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JOHNNY CASH: ♪ THEY GAVE HIM
HIS ORDERS ♪
2
00:00:09,000 --> 00:00:10,833
♪ AT MONROE, VIRGINIA
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00:00:10,866 --> 00:00:15,100
♪ SAID, "STEVE,
YOU'RE WAY BEHIND TIME ♪
4
00:00:15,133 --> 00:00:19,433
♪ "THIS IS NOT 38,
THIS IS OL' 97 ♪
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00:00:19,466 --> 00:00:23,600
♪ PUT HER INTO
SPENCER ON TIME"... ♪
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00:00:23,633 --> 00:00:26,133
MAN: WHEN I WAS GROWING UP
ON ROUTE 8, KOSCIUSKO ROAD,
7
00:00:26,166 --> 00:00:27,700
IN PHILADELPHIA, MISSISSIPPI,
8
00:00:27,733 --> 00:00:31,233
THE GULF, MOBILE, AND OHIO
RAN RIGHT BEHIND OUR HOUSE.
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00:00:31,266 --> 00:00:33,433
AND IT SOUNDED LIKE THE TRAIN
WAS COMING THROUGH MY BEDROOM
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00:00:33,466 --> 00:00:35,166
AT NIGHT AND I LOVED IT.
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00:00:35,200 --> 00:00:39,733
CASH:
♪ ..."WATCH OL' 97 ROLL"
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00:00:39,766 --> 00:00:41,566
AND I USED TO DREAM ABOUT
GETTING ON THAT TRAIN
13
00:00:41,600 --> 00:00:43,900
AND RIDING AND JUST GOING TO...
14
00:00:43,933 --> 00:00:45,233
I DIDN'T WANT
TO GO TO NEW YORK,
15
00:00:45,266 --> 00:00:46,566
I DIDN'T WANT
TO GO TO HOLLYWOOD,
16
00:00:46,600 --> 00:00:48,533
I WANTED TO GO TO NASHVILLE
AND PLAY THAT KIND OF MUSIC
17
00:00:48,566 --> 00:00:50,066
THAT TOUCHED MY HEART.
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00:00:50,100 --> 00:00:53,466
CASH: ♪ ...IN THE WRECK
WITH HIS HAND ON THE THROTTLE ♪
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00:00:53,500 --> 00:00:56,366
♪ SCALDED TO DEATH
BY THE STEAM ♪
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00:00:56,400 --> 00:00:57,533
[TRAIN'S WHISTLE BLOWS]
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00:00:57,566 --> 00:00:59,633
[MANDOLIN PLAYING]
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00:00:59,666 --> 00:01:01,833
NARRATOR: FROM THE TIME
HE WAS A LITTLE BOY,
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00:01:01,866 --> 00:01:04,966
GROWING UP IN MISSISSIPPI
IN THE 1960s,
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00:01:05,000 --> 00:01:09,600
MUSIC WAS A CENTRAL PART
OF MARTY STUART'S LIFE.
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00:01:09,633 --> 00:01:11,766
HIS MOTHER HAD NAMED HIM AFTER
26
00:01:11,800 --> 00:01:15,033
HER FAVORITE COUNTRY SINGER,
MARTY ROBBINS,
27
00:01:15,066 --> 00:01:19,000
AND GAVE HIM A COWBOY GUITAR
WHEN HE WAS ONLY 3.
28
00:01:19,033 --> 00:01:22,466
BY AGE 9, HE HAD
MASTERED THE INSTRUMENT
29
00:01:22,500 --> 00:01:25,633
AND PERFORMED
WHEREVER HE COULD.
30
00:01:25,666 --> 00:01:28,433
THE FIRST RECORD
YOUNG STUART EVER OWNED
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00:01:28,466 --> 00:01:31,666
WAS BY HIS MUSICAL HERO
JOHNNY CASH.
32
00:01:33,366 --> 00:01:35,933
AFTER MEETING COUNTRY STAR
CONNIE SMITH
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00:01:35,966 --> 00:01:38,733
AT THE LOCAL FAIRGROUNDS
WHEN HE WAS 11,
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00:01:38,766 --> 00:01:42,933
HE VOWED TO HIS MAMA THAT
HE WOULD MARRY HER SOMEDAY.
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00:01:42,966 --> 00:01:47,000
AT A DIFFERENT CONCERT,
BILL MONROE IGNITED A PASSION
36
00:01:47,033 --> 00:01:49,766
FOR BLUEGRASS MUSIC
AND THE MANDOLIN.
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00:01:52,366 --> 00:01:55,433
STUART: AND HE GAVE ME
HIS MANDOLIN PICK.
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00:01:55,466 --> 00:01:56,766
HE SAID, "DO YOU WANT TO PLAY
THE MANDOLIN, BOY?"
39
00:01:56,800 --> 00:01:58,433
I SAID, "YES, SIR,
JUST LIKE YOU."
40
00:01:58,466 --> 00:02:00,700
HE SAID, "THIS RIGHT HERE
WILL HELP YOU OUT."
41
00:02:00,733 --> 00:02:02,466
AND I CARRIED THAT PICK
TO SCHOOL WITH ME EVERY DAY
42
00:02:02,500 --> 00:02:04,533
LIKE IT WAS KRYPTONITE
IN MY POCKET, OR SOMETHING.
43
00:02:04,566 --> 00:02:07,133
I FELT SPECIAL BECAUSE
I HAD SOMETHING IN MY POCKET
44
00:02:07,166 --> 00:02:10,133
THAT NOBODY ELSE HAD
AND NOBODY ELSE KNEW ABOUT.
45
00:02:10,166 --> 00:02:13,166
NARRATOR: STUART WAS SOON
GOOD ENOUGH ON THE MANDOLIN
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00:02:13,200 --> 00:02:17,066
TO IMPRESS A MEMBER OF
LESTER FLATT'S BLUEGRASS BAND,
47
00:02:17,100 --> 00:02:20,766
WHO SUGGESTED THAT SOMEDAY
THE BOY MIGHT TRAVEL WITH THEM.
48
00:02:22,533 --> 00:02:27,533
THE CHANCE CAME IN 1972,
WHEN HE WAS 13.
49
00:02:27,566 --> 00:02:30,533
HE GOT PERMISSION FROM HIS
PARENTS TO GO TO NASHVILLE
50
00:02:30,566 --> 00:02:33,533
AND TRY OUT FOR
LESTER FLATT'S BAND.
51
00:02:33,566 --> 00:02:35,766
THE ONLY DISAPPOINTMENT
WAS THAT HE HAD TO TAKE
52
00:02:35,800 --> 00:02:39,100
A BUS, NOT THE TRAIN.
53
00:02:39,133 --> 00:02:42,466
IT DROPPED HIM OFF IN DECAYING
DOWNTOWN NASHVILLE,
54
00:02:42,500 --> 00:02:45,133
NOT FAR FROM
THE RYMAN AUDITORIUM,
55
00:02:45,166 --> 00:02:46,466
AT TWO IN THE MORNING.
56
00:02:47,900 --> 00:02:51,466
STUART: 2:00 IN THE MORNING,
ON ANY NIGHT, AROUND THE RYMAN
57
00:02:51,500 --> 00:02:54,300
BACK IN THOSE DAYS
WAS NOT THE PLACE TO BE.
58
00:02:54,333 --> 00:02:57,933
I WALKED AROUND THE CORNER
OF THE GREYHOUND STATION
59
00:02:57,966 --> 00:02:59,866
AND THERE WAS
THE RYMAN AUDITORIUM.
60
00:03:01,533 --> 00:03:05,066
THE BUILDING THAT
I KNEW SO MUCH ABOUT.
61
00:03:05,100 --> 00:03:07,133
AND IT WAS TIRED
AND IT WAS WEARY.
62
00:03:07,166 --> 00:03:09,966
THE PAINT WAS CRACKED AND SOME
OF THE WINDOWS WERE OUT,
63
00:03:10,000 --> 00:03:11,533
BUT IT LOOKED BEAUTIFUL TO ME.
64
00:03:11,566 --> 00:03:14,366
[MANDOLIN PLAYING]
65
00:03:14,400 --> 00:03:17,866
NARRATOR: WITHIN A WEEK,
LESTER FLATT BROUGHT HIM ALONG
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00:03:17,900 --> 00:03:20,666
TO PERFORM AT
THE GRAND OLE OPRY.
67
00:03:24,200 --> 00:03:25,833
STUART: WALKING INTO
THE GRAND OLE OPRY
68
00:03:25,866 --> 00:03:28,300
WITH LESTER FLATT
TOTING HIS GUITAR WAS LIKE
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00:03:28,333 --> 00:03:30,833
WALKING INTO THE VATICAN
WITH THE POPE.
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00:03:30,866 --> 00:03:33,266
IT WAS A BIG MOMENT.
71
00:03:33,300 --> 00:03:35,300
IT WAS LIKE THAT OLD SCENE
IN THE "WIZARD OF OZ"
72
00:03:35,333 --> 00:03:37,733
WHERE THE WORLD WENT FROM
BLACK AND WHITE TO COLOR.
73
00:03:37,766 --> 00:03:39,600
THAT'S WHAT IT WAS LIKE FOR ME.
74
00:03:39,633 --> 00:03:41,833
EVERYTHING I'D EVER
DREAMED OF CAME TRUE
75
00:03:41,866 --> 00:03:43,300
WHEN I WAS 13 YEARS OLD.
76
00:03:43,333 --> 00:03:45,566
[MANDOLIN PLAYING]
77
00:03:45,600 --> 00:03:47,633
AND I PLAYED THE MANDOLIN,
AND I WAS SO LITTLE,
78
00:03:47,666 --> 00:03:49,533
I HAD TO HOLD THE MANDOLIN
WAY UP IN THE AIR
79
00:03:49,566 --> 00:03:51,700
LIKE I WAS SHOOTING BIRDS,
OR SOMETHING.
80
00:03:53,666 --> 00:03:57,066
AT THE END OF THE SONG,
THE CROWD JUST KEPT APPLAUDING
81
00:03:57,100 --> 00:03:59,300
AND APPLAUDING AND APPLAUDING,
82
00:03:59,333 --> 00:04:00,766
AND I THOUGHT I HAD
DONE SOMETHING WRONG,
83
00:04:00,800 --> 00:04:02,466
AND I LOOKED AT LESTER
AND I SAID, "WHAT DO I DO?"
84
00:04:02,500 --> 00:04:03,800
HE SAID, "DO IT AGAIN."
85
00:04:05,333 --> 00:04:07,033
AND I KNEW I HAD FOUND A HOME.
86
00:04:07,066 --> 00:04:08,866
AND I KNEW I WAS
WHERE I BELONGED
87
00:04:08,900 --> 00:04:10,800
AND I WAS WHERE I WANTED TO BE.
88
00:04:10,833 --> 00:04:14,400
MEN: ♪ WHAT WOULD YOU GIVE
89
00:04:14,433 --> 00:04:16,600
♪ IN EXCHANGE FOR YOUR SOUL?
90
00:04:18,766 --> 00:04:20,933
[CROWD CHEERING]
91
00:04:22,333 --> 00:04:34,033
♪
92
00:04:34,066 --> 00:04:36,366
HANK WILLIAMS JR.:
♪ AS LONG AS I CAN
93
00:04:36,400 --> 00:04:41,633
♪ KEEP A LOT OF FRIENDS
AROUND ME ♪
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00:04:41,666 --> 00:04:43,900
MAN: I THINK THERE'S A PARADOX
95
00:04:43,933 --> 00:04:46,900
THAT'S ALWAYS EXISTED
IN COUNTRY MUSIC.
96
00:04:46,933 --> 00:04:50,833
HOW MUCH CHANGE DO YOU EMBRACE?
97
00:04:50,866 --> 00:04:56,566
AND HOW MUCH CHANGE CAN YOU MAKE
WITHOUT COMPLETELY OBLITERATING
98
00:04:56,600 --> 00:04:58,733
WHAT YOU WERE
AND WHERE YOU CAME FROM?
99
00:05:00,166 --> 00:05:03,666
MAN 2: I DON'T LIKE FENCES
BUILT AROUND MUSIC.
100
00:05:03,700 --> 00:05:06,633
'CAUSE FENCES,
SURE, THEY...
101
00:05:06,666 --> 00:05:09,066
THEY KEEP THINGS OUT,
BUT THEY ALSO, UH,
102
00:05:09,100 --> 00:05:10,300
THEY DON'T LET THINGS IN.
103
00:05:10,333 --> 00:05:15,666
WILLIAMS JR.: ♪ ...STONED
AT THE JUKEBOX... ♪
104
00:05:15,700 --> 00:05:18,633
MAN: I THINK THE LINES
ARE ONLY IMAGINARY AND THAT
105
00:05:18,666 --> 00:05:20,166
YOU HAVE TO PUT THEM
THERE BECAUSE
106
00:05:20,200 --> 00:05:22,633
THEY'RE NOT THERE
IN THE BEGINNING.
107
00:05:22,666 --> 00:05:24,166
IT'S MUSIC, YOU KNOW?
108
00:05:24,200 --> 00:05:27,566
YOU CAN'T SAY IT'S
THIS, THAT, OR THE OTHER.
109
00:05:27,600 --> 00:05:31,233
IT'S NOT A DEMOCRAT
OR REPUBLICAN. [LAUGHS]
110
00:05:31,266 --> 00:05:33,566
NARRATOR: FROM ITS BEGINNINGS,
COUNTRY MUSIC
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00:05:33,600 --> 00:05:37,033
HAD NEVER BEEN ONE STYLE.
112
00:05:37,066 --> 00:05:40,233
LIKE ALL ART FORMS,
IT HAD ALWAYS RESISTED
113
00:05:40,266 --> 00:05:43,733
BEING CONFINED WITHIN
ARBITRARY BORDERS.
114
00:05:43,766 --> 00:05:46,466
AND LIKE ALL ARTISTS,
ITS BIGGEST STARS
115
00:05:46,500 --> 00:05:50,100
HAD ALWAYS PUSHED THOSE
BOUNDARIES TO THEIR LIMITS.
116
00:05:51,500 --> 00:05:55,933
WILLIAMS JR.: ♪ AND LORD, I LOVE
THAT HURTIN' MUSIC ♪
117
00:05:55,966 --> 00:06:01,000
♪ 'CAUSE I AM HURTIN', TOO
118
00:06:02,900 --> 00:06:06,100
MALONE: AS FANS, WE MAY WANT
THEM TO DO THE OLD STUFF.
119
00:06:06,133 --> 00:06:07,933
WE'RE UNHAPPY
QUITE OFTEN WHEN THEY--
120
00:06:07,966 --> 00:06:09,766
WHEN THEY BRANCH OUT
INTO SOMETHING NEW.
121
00:06:09,800 --> 00:06:11,566
BUT MUSICIANS,
THEY'RE INNOVATIVE.
122
00:06:11,600 --> 00:06:12,766
THEY'RE EXPERIMENTAL.
123
00:06:12,800 --> 00:06:15,333
THEY WANT TO DO
SOMETHING FRESH, SOMETHING NEW.
124
00:06:15,366 --> 00:06:17,866
OF COURSE, THE QUESTION IS
WHERE DOES IT END?
125
00:06:17,900 --> 00:06:19,766
WHEN DOES IT CEASE
TO BE COUNTRY
126
00:06:19,800 --> 00:06:21,500
WHEN THEY'VE MADE
ALL THESE CHANGES?
127
00:06:21,533 --> 00:06:29,466
♪
128
00:06:29,500 --> 00:06:32,300
WAYLON JENNINGS: ♪ LORD,
IT'S THE SAME OLD TUNE ♪
129
00:06:32,333 --> 00:06:34,733
♪ FIDDLE AND GUITAR
130
00:06:34,766 --> 00:06:38,766
♪ WHERE DO WE
TAKE IT FROM HERE? ♪
131
00:06:38,800 --> 00:06:43,233
♪ RHINESTONE SUITS
AND NEW SHINY CARS ♪
132
00:06:43,266 --> 00:06:46,466
♪ IT'S BEEN THE SAME WAY
FOR YEARS ♪
133
00:06:48,833 --> 00:06:50,533
♪ WE NEED A CHANGE
134
00:06:52,433 --> 00:06:56,066
NARRATOR: IN THE 1970s,
DEFINING COUNTRY MUSIC
135
00:06:56,100 --> 00:06:59,400
WOULD BE DEBATED
AS NEVER BEFORE.
136
00:06:59,433 --> 00:07:03,266
BUT THAT ARGUMENT WOULD SPARK
ONE OF ITS MOST VIBRANT ERAS--
137
00:07:03,300 --> 00:07:08,566
MAKING ROOM FOR NEW VOICES
AND NEW ATTITUDES.
138
00:07:08,600 --> 00:07:09,866
AND OUT ON THE EDGES,
139
00:07:09,900 --> 00:07:13,700
WHERE DIFFERENT TYPES OF MUSIC
MEET AND MINGLE
140
00:07:13,733 --> 00:07:15,733
AND ART IS ALWAYS CREATED,
141
00:07:15,766 --> 00:07:21,466
COUNTRY MUSIC WOULD FIND
A DRAMATICALLY LARGER AUDIENCE.
142
00:07:21,500 --> 00:07:24,333
JENNINGS: ♪ I DON'T THINK HANK
DONE IT THIS WAY ♪
143
00:07:24,366 --> 00:07:25,433
NARRATOR: TWO WOMEN
144
00:07:25,466 --> 00:07:27,333
FROM NEARLY
OPPOSITE BACKGROUNDS
145
00:07:27,366 --> 00:07:29,500
WOULD LEAD THE WAY.
146
00:07:29,533 --> 00:07:33,633
ONE WOULD COME INTO HER OWN
AS A WRITER AND SINGER OF SONGS
147
00:07:33,666 --> 00:07:35,866
DRAWN FROM HER
IMPOVERISHED CHILDHOOD
148
00:07:35,900 --> 00:07:38,900
IN THE MOUNTAINS
OF EAST TENNESSEE.
149
00:07:38,933 --> 00:07:42,100
THE OTHER, FROM THE FOLK CLUBS
OF THE EAST COAST,
150
00:07:42,133 --> 00:07:45,400
WOULD BECOME AN UNLIKELY
CONVERT TO COUNTRY MUSIC--
151
00:07:45,433 --> 00:07:49,500
AND, WITH HER ANGELIC VOICE,
CONVERT MILLIONS MORE.
152
00:07:51,300 --> 00:07:54,666
TWO MUSICAL OUTCASTS
WOULD MAKE THEIR OWN RULES
153
00:07:54,700 --> 00:07:58,566
ABOUT WHAT IS
AND WHAT ISN'T COUNTRY MUSIC.
154
00:07:58,600 --> 00:08:00,600
ONE WOULD HAVE
TO LEAVE NASHVILLE
155
00:08:00,633 --> 00:08:04,100
TO FIND HIS
TRUE VOICE IN TEXAS.
156
00:08:04,133 --> 00:08:06,500
THE OTHER WOULD UPEND
THE RELATIONSHIP BETWEEN
157
00:08:06,533 --> 00:08:11,400
ARTISTS AND THEIR RECORD LABELS
IN MUSIC CITY.
158
00:08:11,433 --> 00:08:15,433
A MARRIED COUPLE, EACH
POSSESSING A REMARKABLE VOICE,
159
00:08:15,466 --> 00:08:19,800
WOULD CREATE SOME OF COUNTRY
MUSIC'S MOST ENDURING RECORDS
160
00:08:19,833 --> 00:08:24,800
WHILE SEEMINGLY LIVING OUT
THEIR SONGS' TRAGIC LYRICS.
161
00:08:24,833 --> 00:08:28,633
AND, AS A NEW GENERATION
OF ARTISTS CAME OF AGE,
162
00:08:28,666 --> 00:08:31,766
TWO CHILDREN OF
TWO MUSIC LEGENDS--
163
00:08:31,800 --> 00:08:34,566
ONE, THE SON OF
THE HILLBILLY SHAKESPEARE,
164
00:08:34,600 --> 00:08:38,333
THE OTHER, THE DAUGHTER
OF THE MAN IN BLACK--
165
00:08:38,366 --> 00:08:40,033
WOULD STRIKE OUT ON THEIR OWN
166
00:08:40,066 --> 00:08:42,233
AND PROVE,
AS THEIR FATHERS DID,
167
00:08:42,266 --> 00:08:46,400
THAT COUNTRY MUSIC,
THOUGH GROUNDED IN TRADITION,
168
00:08:46,433 --> 00:08:48,966
HAS ALWAYS BEEN MOVING FORWARD.
169
00:08:49,000 --> 00:08:59,033
♪
170
00:08:59,033 --> 00:09:04,933
♪
171
00:09:04,966 --> 00:09:08,066
TOM T. HALL: ♪ COUNTRY IS
172
00:09:08,100 --> 00:09:11,400
♪ SITTIN' ON THE BACK PORCH
173
00:09:11,433 --> 00:09:14,633
♪ LISTEN TO THE WHIPPOORWILLS
174
00:09:14,666 --> 00:09:16,533
♪ LATE IN THE DAY
175
00:09:16,566 --> 00:09:18,400
NARRATOR: BY THE TIME
YOUNG MARTY STUART
176
00:09:18,433 --> 00:09:20,733
DEBUTED ON THE GRAND OLE OPRY,
177
00:09:20,766 --> 00:09:24,800
THE DECISION HAD ALREADY BEEN
MADE THAT THE RYMAN AUDITORIUM
178
00:09:24,833 --> 00:09:27,633
WAS NO LONGER SUITED
FOR AN ATTRACTION DRAWING
179
00:09:27,666 --> 00:09:31,300
400,000 VISITORS A YEAR.
180
00:09:31,333 --> 00:09:33,533
THE FORMER TABERNACLE,
OWNED BY
181
00:09:33,566 --> 00:09:36,700
THE NATIONAL LIFE AND ACCIDENT
INSURANCE COMPANY,
182
00:09:36,733 --> 00:09:40,900
WAS NOW MORE THAN
3/4 OF A CENTURY OLD.
183
00:09:40,933 --> 00:09:43,400
HALL: ♪ KNOWIN' YOUR KIND
184
00:09:43,433 --> 00:09:46,433
MAN: AND THE STREET
AROUND THE RYMAN AUDITORIUM
185
00:09:46,466 --> 00:09:49,400
AT THAT TIME WAS
FULL OF HONKY-TONKS
186
00:09:49,433 --> 00:09:51,400
AND STREET WALKERS AND BEGGARS,
187
00:09:51,433 --> 00:09:53,866
AND THE FANS, THEY WERE
ALL GETTING HIT OUT THERE
188
00:09:53,900 --> 00:09:56,733
WHILE THEY'RE WAITING IN LINE
TO HOPEFULLY GET A TICKET.
189
00:09:56,766 --> 00:10:01,100
AND THE INSURANCE COMPANY GOT
VERY SENSITIVE AS TIME WENT ON.
190
00:10:01,133 --> 00:10:04,333
AND IT WAS A--IT WAS
REALLY A PR PROBLEM.
191
00:10:04,366 --> 00:10:05,700
HALL: ♪ COUNTRY IS
192
00:10:05,733 --> 00:10:08,400
NARRATOR: FOR YEARS,
OPRY MANAGER BUD WENDELL
193
00:10:08,433 --> 00:10:11,266
HAD BEEN FIELDING COMPLAINTS
FROM THE PERFORMERS
194
00:10:11,300 --> 00:10:14,800
ABOUT THEIR CRAMPED
WORKING CONDITIONS.
195
00:10:14,833 --> 00:10:18,366
"MOST OF MY MEMORIES
OF THE RYMAN," ROY ACUFF SAID,
196
00:10:18,400 --> 00:10:22,166
"ARE OF MISERY, SWEATING
OUT THERE ON THE STAGE,
197
00:10:22,200 --> 00:10:24,066
THE AUDIENCE SUFFERING, TOO."
198
00:10:24,100 --> 00:10:25,966
HALL: ♪ FIND OUT WHAT'S RIGHT
199
00:10:26,000 --> 00:10:27,800
NARRATOR:
SUMMERS WERE THE WORST, WHEN
200
00:10:27,833 --> 00:10:30,200
TEMPERATURES INSIDE
THE UN-AIR-CONDITIONED
201
00:10:30,233 --> 00:10:35,166
BRICK BUILDING ROSE TO
100 DEGREES AND HIGHER.
202
00:10:35,200 --> 00:10:38,100
STUART: AND LESTER FLATT
WENT TO BUD WENDELL AND SAID,
203
00:10:38,133 --> 00:10:40,466
"BUD, WE'VE TALKED ABOUT IT
AMONGST OURSELVES
204
00:10:40,500 --> 00:10:42,900
"AND WHY DON'T SOME OF
US OLDER ARTISTS
205
00:10:42,933 --> 00:10:45,433
"GO IN AND PITCH IN
AND MAYBE COME UP WITH
206
00:10:45,466 --> 00:10:47,400
"AN AIR-CONDITIONING SYSTEM,
OR SOMETHING TO HELP OUT
207
00:10:47,433 --> 00:10:48,766
AROUND HERE A LITTLE BIT?"
208
00:10:48,800 --> 00:10:51,333
BUD SAID SOMETHING TO
THE EFFECT, I THINK, "UH, WELL,
209
00:10:51,366 --> 00:10:52,533
"WE'VE CHECKED
INTO THAT, LESTER,
210
00:10:52,566 --> 00:10:53,866
AND IT'S A LITTLE OVER
$2 MILLION."
211
00:10:53,900 --> 00:10:55,700
AND LESTER SAID,
"AIN'T AS HOT AS I THOUGHT."
212
00:10:55,733 --> 00:10:57,733
[LAUGHS]
213
00:11:00,566 --> 00:11:03,933
NARRATOR: WENDELL'S BOSSES
DECIDED THE BEST SOLUTION
214
00:11:03,966 --> 00:11:07,600
WAS TO BUILD A NEW HOME
FOR THE OPRY.
215
00:11:07,633 --> 00:11:10,033
ON MORE THAN 300 ACRES OF LAND,
216
00:11:10,066 --> 00:11:13,300
6 MILES UP THE CUMBERLAND RIVER
FROM DOWNTOWN,
217
00:11:13,333 --> 00:11:16,266
THEY SPENT MORE THAN
$65 MILLION
218
00:11:16,300 --> 00:11:21,533
TO BUILD AN ELABORATE
THEME PARK, OPRYLAND USA;
219
00:11:21,566 --> 00:11:25,433
A SPRAWLING, 615-ROOM HOTEL;
220
00:11:25,466 --> 00:11:28,100
AND THE SPACIOUS
GRAND OLE OPRY HOUSE,
221
00:11:28,133 --> 00:11:29,900
FULLY AIR-CONDITIONED,
222
00:11:29,933 --> 00:11:33,933
WITH COMFORTABLE SEATING
FOR 4,400 PEOPLE,
223
00:11:33,966 --> 00:11:36,366
12 DRESSING ROOMS
FOR THE ARTISTS,
224
00:11:36,400 --> 00:11:38,333
AND A SEPARATE,
STATE-OF-THE-ART
225
00:11:38,366 --> 00:11:40,900
TELEVISION STUDIO.
226
00:11:40,933 --> 00:11:46,200
EVERYTHING WAS BRAND-NEW,
EXCEPT FOR A CIRCLE OF OLD WOOD
227
00:11:46,233 --> 00:11:48,533
AT THE CENTER OF THE STAGE.
228
00:11:48,566 --> 00:11:50,800
IT HAD COME FROM THE RYMAN.
229
00:11:53,633 --> 00:11:57,466
ON FRIDAY, MARCH 15, 1974,
230
00:11:57,500 --> 00:11:59,800
THE MOTHER CHURCH
OF COUNTRY MUSIC
231
00:11:59,833 --> 00:12:02,800
HOSTED ITS FINAL
GRAND OLE OPRY.
232
00:12:02,833 --> 00:12:05,600
MAN: ♪ GOOD-BYE,
DEAR, OLD RYMAN ♪
233
00:12:05,633 --> 00:12:07,800
ANDERSON: I'LL NEVER FORGET
THE LAST NIGHT AT THE RYMAN.
234
00:12:07,833 --> 00:12:09,400
IT WAS ON A FRIDAY NIGHT.
235
00:12:09,433 --> 00:12:12,033
AND WE WERE GOING TO OPEN
AT THE OPRY HOUSE
236
00:12:12,066 --> 00:12:14,866
THE NEXT NIGHT, ON SATURDAY.
237
00:12:14,900 --> 00:12:19,533
THERE WAS A FEELING THERE OF,
UM, IT WAS LIKE A FEELING
238
00:12:19,566 --> 00:12:21,566
I'VE NEVER FELT
AT THE OPRY BEFORE.
239
00:12:21,600 --> 00:12:25,733
IT WAS A LITTLE BIT OF SADNESS,
A LOT OF SADNESS.
240
00:12:25,766 --> 00:12:27,266
IT WAS A LITTLE BIT OF JOY.
241
00:12:27,300 --> 00:12:29,200
THERE WAS ANTICIPATION.
242
00:12:29,233 --> 00:12:31,866
THERE WAS A FEAR
OF THE UNKNOWN.
243
00:12:31,900 --> 00:12:33,200
"WELL, WHERE DO
WE GO FROM HERE?
244
00:12:33,233 --> 00:12:36,200
"ARE WE CUTTING OFF OUR NOSE
TO SPITE OUR FACE HERE?
245
00:12:36,233 --> 00:12:38,233
IS THIS REALLY WHAT
WE OUGHT TO BE DOING?"
246
00:12:39,700 --> 00:12:44,033
NARRATOR: BILL ANDERSON SANG
HIS BIG HIT, "PO' FOLKS."
247
00:12:44,066 --> 00:12:46,666
ROY ACUFF DID
"WABASH CANNONBALL"
248
00:12:46,700 --> 00:12:51,500
BEFORE INTRODUCING HIS
OLD FRIEND MINNIE PEARL.
249
00:12:51,533 --> 00:12:54,633
AFTER 8 HALF-HOUR SEGMENTS
OF THE OPRY,
250
00:12:54,666 --> 00:12:58,366
THE GRAND OLE GOSPEL SHOW
TOOK OVER.
251
00:12:58,400 --> 00:13:00,500
HANK SNOW WAS A FEATURED GUEST,
252
00:13:00,533 --> 00:13:03,666
AS WERE MOTHER MAYBELLE CARTER
AND HER DAUGHTERS
253
00:13:03,700 --> 00:13:07,100
AND JOHNNY CASH.
254
00:13:07,133 --> 00:13:10,100
THE LAST SONG PERFORMED
LATE THAT EVENING
255
00:13:10,133 --> 00:13:12,666
WAS THE OLD
CARTER FAMILY CLASSIC,
256
00:13:12,700 --> 00:13:16,100
"WILL THE CIRCLE BE UNBROKEN."
257
00:13:16,133 --> 00:13:18,933
LISTENING TO IT ALL
WAS A YOUNG REPORTER
258
00:13:18,966 --> 00:13:20,833
FOR "THE NEW YORKER" MAGAZINE,
259
00:13:20,866 --> 00:13:25,300
WHO HAD COME TO THE RYMAN
TO COVER THE EVENT.
260
00:13:25,333 --> 00:13:30,833
GARRISON KEILLOR HAD GROWN UP
IN MINNESOTA, 860 MILES AWAY,
261
00:13:30,866 --> 00:13:34,766
GLUED TO HIS FAMILY RADIO
EVERY SATURDAY NIGHT
262
00:13:34,800 --> 00:13:38,000
TO HEAR THE MUSIC
AND MINNIE PEARL'S STORIES
263
00:13:38,033 --> 00:13:42,533
FROM THE MAKE-BELIEVE TOWN
OF GRINDER'S SWITCH.
264
00:13:42,566 --> 00:13:45,200
ON THIS NIGHT,
KEILLOR WORKED HIS WAY
265
00:13:45,233 --> 00:13:47,833
INTO THE BROADCAST
ENGINEERS' BOOTH,
266
00:13:47,866 --> 00:13:52,566
LEANED AGAINST THE BACK WALL,
AND CLOSED HIS EYES.
267
00:13:52,600 --> 00:13:56,266
"IT WAS GOOD," HE WROTE,
"TO LET THE OPRY GO OUT
268
00:13:56,300 --> 00:13:59,366
"THE SAME WAY
IT HAD FIRST COME TO ME,
269
00:13:59,400 --> 00:14:02,100
THROUGH THE AIR IN THE DARK."
270
00:14:06,500 --> 00:14:09,700
THE NEXT NIGHT,
THE GRAND OLE OPRY DEBUTED
271
00:14:09,733 --> 00:14:12,700
FROM ITS BRAND-NEW HOME
IN THE SUBURBS.
272
00:14:15,066 --> 00:14:20,733
♪ FROM THE GREAT ATLANTIC OCEAN
TO THE WIDE PACIFIC SHORE... ♪
273
00:14:20,766 --> 00:14:23,600
ANDERSON: I GET GOOSE BUMPS
EVEN THINKING ABOUT IT NOW,
274
00:14:23,633 --> 00:14:26,700
AS THEY PROJECTED A FILM
OF ROY ACUFF SINGING
275
00:14:26,733 --> 00:14:29,466
"THE WABASH CANNONBALL"
FROM BACK IN THE FORTIES.
276
00:14:29,500 --> 00:14:31,233
AND THEY'RE SHOWING THIS
ON THE SCREEN
277
00:14:31,266 --> 00:14:32,966
IN THE NEW OPRY HOUSE.
278
00:14:33,000 --> 00:14:36,700
♪ ...ON THE WABASH
CANNONBALL ♪
279
00:14:36,733 --> 00:14:39,566
ANDERSON: AND IT'S JUST QUIET
AS A MOUSE AND ALL OF A SUDDEN,
280
00:14:39,600 --> 00:14:44,533
THAT SCREEN BEGINS TO LIFT
AND THERE'S ROY ACUFF...
281
00:14:44,566 --> 00:14:48,566
♪ ...ST. LOUIS
AND CHICAGO
BY THE WAY ♪
282
00:14:48,600 --> 00:14:50,766
♪ FROM THE HILLS
OF MINNESOTA ♪
283
00:14:50,800 --> 00:14:54,166
♪ WHERE THE RIPPLING
WATERS FALL... ♪
284
00:14:54,200 --> 00:14:55,966
AND THEY'RE SINGING
THE SAME SONG.
285
00:14:56,000 --> 00:14:57,466
IT NEVER MISSED A BEAT.
286
00:14:57,500 --> 00:14:59,800
IT WAS FROM THE OLD FILM
IN THE FORTIES
287
00:14:59,833 --> 00:15:02,666
TO HERE'S ROY ACUFF
NOW IN HIS SEVENTIES
288
00:15:02,700 --> 00:15:04,600
STILL SINGING
"THE WABASH CANNONBALL."
289
00:15:04,633 --> 00:15:05,700
I STOOD THERE AND CRIED.
290
00:15:05,733 --> 00:15:08,000
I'M ALMOST...I CAN
ALMOST SIT HERE
291
00:15:08,033 --> 00:15:10,233
AND CRY JUST THINKING ABOUT IT.
292
00:15:10,266 --> 00:15:12,000
NARRATOR: THE GUEST OF HONOR
THAT NIGHT
293
00:15:12,033 --> 00:15:14,733
WAS PRESIDENT RICHARD NIXON.
294
00:15:14,766 --> 00:15:16,833
IN WASHINGTON,
HE WAS EMBROILED IN
295
00:15:16,866 --> 00:15:20,133
THE WATERGATE SCANDAL
AND IMPEACHMENT PROCEEDINGS.
296
00:15:20,166 --> 00:15:24,900
IN NASHVILLE, HE WAS HAPPY
TO FIND A FRIENDLY AUDIENCE.
297
00:15:28,333 --> 00:15:31,433
FOR YEARS, THE COUNTRY
MUSIC ASSOCIATION
298
00:15:31,466 --> 00:15:34,066
HAD BEEN TELLING
ADVERTISING EXECUTIVES
299
00:15:34,100 --> 00:15:36,233
AND RADIO STATION OWNERS
300
00:15:36,266 --> 00:15:38,866
THAT THE OLD STEREOTYPE
OF COUNTRY FANS
301
00:15:38,900 --> 00:15:43,633
AS POOR AND UNEDUCATED
HILLBILLIES WAS WRONG.
302
00:15:43,666 --> 00:15:46,800
"THE FANS OF OUR MUSIC,"
A CMA OFFICIAL SAID,
303
00:15:46,833 --> 00:15:50,233
"ELECT THE PRESIDENTS,
RUN THE FACTORIES,
304
00:15:50,266 --> 00:15:54,366
"GROW THE FOOD, TRANSPORT
OUR GOODS, AND, IN GENERAL,
305
00:15:54,400 --> 00:15:58,900
MANIPULATE THE GEARS OF THIS
COUNTRY EVERY DAY."
306
00:15:58,933 --> 00:16:06,000
"THE "C" IN COUNTRY MUSIC,"
A BROCHURE ADDED, "MEANS CASH."
307
00:16:06,033 --> 00:16:09,300
WHOO! GET UP THERE.
308
00:16:09,333 --> 00:16:17,333
♪ WELL, GOOD MORNING,
CAPTAIN ♪
309
00:16:17,366 --> 00:16:21,333
NARRATOR: BY 1974, DOLLY PARTON
HAD BEEN PERFORMING
310
00:16:21,366 --> 00:16:26,000
ON PORTER WAGONER'S SYNDICATED
TELEVISION SHOW FOR 7 YEARS.
311
00:16:26,033 --> 00:16:28,033
AND DURING ALL 7 OF THEM,
312
00:16:28,066 --> 00:16:31,433
WAGONER HAD EXERTED
TIGHT CONTROL OVER HER CAREER.
313
00:16:31,466 --> 00:16:38,300
♪ DOWN ON YOUR
NEW MUD RUN?
HEY, HEY, YEAH ♪
314
00:16:38,333 --> 00:16:42,133
NARRATOR: WAGONER'S OWN STAR AS
A COUNTRY SINGER WAS FADING.
315
00:16:42,166 --> 00:16:46,733
HIS DUET ALBUMS WITH PARTON
OUTSOLD HIS OWN SOLO RECORDS,
316
00:16:46,766 --> 00:16:49,200
BUT ON THE ROAD
AND IN THE STUDIO,
317
00:16:49,233 --> 00:16:52,333
HE INSISTED ON BEING IN CHARGE.
318
00:16:52,366 --> 00:16:56,833
"I SIGNED THE CHECKS," HE SAID,
"SO, WE DID THINGS MY WAY."
319
00:17:00,166 --> 00:17:04,400
♪ FROM DOWN OLD
TENNESSEE WAY,
HEY, HEY ♪
320
00:17:04,433 --> 00:17:07,133
♪ I COME
FROM TENNESSEE ♪
321
00:17:07,166 --> 00:17:09,566
NARRATOR: WITH
WAGONER PRODUCING, SHE RECORDED
322
00:17:09,600 --> 00:17:12,666
THE OLD JIMMIE RODGERS TUNE
FROM 1930,
323
00:17:12,700 --> 00:17:18,400
"MULE SKINNER BLUES," WHICH
BECAME HER FIRST TOP 10 SINGLE.
