WEBVTT FILE

1
00:00:02.000 --> 00:00:07.000
Downloaded from
YTS.MX

2
00:00:08.000 --> 00:00:13.000
Official YIFY movies site:
YTS.MX

3
00:00:09.002 --> 00:00:11.242
Let's throw around some ideas
about what we're gonna do today.

4
00:00:11.282 --> 00:00:13.642
-I've got a few ideas in mind--
-No, excuse me darling, no,

5
00:00:13.642 --> 00:00:15.402
I still love you.
Really, I do love you

6
00:00:15.402 --> 00:00:17.082
but you do your job, you know?

7
00:00:17.082 --> 00:00:18.842
You do your job
and I'll do mine, okay?

8
00:00:18.842 --> 00:00:20.762
I still love you, so let's go
for a take then, shall we?

9
00:00:20.802 --> 00:00:22.482
-Okay? Yeah, brilliant.
-Sure.

10
00:00:23.802 --> 00:00:27.002
["Shout to the Top!" plays]

11
00:00:28.002 --> 00:00:29.842
It was the freedom
I was looking for

12
00:00:29.842 --> 00:00:31.402
coming out of The Jam.

13
00:00:32.401 --> 00:00:34.521
And I found it
within that situation,

14
00:00:34.521 --> 00:00:35.561
that set up, you know?

15
00:00:35.801 --> 00:00:38.681
I was half in mind
I was half in need

16
00:00:38.681 --> 00:00:42.281
And as the rain came down
I dropped to my knees

17
00:00:42.321 --> 00:00:44.241
And I prayed

18
00:00:44.441 --> 00:00:46.680
[Mick] The Style Council
were very much

19
00:00:47.120 --> 00:00:48.720
out on our own in the '80s.

20
00:00:48.720 --> 00:00:51.120
We weren't a stereotypical
sort of '80s band.

21
00:00:51.520 --> 00:00:53.840
I wish to stay forever...

22
00:00:54.360 --> 00:00:55.880
[Dee C] You gotta keep changing
the game,

23
00:00:55.880 --> 00:00:56.960
you gotta keep upping it

24
00:00:57.000 --> 00:00:58.920
and you gotta keep mixing it up,
you know.

25
00:00:58.960 --> 00:01:00.360
That's what keeps it exciting.

26
00:01:00.360 --> 00:01:02.160
Once in a while

27
00:01:02.560 --> 00:01:04.320
I just can't help it

28
00:01:04.360 --> 00:01:06.240
It's that same old thing

29
00:01:06.280 --> 00:01:08.640
[Steve] It was such
a fantastic thing to be part of.

30
00:01:08.640 --> 00:01:10.640
It was almost, like,
unstoppable, you know,

31
00:01:10.640 --> 00:01:11.840
it was a fantastic time.

32
00:01:11.840 --> 00:01:13.479
Have you ever had it blue?

33
00:01:13.919 --> 00:01:16.079
Have you ever had it blue?

34
00:01:17.279 --> 00:01:19.719
[Martin] For me it was
and remains

35
00:01:19.759 --> 00:01:23.279
one of the best combinations
of music and look

36
00:01:23.279 --> 00:01:24.999
in a-- in a pop group ever.

37
00:01:24.999 --> 00:01:28.478
Feel it deep inside

38
00:01:28.518 --> 00:01:30.598
[Boy George] It was
in the soul pocket,

39
00:01:30.598 --> 00:01:32.918
but, you know,
using a bit of humor.

40
00:01:32.918 --> 00:01:36.798
You know, still a little bit of
a kind of punky spirit in there.

41
00:01:36.798 --> 00:01:38.638
It was kind of like
not what you expected.

42
00:01:38.638 --> 00:01:40.478
There's a girl in my heart

43
00:01:40.478 --> 00:01:42.838
And she keeps on stopping

44
00:01:42.838 --> 00:01:45.238
Right in front of my eyes

45
00:01:45.278 --> 00:01:47.038
[Billy]  The Style Council

46
00:01:47.038 --> 00:01:48.478
is when Paul
embraces pop music.

47
00:01:49.158 --> 00:01:53.478
'Cause you're the best thing
That ever happened

48
00:01:54.318 --> 00:01:56.517
[Billy] He says, "You know what?
Yeah, I am gonna be a pop star,

49
00:01:56.517 --> 00:01:58.797
and I am gonna stop
being a punk rocker outsider,

50
00:01:58.797 --> 00:02:01.237
and I'm gonna embrace pop music,
and I'm gonna make the videos,

51
00:02:01.237 --> 00:02:02.557
and I'm gonna get the haircuts."

52
00:02:02.597 --> 00:02:04.877
And he had the chops to do it
and the vision to do it.

53
00:02:05.197 --> 00:02:07.437
No matter what I do

54
00:02:07.477 --> 00:02:09.796
[Tim] I don't think people
saw the Style Council coming.

55
00:02:09.796 --> 00:02:11.356
There was kind of
a like interesting

56
00:02:11.356 --> 00:02:14.236
sort of European feeling
to their music

57
00:02:14.236 --> 00:02:16.636
and I thought it was sort of
quite ahead of its time

58
00:02:16.676 --> 00:02:17.836
in many ways.

59
00:02:18.036 --> 00:02:21.036
Are you gonna try
To make this work

60
00:02:21.076 --> 00:02:23.636
Or spend your days down
In the dirt

61
00:02:23.636 --> 00:02:25.316
You see things can change

62
00:02:25.356 --> 00:02:27.636
Yes and walls
Can come tumbling down

63
00:02:27.636 --> 00:02:29.996
Governments crack
And systems fall...

64
00:02:31.516 --> 00:02:34.196
The Jam have announced
they're breaking up.

65
00:02:34.396 --> 00:02:37.315
The group are led by singer
and songwriter Paul Weller.

66
00:02:37.315 --> 00:02:39.715
At 24, he's become something
of a spokesman

67
00:02:39.715 --> 00:02:41.355
for the new beat generation.

68
00:02:41.395 --> 00:02:44.795
A police car
And a screaming siren

69
00:02:44.795 --> 00:02:47.795
A pneumatic drill
And ripped up concrete

70
00:02:47.795 --> 00:02:49.395
[Billy] There was something
about The Jam

71
00:02:49.435 --> 00:02:52.314
that was so essentially suburban
and working class, you know.

72
00:02:52.554 --> 00:02:54.234
"That's Entertainment"
was about me,

73
00:02:54.274 --> 00:02:58.474
I was-- all those images
were images in my life

74
00:02:58.474 --> 00:02:59.834
and I really,
really related to that.

75
00:02:59.874 --> 00:03:01.434
So when he broke 'em up,
I was like,

76
00:03:01.434 --> 00:03:02.874
"Well, what you gonna do now,
mate?"

77
00:03:02.874 --> 00:03:04.714
"I mean, how's this-- you know,
what's gonna happen now?"

78
00:03:04.714 --> 00:03:06.874
The smash of glass
And the rumble...

79
00:03:06.914 --> 00:03:09.194
[Paul] However much I loved
my time with The Jam, you know,

80
00:03:09.194 --> 00:03:10.554
it was just work, work, work,
you know,

81
00:03:10.554 --> 00:03:12.394
there was a tour
and then there was a record,

82
00:03:12.394 --> 00:03:14.114
then there was a tour,
then there was a record

83
00:03:14.154 --> 00:03:17.553
and it just seemed like
a kind of a bit of a treadmill,

84
00:03:17.553 --> 00:03:19.953
you know, which you have
to be on if you wanna make it

85
00:03:19.993 --> 00:03:21.473
and do what you do.

86
00:03:21.473 --> 00:03:24.633
That's entertainment

87
00:03:24.633 --> 00:03:26.193
Ah

88
00:03:26.233 --> 00:03:29.833
[Eddie] If you listen to
the last recordings of The Jam,

89
00:03:29.833 --> 00:03:32.672
he's obviously outgrown,
uh, the band,

90
00:03:32.672 --> 00:03:34.992
but they are the most
popular band in the country,

91
00:03:35.032 --> 00:03:36.392
they've got the most
loyal following

92
00:03:36.392 --> 00:03:38.632
and he went, "Do you know what?
I've had enough."

93
00:03:38.632 --> 00:03:40.192
[Nicky] You know,
it was kind of like, wow,

94
00:03:40.192 --> 00:03:41.752
you know,
you're top of your game

95
00:03:41.752 --> 00:03:44.352
and you're just like
packing it all in,

96
00:03:44.392 --> 00:03:46.992
but, you know, Paul's always
been one of them free spirits

97
00:03:47.032 --> 00:03:49.352
that kind of wants to
move forward and stuff.

98
00:03:49.632 --> 00:03:53.992
For the bitterest pill
Is hard to swallow

99
00:03:53.992 --> 00:03:56.472
[Jason] When I understood,
"Okay, there's a shift,

100
00:03:56.472 --> 00:03:59.431
there's a career move,
and it's at risk of losing

101
00:03:59.431 --> 00:04:01.711
a whole audience,"
all of a sudden

102
00:04:01.711 --> 00:04:03.591
I don't know,
I see him as an artist.

103
00:04:03.591 --> 00:04:05.231
[Boy George] The Jam was angry

104
00:04:05.231 --> 00:04:06.711
and got something to say,
you know,

105
00:04:06.751 --> 00:04:08.791
and then Style Council
was like whimsical, you know.

106
00:04:08.791 --> 00:04:12.150
It was probably quite surprising
for any like Mod fans.

107
00:04:12.150 --> 00:04:14.510
[Billy] Pretty soon,
it was clear that

108
00:04:14.550 --> 00:04:17.430
the sensibility that he had
was just gonna be communicated

109
00:04:17.430 --> 00:04:18.790
through a more jazzier,

110
00:04:18.790 --> 00:04:20.950
more soulful,
if you like, vibe.

111
00:04:20.990 --> 00:04:22.550
But the need to break it
all down

112
00:04:22.550 --> 00:04:23.830
and put it back together
another way,

113
00:04:23.830 --> 00:04:25.430
I can completely understand
that now.

114
00:04:25.430 --> 00:04:29.030
It's a big decision
In a town called Malice

115
00:04:29.670 --> 00:04:31.510
Ooh yeah

116
00:04:32.630 --> 00:04:34.070
It was just something
which I felt inside me,

117
00:04:34.070 --> 00:04:35.310
you know, you just gotta go
by instinct

118
00:04:35.350 --> 00:04:37.070
and I felt it was
the right thing to do.

119
00:04:37.070 --> 00:04:38.590
I thought about it,
it wasn't just as if

120
00:04:38.590 --> 00:04:40.069
I just sort of made
my mind up overnight.

121
00:04:40.069 --> 00:04:41.469
I don't know
what's gonna happen, you know,

122
00:04:41.469 --> 00:04:42.989
which I'm quite enjoying
at the moment,

123
00:04:43.029 --> 00:04:44.429
'cause like I said,
it's the first time

124
00:04:44.429 --> 00:04:46.069
for six years
it's been like that.

125
00:04:46.749 --> 00:04:48.709
So I'm just gonna enjoy
that for a little while,

126
00:04:48.709 --> 00:04:51.069
just see how it goes,
you know, take it as it comes.

127
00:04:51.349 --> 00:04:53.189
Whatever I do,
I wanna be successful

128
00:04:53.229 --> 00:04:54.988
otherwise to me there's no point
in doing it, you know?

129
00:04:56.508 --> 00:04:58.388
[Paul] It was liberating for me

130
00:04:58.668 --> 00:05:01.228
to, um, to start again really.

131
00:05:01.228 --> 00:05:03.708
To feel I've started again,
you know, after The Jam.

132
00:05:03.748 --> 00:05:05.748
My brother was in a band
with me

133
00:05:05.748 --> 00:05:06.988
called the Merton Parkas.

134
00:05:07.028 --> 00:05:09.588
A payment plan
That's so unique

135
00:05:10.028 --> 00:05:12.468
One hundred now
And the rest next week

136
00:05:12.468 --> 00:05:13.828
You need wheels

137
00:05:14.708 --> 00:05:16.548
If you wanna make deals

138
00:05:17.628 --> 00:05:19.028
[Mick] Danny had met Paul

139
00:05:19.028 --> 00:05:21.667
and he gave him a copy
of our first single.

140
00:05:21.667 --> 00:05:24.827
Paul didn't like it,
but he played the B-side

141
00:05:24.827 --> 00:05:26.387
and there's a piano solo in it.

142
00:05:26.867 --> 00:05:29.707
["I Don't Want You To Know"
by Merton Parkas playing]

143
00:05:36.626 --> 00:05:38.426
[Paul] It was finding somebody
that was the sort of

144
00:05:38.426 --> 00:05:40.186
same age as me

145
00:05:40.826 --> 00:05:42.626
who was into the same
sort of music

146
00:05:42.626 --> 00:05:44.066
and someone who could play,

147
00:05:44.066 --> 00:05:46.546
more importantly,
could play Hammond organ.

148
00:05:46.546 --> 00:05:48.985
There wasn't too many of those
people around really, you know?

149
00:05:49.226 --> 00:05:52.026
So, he contacted me.
He said, like, you know,

150
00:05:52.026 --> 00:05:53.826
"I'm gonna try
and start something

151
00:05:53.866 --> 00:05:56.706
that's a lot more loose,
not so regimented,

152
00:05:57.266 --> 00:06:00.906
but I'd like you
to be involved."

153
00:06:00.906 --> 00:06:02.745
And to find out a bit more about
what Paul's gonna do tonight,

154
00:06:02.785 --> 00:06:04.585
I'll ask him. Paul,
can you hear us?

155
00:06:04.585 --> 00:06:06.025
What you-- What are you--
What are you gonna do,

156
00:06:06.025 --> 00:06:07.225
and what's it called?

157
00:06:07.225 --> 00:06:09.025
Um, I dunno, what is it?

158
00:06:09.025 --> 00:06:10.385
[audience laughs]

159
00:06:10.425 --> 00:06:11.625
We don't know,
we don't know, Pete.

160
00:06:11.625 --> 00:06:12.665
[Peter] Just make it up.

161
00:06:13.065 --> 00:06:15.865
It's kind of-- We kind of fit
into the electro pop duo thing.

162
00:06:15.865 --> 00:06:17.384
-[Peter] Right.
-We kind-- We kind of--

163
00:06:17.424 --> 00:06:19.584
-We align ourselves--
-[audience cheers]

164
00:06:19.584 --> 00:06:21.064
we align ourselves
with, like, Blancmange,

165
00:06:21.104 --> 00:06:22.264
Tears for Fears,
that sort of thing.

166
00:06:22.264 --> 00:06:23.264
[Peter] Right.

167
00:06:23.264 --> 00:06:24.344
That's why we're wearing makeup.

168
00:06:24.344 --> 00:06:25.784
[Peter] I understand,
I can see it.

169
00:06:25.824 --> 00:06:28.944
I kind of had ideas
of what I wanted it to be,

170
00:06:28.944 --> 00:06:30.584
The Style Council to be.

171
00:06:31.344 --> 00:06:32.944
But nothing too set at all,

172
00:06:32.984 --> 00:06:34.824
and kind of just sort of
open really.

173
00:06:34.864 --> 00:06:36.384
[Mick]  He particularly mentioned

174
00:06:36.384 --> 00:06:38.424
that he wanted to use
the Hammond quite a lot.

175
00:06:40.064 --> 00:06:41.864
[Paul]  And I just wanted to, um,

176
00:06:41.864 --> 00:06:43.543
to see where this thing
could go to,

177
00:06:43.543 --> 00:06:46.503
this new-- this new band
could go to, you know.

178
00:06:46.943 --> 00:06:48.943
I didn't wanna
tour for a while, you know,

179
00:06:48.983 --> 00:06:50.583
kind of had enough of that
for a little bit.

180
00:06:51.063 --> 00:06:55.143
The space between us for days
Has been so far

181
00:06:55.183 --> 00:06:56.583
Ah

182
00:06:56.983 --> 00:06:58.302
I've spent a lonely week

183
00:06:58.302 --> 00:07:01.742
Now I wanna be where you are

184
00:07:01.742 --> 00:07:03.982
We've got a head start

185
00:07:04.022 --> 00:07:07.222
For happiness
For our part

186
00:07:07.222 --> 00:07:10.342
Guess we must be kissed
By this force

187
00:07:10.342 --> 00:07:12.782
I feel inside

188
00:07:12.782 --> 00:07:16.582
Now I'm not gonna hide

189
00:07:16.782 --> 00:07:18.902
[Paul] And just to have
a completely open mind

190
00:07:18.942 --> 00:07:20.582
on it all, really, you know,

191
00:07:20.622 --> 00:07:23.262
on music, on the band, on life.

192
00:07:23.622 --> 00:07:26.221
Who I was. You know,
all those things, really,

193
00:07:26.261 --> 00:07:27.861
all those big questions,
really.

194
00:07:28.261 --> 00:07:30.181
Paul lent me a box of records,

195
00:07:30.181 --> 00:07:32.021
it might have been two boxes,

196
00:07:32.021 --> 00:07:33.501
but they were all sevens

197
00:07:33.541 --> 00:07:36.061
and a lot of them
were quite rare soul.

198
00:07:36.061 --> 00:07:38.460
Just the feel
and the instrumentation

199
00:07:38.460 --> 00:07:40.180
really influenced a lot
of what we were doing

200
00:07:40.180 --> 00:07:42.980
and Paul was saying, "This is
what I've been listening to."

201
00:07:43.260 --> 00:07:46.340
Some of 'em were sort of
more commercial jazz things,

202
00:07:46.340 --> 00:07:48.500
but in the main
they were soul records.

203
00:07:48.900 --> 00:07:51.980
That was a font
of sort of, uh, inspiration.

204
00:07:53.019 --> 00:07:55.420
[Paul]
By the sort of January of '83

205
00:07:55.460 --> 00:07:57.940
we were kind of in the studio
really, doing the first single,

206
00:07:57.980 --> 00:07:59.620
you know,
and it just went on from that.

