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This programme contains strong language | 0:00:02 | 0:00:07 | |
Most people probably don't know what a sideman, | 0:00:18 | 0:00:21 | |
or sidewoman, for that matter, is. | 0:00:21 | 0:00:23 | |
I'm a sideman. Have been for 40 years. | 0:00:23 | 0:00:27 | |
My name is Earl Slick. | 0:00:27 | 0:00:30 | |
I was David Bowie's sideman. | 0:00:30 | 0:00:32 | |
CHEERING | 0:00:32 | 0:00:33 | |
Yeah, Earl Slick on guitar! | 0:00:33 | 0:00:35 | |
Our job, as sidies, is to back up the big names. | 0:00:35 | 0:00:38 | |
You don't compete with the lead guy. | 0:00:38 | 0:00:41 | |
That's not a sideman. | 0:00:41 | 0:00:42 | |
Matter of fact, that's an out-of-work musician. | 0:00:42 | 0:00:45 | |
Most of the time, we're invisible. | 0:00:47 | 0:00:49 | |
Ghosts at the top table. | 0:00:49 | 0:00:52 | |
Our story takes you behind the scenes | 0:00:54 | 0:00:56 | |
with some of the world's biggest-ever stars. | 0:00:56 | 0:00:58 | |
MUSIC: I'm The One by Material | 0:00:58 | 0:01:00 | |
It's a song the girls in the band wrote. Lisa and Wendy. | 0:01:03 | 0:01:06 | |
# I'm the one, I'm the one | 0:01:08 | 0:01:11 | |
# I'm the one you want... # | 0:01:11 | 0:01:12 | |
Our job is to fit in with the star's vision. | 0:01:12 | 0:01:15 | |
Personality - yes. Ego - no. | 0:01:15 | 0:01:18 | |
# ..I am the one... # | 0:01:18 | 0:01:20 | |
Mr Bernard Fowler! | 0:01:20 | 0:01:22 | |
# ..The one for you | 0:01:22 | 0:01:24 | |
# Yeah... # | 0:01:24 | 0:01:25 | |
The sideman or sidewoman is mainly the dude on tour, | 0:01:27 | 0:01:31 | |
but sometimes, the lines are blurred. | 0:01:31 | 0:01:34 | |
Are you ready, Steve Cropper? | 0:01:34 | 0:01:36 | |
# ..I'm the one, I'm the one | 0:01:36 | 0:01:39 | |
# I'm the one you want | 0:01:39 | 0:01:41 | |
# I'm the one, I'm the one... # | 0:01:41 | 0:01:43 | |
Some are guitarists, some singers, | 0:01:43 | 0:01:46 | |
keyboard players, horn players, | 0:01:46 | 0:01:48 | |
and some are all these rolled into one. | 0:01:48 | 0:01:51 | |
On percussion and saxophone, | 0:01:51 | 0:01:54 | |
keyboards, harmonica, you name it, | 0:01:54 | 0:01:56 | |
Professor Crystal Taliefero! | 0:01:56 | 0:01:59 | |
# ..I'm the one you want... # | 0:02:00 | 0:02:02 | |
And for the new generation of sidies, | 0:02:02 | 0:02:04 | |
it's a whole new ball game. | 0:02:04 | 0:02:06 | |
# ..I'm the one you want, yeah... # | 0:02:06 | 0:02:09 | |
Give it to Momma. | 0:02:09 | 0:02:11 | |
# ..I'm the one you want. # | 0:02:11 | 0:02:14 | |
This film tells the untold story of rock and roll's guns for hire - | 0:02:14 | 0:02:18 | |
how we began, how we survive, | 0:02:18 | 0:02:22 | |
and how our lives are very different from what you guys imagine. | 0:02:22 | 0:02:26 | |
# ..I'm the one, I'm the one | 0:02:27 | 0:02:30 | |
# I'm the one you want... # | 0:02:30 | 0:02:31 | |
The hard thing for a sideman is, the better you are at your job, | 0:02:31 | 0:02:35 | |
the less people will notice you. | 0:02:35 | 0:02:38 | |
And that's the whole point. | 0:02:38 | 0:02:40 | |
# ..I'm the one, I'm the one | 0:02:41 | 0:02:43 | |
# The one you want | 0:02:43 | 0:02:44 | |
-# I'm the one you want -The one you want | 0:02:44 | 0:02:46 | |
# I'm the one, I'm the one | 0:02:46 | 0:02:48 | |
-# The one you want -I'm the one you want. # | 0:02:48 | 0:02:50 | |
CHEERING AND APPLAUSE | 0:02:50 | 0:02:53 | |
The revolutionary Ronnie Wood! | 0:02:56 | 0:02:58 | |
People always ask, "Do you get nervous?" | 0:03:00 | 0:03:02 | |
When I'm putting my clothes on and getting into my make-up, no. | 0:03:02 | 0:03:06 | |
Charlie J Watts! | 0:03:06 | 0:03:09 | |
When I'm, you know, walking to the stage, no. | 0:03:09 | 0:03:13 | |
Keith Richards! | 0:03:13 | 0:03:15 | |
The minute I hit that stage, I start to feel... | 0:03:16 | 0:03:20 | |
..this energy. | 0:03:21 | 0:03:23 | |
Mr Bernard Fowler! | 0:03:23 | 0:03:26 | |
Drum starts, and then I start to get nervous. | 0:03:30 | 0:03:33 | |
MUSIC: Gimme Shelter by the Rolling Stones | 0:03:33 | 0:03:34 | |
Then I look out of my peripheral and then I see the boys. | 0:03:34 | 0:03:38 | |
They were just ordinary, now I'm looking at them | 0:03:38 | 0:03:41 | |
and they've literally turned into superheroes. | 0:03:41 | 0:03:44 | |
# Yeah, and the storm is threatening... # | 0:03:44 | 0:03:47 | |
And I'm nervous all the way up until I sing the first note. | 0:03:47 | 0:03:51 | |
The minute I sing the first note... | 0:03:51 | 0:03:53 | |
I slowly become settled. | 0:03:53 | 0:03:56 | |
And now I'm in the machine, and we're running. | 0:03:56 | 0:04:00 | |
# ..War | 0:04:00 | 0:04:02 | |
# Children | 0:04:02 | 0:04:04 | |
# It's just a shot away | 0:04:04 | 0:04:06 | |
-# It's just a shot away -Ooh... # | 0:04:06 | 0:04:10 | |
It's special because it's... | 0:04:10 | 0:04:12 | |
It's the fucking Rolling Stones. | 0:04:12 | 0:04:14 | |
It's the world's greatest rock and roll band. | 0:04:14 | 0:04:17 | |
That's special. | 0:04:17 | 0:04:19 | |
# ..Ooh... # | 0:04:19 | 0:04:20 | |
My friend Bernard has been sideman to the Stones for 30 years. | 0:04:22 | 0:04:27 | |
He's very much part of the show. | 0:04:27 | 0:04:29 | |
I really like working with Bernard. It's really nice having him there. | 0:04:31 | 0:04:34 | |
I mean, most of the show, when he's out there, | 0:04:34 | 0:04:36 | |
he's out there with a light on him in front of, like, 60,000 people. | 0:04:36 | 0:04:39 | |
And stepping forward and joking around and...he's definitely there. | 0:04:39 | 0:04:43 | |
And he's introduced, his name is called, he's applauded. | 0:04:43 | 0:04:46 | |
He's part of this team. | 0:04:46 | 0:04:48 | |
# I never | 0:04:48 | 0:04:49 | |
# I never | 0:04:49 | 0:04:51 | |
# No, I never | 0:04:51 | 0:04:52 | |
# No | 0:04:52 | 0:04:53 | |
-# Never -Never | 0:04:53 | 0:04:55 | |
# No, I never... # | 0:04:55 | 0:04:57 | |
He's very good at what he does. | 0:04:57 | 0:04:59 | |
He's hard-working, he doesn't screw up. | 0:04:59 | 0:05:01 | |
I mean, I'm not very good at learning from other vocalists. | 0:05:01 | 0:05:05 | |
I mean, I probably could learn a lot from him if I put my mind to it. | 0:05:05 | 0:05:11 | |
# ..I never... # | 0:05:11 | 0:05:13 | |
Bernard brings a reliability to Mick. | 0:05:13 | 0:05:17 | |
From sound check, | 0:05:17 | 0:05:19 | |
where they have a rapport and a strength | 0:05:19 | 0:05:22 | |
that carries on to the live gig, | 0:05:22 | 0:05:24 | |
where it's got to be delivered right. | 0:05:24 | 0:05:26 | |
Wait for it, wait for it. | 0:05:26 | 0:05:28 | |
No, not yet. | 0:05:28 | 0:05:30 | |
Here. | 0:05:30 | 0:05:32 | |
I think there's been a couple of other times where | 0:05:32 | 0:05:34 | |
either, for one reason or another, Mick got off the stage | 0:05:34 | 0:05:37 | |
to blow his nose, or whatever, | 0:05:37 | 0:05:39 | |
you know, | 0:05:39 | 0:05:40 | |
and B has taken over | 0:05:40 | 0:05:42 | |
for a verse or two. | 0:05:42 | 0:05:44 | |
# I saw her today | 0:05:44 | 0:05:46 | |
# At the reception | 0:05:46 | 0:05:48 | |
# In her glass | 0:05:48 | 0:05:50 | |
# Was a bleeding man... # | 0:05:50 | 0:05:53 | |
It would be very, very difficult to think of the Stones without him. | 0:05:53 | 0:05:57 | |
God, I rely on him for so many things on stage, | 0:05:57 | 0:06:00 | |
because he knows exactly what's going on, | 0:06:00 | 0:06:02 | |
and sometimes, I'm lost in the haze. | 0:06:02 | 0:06:04 | |
# Can't | 0:06:04 | 0:06:06 | |
-CROWD: -# Always get what you want. # | 0:06:06 | 0:06:08 | |
I like that, here we go! | 0:06:08 | 0:06:10 | |
And all I do is look at B, and he goes... | 0:06:10 | 0:06:12 | |
Come on now. # ..You can't... # | 0:06:15 | 0:06:17 | |
To be versatile, and to be like a fireman, as well, | 0:06:17 | 0:06:21 | |
probably another requirement of the ultimate sideman. | 0:06:21 | 0:06:25 | |
I mean, we did 30 years without any backup, | 0:06:26 | 0:06:30 | |
but he certainly brings a quality and class to it. | 0:06:30 | 0:06:34 | |
For me, Bernard Fowler is one of the best undiscovered voices in America. | 0:06:34 | 0:06:41 | |
-BERNARD: -I love the Stones, I've watched their children grow up. | 0:06:45 | 0:06:48 | |
I love the music. | 0:06:48 | 0:06:50 | |
They're like family, at this point. | 0:06:50 | 0:06:52 | |
I look at Bernard, and I see the Rolling Stones, I go, | 0:06:54 | 0:06:58 | |
that guy, this guy sings with the boys, man. | 0:06:58 | 0:07:01 | |
He's singing WITH the boys, | 0:07:01 | 0:07:03 | |
-not for them, not background vocals. That's how -I -see it. | 0:07:03 | 0:07:07 | |
Look, I've nothing against the audience, | 0:07:07 | 0:07:09 | |
the audience gets caught up with the Rolling Stones, they get caught up | 0:07:09 | 0:07:12 | |
with David Bowie, they get caught up with the Beatles, whatever. | 0:07:12 | 0:07:15 | |
You are just an appendage of that. | 0:07:15 | 0:07:17 | |
I remember walking into some club... | 0:07:17 | 0:07:20 | |
..and some guy says, | 0:07:21 | 0:07:23 | |
"That's Bernard Fowler. | 0:07:23 | 0:07:25 | |
"He's a backup singer for the Rolling Stones." | 0:07:25 | 0:07:28 | |
And the guy said, "Bullshit! | 0:07:28 | 0:07:31 | |
"Ain't no black people in the Rolling Stones!" | 0:07:31 | 0:07:34 | |
THEY LAUGH | 0:07:34 | 0:07:36 | |
This guy had obviously... obviously seen all the shows! | 0:07:38 | 0:07:42 | |
It's your job not to horn in in any way whatsoever. | 0:07:46 | 0:07:50 | |
That word "side" takes on all connotations, | 0:07:50 | 0:07:53 | |
you know? You're to be invisible. | 0:07:53 | 0:07:55 | |
That's the sublimation of the ego. | 0:07:55 | 0:07:59 | |
A big ego is no good for a sideman. | 0:07:59 | 0:08:01 | |
You've got to know who you are, | 0:08:01 | 0:08:03 | |
where you stand in the hierarchy of things. | 0:08:03 | 0:08:07 | |
If you're a background vocalist, that's what you have to accept. | 0:08:08 | 0:08:11 | |
You might say it's a bit of an indignity, | 0:08:11 | 0:08:13 | |
but, you know, if you're clever enough, you'll understand that, | 0:08:13 | 0:08:16 | |
you know, there's a reason I don't... | 0:08:16 | 0:08:18 | |
It's not because you're ugly and I don't want on the stage. | 0:08:18 | 0:08:21 | |
# Tonight, I'm gonna love you... # | 0:08:24 | 0:08:27 | |
I grew up in Long Island City, Queens. | 0:08:27 | 0:08:30 | |
I grew up in a place called Queensbridge projects. | 0:08:30 | 0:08:33 | |
If you're taking the subway, | 0:08:33 | 0:08:35 | |
it's the first stop outside of Manhattan. | 0:08:35 | 0:08:38 | |
Queensbridge was a rough area, | 0:08:38 | 0:08:40 | |
really rough when I was growing up, | 0:08:40 | 0:08:42 | |
and it stayed that way for a long time. | 0:08:42 | 0:08:45 | |
This used to be a really bad area, | 0:08:47 | 0:08:49 | |
and I was part of the bad area. | 0:08:49 | 0:08:51 | |
Before I came to my senses, | 0:08:51 | 0:08:54 | |
I was really young... | 0:08:54 | 0:08:55 | |
..and I was doing, like a lot of young black kids in the inner city, | 0:08:56 | 0:09:00 | |
I was hustling. | 0:09:00 | 0:09:02 | |
And here come the rollers. | 0:09:02 | 0:09:04 | |
The cops come in. | 0:09:04 | 0:09:05 | |
We're scattering like roaches, | 0:09:05 | 0:09:07 | |
everybody's throwing their shit, throwing their shit, | 0:09:07 | 0:09:10 | |
I threw my shit. | 0:09:10 | 0:09:12 | |
And the cop came by with his flashlight, | 0:09:12 | 0:09:16 | |
and he looked at me... | 0:09:16 | 0:09:18 | |
..and he said, "You know what, Fowler? | 0:09:19 | 0:09:22 | |
"I could take you to jail. | 0:09:22 | 0:09:24 | |
"I know your mother. I know Miss Pearl." | 0:09:25 | 0:09:29 | |
He said, "If I catch you down here again, | 0:09:30 | 0:09:33 | |
"if I catch you down here again, | 0:09:33 | 0:09:35 | |
"I'm taking your ass in jail, whether I know your mother or not. | 0:09:35 | 0:09:39 | |
"Your ass is going to jail." | 0:09:39 | 0:09:41 | |
That was a wake-up call. | 0:09:42 | 0:09:44 | |
MUSIC: Don't Make Me Wait by New York Citi Peech Boys | 0:09:44 | 0:09:46 | |
# No, no, no, no... # | 0:09:46 | 0:09:49 | |
Bernard, like most of us sidies, | 0:09:49 | 0:09:51 | |
didn't set out to be a backing musician. | 0:09:51 | 0:09:54 | |
Most of us wanted to be the star. | 0:09:54 | 0:09:57 | |
Hell, yeah! | 0:09:57 | 0:09:58 | |
We put this band together, the Peech Boys. | 0:10:03 | 0:10:06 | |
The next thing you know, | 0:10:06 | 0:10:08 | |
we're in the studio. I went in and sang this song, | 0:10:08 | 0:10:13 | |
Don't Make Me Wait. | 0:10:13 | 0:10:15 | |
# Don't make me wait Don't make me wait... # | 0:10:15 | 0:10:17 | |
It took off. We were king of the airwaves when that record came out. | 0:10:17 | 0:10:21 | |
Every club that you go, you hear Bernard, | 0:10:22 | 0:10:26 | |
so he started to build up his name | 0:10:26 | 0:10:30 | |
