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[man]: ...a little bit like this.

Real cool like this, kind of sitting back,

the cigarette right down here at your chin, right?

[Steven Tyler]: Hi. You know me.

You probably recognize my voice on the radio.

But if you see me, you don't believe me, right? I look like a bum.

[man]: Okay, now try this. Put the cigarette right here,

at the bottom of your chin, like, real cool.

Now, with the other hand, you kind of take the glasses off real slow.

"Hi. You know me..." Try that.

[clears throat]

- Hi. You know me...

[rock music] [crowd cheering]

[man #2]: ...but sort of the defining moment

where you're, like: "Fuck it. I'm gonna go to Nashville, write a record..."

[Steven]: I feel like I'm doing something new again.

You know, most people would rather be certain or miserable

than take a risk and be happy.

[wild cheering]

I, personally, would always love to go out

and not be sure of the lyrics, or not sure of the song,

and hope for a train wreck, because that's exciting to me.

[music and cheering]

What got me here? It wasn't a joy ride.

It wasn't, like: "Let's go on a hay ride,

and then we'll go win the lottery."

It was fucking hell. And... marriages,

and arguments with band members.

At the end of all that,

do you look at it and blame it on Joe Perry?

Or blame it on my ex-wife? Or do you look at yourself,

and go: "Maybe I'm my own worst enemy."

[rock music]

[crowd cheering]

[indistinct chatter]

[singing together]

♪ On with the show this is it-it-it-it ♪

[laughter]

Can you see it right now?

Okay, good. That's all that matters.

No bats in the cave, right? Look at this fucking guy.

Let me help you out with that.

So due to the proceeds of this company,

the press has been shown to be ineffective... [indistinct]

when used in the conscientious and applied program

of all hygiene and real professional care.

[rock music] [wild cheering]

[man]: Everybody know the group Steven Tyler was with.

Aerosmith, that's right. Aerosmith.

[chuckling] Yeah, so it's gonna be a good show tonight.

Y'all come on down and do a little peeking.

You hear? [chuckling]

[director]: It's ironic that after 15 years, we end up in Nashville.

'Cause I mean, that's where my first tour

with Aerosmith started, was Nashville.

I'll never forget that night, outside a steakhouse,

when one of the guys that worked for the band told me...

But we're gonna hold off on that story for now.

I know what you're thinking, another ego-maniac director

wants to hear his voice and see himself in the movie, but this is different,,

because being a kid from Boston, growing up, Aerosmith was everything.

The only thing that I love more than Aerosmith was movies.

And I was hell-bent on making them,

but that's kind of hard to do in New England.

When I was 30, that dream was pretty much dead as I was inside.

And you know what happened? This guy found me.

I heard stories, you know, he was mean to everybody,

they didn't want to work for him.

And you know, I've always waited for the day that I was, like: "Aha!

Everybody was right!" But it's never happened.

I mean, he's just become this, like,

awesome, super-famous, crazy uncle of mine.

You know, he had taken me on tour to film the band,

and eventually, I was directing the live shows, then designing the live shows.

Ended up directing them on things like Davie Letterman.

Then I made a concert film, did huge-budget music videos.

I mean, Jesus, we won an Emmy in 2015

for a spot Steven and I came up with.

I had done everything I could with Aerosmith.

I'm not sure if it's true, but I heard Fincher said he got into movies

'cause he was done being Madonna's bitch.

I don't know if that's true, but it sounded funny. But I knew what he meant.

I love Steven and that band, but I just wasn't sure

that there was anything else I could do for them.

So you're wondering: Okay, ego-maniac, you're also hypocritical,

because you just said you would never really work with these guys again.

And after 15 years, what would drive me to do that?

It's because I can tell you,

during the time he made this record and did this tour,

I had never, ever seen him that happy.

[crowd cheering]

[We're All Somebody From Somewhere]

♪ Sweet Biloxi

♪ To New Orleans

♪ From that fine red wine of the vine ♪

♪ To cheap brown whiskey

♪ Seattle coffee Memphis blues

♪ Chi-Town wind Miami cruise

♪ There's a thousand stories between me and you ♪

♪ Give me some love

♪ We're all somebody from somewhere ♪

♪ Some mama some daddy some love in the air ♪

♪ Some big some little some left some in the middle ♪

♪ Some white yellow black or red ♪

♪ We're all somebody from somewhere ♪

[vocalizing]

♪ We're all somebody from somewhere ♪

♪ Yeah we're all somebody from somewhere ♪

♪ Hollywood to New Orleans

♪ Filet mignon to black-eyed peas ♪

♪ And cornbread damn I love that shit ♪

♪ We're all somebody from somewhere ♪

♪ Some mama some daddy some love in the air ♪

♪ Some big some little some left some in the middle ♪

♪ Some white yellow black or red ♪

♪ We're all somebody from somewhere ♪

♪ Yeah we're all somebody from somewhere ♪

♪ We're all somebody from somewhere ♪

♪ Yeah we're all somebody from somewhere ♪

♪ Sing it

[warbling]

♪ We're all somebody from somewhere ♪

♪ Some mama some daddy some love in the air ♪

♪ Some big some little some left some in the middle ♪

♪ Some white yellow black or red ♪

♪ We're all somebody from somewhere ♪

♪ Some mama some daddy some love in the air ♪

♪ Some big some little some left some in the middle ♪

♪ Some white yellow black or red ♪

♪ We're all somebody from somewhere ♪

♪ Yeah we're all somebody from somewhere ♪

♪ We're all somebody from somewhere ♪

♪ Yeah we're all somebody from somewhere ♪

♪ Get it get it get it get it

♪ Get it get it get it get it ♪

♪ Get it get it get it get it

- Come on!

Blow that thing, baby! [harmonica solo]

Come on!

♪ Thank you for letting me be myself ♪

♪ Again

[vocalizing]

♪ Thank you for letting me be myself ♪

♪ Again

[vocalizing]

♪ Thank you ♪ Thank you

♪ For letting me ♪ For letting me

♪ Be myself

♪ Again

- Come on, come on, come on, come on, come on!

Give me some love...!!

[funky blues music]

[director]: It's a bit strange when someone close to you goes outside the comfort zone,

like the jock who comes back from college with long hair and a nose ring,

or the friend's wife who buys a motorcycle. I mean, it's all cool,

but sometimes, you can be skeptical of motivations.

Thankfully, I had been down in Nashville a ton.

I'd worked with so many country artists,

I knew there was a magic to what was going on down there.

But this is a rock icon, so I figured I would do a little digging,

talk to some people he wrote this record with,

and even talk to some of his peers

to see what they thought as well.

- Steven's one of the people in this industry that I really admire,

because there's so many of us, you know, in the music business.

And there's a very small handful

that are genuinely driven by music,

way into, you know, past their 50s,

into their 60s.

A lot of guys who are younger than me are burnt out on it,

just from the amount of work that goes into it and the touring and so on.

- He could make a symphony... out of a nursery rhyme.

He really could. I mean, he's so musical,

stepping out of that, out of the Aerosmith realm,

um, I think it's something he instinctively...

wanted to do for a while.

- I think you see a lot of musicians,

once they have a ton of success, they do start to close up,

mainly because maybe they don't have that hunger anymore,

because the thing that drives you to make great music early on

is a hunger to make your mark,

a hunger to create something that you've never heard before.

And also an actual, literal hunger to feed yourself,

to make a living doing it.

