the river this morning ♪ ♪ ain't nobody on the water but me ♪ ♪ but that sun's coming on and it won't be long ♪ ♪ there's a little more wake coming on this creek ♪ ♪ put the lines out in the water ♪ >> anthony: who doesn't wanna end with this? the old fishing hole, quality bourbon, no need for shoes. >> sean: i think the crab is just having a minnow buffet. >> anthony: in such circumstances whether you actually catch any fish is completely beside the point. come on, man, not bad for a yankee. >> sean: looking good, man. that was better than my last cast. ♪ making noise with the alligator boys 20 miles east of gauttier ♪ ♪

>> dean fertita: oh, my god. ♪ >> man: yeah! >> anthony: oh. ♪ i took a walk through this beautiful world ♪ ♪ felt the cool rain on my shoulder ♪ ♪ found something good in this beautiful world ♪ ♪ i felt the rain getting colder ♪ ♪ sha la la la la sha la la la la la ♪ ♪ sha la la la la sha la la la la la la ♪

>> chef: what if we just get dino's and go to edgefield, then go to robert's? >> chef 2: edgefield closes at midnight. >> chef: you gotta see -- have you been to robert's? >> chef 2: but dino's definitely -- >> anthony: i haven't been anywhere. >> chef 2: -- starter and that's it. >> anthony: i saw the hotel. the [ muted ] do i know? [ laughter ] >> patrick martin: hold on, time out. stop, stop, stop. you've never hung in nashville? >> anthony: no. >> martin: you're gonna have a fun time. >> anthony: i have no doubt. ♪ >> anthony: nashville. if you haven't been there, you probably know it as what? a country music capital, grand ole opry, and it is music city. and there is indeed plenty of country music, both genuine and fake-ass, but it's way more than that. nashville is one of the fastest-growing metropolitan areas in all america. people who grew up here will tell you the city is in a state of perpetual, never-ending

change, and the rate at which things are changing is accelerating. eighty to a hundred new faces move to nashville every single day. some things are constants, others in flux. even with all the radical cultural shifts, the city still remains traditionally southern in its sensibility, for now, anyway. because nashville could just as soon be called punk city or rock city, and you are just as likely to find the word artisanal hanging over the door of a sandwich shop, or a cupcake shop, or a slow-drip coffee laptop zone as anywhere in the land of man buns in the cities of the north. so, of course, the chefs are coming. carpetbaggers seeking their fortunes attracted by a more affordable business environment or just looking for a better quality of life.

sons and daughters of the south looking to honor the traditions they grew up with over the more modern sensibility. here's four chefs who helped change things, who were instrumental in starting something truly new and innovative, but what because of their efforts and their mentoring, their early examples, is becoming more and more accepted practice. tyler brown of capitol grille in southall. tandy wilson of city house. our old friend sean brock of husk nashville. and the distinguished pat martin of martin's barbecue joint. sundays are often spent here at pat's house -- friends, family kicking back and drinking beer and cooking over the fire pits. all these chefs pride themselves on celebrating local, seasonal, southern ingredients, and close relationships with farmers and food producers from the area. those are 90-day aged ribeyes from nearby bear creek farm slowly cooking there, and they're gonna be topped off with

oyster mushrooms and bourbon soy, and some nice runny eggs and garlic. grits, well, of course. these are called greasy beans, pressure canned in saltwater then heated up with pork fat, so i'm not hating that, for sure. there's also homemade ricotta served with a cold smoked sausage and roasted acorn squash. >> pat: you better get it, friend. because if you don't, you're screwed, man. everybody gets an egg. everybody cool with that? >> anthony: oh, hell yeah. it's a must. >> tandy: doesn't really matter what i'm eating if i'm eating outdoors. >> anthony: really? >> tandy: i love eating outdoors. >> anthony: yeah, me too. oh yeah. now we're talkin'. thank you. so who started in the restaurant hospitality business in nashville first? you started -- >> pat: october of '06. >> anthony: '06. >> tyler: we started in 2003. >> anthony: '03? what was it like in '03? what did people want to eat in nashville in '03?