324
00:17:18,433 --> 00:17:20,766
WOMAN: THERE ARE SONGS LIKE
THE "MULE SKINNER BLUES"
325
00:17:20,800 --> 00:17:22,533
THAT ARE JUST CLASSICS.
326
00:17:22,566 --> 00:17:24,533
FROM JIMMIE RODGERS
AND HIS VERSION OF IT
327
00:17:24,566 --> 00:17:27,433
TO BILL MONROE'S,
TO ROSE MADDOX.
328
00:17:27,466 --> 00:17:29,633
THERE ARE SONGS LIKE
THE "MULE SKINNER BLUES"
329
00:17:29,666 --> 00:17:32,200
THAT, YOU KNOW,
THAT GO ALL THE WAY BACK.
330
00:17:32,233 --> 00:17:34,400
SOMEBODY HEARS THAT
AND DADDY LOVED THAT
331
00:17:34,433 --> 00:17:38,666
AND GRANDPA LOVED THAT,
AND THEY PASS THAT SONG DOWN.
332
00:17:38,700 --> 00:17:41,766
IT'S A LITTLE LIKE AN HEIRLOOM.
333
00:17:41,800 --> 00:17:45,500
YOU KNOW, SOMETHING THAT
THEY CAN HOLD IN THE FAMILY.
334
00:17:47,200 --> 00:17:48,666
THEY'RE LIKE KEEPSAKES.
335
00:17:49,866 --> 00:17:52,600
NARRATOR: BUT WAGONER
ALSO ENCOURAGED PARTON
336
00:17:52,633 --> 00:17:55,266
TO RECORD MORE AND MORE
OF THE SONGS
337
00:17:55,300 --> 00:17:58,633
SHE HAD WRITTEN HERSELF,
STARTING WITH "JOSHUA,"
338
00:17:58,666 --> 00:18:01,933
WHICH BECAME HER FIRST
NUMBER-ONE COUNTRY HIT,
339
00:18:01,966 --> 00:18:05,966
AND THEN "COAT OF MANY COLORS"
AND "JOLENE."
340
00:18:06,000 --> 00:18:11,433
PARTON: ♪ JOLENE,
JOLENE, JOLENE, JOLENE ♪
341
00:18:11,466 --> 00:18:16,300
♪ I'M BEGGING OF YOU, PLEASE
DON'T TAKE MY MAN ♪
342
00:18:17,900 --> 00:18:23,466
♪ JOLENE, JOLENE,
JOLENE, JOLENE ♪
343
00:18:23,500 --> 00:18:29,833
♪ PLEASE DON'T TAKE HIM
JUST BECAUSE YOU CAN ♪
344
00:18:29,866 --> 00:18:32,000
♪ YOUR BEAUTY IS
BEYOND COMPARE ♪
345
00:18:32,033 --> 00:18:34,200
♪ WITH FLAMING LOCKS
OF AUBURN HAIR ♪
346
00:18:34,233 --> 00:18:38,433
♪ WITH IVORY SKIN
AND EYES OF EMERALD GREEN ♪
347
00:18:40,700 --> 00:18:42,966
♪ YOUR SMILE IS LIKE
A BREATH OF SPRING ♪
348
00:18:43,000 --> 00:18:45,866
♪ YOUR VOICE IS SOFT LIKE
SUMMER RAIN AND I CANNOT... ♪
349
00:18:45,900 --> 00:18:47,600
WOMAN: YOU KNOW WHAT
THAT FEELING IS LIKE--
350
00:18:47,633 --> 00:18:49,200
"THAT GIRL'S PRETTIER.
IS SHE GOING TO TAKE HIM AWAY?"
351
00:18:49,233 --> 00:18:50,366
SHE COULD TAKE HIM
AWAY, YOU KNOW.
352
00:18:50,400 --> 00:18:51,733
IS HE GOING TO LEAVE?
353
00:18:51,766 --> 00:18:53,800
PARTON: ♪ HE TALKS ABOUT YOU
IN HIS SLEEP ♪
354
00:18:53,833 --> 00:18:55,933
♪ AND THERE'S NOTHING
I CAN DO TO KEEP ♪
355
00:18:55,966 --> 00:19:00,900
♪ FROM CRYING WHEN HE
CALLS YOUR NAME, JOLENE ♪
356
00:19:00,933 --> 00:19:02,966
SHE'S NOT CURSING HER OUT,
SHE'S NOT YELLING AT HER,
357
00:19:03,000 --> 00:19:07,366
SHE'S NOT BEING, YOU KNOW,
FEISTY AND CAT WOMAN.
358
00:19:07,400 --> 00:19:09,500
SHE'S JUST SAYING,
"PLEASE DON'T TAKE MY MAN."
359
00:19:09,533 --> 00:19:12,366
I MEAN, THERE'S SOMETHING
ABOUT THAT LINE IN "JOLENE,"
360
00:19:12,400 --> 00:19:14,666
"PLEASE DON'T TAKE HIM
JUST BECAUSE YOU CAN."
361
00:19:14,700 --> 00:19:16,400
THAT IS SO HEART-WRENCHING.
362
00:19:16,433 --> 00:19:20,200
PARTON: ♪ JOLENE,
PLEASE DON'T TAKE HIM ♪
363
00:19:20,233 --> 00:19:26,333
♪ EVEN THOUGH YOU CAN,
JOLENE... ♪
364
00:19:26,366 --> 00:19:29,666
NARRATOR: IN THE EARLY 1970s,
PARTON HAD
365
00:19:29,700 --> 00:19:32,466
5 NUMBER-ONE COUNTRY
SOLO HITS,
366
00:19:32,500 --> 00:19:34,900
ALL OF THEM SELF-WRITTEN;
367
00:19:34,933 --> 00:19:37,166
WAGONER HAD NONE.
368
00:19:37,200 --> 00:19:40,700
INSIDERS COULD SEE
TENSIONS BUILDING.
369
00:19:40,733 --> 00:19:43,366
MAN: DOLLY GOT SMART.
370
00:19:43,400 --> 00:19:45,833
I GUESS SHE CAME SMART.
371
00:19:45,866 --> 00:19:51,366
I THINK DOLLY LEARNED
THAT SHE WAS NOT GOING TO GO
372
00:19:51,400 --> 00:19:55,566
ANY FURTHER WITH
HER CAREER AS LONG AS
373
00:19:55,600 --> 00:19:58,400
SHE WAS IN PORTER'S SHADOW.
374
00:19:58,433 --> 00:20:00,200
PARTON: WELL, I THINK PORTER
HAD A REAL HARD TIME
375
00:20:00,233 --> 00:20:02,266
AFTER OTHER PEOPLE STARTED
RECORDING MY SONGS
376
00:20:02,300 --> 00:20:06,266
AND I WAS WRITING AND I WAS
GETTING TO BE PRETTY POPULAR.
377
00:20:06,300 --> 00:20:07,766
AND IT WAS HIS SHOW.
378
00:20:07,800 --> 00:20:10,900
I WASN'T TRYING TO HOG IT,
BUT I JUST KIND OF CARVED OUT
379
00:20:10,933 --> 00:20:13,933
A LITTLE, YOU KNOW,
PLACE FOR MYSELF.
380
00:20:13,966 --> 00:20:16,133
BUT IT WAS
A LOVE-HATE RELATIONSHIP.
381
00:20:16,166 --> 00:20:18,900
WE FOUGHT LIKE CATS AND DOGS.
382
00:20:18,933 --> 00:20:22,133
WE WERE JUST BOTH
VERY PASSIONATE PEOPLE.
383
00:20:22,166 --> 00:20:23,800
THERE WAS NO WAY THAT
I WASN'T GOING TO DO
384
00:20:23,833 --> 00:20:25,433
WHAT I WAS GOING TO DO.
385
00:20:25,466 --> 00:20:26,866
AND NO WAY I WAS
GOING TO NOT DO
386
00:20:26,900 --> 00:20:29,033
WHAT HE THOUGHT
I WAS GOING TO DO.
387
00:20:29,066 --> 00:20:31,900
NARRATOR: "PORTER DREAMED OF ME
STAYING WITH HIS SHOW FOREVER,"
388
00:20:31,933 --> 00:20:35,966
PARTON SAID, "AND I DREAMED OF
HAVING MY OWN SHOW.
389
00:20:36,000 --> 00:20:38,200
"I WROTE MORE AND MORE SONGS
390
00:20:38,233 --> 00:20:41,400
AND DREAMED BIGGER
AND BIGGER DREAMS."
391
00:20:43,766 --> 00:20:45,600
PARTON: WHEN I WAS TRYING
TO LEAVE THE SHOW,
392
00:20:45,633 --> 00:20:47,400
I HAD TOLD PORTER
I'D STAY 5 YEARS.
393
00:20:47,433 --> 00:20:51,333
IT HAD BEEN 5, THEN IT WAS 6,
THEN IT WAS 7.
394
00:20:51,366 --> 00:20:53,166
HE WAS JUST HAVING
A REAL HARD TIME
395
00:20:53,200 --> 00:20:54,900
'CAUSE IT WAS GOING
TO MESS UP HIS SHOW.
396
00:20:56,500 --> 00:20:59,000
WE WERE VERY BOUND
AND TIED TOGETHER
397
00:20:59,033 --> 00:21:01,233
IN SO MANY EMOTIONAL WAYS.
398
00:21:01,266 --> 00:21:03,633
AND HE JUST WOULD NOT HEAR IT.
399
00:21:03,666 --> 00:21:05,466
AND SO, HE WAS GOING TO SUE ME;
400
00:21:05,500 --> 00:21:07,900
HE WAS GOING TO DO THIS;
HE WAS GOING TO DO THAT.
401
00:21:07,933 --> 00:21:09,633
AND SO, I WENT HOME
AND I THOUGHT,
402
00:21:09,666 --> 00:21:11,133
"HE'S NOT GOING
TO LISTEN TO ME."
403
00:21:11,166 --> 00:21:13,166
'CAUSE I'VE SAID IT
OVER AND OVER.
404
00:21:13,200 --> 00:21:14,733
AND SO I THOUGHT,
"DO WHAT YOU DO BEST.
405
00:21:14,766 --> 00:21:16,633
JUST WRITE A SONG."
406
00:21:16,666 --> 00:21:19,766
SO, I WROTE THE SONG,
TOOK IT BACK IN THE NEXT DAY,
407
00:21:19,800 --> 00:21:21,000
AND I SAID, "PORTER, SIT DOWN.
408
00:21:21,033 --> 00:21:22,866
I'VE GOT SOMETHING
I HAVE TO SING TO YOU."
409
00:21:24,466 --> 00:21:27,866
SO, I SANG IT, AND HE
WAS SITTING AT HIS DESK
AND HE WAS CRYING.
410
00:21:27,900 --> 00:21:30,266
HE SAID, "THAT'S
THE BEST THING YOU EVER WROTE."
411
00:21:30,300 --> 00:21:34,933
"OK, YOU CAN GO, BUT ONLY IF
I CAN PRODUCE THAT RECORD."
412
00:21:34,966 --> 00:21:38,533
AND HE DID,
AND THE REST IS HISTORY.
413
00:21:38,566 --> 00:21:42,133
NARRATOR: RELEASED A FEW MONTHS
AFTER SHE LEFT, IT WOULD GO ON
414
00:21:42,166 --> 00:21:45,966
TO BECOME DOLLY PARTON'S
BEST-SELLING SONG.
415
00:21:46,000 --> 00:21:53,133
♪ IF I SHOULD STAY
416
00:21:53,166 --> 00:22:00,533
♪ I WOULD ONLY BE IN YOUR WAY
417
00:22:00,566 --> 00:22:04,100
♪ SO I'LL GO
418
00:22:04,133 --> 00:22:07,600
♪ BUT I KNOW
419
00:22:07,633 --> 00:22:15,500
♪ I'LL THINK OF YOU
EACH STEP OF THE WAY ♪
420
00:22:15,533 --> 00:22:19,066
♪ AND I
421
00:22:19,100 --> 00:22:24,700
♪ WILL ALWAYS LOVE YOU
422
00:22:24,733 --> 00:22:34,533
♪ I WILL ALWAYS
LOVE YOU ♪
423
00:22:34,566 --> 00:22:37,966
EMERY: THAT SONG, IT WAS
AN ANTHEM TO PORTER WAGONER.
424
00:22:38,000 --> 00:22:41,533
♪ ...SWEET MEMORIES
425
00:22:41,566 --> 00:22:45,700
SHE WROTE IT, I THINK, BECAUSE
HE HAD DONE SO MUCH FOR HER.
426
00:22:45,733 --> 00:22:47,966
BUT SHE FELT IF
SHE DIDN'T LEAVE HIM,
427
00:22:48,000 --> 00:22:51,666
SHE WOULD JUST REMAIN
PORTER'S GIRL SINGER.
428
00:22:51,700 --> 00:22:55,166
♪ BUT I
429
00:22:55,200 --> 00:23:00,566
♪ WILL ALWAYS LOVE YOU
430
00:23:00,600 --> 00:23:02,366
♪ I WILL...
431
00:23:02,400 --> 00:23:03,733
HOLLY WILLIAMS:
WRITING A BEAUTIFUL SONG
432
00:23:03,766 --> 00:23:05,700
FROM THE MOST
SIMPLE WORDS.
433
00:23:05,733 --> 00:23:07,733
♪ LOVE YOU
434
00:23:07,766 --> 00:23:09,166
"I WILL ALWAYS LOVE YOU.
I WILL ALWAYS LOVE YOU.
435
00:23:09,200 --> 00:23:10,166
I WILL ALWAYS LOVE YOU,"
436
00:23:10,200 --> 00:23:11,533
WHEN SHE SINGS IT
OVER AND OVER,
437
00:23:11,566 --> 00:23:13,133
IT'S JUST SOMETHING THAT
ANY OF US CAN RELATE TO.
438
00:23:14,500 --> 00:23:17,033
♪ AND I
WISH YOU JOY ♪
439
00:23:17,066 --> 00:23:18,300
SHE WAS ABLE,
LIKE HANK WILLIAMS,
440
00:23:18,333 --> 00:23:20,866
TO TAKE THE MOST BASIC
ONE-LINERS,
441
00:23:20,900 --> 00:23:25,200
"I WILL ALWAYS LOVE YOU,"
AND TURN IT INTO A MASTERPIECE.
442
00:23:25,233 --> 00:23:29,100
♪ I WISH YOU LOVE
443
00:23:29,133 --> 00:23:32,633
♪ AND I
444
00:23:32,666 --> 00:23:37,900
♪ WILL ALWAYS
LOVE YOU ♪
445
00:23:37,933 --> 00:23:47,366
♪ I WILL ALWAYS
LOVE YOU ♪
446
00:23:47,400 --> 00:23:58,400
♪ I WILL
ALWAYS LOVE YOU ♪
447
00:23:58,433 --> 00:24:00,533
[CHEERING AND APPLAUSE]
448
00:24:03,466 --> 00:24:07,466
LORETTA LYNN AND CONWAY TWITTY:
♪ LOVE IS WHERE YOU FIND IT
449
00:24:07,500 --> 00:24:12,133
NARRATOR: OTHER FAMOUS DUET
TEAMS WERE STAYING TOGETHER.
450
00:24:12,166 --> 00:24:14,400
BILL ANDERSON AND JAN HOWARD
451
00:24:14,433 --> 00:24:18,166
SOMETIMES WROTE
EACH OTHER'S SONGS.
452
00:24:18,200 --> 00:24:20,366
DOTTIE WEST, WHO HAD
BEEN IN NASHVILLE
453
00:24:20,400 --> 00:24:23,933
FOR MORE THAN A DECADE,
JOINED WITH KENNY ROGERS,
454
00:24:23,966 --> 00:24:25,400
WHO HAD RECENTLY ARRIVED.
455
00:24:25,433 --> 00:24:28,266
TWITTY: ♪ ...IS ALMOST EMPTY
456
00:24:28,300 --> 00:24:31,266
NARRATOR: LORETTA LYNN
TEAMED UP WITH CONWAY TWITTY,
457
00:24:31,300 --> 00:24:36,466
THE FORMER ROCKABILLY STAR WHO
HAD RETURNED TO COUNTRY MUSIC.
458
00:24:36,500 --> 00:24:40,433
TOGETHER, THEY RELEASED
NEARLY A DOZEN DUET ALBUMS
459
00:24:40,466 --> 00:24:42,766
AND HAD 5 NUMBER-ONE SINGLES.
460
00:24:42,800 --> 00:24:46,800
LYNN: ♪ WE KNOW IT'S
WRONG FOR US TO MEET ♪
461
00:24:46,833 --> 00:24:51,433
♪ BUT THE FIRE'S
GONE OUT AT HOME ♪
462
00:24:51,466 --> 00:24:56,433
TWITTY AND LYNN: ♪ AND THERE'S
NOTHIN' COLD AS ASHES ♪
463
00:24:56,466 --> 00:25:01,333
♪ AFTER THE FIRE IS GONE
464
00:25:03,666 --> 00:25:07,100
[APPLAUSE]
465
00:25:07,133 --> 00:25:10,566
GEORGE JONES AND TAMMY WYNETTE:
♪ ROLLIN' IN MY
SWEET BABY'S ARMS ♪
466
00:25:10,600 --> 00:25:13,733
NARRATOR: BUT NO COUPLE
CAPTIVATED AUDIENCES,
467
00:25:13,766 --> 00:25:15,733
AND HEADLINES, MORE THAN
468
00:25:15,766 --> 00:25:17,700
GEORGE JONES AND TAMMY WYNETTE.
469
00:25:17,733 --> 00:25:20,166
JONES AND WYNETTE:
♪ I'LL LAY AROUND THE SHACK
470
00:25:20,200 --> 00:25:23,066
♪ TILL THE MAIL TRAIN
COMES BACK ♪
471
00:25:23,100 --> 00:25:26,800
♪ AND I'LL ROLL IN
MY SWEET BABY'S ARMS ♪
472
00:25:26,833 --> 00:25:29,000
ANDERSON: I THINK PEOPLE
REALLY FELT LIKE THEY WERE
473
00:25:29,033 --> 00:25:30,400
GETTING A LOT OF THE TRUE STORY
474
00:25:30,433 --> 00:25:32,333
AND GETTING THE STORY
OF THEIR OWN LIVES
475
00:25:32,366 --> 00:25:34,633
WHEN THIS INCREDIBLY TALENTED
MALE SINGER
476
00:25:34,666 --> 00:25:37,166
WAS SINGING WITH THIS BEAUTIFUL
AND INCREDIBLY TALENTED
477
00:25:37,200 --> 00:25:40,000
FEMALE SINGER,
AND THEY'RE SINGING SONGS.
478
00:25:40,033 --> 00:25:44,866
♪ WE'RE GONNA HOLD ON
OK, IF, IF THEY CAN HOLD ON,
479
00:25:44,900 --> 00:25:47,066
ME AND OLD FRED
CAN HOLD ON, TOO.
480
00:25:47,100 --> 00:25:48,666
OR ME AND OLD ETHEL, YOU KNOW?
481
00:25:48,700 --> 00:25:51,800
AND I THINK PEOPLE SAW
THEIR OWN LIVES IN THESE SONGS.
482
00:25:51,833 --> 00:25:55,400
JONES AND WYNETTE:
♪ ...SWEET BABY'S ARMS
483
00:25:55,433 --> 00:26:00,766
♪ ROLLING IN MY
SWEET BABY'S ARMS, I'LL... ♪
484
00:26:00,800 --> 00:26:04,033
NARRATOR: WHEN THEY GOT MARRIED
BACK IN 1969,
485
00:26:04,066 --> 00:26:06,500
BOTH TAMMY WYNETTE
AND GEORGE JONES
486
00:26:06,533 --> 00:26:09,700
WERE ALREADY
WELL-KNOWN ARTISTS.
487
00:26:09,733 --> 00:26:12,866
BILLED AS "MR. AND MRS.
COUNTRY MUSIC,"
488
00:26:12,900 --> 00:26:15,633
THEY DREW LARGE,
ADORING CROWDS.
489
00:26:15,666 --> 00:26:17,766
AND THEIR PRODUCER,
BILLY SHERRILL,
490
00:26:17,800 --> 00:26:24,466
MADE SURE THEY FED THEIR FANS
A STEADY STRING OF DUET ALBUMS.
491
00:26:24,500 --> 00:26:27,300
MAN: I SEE TAMMY
LOOKING AT GEORGE'S LIPS
492
00:26:27,333 --> 00:26:29,233
TRYING TO FIGURE OUT
IF HE'S EVER GOING TO
493
00:26:29,266 --> 00:26:31,933
DO IT TWICE THE SAME WAY
494
00:26:31,966 --> 00:26:35,366
AND DOING HER DAMNEDEST
TO PHRASE WITH HIM.
495
00:26:35,400 --> 00:26:37,700
AND HIM WITH THAT LITTLE
496
00:26:37,733 --> 00:26:39,566
BEADY-EYED POSSUM LOOK
ABOUT HIM,
497
00:26:39,600 --> 00:26:41,400
LOVING EVERY SECOND OF IT.
498
00:26:41,433 --> 00:26:45,666
BOTH: ♪ FOR BETTER OR WORST
499
00:26:45,700 --> 00:26:50,066
♪ YOU'LL ALWAYS COME FIRST
500
00:26:50,100 --> 00:26:55,633
♪ AND NO ONE CAN
KEEP US APART ♪
501
00:26:55,666 --> 00:26:58,833
NARRATOR: "WHEN WE WERE
ONSTAGE," JONES SAID,
502
00:26:58,866 --> 00:27:01,300
"WE WERE IN OUR OWN
LITTLE HEAVEN."
503
00:27:01,333 --> 00:27:03,500
BOTH: ♪ ...EACH OTHER
504
00:27:03,533 --> 00:27:07,866
♪ FORSAKING ALL OTHERS
505
00:27:07,900 --> 00:27:10,733
NARRATOR: BUT THIS WAS A THIRD
MARRIAGE FOR BOTH OF THEM,
506
00:27:10,766 --> 00:27:12,833
AND IT WAS NEVER TRANQUIL.
507
00:27:12,866 --> 00:27:16,400
HIS BINGE DRINKING
MADE HIM UNCONTROLLABLE.
508
00:27:16,433 --> 00:27:18,800
SHE COULD BE EQUALLY VOLATILE.
509
00:27:18,833 --> 00:27:23,033
"HE NIPPED," SHE SAID,
"AND I NAGGED."
510
00:27:23,066 --> 00:27:25,233
[CHEERING AND APPLAUSE]
511
00:27:27,933 --> 00:27:32,000
WOMAN: I WAS FRIENDS WITH BOTH
OF THEM WHEN THEY GOT TOGETHER.
512
00:27:32,033 --> 00:27:35,233
AND I HAVE TO SAY,
I THOUGHT, "OH, MY.
513
00:27:35,266 --> 00:27:38,266
I DON'T KNOW WHETHER
THIS CAN WORK OR NOT."
514
00:27:39,600 --> 00:27:42,233
I TRULY THINK THAT
GEORGE AND TAMMY
515
00:27:42,266 --> 00:27:44,300
HAD A GREAT LOVE AFFAIR.
516
00:27:44,333 --> 00:27:47,333
BUT THERE ARE CERTAINLY
PROBLEMS THAT ARISE
517
00:27:47,366 --> 00:27:50,266
FROM TWO STRONG CAREERS,
518
00:27:50,300 --> 00:27:53,700
A STRONG DUET CAREER
THROWN IN THERE,
519
00:27:53,733 --> 00:27:57,500
FAMILY ADDED,
AND GEORGE'S DRINKING
520
00:27:57,533 --> 00:28:00,666
WAS JUST ALWAYS A PROBLEM, TOO.
521
00:28:00,700 --> 00:28:06,600
SO, ALL OF THOSE ELEMENTS ADD TO
EITHER LIVING OUT A COUNTRY SONG
522
00:28:06,633 --> 00:28:08,833
OR WRITING A DAMN GOOD ONE.
523
00:28:08,866 --> 00:28:14,066
BOTH: ♪ WE'RE GONNA HOLD ON
524
00:28:14,100 --> 00:28:18,233
NARRATOR: IN 1973,
WYNETTE FILED FOR DIVORCE.
525
00:28:18,266 --> 00:28:22,100
THEY RECONCILED LONG ENOUGH FOR
THEM TO GO BACK INTO THE STUDIO
526
00:28:22,133 --> 00:28:24,633
AND RECORD
"WE'RE GONNA HOLD ON,"
527
00:28:24,666 --> 00:28:26,066
WHICH ROSE TO NUMBER ONE.
528
00:28:26,100 --> 00:28:30,733
BOTH: ♪ ON TO EACH OTHER
529
00:28:30,766 --> 00:28:32,366
NARRATOR: SHE WITHDREW
HER PETITION.
530
00:28:32,400 --> 00:28:35,400
♪ LIFE CAN BE ROUGH
531
00:28:35,433 --> 00:28:38,733
♪ SOMETIMES IT'S KIND
532
00:28:38,766 --> 00:28:45,366
♪ A REAL GOOD LIFE
IS HARD TO FIND ♪
533
00:28:45,400 --> 00:28:52,333
♪ IT BRINGS US
HAPPINESS ALL
THROUGH THE DAY ♪
534
00:28:52,366 --> 00:28:58,066
♪ AND NOTHING'S
GONNA EVER
MAKE IT GO AWAY ♪
535
00:28:58,100 --> 00:29:04,433
BOTH: ♪ WE'RE GONNA HOLD ON
536
00:29:04,466 --> 00:29:10,800
♪ WE'RE GONNA HOLD ON
537
00:29:10,833 --> 00:29:21,733
♪ WE'RE GONNA HOLD ON TO
EACH OTHER ♪
538
00:29:21,766 --> 00:29:27,500
♪ WE'RE GONNA HOLD ON
539
00:29:27,533 --> 00:29:28,933
[APPLAUSE]
540
00:29:28,966 --> 00:29:32,833
NARRATOR: TWO YEARS LATER,
WYNETTE FILED FOR DIVORCE AGAIN.
541
00:29:32,866 --> 00:29:36,600
THIS TIME, THERE WAS
NO TURNING BACK.
542
00:29:36,633 --> 00:29:40,400
"GEORGE IS ONE OF THOSE PEOPLE
WHO CAN'T TOLERATE HAPPINESS,"
543
00:29:40,433 --> 00:29:42,366
SHE TOLD A REPORTER.
544
00:29:42,400 --> 00:29:45,200
"IF EVERYTHING IS RIGHT,
THERE IS SOMETHING IN HIM
545
00:29:45,233 --> 00:29:49,500
THAT MAKES HIM DESTROY IT
AND DESTROY ME WITH IT."
546
00:29:52,666 --> 00:29:55,633
THEY EACH RELEASED
POPULAR ALBUMS,
547
00:29:55,666 --> 00:30:01,200
BUT AS SOLO ACTS ON THE ROAD,
THEIR BOOKINGS SUFFERED.
548
00:30:01,233 --> 00:30:03,966
AT WYNETTE'S CONCERTS,
DISAPPOINTED FANS
549
00:30:04,000 --> 00:30:06,733
OFTEN SHOUTED OUT,
"WHERE'S GEORGE?"
550
00:30:06,766 --> 00:30:11,200
WYNETTE: ♪ I MAY SOMETIMES
BOTHER YOU, TRY TO BE IN.... ♪
551
00:30:11,233 --> 00:30:14,466
NARRATOR: JONES'
DRINKING INCREASED.
552
00:30:14,500 --> 00:30:18,333
HE WOULD SOMETIMES BE SEEN
IN ONE OF THE 27 CARS
553
00:30:18,366 --> 00:30:20,900
HE BOUGHT AND SOLD THAT YEAR,
554
00:30:20,933 --> 00:30:24,100
AIMLESSLY CIRCLING
THE DRIVEWAY OF THE HOME
555
00:30:24,133 --> 00:30:28,300
THE COUPLE HAD ONCE SHARED
IN NASHVILLE.
556
00:30:28,333 --> 00:30:31,600
SHE EMBARKED ON A SERIES
OF HIGHLY PUBLICIZED
557
00:30:31,633 --> 00:30:34,000
AND SHORT-LIVED ROMANCES--
558
00:30:34,033 --> 00:30:37,900
WITH A MOVIE STAR,
A PROFESSIONAL FOOTBALL PLAYER,
559
00:30:37,933 --> 00:30:41,933
A COUNTRY SINGER,
A POLITICIAN, AND OTHERS.
560
00:30:43,733 --> 00:30:47,133
AT A RECORDING SESSION
IN LATE 1975,
561
00:30:47,166 --> 00:30:49,700
SHE RECORDED A SONG
SHE LATER CALLED
562
00:30:49,733 --> 00:30:52,400
THE FAVORITE OF
ALL HER SINGLES--
563
00:30:52,433 --> 00:30:55,500
"TIL I CAN MAKE IT ON MY OWN."
564
00:30:55,533 --> 00:31:00,833
WYNETTE: ♪ TIL I CAN
MAKE IT ON MY OWN ♪
565
00:31:00,866 --> 00:31:02,733
NARRATOR: AS THE SESSION
MUSICIANS GATHERED
566
00:31:02,766 --> 00:31:04,333
TO HEAR THE PLAYBACK,
567
00:31:04,366 --> 00:31:07,400
NO ONE IN THE STUDIO
SPOKE A WORD.
568
00:31:07,433 --> 00:31:12,866
"THEY KNEW," WYNETTE RECALLED,
"THE SONG WAS ABOUT GEORGE."
569
00:31:12,900 --> 00:31:16,266
STILL, 4 MONTHS LATER,
BILLY SHERRILL WAS ABLE
570
00:31:16,300 --> 00:31:20,700
TO GET THE TWO OF THEM TOGETHER
FOR ONE MORE DUET ALBUM.
571
00:31:20,733 --> 00:31:23,966
ITS TITLE TRACK
WAS "GOLDEN RING,"
572
00:31:24,000 --> 00:31:28,066
WRITTEN BY RAFE VAN HOY
AND BOBBY BRADDOCK.
573
00:31:28,100 --> 00:31:30,800
MAN: "GOLDEN RING" DOES SOUND
A LITTLE BIT LIKE AN OLD HYMN.
574
00:31:30,833 --> 00:31:32,333
IT PROBABLY SOUNDS
LIKE 10 OR 12
575
00:31:32,366 --> 00:31:35,233
OLD SOUTHERN GOSPEL HYMNS
KIND OF THROWN TOGETHER.
576
00:31:35,266 --> 00:31:36,933
WHEN YOU GET TO
THE CHORUS,
577
00:31:36,966 --> 00:31:39,166
IT'S THAT OLD CHURCH
SING-A-LONG THING.
578
00:31:39,200 --> 00:31:44,133
♪ GOLDEN RING, GOLDEN RING,
WITH ONE TINY, LITTLE STONE ♪
579
00:31:44,166 --> 00:31:48,633
♪ CAST ASIDE, CAST ASIDE, LIKE
THE LOVE THAT'S DEAD AND GONE ♪
580
00:31:48,666 --> 00:31:52,966
♪ BY ITSELF, BY ITSELF,
JUST A COLD METALLIC THING ♪
581
00:31:53,000 --> 00:31:55,700
♪ ONLY LOVE CAN MAKE
A GOLDEN WEDDING RING ♪
582
00:31:55,733 --> 00:31:58,166
♪ DOO DOO DOO DOO
583
00:31:58,200 --> 00:32:00,766
BOTH: ♪ GOLDEN RING
♪ OOH
584
00:32:00,800 --> 00:32:03,566
♪ WITH ONE TINY,
LITTLE STONE ♪
585
00:32:03,600 --> 00:32:06,433
♪ CAST ASIDE
♪ CAST ASIDE
586
00:32:06,466 --> 00:32:09,166
♪ LIKE THE LOVE THAT'S
DEAD AND GONE ♪
587
00:32:09,200 --> 00:32:11,633
♪ BY ITSELF
♪ BY ITSELF
588
00:32:11,666 --> 00:32:14,266
♪ IT'S JUST A COLD
METALLIC THING ♪
589
00:32:14,300 --> 00:32:20,166
♪ ONLY LOVE CAN MAKE
A GOLDEN WEDDING RING ♪
590
00:32:24,266 --> 00:32:27,833
♪ IN A PAWN SHOP IN CHICAGO
591
00:32:27,866 --> 00:32:31,966
♪ ON A SUNNY SUMMER DAY
592
00:32:32,000 --> 00:32:42,033
♪ A COUPLE GAZES AT
THE WEDDING RINGS
THERE ON DISPLAY ♪
593
00:32:42,066 --> 00:32:48,800
♪ GOLDEN RING
594
00:32:48,833 --> 00:32:50,166
[APPLAUSE]
595
00:32:50,200 --> 00:32:53,033
NARRATOR: "GOLDEN RING" WOULD
TOP THE COUNTRY CHARTS.
596
00:32:56,333 --> 00:32:59,033
IT WAS PLAYING ON
WYNETTE'S CAR RADIO
597
00:32:59,066 --> 00:33:01,633
ON THE DAY SHE WAS
ON HER WAY TO MARRY
598
00:33:01,666 --> 00:33:05,466
HER FOURTH HUSBAND IN 1976.
599
00:33:05,500 --> 00:33:10,900
IT WAS STILL ON THE CHARTS WHEN
SHE DIVORCED HIM 44 DAYS LATER.
600
00:33:17,033 --> 00:33:20,433
BY THIS TIME,
THE SMOOTH NASHVILLE SOUND
601
00:33:20,466 --> 00:33:24,366
HAD EVOLVED INTO
SOMETHING EVEN SMOOTHER.
602
00:33:24,400 --> 00:33:26,633
CHARLIE RICH: ♪ MY BABY
MAKES ME PROUD ♪
603
00:33:26,666 --> 00:33:29,300
NARRATOR: PEOPLE CALLED IT
"COUNTRYPOLITAN,"
604
00:33:29,333 --> 00:33:32,900
AND PRODUCERS HOPED IT WOULD
HELP THEIR ARTISTS CROSS OVER
605
00:33:32,933 --> 00:33:35,700
TO THE LUCRATIVE POP MARKET.
606
00:33:35,733 --> 00:33:37,300
RICH: ♪ 'CAUSE PEOPLE
LIKE TO TALK ♪
607
00:33:37,333 --> 00:33:39,333
NARRATOR: BILLY SHERRILL
WAS MUSIC CITY'S
608
00:33:39,366 --> 00:33:43,266
MOST RELIABLE
COUNTRYPOLITAN HIT MAKER.
609
00:33:43,300 --> 00:33:44,900
HE HELPED CHARLIE RICH,
610
00:33:44,933 --> 00:33:47,233
A JOURNEYMAN
RHYTHM AND BLUES SINGER,
611
00:33:47,266 --> 00:33:52,533
REINVENT HIMSELF AS
AN EASY-LISTENING,
COUNTRY-POP STAR,
612
00:33:52,566 --> 00:33:54,466
AND WHEN HE FOUND TANYA TUCKER,
613
00:33:54,500 --> 00:33:57,666
A PRECOCIOUS 13-YEAR-OLD
WITH A BIG VOICE,
614
00:33:57,700 --> 00:34:00,266
HE GAVE HER SONGS
WITH ADULT THEMES
615
00:34:00,300 --> 00:34:02,933
THAT RAISED EYEBROWS
AMONG COUNTRY MUSIC'S
616
00:34:02,966 --> 00:34:05,266
MORE CONSERVATIVE FANS
617
00:34:05,300 --> 00:34:08,200
AND CREATED DOZENS
OF HIT RECORDS.
618
00:34:08,233 --> 00:34:10,300
RICH: ♪ AND SHE MAKES ME GLAD
619
00:34:10,333 --> 00:34:13,566
NARRATOR: UP AND DOWN MUSIC ROW,
OTHER PRODUCERS,
620
00:34:13,600 --> 00:34:16,566
INCLUDING CHET ATKINS
AND OWEN BRADLEY,
621
00:34:16,600 --> 00:34:20,666
STEERED EVEN FARTHER AWAY
FROM COUNTRY'S TWANG.
622
00:34:25,466 --> 00:34:27,466
BUT THE BRIDGE
TO CROSSOVER SUCCESS
623
00:34:27,500 --> 00:34:29,633
WENT BOTH WAYS.
624
00:34:29,666 --> 00:34:33,566
OLIVIA NEWTON-JOHN:
♪ YOU CAME WHEN I WAS HAPPY
IN YOUR... ♪
625
00:34:33,600 --> 00:34:35,800
NARRATOR: AUSTRALIA'S
OLIVIA NEWTON-JOHN
626
00:34:35,833 --> 00:34:37,633
GOT HER CAREER LAUNCHED
627
00:34:37,666 --> 00:34:40,333
WHEN HER EARLY
POP SONGS WERE PROMOTED
628
00:34:40,366 --> 00:34:43,866
TO COUNTRY RADIO STATIONS.
629
00:34:43,900 --> 00:34:48,766
IN 1974, SHE WAS NAMED
THE COUNTRY MUSIC ASSOCIATION'S
630
00:34:48,800 --> 00:34:50,700
FEMALE VOCALIST OF THE YEAR,
631
00:34:50,733 --> 00:34:54,733
BEATING OUT DOLLY PARTON
AND LORETTA LYNN.
632
00:34:54,766 --> 00:34:58,633
COUNTRY TRADITIONALISTS
WERE SURPRISED AND ANGRY.
633
00:34:58,666 --> 00:35:01,900
NEWTON-JOHN: ♪ IF YOU LOVE ME,
LET ME KNOW ♪
634
00:35:01,933 --> 00:35:03,366
WOMAN: IT SHOCKED ME.
635
00:35:03,400 --> 00:35:06,633
THAT THE MUSIC WAS
GETTING AWAY FROM US.
636
00:35:06,666 --> 00:35:10,166
WE WERE LOSING...OUR IDENTITY,
637
00:35:10,200 --> 00:35:11,733
SO TO SPEAK, I GUESS.
638
00:35:13,066 --> 00:35:14,900
NARRATOR: THE FUROR
WAS EVEN GREATER
639
00:35:14,933 --> 00:35:19,133
AT THE NEXT YEAR'S AWARDS SHOW,
WHEN CMA'S TOP HONOR--
640
00:35:19,166 --> 00:35:22,000
COUNTRY MUSIC ENTERTAINER
OF THE YEAR--
641
00:35:22,033 --> 00:35:23,933
WENT TO A FOLK/POP SINGER
642
00:35:23,966 --> 00:35:28,266
WHO WAS WATCHING FROM
THE OTHER SIDE OF THE WORLD.
643
00:35:28,300 --> 00:35:29,600
MAN: THE WINNER...
644
00:35:42,333 --> 00:35:44,500
[LAUGHTER]
645
00:35:48,433 --> 00:35:50,633
MY FRIEND MR. JOHN DENVER.
646
00:35:50,666 --> 00:35:52,833
[CHEERING AND APPLAUSE]
647
00:35:55,600 --> 00:35:57,033
STUART: THINGS WERE CHANGING.
AND NOT EVERYBODY
648
00:35:57,066 --> 00:35:58,733
AGREED WITH IT.
