0:00:00 > 0:00:03This programme contains some strong language.
0:00:03 > 0:00:05MUSIC: Kick Out The Jams by MC5
0:00:08 > 0:00:09# Well I feel pretty good
0:00:09 > 0:00:13# And I guess that I could get crazy now baby
0:00:15 > 0:00:16# Cos we all got in tune
0:00:16 > 0:00:20# And when the dressing room got hazy now baby... #
0:00:25 > 0:00:29We can stop world wars before they ever started.
0:00:29 > 0:00:31You know who start world wars?
0:00:31 > 0:00:32People that are over 40.
0:00:37 > 0:00:39# But let me kick out the jams
0:00:40 > 0:00:43# Jams kick out the jams
0:00:43 > 0:00:45# I done kick 'em out. #
0:00:53 > 0:00:56- RADIO:- 'This is KMET 94.7 FM Metro Media Stereo in Los Angeles.
0:00:56 > 0:00:58'I'll be back in a bit.'
0:01:17 > 0:01:20By 1970,
0:01:20 > 0:01:23the heart of '60s rock was going down.
0:01:23 > 0:01:26The Beatles were breaking up, the Stones were inactive.
0:01:26 > 0:01:29So rock'n'roll was losing its energy.
0:01:29 > 0:01:31It needed time to take its breath.
0:01:31 > 0:01:36And when it was taking its breath is when the singer songwriter movement was at its most powerful.
0:01:44 > 0:01:49# Blossom smile some sunshine down my way
0:01:49 > 0:01:53# Lately I've been lonesome
0:01:53 > 0:01:58# Blossom, it's been much too long a day
0:01:58 > 0:02:02# Seems my dreams have frozen
0:02:03 > 0:02:06# Melt my cares away... #
0:02:07 > 0:02:11When we sort of were identified as
0:02:11 > 0:02:16the singer songwriter movement or genre, or whatever,
0:02:16 > 0:02:20we really were just following along
0:02:20 > 0:02:22in a line of all of those players
0:02:22 > 0:02:24- who wrote their own stuff.- Right.
0:02:24 > 0:02:27When we sprang out of the box
0:02:27 > 0:02:31there was all this generational turbulence,
0:02:31 > 0:02:32cultural turbulence,
0:02:32 > 0:02:36and there was a hunger for the intimacy,
0:02:36 > 0:02:39the personal thing that we did.
0:02:39 > 0:02:44Maybe what it was was that people wrote their own songs
0:02:44 > 0:02:46were in ascendance.
0:02:46 > 0:02:49The authenticity of somebody telling their own story
0:02:49 > 0:02:52was what people were interested in.
0:02:52 > 0:02:56It was an exciting artistic community in those days.
0:02:56 > 0:03:01I'm trying to remember what the sequence of events was.
0:03:01 > 0:03:03How did we end up at the Troubadour?
0:03:09 > 0:03:12REPORTER: 'History has made the folk singer into an image of freedom.
0:03:12 > 0:03:15'A minstrel with little need of worldly things.
0:03:15 > 0:03:21'But in a relatively short while, folk music has become popular music in America.
0:03:21 > 0:03:24'And the itinerant singer is suddenly box office.'
0:03:24 > 0:03:28In the late '50s and early '60s there were coffee houses all over the place.
0:03:28 > 0:03:32Folk music was the music of the land.
0:03:33 > 0:03:37So hundreds of kids went out and bought guitars and banjos.
0:03:40 > 0:03:42I guess I started out as a folk musician.
0:03:42 > 0:03:46I played a lot of small clubs up and down the east coast
0:03:46 > 0:03:47and all across the country.
0:03:47 > 0:03:50You could make it work with a guitar and a suitcase.
0:03:50 > 0:03:53You'd go on the road that way.
0:03:53 > 0:03:56I started hanging around coffee houses, playing and singing
0:03:56 > 0:04:00and found that you could get the attention of girls that way!
0:04:00 > 0:04:05I went out there to perform in 1964 as a solo,
0:04:05 > 0:04:09ran into Gene Clark and David Crosby and we formed the Byrds
0:04:09 > 0:04:11at the Troubadour.
0:04:12 > 0:04:15And that is what made the '60s sound.
0:04:15 > 0:04:18The '60s happened because all kinds of college kids
0:04:18 > 0:04:23started getting in their two-seater MGs with their Raybans,
0:04:23 > 0:04:25going to the Newport folk festival.
0:04:25 > 0:04:29What everybody really wanted to be was "hip".
0:04:29 > 0:04:32They wanted to be part of the cutting edge
0:04:32 > 0:04:34of social behaviour.
0:04:34 > 0:04:36They wanted to be a Beatnik.
0:04:36 > 0:04:41People say you're most curious as a teenager. But it's the 20s who are most curious about life
0:04:41 > 0:04:43You're not living at home with parents' money
0:04:43 > 0:04:46you're on your own with no direction home.
0:04:46 > 0:04:50And so the Troubadour became the place to be.
0:04:50 > 0:04:54It's like it was a spaceship, this great thing lands in west Hollywood.
0:04:54 > 0:04:57The important thing is Doug Weston understood it.
0:04:57 > 0:05:01There were other clubs in town that would play folk music.
0:05:01 > 0:05:05But it wasn't folk music, it was the singer songwriter, the new discovery
0:05:05 > 0:05:09which was as exciting as rock'n'roll was when it began.
0:05:25 > 0:05:27What sense is there in talking about the music?
0:05:33 > 0:05:37The music is... A large part of the value of it
0:05:37 > 0:05:40is that it transcends talking about itself.
0:05:40 > 0:05:44It communicates directly without people having to make decisions or analyse it.
0:05:49 > 0:05:54I don't remember much about how I wrote those songs.
0:05:54 > 0:05:58You just pretended you could play the guitar and then maybe you could.
0:05:58 > 0:06:03And you pretended you could write a song and maybe you could.
0:06:10 > 0:06:14# Well, there's something in the way she moves
0:06:14 > 0:06:17# Or looks my way or calls my name
0:06:20 > 0:06:24# And it seems to leave this troubled world behind... #
0:06:24 > 0:06:27I get them mixed up a lot, those Troubadour shows.
0:06:27 > 0:06:31My memory for places and things has always been lousy.
0:06:31 > 0:06:34I complained to my brother Livingston a couple of months ago
0:06:34 > 0:06:39that I couldn't remember anything. He says, "James, you could never remember anything.
0:06:39 > 0:06:42"You can't remember that you could never remember anything!"
0:06:42 > 0:06:48# I feel fine any time she's around me now
0:06:49 > 0:06:52# She's around me now
0:06:53 > 0:06:55# Almost all the time
0:06:56 > 0:07:01# If I'm well you can tell that she's been with me now
0:07:03 > 0:07:05# She's been with me now
0:07:06 > 0:07:09# Quite a long, long time
0:07:09 > 0:07:11# And I feel fine. #
0:07:13 > 0:07:18In the old days, he didn't... He wasn't outgoing.
0:07:18 > 0:07:19He was very, very shy.
0:07:19 > 0:07:23He lived more internally than he does now.
0:07:24 > 0:07:28The first thing I thought about James Taylor was "I wish I could do that."
0:07:28 > 0:07:32When people like that show up and hit the stream,
0:07:32 > 0:07:36they make an eddy, that's for damn sure.
0:07:36 > 0:07:41# ..has the power to go where no-one else could find me
0:07:41 > 0:07:48# And decidedly remind me of the happiness and good times
0:07:48 > 0:07:49# That I know
0:07:49 > 0:07:54# And you know that I just got to know that... #
0:07:55 > 0:08:00Let's take a look at the old Fire and Rain, Something In The Way She Moves,
0:08:00 > 0:08:04Don't Let Me Be Lonely Tonight, You've Got A Friend...
0:08:06 > 0:08:08..Gibson J50.
0:08:10 > 0:08:12Still in pretty good shape.
0:08:12 > 0:08:15There is no stick involved with James.
0:08:15 > 0:08:20On the other hand, to use the expression, he's an interesting bunch of guys.
0:08:20 > 0:08:22In other words,
0:08:22 > 0:08:27he is very shy but he also can be very outgoing
0:08:27 > 0:08:32and he's a fantastic performer even though he doesn't appear to try too hard to be one.
0:08:34 > 0:08:37# She's been with me now
0:08:37 > 0:08:40# Quite a long
0:08:40 > 0:08:43# Quite a long, long time
0:08:44 > 0:08:46# Yes and I'll feel fine. #
0:08:57 > 0:08:59A singer songwriter was a new animal.
0:08:59 > 0:09:03Before then, you were Frank Sinatra
0:09:03 > 0:09:06and there was the Brill Building.
0:09:09 > 0:09:13The Brill Building was a house where publishers got their writers together
0:09:13 > 0:09:16to write songs for specific projects.
0:09:16 > 0:09:19They'd crank up the songs and then you would sing them.
0:09:19 > 0:09:23"The Coasters need a hit." "Dionne Warwick needs a song."
0:09:23 > 0:09:25Singers were only performers.
0:09:25 > 0:09:30The people in the Brill Building, until Carole busted her way out of there,
0:09:30 > 0:09:32generally did not wind up being singers.
0:09:32 > 0:09:34What now?
0:09:34 > 0:09:38Now a very pretty legato, very pretty note.
0:09:38 > 0:09:40- You like that?- I like that.
0:09:40 > 0:09:43But when we write the lyric to it, it'll be different.
0:09:43 > 0:09:48- #- La-da, la-da, la-da da-dum
0:09:52 > 0:09:57- #- La-da, la-da, la-da, da-da-dum- #
0:09:57 > 0:09:59That's fine.
0:10:06 > 0:10:12Music has always been a part of my life
0:10:12 > 0:10:16from the time I was exposed to it probably in utero.
0:10:16 > 0:10:19And it flows through me.
0:10:19 > 0:10:22I don't understand why or how it works.
0:10:22 > 0:10:24I do know that it works.
0:10:33 > 0:10:36It is a gift. It's an understanding that I have.
0:10:36 > 0:10:39If one believes in a higher power
0:10:39 > 0:10:41or the gods or God or whatever,
0:10:41 > 0:10:46I've been fortunate to be an instrument for that.
