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["MULE SKINNER BLUES"
BY DOLLY PARTON PLAYS]
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00:00:11,500 --> 00:00:18,733
PARTON: ♪ WELL, GOOD MORNING
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00:00:18,766 --> 00:00:20,466
♪ CAPTAIN
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♪ GOOD MORNING TO YOU, SIR
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♪ HEY, HEY
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00:00:26,000 --> 00:00:27,266
♪ YEAH...
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MAN: IF YOU LOOK AT IT
OVER THE LAST 90 YEARS NOW,
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00:00:30,466 --> 00:00:34,500
THAT IT'S BEEN BEING RECORDED,
IT WOULDN'T BE ONE THING.
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00:00:34,533 --> 00:00:39,000
IT WOULDN'T BE ANY--
ANYWHERE CLOSE TO ONE THING.
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00:00:40,400 --> 00:00:42,400
IT'S BEEN
A MILLION DIFFERENT THINGS
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IN A MILLION DIFFERENT WAYS.
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AND THAT'S, TO ME,
THE WAY IT SHOULD BE.
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00:00:48,366 --> 00:00:50,466
YOU'RE GOING TO PLAY
IT DIFFERENTLY.
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00:00:50,500 --> 00:00:52,400
YOUR HEART'S GOING
TO MAKE IT COME OUT OF YOU
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IN A DIFFERENT WAY THAN
IT IS ME.
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00:00:55,600 --> 00:00:57,266
THAT'S THE BEAUTY OF IT.
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PARTON: ♪ WELL, I'M A LADY
MULE SKINNER ♪
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00:01:00,366 --> 00:01:02,200
[APPLAUSE]
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00:01:02,233 --> 00:01:05,100
♪ FROM DOWN OLD TENNESSEE WAY
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♪ HEY, HEY
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♪ I COME FROM TENNESSEE
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00:01:09,366 --> 00:01:13,033
♪ AND I CAN MAKE
ANY MULE LISTEN ♪
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♪ OR I WON'T ACCEPT YOUR PAY
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♪ HEY, HEY
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♪ I WON'T TAKE YOUR PAY
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♪ YODEL-A-HEE...
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I DON'T THINK
I WOULD ENJOY COUNTRY MUSIC
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IF IT STAYED THE SAME.
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IT'S NOT SUPPOSED TO.
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PARTON: ♪ ...A-HEE
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♪ HEE-HEE
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♪ HEE-HEE-HEE-HEE-HEE-HEE
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♪ MULE SKINNER BLUES
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[WHISTLES]
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HYAH! HYAH...
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["ON THE ROAD AGAIN"
BY WILLIE NELSON PLAYS]
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NELSON: ♪ ON THE ROAD AGAIN,
JUST CAN'T WAIT... ♪
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NARRATOR: IN THE EARLY 1980s,
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THE MAINSTREAM APPEAL OF
THE SMOOTH COUNTRYPOLITAN SOUND,
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ALONG WITH A SPATE
OF POPULAR HOLLYWOOD MOVIES,
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00:02:03,366 --> 00:02:06,500
HAD HELPED IGNITE
A BOOM IN COUNTRY MUSIC.
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BUT BY 1984, ACTUAL SALES
OF COUNTRY MUSIC RECORDS
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00:02:11,200 --> 00:02:14,666
HAD DECREASED BY MORE THAN 27%.
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"THOSE GOOD TIMES ARE GONE,"
THE "NEW YORK TIMES" DECLARED,
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00:02:19,133 --> 00:02:21,866
"AND THEY WON'T BE COMING BACK."
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NO SOONER HAD THE DIP
IN COMMERCIAL SUCCESS
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00:02:25,933 --> 00:02:27,733
BEEN NOTICED AND MOURNED
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00:02:27,766 --> 00:02:30,733
THAN IT BEGAN REVERSING ITSELF.
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TWO NEW CABLE NETWORKS DEDICATED
EXCLUSIVELY TO COUNTRY MUSIC
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BROUGHT INTERVIEWS AND STORIES
ABOUT A NEW GENERATION OF STARS
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TO FANS ACROSS THE NATION,
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USING MUSIC VIDEOS
TO PROMOTE THEIR NEW SONGS.
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00:02:47,133 --> 00:02:49,900
IN THE LAST HALF OF THE 1980s,
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SALES WOULD DOUBLE
AND NEVER LOOK BACK.
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BUT WITHIN THE BROAD EMBRACE
OF ITS EXTENDED FAMILY,
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00:02:57,733 --> 00:03:02,666
THE AGE-OLD QUESTION OF WHAT
IS AND WHAT ISN'T COUNTRY MUSIC
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WOULD ONLY INTENSIFY.
58
00:03:05,266 --> 00:03:08,066
COULD A MUSIC
OF EVERYDAY PEOPLE,
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00:03:08,100 --> 00:03:11,166
DESCRIBED
AS 3 CHORDS AND THE TRUTH,
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00:03:11,200 --> 00:03:14,166
SURVIVE THE CHANGES
OF THE LATE 20th CENTURY
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00:03:14,200 --> 00:03:18,300
WITH ITS SOUL
AND ITS SIMPLICITY INTACT?
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00:03:18,333 --> 00:03:22,600
WOULD ITS STARS AND THE MUSIC
ITSELF LOSE THEIR WAY,
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OR WOULD THEY HEED
THE OLD SAYING
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"DON'T GET ABOVE YOUR RAISIN'"?
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MAN: "DON'T GET ABOVE
YOUR RAISIN'" IS A TERM
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00:03:32,433 --> 00:03:34,400
I ASSOCIATE WITH THE SOUTH.
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IT'S THE KIND OF ADVICE
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00:03:36,100 --> 00:03:38,900
THAT PARENTS WOULD
GIVE THEIR CHILDREN.
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00:03:38,933 --> 00:03:40,333
"BUT AS YOU GO INTO THE WORLD,
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00:03:40,366 --> 00:03:43,800
"DON'T FORGET
WHERE YOU CAME FROM.
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00:03:43,833 --> 00:03:47,433
"DON'T GET SO UPPITY
THAT YOU FORGET US
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AND YOU FORGET THE VALUES
THAT YOU WERE TAUGHT BACK HOME."
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AND I THINK FOR COUNTRY MUSIC,
IT'S JUST A REMINDER
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TO THE MUSIC IN GENERAL, "DON'T
FORGET WHERE YOU CAME FROM."
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NARRATOR:
TWO TALENTED BLUEGRASS PICKERS
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00:04:02,333 --> 00:04:05,833
WOULD HELP LEAD
COUNTRY'S REVIVAL.
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00:04:05,866 --> 00:04:08,433
ONE WOULD ADD DRUMS
AND ELECTRIC GUITARS
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00:04:08,466 --> 00:04:12,000
TO THE TRADITIONAL STRING BAND
AND SOMEHOW
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00:04:12,033 --> 00:04:16,333
MAKE THE FATHER OF BLUEGRASS
HAPPY WITH THE RESULT.
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00:04:16,366 --> 00:04:18,666
THE OTHER, A GIFTED GUITARIST
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00:04:18,700 --> 00:04:20,833
WITH HIS OWN
HIGH LONESOME VOICE,
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00:04:20,866 --> 00:04:24,133
WOULD BRING A SWEET
AUTHENTICITY TO THE MUSIC
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00:04:24,166 --> 00:04:28,633
THAT ENDEARED HIM
TO OLD AND NEW FANS ALIKE.
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00:04:28,666 --> 00:04:31,766
A MOTHER AND DAUGHTER
FROM THE BACKWOODS OF KENTUCKY
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00:04:31,800 --> 00:04:36,166
WOULD STRUGGLE TO TRANSCEND
THEIR COMPLICATED RELATIONSHIP,
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00:04:36,200 --> 00:04:40,933
MESMERIZING AUDIENCES WITH THEIR
ASTONISHING HARMONIES.
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00:04:40,966 --> 00:04:43,566
A SPIRITED COWGIRL
FROM OKLAHOMA,
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00:04:43,600 --> 00:04:46,666
WITH A POWERFUL,
UNMISTAKABLE VOICE
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00:04:46,700 --> 00:04:49,833
WOULD COME TO SPEAK
FOR WOMEN EVERYWHERE
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00:04:49,866 --> 00:04:53,366
WHILE IN CALIFORNIA,
A YOUNG SINGER-SONGWRITER
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00:04:53,400 --> 00:04:56,766
WOULD PROUDLY DECLARE HIMSELF
A HILLBILLY
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00:04:56,800 --> 00:05:00,800
AS HE WALKED THE STREETS
OF BAKERSFIELD.
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00:05:00,833 --> 00:05:03,566
AND IN NASHVILLE,
ANOTHER SINGER-SONGWRITER
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00:05:03,600 --> 00:05:06,800
WOULD EMERGE
FROM AN INTIMATE CAFEÉ
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00:05:06,833 --> 00:05:10,366
THAT SPECIALIZED IN GIVING
UNKNOWNS A FAIR HEARING
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00:05:10,400 --> 00:05:14,833
TO BECOME COUNTRY MUSIC'S
BEST-SELLING ARTIST.
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HEY!
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00:05:16,366 --> 00:05:18,266
PARTON: WE ARE ALL RELATED
99
00:05:18,300 --> 00:05:22,433
WHEN IT COMES TO COUNTRY MUSIC
AND TO COUNTRY SONGS.
100
00:05:22,466 --> 00:05:23,900
YOU KNOW, WE'RE LIKE BLOOD KIN.
101
00:05:23,933 --> 00:05:25,233
YOU KNOW, ANYBODY
THAT LOVES COUNTRY MUSIC,
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00:05:25,266 --> 00:05:27,000
THEY'RE RELATED TO YOU.
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YOU'VE GOT THAT IN COMMON.
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00:05:29,033 --> 00:05:30,633
RICKY SKAGGS: ♪ YOU'RE
A COUNTRY BABY ♪
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♪ THAT'S PLAIN TO SEE
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00:05:33,066 --> 00:05:35,900
♪ DON'T GET ABOVE YOUR RAISIN'
107
00:05:35,933 --> 00:05:38,633
♪ STAY DOWN TO EARTH WITH ME
108
00:05:45,400 --> 00:05:49,400
["I STILL MISS SOMEONE"
BY JOHNNY CASH PLAYS]
109
00:05:49,433 --> 00:05:52,000
JOHNNY CASH: GET TO HAVE
A SMOKE WITH A.P.
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00:05:52,033 --> 00:05:54,633
I NEVER GOT TO HAVE A SMOKE
WITH A.P. BEFORE.
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00:05:57,766 --> 00:06:00,400
HE DIED IN 1960,
AND I NEVER GOT TO KNOW HIM.
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00:06:00,433 --> 00:06:01,666
NOT REALLY.
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00:06:01,700 --> 00:06:04,000
I NEVER GOT TO HAVE
A SMOKE WITH HIM.
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00:06:04,033 --> 00:06:05,433
CAN I HAVE
YOUR AUTOGRAPH?
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00:06:05,466 --> 00:06:06,833
YES, MA'AM.
116
00:06:06,866 --> 00:06:09,066
IT IS BEAUTIFUL...
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00:06:09,100 --> 00:06:10,866
NARRATOR: BY THE MID-1980s,
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JOHNNY CASH WAS ABOUT TO START
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00:06:12,866 --> 00:06:16,000
HIS FOURTH DECADE
IN COUNTRY MUSIC.
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00:06:16,033 --> 00:06:20,366
TO MANY PEOPLE AROUND
THE WORLD, HE WAS COUNTRY MUSIC,
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00:06:20,400 --> 00:06:24,400
BUT HIS SOLO RECORDS
WERE NO LONGER SELLING.
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00:06:24,433 --> 00:06:28,966
ONLY TWO SINGLES HAD REACHED THE
TOP 10 IN MORE THAN A DECADE.
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00:06:29,000 --> 00:06:32,566
JOHNNY CASH: ♪ SOMEWHERE,
AND I STILL... ♪
124
00:06:32,600 --> 00:06:36,700
NARRATOR: MANY OF HIS RECENT
ALBUMS FAILED TO CHART AT ALL.
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00:06:40,100 --> 00:06:44,866
IN 1986, COLUMBIA RECORDS
ABRUPTLY DROPPED CASH
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FROM ITS ROSTER.
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00:06:46,666 --> 00:06:50,766
HE HAD BEEN WITH THE LABEL
SINCE 1958.
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00:06:50,800 --> 00:06:54,233
NO ONE, INCLUDING CASH,
SAW IT COMING.
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00:06:54,266 --> 00:06:55,833
MAN: IT WAS LIKE SOMEBODY
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00:06:55,866 --> 00:06:58,400
HAD DROPPED AN ATOM BOMB
IN NASHVILLE.
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00:06:58,433 --> 00:07:01,533
THE GUY THAT RAN COLUMBIA
AT THE TIME, RICK BLACKBURN,
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00:07:01,566 --> 00:07:03,500
EVERYBODY THOUGHT
THAT HE WAS THE DEVIL.
133
00:07:03,533 --> 00:07:07,833
BECAUSE JOHNNY CASH WAS
MORE THAN AN ARTIST.
134
00:07:07,866 --> 00:07:12,800
HE WAS A WAY OF LIFE
FOR AMERICA.
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00:07:12,833 --> 00:07:15,166
MAN: IT WAS
REGRETTABLE AND REPREHENSIBLE
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00:07:15,200 --> 00:07:17,466
THAT HE WAS JUST KIND OF
137
00:07:17,500 --> 00:07:22,433
SUMMARILY, DISRESPECTFULLY
DISMISSED AND CAST ASIDE
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00:07:22,466 --> 00:07:26,166
BY A LABEL THAT HAD MADE
MILLIONS AND MILLIONS OF DOLLARS
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00:07:26,200 --> 00:07:28,766
WITH JOHNNY CASH'S MUSIC.
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00:07:28,800 --> 00:07:33,233
THE FACT THAT COLUMBIA RECORDS
WOULD DROP JOHNNY CASH WAS
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00:07:33,266 --> 00:07:40,666
AN INSULT TO ANYBODY WHO
HAD EVER LISTENED TO MUSIC.
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00:07:40,700 --> 00:07:43,833
["I DON'T KNOW WHY YOU DON'T
WANT ME" BY ROSANNE CASH PLAYS]
143
00:07:43,866 --> 00:07:47,600
NARRATOR: MEANWHILE,
CASH'S ELDEST DAUGHTER, ROSANNE,
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00:07:47,633 --> 00:07:50,933
WAS CARVING OUT
HER OWN CAREER IN COUNTRY MUSIC.
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00:07:50,966 --> 00:07:54,000
SHE CARRIED PAINFUL MEMORIES
OF HER FATHER'S NEGLECT
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00:07:54,033 --> 00:07:56,733
IN THE 1960s,
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00:07:56,766 --> 00:08:00,500
WHEN HE WAS STRUNG OUT
ON DRUGS AND NEVER AT HOME.
148
00:08:00,533 --> 00:08:04,500
ROSANNE CASH: ♪ I DON'T KNOW
WHY YOU DON'T WANT ME... ♪
149
00:08:04,533 --> 00:08:07,500
NARRATOR: BUT SHE ALSO SHARED
HIS DEEP LOVE OF MUSIC
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00:08:07,533 --> 00:08:10,833
AND HIS FIERCE INDIVIDUALISM.
151
00:08:10,866 --> 00:08:12,566
ROSANNE CASH:
IT WAS SO IMPORTANT TO ME
152
00:08:12,600 --> 00:08:14,000
THAT I DO IT ON MY OWN.
153
00:08:14,033 --> 00:08:16,600
EVEN THOUGHT
OF CHANGING MY NAME,
154
00:08:16,633 --> 00:08:19,833
AND MY DAD DIDN'T
SAY ANYTHING ABOUT THAT.
155
00:08:19,866 --> 00:08:21,633
HE KNEW I WAS CONSIDERING THAT.
156
00:08:21,666 --> 00:08:24,033
AND THEN WHEN I DIDN'T,
HE SAID,
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00:08:24,066 --> 00:08:27,366
"I'M SO HAPPY THAT YOU
KEPT YOUR NAME," YOU KNOW?
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00:08:27,400 --> 00:08:29,000
"I'M SO PROUD OF OUR NAME.
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00:08:29,033 --> 00:08:31,400
I'M SO HAPPY YOU DIDN'T
GIVE IT UP."
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00:08:31,433 --> 00:08:35,766
AND I REALIZE THAT
WOULD HAVE HURT HIM TERRIBLY.
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00:08:35,800 --> 00:08:38,433
NARRATOR: SHE AND HER HUSBAND,
RODNEY CROWELL,
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00:08:38,466 --> 00:08:40,500
WHO WAS ALSO HER PRODUCER,
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00:08:40,533 --> 00:08:43,233
HAD MOVED FROM LOS ANGELES
TO NASHVILLE,
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00:08:43,266 --> 00:08:46,500
WHERE SHE HAD TROUBLE
FITTING IN.
165
00:08:46,533 --> 00:08:49,900
ROSANNE CASH: WHEN I MOVED
TO NASHVILLE, I HAD PURPLE HAIR.
166
00:08:49,933 --> 00:08:55,400
I WAS A LITTLE BIT
STREETWISE, URBAN GIRL,
167
00:08:55,433 --> 00:08:58,133
STRAIGHT FROM LOS ANGELES,
168
00:08:58,166 --> 00:09:00,833
AND, YOU KNOW, BRAZEN.
169
00:09:00,866 --> 00:09:03,666
JUST CAME ON THE SCENE,
LIKE, "WELL, HERE I AM,"
170
00:09:03,700 --> 00:09:05,966
AND, "THIS IS GREAT."
171
00:09:06,000 --> 00:09:08,233
AND I REALLY PUT PEOPLE OFF.
172
00:09:08,266 --> 00:09:13,266
NARRATOR: BUT HER SONG "I DON'T
KNOW WHY YOU DON'T WANT ME"
173
00:09:13,300 --> 00:09:16,233
WENT TO NUMBER ONE
AND WON A GRAMMY.
174
00:09:16,266 --> 00:09:18,533
ROSANNE CASH: ♪ I DON'T KNOW
WHY YOU DON'T WANT ME... ♪
175
00:09:18,566 --> 00:09:20,000
♪ I DON'T KNOW WHY YOU...
176
00:09:20,033 --> 00:09:21,733
MAN: SHE WAS SELLING RECORDS.
177
00:09:21,766 --> 00:09:24,666
AND THE PEOPLE
WERE GETTING HER MUSIC.
178
00:09:24,700 --> 00:09:28,333
AND THAT WILL ENDEAR YOU TO
THE ESTABLISHMENT PRETTY QUICK
179
00:09:28,366 --> 00:09:31,966
BECAUSE IT ADDS
TO THE BOTTOM LINE.
180
00:09:32,000 --> 00:09:35,166
SO YOU'D BE SURPRISED
AT HOW MUCH RESPECT YOU GET
181
00:09:35,200 --> 00:09:36,400
WHEN YOUR RECORDS ARE SELLING.
182
00:09:36,433 --> 00:09:39,533
AND YOU PROBABLY
WOULDN'T BE SURPRISED
183
00:09:39,566 --> 00:09:42,066
HOW LITTLE YOU GET
WHEN THEY'RE NOT.
184
00:09:42,100 --> 00:09:45,900
["TENNESSEE FLAT TOP BOX"
BY ROSANNE CASH PLAYS]
185
00:09:45,933 --> 00:09:49,533
NARRATOR: ROSANNE CASH'S
NEWEST ALBUM WENT GOLD
186
00:09:49,566 --> 00:09:53,000
AND PRODUCED 4
CONSECUTIVE NUMBER ONE SINGLES,
187
00:09:53,033 --> 00:09:56,300
INCLUDING
"TENNESSEE FLAT TOP BOX,"
188
00:09:56,333 --> 00:10:00,033
A SONG HER FATHER
HAD FIRST RECORDED IN 1961.
189
00:10:00,066 --> 00:10:01,400
ROSANNE CASH: ♪ ...A LITTLE
DARK-HAIRED BOY ♪
190
00:10:01,433 --> 00:10:04,233
♪ WHO PLAYED THE TENNESSEE
FLAT TOP BOX... ♪
191
00:10:04,266 --> 00:10:08,333
I FELT KIND
OF GUILTY THAT MY CAREER WAS
192
00:10:08,366 --> 00:10:09,766
REALLY--I WAS GETTING--
193
00:10:09,800 --> 00:10:11,166
HAVING A LOT OF
NUMBER ONE RECORDS
194
00:10:11,200 --> 00:10:12,833
AND GETTING A LOT
OF ATTENTION
195
00:10:12,866 --> 00:10:15,500
AT THE SAME TIME MY DAD
WAS DROPPED FROM COLUMBIA
196
00:10:15,533 --> 00:10:17,866
AND HE WAS REALLY FLOUNDERING.
197
00:10:17,900 --> 00:10:23,433
I FELT BAD FOR HIM BECAUSE
HE PUT A LOT OF STOCK
198
00:10:23,466 --> 00:10:25,066
IN BEING JOHNNY CASH.
199
00:10:25,100 --> 00:10:28,900
AND TO NOT HAVE THAT, HE WAS
A LITTLE DISCONCERTED
200
00:10:28,933 --> 00:10:32,066
AND AT SEA AND DEPRESSED.
201
00:10:35,733 --> 00:10:39,766
["MY LONG JOURNEY HOME" BY
THE MONROE BROTHERS PLAYS]
202
00:10:39,800 --> 00:10:41,033
MONROE BROTHERS:
♪ DARK AND A-RAININ'
203
00:10:41,066 --> 00:10:43,066
♪ AND I GOT TO GO HOME
204
00:10:43,100 --> 00:10:45,700
♪ GOT TO GO HOME, OH, WE GOT
TO GO HOME ♪
205
00:10:45,733 --> 00:10:46,900
♪ DARK AND A-RAININ'
206
00:10:46,933 --> 00:10:48,500
♪ AND I GOT TO GO HOME
207
00:10:48,533 --> 00:10:51,700
♪ I'M ON MY LONG JOURNEY HOME
208
00:10:55,900 --> 00:10:59,366
IN ALL THINGS COUNTRY MUSIC,
WE SEE A RESPONSE.
209
00:10:59,400 --> 00:11:01,400
HOW FAR ARE THEY GOING
TO TAKE COUNTRY MUSIC?
210
00:11:01,433 --> 00:11:03,600
WELL, IT'LL
COME BACK AROUND AGAIN.
211
00:11:03,633 --> 00:11:08,166
IT'S ALWAYS REMINDING
ITSELF WHO IT IS.
212
00:11:08,200 --> 00:11:11,300
AND THE OLD GHOSTS
ARE ALWAYS RISING UP
213
00:11:11,333 --> 00:11:15,133
AND REFUSING TO BE CAST ASIDE.
214
00:11:15,166 --> 00:11:16,166
MONROE BROTHERS:
♪ GOT TO GO HOME
215
00:11:16,200 --> 00:11:17,700
♪ OH, WE GOT TO GO HOME
216
00:11:17,733 --> 00:11:19,900
♪ IT'S DARK AND A-RAININ',
AND I GOT TO GO HOME ♪
217
00:11:19,933 --> 00:11:23,466
♪ I'M ON MY LONG JOURNEY HOME
218
00:11:23,500 --> 00:11:25,933
THERE IS A TENSION, ALWAYS.
219
00:11:25,966 --> 00:11:29,900
I THINK, YOU KNOW, IT'S HOW
BIG CAN YOU MAKE YOUR AUDIENCE,
220
00:11:29,933 --> 00:11:33,566
YOU KNOW, AND HOW PURE
YOU CAN KEEP YOUR HEART.
221
00:11:33,600 --> 00:11:36,366
I THINK THE WAY
COUNTRY MUSIC WAS PUFFED UP
222
00:11:36,400 --> 00:11:39,200
AND SO HUNG UP ON ITSELF
AND ITS SOUND AND ITS CITY
223
00:11:39,233 --> 00:11:42,000
AND ITS IMAGE,
AND ALL THAT, YOU KNOW?
224
00:11:42,033 --> 00:11:43,633
I THINK MAYBE IT WAS
A LITTLE PRIDEFUL,
225
00:11:43,666 --> 00:11:47,600
AND WE NEED
TO HAVE A HEART CHECK.
226
00:11:47,633 --> 00:11:50,700
["HIGHWAY 40 BLUES" BY
RICKY SKAGGS PLAYS]
227
00:11:50,733 --> 00:11:53,733
NARRATOR: RICKY SKAGGS
WAS FROM EASTERN KENTUCKY.
228
00:11:53,766 --> 00:11:57,400
A PRODIGY ON THE MANDOLIN,
HE HAD PLAYED FOR BILL MONROE
229
00:11:57,433 --> 00:11:59,966
AT AGE 6,
230
00:12:00,000 --> 00:12:02,566
APPEARED ON THE FLATT
AND SCRUGGS TELEVISION SHOW
231
00:12:02,600 --> 00:12:03,933
WHEN HE WAS 7;
232
00:12:03,966 --> 00:12:06,066
AND AS A TEENAGER JOINED
233
00:12:06,100 --> 00:12:10,400
RALPH STANLEY
AND THE CLINCH MOUNTAIN BOYS.
234
00:12:10,433 --> 00:12:13,833
NO ONE HAD MORE
IMPECCABLE BLUEGRASS CREDENTIALS
235
00:12:13,866 --> 00:12:15,333
THAN HE DID.
236
00:12:15,366 --> 00:12:19,000
SKAGGS: ♪ SQUANDERED
YOUTH IN SEARCH OF TRUTH ♪
237
00:12:19,033 --> 00:12:22,333
♪ BUT IN THE END, I HAD TO LOSE,
GOT THE HIGHWAY 40 BLUES... ♪
238
00:12:22,366 --> 00:12:26,666
NARRATOR: BUT IN THE LATE 1970s,
SKAGGS HAD MOVED TO LOS ANGELES
239
00:12:26,700 --> 00:12:30,466
TO BE PART OF
EMMYLOU HARRIS' HOT BAND,
240
00:12:30,500 --> 00:12:34,366
INFUSING HER MUSIC
WITH A TINGE OF BLUEGRASS,
241
00:12:34,400 --> 00:12:37,066
AND EXPERIMENTING
WITH A SOUND THAT COMBINED
242
00:12:37,100 --> 00:12:39,233
THE ACOUSTIC INSTRUMENTS
OF A STRING BAND
243
00:12:39,266 --> 00:12:44,400
WITH SOMETHING MORE ELECTRIC,
MORE HONKY TONK.
244
00:12:44,433 --> 00:12:48,233
IT WAS TRADITIONAL,
AND IT WAS BRAND-NEW.
245
00:12:48,266 --> 00:12:50,000
SKAGGS: WELL,
THE BLUEGRASS PURISTS WERE,
246
00:12:50,033 --> 00:12:51,666
THEY DIDN'T LIKE
THE ELECTRIC PART.
247
00:12:51,700 --> 00:12:53,233
THEY REALLY DIDN'T.
248
00:12:53,266 --> 00:12:55,233
AND IT WAS SO COUNTRY.
I MEAN, IT WAS BARNYARD.
249
00:12:55,266 --> 00:12:57,800
YOU COULD SMELL IT.
IT WAS SO COUNTRY.
250
00:12:57,833 --> 00:13:01,400
NARRATOR:
SKAGGS ENJOYED NOTHING BETTER
251
00:13:01,433 --> 00:13:05,700
THAN TAKING A SONG THAT ONE OF
HIS BLUEGRASS HEROES HAD WRITTEN
252
00:13:05,733 --> 00:13:08,166
AND RECORDED
A GENERATION EARLIER
253
00:13:08,200 --> 00:13:11,600
AND INJECTING IT
WITH SOMETHING FRESH.
254
00:13:11,633 --> 00:13:12,966
[STRUMMING MANDOLIN]
255
00:13:13,000 --> 00:13:15,200
SKAGGS: ♪ WELL, I GOT A GAL
THAT'S SWEET TO ME ♪
256
00:13:15,233 --> 00:13:17,200
♪ SHE JUST AIN'T
WHAT SHE USED TO BE ♪
257
00:13:17,233 --> 00:13:19,666
♪ JUST A LITTLE HIGH HEADED
258
00:13:19,700 --> 00:13:21,833
♪ THAT'S PLAIN TO SEE
259
00:13:21,866 --> 00:13:24,900
♪ DON'T GET ABOVE YOUR RAISIN'
260
00:13:24,933 --> 00:13:28,100
♪ STAY DOWN TO EARTH WITH ME
261
00:13:28,133 --> 00:13:32,800
THAT IS JUST A BAD SONG! THAT
IS SO BAD. I LOVE THAT SONG.
262
00:13:32,833 --> 00:13:35,066
THAT WAS
A FLATT AND SCRUGGS SONG
263
00:13:35,100 --> 00:13:38,300
THAT EARL JUST ATE
THE BANJO UP ON.
264
00:13:38,333 --> 00:13:44,433
I FELT LIKE THAT SONG COULD BE
A SLAMMING KIND OF COUNTRY SONG.
265
00:13:44,466 --> 00:13:47,333
♪ OH, WELL, I GOT
A GAL THAT'S SWEET TO ME ♪
266
00:13:47,366 --> 00:13:49,600
♪ AND SHE JUST AIN'T
WHAT SHE USED TO BE ♪
267
00:13:49,633 --> 00:13:52,000
♪ SHE'S JUST
A LITTLE HIGH HEADED ♪
268
00:13:52,033 --> 00:13:54,166
♪ THAT'S PLAIN TO SEE
269
00:13:54,200 --> 00:13:57,166
♪ DON'T GET ABOVE YOUR RAISIN'
270
00:13:57,200 --> 00:14:00,366
♪ STAY DOWN TO EARTH WITH ME
271
00:14:00,400 --> 00:14:03,166
♪ "NOW, LOOKIE HERE, GAL,"
THEN SHE HIGH-HATTED ME ♪
272
00:14:03,200 --> 00:14:04,666
♪ I AIN'T FORGOT WHAT YOU
USED TO BE... ♪
273
00:14:04,700 --> 00:14:05,666
SKAGGS, VOICE-OVER: YOU KNOW,
THE SCRIPTURES TELL US,
274
00:14:05,700 --> 00:14:07,600
YOU KNOW, BE HUMBLE.
275
00:14:07,633 --> 00:14:10,500
YOU KNOW, GOD DOESN'T
EXALT PRIDE, BUDDY.
276
00:14:10,533 --> 00:14:12,166
HE EXALTS HUMILITY.
277
00:14:12,200 --> 00:14:14,566
♪ STAY DOWN TO EARTH WITH ME
278
00:14:14,600 --> 00:14:24,400
♪
279
00:14:24,433 --> 00:14:25,733
["UNCLE PEN"
BY RICKY SKAGGS PLAYS]
280
00:14:25,766 --> 00:14:27,400
NARRATOR: DURING THE MID-1980s,
281
00:14:27,433 --> 00:14:31,033
SKAGGS RELEASED A STEADY
STRING OF TOP HITS,
282
00:14:31,066 --> 00:14:34,833
INCLUDING A REMAKE OF A SONG
HIS MENTOR, BILL MONROE,
283
00:14:34,866 --> 00:14:41,633
HAD WRITTEN BACK IN 1950 ABOUT
MONROE'S MENTOR, UNCLE PEN.
284
00:14:41,666 --> 00:14:44,666
MONROE'S VERSION
HAD NEVER CHARTED;
285
00:14:44,700 --> 00:14:47,466
SKAGGS' JUMPED TO NUMBER ONE.
