Original subtitles

[engine running]

[knocking]

[man] Yo, it's appointment only.

[interviewer] How are you feeling?

Not as good as you look.

Jeez.

[Johnny] You look like Lex Luthor.

It's about 11:45.

[interviewer] Johnny, we have a goal today.

-What's that? -Before the trip is over,

-Yep. -We're gonna come up with a title for your film.

Wow, that's gonna be hard.

That's gonna be fun.

[Johnny] Well, I don't fucking have any idea.

No idea at all.

[interviewer] Say that again?

"Down and Dirty." Isn't it all that?

" Johnny Winter: Down & Dirty?"

Yes. That's a great name.

Hey, Billy!

-We're leaving pretty soon? -Yep.

What, half an hour?

...told you already. I know that. He told me.

I said 12:30.

That's right. He said about 20 minutes, right?

What's up, rockers?

Hey.

Hi, Johnny, how're you doing?

What was one of the suggestions for the title of the movie?

I thought,"Down and Dirty" was a good title.

"Down and Dirty: The Johnny Winter story."

-Yeah. -That'll be cool.

It describes your life.

Yeah. It sure does. [laughing]

-It's pretty cool. -"Down and Dirty"...

[laughing]

No. Down and Dirty.

Let's hear your version.

Down and Dirty.

Down and Dirty!

[ Highway 61 Revisitedplaying]

[birds chirping]

[coughing]

[interviewer] Is it working?

[Johnny] Yeah, it is.

[ Cross Road Bluesplaying]

[Johnny] That is so good.

I couldn't believe it when I first heard Robert Johnson.

Nobody could play slide that good.

I learned a lot of stuff listening to his records.

[record playing]

[singing along to record] ♪ Save poor Bob if you please ♪

♪

♪ Tried to flag a ride

Cream did a version of this, but it wasn't near as good. [laughs]

Wasn't even close.

♪

Every blues player in the world does Robert Johnson songs.

He's just the best.

Eric Clapton loves him.

You can't not love Robert Johnson.

If you like blues, you're gonna like Robert.

♪

Come on out here. I got something to show you.

Be right out!

Oh, ain't that nice?

Mike got one for you too.

He didn't get me nothing. I bought a whole bag...

[engine running]

Oh! Oh, great.

Hello.

Hi, how are you?

-This. -Yep.

And do this.

And do this.

Is it possible or...

-Yeah, sure. -Yes?

-Yes. -This.

This, and do this.

And do this.

-Cheese? -Cheese. [laughing]

[speaking French]

-Maybe see you again. -Okay.

Great.

[interviewer] You think sometimes, people bring too many things to get signed?

Damn right, they do.

-Okay, Johnny, for this hand, you can do it... -Okay.

Um, with one hand or both hands, how...

did you feel better?

Okay, can you stand up please, and we do walks?

Okay, I go with you.

One...

Two...

Three...

Four...

Five...

Okay.

Perfect.

-You have to stand upright much as you can. -Yep.

Perfect.

Well done.

That's not too bad.

If you try it everyday, so it's getting better everyday.

Your muscles are too short

from standing on the...

wrong position.

Also much better for your lungs,

to get more air inside.

[Paul] Your arms are bigger already. You see that?

Look at the muscles. Look at the arm, the right arm.

It's great.

[Paul] This job is more difficult then most, obviously,

because there's the health issue, and the age issue, and all that, you know.

I've had a crystal ball into everyone's future.

And what they're gonna deal with in life,

and insurance, and health, way before my time.

But it's very educating.

The results of helping someone that's given you so much musically

is priceless.

To play with an artist that you've admired is priceless.

And to just help out, as corny as it sounds,

to help out... a friend.

Want me to fix that for you?

Yeah, come here, buddy.

Here, hold those pliers.

Okay, here, just grab that with a plier.

Okay.

Wait a minute. I can't get it.

There you go. Okay, you hold that thing there.

All right.

Just stand there.

[laughing] I'm not standing here for long with this thing out here.

[Scott] I've never been a manager, but I could never manage Johnny.

I really couldn't. I couldn't do it because

I don't have the,uh, the wherewithal

or the patience in the beginning,

to get things started to where they are now.

All right, that should do it.

-Get back in the bus. -All right.

Thank you.

[laughing]

That's my boss.

[Scott] When we first saw Johnny, when I started playing with Johnny,

the drummer wanted to know if he was okay to tour.

Would that be okay to go out and do a gig? Because...

He didn't look so good.

Johnny's weight was, I'd say it was 90 pounds.

You know, he was... He was not good.

Uh, he was still smoking cigarettes, still drinking.

Still on his legal medication, and all that stuff.

It was hard to see him like that because you liked the guy.

But we hoped if he could be brought out of that,

and slowly taken off all that stuff,

he'd be the guy he used to be.

Can we get Archie back on?

Oh yeah, you want some more Archie Bunker?

Yes.

I used to like that show so much,

if it was on when I had to play, I wouldn't play till it was over.

[Tommy] I met Johnny back in 1996, when he was with his old manager,

and it was... It was heartbreaking.

Johnny was a walking skeleton, he... Incoherent, couldn't speak.

So, to be on the road with Johnny now, is just...

I missed out on a lot of the bad stuff. I came in at a great time.

♪[Johnny] Far across The deep blue water ♪

♪ Lived an old German's daughter ♪

♪ On the banks Of the old River Rhine ♪

♪ Where I loved her And left her But I can't forget her ♪

♪ She is my pretty Fraulein

A lot of peoples wonder, "What is the blues?"

I hear a lot of people saying, "The blues, the blues..."

but I'm gonna tell you what the blues is.

When you ain't got no money,

you got the blues.

When you ain't got no money to pay your house rent, you still got the blues.

A lot of people holler about, "I don't like no blues,"

but when you ain't got no money,

and can't pay your house rent, and can't buy you no food,

you damn sure got the blues.

[blues music playing]

[Johnny] My grandmother, she had a guy that worked in her yard

and a maid that worked in her kitchen

and they played the black station in Beaumont,

KJAT.

And so I started listening to KJAT all the time.

[interviewer] What did it sound like?

That was great music. I'd never heard anything like that before.

I loved it.

[interviewer] So, what do you think attracted you to it?

I don't know what it was I was feeling. Just the emotions.

It was just great music.

Really made me feel good listening to it.

[ Hoochie Coochie Manplaying]

[Warren] I can't imagine what it was like, to hear that stuff

before the rock music that I grew up on existed, you know.

