0:00:28 > 0:00:34OK, the noise that you can hear in the background is the noise generated by a 747 jumbo jet,
0:00:34 > 0:00:38as we fly across the Atlantic on our way to Macon, Georgia,
0:00:38 > 0:00:42to join the people there from the Capricorn record label.
0:00:42 > 0:00:45The reason that we are going is to film the Capricorn picnic,
0:00:45 > 0:00:47which is a yearly event in Macon,
0:00:47 > 0:00:51which is really a party which joins up all the people involved in the label,
0:00:51 > 0:00:55the executives from the record company, as well as the bands themselves.
0:00:55 > 0:00:59We'll be filming the bands that appear at the concert there,
0:00:59 > 0:01:01Elvin Bishop, Marshall Tucker among them.
0:01:01 > 0:01:04We don't entirely know what to expect, but we are on the way,
0:01:04 > 0:01:10looking forward to it, and what you see next, presumably, will be what we get when we are there.
0:01:11 > 0:01:12RADIO CHATTER
0:01:14 > 0:01:16CONCERT CROWD CHEERING
0:01:24 > 0:01:27So the first thing I must do is introduce myself to you.
0:01:27 > 0:01:30My name is Bob Harris, I'm from London in England,
0:01:30 > 0:01:32and what's more, to make me even more English,
0:01:32 > 0:01:35I'm from BBC Television there in London.
0:01:35 > 0:01:37We are here for two reasons.
0:01:37 > 0:01:39The first of all is that Southern music...
0:01:39 > 0:01:44We love Southern music, and we wanted to come down and see it...
0:01:44 > 0:01:46CHEERING
0:01:46 > 0:01:48And because of that, the second reason,
0:01:48 > 0:01:51and that is that we are filming the concert to take back
0:01:51 > 0:01:54and show to the British people on the Old Grey Whistle Test,
0:01:54 > 0:01:58which is the programme we have come down to film for.
0:01:59 > 0:02:01So all that remains for me to do
0:02:01 > 0:02:04is to say that you are going to have an incredible time.
0:02:04 > 0:02:05Welcome, Wet Willie!
0:02:06 > 0:02:09MUSIC: "Baby Fat" by Wet Willie
0:02:30 > 0:02:33# Have you heard the news
0:02:33 > 0:02:36# Talk is goin' around, yeah
0:02:37 > 0:02:40# Let me tell you people
0:02:41 > 0:02:44# Just what is goin' down now
0:02:44 > 0:02:49# Well, it sure is easy
0:02:49 > 0:02:52# To get yourself in touch, yes it is
0:02:53 > 0:02:56# You better be careful, yeah
0:02:56 > 0:02:59# Every time you touch
0:02:59 > 0:03:00# Every time you touch
0:03:00 > 0:03:02# Baby fat
0:03:05 > 0:03:06# That's where it's at
0:03:08 > 0:03:09# Talkin 'bout baby fat
0:03:12 > 0:03:14# Let me tell you that's where it's at
0:03:19 > 0:03:23# Ohhhhh, hey, yeah
0:03:23 > 0:03:28# Hey there, little schoolgirl
0:03:28 > 0:03:30# My, you sure look sweet
0:03:30 > 0:03:32# My, you sure look sweet
0:03:32 > 0:03:35# I'll give you some of my candy
0:03:35 > 0:03:38# If you come on home with me
0:03:38 > 0:03:41# Come on home with me, yeah
0:03:41 > 0:03:43# Don't tell your papa
0:03:43 > 0:03:46# What we're gonna do
0:03:46 > 0:03:48# What we're gonna do
0:03:48 > 0:03:51# They'll put me in the jail house Yes they will
0:03:51 > 0:03:53# For the crime of lovin' you
0:03:53 > 0:03:55# Just for lovin' you
0:03:55 > 0:03:57# Baby fat
0:03:59 > 0:04:01# That's where it's at
0:04:04 > 0:04:05# Talking 'bout baby fat
0:04:06 > 0:04:09# Let me tell you that's where it's at
0:04:11 > 0:04:12# Break it down
0:04:15 > 0:04:17# Baby
0:04:17 > 0:04:19# Fat
0:04:42 > 0:04:45# People try to warn me
0:04:45 > 0:04:48# But I won't take their advice