286
00:14:47,500 --> 00:14:49,666
SKAGGS: ♪ UNCLE PEN PLAYED
THE FIDDLE, LORD, HOW IT RANG ♪
287
00:14:49,700 --> 00:14:51,566
♪ YOU COULD HEAR IT TALK,
YOU COULD HEAR IT SING... ♪
288
00:14:51,600 --> 00:14:54,066
SKAGGS: "UNCLE PEN" WAS
THE FIRST SOLO BLUEGRASS SONG
289
00:14:54,100 --> 00:14:56,033
TO EVER REACH NUMBER ONE.
290
00:14:56,066 --> 00:14:59,300
SO I WAS AT THE OPRY ONE NIGHT,
291
00:14:59,333 --> 00:15:01,566
AND MR. MONROE COME UP TO ME,
AND HE SAID,
292
00:15:01,600 --> 00:15:07,066
"UH, RICKY, UH, BOY, UH,
I JUST GOT A POWERFUL CHECK
293
00:15:07,100 --> 00:15:10,266
ON THAT SONG 'UNCLE PEN,'
THAT SONG YOU PUT OUT."
294
00:15:10,300 --> 00:15:13,166
AND HE SAID, "I'M TELLING YOU,
IT WAS A POWERFUL CHECK NOW."
295
00:15:13,200 --> 00:15:15,233
HE SAID, "I PAID ALL MY
LAND TAXES," AND HE SAID,
296
00:15:15,266 --> 00:15:17,833
"I GOT SOME LEFT OVER."
297
00:15:17,866 --> 00:15:21,233
AND, UH, "YOU CAN RECORD
ALL MY SONGS IF YOU WANT TO."
298
00:15:23,700 --> 00:15:25,166
UNCLE PEN?
299
00:15:25,200 --> 00:15:27,766
NARRATOR:
MONROE EVEN AGREED TO APPEAR
300
00:15:27,800 --> 00:15:31,833
IN A MUSIC VIDEO FOR SKAGGS'
SONG "COUNTRY BOY,"
301
00:15:31,866 --> 00:15:34,333
PRETENDING TO BE UNCLE PEN
302
00:15:34,366 --> 00:15:36,933
PAYING A VISIT TO HIS
NEPHEW IN NEW YORK CITY.
303
00:15:36,966 --> 00:15:39,500
BUT I DIDN'T KNOW
YOU'D SINK TO THIS.
304
00:15:39,533 --> 00:15:41,733
SON, YOU'RE GETTING
WAY ABOVE YOUR RAISIN'
305
00:15:41,766 --> 00:15:43,266
IS WHAT'S GOING ON.
306
00:15:43,300 --> 00:15:45,000
AND IT'S
A SAD SIGHT.
307
00:15:45,033 --> 00:15:46,566
WELL, UNCLE PEN,
I'LL SHOW YOU.
308
00:15:46,600 --> 00:15:48,833
SKAGGS, VOICE-OVER:
HE PLAYED THE ROLE SO GREAT.
309
00:15:48,866 --> 00:15:51,500
AND WHEN HE CHEWED ME OUT
IN THAT LAWYER'S ROOM
310
00:15:51,533 --> 00:15:54,200
FOR BEING ALL DRESSED UP AND
KIND OF GOT ABOVE MY RAISIN',
311
00:15:54,233 --> 00:15:57,400
YOU KNOW, A LITTLE BIT,
HE DID IT SO PERFECT.
312
00:16:03,866 --> 00:16:06,933
♪ I MAY LOOK LIKE
A CITY SLICKER ♪
313
00:16:06,966 --> 00:16:09,400
♪ SHININ' UP
THROUGH ME SHOES ♪
314
00:16:09,433 --> 00:16:12,800
♪ UNDERNEATH I'M JUST
A COTTON PICKER ♪
315
00:16:12,833 --> 00:16:15,633
♪ PICKIN' OUT
A MESS OF BLUES... ♪
316
00:16:15,666 --> 00:16:17,833
SKAGGS, VOICE-OVER:
IT HAD ALL THE ELEMENTS OF FUN.
317
00:16:17,866 --> 00:16:19,300
IT HAD BREAK DANCING.
318
00:16:19,333 --> 00:16:20,700
IT HAD ED KOCH EATING A BAGEL,
319
00:16:20,733 --> 00:16:23,466
SINGING "I'M JUST
A COUNTRY BOY AT HEART."
320
00:16:23,500 --> 00:16:26,133
SKAGGS: ♪ I'M
JUST A COUNTRY BOY ♪
321
00:16:26,166 --> 00:16:30,466
♪ COUNTRY BOY AT HEART
322
00:16:30,500 --> 00:16:44,900
♪
323
00:16:44,933 --> 00:16:47,166
SKAGGS: WELL, WHAT
DO YOU THINK, UNCLE PEN?
324
00:16:47,200 --> 00:16:49,200
MONROE: I GUESS YOU'RE
STILL A COUNTRY BOY.
325
00:16:50,900 --> 00:16:53,100
["AMARILLO BY MORNING"
BY GEORGE STRAIT PLAYS]
326
00:16:53,133 --> 00:16:55,233
NARRATOR: BUT THERE
WERE OTHER YOUNG ARTISTS
327
00:16:55,266 --> 00:16:59,166
WHO WERE ALSO RECONNECTING
COUNTRY MUSIC WITH ITS ROOTS
328
00:16:59,200 --> 00:17:01,733
AND HAVING GREAT SUCCESS.
329
00:17:01,766 --> 00:17:04,333
GEORGE STRAIT
WAS RAISED ON A RANCH
330
00:17:04,366 --> 00:17:07,300
NEAR HIS BIRTHPLACE OF
POTEET, TEXAS.
331
00:17:07,333 --> 00:17:11,166
HIS MUSIC HAD AN OLD-FASHIONED
DANCE HALL FEEL TO IT,
332
00:17:11,200 --> 00:17:16,633
ANCHORED BY HIS SMOOTH, EASY
VOICE AND NO-FRILLS APPROACH.
333
00:17:16,666 --> 00:17:19,900
♪ AMARILLO BY MORNING
334
00:17:19,933 --> 00:17:23,733
♪ UP FROM SAN ANTONE
335
00:17:23,766 --> 00:17:26,833
♪ EVERYTHING THAT I GOT
336
00:17:26,866 --> 00:17:29,566
♪ IS JUST WHAT
I'VE GOT ON... ♪
337
00:17:29,600 --> 00:17:31,900
GARTH BROOKS: I WAS GOING
TO THE STORE WITH MY DAD,
338
00:17:31,933 --> 00:17:34,233
AND I REMEMBER COMING OUT
OF TURTLE CREEK,
339
00:17:34,266 --> 00:17:36,333
UP THERE WHERE I WAS GOING TO
TAKE A LEFT BY THE BLUE CHURCH,
340
00:17:36,366 --> 00:17:39,733
HEADING NORTH TO SNYDER'S IGA.
341
00:17:39,766 --> 00:17:44,733
AND DAD HAD THIS RADIO ON,
KIND OF A.M.
342
00:17:44,766 --> 00:17:47,366
AND THIS LADY SAID,
"HERE'S A NEW KID FROM TEXAS,
343
00:17:47,400 --> 00:17:49,300
AND I THINK YOU'RE GOING
TO LIKE HIS SOUND."
344
00:17:49,333 --> 00:17:51,100
AND IT WAS GEORGE STRAIT.
345
00:17:51,133 --> 00:17:54,066
STRAIT: ♪ THEY TOOK
MY SADDLE IN HOUSTON ♪
346
00:17:54,100 --> 00:17:56,766
♪ BROKE MY LEG IN SANTA FE...
347
00:17:56,800 --> 00:17:58,566
BROOKS: AND IT WAS
THAT DAY, I LOOKED AND SAID,
348
00:17:58,600 --> 00:18:00,700
"THAT'S WHAT I WANT TO BE."
349
00:18:00,733 --> 00:18:01,766
STRAIT: ♪ LOST MY WIFE
AND A GIRLFRIEND ♪
350
00:18:01,800 --> 00:18:05,300
♪ SOMEWHERE ALONG THE WAY
351
00:18:06,866 --> 00:18:08,833
♪ BUT I'LL BE LOOKIN' FOR 8
352
00:18:08,866 --> 00:18:11,300
♪ WHEN THEY PULL THAT GATE
353
00:18:11,333 --> 00:18:14,333
♪ AND I HOPE THAT
JUDGE AIN'T BLIND ♪
354
00:18:15,833 --> 00:18:19,233
♪ AMARILLO BY MORNING
355
00:18:19,266 --> 00:18:22,666
♪ AMARILLO'S
ON MY MIND... ♪
356
00:18:22,700 --> 00:18:27,700
NARRATOR: STRAIT'S FIRST ALBUM
SOLD A MILLION COPIES.
357
00:18:27,733 --> 00:18:29,833
SO DID
EVERY OTHER ALBUM HE RELEASED
358
00:18:29,866 --> 00:18:32,633
FOR THE REST OF THE CENTURY.
359
00:18:32,666 --> 00:18:36,700
HE WOULD ULTIMATELY RECORD
60 NUMBER ONE SINGLES--
360
00:18:36,733 --> 00:18:40,766
MORE THAN ANY OTHER ARTIST
IN ANY MUSICAL CATEGORY.
361
00:18:40,800 --> 00:18:43,800
[APPLAUSE]
362
00:18:43,833 --> 00:18:48,633
["DIGGIN' UP BONES"
BY RANDY TRAVIS PLAYS]
363
00:18:48,666 --> 00:18:50,800
RANDY TRAVIS: ♪ LAST NIGHT
I DUG YOUR PICTURE ♪
364
00:18:50,833 --> 00:18:54,500
♪ OUT FROM OUR OLD
DRESSER DRAWER ♪
365
00:18:54,533 --> 00:18:56,833
♪ SET IT ON THE TABLE
366
00:18:56,866 --> 00:18:58,000
♪ I READ SOME
OLD LOVE LETTERS... ♪
367
00:18:58,033 --> 00:19:00,233
NARRATOR:
IN CHARLOTTE, NORTH CAROLINA,
368
00:19:00,266 --> 00:19:04,266
RANDY TRAVIS BARELY SURVIVED
A TROUBLED YOUTH--
369
00:19:04,300 --> 00:19:07,833
DRUGS, ALCOHOL,
SCRAPES WITH THE POLICE.
370
00:19:07,866 --> 00:19:11,166
THEN "LIB" HATCHER,
THE MANAGER OF A LOCAL CLUB
371
00:19:11,200 --> 00:19:12,933
WHERE HE WAS SINGING,
372
00:19:12,966 --> 00:19:15,766
INTERVENED
AND PROMISED AUTHORITIES
373
00:19:15,800 --> 00:19:19,600
SHE WOULD TAKE RESPONSIBILITY
FOR KEEPING HIM OUT OF TROUBLE.
374
00:19:19,633 --> 00:19:23,366
HATCHER BROUGHT HIM
TO NASHVILLE, WHERE PRODUCERS
375
00:19:23,400 --> 00:19:26,000
ADMIRED HIS DEEP BARITONE VOICE,
376
00:19:26,033 --> 00:19:28,500
BUT THOUGHT IT HAD
TOO MUCH TWANG IN IT
377
00:19:28,533 --> 00:19:31,666
AND UNIFORMLY TURNED HIM DOWN.
378
00:19:31,700 --> 00:19:36,466
FINALLY, IN 1986,
ONE LABEL RELENTED,
379
00:19:36,500 --> 00:19:38,833
AND TO EVERYONE'S SURPRISE,
380
00:19:38,866 --> 00:19:43,000
HIS DEBUT ALBUM ENDED UP
SELLING 3 MILLION COPIES.
381
00:19:43,033 --> 00:19:45,366
TRAVIS: ♪ ...BETTER LEFT ALONE
382
00:19:45,400 --> 00:19:50,766
♪ I'M RESURRECTING MEMORIES OF
A LOVE THAT'S DEAD AND GONE ♪
383
00:19:50,800 --> 00:19:54,700
♪ YEAH, TONIGHT I'M SITTIN'
ALONE, DIGGIN' UP BONES ♪
384
00:19:54,733 --> 00:19:56,033
WOMAN: HE WAS THE FIRST GUY
385
00:19:56,066 --> 00:20:00,000
TO SORT OF GO RIGHT BACK
TO THIS HEART OF THINGS,
386
00:20:00,033 --> 00:20:03,833
AND UNAPOLOGETICALLY
WITH GREAT SONGS,
387
00:20:03,866 --> 00:20:05,733
JUST GREAT SONGS
AND A GREAT VOICE
388
00:20:05,766 --> 00:20:07,466
AND THE SIMPLICITY OF THAT.
389
00:20:07,500 --> 00:20:09,566
TRAVIS: ♪ ...THAT I BOUGHT YOU
TO WEAR... ♪
390
00:20:09,600 --> 00:20:11,833
I JUST REMEMBER
THE KIND OF WHIPLASH FEELING
391
00:20:11,866 --> 00:20:14,666
WHEN HE CAME ALONG, THAT KIND
OF LIKE,
392
00:20:14,700 --> 00:20:16,866
EVERYBODY WAS LIKE,
"THAT GUY."
393
00:20:16,900 --> 00:20:20,700
TRAVIS: ♪ ...I'M SITTIN'
ALONE, DIGGIN' UP BONES ♪
394
00:20:20,733 --> 00:20:22,366
[SONG ENDS]
395
00:20:22,400 --> 00:20:25,300
[CHEERING AND APPLAUSE]
396
00:20:25,333 --> 00:20:26,633
["DADDY"
BY REBA McENTIRE PLAYS]
397
00:20:26,666 --> 00:20:28,600
McENTIRE:
♪ MY DADDY IS A RANCHER
398
00:20:28,633 --> 00:20:32,566
♪ HE'S WRANGLED CATTLE DANG NEAR
ALL HIS LIFE... ♪
399
00:20:32,600 --> 00:20:35,333
MY ACCENT
HAS BEEN WITH ME FOREVER.
400
00:20:35,366 --> 00:20:37,200
BECAUSE THE WAY I TALK
AND THE WAY I SING,
401
00:20:37,233 --> 00:20:39,933
I CAN'T CROSS OVER THAT MUCH.
402
00:20:39,966 --> 00:20:42,033
UM, IT'S A BIG OLD BAR
THAT COMES UP.
403
00:20:42,066 --> 00:20:43,833
THE BARRIERS DO COME UP.
404
00:20:43,866 --> 00:20:46,400
NARRATOR: REBA McENTIRE GREW UP
405
00:20:46,433 --> 00:20:51,033
ON AN 8,000-ACRE CATTLE RANCH
NEAR KIOWA, OKLAHOMA.
406
00:20:51,066 --> 00:20:54,233
HER FATHER, A 3-TIME
WORLD-CHAMPION CALF ROPER,
407
00:20:54,266 --> 00:20:58,400
TAUGHT HIS 4 CHILDREN
TO WORK HARD AND LOVE HORSES.
408
00:20:58,433 --> 00:21:02,766
HER MOTHER TAUGHT THEM TO
HARMONIZE AND LOVE MUSIC.
409
00:21:02,800 --> 00:21:05,000
BY HIGH SCHOOL,
REBA WAS PERFORMING
410
00:21:05,033 --> 00:21:09,066
WITH A BROTHER AND SISTER
AS THE SINGING McENTIRES,
411
00:21:09,100 --> 00:21:13,700
AND COMPETING IN RODEOS
AS A BARREL RACER.
412
00:21:13,733 --> 00:21:19,800
♪ O, SAY, DOES THAT
STAR-SPANGLED BANNER ♪
413
00:21:19,833 --> 00:21:23,366
♪ YET WAVE...
414
00:21:23,400 --> 00:21:25,233
NARRATOR: WHEN SHE SANG
THE NATIONAL ANTHEM
415
00:21:25,266 --> 00:21:29,166
AT THE NATIONAL FINALS RODEO
IN 1974,
416
00:21:29,200 --> 00:21:32,566
HER VOICE PROMPTED
AN INVITATION TO NASHVILLE,
417
00:21:32,600 --> 00:21:34,733
WHERE SHE SIGNED
A RECORDING CONTRACT
418
00:21:34,766 --> 00:21:38,166
AND RELEASED SEVERAL ALBUMS.
419
00:21:38,200 --> 00:21:42,566
BUT AS THE YEARS WENT BY, SHE
GREW DISSATISFIED WITH THE WAY
420
00:21:42,600 --> 00:21:47,666
HER LABEL TRIED TO MOLD HER INTO
A COUNTRYPOLITAN-STYLE ARTIST.
421
00:21:47,700 --> 00:21:51,900
OF COURSE, ME BEING
A STRONG-WILLED THIRD CHILD
422
00:21:51,933 --> 00:21:54,066
OUT OF 4 KIDS AND A REDHEAD,
423
00:21:54,100 --> 00:21:57,233
AND I HAD MY OWN OPINION
OF HOW THINGS WOULD BE DONE.
424
00:21:57,266 --> 00:21:59,233
["SOMEBODY SHOULD LEAVE"
BY REBA McENTIRE PLAYS]
425
00:21:59,266 --> 00:22:03,133
NARRATOR: IN 1984, A NEW LABEL
FINALLY LISTENED TO HER.
426
00:22:03,166 --> 00:22:05,666
McENTIRE: AND I SAID
I WOULD REALLY LIKE THINGS
427
00:22:05,700 --> 00:22:07,200
MORE COUNTRY.
428
00:22:07,233 --> 00:22:09,833
I DON'T WANT ORCHESTRA
AND VIOLINS.
429
00:22:09,866 --> 00:22:11,533
I WANT A STEEL GUITAR
AND A FIDDLE.
430
00:22:11,566 --> 00:22:16,733
McENTIRE:
♪ SOMEBODY SHOULD LEAVE
431
00:22:16,766 --> 00:22:20,133
♪ BUT WE HATE TO GIVE IN...
432
00:22:21,833 --> 00:22:24,066
McENTIRE: I WANTED THE HELP
TO BRING COUNTRY MUSIC
433
00:22:24,100 --> 00:22:25,633
BACK TO MORE TRADITIONAL.
434
00:22:25,666 --> 00:22:29,233
SO THAT WAS, BOY, THAT WAS
REALLY SOMETHING THAT I LOVED--
435
00:22:29,266 --> 00:22:32,166
GEORGE STRAIT, RICKY SKAGGS,
RANDY TRAVIS.
436
00:22:32,200 --> 00:22:35,400
THAT STARTED ME
HAVING MORE CONTROL
437
00:22:35,433 --> 00:22:37,966
OF THE SONGS THAT I RECORDED.
438
00:22:38,000 --> 00:22:41,666
NARRATOR: JUST AS LORETTA LYNN
HAD DONE IN THE 1960s,
439
00:22:41,700 --> 00:22:45,533
MANY OF McENTIRE'S HITS
TOUCHED ON ISSUES
440
00:22:45,566 --> 00:22:48,200
WOMEN ALL OVER AMERICA
WERE FACING:
441
00:22:48,233 --> 00:22:52,200
DEALING WITH A TROUBLED MARRIAGE
IN "SOMEBODY SHOULD LEAVE"
442
00:22:52,233 --> 00:22:54,966
OR DECIDING TO FINISH
THEIR EDUCATION
443
00:22:55,000 --> 00:22:58,666
AFTER STARTING A FAMILY
IN "IS THERE LIFE OUT THERE."
444
00:22:58,700 --> 00:23:03,266
McENTIRE: ♪ SHE MARRIED WHEN
SHE WAS 20 ♪
445
00:23:03,300 --> 00:23:05,666
♪ SHE THOUGHT SHE WAS READY
446
00:23:05,700 --> 00:23:08,400
♪ NOW SHE'S NOT SO SURE...
447
00:23:08,433 --> 00:23:10,833
McENTIRE: I WOULD BE
DOING THAT SONG ONSTAGE,
448
00:23:10,866 --> 00:23:14,033
AND WOMEN WOULD STAND UP IN THE
AUDIENCE, HOLD UP THEIR DIPLOMA.
449
00:23:14,066 --> 00:23:17,500
THEY'D WRITE ME LETTERS SAYING,
"I DIDN'T GET TO GO TO COLLEGE.
450
00:23:17,533 --> 00:23:20,166
"I DIDN'T GET
MY HIGH SCHOOL DIPLOMA.
451
00:23:20,200 --> 00:23:22,233
"AND SO WHEN THE KIDS
GOT OUT OF THE HOUSE,
452
00:23:22,266 --> 00:23:24,133
I WENT BACK AND GOT MY GED."
453
00:23:24,166 --> 00:23:29,166
AND THEY SAID, "THAT
SONG INSPIRED ME."
454
00:23:29,200 --> 00:23:31,466
["SWEET DREAMS" BY
REBA McENTIRE PLAYS]
455
00:23:31,500 --> 00:23:35,466
[CHEERING AND APPLAUSE]
456
00:23:35,500 --> 00:23:39,266
NARRATOR: ONE NIGHT
AFTER A CONCERT IN SAN DIEGO,
457
00:23:39,300 --> 00:23:42,300
8 MEMBERS OF McENTIRE'S
BAND PERISHED
458
00:23:42,333 --> 00:23:45,233
IN AN AIRPLANE ACCIDENT--
THE BIGGEST TRAGEDY
459
00:23:45,266 --> 00:23:47,900
FOR THE CLOSE-KNIT
COUNTRY MUSIC FAMILY
460
00:23:47,933 --> 00:23:53,133
SINCE PATSY CLINE WAS KILLED
IN A PLANE CRASH IN 1963,
461
00:23:53,166 --> 00:23:56,400
AFTER A CONCERT
IN WHICH CLINE HAD INTRODUCED
462
00:23:56,433 --> 00:24:01,066
A NEW SONG OF HERS,
"SWEET DREAMS."
463
00:24:01,100 --> 00:24:07,666
McENTIRE:
♪ ...WHY CAN'T I FORGET...
464
00:24:07,700 --> 00:24:11,900
"SWEET DREAMS" WAS THE LAST
SONG I SANG IN, UM, SAN DIEGO
465
00:24:11,933 --> 00:24:16,000
IN MARCH OF '91,
WHEN THE PLANE CRASH HAPPENED.
466
00:24:16,033 --> 00:24:21,466
THAT WAS THE LAST SONG
I GOT TO SING WITH THAT BAND.
467
00:24:21,500 --> 00:24:23,800
NARRATOR: REBA McENTIRE
WOULD GO ON TO FORM
468
00:24:23,833 --> 00:24:26,966
HER OWN ENTERTAINMENT COMPANY;
469
00:24:27,000 --> 00:24:29,233
BE THE FIRST ARTIST TO BE CHOSEN
470
00:24:29,266 --> 00:24:33,700
THE COUNTRY MUSIC ASSOCIATION'S
FEMALE VOCALIST OF THE YEAR
471
00:24:33,733 --> 00:24:35,900
4 YEARS IN ROW;
472
00:24:35,933 --> 00:24:40,766
APPEAR IN MOVIES, TELEVISION
SHOWS, AND ON BROADWAY,
473
00:24:40,800 --> 00:24:44,900
AND BECOME THE MOST
SUCCESSFUL FEMALE COUNTRY ARTIST
474
00:24:44,933 --> 00:24:47,566
OF HER ERA.
475
00:24:47,600 --> 00:24:50,066
McENTIRE: IT'S WOMEN
STANDING UP FOR THEMSELVES
476
00:24:50,100 --> 00:24:52,933
IN ALL WALKS OF LIFE,
ANY JOB YOU HAVE.
477
00:24:52,966 --> 00:24:55,666
WOMEN HAVE TO WORK TWICE
AS HARD,
478
00:24:55,700 --> 00:24:57,633
SOMETIMES 3 TIMES AS HARD,
479
00:24:57,666 --> 00:24:59,700
AND THAT'S JUST THE WAY
IT IS IN LIFE.
480
00:24:59,733 --> 00:25:01,366
AND YOU DO IT.
481
00:25:01,400 --> 00:25:03,633
YOU DO IT WITH A SMILE,
BUT YOU WIN.
482
00:25:05,233 --> 00:25:09,833
["GRANDPA"
BY THE JUDDS PLAYS]
483
00:25:09,866 --> 00:25:11,300
NAOMI JUDD: REBA WAS DISCOVERED
484
00:25:11,333 --> 00:25:13,600
SINGING THE "STAR-SPANGLED
BANNER" AT RODEOS.
485
00:25:13,633 --> 00:25:17,666
GEORGE WAS A REAL COWBOY
DOWN IN SAN MARCOS, TEXAS.
486
00:25:17,700 --> 00:25:19,733
WE WERE REAL.
487
00:25:19,766 --> 00:25:24,033
WE DIDN'T NEED A FOCUS GROUP
OR A MARKETING MEETING
488
00:25:24,066 --> 00:25:25,666
AND ANY OF THAT--
ANY OF THAT KIND OF STUFF.
489
00:25:25,700 --> 00:25:28,966
AND PEOPLE WERE HUNGRY FOR THAT.
490
00:25:29,000 --> 00:25:30,700
THE JUDDS: ♪ GRANDPA
491
00:25:32,600 --> 00:25:37,233
♪ TELL ME
'BOUT THE GOOD OLD DAYS ♪
492
00:25:37,266 --> 00:25:40,266
♪ SOMETIMES IT FEELS LIKE
493
00:25:41,866 --> 00:25:44,700
♪ THIS WORLD'S GONE CRAZY
494
00:25:48,266 --> 00:25:49,700
♪ GRANDPA
495
00:25:51,700 --> 00:25:56,066
♪ TAKE ME BACK TO YESTERDAY...
496
00:25:56,100 --> 00:25:58,400
NARRATOR:
NAOMI JUDD WAS A DIVORCED MOTHER
497
00:25:58,433 --> 00:26:00,866
OF TWO STRONG-WILLED DAUGHTERS,
498
00:26:00,900 --> 00:26:04,166
WYNONNA AND ASHLEY,
LIVING IN LOS ANGELES,
499
00:26:04,200 --> 00:26:11,233
WHEN SHE DECIDED TO MOVE BACK
TO HER NATIVE KENTUCKY IN 1976.
500
00:26:11,266 --> 00:26:16,500
NAOMI JUDD: WYNONNA
WAS 12, ASHLEY WAS 8.
501
00:26:16,533 --> 00:26:19,666
AND I HAD TAKEN THEM BACK HOME
TO A MOUNTAINTOP IN KENTUCKY
502
00:26:19,700 --> 00:26:23,233
TO EXPOSE THEM
TO THEIR ANCESTRY.
503
00:26:23,266 --> 00:26:27,966
I WANTED TO REALLY
SORT OF PLUG THE KIDS
504
00:26:28,000 --> 00:26:31,066
INTO THEIR INCREDIBLY RICH
505
00:26:31,100 --> 00:26:34,566
EIGHTH-GENERATION
KENTUCKY HERITAGE.
506
00:26:34,600 --> 00:26:37,900
SO WE LIVED ON A MOUNTAINTOP,
MORRILL, KENTUCKY.
507
00:26:37,933 --> 00:26:40,066
VERY ISOLATED.
508
00:26:40,100 --> 00:26:43,400
THE JUDDS: ♪ TELL ME
'BOUT THE GOOD OLD DAYS... ♪
509
00:26:43,433 --> 00:26:46,166
WYNONNA JUDD: WE LIVED IN
A HOME THAT A WOMAN RENTED TO US
510
00:26:46,200 --> 00:26:48,066
FOR A $100 A MONTH,
511
00:26:48,100 --> 00:26:50,233
BUT IT HAD HANDMADE QUILTS
ON THE BED;
512
00:26:50,266 --> 00:26:54,633
IT HAD...BLACKBERRY BUSHES
IN THE BACK AND APPLE TREES.
513
00:26:54,666 --> 00:26:57,733
IT WAS A PARADISE,
YET WE HAD NOTHING.
514
00:26:57,766 --> 00:27:00,133
WE CUT OUR OWN HAIR;
WE GREW A GARDEN.
515
00:27:00,166 --> 00:27:03,066
MY MOTHER MADE
EVERYTHING FROM SCRATCH.
516
00:27:03,100 --> 00:27:07,466
IF WE DIDN'T MAKE IT
OR GROW IT, WE DIDN'T HAVE IT.
517
00:27:07,500 --> 00:27:10,533
I MEAN, IT WAS
SIMPLE, SIMPLE, SIMPLE.
518
00:27:10,566 --> 00:27:12,000
NO TV, NO TELEPHONE.
519
00:27:12,033 --> 00:27:13,666
IT WAS ALL ABOUT CREATIVITY
520
00:27:13,700 --> 00:27:17,500
AND SPENDING TIME
IN THE QUIET OF THE WILDERNESS.
521
00:27:17,533 --> 00:27:23,566
NAOMI JUDD: IT WAS
IN THAT SPLENDID SOLITUDE
522
00:27:23,600 --> 00:27:27,566
THAT I HANDED
THE 12-YEAR-OLD NEMESIS--
523
00:27:27,600 --> 00:27:32,833
UM, I HANDED WYNONNA
A PLASTIC STRING GUITAR,
524
00:27:32,866 --> 00:27:35,266
AND VOILA!
525
00:27:35,300 --> 00:27:39,400
THE TRUTH IS,
I WASN'T INTO MUSIC.
526
00:27:39,433 --> 00:27:43,700
I WAS NOT INTO
EVEN BEING A SINGER.
527
00:27:43,733 --> 00:27:46,900
I JUST WAS BORED OUT OF
MY MIND LIVING ON A MOUNTAINTOP
528
00:27:46,933 --> 00:27:49,366
WITH A, YOU KNOW, SINGLE PARENT
529
00:27:49,400 --> 00:27:52,366
AND A SISTER WHO WOULDN'T
LEAVE ME THE HECK ALONE.
530
00:27:52,400 --> 00:27:54,400
AND I THINK THE GUITAR
BECAME MY FRIEND
531
00:27:54,433 --> 00:27:57,066
BECAUSE I WAS JUST SO LONESOME.
532
00:27:57,100 --> 00:28:00,066
THE JUDDS: ♪ ...LOVERS REALLY
FALL IN LOVE TO STAY? ♪
533
00:28:00,100 --> 00:28:04,833
♪ STAND BESIDE EACH OTHER
COME WHAT MAY? ♪
534
00:28:04,866 --> 00:28:09,300
♪ WAS A PROMISE
REALLY SOMETHING PEOPLE KEPT ♪
535
00:28:09,333 --> 00:28:11,633
♪ NOT JUST SOMETHING
THEY WOULD SAY... ♪
536
00:28:11,666 --> 00:28:13,733
NARRATOR: WHILE WYNONNA
PRACTICED HER GUITAR,
537
00:28:13,766 --> 00:28:15,766
NAOMI STUDIED NURSING,
538
00:28:15,800 --> 00:28:17,166
AND THE TWO OF THEM MANAGED
539
00:28:17,200 --> 00:28:19,900
TO EASE SOME OF
THEIR MOTHER-DAUGHTER TENSIONS
540
00:28:19,933 --> 00:28:23,500
BY LEARNING
TO HARMONIZE TOGETHER.
541
00:28:23,533 --> 00:28:25,433
WYNONNA JUDD: I WOULD LEARN
A SONG AND, ALL OF A SUDDEN,
542
00:28:25,466 --> 00:28:28,333
SHE'D BE RIGHT BEHIND ME,
HUMMING OR SINGING ALONG.
543
00:28:28,366 --> 00:28:32,000
AND I'D BE, LIKE, "OK."
544
00:28:32,033 --> 00:28:34,166
AND THEN IT BECAME A THING.
545
00:28:34,200 --> 00:28:36,500
PEOPLE STARTED ASKING US
TO SING AT FAMILY GATHERINGS,
546
00:28:36,533 --> 00:28:39,066
AND THE NEXT THING I KNOW...
