To Know Him Is To Love Him - Remastered - song and lyrics by Dolly Parton, Linda  Ronstadt, Emmylou Harris | Spotify

About the Song 

“To Know Him Is to Love Him,” beautifully interpreted by the legendary trio of Dolly Parton, Linda Ronstadt, and Emmylou Harris, stands as one of the most heartwarming and tender collaborations in country music history. Initially written by Phil Spector in 1958 and popularized by his vocal group, The Teddy Bears, this gentle ballad gained fresh emotional depth and soulful resonance when reimagined by these three iconic voices for their acclaimed 1987 album, Trio.

Individually, Dolly Parton, Linda Ronstadt, and Emmylou Harris have long been beloved for their uniquely expressive vocal styles—Parton’s crystalline purity, Ronstadt’s powerful warmth, and Harris’s hauntingly ethereal timbre. When combined on “To Know Him Is to Love Him,” their voices blend with a natural ease that is both intimate and uplifting. Mature listeners, particularly those familiar with these artists’ storied careers, will deeply appreciate how effortlessly each singer complements the others, resulting in rich harmonies that feel simultaneously timeless and comforting.

The song’s poignant lyrics, centered on unconditional love and emotional devotion, gain new meaning through the trio’s authentic, heartfelt delivery. Lines such as “To know, know, know him, is to love, love, love him,” though simple in structure, acquire a moving depth when conveyed by such emotionally nuanced performances. This rendition beautifully captures the tender essence of deep affection, highlighting the vulnerability and genuine warmth inherent in truly knowing and loving someone deeply.

Critically celebrated upon release, the trio’s version topped the Billboard Hot Country Singles chart, introducing the classic tune to a new generation of listeners. Decades later, it still stands as a remarkable testament to the collaborative power of friendship and mutual admiration among three remarkable artists. Parton, Ronstadt, and Harris famously shared an enduring friendship beyond their music, something audible in every note and harmony they crafted together.

Ultimately, “To Know Him Is to Love Him” remains a treasured highlight of their Trio project, cherished by fans who appreciate timeless melodies rendered with authentic emotion and unmatched vocal harmony. Through their extraordinary partnership, Dolly Parton, Linda Ronstadt, and Emmylou Harris gifted audiences a recording of enduring emotional resonance—an unforgettable tribute to love’s gentle yet powerful nature.Dolly Parton, Emmylou Harris, Linda Ronstadt on 'Tonight Show'

Video 

Lyrics: To Know Him Is to Love Him

To know know know him
Is to love love love him
Just to see him smile
Makes my life worthwhile
To know know know him
Is to love love love him
And I do

I’ll be good to him
I’ll bring love to him
Everyone says there’ll come a day
When I’ll walk alongside of him
Yes just to know him
Is to love love love him
And I do

Why can’t he see
How blind can he be
Someday he will see
That he was meant for me

To know know know him
Is to love love love him
Just to see him smile
Makes my life worthwhile
To know know know him
Is to love love love him
And I do

You Missed

IT ISN’T ABOUT FILLING A VACUUM LEFT BY A LEGEND; IT’S ABOUT PICKING UP THE TRADITION OF SHOWING UP WHERE IT MATTERS MOST. Toby Keith’s legacy wasn’t built on the charts alone—it was forged in the heat of deployments, the quiet of military bases, and the conviction that country music should be the soundtrack for those who sacrifice their own “normal” for the rest of us. He understood that a performance for service members isn’t just a concert; it’s a vital connection to home. When Chris Young steps onto that stage at Schofield Barracks this July 4th, he isn’t trying to be the “next” Toby Keith. He is bringing his own baritone and his own sense of duty to a place where the air is heavy with the weight of service. Standing under a Hawaiian sky surrounded by military families, skydivers, and the pulse of Army bands, he is continuing the most important part of country music’s mission: the “thank you.” There is something inherently sacred about a concert that happens on a base rather than a stadium. The scale is different, the stakes are higher, and the audience has earned their seat in a way that no VIP ticket can replicate. By choosing to be there on America’s 250th birthday, Chris Young is affirming that this genre—at its best—isn’t just for entertainment. It is for community, for honor, and for the people who keep the country running from the outside in. Toby Keith proved that country music is at its strongest when it’s traveling toward the people who need it most, and it’s a powerful thing to see that road being traveled once again.

IT IS A STORY THAT SOUNDS LIKE A COUNTRY SONG WRITTEN IN REVERSE: THE MAN FINALLY GETTING THE GIRL AFTER YEARS OF KEEPING HER ON A PEDESTAL. There is a unique kind of grit in Brad Paisley’s journey to Kimberly Williams. It wasn’t a sudden spark; it was a decade-long path that started in a dark movie theater while he was still dealing with a heartbreak that had nothing to do with her. Most people would have let a crush on a movie star fade into the background of real life, but Brad kept that thread going. From the 1991 screening of Father of the Bride to the lonely 1995 trip to see the sequel—fueled by the hope of a cinematic reunion that never materialized—he was building a narrative in his head long before he ever shook her hand. When he finally brought her into his world for the “I’m Gonna Miss Her” video in 2001, he wasn’t just casting an actress; he was finally walking through the door he’d been staring at for ten years. Their wedding at Pepperdine was the ultimate piece of the puzzle. Hiding a bridal gown under a denim jacket to keep the guests guessing until the last second is exactly the kind of unpretentious, “real” move you’d expect from two people who found their way to each other through the long, quiet path. It serves as a reminder that sometimes the best stories aren’t the ones that happen in a flash of lightning, but the ones that survive the years, the heartbreaks, and the distance, only to end up exactly where you imagined they would in the first place. Twenty-three years later, it’s clear that “marriage or jail” was the best gamble he ever made.

IT IS THE RAWNESS OF THE RECORDING THAT MAKES THE TRUTH SO DEVASTATING. In an industry where every note is usually polished, produced, and perfected for the airwaves, that work tape stands alone. It wasn’t intended to be a track, a hit, or a legacy. It was intended to be a message between two people, stripped of every artifice that usually buffers us from the reality of a person’s heart. When you listen to “Tell Lorrie I Love Her,” you aren’t hearing an artist; you are hearing a husband. You are hearing the voice that defined the sound of an era, but stripped of the Nashville gloss. Because it lacks the production of a studio record, it lacks the barrier of a performance—it hits with the immediate, uncomfortable intimacy of a private moment that was never supposed to be public. That is why the tape still carries such weight decades later. It serves as a haunting reminder of what was taken—the potential, the future, and the unwritten songs that would have followed. It reminds us that behind the myth of Keith Whitley, the legend who died too young, there was simply a man who had a heart he wanted to express. In a way, that tape is the most honest thing he ever left behind. It doesn’t ask for your admiration; it just asks you to listen. And in the quiet of that room, with nothing but a guitar and a voice, you realize that while the world lost a voice, Lorrie Morgan lost a husband. That is the kind of grief that no production can hide and no amount of time can fully smooth over.