>> sean: holy cow. >> tyler: steak and potatoes. >> sean: steakhouse, man. that's all it was. those were the only places to eat. >> anthony: yeah, but which came first, the customer or the chef in this case? >> pat: chef. >> sean: chef, man. >> tyler: chef showed up first. >> anthony: how open to new shit -- >> sean: that's the thing about people in nashville. >> anthony: -- were people in nashville? always? from the beginning? >> sean: people, yeah. >> pat: because it's artistic. people are very progressive. >> tandy: it's such a creative -- >> pat: it doesn't mean they know what they're tasting, or at that time they knew what they were tasting, but they wanted it. >> anthony: who's from here originally? >> tandy: i am. >> anthony: that's it. >> tandy: i think so. >> anthony: so there are all carpetbaggers at this table? >> tandy: yeah. >> anthony: i mean, right? >> pat: there's some of that. >> anthony: nashville's lower broadway on music row. it's what nashville's selling.

it's what the tourists want. and the honky-tonks or mchonky tonks that line the strip now tend to lean more towards cover bands than singer/songwriters. on one hand, it employs a hell of a lot of musicians, which is a good thing. on the other hand -- >> man: whoo! yeah! >> anthony: stray from lower broadway, you're bound to stumble upon a genuine dive bar. and nashville's got some real good ones. so, what is this place? >> tandy: dino's? >> anthony: yeah. >> tandy: it's a burger joint that's been here for a long time. a lot of country music history is in here. a lot of nashville history is in here. it's a fun place where you see a lot of new east nashville life. >> cook: order up. >> sean: i can't tell you how many burgers i had here that i don't remember. there's a picture of 'em on my phone, "oh i had a burger at dino's!" >> anthony: what is this? >> sean: they call these hot fries, so it's like the flavor of hot chicken, but with fries and velveeta. i think it's velveeta. >> anthony: it's like country poutine.

>> sean: exactly, man, this is like redneck poutine. >> pat: mm, that's good. >> sean: tony, what's cool about like these dive bars here, is there's so many studio musicians here. if you're not a badass musician in this town, you're not gonna make it, so everywhere you go, you're hearing the most incredible players you've ever seen anywhere in the world. >> anthony: what music rules here still? is country music still? >> pat: well, they've effed up country music so bad on music row, it's not even funny. >> sean: it's not country music. >> pat: it's bullshit. but there's also so much more than country. you know? >> sean: oh, man, that's the thing people don't realize about nashville is it's not just country music. >> anthony: if you're looking for iconic nashville, what's bone-deep local, even deeper than the dive bar culture, you would be talking about a thing called meat and three. meat and three is a cafeteria-type institution offering for a set price a choice of meat and three sides.

>> anthony: i've been thinking about this all day, since the minute i woke up. >> jeese: have you? >> anthony: oh, hell yeah. >> jeese: it's the real deal. >> anthony: dandgure's in downtown nashville is just such an institution. doors open at 10:00 am and close at 2:00 pm. with a rotating selection of a dozen lunch staples, you're pretty sure to find what you came for. okra or black-eyed peas? what do you think? what should i do? >> jeese: okra. >> anthony: okra, okay. this gentleman too, is something of an institution -- jesse boyce, a two-time grammy award nominee, instrumentalist, songwriter, producer, and ceo of sovereign music group in nashville. >> anthony: this is a big nashville tradition, the meat and three. >> jesse: absolutely. see, you see a little bit of everybody in here from truck drivers, to mothers, to lawyers, whomever. you can see it's multicultural. everybody's just like really comfortable with each other. it's like the microcosm of what nashville is really like. >> anthony: now, i mean, most

people, i think, who haven't been to nashville, outside looking in, they see nashville, they think country music. >> jesse: exactly. >> anthony: but it's really not that at all. i mean, yes, there is a hell of a lot of country music here. >> jesse: but we have two strands of music that were emerging at the same time, historically. '50s and '60s, we had "hee haw" and "night train." ♪ >> archival: all aboard the "night train," now boarding, and you have the best seat in the house, so let's get rolling to great entertainment. >> jesse: "night train" was the black tv show that had all the major r&b artists on and the local artists on, the same as we had with "hee haw" and all the country artists. and then you had jefferson street. jefferson street is where all the black artists came to play. people like jimi hendrix, little richard, b.b. king, aretha franklin, ray charles, all of these people played in

nashville on jefferson street. we had blacks and whites coming into the inner city. we didn't have broadway. we had jefferson street. back in the day, it was the place to go. ♪ >> anthony: the jefferson street district no longer resembles its neon-lit heyday. like a lot of historic neighborhoods in nashville, it's being slowly eaten by developers to make way for the shiny and the new, to accommodate all the new arrivals. ♪ it was over before it even began ♪ >> anthony: what's left is a pretty amazing musical legacy, and one that's often overlooked or sometimes simply forgotten. go! only pay for what you need.

