(L-R) John Turturro, Tim Blake Nelson and George Clooney in 'O Brother, Where Art Thou?'
Photo: Universal/Getty Images
20 Years Ago, 'O Brother, Where Art Thou?' Crashed The Country Music Party
In honor of the 20-year anniversary of the GRAMMY-winning album, GRAMMY.com spoke to the creative minds behind the groundbreaking soundtrack, including T Bone Burnett, Dan Tyminski, Luke Lewis and others
The Coen Brothers' 2000 tragicomedy O Brother, Where Art Thou?, set in Mississippi during the Great Depression, pulls deeply from the early-20th century American songbook to drive the film's Homeric storyline, which entangles the lives of escaped convicts Delmar O'Donnell (Tim Blake Nelson), Pete Hogwallop (John Turturro) and Ulysses Everett McGill (George Clooney).
But while nearly all 19 tracks on the original soundtrack, released December 5, 2000, are once-popular songs enshrined in the Library of Congress, the music wasn't designed to be a hit outside the world of the Soggy Bottom Boys, the film's fictional band composed of the main characters. "Old-Time Music is Very Much Alive!" trumpets the faux Nashville Banner headline in the liner notes to the film's original soundtrack, "But you won't hear it on 'country' radio."
The prophecy proved true. The popularity of O Brother, Where Art Thou? didn't help traditional music break into radio programmers' playlists—the single for "I Am A Man Of Constant Sorrow" peaked at No. 35 on the Billboard Hot Country Songs chart—but it didn't matter. The soundtrack sold more than 8 million copies in the U.S., certified eight times platinum, and won Album Of The Year at the 44th GRAMMY Awards.
On that February evening in 2002, bluegrass legend Ralph Stanley stunned the audience at the Staples Center in Los Angeles with an a cappella performance of "O Death," a traditional folk song featured on the soundtrack, delivered by the then-73-year-old under a single spotlight in the middle of the darkened arena. (Stanley went on to win the Best Male Country Vocal Performance GRAMMY for the track that night.)
"Having Ralph Stanley stand on a stool in the middle of the room and sing 'O Death' was the pinnacle of my entire career," Luke Lewis, whose Lost Highway label released the soundtrack and who also led the Nashville operations of Mercury, MCA and UMG at various points, tells GRAMMY.com. "I was sitting with a bunch of f*cking gangster rappers who were completely blown away."
But the odyssey began long before a host of country, gospel and bluegrass ringers upturned the industry on music's biggest night—before the Coen Brothers even began filming, in fact.
In the spring of 1999, producer T Bone Burnett convened at Sound Emporium in Nashville with a who's who of roots musicians from the city's vibrant bluegrass scene, including Gillian Welch and Alison Krauss & Union Station, to put the song cycle to tape. Lewis, who was just beginning to assemble Lost Highway Records as a creative haven for roots artists like Lucinda Williams, caught wind of the sessions and went to investigate.
"I walked into that creative process when all that was going on, and the Coen Brothers are hanging, T Bone's in there," Lewis recalls. "All these amazing artists come in there and do the record old school, with a mic in the middle of the room."
Classics such as "I'll Fly Away," "You Are My Sunshine" and "In The Jailhouse Now"—the latter sung by actor Tim Blake Nelson—are rendered slower and lower than typical bluegrass interpretations. That was an intentional move, Burnett says, to capitalize on the bass response of the subwoofer-loaded sound systems in movie theaters.
"The first thing we did was stretch the sonic spectrum that bluegrass was ordinarily recorded in, which was very high—the banjo was high, the singing was high, the violins were high, the mandolins were high—and we lowered it a couple of octaves and approached it more as a rock 'n' roll album rather than a traditional bluegrass record."
While Krauss took lead vocals on "Down To The River To Pray," elsewhere collaborating with Welch and Emmylou Harris on "Didn't Leave Nobody But The Baby," her Union Station guitarist Dan Tyminski was asked to audition for the cut of a lifetime: singing lead on "I Am A Man Of Constant Sorrow," the hit Soggy Bottom Boys song "sung" by George Clooney in the film.
"I was happy to do it, but I honestly didn't feel like it made a lot of sense," Tyminski remembers. "I didn't necessarily see myself sounding like Clooney's voice at the time, but it's hard to see from your own perspective what other people see or hear. So, I went back and auditioned the next day, and somehow [I] got it, and just couldn't have been more shocked at what would follow."
The brains behind the soundtrack were just as surprised when the film opened in France, prior to its stateside debut, and sold 70,000 copies of the album within a month. It was a hint of what was to come in the U.S.
