All language subtitles for Heartworn.Highways.1976.1080p.BluRay.x264.AAC-[YTS.MX]

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[MUSIC - GUY CLARK, "LA
FREEWAY"]

[singing] Pack
up all your dishes.

Make note of all good wishes.

And say goodbye to
the landlord for me.

That son of bitch
has always bored me.

Throw out them LA
papers and that moldy

box of vanilla wafers.

Adios to all this concrete.

Gonna get me some
dirt road back street.

I can just get off
of this LA freeway

without getting
killed or caught.

I been down a road in a
cloud of smoke to some land,

I ain't bought, bought, bought.

And here's to you,
old skinny Dennis,

only one I think I will miss.

I can hear the old bass
singing sweet and low

like a gift you're bringing.

Play it for me
one more time now.

Got to give it all we can now.

I believe everything
you're saying.

Just you keep on,
keep on playing.

I can just get off
of this LA freeway

without getting
killed or caught.

I been down a road in a
cloud of smoke to some land I

ain't bought, bought, bought.

If I can just get off of this
LA freeway without getting

killed or caught.

I been down a road in a
cloud of smoke to some land I

ain't bought.

[guitar playing]

Yeah.

A little loose.

[harmonica plays]

Give me some for [inaudible]
as soon as you get ready.

All right.

[side conversation]

Seems like-- seems like
the tempo of the [inaudible]..

I'm going to be doing it in A.

Once you wrote it down.

We can overdub some harp.

Studio 4.

Bunch of opportunity
is getting thicker.

[inaudible]

Don't know.

Look the [inaudible]

Oh yeah?

All ready to pick, boys?

I'll see what I've got.

Larry, what's the song title?

LARRY: Ohoopee River bottom.

All right.

Sometimes, my tunes
bare little explanation.

So-- but there's enough
on the front for--

MAN: I mean, you think there are
some people that don't know--

[laughter]

I wonder if there's anybody
in the world who doesn't know

where the Ohoopee River is.

You can jump across it.

Hello, Larry.

It's a Georgia gator hole.

Check the tuning
on the guitars.

That one.

LARRY: Sounds like an A.

OK, sounds good.

It's really just a
three pattern to start.

PRODUCER: What's your intro?

11, 11, 11, 11?

-

Yeah, yeah.

11, 11.

[inaudible] No, the
intro was going to be--

5, 5, 4, 11.

I don't know.

I think we really ought
to wing it along once,

run it and see what we got.

Let's do "your taste
is so tasty" anyway.

Do something like that one.

Mhm.

It's about a little
river in south Georgia,

where my family's
been for a couple

hundred years,
making generations

and sipping whiskey, I guess.

Yeah.

And we'll do the 4-5
twice, the 5-4 here.

(SINGING): Met a few people
and this friend of mine.

Mostly Utah has been unkind.

Salt Lake City
can do without me.

There's some folks in George
that care a little about me.

I'm leaving for home
as soon as I can, Lord,

to the Ohoopee River bottom.

Down to a five, back to the one.

Five, I'm going to
vamp out here into one.

[humming]

We'd have to really
count that up.

That's fine.

Something like--

[music playing]

Drop me down in the
phones a little bit.

MAN 1: Same here, on bass.

LARRY JOHN WILSON:
Being in a group thing,

if you ever need licks to--

[inaudible] but I'm
not a maker of licks.

The song's not a--

it's not a lick song anyway.

It's a groove.

It's a groove, and it
got a little better.

It's like hitting first,
second, third, fourth gears.

Bass kicks in with a full
[inaudible] instead of--

of one every four.

Then when you jump in, and
then when the drum goes--

that's second and third, then
you can become high gear.

Doing-- y'all want to run one?

This is going-- this is
the hooker right here.

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

[music playing]

(SINGING) This low rent land
has turned to sand, and I done

stood by it all I can.

I'm leaving, I'm leaving.

That one really hurts me, uh.

OK.

Less guitar.

Hold on a second.

It was good.

I think that's where
the groove belongs.

We still rolling?

Yeah, we can--
hold on a second.

We're adjusting a
few mics around here.

LARRY JOHN WILSON: OK.

[music playing]

It's a lightning lick.

I know it.

(SINGING) Oh, something wrong.

Something wrong, lightning.

I know it just can't be all
them good things I've done.

That's all right.

I want you to remember,
I'm my mom's seventh son.

Get the lonesomest sound.

Yeah.
As a matter of fact--

So we can do the
lonesome campfire thing.

Yeah.
Yeah.

Because he's on a
highway by himself,

trying to get 2,800 miles.

OK.

OK, in the studio can--

is it possible to just
give me a little bit

more echo send, the last verse.

Make it sound a
little further away?

Yeah, yeah, yeah, yeah, yeah.

That's good.

BRENT: Y'all say when, then.

Yeah, go ahead
and roll it, Brent.

BRENT: All right.

You sit tight.

That sounds good, doesn't it?

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

[MUSIC - LARRY JON WILSON,
"OHOOPEE RIVER BOTTOMLAND"]

(SINGING) This low rent land
has turned to sand, and I done

stood by it all I can.

I'm leaving.

I'm leaving.

Papa, he said,
good luck son, try

to remember there's
always one you

can turn to when you need to.

Mama fixed the boys some ham
and ho' cakes, and dry your eyes

cause you knew one day
he'd make his own way.

Quick as he can, Lord, from
the Ohoopee River Bottomland.

Mm-hmm.

The farm house's
leaning and the barn

is rottin', and my back is bent
from choppin' cotton in Macon.

I'm achin'.

Box and pine and croppin'
tobacco, a wore out mule,

and a no-count tractor quit now.

This is it now.

This land has brought
me pain and sorrow.

The Trailways coming
through tomorrow.

I'm leaving, from here,
just as soon as I can,

Lord, from the Ohoopee
River Bottomland.

