0:00:02 > 0:00:04This programme contains some strong language.
0:00:04 > 0:00:10Jack Bruce is probably Scotland's most famous international musician.
0:00:12 > 0:00:16In a 50-year career, Jack has fronted '60s supergroup Cream
0:00:16 > 0:00:21and played with everyone from Marvin Gaye to Jimi Hendrix,
0:00:21 > 0:00:23and from Lulu to Lou Reed.
0:00:23 > 0:00:26# When lights close their tired eyes... #
0:00:27 > 0:00:32Jack Bruce's contribution to rock music has changed
0:00:32 > 0:00:35the culture of music as we see it.
0:00:35 > 0:00:39Jack, he never thought about it, he just did it. He was a natural.
0:00:39 > 0:00:43Jack Bruce tore up the book and threw it away, and I went with him.
0:00:43 > 0:00:47He is one of the biggest talents in the world, you know.
0:00:47 > 0:00:51I mean, he lives, eats and breathes music.
0:00:56 > 0:00:58Especially for this programme,
0:00:58 > 0:01:03Jack returned to Scotland to reinterpret six songs pivotal to his life and his music.
0:01:04 > 0:01:07He spent three days rehearsing and recording with
0:01:07 > 0:01:12the cream of Scottish musicians, including hot traditional trio Lau,
0:01:12 > 0:01:18to create radical new performances of some of his best-known work.
0:01:18 > 0:01:20I quite often announce it
0:01:20 > 0:01:24as a classic piece of Scottish miserablism!
0:01:26 > 0:01:27About sums it up, really.
0:01:37 > 0:01:41MUSIC: "I Feel Free" by Cream
0:01:41 > 0:01:44I think there is a lot of Scottish influence in my music,
0:01:44 > 0:01:47it would be surprising if there wasn't.
0:01:48 > 0:01:52Playing rock and jazz and sometimes blues, then you have this
0:01:52 > 0:01:58other little dimension, which is the teuchter in you!
0:01:58 > 0:02:01Even if you leave all your life and go back,
0:02:01 > 0:02:04you are still living in Scotland, you know, you never get away from it.
0:02:06 > 0:02:08This is Wester Ross
0:02:08 > 0:02:12and it is towards the north of the West Highlands of Scotland.
0:02:12 > 0:02:16The mountains here are some of the oldest in the world.
0:02:16 > 0:02:20It has got a feeling of that, when you are in this landscape.
0:02:21 > 0:02:27You just feel significant by being so insignificant.
0:02:31 > 0:02:34I feel there is a lot of Scottish influence in my songs.
0:02:34 > 0:02:40Weird Of Hermiston, for instance. Lovely lyrics.
0:02:40 > 0:02:42Weird Of Hermiston, of course,
0:02:42 > 0:02:46was based on the unfinished novel
0:02:46 > 0:02:49by Robert Louis Stevenson.
0:02:49 > 0:02:54I think both of us were very into Robert Louis Stevenson,
0:02:54 > 0:02:57in particular the darker things that he wrote.
0:03:01 > 0:03:03# I'm going to a wedding
0:03:05 > 0:03:09# I'm going to a wedding Dressed in black
0:03:09 > 0:03:11# I'm going to a party
0:03:13 > 0:03:17# I'm going to a party, won't be back
0:03:17 > 0:03:19# But I'm not going with you
0:03:22 > 0:03:23# No
0:03:26 > 0:03:30# Trees are no longer a comfort
0:03:30 > 0:03:33# Messages sad in the wires
0:03:33 > 0:03:36# My hair is hung down
0:03:36 > 0:03:39# With the blackest of rain that I'm feeling... #
0:03:42 > 0:03:45Weir of Hermiston, his unfinished novel,
0:03:45 > 0:03:52has this really peculiar atmosphere of total doom about it.
0:03:52 > 0:03:55It's really amazing. It's very heavy.
0:03:55 > 0:03:58# ..I'm going to the mountains to cool my fears
0:03:58 > 0:04:02# But I'm not going with you
0:04:03 > 0:04:05# No
0:04:06 > 0:04:11# Skies are no longer a comfort
0:04:11 > 0:04:15# Leaves turning black in the autumn
0:04:15 > 0:04:16# The corn is hung down
0:04:16 > 0:04:21# With the saddest of weight that I'm feeling
0:04:23 > 0:04:25# I'm going to the funeral
0:04:27 > 0:04:32# I'm going to a funeral Dressed in white
0:04:32 > 0:04:35# I'm going to a nightclub
0:04:36 > 0:04:40# I'm going to a nightclub to sleep at night
0:04:40 > 0:04:42# But I'm not going with you
0:04:45 > 0:04:47# No
0:04:49 > 0:04:52# Love is no longer a comfort
0:04:52 > 0:04:57# Fantastic times are forgotten
0:04:57 > 0:04:59# My heart is hung down
0:04:59 > 0:05:03# With the saddest of rain that I'm feeling. #
0:05:15 > 0:05:20Jack Bruce was born in Bishopbriggs in 1943
0:05:20 > 0:05:24and at an early age showed a talent for and a love of music.
0:05:27 > 0:05:30I think I was born a musician, really.
0:05:30 > 0:05:33Certainly, a performer of some kind,
0:05:33 > 0:05:38because my mother used to put me in for all these competitive festivals.
0:05:38 > 0:05:40I won quite a few of them.
0:05:40 > 0:05:45Then I realised that I had this talent and also,
0:05:45 > 0:05:47the ability to make money with it.
0:05:47 > 0:05:52So I joined a church choir
0:05:52 > 0:05:56and I got paid for that, that's why I did it.
0:05:56 > 0:06:00I went commercial, commercial for God!
0:06:00 > 0:06:05So, you know, it just showed that I would do anything for a few bob,
0:06:05 > 0:06:07even then.
0:06:07 > 0:06:10Jack began playing in dance bands around Glasgow,
0:06:10 > 0:06:13while still at school.
0:06:13 > 0:06:17This Musicians Union register of 1958 shows Jack
0:06:17 > 0:06:22as a professional bass player, which raised a few eyebrows,
0:06:22 > 0:06:24given he was only 15.
0:06:24 > 0:06:28While I was in the sixth form at school,
0:06:28 > 0:06:31I was also working as a professional musician.
0:06:31 > 0:06:34I was playing at the Dennistoun Palais,
0:06:34 > 0:06:37and making more money than my dad was.
0:06:37 > 0:06:40That made me realise that you could actually make a living
0:06:40 > 0:06:44out of music, and meet girls!
