1 00:00:09,002 --> 00:00:11,242 Let's throw around some ideas about what we're gonna do today. 2 00:00:11,282 --> 00:00:13,642 -I've got a few ideas in mind-- -No, excuse me darling, no, 3 00:00:13,642 --> 00:00:15,402 I still love you. Really, I do love you 4 00:00:15,402 --> 00:00:17,082 but you do your job, you know? 5 00:00:17,082 --> 00:00:18,842 You do your job and I'll do mine, okay? 6 00:00:18,842 --> 00:00:20,762 I still love you, so let's go for a take then, shall we? 7 00:00:20,802 --> 00:00:22,482 -Okay? Yeah, brilliant. -Sure. 8 00:00:23,802 --> 00:00:27,002 ["Shout to the Top!" plays] 9 00:00:28,002 --> 00:00:29,842 It was the freedom I was looking for 10 00:00:29,842 --> 00:00:31,402 coming out of The Jam. 11 00:00:32,401 --> 00:00:34,521 And I found it within that situation, 12 00:00:34,521 --> 00:00:35,561 that set up, you know? 13 00:00:35,801 --> 00:00:38,681 I was half in mind I was half in need 14 00:00:38,681 --> 00:00:42,281 And as the rain came down I dropped to my knees 15 00:00:42,321 --> 00:00:44,241 And I prayed 16 00:00:44,441 --> 00:00:46,680 [Mick] The Style Council were very much 17 00:00:47,120 --> 00:00:48,720 out on our own in the '80s. 18 00:00:48,720 --> 00:00:51,120 We weren't a stereotypical sort of '80s band. 19 00:00:51,520 --> 00:00:53,840 I wish to stay forever... 20 00:00:54,360 --> 00:00:55,880 [Dee C] You gotta keep changing the game, 21 00:00:55,880 --> 00:00:56,960 you gotta keep upping it 22 00:00:57,000 --> 00:00:58,920 and you gotta keep mixing it up, you know. 23 00:00:58,960 --> 00:01:00,360 That's what keeps it exciting. 24 00:01:00,360 --> 00:01:02,160 Once in a while 25 00:01:02,560 --> 00:01:04,320 I just can't help it 26 00:01:04,360 --> 00:01:06,240 It's that same old thing 27 00:01:06,280 --> 00:01:08,640 [Steve] It was such a fantastic thing to be part of. 28 00:01:08,640 --> 00:01:10,640 It was almost, like, unstoppable, you know, 29 00:01:10,640 --> 00:01:11,840 it was a fantastic time. 30 00:01:11,840 --> 00:01:13,479 Have you ever had it blue? 31 00:01:13,919 --> 00:01:16,079 Have you ever had it blue? 32 00:01:17,279 --> 00:01:19,719 [Martin] For me it was and remains 33 00:01:19,759 --> 00:01:23,279 one of the best combinations of music and look 34 00:01:23,279 --> 00:01:24,999 in a-- in a pop group ever. 35 00:01:24,999 --> 00:01:28,478 Feel it deep inside 36 00:01:28,518 --> 00:01:30,598 [Boy George] It was in the soul pocket, 37 00:01:30,598 --> 00:01:32,918 but, you know, using a bit of humor. 38 00:01:32,918 --> 00:01:36,798 You know, still a little bit of a kind of punky spirit in there. 39 00:01:36,798 --> 00:01:38,638 It was kind of like not what you expected. 40 00:01:38,638 --> 00:01:40,478 There's a girl in my heart 41 00:01:40,478 --> 00:01:42,838 And she keeps on stopping 42 00:01:42,838 --> 00:01:45,238 Right in front of my eyes 43 00:01:45,278 --> 00:01:47,038 [Billy] The Style Council 44 00:01:47,038 --> 00:01:48,478 is when Paul embraces pop music. 45 00:01:49,158 --> 00:01:53,478 'Cause you're the best thing That ever happened 46 00:01:54,318 --> 00:01:56,517 [Billy] He says, "You know what? Yeah, I am gonna be a pop star, 47 00:01:56,517 --> 00:01:58,797 and I am gonna stop being a punk rocker outsider, 48 00:01:58,797 --> 00:02:01,237 and I'm gonna embrace pop music, and I'm gonna make the videos, 49 00:02:01,237 --> 00:02:02,557 and I'm gonna get the haircuts." 50 00:02:02,597 --> 00:02:04,877 And he had the chops to do it and the vision to do it. 51 00:02:05,197 --> 00:02:07,437 No matter what I do 52 00:02:07,477 --> 00:02:09,796 [Tim] I don't think people saw the Style Council coming. 53 00:02:09,796 --> 00:02:11,356 There was kind of a like interesting 54 00:02:11,356 --> 00:02:14,236 sort of European feeling to their music 55 00:02:14,236 --> 00:02:16,636 and I thought it was sort of quite ahead of its time 56 00:02:16,676 --> 00:02:17,836 in many ways. 57 00:02:18,036 --> 00:02:21,036 Are you gonna try To make this work 58 00:02:21,076 --> 00:02:23,636 Or spend your days down In the dirt 59 00:02:23,636 --> 00:02:25,316 You see things can change 60 00:02:25,356 --> 00:02:27,636 Yes and walls Can come tumbling down 61 00:02:27,636 --> 00:02:29,996 Governments crack And systems fall... 62 00:02:31,516 --> 00:02:34,196 The Jam have announced they're breaking up. 63 00:02:34,396 --> 00:02:37,315 The group are led by singer and songwriter Paul Weller. 64 00:02:37,315 --> 00:02:39,715 At 24, he's become something of a spokesman 65 00:02:39,715 --> 00:02:41,355 for the new beat generation. 66 00:02:41,395 --> 00:02:44,795 A police car And a screaming siren 67 00:02:44,795 --> 00:02:47,795 A pneumatic drill And ripped up concrete 68 00:02:47,795 --> 00:02:49,395 [Billy] There was something about The Jam 69 00:02:49,435 --> 00:02:52,314 that was so essentially suburban and working class, you know. 70 00:02:52,554 --> 00:02:54,234 "That's Entertainment" was about me, 71 00:02:54,274 --> 00:02:58,474 I was-- all those images were images in my life 72 00:02:58,474 --> 00:02:59,834 and I really, really related to that. 73 00:02:59,874 --> 00:03:01,434 So when he broke 'em up, I was like, 74 00:03:01,434 --> 00:03:02,874 "Well, what you gonna do now, mate?" 75 00:03:02,874 --> 00:03:04,714 "I mean, how's this-- you know, what's gonna happen now?" 76 00:03:04,714 --> 00:03:06,874 The smash of glass And the rumble... 77 00:03:06,914 --> 00:03:09,194 [Paul] However much I loved my time with The Jam, you know, 78 00:03:09,194 --> 00:03:10,554 it was just work, work, work, you know, 79 00:03:10,554 --> 00:03:12,394 there was a tour and then there was a record, 80 00:03:12,394 --> 00:03:14,114 then there was a tour, then there was a record 81 00:03:14,154 --> 00:03:17,553 and it just seemed like a kind of a bit of a treadmill, 82 00:03:17,553 --> 00:03:19,953 you know, which you have to be on if you wanna make it 83 00:03:19,993 --> 00:03:21,473 and do what you do. 84 00:03:21,473 --> 00:03:24,633 That's entertainment 85 00:03:24,633 --> 00:03:26,193 Ah 86 00:03:26,233 --> 00:03:29,833 [Eddie] If you listen to the last recordings of The Jam, 87 00:03:29,833 --> 00:03:32,672 he's obviously outgrown, uh, the band, 88 00:03:32,672 --> 00:03:34,992 but they are the most popular band in the country, 89 00:03:35,032 --> 00:03:36,392 they've got the most loyal following 90 00:03:36,392 --> 00:03:38,632 and he went, "Do you know what? I've had enough." 91 00:03:38,632 --> 00:03:40,192 [Nicky] You know, it was kind of like, wow, 92 00:03:40,192 --> 00:03:41,752 you know, you're top of your game 93 00:03:41,752 --> 00:03:44,352 and you're just like packing it all in, 94 00:03:44,392 --> 00:03:46,992 but, you know, Paul's always been one of them free spirits 95 00:03:47,032 --> 00:03:49,352 that kind of wants to move forward and stuff. 96 00:03:49,632 --> 00:03:53,992 For the bitterest pill Is hard to swallow 97 00:03:53,992 --> 00:03:56,472 [Jason] When I understood, "Okay, there's a shift, 98 00:03:56,472 --> 00:03:59,431 there's a career move, and it's at risk of losing 99 00:03:59,431 --> 00:04:01,711 a whole audience," all of a sudden 100 00:04:01,711 --> 00:04:03,591 I don't know, I see him as an artist. 101 00:04:03,591 --> 00:04:05,231 [Boy George] The Jam was angry 102 00:04:05,231 --> 00:04:06,711 and got something to say, you know, 103 00:04:06,751 --> 00:04:08,791 and then Style Council was like whimsical, you know. 104 00:04:08,791 --> 00:04:12,150 It was probably quite surprising for any like Mod fans. 105 00:04:12,150 --> 00:04:14,510 [Billy] Pretty soon, it was clear that 106 00:04:14,550 --> 00:04:17,430 the sensibility that he had was just gonna be communicated 107 00:04:17,430 --> 00:04:18,790 through a more jazzier, 108 00:04:18,790 --> 00:04:20,950 more soulful, if you like, vibe. 109 00:04:20,990 --> 00:04:22,550 But the need to break it all down 110 00:04:22,550 --> 00:04:23,830 and put it back together another way, 111 00:04:23,830 --> 00:04:25,430 I can completely understand that now. 112 00:04:25,430 --> 00:04:29,030 It's a big decision In a town called Malice 113 00:04:29,670 --> 00:04:31,510 Ooh yeah 114 00:04:32,630 --> 00:04:34,070 It was just something which I felt inside me, 115 00:04:34,070 --> 00:04:35,310 you know, you just gotta go by instinct 116 00:04:35,350 --> 00:04:37,070 and I felt it was the right thing to do. 117 00:04:37,070 --> 00:04:38,590 I thought about it, it wasn't just as if 118 00:04:38,590 --> 00:04:40,069 I just sort of made my mind up overnight. 119 00:04:40,069 --> 00:04:41,469 I don't know what's gonna happen, you know, 120 00:04:41,469 --> 00:04:42,989 which I'm quite enjoying at the moment, 121 00:04:43,029 --> 00:04:44,429 'cause like I said, it's the first time 122 00:04:44,429 --> 00:04:46,069 for six years it's been like that. 123 00:04:46,749 --> 00:04:48,709 So I'm just gonna enjoy that for a little while, 124 00:04:48,709 --> 00:04:51,069 just see how it goes, you know, take it as it comes. 125 00:04:51,349 --> 00:04:53,189 Whatever I do, I wanna be successful 126 00:04:53,229 --> 00:04:54,988 otherwise to me there's no point in doing it, you know? 127 00:04:56,508 --> 00:04:58,388 [Paul] It was liberating for me 128 00:04:58,668 --> 00:05:01,228 to, um, to start again really. 129 00:05:01,228 --> 00:05:03,708 To feel I've started again, you know, after The Jam. 130 00:05:03,748 --> 00:05:05,748 My brother was in a band with me 131 00:05:05,748 --> 00:05:06,988 called the Merton Parkas. 132 00:05:07,028 --> 00:05:09,588 A payment plan That's so unique 133 00:05:10,028 --> 00:05:12,468 One hundred now And the rest next week 134 00:05:12,468 --> 00:05:13,828 You need wheels 135 00:05:14,708 --> 00:05:16,548 If you wanna make deals 136 00:05:17,628 --> 00:05:19,028 [Mick] Danny had met Paul 137 00:05:19,028 --> 00:05:21,667 and he gave him a copy of our first single. 138 00:05:21,667 --> 00:05:24,827 Paul didn't like it, but he played the B-side 139 00:05:24,827 --> 00:05:26,387 and there's a piano solo in it. 140 00:05:26,867 --> 00:05:29,707 ["I Don't Want You To Know" by Merton Parkas playing] 141 00:05:36,626 --> 00:05:38,426 [Paul] It was finding somebody that was the sort of 142 00:05:38,426 --> 00:05:40,186 same age as me 143 00:05:40,826 --> 00:05:42,626 who was into the same sort of music 144 00:05:42,626 --> 00:05:44,066 and someone who could play, 145 00:05:44,066 --> 00:05:46,546 more importantly, could play Hammond organ. 146 00:05:46,546 --> 00:05:48,985 There wasn't too many of those people around really, you know? 147 00:05:49,226 --> 00:05:52,026 So, he contacted me. He said, like, you know, 148 00:05:52,026 --> 00:05:53,826 "I'm gonna try and start something 149 00:05:53,866 --> 00:05:56,706 that's a lot more loose, not so regimented, 150 00:05:57,266 --> 00:06:00,906 but I'd like you to be involved." 151 00:06:00,906 --> 00:06:02,745 And to find out a bit more about what Paul's gonna do tonight, 152 00:06:02,785 --> 00:06:04,585 I'll ask him. Paul, can you hear us? 153 00:06:04,585 --> 00:06:06,025 What you-- What are you-- What are you gonna do, 154 00:06:06,025 --> 00:06:07,225 and what's it called? 155 00:06:07,225 --> 00:06:09,025 Um, I dunno, what is it? 156 00:06:09,025 --> 00:06:10,385 [audience laughs] 157 00:06:10,425 --> 00:06:11,625 We don't know, we don't know, Pete. 158 00:06:11,625 --> 00:06:12,665 [Peter] Just make it up. 159 00:06:13,065 --> 00:06:15,865 It's kind of-- We kind of fit into the electro pop duo thing. 160 00:06:15,865 --> 00:06:17,384 -[Peter] Right. -We kind-- We kind of-- 161 00:06:17,424 --> 00:06:19,584 -We align ourselves-- -[audience cheers] 162 00:06:19,584 --> 00:06:21,064 we align ourselves with, like, Blancmange, 163 00:06:21,104 --> 00:06:22,264 Tears for Fears, that sort of thing. 164 00:06:22,264 --> 00:06:23,264 [Peter] Right. 165 00:06:23,264 --> 00:06:24,344 That's why we're wearing makeup. 166 00:06:24,344 --> 00:06:25,784 [Peter] I understand, I can see it. 167 00:06:25,824 --> 00:06:28,944 I kind of had ideas of what I wanted it to be, 168 00:06:28,944 --> 00:06:30,584 The Style Council to be. 169 00:06:31,344 --> 00:06:32,944 But nothing too set at all, 170 00:06:32,984 --> 00:06:34,824 and kind of just sort of open really. 171 00:06:34,864 --> 00:06:36,384 [Mick] He particularly mentioned 172 00:06:36,384 --> 00:06:38,424 that he wanted to use the Hammond quite a lot. 173 00:06:40,064 --> 00:06:41,864 [Paul] And I just wanted to, um, 174 00:06:41,864 --> 00:06:43,543 to see where this thing could go to, 175 00:06:43,543 --> 00:06:46,503 this new-- this new band could go to, you know. 176 00:06:46,943 --> 00:06:48,943 I didn't wanna tour for a while, you know, 177 00:06:48,983 --> 00:06:50,583 kind of had enough of that for a little bit. 178 00:06:51,063 --> 00:06:55,143 The space between us for days Has been so far 179 00:06:55,183 --> 00:06:56,583 Ah 180 00:06:56,983 --> 00:06:58,302 I've spent a lonely week 181 00:06:58,302 --> 00:07:01,742 Now I wanna be where you are 182 00:07:01,742 --> 00:07:03,982 We've got a head start 183 00:07:04,022 --> 00:07:07,222 For happiness For our part 184 00:07:07,222 --> 00:07:10,342 Guess we must be kissed By this force 185 00:07:10,342 --> 00:07:12,782 I feel inside 186 00:07:12,782 --> 00:07:16,582 Now I'm not gonna hide 187 00:07:16,782 --> 00:07:18,902 [Paul] And just to have a completely open mind 188 00:07:18,942 --> 00:07:20,582 on it all, really, you know, 189 00:07:20,622 --> 00:07:23,262 on music, on the band, on life. 190 00:07:23,622 --> 00:07:26,221 Who I was. You know, all those things, really, 191 00:07:26,261 --> 00:07:27,861 all those big questions, really. 192 00:07:28,261 --> 00:07:30,181 Paul lent me a box of records, 193 00:07:30,181 --> 00:07:32,021 it might have been two boxes, 194 00:07:32,021 --> 00:07:33,501 but they were all sevens 195 00:07:33,541 --> 00:07:36,061 and a lot of them were quite rare soul. 196 00:07:36,061 --> 00:07:38,460 Just the feel and the instrumentation 197 00:07:38,460 --> 00:07:40,180 really influenced a lot of what we were doing 198 00:07:40,180 --> 00:07:42,980 and Paul was saying, "This is what I've been listening to." 199 00:07:43,260 --> 00:07:46,340 Some of 'em were sort of more commercial jazz things, 200 00:07:46,340 --> 00:07:48,500 but in the main they were soul records. 201 00:07:48,900 --> 00:07:51,980 That was a font of sort of, uh, inspiration. 202 00:07:53,019 --> 00:07:55,420 [Paul] By the sort of January of '83 203 00:07:55,460 --> 00:07:57,940 we were kind of in the studio really, doing the first single, 204 00:07:57,980 --> 00:07:59,620 you know, and it just went on from that. 205 00:08:00,140 --> 00:08:02,700 Your hair hangs In golden steps 206 00:08:02,700 --> 00:08:07,379 You're a bonafide In every respect you are 207 00:08:07,379 --> 00:08:08,979 [Martin] It felt fresh is what it felt, 208 00:08:08,979 --> 00:08:10,499 it felt exciting to me. 209 00:08:10,499 --> 00:08:14,379 It felt new, like it was-- like it was enjoyable. 