547
00:28:39,100 --> 00:28:43,000
THE JUDDS: ♪ TELL ME
'BOUT THE GOOD OLD DAYS ♪
548
00:28:43,033 --> 00:28:45,433
NAOMI JUDD: WE WERE
STUDYING THE DELMORE BROTHERS,
549
00:28:45,466 --> 00:28:49,166
AND THEY HAD THE MOST
TEMPESTUOUS RELATIONSHIP.
550
00:28:49,200 --> 00:28:52,766
AND IT OCCURRED TO ME, IF YOU
LOOK AT THE WORD "KINDRED,"
551
00:28:52,800 --> 00:28:57,566
IT'S "DREAD OF KIN." HMM!
552
00:28:57,600 --> 00:29:00,733
HA HA!
553
00:29:00,766 --> 00:29:03,666
AND LORD KNOWS, THERE ARE
MANY TIMES WYNONNA AND I
554
00:29:03,700 --> 00:29:10,466
COULDN'T TALK TO EACH OTHER,
BUT WE COULD SING TOGETHER.
555
00:29:10,500 --> 00:29:12,500
SO, YEAH, SHE STARTED
TO HARMONIZE WITH ME,
556
00:29:12,533 --> 00:29:16,100
AND THAT'S WHEN I STARTED TO
REALIZE, "OK. HERE WE GO."
557
00:29:16,133 --> 00:29:18,233
["WHY NOT ME"
BY THE JUDDS PLAYS]
558
00:29:20,100 --> 00:29:22,133
NARRATOR:
THEY MOVED TO NASHVILLE,
559
00:29:22,166 --> 00:29:24,666
WHERE THEY APPEARED
ON A LOCAL TELEVISION SHOW
560
00:29:24,700 --> 00:29:26,766
AT 5:30 EACH MORNING,
561
00:29:26,800 --> 00:29:29,333
BEFORE NAOMI WENT TO WORK
AT A HOSPITAL
562
00:29:29,366 --> 00:29:32,233
AND WYNONNA WENT TO HIGH SCHOOL.
563
00:29:32,266 --> 00:29:36,066
NAOMI SPENT HER DAYS OFF
KNOCKING ON EVERY DOOR
564
00:29:36,100 --> 00:29:40,833
ON MUSIC ROW, TRYING TO GET
AN AUDITION WITH A RECORD LABEL.
565
00:29:40,866 --> 00:29:43,333
THE JUDDS: ♪ WHY NOT ME...
566
00:29:45,800 --> 00:29:49,000
NARRATOR: FINALLY, THROUGH THE
HELP OF THE FAMILY OF A PATIENT
567
00:29:49,033 --> 00:29:51,500
NAOMI HAD NURSED BACK TO HEALTH,
568
00:29:51,533 --> 00:29:55,466
THE JUDDS MANAGED TO GET
AN APPOINTMENT WITH JOE GALANTE,
569
00:29:55,500 --> 00:29:58,633
THE HEAD OF RCA RECORDS
IN NASHVILLE.
570
00:29:58,666 --> 00:30:01,633
THE JUDDS: ♪ WHY NOT ME
ON A RAINY DAY... ♪
571
00:30:01,666 --> 00:30:04,566
AND WYNONNA AND I HAD HAD
A HUGE FIGHT. OF COURSE!
572
00:30:04,600 --> 00:30:09,633
AND WE WEREN'T SPEAKING.
SO WE GO INTO THIS ROOM, AND...
573
00:30:09,666 --> 00:30:11,733
WYNONNA JUDD:
IT FELT VERY MUCH LIKE
574
00:30:11,766 --> 00:30:13,400
GOING TO THE PRINCIPAL'S OFFICE.
575
00:30:13,433 --> 00:30:17,400
AND YET I KNEW THAT THESE
WERE MEN WHO HAD A BUSINESS
576
00:30:17,433 --> 00:30:19,566
THAT COULD HELP US MUSICALLY.
577
00:30:19,600 --> 00:30:21,233
I WAS USED TO SINGING.
578
00:30:21,266 --> 00:30:25,733
I JUST WASN'T USED TO BEING
IN A BOARDROOM FULL OF MEN.
579
00:30:25,766 --> 00:30:28,033
AND I FELT VERY, UM...
580
00:30:33,433 --> 00:30:35,033
I GUESS THE WORD IS "GUILTY."
581
00:30:35,066 --> 00:30:37,266
I FELT GUILTY THAT I HAD
PUT HER IN THAT SITUATION.
582
00:30:37,300 --> 00:30:41,533
I MEAN, SHE WAS ONLY LIKE
17 1/2 YEARS OLD.
583
00:30:41,566 --> 00:30:43,700
AND SHE WAS TERRIFIED.
584
00:30:43,733 --> 00:30:48,400
I MEAN, LIKE TERRIFIED
IN A BAD WAY, JUST FROZEN,
585
00:30:48,433 --> 00:30:53,333
AND I LOOKED AT HER, AND I
SAID, "OK. HERE YOU GO, KIDDO.
586
00:30:53,366 --> 00:30:56,633
"WE'RE BACK ON THAT MOUNTAINTOP.
587
00:30:56,666 --> 00:30:59,600
"AND THERE'S A STORM ROLLING IN,
AND WE'RE SITTING ON THE PORCH.
588
00:30:59,633 --> 00:31:03,466
LET'S JUST SING."
589
00:31:03,500 --> 00:31:06,033
THE JUDDS: ♪ WHY NOT ME?
590
00:31:06,066 --> 00:31:09,000
AND THEY CAME IN,
AND WY HAD BRACES.
591
00:31:09,033 --> 00:31:11,133
NAOMI WAS STUNNING, AS ALWAYS.
592
00:31:11,166 --> 00:31:14,666
AND THEY OPENED UP THEIR MOUTHS,
AND IT WAS...
593
00:31:14,700 --> 00:31:17,100
WE ALL JUST KIND OF
WENT, "OH, MY GOD."
594
00:31:18,533 --> 00:31:22,333
♪ YOU HAD TO SEE
IF THE WORLD WAS ROUND ♪
595
00:31:22,366 --> 00:31:25,400
♪ IT'S TIME THAT YOU LEARNED
HOW GOOD SETTLING ♪
596
00:31:25,433 --> 00:31:27,366
♪ DOWN COULD BE
597
00:31:29,300 --> 00:31:31,333
♪ WHY NOT ME...
598
00:31:31,366 --> 00:31:35,966
NARRATOR: THEIR FIRST ALBUM,
RELEASED IN 1984,
599
00:31:36,000 --> 00:31:38,233
HIT THE TOP OF THE CHARTS.
600
00:31:38,266 --> 00:31:41,600
THEY WOULD BECOME THE MOST
DOMINANT COUNTRY MUSIC DUO
601
00:31:41,633 --> 00:31:43,900
FOR THE REST OF THE 1980s.
602
00:31:43,933 --> 00:31:45,900
♪ WHY NOT ME WHEN
THE NIGHTS GET COLD... ♪
603
00:31:45,933 --> 00:31:47,900
WYNONNA JUDD: THAT SONG
BECAME OUR ANTHEM, ACTUALLY.
604
00:31:47,933 --> 00:31:52,200
"WHY NOT ME" WAS, MY MOM WOULD
SAY, SHE WOULD SAY, YOU KNOW,
605
00:31:52,233 --> 00:31:54,333
"WE WAKE UP EVERY DAY,
AND WE JUST LOOK UP
606
00:31:54,366 --> 00:31:55,500
AND SAY, 'WHY NOT ME?'"
607
00:31:55,533 --> 00:31:57,066
I'LL NEVER FORGET
HER SAYING THAT
608
00:31:57,100 --> 00:31:58,933
BECAUSE EVERYONE WANTED US
TO MAKE IT.
609
00:31:58,966 --> 00:32:01,066
WE WERE MOTHER-DAUGHTER;
THEY KNEW OUR STORY.
610
00:32:01,100 --> 00:32:02,333
AND THEY KNEW THAT
WE HAD NOTHING,
611
00:32:02,366 --> 00:32:04,666
AND THEY WANTED
TO SEE US MAKE IT.
612
00:32:04,700 --> 00:32:06,900
WE WERE THE UNDERDOG.
613
00:32:06,933 --> 00:32:08,733
AND "WHY NOT ME" BECAME
OUR ANTHEM.
614
00:32:08,766 --> 00:32:10,133
♪ ...BABY, WHY NOT ME...
615
00:32:10,166 --> 00:32:13,033
♪ LA LA LA LA,
LA LA LA LA LA ♪
616
00:32:13,066 --> 00:32:14,200
♪ LA LA
617
00:32:14,233 --> 00:32:16,433
♪ OH!
618
00:32:16,466 --> 00:32:19,633
♪ BABY,
WHY NOT ME? ♪
619
00:32:19,666 --> 00:32:23,100
[CHEERING AND APPLAUSE]
620
00:32:23,133 --> 00:32:24,733
["FOREVER AND EVER AMEN"
BY RANDY TRAVIS PLAYS]
621
00:32:24,766 --> 00:32:28,266
NARRATOR: NAOMI AND WYNONNA
JUDD, REBA McENTIRE,
622
00:32:28,300 --> 00:32:33,866
RANDY TRAVIS, GEORGE STRAIT,
AND RICKY SKAGGS WERE
623
00:32:33,900 --> 00:32:35,900
ALL PART OF A GROUP
THAT CAME TO BE CALLED
624
00:32:35,933 --> 00:32:38,233
THE NEO-TRADITIONALISTS.
625
00:32:38,266 --> 00:32:40,600
MALONE: THE NEO-TRADITIONALISTS,
626
00:32:40,633 --> 00:32:43,633
I THINK THERE WAS JUST A GENERAL
FEELING AMONG MANY PEOPLE
627
00:32:43,666 --> 00:32:47,200
THAT SOMETHING NEEDED TO BE DONE
TO REVITALIZE COUNTRY MUSIC
628
00:32:47,233 --> 00:32:48,566
AND MOVE IT AWAY
FROM WHAT SEEMED TO BE
629
00:32:48,600 --> 00:32:54,333
JUST AN ALL-OUT, UNENDING
FUSION WITH POP MUSIC.
630
00:32:54,366 --> 00:32:57,866
SECOR: THE NEW
TRADITIONALISTS WERE THERE
631
00:32:57,900 --> 00:33:02,500
BECAUSE COUNTRY HAD NOW
GONE SO FAR INTO POP MUSIC
632
00:33:02,533 --> 00:33:06,000
AND WAS SO CONSUMED
WITH MAKING A BUCK
633
00:33:06,033 --> 00:33:11,533
THAT WE HAD FORGOTTEN WHAT
IT WAS LIKE TO CRY IN OUR BEER.
634
00:33:11,566 --> 00:33:14,833
I MEAN, WE HAD FORGOTTEN WHAT
IT WAS LIKE TO GO HONKY TONKING.
635
00:33:14,866 --> 00:33:17,000
TRAVIS: ♪ ...FOREVER AND EVER
636
00:33:17,033 --> 00:33:21,833
♪ FOREVER AND EVER
637
00:33:21,866 --> 00:33:27,200
♪ AMEN
638
00:33:27,233 --> 00:33:31,033
["SEND ME THE PILLOW YOU DREAM
ON" BY HANK LOCKLIN PLAY]
639
00:33:35,900 --> 00:33:39,733
YOAKAM: MY EARLIEST MEMORY,
PROBABLY AT 3, 4 YEARS OLD,
640
00:33:39,766 --> 00:33:45,933
WAS WEDGED IN THAT
GREAT KIND OF WOMB-LIKE SQUISH
641
00:33:45,966 --> 00:33:50,966
THAT YOU'LL GET BETWEEN
YOUR MOTHER AND YOUR AUNT.
642
00:33:51,000 --> 00:33:56,200
AND WE WERE SINGING AT
THE RECORD PLAYER, NOT WITH IT,
643
00:33:56,233 --> 00:33:58,400
BUT DIRECTIONALLY AT IT.
644
00:33:58,433 --> 00:34:02,866
LOCKLIN: ♪ SEND ME THE PILLOW
THAT YOU DREAM ON... ♪
645
00:34:02,900 --> 00:34:06,500
AND IT WAS "SEND ME
THE PILLOW THAT YOU DREAM ON."
646
00:34:06,533 --> 00:34:10,400
AND WE, LITERALLY, I, AS A KID,
YOU KNOW, I JUST--
647
00:34:10,433 --> 00:34:12,833
IT WAS JUST WITH ABANDON
I SANG WITH THEM.
648
00:34:12,866 --> 00:34:15,000
WE WERE HOLLERING. IT WAS...
649
00:34:15,033 --> 00:34:20,266
♪ SEND ME THE PILLOW
THAT YOU DREAM ON ♪
650
00:34:20,300 --> 00:34:23,900
♪ SO, DARLING, I CAN
DREAM ON IT, TOO ♪
651
00:34:23,933 --> 00:34:26,166
THAT'S MY FIRST MEMORY.
652
00:34:26,200 --> 00:34:28,466
[SONG ENDS]
653
00:34:28,500 --> 00:34:30,933
NARRATOR: DWIGHT YOAKAM WAS BORN
IN PIKEVILLE, KENTUCKY,
654
00:34:30,966 --> 00:34:33,500
IN 1956.
655
00:34:33,533 --> 00:34:35,666
HIS EARLIEST
MUSICAL INFLUENCES WERE
656
00:34:35,700 --> 00:34:38,966
HIS MOTHER'S COLLECTION
OF COUNTRY MUSIC RECORDS
657
00:34:39,000 --> 00:34:41,400
AND THE HYMNS
HIS FAMILY SANG EACH WEEK
658
00:34:41,433 --> 00:34:43,400
AT THE CHURCH OF CHRIST,
659
00:34:43,433 --> 00:34:47,566
A DENOMINATION THAT ENCOURAGED
A CAPPELLA GOSPEL SINGING,
660
00:34:47,600 --> 00:34:52,800
READINGS FROM THE BIBLE, AND
TOTAL ABSTINENCE FROM ALCOHOL.
661
00:34:52,833 --> 00:34:57,100
HE STARTED PLAYING GUITAR
AT AGE 6.
662
00:34:57,133 --> 00:34:59,966
YOAKAM: I'D SIT ON
A FRONT PORCH SWING
663
00:35:00,000 --> 00:35:02,700
AT MY GRANDPARENTS' HOUSE
IN FLOYD COUNTY, KENTUCKY,
664
00:35:02,733 --> 00:35:04,166
IN THAT HOLLER.
665
00:35:04,200 --> 00:35:08,033
I WAS SINGING THE SONG, "MY
BUCKET'S GOT A HOLE IN IT."
666
00:35:08,066 --> 00:35:10,966
♪ WELL, MY BUCKET'S GOT
A HOLE IN IT ♪
667
00:35:11,000 --> 00:35:13,233
♪ YEAH, MY
BUCKET'S GOT A HOLE IN IT ♪
668
00:35:13,266 --> 00:35:15,466
♪ HEY, MY BUCKET'S GOT
A HOLE IN IT ♪
669
00:35:15,500 --> 00:35:17,933
♪ I CAN'T BUY NO BEER
670
00:35:17,966 --> 00:35:21,266
10 YEARS OLD, AND I DIDN'T
REALLY KNOW WHAT IT WAS ABOUT.
671
00:35:21,300 --> 00:35:23,066
"I CAN'T BUY NO BEER."
672
00:35:23,100 --> 00:35:24,966
MY MOTHER CAME OUT FROM THE BACK
OF THE HOUSE OUT ON THAT PORCH,
673
00:35:25,000 --> 00:35:28,833
AND SHE LOOKED AT ME AND SHE
SAID, "I DON'T--
674
00:35:28,866 --> 00:35:31,133
I DON'T BELIEVE YOU NEED
TO BE SINGING THAT."
675
00:35:31,166 --> 00:35:33,300
AND I SAID, "WHAT?
WELL, IT'S ..."
676
00:35:33,333 --> 00:35:36,066
'CAUSE IT HAD BEER. YOU KNOW,
IT WAS A GUY DRINKING BEER.
677
00:35:36,100 --> 00:35:38,400
AND ABOUT THAT TIME,
WE HEARD ACROSS THE HOLLER,
678
00:35:38,433 --> 00:35:41,233
ABOUT TWO ACRES DOWN, THERE
WAS--IT WAS AN OLDER COUPLE,
679
00:35:41,266 --> 00:35:43,300
THE HUNLEYS.
680
00:35:43,333 --> 00:35:45,866
I HEARD HER VOICE COME ACROSS
AS MY MOTHER HAD SCOLDED ME
681
00:35:45,900 --> 00:35:47,266
ABOUT THIS.
682
00:35:47,300 --> 00:35:51,400
SHE SAID, "THAT WAS GOOD.
DO IT AGAIN."
683
00:35:51,433 --> 00:35:54,066
HARRIS: ♪ TOGETHER AGAIN
684
00:35:54,100 --> 00:35:57,133
NARRATOR: IN HIGH SCHOOL,
YOAKAM WAS ACTIVE IN THEATER
685
00:35:57,166 --> 00:36:01,666
AND FORMED A ROCKABILLY BAND
CALLED DWIGHT AND THE GREASERS.
686
00:36:01,700 --> 00:36:03,400
INSPIRED BY THE EARLY RECORDS
687
00:36:03,433 --> 00:36:05,833
THAT EMMYLOU HARRIS
WAS RECORDING,
688
00:36:05,866 --> 00:36:08,566
HE MOVED TO LOS ANGELES.
689
00:36:08,600 --> 00:36:11,366
YOAKAM: THE BEACON
THAT I NAVIGATED TOWARD
690
00:36:11,400 --> 00:36:13,133
WAS EMMYLOU HARRIS.
691
00:36:15,000 --> 00:36:18,266
YOAKAM: I WOULD NOT HAVE
BECOME THE ARTIST I BECAME
692
00:36:18,300 --> 00:36:20,000
WITHOUT HER FIRST TWO ALBUMS
693
00:36:20,033 --> 00:36:25,733
BECAUSE THEY ARE THE DIRECT
TISSUE CONNECTION, MUSICALLY,
694
00:36:25,766 --> 00:36:29,733
TO BUCK OWENS AND MERLE HAGGARD
FOR MY GENERATION.
695
00:36:29,766 --> 00:36:33,733
I'VE OFTEN SAID, "I WAS BORN IN
KENTUCKY, I WAS RAISED IN OHIO,
696
00:36:33,766 --> 00:36:35,533
BUT I GREW UP IN CALIFORNIA."
697
00:36:35,566 --> 00:36:39,366
♪ HAVE YOU EVER BEEN DOWN
KENTUCKY WAY, SAY SOUTH OF... ♪
698
00:36:39,400 --> 00:36:41,233
NARRATOR: HE WORKED AS
A SHORT-ORDER COOK,
699
00:36:41,266 --> 00:36:43,266
DROVE DELIVERY TRUCKS,
700
00:36:43,300 --> 00:36:46,733
AND FORMED DWIGHT YOAKAM
AND KENTUCKY BOURBON,
701
00:36:46,766 --> 00:36:50,566
A BAR BAND THAT PLAYED REGULARLY
AT THE PALOMINO NIGHTCLUB
702
00:36:50,600 --> 00:36:52,633
IN NORTH HOLLYWOOD.
703
00:36:52,666 --> 00:36:55,766
HE PREFERRED HARD-CORE
HONKY TONK TUNES
704
00:36:55,800 --> 00:37:00,300
AND THE BAKERSFIELD SOUND
THAT WAS POPULAR IN THE 1960s.
705
00:37:00,333 --> 00:37:02,733
BUT IT WAS THE EARLY 1980s,
706
00:37:02,766 --> 00:37:05,333
AND THEY WERE CONSTANTLY TOLD
TO PERFORM
707
00:37:05,366 --> 00:37:08,666
MORE POPULAR MAINSTREAM SONGS.
708
00:37:08,700 --> 00:37:10,333
THEY REFUSED.
709
00:37:10,366 --> 00:37:13,566
WHEN THEY WERE FIRED,
THE BAND CHANGED ITS NAME
710
00:37:13,600 --> 00:37:16,266
TO DWIGHT YOAKAM
AND THE BABYLONIAN COWBOYS.
711
00:37:16,300 --> 00:37:19,600
YOAKAM: ♪ 'CAUSE THEY'D LEARNED
READIN', RIGHTIN'... ♪
712
00:37:19,633 --> 00:37:21,166
NARRATOR: THEY FOUND WORK
713
00:37:21,200 --> 00:37:24,200
WITHIN L.A.'s POST-PUNK
ROCK SCENE,
714
00:37:24,233 --> 00:37:27,200
OPENING FOR GROUPS
LIKE THE BLASTERS,
715
00:37:27,233 --> 00:37:30,933
GUN CLUB, AND LOS LOBOS.
716
00:37:30,966 --> 00:37:35,433
THE HIP AUDIENCES WENT WILD
FOR YOAKAM AND HIS MUSIC--
717
00:37:35,466 --> 00:37:37,533
SONGS HE'D WRITTEN HIMSELF,
718
00:37:37,566 --> 00:37:40,300
AS WELL AS ONE
THAT JOHNNY HORTON HAD RELEASED
719
00:37:40,333 --> 00:37:44,866
BACK IN 1956,
THE YEAR DWIGHT WAS BORN.
720
00:37:44,900 --> 00:37:49,533
["HONKY TONK MAN"
BY DWIGHT YOAKAM PLAYS]
721
00:37:49,566 --> 00:37:53,066
♪ WELL, I'M A HONKY TONK MAN
722
00:37:53,100 --> 00:37:55,833
♪ AND I CAN'T SEEM TO STOP...
723
00:37:55,866 --> 00:37:58,866
I HAD BEGUN
TO DO "HONKY TONK MAN."
724
00:37:58,900 --> 00:38:02,133
AND I STARTED DOING IT
WITH THE BAND,
725
00:38:02,166 --> 00:38:04,866
AND THE AUDIENCE RESPONDED
VERY IMMEDIATELY TO IT.
726
00:38:04,900 --> 00:38:09,133
♪ ...SINGING, "HEY, HEY, MAMA,
CAN YOUR DADDY COME HOME?" ♪
727
00:38:09,166 --> 00:38:12,233
I THINK IN DECEMBER OF 1985,
WE WENT IN AND RECORDED IT.
728
00:38:12,266 --> 00:38:14,400
AND IT LAUNCHED
WHAT I WAS ABOUT TO DO
729
00:38:14,433 --> 00:38:17,566
FOR THE NEXT 30 YEARS
OF MY LIFE.
730
00:38:17,600 --> 00:38:19,000
HE BROUGHT STYLE BACK;
731
00:38:19,033 --> 00:38:22,500
HE BROUGHT ABSOLUTE SWAGGER,
A ROCK AND ROLL SWAGGER,
732
00:38:22,533 --> 00:38:25,700
WITH ABSOLUTE
HARD-HITTING COUNTRY MUSIC.
733
00:38:25,733 --> 00:38:28,500
♪ I'M A HONKY TONK MAN...
734
00:38:28,533 --> 00:38:31,233
STUART: HE KIND OF KICKED IT
AND RESTARTED IT.
735
00:38:31,266 --> 00:38:32,900
YOAKAM:
♪ ...CAN'T SEEM TO STOP
736
00:38:32,933 --> 00:38:34,800
♪ I LOVE TO GIVE
THE GIRLS A WHIRL ♪
737
00:38:34,833 --> 00:38:38,733
♪ TO THE MUSIC
OF AN OLD JUKEBOX ♪
738
00:38:38,766 --> 00:38:41,100
♪ BUT WHEN MY MONEY'S ALL GONE
739
00:38:41,133 --> 00:38:42,533
♪ ON THE TELEPHONE, SINGIN'
740
00:38:42,566 --> 00:38:45,800
♪ "HEY, HEY, MAMA,
CAN YOUR DADDY COME HOME?" ♪
741
00:38:48,733 --> 00:38:53,000
NARRATOR: YOAKAM'S
FIRST ALBUM, RELEASED IN 1986,
742
00:38:53,033 --> 00:38:55,766
ALSO INCLUDED A SONG OF HIS OWN,
743
00:38:55,800 --> 00:39:00,800
WITH THE LINE, "GUITARS,
CADILLACS, AND HILLBILLY MUSIC."
744
00:39:00,833 --> 00:39:04,733
HIS LABEL TOLD HIM TO DROP
THE "HILLBILLY" REFERENCE.
745
00:39:04,766 --> 00:39:06,600
YOAKAM: ♪ NOW, IT'S GUITARS
746
00:39:06,633 --> 00:39:08,500
♪ CADILLACS
747
00:39:08,533 --> 00:39:10,900
♪ AND HILLBILLY MUSIC
748
00:39:10,933 --> 00:39:14,333
♪ LONELY, LONELY STREETS
I CALL HOME... ♪
749
00:39:14,366 --> 00:39:16,433
WARNER MUSIC-NASHVILLE,
750
00:39:16,466 --> 00:39:18,600
WAS NOT PREPARED
TO HAVE US RELEASE A SONG
751
00:39:18,633 --> 00:39:20,133
WITH THE TERM
"HILLBILLY MUSIC" IN IT.
752
00:39:20,166 --> 00:39:23,666
THEY WERE ASHAMED
OF THE TERM "HILLBILLY."
753
00:39:23,700 --> 00:39:25,366
THEY THOUGHT IT WAS DEROGATORY.
754
00:39:25,400 --> 00:39:31,000
AND I SAID, "OH, NO.
THAT'S SOMETHING I'M PROUD OF."
755
00:39:31,033 --> 00:39:32,933
I AM PROUD OF IT BECAUSE MY--
756
00:39:32,966 --> 00:39:35,800
I WATCHED--
757
00:39:35,833 --> 00:39:38,833
I WATCHED MY OWN FAMILY
SUBMITTED TO RIDICULE
758
00:39:38,866 --> 00:39:40,366
AND BEING CALLED HILLBILLIES.
759
00:39:40,400 --> 00:39:46,400
BUT, GENERATIONALLY, I
DIDN'T HAVE THE SAME OPEN WOUND.
760
00:39:46,433 --> 00:39:48,900
AND SO I WAS ABLE TO BE PROUD
761
00:39:48,933 --> 00:39:51,500
OF WHAT THAT MUSICAL LEGACY
WAS ABOUT.
762
00:39:51,533 --> 00:39:54,766
♪ ...THERE AIN'T NO GLAMOUR
IN THIS TINSELED LAND ♪
763
00:39:54,800 --> 00:39:57,166
♪ OF LOST AND WASTED LIVES
764
00:39:57,200 --> 00:39:59,533
♪ AND PAINFUL SCARS ARE ALL
765
00:39:59,566 --> 00:40:01,400
♪ THAT'S LEFT OF ME...
766
00:40:01,433 --> 00:40:03,833
NARRATOR:
YOAKAM STUCK TO HIS GUNS.
767
00:40:03,866 --> 00:40:07,033
WHEN THE ALBUM SOLD
MORE THAN TWO MILLION RECORDS,
768
00:40:07,066 --> 00:40:09,400
HIS LABEL HAD NO PROBLEM AT ALL
769
00:40:09,433 --> 00:40:14,400
WITH THE TITLE OF HIS
NEXT ALBUM: "HILLBILLY DELUXE."
770
00:40:18,100 --> 00:40:21,333
BUT YOAKAM'S OUTSPOKENNESS
PUT HIM AT ODDS
771
00:40:21,366 --> 00:40:24,633
WITH SOME INDUSTRY INSIDERS
IN NASHVILLE.
772
00:40:24,666 --> 00:40:26,900
HE HAD USED
A STRING OF PROFANITIES
773
00:40:26,933 --> 00:40:29,833
WHEN REPORTERS ASKED HIM
ABOUT JOHNNY CASH
774
00:40:29,866 --> 00:40:32,033
BEING DROPPED BY HIS LABEL,
775
00:40:32,066 --> 00:40:33,666
AND HIS OPINIONS
776
00:40:33,700 --> 00:40:36,733
ABOUT MUSIC ROW'S SMOOTH
COUNTRYPOLITAN SOUND
777
00:40:36,766 --> 00:40:39,066
WERE EQUALLY HARSH.
778
00:40:39,100 --> 00:40:42,033
DARIUS RUCKER: DWIGHT YOAKAM
WAS A BIG INFLUENCE ON ME.
779
00:40:42,066 --> 00:40:44,633
HE AIN'T AFRAID TO BE
OLD-SCHOOL DIRT COUNTRY
780
00:40:44,666 --> 00:40:46,300
ALL THE TIME.
781
00:40:46,333 --> 00:40:49,866
HE AIN'T AFRAID TO SING
ABOUT ANY SUBJECT
782
00:40:49,900 --> 00:40:51,600
HE WANTS TO SING ABOUT.
783
00:40:51,633 --> 00:40:55,300
AND IT CHANGED THE WAY
I HEARD MUSIC.
784
00:40:55,333 --> 00:40:56,966
I SAID TO MYSELF, I SAID,
785
00:40:57,000 --> 00:40:58,533
"I'M GOING TO MAKE
A COUNTRY RECORD SOMEDAY.
786
00:40:58,566 --> 00:40:59,933
I WANT TO DO THIS."
787
00:40:59,966 --> 00:41:03,166
NARRATOR: IN 1988, BUCK OWENS,
788
00:41:03,200 --> 00:41:07,366
WHO HAD ALSO CHAFED AT WHAT HE
CONSIDERED NASHVILLE'S SLIGHTS
789
00:41:07,400 --> 00:41:09,800
TOWARD COUNTRY ARTISTS
FROM CALIFORNIA,
790
00:41:09,833 --> 00:41:12,100
ASKED HIS YOUNG FRIEND
TO PERFORM WITH HIM
791
00:41:12,133 --> 00:41:14,566
AT THE CMA AWARDS.
792
00:41:14,600 --> 00:41:16,233
YOAKAM: AND HE CALLED ME UP
AND SAID, "DWIGHT,
793
00:41:16,266 --> 00:41:19,166
"I'VE GOT THIS SONG THAT WE NEED
TO GO SING ON THE CMA AWARDS.
794
00:41:19,200 --> 00:41:20,933
"IT'S CALLED
'STREETS OF BAKERSFIELD.'
795
00:41:20,966 --> 00:41:22,400
IT'S A GOOD ONE."
796
00:41:22,433 --> 00:41:24,733
WELL, HE SENT A CASSETTE
DOWN TO ME.
797
00:41:24,766 --> 00:41:26,400
AND I STARTED PLAYING IT
IN THE CAR.
798
00:41:26,433 --> 00:41:29,100
I THOUGHT, "THEY'RE
GOING TO TAR AND FEATHER US.
799
00:41:29,133 --> 00:41:31,733
THEY'RE GOING TO RUN
US OUT OF TOWN ON A RAIL."
800
00:41:31,766 --> 00:41:35,066
NARRATOR: OWENS HAD
RECORDED THE SONG IN 1972
801
00:41:35,100 --> 00:41:36,933
WITH LITTLE SUCCESS.
802
00:41:36,966 --> 00:41:41,533
♪ YOU DON'T KNOW ME,
BUT YOU DON'T LIKE ME ♪
803
00:41:41,566 --> 00:41:45,600
♪ YOU SAY YOU CARE LESS
HOW I FEEL... ♪
804
00:41:45,633 --> 00:41:48,733
SO WE WENT DOWN THERE
AGAINST MY BETTER JUDGMENT,
805
00:41:48,766 --> 00:41:50,900
BUT BUCK WAS, AS USUAL,
BUCK WAS RIGHT.
806
00:41:50,933 --> 00:41:54,666
♪ ...STREETS OF BAKERSFIELD
807
00:41:54,700 --> 00:41:59,200
♪ YOU DON'T KNOW ME,
BUT YOU DON'T LIKE ME ♪
808
00:41:59,233 --> 00:42:03,233
♪ YOU SAY YOU CARE LESS
HOW I FEEL ♪
809
00:42:03,266 --> 00:42:04,633
♪ HOW MANY OF YOU...
