| 时间 | 英文 | 中文 |
|---|---|---|
| [00:10] | ♪ Chain, chain, chain ♪ _ | |
| [00:12] | ♪ Chain, chain, chain ♪ | |
| [00:14] | ♪ Chain, chain, chain ♪ | |
| [00:16] | ♪ Chain, chain, chain ♪ | |
| [00:18] | ♪ Chain, chain, chain ♪ | |
| [00:20] | ♪ Chain, chain, chain ♪ | |
| [00:22] | ♪ Chain of fools ♪ | |
| [00:29] | You’ve just been crowned Queen of Soul; | |
| [00:30] | how does it feel? | |
| [00:31] | Like I’m in a fairytale. | |
| [00:33] | Are your children in the audience tonight? | |
| [00:34] | It is way past their bedtime. | |
| [00:35] | But they’re young kids, | |
| [00:36] | weren’t you a mother at their age? | |
| [00:37] | That is why they’re at home in bed. | |
| [00:39] | ♪ I’m just a link in your chain ♪ | |
| [00:42] | ♪ Oh ♪ | |
| [00:43] | ♪ You got me where you want me ♪ | |
| [00:47] | ♪ I ain’t nothing but your fool ♪ | |
| [00:49] | Your father, Reverend Franklin, | |
| [00:50] | is he okay with you singing pop? | |
| [00:52] | Well, he loves me. | |
| [00:53] | He loves my voice and will always support me. | |
| [00:55] | ♪ Oh-oh-oh you treated me cruel ♪ | |
| [01:00] | ♪ Chain, chain, chain ♪ | |
| [01:02] | ♪ Chain, chain, chain ♪ | |
| [01:03] | Doesn’t pop music mean you’re turning your back | |
| [01:05] | on the church? | |
| [01:06] | Well, my voice is a gift from God, | |
| [01:07] | so how could I possibly do that? | |
| [01:08] | ♪ Every chain ♪ | |
| [01:12] | ♪ Has got a weak link ♪ | |
| [01:16] | ♪ Ah, I might be weak, child ♪ | |
| [01:20] | Queen, your sisters sing backup for you, | |
| [01:22] | do you plan on ever singing backup for them? | |
| [01:24] | We are family and we will always | |
| [01:25] | support each other. | |
| [01:27] | ♪ They told me to leave you alone ♪ | |
| [01:31] | ♪ My father said, “Come on home.” ♪ | |
| [01:35] | ♪ My doctor said, “Take it easy.” ♪ | |
| [01:39] | ♪ Oh, but your loving is much too strong ♪ | |
| [01:42] | Queen, where’s your king tonight? | |
| [01:44] | What do you think about what Dr. King is trying to achieve | |
| [01:46] | for the negro? | |
| [01:47] | With your father and your husband by your side, | |
| [01:48] | I mean who’s calling the shots. | |
| [01:50] | I think you all have been reading a few too many | |
| [01:51] | gossip columns. | |
| [02:58] | _ | |
| [03:02] | _ | |
| [03:03] | ♪ I know what you’re doing and I’ll ♪ | |
| [03:06] | ♪ save you the trouble. ♪ | |
| [03:08] | Six years at Columbia and for all that Mr. Hamlin did, | |
| [03:10] | he couldn’t get me on the charts because, well, | |
| [03:13] | he didn’t get me. | |
| [03:16] | Jerry Wexler, he gets me. | |
| [03:20] | He’s getting me to come all the way down here. | |
| [03:22] | Well, he said Fame Studios got the vibe. | |
| [03:25] | It’s going to be good, right? | |
| [03:27] | Yes, ma’am. Good as gold. | |
| [03:36] | And I’ll protect you. | |
| [03:39] | Daddy used to say that. | |
| [03:41] | I’ll be he did. | |
| [03:44] | I’m going to make a hit for myself. | |
| [03:54] | You gotta get there first. | |
| [03:57] | We’ll get there. | |
| [04:03] | ♪ I will trust in the Lord ♪ | |
| [04:08] | ♪ I will trust in the Lord ♪ | |
| [04:12] | ♪ How I got over ♪ | |
| [04:13] | ♪ How I got over ♪ | |
| [04:14] | ♪ How I got over ♪ | |
| [04:16] | ♪ Oh, my soul looks back in wonder ♪ _ | |
| [04:19] | ♪ How I got over ♪ | |
| [04:21] | ♪ Mmm, how I got over ♪ | |
| [04:23] | ♪ How I got over ♪ | |
| [04:24] | ♪ How I got over ♪ | |
| [04:25] | ♪ How I got over ♪ | |
| [04:26] | ♪ Yeah, my soul looks back in wonder ♪ | |
| [04:28] | ♪ How I got over ♪ | |
| [04:30] | ♪ Well, just as soon as I can meet Jesus ♪ | |
| [04:33] | ♪ Oh, yeah ♪ ♪ The man that made me free ♪ | |
| [04:34] | ♪ Oh, yeah ♪ | |
| [04:36] | ♪ The man that bled and suffered ♪ | |
| [04:37] | ♪ Oh, yeah ♪ | |
| [04:38] | ♪ And died for you and me ♪ | |
| [04:39] | ♪ Oh, yeah ♪ | |
| [04:40] | ♪ I want to thank him because he walks ♪ | |
| [04:41] | ♪ Oh, yeah ♪ | |
| [04:42] | ♪ I want to thank him because he talks ♪ | |
| [04:44] | ♪ Oh, yeah ♪ ♪ | |
| [04:45] | That’s right, | that’s right, that’s right. |
| [05:02] | Damn it to hell. | |
| [05:03] | Anything I can do to help? | |
| [05:06] | Handkerchief, thank you. | |
| [05:08] | Thank you. | |
| [05:13] | Ah, thank you. | |
| [05:31] | Get in the car, Re. | |
| [05:34] | Not from around here, huh? | |
| [05:35] | No, we from Detroit, Michigan. | |
| [05:39] | She’s about my woman’s size. | |
| [05:42] | Your wife? | |
| [05:43] | That’s my daughter. | |
| [05:46] | Stop, get back. Get back. | |
| [05:49] | ♪ I will trust ♪ | |
| [05:50] | Okay. | |
| [05:55] | ♪ I will trust in the Lord till I ♪ | |
| [06:03] | Re? | |
| [06:09] | Ya’ll like my car? | |
| [06:12] | Yeah. | |
| [06:17] | You can have it. | |
| [06:21] | Re? | |
| [06:24] | Come on, Re. | |
| [06:33] | Come on, baby. | |
| [06:37] | That was scary, Daddy. | |
| [06:39] | Yeah, it sure was. | |
| [06:41] | Why did you give them your car? | |
| [06:43] | Just to see the look on his face. | |
| [06:47] | I’m always going to protect you, you remember that. | |
| [06:56] | Woo, look at that one now. | |
| [06:58] | Now, that’s pretty, that one is pretty. | |
| [07:02] | Oh, look at it. | |
| [07:05] | Eh, look at the pearl handle thing there. | |
| [07:08] | Woo, now that’s a beauty. | |
| [07:10] | Yeah, well we got some used models in the back. | |
| [07:12] | Yeah. | |
| [07:14] | But hey, hey, hey, hey, hey, hey. | |
| [07:15] | Nice, nice, nice. | |
| [07:16] | The cars for sale, isn’t it? | |
| [07:20] | Where’d you get this kind of money? | |
| [07:21] | I’m a Preacher. | |
| [07:23] | And I think we both can agree that God is good. | |
| [07:29] | ♪ I will trust in the Lord ♪ | |
| [07:35] | ♪ I will trust in the Lord ♪ _ | |
| [07:40] | ♪ Mmm-hmm ♪ | |
| [07:43] | ♪ Mmm-hmm ♪ | |
