WEBVTT 00:00:00.000 --> 00:00:02.759 Imagine a musician whose poetic lyrics have greased 00:00:02.759 --> 00:00:05.440 the big stages, whose melodies, while they've 00:00:05.440 --> 00:00:08.619 been sung by country legends and pop icons alike, 00:00:09.279 --> 00:00:12.220 and his influence has subtly shaped entire genres 00:00:12.220 --> 00:00:15.240 for decades yet, his name might not always be 00:00:15.240 --> 00:00:17.980 the first you hear when discussing the pantheon 00:00:17.980 --> 00:00:20.739 of music greats. Right. Today, we're taking a 00:00:20.739 --> 00:00:23.780 deep dive into the extraordinary career of just 00:00:23.780 --> 00:00:26.140 such an artist. That's right. Our mission today 00:00:26.140 --> 00:00:29.120 is to unpack the incredible journey of Rodney 00:00:29.120 --> 00:00:31.800 Crowell. American singer, songwriter, record 00:00:31.800 --> 00:00:36.060 producer, performer. His artistry is, well, it's 00:00:36.060 --> 00:00:38.539 far more pervasive than his public profile might 00:00:38.539 --> 00:00:41.380 suggest. We'll explore how he moved so fluidly 00:00:41.380 --> 00:00:44.259 between progressive country, that genre known 00:00:44.259 --> 00:00:46.380 for blending traditional country with more sort 00:00:46.380 --> 00:00:48.460 of rebellious singer -songwriter vibes. Right, 00:00:48.560 --> 00:00:51.119 that alternative edge. Exactly. And then mainstream 00:00:51.119 --> 00:00:54.100 pop and Americana, which really emphasizes those 00:00:54.100 --> 00:00:56.619 roots music traditions. We're tracing his path 00:00:56.619 --> 00:01:00.460 from like humble Texas roots all the way to Grammy 00:01:00.460 --> 00:01:02.679 winning collaborations and critically acclaimed 00:01:02.679 --> 00:01:05.200 solo work. We're going to uncover why he's considered 00:01:05.200 --> 00:01:08.040 a true craftsman of American music. And all the 00:01:08.040 --> 00:01:10.379 fascinating details for this deep dive, they 00:01:10.379 --> 00:01:12.980 come from a thorough examination of his Wikipedia 00:01:12.980 --> 00:01:15.780 entry. Which, let me tell you, is a treasure 00:01:15.780 --> 00:01:18.280 trove. It lays out a story that's not just a 00:01:18.280 --> 00:01:20.819 timeline, but it's a testament to this relentless 00:01:20.819 --> 00:01:24.439 artistic pursuit. So let's dig in. Precisely. 00:01:24.519 --> 00:01:28.680 So Rodney Crowell was born August 7, 1950, in 00:01:28.680 --> 00:01:31.359 Houston, Texas. And from the very beginning, 00:01:31.680 --> 00:01:34.140 music wasn't just in his home, it was basically 00:01:34.140 --> 00:01:37.459 in his DNA. I mean, picture this. One grandfather 00:01:37.459 --> 00:01:40.219 led a church choir, the other was a bluegrass 00:01:40.219 --> 00:01:43.209 banjo player. His grandmother played guitar, 00:01:43.629 --> 00:01:45.930 and his father sang semi -professionally in local 00:01:45.930 --> 00:01:48.250 bars and hockey talks. That's not just a musical 00:01:48.250 --> 00:01:50.390 family. That's like a whole musical ecosystem. 00:01:50.549 --> 00:01:52.409 It's no wonder he started playing drums in his 00:01:52.409 --> 00:01:54.849 father's band at the, what, the tender age of 00:01:54.849 --> 00:01:56.629 11? Yeah, 11. And what's even more interesting, 00:01:56.730 --> 00:01:58.549 during his teenage years in Houston, he wasn't 00:01:58.549 --> 00:02:01.230 just steeped in country. He was jamming in various 00:02:01.230 --> 00:02:03.290 garage rock bands, mixing the hits of the day 00:02:03.290 --> 00:02:05.849 right alongside those country numbers. How do 00:02:05.849 --> 00:02:09.189 you think that early versatility shaped his unique 00:02:09.189 --> 00:02:12.139 sound later on? Oh, it... absolutely laid a crucial 00:02:12.139 --> 00:02:15.680 foundation. That exposure to both raw electric 00:02:15.680 --> 00:02:17.979 garage rock and the storytelling tradition of 00:02:17.979 --> 00:02:21.280 country gave him such a broader palette. So when 00:02:21.280 --> 00:02:23.740 he made that pivotal move to Nashville in August 00:02:23.740 --> 00:02:27.759 of 1972, he