Original subtitles

Okay?

Okay, man.

- Okay? - Yeah, I'll start again.

Okay. Same slate. Still running.

Cutthroat.

Keep running. It'll get better. That's it.

We're starting all over again. Same slate, right?

- Yeah. - Now tilting up.

Okay, Rick, what's the game?

- Cutthroat. - What's the object of it?

The object is to keep your balls on the table

and knock everybody else's off.

You're still there, huh?

We're gonna do one more song, and that's it.

All right.

Happy Thanksgiving.

J“ baby, don't you do it j“

j“ don't do it j“

j“ Dan 7 you break my heart j“

j“ please Don 7 do it Don 7 you break my heart j“

j“ my biggest mistake was loving you too much j“

j“ and letting you know j“

j“ now you got me where you want me j“

j“ and you won't let me go j“

j“ if m y heart was made of glass j“

j“ well, then you'd surely see j“

j“ heartaches and misery j“

j“ you been causing me j“

j“ and / been trying to do my best j“

j“ you know/ try to do my best j“

j“ don't do it j“

j“ don't you break my heart j“

j“ please don't do it j“

j“ don't you break my heart j“

Thank you very much. —thank you.

Good night. Goodbye.

Okay, look. We've been together 16 years.

Who?

Who? —yeah.

- —The band. - Uh-huh.

- Um, do you want me to plug that in there? - Yeah, let's do it again.

The band has been together 16 years,

together on the road.

We did eight years in bars, dives, dance halls.

Eight years of concerts and stadiums, arenas.

We gave our final concert, the band's final concert,

and we called it "the last waltz."

Why was it held in San Francisco in winterland,

when you guys have been on the road for 16 years, you know?

Winterland was the first place that the band played as the band.

Some friends showed up and helped us take it home.

Well, they weren't just friends. I mean, they're more than that.

Would you ask me that... ask me that again?

They weren't just friends.

They weren't just friends who came in to say hello.

You know what I mean? Get that fly!

No. They were more than just friends.

I feel they're probably

some of the greatest influences on music on a whole generation.

We wanted it to be more than just a concert.

We wanted it to be a celebration.

Celebration of a beginning or an end?

Beginning of the beginning of the end of the beginning.

That's it.

Good evening.

J“ when / get off of this mountain j“

j“ you know where / wanna go? J“

j“ strarght down the Mississippi river to the Gulf of Mexico j“

j“ to lake Charles, Louisiana j“

j“ little bessie, girl that / once knew j“

j“ she told me just to come on by j“

j“ if there is anything she could do j“

j“ up on cnpp/e creek, she sends me j“

j“ lf/ spring a leak, she mends me j“

j“ I don't have to speak, she defends me j“

j“ a drunkardis dream lf/ ever did see one j“

j“ well, now me and my mate were back at the shack j“

j“ we had sprke Jones on the box j“

j“ she said "I can't take the way he sings j“

j“ but / love to hear him talk " j“

j“ now theres one thing in the whole wide world j“

j“ lsure do love to see j“

j“ thatis how that little sweet thing of mine j“

j“ puts her doughnut r'n my tea j“

j“ I'm going up on cnpp/e creek she sends me j“

j“ lf/ spring a leak, she mends me j“

j“ I don't have to speak, she defends me j“

j“ a drunkardis dream lf/ ever did see one j“

j“ there is a flood out in California j“

j“ and up north, its freezing cold j“

j“ and this living off of the road is getting pretty old j“

j“ so / guess I'i/ call up my brg mama j“

j“ and tell her ill be rolling r'n j“

j“ but you know deep down I'm sort of tempted j“

j“ to go and see my bessie again j“

j“ I'm going up on cnpp/e creek she sends me j“

j“ lf/ spring a leak, she mends me j“

j“ I don't have to speak, she defends me j“

j“ a drunkardis dream lf/ ever did see one j“

J“ oh, no, ooh-ooh-ooh j“

j“ yodel, yodel, yodel, ooh-ooh j“

j“ oh, no, ooh-ooh-ooh j“

j“ yodel, yodel, yodel, ooh-ooh j“

j“ oh, no, no, no, no j“

j“ yodel, yodel, yodel, ooh-ooh j“

j“ oh, no, ooh-ooh-ooh j“

j“ yodel, yodel, yodel, ooh-ooh j“

j“ yeah, yeah, you know lsure wish / could yodel, lknow j“

j“ yode/y, yode/y, yode/y-oh j“

j“ yodel, yodel, yodel, ooh-ooh j“

j“ oh, no, ooh-ooh-ooh j“

j“ yodel, yodel, yodel, ooh-ooh j“

It was kind of, uh...

We didn't know where we were going, we didn't know what it was.

But, for some reason, it seemed like a good idea.

We got to this place, a joint, in fort worth, Texas.

It was burned out, bombed out.

The roof wasn't even on the place anymore.

And that's when they decided to call it the skyline lounge.

And we got there and set up and... A big place.

Huge. Bar, way at the back and a big dance floor.

- Real old. - So we set up the first night.

We go down to the place to play.

We go in there and there's about...

In this huge place, there's about three people in the audience.

Mm-hmm.

A one-armed go-go dancer

and a couple of drunk waiters.

A couple over here and a couple over there.

Somebody shoots off a tear gas.

And a fight starts.

There isn't enough people in the place to get angry.

And we found out a few years later that it was Jack Ruby's club.