As the film's signature song, "I Am A Man Of Constant Sorrow" helped drive the soundtrack to the No. 1 spot on the Billboard 200, where it spent 15 weeks during a 683-week run on the chart.
The song became Tyminski's calling card, but he almost didn't get to play it. After his version was done and filming had begun, Clooney himself asked to take a pass at the vocal. Tyminski went back to the studio on a day off from shooting and backed him on guitar.
"George is actually a really great singer and had learned the song well, and he sang a killer version of it," Burnett says. "But it didn't have the thrill in it that Dan's version had. And so I just said, 'This is great, but we're supposed to be making a movie about a hit record, and now we've got something that sounds like a hit record, so I think we should stick with that. What do you think?' And I think he was relieved, really."
Tyminski says the recording process also played a role in the decision to use his version. "It's not that he couldn't do the job," he says, "but for the sake of the movie, it had to be one take, live, no fixes. It was all really pure, all very organic.
"After he had taken a couple of swings at it and got the words jumbled a couple of times, he says, 'Dan, I'll make you a deal: I'll act, you sing.' And quite honestly, I was so disappointed because I thought it was so cool to have recorded the song with Clooney. At the time, it felt like that was a bigger deal than singing the song myself. It wasn't until a little bit later that I realized what a loss that would have been. It ended up being the biggest song of my career, easily."
Tracking down the writers of songs composed nearly a century earlier proved to be an enormous job for Burnett and Denise Stiff, who managed Welch and Union Station. The songs were recorded and re-recorded over the decades, and many versions were unique enough to support their own copyrights. That meant when Burnett used or rewrote an arrangement, they had to determine which previous version of the song was closest and credit the right people.
"'Man Of Constant Sorrow' has, I think, 50 copyrights in the Library Of Congress," Burnett says. "The one we worked with most closely was The Stanley Brothers' version. Even though we had done our own arrangement, we could've gotten sued by 50 people for infringement."
The version of "I Am A Man Of Constant Sorrow" recorded for the film earned Tyminski a GRAMMY for Best Country Collaboration With Vocals at the 2002 GRAMMYs. In addition to the Album Of The Year win, the soundtrack also won for Best Compilation Soundtrack Album For A Motion Picture, Television Or Other Visual Media, while T Bone Burnett won for Producer Of The Year, Non-Classical.
Two decades later, it's hard to say what lasting impact the success of O Brother, Where Art Thou? made on contemporary country music, or popular music in general. The widespread acclaim for the film and soundtrack is undeniable, and they both made gobs of money. But it could be argued—and Burnett does—that a revival of roots music was already underway when it all hit.
"The reason I think it was so successful [was] because, one, there was already a very strong traditional music trend," Burnett says. "Kids were learning how to do it."
So-called "alt-country" bands like Wilco and Old 97's were impacting the lower rungs of industry charts, along with Jayhawks, Whiskeytown and others. Bluegrass trio Nickel Creek had hooked up with Krauss and released their 2000 self-titled, platinum-selling album, while bluegrass-adjacent bands Old Crow Medicine Show and The Avett Brothers were beginning to make names for themselves on the touring circuit.
"Certainly, country radio didn't change, and you wish for things like that to happen," Lost Highway founder Lewis says. "But it makes you aware that there's a wider world than what you hear on mainstream radio, and for a lot of people who really love music, you need something to lead you down the path because it's hard to find guideposts to things you might like. I think O Brother had that sort of impact."
There's another reason, too, Burnett suggests. On the night of the 2002 GRAMMYs, Americans were still reeling from the September 11 terrorist attacks that took place just five months earlier. Tony Bennett and Billy Joel sang a duet on "New York State Of Mind," a nod to the resilience of the city amid tragedy. Alan Jackson performed "Where Were You (When The World Stopped Turning)" in front of children's art created in reaction to the attacks in New York, Washington, D.C., and Pennsylvania. And in the middle of it all, Ralph Stanley stood on the GRAMMY stage, alone and vulnerable, pleading with his maker, "Won't you spare me over for another year?"
"Art responds to events without the artists meaning to at all," Burnett says. "The Beatles weren't responding to Kennedy's assassination, and yet everything about The Beatles felt like the thing that we needed the most after the Kennedy assassination. People were looking for our identity as Americans. Why did we get hit like this? Who were we?"
While the music of O Brother, Where Art Thou? offered millions of Americans the comfort of nostalgia, it impacted others in more material ways.