207
00:08:00.140 --> 00:08:02.700
Your hair hangs
In golden steps

208
00:08:02.700 --> 00:08:07.379
You're a bonafide
In every respect you are

209
00:08:07.379 --> 00:08:08.979
[Martin] It felt fresh
is what it felt,

210
00:08:08.979 --> 00:08:10.499
it felt exciting to me.

211
00:08:10.499 --> 00:08:14.379
It felt new, like it was--
like it was enjoyable.

212
00:08:14.379 --> 00:08:16.899
You know, coming in
with the double-edged sword

213
00:08:16.899 --> 00:08:19.139
rather than all the onus
being on him.

214
00:08:19.619 --> 00:08:21.338
I imagine that was quite nice.

215
00:08:21.658 --> 00:08:24.018
Mick, obviously, you know,

216
00:08:24.018 --> 00:08:27.618
brought a very different,
kind of, sort of flavor

217
00:08:27.618 --> 00:08:29.618
to what Paul was doing.

218
00:08:29.618 --> 00:08:32.618
You have to make
A bargain with me now

219
00:08:33.098 --> 00:08:34.658
[Martin] I mean,
The Style Council is half Mick,

220
00:08:34.698 --> 00:08:36.178
you know, it's not Paul Weller

221
00:08:36.178 --> 00:08:37.498
and then a bit
of this other bloke.

222
00:08:37.498 --> 00:08:40.098
Like, it's-- I totally see them
as a unit, you know.

223
00:08:40.138 --> 00:08:43.338
I think because Mick
is such a laid back

224
00:08:43.338 --> 00:08:45.738
kind of person,
I mean, he's very dry,

225
00:08:45.778 --> 00:08:47.497
he's very funny,
and I think that

226
00:08:47.777 --> 00:08:49.337
came out in Paul, you know?

227
00:08:49.377 --> 00:08:51.657
That was the thing that probably
surprised a lot of people

228
00:08:51.657 --> 00:08:53.537
about The Style Council
after The Jam,

229
00:08:53.577 --> 00:08:55.897
was that, "Oh, there's Paul
and he's got a sense of humor."

230
00:08:56.657 --> 00:09:00.297
I really like it
When you speak like a child

231
00:09:00.297 --> 00:09:02.176
The way
You're so proud to be

232
00:09:02.176 --> 00:09:05.216
Oh, so free and so wild

233
00:09:08.096 --> 00:09:10.896
[Paul]  We got Dee in to do
some backing vocals on--

234
00:09:11.136 --> 00:09:12.296
I can't remember what song,

235
00:09:12.296 --> 00:09:13.856
I know it's a very early single
anyway.

236
00:09:14.216 --> 00:09:16.016
You know,
she was a very busy girl

237
00:09:16.016 --> 00:09:17.336
at that time, you know?

238
00:09:17.376 --> 00:09:18.856
We were aware of her
through Wham!

239
00:09:18.896 --> 00:09:20.896
and Animal Light Eye, you know.

240
00:09:20.936 --> 00:09:22.896
[Dee C] When I first got there,
to Solid Bonds,

241
00:09:22.896 --> 00:09:25.736
I did notice these gold discs
on the wall

242
00:09:25.776 --> 00:09:27.976
and they're all saying,
"The Jam," so I said to Paul--

243
00:09:27.976 --> 00:09:30.175
And for some reason, I really
did not recognize him

244
00:09:30.175 --> 00:09:32.095
from the pictures in it
to the person

245
00:09:32.095 --> 00:09:33.615
who was standing in front of me.

246
00:09:33.615 --> 00:09:35.855
So, um, I did say, um,

247
00:09:35.895 --> 00:09:37.175
"You know, who are these guys?"
you know.

248
00:09:37.375 --> 00:09:39.815
He said, "Oh, some shit group
who record here," he said to me.

249
00:09:40.095 --> 00:09:41.895
And I totally fell for it,
and I went

250
00:09:41.895 --> 00:09:43.214
"Oh," didn't say anything else.

251
00:09:43.254 --> 00:09:44.974
We liked her and she seemed
part of us,

252
00:09:45.014 --> 00:09:46.854
so kind of everything
just kind of naturally

253
00:09:46.854 --> 00:09:47.814
just happened, you know.

254
00:09:48.014 --> 00:09:49.534
I actually think
if I had realized--

255
00:09:49.534 --> 00:09:51.134
if I had actually realized
who Paul was,

256
00:09:51.134 --> 00:09:52.654
I might not have taken the job,

257
00:09:52.814 --> 00:09:56.014
'cause I think I might have been
a little bit, um, overwhelmed.

258
00:09:56.014 --> 00:09:59.254
The first thing she sung with us
was  Money Go Round,

259
00:09:59.254 --> 00:10:01.134
and it just worked, you know.

260
00:10:01.134 --> 00:10:03.254
No good praying
To the pristine alters

261
00:10:05.014 --> 00:10:07.854
Waiting for the blessing
With Holy water

262
00:10:09.654 --> 00:10:11.253
[Paul]
We was auditioning for drummers,

263
00:10:11.253 --> 00:10:14.093
'cause I think, probably
for our tour maybe,

264
00:10:14.133 --> 00:10:15.653
I don't know,
I'm not sure anyway.

265
00:10:15.693 --> 00:10:17.933
But anyway, we met Steve White,
he came down,

266
00:10:17.933 --> 00:10:20.653
he was like the last drummer
of the day.

267
00:10:20.893 --> 00:10:22.493
I think we thought
we had a drummer.

268
00:10:22.493 --> 00:10:23.772
I think Steve turned up

269
00:10:24.052 --> 00:10:25.972
and he wouldn't take no
for an answer, you know?

270
00:10:25.972 --> 00:10:28.772
[Steve] Paul said then, "I think
we're sorted," you know.

271
00:10:28.812 --> 00:10:30.532
I said, "Can't I at least
have a play?"

272
00:10:30.572 --> 00:10:32.852
And he went, "Oh, I ain't
really got time."

273
00:10:32.852 --> 00:10:34.252
I said, "Go on,
let me have a play."

274
00:10:34.252 --> 00:10:37.052
And he says, "Oh, go on then,
go on, have a go."

275
00:10:37.052 --> 00:10:38.652
I said, "So what sort of stuff
are you into?"

276
00:10:38.652 --> 00:10:40.052
He went, "Well, I like a lot
of blue note."

277
00:10:40.092 --> 00:10:41.652
"Art Blakey?"
"Yeah, yeah, Art Blakey."

278
00:10:41.652 --> 00:10:43.532
And I started to playing
like-- terrible impression

279
00:10:43.572 --> 00:10:45.452
of Art Blakey.
"What else are you into?"

280
00:10:45.452 --> 00:10:46.932
He said, "Elvin Jones."

281
00:10:46.972 --> 00:10:49.012
Terrible impression
of Elvin Jones, you know.

282
00:10:49.052 --> 00:10:51.092
It was very fast
and very dexterous

283
00:10:51.092 --> 00:10:52.451
and quite explosive.

284
00:10:52.491 --> 00:10:54.211
But it seemed to have
a lot of passion.

285
00:10:54.211 --> 00:10:55.251
He was just amazing.

286
00:10:55.451 --> 00:10:57.331
He was only a kid,
like 17 or something like that.

287
00:10:57.611 --> 00:10:59.371
I just thought, "Right,
if he can do that,

288
00:10:59.371 --> 00:11:01.811
I suppose, you know,
he can do anything."

289
00:11:02.011 --> 00:11:04.211
[Steve] And he says, um,
"So tomorrow, we're doing this

290
00:11:04.211 --> 00:11:06.370
Kid Jensen show."
We weren't gonna use a band,

291
00:11:06.370 --> 00:11:08.050
you know,
but if you wanna do it,

292
00:11:08.050 --> 00:11:11.450
turn up, Maida Vale,
at five o'clock or whatever,

293
00:11:11.450 --> 00:11:13.250
we're going on at like 6:00."

294
00:11:13.250 --> 00:11:16.850
"The evening show, Kid Jensen,
13 million people listening."

295
00:11:16.850 --> 00:11:17.970
I'm like, "What we gonna play?"

296
00:11:18.170 --> 00:11:20.090
"Oh, we'll sort that out
tomorrow." That was it, he went.

297
00:11:20.290 --> 00:11:22.250
I think that was the first time
we played, um,

298
00:11:22.290 --> 00:11:23.290
"The Paris Match."

299
00:11:23.570 --> 00:11:25.410
["The Paris Match"
by The Style Council plays]

300
00:11:25.410 --> 00:11:26.970
I was just kind of singing it
to him,

301
00:11:26.970 --> 00:11:28.850
I was sitting next to him
on the drum stool.

302
00:11:28.890 --> 00:11:30.970
And that was it,
we did the session.

303
00:11:31.010 --> 00:11:33.289
...where you are

304
00:11:33.329 --> 00:11:37.169
You sort of clouded my mind

305
00:11:37.169 --> 00:11:38.729
[Paul]
We got our studio, Solid Bond,

306
00:11:38.769 --> 00:11:41.969
which was the old, um,
Phonogram studio,

307
00:11:41.969 --> 00:11:43.849
and before that
it was the Phillips studio

308
00:11:43.889 --> 00:11:45.409
where they did Dusty
and Scott Walker

309
00:11:45.409 --> 00:11:46.328
and all those people.

310
00:11:46.688 --> 00:11:48.768
So it had a real history to it.

311
00:11:48.808 --> 00:11:51.008
I really liked that studio,
I'd used it a few times

312
00:11:51.008 --> 00:11:52.248
when it was still Phonogram,

313
00:11:52.248 --> 00:11:55.048
and that became the playground,
really.

314
00:11:55.048 --> 00:11:56.848
[Mick]  I could tell
that Paul was, you know,

315
00:11:57.048 --> 00:11:59.128
had many studio hours
under his belt.

316
00:11:59.168 --> 00:12:03.248
He was very at ease,
there's no red-light fever.

317
00:12:03.248 --> 00:12:05.168
[Dee C] We were literally
in the studio every day,

318
00:12:05.448 --> 00:12:08.648
nine til 5:00, like a--
like a real sort of, you know,

319
00:12:08.648 --> 00:12:12.048
like a real 9:00 to 5:00 job,
but just working on music.

320
00:12:12.248 --> 00:12:13.727
Being around Paul
for a little while,

321
00:12:13.727 --> 00:12:17.287
you start losing
your kind of inhibitions.

322
00:12:17.327 --> 00:12:19.167
[Steve] It was like
a place of work

323
00:12:19.207 --> 00:12:21.847
but a very--
a very kind of, um, humor.

324
00:12:22.127 --> 00:12:23.447
There was lots
of humor going on.

325
00:12:23.447 --> 00:12:25.567
[Dee C] It was a very
family orientated studio.

326
00:12:25.567 --> 00:12:27.966
Paul's mum, Paul's dad
run in and everything,

327
00:12:27.966 --> 00:12:29.806
we had Kenny,
we had Paul's sister.

328
00:12:30.006 --> 00:12:32.246
We had a little caretaker guy,

329
00:12:32.246 --> 00:12:33.606
God bless him, Arthur.

330
00:12:33.646 --> 00:12:36.166
[Mick] To me, it kind of felt
very un-rock and roll.

331
00:12:36.526 --> 00:12:39.246
It really felt
properly down to earth,

332
00:12:39.246 --> 00:12:41.325
and that's from John downwards,
you know.

333
00:12:41.365 --> 00:12:43.766
Just very realistic,
normal people.

334
00:12:43.806 --> 00:12:46.566
Not a very pressured environment
but a lot come out.

335
00:12:46.566 --> 00:12:48.806
[announcer]  And here at three,
The Style Council.

336
00:12:49.166 --> 00:12:51.046
And of course, at
number three The Style Council

337
00:12:51.046 --> 00:12:52.526
with the EP À Paris

338
00:12:52.566 --> 00:12:54.806
from which for the very
first time on Top of The Pops,

339
00:12:54.846 --> 00:12:57.445
here he is, with Paris Match.

340
00:12:57.725 --> 00:13:00.205
[cheers and applause]

341
00:13:00.245 --> 00:13:02.445
["The Paris Match"
starts to play]

342
00:13:09.044 --> 00:13:13.204
Empty hours spent
Combing the streets

343
00:13:14.324 --> 00:13:18.404
Daytime showers
They've become my beat

344
00:13:18.764 --> 00:13:20.524
[Mick] There was an idea
that we were gonna do

345
00:13:20.524 --> 00:13:22.364
these themed EPs,
and I think, uh,

346
00:13:22.843 --> 00:13:25.804
Paul saw them as sort
of musical postcards.

347
00:13:26.164 --> 00:13:28.604
So, you know, we got as far
as doing one,

348
00:13:28.604 --> 00:13:30.644
and that was the À Paris EP.

349
00:13:30.644 --> 00:13:32.844
I think we were out there
for five days or something...

350
00:13:33.644 --> 00:13:37.843
at a studio and got four
pretty good tracks out of it.

351
00:13:37.843 --> 00:13:41.043
I liked all the sort of chic
sort of, you know, bars abroad

352
00:13:41.043 --> 00:13:44.843
and they were the antithesis
of all the stale old pubs

353
00:13:44.843 --> 00:13:47.283
that were around at that time,
it wasn't like it is now,

354
00:13:47.323 --> 00:13:48.683
that's what you gotta remember,
you know.

355
00:13:48.883 --> 00:13:50.722
They were still sort of smoky,
dirty,

356
00:13:50.762 --> 00:13:52.762
fucking places really,
a lot of 'em.

357
00:13:52.802 --> 00:13:56.882
I'm only sad
In a natural way

358
00:13:57.722 --> 00:14:02.442
And I enjoy sometimes
Feeling this way

359
00:14:03.002 --> 00:14:06.842
The gift you gave is desire

360
00:14:07.802 --> 00:14:12.122
The match
That started my fire

361
00:14:12.122 --> 00:14:14.442
Ah

362
00:14:16.322 --> 00:14:17.841
[Martin]
The whole European thing,

363
00:14:17.841 --> 00:14:20.201
however true it was
or however authentic it was,

364
00:14:20.641 --> 00:14:24.241
it was a statement of intent,
you know.

365
00:14:24.241 --> 00:14:25.641
It was, "We're not gonna be

366
00:14:25.641 --> 00:14:28.201
a parochial little
suburbanite band

367
00:14:28.201 --> 00:14:30.361
just for people who are wearing
parkas and bowling shoes,"

368
00:14:30.401 --> 00:14:33.000
you know, and that bitterly
disappointed a lot of people.

369
00:14:33.200 --> 00:14:35.240
We just wanted to move it away
from just--

370
00:14:35.240 --> 00:14:37.040
from just being English, really.

371
00:14:38.000 --> 00:14:41.760
["The Paris Match"
continues in French]

372
00:14:55.600 --> 00:14:57.560
[song fades]

373
00:14:58.000 --> 00:15:00.439
[Mick] I like the fact
that we stuck with the EP format

374
00:15:00.479 --> 00:15:03.199
and I think  À Paris
is a really good

375
00:15:03.199 --> 00:15:06.559
encapsulation of four strands
of The Style Council,

376
00:15:06.599 --> 00:15:08.639
and I think that's a really good
beginning.

377
00:15:09.199 --> 00:15:15.358
The match that started
My fire

378
00:15:16.278 --> 00:15:18.318
[cheers and applause]

379
00:15:18.358 --> 00:15:21.318
[Steve] After we done
the recording in Paris,

380
00:15:21.318 --> 00:15:24.558
it was-- very quickly
it was turned round,

381
00:15:24.558 --> 00:15:26.118
"Long Hot Summer" came out.

382
00:15:26.118 --> 00:15:28.758
["Long Hot Summer" playing]

383
00:15:36.158 --> 00:15:38.118
[Paul] Two days up in Cambridge

384
00:15:38.118 --> 00:15:39.358
and the weather
was brilliant that year,

385
00:15:39.358 --> 00:15:41.277
it was '83, right,
great summer.

386
00:15:41.717 --> 00:15:44.037
And just great,
just go up and down the Cam,

387
00:15:44.037 --> 00:15:45.077
on the River Cam.

388
00:15:45.357 --> 00:15:47.397
They tell me that it helps

389
00:15:47.877 --> 00:15:51.397
But I know when I'm beaten

390
00:15:52.757 --> 00:15:54.036
[Boy George] "Long Hot Summer"
was the one

391
00:15:54.036 --> 00:15:56.156
that really made me prick
my ears up, you know,

392
00:15:56.196 --> 00:15:59.036
it was, uh-- 'cause, you know,
this is Great Britain,

393
00:15:59.036 --> 00:16:00.916
you know, we always
write people off. [chuckles]

394
00:16:00.916 --> 00:16:03.036
If you've had a moment,
you can't have another one.

395
00:16:03.316 --> 00:16:05.316
And if you have another one,
it can't be good.

396
00:16:05.556 --> 00:16:07.516
So when it's kind
of next level good...

397
00:16:07.755 --> 00:16:09.756
I wanted to give it
this very summery

398
00:16:09.796 --> 00:16:10.916
sort of sexy feel.

399
00:16:11.236 --> 00:16:14.556
But obviously the sexuality
that appeared in the end video

400
00:16:14.596 --> 00:16:17.516
was, well, to be honest,
was fairly homoerotic,

401
00:16:17.556 --> 00:16:19.116
which I thought was great,
because I thought

402
00:16:19.116 --> 00:16:21.595
that completely played
with Paul's image

403
00:16:21.635 --> 00:16:23.595
and the fact
that he was not afraid

404
00:16:23.595 --> 00:16:26.595
to go there
and to be seen like that

405
00:16:26.595 --> 00:16:28.315
I thought was
absolutely brilliant.

406
00:16:28.315 --> 00:16:29.715
Tim was very--
kind of cutting edge,

407
00:16:29.715 --> 00:16:32.915
and he was the go-to guy
for videos at that time.