I've often thought what it would be like

to hear Smokestack Lightning coming over the radio,

and Howlin' Wolf's voice just scaring the hell out of everybody, you know?

[ Smokestack Lightning playing]

[Edgar] People have a tendency to look at the blues

as something old, archaic, something that, you know, started long time ago,

and has already happened, you know, forgetting that blues always had,

and continues to exert this profound influence,

over all the pop music that we hear today.

[Joe Perry] Most of our music is based directly in the blues,

where you can hear the actual influences.

And then, there are other songs that you don't really hear the familiar chord changes.

Um, but I know where they came from, you know.

I know who I'm stealing from.

[ Death Letter Blues playing]

[Billy] Blues has been pigeonholed into different kinds of expressions.

There's the country blues,

Chicago blues is when all the Mississippi guys

and Louisiana guys, Texas guys, wound up in Chicago.

The Texas blues was not necessarily electric.

You had Mance Lipscomb, you had Lightnin' Hopkins,

You had so many guys that were minstrels from way, way back.

And then, of course, when you had the opportunity to plug things in,

it was just more hot rod.

[ Let's Boogieplaying]

[Susan Tedeschi] When I was going to college,

I started going to this record store, called "The Stereo Jacks".

And I'd spend like $200 at a time.

Come out with all these records like,

T-Bone Walker, Big Mama Thornton, and Koko Taylor,

and Etta James, and Freddie King, and Otis Rush.

I was like, "Why did I never know these people,

"and why aren't they playing on the radio everyday?"

'Cause to me, that is powerful music.

[tuning guitar]

Damn, this is hard to tune.

Son of a bitch!

That's good enough.

Oh, this is not as hard as it seemed like it was gonna be.

-Oh, it's gonna be a pain- -Oh, it's gonna be hard.

Okay, where's my...

Where's my stuff?

-Here's your pick, here's your slide. -Okay.

Do your thing.

[ Death Letterplaying]

[Edgar] Johnny and I started out as kids,

playing ukuleles and singing Everly Brothers' songs,

like, Wake Up Little Susie and Hey, Bird Dog.

[Johnny] My father was very musical. He sang, and played the banjo and the saxophone.

They'd teach me songs from the 20's and 30's.

[Edgar] They quickly realized that Johnny and I were special.

And they encouraged us.

[Johnny] I was in the church choir.

I got kicked out 'cause I was singing too loud,

and I said, "I'm not singing too loud, those other fuckers are singing way too quiet

"that you can't even hear 'em."

I quit.

[interviewer] How would you describe your vision when you were a kid?

What would you... what could you see?

Well, I was legally blind.

I had 2400 in one eye, and 2600 in the other eye.

That was 20/20.

[interviewer] Did you feel like the music was something where vision didn't matter?

Of course not. It helps, actually.

Your hearing's better.

[Edgar] I think, if it had been the situation in either of our cases,

where we had been able to see,

and then suddenly we're deprived of vision,

that would be a harder thing to adjust to,

but when you're born a particular way,

you learn to see what you can't see.

[interviewer] When was the first time you realized that you were different?

Well, I suppose, probably, seven or eight.

Somebody in the neighborhood said, "You're not blind?" and I said, "No, I'm not."

Then I went home and asked my mother, "Hey, Mom, am I blind?"

She said, "Yes. Yeah, you are."

I'd never heard the word till then.

I knew that I didn't look like anybody else.

I just didn't know there was a word for it.

[interviewer] How were you treated?

Some kids didn't like it. Some kids just didn't like it 'cause I was different.

I got in fights.

In elementary school, I got in a lot of fights.

Somebody would tease me, and I'd hit them.

[interviewer] What made them pick on you, do you think?

Ah, it's just nuts. It's stupid.

Just 'cause you're a different color, they don't like it.

They don't like black people 'cause they're black.

They didn't like me 'cause I was too white.

It's just stupid.

Never could figure it out.

[blues music playing]

[TV host] All right, let's get back to our story.

Where were we?

You were in a black club, in where?

In Beaumont, Texas.

-Beaumont, Texas. -Club Raven.

Johnny and a few of his friends came in and said,"Let me play, let me play."

That's true. Johnny, he sent someone up and...

So, he's kinda shy, he stayed in the background, and the guy said,

"Johnny would like to play." So, I said to myself, "No... Wouldn't like this."

And then I started thinking about it.

First I asked, "Can he play?"

He said, "Oh yeah, he can play."

And I started thinking about it, I said, "I really don't want him to sit in,"

'cause normally I don't let nobody sit in

unless I really know them and know what they do.

Then I started thinking to myself,"Now here's a guy that's white.

"If I was in a white club and I wanted to sit in, and they don't let me sit in,

"I might think that they're doing it because I'm black."

And I said, "Now, he'll think I'm doing it because he's white."

So, then I finally reasoned with myself,

and I told the guys, well,

"Got a guy, gonna let him sit in, man" but I said, "You can play one number."

[all laughing]

[TV host] How'd he do?

Fantastic. He came in, and people gave him a standing ovation.

-A standing ovation? -They never gave me one.

-All the more reason not to let him play. -So I said, "Play some more."

[both laughing]

-How old were you? -I was about 17.

-In fact, I might have a picture. -There it is.

-[B.B. King] There we are! -[TV host] Can you believe it?

[Billy Gibbons] I remember him when he was Johnny "Cool Daddy" Winter.

Some of the early records that were regional hits around the gulf coast...

Johnny was a giant.

[ Hey Hey Hey Heyplaying]

[Billy] For those that may not know,

of pre-Colombia release record days,

Johnny had coined a string of very popular numbers,

that you can still find, uh...

Gotta dig deep in the record box,

and you'll find a Johnny "Cool Daddy" Winter record in there.

[ That's What Love Does playing]

[radio jockey] All right, Johnny, why don't you gimme some songs?

Let's see if we throw in some songs up here, and then we can start talking.

[Johnny] How about, Tu Le Ton Son Ton Clifton Chenier.

Groaning the Blues, Otis Rush.

Loving Man by Muddy Waters.

Got This Time I'm Through by Memphis Slim.

Uh... Travelin' Mood, Wee Willie Wayne.

Johnny, you win on Wee Willie Wayne. W-E-E?

-Yeah. -Yeah. You win.

[laughing]

No Wee Willie.

No Wee Willie Wayne.

I'm not even sure I've ever heard Wee Willie.