| [07:45] | Mrs. Franklin, Ted, good trip? | |
| [07:49] | Mr. Wexler. | |
| [07:51] | Itty bitty town, you sure they know what they’re doing? | |
| [07:54] | Oh, we are in very good hands here. | |
| [07:56] | Your motel is down the street, | |
| [07:58] | it’s integrated so you’ll be okay. | |
| [08:00] | Rick Hall pulled some strings. | |
| [08:02] | Fame Studios is big fish. | |
| [08:04] | I am ready to sing. | |
| [08:05] | Great, let me get the door. | |
| [08:08] | And your flight was okay? | |
| [08:09] | It was fine. | |
| [08:11] | Drive was safe enough. | |
| [08:12] | Good to hear. | |
| [08:13] | You know, Rick Hall built this place from the ground up. | |
| [08:16] | He’s a real salt of the earth guy. | |
| [08:18] | Well, it was nice for him to show Ted around. | |
| [08:19] | Who’s on my session? | |
| [08:21] | Oh, the best. You’re going to love them. | |
| [08:22] | Well, I got this great new take on “Respect”. | |
| [08:24] | The Otis Redding song? | |
| [08:26] | Mmhmm, it’s going to be a whole new vibe, | |
| [08:27] | you know what I mean? | |
| [08:29] | Sure, sure. | |
| [08:30] | You know, whatever we record, | |
| [08:33] | if it sounds good today, great, | |
| [08:35] | if it sounds good tomorrow, well, | |
| [08:38] | that’s when we really got something. | |
| [08:40] | And Mrs. Franklin, I do appreciate your trust. | |
| [08:45] | Well, shit, if you can’t trust Jerry Wexler. | |
| [08:52] | I love your work, especially with the | |
| [08:53] | Ray Bryant Combo. | |
| [08:54] | Your “Over the Rainbow” was something else. | |
| [08:56] | Well, I’m looking for a funkier sound now. | |
| [08:58] | Mm, yes ma’am, just had the piano tuned. | |
| [09:07] | Sounds great. | |
| [09:08] | And the control room’s got state of the art equipment. | |
| [09:10] | Welcome to Muscle Shoals. | |
| [09:14] | You’ve got a lot of engineers. | |
| [09:16] | We’re the rhythm section, ma’am. | |
| [09:19] | And we’re the horns. | |
| [09:20] | You’re surprised. | |
| [09:22] | Yeah, and you’re white. | |
| [09:28] | Um, Ms. Franklin, | |
| [09:29] | can I see you in the control room a moment? | |
| [09:33] | You said you wanted the guys who played behind Wilson Pickett. | |
| [09:35] | How was I supposed to know they were white? | |
| [09:37] | My wife’s not just anybody. | |
| [09:38] | I signed her, Ted, I know that. | |
| [09:40] | She is deep soul, and blues, and church. | |
| [09:42] | Like you’ve got a dime in your pocket and you hit the number, | |
| [09:44] | she’s the jackpot. | |
| [09:45] | Who the hell are they? | |
| [09:47] | They, they’re the best just like you are, Ms. Franklin. | |
| [09:50] | Give me your word? | |
| [09:52] | You’ve got my word. | |
| [09:58] | You going to be all right in there? | |
| [10:01] | Yeah, sure. | |
| [10:21] | Okay, guys, let’s get ready to do one. | |
| [10:25] | Ted, what do you want to start off with? | |
| [10:27] | Let’s do “Never Loved a Man”. | |
| [10:29] | She’s got a good take on this one. | |
| [10:31] | Thanks, baby. | |
| [10:33] | We’re rolling. | |
| [10:48] | ♪ You’re a no-good ♪ | |
| [10:50] | ♪ Heartbreaker ♪ | |
| [10:51] | ♪ You’re… ♪ | ♪ |
| [10:53] | Unh-unh. | |
| [11:02] | Uh… | |
| [11:05] | Uh… | |
| [11:08] | What do you think, guys, more like a blues shuffle? | |
| [11:11] | This what you’re thinking, Mrs. Franklin? | |
| [11:16] | Sounds good. | |
| [11:30] | Maybe we could speed it up? | |
| [11:31] | Yeah, kind of like a dance tune. | |
| [11:34] | ♪ You’re a no-good ♪ | |
| [11:35] | ♪ Heartbreaker ♪ | |
| [11:37] | No, uh-uh. | |
| [11:39] | We got the song, we got the talent, | |
| [11:41] | we just gotta find the groove. | |
| [11:43] | You said these guys played with Pickett. | |
| [11:45] | They’ll get there. | |
| [11:46] | Before they find it, they just got to get a little lost. | |
| [11:48] | That’s all. | |
| [11:53] | We’re rolling. | |
| [12:01] | Ms. Franklin, | |
| [12:03] | Can you go back to the piano, please? | |
| [12:04] | Let’s keep you there. | |
| [12:10] | She’s a completely different performer when she | |
| [12:11] | plays and sings. | |
| [12:14] | I think that’s going to be the key. | |
| [12:16] | We’re rolling. | |
| [12:20] | Rolling. | |
| [12:23] | Rolling. | |
| [13:03] | Okay, let’s, let’s, let’s try this maybe. | |
| [13:07] | Let Aretha be Aretha. | |
| [13:18] | I will trust in the Lord. | |
| [13:20] | Spiritual God will call your wayward husband back | |
| [13:23] | and teach him to treat the family right, the spiritual God | |
| [13:25] | I wish I had some praying people in here today. _ | |
| [13:27] | You’re not hearing me tonight; | |
| [13:29] | you’re not hearing me. | |
| [13:30] | Some people only want to trust in they selves. | |
| [13:34] | Some people put all they trust in they bank account. | |
| [13:37] | Oh, no, no, no. | |
| [13:40] | Some folks trust in the government. | |
| [13:43] | But ultimately, I said ultimately, | |
| [13:47] | I said ultimately all those things will fail. | |
| [13:52] | That’s right. | That’s right. That’s right. |
| [13:55] | You know you’re right. | |
| [13:57] | But I’m going to put my trust, my trust, | |
| [14:01] | our trust in the Lord. | |
| [14:04] | Amen. | |
| [14:06] | ♪ I will trust in the Lord ♪ | |
| [14:10] | Come on, sing it. | |
| [14:11] | ♪ I will ♪ | |
| [14:13] | ♪ I will trust ♪ | |
| [14:14] | ♪ I will trust in the Lord ♪ | |
| [14:19] | ♪ I will trust, yes, I will ♪ | |
| [14:23] | ♪ In the lord ♪ | |
| [14:26] | ♪ Oh, till I die ♪ | |
| [14:31] | ♪ Until I die ♪ | |
| [14:34] | ♪ I will trust ♪ | |
| [14:37] | ♪ I’m willing to trust in the Lord ♪ | |
| [14:42] | ♪ I promise the Lord ♪ | |
| [14:46] | Thank you, Momma, thank you so much. | |
| [14:48] | Reverend Franklin, you and your family make | |
| [14:50] | every Sunday a blessing. | |
| [14:51] | I’m serving the Lord. | |