And I think when those things go away, it is hard to keep that spark.

- I have so much more respect for somebody who's, like: "This is what I wanted to do.

I'm gonna pour my heart into this, put it out to the world.

If you like it, great, if you don't...

I needed to do it." And he did it.

- He doesn't have to plead his case,

he doesn't have to prove to everybody else

that it can be that amazing.

He just makes it, and it is.

And so there's just a little... there's less pressure,

uh, to prove himself to the guys.

- I think he just wanted to do something different, even though he has, you know,

his roots come from blues and country, in the beginning.

I think he really wanted to explore that side of himself.

- Steven is totally driven by, you know,

sort of just the passion for music, the passion for creating,

the passion for doing something new.

He's a great example, he's a good role model,

for other people around him his age,

or younger, or whatever.

Just to see somebody who really loves it

and just keeps striving to do great things.

- He could've rested on his laurels... years ago.

But to want to go out,

and I've been with him in the studio and I see how he works.

I mean, it's...

it's really amazing to watch.

- After all these years and after all these...

"enormo-dome" shows and tours,

and some of the biggest records in the world,

some of the most records ever sold,

he still has the passion to come to Nashville

and try something completely different

that's out of his wheelhouse a little bit.

- If I was set for life financially and I'm a huge rock star,

I'm probably gonna be on an island somewhere.

Not a lot of people have that kind of drive, especially at, you know, 69.

- Also, when you're a musician of his calibre, of his success,

there's probably a real nervousness, and it's, like:

I don't wanna tarnish the thing that came before me by trying something new.

- It's a great record, man. He did a great thing, man.

And he finally did a solo album and I'm proud of him, man,

that he came out here and did it.

And I think he just keep doing records.

I think he should do more records, do as many as he possibly can.

- Well....!!!

[cheering]

♪ If you wanna rock

♪ I got to be a rockin' horse

♪ Well if you wanna roll

♪ Honey I could roll you right out the door ♪

♪ We'll shake the world

♪ Yes when it's time to crash

Yeah!

♪ But when I get home tonight

♪ I guess I got to...

♪ Yeah you need some lovin'

♪ You must have the blues

♪ You lovin' on one friend

♪ Well that's a good thing to do but I do the shake ♪

♪ The Rattlesnake Shake

♪ We'll do the shake

♪ Yes chuck away them blues

Come on, fill that pocket up!

Ooh!

...I believe... I believe over there. - Yeah.

[dogs barking] - Marlon Brando would have...

would have his words up there, so in the camera, he'd be going,

[imitating Marlon Brando]: " You know,

I'm not sure if the derivation of that actuality

is in my line of scope, but I gotta tell..."

And he's reading this on here. Then he would look over and go...

So Marlon Brando's whole acting prowess was, he'd look up there and read it,

he'd look down there and read it, and then,

his last line, he'd look in the camera.

And that made Marlon Brando - not all the time, but sometimes.

So I'm glad that we're on this right now.

It's like how... it's like if I was doing this for you, I would say,

"How would you like this

so you could read it and sell it to the audience?"

[director]: It's hard to deny the fact

that this guy is one of the most recognizable face in the world.

There's just a thing that happens when you get around him.

I pride myself on not being swayed by famous people.

You kinda gotta get over that as a director.

But the first time I met him, he invited me up for lunch at his house,

and there was this huge spread of stuff to make sandwiches.

And I'm walking around that table making this amazing sandwich,

with, like:

And, like, I'm so nervous talking to him while I'm making the sandwich

that by the time I finished making it and take a bite,

I realize that there's nothing but bread and mustard in the sandwich.

So that's what being around Steven can kinda be like.

- We've written with some huge people in our time,

but I've never waited at a window and peaked out the blinds

like Santa Claus was coming like I did that day.

- I think, when I got that phone call, I was completely, like:

"Well, this is obviously somebody impersonating Steven."

- You know, I get the call to write with Steven Tyler

and it's like, you know, what do you say?

It's... the most humbling call in the world,

'cause you're, like: "Golly, why would Steven Tyler want to be writing with me for?"

- I was, like: "Does he look like he really does on TV?

Is he wearing a fur coat? What's he driving?"

- And for the first 30 or 45 minutes,

I was just, you know, completely not myself at all.

You know what I mean? Like, it was...

- And I mean, we were a nervous wreck the whole time.

- I was messing around on this little mandoline,

and then we took a 30-minute break

for him to make this really weird, crazy-strong coffee

that made my skin crawl.

[chuckling] Then he played Dream On on a little toy piano for me,

which was a very cool experience.

- The day he said, "Oh, yeah, I'm gonna do a solo record, it's gonna be a country record,"

the Aerosmith fans, the whole Blue Army would, like,

burn their jeans or whatever and be, like: "What the fuck?"

Or just the industry as a whole would be, like:

"Why is he doing that? He has no business in country."

No, he's the best at what he does, which means he can do anything.

- He walks in and is just literally...

the coolest, nicest, down-to-earth, kindest guy you would every meet.

- Thirteen, 14 years ago, Evanescence,

we put out our first record,

and we went to the Grammys in 2004.

Won a couple of Grammys that night and walked on stage.

So we pull up in a limo with our suits on to In-N-Out,

and sitting in the corner of the room is Steven Tyler.

Ten years later, a hotel bar in Nashville,

Larry Rudolph walked in and he said,

"Oh, David, I really want you to meet a friend of mine."

And Larry starts to tell Steven my background with Evanescence.

And Steven stops and goes: "Wait a second,

you and I hung out at an In-N-Out 10 years ago,

right after the Grammys, right?"

- What a joy, a thrill, a privilege, to be at the Ryman.

[wild cheering]

I know I speak for Loving Mary and myself,

this is just nothing but an honour,

and that we get to rock your world tonight.

[cheering]

And also play some versions of country music as I see it,

and some of the guys I wrote it with are in town.

Thank you, God, for this town.

[cheering]

And do you know that Route 440 runs right through your town? You know what?

440 is the note A that they tune all the instruments on the planet to.

[woman]: I love you! - I love you more. Aw...

[laughter] [woman]: I love you!

- I love you too. - I love you!

- What a sweetheart. We'll talk about that later. [crowd cheering]

I love you.

That's too good.

Whoo-wee!

Tell it like it is, baby!

[crowd cheering]

May you bathe in the good sounds of this band.

Let it wash your soul tonight,

because you're about to hear something you ain't never gonna believe.

It's all because of this town, and I shit you not,

it's really because of the energy, what lives in this town.

[cheering]

Marti Frederiksen asked me to come here. [cheering]

I'm just a country boy

from Sunapee, New Hampshire; 900 people.

I came here and it was, like: "What? I'm home."

[cheering]

I'm home.

[soft music]

[rock music]

[director]: I've always admired his acceptance of anybody,

and I reached out to other rock stars

and their management for this movie, and the thing is,

"We don't have the time," or some of these guys are such self-absorbed assholes,

they wanna feel comfortable with the filmmakers.

Some of them: "We'll have our guys shoot it."

Give me a break. Like they gotta know me.

The day we shot this in Nashville,

I was actually setting up the show

and couldn't be there, so he wanted a dock crew.

So like most responsible filmmakers,

I went on craigslist the night before

and found a crew that could just have easily

gone to his house, kidnapped him for a ransom.

But I think you'll see here how Steven,

compared to other rock stars, handled that situation.