649
00:35:58,766 --> 00:36:02,166
I THINK A LOT OF PEOPLE SAW IT
AS THE BOUNDARIES
650
00:36:02,200 --> 00:36:04,933
WERE BEING BROADENED
AND EXPANDED UPON.
651
00:36:04,966 --> 00:36:06,166
AND OTHER PEOPLE SAW IT AS THAT
652
00:36:06,200 --> 00:36:08,066
COUNTRY MUSIC IS
LOSING ITS SOUL.
653
00:36:11,800 --> 00:36:14,200
♪ I'M GOING DOWN
TO AUSTIN, TEXAS ♪
654
00:36:14,233 --> 00:36:16,966
♪ I'M GOING DOWN
TO SAVE MY SOUL, GET... ♪
655
00:36:17,000 --> 00:36:19,366
NARRATOR: WHILE OLDER,
TRADITIONAL ARTISTS
656
00:36:19,400 --> 00:36:22,900
ENGAGED IN A TUG OF WAR
WITH THE COUNTRYPOLITANS,
657
00:36:22,933 --> 00:36:25,766
NASHVILLE WAS ALSO
ATTRACTING A NEW WAVE
658
00:36:25,800 --> 00:36:29,300
OF YOUNG SINGER-SONGWRITERS
WHO HAD THEIR OWN IDEAS
659
00:36:29,333 --> 00:36:31,900
ABOUT THE DIRECTION
OF COUNTRY MUSIC.
660
00:36:31,933 --> 00:36:36,700
♪ OH, MY, MOMMA, AIN'T THAT
TEXAS COOKIN' SOMETHING ♪
661
00:36:36,733 --> 00:36:41,500
♪ OH, MY, MOMMA, IT'LL STOP YO'
BELLY AND BACKBONE BUMPIN' ♪
662
00:36:41,533 --> 00:36:46,133
♪ OH, MY, MOMMA, AIN'T THAT
TEXAS COOKIN' GOOD ♪
663
00:36:46,166 --> 00:36:51,133
♪ OH, MY, MOMMA, EAT IT
EVERY DAY IF I COULD ♪
664
00:36:51,166 --> 00:36:53,966
NARRATOR: FOR THEM,
CREATING A WELL-CRAFTED SONG
665
00:36:54,000 --> 00:36:56,833
WAS MORE IMPORTANT
THAN WRITING A HIT,
666
00:36:56,866 --> 00:36:59,766
THOUGH THEY ALL DREAMED
THAT THEY MIGHT HAVE BOTH,
667
00:36:59,800 --> 00:37:03,433
LIKE THE HUGELY SUCCESSFUL
KRIS KRISTOFFERSON.
668
00:37:03,466 --> 00:37:06,900
AND LIKE KRISTOFFERSON,
MANY OF THE NEW ARRIVALS
669
00:37:06,933 --> 00:37:08,266
WERE FROM TEXAS.
670
00:37:10,966 --> 00:37:12,433
PEOPLE ASK ME AND SAY,
"WHAT IS IT ABOUT
671
00:37:12,466 --> 00:37:14,233
THESE TEXAS SONGWRITERS?"
672
00:37:14,266 --> 00:37:17,100
YOU KNOW, "WHAT IS IT?"
AND I SAY,
673
00:37:17,133 --> 00:37:19,300
"WE'RE THE BEST LIARS
IN THE WORLD."
674
00:37:21,000 --> 00:37:23,833
TEXANS HAVE ALWAYS HAD
THIS INDEPENDENT STREAK
675
00:37:23,866 --> 00:37:26,733
OF DOING ... THE WAY
THEY WANT IT,
676
00:37:26,766 --> 00:37:29,566
THE WAY THEY HEAR IT,
THE WAY THEY WANT TO DO IT.
677
00:37:32,366 --> 00:37:34,366
NARRATOR: WHEN GUY CLARK
WAS A LITTLE BOY
678
00:37:34,400 --> 00:37:37,366
IN THE SMALL WEST TEXAS TOWN
OF MONAHANS,
679
00:37:37,400 --> 00:37:40,033
HIS FAMILY DIDN'T OWN
A RECORD PLAYER
680
00:37:40,066 --> 00:37:42,133
AND INSTEAD
SPENT THEIR EVENINGS
681
00:37:42,166 --> 00:37:44,633
READING POETRY ALOUD
TO EACH OTHER.
682
00:37:46,800 --> 00:37:50,966
CLARK GOT HIS FIRST GUITAR
WHEN THEY MOVED TO SOUTH TEXAS,
683
00:37:51,000 --> 00:37:54,300
AND THE FIRST SONGS
HE LEARNED WERE IN SPANISH.
684
00:37:54,333 --> 00:37:57,233
BY HIS EARLY TWENTIES,
HE WAS PERFORMING IN
685
00:37:57,266 --> 00:38:00,733
FOLK CLUBS AND COFFEE HOUSES
AROUND HOUSTON.
686
00:38:02,066 --> 00:38:05,833
AFTER A YEAR IN LOS ANGELES,
HE RELOCATED TO NASHVILLE
687
00:38:05,866 --> 00:38:09,700
WITH HIS WIFE SUSANNA,
A PAINTER AND SONGWRITER.
688
00:38:11,200 --> 00:38:13,700
AT THE NEWLY OPENED EXIT/IN,
689
00:38:13,733 --> 00:38:17,100
A SMALL LIVE-MUSIC VENUE
ON ELLISTON PLACE
690
00:38:17,133 --> 00:38:19,366
NEAR VANDERBILT UNIVERSITY,
691
00:38:19,400 --> 00:38:23,700
CLARK AND OTHERS FOUND A PLACE
TO TRY OUT THEIR LATEST SONGS
692
00:38:23,733 --> 00:38:27,300
IN FRONT OF A YOUNGER,
MORE PROGRESSIVE AUDIENCE.
693
00:38:27,333 --> 00:38:29,833
STUART: DOWN ON ELLISTON PLACE,
IT WAS KIND OF LIKE
694
00:38:29,866 --> 00:38:32,833
PARIS IN THE TWENTIES
MUST HAVE BEEN BECAUSE
695
00:38:32,866 --> 00:38:36,200
IT WAS ALL BOHEMIANS
AND NEW THINKING,
696
00:38:36,233 --> 00:38:38,700
FORWARD-THINKING
COUNTRY MUSIC PEOPLE.
697
00:38:40,166 --> 00:38:41,866
CLARK: THE THING ABOUT
NASHVILLE, IT'S NOT THAT
698
00:38:41,900 --> 00:38:44,800
THEY'RE SQUASHING
YOUR CREATIVITY,
699
00:38:44,833 --> 00:38:47,533
BUT THEY WILL TO MAKE A BUCK.
700
00:38:47,566 --> 00:38:50,300
THE POINT IS
THEY'RE IN BUSINESS.
701
00:38:50,333 --> 00:38:52,766
THEY'RE HERE TO MAKE MONEY,
NOT TO SUPPORT
702
00:38:52,800 --> 00:38:55,800
YOUR ARTISTIC BENT, YOU KNOW?
703
00:38:57,200 --> 00:39:01,533
♪ I CAN JUST GET OFF
OF THIS L.A. FREEWAY ♪
704
00:39:01,566 --> 00:39:05,400
♪ WITHOUT GETTING
KILLED OR CAUGHT ♪
705
00:39:05,433 --> 00:39:09,300
♪ I'D BE DOWN THE ROAD
IN A CLOUD OF SMOKE ♪
706
00:39:09,333 --> 00:39:12,733
♪ TO SOME LAND I AIN'T BOUGHT
707
00:39:16,700 --> 00:39:18,966
CROWELL: WHEN I ARRIVED
IN NASHVILLE,
708
00:39:19,000 --> 00:39:21,833
THE WHOLE IDEA OUT ON
THE STREET IS THAT,
709
00:39:21,866 --> 00:39:24,333
"MAN, I'VE GOT
TO WORK HARD ENOUGH
710
00:39:24,366 --> 00:39:27,333
"AND HAVE THE DEDICATION
TO LIFT MY ART UP TO A LEVEL
711
00:39:27,366 --> 00:39:30,500
WHERE I CAN GET ON
THE EXIT/IN STAGE,"
712
00:39:30,533 --> 00:39:33,700
WHERE YOU WOULD SEE
KRIS KRISTOFFERSON PERFORM
713
00:39:33,733 --> 00:39:35,633
AND GUY CLARK PERFORM.
714
00:39:36,966 --> 00:39:39,900
NARRATOR: RODNEY CROWELL HAD
GROWN UP IN THE HOUSTON AREA,
715
00:39:39,933 --> 00:39:42,333
STEEPED IN COUNTRY MUSIC.
716
00:39:42,366 --> 00:39:45,366
HIS PARENTS MET
AT A ROY ACUFF CONCERT,
717
00:39:45,400 --> 00:39:48,000
AND CROWELL WAS
ONLY TWO YEARS OLD
718
00:39:48,033 --> 00:39:50,466
WHEN HIS FATHER
INSISTED ON TAKING HIM
719
00:39:50,500 --> 00:39:53,600
TO SEE HANK WILLIAMS PERFORM.
720
00:39:53,633 --> 00:39:58,300
BY AGE 11, HE WAS PLAYING IN
HIS FATHER'S HONKY-TONK BAND.
721
00:39:58,333 --> 00:40:01,000
AT 15, CROWELL
HAD HIS OWN GROUP
722
00:40:01,033 --> 00:40:05,000
THAT TOURED SMALL TOWNS
PROMISING TO PERFORM EVERYTHING
723
00:40:05,033 --> 00:40:07,333
FROM THE BEACH BOYS
AND THE BEATLES
724
00:40:07,366 --> 00:40:09,033
TO RHYTHM AND BLUES
725
00:40:09,066 --> 00:40:11,333
AND, THEIR BUSINESS CARD SAID,
726
00:40:11,366 --> 00:40:14,066
"COUNTRY, IF YOU WANT IT."
727
00:40:14,100 --> 00:40:17,100
HE WAS 22 WHEN
HE CAME TO NASHVILLE
728
00:40:17,133 --> 00:40:20,766
AND SOON BEGAN SHOWING UP AT
THE UNOFFICIAL GATHERING PLACE
729
00:40:20,800 --> 00:40:23,033
FOR LIKE-MINDED MUSICIANS--
730
00:40:23,066 --> 00:40:26,366
THE HOME OF
GUY AND SUSANNA CLARK.
731
00:40:26,400 --> 00:40:31,300
♪ ALL RIGHT NOW,
I'VE JUST HIT
MY STRIDE ♪
732
00:40:31,333 --> 00:40:38,933
♪ RIGHT OFF THE BAT,
LORD, I'M DRUNK ON
BLUEBIRD WINE ♪
733
00:40:38,966 --> 00:40:42,000
♪ YES, IT'S
ALL RIGHT NOW ♪
734
00:40:42,033 --> 00:40:44,866
♪ I'VE JUST HIT
MY STRIDE ♪
735
00:40:44,900 --> 00:40:46,800
♪ LORD, IT JUST
STARTED, LORD ♪
736
00:40:46,833 --> 00:40:52,066
♪ AND I'M DRUNK ON
BLUEBERRY WINE ♪
737
00:40:56,600 --> 00:40:57,700
CROWELL: WE NEVER CALLED.
738
00:40:57,733 --> 00:40:59,333
WE JUST SHOWED UP
BANGING ON THE DOOR.
739
00:40:59,366 --> 00:41:02,133
YOU KNOW, AND SOMETIMES
GUY JUST SAID, "GO HOME.
740
00:41:02,166 --> 00:41:03,133
NOT TONIGHT."
741
00:41:03,166 --> 00:41:04,900
THEN, OTHER TIMES,
HE AND SUSANNA
742
00:41:04,933 --> 00:41:06,866
WOULD CRAWL OUT OF BED
AND GET DRESSED,
743
00:41:06,900 --> 00:41:10,100
AND STAY UP WITH US TILL
DAYLIGHT, JUST TRADING SONGS,
744
00:41:10,133 --> 00:41:13,566
TALKING ABOUT HOW
TO GET IT DONE.
745
00:41:13,600 --> 00:41:16,466
ANYBODY WAS WELCOME
THAT PLAYED GOOD MUSIC
746
00:41:16,500 --> 00:41:18,400
AND WASN'T TOO MUCH
OF AN ASS...,
747
00:41:18,433 --> 00:41:21,566
AND JUST, YOU KNOW,
"COME ON OVER."
748
00:41:21,600 --> 00:41:23,700
CROWELL: I REMEMBER
GUY CLARK TELLING ME,
749
00:41:23,733 --> 00:41:25,033
"YOU'RE A TALENTED GUY."
750
00:41:25,066 --> 00:41:28,133
HE SAID, "YOU CAN BE A STAR.
751
00:41:28,166 --> 00:41:29,633
"YOU PROBABLY HAVE
THE TALENT TO DO IT,
752
00:41:29,666 --> 00:41:31,333
"OR YOU CAN BE AN ARTIST.
753
00:41:31,366 --> 00:41:32,633
"PICK ONE.
754
00:41:32,666 --> 00:41:34,600
THEY'RE BOTH
WORTHWHILE PURSUITS."
755
00:41:34,633 --> 00:41:47,200
♪
756
00:41:47,233 --> 00:41:49,933
NARRATOR: THE MOST FREQUENT
VISITOR TO THE CLARKS' HOUSE
757
00:41:49,966 --> 00:41:53,833
WAS THEIR CLOSE FRIEND,
ANOTHER TROUBADOUR FROM TEXAS,
758
00:41:53,866 --> 00:41:56,300
THE BRILLIANT
AND EQUALLY ECCENTRIC
759
00:41:56,333 --> 00:41:57,733
TOWNES VAN ZANDT.
760
00:41:59,066 --> 00:42:01,800
VAN ZANDT: ♪ IF I NEEDED YOU
761
00:42:01,833 --> 00:42:05,166
♪ WOULD YOU COME TO ME?
WOULD YOU COME... ♪
762
00:42:05,200 --> 00:42:07,000
NARRATOR: HE WAS BORN
IN FORT WORTH
763
00:42:07,033 --> 00:42:09,666
TO A PROMINENT FAMILY,
764
00:42:09,700 --> 00:42:11,400
BUT TOWNES HAD TURNED AWAY FROM
765
00:42:11,433 --> 00:42:15,200
HIS FATHER'S AND GRANDFATHER'S
PROFESSION AS LAWYERS
766
00:42:15,233 --> 00:42:19,566
TO PURSUE A VAGABOND'S LIFE
AS A SINGER-SONGWRITER.
767
00:42:19,600 --> 00:42:22,200
THE BLUES GUITARIST
LIGHTNIN' HOPKINS
768
00:42:22,233 --> 00:42:25,533
HAD BEEN THE BIGGEST INFLUENCE
ON HIS MUSIC;
769
00:42:25,566 --> 00:42:28,200
ANOTHER HERO WAS HANK WILLIAMS,
770
00:42:28,233 --> 00:42:31,233
WHOSE TURBULENT
AND TRAGICALLY SHORT LIFE
771
00:42:31,266 --> 00:42:34,966
VAN ZANDT SEEMED
DETERMINED TO FOLLOW.
772
00:42:35,000 --> 00:42:37,866
HE DRANK HEAVILY
AND CONSTANTLY,
773
00:42:37,900 --> 00:42:40,600
WAS HOSPITALIZED
FOR MANIC DEPRESSION,
774
00:42:40,633 --> 00:42:43,133
BECAME ADDICTED TO HEROIN
FOR A WHILE,
775
00:42:43,166 --> 00:42:47,266
AND SPENT HIS 29th BIRTHDAY
CONVINCED HE WAS GOING TO DIE,
776
00:42:47,300 --> 00:42:51,866
JUST AS HANK HAD AT THAT AGE.
777
00:42:51,900 --> 00:42:55,533
CLARK: HE DIDN'T WANT
TO BE A STAR AS SUCH.
778
00:42:55,566 --> 00:42:57,500
HE WANTED TO BE A POET.
779
00:42:57,533 --> 00:43:00,766
I WAS ALWAYS INSPIRED BY HIM.
780
00:43:00,800 --> 00:43:05,933
BUT TO BE INSPIRED BY TOWNES WAS
DIFFERENT THAN BEING LIKE HIM.
781
00:43:05,966 --> 00:43:08,466
IF YOU WANTED TO BE LIKE TOWNES,
YOU HAD TO BE DEAD.
782
00:43:09,933 --> 00:43:13,300
NARRATOR: VAN ZANDT SPENT
MOST OF HIS TIME ON THE ROAD--
783
00:43:13,333 --> 00:43:17,100
SOMETIMES HITCHHIKING FROM
ONE PERFORMANCE TO ANOTHER;
784
00:43:17,133 --> 00:43:20,600
LIVING IN RUNDOWN MOTELS
OR RENTED SHACKS;
785
00:43:20,633 --> 00:43:25,000
WRITING ALL THE TIME,
INCLUDING "IF I NEEDED YOU,"
786
00:43:20,633 --> 00:43:25,000
WRITING ALL THE TIME,
INCLUDING "IF I NEEDED YOU,"
787
00:43:25,033 --> 00:43:28,766
WHICH HE SAID
HE COMPOSED IN HIS SLEEP.
788
00:43:28,800 --> 00:43:33,533
♪ IF I NEEDED YOU,
WOULD YOU COME TO ME? ♪
789
00:43:33,566 --> 00:43:38,733
♪ WOULD YOU COME TO ME
AND EASE MY PAIN? ♪
790
00:43:40,533 --> 00:43:42,866
♪ IF YOU NEEDED ME
791
00:43:42,900 --> 00:43:45,700
♪ I WOULD
COME TO YOU ♪
792
00:43:45,733 --> 00:43:50,933
♪ I'D SWIM THE SEAS
FOR TO EASE YOUR PAIN ♪
793
00:43:58,566 --> 00:44:00,233
NARRATOR: BUT IT WAS
ANOTHER SONG OF HIS
794
00:44:00,266 --> 00:44:03,733
THAT WOULD HAVE A PROFOUND
EFFECT ON COUNTRY MUSIC
795
00:44:03,766 --> 00:44:06,066
AND THE STARTLING
ARRAY OF MUSICIANS
796
00:44:06,100 --> 00:44:09,166
WHO WOULD FEEL COMPELLED
TO PERFORM IT.
797
00:44:11,066 --> 00:44:15,033
IT TELLS THE TALE OF
A MEXICAN BANDIT NAMED PANCHO
798
00:44:15,066 --> 00:44:18,566
AND HIS FRIEND LEFTY,
WHO MAY HAVE BETRAYED HIM.
799
00:44:21,466 --> 00:44:25,966
PANCHO DIES YOUNG;
LEFTY LIVES TO AN OLD AGE,
800
00:44:26,000 --> 00:44:30,133
SINGING IN A BAR FAR NORTH
OF THE BORDER, IN OHIO.
801
00:44:33,566 --> 00:44:36,666
VAN ZANDT: ♪ LIVING ON THE ROAD,
MY FRIEND ♪
802
00:44:36,700 --> 00:44:39,700
♪ WAS GONNA KEEP YOU
FREE AND CLEAN ♪
803
00:44:39,733 --> 00:44:42,566
CLARK: "PANCHO AND LEFTY"
WAS ONE OF THOSE SONGS THAT
804
00:44:42,600 --> 00:44:44,800
YOU REALLY CAN'T
PICK IT APART, YOU KNOW,
805
00:44:44,833 --> 00:44:46,600
AND HAVE IT MAKE SENSE.
806
00:44:46,633 --> 00:44:50,266
YOU HAVE TO JUST
LET IT BE, YOU KNOW?
807
00:44:50,300 --> 00:44:51,666
IT'S PERFECTLY WRITTEN.
808
00:44:51,700 --> 00:44:53,766
"HE WORE HIS GUN
OUTSIDE HIS PANTS
809
00:44:53,800 --> 00:44:57,166
FOR ALL THE HONEST WORLD
TO FEEL."
810
00:44:57,200 --> 00:45:00,633
I MEAN, WHO WOULDN'T WANT
TO WRITE THAT LINE?
811
00:45:00,666 --> 00:45:02,200
"PANCHO WAS A BANDIT BOY,
812
00:45:02,233 --> 00:45:04,700
HIS HORSE WAS FAST
AS POLISHED STEEL."
813
00:45:06,266 --> 00:45:09,266
VAN ZANDT: ♪ PANCHO WAS
A BANDIT, BOYS ♪
814
00:45:09,300 --> 00:45:12,766
♪ HIS HORSE WAS FAST
AS POLISHED STEEL ♪
815
00:45:12,800 --> 00:45:15,633
♪ WORE HIS GUN
OUTSIDE HIS PANTS ♪
816
00:45:15,666 --> 00:45:19,533
♪ FOR ALL THE HONEST WORLD
TO FEEL ♪
817
00:45:19,566 --> 00:45:22,500
♪ BUT PANCHO MET
HIS MATCH, YOU KNOW ♪
818
00:45:22,533 --> 00:45:25,766
♪ ON THE DESERTS
DOWN IN MEXICO ♪
819
00:45:25,800 --> 00:45:29,300
♪ AND NOBODY HEARD
HIS DYING WORDS ♪
820
00:45:31,666 --> 00:45:34,400
♪ BUT THAT'S THE WAY IT GOES
821
00:45:37,233 --> 00:45:40,466
♪ NOW THE POETS TELL
HOW PANCHO FELL ♪
822
00:45:40,500 --> 00:45:43,433
♪ AND LEFTY'S LIVING
IN A CHEAP HOTEL ♪
823
00:45:43,466 --> 00:45:46,900
♪ THE DESERT'S QUIET
AND CLEVELAND'S COLD ♪
824
00:45:46,933 --> 00:45:50,433
♪ SO THE STORY ENDS,
WE'RE TOLD, PANCHO... ♪
825
00:45:50,466 --> 00:45:53,566
WOMAN: IT'S SO POIGNANT.
IT'S HEARTBREAKING.
826
00:45:53,600 --> 00:45:56,100
"PANCHO NEEDS YOUR PRAYERS,
IT'S TRUE.
827
00:45:56,133 --> 00:45:58,900
"BUT SAVE A FEW FOR LEFTY, TOO.
828
00:45:58,933 --> 00:46:02,400
HE ONLY DID WHAT HE HAD TO DO
AND NOW HE'S GROWING OLD."
829
00:46:02,433 --> 00:46:05,100
VAN ZANDT: ♪ AND NOW
HE'S GROWING OLD ♪
830
00:46:05,133 --> 00:46:07,866
NARRATOR: BY 1975,
TOWNES VAN ZANDT
831
00:46:07,900 --> 00:46:13,000
HAD RECORDED 6 ALBUMS,
REVERED BY OTHER SONGWRITERS.
832
00:46:13,033 --> 00:46:15,766
NONE OF THEM WAS
COMMERCIALLY SUCCESSFUL,
833
00:46:15,800 --> 00:46:19,566
BUT HE HAD DEVELOPED
A SMALL, CULT-LIKE FOLLOWING.
834
00:46:19,600 --> 00:46:23,666
LIKE HIS GOOD FRIEND GUY CLARK,
HE PERFORMED MOSTLY AT
835
00:46:23,700 --> 00:46:26,533
SMALLER VENUES
AROUND THE COUNTRY.
836
00:46:23,700 --> 00:46:26,533
SMALLER VENUES
AROUND THE COUNTRY.
837
00:46:26,566 --> 00:46:28,600
"NASHVILLE," HE TOLD
A REPORTER,
838
00:46:28,633 --> 00:46:32,133
"IS JUST NOT GEARED
FOR MINOR KEYS."
839
00:46:32,166 --> 00:46:34,633
CLARK: HIS SONGS WERE DARK.
840
00:46:34,666 --> 00:46:37,000
SOMEBODY AT A SHOW ASKED HIM,
841
00:46:37,033 --> 00:46:39,633
"MAN, WHY DON'T YOU
DO A FUNNY SONG?"
842
00:46:39,666 --> 00:46:42,200
HE SAID, "THOSE WERE
THE FUNNY SONGS."
843
00:46:49,100 --> 00:46:52,666
NARRATOR: GROWING UP IN
THE SOUTH TEXAS TOWN OF SABINAL,
844
00:46:52,700 --> 00:46:55,066
90 MILES NORTH OF
THE MEXICAN BORDER,
845
00:46:55,100 --> 00:46:59,300
YOUNG JOHNNY RODRIGUEZ
LOVED MARIACHI MUSIC,
846
00:46:59,333 --> 00:47:02,066
BUT ALSO THE SONGS
OF JIMMIE RODGERS,
847
00:47:02,100 --> 00:47:05,200
HANK WILLIAMS,
AND MERLE HAGGARD.
848
00:47:05,233 --> 00:47:06,600
I WAS DRAWN TO
COUNTRY MUSIC BECAUSE
849
00:47:06,633 --> 00:47:08,900
I COULD RELATE MORE ABOUT
WHAT THEY WERE SINGING ABOUT.
850
00:47:08,933 --> 00:47:11,500
YOU KNOW, AND ALSO, I MEAN,
IT WAS JUST LIKE, UH,
851
00:47:11,533 --> 00:47:15,833
IT WAS THE MUSIC
OF OUR PEOPLE.
852
00:47:15,866 --> 00:47:19,700
I THINK IN MEXICAN MUSIC,
YOU HAVE STORIES.
853
00:47:19,733 --> 00:47:24,066
MEXICAN MUSIC AND COUNTRY MUSIC
SAID ALMOST THE SAME THING,
854
00:47:24,100 --> 00:47:26,266
JUST IN DIFFERENT LANGUAGES.
855
00:47:26,300 --> 00:47:29,566
NARRATOR: IN THE EARLY 1970s,
RODRIGUEZ WAS WORKING
856
00:47:29,600 --> 00:47:33,433
AT A TEXAS TOURIST ATTRACTION
CALLED ALAMO VILLAGE
857
00:47:33,466 --> 00:47:35,866
WHEN THE COUNTRY STAR
TOM T. HALL
858
00:47:35,900 --> 00:47:38,466
HAPPENED TO HEAR
HIM PERFORMING.
859
00:47:38,500 --> 00:47:45,800
RODRIGUEZ: ♪ I CAN'T STOP
LOVING YOU ♪
860
00:47:45,833 --> 00:47:50,900
♪ I MADE UP MY MIND
861
00:47:50,933 --> 00:47:53,033
♪ I CAN'T STOP...
862
00:47:53,066 --> 00:47:55,266
HALL: THEY WERE CALLING HIM
JOHNNY ROGERS.
863
00:47:55,300 --> 00:47:57,566
AND I SAID, "HOW DID
A MEXICAN GUY
864
00:47:57,600 --> 00:47:59,966
GET A NAME LIKE JOHNNY ROGERS?"
865
00:48:00,000 --> 00:48:02,900
RODRIGUEZ: WELL, MY MANAGER,
ONE OF HIS BIG HEROES,
866
00:48:02,933 --> 00:48:05,033
ROY ROGERS, HE JUST, UH, SAID,
867
00:48:05,066 --> 00:48:07,133
"WELL, LET'S JUST
CALL YOU JOHNNY ROGERS.
868
00:48:07,166 --> 00:48:09,300
THAT'S A COUNTRY MUSIC NAME."
869
00:48:09,333 --> 00:48:12,133
HALL: I SAID, "WELL, IF YOU COME
TO NASHVILLE AND PICK WITH ME,
870
00:48:12,166 --> 00:48:13,633
"WE'RE GOING TO CALL YOU
JOHNNY RODRIGUEZ.
871
00:48:13,666 --> 00:48:14,966
"THAT'S A MUCH PRETTIER NAME
872
00:48:15,000 --> 00:48:17,700
AND IT'S WHO YOU ARE
AND WE'LL DO THAT."
873
00:48:17,733 --> 00:48:21,200
NARRATOR: HALL ARRANGED FOR
RODRIGUEZ TO COME TO NASHVILLE
874
00:48:21,233 --> 00:48:24,633
AND SET UP AN AUDITION
WITH A RECORD LABEL.
875
00:48:24,666 --> 00:48:26,066
HALL: I SAID,
"I'M NOT A TALENT SCOUT,"
876
00:48:26,100 --> 00:48:28,600
BUT I SAID, "LISTEN TO
THIS KID SING THIS SONG."
877
00:48:28,633 --> 00:48:29,900
SO, HE STARTED OFF
AND HE WAS SINGING
878
00:48:29,933 --> 00:48:31,466
"I CAN'T STOP LOVING YOU,"
879
00:48:31,500 --> 00:48:33,866
HALF IN ENGLISH
AND HALF IN SPANISH.
880
00:48:33,900 --> 00:48:35,766
AND THEY SAID,
"WE'LL SIGN HIM UP."
881
00:48:35,800 --> 00:48:37,966
[RODRIGUEZ SINGING IN SPANISH]
882
00:48:51,533 --> 00:48:56,200
NARRATOR: RODRIGUEZ WOULD HAVE
15 CONSECUTIVE TOP 10 HITS
883
00:48:56,233 --> 00:48:58,966
AND BECOME THE FIRST
MEXICAN-AMERICAN TO BE
884
00:48:59,000 --> 00:49:03,100
A MAJOR COUNTRY MUSIC STAR.
885
00:49:03,133 --> 00:49:05,433
RODRIGUEZ: I SAY THIS
WITH ALL SINCERITY,
886
00:49:05,466 --> 00:49:08,800
I NEVER HAD A CROSS FEELING
IN THIS CITY.
887
00:49:08,833 --> 00:49:11,300
TO THIS DAY, I'VE NEVER
FELT LIKE THAT.
888
00:49:12,900 --> 00:49:15,333
IT MAKES ME ALMOST WANT TO CRY.
I'M SERIOUS.
889
00:49:15,366 --> 00:49:17,666
BUT THESE PEOPLE
ARE SO NICE
890
00:49:17,700 --> 00:49:20,500
THAT IT REALLY STILL
TOUCHES ME TILL TODAY.
891
00:49:20,533 --> 00:49:30,400
♪ IN DREAMS OF YESTERDAY
892
00:49:30,433 --> 00:49:31,566
[APPLAUSE]
893
00:49:31,600 --> 00:49:34,266
NARRATOR: IN 1975, TWO YEARS
894
00:49:34,300 --> 00:49:36,666
AFTER RODRIGUEZ WAS NOMINATED
895
00:49:36,700 --> 00:49:39,133
FOR THE COUNTRY
MUSIC ASSOCIATION'S
896
00:49:39,166 --> 00:49:42,000
MALE VOCALIST
OF THE YEAR AWARD,
897
00:49:42,033 --> 00:49:43,966
BALDEMAR HUERTA, THE SON OF
898
00:49:44,000 --> 00:49:47,000
A MIGRANT FARM WORKER
IN SOUTH TEXAS,
899
00:49:47,033 --> 00:49:49,166
PERFORMING AS FREDDY FENDER,
900
00:49:49,200 --> 00:49:51,366
CAME OUT WITH HIS OWN HIT SONG,
901
00:49:51,400 --> 00:49:54,133
"BEFORE THE NEXT
TEARDROP FALLS,"
902
00:49:54,166 --> 00:49:57,433
WHICH TOPPED BOTH
THE POP AND COUNTRY CHARTS.
903
00:49:58,866 --> 00:50:01,033
[SINGING IN SPANISH]
904
00:50:16,433 --> 00:50:20,266
LATER, HE AND ACCORDION PLAYER
FLACO JIMENEZ
905
00:50:20,300 --> 00:50:23,500
WOULD HELP FORM
THE TEXAS TORNADOS,
906
00:50:23,533 --> 00:50:26,566
WHO FEATURED
THE DISTINCTIVE WORKING-CLASS
907
00:50:26,600 --> 00:50:30,900
CONJUNTO DANCE MUSIC THAT HAD
GROWN UP ALONG THE BORDER.
908
00:50:30,933 --> 00:50:35,866
♪ BEFORE THE NEXT
TEARDROP FALLS ♪
909
00:50:37,600 --> 00:50:40,833
♪ AND I'LL BE THERE
910
00:50:40,866 --> 00:50:46,666
♪ BEFORE THE NEXT
TEARDROP FALLS ♪
911
00:50:52,200 --> 00:50:53,733
[APPLAUSE]
912
00:50:53,766 --> 00:51:01,366
♪
913
00:51:01,400 --> 00:51:03,400
WAYLON JENNINGS:
♪ I'VE BEEN A FOOL
914
00:51:05,533 --> 00:51:10,666
♪ I'VE BEEN A FOOL
915
00:51:10,700 --> 00:51:14,733
♪ FORGIVIN' YOU EACH TIME
THAT YOU'VE DONE ME WRONG ♪
916
00:51:14,766 --> 00:51:16,666
♪ I'VE BEEN
A LONG TIME LEAVIN' ♪
917
00:51:16,700 --> 00:51:19,166
♪ BUT IT'LL BE
A LONG TIME GONE ♪
918
00:51:20,733 --> 00:51:23,166
MAN: HE SANG AS GOOD
AS HANK WILLIAMS,
919
00:51:23,200 --> 00:51:27,600
AND HE WAS REALLY
A GOOD SONGWRITER.
920
00:51:27,633 --> 00:51:30,966
HIS VOICE WAS WHAT
TORE ME UP, THOUGH.
921
00:51:31,000 --> 00:51:34,966
HE JUST--HE JUST HAD...
I DON'T KNOW,
922
00:51:35,000 --> 00:51:37,900
IT'S JUST LIKE THE WAY
HANK WILLIAMS TORE ME UP.
923
00:51:37,933 --> 00:51:43,733
HE'S...HE COULD
SING SONGS THAT I CAN'T.
924
00:51:45,966 --> 00:51:50,100
JENNINGS: ♪ HELLO, HIGH LINE,
HELLO, HIGHWAY ♪
925
00:51:50,133 --> 00:51:54,266
♪ HERE COME A BIG, OLD SEMI
MY WAY ♪
926
00:51:54,300 --> 00:51:56,133
♪ STICK UP MY THUMB,
HEAR THE TRUCK COME ♪
927
00:51:56,166 --> 00:51:58,266
♪ TREES GOIN' BY,
LOOKIN' LIKE A FLY ♪
928
00:51:58,300 --> 00:52:04,266
♪ ON THE BIG LEGS ARE MY
LEVIS...I BEEN ♪
929
00:52:04,300 --> 00:52:06,300
NARRATOR: BORN IN
LITTLEFIELD, TEXAS
930
00:52:06,333 --> 00:52:09,366
DURING THE DUST BOWL IN 1937,
931
00:52:09,400 --> 00:52:12,400
WAYLON JENNINGS'
EARLIEST CHILDHOOD MEMORY
932
00:52:12,433 --> 00:52:15,600
WAS OF HIS FATHER
CONNECTING THE FAMILY'S RADIO
933
00:52:15,633 --> 00:52:18,266
TO THE PICKUP TRUCK'S BATTERY
SO THEY COULD LISTEN
934
00:52:18,300 --> 00:52:20,766
TO THE CARTER FAMILY
OUT OF DEL RIO'S
935
00:52:20,800 --> 00:52:22,966
"BORDER BLASTER" STATION
936
00:52:23,000 --> 00:52:26,300
AND TO THE GRAND OLE OPRY
OUT OF NASHVILLE.
937
00:52:26,333 --> 00:52:30,433
"IN MY HOUSE," HE RECALLED,
"IT WAS THE BIBLE ON THE TABLE,
938
00:52:30,466 --> 00:52:32,533
"THE FLAG ON THE WALLS,
939
00:52:32,566 --> 00:52:35,166
AND BILL MONROE'S
PICTURE BESIDE IT."
940
00:52:35,200 --> 00:52:38,833
HIS MOTHER CRIED
EVERY TIME ROY ACUFF SANG
941
00:52:38,866 --> 00:52:40,333
"WRECK ON THE HIGHWAY."
942
00:52:40,366 --> 00:52:42,266
JENNINGS: ♪ STICK UP MY THUMB,
HEAR THE TRUCK COME ♪
943
00:52:42,300 --> 00:52:43,900
♪ TREES GOIN' BY,
LOOKIN' LIKE A FLY ♪
944
00:52:43,933 --> 00:52:44,900
♪ ON THE BIG...
945
00:52:44,933 --> 00:52:45,933
NARRATOR: AS A TEENAGER,
946
00:52:45,966 --> 00:52:47,666
JENNINGS WAS ESPECIALLY DRAWN
947
00:52:47,700 --> 00:52:50,700
TO HANK WILLIAMS
AND HONKY-TONK MUSIC
948
00:52:50,733 --> 00:52:54,266
AND STARTED PERFORMING IT
IN LOCAL BARS.
949
00:52:54,300 --> 00:52:57,833
WORKING AS A DISC JOCKEY
AT A SMALL RADIO STATION,
950
00:52:57,866 --> 00:53:00,766
HE ALSO SOAKED UP
OTHER TYPES OF MUSIC:
951
00:53:00,800 --> 00:53:04,733
RHYTHM AND BLUES, AND THEN
ROCKABILLY AND ROCK AND ROLL.
952
00:53:04,766 --> 00:53:10,833
JENNINGS: ♪ BE A LONG
TIME GONE ♪
[CHEERING AND APPLAUSE]
953
00:53:10,866 --> 00:53:13,966
NARRATOR:
IN 1959, HE WENT ON TOUR WITH
954
00:53:14,000 --> 00:53:15,933
HIS GOOD FRIEND BUDDY HOLLY,
955
00:53:15,966 --> 00:53:19,166
FROM NEARBY LUBBOCK,
AND IT WAS ONLY BY CHANCE
956
00:53:19,200 --> 00:53:22,233
THAT JENNINGS WASN'T
IN THE SMALL AIRPLANE
957
00:53:22,266 --> 00:53:25,400
THAT KILLED HOLLY
AND TWO OTHER MUSICIANS
958
00:53:25,433 --> 00:53:28,233
WHEN IT CRASHED IN
AN IOWA CORNFIELD.
959
00:53:34,333 --> 00:53:38,133
BY THE EARLY 1960s,
JENNINGS WAS IN ARIZONA,
960
00:53:38,166 --> 00:53:43,200
PACKING IN HUGE CROWDS
AND CLEARING $1,500 A WEEK
961
00:53:43,233 --> 00:53:47,600
AT A NIGHT SPOT
CALLED JD'S IN SCOTTSDALE.
962
00:53:47,633 --> 00:53:49,200
JENNINGS: ♪ COME ON, SUGAR
963
00:53:50,900 --> 00:53:53,800
NARRATOR: COUNTRY STAR
BOBBY BARE HEARD HIM THERE,
964
00:53:53,833 --> 00:53:58,233
AND CONVINCED CHET ATKINS AT RCA
TO INVITE HIM TO NASHVILLE.
965
00:53:59,866 --> 00:54:01,633
BEFORE HE AGREED TO LEAVE HIS
966
00:54:01,666 --> 00:54:04,433
WELL-PAYING STEADY GIG
IN ARIZONA,
967
00:54:04,466 --> 00:54:09,300
JENNINGS ASKED FELLOW TEXAN
WILLIE NELSON FOR HIS ADVICE.
968
00:54:09,333 --> 00:54:12,166
"STAY AWAY FROM NASHVILLE,"
NELSON TOLD HIM.