| [14:53] | And Mother Franklin, all of your grandchildren are | |
| [14:55] | wonderful singers just like dear Barbra was. | |
| [14:57] | Oh, we miss her every day, | |
| [14:59] | but we stand on our faith knowing she’s with the Lord. | |
| [15:01] | And when are you going to solo in church, child? | |
| [15:05] | You’ve got a remarkable voice. | |
| [15:06] | Thank you. | |
| [15:08] | Just adorable, she is. | |
| [15:09] | Mrs. Melba, are you and daddy going | |
| [15:11] | to get married soon? | |
| [15:13] | I hope so. | |
| [15:14] | Your father is a wonderful man. | |
| [15:19] | Just looking at you and say… | |
| [15:21] | ♪ I am going to treat everybody right ♪ | |
| [15:28] | ♪ I’m going to treat everybody right ♪ | |
| [15:35] | ♪ I’m going to treat ♪ | |
| [15:38] | ♪ Treat everybody, everybody right ♪ | |
| [15:47] | ♪ Baby, hold everything ♪ | |
| [15:50] | ♪ Hold that thing ♪ | |
| [15:51] | ♪ Stop ♪ | |
| [15:53] | ♪ Try to make your doorbells ring ♪ | |
| [15:54] | ♪ Getting low, like I used to be ♪ | |
| [15:59] | ♪ Do you remember? ♪ | |
| [16:01] | ♪ When I was in my prime? ♪ | |
| [16:03] | ♪ Almost every time ♪ | |
| [16:09] | If I stumble on Saturday night, | |
| [16:10] | the world by Sunday morning. | |
| [16:13] | You know what I’m talking about. | |
| [16:22] | Hey baby, turn the record player off. | |
| [16:26] | Thank you. | |
| [16:36] | The king of the piano and the queen of the blues, | |
| [16:41] | Mr. Art Tatum and Ms. Dinah Washington. | |
| [16:59] | ♪ What a difference a day made ♪ | |
| [17:06] | ♪ 24 little hours ♪ | |
| [17:14] | ♪ Brought the sun and the flowers ♪ | |
| [17:21] | ♪ Where there used to be rain ♪ | |
| [17:28] | ♪ My yesterday was blue dear ♪ | |
| [17:34] | Come on down here and join the party. | |
| [17:36] | Come on. | |
| [17:38] | That’s my girl. | |
| [17:42] | ♪ My lonely nights are through dear ♪ | |
| [17:49] | ♪ Since you said you were mine ♪ | |
| [17:56] | ♪ Lord, what a difference a day makes ♪ | |
| [18:04] | ♪ There’s a rainbow before me ♪ | |
| [18:10] | ♪ Sky’s above can’t be stormy ♪ | |
| [18:18] | And which one of CL’s daughter’s is here? | |
| [18:20] | I’m Aretha Louise. | |
| [18:21] | Well, nice to meet you Aretha. | |
| [18:23] | I’m Ted White. | |
| [18:27] | ♪ It’s heaven when you ♪ | |
| [18:31] | ♪ Find romance on your menu ♪ | |
| [18:38] | ♪ What a difference a day made ♪ | |
| [18:45] | ♪ And the difference is you ♪ | |
| [18:52] | Hey! | |
| [18:59] | Thank you. | |
| [19:00] | I’m going to record that one. | |
| [19:01] | Yeah, you better. | |
| [19:03] | My daughter, Aretha. | |
| [19:05] | Oh, C. L., don’t make Re sing if | |
| [19:07] | she doesn’t want to. | |
| [19:08] | Re listens to the radio. | |
| [19:11] | She can hear any song and sing it back note for note. | |
| [19:14] | And tonight, we’ve got a Bonafide radio star | |
| [19:18] | in our house. | |
| [19:22] | So, so how would you all like to hear a | |
| [19:23] | little sing along, a little call and response? | |
| [19:28] | Hey? | |
| [19:29] | What is it like a little parlor trick, | |
| [19:30] | something like that? | |
| [19:32] | No, no Re’s good. | |
| [19:38] | ♪ Did you say I’ve got a lot to learn? ♪ | |
| [19:49] | ♪ Did you say I’ve got a lot to learn? ♪ | |
| [20:00] | ♪ Since this is the perfect spot to learn ♪ | |
| [20:04] | ♪ Teach me tonight ♪ | |
| [20:08] | Ha-ha, did you see that? | |
| [20:13] | You’ve got something there. | |
| [20:15] | That’s it. | |
| [20:16] | Re’s going to be the next great one. | |
| [20:17] | Yes, she is, yes, she is. | |
| [20:25] | What do you want to do when you grow up? | |
| [20:27] | I want to be a singer. | |
| [20:29] | ♪ Now just because you’re pretty ♪ | |
| [20:32] | Do you want it or does your daddy want it? | |
| [20:36] | Both, I guess. | |
| [20:39] | Well, you’ve got what it takes but you’ve got | |
| [20:41] | to promise Dinah Washington you be a good girl. | |
| [20:45] | Don’t grow up too fast and don’t go having babies until | |
| [20:48] | you find yourself a nice, sweet husband. | |
| [20:51] | ♪ Don’t roll those bloodshot eyes at me ♪ | |
| [20:54] | And watch out for them son of a bitches, you hear? | |
| [20:56] | Yes, ma’am. | |
| [20:58] | ♪ You’ve been out on a spree ♪ | |
| [21:02] | ♪ It’s plain that you’re lyin’ ♪ | |
| [21:04] | ♪ When you say that you’ve been cryin’ ♪ | |
| [21:07] | ♪ Don’t roll those bloodshot eyes at me ♪ | |
| [21:18] | Settle down. | |
| [21:22] | See you later, CL. | |
| [21:23] | – Bye, Pastor. – Ya’ll be careful now. | |
| [21:35] | You have any idea how good you are? | |
| [21:37] | My momma played piano, too. | |
| [21:38] | Ah, so you’re a wonder kin, a wonder child. | |
| [21:41] | Thank you, Mr. Tatum. | |
| [21:49] | Yeah, yeah, yeah, yeah. | |
| [21:50] | That’s it, that’s it. That’s it. _ | |
| [22:06] | Mmm-hmm. | |
| [22:17] | That, Mrs. Franklin, is an unknown cord. | |
| [22:20] | It’s a B flat 7, sharp 11? | |
| [22:23] | Uh, no, that would be more like. | |
| [22:27] | It sounds like a C7, sharp 9, C7 sharp 9 over G. | |
| [22:31] | No. That would be more like this. | |
| [22:36] | Whatever it is, it’s funky. | |
| [22:37] | It’s celestial. | |
| [22:38] | It’s both at the same time. | |
| [22:41] | How, how about this here? | |
| [22:46] | Just keep it open, keep it going. | |
| [23:05] | That’s it, that’s it. | |
| [23:08] | ♪ You’re a no-good heart breaker ♪ | |
| [23:12] | ♪ You’re a liar and you’re a cheat ♪ | |
| [23:17] | ♪ I don’t know why I let you do those things to me ♪ | |
| [23:24] | ♪ My friends keep telling me that you ain’t no good ♪ | |
| [23:32] | ♪ Oh-oh-oh-oh ♪ | |
| [23:34] | ♪ They don’t know and I would leave you if I could ♪ | |
| [23:41] | ♪ Guess I’m uptight ♪ | |
| [23:44] | ♪ That I’m stuck like glue ♪ | |
| [23:47] | ♪ Cause I ain’t never ♪ | |