J“ go out yonder, peace r'n the valley j“

j“ come downtown have to rumble r'n the alley j“

j“ oh, you don't know the shape I'm r'n j“

j“ has anybody seen my lady? J“

j“ this livin'a/one will drive me crazy j“

j“ oh, you don't know the shape I'm r'n j“

j“ well, I just went down by the water j“

j“ but / ain't gonna jump in, no, no j“

j“ / '/I just be lookin ' for my maker j“

j“ and / hear that's where she is gone? Oh, no/ j“

j“ out of nr'ne lives, lspent seven j“

j“ now how r'n the world do you get to heaven? J“

j“ oh, you don't know the shape I'm r'n j“

J“ well, I just spent 60 days in the jarlhouse j“

j“ for the crime of ha vr'ng no dough j“

j“ nowhere I am back out on the street j“

j“ for the cnme of ha vr'ng nowhere to go j“

j“ save your neck or save your brother j“

j“ looks like its one or the other j“

j“ oh, you don't know the shape I'm r'n j“

Sixteen years ago, when we started,

we started with a guy you might have heard of.

We'd like to start with him. The hawk! Ronnie Hawkins!

He called me up and I said,

"sure, I'd like a job. What does it mean? What do I do?"

He said, "well, son, you won't make much money,

but you'll get more pussy than frank Sinatra."

All right, ready!

R b0 diddle y, Bo diddle y j“

j“ have you heard? J“

j“ bab yis gonna buy me a mockingbird j“

Whoo!

Big time, bill! Big time! Big time!

J“ / walked 47 miles of barbed wire j“

j“ use a cobra snake for a necktie j“

j“ got a brand-new house on the roadside made from rattlesnake hide j“

j“ got a brand-new chrmne y made on top made from a human skull j“

j“ come on, Robbie lets take a little walk j“

j“ tell me who do you love? J“

j“ who do you love? J“

j“ who do you love? J“

j“ who do you love? J“

ah-ah!

J“ Arlene took me by the hand, says "who are you, Ricky? I understand" j“

j“ who do you love? J“

j“ who do you love? J“

j“ who do you love? J“

j“ who do you love? J“

ah!

Ahh!

Come on, Robbie!

J“ / got a tombstone hand and a graveyard mind j“

j“ I've turned 47, / don't mind dyin' j“

j“ who do you love? J“

j“ who do you love? J“

j“ who do you love? J“

j“ who do you love? J“

j“ lrr'de around the county and use a rattlesnake whrp j“

j“ take it easy, garth don't you give me no lrp j“

j“ who do you love? J“

j“ who do you love? J“

J“ who do you love? J“

j“ who do you love? J“

J“ the nrght was black and the nrght was blue j“

j“ round the corner, an ice wagon flew j“

j“ a bump was heard loud somebody screamed j“

j“ you should have heard just what / seen j“

j“ who do you love? J“

ah!

J“ who do you love? J“

J“ who do you love? J“

J“ who do you love? J“

Ah!

Ahh!

Oh, it's burning!

Come on, son, come on!

Whoo!

Whoo!

Thank you, Ronnie!

The hawk!

And the week went on, and it was a little depressing.

And it was especially depressing 'cause we didn't have any money at all.

No dough.

At one point, we had no more food money.

It got to the point where,

coming from Canada and everything, we had these overcoats,

big overcoats with pockets and everything, and we had a little routine.

We'd go to the shopping center, all together.

- But I stayed home, right? - No, you didn't.

I got — I got the cigarettes.

I turned the cigarette machine upside down and got everybody some cigarettes.

Do you remember?

- Yeah, but that was on the... - You got me some baloney.

We'd go to the supermarket,

and a couple of people would buy a couple of loaves of bread,

'cause that was about the cheapest thing you could get, you know.

And the rest of us would be carousing the aisles, stuffing baloney.

It got time to leave, the guy with the two loaves of bread

would go up to the checkout and we'd say,

"we'll meet you out at the car. You take the bread out."

- "Y'all come back!" - And with these overcoats...

J“ and it makes no difference where lturn j“

j“ / can't get over you and the flame strl/ burns j“

j“ and it makes no difference j“

j“ nrght or day j“

j“ the shadow never seems to fade away j“

j“ and the sun don't shine j“

j“ anymore j“

j“ and the rains fall down j“

j“ on my door j“

j“ well, these old love letters j“

j“ well, I just can't keep them j“

j“ 'cause lrke the gambler says j“

j“ "read 'em and weep" j“

j“ and the dawn don't rescue me j“

j“ no more j“

J“ without your lo ve lha ve nothing at all j“

j“ ere an empty hall, its a lonely fall j“

j“ since you've been gone its a losing battle j“

j“ stampeding cattle j“

j“ they rattle the walls j“

j“ and the sun don't shine j“

j“ anymore j“

j“ and the rains fall down j“

j“ on my door j“

J“ well, / love you so much j“

j“ and its all/ can do j“

j“ just to keep myself from telling you j“

j“ that / never felt so alone j“

j“ before j“

Hath in the ram his halfe cours yronne,

and smale foweles maken melodye,

that slepen al the nyght with open eye,

so priketh hem nature in hir corages;

thanne iongen folk to goon on pilgrimages

to ferne halwes, kowthe in sondry iondes;

and specially from every shires ende

of engelond, to caunterbury they wende,

the hooly blisful martir for the seke

that hem hath holpen, whan that they were seeke.

Michael mcclure!

You all know the doctor? Dr. John?

Mac rebennack. Come on, Mac.

It's in thankfulness to the band and all the fellas.

Two, three, four, one...