810
00:42:04,666 --> 00:42:08,133
YOAKAM: THE LARGER
THEME, WHICH ADDRESSES
811
00:42:08,166 --> 00:42:11,133
THE DISPLACED FROM ANYWHERE,
812
00:42:11,166 --> 00:42:16,000
YOU KNOW, WHICH--
BELIES TIME AND PLACE,
813
00:42:16,033 --> 00:42:18,866
BUT HAS TO DO WITH THE UNIVERSAL
THAT WE ALL FEEL
814
00:42:18,900 --> 00:42:23,066
GOING BACK TO THOSE THAT CAME
ON THE "MAYFLOWER"
815
00:42:23,100 --> 00:42:28,633
TO NOW BEING "LESS THAN."
816
00:42:28,666 --> 00:42:30,500
♪ ...FIND ANYWHERE ELSE
817
00:42:30,533 --> 00:42:35,066
♪ HEY, I'M NOT
TRYING TO BE NOBODY ♪
818
00:42:35,100 --> 00:42:39,200
♪ I JUST WANT A CHANCE
TO BE MYSELF ♪
819
00:42:39,233 --> 00:42:43,433
♪ I'VE SPENT A THOUSAND
MILES OF THUMBIN' ♪
820
00:42:43,466 --> 00:42:48,766
♪ YES, I'VE WORN
BLISTERS ON MY HEELS ♪
821
00:42:48,800 --> 00:42:52,966
♪ TRYING TO FIND ME
SOMETHING BETTER ♪
822
00:42:53,000 --> 00:42:57,300
♪ HERE ON THE STREETS
OF BAKERSFIELD ♪
823
00:42:57,333 --> 00:43:01,666
♪ HEY, YOU DON'T KNOW ME,
BUT YOU DON'T LIKE ME ♪
824
00:43:01,700 --> 00:43:03,133
YOAKAM: AND THAT'S WHAT
"THE STREETS OF BAKERSFIELD"
825
00:43:03,166 --> 00:43:04,633
WAS ABOUT.
826
00:43:04,666 --> 00:43:06,533
AND I REALIZED IN THAT MOMENT,
827
00:43:06,566 --> 00:43:11,666
IT'LL BE CHEERED BY PEOPLE
WHO ARE THE OUTCASTS,
828
00:43:11,700 --> 00:43:15,633
THE OUTSIDERS IN EVERY CULTURE.
829
00:43:15,666 --> 00:43:18,666
AND WHEN PETE ANDERSON
AND I DECIDED TO RECORD
830
00:43:18,700 --> 00:43:20,900
OUR VERSION OF IT HERE
THAT BUCK CAME AND SANG ON,
831
00:43:20,933 --> 00:43:23,533
WE ADDED FLACO JIMENEZ
832
00:43:23,566 --> 00:43:29,633
PLAYING THE TEX-MEX CALIFORNIA
BORDER CULTURE ACCORDION...
833
00:43:31,466 --> 00:43:34,333
BECAUSE I THOUGHT, "WOW!"
834
00:43:34,366 --> 00:43:40,066
THAT'S ALSO PART OF DISPLACED
GROUPS OF DISPARATE PEOPLE,
835
00:43:40,100 --> 00:43:43,033
FROM THE WHITE OKIES
FROM THE DUST BOWL
836
00:43:43,066 --> 00:43:45,333
TO THE MIGRANT WORKERS
837
00:43:45,366 --> 00:43:47,466
OF THOSE SAME FIELDS
AROUND BAKERSFIELD
838
00:43:47,500 --> 00:43:49,133
BY THE SIXTIES,
SEVENTIES, AND EIGHTIES.
839
00:43:49,166 --> 00:43:52,400
OWENS: ♪ THEN I THANKED HIM
AS I WAS LEAVIN'... ♪
840
00:43:52,433 --> 00:43:54,066
NARRATOR: WHEN IT WAS RELEASED,
841
00:43:54,100 --> 00:43:57,366
THE DWIGHT YOAKAM/BUCK OWENS
DUET GAVE OWENS
842
00:43:57,400 --> 00:44:01,500
HIS FIRST NUMBER ONE SINGLE
IN 16 YEARS.
843
00:44:01,533 --> 00:44:05,833
"DWIGHT YOAKAM," HE SAID,
"SHOULD'VE BEEN ONE OF MY SONS."
844
00:44:05,866 --> 00:44:10,766
OWENS AND YOAKAM: ♪ BUT HOW MANY
OF YOU THAT SIT AND JUDGE ME ♪
845
00:44:10,800 --> 00:44:14,800
♪ EVER WALKED THE STREETS
OF BAKERSFIELD? ♪
846
00:44:20,600 --> 00:44:23,866
["I'M SO LONESOME I COULD
CRY" BY HANK WILLIAMS PLAYS]
847
00:44:27,433 --> 00:44:33,733
WILLIAMS: ♪ HEAR THAT LONESOME
WHIPPOORWILL ♪
848
00:44:33,766 --> 00:44:38,033
♪ HE SOUNDS TOO BLUE TO FLY...
849
00:44:38,066 --> 00:44:40,766
MAN: EVERYBODY HAS
AN ETHNIC HERITAGE OF SOME SORT.
850
00:44:40,800 --> 00:44:43,733
IT'S MORE INTEGRATED
THAN WE THINK.
851
00:44:43,766 --> 00:44:45,233
BUT WE HAVE A HUMAN HERITAGE
852
00:44:45,266 --> 00:44:47,766
THAT'S MUCH
MORE FUNDAMENTAL AND GREATER.
853
00:44:47,800 --> 00:44:52,233
WILLIAMS: ♪ I'M SO LONESOME
I COULD CRY... ♪
854
00:44:52,266 --> 00:44:54,566
MAN: THERE ARE THINGS THAT
ARE A PART OF THE LANDSCAPE
855
00:44:54,600 --> 00:44:56,266
OF HUMAN LIFE THAT
WE ALL DEAL WITH--
856
00:44:56,300 --> 00:44:59,500
THE JOY OF BIRTH;
THE SORROW OF DEATH;
857
00:44:59,533 --> 00:45:04,266
A BROKEN HEART; JEALOUSY...
858
00:45:04,300 --> 00:45:07,100
GREED; ENVY; ANGER.
859
00:45:07,133 --> 00:45:09,500
ALL OF THESE THINGS ARE
WHAT MUSIC,
860
00:45:09,533 --> 00:45:10,900
BECAUSE IT IS THE ART
OF THE INVISIBLE,
861
00:45:10,933 --> 00:45:12,333
IT GETS INSIDE OF THAT,
862
00:45:12,366 --> 00:45:14,700
AND IT DOES NOT
GET INSIDE OF IT LESS FOR YOU
863
00:45:14,733 --> 00:45:17,366
THAN IT DOES FOR ME.
864
00:45:17,400 --> 00:45:20,166
I THINK A LOT OF OUR MUSIC
IS THE SAME.
865
00:45:20,200 --> 00:45:23,733
IF YOU JUST DEAL WITH THE CHURCH
MUSIC, "I LET GOD DOWN.
866
00:45:23,766 --> 00:45:26,700
I NEED TO GO DO THIS
TO FIND REDEMPTION."
867
00:45:26,733 --> 00:45:29,266
SO, WHAT ELSE
ARE THEY TALKING ABOUT?
868
00:45:29,300 --> 00:45:32,400
"MAN, LOOK WHAT I DID
TO MY OLD LADY.
869
00:45:32,433 --> 00:45:35,800
"OH, BOY, LOOK AT MY, LOOK AT MY
OLD LADY, WHAT SHE DID TO ME.
870
00:45:35,833 --> 00:45:37,166
DAMN!"
871
00:45:37,200 --> 00:45:39,200
NOW, IT'S COMING OUT
IN DIFFERENT FORMS.
872
00:45:39,233 --> 00:45:42,266
BUT THE ROOT OF IT IS THAT.
873
00:45:42,300 --> 00:45:44,066
AND IF YOU CAN TELL
THOSE STORIES THAT WAY,
874
00:45:44,100 --> 00:45:46,400
THEN YOU ARE PATSY CLINE.
875
00:45:46,433 --> 00:45:50,033
WILLIAMS: ♪ DID YOU EVER SEE
A ROBIN WEEP... ♪
876
00:45:50,066 --> 00:45:51,966
MARSALIS: YEAH, HANK WILLIAMS.
HE HAD THAT THING.
877
00:45:52,000 --> 00:45:54,200
YOU HEAR IT. IT'S LIKE, "OK."
AND WHEN HE STARTS...
878
00:45:54,233 --> 00:45:58,900
♪ DO DEE DE LOO DO DEE DO DEE
879
00:45:58,933 --> 00:46:01,833
YOU HEAR THAT CRY AND THAT--
THAT YEARNING IN IT.
880
00:46:01,866 --> 00:46:06,233
WILLIAMS: ♪ I'M SO LONESOME,
I COULD CRY ♪
881
00:46:06,266 --> 00:46:08,033
THERE'S A TRUTH IN THE MUSIC.
882
00:46:08,066 --> 00:46:11,800
AND IT'S TOO BAD
THAT WE, AS A CULTURE,
883
00:46:11,833 --> 00:46:14,100
HAVE NOT BEEN ABLE
TO ADDRESS THAT TRUTH.
884
00:46:14,133 --> 00:46:15,600
THAT'S THE SHAME OF IT,
885
00:46:15,633 --> 00:46:17,666
AND NOT LETTING
THAT TRUTH BE OUR TRUTH.
886
00:46:17,700 --> 00:46:20,666
WILLIAMS: ♪ ...LIGHTS UP
A PURPLE SKY ♪
887
00:46:20,700 --> 00:46:24,733
♪ AND AS I WONDER
888
00:46:24,766 --> 00:46:27,333
♪ WHERE YOU ARE
889
00:46:27,366 --> 00:46:34,666
♪ I'M SO LONESOME I COULD CRY
890
00:46:36,100 --> 00:46:37,600
["GUITAR TOWN"
BY STEVE EARLE PLAYS]
891
00:46:37,633 --> 00:46:39,433
EARLE: ♪ HEY, PRETTY BABY,
ARE YOU READY FOR ME? ♪
892
00:46:39,466 --> 00:46:43,733
♪ YEAH, IT'S A GOOD ROCKIN'
DADDY DOWN FROM TENNESSEE... ♪
893
00:46:43,766 --> 00:46:47,200
NARRATOR: REGARDLESS OF WHETHER
IT WAS NEW TRADITIONALISTS,
894
00:46:47,233 --> 00:46:48,766
OLD TRADITIONALISTS,
895
00:46:48,800 --> 00:46:51,166
COUNTRY ROCK, OR COUNTRYPOLITAN,
896
00:46:51,200 --> 00:46:53,666
ALL OF IT WAS GOOD FOR
MUSIC CITY.
897
00:46:53,700 --> 00:46:55,533
EARLE: ♪ THERE'S A POLICE TRAP
UP AHEAD, SELMA TOWN... ♪
898
00:46:55,566 --> 00:46:58,400
NARRATOR: THE FINANCIAL
RESURGENCE ALSO MADE ROOM
899
00:46:58,433 --> 00:47:02,300
FOR OTHER ARTISTS
WHO WERE HARDER TO CATEGORIZE.
900
00:47:02,333 --> 00:47:05,100
NANCI GRIFFITH HAD BEEN
A KINDERGARTEN TEACHER
901
00:47:05,133 --> 00:47:08,933
BEFORE MAKING A NAME FOR HERSELF
WITH PLAINTIVE BALLADS
902
00:47:08,966 --> 00:47:13,066
AND SONGS
SHE DESCRIBED AS "FOLKABILLY."
903
00:47:13,100 --> 00:47:16,333
LYLE LOVETT,
A SINGER-SONGWRITER FROM TEXAS,
904
00:47:16,366 --> 00:47:19,166
CAME OUT WITH ALBUMS TINGED
WITH EVERYTHING
905
00:47:19,200 --> 00:47:23,833
FROM FOLK TO HONKY TONK,
GOSPEL TO RHYTHM AND BLUES.
906
00:47:23,866 --> 00:47:28,366
IN ALBERTA, CANADA,
k.d. lang ADOPTED A PERSONA
907
00:47:28,400 --> 00:47:32,166
AS A PUNK REINCARNATION
OF PATSY CLINE.
908
00:47:32,200 --> 00:47:34,033
AS A REBELLIOUS TEENAGER,
909
00:47:34,066 --> 00:47:36,400
STEVE EARLE DROPPED OUT
OF HIGH SCHOOL
910
00:47:36,433 --> 00:47:38,300
AND CLAIMED TOWNES VAN ZANDT
911
00:47:38,333 --> 00:47:41,700
AS HIS SONGWRITING MENTOR
AND ROLE MODEL.
912
00:47:41,733 --> 00:47:46,700
HE STRUGGLED FOR 10 YEARS
TO GET KNOWN, UNTIL 1986,
913
00:47:46,733 --> 00:47:48,466
WHEN HE EMERGED WITH A SOUND
914
00:47:48,500 --> 00:47:51,433
SOMEWHERE BETWEEN COUNTRY
AND EARLY ROCK.
915
00:47:51,466 --> 00:47:55,000
♪ HEY, PRETTY BABY, DON'T
YOU KNOW IT AIN'T MY FAULT? ♪
916
00:47:55,033 --> 00:47:57,766
♪ I LOVE TO HEAR THE STEEL BELTS
HUMMIN' ON THE ASPHALT ♪
917
00:47:57,800 --> 00:48:00,766
♪ WAKE UP IN THE MIDDLE OF
THE NIGHT IN A TRUCK STOP ♪
918
00:48:00,800 --> 00:48:03,933
♪ STUMBLE IN A RESTAURANT
WONDERIN' WHY I DON'T STOP ♪
919
00:48:03,966 --> 00:48:05,166
♪ WELL, I GOTTA
KEEP ROCKIN'... ♪
920
00:48:05,200 --> 00:48:07,033
MATTEA: I MEAN,
WE KIND OF ALL THINK OF IT
921
00:48:07,066 --> 00:48:10,166
AS A GOLDEN AGE
IN COUNTRY MUSIC,
922
00:48:10,200 --> 00:48:12,666
WHERE EVERYBODY WAS WELCOME.
923
00:48:12,700 --> 00:48:14,900
YOU HEARD
NANCI GRIFFITH ON THE RADIO.
924
00:48:14,933 --> 00:48:17,366
YOU HEARD STEVE EARLE'S
VOICE ON THE RADIO.
925
00:48:17,400 --> 00:48:18,966
YOU HEARD LYLE LOVETT.
926
00:48:20,566 --> 00:48:24,233
MY PICTURE OF IT IN MY MIND IS
THESE BIG DOORS OPENING UP,
927
00:48:24,266 --> 00:48:27,833
IT'S LIKE, THIS OPENING,
928
00:48:27,866 --> 00:48:31,400
WHERE INSTEAD OF BEING,
LIKE, THE GATEKEEPERS
929
00:48:31,433 --> 00:48:33,166
WHO WERE JUST LETTING
A FEW PEOPLE IN,
930
00:48:33,200 --> 00:48:34,700
SUDDENLY EVERYBODY WAS WELCOME.
931
00:48:34,733 --> 00:48:39,600
I MEAN, WE WERE COUNTRY MUSIC.
932
00:48:39,633 --> 00:48:42,000
WE DIDN'T KNOW
IT WAS GOING TO LAST
933
00:48:42,033 --> 00:48:43,866
FOR SUCH A SHORT AMOUNT OF TIME.
934
00:48:43,900 --> 00:48:45,033
["COME FROM THE HEART"
BY KATHY MATTEA PLAYS]
935
00:48:45,066 --> 00:48:47,566
MATTEA:
♪ WHEN I WAS A YOUNG GIRL
936
00:48:47,600 --> 00:48:49,833
♪ MY DADDY TOLD ME...
937
00:48:49,866 --> 00:48:52,166
NARRATOR: GROWING UP
IN WEST VIRGINIA,
938
00:48:52,200 --> 00:48:56,833
KATHY MATTEA ORIGINALLY
SANG FOLK MUSIC AND BLUEGRASS.
939
00:48:56,866 --> 00:49:00,066
HER TASTES BROADENED WHEN
SHE TOOK A JOB AS A TOUR GUIDE
940
00:49:00,100 --> 00:49:02,700
AT THE COUNTRY MUSIC
HALL OF FAME
941
00:49:02,733 --> 00:49:06,400
AND BROADENED AGAIN WHEN
SHE STARTED EARNING EXTRA MONEY
942
00:49:06,433 --> 00:49:09,533
SINGING ON DEMO TAPES
FOR SONGWRITERS
943
00:49:09,566 --> 00:49:11,666
PITCHING THEIR TUNES ON
MUSIC ROW.
944
00:49:11,700 --> 00:49:12,766
MATTEA:
♪ YOU GOT TO SING
945
00:49:12,800 --> 00:49:14,200
BACKUP SINGERS:
♪ SING, OOH...
946
00:49:14,233 --> 00:49:17,033
♪ LIKE YOU DON'T
NEED THE MONEY ♪
947
00:49:17,066 --> 00:49:18,433
♪ LOVE
948
00:49:18,466 --> 00:49:19,866
♪ LOVE, OOH...
949
00:49:19,900 --> 00:49:22,700
♪ LIKE YOU'LL NEVER
GET HURT... ♪
950
00:49:22,733 --> 00:49:25,166
NARRATOR: ALONG THE WAY,
MATTEA GOT A RECORDING CONTRACT
951
00:49:25,200 --> 00:49:26,666
AND ENDED UP
952
00:49:26,700 --> 00:49:30,966
WITH THE INDEPENDENT
PRODUCER ALLEN REYNOLDS.
953
00:49:31,000 --> 00:49:33,833
MAN: I ACTUALLY DECIDED
I WOULD SELL MY STUDIO,
954
00:49:33,866 --> 00:49:38,166
AND THEN BEFORE I MANAGED TO
DO THAT, I MET KATHY MATTEA.
955
00:49:38,200 --> 00:49:40,800
AND, UH, I REALLY LIKED HER.
956
00:49:40,833 --> 00:49:43,400
I LIKED HER MIND,
AND I LIKED HER TALENT.
957
00:49:43,433 --> 00:49:45,733
AND I GOT TO WORKING WITH HER,
958
00:49:45,766 --> 00:49:48,933
AND IT ENDED UP BEING
VERY NOURISHING FOR ME.
959
00:49:48,966 --> 00:49:51,633
HER ROOTS WERE MORE FOLK MUSIC,
960
00:49:51,666 --> 00:49:54,166
BUT SHE WANTED TO BE
A COUNTRY SINGER.
961
00:49:54,200 --> 00:49:55,966
SHE WAS VERY CLEAR ABOUT THAT.
962
00:49:56,000 --> 00:49:58,866
SHE DIDN'T WANT TO STRADDLE
THE FENCE AND BE COUNTRY-POP
963
00:49:58,900 --> 00:50:00,600
OR THAT KIND OF THING.
964
00:50:00,633 --> 00:50:04,633
SHE WANTED TO PRESENT HERSELF
AS A COUNTRY SINGER.
965
00:50:04,666 --> 00:50:07,166
ALLEN REYNOLDS WOULD LOOK AT ME
AND SAY, "IT'S THE SONG, PAL.
966
00:50:07,200 --> 00:50:08,733
"IT'S THE SONG.
967
00:50:08,766 --> 00:50:11,400
"IT'S NOT ALL THE BELLS
AND WHISTLES.
968
00:50:11,433 --> 00:50:15,466
"IT'S A GOOD SONG, SUNG
HONESTLY, AND WELL-FRAMED.
969
00:50:15,500 --> 00:50:16,933
"DON'T EVER FORGET IT.
970
00:50:16,966 --> 00:50:20,333
"WHEN THEY START TELLING YOU
IT'S ABOUT ALL THIS OTHER STUFF,
971
00:50:20,366 --> 00:50:22,166
YOU JUST COME BACK TO THAT,
YOU WILL ALWAYS BE OK."
972
00:50:22,200 --> 00:50:23,566
MATTEA: ♪ LIKE YOU'LL
NEVER GET HURT... ♪
973
00:50:23,600 --> 00:50:26,233
♪ YOU'VE GOT TO DANCE,
DANCE, DANCE ♪
974
00:50:26,266 --> 00:50:28,733
♪ LIKE NOBODY'S WATCHIN'
975
00:50:28,766 --> 00:50:32,066
♪ IT'S GOT TO COME
FROM THE HEART ♪
976
00:50:32,100 --> 00:50:33,666
♪ IF YOU WANT IT TO WORK
977
00:50:33,700 --> 00:50:35,400
♪ YOU'VE GOT TO SING...
978
00:50:35,433 --> 00:50:37,700
WOMAN: MY FIRST OBSESSION
WITH COUNTRY MUSIC
979
00:50:37,733 --> 00:50:38,900
WAS IN THE NINETIES.
980
00:50:38,933 --> 00:50:42,233
IT WAS REBA
AND MARY CHAPIN CARPENTER
981
00:50:42,266 --> 00:50:44,400
AND KATHY MATTEA.
982
00:50:44,433 --> 00:50:47,066
I LOVE STRONG WOMEN
TELLING STORIES.
983
00:50:47,100 --> 00:50:49,133
AND I THINK IN COUNTRY MUSIC,
984
00:50:49,166 --> 00:50:52,366
ESPECIALLY AT THAT TIME,
THAT'S WHERE YOU--
985
00:50:52,400 --> 00:50:54,866
IF YOU WANTED TO LOOK FOR,
LIKE, SUPER STRONG WOMEN,
986
00:50:54,900 --> 00:50:57,033
TELLING REALLY AMAZING STORIES,
YOU WENT TO COUNTRY.
987
00:50:57,066 --> 00:51:01,533
NARRATOR: EARLY IN HER CAREER,
MATTEA HAD PERFORMED REGULARLY
988
00:51:01,566 --> 00:51:04,333
AT A NEWLY OPENED
DINNER-AND-MUSIC VENUE
989
00:51:04,366 --> 00:51:07,000
CALLED THE BLUEBIRD CAFEÉ.
990
00:51:07,033 --> 00:51:09,666
ITS FOUNDER WAS AMY KURLAND,
991
00:51:09,700 --> 00:51:12,566
THE DAUGHTER OF ONE OF
THE LEADING SESSION MUSICIANS
992
00:51:12,600 --> 00:51:15,600
IN NASHVILLE'S
RECORDING STUDIOS.
993
00:51:15,633 --> 00:51:18,000
WOMAN: I HAVE TO CONFESS,
I OPENED THE BLUEBIRD CAFEÉ
994
00:51:18,033 --> 00:51:20,733
BECAUSE I WAS DATING
A GUITAR PLAYER.
995
00:51:20,766 --> 00:51:23,266
I WANTED TO BE
IN THE RESTAURANT BUSINESS,
996
00:51:23,300 --> 00:51:25,666
AND HE SAID, "IF YOU'LL PUT
IN A STAGE,
997
00:51:25,700 --> 00:51:28,133
ME AND ALL MY BUDDIES
WILL PLAY THERE FOR YOU."
998
00:51:28,166 --> 00:51:30,666
I WAS JUST TRYING TO KEEP
MY BOYFRIEND HAPPY. HA HA!
999
00:51:30,700 --> 00:51:35,233
NARRATOR: SOON, THE MUSIC BECAME
MORE IMPORTANT THAN THE MENU.
1000
00:51:35,266 --> 00:51:38,300
KURLAND HELD AUDITIONS
FOR ASPIRING SONGWRITERS,
1001
00:51:38,333 --> 00:51:41,366
THEN ADDED A SPECIAL
WRITERS IN THE ROUND
1002
00:51:41,400 --> 00:51:43,900
IN WHICH THEY SAT IN
THE MIDDLE OF THE AUDIENCE
1003
00:51:43,933 --> 00:51:48,900
RATHER THAN ON A STAGE, AND
EXCHANGED STORIES AND NEW SONGS.
1004
00:51:48,933 --> 00:51:50,166
AMY KURLAND: AROUND NASHVILLE,
1005
00:51:50,200 --> 00:51:53,066
SOMETIMES A SONGWRITER
WILL WRITE A GREAT SONG,
1006
00:51:53,100 --> 00:51:56,133
TAKE IT OUT TO THEIR PUBLISHER
OR RECORD LABEL AND BE TOLD,
1007
00:51:56,166 --> 00:51:58,533
"YEAH, GREAT SONG, BUT
THAT'S A BLUEBIRD SONG."
1008
00:51:58,566 --> 00:52:01,733
IN OTHER WORDS,
IT'S TOO LONG; IT'S TOO SERIOUS;
1009
00:52:01,766 --> 00:52:04,733
IT'S TOO MEANINGFUL;
IT'S NOT GONNA FLY,
1010
00:52:04,766 --> 00:52:07,100
SO TO SPEAK, ON THE RADIO.
1011
00:52:07,133 --> 00:52:08,900
["WHERE'VE YOU BEEN"
BY JON VEZNER PLAYS]
1012
00:52:08,933 --> 00:52:13,833
NARRATOR: IN 1988, A SONGWRITER
FROM MINNESOTA NAMED JON VEZNER
1013
00:52:13,866 --> 00:52:17,133
TOOK THE STAGE AT THE BLUEBIRD.
1014
00:52:17,166 --> 00:52:21,166
VEZNER:
♪ CLAIRE HAD ALL BUT GIVEN UP
1015
00:52:21,200 --> 00:52:26,300
♪ WHEN SHE AND EDWIN
FELL IN LOVE... ♪
1016
00:52:26,333 --> 00:52:28,166
NARRATOR: HE AND HIS FRIEND
DON HENRY
1017
00:52:28,200 --> 00:52:32,900
HAD WRITTEN A SONG INSPIRED
BY AN EVENT IN VEZNER'S LIFE,
1018
00:52:32,933 --> 00:52:37,766
AND HE DECIDED TO SING IT THAT
NIGHT IN FRONT OF AN AUDIENCE.
1019
00:52:37,800 --> 00:52:41,366
VEZNER: ♪ WHERE'VE YOU BEEN...
1020
00:52:41,400 --> 00:52:44,666
NARRATOR: KATHY MATTEA
WAS NOW MARRIED TO VEZNER,
1021
00:52:44,700 --> 00:52:48,300
AND SHE KNEW THE STORY
BEHIND THE SONG.
1022
00:52:48,333 --> 00:52:51,900
IT DESCRIBES HIS
GRANDPARENTS' LIFELONG LOVE,
1023
00:52:51,933 --> 00:52:54,733
FROM THEIR COURTSHIP
TO THEIR MARRIAGE
1024
00:52:54,766 --> 00:52:57,866
TO THEIR FINAL MOMENT TOGETHER.
1025
00:52:57,900 --> 00:52:59,900
HIS GRANDMOTHER
HAD BEEN HOSPITALIZED,
1026
00:52:59,933 --> 00:53:03,833
SUFFERING FROM DEMENTIA,
UNABLE TO RECOGNIZE VISITORS
1027
00:53:03,866 --> 00:53:07,833
AND NOT TALKING WITH ANYONE.
1028
00:53:07,866 --> 00:53:12,666
THEN JON WHEELED
HIS GRANDFATHER INTO HER ROOM.
1029
00:53:12,700 --> 00:53:14,000
MATTEA:
AND SHE JUST KEPT LOOKING AT HIM
1030
00:53:14,033 --> 00:53:15,233
AND LOOKING AT HIM.
1031
00:53:15,266 --> 00:53:17,833
AND SHE SAID,
"WHERE'VE YOU BEEN?"
1032
00:53:17,866 --> 00:53:23,233
AND THAT WAS THE LAST THING SHE
SAID. SHE DIED DAYS AFTER THAT.
1033
00:53:23,266 --> 00:53:29,700
AND HE WRITES THIS STORY
INTO A SONG.
1034
00:53:29,733 --> 00:53:34,133
VEZNER: ♪ HE ASKED HER
FOR HER HAND FOR LIFE ♪
1035
00:53:34,166 --> 00:53:38,966
♪ AND SHE BECAME
A SALESMAN'S WIFE... ♪
1036
00:53:39,000 --> 00:53:42,666
NARRATOR: RECORDING LABELS
AND ARTISTS THROUGHOUT NASHVILLE
1037
00:53:42,700 --> 00:53:45,566
TOLD VEZNER
WHAT A POWERFUL SONG IT WAS,
1038
00:53:45,600 --> 00:53:49,033
BUT EVERYONE HAD TURNED IT DOWN.
1039
00:53:49,066 --> 00:53:52,433
MATTEA: THAT NIGHT AT
THE BLUEBIRD WHEN HE PLAYED IT,
1040
00:53:52,466 --> 00:53:55,533
I GOT TO SEE, COLLECTIVELY,
1041
00:53:55,566 --> 00:54:00,100
THE UNIVERSAL POIGNANCY
OF THAT SONG.
1042
00:54:00,133 --> 00:54:03,633
VEZNER: ♪ "WHERE'VE YOU BEEN?"
1043
00:54:03,666 --> 00:54:07,733
MATTEA: YOU COULD HEAR
AUDIBLE SOBS ALL OVER THE ROOM.
1044
00:54:07,766 --> 00:54:09,766
PEOPLE WERE, LIKE, DUMBSTRUCK.
1045
00:54:09,800 --> 00:54:13,600
THEY DIDN'T EVEN CLAP
AT THE END OF IT.
1046
00:54:13,633 --> 00:54:16,800
YOU KNOW, THE POIGNANCY
OF BEING ABLE TO BE BROUGHT BACK
1047
00:54:16,833 --> 00:54:20,866
BY THE LOVE YOU HAVE
FOR SOMEONE,
1048
00:54:20,900 --> 00:54:23,600
IT REACHES DEEP IN US.
1049
00:54:23,633 --> 00:54:28,733
MATTEA: ♪ THEY'D NEVER SPENT
A NIGHT APART ♪
1050
00:54:28,766 --> 00:54:33,333
♪ FOR 60 YEARS,
SHE HEARD HIM SNORE... ♪
1051
00:54:33,366 --> 00:54:35,100
MATTEA, VOICE-OVER: AND I--
I JUST BECAME OBSESSED
1052
00:54:35,133 --> 00:54:37,933
WITH RECORDING IT BECAUSE I FELT
THAT IT NEEDED TO BE HEARD.
1053
00:54:37,966 --> 00:54:41,000
♪ IN THE HOSPITAL...
1054
00:54:41,033 --> 00:54:44,300
REYNOLDS: AND SHE KNEW
HOW SHE WANTED TO RECORD IT.
1055
00:54:44,333 --> 00:54:46,733
WE WEREN'T THINKING
ABOUT IT AS A SINGLE,
1056
00:54:46,766 --> 00:54:52,733
AND OF ALL THINGS, RADIO BEGAN
TO CALL FOR THAT AS A SINGLE,
1057
00:54:52,766 --> 00:54:56,166
AND, UH--AND IT WAS
A STRONG ENOUGH CALL
1058
00:54:56,200 --> 00:55:00,333
THAT THE RECORD LABEL SAID,
"LET'S TRY IT."
1059
00:55:00,366 --> 00:55:03,733
AND, UH, THEN IT WON
SONG OF THE YEAR.
1060
00:55:03,766 --> 00:55:05,166
IT GOT A GRAMMY.
1061
00:55:05,200 --> 00:55:07,900
IT GOT A NASHVILLE SONGWRITERS
ASSOCIATION AWARD.
1062
00:55:07,933 --> 00:55:12,166
IT WON ALL THESE AWARDS,
AND PEOPLE LOVED IT.