Mm-hmm.

Two years gone,
I been on my own.

My belly told me the money's
gone in Reno, in Reno.

The bright, rich town with the
city sound, everybody tellin'

tell me to lay your money down,
boy, get your bet down boy.

Is them that's got is them
that's getting, and them that

wins is them that's bettin'.

I'm leaving for a
little closer to home

again, Lord, back toward
Ohoopee River Bottomland.

Mm-hmm.

Mm-hmm.

A hot dry highway,
a Utah byway, a semi

stopped and he was
heading my way.

Thank you.

Oh, thank you.

Driver said, son
I just had to ask,

did you find yourself
a greener pasture?

I said, no sir.

I said, no sir.

Met a few people that's
friends of mine, most of Utah's

been unkind.

Salt Lake City
can do without me.

There's some folks in Georgia
that care a little 'bout me.

I'm leaving for home as soon
as I can, Lord, to the Ohoopee

River Bottomland.

To the Ohoopee River Bottomland.

Ohoopee River Bottomland.

Mm-hmm.

Oh, hell yeah.

[cb radio crackling]

Breaker, how
about a westbound?

You got an eastbound looking.

[cb radio crackling]

Breaker, one nine.

CB RADIO: Yeah,
go ahead breaker.

Yeah, this is the
Rhinestone Cowboy.

I'm looking for a front door.

I'm eastbound on this 40.

I'm up here by this
old chicken coup.

Going to Nashville, Tennessee.

Can I get me a front
door up there somewhere?

CB RADIO: 10-4, David.

This is the
[inaudible] Music City.

You got a clean bill of health
all the way home, [inaudible]..

OK I sure appreciate it.

We're trying to get up there.

We gotta go play at the
Tennessee state prison,

and I was supposed to
be there at 3 o'clock

so I wanna try to
hook it on up there.

CB RADIO: 10-4, Rhinestone.

You're looking good.

Take it home baby.

[inaudible] 10-4.

I had some people here
from New York the other day--

two boys--

and he had his
guitar and a harp.

And I went up there
and got it out.

[inaudible] come
here to play music.

And so far we got him a job.

Estelle got him going.

And he's doing pretty good now.

He's in the roofing business
and he wanted to be in the music

business [inaudible].

Of course, people is looking
for progress everyday,

but I believe that the old
time flavor has really come out

of your country music
and so on by moving

that show into a modern house.

Because in the grand--
in the old Grand

Ole Opry building up here, he
was so country-fied in there.

You know, kind of
like us old folk is.

We like to remember
what we growed up with.

And the Grand Ole
Opry growed up--

within itself, it growed up
to be a country music place.

Now they've gone out
there and got modern,

and it just don't seem
right to me to see a--

on a Saturday night--

Saturday evening TV show.

It don't seem like the
music's any good to me

at the new place.

I'd go up there, and Star
would just come out in the back

and run in there
and get them a beer,

get them whatever they
wanted then before they

had to go back on air.

And [inaudible]
kind of home folk.

Now it kind of seemed like
they a little bit snobbish.

[inaudible] but they're
little bit snobbish.

They get to fighting
over the swimming pool.

They get to fighting each other
and all that kind of stuff.

They didn't used to have that
[inaudible] had Ole Opry House.

It's like Roy Acuff.

All he has now to
live on is a name.

That's all he has to live on.

These fellows here that's
coming up and they are given--

well, something like
my grandchildren

is coming up in this world.

They are giving my
grandchildren something like we

look back to Roy Acuff for.

We look back to him,
and we look to Johnny

Cash and so on and so forth.

To my-- my opinion Johnny
Cash is he's run out of his--

he's done shot his wad.

I believe that Johnny Cash
has done already shot his wad.

I'd like to introduce myself.

I'm-- excuse me-- I'm
Townes van Zandt, and this

is my dog Geraldine here.

Geraldine, come here.

Geraldine.

CINDY: Good dog.

Get back out
here in the light.

Good dog.

CINDY: Oh, no.

Don't take her off.

Sure.

CINDY: Danny.

OK.

Now this is my
girlfriend Cindy here.

Smile at the camera.

OK, now.

We gonna first walk
around to the back yard.

Would you like a drink?

No, thank you.

I'll have one.

Would you hold the gun?

No.

Don't ever aim a
gun at a caged animal.

Don't ever aim a gun
at a caged animal.

OK, now--

[dog barking]

That dog was hurt,
run over by a car.

[dog barking]

What is that?

You want me to throw
a rock for you?

[inaudible]

TOWNES VAN ZANDT: Let's come on
around here through the back.

This is one of the first oaks
ever born on this whole lot.

It's 42 feet up to their.

I got an intercom up there.

I can order Cindy around
until she unplugs me.

- God dammit, Townes.
- Which is about--

it don't take too long usually.

[inaudible] you just missed a
good shot with the dog looking

right at the chickens, man.

White dog.

No, he ran off by now,
but he was sitting

right there looking at them.

The big black dog?

Yeah.

[inaudible].

Oh, little Smith
and little Weston.

Say hello to the folks, Smith.

He's actually a champion
white buf chicken.

White buf, B-U-F, like Buffalo.

[chickens cackling]

Now this was a-- a possum
was trying to get them,

but that's all we got left.

The old dog [inaudible]
just came up and just kind

of nipped him right off there.

It was either that or a
midget, hungry midget.

I've raised these rabbits
for about three years now.

I have, like, gotten--

made my motto the
bigger, the bunnier.

It's pretty funny, but I tell
you what's funnier, the better.

You see, the bigger,
the better, right?

And I want you all to
follow me over here,

and I'm going to show
you one of these holes.

I call them holes.

Some people call them burrows.

They're just the
entrance to the burrows.

Follow me over here.
It's not very far.

Here's one.

CAMERAMAN: Phew.