J“ such a nrght j“

j“ such a nrght j“

j“ sweet confusion j“

j“ under the moon/rght j“

j“ such a nrght j“

j“ such a nrght j“

j“ got to steal away j“

j“ the trme seem rrght j“

j“ when your eyes met mine j“

j“ at a glance j“

j“ you let me know j“

j“ this was my chance j“

j“ you came here with my best friend Jim j“

j“ here I am tryin' to steal you away from hrm j“

j“ oh, baby, if / don't do it somebody else will j“

j“ lf/ don't do it, somebody else wrl/ j“

j“ lf/ don't do it, somebody else wrl/ j“

j“ lf/ don't do it you know somebody else will j“

j“ such a nrght j“

j“ such a nrght j“

j“ sweet confusion j“

j“ under the moon/rght j“

j“ such a nrght j“

j“ such a nrght j“

j“ got to steal away j“

j“ the trme seem rrght j“

j“ baby, lcou/dn't believe my ears j“

j“ my heart just skrpped a little beat j“

j“ you told me we could s/rp away j“

j“ down the dark end of the street j“

j“ baby, you came here with my best friend jrm j“

j“ here I am tryin' to steal you away from hrm, baby j“

j“ lf/ don't do it, somebody else wrl/ j“

j“ lf/ don't do it you know somebody else will j“

j“ lf/ don't do it, somebody else wrl/ j“

j“ lf/ don't do it you know somebody else will j“

The doctor!

Everybody knows him.

You know this guy, I think.

Thank you, man, for letting me do this. —oh, shit. Are you kidding?

Are you kidding?

I'd just like to say before I start that it's one of the pleasures of my life

to be able to be on this stage with these people tonight.

They got it now, Robbie.

J“ there is a town in north Ontario j“

j“ with dream comfort memory to spare j“

j“ in my mind / strl/ need a place to go j“

j“ all my changes were there j“

j“ blue, blue windows behind the stars j“

j“ yellow moon on the rise j“

j“ the brg birds flying across the sky j“

j“ they were throwing shadows on our eyes j“

j“ leave us j“

j“ helpless, helpless, helpless j“

j“ you make me feel so helpless j“

j“ well, babe, can you hear me now? J“

j“ / can hear you now j“

j“ the chains are locked and tied across my door j“

-j“ but, baby, baby, sing with me somehow j“ -j“ helpless, helpless, helpless j“

J“ blue, blue windows behind the stars j“

j“ yellow moon on the rise j“

j“ the brg birds flying across the sky j“

j“ the y're throwing shadows on our eyes j“

j“ leave us j“

j“ helpless, helpless, helpless j“

J“ oh, you feel so helpless j“

j“ helpless, helpless, helpless j“

j“ helpless, helpless, helpless j“

j“ babe, can you hear me now? J“

j“ helpless, helpless, helpless j“

j“ helpless, helpless, helpless j“

j“ helpless, helpless, helpless j“

j“ chains are locked and tied j“

j“ helpless, helpless, helpless j“

j“ baby, baby, baby, sing with me somehow j“

-j“ helpless, helpless, helpless j“ -j“ with me somehow j“

j“ helpless, helpless, helpless j“

Thanks!

Neil young!

I don't know what it is. Maybe — I don't know if the years connect

or it's a coincidence, or what it is,

but it seems like, that's it.

That's what the last waltz is.

I mean, 16 years on the road. The numbers start to scare you.

I couldn't live with 20 years on the road.

I don't think I could even discuss it.

J“ now deep r'n the heart of a lonely kid j“

j“ who suffered so much for what he did j“

j“ they ga ve this poor boy his fortune and fame j“

j“ since that day he ain't been the same j“

j“ see the man with the stage frrght j“

j“ just standing up there to give it all his mrght j“

j“ he got caught in the spot/rght j“

j“ but when they get to the end j“

j“ he wants to start all over again j“

j“ we got firewater rrght on my breath j“

j“ and the doctor warned me lmrght catch a death j“

j“ he said, "you can make it in your disguise j“

j“ just ne ver show the fear r'n your eyes " j“

j“ see the man with the stage frrght j“

j“ just standing up there to give it all his mrght j“

j“ he got caught in the spot/rght j“

j“ but when they get to the end j“

j“ he wants to start all over again j“

j“ now when he says that he is afraid j“

j“ won't you take him at his word? J“

j“ and for the price that the poor boy has paid j“

j“ well, he gets to sr'ng just lrke a bird j“

j“ ooh, ooh, ooh, ooh ooh-ooh j“

J“ well, my browis sweating and my mouth gets dry j“

j“ the fancy people go driftrng by j“

j“ well, the moment of truth is rrght at hand j“

j“ just one more nrghtmare you could stand j“

j“ see the man with the stage frrght j“

j“ just standing up there to give it all his mrght j“

j“ and he got caught r'n the spot/rght j“

j“ but when they get to the end j“

j“ well, he wants to start all over again, no, no, no j“

j“ thatis rrght, make hrm start j“

j“ just let him take it from the top j“

Well, we were the — we were the hawks.

And everything was fine. We were sailing along.

And all of a sudden, one day, the hawks meant something else altogether.

It was right in the middle of that whole psychedelia.

There's "chocolate subway." "Marshmallow overcoat."

- Right. - Those kind of names.

When we were working with Bob Dylan and we moved to Woodstock,

everybody referred to us as the band.

He called us the band.

Our friends called us the band. Our neighbors called us the band.

And we started out with the crackers.

We tried to call ourselves the honkies.

Everybody kind of backed off from that, you know?

It was too straight, you know.

So we decided just to call ourselves the band.