1063
00:55:12,200 --> 00:55:17,033
♪ CLAIRE SOON LOST
HER MEMORY ♪
1064
00:55:17,066 --> 00:55:23,666
♪ FORGOT THE NAMES
OF FAMILY ♪
1065
00:55:23,700 --> 00:55:29,266
♪ SHE NEVER SPOKE
A WORD AGAIN ♪
1066
00:55:29,300 --> 00:55:35,666
♪ THEN ONE DAY,
THEY WHEELED HIM IN ♪
1067
00:55:35,700 --> 00:55:41,966
♪ HE HELD HER HAND
AND STROKED HER HAIR ♪
1068
00:55:42,000 --> 00:55:48,133
♪ AND IN A FRAGILE VOICE,
SHE SAID ♪
1069
00:55:50,633 --> 00:55:54,966
♪ "WHERE'VE YOU BEEN?"
1070
00:55:56,633 --> 00:56:03,033
♪ "I'VE LOOKED FOR YOU
FOREVER AND A DAY" ♪
1071
00:56:03,066 --> 00:56:09,166
♪ "WHERE'VE YOU BEEN?"
1072
00:56:09,200 --> 00:56:15,033
♪ "I'M JUST NOT MYSELF
WHEN YOU'RE AWAY" ♪
1073
00:56:15,066 --> 00:56:21,500
♪ "NO, I'M JUST
NOT MYSELF WHEN YOU'RE AWAY" ♪
1074
00:56:24,700 --> 00:56:27,200
["LET ME LOVE YOU TONIGHT"
BY PURE PRAIRIE LEAGUE PLAYS]
1075
00:56:34,266 --> 00:56:38,500
♪ DARK CLOUDS ARE BLOWING
IN THE WIND ♪
1076
00:56:38,533 --> 00:56:42,600
♪ HE'S CROSSING
YOUR MIND AGAIN ♪
1077
00:56:42,633 --> 00:56:45,400
♪ YOU'VE GOT THAT
SAD, SAD FEELING ♪
1078
00:56:45,433 --> 00:56:47,566
♪ FROM A BROKEN HEART...
1079
00:56:47,600 --> 00:56:49,733
GILL, VOICE-OVER: I DON'T KNOW,
WHETHER YOU WRITE THE SONG
1080
00:56:49,766 --> 00:56:52,866
OR THE SONG WRITES YOU.
1081
00:56:52,900 --> 00:56:55,166
THE LANGUAGE HAS BEEN AROUND
FOR LONGER
1082
00:56:55,200 --> 00:56:57,266
THAN ANY OF US, YOU KNOW,
1083
00:56:57,300 --> 00:57:01,000
AND IT'S JUST OUR JOB TO PICK
PIECES OF LANGUAGE UP
1084
00:57:01,033 --> 00:57:03,966
THAT MOVE US
AND TIE THEM TOGETHER.
1085
00:57:04,000 --> 00:57:06,000
♪ LOVE YOU TONIGHT
1086
00:57:06,033 --> 00:57:10,466
♪ I'LL MAKE EVERYTHING
ALL RIGHT ♪
1087
00:57:10,500 --> 00:57:12,066
♪ WHEN YOU FIND OUT HOW...
1088
00:57:12,100 --> 00:57:15,300
NARRATOR: BY 1989, VINCE GILL
HAD BEEN IN NASHVILLE
1089
00:57:15,333 --> 00:57:19,133
FOR 7 YEARS, STRUGGLING
TO MAKE IT.
1090
00:57:19,166 --> 00:57:22,966
HE HAD STARTED OUT IN BLUEGRASS,
WHERE HIS HIGH TENOR VOICE
1091
00:57:23,000 --> 00:57:25,833
AND EXTRAORDINARY SKILL
ON STRINGED INSTRUMENTS
1092
00:57:25,866 --> 00:57:29,733
HAD MADE HIM A LOCAL STAR
IN HIS HOME STATE OF OKLAHOMA.
1093
00:57:29,766 --> 00:57:31,500
GILL: ♪ LOVE YOU TONIGHT
1094
00:57:31,533 --> 00:57:34,433
NARRATOR: IN LOS ANGELES, HE HAD
SWITCHED GEARS TO BECOME
1095
00:57:34,466 --> 00:57:37,100
LEAD SINGER
IN THE COUNTRY-POP GROUP
1096
00:57:37,133 --> 00:57:40,266
PURE PRAIRIE LEAGUE
BEFORE RODNEY CROWELL
1097
00:57:40,300 --> 00:57:44,900
PERSUADED HIM TO JOIN HIS BAND,
THE CHERRY BOMBS,
1098
00:57:44,933 --> 00:57:46,966
AND BACK UP ROSANNE CASH.
1099
00:57:47,000 --> 00:57:48,300
GILL: ♪ ...LOVE YOU TONIGHT...
1100
00:57:48,333 --> 00:57:50,466
NARRATOR: GILL SOON MOVED
TO NASHVILLE TO RECORD
1101
00:57:50,500 --> 00:57:53,600
HIS OWN ALBUMS,
BUT THEY DIDN'T SELL WELL ENOUGH
1102
00:57:53,633 --> 00:57:56,933
TO SUPPORT HIMSELF
AND HIS FAMILY.
1103
00:57:56,966 --> 00:58:00,366
HE SAT IN ON OTHER ARTISTS'
SESSIONS AS A GUITARIST
1104
00:58:00,400 --> 00:58:02,533
AND HARMONY VOCALIST,
1105
00:58:02,566 --> 00:58:04,766
KEPT WRITING SONGS
AND PLAYING THEM
1106
00:58:04,800 --> 00:58:06,833
AT THE BLUEBIRD CAFEÉ,
1107
00:58:06,866 --> 00:58:09,266
AND, BECAUSE
OF HIS EXTRAORDINARY TALENT
1108
00:58:09,300 --> 00:58:11,966
AND EASY-GOING NATURE,
BECAME WELL-LIKED
1109
00:58:12,000 --> 00:58:16,033
WITHIN MUSIC CITY'S
COUNTRY FAMILY.
1110
00:58:16,066 --> 00:58:20,533
GEORGE JONES AFFECTIONATELY
CALLED HIM "SWEET PEA."
1111
00:58:20,566 --> 00:58:22,166
[CROWD CHEERING]
1112
00:58:22,200 --> 00:58:24,100
IMPRESSED BY GILL'S
GUITAR PLAYING,
1113
00:58:24,133 --> 00:58:27,700
MARK KNOPFLER OF THE ROCK BAND
DIRE STRAITS ASKED HIM
1114
00:58:27,733 --> 00:58:32,033
TO LEAVE NASHVILLE AND JOIN
THE GROUP ON A WORLD TOUR.
1115
00:58:32,066 --> 00:58:35,033
IT WAS THE CHANCE OF A LIFETIME.
1116
00:58:35,066 --> 00:58:38,033
GILL: I WAS STRUGGLING TO PAY
THE HOUSE NOTE AT THE TIME,
1117
00:58:38,066 --> 00:58:42,466
AND THIS WOULD HAVE CURED
EVERYTHING FOR ME FINANCIALLY,
1118
00:58:42,500 --> 00:58:44,666
AND IT WOULD HAVE BEEN
A GREAT EXPERIENCE.
1119
00:58:44,700 --> 00:58:49,033
YOU KNOW, THE MUSICIAN IN ME
WANTED TO DO THAT SO BADLY
1120
00:58:49,066 --> 00:58:52,700
BECAUSE I LOVE THE WAY
HE PLAYS AND SINGS,
1121
00:58:52,733 --> 00:58:56,633
BUT I TOLD MYSELF "IF YOU'RE
NOT GOING TO BELIEVE IN YOU,
1122
00:58:56,666 --> 00:58:58,166
"WHO ELSE IS?
1123
00:58:58,200 --> 00:59:00,533
"AND I'M GOING TO
HAVE TO SAY NO.
1124
00:59:00,566 --> 00:59:02,033
"YOU KNOW, I DON'T WANT
TO SAY NO,
1125
00:59:02,066 --> 00:59:04,700
"BUT I HAVE TO TRY.
1126
00:59:04,733 --> 00:59:07,300
"I THINK I HAVE SOMETHING
TO OFFER
1127
00:59:07,333 --> 00:59:09,633
FOR THIS WORLD
OF COUNTRY MUSIC."
1128
00:59:09,666 --> 00:59:12,800
["WHEN I CALL YOUR NAME"
BY VINCE GILL PLAYS]
1129
00:59:12,833 --> 00:59:15,266
NARRATOR: WORKING
WITH PRODUCER TONY BROWN,
1130
00:59:15,300 --> 00:59:19,633
GILL CAME OUT WITH AN ALBUM THAT
INCLUDED A WESTERN SWING DUET
1131
00:59:19,666 --> 00:59:22,866
WITH FELLOW OKLAHOMAN
REBA McENTIRE
1132
00:59:22,900 --> 00:59:28,100
AND SONGS HE HAD CO-WRITTEN
WITH ROSANNE CASH AND GUY CLARK.
1133
00:59:28,133 --> 00:59:31,866
THE ALBUM'S TITLE SONG
"WHEN I CALL YOUR NAME"
1134
00:59:31,900 --> 00:59:35,266
WAS ONE GILL HAD CO-WRITTEN
WITH TIM DuBOIS.
1135
00:59:35,300 --> 00:59:38,366
GILL: ♪ LIFE WAS CHANGED
1136
00:59:38,400 --> 00:59:43,533
♪ 'CAUSE NOBODY ANSWERS
1137
00:59:43,566 --> 00:59:48,166
♪ WHEN I CALL YOUR NAME
1138
00:59:50,566 --> 00:59:55,666
♪ OH, THE LONELY SOUND...
1139
00:59:55,700 --> 00:59:57,933
GILL: AT THE END OF THE DAY,
ALL I'VE EVER WANTED
1140
00:59:57,966 --> 01:00:01,533
OUT OF MUSIC WAS TO BE MOVED.
1141
01:00:01,566 --> 01:00:04,666
ALL I WANTED SOMEONE TO DO
WAS PLAY SOMETHING
1142
01:00:04,700 --> 01:00:07,200
THAT JUST MAKES ME GO, "OH!"
1143
01:00:07,233 --> 01:00:11,933
I LOVE THE--I LOVE
THE EMOTION OF MUSIC.
1144
01:00:11,966 --> 01:00:15,633
YOU KNOW, THERE'S SOMETHING
THAT IT DOES TO MY DNA
1145
01:00:15,666 --> 01:00:18,766
THAT I CAN'T EXPLAIN.
1146
01:00:18,800 --> 01:00:22,366
NARRATOR: THAT SAME YEAR, GILL
BEGAN WORK ON ANOTHER SONG
1147
01:00:22,400 --> 01:00:26,066
THAT WAS EVEN MORE PERSONAL.
1148
01:00:26,100 --> 01:00:29,066
IN HIS EARLY BLUEGRASS DAYS,
GILL HAD PLAYED
1149
01:00:29,100 --> 01:00:31,166
IN A BAND WITH RICKY SKAGGS
1150
01:00:31,200 --> 01:00:34,233
AND HIS BEST FRIEND
KEITH WHITLEY.
1151
01:00:34,266 --> 01:00:36,833
WHITLEY WAS
A RISING COUNTRY STAR,
1152
01:00:36,866 --> 01:00:39,800
MARRIED TO THE SINGER
LORRIE MORGAN,
1153
01:00:39,833 --> 01:00:42,600
AND MANY PEOPLE BELIEVED
THE YOUNG COUPLE WOULD BE
1154
01:00:42,633 --> 01:00:45,700
THE NEXT GEORGE JONES
AND TAMMY WYNETTE.
1155
01:00:45,733 --> 01:00:47,600
WHITLEY:
♪ THE DEVIL, GOT DOWN...
1156
01:00:47,633 --> 01:00:49,866
NARRATOR:
BUT WHITLEY WAS AN ALCOHOLIC.
1157
01:00:49,900 --> 01:00:53,200
SOMETIMES, HIS WIFE TIED
THEIR LEGS TOGETHER AT NIGHT
1158
01:00:53,233 --> 01:00:56,533
SO HE COULDN'T SNEAK OFF
TO DRINK SOME MORE.
1159
01:00:56,566 --> 01:01:01,900
WHITLEY: ♪ I'M NO STRANGER
TO THE RAIN ♪
1160
01:01:01,933 --> 01:01:04,400
♪ I CAN SPOT BAD WEATHER
1161
01:01:04,433 --> 01:01:07,666
♪ AND I'M GOOD
AT FINDING SHELTER... ♪
1162
01:01:07,700 --> 01:01:12,700
NARRATOR: ON MAY 9, 1989, WHILE
SHE WAS PERFORMING ON THE ROAD,
1163
01:01:12,733 --> 01:01:16,600
HE WAS DISCOVERED AT HOME,
DEAD FROM ALCOHOL POISONING
1164
01:01:16,633 --> 01:01:20,033
AT AGE 33.
1165
01:01:20,066 --> 01:01:22,166
LIKE MANY OTHERS IN NASHVILLE,
1166
01:01:22,200 --> 01:01:25,400
VINCE GILL WAS DEVASTATED
BY THE NEWS.
1167
01:01:25,433 --> 01:01:28,933
["GO REST HIGH ON THAT MOUNTAIN"
BY VINCE GILL PLAYS]
1168
01:01:28,966 --> 01:01:32,866
IN HIS GRIEF,
HE BEGAN WRITING A SONG,
1169
01:01:32,900 --> 01:01:37,100
"GO REST HIGH ON THAT MOUNTAIN."
1170
01:01:37,133 --> 01:01:40,433
GILL: AND SO THAT FIRST VERSE
OF "GO REST HIGH"
1171
01:01:40,466 --> 01:01:45,500
WAS REALLY, UM, MORE CENTERED
AROUND KEITH, YOU KNOW?
1172
01:01:45,533 --> 01:01:47,600
JUST WITH THE WORDS OF...
1173
01:01:47,633 --> 01:01:48,833
[PLAYS GUITAR]
1174
01:01:48,866 --> 01:01:50,633
"I KNOW YOUR LIFE ON EARTH
WAS TROUBLED
1175
01:01:50,666 --> 01:01:52,533
"AND ONLY YOU CAN
KNOW THE PAIN,
1176
01:01:52,566 --> 01:01:54,533
"YOU WEREN'T AFRAID
TO FACE THE DEVIL
1177
01:01:54,566 --> 01:01:56,633
YOU WERE NO STRANGER
TO THE RAIN."
1178
01:02:00,133 --> 01:02:04,533
GILL: ♪ I KNOW YOUR LIFE
1179
01:02:04,566 --> 01:02:07,533
♪ ON EARTH WAS TROUBLED
1180
01:02:09,266 --> 01:02:13,200
♪ AND ONLY YOU
1181
01:02:13,233 --> 01:02:17,933
♪ COULD KNOW THE PAIN
1182
01:02:17,966 --> 01:02:24,800
♪ YOU WEREN'T AFRAID
TO FACE THE DEVIL ♪
1183
01:02:26,466 --> 01:02:34,166
♪ YOU WERE NO STRANGER
TO THE RAIN ♪
1184
01:02:34,200 --> 01:02:35,900
AND THEN I JUST--I PUT IT DOWN.
1185
01:02:35,933 --> 01:02:37,400
I DIDN'T FINISH IT,
1186
01:02:37,433 --> 01:02:42,600
AND, UM, I FELT A LITTLE UNEASY
ABOUT IT FOR SOME REASON.
1187
01:02:42,633 --> 01:02:44,000
I DON'T KNOW WHY,
1188
01:02:44,033 --> 01:02:46,633
AND I NEVER--I NEVER KEPT GOING,
1189
01:02:46,666 --> 01:02:49,933
AND THEN I LOST MY BROTHER,
LIKE, 4 YEARS LATER,
1190
01:02:49,966 --> 01:02:54,766
AND I REMEMBERED, YOU KNOW,
AND IT--ALL OF A SUDDEN,
1191
01:02:54,800 --> 01:02:57,933
I REMEMBERED THAT VERSE,
AND I SAID, "THAT WAS THE--
1192
01:02:57,966 --> 01:03:00,066
IT WAS--
MY BROTHER HAD THAT STORY."
1193
01:03:00,100 --> 01:03:02,700
YOU KNOW, MY BROTHER REALLY
STRUGGLED IN HIS LIFE,
1194
01:03:02,733 --> 01:03:05,200
AND I PULLED THAT OUT
AND THEN WENT ON
1195
01:03:05,233 --> 01:03:09,733
AND--AND FINISHED THAT SONG.
1196
01:03:09,766 --> 01:03:15,333
♪ GO REST HIGH
ON THAT MOUNTAIN ♪
1197
01:03:16,900 --> 01:03:22,466
♪ 'CAUSE, SON, YOUR WORK
ON EARTH IS DONE ♪
1198
01:03:24,300 --> 01:03:29,833
♪ GO TO HEAVEN A-SHOUTIN'
1199
01:03:31,266 --> 01:03:36,800
♪ LOVE FOR THE FATHER
AND THE SON ♪
1200
01:03:38,966 --> 01:03:46,000
♪ GO TO HEAVEN A-SHOUTIN'
1201
01:03:46,033 --> 01:03:51,433
♪ LOVE FOR THE FATHER
AND THE SON ♪
1202
01:03:54,800 --> 01:04:01,400
♪ GO REST HIGH
ON THAT MOUNTAIN ♪
1203
01:04:01,433 --> 01:04:04,766
NARRATOR: WITH RICKY SKAGGS
AND COUNTRY STAR PATTY LOVELESS
1204
01:04:04,800 --> 01:04:08,533
SINGING HARMONY,
GILL RELEASED THE SONG.
1205
01:04:08,566 --> 01:04:12,066
IN TIME, "GO REST HIGH
ON THAT MOUNTAIN" WOULD BECOME
1206
01:04:12,100 --> 01:04:15,133
A CLASSIC, JOINING
"AMAZING GRACE"
1207
01:04:15,166 --> 01:04:17,800
AND "WILL THE CIRCLE
BE UNBROKEN" AS A SONG
1208
01:04:17,833 --> 01:04:21,100
PEOPLE REQUEST
WHEN THEY'VE LOST A LOVED ONE.
1209
01:04:21,133 --> 01:04:28,466
♪ LOVE FOR THE FATHER
AND THE SON ♪
1210
01:04:31,166 --> 01:04:33,100
♪ OH, HOW WE CRIED
1211
01:04:35,933 --> 01:04:37,633
♪ THE DAY YOU LEFT US
1212
01:04:40,033 --> 01:04:43,800
♪ WE GATHERED ROUND
1213
01:04:43,833 --> 01:04:46,866
[VOICE BREAKING]
♪ YOUR GRAVE TO GRIEVE...
1214
01:04:46,900 --> 01:04:49,100
NARRATOR: NEARLY 25 YEARS
AFTER HE FIRST
1215
01:04:49,133 --> 01:04:52,466
STARTED WRITING IT, VINCE GILL
WOULD BE ASKED TO SING IT
1216
01:04:52,500 --> 01:04:55,466
AT GEORGE JONES'
MEMORIAL SERVICE
1217
01:04:55,500 --> 01:04:59,266
AT THE GRAND OLE OPRY HOUSE.
1218
01:04:59,300 --> 01:05:02,200
THAT DAY, OVERCOME BY EMOTION,
1219
01:05:02,233 --> 01:05:04,500
HE HAD TROUBLE
FINISHING IT AGAIN.
1220
01:05:04,533 --> 01:05:06,966
♪ YOUR SWEET VOICE SING
1221
01:05:07,000 --> 01:05:08,633
LOVELESS: ♪ OHH
1222
01:05:08,666 --> 01:05:16,966
BOTH: ♪ GO REST HIGH
ON THAT MOUNTAIN ♪
1223
01:05:17,000 --> 01:05:18,533
♪ SON, YOUR--
1224
01:05:18,566 --> 01:05:22,200
♪ WORK ON EARTH
1225
01:05:22,233 --> 01:05:23,700
♪ IS DONE
1226
01:05:23,733 --> 01:05:25,833
NARRATOR:
PATTY LOVELESS TRIED TO HELP.
1227
01:05:25,866 --> 01:05:27,133
BOTH: ♪ GO TO
1228
01:05:27,166 --> 01:05:34,266
♪ HEAVEN A-SHOUTIN'
1229
01:05:34,300 --> 01:05:36,566
♪ LORD ABOVE
1230
01:05:36,600 --> 01:05:38,600
♪ LOVE FOR THE FATHER
AND THE S-- ♪
1231
01:05:38,633 --> 01:05:40,566
♪ AND THE SON
1232
01:05:40,600 --> 01:05:45,700
♪
1233
01:05:45,700 --> 01:05:50,600
♪
1234
01:06:08,566 --> 01:06:11,466
NARRATOR: THE SAME NIGHT THAT
JON VEZNER FIRST SANG
1235
01:06:11,500 --> 01:06:14,433
"WHERE'VE YOU BEEN"
AT THE BLUEBIRD CAFEÉ,
1236
01:06:14,466 --> 01:06:18,333
ANOTHER SINGER/SONGWRITER
ALSO PERFORMED THERE.
1237
01:06:18,366 --> 01:06:22,266
HIS NAME WAS GARTH BROOKS.
1238
01:06:22,300 --> 01:06:24,566
HE HAD GROWN UP
IN YUKON, OKLAHOMA,
1239
01:06:24,600 --> 01:06:30,000
IN THE 1960s AND 1970s,
THE LAST OF 6 CHILDREN.
1240
01:06:30,033 --> 01:06:32,866
HE WAS EXPOSED TO EVERY KIND
OF MUSIC--
1241
01:06:32,900 --> 01:06:36,866
THE COUNTRY STARS LIKE
GEORGE JONES AND MERLE HAGGARD
1242
01:06:36,900 --> 01:06:38,700
HIS PARENTS LIKED
1243
01:06:38,733 --> 01:06:42,566
AND THE YOUNGER ARTISTS
HIS OLDER SIBLINGS LISTENED TO.
1244
01:06:42,600 --> 01:06:47,400
BROOKS: BANDS LIKE THE EAGLES,
GUYS LIKE JAMES TAYLOR.
1245
01:06:47,433 --> 01:06:50,266
HERE COMES EVERYTHING
FROM TOWNES VAN ZANDT
1246
01:06:50,300 --> 01:06:52,700
TO TOM RUSH,
1247
01:06:52,733 --> 01:06:57,500
EVERYTHING FROM JANIS JOPLIN
TO EMMYLOU HARRIS.
1248
01:06:57,533 --> 01:07:00,633
ALABAMA: ♪ LAUGH
WITH OLD HUCK FINN ♪
1249
01:07:00,666 --> 01:07:03,033
NARRATOR: BROOKS WENT
TO OKLAHOMA STATE UNIVERSITY
1250
01:07:03,066 --> 01:07:05,900
ON A TRACK SCHOLARSHIP,
WORKED AS A BOUNCER
1251
01:07:05,933 --> 01:07:09,933
AT A LOCAL NIGHT SPOT,
AND FORMED HIS OWN BAND,
1252
01:07:09,966 --> 01:07:13,733
LEARNING TO PLAY WHATEVER
THE COLLEGE AUDIENCE WANTED--
1253
01:07:13,766 --> 01:07:17,766
KISS, QUEEN, AND ALABAMA.
1254
01:07:17,800 --> 01:07:24,533
"I PLAYED MORE ALABAMA,"
HE SAID, "THAN ALABAMA."
1255
01:07:24,566 --> 01:07:29,000
IN 1987, HE MOVED TO NASHVILLE,
BEGAN MAKING THE ROUNDS
1256
01:07:29,033 --> 01:07:31,566
AT PUBLISHERS AND RECORD LABELS,
1257
01:07:31,600 --> 01:07:35,500
AND PLAYED AT THE BLUEBIRD
WHENEVER THEY WOULD LET HIM.
1258
01:07:35,533 --> 01:07:38,066
KURLAND: AND HE CAME IN
FOR THE AUDITION,
1259
01:07:38,100 --> 01:07:43,200
AND HE BLEW ME AND EVERYBODY
ELSE IN THE ROOM AWAY.
1260
01:07:43,233 --> 01:07:47,433
I DON'T REMEMBER THE NAME
OF THE SONG RIGHT OFFHAND,
1261
01:07:47,466 --> 01:07:51,766
BUT I DO REMEMBER THAT IT WAS
ABOUT LOVING A WOMAN,
1262
01:07:51,800 --> 01:07:54,100
PUTTING HER UP ON A PEDESTAL,
AND I'M THINKING,
1263
01:07:54,133 --> 01:07:57,100
"I WANT TO BE THAT WOMAN."
1264
01:07:57,133 --> 01:07:59,833
THEN HE CAME BACK AND PLAYED
THE WRITERS NIGHT
1265
01:07:59,866 --> 01:08:02,066
MAYBE A MONTH OR SO LATER,
1266
01:08:02,100 --> 01:08:06,133
AND, UH, AGAIN, THE AUDIENCE
WAS JUST BLOWN AWAY.
1267
01:08:06,166 --> 01:08:09,033
UM, I THINK IT'S THE FIRST TIME
I EVER SAW A STANDING OVATION
1268
01:08:09,066 --> 01:08:10,966
IN THE MIDDLE OF A SONG.
1269
01:08:11,000 --> 01:08:12,800
YOU KNOW, END
OF THE FIRST CHORUS,
1270
01:08:12,833 --> 01:08:15,900
AND PEOPLE WERE, LIKE,
GOING CRAZY.
1271
01:08:15,933 --> 01:08:18,933
NARRATOR: BUT BY THE SPRING
OF 1988, BROOKS
1272
01:08:18,966 --> 01:08:21,666
HAD BEEN REJECTED
BY EVERY RECORD LABEL
1273
01:08:21,700 --> 01:08:23,966
IN MUSIC CITY.
1274
01:08:24,000 --> 01:08:28,966
HE WAS BACK AT THE BLUEBIRD
ALONG WITH JON VEZNER.
1275
01:08:29,000 --> 01:08:31,033
BROOKS: ♪ SOMETIMES,
LATE AT NIGHT... ♪
1276
01:08:31,066 --> 01:08:33,766
NARRATOR: HE BEGAN SINGING
A SONG HE HAD CO-WRITTEN,
1277
01:08:33,800 --> 01:08:35,566
"IF TOMORROW NEVER COMES."
1278
01:08:35,600 --> 01:08:39,033
BROOKS: ♪ IF I NEVER WAKE UP
IN THE MORNING... ♪
1279
01:08:39,066 --> 01:08:40,366
NARRATOR: SITTING
IN THE AUDIENCE WAS
1280
01:08:40,400 --> 01:08:43,966
AN EXECUTIVE
FOR CAPITOL RECORDS.
1281
01:08:44,000 --> 01:08:46,433
ONLY A FEW DAYS EARLIER,
HE HAD PASSED
1282
01:08:46,466 --> 01:08:49,466
ON SIGNING GARTH BROOKS,
BUT SOMETHING
1283
01:08:49,500 --> 01:08:52,366
ABOUT THE PERFORMANCE
AT THE BLUEBIRD THAT NIGHT
1284
01:08:52,400 --> 01:08:54,333
CHANGED HIS MIND.
1285
01:08:54,366 --> 01:08:58,400
BROOKS: ♪ IF TOMORROW
NEVER COMES ♪
1286
01:09:01,000 --> 01:09:05,166
♪ WILL SHE KNOW HOW MUCH
I LOVED HER? ♪
1287
01:09:07,166 --> 01:09:10,366
♪ DID I TRY IN EVERY WAY
1288
01:09:10,400 --> 01:09:13,500
♪ TO SHOW HER
EVERY DAY ♪
1289
01:09:13,533 --> 01:09:16,366
♪ THAT SHE'S MY ONLY ONE?
1290
01:09:16,400 --> 01:09:18,900
♪ OH, OH...
1291
01:09:18,933 --> 01:09:21,733
NARRATOR: WITH A MODEST ADVANCE
OF $10,000,
1292
01:09:21,766 --> 01:09:24,200
BROOKS WAS ASSIGNED
TO A PRODUCER
1293
01:09:24,233 --> 01:09:27,033
TO CREATE HIS FIRST ALBUM.
1294
01:09:27,066 --> 01:09:29,333
IT WAS ALLEN REYNOLDS.
1295
01:09:29,366 --> 01:09:33,933
THEIR INITIAL SESSION GOT OFF
TO A ROCKY START.
1296
01:09:33,966 --> 01:09:37,066
REYNOLDS: SO THERE WAS A MOMENT
WHEN HE WAS DOING--
1297
01:09:37,100 --> 01:09:41,033
I DON'T REMEMBER WHAT SONG,
BUT IT DIDN'T SOUND--
1298
01:09:41,066 --> 01:09:42,766
IT SOUNDED LIKE SOMEONE ELSE.
1299
01:09:42,800 --> 01:09:44,900
IT DIDN'T SOUND LIKE
GARTH TO ME,
1300
01:09:44,933 --> 01:09:47,166
AND I QUESTIONED HIM
ABOUT IT,
1301
01:09:47,200 --> 01:09:48,966
AND HE SAID, "WELL, I'M TRYING
TO PUT A LITTLE OF THAT
1302
01:09:49,000 --> 01:09:51,000
GEORGE STRAIT THING IN THERE."
1303
01:09:51,033 --> 01:09:52,766
BROOKS: ♪ HOW MUCH I LOVED...
1304
01:09:52,800 --> 01:09:54,500
REYNOLDS: I JUST STOPPED
EVERYTHING RIGHT THEN
1305
01:09:54,533 --> 01:09:57,066
AND SAID, "LOOK. WE'VE ALREADY
GOT A GEORGE STRAIT.
1306
01:09:57,100 --> 01:09:58,566
"WE DON'T NEED ANOTHER ONE,
1307
01:09:58,600 --> 01:10:00,700
"AND WHAT I'M TRYING TO DO IS
GET THE BEST
1308
01:10:00,733 --> 01:10:04,133
GARTH BROOKS TO STEP FORWARD."
1309
01:10:04,166 --> 01:10:07,666
AND HE SAYS, "LOOK, MAN.
JUST BE YOURSELF."
1310
01:10:07,700 --> 01:10:10,366
HE SAYS, "THAT WAY,
IF YOU'RE YOURSELF,
1311
01:10:10,400 --> 01:10:12,600
"THERE'S NEVER BEEN
ANYBODY ELSE LIKE YOU,
1312
01:10:12,633 --> 01:10:14,600
"AND ANYBODY THAT COMES
AFTER YOU IS
1313
01:10:14,633 --> 01:10:16,733
"GOING TO BE CALLED A COPYCAT.
1314
01:10:16,766 --> 01:10:19,466
"SO JUST BE YOURSELF,
AND IF IT DOESN'T WORK,
1315
01:10:19,500 --> 01:10:21,100
"THEN YOU GO DOWN BEING TRUE
TO YOURSELF,
1316
01:10:21,133 --> 01:10:23,333
AND THAT'S WHO YOU HAVE TO LIVE
WITH THE REST OF YOUR LIFE."
1317
01:10:25,766 --> 01:10:27,966
NARRATOR: AT THE SAME TIME
GARTH BROOKS CAME
1318
01:10:28,000 --> 01:10:30,433
ONTO THE SCENE,
ANOTHER GENERATION
1319
01:10:30,466 --> 01:10:33,933
OF YOUNG ARTISTS WAS BEGINNING
TO MAKE ITS MARK.
1320
01:10:33,966 --> 01:10:37,600
ALAN JACKSON, A LANKY
SINGER/SONGWRITER FROM GEORGIA,
1321
01:10:37,633 --> 01:10:40,100
WHO HAD BEEN WORKING
IN THE MAILROOM AT TNN
1322
01:10:40,133 --> 01:10:44,866
FOR 4 YEARS, FINALLY GOT
TO RECORD HIS OWN ALBUM.