and I wouldn't call it as a background singer, | 0:10:30 | 0:10:32 | |
cos a lot of his stuff was lead vocal. | 0:10:32 | 0:10:35 | |
# I drank from the devil's cup... # | 0:10:35 | 0:10:40 | |
And I had done some pretty diverse records, | 0:10:40 | 0:10:44 | |
and when vocals are needed, I thought of Bernard. | 0:10:44 | 0:10:48 | |
But just as Bernard was becoming a respected front man in his own right, | 0:10:50 | 0:10:54 | |
touring the world, he got a call from producer Bill Laswell. | 0:10:54 | 0:10:58 | |
The call was going to change the rest of his life. | 0:10:58 | 0:11:01 | |
I go home, Bill Laswell calls me. | 0:11:02 | 0:11:05 | |
"Hey, man. What you doing, man?" | 0:11:05 | 0:11:08 | |
I said, "Nothing, man." | 0:11:08 | 0:11:10 | |
"Cool. Go to the airport." | 0:11:10 | 0:11:12 | |
I'm like, "Nah, man, you don't understand. | 0:11:12 | 0:11:15 | |
"I just came from the airport, I just walked into my apartment." | 0:11:15 | 0:11:20 | |
He says, "Go back to the airport." | 0:11:20 | 0:11:22 | |
I said, "Bill, you don't understand, I just walked in." | 0:11:22 | 0:11:26 | |
"Go back to the airport." | 0:11:26 | 0:11:28 | |
So I go back to the airport, say to the lady, | 0:11:28 | 0:11:31 | |
"Is there a ticket here for me?" | 0:11:31 | 0:11:33 | |
This is the good old days. "Yes, we have a first-class ticket for you | 0:11:33 | 0:11:36 | |
"to go to..." I said, "Where am I going?" | 0:11:36 | 0:11:38 | |
She said, "You don't know where you're going?" | 0:11:38 | 0:11:40 | |
"No." "You're going to London." | 0:11:40 | 0:11:43 | |
I arrive in London. | 0:11:43 | 0:11:45 | |
Still don't know why I'm there. Bill picks me up. | 0:11:45 | 0:11:48 | |
Huge black Bentley. | 0:11:48 | 0:11:50 | |
We walk up the steps to this house. | 0:11:51 | 0:11:54 | |
Ding-dong. | 0:11:54 | 0:11:56 | |
Bill walks in, I walk in behind him. | 0:11:56 | 0:11:59 | |
There's a guy sitting on the floor with a guitar in his hand. | 0:11:59 | 0:12:02 | |
And the guy turned around and looked at me. | 0:12:02 | 0:12:05 | |
It was Mick. I had no idea. | 0:12:05 | 0:12:09 | |
I'm standing there, I'm saying to myself, "Oh, shit. Oh, shit." | 0:12:10 | 0:12:16 | |
That's all I could think, was, "Oh, shit." | 0:12:16 | 0:12:20 | |
He gives me a cassette and he says, | 0:12:20 | 0:12:22 | |
"You know, when we get to the studio tomorrow, this is the stuff | 0:12:22 | 0:12:25 | |
"that we're going to be working on." | 0:12:25 | 0:12:27 | |
So I went back to the hotel | 0:12:27 | 0:12:29 | |
and I did all the vocal arrangements on this four-track machine. | 0:12:29 | 0:12:36 | |
# Just another night Just another night with you... # | 0:12:36 | 0:12:40 | |
He did some good things on the She's The Boss album, | 0:12:40 | 0:12:43 | |
we worked together quite closely on that. | 0:12:43 | 0:12:45 | |
I can't remember exactly what we did, it's a long time ago, | 0:12:45 | 0:12:48 | |
but we worked quite closely. | 0:12:48 | 0:12:49 | |
# ..And I'm thirsty | 0:12:49 | 0:12:52 | |
# Thirsty for your loving, baby... # | 0:12:52 | 0:12:55 | |
I did all the vocal arrangements on She's The Boss. | 0:12:55 | 0:12:59 | |
That means all the, you know, the choruses and all the background | 0:12:59 | 0:13:04 | |
stuff, you know? All the vocals you hear other than his lead, I did. | 0:13:04 | 0:13:09 | |
-# I will play the jack of spades -Ooh, ooh, ooh, ooh | 0:13:09 | 0:13:14 | |
# You play the queen I'll play the knave | 0:13:14 | 0:13:17 | |
# Oh, I'm lucky in love | 0:13:17 | 0:13:21 | |
# Yes, I've got the winning touch... # | 0:13:23 | 0:13:26 | |
Normally I do most of my own harmonies, | 0:13:26 | 0:13:28 | |
but he can change his vocal style to fit in with yours, | 0:13:28 | 0:13:31 | |
so it sounds like me singing twice, he can make it like that, | 0:13:31 | 0:13:35 | |
or he can make it sound like another person, | 0:13:35 | 0:13:37 | |
so he can sound like two different people. | 0:13:37 | 0:13:39 | |
# ..Lucky in love | 0:13:39 | 0:13:41 | |
# When I think I had enough... # | 0:13:43 | 0:13:45 | |
The relationship was very easy with Mick and I. It got... | 0:13:45 | 0:13:51 | |
It got not so easy once... once the band came. | 0:13:51 | 0:13:57 | |
Yeah, want to get up there, need another chord. | 0:13:57 | 0:13:59 | |
Bernard finally got to work with all of the Stones | 0:13:59 | 0:14:02 | |
on their Steel Wheels album in '89. | 0:14:02 | 0:14:05 | |
# With mixed emotions... # | 0:14:05 | 0:14:09 | |
Mick calls and says, "You know, the Stones are getting ready to | 0:14:09 | 0:14:12 | |
"do a new record, and I can really use your help." | 0:14:12 | 0:14:16 | |
I'm like, "OK, cool. Well, where are you?" | 0:14:16 | 0:14:19 | |
You know, he gives me the address to the studio. | 0:14:19 | 0:14:22 | |
One by one, the Stones started coming in. | 0:14:22 | 0:14:25 | |
Let's try and go from the top, then. | 0:14:25 | 0:14:27 | |
Charlie come in. | 0:14:27 | 0:14:29 | |
I'm like, "Oh, shit." | 0:14:29 | 0:14:31 | |
You know, I say "Oh, shit" a lot. Bill Wyman comes in. "Shit." | 0:14:31 | 0:14:37 | |
Ronnie Wood walks in. | 0:14:37 | 0:14:40 | |
"Hey! Cool." | 0:14:40 | 0:14:44 | |
Keith walks in. "Oh, shit." | 0:14:44 | 0:14:46 | |
And I'm in there, you know, coming up with the ideas. | 0:14:49 | 0:14:52 | |
That's when Mick says, "Hey, OK. | 0:14:52 | 0:14:54 | |
"I like the ideas, so let's go and do it for real now." | 0:14:54 | 0:14:58 | |
Not bad. Nice. Nice, right? | 0:14:58 | 0:15:00 | |
I feel some heat, and Keith is looking at me. | 0:15:00 | 0:15:05 | |
And I'm like, "Oh, man, this is not good." | 0:15:05 | 0:15:08 | |
I'm looking at this dreadlocked, you know... | 0:15:08 | 0:15:12 | |
This staring went on... It went on way too long. | 0:15:12 | 0:15:16 | |
So I said, "I've got to say something to this cat, man." | 0:15:17 | 0:15:21 | |
I looked at him and I said, "Is everything all right?" | 0:15:21 | 0:15:24 | |
At which point he says... | 0:15:24 | 0:15:27 | |
"You know, I didn't want to like you." | 0:15:27 | 0:15:29 | |
HE CHUCKLES | 0:15:29 | 0:15:31 | |
And I'm like, again, "Oh, shit." | 0:15:31 | 0:15:33 | |
I said, "Why, man?" I said, "I'm cool." | 0:15:36 | 0:15:39 | |
And he says, "I thought you were one of Mick's boys." | 0:15:41 | 0:15:47 | |
I'm like, "Oh, fuck." | 0:15:47 | 0:15:51 | |
As Mick and I were on our... Oh! | 0:15:51 | 0:15:54 | |
Anybody that Mick picked up | 0:15:54 | 0:15:55 | |
is not going to end up on a Rolling Stone session, you know? | 0:15:55 | 0:15:58 | |
# Button your coat... # | 0:15:58 | 0:16:00 | |
And then he says, "I know you're cool." | 0:16:00 | 0:16:04 | |
# ..And you're not the only ship... # | 0:16:04 | 0:16:07 | |
We get on with work and we were working so well together. | 0:16:07 | 0:16:11 | |
I mean, that day, you know, we became firm friends | 0:16:11 | 0:16:16 | |
and...it was a funny way of meeting, you know. | 0:16:16 | 0:16:20 | |
# Baby, I can't stay | 0:16:20 | 0:16:23 | |
# You've got to roll me | 0:16:23 | 0:16:26 | |
# And call me the tumblin' dice... # | 0:16:26 | 0:16:32 | |
When Bernard is singing background, | 0:16:32 | 0:16:35 | |
he's a support singer, you know. | 0:16:35 | 0:16:38 | |
He is supporting what they're doing. | 0:16:38 | 0:16:40 | |
# ..Honey, I got no money... # | 0:16:40 | 0:16:44 | |
And it's interesting, because a lot of singers | 0:16:44 | 0:16:47 | |
when they're doing background and can sing lead as well | 0:16:47 | 0:16:50 | |
as he sings, usually one or the other thing will suffer. | 0:16:50 | 0:16:54 | |
Either the background singing isn't strong or he can't remember parts, | 0:16:54 | 0:16:58 | |
or he can't do this or he can't do that. | 0:16:58 | 0:17:01 | |
There's, like, nothing in my book that he can't do, once he says, | 0:17:01 | 0:17:05 | |
"Yeah, I've got this." | 0:17:05 | 0:17:07 | |
# ..Call me the tumblin' dice... # | 0:17:07 | 0:17:11 | |
I've always thought about Bernard, the guy's actually too good. | 0:17:11 | 0:17:16 | |
But at the same time, I understand it | 0:17:16 | 0:17:19 | |
because he just loves to work with the Stones. | 0:17:19 | 0:17:21 | |
You know, coming up through the ranks, | 0:17:23 | 0:17:26 | |
something that was always important to me was to be acknowledged | 0:17:26 | 0:17:30 | |
and respected by the people that seemed to be above where I was, | 0:17:30 | 0:17:36 | |
the people that I wanted to play with, you know? | 0:17:36 | 0:17:39 | |
That's something that I always... | 0:17:41 | 0:17:43 | |
I look for that more than anything, to be received by those cats, | 0:17:43 | 0:17:49 | |
those cats that are out there doing it, you know. | 0:17:49 | 0:17:52 | |
They're someplace that I've strived to be. | 0:17:52 | 0:17:55 | |
And that means I'm good enough to hang. | 0:17:56 | 0:17:59 | |
I'm good enough to hang out with them. | 0:17:59 | 0:18:01 | |
I'm good enough not just to hang out with, | 0:18:01 | 0:18:03 | |
I'm good enough to play with them. | 0:18:03 | 0:18:05 | |
Yeah, that's a validation. | 0:18:05 | 0:18:07 | |
The validation that Bernard feels when he is with the Rolling Stones | 0:18:10 | 0:18:14 | |
is what we all want - | 0:18:14 | 0:18:16 | |
to feel part of something, rather than an outsider. | 0:18:16 | 0:18:19 | |
I worked for 40 years on and off | 0:18:22 | 0:18:24 | |
with David Bowie, and it defined my life | 0:18:24 | 0:18:27 | |
but playing music was never a choice - it was a calling. | 0:18:27 | 0:18:31 | |
I was a lousy student, I can't take orders, | 0:18:34 | 0:18:37 | |
don't like being pushed around or being told what to do. | 0:18:37 | 0:18:39 | |
So that eliminates probably 99% of the job market right there. | 0:18:39 | 0:18:43 | |
I sucked in school, so college was out. | 0:18:46 | 0:18:49 | |
I barely got through high school. | 0:18:49 | 0:18:51 | |
And I just loved it. | 0:18:51 | 0:18:53 | |
First of all, I just loved playing and listening, | 0:18:53 | 0:18:55 | |
which I did 24 hours a day, and still do. | 0:18:55 | 0:18:58 | |
But I didn't even know what the hell a sideman was. | 0:18:58 | 0:19:01 | |
It's not what I... I never sat around thinking, | 0:19:01 | 0:19:03 | |
"Boy, I'd like to be so-and-so's guitar player." | 0:19:03 | 0:19:06 | |
By the time I was 18, I had my own band and a new name to go with it. | 0:19:08 | 0:19:13 | |
He created a persona. | 0:19:16 | 0:19:18 | |
Instead of Frank Madeloni, now he was Earl Slick. | 0:19:18 | 0:19:21 | |
That sounds pretty good, you know. | 0:19:21 | 0:19:23 | |
He had the look, he had the attitude, he had the arrogance, | 0:19:23 | 0:19:27 | |
he had the certainty, he had the cockiness. | 0:19:27 | 0:19:29 | |
In 1974, I got a call from a British guy called David Bowie. | 0:19:32 | 0:19:36 | |
I wasn't really that familiar with his work | 0:19:37 | 0:19:40 | |
but I thought, "What the hell?" | 0:19:40 | 0:19:42 | |
I'm sitting like a jerk for a couple of minutes and then comes in this | 0:19:44 | 0:19:48 | |
skinny, spooky-ass-looking guy with bright red hair and no eyebrows. | 0:19:48 | 0:19:52 | |
No eyebrows. Like, what? | 0:19:52 | 0:19:54 | |
Anyway, he sat down and he was great. | 0:19:54 | 0:19:56 | |
It was David and it was great. He had a guitar with him. | 0:19:56 | 0:20:00 | |
Jacket with a bottle of brandy. | 0:20:00 | 0:20:02 | |
I just threw it down and we played, had some brandy, | 0:20:02 | 0:20:06 | |
we talked for a little while. | 0:20:06 | 0:20:08 | |
It was fun, it was pleasant, and he said, "Great, you can talk | 0:20:08 | 0:20:11 | |
"to my assistant and we'll let you know what's going on." | 0:20:11 | 0:20:14 | |
The phone rang the next morning, thank God, and she said, | 0:20:14 | 0:20:17 | |
"David wants to know if you're interested in doing this," | 0:20:17 | 0:20:19 | |
and that's where it all started. I went for the sure shot, | 0:20:19 | 0:20:24 | |
and that's when the sideman thing started. That was not my goal. | 0:20:24 | 0:20:28 | |
# The Jean Genie lives on his back | 0:20:28 | 0:20:31 | |
# The Jean Genie loves chimney stacks... # | 0:20:31 | 0:20:35 | |
David could have taken on any guitarist of any level of skill | 0:20:35 | 0:20:39 | |
but instead he took on | 0:20:39 | 0:20:41 | |
this talented but raw, young kind of unbridled spirit from Brooklyn | 0:20:41 | 0:20:46 | |
and I think, coming to know David as I did, | 0:20:46 | 0:20:49 | |
I really see why he did that. | 0:20:49 | 0:20:52 | |
He really dialled into sort of people's spirit, people's vibe, | 0:20:52 | 0:20:56 | |
what they could bring to the situation, | 0:20:56 | 0:20:58 | |
not just musically but personality-wise. | 0:20:58 | 0:21:01 | |
Dialling into what you could bring to the artist | 0:21:03 | 0:21:06 | |
is what all sidemen want. | 0:21:06 | 0:21:08 | |
David didn't tell me what to play or what to do. | 0:21:08 | 0:21:13 | |
He allowed me to express myself within his music. | 0:21:13 | 0:21:16 | |
