Country Music

In the 1950s, country music songwriter Harlan Howard defined his genre as "three chords and the truth." Kris Kristofferson calls it the "white man’s soul music." American chronicler Ken Burns delivers another epic series in a format virtually identical to his The Civil War some 30 years ago, mixing archival photos/footage, talking-head interviews, sonorous narration (here by Peter Coyote) of a sentiment-laden script (here by Dayton Duncan), various sound effects, and loads of music (here, "Will the Circle Be Unbroken?" becomes the overused equivalent of the earlier series’ "Ashokan Farewell"). Can it be soporific at times? Absolutely. In a comparison between the opening episode and Beth Harrington’s The Winding Stream (VL-9/16)—both of which trace the rise of country music’s first family, the Carters—the latter wins hands down. But Burns is in it for the long game in this eight-part, 16-hour-plus series, and eventually quibbles over a semi-stagnant approach melt away as the viewer gets caught up in the personal stories (many tragic) of the legends of the genre: the "Singing Brakeman" Jimmie Rodgers, the "hillbilly Shakespeare" Hank Williams, the singing cowboy Gene Autry, the rockabilly sound of Johnny Cash, the bluegrass founder Bill Monroe, the smooth "countrypolitan" Chet Atkins, the outlaws Waylon Jennings and Willie Nelson, the black superstar Charley Pride, and the legendary women throughout, from Sara Carter and Patsy Cline, to Loretta Lynn and Dolly Parton. Burns wraps his story in 1996 with the emergence of crossover mega-superstar Garth Brooks. Along the way, a fascinating history emerges as country music evolves from traditional songs inspired by African American spirituals and European ballads up through the rhythm-and-blues influenced cry-in-your-beer classics of the 1950s and early ‘60s performed on the stage of Nashville’s Grand Ole Opry, and on to the more introspective and social commentary songs of the ‘70s as artists broke away from Nashville’s iron grip on the genre. Viewers will certainly argue over choices and omissions: Glen Campbell is dismissed in a couple sentences, while Jeannie C. Riley’s "Harper Valley PTA" warrants a whole segment. But, overall, this is a meaty series, with input from singers, songwriters, producers, and historians, who make insightful comments (Willie Nelson: "Ray Charles did more for country music than any one artist") and share interesting stories (one of Johnny Cash’s last hits was a cover of Nine Inch Nails’s "Hurt"). And regardless of where one’s musical tastes lie, you’ve got to give credit to country music for the best song titles. How do you beat "It’s Hard to Kiss the Lips at Night That Chew Your Ass Out All Day Long"? Extras include hours of additional scenes and a behind-the-scenes featurette. Highly recommended. Aud: C, P. (R. Pitman)