Since its release, Robert Altman’s Nashville (1975) has been admired by media scholars for its aesthetic innovations and the ways they are artfully married to cynicism about American culture, the political process, and the entertainment industry as embodied by the Nashville country music scene.1 However, the voluminous scholarly writing on the film seldom notes that Nashville’s first object of scorn—before jingoism, the American South, the city of Nashville, country music, or the country music industry—is the idea of a film soundtrack album.2