0:06:44 > 0:06:47I mean, who wants not to do that, you know?
0:06:47 > 0:06:52His talent was encouraged and he started playing the cello,
0:06:52 > 0:06:57winning a scholarship to the Royal Scottish Academy of Music.
0:06:57 > 0:07:03I was doing cello, piano as a second instrument, and composition.
0:07:03 > 0:07:07I found it all very middle-class.
0:07:07 > 0:07:11If you were a working-class lad in those days, you just didn't fit in.
0:07:11 > 0:07:15And they would tell you that, they would say, "Oh, you've got no chance.
0:07:15 > 0:07:20"Forget it." They would just tell you that!
0:07:20 > 0:07:23At least they were honest about it.
0:07:23 > 0:07:27Then, various things happened,
0:07:27 > 0:07:32including being sexually assaulted by the, er...
0:07:32 > 0:07:34by the composition teacher.
0:07:36 > 0:07:39And that, in those days, that was something
0:07:39 > 0:07:40that you did not just talk about,
0:07:40 > 0:07:44you didn't even mention it, you kept quiet about it.
0:07:44 > 0:07:49It really put me off, I tell you!
0:07:49 > 0:07:51He was a kind of...
0:07:51 > 0:07:58friend/associate of Benjamin Britten.
0:07:58 > 0:08:00Say no more!
0:08:05 > 0:08:09Jack left Glasgow and went on the road with a trad jazz band.
0:08:09 > 0:08:16Whilst on tour, he came across a drummer called Ginger Baker.
0:08:16 > 0:08:19We were doing a jazz set in the cellar,
0:08:19 > 0:08:23and this scruffy little Scots guy
0:08:23 > 0:08:25comes to the side of the stage,
0:08:25 > 0:08:28going, "Let me sit in, man! Let me sit in!"
0:08:28 > 0:08:33And to everybody's surprise,
0:08:33 > 0:08:34he played his arse off.
0:08:36 > 0:08:41And I'm afraid that was the end of our bass player, Morris.
0:08:43 > 0:08:48This chance meeting started a 40-year love-hate relationship
0:08:48 > 0:08:49between Jack and Ginger.
0:08:51 > 0:08:53Jack met me when I was a junkie.
0:08:53 > 0:08:59I was a junkie in the early days of our relationship.
0:09:01 > 0:09:03I was a junkie drummer.
0:09:05 > 0:09:10They first played together in Alexis Korner's Blues Incorporated,
0:09:10 > 0:09:15where Jack's talents were soon noticed by other musicians.
0:09:15 > 0:09:20To me, he was in another world, you know, he was a jazz musician,
0:09:20 > 0:09:22and a very, very avant-garde jazz musician,
0:09:22 > 0:09:25compared to the rest of the London scene.
0:09:27 > 0:09:30After playing with Alexis Korner,
0:09:30 > 0:09:33Jack and Ginger joined The Graham Bond Organisation.
0:09:33 > 0:09:35But as the band became more successful,
0:09:35 > 0:09:39the tension between the two of them grew.
0:09:39 > 0:09:44Jack was becoming very popular as a singer,
0:09:44 > 0:09:46and it all went to his head a bit, you see.
0:09:48 > 0:09:52And he started shouting at people on stage,
0:09:52 > 0:09:55mainly, in particular, me.
0:09:55 > 0:09:56Um...
0:09:58 > 0:10:02One particular night in Golders Green it's my drum solo...
0:10:03 > 0:10:08..and Jack's phrasing along with my bass drum, in my drum solo.
0:10:09 > 0:10:12And he suddenly turns round and screams into the microphone
0:10:12 > 0:10:15so the whole audience can hear,
0:10:15 > 0:10:18"You're playing too fucking loud, man!"
0:10:18 > 0:10:20In my drum solo!
0:10:20 > 0:10:22HE LAUGHS
0:10:25 > 0:10:29The on-stage arguments between Jack and Ginger
0:10:29 > 0:10:32went from bad to worse.
0:10:32 > 0:10:36And in the end, Graham came up to me and said, "Look, he's got to go."
0:10:38 > 0:10:43Well, I was the junkie in the band so I got the gig...
0:10:44 > 0:10:45..of firing him.
0:10:50 > 0:10:53After I'd left Graham Bond...
0:10:55 > 0:10:58..at the wrong end of a knife from Ginger...
0:11:00 > 0:11:04I joined... for a while I joined John Mayall.
0:11:05 > 0:11:09And then, after that I joined Manfred Mann.
0:11:09 > 0:11:13# On our block, all of the guys
0:11:13 > 0:11:16# Call her flamingo... #
0:11:16 > 0:11:19The strange thing about Jack Bruce joining Manfred Mann
0:11:19 > 0:11:21was it was like getting in a Lamborghini
0:11:21 > 0:11:25to do your weekly shopping at Sainsbury's, because...
0:11:25 > 0:11:27this was like a famous session player
0:11:27 > 0:11:29who could play all kinds of stuff
0:11:29 > 0:11:31and had a fearsome reputation as a player
0:11:31 > 0:11:35and there he was being asked to play one-note baselines on pop songs.
0:11:37 > 0:11:39That was what I always say
0:11:39 > 0:11:42was an ill-advised attempt at commercialism...
0:11:42 > 0:11:44cos I never got any money for it.
0:11:48 > 0:11:50As Jack left Manfred Mann,
0:11:50 > 0:11:54Ginger was talking to a 21-year-old wonderkid guitarist
0:11:54 > 0:11:55about forming a band.
0:11:57 > 0:12:01Eric Clapton's choice of bass player was a bit of a shock to Mr Baker.
0:12:03 > 0:12:06And then Eric dropped a bombshell.
0:12:08 > 0:12:11He said, "What about Jack?"
0:12:12 > 0:12:16Now, he didn't, as Jack will have it, say...
0:12:18 > 0:12:21.."Either we get Jack or I'm not doing it."
0:12:21 > 0:12:22I didn't know at that point
0:12:22 > 0:12:25that there was any enmity between Ginger and Jack...
0:12:25 > 0:12:27I'd heard rumours
0:12:27 > 0:12:30but I didn't think they were that grounded in fact, so...
0:12:30 > 0:12:31So I said to Ginger,
0:12:31 > 0:12:35"Yeah, I want...I'll do it but only if Jack comes in."