0:10:48 > 0:10:52The journey of Carole King is a really interesting one.
0:10:54 > 0:11:00Carole came from a very different world, the world of the Brill Building cubicle.
0:11:00 > 0:11:03The world of sitting from nine to five at the upright piano
0:11:03 > 0:11:06trying to write songs for "the stars".
0:11:06 > 0:11:10She arranged a lot of those hits that you still hear on the radio.
0:11:10 > 0:11:12She started doing it when she was 16.
0:11:19 > 0:11:26# Tonight you're mine completely
0:11:26 > 0:11:32# You give your love so sweetly
0:11:32 > 0:11:39# Tonight the light of love is in your eyes
0:11:40 > 0:11:45# But will you love me tomorrow? #
0:11:46 > 0:11:49My mom was a busy working mom.
0:11:49 > 0:11:53She didn't really get a chance to be a kid.
0:11:54 > 0:11:56She got married at 18.
0:11:56 > 0:11:59So she was a child bride, child mother,
0:11:59 > 0:12:04and then she had to raise these kids and then she had to find time to grow up in there.
0:12:05 > 0:12:09- #- Can I believe
0:12:10 > 0:12:15- #- The magic of your sighs
0:12:17 > 0:12:21- #- Will you still love me
0:12:21 > 0:12:25- #- Tomorrow?- #
0:12:25 > 0:12:28Will You Love Me Tomorrow was Gerry's and my first hit.
0:12:28 > 0:12:34It was the first time that we knew we were going to have a big hit record as songwriters
0:12:34 > 0:12:37and that we would have a little bit of income from it.
0:12:39 > 0:12:41The thing that Carole could do
0:12:41 > 0:12:47was she could change that baby's diaper with one hand and play a bass line with the next.
0:12:47 > 0:12:50I've seen her do it at her house. We were writing a song,
0:12:50 > 0:12:55and it was slap olive oil on the baby, change that baby and back we went to write the song.
0:12:55 > 0:13:00We live in West Orange, New Jersey. I remember sitting with the wallpaper
0:13:00 > 0:13:02while listening to them write songs.
0:13:02 > 0:13:08She was as much a housewife as a songwriter
0:13:08 > 0:13:10and an artist.
0:13:10 > 0:13:16- #- And I won't ask again
0:13:18 > 0:13:22- #- Will you still love me
0:13:23 > 0:13:27- #- Tomorrow?
0:13:30 > 0:13:35- #- Will you still love me
0:13:35 > 0:13:43- #- To-morr-ow?- #
0:13:52 > 0:13:55# There are two sides to this great big world
0:13:55 > 0:13:58# And one of them is always night
0:13:58 > 0:14:02# If you can take care of business in the sunshine
0:14:02 > 0:14:06# I guess you're gonna be all right... #
0:14:06 > 0:14:10James and I met at Martha's Vineyard. We used to hitch-hike everywhere.
0:14:10 > 0:14:12Once we were hitching and he burst into song.
0:14:12 > 0:14:15I looked at him and went, "Oh, my God!"
0:14:15 > 0:14:20I'd never heard anybody that could sing. I didn't know anyone that could sing!
0:14:20 > 0:14:23It was obvious to me right away that he had it.
0:14:23 > 0:14:25Whatever "it" was, he had it!
0:14:28 > 0:14:33I left the path that my parents, I assume, expected of me
0:14:33 > 0:14:37and went to New York aged 18 and started playing in this band,
0:14:37 > 0:14:39Flying Machine, with Danny.
0:14:39 > 0:14:42# No, no, I'm a night owl, honey,
0:14:43 > 0:14:46# Sleep all day long... #
0:14:46 > 0:14:51You needed a break. You needed a record. You needed someone to believe in you and book you.
0:14:51 > 0:14:53But the people who gave us our break,
0:14:53 > 0:14:57two guys named Chip Taylor and Al Gargoni, just didn't follow through.
0:14:57 > 0:15:01They signed us. They took my publishing -
0:15:01 > 0:15:06I was 18 years old and strung out and had no idea what I was signing -
0:15:06 > 0:15:08a sandwich is what I wanted!
0:15:08 > 0:15:13It became obvious that we couldn't get anywhere. James's health was going downhill
0:15:13 > 0:15:15based on his drug problems.
0:15:16 > 0:15:18# I'm a night owl, honey... #
0:15:19 > 0:15:24After The Flying Machine broke up, I went to England to visit friends
0:15:24 > 0:15:26and to play my music in the streets if I could.
0:15:26 > 0:15:30I was glad to hear he was going to keep playing music.
0:15:30 > 0:15:34When I found out he was going, I gave him the phone number of my friend Peter Asher.
0:15:34 > 0:15:38I was working for The Beatles, I was head of A&R for Apple Records.
0:15:38 > 0:15:41James phoned me at my flat and said, "I'm a friend of Danny's.
0:15:41 > 0:15:47"I've got this demo tape. Maybe I should play it to you,
0:15:47 > 0:15:49"or maybe you want to hear it?" I said I would.
0:15:49 > 0:15:53Peter listened to my little demo tape of songs.
0:15:53 > 0:15:57I loved everything about him. Certainly Paul totally loved it.
0:15:57 > 0:16:01George really liked it. John didn't care one way or the other.
0:16:01 > 0:16:03I can't remember about Ringo.
0:16:03 > 0:16:08# In my mind I'm going to Carolina
0:16:09 > 0:16:11# Can you see the sunshine... #
0:16:11 > 0:16:14When I heard James's Apple record, it was terrible.
0:16:14 > 0:16:18Too much production, too much stuff going on, too much gimmicky bullshit.
0:16:18 > 0:16:23# Yes, I'm going to Carolina in my mind. #
0:16:23 > 0:16:28It just did not work. It was not the right place and time.
0:16:28 > 0:16:31So Peter and James come to LA.
0:16:31 > 0:16:34And Peter finds the right home.
0:16:37 > 0:16:41When we came back to America, my aim was to get him in front of people singing
0:16:41 > 0:16:44wherever and whenever possible.
0:16:44 > 0:16:49James played his first solo show ever at the Troubadour in July '69.
0:16:49 > 0:16:52A week later, he played at the Newport folk festival.
0:16:52 > 0:16:56I'd like to continue with a song I wrote myself
0:16:56 > 0:16:58not too long ago.
0:16:58 > 0:17:01It's called I've Seen Fire and I've Seen Rain. It goes like this.
0:17:13 > 0:17:17# Just yesterday morning, they let me know you were gone
0:17:19 > 0:17:22# Suzanne, the plans they made put an end to you
0:17:24 > 0:17:26# I walked out this morning
0:17:26 > 0:17:29# And I wrote down this song
0:17:29 > 0:17:33# I just can't remember who to send it to
0:17:36 > 0:17:39# I've seen fire and I've seen rain
0:17:40 > 0:17:44# I've seen sunny days that I thought would never end
0:17:46 > 0:17:50# I've seen lonely times when I could not find a friend
0:17:51 > 0:17:55# But I always thought that I'd see you again
0:18:00 > 0:18:03# Won't you look down upon me, Jesus,
0:18:03 > 0:18:05# You gotta help me make a stand
0:18:07 > 0:18:11# Just got to see me through another day
0:18:12 > 0:18:17# My body's aching and my time is at hand
0:18:18 > 0:18:21# And I won't make it any other way
0:18:24 > 0:18:27# I've seen fire and I've seen rain
0:18:29 > 0:18:33# I've seen sunny skies that I thought would never end
0:18:34 > 0:18:38# I've seen lonely times when I could not find a friend... #
0:18:38 > 0:18:41The rock'n'roll generation was exhausted from the '60s
0:18:41 > 0:18:45and they wanted to calm down. Fire and Rain was a perfect song for that.
0:18:45 > 0:18:49"I've seen fire and I've seen rain." Enough of drugs and war.
0:18:49 > 0:18:51They just wanted to kind of regroup.
0:18:51 > 0:18:56# Thought I'd see you one more time again, baby. #
0:18:56 > 0:19:00APPLAUSE
0:19:01 > 0:19:03Thank you very much.
0:19:14 > 0:19:18Every once in a while you'd run into somebody that would come up
0:19:18 > 0:19:22and show you that there was a lot further for you to all go.
0:19:22 > 0:19:24I found Joni in a coffee house in Florida.
0:19:24 > 0:19:27# Sitting in a park in Paris, France
0:19:27 > 0:19:29# Reading the news and it's all bad
0:19:29 > 0:19:31# They won't give peace a chance
0:19:31 > 0:19:35# That was just a dream some of us had
0:19:35 > 0:19:37# Still a lot of lives to see
0:19:37 > 0:19:39# But I wouldn't want to stay here
0:19:39 > 0:19:43# It's too old and cold and settled in its ways here
0:19:43 > 0:19:46# Oh, but California
0:19:46 > 0:19:48# California
0:19:48 > 0:19:51# I'm a-coming home... #
0:19:51 > 0:19:53Oh, Joni Mitchell!
0:19:53 > 0:19:57I thought she was Shakespeare reincarnated!
0:19:58 > 0:20:02So many of the people that we consider California music don't come from here.
0:20:02 > 0:20:04Neil Young, a perfect example.
0:20:04 > 0:20:08People like Joni Mitchell, who was Canadian,
0:20:08 > 0:20:11took an outside look at what was going on in America
0:20:11 > 0:20:15and took her own particular values and situations
0:20:15 > 0:20:17and put them into personal songs.
0:20:17 > 0:20:21It really expanded the way people thought about writing.
0:20:21 > 0:20:25That was one of the biggest contributions to the music at the time.
0:20:25 > 0:20:28# Ooh, California,
0:20:28 > 0:20:31# Oh, California,
0:20:31 > 0:20:34# I'm a-coming home
0:20:34 > 0:20:37# Oh, make me feel good, rock'n'roll band
0:20:37 > 0:20:39# I'm your biggest fan, California... #
0:20:39 > 0:20:42We were living in Laurel Canyon at her house.
0:20:42 > 0:20:45And it was a wonderful time.
0:20:45 > 0:20:47It was just great. We travelled a lot,
0:20:47 > 0:20:51she sang beautifully on several songs of mine
0:20:51 > 0:20:54and I played on that album of hers.
0:20:54 > 0:20:57We had a great time. Oh, man, it was terrific.
