Primal Scream: Screamadelica Classic Albums


Primal Scream: Screamadelica

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This programme contains some strong language.

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MUSIC: "Movin' On Up" by Primal Scream

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We wanted to make a classic, a great hit record, you know.

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Something that was, like, ecstatic.

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We created something which was conceived as completely new.

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A song could be, suddenly be anything,

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it didn't necessarily have to be verse, chorus, verse, chorus.

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MUSIC: "Loaded" by Primal Scream

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It was very optimistic, the times, I suppose. Anything was possible, really.

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Being a rock band that makes people dance is actually quite rare.

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I can't put my finger on why it works.

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I don't know why it's a great record and that's why it's a great record.

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I think it's a brave, exploratory record which, for all of that, sums up its time.

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The Stone Roses had peaked, the Happy Mondays had peaked, and these bands were imploding,

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so, Primal Scream kind of waded into this huge wave of expectation.

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It brought so many people together.

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I mean, it's a cliche, but it's true.

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MUSIC: "Come Together" by Primal Scream

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I always just totally believed in Bobby, ultimately.

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"You're going to be a pop star." And, you know, 1990, he was.

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# I was blind

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# Now I can see

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# You made a believer... #

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We wrote it as a ballad, it was a really slow ballad.

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And it was... It sounded absolute crap.

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It was piano and a vocal song, like a kinda...

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a gospel song. Um...

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And we were... We weren't really getting anywhere with it

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and Andrew came up with the...

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the Bo Diddley, Magic Bus guitar riff at the start.

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And that was the glue that held everything together.

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Picked up the guitar and went, "This is it, this is the intro,"

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and that then defined the groove of the record.

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It went from a crappy old ballad,

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that we couldn't work out to...

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probably our most successful song.

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Some claps.

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Some shaker.

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Then...listening? Then the congas.

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And we're motoring along now.

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I'm not the loudest singer in the world, you know,

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I have quite a soft voice,

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but we thought if we brought in a gospel choir,

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then it would enhance the choruses and make them sound even bigger, you know.

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It was just record production, really. And also we loved Phil Spector's productions.

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# My love shines on

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# My love shines on

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# My love shines on

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# My love shines on... #

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Jimmy Miller mixed it.

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Obviously he'd worked with the Stones and, you know, the Spencer Davis Group and all that,

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the records we really like and we just thought, "This is perfect for him."

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He was fast and he knew what...

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He knew what to do and he taught us a guitar should answer...

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singing, you shouldn't solo all the way down something,

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you should answer the vocal at all times.

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And it should be a, you know, call-and-response thing.

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You know, the voice goes you know,

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"My light shines on," and Throb goes, "Da, da, da da, da, da,"

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"My light shines on," "Da, da, da da, da, da."

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# My light shines on

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# My light shines on

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# My light shines on

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# My light shines on

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# Everybody sing it

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# Gettin' outta darkness My light shines on

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# Shines on

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# Gettin' outta darkness My light shines on

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# Light shines on

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# Gettin' outta darkness My light shines on

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# Light shines on

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# Gettin' outta darkness My light shines on

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# Light shines on. #

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CHEERING

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I knew this much, that we had the track to start the album with.

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When we, you know, when this was finished, when Jimmy mixed it,

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we knew we had a great start to the album, you know.

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My first memory of Robert Young is a little kid and he could,

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you know, he could play the start to this Clash song.

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I was really impressed.

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He was about 15 or something, and he lived right across the road from me.

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And he'd stick speakers out the window, and he'd,

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you know, like, let our street know

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that he's got the new Ramones single,

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or he's got the new Pistols single.

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Cos the other guy that could do the same thing,

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when I first met him, was Andrew Innes when he was 15.

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And he could play Never Mind The Bollocks,

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the first Clash album, the first three Jam albums, you know?

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Um, the Rich Kids, Generation X, you know?

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He could play all the punk stuff, plus The Beatles!

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And McGee lived, um, just down the road.

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I got into punk maybe about...

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maybe a month before Bobby. Whatever, I mean, who cares?

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It's not like... You don't get a badge for it.

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And, um... And he was the only other person in our area

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that got it as well, so we kind of were thrown together.

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I met him through Alan McGee,

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we'd sort of, you know, met through trying to form a band

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on the south side of Glasgow and he was one of Alan's friends

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so we just ended up sitting up, trying to play punk songs together,

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he was singing I was playing guitar. And Alan played bass as well.

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I think we were called Captain Scarlet and the Mysterons.

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I don't think we intended to be a band, it was a bit of fun.

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We never played a show, except in Andrew Innes's bedroom

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and me and Innes were drinking so...

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God, drinking at 16 what a great advert for the kids, that one(!)

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But, anyway, Andrew would be a bit...

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Andrew's younger than me by quite a long way. Andrew would be about 14,

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so Andrew and me used to drink four cans of Tennent's, each,

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and be smashed!

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But the one that was even more mental - and he was sober - was Gillespie, who was rolling around.

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Me, just rolling around the floor, screaming, pretending I had a mic.

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Me and Alan sort of went to London when we were 18, 19.

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I just didn't want a real job, so when I started running a club,

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I chucked in my British Rail job and I'd formed Creation in '83.

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This was the '80s, so, you know,

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there was things like Frankie Goes To Hollywood going on

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and, you know, a lot of kinda Howard Jones and kinda big, shiny, plastic, chart pop.

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So to be influenced by punk, you know, in the mid-'80s

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was kinda like a weird thing, really, you know, because it wasn't really

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a guaranteed way of having any kind of success, you know.

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I'd just finished touring with Nico,

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I was with Nico for about six or seven years before she died

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and, um there was an advertisement in the NME.

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I was looking for a drummer who was into, like,

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Johnny Thunders, The Heartbreakers, the MC5, you know, Stooges.

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"Beach Boys, New York Dolls," and I thought, "Oh, that's interesting,"

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applied for it and it was Primal Scream.

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I went down to audition and that's it. That's it, really.

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Well, I played in a band called Felt from Birmingham

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and we were on Creation Records, so that's when we first met.

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I remember thinking, "I wish he was in our band."

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And when I heard Felt were splitting up, I just rang him up,

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said, "Do you you want to come play with us?"

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I got involved with Primal Scream

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because I lived downstairs from Toby, the drummer, and they wanted

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some string arrangements doing for...Dead Skin, which is on the Primal Scream album,

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and he shouted down and said, "I've got you some work".

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We were still trying to find a voice and trying to find a way

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and find a language, you know, we were still kind of finding ourselves.

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We went into Bark Studios in Walthamstow

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and we just recorded an album we wanted to do which is, you know,

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a straightforward rock 'n' roll, New York Dolls-y, punky album

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that's what we were listening to, that's where we all come from.