408
00:16:32.915 --> 00:16:35.834
And so, I think they wanted
to be seen as something--

409
00:16:35.834 --> 00:16:37.154
they weren't doing, you know,

410
00:16:37.194 --> 00:16:38.314
kind of straight performance
video,

411
00:16:38.594 --> 00:16:40.314
it had to be something that
had kind of a bit of an edge

412
00:16:40.354 --> 00:16:41.474
and a bit of fun to it.

413
00:16:41.794 --> 00:16:44.794
And Tim brought a lot to that,
certainly, and they trusted him.

414
00:16:44.834 --> 00:16:46.594
[Paul] Yeah, we loved Tim, yeah.

415
00:16:46.594 --> 00:16:48.714
He was bonkers and eccentric
and we loved him.

416
00:16:48.714 --> 00:16:49.793
We thought he was great.

417
00:16:49.953 --> 00:16:52.994
And I remember meeting him
and he was saying to me,

418
00:16:52.994 --> 00:16:54.234
"Well, you know,
what you up for then?"

419
00:16:54.234 --> 00:16:56.074
"What can we do and not do?"

420
00:16:56.074 --> 00:16:58.114
And I was going,
"Just fucking whatever really,

421
00:16:58.114 --> 00:16:59.954
you know, just let's do
something different," um...

422
00:17:00.274 --> 00:17:01.714
which we certainly did.

423
00:17:01.714 --> 00:17:03.913
Don't matter what I do

424
00:17:04.113 --> 00:17:07.713
'Cause I end up hurting you

425
00:17:07.713 --> 00:17:09.473
[Steve] I said,
"Can I be in a video?"

426
00:17:09.473 --> 00:17:11.473
And Paul's like, "Well,
you can be in the video

427
00:17:11.473 --> 00:17:13.273
as long as you wear
a Brunton jumper,

428
00:17:13.313 --> 00:17:15.913
a little goatee beard,
a beret and play the bongos."

429
00:17:15.953 --> 00:17:18.472
So I'm like, "Yeah, I'm in."
[chuckles] That was it.

430
00:17:18.512 --> 00:17:21.672
The long hot summer
Just passed me by

431
00:17:21.672 --> 00:17:23.592
[Simon] I think Paul knew
full well,

432
00:17:23.592 --> 00:17:25.152
and Mick knew full well that,

433
00:17:25.472 --> 00:17:28.152
"Oh, this is gonna throw
another sort of

434
00:17:28.192 --> 00:17:30.751
fly in the ointment
for certain people."

435
00:17:30.951 --> 00:17:32.672
[Boy George] It was interesting,
'cause it was like

436
00:17:32.672 --> 00:17:35.752
Paul being someone
completely different.

437
00:17:35.752 --> 00:17:37.632
Do you know what I mean?
It was a bit more playful.

438
00:17:37.952 --> 00:17:40.312
["A Solid Bond" playing]

439
00:17:43.312 --> 00:17:45.711
[Martin] I loved the video
for "A Solid Bond."

440
00:17:45.711 --> 00:17:47.631
They look amazing.

441
00:17:48.191 --> 00:17:50.951
They both look beautiful,
great suits.

442
00:17:51.431 --> 00:17:53.271
I love the references
to the, you know,

443
00:17:53.311 --> 00:17:55.351
like the early '70s reference

444
00:17:55.351 --> 00:17:56.991
of them being sort of
suedeheads together

445
00:17:57.151 --> 00:17:58.510
to a sort of, you know--

446
00:17:58.510 --> 00:18:00.030
which, for an English pop record
at the time,

447
00:18:00.030 --> 00:18:01.510
was pure fucking Northern Soul.

448
00:18:01.510 --> 00:18:03.310
It's a great record,
I love that.

449
00:18:03.350 --> 00:18:06.470
A solid bond in your heart
Yeah

450
00:18:06.470 --> 00:18:08.870
A solid bond in your heart

451
00:18:08.910 --> 00:18:10.390
[Boy George]
It was kind of Motown

452
00:18:10.390 --> 00:18:12.389
and a bit of Stax, but it was,
you know,

453
00:18:12.389 --> 00:18:16.070
but it still had that kind of
English kind of understanding

454
00:18:16.070 --> 00:18:19.270
of soul that's a little bit
sort of irreverent.

455
00:18:19.270 --> 00:18:23.190
Respectful, but you know,
I'm not gonna try my hardest

456
00:18:23.190 --> 00:18:25.749
to sound too much like
an American, you know,

457
00:18:25.789 --> 00:18:27.469
sort of R 'n' B musician,

458
00:18:27.469 --> 00:18:28.829
I wanna sound
a little bit British.

459
00:18:28.869 --> 00:18:31.229
I just want to build up

460
00:18:31.229 --> 00:18:34.469
A solid bond in your heart

461
00:18:34.469 --> 00:18:36.429
[Paul]  It was me and Mick
reliving our youth, really.

462
00:18:36.469 --> 00:18:38.949
You know, all the sort of
post skinheads,

463
00:18:38.949 --> 00:18:40.268
suedehead days really.

464
00:18:40.268 --> 00:18:42.228
[Mick] I don't think
those characters that we were,

465
00:18:42.228 --> 00:18:44.308
course they're me and Paul,

466
00:18:44.308 --> 00:18:48.108
I think they're people
that we aspired to be

467
00:18:48.428 --> 00:18:51.028
when we were like, 11.

468
00:18:51.508 --> 00:18:53.387
And they were people
that we looked at

469
00:18:53.387 --> 00:18:55.468
who were about 16 or 17.

470
00:18:55.948 --> 00:18:57.388
If you look at that video,

471
00:18:57.388 --> 00:19:00.868
it's got all Paul's styles
in the audience, you know?

472
00:19:00.868 --> 00:19:04.268
It's like a feeling
Deep inside

473
00:19:04.268 --> 00:19:06.867
Please don't ever try
To hide

474
00:19:06.867 --> 00:19:09.187
That solid bond
In your heart

475
00:19:09.187 --> 00:19:12.787
Yeah, a solid bond
In your heart

476
00:19:12.787 --> 00:19:14.467
Aha

477
00:19:15.547 --> 00:19:17.227
Hoo-hoo

478
00:19:18.707 --> 00:19:20.826
["My Ever-Changing Moods"
playing]

479
00:19:25.786 --> 00:19:28.986
I think it was 1984,

480
00:19:28.986 --> 00:19:32.906
um, that they did their first,
you know, kinda proper tour.

481
00:19:37.226 --> 00:19:38.586
[Billy] They opened the show.

482
00:19:38.586 --> 00:19:40.986
The Style Council opened
and got everybody in the room

483
00:19:40.986 --> 00:19:42.306
for The Questions.

484
00:19:42.346 --> 00:19:43.986
And then I came on,
and then The Style Council

485
00:19:43.986 --> 00:19:45.186
came on again at the end.

486
00:19:45.186 --> 00:19:46.786
And I've never seen
anyone do that before.

487
00:19:47.146 --> 00:19:49.625
Daylight turns to moonlight

488
00:19:50.745 --> 00:19:53.905
And I'm at my best

489
00:19:53.945 --> 00:19:55.905
[Billy] But Paul's commitment
to the artist,

490
00:19:55.945 --> 00:19:59.185
commitment to those of us
who were on the-- on the bill

491
00:19:59.185 --> 00:20:02.184
was, uh, it was something that
was really an eye opener for me.

492
00:20:02.224 --> 00:20:05.744
The calm after the storm
Oh, the cool before the warm

493
00:20:05.744 --> 00:20:07.384
[Paul] Yeah, it definitely
confused people,

494
00:20:08.064 --> 00:20:09.984
'cause the headlining act
come on first

495
00:20:09.984 --> 00:20:11.584
and they also finished the show
as well,

496
00:20:11.624 --> 00:20:13.744
but we were just trying
to present something different,

497
00:20:13.744 --> 00:20:15.543
you know?
We were trying to get away

498
00:20:15.783 --> 00:20:18.264
from just the support act
and then the main act

499
00:20:18.304 --> 00:20:19.984
and all that.
We wanted it to be

500
00:20:19.984 --> 00:20:23.664
a complete experience
and like a total sort of, uh,

501
00:20:23.664 --> 00:20:25.144
evening for people, you know?

502
00:20:25.144 --> 00:20:27.264
It was a strange thing
to get used to though,

503
00:20:27.264 --> 00:20:29.743
because you kinda just feel like
you're warmed up

504
00:20:29.783 --> 00:20:32.263
and then you're off and then
it's just someone else is on.

505
00:20:32.263 --> 00:20:35.383
But it's nice like, you know,
you sort of feel like,

506
00:20:35.383 --> 00:20:37.143
"Oh, this is like it was

507
00:20:37.143 --> 00:20:38.263
at  Sunday Night
at the Palladium,"

508
00:20:38.263 --> 00:20:39.463
or something, you know?

509
00:20:39.463 --> 00:20:41.823
Being on the old school
variety bill, you know?

510
00:20:41.863 --> 00:20:45.542
It's not dead.
Or we didn't think it was.

511
00:20:45.542 --> 00:20:47.142
We might have helped kill it,
but...

512
00:20:47.142 --> 00:20:51.622
The love after the hate
The love we leave too late

513
00:20:53.222 --> 00:20:54.662
[Helen] Musically, you know,

514
00:20:54.662 --> 00:20:57.661
there was nothing like
being on stage

515
00:20:57.661 --> 00:21:02.342
when that band was-- was in,
you know,

516
00:21:02.982 --> 00:21:04.302
in full swing.

517
00:21:04.462 --> 00:21:07.742
Ba ba ba da ba da ba

518
00:21:08.782 --> 00:21:11.421
[cheers and applause]

519
00:21:13.101 --> 00:21:14.261
[Paul] Thank you.

520
00:21:15.501 --> 00:21:16.901
The early '80s, you know,

521
00:21:16.941 --> 00:21:20.021
we saw this kind of surge
of what they were calling,

522
00:21:20.021 --> 00:21:21.541
you know, kind of "new pop."

523
00:21:21.861 --> 00:21:25.780
You know, bands like ABC,
you know, Haircut 100,

524
00:21:25.780 --> 00:21:27.700
Culture Club and Wham!.

525
00:21:27.740 --> 00:21:30.540
I don't know if we actually
fitted into

526
00:21:30.900 --> 00:21:33.500
the box that the '80s
might have liked us to.

527
00:21:33.540 --> 00:21:37.780
I thought we were outside
of the culture of the '80s.

528
00:21:38.739 --> 00:21:40.580
But it's really hard to do that,
I think.

529
00:21:40.580 --> 00:21:41.820
Whether you like it or not,

530
00:21:41.820 --> 00:21:44.540
you are still
a product of your time, I think.

531
00:21:44.580 --> 00:21:47.780
I said oh heavenly thing
Please cleanse my soul

532
00:21:47.780 --> 00:21:53.619
I've seen all on offer
And I'm not impressed at all"

533
00:21:55.219 --> 00:21:56.699
[Simon] They were doing
all the same TV shows,

534
00:21:56.739 --> 00:21:57.939
whether it be  Top of the Pops

535
00:21:57.939 --> 00:21:59.659
or the Saturday morning
kids shows.

536
00:21:59.659 --> 00:22:01.979
So they were sort of
playing the game,

537
00:22:02.019 --> 00:22:03.859
but they were sort of--
I think they felt,

538
00:22:03.899 --> 00:22:06.258
and rightly so,
that they were playing the game

539
00:22:06.298 --> 00:22:07.418
to their own beat.

540
00:22:07.658 --> 00:22:10.938
I said send me a sign
To save my life

541
00:22:10.938 --> 00:22:12.898
'Cause at this moment
In time

542
00:22:12.898 --> 00:22:17.538
There is nothing certain
In these days of mine

543
00:22:18.218 --> 00:22:20.577
[Jason] And the reference points
were soul music.

544
00:22:20.577 --> 00:22:21.817
I heard Marvin Gaye in there,

545
00:22:21.817 --> 00:22:25.578
I heard, um, Curtis Mayfield
in there.

546
00:22:25.818 --> 00:22:28.378
I heard jazz in there.

547
00:22:28.418 --> 00:22:29.778
And it just made sense to me.

548
00:22:30.098 --> 00:22:32.338
It was like a series
of reference points

549
00:22:32.338 --> 00:22:34.337
that really impressed me,
the fact that

550
00:22:34.377 --> 00:22:36.457
there was somebody
doing this stuff now.

551
00:22:36.737 --> 00:22:38.257
[Gary] I mean, it was pop music,
you know,

552
00:22:38.257 --> 00:22:41.097
they were written about in,
you know,  Smash Hits,

553
00:22:41.097 --> 00:22:44.137
and  Record Mirror,
and  Number One,

554
00:22:44.137 --> 00:22:47.096
but also interviewed by,
you know, your  NMEs

555
00:22:47.136 --> 00:22:49.216
and your  Sounds
and your  Melody Makers.

556
00:22:49.216 --> 00:22:53.176
Um, but they were a pop band,
but a pop band with substance.

557
00:22:53.696 --> 00:22:59.176
I could be discontent
And chase the rainbow's end

558
00:22:59.576 --> 00:23:04.616
I might win much more
But lose all that is mine

559
00:23:05.216 --> 00:23:06.896
[Boy George] I think
"You're The Best Thing",

560
00:23:06.936 --> 00:23:09.296
it sounds like another song.
It sounds like a cover.

561
00:23:09.296 --> 00:23:10.456
When you first heard it,
it was like,

562
00:23:10.496 --> 00:23:11.976
"Oh, is this an old song?"

563
00:23:12.176 --> 00:23:13.736
And that's when you know,
you know,

564
00:23:13.736 --> 00:23:16.975
when someone's kind of
emulating that kinda mood,

565
00:23:16.975 --> 00:23:20.375
but they get it so right that
you feel like you knew the song.

566
00:23:20.695 --> 00:23:22.135
It's just a beautiful song.

567
00:23:22.135 --> 00:23:25.855
It's very simple, you know,
just kinda touches you,

568
00:23:25.895 --> 00:23:27.775
you know, sits nice
on your ears.

569
00:23:28.054 --> 00:23:30.814
Slides all over your bones,
you know, it's a good one.

570
00:23:30.814 --> 00:23:33.014
It's like you dream
of writing songs like that.

571
00:23:34.014 --> 00:23:36.614
["Blue Cafe"
by The Style Council plays]

572
00:23:51.534 --> 00:23:53.174
[Rev. Richard] "Of days
such as these,

573
00:23:53.374 --> 00:23:55.933
it's here in the Cafe Bleu
where amidst the smoke,

574
00:23:55.973 --> 00:23:57.773
steam and colors present,

575
00:23:57.773 --> 00:24:00.893
I'm to be found passing
the hours of mortal time."

576
00:24:00.893 --> 00:24:02.893
"Sometimes
exchanging the views."

577
00:24:03.133 --> 00:24:05.533
"Sometimes with my think cap
in full view

578
00:24:05.533 --> 00:24:09.572
so that those around me respect
my wish for solitude and refrain

579
00:24:09.572 --> 00:24:14.012
from the chit-chat until
I signal for some, that is."

580
00:24:15.332 --> 00:24:17.732
[Gary] Some people got really
wound up by the sleeve notes

581
00:24:17.732 --> 00:24:19.252
and I can remember,
you know,

582
00:24:19.292 --> 00:24:22.692
sort of letters of indignation
in the, uh, you know,

583
00:24:22.692 --> 00:24:24.931
the kind of music mags
or music papers.

584
00:24:24.931 --> 00:24:27.012
Uh, you know,
"What's he going on about?"

585
00:24:27.012 --> 00:24:29.812
at the time, you know.
So, job done,

586
00:24:29.812 --> 00:24:32.052
I suppose in a way really.
That's what they wanted.

587
00:24:32.332 --> 00:24:34.172
Yeah, it was just to have a bit
of fun, really.

588
00:24:34.172 --> 00:24:36.372
"The Cappuccino Kid."
It was a way of being able

589
00:24:36.412 --> 00:24:38.771
to vent some views,

590
00:24:39.211 --> 00:24:43.291
um, but not have them attributed
necessarily to yourself.

591
00:24:43.291 --> 00:24:45.491
And, uh-- But it was just a bit
of fun, you know,

592
00:24:45.491 --> 00:24:47.451
and it was aping, um...

593
00:24:48.051 --> 00:24:52.610
uh, Colin MacInnes' style
in  Absolute Beginners,  really.

594
00:24:52.610 --> 00:24:54.770
And that book was a huge
influence as well on me

595
00:24:54.810 --> 00:24:57.610
and The Style Council
for forming The Style Council.

596
00:24:57.610 --> 00:25:00.130
[Mick] I always thought
that it had elements of those

597
00:25:00.130 --> 00:25:03.250
early Stones albums as well,
like, getting some strength

598
00:25:03.250 --> 00:25:06.489
and dialogue from a really
good novel,

599
00:25:06.489 --> 00:25:10.610
and using it as a kind of
language that was pertinent

600
00:25:10.610 --> 00:25:11.810
just to one band.

601
00:25:11.810 --> 00:25:15.690
And I just had a kind of another
rebirth of Mod

602
00:25:15.690 --> 00:25:17.410
when I read that book, really.

603
00:25:17.690 --> 00:25:22.209
And I thought, um,
that was the kind of, uh,

604
00:25:22.689 --> 00:25:24.129
sort of blueprint, really,

605
00:25:24.129 --> 00:25:25.889
for Modernism,
I thought, really.

606
00:25:25.929 --> 00:25:28.289
You know, kind of embracing
of all these different cultures

607
00:25:28.289 --> 00:25:30.929
and not being xenophobic

608
00:25:30.969 --> 00:25:35.008
and, um, suspicious
of anything foreign.

609
00:25:35.488 --> 00:25:37.888
[Rev. Richard] "For I say
unto thee that verily thou

610
00:25:37.888 --> 00:25:41.368
hast forsaken your brothers
and sisters to allow the sordids

611
00:25:41.368 --> 00:25:44.568
their space. And much like
the donkey's parable,

612
00:25:44.568 --> 00:25:47.847
have been deceived
by their golden carrots."