[Steven]: He's got a device on around his waist that comes up,

and there's a pole over his head here.

[indistinct chatter]

What he's not saying is, in the very, very beginning...

Come sit on my lap, I'll tell you.

In the very, very beginning... What's your name?

[man]: Dylan. - What? - Dylan.

- Dylan what? - Hayes.

- In the very, very beginning, Dylan Hayes,

in order for Casey Tebo to get him to do anything,

would give him this device and, right off the end,

instead of hanging a camera, he hung a hundred-dollar bill.

"Love yaa"!

Can you get the aperture down to see that through the bright, shiny window?

- Yeah. - "Love yaa"!

- Who's that for? - Uh, just for anybody.

I didn't say the other two guys get to come in here.

- Oh! - This is a guy thing, man.

Only women are allowed here. If ever two men ever, gotta be a good friend of mine.

So get the fuck outta here, you guys.

Alexa. Tell me a joke.

[Alexa]: Why are ghosts bad liars?

Because you can see right through them.

[laughter] - Actually pretty damn funny.

- You know, the best thing about writing with Steven is his stories. Like, you know,

we'd get, like, one verse done, then he would tell 10 stories,

and they were all unbelievable, you know.

- Because no great story

ever started with somebody eating a salad.

[hooting and cheering]

Right? Right, momma? Come on!

You gots to get in trouble!

You gots to take a risk!

[cheering]

Everybody loves to be certain and miserable

than take a risk and be happy.

I'd take a risk. Gotta take a risk.

But one star I know did start by eating a french fry,

it wasn't a salad, but I think he dipped it in a salad dressing.

You know, but I won't get off on that too much.

So Sunapee, New Hampshire,

where I came from, '70, '69-'70,

this guy named Joe Perry...

[wild cheering]

Thank you, God, for Joe Perry.

Now, I was in these other bands, in the Bronx and Yonkers

and in New York, playing these clubs

called The Scene and The Bitter End.

And, uh... and, uh... didn't we just play there?

Yeah, we did. Some never changes, right? So Joe Perry...

I quit all my bands and I went up to Sunapee, New Hampshire,

I mowed the lawn and...

Joe Perry comes driving up in an MG and he goes:

"Man, I got a band. What are you up to?"

And I said, "Shoo... I just broke up with all my bands and...

that's it." [wild cheering]

Whoo! So I decided to mow the lawn in my Gravely, in my underwear.

[cheering]

How else would I do it?

Now, I can't say I showed up at the gig like that that night.

Probably should've. Wow. What was I thinking?

So Joe comes up in his MG, and I'm mowing the lawn, he goes,

"We're playing in a club called The Barn.

You wanna come see us?" And I say, "Yeah, I'd love to.

I'm down in the dumps. Let me see what goes on."

So I went and heard him play. And they played all night.

It was kind of like the Joe Perry Jam Band and it was a lot of stuff.

But they played this one song that just knocked me out.

And the only reason I bring that up now

is because it's the one song I heard and I thought:

You know... they're doing this rock-out,

and I got... No.

[laughter] I got...

I got all this piano in my head from growing up in Sunapee.

My father went to Juilliard, and I got all this music coming out my ears.

So if we mix the two, like the chocolate and peanut butter,

and have Reese's, but you gotta put it in the freezer, right?

Reese's in the freezer. Anybody? [crowd]: Yeah! - Yeah.

That's my daddy. And so... [cheering]

So I figured, you know, I'm gonna go and see this guy, and, as I say,

he played all night long and then he played this last one song.

And in it, I heard, you know, what later became Aerosmith.

And all them great songs. [cheering]

[soft country music]

- He could not make a commitment. He was just back-and-forth,

back-and-forth about if he even wanted to do a solo album.

We ran into Scott Borchetta at the MusiCares event in early 2014.

And after that, I talked to him on the phone and I just said,

"Steven, I really...

I see the fire of you on stage with Loving Mary,

and I see how country can be really inspiring to you.

And I think this could be the next step.

We could get you to Nashville."

And he said okay. He said, "Let's do it."

So we literally went with him to Nashville,

found a house for him to live in, and, you know,

started working with all the writers

and the "A-and-R" process down there.

- There's been a whole bunch of people that have done it,

that finally come to their senses.

Well, hold on, just before I start...

Here you go. Steven Tyler right here.

[country music playing]

This is the Ernest Tubb Record Shop. We've been here for 65 years.

The pictures that are on the wall, the costumes that are in here,

are here because they played in here.

Picture of Hank Williams playing in here in 1951.

Elvis Presley played here October 2, 1954.

And this is the very first place that Patsy Cline played live in Nashville.

Ernest Tubb, the founder of the shop,

was the sixth person elected to the Country Music Hall of Fame.

And he was the youngest living person in the Hall of Fame

at the time that he went into the Hall of Fame.

Eventually, Johnny Cash became the youngest at 48.

That happened 36 years ago and that's still the youngest living person.

[soft music]

- This city has some of the nicest people... I've ever met.

And that's why, when I came here 20 years ago,

I had planned to move on to L.A. eventually,

but I just stayed here because everyone was so nice, you know.

And still, to this day,

even though the city's blown up and it's huge, for the most part,

everyone is still kind and has that southern charm.

So you get the best of both worlds.

It's a big city with southern charm.

- Steven looks great in a cowboy hat. There's that.

Um, I think... [chuckling] I think he, you know,

he's one of those guys, like you mentioned those songs,

and there's songs like Jaded and there's, you know,

things like that that Nashville actually used

when we working on Carey Underwood's first record.

So I think he's influenced this thing,

this beast that Nashville is,

more than I think he even realized.

- I've never seen so much talent

pooled in one area...

anywhere. And for me,

I think that Nashville... iron sharpens iron,

and there's so much competition,

and there's so many amazing songwriters and...

- I kind of compare it to Seattle a lot of the times,

because people... there is a scene here,

definitely, and people are drawn to it.

- A lot of people would say this song really...

celebrates songwriters more than it does artists.

I don't think that really is the trick.

I think the trick is this town really has a great love for the art that is being made.

And so it equally has admiration

for the writer and the producer and the singer as well.

Where, in a lot of cities and a lot of, I think, what happens in the world now,

is you become celebrity-obsessed.

So whatever the voice is that's singing the song,

that's the only thing people seem to care about. And a lot of different cities.

I don't think that's unique to L.A. I think that just happens.

This town really does have a unique kind of respect for the songwriters,

for those creators and story-tellers,

the people that are in the rooms

making those songs out of nothing.

There's something really kind of beautiful about being in that place.

- It's just such a community-driven genre.

And that's just been an amazing, amazing thing to be a part of.

- I kind of see in the way country music has changed

and how rock is kind of coming and going.

Neil Young did some of his coolest stuff here back in the day.

It's always been that town that's been very welcoming,

I think, to outsiders, so to speak.

I think when Steven came and a lot of people in town were, like:

"Well, this is kinda out there. This is weird."

But the conversations I had with him, I was, like:

"I think everybody would love you here just because..."

He's kind of a redneck. He's kind of that wild-eyed,

weird guy that looks like he was raised in the woods,

Indian kind of shit hanging off his hair.

He fits in pretty good with, at least the circle of people that I run with.

So I thought it was gonna be a cool thing,

and definitely a cool thing to be a part of.