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>> anthony: everybody's moving to nashville. this car, effectually referred to as the black shark, did in 2012, along with its eight cylinders of detroit-made awesomeness, came alison mosshart. singer-songwriter for the london-based band, the kills, which she formed over 15 years ago with jamie hince. and more recently, locally based the dead weather. ♪ oh my shaking heart you got me from the start you got me good ♪ >> alison: straight to a red light. boom. >> anthony: she needed someplace to park her car, she says, and nashville seemed right. >> alison: i lived in london forever riding the bus. i really wanted to get a muscle car, and i needed a garage to put it in. there's no way i can be unhappy in this car. >> anthony: completely understand the relationship. this is a custom-made dodge challenger.

if it hits you with speed, it will mess you up real bad. >> anthony: i love this car. i'm having car envy. ♪ this is nashville hot chicken. if you order it in its hottest iteration, it too will mess you up, as i came to find out. hot chicken recipes are notoriously kept secret, but preparation always begins with the poultry getting double dredged and deep fried for a thick, crispy crust. then each piece is given a wet or dry application for that sought-after caustic kick. with the wet, the chef's mix of hot spice comes in an oil-based sauce or paste that the chicken is dipped in or coated with. other cooks use the dry method, coating the chicken with a blistering blend of cayenne, sugar, paprika, and other secret spices that form a fiery outer layer. if you come here to the very fine bolton's for your hot chicken or their optional hot

fish, it can, in its milder forms, which are still scorchingly hot, be delicious. but try the hot stuff, and watch out. no, really, watch out. uh, how long you been in nashville? >> alison: four years maybe? i was working here all the time. i loved it. i thought it was beautiful. lots of people i knew were moving here. lots of bands. lots of rock and roll was coming to town. >> anthony: yeah. like a real lot. >> alison: you know, when i was touring when i was a teenager, this is a place you would avoid. if you were in a punk band, don't come play nashville, no one will come to your show. that sort of seemed to change like ten years ago, where suddenly, it was like, "people are showing up." >> anthony: right. all right. >> waitress: from left to right, hot, medium, mild. and then the fish, spicy. >> alison: okay, thank you. >> matthew: i didn't even order, so you guys go for it. >> anthony: oh, you're gonna have to try some.

>> anthony: matthew mosshart, alison's brother, is a professional chef who moved here in 2013 to start a catering business. >> matthew: we should have gloves on. oh, man. >> anthony: the medium is really hot. that's really hot. and it just keeps coming. >> alison: you're already diving into the coleslaw a million miles an hour. >> anthony: yeah. >> matthew: oh, my god. >> alison: are you dying? >> matthew: yeah, this isn't good. it hurts. that was -- >> anthony: which one did you get? >> matthew: i think medium, mild, whatever it is. >> alison: i know that i don't have a hot one, but this is hot anyway. i'm just -- i'm trying to bond with you guys. >> anthony: all right, i'm going in. do not resuscitate. >> matthew: oh, man. i don't want this. oh. oh, that hurts.

i think i'm hallucinating. >> matthew: that one's putting you in a head spin. >> alison: oh, my god. >> anthony: it's like a sharp burning, and it just keeps coming, and coming, and coming. it's not going away. >> matthew: you got nothing on yours? was it like a medium? >> alison: i'm good over here. i'm real good. >> matthew: you're fine, you're good to go? >> alison: this is great. yeah. >> matthew: get a little bit of mustard? >> alison: there appears to be a little bit of mustard on here, yes. >> anthony: how bad can it be? i just experienced like 12-hour payback for -- from hot chicken. >> dean: right. >> anthony: i mean, and this was an existentially awful experience that i really -- there were moments when i didn't think i was gonna make it. this has gotta be so much better than that, and it's only three minutes. >> dean: only three minutes. i'll take it.