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# Ivy, Ivy, you destroy me Ivy, Ivy, you destroy me

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# Ivy, Ivy, you destroy me Ivy, Ivy, you destroy me

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# Ivy, Ivy, you destroy me Ivy, Ivy, you destroy me

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# Ivy, Ivy, you destroy me. Ivy, Ivy, you destroy me, you do. #

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By the second album, they were in danger

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of being a bit of a joke, actually, Primal Scream.

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With the leathers and the long hair and the speedy attitude,

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they were completely out of step with the times.

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I was doing the press for the group at the time and it was hard, man.

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It was really difficult. In fact, I'll never forget, actually,

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Andrew Innes, things were so bad, he said to me,

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"Can you not even get us in, like, the guitar magazines?" You know?

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And I couldn't!

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And they just toured and toured and toured and toured

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and it was called the Throw Away the Atlas Tour.

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They were playing Aberystwyth one night, Norwich the next,

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anywhere they good secure a booking.

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It was only McGee who obviously knew something,

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or hoped something good would come of it.

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I wouldn't give in. I mean, even though all the media hated Primal Scream,

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I didn't give a shit. I was just going to win with Primal Scream.

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# I don't want nobody else

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# I just want you to myself

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# I betrayed you

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# I'm sorry I hurt you... #

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It was the first song that we'd wrote that I thought,

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and Andrew thought, and Robert thought,

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"This is a really good song, our songwriting's getting good."

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It is a good... I think it's a classic love song. It's a cheating song.

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# Don't you believe me?

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# Will you redeem me?

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# Don't you believe me, baby?

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# Stay with me, come on

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# Stay with me

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# Stay with me, come on. #

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Easily the biggest response, the most important response we had to that record

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was from a DJ, a guy called Andrew Weatherall.

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He gave me a copy and I think, you know, er,

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and I think I came back to him a couple of days later going,

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"This is amazing, I love this record." He's like, "Really?"

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"You are literally the only one,"

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you know, "You are the only one in the world that likes it."

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And he picked up on all the ballads,

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especially I'm Losing More Than I'll Ever Have.

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A catalyst for a lot of this thing happening

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and she doesn't get the credit that she's due is an NME journalist called Helen Mead.

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I still remember that phone call, vividly,

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and it went something like, "Alan McGee has told me he's sacking me

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"unless I get some press on this record and at the moment,

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"I have nothing. Please, there must be something you can do to help!"

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She came up with a good idea. She said, "Why don't we make this work for everybody?

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"You're looking for a live review for your group. Why don't we get Andrew to do it?" So off we went.

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Andy came down to Exeter,

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and we got on right away, you know, he kind of liked...

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He liked a lot of the music that we like.

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My first meeting with Bobby, I had exceedingly long hair at the time,

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shoulder-length, kind of corkscrew hair,

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and I was sat waiting for him to come in and he came in

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and he looked me up and down and went,

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"Cool hair, man. It looks like Marc Bolan's. Is it a perm?"

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"Thank you. Thank you. No, it's not a perm."

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He'd a great sense of humour, as well. He's a really funny guy.

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So, he reviewed us for the NME.

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Although this was Exeter on a wet Wednesday and we were in a cupboard and it wasn't very rock 'n' roll,

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they gave the most rock 'n' roll performance I've ever seen.

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You know, that's when I knew it was in their bones.

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He gave them this great review and they clicked. They clicked,

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over this love of music. It was that simple.

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And the icing on the cake was, was that they gave him

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the opportunity to go into the studio for the first time.

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We approached him and says, "Look, would you remix I'm Losing More Than I'll Ever Have?"

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We thought, "Well, he can make a mix of this

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"cos it was done to a click track," cos, you know a lot of times then we hadn't done things to...

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to click tracks.

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The mix, I'm Losing More Than I'll Ever Have, which became known as Loaded,

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that was Innes and Weatherall.

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# I'm losing more than I'll ever have

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# I feel bad

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# Feel so bad, yeah... #

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He wasn't like a producer, or an engineer,

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and he was just like a guy who had ideas. It really appealed to our...

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punk-rock ethics.

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It's an experiment. Let's see what's happening.

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We've got this song, you're on the dance floor,

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or you're in control of the dance floor, in the right clubs

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so, although you may not know what you're doing technically,

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you know what you're doing structurally,

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arrangement-wise, and how it would work on a dance floor.

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I think he was getting 500 quid for doing it

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and he was, he was excited and he was more than a little bit scared.

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I was very nervous. I didn't know what you could and couldn't do,

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but I was full of what Orson Welles called the confidence of ignorance.

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Not that I'm likening the making of Loaded

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to the making of Citizen Kane, but when asked, "How did you do it,

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"how did you come up with something like that, you know, when you were like 23, 24?"

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He said, "It's the confidence of ignorance."

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And I was full of piss and vinegar and full of the confidence of ignorance.

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I don't know that I'm breaking rules cos I don't know what the rules are.

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When he first did it, he was kind of too polite with it and too...

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I mean, he'll tell you, he... he didn't want to ruin our song.

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Mr Innes came in, listened to it, visible disappointment, um, "OK,"

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and he was just like, "Nah, man, fucking destroy it," was his very words...

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You know, that was his... "Dinnae give a fuck."

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We put him on the spot, cos he'd never done it before

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and it took him six, seven attempts, you know,

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"There's a good bit there, a good bit there, a good bit there."

0:16:350:16:38

The bass on I'm Losing More Than I'll Ever Have,

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it starts off with...

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So, following the chords. But none of that's in Loaded.

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The end section of I'm Losing More Than I'll Ever Have

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is E-flat, D-flat, A-flat and E-flat.

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It just goes round on those three chords

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so this bit of I'm Losing More Than I'll Ever Have went...

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I thought, "Right, OK, it's gotta be a big, epic piece."

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# I don't wanna lose your love

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# I don't wanna lose your love

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# I don't wanna lose your love

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# I don't wanna lose your love... #

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I was...blown away by that mix, I was completely blown away.

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It was everything that I loved. It had dub, the space of dub,

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guitars like the blues, Elmore James, Rolling Stones, you know, uh,

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you know, strings and horns like Curtis Mayfield.

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Bob and Andrew sort of started getting into...

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..the dance thing, which I absolutely hated...at the time.

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And...I even threatened to leave the band, you know,

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cos I wanted the rock 'n' roll thing.

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You know, as Quincy Jones always said, it's...

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music doesn't change, it's the beat that changes through time, and every generation has its beat.

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And Andy brought the beat that was modern.