When Robert Plant came here and did that cool thing,

my whole thing with Steven, I was just, like:

"Dude, just make sure you make the record that you want to make

and don't make a record that's trying too hard."

And I think that's what he did.

This record, if you listen to it, it fits in here,

because everybody he's working with grew up listening to Aerosmith,

and half of those songs could've been Aerosmith hits.

[cheering]

- Yeah, so...

Everybody wants to know why... why would I go country?

Well, 'cause I grew up on the Everly Brothers.

And if you really listen closely,

there was really something in there

that kinda sounded country. Like Cryin.

[cheering]

Um, but then, there was this other one.

How'd it go?

[Steven screaming]

♪ There goes my old girlfriend

♪ There's another diamond ring

♪ And all them late-night promises ♪

♪ I guess they don't mean a thing ♪

♪ So baby what's the story ♪

♪ Did you find another man

♪ Is it easy to sleep in the bed that we made ♪

♪ When you don't look back

♪ I guess the feelings start to fade away ♪

♪ I used to feel your fire

♪ But now it's cold inside

♪ Now you're back on the street ♪

♪ Like you didn't miss a beat yeah ♪

♪ Tell me what it takes to let you go ♪

♪ Tell me how the pain's supposed to go ♪

♪ Tell me how it is you can sleep ♪

♪ In the night

♪ Without thinking you lost everything that was good ♪

♪ In your life to the toss of the dice ♪

♪ Tell me what it takes to let you go ♪

♪ Girl before I met you

♪ I was F.I.N.E. fine

♪ But your love made me a prisoner ♪

♪ Yeah my heart's been doing time ♪

♪ You spent me up like money ♪

♪ And then you hung me out to dry ♪

♪ It was easy to keep all your lies in disguise ♪

♪ 'Cause you had me in deep with the devil in your eyes ♪

♪ Tell me what it takes to let you go ♪

♪ Ooh ooh ooh

♪ Tell me how the pain's supposed to go ♪

♪ Tell me baby ♪ Ooh

♪ Tell me how it is you can sleep in the night ♪

♪ Without thinking you lost everything that was good ♪

♪ In your life to the toss of the dice ♪

♪ Tell me what it takes to let you go ♪

Guitar. [guitar solo]

[vocalizing]

♪ Tell me that you're happy that you're on your own ♪

♪ Yeah yeah yeah

♪ Tell me that it's better when you're all alone ♪

♪ Tell me that your body doesn't miss my touch ♪

♪ Tell me that my loving didn't mean that much ♪

♪ Tell me you ain't dyin' when you're cryin' for me ♪

♪ Oh oh oh

♪ Tell me what it takes to let you go ♪

[wailing]

♪ Tell me how the pain's supposed to go ♪

♪ Yeah yeah yeah ♪ Ooh

♪ Tell me how it is you can sleep in the night ♪

♪ Without thinking you lost everything that was good ♪

♪ In your life to the toss ♪

♪ Of the...

[wild cheering]

Desmond Child, I know you can hit that note!

♪ Dice...

♪ Tell me who's to blame for thinking twice ♪

♪ Oh no no no no no

♪ 'Cause I don't wanna burn in paradise... ♪

[wailing]

♪ Let go I don't ♪

♪ I don't care what your momma told you about me ♪

♪ Let it go let it go let it go let it go let it go ♪

♪ Let it go let it go let it go let it go let it go ♪

♪ Let it go let it go let it go let it go

♪ Let it go let it go let it go let it go ♪

♪ Let it go let it go let it go let it go let it go let ♪

♪ I don't wanna burn I don't wanna burn ♪

♪ I lost it all so many times before baby ♪

[vocalizing]

[cheering]

Desmond Child... in the house!

[cheering]

Thank you, Desmond.

And Joe Perry.

[soft music]

♪ It's a lonely street I walk

♪ And my soul is all worn off ♪

♪ Here comes

♪ The fear

♪ When you're out here...

[director]: When you work with a band this long as I did, you get to see the guts.

I remember a story that Joey Kramer, the drummer, told me.

I think it was in his book. He said, in the early '70s,

he saw Joe Perry with his girlfriend across the street in Boston.

He runs up and: "Hey, what are you guys up to?"

And Joe said, "Just because we're in a band

doesn't mean we need to be friends."

And that story there is kind of where it ends up.

But you know, Tyler's such a lovable guy.

You can't just mistake him for wanting to hang with his posse.

There's an Old West vibe to these rock bands, you know.

I mean, Joe Perry looks like a fucking badass cowboy.

So who wouldn't want to hang out with him all the time?

So after 40 years, will these kids ever replace that band?

No, of course not. But it's nice to have a new surrogate family,

for sure, because he thrives in that kind of family atmosphere.

- Yeah, well, I mean, I talked to him

during that period when it was...

before he'd actually done it, when he was just getting it going.

Uh, and it was something that he wanted to do.

And I think it was... a great outlet for him.

I think it really helped Aerosmith, in a way,

to stay together, so he didn't have

that sort of creative frustration

of being pigeon-held into one thing and one thing only.

- He's put in a lot of time with that band.

And those guys are all... you know, they are a band.

They're... they're a... they're a branded band.

They've put such an...

...indelible mark on the world.

And, you know, any one of those guys can...

you know, going off and doing something else.

Sometimes, being in a band, you need to do that,

you need to get a certain aspect

that maybe... those band members

won't get the whole meaning or perception of what you want to do.

- To be honest with you,

a lot of the times I'd go to Aerosmith shows,

and see 'em and hang out and be with them after the shows,

it was kind of hard to be with them sometimes.

And I think he would agree.

- You need to do that as an artist. You've gotta go try other stuff.

If you keep doing the same thing all the time, you start to kind of resent it,

it doesn't... fucking light your fire like it used to.

Even just to have a break from each other and go do something else.

And... I love that he did it.

I love that he did American Idol.

I think it only made Aerosmith even bigger because he did do it.

- He'll always go back to Aerosmith,

because there is a magic in that band,

and there always will be.

- You know, not to say that he shouldn't be playing with Aerosmith,

it's just he should be having fun with Aerosmith.

And that's what's sad. I wish he was.

You know, for him. And for them.

But I understand the politics and all the people involved and lives and...

It's just a lot to deal with, you know.

- But I do think that dealing

with five principal personalities in the Aerosmith band

who have all had so many different relationships within each other,

maybe with two of them, with three of them, with all five of them,

that there's just layers and layers of things that always come up

no matter what the decision is even about.

- It's like being in the circus.

I think, when you first get together as a band,

you're all united and you're trying to make this statement.

As time goes by,

little influences of good or bad come into your world,

individually.

And it adds to the band or it takes away from the band.

- It's no secret that he and Joe have had their... riffs.

And he makes that public and he's, you know...

I mean, families fight like that, you know.

And I think, in the end, not speaking for him,

but Aerosmith is probably just like a family,

and some days, you would rather them not be your family.

- It's a long time, and you share something together

that will always be there and keep on growing and living

even after everyone's apart or gone.

You know, it keeps on, it keeps on...

It has a life of its own.

- Maybe this is a bad analogy, but, you know,

it's like going from a girlfriend to an old girlfriend,

or a boyfriend to an old boyfriend.

How would you feel if you were, like:

"Hey, you know your high-school girlfriend?

It's okay... You're gonna spend, like, a summer with her.

It's gonna be great.

You guys are gonna just jump back in right where you started."