0:12:35 > 0:12:39Ginger went to Eric and asked him to form a band and Eric said,
0:12:39 > 0:12:40"Yeah, but we've got to
0:12:40 > 0:12:44"have Jack in the band as the singer," basically,
0:12:44 > 0:12:49cos he had heard me singing a couple of songs I used to sing with Graham.
0:12:49 > 0:12:52Ginger's reaction was so...vehement, you know...
0:12:52 > 0:12:55"Grrr," he just started talking under his breath and mumbling
0:12:55 > 0:12:59and he didn't blow it entirely cos he had to have me...
0:12:59 > 0:13:01he was trying to keep me on a string,
0:13:01 > 0:13:05so he sort of grudgingly agreed but he was warning me all the time,
0:13:05 > 0:13:07"It won't work, it won't work."
0:13:07 > 0:13:09And it wasn't... Ginger at that point -
0:13:09 > 0:13:12he's probably much more mature in his view of it all now -
0:13:12 > 0:13:15was just blaming Jack for everything,
0:13:15 > 0:13:17it wasn't saying... Ginger didn't say,
0:13:17 > 0:13:20"I don't get along with Jack," he would just accuse Jack
0:13:20 > 0:13:23of all these different kinds of character defects
0:13:23 > 0:13:25that made life unbearable, so...
0:13:25 > 0:13:29I thought, "What am I getting into? What am I getting into here?"
0:13:29 > 0:13:33But at that time in my life - I was in my early 20s -
0:13:33 > 0:13:36you know, I thought, "What have I got to lose?"
0:13:40 > 0:13:44# I've been waiting so long... #
0:13:44 > 0:13:46'Jack just developed his own singing style,
0:13:46 > 0:13:49'which was completely unique in the end
0:13:49 > 0:13:51'and quite operatic cos he used...'
0:13:51 > 0:13:56and correctly, he sang from his diaphragm and he sang big, you know.
0:13:56 > 0:13:59At first, I was a little bit confused about...
0:13:59 > 0:14:01Was that the right way to do this stuff?
0:14:01 > 0:14:07Then it just...well, this is what it is and this is actually who we are.
0:14:07 > 0:14:11This mad kind of mishmash of styles and...
0:14:13 > 0:14:17..aspirations, musical aspirations is coming together in a way
0:14:17 > 0:14:20that is absolutely different to anything...
0:14:20 > 0:14:23There's nobody else like this and it's actually pretty good.
0:14:25 > 0:14:28I was quite unprepared for Cream.
0:14:28 > 0:14:30Before the curtain even went back
0:14:30 > 0:14:33they hit the opening chord of the opening number
0:14:33 > 0:14:37and it was like the heavens had opened and thunder had come.
0:14:37 > 0:14:44# I found out today
0:14:45 > 0:14:49# We're going wrong... #
0:14:49 > 0:14:52The one song I remember more than any other
0:14:52 > 0:14:55from that first Cream concert was We're Going Wrong.
0:14:56 > 0:14:59Jack just closes his eyes and sings in the spotlight
0:14:59 > 0:15:04and pours his heart out and it just goes heart-to-heart.
0:15:05 > 0:15:09'I think to this day, it's really one of the great songs of the era.'
0:15:10 > 0:15:16# Please
0:15:19 > 0:15:24# Open your eyes
0:15:35 > 0:15:40# Try
0:15:44 > 0:15:50# To realise
0:15:59 > 0:16:04# I found out
0:16:05 > 0:16:08# Today
0:16:08 > 0:16:13# We're going wrong... #
0:16:15 > 0:16:18We're Going Wrong - often people think of that
0:16:18 > 0:16:22as some kind of deep, political statement of the '60s
0:16:22 > 0:16:24and all of that stuff but in fact...
0:16:26 > 0:16:32'I'd just had a fight, a rather bad argument with my first wife, Janet,
0:16:32 > 0:16:34'and I just stormed out of the house and...'
0:16:36 > 0:16:39..the words and the music came into my head at the same time.
0:16:39 > 0:16:41That's all it was.
0:16:48 > 0:16:52# I found out
0:16:53 > 0:16:55# Today
0:16:57 > 0:17:02# We're going wrong
0:17:05 > 0:17:08# We're
0:17:08 > 0:17:09# Going
0:17:09 > 0:17:13# Going, going wrong
0:17:14 > 0:17:16# Going wrong
0:17:16 > 0:17:18# Going wrong
0:17:18 > 0:17:20# Going wrong
0:17:20 > 0:17:22# Going
0:17:22 > 0:17:25# Going wrong
0:17:25 > 0:17:27# Yeah
0:17:29 > 0:17:31# Going wrong
0:18:09 > 0:18:16# We're going wrong. #
0:18:27 > 0:18:31In the early days of Cream, Jack was introduced to Pete Brown,
0:18:31 > 0:18:33a performance poet and lyricist.
0:18:34 > 0:18:37I think it's an important part
0:18:37 > 0:18:42of the Jack Bruce story that... he, along with Pete Brown
0:18:42 > 0:18:45did write the vast majority of the material for Cream.
0:18:45 > 0:18:49And it's always interesting when somebody outside of the band
0:18:49 > 0:18:53provides a perspective or a lyric like that because it actually means
0:18:53 > 0:18:56that the people in the band can concentrate on being in the band.
0:18:56 > 0:18:59I got the call, basically.
0:18:59 > 0:19:04When they formed Cream, I got the call and...
0:19:06 > 0:19:11I went down to the studio and there we were writing Wrapping Paper.
0:19:13 > 0:19:15# Wrapping paper... #
0:19:15 > 0:19:19Jack and Pete became the main songwriters in the band,
0:19:19 > 0:19:22much to the annoyance of Ginger.
0:19:22 > 0:19:23The Pete Brown thing...
0:19:24 > 0:19:26..it was a farce!
0:19:27 > 0:19:33Pete Brown earns more out of Cream than Eric or I!
0:19:35 > 0:19:37I had no problem with Pete Brown,
0:19:37 > 0:19:38I liked Pete Brown a lot,
0:19:38 > 0:19:42I thought he was a very interesting guy and a nice guy.
0:19:42 > 0:19:45For me, it was fine, but I think...
0:19:46 > 0:19:49I think it caused friction in other areas.
0:19:49 > 0:19:53Then I approached Pete Brown to write songs with us...
0:19:54 > 0:19:57..and it didn't work out like that.
0:19:59 > 0:20:02The chemistry was always between me and Jack.