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And then Innes, Mr Innes came up with the idea of, "Let's mix the two together."

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You know it was new music, it was exciting.

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It was new sounds, it wasn't such a formulaic-ness to it, it could...

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A song could just be a horn riff, it could just be a vocal stutter,

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a song could be... suddenly be anything.

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One Manchester DJ, who shall remain nameless, said...

0:19:130:19:16

described it as nonsense,

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and he used the words, "Soft, Southern-drinking shandy shite"!

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Andrew was there the first night it was played,

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and I think it was Subterranea, over in west London,

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and I was still up at four in the morning, and he called me up,

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and he was like, "Bob, Bob, Weatherall played Loaded,"

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and he goes, "The whole club went absolutely crazy."

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Yeah, the reaction was insane, culminating in, about halfway through,

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the whole crowd doing that Sympathy For The Devil "woo-woo" thing over the top.

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When you heard your record getting played in these places and the girls liked it...and, you know,

0:19:520:19:58

"I like this. It's better than playing to 20 people in a club in Bolton, on a Tuesday night."

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Loaded came in to the Smash Hits office, where I was working,

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and we were all kind of blown away by it.

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It was like, "Whoa! It's Primal Scream?" "Well, it's a remix, but it is Primal Scream."

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It was this sort of thing.

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And every time I was putting calls though to,

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you know, magazines like Blitz or the Face, people would pick up

0:20:180:20:22

and I could hear Loaded being played in the background.

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Acid house had emerged in '88, and we'd heard about these people,

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these DJs at clubs like Shoom,

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who were playing all this mad Chicago music,

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but also playing records at the wrong speeds and stuff like that and I was like, "What the hell is this?"

0:20:320:20:38

So the dance music scene was kind of amazing at that time

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but the rock music scene was kind of crap.

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You had U2 in their cowboy boots and their cowboy hats

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and you had Jim Kerr cutting about with his leggings on and giving it all the, "Hey, hey, hey."

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So rock music was kind of a bit duff at that time.

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When Loaded was a hit, it was the biggest shock in the world to me, cos I was like, "Fuck, we done it."

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We got on Top Of The Pops,

0:21:020:21:03

which was...had been our...you know, ever since I was a little kid,

0:21:030:21:07

I wanted to be on Top Of The Pops, so that was amazing.

0:21:070:21:10

'Just what is it that you want to do?'

0:21:100:21:12

# I'm gonna get deep down, deep down

0:21:120:21:14

# Said, I'm gonna get deep down, deep down

0:21:140:21:18

# Whoo! Hey!

0:21:180:21:20

'We wanna be free to do what we wanna do.'

0:21:280:21:31

Being a rock band that makes people dance is actually quite rare.

0:21:370:21:41

And they really have done so many records now, at this point,

0:21:410:21:45

that are really great dance records, but they're a rock band.

0:21:450:21:48

And then McGee gave us a wage.

0:22:060:22:09

He said to us, "You know, you need a follow-up single.

0:22:090:22:13

"This is a hit, you need a follow-up."

0:22:130:22:14

So we...we wrote Come Together pretty quickly after that.

0:22:140:22:19

The Scream would write the songs and give me their ideas, musically.

0:22:190:22:23

I would then add my ideas, musically.

0:22:230:22:26

I knew how I wanted it to sound but I didn't know how to achieve that sound, which is where Hugo came in.

0:22:260:22:31

Andy was always so positive, actually, in the studio

0:22:310:22:34

so it was always... it was always fun, you know.

0:22:340:22:37

It was always, like, "Oh, here we go,"

0:22:370:22:39

and pushing the boundaries of everything I can do.

0:22:390:22:42

Hugo played a massive part from that, from Come Together onwards

0:22:420:22:45

and then into the album.

0:22:450:22:47

Hugo was the kind of glue that held the whole thing together.

0:22:470:22:51

A lot of what I, you know, was trying to do was make music to shag to, basically.

0:22:510:22:58

HE LAUGHS

0:22:580:23:00

# Come together

0:23:000:23:03

# Oh-oh oh-oh

0:23:030:23:04

# Come

0:23:040:23:06

# Together

0:23:060:23:08

# Oh-oh oh-oh

0:23:080:23:09

# Come together... #

0:23:090:23:12

Ecstasy, you know, that, that was the single, transformative thing

0:23:130:23:20

that happened. It transformed absolutely everything.

0:23:200:23:24

# Kiss me

0:23:240:23:27

# Won't you, won't you

0:23:270:23:29

# Kiss me

0:23:290:23:31

# Won't you, won't you kiss me

0:23:330:23:36

# Lift me right out of this world. #

0:23:360:23:43

I got a phone call from Terry Farley, who I was doing a fanzine with, called Boy's Own.

0:23:430:23:48

And he uttered the immortal words, "There's this great club, it's called the Shoom,

0:23:480:23:52

"it's full of football hooligans wearing Chevignon, taking ecstasy."

0:23:520:23:56

I was going through the dry ice and I bumped into somebody

0:23:560:23:59

and they'd a massive tattoo on their neck, and I was thinking,

0:23:590:24:03

"Oh, my God," you know, "here we go," and the guy turned round

0:24:030:24:06

and went, "All right, what are you doing here?" and hugged me.

0:24:060:24:10

"Hey, mate, you OK? Do you want some water? Hey, you look a bit hot there. Hey, how's it going?

0:24:100:24:14

"What's your name, where do you come from?" It was quite...fantastic, actually.

0:24:140:24:19

Alcohol wasn't being consumed, and that's a very different drug,

0:24:190:24:24

very different drug.

0:24:240:24:25

I went from listening to Throbbing Gristle's Hamburger Lady

0:24:250:24:29

to dancing to Josephine by Chris Rea.

0:24:290:24:32

That shows you how dangerous that drug can be.

0:24:320:24:35

The first nine months I was going out taking E, I didn't touch a drink.

0:24:360:24:40

Just didn't want to. All those early clubs weren't even licensed.

0:24:400:24:45

You know, you were drinking Ribena.

0:24:450:24:47

It was a spur, um, for dancing, it was a spur for artistic creation,

0:24:470:24:53

it was a spur for conversation.

0:24:530:24:55

Now, some of that dancing, artistic output and conversation

0:24:550:24:59

was absolute nonsense, as with the '60s and acid.

0:24:590:25:03

But, um, the core of it,

0:25:030:25:05

yeah, the core of it, ecstasy did, literally and metaphorically, open people up.

0:25:050:25:12

A song like Come Together was made for...it was perfect for the times,

0:25:120:25:17

-and it wasn't

-made

-for the times, it was made by people who were hip to the times, who

-were

-the times.