I'm talking about
some big rabbits.

[inaudible] they're like as big
as a pig, easy as big as a pig.

This is there latest one.

They drink some.

Come over here and
look at this one.

We had to close this one
up because the state--

the state said close it up.

I don't blame them really.

[inaudible]

Now see, I'm serious.

They started barreling
under here and--

get this off me.

Get this off me.

Something's got my leg.

It's got my leg.

It's [inaudible]

Then I also played with
the Gully Jumpers, Paul

Warmack and his Gully Jumpers.

That's been back, oh,
around '37 and '38.

You know, it's been,
oh, many moons ago,

but I played with them.

It's been years ago.

Then I also played with
old Uncle Dave from 1937

until 1941.

And we recorded, Uncle Dave
and I, for Columbia Records.

We had to go to Charlotte,
North Carolina from Nashville.

We had quite a time you
know getting up there.

Uncle Dave, you know, he
didn't want his toddy time.

He carried a little
valise, you know,

where he carried
his [inaudible]..

And I recall that's the
first time that I ever

rode a Pullman train,
you know, where

I had a berth to sleep in.

Why, I felt like I was in
some kind of a big kingdom

or something, you know.

Because I lived in a
lower end housing project.

And what did you do
whenever [inaudible] he had

to have his little toddy time?

He said toddy time.

We all had toddy time.

And I recall, too,
very distinctly--

you know, if he give you
a drink out of his bottle

before toddy time,
why, he'd expect

you the next day to repay that.

And you had you had to give
him your toddy time drink,

you know, because he didn't
want to be beat out of anything.

You better.

Like I say, I don't know.

Then I'll have you castrated.

[mumbling]

[inaudible]

This whore here ain't
worth a damn, is he?

I tell you what we're going
to do here, if you don't care.

Let's do them Doctor
Blues on New Year's Day,

because, hey, you
know something?

We both of us need
a doctor today.

Both of us need one.

One of them Doctor Blues.

This is a lovely
little song entitled,

"I'd Rather Be Sunburned On My
Vacation Than Vaccinated On My

Weekend/" Now what did you say?

You said [inaudible].

I said The doctor Blues.

The Doctor's Blues.

That's it.

Well, here we go.

[MUSIC - BIG MACK
MCGOWAN & GLENN STAGNER,

"THE DOCTOR'S BLUES"]

(SINGING) Now get up on this
table, pull off that gown.

Raise up that right leg,
let the left one down.

Pull off them stockings,
the silk underwear.

The doctor's going to cut
you, mama, Lord knows where.

Say, doc, what did
you take out of me?

I feel mighty bad.

You lay real still, and
I'll tell you just how many.

Now here's what the
doctor took out of you.

Four monkey wrenches,
a two-horse shay,

a pair of old britches,
and a bale of hay.

Your ribs were
kind of loose, son.

They moved about.

If I hadn't sewed you up,
everything would fell out.

So I put in new tubes,
tightened the exhaust.

[MUSIC - GUY CLARK, "THAT OLD
TIME FEELING"]

GUY CLARK (SINGING): And
that old time feeling

comes and goes in the rain.

Like an old man with his
checkers, dyin' to find a game.

That old time feeling
plays for beer in bars.

Like an old time blues picker
who don't recall who you are.

And that old time feeling limps
through the night on a crutch.

Like an old soldier wonderin'
if he's paid too much.

And that old time feeling
rocks and spits and cries.

Like an old lover rememberin'
the girl with the clear blue

eyes.

[music playing]

[inaudible]

[music playing]

And that old time feeling
goes sneakin' down the hall.

Like an old gray cat in winter,
keepin' close to the wall.

[inaudible]

Yeah.

Yeah, somebody done give you
[inaudible] find the money.

CINDY: Where's the money?

Well, I'm fixing to interview
Uncle Seymour Washington.

Seymour Washington
from Austin, Texas.

You had a birthday
lately, right?

12th of July.

12th of July.

You were 36?

79.

Born 1896.

1896.

Horseshoe [inaudible].

Horseshoer and
beginner blacksmith.

You were called the
Walking Blacksmith.

That's what I was called,
nicknamed Walking Blacksmith.

Because--

I didn't have
any transportation.

I had to catch the
bus and then wait

for people to pick me up on the
ranch, carry me to the ranch.

Dripping Springs was
my big headquarters.

Dripping Springs
[inaudible] and [inaudible]..

TOWNES VAN ZANDT: But
you lived here, right?

SEYMOUR WASHINGTON:
Lived here, but I 'd

go out up on the
bus to those towns,

and they'd carry
me to the ranch.

I got a knack for handling
stock, any kind of stock.

In other words, some men go
up to a horse to shoe him,

and they go up there cursing
him and kicking him in the side

and jacking him to
make him stand still.

But you want to go
up to a horse's head

first and pet him on the
neck and scratch him.

And I don't care
how bad and rough

he is, he'll soon understand
that you want to be his friend.

And you go on and ease with
him and handle him careful.

And once you get him shod, he'll
always know what you want to do

when you start to work on him.

But if you put the
shoe on correctly,

the outside of the hoof is
where you put your nail.

It's just like cutting
your fingernails.

If you cut your fingernail
down too deep there,

you got to clip
your sore finger.

If you stick a nail on the
inside of his coronary band

and go into the quick
and drive it in there,

you get [inaudible]
and beside you

[inaudible] and then the
horse is lame for a long time.

Probably may go into lockjaw.

So it's very technical.

I always keep doing something.

If it ain't much, do a little.

And don't ever forget to
get down on your knees

and pray to God and
thank Him for the time

that He'd given you on earth.

And from there, go on
and talk to the Lord

just like you talk to
us humans on earth.

Live careful and eat
three times a day,

and eat common, plain
food, soul food like beans,

turnip greens, and cornbread.

Drink the best of
bourbon whiskey.