0:20:57 > 0:21:00Too good to last, I guess.
0:21:21 > 0:21:27Carole was somebody that was attuned to the zeitgeist and wanted to be part of what was going on.
0:21:27 > 0:21:30She and Gerry, as well as the other Brill Building writers,
0:21:30 > 0:21:32all realised there was a big sea change.
0:21:32 > 0:21:35Bands were writing their own material.
0:21:35 > 0:21:37I thought the music was fantastic.
0:21:37 > 0:21:39What it turned out to mean to us
0:21:39 > 0:21:44is that we became as songwriters for artists that didn't write their own songs,
0:21:44 > 0:21:46less necessary.
0:21:46 > 0:21:51My dad did not want to get left behind in Tin Pan Alley.
0:21:51 > 0:21:56He was the one that felt, let's get out there, got to Los Angeles
0:21:56 > 0:22:00because the music business isn't here any more, it's out there.
0:22:00 > 0:22:05But my mom didn't have a sense that she was going to be left behind.
0:22:05 > 0:22:11When the marriage broke up and she came to California, and Laurel Canyon,
0:22:11 > 0:22:13that's when she became Carole.
0:22:15 > 0:22:20- #- Looking out on the morning rain
0:22:24 > 0:22:29- #- I used to feel uninspired
0:22:32 > 0:22:38- #- And when I knew I had to face another day
0:22:40 > 0:22:45- #- Lord, it made me feel so tired
0:22:45 > 0:22:47- #- Before the day I met you
0:22:53 > 0:22:57- #- Life was so unkind
0:22:57 > 0:23:03- #- Your love was the key to my peace of mind
0:23:03 > 0:23:08- #- Cos you make me feel
0:23:08 > 0:23:12- #- You make me feel
0:23:13 > 0:23:17- #- You may me feel like
0:23:17 > 0:23:22- #- A natural woman...- #
0:23:25 > 0:23:29She never said anything bad about my father
0:23:29 > 0:23:31and she continued to write with him.
0:23:31 > 0:23:36I think she did say, "I'm taking charge, I'm not going to be bitter. I'm just moving on."
0:23:36 > 0:23:39It's like she can let her hair down
0:23:39 > 0:23:45and she can take off that uniform of the songwriter for hire.
0:23:45 > 0:23:52She was itching to throw off the trappings of her sort of beehive past.
0:23:53 > 0:23:58It was wonderful but it's not something that I knew was happening at the time,
0:23:58 > 0:24:02that it was so special then that I realised.
0:24:02 > 0:24:08I see lots of areas of my life as exciting, wonderful windows of time and opportunity.
0:24:08 > 0:24:13- #- If I make you happy I don't need to do more
0:24:13 > 0:24:18- #- You make me feel
0:24:19 > 0:24:22- #- You make me feel
0:24:23 > 0:24:26- #- You make me feel
0:24:26 > 0:24:33- #- Like a natural woman.- #
0:24:34 > 0:24:37- Were you a hippy?- Yeah! Hell, yes!
0:24:43 > 0:24:47My kids will tell stories about how they'd buy Coca Cola and potato chips
0:24:47 > 0:24:51and all this candy and junk food and I'd toss it out!
0:24:51 > 0:24:54No candy. Candy was definitely out of the question.
0:24:54 > 0:24:57I would bring them food and make them eat it.
0:24:57 > 0:25:00Yeah. Nasty organic foods!
0:25:00 > 0:25:02I'd say, "Because it's nutritious!"
0:25:03 > 0:25:06She is a natural person.
0:25:07 > 0:25:09She's a natural woman!
0:25:10 > 0:25:13- #- ..woman
0:25:13 > 0:25:19- #- A natural woman.- #
0:25:19 > 0:25:23APPLAUSE
0:25:37 > 0:25:40So here we are after all these years.
0:25:41 > 0:25:44I personally think we've missed it. Don't you agree?
0:25:47 > 0:25:49It doesn't get any more real than this!
0:25:50 > 0:25:54I see you all out there. How are ya?
0:25:54 > 0:26:00It's one of the few places where the audience is treated worse than the act!
0:26:00 > 0:26:03Hello. Welcome to the Troubadour this evening.
0:26:03 > 0:26:06Any of you who don't know me, I'm Doug Weston.
0:26:09 > 0:26:13The Troubadour definitely was a scene. Doug Weston's personality
0:26:13 > 0:26:16and his insanity was an important part of it.
0:26:16 > 0:26:19- #- Well, I told you pretty baby
0:26:19 > 0:26:21- #- Such a long time ago
0:26:21 > 0:26:24- #- If I find you with another
0:26:24 > 0:26:26- #- Well, I'll walk right out your door
0:26:26 > 0:26:29- #- You might call me crazy
0:26:29 > 0:26:32- #- There's one thing you should know...- #
0:26:32 > 0:26:37He was a character in every sense of the word which fulfilled his role.
0:26:37 > 0:26:38He was very tough in business.
0:26:40 > 0:26:42He loved music.
0:26:42 > 0:26:46And he would encourage situations to happen where music could happen.
0:26:46 > 0:26:51I opened the Troubadour motivated, in part, I think,
0:26:51 > 0:26:57by the idea that music could be an important medium
0:26:57 > 0:27:02for expressing some of the things I learned in college.
0:27:02 > 0:27:08Some of the things about mankind and about how we could keep this whole world together.
0:27:09 > 0:27:13Doug always wanted to be a performer, I think.
0:27:13 > 0:27:18He would always have photographs of himself in poses
0:27:18 > 0:27:20on the menus, you know?
0:27:24 > 0:27:28Doug, when the Troubadour finally made enough money for him to buy new clothes,
0:27:28 > 0:27:32went to a clothing warehouse and bought a green corduroy suit
0:27:32 > 0:27:36which he wore for the next three years when he was in public.
0:27:36 > 0:27:38We called him the Jolly Green Giant!
0:27:42 > 0:27:45Doug Weston was always looking for that songwriter.
0:27:45 > 0:27:48He had very few singers there.
0:27:48 > 0:27:49He wanted a songwriter.
0:27:49 > 0:27:53He was really the purest, as far as I knew, in picking great artists.
0:27:53 > 0:27:56He would be so excited when he'd find somebody.
0:27:56 > 0:28:00He was the West LA scene of music. He was...
0:28:00 > 0:28:03one of the single most eccentric people I ever met.
0:28:03 > 0:28:07An extraordinarily tall guy who was absolutely, totally self-absorbed
0:28:07 > 0:28:12with his life as the epicentre of music in L.A. Acoustic music.
0:28:12 > 0:28:14So it was good for everybody.
0:28:14 > 0:28:19Because it drew everybody to the same place.
0:28:19 > 0:28:24- RADIO:- To check out new talent, there's no better place than down at the Monday night Hootenanny,
0:28:24 > 0:28:28Doug Weston's world-famous Troubadour happening tonight.
0:28:28 > 0:28:31The Hoot Night, an open mic night, was the proving ground.
0:28:31 > 0:28:35It was the first place you could step up in front of people
0:28:35 > 0:28:39without being booked, without being known already.
0:28:39 > 0:28:43There was a hunger for unknown artists in town
0:28:43 > 0:28:46and very qualified musicians
0:28:46 > 0:28:50who couldn't get arrested when it came to getting a gig were there every Monday.
0:28:50 > 0:28:56It wasn't long before Steve Martin showed up.
0:28:56 > 0:28:57Let's go.
0:29:01 > 0:29:05The Mecca was the Troubadour, even though there was a club called The Mecca!
0:29:05 > 0:29:10Hoot Nights, that was short for Hootenanny
0:29:10 > 0:29:13which meant anyone could get up and perform.
0:29:13 > 0:29:16So that's how a lot of people broke into the business.
0:29:18 > 0:29:21The Hoot Nights were fun. The bar was really crowded
0:29:21 > 0:29:25cos everybody would come in. You'd see the movers and shakers.
0:29:25 > 0:29:28They were looking for the next big thing.
0:29:28 > 0:29:33David Geffen was there. He was 25 and he was on the make!
0:29:33 > 0:29:37He was listening to all this talent
0:29:37 > 0:29:40and feeling like he'd hit the motherload.
0:29:40 > 0:29:44Eventually it got popular, so you'd have to sign up. You'd wait in the afternoon.
0:29:44 > 0:29:49Actually I signed Cheech and Chong after I saw them on a Hootenanny.
0:29:49 > 0:29:53We were trying to determine how you'd describe your brand of humour.
0:29:53 > 0:29:55- How would you describe it?- Funny.
0:29:55 > 0:29:58The first guy that signed in got to go on sixth.
0:29:58 > 0:30:02- Which was a good spot.- The best. - Because everybody was in.
0:30:02 > 0:30:05The worst spot would be the first because they're just cleaning up.
0:30:05 > 0:30:09There were a lot of us and we wanted to get people's attention.
0:30:09 > 0:30:13We all thought we were good and we'd get up there and try.
0:30:13 > 0:30:17It gave us a chance to. It was a very important thing.
0:30:21 > 0:30:24The essence of the Troubadour was the hanging out in the bar
0:30:24 > 0:30:30and the people you hadn't heard of doing a couple of really good songs
0:30:30 > 0:30:33and you'd go, "Who's that? That's a good song."
0:30:33 > 0:30:36And you'd suddenly discover Jackson Browne!
0:30:42 > 0:30:44- #- Well I've been out walking
0:30:47 > 0:30:52- #- I don't do that much talking
0:30:52 > 0:30:55- #- These days
0:30:55 > 0:31:01- #- These days
0:31:03 > 0:31:06- #- These days I seem to think a lot
0:31:06 > 0:31:12- #- About the things that I forgot to do- #
0:31:14 > 0:31:17I wasn't really into guys that just play the guitar and sing.
0:31:17 > 0:31:20But he was obviously so great
0:31:20 > 0:31:22and absolutely transfixing
0:31:22 > 0:31:26that I immediately thought, "This guy's got it."
0:31:26 > 0:31:31And we became friends. Jackson used to hitch-hike to my place so we could play music together.
0:31:31 > 0:31:36I was like the most world-weary 16-year-old on the planet!
0:31:36 > 0:31:40When Jackson came, he came with a suitcase full of songs.