0:25:170:25:23

The single version, the original version of Come Together is a pretty straight kind of track,

0:25:230:25:27

it's an amazing track and stuff, but then the remix was in the spirit of Loaded.

0:25:270:25:32

That's the version that appears on the album and it is kind of amazing,

0:25:320:25:35

it captures the spirit of the times and what it felt like being in those clubs at that time.

0:25:350:25:40

# Come

0:25:400:25:43

# Together as one

0:25:440:25:49

# Come

0:25:500:25:53

# Together as one... #

0:25:540:25:59

In the summer of 1990, we built a studio, which was in Hackney,

0:25:590:26:03

quite near where the Creation office was.

0:26:030:26:05

That part of Hackney's been gentrified now, but back then it was pretty rough.

0:26:050:26:09

I think that's why McGee had his label there,

0:26:090:26:11

so people were too scared to go and ask for their royalties.

0:26:110:26:15

There was no Tube line there, they might have got mugged.

0:26:150:26:19

It had a room that was sound-proofed.

0:26:190:26:22

And we had a small computer screen in there,

0:26:220:26:26

and the S-1000 and a keyboard.

0:26:260:26:29

And we had a microphone.

0:26:290:26:31

We had a vocal booth, and we just... we went in there to write.

0:26:310:26:37

Um...Andrew, myself and Robert Young.

0:26:370:26:40

We realised we had to sort of...

0:26:400:26:42

..write things differently, because, you know,

0:26:430:26:47

the, er...

0:26:470:26:49

..the music was taking a turn.

0:26:500:26:52

This is the S-1000, I think it's the second.

0:26:520:26:55

The 900 was the first sort of commercial one,

0:26:550:26:59

but this is the S-1000, the one we'd got, it was stereo,

0:26:590:27:02

and it had one minute of sampling, which was quite a lot in those days.

0:27:020:27:05

But suddenly, you could...

0:27:050:27:07

Suddenly, you could play... but suddenly you could...

0:27:070:27:11

People'd give you discs for it,

0:27:110:27:13

there were floppy disks that went in it and people would give you discs and go, "There's tablas on that,"

0:27:130:27:18

and suddenly you didn't have to learn how to play a tabla, or know a tabla player.

0:27:180:27:23

You could play tablas on your keyboard. Or somebody'd give you...

0:27:230:27:27

Or a sample them from an Indian record, you know.

0:27:270:27:29

Somebody would give you a flute, you know, a flute sample

0:27:290:27:33

and you'd put it in there and then you could write a melody...

0:27:330:27:36

And you could put the flute sample onto the keyboard and play the melody that you wrote.

0:27:360:27:41

If you wrote the melody, you could play the flute sample as a melody.

0:27:410:27:44

FLUTE SOUND PLAYS

0:27:440:27:47

So there's the flute...

0:27:470:27:48

..and to anyone who's listening that probably does sound like a flute,

0:27:510:27:56

but I spent ages trying to make that sound better, and I think I made it sound a bit better.

0:27:560:28:03

Just because we've got a bass player and a drummer

0:28:030:28:05

doesn't mean you've got to have bass and drums in every track.

0:28:050:28:08

I like tracks that are just... no bass and drums in it,

0:28:080:28:13

just a voice and...some sounds, or maybe just some sounds,

0:28:130:28:19

and I like instrumentals that don't have a voice, and you've got Inner Flight, you know.

0:28:190:28:24

If we'd used a real flute, it wouldn't have been as psychedelic.

0:28:240:28:27

The fact it was synthetic, cos I think it was a flute sample, so it was...

0:28:270:28:31

it was kind of synthetic, gives it a kind of more trippy texture.

0:28:310:28:35

We never did E in the studio, it was, um...

0:28:350:28:39

but I think being involved in the acid scene and doing ecstasy informed the record

0:28:390:28:44

and that's why the record came out of that, it came out of that experience.

0:28:440:28:48

The start of that song, Higher Than The Sun, is a major ninth.

0:28:570:29:03

-HE SINGS NOTES

-See, I can't sing it, but Bobby can.

0:29:030:29:07

Harmonically it's very brave because there's no intro, then there he goes with this big jump,

0:29:080:29:13

it's a very ambitious thing to do.

0:29:130:29:14

# My brightest star's my inner light, let it guide me

0:29:150:29:21

# Experience and innocence bleed inside me... #

0:29:210:29:27

Higher Than the Sun by The Orb which is six minutes 43, which is an epic 12-inch,

0:29:270:29:32

but these records at the time, they were meant to be 12-inch records,

0:29:320:29:37

they were meant to be experimental pop records.

0:29:370:29:40

We brought that different element of the ambient side,

0:29:400:29:42

the dreamy side of Higher Than the Sun,

0:29:420:29:45

which to date is the best thing I've ever done, so I'm quite proud of it.

0:29:450:29:50

When I moved into that flat in Bethnal Green with Andrew Innes,

0:29:500:29:54

The Orb to him was just like a disease that was not to be played on his stereo.

0:29:540:30:00

I remember the first night when I put Little Fluffy Clouds on,

0:30:000:30:03

he was like, "Get that crap off".

0:30:030:30:05

Six weeks later, Higher Than The Sun.

0:30:050:30:08

One of the best mixes ever done, in my opinion.

0:30:080:30:12

I just remember the recording process of Higher Than The Sun, and it being so spectacular,

0:30:120:30:20

and realising that what we'd done was we'd made another Little Fluffy Clouds,

0:30:200:30:25

and I can't give that much higher praise again.

0:30:250:30:28

We did a seven-inch edit, hoping that it might get played on the radio.

0:30:280:30:32

But if you want the full version, it's the 12-inch version.

0:30:320:30:36

But when we were sequencing Screamadelica,

0:30:360:30:41

Andrew felt that it was better to put the shorter version of Higher Than the Sun on,

0:30:410:30:47

and I thought maybe the long version, cos that was my favourite.

0:30:470:30:52

But he said, "No do the short one, I think it's gonna run better within the context of the record"

0:30:520:30:57

and he was right, 100% right.

0:30:570:31:00

# I believe in live and let live

0:31:010:31:06

# I believe you get what you give...#

0:31:060:31:12

Somebody called it the hymn to hedonism,

0:31:120:31:14

and I suppose that's exactly what it is, I think Bobby sometimes is underrated as a lyricist,

0:31:140:31:20

but that's a great lyric.

0:31:200:31:22

Higher Than The Sun, it's a hymn to drugs, it's genius. It's a genius hymn to drugs,

0:31:220:31:27

I was actually thinking when I actually snuff it, I might die to Higher Than The Sun.

