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This programme contains very strong language. | 0:00:02 | 0:00:05 | |
Over 40 years, I've been playing music all over the world, | 0:00:05 | 0:00:08 | |
both as lead singer of Thotch and as a solo artist. | 0:00:08 | 0:00:12 | |
I invented world music... | 0:00:14 | 0:00:17 | |
I was the first musician to use plasticine in videos... | 0:00:17 | 0:00:22 | |
The first musician to record with animals... | 0:00:22 | 0:00:25 | |
My last album had the lowest bass line ever recorded. | 0:00:25 | 0:00:28 | |
DISCORDANT BASS TONE | 0:00:28 | 0:00:30 | |
And long before Bob Geldof and Bono, | 0:00:30 | 0:00:32 | |
I was staging charity concerts | 0:00:32 | 0:00:34 | |
and writing songs to raise awareness for the helpless and the homeless. | 0:00:34 | 0:00:38 | |
# Why no black folk in Jersey? | 0:00:38 | 0:00:40 | |
# Why no black folk in Sark? | 0:00:40 | 0:00:42 | |
# Why no black folk in Guernsey? | 0:00:42 | 0:00:44 | |
# Are they having a lark? # | 0:00:44 | 0:00:47 | |
This is The Life Of Rock with me, Brian Pern. | 0:00:47 | 0:00:50 | |
MUSIC: Rock And Roll by Led Zeppelin | 0:00:52 | 0:00:55 | |
-# People try to put us d-down... -Talking about my generation | 0:01:12 | 0:01:16 | |
# Hope I die before I get old. # | 0:01:16 | 0:01:20 | |
"I hope I die before I get old," | 0:01:20 | 0:01:22 | |
sang a 21-year-old Roger Daltrey back in 1965. | 0:01:22 | 0:01:25 | |
Thankfully for his fans and family, his hope didn't come true. | 0:01:25 | 0:01:29 | |
He's not dead. But he is old and still singing the same song. | 0:01:29 | 0:01:33 | |
But Roger's sentiment back there remains just as pertinent | 0:01:33 | 0:01:37 | |
to rock stars of all g-g-generations | 0:01:37 | 0:01:40 | |
as r-r-rock music is all about y-y-youth. | 0:01:40 | 0:01:43 | |
It's all about discovery and adventure. | 0:01:43 | 0:01:46 | |
Rock will do anything to stay young. | 0:01:46 | 0:01:48 | |
It's Mr Tom the Jones. | 0:01:48 | 0:01:51 | |
Tom Jones has been trying to stay young for over 40 years. | 0:01:51 | 0:01:55 | |
But one thing that doesn't age is his voice. | 0:01:55 | 0:01:58 | |
# Yeah...! # | 0:01:58 | 0:02:03 | |
CHEERING | 0:02:31 | 0:02:32 | |
But not everyone is as lucky as Tommy Jones. | 0:02:32 | 0:02:34 | |
Yeah! | 0:02:34 | 0:02:36 | |
The average life expectancy of a rock star is 37, | 0:02:36 | 0:02:39 | |
which is lower than an Indian peasant or a Glaswegian. | 0:02:39 | 0:02:42 | |
Drugs and drink contributing factors, of course. | 0:02:42 | 0:02:45 | |
So, middle age hits you pretty quick if you work in this business. | 0:02:45 | 0:02:48 | |
However, halfway through the middle age of rock, | 0:02:48 | 0:02:50 | |
something came along which was to change the face of music forever. | 0:02:50 | 0:02:54 | |
The machine! | 0:02:54 | 0:02:57 | |
JAUNTY SYNTH MUSIC | 0:02:57 | 0:02:58 | |
This was music made by men in white coats. | 0:03:02 | 0:03:05 | |
The studio, for them, was a laboratory. | 0:03:05 | 0:03:08 | |
I know this sounds crazy, | 0:03:12 | 0:03:13 | |
but Moog was an offensive word in those rock'n'roll days back then. | 0:03:13 | 0:03:17 | |
If anyone uttered the word on Radio One Rock Show | 0:03:19 | 0:03:22 | |
or The Old Grey Whistle Test, it was, well, it was bleeped. | 0:03:22 | 0:03:25 | |
It was like saying "cunt", bleep! | 0:03:25 | 0:03:28 | |
Or "cock fucking cock sucker," bleep! | 0:03:28 | 0:03:32 | |
You'd get beaten up for saying it out loud on a tour bus or in the street. | 0:03:32 | 0:03:36 | |
Moogism, I think it was called, was absolutely... | 0:03:36 | 0:03:39 | |
It was rife. | 0:03:39 | 0:03:41 | |