People condemn whiskey,
but they have no right to.

Really?

Because when God created
the heaven and earth,

he created all things.

He also created
barley, rye, and if he

didn't think that
was good for man,

he wouldn't let
those things grow.

Really?

CAMERAMAN: Amen.

But he also created
cattle of the fields

and birds of the air, and
food for us to subsist on.

But he didn't mean
for us to eat so much

of it until it was detrimental
to us, would make us sick.

The same thing applies
to drinking whiskey,

beer, or anything you drink.

You don't have to drink
a bottle of whiskey

because you see a
bottle sitting there.

Drink a little bit of it and
stop, and ask God to give

you the knowledge to do that.

I've seen Unc drink until
he had to be carried--

he had to be carried from
the other side of his yard

and put into bed.

And it didn't take no
barrel of whisky, either.

But now then on
the other hand,

according to Mr. van
Zandt's statement,

he have also seen me sit down
where there's a lot of whiskey,

like we've got whiskey
here now, but he

didn't see me drink all of it.

I would drink some
and walk away from it.

And he's also felt kind of
embarrassed because he's

offered me whiskey,
and I didn't want it.

And he'd asked me,
was I angry with him?

I wasn't angry.

I just didn't want
no more whiskey.

[MUSIC - TOWNES VAN ZANDT,
"WAITIN' AROUND TO DIE"]

TOWNES VAN ZANDT:
This is the first song

I ever wrote [inaudible].

CINDY: Is it?

I had no idea.

(SINGING) Well, sometimes
I don't know where

this dirty road is taking me.

Sometimes I can't even
see the reason why.

I guess I keep a-gamblin', lots
of booze and lots of ramblin'.

It's easier than just
waitin' around to die.

The

Well, one time,
friends, I had a ma.

I even had a pa.

He beat her with a belt
once 'cause she cried.

She told him to take care of me.

She headed down to Tennessee.

Oh, it's easier than just
a-waitin' around to die.

Well, I come of age and I found
a girl in a Tuscaloosa bar.

And she cleaned me out
and hit it on the sly.

I tried to kill the pain.

I bought some booze and hopped
a train, seemed easier than just

a-waitin' around to die.

And a friend said he knew
where some easy money was.

We robbed a man, and
brother did we fly.

They told her to
take care of me.

They drug me back to Tennessee,
and it's two long years

of waiting around to die.

Oh, now I'm out of prison.

I got me a friend that lasts.

He don't drink or
steal or cheat or lie.

Well his name's codeine.

He's the nicest thing I've seen.

And together, we're going
to wait around and die.

Well, together we're
going to wait around.

CINDY: That's beautiful.

[MUSIC - DAVID ALLAN COE, "I
STILL SING THE OLD SONGS"]

DAVID ALLAN COE
(SINGING): Grandpa,

I've been thinking
bought you lately,

wondering if you'd found
your peace of mind.

I guess you'd be proud to
know your grandson never

crossed the Mason-Dixon line.

And I still sing the old
songs that you taught me.

And I still pray to
Jesus now and then.

Just like you, I wish that He
would save me to see the day

the south will rise again.

Daddy wore his Purple
Heart so proudly long

before I turned into a man.

Buried with our flag
across his casket,

I was still too
young to understand.

I still sing the old
song that you taught me.

And I still pray to
Jesus now and then.

Just like you, I wish that he
would save me to see the day

the south will rise again.

Grandpa, I've been
thinking about you lately.

[MUSIC - BAREFOOT JERRY, "TWO
MILE PIKE"]

[MUSIC - RODNEY CROWELL,
" BLUEBIRD WINE"]

SINGING) Well, baby says
she'd really love a party.

We'll get some friends
together, feeling fine.

Well any friend of mine is
worth his habit, a belly

full of baby's Bluebird wine.

And it's all right, now.

I've just hit my stride.

Right off the bat, Lord,
I'm drunk on Bluebird wine.

Yes it's all right now.

I've just hit my stride.

The party just started, Lord,
and I'm drunk on Bluebird wine.

[music playing]

Well, baby showed me some
different ways of thinking,

like how to spend
my evening here

at home listening to
that music on the radio,

drinkin' all the
Bluebird we can hold.

And it's all right now.

I've just hit my stride.

Right off the bat, Lord,
I'm drunk on Bluebird wine.

Yes, and I'm all right, now.

I've just hit my stride now.

The party just started, Lord,
and I'm drunk on Bluebird wine.

Yes I'm all right, now.

I've just hit my stride now.

Right off the bat, Lord,
I'm drunk on Bluebird wine.

[cb radio]

You got it.

Come on.

[inaudible]

It was in Dallas, Texas.

CB RADIO: Dallas, Texas?

Yeah, 10-4.

CB RADIO: [inaudible]

Yeah.

We was with Willie Nelson.

There was 8,000 people there.

CB RADIO: Oh, 10-4
on the big Willie.

[inaudible]

Yeah, it was pretty crazy.

[music playing]

STEVE YOUNG
(SINGING): I'm riding

down by your old shack today.

Lord, I've worked all out
in your cotton fields.

Lord, I've worked all out
in your cotton fields.

Worked so hard, Lord, that
I thought it was unreal.

Yeah, but I worked all
out in your cotton fields.

Alabama highway, take me on to
the moonlight, toward the day.

Turn supernatural, take me
to the stars and let me play.

I wanna be free,
Alabama highway.

Oh, well I've loved you.

I've loved you, Dixieland.

Yes, I've loved you.

I've loved you, Dixieland.

Wonder why you never give me
a helping hand, cause I've

loved you.

Yeah, I've loved you, Dixieland.

Alabama highway,
take me on, neath

the moonlight toward the day.

Turn supernatural, take me
to the stars and let me play.

I wanna be free,
Alabama highway.

