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Joshua – Dolly Parton

About the SongDolly Parton – Joshua (1971, Vinyl) - Discogs

“Joshua” by Dolly Parton is a beautifully crafted country ballad that tells a compelling story of love and heartache. Released in 1971 on her album Joshua, the song showcases Parton’s exceptional songwriting and vocal talent, making it one of her standout tracks from that era.

The lyrics center around a woman who reflects on her feelings for a man named Joshua. The song captures the bittersweet emotions of loving someone who may not be the right choice or who is already taken. The line “You’re the only one I’ve ever wanted” conveys a sense of longing and vulnerability, allowing listeners to connect with the depth of her feelings. The narrative is rich with imagery, painting a vivid picture of the emotional struggle that comes with unrequited love.

Musically, “Joshua” features a gentle melody supported by soft instrumentation, including acoustic guitars and strings that enhance the song’s emotional weight. Parton’s warm and expressive vocals bring the story to life, allowing her to convey both the joy and pain of love with sincerity.

Upon its release, the song received critical acclaim and commercial success, reaching the top of the country charts. Its relatable themes of love and yearning have made it a beloved favorite among fans, solidifying Parton’s status as a master storyteller in country music.

“Joshua” has also been covered by various artists over the years, showcasing its enduring appeal. The song’s exploration of love’s complexities continues to resonate with audiences, inviting reflection on the choices we make in relationships.

In summary, “Joshua” is a poignant and beautifully written song that captures the essence of love and longing. Dolly Parton’s heartfelt performance and the song’s evocative lyrics ensure that it remains a cherished classic, inspiring listeners to reflect on their own experiences with love and desire. Whether enjoyed in moments of solitude or shared with friends, this track serves as a reminder of the beauty and heartache that often accompany the journey of love.Picture background

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Lyrics: “Joshua”

 

Well a good ways down the railroad track
There was this little old rundown shack
And in it lived a man I’d never seen
Folks said he was a mean and a vicious man
And you better not set foot on his land
I didn’t think nobody could be that mean
So I took me out walking down the railroad track
I was a-gonna go down to that little old shack
And just find out if all them things I’d heard was true
There was a big black dog laying out in the yard
And it growled at me and I swallowed hard
And I heard somebody say well who are you
Oh and there he stood in the door of that shack
His beard and his hair was long and black
And he was the biggest man I’d ever seen
When he spoke his voice was low and deep
But he just didn’t frighten me
‘Cause somehow I just knew he wasn’t mean
He said what you doing snooping ’round my place
And I saw a smile come across his face
So I smiled back and I told him who I was
He said come on in and pull you up a chair
You might as well since you already here
And he said you can call me Joshua
Joshua Joshua
Whatcha doing living here all alone
Joshua Joshua
Ain’t you got nobody to call your own
No no no noWe talked ’til the sun was clean out of sight
And we still talking when it come daylight
And there was just so much we had to say hey
I’d spent my life in an orphan’s home
And just like him I was all alone
So I said yeah when he asked if I’d stay
Oh we grew closer as time went on
And that little old shack it was a happy home
And we just couldn’t help but fall in love
That big black dog and that little old shack
Sitting down by the railroad track
It’s plenty good enough for me and JoshuaJoshua Joshua
Why you’re just what I’ve been looking for
Joshua Joshua
You ain’t gonna be lonesome anymore
No noYodel-a-he-hoMe and Joshua
Me and Joshua
Me and Joshua yeah yeah
Me and Joshua

 

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A cot waited in a rehearsal hall at RCA Victor’s New York studio while Jimmie Rodgers made his final recordings. Between songs, he lay down to recover enough strength for another take. It was May 1933. Rodgers was 35 and had battled tuberculosis since 1924. As his health deteriorated, his earnings had dwindled. Victor was paying $250 per recorded side, and he wanted to provide for his wife, Carrie, and their daughter, Anita. The sessions started on May 17. Within days, standing to sing became impossible. He worked from an easy chair, supported by pillows that brought him close enough to the microphone, then returned to the cot. On May 24, two musicians accompanied him through three songs. After they left, Rodgers recorded one more with only his guitar: “Years Ago.” He had completed twelve songs in eight days. The following night at the Taft Hotel, severe coughing gave way to hemorrhaging in his lungs. The hotel doctor could not be located. Rodgers fell into a coma and died on May 26, roughly 36 hours after his last recording. Before music made him famous, he had worked as a railroad brakeman. A Southern Railway train carried his body home to Meridian, Mississippi, in a baggage car. According to accounts of the journey, the engineer kept sounding the whistle along the way.