J“ / pulled r'nto nazareth just feeling 'bout half-past dead j“

j“ just need to find a place where / can lay my head j“

j“ "mister, can you tell me where a man mrght find a bed?" J“

j“ he just grinned and shook my hand j“

j“ "no" was all he said j“

j“ take a load off Fanny j“

j“ take a load for free j“

j“ take a load off Fanny j“

j“and... j“

j“ you put the load rrght on me j“

J“ / picked up my bag and went looking for a place to hide j“

j“ when lsaw old Carmen and the devil walking side by side j“

j“ lsaid, "hey, Carmen come on, lets go downtown" j“

j“ she said, "/ gotta go but my friend can stick around" j“

j“ take a load off Fanny j“

j“ take a load for free j“

j“ take a load off Fanny j“

j“and... j“

j“ you put the load rrght on me j“

J“ go down, Moses there is nothin' that you can say j“

j“ its just old Luke and Luke is waiting on the judgment da y j“

j“ "hey, Luke, my friend what about young Anna Lee?" J“

j“ he said, "do me a favor, son j“

j“ won't you stay and keep Anna Lee company?" J“

j“ take a load off Fanny j“

j“ take a load for free j“

j“ take a load off Fanny j“

j“and... j“

j“ you put the load rrght on me j“

J“ crazy Chester fol/o wed me and he caught me r'n the fog j“

j“ he said, "/ will fix your rack if you take old Jack, my dog" j“

j“ lsaid, "wait a mr'nute, Chester you know I'm a peaceful man" j“

j“ he said, "thatis okay, boy won't you feed him whene ver you can?" J“

j“ take a load off Fanny j“

j“ take a load for free j“

j“ take a load off Fanny j“

j“and... j“

j“ you put the load rrght on me j“

J“ catch a cannonba/I now to take me on down the line j“

j“ my bag is sinking low and / do believe that its trme j“

j“ just about time j“

j“ to get back to miss Fanny you know she is the only one j“

j“ she sent me here with her regards for everyone j“

j“ take a load off Fanny j“

j“ take a load for free j“

j“ take a load off Fanny j“

j“and... j“

j“ you put the load rrght on me j“

j“ oh, Fanny, take a load off Fanny j“

j'ohj'

Beautiful.

- You still have that flat pick? - —This looks interesting.

We'll play "old—time religion" for the folks.

J“ give me that old-time rel/gion j“

j“ give me that old-trme rel/gion give me that old-time rel/gion j“

j“ and its good enough j“

j“ well, its good enough j“

j“ it was good for grandpa good for my grandma j“

j“ its good enough j“

j“ good enough, good enough now j“

Oh, it's not like it used to be.

J“ I/irgi/ caine is the name and / served on the Dan vrl/e train j“

j“ trl/ stoneman is cavalry came and they tore up the tracks again j“

j“ in the winter of '65 we were hungry, just barely alive j“

j“ by may tenth, Richmond had fell j“

j“ its a time lremember, oh, so well j“

j“ the nrght they drove old Dixie down j“

j“ when all the bells were ringing j“

j“ the nrght they drove old Dixie down j“

j“ and all the people were singing j“

j“ they went, "la la-la la la-la la" j“

j“ "la la-la la la-la la-la la" j“

j“ back with my wife r'n Tennessee j“

j“ when one day she called to me j“

j“ said, "I/irgil, quick, come and see there goes Robert e Lee!" J“

j“ now / don't mind chopping wood j“

j“ and / don't care if the moneys no good j“

j“ you take what you need and you Lea ve the rest j“

j“ but they should ne ver j“

j“ have taken the very best j“

j“ the nrght they drove old Dixie down j“

j“ when all the bells were ringing j“

j“ the nrght they drove old Dixie down j“

j“ and all the people were singing j“

j“ they went, "la la-la la la-la la" j“

j“ "la la-la la la-la la-la la" j“

J“ ere my father before me j“

j“ / wrl/ work the land j“

j“ and lrke my brother above me j“

j“ who took a rebel stand j“

j“ he was just 78, proud and brave j“

j“ when a yankee laid mm in his grave j“

j“ and / swear by the mud below my feet j“

j“ you can't raise a caine back up j“

j“ when he is r'n defeat j“

j“ the nrght they drove old Dixie down j“

j“ when all the bells were ringing j“

j“ the nrght they drove old Dixie down j“

j“ and all the people were singing j“

j“ they went, "la la-la la la-la la" j“

j“ "la la-la la la-la la-la la" j“

J“ the nrght they dro ve old Dixie down, down j“

j“ the bells were ringing j“

j“ the nrght they drove old Dixie down j“

j“ and all the people were singing j“

j“ they went, "la la-la la la-la la" j“

j“ "la la-la la la-la la-la la" j“

A dream come true.

Fascinating. Scary.

Kind of hard to take the first time.

You have to go there about two or three times

before you can fall in love with it.

But, uh, that happens eventually.

We stayed at the Times Square hotel on 42nd street.

Well, the title of the hotel and everything,

it sounded like it was conveniently located in midtown Manhattan.

What did we know? We came out of the hotel after checking in,

and you think, "oh, it's great to be back in New York."

Movie theaters forever.

All these friendly women walking up and down the streets.

It was, uh... it was great.

Yeah, New York, it was an adult portion. It was an adult dose.

So it took a couple of trips, you know, to get into it.

You just go in the first time and you get your ass kicked and you take off.

As soon as it heals up,

you come back and you try it again.

Eventually, you fall right in love with it.

Roulette records was located in the middle of this mythical place, tin pan alley.