969
00:54:12,200 --> 00:54:13,966
"THEY'LL JUST
BREAK YOUR HEART."
970
00:54:14,000 --> 00:54:16,733
JENNINGS: ♪ CANDY,
CANDY, CANDY ♪
971
00:54:16,766 --> 00:54:19,366
♪ I'VE GOT A SWEET, SWEET
PIECE FOR YOU ♪
972
00:54:19,400 --> 00:54:20,600
NARRATOR: HE WENT ANYWAY.
973
00:54:22,366 --> 00:54:24,866
BUT JUST AS HE HAD
WITH WILLIE NELSON,
974
00:54:24,900 --> 00:54:28,100
ATKINS HAD TROUBLE
TRYING TO MOLD JENNINGS
975
00:54:28,133 --> 00:54:30,133
INTO A COUNTRY STAR.
976
00:54:30,166 --> 00:54:32,000
WOMAN: ♪ DON'T LOOK
FOR ME ♪
977
00:54:32,033 --> 00:54:33,100
MAN: ♪ I MUST GO
978
00:54:33,133 --> 00:54:34,500
♪ DON'T WASTE
YOUR TIME ♪
979
00:54:34,533 --> 00:54:35,733
♪ I MUST GO
980
00:54:35,766 --> 00:54:38,400
JENNINGS: ♪ DON'T LOOK FOR ME
981
00:54:38,433 --> 00:54:40,133
♪ DON'T WASTE YOUR TIME
982
00:54:40,166 --> 00:54:43,700
NARRATOR: THEIR FIRST ALBUM
TOGETHER WAS FOLK-COUNTRY.
983
00:54:43,733 --> 00:54:45,866
JENNINGS: ♪ THAT'S
MORE MY KIND ♪
984
00:54:45,900 --> 00:54:48,566
NARRATOR: THEIR SECOND WAS
FILLED WITH THE SMOOTHED-OUT
985
00:54:48,600 --> 00:54:50,500
NASHVILLE SOUND OF THE TIME.
986
00:54:50,533 --> 00:54:53,600
JENNINGS:
♪ ...DON'T LOOK FOR ME
987
00:54:53,633 --> 00:54:56,566
NARRATOR: A THIRD INCLUDED
A BALLAD BY THE BEATLES.
988
00:54:56,600 --> 00:55:01,766
AND ON ANOTHER, JENNINGS CROONED
THE POP HIT "MACARTHUR PARK."
989
00:55:01,800 --> 00:55:03,466
WOMAN: ♪ I MUST GO
990
00:55:05,633 --> 00:55:07,100
NARRATOR: NONE OF IT
SOUNDED LIKE
991
00:55:07,133 --> 00:55:09,900
WAYLON'S PERFORMANCES
BACK IN ARIZONA.
992
00:55:09,933 --> 00:55:12,200
JENNINGS: ♪ I DON'T CARE
IF THE SUN DON'T SHINE ♪
993
00:55:12,233 --> 00:55:14,433
♪ I DON'T CARE
IF THE BELLS DON'T CHIME ♪
994
00:55:14,466 --> 00:55:17,133
NARRATOR: "THEY WERE GOOD,
SMOOTH RECORDS," HE SAID,
995
00:55:17,166 --> 00:55:20,433
"BUT I WAS ROUGHER
THAN A GODDAMN CORN COB.
996
00:55:20,466 --> 00:55:24,533
ALL THE DAMN SAND I SWALLOWED
IN TEXAS IS IN MY SINGING."
997
00:55:24,566 --> 00:55:28,300
JENNINGS: ♪ ...AS LONG
AS YOU LOVE ME, SO, DARLING ♪
998
00:55:28,333 --> 00:55:32,166
WOMAN: WAYLON NEEDED
TO JUST CREATE.
999
00:55:32,200 --> 00:55:34,400
I KIND OF PUT IT
IN VERY SIMPLE TERMS.
1000
00:55:34,433 --> 00:55:35,600
YOU KNOW, THEY TOOK
A THOROUGHBRED
1001
00:55:35,633 --> 00:55:37,266
AND TREATED HIM LIKE A MULE.
1002
00:55:38,566 --> 00:55:42,033
NARRATOR: IN 1969,
HE MARRIED JESSI COLTER,
1003
00:55:42,066 --> 00:55:45,333
A LOS ANGELES-BASED SINGER
WHO WAS USED TO HAVING
1004
00:55:45,366 --> 00:55:48,933
GREATER CREATIVE CONTROL
IN THE STUDIO.
1005
00:55:48,966 --> 00:55:51,200
COLTER: YOU COULD
TAKE YOUR MUSICIANS,
1006
00:55:51,233 --> 00:55:55,166
YOU COULD TAKE YOUR SONGS,
YOU COULD HAVE A HAND
1007
00:55:55,200 --> 00:55:57,500
IN CHOOSING YOUR OWN PRODUCER,
1008
00:55:57,533 --> 00:55:59,366
AND BASICALLY BE
MORE INDEPENDENT
1009
00:55:59,400 --> 00:56:04,833
IN PUTTING IT TOGETHER SO IT'S
TRULY A RESULT OF WHO YOU ARE.
1010
00:56:04,866 --> 00:56:09,066
HERE, THERE WAS AN OLD GUARD.
YOU KNOW?
1011
00:56:09,100 --> 00:56:13,700
IT WAS KIND OF LIKE
A LARGE CONGLOMERATE
MAKING REFRIGERATORS,
1012
00:56:13,733 --> 00:56:16,233
LIKE RCA MAKING TVs.
1013
00:56:16,266 --> 00:56:20,433
ALL WAYLON WANTED
WAS FOR HIS MUSIC
1014
00:56:20,466 --> 00:56:24,000
THAT HE WAS DOING LIVE,
ON THE STAGE,
1015
00:56:24,033 --> 00:56:26,000
AND DRIVING THE PEOPLE CRAZY,
1016
00:56:26,033 --> 00:56:29,533
TO SOUND EXACTLY
LIKE THAT ON THE RECORD.
1017
00:56:29,566 --> 00:56:33,100
AND IT DIDN'T.
IT DIDN'T.
1018
00:56:33,133 --> 00:56:35,300
NELSON: WAYLON WAS, YOU KNOW,
A REAL ARTIST.
1019
00:56:35,333 --> 00:56:38,033
HE KNEW WHAT HE WANTED AND HE
WAS RUNNING INTO THE SAME THINGS
1020
00:56:38,066 --> 00:56:40,800
THAT A LOT OF US WERE
RUNNING IN THERE.
1021
00:56:40,833 --> 00:56:43,433
AND HE DECIDED HE WANTED
TO DO IT HIS OWN WAY,
1022
00:56:43,466 --> 00:56:47,966
WHICH WAS BASICALLY TAKE HIS
BAND IN THE STUDIO, WHICH, UH,
1023
00:56:48,000 --> 00:56:51,100
WAS NOT THAT EASY TO DO
BACK IN THOSE DAYS.
1024
00:56:51,133 --> 00:56:52,800
JENNINGS: ♪ SO, DARLIN',
LET IT RAIN ♪
1025
00:56:52,833 --> 00:56:54,633
NARRATOR: "I WAS
THE BLACK SHEEP OF NASHVILLE,"
1026
00:56:54,666 --> 00:56:56,366
JENNINGS RECALLED.
1027
00:56:56,400 --> 00:56:57,800
"THEY THOUGHT I WAS
A TROUBLEMAKER."
1028
00:56:57,833 --> 00:57:01,366
JENNINGS: ♪ LONG AS
YOU LOVE ME... ♪
1029
00:57:01,400 --> 00:57:04,033
NARRATOR: FUELED BY
AMPHETAMINES AND COCAINE,
1030
00:57:04,066 --> 00:57:07,800
HE SIMPLY DIDN'T SLEEP
AND SPENT CEASELESS HOURS
1031
00:57:07,833 --> 00:57:10,833
PLAYING PINBALL AT
A LOCAL BURGER BOY.
1032
00:57:10,866 --> 00:57:15,200
JENNINGS: ♪ JUST AS LONG
AS YOU LOVE ME ♪
1033
00:57:15,233 --> 00:57:17,866
[CROWD CHEERING]
1034
00:57:17,900 --> 00:57:21,766
NARRATOR: IN 1972,
JENNINGS CHANGED MANAGERS
1035
00:57:21,800 --> 00:57:25,233
AND NEGOTIATED
A NEW CONTRACT WITH RCA
1036
00:57:25,266 --> 00:57:28,366
THAT BROKE ALL THE PREVAILING
NASHVILLE RULES.
1037
00:57:29,733 --> 00:57:31,966
HE WOULD HAVE HIS OWN
PRODUCTION COMPANY
1038
00:57:32,000 --> 00:57:34,200
TO OVERSEE HIS RECORDINGS,
1039
00:57:34,233 --> 00:57:36,066
CHOOSE HIS OWN SONGS,
1040
00:57:36,100 --> 00:57:39,533
USE HIS OWN BAND
IN THE STUDIO.
1041
00:57:39,566 --> 00:57:41,266
JENNINGS: ♪ WELL,
I WOKE UP THIS MORNING ♪
1042
00:57:41,300 --> 00:57:43,433
♪ IT WAS DRIZZLING RAIN
1043
00:57:43,466 --> 00:57:46,833
♪ AROUND THE CURVE
COME A PASSENGER TRAIN ♪
1044
00:57:46,866 --> 00:57:50,266
♪ HEARD SOMEBODY YODEL
AND A HOBO MOAN ♪
1045
00:57:50,300 --> 00:57:53,366
♪ JIMMY, HE'S DEAD, HE'S BEEN
A LONG TIME GONE ♪
1046
00:57:53,400 --> 00:57:55,800
♪ BEEN A LONG TIME GONE
1047
00:57:55,833 --> 00:57:58,333
NARRATOR: JENNINGS QUICKLY
BROKE ANOTHER RULE,
1048
00:57:58,366 --> 00:58:01,733
WHICH REQUIRED RCA ALBUMS
TO BE RECORDED
1049
00:58:01,766 --> 00:58:06,666
WITH RCA ENGINEERS,
IN RCA STUDIOS.
1050
00:58:06,700 --> 00:58:10,133
INSTEAD, HE BEGAN USING
AN INDEPENDENT STUDIO
1051
00:58:10,166 --> 00:58:13,166
OWNED BY HIS FRIEND
TOMPALL GLASER,
1052
00:58:13,200 --> 00:58:16,033
WHERE HE COULD HAVE SESSIONS
AS LONG AS HE WANTED
1053
00:58:16,066 --> 00:58:18,333
AT ANY TIME OF
THE DAY OR NIGHT.
1054
00:58:18,366 --> 00:58:21,566
JENNINGS: ♪ ...GET TO HEAVEN,
GOTTA D-I-E ♪
1055
00:58:21,600 --> 00:58:24,966
♪ YOU GOTTA PUT ON
YOUR COAT AND T-I-E ♪
1056
00:58:25,000 --> 00:58:26,466
NARRATOR: JENNINGS
AND HIS FRIENDS
1057
00:58:26,500 --> 00:58:28,733
CALLED THEIR NEW STUDIO HANGOUT
1058
00:58:28,766 --> 00:58:29,966
"HILLBILLY CENTRAL."
1059
00:58:30,000 --> 00:58:33,333
JENNINGS: ♪ LIKE A D-O-G,
LIKE A D-O-G ♪
1060
00:58:35,133 --> 00:58:37,566
SMITH: I WOULD GO TO WORK
AND GO INTO MY OFFICE
1061
00:58:37,600 --> 00:58:39,900
AND THERE WOULD BE PEOPLE
ASLEEP IN MY OFFICE,
1062
00:58:39,933 --> 00:58:42,900
HAD BEEN ASLEEP IN THERE
ALL NIGHT LONG.
1063
00:58:42,933 --> 00:58:45,033
JUST STONED OUT OF THEIR MIND,
1064
00:58:45,066 --> 00:58:47,033
ONE OF THEM ASLEEP WITH
THE HEAD ON MY TYPEWRITER
1065
00:58:47,066 --> 00:58:48,533
AND THE OTHER ONE ASLEEP
OVER THERE IN THE CHAIR.
1066
00:58:48,566 --> 00:58:50,033
AND I CHASED THEM OUT.
1067
00:58:50,066 --> 00:58:51,266
I TOLD THEM THEY BETTER NOT
1068
00:58:51,300 --> 00:58:53,466
COME UP THERE NO MORE
WHEN I WASN'T THERE.
1069
00:58:53,500 --> 00:58:55,966
BUT THEY CAME BACK.
OF COURSE THEY DID.
1070
00:58:56,000 --> 00:58:59,533
NARRATOR: JENNINGS LET HIS HAIR
GROW LONGER AND SHAGGIER,
1071
00:58:59,566 --> 00:59:02,033
ADDED A BEARD AND MUSTACHE,
1072
00:59:02,066 --> 00:59:04,300
GAVE UP SHINY SUITS COMPLETELY,
1073
00:59:04,333 --> 00:59:07,833
IN FAVOR OF BLUE JEANS
AND LEATHER VESTS.
1074
00:59:07,866 --> 00:59:12,133
AND HE STARTED MAKING THE MUSIC
HE WANTED TO MAKE.
1075
00:59:12,166 --> 00:59:14,800
HE INVITED COWBOY JACK CLEMENT,
1076
00:59:14,833 --> 00:59:17,900
NASHVILLE'S MOST
FREE-SPIRITED PRODUCER,
1077
00:59:17,933 --> 00:59:20,366
TO WORK ON HIS NEXT ALBUM.
1078
00:59:20,400 --> 00:59:24,166
MUSICIANS KNEW COWBOY JACK
LIKED WHAT THEY WERE DOING
1079
00:59:24,200 --> 00:59:27,366
WHEN THEY SAW HIM DANCING
BEHIND THE CONTROL BOARD.
1080
00:59:27,400 --> 00:59:30,500
JENNINGS: ♪ LOOKS LIKE
THE PLACE I CAME IN ♪
1081
00:59:30,533 --> 00:59:33,966
COLTER: WHEN YOU'D GET IT
TO THE RIGHT PLACE,
1082
00:59:34,000 --> 00:59:36,233
JACK WOULD DANCE.
1083
00:59:36,266 --> 00:59:38,400
SO, HE FELT IT
FROM THE INSIDE OUT.
1084
00:59:41,000 --> 00:59:43,366
IT WASN'T ABOUT MARKETING OR...
1085
00:59:43,400 --> 00:59:45,666
HE WAS LOOKING FOR GREAT SONGS
1086
00:59:45,700 --> 00:59:49,033
AND HE WAS
LOOKING TO SENSE IT.
1087
00:59:49,066 --> 00:59:51,000
AND THAT'S WHAT HE DID.
1088
00:59:51,033 --> 00:59:54,266
NARRATOR: JENNINGS BROUGHT HIS
BAND INTO HILLBILLY CENTRAL,
1089
00:59:54,300 --> 00:59:57,600
WHERE HE AND CLEMENT BEGAN
RECORDING AN ALBUM CALLED
1090
00:59:57,633 --> 00:59:59,333
"DREAMING MY DREAMS."
1091
01:00:00,833 --> 01:00:03,466
IT WAS AN ECLECTIC
COLLECTION OF SONGS,
1092
01:00:03,500 --> 01:00:06,133
PAYING HOMAGE TO
COUNTRY MUSIC LEGENDS LIKE
1093
01:00:06,166 --> 01:00:10,066
JIMMIE RODGERS,
BOB WILLS, ROGER MILLER,
1094
01:00:10,100 --> 01:00:12,200
AND ESPECIALLY HANK WILLIAMS.
1095
01:00:12,233 --> 01:00:15,566
[APPLAUSE]
1096
01:00:15,600 --> 01:00:17,933
JENNINGS CHOSE
TO OPEN HIS ALBUM
1097
01:00:17,966 --> 01:00:20,666
WITH A SONG HE HAD WRITTEN
ON THE BACK OF AN ENVELOPE
1098
01:00:20,700 --> 01:00:22,833
ON THE WAY TO THE STUDIO.
1099
01:00:22,866 --> 01:00:26,333
IT SUMMARIZED HIS
NASHVILLE EXPERIENCE.
1100
01:00:26,366 --> 01:00:29,333
"ARE YOU SURE HANK
DONE IT THIS WAY?"
1101
01:00:29,366 --> 01:00:32,300
♪ LORD, IT'S
THE SAME OLD TUNE ♪
1102
01:00:32,333 --> 01:00:35,666
♪ FIDDLE AND GUITAR,
WHERE DO WE... ♪
1103
01:00:35,700 --> 01:00:37,900
MAN: "ARE YOU SURE THIS IS
THE WAY IT'S GOING TO WORK?"
1104
01:00:37,933 --> 01:00:39,400
"I DON'T THINK SO."
1105
01:00:39,433 --> 01:00:40,900
"THE SAME OLD SONG,
FIDDLE, AND GUITAR,
1106
01:00:40,933 --> 01:00:42,000
"WHERE DO WE TAKE IT FROM HERE?
1107
01:00:42,033 --> 01:00:43,833
"RHINESTONE SUITS
AND BIG SHINY CARS,
1108
01:00:43,866 --> 01:00:45,500
IT'S BEEN THAT WAY FOR YEARS."
1109
01:00:45,533 --> 01:00:48,900
IT SAYS IT ALL RIGHT THERE.
THIS HAS GOT TO CHANGE.
1110
01:00:48,933 --> 01:00:51,500
♪ WE NEED A CHANGE
1111
01:00:51,533 --> 01:00:53,000
AND WHY DOES IT HAVE TO CHANGE?
1112
01:00:53,033 --> 01:00:54,766
BECAUSE IT DOESN'T
SPEAK TO THE PEOPLE
1113
01:00:54,800 --> 01:00:56,300
WHO ARE LISTENING TO OUR MUSIC.
1114
01:00:56,333 --> 01:00:58,266
♪ SOMEBODY
TOLD ME... ♪
1115
01:00:58,300 --> 01:01:00,733
BENSON: IT WAS A CALL TO ARMS,
KIND OF, YOU KNOW?
1116
01:01:00,766 --> 01:01:04,633
♪ SON, YOU FINALLY
GOT IT MADE ♪
1117
01:01:04,666 --> 01:01:06,900
♪ OLD HANK
MADE IT HERE ♪
1118
01:01:06,933 --> 01:01:08,833
♪ WE'RE ALL SURE
THAT YOU WILL ♪
1119
01:01:08,866 --> 01:01:13,233
♪ BUT I DON'T THINK HANK
DONE IT THIS WAY, NO ♪
1120
01:01:13,266 --> 01:01:16,700
♪ I DON'T THINK
HANK DONE IT THIS WAY ♪
1121
01:01:16,733 --> 01:01:18,433
♪ TAKE IT...
1122
01:01:18,466 --> 01:01:21,800
NARRATOR: "DREAMING MY DREAMS"
BECAME A HUGE HIT.
1123
01:01:21,833 --> 01:01:24,300
NOW OTHER COUNTRY ARTISTS
WERE DEMANDING
1124
01:01:24,333 --> 01:01:26,933
CONTRACTS LIKE WAYLON'S.
1125
01:01:26,966 --> 01:01:31,533
AND MORE AND MORE PEOPLE WERE
SHOWING UP AT HILLBILLY CENTRAL.
1126
01:01:33,466 --> 01:01:35,966
SMITH: FIRST OF ALL,
THE BUILDING DIDN'T
HAVE WINDOWS.
1127
01:01:36,000 --> 01:01:37,833
AND EVERYBODY,
UP AND DOWN MUSIC ROW,
1128
01:01:37,866 --> 01:01:41,300
WANTED TO COME IN THAT BUILDING
TO SEE WHAT IS GOING ON THERE.
1129
01:01:43,266 --> 01:01:46,066
WILLIE WOULD COME TO TOWN
AND HE WOULD BE THERE.
1130
01:01:46,100 --> 01:01:48,033
KINKY FRIEDMAN
AND THE TEXAS JEW BOYS
1131
01:01:48,066 --> 01:01:49,400
PRACTICALLY LIVED THERE.
1132
01:01:49,433 --> 01:01:51,966
THEY'D BE WALKING
UP AND DOWN THE HALLS.
1133
01:01:52,000 --> 01:01:54,500
SHEL SILVERSTEIN
HUNG OUT THERE.
1134
01:01:54,533 --> 01:01:57,766
AND THE GREAT
COWBOY JACK CLEMENT.
1135
01:01:57,800 --> 01:02:00,433
THE HIP PEOPLE OF
NASHVILLE, TENNESSEE
1136
01:02:00,466 --> 01:02:03,033
HUNG OUT AT THAT BUILDING.
1137
01:02:03,066 --> 01:02:05,300
PEOPLE THOUGHT, "THEY'VE GOT
SOMETHING GOING ON
1138
01:02:05,333 --> 01:02:08,266
AND THEY AIN'T GOT NO WINDOWS."
1139
01:02:08,300 --> 01:02:12,266
JENNINGS: ♪ SINGING MY SONGS,
AND ONE OF HIS NOW AND THEN ♪
1140
01:02:12,300 --> 01:02:16,900
♪ BUT I DON'T THINK
HANK DONE IT THIS WAY, NO ♪
1141
01:02:16,933 --> 01:02:20,600
♪ I THINK HE DID IT
LIKE HE WANTED TO, YEAH ♪
1142
01:02:20,633 --> 01:02:35,266
♪
1143
01:02:35,300 --> 01:02:39,833
BENSON: I THINK EVERY GENERATION
COMES UP WITH THEIR OWN SOUND.
1144
01:02:39,866 --> 01:02:41,900
MUSIC STARTS OUT RAW.
1145
01:02:43,300 --> 01:02:45,900
AND, AS IT GO,
IT GETS MORE POLISHED,
1146
01:02:45,933 --> 01:02:47,800
MORE POLISHED, MORE POLISHED,
1147
01:02:47,833 --> 01:02:50,033
AND THE NEXT GENERATION
COMES ALONG AND GOES,
1148
01:02:50,066 --> 01:02:51,833
"WE DON'T LIKE
THAT SLICK STUFF."
1149
01:02:51,866 --> 01:02:54,900
AND IT BECOMES
FUNKY AND RAW AGAIN.
1150
01:02:54,933 --> 01:02:56,933
NARRATOR: BY THE 1970s, WITH
1151
01:02:56,966 --> 01:02:59,633
COUNTRYPOLITAN RULING
THE AIRWAVES,
1152
01:02:59,666 --> 01:03:01,633
ACOUSTIC STRING BAND MUSIC HAD
1153
01:03:01,666 --> 01:03:05,066
VIRTUALLY DISAPPEARED
FROM COUNTRY RADIO.
1154
01:03:05,100 --> 01:03:08,833
BUT THERE WERE STILL
PLENTY OF PEOPLE PLAYING IT.
1155
01:03:08,866 --> 01:03:10,833
STUART: BLUEGRASS FESTIVALS
WERE DOING GREAT.
1156
01:03:10,866 --> 01:03:13,033
THE ROOTS OF IT WAS GREAT.
1157
01:03:13,066 --> 01:03:16,066
EVERYBODY THAT MATTERED
WAS STILL MAKING
1158
01:03:16,100 --> 01:03:17,200
PLENTY OF GOOD MUSIC, THEY JUST
1159
01:03:17,233 --> 01:03:19,733
WEREN'T GETTING
RECOGNIZED AS MUCH.
1160
01:03:19,766 --> 01:03:22,366
NARRATOR: MARTY STUART,
STILL A TEENAGER,
1161
01:03:22,400 --> 01:03:25,800
WAS NOW OFFICIALLY PART
OF LESTER FLATT'S BAND,
1162
01:03:25,833 --> 01:03:28,233
THE NASHVILLE GRASS.
1163
01:03:28,266 --> 01:03:30,566
ON OCCASIONS, HE ALSO TRAVELED
1164
01:03:30,600 --> 01:03:34,233
WITH BILL MONROE,
THE PATRIARCH OF BLUEGRASS.
1165
01:03:36,233 --> 01:03:39,000
STUART: A LOT OF MY
EARLY MANDOLIN EXPERIENCES
1166
01:03:39,033 --> 01:03:40,700
WERE JUST RIDING DOWN THE ROAD
1167
01:03:40,733 --> 01:03:42,666
AFTER SOME OF
THOSE SHOWS AT NIGHT
1168
01:03:42,700 --> 01:03:44,933
AND HIM JUST, US, SITTING THERE
IN THE DARKNESS, YOU KNOW,
1169
01:03:44,966 --> 01:03:48,166
LOOKING AT THE TAIL LIGHTS
TO THE BUS IN FRONT OF US,
1170
01:03:48,200 --> 01:03:49,700
PLAYING MUSIC.
1171
01:03:49,733 --> 01:03:51,666
AND HE KEPT HIS
REGULAR MANDOLIN HERE,
1172
01:03:51,700 --> 01:03:53,100
AND SOMETIMES HE
KEPT ONE OVER HERE
1173
01:03:53,133 --> 01:03:56,600
THAT WAS TUNED IN STRANGE
TUNINGS VERY ANCIENT-SOUNDING.
1174
01:03:56,633 --> 01:03:58,866
HE CALLED THEM
THE ANCIENT TONES.
1175
01:03:58,900 --> 01:04:00,666
AND HE WAS NEVER
ONE OF THOSE GUYS TO SAY,
1176
01:04:00,700 --> 01:04:02,000
"LISTEN TO THIS TUNE."
1177
01:04:02,033 --> 01:04:04,000
HE WOULD, HE WOULD GO LIKE...
[PLAYING MANDOLIN]
1178
01:04:07,133 --> 01:04:08,700
AND LOOK OFF AND I WAS
SUPPOSED TO GO...
1179
01:04:08,733 --> 01:04:10,900
[PLAYING MANDOLIN]
1180
01:04:12,800 --> 01:04:15,666
AND WHEN I WOULD GET IT,
HE'D MOVE ON.
1181
01:04:15,700 --> 01:04:20,900
AND, UH, WHEN I'D MISS IT, HE'D
JUST KIND OF, UM, SHAKE HIS HEAD
1182
01:04:20,933 --> 01:04:22,333
AND RUN OFF AND DO
SOMETHING ELSE.
1183
01:04:22,366 --> 01:04:24,533
AND IT WOULD KILL ME
IF I COULDN'T KEEP UP.
1184
01:04:24,566 --> 01:04:26,400
NARRATOR: OTHER
BLUEGRASS MUSICIANS
1185
01:04:26,433 --> 01:04:29,066
WERE ALSO COMING OF AGE.
1186
01:04:29,100 --> 01:04:31,400
RICKY SKAGGS WAS
FROM THE MOUNTAINS
1187
01:04:31,433 --> 01:04:33,533
OF EASTERN KENTUCKY.
1188
01:04:33,566 --> 01:04:35,200
MAN: I'D STAND IN
THE MIDDLE OF THE HOUSE,
1189
01:04:35,233 --> 01:04:36,466
AND I'D HEAR MOM AND DAD
LISTENING TO
1190
01:04:36,500 --> 01:04:38,166
FLATT AND SCRUGGS
OR RALPH STANLEY,
1191
01:04:38,200 --> 01:04:39,333
AND THEN I'D,
I'D HEAR, YOU KNOW,
1192
01:04:39,366 --> 01:04:41,800
MY SISTER LISTENING
TO THE BEATLES, UH, OVER HERE.
1193
01:04:41,833 --> 01:04:44,033
AND I WOULD STAND IN THE MIDDLE,
AND IT'S LIKE
1194
01:04:44,066 --> 01:04:46,633
I WOULD HEAR TWO WORLDS
GOING OFF AND ON.
1195
01:04:46,666 --> 01:04:49,133
BUT IT WAS, YOU KNOW,
THE HARMONIES
1196
01:04:49,166 --> 01:04:51,600
THAT JOHN AND PAUL WERE DOING
WAS NOT DIFFERENT
1197
01:04:51,633 --> 01:04:53,100
THAN WHAT RALPH
AND CARTER WAS DOING.
1198
01:04:53,133 --> 01:04:54,633
TO ME, I COULD HEAR IT.
1199
01:04:54,666 --> 01:04:58,200
NARRATOR: LIKE MARTY STUART,
SKAGGS HAD TAKEN UP THE MANDOLIN
1200
01:04:58,233 --> 01:05:02,933
AT AN EARLY AGE--AND HE
WAS GOOD AT IT, TOO.
1201
01:05:02,966 --> 01:05:04,233
SKAGGS: I WAS 6 YEARS OLD.
1202
01:05:04,266 --> 01:05:05,800
I HAD ONLY BEEN PLAYING
THE MANDOLIN ABOUT A YEAR.
1203
01:05:05,833 --> 01:05:08,600
AND, UH, BILL MONROE
CAME TO MARTHA, KENTUCKY.
1204
01:05:08,633 --> 01:05:11,366
AND THAT NIGHT CHANGED MY LIFE.
1205
01:05:11,400 --> 01:05:14,633
SOME NEIGHBORS IN THE HOOD
HAD STARTED, UH,
1206
01:05:14,666 --> 01:05:17,533
SHOUTING OUT TO MR. MONROE,
"LET LITTLE RICKY SKAGGS
1207
01:05:17,566 --> 01:05:19,033
GET UP THERE AND SING ONE."
1208
01:05:20,433 --> 01:05:22,733
HE WAS NICE AND HE
KEPT ON DOING HIS SHOW.
1209
01:05:22,766 --> 01:05:25,966
SO, FINALLY, AFTER A COUPLE MORE
HEE-HAWS FROM THE AUDIENCE,
1210
01:05:26,000 --> 01:05:27,766
WHY, I THINK HE WAS READY
TO PUT A STOP TO IT,
1211
01:05:27,800 --> 01:05:29,266
SO HE INVITED
"LITTLE RICKY SKAGGS"
1212
01:05:29,300 --> 01:05:30,466
TO COME UP ONSTAGE.
1213
01:05:30,500 --> 01:05:31,966
I DON'T THINK HE REALLY
KNEW HOW LITTLE
1214
01:05:32,000 --> 01:05:34,133
RICKY SKAGGS WAS AT THE TIME.
1215
01:05:34,166 --> 01:05:37,800
HE TOOK HIS BIG F-5 SIZED
MANDOLIN LIKE THIS
1216
01:05:37,833 --> 01:05:40,033
AND PUT THE STRAP
AROUND THE CURL HERE
1217
01:05:40,066 --> 01:05:42,566
AND PUT IT ON ME WHEN HE
FOUND OUT I PLAYED MANDOLIN.
1218
01:05:42,600 --> 01:05:44,800
YOU KNOW?
AND WE PLAYED A SONG CALLED
1219
01:05:44,833 --> 01:05:46,733
"RUBY, ARE YOU MAD AT YOUR MAN?"
1220
01:05:46,766 --> 01:05:50,433
NOW, THAT IS A 6-YEAR-OLD
HIT, RIGHT THERE. [LAUGHS]
1221
01:05:50,466 --> 01:06:01,233
♪ OH, RUBY, RUBY, HONEY,
ARE YOU MAD AT YOUR MAN? ♪
1222
01:06:01,266 --> 01:06:11,366
♪ OH, RUBY
1223
01:06:13,033 --> 01:06:14,966
♪ RUBY
1224
01:06:15,000 --> 01:06:17,600
I NEVER KNEW WHAT
SHE WAS MAD ABOUT. [LAUGHS]
1225
01:06:17,633 --> 01:06:20,533
[BANJO PLAYING]
1226
01:06:20,566 --> 01:06:22,700
NARRATOR: IN NORMAN, OKLAHOMA,
1227
01:06:22,733 --> 01:06:25,000
A YOUNG BANJO AND GUITAR PLAYER
1228
01:06:25,033 --> 01:06:27,400
NAMED VINCE GILL SWITCHED FROM
1229
01:06:27,433 --> 01:06:29,700
PLAYING ROCK AND ROLL
IN HIGH SCHOOL
1230
01:06:29,733 --> 01:06:33,700
TO JOIN A BLUEGRASS BAND,
MOUNTAIN SMOKE.
1231
01:06:33,733 --> 01:06:36,233
THEY THOUGHT THEY HAD
CAUGHT THEIR BIG BREAK
1232
01:06:36,266 --> 01:06:39,133
WHEN THEY WERE ASKED TO FILL IN
AT THE LAST MINUTE
1233
01:06:39,166 --> 01:06:42,766
AS THE OPENING ACT AT
A CONCERT IN OKLAHOMA CITY.
1234
01:06:44,200 --> 01:06:46,366
MAN: WE WENT DOWN TO THE
CIVIC CENTER IN OKLAHOMA CITY
1235
01:06:46,400 --> 01:06:49,066
AND WE WERE GOING
TO OPEN FOR KISS,
1236
01:06:49,100 --> 01:06:50,400
IN OUR LITTLE BLUEGRASS BAND.
1237
01:06:50,433 --> 01:06:53,533
AND YOU COULDN'T--
YOU COULDN'T SCRIPT--
1238
01:06:53,566 --> 01:06:56,500
"SPINAL TAP" COULDN'T
SCRIPT THIS, YOU KNOW?
1239
01:06:56,533 --> 01:06:58,833
THEY HAD THEIR
30-FOOT DRUM RISERS
1240
01:06:58,866 --> 01:07:01,633
AND STACKS OF AMPLIFIERS
TO THE CEILING
1241
01:07:01,666 --> 01:07:05,100
AND DEATH AND FIRE
AND ALL OF THIS STUFF.
1242
01:07:05,133 --> 01:07:06,100
WE COME OUT THERE WITH OUR
1243
01:07:06,133 --> 01:07:08,733
LITTLE FIDDLES
AND OUR MANDOLINS.
1244
01:07:08,766 --> 01:07:11,600
[IMITATES FIDDLE]
[LAUGHS]
1245
01:07:11,633 --> 01:07:14,066
THESE PEOPLE FLIPPED
COMPLETELY OUT.
1246
01:07:14,100 --> 01:07:16,966
THEY HATED US SO BAD.
1247
01:07:17,000 --> 01:07:20,766
THEY STARTED BOOING FROM
THE FIRST NOTE AND SCREAMING,
1248
01:07:20,800 --> 01:07:23,333
AND I MUST SAY, IT WAS
KIND OF A NEAT FEELING,
1249
01:07:23,366 --> 01:07:25,700
HAVING THAT MANY PEOPLE
PISSED OFF AT YOU,
1250
01:07:25,733 --> 01:07:27,133
AND SCREAMING AT YOU, THAT
1251
01:07:27,166 --> 01:07:30,500
IT WAS LIKE A BIG ROOMFUL
OF APPLAUSE IN A WEIRD WAY.
1252
01:07:30,533 --> 01:07:32,200
WE ONLY LASTED ABOUT 3 SONGS,
1253
01:07:32,233 --> 01:07:34,066
AND THEN THE BEER BOTTLES
STARTED FLYING,
1254
01:07:34,100 --> 01:07:36,633
AND WE SAID, "WELL,
WE BETTER GET OUT OF HERE."
1255
01:07:36,666 --> 01:07:39,133
SO, I TURNED AROUND
AND FLIPPED THEM OFF
1256
01:07:39,166 --> 01:07:43,100
AND TOLD THEM TO KISS MY ASS.
1257
01:07:43,133 --> 01:07:46,233
AND THE NEXT DAY, THERE WAS
A REVIEW IN THE PAPER
1258
01:07:46,266 --> 01:07:49,866
AND IT SAID, "GROUP MEMBER
VINCE GILL ON HIS DEPARTURE
1259
01:07:49,900 --> 01:07:52,333
"SHOWED THE CROWD
WHICH PART OF HIS ANATOMY
1260
01:07:52,366 --> 01:07:54,333
THE CROWD COULD KISS,"
1261
01:07:54,366 --> 01:07:58,100
IN THEIR BLOCK LETTERS, THAT
WAS THEIR LOGO. [LAUGHS]
1262
01:08:01,066 --> 01:08:04,533
NARRATOR: MEANWHILE,
LESTER FLATT
AND THE NASHVILLE GRASS
1263
01:08:04,566 --> 01:08:07,866
FOUND THEMSELVES PLAYING
ON THE SAME STAGE
1264
01:08:07,900 --> 01:08:10,633
WITH THE JAZZ PIANIST
CHICK COREA
1265
01:08:10,666 --> 01:08:14,233
AND THE FUNK BAND
KOOL AND THE GANG.
1266
01:08:14,266 --> 01:08:15,866
STUART: I REMEMBER
PUTTING MY HEAD DOWN
1267
01:08:15,900 --> 01:08:17,333
ON THE BUNK IN THE BUS, GOING,
1268
01:08:17,366 --> 01:08:20,966
"THEY'RE GOING TO LAUGH US
OFF OF THE STAGE."
1269
01:08:21,000 --> 01:08:23,500
BUT WE WENT OUT THERE
IN THAT TRADITIONAL DRESS,
1270
01:08:23,533 --> 01:08:26,166
ALL THESE OLD GUYS,
AND ME, AS A YOUNGSTER,
1271
01:08:26,200 --> 01:08:30,400
AND THE MOVIE "DELIVERANCE"
WAS PRETTY HOT AT THE TIME.
1272
01:08:30,433 --> 01:08:33,566
AND, UNKNOWINGLY, LESTER HAD
ALWAYS DONE "DUELING BANJOS"
1273
01:08:33,600 --> 01:08:35,366
AS A PART OF HIS SHOW
FOR YEARS.
1274
01:08:35,400 --> 01:08:36,600
IT WAS ON THE NEW RECORD.
1275
01:08:36,633 --> 01:08:38,566
SO, IT WAS JUST SIMPLY
ONE OF THE INSTRUMENTALS
1276
01:08:38,600 --> 01:08:39,933
THAT WAS PLAYED THAT NIGHT.
1277
01:08:39,966 --> 01:08:42,133
[PLAYING "DUELING BANJOS"]
1278
01:09:06,366 --> 01:09:08,800
[APPLAUSE]
1279
01:09:08,833 --> 01:09:12,000
WELL, THAT UNLOCKED,
AND WE ENCORED.
1280
01:09:12,033 --> 01:09:14,600
AND AT THE END OF THE NIGHT,
WE HAD ENCORED 9 TIMES.
1281
01:09:17,866 --> 01:09:20,000
AND THE NEXT DAY,
LESTER'S MANAGER
1282
01:09:20,033 --> 01:09:23,500
BOOKED 72 COLLEGE SHOWS
AND ROCK SHOWS
1283
01:09:23,533 --> 01:09:25,566
OFF OF THAT ONE
30-MINUTE PERFORMANCE.
1284
01:09:32,600 --> 01:09:34,566
[CHEERING AND APPLAUSE]
1285
01:09:34,600 --> 01:09:36,866
AND THE NEXT THING I KNOW,
WE GO FROM BEING
1286
01:09:36,900 --> 01:09:40,366
A TIRED, OLD OPRY BAND THAT'S
PLAYING "MOM AND POP" SHOWS
1287
01:09:40,400 --> 01:09:42,233
AND, YOU KNOW,
BLUEGRASS FESTIVALS
1288
01:09:42,266 --> 01:09:46,133
TO WE WERE ROCK STARS.