0:04:48 > 0:04:49# I won't take their advice
0:04:49 > 0:04:53# It might get me in trouble
0:04:53 > 0:04:55# But Lord, it sure is nice
0:04:55 > 0:04:57# Lord, it sure is nice
0:04:57 > 0:05:01# When I look around me Yeah, yeah, yeah
0:05:01 > 0:05:04# And I see a sweet young thing
0:05:04 > 0:05:05# See a sweet young thing
0:05:05 > 0:05:08# Well, my heart just starts a'jumpin'
0:05:08 > 0:05:12# And I just have to sing I just have to sing
0:05:13 > 0:05:15# Baby fat
0:05:16 > 0:05:18# Let me tell you that's where it's at
0:05:21 > 0:05:22# Talking 'bout baby fat
0:05:24 > 0:05:26# Tell you that's where it's at
0:05:29 > 0:05:30# Baby fat
0:05:32 > 0:05:34# That's where it's at
0:05:36 > 0:05:38# Baby fat
0:05:40 > 0:05:42# That's where it's at
0:05:44 > 0:05:47# Baby fat
0:05:48 > 0:05:50# Baby fat
0:05:52 > 0:05:55# Baby fat
0:05:55 > 0:05:58# Baby, baby! #
0:06:01 > 0:06:02CHEERING AND APPLAUSE
0:06:04 > 0:06:05Thank you!
0:06:08 > 0:06:12It's also a tremendous pleasure to introduce one of my favourite bands.
0:06:12 > 0:06:14Ladies and gentlemen, the Marshall Tucker Band!
0:06:18 > 0:06:21MUSIC: "Blue Ridge Mountain Road" by the Marshall Tucker Band
0:06:28 > 0:06:31# It's a lonesome road
0:06:31 > 0:06:33# And a hard way to live
0:06:33 > 0:06:37# But it's the only life that I know
0:06:38 > 0:06:43# I meet some people I travel around
0:06:43 > 0:06:47# But home's always the best place to go
0:06:48 > 0:06:55# It's a lonesome feeling in my mind
0:06:55 > 0:07:00# A feeling that I can't seem to leave behind
0:07:01 > 0:07:06# Carolina's where I'm at And I'll always hang my hat
0:07:06 > 0:07:11# Under those Blue Ridge Mountain skies
0:07:20 > 0:07:25# I got me a woman back home
0:07:28 > 0:07:30# She gave me a baby, too
0:07:32 > 0:07:37# And she stands by my loving side
0:07:37 > 0:07:41# And does anything I ask her to
0:07:42 > 0:07:47# It's a lonesome feeling in my mind
0:07:48 > 0:07:52# A feeling I can't seem to leave behind
0:07:53 > 0:07:59# Carolina's where I'm at And I'll always hang my hat
0:08:00 > 0:08:04# Under those Blue Ridge Mountain skies
0:11:39 > 0:11:43# There's an old man sittin' in a rockin' chair
0:11:44 > 0:11:48# He's got the best beagle dog in the county I've been told
0:11:49 > 0:11:53# But his shotgun done got too rusty
0:11:55 > 0:11:58# That 'ole beagle dog he done grown a little too old
0:12:00 > 0:12:05# As he stares up into heaven
0:12:05 > 0:12:08# I'm sure I know the reason why
0:12:10 > 0:12:15# He's thinking about that promised land
0:12:16 > 0:12:20# In them Blue Ridge Mountain skies
0:12:21 > 0:12:25# It's a lonesome feeling in my mind
0:12:26 > 0:12:30# A feeling I can't seem to leave behind
0:12:31 > 0:12:37# Carolina's where I'm at And I'll always hang my hat
0:12:38 > 0:12:42# Under those Blue Ridge Mountain skies
0:12:44 > 0:12:52# Blue Ridge Mountain skies. #
0:13:07 > 0:13:11MUSIC: "Ramblin' Man" by the Allman Brothers Band
0:13:13 > 0:13:18# I was born a ramblin' man
0:13:18 > 0:13:23# Tryin' to make a livin' and doin' the best I can
0:13:24 > 0:13:29# And when it's time for leavin' I hope you'll understand
0:13:29 > 0:13:34# That I was born a ramblin' man
0:13:34 > 0:13:39# My father was a gambler down in Georgia
0:13:39 > 0:13:45# And he wound up on the wrong end of a gun
0:13:45 > 0:13:48# And I was born... #
0:13:48 > 0:13:53How you doing? We're on the Interstate number 16.