And that's what's expected of them,

and that's really hard, and people don't realize that.

[cheering]

- Thank you, baby. Thank you, thank you, thank you.

[cheering]

It should feel a little more open and free.

[cheering] Right?

Open and free. That's what music's supposed to do.

It's supposed to take you away like a magic carpet ride. Right? Open and free.

Take us away from all the bullshit and horseshit,

and... and be free.

And I remember when I was real young,

this hippie chick came along and she... she kind of blew me away.

[cheering and screaming]

You know, it wasn't...

it wasn't so much The Rolling Stones.

I mean, Mick Jagger was the baddest boy on the block, but...

and The Beatles and The Kinks and The Who and Them.

It was this hippie chick. She had... You know,

all this shit, all the stuff I wear, I stole it from her.

And I heard it on the radio. I heard this song and...

Rebecca Lynn Howard over here...

[cheering]

We've been on tour for a month and a half now, and I get up and...

badass... I do this thing.

One day, I lean into her...

Anyway, I'll show you. So I heard this on the radio...

And you know, way back then,

clock radio was some kind of thing.

In '68, something like that.

And it went like this.

♪ Oh lord won't you buy me

♪ A Mercedes Benz

- Steven knows who he is. And he knows,

in the general scheme of things, what he's contributed to rock'n'roll.

And... and he knows what good is and what bad is.

And he has a strong feeling of where he stands.

But at the same time, we were doing a thing at the Grammys.

And so there was a harp part,

and Steven didn't even want to touch the harp with Stevie Wonder there.

And it was sort of a very humble kind of a thing

where he was very adamant that...

that obviously Stevie Wonder should do it.

And it was just not a big deal, but it was one of those things

that I noticed about him as a person,

where he is a humble guy, he's not, you know...

like in your face all the time.

[Steven]: ♪ A Mercedes Benz - Having to be the center of attention.

♪ My friends all drive Porsches ♪

♪ I must make amends

[wild cheering]

- Well.

♪ I worked hard...

[cheering]

♪ All my life

♪ So lord I must make amends

But...

♪ Oh...

♪ Lord

♪ Won't you buy me...

♪ A Mercedes Benz...

♪ Ooh...

♪ Come one come on

♪ Yeah ♪ Come on come on

♪ Come on ♪ Didn't I make you feel

♪ Like you were the only girl

♪ Yeah...

♪ Didn't I give you nearly everything ♪

♪ A man possibly could Honey you know I did ♪

♪ But each time I tell myself

♪ Well I think I've had enough

♪ I'm gonna show you baby how a man sure can be tough ♪

♪ I want you to

♪ Come on come on ♪ Yeah

♪ Come on come on ♪ Take it

♪ Take another little piece of my heart now baby ♪

♪ Oh oh break it

♪ Break another little piece of my heart ♪

♪ Baby baby ♪ Oh oh

♪ Have another little piece of my heart now baby ♪

♪ You know you got it if it makes you feel good ♪

♪ Oh yes indeed

♪ Oh yes indeed

♪ When you're out on the street looking good ♪

♪ And baby deep down in your heart ♪

♪ You know something it ain't right ♪

♪ Never never never

♪ Hear me when I cry at night

♪ And baby I cry all the time ♪ Ooh

♪ But each time I tell myself that ♪

♪ Well I can't stand the pain

♪ I hold you in my arms I'll sing it once again ♪

♪ I want you to ♪ Come on

♪ Come on come on Come on come on ♪

♪ Now take it

♪ Take another little piece of my heart now baby ♪

♪ Oh oh break it

♪ Break another little piece of my heart ♪

♪ Baby baby

♪ Have another little piece of my heart now baby ♪

♪ You know you got it

♪ If it makes you feel good

[guitar solo]

♪ Ooh...

♪ Ooh

♪ Ah...

♪ I want you to

♪ Come on come on come on come on ♪

♪ Now take it ♪ Take another little piece of my heart now baby ♪

♪ Oh oh break it

♪ Break another little piece of my heart baby baby ♪

♪ Have another little piece of my heart now baby ♪

♪ You know you got it

♪ Oh oh yeah ♪ Take it

♪ Take another little piece of my heart now baby ♪

♪ Oh oh break it

♪ Break another little piece of my heart baby ♪

♪ Oh oh break it

♪ Have another little piece of my heart now baby ♪

♪ You know you got it

♪ If it makes you feel good

[cheering]

[interviewer]: What the fuck is it about this guy

that he just has this sort of unfettered energy

to fucking do all this crazy shit... with no fear?

- Steven's got a passion... for life.

And, you know...

if he could go to Mars, he... he would.

You know? He would.

[truck beeping]

- Steven wants to go to space.

[chuckling]

And here we are today at the Shuttle Landing Facility.

And we couldn't make space happen quite yet.

It's an endeavour that we're working on.

And we say, "Well, what's the next-best thing?"

[beeping]

- That's one small step for man...

Where's my plane? - Here we go. - There it is.

Wow.

[indistinct chatter] - My name's Rick Svetkoff,

and I'm the owner and pilot at Starfighters Incorporated, here at Kennedy Space Center.

- The F-104 is a missile with a man in it, is what they call it.

And it's one of the fastest planes in the world.

It can take you up to 80,000 feet, depending on the type or model.

Pretty incredible stuff.

[no audible dialogue]

- The aircraft can zoom-climb in excess of 100,000 feet.

It's pretty unique.

In top speeds or at altitude,

up over Mach 2.5 or 2.6.

- ...you can see the stars during the day if you go high enough.

- Oh, if you go high enough. - Yeah. You can go as high--

- Trust me, in the '70s, I saw the stars all the time. [laughter]

So we're... Let's talk about this.

We're taking off, going to 3,000 feet,

doing the turn and then going straight up, or... ?

- We'll actually do a low transition,

we'll turn in the pattern, at 15,000 feet.

We'll come back down towards the runway.

- Yeah. - We'll light the afterburner, accelerate,

we'll climb vertically and we'll see what we have altitude-wise.

We still got high clouds, so we'll come over the top,

we'll head out east.

Uh, we'll see what the weather's like.

- It'll be beautiful coming out of those clouds at, what, 40 000 you think these are?

You must've rode the Tower of Terror too many times.

[laughter]

- ...speed and altitude capability.

Primarily designed as an interceptor,

it was used in a multi-role experience

as an all-weather...

air-superiority fighter.

- You feel okay, Steven? - I feel great.

- Known for its high rate of climb,

it broke every record when it first came out - for time to climb, speed -

and still holds the low-altitude speed record.

The aircraft can zoom-climb in excess of 100,000 feet.

It's pretty unique. And top speeds are,

at altitude, up over Mach 2.5 or 2.6.

- And his builder is 10 miles.

Sky's... Actually, the sky's broken at 3,000.

Temperature's 30, dew point's 24.

Altimeter's 2989.