It must have been one of those Texas things.

♪ Feelin' kinda sad And lonely

♪ Lost my sweet One and only ♪

Oh, I do know that tune.

All right, we're recording. Let's see if we can make this magic happen, brother.

All right.

Good day. My name's Bill Wax,

and my guest with me today, is the fabulous Johnny Winter.

Johnny, how are you today?

Really good, Bill.

It's good to see you again.

Yeah, it's great to be back in DC.

And you're looking... Every time you come in,

it looks like you've gotten younger and getting better.

I don't understand how you're doing it.

Everyone else I know, we're getting older and we're lookin' like prunes.

-What are you doin'? -Got a picture in my closet.

Picture that gets older and I get younger.

I see. Well, you know, as long as no one gets their hands on that picture.

Well, you're looking great, and you sound great.

So, we got a bunch of tunes, some of your favorites.

You're a big fan of Lazy Lester.

Been listening to him. Did you know Lazy at all?

Yeah, I was gonna tell you the story about when we went to Crawley,

Jay Miller's studio, where they recorded Lightnin' Slim,

Slim Harpo, and Lonesome Sundown, and all those people.

And Lester was gonna play on one of my records. I was about 17.

And he was in jail for being drunk.

We had to bail him out of jail.

And as soon as he came to the studio, he said, "You wanna see a trick?

"Gimme a quarter."

I gave him a quarter. He put it in the Coke machine and bought himself a Coke.

The trick was to trick me into buying him a Coke.

It was fun playing with him?

It was a lot of fun. I've always liked Lester.

And then you got an Otis Rush cut? You wanna play Double Trouble?

-That was... -Did you ever play with Otis?

I think I played with him once.

I wanted to produce Otis,

but I talked to him, and he was very uncooperative.

He said,"I don't care what it sounds like, I just want the money."

Ah well, we'll just skip that.

[all laughing]

[Bill] The first interview I ever did with Johnny,

which is now, six years ago... seven years ago,

Johnny was just coming out of his old management.

Paul had just sort of taken over, working with him.

So, he brought Johnny in, and really,

Johnny was still pretty much, doped up, and all the other things,

and so, we did this interview where every answer was one word.

Yes. No. Yes. No.

I went home, and said to my wife,

"Boy, I don't know. That was a little scary, this interview with Johnny Winter, because,

"I couldn't even tell whether Johnny understood

"what I was saying to him, or anything."

So, I called Paul, and I said, "Paul, I had a great time. Johnny's always welcome, but

"I can't put this interview on the air, because Johnny's just too far out of it."

But lo and behold, the second year he came in,

Johnny was answering in sentences.

The third year he came in, Johnny was answering in paragraphs.

By the fourth year he came in, Johnny was telling stories,

and he had full memory, and he was telling lies, and having fun.

And it is amazing to see Johnny today.

[ Double Troubleplaying]

♪

There you go.

[interviewer] You pick up the guitar because of what? You heard what?

Chuck Berry.

Pretty much. He made me wanna play the guitar.

[interviewer] How do you think you got so damn good?

Lot of practice.

Even practiced like six hours a day sometimes, when I first started.

It was something I really wanted to do, too.

I was really obsessed with it when I first started.

[interviewer] How about the thumb pick? Where'd that come from?

Well, Luther Nallie taught me how to play with a thumb pick.

He played with a thumb pick.

So, I just, when he taught me how to play.

I can't even play with a flat pick.

[Luther] When uh...

Johnny was undertaking lessons, I'd show him things like...

[playing the guitar]

You know, honky-tonk, and stuff like that.

They used a thumb pick, uh,...

[playing the guitar]

You play the rhythm and the melody at the same time.

Johnny could do that.

[Johnny] Edgar was playing guitar too.

And for a while, I had 'em both at the same time.

And I'd show him things we could play together.

Music was all... what Johnny was, you know.

He just lived and breathed that guitar.

In fact, at one point, I ran out of things to show him.

'Cause, you know, he would just suck up everything.

Just like a sponge.

That I would show him, and I was like, "My gosh, what do I...

"What am I going to do with him today?"

[interviewer] Where did the Firebird come from?

Ah, it came from Ed Seelig in Saint Louis.

[interviewer] No, I mean, for you.

In general, like, how did you get hooked on the Firebird?

Well, from Ed Seelig in Saint Louis. [laughing]

He brought one out to me, and I thought it looked cool, it sounded cool, played good.

So I bought it. $225.

[interviewer] Which one was that?

This one.

-You bought this one for $225? -Yep.

Sure did.

That's all it cost me back then.

First-hand. It was the 1970.

Though that's the coolest-looking guitar I've ever seen.

[ Murdering Bluesplaying]

I love playing guitar.

It's the only thing I've ever really been great at. [laughing]

[ Tribute to Muddyplaying]

I found another there, with the Cohens.

I wrote that in 1976.

When I bought those coins for Edwina.

And I paid $6,650 for 'em.

And today, they're worth $87,000.

[Johnny] Whoa! That's a very good return.

That's pretty good.

How are you?

[all talking]

[ Tribute to Muddy continues playing]

♪

Is it like it used to be?

No.

No, it's not.

It looks like one of those roped off communities now.

This was always nice for a job.

That's your house?

-Wow. -Where?

Right there. The porch with the swing still on it.

-Oh, it does look different. -I'll knock on the door. Hold on.

No. I don't wanna go in.

[Johnny] That looks definitely different. I wouldn't even recognize it.

[man] What color did it use to be?

[Johnny] White. The color was white first.

Almost makes me wanna cry.

Did it seem a lot to ask I don't wanna do it.

It's very sad.

[women talking]

[dog barking]

I spent all my whole first part of my life here.

It don't even look the same.

Yeah, the fence is not up anymore, it's all open.

[dog barking]

The owner wants to say hi to you. She's been dying to meet you.

-She's coming right over here. -Okay, sure.

Seems like a nice lady.

-Hi, how are you? -Hey, how're you doing?

-Nice to meet you. -Nice to meet you too.

Nice to meet you.

I mean, you are more than welcome if you'd like to come in.

I think it'll be too sad.

You think it would? I totally understand.

-I just can't... -Aww.

Well, thank you for offering to let me in.

No problem. I am really just thrilled to meet you.

I have two kids. I have a 12-year old son,

and a 9-year old daughter,

and we've got a game room, and things that we have upstairs,

-And, but we... -That's where we used to practice.