210 00:08:14,379 --> 00:08:16,899 You know, coming in with the double-edged sword 211 00:08:16,899 --> 00:08:19,139 rather than all the onus being on him. 212 00:08:19,619 --> 00:08:21,338 I imagine that was quite nice. 213 00:08:21,658 --> 00:08:24,018 Mick, obviously, you know, 214 00:08:24,018 --> 00:08:27,618 brought a very different, kind of, sort of flavor 215 00:08:27,618 --> 00:08:29,618 to what Paul was doing. 216 00:08:29,618 --> 00:08:32,618 You have to make A bargain with me now 217 00:08:33,098 --> 00:08:34,658 [Martin] I mean, The Style Council is half Mick, 218 00:08:34,698 --> 00:08:36,178 you know, it's not Paul Weller 219 00:08:36,178 --> 00:08:37,498 and then a bit of this other bloke. 220 00:08:37,498 --> 00:08:40,098 Like, it's-- I totally see them as a unit, you know. 221 00:08:40,138 --> 00:08:43,338 I think because Mick is such a laid back 222 00:08:43,338 --> 00:08:45,738 kind of person, I mean, he's very dry, 223 00:08:45,778 --> 00:08:47,497 he's very funny, and I think that 224 00:08:47,777 --> 00:08:49,337 came out in Paul, you know? 225 00:08:49,377 --> 00:08:51,657 That was the thing that probably surprised a lot of people 226 00:08:51,657 --> 00:08:53,537 about The Style Council after The Jam, 227 00:08:53,577 --> 00:08:55,897 was that, "Oh, there's Paul and he's got a sense of humor." 228 00:08:56,657 --> 00:09:00,297 I really like it When you speak like a child 229 00:09:00,297 --> 00:09:02,176 The way You're so proud to be 230 00:09:02,176 --> 00:09:05,216 Oh, so free and so wild 231 00:09:08,096 --> 00:09:10,896 [Paul] We got Dee in to do some backing vocals on-- 232 00:09:11,136 --> 00:09:12,296 I can't remember what song, 233 00:09:12,296 --> 00:09:13,856 I know it's a very early single anyway. 234 00:09:14,216 --> 00:09:16,016 You know, she was a very busy girl 235 00:09:16,016 --> 00:09:17,336 at that time, you know? 236 00:09:17,376 --> 00:09:18,856 We were aware of her through Wham! 237 00:09:18,896 --> 00:09:20,896 and Animal Light Eye, you know. 238 00:09:20,936 --> 00:09:22,896 [Dee C] When I first got there, to Solid Bonds, 239 00:09:22,896 --> 00:09:25,736 I did notice these gold discs on the wall 240 00:09:25,776 --> 00:09:27,976 and they're all saying, "The Jam," so I said to Paul-- 241 00:09:27,976 --> 00:09:30,175 And for some reason, I really did not recognize him 242 00:09:30,175 --> 00:09:32,095 from the pictures in it to the person 243 00:09:32,095 --> 00:09:33,615 who was standing in front of me. 244 00:09:33,615 --> 00:09:35,855 So, um, I did say, um, 245 00:09:35,895 --> 00:09:37,175 "You know, who are these guys?" you know. 246 00:09:37,375 --> 00:09:39,815 He said, "Oh, some shit group who record here," he said to me. 247 00:09:40,095 --> 00:09:41,895 And I totally fell for it, and I went 248 00:09:41,895 --> 00:09:43,214 "Oh," didn't say anything else. 249 00:09:43,254 --> 00:09:44,974 We liked her and she seemed part of us, 250 00:09:45,014 --> 00:09:46,854 so kind of everything just kind of naturally 251 00:09:46,854 --> 00:09:47,814 just happened, you know. 252 00:09:48,014 --> 00:09:49,534 I actually think if I had realized-- 253 00:09:49,534 --> 00:09:51,134 if I had actually realized who Paul was, 254 00:09:51,134 --> 00:09:52,654 I might not have taken the job, 255 00:09:52,814 --> 00:09:56,014 'cause I think I might have been a little bit, um, overwhelmed. 256 00:09:56,014 --> 00:09:59,254 The first thing she sung with us was Money Go Round, 257 00:09:59,254 --> 00:10:01,134 and it just worked, you know. 258 00:10:01,134 --> 00:10:03,254 No good praying To the pristine alters 259 00:10:05,014 --> 00:10:07,854 Waiting for the blessing With Holy water 260 00:10:09,654 --> 00:10:11,253 [Paul] We was auditioning for drummers, 261 00:10:11,253 --> 00:10:14,093 'cause I think, probably for our tour maybe, 262 00:10:14,133 --> 00:10:15,653 I don't know, I'm not sure anyway. 263 00:10:15,693 --> 00:10:17,933 But anyway, we met Steve White, he came down, 264 00:10:17,933 --> 00:10:20,653 he was like the last drummer of the day. 265 00:10:20,893 --> 00:10:22,493 I think we thought we had a drummer. 266 00:10:22,493 --> 00:10:23,772 I think Steve turned up 267 00:10:24,052 --> 00:10:25,972 and he wouldn't take no for an answer, you know? 268 00:10:25,972 --> 00:10:28,772 [Steve] Paul said then, "I think we're sorted," you know. 269 00:10:28,812 --> 00:10:30,532 I said, "Can't I at least have a play?" 270 00:10:30,572 --> 00:10:32,852 And he went, "Oh, I ain't really got time." 271 00:10:32,852 --> 00:10:34,252 I said, "Go on, let me have a play." 272 00:10:34,252 --> 00:10:37,052 And he says, "Oh, go on then, go on, have a go." 273 00:10:37,052 --> 00:10:38,652 I said, "So what sort of stuff are you into?" 274 00:10:38,652 --> 00:10:40,052 He went, "Well, I like a lot of blue note." 275 00:10:40,092 --> 00:10:41,652 "Art Blakey?" "Yeah, yeah, Art Blakey." 276 00:10:41,652 --> 00:10:43,532 And I started to playing like-- terrible impression 277 00:10:43,572 --> 00:10:45,452 of Art Blakey. "What else are you into?" 278 00:10:45,452 --> 00:10:46,932 He said, "Elvin Jones." 279 00:10:46,972 --> 00:10:49,012 Terrible impression of Elvin Jones, you know. 280 00:10:49,052 --> 00:10:51,092 It was very fast and very dexterous 281 00:10:51,092 --> 00:10:52,451 and quite explosive. 282 00:10:52,491 --> 00:10:54,211 But it seemed to have a lot of passion. 283 00:10:54,211 --> 00:10:55,251 He was just amazing. 284 00:10:55,451 --> 00:10:57,331 He was only a kid, like 17 or something like that. 285 00:10:57,611 --> 00:10:59,371 I just thought, "Right, if he can do that, 286 00:10:59,371 --> 00:11:01,811 I suppose, you know, he can do anything." 287 00:11:02,011 --> 00:11:04,211 [Steve] And he says, um, "So tomorrow, we're doing this 288 00:11:04,211 --> 00:11:06,370 Kid Jensen show." We weren't gonna use a band, 289 00:11:06,370 --> 00:11:08,050 you know, but if you wanna do it, 290 00:11:08,050 --> 00:11:11,450 turn up, Maida Vale, at five o'clock or whatever, 291 00:11:11,450 --> 00:11:13,250 we're going on at like 6:00." 292 00:11:13,250 --> 00:11:16,850 "The evening show, Kid Jensen, 13 million people listening." 293 00:11:16,850 --> 00:11:17,970 I'm like, "What we gonna play?" 294 00:11:18,170 --> 00:11:20,090 "Oh, we'll sort that out tomorrow." That was it, he went. 295 00:11:20,290 --> 00:11:22,250 I think that was the first time we played, um, 296 00:11:22,290 --> 00:11:23,290 "The Paris Match." 297 00:11:23,570 --> 00:11:25,410 ["The Paris Match" by The Style Council plays] 298 00:11:25,410 --> 00:11:26,970 I was just kind of singing it to him, 299 00:11:26,970 --> 00:11:28,850 I was sitting next to him on the drum stool. 300 00:11:28,890 --> 00:11:30,970 And that was it, we did the session. 301 00:11:31,010 --> 00:11:33,289 ...where you are 302 00:11:33,329 --> 00:11:37,169 You sort of clouded my mind 303 00:11:37,169 --> 00:11:38,729 [Paul] We got our studio, Solid Bond, 304 00:11:38,769 --> 00:11:41,969 which was the old, um, Phonogram studio, 305 00:11:41,969 --> 00:11:43,849 and before that it was the Phillips studio 306 00:11:43,889 --> 00:11:45,409 where they did Dusty and Scott Walker 307 00:11:45,409 --> 00:11:46,328 and all those people. 308 00:11:46,688 --> 00:11:48,768 So it had a real history to it. 309 00:11:48,808 --> 00:11:51,008 I really liked that studio, I'd used it a few times 310 00:11:51,008 --> 00:11:52,248 when it was still Phonogram, 311 00:11:52,248 --> 00:11:55,048 and that became the playground, really. 312 00:11:55,048 --> 00:11:56,848 [Mick] I could tell that Paul was, you know, 313 00:11:57,048 --> 00:11:59,128 had many studio hours under his belt. 314 00:11:59,168 --> 00:12:03,248 He was very at ease, there's no red-light fever. 315 00:12:03,248 --> 00:12:05,168 [Dee C] We were literally in the studio every day, 316 00:12:05,448 --> 00:12:08,648 nine til 5:00, like a-- like a real sort of, you know, 317 00:12:08,648 --> 00:12:12,048 like a real 9:00 to 5:00 job, but just working on music. 318 00:12:12,248 --> 00:12:13,727 Being around Paul for a little while, 319 00:12:13,727 --> 00:12:17,287 you start losing your kind of inhibitions. 320 00:12:17,327 --> 00:12:19,167 [Steve] It was like a place of work 321 00:12:19,207 --> 00:12:21,847 but a very-- a very kind of, um, humor. 322 00:12:22,127 --> 00:12:23,447 There was lots of humor going on. 323 00:12:23,447 --> 00:12:25,567 [Dee C] It was a very family orientated studio. 324 00:12:25,567 --> 00:12:27,966 Paul's mum, Paul's dad run in and everything, 325 00:12:27,966 --> 00:12:29,806 we had Kenny, we had Paul's sister. 326 00:12:30,006 --> 00:12:32,246 We had a little caretaker guy, 327 00:12:32,246 --> 00:12:33,606 God bless him, Arthur. 328 00:12:33,646 --> 00:12:36,166 [Mick] To me, it kind of felt very un-rock and roll. 329 00:12:36,526 --> 00:12:39,246 It really felt properly down to earth, 330 00:12:39,246 --> 00:12:41,325 and that's from John downwards, you know. 331 00:12:41,365 --> 00:12:43,766 Just very realistic, normal people. 332 00:12:43,806 --> 00:12:46,566 Not a very pressured environment but a lot come out. 333 00:12:46,566 --> 00:12:48,806 [announcer] And here at three, The Style Council. 334 00:12:49,166 --> 00:12:51,046 And of course, at number three The Style Council 335 00:12:51,046 --> 00:12:52,526 with the EP À Paris 336 00:12:52,566 --> 00:12:54,806 from which for the very first time on Top of The Pops, 337 00:12:54,846 --> 00:12:57,445 here he is, with Paris Match. 338 00:12:57,725 --> 00:13:00,205 [cheers and applause] 339 00:13:00,245 --> 00:13:02,445 ["The Paris Match" starts to play] 340 00:13:09,044 --> 00:13:13,204 Empty hours spent Combing the streets 341 00:13:14,324 --> 00:13:18,404 Daytime showers They've become my beat 342 00:13:18,764 --> 00:13:20,524 [Mick] There was an idea that we were gonna do 343 00:13:20,524 --> 00:13:22,364 these themed EPs, and I think, uh, 344 00:13:22,843 --> 00:13:25,804 Paul saw them as sort of musical postcards. 345 00:13:26,164 --> 00:13:28,604 So, you know, we got as far as doing one, 346 00:13:28,604 --> 00:13:30,644 and that was the À Paris EP. 347 00:13:30,644 --> 00:13:32,844 I think we were out there for five days or something... 348 00:13:33,644 --> 00:13:37,843 at a studio and got four pretty good tracks out of it. 349 00:13:37,843 --> 00:13:41,043 I liked all the sort of chic sort of, you know, bars abroad 350 00:13:41,043 --> 00:13:44,843 and they were the antithesis of all the stale old pubs 351 00:13:44,843 --> 00:13:47,283 that were around at that time, it wasn't like it is now, 352 00:13:47,323 --> 00:13:48,683 that's what you gotta remember, you know. 353 00:13:48,883 --> 00:13:50,722 They were still sort of smoky, dirty, 354 00:13:50,762 --> 00:13:52,762 fucking places really, a lot of 'em. 355 00:13:52,802 --> 00:13:56,882 I'm only sad In a natural way 356 00:13:57,722 --> 00:14:02,442 And I enjoy sometimes Feeling this way 357 00:14:03,002 --> 00:14:06,842 The gift you gave is desire 358 00:14:07,802 --> 00:14:12,122 The match That started my fire 359 00:14:12,122 --> 00:14:14,442 Ah 360 00:14:16,322 --> 00:14:17,841 [Martin] The whole European thing, 361 00:14:17,841 --> 00:14:20,201 however true it was or however authentic it was, 362 00:14:20,641 --> 00:14:24,241 it was a statement of intent, you know. 363 00:14:24,241 --> 00:14:25,641 It was, "We're not gonna be 364 00:14:25,641 --> 00:14:28,201 a parochial little suburbanite band 365 00:14:28,201 --> 00:14:30,361 just for people who are wearing parkas and bowling shoes," 366 00:14:30,401 --> 00:14:33,000 you know, and that bitterly disappointed a lot of people. 367 00:14:33,200 --> 00:14:35,240 We just wanted to move it away from just-- 368 00:14:35,240 --> 00:14:37,040 from just being English, really. 369 00:14:38,000 --> 00:14:41,760 ["The Paris Match" continues in French] 370 00:14:55,600 --> 00:14:57,560 [song fades] 371 00:14:58,000 --> 00:15:00,439 [Mick] I like the fact that we stuck with the EP format 372 00:15:00,479 --> 00:15:03,199 and I think À Paris is a really good 373 00:15:03,199 --> 00:15:06,559 encapsulation of four strands of The Style Council, 374 00:15:06,599 --> 00:15:08,639 and I think that's a really good beginning. 375 00:15:09,199 --> 00:15:15,358 The match that started My fire 376 00:15:16,278 --> 00:15:18,318 [cheers and applause] 377 00:15:18,358 --> 00:15:21,318 [Steve] After we done the recording in Paris, 378 00:15:21,318 --> 00:15:24,558 it was-- very quickly it was turned round, 379 00:15:24,558 --> 00:15:26,118 "Long Hot Summer" came out. 380 00:15:26,118 --> 00:15:28,758 ["Long Hot Summer" playing] 381 00:15:36,158 --> 00:15:38,118 [Paul] Two days up in Cambridge 382 00:15:38,118 --> 00:15:39,358 and the weather was brilliant that year, 383 00:15:39,358 --> 00:15:41,277 it was '83, right, great summer. 384 00:15:41,717 --> 00:15:44,037 And just great, just go up and down the Cam, 385 00:15:44,037 --> 00:15:45,077 on the River Cam. 386 00:15:45,357 --> 00:15:47,397 They tell me that it helps 387 00:15:47,877 --> 00:15:51,397 But I know when I'm beaten 388 00:15:52,757 --> 00:15:54,036 [Boy George] "Long Hot Summer" was the one 389 00:15:54,036 --> 00:15:56,156 that really made me prick my ears up, you know, 390 00:15:56,196 --> 00:15:59,036 it was, uh-- 'cause, you know, this is Great Britain, 391 00:15:59,036 --> 00:16:00,916 you know, we always write people off. [chuckles] 392 00:16:00,916 --> 00:16:03,036 If you've had a moment, you can't have another one. 393 00:16:03,316 --> 00:16:05,316 And if you have another one, it can't be good. 394 00:16:05,556 --> 00:16:07,516 So when it's kind of next level good... 395 00:16:07,755 --> 00:16:09,756 I wanted to give it this very summery 396 00:16:09,796 --> 00:16:10,916 sort of sexy feel. 397 00:16:11,236 --> 00:16:14,556 But obviously the sexuality that appeared in the end video 398 00:16:14,596 --> 00:16:17,516 was, well, to be honest, was fairly homoerotic, 399 00:16:17,556 --> 00:16:19,116 which I thought was great, because I thought 400 00:16:19,116 --> 00:16:21,595 that completely played with Paul's image 401 00:16:21,635 --> 00:16:23,595 and the fact that he was not afraid 402 00:16:23,595 --> 00:16:26,595 to go there and to be seen like that 403 00:16:26,595 --> 00:16:28,315 I thought was absolutely brilliant. 404 00:16:28,315 --> 00:16:29,715 Tim was very-- kind of cutting edge, 405 00:16:29,715 --> 00:16:32,915 and he was the go-to guy for videos at that time. 406 00:16:32,915 --> 00:16:35,834 And so, I think they wanted to be seen as something-- 407 00:16:35,834 --> 00:16:37,154 they weren't doing, you know, 408 00:16:37,194 --> 00:16:38,314 kind of straight performance video, 409 00:16:38,594 --> 00:16:40,314 it had to be something that had kind of a bit of an edge 410 00:16:40,354 --> 00:16:41,474 and a bit of fun to it. 411 00:16:41,794 --> 00:16:44,794 And Tim brought a lot to that, certainly, and they trusted him. 412 00:16:44,834 --> 00:16:46,594 [Paul] Yeah, we loved Tim, yeah. 413 00:16:46,594 --> 00:16:48,714 He was bonkers and eccentric and we loved him. 414 00:16:48,714 --> 00:16:49,793 We thought he was great. 