Dolly Parton: Last News

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‘Linda Perry: Let It Die Here’ Documentary to Premiere at Tribeca Film Fest — Watch the Trailer (EXCLUSIVE)

Jem Aswad Executive Editor, Music Mercury Studios and Utopia Originals have announced the premiere of the feature-length documentary “Linda Perry: Let It Die Here,” which will make its debut at the upcoming Tribeca Festival 2024. Directed by Don Hardy (“Citizen Penn,” “Pick of the Litter,” “Theory of Obscurity”), and produced by KTF Films, the film takes a look at the life and career of Perry, who led the group 4 Non-Blondes before launching her career as one of the most successful songwriters of the last 30 years, collaborating with Dolly Parton, Christina Aguilera, Celine Dion, Pink, Adele, Miley Cyrus, Ariana Grande, Weezer, Gwen Stefani, Alicia Keys, the Chicks and others.
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Listen to Beyoncé’s new “pony up” remix of ‘Texas Hold ‘Em’
Beyoncé has shared a new remix of her ‘Cowboy Carter’ single ‘Texas Hold ‘Em’ – you can listen to it below.Arriving today (April 4), the surprise fresh spin on the track brings some energetic New Orleans bounce production, as well as a new verse, extra vocals, harder-hitting electronic drums and samples.A rootin’ tootin’ breakdown sees the singer call “all [her] cowboys to the dancefloor” before demanding: “Get to the dancefloor!”The new verse features the lines: “Woke up this mornin’, my heart keeps racin’/ Straight to the bottom, we all need salvation (Come take it to the floor now, ooh)/ Need you to in this drought, take me downtown/ Gon leave the truck, whiskey, baby/ Let’s get weekend wasted/ Might as well just throw it all (Woo-woo)/ And pony up, bitch, don’t hold back on me.” (via Genius).In the outro, Bey sings: “Pony up and salute your town/ Chasin’ our sins away, way brown/ And I’ll be damned if I cannot dance with you/ Baby, pour that sugar and liquor on me, too/ Furs, spurs, boots.”Listen to ‘Texas Hold ‘Em (Pony Up) Remix’ here:In a glowing five-star review of ‘Cowboy Carter’, NME wrote: “It’s an undeniable thrill to see [Beyoncé] swing so big on a project that dares her to be so intimate and vocal-focused.”The album features a re-working of Dolly Parton’s classic hit ‘Jolene’, a cover of The Beatles’ 1968 song ‘Blackbird’, and collaborations with the likes of Miley Cyrus and Post Malone.Beyoncé recently revealed that Stevie Wonder played harmonica on ‘Jolene’, with Raye also credited as a co-writer on one ‘Cowboy Carter’ song.In other news, Bey’s past collaborator Jack White has shared that the singer sent him a bunch of flowers and a handwritten note to thank him for “how much you inspired me on this
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Beyoncé gives Dolly Parton sole songwriting credit on ‘Jolene’
Beyoncé has given Dolly Parton full songwriting credits on her reimagined version of ‘Jolene’.The artist dropped her new country album ‘Cowboy Carter’ last week, which features a reinterpretation of Parton’s 1973 classic.While Parton’s version sees her plead with Jolene (“I’m begging of you please don’t take my man“) Beyoncé’s takes on a more empowered edge as she sings: “I’m warnin’ you, don’t come for my man.”The re-written lyrics seem to address Jay-Z cheating on her, as she refers to someone trying to “come between a family and a happy man”.While Beyoncé included several re-worked lyrics in her version of the song, the writing credits on streaming credit solely Parton, while Beyoncé is credited as the performer and producer.Parton has since given her verdict on Beyoncé’s cover, writing on Instagram: “Wow, I just heard Jolene. Beyoncé is giving that girl some trouble and she deserves it! Love, Dolly P.”It came after she previously gave Beyoncé’s country pivot her blessing, saying: “I’m a big fan of Beyoncé and very excited that she’s done a country album.” Ahead of Beyoncé’s version, Parton asked fans to stream her original track.Nancy Sinatra also expressed her admiration for Beyoncé after she sampled ‘These Boots Are Made For Walking’ on ‘Cowboy Carter’.Beyoncé unveiled the news of her new album a month ago, dropping two songs ‘Texas Hold ‘Em’ and ’16 Carriages’ in February and announcing the record in an ad at the Super Bowl.
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