arrived with this unique blend already 00:02:27.759 --> 00:02:30.199 kind of simmering. It wasn't long before he was 00:02:30.199 --> 00:02:32.780 discovered by Jerry Reed, lending him a crucial 00:02:32.780 --> 00:02:35.770 songwriting job. But perhaps even more impactful 00:02:35.770 --> 00:02:39.009 was meeting and befriending Guy Clark and Townes 00:02:39.009 --> 00:02:42.210 Van Zandt. Big names. Huge influences. They weren't 00:02:42.210 --> 00:02:45.409 just friends. They became profound mentors, really 00:02:45.409 --> 00:02:47.830 influencing his approach to songwriting in ways 00:02:47.830 --> 00:02:50.689 that would define his career. That raw Nashville 00:02:50.689 --> 00:02:53.289 period clearly forged his foundational skills. 00:02:53.569 --> 00:02:55.909 And it seems Crowell himself recognized its profound 00:02:55.909 --> 00:02:58.810 impact. He once reflected on that time with this 00:02:58.810 --> 00:03:01.530 powerful quote. He said, I got a real cold splash 00:03:01.530 --> 00:03:03.530 in the face of what real songwriting is about. 00:03:03.750 --> 00:03:06.409 I started filling my mind with as many symbols 00:03:06.409 --> 00:03:10.110 and images as I could. I started reading. I got 00:03:10.110 --> 00:03:12.189 real hungry to have something to contribute. 00:03:13.180 --> 00:03:16.259 Just feel that hunger, right? That almost academic 00:03:16.259 --> 00:03:19.379 drive to master his craft, even decades later. 00:03:19.460 --> 00:03:22.780 You truly can. And that drive quickly translated 00:03:22.780 --> 00:03:25.979 into tangible opportunities. Yeah. Emma Lou Harris, 00:03:26.139 --> 00:03:28.319 who had already recognized his talent by recording 00:03:28.319 --> 00:03:30.879 his song, Bluebird Wine, on her Pieces of the 00:03:30.879 --> 00:03:33.919 Sky album. Right. She knew. She sought him out. 00:03:34.479 --> 00:03:36.819 After he sat in with her at a gig at the legendary 00:03:36.819 --> 00:03:39.659 Armadillo World headquarters in early 75, she 00:03:39.659 --> 00:03:41.680 asked him to play rhythm guitar in her backing 00:03:41.680 --> 00:03:44.370 band. The Hot Band. The Hot Band. He accepted 00:03:44.370 --> 00:03:46.550 on the spot, moved to Los Angeles the very next 00:03:46.550 --> 00:03:49.169 day, and played with her for three years. It 00:03:49.169 --> 00:03:52.069 was like a whirlwind transition from aspiring 00:03:52.069 --> 00:03:54.889 writer to touring musician with a huge rising 00:03:54.889 --> 00:03:57.509 star. What an incredible launch pad. From Garage 00:03:57.509 --> 00:03:59.669 Bands to Nashville, then boom, directly into 00:03:59.669 --> 00:04:02.289 Emmylou Harris' orbit. And that band became legendary 00:04:02.289 --> 00:04:04.270 itself. But while he was with the Hot Band, he 00:04:04.270 --> 00:04:07.060 wasn't just, you know, content. to back her up. 00:04:07.500 --> 00:04:10.580 He formed a side project in 1977, this group 00:04:10.580 --> 00:04:12.819 called the Cherry Bombs with future stars like 00:04:12.819 --> 00:04:15.620 Vince Gill and Tony Brown. That really speaks 00:04:15.620 --> 00:04:17.540 to his constant creative energy, doesn't it? 00:04:17.839 --> 00:04:20.759 Precisely. Yeah, that side project really underscores 00:04:20.759 --> 00:04:24.540 his innate drive to create beyond just one single 00:04:24.540 --> 00:04:27.180 role. He signed a solo deal with Warner Bros. 00:04:27.870 --> 00:04:30.550 records, releasing his debut album, 8 Live and 00:04:30.550 --> 00:04:34.069 Long Like This, in August 1978. Okay, the solo 00:04:34.069 --> 00:04:36.790 career begins. Right. Now, his first three albums, 00:04:37.370 --> 00:04:40.230 including that debut, along with But What Will 00:04:40.230 --> 00:04:42.250 the Neighbors Think? and Rodney Crowe, they didn't 00:04:42.250 --> 00:04:44.009 exactly set the charts on fire commercially. 