1289
01:09:46,166 --> 01:09:48,000
NARRATOR: ONE OF THEIR
FIRST SHOWS WAS
1290
01:09:48,033 --> 01:09:50,333
AT MICHIGAN STATE
UNIVERSITY.
1291
01:09:50,366 --> 01:09:52,366
THE CONCERT THAT
NIGHT FEATURED
1292
01:09:52,400 --> 01:09:55,900
AN UP-AND-COMING
ROCK GROUP, THE EAGLES,
1293
01:09:55,933 --> 01:09:59,300
AND A FORMER MEMBER OF
THE BYRDS, GRAM PARSONS,
1294
01:09:59,333 --> 01:10:02,333
WHO HAD BROUGHT
ALONG A NEW HARMONY SINGER,
1295
01:10:02,366 --> 01:10:04,833
EMMYLOU HARRIS.
1296
01:10:04,866 --> 01:10:08,200
HARRIS: HE WAS PASSIONATE ABOUT
REAL COUNTRY MUSIC,
1297
01:10:08,233 --> 01:10:11,033
THE REAL WASHED
IN THE BLOOD STUFF.
1298
01:10:11,066 --> 01:10:14,600
BUT HE WAS ALSO A CHILD
OF THE SIXTIES.
1299
01:10:14,633 --> 01:10:17,366
ROCK AND ROLL WAS ALSO
A PASSION OF HIS.
1300
01:10:17,400 --> 01:10:20,400
HE KIND OF HAD ONE FOOT
IN BOTH WORLDS.
1301
01:10:20,433 --> 01:10:24,666
HE REALLY BELIEVED THAT YOU
COULD BRING THE TWO TOGETHER.
1302
01:10:24,700 --> 01:10:26,800
THE FLYING BURRITO BROTHERS:
♪ SHE'S TELLING DIRTY LIES...
1303
01:10:26,833 --> 01:10:30,800
NARRATOR: BACK IN 1968, PARSONS
HAD COME TO NASHVILLE
1304
01:10:30,833 --> 01:10:35,800
AND RECORDED THE ALBUM
"SWEETHEART OF THE RODEO"
WITH THE BYRDS.
1305
01:10:35,833 --> 01:10:38,066
IN CALIFORNIA,
HE AND CHRIS HILLMAN
1306
01:10:38,100 --> 01:10:43,133
PUT TOGETHER A NEW BAND,
THE FLYING BURRITO BROTHERS.
1307
01:10:44,433 --> 01:10:46,033
THE FLYING BURRITO BROTHERS:
♪ UNHAPPINESS HAS BEEN
1308
01:10:46,066 --> 01:10:49,233
♪ HER CLOSE COMPANION
1309
01:10:49,266 --> 01:10:53,333
♪ HER WORLD IS FULL OF
JEALOUSY AND DOUBT ♪
1310
01:10:53,366 --> 01:10:58,333
♪ IT GETS HER OFF TO SEE
A PERSON CRYING ♪
1311
01:10:58,366 --> 01:11:02,400
♪ SHE'S JUST THE KIND THAT
YOU CAN'T DO WITHOUT... ♪
1312
01:11:02,433 --> 01:11:04,566
BENSON: THE MUSIC THAT WAS
GOING ON IN CALIFORNIA,
1313
01:11:04,600 --> 01:11:06,333
IN SOUTHERN CALIFORNIA,
WAS THE BYRDS
1314
01:11:06,366 --> 01:11:08,466
AND THE FLYING BURRITO
BROTHERS.
1315
01:11:08,500 --> 01:11:10,000
IN NORTHERN CALIFORNIA,
1316
01:11:10,033 --> 01:11:11,766
THE GRATEFUL DEAD
HAD A SPINOFF BAND,
1317
01:11:11,800 --> 01:11:14,033
THE NEW RIDERS
OF THE PURPLE SAGE.
1318
01:11:14,066 --> 01:11:16,800
THERE WAS COMMANDER CODY.
1319
01:11:16,833 --> 01:11:20,166
THERE WAS THIS INCREDIBLE
CROSSING OF PEOPLE
1320
01:11:20,200 --> 01:11:22,666
VERY INTERESTED IN THE
ROOTS OF COUNTRY MUSIC
1321
01:11:22,700 --> 01:11:25,233
AND FOLK MUSIC
AND ROCK AND ROLL
1322
01:11:25,266 --> 01:11:27,200
AND HOW IT ALL
FIT TOGETHER.
1323
01:11:27,233 --> 01:11:30,400
NARRATOR: AS A SELF-APPOINTED
APOSTLE OF THE FUSION
1324
01:11:30,433 --> 01:11:33,133
HE CALLED
COSMIC AMERICAN MUSIC,
1325
01:11:33,166 --> 01:11:36,200
PARSONS BECAME FRIENDS WITH
THE ROLLING STONES
1326
01:11:36,233 --> 01:11:41,800
AND HELPED INFLUENCE
THE CREATION OF THEIR
SONG, "WILD HORSES."
1327
01:11:41,833 --> 01:11:46,000
PARSONS' NEXT PROSPECT FOR
CONVERSION TO COUNTRY MUSIC
1328
01:11:46,033 --> 01:11:47,900
WAS EMMYLOU HARRIS.
1329
01:11:49,433 --> 01:11:51,233
EXCEPT FOR JOHNNY CASH,
1330
01:11:51,266 --> 01:11:54,900
I COULDN'T BE FOOLED WITH
COUNTRY MUSIC.
1331
01:11:56,166 --> 01:11:59,300
FOLK MUSIC WAS
WHAT REALLY SPOKE TO ME.
1332
01:11:59,333 --> 01:12:03,366
♪ CALLIOPE CALLING,
CHILDREN ARE FALLING ♪
1333
01:12:03,400 --> 01:12:07,133
♪ IN LINE TO RIDE ON
THE MERRY-GO-ROUND ♪
1334
01:12:07,166 --> 01:12:11,033
♪ PEOPLE ARE PASSING,
CHILDREN ARE LAUGHING ♪
1335
01:12:11,066 --> 01:12:14,766
♪ THEY WANT TO RIDE ON
THE MERRY-GO-ROUND ♪
1336
01:12:14,800 --> 01:12:18,433
♪ DOESN'T MATTER
WHEN YOU CAME ♪
1337
01:12:18,466 --> 01:12:21,800
♪ EVERY RIDE IS
JUST THE SAME ♪
1338
01:12:21,833 --> 01:12:25,333
♪ DO NOT WORRY
HOW IT'S DONE ♪
1339
01:12:25,366 --> 01:12:30,500
♪ THERE IS ROOM
FOR EVERYONE... ♪
1340
01:12:30,533 --> 01:12:34,566
NARRATOR: BORN IN BIRMINGHAM,
ALABAMA AND RAISED IN VIRGINIA,
1341
01:12:34,600 --> 01:12:37,633
HARRIS DROPPED OUT OF COLLEGE,
GOT MARRIED,
1342
01:12:37,666 --> 01:12:40,600
HAD A BABY, THEN A DIVORCE.
1343
01:12:40,633 --> 01:12:43,900
SHE HAD BOUNCED AROUND
THE EAST COAST FOLK SCENE
1344
01:12:43,933 --> 01:12:47,166
FOR SEVERAL YEARS WHEN ONE OF
THE BURRITO BROTHERS
1345
01:12:47,200 --> 01:12:51,766
HEARD HER PERFORMING AT
A SMALL CLUB IN SUBURBAN
WASHINGTON, D.C.
1346
01:12:51,800 --> 01:12:56,433
AND TOLD PARSONS ABOUT
HER REMARKABLE VOICE.
1347
01:12:57,733 --> 01:13:02,700
♪ OOH
1348
01:13:02,733 --> 01:13:05,133
[CHEERS AND APPLAUSE]
1349
01:13:05,166 --> 01:13:08,000
GRAM PARSONS:
♪ LOVE HURTS
1350
01:13:08,033 --> 01:13:10,433
♪ LOVE SCARS...
1351
01:13:10,466 --> 01:13:13,033
NARRATOR: A YEAR LATER,
AS PARSONS PREPARED
1352
01:13:13,066 --> 01:13:15,800
TO RECORD HIS FIRST
SOLO ALBUM,
1353
01:13:15,833 --> 01:13:19,100
HE SENT HARRIS A PLANE TICKET
FOR LOS ANGELES,
1354
01:13:19,133 --> 01:13:20,933
AND THEY BEGAN REHEARSALS,
1355
01:13:20,966 --> 01:13:24,900
WHICH INCLUDED HIS TUTORIALS ON
THE MUSIC HE LOVED,
1356
01:13:24,933 --> 01:13:28,466
LIKE MELODIES WRITTEN BY
FELICE AND BOUDLEAUX BRYANT
1357
01:13:28,500 --> 01:13:31,666
OR THE TIGHT HARMONIES OF
THE INFLUENTIAL GOSPEL
1358
01:13:31,700 --> 01:13:35,300
AND COUNTRY DUO,
THE LOUVIN BROTHERS.
1359
01:13:35,333 --> 01:13:38,600
PARSONS: ♪ TAKE A LOT
OF PAIN... ♪
1360
01:13:38,633 --> 01:13:43,566
HARRIS: IT WAS A VERY
INTENSE MUSICAL LEARNING
EXPERIENCE FOR ME.
1361
01:13:46,333 --> 01:13:48,500
PARSONS: ♪ LOVE HURTS...
1362
01:13:48,533 --> 01:13:50,933
HARRIS: I HAD NO IDEA WHO
THE LOUVIN BROTHERS WERE.
1363
01:13:50,966 --> 01:13:53,766
THEY HAD THESE WONDERFUL
HARMONIES.
1364
01:13:53,800 --> 01:13:55,866
THERE'S SUCH A TENSION
IN THE VOICES
1365
01:13:55,900 --> 01:13:58,000
THAT YOU FEEL LIKE
YOU'RE STARTING TO VIBRATE.
1366
01:13:58,033 --> 01:14:00,500
PARSONS: ♪ MMM,
LOVE HURTS ♪
1367
01:14:00,533 --> 01:14:03,033
I BECAME A BIG FAN OF
THE LOUVIN BROTHERS
1368
01:14:03,066 --> 01:14:06,666
AND STARTED TRYING TO TRACK DOWN
THEIR RECORDS.
1369
01:14:06,700 --> 01:14:07,933
PARSONS: ♪ I'M YOUNG...
1370
01:14:07,966 --> 01:14:11,100
NARRATOR: HARRIS' OWN
EXQUISITELY TENDER HARMONIES
1371
01:14:11,133 --> 01:14:14,966
ADDED THE SPECIAL ELEMENT
PARSONS HAD BEEN SEARCHING FOR,
1372
01:14:15,000 --> 01:14:18,500
AND THEY WENT ON TOUR TO
PROMOTE THE RESULT.
1373
01:14:18,533 --> 01:14:22,800
PARSONS AND HARRIS:
♪ I KNOW PAIN
1374
01:14:22,833 --> 01:14:24,566
♪ OR TWO...
1375
01:14:24,600 --> 01:14:27,200
HARRIS: I HAD FINALLY
DISCOVERED WHO I WAS
1376
01:14:27,233 --> 01:14:29,400
AS A SINGER FROM
SINGING WITH HIM
1377
01:14:29,433 --> 01:14:32,733
AND BECOMING THIS HUGE
COUNTRY MUSIC CONVERT.
1378
01:14:32,766 --> 01:14:35,066
PARSONS: ♪ I REALLY
LEARNED A LOT... ♪
1379
01:14:35,100 --> 01:14:38,600
I FINALLY FELT I HAD FOUND
1380
01:14:38,633 --> 01:14:40,833
WHERE I WAS SUPPOSED TO BE
AS A SINGER.
1381
01:14:42,033 --> 01:14:45,100
I FELT LIKE
I WAS A SINGER
1382
01:14:45,133 --> 01:14:47,866
WHO WAS COMING THROUGH
THE COUNTRY MUSIC DOOR.
1383
01:14:47,900 --> 01:14:50,500
PARSONS AND HARRIS:
♪ ...HURTS
1384
01:14:50,533 --> 01:14:55,733
♪ MMM, LOVE HURTS
1385
01:14:57,566 --> 01:14:59,066
STUART: THAT NIGHT
AT MICHIGAN STATE
1386
01:14:59,100 --> 01:15:01,033
WAS THE FIRST TIME I EVER
SAW ROCK AND ROLL
1387
01:15:01,066 --> 01:15:03,733
AND BLUEGRASS AND HONKY-TONK
AND FOLK MUSIC
1388
01:15:03,766 --> 01:15:07,066
AND GOSPEL MUSIC COLLIDE.
1389
01:15:07,100 --> 01:15:09,533
AND SHE WAS DEAD
CENTER OF EVERY BIT OF IT,
1390
01:15:09,566 --> 01:15:14,566
LIKE SPARKS WERE FLYING
OFF OF HER AS MUCH AS
THEY WERE ANYBODY.
1391
01:15:14,600 --> 01:15:17,133
AND I REMEMBER THINKING IT CAN
ALL EXIST
1392
01:15:17,166 --> 01:15:19,400
UNDER THE UMBRELLA OF
COUNTRY MUSIC.
1393
01:15:19,433 --> 01:15:23,266
PARSONS AND HARRIS:
♪ LOVE HURTS
1394
01:15:26,633 --> 01:15:28,466
♪ THEY CALL IT THAT
OL' MOUNTAIN DEW ♪
1395
01:15:28,500 --> 01:15:32,533
♪ LORD, LORD, AND THEM
THAT REFUSE IT ARE FEW ♪
1396
01:15:32,566 --> 01:15:34,466
♪ I'M GONNA HUSH UP
MY MUG ♪
1397
01:15:34,500 --> 01:15:36,066
♪ IF YOU'LL JUST
FILL UP MY JUG ♪
1398
01:15:36,100 --> 01:15:39,133
♪ WITH THAT GOOD
OL' MOUNTAIN DEW ♪
1399
01:15:39,166 --> 01:15:42,700
♪ WELL, NOW, MY UNCLE MORT,
HE'S SAWED OFF AND HE'S SHORT ♪
1400
01:15:42,733 --> 01:15:45,533
♪ AND HE MEASURES
ABOUT 4-FOOT-TWO ♪
1401
01:15:45,566 --> 01:15:49,333
♪ BUT HE THINKS HE'S A GIANT
WHEN YOU GIVE HIM A PINT ♪
1402
01:15:49,366 --> 01:15:52,633
♪ OF THAT GOOD OL'
MOUNTAIN DEW ♪
1403
01:15:52,666 --> 01:15:55,333
♪ WELL, THEY CALL IT
THAT OL' MOUNTAIN DEW ♪
1404
01:15:55,366 --> 01:15:59,500
♪ LORD, LORD, AND THEM
THAT REFUSE IT ARE FEW ♪
1405
01:15:59,533 --> 01:16:03,033
♪ I'LL HUSH UP MY MUG
IF YOU FILL UP MY JUG ♪
1406
01:16:03,066 --> 01:16:05,366
♪ WITH THAT GOOD OL'
MOUNTAIN DEW ♪
1407
01:16:05,400 --> 01:16:07,033
PLAY IT, JODY.
1408
01:16:07,066 --> 01:16:09,500
MAN: I TELL PEOPLE, "WILLIE'S
NOT FROM AROUND HERE."
1409
01:16:10,766 --> 01:16:12,800
I MEAN EARTH.
1410
01:16:14,333 --> 01:16:16,666
BENSON: OBVIOUSLY, HIS VOICE
IS DIFFERENT.
1411
01:16:16,700 --> 01:16:18,933
WHEN I FIRST MOVED
TO TEXAS, PEOPLE WOULD SAY,
1412
01:16:18,966 --> 01:16:21,366
"THAT WILLIE NELSON SINGS
THROUGH HIS NOSE." YOU KNOW?
1413
01:16:21,400 --> 01:16:22,833
YEAH, IT'S A HELL OF A NOSE.
1414
01:16:22,866 --> 01:16:25,400
♪ WE CALL IT THAT OL'
MOUNTAIN DEW, LORD, LORD ♪
1415
01:16:25,433 --> 01:16:28,800
♪ AND THEM THAT REFUSE IT
ARE FEW... ♪
1416
01:16:28,833 --> 01:16:31,400
WE REALLY DIDN'T THINK THAT
WILLIE COULD EVER BREAK THROUGH
1417
01:16:31,433 --> 01:16:33,733
TO THE MAINSTREAM 'CAUSE
HE WAS TOO DIFFERENT.
1418
01:16:33,766 --> 01:16:35,866
HE WAS TOO GOOD
AND TOO DIFFERENT.
1419
01:16:35,900 --> 01:16:37,266
AND THE STUFF THAT MADE IT
1420
01:16:37,300 --> 01:16:39,766
IN THE MAINSTREAM WAS NOT
DIFFERENT.
1421
01:16:39,800 --> 01:16:42,933
NELSON: ♪ THAT GOOD OL'
MOUNTAIN DEW ♪
1422
01:16:47,933 --> 01:16:50,733
AND THEN THE
MAINSTREAM FOUND OUT.
1423
01:16:50,766 --> 01:16:53,066
[CHUCKLES]
1424
01:16:53,100 --> 01:16:56,400
AND THEN IT GOT REALLY NUTS.
1425
01:16:57,766 --> 01:16:59,533
NARRATOR: IN 1972,
1426
01:16:59,566 --> 01:17:02,866
AFTER 10 DISCOURAGING
YEARS IN NASHVILLE,
1427
01:17:02,900 --> 01:17:06,266
WILLIE NELSON HAD
RETURNED HOME TO TEXAS.
1428
01:17:07,700 --> 01:17:11,133
IN AUSTIN, HE DISCOVERED
AN EMERGING MUSIC SCENE
1429
01:17:11,166 --> 01:17:14,000
THAT SEEMED TO HIM MUCH MORE
FREEWHEELING
1430
01:17:14,033 --> 01:17:16,000
THAN THE NASHVILLE HE KNEW,
1431
01:17:16,033 --> 01:17:18,833
LESS CONCERNED ABOUT
LABELING MUSIC
1432
01:17:18,866 --> 01:17:23,166
AND MORE WELCOMING TO OFFBEAT
ARTISTS LIKE HIMSELF.
1433
01:17:25,033 --> 01:17:26,733
ASLEEP AT THE WHEEL:
♪ I WAS BORN IN LOUISIANA...
1434
01:17:26,766 --> 01:17:29,933
NARRATOR: ITS FOCAL POINT WAS
AN OLD NATIONAL GUARD ARMORY
1435
01:17:29,966 --> 01:17:33,633
JUST ACROSS THE COLORADO RIVER
FROM DOWNTOWN AUSTIN,
1436
01:17:33,666 --> 01:17:37,100
A PLACE CALLED
ARMADILLO WORLD HEADQUARTERS,
1437
01:17:37,133 --> 01:17:40,266
WHERE LIVE MUSIC RANGED FROM
B.B. KING,
1438
01:17:40,300 --> 01:17:43,500
JERRY JEFF WALKER,
AND TAJ MAHAL
1439
01:17:43,533 --> 01:17:44,866
TO FRANK ZAPPA,
1440
01:17:44,900 --> 01:17:48,200
THE FLYING BURRITO BROTHERS,
COMMANDER CODY,
1441
01:17:48,233 --> 01:17:52,533
AND RAY BENSON AND HIS BAND,
ASLEEP AT THE WHEEL.
1442
01:17:52,566 --> 01:17:54,433
ASLEEP AT THE WHEEL:
♪ I SAW MILES AND MILES...
1443
01:17:54,466 --> 01:17:55,866
BENSON: WE PLAYED
AT THE ARMADILLO
1444
01:17:55,900 --> 01:17:57,600
AND IT WAS LIKE,
"THIS IS IT. IT'S HEAVEN.
1445
01:17:57,633 --> 01:17:59,833
WE FOUND HEAVEN ON EARTH."
1446
01:18:01,333 --> 01:18:03,733
PEOPLE OUR AGE
LOVE OUR MUSIC.
1447
01:18:03,766 --> 01:18:05,866
THEY HAVE BEER.
1448
01:18:05,900 --> 01:18:08,100
THERE WERE
COLLEGE GIRLS TO CHASE.
1449
01:18:08,133 --> 01:18:10,233
RENT WAS $100 A MONTH.
1450
01:18:10,266 --> 01:18:12,100
AND POT WAS CHEAP.
1451
01:18:12,133 --> 01:18:13,566
WE NEEDED MONEY,
1452
01:18:13,600 --> 01:18:17,300
BUT WE WERE NOT MOTIVATED JUST
BY MAKING MONEY.
1453
01:18:17,333 --> 01:18:19,300
ASLEEP AT THE WHEEL:
♪ ...TILL I DIE
1454
01:18:19,333 --> 01:18:21,600
BUT IT WAS MORE IMPORTANT THAT
WE HAD THE FREEDOM.
1455
01:18:21,633 --> 01:18:23,600
[CHEERS AND APPLAUSE]
1456
01:18:26,833 --> 01:18:31,966
NELSON: ♪ WHISKEY RIVER,
TAKE MY MIND... ♪
1457
01:18:32,000 --> 01:18:35,100
NARRATOR: WILLIE NELSON WAS
NEARLY A GENERATION OLDER
1458
01:18:35,133 --> 01:18:36,733
THAN MOST OF THE PATRONS,
1459
01:18:36,766 --> 01:18:39,800
AND THE OTHER MUSICIANS,
AT THE ARMADILLO,
1460
01:18:39,833 --> 01:18:42,900
BUT FROM HIS FIRST
APPEARANCE ON ITS STAGE,
1461
01:18:42,933 --> 01:18:44,666
THEY FELL IN LOVE WITH HIM.
1462
01:18:44,700 --> 01:18:47,466
NELSON: ♪ ...TAKE CARE OF ME
1463
01:18:47,500 --> 01:18:49,833
BENSON: HE WAS ON A PERSONAL
JOURNEY TO PLAY
1464
01:18:49,866 --> 01:18:51,400
THE MUSIC AND
CREATE THE MUSIC
1465
01:18:51,433 --> 01:18:54,600
AND BECOME THE PERSON THAT HE
WAS GOING TO BECOME.
1466
01:18:54,633 --> 01:18:57,933
NELSON: ♪ DON'T LET HER MEMORY
TORTURE ME... ♪
1467
01:18:57,966 --> 01:19:00,200
BENSON: THIS WAS A TOWN THAT
ALLOWED HIM TO DO THAT.
1468
01:19:00,233 --> 01:19:02,466
HE LET HIS HAIR GROW.
1469
01:19:02,500 --> 01:19:04,966
HE SAID, "THEY DON'T NEED ME
TO WEAR A SUIT
1470
01:19:05,000 --> 01:19:08,333
AND A TIE AND A TURTLENECK
OR WHATEVER."
1471
01:19:08,366 --> 01:19:11,633
NARRATOR: NELSON COULD SENSE
FROM THE STRANGE MIXTURE
1472
01:19:11,666 --> 01:19:15,833
OF PEOPLE SHOWING UP THAT
SOMETHING NEW WAS HAPPENING.
1473
01:19:15,866 --> 01:19:19,566
HE CALLED HIS FRIEND WAYLON
JENNINGS IN NASHVILLE.
1474
01:19:21,766 --> 01:19:26,933
SMITH: WILLIE SAID, "WAYLON,
I'VE GOT PREACHERS AND PILGRIMS
1475
01:19:26,966 --> 01:19:30,133
"AND POETS, POOR PEOPLE,
1476
01:19:30,166 --> 01:19:33,466
"HILLBILLIES,
COLLEGE GRADUATES.
1477
01:19:33,500 --> 01:19:35,733
"THEY'RE ALL SITTING
SIDE-BY-SIDE
1478
01:19:35,766 --> 01:19:39,966
"WATCHING ME PLAY
MY SONGS AND SING MY MUSIC.
1479
01:19:40,000 --> 01:19:42,700
YOU NEED TO COME DOWN HERE
AND SEE WHAT'S GOING ON."
1480
01:19:42,733 --> 01:19:45,333
NARRATOR: JENNINGS SOON BECAME
A REGULAR
1481
01:19:45,366 --> 01:19:48,766
AT WILLIE'S ANNUAL
FOURTH OF JULY PICNICS,
1482
01:19:48,800 --> 01:19:50,766
WHERE LONG-HAIRED
COLLEGE STUDENTS
1483
01:19:50,800 --> 01:19:54,233
AND REDNECK TRUCK DRIVERS
PARTIED TOGETHER.
1484
01:19:55,700 --> 01:19:57,566
THEY'RE OUT THERE
DRINKING BEER, SMOKING POT,
1485
01:19:57,600 --> 01:20:01,366
AND FINDING OUT THAT THEY
REALLY DIDN'T HATE EACH OTHER.
1486
01:20:01,400 --> 01:20:03,633
WILLIE'S PICNICS.
1487
01:20:03,666 --> 01:20:08,900
THE MOST DISORGANIZED GATHERING
OF THE TRIBES.
1488
01:20:08,933 --> 01:20:12,600
I DON'T KNOW HOW
TO DESCRIBE THEM EXCEPT CHAOS.
1489
01:20:12,633 --> 01:20:14,666
NOBODY WAS IN CHARGE.
1490
01:20:14,700 --> 01:20:16,900
NOBODY KNEW WHAT
WAS GOING ON.
1491
01:20:16,933 --> 01:20:19,900
WILLIE WOULD LOSE MONEY
EVERY TIME.
1492
01:20:19,933 --> 01:20:22,800
BUT THE PEOPLE WOULD SHOW UP.
1493
01:20:22,833 --> 01:20:25,200
I DON'T KNOW, 20,000, 30,000
PEOPLE, BUT WHO PAID?
1494
01:20:25,233 --> 01:20:27,366
IT WAS LIKE WOODSTOCK.
NOBODY PAID, YOU KNOW.
1495
01:20:27,400 --> 01:20:30,733
LONE STAR BEER WOULD
SPONSOR EVERYTHING.
1496
01:20:30,766 --> 01:20:32,633
WE DIDN'T CARE.
1497
01:20:32,666 --> 01:20:35,400
NELSON: ♪ YOU'RE ALL I GOT,
TAKE CARE OF ME ♪
1498
01:20:39,466 --> 01:20:41,966
[CHEERS AND APPLAUSE]
1499
01:20:47,633 --> 01:20:54,666
NELSON: ♪ IN THE TWILIGHT GLOW
I SEE THEM ♪
1500
01:20:56,333 --> 01:21:01,133
♪ BLUE EYES CRYING
IN THE RAIN... ♪
1501
01:21:01,166 --> 01:21:03,333
NARRATOR: WHEN NELSON SIGNED
A NEW CONTRACT
1502
01:21:03,366 --> 01:21:05,100
WITH COLUMBIA RECORDS,
1503
01:21:05,133 --> 01:21:08,833
HE NEGOTIATED THE SAME
TERMS WAYLON JENNINGS GOT
1504
01:21:08,866 --> 01:21:10,400
AND IMMEDIATELY WENT TO WORK
1505
01:21:10,433 --> 01:21:14,133
ON HIS NEXT ALBUM,
"RED HEADED STRANGER,"
1506
01:21:14,166 --> 01:21:18,366
A COLLECTION OF HAUNTING SONGS
THAT TOGETHER TELL THE STORY
1507
01:21:18,400 --> 01:21:22,766
OF A MAN WHO KILLS HIS
UNFAITHFUL WIFE AND HER LOVER,
1508
01:21:22,800 --> 01:21:25,200
THEN RIDES OFF
ACROSS THE WEST,
1509
01:21:25,233 --> 01:21:27,766
GRIEVING
AND SEEKING REDEMPTION.
1510
01:21:27,800 --> 01:21:34,266
NELSON: ♪ ONLY MEMORIES
REMAIN ♪
1511
01:21:36,333 --> 01:21:42,033
♪ AND THROUGH THE AGES
I REMEMBER... ♪
1512
01:21:42,066 --> 01:21:44,500
NARRATOR: NELSON CHOSE
A SMALL STUDIO
1513
01:21:44,533 --> 01:21:46,766
NEAR DALLAS TO MAKE
THE ALBUM
1514
01:21:46,800 --> 01:21:51,600
BECAUSE HE THOUGHT HIS PREVIOUS
RECORDS HAD BEEN OVER-PRODUCED.
1515
01:21:51,633 --> 01:21:53,366
NELSON: IF YOU WANT
TO KNOW THE TRUTH,
1516
01:21:53,400 --> 01:21:55,000
I THINK MONEY WAS
THE BOTTOM LINE.
1517
01:21:55,033 --> 01:21:57,266
THERE'S NO MONEY TO BE SPLIT UP
IF YOU GO AHEAD AND DO--
1518
01:21:57,300 --> 01:21:59,733
TAKE 3 GUYS
AND DO AN ALBUM.
1519
01:21:59,766 --> 01:22:02,766
YOU'VE GOT TO HAVE
STRINGS AND VOICES AND HORNS,
1520
01:22:02,800 --> 01:22:06,066
AND SO THERE'S HUNDREDS
OF THOUSANDS OF DOLLARS
1521
01:22:06,100 --> 01:22:09,866
IN THE RECORD BEFORE
YOU GET IT OUT,
1522
01:22:09,900 --> 01:22:12,866
WHICH ALSO MEANS YOU'RE NEVER
GOING TO GET A QUARTER OUT OF IT
1523
01:22:12,900 --> 01:22:15,033
'CAUSE IT'S ALL TIED
UP IN THE BEGINNING.
1524
01:22:15,066 --> 01:22:20,433
NARRATOR: NELSON SPENT
ONLY $4,000 RECORDING
"RED HEADED STRANGER"
1525
01:22:20,466 --> 01:22:24,433
AND GOT THE SIMPLE, UNVARNISHED
SOUND HE WAS LOOKING FOR,
1526
01:22:24,466 --> 01:22:29,033
HIS SINGULAR VOICE UNTOUCHED BY
ANY ENGINEERING TRICKS,
1527
01:22:29,066 --> 01:22:31,933
AND THE SPAREST BACK-UP
INSTRUMENTATION,
1528
01:22:31,966 --> 01:22:36,533
INCLUDING HIS OWN IDIOSYNCRATIC
GUITAR PLAYING.
1529
01:22:36,566 --> 01:22:40,533
NELSON: ♪ BLUE EYES CRYING...
1530
01:22:40,566 --> 01:22:44,933
NARRATOR: COLUMBIA RECORDS
DIDN'T KNOW WHAT TO MAKE OF IT.
1531
01:22:44,966 --> 01:22:46,333
MAN: WE ALL WERE IN AGREEMENT
1532
01:22:46,366 --> 01:22:49,500
THAT IT WAS A POOR,
LOUSY-SOUNDING RECORD.
1533
01:22:49,533 --> 01:22:51,766
THEY SAID, "WE CAN'T PUT
THIS OUT."
1534
01:22:51,800 --> 01:22:53,833
I SAID, "WELL, I AGREE.
1535
01:22:53,866 --> 01:22:57,533
IT'S THIS TOTAL--SOUNDS LIKE
A BAD DEMO."
1536
01:22:57,566 --> 01:22:59,633
I SAID, "LET'S DO THIS.
1537
01:22:59,666 --> 01:23:02,700
"LET'S APPEASE WILLIE BY
RELEASING THE RECORD.
1538
01:23:02,733 --> 01:23:04,733
"IT'LL DIE A QUICK DEATH.
1539
01:23:04,766 --> 01:23:06,466
"THAT WAY HE'LL BE
MORE RECEPTIVE
1540
01:23:06,500 --> 01:23:08,666
TO WHAT EVERYBODY
WANTS HIM TO DO."
1541
01:23:08,700 --> 01:23:11,833
SO WE PUT IT OUT.
1542
01:23:11,866 --> 01:23:15,066
AND WE WERE WRONG AS HELL.
1543
01:23:15,100 --> 01:23:17,300
A BIG, BIG RECORD.
1544
01:23:17,333 --> 01:23:21,900
AND, AFTER THAT, EVERYBODY LEFT
WILLIE ALONE, INCLUDING ME.
1545
01:23:21,933 --> 01:23:26,500
NARRATOR: THE ALBUM ATTRACTED
NEAR UNIVERSAL ACCLAIM.
1546
01:23:26,533 --> 01:23:31,433
NELSON: ♪ A RED HEADED STRANGER
FOR BLUE ROCK, MONTANA ♪
1547
01:23:31,466 --> 01:23:34,200
♪ RODE INTO TOWN ONE DAY...
1548
01:23:34,233 --> 01:23:37,366
NARRATOR: ONE REVIEWER CALLED IT
A MASTERPIECE.
1549
01:23:37,400 --> 01:23:41,966
ANOTHER COMPARED
NELSON'S UNSENTIMENTAL
STYLE TO HEMINGWAY'S.
1550
01:23:42,000 --> 01:23:45,266
AND IT SOLD STEADILY,
STAYING ON THE CHARTS
1551
01:23:45,300 --> 01:23:48,766
FOR AN UNPRECEDENTED
120 WEEKS.
1552
01:23:48,800 --> 01:23:50,133
NELSON: ♪ ...LIKE THUNDER
1553
01:23:50,166 --> 01:23:52,433
♪ HIS LIPS, THEY WERE
SAD AND TIGHT ♪
1554
01:23:52,466 --> 01:23:54,800
NARRATOR: IN TEXAS,
WILLIE AND HIS BAND
1555
01:23:54,833 --> 01:23:56,800
SEEMED TO BE EVERYWHERE--
1556
01:23:56,833 --> 01:24:00,500
PERFORMING AT A FUNDRAISER FOR
A HOUSTON RADIO STATION
1557
01:24:00,533 --> 01:24:04,133
AFTER IT WAS FIREBOMBED
BY THE KKK,
1558
01:24:04,166 --> 01:24:06,933
DRAWING 10,000 PEOPLE
TO A CONCERT
1559
01:24:06,966 --> 01:24:09,933
IN HIS TINY HOMETOWN OF
ABBOTT,
1560
01:24:09,966 --> 01:24:11,833
AND DOING THE PILOT SHOW
1561
01:24:11,866 --> 01:24:15,366
FOR HIS ADOPTED CITY'S
PUBLIC TELEVISION STATION,
1562
01:24:15,400 --> 01:24:19,900
EXPERIMENTING ON THE IDEA OF
AN HOUR-LONG PROGRAM DEVOTED
1563
01:24:19,933 --> 01:24:24,900
EXCLUSIVELY TO ONE ARTIST'S
LIVE PERFORMANCES.
1564
01:24:24,933 --> 01:24:28,300
"AUSTIN CITY LIMITS" WOULD GO
ON TO BECOME
1565
01:24:28,333 --> 01:24:32,800
THE LONGEST-RUNNING MUSIC
PROGRAM IN TELEVISION HISTORY.
1566
01:24:32,833 --> 01:24:34,733
NELSON: ♪ IF HE SHOULD
PASS YOUR WAY... ♪
1567
01:24:34,766 --> 01:24:36,500
NARRATOR:
ONLY A FEW YEARS EARLIER,
1568
01:24:36,533 --> 01:24:39,433
DRUNK AND DESPAIRING
OVER HIS CAREER,
1569
01:24:39,466 --> 01:24:43,933
NELSON HAD SPRAWLED OUT
IN THE MIDDLE OF BROADWAY
IN NASHVILLE.
1570
01:24:43,966 --> 01:24:49,400
NOW "NEWSWEEK" MAGAZINE CALLED
HIM "THE KING OF COUNTRY MUSIC"
1571
01:24:49,433 --> 01:24:53,000
AND "ROLLING STONE" PUT HIM
ON ITS COVER.
1572
01:24:53,033 --> 01:24:55,533
NELSON: ♪ DON'T FIGHT IT,
DON'T SPITE IT ♪
1573
01:24:55,566 --> 01:24:58,300
♪ JUST WAIT TILL TOMORROW
1574
01:24:58,333 --> 01:25:02,100
♪ MAYBE HE'LL RIDE ON
AGAIN ♪
1575
01:25:13,233 --> 01:25:17,433
HARRIS: ♪ I DON'T WANT TO HEAR
A LOVE SONG ♪
1576
01:25:19,000 --> 01:25:25,633
♪ I GOT ON THIS AIRPLANE
JUST TO FLY ♪
1577
01:25:25,666 --> 01:25:29,633
♪ AND I KNOW THERE'S
LIFE BELOW ME ♪
1578
01:25:29,666 --> 01:25:31,466
♪ BUT ALL THAT IT CAN...
1579
01:25:31,500 --> 01:25:34,733
NARRATOR: EMMYLOU HARRIS'
COLLABORATION WITH GRAM PARSONS
1580
01:25:34,766 --> 01:25:39,533
ENDED TRAGICALLY AND SUDDENLY
WHEN HE DIED AT AGE 26
1581
01:25:39,566 --> 01:25:41,800
OF AN ALCOHOL
AND DRUG OVERDOSE.
1582
01:25:41,833 --> 01:25:43,700
HARRIS: ♪ I DON'T WANT
TO HEAR A SAD STORY... ♪
1583
01:25:43,733 --> 01:25:45,433
NARRATOR:
HIS DEATH, SHE SAID,
1584
01:25:45,466 --> 01:25:47,700
"WAS LIKE
FALLING OFF A MOUNTAIN."
1585
01:25:47,733 --> 01:25:53,300
HARRIS: ♪ FULL OF HEARTBREAK
AND DESIRE... ♪
1586
01:25:53,333 --> 01:25:56,033
I DIDN'T REALLY KNOW
WHAT I WAS DOING.
1587
01:25:56,066 --> 01:25:58,733
I KNEW THAT I WANTED TO MAKE
A COUNTRY RECORD,
1588
01:25:58,766 --> 01:26:01,466
ALMOST LIKE IN MEMORY
OF GRAM.
1589
01:26:01,500 --> 01:26:06,033
♪ ...AND THE CANYON
WAS ON FIRE ♪
1590
01:26:06,066 --> 01:26:09,733
♪ I WOULD ROCK MY SOUL
1591
01:26:09,766 --> 01:26:12,833
♪ IN THE BOSOM OF ABRAHAM...
1592
01:26:12,866 --> 01:26:14,600
THE SIMPLICITY OF
COUNTRY MUSIC
1593
01:26:14,633 --> 01:26:19,033
IS ONE OF THE MOST IMPORTANT
THINGS ABOUT IT.
1594
01:26:19,066 --> 01:26:21,933
IT'S ABOUT THE STORY AND
THE MELODY AND THE SOUND
1595
01:26:21,966 --> 01:26:25,333
AND THE VOICE
AND THE SINCERITY OF IT.
1596
01:26:25,366 --> 01:26:28,633
♪ FROM BOULDER
TO BIRMINGHAM... ♪
1597
01:26:28,666 --> 01:26:30,266
CROWELL: WHEN THEY HEAR
HER VOICE,
1598
01:26:30,300 --> 01:26:33,033
THEY FEEL LIKE THEY'VE
BEEN TOUCHED BY AN ANGEL.
1599
01:26:33,066 --> 01:26:36,200
HARRIS: ♪ I COULD SEE
YOUR FACE ♪
1600
01:26:36,233 --> 01:26:39,733
♪ IF I THOUGHT I COULD SEE
1601
01:26:39,766 --> 01:26:41,000
♪ I COULD SEE...
