskly despite severing their business partnership—their Please Don’t Stop Loving Me climbed to the peak of the C&W hit parade in 1974, and Making Plans just missed the same happy fate in 1980, long after they’d gone their separate ways otherwise.

Before Porter exited, he teamed with Ferguson to produce Parton’s The Bargain Store, yet another country chart-topper for Dolly in 1975, and Wagoner helmed her #2 smash later that year, The Seeker (as usual, Parton wrote both). Word was spreading about Dolly outside the country music fraternity. She was hired to host a syndicated TV program in 1976, and the next year Parton veered in much more of a mainstream direction with her Here You Come Again, authored by gilt-edged pop songsmiths Barry Mann and Cynthia Weil (Dolly ventured out to Los Angeles to cut the anthem, produced by Gary Klein). Not only did it pace the country hit listings, it sailed to #3 pop and went gold. The Grammy-nominated platinum album of the same title spawned another #1 C&W entry, It’s All Wrong, But It’s All Right.

Klein shared production credit with Parton on her ’78 country #1 Heartbreaker. More C&W chart-toppers immediately followed: I Really Got The Feeling, You’re The Only One, Starting Over Again, Old Flames Can’t Hold A Candle To You. A chance encounter with actress Jane Fonda on a cross-country flight resulted in Dolly being cast as one of the stars of the 1980 film comedy 9 To 5 alongside Fonda and Lily Tomlin. Dolly wrote the film’s theme song to boot. Naturally, it blasted up to the top of both the pop and country charts. There were more starring movie roles in The Best Little Whorehouse in Texas (Parton was nominated for a Golden Globe Award for her acting in the 1982 film), Rhinestone (1984), and Steel Magnolias (1989). Trio, her acclaimed ’87 collaborative album with Linda Ronstadt and Emmylou Harris, went platinum and included their country chart-topping revival of The Teddy Bears’ To Know Him Is To Love Him.

With 25 #1 country singles, 44 Top Ten country albums (a feat no one else has accomplished), 11 Grammy Awards, and too many country music awards to recount, Parton made her stratospheric mark like few artists of either gender or any generation. Not only did the Country Music Hall of Fame induct Parton in 1999, the Rock and Roll Hall of Fame followed suit in 2022 (at first she declined the honor, then reconsidered). Her well-endowed figure and cascading blonde hair were as indelible as her singular pipes, which never lost their Tennessee hills twang (for which we can all be thankful).

In today’s cookie-cutter country music arena, it’s safe to say there will never be another Dolly Parton.