415 00:16:49,953 --> 00:16:52,994 And I remember meeting him and he was saying to me, 416 00:16:52,994 --> 00:16:54,234 "Well, you know, what you up for then?" 417 00:16:54,234 --> 00:16:56,074 "What can we do and not do?" 418 00:16:56,074 --> 00:16:58,114 And I was going, "Just fucking whatever really, 419 00:16:58,114 --> 00:16:59,954 you know, just let's do something different," um... 420 00:17:00,274 --> 00:17:01,714 which we certainly did. 421 00:17:01,714 --> 00:17:03,913 Don't matter what I do 422 00:17:04,113 --> 00:17:07,713 'Cause I end up hurting you 423 00:17:07,713 --> 00:17:09,473 [Steve] I said, "Can I be in a video?" 424 00:17:09,473 --> 00:17:11,473 And Paul's like, "Well, you can be in the video 425 00:17:11,473 --> 00:17:13,273 as long as you wear a Brunton jumper, 426 00:17:13,313 --> 00:17:15,913 a little goatee beard, a beret and play the bongos." 427 00:17:15,953 --> 00:17:18,472 So I'm like, "Yeah, I'm in." [chuckles] That was it. 428 00:17:18,512 --> 00:17:21,672 The long hot summer Just passed me by 429 00:17:21,672 --> 00:17:23,592 [Simon] I think Paul knew full well, 430 00:17:23,592 --> 00:17:25,152 and Mick knew full well that, 431 00:17:25,472 --> 00:17:28,152 "Oh, this is gonna throw another sort of 432 00:17:28,192 --> 00:17:30,751 fly in the ointment for certain people." 433 00:17:30,951 --> 00:17:32,672 [Boy George] It was interesting, 'cause it was like 434 00:17:32,672 --> 00:17:35,752 Paul being someone completely different. 435 00:17:35,752 --> 00:17:37,632 Do you know what I mean? It was a bit more playful. 436 00:17:37,952 --> 00:17:40,312 ["A Solid Bond" playing] 437 00:17:43,312 --> 00:17:45,711 [Martin] I loved the video for "A Solid Bond." 438 00:17:45,711 --> 00:17:47,631 They look amazing. 439 00:17:48,191 --> 00:17:50,951 They both look beautiful, great suits. 440 00:17:51,431 --> 00:17:53,271 I love the references to the, you know, 441 00:17:53,311 --> 00:17:55,351 like the early '70s reference 442 00:17:55,351 --> 00:17:56,991 of them being sort of suedeheads together 443 00:17:57,151 --> 00:17:58,510 to a sort of, you know-- 444 00:17:58,510 --> 00:18:00,030 which, for an English pop record at the time, 445 00:18:00,030 --> 00:18:01,510 was pure fucking Northern Soul. 446 00:18:01,510 --> 00:18:03,310 It's a great record, I love that. 447 00:18:03,350 --> 00:18:06,470 A solid bond in your heart Yeah 448 00:18:06,470 --> 00:18:08,870 A solid bond in your heart 449 00:18:08,910 --> 00:18:10,390 [Boy George] It was kind of Motown 450 00:18:10,390 --> 00:18:12,389 and a bit of Stax, but it was, you know, 451 00:18:12,389 --> 00:18:16,070 but it still had that kind of English kind of understanding 452 00:18:16,070 --> 00:18:19,270 of soul that's a little bit sort of irreverent. 453 00:18:19,270 --> 00:18:23,190 Respectful, but you know, I'm not gonna try my hardest 454 00:18:23,190 --> 00:18:25,749 to sound too much like an American, you know, 455 00:18:25,789 --> 00:18:27,469 sort of R 'n' B musician, 456 00:18:27,469 --> 00:18:28,829 I wanna sound a little bit British. 457 00:18:28,869 --> 00:18:31,229 I just want to build up 458 00:18:31,229 --> 00:18:34,469 A solid bond in your heart 459 00:18:34,469 --> 00:18:36,429 [Paul] It was me and Mick reliving our youth, really. 460 00:18:36,469 --> 00:18:38,949 You know, all the sort of post skinheads, 461 00:18:38,949 --> 00:18:40,268 suedehead days really. 462 00:18:40,268 --> 00:18:42,228 [Mick] I don't think those characters that we were, 463 00:18:42,228 --> 00:18:44,308 course they're me and Paul, 464 00:18:44,308 --> 00:18:48,108 I think they're people that we aspired to be 465 00:18:48,428 --> 00:18:51,028 when we were like, 11. 466 00:18:51,508 --> 00:18:53,387 And they were people that we looked at 467 00:18:53,387 --> 00:18:55,468 who were about 16 or 17. 468 00:18:55,948 --> 00:18:57,388 If you look at that video, 469 00:18:57,388 --> 00:19:00,868 it's got all Paul's styles in the audience, you know? 470 00:19:00,868 --> 00:19:04,268 It's like a feeling Deep inside 471 00:19:04,268 --> 00:19:06,867 Please don't ever try To hide 472 00:19:06,867 --> 00:19:09,187 That solid bond In your heart 473 00:19:09,187 --> 00:19:12,787 Yeah, a solid bond In your heart 474 00:19:12,787 --> 00:19:14,467 Aha 475 00:19:15,547 --> 00:19:17,227 Hoo-hoo 476 00:19:18,707 --> 00:19:20,826 ["My Ever-Changing Moods" playing] 477 00:19:25,786 --> 00:19:28,986 I think it was 1984, 478 00:19:28,986 --> 00:19:32,906 um, that they did their first, you know, kinda proper tour. 479 00:19:37,226 --> 00:19:38,586 [Billy] They opened the show. 480 00:19:38,586 --> 00:19:40,986 The Style Council opened and got everybody in the room 481 00:19:40,986 --> 00:19:42,306 for The Questions. 482 00:19:42,346 --> 00:19:43,986 And then I came on, and then The Style Council 483 00:19:43,986 --> 00:19:45,186 came on again at the end. 484 00:19:45,186 --> 00:19:46,786 And I've never seen anyone do that before. 485 00:19:47,146 --> 00:19:49,625 Daylight turns to moonlight 486 00:19:50,745 --> 00:19:53,905 And I'm at my best 487 00:19:53,945 --> 00:19:55,905 [Billy] But Paul's commitment to the artist, 488 00:19:55,945 --> 00:19:59,185 commitment to those of us who were on the-- on the bill 489 00:19:59,185 --> 00:20:02,184 was, uh, it was something that was really an eye opener for me. 490 00:20:02,224 --> 00:20:05,744 The calm after the storm Oh, the cool before the warm 491 00:20:05,744 --> 00:20:07,384 [Paul] Yeah, it definitely confused people, 492 00:20:08,064 --> 00:20:09,984 'cause the headlining act come on first 493 00:20:09,984 --> 00:20:11,584 and they also finished the show as well, 494 00:20:11,624 --> 00:20:13,744 but we were just trying to present something different, 495 00:20:13,744 --> 00:20:15,543 you know? We were trying to get away 496 00:20:15,783 --> 00:20:18,264 from just the support act and then the main act 497 00:20:18,304 --> 00:20:19,984 and all that. We wanted it to be 498 00:20:19,984 --> 00:20:23,664 a complete experience and like a total sort of, uh, 499 00:20:23,664 --> 00:20:25,144 evening for people, you know? 500 00:20:25,144 --> 00:20:27,264 It was a strange thing to get used to though, 501 00:20:27,264 --> 00:20:29,743 because you kinda just feel like you're warmed up 502 00:20:29,783 --> 00:20:32,263 and then you're off and then it's just someone else is on. 503 00:20:32,263 --> 00:20:35,383 But it's nice like, you know, you sort of feel like, 504 00:20:35,383 --> 00:20:37,143 "Oh, this is like it was 505 00:20:37,143 --> 00:20:38,263 at Sunday Night at the Palladium," 506 00:20:38,263 --> 00:20:39,463 or something, you know? 507 00:20:39,463 --> 00:20:41,823 Being on the old school variety bill, you know? 508 00:20:41,863 --> 00:20:45,542 It's not dead. Or we didn't think it was. 509 00:20:45,542 --> 00:20:47,142 We might have helped kill it, but... 510 00:20:47,142 --> 00:20:51,622 The love after the hate The love we leave too late 511 00:20:53,222 --> 00:20:54,662 [Helen] Musically, you know, 512 00:20:54,662 --> 00:20:57,661 there was nothing like being on stage 513 00:20:57,661 --> 00:21:02,342 when that band was-- was in, you know, 514 00:21:02,982 --> 00:21:04,302 in full swing. 515 00:21:04,462 --> 00:21:07,742 Ba ba ba da ba da ba 516 00:21:08,782 --> 00:21:11,421 [cheers and applause] 517 00:21:13,101 --> 00:21:14,261 [Paul] Thank you. 518 00:21:15,501 --> 00:21:16,901 The early '80s, you know, 519 00:21:16,941 --> 00:21:20,021 we saw this kind of surge of what they were calling, 520 00:21:20,021 --> 00:21:21,541 you know, kind of "new pop." 521 00:21:21,861 --> 00:21:25,780 You know, bands like ABC, you know, Haircut 100, 522 00:21:25,780 --> 00:21:27,700 Culture Club and Wham!. 523 00:21:27,740 --> 00:21:30,540 I don't know if we actually fitted into 524 00:21:30,900 --> 00:21:33,500 the box that the '80s might have liked us to. 525 00:21:33,540 --> 00:21:37,780 I thought we were outside of the culture of the '80s. 526 00:21:38,739 --> 00:21:40,580 But it's really hard to do that, I think. 527 00:21:40,580 --> 00:21:41,820 Whether you like it or not, 528 00:21:41,820 --> 00:21:44,540 you are still a product of your time, I think. 529 00:21:44,580 --> 00:21:47,780 I said oh heavenly thing Please cleanse my soul 530 00:21:47,780 --> 00:21:53,619 I've seen all on offer And I'm not impressed at all" 531 00:21:55,219 --> 00:21:56,699 [Simon] They were doing all the same TV shows, 532 00:21:56,739 --> 00:21:57,939 whether it be Top of the Pops 533 00:21:57,939 --> 00:21:59,659 or the Saturday morning kids shows. 534 00:21:59,659 --> 00:22:01,979 So they were sort of playing the game, 535 00:22:02,019 --> 00:22:03,859 but they were sort of-- I think they felt, 536 00:22:03,899 --> 00:22:06,258 and rightly so, that they were playing the game 537 00:22:06,298 --> 00:22:07,418 to their own beat. 538 00:22:07,658 --> 00:22:10,938 I said send me a sign To save my life 539 00:22:10,938 --> 00:22:12,898 'Cause at this moment In time 540 00:22:12,898 --> 00:22:17,538 There is nothing certain In these days of mine 541 00:22:18,218 --> 00:22:20,577 [Jason] And the reference points were soul music. 542 00:22:20,577 --> 00:22:21,817 I heard Marvin Gaye in there, 543 00:22:21,817 --> 00:22:25,578 I heard, um, Curtis Mayfield in there. 544 00:22:25,818 --> 00:22:28,378 I heard jazz in there. 545 00:22:28,418 --> 00:22:29,778 And it just made sense to me. 546 00:22:30,098 --> 00:22:32,338 It was like a series of reference points 547 00:22:32,338 --> 00:22:34,337 that really impressed me, the fact that 548 00:22:34,377 --> 00:22:36,457 there was somebody doing this stuff now. 549 00:22:36,737 --> 00:22:38,257 [Gary] I mean, it was pop music, you know, 550 00:22:38,257 --> 00:22:41,097 they were written about in, you know, Smash Hits, 551 00:22:41,097 --> 00:22:44,137 and Record Mirror, and Number One, 552 00:22:44,137 --> 00:22:47,096 but also interviewed by, you know, your NMEs 553 00:22:47,136 --> 00:22:49,216 and your Sounds and your Melody Makers. 554 00:22:49,216 --> 00:22:53,176 Um, but they were a pop band, but a pop band with substance. 555 00:22:53,696 --> 00:22:59,176 I could be discontent And chase the rainbow's end 556 00:22:59,576 --> 00:23:04,616 I might win much more But lose all that is mine 557 00:23:05,216 --> 00:23:06,896 [Boy George] I think "You're The Best Thing", 558 00:23:06,936 --> 00:23:09,296 it sounds like another song. It sounds like a cover. 559 00:23:09,296 --> 00:23:10,456 When you first heard it, it was like, 560 00:23:10,496 --> 00:23:11,976 "Oh, is this an old song?" 561 00:23:12,176 --> 00:23:13,736 And that's when you know, you know, 562 00:23:13,736 --> 00:23:16,975 when someone's kind of emulating that kinda mood, 563 00:23:16,975 --> 00:23:20,375 but they get it so right that you feel like you knew the song. 564 00:23:20,695 --> 00:23:22,135 It's just a beautiful song. 565 00:23:22,135 --> 00:23:25,855 It's very simple, you know, just kinda touches you, 566 00:23:25,895 --> 00:23:27,775 you know, sits nice on your ears. 567 00:23:28,054 --> 00:23:30,814 Slides all over your bones, you know, it's a good one. 568 00:23:30,814 --> 00:23:33,014 It's like you dream of writing songs like that. 569 00:23:34,014 --> 00:23:36,614 ["Blue Cafe" by The Style Council plays] 570 00:23:51,534 --> 00:23:53,174 [Rev. Richard] "Of days such as these, 571 00:23:53,374 --> 00:23:55,933 it's here in the Cafe Bleu where amidst the smoke, 572 00:23:55,973 --> 00:23:57,773 steam and colors present, 573 00:23:57,773 --> 00:24:00,893 I'm to be found passing the hours of mortal time." 574 00:24:00,893 --> 00:24:02,893 "Sometimes exchanging the views." 575 00:24:03,133 --> 00:24:05,533 "Sometimes with my think cap in full view 576 00:24:05,533 --> 00:24:09,572 so that those around me respect my wish for solitude and refrain 577 00:24:09,572 --> 00:24:14,012 from the chit-chat until I signal for some, that is." 578 00:24:15,332 --> 00:24:17,732 [Gary] Some people got really wound up by the sleeve notes 579 00:24:17,732 --> 00:24:19,252 and I can remember, you know, 580 00:24:19,292 --> 00:24:22,692 sort of letters of indignation in the, uh, you know, 581 00:24:22,692 --> 00:24:24,931 the kind of music mags or music papers. 582 00:24:24,931 --> 00:24:27,012 Uh, you know, "What's he going on about?" 583 00:24:27,012 --> 00:24:29,812 at the time, you know. So, job done, 584 00:24:29,812 --> 00:24:32,052 I suppose in a way really. That's what they wanted. 585 00:24:32,332 --> 00:24:34,172 Yeah, it was just to have a bit of fun, really. 586 00:24:34,172 --> 00:24:36,372 "The Cappuccino Kid." It was a way of being able 587 00:24:36,412 --> 00:24:38,771 to vent some views, 588 00:24:39,211 --> 00:24:43,291 um, but not have them attributed necessarily to yourself. 589 00:24:43,291 --> 00:24:45,491 And, uh-- But it was just a bit of fun, you know, 590 00:24:45,491 --> 00:24:47,451 and it was aping, um... 591 00:24:48,051 --> 00:24:52,610 uh, Colin MacInnes' style in Absolute Beginners, really. 592 00:24:52,610 --> 00:24:54,770 And that book was a huge influence as well on me 593 00:24:54,810 --> 00:24:57,610 and The Style Council for forming The Style Council. 594 00:24:57,610 --> 00:25:00,130 [Mick] I always thought that it had elements of those 595 00:25:00,130 --> 00:25:03,250 early Stones albums as well, like, getting some strength 596 00:25:03,250 --> 00:25:06,489 and dialogue from a really good novel, 597 00:25:06,489 --> 00:25:10,610 and using it as a kind of language that was pertinent 598 00:25:10,610 --> 00:25:11,810 just to one band. 599 00:25:11,810 --> 00:25:15,690 And I just had a kind of another rebirth of Mod 600 00:25:15,690 --> 00:25:17,410 when I read that book, really. 601 00:25:17,690 --> 00:25:22,209 And I thought, um, that was the kind of, uh, 602 00:25:22,689 --> 00:25:24,129 sort of blueprint, really, 603 00:25:24,129 --> 00:25:25,889 for Modernism, I thought, really. 604 00:25:25,929 --> 00:25:28,289 You know, kind of embracing of all these different cultures 605 00:25:28,289 --> 00:25:30,929 and not being xenophobic 606 00:25:30,969 --> 00:25:35,008 and, um, suspicious of anything foreign. 607 00:25:35,488 --> 00:25:37,888 [Rev. Richard] "For I say unto thee that verily thou 608 00:25:37,888 --> 00:25:41,368 hast forsaken your brothers and sisters to allow the sordids 609 00:25:41,368 --> 00:25:44,568 their space. And much like the donkey's parable, 610 00:25:44,568 --> 00:25:47,847 have been deceived by their golden carrots." 611 00:25:52,128 --> 00:25:53,728 A reading from Cafe Bleu. 612 00:25:53,768 --> 00:25:56,008 According unto The Style Council. 613 00:25:56,488 --> 00:25:59,847 ["Mick's Blessings" playing] 614 00:26:00,447 --> 00:26:03,447 [Mick] I don't know why, this album worked very well 615 00:26:03,447 --> 00:26:04,487 in shoe shops. 