00:04:44.639 --> 00:04:47.319 However, they quietly built this huge cult following 00:04:47.319 --> 00:04:50.920 among critics and fellow musicians. Crowell himself 00:04:50.920 --> 00:04:52.920 even criticized his debut, said it didn't fully 00:04:52.920 --> 00:04:55.019 capture the studio energy. It was sort of a period 00:04:55.019 --> 00:04:57.240 of artistic apprenticeship, you know, critical 00:04:57.240 --> 00:04:59.379 acclaim simmering beneath the surface, priming 00:04:59.379 --> 00:05:01.279 him for what was coming. It's fascinating how 00:05:01.279 --> 00:05:03.699 some artists find their true voice or audience 00:05:03.699 --> 00:05:06.300 even amidst those early commercial struggles. 00:05:06.600 --> 00:05:09.079 But even with those challenges, his songwriting 00:05:09.079 --> 00:05:12.300 prowess just couldn't be denied. His single Ashes 00:05:12.300 --> 00:05:15.199 by Now from But what will the neighbors think? 00:05:15.399 --> 00:05:17.740 Did reach number 37 on the Billboard Hot 100 00:05:17.740 --> 00:05:20.759 in 1980s? That's decent. Yeah. But more significantly, 00:05:21.199 --> 00:05:23.120 other artists were having massive success with 00:05:23.120 --> 00:05:25.779 his songs. Waylon Jennings took I Ain't Livin' 00:05:25.779 --> 00:05:28.759 Long Like This to the charts. Classic. The Oak 00:05:28.759 --> 00:05:31.500 Ridge Boys scored with Leaving Louisiana in the 00:05:31.500 --> 00:05:33.439 Broad Daylight. And then you have Johnny Cash, 00:05:33.680 --> 00:05:36.199 Roseanne Cash, Emmalue Harris, Jerry Reed, all 00:05:36.199 --> 00:05:39.540 covering multiple cruel compositions. What was 00:05:39.540 --> 00:05:41.439 it about his writing, you think, that made him 00:05:41.439 --> 00:05:43.199 such a songwriter -songwriter in the eyes of 00:05:43.199 --> 00:05:45.639 his peers? Well, he had this uncanny ability 00:05:45.639 --> 00:05:48.560 to craft narratives that felt intensely personal 00:05:48.560 --> 00:05:51.879 yet somehow universally relatable, often with 00:05:51.879 --> 00:05:54.579 this subtle wit and a real mastery of poetic 00:05:54.579 --> 00:05:57.439 imagery that just elevated his compositions beyond 00:05:57.439 --> 00:05:59.459 typical chart fare. Other artists recognized 00:05:59.459 --> 00:06:02.019 that craftsmanship, that depth, and they wanted 00:06:02.019 --> 00:06:04.399 to bring that same feeling to their own interpretations. 00:06:05.330 --> 00:06:08.310 This period really cemented his reputation, and 00:06:08.310 --> 00:06:11.189 then came a major pop songwriting hit with Shame 00:06:11.189 --> 00:06:13.990 on the Moon, recorded by Bob Seeger and the Silver 00:06:13.990 --> 00:06:16.930 Bullet Band for their 1982 album, The Distance. 00:06:16.949 --> 00:06:19.430 Oh yeah, huge song. This song was a phenomena. 00:06:20.110 --> 00:06:22.350 It spent four weeks at number two on the Billboard 00:06:22.350 --> 00:06:25.209 Hot 100, topped the adult contemporary chart, 00:06:25.209 --> 00:06:27.829 and even placed in the top 15 of the country 00:06:27.829 --> 00:06:31.970 chart in early 83. It significantly boosted Crawwell's 00:06:31.970 --> 00:06:35.100 cult status, praised for its dark, poetic and 00:06:35.100 --> 00:06:37.740 hypnotic style. That crossover was remarkable. 00:06:37.879 --> 00:06:40.439 To have a song resonate so deeply across country, 00:06:40.560 --> 00:06:43.699 pop, and adult contemporary audiences, it speaks 00:06:43.699 --> 00:06:45.899 volumes about its power, doesn't it? Absolutely. 00:06:46.040 --> 00:06:48.019 And his song, Till I Gain Control Again, became 00:06:48.019 --> 00:06:50.199 a number one country single for Crystal Gale 00:06:50.199 --> 00:06:52.959 in 1983. Right. After Emmalue had recorded it 00:06:52.959 --> 00:06:55.920 first back in 75. It's almost like he was the 00:06:55.920 --> 00:06:59.459 industry's secret weapon or something. Yet, amidst 00:06:59.459 --> 00:07:01.620 all this songwriting success, he actually put 00:07:01.620 --> 00:07:04.959 his own music career on hold in 1981 to produce 00:07:04.959 --> 00:07:07.920 several albums for his then -wife, Roseanne Cash. 00:07:08.240 --> 00:07:10.639 That's quite a commitment. It really was a generous, 00:07:10.860 --> 00:07:13.139 collaborative move that speaks volumes about 00:07:13.139 --> 00:07:17.000 his character and his belief in Roseanne's artistry. 