[indistinct chatter]

♪ You're more than a miracle

♪ An answer to a prayer

♪ Ooh ooh

♪ Ooh ooh ♪

♪ You heal a broken heart

♪ In need of much repair

♪ Ooh ooh

♪ Ah yeah

♪ Only heaven could've laid you in my arms ♪

♪ Only heaven could've brought us where we are ♪

♪ Girl it's heaven when I'm lying in your bed ♪

♪ 'Cause nothing compares

♪ To the taste of your lips

♪ Only heaven could ever feel like this ♪

♪ Only heaven

♪ I was down the dusty road

♪ The end nowhere in sight

♪ Uh-huh

♪ Uh-huh

♪ I was dying in the dark

♪ Now I'm living in your light

♪ Uh-huh ♪ Yeah

♪ You know it feels so right

♪ Only heaven could've laid you in my arms ♪

♪ Only heaven could've brought us where we are ♪

♪ Girl it's heaven when I'm lying in your bed ♪

♪ 'Cause nothing compares to the taste of your lips ♪

♪ Only heaven could ever feel like this ♪

♪ Only heaven

♪ Yeah it ain't nothing

♪ But a good thing baby

♪ And there ain't no wonderin' why... ♪

♪ Only heaven could've laid you in my arms ♪

♪ Only heaven could've brought us where we are ♪

♪ Girl it's heaven when I'm lying in your bed ♪

♪ 'Cause nothing compares

♪ To the taste of your lips

♪ Only heaven could ever feel like this ♪

♪ Only heaven

♪ Ooh

♪ Only heaven

♪ Yeah yeah

♪ Only heaven...

♪ Only heaven...

[cheering]

- You could definitely feel kind of a weight off his shoulders.

And I think that, you know,

that came across in the record, it came across in the music.

It absolutely comes across in the live show.

- We did a couple other shows, and I was watching Steven on stage,

with this Loving Mary band.

The three beautiful girls, the freedom and just...

you know, it just felt so fun.

And then we would do an Aerosmith show, like, the next week -

it was just a time period that we were doing both -

and I noticed this kind of... passionate, free,

really-going-back-to-the-roots, "country" Steven.

And he would start talking. And once I got to know him a little bit better, I realized,

that's actually really authentic if we kind of do something more country.

♪ Loving you was so unreal that I remember ♪

♪ She was just a gypsy girl

♪ I was a chance I wish she'd take ♪

♪ Got into a lonely world

♪ Trying to belong

[director]: So to get back to why I did this film,

I really wanted to find out why he was so happy.

I mean, I've never seen him like this.

Maybe it was the music, maybe he had less stress.

And then, one day, it hit me. After 40 years of bullshit -

lawyers, managers, contracts, fighting -

this band, this little country band -

three guys, three girls -

was the surrogate family he'd been looking for.

Not like his real family. He has that with his children.

But these kids are giving him that "gang feel" that Aerosmith had lost.

These kids love him unconditionally.

They know he's the star of the show.

I don't think he gets that with Aerosmith.

And, look, this is just my opinion.

Most families revolve around the leader:

a mother, a father, a grandfather, what-have-you.

And the other people in the family know their role.

I think after 40 years of each guy thinking that they're just as equal -

which they may be, I don't think so -

but Steven's just looking for people to turn to him and say, "Hey, man.

Thanks for all you've done for me. And for us."

And the Aerosmith guys simply won't do that, and this band will.

- This whole project, like Loving Mary and the Steven situation,

came so naturally that it kind of... that pretty much blew my mind.

And that's what makes it feel even better, 'cause it's so right.

You know, I'm sure other people have said this,

but the fact that we just put our band together,

and within a couple months, Steven's calling Marty saying,

"Do you have some players for me?"

And then, he moves to Nashville and we're all in Nashville.

And, you know, the fact that there's three chicks in the band,

and it's just, like, so far away from Aerosmith...

- It's funny, 'cause you know, this is our first thing to do...

It was a big tour for our band, the Loving Mary band,

but when it first started, it was kind of big,

and big production and big screens and cameras and flash...

It seemed more like an arena tour.

It felt like that, you know?

And I personally thought we were in these little nice theatres,

like the beautiful Ryman here.

I thought it was kinda over-the-top, to be honest.

And you know, I like the fact that, right now,

it settled into just kind of really chill.

- You know, the first couple rehearsals or shows that we had,

he'd do his amazing vocals...

and the highest: "Ah...!"

And you'd been, like...

And I'd always turn to my husband, Andrew,

on guitar, and be, like: "What?!"

- It's just like any bands, any artist you've worked with,

you just kind of find your... you get in your groove, kind of thing.

So mid-tour, I think we really found the set-list where everything sits right.

I think him just being able to be...

his spontaneity is the best thing about Steven Tyler,

and I think the crowd reacts to that.

So giving his background and his life story, and some of that,

has really just made this such a... peculiar, awesome show.

[up-tempo music]

[director]: It also struck me as kind of strange

that all the years I worked for Aerosmith, they never hung out.

All the times I went to dinner with Steven on tour, nobody else came.

We'd get occasional Joey Kramer or Tom Hamilton stop by, but never the five of them.

I get it, it's 40 years of marriage, basically,

but it just struck me as weird.

You see these old couples married for 50 years,

they still have that awesome party

or that huge rager barbecue that everyone wants to go to.

And I felt like he was missing that.

- Wait, what? You're here?

Anybody invite you to a party, I'm not going to. Move on.

That's Casey Tebo.

In case you might wanna know, a bunch of good friends of mine

are playing at the Bourbon Street...

Blues and Boogie Bar...

tonight!

And tomorrow night at The Basement East.

And on the drums in that band,

Sarah Tomek.

[crowd cheering]

And on the guitar in that band,

Marti Frederiksen. [cheering]

And on the bass, the one-and-only Rebecca Lynn Howard.

Whoo! Yeah, and that's a real Hoöfner.

On banjo and mandolin, Elisha Hoffman!

Look at that.

Guitar tonight: Andrew Mactaggart.

[cheering]

Jenee Fleenor on the fiddler.

[cheering]

And last but not least,

Suzie McNeil.

- One funny thing that he did when we first started playing with him is,

you know, we're all sort of nervous.

We don't know him that well, other than Marti.

And we're getting our gear and pulling it out of the van into the venue,

and he's, like: "Wait, give me something!" And he's grabbing really heavy,

like, speakers and banjos.

But that's just him.

Like, he loves life. And he, I think, also,

those little things are important.

I mean, trying to analyze it, I could be wrong,

but when you have such extreme fabulousness around you for so long,

maybe the little things are important.

And that's another thing, is he really knows what's important in life.

And that perspective is hard to have when you're anybody,

let alone a rock star.

- Steven's just a sweet guy.

He is a bigger-than-life personality,

very animated, but he's genuine.

He's not an act.

He's not trying to impress anybody.

I think he's a lot less even self-aware

than a lot of people probably think he is.

- You know, I guarantee,

all the guys he works with here in town he still keeps in contact with.

I mean, literally, even when he's not here,

he texted me the day our record came out, FaceTimed me that night,

just to see how we were doing and where we were.

We happened to be Boston,

and so he was so excited that we were playing the Paradise.

You know, I don't know if he was looking for friends,

but he damn sure found a whole bunch of new ones here in Nashville.

- Probably a month later, I'm sitting in a bar, next to a friend of mine,

and a text pops up and he's, like:

"Did Steven Tyler just text you?" And I'm, like: "Yeah."

And I look at it and he's, like: "Hey, man. How's the family?

How's your new baby?" Like, that kind of thing.

- He's not chasing anything. He's just, like...

he is who he is, he knows what he loves.

And he knows what he wants to do.

And that I think is just such a, like, if we could all be, you know...

I've definitely fallen victim to following... chasing things sometimes,

but I always try to be conscious of, like,

not chasing, but more innovating.

But, golly, he's such an inspiration, absolutely.