613
00:25:52.128 --> 00:25:53.728
A reading from  Cafe Bleu.

614
00:25:53.768 --> 00:25:56.008
According unto
The Style Council.

615
00:25:56.488 --> 00:25:59.847
["Mick's Blessings" playing]

616
00:26:00.447 --> 00:26:03.447
[Mick] I don't know why,
this album worked very well

617
00:26:03.447 --> 00:26:04.487
in shoe shops.

618
00:26:10.367 --> 00:26:11.887
[Paul] Well looking at it now,
right, I mean,

619
00:26:11.887 --> 00:26:15.126
there's like the first
three songs on this record

620
00:26:16.086 --> 00:26:18.086
are instrumentals, right?

621
00:26:18.646 --> 00:26:21.726
And then there's "Paris Match,"
which I didn't even play on it,

622
00:26:21.726 --> 00:26:22.806
I don't think.

623
00:26:23.566 --> 00:26:26.206
So I don't make an appearance
until the fifth track

624
00:26:26.246 --> 00:26:27.685
on "Ever Changing Moods,"

625
00:26:28.085 --> 00:26:30.246
which was different
from the single version as well,

626
00:26:30.286 --> 00:26:31.926
it's just on piano, I think.

627
00:26:32.486 --> 00:26:34.486
And then followed by another
instrumental.

628
00:26:35.246 --> 00:26:38.206
Followed by "A Gospel,"
which was a rap track,

629
00:26:38.206 --> 00:26:40.166
'cause Dizzy Heights did a rap.

630
00:26:40.166 --> 00:26:41.845
So it's a strange little record,
really.

631
00:26:42.125 --> 00:26:46.045
The cool before the warm,
The calm after the storm

632
00:26:46.085 --> 00:26:50.485
Oh the cool before the warm,
The calm after the storm

633
00:26:50.525 --> 00:26:53.565
I wish to stay forever

634
00:26:53.845 --> 00:26:56.644
Letting this be my food

635
00:26:56.644 --> 00:27:00.524
Oh but I'm caught up
In a whirlwind

636
00:27:00.564 --> 00:27:05.804
And my ever-changing moods,
Yeah

637
00:27:05.844 --> 00:27:09.323
[Steve] I know that this record
really bravely said,

638
00:27:09.323 --> 00:27:12.324
"Enough, that was then
and this is now."

639
00:27:12.324 --> 00:27:14.644
And you kind of think
about an artist

640
00:27:14.644 --> 00:27:15.724
that would do that now.

641
00:27:15.924 --> 00:27:19.164
I appreciated the fact
that how courageous they were,

642
00:27:19.164 --> 00:27:20.644
you know. And I'm sure
they weren't trying

643
00:27:20.684 --> 00:27:22.003
to be courageous,
they were just literally

644
00:27:22.003 --> 00:27:23.043
following their nose

645
00:27:23.083 --> 00:27:24.363
and just wanting
to do that more.

646
00:27:24.403 --> 00:27:26.163
But a lot of people stopped
themselves doing that.

647
00:27:26.483 --> 00:27:29.283
Especially when there's money
to be made and lost

648
00:27:29.283 --> 00:27:32.963
and fans to be lost.
And there's no way

649
00:27:32.963 --> 00:27:34.923
they didn't know that
by releasing a first album

650
00:27:34.923 --> 00:27:36.482
with a lot of instrumental jazz
on it,

651
00:27:36.482 --> 00:27:38.002
that that was gonna be a risk,
there's no way

652
00:27:38.002 --> 00:27:38.922
they didn't know that.

653
00:27:39.282 --> 00:27:41.202
Recently a lot of people
seem to think that

654
00:27:41.202 --> 00:27:42.882
because we do change a lot
and there's a lot

655
00:27:42.882 --> 00:27:46.122
of different things going on
that we kind of see things

656
00:27:46.122 --> 00:27:48.482
and treat things, you know,
in a very fickle way.

657
00:27:49.042 --> 00:27:50.721
As if we, you know,
almost as if

658
00:27:50.761 --> 00:27:52.081
we don't really care
about what we do,

659
00:27:52.121 --> 00:27:53.682
which is just, you know,
it's just totally wrong.

660
00:27:53.682 --> 00:27:55.642
I mean, the only reason,
you know, we use

661
00:27:55.682 --> 00:27:57.522
so many different styles
and different ways

662
00:27:57.522 --> 00:27:59.122
of presenting things,
is just, um--

663
00:27:59.122 --> 00:28:00.482
it's just to keep it
interesting, you know.

664
00:28:00.522 --> 00:28:02.442
[interviewer] It's not that
you're confused in what you do?

665
00:28:02.442 --> 00:28:04.441
No, it's not. I mean,
I just get a feeling

666
00:28:04.481 --> 00:28:07.321
you know, that a lot of people
think this but I don't, no.

667
00:28:07.321 --> 00:28:09.321
It's not for that reason,
you know?

668
00:28:09.601 --> 00:28:11.641
["Strength Of Your Nature"
plays]

669
00:28:11.641 --> 00:28:13.521
[Paul] This song's called
"The Strength Of Your Nature."

670
00:28:16.121 --> 00:28:19.320
[Gary] There was a lot
of expectation for  Cafe Bleu.

671
00:28:19.320 --> 00:28:21.440
You know, they'd released
a couple of singles,

672
00:28:21.480 --> 00:28:22.640
a couple of EPs,

673
00:28:22.640 --> 00:28:24.920
but they made us wait
for the album.

674
00:28:25.240 --> 00:28:28.560
When you gonna find
The strength of your nature

675
00:28:28.560 --> 00:28:30.719
[Steve] I love this record,
I love, um,

676
00:28:30.719 --> 00:28:32.159
I love the humor in it,

677
00:28:32.159 --> 00:28:36.680
I love the, uh, expansion
of sounds that we got.

678
00:28:36.680 --> 00:28:40.160
It probably gave us a lot
of confidence, you know,

679
00:28:40.400 --> 00:28:43.680
to keep at this kind of
experimental thing.

680
00:28:43.680 --> 00:28:46.399
When you gonna let
Yourself take control

681
00:28:46.679 --> 00:28:48.639
[Steve] I was 18 at that point.

682
00:28:48.839 --> 00:28:52.159
Paul and Mick were only 25,
you know, it was fantastic.

683
00:28:52.159 --> 00:28:54.919
I think Paul was just
getting into kind a of thing

684
00:28:54.959 --> 00:28:56.959
where he was listening
to a lot of Blue Note records

685
00:28:56.959 --> 00:29:00.558
and stuff. And he had
a new awareness

686
00:29:00.598 --> 00:29:03.798
of some of that music,
but we were very appreciative

687
00:29:03.798 --> 00:29:06.318
of the kind of sleeve design
of things like that.

688
00:29:06.318 --> 00:29:08.878
[Simon] You know, at that time
we were sort of thick and fast

689
00:29:08.878 --> 00:29:13.077
into our kind of Blue Note
influence and Reed Miles

690
00:29:13.117 --> 00:29:16.278
and all those great covers
from that era.

691
00:29:16.278 --> 00:29:18.278
It was a fun time.
Again, we went to Paris

692
00:29:18.278 --> 00:29:20.638
to do a photo session
with Peter Anderson

693
00:29:20.678 --> 00:29:22.038
taking the pictures,
and we came back

694
00:29:22.038 --> 00:29:24.278
with such great photos
from that trip.

695
00:29:24.438 --> 00:29:26.477
We achieved exactly
what we set out to do

696
00:29:26.477 --> 00:29:27.917
because it was supposed to be
that kind of

697
00:29:27.917 --> 00:29:30.917
paparazzi-style
feel in a Blue Note setting.

698
00:29:31.437 --> 00:29:34.957
[Martin] From the packaging
to the way that they dressed,

699
00:29:35.517 --> 00:29:37.797
you know, all the aesthetic
side of it,

700
00:29:37.797 --> 00:29:39.876
I think they would survive
better than most.

701
00:29:40.356 --> 00:29:41.876
But because I suppose
The Style Council

702
00:29:41.876 --> 00:29:45.116
were already partly drawing
on an age that had gone by,

703
00:29:45.156 --> 00:29:48.196
whether it was, you know,
the French New Wave,

704
00:29:48.196 --> 00:29:51.676
or Ivy League,
or general Modernism,

705
00:29:51.676 --> 00:29:54.835
it sort of couldn't date
as quickly as, you know,

706
00:29:54.875 --> 00:29:56.355
"Rio" video.
Do you know what I mean?

707
00:29:56.355 --> 00:29:58.556
'Cause that dates very,
very quickly.

708
00:30:01.116 --> 00:30:03.916
It was something a bit more
classic about it, I suppose.

709
00:30:03.916 --> 00:30:05.756
It kind of had
all these reference points

710
00:30:05.756 --> 00:30:08.195
that I related to.

711
00:30:08.435 --> 00:30:10.315
And, um, even though
they were kind of disparate,

712
00:30:10.315 --> 00:30:11.915
I kind of had a sense
that there was--

713
00:30:11.955 --> 00:30:14.755
he was heading in the direction
that I kind of wanted to be

714
00:30:14.795 --> 00:30:17.435
in as well. So,
it kind of-- it just resonated.

715
00:30:17.835 --> 00:30:19.635
He's taking loads more
influences,

716
00:30:19.635 --> 00:30:24.194
all fundamentally Mod, you know,
but just from different places,

717
00:30:24.194 --> 00:30:26.194
you know, like existentialism.

718
00:30:26.234 --> 00:30:28.634
Film, books,
the whole kind of next wave

719
00:30:28.674 --> 00:30:31.154
of Mod was coming out
of Paul's imagination

720
00:30:31.154 --> 00:30:33.514
from the sleeve notes
to the clothes,

721
00:30:33.514 --> 00:30:36.353
to the way the sleeves looked,
to the sound.

722
00:30:36.353 --> 00:30:38.954
["One Night In Rio"
by Louie Austen plays]

723
00:30:41.714 --> 00:30:43.194
[Jason] You know,
if you're a Mod

724
00:30:43.194 --> 00:30:45.354
then this is really what Mod is
about now.

725
00:30:45.594 --> 00:30:50.273
And so he completely embraces
the contemporary.

726
00:30:50.553 --> 00:30:51.953
It's music for now.

727
00:30:52.793 --> 00:30:55.593
[Eddie] The Style Council
are much more Mod than The Jam,

728
00:30:55.593 --> 00:30:57.193
and he was just saying,
"Here it is, boys,

729
00:30:57.233 --> 00:30:58.873
you don't have to be like that
anymore."

730
00:30:58.873 --> 00:31:00.433
So I think it was much more
contemporary,

731
00:31:00.473 --> 00:31:03.912
but it still had an eye
on his Mod routes,

732
00:31:03.912 --> 00:31:05.872
but trying to change it
for the future.

733
00:31:05.872 --> 00:31:07.912
It was a lovely--
a lovely melting pot

734
00:31:07.912 --> 00:31:10.152
but I think-- I think
there was a, you know,

735
00:31:10.152 --> 00:31:15.152
an awareness of like, I think,
you know, if that kind of part

736
00:31:15.192 --> 00:31:18.151
of his career was turn left,
I think he wants to turn right.

737
00:31:18.151 --> 00:31:19.191
You know, which was great.

738
00:31:19.431 --> 00:31:21.672
It just all went
in the melting pot, you know,

739
00:31:21.712 --> 00:31:24.072
and it come out in different
ways, I suppose really.

740
00:31:24.072 --> 00:31:26.672
Sometimes successful,
really successful

741
00:31:26.672 --> 00:31:27.832
and other times it wasn't,
you know,

742
00:31:28.032 --> 00:31:30.231
but that's just what happens
when you experiment with,

743
00:31:30.831 --> 00:31:33.311
or try and see where
your limitations are

744
00:31:33.311 --> 00:31:35.431
and if you can go beyond
those limitations.

745
00:31:35.751 --> 00:31:40.311
["Dropping Bombs
On The White House" playing]

746
00:31:41.111 --> 00:31:46.750
[Hilary] It felt like we were
taking so many influences

747
00:31:46.750 --> 00:31:48.390
from so many different places.

748
00:31:48.430 --> 00:31:52.390
I think Paul described it
as musicians who like jazz

749
00:31:52.390 --> 00:31:53.870
rather than jazz musicians.

750
00:31:53.910 --> 00:31:57.149
We shied away from calling
ourselves jazz musicians.

751
00:31:57.149 --> 00:32:01.750
I think we felt that
we were competent in playing

752
00:32:01.750 --> 00:32:05.670
what we wanted to play
and jazz was an influence.

753
00:32:05.990 --> 00:32:08.430
But it's another one
of these things that I feel...

754
00:32:09.310 --> 00:32:14.389
genres of music
and... cults of fashion,

755
00:32:15.029 --> 00:32:17.309
and once you start putting
a label on it, it's like,

756
00:32:18.269 --> 00:32:20.669
you know, you have to fit in
with the rules,

757
00:32:20.669 --> 00:32:23.669
so it was an important influence
but I don't know

758
00:32:23.669 --> 00:32:26.508
if we were part
of the '80s jazz scene.

759
00:32:26.508 --> 00:32:28.788
I was really getting into it
at that stage, anyway.

760
00:32:29.868 --> 00:32:31.508
But we weren't jazz band
or whatever,

761
00:32:31.508 --> 00:32:33.228
you know what I mean?
It wasn't like that.

762
00:32:33.228 --> 00:32:34.548
We were-- We were influenced--

763
00:32:34.588 --> 00:32:37.668
Our influences were varied
and they ranged

764
00:32:37.668 --> 00:32:39.987
from Tony Hancock to...

765
00:32:39.987 --> 00:32:41.307
to, uh, Horace Silver,

766
00:32:41.347 --> 00:32:42.908
do you know what I mean?
It was like that.

767
00:32:43.148 --> 00:32:45.668
There was a big breadth
of things that-- that, um...

768
00:32:46.988 --> 00:32:49.108
that influenced us
in lots of ways,

769
00:32:49.148 --> 00:32:50.428
you know,
lots of cultural things.

770
00:32:50.748 --> 00:32:53.427
Daylight turns to moonlight

771
00:32:54.307 --> 00:32:57.747
And I'm at my best

772
00:32:57.787 --> 00:32:59.587
[Eddie]  The best music
transports you

773
00:32:59.587 --> 00:33:00.707
to a different time and place,

774
00:33:00.747 --> 00:33:02.267
and that's what  Cafe Bleu
did to me.

775
00:33:02.507 --> 00:33:04.267
[Gary] You know, there's four
or five classic songs

776
00:33:04.707 --> 00:33:06.626
on that album, um, you know,

777
00:33:06.626 --> 00:33:08.906
"The Paris Match,"
"Headstart for Happiness,"

778
00:33:08.906 --> 00:33:11.466
you know, different versions
of "You're The Best Thing"

779
00:33:11.466 --> 00:33:13.466
and "My Ever-Changing Moods."

780
00:33:13.466 --> 00:33:15.026
Doesn't get much better
than that.

781
00:33:15.066 --> 00:33:17.386
Letting this be my food

782
00:33:17.386 --> 00:33:18.626
[Paul] I was proud of it
at the time

783
00:33:18.666 --> 00:33:20.705
and that's all that matters
to me in my mind.

784
00:33:20.705 --> 00:33:23.145
You know, you can only commit
to what you feel at the time.

785
00:33:23.505 --> 00:33:24.986
You can't think
how you're gonna feel ten years

786
00:33:24.986 --> 00:33:27.426
down the line or 40
or 30 or whatever.

787
00:33:28.026 --> 00:33:30.386
And I liked it at the time
and that's good enough for me.

788
00:33:31.506 --> 00:33:33.905
Its Christmas time

789
00:33:35.705 --> 00:33:38.145
There's no need
to be afraid

790
00:33:39.385 --> 00:33:40.625
[Paul] Bob called me up
and just said,

791
00:33:40.865 --> 00:33:42.585
"Look, you know,
we're doing this--

792
00:33:42.585 --> 00:33:44.825
I wanna do this record,
this charity record

793
00:33:44.825 --> 00:33:46.905
and would you come
and do it with us,

794
00:33:46.945 --> 00:33:48.224
or sing on it?"

795
00:33:48.464 --> 00:33:50.184
And, um,
they played me the track,

796
00:33:50.184 --> 00:33:53.144
which I thought was just fucking
dreadful really, you know?

797
00:33:53.144 --> 00:33:55.584
God bless 'em,
but it was just, oh, Jesus.

798
00:33:55.944 --> 00:34:01.343
Throw your arms around
The world at Christmas time

799
00:34:01.343 --> 00:34:04.063
"It's Christmas time
there's no need to be afraid."

800
00:34:04.103 --> 00:34:06.544
[laughs] But, you know...

801
00:34:07.624 --> 00:34:09.344
Strange--
Strange opening line, no?

802
00:34:09.784 --> 00:34:12.584
The greatest gift
they'll get

803
00:34:12.584 --> 00:34:15.583
This year is life

804
00:34:15.823 --> 00:34:18.743
I was surprised that Paul
had done it,

805
00:34:18.783 --> 00:34:20.743
given the number of people
that were involved

806
00:34:20.743 --> 00:34:22.903
in the project
that weren't of his stamp.

807
00:34:23.343 --> 00:34:25.863
I've gotta say, I think
it was admirable,

808
00:34:25.903 --> 00:34:28.103
um, I don't think...

809
00:34:28.303 --> 00:34:30.902
He looks very uncomfortable
in the video, you know?

810
00:34:30.942 --> 00:34:33.702
I don't think Paul
liked being in Band Aid.