00:07:17.480 --> 00:07:20.379 He returned to his own music in 1984, recording 00:07:20.379 --> 00:07:23.720 Street Language for Warner Bros. But that particular 00:07:23.720 --> 00:07:25.939 pop -sounding effort was rejected by the label. 00:07:26.199 --> 00:07:29.740 Ouch. Yeah, a significant setback. But he negotiated 00:07:29.740 --> 00:07:31.720 a release from his contract and found a new home 00:07:31.720 --> 00:07:35.079 at Columbia Records. This moment really highlights 00:07:35.079 --> 00:07:37.399 the resilience often required in the music business 00:07:37.399 --> 00:07:39.819 and artists committed to their vision, even when 00:07:39.819 --> 00:07:41.759 labels don't initially see it, you know. Totally. 00:07:41.959 --> 00:07:43.899 So after those early career ups and downs on 00:07:43.899 --> 00:07:46.279 the solo front and proving his immense value 00:07:46.279 --> 00:07:49.199 as a songwriter for others, what strategic shifts 00:07:49.199 --> 00:07:51.319 or creative decisions did Krawl make when he 00:07:51.319 --> 00:07:53.160 signed with Columbia that ultimately paved the 00:07:53.160 --> 00:07:55.759 way for his massive breakthrough? Excellent question. 00:07:55.920 --> 00:07:58.360 Well, after producing Roseanne Cash's Rhythm 00:07:58.360 --> 00:08:00.920 and Romance, Crawwell officially signed with 00:08:00.920 --> 00:08:04.600 Columbia in 1986. His first album for the label 00:08:04.600 --> 00:08:06.899 was actually a reworked version of that rejected 00:08:06.899 --> 00:08:09.759 street language. Oh, interesting. Yeah, co -produced 00:08:09.759 --> 00:08:12.519 to the legendary Booker T. Jones. While it blended 00:08:12.519 --> 00:08:16.160 soul and country, it didn't chart. which shows 00:08:16.160 --> 00:08:18.420 that even with a new label and a refined vision, 00:08:19.079 --> 00:08:21.319 immediate success wasn't guaranteed. Right. But 00:08:21.319 --> 00:08:24.220 this was merely a prelude, really. A final, refining 00:08:24.220 --> 00:08:26.319 step before a truly monumental breakthrough. 00:08:26.560 --> 00:08:28.519 And what a breakthrough it was. This is where 00:08:28.519 --> 00:08:31.079 Rodney Krall, who'd been admired for his songwriting 00:08:31.079 --> 00:08:33.639 and alternative country leanings, just achieved 00:08:33.639 --> 00:08:36.659 massive mainstream popularity. His critically 00:08:36.659 --> 00:08:40.019 acclaimed 1988 album, Diamonds and Dirt. It produced 00:08:40.019 --> 00:08:42.960 an astonishing five consecutive number one singles 00:08:42.960 --> 00:08:45.720 on the Hot Country Songs chart. Five. Over just 00:08:45.720 --> 00:08:48.559 17 months in 88 and 89. Five number ones that's 00:08:48.559 --> 00:08:50.559 almost unheard of for any artist, let alone one 00:08:50.559 --> 00:08:52.840 who'd spent years kind of in the wings. It really 00:08:52.840 --> 00:08:54.720 is an incredible achievement and a testament 00:08:54.720 --> 00:08:57.960 to his persistence. Those singles were, it's 00:08:57.960 --> 00:09:00.440 such a small world, the duet with Roseanne Cash. 00:09:00.720 --> 00:09:02.659 Great song. I couldn't leave you if I tried. 00:09:02.960 --> 00:09:05.590 She's crazy for leaving. after all this time, 00:09:06.090 --> 00:09:09.190 which significantly won the 1990 Grammy Award 00:09:09.190 --> 00:09:11.970 for Best Country Song, his first Grammy, and 00:09:11.970 --> 00:09:14.549 above and beyond, a cover of the Buck Owens' 00:09:14.649 --> 00:09:18.169 1962 hit. This album wasn't just a commercial 00:09:18.169 --> 00:09:21.350 success. It truly demonstrated Crowell's ability 00:09:21.350 --> 00:09:23.950 to take the nuanced literary songwriting he'd 00:09:23.950 --> 00:09:26.929 owned and translate it into accessible chart 00:09:26.929 --> 00:09:29.529 -topping country music without compromising his 00:09:29.529 --> 00:09:32.710 artistic integrity. It's a rare feat. Few artists 00:09:32.710 --> 00:09:35.299 managed to sustain that. Five consecutive number 00:09:35.299 --> 00:09:37.899 ones, including a Grammy winner. That