1323
01:10:44,900 --> 01:10:48,066
A FORMER CONSTRUCTION WORKER
AND PART-TIME BAR SINGER
1324
01:10:48,100 --> 01:10:50,600
FROM HOUSTON, CLINT BLACK
BROKE OUT
1325
01:10:50,633 --> 01:10:54,100
WITH HIS SONG, "KILLIN' TIME."
1326
01:10:54,133 --> 01:10:57,966
TRAVIS TRITT REJECTED
THE PREVAILING COWBOY IMAGE
1327
01:10:58,000 --> 01:10:59,933
AND EMBRACED A HILLBILLY LOOK
1328
01:10:59,966 --> 01:11:02,933
AND A HONKY TONK SOUND
WITH SONGS LIKE
1329
01:11:02,966 --> 01:11:07,033
"HERE'S A QUARTER
(CALL SOMEONE WHO CARES)."
1330
01:11:07,066 --> 01:11:10,366
HE AND HIS FRIEND MARTY STUART
WENT ON WHAT THEY CALLED
1331
01:11:10,400 --> 01:11:13,800
A "NO HATS" TOUR
THAT WAS A HUGE SUCCESS.
1332
01:11:13,833 --> 01:11:15,566
BROOKS:
♪ I WAS THE LAST ONE...
1333
01:11:15,600 --> 01:11:18,866
NARRATOR: BUT GARTH BROOKS
WOULD SURPASS THEM ALL.
1334
01:11:18,900 --> 01:11:20,833
♪ I DIDN'T MEAN...
1335
01:11:20,866 --> 01:11:22,500
NARRATOR: OUT ON THE ROAD,
HE COULD HOLD
1336
01:11:22,533 --> 01:11:27,333
AN AUDIENCE SPELLBOUND
WITH HIS SOULFUL BALLADS,
1337
01:11:27,366 --> 01:11:33,200
BUT HE ABSOLUTELY TORE THEM UP
WITH HIS ROCKING SONGS.
1338
01:11:33,233 --> 01:11:36,666
HE APPLIED WHAT HE HAD LEARNED
PLAYING IN COLLEGE BARS
1339
01:11:36,700 --> 01:11:40,933
AND IN WATCHING THE ROCK BANDS
HE HAD IDOLIZED GROWING UP.
1340
01:11:40,966 --> 01:11:42,366
♪ THE WHISKEY DROWNS
1341
01:11:42,400 --> 01:11:47,233
♪ AND THE BEER CHASES
MY BLUES AWAY ♪
1342
01:11:47,266 --> 01:11:48,600
TRISHA YEARWOOD: HE DIDN'T WALK
OUT THERE AND STAND
1343
01:11:48,633 --> 01:11:50,933
IN ONE SPOT.
1344
01:11:50,966 --> 01:11:52,500
BROOKS: ♪ NOT BIG
ON SOCIAL GRACES... ♪
1345
01:11:52,533 --> 01:11:54,700
THERE'S NOTHING POP
ABOUT GARTH BROOKS.
1346
01:11:54,733 --> 01:11:57,633
HE'S JUST--HIS SHOW IS POP,
1347
01:11:57,666 --> 01:12:00,266
BUT HIS MUSIC IS "COUNTRIER"
THAN I'LL EVER BE.
1348
01:12:00,300 --> 01:12:03,266
BROOKS: ♪ IN LOW PLACES
1349
01:12:03,300 --> 01:12:05,633
EVERYBODY!
1350
01:12:05,666 --> 01:12:08,133
♪ I GOT FRIENDS IN LOW
1351
01:12:08,166 --> 01:12:09,666
AUDIENCE: ♪ PLACES
1352
01:12:09,700 --> 01:12:12,333
♪ WHERE THE WHISKEY DROWNS
AND THE BEER... ♪
1353
01:12:12,366 --> 01:12:14,466
RUCKER: "FRIENDS IN LOW PLACES,"
1354
01:12:14,500 --> 01:12:16,500
THAT'S WHAT KIND OF SONG
YOU WANT TO WRITE.
1355
01:12:16,533 --> 01:12:19,600
YOU WANT TO WRITE
A BIG DRINKING SONG LIKE THAT,
1356
01:12:19,633 --> 01:12:22,966
WHERE--WHERE EVERYBODY'S
IN THE BAR SINGING IT
1357
01:12:23,000 --> 01:12:24,466
AT THE SAME TIME.
1358
01:12:24,500 --> 01:12:25,766
EVEN PEOPLE THAT DON'T KNOW IT,
BY THE SECOND CHORUS,
1359
01:12:25,800 --> 01:12:27,000
THEY KNOW IT.
1360
01:12:27,033 --> 01:12:28,466
AUDIENCE: ♪ LOW PLACES
1361
01:12:28,500 --> 01:12:31,900
BROOKS: YEEEAAAAH!
1362
01:12:31,933 --> 01:12:35,400
♪ I GOT FRIENDS
IN LOW PLACES ♪
1363
01:12:35,433 --> 01:12:39,433
♪ THINK I'LL SLIP ON DOWN
TO THE OASIS ♪
1364
01:12:39,466 --> 01:12:42,900
♪ OH, I GOT FRIENDS
1365
01:12:42,933 --> 01:12:45,800
♪ IN LOW PLACES
1366
01:12:47,733 --> 01:12:51,500
♪ OH, I'VE GOT FRIENDS
1367
01:12:51,533 --> 01:12:54,666
♪ IN LOW PLACES
1368
01:12:54,700 --> 01:12:57,866
[CHEERING AND APPLAUSE]
1369
01:13:01,400 --> 01:13:04,033
NARRATOR: PROPELLED
BY THE ASTONISHING POPULARITY
1370
01:13:04,066 --> 01:13:07,766
OF "FRIENDS IN LOW PLACES,"
BROOKS' SECOND ALBUM
1371
01:13:07,800 --> 01:13:11,766
SOLD 700,000 COPIES
IN JUST 10 DAYS
1372
01:13:11,800 --> 01:13:15,600
AND REACHED NUMBER 4
ON THE POP CHARTS.
1373
01:13:15,633 --> 01:13:18,366
IT WOULD SOON BECOME
THE FIRST COUNTRY ALBUM
1374
01:13:18,400 --> 01:13:22,033
TO HIT 5 MILLION IN SALES.
1375
01:13:22,066 --> 01:13:26,633
HIS THIRD ALBUM WOULD DEBUT
AT NUMBER ONE ON THE POP CHARTS,
1376
01:13:26,666 --> 01:13:29,166
ANOTHER FIRST
FOR A COUNTRY ARTIST,
1377
01:13:29,200 --> 01:13:33,000
AND SELL MORE THAN
8 MILLION COPIES.
1378
01:13:33,033 --> 01:13:35,900
REYNOLDS: AND HE DID THIS
WITHOUT EVER ONCE ALLOWING
1379
01:13:35,933 --> 01:13:38,366
HIS RECORD LABEL TO PROMOTE
HIS RECORDS
1380
01:13:38,400 --> 01:13:40,800
ACROSS INTO OTHER MARKETS,
1381
01:13:40,833 --> 01:13:43,633
LIKE THE POP MARKET
AND ALL THAT.
1382
01:13:43,666 --> 01:13:46,900
HE FELT LIKE HIS LOYALTY
WAS TO COUNTRY RADIO,
1383
01:13:46,933 --> 01:13:50,933
AND HIS ATTITUDE WAS,
"LET THEM COME TO US,"
1384
01:13:50,966 --> 01:13:52,166
YOU KNOW?
1385
01:13:52,200 --> 01:13:54,766
"LET'S BE SO GOOD AT WHAT WE DO
1386
01:13:54,800 --> 01:13:57,866
THAT THEY COME TO US."
1387
01:13:57,900 --> 01:13:59,433
MATTEA: AND ALL OF A SUDDEN,
IT WAS LIKE
1388
01:13:59,466 --> 01:14:04,033
THIS GUY IS SELLING OUT
THE STADIUMS AND DOING SPECIALS,
1389
01:14:04,066 --> 01:14:07,666
LIKE, BLOWING THE TOPS OFF
RECORD SALES ACROSS THE BOARD,
1390
01:14:07,700 --> 01:14:10,700
AND HE'S ONE OF US.
1391
01:14:10,733 --> 01:14:14,400
NARRATOR: IN 1993, BROOKS
ANNOUNCED THAT HE WOULD BE DOING
1392
01:14:14,433 --> 01:14:17,266
A CONCERT AT TEXAS STADIUM.
1393
01:14:17,300 --> 01:14:24,133
ALL 65,675 SEATS WERE SOLD OUT
WITHIN 92 MINUTES...
1394
01:14:24,166 --> 01:14:25,866
HELLO, TEXAS!
1395
01:14:25,900 --> 01:14:30,266
BEATING A PREVIOUS RECORD
HELD BY PAUL McCARTNEY.
1396
01:14:30,300 --> 01:14:34,500
A SECOND SHOW WAS ADDED
AND SOLD OUT IN THE SAME TIME.
1397
01:14:34,533 --> 01:14:36,866
SO DID A THIRD.
1398
01:14:36,900 --> 01:14:39,733
ANGERED WHEN HE HEARD
ABOUT THE EXTRAVAGANT PRICES
1399
01:14:39,766 --> 01:14:43,033
BEING CHARGED BY SCALPERS,
BROOKS ANNOUNCED
1400
01:14:43,066 --> 01:14:47,466
A FOURTH CONCERT
WITH FREE TICKETS.
1401
01:14:47,500 --> 01:14:49,600
THE 4 CONCERTS WERE LIKE NOTHING
1402
01:14:49,633 --> 01:14:52,800
ANY COUNTRY STAR
HAD EVER DELIVERED.
1403
01:14:52,833 --> 01:14:54,800
BROOKS: LET'S GET ON IT
AND RAISE SOME HELL!
1404
01:14:54,833 --> 01:14:56,733
NARRATOR: IN FRONT
OF THE MASSIVE CROWD,
1405
01:14:56,766 --> 01:15:00,033
PREPARING FOR THE BIGGEST STUNT
HE HAD EVER ATTEMPTED,
1406
01:15:00,066 --> 01:15:03,300
HE REMEMBERED THE FIRST
QUEEN CONCERT HE ATTENDED
1407
01:15:03,333 --> 01:15:05,633
WHEN HE WAS 17.
1408
01:15:05,666 --> 01:15:09,300
BROOKS: ♪ LIFE IS NOT TRIED,
IT IS MERELY SURVIVED ♪
1409
01:15:09,333 --> 01:15:12,166
BROOKS, VOICE-OVER:
I'M STANDING ON MY CHAIR,
1410
01:15:12,200 --> 01:15:14,900
AND ALL I WANT THAT WHOLE NIGHT
IS FOR FREDDIE MERCURY
1411
01:15:14,933 --> 01:15:18,133
TO LOOK AT ME FOR 3 SECONDS,
SO I CAN GO...
1412
01:15:18,166 --> 01:15:20,366
[WHISPERS]
"THANK YOU, DUDE. THANK YOU.
1413
01:15:20,400 --> 01:15:22,300
"IT'S WHAT I LISTEN TO
BEFORE I PLAY FOOTBALL.
1414
01:15:22,333 --> 01:15:24,066
"IT'S WHAT I LISTEN TO
WHEN I'M DOWN.
1415
01:15:24,100 --> 01:15:26,766
THANK YOU.
THANK YOU."
1416
01:15:26,800 --> 01:15:29,766
AND IT WAS FUNNY.
1417
01:15:29,800 --> 01:15:32,066
YOU START TO GET TO DO THIS
FOR A LIVING,
1418
01:15:32,100 --> 01:15:34,833
YOU'RE THE GUY THAT GETS
TO DO IT FOR A LIVING,
1419
01:15:34,866 --> 01:15:37,400
AND NOW ALL I DO IS SCAN
THE AUDIENCE EVERY NIGHT
1420
01:15:37,433 --> 01:15:41,466
FOR THAT 3 SECONDS
TO GO, "THANK YOU.
1421
01:15:41,500 --> 01:15:44,600
"THANK YOU.
COOLEST GIG EVER.
1422
01:15:44,633 --> 01:15:46,066
THANK YOU."
1423
01:15:46,100 --> 01:15:49,433
PRETTY COOL.
1424
01:15:49,466 --> 01:15:52,000
BROOKS: YEAH!
1425
01:15:52,033 --> 01:15:54,566
[CHEERING AND APPLAUSE]
1426
01:15:56,600 --> 01:16:00,000
NARRATOR: STARTING IN 1991,
"BILLBOARD" MAGAZINE
1427
01:16:00,033 --> 01:16:04,633
HAD INSTITUTED A NEW WAY
OF GAUGING A RECORD'S SUCCESS.
1428
01:16:04,666 --> 01:16:06,600
INSTEAD OF TAKING
A TELEPHONE POLL
1429
01:16:06,633 --> 01:16:10,933
OF RECORD STORE CLERKS,
IT NOW RELIED ON SOUNDSCAN,
1430
01:16:10,966 --> 01:16:16,133
WHICH USED BARCODES TO KEEP
TRACK OF ACTUAL SALES.
1431
01:16:16,166 --> 01:16:19,100
WHAT THE NEW SYSTEM PROVED WAS
THAT GARTH BROOKS
1432
01:16:19,133 --> 01:16:22,433
AND HIS CONTEMPORARIES WERE
DOING EVEN BETTER
1433
01:16:22,466 --> 01:16:25,066
THAN ANYONE HAD IMAGINED.
1434
01:16:25,100 --> 01:16:27,233
YEARWOOD: IF YOU WERE MAKING
COUNTRY MUSIC RECORDS
1435
01:16:27,266 --> 01:16:29,333
IN THE NINETIES,
YOU WERE SELLING RECORDS,
1436
01:16:29,366 --> 01:16:31,666
AND IT WAS LARGELY DUE TO GARTH.
1437
01:16:31,700 --> 01:16:36,933
NARRATOR: BETWEEN 1989 AND 1991,
SALES OF COUNTRY MUSIC
1438
01:16:36,966 --> 01:16:43,400
HAD DOUBLED FROM $460 MILLION
TO NEARLY $1 BILLION.
1439
01:16:43,433 --> 01:16:49,766
THEN BETWEEN 1991 AND 1994,
THEY DOUBLED AGAIN.
1440
01:16:49,800 --> 01:16:55,700
IN 1995 ALONE, 27 COUNTRY ALBUMS
EACH SOLD MORE THAN
1441
01:16:55,733 --> 01:16:58,933
A MILLION COPIES
AND WENT PLATINUM.
1442
01:16:58,966 --> 01:17:02,233
RADIO STATIONS PLAYING
COUNTRY MUSIC ATTRACTED
1443
01:17:02,266 --> 01:17:06,166
SOME 70 MILLION LISTENERS,
THE BIGGEST FORMAT
1444
01:17:06,200 --> 01:17:08,500
ON THE AIRWAVES.
1445
01:17:08,533 --> 01:17:10,966
FROM CANADA,
SHANIA TWAIN BURST
1446
01:17:11,000 --> 01:17:13,766
ONTO THE SCENE
WITH A SASSY PERSONA
1447
01:17:13,800 --> 01:17:16,933
AND PERFORMANCE STYLE THAT
FILLED BIG ARENAS
1448
01:17:16,966 --> 01:17:19,933
AND SOLD RECORDS
IN THE TENS OF MILLIONS
1449
01:17:19,966 --> 01:17:22,833
AS SHE EDGED HER VERSION
OF COUNTRY MUSIC
1450
01:17:22,866 --> 01:17:25,833
FURTHER TOWARD POP AND ROCK.
1451
01:17:25,866 --> 01:17:29,233
MARY CHAPIN CARPENTER
FROM PRINCETON, NEW JERSEY,
1452
01:17:29,266 --> 01:17:35,233
WAS MORE FOLK-ORIENTED BUT STILL
HAD 5 PLATINUM ALBUMS.
1453
01:17:35,266 --> 01:17:38,300
YEARWOOD: ♪ KATIE'S SITTING
ON HER OLD FRONT PORCH ♪
1454
01:17:38,333 --> 01:17:42,700
NARRATOR: WHEN TRISHA YEARWOOD
ARRIVED IN NASHVILLE IN 1985,
1455
01:17:42,733 --> 01:17:45,500
IT WAS THE FARTHEST
SHE HAD EVER BEEN FROM HOME,
1456
01:17:45,533 --> 01:17:48,266
THE TINY TOWN
OF MONTICELLO, GEORGIA,
1457
01:17:48,300 --> 01:17:50,666
ONLY 300 MILES AWAY.
1458
01:17:50,700 --> 01:17:53,733
YEARWOOD: ♪ OVER YONDER
COMING UP THE ROAD... ♪
1459
01:17:53,766 --> 01:17:56,233
YOU KNOW, I HAD GROWN UP
ON THE CLASSIC WOMEN OF COUNTRY.
1460
01:17:56,266 --> 01:17:57,933
I LISTENED TO PATSY,
I LISTENED TO LORETTA,
1461
01:17:57,966 --> 01:18:00,266
I LISTENED TO TAMMY WYNETTE.
1462
01:18:00,300 --> 01:18:03,233
WHEN I HEARD REBA,
IT WAS KIND OF
1463
01:18:03,266 --> 01:18:05,166
"THIS IS THE NEXT STEP FOR ME."
1464
01:18:05,200 --> 01:18:07,533
IF LORETTA AND TAMMY OPENED
THE DOOR FOR REBA,
1465
01:18:07,566 --> 01:18:09,566
REBA OPENED THE DOOR FOR ME.
1466
01:18:09,600 --> 01:18:10,733
YEARWOOD: ♪ "WHEN IT COMES
TO BRAINS"... ♪
1467
01:18:10,766 --> 01:18:12,933
NARRATOR: BEFORE HIS CAREER
TOOK OFF,
1468
01:18:12,966 --> 01:18:15,933
GARTH BROOKS AND YEARWOOD HAD
WORKED TOGETHER,
1469
01:18:15,966 --> 01:18:20,933
SINGING ON DEMO TAPES
FOR $10 TO $20 A SONG.
1470
01:18:20,966 --> 01:18:24,066
NOW BROOKS INVITED HER TO BE
THE OPENING ACT
1471
01:18:24,100 --> 01:18:28,633
ON ONE OF HIS TOURS
AS SHE PROMOTED HER FIRST ALBUM.
1472
01:18:28,666 --> 01:18:32,200
ITS SIGNATURE SONG,
"SHE'S IN LOVE WITH THE BOY,"
1473
01:18:32,233 --> 01:18:35,600
HIT NUMBER ONE
ON THE COUNTRY CHARTS.
1474
01:18:35,633 --> 01:18:39,233
YEARWOOD: ♪ HER DADDY SAYS,
"HE AIN'T WORTH A LICK" ♪
1475
01:18:39,266 --> 01:18:40,600
♪ "WHEN IT COMES TO BRAINS"
1476
01:18:40,633 --> 01:18:43,033
♪ "HE GOT THE SHORT END
OF THE STICK" ♪
1477
01:18:43,066 --> 01:18:46,666
♪ BUT KATIE'S YOUNG,
AND, MAN, SHE JUST DON'T CARE ♪
1478
01:18:46,700 --> 01:18:49,666
♪ SHE'D FOLLOW
TOMMY ANYWHERE ♪
1479
01:18:49,700 --> 01:18:53,666
♪ SHE'S IN LOVE
WITH THE BOY ♪
1480
01:18:53,700 --> 01:18:57,000
♪ WHAT'S MEANT TO BE
WILL ALWAYS FIND A WAY ♪
1481
01:18:57,033 --> 01:19:00,233
♪ SHE'S GONNA MARRY
THAT BOY SOMEDAY ♪
1482
01:19:00,266 --> 01:19:05,166
NARRATOR: 14 YEARS LATER,
YEARWOOD AND BROOKS WOULD MARRY.
1483
01:19:05,200 --> 01:19:08,866
[CHEERING AND APPLAUSE]
1484
01:19:08,900 --> 01:19:12,000
FOR THE RECORD LABELS,
THE EXPECTATIONS THAT DEFINED
1485
01:19:12,033 --> 01:19:15,766
SUCCESS IN COUNTRY MUSIC
HAD BALLOONED,
1486
01:19:15,800 --> 01:19:20,400
BUT THE EXPECTATIONS
OF COUNTRY FANS WERE UNCHANGED--
1487
01:19:20,433 --> 01:19:23,733
"DON'T GET ABOVE YOUR RAISIN'."
1488
01:19:23,766 --> 01:19:26,566
FOR MANY YEARS,
THE COUNTRY MUSIC ASSOCIATION
1489
01:19:26,600 --> 01:19:30,066
HAD HOSTED FAN FAIR,
A CHANCE FOR PEOPLE TO HEAR
1490
01:19:30,100 --> 01:19:34,366
SOME LIVE MUSIC BUT MOST OF ALL
TO MEET THEIR FAVORITE STARS
1491
01:19:34,400 --> 01:19:36,033
AND GET THEIR AUTOGRAPH.
1492
01:19:36,066 --> 01:19:37,466
BROOKS: ♪ AROUND THE BEND,
SLOWING DOWN, SHE'S JUMPING... ♪
1493
01:19:37,500 --> 01:19:40,266
NARRATOR: AT THE PEAK
OF HIS UNPRECEDENTED POPULARITY,
1494
01:19:40,300 --> 01:19:46,033
GARTH BROOKS SHOWED UP,
NOT TO PLAY BUT TO SIGN.
1495
01:19:46,066 --> 01:19:47,400
YEARWOOD: HE WENT
OUT THERE UNANNOUNCED.
1496
01:19:47,433 --> 01:19:48,866
HE DROVE UP IN HIS TRUCK.
1497
01:19:48,900 --> 01:19:51,133
HE GOT OUT OF HIS TRUCK,
AND HE WENT AND STOOD
1498
01:19:51,166 --> 01:19:53,533
UNDER, YOU KNOW,
A TENT SOMEWHERE,
1499
01:19:53,566 --> 01:19:57,433
NOT A GARTH BROOKS BOOTH,
NOT--AND JUST STOOD THERE.
1500
01:19:57,466 --> 01:19:59,000
MATTEA: AND USUALLY,
YOU HAVE A WINDOW,
1501
01:19:59,033 --> 01:20:00,933
AND EVERYONE KNOWS WHEN IT IS,
1502
01:20:00,966 --> 01:20:03,200
AND SO THAT PEOPLE
DON'T GET DISAPPOINTED,
1503
01:20:03,233 --> 01:20:04,633
YOU HAVE SOMEONE STAND
AT THE END OF THE LINE
1504
01:20:04,666 --> 01:20:06,300
AND SAY, "LOOK. WHEN--THIS IS
THE LAST PERSON.
1505
01:20:06,333 --> 01:20:08,333
WE'RE NOT GOING TO
TAKE ANY MORE,"
1506
01:20:08,366 --> 01:20:10,233
BUT GARTH JUST DIDN'T STOP.
1507
01:20:10,266 --> 01:20:14,700
HE JUST DECIDED HE WAS GOING TO
SIGN UNTIL EVERYBODY WAS DONE.
1508
01:20:14,733 --> 01:20:16,666
YEARWOOD: AND HE STOOD THERE.
1509
01:20:16,700 --> 01:20:19,833
HE DIDN'T LEAVE THAT SPOT FOR--
IT WAS OVER 20 HOURS.
1510
01:20:19,866 --> 01:20:22,400
BROOKS: ♪ AIN'T GOIN' DOWN
'TIL THE SUN COMES UP ♪
1511
01:20:22,433 --> 01:20:25,300
♪ AIN'T GIVIN' IN
'TIL THEY GET ENOUGH ♪
1512
01:20:25,333 --> 01:20:30,600
♪ GOIN' ROUND THE WORLD
IN A PICKUP TRUCK ♪
1513
01:20:30,633 --> 01:20:34,933
♪ AIN'T GOIN' DOWN
'TIL THE SUN COMES UP ♪
1514
01:20:34,966 --> 01:20:37,200
DIERKS BENTLEY:
MINNIE PEARL, YOU KNOW,
1515
01:20:37,233 --> 01:20:38,800
"LOVE THEM,
AND THEY'LL LOVE YOU BACK."
1516
01:20:38,833 --> 01:20:41,566
THAT WAS ALWAYS HER ADVICE
ABOUT COUNTRY MUSIC FANS.
1517
01:20:41,600 --> 01:20:43,033
YOU LOVE YOUR FANS
IN COUNTRY MUSIC,
1518
01:20:43,066 --> 01:20:44,500
AND THEY WILL LOVE YOU BACK.
1519
01:20:44,533 --> 01:20:46,166
THEY'RE NOT JUST INVESTING
IN A SONG.
1520
01:20:46,200 --> 01:20:48,066
THEY'RE INVESTING
IN YOU AS A PERSON.
1521
01:20:48,100 --> 01:20:50,933
IT ALL GOES BACK TO THE SONGS.
1522
01:20:50,966 --> 01:20:53,733
THEY GET WOVEN INTO THE FABRIC
OF PEOPLE'S LIVES,
1523
01:20:53,766 --> 01:20:56,533
AND THEY ASSOCIATE YOU
WITH THAT SONG.
1524
01:20:56,566 --> 01:20:58,100
YOU REALLY FEEL LIKE
YOU KNOW THEM,
1525
01:20:58,133 --> 01:21:00,500
EVEN IF YOU'VE NEVER MET
THEM BEFORE,
1526
01:21:00,533 --> 01:21:02,700
MATTEA: I DON'T REALLY
KNOW WHY IT--
1527
01:21:02,733 --> 01:21:07,400
THIS STARTED,
BUT IT'S A BEAUTIFUL THING.
1528
01:21:07,433 --> 01:21:10,800
PART OF THE JOURNEY
OF BEING A COUNTRY MUSIC STAR,
1529
01:21:10,833 --> 01:21:12,666
YOU GO TALK TO YOUR FANS.
1530
01:21:12,700 --> 01:21:14,533
YOU SIGN AUTOGRAPHS.
1531
01:21:14,566 --> 01:21:16,700
YOU LOOK THEM IN THE EYE.
1532
01:21:16,733 --> 01:21:19,600
WHEN YOU LOOK THOSE PEOPLE
IN THE EYE,
1533
01:21:19,633 --> 01:21:21,700
THEY ARE YOU,
AND YOU ARE THEM.
1534
01:21:21,733 --> 01:21:24,400
THERE IS NO BEING ABOVE.
1535
01:21:24,433 --> 01:21:26,000
PEOPLE COME THROUGH,
AND THEY'RE LIKE,
1536
01:21:26,033 --> 01:21:27,766
"THIS SONG CHANGED MY LIFE."
1537
01:21:27,800 --> 01:21:29,733
"I HAD THIS SONG SUNG
IN MY WEDDING."
1538
01:21:29,766 --> 01:21:33,233
"MY GRANDMOTHER DIED
THE SAME WAY."
1539
01:21:33,266 --> 01:21:35,733
THERE WAS A MOMENT
WHERE I WAS SIGNING AUTOGRAPHS,
1540
01:21:35,766 --> 01:21:37,766
AND THIS WOMAN JUST WALKED UP
TO ME IN THE LINE,
1541
01:21:37,800 --> 01:21:40,633
AND SHE JUST LOOKED AT ME,
AND I LOOKED AT HER,
1542
01:21:40,666 --> 01:21:43,100
AND SHE DIDN'T SAY A WORD,
AND SHE JUST STARTED CRYING,
1543
01:21:43,133 --> 01:21:44,466
TEARS JUST CAME DOWN HER FACE,
1544
01:21:44,500 --> 01:21:47,700
AND...AND I JUST LOOKED AT HER,
1545
01:21:47,733 --> 01:21:50,200
AND SHE LOOKED AT ME,
AND SHE JUST WENT...
1546
01:21:50,233 --> 01:21:51,433
AND I WENT...
1547
01:21:51,466 --> 01:21:52,733
AND WE JUST HUGGED.
1548
01:21:52,766 --> 01:21:54,833
AND HER HUS--AND HER HUSBAND
JUST LEANED DOWN,
1549
01:21:54,866 --> 01:21:56,233
AND HE GRABBED HER ARM
WHEN SHE--
1550
01:21:56,266 --> 01:21:57,666
THEY WERE WALKING AWAY,
AND HE SAID,
1551
01:21:57,700 --> 01:21:59,166
"SHE BURIED HER MOM
THIS MORNING,
1552
01:21:59,200 --> 01:22:02,666
BUT SHE REALLY WANTED TO COME
AND SEE YOU TONIGHT."
1553
01:22:02,700 --> 01:22:07,466
AND...I MEAN,
THAT'S IT, YOU KNOW?
1554
01:22:07,500 --> 01:22:11,166
THAT'S IT.
THAT'S COUNTRY MUSIC.
1555
01:22:11,200 --> 01:22:13,200
[CHEERING AND APPLAUSE]
1556
01:22:13,233 --> 01:22:16,800
REYNOLDS: RECORD LABELS HAVE
A TERRIBLE TENDENCY TO CHASE
1557
01:22:16,833 --> 01:22:18,700
WHATEVER IS THE CURRENT HIT.
1558
01:22:18,733 --> 01:22:22,166
I MEAN, I HAVE ALWAYS SAID
THAT MARKETING MEN WOULD CLONE
1559
01:22:22,200 --> 01:22:25,533
TODAY'S NUMBER ONE FOREVER
WITHOUT A SENSE OF GUILT
1560
01:22:25,566 --> 01:22:27,433
IF THEY COULD GET AWAY WITH IT,
1561
01:22:27,466 --> 01:22:29,800
UH, JUST BECAUSE
IT WOULD ELIMINATE RISK.
1562
01:22:29,833 --> 01:22:31,333
[FIREWORKS EXPLODE]
1563
01:22:31,366 --> 01:22:33,900
NARRATOR: COUNTRY MUSIC MAY HAVE
BEEN BIGGER THAN EVER,
1564
01:22:33,933 --> 01:22:38,233
BUT BY THE MID-1990s,
RECORD SALES WERE CONCENTRATED
1565
01:22:38,266 --> 01:22:42,433
ON A SMALLER AND SMALLER NUMBER
OF NEW RELEASES.
1566
01:22:42,466 --> 01:22:45,100
EXECUTIVES AT THE LABELS
IN NASHVILLE WERE
1567
01:22:45,133 --> 01:22:48,666
UNDER INCREASING PRESSURE
TO ONLY PRODUCE ALBUMS
1568
01:22:48,700 --> 01:22:51,300
THAT SOLD IN THE MILLIONS.
1569
01:22:51,333 --> 01:22:53,933
[PLAYING "ACHY BREAKY HEART"]
1570
01:22:55,800 --> 01:22:57,600
CROWELL:
EXPECTATIONS BECAME PART
1571
01:22:57,633 --> 01:22:59,766
OF THE CREATIVE DECISION MAKING.
1572
01:22:59,800 --> 01:23:01,433
BILLY RAY CYRUS: ♪ YOU CAN TELL
THE WORLD... ♪
1573
01:23:01,466 --> 01:23:03,233
♪ YOU NEVER WAS MY GIRL
1574
01:23:03,266 --> 01:23:05,533
THAT MEANS THAT
THE RECORD COMPANIES'
1575
01:23:05,566 --> 01:23:09,033
BOTTOM LINE HAD RISEN
TO SUCH GREAT HEIGHTS
1576
01:23:09,066 --> 01:23:12,400
WITH THE LIKES OF GARTH BROOKS
AND SHANIA TWAIN
1577
01:23:12,433 --> 01:23:14,866
THAT THEIR SHAREHOLDERS
WERE NEVER GOING TO BE HAPPY
1578
01:23:14,900 --> 01:23:18,066
IF THEY WERE OUT TRYING
TO DEVELOP A NEW ACT
1579
01:23:18,100 --> 01:23:22,766
WHO SOLD 1/5 OR 1/100
OF WHAT THOSE ARTISTS SOLD.
