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JOHNNY CASH: ♪ THEY GAVE HIM
HIS ORDERS ♪
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00:00:35,932 --> 00:00:37,762
♪ AT MONROE, VIRGINIA
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00:00:37,796 --> 00:00:42,036
♪ SAID, "STEVE,
YOU'’RE WAY BEHIND TIME ♪
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00:00:42,076 --> 00:00:46,356
♪ "THIS IS NOT 38,
THIS IS OL'’ 97 ♪
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00:00:46,391 --> 00:00:50,461
♪ PUT HER INTO
SPENCER ON TIME"... ♪
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00:00:50,498 --> 00:00:52,978
MAN: WHEN I WAS GROWING UP
ON ROUTE 8, KOSCIUSKO ROAD,
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00:00:53,018 --> 00:00:54,538
IN PHILADELPHIA, MISSISSIPPI,
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00:00:54,571 --> 00:00:58,091
THE GULF, MOBILE, AND OHIO
RAN RIGHT BEHIND OUR HOUSE.
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00:00:58,127 --> 00:01:00,337
AND IT SOUNDED LIKE THE TRAIN
WAS COMING THROUGH MY BEDROOM
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00:01:00,370 --> 00:01:02,100
AT NIGHT AND I LOVED IT.
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00:01:02,131 --> 00:01:06,651
CASH:
♪ ..."WATCH OL'’ 97 ROLL" ♪
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00:01:06,687 --> 00:01:08,477
AND I USED TO DREAM ABOUT
GETTING ON THAT TRAIN
13
00:01:08,516 --> 00:01:10,826
AND RIDING AND JUST GOING TO...
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00:01:10,863 --> 00:01:12,143
I DIDN'’T WANT
TO GO TO NEW YORK,
15
00:01:12,175 --> 00:01:13,485
I DIDN'’T WANT
TO GO TO HOLLYWOOD,
16
00:01:13,521 --> 00:01:15,451
I WANTED TO GO TO NASHVILLE
AND PLAY THAT KIND OF MUSIC
17
00:01:15,489 --> 00:01:17,009
THAT TOUCHED MY HEART.
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00:01:17,042 --> 00:01:20,392
CASH: ♪ ...IN THE WRECK
WITH HIS HAND ON THE THROTTLE ♪
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00:01:20,425 --> 00:01:23,285
♪ SCALDED TO DEATH
BY THE STEAM ♪
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00:01:26,569 --> 00:01:28,739
NARRATOR: FROM THE TIME
HE WAS A LITTLE BOY,
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00:01:28,778 --> 00:01:31,878
GROWING UP IN MISSISSIPPI
IN THE 1960s,
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00:01:31,919 --> 00:01:36,509
MUSIC WAS A CENTRAL PART
OF MARTY STUART'’S LIFE.
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00:01:36,544 --> 00:01:38,684
HIS MOTHER HAD NAMED HIM AFTER
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00:01:38,719 --> 00:01:41,959
HER FAVORITE COUNTRY SINGER,
MARTY ROBBINS,
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00:01:41,998 --> 00:01:45,928
AND GAVE HIM A COWBOY GUITAR
WHEN HE WAS ONLY 3.
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00:01:45,967 --> 00:01:49,317
BY AGE 9, HE HAD
MASTERED THE INSTRUMENT
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00:01:49,350 --> 00:01:52,490
AND PERFORMED
WHEREVER HE COULD.
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00:01:52,526 --> 00:01:55,286
THE FIRST RECORD
YOUNG STUART EVER OWNED
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00:01:55,322 --> 00:01:58,462
WAS BY HIS MUSICAL HERO
JOHNNY CASH.
30
00:02:00,258 --> 00:02:02,848
AFTER MEETING COUNTRY STAR
CONNIE SMITH
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00:02:02,881 --> 00:02:05,641
AT THE LOCAL FAIRGROUNDS
WHEN HE WAS 11,
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00:02:05,677 --> 00:02:09,847
HE VOWED TO HIS MAMA THAT
HE WOULD MARRY HER SOMEDAY.
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00:02:09,888 --> 00:02:13,928
AT A DIFFERENT CONCERT,
BILL MONROE IGNITED A PASSION
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00:02:13,961 --> 00:02:16,621
FOR BLUEGRASS MUSIC
AND THE MANDOLIN.
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00:02:19,277 --> 00:02:22,347
STUART: AND HE GAVE ME
HIS MANDOLIN PICK.
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00:02:22,383 --> 00:02:23,703
HE SAID, "DO YOU WANT TO PLAY
THE MANDOLIN, BOY?"
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00:02:23,729 --> 00:02:25,349
I SAID, "YES, SIR,
JUST LIKE YOU."
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00:02:25,386 --> 00:02:27,626
HE SAID, "THIS RIGHT HERE
WILL HELP YOU OUT."
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00:02:27,664 --> 00:02:29,394
AND I CARRIED THAT PICK
TO SCHOOL WITH ME EVERY DAY
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00:02:29,425 --> 00:02:31,455
LIKE IT WAS KRYPTONITE
IN MY POCKET, OR SOMETHING.
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00:02:31,496 --> 00:02:34,076
I FELT SPECIAL BECAUSE
I HAD SOMETHING IN MY POCKET
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00:02:34,119 --> 00:02:37,049
THAT NOBODY ELSE HAD
AND NOBODY ELSE KNEW ABOUT.
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00:02:37,087 --> 00:02:40,087
NARRATOR: STUART WAS SOON
GOOD ENOUGH ON THE MANDOLIN
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00:02:40,125 --> 00:02:43,985
TO IMPRESS A MEMBER OF
LESTER FLATT'’S BLUEGRASS BAND,
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00:02:44,025 --> 00:02:47,615
WHO SUGGESTED THAT SOMEDAY
THE BOY MIGHT TRAVEL WITH THEM.
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00:02:49,376 --> 00:02:54,376
THE CHANCE CAME IN 1972,
WHEN HE WAS 13.
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00:02:54,415 --> 00:02:57,375
HE GOT PERMISSION FROM HIS
PARENTS TO GO TO NASHVILLE
48
00:02:57,418 --> 00:03:00,458
AND TRY OUT FOR
LESTER FLATT'’S BAND.
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00:03:00,490 --> 00:03:02,700
THE ONLY DISAPPOINTMENT
WAS THAT HE HAD TO TAKE
50
00:03:02,734 --> 00:03:06,054
A BUS, NOT THE TRAIN.
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00:03:06,082 --> 00:03:09,362
IT DROPPED HIM OFF IN DECAYING
DOWNTOWN NASHVILLE,
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00:03:09,396 --> 00:03:12,046
NOT FAR FROM
THE RYMAN AUDITORIUM,
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00:03:12,088 --> 00:03:13,298
AT TWO IN THE MORNING.
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00:03:14,815 --> 00:03:18,365
STUART: 2:00 IN THE MORNING,
ON ANY NIGHT, AROUND THE RYMAN
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00:03:18,405 --> 00:03:21,235
BACK IN THOSE DAYS
WAS NOT THE PLACE TO BE.
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00:03:21,270 --> 00:03:24,860
I WALKED AROUND THE CORNER
OF THE GREYHOUND STATION
57
00:03:24,894 --> 00:03:26,724
AND THERE WAS
THE RYMAN AUDITORIUM.
58
00:03:28,449 --> 00:03:31,999
THE BUILDING THAT
I KNEW SO MUCH ABOUT.
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00:03:32,039 --> 00:03:34,079
AND IT WAS TIRED
AND IT WAS WEARY.
60
00:03:34,110 --> 00:03:36,910
THE PAINT WAS CRACKED AND SOME
OF THE WINDOWS WERE OUT,
61
00:03:36,940 --> 00:03:38,460
BUT IT LOOKED BEAUTIFUL TO ME.
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00:03:41,324 --> 00:03:44,784
NARRATOR: WITHIN A WEEK,
LESTER FLATT BROUGHT HIM ALONG
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TO PERFORM AT
THE GRAND OLE OPRY.
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00:03:51,058 --> 00:03:52,678
STUART: WALKING INTO
THE GRAND OLE OPRY
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WITH LESTER FLATT
TOTING HIS GUITAR WAS LIKE
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00:03:55,200 --> 00:03:57,690
WALKING INTO THE VATICAN
WITH THE POPE.
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00:03:57,720 --> 00:04:00,210
IT WAS A BIG MOMENT.
68
00:04:00,240 --> 00:04:02,240
IT WAS LIKE THAT OLD SCENE
IN THE "WIZARD OF OZ"
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00:04:02,276 --> 00:04:04,656
WHERE THE WORLD WENT FROM
BLACK AND WHITE TO COLOR.
70
00:04:04,692 --> 00:04:06,522
THAT'’S WHAT IT WAS LIKE FOR ME.
71
00:04:06,556 --> 00:04:08,766
EVERYTHING I'’D EVER
DREAMED OF CAME TRUE
72
00:04:08,800 --> 00:04:10,250
WHEN I WAS 13 YEARS OLD.
73
00:04:12,528 --> 00:04:14,558
AND I PLAYED THE MANDOLIN,
AND I WAS SO LITTLE,
74
00:04:14,599 --> 00:04:16,459
I HAD TO HOLD THE MANDOLIN
WAY UP IN THE AIR
75
00:04:16,497 --> 00:04:18,567
LIKE I WAS SHOOTING BIRDS,
OR SOMETHING.
76
00:04:20,570 --> 00:04:23,990
AT THE END OF THE SONG,
THE CROWD JUST KEPT APPLAUDING
77
00:04:24,022 --> 00:04:26,232
AND APPLAUDING AND APPLAUDING,
78
00:04:26,266 --> 00:04:27,676
AND I THOUGHT I HAD
DONE SOMETHING WRONG,
79
00:04:27,715 --> 00:04:29,365
AND I LOOKED AT LESTER
AND I SAID, "WHAT DO I DO?"
80
00:04:29,407 --> 00:04:30,647
HE SAID, "DO IT AGAIN."
81
00:04:32,272 --> 00:04:33,962
AND I KNEW I HAD FOUND A HOME.
82
00:04:33,997 --> 00:04:35,787
AND I KNEW I WAS
WHERE I BELONGED
83
00:04:35,827 --> 00:04:37,727
AND I WAS WHERE I WANTED TO BE.
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00:04:37,760 --> 00:04:41,320
MEN: ♪ WHAT WOULD YOU GIVE
85
00:04:41,350 --> 00:04:43,460
♪ IN EXCHANGE FOR YOUR SOUL?
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00:05:00,990 --> 00:05:03,300
HANK WILLIAMS JR.:
♪ AS LONG AS I CAN
87
00:05:03,337 --> 00:05:08,547
♪ KEEP A LOT OF FRIENDS
AROUND ME ♪
88
00:05:08,584 --> 00:05:10,834
MAN: I THINK THERE'’S A PARADOX
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00:05:10,862 --> 00:05:13,832
THAT'’S ALWAYS EXISTED
IN COUNTRY MUSIC.
90
00:05:13,865 --> 00:05:17,765
HOW MUCH CHANGE DO YOU EMBRACE?
91
00:05:17,800 --> 00:05:23,500
AND HOW MUCH CHANGE CAN YOU MAKE
WITHOUT COMPLETELY OBLITERATING
92
00:05:23,530 --> 00:05:25,600
WHAT YOU WERE
AND WHERE YOU CAME FROM?
93
00:05:27,085 --> 00:05:30,565
MAN 2: I DON'’T LIKE FENCES
BUILT AROUND MUSIC.
94
00:05:30,606 --> 00:05:33,536
'’CAUSE FENCES,
SURE, THEY...
95
00:05:33,574 --> 00:05:35,994
THEY KEEP THINGS OUT,
BUT THEY ALSO, UH,
96
00:05:36,025 --> 00:05:37,225
THEY DON'’T LET THINGS IN.
97
00:05:37,267 --> 00:05:42,577
WILLIAMS JR.: ♪ ...STONED
AT THE JUKEBOX... ♪
98
00:05:42,618 --> 00:05:45,548
MAN: I THINK THE LINES
ARE ONLY IMAGINARY AND THAT
99
00:05:45,586 --> 00:05:47,106
YOU HAVE TO PUT THEM
THERE BECAUSE
100
00:05:47,139 --> 00:05:49,489
THEY'’RE NOT THERE
IN THE BEGINNING.
101
00:05:49,521 --> 00:05:51,041
IT'’S MUSIC, YOU KNOW?
102
00:05:51,074 --> 00:05:54,424
YOU CAN'’T SAY IT'S
THIS, THAT, OR THE OTHER.
103
00:05:54,457 --> 00:05:58,117
IT'’S NOT A DEMOCRAT
OR REPUBLICAN.
104
00:05:58,150 --> 00:06:00,500
NARRATOR: FROM ITS BEGINNINGS,
COUNTRY MUSIC
105
00:06:00,532 --> 00:06:03,952
HAD NEVER BEEN ONE STYLE.
106
00:06:03,984 --> 00:06:07,164
LIKE ALL ART FORMS,
IT HAD ALWAYS RESISTED
107
00:06:07,194 --> 00:06:10,654
BEING CONFINED WITHIN
ARBITRARY BORDERS.
108
00:06:10,680 --> 00:06:13,410
AND LIKE ALL ARTISTS,
ITS BIGGEST STARS
109
00:06:13,442 --> 00:06:16,962
HAD ALWAYS PUSHED THOSE
BOUNDARIES TO THEIR LIMITS.
110
00:06:18,447 --> 00:06:22,867
WILLIAMS JR.: ♪ AND LORD, I LOVE
THAT HURTIN'’ MUSIC ♪
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00:06:22,899 --> 00:06:27,869
♪ '’CAUSE I AM HURTIN', TOO ♪
112
00:06:29,837 --> 00:06:33,047
MALONE: AS FANS, WE MAY WANT
THEM TO DO THE OLD STUFF.
113
00:06:33,082 --> 00:06:34,882
WE'’RE UNHAPPY
QUITE OFTEN WHEN THEY--
114
00:06:34,911 --> 00:06:36,671
WHEN THEY BRANCH OUT
INTO SOMETHING NEW.
115
00:06:36,706 --> 00:06:38,466
BUT MUSICIANS,
THEY'’RE INNOVATIVE.
116
00:06:38,501 --> 00:06:39,681
THEY'’RE EXPERIMENTAL.
117
00:06:39,709 --> 00:06:42,259
THEY WANT TO DO
SOMETHING FRESH, SOMETHING NEW.
118
00:06:42,298 --> 00:06:44,778
OF COURSE, THE QUESTION IS
WHERE DOES IT END?
119
00:06:44,818 --> 00:06:46,678
WHEN DOES IT CEASE
TO BE COUNTRY
120
00:06:46,716 --> 00:06:48,436
WHEN THEY'’VE MADE
ALL THESE CHANGES?
121
00:06:56,381 --> 00:06:59,181
WAYLON JENNINGS: ♪ LORD,
IT'’S THE SAME OLD TUNE ♪
122
00:06:59,211 --> 00:07:01,661
♪ FIDDLE AND GUITAR
123
00:07:01,697 --> 00:07:05,697
♪ WHERE DO WE
TAKE IT FROM HERE? ♪
124
00:07:05,735 --> 00:07:10,185
♪ RHINESTONE SUITS
AND NEW SHINY CARS ♪
125
00:07:10,222 --> 00:07:13,362
♪ IT'’S BEEN THE SAME WAY
FOR YEARS ♪
126
00:07:15,745 --> 00:07:17,395
♪ WE NEED A CHANGE
127
00:07:19,369 --> 00:07:22,989
NARRATOR: IN THE 1970s,
DEFINING COUNTRY MUSIC
128
00:07:23,028 --> 00:07:26,338
WOULD BE DEBATED
AS NEVER BEFORE.
129
00:07:26,376 --> 00:07:30,206
BUT THAT ARGUMENT WOULD SPARK
ONE OF ITS MOST VIBRANT ERAS--
130
00:07:30,242 --> 00:07:35,492
MAKING ROOM FOR NEW VOICES
AND NEW ATTITUDES.
131
00:07:35,524 --> 00:07:36,804
AND OUT ON THE EDGES,
132
00:07:36,835 --> 00:07:40,625
WHERE DIFFERENT TYPES OF MUSIC
MEET AND MINGLE
133
00:07:40,667 --> 00:07:42,667
AND ART IS ALWAYS CREATED,
134
00:07:42,703 --> 00:07:48,403
COUNTRY MUSIC WOULD FIND
A DRAMATICALLY LARGER AUDIENCE.
135
00:07:48,433 --> 00:07:51,193
JENNINGS: ♪ I DON'’T THINK HANK
DONE IT THIS WAY ♪
136
00:07:51,229 --> 00:07:52,299
NARRATOR: TWO WOMEN
137
00:07:52,333 --> 00:07:54,203
FROM NEARLY
OPPOSITE BACKGROUNDS
138
00:07:54,232 --> 00:07:56,372
WOULD LEAD THE WAY.
139
00:07:56,406 --> 00:08:00,546
ONE WOULD COME INTO HER OWN
AS A WRITER AND SINGER OF SONGS
140
00:08:00,583 --> 00:08:02,793
DRAWN FROM HER
IMPOVERISHED CHILDHOOD
141
00:08:02,827 --> 00:08:05,827
IN THE MOUNTAINS
OF EAST TENNESSEE.
142
00:08:05,864 --> 00:08:09,044
THE OTHER, FROM THE FOLK CLUBS
OF THE EAST COAST,
143
00:08:09,074 --> 00:08:12,354
WOULD BECOME AN UNLIKELY
CONVERT TO COUNTRY MUSIC--
144
00:08:12,388 --> 00:08:16,388
AND, WITH HER ANGELIC VOICE,
CONVERT MILLIONS MORE.
145
00:08:18,256 --> 00:08:21,566
TWO MUSICAL OUTCASTS
WOULD MAKE THEIR OWN RULES
146
00:08:21,604 --> 00:08:25,514
ABOUT WHAT IS
AND WHAT ISN'’T COUNTRY MUSIC.
147
00:08:25,539 --> 00:08:27,539
ONE WOULD HAVE
TO LEAVE NASHVILLE
148
00:08:27,576 --> 00:08:31,026
TO FIND HIS
TRUE VOICE IN TEXAS.
149
00:08:31,062 --> 00:08:33,442
THE OTHER WOULD UPEND
THE RELATIONSHIP BETWEEN
150
00:08:33,478 --> 00:08:38,348
ARTISTS AND THEIR RECORD LABELS
IN MUSIC CITY.
151
00:08:38,379 --> 00:08:42,379
A MARRIED COUPLE, EACH
POSSESSING A REMARKABLE VOICE,
152
00:08:42,418 --> 00:08:46,728
WOULD CREATE SOME OF COUNTRY
MUSIC'’S MOST ENDURING RECORDS
153
00:08:46,767 --> 00:08:51,737
WHILE SEEMINGLY LIVING OUT
THEIR SONGS'’ TRAGIC LYRICS.
154
00:08:51,772 --> 00:08:55,572
AND, AS A NEW GENERATION
OF ARTISTS CAME OF AGE,
155
00:08:55,604 --> 00:08:58,684
TWO CHILDREN OF
TWO MUSIC LEGENDS--
156
00:08:58,710 --> 00:09:01,580
ONE, THE SON OF
THE HILLBILLY SHAKESPEARE,
157
00:09:01,610 --> 00:09:05,340
THE OTHER, THE DAUGHTER
OF THE MAN IN BLACK--
158
00:09:05,372 --> 00:09:07,032
WOULD STRIKE OUT ON THEIR OWN
159
00:09:07,063 --> 00:09:09,243
AND PROVE,
AS THEIR FATHERS DID,
160
00:09:09,272 --> 00:09:13,412
THAT COUNTRY MUSIC,
THOUGH GROUNDED IN TRADITION,
161
00:09:13,449 --> 00:09:15,969
HAS ALWAYS BEEN MOVING FORWARD.
162
00:09:31,950 --> 00:09:35,060
TOM T. HALL: ♪ COUNTRY IS
163
00:09:35,091 --> 00:09:38,411
♪ SITTIN'’ ON THE BACK PORCH ♪
164
00:09:38,439 --> 00:09:41,619
♪ LISTEN TO THE WHIPPOORWILLS
165
00:09:41,650 --> 00:09:43,550
♪ LATE IN THE DAY
166
00:09:43,583 --> 00:09:45,413
NARRATOR: BY THE TIME
YOUNG MARTY STUART
167
00:09:45,446 --> 00:09:47,726
DEBUTED ON THE GRAND OLE OPRY,
168
00:09:47,759 --> 00:09:51,729
THE DECISION HAD ALREADY BEEN
MADE THAT THE RYMAN AUDITORIUM
169
00:09:51,763 --> 00:09:54,593
WAS NO LONGER SUITED
FOR AN ATTRACTION DRAWING
170
00:09:54,628 --> 00:09:58,248
400,000 VISITORS A YEAR.
171
00:09:58,287 --> 00:10:00,497
THE FORMER TABERNACLE,
OWNED BY
172
00:10:00,530 --> 00:10:03,640
THE NATIONAL LIFE AND ACCIDENT
INSURANCE COMPANY,
173
00:10:03,672 --> 00:10:07,812
WAS NOW MORE THAN
3/4 OF A CENTURY OLD.
174
00:10:07,848 --> 00:10:10,328
HALL: ♪ KNOWIN'’ YOUR KIND ♪
175
00:10:10,368 --> 00:10:13,368
MAN: AND THE STREET
AROUND THE RYMAN AUDITORIUM
176
00:10:13,405 --> 00:10:16,335
AT THAT TIME WAS
FULL OF HONKY-TONKS
177
00:10:16,374 --> 00:10:18,344
AND STREET WALKERS AND BEGGARS,
178
00:10:18,376 --> 00:10:20,786
AND THE FANS, THEY WERE
ALL GETTING HIT OUT THERE
179
00:10:20,827 --> 00:10:23,657
WHILE THEY'’RE WAITING IN LINE
TO HOPEFULLY GET A TICKET.
180
00:10:23,692 --> 00:10:28,042
AND THE INSURANCE COMPANY GOT
VERY SENSITIVE AS TIME WENT ON.
181
00:10:28,075 --> 00:10:31,285
AND IT WAS A--IT WAS
REALLY A PR PROBLEM.
182
00:10:31,320 --> 00:10:32,670
HALL: ♪ COUNTRY IS
183
00:10:32,701 --> 00:10:35,361
NARRATOR: FOR YEARS,
OPRY MANAGER BUD WENDELL
184
00:10:35,393 --> 00:10:38,193
HAD BEEN FIELDING COMPLAINTS
FROM THE PERFORMERS
185
00:10:38,223 --> 00:10:41,713
ABOUT THEIR CRAMPED
WORKING CONDITIONS.
186
00:10:41,744 --> 00:10:45,304
"MOST OF MY MEMORIES
OF THE RYMAN," ROY ACUFF SAID,
187
00:10:45,334 --> 00:10:49,034
"ARE OF MISERY, SWEATING
OUT THERE ON THE STAGE,
188
00:10:49,062 --> 00:10:50,932
THE AUDIENCE SUFFERING, TOO."
189
00:10:50,960 --> 00:10:52,820
HALL: ♪ FIND OUT WHAT'’S RIGHT ♪
190
00:10:52,859 --> 00:10:54,689
NARRATOR:
SUMMERS WERE THE WORST, WHEN
191
00:10:54,723 --> 00:10:57,073
TEMPERATURES INSIDE
THE UN-AIR-CONDITIONED
192
00:10:57,104 --> 00:11:02,114
BRICK BUILDING ROSE TO
100 DEGREES AND HIGHER.
193
00:11:02,144 --> 00:11:05,044
STUART: AND LESTER FLATT
WENT TO BUD WENDELL AND SAID,
194
00:11:05,078 --> 00:11:07,428
"BUD, WE'’VE TALKED ABOUT IT
AMONGST OURSELVES
195
00:11:07,459 --> 00:11:09,839
"AND WHY DON'’T SOME OF
US OLDER ARTISTS
196
00:11:09,876 --> 00:11:12,356
"GO IN AND PITCH IN
AND MAYBE COME UP WITH
197
00:11:12,395 --> 00:11:14,325
"AN AIR-CONDITIONING SYSTEM,
OR SOMETHING TO HELP OUT
198
00:11:14,363 --> 00:11:15,713
AROUND HERE A LITTLE BIT?"
199
00:11:15,744 --> 00:11:18,264
BUD SAID SOMETHING TO
THE EFFECT, I THINK, "UH, WELL,
200
00:11:18,298 --> 00:11:19,468
"WE'’VE CHECKED
INTO THAT, LESTER,
201
00:11:19,506 --> 00:11:20,776
AND IT'’S A LITTLE OVER
$2 MILLION."
202
00:11:20,818 --> 00:11:22,648
AND LESTER SAID,
"AIN'’T AS HOT AS I THOUGHT."
203
00:11:27,514 --> 00:11:30,864
NARRATOR: WENDELL'’S BOSSES
DECIDED THE BEST SOLUTION
204
00:11:30,897 --> 00:11:34,557
WAS TO BUILD A NEW HOME
FOR THE OPRY.
205
00:11:34,590 --> 00:11:36,970
ON MORE THAN 300 ACRES OF LAND,
206
00:11:37,006 --> 00:11:40,246
6 MILES UP THE CUMBERLAND RIVER
FROM DOWNTOWN,
207
00:11:40,285 --> 00:11:43,215
THEY SPENT MORE THAN
$65 MILLION
208
00:11:43,254 --> 00:11:48,474
TO BUILD AN ELABORATE
THEME PARK, OPRYLAND USA;
209
00:11:48,500 --> 00:11:52,300
A SPRAWLING, 615-ROOM HOTEL;
210
00:11:52,332 --> 00:11:54,962
AND THE SPACIOUS
GRAND OLE OPRY HOUSE,
211
00:11:54,990 --> 00:11:56,750
FULLY AIR-CONDITIONED,
212
00:11:56,785 --> 00:12:00,855
WITH COMFORTABLE SEATING
FOR 4,400 PEOPLE,
213
00:12:00,892 --> 00:12:03,312
12 DRESSING ROOMS
FOR THE ARTISTS,
214
00:12:03,343 --> 00:12:05,283
AND A SEPARATE,
STATE-OF-THE-ART
215
00:12:05,310 --> 00:12:07,830
TELEVISION STUDIO.
216
00:12:07,865 --> 00:12:13,145
EVERYTHING WAS BRAND-NEW,
EXCEPT FOR A CIRCLE OF OLD WOOD
217
00:12:13,180 --> 00:12:15,490
AT THE CENTER OF THE STAGE.
218
00:12:15,527 --> 00:12:17,697
IT HAD COME FROM THE RYMAN.
219
00:12:20,567 --> 00:12:24,397
ON FRIDAY, MARCH 15, 1974,
220
00:12:24,433 --> 00:12:26,753
THE MOTHER CHURCH
OF COUNTRY MUSIC
221
00:12:26,780 --> 00:12:29,750
HOSTED ITS FINAL
GRAND OLE OPRY.
222
00:12:29,783 --> 00:12:32,543
MAN: ♪ GOOD-BYE,
DEAR, OLD RYMAN ♪
223
00:12:32,579 --> 00:12:34,749
ANDERSON: I'’LL NEVER FORGET
THE LAST NIGHT AT THE RYMAN.
224
00:12:34,788 --> 00:12:36,338
IT WAS ON A FRIDAY NIGHT.
225
00:12:36,376 --> 00:12:38,966
AND WE WERE GOING TO OPEN
AT THE OPRY HOUSE
226
00:12:38,999 --> 00:12:41,799
THE NEXT NIGHT, ON SATURDAY.
227
00:12:41,830 --> 00:12:46,490
THERE WAS A FEELING THERE OF,
UM, IT WAS LIKE A FEELING
228
00:12:46,524 --> 00:12:48,534
I'’VE NEVER FELT
AT THE OPRY BEFORE.
229
00:12:48,560 --> 00:12:52,630
IT WAS A LITTLE BIT OF SADNESS,
A LOT OF SADNESS.
230
00:12:52,668 --> 00:12:54,148
IT WAS A LITTLE BIT OF JOY.
231
00:12:54,187 --> 00:12:56,047
THERE WAS ANTICIPATION.
232
00:12:56,085 --> 00:12:58,735
THERE WAS A FEAR
OF THE UNKNOWN.
233
00:12:58,778 --> 00:13:00,058
"WELL, WHERE DO
WE GO FROM HERE?
234
00:13:00,089 --> 00:13:03,129
"ARE WE CUTTING OFF OUR NOSE
TO SPITE OUR FACE HERE?
235
00:13:03,161 --> 00:13:05,091
IS THIS REALLY WHAT
WE OUGHT TO BE DOING?"
236
00:13:06,647 --> 00:13:10,957
NARRATOR: BILL ANDERSON SANG
HIS BIG HIT, "PO'’ FOLKS."
237
00:13:10,997 --> 00:13:13,617
ROY ACUFF DID
"WABASH CANNONBALL"
238
00:13:13,654 --> 00:13:18,454
BEFORE INTRODUCING HIS
OLD FRIEND MINNIE PEARL.
239
00:13:18,487 --> 00:13:21,587
AFTER 8 HALF-HOUR SEGMENTS
OF THE OPRY,
240
00:13:21,628 --> 00:13:25,318
THE GRAND OLE GOSPEL SHOW
TOOK OVER.
241
00:13:25,356 --> 00:13:27,456
HANK SNOW WAS A FEATURED GUEST,
242
00:13:27,496 --> 00:13:30,596
AS WERE MOTHER MAYBELLE CARTER
AND HER DAUGHTERS
243
00:13:30,637 --> 00:13:34,017
AND JOHNNY CASH.
244
00:13:34,054 --> 00:13:37,024
THE LAST SONG PERFORMED
LATE THAT EVENING
245
00:13:37,057 --> 00:13:39,607
WAS THE OLD
CARTER FAMILY CLASSIC,
246
00:13:39,646 --> 00:13:43,026
"WILL THE CIRCLE BE UNBROKEN."
247
00:13:43,063 --> 00:13:45,863
LISTENING TO IT ALL
WAS A YOUNG REPORTER
248
00:13:45,894 --> 00:13:47,794
FOR "THE NEW YORKER" MAGAZINE,
249
00:13:47,827 --> 00:13:52,177
WHO HAD COME TO THE RYMAN
TO COVER THE EVENT.
250
00:13:52,210 --> 00:13:57,730
GARRISON KEILLOR HAD GROWN UP
IN MINNESOTA, 860 MILES AWAY,
251
00:13:57,767 --> 00:14:01,737
GLUED TO HIS FAMILY RADIO
EVERY SATURDAY NIGHT
252
00:14:01,771 --> 00:14:04,911
TO HEAR THE MUSIC
AND MINNIE PEARL'’S STORIES
253
00:14:04,947 --> 00:14:09,467
FROM THE MAKE-BELIEVE TOWN
OF GRINDER'’S SWITCH.
254
00:14:09,503 --> 00:14:12,133
ON THIS NIGHT,
KEILLOR WORKED HIS WAY
255
00:14:12,161 --> 00:14:14,781
INTO THE BROADCAST
ENGINEERS'’ BOOTH,
256
00:14:14,819 --> 00:14:19,509
LEANED AGAINST THE BACK WALL,
AND CLOSED HIS EYES.
257
00:14:19,548 --> 00:14:23,208
"IT WAS GOOD," HE WROTE,
"TO LET THE OPRY GO OUT
258
00:14:23,241 --> 00:14:26,311
"THE SAME WAY
IT HAD FIRST COME TO ME,
259
00:14:26,348 --> 00:14:28,968
THROUGH THE AIR IN THE DARK."
260
00:14:33,458 --> 00:14:36,668
THE NEXT NIGHT,
THE GRAND OLE OPRY DEBUTED
261
00:14:36,703 --> 00:14:39,603
FROM ITS BRAND-NEW HOME
IN THE SUBURBS.
262
00:14:41,984 --> 00:14:47,684
♪ FROM THE GREAT ATLANTIC OCEAN
TO THE WIDE PACIFIC SHORE... ♪
263
00:14:47,714 --> 00:14:50,484
ANDERSON: I GET GOOSE BUMPS
EVEN THINKING ABOUT IT NOW,
264
00:14:50,510 --> 00:14:53,580
AS THEY PROJECTED A FILM
OF ROY ACUFF SINGING
265
00:14:53,616 --> 00:14:56,336
"THE WABASH CANNONBALL"
FROM BACK IN THE FORTIES.
266
00:14:56,378 --> 00:14:58,098
AND THEY'’RE SHOWING THIS
ON THE SCREEN
267
00:14:58,138 --> 00:14:59,858
IN THE NEW OPRY HOUSE.
268
00:14:59,899 --> 00:15:03,659
♪ ...ON THE WABASH
CANNONBALL ♪
269
00:15:03,695 --> 00:15:06,525
ANDERSON: AND IT'’S JUST QUIET
AS A MOUSE AND ALL OF A SUDDEN,
270
00:15:06,560 --> 00:15:11,500
THAT SCREEN BEGINS TO LIFT
AND THERE'’S ROY ACUFF...
271
00:15:11,531 --> 00:15:15,501
♪ ...ST. LOUIS
AND CHICAGO
BY THE WAY ♪
272
00:15:15,535 --> 00:15:17,705
♪ FROM THE HILLS
OF MINNESOTA ♪
273
00:15:17,744 --> 00:15:21,094
♪ WHERE THE RIPPLING
WATERS FALL... ♪
274
00:15:21,127 --> 00:15:22,917
AND THEY'’RE SINGING
THE SAME SONG.
275
00:15:22,956 --> 00:15:24,406
IT NEVER MISSED A BEAT.
276
00:15:24,440 --> 00:15:26,750
IT WAS FROM THE OLD FILM
IN THE FORTIES
277
00:15:26,787 --> 00:15:29,617
TO HERE'’S ROY ACUFF
NOW IN HIS SEVENTIES
278
00:15:29,652 --> 00:15:31,552
STILL SINGING
"THE WABASH CANNONBALL."
279
00:15:31,585 --> 00:15:32,655
I STOOD THERE AND CRIED.
280
00:15:32,690 --> 00:15:34,970
I'’M ALMOST...I CAN
ALMOST SIT HERE
281
00:15:35,003 --> 00:15:37,183
AND CRY JUST THINKING ABOUT IT.
282
00:15:37,212 --> 00:15:38,972
NARRATOR: THE GUEST OF HONOR
THAT NIGHT
283
00:15:39,007 --> 00:15:41,697
WAS PRESIDENT RICHARD NIXON.
284
00:15:41,733 --> 00:15:43,803
IN WASHINGTON,
HE WAS EMBROILED IN
285
00:15:43,839 --> 00:15:47,079
THE WATERGATE SCANDAL
AND IMPEACHMENT PROCEEDINGS.
286
00:15:47,118 --> 00:15:51,738
IN NASHVILLE, HE WAS HAPPY
TO FIND A FRIENDLY AUDIENCE.
287
00:15:55,195 --> 00:15:58,295
FOR YEARS, THE COUNTRY
MUSIC ASSOCIATION
288
00:15:58,336 --> 00:16:00,986
HAD BEEN TELLING
ADVERTISING EXECUTIVES
289
00:16:01,029 --> 00:16:03,169
AND RADIO STATION OWNERS
290
00:16:03,203 --> 00:16:05,833
THAT THE OLD STEREOTYPE
OF COUNTRY FANS
291
00:16:05,861 --> 00:16:10,591
AS POOR AND UNEDUCATED
HILLBILLIES WAS WRONG.
292
00:16:10,624 --> 00:16:13,774
"THE FANS OF OUR MUSIC,"
A CMA OFFICIAL SAID,
293
00:16:13,800 --> 00:16:17,180
"ELECT THE PRESIDENTS,
RUN THE FACTORIES,
294
00:16:17,217 --> 00:16:21,327
"GROW THE FOOD, TRANSPORT
OUR GOODS, AND, IN GENERAL,
295
00:16:21,359 --> 00:16:25,849
MANIPULATE THE GEARS OF THIS
COUNTRY EVERY DAY."
296
00:16:25,881 --> 00:16:32,961
"THE "C" IN COUNTRY MUSIC,"
A BROCHURE ADDED, "MEANS CASH."
297
00:16:32,992 --> 00:16:36,242
WHOO! GET UP THERE.
298
00:16:36,271 --> 00:16:44,281
♪ WELL, GOOD MORNING,
CAPTAIN ♪
299
00:16:44,313 --> 00:16:48,283
NARRATOR: BY 1974, DOLLY PARTON
HAD BEEN PERFORMING
300
00:16:48,317 --> 00:16:52,907
ON PORTER WAGONER'’S SYNDICATED
TELEVISION SHOW FOR 7 YEARS.
301
00:16:52,942 --> 00:16:54,942
AND DURING ALL 7 OF THEM,
302
00:16:54,979 --> 00:16:58,289
WAGONER HAD EXERTED
TIGHT CONTROL OVER HER CAREER.
303
00:16:58,327 --> 00:17:05,227
♪ DOWN ON YOUR
NEW MUD RUN?
HEY, HEY, YEAH ♪
304
00:17:05,265 --> 00:17:09,055
NARRATOR: WAGONER'’S OWN STAR AS
A COUNTRY SINGER WAS FADING.
305
00:17:09,097 --> 00:17:13,687
HIS DUET ALBUMS WITH PARTON
OUTSOLD HIS OWN SOLO RECORDS,
306
00:17:13,722 --> 00:17:16,142
BUT ON THE ROAD
AND IN THE STUDIO,
307
00:17:16,173 --> 00:17:19,283
HE INSISTED ON BEING IN CHARGE.
308
00:17:19,314 --> 00:17:23,734
"I SIGNED THE CHECKS," HE SAID,
"SO, WE DID THINGS MY WAY."
309
00:17:27,115 --> 00:17:31,325
♪ FROM DOWN OLD
TENNESSEE WAY,
HEY, HEY ♪
310
00:17:31,360 --> 00:17:34,090
♪ I COME
FROM TENNESSEE ♪
311
00:17:34,122 --> 00:17:36,502
NARRATOR: WITH
WAGONER PRODUCING, SHE RECORDED
312
00:17:36,538 --> 00:17:39,608
THE OLD JIMMIE RODGERS TUNE
FROM 1930,
313
00:17:39,644 --> 00:17:45,344
"MULE SKINNER BLUES," WHICH
BECAME HER FIRST TOP 10 SINGLE.
314
00:17:45,374 --> 00:17:47,724
WOMAN: THERE ARE SONGS LIKE
THE "MULE SKINNER BLUES"
315
00:17:47,756 --> 00:17:49,406
THAT ARE JUST CLASSICS.