He accepted me as part of his vision. | 0:21:19 | 0:21:21 | |
I wasn't an outsider. | 0:21:21 | 0:21:24 | |
The Station To Station album which Stay came from | 0:21:38 | 0:21:41 | |
was one of the most exciting periods I had with David | 0:21:41 | 0:21:45 | |
because he was actually asking me to come up with parts and things | 0:21:45 | 0:21:50 | |
and this was actually the first one, and a proud moment, you know. | 0:21:50 | 0:21:56 | |
He would look at me and this big smile... | 0:21:58 | 0:22:01 | |
Just before even the solos came in, | 0:22:01 | 0:22:03 | |
he had this big smile on his face, man, | 0:22:03 | 0:22:06 | |
and that would drive me home, man. | 0:22:06 | 0:22:08 | |
That would drive me home. | 0:22:08 | 0:22:10 | |
Respect for what we bring to the table is what we sidies live off. | 0:22:14 | 0:22:19 | |
It makes you go that extra mile. | 0:22:19 | 0:22:20 | |
But I never forgot that it was David Bowie's name on the billboard, | 0:22:25 | 0:22:28 | |
not mine. | 0:22:28 | 0:22:29 | |
But there are times when sidies are thrust right into the spotlight, | 0:22:34 | 0:22:39 | |
almost as visible as the stars themselves. | 0:22:39 | 0:22:42 | |
When Prince became Prince and the Revolution | 0:22:46 | 0:22:49 | |
he wanted sidemen or, in this case, sidewomen, | 0:22:49 | 0:22:53 | |
who could bring something a little extra to the party | 0:22:53 | 0:22:56 | |
and look the part. | 0:22:56 | 0:22:59 | |
That would be Wendy and Lisa. | 0:22:59 | 0:23:00 | |
# She wore a raspberry beret | 0:23:03 | 0:23:06 | |
# The kind you find in a second-hand store | 0:23:07 | 0:23:11 | |
# Raspberry beret | 0:23:11 | 0:23:14 | |
# I think I love her. # | 0:23:14 | 0:23:19 | |
I think Prince's vision about the band being mixed - | 0:23:19 | 0:23:24 | |
male, female, black, Jewish - | 0:23:24 | 0:23:26 | |
that was a very conscious decision and a desire on his part. | 0:23:26 | 0:23:31 | |
Lisa and I not only | 0:23:33 | 0:23:35 | |
being female, we were lovers. | 0:23:35 | 0:23:39 | |
We were a couple. | 0:23:39 | 0:23:41 | |
And he was like, "Oh, my God, | 0:23:42 | 0:23:44 | |
"it's female, it's gay, and everybody's just freaking, right? | 0:23:44 | 0:23:48 | |
"It's controversy. This is it. Oh, my God!" | 0:23:48 | 0:23:51 | |
Back then with new wave music, | 0:23:53 | 0:23:55 | |
a lot of bands were coming out with girls | 0:23:55 | 0:23:58 | |
and it was just the novelty, I think, at first, | 0:23:58 | 0:24:01 | |
and just sexy arm candy, | 0:24:01 | 0:24:05 | |
somebody to play that role. | 0:24:05 | 0:24:08 | |
# You jump up on the one | 0:24:08 | 0:24:09 | |
# Woo! # | 0:24:09 | 0:24:11 | |
But Wendy and I turned it into power | 0:24:11 | 0:24:13 | |
instead of just like, a frilly little something pretty to look at. | 0:24:13 | 0:24:17 | |
I had, like, '80s stockings and I was like, "Yeah, OK, I'm going to... | 0:24:19 | 0:24:22 | |
"I'm going to add a nastiness to it so I'll accept the garter | 0:24:22 | 0:24:26 | |
"because I am playful... | 0:24:26 | 0:24:28 | |
"..but I'm not going to... I'm not going to show you my tits." | 0:24:29 | 0:24:33 | |
I was the female facilitator so that he had all the room to | 0:24:33 | 0:24:37 | |
be like this sexy, hot, androgynous tornado, right? | 0:24:37 | 0:24:41 | |
He knew where to dig and once he found his gold it was like, | 0:24:44 | 0:24:49 | |
"I'm free now," | 0:24:49 | 0:24:50 | |
and we were a perfect frame, and that is great side players. | 0:24:50 | 0:24:56 | |
Give that front person the freedom to fall on their asses, | 0:24:57 | 0:25:03 | |
you make sure they've got the perfect little environment to | 0:25:03 | 0:25:06 | |
be the freak they want to be. | 0:25:06 | 0:25:08 | |
Wendy and Lisa got Prince. | 0:25:13 | 0:25:14 | |
They understood him, | 0:25:14 | 0:25:16 | |
knew what he needed before he did. | 0:25:16 | 0:25:19 | |
And, boy, could they play! | 0:25:19 | 0:25:21 | |
And again, clusters all the time. | 0:25:25 | 0:25:28 | |
Lisa was actually a trained, serious player. | 0:25:28 | 0:25:32 | |
Lisa could push back to Prince because she was the only player | 0:25:32 | 0:25:35 | |
who could do things better than he could | 0:25:35 | 0:25:38 | |
on her instrument. | 0:25:38 | 0:25:40 | |
Wendy and Lisa had grown up together. | 0:25:41 | 0:25:44 | |
Lisa essentially invited Wendy | 0:25:44 | 0:25:46 | |
to come along on some of the tours, | 0:25:46 | 0:25:48 | |
and she was around, | 0:25:48 | 0:25:50 | |
she knows the parts and she can play, | 0:25:50 | 0:25:52 | |
and apparently Prince is kind of, you know, | 0:25:52 | 0:25:55 | |
knocked sideways in that moment, like, | 0:25:55 | 0:25:57 | |
"That's not just Lisa's friend, that's a real player." | 0:25:57 | 0:26:01 | |
On Purple Rain, there's a song called Computer Blue. | 0:26:03 | 0:26:06 | |
I mean, we co-wrote that song with Prince. | 0:26:06 | 0:26:09 | |
He came up with an idea and said, "I just... | 0:26:09 | 0:26:12 | |
"I need to put the frame in it. I've got to put it in the pot | 0:26:12 | 0:26:15 | |
"and put the pressure cooker on now, and let's see what we come up with." | 0:26:15 | 0:26:18 | |
I started playing the lead line to this with the... | 0:26:22 | 0:26:25 | |
# Ba-ba-dem, ba-duh-duh-duh. # | 0:26:25 | 0:26:27 | |
When we were first writing the song, | 0:26:29 | 0:26:31 | |
the lead line came out of Wendy, | 0:26:31 | 0:26:34 | |
and I just was fooling around synth sounds, | 0:26:34 | 0:26:36 | |
and I think that really inspired Prince. | 0:26:36 | 0:26:39 | |
I think that he thought that was a really important part of the song | 0:26:39 | 0:26:42 | |
and the groove. | 0:26:42 | 0:26:44 | |
He was just like, "Yeah, high-five," and a writing credit. | 0:26:46 | 0:26:50 | |
Computer Blue was one of the songs performed | 0:26:53 | 0:26:56 | |
so memorably in the Oscar-winning film Purple Rain. | 0:26:56 | 0:27:00 | |
It's hard to think of any other sidies who have ever been given | 0:27:00 | 0:27:03 | |
this kind of spotlight. | 0:27:03 | 0:27:05 | |
Most of us are relatively unknown outside the industry. | 0:27:07 | 0:27:10 | |
Wendy and Lisa were different. | 0:27:10 | 0:27:14 | |
I find incredible grace and delight being able to find the holes | 0:27:15 | 0:27:20 | |
and to enhance what's missing. | 0:27:20 | 0:27:23 | |
I find that a great task for me, | 0:27:23 | 0:27:25 | |
as someone who tries to be as good of a musician as I can be, | 0:27:25 | 0:27:30 | |
not just an instrumentalist, | 0:27:30 | 0:27:31 | |
but, "What can I offer the artist to be better?" | 0:27:31 | 0:27:35 | |
It's a song the girls in the band wrote. | 0:27:35 | 0:27:38 | |
Lisa and Wendy. | 0:27:38 | 0:27:40 | |
The song Purple Rain... | 0:27:40 | 0:27:42 | |
In the movie he says, you know, | 0:27:42 | 0:27:43 | |
"I'd like to perform a song that the girls wrote." | 0:27:43 | 0:27:46 | |
I had an interview and someone misquoted me | 0:27:46 | 0:27:50 | |
when asked, "Did you write Purple Rain?" | 0:27:50 | 0:27:52 | |
And the answer in the print was, "Yes." | 0:27:52 | 0:27:55 | |
I get a phone call from Prince, | 0:27:55 | 0:27:57 | |
and he's EXTREMELY upset. | 0:27:57 | 0:28:01 | |
"Why did you say that?! | 0:28:01 | 0:28:03 | |
"Do you think you wrote Purple Rain?" | 0:28:05 | 0:28:07 | |
And I said... | 0:28:09 | 0:28:10 | |
"..Stop. | 0:28:11 | 0:28:14 | |
"No. | 0:28:14 | 0:28:15 | |
"But we helped you." | 0:28:15 | 0:28:17 | |
Prince walked in the room and said, | 0:28:17 | 0:28:21 | |
"Here's the chord progressions." | 0:28:21 | 0:28:22 | |
I thought to myself, | 0:28:22 | 0:28:24 | |
"Oh, that looks like a very country progression." | 0:28:24 | 0:28:27 | |
And what I pride myself on | 0:28:27 | 0:28:30 | |
is finding a way to re-harmonise | 0:28:30 | 0:28:33 | |
something that's very simple. | 0:28:33 | 0:28:35 | |
# I never meant to cause you any sorrow. # | 0:28:37 | 0:28:40 | |
So I played the chords, | 0:28:40 | 0:28:41 | |
but I stretched bottom notes and I put ninths, different shades. | 0:28:41 | 0:28:45 | |
# ..I never meant to cause you any pain. # | 0:28:45 | 0:28:49 | |
Here comes the chords. | 0:28:49 | 0:28:51 | |
Those are the opening chords of Purple Rain. | 0:29:06 | 0:29:09 | |
Did I write Purple Rain? No. | 0:29:09 | 0:29:11 | |
But would Purple Rain have been the song that you hear to this day | 0:29:11 | 0:29:16 | |
without Chef coming in, | 0:29:16 | 0:29:19 | |
"This is the dish I want to cook. | 0:29:19 | 0:29:21 | |
"I've assembled an incredible crew here. | 0:29:21 | 0:29:24 | |
"What are we going to do?" | 0:29:24 | 0:29:26 | |
# I never meant to cause you any sorrow | 0:29:28 | 0:29:31 | |
# I never meant to cause you any pain | 0:29:36 | 0:29:39 | |
# I only wanted one time to see you laughing | 0:29:44 | 0:29:48 | |
# I only wanted to see you laughing | 0:29:50 | 0:29:54 | |
# In the purple rain | 0:29:54 | 0:29:58 | |
# Purple rain, purple rain... # | 0:29:58 | 0:30:02 | |
The version of Purple Rain used in the film was a recording | 0:30:02 | 0:30:05 | |
of Wendy's first live appearance with the Revolution. | 0:30:05 | 0:30:10 | |
She was just 19 years old. | 0:30:10 | 0:30:12 | |
I wanted to be a great guitar player in a great band. | 0:30:14 | 0:30:19 | |
I wanted to be a great player. | 0:30:19 | 0:30:21 | |
But there's ambivalence about that role that I had | 0:30:21 | 0:30:26 | |
and what I knew Lisa and I were giving him. | 0:30:26 | 0:30:29 | |
I did have moments of anger at him. | 0:30:32 | 0:30:35 | |
I always wanted him to say, "You're great! | 0:30:35 | 0:30:39 | |
"God, I couldn't do this without you! | 0:30:39 | 0:30:42 | |
"Man!" | 0:30:42 | 0:30:44 | |
It never... | 0:30:44 | 0:30:46 | |
That didn't come out of his mouth. | 0:30:46 | 0:30:49 | |
Prince made it perfectly clear that if you were there | 0:30:50 | 0:30:55 | |
and you had that role | 0:30:55 | 0:30:56 | |
and you were next to him playing, | 0:30:56 | 0:30:59 | |
that was his validation. | 0:30:59 | 0:31:01 | |
But in the spirit of full disclosure, | 0:31:01 | 0:31:04 | |
I wanted his validation. | 0:31:04 | 0:31:06 | |
THEY HARMONISE | 0:31:09 | 0:31:12 | |
But when it came right down to it, he had every right to ignore you. | 0:31:14 | 0:31:20 | |
He hired you, | 0:31:20 | 0:31:22 | |
he wanted to do this thing, | 0:31:22 | 0:31:24 | |
and he was signed to Warner Bros, | 0:31:24 | 0:31:26 | |
and it wasn't specified, | 0:31:26 | 0:31:28 | |
there wasn't a distinction made | 0:31:28 | 0:31:30 | |
that - "You are now going to partake in my soup." | 0:31:30 | 0:31:34 | |
It was just like, "This is going to be AWESOME. | 0:31:35 | 0:31:39 | |
"Aren't you going to have fun? | 0:31:39 | 0:31:40 | |
"I'm having fun." And we're like, "Yeah!" | 0:31:40 | 0:31:43 | |
# I don't care, pretty baby. # | 0:31:43 | 0:31:46 | |
AUDIENCE REPEATS | 0:31:46 | 0:31:48 | |
Being on stage in front of tens of thousands of people alongside | 0:31:52 | 0:31:56 | |
Prince - or Bowie, or whoever - | 0:31:56 | 0:31:59 | |
is a pretty special feeling. | 0:31:59 | 0:32:00 | |
It is. | 0:32:00 | 0:32:02 | |
But what all of us sidies have to accept is that we are not the stars. | 0:32:05 | 0:32:10 | |
I knew where I was in the pecking order with David Bowie. | 0:32:10 | 0:32:14 | |
I was the gun for hire with a job to do. | 0:32:14 | 0:32:17 | |
As sidemen, we are there to support. | 0:32:17 | 0:32:21 | |
# Now put on your red shoes and dance the blues. # | 0:32:21 | 0:32:24 | |
If he's tired or a little distracted, | 0:32:24 | 0:32:28 | |
he relied on me to take that spot. | 0:32:28 | 0:32:31 | |
That's my job. | 0:32:31 | 0:32:33 | |
Slick could be a foil. | 0:32:36 | 0:32:38 | |
That was definitely part of what he did for David. | 0:32:38 | 0:32:42 | |
Slick was really the... maybe the more animal of the two, | 0:32:42 | 0:32:45 | |
and that animal element really needed to be there, | 0:32:45 | 0:32:48 | |
that earthiness, and Slicky was really that personified. | 0:32:48 | 0:32:52 | |
But it's still his tour. | 0:32:54 | 0:32:57 | |
So to make it his tour and to make sure that he came | 0:32:57 | 0:33:00 | |
looking in the best light, my job is to catch him | 0:33:00 | 0:33:03 | |
when he's going to fall down, | 0:33:03 | 0:33:05 | |
make sure that I pick up the energy if he doesn't have it | 0:33:05 | 0:33:09 | |
and make it work on that stage. | 0:33:09 | 0:33:12 | |
As sideman, that's what I do. And, um... | 0:33:12 | 0:33:16 | |
And you've got to remember... | 0:33:16 | 0:33:18 | |
Cos I've seen sidemen go sideways. | 0:33:18 | 0:33:20 | |
All of a sudden, they think THEY'RE the star. | 0:33:20 | 0:33:23 | |
Uh-uh. | 0:33:23 | 0:33:25 | |
Bad move. | 0:33:25 | 0:33:26 | |
MUSIC: Space Oddity by David Bowie | 0:33:26 | 0:33:31 | |
They work together in a sonic way, | 0:33:32 | 0:33:37 | |