1580
01:23:22,800 --> 01:23:23,900
IT JUST WASN'T GOING TO HAPPEN.
1581
01:23:23,933 --> 01:23:25,400
CYRUS: OH!
1582
01:23:27,133 --> 01:23:30,266
NARRATOR: THEN A CHANGE
IN FEDERAL LAW ALLOWED
1583
01:23:30,300 --> 01:23:33,400
LARGE COMPANIES TO CONSOLIDATE
THEIR OWNERSHIP
1584
01:23:33,433 --> 01:23:36,733
OF RADIO STATIONS
ACROSS THE NATION.
1585
01:23:36,766 --> 01:23:39,733
DECISIONS ON WHAT SONGS
WOULD BE BROADCAST
1586
01:23:39,766 --> 01:23:42,233
WERE BEING MADE BY FEWER PEOPLE.
1587
01:23:42,266 --> 01:23:44,566
PLAYLISTS GOT SHORTER.
1588
01:23:44,600 --> 01:23:48,333
IT BECAME EVEN HARDER
FOR NEW ARTISTS TO BREAK IN
1589
01:23:48,366 --> 01:23:52,833
AND HARDER FOR MANY ESTABLISHED
ARTISTS TO HOLD ON.
1590
01:23:52,866 --> 01:23:54,800
EDDIE STUBBS: THE DAYS
OF AN ARTIST DROPPING IN
1591
01:23:54,833 --> 01:23:58,266
TO SEE A DISC JOCKEY,
1592
01:23:58,300 --> 01:24:01,266
LIKE WAS THE CASE
WITH LORETTA LYNN,
1593
01:24:01,300 --> 01:24:05,200
THOSE DAYS ARE VIRTUALLY GONE.
1594
01:24:05,233 --> 01:24:08,333
REYNOLDS: AND NOW INSTEAD OF
HAVING A LOT OF POSSIBILITIES
1595
01:24:08,366 --> 01:24:10,000
TO GET TO TRY
YOUR RECORD OUT
1596
01:24:10,033 --> 01:24:12,533
AND SEE IF THE PUBLIC
WILL RESPOND,
1597
01:24:12,566 --> 01:24:16,433
YOU'RE GOING THROUGH THE EYE
OF THE NEEDLE, ONE PERSON
1598
01:24:16,466 --> 01:24:20,400
WHO IS PROGRAMMING FOR 1,300,
1,400 STATIONS,
1599
01:24:20,433 --> 01:24:23,766
AND HIS SAY-SO IS "THE" SAY-SO,
1600
01:24:23,800 --> 01:24:27,366
AND IF HE SAYS, "NO,"
THAT'S IT.
1601
01:24:27,400 --> 01:24:29,233
EMMYLOU HARRIS: I WAS DOING
AN INTERVIEW
1602
01:24:29,266 --> 01:24:30,966
AT A COUNTRY RADIO STATION.
1603
01:24:31,000 --> 01:24:33,000
I HAD AN ALBUM OUT,
AND LORETTA LYNN
1604
01:24:33,033 --> 01:24:37,100
HAD JUST BEEN INDUCTED INTO
THE COUNTRY MUSIC HALL OF FAME,
1605
01:24:37,133 --> 01:24:40,066
AND I SAID, "OH, THIS IS
SO FANTASTIC.
1606
01:24:40,100 --> 01:24:42,333
"SO, YOU KNOW, LET'S PLAY
SOMETHING BY LORETTA LYNN."
1607
01:24:42,366 --> 01:24:43,866
HE SAID, "OH, WE CAN'T DO THAT
1608
01:24:43,900 --> 01:24:46,766
BECAUSE SHE'S NOT
ON OUR PLAYLIST."
1609
01:24:46,800 --> 01:24:50,033
NARRATOR: SOME INDEPENDENT
STATIONS STILL EXISTED
1610
01:24:50,066 --> 01:24:53,600
AND CONTINUED FEATURING
ALTERNATIVE COUNTRY ARTISTS,
1611
01:24:53,633 --> 01:24:55,433
AS WELL AS THE CLASSICS.
1612
01:24:55,466 --> 01:24:58,466
TO PROVE THAT THIS MUSIC
STILL HAD AN AUDIENCE,
1613
01:24:58,500 --> 01:25:02,333
A NEW TERM HAD TO BE INVENTED,
WITH ITS OWN CHART
1614
01:25:02,366 --> 01:25:04,966
AND LATER ITS OWN AWARDS.
1615
01:25:05,000 --> 01:25:07,266
IT WAS CALLED AMERICANA.
1616
01:25:07,300 --> 01:25:09,166
["BORN TO RUN"
BY EMMYLOU HARRIS PLAYS]
1617
01:25:09,200 --> 01:25:10,700
NARRATOR: NO ONE WAS MORE
SUPPORTIVE
1618
01:25:10,733 --> 01:25:13,800
OF THE NEW MOVEMENT
THAN EMMYLOU HARRIS.
1619
01:25:13,833 --> 01:25:15,233
HARRIS: ♪ WELL, I NEVER DID...
1620
01:25:15,266 --> 01:25:17,866
NARRATOR: 20 YEARS EARLIER,
WHEN SHE BECAME A CONVERT
1621
01:25:17,900 --> 01:25:21,066
TO COUNTRY MUSIC,
HER BEST-SELLING ALBUMS,
1622
01:25:21,100 --> 01:25:24,200
FEATURING SONGS BY OLDER STARS,
1623
01:25:24,233 --> 01:25:28,700
HAD SHONE A SPOTLIGHT ON WHAT
WAS BEING OVERLOOKED.
1624
01:25:28,733 --> 01:25:31,933
"EVERY SO OFTEN,"
JOHNNY CASH TOLD A REPORTER,
1625
01:25:31,966 --> 01:25:35,633
"COUNTRY HAS TO GET BACK
TO EMMYLOU HARRIS."
1626
01:25:35,666 --> 01:25:37,366
GILL: SHE MADE PEOPLE
REMEMBER BUCK OWENS.
1627
01:25:37,400 --> 01:25:39,766
SHE MADE PEOPLE REMEMBER
MERLE HAGGARD
1628
01:25:39,800 --> 01:25:43,200
AND MADE
PEOPLE REMEMBER KITTY WELLS,
1629
01:25:43,233 --> 01:25:46,066
THE LOUVIN BROTHERS.
1630
01:25:46,100 --> 01:25:47,766
YOU KNOW, EVERY NOW AND THEN,
THERE'S SOMEONE
1631
01:25:47,800 --> 01:25:50,500
IN A STRETCH OF LIFE THAT'S
GOING TO BE THE GREAT CONDUIT
1632
01:25:50,533 --> 01:25:52,733
TO CONNECT YOU BACK
TO WHERE WE COME FROM.
1633
01:25:52,766 --> 01:25:54,033
HARRIS: ♪ I WAS BORN
IN THIS HOUSE ♪
1634
01:25:54,066 --> 01:25:56,766
♪ I WAS BORN TO RUN
1635
01:25:56,800 --> 01:25:59,800
NARRATOR: BY THE 1990s,
HARRIS DECIDED TO DO
1636
01:25:59,833 --> 01:26:01,900
AN ALL-ACOUSTIC ALBUM.
1637
01:26:01,933 --> 01:26:05,566
TO RECORD IT, SHE CHOSE
THE RYMAN AUDITORIUM,
1638
01:26:05,600 --> 01:26:10,566
WHICH HAD BEEN CLOSED
SINCE THE EARLY 1970s.
1639
01:26:10,600 --> 01:26:12,700
STUART: IT WAS JUST
AN OLD BUILDING
1640
01:26:12,733 --> 01:26:15,666
WHERE THE GRAND OLE OPRY
USED TO BE
1641
01:26:15,700 --> 01:26:17,700
AND WITH AN OLD HISTORY
THAT WAS TIRED,
1642
01:26:17,733 --> 01:26:21,233
AND THE WINDOWS WERE BROKEN OUT,
AND PIGEONS WERE FLYING AROUND,
1643
01:26:21,266 --> 01:26:24,333
AND THEY CONDUCTED $2.00 TOURS.
1644
01:26:24,366 --> 01:26:26,500
NARRATOR: WHEN HARRIS
AND HER BAND RECORDED
1645
01:26:26,533 --> 01:26:29,400
THEIR LIVE ALBUM
AT THE DECAYING RYMAN,
1646
01:26:29,433 --> 01:26:32,733
THE CROWD THAT WAS PERMITTED TO
WITNESS IT WAS RESTRICTED--
1647
01:26:32,766 --> 01:26:36,266
FOR SAFETY REASONS--
TO ONLY 200 PEOPLE,
1648
01:26:36,300 --> 01:26:39,133
ALL GATHERED NEAR THE STAGE
TO MAKE IT APPEAR
1649
01:26:39,166 --> 01:26:41,000
THAT THE AUDIENCE
WAS MUCH LARGER.
1650
01:26:41,033 --> 01:26:42,866
♪ YOU'VE BEEN CHOSEN
♪ JOHN
1651
01:26:42,900 --> 01:26:45,200
♪ GO ON AFRAID
♪ JOHN
1652
01:26:45,233 --> 01:26:46,533
♪ I'LL GO WITH YOU
1653
01:26:46,566 --> 01:26:55,533
♪ JOHN THE BAPTIST
1654
01:26:55,566 --> 01:26:57,566
♪ THIS IS THE DAY
1655
01:26:57,600 --> 01:27:00,566
NARRATOR: THE ONLY GUEST SHE
INVITED TO PERFORM WITH HER
1656
01:27:00,600 --> 01:27:04,733
WAS BILL MONROE, THE AGING
PATRIARCH OF BLUEGRASS,
1657
01:27:04,766 --> 01:27:09,600
WHO HAD FIRST APPEARED
ON THE RYMAN STAGE BACK IN 1939.
1658
01:27:09,633 --> 01:27:11,600
[PLAYING "SCOTLAND"]
1659
01:27:11,633 --> 01:27:14,033
[CHEERING AND APPLAUSE]
1660
01:27:17,200 --> 01:27:20,333
HARRIS: FOR COUNTRY MUSIC,
PERHAPS IT'S A REMINDER
1661
01:27:20,366 --> 01:27:24,533
OF US OF WHERE WE
ALL CAME FROM
1662
01:27:24,566 --> 01:27:26,100
AND NOT TO FORGET THAT,
1663
01:27:26,133 --> 01:27:28,666
NOT TO JUST CONSTANTLY BE
RECYCLING THAT
1664
01:27:28,700 --> 01:27:32,100
AND TRYING TO GO BACK
'CAUSE YOU CAN'T GO BACK.
1665
01:27:32,133 --> 01:27:34,666
YOU KNOW, WE'RE ALL DIFFERENT.
EVERY GENERATION IS DIFFERENT,
1666
01:27:34,700 --> 01:27:37,433
BUT WE MUSTN'T FORGET
WHERE WE CAME FROM
1667
01:27:37,466 --> 01:27:40,200
BECAUSE IT'S GOING TO MAKE
THE MUSIC THAT WE MAKE
1668
01:27:40,233 --> 01:27:41,700
IN THE FUTURE BETTER.
1669
01:27:41,733 --> 01:27:44,233
[CHEERING AND APPLAUSE]
1670
01:27:44,266 --> 01:27:46,833
NARRATOR: THE EVENT
AND THE ALBUM THAT IT PRODUCED
1671
01:27:46,866 --> 01:27:50,566
REMINDED PEOPLE OF THE RYMAN'S
INCOMPARABLE ACOUSTICS,
1672
01:27:50,600 --> 01:27:54,733
AS WELL AS ITS PLACE
IN MUSIC HISTORY.
1673
01:27:54,766 --> 01:27:58,166
HARRIS AND OTHERS JOINED
A CAMPAIGN TO SAVE THE RYMAN
1674
01:27:58,200 --> 01:28:01,433
FROM DESTRUCTION,
AND THE OWNERS OF WSM
1675
01:28:01,466 --> 01:28:05,300
AND THE GRAND OLE OPRY INVESTED
MORE THAN $8 MILLION
1676
01:28:05,333 --> 01:28:07,166
TO COMPLETELY RESTORE IT.
1677
01:28:07,200 --> 01:28:12,166
♪
1678
01:28:12,200 --> 01:28:15,266
THE MOTHER CHURCH
OF COUNTRY MUSIC REOPENED
1679
01:28:15,300 --> 01:28:20,533
AS A PERFORMANCE VENUE IN 1994
WITH LITTLE JIMMY DICKENS,
1680
01:28:20,566 --> 01:28:25,133
PORTER WAGONER, AND MARTY STUART
CUTTING THE RIBBON.
1681
01:28:29,600 --> 01:28:30,833
[CAMERA SHUTTER CLICKS]
1682
01:28:30,866 --> 01:28:33,833
STUART: I LOVED THAT OLD MAN,
1683
01:28:33,866 --> 01:28:36,133
AND TOWARD THE END OF HIS LIFE,
I THOUGHT,
1684
01:28:36,166 --> 01:28:39,366
"I WANT TO GO HANG OUT
WITH HIM ONE MORE TIME
1685
01:28:39,400 --> 01:28:41,500
"AND JUST SPEND
THE AFTERNOON WITH HIM,
1686
01:28:41,533 --> 01:28:43,600
TAKING PICTURES."
1687
01:28:43,633 --> 01:28:47,300
AND AT THE END OF IT ALL,
WE WERE STANDING BY HIS BARN,
1688
01:28:47,333 --> 01:28:49,366
JUST ME AND HIM, PLAYING
MANDOLINS.
1689
01:28:49,400 --> 01:28:51,966
[PLAYING "BLUE MOON OF KENTUCKY"
ON MANDOLIN]
1690
01:28:57,200 --> 01:29:00,500
SKAGGS: BUT I COULD TELL
IN HIS LAST FEW, FEW DAYS
1691
01:29:00,533 --> 01:29:03,033
THAT, UH, HE WAS
REALLY CONCERNED
1692
01:29:03,066 --> 01:29:07,066
ABOUT WHERE BLUEGRASS WAS GOING,
WHAT WAS GOING TO HAPPEN TO IT.
1693
01:29:07,100 --> 01:29:08,533
YOU KNOW, WHERE'S IT
GOING TO END UP?
1694
01:29:08,566 --> 01:29:11,800
AND I JUST SAID,
"MR. MONROE, LISTEN.
1695
01:29:11,833 --> 01:29:14,433
"THIS MUSIC IS BIGGER THAN YOU.
1696
01:29:14,466 --> 01:29:16,133
"IT'S BIGGER THAN YOU.
1697
01:29:16,166 --> 01:29:17,866
"YOU GOT TO HEAR IT FIRST.
1698
01:29:17,900 --> 01:29:19,766
"YOU GOT TO
PLAY IT FIRST,
1699
01:29:19,800 --> 01:29:22,866
"AND YOU GOT TO SOW GREAT SEEDS
WITH THIS MUSIC.
1700
01:29:22,900 --> 01:29:24,900
"I'M PART OF YOUR SEED.
1701
01:29:24,933 --> 01:29:26,500
"MARTY'S PART OF
YOUR SEED.
1702
01:29:26,533 --> 01:29:27,966
"VINCE IS PART
OF YOUR SEED.
1703
01:29:28,000 --> 01:29:30,966
"ALL OF US THAT LOVE BLUEGRASS
ARE PART OF YOUR SEED,
1704
01:29:31,000 --> 01:29:33,866
"AND IT'S NEVER GOING TO DIE,
1705
01:29:33,900 --> 01:29:37,700
"SO YOU CAN GO HOME
AND REST IN PEACE.
1706
01:29:37,733 --> 01:29:39,633
"DON'T WORRY ABOUT
WHERE THE MUSIC'S GOING.
1707
01:29:39,666 --> 01:29:41,666
"WE'RE ALL--WE'RE GOING TO
TAKE CARE OF IT.
1708
01:29:41,700 --> 01:29:43,300
JUST BE FREE."
1709
01:29:46,900 --> 01:29:49,666
YES. I MADE A PROMISE TO HIM
THAT I WOULD PLAY
1710
01:29:49,700 --> 01:29:51,833
THIS MUSIC
ALL THE DAYS OF MY LIFE
1711
01:29:51,866 --> 01:29:54,666
AND I WOULD ALWAYS TELL PEOPLE
WHERE IT CAME FROM.
1712
01:29:54,700 --> 01:30:01,133
♪
1713
01:30:01,166 --> 01:30:04,400
["BLUE MOON OF KENTUCKY"
BY BILL MONROE PLAYS]
1714
01:30:04,433 --> 01:30:14,966
♪
1715
01:30:15,000 --> 01:30:19,733
♪ BLUE MOON OF KENTUCKY,
KEEP ON SHINING... ♪
1716
01:30:19,766 --> 01:30:23,633
NARRATOR: RICKY SKAGGS,
MARTY STUART, AND VINCE GILL
1717
01:30:23,666 --> 01:30:26,800
WERE AMONG THE PERFORMERS
AT MONROE'S FUNERAL,
1718
01:30:26,833 --> 01:30:28,833
HELD AT THE RYMAN.
1719
01:30:28,866 --> 01:30:32,433
MONROE: ♪ BLUE MOON
OF KENTUCKY... ♪
1720
01:30:32,466 --> 01:30:34,700
NARRATOR: IN THE WAKE
OF MONROE'S DEATH,
1721
01:30:34,733 --> 01:30:37,133
BOTH RICKY SKAGGS
AND MARTY STUART
1722
01:30:37,166 --> 01:30:39,166
WOULD REFOCUS THEIR CAREERS.
1723
01:30:39,200 --> 01:30:42,033
MONROE: ♪ AND LEFT MY BLUE
1724
01:30:42,066 --> 01:30:45,133
SKAGGS: MR. MONROE
PASSED AWAY IN '96,
1725
01:30:45,166 --> 01:30:49,866
AND I JUST KEPT HEARING
THIS DEEP CALLING UNTO DEEP
1726
01:30:49,900 --> 01:30:51,766
THING IN ME,
1727
01:30:51,800 --> 01:30:54,733
AND IT WAS LIKE, YOU KNOW,
1728
01:30:54,766 --> 01:30:58,733
SIMPLE LIFE,
SIMPLE LIFE, SIMPLE LIFE,
1729
01:30:58,766 --> 01:31:00,400
AND I CAN TAKE
THESE ACOUSTIC INSTRUMENTS.
1730
01:31:00,433 --> 01:31:02,000
I DON'T HAVE TO HAVE
MICROPHONES.
1731
01:31:02,033 --> 01:31:04,533
I DON'T HAVE TO HAVE AMPS.
1732
01:31:04,566 --> 01:31:06,366
IF WE WANTED TO PULL
OFF THE ROAD AND GO
1733
01:31:06,400 --> 01:31:08,700
TO A LITTLE SCHOOLHOUSE,
WE COULD GO PLAY
1734
01:31:08,733 --> 01:31:11,333
AND ENTERTAIN THE KIDS.
1735
01:31:11,366 --> 01:31:15,166
AND I WANTED TO TAKE IT BACK
TO THE FRONT PORCH,
1736
01:31:15,200 --> 01:31:17,600
AND, UH, SO THAT'S--
THAT'S WHAT I DID.
1737
01:31:17,633 --> 01:31:19,600
MONROE: ♪ BLUE MOON
OF KENTUCKY... ♪
1738
01:31:19,633 --> 01:31:22,766
STUART: AND I FOUND OUT THAT
WHAT HAD HAPPENED
1739
01:31:22,800 --> 01:31:26,633
IS I HAD BECOME A--
A SUCCESS MACHINE.
1740
01:31:26,666 --> 01:31:28,100
I SIMPLY WANTED SUCCESS.
1741
01:31:28,133 --> 01:31:33,533
I WANTED TO BE ACCEPTED,
AND MY HEART GOT LEFT BEHIND,
1742
01:31:33,566 --> 01:31:35,466
AND ONE DAY I WAS RIDING
THROUGH THE WOODS,
1743
01:31:35,500 --> 01:31:38,866
AND I WAS NOTICING BARNS
AND COWS AND TRACTORS
1744
01:31:38,900 --> 01:31:42,833
AND CLOTHES BLOWING ON THE LINE
AND THE SMELL OF THE COUNTRY,
1745
01:31:42,866 --> 01:31:44,433
AND I LISTENED
TO THE KIND OF MUSIC
1746
01:31:44,466 --> 01:31:46,733
I WAS MAKING,
AND IT DID NOT LINE UP
1747
01:31:46,766 --> 01:31:48,966
WITH WHAT I WAS LOOKING AT.
1748
01:31:49,000 --> 01:31:52,933
AND THEN I WENT BACK AND STARTED
LISTENING TO THE CARTER FAMILY,
1749
01:31:52,966 --> 01:31:55,833
AND I LISTENED TO BILL MONROE
AND TAMMY WYNETTE
1750
01:31:55,866 --> 01:31:57,666
AND GEORGE JONES
AND HANK WILLIAMS,
1751
01:31:57,700 --> 01:31:59,433
AND I STARTED TO CRY.
1752
01:31:59,466 --> 01:32:01,233
MY HEART CAME BACK TO LIFE,
AND I WENT,
1753
01:32:01,266 --> 01:32:03,133
"I THINK I KNOW
WHAT I NEED TO DO.
1754
01:32:03,166 --> 01:32:05,633
"GO BACK TO MYSELF
AND START AGAIN
1755
01:32:05,666 --> 01:32:07,133
AND TAKE IT UP AGAIN."
1756
01:32:07,166 --> 01:32:08,866
MONROE: ♪ AND THEY
WHISPERED FROM... ♪
1757
01:32:08,900 --> 01:32:11,433
NARRATOR: A YEAR LATER,
STUART WOULD MARRY
1758
01:32:11,466 --> 01:32:15,033
COUNTRY STAR CONNIE SMITH
JUST AS HE HAD PREDICTED
1759
01:32:15,066 --> 01:32:18,200
HE WOULD DO
WHEN HE WAS 11 YEARS OLD
1760
01:32:18,233 --> 01:32:21,800
AND GOT HER AUTOGRAPH
AT THE CHOCTAW INDIAN FAIR
1761
01:32:21,833 --> 01:32:23,433
IN MISSISSIPPI.
1762
01:32:23,466 --> 01:32:27,933
MONROE: ♪ GONE
AND SAID GOOD-BYE ♪
1763
01:32:30,800 --> 01:32:35,066
["I STILL MISS SOMEONE"
BY BOBBY HORTON PLAYS]
1764
01:32:35,100 --> 01:32:38,566
ROSANNE CASH: I GREW UP THINKING
THAT BECOMING FAMOUS
1765
01:32:38,600 --> 01:32:40,733
WAS ABOUT THE WORST THING
THAT COULD HAPPEN TO YOU
1766
01:32:40,766 --> 01:32:43,533
BECAUSE THEN YOU HAD TO
GO ON THE ROAD,
1767
01:32:43,566 --> 01:32:45,633
AND IF YOU WENT ON THE ROAD,
YOU GOT DIVORCED,
1768
01:32:45,666 --> 01:32:48,933
AND YOU DIDN'T SEE YOUR KIDS,
AND YOU GOT ON DRUGS,
1769
01:32:48,966 --> 01:32:51,566
AND EVERYTHING FELL APART.
1770
01:32:51,600 --> 01:33:01,633
♪
1771
01:33:01,633 --> 01:33:07,566
♪
1772
01:33:07,600 --> 01:33:10,166
IT WAS SOMETHING KIND OF
INGRAINED IN US--
1773
01:33:10,200 --> 01:33:14,666
"THIS IS NOT
A GOOD WAY TO LIVE."
1774
01:33:14,700 --> 01:33:17,366
NARRATOR: AS HE AGED,
JOHNNY CASH HAD TAKEN
1775
01:33:17,400 --> 01:33:20,633
TO WRITING POIGNANT LETTERS
TO HIS DAUGHTERS,
1776
01:33:20,666 --> 01:33:26,233
ASKING THEM TO FORGIVE HIM
FOR HIS MANY ABSENCES.
1777
01:33:26,266 --> 01:33:29,266
HIS DAUGHTER ROSANNE
HAD MOVED TO NEW YORK CITY,
1778
01:33:29,300 --> 01:33:32,366
AND WHEN HER FATHER CAME
TO TOWN FOR A CONCERT,
1779
01:33:32,400 --> 01:33:37,333
HE ASKED HER IF SHE'D JOIN HIM
ONSTAGE FOR A SONG,
1780
01:33:37,366 --> 01:33:42,700
ONE HE HAD CO-WRITTEN
AND RECORDED BACK IN 1958,
1781
01:33:42,733 --> 01:33:45,466
"I STILL MISS SOMEONE."
1782
01:33:45,500 --> 01:33:49,266
AND I WAS MAD AT HIM
ABOUT SOMETHING, YOU KNOW,
1783
01:33:49,300 --> 01:33:54,466
SOME CHILDHOOD TRANSGRESSION
HE HAD COMMITTED
1784
01:33:54,500 --> 01:33:56,166
OR SOMETHING I WAS
GOING THROUGH,
1785
01:33:56,200 --> 01:33:57,633
SOMETHING HE HADN'T DONE.
1786
01:33:57,666 --> 01:33:59,300
I DON'T EVEN REMEMBER
WHAT IT WAS,
1787
01:33:59,333 --> 01:34:04,066
AND I WAS--VERY PETULANTLY SAID,
"NO. I DON'T THINK I WILL."
1788
01:34:04,100 --> 01:34:06,333
HA! CAN YOU IMAGINE?
1789
01:34:06,366 --> 01:34:09,700
AND HE SAID, "OK,"
AND HE TURNED,
1790
01:34:09,733 --> 01:34:11,966
AND HE WALKED OUT OF THE ROOM,
1791
01:34:12,000 --> 01:34:16,533
AND AS HE WALKED OUT,
I LOOKED AT HIS BACK,
1792
01:34:16,566 --> 01:34:21,566
AND I THOUGHT
OF THE THOUSANDS OF TIMES
1793
01:34:21,600 --> 01:34:28,133
I HAD SEEN HIS BACK FROM SITTING
IN THE WINGS OFFSTAGE
1794
01:34:28,166 --> 01:34:30,266
AND SEEN HIS BACK
WITH THE LIGHT COMING DOWN
1795
01:34:30,300 --> 01:34:33,300
ON HIM AND HIS GUITAR,
1796
01:34:33,333 --> 01:34:37,833
SO I SAID,
"DAD, I'LL DO IT."
1797
01:34:37,866 --> 01:34:41,233
SO THAT NIGHT, UM,
HE CALLED ME OUT,
1798
01:34:41,266 --> 01:34:46,033
AND WE SANG
"I STILL MISS SOMEONE" TOGETHER.
1799
01:34:46,066 --> 01:34:51,566
♪ AT MY DOOR,
THE LEAVES ARE FALLING ♪
1800
01:34:51,600 --> 01:34:57,233
♪ A COLD, WILD WIND
WILL COME ♪
1801
01:34:57,266 --> 01:35:02,200
♪ AND SWEETHEARTS
WALK BY TOGETHER ♪
1802
01:35:02,233 --> 01:35:06,833
♪ AND I STILL MISS SOMEONE
1803
01:35:12,033 --> 01:35:15,433
AND EVERYTHING GOT DISSOLVED.
1804
01:35:15,466 --> 01:35:18,966
EVERYTHING GOT FIXED,
YOU KNOW,
1805
01:35:19,000 --> 01:35:21,366
JUST LOOKING AT HIM.
1806
01:35:21,400 --> 01:35:24,200
HE WORKED OUT ALL
OF HIS PROBLEMS ONSTAGE.
1807
01:35:24,233 --> 01:35:26,200
THAT'S WHERE HE TOOK
HIS BEST SELF.
1808
01:35:26,233 --> 01:35:27,933
THAT'S WHERE HE TOOK
1809
01:35:27,966 --> 01:35:30,866
ALL OF HIS ANGUISH AND FEARS
1810
01:35:30,900 --> 01:35:33,533
AND GRIEFS,
AND HE WORKED THEM OUT
1811
01:35:33,566 --> 01:35:35,033
WITH AN AUDIENCE--
1812
01:35:35,066 --> 01:35:37,533
THAT'S JUST WHO HE WAS--
1813
01:35:37,566 --> 01:35:39,800
AND GOT PURIFIED
BY THE END OF THE NIGHT.
1814
01:35:39,833 --> 01:35:43,866
SO THAT HAPPENED WITH ME
THAT NIGHT WITH HIM.
1815
01:35:43,900 --> 01:35:45,933
IT JUST ALL GOT FIXED.
1816
01:35:49,466 --> 01:35:52,066
["WAYFARING STRANGER"
BY JOHNNY CASH PLAYS]
1817
01:35:52,100 --> 01:36:00,266
JOHNNY CASH: ♪ I'M JUST
A POOR, WAYFARING STRANGER ♪
1818
01:36:00,300 --> 01:36:02,700
♪ TRAVELING THROUGH...
1819
01:36:02,733 --> 01:36:05,266
NARRATOR: LIKE MANY
FADING COUNTRY STARS,
1820
01:36:05,300 --> 01:36:08,833
JOHNNY CASH AND HIS WIFE
JUNE CARTER FOUND THEMSELVES
1821
01:36:08,866 --> 01:36:13,133
ENCAMPED IN THE TOURIST TOWN
OF BRANSON, MISSOURI,
1822
01:36:13,166 --> 01:36:15,733
WHERE A GROUP OF THEATERS
HAD SPROUTED UP
1823
01:36:15,766 --> 01:36:19,200
AND TURNED THE OLD BUSINESS
MODEL OF LIVE PERFORMANCES
1824
01:36:19,233 --> 01:36:20,666
ON ITS HEAD.
1825
01:36:20,700 --> 01:36:22,533
JOHNNY CASH: ♪ WHICH I GO...
1826
01:36:22,566 --> 01:36:25,566
NARRATOR: IT WAS THE AUDIENCE
WHO SHOWED UP IN BIG BUSSES.
1827
01:36:25,600 --> 01:36:28,433
THE MUSICIANS STAYED
IN ONE PLACE AND GAVE
1828
01:36:28,466 --> 01:36:30,766
2 OR 3 SHOWS A DAY...
1829
01:36:30,800 --> 01:36:33,100
JOHNNY CASH: ♪ SHE SAID
SHE'D MEET ME... ♪
1830
01:36:33,133 --> 01:36:35,433
NARRATOR: BUT SOME DAYS,
JOHNNY CASH,
1831
01:36:35,466 --> 01:36:38,366
THE MAN WHO HAD BEEN ELECTED
TO BOTH THE COUNTRY MUSIC
1832
01:36:38,400 --> 01:36:41,200
AND ROCK AND ROLL
HALL OF FAME,
1833
01:36:41,233 --> 01:36:44,666
LOOKED OUT
AT THE 2,500-SEAT THEATER,
1834
01:36:44,700 --> 01:36:47,700
AND FEWER THAN 200 PEOPLE
WERE THERE.
1835
01:36:47,733 --> 01:36:50,033
JOHNNY CASH: ♪ JUST GOING...
1836
01:36:50,066 --> 01:36:51,966
RUN-DMC: ♪ IT'S TRICKY TO ROCK
A RHYME, TO ROCK A RHYME ♪
1837
01:36:52,000 --> 01:36:56,800
NARRATOR: THEN IN 1993, A YOUNG
PRODUCER NAMED RICK RUBIN,
1838
01:36:56,833 --> 01:36:59,866
WHO HAD HELPED POPULARIZE
HIP HOP MUSIC
1839
01:36:59,900 --> 01:37:04,300
AND RECORDED SUCCESSFUL RAP,
PUNK, AND HEAVY METAL ARTISTS,
1840
01:37:04,333 --> 01:37:09,533
APPROACHED CASH ABOUT DOING
AN ALBUM FOR HIS LABEL.