album was 00:09:37.899 --> 00:09:39.980 just a phenomenon, and the success didn't stop 00:09:39.980 --> 00:09:42.100 there, right? Not at all. His follow -up album, 00:09:42.419 --> 00:09:45.159 1989's Keys to the Highway, produced two more 00:09:45.159 --> 00:09:48.320 top five hits in 1990, many along in Lonesome 00:09:48.320 --> 00:09:50.779 Highway and If Looks Could Kill. He was truly 00:09:50.779 --> 00:09:53.100 a mainstream force, a household name in country 00:09:53.100 --> 00:09:56.019 music at this point. He absolutely was. But like 00:09:56.019 --> 00:09:58.240 many artists, his journey with labels continued. 00:09:59.210 --> 00:10:01.690 After 1992's Life is Messy, he left Columbia 00:10:01.690 --> 00:10:04.250 and signed with MCA Records, releasing Let the 00:10:04.250 --> 00:10:06.090 Picture Paint Itself and Jewel of the South. 00:10:06.629 --> 00:10:09.250 This pattern of label transitions, rather than 00:10:09.250 --> 00:10:11.529 signifying a decline, I think it often points 00:10:11.529 --> 00:10:13.990 to an artist evolving, seeking the right creative 00:10:13.990 --> 00:10:16.450 home for their changing sound, and in Crowell's 00:10:16.450 --> 00:10:18.769 case, never diminishing his songwriting output 00:10:18.769 --> 00:10:21.740 or his commitment to his craft. Which brings 00:10:21.740 --> 00:10:25.220 us nicely to his enduring prowess as a songwriter 00:10:25.220 --> 00:10:28.600 and sort of a new phase of critical acclaim in 00:10:28.600 --> 00:10:32.399 the 21st century. Even after his major mainstream 00:10:32.399 --> 00:10:35.480 solo success, he continued to enjoy significant 00:10:35.480 --> 00:10:39.019 wins as a songwriter in the 90s and 2000s. Several 00:10:39.019 --> 00:10:41.539 of his songs became top 10 country hits for other 00:10:41.539 --> 00:10:44.440 artists. What is it about his compositions that 00:10:44.440 --> 00:10:46.940 makes them so timeless and appealing across different 00:10:46.940 --> 00:10:49.379 voices and eras? It's got to be his ability to 00:10:49.379 --> 00:10:52.019 tap into universal emotions with just uncommon 00:10:52.019 --> 00:10:54.200 lyrical precision, and a strong sense of narrative. 00:10:54.279 --> 00:10:56.080 His songs often feel like little short stories 00:10:56.080 --> 00:10:58.139 you can sing along to. Yeah, exactly. We saw 00:10:58.139 --> 00:11:00.100 Song for Life become a hit for Alan Jackson, 00:11:00.240 --> 00:11:02.639 making memories of us for Keith Urban. Huge for 00:11:02.639 --> 00:11:06.019 Keith Urban. It's massive. Ashes by Now. Yes, 00:11:06.279 --> 00:11:09.740 that Ashes by Now for Lee Ann Womack and Please 00:11:09.740 --> 00:11:12.200 Remember Me for Tim McGraw. These weren't just 00:11:12.200 --> 00:11:14.779 catchy tunes. They were deeply felt compositions 00:11:14.779 --> 00:11:17.379 that really resonated. That's a powerful legacy, 00:11:17.399 --> 00:11:20.299 isn't it? beyond just his own recordings. Then 00:11:20.299 --> 00:11:22.700 after a brief hiatus from releasing his own material, 00:11:23.059 --> 00:11:25.340 Crowell returned with the Houston Kid in 2001 00:11:25.340 --> 00:11:28.440 on Sugarhill Records. This album marked a pivotal 00:11:28.440 --> 00:11:30.600 shift, didn't it? A very personal collection 00:11:30.600 --> 00:11:33.919 of semi -autobiographical songs, including that 00:11:33.919 --> 00:11:36.360 poignant duet I Walk the Line Revisited with 00:11:36.360 --> 00:11:39.159 his ex -father -in -law, Johnny Cash. He followed 00:11:39.159 --> 00:11:41.980 that up with Fate's Right Hand in 2003 and The 00:11:41.980 --> 00:11:44.879 Outsider in 2005, both back on Columbia Nashville. 00:11:45.070 --> 00:11:47.389 And here's a crucial insight, not just from critics, 00:11:47.490 --> 00:11:50.509 but from Crowe himself. These three albums, The 00:11:50.509 --> 00:11:52.809 Houston Kid, Fate's Right Hand, and The Outsider, 00:11:53.190 --> 00:11:55.610 are widely considered his finest solo work. Really? 