About Rising From the Riverbed

The Beginning

I love music. I love songwriting. I love the creative side of music that most people don’t get to see or hear until it is on record or on the stage. I love Beanland. I love Beanland for so many reasons.

About two years ago I was in Oxford for a weekend. I went up to Larry’s to listen to some music and to see some old friends. I ran into George and asked him what he thought about me filming him telling the Beanland story. He told me to swing by the guitar shop the next day and we would do it. I did. We both had a blast that day reliving those stories and that time in music. It was Fun.

As I reviewed the conversation that we had on film a few days later, I began to think about all that was said and how important it really was. So I went to work. I remember calling Kutcher for some advice, and as I began to tell him the ideas I had, I noticed a change in his voice. His enthusiasm was refreshing. Kutcher and I both grew up in Memphis so obviously we were always around music, but Beanland is what made us look at music in a different way. There was something going on with music in ’84-’85 that none of us were really aware of. It was fun and improvisational. They were creating onstage. I asked Kutcher if he would be interested in the project. He didn’t even think about it before he said yes and started unloading his thoughts and ideas.

As we began to call everyone, the response was overwhelming. Everybody wanted to talk about Beanland. So with the help of some special friends, we began researching, concepting, writing, interviewing, and compiling footage — old and new. The film took on a life of its own. It began to tell its own story. The film snowballed into what it is now. Bill Mccrory told me last spring that the film and the life it has taken on really reminded him of what happened with Beanland. Everything really just fell into place, and we are very excited about the content.

The film will take you on a journey from how it all started and what was going on with music at the time, friendships, songwriting, and into the studio with the King of Memphis (no not Jerry Lawler).

— Director, Scotty Glahn, 2003

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