0:31:40 > 0:31:43"She's a flying bird that sings
0:31:43 > 0:31:45"with eyes like smoky rings
0:31:45 > 0:31:47"and she told me that she'd teach me how to fly."
0:31:47 > 0:31:49There's this kid,
0:31:49 > 0:31:53this little kid down in Orange County that writes stuff like this!
0:31:54 > 0:32:01# ..to live the life that I have made in song... #
0:32:04 > 0:32:07Then I was a Bob Dylan fan.
0:32:07 > 0:32:10I mean, how do you get like, you know...
0:32:10 > 0:32:12- #- The guilty undertaker sighs
0:32:12 > 0:32:14- #- The lonesome organ grinder cries
0:32:14 > 0:32:18- #- The silver saxophone say I should refuse you
0:32:19 > 0:32:22- #- The cracked bells and washed-out horns
0:32:22 > 0:32:24- #- Blow into my face with scorn
0:32:24 > 0:32:27- #- But it's not that way, I wasn't born to lose you
0:32:29 > 0:32:30- #- I want you
0:32:31 > 0:32:33- #- I want you...- #
0:32:33 > 0:32:38It was part pop song and part intensely personal narrative.
0:32:38 > 0:32:42But it was filled with all the information
0:32:42 > 0:32:45that our generation was being bombarded with.
0:32:45 > 0:32:50Popular music became soulful.
0:32:50 > 0:32:52As people started writing their own music,
0:32:52 > 0:32:56the singer songwriter became more prevalent on stage.
0:32:57 > 0:33:01Nobody ever imagined that any of these acoustic troubadours
0:33:01 > 0:33:04were going to sell millions of records.
0:33:12 > 0:33:16- RADIO:- 'Did you read in yesterday's LA Times the Robert Hilburn column?
0:33:16 > 0:33:20'To do with Vice-President Agnew's remarks with reference to
0:33:20 > 0:33:23'drug songs and all that there jazz.
0:33:23 > 0:33:26'Jim Dixon is taking umbrage about it.'
0:33:29 > 0:33:32- #- Hi de ho
0:33:32 > 0:33:35- #- Hi de hi
0:33:36 > 0:33:42- #- Gonna get me a piece of the sky
0:33:42 > 0:33:47- #- Gonna find me some of that old sweet roll
0:33:47 > 0:33:50- #- Singing hi de hi de hi
0:33:50 > 0:33:53- #- Hi de hi de ho.- #
0:33:53 > 0:33:57Laurel Canyon was an arts community very much like Greenwich Village.
0:33:57 > 0:34:00It was a joy to live there. It was like being in the country.
0:34:00 > 0:34:02It was almost a dreamland.
0:34:06 > 0:34:10We tended to view Laurel Canyon as the forest.
0:34:10 > 0:34:14But it was really, literally, one block
0:34:14 > 0:34:19from one of the heaviest traffic streets in Los Angeles.
0:34:19 > 0:34:22The way you read the books that people write now about it,
0:34:22 > 0:34:25is pretty much nonsense!
0:34:26 > 0:34:28There weren't columns of songwriters marching up!
0:34:28 > 0:34:34Frank Zappa lived there, Joni Mitchell and Graham Nash I think.
0:34:34 > 0:34:35I didn't know one of them!
0:34:37 > 0:34:41I saw them in the Canyon all the time. Jackson Browne...
0:34:41 > 0:34:45They were a bunch of people that drove around with their mixes
0:34:45 > 0:34:48or roughs or recordings or demos and went to each other's house.
0:34:48 > 0:34:56There'd be political talk. Some was fun, some romantic, some of it was inspirational creatively.
0:34:56 > 0:34:59It was incestuous in the best way.
0:34:59 > 0:35:00There was a trifecta going on.
0:35:00 > 0:35:05The bedroom was Laurel Canyon, the living room was the Troubadour
0:35:05 > 0:35:08and marijuana was church!
0:35:09 > 0:35:11- #- Once I met the devil
0:35:11 > 0:35:14- #- He was mighty slick
0:35:15 > 0:35:18- #- Tempted me with worldly goods
0:35:18 > 0:35:20- #- Said I could have my pick...- #
0:35:20 > 0:35:22Everybody smoked grass.
0:35:22 > 0:35:25I mean literally everybody did.
0:35:25 > 0:35:28It had a great deal to do with ideas coming out
0:35:28 > 0:35:32and excitement about discovering life.
0:35:32 > 0:35:37Because when we smoked grass, it wasn't a drug, it was a sacrament!
0:35:37 > 0:35:39It was a sacrament!
0:35:39 > 0:35:42I don't know why different people did it.
0:35:42 > 0:35:44It made me paranoid.
0:35:44 > 0:35:47But I was so curious about why I was paranoid,
0:35:47 > 0:35:49that I kept doing it!
0:35:50 > 0:35:52What it was, when you smoked pot,
0:35:52 > 0:35:54you'd get high for the first time
0:35:54 > 0:35:58and you're like, "Wow! What else they been lying about?"
0:36:01 > 0:36:07We were in a very stratified and nearly dead society
0:36:07 > 0:36:09that wasn't willing.
0:36:09 > 0:36:14And whatever it took to blow us loose from that and get us into the next thing
0:36:14 > 0:36:16we wanted to do.
0:36:17 > 0:36:20- #- Hi de hi de hi
0:36:20 > 0:36:24- #- Hi de hi de ho.- #
0:36:28 > 0:36:31A lot of people who poured into LA and the canyons in the late '60s
0:36:31 > 0:36:35came from a folky background.
0:36:35 > 0:36:40Sweet Baby James just becomes the sound of the canyons
0:36:40 > 0:36:42of Los Angeles
0:36:42 > 0:36:45in late 1969.
0:36:50 > 0:36:55# There is a young cowboy who lives on the range
0:36:56 > 0:37:02# His horse and his cattle are his only companions
0:37:03 > 0:37:07# He works in the saddle and he sleeps in the canyons
0:37:07 > 0:37:14# Waiting for summer his pastures to change. #
0:37:16 > 0:37:18When a singer songwriter shows up,
0:37:18 > 0:37:24the first record, the first batch that they play is ten years' work.
0:37:25 > 0:37:29The second record is when you find out how good they are!
0:37:29 > 0:37:32I wanted to let the songs speak for themselves
0:37:32 > 0:37:34and that what I'd done wrong last time
0:37:34 > 0:37:37was letting the arrangement get in the way of the essence of the song
0:37:37 > 0:37:39which his James and his guitar.
0:37:39 > 0:37:42I made sure that they were front and centre at all times.
0:37:44 > 0:37:49# Good night, you moonlight ladies
0:37:50 > 0:37:53# Rock-a-bye sweet baby James
0:37:55 > 0:37:59# Deep greens and blues are the colours I choose
0:37:59 > 0:38:04# Won't you let me go down in my dreams
0:38:05 > 0:38:09# And rock-a-bye sweet baby James. #
0:38:10 > 0:38:12No-one writes lyrics like James.
0:38:12 > 0:38:14He's completely unique.
0:38:14 > 0:38:17Through the good times and the bad times
0:38:17 > 0:38:20and when he was down, he faced those furies. He wrote about them.
0:38:20 > 0:38:22They come out in his music.
0:38:22 > 0:38:27# So good night, you moonlight ladies
0:38:27 > 0:38:31# Rock-a-bye sweet baby James
0:38:33 > 0:38:37# Deep greens and blues are the colours I choose
0:38:37 > 0:38:42# Won't you let me go down in my dreams
0:38:42 > 0:38:47# And rock-a-bye sweet baby James. #
0:38:49 > 0:38:51Finding the band was an operation.
0:38:51 > 0:38:55I don't remember who introduced James or I first to Carole.
0:38:55 > 0:38:57Possibly Kootch. I don't know.
0:38:57 > 0:39:02But we met her and loved everything about her. Her songs, her piano playing, her persona.
0:39:02 > 0:39:05The feeling was real electric between them.
0:39:05 > 0:39:09Carole was obviously excited.
0:39:09 > 0:39:13If you can imagine James's subdued nature being electric, it was.
0:39:13 > 0:39:16First of all, you can ask me about James any time
0:39:16 > 0:39:19because I love him so much.
0:39:19 > 0:39:23It's that real... Everybody says, "Were you a couple?" No.
0:39:23 > 0:39:26"Did you ever think about it?" No.
0:39:26 > 0:39:28The first connection was musical.
0:39:28 > 0:39:31It turned out we spoke the same language,
0:39:31 > 0:39:34we sat down and slipped back into the mother tongue, really.
0:39:34 > 0:39:37It was great. We played on each other's records.
0:39:37 > 0:39:40We just had a common mind.
0:39:40 > 0:39:42They're very different.
0:39:42 > 0:39:46Very different. Carole's the earth mother, Jewish mother kind of babe,
0:39:46 > 0:39:50James is a kind of aesthetic Protestant vicar kind of guy.
0:39:50 > 0:39:53Although they're both hilarious, in different ways.
0:39:53 > 0:39:58It's the contrast that makes it so entertaining, and maybe always has.
0:39:59 > 0:40:03James was one of the first artists that my mom met
0:40:03 > 0:40:09that wasn't an artist she just wrote for, that she helped make their record.
0:40:09 > 0:40:13This was an artist that did something she didn't know how to do
0:40:13 > 0:40:16that she was inspired by, that she admired.
0:40:16 > 0:40:19I think he was really an inspiration to her.
0:40:19 > 0:40:24I've always had confidence in the fact that when I played music,
0:40:24 > 0:40:27it touched people in some way.
0:40:27 > 0:40:31And the place I didn't have confidence was as a performer.
0:40:31 > 0:40:33That's where I had no confidence.
0:40:33 > 0:40:36And that's where you came in!
0:40:36 > 0:40:39'I felt that Carole really should be singing her own songs.
0:40:39 > 0:40:44'With Kootch's help, we encouraged her to sing her own songs in my set.'
0:40:44 > 0:40:49This song is for all the people at the Troubadour this week
0:40:49 > 0:40:53who've been really fantastic. And for you, who are also fantastic!
0:40:53 > 0:40:56Carole debuted in '70, I guess it was.
0:40:56 > 0:41:00She opened at the Troubadour, very nervous. I think we went together.