>> anthony: do you serve snacks in there? my friend, dean fertita, plays guitar and keyboards for queens of the stone age, and he also plays with the dead weather, with alison, who you just met. a nashville resident too, he trains in krav maga, a lethal martial art at the same gym where i train jiu jitsu when in town. these things hurt. they punish the body. they make a person sore. fortunately, i had a knuckleheaded idea and a place to do it. cryotherapy. the latest in muscle recovery treatments. so far so good. >> dean: no. >> anthony: no? >> dean: this is a terrible restaurant, tony. >> anthony: basically, you step inside a big tube into which liquid nitrogen is pumped, chilling things down to a less than comfortable minus 300 degrees, you inherently convince your body that it's dying on the permafrost, causing it to kick loose all sorts of emergency, lifesaving, anti-inflammatory

proteins, after which you are supposed to feel better. if your fingers and penis don't shatter like hummel figurines. >> cryo worker: you did it. >> anthony: oh! all right! >> dean: oh. turn it off. whoa. >> anthony: well, how do you feel? >> dean: good luck. dying. in a good way, though. >> anthony: all right. so step right in? >> cryo worker: yeah, step in -- >> anthony: i don't like the way he looks. he looks unhappy. all right. >> cryo worker: sorry. did you notice how like the last 40, 50 seconds were the coldest? >> dean: yeah. >> cryo worker: pretty much his whole session is gonna be like that last 40, 50 seconds. >> anthony: oh the whole -- oh, great. >> cryo worker: the whole session. because you're doing second. >> anthony: oh yeah, that's uncomfortable. >> cryo worker: you're already in negative 306. >> anthony: oh yeah. it's bad. that's bad. that's not good. >> dean: you can do it.

>> cryo worker: you feelin' all right? >> anthony: no, no, it's bad. oh, i gotta like rub some hot chicken all over my body. >> cryo worker: you're ten seconds in. >> anthony: oh! don't tell me that. >> cryo worker: but you see, he's already in negative 308. you didn't hit negative 306 and 308 till the last minute. >> anthony: how long have i got? >> cryo worker: you're not even halfway there. >> anthony: i'm not even halfway there. oh. >> dean: i'm trying to be helpful, but i can't even talk right now. >> cryo worker: yeah. >> anthony: how we doing for time? >> cryo worker: you're almost done. >> anthony: yeah, what's "almost" mean? >> cryo worker: ten seconds. >> anthony: is it really? >> cryo worker: yeah. you did good. >> anthony: wow. >> cryo worker: this is on level two, there's still a third level. >> anthony: level two. >> cryo worker: yeah, there's still one more level up. >> dean: what's the longest you can go in there? >> cryo worker: three minutes. >> dean: three minutes. >> cryo worker: watch your head, sir. >> anthony: wondered what it was like to have a micro-penis. ooh, i feel all crispy. that was kind of awesome.

freshly invigorated by our subzero experience, with newfound appetites to go with our newfound cryogenically induced superpowers, dean and i head over to city house, tandy wilson's place, for some pizza. >> dean: so would you say that what you've seen here is what you were expecting to find? >> anthony: i like it here. it's a friendly town. >> dean: it's friendly. i know we were -- i remember when we first came down here, we'd go to the gas station, people would say hello, and we'd be like -- >> anthony: yeah. >> dean: you know. >> anthony: that takes some getting used to. >> dean: what is that? >> anthony: yeah. i'm assuming she's half kidding, but alison said it's all about the car. she needed someplace to park the car. >> dean: why she moved here? >> anthony: yeah. >> dean: i totally believe that. >> anthony: you don't doubt that? >> dean: no. >> anthony: she does love that car. >> dean: right. >> anthony: i mean, as much as i talk about it, i would never buy a muscle car because once i start, it's like i would never be satisfied, i would, you know. you don't wanna be like jay leno with like 30 muscle cars.

you know, let's face it, if you owned 30 classic muscle cars, there comes a point where people are gonna look at you and say, you know, "sorry about your penis." you know? there's something -- something else going on here.