"It did amazing things for the artists that were involved," Lewis says. "All of a sudden, they were going on the road and making 10 times what they made before the record came out. They got royalty payments that they probably didn't ever dream of."
Mississippi-born singer James Carter had forgotten about the day in September 1959 when Alan Lomax recorded him singing "Po Lazarus" at the Mississippi State Penitentiary at Parchman until producers tracked him down in Chicago to present him with a platinum record plaque and a $20,000 royalty check for his performance. The 76-year-old former convict even attended the GRAMMY Awards that night, though he could barely remember recording the song.
In the years that followed, Tyminski recalls that the demographics of Union Station shows began to swing younger than before: more rock T-shirts, more spiked haircuts. He also remembers the rousing applause for the song that George Clooney, as Ulysses Everett McGill, sang into a can in the film's pivotal recording scene.
"From that point forward, that song was in every single show that we did," Tyminski says. "But when you have a song that's been that good to you and that people identify with and they want to hear, shame on you if you're not willing to play that song for the rest of your life."
Rotimi On Performing At ESSENCE Fest, Growing Up African-American & More
The Nigerian-American singer and actor sat down with the Recording Academy to talk about what inspired his latest album, 'Walk With Me'
In 2015, Rotimi stepped into the New Orleans Superdome for the first time to experience the magic of ESSENCE Fest. Four years later, in 2019, the "Love Riddim" singer returned to the celebration as a performer, something he said was spoken into existence.
"Last year me and my manager had a conversation and I said, 'Listen, I'm going to be on the [ESSENCE] mainstage this year. 365 days later, we did it," Rotimi told the Recording Academy at the 25th annual ESSENCE Fest.
Rotimi, also an actor on Starz' "Power," has evolved since his last album, 2017's Jeep Music, Vol.1. The singer said he really hit home with its follow-up, the recently released Walk With Me, a project he worked hard for, putting in hours in the studio after filming on set.
"Walk With Me is the first time I actually felt like I was giving myself as an artist, and personally I feel like with everything else I have going on I wanted to show people that this is really what I do," he said. "I wanted people to understand who Rotimi is, who Rotimi was before, who I want to be and just understand my growth and the journey and my passion for what I do."
Part of why the album felt like such a representation of him is because it embodies beats of his African roots, something he said was very present growing up Nigerian-American.
"I grew up with a lot of Fela Kuti and I grew up with Bob Marley," he said of his musical roots. "But I also grew up with Carl Thomas and Genuine and Usher, so there was a genuine mixture of who I am and what I've grown up to listen to. The actual Walk With Me project was a mixture of influences of Akon and Craig David."
Find Out Who's Nominated For Best Rap Album | 2020 GRAMMY Awards
Dreamville, Meek Mill, 21 Savage, Tyler, The Creator, and YBN Cordae all earn nominations in the category
The 2020 GRAMMYs are just around the corner, and now the nominations are in for the coveted honor of Best Rap Album. While we'll have to wait until the 62nd GRAMMY Awards air on CBS on Jan. 26 to find out who will win, let's take a look at which albums have been nominated for Best Rap Album.
Revenge of the Dreamers III – Dreamville
Dreamers III, the third installment in the label’s Revenge of the Dreamers compilation series, debuted at No. 1 on the Billboard 200 chart and achieved gold status this past July. In addition to a Best Rap Album nod, Dreamers III is also nominated for Best Rap Performance next year for album track “Down Bad,” featuring J.I.D, Bas, J. Cole, EARTHGANG, and Young Nudy.
Championships – Meek Mill
In many ways, Championships represents a literal and metaphorical homecoming for Meek Mill. Released in November 2018, Championships is the Philadelphia rapper’s first artist album following a two-year prison sentence he served after violating his parole in 2017. Championships, naturally, sees Meek tackling social justice issues stemming from his prison experience, including criminal justice reform. The album debuted at No. 1 on the Billboard 200, his second chart-topper following 2015’s Dreams Worth More Than Money, and reached platinum status in June 2019. Meek Mill's 2020 Best Rap Album nod marks his first-ever GRAMMY nomination.
i am > i was – 21 Savage
Breakout rapper and four-time GRAMMY nominee 21 Savage dropped i am > i was, his second solo artist album, at the end of 2018. The guest-heavy album, which features contributions from Post Malone, Childish Gambino, J. Cole, and many others, has since charted around the world, topped the Billboard 200 – a first for the artist – in the beginning of 2019, and achieved gold status in the U.S. As well, nine songs out of the album’s 15 original tracks landed on the Hot 100 chart, including multi-platinum lead single “A Lot,” which is also nominated for Best Rap Song next year. 21 Savage’s 2020 Best Rap Album nomination, which follows Record of the Year and Best Rap/Sung Performance nods for his 2017 Post Malone collaboration, "Rockstar,” marks his first solo recognition in the top rap category.