The songwriting capital of the world.

And we met some of the greatest songwriters ever.

Rock—and—roll songwriters.

Doc pomus. Mort shuman. Leiber and stoller.

They were all there then. Carole king. Neil diamond.

At the time, it wasn't a very fair thing

that a songwriter was the low man on the totem pole.

But then, uh, these people...

And here come the '60s,

with change and revolution and war and assassinations,

and a whole other frame of mind coming along.

And these songwriters were expressing the feelings of people...

People in the street.

In a way, it was kind of the beginning of the end of tin pan alley.

J“ dry your eyes j“

j“ take your song out j“

j“ well, its a newborn afternoon j“

j“ and if you can't recall the singer j“

j“ can you still recall the tune? J“

j“ dry your eyes j“

j“ and play it slowly j“

j“ just lrke you're marchr'ng off to war j“

j“ sing it lrke you always wanted j“

j“ ere you sung it once before j“

j“ and from the center of the circle j“

j“ to the midst of the waiting crowd j“

j“ if it ever is forgotten j“

j“ sing it long and sing it loud j“

j“ and come dry your eyes j“

J“ and you taught us more about living j“

j“ than we ever cared to know j“

j“ and we came to learn the secret j“

j“ and we never let it go j“

j“ and it was more than being holy j“

j“ though it was less than being free j“

j“ and if you can't recall the reason j“

j“ can you hear the people sing? J“

j“ rrght through the lrghtning and the thunder j“

j“ to the dark side of the moon j“

j“ to that distant falling angel j“

j“ that descended much too soon j“

j“ come dry your eyes j“

j“ dry your eyes j“

j“ take your song out j“

j“ its a newborn afternoon j“

j“ and if you can't recall the singer j“

j“ you can strl/ recall the tune j“

j“ come dry your eyes j“

j“ come dry your eyes j“

j“ dry your eyes j“

Neil diamond!

Thanks so much.

So when you guys first started playing as the band,

you kind of shied away from publicity a lot.

Can you talk about that a little?

That was just part of a lifestyle that we got to love in Woodstock.

We got to like it, you know, just being able to chop wood

or hit your thumb with a hammer.

We'd be concerned with fixing a tape recorder, fixing a screen door.

Stuff like that. And getting the songs together.

We always seemed to get a whole lot more done

when we didn't have a lot of company around, you know.

Just, uh, we were more productive.

And as soon as company came, of course, we'd start having fun.

You know what happens when you have too much fun.

Something we've kind of evaded around here, but I'll ask it now.

- What about women on the road? - —I love 'em.

That's probably why we've been on the road.

- That's it. - Not that I don't like the music.

You know, but...

I thought you weren't supposed to talk about it too much.

- No, I guess we're not. - I thought we were supposed to...

Pan away from that sort of stuff, get into something else.

Since the beginning, since we started playing together,

just like we've all grown just a little bit, so have the women.

- —You know? And it's amazing. - That's right. That's good.

I just wanna break even.

Joni Mitchell. Right.

J“ no regrets, coyote j“

j“ we just come from such different sets of circumstance j“

j“ I'm up all nrght in the studios and you're up early on your ranch j“

j“ you'll be brushing out a brood mare is tail j“

j“ whrle the sun is ascending j“

j“ and / 'i/ just be getting home with my reel-to-reel j“

j“ thereis no comprehending j“

j“ just how close to the bone and the skin and the eyes j“

j“ and the lrps you can get j“

j“ and strl/ feel so alone j“

j“ and strl/ feel related j“

j“ ere stations r'n some relay j“

j“ you're not a hit-and-run driver j“

j“ no, no j“

j“ racing away j“

j“ you just picked up a hitcher j“

j“ a prisoner of the white lr'nes on the freeway j“

J“ we saw a farmhouse burnr'ng down j“

j“ in the middle of nowhere in the middle of the nrght j“

j“ and we rolled rrght past that tragedy j“

j“ untrl we pulled in to some roadhouse lrghts j“

j“ where a local band was playing j“

j“ locals were up kicking and shaking on the floor j“

j“ the next thing lknow j“

j“ that coyote is at my door j“

j“ he pins me in the corner and he won't take no j“

j“ he drags me out on the dance floor and we 're dancing close and slow j“

j“ now he's got a woman at home j“

j“ he is got another woman down the hall and he seems to want me anyway j“

j“ why do you have to get so drunk and lead me on that way? J“

j“ you just picked up a hitcher j“

j“ a prisoner of the white lr'nes on the freeway j“

J“ I/ooked a coyote rrght r'n the face j“

j“ on the road to ba/jennie near my old hometown j“

j“ he went runnr'ng through the whisker wheat j“

j“ chasing some pnze down j“

j“ and a hawk was playing with hrm j“

j“ coyote was jumping strarght up and making passes j“

j“ he had those same eyes j“

j“ just lrke yours j“

j“ under your dark glasses j“

j“ privately probing the public rooms j“

j“ and peeking through keyholes in numbered doors j“

j“ where the players lick their wounds and take their temporary lovers j“

j“ and their prl/s and powders to get them through this passion play j“

j“ no regrets, coyote j“

j“ I just get off up aways j“

j“ you just picked up a hitcher j“

j“ a prisoner of the white lr'nes on the freeway j“

J“ coyotes r'n the coffee shop j“

j“ he is Stan'ng a hole in his scrambled eggs j“

j“ he picks up my scent on his fingers whrle he's watching the waitresses'legs j“

j“ heis too far fiom the bay of fundy j“

j“ from appaloosas and eagles and tides j“

j“ and the arr-conditioned cubicles j“

j“ and the carbon ribbon rr'des are spelling it out so clear j“

j“ either he is gonna have to stand and fight j“

j“ or take off out of here j“

j“ we tried to run away myself j“

j“ to run away and wrestle with my ego j“

j“ and with this fiame you put here in this eskrmo j“

j“ in this hitcher j“

j“ in this prisoner j“

j“ of the fine white lr'nes j“

j“ of the white lines j“

j“ on the fiee fieewa y j“

Levon's hometown, it's near west Helena.