I was very resistant to the Moog. I'm a guitarist. | 0:03:41 | 0:03:44 | |
The Moog is a soulless instrument. "Woo-ee!" | 0:03:44 | 0:03:48 | |
It's knob twiddling. | 0:03:48 | 0:03:50 | |
I can make a guitar sound like anything I want. | 0:03:54 | 0:03:56 | |
I can make it cry, sing, make it sound like a chain saw. | 0:03:56 | 0:03:59 | |
ORDINARY GUITAR NOTE | 0:03:59 | 0:04:01 | |
I can make it sound like bagpipes. | 0:04:01 | 0:04:02 | |
-SAME NOTE -Or a seagull. | 0:04:02 | 0:04:05 | |
SAME NOTE AGAIN | 0:04:05 | 0:04:06 | |
As far as I'm concerned, | 0:04:06 | 0:04:08 | |
the synthesiser and other such electric devices | 0:04:08 | 0:04:10 | |
are only good for calling the pigeons home. | 0:04:10 | 0:04:13 | |
I wrote a piece of music for the synthesiser entitled Bell's End | 0:04:13 | 0:04:19 | |
which was performed at St Paul's Cathedral | 0:04:19 | 0:04:23 | |
on 4th February, 1973, | 0:04:23 | 0:04:25 | |
through to 5th February, 1973. | 0:04:25 | 0:04:30 | |
It wasn't until much later that the instrument became | 0:04:31 | 0:04:34 | |
accepted into the mainstream. | 0:04:34 | 0:04:36 | |
The breakthrough hit was Popcorn. | 0:04:36 | 0:04:39 | |
After the success of Popcorn, | 0:04:39 | 0:04:40 | |
it became accepted in certain people, | 0:04:40 | 0:04:44 | |
like myself and Rick, Yes, ELP, Roxy... | 0:04:44 | 0:04:48 | |
They all came out of the Moog closet and openly played it. | 0:04:48 | 0:04:52 | |
It was liberating. | 0:04:52 | 0:04:53 | |
Tony Pebble, a great player. | 0:04:57 | 0:05:00 | |
We've got this sort of rivalry because he found out | 0:05:00 | 0:05:02 | |
that I went to the Royal College of Music and he didn't. | 0:05:02 | 0:05:06 | |
Secondly, because when he discovered that I started playing at five, | 0:05:06 | 0:05:10 | |
he got the right hump and started going around telling people | 0:05:10 | 0:05:13 | |
that he started playing in the womb. | 0:05:13 | 0:05:15 | |
He claimed that his mum would take the bloody bump along | 0:05:16 | 0:05:19 | |
to piano lessons and, while the teacher tinkled on the piano, | 0:05:19 | 0:05:22 | |
Tony would run up and down playing on the lining of her uterus. | 0:05:22 | 0:05:26 | |
What utter bollocks. | 0:05:26 | 0:05:27 | |
I was equally outrageous. | 0:05:30 | 0:05:32 | |
I can remember, on one occasion, I unbuttoned my shirt, | 0:05:32 | 0:05:37 | |
then I put some shades on. | 0:05:37 | 0:05:39 | |
Yeah, I think I looked pretty cool. | 0:05:41 | 0:05:44 | |
# I am your automatic lover... # | 0:05:49 | 0:05:53 | |
It wasn't long before robots themselves were making music. | 0:05:53 | 0:05:57 | |
# I am your automatic lover... # | 0:05:57 | 0:05:59 | |
This song was a huge hit in 1978, | 0:06:02 | 0:06:05 | |
fusing disco, electronica and robotics. | 0:06:05 | 0:06:08 | |
What a lot of people don't know is that the person inside the suit | 0:06:08 | 0:06:12 | |
was the writer and producer, and that person was me. | 0:06:12 | 0:06:16 | |
-MUFFLED VOICE: -Hello? I'd like to get out now. | 0:06:16 | 0:06:20 | |
It's quite hot in here. It's hot in here. | 0:06:20 | 0:06:25 | |
Very hot. | 0:06:25 | 0:06:27 | |
Can I get out now, please? Hello? | 0:06:27 | 0:06:30 | |
In the '70s and '80s, | 0:06:31 | 0:06:32 | |
many musicians feared that robots would take their jobs. | 0:06:32 | 0:06:36 | |
And when you see what these guys can do, who can blame them? | 0:06:36 | 0:06:40 | |
But if robots can be programmed to play instruments like that, | 0:06:43 | 0:06:47 | |
they can also be programmed to kill, like this. | 0:06:47 | 0:06:50 | |
So be careful with that screwdriver, Eugene. | 0:06:50 | 0:06:53 | |
The next step was disco. | 0:06:53 | 0:06:55 | |