Well, they've got
grooves in them,

so I'll just go ahead and
level the fingerboard.

MAN 2: OK.

You're the doctor.

You sure I never
worked on his guitar?

You might have.

Man, that's exactly
the way I fix shit.

You might have.

I bought it in Austin.

Who's was it?

[inaudible] had it.

You know [inaudible]
string shop?

Yeah.

He had it.

I got all my stuff ripped
off about last January,

and he sold me that.

He give me a real
good deal on it.

It was one of his
closet guitars.

Well it's a good guitar.

MAN 2: That's the
only guitar I have

had for any length of time.

GUY CLARK: Now this is
the part that's hard

it's hard to watch
for the guitar owner.

[sawing]

That's one of the
nice things about bone

is that good solid bone's
like working ivory.

It's really consistent and
you can judge it just right.

That's why people--
all the Chinese

and everybody carved ivory.

[sawing]

Bone's like not as good
as ivory, obviously,

but better than wood.

Damn it, I've already
cut this one too short.

OK.

[sawing]

You need water soluble
glue so you can repair

it without tearing the wood up.

You just wet it, melts, and
then you can repair stuff.

So one of the marks of really
fine instruments is it's not

put together with some
sort of insoluble glue,

because then you can't-- you
can't take the fingerboard off

and straighten the
neck, or do-- you know,

you wind up with something
that doesn't do anything.

That's the only
thing about guitars.

That's why I like them.

When you come to the
subtleties of them,

you can't really count on
any kind of mathematics--

or you count on mathematics
as far as a scale's concerned.

But once it gets down
to making it play right,

everyone's different.

You know, they're
like [whistles]

really unique things.

So you wind up treating
everyone different,

and then working on
them, you don't get bored

which is one of my main aims.
OK.

Now linchpins.

What'd I do with them?

There they are.

All right.

That looks just about
right to me already.

Here you go.

All right.

Give me that string right there.

OK.

[guitar strings twanging]

Give me the next one.

[guitar strings twanging]

[MUSIC - GUY CLARK, "TEXAS
COOKING"]

(SINGING) I'm going
down to Austin, Texas.

I'm going down to save my soul.

Get that barbecue and chili,
eat my fill then come back home.

I'm gonna take my baby with me.

We gonna have a high ol' time.

We gonna eat til we get silly,
sho' do make a beer taste fine.

Whoa, my momma, ain't that
Texas cookin something?

Whoa, my momma, it'll stop yo
belly and backbone bumpin'.

Whoa, my momma, ain't
that Texas cookin' good?

Whoa, my momma, eat it
every day if I could.

[music playing]

I know a place that got fried
okra, beat anything I ever saw.

I know a woman cook cabrito.

It must be against the law.

We gone get a big
ole sausage, big ole'

plate of ranch style beans.

I could eat the heart of Texas.

We gonna need some
brand new jeans.

Whoa, my momma, ain't that
Texas cooking something?

Whoa, my momma, it'll stop
your belly and backbone bumpin.

Whoa, my momma, ain't
that Texas cooking good?

Whoa, my momma, eat it
every day if I could.

Whoa, my momma, ain't that
Texas cooking something?

Whoa, my momma, it'll stop your
belly and backbone bumpin'.

Whoa, my momma, ain't
that Texas cooking good?

Whoa, my momma, eat it
every day if I could.

[applause and cheering]

Now nothing too exciting
ever happened at Charlie's

except when Harvey came in.

Harvey was a prominent, devout,
deeply committed, totally

involved, commode-huggin drunk.

He dealt mainly
in small numbers.

He'd steal hubcaps
off Peterbilt diesels

at the A&W root
beer parking lot,

and fence them at the
Western auto store.

He would dynamite catfish and
copious commercial quantities

in the little
Econlockhatchee River

and sell them in bulk to
Howard Johnson's for scallops.

Cut them out with a copper tube.

But he was chiefly
celebrated among the populace

of our community
for having imported

into our thankful midst a young
woman of sporting morality.

An unconscionable aesthete
by the name of Marita,

who had been drummed out of
high rolling society in Phoenix

City, Alabama, after
her health card

had been punched so many times
it disappeared into thin air.

[laughing]

And this Marita considered
herself an interpreteress

of the modern dance.

And lo, whenever the dulcets and
mellifluous tones of Miss Peggy

Lee were heard to resonate
upon the Wurlitzer,

singing that grand
old American standard,

"Fever", Marita would lose
herself in an engaging series

of peregrinations, pirouettes,
and bumps and grinds,

calculated to leave even the
most diffident of observers

fraught with horn.

On this particular night, Harvey
and Marita and a randy retinue

of red necks came stopping into
Charlie's All the local good

old boys were bellied up the
bar, snapping the suspenders

on their big dads,
their left hands

upraised in that fervent type of
monodigital articulation which

bespeaks an argument in progress
about the relative merits

of post-hole digging
attachment for John Deere

vis a vis International
Harvester tractors.

They turn about and beheld the
entry of Harvey and Marita,

and in a great man swarm gaggle
of Arcadian under-achievers,

they slewed, crabwise, over the
polished floor of that gaming

establishment, stoking
the juke with legal tender

in such a manner that Peggy
Lee's " Fever" played 92 times.

And Marita so lost herself
in a transcendental evocation

of her timeless art,
struggling gamely

as it were up the Olympiad
of her sensibility,

that she shucked her duds right
on Charlie's Terrazzo floor.

That's the second
most exciting thing

that ever happened
around a turkey farm

after the great massacre of '53.

I responded to this
visual phenomenon

of unslaked carnality
by instantly

proposing marriage to a one-eyed
waitress who happened by.

I didn't want to get
in anything heavy.

I just wanted to
set up light house

keeping in a pup tent in the
parking lot until closing time.

I was out there with my
borrowed ball peen hammer

and my steel tent
stakes, putting

that mother up in the asphalt.