00:11:55.809 --> 00:11:59.230 What makes them stand out is this profound artistic 00:11:59.230 --> 00:12:03.169 reflection. They delve into his childhood, his 00:12:03.169 --> 00:12:06.629 family, lice complexities with a raw honesty 00:12:06.629 --> 00:12:09.409 and a mature perspective that wasn't always as 00:12:09.409 --> 00:12:11.929 prominent maybe in his earlier, more commercially 00:12:11.929 --> 00:12:14.830 driven work. He was truly charting his own narrative 00:12:14.830 --> 00:12:16.580 territory there. That's quite an assessment, 00:12:16.779 --> 00:12:18.919 particularly given his chart -topping earlier 00:12:18.919 --> 00:12:21.899 work. It speaks to an artist continuously pushing 00:12:21.899 --> 00:12:24.059 boundaries and delving deeper into their own 00:12:24.059 --> 00:12:27.419 story. And beyond the albums, he received significant 00:12:27.419 --> 00:12:29.720 accolades and honors, really solidifying his 00:12:29.720 --> 00:12:32.320 place in music history, inducted into the Nashville 00:12:32.320 --> 00:12:35.720 Songwriters Hall of Fame in 2003, then the Music 00:12:35.720 --> 00:12:39.620 City Walk of Fame in 2007. And in 2019, he received 00:12:39.620 --> 00:12:41.960 the Poets Award from the Academy of Country Music 00:12:41.960 --> 00:12:44.379 for his songwriting achievements. These aren't 00:12:44.379 --> 00:12:47.230 just awards. their testaments to a profound impact 00:12:47.230 --> 00:12:50.389 on the craft. Precisely. These honors truly cement 00:12:50.389 --> 00:12:52.690 his legacy, and his collaborative spirit also 00:12:52.690 --> 00:12:54.809 remains strong and vibrant in the 21st century. 00:12:55.269 --> 00:12:58.950 In 2004, his 1970s road band, The Notorious Cherry 00:12:58.950 --> 00:13:01.419 Bombs. Reunited. Oh, yeah. Released an album 00:13:01.419 --> 00:13:03.919 that notably included Making Memories of Us, 00:13:04.220 --> 00:13:06.120 which, as we mentioned, became that huge hit 00:13:06.120 --> 00:13:08.980 for Keith Urban. Right. He also produced Irish 00:13:08.980 --> 00:13:11.799 singer -songwriter Ciaran Goss' album Blue Sky 00:13:11.799 --> 00:13:15.320 Sunrise in 2005. It just demonstrates his continued 00:13:15.320 --> 00:13:18.159 role as both an artist and a mentor. He's constantly 00:13:18.159 --> 00:13:20.799 shaping and influencing the soundscape. His 2008 00:13:20.799 --> 00:13:24.000 album, Sex and Gasoline, even got a Grammy nomination 00:13:24.000 --> 00:13:27.080 for best contemporary folk Americana album, showing 00:13:27.080 --> 00:13:30.399 his versatility. And get this. He wrote Wynonna 00:13:30.399 --> 00:13:33.919 Judd's title track to her 2009 album, Sing, Chapter 00:13:33.919 --> 00:13:36.419 One, and that song later became a number four 00:13:36.419 --> 00:13:38.940 hit on the U .S. Billboard Hot Dance Club Songs 00:13:38.940 --> 00:13:41.899 chart after getting electronic dance music remixes. 00:13:41.919 --> 00:13:44.360 Amazing. From progressive country to dance music. 00:13:44.720 --> 00:13:47.220 His reach is incredible. He also produced Shelley 00:13:47.220 --> 00:13:49.580 Wright's 2009 album, Lift It Off the Ground. 00:13:49.820 --> 00:13:51.860 That versatility is truly remarkable, isn't it? 00:13:51.919 --> 00:13:54.440 Reflects an artist just unbound by genre. In 00:13:54.440 --> 00:13:57.480 2011, he published his memoir. China Berry Sidewalks. 00:13:57.480 --> 00:14:00.419 Ah, the memoir. Yeah, which focused on his parents' 00:14:00.620 --> 00:14:02.820 marriage in his early years in Houston, giving 00:14:02.820 --> 00:14:05.080 us a deeper look into the personal stories behind 00:14:05.080 --> 00:14:07.679 his songs and maybe informing that highly acclaimed 00:14:07.679 --> 00:14:09.720 trio of albums we talked about. Makes sense. 