811
00:34:33.702 --> 00:34:37.942
You couldn't help but smile
a little bit because, of course,

812
00:34:37.982 --> 00:34:41.662
you now, Mr. Weller's surrounded
by this, uh, you know,

813
00:34:41.662 --> 00:34:46.221
this, um, you know,
array of pop stars who, um,

814
00:34:46.261 --> 00:34:48.662
you know, how can I put this?
He wouldn't have been

815
00:34:48.662 --> 00:34:52.262
too kind about in, um,
in, you know,

816
00:34:52.262 --> 00:34:54.862
the music magazines and papers.

817
00:34:54.902 --> 00:34:58.861
And, um, you know, he looks like
a little bit of a fish

818
00:34:58.901 --> 00:35:01.981
out of water to kinda
say the least, really.

819
00:35:02.021 --> 00:35:05.101
A thing I really admire
about him is he's resolutely

820
00:35:06.101 --> 00:35:09.381
not played a pop star
most of the time.

821
00:35:09.381 --> 00:35:11.900
You know, or he's not tried to
fall for the trappings of that.

822
00:35:11.940 --> 00:35:13.980
Um, you know,
"I'm just gonna come along

823
00:35:13.980 --> 00:35:15.540
and make a record,
I'm gonna make a record

824
00:35:15.540 --> 00:35:17.420
for charity," and sometimes
that can be almost too,

825
00:35:17.460 --> 00:35:19.100
you know, sometimes you think,
"Fuck it,

826
00:35:19.100 --> 00:35:21.820
enjoy yourself a bit mate,
you can enjoy some things."

827
00:35:21.860 --> 00:35:23.699
But I like the fact
that he was--

828
00:35:23.699 --> 00:35:26.459
he seemed to be there in a very,
very understated way,

829
00:35:26.459 --> 00:35:28.500
he wasn't pushing himself
front and center.

830
00:35:28.500 --> 00:35:30.940
And, you know, he was a big act
that that time.

831
00:35:30.980 --> 00:35:32.100
It's easy to forget that.

832
00:35:32.300 --> 00:35:34.540
[Paul] I was probably just like
the grumpy sort of...

833
00:35:34.980 --> 00:35:36.900
little grumpy bloke
in the corner, really, you know,

834
00:35:36.900 --> 00:35:38.099
I wasn't really digging it.

835
00:35:38.339 --> 00:35:40.419
And I didn't relate to almost
anybody there.

836
00:35:40.699 --> 00:35:43.539
They were very much, um,
pop stars,

837
00:35:43.579 --> 00:35:46.179
and I didn't feel any affinity
with that at all.

838
00:35:46.179 --> 00:35:47.179
I wasn't really into that.

839
00:35:47.419 --> 00:35:51.458
Feed the world

840
00:35:51.498 --> 00:35:55.578
Let them know
It's Christmas time again

841
00:35:55.578 --> 00:35:56.618
[Paul] You know, the outcome

842
00:35:56.618 --> 00:35:57.978
sort of speaks for itself,
really.

843
00:35:57.978 --> 00:36:00.658
If you're raising money
and possibly,

844
00:36:00.698 --> 00:36:02.698
hopefully saving
people's lives,

845
00:36:02.698 --> 00:36:04.418
the cause is far greater

846
00:36:04.418 --> 00:36:06.497
than your own personal opinions
of it.

847
00:36:06.497 --> 00:36:08.097
What it did, I suppose,

848
00:36:08.137 --> 00:36:09.538
you couldn't really argue
with, you know.

849
00:36:09.938 --> 00:36:15.978
Well tonight thank God
It's them instead of you

850
00:36:15.978 --> 00:36:18.538
["A Stone's Throw Away"
plays]

851
00:36:18.578 --> 00:36:20.657
[announcer]
The Style Council present

852
00:36:20.657 --> 00:36:21.977
Our Favourite Shop.

853
00:36:22.017 --> 00:36:24.897
Fourteen classic tracks
including the hit single

854
00:36:24.897 --> 00:36:28.297
"Walls Come Tumbling Down,"
available on record,

855
00:36:28.297 --> 00:36:30.497
cassette and compact disc.

856
00:36:33.176 --> 00:36:35.176
In your favorite shop now.

857
00:36:35.776 --> 00:36:39.336
["Walls Come Tumbling Down"
plays]

858
00:36:41.736 --> 00:36:44.656
[announcer] Our Favourite Shop
by The Style Council.

859
00:36:44.656 --> 00:36:46.695
Probably the best pop group
in the world.

860
00:36:47.495 --> 00:36:50.375
[Mick] I think we got to
a point with  Our Favourite Shop

861
00:36:50.375 --> 00:36:53.776
where we had a more kind of
set line-up

862
00:36:53.776 --> 00:36:57.176
and we kinda became aware
of our strengths more.

863
00:36:58.016 --> 00:37:00.415
From the playground
To the wasteground

864
00:37:00.415 --> 00:37:02.735
Hope ends at 17

865
00:37:03.055 --> 00:37:05.695
Sweeping floors
And filling shelves

866
00:37:05.695 --> 00:37:08.215
Forced
Into government schemes

867
00:37:08.695 --> 00:37:11.055
Eleven years spent
To dig out ditches

868
00:37:11.095 --> 00:37:13.734
Forget your school day
Dreams

869
00:37:14.214 --> 00:37:16.894
Guarantees and lie-filled
Speeches

870
00:37:16.894 --> 00:37:19.494
But nothing's what it seems

871
00:37:19.854 --> 00:37:24.854
Qualified and patronized
And with everything to lose

872
00:37:25.254 --> 00:37:27.134
Ooh

873
00:37:27.653 --> 00:37:31.773
[Paul] This was more
of a very definite album.

874
00:37:32.054 --> 00:37:33.414
You know, we kind of set up,

875
00:37:33.414 --> 00:37:34.574
"This is gonna be
the next record."

876
00:37:34.854 --> 00:37:38.094
I think it's probably our most
consistent album, musically.

877
00:37:38.094 --> 00:37:41.213
And it may be
the most accessible.

878
00:37:41.253 --> 00:37:43.853
I bought the paper
Yesterday

879
00:37:43.893 --> 00:37:47.813
And I saw the obituary

880
00:37:47.853 --> 00:37:50.693
And I read of how you died
In pain

881
00:37:51.013 --> 00:37:54.333
Well I just
Couldn't understand it

882
00:37:54.493 --> 00:37:58.092
There was a more of a cohesive,
you know, band sound.

883
00:37:58.132 --> 00:38:01.812
And awash with, uh, you know,
the-- these wonderful,

884
00:38:01.812 --> 00:38:04.092
beautiful melodies.
I thought that was them

885
00:38:04.132 --> 00:38:05.292
at the top of their game.

886
00:38:05.292 --> 00:38:07.972
It's a real sort of
galvanization of all

887
00:38:08.012 --> 00:38:11.011
of our ideas and our commitment
to things that we were into.

888
00:38:11.011 --> 00:38:14.292
But you were always
Chained and

889
00:38:14.292 --> 00:38:16.892
Shackled by the dirt

890
00:38:17.132 --> 00:38:19.732
Our Favourite Shop
is a fantastic snapshot

891
00:38:19.732 --> 00:38:22.012
of a slice of Britain in 1985.

892
00:38:22.052 --> 00:38:26.091
The miners, Thatcher,
Pinochet, all sorts of things

893
00:38:26.131 --> 00:38:28.291
in a-- in a pop record.
You know?

894
00:38:28.291 --> 00:38:31.611
And taking on racism,
homophobia.

895
00:38:31.611 --> 00:38:33.931
It was all the things
that as a young lefty,

896
00:38:33.931 --> 00:38:36.290
you wanted your favorite group
to be doing.

897
00:38:36.290 --> 00:38:39.010
Well Thatcher came to power
in '79, I think,

898
00:38:39.010 --> 00:38:41.690
and that was the first time
I was old enough to vote.

899
00:38:41.690 --> 00:38:45.050
Where there is discord,
may we bring harmony.

900
00:38:45.050 --> 00:38:48.410
Where there is error,
may we bring truth.

901
00:38:48.450 --> 00:38:51.489
Where there is doubt,
may we bring faith

902
00:38:51.489 --> 00:38:54.409
and where there is despair,
may we bring hope.

903
00:38:54.609 --> 00:38:56.210
No peace for the wicked

904
00:38:56.570 --> 00:38:58.410
There's only war
on the poor

905
00:38:59.010 --> 00:39:03.769
They're batting on pickets
Trying to even the score

906
00:39:03.809 --> 00:39:07.409
It's all inclusive
And the dirt comes free

907
00:39:07.809 --> 00:39:13.009
And you can be all
That you want to be

908
00:39:13.929 --> 00:39:17.488
After that
was the Falklands, '82.

909
00:39:17.488 --> 00:39:19.488
And I think it just all,

910
00:39:19.528 --> 00:39:21.728
just bit by bit,
all went downhill, really.

911
00:39:22.128 --> 00:39:24.048
Shutting down of the mines

912
00:39:24.048 --> 00:39:26.928
and trying to dismantle
trade unions.

913
00:39:27.448 --> 00:39:30.008
I think it was really them
getting their revenge back

914
00:39:30.048 --> 00:39:31.967
on what had happened
to Ted Heath, isn't it?

915
00:39:32.007 --> 00:39:34.247
That was-- I thought
it was the vibe I always got.

916
00:39:34.247 --> 00:39:36.808
I thought there was this sort of
determined plan to smash

917
00:39:36.848 --> 00:39:38.648
the working classes
and the trade unions

918
00:39:38.648 --> 00:39:42.168
because of the power they'd had
and brought down a government,

919
00:39:42.208 --> 00:39:43.448
almost really.

920
00:39:44.928 --> 00:39:47.527
[Rev. Richard] Many themes
emerged from this collection

921
00:39:47.567 --> 00:39:50.167
and for instance,
check the first tune out,

922
00:39:50.367 --> 00:39:54.447
which tells sad of a family torn
and broken in two

923
00:39:54.447 --> 00:39:56.407
by the curse of unemployment.

924
00:39:56.447 --> 00:40:00.286
The two young sons in London,
one in search of work,

925
00:40:00.286 --> 00:40:03.126
the other looking to revenge
this outrage

926
00:40:03.126 --> 00:40:05.086
whilst the father
who has been marked,

927
00:40:05.086 --> 00:40:09.366
made redundant, stays behind,
his wiles swept with nostalgia

928
00:40:09.366 --> 00:40:12.006
as he blames all except
the real enemy.

929
00:40:12.286 --> 00:40:16.605
Good morning day
And how do you do

930
00:40:16.605 --> 00:40:20.806
I wonder what will you do
For me

931
00:40:20.806 --> 00:40:25.006
[Mick] "Homebreakers" was a tune
that I had, and Paul said,

932
00:40:25.046 --> 00:40:26.765
"I think I've got some lyrics
for that."

933
00:40:26.765 --> 00:40:29.605
He wanted me to sing it
because my dad and my brother,

934
00:40:29.605 --> 00:40:31.125
they were both
in the printing union,

935
00:40:31.165 --> 00:40:33.925
and SOGAT
was getting ripped to shreds.

936
00:40:33.965 --> 00:40:36.285
My dad did get made redundant.

937
00:40:36.325 --> 00:40:39.965
It's 30 years with one firm.
I think he was like 33 years

938
00:40:39.965 --> 00:40:42.284
with the same firm
and that was personal to me,

939
00:40:42.284 --> 00:40:43.524
but it was everyone's story

940
00:40:43.564 --> 00:40:45.524
and it was going on
all over the place.

941
00:40:45.564 --> 00:40:48.764
And also, it kinda
cocks a snook

942
00:40:48.764 --> 00:40:50.764
at the Norman Tebbit
"get on your bike,"

943
00:40:50.804 --> 00:40:52.164
that famous speech.

944
00:40:52.164 --> 00:40:54.563
...and he kept looking
till he found it.

945
00:40:54.763 --> 00:40:57.763
If you can't find work

946
00:40:58.403 --> 00:41:00.444
In your own town

947
00:41:00.444 --> 00:41:02.124
[Paul] When you saw
the nightly news

948
00:41:02.164 --> 00:41:03.324
during the miners' strike

949
00:41:03.364 --> 00:41:05.764
of the police beating shit out
of the miners,

950
00:41:05.764 --> 00:41:08.683
it was just incredibly fucking
depressing,

951
00:41:08.683 --> 00:41:10.243
really, it was just like,
"Is this our country?

952
00:41:10.243 --> 00:41:11.563
Is this what it's come to?"

953
00:41:11.563 --> 00:41:15.083
These people are heroes
a few years before that.

954
00:41:15.323 --> 00:41:17.123
Going down deep
into the fucking ground,

955
00:41:17.123 --> 00:41:18.483
digging out coal, right?

956
00:41:19.003 --> 00:41:21.083
Uh, which ain't the most
pleasant

957
00:41:21.083 --> 00:41:22.322
of jobs, I can imagine.

958
00:41:22.522 --> 00:41:25.882
And all of a sudden
they are, um, being beaten

959
00:41:25.882 --> 00:41:30.362
and, uh...
and vilified by the media

960
00:41:30.682 --> 00:41:33.242
for standing up
for their livelihoods, man.

961
00:41:33.242 --> 00:41:36.001
The sign says closed
It's a sign of the times

962
00:41:36.001 --> 00:41:40.522
Like everything else
It's all gone away

963
00:41:40.522 --> 00:41:42.522
[Billy] For me and Paul,
I think the miners' strike

964
00:41:42.562 --> 00:41:43.482
was a class war,

965
00:41:43.682 --> 00:41:45.482
and if you had a working class
background

966
00:41:45.482 --> 00:41:46.802
like Paul did
and like I did, you're--

967
00:41:46.802 --> 00:41:48.682
you know, you realize
these are our people,

968
00:41:48.682 --> 00:41:50.441
-we have to take sides here.
-There are definitely

969
00:41:50.481 --> 00:41:52.201
a working class

970
00:41:52.441 --> 00:41:54.521
mass of people
who didn't have a voice

971
00:41:54.521 --> 00:41:56.841
and were being completely
neglected.

972
00:41:57.201 --> 00:41:59.801
But somewhere
The party never ends

973
00:41:59.801 --> 00:42:03.000
And greedy hands rub
Together again

974
00:42:03.040 --> 00:42:08.440
Shipping out the profits
That they've stolen

975
00:42:08.440 --> 00:42:11.240
[Martin] They were one
of the most effective acts

976
00:42:11.240 --> 00:42:15.120
at getting
a political message across

977
00:42:15.160 --> 00:42:17.719
in an absolutely pop way.

978
00:42:17.719 --> 00:42:19.999
You don't have to take
This crap

979
00:42:20.759 --> 00:42:23.560
You don't have to sit back
And relax

980
00:42:23.560 --> 00:42:28.200
You can actually try
Changing it

981
00:42:28.640 --> 00:42:30.559
[Billy] What a great anthem
that was.

982
00:42:30.559 --> 00:42:34.599
The whole dynamic of that song,
it's got the energy of punk,

983
00:42:34.599 --> 00:42:36.119
it's got the beauty of soul,

984
00:42:36.319 --> 00:42:38.319
and it's got the anger
of the 1980s in it.

985
00:42:38.319 --> 00:42:41.039
Are you gonna try to make
This work

986
00:42:41.079 --> 00:42:43.519
Or spend your days
Down in the dirt

987
00:42:43.519 --> 00:42:45.318
You see things can change

988
00:42:45.358 --> 00:42:47.358
Yes and walls
Can come tumbling down

989
00:42:47.558 --> 00:42:50.998
[Eddie] All that kind of stuff
is very clever political music

990
00:42:50.998 --> 00:42:52.278
that makes you wanna dance.

991
00:42:52.318 --> 00:42:53.878
If you're on the dancefloor
first, the message

992
00:42:53.878 --> 00:42:55.518
doesn't come back 'til later,
you know?

993
00:42:55.558 --> 00:42:57.438
It's a very clever way
of doing it.

994
00:42:57.677 --> 00:42:59.757
There were other political
groups around at the time,

995
00:42:59.757 --> 00:43:01.877
but they weren't getting
in the top ten, really.

996
00:43:01.877 --> 00:43:03.838
And they weren't doing it
with beautiful melodies

997
00:43:03.838 --> 00:43:05.158
and they weren't doing it
looking like

998
00:43:05.158 --> 00:43:07.478
they could have been
on the cover of  Smash Hits,

999
00:43:07.478 --> 00:43:09.518
and being on the cover
of  Smash Hits,  you know.

1000
00:43:09.558 --> 00:43:12.357
Are you gonna be
Threatened by

1001
00:43:12.837 --> 00:43:14.837
The public enemies
Number ten

1002
00:43:15.877 --> 00:43:18.557
Those who play
The power game

1003
00:43:18.997 --> 00:43:21.077
They take the profits,
You take the blame

1004
00:43:21.277 --> 00:43:26.356
When they tell you
There's no rise in pay

1005
00:43:26.836 --> 00:43:29.676
[Steve] The attention to detail
in the Our Favourite Shop sleeve

1006
00:43:29.676 --> 00:43:31.116
is absolutely brilliant,
you know,

1007
00:43:31.116 --> 00:43:34.516
from the homoerotic post card
to Georgie Best, you know.

1008
00:43:34.516 --> 00:43:37.196
And I think for the fans
of the band at the time,

1009
00:43:37.196 --> 00:43:39.995
it was absolutely fantastic
to have all that detail.

1010
00:43:39.995 --> 00:43:42.035
It was supposed to be
just everything we loved

1011
00:43:42.075 --> 00:43:43.315
and believed in.

1012
00:43:43.555 --> 00:43:46.516
I've heard a lot of people say
that they've checked out things

1013
00:43:46.516 --> 00:43:49.796
that they've randomly seen on it
and it's led them somewhere.

1014
00:43:50.116 --> 00:43:53.875
And that's the way me and Paul
got to where we were going,

1015
00:43:53.875 --> 00:43:56.795
really, just pursuing things
like that.

1016
00:43:57.035 --> 00:43:59.115
You got Otis,
you got Georgie Best,

1017
00:43:59.155 --> 00:44:01.795
you got Tony Hancock
Another Country,

1018
00:44:01.835 --> 00:44:03.635
yeah, all sort of things here,
man.