That's all where your music was, and we said if these walls could talk,

what they could tell us about you and your brother, and all the music.

-So... -There's been some great times in that house.

Well, I am just thrilled to meet you, and I would love to get a picture.

-Sure. -Is it okay if I went in to get my camera?

Turn around.

I'm just so excited. I can't wait to tell my husband.

Look over here, Johnny.

Yeah!

Perfect.

It was nice meeting everybody. Thank you.

[Johnny] Oh, that was so sad, I hated it. I fucking hated it.

Well, you know...

Oh, that was so sad.

You didn't even go inside.

No, it was so sad just looking at it.

Hey, but it's nice to know there are some nice people living there.

Oh, yeah. That's nice.

At least they like it there.

Made me wanna cry. I almost did cry.

That's okay.

Sometimes that helps.

-What high school did you go to? -Beaumont High.

-Central High? -It's called Central High now.

It's not even Beaumont High School anymore?

It's called Central High.

Weird.

We had assembly there. I sang Cherry Pie.

I sang, "Gimme, gimme, gimme some, I want some cherry pie."

and they pulled the curtain.

[laughter]

They pulled the curtain on us. [laughing]

[ Rock & Rollplaying]

♪

♪

[Johnny] I think it was the December of '68,

the Rolling Stone article came out.

And all of a sudden, everything just completely changed.

I felt I must have read it a thousand times.

Everyone had been making about 50 bucks a week at that time.

And I'd been making, like $150, $200 a week, playing in night clubs.

But when we started doing the blues thing,

we couldn't make nearly as much money at it.

[Tommy] Uncle John and I were sleeping on floors,

and we weren't making any money at all.

I remember Uncle John and I used to go down to the fried chicken place,

and get the fried batter.

They put it in paper bags for us.

And we'd take that home and eat it.

That's all we had.

The article came out, and everything completely changed.

People were calling me from both coasts,

Steve Paul called me from New York,

and wanted to come down and meet me.

And I said,"Sure."

Electric wanted us, Atlantic wanted us, Colombia wanted us.

Steve just decided that Colombia would be the best deal.

[Clive] I would say that Johnny got a real good deal,

higher than the norm at that time, without question.

Definitely believed from me that he would not be a one-hit wonder.

There was no hits to speak of.

The hit... The criterion of hits was not applicable in this case.

What we had here was a dazzling virtuoso of guitars,

with a unique story to tell.

Certainly a unique look.

I was very proud, I remember, to sign Johnny.

He said it was the biggest deal of that point,

that anybody had.

I hated to be publicized in that,

'cause it just put more pressure on me to sell records.

Uncle John and I stuffed everything in a foot locker.

Everything we owned.

And moved to New York.

One day we were sleeping on the floors, the next day, we were in this gigantic house

in upstate New York. But it was literally overnight.

[interviewer] Did you ever get a chance to meet

those writers of the article, afterwards?

You know, I don't even know if I met Larry or not. I hope I did.

I hope I thanked him for it.

[interviewer] Feel like you owe him a drink.

I owe him a case.

[ Mean Town Bluesplaying]

♪

[Edgar] When Johnny became famous,

although we had spent virtually our whole lives preparing ourselves,

it still seemed that it had happened almost instantaneously.

[ Mean Town Blues continues playing]

[Edgar] Had it not been for Johnny,

I would probably have been either a teacher,

I might have been a scientist.

It was really Woodstock that changed my life.

And of course, I wouldn't have been there, had it not been for Johnny.

[Johnny] Woodstock really was a good show, but it was all muddy and nasty.

Nobody knew who was going on when.

I went to sleep on a bag of garbage.

And I got up at about midnight to see what was going on,

and somebody said, "Well, you guys are all here, play."

I had just woken up.

I'm surprised it was as good as it was.

[ Mean Town Blues continues playing]

It was still on of the coolest things I've ever done.

This is how we fatten up Johnny.

The reason being, when they don't serve the gigantic croissants

that we used to get, trying to get some meat on Johnny's bones,

we have to take these smaller croissants.

Breaking off the left side of one croissant,

shoving the...

right side of one croissant. Shoving the left side of the other croissant,

into the broken piece of croissant, creating one giant croissant

which he then consumes.

Johnny only eats one thing at once.

So, when you connect the two, you have a bigger croissant.

Meaning more weight gain for Johnny.

And a healthier Johnny all around.

[ WKRP in Cincinnati theme song playing]

Sing it!

♪ Wondered whatever Became of me ♪

♪ The air in Cincinnati

♪ WKRP

[singing along]

[Nick] Since the days when you were a kid

in Beaumont,

did you ever imagine that loving the music that you love,

playing the guitar, and singing, that would carry you out into this world-

-Oh, I was always almost sure it would. -Really?

I was sure I was gonna be successful.

You had a lot of confidence.

Yes, I did. I always did.

And that was in a tough town, where you were made fun of, and had a hard time.

And you had that confidence?

It made me try harder.

Yeah.

It was a good thing.

Made me try harder. I just wanted to show people I could make it.

In the time that you were using heroin,

did it affect your music skills?

No, I wasn't as good.

First, I thought I was just using it,

but I realized I was addicted.

I couldn't function without it.

I wanted to stop.

Real bad.

I put myself in rehab.

Here in New Orleans.

What made you able to do that?

How could you do that, how did you have the strength to do that?

I would have died if I hadn't.

-And you knew that? -I knew that.

Some people can keep using it for years.

Dr. John did, Ray Charles did. I couldn't.

I don't think Dr. John would advocate it now, though.

No, he wouldn't. He did it for 35 years, though.

It didn't seem to affect his creativity. It affected mine.

[interviewer] Do you remember the first time you tried it?

Yeah.

Yeah, I first got it at a press, uh,

press party in Los Angeles.

This guy said, "Do you do drugs?" and I said,"Sure."

"You ever done heroin?" I said,"No, I haven't."

He said "Take some of this." It was the only time anybody gave me any free heroin.

I kept it three or four months.

Then, we were supposed to do a show in New Jersey.

I couldn't... didn't get there. We were all kinds of depressed.

And I said, "Seems like a good time to try that heroin."

We all sniffed it.

I couldn't believe it.

You just don't worry about anything.

Nothing bothers you.

Well, I really thought I could just use it,

and just do it when I want to, and not get addicted.

Thought only stupid people get addicted.

And I thought I was cool enough to be able to just use it.

[interviewer] Now what do we do?