0:13:53 > 0:13:57And we are heading up now from Charleston, South Carolina,
0:13:57 > 0:13:59which is where we were yesterday.
0:13:59 > 0:14:03We were filming down there, as you know, the Marshall Tucker Band and Wet Willie.
0:14:03 > 0:14:07We are on our way up now to Macon, Georgia, to join the Capricorn Picnic.
0:14:07 > 0:14:11With me in the truck here is Carl,
0:14:11 > 0:14:17who's an engineer from the studio down in Miami,
0:14:17 > 0:14:21and we'll be learning more about that in just a few minutes' time.
0:14:29 > 0:14:33And Carl is Carl Richardson, out of Criteria Sound Studios in Miami.
0:14:33 > 0:14:36Engineer to Eric Clapton and co-producer to the Bee Gees.
0:14:36 > 0:14:41It always interests me, the crossover from one side of the Atlantic to the other,
0:14:41 > 0:14:44because so many people in America say it is great to get that British sound,
0:14:44 > 0:14:49and working and living in London, everybody, or most people anyway,
0:14:49 > 0:14:53very much enjoy the American sound.
0:14:53 > 0:14:58But I understand that there is a big standardisation going on in studio sounds in America?
0:14:58 > 0:14:59Westlake, particularly.
0:15:01 > 0:15:02Yes, there is.
0:15:02 > 0:15:05- We're not at Westlake studio. - No, I know that.
0:15:05 > 0:15:07But there is, yes.
0:15:07 > 0:15:10I still believe there are three different philosophies in recording.
0:15:10 > 0:15:14There are the European, or mostly the London sounds.
0:15:14 > 0:15:19There is the east coast of America sound, the New York sound,
0:15:19 > 0:15:24more or less, Miami criteria, southern sound.
0:15:24 > 0:15:27There is the West Coast sound - Los Angeles, San Francisco.
0:15:27 > 0:15:30I still believe that those three philosophies of recording exist,
0:15:30 > 0:15:35and you can pick it out in an awful lot of LPs that you buy today.
0:15:35 > 0:15:37# ..Born a ramblin' man
0:15:37 > 0:15:43# Lord, I was born A ramblin' man... #
0:15:43 > 0:15:50I was conscious last time I was over of the East course being heavy metal and soul,
0:15:50 > 0:15:55the West Coast being much more Orleans, you know,
0:15:55 > 0:15:58I was aware of that difference.
0:15:58 > 0:16:00You just scared me to death!
0:16:00 > 0:16:04Oh, no, I'm having a hard time following your form of expression.
0:16:14 > 0:16:18I think geography contributes a lot to it, especially in the South.
0:16:18 > 0:16:24I think this one area that we're in as a well-defined, more or less,
0:16:24 > 0:16:28sound, and its roots are really blues and country.
0:16:29 > 0:16:33Of course, there's New Orleans jazz thrown in, which is lovely.
0:16:35 > 0:16:37I think I want to go left.
0:16:42 > 0:16:45Our first port of call was to a marvellous wood-built house
0:16:45 > 0:16:4820 miles outside Macon, Georgia
0:16:48 > 0:16:51to visit Dickey Betts of the Allman Brothers to talk with him
0:16:51 > 0:16:55and to listen to and discover some of the roots of his own music.