0:20:02 > 0:20:06I tried to write with Ginger and I tried to write with Eric a little bit
0:20:06 > 0:20:09but Eric wasn't really writing much at the time
0:20:09 > 0:20:13and Ginger's ideas were great but they were very, very far out
0:20:13 > 0:20:17and not necessarily belonging to Cream.
0:20:17 > 0:20:19Ginger got very embittered
0:20:19 > 0:20:22because he thinks that playing the drums in a song
0:20:22 > 0:20:24is the same as writing the song,
0:20:24 > 0:20:26but it doesn't quite work that way.
0:20:26 > 0:20:29Somebody's got to stay up all night and write them.
0:20:33 > 0:20:36Until recently Ginger Baker lived in South Africa,
0:20:36 > 0:20:40where he mixed his passions for music and polo.
0:20:40 > 0:20:43Ill health and financial difficulties have led to him
0:20:43 > 0:20:47giving up his horses and trying to sell his ranch.
0:20:51 > 0:20:56People go, "Oh, Ginger Baker, Eric Clapton.
0:20:56 > 0:20:59"Ginger Baker's super rich."
0:21:01 > 0:21:03And that's what they believe.
0:21:05 > 0:21:08No, I regret being part of Cream...
0:21:11 > 0:21:15..simply because of the position I find myself in now.
0:21:17 > 0:21:19Unfortunately, I'm not super rich.
0:21:20 > 0:21:24I think I'm poorer now than I've ever been in my life.
0:21:32 > 0:21:35Between 1966 and 1968,
0:21:35 > 0:21:41Cream recorded four albums which sold over 35 million copies.
0:21:41 > 0:21:44They toured constantly and as the gigs got bigger
0:21:44 > 0:21:46so did the volume on stage.
0:21:46 > 0:21:50No, the happiest time
0:21:50 > 0:21:54was the first year and a half.
0:21:54 > 0:22:00Then Marshall came upon the scene...
0:22:01 > 0:22:05..with these huge
0:22:05 > 0:22:08Marshall amps.
0:22:09 > 0:22:12And the volume...
0:22:12 > 0:22:15got to be...
0:22:15 > 0:22:19painful for me.
0:22:19 > 0:22:23In order to get any impact, we had to play loud on stage.
0:22:23 > 0:22:25Yeah, I certainly played loud.
0:22:25 > 0:22:28We all played loud.
0:22:28 > 0:22:31I asked him if he could turn it down a bit
0:22:31 > 0:22:34and he threw a fit
0:22:34 > 0:22:37and turned it up.
0:22:37 > 0:22:39He's got it the wrong way round again.
0:22:39 > 0:22:47It wasn't out of choice that Eric and myself were playing very loud.
0:22:47 > 0:22:50It was in order to achieve something.
0:22:50 > 0:22:54I was the one who was suffering at least as much as he was
0:22:54 > 0:22:57cos I had to do the vocals and he didn't.
0:22:57 > 0:22:59It was almost like they were both
0:22:59 > 0:23:02looking for the next opportunity to say, "I told you!"
0:23:02 > 0:23:04And I would be the one, you know,
0:23:04 > 0:23:07"I told you he'd do that. He always does that."
0:23:07 > 0:23:10And the other one, "Yeah, that's cos you do that."
0:23:10 > 0:23:14I, very quickly, became the caretaker.
0:23:14 > 0:23:18I kept trying to think of ways to make them see
0:23:18 > 0:23:21that it wasn't worth it but it was so deeply ingrained.
0:23:21 > 0:23:25I think quite a few things had probably already taken place
0:23:25 > 0:23:28before I ever came into the picture
0:23:28 > 0:23:31that they hadn't been able to forgive one another for.
0:23:31 > 0:23:36I think they both had transgressions that needed to be resolved.
0:23:36 > 0:23:40I don't suppose they ever will be. Still not, I'm sure.
0:23:40 > 0:23:43But, at the same time, they love one another.
0:23:43 > 0:23:49There was deep love in the fray and that couldn't be left out.
0:23:49 > 0:23:52They would be drawn back together again.
0:23:52 > 0:23:54As Cream's frontman,
0:23:54 > 0:23:57Jack moved bass from the shadows to front stage,
0:23:57 > 0:24:02inspiring thousands of young players to pick up a bass guitar.
0:24:10 > 0:24:13Before Jack Bruce,
0:24:13 > 0:24:18the bass player's gig really was just sort of standing there,
0:24:18 > 0:24:22sort of plodding along and putting in the root notes.
0:24:22 > 0:24:25Jack came along and said,
0:24:25 > 0:24:27"Guys, this is what you can do with a bass guitar."
0:24:30 > 0:24:33Singing songs and playing bass is quite a hard thing to do.
0:24:33 > 0:24:38I took up the bass because it was the simplest thing that I could do
0:24:38 > 0:24:41and still sing lead at the same time.
0:24:41 > 0:24:45# Three, five, seven, nine A double white line... #
0:24:45 > 0:24:47So to actually play
0:24:47 > 0:24:51really complicated parts like Jack does and sing at the same time,
0:24:51 > 0:24:55requires a level of competence and schizophrenia
0:24:55 > 0:24:58that I'm just completely incapable of.
0:25:08 > 0:25:10I think Jack was a part of
0:25:10 > 0:25:13making the bass something cool.
0:25:15 > 0:25:18Something that you had to have.
0:25:18 > 0:25:20Something you had to hear.
0:25:20 > 0:25:22# Greedy little people in a sea of distress
0:25:22 > 0:25:25# Keep your more to receive your less... #
0:25:25 > 0:25:29He is such an influential bass player...
0:25:29 > 0:25:34So much inventiveness, so musical, so exciting. So heavy.
0:25:35 > 0:25:39Beautiful, pretty. All of those things. Awful...
0:25:39 > 0:25:42I always think of him as a warm player
0:25:42 > 0:25:46mostly because of Cream being such a warm-sounding band.
0:25:46 > 0:25:50But he can be cold and mean and nasty with that thing too,
0:25:50 > 0:25:53which is such a great colour in music.
0:25:53 > 0:25:56The date is November 26th 1968,
0:25:56 > 0:25:59an historic occasion in the world of music.
0:25:59 > 0:26:02A group called Cream are making their farewell appearance
0:26:02 > 0:26:04at the Royal Albert Hall in London, England.
0:26:04 > 0:26:07They played together for only two years but during that time
0:26:07 > 0:26:10have single-handedly given pop a musical authority
0:26:10 > 0:26:12which only the deaf cannot acknowledge
0:26:12 > 0:26:14and only the ignorant cannot hear.