[Johnny] Well, I hope we're gonna drink.

What do you need? Stoli?

I'll have four shots on the rocks.

Four shots on the rocks.

Four shots on the rocks.

[yelling]

[ Leland Mississippi Blues playing]

♪

♪

[laughing]

I don't like it.

I don't like it.

-[mumbling] -What?

What the hell's going on?

[laughing]

Where are you going?

One step down.

[laughing]

Now, step up.

Step up.

[laughing]

Oh, good God.

Oh, good God!

Oh, good God!

[laughing]

I'm so drunk.

Oh, fuck, I'm really drunk.

I'm really drunk.

Oh, shit.

I wanna go home.

I really wanna go home.

I wanna go home.

[laughing]

I really wanna go home.

I'm so fucked up.

[laughing]

Oh, I'm really...

[Paul] Wait a minute. Who wanted to go drinking?

I did.

[Paul] Well, there we are!

I did.

♪ I just wanna go home

♪ I'm tired and I want To go to bed ♪

♪ I had a little drink About an hour ago ♪

♪ And it went Right to my head ♪

♪ Everywhere that I roam Over land or sea or foam ♪

♪ You can always hear me Singing this song God, I wanna go home ♪

One more time!

♪ I wanna go home!

♪ I'm tired and I want To go to bed ♪

♪ I had a little drink About an hour ago ♪

♪ And it went Right to my head ♪

♪ No matter where I go Over land or sea or foam ♪

♪ You can always hear me Singing this song God, I just wanna go home ♪

[TV blaring]

[Susan] I was a hippie down in Miami, and I met a girl, Barbara,

who knew that I'm gonna go up, back up

to New York and marry Edgar Winter, and

"I'll give you a call when we come down."

So, a year later, she called me.

And Edgar and Johnny were playing in town.

Over the couple of years, I...

Went to a few shows and some.

Then I came up to New York and started working for Steve Paul.

And then he... came up...

and that's... We've been together ever since.

[interviewer] You weren't doing heroin at that point, were you?

Uh, yeah.

[interviewer] Did you know what you were getting yourself into?

Not really, no.

I wanted to be, kind of, on the same plane he was.

So if he was doing something, I wanted to do it too.

But it did get overwhelming, and I can...

I bet a few times, go to the bath and cry my eyes out because it was too much,

and I didn't wanna do it...

[interviewer] What else was there besides heroin and drinking?

Pot and cocaine, I guess.

Downs. Seconals.

I don't remember doing that much with you.

I did plenty of Seconals. Quaaludes.

I did a lot of that.

I loved downers.

It was like drinking without having to drink.

We were doing so much coke, this guy says, "You guys must know you're gonna die."

"You're gonna die, if you keep doing this."

Stop, he said you know you're doing too much.

He just wasn't used to us.

[Tommy] Back then, we got high all the time.

I used to do a lot of LSD,

speed, and downers, and just about anything we can think of.

As a band...

Like, the goal was to ingest as many

different... substances as possible.

And then see if we could still get up there and play.

I remember playing at the Spectrum, Philadelphia,

and all three of us tripped on acid.

We got so high, it didn't sound like music anymore.

It sounded like... [humming]

These sounds.

And finally when the end of the show happened,

we got off stage and started walking right up the aisle, you know,

with the people, instead of backstage.

We just took off, and...

Crew guys had to come, run out there and get us and turn us around.

We were the three stooges.

The Scene was the Club, Steve Pauls, our manager at that time...

It was his club. I remember the first night I walked in there.

Jimi Hendrix was there, John Bonham, Jerry Lee Lewis was there.

Total asshole.

Johnny, you know, Johnny and myself, we were playing.

Somebody tapped me on the shoulder.

I turned around and it was Jimi Hendrix.

He asked if he could play my bass.

And I just took it off right in the middle of a song, and handed it to him.

[interviewer] What would be the first moment

where you really felt like this is where you wanted to be?

Making the first record was great 'cause it turned out just the way I wanted it to.

That's still one of my favorite records.

I knew this is exactly what I want to be doing.

[ I'm Yours and I'm Hers playing]

♪

♪

[interviewer] Didn't you meet Salvador Dali?

[Johnny] Yeah, he told me I should put a mike up my ass,

and broadcast my inner workings.

[laughing]

He was a very strange guy.

[interviewer] When did Janis Joplin come into your life?

[Johnny] We played a show in Florida and I was on acid.

And she got me to drink Southern Comfort.

And it tasted like Kool-Aid, it wasn't strong at all.

And I got really sick and we were going back in a helicopter

after this show, and I threw up all over her.

I don't think she even remembered it. She was so drunk too.

I didn't even have a Kleenex to wipe the vomit off.

[ I'm Yours and I'm Hers continues playing]

[Johnny] All those people died around the same time. Jimi Hendrix, her,

Jim Morrison.

[interviewer] What did that tell you?

That it was scary. I was wondering if I was next.

All the J's.

Jim, Janice, Jimi.

I thought I'm Johnny, I'm next to die here.

[interviewer] How'd you manage to make it through that?

Just lucky. Just very lucky.

I'm so lucky to control it.

Didn't know I could control heroin.

I was over at Austin once, and...

Usually I let somebody else shoot up first to see what it did to them.

But I really wanted to get high then.

I overdosed. They threw me in a cold tub of water.

I was turning blue. Ed was hitting me,

slapping me, trying to wake me up.

That's the only time I overdosed.

But he was afraid I was gonna die.

I didn't even know that I was... all messed up.

When I woke up, I was just pissed off

'cause it got my velvet shirt wet.

I said I was okay, and he said, "No, you weren't okay, man. You were gonna die."

And that kinda scared me.

[laughter]

That's irritating as hell.

Quit doing that shit.

-No, it's fun. -It's not fun.

All right, come on right over here.

[speaking Cantonese]

I wanna get this.

Thumbs up.

Thumbs up, guys.

[ Who Do You Loveplaying]

♪

[Johnny] How's the audience doing out there?

Well, that's not going to be no fun to play.

Oh, ZZ Top played for one person.

-There you go. -If they can play to one person, I can play to two rows.

It happens all too often, where somebody goes through their life,

and it's just... because they're always there, it's just inevitable.

They're always around, so you wait to see them next year.

You put it off, and...

And then they're gone. And then everyone holds them up,

and they say,"Hero." And you're like, "You know, they were a hero,

"one year ago today, when they were playing in a club down the street."

All right, guys, let's go.