0:16:55 > 0:17:00# Love somebody And they don't love you
0:17:00 > 0:17:05# There is nothing you can say
0:17:06 > 0:17:12# You don't want to go But you're leaving anyway
0:17:12 > 0:17:16# Well, her beauty Took me by surprise
0:17:18 > 0:17:23# She was the woman of my dreams
0:17:25 > 0:17:29# Could not see beyond her eyes
0:17:30 > 0:17:35# She turned round and left me Somewhere in between
0:17:35 > 0:17:38# There ain't nothing You can do... #
0:17:39 > 0:17:45'Very young, I remember the radio, sitting on the kitchen window
0:17:45 > 0:17:49'and sitting there as a little child and Hank Williams would be singing.
0:17:49 > 0:17:51'He was such a powerful artist, Hank Williams,
0:17:51 > 0:17:54he's an immortal artist here in this country.'
0:17:54 > 0:17:56And, uh...
0:17:56 > 0:18:01That has influenced my lyrics and singing style.
0:18:03 > 0:18:06Jimmie Rodgers, of course, goes back into the '30s.
0:18:06 > 0:18:09Jimmie Rodgers was called the father of country music.
0:18:09 > 0:18:12And he's influenced me quite a lot.
0:18:18 > 0:18:21# Something about you, Mama
0:18:21 > 0:18:24# Sure gave me the blues
0:18:26 > 0:18:29# Something about you, Mama
0:18:29 > 0:18:32# Sure gave me the blues
0:18:33 > 0:18:37# It ain't your drop-stitch stockings
0:18:37 > 0:18:41# It ain't your blue buckle shoes
0:18:42 > 0:18:44# Yodel-eh-hee-ooh-eh-eeh
0:18:44 > 0:18:47# Oh-dee-yodel-eh-hee
0:18:48 > 0:18:51# I got me a pretty mama
0:18:51 > 0:18:54# Got a bulldog, too
0:18:56 > 0:18:59# I got me a pretty mama
0:18:59 > 0:19:02# Got a bulldog, too
0:19:03 > 0:19:06# But my pretty mama don't love me
0:19:06 > 0:19:09# But my bulldog do
0:19:09 > 0:19:11# Yodel-eh-hee-oh
0:19:11 > 0:19:12# Yodel-eh-hee-hey
0:19:12 > 0:19:14# Yodel-eh-hee... #
0:19:15 > 0:19:19GUITAR PICKING
0:19:26 > 0:19:27Hey-hey.
0:19:52 > 0:19:54That's the short version.
0:19:57 > 0:20:01And, then the old blues style
0:20:01 > 0:20:06that would go along with the Jimmie Rodgers period, you know,
0:20:06 > 0:20:13would be, uh, Blind Willie McTell, who played slide 12-string guitar.
0:20:13 > 0:20:19In fact, Blind Willie McTell wrote Statesboro Blues.
0:20:19 > 0:20:24And Robert Johnson, he's another, just genius, player.
0:20:24 > 0:20:29Of course, he played solo, he didn't have any band, just guitar and himself.
0:20:29 > 0:20:32He wrote Crossroads, which Cream had.
0:21:23 > 0:21:25That sort of thing, you know?
0:21:27 > 0:21:30And Willie McTell played... Willie played kind of pretty,
0:21:30 > 0:21:33Robert was real scary sounding, you know, with his stuff,
0:21:33 > 0:21:36and very energetic.
0:21:36 > 0:21:40Willie played... Willie McTell wrote Statesboro Blues.
0:21:40 > 0:21:41He played more like, uh...
0:21:46 > 0:21:49On a 12-string.
0:23:00 > 0:23:06That's... That's the base of just about all of American music, those two.
0:23:10 > 0:23:14When we arrived in Macon, we met the man who began working with Otis Redding,
0:23:14 > 0:23:16formed a record label with the money he made,
0:23:16 > 0:23:20and with it created one of the strongest label identities in the world.
0:23:20 > 0:23:23The label is Capricorn, its owner Phil Walden,
0:23:23 > 0:23:27and we met up to see one of Macon's historical musical areas.
0:23:27 > 0:23:31The building we're standing in front was known as Anne's Tic Toc,
0:23:31 > 0:23:35which was the location that Little Richard performed
0:23:35 > 0:23:37many, many times in the early days of his career.