316
00:17:49,447 --> 00:17:51,417
FROM JIMMIE RODGERS
AND HIS VERSION OF IT
317
00:17:51,449 --> 00:17:54,309
TO BILL MONROE'’S,
TO ROSE MADDOX.
318
00:17:54,349 --> 00:17:56,519
THERE ARE SONGS LIKE
THE "MULE SKINNER BLUES"
319
00:17:56,558 --> 00:17:59,108
THAT, YOU KNOW,
THAT GO ALL THE WAY BACK.
320
00:17:59,147 --> 00:18:01,357
SOMEBODY HEARS THAT
AND DADDY LOVED THAT
321
00:18:01,390 --> 00:18:05,600
AND GRANDPA LOVED THAT,
AND THEY PASS THAT SONG DOWN.
322
00:18:05,636 --> 00:18:08,706
IT'’S A LITTLE LIKE AN HEIRLOOM.
323
00:18:08,742 --> 00:18:12,372
YOU KNOW, SOMETHING THAT
THEY CAN HOLD IN THE FAMILY.
324
00:18:14,162 --> 00:18:15,542
THEY'’RE LIKE KEEPSAKES.
325
00:18:16,819 --> 00:18:19,549
NARRATOR: BUT WAGONER
ALSO ENCOURAGED PARTON
326
00:18:19,581 --> 00:18:22,201
TO RECORD MORE AND MORE
OF THE SONGS
327
00:18:22,239 --> 00:18:25,589
SHE HAD WRITTEN HERSELF,
STARTING WITH "JOSHUA,"
328
00:18:25,621 --> 00:18:28,901
WHICH BECAME HER FIRST
NUMBER-ONE COUNTRY HIT,
329
00:18:28,935 --> 00:18:32,935
AND THEN "COAT OF MANY COLORS"
AND "JOLENE."
330
00:18:32,973 --> 00:18:38,393
PARTON: ♪ JOLENE,
JOLENE, JOLENE, JOLENE ♪
331
00:18:38,427 --> 00:18:43,187
♪ I'’M BEGGING OF YOU, PLEASE
DON'’T TAKE MY MAN ♪
332
00:18:44,847 --> 00:18:50,407
♪ JOLENE, JOLENE,
JOLENE, JOLENE ♪
333
00:18:50,439 --> 00:18:56,789
♪ PLEASE DON'’T TAKE HIM
JUST BECAUSE YOU CAN ♪
334
00:18:56,825 --> 00:18:58,965
♪ YOUR BEAUTY IS
BEYOND COMPARE ♪
335
00:18:58,999 --> 00:19:01,209
♪ WITH FLAMING LOCKS
OF AUBURN HAIR ♪
336
00:19:01,243 --> 00:19:05,393
♪ WITH IVORY SKIN
AND EYES OF EMERALD GREEN ♪
337
00:19:07,732 --> 00:19:10,012
♪ YOUR SMILE IS LIKE
A BREATH OF SPRING ♪
338
00:19:10,045 --> 00:19:12,905
♪ YOUR VOICE IS SOFT LIKE
SUMMER RAIN AND I CANNOT... ♪
339
00:19:12,944 --> 00:19:14,604
WOMAN: YOU KNOW WHAT
THAT FEELING IS LIKE--
340
00:19:14,636 --> 00:19:16,186
"THAT GIRL'’S PRETTIER.
IS SHE GOING TO TAKE HIM AWAY?"
341
00:19:16,224 --> 00:19:17,364
SHE COULD TAKE HIM
AWAY, YOU KNOW.
342
00:19:17,397 --> 00:19:18,737
IS HE GOING TO LEAVE?
343
00:19:18,778 --> 00:19:20,808
PARTON: ♪ HE TALKS ABOUT YOU
IN HIS SLEEP ♪
344
00:19:20,849 --> 00:19:22,949
♪ AND THERE'’S NOTHING
I CAN DO TO KEEP ♪
345
00:19:22,989 --> 00:19:27,929
♪ FROM CRYING WHEN HE
CALLS YOUR NAME, JOLENE ♪
346
00:19:27,959 --> 00:19:29,999
SHE'’S NOT CURSING HER OUT,
SHE'’S NOT YELLING AT HER,
347
00:19:30,030 --> 00:19:34,380
SHE'’S NOT BEING, YOU KNOW,
FEISTY AND CAT WOMAN.
348
00:19:34,414 --> 00:19:36,524
SHE'’S JUST SAYING,
"PLEASE DON'’T TAKE MY MAN."
349
00:19:36,554 --> 00:19:39,394
I MEAN, THERE'’S SOMETHING
ABOUT THAT LINE IN "JOLENE,"
350
00:19:39,419 --> 00:19:41,699
"PLEASE DON'’T TAKE HIM
JUST BECAUSE YOU CAN."
351
00:19:41,732 --> 00:19:43,422
THAT IS SO HEART-WRENCHING.
352
00:19:43,458 --> 00:19:47,218
PARTON: ♪ JOLENE,
PLEASE DON'’T TAKE HIM ♪
353
00:19:47,255 --> 00:19:53,255
♪ EVEN THOUGH YOU CAN,
JOLENE... ♪
354
00:19:53,295 --> 00:19:56,605
NARRATOR: IN THE EARLY 1970s,
PARTON HAD
355
00:19:56,643 --> 00:19:59,413
5 NUMBER-ONE COUNTRY
SOLO HITS,
356
00:19:59,439 --> 00:20:01,859
ALL OF THEM SELF-WRITTEN;
357
00:20:01,890 --> 00:20:04,130
WAGONER HAD NONE.
358
00:20:04,168 --> 00:20:07,648
INSIDERS COULD SEE
TENSIONS BUILDING.
359
00:20:07,689 --> 00:20:10,309
MAN: DOLLY GOT SMART.
360
00:20:10,347 --> 00:20:12,797
I GUESS SHE CAME SMART.
361
00:20:12,832 --> 00:20:18,322
I THINK DOLLY LEARNED
THAT SHE WAS NOT GOING TO GO
362
00:20:18,355 --> 00:20:22,525
ANY FURTHER WITH
HER CAREER AS LONG AS
363
00:20:22,566 --> 00:20:25,326
SHE WAS IN PORTER'’S SHADOW.
364
00:20:25,362 --> 00:20:27,162
PARTON: WELL, I THINK PORTER
HAD A REAL HARD TIME
365
00:20:27,191 --> 00:20:29,231
AFTER OTHER PEOPLE STARTED
RECORDING MY SONGS
366
00:20:29,262 --> 00:20:33,232
AND I WAS WRITING AND I WAS
GETTING TO BE PRETTY POPULAR.
367
00:20:33,266 --> 00:20:34,716
AND IT WAS HIS SHOW.
368
00:20:34,750 --> 00:20:37,860
I WASN'’T TRYING TO HOG IT,
BUT I JUST KIND OF CARVED OUT
369
00:20:37,891 --> 00:20:40,891
A LITTLE, YOU KNOW,
PLACE FOR MYSELF.
370
00:20:40,929 --> 00:20:43,099
BUT IT WAS
A LOVE-HATE RELATIONSHIP.
371
00:20:43,138 --> 00:20:45,868
WE FOUGHT LIKE CATS AND DOGS.
372
00:20:45,899 --> 00:20:49,039
WE WERE JUST BOTH
VERY PASSIONATE PEOPLE.
373
00:20:49,075 --> 00:20:50,695
THERE WAS NO WAY THAT
I WASN'’T GOING TO DO
374
00:20:50,732 --> 00:20:52,322
WHAT I WAS GOING TO DO.
375
00:20:52,354 --> 00:20:53,774
AND NO WAY I WAS
GOING TO NOT DO
376
00:20:53,804 --> 00:20:55,944
WHAT HE THOUGHT
I WAS GOING TO DO.
377
00:20:55,978 --> 00:20:58,768
NARRATOR: "PORTER DREAMED OF ME
STAYING WITH HIS SHOW FOREVER,"
378
00:20:58,809 --> 00:21:02,919
PARTON SAID, "AND I DREAMED OF
HAVING MY OWN SHOW.
379
00:21:02,951 --> 00:21:05,161
"I WROTE MORE AND MORE SONGS
380
00:21:05,194 --> 00:21:08,274
AND DREAMED BIGGER
AND BIGGER DREAMS."
381
00:21:10,717 --> 00:21:12,547
PARTON: WHEN I WAS TRYING
TO LEAVE THE SHOW,
382
00:21:12,581 --> 00:21:14,341
I HAD TOLD PORTER
I'’D STAY 5 YEARS.
383
00:21:14,376 --> 00:21:18,306
IT HAD BEEN 5, THEN IT WAS 6,
THEN IT WAS 7.
384
00:21:18,346 --> 00:21:20,136
HE WAS JUST HAVING
A REAL HARD TIME
385
00:21:20,175 --> 00:21:21,795
'’CAUSE IT WAS GOING
TO MESS UP HIS SHOW.
386
00:21:23,454 --> 00:21:25,974
WE WERE VERY BOUND
AND TIED TOGETHER
387
00:21:26,008 --> 00:21:28,218
IN SO MANY EMOTIONAL WAYS.
388
00:21:28,252 --> 00:21:30,602
AND HE JUST WOULD NOT HEAR IT.
389
00:21:30,634 --> 00:21:32,394
AND SO, HE WAS GOING TO SUE ME;
390
00:21:32,429 --> 00:21:34,849
HE WAS GOING TO DO THIS;
HE WAS GOING TO DO THAT.
391
00:21:34,879 --> 00:21:36,569
AND SO, I WENT HOME
AND I THOUGHT,
392
00:21:36,605 --> 00:21:38,085
"HE'’S NOT GOING
TO LISTEN TO ME."
393
00:21:38,124 --> 00:21:40,134
'’CAUSE I'VE SAID IT
OVER AND OVER.
394
00:21:40,160 --> 00:21:41,680
AND SO I THOUGHT,
"DO WHAT YOU DO BEST.
395
00:21:41,714 --> 00:21:43,584
JUST WRITE A SONG."
396
00:21:43,612 --> 00:21:46,722
SO, I WROTE THE SONG,
TOOK IT BACK IN THE NEXT DAY,
397
00:21:46,753 --> 00:21:47,963
AND I SAID, "PORTER, SIT DOWN.
398
00:21:47,996 --> 00:21:49,686
I'’VE GOT SOMETHING
I HAVE TO SING TO YOU."
399
00:21:51,379 --> 00:21:54,759
SO, I SANG IT, AND HE
WAS SITTING AT HIS DESK
AND HE WAS CRYING.
400
00:21:54,796 --> 00:21:57,176
HE SAID, "THAT'’S
THE BEST THING YOU EVER WROTE."
401
00:21:57,212 --> 00:22:01,912
"OK, YOU CAN GO, BUT ONLY IF
I CAN PRODUCE THAT RECORD."
402
00:22:01,941 --> 00:22:05,501
AND HE DID,
AND THE REST IS HISTORY.
403
00:22:05,531 --> 00:22:09,091
NARRATOR: RELEASED A FEW MONTHS
AFTER SHE LEFT, IT WOULD GO ON
404
00:22:09,120 --> 00:22:12,920
TO BECOME DOLLY PARTON'’S
BEST-SELLING SONG.
405
00:22:12,952 --> 00:22:20,102
♪ IF I SHOULD STAY
406
00:22:20,131 --> 00:22:27,481
♪ I WOULD ONLY BE IN YOUR WAY
407
00:22:27,518 --> 00:22:31,068
♪ SO I'’LL GO ♪
408
00:22:31,108 --> 00:22:34,558
♪ BUT I KNOW
409
00:22:34,594 --> 00:22:42,434
♪ I'’LL THINK OF YOU
EACH STEP OF THE WAY ♪
410
00:22:42,464 --> 00:22:46,024
♪ AND I
411
00:22:46,054 --> 00:22:51,584
♪ WILL ALWAYS LOVE YOU
412
00:22:51,611 --> 00:23:01,481
♪ I WILL ALWAYS
LOVE YOU ♪
413
00:23:01,518 --> 00:23:04,938
EMERY: THAT SONG, IT WAS
AN ANTHEM TO PORTER WAGONER.
414
00:23:04,969 --> 00:23:08,489
♪ ...SWEET MEMORIES
415
00:23:08,525 --> 00:23:12,665
SHE WROTE IT, I THINK, BECAUSE
HE HAD DONE SO MUCH FOR HER.
416
00:23:12,701 --> 00:23:14,951
BUT SHE FELT IF
SHE DIDN'’T LEAVE HIM,
417
00:23:14,979 --> 00:23:18,599
SHE WOULD JUST REMAIN
PORTER'’S GIRL SINGER.
418
00:23:18,638 --> 00:23:22,118
♪ BUT I
419
00:23:22,159 --> 00:23:27,509
♪ WILL ALWAYS LOVE YOU
420
00:23:27,544 --> 00:23:29,344
♪ I WILL...
421
00:23:29,373 --> 00:23:30,693
HOLLY WILLIAMS:
WRITING A BEAUTIFUL SONG
422
00:23:30,719 --> 00:23:32,649
FROM THE MOST
SIMPLE WORDS.
423
00:23:32,687 --> 00:23:34,687
♪ LOVE YOU
424
00:23:34,723 --> 00:23:36,143
"I WILL ALWAYS LOVE YOU.
I WILL ALWAYS LOVE YOU.
425
00:23:36,173 --> 00:23:37,143
I WILL ALWAYS LOVE YOU,"
426
00:23:37,174 --> 00:23:38,494
WHEN SHE SINGS IT
OVER AND OVER,
427
00:23:38,520 --> 00:23:40,040
IT'’S JUST SOMETHING THAT
ANY OF US CAN RELATE TO.
428
00:23:41,489 --> 00:23:44,009
♪ AND I
WISH YOU JOY ♪
429
00:23:44,043 --> 00:23:45,293
SHE WAS ABLE,
LIKE HANK WILLIAMS,
430
00:23:45,320 --> 00:23:47,840
TO TAKE THE MOST BASIC
ONE-LINERS,
431
00:23:47,874 --> 00:23:52,094
"I WILL ALWAYS LOVE YOU,"
AND TURN IT INTO A MASTERPIECE.
432
00:23:52,120 --> 00:23:55,990
♪ I WISH YOU LOVE
433
00:23:56,020 --> 00:23:59,510
♪ AND I
434
00:23:59,541 --> 00:24:04,861
♪ WILL ALWAYS
LOVE YOU ♪
435
00:24:04,891 --> 00:24:14,351
♪ I WILL ALWAYS
LOVE YOU ♪
436
00:24:14,383 --> 00:24:25,363
♪ I WILL
ALWAYS LOVE YOU ♪
437
00:24:30,434 --> 00:24:34,444
LORETTA LYNN AND CONWAY TWITTY:
♪ LOVE IS WHERE YOU FIND IT
438
00:24:34,473 --> 00:24:39,103
NARRATOR: OTHER FAMOUS DUET
TEAMS WERE STAYING TOGETHER.
439
00:24:39,132 --> 00:24:41,382
BILL ANDERSON AND JAN HOWARD
440
00:24:41,410 --> 00:24:45,140
SOMETIMES WROTE
EACH OTHER'’S SONGS.
441
00:24:45,173 --> 00:24:47,353
DOTTIE WEST, WHO HAD
BEEN IN NASHVILLE
442
00:24:47,382 --> 00:24:50,832
FOR MORE THAN A DECADE,
JOINED WITH KENNY ROGERS,
443
00:24:50,868 --> 00:24:52,318
WHO HAD RECENTLY ARRIVED.
444
00:24:52,352 --> 00:24:55,182
TWITTY: ♪ ...IS ALMOST EMPTY
445
00:24:55,217 --> 00:24:58,187
NARRATOR: LORETTA LYNN
TEAMED UP WITH CONWAY TWITTY,
446
00:24:58,220 --> 00:25:03,430
THE FORMER ROCKABILLY STAR WHO
HAD RETURNED TO COUNTRY MUSIC.
447
00:25:03,467 --> 00:25:07,397
TOGETHER, THEY RELEASED
NEARLY A DOZEN DUET ALBUMS
448
00:25:07,436 --> 00:25:09,716
AND HAD 5 NUMBER-ONE SINGLES.
449
00:25:09,749 --> 00:25:13,749
LYNN: ♪ WE KNOW IT'’S
WRONG FOR US TO MEET ♪
450
00:25:13,788 --> 00:25:18,408
♪ BUT THE FIRE'’S
GONE OUT AT HOME ♪
451
00:25:18,447 --> 00:25:23,417
TWITTY AND LYNN: ♪ AND THERE'’S
NOTHIN'’ COLD AS ASHES ♪
452
00:25:23,452 --> 00:25:28,252
♪ AFTER THE FIRE IS GONE
453
00:25:34,084 --> 00:25:37,544
GEORGE JONES AND TAMMY WYNETTE:
♪ ROLLIN'’ IN MY
SWEET BABY'’S ARMS ♪
454
00:25:37,570 --> 00:25:40,680
NARRATOR: BUT NO COUPLE
CAPTIVATED AUDIENCES,
455
00:25:40,711 --> 00:25:42,681
AND HEADLINES, MORE THAN
456
00:25:42,713 --> 00:25:44,653
GEORGE JONES AND TAMMY WYNETTE.
457
00:25:44,681 --> 00:25:47,131
JONES AND WYNETTE:
♪ I'’LL LAY AROUND THE SHACK ♪
458
00:25:47,166 --> 00:25:49,956
♪ TILL THE MAIL TRAIN
COMES BACK ♪
459
00:25:49,996 --> 00:25:53,686
♪ AND I'’LL ROLL IN
MY SWEET BABY'’S ARMS ♪
460
00:25:53,724 --> 00:25:55,904
ANDERSON: I THINK PEOPLE
REALLY FELT LIKE THEY WERE
461
00:25:55,933 --> 00:25:57,313
GETTING A LOT OF THE TRUE STORY
462
00:25:57,348 --> 00:25:59,248
AND GETTING THE STORY
OF THEIR OWN LIVES
463
00:25:59,281 --> 00:26:01,591
WHEN THIS INCREDIBLY TALENTED
MALE SINGER
464
00:26:01,629 --> 00:26:04,149
WAS SINGING WITH THIS BEAUTIFUL
AND INCREDIBLY TALENTED
465
00:26:04,183 --> 00:26:06,983
FEMALE SINGER,
AND THEY'’RE SINGING SONGS.
466
00:26:07,013 --> 00:26:11,813
♪ WE'’RE GONNA HOLD ON ♪
OK, IF, IF THEY CAN HOLD ON,
467
00:26:11,846 --> 00:26:14,016
ME AND OLD FRED
CAN HOLD ON, TOO.
468
00:26:14,055 --> 00:26:15,605
OR ME AND OLD ETHEL, YOU KNOW?
469
00:26:15,643 --> 00:26:18,753
AND I THINK PEOPLE SAW
THEIR OWN LIVES IN THESE SONGS.
470
00:26:18,784 --> 00:26:22,374
JONES AND WYNETTE:
♪ ...SWEET BABY'’S ARMS ♪
471
00:26:22,408 --> 00:26:27,718
♪ ROLLING IN MY
SWEET BABY'’S ARMS, I'LL... ♪
472
00:26:27,758 --> 00:26:30,998
NARRATOR: WHEN THEY GOT MARRIED
BACK IN 1969,
473
00:26:31,037 --> 00:26:33,487
BOTH TAMMY WYNETTE
AND GEORGE JONES
474
00:26:33,522 --> 00:26:36,662
WERE ALREADY
WELL-KNOWN ARTISTS.
475
00:26:36,698 --> 00:26:39,838
BILLED AS "MR. AND MRS.
COUNTRY MUSIC,"
476
00:26:39,874 --> 00:26:42,604
THEY DREW LARGE,
ADORING CROWDS.
477
00:26:42,635 --> 00:26:44,705
AND THEIR PRODUCER,
BILLY SHERRILL,
478
00:26:44,741 --> 00:26:51,371
MADE SURE THEY FED THEIR FANS
A STEADY STRING OF DUET ALBUMS.
479
00:26:51,402 --> 00:26:54,202
MAN: I SEE TAMMY
LOOKING AT GEORGE'’S LIPS
480
00:26:54,233 --> 00:26:56,133
TRYING TO FIGURE OUT
IF HE'’S EVER GOING TO
481
00:26:56,166 --> 00:26:58,816
DO IT TWICE THE SAME WAY
482
00:26:58,858 --> 00:27:02,338
AND DOING HER DAMNEDEST
TO PHRASE WITH HIM.
483
00:27:02,379 --> 00:27:04,659
AND HIM WITH THAT LITTLE
484
00:27:04,692 --> 00:27:06,562
BEADY-EYED POSSUM LOOK
ABOUT HIM,
485
00:27:06,590 --> 00:27:08,390
LOVING EVERY SECOND OF IT.
486
00:27:08,419 --> 00:27:12,669
BOTH: ♪ FOR BETTER OR WORST
487
00:27:12,700 --> 00:27:17,010
♪ YOU'’LL ALWAYS COME FIRST ♪
488
00:27:17,049 --> 00:27:22,609
♪ AND NO ONE CAN
KEEP US APART ♪
489
00:27:22,641 --> 00:27:25,781
NARRATOR: "WHEN WE WERE
ONSTAGE," JONES SAID,
490
00:27:25,816 --> 00:27:28,266
"WE WERE IN OUR OWN
LITTLE HEAVEN."
491
00:27:28,301 --> 00:27:30,481
BOTH: ♪ ...EACH OTHER
492
00:27:30,510 --> 00:27:34,830
♪ FORSAKING ALL OTHERS
493
00:27:34,860 --> 00:27:37,690
NARRATOR: BUT THIS WAS A THIRD
MARRIAGE FOR BOTH OF THEM,
494
00:27:37,725 --> 00:27:39,795
AND IT WAS NEVER TRANQUIL.
495
00:27:39,830 --> 00:27:43,390
HIS BINGE DRINKING
MADE HIM UNCONTROLLABLE.
496
00:27:43,420 --> 00:27:45,770
SHE COULD BE EQUALLY VOLATILE.
497
00:27:45,802 --> 00:27:49,942
"HE NIPPED," SHE SAID,
"AND I NAGGED."
498
00:27:54,811 --> 00:27:58,881
WOMAN: I WAS FRIENDS WITH BOTH
OF THEM WHEN THEY GOT TOGETHER.
499
00:27:58,918 --> 00:28:02,198
AND I HAVE TO SAY,
I THOUGHT, "OH, MY.
500
00:28:02,232 --> 00:28:05,172
I DON'’T KNOW WHETHER
THIS CAN WORK OR NOT."
501
00:28:06,581 --> 00:28:09,201
I TRULY THINK THAT
GEORGE AND TAMMY
502
00:28:09,239 --> 00:28:11,279
HAD A GREAT LOVE AFFAIR.
503
00:28:11,310 --> 00:28:14,310
BUT THERE ARE CERTAINLY
PROBLEMS THAT ARISE
504
00:28:14,347 --> 00:28:17,247
FROM TWO STRONG CAREERS,
505
00:28:17,281 --> 00:28:20,701
A STRONG DUET CAREER
THROWN IN THERE,
506
00:28:20,733 --> 00:28:24,503
FAMILY ADDED,
AND GEORGE'’S DRINKING
507
00:28:24,530 --> 00:28:27,640
WAS JUST ALWAYS A PROBLEM, TOO.
508
00:28:27,671 --> 00:28:33,571
SO, ALL OF THOSE ELEMENTS ADD TO
EITHER LIVING OUT A COUNTRY SONG
509
00:28:33,608 --> 00:28:35,778
OR WRITING A DAMN GOOD ONE.
510
00:28:35,817 --> 00:28:41,027
BOTH: ♪ WE'’RE GONNA HOLD ON ♪
511
00:28:41,064 --> 00:28:45,214
NARRATOR: IN 1973,
WYNETTE FILED FOR DIVORCE.
512
00:28:45,240 --> 00:28:49,070
THEY RECONCILED LONG ENOUGH FOR
THEM TO GO BACK INTO THE STUDIO
513
00:28:49,106 --> 00:28:51,626
AND RECORD
"WE'’RE GONNA HOLD ON,"
514
00:28:51,660 --> 00:28:53,040
WHICH ROSE TO NUMBER ONE.
515
00:28:53,076 --> 00:28:57,736
BOTH: ♪ ON TO EACH OTHER
516
00:28:57,770 --> 00:28:59,360
NARRATOR: SHE WITHDREW
HER PETITION.
517
00:28:59,392 --> 00:29:02,432
♪ LIFE CAN BE ROUGH
518
00:29:02,464 --> 00:29:05,784
♪ SOMETIMES IT'’S KIND ♪
519
00:29:05,813 --> 00:29:12,413
♪ A REAL GOOD LIFE
IS HARD TO FIND ♪
520
00:29:12,440 --> 00:29:19,380
♪ IT BRINGS US
HAPPINESS ALL
THROUGH THE DAY ♪
521
00:29:19,412 --> 00:29:25,112
♪ AND NOTHING'’S
GONNA EVER
MAKE IT GO AWAY ♪
522
00:29:25,142 --> 00:29:31,492
BOTH: ♪ WE'’RE GONNA HOLD ON ♪
523
00:29:31,528 --> 00:29:37,808
♪ WE'’RE GONNA HOLD ON ♪
524
00:29:37,845 --> 00:29:48,785
♪ WE'’RE GONNA HOLD ON TO
EACH OTHER ♪
525
00:29:48,821 --> 00:29:54,481
♪ WE'’RE GONNA HOLD ON ♪
526
00:29:55,932 --> 00:29:59,832
NARRATOR: TWO YEARS LATER,
WYNETTE FILED FOR DIVORCE AGAIN.
527
00:29:59,867 --> 00:30:03,587
THIS TIME, THERE WAS
NO TURNING BACK.
528
00:30:03,629 --> 00:30:07,389
"GEORGE IS ONE OF THOSE PEOPLE
WHO CAN'’T TOLERATE HAPPINESS,"
529
00:30:07,426 --> 00:30:09,316
SHE TOLD A REPORTER.
530
00:30:09,359 --> 00:30:12,159
"IF EVERYTHING IS RIGHT,
THERE IS SOMETHING IN HIM
531
00:30:12,189 --> 00:30:16,399
THAT MAKES HIM DESTROY IT
AND DESTROY ME WITH IT."
532
00:30:19,645 --> 00:30:22,605
THEY EACH RELEASED
POPULAR ALBUMS,
533
00:30:22,648 --> 00:30:28,168
BUT AS SOLO ACTS ON THE ROAD,
THEIR BOOKINGS SUFFERED.
534
00:30:28,205 --> 00:30:30,925
AT WYNETTE'’S CONCERTS,
DISAPPOINTED FANS
535
00:30:30,967 --> 00:30:33,727
OFTEN SHOUTED OUT,
"WHERE'’S GEORGE?"
536
00:30:33,762 --> 00:30:38,182
WYNETTE: ♪ I MAY SOMETIMES
BOTHER YOU, TRY TO BE IN.... ♪
537
00:30:38,215 --> 00:30:41,455
NARRATOR: JONES'’
DRINKING INCREASED.
538
00:30:41,494 --> 00:30:45,294
HE WOULD SOMETIMES BE SEEN
IN ONE OF THE 27 CARS
539
00:30:45,326 --> 00:30:47,876
HE BOUGHT AND SOLD THAT YEAR,
540
00:30:47,915 --> 00:30:50,985
AIMLESSLY CIRCLING
THE DRIVEWAY OF THE HOME
541
00:30:51,021 --> 00:30:55,201
THE COUPLE HAD ONCE SHARED
IN NASHVILLE.
542
00:30:55,232 --> 00:30:58,512
SHE EMBARKED ON A SERIES
OF HIGHLY PUBLICIZED
543
00:30:58,546 --> 00:31:00,956
AND SHORT-LIVED ROMANCES--
544
00:31:00,997 --> 00:31:04,897
WITH A MOVIE STAR,
A PROFESSIONAL FOOTBALL PLAYER,
545
00:31:04,932 --> 00:31:08,872
A COUNTRY SINGER,
A POLITICIAN, AND OTHERS.
546
00:31:10,730 --> 00:31:14,110
AT A RECORDING SESSION
IN LATE 1975,
547
00:31:14,148 --> 00:31:16,698
SHE RECORDED A SONG
SHE LATER CALLED
548
00:31:16,736 --> 00:31:19,356
THE FAVORITE OF
ALL HER SINGLES--
549
00:31:19,394 --> 00:31:22,474
"TIL I CAN MAKE IT ON MY OWN."
550
00:31:22,501 --> 00:31:27,821
WYNETTE: ♪ TIL I CAN
MAKE IT ON MY OWN ♪
551
00:31:27,851 --> 00:31:29,721
NARRATOR: AS THE SESSION
MUSICIANS GATHERED
552
00:31:29,749 --> 00:31:31,299
TO HEAR THE PLAYBACK,
553
00:31:31,337 --> 00:31:34,377
NO ONE IN THE STUDIO
SPOKE A WORD.
554
00:31:34,409 --> 00:31:39,859
"THEY KNEW," WYNETTE RECALLED,
"THE SONG WAS ABOUT GEORGE."
555
00:31:39,898 --> 00:31:43,248
STILL, 4 MONTHS LATER,
BILLY SHERRILL WAS ABLE
556
00:31:43,280 --> 00:31:47,700
TO GET THE TWO OF THEM TOGETHER
FOR ONE MORE DUET ALBUM.
557
00:31:47,733 --> 00:31:50,913
ITS TITLE TRACK
WAS "GOLDEN RING,"
558
00:31:50,943 --> 00:31:54,953
WRITTEN BY RAFE VAN HOY
AND BOBBY BRADDOCK.
559
00:31:54,982 --> 00:31:57,712
MAN: "GOLDEN RING" DOES SOUND
A LITTLE BIT LIKE AN OLD HYMN.
560
00:31:57,743 --> 00:31:59,233
IT PROBABLY SOUNDS
LIKE 10 OR 12
561
00:31:59,262 --> 00:32:02,202
OLD SOUTHERN GOSPEL HYMNS
KIND OF THROWN TOGETHER.
562
00:32:02,230 --> 00:32:03,920
WHEN YOU GET TO
THE CHORUS,
563
00:32:03,956 --> 00:32:06,126
IT'’S THAT OLD CHURCH
SING-A-LONG THING.
564
00:32:06,165 --> 00:32:11,095
♪ GOLDEN RING, GOLDEN RING,
WITH ONE TINY, LITTLE STONE ♪
565
00:32:11,136 --> 00:32:15,616
♪ CAST ASIDE, CAST ASIDE, LIKE
THE LOVE THAT'’S DEAD AND GONE ♪
566
00:32:15,657 --> 00:32:19,967
♪ BY ITSELF, BY ITSELF,
JUST A COLD METALLIC THING ♪
567
00:32:20,007 --> 00:32:22,697
♪ ONLY LOVE CAN MAKE
A GOLDEN WEDDING RING ♪
568
00:32:22,733 --> 00:32:25,153
♪ DOO DOO DOO DOO
569
00:32:25,184 --> 00:32:27,744
BOTH: ♪ GOLDEN RING ♪ OOH
570
00:32:27,773 --> 00:32:30,533
♪ WITH ONE TINY,
LITTLE STONE ♪
571
00:32:30,569 --> 00:32:33,399
♪ CAST ASIDE ♪ CAST ASIDE
572
00:32:33,434 --> 00:32:36,134
♪ LIKE THE LOVE THAT'’S
DEAD AND GONE ♪
573
00:32:36,161 --> 00:32:38,611
♪ BY ITSELF ♪ BY ITSELF
574
00:32:38,646 --> 00:32:41,236
♪ IT'’S JUST A COLD
METALLIC THING ♪
575
00:32:41,269 --> 00:32:47,069
♪ ONLY LOVE CAN MAKE
A GOLDEN WEDDING RING ♪
576
00:32:51,176 --> 00:32:54,766
♪ IN A PAWN SHOP IN CHICAGO
577
00:32:54,800 --> 00:32:58,910
♪ ON A SUNNY SUMMER DAY
578
00:32:58,942 --> 00:33:09,022
♪ A COUPLE GAZES AT
THE WEDDING RINGS
THERE ON DISPLAY ♪
579
00:33:09,056 --> 00:33:15,786
♪ GOLDEN RING
580
00:33:17,167 --> 00:33:19,957
NARRATOR: "GOLDEN RING" WOULD
TOP THE COUNTRY CHARTS.
581
00:33:23,311 --> 00:33:26,041
IT WAS PLAYING ON
WYNETTE'’S CAR RADIO
582
00:33:26,073 --> 00:33:28,633
ON THE DAY SHE WAS
ON HER WAY TO MARRY
583
00:33:28,661 --> 00:33:32,461
HER FOURTH HUSBAND IN 1976.
584
00:33:32,493 --> 00:33:37,843
IT WAS STILL ON THE CHARTS WHEN
SHE DIVORCED HIM 44 DAYS LATER.
585
00:33:44,022 --> 00:33:47,402
BY THIS TIME,
THE SMOOTH NASHVILLE SOUND
586
00:33:47,439 --> 00:33:51,269
HAD EVOLVED INTO
SOMETHING EVEN SMOOTHER.
587
00:33:51,305 --> 00:33:53,545
CHARLIE RICH: ♪ MY BABY
MAKES ME PROUD ♪
588
00:33:53,583 --> 00:33:56,213
NARRATOR: PEOPLE CALLED IT
"COUNTRYPOLITAN,"
589
00:33:56,241 --> 00:33:59,831
AND PRODUCERS HOPED IT WOULD
HELP THEIR ARTISTS CROSS OVER
590
00:33:59,865 --> 00:34:02,695
TO THE LUCRATIVE POP MARKET.
591
00:34:02,730 --> 00:34:04,280
RICH: ♪ '’CAUSE PEOPLE
LIKE TO TALK ♪
592
00:34:04,318 --> 00:34:06,318
NARRATOR: BILLY SHERRILL
WAS MUSIC CITY'’S
593
00:34:06,354 --> 00:34:10,264
MOST RELIABLE
COUNTRYPOLITAN HIT MAKER.
594
00:34:10,289 --> 00:34:11,879
HE HELPED CHARLIE RICH,
595
00:34:11,911 --> 00:34:14,191
A JOURNEYMAN
RHYTHM AND BLUES SINGER,
596
00:34:14,224 --> 00:34:19,514
REINVENT HIMSELF AS
AN EASY-LISTENING,
COUNTRY-POP STAR,
597
00:34:19,540 --> 00:34:21,440
AND WHEN HE FOUND TANYA TUCKER,
598
00:34:21,473 --> 00:34:24,653
A PRECOCIOUS 13-YEAR-OLD
WITH A BIG VOICE,
599
00:34:24,683 --> 00:34:27,243
HE GAVE HER SONGS
WITH ADULT THEMES
600
00:34:27,272 --> 00:34:29,932
THAT RAISED EYEBROWS
AMONG COUNTRY MUSIC'’S
601
00:34:29,964 --> 00:34:32,244
MORE CONSERVATIVE FANS
602
00:34:32,277 --> 00:34:35,177
AND CREATED DOZENS
OF HIT RECORDS.
603
00:34:35,211 --> 00:34:37,281
RICH: ♪ AND SHE MAKES ME GLAD
604
00:34:37,316 --> 00:34:40,556
NARRATOR: UP AND DOWN MUSIC ROW,
OTHER PRODUCERS,
605
00:34:40,595 --> 00:34:43,555
INCLUDING CHET ATKINS
AND OWEN BRADLEY,
606
00:34:43,598 --> 00:34:47,598
STEERED EVEN FARTHER AWAY
FROM COUNTRY'’S TWANG.
607
00:34:52,366 --> 00:34:54,366
BUT THE BRIDGE
TO CROSSOVER SUCCESS
608
00:34:54,402 --> 00:34:56,542
WENT BOTH WAYS.
609
00:34:56,577 --> 00:35:00,547
OLIVIA NEWTON-JOHN:
♪ YOU CAME WHEN I WAS HAPPY
IN YOUR... ♪
610
00:35:00,581 --> 00:35:02,791
NARRATOR: AUSTRALIA'’S
OLIVIA NEWTON-JOHN
611
00:35:02,824 --> 00:35:04,624
GOT HER CAREER LAUNCHED
612
00:35:04,654 --> 00:35:07,314
WHEN HER EARLY
POP SONGS WERE PROMOTED
613
00:35:07,346 --> 00:35:10,866
TO COUNTRY RADIO STATIONS.
614
00:35:10,901 --> 00:35:15,771
IN 1974, SHE WAS NAMED
THE COUNTRY MUSIC ASSOCIATION'’S
615
00:35:15,803 --> 00:35:17,703
FEMALE VOCALIST OF THE YEAR,
616
00:35:17,736 --> 00:35:21,706
BEATING OUT DOLLY PARTON
AND LORETTA LYNN.
617
00:35:21,740 --> 00:35:25,610
COUNTRY TRADITIONALISTS
WERE SURPRISED AND ANGRY.
618
00:35:25,640 --> 00:35:28,890
NEWTON-JOHN: ♪ IF YOU LOVE ME,
LET ME KNOW ♪
619
00:35:28,919 --> 00:35:30,339
WOMAN: IT SHOCKED ME.
620
00:35:30,369 --> 00:35:33,609
THAT THE MUSIC WAS
GETTING AWAY FROM US.
621
00:35:33,648 --> 00:35:37,168
WE WERE LOSING...OUR IDENTITY,
622
00:35:37,204 --> 00:35:38,654
SO TO SPEAK, I GUESS.
623
00:35:40,068 --> 00:35:41,898
NARRATOR: THE FUROR
WAS EVEN GREATER
624
00:35:41,932 --> 00:35:46,142
AT THE NEXT YEAR'’S AWARDS SHOW,
WHEN CMA'’S TOP HONOR--
625
00:35:46,178 --> 00:35:49,008
COUNTRY MUSIC ENTERTAINER
OF THE YEAR--
626
00:35:49,043 --> 00:35:50,873
WENT TO A FOLK/POP SINGER
627
00:35:50,907 --> 00:35:55,187
WHO WAS WATCHING FROM
THE OTHER SIDE OF THE WORLD.
628
00:35:55,222 --> 00:35:56,432
MAN: THE WINNER...
629
00:36:15,414 --> 00:36:17,624
MY FRIEND MR. JOHN DENVER.
630
00:36:22,594 --> 00:36:24,044
STUART: THINGS WERE CHANGING.
AND NOT EVERYBODY
631
00:36:24,078 --> 00:36:25,738
AGREED WITH IT.
632
00:36:25,769 --> 00:36:29,149
I THINK A LOT OF PEOPLE SAW IT
AS THE BOUNDARIES
633
00:36:29,187 --> 00:36:31,907
WERE BEING BROADENED
AND EXPANDED UPON.