Let's go. No shit.

[Derek] I hear people now like, "B.B. talks a lot on stage."

I was like, "I don't give a shit. You go. You pay your ticket,

"and you cheer for him, and shut the fuck up."

Yeah, it's B.B. King, damn it.

It's Johnny Winter.

Go.

[crowd cheering]

Hello, Hong Kong!

Are you ready?

[crowd cheering]

Ladies and gentlemen, make some noise

for Johnny Winter!

[ Mojo Boogieplaying]

♪

Yeah, Muddy Waters.

[crowd cheering]

[crowd continues cheering]

One... Two...

Two... Three... Four...

[ Dust My Broomplaying]

[Derek] When you see Johnny with the Firebird, when that guitar comes out,

it's like thinking of Duane Allman's Goldtop,

or Hendrix with a certain guitar.

It's iconic.

[ Dust My Broom continues playing]

The way that guitar looks and sounds, it's very much his spirit, musically.

It's just, kind of, in your face, and it's nasty in the most beautiful way.

Thank you!

So many people got pissed off

when they started rushing the stage 'cause they couldn't see anymore.

No, but I still loved it.

-Yeah, I know. -It was very cool.

Yeah, I didn't think it was over until the very last two, three songs there.

They... I thought, "Well, this ain't fun at all."

-They finally went nuts. -Yep.

[Paul] That's great.

How long before we get out of here?

[laughing]

Oh, that's over.

Now that we're done playing, let's go home, watch a movie.

You may ask, "What is the purpose of music?"

And I may answer, "To turn people on and make them happy."

[ Prodigal Sonplaying]

Steve thought that the blues had been so big in the 60's, he said if I didn't

start doing more rock and roll, then

my career was gonna...

maybe just end.

And it wasn't really what I wanted to do.

I didn't want to do more rock and roll.

But... I thought he was probably right.

I still think he's probably right, so...

I decided to go ahead and do it.

And it really hurt me because I loved Tommy and Ed. They had...

Helped me make it.

But... uh...

I was sad to go ahead and do the thing with the McCoys.

[Tommy] They were living in a house, Upstate New York,

I guess about 100 yards from us.

We got to be friends with them.

One day we went for rehearsal, you know,

and we couldn't come up with any material.

And Johnny started kinda freaking out.

And the McCoys, they had material.

And it gradually happened, you know, he...

He said he was gonna stick with them.

♪

[Johnny] God, I really felt like I was selling out.

I started doing a lot of heroin, I didn't really like it.

Didn't like what I was doing.

Started doing way more drugs than I should have been doing.

That really... Really messed me up.

[Johnny] Oh, are we on yet?

-Yeah, we're on, yeah. -We're on?

-We're on TV? -Here. Yeah.

-I mean, we're really good? -Yeah.

Oh, no.

I know you like playing with the new band.

What do you think is one of the big changes that you've noticed

since the old band. You've been with that one for about two years?

For about two years. Right. I love playing in the new band.

-You liked the old band too. -I loved it.

I love the old band, and when it got to be... not as cool,

we got tired of doing it, then almost immediately, we decided to change.

We were beginning to stagnate. There was nowhere we could go.

We played straight and loose for two years,

and I just... I wasn't giving up blues,

or selling out or anything, I just wanted to do some other thing.

[Johnny] That was my biggest selling record. "Johnny Winter And- Live"

That's the record I liked the least.

[Tommy] He sold a lot of records doing that.

But he was becoming more miserable.

That's when he eventually went back, playing blues.

'Cause that's what he loved.

When I really got back in the blues was when I got to play with Muddy.

I finally felt like I was doing what I wanted to do once I played with Muddy.

[Mike] Together for the first time on a new album, you two.

Yeah, not really for the first time, but the first time on this album.

We've known each other for years.

And admired each other, obviously.

Well, Muddy has been an idol of mine since I have been...

And I really admire him. When I first heard him, I said,

"He's one of the greatest blues player in the business."

Oh, wow.

[Johnny] We made our first record in 1977.

[interviewer] How'd that happen?

[Johnny] His manager called up my manager,

and asked if I'd be willing to play on and produce records with Muddy,

and I said I'd love to do that.

There's nothing I'd rather do.

It was a lot of fun.

Muddy said,"This music is so good, it makes my pee-pee hard again."

That's why we called the record Hard Again.

[Derek] I mean, those are my favorite Muddy Waters records as a kid.

There was just something about

the sound and the way they were recorded.

I remember even when we started building our studio,

those were the records I had in my head.

I was like... It's still a goal for me to try and make a record

that sounds like that or feels like that.

Hearing him, on Mannish Boy just went hollering in the background...

[laughing] I felt, yeah...

Woo!

[ Mannish Boyplaying]

[Joe] There's something about the electricity going on in the room,

when they're playing, that just naturally comes to the surface.

And that's one of my touchdowns, that record.

[Derek] Johnny was that bridge. He was fully current at that time,

but he fully knew the history of it.

And he was the right age, the right skill set,

the right knowledge, the right humility.

The right fearlessness.

[ Mannish Boy continues playing]

It's still the most fun I ever had playing music. I just loved Muddy.

Loved him. Loved his music.

[ Got My Mojo Workingplaying]

[Johnny] It was just great. I'll never forget it.

Damn, he should have lived another 10 or 20 years.

[interviewer] Yeah. Was that a big loss for you when he passed?

I hated it. It really hurt me.

We were extremely close.

I went over to his house, couple of time, he...

made gumbo for me.

Called me his son.

Yeah, we were very close.

[ Got My Mojo Working continues playing]

I remember somewhere around '90 or '91,

we were all doing this John Lee Hooker tribute concert at Madison Square Garden.

And, uh...

There were a couple of days' rehearsal.

And I remember... uh...

Johnny was a little out of it.

In the 90's, he was still standing,

but he started doing his wobbling thing in place.

[Paul] And then, eventually, he fell and broke his hip the first time.

And then he was just chair-ridden.

He was playing, but his voice started getting very nasally and very weak.

We went and saw him at Antone's, and...

Kinda broke my heart, you know, 'cause

he was just barely there.

And he was in... such bad shape that...

You know, I was worried he might die.

I just had a lot of concern.

'Cause, you know, I loved Johnny.

He's been my friend for a long time.

[Johnny] 90's was a bad decade for me.

I knew I wasn't playing good.

That was embarrassing.

I was taking antidepressants then.

That was more antidepressants than methadone.