0:41:00 > 0:41:06I was excited, because the song sounded really good and I'd never heard my songs performed.
0:41:06 > 0:41:13I had my act really carefully worked out and I knew exactly what I was going to do and say.
0:41:13 > 0:41:17And at the end of my third number, as the applause died down,
0:41:17 > 0:41:23I heard this voice over a speaker saying, "Carole, you're not gonna believe this..."
0:41:23 > 0:41:28There's been a bomb scare, bomb threat phoned in. You have to evacuate the club.
0:41:28 > 0:41:31And Carole had the wit to say, "As long as it's not me!"
0:41:32 > 0:41:35And that kind of broke the ice.
0:41:35 > 0:41:41I really felt comfortable up there. I realised I just had to be myself.
0:41:41 > 0:41:45- #- You've got to get up every morning
0:41:45 > 0:41:47- #- With a smile on your face
0:41:47 > 0:41:51- #- And show the world all the love in your heart
0:41:54 > 0:41:56- #- Then people gonna treat you better
0:41:56 > 0:41:59- #- You're gonna find, yes you will
0:41:59 > 0:42:01- #- That you're beautiful,
0:42:02 > 0:42:06- #- As you feel. #
0:42:07 > 0:42:11When she finally stepped up to the plate herself,
0:42:11 > 0:42:13it was like hitting a major vein,
0:42:13 > 0:42:18like a seam of water flowing underground or something.
0:42:18 > 0:42:20It just welled up.
0:42:20 > 0:42:23And after a while she was opening for me
0:42:23 > 0:42:25and then after a while I was opening for her!
0:42:25 > 0:42:28- #- Maybe love can end the madness
0:42:28 > 0:42:35- #- Maybe not, oh, but we can only try
0:42:35 > 0:42:39- #- You've got to get up every morning
0:42:39 > 0:42:41- #- With a smile on your face
0:42:41 > 0:42:47- #- And show the world all the love in your heart...- #
0:42:47 > 0:42:49She was remarkable.
0:42:49 > 0:42:54She wasn't barefoot like Linda Ronstadt or have flowers in her hair like Joni.
0:42:54 > 0:42:58She wasn't being gutsy like Bonnie Raitt.
0:42:58 > 0:42:59She was kinda real.
0:42:59 > 0:43:05One of the greatest tributes to a performer there is when the bar would empty out
0:43:05 > 0:43:09and everybody would find an excuse to go to the bathroom and then watch the act!
0:43:09 > 0:43:12The bar emptied when Carole was on.
0:43:12 > 0:43:14ENTHUSIASTIC APPLAUSE
0:43:19 > 0:43:21Some time after we got to LA,
0:43:21 > 0:43:23a short time after that,
0:43:23 > 0:43:25Lou Adler signed my mom
0:43:25 > 0:43:27and started putting out records,
0:43:27 > 0:43:32first The City, then Writer and then Tapestry.
0:43:40 > 0:43:44- #- I feel the earth move under my feet
0:43:44 > 0:43:47- #- I feel the sky tumblin' down
0:43:48 > 0:43:51- #- I feel my heart start a-tremblin'
0:43:51 > 0:43:56- #- Whenever you're around
0:43:56 > 0:44:01- #- Ooh, baby, when I see your face
0:44:01 > 0:44:04- #- Mellow as the month of May...- #
0:44:05 > 0:44:09Tapestry is just a zeitgeist classic.
0:44:09 > 0:44:12It's a world away from Little Eva, let's face it!
0:44:12 > 0:44:16- #- I feel the earth move under my feet- #
0:44:16 > 0:44:20Everything that I ever wanted to accomplish with the album
0:44:20 > 0:44:22just fell into place.
0:44:22 > 0:44:26You always get the feeling that she's sitting playing piano and singing to you.
0:44:36 > 0:44:40It was that kind of experience where we learned from each other.
0:44:40 > 0:44:44And hence the joy of playing together.
0:44:44 > 0:44:47She would suggest, while playing the song,
0:44:47 > 0:44:49give me some little fills here, not too much,
0:44:49 > 0:44:52just answering the vocal. Now back to playing rhythm.
0:44:52 > 0:44:54INSTRUMENTAL
0:45:03 > 0:45:08Carole's voice, which is like the voice of every woman's,
0:45:08 > 0:45:12singing these songs about women's issues to a certain extent,
0:45:12 > 0:45:14appeal to a lot of people.
0:45:14 > 0:45:18You don't have to look like a movie star to get a record deal.
0:45:18 > 0:45:22She was one of the first and most earthy of the crossover artists.
0:45:22 > 0:45:26I don't think anybody including her expected her to have such success
0:45:26 > 0:45:29but her connection with us was so profound.
0:45:29 > 0:45:33- #- Down to my very soul
0:45:33 > 0:45:36- #- I get hot and cold...- #
0:45:36 > 0:45:39I remember these as golden days
0:45:39 > 0:45:44because this was when we were just a three-person unit.
0:45:44 > 0:45:47It was just good times.
0:45:47 > 0:45:52I remember it as almost being like having a babysitter rather than a mom.
0:45:52 > 0:45:54Cos she was so cool. It was good times.
0:45:54 > 0:45:57- #- A-tumblin' down
0:45:57 > 0:45:58- #- A-tumblin' down
0:45:58 > 0:46:01- #- A-tumblin' down
0:46:01 > 0:46:03- #- A-tumblin' down
0:46:03 > 0:46:08- #- Tumblin' down.- #
0:46:10 > 0:46:14With James, I'm a cat. I'm a side man.
0:46:14 > 0:46:16That's the beauty of this band too.
0:46:16 > 0:46:19Everyone's a cat. Everyone's there to make us better.
0:46:19 > 0:46:23It's not just musicians.
0:46:23 > 0:46:27It's musicians who know they're there to serve the song and the performance.
0:46:33 > 0:46:35It's a joy to be a cat.
0:46:40 > 0:46:44It's important to talk about the sound of those records.
0:46:44 > 0:46:47Just a nice, woody, organic sound
0:46:47 > 0:46:51exemplified really by the guys who became known as the section.
0:46:51 > 0:46:55We were fortunate enough to come at a time when they were putting names on albums.
0:46:55 > 0:47:00People looked at the record, saw our names and went, "Let's call those guys for this record."
0:47:00 > 0:47:04- Suddenly we had careers.- Right. - Who would have thought?
0:47:14 > 0:47:17We were a bunch of kids amazed that we were getting to do this.
0:47:17 > 0:47:21Everyone was what, 21, 20 years old.
0:47:22 > 0:47:25It was like, "Somebody pinch me!"
0:47:42 > 0:47:48Maybe for ten years, half the music made in LA was made by the same group of 20 cats.
0:47:48 > 0:47:50What they called the LA studio mafia.
0:47:50 > 0:47:54Writers would go, "Oh, they got those LA guys playing again."
0:47:54 > 0:47:57But the truth is those LA guys are pretty good.
0:47:57 > 0:48:01They played beautifully but not show off-ily.
0:48:01 > 0:48:06It wasn't flashy, it was simple. It served the song.
0:48:06 > 0:48:10What was very important for the three of us is that we had each other.
0:48:10 > 0:48:15Anytime stuff would get nasty, Leland would crack a joke or Russ would pat me on the back.
0:48:15 > 0:48:18I realised I wasn't alone. The three of us were there for each other.
0:48:18 > 0:48:22- Very important.- We still are. - And we still are, absolutely.
0:48:22 > 0:48:23Group hug?
0:48:42 > 0:48:46- RADIO:- A singer songwriter has no direction till he's backed up by The Section.
0:48:46 > 0:48:50Russ Kunkel, Leland Sklar, Craig Doerge and Danny Kortchmar.
0:48:50 > 0:48:55And when they aren't in the studio, they're playing behind one of the top-selling artists
0:48:55 > 0:48:58they back up at the world-famous Troubadour.
0:48:59 > 0:49:05The Troubadour, of any club in the country, this is where the singer songwriter wanted to be.
0:49:05 > 0:49:08It was the Grand Ole Opry of singer songwriters.
0:49:09 > 0:49:13I was so excited. I've always wanted to come to America.
0:49:15 > 0:49:20I imagined California, Los Angeles, to be exactly like the Beverly Hillbillies.
0:49:20 > 0:49:22Which, of course, it was!
0:49:22 > 0:49:26Most of the people who played there, you'd heard a bit about before.
0:49:26 > 0:49:30But Elton was just totally unknown. What's he doing in this atmosphere?
0:49:30 > 0:49:34It's like a guy from the Minors, putting him in Dodger Stadium.
0:49:34 > 0:49:39And he started out, playing at the piano and he was kind of nervous.
0:49:39 > 0:49:42He wasn't connecting particularly well.
0:49:42 > 0:49:47I remember the audience, maybe three-quarters empty.
0:49:48 > 0:49:52And thinking, "The guy's really good.
0:49:52 > 0:49:55"Too bad he can't draw any people."
0:49:55 > 0:49:57The guy next to me was starting to yawn.
0:49:57 > 0:50:00He was kind of losing the audience.
0:50:00 > 0:50:03All of a sudden, he kicks back the piano.
0:50:07 > 0:50:10# If you feel that it's real
0:50:10 > 0:50:15# I'm on trial and I'm here in your prison
0:50:16 > 0:50:19# Like a coin in your mint
0:50:19 > 0:50:24# I am dented and I'm spent with high treason
0:50:26 > 0:50:29# Through a glass eye your throne
0:50:29 > 0:50:31# Is the one danger zone
0:50:31 > 0:50:35# Take me to the pilot for control
0:50:37 > 0:50:42# Take me to the pilot of your soul
0:50:42 > 0:50:45# Take me to the pilot Lead me through the chamber
0:50:45 > 0:50:48# Take me to the pilot I am but a stranger... #
0:50:48 > 0:50:50He stunned us, I want to tell you.
0:50:50 > 0:50:53Nobody had ever seen anything quite like that before!
0:50:53 > 0:50:56I was blown away like everybody else.
0:50:56 > 0:50:59Wow! Great songs
0:50:59 > 0:51:01great performance, great presence.
0:51:01 > 0:51:06And then Elton just took it to an Elton level!
0:51:06 > 0:51:09People were talking about it and radio starts playing him more.