IGOR – Tyler, The Creator
The eccentric Tyler, The Creator kicked off a massive 2019 with his mid-year album, IGOR. Released this past May, IGOR, Tyler’s fifth solo artist album, is his most commercially successful project to date. The album debuted at No. 1 on the Billboard 200, marking his first time topping the coveted chart, while its lead single, "Earfquake,” peaked at No. 13, his highest entry on the Hot 100. Produced in full by Tyler and featuring guest spots from fellow rap and R&B stars Kanye West, Lil Uzi Vert, Solange, and Playboi Carti, among many others, IGOR follows the rapper’s 2017 album, Flower Boy, which received the Best Rap Album nod that same year.
The Lost Boy – YBN Cordae
Emerging rapper YBN Cordae, a member of the breakout YBN rap collective, released his debut album, The Lost Boy, to widespread critical acclaim this past July. The 15-track release is stacked with major collaborations with hip-hop heavyweights, including Anderson .Paak, Pusha T, Meek Mill, and others, plus production work from J. Cole and vocals from Quincy Jones. After peaking at No. 13 on the Billboard 200, The Lost Boy now notches two 2020 GRAMMY nominations: Best Rap Album and Best Rap Song for album track “Bad Idea,” featuring Chance the Rapper.
Photo: C Brandon/Redferns/Getty Images
Brittany Howard, Brandi Carlile, Leon Bridges, 2 Chainz & More Join Small Business Live Benefit Livestream
Proceeds from the event will be go toward loans to small businesses founded by people of color, with additional support to women-owned and immigrant-owned businesses, via Accion Opportunity Fund
This Saturday, June 20, artists including Brittany Howard, Brandi Carlile, Leon Bridges, 2 Chainz and more will come together for Small Business Live, a livestream fundraiser event for small businesses facing challenges from the COVID-19 pandemic.
Proceeds from the livestream will go to Accion Opportunity Fund to support small businesses founded by people of color, with additional support to women-owned and immigrant-owned businesses.
“Entrepreneurs of color are denied credit more often and charged higher rates for money they borrow to fund their businesses. We need to accelerate support to underserved businesses in order to reach our full potential,” Accion Opportunity Fund CEO Luz Urrutia said. “We have to decide what we want our Main Streets to look like when this is over, and we must act decisively to keep small businesses alive and ready to rebuild. This is a fun way to do something really important. Everyone’s support will make a huge difference to small business owners, their families and employees who have been devastated by this pandemic, the recession, and centuries of racism, xenophobia and oppression.”
Tune in for Small Business Live Saturday, June 20 from 4:00 p.m. to 10:00 p.m. EDT on smallbiz.live. The site also provides a full schedule of programs and links to watch the livestream on all major digital platforms. To learn more about Accion Opportunity Fund, visit the organization's website.
Five For Fighting
Photo: Steve Jennings/Getty Images
Stephen Schwartz, Five For Fighting Pen Music For "Harmony" Cop Show
"Harmony": ABC's New Musical Cop Show
Remember that short-lived 1990 ABC show called "Cop Rock" that outrageously saw, for example, a jury, judge and courtroom erupt in a rousing chorus of "He's Guilty"? No? Well, that's maybe not a surprise.
Created by "Hill Street Blues" creator Steven Bochco, the musical and cop drama combination was perhaps ahead of its time. "Cop Rock" only aired for 11 episodes before the network pulled the plug. But now, ABC thinks it's time to give the genre a second chance.
With GRAMMY-winning composer Stephen Schwartz ("Wicked") and Five For Fighting's John Ondrasik on board, ABC has put considerable development resources behind a new show called "Harmony," created with Bradley Bredeweg and Peter Paige.
The musical show centers on the residents of the appropriately named city of Harmony, N.Y., with, according to Billboard, "the most unique dialect in the world: They sing their feelings and dance their emotions." After a murder threatens the tourist destination, a "repressed" detective returns to the singsong town he left as a teenager to not only solve the murder, but to resolve his own past.
Now that 27 years has passed since "Cop Rock," which TV Guide ranked as the eighth worst TV show of all time in 2002, the network hopes TV viewers will finally be ready for the unconquered territory of solving crimes while singing.