Some fool run over my
foot with a pickup truck,

emptied out his ash
tray in my sleeping bag,

peed in my cook fire.

And the woman rejected
me, so I had to go

home and write this damn song.

I just wanted you to know the
true story so you'd understand

where art comes from.

On that night of nights,
there were a mess

of us knocking around Charlie's,
scarfing up huge quantities

of an Appalachian
ambrosia concocted

by craven miscreant
name Matlo, who

along with a hand-picked group
with charcoal-filtered fellows

from Moore County,
Tennessee, turns

this fire water out in what
is rumored to be short supply.

Although armed with
approximately $8

and the address of
any whiskey store,

I've never yet failed
to find at least

five shelves groaning
under the weight

of these rare square bottles.

I'm not talking about Jim Beam.

I ain't talking
about Ezra Brooks,

or JW Dent, or George Dickel.

I'm talking about Tennessee
sour mash sipping whiskey.

I'm talking about
Jack Daniels Tennessee

sour mash sippin' whiskey.

And this is the old
black label blue.

[music playing]

(SINGING) A Cabaret
on the highway.

You know the time
is ten 'til two.

A pretty waitress at my table,
a pretty waitress at my table.

She say, what can I do for you?

That's just what she said, now.

Oh, baby, I'm so lonely
and my mind is ill at ease.

I need a woman to love me.

Mm.

But if you cannot love me, then
Jack Daniels, if you please.

Whiskey and water,
oh whiskey and water.

Here's to fear of
pain and sorrow.

Jack Daniels, if you please.

Look out now.

[music playing]

Then I called on
Miss Maggie Gentry.

You know, I fell way
down upon my knees.

Now Maggie darlin', I need
some lovin', oh, deep,

deep down in my dark ol' soul.

Won't you set my mind at ease?

Oh, baby, I believe
I'm going to love you,

so lay your head
down across my knees.

Thank you, darlin'.

I'm going to kiss you
and I'll caress you.

Mm.

But honey, there's
just one little thing

I'll ask you for first.

What's that, darlin'?

Jack Daniels, if you please.

She liked it too.

Whiskey and water,
oh, whisky and water.

Here's to fear and pain
and sorrow, Jack Daniels,

if you please.

With a black label on it.

It's so good to be playing
for a bunch of juicers again.

[inaudible]

[inaudible] I'll tell
you that right now.

Best foot in the whole house.

I'd like to introduce to you
at this time [inaudible] Mr.

Mack McGowan and
his lovely wife.

She always was a little bashful.

Hope you're enjoying
yourself down here.

Bless your heart.

Good, good to have
you down here.

All right, this is--

this Mr. Mac and
his lovely wife.

To all these people,
I want to tell you now,

my wife has just got
in from her other job.

And-- and what it amounts
to, her other job--

well, I wasn't there.

I don't know what it
amounted to, but--

But I want to say this much.

It's good for all you
people to be here with us

in this little old thing here.

Because this is
where I make my day

and where I make my
living for myself

and my five grandchildren
and two daughters and--

who else's children
I got, honey?

That's all, I hope.

Well, I got some
more somewhere.

[laughing]

[applause]

We like do this little thing,
a little song of my own now.

It's a little fast ditty.

[MUSIC - PEGGY BROOKS, " LET'S GO
ALL THE WAY"]

(SINGING) When you love half
way, someone has to pay.

I won't accept a part of
you, so let's go all the way.

Love me day and night,
then I'll know it's right.

Love me till I hear you say,
oh, let's go all the way.

All the way means happiness,
living side by side.

Halfway means a heartbreak
if one of us should lie.

Just give me a kiss
that you know I'll miss.

Hold me in your arms and say,
oh, let's go all the way.

Let's you and I pretend
our love will never end.

Tell me you'll be mine today.

Oh, let's go all the way.

All the way means happiness,
living side by side.

Halfway means a heartbreak
if one of us should lie.

Just give me a clue
that you love me too.

Hold me in your arms and say,
oh, let's go all the way.

Oh, let's go all the way.

[applause and cheering]

ANNOUNCER: [inaudible], Peggy.

[music playing]

Good to see you.

You're getting so
tall [inaudible]..

Hi, Charlie.

Hey, babe.

How you been?

[inaudible]

Yeah, but I'm [inaudible]
walk behind there.

That's about as far
back as I'm gonna go.

It was nice meeting y'all.

I don't know if it's
pheasant or peacocks

or something like that.

WOMAN: No, that's pheasant.

[inaudible]

Hey, how you doing?

Good to see you.

Merry Christmas to you.

[interposing voices] [inaudible]

Pretty good, if I can find me
a chord here to tune up with.

[crowd chattering]

That's the flood.

It's not the special.

Where?

The one you're
focusing right now.

[inaudible] That's
not the drum special.

[inaudible]

OK.

[music playing]

[inaudible]

Yeah.

[inaudible] I got
a strap right there.

[inaudible]

R?

What does this R stand for?

[inaudible]

Damn, may have to
learn a new song.

If he learns a new song,
he gets to be a star.

[inaudible]

Which one we gonna do, boss?

[inaudible]

Hello, Charlie.

Hey, Terry.
How are you?

I'm good, man.

How you doing?

[inaudible]

[cheering]

Everybody just hang
on here a second.

We gonna hook up a fiddle.

Here's one of our new tunes.

This is off the "Night Rider"
and it's called "Texas."

[cheering]

[MUSIC - THE CHARLIE DANIELS
BAND, "TEXAS"]

(SINGING) There's a place
not too far away from here,

out with the cows and
the Lone Star beer.

Where the livin' and lovin'
is quite all right with me.

Well, they call it Texas.

It's a mighty fine place to be.

Runs from Texarkana to El Paso
and Oklahoma out to old Mexico.

And there's Houston, Dallas,
Austin, and San Antone.

