In keeping with the museum's mission to educate its audiences about the history of country music, the Country Music Hall of Fame® and Museum offers on-demand video streaming of selected programs. Check back often to see new videos.
February 21, 2009
Jerry Carrigan vividly remembers his first major Nashville
session, after having made a name for himself as part of the primary rhythm
section at Fame Studios in Muscle Shoals, Alabama. Surrounded by A-team
players—Ray Edenton on acoustic guitar, Grady Martin on electric guitar, Bob
Moore on bass, and either Floyd Cramer or Pig Robbins on piano—Carrigan was
told to play a shuffle.
June 21, 2008
Everything changed for Whitey Shafer in 1950 when he heard Lefty Frizzell's "If You've Got the Money I've Got the Time" on a cafe jukebox. "I learned right away," said Shafer. "It cost me quite a few nickels, but I learned it." Over twenty years later, Shafer became Frizzell's best friend and chief co-writer. Together, they penned the classics "That's the Way Love Goes" and "I Never Go Around Mirrors." Shafer when on to write some of the most significant country songs of the last forty years, including "Does Fort Worth Ever Cross Your Mind" and "All My Ex's Live in Texas," for George Strait.
Appearing as part of the Poets and Prophets series, Shafer interjected his honest, down-home humor into a ninety-minute interview and performance, transfixing the capacity Ford Theater audience with soulful singing and picking.
May 3, 2008
Listening to the radio on his way to the recording studio, Reggie Young heard a guitar break that he thought could have been played better ("something with more soul"). When the guitar legend realized that he himself had supplied the solo, it gave him pause. He decided to reduce his heavy workload by charging double-scale for his services, making him one of the first Nashville musicians to do so. To his credit, it didn't slow him down much.
Reggie shared this story and many others during his recent Nashville Cats program in the museum's Ford Theater.
April 12, 2008
With an upbeat style that echoed her father’s winning charisma, Jett Williams
entertained museum guests with stories and songs on Saturday, April 12, 2008.
Born five days after her father’s death on January 1, 1953, Jett was adopted
first by Hank’s mother, Lillian Stone. When Lillian died two years later, Jett
was put up for adoption again, and she would not learn of her true lineage until
she became an adult.
Jett’s fascinating saga of discovery and rebirth is part of the museum’s new exhibit, Family Tradition: The Williams Family Legacy, Presented by SunTrust and Ford Motor Company.
Part 1-
March 29, 2008
Hank
Williams Jr. dusted off a gem of a song he wrote some fifteen years ago—but
never recorded—during his March 29 solo performance and interview session at
the Country Music Hall of Fame and Museum’s Ford Theater. The program was part
of opening weekend festivities for the museum’s 2008–09 major exhibition, Family Tradition: The Williams Family
Legacy, Co-Presented by SunTrust and Ford Motor Company.
March 1, 2008
Bob McDill doesn’t hesitate to use the word “art” when referring to country music songwriting.
One of Music Row’s most thoughtful and literary songwriters, McDill
spoke eloquently and humorously on his career during a March 1 program
in the Country Music Hall of Fame and Museum’s Ford Theater.
Appearing
as part of the Museum’s ongoing Poets and Prophets series, McDill told tales about his
best-loved songs and commented about his approach to songwriting.

February 28, 2008



In 1963, the Statler Brothers met Johnny Cash while he was on tour in Virginia, and without hearing the vocal group, he invited them to be the opening act on his show. This marked the beginning of a long relationship between the two iconic country acts, and kicked-off the Statler Brothers’ award-winning career.
February 16, 2008
When Roger Miller
needed $1,600 to move to Los Angeles, the master singer-songwriter struck a
unique deal with his label: cut sixteen songs and Mercury Records would front
him the money. Jerry Kennedy produced the recordings, which included “Dang Me,”
“Chug-a-Lug,” and “Do-Wacka-Do.” “I thought,” Kennedy recalled, “we were
getting some really goofy stuff we might get in trouble with.”
Kennedy shared
this behind-the-scenes story—and many others—as special guest in the museum’s
quarterly series Nashville Cats saluting Music City’s musicians.