0:23:39 > 0:23:43As a matter of fact, legend has it the song Miss Anne
0:23:43 > 0:23:49is purportedly written about Anne who owned the bar, and, uh...
0:23:50 > 0:23:55..according to Little Richard, raised him during the early days.
0:23:55 > 0:23:59This would be around, this would be in the late '50s,
0:23:59 > 0:24:04and from that, well, Little Richard was pretty much
0:24:04 > 0:24:08the first to emerge in the area,
0:24:08 > 0:24:13then James Brown, Otis Redding, and then the rock era
0:24:13 > 0:24:17we of course had the Allmans and Wet Willie and Marshall Tucker.
0:24:17 > 0:24:22The theatre we're approaching, the Douglass Theatre, goes way back.
0:24:22 > 0:24:28It has a whole lot of black history wrapped up in that location.
0:24:28 > 0:24:33It goes back to the old black vaudevillian days and whatnot.
0:24:33 > 0:24:37It's my understanding that Bessie Smith played here.
0:24:37 > 0:24:39A lot of the greats of that era.
0:24:39 > 0:24:42How did you get involved, yourself?
0:24:42 > 0:24:44Well, I was a fan, primarily,
0:24:46 > 0:24:49and I wanted to be a singer, and I couldn't sing,
0:24:49 > 0:24:54so the next step was to become involved in some fashion,
0:24:54 > 0:24:59and I met some guys that wanted to form a singing group, black guys.
0:24:59 > 0:25:02And they were having an amateur contest
0:25:02 > 0:25:05every Saturday morning
0:25:05 > 0:25:07here for the live broadcast.
0:25:07 > 0:25:12And this one entertainer kept beating my group out,
0:25:12 > 0:25:16and the entertainer was Otis Redding,
0:25:16 > 0:25:19so I had a one and one and made two.
0:25:19 > 0:25:21So I approached Otis Redding
0:25:21 > 0:25:24about getting involved with him
0:25:24 > 0:25:27and we started a relationship
0:25:27 > 0:25:31- which lasted for something like 12 years.- Yeah, cos this is the Douglass Theatre right here.
0:25:31 > 0:25:35This is where I would come to find musicians, when I needed musicians.
0:25:35 > 0:25:40They'd be in the pool room or the barber shop and, in latter days,
0:25:40 > 0:25:44that whole concept of a stage show was sort of fading.
0:25:44 > 0:25:47Black music had a broader base.
0:25:47 > 0:25:50It moved up to the City Auditorium.
0:25:50 > 0:25:54That was where I first saw Little Richard perform.
0:25:56 > 0:25:59And where I really became a real fan, started going to the black shows.
0:25:59 > 0:26:03- Phil, thanks very much indeed.- Thank you.- We'll see you at the Picnic.
0:26:03 > 0:26:07MUSIC: "Jessica" by The Allman Brothers Band
0:26:31 > 0:26:35I'll be cooking all night till tomorrow, midday tomorrow.
0:26:35 > 0:26:37See, I'll be cooking all the way through the picnic,
0:26:37 > 0:26:39sending them backwards and forth.
0:26:39 > 0:26:42At the last hand, I'll come out.
0:27:04 > 0:27:06OK, we've just left the hotel
0:27:06 > 0:27:10on our way now to the Capricorn Picnic itself.
0:27:10 > 0:27:12- With me here is Billy Jo.- Yeah.
0:27:12 > 0:27:15What are we going to expect when we get there?
0:27:15 > 0:27:17I don't know. I ain't never been there before.
0:27:36 > 0:27:40OK, we've just arrived now at Lakeside for the Capricorn Picnic.
0:27:40 > 0:27:43We're going to get off the bus and join everybody just down there.
0:28:35 > 0:28:37Governor Carter. First of all, thank you very much
0:28:37 > 0:28:39for sparing the time to speak with me today.
0:28:39 > 0:28:44- I know that you are very interested in rock music.- Yes, I am.
0:28:44 > 0:28:50I'm not only interested in it, what it signifies in our society,
0:28:50 > 0:28:51but also I enjoy it.