| [23:50] | ♪ I ain’t never ♪ | |
| [23:52] | ♪ I ain’t never, no, no ♪ | |
| [23:55] | ♪ Loved a man the way that I, ♪ | |
| [23:59] | ♪ I love you ♪ | |
| [24:04] | So, there was this chicken and he only had one leg. | |
| [24:07] | We already heard that one. | |
| [24:09] | But you haven’t heard it the way I’m telling it. | |
| [24:12] | All right, all right. | |
| [24:13] | Okay. | |
| [24:15] | So, here you go, one legged yard bird. | |
| [24:19] | Let’s keep it on track, Re. | |
| [24:21] | No need to play the clown. | |
| [24:22] | Come on, baby, this’ll make you laugh. | |
| [24:24] | Why is this chicken trying to get across the road? | |
| [24:27] | Well… | |
| [24:29] | To find his other leg. | |
| [24:33] | I said, quit playing a fool. | |
| [24:34] | You know, he needs to lay off the bottle. | |
| [24:37] | What’d you say? | |
| [24:39] | What’d you say? | |
| [24:40] | Okay. Enough, okay. Why don’t we… | |
| [24:43] | Let’s do another take, Ms. Franklin, | |
| [24:46] | just your vocals on the bridge. | |
| [25:09] | ♪ I can’t sleep at night ♪ | |
| [25:13] | ♪ No I can’t eat a bite ♪ | |
| [25:17] | ♪ I guess I’ll never be free ♪ | |
| [25:20] | ♪ Since you got your hooks in me ♪ | |
| [25:27] | ♪ Oh-oh-oh, yeah ♪ | |
| [25:31] | ♪ Yeah ♪ | |
| [25:33] | ♪ And this is what I’m gonna do about it ♪ | |
| [25:36] | ♪ I never loved a man that hurt me so ♪ | |
| [25:39] | ♪ Yeah ♪ | |
| [25:41] | ♪ This is what I’m gonna do about it ♪ | |
| [25:43] | ♪ Hold on ♪ | |
| [25:56] | Whoah. | |
| [25:58] | Did they didn’t hit it like that at Columbia Records? | |
| [25:59] | No, they did not. | |
| [26:01] | Well, us swampers we can play just as good as them | |
| [26:03] | New York City cats. | |
| [26:04] | So, you two grew up together, huh? | |
| [26:06] | Met her at a party at her daddy’s house. | |
| [26:08] | I thought he was a preacher? | |
| [26:10] | Well, he loved Sunday morning and Saturday night. | |
| [26:14] | We got it. Uh, uh, uh… | |
| [26:17] | Oh! | |
| [26:18] | So, I should just trust my voice? | |
| [26:20] | Everybody’s floored by your voice. | |
| [26:22] | I want to know what’s underneath. | |
| [26:24] | And then when we get the right material, | |
| [26:26] | you’ll carry the day. | |
| [26:29] | My singings always been my guardian angel, | |
| [26:32] | keeps me safe. | |
| [26:34] | Safe from what? | |
| [26:39] | I’m not telling you all my secrets. | |
| [26:41] | You haven’t even told me one. | |
| [26:42] | Give me one, make it juicy! | |
| [26:45] | I ain’t never been to New York. | |
| [26:46] | How about taking me back with you, | |
| [26:47] | I could curl up in your suitcase. | |
| [26:49] | Hey, what the hell did you say to my wife? | |
| [26:51] | It wasn’t nothing, honey. | |
| [26:52] | Oh, you defending him now? | |
| [26:54] | That’s my wife you’re talking to. | |
| [26:55] | Hey, he didn’t mean any disrespect. | |
| [26:57] | You in this conversation? | |
| [26:59] | I didn’t mean nothing by it, brother. | |
| [27:00] | I ain’t your brother. | |
| [27:13] | “Never Loved a Man” sounded great. | |
| [27:15] | Let’s stay on track. | |
| [27:18] | Fire him, trumpet player. | |
| [27:27] | Fire him, Rick. | |
| [27:30] | You’re kidding. | |
| [27:31] | Trumpet, you can leave. | |
| [27:33] | Go now. | |
| [27:34] | I wasn’t saying nothing to her. | |
| [27:37] | – I’m sorry, man. – Man, this some bullshit. | |
| [27:43] | Want to take it from the top? | |
| [27:54] | Don’t tolerate no disrespect. | |
| [27:56] | I don’t like to be disrespected either. | |
| [27:57] | – Who you jumping up on? – Okay, enough. | |
| [28:01] | All right, why don’t we call it a day, Ms. Franklin? | |
| [28:03] | Everybody can go home, get some rest. | |
| [28:05] | We’ll meet here in the morning. | |
| [28:08] | Mr. Wexler, I think we should keep going. | |
| [28:12] | I think we found something, let’s just keep going. | |
| [28:15] | Let’s let things cool down. | |
| [28:30] | What happened to as “Good as gold,” Ted? | |
| [28:32] | You tell me. | |
| [28:54] | Wexler better find another horn player as good | |
| [28:55] | as that other guy. | |
| [29:05] | Who knows who the hell we’re going to get stuck | |
| [29:07] | with tomorrow all because you had to act out. | |
| [29:09] | What, You want me to just stand there while | |
| [29:10] | some white man disrespects you? | |
| [29:12] | We were just talking, Ted. | |
| [29:13] | Oh, you were doing more than talking. | |
| [29:14] | Oh, so now you can’t tell the difference | |
| [29:15] | between talking and screwing because I can. | |
| [29:16] | Okay, you know what? | |
| [29:18] | You shouldn’t have been staring at me while you were | |
| [29:19] | singing that song. | |
| [29:20] | I was singing the Goddamn song, Ted. | |
| [29:21] | You got, you like them white boys, | |
| [29:23] | don’t you, huh, huh? | |
| [29:24] | Okay, okay. You know what? | |
| [29:26] | Tomorrow I won’t talk to them, I won’t look at him. | |
| [29:30] | I’ll just shut up and sing. | |
| [29:32] | Huh? | |
| [29:59] | Who the hell do you think you are firing my musicians? | |
| [30:01] | Touch me again. | |
| [30:03] | – Evening, Mrs. Franklin. – Mm-hmm. | |
| [30:04] | Oh, okay. So, I’m just a nigger to you, huh? | |
| [30:06] | I didn’t call you that. | |
| [30:07] | Oh, but you were thinking it. | |
| [30:08] | Come on, cut it out. | |
| [30:10] | So, what if I did? She’s the talent, not you. | |
| [30:11] | Oh my God, this is bullshit. | |
| [30:12] | Go on, nigger, say the shit. | |
| [30:14] | I want to hear you say it. | |
| [30:15] | I will not. Get off me. | |
| [30:16] | You think you’re some big tough man? | |
| [30:18] | You think you some big tough man, | |
| [30:19] | you a big strong man? | |
| [30:20] | Mrs. Melba? | |
| [30:22] | Yes, baby. | |
| [30:24] | What’s a sombitch? | |