0:31:270:31:33

Then the next single was Don't Fight It Feel It, which was strange again cos Bob doesn't sing it,

0:31:330:31:37

Denise sung it, but that's how confident we were feeling -

0:31:370:31:41

we can do what we want, we can have a girl who's not been in the band, we can have her sing it.

0:31:410:31:49

The only demarcation lines were that us three wrote the songs.

0:31:490:31:53

Andrew, Robert and me. Together, we put the songs together.

0:31:530:31:56

And when it came to the studio...

0:31:560:31:57

It was just whoever had a really good idea.

0:31:570:32:00

You know, if somebody had a good idea, we would go, "OK, let's try that".

0:32:000:32:04

The ego was the last thing, it was put to the side - it was like,

0:32:040:32:10

whatever makes it sound good.

0:32:100:32:13

Well, basically we ended up doing a showcase at Shoom in London

0:32:130:32:19

and I think it was Innes and Duffy that came along, and Throb came to the gig,

0:32:190:32:24

Bobby didn't come. So we do this PA and you know, I'm singing and all that kind of stuff,

0:32:240:32:30

and as the story goes, as Innes told me,

0:32:300:32:33

Innes got on the phone to Bobby and said, "You better get the fuck down here,

0:32:330:32:37

"I found the fucking singer for Don't Fight It, Feel It".

0:32:370:32:39

# Rama-lama-lama, fa-fa-fa

0:32:390:32:43

# I'm gonna get high till the day I die

0:32:430:32:47

# Rama-lama-lama, fa-fa-fa

0:32:470:32:51

# I'm gonna get high till the day I die. #

0:32:510:32:56

We wanted to make it, a soul, '60s soul track, but modern, to fit in with the acid house thing.

0:33:000:33:06

# Rama-lama-lama, fa-fa-fa

0:33:110:33:14

# I'm gonna get high till the day I die

0:33:140:33:18

# Rama-lama-lama, fa-fa-fa

0:33:180:33:22

# I'm gonna get high till the day I die. #

0:33:220:33:27

You write what you can sing, and if you write something you can't sing,

0:33:270:33:31

like Don't Fight It, Feel It,

0:33:310:33:32

you've got to find somebody to sing it. We found Denise and she sang it beautifully.

0:33:320:33:36

When she sang it, it made sense.

0:33:360:33:38

# Dance to the music All night long

0:33:380:33:42

# Getting up, gettin' down Gonna get it on

0:33:420:33:46

# Gonna live the life I love

0:33:460:33:50

# I'm gonna love the life I live...#

0:33:500:33:55

But it was just a really weird session and I wasn't used to that sort of session.

0:33:570:34:02

I'd been doing sessions in Manchester where you turn up, sing, do your thing, have a listen,

0:34:020:34:08

"Yeah, everything's great" and then you leave, whereas this was like a whole day and night

0:34:080:34:12

just trying out things and a little bit of a party going on.

0:34:120:34:17

It was open, I mean, it was... experimental, spontaneous and experimental.

0:34:170:34:22

It's quite odd record, Don't Fight, It Feel It, even at the time

0:34:220:34:26

if you play it now, it's stripped down,

0:34:260:34:30

the hook's an out-of-tune whistle.

0:34:300:34:32

That was the summer anthem in clubs and that's when,

0:34:460:34:49

to me, they really crossed over

0:34:490:34:52

because that track was, all these dance kids going up to Bobby G and going,

0:34:520:34:57

"Shit, that's your record, it's amazing."

0:34:570:34:59

I think it's Andy Weatherall's masterpiece, it's just total drugs.

0:34:590:35:03

It is the sound of rushing on ecstasy,

0:35:030:35:07

or it's kind of acid-y as well, but it's, it's just pure...

0:35:070:35:12

it is the sound of that time.

0:35:120:35:14

And the reason that there were so many singles that came out

0:35:140:35:18

was that they were so fucked up on drugs, not on heroin at this point,

0:35:180:35:23

just on ecstasy and stuff like that

0:35:230:35:26

and speed and you know, acid and shit, like we all were, to be fair,

0:35:260:35:33

but I could actually get to the office and do things

0:35:330:35:36

and they couldn't even get to the studio and make a fucking record.

0:35:360:35:40

Anywhere in the Home Counties where Andy Weatherall was DJ-ing, we would kind of call him up,

0:35:400:35:45

find out where he was DJ-ing that particular weekend and get a car together,

0:35:450:35:50

get our drugs and go and, you know, hang out, listen to him play records

0:35:500:35:55

and, you know, get absolutely fucking wasted.

0:35:550:35:57

And end up in some stranger's house till, you know...

0:35:570:36:02

Monday morning, having a party and having a good time and a...

0:36:020:36:07

Then back in the studio on Tuesday.

0:36:070:36:09

Or Wednesday.

0:36:090:36:12

I think Wednesday night, back late Wednesday night,

0:36:120:36:14

we'd start about 11 o'clock at night and then work through the night.

0:36:140:36:18

It's just blind loyalty to somebody that we just, you know...

0:36:180:36:23

I trusted the guy.

0:36:230:36:24

He said, "No, you've got to make an album now, you've gotta get some more tracks,

0:36:240:36:29

"write some more songs, make an album.

0:36:290:36:31

"You can't keep releasing singles."

0:36:310:36:33

And he came up with the goods.

0:36:330:36:35

I think an important thing with Screamadelica is that we stopped writing on guitar.

0:36:350:36:39

Before that, we were like, three or four guys jamming in a room with guitar riffs and electric guitars,

0:36:390:36:46

trying to write rock'n'roll songs. But with Screamadelica, all the songs were written on keyboards.

0:36:460:36:53

Or they were written round the sample...

0:36:530:36:56

But you know, the actual melodic structure of the chords and the melody was all keyboards. All of it.

0:36:560:37:01

The only time that we got together as a band to record was Damaged

0:37:010:37:05

We were each in the corner of the studio.

0:37:050:37:08

Bobby was in the control room,

0:37:080:37:09

and that was the only time we played live together as a band.

0:37:090:37:13

# Sweet summer days when I was feeling so fine

0:37:270:37:34

# Just you and me girl was a beautiful time

0:37:340:37:40

# Ah yeah... #

0:37:400:37:43

Throb on acoustic, you on electric, Duff on piano, Henry on double bass, Toby on...

0:37:430:37:50

they were...

0:37:500:37:52

you think he's just got a ride and a snare.

0:37:520:37:55

This is take two, cos I think when we did take one it was pretty good...

0:37:550:38:00

but he forgot to do something, like turn the mics on or something, or some technical problem,

0:38:000:38:04

and then we did take two, and take two is the master take.