0:26:14 > 0:26:17Their records have sold more copies in the past 24 months than
0:26:17 > 0:26:20the Bible has sold in the past 24 years.
0:26:20 > 0:26:25The touring was obviously where the real cash would come from.
0:26:25 > 0:26:30So we went out and did whistlestop tours across America and Europe.
0:26:31 > 0:26:34We would play every night.
0:26:34 > 0:26:38A six-month tour playing every night, by the time we got to
0:26:38 > 0:26:42the end of '67 I weighed something like nine stone
0:26:42 > 0:26:44and I wasn't eating.
0:26:46 > 0:26:50Most bands have a special time,
0:26:50 > 0:26:52you know, things like that.
0:26:52 > 0:26:54They last a certain time
0:26:54 > 0:26:59and if you want to keep it going then it's false.
0:26:59 > 0:27:05You keep it going, you repeat yourself and go through the motions.
0:27:06 > 0:27:12We weren't giving ourselves the time to recharge our batteries.
0:27:12 > 0:27:16I think if you're going to work that hard, even if you're young,
0:27:16 > 0:27:23there comes a time when you need to stop and reflect.
0:27:23 > 0:27:29You just have conversations, "This is great what we've been doing
0:27:29 > 0:27:33"but we're doing the same thing we've been doing for the last year."
0:27:33 > 0:27:37The only reason Cream lasted as long as it did
0:27:37 > 0:27:41was because it was so successful.
0:27:45 > 0:27:47I think it could have gone on a bit longer
0:27:47 > 0:27:53but I also think that what we did was really about right.
0:27:53 > 0:27:57A couple of albums, and some tremendous gigs.
0:28:19 > 0:28:23After Cream broke up in 1968, Jack went straight into the studio
0:28:23 > 0:28:28and recorded his first solo album, Songs For a Tailor,
0:28:28 > 0:28:31which got to Number 6 in the UK album charts
0:28:31 > 0:28:35and featured the track Theme from an Imaginary Western.
0:28:35 > 0:28:38I had the music for that in a different form
0:28:38 > 0:28:42for many years without knowing what to do with it.
0:28:42 > 0:28:46And Pete Brown came up with those wonderful lyrics.
0:28:46 > 0:28:51I was a fan of westerns and when I heard the music that Jack came up with
0:28:51 > 0:28:55I thought, yeah, this has a feeling of...
0:28:55 > 0:28:59kind of a Scottish thing but a western thing.
0:28:59 > 0:29:03And I tried to combine those things in the lyrics.
0:29:05 > 0:29:08# When the wagons
0:29:08 > 0:29:12# Leave the city
0:29:15 > 0:29:18# For the forest
0:29:18 > 0:29:20# And further on
0:29:23 > 0:29:27# Painted wagons
0:29:27 > 0:29:29# Of the morning
0:29:31 > 0:29:36# Dusty roads where they've gone
0:29:40 > 0:29:44# Sometimes travelin'
0:29:44 > 0:29:46# Through the darkness
0:29:48 > 0:29:50# At the summer
0:29:52 > 0:29:55# Comin' home
0:29:57 > 0:30:01# And fallen faces
0:30:01 > 0:30:05# By the wayside
0:30:05 > 0:30:11# Look as if they might have known
0:30:14 > 0:30:22# But the sun was in their eyes
0:30:22 > 0:30:26# And the desert
0:30:26 > 0:30:30# The desert that dries
0:30:31 > 0:30:35# In the country towns
0:30:35 > 0:30:39# Where the laughter sounds
0:30:45 > 0:30:49# The dancing
0:30:50 > 0:30:53# Oh, the singing
0:30:55 > 0:30:57# The music
0:30:59 > 0:31:02# When they play
0:31:03 > 0:31:07# The fires
0:31:07 > 0:31:10# That they started
0:31:12 > 0:31:15# Oh, those girls
0:31:15 > 0:31:19# No regret
0:31:20 > 0:31:24# Sometimes they found it
0:31:24 > 0:31:27# Sometimes they kept it
0:31:29 > 0:31:33# Often lost it
0:31:33 > 0:31:35# On the way
0:31:38 > 0:31:41# Found each other
0:31:41 > 0:31:46# To possess it
0:31:46 > 0:31:49# Sometimes they died
0:31:49 > 0:31:52# In sights of day
0:31:55 > 0:32:01# But the sun was in their eyes
0:32:04 > 0:32:06# And the desert
0:32:06 > 0:32:12# The desert that dries
0:32:12 > 0:32:17# In the country towns
0:32:17 > 0:32:21# Where the laughter sounds
0:32:28 > 0:32:30# Oh
0:32:36 > 0:32:42# Oh
0:32:43 > 0:32:48# Going down down down down down
0:32:48 > 0:32:51# Going down down down down down. #
0:33:07 > 0:33:13Over the next ten years, Jack recorded six more solo albums
0:33:13 > 0:33:16but none had the commercial success of Cream
0:33:16 > 0:33:20and by the end of the '70s Jack was facing financial ruin.
0:33:20 > 0:33:24He was in an ongoing dispute over royalties with his manager
0:33:24 > 0:33:27and was heavily involved in hard drugs.
0:33:27 > 0:33:31In 1979 he left his wife Janet.
0:33:31 > 0:33:33Whilst on tour in Germany earlier that year Jack had met
0:33:33 > 0:33:37a graphic designer called Margrit Seyffer.
0:33:37 > 0:33:44When I find out who he was I thought it's a little romance,
0:33:44 > 0:33:48why not make the most out of it, but it was more than that.
0:33:48 > 0:33:52From that day we just stayed together really.
0:33:55 > 0:34:00You're not thinking of riding her out? Oh, you are.
0:34:00 > 0:34:01He was in deep trouble, really.
0:34:03 > 0:34:10Mainly mentally, because he said "Everything has been taken from me.
0:34:10 > 0:34:16"And do I deserve this?" He was almost in a suicidal state.
0:34:16 > 0:34:18Not almost, he actually was.
0:34:18 > 0:34:24And that's why he wanted to sort of really, he was really...
0:34:25 > 0:34:28..destructive, he really wanted to...
0:34:28 > 0:34:33He didn't care how much alcohol he drunk or how many drugs he took.
0:34:33 > 0:34:35He just mainly had given up.
0:34:38 > 0:34:42I had a hard tussle with hard drugs.