1602
01:26:41,033 --> 01:26:45,566
IT JUST SOMEHOW
GETS PAST EVERYTHING
1603
01:26:45,600 --> 01:26:47,866
AND WINDS UP
SOMEWHERE IN YOUR HEART.
1604
01:26:47,900 --> 01:26:50,200
AND IT FEELS GOOD IN THERE.
1605
01:26:51,666 --> 01:26:57,000
NARRATOR: IN 1975, HARRIS CAME
OUT WITH TWO SOLO ALBUMS.
1606
01:27:00,966 --> 01:27:05,500
HARRIS: ♪ IF I COULD ONLY
WIN YOUR LOVE... ♪
1607
01:27:05,533 --> 01:27:08,700
NARRATOR: SHE FILLED THEM WITH
SONGS DRAWN FROM THE LESSONS
1608
01:27:08,733 --> 01:27:12,066
IN COUNTRY MUSIC THAT PARSONS
HAD PROVIDED--
1609
01:27:12,100 --> 01:27:15,466
MERLE HAGGARD'S "TONIGHT
THE BOTTLE LET ME DOWN,"
1610
01:27:15,500 --> 01:27:18,033
DOLLY PARTON'S
"COAT OF MANY COLORS,"
1611
01:27:18,066 --> 01:27:20,933
GEORGE JONES'
"ONE OF THESE DAYS,"
1612
01:27:20,966 --> 01:27:24,066
HANK WILLIAMS'
"JAMBALAYA," AND OTHERS.
1613
01:27:24,100 --> 01:27:27,900
HARRIS: ♪ I'D GIVE MY ALL
TO MAKE IT LIVE ♪
1614
01:27:27,933 --> 01:27:31,766
♪ YOU'LL NEVER KNOW
HOW MUCH I'D GIVE ♪
1615
01:27:31,800 --> 01:27:35,933
♪ IF I COULD ONLY WIN
YOUR LOVE... ♪
1616
01:27:35,966 --> 01:27:37,833
NARRATOR:
RELEASED AS A SINGLE,
1617
01:27:37,866 --> 01:27:40,766
HER VERSION OF AN OLD LOUVIN
BROTHERS SONG,
1618
01:27:40,800 --> 01:27:42,733
"IF I COULD ONLY
WIN YOUR LOVE,"
1619
01:27:42,766 --> 01:27:46,400
WENT TO NUMBER 4
ON THE COUNTRY CHARTS,
1620
01:27:46,433 --> 01:27:50,533
THEN HER RENDITIONS OF
BUCK OWENS' "TOGETHER AGAIN"
1621
01:27:50,566 --> 01:27:54,833
AND PATSY CLINE'S "SWEET DREAMS"
BOTH REACHED NUMBER ONE.
1622
01:27:54,866 --> 01:27:57,733
HARRIS: ♪ ...WIN YOUR LOVE...
1623
01:27:57,766 --> 01:28:01,400
NARRATOR: ONE REVIEWER, NOTING
HER BACKGROUND IN FOLK MUSIC
1624
01:28:01,433 --> 01:28:04,033
AND THAT SHE WAS BASED
IN LOS ANGELES,
1625
01:28:04,066 --> 01:28:07,533
NEVERTHELESS DECLARED
THAT HER MUSIC WAS
1626
01:28:07,566 --> 01:28:09,333
"MORE COUNTRY THAN NASHVILLE."
1627
01:28:09,366 --> 01:28:12,333
HARRIS: ♪ ...LOVE
1628
01:28:12,366 --> 01:28:16,566
WHEN I BECAME A CONVERT
TO COUNTRY MUSIC,
1629
01:28:16,600 --> 01:28:18,300
THERE'S NO OTHER
WORD FOR IT,
1630
01:28:18,333 --> 01:28:20,266
I BECAME OBNOXIOUS,
1631
01:28:20,300 --> 01:28:22,633
TRYING TO GET PEOPLE TO LISTEN
TO EVERYTHING.
1632
01:28:23,933 --> 01:28:25,700
NARRATOR: SHE SURROUNDED
HERSELF WITH SOME OF
1633
01:28:25,733 --> 01:28:29,300
THE LEADING ROCK
INSTRUMENTALISTS
ON THE WEST COAST.
1634
01:28:29,333 --> 01:28:31,700
THEY WERE CALLED
THE HOT BAND.
1635
01:28:31,733 --> 01:28:35,966
HARRIS: ♪ MADE ME PUT MY
MONEY IN THE BANK, BABY ♪
1636
01:28:36,000 --> 01:28:37,500
♪ STRAIGHTEN DOWN...
1637
01:28:37,533 --> 01:28:41,266
NARRATOR: THE ONE SHE BECAME
CLOSEST TO WAS RODNEY CROWELL.
1638
01:28:41,300 --> 01:28:43,733
AFTER HEARING SOME
OF HIS SONGS,
1639
01:28:43,766 --> 01:28:48,866
HARRIS HAD INVITED HIM
TO CALIFORNIA TO WORK
ON HER ALBUMS.
1640
01:28:48,900 --> 01:28:53,166
HARRIS: RODNEY WAS KIND OF LIKE
MY KID BROTHER.
1641
01:28:53,200 --> 01:28:57,533
WE WERE THE SAME KIND OF SORT OF
QUASI-HIPPIE KIDS,
1642
01:28:57,566 --> 01:29:00,400
BUT WE HAD TOTALLY DIFFERENT
UPBRINGINGS.
1643
01:29:00,433 --> 01:29:03,266
HE GREW UP WITH COUNTRY MUSIC.
1644
01:29:03,300 --> 01:29:06,133
HARRIS: ♪ PARTY JUST STARTED,
LORD, I'M DRUNK ON ♪
1645
01:29:06,166 --> 01:29:10,300
♪ BLUEBIRD WINE
1646
01:29:10,333 --> 01:29:12,033
♪ AND IT'S...
1647
01:29:12,066 --> 01:29:15,766
HE WAS KIND OF MY PARTNER IN
THIS WONDERFUL CRIME
1648
01:29:15,800 --> 01:29:19,466
OF MAKING COUNTRY MUSIC
OUTSIDE THE LINES
1649
01:29:19,500 --> 01:29:23,833
BUT WITH TOTAL RESPECT FOR THE
TRADITION OF COUNTRY MUSIC.
1650
01:29:23,866 --> 01:29:28,233
♪ WINE
1651
01:29:28,266 --> 01:29:30,433
CROWELL: SO, WE JUST TOOK
TRADITIONAL COUNTRY MUSIC
1652
01:29:30,466 --> 01:29:33,400
AND SOUTHERN ROCK AND ROLL
AND ROCKABILLY
1653
01:29:33,433 --> 01:29:35,333
AND JUST PLAYED IT,
1654
01:29:35,366 --> 01:29:39,166
YOU KNOW, AND JUST LET IT HAVE
ITS VOICE.
1655
01:29:39,200 --> 01:29:41,833
AND IT WAS GOOD FUN.
1656
01:29:41,866 --> 01:29:44,933
♪ WELL, GOOD-BYE, JOE,
WE GOTTA GO ♪
1657
01:29:44,966 --> 01:29:47,766
♪ ME, OH, MY, OH
1658
01:29:47,800 --> 01:29:53,433
♪ ME GOTTA GO POLE THE PIROGUE
DOWN THE BAYOU ♪
1659
01:29:53,466 --> 01:29:56,866
♪ MY YVONNE,
THE SWEETEST ONE ♪
1660
01:29:56,900 --> 01:29:59,533
♪ ME, OH, MY, OH
1661
01:29:59,566 --> 01:30:05,100
♪ SON OF A GUN, GONNA HAVE
BIG FUN ON THE BAYOU ♪
1662
01:30:05,133 --> 01:30:08,500
♪ WELL, THE JAMBALAYA
AND CRAWFISH PIE ♪
1663
01:30:08,533 --> 01:30:11,633
♪ AND A FILLET GUMBO
1664
01:30:11,666 --> 01:30:14,200
♪ 'CAUSE TONIGHT I'M
GONNA SEE ♪
1665
01:30:14,233 --> 01:30:17,566
♪ MY MACHEZ AMIO...
1666
01:30:17,600 --> 01:30:19,200
NARRATOR:
WITH THE HOT BAND,
1667
01:30:19,233 --> 01:30:22,000
HARRIS PLAYED IN EVERY TYPE
OF VENUE,
1668
01:30:22,033 --> 01:30:24,700
FROM THE PALOMINO CLUB
IN NORTH HOLLYWOOD
1669
01:30:24,733 --> 01:30:28,900
TO ARMADILLO WORLD HEADQUARTERS
IN AUSTIN.
1670
01:30:28,933 --> 01:30:33,533
THEY WERE THE OPENING ACT FOR
FOLK AND POP STAR JAMES TAYLOR,
1671
01:30:33,566 --> 01:30:35,566
AS WELL AS MERLE HAGGARD,
1672
01:30:35,600 --> 01:30:38,966
AND FOR THE 60,000 FANS
WHO CAME TO HEAR
1673
01:30:39,000 --> 01:30:42,333
ELTON JOHN AT DODGER STADIUM.
1674
01:30:42,366 --> 01:30:45,533
♪ FOUNTAINEAUX,
THE PLACE IS BUZZIN' ♪
1675
01:30:45,566 --> 01:30:46,866
♪ KINFOLK COME TO...
1676
01:30:46,900 --> 01:30:51,066
MAN: EMMYLOU HARRIS WAS
A LONE VOICE.
1677
01:30:51,100 --> 01:30:53,533
EMMYLOU DIDN'T EXPLODE
ONTO THE SCENE,
1678
01:30:53,566 --> 01:30:55,666
SHE BLOOMED.
1679
01:30:55,700 --> 01:30:59,100
AND SHE'LL FOREVER
BE THAT ROSE
1680
01:30:59,133 --> 01:31:03,000
THAT BLOOMED INTO OUR
COLLECTIVE CONSCIOUSNESS
1681
01:31:03,033 --> 01:31:06,533
AND OUR MUSICAL CONSCIOUSNESS.
1682
01:31:06,566 --> 01:31:08,333
♪ ...AND A FILLET GUMBO
1683
01:31:08,366 --> 01:31:09,733
WHOO!
1684
01:31:09,766 --> 01:31:14,566
♪ TONIGHT I'M GONNA SEE
MY MACHEZ AMIO ♪
1685
01:31:15,800 --> 01:31:18,600
♪ PICK GUITAR,
FILL UP A JAR ♪
1686
01:31:18,633 --> 01:31:20,766
♪ AND BE GAY-OH
1687
01:31:20,800 --> 01:31:24,500
♪ SON OF A GUN,
WE'LL HAVE BIG FUN ♪
1688
01:31:24,533 --> 01:31:27,433
♪ ON THE BAYOU
1689
01:31:30,933 --> 01:31:33,466
NARRATOR: DURING A WHIRLWIND
VISIT TO NASHVILLE,
1690
01:31:33,500 --> 01:31:37,333
SHE WAS ASKED TO JUDGE A TALENT
CONTEST AT THE EXIT/IN,
1691
01:31:37,366 --> 01:31:40,700
THEN PERFORMED
AT THE 50th ANNIVERSARY SHOW
1692
01:31:40,733 --> 01:31:42,933
OF THE GRAND OLE OPRY.
1693
01:31:42,966 --> 01:31:46,300
SHE PROVIDED VOCAL BACKUP ON
A GUY CLARK ALBUM
1694
01:31:46,333 --> 01:31:51,266
AND RECORDED TOWNES VAN ZANDT'S
SONG "PANCHO AND LEFTY."
1695
01:31:51,300 --> 01:31:54,266
♪ JAMBALAYA, A-CRAWFISH PIE
1696
01:31:54,300 --> 01:31:56,800
♪ AND A FILLET GUMBO...
1697
01:31:56,833 --> 01:31:59,100
NARRATOR: HER LABEL WANTED HER
TO CROSS OVER
1698
01:31:59,133 --> 01:32:00,933
TO MORE MAINSTREAM MUSIC.
1699
01:32:00,966 --> 01:32:04,300
INSTEAD, SHE CAME OUT WITH
TWO ALBUMS TINGED
1700
01:32:04,333 --> 01:32:08,100
WITH BLUEGRASS
FEATURING RICKY SKAGGS.
1701
01:32:09,466 --> 01:32:12,233
"ROLLING STONE" MAGAZINE
HAILED HER MUSIC
1702
01:32:12,266 --> 01:32:14,866
AS "COUNTRY WITHOUT CORN."
1703
01:32:14,900 --> 01:32:19,233
EVERYONE SEEMED TO LOVE
EMMYLOU HARRIS.
1704
01:32:19,266 --> 01:32:21,466
♪ ON THE BAYOU
1705
01:32:21,500 --> 01:32:25,266
YEE-HEE!
1706
01:32:27,566 --> 01:32:29,400
THANK YOU. THE HOT BAND.
THANK YOU.
1707
01:32:29,433 --> 01:32:31,033
I TELL YOU, THIS SURE BEATS
THE RED FOX INN
1708
01:32:31,066 --> 01:32:32,833
IN BETHESDA, MARYLAND.
1709
01:32:35,066 --> 01:32:37,700
JENNINGS: ♪ LOW DOWN
LEAVING SUN ♪
1710
01:32:37,733 --> 01:32:41,333
♪ DONE DID EVERYTHING
THAT NEEDS DONE... ♪
1711
01:32:41,366 --> 01:32:44,900
SMITH: THEY WANTED THEIR MUSIC
TO SOUND ON RECORD
1712
01:32:44,933 --> 01:32:48,933
LIKE IT SOUNDED WHEN THEY STOOD
ON THE STAGE AND SUNG IT.
1713
01:32:48,966 --> 01:32:50,466
THAT'S ALL IT WAS ABOUT.
1714
01:32:50,500 --> 01:32:53,400
NARRATOR: HAZEL SMITH WAS
THE OFFICE MANAGER
1715
01:32:53,433 --> 01:32:55,566
AT HILLBILLY CENTRAL
IN NASHVILLE,
1716
01:32:55,600 --> 01:32:57,733
WHERE WAYLON JENNINGS
AND HIS FRIENDS
1717
01:32:57,766 --> 01:33:00,966
WERE NOW TURNING OUT
HIT AFTER HIT.
1718
01:33:01,000 --> 01:33:04,733
REPORTERS STARTED ASKING HER
HOW TO DESCRIBE THE MUSIC
1719
01:33:04,766 --> 01:33:08,900
JENNINGS, WILLIE NELSON,
AND OTHERS WERE CREATING.
1720
01:33:08,933 --> 01:33:12,266
SMITH: IN MY MIND, I THOUGHT
EVERYTHING NEEDED
1721
01:33:12,300 --> 01:33:14,500
A TITLE FOR IT TO HAPPEN.
1722
01:33:14,533 --> 01:33:17,366
SO I ALWAYS DID,
AND STILL DO,
1723
01:33:17,400 --> 01:33:20,066
HAVE A DICTIONARY
UNDER MY DESK.
1724
01:33:20,100 --> 01:33:23,000
ONE DAY, I REACHED UNDER THERE
AND I PULLED IT OUT
1725
01:33:23,033 --> 01:33:27,100
AND JUST WENT THROUGH IT
AND COME TO THE WORD "OUTLAW."
1726
01:33:27,133 --> 01:33:31,033
AND IT WAS ABOUT THAT
MUCH INFORMATION THERE
THAT MEANT VERY LITTLE,
1727
01:33:31,066 --> 01:33:34,366
BUT THE LAST SENTENCE
SAID IT ALL.
1728
01:33:34,400 --> 01:33:35,833
AND HERE'S WHAT IT SAID--
1729
01:33:35,866 --> 01:33:39,266
"LIVING ON THE OUTSIDE OF
THE WRITTEN LAW."
1730
01:33:39,300 --> 01:33:44,133
AND I LEANED BACK IN
MY CHAIR AND I WENT...
1731
01:33:44,166 --> 01:33:46,533
I SAID, "THAT'S IT."
1732
01:33:46,566 --> 01:33:49,700
THEY ARE NOT GOING ALONG WITH
THE NASHVILLE ESTABLISHMENT.
1733
01:33:49,733 --> 01:33:51,600
THEY'RE DOING
THEIR OWN THING
1734
01:33:51,633 --> 01:33:54,133
AND THEY'RE DOING IT THE WAY
THEY WANT TO.
1735
01:33:56,300 --> 01:33:58,366
JENNINGS: ♪ WHERE DOES IT GO?
1736
01:33:58,400 --> 01:34:00,900
♪ THE GOOD LORD ONLY KNOWS
1737
01:34:00,933 --> 01:34:04,366
♪ SEEMS LIKE IT WAS JUST
THE OTHER DAY... ♪
1738
01:34:04,400 --> 01:34:08,333
SMITH: THAT'S WHY OUTLAW MUSIC
WAS BORN, THANK YOU VERY MUCH.
1739
01:34:08,366 --> 01:34:11,166
THAT WAS WHAT OUTLAW MUSIC WAS
RIGHT THERE.
1740
01:34:11,200 --> 01:34:13,033
AND IF ANYBODY TELLS YOU
ANYTHING ELSE,
1741
01:34:13,066 --> 01:34:14,733
SAY, "YOU'RE A LIAR.
1742
01:34:14,766 --> 01:34:17,466
"THE WOMAN THAT NAMED IT OUTLAW
MUSIC LOOKED AT ME IN THE FACE
1743
01:34:17,500 --> 01:34:20,400
AND SHE KNEW
WHAT SHE DID AND KNEW WHY."
1744
01:34:20,433 --> 01:34:22,633
JENNINGS: ♪ ...ANOTHER WAY
TO BE... ♪
1745
01:34:22,666 --> 01:34:26,700
NARRATOR: MEANWHILE, EXECUTIVES
AT RCA SAW AN OPPORTUNITY
1746
01:34:26,733 --> 01:34:30,566
TO INEXPENSIVELY CASH IN ON
THE OUTLAW MYSTIQUE.
1747
01:34:30,600 --> 01:34:33,966
JENNINGS: ♪ ...HERO LIKE ME,
YEAH ♪
1748
01:34:34,000 --> 01:34:35,633
NARRATOR: IN THEIR VAULTS,
1749
01:34:35,666 --> 01:34:38,300
THEY HAD SOME UNRELEASED
RECORDINGS OF JENNINGS',
1750
01:34:38,333 --> 01:34:41,566
ALONG WITH SONGS
PERFORMED BY WILLIE NELSON
1751
01:34:41,600 --> 01:34:43,833
AND WAYLON'S WIFE
JESSI COLTER,
1752
01:34:43,866 --> 01:34:47,433
AND DECIDED TO PUT THEM TOGETHER
INTO A NEW ALBUM.
1753
01:34:47,466 --> 01:34:49,733
AT JENNINGS' INSISTENCE,
1754
01:34:49,766 --> 01:34:52,500
THEY ADDED SOME TRACKS BY
TOMPALL GLASER,
1755
01:34:52,533 --> 01:34:54,966
THE OWNER OF
HILLBILLY CENTRAL,
1756
01:34:55,000 --> 01:34:57,600
AND CALLED THE COMPILATION
ALBUM
1757
01:34:57,633 --> 01:34:59,900
"WANTED! THE OUTLAWS."
1758
01:34:59,933 --> 01:35:02,400
JENNINGS: ♪ A LONG TIME
FORGOTTEN ♪
1759
01:35:02,433 --> 01:35:06,333
♪ ARE DREAMS THAT JUST FELL
BY THE WAY ♪
1760
01:35:09,666 --> 01:35:12,166
♪ THE GOOD LIFE HE PROMISED
1761
01:35:12,200 --> 01:35:15,800
♪ AIN'T WHAT SHE'S
LIVING TODAY ♪
1762
01:35:15,833 --> 01:35:17,433
[CHEERS AND APPLAUSE]
1763
01:35:17,466 --> 01:35:18,966
WILLIE.
1764
01:35:19,000 --> 01:35:22,133
NELSON: ♪ BUT SHE NEVER
COMPLAINS OF THE BAD TIMES... ♪
1765
01:35:22,166 --> 01:35:25,333
NARRATOR: THE ALBUM ROSE TO
THE TOP OF THE COUNTRY CHARTS,
1766
01:35:25,366 --> 01:35:28,833
CROSSED OVER TO THE TOP 10
ON POP CHARTS,
1767
01:35:28,866 --> 01:35:32,233
AND, AFTER SELLING
A MILLION COPIES,
1768
01:35:32,266 --> 01:35:37,466
BECAME THE FIRST CERTIFIED
PLATINUM ALBUM IN
COUNTRY MUSIC HISTORY.
1769
01:35:37,500 --> 01:35:40,533
JENNINGS AND NELSON:
♪ SHE'S A GOOD-HEARTED WOMAN
1770
01:35:40,566 --> 01:35:43,466
♪ IN LOVE WITH
A GOOD-TIMING MAN... ♪
1771
01:35:43,500 --> 01:35:46,866
NARRATOR: THEN IT SOLD
A MILLION MORE.
1772
01:35:46,900 --> 01:35:50,300
THE JENNINGS-NELSON DUET ON
"GOOD HEARTED WOMAN,"
1773
01:35:50,333 --> 01:35:53,933
WHICH THEY HAD WRITTEN YEARS
EARLIER DURING A POKER GAME,
1774
01:35:53,966 --> 01:35:56,266
BECAME A NUMBER-ONE SINGLE.
1775
01:35:56,300 --> 01:36:00,300
SMITH: MY GOD, THAT WAS A SONG
WORTH SINGING, WASN'T IT?
1776
01:36:00,333 --> 01:36:01,866
I MEAN, YOU AIN'T GOT NO SONGS
LIKE THAT
1777
01:36:01,900 --> 01:36:04,033
COMING OUT OF THIS
HILLBILLY TOWN NOW.
1778
01:36:04,066 --> 01:36:05,433
A "GOOD HEARTED WOMAN"?
1779
01:36:05,466 --> 01:36:06,733
AIN'T NOBODY
GOING TO SING NOTHING
1780
01:36:06,766 --> 01:36:08,766
THAT MAKES THAT MUCH SENSE,
DON'T YOU SEE?
1781
01:36:08,800 --> 01:36:11,033
YOU ASKED ME WHAT ABOUT
THE MUSIC. IT WAS TRUTH.
1782
01:36:11,066 --> 01:36:13,533
AND, BOY, IF THERE WAS EVER
A TRUER SONG THAN THAT ONE,
1783
01:36:13,566 --> 01:36:15,200
I DON'T KNOW WHAT IT IS.
1784
01:36:15,233 --> 01:36:17,100
"A LONG TIME FORGOTTEN
WITH DREAMS
1785
01:36:17,133 --> 01:36:18,866
"THAT JUST FELL BY THE WAY.
1786
01:36:18,900 --> 01:36:21,333
AND THE GOOD LIFE SHE'S LIVING
AIN'T WHAT SHE'S LIVING TODAY."
1787
01:36:21,366 --> 01:36:23,666
AIN'T THAT GREAT?
1788
01:36:23,700 --> 01:36:27,933
NARRATOR: "SUDDENLY, WE
DIDN'T NEED NASHVILLE,"
JENNINGS RECALLED.
1789
01:36:27,966 --> 01:36:30,266
"THEY NEEDED US."
1790
01:36:30,300 --> 01:36:31,866
NELSON: OH, WE THRIVED ON IT.
1791
01:36:31,900 --> 01:36:34,033
WE THOUGHT IT WAS THE BEST
THING THAT HAPPENED TO US.
1792
01:36:34,066 --> 01:36:37,466
"HEY, THEY'RE CALLING US
OUTLAWS."
1793
01:36:37,500 --> 01:36:40,066
EVERYBODY WHO'S TRIED
IN THE CREATIVE BUSINESS
1794
01:36:40,100 --> 01:36:43,933
HAS TO HAVE A LITTLE OUTLAW
IN HIM.
1795
01:36:43,966 --> 01:36:47,200
SO I THINK THERE'S A LOT OF
PEOPLE OUT IN THE AUDIENCE
1796
01:36:47,233 --> 01:36:49,366
WHO HAVE A LITTLE
OUTLAW IN THEM, TOO.
1797
01:36:49,400 --> 01:36:53,233
SO THEY WERE WILLING TO FORGIVE
US SOME OF OUR MISGIVINGS,
1798
01:36:53,266 --> 01:36:55,633
AS LONG AS
THE MUSIC WAS GOOD.
1799
01:36:55,666 --> 01:37:06,233
♪
1800
01:37:06,266 --> 01:37:11,900
NELSON: ♪ SOMETIMES I WONDER
1801
01:37:11,933 --> 01:37:14,066
♪ WHY I SPEND
1802
01:37:15,433 --> 01:37:17,700
♪ THE LONELY NIGHTS...
1803
01:37:17,733 --> 01:37:20,666
NARRATOR: WILLIE NELSON WAS
BIGGER THAN EVER
1804
01:37:20,700 --> 01:37:23,566
AND EVEN MORE STEADFAST
IN REFUSING
1805
01:37:23,600 --> 01:37:27,266
TO BOW TO ANY MUSICAL
ORTHODOXY.
1806
01:37:27,300 --> 01:37:30,033
HE SLIPPED SOME OLD POP
STANDARDS,
1807
01:37:30,066 --> 01:37:33,000
LIKE "STARDUST"
AND "GEORGIA ON MY MIND,"
1808
01:37:33,033 --> 01:37:35,733
INTO HIS LIVE PERFORMANCES
IN AUSTIN
1809
01:37:35,766 --> 01:37:39,533
AND DISCOVERED AN ENTHUSIASTIC
RESPONSE.
1810
01:37:39,566 --> 01:37:42,133
"THE KIDS IN THE CROWD
THOUGHT 'STARDUST'
1811
01:37:42,166 --> 01:37:45,433
WAS A NEW SONG I HAD WRITTEN,"
HE EXPLAINED.
1812
01:37:45,466 --> 01:37:48,033
"THE OLDER FOLKS
REMEMBERED THE SONG WELL
1813
01:37:48,066 --> 01:37:51,066
AND LOVED IT
AS MUCH AS I DID."
1814
01:37:51,100 --> 01:37:53,666
AGAINST HIS LABEL'S OBJECTIONS,
1815
01:37:53,700 --> 01:37:57,966
HE RECORDED AN ENTIRE ALBUM OF
SIMILAR SONGS.
1816
01:37:58,000 --> 01:38:02,866
IT STAYED ON THE
CHARTS FOR 551 WEEKS.
1817
01:38:04,066 --> 01:38:10,000
NELSON: ♪ BESIDE
THE GARDEN WALLS ♪
1818
01:38:10,033 --> 01:38:14,666
♪ WHEN STARS ARE BRIGHT
1819
01:38:14,700 --> 01:38:18,866
♪ YOU ARE IN MY ARMS
1820
01:38:18,900 --> 01:38:21,366
♪ THE NIGHTINGALE
1821
01:38:21,400 --> 01:38:25,133
♪ TELLS HIS FAIRYTALE
1822
01:38:25,166 --> 01:38:29,333
♪ OF PARADISE WHERE
ROSES GREW ♪
1823
01:38:37,233 --> 01:38:40,000
WILLIAMS JR.:
♪ I WENT DOWN TO THE RIVER
1824
01:38:40,033 --> 01:38:43,700
♪ TO WATCH THE FISH
SWIM BY... ♪
1825
01:38:43,733 --> 01:38:46,133
NARRATOR: BY THE MID-1970s,
1826
01:38:46,166 --> 01:38:50,533
HANK WILLIAMS HAD BEEN DEAD FOR
NEARLY A QUARTER-CENTURY,
1827
01:38:50,566 --> 01:38:53,133
BUT HIS SHADOW
STILL LOOMED OVER
1828
01:38:53,166 --> 01:38:56,333
ANY COUNTRY MUSICIAN DREAMING
OF SUCCESS.
1829
01:38:56,366 --> 01:38:59,500
WILLIAMS JR.:
♪ THE DOGGONE RIVER WAS DRY
1830
01:38:59,533 --> 01:39:01,533
NARRATOR:
NO ONE FELT IT MORE KEENLY
1831
01:39:01,566 --> 01:39:05,933
THAN HIS ONLY SON,
HANK WILLIAMS, JR.
1832
01:39:05,966 --> 01:39:09,366
JUST 3 1/2 YEARS OLD WHEN
HIS DAD DIED,
1833
01:39:09,400 --> 01:39:13,366
HANK JR. HAD FEW ACTUAL MEMORIES
OF HIS FAMOUS FATHER
1834
01:39:13,400 --> 01:39:15,266
BEYOND LISTENING ON THE RADIO
1835
01:39:15,300 --> 01:39:18,233
TO HEAR HIM SAY GOOD
NIGHT TO BOCEPHUS,
1836
01:39:18,266 --> 01:39:22,366
HANK SR.'s AFFECTIONATE NICKNAME
FOR HIS LITTLE BOY.
1837
01:39:22,400 --> 01:39:25,833
BUT AUDREY WILLIAMS WAS
DETERMINED THAT HE WOULD BE
1838
01:39:25,866 --> 01:39:29,833
THE VEHICLE TO KEEP HER FORMER
HUSBAND'S MEMORY ALIVE,
1839
01:39:29,866 --> 01:39:33,500
AND PROVIDE HER A CHANCE TO BE
IN THE SPOTLIGHT
1840
01:39:33,533 --> 01:39:38,800
IN WAYS SHE HADN'T BEEN DURING
HANK SR.'s SHORT CAREER.
1841
01:39:40,133 --> 01:39:42,633
MAN: WHEN I WAS 8 YEARS OLD
1842
01:39:42,666 --> 01:39:45,866
AND I WENT OUT AND DID THE VERY
FIRST SHOW,
1843
01:39:45,900 --> 01:39:48,566
I THOUGHT, "OH, MY GOSH."
1844
01:39:50,733 --> 01:39:52,800
YOU KNOW, THIS IS
AN 8-YEAR-OLD BOY
1845
01:39:52,833 --> 01:39:57,700
THAT'S THE SON
OF A GOD-LIKE FIGURE.
1846
01:39:57,733 --> 01:39:59,066
SO AN 8-YEAR-OLD
BOY'S OUT THERE
1847
01:39:59,100 --> 01:40:01,566
AND YOU'VE GOT PEOPLE
THAT ARE CRYING
1848
01:40:01,600 --> 01:40:03,733
AND PEOPLE THAT ARE
LAUGHING,
1849
01:40:03,766 --> 01:40:06,066
AND WHAT'S GOING ON HERE?
1850
01:40:06,100 --> 01:40:08,366
DOES IT SOUND THAT BAD?
1851
01:40:08,400 --> 01:40:12,866
IT HAS QUITE AN EFFECT ON
A LITTLE GUY. YEAH.
1852
01:40:12,900 --> 01:40:16,833
♪ ...BLUES
1853
01:40:16,866 --> 01:40:21,133
NARRATOR: WILLIAMS MADE HIS
GRAND OLE OPRY DEBUT AT AGE 11,
1854
01:40:21,166 --> 01:40:25,333
SINGING THE SAME SONG HIS
FATHER HAD AT HIS OWN DEBUT,
1855
01:40:25,366 --> 01:40:27,266
"LOVESICK BLUES."
1856
01:40:27,300 --> 01:40:30,900
BY THE TIME HANK JR. WAS 14,
1857
01:40:30,933 --> 01:40:33,866
HIS MOTHER HAD NEGOTIATED
A CONTRACT FOR HIM
1858
01:40:33,900 --> 01:40:37,866
TO RECORD AN ALBUM
OF HANK SR.'s SONGS.
1859
01:40:37,900 --> 01:40:40,900
♪ I GOT A HOT-ROD FORD
AND A $2.00 BILL ♪
1860
01:40:40,933 --> 01:40:43,600
♪ I KNOW A SPOT
RIGHT OVER THE HILL ♪
1861
01:40:43,633 --> 01:40:46,066
♪ THERE'S SODA POP
AND THE DANCING'S FREE ♪
1862
01:40:46,100 --> 01:40:48,733
♪ SO IF YOU WANT TO HAVE FUN,
COME ALONG WITH ME ♪
1863
01:40:48,766 --> 01:40:51,700
♪ SAYING, HEY, GOOD LOOKIN'
1864
01:40:51,733 --> 01:40:54,100
♪ WHATCHA GOT COOKIN'?
1865
01:40:54,133 --> 01:40:57,000
♪ HOW'S ABOUT COOKIN'
SOMETHIN' UP ♪
1866
01:40:57,033 --> 01:40:59,566
♪ HOW'S ABOUT COOKIN'
SOMETHIN' UP ♪
1867
01:40:59,600 --> 01:41:05,933
♪ HOW'S ABOUT COOKIN' SOMETHIN'
UP WITH ME? ♪
1868
01:41:05,966 --> 01:41:08,200
[CHEERS AND APPLAUSE]
1869
01:41:10,700 --> 01:41:14,066
NARRATOR: TO PROMOTE THE ALBUM,
AUDREY ARRANGED A TOUR
1870
01:41:14,100 --> 01:41:19,700
THAT OPENED IN CANTON, OHIO ON
NEW YEAR'S DAY, 1964,
1871
01:41:19,733 --> 01:41:21,966
THE SAME PLACE HIS FATHER
WAS HEADED
1872
01:41:22,000 --> 01:41:25,500
WHEN HE DIED IN THE
BACKSEAT OF HIS CAR.
1873
01:41:25,533 --> 01:41:30,866
AT A PROMOTION IN NASHVILLE,
AUDREY BROUGHT THE CAR ITSELF.
1874
01:41:30,900 --> 01:41:33,366
HOLLY WILLIAMS: MY DAD WAS
DEALING WITH HIS DAD'S SHADOW
1875
01:41:33,400 --> 01:41:37,533
FROM DAY ONE, NOT ONLY FROM
FANS AND FRIENDS,
1876
01:41:37,566 --> 01:41:39,966
BUT FROM HIS OWN MOM.
1877
01:41:40,000 --> 01:41:41,533
SHE WAS RIGHT THERE
WITH OTHER PEOPLE GOING,
1878
01:41:41,566 --> 01:41:43,033
"YOU NEED TO SING YOUR
DADDY'S SONGS."
1879
01:41:43,066 --> 01:41:45,400
YOU KNOW, "YOU NEED TO
WRITE LIKE YOUR DADDY DID."
1880
01:41:45,433 --> 01:41:47,566
IT WAS VERY HARD FOR HIM.
1881
01:41:47,600 --> 01:41:51,333
NARRATOR: "LOOSEN UP A BIT,"
JOHNNY CASH URGED AUDREY.
1882
01:41:51,366 --> 01:41:54,466
"LET HIM BE HANK WILLIAMS JR.
A WHILE."
1883
01:41:54,500 --> 01:41:57,233
SHE DIDN'T PAY ANY ATTENTION.
1884
01:41:57,266 --> 01:41:59,766
AS SOON AS HE TURNED 18
1885
01:41:59,800 --> 01:42:02,200
AND BECAME ENTITLED
TO HIS INHERITANCE
1886
01:42:02,233 --> 01:42:04,866
AND LEGALLY ABLE TO
MAKE HIS OWN DECISIONS,
1887
01:42:04,900 --> 01:42:07,866
WILLIAMS DROPPED HIS MOTHER
AS HIS MANAGER
1888
01:42:07,900 --> 01:42:12,233
AND SET OUT TO MAKE
HIS OWN WAY IN THE MUSIC WORLD.
1889
01:42:12,266 --> 01:42:14,233
WILLIAMS JR.: I SAID,
"I'M DONE WITH THIS.
1890
01:42:14,266 --> 01:42:16,133
I'M DOING MY OWN..."
1891
01:42:16,166 --> 01:42:18,333
BECAUSE THERE'S ONE
SIMPLE REASON.
1892
01:42:18,366 --> 01:42:24,366
DADDY DON'T NEED ME
TO PROMOTE HIM.
1893
01:42:26,033 --> 01:42:27,666
HOW DUMB CAN YOU BE?
1894
01:42:27,700 --> 01:42:31,366
HE DOES NOT NEED ME TO
PROMOTE HIM.
1895
01:42:31,400 --> 01:42:35,133
WHAT A JOKE.
THAT'S A JOKE. YEAH.
1896
01:42:35,166 --> 01:42:38,066
I SAID, "I THINK I BETTER START
WRITING MY OWN
1897
01:42:38,100 --> 01:42:40,700
AND DOING MY OWN STYLE
OF STUFF."
1898
01:42:40,733 --> 01:42:43,500
HOLLY WILLIAMS: HE TOLD ME
HIS FIRST FEW SHOWS
OF HIS OWN MUSIC,
1899
01:42:43,533 --> 01:42:44,966
YOU KNOW, HE WOULD, LITERALLY,
1900
01:42:45,000 --> 01:42:46,200
HE'S GETTING BOOS
FROM THE CROWD.
1901
01:42:46,233 --> 01:42:48,733
HE SAID 50% OF THEM,
SOMETIMES 80% WOULD BE GONE.
1902
01:42:48,766 --> 01:42:50,766
THERE'D BE A FEW PEOPLE LEFT
SITTING THERE.
1903
01:42:50,800 --> 01:42:52,833
THEY'D THROW
STUFF AT HIM.
1904
01:42:52,866 --> 01:42:54,166
HE'D SAY,
"IF Y'ALL DON'T MIND,
1905
01:42:54,200 --> 01:42:55,633
I'M GOING TO SING A SONG OF MINE
FOR YOU TONIGHT."
1906
01:42:55,666 --> 01:42:57,400
AND JUST GONE. THEY DON'T CARE
ABOUT IT, YOU KNOW,
1907
01:42:57,433 --> 01:42:59,966
WHICH JUST ON A BASIC,
1908
01:43:00,000 --> 01:43:02,133
YOU KNOW, HUMAN BEING NICE TO
PEOPLE LEVEL
1909
01:43:02,166 --> 01:43:04,900
IS SO SHOCKING TO ME
THAT PEOPLE WOULD JUST
TURN AWAY AND WALK OUT.
1910
01:43:04,933 --> 01:43:06,066
BUT THEY
DIDN'T WANT TO HEAR IT.
1911
01:43:06,100 --> 01:43:07,200
THEY WANTED TO HEAR
"COLD, COLD HEART"
1912
01:43:07,233 --> 01:43:08,633
AND "I SAW THE LIGHT,"
1913
01:43:08,666 --> 01:43:11,266
AND SO, HE REALLY, REALLY
STRUGGLED FOR YEARS.
1914
01:43:13,033 --> 01:43:16,466
NARRATOR: BY 1974, HE HAD
ENTERED WHAT HE CALLED
1915
01:43:16,500 --> 01:43:20,200
"AN ENDLESS NIGHTMARE OF BARS
AND SHOWS,
1916
01:43:20,233 --> 01:43:23,300
OF JIM BEAM
AND MULTI-COLORED PILLS."
1917
01:43:23,333 --> 01:43:25,800
"I'D NEVER REALIZED
HOW DEEPLY INGRAINED
1918
01:43:25,833 --> 01:43:28,533
MY DADDY'S MYTH
REALLY WAS," HE RECALLED.