0:38:040:38:08

The acoustic guitar, it's just pure feeling.

0:38:080:38:12

You know, soft and gentle and just, it's feeling.

0:38:120:38:15

When Duffy plays piano,

0:38:150:38:17

he plays with as much feeling on the piano as Throb plays on the guitar.

0:38:170:38:21

So, for me as a vocalist, you know, it's...

0:38:210:38:24

it's there, they've set, they've set the song up already before I even sing.

0:38:240:38:28

I mean, I just play, it's kind of a country style, really.

0:38:390:38:43

I think we've got a really great feel, you know.

0:38:580:39:02

There's real sensitivity amongst the musicians for, you know,

0:39:020:39:06

playing this soft and this gentle, but very intensely, with a lot of emotion.

0:39:060:39:11

# I'd wake up beside you you'd hold me in your arms

0:39:150:39:21

# Nothing and nobody's gonna do me any harm

0:39:210:39:28

# Ah yeah

0:39:280:39:32

# Said I felt so happy

0:39:320:39:37

# My, my, my

0:39:370:39:40

# And the way I felt inside... #

0:39:400:39:47

Well, he had a left a long-term relationship,

0:39:470:39:50

and I had around the same time. I had similarly left a long-term relationship,

0:39:500:39:55

so maybe there was a wee bit of sadness in there that came out in Damaged.

0:39:550:40:00

That's, that's what I think, you know.

0:40:000:40:02

We're Scottish, we cannae be too happy for too long

0:40:020:40:05

or we think there's something wrong in the world!

0:40:050:40:07

GUITAR RIFF PLAYS FROM EQUIPMENT

0:40:180:40:22

Now there's several claimants to who did this.

0:40:280:40:31

Robert was supposed to play the guitar solo on "Damaged",

0:40:320:40:37

And he wasn't at the studio that night, and I was there with Andrew and Bobby

0:40:380:40:42

and I said something like,

0:40:420:40:44

"It should sound like Ronnie Wood in the Faces"

0:40:440:40:47

so Innes gave me his guitar, "Go on then".

0:40:470:40:50

I said, "I don't want to do this, I don't want to upset Robert,"

0:40:500:40:54

"No, it will be all right", so I played it, Andrew had a go and I had a go.

0:40:540:41:00

I think it's a bit of you and a wee bit of Henry, I think.

0:41:000:41:04

It's always the same when something's good.

0:41:040:41:06

Success has many fathers.

0:41:060:41:10

Next day Robert comes in, I said "Look, I played the guitar solo on Damaged with Andrew last night,

0:41:100:41:17

"are you ok with it?" "Yeah, no problem it's a great solo", it was easy, fantastic.

0:41:170:41:23

If Henry could do the guitar part better, then you do it,

0:41:230:41:28

cos we'd got two days to go, and you know, he played the part better.

0:41:280:41:33

This is I think what I played on it, my bits of it anyway.

0:41:330:41:37

To share your music that way is a fantastic thing,

0:42:090:42:12

and it also, it did away the concept of a band where this person did this and this person did that,

0:42:120:42:18

it just became a load of people saying "I've got an idea!"

0:42:180:42:21

See, this is the history of Primal Scream,

0:42:210:42:23

it's a band that's not really a band.

0:42:230:42:26

You know, it's, you know, do you know what I mean?

0:42:260:42:30

Which is the way we like it.

0:42:300:42:33

Slip Inside This House, has got like, I think, 16 verses.

0:42:330:42:37

It's like a long, like a... it's like an epic poem.

0:42:370:42:40

It's a radical take of a song by the 13th Floor Elevators,

0:42:400:42:46

who were a Texan psychedelic band from the '60s.

0:42:460:42:50

It's tough to cover bands like 13th Floor Elevators,

0:42:500:42:52

like, to me you don't cover Elevators, Zeppelin, Bob Marley,

0:42:520:42:56

some stuff you just don't really cover,

0:42:560:42:58

cos you don't have much of a chance of doing it as good or better than the original artist.

0:42:580:43:04

But that's a great cover.

0:43:040:43:06

So when we came to record it, I was supposed to sing it.

0:43:060:43:10

And I brought the lyrics up that I'd cut up and stuff, and edited. And, um...

0:43:100:43:15

but I'd, um... I wasn't in the best of shape. And, um...

0:43:150:43:18

Acid house flu.

0:43:180:43:21

Um, I-I remember it was a really, really hot summer's day.

0:43:210:43:26

And, um, I kind of sang a couple of takes.

0:43:260:43:29

And then I sort of more or less collapsed.

0:43:290:43:31

He was like, he was dying. He was lying on the floor like dying of flu.

0:43:310:43:35

So basically we had one day in the studio and I had to...

0:43:350:43:39

..somebody had to do it.

0:43:400:43:42

And I'm not a singer. Trust me.

0:43:420:43:45

But...you know, replicating his voice was...

0:43:450:43:48

I just had to do whispering.

0:43:500:43:52

And the only song he ever sang. But he sings it good.

0:43:520:43:55

He sings it good.

0:43:550:43:57

He sings it great, actually.

0:43:570:43:58

There's Robert.

0:43:580:44:00

MUSIC PLAYS FROM EQUIPMENT

0:44:000:44:02

# Live where your heart can be given

0:44:050:44:09

# And your life starts to unfold...#

0:44:090:44:14

If you listen to any LPs at the time, they're all just like,

0:44:140:44:20

contemporary albums, they're all pretty similar.

0:44:200:44:24

You know, it's just bass, guitar, drums, you know and so...

0:44:240:44:28

and this was, you know, there'd be a song like,

0:44:280:44:31

like Shine Like Stars, and then a song like Don't Fight It, Feel It

0:44:310:44:34

and you can't even...

0:44:340:44:36

..say that they sound like they're the same band, or even sound like they were made in the same century.

0:44:370:44:43

We had a couple of days to come up with a title for the album.

0:44:430:44:47

I was at home with Andrew Innes and Bobby and his girlfriend at the time

0:44:480:44:53

and Andrew was adamant that the word Scream had to be in the title,

0:44:530:44:58

Adamant.

0:44:580:44:59

So this ludicrous conversation started

0:44:590:45:02

and it was like Scream Next, Scream Out, Scream Off, Scream This, Scream That

0:45:020:45:06

and then the conversation just petered out. Some hours later,

0:45:060:45:12

Andrew was playing his records

0:45:120:45:14

and he put this tune on. I said, "This is really good, what is it?" And he was like, "It's Funkadelic".

0:45:140:45:19

And I just sort of went. "Funkadelic. Screamadelic". And he went, "What did you say?"