1841
01:37:09,566 --> 01:37:13,000
MANY OF CASH'S FRIENDS
AND FAMILY WERE AGHAST,
1842
01:37:13,033 --> 01:37:15,933
CERTAIN THE COLLABORATION
WOULD BE DAMAGING
1843
01:37:15,966 --> 01:37:19,566
TO HIS ALREADY FALTERING CAREER.
1844
01:37:19,600 --> 01:37:23,000
HE WENT AHEAD ANYWAY.
1845
01:37:23,033 --> 01:37:25,500
JOHN CARTER CASH: AND SO THEY
BEGAN TO FOCUS ON MATERIAL.
1846
01:37:25,533 --> 01:37:28,100
EVERYTHING WAS HONESTLY
CONNECTED WITH MY FATHER
1847
01:37:28,133 --> 01:37:30,266
AND WHO HE WAS AS A PERSON.
1848
01:37:30,300 --> 01:37:32,900
SONGS OF FAITH,
SONGS OF MY DAD'S LOVE
1849
01:37:32,933 --> 01:37:35,133
FOR MY MOTHER, SONGS
OF HIS HUMOR;
1850
01:37:35,166 --> 01:37:38,433
SONGS OF THE ELEMENTAL DARKNESS
WITHIN HIM.
1851
01:37:38,466 --> 01:37:42,400
JOHNNY CASH: ♪ DELIA,
OH, DELIA ♪
1852
01:37:42,433 --> 01:37:45,366
♪ DELIA ALL MY LIFE
1853
01:37:45,400 --> 01:37:48,833
♪ IF I HADN'T HAD
SHOT POOR DELIA ♪
1854
01:37:48,866 --> 01:37:52,133
♪ I'D HAVE HAD HER
FOR MY WIFE ♪
1855
01:37:52,166 --> 01:37:55,500
♪ DELIA'S GONE,
ONE MORE ROUND ♪
1856
01:37:55,533 --> 01:37:57,433
♪ DELIA'S GONE
1857
01:37:57,466 --> 01:37:58,800
♪ ONE MORE ROUND...
1858
01:37:58,833 --> 01:38:01,700
NARRATOR: RELEASED
IN THE SPRING OF 1994,
1859
01:38:01,733 --> 01:38:05,533
THE ALBUM "AMERICAN RECORDINGS"
WON RAVE REVIEWS
1860
01:38:05,566 --> 01:38:10,033
FOR ITS SPARSE ARRANGEMENTS,
CASH'S STILL-COMMANDING VOICE,
1861
01:38:10,066 --> 01:38:14,133
AND HIS SONG CHOICES
FROM A TRADITIONAL COWBOY TUNE
1862
01:38:14,166 --> 01:38:18,633
TO COMPOSITIONS
BY TOM WAITS, LEONARD COHEN,
1863
01:38:18,666 --> 01:38:20,966
AND KRIS KRISTOFFERSON
1864
01:38:21,000 --> 01:38:25,333
AND THE NEARLY CENTURY-OLD
MURDER BALLAD "DELIA'S GONE."
1865
01:38:25,366 --> 01:38:29,333
♪ SHE WAS LOW-DOWN
AND TRIFLING ♪
1866
01:38:29,366 --> 01:38:33,033
♪ AND SHE WAS COLD AND MEAN...
1867
01:38:33,066 --> 01:38:34,533
ROSANNE CASH:
EVERYTHING WAS NEW AGAIN.
1868
01:38:34,566 --> 01:38:36,633
HE WAS--HE WAS BACK.
1869
01:38:36,666 --> 01:38:40,200
IT WAS LIKE THE LIGHT
SHINED ON HIM AGAIN,
1870
01:38:40,233 --> 01:38:45,333
AND HE WAS SO GRATEFUL
AND RELIEVED THAT SOMEBODY
1871
01:38:45,366 --> 01:38:47,633
SAW HIS ESSENCE
AND WHO HE WAS
1872
01:38:47,666 --> 01:38:49,533
AND JUST WANTED TO
BRING THAT OUT,
1873
01:38:49,566 --> 01:38:52,066
JUST WANTED HIM TO BE
JOHNNY CASH AGAIN.
1874
01:38:52,100 --> 01:38:53,600
♪ JAILER, I CAN'T SLEEP
'CAUSE... ♪
1875
01:38:53,633 --> 01:38:57,300
NARRATOR: MOST COUNTRY RADIO
STATIONS IGNORED THE ALBUM,
1876
01:38:57,333 --> 01:39:02,166
BUT IT SOLD 150,000 COPIES,
MORE THAN ANY ALBUM
1877
01:39:02,200 --> 01:39:05,000
OF HIS SINCE 1971,
1878
01:39:05,033 --> 01:39:10,100
AND WON HIM A GRAMMY AWARD
FOR BEST FOLK ALBUM.
1879
01:39:10,133 --> 01:39:14,666
TWO YEARS LATER, IN 1996,
CASH AND RUBIN CAME OUT
1880
01:39:14,700 --> 01:39:17,966
WITH THE EQUALLY
SUCCESSFUL "UNCHAINED"
1881
01:39:18,000 --> 01:39:21,333
WITH MARTY STUART AND TOM PETTY
AND THE HEARTBREAKERS
1882
01:39:21,366 --> 01:39:24,433
AS BACKUP MUSICIANS.
1883
01:39:24,466 --> 01:39:28,700
THIS TIME, IT WON A GRAMMY
FOR BEST COUNTRY ALBUM.
1884
01:39:28,733 --> 01:39:33,600
["HURT" BY JOHNNY CASH PLAYS]
1885
01:39:33,633 --> 01:39:35,433
NARRATOR: OVER THE NEXT
SEVERAL YEARS,
1886
01:39:35,466 --> 01:39:38,633
EVEN AS HIS HEALTH DETERIORATED
AND HE COULD NO LONGER
1887
01:39:38,666 --> 01:39:42,466
MAKE LIVE APPEARANCES,
JOHNNY CASH WOULD RECORD
1888
01:39:42,500 --> 01:39:45,333
3 MORE ALBUMS
WITH RICK RUBIN
1889
01:39:45,366 --> 01:39:47,833
WITH AN EQUALLY WIDE RANGE
OF SONGS...
1890
01:39:47,866 --> 01:39:52,033
JOHNNY CASH: ♪ TO SEE IF
I STILL FEEL... ♪
1891
01:39:52,066 --> 01:39:53,533
NARRATOR: FROM ONES
HE HAD WRITTEN
1892
01:39:53,566 --> 01:39:58,033
TO THOSE BY BONO, STING,
LENNON AND McCARTNEY,
1893
01:39:58,066 --> 01:40:01,500
AS WELL AS HANK WILLIAMS
AND THE CARTER FAMILY.
1894
01:40:01,533 --> 01:40:04,100
JOHNNY CASH: ♪ THAT'S REAL
1895
01:40:04,133 --> 01:40:05,433
♪ THE NEEDLE...
1896
01:40:05,466 --> 01:40:07,366
NARRATOR: BUT WHAT DREW
THE MOST ATTENTION
1897
01:40:07,400 --> 01:40:11,600
WAS A SONG CALLED "HURT,"
WRITTEN BY TRENT REZNOR
1898
01:40:11,633 --> 01:40:13,766
OF NINE INCH NAILS.
1899
01:40:13,800 --> 01:40:15,333
JOHNNY CASH: ♪ STING
1900
01:40:15,366 --> 01:40:20,266
♪ TRY TO KILL IT
ALL AWAY ♪
1901
01:40:20,300 --> 01:40:26,600
♪ BUT I REMEMBER EVERYTHING
1902
01:40:26,633 --> 01:40:32,466
♪ WHAT HAVE I BECOME
1903
01:40:32,500 --> 01:40:35,166
♪ MY SWEETEST FRIEND?
1904
01:40:37,000 --> 01:40:41,033
♪ EVERYONE I KNOW
1905
01:40:41,066 --> 01:40:46,566
♪ GOES AWAY IN THE END...
1906
01:40:46,600 --> 01:40:48,333
NARRATOR: THE ALBUM WOULD
EVENTUALLY SELL
1907
01:40:48,366 --> 01:40:53,733
NEARLY 2 MILLION COPIES,
EARN CASH YET ANOTHER GRAMMY,
1908
01:40:53,766 --> 01:40:56,500
AND, AS A SIGN THAT
THE COUNTRY MUSIC INDUSTRY
1909
01:40:56,533 --> 01:40:59,466
WANTED HIM BACK AS ONE
OF THEIR OWN,
1910
01:40:59,500 --> 01:41:04,833
WON THE CMA's AWARD
FOR ALBUM OF THE YEAR.
1911
01:41:04,866 --> 01:41:08,000
JOHNNY CASH:
♪ I WILL MAKE YOU HURT
1912
01:41:09,600 --> 01:41:14,733
♪ IF I COULD START AGAIN
1913
01:41:14,766 --> 01:41:18,366
♪ A MILLION MILES AWAY
1914
01:41:20,166 --> 01:41:23,533
♪ I WILL KEEP MYSELF
1915
01:41:25,333 --> 01:41:30,833
♪ I WOULD FIND A WAY
1916
01:41:32,766 --> 01:41:38,866
["WINDING STREAM"
BY BOBBY HORTON PLAYS]
1917
01:41:38,900 --> 01:41:41,433
NARRATOR: SHORTLY
AFTER THE SONG'S RELEASE,
1918
01:41:41,466 --> 01:41:45,500
JUNE CARTER CASH DIED.
1919
01:41:45,533 --> 01:41:50,366
JOHNNY HUNG ON
FOR 4 MONTHS WITHOUT HER.
1920
01:41:50,400 --> 01:41:53,800
ROSANNE CASH: IN THE LAST FEW
MONTHS OF HIS LIFE,
1921
01:41:53,833 --> 01:41:58,500
IT SEEMS LIKE I SANG A LOT
OF CARTER FAMILY SONGS TO HIM.
1922
01:41:58,533 --> 01:42:01,733
UM, IT COMFORTED HIM,
1923
01:42:01,766 --> 01:42:05,100
AND I READ THE PSALMS TO HIM.
1924
01:42:05,133 --> 01:42:08,966
THE LAST SONG HE HEARD WAS,
UH, "THE WINDING STREAM."
1925
01:42:09,000 --> 01:42:12,700
THAT'S WHAT I SANG TO HIM
WHEN HE WAS DYING.
1926
01:42:12,733 --> 01:42:18,633
♪ OH, GIVE TO ME
A WINDING STREAM ♪
1927
01:42:18,666 --> 01:42:23,233
♪ IT MUST NOT BE TOO WIDE
1928
01:42:23,266 --> 01:42:29,866
♪ WHERE WAVING LEAVES
FROM MAPLE TREES MEET ♪
1929
01:42:29,900 --> 01:42:35,900
♪ FROM EITHER SIDE
1930
01:42:35,933 --> 01:42:39,266
IT WAS JUNE'S
FAVORITE CARTER FAMILY SONG,
1931
01:42:39,300 --> 01:42:44,166
AND I JUST LIKED TO SING IT,
AND HE LIKED TO HEAR ME SING IT.
1932
01:42:44,200 --> 01:42:46,166
THE CARTER FAMILY SONGS
ON THE RADIO
1933
01:42:46,200 --> 01:42:50,033
WHEN HE WAS A KID,
THAT PULLED HIM FORWARD,
1934
01:42:50,066 --> 01:42:54,933
AND CARTER FAMILY SONGS
SENT HIM OUT,
1935
01:42:54,966 --> 01:42:57,466
SENT HIM AWAY.
1936
01:42:57,500 --> 01:43:03,100
♪
1937
01:43:03,133 --> 01:43:08,166
NARRATOR: JOHNNY CASH DIED
ON SEPTEMBER 12, 2003.
1938
01:43:08,200 --> 01:43:11,100
HE WAS 71 YEARS OLD.
1939
01:43:11,133 --> 01:43:15,366
HE WAS BURIED NEXT TO JUNE
IN THE MEMORY GARDENS CEMETERY
1940
01:43:15,400 --> 01:43:20,700
NEAR THEIR HOME
IN HENDERSONVILLE, TENNESSEE.
1941
01:43:20,733 --> 01:43:23,666
LATER, A MEMORIAL CONCERT
WAS STAGED
1942
01:43:23,700 --> 01:43:26,766
AT THE RYMAN AUDITORIUM
WITH PERFORMANCES
1943
01:43:26,800 --> 01:43:30,300
BY A GRAND ARRAY OF STARS.
1944
01:43:30,333 --> 01:43:33,333
IT BEGAN, AS HIS MOTHER
WOULD HAVE LIKED,
1945
01:43:33,366 --> 01:43:37,733
WITH A GOSPEL SONG, PERFORMED
BY THE FISK JUBILEE SINGERS.
1946
01:43:37,766 --> 01:43:39,066
MAN: ♪ CAN HOLD MY BODY DOWN
1947
01:43:39,100 --> 01:43:43,200
CHOIR: ♪ MY BODY,
HOLD MY BODY DOWN ♪
1948
01:43:43,233 --> 01:43:46,433
NARRATOR: THEN ROSANNE STEPPED
TO THE MICROPHONE
1949
01:43:46,466 --> 01:43:52,433
AND SANG "I STILL MISS SOMEONE,"
THIS TIME, ON HER OWN.
1950
01:43:52,466 --> 01:43:58,033
♪ AT MY DOOR,
THE LEAVES ARE FALLING ♪
1951
01:43:58,066 --> 01:44:00,633
[APPLAUSE]
1952
01:44:00,666 --> 01:44:05,566
♪ A COLD, WILD WIND
WILL COME ♪
1953
01:44:08,366 --> 01:44:13,400
♪ AND SWEETHEARTS WALK
BY TOGETHER ♪
1954
01:44:15,200 --> 01:44:20,500
♪ 'CAUSE I STILL
MISS SOMEONE ♪
1955
01:44:22,633 --> 01:44:28,300
♪ I GO OUT ON A PARTY
1956
01:44:30,366 --> 01:44:37,000
♪ AND LOOK
FOR A LITTLE FUN ♪
1957
01:44:37,033 --> 01:44:43,066
♪ BUT I FIND
A DARKENED CORNER ♪
1958
01:44:45,366 --> 01:44:52,200
♪ 'CAUSE I STILL
MISS SOMEONE ♪
1959
01:44:52,233 --> 01:44:55,900
TAKE EVERY PIECE
OF AMERICAN MUSIC.
1960
01:44:55,933 --> 01:44:58,433
I MEAN, EVERY PIECE
OF THAT STREAM,
1961
01:44:58,466 --> 01:45:01,133
ALL THOSE TRIBUTARIES
THAT GO INTO THAT POOL
1962
01:45:01,166 --> 01:45:05,466
OF WHATEVER WE CALL IT,
COUNTRY MUSIC, AMERICAN MUSIC,
1963
01:45:05,500 --> 01:45:10,966
FROM BLUES, GOSPEL,
BLUEGRASS, ROCK AND ROLL...
1964
01:45:11,000 --> 01:45:12,466
ROSEANNE CASH: ♪ AND ALL...
1965
01:45:12,500 --> 01:45:15,433
HARRIS: I MEAN, THAT WAS
ALL IN JOHN.
1966
01:45:15,466 --> 01:45:17,266
I MEAN, IT WAS ALL IN HIM.
1967
01:45:17,300 --> 01:45:23,500
ROSEANNE CASH: ♪ AND I'LL WONDER
IF HE'S SORRY ♪
1968
01:45:25,533 --> 01:45:32,100
♪ FOR LEAVING
WHAT WE'D BEGUN ♪
1969
01:45:32,133 --> 01:45:38,566
♪ YEAH, THERE'S SOMEONE
FOR ME SOMEWHERE ♪
1970
01:45:40,533 --> 01:45:46,200
♪ BUT I STILL
MISS SOMEONE ♪
1971
01:45:48,466 --> 01:45:52,366
♪ I STILL MISS
1972
01:45:55,266 --> 01:45:57,733
♪ SOMEONE
1973
01:45:57,766 --> 01:46:03,333
♪
1974
01:46:03,366 --> 01:46:05,866
[CHEERING AND APPLAUSE]
1975
01:46:12,533 --> 01:46:15,366
["WILL THE CIRCLE BE
UNBROKEN" BY THE NITTY
GRITTY DIRT BAND PLAYS]
1976
01:46:19,066 --> 01:46:21,700
MERLE HAGGARD: IT ROSE UP
OUT OF NOTHING,
1977
01:46:21,733 --> 01:46:26,466
UNEDUCATED, FROM THE SOUL
1978
01:46:26,500 --> 01:46:30,266
AND CAME INTO WHAT IT IS,
WHICH IS PROBABLY
1979
01:46:30,300 --> 01:46:31,900
NEVER BEEN ANYTHING LIKE IT
AND THERE WILL NEVER BE
1980
01:46:31,933 --> 01:46:35,733
ANYTHING LIKE IT AGAIN.
1981
01:46:35,766 --> 01:46:37,033
GIDDENS:
THIS IS OUR VOICE,
1982
01:46:37,066 --> 01:46:38,766
AND THIS IS OUR--OUR MUSIC,
1983
01:46:38,800 --> 01:46:40,700
TELLING THOSE STORIES
OF THOSE PEOPLE
1984
01:46:40,733 --> 01:46:42,733
WHO DON'T HAVE THAT VOICE,
1985
01:46:42,766 --> 01:46:45,100
AND THEY HEAR THAT SONG,
AND THEY'RE, LIKE,
1986
01:46:45,133 --> 01:46:47,300
YOU KNOW, "THAT'S MY STORY."
1987
01:46:47,333 --> 01:46:48,700
JOHNNY CASH: ♪ WHEN I SAW...
1988
01:46:48,733 --> 01:46:50,933
NARRATOR: COUNTRY MUSIC IS
A COMPLICATED CHORUS
1989
01:46:50,966 --> 01:46:54,133
OF AMERICAN VOICES,
JOINING TOGETHER
1990
01:46:54,166 --> 01:46:57,033
TO TELL A COMPLICATED
AMERICAN STORY.
1991
01:46:57,066 --> 01:47:00,233
CHORUS: ♪ WILL THE CIRCLE
BE UNBROKEN? ♪
1992
01:47:00,266 --> 01:47:01,866
NARRATOR: IT HAS BEEN
HANDED DOWN
1993
01:47:01,900 --> 01:47:04,800
FROM GENERATION TO GENERATION,
1994
01:47:04,833 --> 01:47:08,900
MOVING FROM FARM FIELDS
AND CHURCHES
1995
01:47:08,933 --> 01:47:11,866
AND FAMILY PORCHES
INTO EVERY CORNER
1996
01:47:11,900 --> 01:47:13,200
OF THE COUNTRY.
1997
01:47:13,233 --> 01:47:15,566
CHORUS: ♪ IN THE SKY
1998
01:47:15,600 --> 01:47:19,966
ROY ACUFF: ♪ I SAID
TO THE UNDERTAKER ♪
1999
01:47:20,000 --> 01:47:24,500
♪ "UNDERTAKER, PLEASE
DRIVE SLOW" ♪
2000
01:47:24,533 --> 01:47:29,333
♪ "FOR THIS LADY
YOU ARE CARRYING" ♪
2001
01:47:29,366 --> 01:47:32,833
♪ "LORD, I HATE
TO SEE HER GO" ♪
2002
01:47:32,866 --> 01:47:36,666
NARRATOR: IT HAS CHANGED
AND GROWN AT EVERY TURN,
2003
01:47:36,700 --> 01:47:38,533
TETHERED TO ITS PAST
2004
01:47:38,566 --> 01:47:42,933
BUT ALWAYS REACHING
TOWARD ITS FUTURE.
2005
01:47:42,966 --> 01:47:46,566
SECOR: IT'S ALMOST LIKE IT NEEDS
TO BE EXHUMED
2006
01:47:46,600 --> 01:47:49,400
AND NEW LIFE BREATHED INTO IT.
2007
01:47:49,433 --> 01:47:51,466
CHORUS: ♪ IN THE SKY
2008
01:47:51,500 --> 01:47:55,500
THE PART THAT IS THE SONGS
OF THE PEOPLE,
2009
01:47:55,533 --> 01:47:59,100
THE HOPES AND ASPIRATIONS
OF THE PEOPLE,
2010
01:47:59,133 --> 01:48:01,800
THE PAIN AND SUFFERING
OF THE PEOPLE,
2011
01:48:01,833 --> 01:48:05,100
THAT NEEDS TO REMAIN EMBEDDED
IN COUNTRY MUSIC.
2012
01:48:05,133 --> 01:48:08,366
IF IT ISN'T THERE,
I'M OUT.
2013
01:48:08,400 --> 01:48:12,600
SKAGGS: ♪ OH, I FOLLOWED
CLOSE BEHIND HER ♪
2014
01:48:12,633 --> 01:48:13,966
♪ TRIED TO HOLD UP...
2015
01:48:14,000 --> 01:48:15,400
I'M NOT ONE OF THESE
OLD FARTS THAT SAYS,
2016
01:48:15,433 --> 01:48:17,433
"HEY, THEY'RE NOT
DOING IT RIGHT
2017
01:48:17,466 --> 01:48:19,033
THE WAY THEY USED TO."
2018
01:48:19,066 --> 01:48:21,233
AND I SAY, "LOOK. THEY'RE
NOT DOING BRAIN SURGERY
2019
01:48:21,266 --> 01:48:22,800
THE WAY THEY USED TO."
2020
01:48:22,833 --> 01:48:24,366
THEY USED TO DRILL
A HOLE IN YOUR HEAD
2021
01:48:24,400 --> 01:48:26,533
AND LET OUT ALL
THE BAD AIR, YOU KNOW?
2022
01:48:26,566 --> 01:48:27,866
CHORUS: ♪ WILL THE CIRCLE...
2023
01:48:27,900 --> 01:48:30,466
HALL: I'M NOT MARRIED TO--
IN MY PHILOSOPHY--
2024
01:48:30,500 --> 01:48:32,733
TO A CONCRETE COUNTRY MUSIC.
2025
01:48:32,766 --> 01:48:35,400
I DON'T THINK
THERE'S ANY SUCH THING.
2026
01:48:35,433 --> 01:48:39,833
CHORUS: ♪ THERE'S
A BETTER HOME A-WAITING ♪
2027
01:48:39,866 --> 01:48:44,266
♪ IN THE SKY, LORD,
IN THE SKY ♪
2028
01:48:44,300 --> 01:48:46,433
LEVON HELM: ♪ I WENT BACK HOME
2029
01:48:46,466 --> 01:48:47,966
♪ MY HOME WAS LONESOME...
2030
01:48:48,000 --> 01:48:51,066
IT'S ALWAYS GOING TO BE
CONNECTED TO THE PAST,
2031
01:48:51,100 --> 01:48:54,200
BUT WE DON'T
WANT TO STAY THERE.
2032
01:48:54,233 --> 01:48:57,666
"YOU NEVER STEP INTO
THE SAME RIVER TWICE."
2033
01:48:57,700 --> 01:48:59,400
MUSIC HAS TO CHANGE, TOO.
2034
01:48:59,433 --> 01:49:02,266
HELM AND HARRIS:
♪ SO SAD AND LONE
2035
01:49:02,300 --> 01:49:06,700
CHORUS: ♪ WILL THE CIRCLE
BE UNBROKEN ♪
2036
01:49:06,733 --> 01:49:11,166
♪ BY AND BY, LORD,
BY AND BY? ♪
2037
01:49:11,200 --> 01:49:15,666
♪ THERE'S A BETTER
HOME A-WAITING ♪
2038
01:49:15,700 --> 01:49:20,033
♪ IN THE SKY, LORD,
IN THE SKY ♪
2039
01:49:20,066 --> 01:49:30,166
♪
2040
01:49:30,166 --> 01:49:37,166
♪
2041
01:49:37,200 --> 01:49:39,233
NITTY GRITTY DIRT BAND:
♪ OH, WE SANG THE SONGS...
2042
01:49:39,266 --> 01:49:41,300
STUART: THERE WILL BE SONGS
THAT SHOULD HAVE BEEN HITS
2043
01:49:41,333 --> 01:49:42,900
THAT NEVER WERE.
2044
01:49:42,933 --> 01:49:44,266
THERE WILL BE SONGS
THAT ARE HITS
2045
01:49:44,300 --> 01:49:45,633
THAT SHOULDN'T HAVE BEEN.
2046
01:49:45,666 --> 01:49:47,300
THERE WILL BE PEOPLE THAT
YOU'LL FALL IN LOVE WITH,
2047
01:49:47,333 --> 01:49:49,766
AND THEY'LL BE GONE
IN 3 WEEKS
2048
01:49:49,800 --> 01:49:51,900
OR AFTER THE NEXT RECORD.
2049
01:49:51,933 --> 01:49:53,500
THEN THERE WILL BE STARS
THAT COME AND GET YOU
2050
01:49:53,533 --> 01:49:54,966
INSIDE OF YOUR HEART
AND STAY WITH YOU
2051
01:49:55,000 --> 01:49:56,466
FOR THE REST OF YOUR LIFE.
2052
01:49:56,500 --> 01:49:58,033
CHORUS: ♪ BE UNBROKEN...
2053
01:49:58,066 --> 01:49:59,233
STUART: SOMEWHERE ALONG THE WAY,
YOU'LL DISCOVER
2054
01:49:59,266 --> 01:50:01,466
AN OLD COUNTRY SONG
THAT WILL SPEAK
2055
01:50:01,500 --> 01:50:03,800
TO THAT DIVORCE YOU'RE
GOING THROUGH
2056
01:50:03,833 --> 01:50:06,000
OR THAT TAX PROBLEM
YOU'RE GOING THROUGH
2057
01:50:06,033 --> 01:50:07,733
OR YOU LOSING
YOUR BEST FRIEND.
2058
01:50:07,766 --> 01:50:10,500
CHORUS: ♪ IN THE SKY,
LORD, IN THE SKY ♪
2059
01:50:10,533 --> 01:50:12,866
STUART: COUNTRY MUSIC HAS
SOMETHING FOR EVERYBODY,
2060
01:50:12,900 --> 01:50:14,266
AND IT'S INSIDE THE SONGS.
2061
01:50:14,300 --> 01:50:17,666
IT'S INSIDE THE LIVES
OF THE CHARACTERS.
2062
01:50:17,700 --> 01:50:19,433
IT'S REALLY
COLORFUL IN HERE.
2063
01:50:19,466 --> 01:50:21,266
I INVITE YOU IN.
2064
01:50:21,300 --> 01:50:25,700
CHORUS: ♪ THERE'S A BETTER
HOME A-WAITING ♪
2065
01:50:25,733 --> 01:50:30,166
♪ IN THE SKY, LORD,
IN THE SKY ♪
2066
01:50:30,200 --> 01:50:34,600
♪ WILL THE CIRCLE
BE UNBROKEN ♪
2067
01:50:34,633 --> 01:50:39,066
♪ BY AND BY, LORD,
BY AND BY? ♪
2068
01:50:39,100 --> 01:50:48,266
♪ THERE'S A BETTER
HOME A-WAITING ♪
2069
01:50:48,300 --> 01:50:55,366
JIMMY IBBOTSON: ♪ IN THE
2070
01:50:55,400 --> 01:50:58,733
CHORUS: ♪ SKY, LORD
2071
01:50:58,766 --> 01:51:11,266
♪ IN THE SKY
2072
01:51:13,033 --> 01:51:16,500
["WILDWOOD FLOWER" BY
MAYBELLE CARTER & THE NITTY
GRITTY DIRT BAND PLAYS]
2073
01:51:19,933 --> 01:51:23,133
MAYBELLE CARTER: ♪ OH, I'LL
TWINE WITH MY MINGLES ♪
2074
01:51:23,166 --> 01:51:26,666
♪ AND WAVING BLACK HAIR
2075
01:51:26,700 --> 01:51:29,533
♪ WITH THE ROSES SO RED
2076
01:51:29,566 --> 01:51:33,400
♪ AND THE LILIES SO FAIR
2077
01:51:33,433 --> 01:51:36,300
♪ AND THE MYRTLES SO BRIGHT
2078
01:51:36,333 --> 01:51:39,366
♪ WITH THE EMERALD DEW
2079
01:51:39,400 --> 01:51:42,033
♪ THE PALE AND THE LEADER
2080
01:51:42,066 --> 01:51:45,666
♪ AND EYES LOOK LIKE BLUE
2081
01:51:45,700 --> 01:51:55,733
♪
2082
01:51:55,733 --> 01:52:01,366
♪
2083
01:52:04,533 --> 01:52:06,833
TO EXPERIENCE MORE
OF COUNTRY MUSIC,
2084
01:52:06,866 --> 01:52:09,833
VISIT PBS.ORG FOR
HISTORICAL TIMELINES,
2085
01:52:09,866 --> 01:52:12,233
BEHIND THE SCENES FOOTAGE,
AND MUSIC PLAYLISTS.
2086
01:52:12,266 --> 01:52:14,566
"COUNTRY MUSIC"
AND OTHER FILMS FROM KEN BURNS
2087
01:52:14,600 --> 01:52:17,833
ARE AVAILABLE
ON THE PBS VIDEO APP.
2088
01:52:17,866 --> 01:52:21,333
TO ORDER KEN BURNS' "COUNTRY
MUSIC" ON DVD OR BLU-RAY
2089
01:52:21,366 --> 01:52:22,733
OR THE COMPANION BOOK,
2090
01:52:22,766 --> 01:52:26,900
VISIT SHOPPBS
OR CALL 1-800-PLAY-PBS.
2091
01:52:26,933 --> 01:52:29,466
THE 5-DISC CD SET
IS ALSO AVAILABLE.
2092
01:52:29,500 --> 01:52:32,766
THIS PROGRAM IS AVAILABLE
ON AMAZON PRIME VIDEO.
2093
01:52:34,133 --> 01:52:37,133
♪ OH, HE TAUGHT ME
TO LOVE HIM ♪
2094
01:52:37,166 --> 01:52:40,633
♪ AND PROMISED TO LOVE
2095
01:52:40,666 --> 01:52:47,400
♪ AND TO CHERISH ME
OVER ALL OTHERS ABOVE ♪
2096
01:52:47,433 --> 01:52:50,366
♪ HOW MY HEART
IS NOW WONDERING ♪
2097
01:52:50,400 --> 01:52:53,133
♪ NO MISERY CAN TELL
2098
01:52:53,166 --> 01:52:58,533
♪ HE'S LEFT ME NO WARNING,
NO WORDS OF FAREWELL ♪
2099
01:52:58,566 --> 01:53:08,600
♪
2100
01:53:08,600 --> 01:53:22,900
♪
2101
01:53:22,933 --> 01:53:25,933
♪ OH, HE TAUGHT ME
TO LOVE HIM ♪
2102
01:53:25,966 --> 01:53:29,566
♪ AND CALL ME HIS FLOWER
2103
01:53:29,600 --> 01:53:32,400
♪ THAT WAS BLOOMING
TO CHEER HIM ♪
2104
01:53:32,433 --> 01:53:36,066
♪ THROUGH LIFE'S
DREARY HOUR ♪
2105
01:53:36,100 --> 01:53:41,733
♪ OH, I LONG TO SEE HIM
AND REGRET THE DARK HOUR ♪
2106
01:53:41,766 --> 01:53:49,233
♪ HE'S GONE AND NEGLECTED
THIS PALE WILDWOOD FLOWER ♪
167260
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