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>> anthony: music is a $10 billion a year economy around here, employing more people than anywhere else in the country. its producers, its session artists, even the studios themselves are legendary.

if you can make it as a working musician in nashville where there's anything but a shortage and standards high, you can pretty much make it anywhere. >> jason: lightning 100, this is jason moon. in the studio with us today, nashville artist margo price, "fader" magazine has called her nashville's favorite new badass. we agree, and she's here to play a couple new songs for us. >> margo: thanks for having me. one, two, three. ♪ >> anthony: margo price grew up on her family's farm in buffalo prairie, illinois. her family was forced to sell when she was age 2, which is pretty damn country already, if you ask me. as a country music traditionalist, she struggled for years to find her place within nashville's increasingly pop-driven country scene and the growing indie rock one. in 2010, she lost one of her twin sons to a rare heart

condition, self-medicated with alcohol, and ended up with every kind of problem, including problems of the legal kind. she poured her heart and every cent she had recording an album in just three days at the legendary sun studios in memphis, selling her car and her wedding ring along the way. ♪ ♪ dogs that howl on dead-end roads ♪ ♪ they remind me where i am ♪ ♪ and all the sins i gave away i got them back again ♪ ♪ pain has made me wise wasted tears to cry ♪ ♪ so many things you never said ♪

♪ but you told me with your eyes ♪ >> anthony: the album, "midwestern farmer's daughter," was rejected 30 times by the major labels until she found herself on the radar of jack white and his brilliant and eccentric enterprise, third man records. third man's impact on the nashville music scene can't be understated. with an eclectic, unpredictable list of artists, reissues, and obsessions, they've tilted the town's axis a bit, making nashville the center, not just of country music, but also, what? of course, white has also produced albums for country music legends like loretta lynn,

so if anything, they are reliably unreliable when predicting what they might do next. >> lab worker: let's get ready for a full take. >> anthony: right now, what comes next is margo price -- >> lab worker: we're gonna do another one. >> anthony: -- who's recording today at third man's live music venue, the blue room. the recording, a unique, one of a kind operation because it's all going directly to acetate. before digital and before analog tape was used for mastering, disc recording was done live. no editing, no overdubs. redirecting this process on this 1953 lathe, third man has mastered a number of albums like this, giving listeners as close to a live experience as possible. also, it's kinda cool. >> lab worker 2: here at third man in the blue room, it's the only place in the world where you can actually do a live to acetate recording. ♪ 'cause all i want to do is make something last ♪ ♪ 'cause i know what i am know what i have ♪ ♪ i want to buy back the farm

and bring my mama home some wine ♪ ♪ turn back the clock on the cruel hands of time ♪ >> anthony: that album that was rejected 30 times debuted on billboard's top country chart at number ten in its opening week and was this year's number one country album in the uk. margo's promotional tour includes performances on "saturday night live," "conan," "colbert," and the grand ole opry itself. but before heading out on the road, the band and friends gather one last time at margo's east nashville home. her husband and bass player in the band, jeremy, prepares biscuits with pimento and cheese, topped with chopped bacon. along with red wine braised

short rib on a crostini with goat cheese. do you guys eat like this all the time? >> jeremy: no. >> margo: he cooks -- he cooks like this all the time. he's worked in like every restaurant in town. yeah, we've all been in the restaurant business. you, you, you. he just got fired from a job over on the west side, sorry. >> jeremy: way to go, margo. >> anthony: um, first of all, let me ask, who here is from nashville originally? >> margo: exactly, she is. >> anthony: this has been pretty much the story of my experience here so far. you know, the town has a reputation, there are so many really good musicians here, does that make it harder to break out here? and alternately, what happens if you suck here? like, i mean, if you can't -- if you're playing country western -- >> margo: i mean, it is -- >> anthony: and you cannot -- you're not good at your instrument, can you make a living here and suck? >> man: absolutely. >> margo: yeah. yeah.