616 00:26:10,367 --> 00:26:11,887 [Paul] Well looking at it now, right, I mean, 617 00:26:11,887 --> 00:26:15,126 there's like the first three songs on this record 618 00:26:16,086 --> 00:26:18,086 are instrumentals, right? 619 00:26:18,646 --> 00:26:21,726 And then there's "Paris Match," which I didn't even play on it, 620 00:26:21,726 --> 00:26:22,806 I don't think. 621 00:26:23,566 --> 00:26:26,206 So I don't make an appearance until the fifth track 622 00:26:26,246 --> 00:26:27,685 on "Ever Changing Moods," 623 00:26:28,085 --> 00:26:30,246 which was different from the single version as well, 624 00:26:30,286 --> 00:26:31,926 it's just on piano, I think. 625 00:26:32,486 --> 00:26:34,486 And then followed by another instrumental. 626 00:26:35,246 --> 00:26:38,206 Followed by "A Gospel," which was a rap track, 627 00:26:38,206 --> 00:26:40,166 'cause Dizzy Heights did a rap. 628 00:26:40,166 --> 00:26:41,845 So it's a strange little record, really. 629 00:26:42,125 --> 00:26:46,045 The cool before the warm, The calm after the storm 630 00:26:46,085 --> 00:26:50,485 Oh the cool before the warm, The calm after the storm 631 00:26:50,525 --> 00:26:53,565 I wish to stay forever 632 00:26:53,845 --> 00:26:56,644 Letting this be my food 633 00:26:56,644 --> 00:27:00,524 Oh but I'm caught up In a whirlwind 634 00:27:00,564 --> 00:27:05,804 And my ever-changing moods, Yeah 635 00:27:05,844 --> 00:27:09,323 [Steve] I know that this record really bravely said, 636 00:27:09,323 --> 00:27:12,324 "Enough, that was then and this is now." 637 00:27:12,324 --> 00:27:14,644 And you kind of think about an artist 638 00:27:14,644 --> 00:27:15,724 that would do that now. 639 00:27:15,924 --> 00:27:19,164 I appreciated the fact that how courageous they were, 640 00:27:19,164 --> 00:27:20,644 you know. And I'm sure they weren't trying 641 00:27:20,684 --> 00:27:22,003 to be courageous, they were just literally 642 00:27:22,003 --> 00:27:23,043 following their nose 643 00:27:23,083 --> 00:27:24,363 and just wanting to do that more. 644 00:27:24,403 --> 00:27:26,163 But a lot of people stopped themselves doing that. 645 00:27:26,483 --> 00:27:29,283 Especially when there's money to be made and lost 646 00:27:29,283 --> 00:27:32,963 and fans to be lost. And there's no way 647 00:27:32,963 --> 00:27:34,923 they didn't know that by releasing a first album 648 00:27:34,923 --> 00:27:36,482 with a lot of instrumental jazz on it, 649 00:27:36,482 --> 00:27:38,002 that that was gonna be a risk, there's no way 650 00:27:38,002 --> 00:27:38,922 they didn't know that. 651 00:27:39,282 --> 00:27:41,202 Recently a lot of people seem to think that 652 00:27:41,202 --> 00:27:42,882 because we do change a lot and there's a lot 653 00:27:42,882 --> 00:27:46,122 of different things going on that we kind of see things 654 00:27:46,122 --> 00:27:48,482 and treat things, you know, in a very fickle way. 655 00:27:49,042 --> 00:27:50,721 As if we, you know, almost as if 656 00:27:50,761 --> 00:27:52,081 we don't really care about what we do, 657 00:27:52,121 --> 00:27:53,682 which is just, you know, it's just totally wrong. 658 00:27:53,682 --> 00:27:55,642 I mean, the only reason, you know, we use 659 00:27:55,682 --> 00:27:57,522 so many different styles and different ways 660 00:27:57,522 --> 00:27:59,122 of presenting things, is just, um-- 661 00:27:59,122 --> 00:28:00,482 it's just to keep it interesting, you know. 662 00:28:00,522 --> 00:28:02,442 [interviewer] It's not that you're confused in what you do? 663 00:28:02,442 --> 00:28:04,441 No, it's not. I mean, I just get a feeling 664 00:28:04,481 --> 00:28:07,321 you know, that a lot of people think this but I don't, no. 665 00:28:07,321 --> 00:28:09,321 It's not for that reason, you know? 666 00:28:09,601 --> 00:28:11,641 ["Strength Of Your Nature" plays] 667 00:28:11,641 --> 00:28:13,521 [Paul] This song's called "The Strength Of Your Nature." 668 00:28:16,121 --> 00:28:19,320 [Gary] There was a lot of expectation for Cafe Bleu. 669 00:28:19,320 --> 00:28:21,440 You know, they'd released a couple of singles, 670 00:28:21,480 --> 00:28:22,640 a couple of EPs, 671 00:28:22,640 --> 00:28:24,920 but they made us wait for the album. 672 00:28:25,240 --> 00:28:28,560 When you gonna find The strength of your nature 673 00:28:28,560 --> 00:28:30,719 [Steve] I love this record, I love, um, 674 00:28:30,719 --> 00:28:32,159 I love the humor in it, 675 00:28:32,159 --> 00:28:36,680 I love the, uh, expansion of sounds that we got. 676 00:28:36,680 --> 00:28:40,160 It probably gave us a lot of confidence, you know, 677 00:28:40,400 --> 00:28:43,680 to keep at this kind of experimental thing. 678 00:28:43,680 --> 00:28:46,399 When you gonna let Yourself take control 679 00:28:46,679 --> 00:28:48,639 [Steve] I was 18 at that point. 680 00:28:48,839 --> 00:28:52,159 Paul and Mick were only 25, you know, it was fantastic. 681 00:28:52,159 --> 00:28:54,919 I think Paul was just getting into kind a of thing 682 00:28:54,959 --> 00:28:56,959 where he was listening to a lot of Blue Note records 683 00:28:56,959 --> 00:29:00,558 and stuff. And he had a new awareness 684 00:29:00,598 --> 00:29:03,798 of some of that music, but we were very appreciative 685 00:29:03,798 --> 00:29:06,318 of the kind of sleeve design of things like that. 686 00:29:06,318 --> 00:29:08,878 [Simon] You know, at that time we were sort of thick and fast 687 00:29:08,878 --> 00:29:13,077 into our kind of Blue Note influence and Reed Miles 688 00:29:13,117 --> 00:29:16,278 and all those great covers from that era. 689 00:29:16,278 --> 00:29:18,278 It was a fun time. Again, we went to Paris 690 00:29:18,278 --> 00:29:20,638 to do a photo session with Peter Anderson 691 00:29:20,678 --> 00:29:22,038 taking the pictures, and we came back 692 00:29:22,038 --> 00:29:24,278 with such great photos from that trip. 693 00:29:24,438 --> 00:29:26,477 We achieved exactly what we set out to do 694 00:29:26,477 --> 00:29:27,917 because it was supposed to be that kind of 695 00:29:27,917 --> 00:29:30,917 paparazzi-style feel in a Blue Note setting. 696 00:29:31,437 --> 00:29:34,957 [Martin] From the packaging to the way that they dressed, 697 00:29:35,517 --> 00:29:37,797 you know, all the aesthetic side of it, 698 00:29:37,797 --> 00:29:39,876 I think they would survive better than most. 699 00:29:40,356 --> 00:29:41,876 But because I suppose The Style Council 700 00:29:41,876 --> 00:29:45,116 were already partly drawing on an age that had gone by, 701 00:29:45,156 --> 00:29:48,196 whether it was, you know, the French New Wave, 702 00:29:48,196 --> 00:29:51,676 or Ivy League, or general Modernism, 703 00:29:51,676 --> 00:29:54,835 it sort of couldn't date as quickly as, you know, 704 00:29:54,875 --> 00:29:56,355 "Rio" video. Do you know what I mean? 705 00:29:56,355 --> 00:29:58,556 'Cause that dates very, very quickly. 706 00:30:01,116 --> 00:30:03,916 It was something a bit more classic about it, I suppose. 707 00:30:03,916 --> 00:30:05,756 It kind of had all these reference points 708 00:30:05,756 --> 00:30:08,195 that I related to. 709 00:30:08,435 --> 00:30:10,315 And, um, even though they were kind of disparate, 710 00:30:10,315 --> 00:30:11,915 I kind of had a sense that there was-- 711 00:30:11,955 --> 00:30:14,755 he was heading in the direction that I kind of wanted to be 712 00:30:14,795 --> 00:30:17,435 in as well. So, it kind of-- it just resonated. 713 00:30:17,835 --> 00:30:19,635 He's taking loads more influences, 714 00:30:19,635 --> 00:30:24,194 all fundamentally Mod, you know, but just from different places, 715 00:30:24,194 --> 00:30:26,194 you know, like existentialism. 716 00:30:26,234 --> 00:30:28,634 Film, books, the whole kind of next wave 717 00:30:28,674 --> 00:30:31,154 of Mod was coming out of Paul's imagination 718 00:30:31,154 --> 00:30:33,514 from the sleeve notes to the clothes, 719 00:30:33,514 --> 00:30:36,353 to the way the sleeves looked, to the sound. 720 00:30:36,353 --> 00:30:38,954 ["One Night In Rio" by Louie Austen plays] 721 00:30:41,714 --> 00:30:43,194 [Jason] You know, if you're a Mod 722 00:30:43,194 --> 00:30:45,354 then this is really what Mod is about now. 723 00:30:45,594 --> 00:30:50,273 And so he completely embraces the contemporary. 724 00:30:50,553 --> 00:30:51,953 It's music for now. 725 00:30:52,793 --> 00:30:55,593 [Eddie] The Style Council are much more Mod than The Jam, 726 00:30:55,593 --> 00:30:57,193 and he was just saying, "Here it is, boys, 727 00:30:57,233 --> 00:30:58,873 you don't have to be like that anymore." 728 00:30:58,873 --> 00:31:00,433 So I think it was much more contemporary, 729 00:31:00,473 --> 00:31:03,912 but it still had an eye on his Mod routes, 730 00:31:03,912 --> 00:31:05,872 but trying to change it for the future. 731 00:31:05,872 --> 00:31:07,912 It was a lovely-- a lovely melting pot 732 00:31:07,912 --> 00:31:10,152 but I think-- I think there was a, you know, 733 00:31:10,152 --> 00:31:15,152 an awareness of like, I think, you know, if that kind of part 734 00:31:15,192 --> 00:31:18,151 of his career was turn left, I think he wants to turn right. 735 00:31:18,151 --> 00:31:19,191 You know, which was great. 736 00:31:19,431 --> 00:31:21,672 It just all went in the melting pot, you know, 737 00:31:21,712 --> 00:31:24,072 and it come out in different ways, I suppose really. 738 00:31:24,072 --> 00:31:26,672 Sometimes successful, really successful 739 00:31:26,672 --> 00:31:27,832 and other times it wasn't, you know, 740 00:31:28,032 --> 00:31:30,231 but that's just what happens when you experiment with, 741 00:31:30,831 --> 00:31:33,311 or try and see where your limitations are 742 00:31:33,311 --> 00:31:35,431 and if you can go beyond those limitations. 743 00:31:35,751 --> 00:31:40,311 ["Dropping Bombs On The White House" playing] 744 00:31:41,111 --> 00:31:46,750 [Hilary] It felt like we were taking so many influences 745 00:31:46,750 --> 00:31:48,390 from so many different places. 746 00:31:48,430 --> 00:31:52,390 I think Paul described it as musicians who like jazz 747 00:31:52,390 --> 00:31:53,870 rather than jazz musicians. 748 00:31:53,910 --> 00:31:57,149 We shied away from calling ourselves jazz musicians. 749 00:31:57,149 --> 00:32:01,750 I think we felt that we were competent in playing 750 00:32:01,750 --> 00:32:05,670 what we wanted to play and jazz was an influence. 751 00:32:05,990 --> 00:32:08,430 But it's another one of these things that I feel... 752 00:32:09,310 --> 00:32:14,389 genres of music and... cults of fashion, 753 00:32:15,029 --> 00:32:17,309 and once you start putting a label on it, it's like, 754 00:32:18,269 --> 00:32:20,669 you know, you have to fit in with the rules, 755 00:32:20,669 --> 00:32:23,669 so it was an important influence but I don't know 756 00:32:23,669 --> 00:32:26,508 if we were part of the '80s jazz scene. 757 00:32:26,508 --> 00:32:28,788 I was really getting into it at that stage, anyway. 758 00:32:29,868 --> 00:32:31,508 But we weren't jazz band or whatever, 759 00:32:31,508 --> 00:32:33,228 you know what I mean? It wasn't like that. 760 00:32:33,228 --> 00:32:34,548 We were-- We were influenced-- 761 00:32:34,588 --> 00:32:37,668 Our influences were varied and they ranged 762 00:32:37,668 --> 00:32:39,987 from Tony Hancock to... 763 00:32:39,987 --> 00:32:41,307 to, uh, Horace Silver, 764 00:32:41,347 --> 00:32:42,908 do you know what I mean? It was like that. 765 00:32:43,148 --> 00:32:45,668 There was a big breadth of things that-- that, um... 766 00:32:46,988 --> 00:32:49,108 that influenced us in lots of ways, 767 00:32:49,148 --> 00:32:50,428 you know, lots of cultural things. 768 00:32:50,748 --> 00:32:53,427 Daylight turns to moonlight 769 00:32:54,307 --> 00:32:57,747 And I'm at my best 770 00:32:57,787 --> 00:32:59,587 [Eddie] The best music transports you 771 00:32:59,587 --> 00:33:00,707 to a different time and place, 772 00:33:00,747 --> 00:33:02,267 and that's what Cafe Bleu did to me. 773 00:33:02,507 --> 00:33:04,267 [Gary] You know, there's four or five classic songs 774 00:33:04,707 --> 00:33:06,626 on that album, um, you know, 775 00:33:06,626 --> 00:33:08,906 "The Paris Match," "Headstart for Happiness," 776 00:33:08,906 --> 00:33:11,466 you know, different versions of "You're The Best Thing" 777 00:33:11,466 --> 00:33:13,466 and "My Ever-Changing Moods." 778 00:33:13,466 --> 00:33:15,026 Doesn't get much better than that. 779 00:33:15,066 --> 00:33:17,386 Letting this be my food 780 00:33:17,386 --> 00:33:18,626 [Paul] I was proud of it at the time 781 00:33:18,666 --> 00:33:20,705 and that's all that matters to me in my mind. 782 00:33:20,705 --> 00:33:23,145 You know, you can only commit to what you feel at the time. 783 00:33:23,505 --> 00:33:24,986 You can't think how you're gonna feel ten years 784 00:33:24,986 --> 00:33:27,426 down the line or 40 or 30 or whatever. 785 00:33:28,026 --> 00:33:30,386 And I liked it at the time and that's good enough for me. 786 00:33:31,506 --> 00:33:33,905 Its Christmas time 787 00:33:35,705 --> 00:33:38,145 There's no need to be afraid 788 00:33:39,385 --> 00:33:40,625 [Paul] Bob called me up and just said, 789 00:33:40,865 --> 00:33:42,585 "Look, you know, we're doing this-- 790 00:33:42,585 --> 00:33:44,825 I wanna do this record, this charity record 791 00:33:44,825 --> 00:33:46,905 and would you come and do it with us, 792 00:33:46,945 --> 00:33:48,224 or sing on it?" 793 00:33:48,464 --> 00:33:50,184 And, um, they played me the track, 794 00:33:50,184 --> 00:33:53,144 which I thought was just fucking dreadful really, you know? 795 00:33:53,144 --> 00:33:55,584 God bless 'em, but it was just, oh, Jesus. 796 00:33:55,944 --> 00:34:01,343 Throw your arms around The world at Christmas time 797 00:34:01,343 --> 00:34:04,063 "It's Christmas time there's no need to be afraid." 798 00:34:04,103 --> 00:34:06,544 [laughs] But, you know... 799 00:34:07,624 --> 00:34:09,344 Strange-- Strange opening line, no? 800 00:34:09,784 --> 00:34:12,584 The greatest gift they'll get 801 00:34:12,584 --> 00:34:15,583 This year is life 802 00:34:15,823 --> 00:34:18,743 I was surprised that Paul had done it, 803 00:34:18,783 --> 00:34:20,743 given the number of people that were involved 804 00:34:20,743 --> 00:34:22,903 in the project that weren't of his stamp. 805 00:34:23,343 --> 00:34:25,863 I've gotta say, I think it was admirable, 806 00:34:25,903 --> 00:34:28,103 um, I don't think... 807 00:34:28,303 --> 00:34:30,902 He looks very uncomfortable in the video, you know? 808 00:34:30,942 --> 00:34:33,702 I don't think Paul liked being in Band Aid. 809 00:34:33,702 --> 00:34:37,942 You couldn't help but smile a little bit because, of course, 810 00:34:37,982 --> 00:34:41,662 you now, Mr. Weller's surrounded by this, uh, you know, 811 00:34:41,662 --> 00:34:46,221 this, um, you know, array of pop stars who, um, 812 00:34:46,261 --> 00:34:48,662 you know, how can I put this? He wouldn't have been 813 00:34:48,662 --> 00:34:52,262 too kind about in, um, in, you know, 814 00:34:52,262 --> 00:34:54,862 the music magazines and papers. 