and they can work together visually. | 0:33:37 | 0:33:40 | |
Earl never upstages David. | 0:33:40 | 0:33:42 | |
You know, it's just kind of a great matchup | 0:33:42 | 0:33:46 | |
of mutual respect. | 0:33:46 | 0:33:47 | |
# Though I'm past 100,000 miles | 0:33:47 | 0:33:53 | |
# I'm feeling very still | 0:33:53 | 0:33:56 | |
# And I think my spaceship knows... # | 0:33:57 | 0:34:01 | |
When I worked with David, I got to play both on the road | 0:34:01 | 0:34:04 | |
and in the studio and, for me, that was just great. | 0:34:04 | 0:34:08 | |
But there are also those players | 0:34:12 | 0:34:15 | |
who are only hired to work in the studio. | 0:34:15 | 0:34:17 | |
The session musicians. | 0:34:19 | 0:34:21 | |
I mean, there are guys that just do sessions | 0:34:25 | 0:34:28 | |
and they don't go on the road. | 0:34:28 | 0:34:30 | |
They don't necessarily ever play live. | 0:34:30 | 0:34:33 | |
So I think that's the difference | 0:34:33 | 0:34:35 | |
between a session man and a sideman, | 0:34:35 | 0:34:37 | |
that a sideman is expecting to play to an audience, live. | 0:34:37 | 0:34:42 | |
A session man maybe never plays live or only occasionally. | 0:34:42 | 0:34:46 | |
A session player, you think of him being in recording studios, | 0:34:48 | 0:34:51 | |
but the sideman has | 0:34:51 | 0:34:53 | |
a little more input to the artist they're working with. | 0:34:53 | 0:34:56 | |
His feedback is amazingly important, | 0:34:56 | 0:34:58 | |
you know, but I've been in recording sessions where I've changed | 0:34:58 | 0:35:02 | |
the whole vibe of the studio, you know, | 0:35:02 | 0:35:05 | |
just based on what I played. | 0:35:05 | 0:35:07 | |
Sometimes that's not wanted by the artist | 0:35:07 | 0:35:10 | |
and it's not comfortable. | 0:35:10 | 0:35:12 | |
"This is not your gig," they'll say. "This is not your gig. | 0:35:12 | 0:35:16 | |
"What are you telling us? We have a vision. | 0:35:16 | 0:35:19 | |
"Your job is to execute it." | 0:35:19 | 0:35:21 | |
Executing the vision of the artist | 0:35:23 | 0:35:25 | |
was extremely important for session players, | 0:35:25 | 0:35:28 | |
especially in the '60s. | 0:35:28 | 0:35:30 | |
But one guy who I really looked up to | 0:35:31 | 0:35:34 | |
and successfully combined the roles of session man and sidemen | 0:35:34 | 0:35:39 | |
was guitar legend Steve Cropper. | 0:35:39 | 0:35:41 | |
RINGTONE: Green Onions by Booker T & the MGs | 0:35:41 | 0:35:45 | |
Hey, call me back. I'm in the middle of an interview, doing a video. OK. | 0:35:45 | 0:35:50 | |
Sounded pretty good. | 0:35:51 | 0:35:53 | |
MUSIC: Green Onions by Booker T & the MGs | 0:35:53 | 0:35:56 | |
Steve Cropper was part of the Stax record label, | 0:35:56 | 0:35:59 | |
based out of Memphis, Tennessee. | 0:35:59 | 0:36:01 | |
I would say that Steve Cropper, without a doubt, is | 0:36:05 | 0:36:08 | |
one of the greatest sidemen/session men I have ever seen in my life, | 0:36:08 | 0:36:14 | |
because he could adapt to whatever the flavour and role would be | 0:36:14 | 0:36:18 | |
in a credible way. And his commitment to it would be all-in. | 0:36:18 | 0:36:22 | |
And that was the thing that made Steve special. | 0:36:22 | 0:36:25 | |
When we first heard Booker T stuff, | 0:36:28 | 0:36:30 | |
we naturally assumed that it was an all-black affair, you know, | 0:36:30 | 0:36:34 | |
and I was quite amazed to find out that Steve was white and Duck Dunn, | 0:36:34 | 0:36:39 | |
the bass player, was also white. | 0:36:39 | 0:36:41 | |
That, at the time, this was still pretty unique. | 0:36:41 | 0:36:45 | |
Booker T & the MGs had hits | 0:36:47 | 0:36:49 | |
and then also functioned as the brand that was backing | 0:36:49 | 0:36:53 | |
the different vocalists that came through. | 0:36:53 | 0:36:55 | |
# Do you like good music? | 0:36:55 | 0:36:58 | |
# That sweet soul music... # | 0:36:58 | 0:37:01 | |
With Stax, you have a sense that it's a band that's creating | 0:37:01 | 0:37:05 | |
a sound that's a signature sound. | 0:37:05 | 0:37:07 | |
# ..Way out here on the floor now | 0:37:07 | 0:37:10 | |
# Oh, going to a go-go. | 0:37:10 | 0:37:13 | |
# And they're dancing to the music | 0:37:13 | 0:37:15 | |
# Oh, yeah, oh, yeah... # | 0:37:15 | 0:37:18 | |
The formula back in the '60s, | 0:37:18 | 0:37:21 | |
everybody had their own studio | 0:37:21 | 0:37:23 | |
and their own set of musicians, | 0:37:23 | 0:37:26 | |
you know? They didn't look up in the phone book | 0:37:26 | 0:37:29 | |
and call this guy cos he's good | 0:37:29 | 0:37:31 | |
or that guy cos he's good. | 0:37:31 | 0:37:33 | |
They're the same guys all the time. | 0:37:33 | 0:37:34 | |
And we played on almost every session. | 0:37:34 | 0:37:38 | |
# Don't you ever be sad. # | 0:37:38 | 0:37:40 | |
Alongside Steve's work with Booker T, | 0:37:40 | 0:37:43 | |
he was also the indispensable sideman to Wilson Pickett | 0:37:43 | 0:37:46 | |
and to Sam & Dave, | 0:37:46 | 0:37:49 | |
and in a business where everyone is indispensable, that's unusual. | 0:37:49 | 0:37:54 | |
Everybody! | 0:37:54 | 0:37:55 | |
# ..Hold on, I'm comin'... # | 0:37:55 | 0:37:58 | |
When we would do a Sam & Dave session, Steve would bring | 0:37:58 | 0:38:02 | |
the flavour that we were looking for and we're communicating | 0:38:02 | 0:38:05 | |
for the Sam & Dave project, | 0:38:05 | 0:38:06 | |
that you could tell that sounded like Sam & Dave. | 0:38:06 | 0:38:09 | |
And if he were then, in fact, doing Booker T & the MGs, | 0:38:09 | 0:38:13 | |
he would take that role | 0:38:13 | 0:38:15 | |
and it would sound like Booker T & the MGs, | 0:38:15 | 0:38:17 | |
yet it's the same four players. | 0:38:17 | 0:38:19 | |
And you've got to be a special, | 0:38:19 | 0:38:21 | |
special sideman to make that work that way. | 0:38:21 | 0:38:25 | |
MUSIC: Time Is Tight by Booker T & the MGs | 0:38:25 | 0:38:30 | |
It's Stax Records. | 0:38:30 | 0:38:32 | |
You had white musicians as a support for black artists. | 0:38:32 | 0:38:36 | |
We were the leaders in that. | 0:38:36 | 0:38:38 | |
And you have to understand, we're talking about the '60s. | 0:38:38 | 0:38:41 | |
There were idiots of racists in the '60s, | 0:38:41 | 0:38:45 | |
white racists that hated to even look at blacks walking on the same | 0:38:45 | 0:38:49 | |
street with whites, let alone playing in bands with them. | 0:38:49 | 0:38:53 | |
And then you put them in a role that's backing up | 0:38:53 | 0:38:55 | |
and supporting someone that's black, that was revolutionary. | 0:38:55 | 0:38:58 | |
But that's what was happening at Stax Records. | 0:38:58 | 0:39:01 | |
You had guys like Steve Cropper | 0:39:01 | 0:39:04 | |
who were willing to go into that role of support, | 0:39:04 | 0:39:08 | |
and then, on concerts, | 0:39:08 | 0:39:11 | |
willing to get on stage and be called all kinds of names. | 0:39:11 | 0:39:14 | |
Steve Cropper was an amazing sideman, | 0:39:17 | 0:39:20 | |
but it was what he contributed to the song. | 0:39:20 | 0:39:23 | |
He played the rhythm parts, | 0:39:23 | 0:39:25 | |
but he was clever enough to come up | 0:39:25 | 0:39:28 | |
with intros and different parts, | 0:39:28 | 0:39:31 | |
like we did Knock On Wood. | 0:39:31 | 0:39:34 | |
Eddie Floyd and I were writing at the Lorraine Motel | 0:39:35 | 0:39:39 | |
and he said, | 0:39:39 | 0:39:40 | |
"I got a great idea for a song." I said, "OK, what?" | 0:39:40 | 0:39:43 | |
He said, "I want to write a song about superstitions." | 0:39:43 | 0:39:46 | |
I said, "OK. | 0:39:48 | 0:39:49 | |
"Eddie, what do people do for good luck?" | 0:39:49 | 0:39:51 | |
And he said, "Well, they go..." | 0:39:51 | 0:39:53 | |
HE CLICKS HIS TONGUE | 0:39:53 | 0:39:54 | |
That's it. | 0:39:54 | 0:39:56 | |
So we started writing, and we knew we had it. | 0:39:56 | 0:39:59 | |
We finished the song, | 0:39:59 | 0:40:00 | |
and I know I sat there for a long time | 0:40:00 | 0:40:02 | |
trying to come up with an intro, | 0:40:02 | 0:40:04 | |
and I couldn't come up with one. | 0:40:04 | 0:40:06 | |
The only idea that hit me, I said, | 0:40:06 | 0:40:08 | |
"I wonder what In The Midnight Hour would sound like backwards?" | 0:40:08 | 0:40:11 | |
And I don't know how I came up with the original | 0:40:11 | 0:40:14 | |
of In The Midnight Hour, but it started on a D chord... | 0:40:14 | 0:40:17 | |
So it's the same walk, just in reverse, so it... | 0:40:30 | 0:40:33 | |
# I don't want to lose... # | 0:40:37 | 0:40:40 | |
And that was Knock On Wood. | 0:40:41 | 0:40:43 | |
# I don't want to lose | 0:40:43 | 0:40:45 | |
# This good thing | 0:40:45 | 0:40:48 | |
# That I got | 0:40:48 | 0:40:49 | |
# If I do | 0:40:49 | 0:40:52 | |
# I would surely | 0:40:52 | 0:40:55 | |
# Surely lose a lot | 0:40:55 | 0:40:58 | |
# Cos your love | 0:40:58 | 0:41:00 | |
# Is better | 0:41:00 | 0:41:01 | |
# Than any love I know | 0:41:03 | 0:41:05 | |
# It's like thunder | 0:41:05 | 0:41:08 | |
# Lightnin' | 0:41:08 | 0:41:10 | |
# The way you love me is frightenin' | 0:41:10 | 0:41:13 | |
# I better knock | 0:41:13 | 0:41:15 | |
# On wood. # | 0:41:15 | 0:41:18 | |
I said, "You want to learn how to play guitar?" | 0:41:18 | 0:41:20 | |
All guitars have the same dots on them. | 0:41:20 | 0:41:22 | |
HE CHUCKLES | 0:41:22 | 0:41:23 | |
It's a scale thing, I guess, I don't know. | 0:41:23 | 0:41:26 | |
I said, "Just follow the dots | 0:41:26 | 0:41:28 | |
"and you can write hit songs!" | 0:41:28 | 0:41:30 | |
-HE LAUGHS -It doesn't matter! | 0:41:30 | 0:41:33 | |
# Oh, yeah | 0:41:33 | 0:41:35 | |
# Knock | 0:41:35 | 0:41:37 | |
# Oh, my, my! # | 0:41:37 | 0:41:39 | |
Steve Cropper not only played on hit songs, he co-wrote them. | 0:41:39 | 0:41:43 | |
Knock On Wood, In The Midnight Hour and many more. | 0:41:43 | 0:41:48 | |
He was a songwriter, a session man, | 0:41:48 | 0:41:51 | |
a producer and a sideman, | 0:41:51 | 0:41:53 | |
all rolled into one. | 0:41:53 | 0:41:55 | |
# What you want, honey, you got it. # | 0:41:57 | 0:42:00 | |
So, when wanna-be soul star | 0:42:00 | 0:42:01 | |
Otis Redding turned up at Stax in 1964, | 0:42:01 | 0:42:05 | |
Steve and Stax owner Jim Stewart just knew they had someone special. | 0:42:05 | 0:42:10 | |
# Respect is what I want! # | 0:42:10 | 0:42:13 | |
Al Jackson, the drummer in Booker T & the MGs, | 0:42:13 | 0:42:15 | |
came to me and he said, | 0:42:15 | 0:42:16 | |
"You know that guy, that big tall guy?" | 0:42:16 | 0:42:18 | |
I said, "Yeah." He said, | 0:42:18 | 0:42:19 | |
"He has been bugging me to death for somebody to listen to him sing." | 0:42:19 | 0:42:23 | |
I said, "Yeah, OK. Bring him down to the piano." | 0:42:23 | 0:42:27 | |
And this guy comes up, and I said, "OK, | 0:42:27 | 0:42:29 | |
"there's the piano, play something." | 0:42:29 | 0:42:31 | |
He said, "Well, I don't play anything." | 0:42:31 | 0:42:33 | |
I said, "Well, I don't either." | 0:42:33 | 0:42:34 | |
And he said, "Well, can you play me some of them church quads?" | 0:42:34 | 0:42:37 | |
"Quads" instead of "chords". | 0:42:37 | 0:42:40 | |
Church quads. | 0:42:40 | 0:42:41 | |
And he starts singing These Arms Of Mine. | 0:42:41 | 0:42:43 | |
# These arms of mine | 0:42:43 | 0:42:51 | |
# They are lonely... # | 0:42:51 | 0:42:54 | |
And I said, "Stop, hold it." | 0:42:54 | 0:42:55 | |
He said, "What, you don't like it?" | 0:42:55 | 0:42:57 | |
I said, "No, I like it great, I just want Jim Stewart to hear it." | 0:42:57 | 0:43:00 | |
And I went to the control room, I said, | 0:43:00 | 0:43:02 | |
"Jim, you got to get out here and hear this guy sing." | 0:43:02 | 0:43:06 | |
# ..These arms of mine | 0:43:06 | 0:43:11 | |
# They are yearning... # | 0:43:11 | 0:43:14 | |
And I'm not lying about this, the hair on my arms stood up. | 0:43:14 | 0:43:18 | |
-Like that. -# ..Yearning from wanting you... # | 0:43:18 | 0:43:22 | |
By my recollection, we had 17 hit singles in a row with Otis Redding. | 0:43:22 | 0:43:26 | |
He never had what we would call a flop. | 0:43:26 | 0:43:28 | |
# ..Let them hold you... # | 0:43:28 | 0:43:31 | |
Steve is one of the most original guitar players. | 0:43:31 | 0:43:34 | |
When I heard those first licks on his Otis Redding records, | 0:43:34 | 0:43:38 | |
"Oh, there's one, there's one." | 0:43:38 | 0:43:42 | |
Probably the other thing about a sideman, and I'll throw this in | 0:43:47 | 0:43:51 | |
with Steve Cropper, is the ability to read a song very quickly. | 0:43:51 | 0:43:57 | |
# Ba, ba, ba, ba, ba, ba, ba, ba. # | 0:43:57 | 0:44:00 | |
There was sort of context here with the piece of music that | 0:44:00 | 0:44:03 | |
you're playing, and to put your own thing on it, | 0:44:03 | 0:44:06 | |
but it's that sympathy for a song which is a sign of a good sideman. | 0:44:06 | 0:44:10 | |
# Sad, sad song, y'all | 0:44:10 | 0:44:12 | |
# Sad songs, that's all I know. # | 0:44:12 | 0:44:16 | |
Otis Redding's relationship with Steve was so great | 0:44:16 | 0:44:19 | |