0:45:190:45:25

I said, "Screamadelic." And he went, "That's it! Screamadelic! Screamadelic!"

0:45:250:45:30

That was it.

0:45:300:45:33

The sun was a detail from an enormous painting

0:45:350:45:38

from the mind of a guy called Paul Cannell.

0:45:380:45:42

Bob had gone over to Paul's house and looked at Paul's work and found the sun, the detail, like,

0:45:420:45:48

"I don't want the whole picture, but that, I want that."

0:45:480:45:51

It kind of looks like a sun that's taken a pill.

0:45:510:45:55

You know, that's what it looks like, and it just, and it's psychedelic,

0:45:550:45:59

it was everything that the record stood for, it was kind of warm and psychedelic.

0:45:590:46:05

We thought it was gonna be, like, an underground classic,

0:46:050:46:08

you know like Tago Mago by Can.

0:46:080:46:11

Or Metal Box by Public Image, you know.

0:46:110:46:13

Records that weren't big commercial hits, but they were really cool,

0:46:130:46:16

and they were pop, but they were experimental at the same time.

0:46:160:46:20

We pressed 60,000 records, thinking...

0:46:200:46:22

Not because we thought they were a bad band, we loved the record, but we just thought,

0:46:220:46:28

"It's a cult record", and it sold 60,000 records in the first week

0:46:280:46:33

I thought "My god", and I went out of stock from the Monday to the Wednesday

0:46:330:46:37

the following week, we were pressing up about another 100,000 records.

0:46:370:46:40

You know, suddenly Creation would say "You're in Woolworths"

0:46:400:46:44

and the sales went, but people love the weird stuff as well, so it's good,

0:46:440:46:50

I think we took people on our trip.

0:46:500:46:52

It got nominated for the Mercury Prize, and we're like, "Whatever, it's not going to win

0:46:520:46:56

"so let's just go down for the party have a drink, something to eat."

0:46:560:47:00

The first Mercury Prize, I mean, everybody kind of forgets

0:47:000:47:03

but it was dreamt up by a marketing man at Virgin Records,

0:47:030:47:07

the guy that put together all those Now! albums and stuff like that, so it was a marketing thing.

0:47:070:47:12

Bobby and Andrew refusing to attend, for reasons that elude me,

0:47:120:47:17

so the rest of us rock up to the Savoy.

0:47:170:47:20

There's some photographers there, and I think one flash went off

0:47:200:47:24

and I heard someone go, "Who's this lot?"

0:47:240:47:27

Start ordering drinks, the prices were exorbitant,

0:47:270:47:30

so someone was sent down to an off-licence and bought six bottles of Jack Daniels which were concealed

0:47:300:47:36

under the table, it was like, "We'll have 24 Coca-Colas please".

0:47:360:47:40

"And the winner of the Mercury Prize..."

0:47:400:47:43

we're just like, we're pretty half-cut now as well,

0:47:430:47:46

"The winner of the Mercury Prize is Primal Scream", and we were like, totally shocked

0:47:460:47:51

cos it was up against U2 that year, there was some really big names about.

0:47:510:47:57

We won it, and they couldn't give a shit.

0:47:570:48:00

We left the building, not fulfilling any of our media obligations.

0:48:000:48:06

I've got the cheque and I lost it, the cheque went missing.

0:48:060:48:10

We never got to the bottom of it.

0:48:100:48:12

You have talked to Martin Duffy, haven't you?

0:48:120:48:16

It was him.

0:48:160:48:18

So I had to call up the Mercury PR department,

0:48:180:48:21

who were obviously less than impressed that they hadn't really got much out of Primal Scream

0:48:210:48:27

in terms of media coverage and said, "I am the manager of Primal Scream,

0:48:270:48:32

"we've lost the cheque." Deathly silence. "Could you possibly bike another one?"

0:48:320:48:37

And I've still got the award, but I've lost the bulb on top.

0:48:370:48:43

To win the first one, I suppose it's good.

0:48:430:48:45

There is something irresistible about that music,

0:48:450:48:49

and I think everybody caught it at the time

0:48:490:48:54

and it really showed its full potential when the band ended up going live.

0:48:540:49:00

The first gig was, I think it was up in Glasgow, Glasgow Barrowlands,

0:49:000:49:06

I think we were up there, and it was just incredible,

0:49:060:49:10

cos we were used to playing in front of 200 kids maximum, and this was ram-packed

0:49:100:49:16

and there was thousands there, and I remember we were walking on stage, and there was this huge roar.

0:49:160:49:22

Me and Andrew just looked at each other and thought, "What's this about?"

0:49:250:49:29

It was like, totally alien to us.

0:49:290:49:32

We were tying to basically recreate a night out at a rave, not the usual rock show,

0:49:350:49:41

7.30, 8pm, the support slot, we wanted a full night

0:49:410:49:46

we wanted Weatherall DJing, you know, get the right atmosphere.

0:49:460:49:52

And just turn it into a rave, basically, not just a normal rock show.

0:49:520:49:55

# Rama-ramma-ramma Fa-fa-fa

0:49:550:49:59

# Gonna get high till the day I die

0:49:590:50:03

# Rama-ramma-ramma Fa-fa-fa

0:50:030:50:07

# Gonna get high till the day I die...#

0:50:070:50:12

I got a phone call from their manager saying "They'd love you to come on tour with them",

0:50:120:50:18

and I was, like, "I don't know about that, I don't think so",

0:50:180:50:22

and then I thought, "I might actually learn something here, it might actually be a good laugh,

0:50:220:50:27

"it might actually be something that I might end up really liking,"

0:50:270:50:31

so I said yes.

0:50:310:50:33

# Stoned love Stoned love singing

0:50:330:50:39

# Stoned love Stoned love singing

0:50:390:50:45

# Stoned love Stoned love singing...#

0:50:450:50:50

So she became a part of the live band, and it was great, you know?

0:50:560:51:00

Just another... I think that's the way bands should be.

0:51:000:51:03

# Moving on up, now

0:51:030:51:05

# Gettin' out of the darkness

0:51:080:51:11

# My light shines on Shine on

0:51:120:51:17

# My light shines on

0:51:170:51:20

# My light shines on

0:51:200:51:22

# My light shines on

0:51:220:51:25

# My light shines on

0:51:250:51:27

# My light shines on...#

0:51:270:51:31

With success comes a bit more money, comes better drugs,

0:51:310:51:35

comes better, you know, whatever.

0:51:350:51:37

And if you've got that kind of personality, then that's what you'll go for.

0:51:370:51:42

We'd finished the record, I went on tour with them,

0:51:420:51:45

it was a huge eye-opening experience.

0:51:450:51:47

I had never seen anything like it.