At one time we were there, for some reason or another,

and we decided we were gonna look up one of the legends of that town,

which was Sonny boy Williamson.

In my opinion, he's the best harp player,

that's like harmonica,

blues harmonica, that I've ever heard.

- He's the big daddy of 'em. - —yeah.

And he took us to a friend of his place, a woman's place,

who served food and corn liquor.

In a southern booze can.

And he would sit there and he was playing for us.

And we were getting drunk and trying to figure out where we were.

We were wiped out.

He was spitting in a can. I thought he was dipping snuff.

I thought maybe he had something in his lip.

And he kept spitting in this can and playing, and we kept getting drunker.

Finally, I looked over in the can and I realized it was blood.

He was getting pretty tired and pretty drunk by then.

And we made big plans for the future and all kinds of things we were gonna do.

And it was tremendous. A great night.

A couple of months later, we got a letter from his people,

his manager, or whoever it was, saying that he had passed away.

J“ train arrive j“

j“ sixteen coaches long j“

j“ trar'n arrive, yeah j“

j“ sixteen coaches long j“

j“ well, that long, black train took my baby and gone j“

j“ trar'n, train j“

j“ rollin'around the bend j“

j“ trar'n, train, trar'n j“

j“ rollin'around the bend j“

j“ well, it took my baby away fiom me again j“

j“ heard that whistle b/o win' it was the middle of the nrght j“

j“ when / got down to the station the trar'n was pulling out of srght j“

-j“ mystery train j“ —j“ trar'n j“

j“ rollin'around the bend j“

-j“ mystery train j“ -j“ mystery train j“

j“ rollin'around the bend j“

j“ well, it took my baby away fiom me again j“

Paul butterfield!

Near Memphis...

Cotton country, rice country, uh...

The most interesting thing is probably the music.

Levon, who came from around there?

Carl Perkins.

- —Carl Perkins? - Sure.

- Muddy waters, the king of country music. - —yeah.

- Elvis Presley. - Mm-hmm.

Johnny cash. Bo diddley.

That's kind of the middle of the country, you know, back there.

So bluegrass or country music,

you know, if it comes down to that area

and if it mixes there with rhythm and if it dances,

then you've got a combination of all those different kinds of music.

Country, bluegrass, blues music.

- The melting pot. - —show music.

- And what's it called then? - Rock and roll.

Rock and roll. Yes. Exactly.

Whoo!

J“ now when / was a young boy j“

j“ at the age offive j“

j“ my mother said/ was gonna be j“

j“ the greatest man alive j“

j“ but now I'm a man j“

j“ waypast27 j“

j“ / want you to believe me, woman j“

j“ / had lots of fun j“

j“/'mamanj“

yeah!

J“ / spell "ll/I" j“

j“ '54, " child j'

is "n" is

j“ that represent I'm grown j“

-j“ no 'b" j“ —no!

J“ "o," child j“

r "y" r

j“ that means "mannish boy" j“

-j“ man j“ —yeah!

J“ I'm a full-grown man j“

j“ man j“

j“ I'm a natural-born lovers man j“

j“ man j“

j“ I'm a rolling stone j“

-j“ man j“ —yeah!

J“ I'm a hoochie-coochie man j“

j“ well j“

j“ well, well, well j“

j“ the lr'ne lshoot j“

j“ / wrl/ never miss j“

j“ when lmake love to a girl j“

j“ she can't resist j“

j“ I think ill go down j“

j“ to old Kansas stew j“

j“ I'm gonna bring back my second cousin j“

j“ that little Johnny cocheroo j“

j“ all you little girls j“

j“ sitting out at that line j“

j“ I can make love to you, girl j“

j“ in five minutes'time j“

j“ ain't that a man? J“

yeah!

J“ / spell "ll/I" j“

j“ '54, " child j“

is "n" is

j“ that represents man j“

-j“ no 'b" j“ —no!

J“ "o," child j“

r "y" r

j“ that means "mannish boy" j“

-j“ man j“ —yeah!

J“ I'm a full-grown man j“

j“ man j“

j“ I'm a natural-born lovers man j“

j“ man j“

j“ I'm a rolling stone j“

j“ man-child j“

j“ I'm a hoochie-coochie man j“

j“ well j“

j“ well, well, well, well well, well, well j“

j“ well, well, well, well, well j“

Wasn't that a man? Muddy waters!

On the guitar, Eric Clapton!

One, two, a-one, two, three...

J“ further on up the road j“

j“ someoneis gonna hurt you ere you hurt me j“

j“ further on up the road j“

j“ someoneis gonna hurt you ere you hurt me j“

j“ further on up the road j“

j“ baby, just you wait and see j“

j“ you gotta reap just what you sow j“

j“ that old saying is true j“

j“ you gotta reap just what you sow j“

j“ that old saying is true j“

j“ just lrke you mistreat someone j“

j“ someoneis gonna mistreat you j“

J“ further on up the road j“

j“ someoneis gonna hurt you ere you hurt me j“

j“ further on up the road j“

j“ someoneis gonna hurt you ere you hurt me j“

j“ further on up the road j“

j“ baby, just you wait and see j“

j“ you been laughing, pretty baby j“

j“ someday you're gonna be crying j“

j“ you been laughing, pretty baby j“

j“ someday you're gonna be crying j“

j“ further on up the road j“

j“ you'll find out/ wasn't lying j“

Okay. So, Rick, what is shangri—la? Maybe you could give us a little tour.