1919
01:43:28,566 --> 01:43:31,433
"AT 25 YEARS OLD,
I WAS MORE LIKE HIM
1920
01:43:31,466 --> 01:43:33,633
"THAN I EVER FIGURED I'D BE--
1921
01:43:33,666 --> 01:43:36,933
DRUNK, ON DOPE, DIVORCED."
1922
01:43:36,966 --> 01:43:40,600
CONVINCED HE WAS ON THE SAME
TRAJECTORY AS HIS FATHER,
1923
01:43:40,633 --> 01:43:45,633
HE ATTEMPTED SUICIDE BY
SWALLOWING A BOTTLE OF
PAINKILLERS.
1924
01:43:45,666 --> 01:43:48,500
WILLIAMS JR.: ♪ I'M GONNA TAKE
A FREIGHT TRAIN ♪
1925
01:43:48,533 --> 01:43:50,800
♪ DOWN AT THE STATION, LORD...
1926
01:43:50,833 --> 01:43:53,900
NARRATOR: A DOCTOR ADVISED HIM
TO LEAVE NASHVILLE
1927
01:43:53,933 --> 01:43:55,533
AND RETHINK HIS LIFE
1928
01:43:55,566 --> 01:43:59,433
OR HE WOULD CERTAINLY NOT EVEN
MAKE IT TO 29.
1929
01:43:59,466 --> 01:44:01,933
WILLIAMS JR.:
♪ THE HIGHEST MOUNTAIN...
1930
01:44:01,966 --> 01:44:06,533
NARRATOR: HE MOVED TO ALABAMA
AND LIVED IN A SMALL CABIN.
1931
01:44:06,566 --> 01:44:08,400
WILLIAMS JR.:
♪ CAN'T YOU SEE
1932
01:44:08,433 --> 01:44:09,833
WOMAN: ♪ CAN'T YOU SEE
1933
01:44:09,866 --> 01:44:12,300
♪ OH, CAN'T YOU SEE
♪ CAN'T YOU SEE
1934
01:44:12,333 --> 01:44:14,100
♪ WHAT THAT WOMAN...
1935
01:44:14,133 --> 01:44:17,466
MAN: HANK REACHED A POINT WHERE
HE SAID, "I AM ME.
1936
01:44:17,500 --> 01:44:20,300
"MY NAME IS HANK WILLIAMS,
BUT I AM ME.
1937
01:44:20,333 --> 01:44:23,200
"AND I'VE GOT THINGS THAT I WANT
TO DO AND I WANT TO SAY,
1938
01:44:23,233 --> 01:44:25,633
SO I AM
GOING TO PURSUE THAT."
1939
01:44:25,666 --> 01:44:28,500
AND JUST
DID A COMPLETE TURN.
1940
01:44:28,533 --> 01:44:32,366
HE TOOK QUITE A CHANCE
WHEN HE DID THAT.
1941
01:44:32,400 --> 01:44:36,900
NARRATOR: IN 1975, WILLIAMS
WENT INTO A STUDIO
1942
01:44:36,933 --> 01:44:38,800
IN MUSCLE SHOALS, ALABAMA
1943
01:44:38,833 --> 01:44:44,100
TO RECORD A NEW ALBUM, "HANK
WILLIAMS JR. AND FRIENDS."
1944
01:44:44,133 --> 01:44:47,633
HE WAS ATTRACTED TO WHAT WAS
CALLED SOUTHERN ROCK,
1945
01:44:47,666 --> 01:44:50,633
MUSIC BY GROUPS LIKE
THE ALLMAN BROTHERS,
1946
01:44:50,666 --> 01:44:53,666
LYNYRD SKYNYRD, THE MARSHALL
TUCKER BAND,
1947
01:44:53,700 --> 01:44:56,733
AND HIS FRIEND
CHARLIE DANIELS.
1948
01:44:56,766 --> 01:45:00,233
DANIELS: WE WERE COUNTRY,
BUT NOT WHAT WAS ACCEPTED
1949
01:45:00,266 --> 01:45:04,933
BY THE COUNTRY MUSIC
ESTABLISHMENT AT
THE TIME, LET'S SAY.
1950
01:45:04,966 --> 01:45:08,066
EVERY OTHER MUSIC WAS CHANGING
AND MOVING AND COOKING.
1951
01:45:08,100 --> 01:45:10,566
AND, YOU KNOW, IT WAS TIME FOR
COUNTRY TO DO THAT, TOO.
1952
01:45:12,466 --> 01:45:13,866
NARRATOR: WHEN THE SESSIONS
ENDED,
1953
01:45:13,900 --> 01:45:16,200
WILLIAMS TOOK OFF FOR
MONTANA
1954
01:45:16,233 --> 01:45:20,566
TO RELAX BEFORE RELEASING HIS
ALBUM AND GOING ON TOUR.
1955
01:45:21,900 --> 01:45:23,366
WILLIAMS JR.: ♪ I'M GOING TO
QUIT SINGING ♪
1956
01:45:23,400 --> 01:45:26,800
♪ ALL THESE SAD SONGS...
1957
01:45:26,833 --> 01:45:28,700
NARRATOR: HE WAS HAPPY WITH
HIS NEW RECORD,
1958
01:45:28,733 --> 01:45:31,100
WHICH INCLUDED
"LIVING PROOF,"
1959
01:45:31,133 --> 01:45:34,300
A SONG THAT MENTIONED
THE EARLY DEATH OF HIS FATHER
1960
01:45:34,333 --> 01:45:37,466
AND LAMENTED, "I DON'T WANT
TO BE A LEGEND,
1961
01:45:37,500 --> 01:45:39,766
I JUST WANT TO BE A MAN."
1962
01:45:41,200 --> 01:45:44,866
WILLIAMS JR.: ♪ WHEN I SING
THEM OLD SONGS OF DADDY'S ♪
1963
01:45:44,900 --> 01:45:49,333
♪ SEEMS LIKE EVERYONE
COMES THROUGH ♪
1964
01:45:49,366 --> 01:45:51,700
♪ LORD, PLEASE HELP ME
1965
01:45:51,733 --> 01:45:54,933
♪ DO I HAVE TO BE
1966
01:45:54,966 --> 01:45:59,333
♪ A LIVING PROOF?
1967
01:46:01,066 --> 01:46:04,200
NARRATOR: HIKING ALONG A RIDGE
NEAR THE IDAHO BORDER,
1968
01:46:04,233 --> 01:46:06,800
HE ACCIDENTALLY
SLIPPED AND TUMBLED
1969
01:46:06,833 --> 01:46:10,266
NEARLY 500 FEET DOWN
THE ROCKY SLOPE.
1970
01:46:11,566 --> 01:46:13,866
BY SOME MIRACLE,
HE SURVIVED,
1971
01:46:13,900 --> 01:46:16,833
THOUGH EVERY BONE IN HIS FACE
HAD BEEN BROKEN,
1972
01:46:16,866 --> 01:46:19,500
ONE EYE WAS
PERMANENTLY DAMAGED,
1973
01:46:19,533 --> 01:46:21,666
HIS NOSE WAS TORN OFF,
1974
01:46:21,700 --> 01:46:24,266
AND PARTS OF HIS
BRAIN WERE EXPOSED
1975
01:46:24,300 --> 01:46:27,033
THROUGH A DEEP GASH
IN HIS FOREHEAD.
1976
01:46:27,066 --> 01:46:30,633
3 SURGEONS WORKED
7 1/2 HOURS TRYING
1977
01:46:30,666 --> 01:46:33,000
TO PUT HIM BACK TOGETHER.
1978
01:46:33,033 --> 01:46:36,766
THE NEWS QUICKLY REACHED
NASHVILLE AND HIS GODPARENTS,
1979
01:46:36,800 --> 01:46:41,433
JOHNNY CASH AND JUNE CARTER,
WHO RACED TO BE WITH HIM.
1980
01:46:41,466 --> 01:46:44,400
JOHN SAT DOWN ON
THE SIDE OF THE BED...
1981
01:46:45,933 --> 01:46:47,833
UH...
1982
01:46:47,866 --> 01:46:49,800
IT WAS, UM...
1983
01:46:52,333 --> 01:46:54,366
SOMETHING I REALLY NEEDED
AT THAT TIME.
1984
01:46:54,400 --> 01:46:57,333
THERE WASN'T ANY BETTER
MEDICINE THAN
1985
01:46:57,366 --> 01:47:01,000
HAVING HIM THERE WITH ME.
1986
01:47:01,033 --> 01:47:05,766
NARRATOR: OVER THE NEXT 16
MONTHS AND AFTER 9 SURGERIES,
1987
01:47:05,800 --> 01:47:08,766
WILLIAMS' FACE WAS
RECONSTRUCTED.
1988
01:47:08,800 --> 01:47:11,833
WHEN HIS ALBUM WAS FINALLY
RELEASED,
1989
01:47:11,866 --> 01:47:14,766
ANOTHER MEMBER OF HIS
COUNTRY MUSIC FAMILY,
1990
01:47:14,800 --> 01:47:19,733
WAYLON JENNINGS, STEPPED IN
TO HELP HIM PROMOTE IT.
1991
01:47:19,766 --> 01:47:21,733
IT WAS A RISK. YOU KNOW, MY DAD
WASN'T HUGE AT THE TIME.
1992
01:47:21,766 --> 01:47:23,533
BUT WAYLON LOOKED AT
HIM AND BELIEVED IN HIM
1993
01:47:23,566 --> 01:47:26,866
AND BELIEVED IN HIS SONGS, NOT
HIM COVERING HIS DADDY'S SONGS,
1994
01:47:26,900 --> 01:47:29,933
AND GAVE HIM HIS--REALLY HIS
FIRST BREAK IN MUSIC
1995
01:47:29,966 --> 01:47:31,333
AND ON THE ROAD.
1996
01:47:31,366 --> 01:47:37,633
WILLIAMS JR.: THERE WAS NOBODY,
NOBODY IN THIS BUSINESS
1997
01:47:37,666 --> 01:47:40,866
THAT WAS MORE SPECIAL
TO ME THAN WAYLON JENNINGS.
1998
01:47:40,900 --> 01:47:43,533
HE BELIEVED IN ME.
1999
01:47:45,666 --> 01:47:48,366
NARRATOR: WHEN HE MADE IT
TO AGE 29,
2000
01:47:48,400 --> 01:47:51,000
WILLIAMS RELEASED
"FAMILY TRADITION."
2001
01:47:51,033 --> 01:47:54,466
♪ NOW, THESE COUNTRY
MUSIC SINGERS... ♪
2002
01:47:54,500 --> 01:47:57,066
NARRATOR: IT BEGAN
AN UNINTERRUPTED STRING,
2003
01:47:57,100 --> 01:48:00,233
THROUGH THE 1980s
AND EARLY 1990s,
2004
01:48:00,266 --> 01:48:03,000
OF 21 GOLD RECORDS.
2005
01:48:03,033 --> 01:48:06,866
♪ ...DISOWNED A FEW OTHER
BOYS AND ME ♪
2006
01:48:06,900 --> 01:48:10,033
♪ I GUESS IT'S BECAUSE
2007
01:48:10,066 --> 01:48:14,366
♪ I KIND OF CHANGED
MY DIRECTION ♪
2008
01:48:14,400 --> 01:48:17,733
♪ LORD, I GUESS I WENT
AND BROKE ♪
2009
01:48:17,766 --> 01:48:21,933
♪ THEIR FAMILY TRADITION
2010
01:48:21,966 --> 01:48:23,666
♪ THEY GET ON ME AND WANT
TO KNOW, HANK ♪
2011
01:48:23,700 --> 01:48:27,300
♪ WHY DO YOU DRINK?
2012
01:48:27,333 --> 01:48:31,200
♪ HANK, WHY DO YOU ROLL SMOKE?
2013
01:48:31,233 --> 01:48:38,133
♪ WHY MUST YOU LIVE OUT
THE SONGS THAT YOU WROTE? ♪
2014
01:48:39,500 --> 01:48:42,033
♪ OVER AND OVER
2015
01:48:42,066 --> 01:48:45,766
♪ EVERYBODY MADE MY PREDICTION
2016
01:48:45,800 --> 01:48:49,533
♪ SO IF I GET STONED
AND SING ALL NIGHT LONG ♪
2017
01:48:49,566 --> 01:48:55,000
♪ IT'S AN OLD FAMILY
TRADITION... ♪
2018
01:48:55,033 --> 01:48:56,733
HOLLY WILLIAMS: THE WILLIAMS
FAMILY TRADITION
2019
01:48:56,766 --> 01:48:58,800
IS TO FOLLOW
OUR OWN PASSION.
2020
01:48:58,833 --> 01:49:03,100
FIND YOUR OWN WAY. WRITE WHAT
YOU KNOW AND WHAT INSPIRES YOU.
2021
01:49:03,133 --> 01:49:05,266
I'LL NEVER FORGET
A SECURITY GUARD SAYING,
2022
01:49:05,300 --> 01:49:07,433
"YOUR DAD'S SHOWS WERE WILDER
THAN OUR GUNS 'N' ROSES
2023
01:49:07,466 --> 01:49:09,500
AND METALLICA IN THE EIGHTIES,"
YOU KNOW?
2024
01:49:09,533 --> 01:49:11,866
MORE FIGHTS AND DRINKING
AND WHISKEY,
2025
01:49:11,900 --> 01:49:15,133
BUT THEN DAD WOULD
DO HIS ACOUSTIC SET
2026
01:49:15,166 --> 01:49:16,333
AND THAT'S WHEN YOU GO,
2027
01:49:16,366 --> 01:49:17,666
"HE DOES HAVE
HANK'S BLOOD IN HIM."
2028
01:49:17,700 --> 01:49:19,000
HE CAN RIP
YOUR HEART OUT WITH SONGS
2029
01:49:19,033 --> 01:49:21,666
LIKE, "OLD HABITS"
AND "BLUES MAN."
2030
01:49:21,700 --> 01:49:25,833
♪ ...OLD FAMILY TRADITION...
2031
01:49:25,866 --> 01:49:27,200
SO HE'S KNOWN FOR
HIS PARTY SONGS,
2032
01:49:27,233 --> 01:49:30,333
BUT HE STILL HAD
THAT GENE TO JUST, YOU KNOW,
2033
01:49:30,366 --> 01:49:34,533
MAKE YOU STOP AND LISTEN AND
REALLY RELATE TO HIS MUSIC.
2034
01:49:34,566 --> 01:49:42,266
♪ WHY MUST YOU LIVE OUT
THE SONGS THAT YOU WROTE? ♪
2035
01:49:42,300 --> 01:49:45,666
♪ IF I'M DOWN IN
A HONKY-TONK ♪
2036
01:49:45,700 --> 01:49:49,200
♪ SOME SLICK'S TRYING TO
GIVE ME SOME FRICTION ♪
2037
01:49:49,233 --> 01:49:52,933
♪ HOSS, LEAVE ME ALONE,
I'M SINGING ALL NIGHT LONG ♪
2038
01:49:52,966 --> 01:49:57,533
♪ IT'S AN OLD WILLIAMS
TRADITION ♪
2039
01:49:57,566 --> 01:49:59,666
[CHEERS AND APPLAUSE]
2040
01:50:07,233 --> 01:50:10,366
NARRATOR: JOHNNY CASH'S OLDEST
CHILD, ROSANNE,
2041
01:50:10,400 --> 01:50:13,100
HAD BEEN 12
WHEN HE DIVORCED HER MOTHER.
2042
01:50:13,133 --> 01:50:16,566
SHE AND HER LITTLE SISTERS
SPENT SUMMERS WITH CASH,
2043
01:50:16,600 --> 01:50:20,066
BUT GREW UP MOSTLY IN
SOUTHERN CALIFORNIA.
2044
01:50:21,566 --> 01:50:25,366
WOMAN: I LOVED COUNTRY MUSIC
WHEN I WAS A LITTLE KID.
2045
01:50:26,633 --> 01:50:30,533
BUT THEN AS PRE-TEEN
AND TEEN,
2046
01:50:30,566 --> 01:50:32,300
THAT WAS MY PARENTS' MUSIC.
2047
01:50:32,333 --> 01:50:34,866
I DIDN'T CARE,
I DIDN'T WANT TO KNOW.
2048
01:50:34,900 --> 01:50:38,200
AND THEN THE DAY AFTER I
GRADUATED FROM HIGH SCHOOL,
2049
01:50:38,233 --> 01:50:40,900
MY DAD CAME TO HIGH
SCHOOL GRADUATION,
2050
01:50:40,933 --> 01:50:43,333
AND HE TOOK ME WITH HIM
THE NEXT DAY.
2051
01:50:43,366 --> 01:50:47,666
AND I WENT ON THE ROAD WITH HIM
FOR 3 YEARS.
2052
01:50:47,700 --> 01:50:49,133
WHEN I LEFT, I THOUGHT,
2053
01:50:49,166 --> 01:50:50,700
"I'M JUST GOING TO HANG
WITH MY DAD
2054
01:50:50,733 --> 01:50:52,633
"AND, YOU KNOW, I'LL GO TO
COLLEGE LATER
2055
01:50:52,666 --> 01:50:55,600
"AND THIS IS GOING
TO BE GREAT, TRAVEL THE WORLD,
2056
01:50:55,633 --> 01:50:59,533
STAY IN NICE HOTELS,
AND SEE DAD PLAY."
2057
01:50:59,566 --> 01:51:01,800
AND SO IT WAS THAT,
2058
01:51:01,833 --> 01:51:06,633
BUT IT VERY QUICKLY BECAME
AN EDUCATION.
2059
01:51:06,666 --> 01:51:12,633
BOBBY BARE: ♪ I'M 500 MILES
AWAY FROM HOME ♪
2060
01:51:12,666 --> 01:51:16,966
ROSANNE CASH: WE WERE
ON THE BUS ONE DAY
TALKING ABOUT SONGS.
2061
01:51:17,000 --> 01:51:20,133
I WAS TALKING TO DAD ABOUT
WANTING TO BE A SONGWRITER.
2062
01:51:20,166 --> 01:51:23,966
AND HE SAID, "WELL,
DO YOU KNOW THIS SONG?"
2063
01:51:24,000 --> 01:51:26,766
AND I SAID, "NO."
2064
01:51:26,800 --> 01:51:29,200
AND HE PLAYED IT FOR ME.
2065
01:51:29,233 --> 01:51:31,100
AND HE SAID, "DO YOU
KNOW THIS SONG?"
2066
01:51:31,133 --> 01:51:33,133
I SAID, "NEVER
HEARD THAT ONE EITHER."
2067
01:51:33,166 --> 01:51:34,866
AND HE GOT REALLY ALARMED.
2068
01:51:34,900 --> 01:51:38,500
AND HE SAT ON THE BUS
AND MADE THIS LIST.
2069
01:51:40,200 --> 01:51:45,266
AND HE WROTE ACROSS THE TOP,
"100 ESSENTIAL COUNTRY SONGS."
2070
01:51:45,300 --> 01:51:47,466
AND HE SAID, "THIS IS
YOUR EDUCATION."
2071
01:51:47,500 --> 01:51:51,466
BARE: ♪ 500 MILES
AWAY FROM HOME ♪
2072
01:51:51,500 --> 01:51:54,533
NARRATOR: ROSANNE, LIKE
HANK WILLIAMS JR.,
2073
01:51:54,566 --> 01:51:59,500
WAS UNSURE ABOUT FOLLOWING IN
HER FATHER'S FOOTSTEPS.
2074
01:51:59,533 --> 01:52:02,200
ROSANNE CASH: I WANTED TO BE
A SONGWRITER.
2075
01:52:02,233 --> 01:52:09,900
AND I WAS JUST TORN
WITH HOW TO DO THAT
2076
01:52:09,933 --> 01:52:14,866
AND NOT BE COMPLETELY ECLIPSED
BY MY DAD'S SHADOW.
2077
01:52:14,900 --> 01:52:16,700
SO I DID A LOT OF THINGS.
2078
01:52:16,733 --> 01:52:18,500
I LIVED IN EUROPE
FOR A WHILE.
2079
01:52:18,533 --> 01:52:20,800
I MADE MY FIRST ALBUM
IN EUROPE.
2080
01:52:20,833 --> 01:52:23,933
I THOUGHT, "MAYBE I'LL
TRY TO DO THIS QUIETLY
2081
01:52:23,966 --> 01:52:27,100
AND NO ONE WILL NOTICE
THAT HE'S MY DAD."
2082
01:52:28,433 --> 01:52:30,500
NARRATOR: SHE RETURNED
TO THE UNITED STATES,
2083
01:52:30,533 --> 01:52:34,200
AND IN 1979
MARRIED RODNEY CROWELL,
2084
01:52:34,233 --> 01:52:36,033
WHO BECAME HER PRODUCER.
2085
01:52:36,066 --> 01:52:38,633
ROSANNE CASH: ♪ ...WORLD
WE'RE LIVING IN ♪
2086
01:52:38,666 --> 01:52:42,766
♪ THE RULES AIN'T LIKE
THEY'VE EVER BEEN ♪
2087
01:52:42,800 --> 01:52:46,000
♪ SPEAKING OF SPREADING
IT THIN ♪
2088
01:52:46,033 --> 01:52:49,766
♪ THAT'S WHAT YOU DO
WHEN YOU'RE FLASHING YOUR SOUL ♪
2089
01:52:49,800 --> 01:52:52,233
♪ OH, THAT AIN'T NO WAY...
2090
01:52:52,266 --> 01:52:55,600
NARRATOR: THE ALBUMS THEY WOULD
CREATE REFLECTED HER OWN LIFE
2091
01:52:55,633 --> 01:52:59,733
AND EXPERIENCES AS DISTINCTIVELY
AS HER FATHER'S LIFE
2092
01:52:59,766 --> 01:53:01,433
HAD MARKED HIS MUSIC,
2093
01:53:01,466 --> 01:53:04,333
INCLUDING A DISPUTE WITH
HER HUSBAND,
2094
01:53:04,366 --> 01:53:07,933
WHICH SHE TURNED INTO HER FIRST
NUMBER-ONE SONG.
2095
01:53:10,466 --> 01:53:12,433
ROSANNE CASH: GOT IN THIS BIG
FIGHT WITH RODNEY
2096
01:53:12,466 --> 01:53:15,000
OUTSIDE A FRENCH RESTAURANT ON
VENTURA BOULEVARD,
2097
01:53:15,033 --> 01:53:19,300
AND I STARTED WRITING WHAT
WAS A LONG POEM,
2098
01:53:19,333 --> 01:53:23,533
AND I DISTILLED IT DOWN TO
"SEVEN YEAR ACHE."
2099
01:53:23,566 --> 01:53:27,033
AND I DIDN'T KNOW IF IT WAS
A COUNTRY SONG.
2100
01:53:27,066 --> 01:53:29,933
I DIDN'T KNOW IF I HAD ACHIEVED
WHAT I WAS TRYING TO DO.
2101
01:53:34,733 --> 01:53:38,766
CROWELL: WHEN I FIRST
HEARD ROSANNE'S SONG
"SEVEN YEAR ACHE,"
2102
01:53:38,800 --> 01:53:41,033
WELL, I WAS REALLY HAPPY
WITH IT 'CAUSE SHE WROTE IT
2103
01:53:41,066 --> 01:53:43,300
BECAUSE I WAS BEING AN IDIOT,
2104
01:53:43,333 --> 01:53:45,566
AND SHE WAS REALLY WRITING
ABOUT ME,
2105
01:53:45,600 --> 01:53:47,200
AND I THOUGHT, "OH, GREAT.
2106
01:53:47,233 --> 01:53:49,333
THIS IS A GREAT SONG
AND IT'S ABOUT ME."
2107
01:53:49,366 --> 01:53:52,600
♪ YOU ACT LIKE YOU WERE
JUST BORN TONIGHT ♪
2108
01:53:52,633 --> 01:53:56,600
♪ FACE DOWN IN A MEMORY
BUT FEELING ALL RIGHT ♪
2109
01:53:56,633 --> 01:54:00,466
♪ SO WHO DOES YOUR PAST
BELONG TO TODAY? ♪
2110
01:54:00,500 --> 01:54:04,733
♪ BABY, YOU DON'T SAY NOTHING
WHEN YOU'RE FEELING THIS WAY ♪
2111
01:54:04,766 --> 01:54:08,466
♪ THE GIRLS IN THE BAR THINKING,
"WHO IS THIS GUY?" ♪
2112
01:54:08,500 --> 01:54:12,266
♪ BUT THEY DON'T THINK NOTHING
WHEN THEY'RE TELLING YOU LIES ♪
2113
01:54:12,300 --> 01:54:13,933
♪ YOU LOOK SO CARELESS...
2114
01:54:13,966 --> 01:54:16,133
NARRATOR: THE ALBUM WOULD
BECOME A GOLD RECORD
2115
01:54:16,166 --> 01:54:18,133
AND BE NOMINATED FOR A GRAMMY.
2116
01:54:18,166 --> 01:54:20,400
♪ ...WHEN THEIR POCKETS
ARE FULL ♪
2117
01:54:20,433 --> 01:54:24,033
♪ JUST TELL THEM YOU'RE TRYING
TO CURE A 7-YEAR ACHE... ♪
2118
01:54:24,066 --> 01:54:28,300
NARRATOR: ROSANNE CASH WAS
25 YEARS OLD.
2119
01:54:28,333 --> 01:54:32,533
♪ BOYS SAY, "WHEN IS HE GONNA
GIVE US SOME ROOM?" ♪
2120
01:54:32,566 --> 01:54:36,200
♪ GIRLS SAY, "GOD, I HOPE
HE COMES BACK SOON"... ♪
2121
01:54:36,233 --> 01:54:38,100
GILL: I HAVE A DAUGHTER
THAT SINGS,
2122
01:54:38,133 --> 01:54:40,200
AND I KNOW HOW HARD IT IS
FOR HER.
2123
01:54:40,233 --> 01:54:42,966
SO IN A SENSE, I PROBABLY HAVE
SOME GOOD KNOWLEDGE
2124
01:54:43,000 --> 01:54:47,066
OF HOW HARD IT WAS FOR ROSANNE
TO BE TAKEN SERIOUSLY.
2125
01:54:47,100 --> 01:54:50,266
BUT THE COOL THING WAS THAT SHE
WAS NOTHING LIKE HER DAD.
2126
01:54:50,300 --> 01:54:52,600
THE MUSIC WAS NOTHING
LIKE HER FATHER'S.
2127
01:54:52,633 --> 01:54:55,100
SHE CAME FROM A TOTALLY
DIFFERENT PLACE,
2128
01:54:55,133 --> 01:54:58,500
AND SHE WAS HER OWN ARTIST
FROM DAY ONE.
2129
01:55:00,133 --> 01:55:02,433
NARRATOR: BY THIS TIME,
JOHNNY CASH HAD MADE
2130
01:55:02,466 --> 01:55:05,400
AN ADDITION TO
HIS MUSICAL FAMILY.
2131
01:55:05,433 --> 01:55:07,566
LESTER FLATT HAD DIED,
2132
01:55:07,600 --> 01:55:12,133
AND MARTY STUART JOINED
CASH'S BAND.
2133
01:55:12,166 --> 01:55:14,766
IT'S INTERESTING.
THE FIRST TWO RECORDS
I EVER OWNED IN MY LIFE
2134
01:55:14,800 --> 01:55:16,266
WAS A JOHNNY CASH RECORD
2135
01:55:16,300 --> 01:55:17,833
AND A LESTER FLATT
AND EARL SCRUGGS RECORD.
2136
01:55:17,866 --> 01:55:19,933
AND THE ONLY TWO JOBS I'VE
EVER HAD WAS
2137
01:55:19,966 --> 01:55:21,966
WITH LESTER FLATT
AND JOHNNY CASH.
2138
01:55:22,000 --> 01:55:23,700
SO THAT WORKED OUT.
2139
01:55:28,566 --> 01:55:33,000
PARTON: ♪ HERE YOU COME AGAIN
2140
01:55:33,033 --> 01:55:37,066
♪ JUST WHEN I'VE BEGUN TO
GET MYSELF TOGETHER ♪
2141
01:55:37,100 --> 01:55:39,500
♪ YOU WALTZ RIGHT
IN THE DOOR ♪
2142
01:55:39,533 --> 01:55:42,133
♪ JUST LIKE YOU'VE
DONE BEFORE ♪
2143
01:55:42,166 --> 01:55:47,100
♪ AND WRAP MY HEART ROUND
YOUR LITTLE FINGER ♪
2144
01:55:47,133 --> 01:55:51,533
♪ HERE YOU COME AGAIN...
2145
01:55:51,566 --> 01:55:53,900
WOMAN: SHE'S CROSSED ALL
BOUNDARIES.
2146
01:55:55,500 --> 01:55:58,666
DOLLY'S NOT COUNTRY,
DOLLY'S NOT ROCK,
2147
01:55:58,700 --> 01:56:01,933
DOLLY'S NOT POP,
DOLLY'S EVERYTHING.
2148
01:56:01,966 --> 01:56:04,933
AND EVERYBODY FROM
EVERY GENRE LOVES HER.
2149
01:56:04,966 --> 01:56:09,500
PARTON: ♪ ALL YOU GOTTA DO
IS SMILE THAT SMILE ♪
2150
01:56:09,533 --> 01:56:13,433
♪ AND THERE GO ALL
MY DEFENSES... ♪
2151
01:56:13,466 --> 01:56:17,333
LEE: SHE DIDN'T WANT TO BE
JUST NASHVILLE.
2152
01:56:17,366 --> 01:56:21,133
NASHVILLE WAS GREAT TO HER
AND SHE REVERES IT,
2153
01:56:21,166 --> 01:56:25,500
BUT DOLLY
WANTED TO BE EVERYWHERE.
2154
01:56:25,533 --> 01:56:27,000
AND THAT'S WHAT SHE DID.
2155
01:56:27,033 --> 01:56:28,500
[CAMERA SHUTTERS CLICKING]
2156
01:56:28,533 --> 01:56:32,900
PARTON: ♪ LOOKING BETTER THAN
A BODY HAS A RIGHT TO ♪
2157
01:56:32,933 --> 01:56:34,433
♪ AND SHAKING ME UP SO...
2158
01:56:34,466 --> 01:56:37,600
NARRATOR: FRUSTRATED WITH THE
TRAJECTORY OF HER SOLO CAREER,
2159
01:56:37,633 --> 01:56:41,466
DOLLY PARTON HIRED
A NEW MANAGEMENT TEAM
IN LOS ANGELES,
2160
01:56:41,500 --> 01:56:45,100
AND TRAVELED THERE TO
RECORD A NEW ALBUM.
2161
01:56:45,133 --> 01:56:47,233
"I'M NOT LEAVING COUNTRY
MUSIC,"
2162
01:56:47,266 --> 01:56:50,866
SHE TOLD REPORTERS,
"I'M TAKING IT WITH ME."
2163
01:56:52,933 --> 01:56:56,700
PARTON: ♪ ALL YOU GOTTA DO
IS SMILE THAT SMILE... ♪
2164
01:56:56,733 --> 01:56:59,633
PARTON: I WAS TRYING TO EXPAND
MY HORIZONS.
2165
01:56:59,666 --> 01:57:01,566
I WANTED MORE.
2166
01:57:01,600 --> 01:57:06,066
I JUST FELT LIKE I COULD HAVE
A BROADER AUDIENCE.
2167
01:57:06,100 --> 01:57:08,933
BUT WHEN I FIRST GOT
L.A. MANAGEMENT,
2168
01:57:08,966 --> 01:57:11,533
EVERYBODY SAID I WAS MAKING
A MISTAKE LEAVING PORTER'S SHOW.
2169
01:57:11,566 --> 01:57:13,433
PORTER TOLD ME THAT AS WELL.
2170
01:57:13,466 --> 01:57:16,533
EVERYBODY WAS SAYING I WAS
BETRAYING COUNTRY.
2171
01:57:16,566 --> 01:57:17,966
HOW COULD I NOT BE COUNTRY?
2172
01:57:18,000 --> 01:57:21,233
I'M A COUNTRY GIRL AT HEART,
IN MY VOICE,
2173
01:57:21,266 --> 01:57:24,233
IN MY FEELINGS,
IN MY ATTITUDE.
2174
01:57:24,266 --> 01:57:27,233
NARRATOR: PARTON'S
NUMBER-ONE COUNTRY SINGLES
2175
01:57:27,266 --> 01:57:30,500
HAD SOLD ABOUT
60,000 COPIES.
2176
01:57:30,533 --> 01:57:32,066
"HERE YOU COME AGAIN,"
2177
01:57:32,100 --> 01:57:35,833
HER FIRST CROSSOVER SUCCESS,
SOLD A MILLION.
2178
01:57:35,866 --> 01:57:41,300
THEN THE ALBUM IT CAME FROM DID
THE SAME AND WENT PLATINUM.
2179
01:57:41,333 --> 01:57:44,666
ALL ACROSS THE COUNTRY,
PEOPLE WANTED TO LEARN
2180
01:57:44,700 --> 01:57:49,100
ABOUT THE PETITE AND SHAPELY
BLONDE WITH THE BIG HAIR.
2181
01:57:49,133 --> 01:57:52,166
WITH HER
REFRESHING SENSE OF HUMOR,
2182
01:57:52,200 --> 01:57:56,600
ESPECIALLY ABOUT HERSELF, DOLLY
NEVER DISAPPOINTED THEM.
2183
01:57:56,633 --> 01:58:02,266
"IT COSTS A LOT OF MONEY," SHE
SAID, "TO LOOK THIS CHEAP."
2184
01:58:02,300 --> 01:58:06,500
IN NEW YORK, SHE GAVE A FREE
CONCERT AT CITY HALL PLAZA,
2185
01:58:06,533 --> 01:58:11,033
AND MAYOR ED KOCH PRESENTED HER
WITH THE KEYS TO THE CITY.
2186
01:58:11,066 --> 01:58:14,633
LATER, SHE WAS THE GUEST OF
HONOR AT A PARTY
2187
01:58:14,666 --> 01:58:18,033
AT THE FAMOUS STUDIO 54.
2188
01:58:18,066 --> 01:58:22,266
"ALTHOUGH I LOOK LIKE
A DRAG QUEEN'S CHRISTMAS
TREE ON THE OUTSIDE,"
2189
01:58:22,300 --> 01:58:27,233
PARTON SAID, "I AM AT HEART
A SIMPLE COUNTRY GIRL."
2190
01:58:27,266 --> 01:58:30,933
PARTON: THIS IS A COUNTRY
GIRL'S IDEA OF GLAMOUR.
2191
01:58:30,966 --> 01:58:33,200
I WANTED TO HAVE
BEAUTIFUL CLOTHES.
2192
01:58:33,233 --> 01:58:35,733
I WANTED TO, YOU KNOW,
TO WEAR MAKEUP.
2193
01:58:35,766 --> 01:58:38,800
I'D PATTERN MY LOOK AFTER THE
TOWN TROLLOP IN OUR HOMETOWN
2194
01:58:38,833 --> 01:58:40,900
'CAUSE I THOUGHT
SHE WAS BEAUTIFUL.
2195
01:58:40,933 --> 01:58:44,833
NARRATOR: PARTON WAS ALSO
ONE OF THE SAVVIEST ARTISTS
IN THE BUSINESS.
2196
01:58:44,866 --> 01:58:47,300
SHE HAD HER OWN
PUBLISHING COMPANY,
2197
01:58:47,333 --> 01:58:51,266
MARKETED A SUCCESSFUL LINE
OF DOLLY DOLLS,
2198
01:58:51,300 --> 01:58:55,800
AND NEGOTIATED A 3-YEAR DEAL
WITH A LAS VEGAS HOTEL
2199
01:58:55,833 --> 01:59:00,400
SAID TO BE WORTH FROM
$6 MILLION TO $9 MILLION.
2200
01:59:00,433 --> 01:59:03,100
PARTON: I'VE NEVER HAD
A PROBLEM BEING A WOMAN.
2201
01:59:03,133 --> 01:59:06,466
THAT'S WORKED FOR ME MORE THAN
IT'S WORKED AGAINST ME.
2202
01:59:06,500 --> 01:59:08,433
I JUST ALWAYS BELIEVED THAT
I WAS STRONG
2203
01:59:08,466 --> 01:59:10,700
IN MYSELF AND STRONG
IN MY WORK.
2204
01:59:10,733 --> 01:59:12,666
I DO KNOW, AND I HAVE SEEN,
2205
01:59:12,700 --> 01:59:14,400
THAT IT CAN BE A HINDRANCE,
2206
01:59:14,433 --> 01:59:16,400
BUT I WOULD ALWAYS
JUST GO IN JUST SAYING,
2207
01:59:16,433 --> 01:59:18,200
"I THINK I'VE GOT SOMETHING
TO OFFER,
2208
01:59:18,233 --> 01:59:21,266
AND I THINK WE CAN BOTH MAKE
A LOT OF MONEY FROM IT."
2209
01:59:21,300 --> 01:59:24,066
AND USUALLY, BY THE TIME
THE DEAL WAS DONE,
2210
01:59:24,100 --> 01:59:26,300
I'D HAVE THE MONEY AND GONE.
2211
01:59:26,333 --> 01:59:28,566
HOLLY WILLIAMS: SHE'S MY IDOL
IN MANY WAYS,
2212
01:59:28,600 --> 01:59:31,733
BUT THE FACT THAT SHE IS SUCH
AN UNBELIEVABLE SONGWRITER
2213
01:59:31,766 --> 01:59:34,966
AT THE CORE OF ALL
THAT SUPERSTARDOM
2214
01:59:35,000 --> 01:59:37,733
AND, YOU KNOW, FANCY SHOW STUFF,
APPEARANCE,
2215
01:59:37,766 --> 01:59:42,833
IS PROBABLY THE MOST AMAZING
THING ABOUT HER TO ME.
2216
01:59:44,100 --> 01:59:47,100
NARRATOR: IN 1980,
SHE ACHIEVED AN ENTIRELY
2217
01:59:47,133 --> 01:59:49,300
NEW LEVEL OF
NATIONAL STARDOM
2218
01:59:49,333 --> 01:59:52,500
WHEN SHE JOINED JANE FONDA
AND LILY TOMLIN
2219
01:59:52,533 --> 01:59:56,800
IN THE HIT HOLLYWOOD
MOVIE "9 TO 5."
2220
01:59:56,833 --> 01:59:58,266
LET'S JUST SIT
DOWN AND--
2221
01:59:58,300 --> 02:00:00,100
LOOK, I'VE GOT A GUN
OUT THERE IN MY PURSE.
2222
02:00:00,133 --> 02:00:02,133
AND UP TILL NOW, I'VE
BEEN FORGIVING AND FORGETTING
2223
02:00:02,166 --> 02:00:03,633
BECAUSE OF THE WAY
I WAS BROUGHT UP,
2224
02:00:03,666 --> 02:00:05,000
BUT I'LL TELL YOU ONE THING,
2225
02:00:05,033 --> 02:00:06,900
IF YOU EVER SAY
ANOTHER WORD ABOUT ME
2226
02:00:06,933 --> 02:00:08,666
OR MAKE ANOTHER
INDECENT PROPOSAL,
2227
02:00:08,700 --> 02:00:10,366
I'M GONNA GET
THAT GUN OF MINE,
2228
02:00:10,400 --> 02:00:12,433
AND I'M GONNA CHANGE YOU
FROM A ROOSTER TO A HEN
2229
02:00:12,466 --> 02:00:14,366
WITH ONE SHOT.