0:28:51 > 0:28:56In addition to that, I have a close friendship
0:28:56 > 0:28:59with some of the performing groups
0:28:59 > 0:29:03and have been helped greatly by them during the campaign.
0:29:03 > 0:29:07We have a strict limit on how much any one person can contribute
0:29:07 > 0:29:11to the campaign, but actually some of the recording groups
0:29:11 > 0:29:12have helped me a lot.
0:29:12 > 0:29:15How much of an influence do you feel rock music is,
0:29:15 > 0:29:19as a cultural influence in America today?
0:29:19 > 0:29:23Well, I think it's had a profound influence during times
0:29:23 > 0:29:27of difficult social change
0:29:27 > 0:29:31in the Vietnamese war and in the civil rights movement,
0:29:31 > 0:29:34in the struggle concerning the environment,
0:29:34 > 0:29:38in the desire of young people to let their voices be heard
0:29:38 > 0:29:40more effectively in the political world.
0:29:40 > 0:29:46In all these ways, people like Bob Dylan
0:29:46 > 0:29:51and Simon And Garfunkel, The Allman Brothers and others,
0:29:51 > 0:29:53have expressed in clear terms
0:29:53 > 0:29:56to the young people a basic philosophy
0:29:56 > 0:29:59I think of enlightenment and compassion,
0:29:59 > 0:30:03the alleviation of racial discrimination,
0:30:03 > 0:30:05a search for peace, the worth of a human being.
0:30:05 > 0:30:08It's had a profound effect on the consciousness
0:30:08 > 0:30:12not only of young people but of old people like me.
0:30:12 > 0:30:13LAUGHTER
0:30:51 > 0:30:52LAUGHTER
0:30:52 > 0:30:57- How's it going, pal?- I'm all right, yeah. Listen, first of all, Elvin,
0:30:57 > 0:31:00- let's take you back to your own roots in music.- Uh-huh.
0:31:00 > 0:31:03How did you first get involved in rock and roll music?
0:31:03 > 0:31:06Well actually, I started off as being kind of like a real blues fan
0:31:06 > 0:31:10and enthusiast, you know. I didn't want to play anything but blues
0:31:10 > 0:31:12for the first five years that I played.
0:31:12 > 0:31:15I'm from Tulsa, Oklahoma
0:31:15 > 0:31:18and when I was about 17, I went to Chicago. That's when I first started
0:31:18 > 0:31:21playing guitar. I went to Chicago because I heard there was a blues scene there.
0:31:21 > 0:31:25And there was and I just dove into it. I loved it.
0:31:25 > 0:31:28At that time, I didn't want to hear nothing but blues.
0:31:28 > 0:31:31All the rest of the music was BS to me, you know.
0:31:31 > 0:31:34- How did you get involved with Paul Butterfield?- I met him in Chicago.
0:31:34 > 0:31:37I met him the first day I got there.
0:31:37 > 0:31:40He was sitting down on some steps, playing a guitar.
0:31:40 > 0:31:42He played guitar before the harmonica,
0:31:42 > 0:31:44and I played harmonica before the guitar.
0:31:44 > 0:31:47But we gradually found out what was best for us, you know.
0:31:47 > 0:31:50I played with his band for about four or five years.
0:31:50 > 0:31:53As a matter of fact, I was in England with Butterfield,
0:31:53 > 0:31:55- I think in '68 or '69. - I remember.- Yeah?- Yeah.
0:31:55 > 0:31:58- The tour with Eric Burdon. - That's right.
0:31:58 > 0:32:02Georgie Fame and a bunch of other people.
0:32:02 > 0:32:06After that, I started... You know, I grew up in Oklahoma
0:32:06 > 0:32:09so naturally I get up in the morning, go to school
0:32:09 > 0:32:12and there'd be country and western on the TV every morning.
0:32:12 > 0:32:16So I knew about that. After a while, I started saying "Wait a minute.
0:32:16 > 0:32:19"I don't live on no plantation on the Mississippi
0:32:19 > 0:32:21"and I've never picked no cotton.
0:32:21 > 0:32:24"Is this really the music that really suits my personality?"