00:14:10.200 --> 00:14:13.059 Then, in 2012, Vanguard Records released Kin 00:14:13.059 --> 00:14:16.600 Yan, songs by Rodney Crowell and Mary Carr, a 00:14:16.600 --> 00:14:18.659 really unique project where Carr wrote the lyrics 00:14:18.659 --> 00:14:21.559 and Crowell set them to music. It featured this 00:14:21.559 --> 00:14:24.629 diverse lineup of artists. Nora Jones, Vince 00:14:24.629 --> 00:14:28.029 Gill, Lucinda Williams, Roseanne Cash. Chris 00:14:28.029 --> 00:14:30.750 Christopherson, Emmylou Harris, just a dream 00:14:30.750 --> 00:14:32.970 team of talent collaborating on his vision. Wow, 00:14:32.970 --> 00:14:34.970 that sounds like a monumental undertaking, pulling 00:14:34.970 --> 00:14:37.570 together so many incredible voices. And speaking 00:14:37.570 --> 00:14:39.549 of Emmylou Harris, this enduring partnership 00:14:39.549 --> 00:14:43.649 led to even more Grammy gold. February 26, 2013, 00:14:43.909 --> 00:14:46.029 Crowell and Emmylou released Old Yellow Moon. 00:14:46.490 --> 00:14:48.809 It shot up to number four on Billboard's country 00:14:48.809 --> 00:14:51.970 albums chart, number 29 on the Hot 200. It also 00:14:51.970 --> 00:14:54.190 won the Americana Music Awards Album of the Year 00:14:54.190 --> 00:14:56.509 in 2013, and they were named Group Duo of the 00:14:56.509 --> 00:14:59.090 Year. The recognition was just widespread. And 00:14:59.090 --> 00:15:02.590 the crowning moment came January 26, 2014, when 00:15:02.590 --> 00:15:05.250 Old Yellow Moon won the Grammy for Best Americana 00:15:05.250 --> 00:15:08.190 Album. That marked Crowell's second Grammy Award. 00:15:08.470 --> 00:15:10.509 Second Grammy. Fantastic. Their collaboration 00:15:10.509 --> 00:15:13.149 was so successful, so creatively fertile that 00:15:13.149 --> 00:15:15.669 they released a second duet album, The Traveling 00:15:15.669 --> 00:15:19.399 Kind, on May 11, 2015. It just shows that some 00:15:19.399 --> 00:15:21.759 artistic partnerships only deepen and strengthen 00:15:21.759 --> 00:15:24.559 over time, leading to incredible results. What 00:15:24.559 --> 00:15:27.240 an incredible career journey, marked by sustained 00:15:27.240 --> 00:15:30.200 creativity. And even in recent years, Crowell 00:15:30.200 --> 00:15:33.039 has remained incredibly active, released Tar 00:15:33.039 --> 00:15:35.879 Paper Sky in 2014, his first album on New West 00:15:35.879 --> 00:15:38.620 Records. He served as music director for the 00:15:38.620 --> 00:15:41.200 Hank Williams biopic, I Saw the Light, in 2014. 00:15:41.639 --> 00:15:43.779 And he continued his collaborative work, background 00:15:43.779 --> 00:15:46.940 and vocals, co -writing songs for Jewel in 2015, 00:15:47.100 --> 00:15:49.639 Shelley Wright in 2016. Still going strong. His 00:15:49.639 --> 00:15:53.299 2017 album Close Ties featured amazing collaborations 00:15:53.299 --> 00:15:55.679 with Roseanne Cash, John Paul White, Sheryl Crow. 00:15:56.179 --> 00:15:58.179 He even released a collaborative album called 00:15:58.179 --> 00:16:01.100 Texas in 2019 and appeared in the movie All Happy 00:16:01.100 --> 00:16:04.000 Families just last year, 2023. This is not a 00:16:04.000 --> 00:16:05.820 man who rests on his laurels he's constantly 00:16:05.820 --> 00:16:07.940 creating. It's not at all. And to understand 00:16:07.940 --> 00:16:09.539 his journey more fully, it's probably important 00:16:09.539 --> 00:16:11.940 to touch on his personal life. and how it really 00:16:11.940 --> 00:16:15.240 intertwined with his artistry. In 1975, he married 00:16:15.240 --> 00:16:17.779 Martha Dant Watts. Their daughter Hannah was 00:16:17.779 --> 00:16:21.639 born in 76. This brief marriage ended in divorce 00:16:21.639 --> 00:16:24.899 with Crowell retaining custody, which no doubt 00:16:24.899 --> 00:16:26.720 shaped his perspective as a young father and 00:16:26.720 --> 00:16:29.620 artist. Then came his marriage to Roseanne Cash, 00:16:29.940 --> 00:16:34.190 Johnny Cash's daughter, from 1979 to 1992. This 00:16:34.190 --> 00:16:36.590 was a hugely influential period for both of their 00:16:36.590 --> 00:16:39.049 careers, wasn't it? Oh, mandively. Krall produced 00:16:39.049 --> 00:16:41.330 most of her albums during that time, shaping 00:16:41.330 --> 00:16:44.029 her sound significantly. And they collaborated 00:16:44.029 --> 00:16:47.429 on duets like 1988's It's Such a Small World. 