[pounding beat] [cheering]

[Steven]: See, we're in Nashville.

I don't even have to ask you to do this. [cheering]

- So everything that we've done in this project,

from even writing Loving Mary songs

to performing on a stage with Steven Tyler,

has felt so right, in the weirdest way.

Aside from that, playing with a living legend,

it doesn't get any better than that.

- It's Svenhelda, ja. - Ja.

[indistinct "German" chatter] Ja,thank you.

[indistinct "German" chatter]

- We go after the show and get fucked up, ja? - Yes, we do.

[indistinct chatter]

- Come on, you cut. - You can cut my tie.

[indistinct chatter]

[woman]: Oh, my God. [laughing]

[Steven]: Brett and his brother... [laughter]

...we got to talking about life and...

you know, what's really been going on. Got some great times.

But also, somehow fell into the outhouse, I don't know.

And I got to thinking,

maybe...

maybe I'm my own worst enemy. [cheering]

So we put it on the front of the album and it goes like this.

♪ I could blame Jesus

♪ I could blame momma

♪ I could blame Brahma

♪ For all the bull that's in my head ♪

♪ I could blame Seagram's

♪ For all the whiskey

♪ All the tipsy

♪ That's still here on my breath ♪

♪ And ain't that why you left

♪ I'm all alone tongue-tied and twisted ♪

♪ Since I said it ain't you it's me ♪

♪ And girl you cried but I insisted ♪

♪ That what could be would never be ♪

♪ But I was wrong ♪ Ah...

♪ What's wrong with me

♪ I'm my own worst enemy

♪ I can blame midnight

♪ For bad decisions

♪ Blurry vision

♪ For what I did not see

♪ I could blame forever even though I didn't get it ♪

♪ I could blame the love even though I up and left it ♪

♪ I could blame goodbye even though I said it ♪

♪ Or maybe that's just me

♪ That's how it supposed to be

♪ I'm all alone tongue-tied and twisted ♪

♪ Since I said it ain't you it's me ♪

♪ And girl you cried but I insisted ♪

♪ That what could be would never be ♪

♪ But I was wrong ♪ Ah...

♪ What's wrong with me

♪ I'm my own worst enemy

[panting]

[humming]

[vocalizing]

♪ I'm all alone tongue-tied and twisted ♪

♪ Since I said it ain't you it's me ♪

♪ And girl you cried but I insisted ♪

♪ That what could be would never be ♪

♪ But I was wrong ♪ Ah...

♪ What's wrong with me ♪ Ah...

♪ And now you're gone ♪ Ah...

♪ And any fool can see

♪ I'm my own worst enemy

♪ My own worst enemy

[cheering]

[cheering]

[wild cheering]

Thank you.

You think so? [wild cheering]

[soft music]

[director]: So if you're still watching,

I think the music is enough to keep people tuned it,

probably not my stories, but I'm guessing,

unless you're a hardcore horror fan,

you might see this guy from time to time,

and be, like: "What is he doing in there?"

- Adam Green, take one.

[director]: I had met Adam through mutual friends

and he was nice enough to help me on my first feature, Happy Birthday,

which Steven was in and helped promote,

and didn't ask for a thing in return, 'cause that's how he is.

But I knew Adam was a mega-fan and I asked him to come work

with me, with Steven, on some character stuff,

and I had no idea what was going on with him at that time.

But this story is the epitome of who Steven is.

[Adam]: Alright, so we always close with a thing

called the Steven Tyler Congratulations.

It's a tradition to always end with a thing

that we call the Steven Tyler Congratulations.

[laughter] [man]: Seriously, I love Steven Tyler, dude.

I hear that story and I fucking love Steven Tyler.

- Alright, good. - That's totally fine.

So, dude, thank you so much for doing this.

We always end with the Steven Tyler Congratulations.

Now, you've met Steven Tyler, of course, 'cause you worked with Liv.

[James Gunn]: I did. And he hugged me and said,

"Oh, my God, man, what a beautiful film!

Such a beautiful, beautiful film!"

[Adam]: Was this after the super--

[James]: After the super-premiere. - So you know what that's like.

- That was the greatest thing of all time, 'cause I love Steven Tyler.

- Casey was making a movie that Steven was gonna be in.

- I mean... What's that supposed to mean?

- At that time...

I was at the... absolute lowest point in my life.

Just a few days...

before one of my best friends and co-stars on my TV show...

had died,

and then my wife left me eight days after that.

And then the network that my TV show was on got swallowed up in a merger.

Every bad thing that could happen at once. So I was at rock bottom.

And that was probably the only thing

that could've gotten me out of the house at that point.

At least I was smart enough to go.

And we're sitting there and he says,

"Hey, you know what, man?

I forgot to say congratulations."

And I was, like: "For... for what?"

And he said, "What do you mean, for what?

Your movies, your TV show, your studio, all that you've done.

Has anyone ever said congratulations?"

And it kind of changed everything.

And he went on to explain, he said, "See, that's the problem, man."

As artists, it's always about: What didn't go right?

What's next? How can it be better?

It's about...

You can't ever become complacent, but it's never good enough.

And it's such a struggle, and beat ourselves up.

And every now and then, it's our job,

we gotta look each other in the eyes and say,

'No, man, look what you've done.'"

And for him, I think it was Robert Plant who had called him

and just said, "You know what, Steven?

Congratulations on 40 years of music,"

where it finally hit him, like, what he had done.

And in a lot of ways, he kind of saved my life,

'cause after that moment, instantly, I felt like I had...

I was worthy of living,

and I had done something with myself

and it wasn't all over just because of everything bad that was happening.

And it started to turn everything around,

because I started to take his advice and pay it forward.

[soft music]

[rock music]

- Come on!

♪ Every time

♪ When I look in the mirror

♪ All these lines on my face getting clearer ♪

♪ The past is gone...

♪ It went by

♪ Like dusk to dawn

♪ Isn't that the way

♪ Everybody's got the dues in life to pay ♪

♪ I know nobody knows

♪ Where it comes and where it goes ♪

♪ I know it's everybody sin

♪ You got to lose to know

♪ How to win

♪ Half my life

♪ Is books written pages

♪ Live and learn

♪ From fools and from sages

♪ You know it's true...

♪ All these feelings

♪ Come back to you

♪ Sing with me sing for the years ♪

♪ Sing for the laughter sing for the tears ♪

♪ Sing with me just for today

♪ Maybe tomorrow

♪ The good Lord will take you away... ♪

[vocalizing]

♪ Well

♪ Sing with me sing for the years ♪

♪ Sing for the laughter sing for the tears ♪

♪ Sing with me just for today

♪ Maybe tomorrow

♪ The good Lord will take you away... ♪

♪ Because Dream on ♪

♪ Dream on ♪ Dream on

♪ Dream until your dreams come true ♪

♪ Dream on

♪ Dream on dream on

♪ Dream until your dreams come true ♪

♪ Dream on dream on

♪ Dream on dream on♪

♪ Dream on ♪ Dream on

♪ Dream on dream on ♪ Dream on

♪ Dream on Dream... ♪

♪ Yeah

♪ Sing with me sing for the years ♪

♪ Sing for the laughter sing for the tears ♪

♪ Sing with me just for today Maybe tomorrow ♪

♪ The good Lord will take you away ♪

♪ Sing with me sing for the years ♪

♪ Sing for the laughter sing for the tears ♪

♪ Sing with me just for today

♪ Maybe tomorrow the good Lord will take you away... ♪

[cheering]

[rock music]

[wild cheering] [rock music]

Oh...!