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Randy Owen sometimes stopped his tour bus at truck stops to call radio DJs from pay phones. Alabama had already made him a country star. These calls were about persuading stations to help children at St. Jude. He knew what it meant to grow up with little. On his family’s sharecropper farm near Fort Payne, Alabama, he picked cotton and corn to help put food on the table. At school, other children mocked his scarred hands and the cotton dust on his clothes. Years later, after millions of record sales, Owen met St. Jude founder Danny Thomas in Atlanta. Thomas asked him to bring the country music community into the hospital’s fundraising work. When illness prevented Thomas from speaking at Nashville’s Country Radio Seminar, Owen took his place and proposed a nationwide radio effort. Winning support required persistence. He later described himself as “begging, pleading” with DJs. Some stations remained unconvinced. The first Country Cares radiothon aired on November 19, 1989: twelve hours, 45 artists and more than 800 stations. It raised approximately $1 million. By its 35th year in 2024, the initiative had brought in more than $1 billion. Owen has said helping St. Jude may be his most important work beyond being a husband and father. That enormous total began with individual requests, including calls made beside the highway between shows. Owen kept asking stations to participate. Across the country, their listeners kept answering.

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Lorrie Morgan saved the card Keith Whitley gave her at the Nashville airport for her flight home. When she finally opened it, her husband was dead. It was early May 1989. Lorrie was heading to Alaska to promote her first RCA album, while Keith was enjoying the strongest run of his career. Just weeks earlier, “I’m No Stranger to the Rain” had become his third consecutive No. 1. At home, success had brought little reassurance. Keith had struggled with alcohol for years. A period of sobriety beginning in 1987 lasted about six months. Lorrie later described the fear surrounding his drinking as living with a ticking time bomb. In her 1997 memoir, she recalled tying her leg to his while they slept so she would know if he got up to drink. During her trip, he began drinking again that weekend. On Tuesday morning, May 9, his brother-in-law, Lane Palmer, visited the house in Goodlettsville. They drank coffee and discussed golf and lunch. Palmer left around 8:30 a.m. When he returned roughly an hour later, Keith was lying on the bed, fully dressed and unconscious. The medical examiner determined that he died from acute alcohol poisoning. Traveling back to Nashville, Lorrie read the card she had set aside. She later said its words left her feeling that Keith had been trying to tell her something—a feeling she was left to carry without the chance to ask him.

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For Vince Gill, the memory of singing with Dolly Parton came down to their final note together at the 1995 CMA Awards. Thirty-one years later, on the day she died, he shared that performance again. “We are all crushed here at our house,” he wrote. He called the closing note of their duet one of the most beautiful sounds he had ever heard. Their recording of “I Will Always Love You” began with Dolly’s album *Something Special*. That summer, she revisited three of her classics, including the farewell she had written for Porter Wagoner in 1973. It had already topped the country chart twice in her own voice, and Whitney Houston’s 1992 recording had brought it to listeners worldwide. For this version, Dolly invited Vince to join her. They performed it on the Grand Ole Opry on August 26, 1995, during a TNN broadcast. Radio programmers began playing the duet before Columbia officially issued it as a single. That unsolicited airplay carried it onto Billboard’s country chart at No. 53. On October 4, they sang it again at the CMA Awards. Vince, then 38, was hosting the broadcast at the Grand Ole Opry House. He stepped away from those duties to sing beside the woman who had written the song when he was sixteen. As the performance ended, their voices met on one sustained note. Decades later, that was the moment he singled out. Released as a single that November, the duet reached No. 15, received a Grammy nomination and won the 1996 CMA award for Vocal Event of the Year. But Vince’s remembrance centered on what he had heard standing beside her. Dolly died in Nashville on August 25, 2026, at 80, after a brief battle with cancer. Two days later, Vince appeared at the Midland Theatre in Kansas City. He told the audience how deeply his family was hurting, then began “I Will Always Love You.” This time, he sang it alone. Fan footage captured him struggling with his emotions throughout the performance. When he stepped back to compose himself, people in the audience carried the words. Musicians behind him wiped their eyes. He reached the closing note without Dolly’s voice beside his. After finishing, he moved away from the microphone, placed a hand over his chest and lowered his head.