0:32:24 > 0:32:26So I decided to just lay back and if I got to write a song,
0:32:26 > 0:32:28just let it come out like it wanted
0:32:28 > 0:32:31and not worry about what classification it would fall into.
0:32:31 > 0:32:33# Hold on, I'm coming
0:32:33 > 0:32:39# Oh, hold on, cos I'm coming
0:32:39 > 0:32:43# I'm on my way, I'm your lover
0:32:43 > 0:32:48# If you get cold, babe I'm gonna be your cover
0:32:48 > 0:32:52# You don't have to worry cos I'm here
0:32:52 > 0:32:54# Ain't no need for suffering, baby
0:32:54 > 0:32:57# Cos I'm here, oh yeah
0:32:57 > 0:33:01# Hold on, cos I'm coming
0:33:01 > 0:33:06# Hold on, cos I'm coming
0:33:06 > 0:33:11# O-oh, hold on, I'm coming
0:33:11 > 0:33:14# O-oh, hold on, babe... #
0:33:14 > 0:33:17I took a band out of mine
0:33:17 > 0:33:20from Los Angeles on the road.
0:33:20 > 0:33:24We stayed out about 12 weeks and did the old every night, you know.
0:33:24 > 0:33:29Six nights a week, two shows a night, from here to New York.
0:33:29 > 0:33:32No manager, nothing, you know.
0:33:32 > 0:33:37No agent. We did it ourselves with the help of Ike Turner.
0:33:37 > 0:33:38And, er...
0:33:38 > 0:33:42By the time we got to New York, we were just monsters.
0:33:42 > 0:33:48# Yes, I seen you with that girl and I caught you in a lie
0:33:48 > 0:33:54# You think if you hurt me that I'll go away
0:33:54 > 0:33:59# Well, I made it up in my mind that I'm here to stay
0:33:59 > 0:34:04# So tell her I'm never gonna give you up
0:34:04 > 0:34:07# No matter how you treat me
0:34:07 > 0:34:10I'm never gonna give you up
0:34:10 > 0:34:12# So don't think of leaving me
0:34:12 > 0:34:18# Don't you understand what you're doing to this woman
0:34:20 > 0:34:24# Do you see these tears here in my eyes
0:34:24 > 0:34:31# Ain't no use in lying cos I'm gonna cry, yeah
0:34:31 > 0:34:38# You think you're gonna take me put me on a shelf
0:34:38 > 0:34:44# Girl, I'd rather die than see you with somebody else
0:34:44 > 0:34:49# So throw it outta your mind I'm not gonna leave you
0:34:49 > 0:34:56# Though you grieve me and deceive me, I'll never leave
0:34:56 > 0:35:02# Hey, don't you understand what you're doing to this woman? #
0:40:08 > 0:40:10I've just been playing football.
0:40:10 > 0:40:14We're just leaving now to go across town to Uncle Sam's
0:40:14 > 0:40:17for the performance there later on of Stillwater.
0:40:17 > 0:40:19There'll be a lot of people jamming on stage.
0:40:19 > 0:40:21Hopefully we'll be seeing Dickey Betts.
0:40:21 > 0:40:24You can probably hear the cars behind me leaving now, so let's go.
0:40:38 > 0:40:42Thank you. Good night, everybody.
0:40:42 > 0:40:44See you later, thanks a lot.
0:42:05 > 0:42:07Whoo!
0:42:13 > 0:42:14Whoo! Yes!
0:43:03 > 0:43:05Whoo! Just like that, folks.
0:43:55 > 0:43:57This is Michael Causey on guitar.
0:44:24 > 0:44:26Whoo!
0:45:38 > 0:45:40Yowl!
0:47:58 > 0:48:00Yeah!
0:48:17 > 0:48:18Whoo!
0:48:18 > 0:48:19Way to go!
0:48:31 > 0:48:33Thank you!
0:48:33 > 0:48:35CROWD CHEERS
0:48:35 > 0:48:38The music was fantastic and so was the atmosphere,
0:48:38 > 0:48:40and I hope some of that feeling
0:48:40 > 0:48:43has come across through this film, Macon Whoopee.