that he wanted his sideman on tour with him. | 0:44:19 | 0:44:21 | |
# ..Sad songs, that's all I know. # | 0:44:21 | 0:44:23 | |
Otis said, "You guys have to go on the road with me, | 0:44:23 | 0:44:26 | |
"you have to be my backup band." | 0:44:26 | 0:44:28 | |
That's what made it unique and so special. | 0:44:28 | 0:44:31 | |
The band that played on the hit records was the same band that | 0:44:31 | 0:44:34 | |
played on stage with the artist. | 0:44:34 | 0:44:36 | |
Same licks by the same people, | 0:44:38 | 0:44:39 | |
playing the same thing with the same feeling - | 0:44:39 | 0:44:42 | |
never heard of, because you have what you call session players, | 0:44:42 | 0:44:46 | |
and then you have your touring musicians. | 0:44:46 | 0:44:49 | |
They don't do both. | 0:44:49 | 0:44:50 | |
In our story, Stax is really important. | 0:44:53 | 0:44:57 | |
Here, musicians like Steve were given, if not star billing, | 0:44:57 | 0:45:01 | |
at least visibility in a way that was pretty rare before then. | 0:45:01 | 0:45:05 | |
Steve was behind Otis but crucial to his success. | 0:45:06 | 0:45:11 | |
# Sitting in the mornin' sun | 0:45:11 | 0:45:15 | |
# I'll be sittin' when the evenin' comes | 0:45:15 | 0:45:19 | |
# Watching those ships roll in | 0:45:20 | 0:45:23 | |
# Then I'll watch them roll away again | 0:45:23 | 0:45:27 | |
# I'll just go sit on the dock of the bay | 0:45:27 | 0:45:31 | |
# Watchin' the tide roll away | 0:45:31 | 0:45:35 | |
# Sittin' on the dock of the bay | 0:45:36 | 0:45:39 | |
# Wastin' time... # | 0:45:39 | 0:45:43 | |
-OTIS: -# I left my home in Georgia | 0:45:44 | 0:45:48 | |
# Headed for the Frisco bay... # | 0:45:49 | 0:45:52 | |
This was the last song Steve and Otis worked on together, | 0:45:52 | 0:45:56 | |
though Otis never heard the final track. | 0:45:56 | 0:45:58 | |
He was killed in a plane crash. | 0:45:58 | 0:46:01 | |
He was just 26 years old. | 0:46:01 | 0:46:02 | |
# So I just goin' to sit on the dock of the bay... # | 0:46:02 | 0:46:06 | |
The role I had with Otis... | 0:46:06 | 0:46:08 | |
We partied together, we'd go to clubs together, | 0:46:09 | 0:46:11 | |
we'd do different things. | 0:46:11 | 0:46:13 | |
# Sittin' on the dock of the bay | 0:46:13 | 0:46:15 | |
# Wastin' time... # | 0:46:15 | 0:46:19 | |
Otis calls himself a backwards country boy, | 0:46:21 | 0:46:23 | |
but there was something that was extremely magic... | 0:46:23 | 0:46:26 | |
HE WHISTLES | 0:46:26 | 0:46:29 | |
-EMOTIONAL: -There'll never be another one. | 0:46:32 | 0:46:35 | |
Steve's relationship with Otis was kind of special, | 0:46:43 | 0:46:46 | |
and his reputation was sealed. | 0:46:46 | 0:46:49 | |
He would go on to work with everyone from Rod Stewart | 0:46:49 | 0:46:52 | |
to Eric Clapton, to the Blues Brothers. | 0:46:52 | 0:46:54 | |
And as a sideman, that's what you need - a reputation. | 0:46:57 | 0:47:02 | |
Because the artists you work with don't always have work for you. | 0:47:02 | 0:47:06 | |
But if you are lucky, someone else might. | 0:47:06 | 0:47:08 | |
And my luck was certainly in when I got a call in 1980. | 0:47:11 | 0:47:14 | |
So I hadn't seen David Bowie since '76, | 0:47:16 | 0:47:19 | |
and I got a phone call from the producer Jack Douglas, | 0:47:19 | 0:47:23 | |
and he said, "Oh, I got this session for Slicky." | 0:47:23 | 0:47:27 | |
"Who is it?" "I can't tell you." | 0:47:27 | 0:47:29 | |
But after three or four days, I kind of figured it out. | 0:47:30 | 0:47:34 | |
It was John Lennon. | 0:47:34 | 0:47:35 | |
I was a little nervous. I don't get nervous. That one made me nervous. | 0:47:39 | 0:47:43 | |
John had certain session guys that he had used, | 0:47:43 | 0:47:47 | |
and John said, "Well, I need a wild card in here. | 0:47:47 | 0:47:50 | |
"I need a street player that can't read, that's just like me - | 0:47:50 | 0:47:53 | |
"irreverent and does what he wants." | 0:47:53 | 0:47:55 | |
That's how I got the gig. | 0:47:55 | 0:47:56 | |
It was not a challenge working with John at all because he left me | 0:48:00 | 0:48:04 | |
alone to do what I wanted to do. | 0:48:04 | 0:48:06 | |
# Here in some stranger's room | 0:48:06 | 0:48:10 | |
# Late in the afternoon | 0:48:11 | 0:48:14 | |
# What am I doing here at all? # | 0:48:16 | 0:48:21 | |
I was really ecstatic. | 0:48:21 | 0:48:23 | |
It was a really good time in my career. | 0:48:23 | 0:48:26 | |
It really was. And not just my career, in my life. | 0:48:26 | 0:48:29 | |
I loved it. John just let me loose. | 0:48:30 | 0:48:33 | |
When I'm with one of, like, these so-called stars, | 0:48:47 | 0:48:50 | |
I feel like a peer, you know, that's the way I'm treated. | 0:48:50 | 0:48:54 | |
I'm treated like a peer. | 0:48:54 | 0:48:55 | |
# I'm losing you. # | 0:48:55 | 0:48:59 | |
I was really lucky to work with both David and John in a period | 0:48:59 | 0:49:03 | |
that I now see as the heyday for us sidies - | 0:49:03 | 0:49:06 | |
the '70s and the '80s. | 0:49:06 | 0:49:08 | |
At this time, there were superstar solo artists who needed sidemen | 0:49:09 | 0:49:14 | |
and respected the role they played. | 0:49:14 | 0:49:16 | |
And if you were a sideman or woman during this golden age | 0:49:16 | 0:49:20 | |
who could play - not just guitar but were a multi-instrumentalist - | 0:49:20 | 0:49:24 | |
then you were going to get a lot of gigs. | 0:49:24 | 0:49:26 | |
Hey, what's up, y'all? | 0:49:26 | 0:49:27 | |
On percussion | 0:49:27 | 0:49:29 | |
and vocals | 0:49:29 | 0:49:31 | |
and saxophone, keyboards, harmonica, | 0:49:31 | 0:49:34 | |
you name it, she plays it out of Gary, Indiana. | 0:49:34 | 0:49:37 | |
That's Professor Crystal Taliefero. | 0:49:37 | 0:49:40 | |
Crystal is always there. She's a total professional. | 0:49:40 | 0:49:43 | |
When we're on stage, she delivers. | 0:49:43 | 0:49:45 | |
She's a show unto herself. | 0:49:45 | 0:49:48 | |
I can always rely on her to come through, | 0:49:48 | 0:49:50 | |
no matter what we're doing, and that's... | 0:49:50 | 0:49:53 | |
a great thing to be able to rely on. | 0:49:53 | 0:49:56 | |
I never have to worry about what she's going to do | 0:49:56 | 0:49:58 | |
or how she does it. | 0:49:58 | 0:50:00 | |
# Harry Truman, Doris Day Red China, Johnnie Ray | 0:50:02 | 0:50:05 | |
# South Pacific, Walter Winchell Joe DiMaggio... # | 0:50:05 | 0:50:08 | |
I've never wanted to be a star, not even when I was a kid. | 0:50:08 | 0:50:11 | |
I didn't even know what a star was. | 0:50:11 | 0:50:13 | |
This whole thing chose me. | 0:50:13 | 0:50:15 | |
I thought I would be married with five kids. | 0:50:15 | 0:50:17 | |
Maybe an accountant or something. | 0:50:17 | 0:50:20 | |
-Seriously! I mean... -SHE LAUGHS | 0:50:23 | 0:50:25 | |
# But when we are gone | 0:50:25 | 0:50:27 | |
# Will it still burn on and on and on? # | 0:50:27 | 0:50:30 | |
But, you know, I'm glad it turned out this way. Best time of my life. | 0:50:30 | 0:50:34 | |
Who knew? Who knew? | 0:50:34 | 0:50:36 | |
# The man said, There's a storm front comin' | 0:50:36 | 0:50:40 | |
# White water runnin' And the pressure is low... # | 0:50:40 | 0:50:45 | |
Crystal hooked up with Billy in the '80s, | 0:50:45 | 0:50:48 | |
having worked with some of the biggest names of the day | 0:50:48 | 0:50:50 | |
including John Mellencamp, Joe Cocker and Bruce Springsteen | 0:50:50 | 0:50:55 | |
# I've got a woman. # | 0:50:55 | 0:50:59 | |
She went from the keyboard and then she picked up the saxophone, | 0:50:59 | 0:51:02 | |
and, you know, it was kind of like, "Wait, | 0:51:02 | 0:51:05 | |
"she's gorgeous and she's grounded... | 0:51:05 | 0:51:09 | |
"She's talented. She's got great stage presence." | 0:51:11 | 0:51:15 | |
That is, I think, how Crystal is still in this business, | 0:51:15 | 0:51:19 | |
because she's an asset to anybody. | 0:51:19 | 0:51:22 | |
# White water runnin'... # | 0:51:22 | 0:51:25 | |
We started working together, and right away, I say, | 0:51:25 | 0:51:30 | |
"Oh, this woman knows what she's doing." | 0:51:30 | 0:51:31 | |
She was going to help us arrange harmonies, play percussion... | 0:51:31 | 0:51:36 | |
I didn't know if it was going to be permanent. | 0:51:36 | 0:51:39 | |
I thought it might be temporary. It was up to her. | 0:51:39 | 0:51:41 | |
Today, women sidies are part of the show. | 0:51:48 | 0:51:51 | |
But it's easy to forget that, back in the '80s, | 0:51:51 | 0:51:54 | |
this was all about the guys. | 0:51:54 | 0:51:55 | |
A woman coming to the band was different. | 0:52:00 | 0:52:03 | |
A couple of flags went up, you know, you know. | 0:52:03 | 0:52:07 | |
But I knew that was going to happen. | 0:52:07 | 0:52:09 | |
# The papers say she was seen in LA | 0:52:09 | 0:52:11 | |
# With a stranger... # | 0:52:11 | 0:52:13 | |
I was expected to be the sexy one. | 0:52:13 | 0:52:15 | |
Thank you, Billy, for... | 0:52:15 | 0:52:17 | |
I don't think he purposely meant for that to happen, | 0:52:17 | 0:52:19 | |
it just happened to be that way, and I'm... | 0:52:19 | 0:52:21 | |
I'm happy I was there. | 0:52:21 | 0:52:22 | |
# I've read where it's said she sleeps in a bed made of satin. # | 0:52:23 | 0:52:30 | |
I mean, I want to hear guys say, "Hey, you're sexy, I think that..." | 0:52:30 | 0:52:32 | |
Hey, thank you. You know? Yeah, it makes me feel good. | 0:52:32 | 0:52:36 | |
Yes, there are benefits to being a sexy sidewoman. | 0:52:41 | 0:52:44 | |
Lots of benefits. | 0:52:46 | 0:52:48 | |
Guys like sexy, hot girls. I mean, you're popular. | 0:52:48 | 0:52:52 | |
You know, you get a lot of recognition. | 0:52:52 | 0:52:54 | |
# That's not her style. # | 0:52:54 | 0:52:58 | |
And I got a lot of recognition. | 0:52:58 | 0:53:00 | |
And it's probably why I got a lot of gigs. | 0:53:00 | 0:53:02 | |
I didn't notice that there was any issues with her being a woman. | 0:53:05 | 0:53:09 | |
I mean, she was a good musician. | 0:53:09 | 0:53:11 | |
So right away, | 0:53:11 | 0:53:12 | |
all the people that I was working with at the time | 0:53:12 | 0:53:15 | |
had respect for her. | 0:53:15 | 0:53:16 | |
And that's really what it, I think, came down to, was just, | 0:53:16 | 0:53:20 | |
she's a good musician and so you better hold your own, you know? | 0:53:20 | 0:53:24 | |
Being one of the guys but not a guy, doing the hang. | 0:53:26 | 0:53:31 | |
When they say, "OK, you one of the fellas, you can hang," | 0:53:32 | 0:53:36 | |
that's a compliment. | 0:53:36 | 0:53:39 | |
That means they're accepting you as one of the fellas and they still | 0:53:39 | 0:53:42 | |
respect you as a woman. | 0:53:42 | 0:53:43 | |
Now, when I first came in now, that was the first time | 0:53:43 | 0:53:46 | |
I guess Billy had worked with a female, which was interesting. | 0:53:46 | 0:53:51 | |
He did very well, by the way. | 0:53:51 | 0:53:53 | |
He did. He did good. The guys did good too. | 0:53:53 | 0:53:56 | |
-Here's Johnny! -SHE LAUGHS | 0:54:00 | 0:54:02 | |
After 28 years, Crystal still plays with Billy's touring band, | 0:54:04 | 0:54:09 | |
but at the end of the day, | 0:54:09 | 0:54:10 | |
it doesn't matter how long you're with the star, | 0:54:10 | 0:54:13 | |
when the tour's over, for most of us sidies, it's a case of, | 0:54:13 | 0:54:16 | |
"What happens now?" | 0:54:16 | 0:54:18 | |
As a sideman, I live like a king, I'm treated like a king. | 0:54:27 | 0:54:31 | |
I don't want to do anything but play music. It's great. | 0:54:31 | 0:54:35 | |
It's Disneyland. I get to do what I want to do every day. | 0:54:35 | 0:54:40 | |
Nobody questions what I do. All my needs are taken care of. | 0:54:40 | 0:54:43 | |
Then, said tour is over. | 0:54:45 | 0:54:48 | |
Said sideman goes home | 0:54:48 | 0:54:50 | |
and said sideman sits there waiting for the phone to ring, | 0:54:50 | 0:54:54 | |
which is OK at the very beginning cos there's some money left, | 0:54:54 | 0:54:58 | |
but this money gets smaller and smaller and smaller, | 0:54:58 | 0:55:01 | |
and nobody's calling, and you're going, | 0:55:01 | 0:55:03 | |
"Why are they not calling?" | 0:55:03 | 0:55:06 | |
Is it possible to hit you up again and be a big pain in the ass? | 0:55:06 | 0:55:10 | |
And you'll come up with whatever reasons you come up with, | 0:55:10 | 0:55:13 | |
which may be true, may not be true, | 0:55:13 | 0:55:17 | |
but I think the more known you are and the more visible you are | 0:55:17 | 0:55:21 | |
as a sideman, to your front man, | 0:55:21 | 0:55:25 | |
the less approachable you are. | 0:55:25 | 0:55:27 | |
I'll sit out here all year. | 0:55:29 | 0:55:30 | |
The phone doesn't ring because they think you're owned. | 0:55:32 | 0:55:35 | |
And in a way, you are. | 0:55:35 | 0:55:36 | |
What are we doing here? | 0:55:36 | 0:55:38 | |
So they're thinking, we're rolling in money, | 0:55:39 | 0:55:42 | |