0:51:09 > 0:51:15There was an enormous explosion of interest in this guy.
0:51:15 > 0:51:18And that night is what made him a star.
0:51:18 > 0:51:22It was so great. It did so much for my confidence playing there.
0:51:22 > 0:51:26Then with Bob Hilburn's review, it sealed the envelope.
0:51:26 > 0:51:27They're on their way.
0:51:27 > 0:51:31It was August 1970. I said, "Rejoice.
0:51:31 > 0:51:36"Rock music, which has been going through an uneventful period lately has a new star.
0:51:36 > 0:51:39"His name is Elton John, a 23-year-old Englishman
0:51:39 > 0:51:44"whose US debut on Tuesday at the Troubadour was in every way magnificent."
0:51:44 > 0:51:47I wasn't one to hold back!
0:51:47 > 0:51:48# Take it to the pilot
0:51:48 > 0:51:50# Lead me through the chamber
0:51:50 > 0:51:51# Take me to the pilot
0:51:51 > 0:51:52# I am but a stranger
0:51:52 > 0:51:54# Take me to the pilot
0:51:54 > 0:51:56# Lead me through the chamber
0:51:56 > 0:51:57# Take me to the pilot
0:51:57 > 0:51:58# I am but a stranger
0:51:58 > 0:52:01# Nah, nah, nah, nah, nah, nah
0:52:01 > 0:52:04# Nah, nah, nah, nah, nah, na-na-nah. #
0:52:04 > 0:52:07When Elton came there, it changed the music scene at that moment
0:52:07 > 0:52:11as profoundly as James did when we played there.
0:52:11 > 0:52:17His big break is in this little folk club on Santa Monica Boulevard.
0:52:17 > 0:52:20It sort of established the club
0:52:20 > 0:52:25as the key place where you would hope to become some kind of star.
0:52:25 > 0:52:30Doug Weston was very pleased with his success and felt very paternal, very responsible
0:52:30 > 0:52:34for the success of a lot of people who were at that point huge successes
0:52:34 > 0:52:37because of their original appearance in his club.
0:52:49 > 0:52:50Shooey, baby.
0:52:50 > 0:52:52The bar was it!
0:52:52 > 0:52:56You go in the bar and see everybody in show business at that bar.
0:52:56 > 0:53:00Graham Nash and David Crosby and Neil Young and Stephen Stills.
0:53:00 > 0:53:03All these people were just around.
0:53:03 > 0:53:05The guys that turned out to be The Eagles
0:53:05 > 0:53:08used to be sitting over there all the time.
0:53:08 > 0:53:10Glenn Frey and Henley was there.
0:53:10 > 0:53:15That was the only time I met Janis Joplin. I sat and drank Southern Comfort with her!
0:53:15 > 0:53:17- Barbra Steisand.- Jack Nicholson.
0:53:17 > 0:53:19- Jim Morrison.- John Lennon.
0:53:19 > 0:53:22Betty White and her husband Allen Ludden came in.
0:53:22 > 0:53:25I'm there and she said, "We think you're funny."
0:53:25 > 0:53:30Often when people perceive there to be a scene, sometimes there isn't. In this case, there was.
0:53:30 > 0:53:31- It was the hang.- It was a hang.
0:53:31 > 0:53:37Could have been the best acts in the world on stage. We only heard them on our way to the bathroom
0:53:37 > 0:53:39because we were part of the scene out front.
0:53:39 > 0:53:43- Many times, they never saw the show. - Never saw it.- They were at the bar.
0:53:43 > 0:53:46You'd come up to the bar and they say, "I hear you were pretty good."
0:53:47 > 0:53:49Most people did know each other.
0:53:49 > 0:53:52Most people in the end slept with each other!
0:53:52 > 0:53:562.00am rolled round. The girls got prettier and I'm sure the guys got prettier too!
0:53:56 > 0:53:58Everybody's beautiful when you're 20!
0:53:58 > 0:54:03There was a period of time between the coming of the birth control pill
0:54:03 > 0:54:06and the onslaught of AIDs.
0:54:06 > 0:54:09During that period of time,
0:54:09 > 0:54:13if you were lucky enough to be out and single and running around,
0:54:13 > 0:54:17sex was really a lot of fun.
0:54:19 > 0:54:20Really a lot!
0:54:20 > 0:54:22Let me stress that!
0:54:23 > 0:54:25Girls, man.
0:54:25 > 0:54:27It was girls.
0:54:27 > 0:54:31The waitresses were great. The girls who came were great.
0:54:31 > 0:54:33We were the guys with the guitars.
0:54:33 > 0:54:35All I was doing was looking for love.
0:54:35 > 0:54:39They had beautiful women at the Troubadour.
0:54:39 > 0:54:41We had the blue skies.
0:54:41 > 0:54:43It was going to go on for ever.
0:54:49 > 0:54:55For the great majority of us, when we were doing pot or psychedelics,
0:54:55 > 0:54:59things were headed in a fairly interesting direction.
0:54:59 > 0:55:03When we started doing coke and heroin, things went to shit.
0:55:03 > 0:55:06As they will do.
0:55:11 > 0:55:14So, here we are again!
0:55:14 > 0:55:17Here we are still and again!
0:55:17 > 0:55:19Still and again, yeah.
0:55:19 > 0:55:22So long as we don't live here.
0:55:22 > 0:55:25To show up every 20 years or so, I guess it's OK.
0:55:25 > 0:55:28I'll take it. If we're back here in 20 years,
0:55:28 > 0:55:31that would be what you would call "age inappropriate"!
0:55:31 > 0:55:33I can't even say it!
0:55:33 > 0:55:36- Age inappropriate.- That's right.
0:55:36 > 0:55:39I do not want to be playing the Troubadour at age 88!
0:55:40 > 0:55:43- There's Linda, to answer your question.- Yeah.
0:55:44 > 0:55:47Jackson's up there, too.
0:55:47 > 0:55:49Everybody looks so young!
0:55:52 > 0:55:55At the beginning, I didn't know what was going on. I was naive.
0:55:55 > 0:56:00On the Apple record, he'd spend a long time in the bathroom and I thought he wasn't well.
0:56:00 > 0:56:02I guess he didn't!
0:56:02 > 0:56:05Later on, I became all too aware of exactly what was going on
0:56:05 > 0:56:11and occasionally I'd get involved and try and find some methadone
0:56:11 > 0:56:15to finish the last two days of the tour in some nightmare scenario.
0:56:15 > 0:56:20But at that point my role would switch from manager to friend.
0:56:20 > 0:56:23The point wasn't how would it affect his career and music,
0:56:23 > 0:56:28the point was how do we keep him alive and have him not be another boring dead junkie.
0:56:31 > 0:56:34How old were you when you were fully off it?
0:56:34 > 0:56:39I cleaned up in 1983 at the age of 35.
0:56:39 > 0:56:42So it's been 27 years now since I've been in recovery.
0:56:42 > 0:56:44And I think, um...
0:56:45 > 0:56:49You know, the shocking thing was to see that a lot of...
0:56:50 > 0:56:54Something like 15% of people who were seriously addicted
0:56:54 > 0:56:56get any meaningful recovery at all.
0:56:56 > 0:57:00That is to say, 85% of people die from the disease.
0:57:00 > 0:57:02I've been a lucky guy.
0:57:02 > 0:57:05It really is one of those things where, each day...
0:57:05 > 0:57:08It's funny to be sitting in a bar talking about this.
0:57:08 > 0:57:13It was one of the occupational hazards of being night folk.
0:57:13 > 0:57:16Entertainment people, it's just...
0:57:16 > 0:57:19That was my blessing. I was never a night person!
0:57:19 > 0:57:26What's your take on how difficult it is for a woman to have a career in the performing arts
0:57:26 > 0:57:29and also maintain a family.
0:57:29 > 0:57:32Very difficult. Very difficult.
0:57:32 > 0:57:37The only time, I guess, when I had really young children that I ever was on tour
0:57:37 > 0:57:39was with you.
0:57:39 > 0:57:41I remember we were, I think, away for six weeks,
0:57:41 > 0:57:45home for two weeks and then away for another six weeks.
0:57:45 > 0:57:48That six weeks, it was very difficult.
0:57:49 > 0:57:53- #- So far away
0:57:53 > 0:58:00- #- Doesn't anybody stay in one place any more
0:58:01 > 0:58:07- #- It would be so fine to see your face at my door
0:58:08 > 0:58:11- #- Doesn't help to know
0:58:11 > 0:58:14- #- You're just time away...- #
0:58:14 > 0:58:18I was maybe eight years old, maybe nine.
0:58:18 > 0:58:22She was on tour and left me behind with a friend of hers who was a nice lady
0:58:22 > 0:58:24but she wasn't my mom.
0:58:24 > 0:58:27And So Far Away came on the radio
0:58:27 > 0:58:31and it could not have spoken more to me
0:58:31 > 0:58:32than anything!
0:58:32 > 0:58:36I missed my mother so much and listening to So Far Away
0:58:36 > 0:58:40it played on the radio and that cry felt so good.
0:58:40 > 0:58:42I put it on again and I cried again.
0:58:42 > 0:58:44Then I put it on again on the record.
0:58:45 > 0:58:50- #- One more song about moving along the highway
0:58:52 > 0:58:56- #- Can't say much of anything that's new
0:58:59 > 0:59:05- #- If I could only work this life out my way
0:59:06 > 0:59:08- #- I'd rather spend it
0:59:09 > 0:59:12- #- Being close to you...- #
0:59:12 > 0:59:16The success of Tapestry was astonishing!
0:59:16 > 0:59:19I had no idea it would do what it did.
0:59:19 > 0:59:22The winner is Carole King, You've Got A Friend.
0:59:22 > 0:59:26The winner, Tapestry, Carole King.
0:59:26 > 0:59:28It's Carole King with Too Late.
0:59:32 > 0:59:37By way of explanation, Carole's recently had a baby
0:59:37 > 0:59:41and she's in California, working on becoming the Mother of the Year!
0:59:42 > 0:59:48- #- Travelling around sure gets me down and lonely
0:59:50 > 0:59:54- #- Nothing else to do but close my mind
0:59:56 > 1:00:02- #- I sure hope the road don't come to own me
1:00:03 > 1:00:07- #- There's so many dreams
1:00:07 > 1:00:11- #- I've yet to find
1:00:13 > 1:00:17- #- But you're so far away...- #
1:00:17 > 1:00:21When typical things were expected of someone who was successful.