634
00:36:31,948 --> 00:36:33,158
AND OTHER PEOPLE SAW IT AS THAT
635
00:36:33,191 --> 00:36:34,991
COUNTRY MUSIC IS
LOSING ITS SOUL.
636
00:36:38,782 --> 00:36:41,202
♪ I'’M GOING DOWN
TO AUSTIN, TEXAS ♪
637
00:36:41,233 --> 00:36:43,963
♪ I'’M GOING DOWN
TO SAVE MY SOUL, GET... ♪
638
00:36:43,994 --> 00:36:46,344
NARRATOR: WHILE OLDER,
TRADITIONAL ARTISTS
639
00:36:46,376 --> 00:36:49,826
ENGAGED IN A TUG OF WAR
WITH THE COUNTRYPOLITANS,
640
00:36:49,862 --> 00:36:52,692
NASHVILLE WAS ALSO
ATTRACTING A NEW WAVE
641
00:36:52,727 --> 00:36:56,247
OF YOUNG SINGER-SONGWRITERS
WHO HAD THEIR OWN IDEAS
642
00:36:56,283 --> 00:36:58,843
ABOUT THE DIRECTION
OF COUNTRY MUSIC.
643
00:36:58,871 --> 00:37:03,671
♪ OH, MY, MOMMA, AIN'’T THAT
TEXAS COOKIN'’ SOMETHING ♪
644
00:37:03,704 --> 00:37:08,474
♪ OH, MY, MOMMA, IT'’LL STOP YO'
BELLY AND BACKBONE BUMPIN'’ ♪
645
00:37:08,502 --> 00:37:13,132
♪ OH, MY, MOMMA, AIN'’T THAT
TEXAS COOKIN'’ GOOD ♪
646
00:37:13,161 --> 00:37:18,131
♪ OH, MY, MOMMA, EAT IT
EVERY DAY IF I COULD ♪
647
00:37:18,166 --> 00:37:20,956
NARRATOR: FOR THEM,
CREATING A WELL-CRAFTED SONG
648
00:37:20,997 --> 00:37:23,827
WAS MORE IMPORTANT
THAN WRITING A HIT,
649
00:37:23,862 --> 00:37:26,762
THOUGH THEY ALL DREAMED
THAT THEY MIGHT HAVE BOTH,
650
00:37:26,796 --> 00:37:30,416
LIKE THE HUGELY SUCCESSFUL
KRIS KRISTOFFERSON.
651
00:37:30,455 --> 00:37:33,905
AND LIKE KRISTOFFERSON,
MANY OF THE NEW ARRIVALS
652
00:37:33,941 --> 00:37:35,221
WERE FROM TEXAS.
653
00:37:37,945 --> 00:37:39,395
PEOPLE ASK ME AND SAY,
"WHAT IS IT ABOUT
654
00:37:39,429 --> 00:37:41,219
THESE TEXAS SONGWRITERS?"
655
00:37:41,259 --> 00:37:44,089
YOU KNOW, "WHAT IS IT?"
AND I SAY,
656
00:37:44,123 --> 00:37:46,233
"WE'’RE THE BEST LIARS
IN THE WORLD."
657
00:37:47,989 --> 00:37:50,749
TEXANS HAVE ALWAYS HAD
THIS INDEPENDENT STREAK
658
00:37:50,785 --> 00:37:53,645
OF DOING SHIT THE WAY
THEY WANT IT,
659
00:37:53,685 --> 00:37:56,405
THE WAY THEY HEAR IT,
THE WAY THEY WANT TO DO IT.
660
00:37:59,311 --> 00:38:01,351
NARRATOR: WHEN GUY CLARK
WAS A LITTLE BOY
661
00:38:01,382 --> 00:38:04,352
IN THE SMALL WEST TEXAS TOWN
OF MONAHANS,
662
00:38:04,385 --> 00:38:07,035
HIS FAMILY DIDN'’T OWN
A RECORD PLAYER
663
00:38:07,077 --> 00:38:09,147
AND INSTEAD
SPENT THEIR EVENINGS
664
00:38:09,183 --> 00:38:11,573
READING POETRY ALOUD
TO EACH OTHER.
665
00:38:13,774 --> 00:38:17,954
CLARK GOT HIS FIRST GUITAR
WHEN THEY MOVED TO SOUTH TEXAS,
666
00:38:17,985 --> 00:38:21,295
AND THE FIRST SONGS
HE LEARNED WERE IN SPANISH.
667
00:38:21,333 --> 00:38:24,233
BY HIS EARLY TWENTIES,
HE WAS PERFORMING IN
668
00:38:24,267 --> 00:38:27,647
FOLK CLUBS AND COFFEE HOUSES
AROUND HOUSTON.
669
00:38:29,065 --> 00:38:32,825
AFTER A YEAR IN LOS ANGELES,
HE RELOCATED TO NASHVILLE
670
00:38:32,862 --> 00:38:36,622
WITH HIS WIFE SUSANNA,
A PAINTER AND SONGWRITER.
671
00:38:38,212 --> 00:38:40,702
AT THE NEWLY OPENED EXIT/IN,
672
00:38:40,732 --> 00:38:44,112
A SMALL LIVE-MUSIC VENUE
ON ELLISTON PLACE
673
00:38:44,149 --> 00:38:46,359
NEAR VANDERBILT UNIVERSITY,
674
00:38:46,393 --> 00:38:50,673
CLARK AND OTHERS FOUND A PLACE
TO TRY OUT THEIR LATEST SONGS
675
00:38:50,707 --> 00:38:54,297
IN FRONT OF A YOUNGER,
MORE PROGRESSIVE AUDIENCE.
676
00:38:54,332 --> 00:38:56,822
STUART: DOWN ON ELLISTON PLACE,
IT WAS KIND OF LIKE
677
00:38:56,851 --> 00:38:59,821
PARIS IN THE TWENTIES
MUST HAVE BEEN BECAUSE
678
00:38:59,854 --> 00:39:03,274
IT WAS ALL BOHEMIANS
AND NEW THINKING,
679
00:39:03,306 --> 00:39:05,686
FORWARD-THINKING
COUNTRY MUSIC PEOPLE.
680
00:39:07,241 --> 00:39:08,931
CLARK: THE THING ABOUT
NASHVILLE, IT'’S NOT THAT
681
00:39:08,967 --> 00:39:11,867
THEY'’RE SQUASHING
YOUR CREATIVITY,
682
00:39:11,901 --> 00:39:14,591
BUT THEY WILL TO MAKE A BUCK.
683
00:39:14,628 --> 00:39:17,388
THE POINT IS
THEY'’RE IN BUSINESS.
684
00:39:17,424 --> 00:39:19,844
THEY'’RE HERE TO MAKE MONEY,
NOT TO SUPPORT
685
00:39:19,874 --> 00:39:22,814
YOUR ARTISTIC BENT, YOU KNOW?
686
00:39:24,258 --> 00:39:28,568
♪ I CAN JUST GET OFF
OF THIS L.A. FREEWAY ♪
687
00:39:28,607 --> 00:39:32,437
♪ WITHOUT GETTING
KILLED OR CAUGHT ♪
688
00:39:32,473 --> 00:39:36,373
♪ I'’D BE DOWN THE ROAD
IN A CLOUD OF SMOKE ♪
689
00:39:36,408 --> 00:39:39,718
♪ TO SOME LAND I AIN'’T BOUGHT ♪
690
00:39:43,760 --> 00:39:46,040
CROWELL: WHEN I ARRIVED
IN NASHVILLE,
691
00:39:46,073 --> 00:39:48,903
THE WHOLE IDEA OUT ON
THE STREET IS THAT,
692
00:39:48,938 --> 00:39:51,348
"MAN, I'’VE GOT
TO WORK HARD ENOUGH
693
00:39:51,389 --> 00:39:54,359
"AND HAVE THE DEDICATION
TO LIFT MY ART UP TO A LEVEL
694
00:39:54,392 --> 00:39:57,462
WHERE I CAN GET ON
THE EXIT/IN STAGE,"
695
00:39:57,498 --> 00:40:00,668
WHERE YOU WOULD SEE
KRIS KRISTOFFERSON PERFORM
696
00:40:00,708 --> 00:40:02,538
AND GUY CLARK PERFORM.
697
00:40:03,953 --> 00:40:06,893
NARRATOR: RODNEY CROWELL HAD
GROWN UP IN THE HOUSTON AREA,
698
00:40:06,921 --> 00:40:09,341
STEEPED IN COUNTRY MUSIC.
699
00:40:09,372 --> 00:40:12,382
HIS PARENTS MET
AT A ROY ACUFF CONCERT,
700
00:40:12,410 --> 00:40:15,000
AND CROWELL WAS
ONLY TWO YEARS OLD
701
00:40:15,033 --> 00:40:17,453
WHEN HIS FATHER
INSISTED ON TAKING HIM
702
00:40:17,484 --> 00:40:20,594
TO SEE HANK WILLIAMS PERFORM.
703
00:40:20,625 --> 00:40:25,315
BY AGE 11, HE WAS PLAYING IN
HIS FATHER'’S HONKY-TONK BAND.
704
00:40:25,353 --> 00:40:28,013
AT 15, CROWELL
HAD HIS OWN GROUP
705
00:40:28,046 --> 00:40:31,976
THAT TOURED SMALL TOWNS
PROMISING TO PERFORM EVERYTHING
706
00:40:32,015 --> 00:40:34,325
FROM THE BEACH BOYS
AND THE BEATLES
707
00:40:34,362 --> 00:40:36,022
TO RHYTHM AND BLUES
708
00:40:36,054 --> 00:40:38,334
AND, THEIR BUSINESS CARD SAID,
709
00:40:38,366 --> 00:40:41,056
"COUNTRY, IF YOU WANT IT."
710
00:40:41,093 --> 00:40:44,103
HE WAS 22 WHEN
HE CAME TO NASHVILLE
711
00:40:44,131 --> 00:40:47,761
AND SOON BEGAN SHOWING UP AT
THE UNOFFICIAL GATHERING PLACE
712
00:40:47,790 --> 00:40:49,960
FOR LIKE-MINDED MUSICIANS--
713
00:40:49,999 --> 00:40:53,309
THE HOME OF
GUY AND SUSANNA CLARK.
714
00:40:53,347 --> 00:40:58,247
♪ ALL RIGHT NOW,
I'’VE JUST HIT
MY STRIDE ♪
715
00:40:58,283 --> 00:41:05,913
♪ RIGHT OFF THE BAT,
LORD, I'’M DRUNK ON
BLUEBIRD WINE ♪
716
00:41:05,946 --> 00:41:08,976
♪ YES, IT'’S
ALL RIGHT NOW ♪
717
00:41:09,018 --> 00:41:11,848
♪ I'’VE JUST HIT
MY STRIDE ♪
718
00:41:11,883 --> 00:41:13,783
♪ LORD, IT JUST
STARTED, LORD ♪
719
00:41:13,816 --> 00:41:18,986
♪ AND I'’M DRUNK ON
BLUEBERRY WINE ♪
720
00:41:23,584 --> 00:41:24,694
CROWELL: WE NEVER CALLED.
721
00:41:24,723 --> 00:41:26,353
WE JUST SHOWED UP
BANGING ON THE DOOR.
722
00:41:26,380 --> 00:41:29,140
YOU KNOW, AND SOMETIMES
GUY JUST SAID, "GO HOME.
723
00:41:29,176 --> 00:41:30,136
NOT TONIGHT."
724
00:41:30,177 --> 00:41:31,897
THEN, OTHER TIMES,
HE AND SUSANNA
725
00:41:31,937 --> 00:41:33,867
WOULD CRAWL OUT OF BED
AND GET DRESSED,
726
00:41:33,905 --> 00:41:37,115
AND STAY UP WITH US TILL
DAYLIGHT, JUST TRADING SONGS,
727
00:41:37,149 --> 00:41:40,529
TALKING ABOUT HOW
TO GET IT DONE.
728
00:41:40,567 --> 00:41:43,467
ANYBODY WAS WELCOME
THAT PLAYED GOOD MUSIC
729
00:41:43,501 --> 00:41:45,401
AND WASN'’T TOO MUCH
OF AN ASSHOLE,
730
00:41:45,433 --> 00:41:48,543
AND JUST, YOU KNOW,
"COME ON OVER."
731
00:41:48,575 --> 00:41:50,605
CROWELL: I REMEMBER
GUY CLARK TELLING ME,
732
00:41:50,646 --> 00:41:51,956
"YOU'’RE A TALENTED GUY."
733
00:41:51,992 --> 00:41:55,062
HE SAID, "YOU CAN BE A STAR.
734
00:41:55,098 --> 00:41:56,548
"YOU PROBABLY HAVE
THE TALENT TO DO IT,
735
00:41:56,583 --> 00:41:58,273
"OR YOU CAN BE AN ARTIST.
736
00:41:58,308 --> 00:41:59,548
"PICK ONE.
737
00:41:59,586 --> 00:42:01,586
THEY'’RE BOTH
WORTHWHILE PURSUITS."
738
00:42:14,221 --> 00:42:16,911
NARRATOR: THE MOST FREQUENT
VISITOR TO THE CLARKS'’ HOUSE
739
00:42:16,948 --> 00:42:20,808
WAS THEIR CLOSE FRIEND,
ANOTHER TROUBADOUR FROM TEXAS,
740
00:42:20,848 --> 00:42:23,298
THE BRILLIANT
AND EQUALLY ECCENTRIC
741
00:42:23,333 --> 00:42:24,653
TOWNES VAN ZANDT.
742
00:42:26,060 --> 00:42:28,790
VAN ZANDT: ♪ IF I NEEDED YOU
743
00:42:28,822 --> 00:42:32,172
♪ WOULD YOU COME TO ME?
WOULD YOU COME... ♪
744
00:42:32,204 --> 00:42:34,004
NARRATOR: HE WAS BORN
IN FORT WORTH
745
00:42:34,034 --> 00:42:36,664
TO A PROMINENT FAMILY,
746
00:42:36,692 --> 00:42:38,422
BUT TOWNES HAD TURNED AWAY FROM
747
00:42:38,452 --> 00:42:42,212
HIS FATHER'’S AND GRANDFATHER'S
PROFESSION AS LAWYERS
748
00:42:42,249 --> 00:42:46,599
TO PURSUE A VAGABOND'’S LIFE
AS A SINGER-SONGWRITER.
749
00:42:46,633 --> 00:42:49,123
THE BLUES GUITARIST
LIGHTNIN'’ HOPKINS
750
00:42:49,152 --> 00:42:52,472
HAD BEEN THE BIGGEST INFLUENCE
ON HIS MUSIC;
751
00:42:52,500 --> 00:42:55,120
ANOTHER HERO WAS HANK WILLIAMS,
752
00:42:55,158 --> 00:42:58,158
WHOSE TURBULENT
AND TRAGICALLY SHORT LIFE
753
00:42:58,196 --> 00:43:01,956
VAN ZANDT SEEMED
DETERMINED TO FOLLOW.
754
00:43:01,993 --> 00:43:04,863
HE DRANK HEAVILY
AND CONSTANTLY,
755
00:43:04,892 --> 00:43:07,622
WAS HOSPITALIZED
FOR MANIC DEPRESSION,
756
00:43:07,654 --> 00:43:10,144
BECAME ADDICTED TO HEROIN
FOR A WHILE,
757
00:43:10,173 --> 00:43:14,283
AND SPENT HIS 29th BIRTHDAY
CONVINCED HE WAS GOING TO DIE,
758
00:43:14,315 --> 00:43:18,865
JUST AS HANK HAD AT THAT AGE.
759
00:43:18,906 --> 00:43:22,526
CLARK: HE DIDN'’T WANT
TO BE A STAR AS SUCH.
760
00:43:22,565 --> 00:43:24,495
HE WANTED TO BE A POET.
761
00:43:24,532 --> 00:43:27,742
I WAS ALWAYS INSPIRED BY HIM.
762
00:43:27,777 --> 00:43:32,917
BUT TO BE INSPIRED BY TOWNES WAS
DIFFERENT THAN BEING LIKE HIM.
763
00:43:32,955 --> 00:43:35,405
IF YOU WANTED TO BE LIKE TOWNES,
YOU HAD TO BE DEAD.
764
00:43:36,924 --> 00:43:40,314
NARRATOR: VAN ZANDT SPENT
MOST OF HIS TIME ON THE ROAD--
765
00:43:40,341 --> 00:43:44,101
SOMETIMES HITCHHIKING FROM
ONE PERFORMANCE TO ANOTHER;
766
00:43:44,138 --> 00:43:47,628
LIVING IN RUNDOWN MOTELS
OR RENTED SHACKS;
767
00:43:47,659 --> 00:43:51,939
WRITING ALL THE TIME,
INCLUDING "IF I NEEDED YOU,"
768
00:43:51,974 --> 00:43:55,704
WHICH HE SAID
HE COMPOSED IN HIS SLEEP.
769
00:43:55,736 --> 00:44:00,526
♪ IF I NEEDED YOU,
WOULD YOU COME TO ME? ♪
770
00:44:00,568 --> 00:44:05,638
♪ WOULD YOU COME TO ME
AND EASE MY PAIN? ♪
771
00:44:07,541 --> 00:44:09,851
♪ IF YOU NEEDED ME
772
00:44:09,888 --> 00:44:12,678
♪ I WOULD
COME TO YOU ♪
773
00:44:12,719 --> 00:44:17,859
♪ I'’D SWIM THE SEAS
FOR TO EASE YOUR PAIN ♪
774
00:44:25,593 --> 00:44:27,253
NARRATOR: BUT IT WAS
ANOTHER SONG OF HIS
775
00:44:27,285 --> 00:44:30,735
THAT WOULD HAVE A PROFOUND
EFFECT ON COUNTRY MUSIC
776
00:44:30,771 --> 00:44:33,051
AND THE STARTLING
ARRAY OF MUSICIANS
777
00:44:33,084 --> 00:44:36,094
WHO WOULD FEEL COMPELLED
TO PERFORM IT.
778
00:44:38,054 --> 00:44:42,024
IT TELLS THE TALE OF
A MEXICAN BANDIT NAMED PANCHO
779
00:44:42,058 --> 00:44:45,508
AND HIS FRIEND LEFTY,
WHO MAY HAVE BETRAYED HIM.
780
00:44:48,478 --> 00:44:52,898
PANCHO DIES YOUNG;
LEFTY LIVES TO AN OLD AGE,
781
00:44:52,931 --> 00:44:57,001
SINGING IN A BAR FAR NORTH
OF THE BORDER, IN OHIO.
782
00:45:00,594 --> 00:45:03,704
VAN ZANDT: ♪ LIVING ON THE ROAD,
MY FRIEND ♪
783
00:45:03,735 --> 00:45:06,695
♪ WAS GONNA KEEP YOU
FREE AND CLEAN ♪
784
00:45:06,738 --> 00:45:09,568
CLARK: "PANCHO AND LEFTY"
WAS ONE OF THOSE SONGS THAT
785
00:45:09,603 --> 00:45:11,783
YOU REALLY CAN'’T
PICK IT APART, YOU KNOW,
786
00:45:11,812 --> 00:45:13,612
AND HAVE IT MAKE SENSE.
787
00:45:13,641 --> 00:45:17,271
YOU HAVE TO JUST
LET IT BE, YOU KNOW?
788
00:45:17,300 --> 00:45:18,680
IT'’S PERFECTLY WRITTEN.
789
00:45:18,716 --> 00:45:20,746
"HE WORE HIS GUN
OUTSIDE HIS PANTS
790
00:45:20,787 --> 00:45:24,167
FOR ALL THE HONEST WORLD
TO FEEL."
791
00:45:24,204 --> 00:45:27,664
I MEAN, WHO WOULDN'’T WANT
TO WRITE THAT LINE?
792
00:45:27,690 --> 00:45:29,210
"PANCHO WAS A BANDIT BOY,
793
00:45:29,243 --> 00:45:31,663
HIS HORSE WAS FAST
AS POLISHED STEEL."
794
00:45:33,282 --> 00:45:36,292
VAN ZANDT: ♪ PANCHO WAS
A BANDIT, BOYS ♪
795
00:45:36,319 --> 00:45:39,769
♪ HIS HORSE WAS FAST
AS POLISHED STEEL ♪
796
00:45:39,806 --> 00:45:42,636
♪ WORE HIS GUN
OUTSIDE HIS PANTS ♪
797
00:45:42,670 --> 00:45:46,540
♪ FOR ALL THE HONEST WORLD
TO FEEL ♪
798
00:45:46,571 --> 00:45:49,441
♪ BUT PANCHO MET
HIS MATCH, YOU KNOW ♪
799
00:45:49,470 --> 00:45:52,720
♪ ON THE DESERTS
DOWN IN MEXICO ♪
800
00:45:52,750 --> 00:45:56,170
♪ AND NOBODY HEARD
HIS DYING WORDS ♪
801
00:45:58,617 --> 00:46:01,337
♪ BUT THAT'’S THE WAY IT GOES ♪
802
00:46:04,244 --> 00:46:07,494
♪ NOW THE POETS TELL
HOW PANCHO FELL ♪
803
00:46:07,523 --> 00:46:10,463
♪ AND LEFTY'’S LIVING
IN A CHEAP HOTEL ♪
804
00:46:10,491 --> 00:46:13,911
♪ THE DESERT'’S QUIET
AND CLEVELAND'’S COLD ♪
805
00:46:13,943 --> 00:46:17,433
♪ SO THE STORY ENDS,
WE'’RE TOLD, PANCHO... ♪
806
00:46:17,464 --> 00:46:20,574
WOMAN: IT'’S SO POIGNANT.
IT'’S HEARTBREAKING.
807
00:46:20,605 --> 00:46:23,085
"PANCHO NEEDS YOUR PRAYERS,
IT'’S TRUE.
808
00:46:23,125 --> 00:46:25,885
"BUT SAVE A FEW FOR LEFTY, TOO.
809
00:46:25,921 --> 00:46:29,411
HE ONLY DID WHAT HE HAD TO DO
AND NOW HE'’S GROWING OLD."
810
00:46:29,441 --> 00:46:32,101
VAN ZANDT: ♪ AND NOW
HE'’S GROWING OLD ♪
811
00:46:32,134 --> 00:46:34,864
NARRATOR: BY 1975,
TOWNES VAN ZANDT
812
00:46:34,895 --> 00:46:39,995
HAD RECORDED 6 ALBUMS,
REVERED BY OTHER SONGWRITERS.
813
00:46:40,038 --> 00:46:42,798
NONE OF THEM WAS
COMMERCIALLY SUCCESSFUL,
814
00:46:42,834 --> 00:46:46,604
BUT HE HAD DEVELOPED
A SMALL, CULT-LIKE FOLLOWING.
815
00:46:46,631 --> 00:46:50,601
LIKE HIS GOOD FRIEND GUY CLARK,
HE PERFORMED MOSTLY AT
816
00:46:50,635 --> 00:46:53,465
SMALLER VENUES
AROUND THE COUNTRY.
817
00:46:53,500 --> 00:46:55,540
"NASHVILLE," HE TOLD
A REPORTER,
818
00:46:55,571 --> 00:46:59,061
"IS JUST NOT GEARED
FOR MINOR KEYS."
819
00:46:59,092 --> 00:47:01,652
CLARK: HIS SONGS WERE DARK.
820
00:47:01,680 --> 00:47:03,990
SOMEBODY AT A SHOW ASKED HIM,
821
00:47:04,028 --> 00:47:06,648
"MAN, WHY DON'’T YOU
DO A FUNNY SONG?"
822
00:47:06,685 --> 00:47:09,135
HE SAID, "THOSE WERE
THE FUNNY SONGS."
823
00:47:16,109 --> 00:47:19,699
NARRATOR: GROWING UP IN
THE SOUTH TEXAS TOWN OF SABINAL,
824
00:47:19,733 --> 00:47:22,083
90 MILES NORTH OF
THE MEXICAN BORDER,
825
00:47:22,115 --> 00:47:26,285
YOUNG JOHNNY RODRIGUEZ
LOVED MARIACHI MUSIC,
826
00:47:26,326 --> 00:47:29,046
BUT ALSO THE SONGS
OF JIMMIE RODGERS,
827
00:47:29,087 --> 00:47:32,187
HANK WILLIAMS,
AND MERLE HAGGARD.
828
00:47:32,228 --> 00:47:33,608
I WAS DRAWN TO
COUNTRY MUSIC BECAUSE
829
00:47:33,643 --> 00:47:35,893
I COULD RELATE MORE ABOUT
WHAT THEY WERE SINGING ABOUT.
830
00:47:35,922 --> 00:47:38,512
YOU KNOW, AND ALSO, I MEAN,
IT WAS JUST LIKE, UH,
831
00:47:38,545 --> 00:47:42,855
IT WAS THE MUSIC
OF OUR PEOPLE.
832
00:47:42,894 --> 00:47:46,734
I THINK IN MEXICAN MUSIC,
YOU HAVE STORIES.
833
00:47:46,760 --> 00:47:51,010
MEXICAN MUSIC AND COUNTRY MUSIC
SAID ALMOST THE SAME THING,
834
00:47:51,040 --> 00:47:53,220
JUST IN DIFFERENT LANGUAGES.
835
00:47:53,249 --> 00:47:56,529
NARRATOR: IN THE EARLY 1970s,
RODRIGUEZ WAS WORKING
836
00:47:56,563 --> 00:48:00,433
AT A TEXAS TOURIST ATTRACTION
CALLED ALAMO VILLAGE
837
00:48:00,463 --> 00:48:02,883
WHEN THE COUNTRY STAR
TOM T. HALL
838
00:48:02,914 --> 00:48:05,474
HAPPENED TO HEAR
HIM PERFORMING.
839
00:48:05,503 --> 00:48:12,823
RODRIGUEZ: ♪ I CAN'’T STOP
LOVING YOU ♪
840
00:48:12,855 --> 00:48:17,925
♪ I MADE UP MY MIND
841
00:48:17,964 --> 00:48:20,044
♪ I CAN'’T STOP... ♪
842
00:48:20,069 --> 00:48:22,279
HALL: THEY WERE CALLING HIM
JOHNNY ROGERS.
843
00:48:22,313 --> 00:48:24,593
AND I SAID, "HOW DID
A MEXICAN GUY
844
00:48:24,625 --> 00:48:26,965
GET A NAME LIKE JOHNNY ROGERS?"
845
00:48:27,007 --> 00:48:29,937
RODRIGUEZ: WELL, MY MANAGER,
ONE OF HIS BIG HEROES,
846
00:48:29,976 --> 00:48:32,046
ROY ROGERS, HE JUST, UH, SAID,
847
00:48:32,081 --> 00:48:34,121
"WELL, LET'’S JUST
CALL YOU JOHNNY ROGERS.
848
00:48:34,152 --> 00:48:36,292
THAT'’S A COUNTRY MUSIC NAME."
849
00:48:36,327 --> 00:48:39,117
HALL: I SAID, "WELL, IF YOU COME
TO NASHVILLE AND PICK WITH ME,
850
00:48:39,157 --> 00:48:40,637
"WE'’RE GOING TO CALL YOU
JOHNNY RODRIGUEZ.
851
00:48:40,676 --> 00:48:41,946
"THAT'’S A MUCH PRETTIER NAME
852
00:48:41,988 --> 00:48:44,708
AND IT'’S WHO YOU ARE
AND WE'’LL DO THAT."
853
00:48:44,749 --> 00:48:48,199
NARRATOR: HALL ARRANGED FOR
RODRIGUEZ TO COME TO NASHVILLE
854
00:48:48,235 --> 00:48:51,645
AND SET UP AN AUDITION
WITH A RECORD LABEL.
855
00:48:51,687 --> 00:48:53,067
HALL: I SAID,
"I'’M NOT A TALENT SCOUT,"
856
00:48:53,102 --> 00:48:55,622
BUT I SAID, "LISTEN TO
THIS KID SING THIS SONG."
857
00:48:55,656 --> 00:48:56,926
SO, HE STARTED OFF
AND HE WAS SINGING
858
00:48:56,968 --> 00:48:58,488
"I CAN'’T STOP LOVING YOU,"
859
00:48:58,521 --> 00:49:00,971
HALF IN ENGLISH
AND HALF IN SPANISH.
860
00:49:01,007 --> 00:49:02,867
AND THEY SAID,
"WE'’LL SIGN HIM UP."
861
00:49:18,610 --> 00:49:23,270
NARRATOR: RODRIGUEZ WOULD HAVE
15 CONSECUTIVE TOP 10 HITS
862
00:49:23,305 --> 00:49:26,025
AND BECOME THE FIRST
MEXICAN-AMERICAN TO BE
863
00:49:26,066 --> 00:49:30,166
A MAJOR COUNTRY MUSIC STAR.
864
00:49:30,208 --> 00:49:32,518
RODRIGUEZ: I SAY THIS
WITH ALL SINCERITY,
865
00:49:32,555 --> 00:49:35,895
I NEVER HAD A CROSS FEELING
IN THIS CITY.
866
00:49:35,938 --> 00:49:38,318
TO THIS DAY, I'’VE NEVER
FELT LIKE THAT.
867
00:49:40,011 --> 00:49:42,391
IT MAKES ME ALMOST WANT TO CRY.
I'’M SERIOUS.
868
00:49:42,427 --> 00:49:44,737
BUT THESE PEOPLE
ARE SO NICE
869
00:49:44,774 --> 00:49:47,574
THAT IT REALLY STILL
TOUCHES ME TILL TODAY.
870
00:49:47,605 --> 00:49:57,405
♪ IN DREAMS OF YESTERDAY
871
00:49:58,616 --> 00:50:01,266
NARRATOR: IN 1975, TWO YEARS
872
00:50:01,308 --> 00:50:03,688
AFTER RODRIGUEZ WAS NOMINATED
873
00:50:03,724 --> 00:50:06,144
FOR THE COUNTRY
MUSIC ASSOCIATION'’S
874
00:50:06,175 --> 00:50:09,035
MALE VOCALIST
OF THE YEAR AWARD,
875
00:50:09,075 --> 00:50:11,005
BALDEMAR HUERTA, THE SON OF
876
00:50:11,042 --> 00:50:14,052
A MIGRANT FARM WORKER
IN SOUTH TEXAS,
877
00:50:14,080 --> 00:50:16,150
PERFORMING AS FREDDY FENDER,
878
00:50:16,185 --> 00:50:18,355
CAME OUT WITH HIS OWN HIT SONG,
879
00:50:18,394 --> 00:50:21,124
"BEFORE THE NEXT
TEARDROP FALLS,"
880
00:50:21,156 --> 00:50:24,366
WHICH TOPPED BOTH
THE POP AND COUNTRY CHARTS.
881
00:50:43,454 --> 00:50:47,294
LATER, HE AND ACCORDION PLAYER
FLACO JIMENEZ
882
00:50:47,320 --> 00:50:50,430
WOULD HELP FORM
THE TEXAS TORNADOS,
883
00:50:50,461 --> 00:50:53,501
WHO FEATURED
THE DISTINCTIVE WORKING-CLASS
884
00:50:53,533 --> 00:50:57,853
CONJUNTO DANCE MUSIC THAT HAD
GROWN UP ALONG THE BORDER.
885
00:50:57,882 --> 00:51:02,822
♪ BEFORE THE NEXT
TEARDROP FALLS ♪
886
00:51:04,613 --> 00:51:07,863
♪ AND I'’LL BE THERE ♪
887
00:51:07,892 --> 00:51:13,622
♪ BEFORE THE NEXT
TEARDROP FALLS ♪
888
00:51:28,395 --> 00:51:30,325
WAYLON JENNINGS:
♪ I'’VE BEEN A FOOL ♪
889
00:51:32,537 --> 00:51:37,677
♪ I'’VE BEEN A FOOL ♪
890
00:51:37,715 --> 00:51:41,745
♪ FORGIVIN'’ YOU EACH TIME
THAT YOU'’VE DONE ME WRONG ♪
891
00:51:41,788 --> 00:51:43,688
♪ I'’VE BEEN
A LONG TIME LEAVIN'’ ♪
892
00:51:43,721 --> 00:51:46,101
♪ BUT IT'’LL BE
A LONG TIME GONE ♪
893
00:51:47,759 --> 00:51:50,139
MAN: HE SANG AS GOOD
AS HANK WILLIAMS,
894
00:51:50,176 --> 00:51:54,556
AND HE WAS REALLY
A GOOD SONGWRITER.
895
00:51:54,594 --> 00:51:57,944
HIS VOICE WAS WHAT
TORE ME UP, THOUGH.
896
00:51:57,976 --> 00:52:01,976
HE JUST--HE JUST HAD...
I DON'’T KNOW,
897
00:52:02,015 --> 00:52:04,905
IT'’S JUST LIKE THE WAY
HANK WILLIAMS TORE ME UP.
898
00:52:04,949 --> 00:52:10,679
HE'’S...HE COULD
SING SONGS THAT I CAN'’T.
899
00:52:12,991 --> 00:52:17,131
JENNINGS: ♪ HELLO, HIGH LINE,
HELLO, HIGHWAY ♪
900
00:52:17,168 --> 00:52:21,278
♪ HERE COME A BIG, OLD SEMI
MY WAY ♪
901
00:52:21,310 --> 00:52:23,170
♪ STICK UP MY THUMB,
HEAR THE TRUCK COME ♪
902
00:52:23,209 --> 00:52:25,279
♪ TREES GOIN'’ BY,
LOOKIN'’ LIKE A FLY ♪
903
00:52:25,314 --> 00:52:31,294
♪ ON THE BIG LEGS ARE MY
LEVIS...I BEEN ♪
904
00:52:31,320 --> 00:52:33,320
NARRATOR: BORN IN
LITTLEFIELD, TEXAS
905
00:52:33,357 --> 00:52:36,357
DURING THE DUST BOWL IN 1937,
906
00:52:36,394 --> 00:52:39,404
WAYLON JENNINGS'’
EARLIEST CHILDHOOD MEMORY
907
00:52:39,432 --> 00:52:42,612
WAS OF HIS FATHER
CONNECTING THE FAMILY'’S RADIO
908
00:52:42,642 --> 00:52:45,272
TO THE PICKUP TRUCK'’S BATTERY
SO THEY COULD LISTEN
909
00:52:45,300 --> 00:52:47,790
TO THE CARTER FAMILY
OUT OF DEL RIO'’S
910
00:52:47,819 --> 00:52:49,929
"BORDER BLASTER" STATION
911
00:52:49,959 --> 00:52:53,239
AND TO THE GRAND OLE OPRY
OUT OF NASHVILLE.
912
00:52:53,273 --> 00:52:57,383
"IN MY HOUSE," HE RECALLED,
"IT WAS THE BIBLE ON THE TABLE,
913
00:52:57,415 --> 00:52:59,485
"THE FLAG ON THE WALLS,
914
00:52:59,521 --> 00:53:02,211
AND BILL MONROE'’S
PICTURE BESIDE IT."
915
00:53:02,248 --> 00:53:05,868
HIS MOTHER CRIED
EVERY TIME ROY ACUFF SANG
916
00:53:05,906 --> 00:53:07,356
"WRECK ON THE HIGHWAY."
917
00:53:07,391 --> 00:53:09,261
JENNINGS: ♪ STICK UP MY THUMB,
HEAR THE TRUCK COME ♪
918
00:53:09,289 --> 00:53:10,909
♪ TREES GOIN'’ BY,
LOOKIN'’ LIKE A FLY ♪
919
00:53:10,946 --> 00:53:11,906
♪ ON THE BIG...
920
00:53:11,947 --> 00:53:12,947
NARRATOR: AS A TEENAGER,
921
00:53:12,982 --> 00:53:14,672
JENNINGS WAS ESPECIALLY DRAWN
922
00:53:14,708 --> 00:53:17,708
TO HANK WILLIAMS
AND HONKY-TONK MUSIC
923
00:53:17,746 --> 00:53:21,266
AND STARTED PERFORMING IT
IN LOCAL BARS.
924
00:53:21,301 --> 00:53:24,861
WORKING AS A DISC JOCKEY
AT A SMALL RADIO STATION,
925
00:53:24,891 --> 00:53:27,791
HE ALSO SOAKED UP
OTHER TYPES OF MUSIC:
926
00:53:27,825 --> 00:53:31,755
RHYTHM AND BLUES, AND THEN
ROCKABILLY AND ROCK AND ROLL.
927
00:53:31,794 --> 00:53:37,874
JENNINGS: ♪ BE A LONG
TIME GONE ♪
928
00:53:37,904 --> 00:53:41,014
NARRATOR:
IN 1959, HE WENT ON TOUR WITH
929
00:53:41,045 --> 00:53:42,935
HIS GOOD FRIEND BUDDY HOLLY,
930
00:53:42,978 --> 00:53:46,188
FROM NEARBY LUBBOCK,
AND IT WAS ONLY BY CHANCE
931
00:53:46,223 --> 00:53:49,193
THAT JENNINGS WASN'’T
IN THE SMALL AIRPLANE
932
00:53:49,226 --> 00:53:52,326
THAT KILLED HOLLY
AND TWO OTHER MUSICIANS
933
00:53:52,367 --> 00:53:55,127
WHEN IT CRASHED IN
AN IOWA CORNFIELD.
934
00:54:01,341 --> 00:54:05,171
BY THE EARLY 1960s,
JENNINGS WAS IN ARIZONA,
935
00:54:05,207 --> 00:54:10,247
PACKING IN HUGE CROWDS
AND CLEARING $1,500 A WEEK
936
00:54:10,281 --> 00:54:14,631
AT A NIGHT SPOT
CALLED JD'’S IN SCOTTSDALE.
937
00:54:14,665 --> 00:54:16,175
JENNINGS: ♪ COME ON, SUGAR
938
00:54:17,909 --> 00:54:20,809
NARRATOR: COUNTRY STAR
BOBBY BARE HEARD HIM THERE,
939
00:54:20,843 --> 00:54:25,193
AND CONVINCED CHET ATKINS AT RCA
TO INVITE HIM TO NASHVILLE.
940
00:54:26,884 --> 00:54:28,644
BEFORE HE AGREED TO LEAVE HIS
941
00:54:28,679 --> 00:54:31,439
WELL-PAYING STEADY GIG
IN ARIZONA,
942
00:54:31,475 --> 00:54:36,305
JENNINGS ASKED FELLOW TEXAN
WILLIE NELSON FOR HIS ADVICE.
943
00:54:36,342 --> 00:54:39,212
"STAY AWAY FROM NASHVILLE,"
NELSON TOLD HIM.
944
00:54:39,241 --> 00:54:41,001
"THEY'’LL JUST
BREAK YOUR HEART."