815 00:34:54,902 --> 00:34:58,861 And, um, you know, he looks like a little bit of a fish 816 00:34:58,901 --> 00:35:01,981 out of water to kinda say the least, really. 817 00:35:02,021 --> 00:35:05,101 A thing I really admire about him is he's resolutely 818 00:35:06,101 --> 00:35:09,381 not played a pop star most of the time. 819 00:35:09,381 --> 00:35:11,900 You know, or he's not tried to fall for the trappings of that. 820 00:35:11,940 --> 00:35:13,980 Um, you know, "I'm just gonna come along 821 00:35:13,980 --> 00:35:15,540 and make a record, I'm gonna make a record 822 00:35:15,540 --> 00:35:17,420 for charity," and sometimes that can be almost too, 823 00:35:17,460 --> 00:35:19,100 you know, sometimes you think, "Fuck it, 824 00:35:19,100 --> 00:35:21,820 enjoy yourself a bit mate, you can enjoy some things." 825 00:35:21,860 --> 00:35:23,699 But I like the fact that he was-- 826 00:35:23,699 --> 00:35:26,459 he seemed to be there in a very, very understated way, 827 00:35:26,459 --> 00:35:28,500 he wasn't pushing himself front and center. 828 00:35:28,500 --> 00:35:30,940 And, you know, he was a big act that that time. 829 00:35:30,980 --> 00:35:32,100 It's easy to forget that. 830 00:35:32,300 --> 00:35:34,540 [Paul] I was probably just like the grumpy sort of... 831 00:35:34,980 --> 00:35:36,900 little grumpy bloke in the corner, really, you know, 832 00:35:36,900 --> 00:35:38,099 I wasn't really digging it. 833 00:35:38,339 --> 00:35:40,419 And I didn't relate to almost anybody there. 834 00:35:40,699 --> 00:35:43,539 They were very much, um, pop stars, 835 00:35:43,579 --> 00:35:46,179 and I didn't feel any affinity with that at all. 836 00:35:46,179 --> 00:35:47,179 I wasn't really into that. 837 00:35:47,419 --> 00:35:51,458 Feed the world 838 00:35:51,498 --> 00:35:55,578 Let them know It's Christmas time again 839 00:35:55,578 --> 00:35:56,618 [Paul] You know, the outcome 840 00:35:56,618 --> 00:35:57,978 sort of speaks for itself, really. 841 00:35:57,978 --> 00:36:00,658 If you're raising money and possibly, 842 00:36:00,698 --> 00:36:02,698 hopefully saving people's lives, 843 00:36:02,698 --> 00:36:04,418 the cause is far greater 844 00:36:04,418 --> 00:36:06,497 than your own personal opinions of it. 845 00:36:06,497 --> 00:36:08,097 What it did, I suppose, 846 00:36:08,137 --> 00:36:09,538 you couldn't really argue with, you know. 847 00:36:09,938 --> 00:36:15,978 Well tonight thank God It's them instead of you 848 00:36:15,978 --> 00:36:18,538 ["A Stone's Throw Away" plays] 849 00:36:18,578 --> 00:36:20,657 [announcer] The Style Council present 850 00:36:20,657 --> 00:36:21,977 Our Favourite Shop. 851 00:36:22,017 --> 00:36:24,897 Fourteen classic tracks including the hit single 852 00:36:24,897 --> 00:36:28,297 "Walls Come Tumbling Down," available on record, 853 00:36:28,297 --> 00:36:30,497 cassette and compact disc. 854 00:36:33,176 --> 00:36:35,176 In your favorite shop now. 855 00:36:35,776 --> 00:36:39,336 ["Walls Come Tumbling Down" plays] 856 00:36:41,736 --> 00:36:44,656 [announcer] Our Favourite Shop by The Style Council. 857 00:36:44,656 --> 00:36:46,695 Probably the best pop group in the world. 858 00:36:47,495 --> 00:36:50,375 [Mick] I think we got to a point with Our Favourite Shop 859 00:36:50,375 --> 00:36:53,776 where we had a more kind of set line-up 860 00:36:53,776 --> 00:36:57,176 and we kinda became aware of our strengths more. 861 00:36:58,016 --> 00:37:00,415 From the playground To the wasteground 862 00:37:00,415 --> 00:37:02,735 Hope ends at 17 863 00:37:03,055 --> 00:37:05,695 Sweeping floors And filling shelves 864 00:37:05,695 --> 00:37:08,215 Forced Into government schemes 865 00:37:08,695 --> 00:37:11,055 Eleven years spent To dig out ditches 866 00:37:11,095 --> 00:37:13,734 Forget your school day Dreams 867 00:37:14,214 --> 00:37:16,894 Guarantees and lie-filled Speeches 868 00:37:16,894 --> 00:37:19,494 But nothing's what it seems 869 00:37:19,854 --> 00:37:24,854 Qualified and patronized And with everything to lose 870 00:37:25,254 --> 00:37:27,134 Ooh 871 00:37:27,653 --> 00:37:31,773 [Paul] This was more of a very definite album. 872 00:37:32,054 --> 00:37:33,414 You know, we kind of set up, 873 00:37:33,414 --> 00:37:34,574 "This is gonna be the next record." 874 00:37:34,854 --> 00:37:38,094 I think it's probably our most consistent album, musically. 875 00:37:38,094 --> 00:37:41,213 And it may be the most accessible. 876 00:37:41,253 --> 00:37:43,853 I bought the paper Yesterday 877 00:37:43,893 --> 00:37:47,813 And I saw the obituary 878 00:37:47,853 --> 00:37:50,693 And I read of how you died In pain 879 00:37:51,013 --> 00:37:54,333 Well I just Couldn't understand it 880 00:37:54,493 --> 00:37:58,092 There was a more of a cohesive, you know, band sound. 881 00:37:58,132 --> 00:38:01,812 And awash with, uh, you know, the-- these wonderful, 882 00:38:01,812 --> 00:38:04,092 beautiful melodies. I thought that was them 883 00:38:04,132 --> 00:38:05,292 at the top of their game. 884 00:38:05,292 --> 00:38:07,972 It's a real sort of galvanization of all 885 00:38:08,012 --> 00:38:11,011 of our ideas and our commitment to things that we were into. 886 00:38:11,011 --> 00:38:14,292 But you were always Chained and 887 00:38:14,292 --> 00:38:16,892 Shackled by the dirt 888 00:38:17,132 --> 00:38:19,732 Our Favourite Shop is a fantastic snapshot 889 00:38:19,732 --> 00:38:22,012 of a slice of Britain in 1985. 890 00:38:22,052 --> 00:38:26,091 The miners, Thatcher, Pinochet, all sorts of things 891 00:38:26,131 --> 00:38:28,291 in a-- in a pop record. You know? 892 00:38:28,291 --> 00:38:31,611 And taking on racism, homophobia. 893 00:38:31,611 --> 00:38:33,931 It was all the things that as a young lefty, 894 00:38:33,931 --> 00:38:36,290 you wanted your favorite group to be doing. 895 00:38:36,290 --> 00:38:39,010 Well Thatcher came to power in '79, I think, 896 00:38:39,010 --> 00:38:41,690 and that was the first time I was old enough to vote. 897 00:38:41,690 --> 00:38:45,050 Where there is discord, may we bring harmony. 898 00:38:45,050 --> 00:38:48,410 Where there is error, may we bring truth. 899 00:38:48,450 --> 00:38:51,489 Where there is doubt, may we bring faith 900 00:38:51,489 --> 00:38:54,409 and where there is despair, may we bring hope. 901 00:38:54,609 --> 00:38:56,210 No peace for the wicked 902 00:38:56,570 --> 00:38:58,410 There's only war on the poor 903 00:38:59,010 --> 00:39:03,769 They're batting on pickets Trying to even the score 904 00:39:03,809 --> 00:39:07,409 It's all inclusive And the dirt comes free 905 00:39:07,809 --> 00:39:13,009 And you can be all That you want to be 906 00:39:13,929 --> 00:39:17,488 After that was the Falklands, '82. 907 00:39:17,488 --> 00:39:19,488 And I think it just all, 908 00:39:19,528 --> 00:39:21,728 just bit by bit, all went downhill, really. 909 00:39:22,128 --> 00:39:24,048 Shutting down of the mines 910 00:39:24,048 --> 00:39:26,928 and trying to dismantle trade unions. 911 00:39:27,448 --> 00:39:30,008 I think it was really them getting their revenge back 912 00:39:30,048 --> 00:39:31,967 on what had happened to Ted Heath, isn't it? 913 00:39:32,007 --> 00:39:34,247 That was-- I thought it was the vibe I always got. 914 00:39:34,247 --> 00:39:36,808 I thought there was this sort of determined plan to smash 915 00:39:36,848 --> 00:39:38,648 the working classes and the trade unions 916 00:39:38,648 --> 00:39:42,168 because of the power they'd had and brought down a government, 917 00:39:42,208 --> 00:39:43,448 almost really. 918 00:39:44,928 --> 00:39:47,527 [Rev. Richard] Many themes emerged from this collection 919 00:39:47,567 --> 00:39:50,167 and for instance, check the first tune out, 920 00:39:50,367 --> 00:39:54,447 which tells sad of a family torn and broken in two 921 00:39:54,447 --> 00:39:56,407 by the curse of unemployment. 922 00:39:56,447 --> 00:40:00,286 The two young sons in London, one in search of work, 923 00:40:00,286 --> 00:40:03,126 the other looking to revenge this outrage 924 00:40:03,126 --> 00:40:05,086 whilst the father who has been marked, 925 00:40:05,086 --> 00:40:09,366 made redundant, stays behind, his wiles swept with nostalgia 926 00:40:09,366 --> 00:40:12,006 as he blames all except the real enemy. 927 00:40:12,286 --> 00:40:16,605 Good morning day And how do you do 928 00:40:16,605 --> 00:40:20,806 I wonder what will you do For me 929 00:40:20,806 --> 00:40:25,006 [Mick] "Homebreakers" was a tune that I had, and Paul said, 930 00:40:25,046 --> 00:40:26,765 "I think I've got some lyrics for that." 931 00:40:26,765 --> 00:40:29,605 He wanted me to sing it because my dad and my brother, 932 00:40:29,605 --> 00:40:31,125 they were both in the printing union, 933 00:40:31,165 --> 00:40:33,925 and SOGAT was getting ripped to shreds. 934 00:40:33,965 --> 00:40:36,285 My dad did get made redundant. 935 00:40:36,325 --> 00:40:39,965 It's 30 years with one firm. I think he was like 33 years 936 00:40:39,965 --> 00:40:42,284 with the same firm and that was personal to me, 937 00:40:42,284 --> 00:40:43,524 but it was everyone's story 938 00:40:43,564 --> 00:40:45,524 and it was going on all over the place. 939 00:40:45,564 --> 00:40:48,764 And also, it kinda cocks a snook 940 00:40:48,764 --> 00:40:50,764 at the Norman Tebbit "get on your bike," 941 00:40:50,804 --> 00:40:52,164 that famous speech. 942 00:40:52,164 --> 00:40:54,563 ...and he kept looking till he found it. 943 00:40:54,763 --> 00:40:57,763 If you can't find work 944 00:40:58,403 --> 00:41:00,444 In your own town 945 00:41:00,444 --> 00:41:02,124 [Paul] When you saw the nightly news 946 00:41:02,164 --> 00:41:03,324 during the miners' strike 947 00:41:03,364 --> 00:41:05,764 of the police beating shit out of the miners, 948 00:41:05,764 --> 00:41:08,683 it was just incredibly fucking depressing, 949 00:41:08,683 --> 00:41:10,243 really, it was just like, "Is this our country? 950 00:41:10,243 --> 00:41:11,563 Is this what it's come to?" 951 00:41:11,563 --> 00:41:15,083 These people are heroes a few years before that. 952 00:41:15,323 --> 00:41:17,123 Going down deep into the fucking ground, 953 00:41:17,123 --> 00:41:18,483 digging out coal, right? 954 00:41:19,003 --> 00:41:21,083 Uh, which ain't the most pleasant 955 00:41:21,083 --> 00:41:22,322 of jobs, I can imagine. 956 00:41:22,522 --> 00:41:25,882 And all of a sudden they are, um, being beaten 957 00:41:25,882 --> 00:41:30,362 and, uh... and vilified by the media 958 00:41:30,682 --> 00:41:33,242 for standing up for their livelihoods, man. 959 00:41:33,242 --> 00:41:36,001 The sign says closed It's a sign of the times 960 00:41:36,001 --> 00:41:40,522 Like everything else It's all gone away 961 00:41:40,522 --> 00:41:42,522 [Billy] For me and Paul, I think the miners' strike 962 00:41:42,562 --> 00:41:43,482 was a class war, 963 00:41:43,682 --> 00:41:45,482 and if you had a working class background 964 00:41:45,482 --> 00:41:46,802 like Paul did and like I did, you're-- 965 00:41:46,802 --> 00:41:48,682 you know, you realize these are our people, 966 00:41:48,682 --> 00:41:50,441 -we have to take sides here. -There are definitely 967 00:41:50,481 --> 00:41:52,201 a working class 968 00:41:52,441 --> 00:41:54,521 mass of people who didn't have a voice 969 00:41:54,521 --> 00:41:56,841 and were being completely neglected. 970 00:41:57,201 --> 00:41:59,801 But somewhere The party never ends 971 00:41:59,801 --> 00:42:03,000 And greedy hands rub Together again 972 00:42:03,040 --> 00:42:08,440 Shipping out the profits That they've stolen 973 00:42:08,440 --> 00:42:11,240 [Martin] They were one of the most effective acts 974 00:42:11,240 --> 00:42:15,120 at getting a political message across 975 00:42:15,160 --> 00:42:17,719 in an absolutely pop way. 976 00:42:17,719 --> 00:42:19,999 You don't have to take This crap 977 00:42:20,759 --> 00:42:23,560 You don't have to sit back And relax 978 00:42:23,560 --> 00:42:28,200 You can actually try Changing it 979 00:42:28,640 --> 00:42:30,559 [Billy] What a great anthem that was. 980 00:42:30,559 --> 00:42:34,599 The whole dynamic of that song, it's got the energy of punk, 981 00:42:34,599 --> 00:42:36,119 it's got the beauty of soul, 982 00:42:36,319 --> 00:42:38,319 and it's got the anger of the 1980s in it. 983 00:42:38,319 --> 00:42:41,039 Are you gonna try to make This work 984 00:42:41,079 --> 00:42:43,519 Or spend your days Down in the dirt 985 00:42:43,519 --> 00:42:45,318 You see things can change 986 00:42:45,358 --> 00:42:47,358 Yes and walls Can come tumbling down 987 00:42:47,558 --> 00:42:50,998 [Eddie] All that kind of stuff is very clever political music 988 00:42:50,998 --> 00:42:52,278 that makes you wanna dance. 989 00:42:52,318 --> 00:42:53,878 If you're on the dancefloor first, the message 990 00:42:53,878 --> 00:42:55,518 doesn't come back 'til later, you know? 991 00:42:55,558 --> 00:42:57,438 It's a very clever way of doing it. 992 00:42:57,677 --> 00:42:59,757 There were other political groups around at the time, 993 00:42:59,757 --> 00:43:01,877 but they weren't getting in the top ten, really. 994 00:43:01,877 --> 00:43:03,838 And they weren't doing it with beautiful melodies 995 00:43:03,838 --> 00:43:05,158 and they weren't doing it looking like 996 00:43:05,158 --> 00:43:07,478 they could have been on the cover of Smash Hits, 997 00:43:07,478 --> 00:43:09,518 and being on the cover of Smash Hits, you know. 998 00:43:09,558 --> 00:43:12,357 Are you gonna be Threatened by 999 00:43:12,837 --> 00:43:14,837 The public enemies Number ten 1000 00:43:15,877 --> 00:43:18,557 Those who play The power game 1001 00:43:18,997 --> 00:43:21,077 They take the profits, You take the blame 1002 00:43:21,277 --> 00:43:26,356 When they tell you There's no rise in pay 1003 00:43:26,836 --> 00:43:29,676 [Steve] The attention to detail in the Our Favourite Shop sleeve 1004 00:43:29,676 --> 00:43:31,116 is absolutely brilliant, you know, 1005 00:43:31,116 --> 00:43:34,516 from the homoerotic post card to Georgie Best, you know. 1006 00:43:34,516 --> 00:43:37,196 And I think for the fans of the band at the time, 1007 00:43:37,196 --> 00:43:39,995 it was absolutely fantastic to have all that detail. 1008 00:43:39,995 --> 00:43:42,035 It was supposed to be just everything we loved 1009 00:43:42,075 --> 00:43:43,315 and believed in. 1010 00:43:43,555 --> 00:43:46,516 I've heard a lot of people say that they've checked out things 1011 00:43:46,516 --> 00:43:49,796 that they've randomly seen on it and it's led them somewhere. 