1:00:21 > 1:00:24You were going to go out and do interviews.
1:00:24 > 1:00:28I didn't, and I said to Lou Adler, "I don't want to do interviews."
1:00:28 > 1:00:31Because I felt like you. I don't want to talk about my music.
1:00:31 > 1:00:33I want to let my music speak for itself.
1:00:33 > 1:00:35And I'm going home.
1:00:35 > 1:00:39People thought, "Who doesn't want to do interviews? Who doesn't want the fame?"
1:00:39 > 1:00:42But she wanted to choose the way she lived her life
1:00:42 > 1:00:47and not have the machine choose it for her.
1:00:47 > 1:00:51I stayed home with Molly. I didn't go to the Grammies to accept my Grammy that year.
1:00:51 > 1:00:54That's how I dealt with it.
1:00:54 > 1:00:56I sort of pretended it didn't exist
1:00:56 > 1:00:58and so I got my wish.
1:00:58 > 1:01:02What existed, what lived, what got through to people was the music.
1:01:02 > 1:01:05And I got to have my life.
1:01:05 > 1:01:07PLAYS INSTRUMENTAL END TO "SO FAR AWAY"
1:01:29 > 1:01:32It was a great scene, an inspiring scene to be in.
1:01:32 > 1:01:36Because everybody was thinking the same thing.
1:01:36 > 1:01:40But it wasn't so much, "I want to be an artist." It was, "I want to make it."
1:01:40 > 1:01:43But people knew that to make it, you be an artist!
1:01:43 > 1:01:47I remember Glenn Frey. He was in a group called Longbranch-Pennywhistle.
1:01:48 > 1:01:50It was a duo, as I recall.
1:01:50 > 1:01:54They had just broken up and he was adrift.
1:01:54 > 1:01:59And he just said, "I want to be a rock'n'roll star.
1:01:59 > 1:02:01"I want to be a rock'n'roll star so bad!"
1:02:01 > 1:02:03# Well I'm running down the road
1:02:03 > 1:02:05# Trying to loosen my load
1:02:05 > 1:02:08# I've got seven women on my mind
1:02:09 > 1:02:10# Four that wanna own me
1:02:10 > 1:02:12# Two that wanna stone me
1:02:12 > 1:02:14# One says she's a friend of mine
1:02:15 > 1:02:18# Take it easy
1:02:18 > 1:02:22# Take it easy... #
1:02:22 > 1:02:25Glenn says, "What do you think about this for a name? Eagles."
1:02:25 > 1:02:29And I said, "I like that. The Eagles."
1:02:29 > 1:02:31And he said, "No. Eagles."
1:02:31 > 1:02:34I said, "Yeah. The Eagles. Sounds good."
1:02:34 > 1:02:36He said, "No. Eagles."
1:02:36 > 1:02:41Finally I figured it out. "Oh, Eagles." That's the name of the group.
1:02:41 > 1:02:44People think it's The Eagles, but it's not. It's Eagles.
1:02:44 > 1:02:47I always liked The Eagles better, frankly, but...
1:02:47 > 1:02:50# Standing on a corner in Winslow, Arizona
1:02:50 > 1:02:53# Such a fine sight to see
1:02:53 > 1:02:57# It's a girl, my lord, in a flat-bed Ford
1:02:57 > 1:03:00# Slowing down to take a look at me... #
1:03:00 > 1:03:02Lighten up while you still can.
1:03:02 > 1:03:04Don't even try to understand.
1:03:04 > 1:03:05I mean, to me,
1:03:05 > 1:03:09there in two lines is so much that is wrong
1:03:09 > 1:03:11with this sensibility.
1:03:11 > 1:03:15It has nothing to do with the fact that Nixon is president
1:03:15 > 1:03:17or that war hasn't ended.
1:03:17 > 1:03:18Nothing to do with it at all.
1:03:18 > 1:03:22It has to do with the fact that they've been trying very hard to make it
1:03:22 > 1:03:28and sometimes they've had to eat burritos, maybe even beans.
1:03:28 > 1:03:30And now they don't.
1:03:30 > 1:03:33It was really hard and they're exhausted.
1:03:33 > 1:03:35Exhausted from this struggle!
1:03:36 > 1:03:41# You know we got it easy
1:03:43 > 1:03:48# We ought to take it easy... #
1:03:48 > 1:03:54LA was the bete noire for so many rock critics
1:03:54 > 1:03:56outside of California.
1:03:56 > 1:03:58I used the term El Lay...
1:04:00 > 1:04:03I just thought it was funny and insulting.
1:04:03 > 1:04:09It just represented everything that was somehow self-satisfied.
1:04:09 > 1:04:12- Fey.- Navel-gazing.
1:04:12 > 1:04:14- Detached.- Sun-drenched.
1:04:14 > 1:04:17Casual, cool arrogance.
1:04:17 > 1:04:22Whereas rock'n'roll was supposed to be about the anger of the streets.
1:04:22 > 1:04:25By that time, it had definitely hardened
1:04:25 > 1:04:31into a truly irritating and more or less worthless sensibility.
1:04:31 > 1:04:34We just thought it was because they were cold and starving
1:04:34 > 1:04:36and jealous in New York
1:04:36 > 1:04:38and we were in LA with money and beautiful women!
1:04:38 > 1:04:43Anybody that starts making money in the rock world is going to get torn down.
1:04:43 > 1:04:48If they paid journalists better, maybe it wouldn't happen, but they didn't!
1:04:49 > 1:04:54We always hated that, "The California sound. The Mafia."
1:04:54 > 1:04:59Fuck you! It ain't no mellow Mafia. We'd kick your arse in five seconds.
1:04:59 > 1:05:02The fact that we were playing music that wasn't loud
1:05:02 > 1:05:04did not mean we were mellow.
1:05:08 > 1:05:10Some rock'n'roll is supposed to be scary.
1:05:10 > 1:05:14Some is supposed to be soulful. Some is supposed to make you cry.
1:05:14 > 1:05:15James is part of all of that.
1:05:15 > 1:05:21# Take to the highway, won't you lend me your name
1:05:23 > 1:05:28# Your way and my way, they seem to be one and the same
1:05:29 > 1:05:32# Momma don't understand it
1:05:32 > 1:05:35# She wants to know where I've been
1:05:36 > 1:05:39# I have to be some kind of natural born fool... #
1:05:39 > 1:05:43Early on I learned to close a periodical and put it down
1:05:43 > 1:05:45if I came to my name in it.
1:05:45 > 1:05:49So Lester Bangs writes this piece called "James Taylor marked for death."
1:05:49 > 1:05:53In this fabulous piece of writing, he imagines going to North Carolina
1:05:53 > 1:05:57and running James Taylor through with a broken off bottle.
1:05:57 > 1:06:02It amused me because James Taylor would make mincemeat out of Lester Bangs in about three seconds!
1:06:02 > 1:06:06People decide who is successful, not Lester Bangs or any other critic.
1:06:06 > 1:06:09# La, la, la, la, la, la, la, la, la
1:06:12 > 1:06:14# Would you walk on down
1:06:15 > 1:06:17# On down country roads. #
1:06:17 > 1:06:20At that time, critics had a lot more clout than they have now.
1:06:20 > 1:06:24Nobody remembers Lester Bangs. Everybody remembers James Taylor.
1:06:24 > 1:06:26The music always wins. Always.
1:06:52 > 1:06:56There was a lot that happened. Had just happened.
1:06:56 > 1:06:59I think a lot of my friends and I
1:06:59 > 1:07:07had really done a lot by the time we were 21 or 22. Been a lot of places.
1:07:07 > 1:07:11How long can free love and pot exist
1:07:11 > 1:07:15as a cultural foundation?
1:07:15 > 1:07:17It can't, really.
1:07:17 > 1:07:20In things like Running On Empty,
1:07:20 > 1:07:22Jackson does capture
1:07:22 > 1:07:25the true nature of what was going on here.
1:07:25 > 1:07:29The Babylonian aspects of LA.
1:07:48 > 1:07:51- #- Looking out at the road rushing under the wheel
1:07:54 > 1:07:57- #- Looking back at the years gone by
1:07:57 > 1:08:00- #- Like so many summer fields
1:08:01 > 1:08:07- #- '65 I was seventeen and running up one-on-one
1:08:08 > 1:08:11- #- I don't know where I'm running now
1:08:11 > 1:08:14- #- I'm just running on...- #
1:08:15 > 1:08:18Rock has not only refused to go away, it's become an institution.
1:08:18 > 1:08:22Americans are now spending 2 billion a year on music.
1:08:22 > 1:08:27That's 700 million more than the movie industry grosses in one year.
1:08:27 > 1:08:32About three times the money taken in by all spectator sports.
1:08:32 > 1:08:35The more you have a bunch of people
1:08:35 > 1:08:38who are in the business of cranking that stuff out,
1:08:38 > 1:08:42the more it obscures what really comes out of people's own experience.
1:08:42 > 1:08:46- #- Running on - Running on empty
1:08:46 > 1:08:50- #- Running on - Running round... #
1:08:50 > 1:08:53These were guys with too much power, too little taste,
1:08:53 > 1:08:57big visions of themselves as king makers.
1:08:57 > 1:08:59They built huge buildings,
1:08:59 > 1:09:00bought jets.
1:09:00 > 1:09:03In the long run, it didn't work out too well.
1:09:03 > 1:09:04# It'll be all right
1:09:05 > 1:09:10# If I can get you to smile before I leave. #
1:09:17 > 1:09:23I think excess has the seeds of destroying anybody.
1:09:23 > 1:09:26Whether it's too much money, too much indulgence,
1:09:26 > 1:09:29too many choices, too many drugs.
1:09:29 > 1:09:32# Won't you come and take me home
1:09:35 > 1:09:37# I've been too long at the fair. #
1:09:37 > 1:09:41Over the years, Doug became resentful of the fact
1:09:41 > 1:09:44that Elton John would go for his club
1:09:44 > 1:09:47where he would get all the attention and become a star,
1:09:47 > 1:09:52while he was still Doug Weston here. They were saying, "Bye, Doug", and going on to success.