945
00:54:41,036 --> 00:54:43,756
JENNINGS: ♪ CANDY,
CANDY, CANDY ♪
946
00:54:43,797 --> 00:54:46,387
♪ I'’VE GOT A SWEET, SWEET
PIECE FOR YOU ♪
947
00:54:46,421 --> 00:54:47,561
NARRATOR: HE WENT ANYWAY.
948
00:54:49,355 --> 00:54:51,805
BUT JUST AS HE HAD
WITH WILLIE NELSON,
949
00:54:51,840 --> 00:54:55,050
ATKINS HAD TROUBLE
TRYING TO MOLD JENNINGS
950
00:54:55,084 --> 00:54:57,094
INTO A COUNTRY STAR.
951
00:54:57,121 --> 00:54:58,951
WOMAN: ♪ DON'’T LOOK
FOR ME ♪
952
00:54:58,985 --> 00:55:00,055
MAN: ♪ I MUST GO
953
00:55:00,089 --> 00:55:01,509
♪ DON'’T WASTE
YOUR TIME ♪
954
00:55:01,539 --> 00:55:02,749
♪ I MUST GO
955
00:55:02,782 --> 00:55:05,412
JENNINGS: ♪ DON'’T LOOK FOR ME ♪
956
00:55:05,440 --> 00:55:07,170
♪ DON'’T WASTE YOUR TIME ♪
957
00:55:07,200 --> 00:55:10,720
NARRATOR: THEIR FIRST ALBUM
TOGETHER WAS FOLK-COUNTRY.
958
00:55:10,755 --> 00:55:12,895
JENNINGS: ♪ THAT'’S
MORE MY KIND ♪
959
00:55:12,930 --> 00:55:15,590
NARRATOR: THEIR SECOND WAS
FILLED WITH THE SMOOTHED-OUT
960
00:55:15,622 --> 00:55:17,522
NASHVILLE SOUND OF THE TIME.
961
00:55:17,555 --> 00:55:20,625
JENNINGS:
♪ ...DON'’T LOOK FOR ME ♪
962
00:55:20,662 --> 00:55:23,602
NARRATOR: A THIRD INCLUDED
A BALLAD BY THE BEATLES.
963
00:55:23,630 --> 00:55:28,770
AND ON ANOTHER, JENNINGS CROONED
THE POP HIT "MACARTHUR PARK."
964
00:55:28,808 --> 00:55:30,398
WOMAN: ♪ I MUST GO
965
00:55:32,639 --> 00:55:34,119
NARRATOR: NONE OF IT
SOUNDED LIKE
966
00:55:34,158 --> 00:55:36,918
WAYLON'’S PERFORMANCES
BACK IN ARIZONA.
967
00:55:36,954 --> 00:55:39,234
JENNINGS: ♪ I DON'’T CARE
IF THE SUN DON'’T SHINE ♪
968
00:55:39,266 --> 00:55:41,436
♪ I DON'’T CARE
IF THE BELLS DON'’T CHIME ♪
969
00:55:41,476 --> 00:55:44,166
NARRATOR: "THEY WERE GOOD,
SMOOTH RECORDS," HE SAID,
970
00:55:44,202 --> 00:55:47,452
"BUT I WAS ROUGHER
THAN A GODDAMN CORN COB.
971
00:55:47,482 --> 00:55:51,492
ALL THE DAMN SAND I SWALLOWED
IN TEXAS IS IN MY SINGING."
972
00:55:51,520 --> 00:55:55,280
JENNINGS: ♪ ...AS LONG
AS YOU LOVE ME, SO, DARLING ♪
973
00:55:55,317 --> 00:55:59,147
WOMAN: WAYLON NEEDED
TO JUST CREATE.
974
00:55:59,183 --> 00:56:01,393
I KIND OF PUT IT
IN VERY SIMPLE TERMS.
975
00:56:01,427 --> 00:56:02,597
YOU KNOW, THEY TOOK
A THOROUGHBRED
976
00:56:02,635 --> 00:56:04,215
AND TREATED HIM LIKE A MULE.
977
00:56:05,569 --> 00:56:09,059
NARRATOR: IN 1969,
HE MARRIED JESSI COLTER,
978
00:56:09,089 --> 00:56:12,369
A LOS ANGELES-BASED SINGER
WHO WAS USED TO HAVING
979
00:56:12,403 --> 00:56:15,963
GREATER CREATIVE CONTROL
IN THE STUDIO.
980
00:56:15,993 --> 00:56:18,243
COLTER: YOU COULD
TAKE YOUR MUSICIANS,
981
00:56:18,271 --> 00:56:22,211
YOU COULD TAKE YOUR SONGS,
YOU COULD HAVE A HAND
982
00:56:22,240 --> 00:56:24,520
IN CHOOSING YOUR OWN PRODUCER,
983
00:56:24,553 --> 00:56:26,423
AND BASICALLY BE
MORE INDEPENDENT
984
00:56:26,452 --> 00:56:31,872
IN PUTTING IT TOGETHER SO IT'’S
TRULY A RESULT OF WHO YOU ARE.
985
00:56:31,905 --> 00:56:36,075
HERE, THERE WAS AN OLD GUARD.
YOU KNOW?
986
00:56:36,116 --> 00:56:40,706
IT WAS KIND OF LIKE
A LARGE CONGLOMERATE
MAKING REFRIGERATORS,
987
00:56:40,742 --> 00:56:43,262
LIKE RCA MAKING TVs.
988
00:56:43,296 --> 00:56:47,436
ALL WAYLON WANTED
WAS FOR HIS MUSIC
989
00:56:47,473 --> 00:56:50,963
THAT HE WAS DOING LIVE,
ON THE STAGE,
990
00:56:50,993 --> 00:56:52,963
AND DRIVING THE PEOPLE CRAZY,
991
00:56:52,995 --> 00:56:56,475
TO SOUND EXACTLY
LIKE THAT ON THE RECORD.
992
00:56:56,516 --> 00:57:00,066
AND IT DIDN'’T.
IT DIDN'’T.
993
00:57:00,106 --> 00:57:02,346
NELSON: WAYLON WAS, YOU KNOW,
A REAL ARTIST.
994
00:57:02,384 --> 00:57:05,084
HE KNEW WHAT HE WANTED AND HE
WAS RUNNING INTO THE SAME THINGS
995
00:57:05,111 --> 00:57:07,841
THAT A LOT OF US WERE
RUNNING IN THERE.
996
00:57:07,872 --> 00:57:10,462
AND HE DECIDED HE WANTED
TO DO IT HIS OWN WAY,
997
00:57:10,496 --> 00:57:14,976
WHICH WAS BASICALLY TAKE HIS
BAND IN THE STUDIO, WHICH, UH,
998
00:57:15,017 --> 00:57:18,117
WAS NOT THAT EASY TO DO
BACK IN THOSE DAYS.
999
00:57:18,158 --> 00:57:19,818
JENNINGS: ♪ SO, DARLIN'’,
LET IT RAIN ♪
1000
00:57:19,850 --> 00:57:21,650
NARRATOR: "I WAS
THE BLACK SHEEP OF NASHVILLE,"
1001
00:57:21,679 --> 00:57:23,409
JENNINGS RECALLED.
1002
00:57:23,440 --> 00:57:24,820
"THEY THOUGHT I WAS
A TROUBLEMAKER."
1003
00:57:24,855 --> 00:57:28,405
JENNINGS: ♪ LONG AS
YOU LOVE ME... ♪
1004
00:57:28,445 --> 00:57:31,065
NARRATOR: FUELED BY
AMPHETAMINES AND COCAINE,
1005
00:57:31,102 --> 00:57:34,832
HE SIMPLY DIDN'’T SLEEP
AND SPENT CEASELESS HOURS
1006
00:57:34,865 --> 00:57:37,865
PLAYING PINBALL AT
A LOCAL BURGER BOY.
1007
00:57:37,902 --> 00:57:42,252
JENNINGS: ♪ JUST AS LONG
AS YOU LOVE ME ♪
1008
00:57:44,909 --> 00:57:48,779
NARRATOR: IN 1972,
JENNINGS CHANGED MANAGERS
1009
00:57:48,810 --> 00:57:52,190
AND NEGOTIATED
A NEW CONTRACT WITH RCA
1010
00:57:52,227 --> 00:57:55,257
THAT BROKE ALL THE PREVAILING
NASHVILLE RULES.
1011
00:57:56,680 --> 00:57:58,920
HE WOULD HAVE HIS OWN
PRODUCTION COMPANY
1012
00:57:58,958 --> 00:58:01,238
TO OVERSEE HIS RECORDINGS,
1013
00:58:01,270 --> 00:58:03,100
CHOOSE HIS OWN SONGS,
1014
00:58:03,134 --> 00:58:06,554
USE HIS OWN BAND
IN THE STUDIO.
1015
00:58:06,586 --> 00:58:08,306
JENNINGS: ♪ WELL,
I WOKE UP THIS MORNING ♪
1016
00:58:08,346 --> 00:58:10,486
♪ IT WAS DRIZZLING RAIN
1017
00:58:10,521 --> 00:58:13,871
♪ AROUND THE CURVE
COME A PASSENGER TRAIN ♪
1018
00:58:13,904 --> 00:58:17,324
♪ HEARD SOMEBODY YODEL
AND A HOBO MOAN ♪
1019
00:58:17,355 --> 00:58:20,385
♪ JIMMY, HE'’S DEAD, HE'S BEEN
A LONG TIME GONE ♪
1020
00:58:20,427 --> 00:58:22,807
♪ BEEN A LONG TIME GONE
1021
00:58:22,844 --> 00:58:25,364
NARRATOR: JENNINGS QUICKLY
BROKE ANOTHER RULE,
1022
00:58:25,398 --> 00:58:28,748
WHICH REQUIRED RCA ALBUMS
TO BE RECORDED
1023
00:58:28,781 --> 00:58:33,681
WITH RCA ENGINEERS,
IN RCA STUDIOS.
1024
00:58:33,717 --> 00:58:37,167
INSTEAD, HE BEGAN USING
AN INDEPENDENT STUDIO
1025
00:58:37,203 --> 00:58:40,213
OWNED BY HIS FRIEND
TOMPALL GLASER,
1026
00:58:40,240 --> 00:58:43,070
WHERE HE COULD HAVE SESSIONS
AS LONG AS HE WANTED
1027
00:58:43,105 --> 00:58:45,375
AT ANY TIME OF
THE DAY OR NIGHT.
1028
00:58:45,418 --> 00:58:48,588
JENNINGS: ♪ ...GET TO HEAVEN,
GOTTA D-I-E ♪
1029
00:58:48,628 --> 00:58:52,008
♪ YOU GOTTA PUT ON
YOUR COAT AND T-I-E ♪
1030
00:58:52,045 --> 00:58:53,495
NARRATOR: JENNINGS
AND HIS FRIENDS
1031
00:58:53,530 --> 00:58:55,740
CALLED THEIR NEW STUDIO HANGOUT
1032
00:58:55,773 --> 00:58:56,983
"HILLBILLY CENTRAL."
1033
00:58:57,016 --> 00:59:00,356
JENNINGS: ♪ LIKE A D-O-G,
LIKE A D-O-G ♪
1034
00:59:02,228 --> 00:59:04,638
SMITH: I WOULD GO TO WORK
AND GO INTO MY OFFICE
1035
00:59:04,679 --> 00:59:06,989
AND THERE WOULD BE PEOPLE
ASLEEP IN MY OFFICE,
1036
00:59:07,026 --> 00:59:09,986
HAD BEEN ASLEEP IN THERE
ALL NIGHT LONG.
1037
00:59:10,029 --> 00:59:12,129
JUST STONED OUT OF THEIR MIND,
1038
00:59:12,169 --> 00:59:14,139
ONE OF THEM ASLEEP WITH
THE HEAD ON MY TYPEWRITER
1039
00:59:14,171 --> 00:59:15,621
AND THE OTHER ONE ASLEEP
OVER THERE IN THE CHAIR.
1040
00:59:15,655 --> 00:59:17,135
AND I CHASED THEM OUT.
1041
00:59:17,174 --> 00:59:18,384
I TOLD THEM THEY BETTER NOT
1042
00:59:18,416 --> 00:59:20,586
COME UP THERE NO MORE
WHEN I WASN'’T THERE.
1043
00:59:20,626 --> 00:59:23,076
BUT THEY CAME BACK.
OF COURSE THEY DID.
1044
00:59:23,111 --> 00:59:26,631
NARRATOR: JENNINGS LET HIS HAIR
GROW LONGER AND SHAGGIER,
1045
00:59:26,666 --> 00:59:29,116
ADDED A BEARD AND MUSTACHE,
1046
00:59:29,151 --> 00:59:31,401
GAVE UP SHINY SUITS COMPLETELY,
1047
00:59:31,429 --> 00:59:34,919
IN FAVOR OF BLUE JEANS
AND LEATHER VESTS.
1048
00:59:34,950 --> 00:59:39,230
AND HE STARTED MAKING THE MUSIC
HE WANTED TO MAKE.
1049
00:59:39,265 --> 00:59:41,885
HE INVITED COWBOY JACK CLEMENT,
1050
00:59:41,923 --> 00:59:45,003
NASHVILLE'’S MOST
FREE-SPIRITED PRODUCER,
1051
00:59:45,029 --> 00:59:47,479
TO WORK ON HIS NEXT ALBUM.
1052
00:59:47,514 --> 00:59:51,214
MUSICIANS KNEW COWBOY JACK
LIKED WHAT THEY WERE DOING
1053
00:59:51,242 --> 00:59:54,422
WHEN THEY SAW HIM DANCING
BEHIND THE CONTROL BOARD.
1054
00:59:54,452 --> 00:59:57,562
JENNINGS: ♪ LOOKS LIKE
THE PLACE I CAME IN ♪
1055
00:59:57,594 --> 01:00:01,014
COLTER: WHEN YOU'’D GET IT
TO THE RIGHT PLACE,
1056
01:00:01,045 --> 01:00:03,245
JACK WOULD DANCE.
1057
01:00:03,289 --> 01:00:05,359
SO, HE FELT IT
FROM THE INSIDE OUT.
1058
01:00:08,018 --> 01:00:10,398
IT WASN'’T ABOUT MARKETING OR...
1059
01:00:10,434 --> 01:00:12,684
HE WAS LOOKING FOR GREAT SONGS
1060
01:00:12,712 --> 01:00:16,062
AND HE WAS
LOOKING TO SENSE IT.
1061
01:00:16,095 --> 01:00:18,025
AND THAT'’S WHAT HE DID.
1062
01:00:18,062 --> 01:00:21,312
NARRATOR: JENNINGS BROUGHT HIS
BAND INTO HILLBILLY CENTRAL,
1063
01:00:21,341 --> 01:00:24,661
WHERE HE AND CLEMENT BEGAN
RECORDING AN ALBUM CALLED
1064
01:00:24,690 --> 01:00:26,310
"DREAMING MY DREAMS."
1065
01:00:27,865 --> 01:00:30,515
IT WAS AN ECLECTIC
COLLECTION OF SONGS,
1066
01:00:30,557 --> 01:00:33,177
PAYING HOMAGE TO
COUNTRY MUSIC LEGENDS LIKE
1067
01:00:33,215 --> 01:00:37,075
JIMMIE RODGERS,
BOB WILLS, ROGER MILLER,
1068
01:00:37,116 --> 01:00:39,216
AND ESPECIALLY HANK WILLIAMS.
1069
01:00:42,639 --> 01:00:44,949
JENNINGS CHOSE
TO OPEN HIS ALBUM
1070
01:00:44,986 --> 01:00:47,676
WITH A SONG HE HAD WRITTEN
ON THE BACK OF AN ENVELOPE
1071
01:00:47,713 --> 01:00:49,783
ON THE WAY TO THE STUDIO.
1072
01:00:49,818 --> 01:00:53,298
IT SUMMARIZED HIS
NASHVILLE EXPERIENCE.
1073
01:00:53,339 --> 01:00:56,309
"ARE YOU SURE HANK
DONE IT THIS WAY?"
1074
01:00:56,342 --> 01:00:59,282
♪ LORD, IT'’S
THE SAME OLD TUNE ♪
1075
01:00:59,310 --> 01:01:02,690
♪ FIDDLE AND GUITAR,
WHERE DO WE... ♪
1076
01:01:02,728 --> 01:01:04,938
MAN: "ARE YOU SURE THIS IS
THE WAY IT'’S GOING TO WORK?"
1077
01:01:04,971 --> 01:01:06,461
"I DON'’T THINK SO."
1078
01:01:06,490 --> 01:01:07,940
"THE SAME OLD SONG,
FIDDLE, AND GUITAR,
1079
01:01:07,974 --> 01:01:09,044
"WHERE DO WE TAKE IT FROM HERE?
1080
01:01:09,079 --> 01:01:10,839
"RHINESTONE SUITS
AND BIG SHINY CARS,
1081
01:01:10,874 --> 01:01:12,534
IT'’S BEEN THAT WAY FOR YEARS."
1082
01:01:12,565 --> 01:01:15,905
IT SAYS IT ALL RIGHT THERE.
THIS HAS GOT TO CHANGE.
1083
01:01:15,948 --> 01:01:18,538
♪ WE NEED A CHANGE
1084
01:01:18,571 --> 01:01:20,021
AND WHY DOES IT HAVE TO CHANGE?
1085
01:01:20,055 --> 01:01:21,775
BECAUSE IT DOESN'’T
SPEAK TO THE PEOPLE
1086
01:01:21,816 --> 01:01:23,326
WHO ARE LISTENING TO OUR MUSIC.
1087
01:01:23,369 --> 01:01:25,299
♪ SOMEBODY
TOLD ME... ♪
1088
01:01:25,336 --> 01:01:27,746
BENSON: IT WAS A CALL TO ARMS,
KIND OF, YOU KNOW?
1089
01:01:27,787 --> 01:01:31,687
♪ SON, YOU FINALLY
GOT IT MADE ♪
1090
01:01:31,722 --> 01:01:33,932
♪ OLD HANK
MADE IT HERE ♪
1091
01:01:33,966 --> 01:01:35,856
♪ WE'’RE ALL SURE
THAT YOU WILL ♪
1092
01:01:35,899 --> 01:01:40,279
♪ BUT I DON'’T THINK HANK
DONE IT THIS WAY, NO ♪
1093
01:01:40,317 --> 01:01:43,727
♪ I DON'’T THINK
HANK DONE IT THIS WAY ♪
1094
01:01:43,769 --> 01:01:45,459
♪ TAKE IT...
1095
01:01:45,494 --> 01:01:48,814
NARRATOR: "DREAMING MY DREAMS"
BECAME A HUGE HIT.
1096
01:01:48,843 --> 01:01:51,263
NOW OTHER COUNTRY ARTISTS
WERE DEMANDING
1097
01:01:51,293 --> 01:01:53,883
CONTRACTS LIKE WAYLON'’S.
1098
01:01:53,917 --> 01:01:58,437
AND MORE AND MORE PEOPLE WERE
SHOWING UP AT HILLBILLY CENTRAL.
1099
01:02:00,509 --> 01:02:02,999
SMITH: FIRST OF ALL,
THE BUILDING DIDN'’T
HAVE WINDOWS.
1100
01:02:03,029 --> 01:02:04,859
AND EVERYBODY,
UP AND DOWN MUSIC ROW,
1101
01:02:04,893 --> 01:02:08,283
WANTED TO COME IN THAT BUILDING
TO SEE WHAT IS GOING ON THERE.
1102
01:02:10,312 --> 01:02:13,112
WILLIE WOULD COME TO TOWN
AND HE WOULD BE THERE.
1103
01:02:13,143 --> 01:02:15,083
KINKY FRIEDMAN
AND THE TEXAS JEW BOYS
1104
01:02:15,110 --> 01:02:16,460
PRACTICALLY LIVED THERE.
1105
01:02:16,491 --> 01:02:19,011
THEY'’D BE WALKING
UP AND DOWN THE HALLS.
1106
01:02:19,045 --> 01:02:21,525
SHEL SILVERSTEIN
HUNG OUT THERE.
1107
01:02:21,565 --> 01:02:24,775
AND THE GREAT
COWBOY JACK CLEMENT.
1108
01:02:24,810 --> 01:02:27,470
THE HIP PEOPLE OF
NASHVILLE, TENNESSEE
1109
01:02:27,502 --> 01:02:30,062
HUNG OUT AT THAT BUILDING.
1110
01:02:30,091 --> 01:02:32,331
PEOPLE THOUGHT, "THEY'’VE GOT
SOMETHING GOING ON
1111
01:02:32,369 --> 01:02:35,299
AND THEY AIN'’T GOT NO WINDOWS."
1112
01:02:35,337 --> 01:02:39,307
JENNINGS: ♪ SINGING MY SONGS,
AND ONE OF HIS NOW AND THEN ♪
1113
01:02:39,341 --> 01:02:43,931
♪ BUT I DON'’T THINK
HANK DONE IT THIS WAY, NO ♪
1114
01:02:43,967 --> 01:02:47,657
♪ I THINK HE DID IT
LIKE HE WANTED TO, YEAH ♪
1115
01:03:02,330 --> 01:03:06,850
BENSON: I THINK EVERY GENERATION
COMES UP WITH THEIR OWN SOUND.
1116
01:03:06,886 --> 01:03:08,846
MUSIC STARTS OUT RAW.
1117
01:03:10,338 --> 01:03:12,928
AND, AS IT GO,
IT GETS MORE POLISHED,
1118
01:03:12,961 --> 01:03:14,831
MORE POLISHED, MORE POLISHED,
1119
01:03:14,860 --> 01:03:17,070
AND THE NEXT GENERATION
COMES ALONG AND GOES,
1120
01:03:17,103 --> 01:03:18,863
"WE DON'’T LIKE
THAT SLICK STUFF."
1121
01:03:18,898 --> 01:03:21,938
AND IT BECOMES
FUNKY AND RAW AGAIN.
1122
01:03:21,970 --> 01:03:23,970
NARRATOR: BY THE 1970s, WITH
1123
01:03:24,007 --> 01:03:26,697
COUNTRYPOLITAN RULING
THE AIRWAVES,
1124
01:03:26,733 --> 01:03:28,673
ACOUSTIC STRING BAND MUSIC HAD
1125
01:03:28,701 --> 01:03:32,081
VIRTUALLY DISAPPEARED
FROM COUNTRY RADIO.
1126
01:03:32,118 --> 01:03:35,848
BUT THERE WERE STILL
PLENTY OF PEOPLE PLAYING IT.
1127
01:03:35,881 --> 01:03:37,851
STUART: BLUEGRASS FESTIVALS
WERE DOING GREAT.
1128
01:03:37,883 --> 01:03:40,063
THE ROOTS OF IT WAS GREAT.
1129
01:03:40,092 --> 01:03:43,102
EVERYBODY THAT MATTERED
WAS STILL MAKING
1130
01:03:43,129 --> 01:03:44,229
PLENTY OF GOOD MUSIC, THEY JUST
1131
01:03:44,268 --> 01:03:46,788
WEREN'’T GETTING
RECOGNIZED AS MUCH.
1132
01:03:46,823 --> 01:03:49,343
NARRATOR: MARTY STUART,
STILL A TEENAGER,
1133
01:03:49,377 --> 01:03:52,787
WAS NOW OFFICIALLY PART
OF LESTER FLATT'’S BAND,
1134
01:03:52,829 --> 01:03:55,209
THE NASHVILLE GRASS.
1135
01:03:55,245 --> 01:03:57,555
ON OCCASIONS, HE ALSO TRAVELED
1136
01:03:57,592 --> 01:04:01,222
WITH BILL MONROE,
THE PATRIARCH OF BLUEGRASS.
1137
01:04:03,253 --> 01:04:06,013
STUART: A LOT OF MY
EARLY MANDOLIN EXPERIENCES
1138
01:04:06,049 --> 01:04:07,739
WERE JUST RIDING DOWN THE ROAD
1139
01:04:07,774 --> 01:04:09,714
AFTER SOME OF
THOSE SHOWS AT NIGHT
1140
01:04:09,742 --> 01:04:11,952
AND HIM JUST, US, SITTING THERE
IN THE DARKNESS, YOU KNOW,
1141
01:04:11,986 --> 01:04:15,196
LOOKING AT THE TAIL LIGHTS
TO THE BUS IN FRONT OF US,
1142
01:04:15,230 --> 01:04:16,750
PLAYING MUSIC.
1143
01:04:16,783 --> 01:04:18,723
AND HE KEPT HIS
REGULAR MANDOLIN HERE,
1144
01:04:18,751 --> 01:04:20,131
AND SOMETIMES HE
KEPT ONE OVER HERE
1145
01:04:20,166 --> 01:04:23,646
THAT WAS TUNED IN STRANGE
TUNINGS VERY ANCIENT-SOUNDING.
1146
01:04:23,687 --> 01:04:25,897
HE CALLED THEM
THE ANCIENT TONES.
1147
01:04:25,931 --> 01:04:27,731
AND HE WAS NEVER
ONE OF THOSE GUYS TO SAY,
1148
01:04:27,760 --> 01:04:29,040
"LISTEN TO THIS TUNE."
1149
01:04:29,072 --> 01:04:30,972
HE WOULD, HE WOULD GO LIKE...
1150
01:04:34,180 --> 01:04:35,770
AND LOOK OFF AND I WAS
SUPPOSED TO GO...
1151
01:04:39,841 --> 01:04:42,711
AND WHEN I WOULD GET IT,
HE'’D MOVE ON.
1152
01:04:42,740 --> 01:04:47,920
AND, UH, WHEN I'’D MISS IT, HE'D
JUST KIND OF, UM, SHAKE HIS HEAD
1153
01:04:47,953 --> 01:04:49,303
AND RUN OFF AND DO
SOMETHING ELSE.
1154
01:04:49,333 --> 01:04:51,513
AND IT WOULD KILL ME
IF I COULDN'’T KEEP UP.
1155
01:04:51,542 --> 01:04:53,372
NARRATOR: OTHER
BLUEGRASS MUSICIANS
1156
01:04:53,406 --> 01:04:56,026
WERE ALSO COMING OF AGE.
1157
01:04:56,064 --> 01:04:58,384
RICKY SKAGGS WAS
FROM THE MOUNTAINS
1158
01:04:58,411 --> 01:05:00,591
OF EASTERN KENTUCKY.
1159
01:05:00,620 --> 01:05:02,240
MAN: I'’D STAND IN
THE MIDDLE OF THE HOUSE,
1160
01:05:02,277 --> 01:05:03,517
AND I'’D HEAR MOM AND DAD
LISTENING TO
1161
01:05:03,554 --> 01:05:05,214
FLATT AND SCRUGGS
OR RALPH STANLEY,
1162
01:05:05,246 --> 01:05:06,386
AND THEN I'’D,
I'’D HEAR, YOU KNOW,
1163
01:05:06,419 --> 01:05:08,869
MY SISTER LISTENING
TO THE BEATLES, UH, OVER HERE.
1164
01:05:08,905 --> 01:05:11,075
AND I WOULD STAND IN THE MIDDLE,
AND IT'’S LIKE
1165
01:05:11,114 --> 01:05:13,674
I WOULD HEAR TWO WORLDS
GOING OFF AND ON.
1166
01:05:13,702 --> 01:05:16,152
BUT IT WAS, YOU KNOW,
THE HARMONIES
1167
01:05:16,188 --> 01:05:18,638
THAT JOHN AND PAUL WERE DOING
WAS NOT DIFFERENT
1168
01:05:18,673 --> 01:05:20,123
THAN WHAT RALPH
AND CARTER WAS DOING.
1169
01:05:20,157 --> 01:05:21,677
TO ME, I COULD HEAR IT.
1170
01:05:21,710 --> 01:05:25,230
NARRATOR: LIKE MARTY STUART,
SKAGGS HAD TAKEN UP THE MANDOLIN
1171
01:05:25,266 --> 01:05:29,956
AT AN EARLY AGE--AND HE
WAS GOOD AT IT, TOO.
1172
01:05:29,995 --> 01:05:31,265
SKAGGS: I WAS 6 YEARS OLD.
1173
01:05:31,306 --> 01:05:32,856
I HAD ONLY BEEN PLAYING
THE MANDOLIN ABOUT A YEAR.
1174
01:05:32,894 --> 01:05:35,664
AND, UH, BILL MONROE
CAME TO MARTHA, KENTUCKY.
1175
01:05:35,690 --> 01:05:38,420
AND THAT NIGHT CHANGED MY LIFE.
1176
01:05:38,451 --> 01:05:41,701
SOME NEIGHBORS IN THE HOOD
HAD STARTED, UH,
1177
01:05:41,730 --> 01:05:44,600
SHOUTING OUT TO MR. MONROE,
"LET LITTLE RICKY SKAGGS
1178
01:05:44,630 --> 01:05:46,010
GET UP THERE AND SING ONE."
1179
01:05:47,460 --> 01:05:49,700
HE WAS NICE AND HE
KEPT ON DOING HIS SHOW.
1180
01:05:49,738 --> 01:05:52,948
SO, FINALLY, AFTER A COUPLE MORE
HEE-HAWS FROM THE AUDIENCE,
1181
01:05:52,983 --> 01:05:54,743
WHY, I THINK HE WAS READY
TO PUT A STOP TO IT,
1182
01:05:54,778 --> 01:05:56,228
SO HE INVITED
"LITTLE RICKY SKAGGS"
1183
01:05:56,262 --> 01:05:57,442
TO COME UP ONSTAGE.
1184
01:05:57,470 --> 01:05:58,960
I DON'’T THINK HE REALLY
KNEW HOW LITTLE
1185
01:05:58,989 --> 01:06:01,159
RICKY SKAGGS WAS AT THE TIME.
1186
01:06:01,198 --> 01:06:04,858
HE TOOK HIS BIG F-5 SIZED
MANDOLIN LIKE THIS
1187
01:06:04,891 --> 01:06:07,071
AND PUT THE STRAP
AROUND THE CURL HERE
1188
01:06:07,101 --> 01:06:09,621
AND PUT IT ON ME WHEN HE
FOUND OUT I PLAYED MANDOLIN.
1189
01:06:09,655 --> 01:06:11,855
YOU KNOW?
AND WE PLAYED A SONG CALLED
1190
01:06:11,898 --> 01:06:13,798
"RUBY, ARE YOU MAD AT YOUR MAN?"
1191
01:06:13,831 --> 01:06:17,491
NOW, THAT IS A 6-YEAR-OLD
HIT, RIGHT THERE.
1192
01:06:17,525 --> 01:06:28,255
♪ OH, RUBY, RUBY, HONEY,
ARE YOU MAD AT YOUR MAN? ♪
1193
01:06:28,294 --> 01:06:38,344
♪ OH, RUBY
1194
01:06:40,065 --> 01:06:42,025
♪ RUBY
1195
01:06:42,067 --> 01:06:44,657
I NEVER KNEW WHAT
SHE WAS MAD ABOUT.
1196
01:06:47,624 --> 01:06:49,704
NARRATOR: IN NORMAN, OKLAHOMA,
1197
01:06:49,729 --> 01:06:52,009
A YOUNG BANJO AND GUITAR PLAYER
1198
01:06:52,042 --> 01:06:54,392
NAMED VINCE GILL SWITCHED FROM
1199
01:06:54,424 --> 01:06:56,674
PLAYING ROCK AND ROLL
IN HIGH SCHOOL
1200
01:06:56,702 --> 01:07:00,742
TO JOIN A BLUEGRASS BAND,
MOUNTAIN SMOKE.
1201
01:07:00,775 --> 01:07:03,255
THEY THOUGHT THEY HAD
CAUGHT THEIR BIG BREAK
1202
01:07:03,295 --> 01:07:06,155
WHEN THEY WERE ASKED TO FILL IN
AT THE LAST MINUTE
1203
01:07:06,194 --> 01:07:09,754
AS THE OPENING ACT AT
A CONCERT IN OKLAHOMA CITY.
1204
01:07:11,234 --> 01:07:13,414
MAN: WE WENT DOWN TO THE
CIVIC CENTER IN OKLAHOMA CITY
1205
01:07:13,443 --> 01:07:16,103
AND WE WERE GOING
TO OPEN FOR KISS,
1206
01:07:16,135 --> 01:07:17,445
IN OUR LITTLE BLUEGRASS BAND.
1207
01:07:17,481 --> 01:07:20,591
AND YOU COULDN'’T--
YOU COULDN'’T SCRIPT--
1208
01:07:20,622 --> 01:07:23,562
"SPINAL TAP" COULDN'’T
SCRIPT THIS, YOU KNOW?
1209
01:07:23,591 --> 01:07:25,901
THEY HAD THEIR
30-FOOT DRUM RISERS
1210
01:07:25,938 --> 01:07:28,698
AND STACKS OF AMPLIFIERS
TO THE CEILING
1211
01:07:28,734 --> 01:07:32,124
AND DEATH AND FIRE
AND ALL OF THIS STUFF.
1212
01:07:32,151 --> 01:07:33,121
WE COME OUT THERE WITH OUR
1213
01:07:33,152 --> 01:07:35,782
LITTLE FIDDLES
AND OUR MANDOLINS.
1214
01:07:38,675 --> 01:07:41,085
THESE PEOPLE FLIPPED
COMPLETELY OUT.
1215
01:07:41,126 --> 01:07:44,026
THEY HATED US SO BAD.
1216
01:07:44,060 --> 01:07:47,820
THEY STARTED BOOING FROM
THE FIRST NOTE AND SCREAMING,
1217
01:07:47,856 --> 01:07:50,306
AND I MUST SAY, IT WAS
KIND OF A NEAT FEELING,
1218
01:07:50,342 --> 01:07:52,692
HAVING THAT MANY PEOPLE
PISSED OFF AT YOU,
1219
01:07:52,723 --> 01:07:54,103
AND SCREAMING AT YOU, THAT
1220
01:07:54,139 --> 01:07:57,489
IT WAS LIKE A BIG ROOMFUL
OF APPLAUSE IN A WEIRD WAY.
1221
01:07:57,521 --> 01:07:59,181
WE ONLY LASTED ABOUT 3 SONGS,
1222
01:07:59,213 --> 01:08:01,113
AND THEN THE BEER BOTTLES
STARTED FLYING,
1223
01:08:01,146 --> 01:08:03,696
AND WE SAID, "WELL,
WE BETTER GET OUT OF HERE."
1224
01:08:03,734 --> 01:08:06,154
SO, I TURNED AROUND
AND FLIPPED THEM OFF
1225
01:08:06,185 --> 01:08:10,115
AND TOLD THEM TO KISS MY ASS.
1226
01:08:10,155 --> 01:08:13,255
AND THE NEXT DAY, THERE WAS
A REVIEW IN THE PAPER
1227
01:08:13,296 --> 01:08:16,916
AND IT SAID, "GROUP MEMBER
VINCE GILL ON HIS DEPARTURE
1228
01:08:16,954 --> 01:08:19,374
"SHOWED THE CROWD
WHICH PART OF HIS ANATOMY
1229
01:08:19,405 --> 01:08:21,365
THE CROWD COULD KISS,"
1230
01:08:21,407 --> 01:08:25,097
IN THEIR BLOCK LETTERS, THAT
WAS THEIR LOGO.
1231
01:08:28,138 --> 01:08:31,588
NARRATOR: MEANWHILE,
LESTER FLATT
AND THE NASHVILLE GRASS
1232
01:08:31,624 --> 01:08:34,944
FOUND THEMSELVES PLAYING
ON THE SAME STAGE
1233
01:08:34,972 --> 01:08:37,702
WITH THE JAZZ PIANIST
CHICK COREA
1234
01:08:37,734 --> 01:08:41,264
AND THE FUNK BAND
KOOL AND THE GANG.
1235
01:08:41,289 --> 01:08:42,909
STUART: I REMEMBER
PUTTING MY HEAD DOWN
1236
01:08:42,946 --> 01:08:44,356
ON THE BUNK IN THE BUS, GOING,
1237
01:08:44,396 --> 01:08:48,016
"THEY'’RE GOING TO LAUGH US
OFF OF THE STAGE."
1238
01:08:48,054 --> 01:08:50,544
BUT WE WENT OUT THERE
IN THAT TRADITIONAL DRESS,
1239
01:08:50,574 --> 01:08:53,204
ALL THESE OLD GUYS,
AND ME, AS A YOUNGSTER,
1240
01:08:53,232 --> 01:08:57,442
AND THE MOVIE "DELIVERANCE"
WAS PRETTY HOT AT THE TIME.
1241
01:08:57,478 --> 01:09:00,688
AND, UNKNOWINGLY, LESTER HAD
ALWAYS DONE "DUELING BANJOS"
1242
01:09:00,722 --> 01:09:02,482
AS A PART OF HIS SHOW
FOR YEARS.
1243
01:09:02,517 --> 01:09:03,727
IT WAS ON THE NEW RECORD.
1244
01:09:03,760 --> 01:09:05,690
SO, IT WAS JUST SIMPLY
ONE OF THE INSTRUMENTALS
1245
01:09:05,727 --> 01:09:07,067
THAT WAS PLAYED THAT NIGHT.
1246
01:09:35,964 --> 01:09:39,144
WELL, THAT UNLOCKED,
AND WE ENCORED.
1247
01:09:39,175 --> 01:09:41,655
AND AT THE END OF THE NIGHT,
WE HAD ENCORED 9 TIMES.
1248
01:09:45,008 --> 01:09:47,148
AND THE NEXT DAY,
LESTER'’S MANAGER
1249
01:09:47,183 --> 01:09:50,533
BOOKED 72 COLLEGE SHOWS
AND ROCK SHOWS
1250
01:09:50,565 --> 01:09:52,525
OFF OF THAT ONE
30-MINUTE PERFORMANCE.
1251
01:10:01,645 --> 01:10:03,915
AND THE NEXT THING I KNOW,
WE GO FROM BEING
1252
01:10:03,958 --> 01:10:07,408
A TIRED, OLD OPRY BAND THAT'’S
PLAYING "MOM AND POP" SHOWS
1253
01:10:07,444 --> 01:10:09,274
AND, YOU KNOW,
BLUEGRASS FESTIVALS
1254
01:10:09,308 --> 01:10:13,208
TO WE WERE ROCK STARS.
1255
01:10:13,243 --> 01:10:15,073
NARRATOR: ONE OF THEIR
FIRST SHOWS WAS
1256
01:10:15,107 --> 01:10:17,387
AT MICHIGAN STATE
UNIVERSITY.
1257
01:10:17,420 --> 01:10:19,420
THE CONCERT THAT
NIGHT FEATURED
1258
01:10:19,456 --> 01:10:22,936
AN UP-AND-COMING
ROCK GROUP, THE EAGLES,
1259
01:10:22,977 --> 01:10:26,327
AND A FORMER MEMBER OF
THE BYRDS, GRAM PARSONS,
1260
01:10:26,360 --> 01:10:29,360
WHO HAD BROUGHT
ALONG A NEW HARMONY SINGER,
1261
01:10:29,397 --> 01:10:31,877
EMMYLOU HARRIS.