0:34:42 > 0:34:47Whenever I'm asked about this I don't like to talk about it a lot
0:34:47 > 0:34:50because I know it can be romanticised.
0:34:50 > 0:34:54In the same way that when I was very very young,
0:34:54 > 0:35:00I was attracted to heroin by the people that I admired,
0:35:00 > 0:35:06people like Charlie Parker, the bebop people who seemed....
0:35:06 > 0:35:10Who use it and it became a romantic thing.
0:35:10 > 0:35:13So the first thing I did as soon as I could was take drugs.
0:35:19 > 0:35:22At this time, despite many attempts to give up heroin,
0:35:22 > 0:35:27Jack was still an addict and people close to him were getting worried.
0:35:30 > 0:35:32And the next one is called Keep It Down.
0:35:33 > 0:35:38Keep It Down was really a song about addiction.
0:35:38 > 0:35:42He just knew if he wanted his marriage to work
0:35:42 > 0:35:44he couldn't just stay on heroin
0:35:44 > 0:35:49because there would have been a point I would have walked away.
0:35:49 > 0:35:52And he was aware of that.
0:35:52 > 0:35:56I was very fortunate in having Margrit to help me
0:35:56 > 0:36:00but ultimately it is down to yourself.
0:36:01 > 0:36:03Nobody can do it for you.
0:36:03 > 0:36:09If you are doing cold turkey, you are the guy or gal who has to do it.
0:36:09 > 0:36:15And it takes a bit of doing and it's not worth going through that.
0:36:15 > 0:36:21I went through that so many times that it's scary.
0:36:21 > 0:36:24And if you can think of a hangover
0:36:24 > 0:36:29and multiply it by about a million... why bother?
0:36:29 > 0:36:32The high is not worth it. Nothing is worth it.
0:36:32 > 0:36:36Have some good sex, that's better.
0:36:44 > 0:36:48# Keep it down
0:36:49 > 0:36:54# If it's still hangin' around
0:36:56 > 0:36:57# Kept away
0:36:59 > 0:37:03# Well, it's lost inside a day
0:37:06 > 0:37:09# On the journey through the streets
0:37:10 > 0:37:14# To the corner you got to meet
0:37:15 > 0:37:18# Keep keeping it down
0:37:18 > 0:37:21# If it's hanging around
0:37:24 > 0:37:27# In the dawn
0:37:29 > 0:37:34# When the last drop it has gone
0:37:35 > 0:37:37# Summer leaves
0:37:39 > 0:37:41# From the hill
0:37:41 > 0:37:45# Where my love grieves
0:37:45 > 0:37:50# From the sun where you met her
0:37:50 > 0:37:55# To the shade where you left her
0:37:56 > 0:38:01# Keep keepin' it down if it's hangin' around
0:38:06 > 0:38:07# Head down
0:38:13 > 0:38:16# Head down... #
0:38:24 > 0:38:25It's my message to him,
0:38:25 > 0:38:28really, in a way.
0:38:28 > 0:38:32So he is singing a message to himself on the song
0:38:32 > 0:38:38about trying to keep away from it!
0:38:38 > 0:38:40That's what that one's about.
0:38:41 > 0:38:43# In the night
0:38:45 > 0:38:50# There's a space replaces your face
0:38:52 > 0:38:54# That you lent
0:38:56 > 0:39:00# I don't know where it went
0:39:02 > 0:39:06# Smile as it passes you by
0:39:08 > 0:39:12# It still sits up in your sky
0:39:12 > 0:39:17# Keep keeping it down if it's hanging around. #
0:39:36 > 0:39:43Jack has had five children - two sons from his first marriage
0:39:43 > 0:39:46and two daughters and a son with Margrit.
0:39:49 > 0:39:54You know, Jack is somebody who is a father.
0:39:54 > 0:39:57It's one of his roles is being a father.
0:39:57 > 0:40:00I'm somebody that's been a reluctant father
0:40:00 > 0:40:02but he's not a reluctant father.
0:40:10 > 0:40:13Childsong was written for
0:40:13 > 0:40:20my, erm, my oldest son Jonas,
0:40:20 > 0:40:24who died when he was 28.
0:40:24 > 0:40:30It was written for him, really.
0:40:30 > 0:40:33You know, the lyrics.
0:40:33 > 0:40:37A few of my songs have been written for my children.
0:40:37 > 0:40:43It's very difficult for me to talk about that, even now,
0:40:43 > 0:40:46after all those years.
0:40:46 > 0:40:50I find it quite difficult, so, I can't talk about it. Sorry.
0:40:50 > 0:40:54I wasn't able to play the piano for two years after he died,
0:40:54 > 0:40:58for instance. I couldn't touch it. Because that was his instrument.
0:41:36 > 0:41:39# She shakes her head and says
0:41:42 > 0:41:45# That her last word is spoken
0:41:45 > 0:41:48# Tumbling down
0:41:50 > 0:41:54# Something she found
0:41:56 > 0:42:00# Where happiness lay
0:42:02 > 0:42:05# Not far away
0:42:06 > 0:42:09# Hear it now
0:42:12 > 0:42:17# You got so many ways
0:42:17 > 0:42:22# When the last chains are broken
0:42:22 > 0:42:25# Tumbling down
0:42:27 > 0:42:30# You hear a new sound
0:42:32 > 0:42:34# It's dark into day
0:42:38 > 0:42:43# Not far away
0:42:43 > 0:42:44# Hear it now
0:42:46 > 0:42:49# When summer leaves
0:42:51 > 0:42:57# The tangles that it weaves
0:42:57 > 0:43:02# Are floating in the wind
0:43:02 > 0:43:05# Hard to begin
0:43:07 > 0:43:10# To get back in
0:43:12 > 0:43:15# You stay
0:43:15 > 0:43:20# But it's never in only one piece
0:43:20 > 0:43:28# You got to find release
0:43:45 > 0:43:49# He runs away and plays
0:43:49 > 0:43:53# His laughter is just awoken
0:43:53 > 0:43:55# Tumbling down
0:43:59 > 0:44:02# The eyes of a clown
0:44:04 > 0:44:10# And truth sings today
0:44:10 > 0:44:13# Not far away
0:44:15 > 0:44:18# Hear it now
0:44:19 > 0:44:22# When summer leaves
0:44:24 > 0:44:29# The tangles that it weaves
0:44:29 > 0:44:34# Are floating in the wind
0:44:34 > 0:44:39# Hard to begin
0:44:39 > 0:44:42# To get back in
0:44:46 > 0:44:53# You stay, but it's never in only one piece
0:44:53 > 0:45:00# You've got to find release
0:45:09 > 0:45:12# Hear it now
0:45:14 > 0:45:17# Hear it now
0:45:17 > 0:45:20# Yeah, yeah, yeah, yeah
0:45:20 > 0:45:22# Ohhh
0:45:22 > 0:45:24# Tumbling down
0:45:24 > 0:45:26# Hear it now
0:45:26 > 0:45:29# Oh, yeah
0:45:29 > 0:45:32# Tumbling down
0:45:34 > 0:45:36# Tumbling down
0:45:39 > 0:45:42# Hear it now
0:45:46 > 0:45:47# Now
0:45:49 > 0:45:51# Hear it now. #
0:46:09 > 0:46:14Jack has played all sorts of music in his 50-year career,
0:46:14 > 0:46:17from the free jazz of Tony Williams' Lifetime
0:46:17 > 0:46:21to his Latin-influenced band, Cuckooland Express.