0:52:44 > 0:52:46Whoo!
0:52:58 > 0:53:00Yeah!
0:53:00 > 0:53:01Yeah!
0:53:15 > 0:53:16Ow!
0:54:33 > 0:54:36# Well, they told me not to go
0:54:36 > 0:54:38# It takes so much hate to get there
0:54:40 > 0:54:43# Lord, I've just figured out
0:54:43 > 0:54:47# We've got to all sob somewhere
0:54:47 > 0:54:48# But I keep on trying
0:54:48 > 0:54:50# I ain't got nothing left
0:54:50 > 0:54:53# I can't help myself
0:54:53 > 0:54:56# I often wonder why
0:54:56 > 0:54:58# These old blues hurt so bad
0:55:00 > 0:55:03# I've got every reason
0:55:03 > 0:55:05# Crying
0:55:05 > 0:55:08# Lord, man, I'll keep on trying
0:55:08 > 0:55:10# I ain't got nothing left
0:55:10 > 0:55:13# I just can't help myself
0:55:13 > 0:55:15# Whoa, darling
0:55:15 > 0:55:18# I just can't help myself
0:55:19 > 0:55:20# The good Lord knows
0:55:20 > 0:55:22# I don't want it
0:55:22 > 0:55:24# But I can't help myself
0:55:26 > 0:55:28# But it gets so hot
0:55:28 > 0:55:30# I might wind up in a state, oh
0:55:38 > 0:55:44# Oh, yeah... #
0:55:54 > 0:55:55Yeah!
0:55:58 > 0:55:59Yeah!
0:56:30 > 0:56:32# Oh, yeah
0:56:32 > 0:56:35# Oh, yeah, baby
0:56:36 > 0:56:38# Oh, yeah
0:56:39 > 0:56:41# Oh, baby
0:56:42 > 0:56:44# Oh, yeah
0:56:45 > 0:56:47# Oh, baby
0:56:49 > 0:56:52# Ever since you've been gone
0:56:52 > 0:56:55# I've been crying all night long
0:56:55 > 0:56:58# It was you, not me that left
0:56:58 > 0:57:02# Went away with someone else
0:57:02 > 0:57:03# I'm tore up over you
0:57:03 > 0:57:06# I just can't find my way
0:57:08 > 0:57:11# And I cried When you walked out the door
0:57:11 > 0:57:14# I said, "Baby, I can't cry no more"
0:57:14 > 0:57:17# Oh, honey, why did you go?
0:57:17 > 0:57:20# Leave me down on the killing floor
0:57:20 > 0:57:22# I'm tore up over you
0:57:22 > 0:57:25# I just can't find my way... #
0:57:25 > 0:57:27Everybody, come on!
0:57:27 > 0:57:29# I'm tore up
0:57:29 > 0:57:31# Yeah, yeah, yeah
0:57:31 > 0:57:32# I'm tore up
0:57:32 > 0:57:33# Yeah, yeah, yeah
0:57:33 > 0:57:35# Tore up
0:57:35 > 0:57:37# Yeah, yeah, yeah
0:57:37 > 0:57:38# Tore up
0:57:38 > 0:57:40# Yeah
0:57:40 > 0:57:42# Tore up over you
0:57:42 > 0:57:44# And I just can't find my way
0:57:46 > 0:57:47# Oh
0:57:47 > 0:57:48# Tore up
0:57:48 > 0:57:50# Yeah, yeah, yeah Tore up
0:57:52 > 0:57:53# Whoo-hoo-hoo
0:57:53 > 0:57:54# Tore up
0:57:54 > 0:57:56# Yeah, yeah, yeah
0:57:56 > 0:57:57# Tore up
0:57:57 > 0:57:59# Yeah, yeah, yeah
0:57:59 > 0:58:01# Tore up over you
0:58:01 > 0:58:03# I just can't find my way. #
0:58:03 > 0:58:04One more time.
0:58:07 > 0:58:08Yeah!
0:58:21 > 0:58:24Subtitles by Red Bee Media Ltd