What is a shangri—la?

It's a clubhouse where we get together and play. Make records.

Yeah?

Kind of better. It's like an office, I guess, but...

It used to be a bordello.

- A bordello? - I think you can tell by the wallpaper.

That decadence, that softness in the barroom.

I've heard a few funny stories, man.

That's why all these rooms are here.

You can't believe most of what you hear.

This was a master-control bedroom, this is now a master-control music room.

Let me ask you, now that the last waltz is over, what are you doing now?

Eddie, why don't you...

Yeah.

- Just making music, you know? - —oh, yeah.

Trying to stay busy, man.

- That's good. - It's healthy.

J“ / want to lay down j“

j“ beside you j“

j“ / want to hold your body j“

j“ close to mine j“

j“ ere a grape that grows rrpe... j“

It's where the music will take you.

Othennise, you would never go into such a situation.

Because of the music, it took us everywhere.

It took us to some strange places.

Physically and spiritually?

Physically, spiritually and psychotically.

It just always wasn't on the stage.

Even though you were on the stage.

Even though we were on the stage, yeah.

J“ she stands on the banks of the mrghty mississrppi j“

j“ alone r'n the pale moon/rght j“

j“ waitin ' for a man, a riverboat gambler j“

j“ said that he'd return ton/ght j“

j“ they used to waltz on the bank of the mrghty mississrppi j“

j“ lovin' the whole nrght through j“

j“ trl/ the riverboat gambler went off to make a killing j“

j“ and bring it on back to you j“

j“ Evangeline, Evangeline j“

j“ curses the soul of the mississrppi oueen j“

j“ that pulled her man away j“

J“ bayou Sam fiom south Louisiana j“

j“ had gambling in his veins j“

j“ Evangeline fiom the mar'r'trmes j“

j“ was slowly going insane j“

j“ hrgh on the top of hickory hrl/ j“

j“ she stands in the lrghtning and thunder j“

j“ down on the river the boat was a-sinkin' j“

j“ she watched that oueen go under j“

j“ Evangeline, Evangeline j“

j“ curses the soul of the mississrppi oueen j“

j“ that pulled her man away j“

j“ Evangeline, Evangeline j“

j“ curses the soul of the mississrppi oueen j“

j“ that pulled her man away j“

Garth was one of the most amazing musicians

that we knew at the time.

He could play better than anybody we ever heard.

And garth joined the band...

If we would, uh, make him the music teacher.

We didn't know why or what that was all about,

but we said, "sure. I mean, we're interested anyway."

And we had to pay him $10 a week each for these music lessons.

Then I was sure it was a riff.

But then I found out what it really was,

was that, where he was coming from and his musical education,

to tell his parents at this point that we was joining a rock-and-roll band

would have been like pouring it down the drain.

So he justified it to his people and his background

by being a music teacher.

There is a view that jazz is evil

because it comes from evil people.

But, actually, the greatest priests on 52nd street

and on the streets of New York City were the musicians.

They were doing the greatest healing work.

And they knew how to punch through music

which would cure and make people feel good.

J“ boards on the window j“

j“ marl by the door j“

j“ why would anybody leave so quickly for? J“

j“ Ophelia j“

j“ where have you gone? J“

j“ the old nerghborhood just ain't the same j“

j“ nobody knows just what became j“

j“ of Ophelia j“

j“ where have you gone? J“

J“ was it something that somebody said? J“

j“ mama, you know we broke the rules j“

j“ was somebody up against the law? J“

j“ honey, you know that I'd die for you j“

j“ they got your number j“

j“ the y're scared and running j“

j“ but I'm just waiting for the second coming j“

j“ of Ophelia j“

j“ please darken my door j“

J“ was it something that somebody said? J“

j“ mama, you know we broke the rules j“

j“ was somebody up against the law? J“

j“ oh, honey, you know that I'd die for you j“

j“ ashes of laughter j“

j“ the ghost is clear j“

j“ why do the best things always disappear? J“

j“ ere Ophelia j“

j“ oh, please, come back home j“

Most of the show stuff, though,

it was like traveling shows, like tent shows.

One was wolcott's rabbit's foot minstrels.

- What was that? - Wolcott's rabbit's foot minstrels. Yeah.

You know how they used to have the show start, right?

They'd have the singers and the players and the different parts of the show.

Then the master of ceremonies would come out just before the finale

and explain that after the finale, after the kids go home,

they'd have the midnight ramble, right?

- The midnight... - —the midnight ramble.

The songs would get a little bit juicier and the jokes would get a little funnier.

And the prettiest dancer would really get down and shake it a few times.

A lot of the rock-and-roll duck walks and steps and moves

came from a lot of that.

Everybody did it, and so, when, you know,

you would see Elvis Presley or Jerry Lee Lewis

or Chuck Berry or Bo diddley really shaking it up,

you know, it didn't come out of nowhere, it didn't come out of the air.

It was like the local entertainment everybody was going to see.

So when they exposed it to the rest of the world,

it was like this unknown beast that had come out,

the grotesque of music that the devil had sent, you know?

Here we go.