00:16:47.610 --> 00:16:50.110 This isn't just a biographical note. It highlights 00:16:50.110 --> 00:16:52.490 how deeply his personal relationships fueled 00:16:52.490 --> 00:16:54.809 and shaped his artistic output. Exactly. And 00:16:54.809 --> 00:16:56.509 even after their divorce, they've remained on 00:16:56.509 --> 00:16:58.549 friendly terms, performed together occasionally. 00:16:59.009 --> 00:17:00.990 It's a testament to their mutual respect and 00:17:00.990 --> 00:17:03.289 shared creative history. They also have three 00:17:03.289 --> 00:17:06.109 daughters, Caitlin, Chelsea, and Carrie. Their 00:17:06.109 --> 00:17:08.890 story truly highlights how deeply personal relationships 00:17:08.890 --> 00:17:13.650 can fuel and shape artistic output. In 1998, 00:17:13.849 --> 00:17:16.750 Crowell married singer Claudia Church, and they 00:17:16.750 --> 00:17:19.829 currently reside just south of Nashville. His 00:17:19.829 --> 00:17:22.390 life, both personal and professional, really 00:17:22.390 --> 00:17:25.559 forms this single rich narrative. So when you 00:17:25.559 --> 00:17:27.980 look at Rodney Crowell's entire career, what 00:17:27.980 --> 00:17:30.559 you see isn't just a musician, but like a tapestry 00:17:30.559 --> 00:17:33.140 of talent. He's been a prolific and respected 00:17:33.140 --> 00:17:35.319 songwriter for himself and for countless others, 00:17:35.740 --> 00:17:38.339 a chart -topping mainstream artist, an acclaimed 00:17:38.339 --> 00:17:41.279 Americana pioneer, and an influential producer 00:17:41.279 --> 00:17:44.440 and collaborator. His ability to move so fluidly 00:17:44.440 --> 00:17:46.819 between these roles, often intertwining them, 00:17:47.160 --> 00:17:49.339 speaks to a depth and versatility that's truly 00:17:49.339 --> 00:17:52.240 rare. He didn't just adapt to the industry, he 00:17:52.240 --> 00:17:54.670 consistently found ways to make his unique artistic 00:17:54.670 --> 00:17:57.450 voice heard and valued across different genres 00:17:57.450 --> 00:17:59.269 and roles. It really paints the picture of a 00:17:59.269 --> 00:18:01.130 true craftsman, doesn't it? Always evolving, 00:18:01.410 --> 00:18:03.750 always contributing and constantly refining his 00:18:03.750 --> 00:18:06.059 art. What we've seen in this deep dive is more 00:18:06.059 --> 00:18:09.660 than just a list of hits or awards. It's the 00:18:09.660 --> 00:18:12.220 story of an artist deeply committed to the craft 00:18:12.220 --> 00:18:15.160 of songwriting, whose curiosity and talent led 00:18:15.160 --> 00:18:18.019 him to explore vastly different musical landscapes. 00:18:18.720 --> 00:18:20.980 From the garage bands of Houston to the hallowed 00:18:20.980 --> 00:18:23.059 halls of the Grammys and the Nashville Songwriters 00:18:23.059 --> 00:18:26.140 Hall of Fame, Rodney Krull's journey highlights 00:18:26.140 --> 00:18:29.119 this persistent dedication to authentic expression 00:18:29.119 --> 00:18:32.299 that quietly reshaped country, pop, and Americana. 00:18:33.150 --> 00:18:36.109 So considering his long career marked by periods 00:18:36.109 --> 00:18:38.990 of mainstream pop success followed by critically 00:18:38.990 --> 00:18:41.789 lauded Americana albums and continuous songwriting 00:18:41.789 --> 00:18:45.009 hits for others. What does Rodney Crowell's trajectory 00:18:45.009 --> 00:18:47.349 suggest about the true definition of a successful 00:18:47.349 --> 00:18:49.890 and impactful musical career? Yeah, is it solely 00:18:49.890 --> 00:18:52.789 about chasing chart numbers? Or is it about sustained 00:18:52.789 --> 00:18:55.490 artistic growth and that quiet pervasive influence 00:18:55.490 --> 00:18:57.450 that ripples through the industry for decades, 00:18:57.950 --> 00:18:59.690 shaping the soundscape without always being front 00:18:59.690 --> 00:19:02.210 and center? What might you gain by looking beyond 00:19:02.210 --> 00:19:04.190 the biggest names to appreciate the profound 00:19:04.190 --> 00:19:06.329 lasting impact of those who truly shaped the 00:19:06.329 --> 00:19:09.089 soundscape? Think about that for a while. This 00:19:09.089 --> 00:19:10.089 has been the Deep Dive.