0:46:23 > 0:46:25But over the years,
0:46:25 > 0:46:30Jack has often returned to the rock trio as a form of expression.
0:46:30 > 0:46:34So what is the attraction of a trio?
0:46:34 > 0:46:36Well, because they're cheap.
0:46:36 > 0:46:40There's something magical about a trio.
0:46:40 > 0:46:43And there really is. There really is.
0:46:43 > 0:46:47Especially in kind of rock or blues or something like that.
0:46:47 > 0:46:50Because you haven't got that
0:46:50 > 0:46:55kind of block chord thing that you have if you've got a piano or an organ or something.
0:46:55 > 0:46:58So it's a whole different way of playing.
0:46:58 > 0:47:04In 2003, rumours started about Cream reforming for some showcase gigs.
0:47:08 > 0:47:12But the same year, Jack's life went on hold when he was diagnosed
0:47:12 > 0:47:16with inoperable liver cancer and went through a liver transplant.
0:47:18 > 0:47:22The transplant was fantastic.
0:47:22 > 0:47:28But unfortunately, as happens with a lot of people
0:47:28 > 0:47:32after something like that, the infection is the danger.
0:47:32 > 0:47:37And I certainly got a lot of infections.
0:47:37 > 0:47:42And that was what I had to try and struggle to survive, to get through.
0:47:42 > 0:47:49- There you go.- Oh, that looks good. - Cuppa tea. And a biscuit.- Thank you.
0:47:49 > 0:47:53There was a point he would have died within two hours,
0:47:53 > 0:47:55and the doctor looked at both of us
0:47:55 > 0:47:58and said, do you want to go back
0:47:58 > 0:48:02on the fifth floor to intensive care?
0:48:02 > 0:48:05And it was a really big decision for Jack.
0:48:05 > 0:48:09Should I go through all this again? Or should I just say goodbye?
0:48:09 > 0:48:11Well, there was a point
0:48:11 > 0:48:16when they wanted to turn the life-support machines off.
0:48:16 > 0:48:18They brought my family in.
0:48:18 > 0:48:21Very cruelly, I think, now. Obviously, I wasn't that aware of it.
0:48:21 > 0:48:26But they brought them all in to say goodbye and I'm all tubed up, as it were.
0:48:26 > 0:48:30And I thought he was dying, and then suddenly,
0:48:30 > 0:48:36this warm feeling came through me, like it's not a bad feeling.
0:48:36 > 0:48:39How do I say goodbye to my love?
0:48:39 > 0:48:43It was a bit like that, but Jack said, he just sort of,
0:48:43 > 0:48:49he wanted to go up to this fifth floor and keep on fighting.
0:48:49 > 0:48:53They said, well, we're going to turn off the life-support machines now.
0:48:53 > 0:48:56And it was like, I must've heard it or something,
0:48:56 > 0:48:59it was like a flicker of an eyelid.
0:48:59 > 0:49:03"His eyelid moved! Don't turn off the machine!"
0:49:03 > 0:49:07And then, I do remember Margrit saying to me,
0:49:07 > 0:49:09you're going to have to,
0:49:09 > 0:49:14do you want to go through this attempt to live again?
0:49:14 > 0:49:18And I said, I did. Somehow, I communicated that.
0:49:18 > 0:49:23So they let me keep on trying to survive.
0:49:23 > 0:49:27Barely a year later, Jack was back on stage at the Royal Albert Hall
0:49:27 > 0:49:32as part of one of the most exciting reunions in rock history.
0:49:32 > 0:49:38People had been on at me, or on at us for a long time, to reform.
0:49:38 > 0:49:43I thought, well, in a way, because we've reached this kind of age,
0:49:43 > 0:49:46and we're all still alive, it'd be churlish not to, because
0:49:46 > 0:49:49there are lots of groups that would like to do that, but they can't.
0:49:49 > 0:49:52Like, for instance, with The Who, they can have a reunion,
0:49:52 > 0:49:56but it's not the full thing.
0:49:56 > 0:49:58The Beatles can't do it, we can do it. You know.
0:49:58 > 0:50:01We can actually do it, so why not give it a try?
0:50:01 > 0:50:06I didn't really hear about it until I came out of the coma
0:50:06 > 0:50:08and then I said, "Oh, yeah, definitely, let's do it".
0:50:08 > 0:50:13But then I had to learn to walk
0:50:13 > 0:50:17and talk and then I had to learn to sing.
0:50:21 > 0:50:26The night we went on, we walked onto that stage and I swear
0:50:26 > 0:50:29they stood and applauded for what seemed like five minutes.
0:50:29 > 0:50:32People went crazy.
0:50:32 > 0:50:35And it was very, very emotional for all of us,
0:50:35 > 0:50:39to know that we had had that kind of effect on people.
0:50:39 > 0:50:43# In a white room With black curtains... #
0:50:43 > 0:50:47I think the love from the audience carried us through.
0:50:47 > 0:50:51I think, musically, you could pick it all to pieces,
0:50:51 > 0:50:55what we actually achieved musically.
0:50:55 > 0:50:56It's what it is.
0:50:56 > 0:50:59It's a reunion, many, many years later
0:50:59 > 0:51:05of pretty old guys playing young guys' music.
0:51:05 > 0:51:09# Dawn light smiles on you leaving
0:51:09 > 0:51:11# My contentment... #
0:51:13 > 0:51:15We had a fantastic time.
0:51:15 > 0:51:18And I... But, you know, it had to be said
0:51:18 > 0:51:23that this was, quite clearly - and we were all in agreement - this was going to be a one-off.