1012 00:43:50,116 --> 00:43:53,875 And that's the way me and Paul got to where we were going, 1013 00:43:53,875 --> 00:43:56,795 really, just pursuing things like that. 1014 00:43:57,035 --> 00:43:59,115 You got Otis, you got Georgie Best, 1015 00:43:59,155 --> 00:44:01,795 you got Tony Hancock Another Country, 1016 00:44:01,835 --> 00:44:03,635 yeah, all sort of things here, man. 1017 00:44:04,035 --> 00:44:05,435 All the books up there, 1018 00:44:05,475 --> 00:44:07,674 Joe Horton, see these are influences on us. 1019 00:44:07,874 --> 00:44:09,954 And there's the Lennon and McCartney 1020 00:44:10,194 --> 00:44:13,034 shot by David Bailey that's on the wall, 1021 00:44:13,034 --> 00:44:16,514 which we then mirrored as the band's portrait inside 1022 00:44:16,514 --> 00:44:18,714 and we all brought along lots of different things. 1023 00:44:18,714 --> 00:44:20,633 There's a picture of Terry Thomas, Michael Caine. 1024 00:44:20,793 --> 00:44:22,953 Lots of-- yeah. I think even Paul's Rickenbacker, 1025 00:44:22,953 --> 00:44:24,433 again, so that was a look to the past. 1026 00:44:24,473 --> 00:44:26,274 But that was just an opportunity for us 1027 00:44:26,274 --> 00:44:27,474 to have a bit of fun. 1028 00:44:27,474 --> 00:44:28,914 [Mick] There's lots of things I know are there 1029 00:44:28,914 --> 00:44:30,354 that you can't really see are there. 1030 00:44:30,354 --> 00:44:32,314 But it-- it kind of means a lot 1031 00:44:32,354 --> 00:44:34,233 that we bothered putting them there. 1032 00:44:34,233 --> 00:44:36,433 And there were things on this cover, 1033 00:44:36,433 --> 00:44:40,513 things that I learned about from this cover and things 1034 00:44:40,513 --> 00:44:43,313 that were confirmed to me about things I already liked. 1035 00:44:43,353 --> 00:44:45,473 I liked Carry Ons and I love Tony Hancock 1036 00:44:45,473 --> 00:44:47,553 and you know, I already like that stuff. 1037 00:44:47,952 --> 00:44:51,112 Um, obviously like The Beatles, and I love George Best. 1038 00:44:51,112 --> 00:44:54,872 And it's funny how just a half-blurred image of some, 1039 00:44:55,392 --> 00:44:58,832 you know, torn up novel or something 1040 00:44:58,872 --> 00:45:01,591 can lead someone younger somewhere else, you know? 1041 00:45:01,631 --> 00:45:02,511 It's great. 1042 00:45:02,751 --> 00:45:03,871 [host] You've just released a new single, 1043 00:45:03,871 --> 00:45:04,871 while we're on the subject, 1044 00:45:04,911 --> 00:45:06,311 it's called "Come to Milton Keynes," 1045 00:45:06,311 --> 00:45:08,472 and itself caused a stir in this week's press 1046 00:45:08,472 --> 00:45:09,632 so we ought to have a look at that 1047 00:45:09,672 --> 00:45:11,112 before we talk about anything else. 1048 00:45:11,152 --> 00:45:14,712 ["Come To Milton Keynes" plays] 1049 00:45:18,911 --> 00:45:22,311 May I walk you home tonight 1050 00:45:22,471 --> 00:45:26,031 On this fine And lovely night tonight 1051 00:45:26,031 --> 00:45:29,550 We'll walk past The luscious houses 1052 00:45:29,550 --> 00:45:34,430 Through rolling lawns And lovely flowers 1053 00:45:34,670 --> 00:45:35,870 Our nice new town 1054 00:45:36,110 --> 00:45:38,190 Where the curtains are drawn 1055 00:45:38,230 --> 00:45:41,550 Where hope is started And dreams can be borne 1056 00:45:41,990 --> 00:45:43,349 You upset a few people with that 1057 00:45:43,349 --> 00:45:44,709 and you haven't even been there. 1058 00:45:45,069 --> 00:45:47,229 -Yeah. -[host] Why did you write 1059 00:45:47,229 --> 00:45:49,630 about Milton Keynes? What's the meaning of it? 1060 00:45:49,630 --> 00:45:53,030 It was more about, um, the kind of new towns, 1061 00:45:53,030 --> 00:45:54,750 you know, I mean, the fact we used Milton Keynes 1062 00:45:54,790 --> 00:45:56,709 is neither here or there, I mean they're up in arms about it, 1063 00:45:56,709 --> 00:45:58,749 apparently, but big deal, you know? 1064 00:45:59,269 --> 00:46:01,509 And, um-- But it's more about, um... 1065 00:46:02,189 --> 00:46:04,469 the way that Britain's values are changing, 1066 00:46:04,469 --> 00:46:07,029 and us as a race are changing as well, I think. 1067 00:46:07,309 --> 00:46:10,708 And the kind of, um, materialistic values 1068 00:46:10,708 --> 00:46:12,508 which we seemed to have adopted, 1069 00:46:12,508 --> 00:46:15,468 -quite American, I think. -Was it the advert 1070 00:46:15,468 --> 00:46:17,668 about Milton Keynes that made you think of doing it? 1071 00:46:17,668 --> 00:46:19,868 Well, there's a horrible kind of Ronald McDonald figure 1072 00:46:19,868 --> 00:46:21,148 in the adverts isn't there? 1073 00:46:21,348 --> 00:46:23,228 -That's very American. -[host] Mm. 1074 00:46:23,228 --> 00:46:24,507 [Paul] It's all showbiz, you know? 1075 00:46:24,707 --> 00:46:27,467 This fine conservative night I was looking for a job 1076 00:46:27,467 --> 00:46:29,547 So I came to town 1077 00:46:29,547 --> 00:46:35,348 I easily adopt when the chips Are down 1078 00:46:35,348 --> 00:46:37,228 Can I do an impersonation while I'm on here. 1079 00:46:37,228 --> 00:46:38,587 [host] Why now, do you wanna do it now? 1080 00:46:38,627 --> 00:46:39,947 Which camera shall I face? This one there? 1081 00:46:39,947 --> 00:46:41,627 Are there any agents watching this? 1082 00:46:41,667 --> 00:46:43,307 Viewers at home, see if you can-- 1083 00:46:43,347 --> 00:46:44,787 see if you can guess who this is. 1084 00:46:45,947 --> 00:46:48,107 -That's quite good that. -[host] That was good. 1085 00:46:48,107 --> 00:46:49,907 Yeah, Christopher Lee that was. 1086 00:46:50,347 --> 00:46:52,946 God bless you all. God bless. 1087 00:46:55,066 --> 00:46:57,346 [Richard Skinner] It's 12:00 noon in London, 1088 00:46:57,386 --> 00:46:59,066 7:00 AM in Philadelphia 1089 00:46:59,266 --> 00:47:02,346 and around the world, it's time for Live Aid. 1090 00:47:02,386 --> 00:47:04,186 Sixteen hours of live music 1091 00:47:04,226 --> 00:47:06,105 in aid of famine relief in Africa. 1092 00:47:06,105 --> 00:47:07,625 [Eddie] Everyone knows where they were 1093 00:47:07,665 --> 00:47:09,025 when that event happened. 1094 00:47:09,065 --> 00:47:11,626 It must have had such an international impact. 1095 00:47:11,946 --> 00:47:13,386 It's almost like Woodstock. 1096 00:47:13,426 --> 00:47:18,146 We went down there fairly early on. We were the second on. 1097 00:47:18,186 --> 00:47:20,705 Status Quo were the first act, we were second. 1098 00:47:21,105 --> 00:47:23,545 And as we were that early, 1099 00:47:23,825 --> 00:47:25,905 there had been no sound checking, 1100 00:47:25,905 --> 00:47:28,105 but they just said to the first few acts, 1101 00:47:28,145 --> 00:47:30,145 "If you wanna get a feel for the stage and go up there 1102 00:47:30,185 --> 00:47:31,945 or try the gear out, you can." 1103 00:47:31,985 --> 00:47:34,944 So we were told we could do that. 1104 00:47:34,944 --> 00:47:39,104 But at the same time, they said, uh, "Prince Charles and Diana 1105 00:47:39,104 --> 00:47:41,224 are turning up and you can meet them." 1106 00:47:41,544 --> 00:47:43,264 And we just went, 1107 00:47:43,304 --> 00:47:44,944 "We'll do the sound check shall we?" 1108 00:47:45,304 --> 00:47:47,023 ["God Save The Queen" plays] 1109 00:47:50,943 --> 00:47:52,664 [Steve] We knew that it was gonna be 1110 00:47:52,664 --> 00:47:55,904 like obviously big but not as big 1111 00:47:55,904 --> 00:47:58,344 as when you kind of looked out onto the, 1112 00:47:58,344 --> 00:48:00,184 you know, the audience. 1113 00:48:00,184 --> 00:48:01,863 That was pretty breath-taking. 1114 00:48:01,903 --> 00:48:03,103 I don't think anyone had ever seen 1115 00:48:03,103 --> 00:48:04,383 a crowd like that before. 1116 00:48:04,383 --> 00:48:05,903 It was just-- It was incredible. 1117 00:48:05,903 --> 00:48:07,703 I've always had a coping mechanism 1118 00:48:07,703 --> 00:48:10,983 of just getting on with the job and not listening too much 1119 00:48:10,983 --> 00:48:14,182 to what's going on and how many people are outside and all that. 1120 00:48:14,182 --> 00:48:16,182 But there was no way no to see what was happening 1121 00:48:16,182 --> 00:48:17,462 on the day of Live Aid. 1122 00:48:17,462 --> 00:48:20,422 [Helen] Before we went on stage, someone asked us 1123 00:48:20,462 --> 00:48:23,222 to hold our arms up and we were... 1124 00:48:24,302 --> 00:48:25,462 all like that. 1125 00:48:25,662 --> 00:48:28,981 You know, not only playing to 19,000 people up front, 1126 00:48:28,981 --> 00:48:31,821 which is pretty, um, scary as it is, 1127 00:48:31,821 --> 00:48:33,501 but also, the millions of people 1128 00:48:33,501 --> 00:48:34,902 watching it as well, you know? 1129 00:48:35,502 --> 00:48:37,662 And it's all live, so. 1130 00:48:38,182 --> 00:48:40,382 The closer you got, the more it felt like, 1131 00:48:40,382 --> 00:48:42,861 "It's quite a big gig, this, it's quite bit news, this." 1132 00:48:42,861 --> 00:48:44,741 "This is sort of going around the world," 1133 00:48:44,741 --> 00:48:47,981 and it was a very important day. 1134 00:48:49,101 --> 00:48:51,461 I might shoot to win 1135 00:48:51,901 --> 00:48:54,061 And commit the sin 1136 00:48:54,421 --> 00:48:59,860 I wanted more than I've already got 1137 00:48:59,860 --> 00:49:04,500 I could runaway But I'd rather stay 1138 00:49:04,860 --> 00:49:09,979 In the warmth of your smile Lighting up my day 1139 00:49:09,979 --> 00:49:12,579 The one that makes me say 1140 00:49:13,099 --> 00:49:17,380 You're the best thing That ever happened 1141 00:49:18,820 --> 00:49:21,300 [Paul] What a monumental thing to organize, really. 1142 00:49:21,300 --> 00:49:23,259 Hats off to Bob, really, for doing it all. 1143 00:49:23,259 --> 00:49:26,219 I know we've always been Taught to rely 1144 00:49:26,259 --> 00:49:28,739 Upon those in authority 1145 00:49:29,419 --> 00:49:32,059 But you never know Until you try 1146 00:49:32,459 --> 00:49:35,019 How things just might be 1147 00:49:35,019 --> 00:49:39,418 If we came together So strongly 1148 00:49:39,738 --> 00:49:41,898 [Martin] There were some awful things that happened 1149 00:49:41,898 --> 00:49:44,138 at Live Aid, you know, like artistically, 1150 00:49:44,178 --> 00:49:45,418 but there were also some really good ones. 1151 00:49:45,458 --> 00:49:47,018 There was, you know, and I-- 1152 00:49:47,018 --> 00:49:49,058 'cause this was even before I was a fanatic. 1153 00:49:49,258 --> 00:49:51,777 Objectively, I thought they were one of the best things 1154 00:49:51,817 --> 00:49:53,137 about that day. 1155 00:49:56,417 --> 00:49:57,658 Thank you! 1156 00:49:58,858 --> 00:50:01,098 [indistinct] 1157 00:50:01,098 --> 00:50:03,658 [Janice] Well, I mean, stupid question, but how did it feel? 1158 00:50:03,698 --> 00:50:06,057 Uh, I thought it was very good, you know, I was a bit-- 1159 00:50:06,097 --> 00:50:08,097 I was a bit nervous but I enjoyed it. 1160 00:50:08,097 --> 00:50:09,337 What about you, Mick? 1161 00:50:09,337 --> 00:50:11,097 Well, it was very nerve-wracking before we went on, 1162 00:50:11,097 --> 00:50:12,897 but we went out there and once you saw that crowd, 1163 00:50:12,897 --> 00:50:14,497 you know, you just had to enjoy it, really. 1164 00:50:14,537 --> 00:50:17,577 The crowd were like amazing and it was a beautiful sunny, 1165 00:50:17,577 --> 00:50:19,976 beautiful day. But then we had to get on the bus 1166 00:50:19,976 --> 00:50:22,136 and go down to Kent, we were doing 1167 00:50:22,136 --> 00:50:24,296 "Come to Milton Keynes" on a TV show. 1168 00:50:24,336 --> 00:50:27,936 ["Come To Milton Keynes" playing] 1169 00:50:31,336 --> 00:50:32,775 And then we got on the coach 1170 00:50:32,775 --> 00:50:34,615 and went all the way back to Wembley. 1171 00:50:35,255 --> 00:50:38,576 And the Christmas bells That ring there 1172 00:50:38,816 --> 00:50:42,576 Are the clanging chimes Of doom 1173 00:50:42,576 --> 00:50:46,255 Well tonight thank God It's them 1174 00:50:46,255 --> 00:50:49,535 Instead of you 1175 00:50:49,535 --> 00:50:50,575 Everyone! 1176 00:50:51,775 --> 00:50:53,695 When you knew that you were witnessing, 1177 00:50:53,735 --> 00:50:56,175 you know, something, you know, very, very special... 1178 00:50:57,975 --> 00:51:01,254 It's one of the biggest events musically of all time. 1179 00:51:03,014 --> 00:51:04,094 [Steve] Looking back on it, 1180 00:51:04,414 --> 00:51:09,094 it's hard to kind of quantify because everybody that was there 1181 00:51:09,094 --> 00:51:11,734 was just like the top of their game. 1182 00:51:13,733 --> 00:51:15,333 [Mick] I guess the finale involves 1183 00:51:16,413 --> 00:51:18,933 a show of strength and standing at the back, 1184 00:51:19,093 --> 00:51:21,494 watching ambitious backing vocalists 1185 00:51:21,494 --> 00:51:22,894 fight to get near the front. 1186 00:51:23,974 --> 00:51:27,453 Feed the world 1187 00:51:28,133 --> 00:51:30,053 Let them know 1188 00:51:30,053 --> 00:51:36,213 It's Christmas time again 1189 00:51:36,253 --> 00:51:38,573 [crowd cheering] 1190 00:51:39,973 --> 00:51:42,012 [Mick] Billy Bragg noticed 1191 00:51:42,372 --> 00:51:44,452 the same people turning up at benefits. 1192 00:51:44,452 --> 00:51:46,932 Um, The Style Council, 1193 00:51:46,972 --> 00:51:50,932 Communards, him and a few other people. 1194 00:51:51,452 --> 00:51:53,292 [Paul] Billy came to us with this idea 1195 00:51:53,332 --> 00:51:56,331 trying to get young people, uh, 1196 00:51:56,331 --> 00:51:59,731 engaged with politics and also for them to use their votes. 1197 00:51:59,971 --> 00:52:01,932 [Billy] Red Wedge came together after the end 1198 00:52:01,972 --> 00:52:04,132 of the miner's strike where a lot of the bands 1199 00:52:04,132 --> 00:52:05,852 that had been doing gigs for the miners were like, 1200 00:52:05,852 --> 00:52:06,972 "Well what happens now? We just go back 1201 00:52:07,012 --> 00:52:08,571 to being on Top of the Pops, is that it?" 1202 00:52:08,611 --> 00:52:11,011 It just was "I'll see you on Saturday morning TV?" 1203 00:52:11,011 --> 00:52:14,211 No. What's, you know, "What can we do to get rid 1204 00:52:14,211 --> 00:52:16,851 of the Tories?" And the next obvious opportunity 1205 00:52:16,851 --> 00:52:19,651 was the 1987 general election. 1206 00:52:19,651 --> 00:52:22,890 Um, and the only viable vehicle for getting rid of the Tories 1207 00:52:22,890 --> 00:52:23,970 was the Labour Party. 1208 00:52:24,170 --> 00:52:26,850 You know, it kinda-- it sounded like a good idea. 1209 00:52:27,170 --> 00:52:31,370 We had some, you know, reluctance to get involved 1210 00:52:31,410 --> 00:52:34,010 with a party as such, you know what I mean? 1211 00:52:34,050 --> 00:52:35,170 I didn't really... 1212 00:52:35,769 --> 00:52:37,889 I didn't feel any affinity with them, really. 1213 00:52:38,089 --> 00:52:40,089 We didn't work for the Labour Party. 1214 00:52:40,449 --> 00:52:42,850 We were an independent initiative that went to them 1215 00:52:42,890 --> 00:52:45,170 and we worked with them, rather than for them. 1216 00:52:45,730 --> 00:52:48,130 My involvement with that whole thing 1217 00:52:48,130 --> 00:52:49,569 was to make a statement 1218 00:52:50,489 --> 00:52:53,089 that we cared about what was going on 1219 00:52:53,089 --> 00:52:54,689 in our own country 1220 00:52:54,729 --> 00:52:57,009 and that we wanted change. 