1019
00:44:04.035 --> 00:44:05.435
All the books up there,

1020
00:44:05.475 --> 00:44:07.674
Joe Horton, see these
are influences on us.

1021
00:44:07.874 --> 00:44:09.954
And there's the Lennon
and McCartney

1022
00:44:10.194 --> 00:44:13.034
shot by David Bailey
that's on the wall,

1023
00:44:13.034 --> 00:44:16.514
which we then mirrored
as the band's portrait inside

1024
00:44:16.514 --> 00:44:18.714
and we all brought along
lots of different things.

1025
00:44:18.714 --> 00:44:20.633
There's a picture
of Terry Thomas, Michael Caine.

1026
00:44:20.793 --> 00:44:22.953
Lots of-- yeah. I think
even Paul's Rickenbacker,

1027
00:44:22.953 --> 00:44:24.433
again, so that was a look
to the past.

1028
00:44:24.473 --> 00:44:26.274
But that was just
an opportunity for us

1029
00:44:26.274 --> 00:44:27.474
to have a bit of fun.

1030
00:44:27.474 --> 00:44:28.914
[Mick] There's lots of things
I know are there

1031
00:44:28.914 --> 00:44:30.354
that you can't really see
are there.

1032
00:44:30.354 --> 00:44:32.314
But it-- it kind of means a lot

1033
00:44:32.354 --> 00:44:34.233
that we bothered
putting them there.

1034
00:44:34.233 --> 00:44:36.433
And there were things
on this cover,

1035
00:44:36.433 --> 00:44:40.513
things that I learned about
from this cover and things

1036
00:44:40.513 --> 00:44:43.313
that were confirmed to me
about things I already liked.

1037
00:44:43.353 --> 00:44:45.473
I liked  Carry Ons
and I love Tony Hancock

1038
00:44:45.473 --> 00:44:47.553
and you know,
I already like that stuff.

1039
00:44:47.952 --> 00:44:51.112
Um, obviously like The Beatles,
and I love George Best.

1040
00:44:51.112 --> 00:44:54.872
And it's funny how just
a half-blurred image of some,

1041
00:44:55.392 --> 00:44:58.832
you know, torn up novel
or something

1042
00:44:58.872 --> 00:45:01.591
can lead someone younger
somewhere else, you know?

1043
00:45:01.631 --> 00:45:02.511
It's great.

1044
00:45:02.751 --> 00:45:03.871
[host] You've just released
a new single,

1045
00:45:03.871 --> 00:45:04.871
while we're on the subject,

1046
00:45:04.911 --> 00:45:06.311
it's called
"Come to Milton Keynes,"

1047
00:45:06.311 --> 00:45:08.472
and itself caused a stir
in this week's press

1048
00:45:08.472 --> 00:45:09.632
so we ought to have a look
at that

1049
00:45:09.672 --> 00:45:11.112
before we talk
about anything else.

1050
00:45:11.152 --> 00:45:14.712
["Come To Milton Keynes"
plays]

1051
00:45:18.911 --> 00:45:22.311
May I walk you home tonight

1052
00:45:22.471 --> 00:45:26.031
On this fine
And lovely night tonight

1053
00:45:26.031 --> 00:45:29.550
We'll walk past
The luscious houses

1054
00:45:29.550 --> 00:45:34.430
Through rolling lawns
And lovely flowers

1055
00:45:34.670 --> 00:45:35.870
Our nice new town

1056
00:45:36.110 --> 00:45:38.190
Where the curtains
are drawn

1057
00:45:38.230 --> 00:45:41.550
Where hope is started
And dreams can be borne

1058
00:45:41.990 --> 00:45:43.349
You upset a few people
with that

1059
00:45:43.349 --> 00:45:44.709
and you haven't even been there.

1060
00:45:45.069 --> 00:45:47.229
-Yeah.
-[host] Why did you write

1061
00:45:47.229 --> 00:45:49.630
about Milton Keynes?
What's the meaning of it?

1062
00:45:49.630 --> 00:45:53.030
It was more about, um,
the kind of new towns,

1063
00:45:53.030 --> 00:45:54.750
you know, I mean,
the fact we used Milton Keynes

1064
00:45:54.790 --> 00:45:56.709
is neither here or there, I mean
they're up in arms about it,

1065
00:45:56.709 --> 00:45:58.749
apparently, but big deal,
you know?

1066
00:45:59.269 --> 00:46:01.509
And, um--
But it's more about, um...

1067
00:46:02.189 --> 00:46:04.469
the way that Britain's values
are changing,

1068
00:46:04.469 --> 00:46:07.029
and us as a race
are changing as well, I think.

1069
00:46:07.309 --> 00:46:10.708
And the kind of, um,
materialistic values

1070
00:46:10.708 --> 00:46:12.508
which we seemed to have adopted,

1071
00:46:12.508 --> 00:46:15.468
-quite American, I think.
-Was it the advert

1072
00:46:15.468 --> 00:46:17.668
about Milton Keynes
that made you think of doing it?

1073
00:46:17.668 --> 00:46:19.868
Well, there's a horrible kind
of Ronald McDonald figure

1074
00:46:19.868 --> 00:46:21.148
in the adverts isn't there?

1075
00:46:21.348 --> 00:46:23.228
-That's very American.
-[host] Mm.

1076
00:46:23.228 --> 00:46:24.507
[Paul] It's all showbiz,
you know?

1077
00:46:24.707 --> 00:46:27.467
This fine conservative night
I was looking for a job

1078
00:46:27.467 --> 00:46:29.547
So I came to town

1079
00:46:29.547 --> 00:46:35.348
I easily adopt when the chips
Are down

1080
00:46:35.348 --> 00:46:37.228
Can I do an impersonation
while I'm on here.

1081
00:46:37.228 --> 00:46:38.587
[host] Why now,
do you wanna do it now?

1082
00:46:38.627 --> 00:46:39.947
Which camera shall I face?
This one there?

1083
00:46:39.947 --> 00:46:41.627
Are there any agents
watching this?

1084
00:46:41.667 --> 00:46:43.307
Viewers at home,
see if you can--

1085
00:46:43.347 --> 00:46:44.787
see if you can guess
who this is.

1086
00:46:45.947 --> 00:46:48.107
-That's quite good that.
-[host] That was good.

1087
00:46:48.107 --> 00:46:49.907
Yeah, Christopher Lee that was.

1088
00:46:50.347 --> 00:46:52.946
God bless you all. God bless.

1089
00:46:55.066 --> 00:46:57.346
[Richard Skinner]
It's 12:00 noon in London,

1090
00:46:57.386 --> 00:46:59.066
7:00 AM in Philadelphia

1091
00:46:59.266 --> 00:47:02.346
and around the world,
it's time for Live Aid.

1092
00:47:02.386 --> 00:47:04.186
Sixteen hours of live music

1093
00:47:04.226 --> 00:47:06.105
in aid of famine relief
in Africa.

1094
00:47:06.105 --> 00:47:07.625
[Eddie] Everyone knows
where they were

1095
00:47:07.665 --> 00:47:09.025
when that event happened.

1096
00:47:09.065 --> 00:47:11.626
It must have had
such an international impact.

1097
00:47:11.946 --> 00:47:13.386
It's almost like Woodstock.

1098
00:47:13.426 --> 00:47:18.146
We went down there fairly early
on. We were the second on.

1099
00:47:18.186 --> 00:47:20.705
Status Quo were the first act,
we were second.

1100
00:47:21.105 --> 00:47:23.545
And as we were that early,

1101
00:47:23.825 --> 00:47:25.905
there had been
no sound checking,

1102
00:47:25.905 --> 00:47:28.105
but they just said
to the first few acts,

1103
00:47:28.145 --> 00:47:30.145
"If you wanna get a feel
for the stage and go up there

1104
00:47:30.185 --> 00:47:31.945
or try the gear out, you can."

1105
00:47:31.985 --> 00:47:34.944
So we were told
we could do that.

1106
00:47:34.944 --> 00:47:39.104
But at the same time, they said,
uh, "Prince Charles and Diana

1107
00:47:39.104 --> 00:47:41.224
are turning up
and you can meet them."

1108
00:47:41.544 --> 00:47:43.264
And we just went,

1109
00:47:43.304 --> 00:47:44.944
"We'll do the sound
check shall we?"

1110
00:47:45.304 --> 00:47:47.023
["God Save The Queen" plays]

1111
00:47:50.943 --> 00:47:52.664
[Steve] We knew
that it was gonna be

1112
00:47:52.664 --> 00:47:55.904
like obviously big
but not as big

1113
00:47:55.904 --> 00:47:58.344
as when you kind
of looked out onto the,

1114
00:47:58.344 --> 00:48:00.184
you know, the audience.

1115
00:48:00.184 --> 00:48:01.863
That was pretty breath-taking.

1116
00:48:01.903 --> 00:48:03.103
I don't think anyone
had ever seen

1117
00:48:03.103 --> 00:48:04.383
a crowd like that before.

1118
00:48:04.383 --> 00:48:05.903
It was just-- It was incredible.

1119
00:48:05.903 --> 00:48:07.703
I've always had
a coping mechanism

1120
00:48:07.703 --> 00:48:10.983
of just getting on with the job
and not listening too much

1121
00:48:10.983 --> 00:48:14.182
to what's going on and how many
people are outside and all that.

1122
00:48:14.182 --> 00:48:16.182
But there was no way no to see
what was happening

1123
00:48:16.182 --> 00:48:17.462
on the day of Live Aid.

1124
00:48:17.462 --> 00:48:20.422
[Helen] Before we went on stage,
someone asked us

1125
00:48:20.462 --> 00:48:23.222
to hold our arms up
and we were...

1126
00:48:24.302 --> 00:48:25.462
all like that.

1127
00:48:25.662 --> 00:48:28.981
You know, not only playing
to 19,000 people up front,

1128
00:48:28.981 --> 00:48:31.821
which is pretty, um,
scary as it is,

1129
00:48:31.821 --> 00:48:33.501
but also, the millions of people

1130
00:48:33.501 --> 00:48:34.902
watching it as well, you know?

1131
00:48:35.502 --> 00:48:37.662
And it's all live, so.

1132
00:48:38.182 --> 00:48:40.382
The closer you got,
the more it felt like,

1133
00:48:40.382 --> 00:48:42.861
"It's quite a big gig, this,
it's quite bit news, this."

1134
00:48:42.861 --> 00:48:44.741
"This is sort of going around
the world,"

1135
00:48:44.741 --> 00:48:47.981
and it was a very important day.

1136
00:48:49.101 --> 00:48:51.461
I might shoot to win

1137
00:48:51.901 --> 00:48:54.061
And commit the sin

1138
00:48:54.421 --> 00:48:59.860
I wanted more than
I've already got

1139
00:48:59.860 --> 00:49:04.500
I could runaway
But I'd rather stay

1140
00:49:04.860 --> 00:49:09.979
In the warmth of your smile
Lighting up my day

1141
00:49:09.979 --> 00:49:12.579
The one that makes me say

1142
00:49:13.099 --> 00:49:17.380
You're the best thing
That ever happened

1143
00:49:18.820 --> 00:49:21.300
[Paul] What a monumental thing
to organize, really.

1144
00:49:21.300 --> 00:49:23.259
Hats off to Bob,
really, for doing it all.

1145
00:49:23.259 --> 00:49:26.219
I know we've always been
Taught to rely

1146
00:49:26.259 --> 00:49:28.739
Upon those in authority

1147
00:49:29.419 --> 00:49:32.059
But you never know
Until you try

1148
00:49:32.459 --> 00:49:35.019
How things just might be

1149
00:49:35.019 --> 00:49:39.418
If we came together
So strongly

1150
00:49:39.738 --> 00:49:41.898
[Martin] There were
some awful things that happened

1151
00:49:41.898 --> 00:49:44.138
at Live Aid, you know,
like artistically,

1152
00:49:44.178 --> 00:49:45.418
but there were also some
really good ones.

1153
00:49:45.458 --> 00:49:47.018
There was, you know,
and I--

1154
00:49:47.018 --> 00:49:49.058
'cause this was even before
I was a fanatic.

1155
00:49:49.258 --> 00:49:51.777
Objectively, I thought
they were one of the best things

1156
00:49:51.817 --> 00:49:53.137
about that day.

1157
00:49:56.417 --> 00:49:57.658
Thank you!

1158
00:49:58.858 --> 00:50:01.098
[indistinct]

1159
00:50:01.098 --> 00:50:03.658
[Janice] Well, I mean, stupid
question, but how did it feel?

1160
00:50:03.698 --> 00:50:06.057
Uh, I thought it was very good,
you know, I was a bit--

1161
00:50:06.097 --> 00:50:08.097
I was a bit nervous
but I enjoyed it.

1162
00:50:08.097 --> 00:50:09.337
What about you, Mick?

1163
00:50:09.337 --> 00:50:11.097
Well, it was very nerve-wracking
before we went on,

1164
00:50:11.097 --> 00:50:12.897
but we went out there
and once you saw that crowd,

1165
00:50:12.897 --> 00:50:14.497
you know, you just had
to enjoy it, really.

1166
00:50:14.537 --> 00:50:17.577
The crowd were like amazing
and it was a beautiful sunny,

1167
00:50:17.577 --> 00:50:19.976
beautiful day. But then we had
to get on the bus

1168
00:50:19.976 --> 00:50:22.136
and go down to Kent,
we were doing

1169
00:50:22.136 --> 00:50:24.296
"Come to Milton Keynes"
on a TV show.

1170
00:50:24.336 --> 00:50:27.936
["Come To Milton Keynes"
playing]

1171
00:50:31.336 --> 00:50:32.775
And then we got
on the coach

1172
00:50:32.775 --> 00:50:34.615
and went all the way back
to Wembley.

1173
00:50:35.255 --> 00:50:38.576
And the Christmas bells
That ring there

1174
00:50:38.816 --> 00:50:42.576
Are the clanging chimes
Of doom

1175
00:50:42.576 --> 00:50:46.255
Well tonight thank God
It's them

1176
00:50:46.255 --> 00:50:49.535
Instead of you

1177
00:50:49.535 --> 00:50:50.575
Everyone!

1178
00:50:51.775 --> 00:50:53.695
When you knew
that you were witnessing,

1179
00:50:53.735 --> 00:50:56.175
you know, something, you know,
very, very special...

1180
00:50:57.975 --> 00:51:01.254
It's one of the biggest
events musically of all time.

1181
00:51:03.014 --> 00:51:04.094
[Steve] Looking back on it,

1182
00:51:04.414 --> 00:51:09.094
it's hard to kind of quantify
because everybody that was there

1183
00:51:09.094 --> 00:51:11.734
was just like the top
of their game.

1184
00:51:13.733 --> 00:51:15.333
[Mick] I guess the finale
involves

1185
00:51:16.413 --> 00:51:18.933
a show of strength
and standing at the back,

1186
00:51:19.093 --> 00:51:21.494
watching ambitious backing
vocalists

1187
00:51:21.494 --> 00:51:22.894
fight to get near the front.

1188
00:51:23.974 --> 00:51:27.453
Feed the world

1189
00:51:28.133 --> 00:51:30.053
Let them know

1190
00:51:30.053 --> 00:51:36.213
It's Christmas time again

1191
00:51:36.253 --> 00:51:38.573
[crowd cheering]

1192
00:51:39.973 --> 00:51:42.012
[Mick] Billy Bragg noticed

1193
00:51:42.372 --> 00:51:44.452
the same people turning up
at benefits.

1194
00:51:44.452 --> 00:51:46.932
Um, The Style Council,

1195
00:51:46.972 --> 00:51:50.932
Communards,
him and a few other people.

1196
00:51:51.452 --> 00:51:53.292
[Paul] Billy came to us
with this idea

1197
00:51:53.332 --> 00:51:56.331
trying to get young people, uh,

1198
00:51:56.331 --> 00:51:59.731
engaged with politics and also
for them to use their votes.

1199
00:51:59.971 --> 00:52:01.932
[Billy] Red Wedge came together
after the end

1200
00:52:01.972 --> 00:52:04.132
of the miner's strike
where a lot of the bands

1201
00:52:04.132 --> 00:52:05.852
that had been doing gigs
for the miners were like,

1202
00:52:05.852 --> 00:52:06.972
"Well what happens now?
We just go back

1203
00:52:07.012 --> 00:52:08.571
to being on  Top of the Pops,
is that it?"

1204
00:52:08.611 --> 00:52:11.011
It just was "I'll see
you on Saturday morning TV?"

1205
00:52:11.011 --> 00:52:14.211
No. What's, you know,
"What can we do to get rid

1206
00:52:14.211 --> 00:52:16.851
of the Tories?"
And the next obvious opportunity

1207
00:52:16.851 --> 00:52:19.651
was the 1987 general election.

1208
00:52:19.651 --> 00:52:22.890
Um, and the only viable vehicle
for getting rid of the Tories

1209
00:52:22.890 --> 00:52:23.970
was the Labour Party.

1210
00:52:24.170 --> 00:52:26.850
You know, it kinda-- it sounded
like a good idea.

1211
00:52:27.170 --> 00:52:31.370
We had some, you know,
reluctance to get involved

1212
00:52:31.410 --> 00:52:34.010
with a party as such,
you know what I mean?

1213
00:52:34.050 --> 00:52:35.170
I didn't really...

1214
00:52:35.769 --> 00:52:37.889
I didn't feel any affinity
with them, really.

1215
00:52:38.089 --> 00:52:40.089
We didn't work
for the Labour Party.

1216
00:52:40.449 --> 00:52:42.850
We were an independent
initiative that went to them

1217
00:52:42.890 --> 00:52:45.170
and we worked with them,
rather than for them.

1218
00:52:45.730 --> 00:52:48.130
My involvement
with that whole thing

1219
00:52:48.130 --> 00:52:49.569
was to make a statement

1220
00:52:50.489 --> 00:52:53.089
that we cared
about what was going on

1221
00:52:53.089 --> 00:52:54.689
in our own country

1222
00:52:54.729 --> 00:52:57.009
and that we wanted change.