0:51:25 > 0:51:27CHEERING AND APPLAUSE
0:51:29 > 0:51:34And, er... And then this offer came in, from New York, you know.
0:51:34 > 0:51:38It was a million a night for each of us, three nights.
0:51:38 > 0:51:41I thought... And the thing is, playing the Albert Hall,
0:51:41 > 0:51:47for anybody, doesn't matter, unless you go on solo,
0:51:47 > 0:51:50it's not going to break even.
0:51:50 > 0:51:53We didn't make very much.
0:51:53 > 0:51:55We made some money from filming it.
0:51:55 > 0:52:01But to get this kind of offer for just a three-night live show...
0:52:01 > 0:52:04But then we did Madison Square Garden.
0:52:04 > 0:52:08Now, the original Cream concerts were in May.
0:52:08 > 0:52:10And then October was the Garden.
0:52:10 > 0:52:15So, between that time, um...
0:52:16 > 0:52:21I don't quite know how to put it without being...hurtful.
0:52:21 > 0:52:24I don't want to be hurtful to Ginger, because I love him
0:52:24 > 0:52:27and we're friends again now and I want that to continue,
0:52:27 > 0:52:32but I don't think he stuck in at his practice enough.
0:52:32 > 0:52:35But we'd made a big mistake.
0:52:35 > 0:52:38We assumed we could go back in just where we left off.
0:52:38 > 0:52:43So we'd practise maybe three days, before the first show.
0:52:43 > 0:52:48And we practised half a song, instead of doing full rehearsals.
0:52:48 > 0:52:50I dreaded...
0:52:51 > 0:52:56..something happening.
0:52:56 > 0:52:59And unfortunately, it happened.
0:52:59 > 0:53:03And when Ginger has problems,
0:53:03 > 0:53:05he has to take them out on somebody.
0:53:05 > 0:53:09And it was always me that he took those things out on.
0:53:09 > 0:53:12When we got on stage the first night, it was wrong.
0:53:12 > 0:53:14It didn't click.
0:53:14 > 0:53:16We were...
0:53:16 > 0:53:17We were short.
0:53:17 > 0:53:22We were short in our capabilities and a fight broke out,
0:53:22 > 0:53:25a verbal fight broke out between Jack and Ginger.
0:53:25 > 0:53:27And it got sour, instantly.
0:53:27 > 0:53:31And I thought "I should've known, I should've known."
0:53:31 > 0:53:38Cos we went back to the worst days of our original incarnation, very quickly.
0:53:38 > 0:53:42I thought, "Well, you know, you've only got yourself to blame."
0:53:42 > 0:53:45If we had addressed this and done full rehearsals...
0:53:45 > 0:53:49But that would've impinged on the amount of money we were going to make.
0:53:49 > 0:53:51So, the cash kind of soured it.
0:53:51 > 0:53:53Playing the Albert Hall...
0:53:53 > 0:54:00it resolved me, I have to say, into saying, "You did the right thing the first time, treat it with respect."
0:54:00 > 0:54:04Maybe it should've been left there, you know.
0:54:04 > 0:54:09And money will always put an angle, an odd angle on things.
0:54:09 > 0:54:11HE PLAYS THE PIANO
0:54:20 > 0:54:25I tend to just write things that I like now.
0:54:25 > 0:54:29And, er... And some people like them.
0:54:29 > 0:54:31And, yeah, I'm still going.
0:54:31 > 0:54:36You never know, might come up with another Sunshine Of Your Love riff.
0:54:36 > 0:54:39HE CHUCKLES
0:54:40 > 0:54:45So, we're in my flat, and we'd been working all night,
0:54:45 > 0:54:48fruitlessly. We didn't have a single...
0:54:48 > 0:54:51We didn't come up with a sausage.
0:54:51 > 0:54:53And then he said, "Well, what about this?"
0:54:53 > 0:54:57and he grabbed his double bass and played me the riff.
0:54:57 > 0:55:03And Pete looked out of the window and the sun was coming up and he wrote...
0:55:03 > 0:55:05It's getting near dawn. "It's getting near dawn
0:55:05 > 0:55:08"and lights close their tired eyes."
0:55:08 > 0:55:09And that was it.
0:55:13 > 0:55:16# It's getting near dawn
0:55:18 > 0:55:22# And lights close their tired eyes
0:55:23 > 0:55:26# I'll soon be with you, my love
0:55:27 > 0:55:31# To give you my dawn surprise
0:55:32 > 0:55:35# I'll be with you, darling, soon
0:55:37 > 0:55:42# Be with you when the stars start falling
0:55:52 > 0:55:55# I've been waiting so long
0:55:57 > 0:56:00# To be where I'm going
0:56:02 > 0:56:09# In the sunshine of your love... #
0:56:11 > 0:56:13It's about a musician coming home from a gig
0:56:13 > 0:56:16and hoping that his wife or girlfriend
0:56:16 > 0:56:20is going to be in a receptive mood when he gets back!
0:56:20 > 0:56:21# ..I'm with you, my love
0:56:24 > 0:56:27# The light's shining through on you
0:56:27 > 0:56:30# I'm with you, my love
0:56:34 > 0:56:37# It's the morning and just we two
0:56:39 > 0:56:42# I'll stay with you, darling, now
0:56:43 > 0:56:48# Keep with you till my seas are dried up, yeah
0:56:59 > 0:57:03# I've been waiting so long
0:57:03 > 0:57:07# To be where I'm going
0:57:08 > 0:57:16# In the sunshine of your lo-o-ove
0:57:16 > 0:57:17# Yeah. #
0:57:34 > 0:57:41'Actually, playing, it's the only time I've ever really been alive in my whole life.
0:57:41 > 0:57:43'It's, like, what I am.'
0:57:43 > 0:57:45The rest of the time, I'm kind of like, you know,
0:57:45 > 0:57:49sort of half alive
0:57:49 > 0:57:52and as soon as I get plugged in, I go, "Ooh!" you know?
0:57:52 > 0:57:55I come alive, until the next time.
0:57:55 > 0:57:58Once the gig's over, it's a little buzz,
0:57:58 > 0:58:02and then you get really depressed until the next time.
0:58:02 > 0:58:08So, yeah, my life is a search, a constant search for the next gig!
0:58:09 > 0:58:12THEY PLAY "Sunshine Of Your Love"
0:58:45 > 0:58:49Subtitles by Red Bee Media Ltd