1262
01:10:31,917 --> 01:10:35,267
HARRIS: HE WAS PASSIONATE ABOUT
REAL COUNTRY MUSIC,
1263
01:10:35,300 --> 01:10:38,100
THE REAL WASHED
IN THE BLOOD STUFF.
1264
01:10:38,130 --> 01:10:41,650
BUT HE WAS ALSO A CHILD
OF THE SIXTIES.
1265
01:10:41,685 --> 01:10:44,405
ROCK AND ROLL WAS ALSO
A PASSION OF HIS.
1266
01:10:44,447 --> 01:10:47,447
HE KIND OF HAD ONE FOOT
IN BOTH WORLDS.
1267
01:10:47,484 --> 01:10:51,664
HE REALLY BELIEVED THAT YOU
COULD BRING THE TWO TOGETHER.
1268
01:10:51,695 --> 01:10:53,795
THE FLYING BURRITO BROTHERS:
♪ SHE'’S TELLING DIRTY LIES... ♪
1269
01:10:53,835 --> 01:10:57,765
NARRATOR: BACK IN 1968, PARSONS
HAD COME TO NASHVILLE
1270
01:10:57,805 --> 01:11:02,835
AND RECORDED THE ALBUM
"SWEETHEART OF THE RODEO"
WITH THE BYRDS.
1271
01:11:02,879 --> 01:11:05,119
IN CALIFORNIA,
HE AND CHRIS HILLMAN
1272
01:11:05,157 --> 01:11:10,127
PUT TOGETHER A NEW BAND,
THE FLYING BURRITO BROTHERS.
1273
01:11:11,474 --> 01:11:13,104
THE FLYING BURRITO BROTHERS:
♪ UNHAPPINESS HAS BEEN
1274
01:11:13,130 --> 01:11:16,310
♪ HER CLOSE COMPANION
1275
01:11:16,341 --> 01:11:20,381
♪ HER WORLD IS FULL OF
JEALOUSY AND DOUBT ♪
1276
01:11:20,414 --> 01:11:25,384
♪ IT GETS HER OFF TO SEE
A PERSON CRYING ♪
1277
01:11:25,419 --> 01:11:29,459
♪ SHE'’S JUST THE KIND THAT
YOU CAN'’T DO WITHOUT... ♪
1278
01:11:29,492 --> 01:11:31,602
BENSON: THE MUSIC THAT WAS
GOING ON IN CALIFORNIA,
1279
01:11:31,632 --> 01:11:33,362
IN SOUTHERN CALIFORNIA,
WAS THE BYRDS
1280
01:11:33,392 --> 01:11:35,502
AND THE FLYING BURRITO
BROTHERS.
1281
01:11:35,532 --> 01:11:37,052
IN NORTHERN CALIFORNIA,
1282
01:11:37,085 --> 01:11:38,805
THE GRATEFUL DEAD
HAD A SPINOFF BAND,
1283
01:11:38,846 --> 01:11:41,086
THE NEW RIDERS
OF THE PURPLE SAGE.
1284
01:11:41,124 --> 01:11:43,854
THERE WAS COMMANDER CODY.
1285
01:11:43,885 --> 01:11:47,225
THERE WAS THIS INCREDIBLE
CROSSING OF PEOPLE
1286
01:11:47,268 --> 01:11:49,648
VERY INTERESTED IN THE
ROOTS OF COUNTRY MUSIC
1287
01:11:49,684 --> 01:11:52,244
AND FOLK MUSIC
AND ROCK AND ROLL
1288
01:11:52,273 --> 01:11:54,213
AND HOW IT ALL
FIT TOGETHER.
1289
01:11:54,240 --> 01:11:57,380
NARRATOR: AS A SELF-APPOINTED
APOSTLE OF THE FUSION
1290
01:11:57,416 --> 01:12:00,136
HE CALLED
COSMIC AMERICAN MUSIC,
1291
01:12:00,177 --> 01:12:03,277
PARSONS BECAME FRIENDS WITH
THE ROLLING STONES
1292
01:12:03,319 --> 01:12:08,839
AND HELPED INFLUENCE
THE CREATION OF THEIR
SONG, "WILD HORSES."
1293
01:12:08,876 --> 01:12:13,046
PARSONS'’ NEXT PROSPECT FOR
CONVERSION TO COUNTRY MUSIC
1294
01:12:13,087 --> 01:12:14,877
WAS EMMYLOU HARRIS.
1295
01:12:16,470 --> 01:12:18,300
EXCEPT FOR JOHNNY CASH,
1296
01:12:18,334 --> 01:12:21,894
I COULDN'’T BE FOOLED WITH
COUNTRY MUSIC.
1297
01:12:23,235 --> 01:12:26,375
FOLK MUSIC WAS
WHAT REALLY SPOKE TO ME.
1298
01:12:26,411 --> 01:12:30,421
♪ CALLIOPE CALLING,
CHILDREN ARE FALLING ♪
1299
01:12:30,449 --> 01:12:34,209
♪ IN LINE TO RIDE ON
THE MERRY-GO-ROUND ♪
1300
01:12:34,246 --> 01:12:38,106
♪ PEOPLE ARE PASSING,
CHILDREN ARE LAUGHING ♪
1301
01:12:38,146 --> 01:12:41,806
♪ THEY WANT TO RIDE ON
THE MERRY-GO-ROUND ♪
1302
01:12:41,840 --> 01:12:45,460
♪ DOESN'’T MATTER
WHEN YOU CAME ♪
1303
01:12:45,499 --> 01:12:48,849
♪ EVERY RIDE IS
JUST THE SAME ♪
1304
01:12:48,881 --> 01:12:52,331
♪ DO NOT WORRY
HOW IT'’S DONE ♪
1305
01:12:52,368 --> 01:12:57,478
♪ THERE IS ROOM
FOR EVERYONE... ♪
1306
01:12:57,511 --> 01:13:01,621
NARRATOR: BORN IN BIRMINGHAM,
ALABAMA AND RAISED IN VIRGINIA,
1307
01:13:01,653 --> 01:13:04,693
HARRIS DROPPED OUT OF COLLEGE,
GOT MARRIED,
1308
01:13:04,725 --> 01:13:07,655
HAD A BABY, THEN A DIVORCE.
1309
01:13:07,693 --> 01:13:10,973
SHE HAD BOUNCED AROUND
THE EAST COAST FOLK SCENE
1310
01:13:11,007 --> 01:13:14,247
FOR SEVERAL YEARS WHEN ONE OF
THE BURRITO BROTHERS
1311
01:13:14,286 --> 01:13:18,806
HEARD HER PERFORMING AT
A SMALL CLUB IN SUBURBAN
WASHINGTON, D.C.
1312
01:13:18,842 --> 01:13:23,402
AND TOLD PARSONS ABOUT
HER REMARKABLE VOICE.
1313
01:13:24,779 --> 01:13:29,749
♪ OOH
1314
01:13:32,235 --> 01:13:35,065
GRAM PARSONS:
♪ LOVE HURTS
1315
01:13:35,100 --> 01:13:37,480
♪ LOVE SCARS...
1316
01:13:37,516 --> 01:13:40,106
NARRATOR: A YEAR LATER,
AS PARSONS PREPARED
1317
01:13:40,139 --> 01:13:42,869
TO RECORD HIS FIRST
SOLO ALBUM,
1318
01:13:42,901 --> 01:13:46,181
HE SENT HARRIS A PLANE TICKET
FOR LOS ANGELES,
1319
01:13:46,214 --> 01:13:48,014
AND THEY BEGAN REHEARSALS,
1320
01:13:48,044 --> 01:13:51,884
WHICH INCLUDED HIS TUTORIALS ON
THE MUSIC HE LOVED,
1321
01:13:51,910 --> 01:13:55,470
LIKE MELODIES WRITTEN BY
FELICE AND BOUDLEAUX BRYANT
1322
01:13:55,500 --> 01:13:58,640
OR THE TIGHT HARMONIES OF
THE INFLUENTIAL GOSPEL
1323
01:13:58,675 --> 01:14:02,365
AND COUNTRY DUO,
THE LOUVIN BROTHERS.
1324
01:14:02,403 --> 01:14:05,653
PARSONS: ♪ TAKE A LOT
OF PAIN... ♪
1325
01:14:05,682 --> 01:14:10,552
HARRIS: IT WAS A VERY
INTENSE MUSICAL LEARNING
EXPERIENCE FOR ME.
1326
01:14:13,414 --> 01:14:15,554
PARSONS: ♪ LOVE HURTS...
1327
01:14:15,589 --> 01:14:18,009
HARRIS: I HAD NO IDEA WHO
THE LOUVIN BROTHERS WERE.
1328
01:14:18,039 --> 01:14:20,839
THEY HAD THESE WONDERFUL
HARMONIES.
1329
01:14:20,870 --> 01:14:22,940
THERE'’S SUCH A TENSION
IN THE VOICES
1330
01:14:22,975 --> 01:14:25,045
THAT YOU FEEL LIKE
YOU'’RE STARTING TO VIBRATE.
1331
01:14:25,081 --> 01:14:27,531
PARSONS: ♪ MMM,
LOVE HURTS ♪
1332
01:14:27,566 --> 01:14:30,086
I BECAME A BIG FAN OF
THE LOUVIN BROTHERS
1333
01:14:30,120 --> 01:14:33,710
AND STARTED TRYING TO TRACK DOWN
THEIR RECORDS.
1334
01:14:33,745 --> 01:14:34,985
PARSONS: ♪ I'’M YOUNG... ♪
1335
01:14:35,022 --> 01:14:38,162
NARRATOR: HARRIS'’ OWN
EXQUISITELY TENDER HARMONIES
1336
01:14:38,197 --> 01:14:42,027
ADDED THE SPECIAL ELEMENT
PARSONS HAD BEEN SEARCHING FOR,
1337
01:14:42,063 --> 01:14:45,553
AND THEY WENT ON TOUR TO
PROMOTE THE RESULT.
1338
01:14:45,584 --> 01:14:49,804
PARSONS AND HARRIS:
♪ I KNOW PAIN
1339
01:14:49,830 --> 01:14:51,560
♪ OR TWO...
1340
01:14:51,590 --> 01:14:54,210
HARRIS: I HAD FINALLY
DISCOVERED WHO I WAS
1341
01:14:54,248 --> 01:14:56,418
AS A SINGER FROM
SINGING WITH HIM
1342
01:14:56,457 --> 01:14:59,697
AND BECOMING THIS HUGE
COUNTRY MUSIC CONVERT.
1343
01:14:59,736 --> 01:15:02,116
PARSONS: ♪ I REALLY
LEARNED A LOT... ♪
1344
01:15:02,152 --> 01:15:05,642
I FINALLY FELT I HAD FOUND
1345
01:15:05,673 --> 01:15:07,813
WHERE I WAS SUPPOSED TO BE
AS A SINGER.
1346
01:15:09,090 --> 01:15:12,160
I FELT LIKE
I WAS A SINGER
1347
01:15:12,197 --> 01:15:14,917
WHO WAS COMING THROUGH
THE COUNTRY MUSIC DOOR.
1348
01:15:14,958 --> 01:15:17,548
PARSONS AND HARRIS:
♪ ...HURTS
1349
01:15:17,582 --> 01:15:22,732
♪ MMM, LOVE HURTS
1350
01:15:24,623 --> 01:15:26,143
STUART: THAT NIGHT
AT MICHIGAN STATE
1351
01:15:26,176 --> 01:15:28,106
WAS THE FIRST TIME I EVER
SAW ROCK AND ROLL
1352
01:15:28,144 --> 01:15:30,804
AND BLUEGRASS AND HONKY-TONK
AND FOLK MUSIC
1353
01:15:30,836 --> 01:15:34,116
AND GOSPEL MUSIC COLLIDE.
1354
01:15:34,150 --> 01:15:36,570
AND SHE WAS DEAD
CENTER OF EVERY BIT OF IT,
1355
01:15:36,601 --> 01:15:41,611
LIKE SPARKS WERE FLYING
OFF OF HER AS MUCH AS
THEY WERE ANYBODY.
1356
01:15:41,640 --> 01:15:44,190
AND I REMEMBER THINKING IT CAN
ALL EXIST
1357
01:15:44,229 --> 01:15:46,469
UNDER THE UMBRELLA OF
COUNTRY MUSIC.
1358
01:15:46,507 --> 01:15:50,197
PARSONS AND HARRIS:
♪ LOVE HURTS
1359
01:15:53,618 --> 01:15:55,478
♪ THEY CALL IT THAT
OL'’ MOUNTAIN DEW ♪
1360
01:15:55,516 --> 01:15:59,556
♪ LORD, LORD, AND THEM
THAT REFUSE IT ARE FEW ♪
1361
01:15:59,589 --> 01:16:01,559
♪ I'’M GONNA HUSH UP
MY MUG ♪
1362
01:16:01,591 --> 01:16:03,141
♪ IF YOU'’LL JUST
FILL UP MY JUG ♪
1363
01:16:03,179 --> 01:16:06,219
♪ WITH THAT GOOD
OL'’ MOUNTAIN DEW ♪
1364
01:16:06,251 --> 01:16:09,741
♪ WELL, NOW, MY UNCLE MORT,
HE'’S SAWED OFF AND HE'S SHORT ♪
1365
01:16:09,772 --> 01:16:12,602
♪ AND HE MEASURES
ABOUT 4-FOOT-TWO ♪
1366
01:16:12,637 --> 01:16:16,397
♪ BUT HE THINKS HE'’S A GIANT
WHEN YOU GIVE HIM A PINT ♪
1367
01:16:16,433 --> 01:16:19,683
♪ OF THAT GOOD OL'’
MOUNTAIN DEW ♪
1368
01:16:19,713 --> 01:16:22,413
♪ WELL, THEY CALL IT
THAT OL'’ MOUNTAIN DEW ♪
1369
01:16:22,439 --> 01:16:26,579
♪ LORD, LORD, AND THEM
THAT REFUSE IT ARE FEW ♪
1370
01:16:26,616 --> 01:16:30,096
♪ I'’LL HUSH UP MY MUG
IF YOU FILL UP MY JUG ♪
1371
01:16:30,137 --> 01:16:32,447
♪ WITH THAT GOOD OL'’
MOUNTAIN DEW ♪
1372
01:16:32,484 --> 01:16:34,114
PLAY IT, JODY.
1373
01:16:34,141 --> 01:16:36,521
MAN: I TELL PEOPLE, "WILLIE'’S
NOT FROM AROUND HERE."
1374
01:16:37,834 --> 01:16:39,804
I MEAN EARTH.
1375
01:16:41,424 --> 01:16:43,704
BENSON: OBVIOUSLY, HIS VOICE
IS DIFFERENT.
1376
01:16:43,737 --> 01:16:45,977
WHEN I FIRST MOVED
TO TEXAS, PEOPLE WOULD SAY,
1377
01:16:46,015 --> 01:16:48,425
"THAT WILLIE NELSON SINGS
THROUGH HIS NOSE." YOU KNOW?
1378
01:16:48,465 --> 01:16:49,805
YEAH, IT'’S A HELL OF A NOSE.
1379
01:16:49,846 --> 01:16:52,396
♪ WE CALL IT THAT OL'’
MOUNTAIN DEW, LORD, LORD ♪
1380
01:16:52,435 --> 01:16:55,775
♪ AND THEM THAT REFUSE IT
ARE FEW... ♪
1381
01:16:55,818 --> 01:16:58,408
WE REALLY DIDN'’T THINK THAT
WILLIE COULD EVER BREAK THROUGH
1382
01:16:58,441 --> 01:17:00,791
TO THE MAINSTREAM '’CAUSE
HE WAS TOO DIFFERENT.
1383
01:17:00,823 --> 01:17:02,933
HE WAS TOO GOOD
AND TOO DIFFERENT.
1384
01:17:02,963 --> 01:17:04,343
AND THE STUFF THAT MADE IT
1385
01:17:04,378 --> 01:17:06,828
IN THE MAINSTREAM WAS NOT
DIFFERENT.
1386
01:17:06,863 --> 01:17:09,943
NELSON: ♪ THAT GOOD OL'’
MOUNTAIN DEW ♪
1387
01:17:15,009 --> 01:17:17,769
AND THEN THE
MAINSTREAM FOUND OUT.
1388
01:17:20,152 --> 01:17:23,402
AND THEN IT GOT REALLY NUTS.
1389
01:17:24,812 --> 01:17:26,612
NARRATOR: IN 1972,
1390
01:17:26,642 --> 01:17:29,922
AFTER 10 DISCOURAGING
YEARS IN NASHVILLE,
1391
01:17:29,955 --> 01:17:33,265
WILLIE NELSON HAD
RETURNED HOME TO TEXAS.
1392
01:17:34,753 --> 01:17:38,213
IN AUSTIN, HE DISCOVERED
AN EMERGING MUSIC SCENE
1393
01:17:38,239 --> 01:17:41,069
THAT SEEMED TO HIM MUCH MORE
FREEWHEELING
1394
01:17:41,104 --> 01:17:43,074
THAN THE NASHVILLE HE KNEW,
1395
01:17:43,106 --> 01:17:45,896
LESS CONCERNED ABOUT
LABELING MUSIC
1396
01:17:45,937 --> 01:17:50,107
AND MORE WELCOMING TO OFFBEAT
ARTISTS LIKE HIMSELF.
1397
01:17:52,012 --> 01:17:53,702
ASLEEP AT THE WHEEL:
♪ I WAS BORN IN LOUISIANA...
1398
01:17:53,738 --> 01:17:56,908
NARRATOR: ITS FOCAL POINT WAS
AN OLD NATIONAL GUARD ARMORY
1399
01:17:56,948 --> 01:18:00,708
JUST ACROSS THE COLORADO RIVER
FROM DOWNTOWN AUSTIN,
1400
01:18:00,745 --> 01:18:04,155
A PLACE CALLED
ARMADILLO WORLD HEADQUARTERS,
1401
01:18:04,196 --> 01:18:07,336
WHERE LIVE MUSIC RANGED FROM
B.B. KING,
1402
01:18:07,372 --> 01:18:10,582
JERRY JEFF WALKER,
AND TAJ MAHAL
1403
01:18:10,616 --> 01:18:11,926
TO FRANK ZAPPA,
1404
01:18:11,963 --> 01:18:15,283
THE FLYING BURRITO BROTHERS,
COMMANDER CODY,
1405
01:18:15,311 --> 01:18:19,631
AND RAY BENSON AND HIS BAND,
ASLEEP AT THE WHEEL.
1406
01:18:19,660 --> 01:18:21,520
ASLEEP AT THE WHEEL:
♪ I SAW MILES AND MILES...
1407
01:18:21,558 --> 01:18:22,938
BENSON: WE PLAYED
AT THE ARMADILLO
1408
01:18:22,974 --> 01:18:24,704
AND IT WAS LIKE,
"THIS IS IT. IT'’S HEAVEN.
1409
01:18:24,734 --> 01:18:26,844
WE FOUND HEAVEN ON EARTH."
1410
01:18:28,393 --> 01:18:30,783
PEOPLE OUR AGE
LOVE OUR MUSIC.
1411
01:18:30,809 --> 01:18:32,919
THEY HAVE BEER.
1412
01:18:32,949 --> 01:18:35,159
THERE WERE
COLLEGE GIRLS TO CHASE.
1413
01:18:35,193 --> 01:18:37,303
RENT WAS $100 A MONTH.
1414
01:18:37,333 --> 01:18:39,163
AND POT WAS CHEAP.
1415
01:18:39,197 --> 01:18:40,647
WE NEEDED MONEY,
1416
01:18:40,681 --> 01:18:44,371
BUT WE WERE NOT MOTIVATED JUST
BY MAKING MONEY.
1417
01:18:44,409 --> 01:18:46,379
ASLEEP AT THE WHEEL:
♪ ...TILL I DIE
1418
01:18:46,411 --> 01:18:48,691
BUT IT WAS MORE IMPORTANT THAT
WE HAD THE FREEDOM.
1419
01:18:53,901 --> 01:18:59,041
NELSON: ♪ WHISKEY RIVER,
TAKE MY MIND... ♪
1420
01:18:59,079 --> 01:19:02,219
NARRATOR: WILLIE NELSON WAS
NEARLY A GENERATION OLDER
1421
01:19:02,254 --> 01:19:03,844
THAN MOST OF THE PATRONS,
1422
01:19:03,877 --> 01:19:06,907
AND THE OTHER MUSICIANS,
AT THE ARMADILLO,
1423
01:19:06,949 --> 01:19:10,019
BUT FROM HIS FIRST
APPEARANCE ON ITS STAGE,
1424
01:19:10,055 --> 01:19:11,775
THEY FELL IN LOVE WITH HIM.
1425
01:19:11,816 --> 01:19:14,606
NELSON: ♪ ...TAKE CARE OF ME
1426
01:19:14,646 --> 01:19:16,956
BENSON: HE WAS ON A PERSONAL
JOURNEY TO PLAY
1427
01:19:16,993 --> 01:19:18,553
THE MUSIC AND
CREATE THE MUSIC
1428
01:19:18,581 --> 01:19:21,761
AND BECOME THE PERSON THAT HE
WAS GOING TO BECOME.
1429
01:19:21,791 --> 01:19:25,071
NELSON: ♪ DON'’T LET HER MEMORY
TORTURE ME... ♪
1430
01:19:25,105 --> 01:19:27,345
BENSON: THIS WAS A TOWN THAT
ALLOWED HIM TO DO THAT.
1431
01:19:27,383 --> 01:19:29,633
HE LET HIS HAIR GROW.
1432
01:19:29,661 --> 01:19:32,111
HE SAID, "THEY DON'’T NEED ME
TO WEAR A SUIT
1433
01:19:32,146 --> 01:19:35,456
AND A TIE AND A TURTLENECK
OR WHATEVER."
1434
01:19:35,494 --> 01:19:38,774
NARRATOR: NELSON COULD SENSE
FROM THE STRANGE MIXTURE
1435
01:19:38,808 --> 01:19:42,948
OF PEOPLE SHOWING UP THAT
SOMETHING NEW WAS HAPPENING.
1436
01:19:42,985 --> 01:19:46,635
HE CALLED HIS FRIEND WAYLON
JENNINGS IN NASHVILLE.
1437
01:19:48,887 --> 01:19:53,997
SMITH: WILLIE SAID, "WAYLON,
I'’VE GOT PREACHERS AND PILGRIMS
1438
01:19:54,030 --> 01:19:57,210
"AND POETS, POOR PEOPLE,
1439
01:19:57,240 --> 01:20:00,550
"HILLBILLIES,
COLLEGE GRADUATES.
1440
01:20:00,588 --> 01:20:02,828
"THEY'’RE ALL SITTING
SIDE-BY-SIDE
1441
01:20:02,867 --> 01:20:07,037
"WATCHING ME PLAY
MY SONGS AND SING MY MUSIC.
1442
01:20:07,078 --> 01:20:09,768
YOU NEED TO COME DOWN HERE
AND SEE WHAT'’S GOING ON."
1443
01:20:09,805 --> 01:20:12,385
NARRATOR: JENNINGS SOON BECAME
A REGULAR
1444
01:20:12,428 --> 01:20:15,848
AT WILLIE'’S ANNUAL
FOURTH OF JULY PICNICS,
1445
01:20:15,880 --> 01:20:17,850
WHERE LONG-HAIRED
COLLEGE STUDENTS
1446
01:20:17,882 --> 01:20:21,232
AND REDNECK TRUCK DRIVERS
PARTIED TOGETHER.
1447
01:20:22,783 --> 01:20:24,653
THEY'’RE OUT THERE
DRINKING BEER, SMOKING POT,
1448
01:20:24,681 --> 01:20:28,441
AND FINDING OUT THAT THEY
REALLY DIDN'’T HATE EACH OTHER.
1449
01:20:28,478 --> 01:20:30,718
WILLIE'’S PICNICS.
1450
01:20:30,756 --> 01:20:35,966
THE MOST DISORGANIZED GATHERING
OF THE TRIBES.
1451
01:20:36,003 --> 01:20:39,703
I DON'’T KNOW HOW
TO DESCRIBE THEM EXCEPT CHAOS.
1452
01:20:39,731 --> 01:20:41,771
NOBODY WAS IN CHARGE.
1453
01:20:41,802 --> 01:20:43,942
NOBODY KNEW WHAT
WAS GOING ON.
1454
01:20:43,977 --> 01:20:46,947
WILLIE WOULD LOSE MONEY
EVERY TIME.
1455
01:20:46,980 --> 01:20:49,810
BUT THE PEOPLE WOULD SHOW UP.
1456
01:20:49,845 --> 01:20:52,185
I DON'’T KNOW, 20,000, 30,000
PEOPLE, BUT WHO PAID?
1457
01:20:52,226 --> 01:20:54,366
IT WAS LIKE WOODSTOCK.
NOBODY PAID, YOU KNOW.
1458
01:20:54,401 --> 01:20:57,751
LONE STAR BEER WOULD
SPONSOR EVERYTHING.
1459
01:20:57,783 --> 01:20:59,653
WE DIDN'’T CARE.
1460
01:20:59,682 --> 01:21:02,412
NELSON: ♪ YOU'’RE ALL I GOT,
TAKE CARE OF ME ♪
1461
01:21:14,731 --> 01:21:21,701
NELSON: ♪ IN THE TWILIGHT GLOW
I SEE THEM ♪
1462
01:21:23,395 --> 01:21:28,185
♪ BLUE EYES CRYING
IN THE RAIN... ♪
1463
01:21:28,228 --> 01:21:30,398
NARRATOR: WHEN NELSON SIGNED
A NEW CONTRACT
1464
01:21:30,437 --> 01:21:32,157
WITH COLUMBIA RECORDS,
1465
01:21:32,197 --> 01:21:35,927
HE NEGOTIATED THE SAME
TERMS WAYLON JENNINGS GOT
1466
01:21:35,960 --> 01:21:37,480
AND IMMEDIATELY WENT TO WORK
1467
01:21:37,513 --> 01:21:41,213
ON HIS NEXT ALBUM,
"RED HEADED STRANGER,"
1468
01:21:41,241 --> 01:21:45,451
A COLLECTION OF HAUNTING SONGS
THAT TOGETHER TELL THE STORY
1469
01:21:45,486 --> 01:21:49,796
OF A MAN WHO KILLS HIS
UNFAITHFUL WIFE AND HER LOVER,
1470
01:21:49,835 --> 01:21:52,175
THEN RIDES OFF
ACROSS THE WEST,
1471
01:21:52,217 --> 01:21:54,767
GRIEVING
AND SEEKING REDEMPTION.
1472
01:21:54,806 --> 01:22:01,256
NELSON: ♪ ONLY MEMORIES
REMAIN ♪
1473
01:22:03,401 --> 01:22:09,101
♪ AND THROUGH THE AGES
I REMEMBER... ♪
1474
01:22:09,131 --> 01:22:11,581
NARRATOR: NELSON CHOSE
A SMALL STUDIO
1475
01:22:11,616 --> 01:22:13,856
NEAR DALLAS TO MAKE
THE ALBUM
1476
01:22:13,894 --> 01:22:18,694
BECAUSE HE THOUGHT HIS PREVIOUS
RECORDS HAD BEEN OVER-PRODUCED.
1477
01:22:18,726 --> 01:22:20,446
NELSON: IF YOU WANT
TO KNOW THE TRUTH,
1478
01:22:20,487 --> 01:22:22,077
I THINK MONEY WAS
THE BOTTOM LINE.
1479
01:22:22,109 --> 01:22:24,349
THERE'’S NO MONEY TO BE SPLIT UP
IF YOU GO AHEAD AND DO--
1480
01:22:24,387 --> 01:22:26,797
TAKE 3 GUYS
AND DO AN ALBUM.
1481
01:22:26,838 --> 01:22:29,838
YOU'’VE GOT TO HAVE
STRINGS AND VOICES AND HORNS,
1482
01:22:29,875 --> 01:22:33,115
AND SO THERE'’S HUNDREDS
OF THOUSANDS OF DOLLARS
1483
01:22:33,155 --> 01:22:36,945
IN THE RECORD BEFORE
YOU GET IT OUT,
1484
01:22:36,986 --> 01:22:39,956
WHICH ALSO MEANS YOU'’RE NEVER
GOING TO GET A QUARTER OUT OF IT
1485
01:22:39,989 --> 01:22:42,099
'’CAUSE IT'S ALL TIED
UP IN THE BEGINNING.
1486
01:22:42,129 --> 01:22:47,509
NARRATOR: NELSON SPENT
ONLY $4,000 RECORDING
"RED HEADED STRANGER"
1487
01:22:47,548 --> 01:22:51,448
AND GOT THE SIMPLE, UNVARNISHED
SOUND HE WAS LOOKING FOR,
1488
01:22:51,483 --> 01:22:56,043
HIS SINGULAR VOICE UNTOUCHED BY
ANY ENGINEERING TRICKS,
1489
01:22:56,074 --> 01:22:58,974
AND THE SPAREST BACK-UP
INSTRUMENTATION,
1490
01:22:59,008 --> 01:23:03,598
INCLUDING HIS OWN IDIOSYNCRATIC
GUITAR PLAYING.
1491
01:23:03,633 --> 01:23:07,603
NELSON: ♪ BLUE EYES CRYING...
1492
01:23:07,637 --> 01:23:12,017
NARRATOR: COLUMBIA RECORDS
DIDN'’T KNOW WHAT TO MAKE OF IT.
1493
01:23:12,056 --> 01:23:13,396
MAN: WE ALL WERE IN AGREEMENT
1494
01:23:13,436 --> 01:23:16,576
THAT IT WAS A POOR,
LOUSY-SOUNDING RECORD.
1495
01:23:16,612 --> 01:23:18,862
THEY SAID, "WE CAN'’T PUT
THIS OUT."
1496
01:23:18,890 --> 01:23:20,930
I SAID, "WELL, I AGREE.
1497
01:23:20,961 --> 01:23:24,621
IT'’S THIS TOTAL--SOUNDS LIKE
A BAD DEMO."
1498
01:23:24,654 --> 01:23:26,734
I SAID, "LET'’S DO THIS.
1499
01:23:26,760 --> 01:23:29,800
"LET'’S APPEASE WILLIE BY
RELEASING THE RECORD.
1500
01:23:29,832 --> 01:23:31,832
"IT'’LL DIE A QUICK DEATH.
1501
01:23:31,868 --> 01:23:33,558
"THAT WAY HE'’LL BE
MORE RECEPTIVE
1502
01:23:33,594 --> 01:23:35,734
TO WHAT EVERYBODY
WANTS HIM TO DO."
1503
01:23:35,769 --> 01:23:38,909
SO WE PUT IT OUT.
1504
01:23:38,944 --> 01:23:42,124
AND WE WERE WRONG AS HELL.
1505
01:23:42,155 --> 01:23:44,355
A BIG, BIG RECORD.
1506
01:23:44,398 --> 01:23:48,988
AND, AFTER THAT, EVERYBODY LEFT
WILLIE ALONE, INCLUDING ME.
1507
01:23:49,024 --> 01:23:53,514
NARRATOR: THE ALBUM ATTRACTED
NEAR UNIVERSAL ACCLAIM.
1508
01:23:53,545 --> 01:23:58,445
NELSON: ♪ A RED HEADED STRANGER
FOR BLUE ROCK, MONTANA ♪
1509
01:23:58,481 --> 01:24:01,281
♪ RODE INTO TOWN ONE DAY...
1510
01:24:01,312 --> 01:24:04,452
NARRATOR: ONE REVIEWER CALLED IT
A MASTERPIECE.
1511
01:24:04,487 --> 01:24:09,077
ANOTHER COMPARED
NELSON'’S UNSENTIMENTAL
STYLE TO HEMINGWAY'’S.
1512
01:24:09,113 --> 01:24:12,323
AND IT SOLD STEADILY,
STAYING ON THE CHARTS
1513
01:24:12,357 --> 01:24:15,837
FOR AN UNPRECEDENTED
120 WEEKS.
1514
01:24:15,878 --> 01:24:17,188
NELSON: ♪ ...LIKE THUNDER
1515
01:24:17,224 --> 01:24:19,504
♪ HIS LIPS, THEY WERE
SAD AND TIGHT ♪
1516
01:24:19,537 --> 01:24:21,877
NARRATOR: IN TEXAS,
WILLIE AND HIS BAND
1517
01:24:21,918 --> 01:24:23,888
SEEMED TO BE EVERYWHERE--
1518
01:24:23,920 --> 01:24:27,580
PERFORMING AT A FUNDRAISER FOR
A HOUSTON RADIO STATION
1519
01:24:27,614 --> 01:24:31,204
AFTER IT WAS FIREBOMBED
BY THE KKK,
1520
01:24:31,238 --> 01:24:34,028
DRAWING 10,000 PEOPLE
TO A CONCERT
1521
01:24:34,069 --> 01:24:37,039
IN HIS TINY HOMETOWN OF
ABBOTT,
1522
01:24:37,072 --> 01:24:38,942
AND DOING THE PILOT SHOW
1523
01:24:38,970 --> 01:24:42,460
FOR HIS ADOPTED CITY'’S
PUBLIC TELEVISION STATION,
1524
01:24:42,491 --> 01:24:46,981
EXPERIMENTING ON THE IDEA OF
AN HOUR-LONG PROGRAM DEVOTED
1525
01:24:47,012 --> 01:24:51,912
EXCLUSIVELY TO ONE ARTIST'’S
LIVE PERFORMANCES.
1526
01:24:51,948 --> 01:24:55,298
"AUSTIN CITY LIMITS" WOULD GO
ON TO BECOME
1527
01:24:55,331 --> 01:24:59,821
THE LONGEST-RUNNING MUSIC
PROGRAM IN TELEVISION HISTORY.
1528
01:24:59,853 --> 01:25:01,823
NELSON: ♪ IF HE SHOULD
PASS YOUR WAY... ♪
1529
01:25:01,855 --> 01:25:03,575
NARRATOR:
ONLY A FEW YEARS EARLIER,
1530
01:25:03,615 --> 01:25:06,515
DRUNK AND DESPAIRING
OVER HIS CAREER,
1531
01:25:06,549 --> 01:25:11,039
NELSON HAD SPRAWLED OUT
IN THE MIDDLE OF BROADWAY
IN NASHVILLE.
1532
01:25:11,071 --> 01:25:16,491
NOW "NEWSWEEK" MAGAZINE CALLED
HIM "THE KING OF COUNTRY MUSIC"
1533
01:25:16,525 --> 01:25:20,075
AND "ROLLING STONE" PUT HIM
ON ITS COVER.
1534
01:25:20,115 --> 01:25:22,595
NELSON: ♪ DON'’T FIGHT IT,
DON'’T SPITE IT ♪
1535
01:25:22,634 --> 01:25:25,364
♪ JUST WAIT TILL TOMORROW
1536
01:25:25,396 --> 01:25:29,116
♪ MAYBE HE'’LL RIDE ON
AGAIN ♪
1537
01:25:40,307 --> 01:25:44,447
HARRIS: ♪ I DON'’T WANT TO HEAR
A LOVE SONG ♪
1538
01:25:46,106 --> 01:25:52,656
♪ I GOT ON THIS AIRPLANE
JUST TO FLY ♪
1539
01:25:52,699 --> 01:25:56,629
♪ AND I KNOW THERE'’S
LIFE BELOW ME ♪
1540
01:25:56,668 --> 01:25:58,458
♪ BUT ALL THAT IT CAN...
1541
01:25:58,498 --> 01:26:01,808
NARRATOR: EMMYLOU HARRIS'’
COLLABORATION WITH GRAM PARSONS
1542
01:26:01,846 --> 01:26:06,606
ENDED TRAGICALLY AND SUDDENLY
WHEN HE DIED AT AGE 26
1543
01:26:06,644 --> 01:26:08,894
OF AN ALCOHOL
AND DRUG OVERDOSE.
1544
01:26:08,922 --> 01:26:10,792
HARRIS: ♪ I DON'’T WANT
TO HEAR A SAD STORY... ♪
1545
01:26:10,820 --> 01:26:12,510
NARRATOR:
HIS DEATH, SHE SAID,
1546
01:26:12,546 --> 01:26:14,786
"WAS LIKE
FALLING OFF A MOUNTAIN."
1547
01:26:14,824 --> 01:26:20,384
HARRIS: ♪ FULL OF HEARTBREAK
AND DESIRE... ♪
1548
01:26:20,416 --> 01:26:23,136
I DIDN'’T REALLY KNOW
WHAT I WAS DOING.
1549
01:26:23,178 --> 01:26:25,838
I KNEW THAT I WANTED TO MAKE
A COUNTRY RECORD,
1550
01:26:25,870 --> 01:26:28,530
ALMOST LIKE IN MEMORY
OF GRAM.
1551
01:26:28,562 --> 01:26:33,122
♪ ...AND THE CANYON
WAS ON FIRE ♪
1552
01:26:33,153 --> 01:26:36,813
♪ I WOULD ROCK MY SOUL
1553
01:26:36,846 --> 01:26:39,916
♪ IN THE BOSOM OF ABRAHAM...
1554
01:26:39,953 --> 01:26:41,683
THE SIMPLICITY OF
COUNTRY MUSIC
1555
01:26:41,713 --> 01:26:46,133
IS ONE OF THE MOST IMPORTANT
THINGS ABOUT IT.
1556
01:26:46,166 --> 01:26:49,026
IT'’S ABOUT THE STORY AND
THE MELODY AND THE SOUND
1557
01:26:49,065 --> 01:26:52,345
AND THE VOICE
AND THE SINCERITY OF IT.
1558
01:26:52,379 --> 01:26:55,659
♪ FROM BOULDER
TO BIRMINGHAM... ♪
1559
01:26:55,693 --> 01:26:57,283
CROWELL: WHEN THEY HEAR
HER VOICE,
1560
01:26:57,315 --> 01:27:00,075
THEY FEEL LIKE THEY'’VE
BEEN TOUCHED BY AN ANGEL.
1561
01:27:00,111 --> 01:27:03,251
HARRIS: ♪ I COULD SEE
YOUR FACE ♪
1562
01:27:03,287 --> 01:27:06,807
♪ IF I THOUGHT I COULD SEE
1563
01:27:06,842 --> 01:27:08,082
♪ I COULD SEE...
1564
01:27:08,119 --> 01:27:12,639
IT JUST SOMEHOW
GETS PAST EVERYTHING
1565
01:27:12,675 --> 01:27:14,945
AND WINDS UP
SOMEWHERE IN YOUR HEART.
1566
01:27:14,988 --> 01:27:17,228
AND IT FEELS GOOD IN THERE.