| [30:27] | Mrs. Washington told me to watch out for them. | |
| [30:29] | What are they? | |
| [30:34] | They’re men, the kind that | |
| [30:37] | would do a girl wrong. | |
| [30:40] | What do they look like? | |
| [30:42] | Now, you are way too young to be worrying | |
| [30:43] | yourself about any of that. | |
| [30:44] | You understand me? | |
| [30:46] | Yes, Mrs. Melba. | |
| [30:47] | And if I hear that word come out of | |
| [30:48] | your mouth again, I’ll wash it out with soap. | |
| [30:51] | Amen. _ | |
| [30:53] | Joe Bombattle called, | |
| [30:56] | when are you heading back into the studio? | |
| [30:57] | Can I go with you to Mr. Bombattle’s? | |
| [30:59] | No, you can’t. | |
| [31:00] | Actually, Re, yes, you can. | |
| [31:03] | I always ask but you never let me. | |
| [31:05] | And I’m the oldest. | |
| [31:06] | I’m the youngest. | |
| [31:07] | Erma, Cecil, Carolyn. | |
| [31:09] | Now, you will all get your chance. | |
| [31:10] | But Re will get her chance first. | |
| [31:13] | Thank you, Daddy. | |
| [31:15] | Mm-hmm, now let’s eat. | |
| [31:16] | I want to get my pie and my vegetables, mmhmm. | |
| [31:21] | Brothers and sisters, | |
| [31:22] | black power is an answer, a reply, a rejoinder, | |
| [31:29] | a response if you will, to white power. | |
| [31:34] | It has sprung up, emerged, materialized, arisen, | |
| [31:40] | and will rise and rise again from the failure | |
| [31:44] | of white power. | |
| [31:47] | Yeah, and I hope you people out there will want to pray | |
| [31:51] | with me again tonight. | |
| [31:54] | God bless you, God bless you, Gold bless you. | |
| [31:59] | Woo. | |
| [32:00] | I, I pressed that new one for you right away. | |
| [32:02] | All right, all right. | |
| [32:03] | How many you want to take on the role with you? | |
| [32:05] | Oh, honey, you’re like thunder, lightning, | |
| [32:06] | and dynamite all rolled into one. | |
| [32:07] | Oh, I try to appeal to people’s minds as well | |
| [32:10] | as they emotions. | |
| [32:12] | I’m going to make a record, too. | |
| [32:14] | Can you sing? | |
| [32:14] | Oh, little Re can sing. | |
| [32:16] | But she ain’t soloed in church yet and | |
| [32:18] | ain’t no hurry, Re. | |
| [32:19] | I’ll tell you what. | |
| [32:21] | We go back out on the road; I’m going to take you with me. | |
| [32:22] | We’ll go out this, this summer. | |
| [32:24] | Well, she ain’t old enough to travel on | |
| [32:25] | the Gospel circuit. | |
| [32:27] | But she’s cute, she’d be a hit and she’d make | |
| [32:28] | a joyful noise. | |
| [32:29] | She’s a real talent. | |
| [32:31] | Now, that road’s a wild place now. | |
| [32:32] | I’ll be with Daddy and the other singers. | |
| [32:34] | Let your light shine before men so that they can | |
| [32:36] | see your good works, | |
| [32:39] | Matthew 5:16. | |
| [32:40] | Oh, you said it now. | |
| [32:46] | In the grocery store, | |
| [32:48] | some hussy tells me she’s your hide piece. | |
| [32:50] | Oh, who the hell would say that? | |
| [32:51] | She had yellow hair all piled up. | |
| [32:53] | Oh, now I don’t know nobody like that. | |
| [32:54] | Quit lying. | |
| [32:56] | You run around on me like a dog and now your hussies cut | |
| [32:58] | me in the street. | |
| [33:00] | Stop, stop it. | |
| [33:01] | Melba, honey, you upsetting the children. | |
| [33:02] | Let’s go, come on. | |
| [33:04] | It was just like this with your wife. | |
| [33:05] | Poor Barbara, bless her soul. | |
| [33:07] | Keep my wife out your mouth. | |
| [33:08] | She left you and the children because she got | |
| [33:10] | tired of your girlfriends. | |
| [33:12] | You ain’t clean enough to be airing my dirty laundry. | |
| [33:15] | What was I thinking being with you? | |
| [33:18] | You got tired of being trash thinking it’d be nice to | |
| [33:21] | be more respectable. | |
| [33:26] | Respectable, respectable. | |
| [33:30] | Oh, now. | |
| [33:32] | Years ago. | |
| [33:34] | Now hold up, my, my past ain’t got nothing to do with you. | |
| [33:35] | – You had relations… – Shut, shut your mouth. | |
| [33:37] | – With a… You got with… – Shut your mouth, I’m saying. | |
| [33:40] | Oh! | |
| [33:52] | Don’t go. Don’t go. | |
| [33:57] | Take care, Re. You’ll be all right, baby. | |
| [34:00] | I’ll tell daddy to be nice to you. | |
| [34:02] | You be a good girl. Honey, don’t get into trouble. | |
| [34:06] | Be sweet, you hear? | |
| [34:07] | I’ll tell daddy to be nice to you, | |
| [34:09] | I’ll tell him not to hit you. | |
| [34:10] | I’ll tell him to treat you right. | |
| [34:12] | Oh, I love you so much, Re. | |
| [34:14] | I love you too. | |
| [34:16] | But I have to go. | |
| [34:19] | Please don’t. | |
| [34:21] | I have to go. I love you, baby. | |
| [34:24] | I love you, too. | |
| [34:56] | Now, you sing just like you do at home. | |
| [35:01] | Okay? All right. | |
| [35:08] | Come on, come on. | |
| [35:14] | It’s all right now. | |
| [35:17] | Let him use you baby, let him use you. | |
| [35:22] | You can do it. | |
| [35:23] | The Lord guides you. | |
| [35:24] | God is good, God is good. | |
| [35:37] | ♪ Jesus ♪ | |
| [35:40] | ♪ Be a fence all around me ♪ | |
| [35:48] | ♪ Everyday ♪ | |
| [35:52] | ♪ Jesus, I need you to protect me ♪ | |
| [35:57] | ♪ As I travel along the way ♪ | |
| [36:04] | ♪ I know you can and I know that you will ♪ | |
| [36:10] | ♪ You’ll fight my battles if I stay on will ♪ | |
| [36:17] | ♪ Oh, Lord be a fence all around me ♪ | |
| [36:25] | ♪ Everyday ♪ | |
| [36:27] | Sing it baby, sing it. | |
| [36:32] | ♪ Jesus be a fence all around me ♪ | |
| [36:37] | Sing it baby, sing it. | |
| [36:39] | ♪ Jesus, I want you to protect me ♪ | |
| [36:42] | ♪ As I travel on the way ♪ | |
| [36:46] | ♪ I know you can, I know you will ♪ | |
| [36:49] | ♪ You’ll fight my battles if you keep still ♪ | |