[interviewer] Okay, can you tell me what that would do to you?

It just puts you to sleep.

I slept like 14 hours a day.

You were out, just out of it. You didn't know where you were,

I hardly even remember those days.

I was taking it way too much for way too long.

Johnny, I would say, was on, through research, was on heroin for two years, tops.

But methadone for like, 30, 35 years. It's insane.

You're supposed to be on that and off it, or just do a low dosage.

When I first started playing with Johnny,

Teddy Slatus was his manager,

and I kinda knew Teddy from back in the old days.

The Edgar days, but we didn't realize till we got to Johnny,

how bad this guy really was.

He manipulated Johnny by keeping him... medicated.

I guess that'll be the word.

He was enabling him, making sure that if Johnny asked a couple of questions,

'What's going on?" "Where's the money?" "What's going on..."

Teddy would make sure he was medicated

to the point where he stopped asking questions.

And he had been good in the past.

But the last four, five years, he was just horrible.

And Paul was working...

Everybody was telling me how bad Teddy was.

I just didn't want to believe it.

Everybody knew he was screwing things up.

His manager actually wanted to manage me as an artist.

And I was... I was flattered,

but the same point... time, I was saying,

'What's wrong with Johnny? I mean, you have Johnny Winter!"

And then, I'm looking, and I'm listening to the voice, and listening to the playing,

and I'm like, "Something's wrong."

I kinda stepped forward, I risked everything I had

to tell him, while his other manager was still alive,

"There's something going on here, and it's a mess."

So he said, "Will you manage me?"

Suddenly I realized they were right.

And I just, uh...

wrote Teddy a letter and said, "You're fired."

Then I learned, in a couple of months that he was dead.

He fell down the stairs and broke his neck.

He didn't have anything to live for.

Nobody else would have ever hired him.

He was in way too bad a shape to be a manager anymore.

So, dying was the best thing he could have done.

It was horrible having him for a manager.

Boy, my career would've been non-existent in another few months.

[Edgar] I think that's why Paul was so effective.

He was there, and he could see the entire situation.

And, uh... And he really brought Johnny back.

He helped, uh, get him off drugs.

And, you know, that's an amazing feat in itself.

You gotta understand, we're on the tour bus 100-140 times a year.

And we're family.

And one of our family members is falling asleep in his mashed potatoes.

He's lighting a cigarette and his hat's caught in fire, and he doesn't even know it.

I had to get him off the methadone, but I had read that...

The withdrawals were insane.

So, I had to devise a way to get him off the methadone without letting him know,

but at the same time, without killing him.

So, for three years, I sat and whittled the pills.

Smaller, and smaller, every day, for three years.

And saw the change, and talked to doctors.

"Okay, there's no upset stomach,

"there's no problem, there's no change."

And he didn't know it was happening.

But then, the tablets started getting so small,

I couldn't hide it anymore.

How do I say, "Well, it used to be this big, here's your..."

So, I went online, and I ordered empty capsules.

So, for one year, we went. His wife knew.

And the changes were astronomical.

The alcohol was already gone,

the antidepressants were gone, and the methadone was gone.

So, we went a year, and then on Christmas

when we were exchanging gifts,

we gave him a box, with the box, with the little box,

with the little pill... That joke.

And he opened the pill, and he goes,

"What's this?"

[Susan] Looks like methadone. Open it up.

[Paul] Open up the pill.

[Paul] Open up the pill.

[TV blaring]

How do you open the pill?

[Paul] Just pull it apart, and tell us what's in there?

[Susan] Honey, you've been off methadone for two years.

That's... huh?

[Susan] You've been off methadone for two years.

What?

[Susan] Yeah. You've been off methadone for two years.

No...

[Paul] Yes.

What have I been taking?

[Paul] Nothing. Empty pills and rice.

[Paul] You've been methadone free.

So, I don't have to take anything anymore?

No.[laughing]

-I've been taking empty pills? -Empty pills.

That's great. I'm off methadone and I didn't even know it.

[interviewer] How did you feel?

I felt so good.

Didn't have to go to any more methadone clinics.

I'd been off of it for months.

He just didn't want to tell me until he was sure I was okay.

Got to admit, the best present I could have ever had,

was him helping me get off methadone.

But he didn't just help me. He did it.

He did it all by himself.

He changed completely form there. It was...

The weight gain, the playing, the alertness,

the... just eating... just came back.

[ Long Tall Sallyplaying]

♪

Johnny Winter!

I love you so much, Johnny Winter.

I love Johnny!

Johnny, you're great!

I love you, Johnny!

The Johnny Winter Band!

[ Long Tall Sally continues playing]

[crowd cheering]

♪

[crowd cheering]

Thank you!

[ Can't You Feel Itplaying]

♪

[Paul] ...onions, just throw it all in there.

Spin that around.

[Paul on mic] Chef Boy Winter.

[Johnny] I need more vodka.

[Paul] Don't touch that glass.

-I'm touching it. -Give me that! Give, give!

[laughter]

[growling] I'm having a really good time.

[laughter]

You just love the mic.

♪ If I knew If I knew

♪ Yes I could If I knew ♪

[laughter]

[Johnny] I wanna give it, but you don't want it.

I don't know what to do with it.

But I'm gonna do it anyway.

Oh I'd die before we get home.

[laughter]

Oh, crap.

All right, here we go.

[Paul] You got this one, right?

I love Georgia.

I love everything right now.

[laughter]

♪ I'm say Georgia

♪ Georgia

♪ A song of you A song of you

♪ Just an old sweet song

♪ Keeps Georgia On my mind

♪ On my mind

♪ Whoa, Georgia

♪ Whoa, Georgia

♪ The whole day through

♪ Just oh, so sweet and clear

♪ Like moonlight Through the pines

Yeah, get it.

♪ Whoa, Georgia

♪ Georgia

♪ No, no peace

♪ No peace I find

[laughing heartily]

♪ Just an old sweet song

♪ Keeps Georgia On my mind

♪ Georgia on my mind

[cheering]

Yeah!

Yeah, I'm good.

I'm really fucking good.

[laughing]

[Paul] What'd you say?

[Johnny] I said I'm really damn good!

[laughter]

Oh, man.

-You guys ready? -Yeah.

[blues music playing]

It's ready to go, right?

[talking together]

Damn, I thought we were ready to play.

Why the fuck did I get ready?

-It's gonna be late for half an hour. -Oh, no.