1:09:52 > 1:09:55# I just can't stand it any more... #
1:09:58 > 1:10:00# I went down to Jason
1:10:00 > 1:10:03# Walked till my feet got sore
1:10:03 > 1:10:07# But I never knew what laughing was
1:10:07 > 1:10:11# Till you walked out the door... #
1:10:11 > 1:10:15Doug Weston was a great club owner. That might be an oxymoron, but...
1:10:15 > 1:10:19He was a good guy and he gave a lot of great people work.
1:10:19 > 1:10:22But he did have a way of sort of tying you up.
1:10:22 > 1:10:25Doug had a contract with everybody. Once you made it,
1:10:25 > 1:10:31- you had to come back five times... - Several times.- For four or five years. Or two years or something.
1:10:31 > 1:10:35Forget the Staple Centre or The Forum, everywhere we played.
1:10:35 > 1:10:39That contract had me playing The Troubadour for ever!
1:10:39 > 1:10:43It's got a special place in my heart,
1:10:43 > 1:10:46although I'm glad I'm not still working here!
1:10:46 > 1:10:49# I guess that's just my pride
1:10:49 > 1:10:53# But I have heard the Prince of Darkness... #
1:10:53 > 1:10:56There was bitterness. Guys who could play 4,000-seat halls
1:10:56 > 1:10:58had to go back and play The Troubadour.
1:10:58 > 1:11:03There was also talk about cocaine and strange ways Doug was operating.
1:11:03 > 1:11:06He would take to the stage, scream at the audience,
1:11:06 > 1:11:10I think on one occasion he told them all to leave!
1:11:10 > 1:11:12Welcome to The Troubadour.
1:11:12 > 1:11:15No, you have to do that again. Do it this way.
1:11:15 > 1:11:17Yep, yep, yep. Unbelievable.
1:11:17 > 1:11:22He would do some pretty crazy outlandish things,
1:11:22 > 1:11:27such as buying a Rolls-Royce when there was no money in the bank account.
1:11:27 > 1:11:31One time he bought an antiques store!
1:11:31 > 1:11:33The people at the club couldn't deal with him,
1:11:33 > 1:11:37and the people in the industry couldn't deal with him.
1:11:37 > 1:11:42That was responsible for so many people saying, "To hell with Doug Weston."
1:11:42 > 1:11:48# I just can't stand it any more... #
1:11:50 > 1:11:53I come to The Troubadour right before sound check.
1:11:53 > 1:11:57And the guy at the door says, "I don't have your name on the list."
1:11:57 > 1:11:59I said, "Can I see the list? I probably made it!"
1:11:59 > 1:12:02He said, "Maybe at the back door."
1:12:02 > 1:12:05So I go round to the back door.
1:12:05 > 1:12:07I swear this is true.
1:12:07 > 1:12:09Same guy opens the door!
1:12:09 > 1:12:12It was one of the reasons that I opened The Roxy.
1:12:20 > 1:12:24The Roxy was opened specifically to out-compete The Troubadour.
1:12:24 > 1:12:27They did it very successfully in one blow.
1:12:27 > 1:12:33The idea of The Roxy was an old-style cabaret nightclub.
1:12:33 > 1:12:36Very different from The Troubadour.
1:12:36 > 1:12:40We set out to get people in there that appreciated the fact that
1:12:40 > 1:12:43when an artist was coming in, they were treated well.
1:12:43 > 1:12:48Then poor Doug said, "Go on, I've got The Troubadour. People will still come here.
1:12:48 > 1:12:51"The audiences and artists will still come.
1:12:51 > 1:12:53"They're loyal to me."
1:12:53 > 1:12:57RADIO: 'Guess what, party people? There's a new club opening on The Strip tonight.
1:12:57 > 1:13:01'It's The Roxy. Anticipation is running high for this venue.'
1:13:01 > 1:13:02It was a death blow.
1:13:02 > 1:13:05It didn't take much because they could pay more.
1:13:05 > 1:13:09And there was no great loyalty of those acts towards Doug.
1:13:09 > 1:13:12The summer of '75 it closed.
1:13:12 > 1:13:15I had to sleep there to sort of guard it.
1:13:15 > 1:13:18I remember he was really bitter about the whole thing.
1:13:18 > 1:13:24On the marquee, he wanted to people who he blamed, put their names up on the marquee.
1:13:24 > 1:13:26We said, "No, don't do that."
1:13:33 > 1:13:38I think the sense of self-importance, coupled with cocaine
1:13:38 > 1:13:40just destroyed the purity of that room.
1:13:40 > 1:13:43It was sad to watch it decline.
1:14:02 > 1:14:09- #- Way over yonder
1:14:11 > 1:14:15- #- Is a place that I know
1:14:19 > 1:14:24- #- Where I can find shelter
1:14:26 > 1:14:31- #- From a hunger and cold...- #
1:14:31 > 1:14:33It was just a community.
1:14:33 > 1:14:37Once people got successful and moved their different ways,
1:14:37 > 1:14:39and went out to Malibu and the beach
1:14:39 > 1:14:44there wasn't as much hang time as there was at that particular moment in time.
1:14:44 > 1:14:46Everybody really got busy.
1:14:46 > 1:14:50When everybody released their albums and started touring,
1:14:50 > 1:14:53they just changed completely.
1:14:54 > 1:14:57In my case, I wound up being a parent pretty soon
1:14:57 > 1:15:00and there's a definite conflict between partying all night
1:15:00 > 1:15:02and being on the job with the baby!
1:15:03 > 1:15:09- #- Then trouble's gonna lose me
1:15:10 > 1:15:17- #- Worry leave me behind
1:15:19 > 1:15:25- #- And I'll stand up proudly
1:15:26 > 1:15:30- #- In true peace of mind.- #
1:15:30 > 1:15:33My mom decided to move to Idaho.
1:15:33 > 1:15:38So we moved into these cabins, no running water or electricity.
1:15:38 > 1:15:44I think she found that living on that really basic survivalist level
1:15:44 > 1:15:48I think this is how she grounded herself for a time.
1:15:49 > 1:15:54I really wanted to live some place where there was a vast connection with nature.
1:15:54 > 1:15:57When I went there, it was like, "This is good."
1:15:58 > 1:16:02- #- ..I'll find my way
1:16:04 > 1:16:10- #- To the land where the honey runs...- #
1:16:11 > 1:16:15James was never a Los Angeles person.
1:16:15 > 1:16:16He never lived in LA.
1:16:16 > 1:16:21Never made a home as Carole did, and Danny and his wife did.
1:16:22 > 1:16:27It's not only Carole and I that sort of drifted apart
1:16:27 > 1:16:29or stopped working together.
1:16:29 > 1:16:31Things don't last forever.
1:16:31 > 1:16:33None of these things are meant to.
1:16:35 > 1:16:41- #- ..That's where I'm bound.- #
1:17:30 > 1:17:35# Oh, the sun is surely sinking down
1:17:37 > 1:17:42# But the moon is slowly rising
1:17:45 > 1:17:49# So this old world must still be spinning round
1:17:52 > 1:17:56# And I still love you
1:17:59 > 1:18:03# So close your eyes
1:18:03 > 1:18:07# You can close your eyes, it's all right
1:18:10 > 1:18:13# I don't know no love songs
1:18:13 > 1:18:18# And I can't sing the blues any more
1:18:20 > 1:18:24# Yeah, but I can sing this song
1:18:26 > 1:18:29# And you can sing this song
1:18:29 > 1:18:32# When I'm gone... #
1:18:38 > 1:18:42In 1972, or '73, I guess, we did our last shows together.
1:18:42 > 1:18:44It was an intense period.
1:18:44 > 1:18:48That's right, and it resonated with me so strongly
1:18:48 > 1:18:50that when I wrote You've Got A Friend
1:18:50 > 1:18:55it came through me. That song purely, purely came through me.
1:18:55 > 1:19:01And it was because I knew you and I was listening to your music all the time.
1:19:01 > 1:19:04You were the trigger for me doing that. So thank you!
1:19:04 > 1:19:05Phew!
1:19:05 > 1:19:10It was such a symbiotic
1:19:10 > 1:19:14and such a mutual love, it defies description.
1:19:15 > 1:19:18AUDIENCE: # Winter, spring, summer or fall
1:19:22 > 1:19:26# All you've got to do is call... #
1:19:26 > 1:19:31I always think about why, when Monet started painting Impressionism,
1:19:31 > 1:19:35why were there suddenly six other people doing it too?
1:19:35 > 1:19:37It's because it's the moment for it
1:19:37 > 1:19:40and I feel like that's... That was the moment for that.
1:19:41 > 1:19:47There was almost no barrier between the artist and the art.
1:19:49 > 1:19:53These songs are really the fabric of a generation and of a society.
1:19:53 > 1:19:54So when people hear them,
1:19:54 > 1:19:58it's like smelling a clover that you remember as a child.
1:19:58 > 1:20:03Suddenly you're thrown back in time and you're reliving some moment you had.
1:20:03 > 1:20:05And it's deep.
1:20:05 > 1:20:08RECORDING OF AUDIENCE SINGING "YOU'VE GOT A FRIEND"
1:20:59 > 1:21:05This is what we're here for, to get people to feel. That's what James and Carole are here for.
1:21:05 > 1:21:10We're not here for ourselves. We're here to get them to remember what it's like to feel.
1:21:10 > 1:21:15And to remind them of their own humanity. That's what great music is supposed to do.
1:21:15 > 1:21:16Nothing less.
1:22:04 > 1:22:07# Whenever I see your smiling face
1:22:07 > 1:22:09# I have to smile myself
1:22:09 > 1:22:10# Because I know
1:22:15 > 1:22:18# And when you give me that pretty little pout
1:22:18 > 1:22:20# It turns me inside out
1:22:20 > 1:22:23# There's something about you, baby
1:22:23 > 1:22:24# I don't know
1:22:27 > 1:22:29# Isn't it amazing a man like me
1:22:29 > 1:22:32# Can feel this way
1:22:32 > 1:22:34# Tell me how much longer
1:22:34 > 1:22:39# It can grow stronger every day. #
1:22:39 > 1:22:42Subtitles by Red Bee Media Ltd