and we're buying houses, and we're working, | 0:55:42 | 0:55:44 | |
and we're on retainer, | 0:55:44 | 0:55:45 | |
and any minute we're going to be doing this, | 0:55:45 | 0:55:48 | |
and that's just not the truth. | 0:55:48 | 0:55:49 | |
The truth was that in between there would be times | 0:55:49 | 0:55:52 | |
when years would go by. | 0:55:52 | 0:55:54 | |
I mean, this is one of them good-ass do-nothing days. I like this. | 0:55:55 | 0:55:58 | |
I'm going to do nothing today after you guys go. | 0:56:01 | 0:56:04 | |
MUSIC: Show Biz Kids by Steely Dan | 0:56:09 | 0:56:13 | |
You know what? It's a double-edged sword. | 0:56:15 | 0:56:17 | |
You're playing with the world's greatest rock and roll band, | 0:56:17 | 0:56:20 | |
and when it's over, it's going to be hard to get another gig, | 0:56:20 | 0:56:24 | |
because, first of all, people, for some reason, | 0:56:24 | 0:56:26 | |
they think that you're part of the band. | 0:56:26 | 0:56:28 | |
I'm a gun for hire. | 0:56:28 | 0:56:30 | |
I wish I made that kind of money. | 0:56:30 | 0:56:32 | |
I wish I made Rolling Stone money. | 0:56:32 | 0:56:35 | |
But that ain't the case. | 0:56:35 | 0:56:36 | |
I don't take make that much money where | 0:56:39 | 0:56:41 | |
I can take a vacation or take a break. | 0:56:41 | 0:56:44 | |
I've tried, you know, taking a break after a Rolling Stone tour. | 0:56:44 | 0:56:49 | |
And when that money got low, trying to find another gig - | 0:56:49 | 0:56:54 | |
super hard. | 0:56:54 | 0:56:55 | |
Oh, my God! | 0:57:02 | 0:57:04 | |
It's not like you can just call | 0:57:04 | 0:57:06 | |
and say, "Hey, I'm Bernard Fowler and I want to tour, NOW!" | 0:57:06 | 0:57:10 | |
Shit don't happen like that. | 0:57:10 | 0:57:12 | |
And, like I said, I've done that before, | 0:57:12 | 0:57:16 | |
and it bit me in the ass. | 0:57:16 | 0:57:18 | |
I might take a few weeks or so, but I'm back at it. | 0:57:20 | 0:57:24 | |
I've been blessed that every time the Stones have gone out, | 0:57:26 | 0:57:29 | |
I've gone out, but... | 0:57:29 | 0:57:32 | |
It's really funny because, like, sometimes, you know, | 0:57:32 | 0:57:34 | |
I get telephone calls from friends or fans and they're like, | 0:57:34 | 0:57:37 | |
"Hey, man, I hear the Stones are going out, | 0:57:37 | 0:57:39 | |
"aren't you going with them?" I'm like, "I didn't hear anything." | 0:57:39 | 0:57:42 | |
And when that happens, it kind of fucks with you a bit | 0:57:45 | 0:57:48 | |
because you're not even sure if you're even going. | 0:57:48 | 0:57:51 | |
That's part of being a sideman, I think, | 0:57:53 | 0:57:55 | |
-not being sure! -HE LAUGHS | 0:57:55 | 0:57:57 | |
But... | 0:57:57 | 0:57:59 | |
Brother B has nothing to worry about on that. | 0:57:59 | 0:58:02 | |
It's whether the Stones will still be around, | 0:58:02 | 0:58:05 | |
it's not whether he'll be with us, for sure. You know? | 0:58:05 | 0:58:09 | |
It's up to him. As long as he wants. | 0:58:09 | 0:58:12 | |
-# What's my name? -Ooh ooh... # | 0:58:12 | 0:58:14 | |
Yeah, he'll be with us till the end. | 0:58:14 | 0:58:16 | |
Then we call him a Rolling Stone. | 0:58:16 | 0:58:18 | |
When we all retire, he can become... | 0:58:18 | 0:58:21 | |
We'll give him a little badge with, | 0:58:21 | 0:58:23 | |
"I am finally in there." | 0:58:23 | 0:58:26 | |
-# Ooh ooh -Yeah! | 0:58:26 | 0:58:27 | |
# Ooh ooh... # | 0:58:27 | 0:58:28 | |
Well, as far as I'm concerned, | 0:58:28 | 0:58:30 | |
he is officially a Rolling Stone. | 0:58:30 | 0:58:32 | |
By now, Brother B... | 0:58:32 | 0:58:34 | |
The rock, I mean... | 0:58:34 | 0:58:36 | |
-# Ooh ooh -Oh, yeah! # | 0:58:37 | 0:58:40 | |
I still do see myself as a sideman with the Rolling Stones. | 0:58:40 | 0:58:45 | |
By no means am I a Rolling Stone. | 0:58:45 | 0:58:47 | |
And nor will I ever be. | 0:58:49 | 0:58:51 | |
-# Tell me, baby -Ooh ooh | 0:58:51 | 0:58:53 | |
# What's my name? # | 0:58:53 | 0:58:55 | |
Would the Rolling Stones suffer without me? | 0:58:55 | 0:58:58 | |
They can continue. | 0:59:00 | 0:59:01 | |
But they'd miss me! | 0:59:03 | 0:59:04 | |
HE LAUGHS | 0:59:06 | 0:59:08 | |
-RECORDING: -This is something special for you. | 0:59:10 | 0:59:13 | |
Bernard's kind of lucky. | 0:59:13 | 0:59:15 | |
Despite some insecurity, | 0:59:15 | 0:59:17 | |
he does have a long-term gig with the Stones. | 0:59:17 | 0:59:20 | |
I worked with David on and off for 40 years, | 0:59:20 | 0:59:24 | |
but the work was by no means constant. | 0:59:24 | 0:59:27 | |
I never really knew what was around the corner. | 0:59:27 | 0:59:29 | |
He sacked me once, but then I was called back. | 0:59:31 | 0:59:34 | |
Every time one of his guitar players vaporised or quit or whatever, | 0:59:34 | 0:59:39 | |
I got the phone call. | 0:59:39 | 0:59:41 | |
And people say, "Doesn't that make you feel used?" | 0:59:41 | 0:59:43 | |
No! | 0:59:43 | 0:59:44 | |
He was doing what he needed to do at the time. | 0:59:44 | 0:59:47 | |
I took the gig, which meant I did what I needed to do at the time. | 0:59:47 | 0:59:51 | |
So it was... It was, you know, one hand washed the other. | 0:59:51 | 0:59:54 | |
# Girls and boys... # | 0:59:54 | 0:59:56 | |
But being sacked, let go, replaced, whatever you want to call it, | 0:59:59 | 1:00:04 | |
when it happens, it hurts, and it really does piss you off. | 1:00:04 | 1:00:07 | |
From the moment I was hired till the moment it all ended, | 1:00:11 | 1:00:15 | |
it was nonstop. | 1:00:15 | 1:00:16 | |
# I only knew her for a little while | 1:00:16 | 1:00:19 | |
# But he had grown accustomed to her style... # | 1:00:20 | 1:00:23 | |
So I never felt that it would end, until it ended. | 1:00:23 | 1:00:27 | |
So, you know, it almost felt like someone kicked the bed | 1:00:27 | 1:00:29 | |
while you're sound asleep, where you're like, | 1:00:29 | 1:00:31 | |
"What, what, what? What?!" | 1:00:31 | 1:00:33 | |
That's kind of how... Or, like, that's how it felt when it ended. | 1:00:33 | 1:00:38 | |
# Baby, I love you so much... # | 1:00:38 | 1:00:40 | |
Me and Lisa were fired. | 1:00:40 | 1:00:41 | |
# Maybe we can stay in touch... # | 1:00:41 | 1:00:44 | |
The night that we got fired, I can't say that Prince thanked us. | 1:00:47 | 1:00:53 | |
I could just feel his feelings just contradicting each other, | 1:00:53 | 1:00:57 | |
themselves within him. | 1:00:57 | 1:01:00 | |
-# Boo! # -MANIACAL LAUGHING | 1:01:00 | 1:01:02 | |
I think he was at a crossroads. | 1:01:02 | 1:01:04 | |
I think it was hard for him to say thank you at that time. | 1:01:04 | 1:01:09 | |
He said, "You know, I've just gotten to this place where I just | 1:01:09 | 1:01:11 | |
"need to change it up now because I've spread myself too thin. | 1:01:11 | 1:01:15 | |
"You guys are your own people and I need more of it in my control." | 1:01:15 | 1:01:20 | |
We were blown away by it and understood at the same time. | 1:01:20 | 1:01:25 | |
That's what it is when you're a side person - | 1:01:25 | 1:01:29 | |
everybody's expendable. | 1:01:29 | 1:01:30 | |
Yeah, it felt like my life exploded. | 1:01:33 | 1:01:36 | |
It took me on this incredible ride, | 1:01:36 | 1:01:38 | |
and then suddenly... Pshoo! | 1:01:38 | 1:01:40 | |
You know, "Let's not do this any more." | 1:01:40 | 1:01:44 | |
It was really like a romantic break-up, you know? | 1:01:44 | 1:01:47 | |
And I think he missed us, too. | 1:01:48 | 1:01:50 | |
Which always freaked me out when I'd get signs of that, | 1:01:50 | 1:01:54 | |
that he was missing us or wondering where we were. | 1:01:54 | 1:01:57 | |
It would make me mad. | 1:01:57 | 1:01:59 | |
It was a facade in that Prince was never going to be | 1:02:01 | 1:02:04 | |
a member of a band, that he was never going to be as collaborative | 1:02:04 | 1:02:08 | |
as, you know, what it was | 1:02:08 | 1:02:10 | |
that he was putting forward. | 1:02:10 | 1:02:12 | |
I will say that Purple Rain was the most collaborative period | 1:02:12 | 1:02:17 | |
in his career. | 1:02:17 | 1:02:18 | |
After the success of Purple Rain, you know, | 1:02:18 | 1:02:20 | |
there was no possibility of collaboration after that. | 1:02:20 | 1:02:23 | |
I mean, at that point, nobody could ever say no to him again | 1:02:23 | 1:02:26 | |
because he had shown that he knew better than everybody else. | 1:02:26 | 1:02:29 | |
Wendy and I were pretty lost after the break-up | 1:02:31 | 1:02:35 | |
and weren't really sure what we were going to do. | 1:02:35 | 1:02:40 | |
We rented a house for a couple of weeks | 1:02:40 | 1:02:43 | |
and licked our wounds, kind of like, together. | 1:02:43 | 1:02:47 | |
We commiserated. And then we started to write songs. | 1:02:47 | 1:02:52 | |
People were waiting for us to write, you know, a Prince track, | 1:02:55 | 1:02:59 | |
but it's not Prince & The Revolution, | 1:02:59 | 1:03:01 | |
that's a different thing. | 1:03:01 | 1:03:03 | |
# Come in, take a chair | 1:03:03 | 1:03:06 | |
# Nothing else to do out there | 1:03:06 | 1:03:08 | |
# It's what you want and what you need | 1:03:11 | 1:03:14 | |
# Decisions made in privacy... # | 1:03:14 | 1:03:16 | |
Now we're not the arm candy, you know, | 1:03:16 | 1:03:19 | |
we can actually be the centrepiece. | 1:03:19 | 1:03:22 | |
And that was the desire. | 1:03:22 | 1:03:24 | |
# I'll name your fate | 1:03:24 | 1:03:27 | |
# Don't be shy, I'm waiting | 1:03:27 | 1:03:30 | |
# Come to the sideshow | 1:03:30 | 1:03:32 | |
# Come to the sideshow | 1:03:32 | 1:03:34 | |
# Yeah! # | 1:03:34 | 1:03:36 | |
And then ensued the dynamic of, | 1:03:36 | 1:03:39 | |
"What are you talking about? | 1:03:39 | 1:03:42 | |
"What do you mean, what are you selling?" | 1:03:42 | 1:03:44 | |
OK, we understand commerce - | 1:03:44 | 1:03:46 | |
we've got to sell a product, there's branding, da-da-da-da-da. | 1:03:46 | 1:03:49 | |
But this is where that being a woman | 1:03:49 | 1:03:52 | |
in the music business | 1:03:52 | 1:03:55 | |
-is sort of like an oxymoron. -SHE LAUGHS | 1:03:55 | 1:03:57 | |
You need to be fuckable... | 1:03:57 | 1:03:59 | |
first. | 1:03:59 | 1:04:01 | |
Straight up. | 1:04:01 | 1:04:03 | |
# Where it's at | 1:04:03 | 1:04:05 | |
# Time can't wash away the fears | 1:04:05 | 1:04:08 | |
# Stay away from the devil's tears. # | 1:04:08 | 1:04:12 | |
That's what the species is. | 1:04:12 | 1:04:15 | |
I don't want to play a part in that game, but when my twin sister came | 1:04:15 | 1:04:19 | |
and sang with Wendy & Lisa, the marketers fucking loved it. | 1:04:19 | 1:04:24 | |
Because Susannah was, like, | 1:04:26 | 1:04:28 | |
hot and sexy, fuckable, | 1:04:28 | 1:04:31 | |
and, like, woohoo! | 1:04:31 | 1:04:32 | |
"We can market that!" | 1:04:32 | 1:04:34 | |
I thought Wendy & Lisa were great, | 1:04:37 | 1:04:39 | |
but the move from sidie to solo artist is really a tough one. | 1:04:39 | 1:04:42 | |
# Well, didn't your mama tell ya? | 1:04:44 | 1:04:47 | |
# Didn't your papa tell ya? | 1:04:47 | 1:04:49 | |
# To get a little satisfaction... # | 1:04:49 | 1:04:52 | |
We ended up getting, like, dropped repeatedly. | 1:04:52 | 1:04:55 | |
On every label, we'd be signed and dropped, signed and dropped, | 1:04:55 | 1:04:58 | |
signed and dropped. | 1:04:58 | 1:04:59 | |
And, you know, because they were just like, | 1:04:59 | 1:05:02 | |
"Well, where's...?" You know... | 1:05:02 | 1:05:05 | |
I don't know what they wanted. A little red Corvette. | 1:05:05 | 1:05:08 | |
But that wasn't going to happen. | 1:05:08 | 1:05:10 | |
With us, it was a more subtle success, | 1:05:12 | 1:05:14 | |
that we could play clubs and sell them out. | 1:05:14 | 1:05:17 | |
In my estimation, I think that means that we made it | 1:05:17 | 1:05:21 | |
and we're able to keep working. | 1:05:21 | 1:05:23 | |
I haven't had to get a job at Staples | 1:05:23 | 1:05:27 | |
or McDonald's or something, so... | 1:05:27 | 1:05:29 | |
# Didn't your mama tell ya? | 1:05:30 | 1:05:33 | |
# Didn't your papa tell ya? # | 1:05:33 | 1:05:35 | |
Was it disappointing for me to realise that I wasn't a star? | 1:05:35 | 1:05:39 | |
-I feel embarrassed saying it. -SHEEPISHLY: -Yeah! | 1:05:39 | 1:05:42 | |
# Didn't your papa tell ya? # | 1:05:42 | 1:05:44 | |
I wanted to be as important as the artists | 1:05:44 | 1:05:47 | |
that are important to me, to other people. | 1:05:47 | 1:05:50 | |
I wanted to be able to have people listen to the work that I did. | 1:05:50 | 1:05:54 | |
My idea of being a rock star | 1:05:54 | 1:05:57 | |
probably didn't match | 1:05:57 | 1:06:00 | |
what my musical output was. | 1:06:00 | 1:06:02 | |
# If love can melt down barriers... # | 1:06:04 | 1:06:06 | |
-PERCUSSION BEATS -There it is. | 1:06:08 | 1:06:11 | |
All right, let me just try it. | 1:06:11 | 1:06:12 | |
When Wendy and Lisa didn't turn out to be huge pop stars on their own, | 1:06:13 | 1:06:18 | |