not to say like there's tons of bands that suck or something here, but when i came here, i wasn't good enough, and i went out to some writers' rounds, and i learned very quickly that i had to be a better player, i had to be a better singer, i had to be a better writer, and like, so you know, you work hard because you're surrounded by that. 'cause it's like, you're typically playing to like a whole room of, you know, pickers and writers, and -- tell us like, how many nashville musicians does it take to change a lightbulb? one to do it and twenty to stand around and say, "i can do that." ♪ i put a hurtin' on the bottle baby now i'm blind enough to see ♪ ♪ been drinkin' whiskey like it's water ♪ ♪ that don't touch the pain you put on me ♪ >> anthony: there seems to be, i sense, like a lot of established bands have always come here for something metaphysical.

i mean, they say, "i want to work with particular session musicians," or "i want to record at a particular studio." >> margo: yes. >> anthony: but that's really kind of a metaphysical decision. does that particular mixing board actually possess magical powers that will make your record better? >> man: i -- i kind of feel like, or something special about a room. you go into rca studio b, where all the elvis singles were cut, all the orbison singles were cut, everly brothers, there is something special about that room. yeah, i mean, you joke around about like the thing about, "oh there's something special in the board," sometimes there is. ♪ i put a hurtin' on the bottle baby now i'm blind enough to see ♪ ♪ been drinkin' whiskey like it's water ♪ ♪ that don't touch the pain you put on me ♪

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>> anthony: sign of the apocalypse, or an age of enlightenment? you decide.

the craft cocktail program has arrived, and it's spreading fast. josh habiger's cocktail bar, patterson house, and its upstairs 20-seat counter-only restaurant catbird seat has been catering to the sophisticated palates of nashvillians since 2011. josh rolled in from chicago a self-trained mixologist, as they call makers of drinks these days, and professional chef. he's got five acclaimed restaurants across the city. cheers. thanks for playing. so do places like this represent that the town has changed, or did they change the town? >> josh: when we opened this, i was amazed by the support that we got from people. people didn't want to hate us. they wanted to like it here. >> anthony: really? i mean, in new york,

particularly if you come from out of town, we kind of want to hate you. i mean, we're not the cold-hearted town that people portray us to be, but especially if you're hot shit somewhere else, you're gonna have a real steep climb in new york. we are kind of hoping you're gonna fail, and if we can help you, we will. it's not like that here, from what i understand. carpet-bagging interlopers are welcome here in a way that they are not in a lot of places. >> josh: mm-hmm. >> anthony: whether it's music or restaurants or -- come here and do creative shit. >> josh: yeah, it's a really cool place. it's a lot of fun. >> ryan: a little crumble of sea salt. let me know when it's ready. >> josh: the idea of this place was to cook the way that a bartender bartends. you're looking the person in the eye and handing them the plate of food, there's no hiding. if they love it, then you see

that, if they don't love it, then -- >> anthony: plan b. >> josh: yeah. >> anthony: so the menu changes every night? >> josh: at the whim of poli right now. >> anthony: chef ryan poli is the new kid in town, fresh from chicago. a veteran of mercadito, hospitality's tavernita, little market brasserie, and barcito. >> ryan: all right. first serving we have, this is risotto, but instead of using rice, we use sunflower seeds. we treated it like a normal risotto, added parmesan cheese and a little bit of butter, we topped it with a little bit of fermented sunchokes, the base of the sunflower plant, and just garnished it with a little green sunflower sprouts. so we used three different cooking techniques with one ingredient to make this dish. enjoy. >> anthony: beautiful. mm. wow. insanely delicious. nothing about that description sounded particularly interesting to me, but it's delicious. >> ryan: this next course is a play on a very traditional italian dish, linguini, chili flakes, sea urchin or crabmeat. this is our version. we just use japanese ingredients. so we made a wakame seaweed bucatini. we have yuzukosho to represent the chili flakes, they're a little bit citrusy, a little bit spicy, and then we took scallops and dried and smoked them and grated it over the top. enjoy. >> anthony: ah! >> josh: thank you. >> anthony: man. you are talking my language here.