People in Texas sure do
make you feel at home.

[music playing]

They just want
everybody to lave them

alone while they drink their
whiskey and roll their own.

And they like their music with
a little bit of southern sound.

They kick up their heels every
evening when the sun goes down.

And you call them country
and they don't care.

And if you don't like the
way they wear their hair,

you can take your like and
shove 'em on up the line.

People in Texas don't care
if the sun don't shine.

[music playing]

Thank you!

[cheering]

That's terrible.

[laughing]

Back two years ago, we had kept
the music going pretty strong,

and people were just
sort of using my name.

And they-- a couple of inmates
in there sent some songs to me,

and they were sent
back to them and said

we couldn't use the songs
or something like that.

And I guess they wrote
a letter to the warden

and said that if
I ever came back,

I knew they were gonna kill me.

So they borrowed
me from there for--

and I was surprised when
I found out that we were

going there today to do a show.

Supposed to be
doing a concert here

at the Tennessee State Prison.

All right.

Here we go.

[inaudible],, what
the head count is here?

MAN 3:10.

10.

Counting me?

10.

[crash]

The pink building's
the wood shop,

and this here's the metal shop.

And they make almost all
your state furniture in them

two places.

And that's the
school right there.

The center's operations on
the right is unit three.

On the left is unit
two, and up the end

you'll see another building.

That's unit four.

That's unit one.

That's maximum security.

That's your death row
and all your lock up.

They don't attend to
anything [inaudible]..

[inaudible]

DAVID ALLAN COE: if you
get in a position-- like,

I'm in a position to
talk about something.

And I go out there and say,
and well, the food's bad, and--

you know, then I'm just
another jerk to them.

But if I can go out
there and tell them,

you know, what I think-- that
I think that they need more

psychologists, that you
can't have 5,000 men and one

psychologist or psychiatrist
in an institution

and to handle all
these men's cases.

Because the only
time you see him

is when you cause a problem,
so he can't help you.

And when [inaudible] was--

had this prison here,
and I came out here

and he asked me about
this place here,

and I said, well I said I
think your biggest problem is

that when you shut
Brushy Mountain down,

you overcrowded
your prison here.

And I think that you
have to get something

to take the place
of Brushy Mountain

if you can't open that back up.

But you have to have a
separate place, you know,

for old timers.

Because old timers don't like to
be around no young [inaudible]..

I mean, they--
motherfuckers in here

trying to pull time, that's
what they're [inaudible]..

I just got my daddy
out of prison.

I don't know whether you
all-- last time I was here,

we was talking about that.
He was--

- He was in prison?
- Oh, life.

Yeah.

He did a life sentence, and
me and my youngest brother

just got-- he's
been out one year.

He came home for Christmas
in his first airplane.

We met him at the
airport, and he was--

he was scared to death.

You know, he-- he just--

he was just biting
his nails and shit.

But I wasn't a criminal.

When I first went to the
Boy's lndustrial school

in Lancaster was because
my parents didn't want me,

you know?

So they went down and said,
well, we don't want him.

You got to do
something with him.

Well, they couldn't put
me in a children's home

because I had parents, so they
put me in star commonwealth

for boys in Albion, Michigan.

I was there for two weeks and
ran away with two older boys.

They stole a car and we
sat on each other's laps,

and one worked the
pedal and one steered.

Got home and my parents
called up and turned us in.

[music playing]

[vocalizing]

Woo.

Women loving outlaw,
heard folks say.

And I'll be an outlaw
till my dying day.

[applause and cheering]

You know.

I got a big Greyhound
bus out here,

and there ain't nothing
out there but Cadillacs.

These guards all
drive Cadillacs.

That's the truth.

No, it really is.

It's the truth.

Now they told me that you all
had a lot of drugs in here.

So now if they're
driving Cadillacs

and you've got
drugs in here, then

there must be a connection.

So I decided that I would
call the FBI up and tell them

that there was
drugs in the joint

and Cadillacs in
the parking lot.

And I figured that the
drugs and you ought

to be in the parking
lot, and the Cadillacs

and them ought to be in here.

[applause]

Well, you know, I started
sniffing this typewriter fluid.

You know-- you know how you
sniff typewriter fluid [sniffs]

on the rag and everything?

And we got really, you
know, pretty wasted.

Well, they got a
truck that comes in

and brings guard's uniforms
to the laundry, you know,

and they wash the
guards clothes.

So this guy came in
there with the truck,

and he parked it and got out.

And I says, hey, man--

I'd only been here about
three weeks, you know--

I said, man, the guy--

the truck's still running.

The guy said, yeah man.

So I said, man, shit.

Let's get out of here, you know.

Let's take that truck and go on.

You ain't got nothing
but an old fence.

So we jumped in
his truck [vroom]

across the yard, 55 miles an
hour, right into the gate,

nothing happened.

Nothing happened, man.

It didn't even move, you know?

So we jumped out
the truck and we

got these little knives that
we made, and we're saying,

mother fucker!

Open the gate!

He's standing with a machine
gun, saying-- laughing.

Saying, are you guys crazy?

Man, you better open this gate!

With a little old knife, man.

This guy's got a gun.

So they took me to the
hole and kicked my ass

and transferred me to
Lewisburg Penitentiary.

Well, I got up there and
I decided, well, man,

I'm gonna be cool, you know?

I'm not going to
nothing wrong, so I

was walking in the dining hall.

And I was only 18 years
old at the time, you know?

I still had one of those spit
curls in my hair, you know?

Man, you know how when you
walk in the dining hall,

it's just [blabbing].

You know, everything
is going on.

Man, I walked in
the dining hall.

I heard all this shit.

I got to the door, and I walked
in and all of a sudden it was--

[shush] just total silence.

I looked around, everybody
was looking at me, you know?

They was looking at me like I
was Marilyn Monroe, you know?