| [36:53] | Praise him, girl. Praise him! | |
| [36:58] | ♪ Amen. ♪ | |
| [37:01] | ♪ Yeah. ♪ | |
| [37:06] | Thank you. | |
| [37:09] | Yes, Lord. | |
| [37:16] | Thank you, choir. | |
| [37:19] | Yes, yes, yes. | |
| [37:20] | Yes, Lord. | |
| [37:55] | You wrecked the room. | |
| [37:56] | He started it. I settled the bill. | |
| [37:59] | With my money. | |
| [38:04] | Where the hell were you last night? | |
| [38:07] | I can smell it on you. | |
| [38:08] | Booze and bitches. | |
| [38:11] | I was going to make a hit. | |
| [38:12] | This was supposed to be my last chance, my last chance, | |
| [38:14] | and you ruined it. | |
| [38:15] | Stop it. | |
| [38:16] | You said that you loved me. | |
| [38:17] | You were supposed to be good as gold. | |
| [38:18] | You sound crazy, now stop it. | |
| [38:22] | We are going back to New York, | |
| [38:23] | we’re going to get back in that studio, | |
| [38:25] | and we’re going to start fresh. | |
| [38:29] | I’m going home to Detroit. | |
| [38:37] | So much for finding your sound. | |
| [39:09] | Oh, hello. | |
| [39:11] | How’s my grand-baby? | |
| [39:14] | Welcome home. | |
| [39:17] | Mommy, smile for the picture, mom. | |
| [39:20] | Tell me, Big Momma, that my precious babies have | |
| [39:21] | been behaving themselves. | |
| [39:23] | Oh, they’re no trouble, Re. | |
| [39:25] | Good. | |
| [39:26] | We’ve been very good. | |
| [39:27] | Did you bring us anything? | |
| [39:28] | Yeah, I brought myself. | |
| [39:30] | Yes, yes, I brought presents. | |
| [39:32] | You can open them in the living room, | |
| [39:34] | and I’ll be in there directly. | |
| [39:35] | Don’t open them until I get there. | |
| [39:36] | Okay, okay. | |
| [39:38] | Welcome home, Re. Come here. | |
| [39:40] | Cecil, hey. | |
| [39:41] | You spoil them. | |
| [39:43] | Let me grab your coat. | |
| [39:44] | Lay off me, Erma. | |
| [39:46] | Where’s little Teddy? | |
| [39:47] | He’s in Chicago with Ted’s folks. | |
| [39:49] | You and Ted calling it quits? | |
| [39:51] | I only said we had a fight, Erma, don’t make it worse. | |
| [39:53] | Hey, Carolyn. | |
| [39:54] | Hey, sis. | |
| [39:55] | ♪ I’m just telling it is like it is ♪ | |
| [39:57] | which reminds me you are not the only talented | |
| [39:59] | one in this family. | |
| [40:01] | I’m just as excited as you. | |
| [40:03] | Oh, oh, a black GI Joe. | |
| [40:07] | Re, get in here. | |
| [40:09] | You’ve got company. | |
| [40:10] | Oh, Daddy’s got a new lady friend. | |
| [40:11] | Hey, hey, hey. | |
| [40:14] | – You look good, Daddy. – How’s my girl? | |
| [40:15] | Look here, this here is Marcia. | |
| [40:18] | I’m so happy to meet you. | |
| [40:20] | Pleasure. | |
| [40:25] | So, I hear you had another fight with Ted, did you? | |
| [40:28] | I’m here to relax, Daddy. | |
| [40:29] | Look, if you need someone to take care of Ted, | |
| [40:31] | just say the word, sis. | |
| [40:32] | That’s okay, Cecil. Don’t you worry about it. | |
| [40:35] | Now, I thought you were supposed to open these | |
| [40:37] | when I got here. | |
| [40:38] | Ruth Bowen, what a surprise. | |
| [40:41] | Girl, I know Ted from back when I managed Dinah. | |
| [40:44] | She wouldn’t marry him because he was a | |
| [40:45] | bull in a china shop, Godzilla when he drank. | |
| [40:48] | Are you here to give me marriage advice? | |
| [40:50] | No. But I do want to sign you. | |
| [40:54] | Time you had a real manager instead of that pimp | |
| [40:57] | of a husband. | |
| [40:58] | Ted sounds downright unsavory. | |
| [41:00] | Thank you, Ms. Marcia. | |
| [41:02] | I can get you better bookings and help you build | |
| [41:03] | on each success. | |
| [41:04] | And Dinah did say that you were the best. | |
| [41:06] | I still am. | |
| [41:07] | At the rate you’re going, | |
| [41:08] | Muscle Shoals could be the end of the line. | |
| [41:10] | I’ve contained bigger disasters than that. | |
| [41:31] | All keep talking about my thing | |
| [41:33] | ain’t going to happen, but it has to happen. | |
| [41:35] | Shit just has to. | |
| [41:48] | Oh my God. | |
| [42:01] | ♪ Save me! ♪ | |
| [42:04] | ♪ Somebody’s got to save me ♪ | |
| [42:09] | ♪ Save me ♪ | |
| [42:12] | ♪ Somebody’s got to save me ♪ | |
| [42:16] | Go ahead, it’s almost sounding like something, Ya’ll. | |
| [42:19] | ♪ Save me ♪ | |
| [42:21] | ♪ Somebody’s got to save me ♪ | |
| [42:28] | ♪ Save me ♪ | |
| [42:31] | ♪ Somebody’s got to save me ♪ | |
| [42:35] | And verse… | |
| [42:37] | ♪ Promise myself after your first dalliance ♪ | |
| [42:41] | ♪ That I wouldn’t give you no kind of second chance ♪ | |
| [42:45] | Dalliance? | |
| [42:48] | What? | |
| [42:49] | Don’t mean we couldn’t find a better word. | |
| [42:51] | I mean, yeah, cause you don’t, you know, | |
| [42:52] | you don’t want it to go over Ted’s head. | |
| [42:55] | Now, see that’s not fair. | |
| [42:56] | That’s not. | |
| [42:58] | You know, that phrase the kids are saying in the street? | |
| [42:59] | – What? What? – “Sock it to me”. | |
| [43:02] | Sock it to me, | sock it to me, sock it to me. |
| [43:05] | ♪ Sock it to me, hey, sock it to me, sock it to me ♪ | |
| [43:09] | ♪ Sock it to me, sock it to me, sock it to me ♪ | |
| [43:11] | ♪ Sock it to me, sock it to me, sock it to me ♪ | |
| [43:14] | You know it’s good that you ain’t inviting Ted into the | |
| [43:17] | studio next time around. | |
| [43:19] | Cause he always hanging on somebody’s coat-tail. | |
| [43:21] | First Dinah Washington, now you. | |
| [43:22] | It isn’t like that. | |
| [43:24] | Okay, I stand corrected. | |
| [43:26] | He’s a no count, just derailing the career | |
| [43:28] | that you and me worked so hard to build. | |
| [43:30] | You think he’s a better manager than me but he ain’t | |
| [43:32] | doing nothing but dragging you down. | |