1567
01:27:18,750 --> 01:27:24,030
NARRATOR: IN 1975, HARRIS CAME
OUT WITH TWO SOLO ALBUMS.
1568
01:27:28,070 --> 01:27:32,590
HARRIS: ♪ IF I COULD ONLY
WIN YOUR LOVE... ♪
1569
01:27:32,626 --> 01:27:35,796
NARRATOR: SHE FILLED THEM WITH
SONGS DRAWN FROM THE LESSONS
1570
01:27:35,836 --> 01:27:39,146
IN COUNTRY MUSIC THAT PARSONS
HAD PROVIDED--
1571
01:27:39,184 --> 01:27:42,534
MERLE HAGGARD'’S "TONIGHT
THE BOTTLE LET ME DOWN,"
1572
01:27:42,567 --> 01:27:45,117
DOLLY PARTON'’S
"COAT OF MANY COLORS,"
1573
01:27:45,156 --> 01:27:48,016
GEORGE JONES'’
"ONE OF THESE DAYS,"
1574
01:27:48,055 --> 01:27:51,085
HANK WILLIAMS'’
"JAMBALAYA," AND OTHERS.
1575
01:27:51,127 --> 01:27:54,917
HARRIS: ♪ I'’D GIVE MY ALL
TO MAKE IT LIVE ♪
1576
01:27:54,959 --> 01:27:58,789
♪ YOU'’LL NEVER KNOW
HOW MUCH I'’D GIVE ♪
1577
01:27:58,825 --> 01:28:03,035
♪ IF I COULD ONLY WIN
YOUR LOVE... ♪
1578
01:28:03,070 --> 01:28:04,930
NARRATOR:
RELEASED AS A SINGLE,
1579
01:28:04,969 --> 01:28:07,869
HER VERSION OF AN OLD LOUVIN
BROTHERS SONG,
1580
01:28:07,903 --> 01:28:09,843
"IF I COULD ONLY
WIN YOUR LOVE,"
1581
01:28:09,870 --> 01:28:13,460
WENT TO NUMBER 4
ON THE COUNTRY CHARTS,
1582
01:28:13,495 --> 01:28:17,595
THEN HER RENDITIONS OF
BUCK OWENS'’ "TOGETHER AGAIN"
1583
01:28:17,637 --> 01:28:21,917
AND PATSY CLINE'’S "SWEET DREAMS"
BOTH REACHED NUMBER ONE.
1584
01:28:21,951 --> 01:28:24,821
HARRIS: ♪ ...WIN YOUR LOVE...
1585
01:28:24,851 --> 01:28:28,481
NARRATOR: ONE REVIEWER, NOTING
HER BACKGROUND IN FOLK MUSIC
1586
01:28:28,510 --> 01:28:31,130
AND THAT SHE WAS BASED
IN LOS ANGELES,
1587
01:28:31,167 --> 01:28:34,617
NEVERTHELESS DECLARED
THAT HER MUSIC WAS
1588
01:28:34,654 --> 01:28:36,414
"MORE COUNTRY THAN NASHVILLE."
1589
01:28:36,449 --> 01:28:39,419
HARRIS: ♪ ...LOVE
1590
01:28:39,452 --> 01:28:43,662
WHEN I BECAME A CONVERT
TO COUNTRY MUSIC,
1591
01:28:43,697 --> 01:28:45,347
THERE'’S NO OTHER
WORD FOR IT,
1592
01:28:45,389 --> 01:28:47,359
I BECAME OBNOXIOUS,
1593
01:28:47,391 --> 01:28:49,631
TRYING TO GET PEOPLE TO LISTEN
TO EVERYTHING.
1594
01:28:51,015 --> 01:28:52,775
NARRATOR: SHE SURROUNDED
HERSELF WITH SOME OF
1595
01:28:52,810 --> 01:28:56,370
THE LEADING ROCK
INSTRUMENTALISTS
ON THE WEST COAST.
1596
01:28:56,400 --> 01:28:58,780
THEY WERE CALLED
THE HOT BAND.
1597
01:28:58,816 --> 01:29:03,126
HARRIS: ♪ MADE ME PUT MY
MONEY IN THE BANK, BABY ♪
1598
01:29:03,165 --> 01:29:04,645
♪ STRAIGHTEN DOWN...
1599
01:29:04,684 --> 01:29:08,414
NARRATOR: THE ONE SHE BECAME
CLOSEST TO WAS RODNEY CROWELL.
1600
01:29:08,446 --> 01:29:10,896
AFTER HEARING SOME
OF HIS SONGS,
1601
01:29:10,931 --> 01:29:16,041
HARRIS HAD INVITED HIM
TO CALIFORNIA TO WORK
ON HER ALBUMS.
1602
01:29:16,074 --> 01:29:20,324
HARRIS: RODNEY WAS KIND OF LIKE
MY KID BROTHER.
1603
01:29:20,355 --> 01:29:24,665
WE WERE THE SAME KIND OF SORT OF
QUASI-HIPPIE KIDS,
1604
01:29:24,704 --> 01:29:27,534
BUT WE HAD TOTALLY DIFFERENT
UPBRINGINGS.
1605
01:29:27,569 --> 01:29:30,399
HE GREW UP WITH COUNTRY MUSIC.
1606
01:29:30,434 --> 01:29:33,304
HARRIS: ♪ PARTY JUST STARTED,
LORD, I'’M DRUNK ON ♪
1607
01:29:33,333 --> 01:29:37,443
♪ BLUEBIRD WINE
1608
01:29:37,475 --> 01:29:39,195
♪ AND IT'’S... ♪
1609
01:29:39,235 --> 01:29:42,925
HE WAS KIND OF MY PARTNER IN
THIS WONDERFUL CRIME
1610
01:29:42,963 --> 01:29:46,623
OF MAKING COUNTRY MUSIC
OUTSIDE THE LINES
1611
01:29:46,657 --> 01:29:50,937
BUT WITH TOTAL RESPECT FOR THE
TRADITION OF COUNTRY MUSIC.
1612
01:29:50,971 --> 01:29:55,321
♪ WINE
1613
01:29:55,355 --> 01:29:57,495
CROWELL: SO, WE JUST TOOK
TRADITIONAL COUNTRY MUSIC
1614
01:29:57,530 --> 01:30:00,460
AND SOUTHERN ROCK AND ROLL
AND ROCKABILLY
1615
01:30:00,498 --> 01:30:02,428
AND JUST PLAYED IT,
1616
01:30:02,466 --> 01:30:06,256
YOU KNOW, AND JUST LET IT HAVE
ITS VOICE.
1617
01:30:06,297 --> 01:30:08,917
AND IT WAS GOOD FUN.
1618
01:30:08,955 --> 01:30:12,025
♪ WELL, GOOD-BYE, JOE,
WE GOTTA GO ♪
1619
01:30:12,061 --> 01:30:14,861
♪ ME, OH, MY, OH
1620
01:30:14,892 --> 01:30:20,522
♪ ME GOTTA GO POLE THE PIROGUE
DOWN THE BAYOU ♪
1621
01:30:20,553 --> 01:30:23,973
♪ MY YVONNE,
THE SWEETEST ONE ♪
1622
01:30:24,004 --> 01:30:26,634
♪ ME, OH, MY, OH
1623
01:30:26,662 --> 01:30:32,192
♪ SON OF A GUN, GONNA HAVE
BIG FUN ON THE BAYOU ♪
1624
01:30:32,219 --> 01:30:35,569
♪ WELL, THE JAMBALAYA
AND CRAWFISH PIE ♪
1625
01:30:35,602 --> 01:30:38,712
♪ AND A FILLET GUMBO
1626
01:30:38,743 --> 01:30:41,303
♪ '’CAUSE TONIGHT I'M
GONNA SEE ♪
1627
01:30:41,332 --> 01:30:44,652
♪ MY MACHEZ AMIO...
1628
01:30:44,680 --> 01:30:46,300
NARRATOR:
WITH THE HOT BAND,
1629
01:30:46,337 --> 01:30:49,097
HARRIS PLAYED IN EVERY TYPE
OF VENUE,
1630
01:30:49,133 --> 01:30:51,723
FROM THE PALOMINO CLUB
IN NORTH HOLLYWOOD
1631
01:30:51,756 --> 01:30:55,926
TO ARMADILLO WORLD HEADQUARTERS
IN AUSTIN.
1632
01:30:55,967 --> 01:31:00,627
THEY WERE THE OPENING ACT FOR
FOLK AND POP STAR JAMES TAYLOR,
1633
01:31:00,662 --> 01:31:02,662
AS WELL AS MERLE HAGGARD,
1634
01:31:02,698 --> 01:31:06,048
AND FOR THE 60,000 FANS
WHO CAME TO HEAR
1635
01:31:06,081 --> 01:31:09,431
ELTON JOHN AT DODGER STADIUM.
1636
01:31:09,464 --> 01:31:12,614
♪ FOUNTAINEAUX,
THE PLACE IS BUZZIN'’ ♪
1637
01:31:12,639 --> 01:31:13,949
♪ KINFOLK COME TO...
1638
01:31:13,985 --> 01:31:18,155
MAN: EMMYLOU HARRIS WAS
A LONE VOICE.
1639
01:31:18,196 --> 01:31:20,606
EMMYLOU DIDN'’T EXPLODE
ONTO THE SCENE,
1640
01:31:20,647 --> 01:31:22,747
SHE BLOOMED.
1641
01:31:22,787 --> 01:31:26,197
AND SHE'’LL FOREVER
BE THAT ROSE
1642
01:31:26,239 --> 01:31:30,109
THAT BLOOMED INTO OUR
COLLECTIVE CONSCIOUSNESS
1643
01:31:30,139 --> 01:31:33,629
AND OUR MUSICAL CONSCIOUSNESS.
1644
01:31:33,660 --> 01:31:35,460
♪ ...AND A FILLET GUMBO
1645
01:31:35,490 --> 01:31:36,840
WHOO!
1646
01:31:36,870 --> 01:31:41,600
♪ TONIGHT I'’M GONNA SEE
MY MACHEZ AMIO ♪
1647
01:31:42,876 --> 01:31:45,666
♪ PICK GUITAR,
FILL UP A JAR ♪
1648
01:31:45,707 --> 01:31:47,847
♪ AND BE GAY-OH
1649
01:31:47,881 --> 01:31:51,541
♪ SON OF A GUN,
WE'’LL HAVE BIG FUN ♪
1650
01:31:51,575 --> 01:31:54,405
♪ ON THE BAYOU
1651
01:31:57,960 --> 01:32:00,550
NARRATOR: DURING A WHIRLWIND
VISIT TO NASHVILLE,
1652
01:32:00,584 --> 01:32:04,454
SHE WAS ASKED TO JUDGE A TALENT
CONTEST AT THE EXIT/IN,
1653
01:32:04,484 --> 01:32:07,804
THEN PERFORMED
AT THE 50th ANNIVERSARY SHOW
1654
01:32:07,832 --> 01:32:10,042
OF THE GRAND OLE OPRY.
1655
01:32:10,076 --> 01:32:13,386
SHE PROVIDED VOCAL BACKUP ON
A GUY CLARK ALBUM
1656
01:32:13,424 --> 01:32:18,364
AND RECORDED TOWNES VAN ZANDT'’S
SONG "PANCHO AND LEFTY."
1657
01:32:18,394 --> 01:32:21,364
♪ JAMBALAYA, A-CRAWFISH PIE
1658
01:32:21,397 --> 01:32:23,877
♪ AND A FILLET GUMBO...
1659
01:32:23,917 --> 01:32:26,197
NARRATOR: HER LABEL WANTED HER
TO CROSS OVER
1660
01:32:26,230 --> 01:32:28,030
TO MORE MAINSTREAM MUSIC.
1661
01:32:28,059 --> 01:32:31,409
INSTEAD, SHE CAME OUT WITH
TWO ALBUMS TINGED
1662
01:32:31,442 --> 01:32:35,142
WITH BLUEGRASS
FEATURING RICKY SKAGGS.
1663
01:32:36,585 --> 01:32:39,345
"ROLLING STONE" MAGAZINE
HAILED HER MUSIC
1664
01:32:39,381 --> 01:32:41,971
AS "COUNTRY WITHOUT CORN."
1665
01:32:42,004 --> 01:32:46,354
EVERYONE SEEMED TO LOVE
EMMYLOU HARRIS.
1666
01:32:46,388 --> 01:32:48,558
♪ ON THE BAYOU
1667
01:32:48,597 --> 01:32:52,217
YEE-HEE!
1668
01:32:54,603 --> 01:32:56,433
THANK YOU. THE HOT BAND.
THANK YOU.
1669
01:32:56,467 --> 01:32:58,057
I TELL YOU, THIS SURE BEATS
THE RED FOX INN
1670
01:32:58,089 --> 01:32:59,779
IN BETHESDA, MARYLAND.
1671
01:33:02,162 --> 01:33:04,792
JENNINGS: ♪ LOW DOWN
LEAVING SUN ♪
1672
01:33:04,820 --> 01:33:08,440
♪ DONE DID EVERYTHING
THAT NEEDS DONE... ♪
1673
01:33:08,479 --> 01:33:11,999
SMITH: THEY WANTED THEIR MUSIC
TO SOUND ON RECORD
1674
01:33:12,034 --> 01:33:16,044
LIKE IT SOUNDED WHEN THEY STOOD
ON THE STAGE AND SUNG IT.
1675
01:33:16,073 --> 01:33:17,593
THAT'’S ALL IT WAS ABOUT.
1676
01:33:17,626 --> 01:33:20,526
NARRATOR: HAZEL SMITH WAS
THE OFFICE MANAGER
1677
01:33:20,560 --> 01:33:22,630
AT HILLBILLY CENTRAL
IN NASHVILLE,
1678
01:33:22,666 --> 01:33:24,806
WHERE WAYLON JENNINGS
AND HIS FRIENDS
1679
01:33:24,840 --> 01:33:28,050
WERE NOW TURNING OUT
HIT AFTER HIT.
1680
01:33:28,085 --> 01:33:31,805
REPORTERS STARTED ASKING HER
HOW TO DESCRIBE THE MUSIC
1681
01:33:31,847 --> 01:33:35,987
JENNINGS, WILLIE NELSON,
AND OTHERS WERE CREATING.
1682
01:33:36,024 --> 01:33:39,374
SMITH: IN MY MIND, I THOUGHT
EVERYTHING NEEDED
1683
01:33:39,406 --> 01:33:41,616
A TITLE FOR IT TO HAPPEN.
1684
01:33:41,650 --> 01:33:44,480
SO I ALWAYS DID,
AND STILL DO,
1685
01:33:44,515 --> 01:33:47,165
HAVE A DICTIONARY
UNDER MY DESK.
1686
01:33:47,207 --> 01:33:50,037
ONE DAY, I REACHED UNDER THERE
AND I PULLED IT OUT
1687
01:33:50,072 --> 01:33:54,152
AND JUST WENT THROUGH IT
AND COME TO THE WORD "OUTLAW."
1688
01:33:54,180 --> 01:33:58,050
AND IT WAS ABOUT THAT
MUCH INFORMATION THERE
THAT MEANT VERY LITTLE,
1689
01:33:58,080 --> 01:34:01,460
BUT THE LAST SENTENCE
SAID IT ALL.
1690
01:34:01,497 --> 01:34:02,907
AND HERE'’S WHAT IT SAID--
1691
01:34:02,947 --> 01:34:06,357
"LIVING ON THE OUTSIDE OF
THE WRITTEN LAW."
1692
01:34:06,399 --> 01:34:11,229
AND I LEANED BACK IN
MY CHAIR AND I WENT...
1693
01:34:11,266 --> 01:34:13,646
I SAID, "THAT'’S IT."
1694
01:34:13,682 --> 01:34:16,792
THEY ARE NOT GOING ALONG WITH
THE NASHVILLE ESTABLISHMENT.
1695
01:34:16,823 --> 01:34:18,693
THEY'’RE DOING
THEIR OWN THING
1696
01:34:18,722 --> 01:34:21,172
AND THEY'’RE DOING IT THE WAY
THEY WANT TO.
1697
01:34:23,416 --> 01:34:25,486
JENNINGS: ♪ WHERE DOES IT GO?
1698
01:34:25,521 --> 01:34:28,011
♪ THE GOOD LORD ONLY KNOWS
1699
01:34:28,041 --> 01:34:31,461
♪ SEEMS LIKE IT WAS JUST
THE OTHER DAY... ♪
1700
01:34:31,493 --> 01:34:35,433
SMITH: THAT'’S WHY OUTLAW MUSIC
WAS BORN, THANK YOU VERY MUCH.
1701
01:34:35,462 --> 01:34:38,262
THAT WAS WHAT OUTLAW MUSIC WAS
RIGHT THERE.
1702
01:34:38,293 --> 01:34:40,123
AND IF ANYBODY TELLS YOU
ANYTHING ELSE,
1703
01:34:40,157 --> 01:34:41,807
SAY, "YOU'’RE A LIAR.
1704
01:34:41,848 --> 01:34:44,578
"THE WOMAN THAT NAMED IT OUTLAW
MUSIC LOOKED AT ME IN THE FACE
1705
01:34:44,609 --> 01:34:47,509
AND SHE KNEW
WHAT SHE DID AND KNEW WHY."
1706
01:34:47,543 --> 01:34:49,683
JENNINGS: ♪ ...ANOTHER WAY
TO BE... ♪
1707
01:34:49,718 --> 01:34:53,718
NARRATOR: MEANWHILE, EXECUTIVES
AT RCA SAW AN OPPORTUNITY
1708
01:34:53,757 --> 01:34:57,617
TO INEXPENSIVELY CASH IN ON
THE OUTLAW MYSTIQUE.
1709
01:34:57,657 --> 01:35:01,067
JENNINGS: ♪ ...HERO LIKE ME,
YEAH ♪
1710
01:35:01,109 --> 01:35:02,729
NARRATOR: IN THEIR VAULTS,
1711
01:35:02,766 --> 01:35:05,386
THEY HAD SOME UNRELEASED
RECORDINGS OF JENNINGS'’,
1712
01:35:05,423 --> 01:35:08,673
ALONG WITH SONGS
PERFORMED BY WILLIE NELSON
1713
01:35:08,703 --> 01:35:10,913
AND WAYLON'’S WIFE
JESSI COLTER,
1714
01:35:10,946 --> 01:35:14,536
AND DECIDED TO PUT THEM TOGETHER
INTO A NEW ALBUM.
1715
01:35:14,570 --> 01:35:16,810
AT JENNINGS'’ INSISTENCE,
1716
01:35:16,849 --> 01:35:19,609
THEY ADDED SOME TRACKS BY
TOMPALL GLASER,
1717
01:35:19,644 --> 01:35:22,064
THE OWNER OF
HILLBILLY CENTRAL,
1718
01:35:22,095 --> 01:35:24,715
AND CALLED THE COMPILATION
ALBUM
1719
01:35:24,753 --> 01:35:27,003
"WANTED! THE OUTLAWS."
1720
01:35:27,031 --> 01:35:29,521
JENNINGS: ♪ A LONG TIME
FORGOTTEN ♪
1721
01:35:29,551 --> 01:35:33,381
♪ ARE DREAMS THAT JUST FELL
BY THE WAY ♪
1722
01:35:36,800 --> 01:35:39,250
♪ THE GOOD LIFE HE PROMISED
1723
01:35:39,285 --> 01:35:42,875
♪ AIN'’T WHAT SHE'S
LIVING TODAY ♪
1724
01:35:44,566 --> 01:35:46,046
WILLIE.
1725
01:35:46,085 --> 01:35:49,155
NELSON: ♪ BUT SHE NEVER
COMPLAINS OF THE BAD TIMES... ♪
1726
01:35:49,191 --> 01:35:52,371
NARRATOR: THE ALBUM ROSE TO
THE TOP OF THE COUNTRY CHARTS,
1727
01:35:52,401 --> 01:35:55,851
CROSSED OVER TO THE TOP 10
ON POP CHARTS,
1728
01:35:55,888 --> 01:35:59,268
AND, AFTER SELLING
A MILLION COPIES,
1729
01:35:59,305 --> 01:36:04,585
BECAME THE FIRST CERTIFIED
PLATINUM ALBUM IN
COUNTRY MUSIC HISTORY.
1730
01:36:04,620 --> 01:36:07,660
JENNINGS AND NELSON:
♪ SHE'’S A GOOD-HEARTED WOMAN ♪
1731
01:36:07,692 --> 01:36:10,592
♪ IN LOVE WITH
A GOOD-TIMING MAN... ♪
1732
01:36:10,626 --> 01:36:13,936
NARRATOR: THEN IT SOLD
A MILLION MORE.
1733
01:36:13,975 --> 01:36:17,385
THE JENNINGS-NELSON DUET ON
"GOOD HEARTED WOMAN,"
1734
01:36:17,426 --> 01:36:21,016
WHICH THEY HAD WRITTEN YEARS
EARLIER DURING A POKER GAME,
1735
01:36:21,051 --> 01:36:23,361
BECAME A NUMBER-ONE SINGLE.
1736
01:36:23,398 --> 01:36:27,398
SMITH: MY GOD, THAT WAS A SONG
WORTH SINGING, WASN'’T IT?
1737
01:36:27,436 --> 01:36:28,956
I MEAN, YOU AIN'’T GOT NO SONGS
LIKE THAT
1738
01:36:28,990 --> 01:36:31,130
COMING OUT OF THIS
HILLBILLY TOWN NOW.
1739
01:36:31,164 --> 01:36:32,554
A "GOOD HEARTED WOMAN"?
1740
01:36:32,579 --> 01:36:33,819
AIN'’T NOBODY
GOING TO SING NOTHING
1741
01:36:33,857 --> 01:36:35,857
THAT MAKES THAT MUCH SENSE,
DON'’T YOU SEE?
1742
01:36:35,893 --> 01:36:38,143
YOU ASKED ME WHAT ABOUT
THE MUSIC. IT WAS TRUTH.
1743
01:36:38,171 --> 01:36:40,661
AND, BOY, IF THERE WAS EVER
A TRUER SONG THAN THAT ONE,
1744
01:36:40,691 --> 01:36:42,311
I DON'’T KNOW WHAT IT IS.
1745
01:36:42,348 --> 01:36:44,208
"A LONG TIME FORGOTTEN
WITH DREAMS
1746
01:36:44,246 --> 01:36:45,966
"THAT JUST FELL BY THE WAY.
1747
01:36:46,007 --> 01:36:48,417
AND THE GOOD LIFE SHE'’S LIVING
AIN'’T WHAT SHE'S LIVING TODAY."
1748
01:36:48,457 --> 01:36:50,697
AIN'’T THAT GREAT?
1749
01:36:50,735 --> 01:36:54,945
NARRATOR: "SUDDENLY, WE
DIDN'’T NEED NASHVILLE,"
JENNINGS RECALLED.
1750
01:36:54,981 --> 01:36:57,291
"THEY NEEDED US."
1751
01:36:57,328 --> 01:36:58,878
NELSON: OH, WE THRIVED ON IT.
1752
01:36:58,916 --> 01:37:01,126
WE THOUGHT IT WAS THE BEST
THING THAT HAPPENED TO US.
1753
01:37:01,160 --> 01:37:04,580
"HEY, THEY'’RE CALLING US
OUTLAWS."
1754
01:37:04,611 --> 01:37:07,171
EVERYBODY WHO'’S TRIED
IN THE CREATIVE BUSINESS
1755
01:37:07,200 --> 01:37:11,030
HAS TO HAVE A LITTLE OUTLAW
IN HIM.
1756
01:37:11,066 --> 01:37:14,306
SO I THINK THERE'’S A LOT OF
PEOPLE OUT IN THE AUDIENCE
1757
01:37:14,345 --> 01:37:16,485
WHO HAVE A LITTLE
OUTLAW IN THEM, TOO.
1758
01:37:16,520 --> 01:37:20,350
SO THEY WERE WILLING TO FORGIVE
US SOME OF OUR MISGIVINGS,
1759
01:37:20,386 --> 01:37:22,726
AS LONG AS
THE MUSIC WAS GOOD.
1760
01:37:33,364 --> 01:37:38,994
NELSON: ♪ SOMETIMES I WONDER
1761
01:37:39,025 --> 01:37:41,095
♪ WHY I SPEND
1762
01:37:42,546 --> 01:37:44,816
♪ THE LONELY NIGHTS...
1763
01:37:44,859 --> 01:37:47,789
NARRATOR: WILLIE NELSON WAS
BIGGER THAN EVER
1764
01:37:47,827 --> 01:37:50,617
AND EVEN MORE STEADFAST
IN REFUSING
1765
01:37:50,657 --> 01:37:54,317
TO BOW TO ANY MUSICAL
ORTHODOXY.
1766
01:37:54,351 --> 01:37:57,041
HE SLIPPED SOME OLD POP
STANDARDS,
1767
01:37:57,078 --> 01:38:00,008
LIKE "STARDUST"
AND "GEORGIA ON MY MIND,"
1768
01:38:00,046 --> 01:38:02,836
INTO HIS LIVE PERFORMANCES
IN AUSTIN
1769
01:38:02,877 --> 01:38:06,637
AND DISCOVERED AN ENTHUSIASTIC
RESPONSE.
1770
01:38:06,673 --> 01:38:09,233
"THE KIDS IN THE CROWD
THOUGHT '’STARDUST'
1771
01:38:09,262 --> 01:38:12,542
WAS A NEW SONG I HAD WRITTEN,"
HE EXPLAINED.
1772
01:38:12,576 --> 01:38:15,126
"THE OLDER FOLKS
REMEMBERED THE SONG WELL
1773
01:38:15,165 --> 01:38:18,165
AND LOVED IT
AS MUCH AS I DID."
1774
01:38:18,202 --> 01:38:20,792
AGAINST HIS LABEL'’S OBJECTIONS,
1775
01:38:20,825 --> 01:38:25,065
HE RECORDED AN ENTIRE ALBUM OF
SIMILAR SONGS.
1776
01:38:25,106 --> 01:38:29,896
IT STAYED ON THE
CHARTS FOR 551 WEEKS.
1777
01:38:31,181 --> 01:38:37,081
NELSON: ♪ BESIDE
THE GARDEN WALLS ♪
1778
01:38:37,118 --> 01:38:41,778
♪ WHEN STARS ARE BRIGHT
1779
01:38:41,812 --> 01:38:45,952
♪ YOU ARE IN MY ARMS
1780
01:38:45,989 --> 01:38:48,469
♪ THE NIGHTINGALE
1781
01:38:48,508 --> 01:38:52,238
♪ TELLS HIS FAIRYTALE
1782
01:38:52,271 --> 01:38:56,381
♪ OF PARADISE WHERE
ROSES GREW ♪
1783
01:39:04,421 --> 01:39:07,151
WILLIAMS JR.:
♪ I WENT DOWN TO THE RIVER
1784
01:39:07,182 --> 01:39:10,882
♪ TO WATCH THE FISH
SWIM BY... ♪
1785
01:39:10,910 --> 01:39:13,290
NARRATOR: BY THE MID-1970s,
1786
01:39:13,326 --> 01:39:17,706
HANK WILLIAMS HAD BEEN DEAD FOR
NEARLY A QUARTER-CENTURY,
1787
01:39:17,744 --> 01:39:20,304
BUT HIS SHADOW
STILL LOOMED OVER
1788
01:39:20,333 --> 01:39:23,513
ANY COUNTRY MUSICIAN DREAMING
OF SUCCESS.
1789
01:39:23,543 --> 01:39:26,683
WILLIAMS JR.:
♪ THE DOGGONE RIVER WAS DRY
1790
01:39:26,719 --> 01:39:28,719
NARRATOR:
NO ONE FELT IT MORE KEENLY
1791
01:39:28,755 --> 01:39:33,105
THAN HIS ONLY SON,
HANK WILLIAMS, JR.
1792
01:39:33,139 --> 01:39:36,559
JUST 3 1/2 YEARS OLD WHEN
HIS DAD DIED,
1793
01:39:36,591 --> 01:39:40,531
HANK JR. HAD FEW ACTUAL MEMORIES
OF HIS FAMOUS FATHER
1794
01:39:40,560 --> 01:39:42,420
BEYOND LISTENING ON THE RADIO
1795
01:39:42,459 --> 01:39:45,389
TO HEAR HIM SAY GOOD
NIGHT TO BOCEPHUS,
1796
01:39:45,427 --> 01:39:49,467
HANK SR.'’s AFFECTIONATE NICKNAME
FOR HIS LITTLE BOY.
1797
01:39:49,500 --> 01:39:52,950
BUT AUDREY WILLIAMS WAS
DETERMINED THAT HE WOULD BE
1798
01:39:52,987 --> 01:39:56,957
THE VEHICLE TO KEEP HER FORMER
HUSBAND'’S MEMORY ALIVE,
1799
01:39:56,991 --> 01:40:00,621
AND PROVIDE HER A CHANCE TO BE
IN THE SPOTLIGHT
1800
01:40:00,649 --> 01:40:05,859
IN WAYS SHE HADN'’T BEEN DURING
HANK SR.'’s SHORT CAREER.
1801
01:40:07,242 --> 01:40:09,762
MAN: WHEN I WAS 8 YEARS OLD
1802
01:40:09,796 --> 01:40:13,006
AND I WENT OUT AND DID THE VERY
FIRST SHOW,
1803
01:40:13,041 --> 01:40:15,631
I THOUGHT, "OH, MY GOSH."
1804
01:40:17,839 --> 01:40:19,909
YOU KNOW, THIS IS
AN 8-YEAR-OLD BOY
1805
01:40:19,944 --> 01:40:24,814
THAT'’S THE SON
OF A GOD-LIKE FIGURE.
1806
01:40:24,846 --> 01:40:26,156
SO AN 8-YEAR-OLD
BOY'’S OUT THERE
1807
01:40:26,192 --> 01:40:28,682
AND YOU'’VE GOT PEOPLE
THAT ARE CRYING
1808
01:40:28,712 --> 01:40:30,852
AND PEOPLE THAT ARE
LAUGHING,
1809
01:40:30,886 --> 01:40:33,166
AND WHAT'’S GOING ON HERE?
1810
01:40:33,199 --> 01:40:35,479
DOES IT SOUND THAT BAD?
1811
01:40:35,512 --> 01:40:40,002
IT HAS QUITE AN EFFECT ON
A LITTLE GUY. YEAH.
1812
01:40:40,034 --> 01:40:43,974
♪ ...BLUES
1813
01:40:44,003 --> 01:40:48,253
NARRATOR: WILLIAMS MADE HIS
GRAND OLE OPRY DEBUT AT AGE 11,
1814
01:40:48,283 --> 01:40:52,363
SINGING THE SAME SONG HIS
FATHER HAD AT HIS OWN DEBUT,
1815
01:40:52,391 --> 01:40:54,291
"LOVESICK BLUES."
1816
01:40:54,324 --> 01:40:57,954
BY THE TIME HANK JR. WAS 14,
1817
01:40:57,982 --> 01:41:00,992
HIS MOTHER HAD NEGOTIATED
A CONTRACT FOR HIM
1818
01:41:01,020 --> 01:41:04,990
TO RECORD AN ALBUM
OF HANK SR.'’s SONGS.
1819
01:41:05,024 --> 01:41:08,034
♪ I GOT A HOT-ROD FORD
AND A $2.00 BILL ♪
1820
01:41:08,062 --> 01:41:10,722
♪ I KNOW A SPOT
RIGHT OVER THE HILL ♪
1821
01:41:10,754 --> 01:41:13,174
♪ THERE'’S SODA POP
AND THE DANCING'’S FREE ♪
1822
01:41:13,205 --> 01:41:15,855
♪ SO IF YOU WANT TO HAVE FUN,
COME ALONG WITH ME ♪
1823
01:41:15,897 --> 01:41:18,827
♪ SAYING, HEY, GOOD LOOKIN'’ ♪
1824
01:41:18,865 --> 01:41:21,205
♪ WHATCHA GOT COOKIN'’? ♪
1825
01:41:21,247 --> 01:41:24,107
♪ HOW'’S ABOUT COOKIN'
SOMETHIN'’ UP ♪
1826
01:41:24,147 --> 01:41:26,667
♪ HOW'’S ABOUT COOKIN'
SOMETHIN'’ UP ♪
1827
01:41:26,701 --> 01:41:33,051
♪ HOW'’S ABOUT COOKIN' SOMETHIN'’
UP WITH ME? ♪
1828
01:41:37,815 --> 01:41:41,155
NARRATOR: TO PROMOTE THE ALBUM,
AUDREY ARRANGED A TOUR
1829
01:41:41,198 --> 01:41:46,818
THAT OPENED IN CANTON, OHIO ON
NEW YEAR'’S DAY, 1964,
1830
01:41:46,859 --> 01:41:49,099
THE SAME PLACE HIS FATHER
WAS HEADED
1831
01:41:49,137 --> 01:41:52,547
WHEN HE DIED IN THE
BACKSEAT OF HIS CAR.
1832
01:41:52,589 --> 01:41:57,939
AT A PROMOTION IN NASHVILLE,
AUDREY BROUGHT THE CAR ITSELF.
1833
01:41:57,973 --> 01:42:00,463
HOLLY WILLIAMS: MY DAD WAS
DEALING WITH HIS DAD'’S SHADOW
1834
01:42:00,493 --> 01:42:04,643
FROM DAY ONE, NOT ONLY FROM
FANS AND FRIENDS,
1835
01:42:04,670 --> 01:42:07,090
BUT FROM HIS OWN MOM.
1836
01:42:07,121 --> 01:42:08,641
SHE WAS RIGHT THERE
WITH OTHER PEOPLE GOING,
1837
01:42:08,674 --> 01:42:10,164
"YOU NEED TO SING YOUR
DADDY'’S SONGS."
1838
01:42:10,193 --> 01:42:12,513
YOU KNOW, "YOU NEED TO
WRITE LIKE YOUR DADDY DID."
1839
01:42:12,540 --> 01:42:14,680
IT WAS VERY HARD FOR HIM.
1840
01:42:14,714 --> 01:42:18,444
NARRATOR: "LOOSEN UP A BIT,"
JOHNNY CASH URGED AUDREY.
1841
01:42:18,477 --> 01:42:21,577
"LET HIM BE HANK WILLIAMS JR.
A WHILE."
1842
01:42:21,618 --> 01:42:24,348
SHE DIDN'’T PAY ANY ATTENTION.
1843
01:42:24,379 --> 01:42:26,899
AS SOON AS HE TURNED 18
1844
01:42:26,933 --> 01:42:29,323
AND BECAME ENTITLED
TO HIS INHERITANCE
1845
01:42:29,350 --> 01:42:32,010
AND LEGALLY ABLE TO
MAKE HIS OWN DECISIONS,
1846
01:42:32,042 --> 01:42:34,982
WILLIAMS DROPPED HIS MOTHER
AS HIS MANAGER
1847
01:42:35,010 --> 01:42:39,330
AND SET OUT TO MAKE
HIS OWN WAY IN THE MUSIC WORLD.
1848
01:42:39,360 --> 01:42:41,330
WILLIAMS JR.: I SAID,
"I'’M DONE WITH THIS.
1849
01:42:41,362 --> 01:42:43,232
I'’M DOING MY OWN..."
1850
01:42:43,260 --> 01:42:45,440
BECAUSE THERE'’S ONE
SIMPLE REASON.
1851
01:42:45,469 --> 01:42:51,339
DADDY DON'’T NEED ME
TO PROMOTE HIM.
1852
01:42:53,097 --> 01:42:54,717
HOW DUMB CAN YOU BE?
1853
01:42:54,754 --> 01:42:58,414
HE DOES NOT NEED ME TO
PROMOTE HIM.
1854
01:42:58,448 --> 01:43:02,248
WHAT A JOKE.
THAT'’S A JOKE. YEAH.
1855
01:43:02,279 --> 01:43:05,209
I SAID, "I THINK I BETTER START
WRITING MY OWN
1856
01:43:05,248 --> 01:43:07,798
AND DOING MY OWN STYLE
OF STUFF."
1857
01:43:07,836 --> 01:43:10,596
HOLLY WILLIAMS: HE TOLD ME
HIS FIRST FEW SHOWS
OF HIS OWN MUSIC,
1858
01:43:10,632 --> 01:43:12,082
YOU KNOW, HE WOULD, LITERALLY,
1859
01:43:12,116 --> 01:43:13,286
HE'’S GETTING BOOS
FROM THE CROWD.
1860
01:43:13,325 --> 01:43:15,835
HE SAID 50% OF THEM,
SOMETIMES 80% WOULD BE GONE.
1861
01:43:15,879 --> 01:43:17,879
THERE'’D BE A FEW PEOPLE LEFT
SITTING THERE.
1862
01:43:17,915 --> 01:43:19,945
THEY'’D THROW
STUFF AT HIM.
1863
01:43:19,986 --> 01:43:21,256
HE'’D SAY,
"IF Y'’ALL DON'T MIND,
1864
01:43:21,298 --> 01:43:22,748
I'’M GOING TO SING A SONG OF MINE
FOR YOU TONIGHT."
1865
01:43:22,782 --> 01:43:24,512
AND JUST GONE. THEY DON'’T CARE
ABOUT IT, YOU KNOW,
1866
01:43:24,543 --> 01:43:27,103
WHICH JUST ON A BASIC,
1867
01:43:27,131 --> 01:43:29,241
YOU KNOW, HUMAN BEING NICE TO
PEOPLE LEVEL
1868
01:43:29,272 --> 01:43:32,032
IS SO SHOCKING TO ME
THAT PEOPLE WOULD JUST
TURN AWAY AND WALK OUT.
1869
01:43:32,067 --> 01:43:33,207
BUT THEY
DIDN'’T WANT TO HEAR IT.
1870
01:43:33,241 --> 01:43:34,311
THEY WANTED TO HEAR
"COLD, COLD HEART"
1871
01:43:34,346 --> 01:43:35,756
AND "I SAW THE LIGHT,"
1872
01:43:35,795 --> 01:43:38,315
AND SO, HE REALLY, REALLY
STRUGGLED FOR YEARS.
1873
01:43:40,179 --> 01:43:43,559
NARRATOR: BY 1974, HE HAD
ENTERED WHAT HE CALLED
1874
01:43:43,596 --> 01:43:47,286
"AN ENDLESS NIGHTMARE OF BARS
AND SHOWS,
1875
01:43:47,324 --> 01:43:50,334
OF JIM BEAM
AND MULTI-COLORED PILLS."
1876
01:43:50,362 --> 01:43:52,852
"I'’D NEVER REALIZED
HOW DEEPLY INGRAINED
1877
01:43:52,881 --> 01:43:55,571
MY DADDY'’S MYTH
REALLY WAS," HE RECALLED.