So by the time I
get to the table--

they got the seat--
you know, they

seat six people at a table.

Well, all the table
is full over here,

and the guards stand here.

Some guy gets up and starts
talking to the guard.

Hey, blah, blah, blah, blah.

By the time I get
to the table there's

three dudes sitting there
and another dude holding

my chair for me, you know?

So I sit down and put my
tray down here, you know,

and they started
firing them quick.

Where you from?
What you doing?

What you in here for?
Where you going?

How did blah, blah, blah--
firing them questions.

Do you want any cigarettes?

You need any-- I
said, whoa, wait, man.

Shit, wait a minute,
man, you know?

I stayed in my cell,
you know, I was in--

you didn't have to go nowhere.

I didn't go nowhere.

I stayed in my cell
for three weeks.

Didn't eat, didn't go
to supper or nothing.

I was scared, you know?

I was 18 years old, scared.

So they come by and
they had a pass.

They took me up to
the warden's office.

And he says, what's
wrong with you, boy?

I said, there ain't
nothing wrong me, captain.

I just don't want to go out
there with all them animals,

you know?

And he said, ah, them boys
ain't going to hurt you.

I said, OK, man.

So they put me out there in
the population, you know?

Well, the first day
I was there, there

was two dudes standing over here
washing their clothes in them--

in the mop buckets, you know?

And this other dude
come up and says,

say, man, you got my bucket.

Dude said, man,
it's a state bucket.

He said, man, that's
my bucket, man.

Give me my bucket.

Man, get out of
here, mother fucker.

I'm washing my-- man,
give me that bucket.

The dude stabbed
the dude to death

right there in front of me, man,
over a state mop bucket, right?

They care that you do that?

I said, oh man.

Shit, I'm not staying
here, you know?

Two days later I'm running
across the yard, man.

You know, I'm out there and
everybody's playing football.

And all of a sudden, some
dude just runs right by me--

[shoop]

Another dude falls down.

[shoop] I look down and this
dude's running with a baseball

bat knock this dude's head off.

Bam.

I wrote a letter to my mother.

I said, dear mom, man, you
got to get me out of here.

I ain't never did
nothing wrong in my life.

And whatever it is that
they got me in here for,

I ain't never going
to do it again.

Well, two days later, I was
in the shower and this dude

come in and he said--

hey, mama.

And I said, say,
man, you must have

me mixed up with somebody else.

He said, yeah, sure
do, but not for long.

Well there was, you
know, a mop bucket there,

and I said, look, man.

You know, you better
leave me alone.

I was scared to death, you know?

So I eased back and I got this
mop [inaudible],, you know?

So I said, bam.

I hit the dude in the head
and he fell on the floor.

He said, man, I was just joking.

I said, mother fucker, ugh.

I found out right then
that no matter how young

and skinny or pretty
you are, you've

got the strength
in your two arms

to kill a mother fucker
if they fuck with you.

And ain't no one ever
fucked with me since.

[MUSIC - DAVID ALLAN COE, "DEATH
ROW"]

(SINGING) I want fresh teardrops
from a newborn child in a cup

made in Timbuktu.

If you can't get that,
try a stewed pole-cat

smothered with catfish brew.

I'll take the ears
from a rat tail monkey

mixed with a spider's left eye.

And make me a salad of
jungle roots from Africa

and I'll be ready to die.

Oh, warden.

Now you know just how I feel.

I'll be ready to die now just
as soon as I eat my last meal.

[applause and cheering]

Thank you.

[applause and cheering]

[MUSIC - DAVID ALLAN COE,
" RIVER"]

(SINGING) River, you heard
my first cry as a baby.

And, like my mom, you
sang me lullabies.

You knew my fishing pole
when I was eight years old.

And, river, you
never told me lies.

River, I can see
you from my window.

Your muddy water
makes me feel alone.

River, you you keep
flowing like you

know just where you're
going, but, River,

will you ever take me home?

River, I'm not proud
of what I've done.

Somehow my fishing
pole became a gun.

Through these prison bars, I see
that you're still running free.

But, River, I've
got no where to run.

River, I can see
you from my window.

Your muddy water
makes me feel alone.

River, you keep flowing like you
know just where you're going,

but, River, will you
ever take me home?

River, will you
ever take me home?

Thank you very much.

[MUSIC - STEVE EARLE, "ELIJAH'S
CHURCH"]

(SINGING) When I'm
dead and I'm gone

won't you carry me home to
that little white church

in my daddy's home town.

Lord knows I'm some
kind of sinner.

But I've done come this far,
and it's too late for changing.

When this race has been run
take me back where I came from,

and let me return what
I took from the ground.

When this body won't
carry me no further,

take me home and lay me down.

[music playing]

All right.

[inaudible]

I'm out.

[inaudible]

This is the body.

Well, if you can't do that,
then you can't do nothing.

I've heard it is,
but [inaudible]..

I don't know.

- I don't know, either.
- Listen to me.

John.

Check into a guy by the
name of John [inaudible]..

He'll blow you away.

Try this.

ALL (SINGING): Silent night.

Holy night.

All is calm, all is bright.

Round yon virgin,
mother and child.

Holy infant, so tender and mild.

Sleep in heavenly peace,
sleep in heavenly peace.

Silent night, holy night.

Shepard's quake in the night.

Round yon virgin,
mother and child.

Holy infant, so tender and mild.

Sleep in heavenly peace,
sleep in heavenly peace.

[inaudible]

[music playing]

[inaudible]

Oh, baby Jesus.

We coming to you.

[music playing]

(SINGING) Silent
night, holy night.

Lord of all, all is bright.

Round yon virgin,
mother and child.

Holy infant, so tender and mild.

Sleep in heavenly peace,
sleep in heavenly peace.

Sleep in heavenly peace.

MAN 4: Does somebody
have that on tape?