| [43:34] | Ted wants me to be more than | |
| [43:36] | Reverend Franklin’s daughter. | |
| [43:37] | Well, I want you to be more than | |
| [43:38] | Ted White’s meal ticket. | |
| [43:40] | Ted is my husband, and I am the only person | |
| [43:41] | in this house that gets to have a say in my marriage. | |
| [43:48] | Mm-hmm. | |
| [44:02] | You need help with him? | |
| [44:03] | Ted or Daddy? | |
| [44:05] | Okay, save her. | |
| [44:08] | ♪ Save me ♪ | |
| [44:11] | Come on, come on, get your brother, | |
| [44:13] | get your brother. | |
| [44:14] | Get your brother, come on, come on. | |
| [44:15] | Say, hey, Mom, hey, hey, Mom. | |
| [44:19] | Get Mrs. Ruth, get Mrs. Ruth. | |
| [44:20] | All right, boys, come on, come on. | |
| [44:22] | Come on, come on, come on. | |
| [44:23] | Been here almost a week, | |
| [44:26] | starting to feel like home. | |
| [44:27] | Welcome to the family, you sure you want to stay? | |
| [44:31] | Look, I’m going to come clean. | |
| [44:33] | I did not know you had children, such lovely boys. | |
| [44:35] | Is Ted their father? | |
| [44:36] | No. | |
| [44:37] | We do have a son, little Teddy. | |
| [44:40] | And the father of the older boy? | |
| [44:42] | Every family’s got their secrets. | |
| [44:44] | We don’t air our dirty laundry. | |
| [44:46] | Understood. | |
| [44:47] | As your booking agent and publicist, | |
| [44:49] | I’ll make sure the world only sees the Aretha Franklin | |
| [44:51] | you want them to. | |
| [44:53] | Look, you have all the talent in the world. | |
| [44:54] | No need for you to chase the charts, | |
| [44:56] | they should be chasing you. | |
| [44:58] | For the record, | |
| [44:59] | Ted and I have a wonderful marriage. | |
| [45:01] | We are raising three lovely boys. | |
| [45:03] | I come from a remarkable family. | |
| [45:04] | I am a princess in a fairytale. | |
| [45:07] | I can take that to the bank. | |
| [45:10] | Well, some people would think twice about going to work | |
| [45:11] | and leaving their kids. | |
| [45:19] | Hello? | |
| [45:20] | If it’s Ted, tell him I ain’t home. | |
| [45:22] | It’s Mr. Wexler. | |
| [45:29] | Hello, Mr. Wexler. | |
| [45:31] | Uh-huh. | |
| [45:34] | Let’s get you back in the studio. | |
| [45:36] | I, I need to be home right now. | |
| [45:38] | Okay, all right. | |
| [45:41] | Oh, and I did something, hear me out, | |
| [45:43] | with “Never Loved a Man”. | |
| [45:44] | I had a dozen sides pressed; | |
| [45:46] | what do you think we should use for the B side? | |
| [45:48] | We don’t need one, just send it out. | |
| [45:49] | I already did. | |
| [45:52] | Yeah, DJs love it and now we need “Mountain” to go with it. | |
| [45:57] | Uh, I want to record in New York. | |
| [46:01] | Great, how soon can you and Ted get here? | |
| [46:03] | I’m not inviting Ted. | |
| [46:05] | Just get the rhythm section guys up and I’ll be | |
| [46:07] | down in a week. | |
| [46:09] | Better hurry because you’ve got a monster hit. | |
| [46:17] | I got a hit. | |
| [46:19] | We got a hit. | |
| [46:32] | I need ya’ll to follow me otherwise we’re | |
| [46:33] | going to get lost, okay. | |
| [46:34] | Can you give me something? | |
| [46:36] | Well, what you got in mind? | |
| [46:37] | In the break I want you to hit it like I’m beating | |
| [46:38] | someone’s chest or slapping someone’s face. | |
| [46:41] | Like a, | |
| [46:43] | ♪ You said that you loved me ♪ | |
| [46:46] | ♪ You-said-that you-loved-me ♪ | |
| [46:48] | – That’s the rhythm? – Mm-hmm. | |
| [46:50] | I got just the thing. | |
| [46:51] | Uh-huh. | |
| [46:53] | And Jimmy, can you, can you give me a blues like a, | |
| [46:55] | like a groove like I was out all night. | |
| [47:02] | That’ll be the intro. | |
| [47:03] | – Can do. – All right. | |
| [47:05] | We’ll have a tasty pocket for you. | |
| [47:07] | King Curtis, you are my kind of man. | |
| [47:12] | I’m joining with everybody else. | |
| [47:14] | Well, you’ve only got three chords? | |
| [47:19] | I will make them sound like a million bucks. | |
| [47:23] | All right. | |
| [47:25] | All right. | |
| [47:27] | Now, Mr. Oldham, I need you to punch it for real because | |
| [47:29] | our grove is urgent. | |
| [47:31] | Yes, ma’am. | |
| [47:32] | And Mr. Hawkins, this is not a shave and a haircut, | |
| [47:34] | this is more like a four on the floor. | |
| [47:37] | – You got it. – All right. | |
| [47:43] | It’s Valentine’s Day, right? | |
| [47:47] | You thought I forgot? | |
| [47:48] | Excuse me, brother. | |
| [47:54] | Oh, you’ve got to be kidding me, yeah. | |
| [47:57] | Thank you. | |
| [48:01] | With love from your husband. | |
| [48:11] | Okay, let’s go. | |
| [48:14] | All right. | |
| [48:16] | Give me that soul, Ms. Franklin. | |
| [48:17] | She writes our parts, and she can’t even write music. | |
| [48:19] | Just like Charles Mingus. | |
| [48:21] | Ted, Ted. | |
| [48:32] | Nice touch. | |
| [48:35] | Flowers. | |
| [48:37] | You think you can manger her better than me? | |
| [48:39] | We can both manager her, Ted. | |
| [48:42] | She’s going places. | |
| [48:47] | The song is a cry for help, right, | |
| [48:49] | so you’re calling all the superheroes like | |
| [48:50] | Batman, Superman, Black Panther, Green Hornet. | |
| [48:54] | I’m going to call on all of them and | |
| [48:55] | they sidekicks too. | |
| [48:57] | You know why? | |
| [48:58] | I need help, ya’ll. | |
| [49:05] | ♪ Save me ♪ | |
| [49:08] | ♪ Somebody save me ♪ | |
| [49:13] | ♪ Save me ♪ | |
| [49:16] | ♪ Somebody save me ♪ | |
| [49:19] | ♪ Save me, save me ♪ | |
| [49:21] | ♪ Promised myself after the first romance ♪ | |
| [49:25] | ♪ I wouldn’t give ya no second chance ♪ | |
| [49:29] | ♪ Say if you seek, you’re sure to find, ♪ | |
| [49:33] | ♪ But the closer I get to you, baby, ♪ | |