1878
01:43:55,608 --> 01:43:58,468
"AT 25 YEARS OLD,
I WAS MORE LIKE HIM
1879
01:43:58,508 --> 01:44:00,748
"THAN I EVER FIGURED I'’D BE--
1880
01:44:00,786 --> 01:44:04,066
DRUNK, ON DOPE, DIVORCED."
1881
01:44:04,099 --> 01:44:07,719
CONVINCED HE WAS ON THE SAME
TRAJECTORY AS HIS FATHER,
1882
01:44:07,758 --> 01:44:12,758
HE ATTEMPTED SUICIDE BY
SWALLOWING A BOTTLE OF
PAINKILLERS.
1883
01:44:12,798 --> 01:44:15,628
WILLIAMS JR.: ♪ I'’M GONNA TAKE
A FREIGHT TRAIN ♪
1884
01:44:15,663 --> 01:44:17,913
♪ DOWN AT THE STATION, LORD...
1885
01:44:17,941 --> 01:44:21,011
NARRATOR: A DOCTOR ADVISED HIM
TO LEAVE NASHVILLE
1886
01:44:21,047 --> 01:44:22,637
AND RETHINK HIS LIFE
1887
01:44:22,670 --> 01:44:26,540
OR HE WOULD CERTAINLY NOT EVEN
MAKE IT TO 29.
1888
01:44:26,570 --> 01:44:29,060
WILLIAMS JR.:
♪ THE HIGHEST MOUNTAIN...
1889
01:44:29,090 --> 01:44:33,650
NARRATOR: HE MOVED TO ALABAMA
AND LIVED IN A SMALL CABIN.
1890
01:44:33,681 --> 01:44:35,511
WILLIAMS JR.:
♪ CAN'’T YOU SEE ♪
1891
01:44:35,545 --> 01:44:36,955
WOMAN: ♪ CAN'’T YOU SEE ♪
1892
01:44:36,994 --> 01:44:39,414
♪ OH, CAN'’T YOU SEE ♪♪ CAN'’T YOU SEE ♪
1893
01:44:39,445 --> 01:44:41,235
♪ WHAT THAT WOMAN...
1894
01:44:41,275 --> 01:44:44,585
MAN: HANK REACHED A POINT WHERE
HE SAID, "I AM ME.
1895
01:44:44,623 --> 01:44:47,423
"MY NAME IS HANK WILLIAMS,
BUT I AM ME.
1896
01:44:47,453 --> 01:44:50,283
"AND I'’VE GOT THINGS THAT I WANT
TO DO AND I WANT TO SAY,
1897
01:44:50,318 --> 01:44:52,668
SO I AM
GOING TO PURSUE THAT."
1898
01:44:52,700 --> 01:44:55,530
AND JUST
DID A COMPLETE TURN.
1899
01:44:55,565 --> 01:44:59,395
HE TOOK QUITE A CHANCE
WHEN HE DID THAT.
1900
01:44:59,431 --> 01:45:04,021
NARRATOR: IN 1975, WILLIAMS
WENT INTO A STUDIO
1901
01:45:04,056 --> 01:45:05,916
IN MUSCLE SHOALS, ALABAMA
1902
01:45:05,954 --> 01:45:11,244
TO RECORD A NEW ALBUM, "HANK
WILLIAMS JR. AND FRIENDS."
1903
01:45:11,270 --> 01:45:14,760
HE WAS ATTRACTED TO WHAT WAS
CALLED SOUTHERN ROCK,
1904
01:45:14,791 --> 01:45:17,761
MUSIC BY GROUPS LIKE
THE ALLMAN BROTHERS,
1905
01:45:17,794 --> 01:45:20,804
LYNYRD SKYNYRD, THE MARSHALL
TUCKER BAND,
1906
01:45:20,831 --> 01:45:23,871
AND HIS FRIEND
CHARLIE DANIELS.
1907
01:45:23,903 --> 01:45:27,363
DANIELS: WE WERE COUNTRY,
BUT NOT WHAT WAS ACCEPTED
1908
01:45:27,390 --> 01:45:32,050
BY THE COUNTRY MUSIC
ESTABLISHMENT AT
THE TIME, LET'’S SAY.
1909
01:45:32,084 --> 01:45:35,194
EVERY OTHER MUSIC WAS CHANGING
AND MOVING AND COOKING.
1910
01:45:35,225 --> 01:45:37,605
AND, YOU KNOW, IT WAS TIME FOR
COUNTRY TO DO THAT, TOO.
1911
01:45:39,574 --> 01:45:40,994
NARRATOR: WHEN THE SESSIONS
ENDED,
1912
01:45:41,024 --> 01:45:43,344
WILLIAMS TOOK OFF FOR
MONTANA
1913
01:45:43,371 --> 01:45:47,621
TO RELAX BEFORE RELEASING HIS
ALBUM AND GOING ON TOUR.
1914
01:45:49,032 --> 01:45:50,412
WILLIAMS JR.: ♪ I'’M GOING TO
QUIT SINGING ♪
1915
01:45:50,447 --> 01:45:53,857
♪ ALL THESE SAD SONGS...
1916
01:45:53,899 --> 01:45:55,759
NARRATOR: HE WAS HAPPY WITH
HIS NEW RECORD,
1917
01:45:55,797 --> 01:45:58,177
WHICH INCLUDED
"LIVING PROOF,"
1918
01:45:58,213 --> 01:46:01,393
A SONG THAT MENTIONED
THE EARLY DEATH OF HIS FATHER
1919
01:46:01,424 --> 01:46:04,574
AND LAMENTED, "I DON'’T WANT
TO BE A LEGEND,
1920
01:46:04,599 --> 01:46:06,809
I JUST WANT TO BE A MAN."
1921
01:46:08,327 --> 01:46:11,987
WILLIAMS JR.: ♪ WHEN I SING
THEM OLD SONGS OF DADDY'’S ♪
1922
01:46:12,020 --> 01:46:16,440
♪ SEEMS LIKE EVERYONE
COMES THROUGH ♪
1923
01:46:16,473 --> 01:46:18,823
♪ LORD, PLEASE HELP ME
1924
01:46:18,855 --> 01:46:22,065
♪ DO I HAVE TO BE
1925
01:46:22,099 --> 01:46:26,379
♪ A LIVING PROOF?
1926
01:46:28,209 --> 01:46:31,349
NARRATOR: HIKING ALONG A RIDGE
NEAR THE IDAHO BORDER,
1927
01:46:31,385 --> 01:46:33,935
HE ACCIDENTALLY
SLIPPED AND TUMBLED
1928
01:46:33,973 --> 01:46:37,363
NEARLY 500 FEET DOWN
THE ROCKY SLOPE.
1929
01:46:38,668 --> 01:46:40,978
BY SOME MIRACLE,
HE SURVIVED,
1930
01:46:41,015 --> 01:46:43,945
THOUGH EVERY BONE IN HIS FACE
HAD BEEN BROKEN,
1931
01:46:43,983 --> 01:46:46,613
ONE EYE WAS
PERMANENTLY DAMAGED,
1932
01:46:46,641 --> 01:46:48,781
HIS NOSE WAS TORN OFF,
1933
01:46:48,816 --> 01:46:51,336
AND PARTS OF HIS
BRAIN WERE EXPOSED
1934
01:46:51,370 --> 01:46:54,100
THROUGH A DEEP GASH
IN HIS FOREHEAD.
1935
01:46:54,131 --> 01:46:57,691
3 SURGEONS WORKED
7 1/2 HOURS TRYING
1936
01:46:57,721 --> 01:47:00,071
TO PUT HIM BACK TOGETHER.
1937
01:47:00,103 --> 01:47:03,903
THE NEWS QUICKLY REACHED
NASHVILLE AND HIS GODPARENTS,
1938
01:47:03,934 --> 01:47:08,534
JOHNNY CASH AND JUNE CARTER,
WHO RACED TO BE WITH HIM.
1939
01:47:08,560 --> 01:47:11,430
JOHN SAT DOWN ON
THE SIDE OF THE BED...
1940
01:47:13,047 --> 01:47:14,947
UH...
1941
01:47:14,980 --> 01:47:16,840
IT WAS, UM...
1942
01:47:19,467 --> 01:47:21,467
SOMETHING I REALLY NEEDED
AT THAT TIME.
1943
01:47:21,504 --> 01:47:24,474
THERE WASN'’T ANY BETTER
MEDICINE THAN
1944
01:47:24,507 --> 01:47:28,127
HAVING HIM THERE WITH ME.
1945
01:47:28,165 --> 01:47:32,885
NARRATOR: OVER THE NEXT 16
MONTHS AND AFTER 9 SURGERIES,
1946
01:47:32,929 --> 01:47:35,899
WILLIAMS'’ FACE WAS
RECONSTRUCTED.
1947
01:47:35,932 --> 01:47:38,972
WHEN HIS ALBUM WAS FINALLY
RELEASED,
1948
01:47:39,004 --> 01:47:41,904
ANOTHER MEMBER OF HIS
COUNTRY MUSIC FAMILY,
1949
01:47:41,938 --> 01:47:46,838
WAYLON JENNINGS, STEPPED IN
TO HELP HIM PROMOTE IT.
1950
01:47:46,874 --> 01:47:48,844
IT WAS A RISK. YOU KNOW, MY DAD
WASN'’T HUGE AT THE TIME.
1951
01:47:48,876 --> 01:47:50,566
BUT WAYLON LOOKED AT
HIM AND BELIEVED IN HIM
1952
01:47:50,602 --> 01:47:53,922
AND BELIEVED IN HIS SONGS, NOT
HIM COVERING HIS DADDY'’S SONGS,
1953
01:47:53,950 --> 01:47:56,990
AND GAVE HIM HIS--REALLY HIS
FIRST BREAK IN MUSIC
1954
01:47:57,022 --> 01:47:58,402
AND ON THE ROAD.
1955
01:47:58,437 --> 01:48:04,747
WILLIAMS JR.: THERE WAS NOBODY,
NOBODY IN THIS BUSINESS
1956
01:48:04,788 --> 01:48:07,998
THAT WAS MORE SPECIAL
TO ME THAN WAYLON JENNINGS.
1957
01:48:08,033 --> 01:48:10,593
HE BELIEVED IN ME.
1958
01:48:12,796 --> 01:48:15,516
NARRATOR: WHEN HE MADE IT
TO AGE 29,
1959
01:48:15,558 --> 01:48:18,108
WILLIAMS RELEASED
"FAMILY TRADITION."
1960
01:48:18,146 --> 01:48:21,556
♪ NOW, THESE COUNTRY
MUSIC SINGERS... ♪
1961
01:48:21,598 --> 01:48:24,188
NARRATOR: IT BEGAN
AN UNINTERRUPTED STRING,
1962
01:48:24,221 --> 01:48:27,361
THROUGH THE 1980s
AND EARLY 1990s,
1963
01:48:27,397 --> 01:48:30,117
OF 21 GOLD RECORDS.
1964
01:48:30,158 --> 01:48:33,988
♪ ...DISOWNED A FEW OTHER
BOYS AND ME ♪
1965
01:48:34,024 --> 01:48:37,174
♪ I GUESS IT'’S BECAUSE ♪
1966
01:48:37,200 --> 01:48:41,520
♪ I KIND OF CHANGED
MY DIRECTION ♪
1967
01:48:41,549 --> 01:48:44,859
♪ LORD, I GUESS I WENT
AND BROKE ♪
1968
01:48:44,897 --> 01:48:49,067
♪ THEIR FAMILY TRADITION
1969
01:48:49,108 --> 01:48:50,798
♪ THEY GET ON ME AND WANT
TO KNOW, HANK ♪
1970
01:48:50,834 --> 01:48:54,424
♪ WHY DO YOU DRINK?
1971
01:48:54,458 --> 01:48:58,318
♪ HANK, WHY DO YOU ROLL SMOKE?
1972
01:48:58,359 --> 01:49:05,259
♪ WHY MUST YOU LIVE OUT
THE SONGS THAT YOU WROTE? ♪
1973
01:49:06,678 --> 01:49:09,228
♪ OVER AND OVER
1974
01:49:09,266 --> 01:49:12,956
♪ EVERYBODY MADE MY PREDICTION
1975
01:49:12,994 --> 01:49:16,724
♪ SO IF I GET STONED
AND SING ALL NIGHT LONG ♪
1976
01:49:16,757 --> 01:49:22,207
♪ IT'’S AN OLD FAMILY
TRADITION... ♪
1977
01:49:22,245 --> 01:49:23,935
HOLLY WILLIAMS: THE WILLIAMS
FAMILY TRADITION
1978
01:49:23,971 --> 01:49:26,011
IS TO FOLLOW
OUR OWN PASSION.
1979
01:49:26,042 --> 01:49:30,292
FIND YOUR OWN WAY. WRITE WHAT
YOU KNOW AND WHAT INSPIRES YOU.
1980
01:49:30,322 --> 01:49:32,462
I'’LL NEVER FORGET
A SECURITY GUARD SAYING,
1981
01:49:32,496 --> 01:49:34,596
"YOUR DAD'’S SHOWS WERE WILDER
THAN OUR GUNS '’N' ROSES
1982
01:49:34,637 --> 01:49:36,667
AND METALLICA IN THE EIGHTIES,"
YOU KNOW?
1983
01:49:36,708 --> 01:49:39,058
MORE FIGHTS AND DRINKING
AND WHISKEY,
1984
01:49:39,089 --> 01:49:42,329
BUT THEN DAD WOULD
DO HIS ACOUSTIC SET
1985
01:49:42,368 --> 01:49:43,538
AND THAT'’S WHEN YOU GO,
1986
01:49:43,577 --> 01:49:44,847
"HE DOES HAVE
HANK'’S BLOOD IN HIM."
1987
01:49:44,888 --> 01:49:46,198
HE CAN RIP
YOUR HEART OUT WITH SONGS
1988
01:49:46,234 --> 01:49:48,864
LIKE, "OLD HABITS"
AND "BLUES MAN."
1989
01:49:48,892 --> 01:49:52,972
♪ ...OLD FAMILY TRADITION...
1990
01:49:53,000 --> 01:49:54,350
SO HE'’S KNOWN FOR
HIS PARTY SONGS,
1991
01:49:54,380 --> 01:49:57,490
BUT HE STILL HAD
THAT GENE TO JUST, YOU KNOW,
1992
01:49:57,521 --> 01:50:01,631
MAKE YOU STOP AND LISTEN AND
REALLY RELATE TO HIS MUSIC.
1993
01:50:01,664 --> 01:50:09,404
♪ WHY MUST YOU LIVE OUT
THE SONGS THAT YOU WROTE? ♪
1994
01:50:09,430 --> 01:50:12,780
♪ IF I'’M DOWN IN
A HONKY-TONK ♪
1995
01:50:12,813 --> 01:50:16,333
♪ SOME SLICK'’S TRYING TO
GIVE ME SOME FRICTION ♪
1996
01:50:16,368 --> 01:50:20,058
♪ HOSS, LEAVE ME ALONE,
I'’M SINGING ALL NIGHT LONG ♪
1997
01:50:20,096 --> 01:50:24,646
♪ IT'’S AN OLD WILLIAMS
TRADITION ♪
1998
01:50:34,386 --> 01:50:37,486
NARRATOR: JOHNNY CASH'’S OLDEST
CHILD, ROSANNE,
1999
01:50:37,527 --> 01:50:40,217
HAD BEEN 12
WHEN HE DIVORCED HER MOTHER.
2000
01:50:40,254 --> 01:50:43,674
SHE AND HER LITTLE SISTERS
SPENT SUMMERS WITH CASH,
2001
01:50:43,706 --> 01:50:47,116
BUT GREW UP MOSTLY IN
SOUTHERN CALIFORNIA.
2002
01:50:48,711 --> 01:50:52,371
WOMAN: I LOVED COUNTRY MUSIC
WHEN I WAS A LITTLE KID.
2003
01:50:53,716 --> 01:50:57,616
BUT THEN AS PRE-TEEN
AND TEEN,
2004
01:50:57,651 --> 01:50:59,381
THAT WAS MY PARENTS'’ MUSIC.
2005
01:50:59,411 --> 01:51:02,001
I DIDN'’T CARE,
I DIDN'’T WANT TO KNOW.
2006
01:51:02,034 --> 01:51:05,354
AND THEN THE DAY AFTER I
GRADUATED FROM HIGH SCHOOL,
2007
01:51:05,382 --> 01:51:08,042
MY DAD CAME TO HIGH
SCHOOL GRADUATION,
2008
01:51:08,075 --> 01:51:10,455
AND HE TOOK ME WITH HIM
THE NEXT DAY.
2009
01:51:10,491 --> 01:51:14,771
AND I WENT ON THE ROAD WITH HIM
FOR 3 YEARS.
2010
01:51:14,806 --> 01:51:16,256
WHEN I LEFT, I THOUGHT,
2011
01:51:16,290 --> 01:51:17,810
"I'’M JUST GOING TO HANG
WITH MY DAD
2012
01:51:17,843 --> 01:51:19,743
"AND, YOU KNOW, I'’LL GO TO
COLLEGE LATER
2013
01:51:19,776 --> 01:51:22,706
"AND THIS IS GOING
TO BE GREAT, TRAVEL THE WORLD,
2014
01:51:22,745 --> 01:51:26,675
STAY IN NICE HOTELS,
AND SEE DAD PLAY."
2015
01:51:26,714 --> 01:51:28,924
AND SO IT WAS THAT,
2016
01:51:28,958 --> 01:51:33,758
BUT IT VERY QUICKLY BECAME
AN EDUCATION.
2017
01:51:33,790 --> 01:51:39,760
BOBBY BARE: ♪ I'’M 500 MILES
AWAY FROM HOME ♪
2018
01:51:39,796 --> 01:51:44,106
ROSANNE CASH: WE WERE
ON THE BUS ONE DAY
TALKING ABOUT SONGS.
2019
01:51:44,145 --> 01:51:47,245
I WAS TALKING TO DAD ABOUT
WANTING TO BE A SONGWRITER.
2020
01:51:47,286 --> 01:51:51,006
AND HE SAID, "WELL,
DO YOU KNOW THIS SONG?"
2021
01:51:51,049 --> 01:51:53,809
AND I SAID, "NO."
2022
01:51:53,845 --> 01:51:56,255
AND HE PLAYED IT FOR ME.
2023
01:51:56,295 --> 01:51:58,155
AND HE SAID, "DO YOU
KNOW THIS SONG?"
2024
01:51:58,194 --> 01:52:00,204
I SAID, "NEVER
HEARD THAT ONE EITHER."
2025
01:52:00,230 --> 01:52:01,990
AND HE GOT REALLY ALARMED.
2026
01:52:02,025 --> 01:52:05,575
AND HE SAT ON THE BUS
AND MADE THIS LIST.
2027
01:52:07,341 --> 01:52:12,421
AND HE WROTE ACROSS THE TOP,
"100 ESSENTIAL COUNTRY SONGS."
2028
01:52:12,449 --> 01:52:14,619
AND HE SAID, "THIS IS
YOUR EDUCATION."
2029
01:52:14,658 --> 01:52:18,628
BARE: ♪ 500 MILES
AWAY FROM HOME ♪
2030
01:52:18,662 --> 01:52:21,672
NARRATOR: ROSANNE, LIKE
HANK WILLIAMS JR.,
2031
01:52:21,700 --> 01:52:26,640
WAS UNSURE ABOUT FOLLOWING IN
HER FATHER'’S FOOTSTEPS.
2032
01:52:26,670 --> 01:52:29,330
ROSANNE CASH: I WANTED TO BE
A SONGWRITER.
2033
01:52:29,363 --> 01:52:37,033
AND I WAS JUST TORN
WITH HOW TO DO THAT
2034
01:52:37,060 --> 01:52:42,000
AND NOT BE COMPLETELY ECLIPSED
BY MY DAD'’S SHADOW.
2035
01:52:42,031 --> 01:52:43,831
SO I DID A LOT OF THINGS.
2036
01:52:43,860 --> 01:52:45,660
I LIVED IN EUROPE
FOR A WHILE.
2037
01:52:45,689 --> 01:52:47,929
I MADE MY FIRST ALBUM
IN EUROPE.
2038
01:52:47,968 --> 01:52:51,008
I THOUGHT, "MAYBE I'’LL
TRY TO DO THIS QUIETLY
2039
01:52:51,040 --> 01:52:54,110
AND NO ONE WILL NOTICE
THAT HE'’S MY DAD."
2040
01:52:55,492 --> 01:52:57,562
NARRATOR: SHE RETURNED
TO THE UNITED STATES,
2041
01:52:57,598 --> 01:53:01,328
AND IN 1979
MARRIED RODNEY CROWELL,
2042
01:53:01,360 --> 01:53:03,160
WHO BECAME HER PRODUCER.
2043
01:53:03,190 --> 01:53:05,780
ROSANNE CASH: ♪ ...WORLD
WE'’RE LIVING IN ♪
2044
01:53:05,813 --> 01:53:09,893
♪ THE RULES AIN'’T LIKE
THEY'’VE EVER BEEN ♪
2045
01:53:09,921 --> 01:53:13,131
♪ SPEAKING OF SPREADING
IT THIN ♪
2046
01:53:13,165 --> 01:53:16,885
♪ THAT'’S WHAT YOU DO
WHEN YOU'’RE FLASHING YOUR SOUL ♪
2047
01:53:16,928 --> 01:53:19,378
♪ OH, THAT AIN'’T NO WAY... ♪
2048
01:53:19,413 --> 01:53:22,763
NARRATOR: THE ALBUMS THEY WOULD
CREATE REFLECTED HER OWN LIFE
2049
01:53:22,796 --> 01:53:26,866
AND EXPERIENCES AS DISTINCTIVELY
AS HER FATHER'’S LIFE
2050
01:53:26,903 --> 01:53:28,563
HAD MARKED HIS MUSIC,
2051
01:53:28,594 --> 01:53:31,464
INCLUDING A DISPUTE WITH
HER HUSBAND,
2052
01:53:31,494 --> 01:53:34,984
WHICH SHE TURNED INTO HER FIRST
NUMBER-ONE SONG.
2053
01:53:37,603 --> 01:53:39,573
ROSANNE CASH: GOT IN THIS BIG
FIGHT WITH RODNEY
2054
01:53:39,605 --> 01:53:42,125
OUTSIDE A FRENCH RESTAURANT ON
VENTURA BOULEVARD,
2055
01:53:42,160 --> 01:53:46,440
AND I STARTED WRITING WHAT
WAS A LONG POEM,
2056
01:53:46,474 --> 01:53:50,624
AND I DISTILLED IT DOWN TO
"SEVEN YEAR ACHE."
2057
01:53:50,651 --> 01:53:54,101
AND I DIDN'’T KNOW IF IT WAS
A COUNTRY SONG.
2058
01:53:54,137 --> 01:53:56,927
I DIDN'’T KNOW IF I HAD ACHIEVED
WHAT I WAS TRYING TO DO.
2059
01:54:01,904 --> 01:54:05,874
CROWELL: WHEN I FIRST
HEARD ROSANNE'’S SONG
"SEVEN YEAR ACHE,"
2060
01:54:05,908 --> 01:54:08,148
WELL, I WAS REALLY HAPPY
WITH IT '’CAUSE SHE WROTE IT
2061
01:54:08,186 --> 01:54:10,426
BECAUSE I WAS BEING AN IDIOT,
2062
01:54:10,464 --> 01:54:12,714
AND SHE WAS REALLY WRITING
ABOUT ME,
2063
01:54:12,742 --> 01:54:14,332
AND I THOUGHT, "OH, GREAT.
2064
01:54:14,364 --> 01:54:16,474
THIS IS A GREAT SONG
AND IT'’S ABOUT ME."
2065
01:54:16,504 --> 01:54:19,754
♪ YOU ACT LIKE YOU WERE
JUST BORN TONIGHT ♪
2066
01:54:19,783 --> 01:54:23,753
♪ FACE DOWN IN A MEMORY
BUT FEELING ALL RIGHT ♪
2067
01:54:23,787 --> 01:54:27,617
♪ SO WHO DOES YOUR PAST
BELONG TO TODAY? ♪
2068
01:54:27,653 --> 01:54:31,903
♪ BABY, YOU DON'’T SAY NOTHING
WHEN YOU'’RE FEELING THIS WAY ♪
2069
01:54:31,934 --> 01:54:35,634
♪ THE GIRLS IN THE BAR THINKING,
"WHO IS THIS GUY?" ♪
2070
01:54:35,661 --> 01:54:39,391
♪ BUT THEY DON'’T THINK NOTHING
WHEN THEY'’RE TELLING YOU LIES ♪
2071
01:54:39,424 --> 01:54:41,054
♪ YOU LOOK SO CARELESS...
2072
01:54:41,081 --> 01:54:43,261
NARRATOR: THE ALBUM WOULD
BECOME A GOLD RECORD
2073
01:54:43,290 --> 01:54:45,260
AND BE NOMINATED FOR A GRAMMY.
2074
01:54:45,292 --> 01:54:47,542
♪ ...WHEN THEIR POCKETS
ARE FULL ♪
2075
01:54:47,570 --> 01:54:51,090
♪ JUST TELL THEM YOU'’RE TRYING
TO CURE A 7-YEAR ACHE... ♪
2076
01:54:51,125 --> 01:54:55,365
NARRATOR: ROSANNE CASH WAS
25 YEARS OLD.
2077
01:54:55,405 --> 01:54:59,615
♪ BOYS SAY, "WHEN IS HE GONNA
GIVE US SOME ROOM?" ♪
2078
01:54:59,651 --> 01:55:03,341
♪ GIRLS SAY, "GOD, I HOPE
HE COMES BACK SOON"... ♪
2079
01:55:03,379 --> 01:55:05,239
GILL: I HAVE A DAUGHTER
THAT SINGS,
2080
01:55:05,277 --> 01:55:07,347
AND I KNOW HOW HARD IT IS
FOR HER.
2081
01:55:07,383 --> 01:55:10,113
SO IN A SENSE, I PROBABLY HAVE
SOME GOOD KNOWLEDGE
2082
01:55:10,144 --> 01:55:14,184
OF HOW HARD IT WAS FOR ROSANNE
TO BE TAKEN SERIOUSLY.
2083
01:55:14,217 --> 01:55:17,387
BUT THE COOL THING WAS THAT SHE
WAS NOTHING LIKE HER DAD.
2084
01:55:17,427 --> 01:55:19,737
THE MUSIC WAS NOTHING
LIKE HER FATHER'’S.
2085
01:55:19,774 --> 01:55:22,234
SHE CAME FROM A TOTALLY
DIFFERENT PLACE,
2086
01:55:22,260 --> 01:55:25,570
AND SHE WAS HER OWN ARTIST
FROM DAY ONE.
2087
01:55:27,265 --> 01:55:29,575
NARRATOR: BY THIS TIME,
JOHNNY CASH HAD MADE
2088
01:55:29,612 --> 01:55:32,552
AN ADDITION TO
HIS MUSICAL FAMILY.
2089
01:55:32,580 --> 01:55:34,720
LESTER FLATT HAD DIED,
2090
01:55:34,755 --> 01:55:39,275
AND MARTY STUART JOINED
CASH'’S BAND.
2091
01:55:39,311 --> 01:55:41,941
IT'’S INTERESTING.
THE FIRST TWO RECORDS
I EVER OWNED IN MY LIFE
2092
01:55:41,969 --> 01:55:43,419
WAS A JOHNNY CASH RECORD
2093
01:55:43,453 --> 01:55:44,973
AND A LESTER FLATT
AND EARL SCRUGGS RECORD.
2094
01:55:45,007 --> 01:55:47,037
AND THE ONLY TWO JOBS I'’VE
EVER HAD WAS
2095
01:55:47,078 --> 01:55:49,078
WITH LESTER FLATT
AND JOHNNY CASH.
2096
01:55:49,114 --> 01:55:50,704
SO THAT WORKED OUT.
2097
01:55:55,638 --> 01:56:00,058
PARTON: ♪ HERE YOU COME AGAIN
2098
01:56:00,091 --> 01:56:04,201
♪ JUST WHEN I'’VE BEGUN TO
GET MYSELF TOGETHER ♪
2099
01:56:04,233 --> 01:56:06,653
♪ YOU WALTZ RIGHT
IN THE DOOR ♪
2100
01:56:06,683 --> 01:56:09,273
♪ JUST LIKE YOU'’VE
DONE BEFORE ♪
2101
01:56:09,307 --> 01:56:14,237
♪ AND WRAP MY HEART ROUND
YOUR LITTLE FINGER ♪
2102
01:56:14,277 --> 01:56:18,697
♪ HERE YOU COME AGAIN...
2103
01:56:18,730 --> 01:56:20,970
WOMAN: SHE'’S CROSSED ALL
BOUNDARIES.
2104
01:56:22,630 --> 01:56:25,810
DOLLY'’S NOT COUNTRY,
DOLLY'’S NOT ROCK,
2105
01:56:25,840 --> 01:56:29,050
DOLLY'’S NOT POP,
DOLLY'’S EVERYTHING.
2106
01:56:29,085 --> 01:56:32,045
AND EVERYBODY FROM
EVERY GENRE LOVES HER.
2107
01:56:32,088 --> 01:56:36,638
PARTON: ♪ ALL YOU GOTTA DO
IS SMILE THAT SMILE ♪
2108
01:56:36,679 --> 01:56:40,579
♪ AND THERE GO ALL
MY DEFENSES... ♪
2109
01:56:40,614 --> 01:56:44,484
LEE: SHE DIDN'’T WANT TO BE
JUST NASHVILLE.
2110
01:56:44,514 --> 01:56:48,284
NASHVILLE WAS GREAT TO HER
AND SHE REVERES IT,
2111
01:56:48,311 --> 01:56:52,591
BUT DOLLY
WANTED TO BE EVERYWHERE.
2112
01:56:52,626 --> 01:56:54,076
AND THAT'’S WHAT SHE DID.
2113
01:56:55,594 --> 01:56:59,984
PARTON: ♪ LOOKING BETTER THAN
A BODY HAS A RIGHT TO ♪
2114
01:57:00,013 --> 01:57:01,573
♪ AND SHAKING ME UP SO...
2115
01:57:01,600 --> 01:57:04,740
NARRATOR: FRUSTRATED WITH THE
TRAJECTORY OF HER SOLO CAREER,
2116
01:57:04,776 --> 01:57:08,606
DOLLY PARTON HIRED
A NEW MANAGEMENT TEAM
IN LOS ANGELES,
2117
01:57:08,642 --> 01:57:12,232
AND TRAVELED THERE TO
RECORD A NEW ALBUM.
2118
01:57:12,266 --> 01:57:14,366
"I'’M NOT LEAVING COUNTRY
MUSIC,"
2119
01:57:14,406 --> 01:57:17,956
SHE TOLD REPORTERS,
"I'’M TAKING IT WITH ME."
2120
01:57:20,102 --> 01:57:23,862
PARTON: ♪ ALL YOU GOTTA DO
IS SMILE THAT SMILE... ♪
2121
01:57:23,898 --> 01:57:26,798
PARTON: I WAS TRYING TO EXPAND
MY HORIZONS.
2122
01:57:26,832 --> 01:57:28,732
I WANTED MORE.
2123
01:57:28,765 --> 01:57:33,175
I JUST FELT LIKE I COULD HAVE
A BROADER AUDIENCE.
2124
01:57:33,218 --> 01:57:36,078
BUT WHEN I FIRST GOT
L.A. MANAGEMENT,
2125
01:57:36,118 --> 01:57:38,668
EVERYBODY SAID I WAS MAKING
A MISTAKE LEAVING PORTER'’S SHOW.
2126
01:57:38,706 --> 01:57:40,566
PORTER TOLD ME THAT AS WELL.
2127
01:57:40,605 --> 01:57:43,675
EVERYBODY WAS SAYING I WAS
BETRAYING COUNTRY.
2128
01:57:43,711 --> 01:57:45,091
HOW COULD I NOT BE COUNTRY?
2129
01:57:45,127 --> 01:57:48,367
I'’M A COUNTRY GIRL AT HEART,
IN MY VOICE,
2130
01:57:48,406 --> 01:57:51,306
IN MY FEELINGS,
IN MY ATTITUDE.
2131
01:57:51,340 --> 01:57:54,310
NARRATOR: PARTON'’S
NUMBER-ONE COUNTRY SINGLES
2132
01:57:54,343 --> 01:57:57,593
HAD SOLD ABOUT
60,000 COPIES.
2133
01:57:57,622 --> 01:57:59,142
"HERE YOU COME AGAIN,"
2134
01:57:59,175 --> 01:58:03,005
HER FIRST CROSSOVER SUCCESS,
SOLD A MILLION.
2135
01:58:03,041 --> 01:58:08,431
THEN THE ALBUM IT CAME FROM DID
THE SAME AND WENT PLATINUM.
2136
01:58:08,460 --> 01:58:11,810
ALL ACROSS THE COUNTRY,
PEOPLE WANTED TO LEARN
2137
01:58:11,843 --> 01:58:16,233
ABOUT THE PETITE AND SHAPELY
BLONDE WITH THE BIG HAIR.
2138
01:58:16,261 --> 01:58:19,301
WITH HER
REFRESHING SENSE OF HUMOR,
2139
01:58:19,333 --> 01:58:23,753
ESPECIALLY ABOUT HERSELF, DOLLY
NEVER DISAPPOINTED THEM.
2140
01:58:23,786 --> 01:58:29,406
"IT COSTS A LOT OF MONEY," SHE
SAID, "TO LOOK THIS CHEAP."
2141
01:58:29,447 --> 01:58:33,657
IN NEW YORK, SHE GAVE A FREE
CONCERT AT CITY HALL PLAZA,
2142
01:58:33,692 --> 01:58:38,152
AND MAYOR ED KOCH PRESENTED HER
WITH THE KEYS TO THE CITY.
2143
01:58:38,180 --> 01:58:41,770
LATER, SHE WAS THE GUEST OF
HONOR AT A PARTY
2144
01:58:41,804 --> 01:58:45,154
AT THE FAMOUS STUDIO 54.
2145
01:58:45,187 --> 01:58:49,397
"ALTHOUGH I LOOK LIKE
A DRAG QUEEN'’S CHRISTMAS
TREE ON THE OUTSIDE,"
2146
01:58:49,432 --> 01:58:54,372
PARTON SAID, "I AM AT HEART
A SIMPLE COUNTRY GIRL."
2147
01:58:54,403 --> 01:58:58,103
PARTON: THIS IS A COUNTRY
GIRL'’S IDEA OF GLAMOUR.
2148
01:58:58,131 --> 01:59:00,411
I WANTED TO HAVE
BEAUTIFUL CLOTHES.
2149
01:59:00,443 --> 01:59:02,963
I WANTED TO, YOU KNOW,
TO WEAR MAKEUP.
2150
01:59:02,997 --> 01:59:06,037
I'’D PATTERN MY LOOK AFTER THE
TOWN TROLLOP IN OUR HOMETOWN
2151
01:59:06,069 --> 01:59:08,139
'’CAUSE I THOUGHT
SHE WAS BEAUTIFUL.
2152
01:59:08,175 --> 01:59:12,075
NARRATOR: PARTON WAS ALSO
ONE OF THE SAVVIEST ARTISTS
IN THE BUSINESS.
2153
01:59:12,110 --> 01:59:14,490
SHE HAD HER OWN
PUBLISHING COMPANY,
2154
01:59:14,526 --> 01:59:18,456
MARKETED A SUCCESSFUL LINE
OF DOLLY DOLLS,
2155
01:59:18,496 --> 01:59:23,016
AND NEGOTIATED A 3-YEAR DEAL
WITH A LAS VEGAS HOTEL
2156
01:59:23,052 --> 01:59:27,612
SAID TO BE WORTH FROM
$6 MILLION TO $9 MILLION.
2157
01:59:27,643 --> 01:59:30,303
PARTON: I'’VE NEVER HAD
A PROBLEM BEING A WOMAN.
2158
01:59:30,335 --> 01:59:33,675
THAT'’S WORKED FOR ME MORE THAN
IT'’S WORKED AGAINST ME.
2159
01:59:33,718 --> 01:59:35,648
I JUST ALWAYS BELIEVED THAT
I WAS STRONG
2160
01:59:35,685 --> 01:59:37,925
IN MYSELF AND STRONG
IN MY WORK.
2161
01:59:37,963 --> 01:59:39,903
I DO KNOW, AND I HAVE SEEN,
2162
01:59:39,931 --> 01:59:41,621
THAT IT CAN BE A HINDRANCE,
2163
01:59:41,657 --> 01:59:43,617
BUT I WOULD ALWAYS
JUST GO IN JUST SAYING,
2164
01:59:43,659 --> 01:59:45,419
"I THINK I'’VE GOT SOMETHING
TO OFFER,
2165
01:59:45,454 --> 01:59:48,464
AND I THINK WE CAN BOTH MAKE
A LOT OF MONEY FROM IT."
2166
01:59:48,491 --> 01:59:51,221
AND USUALLY, BY THE TIME
THE DEAL WAS DONE,
2167
01:59:51,253 --> 01:59:53,433
I'’D HAVE THE MONEY AND GONE.
2168
01:59:53,462 --> 01:59:55,712
HOLLY WILLIAMS: SHE'’S MY IDOL
IN MANY WAYS,
2169
01:59:55,740 --> 01:59:58,880
BUT THE FACT THAT SHE IS SUCH
AN UNBELIEVABLE SONGWRITER
2170
01:59:58,915 --> 02:00:02,125
AT THE CORE OF ALL
THAT SUPERSTARDOM
2171
02:00:02,160 --> 02:00:04,890
AND, YOU KNOW, FANCY SHOW STUFF,
APPEARANCE,
2172
02:00:04,921 --> 02:00:09,931
IS PROBABLY THE MOST AMAZING
THING ABOUT HER TO ME.
2173
02:00:11,273 --> 02:00:14,243
NARRATOR: IN 1980,
SHE ACHIEVED AN ENTIRELY
2174
02:00:14,276 --> 02:00:16,446
NEW LEVEL OF
NATIONAL STARDOM
2175
02:00:16,485 --> 02:00:19,655
WHEN SHE JOINED JANE FONDA
AND LILY TOMLIN
2176
02:00:19,695 --> 02:00:23,935
IN THE HIT HOLLYWOOD
MOVIE "9 TO 5."
2177
02:00:23,975 --> 02:00:25,385
LET'’S JUST SIT
DOWN AND--
2178
02:00:25,425 --> 02:00:27,245
LOOK, I'’VE GOT A GUN
OUT THERE IN MY PURSE.