1223
00:52:57.049 --> 00:52:59.049
Right, we wanted the children,

1224
00:52:59.049 --> 00:53:01.009
the young people at the time

1225
00:53:01.009 --> 00:53:04.848
to view with an open mind
opposed to this closed narrative

1226
00:53:04.888 --> 00:53:06.968
that was being given to us

1227
00:53:06.968 --> 00:53:09.928
by The Conservative Party
of that time.

1228
00:53:09.928 --> 00:53:13.768
Strange when you think
Of the chances

1229
00:53:14.288 --> 00:53:19.367
That we'd both be
In a state of mind

1230
00:53:19.407 --> 00:53:21.407
Too cool to be careless

1231
00:53:21.727 --> 00:53:24.448
Just looking
For the right thing

1232
00:53:24.728 --> 00:53:27.048
Oh baby

1233
00:53:27.048 --> 00:53:30.248
Don't look any further,
Further

1234
00:53:30.727 --> 00:53:32.647
[Billy] Those events
were really, really powerful

1235
00:53:32.687 --> 00:53:35.527
because you-- it took us outside
of just singing about it,

1236
00:53:35.527 --> 00:53:37.607
it got us to actually
to come face to face

1237
00:53:37.647 --> 00:53:39.127
with the reality
of those people.

1238
00:53:39.127 --> 00:53:40.687
And do you think that people
who came to listen

1239
00:53:40.727 --> 00:53:42.327
to the Red Wedge tour,
do you think

1240
00:53:42.367 --> 00:53:44.127
you gained many converts or...

1241
00:53:44.327 --> 00:53:46.646
It's not like we're on
a missionary crusade

1242
00:53:46.646 --> 00:53:48.246
or something, you know,
we're just, um,

1243
00:53:48.246 --> 00:53:49.526
we're just delivering
the facts to people,

1244
00:53:49.526 --> 00:53:50.926
we'll let 'em make
their own minds up.

1245
00:53:50.966 --> 00:53:54.126
We're not out as a-- out to act
as a propaganda machine

1246
00:53:54.166 --> 00:53:55.966
for any political party at all.

1247
00:53:55.966 --> 00:53:57.646
But some might say that.

1248
00:53:57.646 --> 00:53:59.485
Some might say--
Some might say a lot of things,

1249
00:53:59.485 --> 00:54:00.805
you yourself, Baz,
seeing as you work

1250
00:54:00.805 --> 00:54:03.085
for the  Daily Mail
or  The Sun  or people.

1251
00:54:03.085 --> 00:54:04.365
[laughs]

1252
00:54:04.405 --> 00:54:06.286
So you'd go to Liverpool,
and all of a sudden,

1253
00:54:06.286 --> 00:54:08.686
like, Derek Hatton's hanging
about backstage,

1254
00:54:08.726 --> 00:54:11.846
and it wasn't a great energy
with people like that, you know?

1255
00:54:11.846 --> 00:54:14.645
It felt like this is probably
a good time to just step back

1256
00:54:14.645 --> 00:54:17.405
a little bit. 'Cause it became
a bit all consuming.

1257
00:54:17.405 --> 00:54:20.605
From a very genuine attempt
to engage young people

1258
00:54:20.605 --> 00:54:21.765
in politics,

1259
00:54:22.125 --> 00:54:25.005
it didn't work, and the reason
it didn't work

1260
00:54:25.005 --> 00:54:27.564
is because the politicians
weren't genuine.

1261
00:54:27.764 --> 00:54:31.084
And I think that is
what resonates to this day.

1262
00:54:31.084 --> 00:54:32.084
[Paul]
With like any politicians,

1263
00:54:32.524 --> 00:54:35.044
there's always some ulterior
motive, isn't there, you know?

1264
00:54:35.044 --> 00:54:37.204
So it just fucking put me off
really, I just thought,

1265
00:54:37.244 --> 00:54:39.723
you know, it is--
they are as I imagined

1266
00:54:39.723 --> 00:54:40.883
they would be,
you know what I mean?

1267
00:54:41.083 --> 00:54:43.323
Day o umba day o

1268
00:54:43.723 --> 00:54:45.603
Mambu ji ay o

1269
00:54:45.603 --> 00:54:47.444
[Billy] Whatever you think
about the politics of Red Wedge,

1270
00:54:47.444 --> 00:54:49.004
whatever you think
about what became

1271
00:54:49.004 --> 00:54:51.124
of that campaign and what it did
and didn't achieve,

1272
00:54:51.124 --> 00:54:53.643
the gigs were really,
really special gigs.

1273
00:54:53.683 --> 00:54:56.683
I still meet people who were
at a particular Red Wedge gig

1274
00:54:56.683 --> 00:54:58.043
and it just sort of blew
their minds

1275
00:54:58.043 --> 00:54:59.203
to see us all up there playing.

1276
00:54:59.243 --> 00:55:01.963
I'm a grown man now,

1277
00:55:02.003 --> 00:55:03.683
I don't really want politics.

1278
00:55:03.683 --> 00:55:05.563
If I perceive something
as having politics

1279
00:55:05.563 --> 00:55:07.362
rammed down my throat,
I totally turn off.

1280
00:55:07.362 --> 00:55:09.442
So I get-- if people felt that,

1281
00:55:09.442 --> 00:55:11.202
I understand why
they wouldn't have liked it

1282
00:55:11.242 --> 00:55:12.362
as much
as "You're The Best Thing."

1283
00:55:12.402 --> 00:55:15.162
I do get it.
I happened to be a little

1284
00:55:15.202 --> 00:55:17.522
rabid lefty then.
So I was like,

1285
00:55:17.522 --> 00:55:19.122
"Great, I'm getting
the best of all worlds."

1286
00:55:19.442 --> 00:55:22.321
But even I, by the-- by the time
I was kind of 16, I was like,

1287
00:55:22.321 --> 00:55:24.081
"No, what I really like
about this group is the music."

1288
00:55:24.601 --> 00:55:27.682
["Have You Ever Had It Blue"
playing]

1289
00:55:48.281 --> 00:55:49.680
[male producer]
Cue lights.

1290
00:55:49.920 --> 00:55:51.120
Cue grams.

1291
00:55:51.400 --> 00:55:55.160
["It Didn't Matter" playing]

1292
00:56:04.839 --> 00:56:06.159
[Simon]  Cafe Bleu
and  Our Favourite Shop

1293
00:56:06.159 --> 00:56:07.999
and all the singles in between,

1294
00:56:07.999 --> 00:56:10.920
it still had a freshness to it,

1295
00:56:10.960 --> 00:56:13.240
and everything was about doing
something new and different,

1296
00:56:13.240 --> 00:56:15.440
but I think you could only do
something new and different

1297
00:56:15.680 --> 00:56:16.919
so many times.

1298
00:56:17.199 --> 00:56:21.239
I remember
All the early days

1299
00:56:21.679 --> 00:56:26.079
Trying to think
Of the right things to say

1300
00:56:26.359 --> 00:56:29.039
I can remember,
we spoke about it, Paul and I

1301
00:56:29.079 --> 00:56:31.078
and he said, like, you know,

1302
00:56:31.398 --> 00:56:36.478
"We could sort of make
Our Favourite Shop  Part 2,

1303
00:56:36.478 --> 00:56:37.718
but I don't want to."

1304
00:56:37.718 --> 00:56:40.238
And I-- And I sort of agreed
with that.

1305
00:56:41.198 --> 00:56:42.638
It-- It would have done better,

1306
00:56:42.878 --> 00:56:44.757
certainly better
than  The Orange Album.

1307
00:56:45.437 --> 00:56:49.797
I mean, I think  The Orange Album
is, not because it's orange.

1308
00:56:49.797 --> 00:56:50.838
[laughs]

1309
00:56:52.518 --> 00:56:54.078
I'm not gonna be colorist.

1310
00:56:54.358 --> 00:56:57.477
It-- But it is
a big turning point.

1311
00:56:57.477 --> 00:56:59.957
And I think  The Orange Album
turned a lot of people off.

1312
00:57:00.197 --> 00:57:05.157
Heavens above
What have we done?

1313
00:57:06.637 --> 00:57:12.196
We've killed off
The thing we had so little of

1314
00:57:14.636 --> 00:57:17.076
[Martin] This is not in any way
a fun or funny album.

1315
00:57:17.076 --> 00:57:20.636
In that-- It's very "dur"
and very, um, straight.

1316
00:57:20.676 --> 00:57:22.636
I guess the music they were
trying to channel,

1317
00:57:22.676 --> 00:57:24.795
like a contemporary
American R 'n' B,

1318
00:57:25.155 --> 00:57:27.275
isn't very camp,
do you know what I mean?

1319
00:57:27.275 --> 00:57:29.315
It's not known
for its musical references.

1320
00:57:29.355 --> 00:57:31.395
And I think they were just
channeling that.

1321
00:57:31.796 --> 00:57:35.636
I think we were keen
on having something that sort of

1322
00:57:35.836 --> 00:57:38.675
was reflecting
a modern soul sound,

1323
00:57:38.675 --> 00:57:43.315
and I think we got a bit lost
in the superficial sound

1324
00:57:43.315 --> 00:57:46.075
of the production
rather than the material.

1325
00:57:46.595 --> 00:57:48.195
When you have a new album out,

1326
00:57:48.235 --> 00:57:49.795
if you've got three
or four singles off it,

1327
00:57:49.795 --> 00:57:52.674
you've got to do three
or four sing-- uh, promos,

1328
00:57:53.234 --> 00:57:54.154
videos.

1329
00:57:54.474 --> 00:57:57.554
So we thought, "Maybe we can do,
like, a short film."

1330
00:58:00.274 --> 00:58:01.874
[Paul] Me and Mick did
an advert, right,

1331
00:58:02.114 --> 00:58:03.794
for some Japanese,

1332
00:58:04.354 --> 00:58:06.273
I think it was like a cassette
or a tape company

1333
00:58:06.273 --> 00:58:07.633
or something like that.

1334
00:58:07.633 --> 00:58:09.953
[announcer speaks Japanese]

1335
00:58:09.953 --> 00:58:11.593
Now we are together

1336
00:58:11.833 --> 00:58:14.034
[announcer]  UD, special version.
[speaks Japanese]

1337
00:58:14.394 --> 00:58:15.754
[announcer 2]  Maxell.

1338
00:58:15.794 --> 00:58:17.434
So the money we got paid
from that,

1339
00:58:17.434 --> 00:58:18.994
we put into this film.

1340
00:58:19.034 --> 00:58:22.633
Go back, go back for my parts
to freeze.

1341
00:58:22.633 --> 00:58:24.833
Thus I say, "Go back."

1342
00:58:24.833 --> 00:58:27.113
I think we got a bit
indulged by people

1343
00:58:27.153 --> 00:58:28.873
that we made videos with.

1344
00:58:28.873 --> 00:58:31.393
[narrator]  Behind him,
his partner, Michael Talbot,

1345
00:58:31.393 --> 00:58:34.592
dressed in a gold lamé cloak
and sporting the Edwardian,

1346
00:58:34.592 --> 00:58:36.992
was busy
with his mighty plonkalodium.

1347
00:58:36.992 --> 00:58:38.232
[Dee] Don't ask me
what that was about,

1348
00:58:38.232 --> 00:58:40.712
'cause I have no idea,
but we did get a chance

1349
00:58:40.712 --> 00:58:42.672
to dress up and act really
stupidly,

1350
00:58:42.712 --> 00:58:45.072
so that was all right.
[laughs]

1351
00:58:45.072 --> 00:58:48.151
It's a totally bizarre film
that generally

1352
00:58:48.191 --> 00:58:50.351
does not hang together
as a piece,

1353
00:58:50.551 --> 00:58:53.191
but I've watched it many times
and loved it every time.

1354
00:58:53.231 --> 00:58:56.072
Observe, if you will,
England's beauty.

1355
00:58:56.632 --> 00:58:58.232
A land within a land

1356
00:58:58.232 --> 00:59:00.672
that doth flower
both in joy and delight.

1357
00:59:00.672 --> 00:59:02.991
That does take
no heed of poison,

1358
00:59:02.991 --> 00:59:06.591
and yet offers infinite healing
to the soul wearied.

1359
00:59:08.231 --> 00:59:10.991
[narrator]  Indeed, my lord,
and wisely said.

1360
00:59:11.631 --> 00:59:14.111
[Martin] For a pop group
who had a lot to lose,

1361
00:59:14.151 --> 00:59:15.990
it was going out on a limb,
you know.

1362
00:59:15.990 --> 00:59:18.750
Two middle class guys,
bored with life,

1363
00:59:18.790 --> 00:59:20.350
bored with grammar school,

1364
00:59:20.390 --> 00:59:22.190
wanna rock out a little,
you know?

1365
00:59:22.190 --> 00:59:25.790
I phoned him, yeah, and he says,
"Yeah," and here we are.

1366
00:59:26.110 --> 00:59:28.190
There were points
trying to be made,

1367
00:59:28.230 --> 00:59:31.109
there was humor
trying to be made.

1368
00:59:31.789 --> 00:59:32.869
We tried.

1369
00:59:32.869 --> 00:59:35.549
[laughs]
And people found it trying.

1370
00:59:35.589 --> 00:59:38.310
I have been thinking
that if America

1371
00:59:38.350 --> 00:59:41.110
were a pair of jeans, England
would be its back pocket,

1372
00:59:41.110 --> 00:59:44.549
for as every five minutes,
its owner dips his hand in,

1373
00:59:44.589 --> 00:59:47.269
removes money
and deposits terror.

1374
00:59:47.309 --> 00:59:50.429
I think we maybe took the piss
taking a little far.

1375
00:59:50.429 --> 00:59:53.709
The in jokes became
a little too in.

1376
00:59:53.909 --> 00:59:56.508
We'd show it,
it'd be the support

1377
00:59:56.508 --> 00:59:57.908
on one of the tours at the time.

1378
00:59:58.228 --> 01:00:00.868
This big screen would come down
on the stage

1379
01:00:00.868 --> 01:00:02.828
and we'd show this film.

1380
01:00:02.828 --> 01:00:05.868
And then the screen would go up
and then we'd start,

1381
01:00:06.148 --> 01:00:09.827
which just fucking baffled
everyone, really. [laughs]

1382
01:00:10.467 --> 01:00:14.187
Maybe the-- that rolling energy
that we had

1383
01:00:14.227 --> 01:00:16.467
in those first couple of years,
it just got dissipated

1384
01:00:16.507 --> 01:00:18.308
and then maybe
just a little bit,

1385
01:00:18.348 --> 01:00:20.268
the foot had come off
the gas a little bit.

1386
01:00:20.268 --> 01:00:21.948
That's what I--
That's what I felt.

1387
01:00:21.948 --> 01:00:23.747
[Paul] At some point you have
to grow up,

1388
01:00:23.947 --> 01:00:29.147
and that was Mick
and his missus having the kids,

1389
01:00:29.747 --> 01:00:32.787
and then me and Dee
getting together.

1390
01:00:33.867 --> 01:00:35.027
Um...

1391
01:00:35.307 --> 01:00:38.506
And, you know, so all those
things take their place,

1392
01:00:38.506 --> 01:00:39.786
you know, as they have to.

1393
01:00:39.826 --> 01:00:42.866
Mother's playing bingo

1394
01:00:42.866 --> 01:00:46.266
She's hoping for a big win

1395
01:00:46.826 --> 01:00:53.705
She buys the daily papers
To see how 10% live...

1396
01:00:54.225 --> 01:00:57.265
The last sort of little shout
from us was, uh,

1397
01:00:57.505 --> 01:00:58.706
Confessions Of A Pop Group,

1398
01:00:58.946 --> 01:01:01.626
and that was kind of like
our farewell, in a way, really.

1399
01:01:01.666 --> 01:01:03.306
I don't know if we said
that was the end of the band

1400
01:01:03.306 --> 01:01:05.425
but it certainly felt like
it could be, you know.

1401
01:01:05.425 --> 01:01:08.545
[Gary] I thought  Confessions
was a very, very good album.

1402
01:01:08.585 --> 01:01:11.865
You know, returning
to that manifesto really,

1403
01:01:11.865 --> 01:01:14.065
that they had, that they said
that they were gonna do

1404
01:01:14.065 --> 01:01:16.545
right at the beginning
which was to, you know,

1405
01:01:16.585 --> 01:01:20.904
kind of experiment really
and shake things up.

1406
01:01:20.904 --> 01:01:25.544
Changes of clothes
And summer showers

1407
01:01:25.584 --> 01:01:28.264
Like changing the guard

1408
01:01:28.264 --> 01:01:31.064
It only lasts for hours

1409
01:01:31.064 --> 01:01:36.023
Wondering what
And where did it go

1410
01:01:36.023 --> 01:01:40.224
Crying over nothing
Worth crying for

1411
01:01:40.544 --> 01:01:43.024
Once in a while

1412
01:01:43.024 --> 01:01:45.424
I still think about

1413
01:01:45.464 --> 01:01:47.903
The smile on your face girl

1414
01:01:47.943 --> 01:01:50.103
The first time around

1415
01:01:50.623 --> 01:01:52.303
[Paul] The influences
on that record

1416
01:01:52.543 --> 01:01:54.063
were quite deep, you know.

1417
01:01:54.063 --> 01:01:58.183
We were sort of thinking
about Debussy and Sarti,

1418
01:01:58.223 --> 01:02:01.382
and so there was elements
of classical music in it,

1419
01:02:01.382 --> 01:02:02.982
and it seemed to be like

1420
01:02:02.982 --> 01:02:04.262
a little bit
kind of pretentious,

1421
01:02:04.262 --> 01:02:05.782
but really-- it wasn't
I don't think.

1422
01:02:05.782 --> 01:02:07.782
It was just what I was listening
to at the time, you know.