You're not even rolling. See, fucking, this guy.

Casey?!

[rock music]

- If it doesn't work, that's an experience,

and then it was really worth doing.

I know it doesn't... always make sense when you look at it that way.

"Well, it didn't work. So it wasn't worth doing."

No, it was definitely worth doing.

- Really, you have to be honest and true to yourself.

So whatever the fuck you wanted to do, you can do.

We can all sit back and judge him,

because we don't necessarily relate to it,

or it doesn't fit in with our image of what Steven should or shouldn't do.

But it's really about what he wants to do.

- You know, for people that talk shit,

there's a lot of people who thought it was gonna be weird,

but he came and he didn't come in looking

for a bunch of weird songs that didn't fit him.

He came in and wrote it and did the work.

So that's more worth than Clay Walker, or whoever the hell you said,

has done in 20 years.

- He's not just a hero of mine

because I love his music so much.

He's a hero because of everything he survived,

everything he's stood for, his charity work.

Again, different industry and different level,

but if I could be...

half the man he is when it comes to that stuff.

He's a true... gem in an industry

where there's a lot of rotten things.

And then you got guys like him.

- When you're around Steven, there's a certain light...

that he... transmits...

that... you can tell...

there's an energy there.

And it's always been there, whether he's on stage,

or whether you're just... hanging out with him,

he's got a certain light that he carries with him

that is...

It's... it's...

contagious.

Definitely contagious.

- I mean, we've been on this tour together, there's such love,

and it's way bigger than just co-workers.

We're communicating through music and making this beautiful music together.

And so, even when we were rehearsing,

I turned to Steven. I couldn't get through it. I was bawling.

To have all those elements coming together,

the band together, Steven breaking it down,

raw music, feeling it...

was just... there's nothing like it.

- Good night, baby! [cheering]

Thank you so much.

Thank you, Nashville.

[director]: So before we close this thing,

I want to tell you that steakhouse story.

I'm sitting with my wife, and this guy works for the band comes up and he says,

"Hey, man. How's it going?" And I said, "Fuck, are you kidding me?"

I mean, for a kid from Boston, this is a dream come true.

I'm working with Aerosmith, Steven Tyler.

He looked me dead in the eye and without any sarcasm at all,

said, "Yeah, well, just be careful.

Steven's got a way of leaving bodies in his wake.

You know, he's gonna tell you he's your friend and he's not.

He's gonna use you for whatever he can get, pit you against people,

the entire road crew's gonna end up hating you

and you'll probably end up getting fired

like so many people before you."

Well, that never happened.

And Steven and I are still really close

and talk whenever we can find time.

So if he's still "acting" like he's my friend,

he's done a pretty good job for almost 15 years.

[crowd cheering]

- We'd like very much to do a song the old-fashioned way--

[woman]: I love you! - --the way it used to be done,

without any of this... amplification and any of that.

Just a good old-fashioned song.

[wild cheering]

[whistling]

[screaming and shouting]

[woman]: Dream on!

- This is a little song...

I wrote with Hillary Lindsey and the Barlowes.

It was, like, the first song I wrote.

And the damnedest thing happened.

We happened to be...

[cheering]

[woman]: I love you!

- We happened to be...

like, a block around the corner.

I'm telling Hillary Lindsey

how much I love Alison Krauss.

[cheering] Right?

How much... how much she got me through...

So she goes: "You know, she happens to live, like,

right around the corner." I said, "What?" So we just finished the song,

I called Allison up, she goes: "Well, hell, come on over."

And I came over and saw her,

and it was the sweetest, most beautiful thing in my life.

She had of crock pot on, and I met her kids,

and it was all so beautiful and it all went great.

And we wrote this song that day and it etches in my timeline,

where I was here,

the first song I wrote in Nashville.

It goes like this. [cheering]

[whistling] - Shhh...

[cheering]

[indistinct chatter]

♪ It's a lonely street I walk

♪ And my soul is all worn off

♪ Here comes

♪ The fear

♪ When you're out here on your own ♪

♪ And everything you loved is gone ♪

♪ Oh no

♪ Not me

♪ Not meant

♪ To be

♪ It ain't easy...

♪ When you're out there searching ♪

♪ Trying to find the one

♪ Yeah it ain't easy...

♪ Looking for the hand that holds the smoking gun ♪

♪ It's like trying to squeeze a drop of rain out of the sun ♪

[whistling]

♪ Ooh...

♪ Even if I could let go

♪ Of this high-wire circus show ♪

♪ I'm at fault

♪ All the way

♪ Yeah you're still

♪ Gonna hear me say...

♪ It ain't easy...

♪ When you're out there searching ♪

♪ Trying to find the one ♪ Ah ha

♪ Yeah it ain't easy...

♪ Looking for the hand

♪ That holds the smoking gun

♪ It's like trying to squeeze a drop of rain out of the sun ♪

♪ I hear everybody saying that it's true ♪

♪ When you stop looking for it it finds you ♪

♪ 'Cause it ain't easy

♪ It ain't easy...

♪ Ah...

- Whoo! ♪ It ain't easy...

♪ When you're out there searching ♪

♪ Trying to find the one

♪ Yeah it ain't easy...

♪ Looking for the hand that holds the smoking gun ♪

♪ It's like trying to squeeze a drop of rain out of the sun ♪

♪ Yeah it ain't easy...

♪ I could say it is

♪ But when it's said and done

♪ It ain't easy...

♪ For no one...

[wild cheering]

- Yay!!

[cheering] [laughter] - Whoo!

[cheering continues]

[cheering continues]

[man]: Whoo!

[woman]: Whoo-hoo!!!

[cheering] - Thank you.

So before I do that, I wanna show you how...

I watched her do that and I went: "I think I can do that."

'Cause my aunt Phyllis taught me this one.

[strumming guitar]

Cool, huh? [laughing] [cheering]

♪ It's not the island fair

♪ That is calling to me

♪ It's not the balmy air

♪ Nor the tropical sea

♪ But it's a little island girl in a little grass skirt ♪

♪ In a little grass shack in Hawaii ♪

- Come on! [cheering]

♪ Ooh ooh ooh

♪ Ooh ooh

♪ Ooh ooh ooh

♪ Ooh ooh ooh ooh

♪ La la la la la la Yeah ♪

♪ Ooh ooh ooh

♪ Ooh ooh ooh ♪

♪ Ooh ooh ooh ooh

♪ La la la la la la la la

♪ Everything is wonderful

♪ Everything is great

♪ And I'm as free as a bird outside my window pane ♪

♪ I got a fresh new start

♪ It's a brand new day

♪ And I got lots of love to give away ♪

♪ It don't matter if it's raining ♪

♪ Nothing can phase me

♪ I make my own sunshine

♪ And if you think you can break me ♪

♪ Baby you're crazy

♪ I make my own sunshine

♪ Ooh ooh ooh

♪ Ooh ooh ooh ♪

♪ Ooh ooh ooh ooh

♪ I make my own sunshine Lookit here!

♪ I say hey let's make a rainbow ♪

♪ Look for a pot of gold

♪ I'll show you how to keep it nice and easy ♪

♪ Even if a cloud comes falling on my head today... ♪

Subtitling: CNST, Montreal