2179
02:00:27,289 --> 02:00:29,259
AND UP TILL NOW, I'’VE
BEEN FORGIVING AND FORGETTING
2180
02:00:29,291 --> 02:00:30,781
BECAUSE OF THE WAY
I WAS BROUGHT UP,
2181
02:00:30,809 --> 02:00:32,159
BUT I'’LL TELL YOU ONE THING,
2182
02:00:32,190 --> 02:00:34,050
IF YOU EVER SAY
ANOTHER WORD ABOUT ME
2183
02:00:34,088 --> 02:00:35,808
OR MAKE ANOTHER
INDECENT PROPOSAL,
2184
02:00:35,849 --> 02:00:37,509
I'’M GONNA GET
THAT GUN OF MINE,
2185
02:00:37,540 --> 02:00:39,580
AND I'’M GONNA CHANGE YOU
FROM A ROOSTER TO A HEN
2186
02:00:39,611 --> 02:00:41,511
WITH ONE SHOT.
2187
02:00:41,544 --> 02:00:44,064
DON'’T THINK
I CAN'’T DO IT.
2188
02:00:44,098 --> 02:00:46,888
PARTON: ♪ IT'’S ALL TAKING
AND NO GIVING ♪
2189
02:00:46,929 --> 02:00:48,029
♪ WE'’RE JUST... ♪
2190
02:00:48,068 --> 02:00:50,098
NARRATOR: THANKS TO
HER SONGWRITING TALENT,
2191
02:00:50,139 --> 02:00:54,069
HER UNMISTAKABLE VOICE,
HER BIGGER-THAN-LIFE PERSONA,
2192
02:00:54,108 --> 02:00:56,078
AND HER TIRELESS DRIVE,
2193
02:00:56,110 --> 02:01:01,430
DOLLY PARTON HAD BECOME THE MOST
FAMOUS WOMAN IN COUNTRY MUSIC.
2194
02:01:03,083 --> 02:01:06,023
"I'’M NOT OFFENDED BY ALL
THE DUMB BLONDE JOKES
2195
02:01:06,051 --> 02:01:08,951
BECAUSE I KNOW I'’M NOT DUMB,"
SHE SAID.
2196
02:01:08,985 --> 02:01:11,465
"AND I'’M NOT BLONDE, EITHER."
2197
02:01:11,505 --> 02:01:14,505
PARTON: ♪ PUTTING MONEY
IN HIS WALLET ♪
2198
02:01:14,543 --> 02:01:18,823
♪ 9 TO 5, WHOA, WHAT A WAY
TO MAKE A LIVIN'’ ♪
2199
02:01:26,555 --> 02:01:28,205
NARRATOR:
COUNTRY MUSIC'’S EMBRACE
2200
02:01:28,246 --> 02:01:30,696
WAS NOW BIGGER THAN EVER.
2201
02:01:30,731 --> 02:01:33,911
ARTISTS WERE EXPLODING
THE OLD DEFINITIONS
2202
02:01:33,941 --> 02:01:38,121
AND EXPLORING EVERY POSSIBLE
COMBINATION OF STYLES,
2203
02:01:38,152 --> 02:01:42,782
AND MANY OF THEM DIDN'’T CARE
WHAT IT WAS CALLED.
2204
02:01:42,812 --> 02:01:46,022
ALABAMA: ♪ LIKE GRANDMA
AND GRANDPA USED TO PLAY... ♪
2205
02:01:46,057 --> 02:01:50,227
NARRATOR: ALABAMA, A COUNTRY
BAND FORMED BY 3 COUSINS,
2206
02:01:50,268 --> 02:01:53,888
EMERGED FROM PLAYING FOR TIPS
IN ROWDY DANCE HALLS
2207
02:01:53,927 --> 02:01:57,967
TO FILLING BIG ARENAS AND
THRILLING THEIR LEGIONS OF FANS
2208
02:01:58,000 --> 02:02:01,490
WITH THEIR ROCK-STYLE
PRODUCTIONS.
2209
02:02:01,521 --> 02:02:05,461
RONNIE MILSAP, A BLIND SINGER
FROM NORTH CAROLINA,
2210
02:02:05,490 --> 02:02:08,600
MIXED COUNTRY AND ROCK, BLUES
AND SOUL
2211
02:02:08,631 --> 02:02:12,361
AND HAD DOZENS OF
NUMBER-ONE HITS.
2212
02:02:12,394 --> 02:02:16,024
THE OAK RIDGE BOYS HAD BEEN
TRYING FOR YEARS
2213
02:02:16,052 --> 02:02:20,192
TO EXPAND THEIR FAN BASE FROM
THE TINY GOSPEL MARKET.
2214
02:02:20,229 --> 02:02:22,269
WITH SONGS LIKE "ELVIRA,"
2215
02:02:22,300 --> 02:02:26,410
THEY BECAME ONE OF
THE TOP-SELLING GROUPS
IN COUNTRY MUSIC.
2216
02:02:28,030 --> 02:02:31,000
BARBARA MANDRELL HAD MASTERED
THE STEEL GUITAR
2217
02:02:31,033 --> 02:02:33,863
BY THE TIME
SHE WAS 11 YEARS OLD.
2218
02:02:33,898 --> 02:02:37,518
BY 13, SHE TOURED
WITH JOHNNY CASH
2219
02:02:37,557 --> 02:02:40,627
AND BACKED UP GEORGE JONES.
2220
02:02:40,663 --> 02:02:45,083
NOW SHE RELEASED ALBUMS THAT
R&B STATIONS PLAYED
2221
02:02:45,116 --> 02:02:49,396
AND STARRED IN
HER OWN NETWORK VARIETY SHOW.
2222
02:02:49,431 --> 02:02:52,881
KENNY ROGERS HAD PLAYED FOLK
AND ROCK MUSIC
2223
02:02:52,917 --> 02:02:56,437
AND SANG COUNTRY-POP BALLADS
LIKE "THE GAMBLER,"
2224
02:02:56,472 --> 02:03:02,102
A SONG SO POPULAR
4 MADE-FOR-TELEVISION
MOVIES WERE BASED ON IT.
2225
02:03:03,479 --> 02:03:08,479
BETWEEN 1973 AND 1983,
THE NUMBER OF FULL-TIME
2226
02:03:08,519 --> 02:03:11,759
COUNTRY RADIO STATIONS
WOULD NEARLY TRIPLE,
2227
02:03:11,798 --> 02:03:18,048
RISING FROM 764 TO 2,266.
2228
02:03:19,530 --> 02:03:22,190
GOLD ALBUMS, ONCE A RARITY,
2229
02:03:22,222 --> 02:03:25,952
WERE NOW BEING ANNOUNCED NEARLY
TWICE A MONTH.
2230
02:03:33,302 --> 02:03:38,452
JONES: ♪ THERE ARE THOSE WHO'’D
LIKE TO CHANGE ♪
2231
02:03:38,480 --> 02:03:42,760
♪ THE WAY I'’M LIVING... ♪
2232
02:03:42,794 --> 02:03:46,214
HARRIS: I THINK I WAS SWEEPING
THE FLOOR OR SOMETHING,
2233
02:03:46,246 --> 02:03:48,896
AND I HAD A GEORGE JONES
RECORD ON,
2234
02:03:48,938 --> 02:03:53,288
AND ALL OF A SUDDEN,
I HEARD HIM.
2235
02:03:53,322 --> 02:03:54,982
I DON'’T KNOW HOW TO
EXPLAIN IT.
2236
02:03:55,013 --> 02:03:58,153
BUT IT WAS LIKE A
VEIL LIFTED FROM MY EARS,
2237
02:03:58,189 --> 02:04:01,019
ATTACHED TO MY SOUL
AND MY HEART
2238
02:04:01,054 --> 02:04:03,024
AND THE WAY I LISTENED
TO MUSIC.
2239
02:04:03,056 --> 02:04:07,466
I HEARD HIM, TRULY HEARD HIM,
FOR THE FIRST TIME,
2240
02:04:07,509 --> 02:04:09,549
THE SOULFULNESS IN HIS VOICE.
2241
02:04:09,580 --> 02:04:12,270
AND IT WAS JUST THIS INCREDIBLE
"AHA" MOMENT
2242
02:04:12,306 --> 02:04:15,136
WHERE I THOUGHT, "THERE'’S JUST
NO ONE LIKE HIM."
2243
02:04:15,171 --> 02:04:20,211
JONES: ♪ I'’VE DONE EVERYTHING
I CAN ♪
2244
02:04:20,245 --> 02:04:25,595
♪ TO MAKE YOU HAPPY...
2245
02:04:25,630 --> 02:04:29,250
SHERRILL: I DON'’T THINK YOU CAN
UNDERSTAND GEORGE JONES.
2246
02:04:29,289 --> 02:04:30,739
I DON'’T THINK THERE'S A WAY,
2247
02:04:30,773 --> 02:04:34,163
A WAY ON GOD'’S GREEN EARTH TO
UNDERSTAND GEORGE JONES.
2248
02:04:35,744 --> 02:04:37,404
I...
2249
02:04:37,435 --> 02:04:39,195
I QUIT TRYING
A LONG TIME AGO.
2250
02:04:39,230 --> 02:04:44,270
JONES: ♪ ...ARMS MAY ACHE
AND WANT TO HOLD YOU... ♪
2251
02:04:44,304 --> 02:04:47,764
NARRATOR: IN THE YEARS FOLLOWING
HIS DIVORCE FROM TAMMY WYNETTE,
2252
02:04:47,790 --> 02:04:50,970
GEORGE JONES'’ LIFE SPIRALED
OUT OF CONTROL.
2253
02:04:51,000 --> 02:04:54,590
JONES: ♪ ...DON'’T
GIVE A DAMN ♪
2254
02:04:54,625 --> 02:04:58,415
NARRATOR: ALREADY PRONE TO
VIOLENT BOUTS OF HEAVY DRINKING,
2255
02:04:58,456 --> 02:05:01,666
HE NOW BECAME ADDICTED
TO COCAINE.
2256
02:05:01,701 --> 02:05:03,601
HE CONTINUED TO RECORD,
2257
02:05:03,634 --> 02:05:07,674
AND NO ONE DISPUTED THE SINGULAR
POWER OF HIS VOICE.
2258
02:05:07,707 --> 02:05:11,537
BUT JONES SEEMED
INTENT ON SELF-DESTRUCTION.
2259
02:05:12,919 --> 02:05:14,919
HE BEGAN MISSING CONCERTS,
2260
02:05:14,955 --> 02:05:19,715
SO MANY THAT PROMOTERS AND FANS
ALIKE GAVE HIM A NEW NICKNAME.
2261
02:05:19,753 --> 02:05:22,313
IT HAD BEEN "POSSUM."
2262
02:05:22,342 --> 02:05:25,862
NOW IT WAS "NO SHOW JONES."
2263
02:05:25,897 --> 02:05:28,657
THE MIXTURE OF WHISKEY
AND COCAINE
2264
02:05:28,693 --> 02:05:31,703
MADE HIM CHRONICALLY
SLEEPLESS AND PARANOID.
2265
02:05:31,731 --> 02:05:36,361
HE LOST WEIGHT, DROPPING TO
UNDER 100 POUNDS.
2266
02:05:36,390 --> 02:05:40,460
HE HAD REPEATED RUN-INS WITH
THE POLICE FOR SPEEDING AROUND
2267
02:05:40,498 --> 02:05:43,398
IN ONE OF HIS CADILLACS
WHILE DRUNK.
2268
02:05:43,432 --> 02:05:46,062
JONES: ♪ ...I MIGHT WAKE...
2269
02:05:46,090 --> 02:05:47,710
NARRATOR: ENTANGLED
IN LAWSUITS
2270
02:05:47,747 --> 02:05:50,267
FOR BAD DEBTS
AND CANCELLED SHOWS,
2271
02:05:50,301 --> 02:05:53,651
HE FILED FOR BANKRUPTCY,
LOST HIS HOUSE,
2272
02:05:53,684 --> 02:05:56,104
AND LIVED IN HIS CAR FOR
A WHILE.
2273
02:05:56,134 --> 02:06:00,554
JONES: ♪ I JUST DON'’T
GIVE A DAMN ♪
2274
02:06:02,658 --> 02:06:06,038
NARRATOR: TAMMY WYNETTE'’S LIFE
WAS IN SHAMBLES, TOO.
2275
02:06:06,075 --> 02:06:08,145
NOW MARRIED TO
HER FIFTH HUSBAND
2276
02:06:08,181 --> 02:06:10,421
AND PLAGUED
BY HEALTH PROBLEMS,
2277
02:06:10,459 --> 02:06:13,459
SHE HAD BECOME HOOKED ON
PRESCRIPTION PAINKILLERS,
2278
02:06:13,496 --> 02:06:16,876
AND THEN INVOLVED IN A STRING OF
BIZARRE INCIDENTS,
2279
02:06:16,914 --> 02:06:21,134
INCLUDING A SENSATIONAL CLAIM
THAT SHE HAD BEEN KIDNAPPED
2280
02:06:21,159 --> 02:06:24,579
AND BEATEN UP
BEFORE BEING RELEASED
2281
02:06:24,611 --> 02:06:28,441
WYNETTE HADN'’T HAD A NUMBER-ONE
HIT FOR 4 YEARS,
2282
02:06:28,477 --> 02:06:30,717
AND NEITHER
HAD GEORGE JONES,
2283
02:06:30,755 --> 02:06:33,405
WHEN BILLY SHERRILL BROUGHT
THE TWO OF THEM BACK
2284
02:06:33,447 --> 02:06:36,657
INTO THE STUDIO IN
JANUARY 1980
2285
02:06:36,692 --> 02:06:41,182
FOR ANOTHER ALBUM OF DUETS,
"TOGETHER AGAIN."
2286
02:06:41,214 --> 02:06:46,394
JONES: ♪ WE ALWAYS WANTED
A BIG TWO-STORY HOUSE... ♪
2287
02:06:46,426 --> 02:06:50,426
SHERRILL: IT WAS KIND OF LIKE
TWO WOUNDED ANIMALS.
2288
02:06:50,464 --> 02:06:53,574
NOT TOO WOUNDED TO KEEP
DOING WHAT THEY WANTED TO DO
2289
02:06:53,606 --> 02:06:55,366
AND WHAT THEY LOVED DOING.
2290
02:06:55,400 --> 02:06:59,610
NARRATOR: A SINGLE FROM THE
ALBUM, "TWO STORY HOUSE,"
2291
02:06:59,646 --> 02:07:03,336
WHICH WYNETTE HAD CO-WRITTEN
ESPECIALLY FOR THE OCCASION,
2292
02:07:03,374 --> 02:07:08,664
WOULD RISE TO NUMBER TWO
ON THE COUNTRY CHARTS IN
THE SPRING OF 1980.
2293
02:07:10,001 --> 02:07:14,111
BUT ITS SUCCESS PALED COMPARED
TO A SONG JONES RECORDED
2294
02:07:14,143 --> 02:07:17,493
BY HIMSELF LESS THAN
A MONTH LATER.
2295
02:07:19,355 --> 02:07:22,635
THE EPITOME OF A COUNTRY SONG?
2296
02:07:22,669 --> 02:07:25,739
PROBABLY "HE STOPPED
LOVING HER TODAY."
2297
02:07:25,776 --> 02:07:28,676
IT'’S JUST A LOVE STORY.
2298
02:07:28,710 --> 02:07:30,020
IT'’S SAD.
2299
02:07:30,056 --> 02:07:32,016
IT'’S A WONDERFUL MELODY.
2300
02:07:32,058 --> 02:07:36,608
IT'’S PROBABLY ONE OF THE MOST
WELL-WRITTEN SONGS EVER.
2301
02:07:36,649 --> 02:07:39,029
NARRATOR: "HE STOPPED LOVING
HER TODAY"
2302
02:07:39,065 --> 02:07:42,655
WAS WRITTEN BY BOBBY BRADDOCK
AND CURLY PUTMAN.
2303
02:07:45,692 --> 02:07:49,042
IT DESCRIBES A MAN WHO WAITS
ALL HIS LIFE,
2304
02:07:49,075 --> 02:07:52,485
PINING AWAY FOR
THE WOMAN WHO'’S LEFT HIM.
2305
02:07:52,526 --> 02:07:56,316
MIDWAY THROUGH THE SONG, IT'’S
REVEALED THAT THE ONLY REASON
2306
02:07:56,358 --> 02:08:00,668
HE STOPPED LOVING HER IS
BECAUSE HE HAS DIED.
2307
02:08:00,707 --> 02:08:05,847
BILLY SHERRILL BELIEVED
THE SONG WAS A PERFECT
FIT FOR GEORGE JONES.
2308
02:08:05,885 --> 02:08:09,955
THE ONLY PROBLEM WAS JONES KEPT
CONFUSING THE MELODY
2309
02:08:09,992 --> 02:08:14,722
WITH KRIS KRISTOFFERSON'’S "HELP
ME MAKE IT THROUGH THE NIGHT."
2310
02:08:14,756 --> 02:08:19,206
SHERRILL: HE WAS GOING, ♪ HE
SAID I'’LL LOVE YOU TILL I DIE ♪
2311
02:08:19,243 --> 02:08:23,773
I SAID, "THAT'’S 'HELP ME MAKE
IT THROUGH THE NIGHT,'’ FOOL."
2312
02:08:23,799 --> 02:08:26,869
FINALLY, HE SAID...
HE GOT MAD AND SAID,
2313
02:08:26,906 --> 02:08:29,456
♪ "HE SAID, '’I'LL LOVE
YOU TILL I DIE'’ ♪
2314
02:08:29,494 --> 02:08:32,224
IS THAT GOOD ENOUGH?"
I SAID, "THAT'’S FINE."
2315
02:08:32,256 --> 02:08:36,256
JONES: ♪ HE SAID, "I'’LL LOVE YOU
TILL I DIE" ♪
2316
02:08:38,641 --> 02:08:42,891
♪ SHE TOLD HIM, "YOU'’LL
FORGET IN TIME" ♪
2317
02:08:45,545 --> 02:08:49,885
♪ AS THE YEARS WENT
SLOWLY BY ♪
2318
02:08:52,241 --> 02:08:56,451
♪ SHE STILL PREYED UPON
HIS MIND ♪
2319
02:08:58,420 --> 02:09:02,420
♪ HE KEPT HER PICTURE
ON HIS WALL ♪
2320
02:09:05,220 --> 02:09:09,330
♪ WENT HALF CRAZY
NOW AND THEN ♪
2321
02:09:11,813 --> 02:09:16,753
♪ HE STILL LOVED HER
THROUGH IT ALL ♪
2322
02:09:19,096 --> 02:09:22,926
♪ HOPING SHE'’D COME BACK
AGAIN... ♪
2323
02:09:25,205 --> 02:09:28,345
NARRATOR: WITH SOME
OF NASHVILLE'’S BEST
SESSION MUSICIANS,
2324
02:09:28,381 --> 02:09:30,381
SHERRILL CREATED
AN ARRANGEMENT
2325
02:09:30,417 --> 02:09:33,557
THAT HAD A CLASSIC
COUNTRYPOLITAN SOUND--
2326
02:09:33,593 --> 02:09:38,253
A FAINT, WEEPING STEEL GUITAR
WITHOUT A HINT OF TWANG,
2327
02:09:38,287 --> 02:09:40,317
SWEET BACKGROUND VOCALS,
2328
02:09:40,358 --> 02:09:43,778
AND AN ENSEMBLE OF STRINGS THAT
BUILT STEADILY
2329
02:09:43,810 --> 02:09:46,360
TOWARD THE SONG'’S CLIMAX.
2330
02:09:46,399 --> 02:09:49,679
BRADDOCK: THIS MAY SOUND STRANGE
COMING FROM THE SONGWRITER,
2331
02:09:49,712 --> 02:09:53,412
BUT I THINK THAT ROOM FULL OF
CELLOS AND VIOLAS
2332
02:09:53,440 --> 02:09:57,440
AND VIOLINS
ASCENDING ON THAT RECORD,
2333
02:09:57,479 --> 02:10:00,969
SOUNDING LIKE THE MAN'’S
SOUL GOING UP TO HEAVEN,
2334
02:10:01,000 --> 02:10:03,970
I THOUGHT THAT WAS THE MOST
POWERFUL THING ON THE RECORD.
2335
02:10:04,003 --> 02:10:05,523
SHERRILL: WORD FOR WORD,
2336
02:10:05,556 --> 02:10:07,796
AFTER I PLAYED HIM
THE FINISHED PRODUCT,
2337
02:10:07,834 --> 02:10:10,914
SO HELP ME GOD, JONES SAID,
2338
02:10:10,941 --> 02:10:14,221
"YOU'’VE GOT YOUR RECORD,
BUT LISTEN, SON,
2339
02:10:14,254 --> 02:10:17,984
NOBODY WILL EVER BUY THAT MORBID
SON OF A BITCH."
2340
02:10:18,017 --> 02:10:22,747
JONES: ♪ HE STOPPED LOVING
HER TODAY ♪
2341
02:10:24,471 --> 02:10:28,101
♪ THEY PLACED A WREATH
UPON HIS DOOR... ♪
2342
02:10:28,130 --> 02:10:31,380
I AM CONVINCED GEORGE JONES
MIGHT BE THE MOST SOULFUL SINGER
2343
02:10:31,409 --> 02:10:33,199
THE PLANET HAS EVER KNOWN.
2344
02:10:33,239 --> 02:10:36,379
JONES: ♪ ...HIM AWAY
2345
02:10:38,071 --> 02:10:41,901
♪ HE STOPPED LOVING
HER TODAY... ♪
2346
02:10:41,937 --> 02:10:44,147
NARRATOR: 3 MONTHS AFTER
ITS RELEASE,
2347
02:10:44,181 --> 02:10:46,111
"HE STOPPED LOVING HER TODAY"
2348
02:10:46,148 --> 02:10:48,908
REACHED THE TOP OF THE COUNTRY
CHARTS,
2349
02:10:48,944 --> 02:10:55,234
GEORGE JONES'’ FIRST SOLO
NUMBER-ONE HIT IN 6 YEARS.
2350
02:10:55,261 --> 02:10:58,511
IT WOULD GO ON TO SELL
A MILLION RECORDS
2351
02:10:58,540 --> 02:11:04,370
AND WIN EVERY POSSIBLE AWARD FOR
THE SONGWRITERS AND THE ARTIST.
2352
02:11:04,408 --> 02:11:07,268
IT'’S ONE OF THOSE SONGS
THAT WAS MEANT TO BE.
2353
02:11:07,307 --> 02:11:09,587
AND IT WAS ONE OF THOSE SONGS
2354
02:11:09,620 --> 02:11:12,040
THAT GEORGE JONES WAS MEANT
TO RECORD.
2355
02:11:12,071 --> 02:11:14,631
AND WHEN HE GOT DONE WITH IT,
IT HAD BEEN DONE.
2356
02:11:14,659 --> 02:11:16,829
JONES: ♪ ...HER TODAY...
2357
02:11:16,869 --> 02:11:19,699
SMITH: THE FIRST TIME I HEARD
IT, I WAS DRIVING OUT 65.
2358
02:11:19,733 --> 02:11:21,363
I HAD TO PULL OFF THE ROAD.
2359
02:11:21,390 --> 02:11:24,950
I COULDN'’T SEE
I WAS CRYING SO HARD.
2360
02:11:24,980 --> 02:11:27,980
THAT SONG JUST REALLY
TOUCHED ME,
2361
02:11:28,018 --> 02:11:31,188
AND I HONESTLY
THINK IT MAY HAVE HAPPENED.
2362
02:11:32,643 --> 02:11:38,443
JONES: ♪ HE STOPPED LOVING
HER TODAY ♪
2363
02:11:43,067 --> 02:11:46,417
EMERY: I ASKED MERLE
ONE TIME WHO HIS FAVORITE
COUNTRY SINGER WAS.
2364
02:11:46,450 --> 02:11:48,380
HE SAID, "GEORGE JONES."
2365
02:11:48,417 --> 02:11:51,557
I ASKED GEORGE WHO HIS FAVORITE
COUNTRY SINGER WAS,
2366
02:11:51,593 --> 02:11:53,353
HE SAID, "MERLE HAGGARD."
2367
02:11:55,390 --> 02:11:57,670
NARRATOR: BY THE EARLY 1980s,
2368
02:11:57,702 --> 02:12:01,602
MERLE HAGGARD,
ALREADY CONSIDERED
ONE OF COUNTRY MUSIC'’S
2369
02:12:01,637 --> 02:12:06,327
GREATEST SINGER-SONGWRITERS, HAD
RECORDED MORE THAN 40 ALBUMS
2370
02:12:06,366 --> 02:12:10,056
AND HAD MORE THAN 30
NUMBER-ONE SINGLES.
2371
02:12:10,094 --> 02:12:15,794
IN 1983, HE BEGAN WORK ON
AN ALBUM WITH WILLIE NELSON.
2372
02:12:15,824 --> 02:12:20,974
THEY HAD BEEN RECORDING
FOR 5 DAYS AT NELSON'’S
STUDIO IN TEXAS,
2373
02:12:21,002 --> 02:12:25,422
BUT STILL HADN'’T FOUND THE RIGHT
SONG TO ANCHOR THE ALBUM.
2374
02:12:25,454 --> 02:12:29,154
HAGGARD HAD GONE TO
SLEEP ON HIS BUS.
2375
02:12:29,182 --> 02:12:32,322
MEANWHILE, WILLIE'’S DAUGHTER
PLAYED HER FATHER
2376
02:12:32,358 --> 02:12:35,088
A TUNE HE HAD NEVER
HEARD BEFORE.
2377
02:12:35,119 --> 02:12:37,599
IT WAS ON AN
EMMYLOU HARRIS ALBUM,
2378
02:12:37,639 --> 02:12:41,749
A BALLAD WRITTEN BY
TOWNES VAN ZANDT.
2379
02:12:41,781 --> 02:12:45,921
AND WILLIE CAME AND KNOCKED ON
MY BUS LATE ONE NIGHT,
2380
02:12:45,958 --> 02:12:48,058
ABOUT 4:00 IN THE MORNING,
ACTUALLY,
2381
02:12:48,098 --> 02:12:49,958
AND I HAD JUST LAID DOWN.
2382
02:12:51,342 --> 02:12:56,422
AND HE SAID, "I THINK I'’VE FOUND
A TITLE FOR OUR ALBUM."
2383
02:12:57,728 --> 02:12:59,558
AND HE HAD A PAPER SACK
ROLLED OUT
2384
02:12:59,592 --> 02:13:02,632
AND THESE WORDS WERE
THAT LONG.
2385
02:13:02,664 --> 02:13:05,224
AND, LIKE I SAID, I HAD JUST GOT
TO BED AND I SAID, "WILLIE,"
2386
02:13:05,253 --> 02:13:10,093
I SAID, "I CAN'’T EVEN
SEE THOSE LYRICS."
2387
02:13:10,120 --> 02:13:12,020
I SAID, "YOU GUYS GO AHEAD
AND PUT IT DOWN,
2388
02:13:12,053 --> 02:13:14,683
AND I'’LL PUT MY VOICE ON
IN THE MORNING."
2389
02:13:14,710 --> 02:13:16,990
"NO," HE SAID. "GET UP
AND COME IN THERE WITH ME."
2390
02:13:17,023 --> 02:13:20,583
AND SAID, "LET'’S DO IT ALL
AT ONCE."
2391
02:13:23,202 --> 02:13:24,482
SO I WENT IN THERE.
2392
02:13:24,513 --> 02:13:27,383
I WAS REAL SLEEPY, AND WE
RECORDED THAT THING.
2393
02:13:27,413 --> 02:13:29,423
AND I WAS THINKING
WHILE I WAS DOING IT,
2394
02:13:29,449 --> 02:13:32,589
"WELL, I'’LL DO THIS OVER IN
THE MORNING," YOU KNOW?
2395
02:13:32,625 --> 02:13:35,655
SO I GOT UP THE NEXT MORNING
AND WENT IN THE STUDIO,
2396
02:13:35,697 --> 02:13:39,047
AND I SAID, "CAN I DO THAT VOCAL
TRACK OVER?"
2397
02:13:39,080 --> 02:13:41,810
AND THEY SAID, "HELL, IT'’S ON
THE WAY TO NEW YORK."
2398
02:13:41,841 --> 02:13:46,051
NELSON: ♪ LIVING ON THE ROAD,
MY FRIEND ♪
2399
02:13:46,087 --> 02:13:49,157
♪ WAS GONNA KEEP YOU FREE
AND CLEAN... ♪
2400
02:13:49,193 --> 02:13:52,133
NARRATOR: THE SONG WAS
"PANCHO AND LEFTY."
2401
02:13:53,922 --> 02:13:57,932
THE ALBUM WOULD SHOOT TO NUMBER
ONE ON THE COUNTRY CHARTS,
2402
02:13:57,960 --> 02:13:59,410
CROSS OVER TO POP,
2403
02:13:59,445 --> 02:14:01,895
AND SELL MORE
THAN A MILLION RECORDS.
2404
02:14:01,930 --> 02:14:04,830
NELSON: ♪ ...HER FAVORITE
ONE IT SEEMS... ♪
2405
02:14:04,864 --> 02:14:07,284
NARRATOR: TO GET THERE,
THE SONG HAD TRAVELED
2406
02:14:07,315 --> 02:14:09,655
A LONG, MEANDERING ROAD.
2407
02:14:11,526 --> 02:14:14,736
TWO OF COUNTRY MUSIC'’S
LEGENDARY SONGWRITERS,
2408
02:14:14,770 --> 02:14:17,460
THE MUSICAL OUTLAW
FROM TEXAS
2409
02:14:17,497 --> 02:14:19,567
AND THE POET OF THE COMMON MAN
2410
02:14:19,603 --> 02:14:23,333
FROM THE HARDSCRABBLE STREETS
OF BAKERSFIELD,
2411
02:14:23,365 --> 02:14:25,635
HAD LISTENED TO AN ALBUM
RECORDED
2412
02:14:25,678 --> 02:14:28,128
BY A FORMER HIPPIE FOLK
SINGER
2413
02:14:28,163 --> 02:14:33,763
WHO HAD BEEN CONVERTED
TO COUNTRY MUSIC
BY A COSMIC COWBOY
2414
02:14:33,789 --> 02:14:36,999
AND IN DOING SO STUMBLED
UPON A SONG
2415
02:14:37,034 --> 02:14:39,494
WRITTEN BY AN ECCENTRIC
VAGABOND
2416
02:14:39,519 --> 02:14:43,389
WHO SPENT HIS DAYS TRYING TO
WRITE THE PERFECT SONG
2417
02:14:43,420 --> 02:14:46,630
AND SOME OF HIS NIGHTS
CRASHING WITH FRIENDS
2418
02:14:46,664 --> 02:14:52,084
AT A HOME WHERE THE FOCUS WAS ON
ART, NOT COMMERCIAL SUCCESS.
2419
02:14:55,742 --> 02:14:58,192
AND ON HIS 60th BIRTHDAY,
2420
02:14:58,228 --> 02:15:02,198
WILLIE NELSON WOULD SING
"PANCHO AND LEFTY" AGAIN,
2421
02:15:02,232 --> 02:15:04,232
THIS TIME WITH SOMEONE ELSE
2422
02:15:04,268 --> 02:15:09,138
WHO ALSO DEFIED MUSICAL
CATEGORIES--BOB DYLAN.
2423
02:15:09,170 --> 02:15:13,210
NELSON: ♪ OUT OF KINDNESS,
I SUPPOSE... ♪
2424
02:15:15,003 --> 02:15:17,323
NARRATOR: BACKING THEM UP
ON THE MANDOLIN
2425
02:15:17,350 --> 02:15:20,150
WAS THE KID FROM
PHILADELPHIA, MISSISSIPPI
2426
02:15:20,181 --> 02:15:22,461
WHO HAD PLAYED
IN LESTER FLATT'’S
2427
02:15:22,493 --> 02:15:26,083
AND JOHNNY CASH'’S BAND--
MARTY STUART.
2428
02:15:26,118 --> 02:15:27,878
NELSON: ♪ ...DOWN SOUTH
2429
02:15:27,912 --> 02:15:31,542
♪ ENDED UP IN LEFTY'’S MOUTH ♪
2430
02:15:31,571 --> 02:15:33,951
MUSIC CUTS THROUGH ALL
THE BOUNDARIES,
2431
02:15:33,987 --> 02:15:36,777
AND A LOT OF US KNOW THAT.
2432
02:15:36,818 --> 02:15:40,888
SO WE'’RE NOT AFRAID TO
PLAY ANYTHING FOR ANYBODY,
2433
02:15:40,925 --> 02:15:44,235
BECAUSE MUSIC WILL
GET THROUGH.
2434
02:15:46,724 --> 02:15:49,074
♪ THERE AIN'’T NOBODY KNOWS ♪
2435
02:15:52,420 --> 02:15:56,390
♪ ALL THE FEDERALES SAY
2436
02:15:56,424 --> 02:15:59,704
♪ THEY COULD HAVE HAD HIM
ANY DAY ♪
2437
02:15:59,737 --> 02:16:04,807
♪ THEY ONLY LET HIM
GO SO LONG ♪
2438
02:16:06,330 --> 02:16:10,540
♪ OUT OF KINDNESS,
I SUPPOSE ♪
2439
02:16:28,318 --> 02:16:34,008
PARTON: ♪ JOLENE, JOLENE,
JOLENE, JOLENE ♪
2440
02:16:34,047 --> 02:16:40,497
♪ I'’M BEGGING OF YOU, PLEASE
DON'’T TAKE MY MAN ♪
2441
02:16:40,537 --> 02:16:46,087
♪ JOLENE, JOLENE,
JOLENE, JOLENE ♪
2442
02:16:46,128 --> 02:16:52,578
♪ PLEASE DON'’T TAKE HIM
JUST BECAUSE YOU CAN ♪
2443
02:16:52,618 --> 02:16:54,828
♪ YOUR BEAUTY IS
BEYOND COMPARE ♪
2444
02:16:54,861 --> 02:16:56,831
♪ WITH FLAMING LOCKS
OF AUBURN HAIR ♪
2445
02:16:56,863 --> 02:17:01,423
♪ WITH IVORY SKIN AND EYES
OF EMERALD GREEN ♪
2446
02:17:03,318 --> 02:17:05,488
♪ YOUR SMILE IS LIKE
A BREATH OF SPRING ♪
2447
02:17:05,527 --> 02:17:07,837
♪ YOUR VOICE IS SOFT
LIKE SUMMER RAIN ♪
2448
02:17:07,874 --> 02:17:12,474
♪ AND I CANNOT COMPETE
WITH YOU, JOLENE ♪
2449
02:17:14,502 --> 02:17:20,022
♪ JOLENE, JOLENE,
JOLENE, JOLENE ♪
2450
02:17:20,059 --> 02:17:26,129
♪ I'’M BEGGING OF YOU, PLEASE
DON'’T TAKE MY MAN ♪
2451
02:17:26,168 --> 02:17:31,858
♪ JOLENE, JOLENE,
JOLENE, JOLENE ♪
2452
02:17:31,898 --> 02:17:38,278
♪ PLEASE DON'’T TAKE HIM
JUST BECAUSE YOU CAN ♪
2453
02:17:38,319 --> 02:17:40,489
♪ HE TALKS ABOUT YOU
IN HIS SLEEP ♪
2454
02:17:40,528 --> 02:17:42,738
♪ AND THERE'’S NOTHING
I CAN DO TO KEEP ♪
2455
02:17:42,771 --> 02:17:45,021
♪ FROM CRYING WHEN HE
CALLS YOUR NAME ♪
2456
02:17:45,049 --> 02:17:48,919
♪ JOLENE
2457
02:17:48,950 --> 02:17:51,470
♪ AND I CAN EASILY
UNDERSTAND ♪
2458
02:17:51,504 --> 02:17:53,684
♪ HOW YOU COULD EASILY
TAKE MY MAN ♪
2459
02:17:53,713 --> 02:17:55,783
♪ BUT YOU DON'’T KNOW
WHAT HE MEANS TO ME ♪
2460
02:17:55,819 --> 02:17:57,889
♪ JOLENE
2461
02:18:00,030 --> 02:18:05,690
♪ JOLENE, JOLENE,
JOLENE, JOLENE ♪
2462
02:18:05,725 --> 02:18:11,655
♪ I'’M BEGGING OF YOU, PLEASE
DON'’T TAKE MY MAN ♪
2463
02:18:11,697 --> 02:18:17,597
♪ JOLENE, JOLENE,
JOLENE, JOLENE ♪
2464
02:18:17,634 --> 02:18:24,094
♪ PLEASE DON'’T TAKE HIM
JUST BECAUSE YOU CAN ♪
2465
02:18:24,123 --> 02:18:26,263
♪ YOU COULD HAVE YOUR
CHOICE OF MEN ♪
2466
02:18:26,298 --> 02:18:28,578
♪ BUT I COULD NEVER
LOVE AGAIN ♪
2467
02:18:28,610 --> 02:18:30,890
♪ HE'’S THE ONLY ONE FOR ME ♪
2468
02:18:30,923 --> 02:18:33,583
♪ JOLENE
2469
02:18:34,961 --> 02:18:37,171
♪ I HAD TO HAVE
THIS TALK WITH YOU ♪
2470
02:18:37,205 --> 02:18:39,345
♪ MY HAPPINESS DEPENDS ON YOU
2471
02:18:39,380 --> 02:18:41,800
♪ AND WHATEVER YOU DECIDE
TO DO ♪
2472
02:18:41,830 --> 02:18:43,940
♪ JOLENE
2473
02:18:45,834 --> 02:18:51,464
♪ JOLENE, JOLENE,
JOLENE, JOLENE ♪
2474
02:18:51,495 --> 02:18:57,775
♪ I'’M BEGGING OF YOU, PLEASE
DON'’T TAKE MY MAN ♪
2475
02:18:57,812 --> 02:19:03,372
♪ JOLENE, JOLENE,
JOLENE, JOLENE ♪
2476
02:19:03,404 --> 02:19:09,414
♪ PLEASE DON'’T TAKE HIM
JUST BECAUSE YOU CAN ♪
2477
02:19:09,444 --> 02:19:15,384
♪ JOLENE, JOLENE,
JOLENE, JOLENE ♪
2478
02:19:15,416 --> 02:19:20,556
♪ I'’M BEGGING OF YOU, PLEASE
DON'’T TAKE MY MAN ♪
2479
02:19:21,939 --> 02:19:27,389
♪ JOLENE, JOLENE,
JOLENE, JOLENE ♪
2480
02:19:27,428 --> 02:19:33,878
♪ PLEASE DON'’T TAKE HIM
EVEN THOUGH YOU CAN ♪
2481
02:19:33,917 --> 02:19:36,127
♪ JOLENE
2482
02:19:36,160 --> 02:19:40,300
CHORUS: ♪ JOLENE
192747
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