J“ and the caravan is on its way j“

j“ / can hear the merry g ypsies play j“

j“ mama, mama, look at Emma Rose j“

j“ she is a-p/a yin' with the radio j“

j“ la la la-la, la-la la j“

j“ la la la-la, la-la la j“

j“ and the caravan ls par'nted red and white j“

j“ that means everybodyis staying overnrght j“

j“ and the barefoot gypsy boy round the campfire sing and play j“

j“ and a woman tells us of her ways j“

sing it too.

J“ la la la-la, la-la la j“

j“ la la la-la, la-la la j“

j“ da da da-da da j“

j“ turn up your radio j“

j“ and let me, let me let me hear the song j“

j“ switch on your electric lrght j“

j“ now we can get down to what's really wrong j“

j“ I/ong just to hold you r'n my arms j“

j“ so that / can, I can feel you j“

j“ sweet lady of the nrght j“

j“ lsha/I re veal you j“

j“ turn it up j“

j“ turn it up j“

j“ turn it up j“

j“ little bit higher r

j“ radio j“

j“ turn it up j“

j“ thatis enough j“

j“ so you knowitis got soul j“

j“ la la la-la, la-la la j“

-j“ la la la-la, la-la la j“ —j“ oh, baby j“

j“ turn up your radio j“

j“ and let me, let me, let me let me hear the song j“

j“ switch on your electric lrght j“

j“ then we can get down to what's really wrong, really wrong, really wrong j“

j“ I/ong just to hold you r'n my arms j“

j“ so that / can, I can feel you j“

j“ sweet lady of the nrght j“

j“ lsha/I re veal you j“

j“ turn it up j“

j“ turn it up j“

j“ turn it up j“

j“ little bit higher r

j“ radio j“

j“ turn it up j“

j“ thatis enough j“

j“ so you knowitis got soul j“

j“ so you know j“

j“ so you knowitis got... j“

j“ soul, baby j“

J“ so you knowitis got... j“

j“ yeah j“

J“ so you knowitis got soul j“

j“ so you know its got nothin'but soul j“

j“ turn it up now j“

j“ yeah, yeah, yeah j“

j“ do that one more time j“

j“ do that one more time j“

j“ so you knowitis got nothin' j“

j“ do that one more time j“

j“ do that one more time j“

j“ one more j“

j“ do that one more time j“

j“ do that one more time j“

thank you.

Hey, Van the man!

Lawrence ferlinghetti!

Let us pray.

Our father, whose art's in heaven,

hollow by thy name, unless things change.

Thy wigdom come and gone.

Thy will will be undone

on earth as it isn't heaven.

Give us this day our daily dread,

at least three times a day.

And forgive us our trespasses on love's territory.

For thine is the wigdom and power and glory...

Oh, man!

J“ may god bless and keep you always j“

j“ may your wishes all come true j“

j“ ma y you always do for others j“

j“ and let others do for you j“

J“ may you build a ladder to the stars j“

j“ climb on every rung j“

j“ and may you stay j“

J“ fore ver young j“

J“ fore ver young j“

j“ fore ver young j“

j“ mayyou stay j“

j“ fore ver young j“

J“ ma y your hands always be busy j“

j“ ma y your feet always be swift j“

j“ may you have a strong foundation when the winds of changes shift j“

J“ may your heart always be joyful j“

j“ ma y your song always be sung j“

j“ and may you stay j“

j“ fore ver young j“

J“ fore ver young j“

j“ fore ver young j“

j“ mayyou stay j“

j“ fore ver young j“

J“ can / come home with you? J“

j“ baby, can / come home with you? J“

j“ well, I'i/ do anything in this god-almighty world j“

j“ if you just let me come home with you j“

J“ baby, let me follow you down j“

j“ baby, let me follow you down j“

j“ well, I'i/ do anything in this god-almighty world j“

j“ if you just let me follow you down j“

J“ / 'i/ buy you a diamond ring j“

j“ / 'i/ buy you a wedding gown j“

j“ well, I'i/ do anything in this god-almighty world j“

j“ if you just let me follow you down j“

thank you!

We got Ringo and Ronnie wood. They're gonna help us out on this one too.

J“ they say everything can be replaced j“

j“ they say e very distance is not near j“

j“ so lremember every face j“

j“ of e very man who put me here j“

j“ lsee my light come shinin' j“

j“ from the west down to the east j“

j“ any daynow j“

j“ any daynow j“

j“ lsha/I be released j“

J“ they say every man needs protection j“

j“ they say that every man must fall j“

j“ but / swear/see my refiection j“

j“ some where so high above this wall j“

j“ lsee my light come shinin' j“

j“ shininj baby j“

j“ from the west down to the east j“

j“ any daynow j“

j“ any daynow j“

j“ lsha/I be released j“

j“ yonder down here in this lonely crowd j“

j“ there is a man who swears he is not to blame j“

j“ all day long lhear him shouting loud j“

j“ crying out that he'd been fiamed j“

j“ lsee my light come shinin' j“

j“ from the west down to the east j“

j“ any daynow j“

j“ any daynow j“

j“ lsha/I be released j“

Thank you. —thank you very much.

The road was our school. It gave us a sense of survival.

It taught us all we know.

There's not much left that we can really take from the road.

We've had our share of... Or maybe it's just superstitious.

- Superstitious in what way? - You can press your luck.

The road has taken a lot of the great ones.

Hank Williams. Buddy Holly. Otis Redding.

Janis. Jimi Hendrix.

Elvis.

It's a goddamn impossible way of life.

- It is, isn't it? - No question about it.