that's obscenely good. i would face plant in a big bowl of this. this would be good -- remember when tony soprano would come home? he'd come home after a night of whoring and killing people, and he'd go home and he'd open their refrigerator and there'd be like a tupperware container, and there would be like some cold leftover ziti that carmela had made him, like, maybe the night before, maybe two nights ago, but the fact is it was there? as completely awesome as this is, i would wake up and eat this cold, like in a tupperware container the next morning. i would totally eat this. it's completely awesome. >> ryan: that's a great compliment. there's a couple cookies in here for you. one's a macaroon, chocolate and raspberry. >> anthony: wow. >> ryan: my pleasure. enjoy. >> anthony: mm. i like rooting around in gene simmons's brain. yeah, i do not approve of your right-wing politics. oh yeah, oh yeah. ♪

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oh, no, not about that. about what comes next in life. for her. i may not be in perfect health, but i want to stay in my home, where my family visits often and where my memories are. i can do it with help from a prep cook, wardrobe assistant and stylist, someone to help me live right at home. life's good. when you have a plan. ♪ ♪

♪ >> anthony: welcome to disgraceland, alison's nashville home.

it's a house party, so there's got to be food. >> alison mosshart: did you just do a small series there where you weren't looking? >> matthew: you don't have to look when you cut, right? >> anthony: no. >> matthew: we can look at each other. ready? >> anthony: and as one must at any reputable house party, live entertainment. dean fertita, jack lawrence, mr. jack white, and alison mosshart, known, i believe, as the dead weather. ♪ i never know how to treat you you say i love you but it ain't true ♪ ♪ i'm walking away now one step forward and back two ♪ ♪ i like to grab you by the hair and hang you up from the heavens ♪ >> anthony: in the galley, matthew and i slave over

celeriac, apple, and walnut salad, fried pork dumplings, pulled pork with red cabbage, and deviled eggs because it ain't a party without deviled eggs. and brisket. ♪ ♪ i want to grab you by the hair and hang you up from the heavens ♪ ♪ ♪ >> alison mosshart: thank you.

♪ >> anthony: in another part of the house, free party favors for everyone. permanent ones. choose your tattoo carefully, my drunken friends. choose well. >> jack white: oh, you spelled "donald trump" wrong. >> anthony: damn! also on the bill, the kills. ♪ hollywood, 2 a.m. questioning everything ♪ >> anthony: a tooth tattoo in some cultures means -- actually, i have no idea what it means, until alison says she chose it because she liked it

and it's for biden. >> we're in. >> i, on the other hand, gave this scorpion careful consideration after a less carefully considered number of tequilas. >> that was amazing. >> i like it .

♪ >> that came out pretty good. >> thank you .

♪ over the last 100 years, lincoln's witnessed a good bit of history. even made some themselves. makes you wonder... what will they do for an encore? ♪

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i'm still so drunk. >> a drink will help. >> good party. >> it was, like, the greatest. as i was driving here, i just couldn't stop smiling just remembering the things i can't remember, which is not all of it. there's a timeline. seriously, i have bite marks. >> no way. >> no, i do. >> who bit you? >> a found a cigarette. that's a bite mark. >> what's that? >> that's a bruise. >> what's that? >> it's a timeline here, people. let's work it out. i feel so complete. and i was going to wear that today, but i failed. >> i was wearing a tutu. it could be worse this morning. >> wow, what's that? >> apparently we took some casualties at last night's house party. but for every throbbing skull,

every unremembered blunt force trauma, there was a cure, a bloody mary, a mimosa, or both if you prefer. pinewood social, where natural allies, alcohol, hangovers, and bowling coexist peacefully in an atmosphere of mutual respect. also food. >> tell me, how many times do you eat a day? what's that show, i think about it. you've had, like, seven meals, and it's only 1:00. >> who's up? >> you're up first. >> i'm up? okay. >> not a promising beginning. >> it can only get better. >> i don't think he's american. >> if there's any hustler, you know, the unassuming guy that

just happens to show up after being missing for a while. >> right. i can see that. >> that might have been the quickest gutter of the day. ♪ ♪ >> over the line. >> yes! woo! >> okay. get your carrots. >> in a world, any of us would

be -- ineptness at this sport of kings. but that's nashville for you, a welcoming place, a forgiving one. i feel right at home. ♪ ♪ ♪ used to live on music row ♪ ♪ that was then and this is now ♪ ♪ and he told me this town gets around ♪ ♪ from what i found this town gets around ♪ -- captions by vitac -- www.vitac.com