2230
02:00:14,400 --> 02:00:16,900
DON'T THINK
I CAN'T DO IT.
2231
02:00:16,933 --> 02:00:19,733
PARTON: ♪ IT'S ALL TAKING
AND NO GIVING ♪
2232
02:00:19,766 --> 02:00:20,866
♪ WE'RE JUST...
2233
02:00:20,900 --> 02:00:23,000
NARRATOR: THANKS TO
HER SONGWRITING TALENT,
2234
02:00:23,033 --> 02:00:26,966
HER UNMISTAKABLE VOICE,
HER BIGGER-THAN-LIFE PERSONA,
2235
02:00:27,000 --> 02:00:29,000
AND HER TIRELESS DRIVE,
2236
02:00:29,033 --> 02:00:34,366
DOLLY PARTON HAD BECOME THE MOST
FAMOUS WOMAN IN COUNTRY MUSIC.
2237
02:00:35,933 --> 02:00:38,866
"I'M NOT OFFENDED BY ALL
THE DUMB BLONDE JOKES
2238
02:00:38,900 --> 02:00:41,800
BECAUSE I KNOW I'M NOT DUMB,"
SHE SAID.
2239
02:00:41,833 --> 02:00:44,333
"AND I'M NOT BLONDE, EITHER."
2240
02:00:44,366 --> 02:00:47,366
PARTON: ♪ PUTTING MONEY
IN HIS WALLET ♪
2241
02:00:47,400 --> 02:00:51,733
♪ 9 TO 5, WHOA, WHAT A WAY
TO MAKE A LIVIN' ♪
2242
02:00:59,400 --> 02:01:01,033
NARRATOR:
COUNTRY MUSIC'S EMBRACE
2243
02:01:01,066 --> 02:01:03,566
WAS NOW BIGGER THAN EVER.
2244
02:01:03,600 --> 02:01:06,766
ARTISTS WERE EXPLODING
THE OLD DEFINITIONS
2245
02:01:06,800 --> 02:01:10,966
AND EXPLORING EVERY POSSIBLE
COMBINATION OF STYLES,
2246
02:01:11,000 --> 02:01:15,633
AND MANY OF THEM DIDN'T CARE
WHAT IT WAS CALLED.
2247
02:01:15,666 --> 02:01:18,866
ALABAMA: ♪ LIKE GRANDMA
AND GRANDPA USED TO PLAY... ♪
2248
02:01:18,900 --> 02:01:23,133
NARRATOR: ALABAMA, A COUNTRY
BAND FORMED BY 3 COUSINS,
2249
02:01:23,166 --> 02:01:26,800
EMERGED FROM PLAYING FOR TIPS
IN ROWDY DANCE HALLS
2250
02:01:26,833 --> 02:01:30,866
TO FILLING BIG ARENAS AND
THRILLING THEIR LEGIONS OF FANS
2251
02:01:30,900 --> 02:01:34,333
WITH THEIR ROCK-STYLE
PRODUCTIONS.
2252
02:01:34,366 --> 02:01:38,333
RONNIE MILSAP, A BLIND SINGER
FROM NORTH CAROLINA,
2253
02:01:38,366 --> 02:01:41,466
MIXED COUNTRY AND ROCK, BLUES
AND SOUL
2254
02:01:41,500 --> 02:01:45,233
AND HAD DOZENS OF
NUMBER-ONE HITS.
2255
02:01:45,266 --> 02:01:48,866
THE OAK RIDGE BOYS HAD BEEN
TRYING FOR YEARS
2256
02:01:48,900 --> 02:01:53,033
TO EXPAND THEIR FAN BASE FROM
THE TINY GOSPEL MARKET.
2257
02:01:53,066 --> 02:01:55,100
WITH SONGS LIKE "ELVIRA,"
2258
02:01:55,133 --> 02:01:59,333
THEY BECAME ONE OF
THE TOP-SELLING GROUPS
IN COUNTRY MUSIC.
2259
02:02:00,866 --> 02:02:03,833
BARBARA MANDRELL HAD MASTERED
THE STEEL GUITAR
2260
02:02:03,866 --> 02:02:06,700
BY THE TIME
SHE WAS 11 YEARS OLD.
2261
02:02:06,733 --> 02:02:10,366
BY 13, SHE TOURED
WITH JOHNNY CASH
2262
02:02:10,400 --> 02:02:13,500
AND BACKED UP GEORGE JONES.
2263
02:02:13,533 --> 02:02:17,933
NOW SHE RELEASED ALBUMS THAT
R&B STATIONS PLAYED
2264
02:02:17,966 --> 02:02:22,333
AND STARRED IN
HER OWN NETWORK VARIETY SHOW.
2265
02:02:22,366 --> 02:02:25,800
KENNY ROGERS HAD PLAYED FOLK
AND ROCK MUSIC
2266
02:02:25,833 --> 02:02:29,366
AND SANG COUNTRY-POP BALLADS
LIKE "THE GAMBLER,"
2267
02:02:29,400 --> 02:02:35,000
A SONG SO POPULAR
4 MADE-FOR-TELEVISION
MOVIES WERE BASED ON IT.
2268
02:02:36,333 --> 02:02:41,333
BETWEEN 1973 AND 1983,
THE NUMBER OF FULL-TIME
2269
02:02:41,366 --> 02:02:44,600
COUNTRY RADIO STATIONS
WOULD NEARLY TRIPLE,
2270
02:02:44,633 --> 02:02:50,933
RISING FROM 764 TO 2,266.
2271
02:02:52,400 --> 02:02:55,033
GOLD ALBUMS, ONCE A RARITY,
2272
02:02:55,066 --> 02:02:58,866
WERE NOW BEING ANNOUNCED NEARLY
TWICE A MONTH.
2273
02:03:06,133 --> 02:03:11,266
JONES: ♪ THERE ARE THOSE WHO'D
LIKE TO CHANGE ♪
2274
02:03:11,300 --> 02:03:15,600
♪ THE WAY I'M LIVING...
2275
02:03:15,633 --> 02:03:19,033
HARRIS: I THINK I WAS SWEEPING
THE FLOOR OR SOMETHING,
2276
02:03:19,066 --> 02:03:21,766
AND I HAD A GEORGE JONES
RECORD ON,
2277
02:03:21,800 --> 02:03:26,200
AND ALL OF A SUDDEN,
I HEARD HIM.
2278
02:03:26,233 --> 02:03:27,900
I DON'T KNOW HOW TO
EXPLAIN IT.
2279
02:03:27,933 --> 02:03:31,066
BUT IT WAS LIKE A
VEIL LIFTED FROM MY EARS,
2280
02:03:31,100 --> 02:03:33,866
ATTACHED TO MY SOUL
AND MY HEART
2281
02:03:33,900 --> 02:03:35,866
AND THE WAY I LISTENED
TO MUSIC.
2282
02:03:35,900 --> 02:03:40,333
I HEARD HIM, TRULY HEARD HIM,
FOR THE FIRST TIME,
2283
02:03:40,366 --> 02:03:42,400
THE SOULFULNESS IN HIS VOICE.
2284
02:03:42,433 --> 02:03:45,100
AND IT WAS JUST THIS INCREDIBLE
"AHA" MOMENT
2285
02:03:45,133 --> 02:03:47,966
WHERE I THOUGHT, "THERE'S JUST
NO ONE LIKE HIM."
2286
02:03:48,000 --> 02:03:53,033
JONES: ♪ I'VE DONE EVERYTHING
I CAN ♪
2287
02:03:53,066 --> 02:03:58,466
♪ TO MAKE YOU HAPPY...
2288
02:03:58,500 --> 02:04:02,100
SHERRILL: I DON'T THINK YOU CAN
UNDERSTAND GEORGE JONES.
2289
02:04:02,133 --> 02:04:03,600
I DON'T THINK THERE'S A WAY,
2290
02:04:03,633 --> 02:04:07,066
A WAY ON GOD'S GREEN EARTH TO
UNDERSTAND GEORGE JONES.
2291
02:04:08,600 --> 02:04:10,233
I...
2292
02:04:10,266 --> 02:04:12,033
I QUIT TRYING
A LONG TIME AGO.
2293
02:04:12,066 --> 02:04:17,100
JONES: ♪ ...ARMS MAY ACHE
AND WANT TO HOLD YOU... ♪
2294
02:04:17,133 --> 02:04:20,600
NARRATOR: IN THE YEARS FOLLOWING
HIS DIVORCE FROM TAMMY WYNETTE,
2295
02:04:20,633 --> 02:04:23,866
GEORGE JONES' LIFE SPIRALED
OUT OF CONTROL.
2296
02:04:23,900 --> 02:04:27,500
JONES: ♪ ...DON'T
GIVE A DAMN ♪
2297
02:04:27,533 --> 02:04:31,333
NARRATOR: ALREADY PRONE TO
VIOLENT BOUTS OF HEAVY DRINKING,
2298
02:04:31,366 --> 02:04:34,533
HE NOW BECAME ADDICTED
TO COCAINE.
2299
02:04:34,566 --> 02:04:36,466
HE CONTINUED TO RECORD,
2300
02:04:36,500 --> 02:04:40,533
AND NO ONE DISPUTED THE SINGULAR
POWER OF HIS VOICE.
2301
02:04:40,566 --> 02:04:44,466
BUT JONES SEEMED
INTENT ON SELF-DESTRUCTION.
2302
02:04:45,766 --> 02:04:47,766
HE BEGAN MISSING CONCERTS,
2303
02:04:47,800 --> 02:04:52,566
SO MANY THAT PROMOTERS AND FANS
ALIKE GAVE HIM A NEW NICKNAME.
2304
02:04:52,600 --> 02:04:55,133
IT HAD BEEN "POSSUM."
2305
02:04:55,166 --> 02:04:58,700
NOW IT WAS "NO SHOW JONES."
2306
02:04:58,733 --> 02:05:01,500
THE MIXTURE OF WHISKEY
AND COCAINE
2307
02:05:01,533 --> 02:05:04,566
MADE HIM CHRONICALLY
SLEEPLESS AND PARANOID.
2308
02:05:04,600 --> 02:05:09,200
HE LOST WEIGHT, DROPPING TO
UNDER 100 POUNDS.
2309
02:05:09,233 --> 02:05:13,300
HE HAD REPEATED RUN-INS WITH
THE POLICE FOR SPEEDING AROUND
2310
02:05:13,333 --> 02:05:16,233
IN ONE OF HIS CADILLACS
WHILE DRUNK.
2311
02:05:16,266 --> 02:05:18,900
JONES: ♪ ...I MIGHT WAKE...
2312
02:05:18,933 --> 02:05:20,566
NARRATOR: ENTANGLED
IN LAWSUITS
2313
02:05:20,600 --> 02:05:23,166
FOR BAD DEBTS
AND CANCELLED SHOWS,
2314
02:05:23,200 --> 02:05:26,566
HE FILED FOR BANKRUPTCY,
LOST HIS HOUSE,
2315
02:05:26,600 --> 02:05:29,000
AND LIVED IN HIS CAR FOR
A WHILE.
2316
02:05:29,033 --> 02:05:33,433
JONES: ♪ I JUST DON'T
GIVE A DAMN ♪
2317
02:05:35,500 --> 02:05:38,900
NARRATOR: TAMMY WYNETTE'S LIFE
WAS IN SHAMBLES, TOO.
2318
02:05:38,933 --> 02:05:41,000
NOW MARRIED TO
HER FIFTH HUSBAND
2319
02:05:41,033 --> 02:05:43,266
AND PLAGUED
BY HEALTH PROBLEMS,
2320
02:05:43,300 --> 02:05:46,300
SHE HAD BECOME HOOKED ON
PRESCRIPTION PAINKILLERS,
2321
02:05:46,333 --> 02:05:49,733
AND THEN INVOLVED IN A STRING OF
BIZARRE INCIDENTS,
2322
02:05:49,766 --> 02:05:53,966
INCLUDING A SENSATIONAL CLAIM
THAT SHE HAD BEEN KIDNAPPED
2323
02:05:54,000 --> 02:05:57,400
AND BEATEN UP
BEFORE BEING RELEASED
2324
02:05:57,433 --> 02:06:01,266
WYNETTE HADN'T HAD A NUMBER-ONE
HIT FOR 4 YEARS,
2325
02:06:01,300 --> 02:06:03,566
AND NEITHER
HAD GEORGE JONES,
2326
02:06:03,600 --> 02:06:06,233
WHEN BILLY SHERRILL BROUGHT
THE TWO OF THEM BACK
2327
02:06:06,266 --> 02:06:09,500
INTO THE STUDIO IN
JANUARY 1980
2328
02:06:09,533 --> 02:06:14,033
FOR ANOTHER ALBUM OF DUETS,
"TOGETHER AGAIN."
2329
02:06:14,066 --> 02:06:19,233
JONES: ♪ WE ALWAYS WANTED
A BIG TWO-STORY HOUSE... ♪
2330
02:06:19,266 --> 02:06:23,333
SHERRILL: IT WAS KIND OF LIKE
TWO WOUNDED ANIMALS.
2331
02:06:23,366 --> 02:06:26,466
NOT TOO WOUNDED TO KEEP
DOING WHAT THEY WANTED TO DO
2332
02:06:26,500 --> 02:06:28,266
AND WHAT THEY LOVED DOING.
2333
02:06:28,300 --> 02:06:32,500
NARRATOR: A SINGLE FROM THE
ALBUM, "TWO STORY HOUSE,"
2334
02:06:32,533 --> 02:06:36,166
WHICH WYNETTE HAD CO-WRITTEN
ESPECIALLY FOR THE OCCASION,
2335
02:06:36,200 --> 02:06:41,566
WOULD RISE TO NUMBER TWO
ON THE COUNTRY CHARTS IN
THE SPRING OF 1980.
2336
02:06:42,833 --> 02:06:46,933
BUT ITS SUCCESS PALED COMPARED
TO A SONG JONES RECORDED
2337
02:06:46,966 --> 02:06:50,366
BY HIMSELF LESS THAN
A MONTH LATER.
2338
02:06:52,200 --> 02:06:55,466
THE EPITOME OF A COUNTRY SONG?
2339
02:06:55,500 --> 02:06:58,600
PROBABLY "HE STOPPED
LOVING HER TODAY."
2340
02:06:58,633 --> 02:07:01,500
IT'S JUST A LOVE STORY.
2341
02:07:01,533 --> 02:07:02,866
IT'S SAD.
2342
02:07:02,900 --> 02:07:04,866
IT'S A WONDERFUL MELODY.
2343
02:07:04,900 --> 02:07:09,433
IT'S PROBABLY ONE OF THE MOST
WELL-WRITTEN SONGS EVER.
2344
02:07:09,466 --> 02:07:11,866
NARRATOR: "HE STOPPED LOVING
HER TODAY"
2345
02:07:11,900 --> 02:07:15,533
WAS WRITTEN BY BOBBY BRADDOCK
AND CURLY PUTMAN.
2346
02:07:18,500 --> 02:07:21,866
IT DESCRIBES A MAN WHO WAITS
ALL HIS LIFE,
2347
02:07:21,900 --> 02:07:25,400
PINING AWAY FOR
THE WOMAN WHO'S LEFT HIM.
2348
02:07:25,433 --> 02:07:29,233
MIDWAY THROUGH THE SONG, IT'S
REVEALED THAT THE ONLY REASON
2349
02:07:29,266 --> 02:07:33,500
HE STOPPED LOVING HER IS
BECAUSE HE HAS DIED.
2350
02:07:33,533 --> 02:07:38,700
BILLY SHERRILL BELIEVED
THE SONG WAS A PERFECT
FIT FOR GEORGE JONES.
2351
02:07:38,733 --> 02:07:42,800
THE ONLY PROBLEM WAS JONES KEPT
CONFUSING THE MELODY
2352
02:07:42,833 --> 02:07:47,566
WITH KRIS KRISTOFFERSON'S "HELP
ME MAKE IT THROUGH THE NIGHT."
2353
02:07:47,600 --> 02:07:52,033
SHERRILL: HE WAS GOING, ♪ HE
SAID I'LL LOVE YOU TILL I DIE ♪
2354
02:07:52,066 --> 02:07:56,600
I SAID, "THAT'S 'HELP ME MAKE
IT THROUGH THE NIGHT,' FOOL."
2355
02:07:56,633 --> 02:07:59,733
FINALLY, HE SAID...
HE GOT MAD AND SAID,
2356
02:07:59,766 --> 02:08:02,300
♪ "HE SAID, 'I'LL LOVE
YOU TILL I DIE' ♪
2357
02:08:02,333 --> 02:08:05,066
IS THAT GOOD ENOUGH?"
I SAID, "THAT'S FINE."
2358
02:08:05,100 --> 02:08:09,166
JONES: ♪ HE SAID, "I'LL LOVE YOU
TILL I DIE" ♪
2359
02:08:11,466 --> 02:08:15,800
♪ SHE TOLD HIM, "YOU'LL
FORGET IN TIME" ♪
2360
02:08:18,366 --> 02:08:22,800
♪ AS THE YEARS WENT
SLOWLY BY ♪
2361
02:08:25,066 --> 02:08:29,333
♪ SHE STILL PREYED UPON
HIS MIND ♪
2362
02:08:31,233 --> 02:08:35,233
♪ HE KEPT HER PICTURE
ON HIS WALL ♪
2363
02:08:38,000 --> 02:08:42,166
♪ WENT HALF CRAZY
NOW AND THEN ♪
2364
02:08:44,600 --> 02:08:49,600
♪ HE STILL LOVED HER
THROUGH IT ALL ♪
2365
02:08:51,866 --> 02:08:55,766
♪ HOPING SHE'D COME BACK
AGAIN... ♪
2366
02:08:57,966 --> 02:09:01,100
NARRATOR: WITH SOME
OF NASHVILLE'S BEST
SESSION MUSICIANS,
2367
02:09:01,133 --> 02:09:03,133
SHERRILL CREATED
AN ARRANGEMENT
2368
02:09:03,166 --> 02:09:06,333
THAT HAD A CLASSIC
COUNTRYPOLITAN SOUND--
2369
02:09:06,366 --> 02:09:11,033
A FAINT, WEEPING STEEL GUITAR
WITHOUT A HINT OF TWANG,
2370
02:09:11,066 --> 02:09:13,100
SWEET BACKGROUND VOCALS,
2371
02:09:13,133 --> 02:09:16,533
AND AN ENSEMBLE OF STRINGS THAT
BUILT STEADILY
2372
02:09:16,566 --> 02:09:19,133
TOWARD THE SONG'S CLIMAX.
2373
02:09:19,166 --> 02:09:22,500
BRADDOCK: THIS MAY SOUND STRANGE
COMING FROM THE SONGWRITER,
2374
02:09:22,533 --> 02:09:26,233
BUT I THINK THAT ROOM FULL OF
CELLOS AND VIOLAS
2375
02:09:26,266 --> 02:09:30,266
AND VIOLINS
ASCENDING ON THAT RECORD,
2376
02:09:30,300 --> 02:09:33,800
SOUNDING LIKE THE MAN'S
SOUL GOING UP TO HEAVEN,
2377
02:09:33,833 --> 02:09:36,800
I THOUGHT THAT WAS THE MOST
POWERFUL THING ON THE RECORD.
2378
02:09:36,833 --> 02:09:38,333
SHERRILL: WORD FOR WORD,
2379
02:09:38,366 --> 02:09:40,633
AFTER I PLAYED HIM
THE FINISHED PRODUCT,
2380
02:09:40,666 --> 02:09:43,766
SO HELP ME GOD, JONES SAID,
2381
02:09:43,800 --> 02:09:47,066
"YOU'VE GOT YOUR RECORD,
BUT LISTEN, SON,
2382
02:09:47,100 --> 02:09:50,833
NOBODY WILL EVER BUY THAT MORBID
SON OF A BITCH."
2383
02:09:50,866 --> 02:09:55,633
JONES: ♪ HE STOPPED LOVING
HER TODAY ♪
2384
02:09:57,300 --> 02:10:00,933
♪ THEY PLACED A WREATH
UPON HIS DOOR... ♪
2385
02:10:00,966 --> 02:10:04,200
I AM CONVINCED GEORGE JONES
MIGHT BE THE MOST SOULFUL SINGER
2386
02:10:04,233 --> 02:10:06,033
THE PLANET HAS EVER KNOWN.
2387
02:10:06,066 --> 02:10:09,266
JONES: ♪ ...HIM AWAY
2388
02:10:10,900 --> 02:10:14,766
♪ HE STOPPED LOVING
HER TODAY... ♪
2389
02:10:14,800 --> 02:10:17,000
NARRATOR: 3 MONTHS AFTER
ITS RELEASE,
2390
02:10:17,033 --> 02:10:18,966
"HE STOPPED LOVING HER TODAY"
2391
02:10:19,000 --> 02:10:21,766
REACHED THE TOP OF THE COUNTRY
CHARTS,
2392
02:10:21,800 --> 02:10:28,133
GEORGE JONES' FIRST SOLO
NUMBER-ONE HIT IN 6 YEARS.
2393
02:10:28,166 --> 02:10:31,400
IT WOULD GO ON TO SELL
A MILLION RECORDS
2394
02:10:31,433 --> 02:10:37,200
AND WIN EVERY POSSIBLE AWARD FOR
THE SONGWRITERS AND THE ARTIST.
2395
02:10:37,233 --> 02:10:40,100
IT'S ONE OF THOSE SONGS
THAT WAS MEANT TO BE.
2396
02:10:40,133 --> 02:10:42,400
AND IT WAS ONE OF THOSE SONGS
2397
02:10:42,433 --> 02:10:44,866
THAT GEORGE JONES WAS MEANT
TO RECORD.
2398
02:10:44,900 --> 02:10:47,433
AND WHEN HE GOT DONE WITH IT,
IT HAD BEEN DONE.
2399
02:10:47,466 --> 02:10:49,666
JONES: ♪ ...HER TODAY...
2400
02:10:49,700 --> 02:10:52,533
SMITH: THE FIRST TIME I HEARD
IT, I WAS DRIVING OUT 65.
2401
02:10:52,566 --> 02:10:54,200
I HAD TO PULL OFF THE ROAD.
2402
02:10:54,233 --> 02:10:57,800
I COULDN'T SEE
I WAS CRYING SO HARD.
2403
02:10:57,833 --> 02:11:00,833
THAT SONG JUST REALLY
TOUCHED ME,
2404
02:11:00,866 --> 02:11:04,033
AND I HONESTLY
THINK IT MAY HAVE HAPPENED.
2405
02:11:04,066 --> 02:11:05,433
[LAUGHS]
2406
02:11:05,466 --> 02:11:11,333
JONES: ♪ HE STOPPED LOVING
HER TODAY ♪
2407
02:11:15,900 --> 02:11:19,233
EMERY: I ASKED MERLE
ONE TIME WHO HIS FAVORITE
COUNTRY SINGER WAS.
2408
02:11:19,266 --> 02:11:21,200
HE SAID, "GEORGE JONES."
2409
02:11:21,233 --> 02:11:24,466
I ASKED GEORGE WHO HIS FAVORITE
COUNTRY SINGER WAS,
2410
02:11:24,500 --> 02:11:26,266
HE SAID, "MERLE HAGGARD."
2411
02:11:26,300 --> 02:11:28,266
[LAUGHS]
2412
02:11:28,300 --> 02:11:30,566
NARRATOR: BY THE EARLY 1980s,
2413
02:11:30,600 --> 02:11:34,433
MERLE HAGGARD,
ALREADY CONSIDERED
ONE OF COUNTRY MUSIC'S
2414
02:11:34,466 --> 02:11:39,166
GREATEST SINGER-SONGWRITERS, HAD
RECORDED MORE THAN 40 ALBUMS
2415
02:11:39,200 --> 02:11:42,900
AND HAD MORE THAN 30
NUMBER-ONE SINGLES.
2416
02:11:42,933 --> 02:11:48,600
IN 1983, HE BEGAN WORK ON
AN ALBUM WITH WILLIE NELSON.
2417
02:11:48,633 --> 02:11:53,800
THEY HAD BEEN RECORDING
FOR 5 DAYS AT NELSON'S
STUDIO IN TEXAS,
2418
02:11:53,833 --> 02:11:58,266
BUT STILL HADN'T FOUND THE RIGHT
SONG TO ANCHOR THE ALBUM.
2419
02:11:58,300 --> 02:12:02,000
HAGGARD HAD GONE TO
SLEEP ON HIS BUS.
2420
02:12:02,033 --> 02:12:05,166
MEANWHILE, WILLIE'S DAUGHTER
PLAYED HER FATHER
2421
02:12:05,200 --> 02:12:07,933
A TUNE HE HAD NEVER
HEARD BEFORE.
2422
02:12:07,966 --> 02:12:10,433
IT WAS ON AN
EMMYLOU HARRIS ALBUM,
2423
02:12:10,466 --> 02:12:14,566
A BALLAD WRITTEN BY
TOWNES VAN ZANDT.
2424
02:12:14,600 --> 02:12:18,733
AND WILLIE CAME AND KNOCKED ON
MY BUS LATE ONE NIGHT,
2425
02:12:18,766 --> 02:12:20,900
ABOUT 4:00 IN THE MORNING,
ACTUALLY,
2426
02:12:20,933 --> 02:12:22,900
AND I HAD JUST LAID DOWN.
2427
02:12:24,233 --> 02:12:29,366
AND HE SAID, "I THINK I'VE FOUND
A TITLE FOR OUR ALBUM."
2428
02:12:30,600 --> 02:12:32,433
AND HE HAD A PAPER SACK
ROLLED OUT
2429
02:12:32,466 --> 02:12:35,466
AND THESE WORDS WERE
THAT LONG.
2430
02:12:35,500 --> 02:12:38,066
AND, LIKE I SAID, I HAD JUST GOT
TO BED AND I SAID, "WILLIE,"
2431
02:12:38,100 --> 02:12:42,933
I SAID, "I CAN'T EVEN
SEE THOSE LYRICS."
2432
02:12:42,966 --> 02:12:44,833
I SAID, "YOU GUYS GO AHEAD
AND PUT IT DOWN,
2433
02:12:44,866 --> 02:12:47,500
AND I'LL PUT MY VOICE ON
IN THE MORNING."
2434
02:12:47,533 --> 02:12:49,800
"NO," HE SAID. "GET UP
AND COME IN THERE WITH ME."
2435
02:12:49,833 --> 02:12:53,466
AND SAID, "LET'S DO IT ALL
AT ONCE."
2436
02:12:56,033 --> 02:12:57,300
SO I WENT IN THERE.
2437
02:12:57,333 --> 02:13:00,200
I WAS REAL SLEEPY, AND WE
RECORDED THAT THING.
2438
02:13:00,233 --> 02:13:02,233
AND I WAS THINKING
WHILE I WAS DOING IT,
2439
02:13:02,266 --> 02:13:05,400
"WELL, I'LL DO THIS OVER IN
THE MORNING," YOU KNOW?
2440
02:13:05,433 --> 02:13:08,500
SO I GOT UP THE NEXT MORNING
AND WENT IN THE STUDIO,
2441
02:13:08,533 --> 02:13:11,866
AND I SAID, "CAN I DO THAT VOCAL
TRACK OVER?"
2442
02:13:11,900 --> 02:13:14,633
AND THEY SAID, "HELL, IT'S ON
THE WAY TO NEW YORK."
2443
02:13:14,666 --> 02:13:18,866
NELSON: ♪ LIVING ON THE ROAD,
MY FRIEND ♪
2444
02:13:18,900 --> 02:13:22,000
♪ WAS GONNA KEEP YOU FREE
AND CLEAN... ♪
2445
02:13:22,033 --> 02:13:25,100
NARRATOR: THE SONG WAS
"PANCHO AND LEFTY."
2446
02:13:26,800 --> 02:13:30,800
THE ALBUM WOULD SHOOT TO NUMBER
ONE ON THE COUNTRY CHARTS,
2447
02:13:30,833 --> 02:13:32,300
CROSS OVER TO POP,
2448
02:13:32,333 --> 02:13:34,700
AND SELL MORE
THAN A MILLION RECORDS.
2449
02:13:34,733 --> 02:13:37,633
NELSON: ♪ ...HER FAVORITE
ONE IT SEEMS... ♪
2450
02:13:37,666 --> 02:13:40,100
NARRATOR: TO GET THERE,
THE SONG HAD TRAVELED
2451
02:13:40,133 --> 02:13:42,533
A LONG, MEANDERING ROAD.
2452
02:13:44,366 --> 02:13:47,566
TWO OF COUNTRY MUSIC'S
LEGENDARY SONGWRITERS,
2453
02:13:47,600 --> 02:13:50,300
THE MUSICAL OUTLAW
FROM TEXAS
2454
02:13:50,333 --> 02:13:52,400
AND THE POET OF THE COMMON MAN
2455
02:13:52,433 --> 02:13:56,166
FROM THE HARDSCRABBLE STREETS
OF BAKERSFIELD,
2456
02:13:56,200 --> 02:13:58,466
HAD LISTENED TO AN ALBUM
RECORDED
2457
02:13:58,500 --> 02:14:00,966
BY A FORMER HIPPIE FOLK
SINGER
2458
02:14:01,000 --> 02:14:06,566
WHO HAD BEEN CONVERTED
TO COUNTRY MUSIC
BY A COSMIC COWBOY
2459
02:14:06,600 --> 02:14:09,800
AND IN DOING SO STUMBLED
UPON A SONG
2460
02:14:09,833 --> 02:14:12,300
WRITTEN BY AN ECCENTRIC
VAGABOND
2461
02:14:12,333 --> 02:14:16,233
WHO SPENT HIS DAYS TRYING TO
WRITE THE PERFECT SONG
2462
02:14:16,266 --> 02:14:19,466
AND SOME OF HIS NIGHTS
CRASHING WITH FRIENDS
2463
02:14:19,500 --> 02:14:25,066
AT A HOME WHERE THE FOCUS WAS ON
ART, NOT COMMERCIAL SUCCESS.
2464
02:14:28,633 --> 02:14:31,100
AND ON HIS 60th BIRTHDAY,
2465
02:14:31,133 --> 02:14:35,033
WILLIE NELSON WOULD SING
"PANCHO AND LEFTY" AGAIN,
2466
02:14:35,066 --> 02:14:37,066
THIS TIME WITH SOMEONE ELSE
2467
02:14:37,100 --> 02:14:41,966
WHO ALSO DEFIED MUSICAL
CATEGORIES--BOB DYLAN.
2468
02:14:42,000 --> 02:14:46,100
NELSON: ♪ OUT OF KINDNESS,
I SUPPOSE... ♪
2469
02:14:47,800 --> 02:14:50,133
NARRATOR: BACKING THEM UP
ON THE MANDOLIN
2470
02:14:50,166 --> 02:14:52,966
WAS THE KID FROM
PHILADELPHIA, MISSISSIPPI
2471
02:14:53,000 --> 02:14:55,300
WHO HAD PLAYED
IN LESTER FLATT'S
2472
02:14:55,333 --> 02:14:58,900
AND JOHNNY CASH'S BAND--
MARTY STUART.
2473
02:14:58,933 --> 02:15:00,766
NELSON: ♪ ...DOWN SOUTH
2474
02:15:00,800 --> 02:15:04,366
♪ ENDED UP IN LEFTY'S MOUTH
2475
02:15:04,400 --> 02:15:06,766
MUSIC CUTS THROUGH ALL
THE BOUNDARIES,
2476
02:15:06,800 --> 02:15:09,600
AND A LOT OF US KNOW THAT.
2477
02:15:09,633 --> 02:15:13,700
SO WE'RE NOT AFRAID TO
PLAY ANYTHING FOR ANYBODY,
2478
02:15:13,733 --> 02:15:17,133
BECAUSE MUSIC WILL
GET THROUGH.
2479
02:15:19,533 --> 02:15:21,933
♪ THERE AIN'T NOBODY KNOWS
2480
02:15:25,333 --> 02:15:29,300
♪ ALL THE FEDERALES SAY
2481
02:15:29,333 --> 02:15:32,600
♪ THEY COULD HAVE HAD HIM
ANY DAY ♪
2482
02:15:32,633 --> 02:15:37,700
♪ THEY ONLY LET HIM
GO SO LONG ♪
2483
02:15:39,166 --> 02:15:43,433
♪ OUT OF KINDNESS,
I SUPPOSE ♪
2484
02:15:53,266 --> 02:15:53,533
["JOLENE" PLAYING]
2485
02:15:54,633 --> 02:15:57,566
["JOLENE" PLAYING]
2486
02:16:01,600 --> 02:16:07,233
PARTON: ♪ JOLENE, JOLENE,
JOLENE, JOLENE ♪
2487
02:16:07,266 --> 02:16:13,733
♪ I'M BEGGING OF YOU, PLEASE
DON'T TAKE MY MAN ♪
2488
02:16:13,766 --> 02:16:19,300
♪ JOLENE, JOLENE,
JOLENE, JOLENE ♪
2489
02:16:19,333 --> 02:16:25,800
♪ PLEASE DON'T TAKE HIM
JUST BECAUSE YOU CAN ♪
2490
02:16:25,833 --> 02:16:27,966
♪ YOUR BEAUTY IS
BEYOND COMPARE ♪
2491
02:16:28,000 --> 02:16:29,966
♪ WITH FLAMING LOCKS
OF AUBURN HAIR ♪
2492
02:16:30,000 --> 02:16:34,566
♪ WITH IVORY SKIN AND EYES
OF EMERALD GREEN ♪
2493
02:16:36,433 --> 02:16:38,600
♪ YOUR SMILE IS LIKE
A BREATH OF SPRING ♪
2494
02:16:38,633 --> 02:16:40,933
♪ YOUR VOICE IS SOFT
LIKE SUMMER RAIN ♪
2495
02:16:40,966 --> 02:16:46,466
♪ AND I CANNOT COMPETE
WITH YOU, JOLENE ♪
2496
02:16:46,500 --> 02:16:48,633
NARRATOR: NEXT TIME
ON "COUNTRY MUSIC,"
2497
02:16:48,666 --> 02:16:50,766
GARTH BROOKS FILLS ARENAS...
2498
02:16:50,800 --> 02:16:53,966
KATHY MATTEA: THIS GUY IS
SELLING OUT THE STADIUMS,
AND HE'S ONE OF US.
2499
02:16:54,000 --> 02:16:55,966
NARRATOR: COUNTRY REDISCOVERS
ITS ROOTS...
2500
02:16:56,000 --> 02:16:59,233
VINCE GILL: I DON'T THINK I
WOULD ENJOY COUNTRY MUSIC
IF IT STAYED THE SAME.
2501
02:16:59,266 --> 02:17:01,766
NARRATOR: AND SAYS FAREWELL
TO JOHNNY CASH.
2502
02:17:01,800 --> 02:17:04,066
EVERY PIECE OF AMERICAN MUSIC--
2503
02:17:04,100 --> 02:17:06,100
GOSPEL, BLUEGRASS,
2504
02:17:06,133 --> 02:17:09,166
ROCK AND ROLL--
THAT WAS ALL IN JOHN.
2505
02:17:09,200 --> 02:17:11,833
NARRATOR: DON'T MISS THE FINALE
OF "COUNTRY MUSIC."
2506
02:17:11,866 --> 02:17:15,166
JOHNNY CASH:
♪ ...COLD, WILD WIND WILL COME
2507
02:17:17,933 --> 02:17:20,066
TO EXPERIENCE MORE
OF COUNTRY MUSIC,
2508
02:17:20,100 --> 02:17:23,300
VISIT PBS.ORG FOR
HISTORICAL TIMELINES,
2509
02:17:23,333 --> 02:17:25,800
BEHIND THE SCENES FOOTAGE,
AND MUSIC PLAYLISTS.
2510
02:17:25,833 --> 02:17:28,066
"COUNTRY MUSIC"
AND OTHER FILMS FROM KEN BURNS
2511
02:17:28,100 --> 02:17:31,300
ARE AVAILABLE
ON THE PBS VIDEO APP.
2512
02:17:31,333 --> 02:17:34,633
TO ORDER KEN BURNS' "COUNTRY
MUSIC" ON DVD OR BLU-RAY
2513
02:17:34,666 --> 02:17:36,133
OR THE COMPANION BOOK,
2514
02:17:36,166 --> 02:17:40,300
VISIT SHOPPBS
OR CALL 1-800-PLAY-PBS.
2515
02:17:40,333 --> 02:17:42,800
THE 5-DISC CD SET
IS ALSO AVAILABLE.
2516
02:17:42,833 --> 02:17:46,300
THIS PROGRAM IS AVAILABLE
ON AMAZON PRIME VIDEO.
2517
02:17:46,333 --> 02:17:50,800
♪ JOLENE, JOLENE,
JOLENE, JOLENE ♪
2518
02:17:50,833 --> 02:17:57,100
♪ PLEASE DON'T TAKE HIM
JUST BECAUSE YOU CAN ♪
2519
02:17:57,133 --> 02:17:59,266
♪ YOU COULD HAVE YOUR
CHOICE OF MEN ♪
2520
02:17:59,300 --> 02:18:01,666
♪ BUT I COULD NEVER
LOVE AGAIN ♪
2521
02:18:01,700 --> 02:18:03,966
♪ HE'S THE ONLY ONE FOR ME
2522
02:18:04,000 --> 02:18:06,733
♪ JOLENE
2523
02:18:08,033 --> 02:18:10,233
♪ I HAD TO HAVE
THIS TALK WITH YOU ♪
2524
02:18:10,266 --> 02:18:12,433
♪ MY HAPPINESS DEPENDS ON YOU
2525
02:18:12,466 --> 02:18:14,866
♪ AND WHATEVER YOU DECIDE
TO DO ♪
2526
02:18:14,900 --> 02:18:17,066
♪ JOLENE
2527
02:18:18,933 --> 02:18:24,566
♪ JOLENE, JOLENE,
JOLENE, JOLENE ♪
2528
02:18:24,600 --> 02:18:30,866
♪ I'M BEGGING OF YOU, PLEASE
DON'T TAKE MY MAN ♪
2529
02:18:30,900 --> 02:18:36,400
♪ JOLENE, JOLENE,
JOLENE, JOLENE ♪
2530
02:18:36,433 --> 02:18:42,433
♪ PLEASE DON'T TAKE HIM
JUST BECAUSE YOU CAN ♪
2531
02:18:42,466 --> 02:18:48,366
♪ JOLENE, JOLENE,
JOLENE, JOLENE ♪
2532
02:18:48,400 --> 02:18:53,566
♪ I'M BEGGING OF YOU, PLEASE
DON'T TAKE MY MAN ♪
2533
02:18:54,900 --> 02:19:00,433
♪ JOLENE, JOLENE,
JOLENE, JOLENE ♪
2534
02:19:00,466 --> 02:19:06,900
♪ PLEASE DON'T TAKE HIM
EVEN THOUGH YOU CAN ♪
2535
02:19:06,933 --> 02:19:09,133
♪ JOLENE
2536
02:19:09,166 --> 02:19:13,366
CHORUS: ♪ JOLENE
204144
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