1221 00:52:57,049 --> 00:52:59,049 Right, we wanted the children, 1222 00:52:59,049 --> 00:53:01,009 the young people at the time 1223 00:53:01,009 --> 00:53:04,848 to view with an open mind opposed to this closed narrative 1224 00:53:04,888 --> 00:53:06,968 that was being given to us 1225 00:53:06,968 --> 00:53:09,928 by The Conservative Party of that time. 1226 00:53:09,928 --> 00:53:13,768 Strange when you think Of the chances 1227 00:53:14,288 --> 00:53:19,367 That we'd both be In a state of mind 1228 00:53:19,407 --> 00:53:21,407 Too cool to be careless 1229 00:53:21,727 --> 00:53:24,448 Just looking For the right thing 1230 00:53:24,728 --> 00:53:27,048 Oh baby 1231 00:53:27,048 --> 00:53:30,248 Don't look any further, Further 1232 00:53:30,727 --> 00:53:32,647 [Billy] Those events were really, really powerful 1233 00:53:32,687 --> 00:53:35,527 because you-- it took us outside of just singing about it, 1234 00:53:35,527 --> 00:53:37,607 it got us to actually to come face to face 1235 00:53:37,647 --> 00:53:39,127 with the reality of those people. 1236 00:53:39,127 --> 00:53:40,687 And do you think that people who came to listen 1237 00:53:40,727 --> 00:53:42,327 to the Red Wedge tour, do you think 1238 00:53:42,367 --> 00:53:44,127 you gained many converts or... 1239 00:53:44,327 --> 00:53:46,646 It's not like we're on a missionary crusade 1240 00:53:46,646 --> 00:53:48,246 or something, you know, we're just, um, 1241 00:53:48,246 --> 00:53:49,526 we're just delivering the facts to people, 1242 00:53:49,526 --> 00:53:50,926 we'll let 'em make their own minds up. 1243 00:53:50,966 --> 00:53:54,126 We're not out as a-- out to act as a propaganda machine 1244 00:53:54,166 --> 00:53:55,966 for any political party at all. 1245 00:53:55,966 --> 00:53:57,646 But some might say that. 1246 00:53:57,646 --> 00:53:59,485 Some might say-- Some might say a lot of things, 1247 00:53:59,485 --> 00:54:00,805 you yourself, Baz, seeing as you work 1248 00:54:00,805 --> 00:54:03,085 for the Daily Mail or The Sun or people. 1249 00:54:03,085 --> 00:54:04,365 [laughs] 1250 00:54:04,405 --> 00:54:06,286 So you'd go to Liverpool, and all of a sudden, 1251 00:54:06,286 --> 00:54:08,686 like, Derek Hatton's hanging about backstage, 1252 00:54:08,726 --> 00:54:11,846 and it wasn't a great energy with people like that, you know? 1253 00:54:11,846 --> 00:54:14,645 It felt like this is probably a good time to just step back 1254 00:54:14,645 --> 00:54:17,405 a little bit. 'Cause it became a bit all consuming. 1255 00:54:17,405 --> 00:54:20,605 From a very genuine attempt to engage young people 1256 00:54:20,605 --> 00:54:21,765 in politics, 1257 00:54:22,125 --> 00:54:25,005 it didn't work, and the reason it didn't work 1258 00:54:25,005 --> 00:54:27,564 is because the politicians weren't genuine. 1259 00:54:27,764 --> 00:54:31,084 And I think that is what resonates to this day. 1260 00:54:31,084 --> 00:54:32,084 [Paul] With like any politicians, 1261 00:54:32,524 --> 00:54:35,044 there's always some ulterior motive, isn't there, you know? 1262 00:54:35,044 --> 00:54:37,204 So it just fucking put me off really, I just thought, 1263 00:54:37,244 --> 00:54:39,723 you know, it is-- they are as I imagined 1264 00:54:39,723 --> 00:54:40,883 they would be, you know what I mean? 1265 00:54:41,083 --> 00:54:43,323 Day o umba day o 1266 00:54:43,723 --> 00:54:45,603 Mambu ji ay o 1267 00:54:45,603 --> 00:54:47,444 [Billy] Whatever you think about the politics of Red Wedge, 1268 00:54:47,444 --> 00:54:49,004 whatever you think about what became 1269 00:54:49,004 --> 00:54:51,124 of that campaign and what it did and didn't achieve, 1270 00:54:51,124 --> 00:54:53,643 the gigs were really, really special gigs. 1271 00:54:53,683 --> 00:54:56,683 I still meet people who were at a particular Red Wedge gig 1272 00:54:56,683 --> 00:54:58,043 and it just sort of blew their minds 1273 00:54:58,043 --> 00:54:59,203 to see us all up there playing. 1274 00:54:59,243 --> 00:55:01,963 I'm a grown man now, 1275 00:55:02,003 --> 00:55:03,683 I don't really want politics. 1276 00:55:03,683 --> 00:55:05,563 If I perceive something as having politics 1277 00:55:05,563 --> 00:55:07,362 rammed down my throat, I totally turn off. 1278 00:55:07,362 --> 00:55:09,442 So I get-- if people felt that, 1279 00:55:09,442 --> 00:55:11,202 I understand why they wouldn't have liked it 1280 00:55:11,242 --> 00:55:12,362 as much as "You're The Best Thing." 1281 00:55:12,402 --> 00:55:15,162 I do get it. I happened to be a little 1282 00:55:15,202 --> 00:55:17,522 rabid lefty then. So I was like, 1283 00:55:17,522 --> 00:55:19,122 "Great, I'm getting the best of all worlds." 1284 00:55:19,442 --> 00:55:22,321 But even I, by the-- by the time I was kind of 16, I was like, 1285 00:55:22,321 --> 00:55:24,081 "No, what I really like about this group is the music." 1286 00:55:24,601 --> 00:55:27,682 ["Have You Ever Had It Blue" playing] 1287 00:55:48,281 --> 00:55:49,680 [male producer] Cue lights. 1288 00:55:49,920 --> 00:55:51,120 Cue grams. 1289 00:55:51,400 --> 00:55:55,160 ["It Didn't Matter" playing] 1290 00:56:04,839 --> 00:56:06,159 [Simon] Cafe Bleu and Our Favourite Shop 1291 00:56:06,159 --> 00:56:07,999 and all the singles in between, 1292 00:56:07,999 --> 00:56:10,920 it still had a freshness to it, 1293 00:56:10,960 --> 00:56:13,240 and everything was about doing something new and different, 1294 00:56:13,240 --> 00:56:15,440 but I think you could only do something new and different 1295 00:56:15,680 --> 00:56:16,919 so many times. 1296 00:56:17,199 --> 00:56:21,239 I remember All the early days 1297 00:56:21,679 --> 00:56:26,079 Trying to think Of the right things to say 1298 00:56:26,359 --> 00:56:29,039 I can remember, we spoke about it, Paul and I 1299 00:56:29,079 --> 00:56:31,078 and he said, like, you know, 1300 00:56:31,398 --> 00:56:36,478 "We could sort of make Our Favourite Shop Part 2, 1301 00:56:36,478 --> 00:56:37,718 but I don't want to." 1302 00:56:37,718 --> 00:56:40,238 And I-- And I sort of agreed with that. 1303 00:56:41,198 --> 00:56:42,638 It-- It would have done better, 1304 00:56:42,878 --> 00:56:44,757 certainly better than The Orange Album. 1305 00:56:45,437 --> 00:56:49,797 I mean, I think The Orange Album is, not because it's orange. 1306 00:56:49,797 --> 00:56:50,838 [laughs] 1307 00:56:52,518 --> 00:56:54,078 I'm not gonna be colorist. 1308 00:56:54,358 --> 00:56:57,477 It-- But it is a big turning point. 1309 00:56:57,477 --> 00:56:59,957 And I think The Orange Album turned a lot of people off. 1310 00:57:00,197 --> 00:57:05,157 Heavens above What have we done? 1311 00:57:06,637 --> 00:57:12,196 We've killed off The thing we had so little of 1312 00:57:14,636 --> 00:57:17,076 [Martin] This is not in any way a fun or funny album. 1313 00:57:17,076 --> 00:57:20,636 In that-- It's very "dur" and very, um, straight. 1314 00:57:20,676 --> 00:57:22,636 I guess the music they were trying to channel, 1315 00:57:22,676 --> 00:57:24,795 like a contemporary American R 'n' B, 1316 00:57:25,155 --> 00:57:27,275 isn't very camp, do you know what I mean? 1317 00:57:27,275 --> 00:57:29,315 It's not known for its musical references. 1318 00:57:29,355 --> 00:57:31,395 And I think they were just channeling that. 1319 00:57:31,796 --> 00:57:35,636 I think we were keen on having something that sort of 1320 00:57:35,836 --> 00:57:38,675 was reflecting a modern soul sound, 1321 00:57:38,675 --> 00:57:43,315 and I think we got a bit lost in the superficial sound 1322 00:57:43,315 --> 00:57:46,075 of the production rather than the material. 1323 00:57:46,595 --> 00:57:48,195 When you have a new album out, 1324 00:57:48,235 --> 00:57:49,795 if you've got three or four singles off it, 1325 00:57:49,795 --> 00:57:52,674 you've got to do three or four sing-- uh, promos, 1326 00:57:53,234 --> 00:57:54,154 videos. 1327 00:57:54,474 --> 00:57:57,554 So we thought, "Maybe we can do, like, a short film." 1328 00:58:00,274 --> 00:58:01,874 [Paul] Me and Mick did an advert, right, 1329 00:58:02,114 --> 00:58:03,794 for some Japanese, 1330 00:58:04,354 --> 00:58:06,273 I think it was like a cassette or a tape company 1331 00:58:06,273 --> 00:58:07,633 or something like that. 1332 00:58:07,633 --> 00:58:09,953 [announcer speaks Japanese] 1333 00:58:09,953 --> 00:58:11,593 Now we are together 1334 00:58:11,833 --> 00:58:14,034 [announcer] UD, special version. [speaks Japanese] 1335 00:58:14,394 --> 00:58:15,754 [announcer 2] Maxell. 1336 00:58:15,794 --> 00:58:17,434 So the money we got paid from that, 1337 00:58:17,434 --> 00:58:18,994 we put into this film. 1338 00:58:19,034 --> 00:58:22,633 Go back, go back for my parts to freeze. 1339 00:58:22,633 --> 00:58:24,833 Thus I say, "Go back." 1340 00:58:24,833 --> 00:58:27,113 I think we got a bit indulged by people 1341 00:58:27,153 --> 00:58:28,873 that we made videos with. 1342 00:58:28,873 --> 00:58:31,393 [narrator] Behind him, his partner, Michael Talbot, 1343 00:58:31,393 --> 00:58:34,592 dressed in a gold lamé cloak and sporting the Edwardian, 1344 00:58:34,592 --> 00:58:36,992 was busy with his mighty plonkalodium. 1345 00:58:36,992 --> 00:58:38,232 [Dee] Don't ask me what that was about, 1346 00:58:38,232 --> 00:58:40,712 'cause I have no idea, but we did get a chance 1347 00:58:40,712 --> 00:58:42,672 to dress up and act really stupidly, 1348 00:58:42,712 --> 00:58:45,072 so that was all right. [laughs] 1349 00:58:45,072 --> 00:58:48,151 It's a totally bizarre film that generally 1350 00:58:48,191 --> 00:58:50,351 does not hang together as a piece, 1351 00:58:50,551 --> 00:58:53,191 but I've watched it many times and loved it every time. 1352 00:58:53,231 --> 00:58:56,072 Observe, if you will, England's beauty. 1353 00:58:56,632 --> 00:58:58,232 A land within a land 1354 00:58:58,232 --> 00:59:00,672 that doth flower both in joy and delight. 1355 00:59:00,672 --> 00:59:02,991 That does take no heed of poison, 1356 00:59:02,991 --> 00:59:06,591 and yet offers infinite healing to the soul wearied. 1357 00:59:08,231 --> 00:59:10,991 [narrator] Indeed, my lord, and wisely said. 1358 00:59:11,631 --> 00:59:14,111 [Martin] For a pop group who had a lot to lose, 1359 00:59:14,151 --> 00:59:15,990 it was going out on a limb, you know. 1360 00:59:15,990 --> 00:59:18,750 Two middle class guys, bored with life, 1361 00:59:18,790 --> 00:59:20,350 bored with grammar school, 1362 00:59:20,390 --> 00:59:22,190 wanna rock out a little, you know? 1363 00:59:22,190 --> 00:59:25,790 I phoned him, yeah, and he says, "Yeah," and here we are. 1364 00:59:26,110 --> 00:59:28,190 There were points trying to be made, 1365 00:59:28,230 --> 00:59:31,109 there was humor trying to be made. 1366 00:59:31,789 --> 00:59:32,869 We tried. 1367 00:59:32,869 --> 00:59:35,549 [laughs] And people found it trying. 1368 00:59:35,589 --> 00:59:38,310 I have been thinking that if America 1369 00:59:38,350 --> 00:59:41,110 were a pair of jeans, England would be its back pocket, 1370 00:59:41,110 --> 00:59:44,549 for as every five minutes, its owner dips his hand in, 1371 00:59:44,589 --> 00:59:47,269 removes money and deposits terror. 1372 00:59:47,309 --> 00:59:50,429 I think we maybe took the piss taking a little far. 1373 00:59:50,429 --> 00:59:53,709 The in jokes became a little too in. 1374 00:59:53,909 --> 00:59:56,508 We'd show it, it'd be the support 1375 00:59:56,508 --> 00:59:57,908 on one of the tours at the time. 1376 00:59:58,228 --> 01:00:00,868 This big screen would come down on the stage 1377 01:00:00,868 --> 01:00:02,828 and we'd show this film. 1378 01:00:02,828 --> 01:00:05,868 And then the screen would go up and then we'd start, 1379 01:00:06,148 --> 01:00:09,827 which just fucking baffled everyone, really. [laughs] 1380 01:00:10,467 --> 01:00:14,187 Maybe the-- that rolling energy that we had 1381 01:00:14,227 --> 01:00:16,467 in those first couple of years, it just got dissipated 1382 01:00:16,507 --> 01:00:18,308 and then maybe just a little bit, 1383 01:00:18,348 --> 01:00:20,268 the foot had come off the gas a little bit. 1384 01:00:20,268 --> 01:00:21,948 That's what I-- That's what I felt. 1385 01:00:21,948 --> 01:00:23,747 [Paul] At some point you have to grow up, 1386 01:00:23,947 --> 01:00:29,147 and that was Mick and his missus having the kids, 1387 01:00:29,747 --> 01:00:32,787 and then me and Dee getting together. 1388 01:00:33,867 --> 01:00:35,027 Um... 1389 01:00:35,307 --> 01:00:38,506 And, you know, so all those things take their place, 1390 01:00:38,506 --> 01:00:39,786 you know, as they have to. 1391 01:00:39,826 --> 01:00:42,866 Mother's playing bingo 1392 01:00:42,866 --> 01:00:46,266 She's hoping for a big win 1393 01:00:46,826 --> 01:00:53,705 She buys the daily papers To see how 10% live... 1394 01:00:54,225 --> 01:00:57,265 The last sort of little shout from us was, uh, 1395 01:00:57,505 --> 01:00:58,706 Confessions Of A Pop Group, 1396 01:00:58,946 --> 01:01:01,626 and that was kind of like our farewell, in a way, really. 1397 01:01:01,666 --> 01:01:03,306 I don't know if we said that was the end of the band 1398 01:01:03,306 --> 01:01:05,425 but it certainly felt like it could be, you know. 1399 01:01:05,425 --> 01:01:08,545 [Gary] I thought Confessions was a very, very good album. 1400 01:01:08,585 --> 01:01:11,865 You know, returning to that manifesto really, 1401 01:01:11,865 --> 01:01:14,065 that they had, that they said that they were gonna do 1402 01:01:14,065 --> 01:01:16,545 right at the beginning which was to, you know, 1403 01:01:16,585 --> 01:01:20,904 kind of experiment really and shake things up. 1404 01:01:20,904 --> 01:01:25,544 Changes of clothes And summer showers 1405 01:01:25,584 --> 01:01:28,264 Like changing the guard 1406 01:01:28,264 --> 01:01:31,064 It only lasts for hours 1407 01:01:31,064 --> 01:01:36,023 Wondering what And where did it go 1408 01:01:36,023 --> 01:01:40,224 Crying over nothing Worth crying for 1409 01:01:40,544 --> 01:01:43,024 Once in a while 1410 01:01:43,024 --> 01:01:45,424 I still think about 1411 01:01:45,464 --> 01:01:47,903 The smile on your face girl 1412 01:01:47,943 --> 01:01:50,103 The first time around 1413 01:01:50,623 --> 01:01:52,303 [Paul] The influences on that record 1414 01:01:52,543 --> 01:01:54,063 were quite deep, you know. 1415 01:01:54,063 --> 01:01:58,183 We were sort of thinking about Debussy and Sarti, 1416 01:01:58,223 --> 01:02:01,382 and so there was elements of classical music in it, 1417 01:02:01,382 --> 01:02:02,982 and it seemed to be like 1418 01:02:02,982 --> 01:02:04,262 a little bit kind of pretentious, 1419 01:02:04,262 --> 01:02:05,782 but really-- it wasn't I don't think. 