It's gonna be 15-20 minutes before we play, probably.

Paul said five or 10 minutes. It's already been five minutes.

Just fucking play, god!

It's already been three or four minutes.

Well, it's been 10 minutes, and we're still not fucking playing.

What the fuck are we waiting for? God!

I'm talking about it probably might close if we had five minutes.

[Ansgar] Why don't you just enjoy yourself?

Because I can't. I'm not enjoying just sitting here.

What is there to even fucking enjoy?

Nothing.

I've always had anger problems.

[Nicholas] Since when?

Since I can't remember.

Well, give me an idea of how early you remember.

Well, somebody would fuck with me about being different.

Yeah?

I get very angry.

What was the earliest time you remember somebody fucking with you?

Well, a lot of different times.

Said, "Why do you look so weird?"

"What's wrong with you?"

"'Cause I can't help it. I don't know."

Do you think there's anything wrong with you now?

No.

Well, my OCD, which is not good.

I wish I didn't have it.

Did you use to wish you didn't have other things?

No.

No.

No, I never wanted to look like everybody else.

I was completely happy with that.

[Paul] It was pretty immediate when the drugs went away.

'Cause the drugs were definitely used to mask this problem.

And the finger twiddling was the first to start.

These little rituals started happening, and then...

You know, things with water bottles,

or timing, or getting very nervous and anxious.

So, I'm like, "Something's going on here."

Chug, chug, chug...

When he had his watch on, he would sip, look at his watch,

sip, look at the watch. Every 10 seconds.

Sip, sip, sip... 'cause some doctor said he was dehydrated or something.

So, actually it's a good thing to stay hydrated, but he took it to the extreme.

I gotta get a new bottle.

We would notice that he would drink it half way down in sips,

and then after the half way, he would have to finish it the minute he'll get a new one.

So, I devised a plan.

"All right, if he can't see the level going down, let's put some duct tape on it

and then he'll relax and be able to focus on other things.

And we'd broken another chain of things.

Then the timing things. Like, we have to be there, to our hotel destination at 2:00.

2:00, 2:00, 2:00.

And then things like if you got there at 1:59,

you lied.

It's about 11:45.

Now, to his credit,

a lot of people have some form of it.

Especially people that are successful, because it's what drives you.

So, is it a good thing or a bad thing?

It's how, I mean, you know, a lot of people said,

if you take heroin, it makes you a better musician.

Miles Davis and all, they experimented with it and they became great.

What happened afterwards?

[interviewer] How does that OCD fit in your life?

Well, it's just a problem I gotta deal with.

They say that drugs can help cause it.

Then you get off the drugs and you start to hallucinate.

[interviewer] Are you aware of it when that's happening?

Yes.

[interviewer] But it's not something you can control, or would you say...

I try to control it.

Yeah.

I don't know if I'm getting better at it,

but I still have fears of pissing people off.

[interviewer] That's okay though. You're a rock star, right?

[David Letterman] Our next guest is a legendary guitarist,

whose most recent Grammy-nominated album

pays tribute to the great blues players of the last century.

Please welcome Johnny Winter.

[applause]

One, two... One, two, three, four.

[ Dust My Broomplaying]

♪

[Jay Sieleman] In 1988,

the Blues Foundation inducted Johnny Winter into the Blues Hall of Fame.

[cheering]

Now, neither Johnny nor the Blues Foundation

know exactly where either one of us were at that time.

It is a great pleasure, a great honor, and great respect

to present to you, Johnny,

the plaque, from 1988,

inducting you into the Blues Hall of Fame.

[cheering]

[ Dust My Broom continues playing]

God almighty!

Thank you!

Wow!

That was fantastic. Very nice.

Johnny, good to see you.

You know, here's what we're gonna do.

-Paul, get us a van. -Okay.

Uh, and I'll get some cheap speed...

Right.

[laughter]

-Some coffee and some donuts... -Yep.

And we'll just drive all night.

What do you say?

My God, let's do it!

Thanks so much, and good night, everybody.

Just to get a trailer, and some cheap speed,

and donuts, and drive all night.

I heard the donuts and drive all night part.

The last thing I'd fucking do is take any speed.

Maybe heroin.

All right, all right.

No speed.

[Edgar] I think that Johnny, now, is really coming back to being himself.

I gotta see it again.

That's so good.

[Paul] 1988, you finally get it.

About time.

Whoa, that's so cool.

[Edgar] I hope that he is going to find happiness and fulfillment

in his personal life.

And to be able to continue to play the music

that he loves, and has always cared about.

And has always remained true to, you know, throughout his career.

1988.

I had tears in my eyes, I really did.

Man, I love that.

Get a picture of it.

Do you wanna get a picture of it or what?

Hold it up and smile, brother.

Oh, I'm smiling.

I'm smiling all right.

[interviewer] You're coming up on 70 years, right?

[Johnny] Yep.

[interviewer] How long have you been doing this? Like literally,

playing music and traveling...

Since I was 15.

Started playing and made my first record when I was 15.

Started playing in clubs when I was 15.

Started drinking and smoking when I was 15.

Sex when I was 15.

Fifteen was a big year for me. [laughing]

But it was fun. I wouldn't take anything back except heroin.

I wouldn't do that if I had to do it over.

But...

All the drinking and sex, I wouldn't take that back. [chuckling]

I've been wanting to do this ever since I was like 12 years old,

I was pretty sure...

That's what I wanted to do.

I never wanted to do anything else. I didn't have a Plan B.

"If I don't make it in music, then I'll do this."

I knew. I always knew I was gonna make it in music.

I just was sure of it.

[interviewer] Do you think that makes you lucky that you knew what you wanted to do?

Oh, very lucky.

I've had one of the best lives anybody could ever have.

I've been able to do exactly what I wanted to do.

Get paid for it and have people love me for it.

It's great. It's been a great life.

[interviewer] What do you think your life would have been like

had there been no heroin?

It would have been better. Definitely, been better.

I had to try it, though. There was all that mystique and

Janis Joplin said that,

"Anything that makes you fell that good, can't be all bad."

She was wrong.

It can be all that bad.

It's a terrible drug.

[interviewer] Why should people watch this film?

I've been through a lot of shit. [laughing]

You know, it's interesting, all these life stories about people that...

Drank and had drug problems and...

Women problems. It's just interesting.

[interviewer] And usually those don't end well.

Yeah, but mine has. [laughing]

One, two... One, two, three.

[ Highway 61 Revisitedplaying]