| [49:35] | ♪ You drive me stone outta my mind ♪ | |
| [49:37] | ♪ Save me ♪ | |
| [49:39] | ♪ Oh, yeah ♪ | |
| [49:41] | ♪ Save me ♪ | |
| [49:43] | ♪ Save me, save me ♪ | |
| [49:45] | ♪ Yeah ♪ | |
| [49:46] | ♪ Those who love always give the most ♪ | |
| [49:49] | ♪ We’re cryin’ together from coast to coast ♪ | |
| [49:53] | ♪ Love leaves us cold and hurt inside ♪ | |
| [49:57] | ♪ These tears of ours, unjustified ♪ | |
| [50:00] | ♪ Beggin’ you to save me! ♪ | |
| [50:04] | ♪ Yeah, need somebody here ♪ | |
| [50:05] | ♪ Save me, yeah ♪ | |
| [50:08] | Here come the horns. | |
| [50:11] | ♪ Yeah ♪ | |
| [50:13] | ♪ Woo ♪ | |
| [50:15] | ♪ Yeah ♪ | |
| [50:16] | ♪ Mmm-hmm ♪ | |
| [50:23] | ♪ You lied and said you needed me! ♪ | |
| [50:27] | ♪ You abused my love, set me free ♪ | |
| [50:31] | ♪ You didn’t need, you didn’t want me ♪ | |
| [50:34] | ♪ Somebody help me, this man wants to taunt me! ♪ | |
| [50:38] | ♪ I’m beggin’ you to, oh, save me ♪ | |
| [50:42] | ♪ Need somebody to save me ♪ | |
| [50:45] | ♪ Save me, save me ♪ | |
| [50:47] | ♪ Callin’ the Cape Crusader, Green Hornet, Kado too ♪ | |
| [50:51] | ♪ I’m in so much trouble, I don’t know what to do ♪ | |
| [50:54] | ♪ If you think anything about me, save me! ♪ | |
| [50:58] | ♪ Oh yeah ♪ | |
| [51:08] | _ | |
| [51:09] | _ | |
| [51:11] | _ | |
| [51:14] | _ | |
| [51:15] | ♪ Save me, save me ♪ _ | |
| [51:17] | ♪ Understand! ♪ | |
| [51:19] | ♪ Save me! ♪ _ | |
| [51:20] | ♪ Anybody! ♪ | |
| [51:22] | ♪ Save me! ♪ _ | |
| [51:24] | ♪ Save me ♪ | |
| [51:25] | ♪ Whoo! Oh, oh, oh, save me! ♪ _ | |
| [51:28] | The first set was great. | |
| [51:30] | Second sets going to be better. | |
| [51:31] | My parents are here, front row seats, | |
| [51:34] | and there’s standing room only out there. | |
| [51:36] | Our hard work is finally paying off. | |
| [51:38] | Our hard work? | |
| [51:44] | I don’t want to be married to you anymore, Ted. | |
| [51:49] | What you get yourself a couple hits, | |
| [51:51] | you think you’re through with me? | |
| [51:53] | You’re getting a little big for your britches. | |
| [51:55] | You couldn’t’ even keep up with me if you tried. | |
| [52:01] | How’s your story book life going to look with out | |
| [52:03] | your happy husband? | |
| [52:06] | I’m getting a divorce, Ted. | |
| [52:12] | Why? | |
| [52:16] | Because CL Franklin told you to do it? | |
| [52:19] | Cause the Franklin family thinks they’re too good for | |
| [52:21] | a regular man, a pimp like myself. | |
| [52:26] | You’re going to look at me when I’m talking to you. | |
| [52:31] | I want you to know that it is | |
| [52:32] | hard to get respect. | |
| [52:34] | I said look at me when I’m talking to you. | |
| [52:37] | But if you don’t get it, | |
| [52:38] | well I got my pocketbook right here on stage with me. | |
| [52:40] | I make sure I get paid before I sing. | |
| [52:44] | That’s respect. | |
| [52:47] | Well, I have had a wonderful time and I hope you all have | |
| [52:49] | enjoyed yourselves tonight. | |
| [52:52] | I thank you for coming. | |
| [52:54] | Goodnight, thank you so much. | |
| [52:57] | And now, with a surprise for Mrs. Franklin. | |
| [52:59] | Introducing your favorite local disc jockey, | |
| [53:01] | Rocket Jones. | |
| [53:04] | Wait one second. | |
| [53:06] | In recognition of all you’ve done. | |
| [53:10] | For all kinds of music and for | |
| [53:11] | all kinds of people. | |
| [53:13] | But especially for soul music and soul people. | |
| [53:17] | The people of Chicago and the | |
| [53:19] | people of the world, hereby crown you “Queen of Soul”. | |
| [53:23] | I love you, Queen! | |
| [53:49] | I love you, Aretha! | |
| [54:11] | Re, Re, Re… | |
| [54:13] | Hold, hold, hold. | |
| [54:15] | Just hold on a second. Thank you. | |
| [54:18] | Re, do you want to talk to me for a second? | |
| [54:20] | Baby, look, it seems like you’re not listening | |
| [54:22] | to me right now. | |
| [54:23] | I need you to listen to me for just a second right now. | |
| [54:25] | I’m trying to talk to you, it don’t look like you’re trying. | |
| [54:38] | Re. | |
| [54:43] | Re, open the door baby. | |
| [54:48] | Open up the door. | |
| [54:52] | Re? | |
| [54:54] | Re, let me in. | |
| [54:59] | There’s a lot of press folks out here who want to talk to you. | |
| [55:06] | You going to do me like this? | |
| [55:08] | Baby, I just want to talk to you, okay? | |
| [55:10] | We’ll just sit and talk, just you and me, okay? | |
| [55:18] | Come on, baby. | |
| [55:19] | Baby, just open the door, okay? | |
| [55:22] | Open the door, we’re going to talk, | |
| [55:24] | I ain’t going to do you wrong. | |
| [55:25] | Okay, I’m going to do you just right, okay, | |
| [55:26] | I’m going to be good as gold, baby. | |
| [55:27] | Just let me in the door. | |
| [55:31] | I’m so sorry, baby. | |
| [55:34] | Baby, I’m so sorry. | |
| [55:37] | I, I don’t know what got into me. | |
| [55:41] | Let me in the goddamn door, Re! | |
| [55:44] | Open the damn door! | |
| [55:46] | You can’t do this without me. | |
| [55:49] | I made you. | |
| [55:50] | Who’s going to be there for you when them peckerwoods come | |
| [55:53] | talking to you, when they try to tell you who you are, | |
| [55:54] | who’s going to be there for you? | |
| [55:56] | Who’s going to help you out? | |
| [55:57] | Who the hell do you think you are? | |
| [56:00] | ♪ I may get weary ♪ | |
| [56:06] | ♪ Women do get weary ♪ | |
| [56:11] | ♪ Wearing the same shabby dress ♪ | |
| [56:20] | ♪ But to one who’s weary ♪ | |
| [56:24] | ♪ Try a little ♪ | |
| [56:29] | ♪ Try a little tenderness ♪ | |
| [56:35] | ♪ Oh-ho-ho ♪ | |
| [56:40] | ♪ I may be waiting ♪ | |
| [56:44] | ♪ Just anticipating ♪ | |
| [56:50] | ♪ All of the things I may never possess ♪ | |
| [56:59] | ♪ Mmm, but while I’m waiting ♪ | |
| [57:05] | ♪ Try a little… ♪ |