0:51:470:51:49

I'd been out clubbing before, I'd partied, you know, but it was...

0:51:490:51:54

I was like, "Shit, what's going on?"

0:51:540:51:57

This is a different level of experience.

0:51:580:52:02

Backstage, we had a big crew, lights, you know, roadies and what have you,

0:52:020:52:08

we didn't have that before, and catering, didn't have that before.

0:52:080:52:12

Riders, copious amounts of alcohol, whatever we could drink, basically.

0:52:120:52:19

I think there was one time there was 12 bottles of Jack Daniel's -

0:52:190:52:23

this was for the band - four litres of vodka, whatever,

0:52:230:52:28

it was all there, and it got drunk. I mean, me and Throb were going on stage with pints of vodka

0:52:280:52:36

and, um, we had, you know, our own drug dealers with us,

0:52:360:52:40

our own personal drug dealers.

0:52:400:52:42

They came along with us, and that was what we were getting up to.

0:52:420:52:47

With every tour I've done where it's been a bus,

0:52:470:52:50

there's the back lounge which was the party bit

0:52:500:52:54

there was the bunk bit, where everybody fell into after the party

0:52:540:52:59

and the front lounge was for those people who read Classic Car Monthly

0:52:590:53:04

and gardening magazines and listened to free jazz.

0:53:040:53:08

Who was in front?

0:53:080:53:11

Me and Denise.

0:53:110:53:13

That was their business. I didn't get involved in it.

0:53:130:53:16

I didn't judge them for it. If that's what you wanna do then that's what you wanna do

0:53:160:53:21

so long as you're kinda happy.

0:53:210:53:23

I dunno, how much excess do you want? I mean, you know, we just enjoyed ourselves.

0:53:230:53:29

It was insane. It was insane,

0:53:290:53:32

but it was...

0:53:320:53:33

you know, I'd like to say it was fun and I think it was,

0:53:330:53:39

but there are parts of me that do sadly regret it,

0:53:390:53:44

you know, cos it did take its toll on me.

0:53:440:53:48

There was one time in America I ended up in a bar at four o'clock in the morning on my own

0:53:480:53:54

and this guy pulled a gun on me in the toilets and, like, put a gun to my head

0:53:540:53:59

and he was trying to scare me and I said, "Look, mate you're not scaring me, honestly,

0:53:590:54:04

"just pull it, you'd be doing me a favour."

0:54:040:54:07

We went to Australia, something happened to me

0:54:070:54:10

and I was found by this friend of mine

0:54:100:54:14

looking for the steering wheel of the Sydney Opera House

0:54:140:54:17

so I could drive it to Atlantis.

0:54:170:54:19

Yeah, it got dark.

0:54:190:54:22

And...

0:54:220:54:24

..this is a tough, tough subject to talk about.

0:54:290:54:32

End of '91, it started to get really...

0:54:320:54:35

It was finished. It was over, you know. It was negative.

0:54:350:54:38

And it kind of fucked us for a bit, because creatively, we never recovered from that for a long time.

0:54:380:54:45

We went through the mill, we've done it all...

0:54:450:54:48

Been there, done it

0:54:500:54:52

and all come through the back end...

0:54:520:54:55

Is be-bop, Charlie Parker, the sound of heroin?

0:55:000:55:04

I don't think so.

0:55:040:55:06

I think it's the sound of the of be-bop despite the heroin,

0:55:060:55:10

it's the sound of Charlie Parker despite it, so...

0:55:100:55:14

I'd like to think that Screamadelica is the sound of some...

0:55:150:55:19

..you know, very intense,

0:55:210:55:24

creative musicians who weren't, I don't think, trying to make anything new

0:55:240:55:30

but were trying to make something, passionate and important

0:55:300:55:34

and something that mattered.

0:55:340:55:37

And I think that's what the sound of that record is

0:55:370:55:40

as opposed to the sound of some little pill.

0:55:400:55:44

We recorded this song, Shine Like Stars.

0:55:440:55:47

It's beautiful.

0:55:490:55:50

I'm not gonna say it's like a comedown, but it's like, really...

0:55:520:55:56

You know, soothing, yeah.

0:55:580:56:00

Makes you glad you're alive, I think.

0:56:010:56:03

I wouldn't go that far!

0:56:030:56:05

-I think this song's like a lullaby.

-Yeah.

0:56:100:56:12

Just like, you know, going on drifting off to sleep, you know.

0:56:120:56:16

When Jimmy Millar finished the mix for Moving On Up

0:56:160:56:20

and we knew that that was gonna be the opening track on the album,

0:56:200:56:23

just sounded like a great start to the record.

0:56:230:56:26

When Weatherall finally mixed this, Shine Like Stars,

0:56:260:56:31

we knew we had the last track for the record, you know, it just sounded perfect.

0:56:310:56:37

The album is definitely a journey. It is the weekend, a night out,

0:56:370:56:43

it's for getting ready to go out,

0:56:430:56:45

it's for chilling out and sort of floating off into sleep

0:56:450:56:49

satisfied at the end of it - it's everything, it's perfectly put together.

0:56:490:56:53

It just captures that moment perfectly and, um...

0:56:530:56:58

I think it always will, it's just that album, you know, that's the album to have.

0:56:580:57:03

I've always loved that tangled mess of beauty that they seem like, you know.

0:57:030:57:07

They really do seem like you couldn't untangle them, you know?

0:57:070:57:12

But why would, what would you want to do that for?

0:57:120:57:15

It is the spirit of the times, just the fact it's this big melange of all this stuff, this gospel music,

0:57:150:57:22

Stones, space rock, dub, psychedelica, you know, it's just absolutely brilliant.

0:57:220:57:27

And it got the, you know, it got DJs and rock musicians together,

0:57:270:57:35

brilliant, really good.

0:57:350:57:36

Throb's a genius, basically he's a musical genius at playing rock'n'roll

0:57:360:57:42

and Andrew's an incredible talent that seems to be able to play any kind of instrument known,

0:57:420:57:47

give him a clarinet, the guy could get a tune out of that.

0:57:470:57:50

These two are really talented. The one that's really clever, though, is Gillespie, to be honest,

0:57:500:57:56

but then he plays it down,

0:57:560:57:58

he's one of these guys who loves to play dumb, but he's a smart, smart, smart guy.

0:57:580:58:03

Subtitles by Red Bee Media Ltd

0:58:160:58:19

E-mail [email protected]

0:58:190:58:23

# Shine like stars

0:58:230:58:26

# Shine like stars

0:58:270:58:32

# Shine like stars

0:58:330:58:38

# Shine like stars. #

0:58:390:58:45

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