1420 01:02:05,782 --> 01:02:07,782 It was just what I was listening to at the time, you know. 1421 01:02:07,782 --> 01:02:09,862 Things like "The Story of Someone's Shoe," right, 1422 01:02:09,902 --> 01:02:13,582 with the Swingle Singers was a direct influence, right, 1423 01:02:13,621 --> 01:02:15,821 from the MJQ, the Modern Jazz Quartet, right, 1424 01:02:15,821 --> 01:02:17,981 who made an album called Place Vendôme 1425 01:02:18,021 --> 01:02:19,781 with the Swingle Singers. 1426 01:02:19,781 --> 01:02:21,101 Such a great concept. 1427 01:02:21,502 --> 01:02:24,622 This jazz band with these-- with these singers. 1428 01:02:25,422 --> 01:02:28,301 It's either, Something in their eyes 1429 01:02:28,301 --> 01:02:30,621 Or something in the drink 1430 01:02:30,621 --> 01:02:34,861 But whatever it is They both stop and think 1431 01:02:35,661 --> 01:02:37,941 Yeah, the songs were still there, but I think 1432 01:02:37,981 --> 01:02:41,780 what that album showed was Paul's willingness 1433 01:02:41,780 --> 01:02:44,060 to explore different things. But I just think 1434 01:02:44,060 --> 01:02:47,020 the record company, you know, the record company want hits, 1435 01:02:47,020 --> 01:02:49,860 you know, they were happy with the first couple of albums 1436 01:02:49,860 --> 01:02:52,420 'cause it was top ten hit after top ten hit, 1437 01:02:52,420 --> 01:02:55,259 number one albums. And when that's not there anymore 1438 01:02:55,259 --> 01:02:57,099 as good as the music might be, 1439 01:02:57,099 --> 01:03:01,579 that's not always what's relevant in their eyes. 1440 01:03:01,899 --> 01:03:05,060 She threw it all away 1441 01:03:05,100 --> 01:03:09,619 Oh I wonder if she's there To stay 1442 01:03:10,459 --> 01:03:11,979 [Paul] It wasn't liked at the time. 1443 01:03:12,019 --> 01:03:15,019 It was pretty much sort of slated, really. 1444 01:03:15,419 --> 01:03:18,219 And I don't think it did that well commercially, 1445 01:03:18,259 --> 01:03:20,099 so the record company weren't happy, obviously. 1446 01:03:20,099 --> 01:03:22,418 I always considered that to be the last record, really. 1447 01:03:22,418 --> 01:03:24,058 That's our last album, you know? 1448 01:03:24,098 --> 01:03:26,178 Even though there was one more after it, 1449 01:03:26,178 --> 01:03:27,858 which never came out at the time, though. 1450 01:03:29,458 --> 01:03:30,498 Oh, yeah 1451 01:03:31,258 --> 01:03:32,418 Oh, yeah 1452 01:03:33,258 --> 01:03:34,458 Oh, yeah 1453 01:03:35,098 --> 01:03:36,497 Oh, yeah 1454 01:03:36,497 --> 01:03:37,977 [Paul] Around that time, I was really getting 1455 01:03:38,017 --> 01:03:40,017 into a lot of the house sounds that were around, 1456 01:03:40,057 --> 01:03:41,897 what people were calling "garage" and all that stuff 1457 01:03:41,897 --> 01:03:43,697 as well, but I just thought it sounded really soulful, 1458 01:03:43,697 --> 01:03:45,098 you know, and I could hear the kind of gospel 1459 01:03:45,098 --> 01:03:46,538 in a lot of those tunes, you know. 1460 01:03:46,578 --> 01:03:48,538 [Mick] I think initially, we may have thought, 1461 01:03:48,538 --> 01:03:51,337 "acid house" was a bit gimmicky but then once we heard 1462 01:03:51,337 --> 01:03:54,257 what they called "garage" and "deep house," 1463 01:03:54,777 --> 01:03:57,177 you could see a strong connection to... 1464 01:03:57,777 --> 01:03:59,817 Philadelphia Records that were like 1465 01:03:59,857 --> 01:04:01,417 a lot of four on the floor stuff. 1466 01:04:01,617 --> 01:04:03,816 And I loved the kind of rawness of 'em. 1467 01:04:04,016 --> 01:04:06,016 I loved the fact it sounded like they were done 1468 01:04:06,016 --> 01:04:07,936 in someone's bedroom. I'm not saying they were, 1469 01:04:07,976 --> 01:04:10,176 but that's, you know, had a bit of that vibe to it. 1470 01:04:10,176 --> 01:04:12,776 All you needed was a 909 drum machine 1471 01:04:12,976 --> 01:04:14,776 and a keyboard, and off you go. 1472 01:04:15,056 --> 01:04:19,415 Even though the instrumentation was very modern 1473 01:04:19,415 --> 01:04:20,975 and technical sounding, 1474 01:04:21,215 --> 01:04:25,375 it had kind of returned to some soulful gospel roots 1475 01:04:25,375 --> 01:04:29,736 in dance music, which was really interesting 1476 01:04:29,776 --> 01:04:31,895 and quite inspiring for us at the time. 1477 01:04:32,095 --> 01:04:34,895 As I always am, whenever I get sort of turned on to something, 1478 01:04:34,895 --> 01:04:36,815 I just wanna-- "Yeah, I'm gonna do this now, 1479 01:04:36,815 --> 01:04:38,455 this is, you know, this is where we're gonna go," 1480 01:04:38,495 --> 01:04:40,495 and I was in that spirit. 1481 01:04:40,495 --> 01:04:44,895 Taking different trajectories, taking different paths 1482 01:04:45,294 --> 01:04:47,134 was what The Style Council was about. 1483 01:04:47,134 --> 01:04:48,414 It was about style. 1484 01:04:48,614 --> 01:04:52,334 And to me, he would take a certain style of music 1485 01:04:52,334 --> 01:04:55,894 and invigorate it, or invest his own personality 1486 01:04:55,894 --> 01:04:58,933 and taste level in that music. 1487 01:04:58,933 --> 01:05:03,653 So, house music, um, quiet storm, soul music, funk, 1488 01:05:03,653 --> 01:05:05,453 whatever the genre was, 1489 01:05:05,453 --> 01:05:08,414 the Style Council had every right to invest in it. 1490 01:05:08,774 --> 01:05:12,893 Dry your eyes They will call 1491 01:05:13,213 --> 01:05:17,053 Sure is sure We'll be one 1492 01:05:17,533 --> 01:05:19,813 [Steve] The record company, you know, 1493 01:05:19,853 --> 01:05:22,493 were being a little-- I think, a little vicious 1494 01:05:22,493 --> 01:05:26,292 in denying this a release. They didn't have to do that. 1495 01:05:26,292 --> 01:05:28,732 But there was a point to be proven in my opinion. 1496 01:05:28,772 --> 01:05:33,012 I think it stands up in the arc of what the band was about, 1497 01:05:33,012 --> 01:05:37,652 to go from Kenny Burrell jazz to Chicago influence house music 1498 01:05:37,652 --> 01:05:41,011 in seven years, I think is a pretty amazing thing. 1499 01:05:41,291 --> 01:05:43,371 La la 1500 01:05:43,411 --> 01:05:45,651 La la la la la 1501 01:05:46,131 --> 01:05:49,812 [Mick] Paul and I had already chatted about winding it up, 1502 01:05:50,012 --> 01:05:51,412 it was like, you know, the game's up. 1503 01:05:51,452 --> 01:05:54,171 But we had an album that we thought we believed in, 1504 01:05:54,171 --> 01:05:56,251 and we thought there'd be a few singles coming off it 1505 01:05:56,251 --> 01:05:57,731 and we thought we'd tour it round the world. 1506 01:05:57,731 --> 01:06:01,731 So we were projecting, "Maybe a year hence, 1507 01:06:01,771 --> 01:06:03,451 let's knock it on the head 1508 01:06:03,611 --> 01:06:08,410 unless this really just blows up like in an unusual way." 1509 01:06:08,450 --> 01:06:10,170 So we'd already made that decision, 1510 01:06:10,210 --> 01:06:12,170 but it just kinda got rushed. 1511 01:06:12,170 --> 01:06:14,610 It happened a year earlier than we would have done. 1512 01:06:14,610 --> 01:06:16,210 [Paul] Well it did feel to me 1513 01:06:16,210 --> 01:06:17,930 like it was all coming to an end. 1514 01:06:17,930 --> 01:06:20,690 So there was a definite sense of it sort of slowing down a bit, 1515 01:06:20,730 --> 01:06:24,049 I think we weren't doing so much live stuff for a start. 1516 01:06:24,049 --> 01:06:26,529 And then we came back and we did maybe two shows 1517 01:06:26,569 --> 01:06:28,569 at the Albert Hall, yeah. 1518 01:06:28,569 --> 01:06:30,970 We might have done two or three old songs. 1519 01:06:30,970 --> 01:06:32,490 It was stuff we were working on, 1520 01:06:32,490 --> 01:06:34,650 it was house, the house record we made. 1521 01:06:35,129 --> 01:06:37,449 And then there was some other people we had with us, 1522 01:06:37,449 --> 01:06:39,369 some other singers and they did a song as well, 1523 01:06:39,369 --> 01:06:41,569 so it was kind of a bit of a mix thing as well. 1524 01:06:41,729 --> 01:06:44,369 [Mick] It's almost like the first album, Cafe Bleu, 1525 01:06:44,369 --> 01:06:48,049 it had seven instrumentals or something, out of 13 tracks. 1526 01:06:48,049 --> 01:06:51,688 And even the vocal tracks, it's not always Paul singing. 1527 01:06:51,688 --> 01:06:54,888 So it was in the tradition that we had 1528 01:06:54,888 --> 01:06:57,728 but just six or seven years later, you know, 1529 01:06:57,728 --> 01:06:59,008 in a live format. 1530 01:06:59,208 --> 01:07:02,248 And we'll walk hand in hand 1531 01:07:02,248 --> 01:07:04,127 Sisters, brothers 1532 01:07:04,127 --> 01:07:07,567 We'll make it To the Promised Land 1533 01:07:07,607 --> 01:07:10,167 [Mick] But we weren't particularly playing big hits 1534 01:07:10,167 --> 01:07:12,648 and I think Our Greatest Hits had just been released 1535 01:07:12,648 --> 01:07:15,608 by Polydor, which we didn't have any power over, 1536 01:07:15,608 --> 01:07:17,407 but that's almost a bit like the death now, 1537 01:07:17,447 --> 01:07:19,527 I think, when they start knocking them out. 1538 01:07:19,567 --> 01:07:21,247 [Paul] People fucking hated it man, anyway. 1539 01:07:21,247 --> 01:07:23,927 You know, it was just totally, totally out of step, you know. 1540 01:07:23,967 --> 01:07:25,807 We were getting more and more out of step with people, 1541 01:07:25,807 --> 01:07:28,167 or they were out of step, whatever way it works. 1542 01:07:28,167 --> 01:07:30,246 But I think that was the last straw, really. 1543 01:07:30,246 --> 01:07:33,686 People ripping up their programs and, you know, 1544 01:07:33,686 --> 01:07:36,366 sort of a modern sort of you know, 1545 01:07:36,366 --> 01:07:39,406 Dylan going electric or something. [laughs] 1546 01:07:39,766 --> 01:07:42,326 There was a weird tension in the audience 1547 01:07:42,366 --> 01:07:44,045 that I'd never seen before. 1548 01:07:44,085 --> 01:07:46,565 I almost felt like there was gonna be some kind of riot. 1549 01:07:46,605 --> 01:07:48,685 I think it would be a myth to say, "Well, it was only me 1550 01:07:48,685 --> 01:07:50,005 and my brother who enjoyed it or got it." 1551 01:07:50,005 --> 01:07:51,285 Lots of people got it. 1552 01:07:51,285 --> 01:07:53,806 But a lot of people didn't, and vocally didn't. 1553 01:07:53,846 --> 01:07:56,006 But-- And I don't think people enjoyed it 1554 01:07:56,006 --> 01:07:58,645 and some people left before we ended. 1555 01:07:58,645 --> 01:08:01,245 Like, I don't really remember it in great detail, 1556 01:08:01,245 --> 01:08:03,245 but from what I remember, I liked it. 1557 01:08:04,085 --> 01:08:05,165 Um... 1558 01:08:06,325 --> 01:08:08,365 And that's all you can do, man. You can only do 1559 01:08:08,365 --> 01:08:10,045 what you feel's right at the time, you know. 1560 01:08:13,604 --> 01:08:16,484 ["Speak Like A Child" playing] 1561 01:08:17,764 --> 01:08:19,564 I got so much out of it. 1562 01:08:19,604 --> 01:08:21,164 I got to travel the world, I got to see-- 1563 01:08:21,204 --> 01:08:25,004 I got to do one of the most iconic concerts of all time. 1564 01:08:25,044 --> 01:08:27,123 I played with some great musicians 1565 01:08:27,123 --> 01:08:29,323 that have been-- remained friends 1566 01:08:29,363 --> 01:08:33,043 pretty much for 35 years. 1567 01:08:33,243 --> 01:08:35,484 The very best band I ever worked with. 1568 01:08:35,484 --> 01:08:37,044 I'm just... 1569 01:08:37,844 --> 01:08:41,603 struck by what a lot of music we turned around, really, 1570 01:08:41,643 --> 01:08:45,443 and generally, I'm pretty proud of all of it. 1571 01:08:45,443 --> 01:08:46,843 My Favourite Shop's a good record, 1572 01:08:46,843 --> 01:08:48,843 I think Confessions is a good record. 1573 01:08:49,243 --> 01:08:52,323 Um... and there was great singles, you know. 1574 01:08:52,682 --> 01:08:54,802 Great little run of singles. 1575 01:08:54,802 --> 01:08:56,362 But more than anything else, 1576 01:08:56,362 --> 01:08:59,642 it was a happy time for me in my life, you know. 1577 01:09:00,002 --> 01:09:03,522 And yeah, it was just, when I think of The Style Council, 1578 01:09:03,562 --> 01:09:04,802 I just think of fun. 1579 01:09:05,202 --> 01:09:06,441 All the fun we had. 1580 01:09:06,481 --> 01:09:11,041 ["A Very Deep Sea" starts] 1581 01:09:34,040 --> 01:09:38,840 I keep on diving Till I reach the ends 1582 01:09:38,840 --> 01:09:45,480 Dredging up the past To drive me round the bends 1583 01:09:47,919 --> 01:09:52,439 What is it in me That I can't forget 1584 01:09:52,479 --> 01:09:59,440 I keep finding so much That I now regret 1585 01:10:02,399 --> 01:10:06,719 But no on I go Down into the depths 1586 01:10:07,119 --> 01:10:09,599 Turning things over 1587 01:10:09,919 --> 01:10:14,119 That are better left 1588 01:10:16,678 --> 01:10:20,798 Dredging up the past That is gone for good 1589 01:10:21,278 --> 01:10:28,038 Trying to polish up What is rotting wood 1590 01:10:29,397 --> 01:10:34,237 Whoa, diving 1591 01:10:34,797 --> 01:10:39,678 I'm diving 1592 01:10:40,238 --> 01:10:44,277 Diving 1593 01:10:44,917 --> 01:10:48,117 Diving 1594 01:10:49,637 --> 01:10:55,877 Diving 1595 01:11:14,355 --> 01:11:19,236 Something inside Takes me down again 1596 01:11:19,436 --> 01:11:25,795 Diving not for goblets But tin cans 1597 01:11:28,675 --> 01:11:33,275 Dredging up the past For reasons so rife 1598 01:11:33,555 --> 01:11:40,154 Passing bits of wrecks That once passed for life 1599 01:11:42,714 --> 01:11:47,074 But I'll keep on diving Till I drown the sea 1600 01:11:47,434 --> 01:11:53,833 Of things not worth Even mentioning 1601 01:11:56,073 --> 01:11:58,913 Perhaps I'll come To the surface 1602 01:11:58,913 --> 01:12:03,474 And come to my senses But it's a very deep sea 1603 01:12:03,474 --> 01:12:08,433 Around my own devices 1604 01:12:09,473 --> 01:12:14,113 Whoa, diving 1605 01:12:15,593 --> 01:12:19,112 Diving 1606 01:12:20,072 --> 01:12:23,792 Diving 1607 01:12:24,792 --> 01:12:28,232 Diving 1608 01:12:29,632 --> 01:12:35,431 Diving 1609 01:12:39,311 --> 01:12:42,112 Perhaps I'll come To the surface 1610 01:12:42,352 --> 01:12:44,592 And come to my senses 1611 01:12:44,592 --> 01:12:46,831 Perhaps I'll come To the surface 1612 01:12:46,831 --> 01:12:49,271 And come to my senses 1613 01:12:49,271 --> 01:12:51,471 Perhaps I'll come To the surface 1614 01:12:51,471 --> 01:12:53,591 And come to my senses 1615 01:12:53,591 --> 01:12:56,031 Perhaps I'll come To the surface 1616 01:12:56,031 --> 01:12:58,751 And come to my senses 1617 01:12:58,791 --> 01:13:02,270 Diving 1618 01:13:03,270 --> 01:13:07,110 Diving 1619 01:13:07,110 --> 01:13:11,790 I'm diving 1620 01:13:12,470 --> 01:13:15,869 Diving 1621 01:13:42,668 --> 01:13:47,828 ["Le Depart" playing] 1622 01:14:08,348 --> 01:14:11,267 After a hard day on the set, there's nothing I like better 1623 01:14:11,307 --> 01:14:13,467 than a cool, refreshing pint of milk. 1624 01:14:13,787 --> 01:14:14,827 Cheers. 1625 01:14:15,267 --> 01:14:17,027 Chairs with our names on actually.