A three-hour program chronicling the history of country music up to 1978, hosted by Dolly Parton, Glen Campbell, and Roy Clark and featuring performances by many iconic and contemporary stars of the genre, including Roy Acuff, Kitty Wells, Bill Monroe, Ernest Tubb, Crystal Gayle, Merle Haggard, Loretta Lynn, and Johnny Cash.

Untold stories behind the culture-defining and newsmaking musical performances, sketches and cameos of the past 50 years.

Alejandro Tazo, a 30-something Chilean, arrives at Nashville on a Greyhound bus from the West Coast. He has been mugged on board? Why is he here? How did he get here? What will he do in Music City?

Awards ceremony honoring the country music industry's accomplishments during the previous year.

The makers of this short history of country music had done a good job of rounding up interviewees, who included such veterans as Ray Price, Merle Haggard and Charley Pride alongside the offspring of several country legends. We met Shooter Jennings (son of Waylon), Hank Williams III and Georgette Jones (daughter of Tammy Wynette and George Jones). Trouble is, by the time their interviews had been diced into small fragments and lobbed in with an additional list of pundits and critics, their impact had dissipated. The solution? This should either have been a longer film or the first of two (or three) parts, because it isn't as if the history of country lacks incident or character. OK, I know - it's the budget, stupid. Anyway, even this potted survey was enough to illustrate - somewhat schematically - the way social change inspired the music's drastic stylistic developments and to tick off some timeless country icons (pictured above, the legendary Johnny Cash). In the beginning, at least in this version of the story, was Jimmie Rodgers, the so-called "Singing Brakeman" (he used to work on the railroad) and the inventor of the "blue yodel". Then we galloped ahead to singing cowboy Gene Autry and the rise of the Grand Ole Opry in Nashville - the cowboy, we learned, became a symbol of frontierless freedom in the era of the Wall Street crash and widespread penury - and onward to bluegrass pioneer Bill Monroe, Bob Wills and Western Swing, heartbreak and honky-tonk from Hank Williams and the suburbanisation of country via Patsy Cline and Loretta Lynn. But the better it got, the more you wished it would slow down and show us a bit more of these assorted great artists. Elvis came and went in the twinkling of an eye and a few fleeting bars of music, even though he was a vital link between country and rock'n'roll. There was a great clip of Merle Haggard and Johnny Cash duetting on Merle's "Sing Me Back Home", but the cloth-eared editor faded it just as they came to the chorus. The shot of Patsy Cline singing "Crazy" was just enough to get you thinking "that was great, now how about a bit of 'Walking After Midnight'?", when she was gone. There was a bit of Waylon and a glimpse of Willie but only a still photo of Kris Kristofferson, though Tammy Wynette and Dolly Parton (pictured above) were more generously served. In fact the film went out of its way to stress the contribution of country's female performers, so maybe there had once been a plan to do a show each on the men and the women. The Joy of Country screeched to an abrupt halt by suggesting that the ineffable D. Parton may well be the last of the all-time country legends, then illustrated the way the great tradition has morphed into stadium-sized pointlessness with shots of Garth "the anti-Hank" Brooks and Taylor Swift. It was a bit unfair to put poor Taylor up against Johnny Cash's video for "Hurt", a terrifying valediction in which his life and death flashed before our eyes, because there has never been another artist on the planet who could stare down the Man in Black. But it was a forceful reminder of the richness, power and character in the work of the finest country artists, and of the fact that there are no younger ones coming up capable of pulling on their boots.

This documentary reveals the surprising and overlooked history of Pride: its origins, its struggles and its triumphs. Made in creative and editorial collaboration with acclaimed filmmaker Stephen Daldry and playwright Joe Robertson, it tells the story of Pride primarily through first-person testimony and archive footage.

It's 50 years since ABBA won the Eurovision Song Contest with Waterloo. To celebrate one of music's 'big bang' moments, the story of Swedish pop - from ABBA to Max Martin, Roxette Europe and Robyn.

Tennessee singing G.I. Verne Brand travels to New York City after his Army discharge. Alongside his buddies, he convinces a former bookie turned record executive to sign him, leading to a massive publicity blitz and attention from socialite Zsa Zsa Gabor. The situation draws Verne's hometown sweetheart, Marietta. to the city just as Verne becomes a television sensation in a high-stakes network ratings battle. Ultimately, Verne chooses his roots over fame, returning to Tennessee with Marietta to open a local recording studio.

An adolescent comes of age during a summer in the Rhône valley with his maternal grandparents. Jules seems a little too close to his mother and distant from his father, who wants Jules out of their Parisian house. It's to be a summer of transition, perhaps to a boarding school, and during these weeks in the country, Jules fishes with his grandfather; proves himself to the local youths, a group led by the bullying Red; takes on some tough guys; feels rejected by his mother; and, meets and pursues Evelyne, the village beauty. She's responsive, and Jules doesn't exactly know what to do next. Then, something happens that propels Jules into decisiveness and maturity.

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