they were able to adjust because of their training, | 1:06:18 | 1:06:22 | |
because of their versatility | 1:06:22 | 1:06:23 | |
and because of their brand name | 1:06:23 | 1:06:25 | |
and the awareness of Wendy & Lisa to go on | 1:06:25 | 1:06:28 | |
to be hugely in demand and to play with folks like Madonna | 1:06:28 | 1:06:32 | |
and Joni Mitchell and Seal, | 1:06:32 | 1:06:34 | |
and able to build a career | 1:06:34 | 1:06:37 | |
that way. | 1:06:37 | 1:06:38 | |
It's too busy at that tempo. It's too much. | 1:06:38 | 1:06:42 | |
And then from that, springboard into writing scores, soundtracks, | 1:06:42 | 1:06:48 | |
TV shows, films. | 1:06:48 | 1:06:49 | |
It's still... | 1:06:51 | 1:06:53 | |
It's not ironic enough. | 1:06:53 | 1:06:54 | |
It feels too, like, anthemic. | 1:06:54 | 1:06:57 | |
Wendy and Lisa's contribution is much like an actor on the show, | 1:06:57 | 1:07:00 | |
and I always treated them as if they were actors. | 1:07:00 | 1:07:03 | |
With an actor, | 1:07:03 | 1:07:04 | |
you don't tell them how to do a scene. | 1:07:04 | 1:07:06 | |
You don't, say, don't give a line reading. | 1:07:06 | 1:07:09 | |
And as much as maybe the studio and network at times | 1:07:09 | 1:07:11 | |
on parts of the music would want a line reading, | 1:07:11 | 1:07:15 | |
a specific kind of music, I always resisted giving them that note. | 1:07:15 | 1:07:19 | |
So we should be playing something ironic, not too romantic. | 1:07:19 | 1:07:23 | |
In my experience in working with them, | 1:07:23 | 1:07:25 | |
I don't think we ever have them rescore something more than maybe | 1:07:25 | 1:07:28 | |
three or four times, and I'm talking about...200 episodes of television. | 1:07:28 | 1:07:33 | |
That's amazing. | 1:07:33 | 1:07:35 | |
Wendy and Lisa made it again as sidewomen, but now in TV. | 1:07:37 | 1:07:41 | |
They're writing music for some of the biggest US shows. | 1:07:41 | 1:07:44 | |
Yeah, that was good. | 1:07:44 | 1:07:46 | |
And they even got an Emmy to prove it. | 1:07:46 | 1:07:49 | |
SHE PLAYS: Nurse Jackie theme | 1:07:49 | 1:07:51 | |
SHE LAUGHS | 1:07:51 | 1:07:52 | |
So, to survive when you're not on the road, us sidies | 1:07:56 | 1:08:00 | |
need to find other ways to use what we've got to make a few bucks. | 1:08:00 | 1:08:04 | |
I don't think that I've been versatile enough during my career. | 1:08:06 | 1:08:09 | |
What are you, a cop? | 1:08:11 | 1:08:13 | |
I don't see a fucking uniform on your sorry fat ass. | 1:08:13 | 1:08:16 | |
A lot of the other guys, though, that weren't versatile enough | 1:08:18 | 1:08:21 | |
disappeared completely off the planet, and they ain't coming back. | 1:08:21 | 1:08:25 | |
That's something that really hit me | 1:08:26 | 1:08:28 | |
like a tonne of bricks about ten years ago, | 1:08:28 | 1:08:31 | |
that I'm going to have to sort of... | 1:08:31 | 1:08:34 | |
spread out here, but where? | 1:08:34 | 1:08:37 | |
-It's got such a...like a natural leather scent. -Yeah. -It works. | 1:08:37 | 1:08:41 | |
So I thought, "What are my talents? What the hell can I do?" | 1:08:41 | 1:08:45 | |
Yeah, I play music, but I also paint and customise my own clothes. | 1:08:45 | 1:08:49 | |
So I thought, "Why don't I do something with that? | 1:08:49 | 1:08:53 | |
"Worth a try?" | 1:08:53 | 1:08:54 | |
-This is great. -"No?" | 1:08:54 | 1:08:56 | |
Extra bullet holes. | 1:08:56 | 1:08:58 | |
That? Oh, that's 40-grit sand paper. | 1:08:58 | 1:09:02 | |
-You can make bullet holes that way. -Really? -I can trash anything. | 1:09:02 | 1:09:06 | |
I do it anyway, might as well, like, you know, | 1:09:06 | 1:09:08 | |
-maybe make money out of it. -Yeah. | 1:09:08 | 1:09:11 | |
Christian Benner is a New York fashion designer. | 1:09:11 | 1:09:14 | |
I really like his style. | 1:09:14 | 1:09:16 | |
So I brought a load of my stuff to see | 1:09:16 | 1:09:18 | |
if we might be able to do something together. | 1:09:18 | 1:09:21 | |
And then you take this shit and you put it in bleach | 1:09:21 | 1:09:24 | |
-and then use a bunch of rusty nails and... -Yeah, yeah. | 1:09:24 | 1:09:28 | |
-..shotgun shells and... -Yeah. | 1:09:28 | 1:09:30 | |
Can't play it, but it looks cool. | 1:09:30 | 1:09:31 | |
-THEY LAUGH -It's beautiful. | 1:09:31 | 1:09:33 | |
I don't have what he has, | 1:09:33 | 1:09:37 | |
and he doesn't have what I have. | 1:09:37 | 1:09:39 | |
This is gorgeous, though. | 1:09:39 | 1:09:41 | |
I want what he has, | 1:09:41 | 1:09:42 | |
he wants what I have, | 1:09:42 | 1:09:44 | |
which makes for a great partnership. | 1:09:44 | 1:09:47 | |
A Christian D original. | 1:09:47 | 1:09:48 | |
-I did fuck with it, though. -Yeah, I noticed. | 1:09:48 | 1:09:52 | |
What do you think? | 1:09:52 | 1:09:53 | |
I do belts and jackets, | 1:09:53 | 1:09:55 | |
but the way I paint things and the way I do things can actually add | 1:09:55 | 1:10:00 | |
to his thing, and even some of my stuff will stand on its own. | 1:10:00 | 1:10:04 | |
-That's... -Oh, my God, I did a good fucking job. I'm good, thank you. | 1:10:04 | 1:10:08 | |
He's been in business. He's got the machine to do it. | 1:10:08 | 1:10:12 | |
Whereas I don't. | 1:10:12 | 1:10:13 | |
Therein comes your trade-off. | 1:10:13 | 1:10:16 | |
He gets my name to help him out a little bit, I get the machine, | 1:10:16 | 1:10:21 | |
I get the help, promotion, all the stuff you need. | 1:10:21 | 1:10:25 | |
-Why don't our managers talk to each other? -Yeah, let's start this. | 1:10:26 | 1:10:29 | |
For me, it's fashion. | 1:10:35 | 1:10:36 | |
But all of us sidies have to find our own way. | 1:10:36 | 1:10:39 | |
Crystal Taliefero is - no shit - | 1:10:41 | 1:10:44 | |
Professor Crystal Taliefero | 1:10:44 | 1:10:46 | |
from Indiana State University when she's not touring. | 1:10:46 | 1:10:50 | |
Can't see me doing that. | 1:10:50 | 1:10:52 | |
I think I'm talented in more ways than just being a musician. | 1:10:54 | 1:10:58 | |
I think I'm talented, I think, more so in social skills. | 1:10:58 | 1:11:01 | |
I think I have good social skills. | 1:11:01 | 1:11:03 | |
Which I think should be weighed on the same level | 1:11:04 | 1:11:07 | |
as the performance skill. | 1:11:07 | 1:11:09 | |
You could have a talented person | 1:11:09 | 1:11:10 | |
and he could play 50,000 instruments and have zero social skills and... | 1:11:10 | 1:11:15 | |
Who wants to hang around with him? | 1:11:15 | 1:11:17 | |
He can't do the hang. He's out. | 1:11:17 | 1:11:20 | |
SHE LAUGHS | 1:11:20 | 1:11:22 | |
THEY HARMONISE | 1:11:22 | 1:11:24 | |
Crystal teaches up-and-coming musicians. | 1:11:24 | 1:11:27 | |
Who knows? Maybe the next generation of sidies. | 1:11:27 | 1:11:30 | |
SHE SINGS | 1:11:30 | 1:11:32 | |
HE RAPS | 1:11:33 | 1:11:36 | |
I'm teaching how to get the job, how to keep the job, | 1:11:36 | 1:11:39 | |
performance, stage performance, delivery, spontaneity. | 1:11:39 | 1:11:43 | |
I'm teaching basically how to survive. | 1:11:43 | 1:11:46 | |
I want you to use those eyes, those big, terrific eyes you have. | 1:11:46 | 1:11:50 | |
# You, you turn my life... # | 1:11:50 | 1:11:53 | |
Are there opportunities here for my students doing what I do, | 1:11:53 | 1:11:57 | |
as a sideman? | 1:11:57 | 1:11:58 | |
Yes, they are there, but it's a little more difficult | 1:11:58 | 1:12:02 | |
now for the younger generation. | 1:12:02 | 1:12:04 | |
They're all talented, great musicians, of course, | 1:12:04 | 1:12:07 | |
but I think they've been watered down. | 1:12:07 | 1:12:10 | |
There's no more identities. | 1:12:10 | 1:12:12 | |
Only the star's allowed to have an identity. | 1:12:12 | 1:12:15 | |
Maybe I should rethink and start grooming solo artists instead! | 1:12:15 | 1:12:20 | |
The music business today, hell, it's like another world. | 1:12:27 | 1:12:30 | |
One, two, three, four! | 1:12:30 | 1:12:32 | |
Thankfully - ha, ha - there are still some big artists out there | 1:12:33 | 1:12:37 | |
that need great sidemen, or in the case of Beyonce, sidewomen. | 1:12:37 | 1:12:41 | |
And when Beyonce toured the Beyonce Experience in '07, | 1:12:43 | 1:12:46 | |
she worked with some of the best sidewomen in the business. | 1:12:46 | 1:12:49 | |
There's anywhere from 20 to 30 people on stage with Beyonce | 1:12:51 | 1:12:54 | |
at any given point. I'm seeing everything. | 1:12:54 | 1:12:56 | |
I'm seeing people losing their minds, going crazy, | 1:12:56 | 1:12:59 | |
seeing their icon for the first time. | 1:12:59 | 1:13:01 | |
I'm seeing a big party, honestly, in the Beyonce concerts. | 1:13:01 | 1:13:05 | |
I wish everyone had the opportunity to get that point of view. | 1:13:05 | 1:13:08 | |
# Your love's got me looking so crazy right now | 1:13:08 | 1:13:10 | |
# So crazy | 1:13:10 | 1:13:11 | |
-# Got me looking so crazy right now -Your love | 1:13:11 | 1:13:14 | |
# Your touch got me looking so crazy right now | 1:13:14 | 1:13:16 | |
# Looking so crazy, my baby... # | 1:13:16 | 1:13:19 | |
Crystal "Rovel" Torres is extraordinary. | 1:13:19 | 1:13:22 | |
She's a multi-instrumentalist | 1:13:22 | 1:13:24 | |
who started working with Beyonce in '07 as a trumpet player. | 1:13:24 | 1:13:28 | |
When we first began, much of Beyonce's repertoire | 1:13:30 | 1:13:33 | |
didn't have horn parts. | 1:13:33 | 1:13:34 | |
We had a lot of creative freedom, you know, as long as it wasn't | 1:13:38 | 1:13:41 | |
stepping on the melody or getting in the way what was happening. | 1:13:41 | 1:13:45 | |
We had creative license to kind of add what we wanted. | 1:13:49 | 1:13:52 | |
She asked me to do a solo. She didn't... She was very open. | 1:13:54 | 1:13:57 | |
She didn't say specifically what to play. | 1:13:57 | 1:14:00 | |
There were 40,000 people staring at me, | 1:14:00 | 1:14:03 | |
and Beyonce said... | 1:14:03 | 1:14:05 | |
"Give it to Mama!" | 1:14:05 | 1:14:07 | |
And there's my moment. | 1:14:08 | 1:14:10 | |
She suggested that I do something really dramatic | 1:14:34 | 1:14:37 | |
and put the horn up, you know, back like this when I solo. | 1:14:37 | 1:14:40 | |
Sometimes it came out, sometimes it didn't, cos it's really hard | 1:14:47 | 1:14:50 | |
to play a trumpet in heels, you know, doing a backbend. | 1:14:50 | 1:14:52 | |
I'd done maybe five world tours, | 1:14:56 | 1:14:58 | |
but you have to understand, | 1:14:58 | 1:14:59 | |
the story was obviously about Beyonce, | 1:14:59 | 1:15:01 | |
so you have your choice to take it or leave it. | 1:15:01 | 1:15:04 | |
The quintessential, modern sideman or musician | 1:15:05 | 1:15:10 | |
has to be open to all of the many places that music leads you. | 1:15:10 | 1:15:15 | |
After being part of Beyonce's touring band for several years, | 1:15:20 | 1:15:24 | |
the day came when Crystal didn't get the call | 1:15:24 | 1:15:27 | |
to join Beyonce's 2012 tour. | 1:15:27 | 1:15:29 | |
When I actually didn't get the call after all those years, | 1:15:33 | 1:15:36 | |
it hurt, it definitely hurt. | 1:15:36 | 1:15:39 | |
Sometimes you are a part of an artist's vision, you know, | 1:15:39 | 1:15:41 | |
and that's a beautiful thing. And sometimes you're not. | 1:15:41 | 1:15:45 | |
And I think how every musician deals with those setbacks | 1:15:45 | 1:15:48 | |
really determines their fate and their success and their future. | 1:15:48 | 1:15:53 | |
You have to be aware that this is a business and you're working | 1:15:56 | 1:15:59 | |
with a star, so it's not that they don't want you | 1:15:59 | 1:16:02 | |
to promote yourself, but you just... you are working for a bigger brand. | 1:16:02 | 1:16:06 | |
And sometimes it's about that brand first. | 1:16:06 | 1:16:09 | |
This needs to be protected, so you have to find how you fit | 1:16:09 | 1:16:12 | |
and how they can work together. | 1:16:12 | 1:16:14 | |
Nowadays, much more so than in the past, | 1:16:17 | 1:16:19 | |
you have to be able to switch gears quickly. | 1:16:19 | 1:16:22 | |
And that would be the time when I developed my songwriting | 1:16:24 | 1:16:27 | |
and production skills and got into that and met Lupe. | 1:16:27 | 1:16:30 | |
# I love her and I hate to leave her lonely | 1:16:30 | 1:16:32 | |
# Ring, ring went the iPhone It was my homey... # | 1:16:32 | 1:16:35 | |
Lupe Fiasco is a Grammy award-winning rap artist | 1:16:35 | 1:16:38 | |
who was always looking out for new talent. | 1:16:38 | 1:16:41 | |
Crystal's name kept popping up and I was like, who's this Crystal woman? | 1:16:42 | 1:16:47 | |
And then it was like, | 1:16:47 | 1:16:49 | |
"Hey, Crystal, would you mind coming in and, | 1:16:49 | 1:16:51 | |
"you know, playing on certain records?" | 1:16:51 | 1:16:54 | |
It's so cool to be able to have a working relationship | 1:16:56 | 1:17:00 | |
with somebody who operates at an internationally renowned level. | 1:17:00 | 1:17:04 | |