1423
01:02:07.782 --> 01:02:09.862
Things like "The Story
of Someone's Shoe," right,

1424
01:02:09.902 --> 01:02:13.582
with the Swingle Singers
was a direct influence, right,

1425
01:02:13.621 --> 01:02:15.821
from the MJQ,
the Modern Jazz Quartet, right,

1426
01:02:15.821 --> 01:02:17.981
who made an album
called  Place Vendôme

1427
01:02:18.021 --> 01:02:19.781
with the Swingle Singers.

1428
01:02:19.781 --> 01:02:21.101
Such a great concept.

1429
01:02:21.502 --> 01:02:24.622
This jazz band with these--
with these singers.

1430
01:02:25.422 --> 01:02:28.301
It's either,
Something in their eyes

1431
01:02:28.301 --> 01:02:30.621
Or something in the drink

1432
01:02:30.621 --> 01:02:34.861
But whatever it is
They both stop and think

1433
01:02:35.661 --> 01:02:37.941
Yeah, the songs
were still there, but I think

1434
01:02:37.981 --> 01:02:41.780
what that album
showed was Paul's willingness

1435
01:02:41.780 --> 01:02:44.060
to explore different things.
But I just think

1436
01:02:44.060 --> 01:02:47.020
the record company, you know,
the record company want hits,

1437
01:02:47.020 --> 01:02:49.860
you know, they were happy
with the first couple of albums

1438
01:02:49.860 --> 01:02:52.420
'cause it was top ten hit
after top ten hit,

1439
01:02:52.420 --> 01:02:55.259
number one albums. And when
that's not there anymore

1440
01:02:55.259 --> 01:02:57.099
as good as the music might be,

1441
01:02:57.099 --> 01:03:01.579
that's not always
what's relevant in their eyes.

1442
01:03:01.899 --> 01:03:05.060
She threw it all away

1443
01:03:05.100 --> 01:03:09.619
Oh I wonder if she's there
To stay

1444
01:03:10.459 --> 01:03:11.979
[Paul]
It wasn't liked at the time.

1445
01:03:12.019 --> 01:03:15.019
It was pretty much
sort of slated, really.

1446
01:03:15.419 --> 01:03:18.219
And I don't think it did
that well commercially,

1447
01:03:18.259 --> 01:03:20.099
so the record company
weren't happy, obviously.

1448
01:03:20.099 --> 01:03:22.418
I always considered that
to be the last record, really.

1449
01:03:22.418 --> 01:03:24.058
That's our last album, you know?

1450
01:03:24.098 --> 01:03:26.178
Even though there was one more
after it,

1451
01:03:26.178 --> 01:03:27.858
which never came out
at the time, though.

1452
01:03:29.458 --> 01:03:30.498
Oh, yeah

1453
01:03:31.258 --> 01:03:32.418
Oh, yeah

1454
01:03:33.258 --> 01:03:34.458
Oh, yeah

1455
01:03:35.098 --> 01:03:36.497
Oh, yeah

1456
01:03:36.497 --> 01:03:37.977
[Paul]  Around that time,
I was really getting

1457
01:03:38.017 --> 01:03:40.017
into a lot of the house sounds
that were around,

1458
01:03:40.057 --> 01:03:41.897
what people were calling
"garage" and all that stuff

1459
01:03:41.897 --> 01:03:43.697
as well, but I just thought
it sounded really soulful,

1460
01:03:43.697 --> 01:03:45.098
you know, and I could hear
the kind of gospel

1461
01:03:45.098 --> 01:03:46.538
in a lot of those tunes,
you know.

1462
01:03:46.578 --> 01:03:48.538
[Mick] I think initially,
we may have thought,

1463
01:03:48.538 --> 01:03:51.337
"acid house" was a bit gimmicky
but then once we heard

1464
01:03:51.337 --> 01:03:54.257
what they called "garage"
and "deep house,"

1465
01:03:54.777 --> 01:03:57.177
you could see
a strong connection to...

1466
01:03:57.777 --> 01:03:59.817
Philadelphia Records
that were like

1467
01:03:59.857 --> 01:04:01.417
a lot of four
on the floor stuff.

1468
01:04:01.617 --> 01:04:03.816
And I loved the kind of rawness
of 'em.

1469
01:04:04.016 --> 01:04:06.016
I loved the fact it sounded
like they were done

1470
01:04:06.016 --> 01:04:07.936
in someone's bedroom.
I'm not saying they were,

1471
01:04:07.976 --> 01:04:10.176
but that's, you know,
had a bit of that vibe to it.

1472
01:04:10.176 --> 01:04:12.776
All you needed
was a 909 drum machine

1473
01:04:12.976 --> 01:04:14.776
and a keyboard, and off you go.

1474
01:04:15.056 --> 01:04:19.415
Even though the instrumentation
was very modern

1475
01:04:19.415 --> 01:04:20.975
and technical sounding,

1476
01:04:21.215 --> 01:04:25.375
it had kind of returned
to some soulful gospel roots

1477
01:04:25.375 --> 01:04:29.736
in dance music,
which was really interesting

1478
01:04:29.776 --> 01:04:31.895
and quite inspiring
for us at the time.

1479
01:04:32.095 --> 01:04:34.895
As I always am, whenever I get
sort of turned on to something,

1480
01:04:34.895 --> 01:04:36.815
I just wanna-- "Yeah,
I'm gonna do this now,

1481
01:04:36.815 --> 01:04:38.455
this is, you know,
this is where we're gonna go,"

1482
01:04:38.495 --> 01:04:40.495
and I was in that spirit.

1483
01:04:40.495 --> 01:04:44.895
Taking different trajectories,
taking different paths

1484
01:04:45.294 --> 01:04:47.134
was what The Style Council
was about.

1485
01:04:47.134 --> 01:04:48.414
It was about style.

1486
01:04:48.614 --> 01:04:52.334
And to me, he would take
a certain style of music

1487
01:04:52.334 --> 01:04:55.894
and invigorate it,
or invest his own personality

1488
01:04:55.894 --> 01:04:58.933
and taste level in that music.

1489
01:04:58.933 --> 01:05:03.653
So, house music, um,
quiet storm, soul music, funk,

1490
01:05:03.653 --> 01:05:05.453
whatever the genre was,

1491
01:05:05.453 --> 01:05:08.414
the Style Council
had every right to invest in it.

1492
01:05:08.774 --> 01:05:12.893
Dry your eyes
They will call

1493
01:05:13.213 --> 01:05:17.053
Sure is sure
We'll be one

1494
01:05:17.533 --> 01:05:19.813
[Steve] The record company,
you know,

1495
01:05:19.853 --> 01:05:22.493
were being a little--
I think, a little vicious

1496
01:05:22.493 --> 01:05:26.292
in denying this a release.
They didn't have to do that.

1497
01:05:26.292 --> 01:05:28.732
But there was a point
to be proven in my opinion.

1498
01:05:28.772 --> 01:05:33.012
I think it stands up in the arc
of what the band was about,

1499
01:05:33.012 --> 01:05:37.652
to go from Kenny Burrell jazz
to Chicago influence house music

1500
01:05:37.652 --> 01:05:41.011
in seven years, I think
is a pretty amazing thing.

1501
01:05:41.291 --> 01:05:43.371
La la

1502
01:05:43.411 --> 01:05:45.651
La la la la la

1503
01:05:46.131 --> 01:05:49.812
[Mick] Paul and I had already
chatted about winding it up,

1504
01:05:50.012 --> 01:05:51.412
it was like, you know,
the game's up.

1505
01:05:51.452 --> 01:05:54.171
But we had an album
that we thought we believed in,

1506
01:05:54.171 --> 01:05:56.251
and we thought there'd be
a few singles coming off it

1507
01:05:56.251 --> 01:05:57.731
and we thought we'd tour it
round the world.

1508
01:05:57.731 --> 01:06:01.731
So we were projecting,
"Maybe a year hence,

1509
01:06:01.771 --> 01:06:03.451
let's knock it on the head

1510
01:06:03.611 --> 01:06:08.410
unless this really just blows up
like in an unusual way."

1511
01:06:08.450 --> 01:06:10.170
So we'd already made
that decision,

1512
01:06:10.210 --> 01:06:12.170
but it just kinda got rushed.

1513
01:06:12.170 --> 01:06:14.610
It happened a year earlier
than we would have done.

1514
01:06:14.610 --> 01:06:16.210
[Paul] Well it did feel to me

1515
01:06:16.210 --> 01:06:17.930
like it was all
coming to an end.

1516
01:06:17.930 --> 01:06:20.690
So there was a definite sense of
it sort of slowing down a bit,

1517
01:06:20.730 --> 01:06:24.049
I think we weren't doing so much
live stuff for a start.

1518
01:06:24.049 --> 01:06:26.529
And then we came back
and we did maybe two shows

1519
01:06:26.569 --> 01:06:28.569
at the Albert Hall, yeah.

1520
01:06:28.569 --> 01:06:30.970
We might have done two
or three old songs.

1521
01:06:30.970 --> 01:06:32.490
It was stuff we were working on,

1522
01:06:32.490 --> 01:06:34.650
it was house, the house record
we made.

1523
01:06:35.129 --> 01:06:37.449
And then there was some
other people we had with us,

1524
01:06:37.449 --> 01:06:39.369
some other singers and they did
a song as well,

1525
01:06:39.369 --> 01:06:41.569
so it was kind of a bit
of a mix thing as well.

1526
01:06:41.729 --> 01:06:44.369
[Mick] It's almost like
the first album,  Cafe Bleu,

1527
01:06:44.369 --> 01:06:48.049
it had seven instrumentals
or something, out of 13 tracks.

1528
01:06:48.049 --> 01:06:51.688
And even the vocal tracks,
it's not always Paul singing.

1529
01:06:51.688 --> 01:06:54.888
So it was in the tradition
that we had

1530
01:06:54.888 --> 01:06:57.728
but just six
or seven years later, you know,

1531
01:06:57.728 --> 01:06:59.008
in a live format.

1532
01:06:59.208 --> 01:07:02.248
And we'll walk hand in hand

1533
01:07:02.248 --> 01:07:04.127
Sisters, brothers

1534
01:07:04.127 --> 01:07:07.567
We'll make it
To the Promised Land

1535
01:07:07.607 --> 01:07:10.167
[Mick] But we weren't
particularly playing big hits

1536
01:07:10.167 --> 01:07:12.648
and I think Our Greatest Hits
had just been released

1537
01:07:12.648 --> 01:07:15.608
by Polydor, which we didn't have
any power over,

1538
01:07:15.608 --> 01:07:17.407
but that's almost a bit like
the death now,

1539
01:07:17.447 --> 01:07:19.527
I think, when they start
knocking them out.

1540
01:07:19.567 --> 01:07:21.247
[Paul] People fucking
hated it man, anyway.

1541
01:07:21.247 --> 01:07:23.927
You know, it was just totally,
totally out of step, you know.

1542
01:07:23.967 --> 01:07:25.807
We were getting more and more
out of step with people,

1543
01:07:25.807 --> 01:07:28.167
or they were out of step,
whatever way it works.

1544
01:07:28.167 --> 01:07:30.246
But I think that was
the last straw, really.

1545
01:07:30.246 --> 01:07:33.686
People ripping up their programs
and, you know,

1546
01:07:33.686 --> 01:07:36.366
sort of a modern
sort of you know,

1547
01:07:36.366 --> 01:07:39.406
Dylan going electric
or something. [laughs]

1548
01:07:39.766 --> 01:07:42.326
There was a weird tension
in the audience

1549
01:07:42.366 --> 01:07:44.045
that I'd never seen before.

1550
01:07:44.085 --> 01:07:46.565
I almost felt like there was
gonna be some kind of riot.

1551
01:07:46.605 --> 01:07:48.685
I think it would be a myth
to say, "Well, it was only me

1552
01:07:48.685 --> 01:07:50.005
and my brother who enjoyed it
or got it."

1553
01:07:50.005 --> 01:07:51.285
Lots of people got it.

1554
01:07:51.285 --> 01:07:53.806
But a lot of people didn't,
and vocally didn't.

1555
01:07:53.846 --> 01:07:56.006
But-- And I don't think
people enjoyed it

1556
01:07:56.006 --> 01:07:58.645
and some people left
before we ended.

1557
01:07:58.645 --> 01:08:01.245
Like, I don't really remember it
in great detail,

1558
01:08:01.245 --> 01:08:03.245
but from what I remember,
I liked it.

1559
01:08:04.085 --> 01:08:05.165
Um...

1560
01:08:06.325 --> 01:08:08.365
And that's all you can do, man.
You can only do

1561
01:08:08.365 --> 01:08:10.045
what you feel's right
at the time, you know.

1562
01:08:13.604 --> 01:08:16.484
["Speak Like A Child"
playing]

1563
01:08:17.764 --> 01:08:19.564
I got so much out of it.

1564
01:08:19.604 --> 01:08:21.164
I got to travel the world,
I got to see--

1565
01:08:21.204 --> 01:08:25.004
I got to do one of the most
iconic concerts of all time.

1566
01:08:25.044 --> 01:08:27.123
I played with some
great musicians

1567
01:08:27.123 --> 01:08:29.323
that have been--
remained friends

1568
01:08:29.363 --> 01:08:33.043
pretty much for 35 years.

1569
01:08:33.243 --> 01:08:35.484
The very best band
I ever worked with.

1570
01:08:35.484 --> 01:08:37.044
I'm just...

1571
01:08:37.844 --> 01:08:41.603
struck by what a lot of music
we turned around, really,

1572
01:08:41.643 --> 01:08:45.443
and generally, I'm pretty proud
of all of it.

1573
01:08:45.443 --> 01:08:46.843
My Favourite Shop's
a good record,

1574
01:08:46.843 --> 01:08:48.843
I think  Confessions
is a good record.

1575
01:08:49.243 --> 01:08:52.323
Um... and there was
great singles, you know.

1576
01:08:52.682 --> 01:08:54.802
Great little run of singles.

1577
01:08:54.802 --> 01:08:56.362
But more than anything else,

1578
01:08:56.362 --> 01:08:59.642
it was a happy time for me
in my life, you know.

1579
01:09:00.002 --> 01:09:03.522
And yeah, it was just, when
I think of The Style Council,

1580
01:09:03.562 --> 01:09:04.802
I just think of fun.

1581
01:09:05.202 --> 01:09:06.441
All the fun we had.

1582
01:09:06.481 --> 01:09:11.041
["A Very Deep Sea" starts]

1583
01:09:34.040 --> 01:09:38.840
I keep on diving
Till I reach the ends

1584
01:09:38.840 --> 01:09:45.480
Dredging up the past
To drive me round the bends

1585
01:09:47.919 --> 01:09:52.439
What is it in me
That I can't forget

1586
01:09:52.479 --> 01:09:59.440
I keep finding so much
That I now regret

1587
01:10:02.399 --> 01:10:06.719
But no on I go
Down into the depths

1588
01:10:07.119 --> 01:10:09.599
Turning things over

1589
01:10:09.919 --> 01:10:14.119
That are better left

1590
01:10:16.678 --> 01:10:20.798
Dredging up the past
That is gone for good

1591
01:10:21.278 --> 01:10:28.038
Trying to polish up
What is rotting wood

1592
01:10:29.397 --> 01:10:34.237
Whoa, diving

1593
01:10:34.797 --> 01:10:39.678
I'm diving

1594
01:10:40.238 --> 01:10:44.277
Diving

1595
01:10:44.917 --> 01:10:48.117
Diving

1596
01:10:49.637 --> 01:10:55.877
Diving

1597
01:11:14.355 --> 01:11:19.236
Something inside
Takes me down again

1598
01:11:19.436 --> 01:11:25.795
Diving not for goblets
But tin cans

1599
01:11:28.675 --> 01:11:33.275
Dredging up the past
For reasons so rife

1600
01:11:33.555 --> 01:11:40.154
Passing bits of wrecks
That once passed for life

1601
01:11:42.714 --> 01:11:47.074
But I'll keep on diving
Till I drown the sea

1602
01:11:47.434 --> 01:11:53.833
Of things not worth
Even mentioning

1603
01:11:56.073 --> 01:11:58.913
Perhaps I'll come
To the surface

1604
01:11:58.913 --> 01:12:03.474
And come to my senses
But it's a very deep sea

1605
01:12:03.474 --> 01:12:08.433
Around my own devices

1606
01:12:09.473 --> 01:12:14.113
Whoa, diving

1607
01:12:15.593 --> 01:12:19.112
Diving

1608
01:12:20.072 --> 01:12:23.792
Diving

1609
01:12:24.792 --> 01:12:28.232
Diving

1610
01:12:29.632 --> 01:12:35.431
Diving

1611
01:12:39.311 --> 01:12:42.112
Perhaps I'll come
To the surface

1612
01:12:42.352 --> 01:12:44.592
And come to my senses

1613
01:12:44.592 --> 01:12:46.831
Perhaps I'll come
To the surface

1614
01:12:46.831 --> 01:12:49.271
And come to my senses

1615
01:12:49.271 --> 01:12:51.471
Perhaps I'll come
To the surface

1616
01:12:51.471 --> 01:12:53.591
And come to my senses

1617
01:12:53.591 --> 01:12:56.031
Perhaps I'll come
To the surface

1618
01:12:56.031 --> 01:12:58.751
And come to my senses

1619
01:12:58.791 --> 01:13:02.270
Diving

1620
01:13:03.270 --> 01:13:07.110
Diving

1621
01:13:07.110 --> 01:13:11.790
I'm diving

1622
01:13:12.470 --> 01:13:15.869
Diving

1623
01:13:42.668 --> 01:13:47.828
["Le Depart" playing]

1624
01:14:08.348 --> 01:14:11.267
After a hard day on the set,
there's nothing I like better

1625
01:14:11.307 --> 01:14:13.467
than a cool,
refreshing pint of milk.

1626
01:14:13.787 --> 01:14:14.827
Cheers.

1627
01:14:15.267 --> 01:14:17.027
Chairs with our names
on actually.