So I show up, not really knowing what to expect, and he said, | 1:17:07 | 1:17:10 | |
"Just do your thing." | 1:17:10 | 1:17:11 | |
And so I went into the live room and just put in a harmon mute | 1:17:11 | 1:17:15 | |
and he immediately responded to that sound, | 1:17:15 | 1:17:17 | |
that Miles Davis Kind Of Blue kind of sound. | 1:17:17 | 1:17:19 | |
It's like I'm in the studio with Miles Davis, right? | 1:17:24 | 1:17:26 | |
To have somebody of a high calibre, being able to, like, | 1:17:26 | 1:17:30 | |
"Hey, can you play it like this?" Then they'll play it like that. | 1:17:30 | 1:17:33 | |
And, "Oh, it was amazing! Now can you play it like this?" | 1:17:33 | 1:17:35 | |
"Yes, I can play like that." | 1:17:35 | 1:17:37 | |
"Oh, my God. Can you just play?" | 1:17:37 | 1:17:39 | |
HE RAPS | 1:17:39 | 1:17:42 | |
By the end of that session, the song just became | 1:17:46 | 1:17:49 | |
this moody, jazzy, organic hip-hop mix. | 1:17:49 | 1:17:53 | |
# Are you ready to die? You just a baby | 1:17:53 | 1:17:57 | |
# Why them tears up under your eyes? You just a baby... # | 1:17:57 | 1:18:01 | |
It graduated into my next album where it was like, | 1:18:01 | 1:18:05 | |
it was a no-brainer, it was like, | 1:18:05 | 1:18:07 | |
I'm going into the studio, I need Crystal. | 1:18:07 | 1:18:09 | |
I feel that the best artists understand that we are all | 1:18:12 | 1:18:15 | |
working in service to the music, | 1:18:15 | 1:18:17 | |
and while everyone has their roles, | 1:18:17 | 1:18:19 | |
at the end of the day, the music is what brings people to them. | 1:18:19 | 1:18:24 | |
There's clearly a place for the next generation of sidies. | 1:18:37 | 1:18:40 | |
But what about those of us who've been around the block a few times? | 1:18:40 | 1:18:44 | |
As far as the future goes for me as a sideman, | 1:18:44 | 1:18:48 | |
I would say that it looks bleak. | 1:18:48 | 1:18:50 | |
In 2016, my main man David Bowie passed away. | 1:18:50 | 1:18:55 | |
That changed everything. | 1:18:55 | 1:18:57 | |
Ah, that's where the lift-off part comes in, isn't it? | 1:19:02 | 1:19:06 | |
Which is kind of what I felt happened when David... | 1:19:07 | 1:19:12 | |
..passed, you know, he lifted off. | 1:19:13 | 1:19:16 | |
# This is ground control to Major Tom | 1:19:16 | 1:19:19 | |
# You've really made the grade... # | 1:19:19 | 1:19:23 | |
David comes into my head every day since spring of 1974. | 1:19:23 | 1:19:30 | |
When you're entrenched with somebody that long, | 1:19:30 | 1:19:34 | |
it just does not go away. | 1:19:34 | 1:19:36 | |
David meant a lot of things to me | 1:19:37 | 1:19:39 | |
because he is the first person in my career | 1:19:39 | 1:19:44 | |
that I walked onto a stage | 1:19:44 | 1:19:47 | |
with 20,000 people and had a gold record within six months. | 1:19:47 | 1:19:51 | |
And how much I learned from him, I was always HIS guitar player. | 1:19:51 | 1:19:56 | |
Now I'm Earl Slick the guitar player | 1:19:56 | 1:19:58 | |
that used to work with David Bowie when he was alive. | 1:19:58 | 1:20:02 | |
With David gone, it's going to be tough. | 1:20:04 | 1:20:07 | |
# Here am I sitting in a tin can... # | 1:20:07 | 1:20:10 | |
A lot of the guys I knew that WERE hiring sidemen | 1:20:10 | 1:20:13 | |
are now retiring, which is kind of scary, but who knows? | 1:20:13 | 1:20:17 | |
Maybe liberating. | 1:20:17 | 1:20:19 | |
# Planet Earth is blue | 1:20:19 | 1:20:21 | |
# And there's nothing I can do... # | 1:20:21 | 1:20:25 | |
Bernard is doing more of his own thing | 1:20:26 | 1:20:29 | |
alongside his work with the Stones. | 1:20:29 | 1:20:31 | |
And that's got to be good. | 1:20:31 | 1:20:32 | |
# Ah-ah-ah... # | 1:20:32 | 1:20:35 | |
Hopefully more people will see | 1:20:35 | 1:20:37 | |
that I am only a sideman for the Rolling Stones. | 1:20:37 | 1:20:42 | |
When the Stones ain't rolling, | 1:20:42 | 1:20:44 | |
Bernard's out shaking that money-maker. | 1:20:44 | 1:20:47 | |
The future is, I see myself as a solo artist. | 1:20:47 | 1:20:51 | |
# Walked up to the Redbreast playing | 1:20:51 | 1:20:54 | |
# Everybody starting swaying | 1:20:54 | 1:20:57 | |
# See baby shaking her hair | 1:20:57 | 1:21:00 | |
# Hands swinging up in the air... # | 1:21:00 | 1:21:03 | |
You know, it's all independent, I'm doing it myself, | 1:21:03 | 1:21:07 | |
there's no machine behind it, and it's hard to get stuff heard. | 1:21:07 | 1:21:11 | |
# Say goodbye to strife | 1:21:14 | 1:21:16 | |
# Groupies gonna tell your wife... # | 1:21:16 | 1:21:19 | |
I don't think he's hampered as a solo artist | 1:21:19 | 1:21:21 | |
by being with the Rolling Stones. | 1:21:21 | 1:21:23 | |
But it's very hard to succeed as anything in show business. | 1:21:23 | 1:21:27 | |
There's thousands of groups looking to make one single, | 1:21:27 | 1:21:30 | |
I mean, it's not an easy business to be in. | 1:21:30 | 1:21:33 | |
# Shake it, baby, shake it | 1:21:33 | 1:21:36 | |
# Shake it, baby, shake it... # | 1:21:36 | 1:21:38 | |
Bernard loves to step out of the shadow, he loves to go and project. | 1:21:38 | 1:21:42 | |
He'll make people feel good. | 1:21:42 | 1:21:44 | |
And I think that's the reward for Bernard. | 1:21:45 | 1:21:48 | |
# Baby, baby Baby, baby... # | 1:21:49 | 1:21:52 | |
If I knew how to make my solo stuff break big enough for me | 1:21:52 | 1:21:59 | |
to go out and perform it all the time, I would. | 1:21:59 | 1:22:04 | |
It's a great dog, but it's still less than two years old, | 1:22:06 | 1:22:10 | |
so it's still a puppy. | 1:22:10 | 1:22:11 | |
Steve Cropper, as ever, prefers to be in the shadows. | 1:22:11 | 1:22:15 | |
And he can afford to, | 1:22:15 | 1:22:16 | |
having written some of the biggest hits of all time. | 1:22:16 | 1:22:19 | |
You can tell, as I haven't hung it yet, | 1:22:19 | 1:22:21 | |
but this is for 10 million plays from BMI. | 1:22:21 | 1:22:26 | |
Still in the package they give it to me. | 1:22:26 | 1:22:29 | |
I've always wanted to just be the band member. | 1:22:29 | 1:22:31 | |
I would never want to be that famous where, 24/7, | 1:22:31 | 1:22:35 | |
somebody's trying to get to you. | 1:22:35 | 1:22:37 | |
And I pride myself on the fact that I, for years, | 1:22:38 | 1:22:42 | |
was able to stay under the radar. | 1:22:42 | 1:22:45 | |
Cos I get to play behind singers that are great and they entertain, | 1:22:45 | 1:22:49 | |
they dance, they do it all. | 1:22:49 | 1:22:50 | |
I'm back there just grooving, having a ball. | 1:22:50 | 1:22:53 | |
And as long as there are great singers, | 1:22:56 | 1:22:58 | |
there are still going to be sidemen. | 1:22:58 | 1:23:00 | |
But the job may change a bit. | 1:23:02 | 1:23:04 | |
My job has changed in the last 30 years. | 1:23:06 | 1:23:08 | |
I'm not doing as much featuring spots, | 1:23:08 | 1:23:11 | |
moving over for a new person to come in now. | 1:23:11 | 1:23:15 | |
And we do that, you know, | 1:23:15 | 1:23:18 | |
to make room for other artists to be featured that are coming in. | 1:23:18 | 1:23:22 | |
So...and that's fine, that's the natural progression. | 1:23:22 | 1:23:25 | |
You're in that one, Crystal. | 1:23:27 | 1:23:29 | |
I'm just loving the place that I'm in. | 1:23:29 | 1:23:31 | |
I think I've just got more seasoned. You know? | 1:23:31 | 1:23:35 | |
That's what I want to call it - "seasoned". | 1:23:35 | 1:23:37 | |
Today, one avenue for us sidies is to revisit our past, | 1:23:40 | 1:23:45 | |
which, to be honest, is a bit of a double-edged sword. | 1:23:45 | 1:23:48 | |
Prince's Revolution have recently reformed to play a few gigs | 1:23:49 | 1:23:53 | |
to celebrate the life of Prince. | 1:23:53 | 1:23:55 | |
The fans will always want it. | 1:23:57 | 1:24:00 | |
They're going to want the Revolution to go out there | 1:24:00 | 1:24:02 | |
because that keeps Prince alive for them, right? | 1:24:02 | 1:24:06 | |
-Is this still in the A? -To D, A to D. | 1:24:08 | 1:24:11 | |
But how could this not be a slight midlife crisis | 1:24:13 | 1:24:17 | |
and want to sort of get back the taste of your own greatness | 1:24:17 | 1:24:22 | |
from that moment? | 1:24:22 | 1:24:24 | |
But what I believe we're trying to do as a band is to try | 1:24:25 | 1:24:30 | |
and figure out, is there a life to it or is it just that? | 1:24:30 | 1:24:36 | |
I'm not going to be stupid. | 1:24:39 | 1:24:41 | |
If what ends up happening is | 1:24:41 | 1:24:44 | |
a midlife crisis is leading the pack, | 1:24:44 | 1:24:47 | |
if that is what's driving this, | 1:24:47 | 1:24:50 | |
bye, folks, I'm out. | 1:24:50 | 1:24:53 | |
I always hated ending on that D. | 1:24:54 | 1:24:56 | |
Unless we can make it huge, you know, like, wah! | 1:24:56 | 1:25:01 | |
I too have been revisiting my past. | 1:25:01 | 1:25:04 | |
And it has thrown my whole life into perspective. | 1:25:04 | 1:25:06 | |
For me, David Bowie was always there. | 1:25:08 | 1:25:10 | |
Even when he wasn't. | 1:25:10 | 1:25:12 | |
And now, performing his stuff without him is weird. | 1:25:13 | 1:25:18 | |
But there is a healing here | 1:25:18 | 1:25:20 | |
and doing it with a fellow sidie makes me feel OK... | 1:25:20 | 1:25:24 | |
somehow. | 1:25:24 | 1:25:25 | |
You know, two sidemen from two different camps | 1:25:27 | 1:25:31 | |
coming together to do something, but we're not just bringing | 1:25:31 | 1:25:36 | |
the sideman stuff with us, | 1:25:36 | 1:25:38 | |
we're bringing our own individual vibe and feel. | 1:25:38 | 1:25:43 | |
You've got vocals all around, yes? | 1:25:43 | 1:25:46 | |
I think something really good is going to come out of that mix. | 1:25:46 | 1:25:51 | |
I did not want to try | 1:25:54 | 1:25:56 | |
to emulate David Bowie through a pseudo-Brit Bowieoke dude. | 1:25:56 | 1:26:01 | |
Mission accomplished. | 1:26:04 | 1:26:05 | |
And I got to work with Bernard and we are now best friends | 1:26:05 | 1:26:09 | |
and we'll continue working together because I love the guy to death. | 1:26:09 | 1:26:12 | |
It's good to see y'all, how you doing? | 1:26:14 | 1:26:17 | |
Hang on to it. | 1:26:18 | 1:26:20 | |
My name is Bernard Fowler and I'm happy as fuck to be here. | 1:26:20 | 1:26:24 | |
Let me say hello to my partner in crime. The reason I'm here. | 1:26:28 | 1:26:32 | |
Earl Slick. | 1:26:32 | 1:26:33 | |
CHEERING AND APPLAUSE | 1:26:33 | 1:26:37 | |
I couldn't think of anybody but him that could really | 1:26:37 | 1:26:39 | |
not only pull it off, like, vocally, | 1:26:39 | 1:26:42 | |
but, you know, has his own stage thing. | 1:26:42 | 1:26:45 | |
And he wasn't going to imitate, you know, | 1:26:45 | 1:26:47 | |
I know that he was just going to be Bernard and that's what I wanted. | 1:26:47 | 1:26:52 | |
# Look at the sky, life's begun | 1:26:52 | 1:26:54 | |
# Nights are warm and the days are young... # | 1:26:54 | 1:26:58 | |
# Maybe if I pray every | 1:26:58 | 1:27:00 | |
# Each night I sit there pleading | 1:27:00 | 1:27:02 | |
# Send back my dream test baby | 1:27:02 | 1:27:04 | |
# She's my main feature... # | 1:27:04 | 1:27:07 | |
# I could be only one in a million | 1:27:07 | 1:27:09 | |
# But I won't let the day pass without her... # | 1:27:09 | 1:27:13 | |
Bernard is magic. | 1:27:13 | 1:27:15 | |
Damn, y'all sound good tonight. | 1:27:15 | 1:27:18 | |
He made them cry, he made them laugh, he made them scream. | 1:27:21 | 1:27:25 | |
# ..They call them the Diamond Dogs... # | 1:27:25 | 1:27:29 | |
The man got right to their gut. | 1:27:31 | 1:27:34 | |
And that ain't easy to do. | 1:27:34 | 1:27:36 | |
# We can be heroes | 1:27:38 | 1:27:41 | |
# Just for one day | 1:27:42 | 1:27:45 | |
# We can be heroes | 1:27:46 | 1:27:49 | |
# Just for one day... # | 1:27:49 | 1:27:53 | |
I mean, some shit happened last night on that stage. | 1:27:53 | 1:27:56 | |
That was my pay cheque. | 1:27:56 | 1:27:58 | |
I'm going home with a smile on my face. | 1:28:00 | 1:28:02 | |
# Just for one day | 1:28:02 | 1:28:05 | |
# Just for one day. # | 1:28:06 | 1:28:21 | |
CHEERING AND APPLAUSE | 1:28:24 | 1:28:27 | |
I'm working to make money to pay my bills, take care of my children | 1:28:32 | 1:28:37 | |
and eat, just like the rest of you guys do, you know? | 1:28:37 | 1:28:40 | |
But I do have something that the other guy doesn't have - | 1:28:40 | 1:28:43 | |
I've got freedom. | 1:28:43 | 1:28:45 | |
I don't like being told what to do and I like the fact that, you know, | 1:28:45 | 1:28:50 | |
I can just sit out here by this creek sometimes | 1:28:50 | 1:28:53 | |
and just fucking do nothing. | 1:28:53 | 1:28:54 | |
And I'm not sitting in traffic four hours a day | 1:28:54 | 1:28:57 | |
waiting to be 60 years old | 1:28:57 | 1:28:59 | |
and collecting some bullshit pension and a fake gold watch. | 1:28:59 | 1:29:02 | |
Then what? | 1:29:04 | 1:29:05 | |
Reality TV, Budweiser and popcorn? | 1:29:05 | 1:29:08 | |
Jesus, shoot me! | 1:29:08 | 1:29:10 |