# Another one bites the dust. # | 0:06:55 | 0:06:58 | |
When Queen were number one in America | 0:06:59 | 0:07:01 | |
with Another One Bites The Dust, | 0:07:01 | 0:07:03 | |
anyone hearing them on the radio would think they were black. | 0:07:03 | 0:07:06 | |
It was the same with Michael Jackson. | 0:07:06 | 0:07:08 | |
Everybody thought he was black, too. | 0:07:08 | 0:07:10 | |
So, when Brian suggested he wanted to do a disco album, | 0:07:10 | 0:07:12 | |
I thought this was an excellent idea | 0:07:12 | 0:07:14 | |
and I put a deposit down on a vineyard in Malta. | 0:07:14 | 0:07:17 | |
But there was only one man in the '70s who could give the white man | 0:07:17 | 0:07:20 | |
the funk - Nile Rodgers from Chic. | 0:07:20 | 0:07:23 | |
I used to be called Nigel Rogers | 0:07:23 | 0:07:25 | |
but I dropped the G and swapped the L and the E around, | 0:07:25 | 0:07:28 | |
made it Nile. You know, Nile. | 0:07:28 | 0:07:31 | |
They all wanted the Nigel Rodgers touch | 0:07:31 | 0:07:34 | |
and some get-going disco. | 0:07:34 | 0:07:37 | |
It all started when I worked with Max Bygraves. | 0:07:37 | 0:07:40 | |
He was a man who had hands and sang about a homo toothbrush. | 0:07:40 | 0:07:45 | |
# I'm getting married in the morning | 0:07:45 | 0:07:48 | |
# Ding dong, the bells are gonna chime! # | 0:07:48 | 0:07:50 | |
He knocked around the studio for a mad couple of days. | 0:07:54 | 0:07:59 | |
He was real funny. | 0:07:59 | 0:08:01 | |
# I'm getting married in the morning... # | 0:08:02 | 0:08:06 | |
So anyway, I get a call from Brian Pern. | 0:08:06 | 0:08:08 | |
He had this track called Breakfast | 0:08:08 | 0:08:11 | |
and he was thinking of turning it into a disco track, | 0:08:11 | 0:08:14 | |
as he'd never made a disco album. | 0:08:14 | 0:08:16 | |
Sheesh! Mayonnaise! | 0:08:16 | 0:08:19 | |
It was a debacle. This was music for drainpipes. | 0:08:19 | 0:08:23 | |
I got hold of it, put some funk in the trunk. | 0:08:23 | 0:08:26 | |
-# Disco breakfast -Ow! | 0:08:26 | 0:08:30 | |
# When I first met you, your head was in flames... # | 0:08:30 | 0:08:35 | |
And then Brian made a disco album | 0:08:35 | 0:08:37 | |
and I remember watching him on Top Of The Pops like this. | 0:08:37 | 0:08:42 | |
# Inside they were dancing, gasping for air... # | 0:08:43 | 0:08:47 | |
I thought, what the fuck is he doing? | 0:08:50 | 0:08:52 | |
It's quite literally Mike Smash here, | 0:08:58 | 0:09:01 | |
and this week's lowest new entry in the pop chart | 0:09:01 | 0:09:04 | |
is Brian Pern with Disco Breakfast! | 0:09:04 | 0:09:07 | |
He'd spent so bloody long working on it, | 0:09:10 | 0:09:12 | |
by the time it came out in '85, the disco bubble had burst. | 0:09:12 | 0:09:15 | |
The album crashed. Not even Nile Rodgers could save it. | 0:09:15 | 0:09:18 | |
Sheesh! Mayonnaise! | 0:09:18 | 0:09:20 | |
No matter how bad your latest album may be, | 0:09:21 | 0:09:24 | |
you can still shift a few million units | 0:09:24 | 0:09:26 | |
with endless early morning TV promotion. | 0:09:26 | 0:09:30 | |
These cost the best part of a million pounds' worth of injuries to us, | 0:09:30 | 0:09:33 | |
-the National Health Service. -I've cut my thumb very badly on one, yes. | 0:09:33 | 0:09:37 | |
They were rather dangerous and I think something has to be done. | 0:09:37 | 0:09:41 | |
In order to appeal to the younger market and stay fresh, | 0:09:41 | 0:09:44 | |
rock stars often have to appear on television that really isn't cool - | 0:09:44 | 0:09:47 | |
kids' television. | 0:09:47 | 0:09:49 | |
And for once, they have to be on their best behaviour. | 0:09:49 | 0:09:52 | |
But sometimes, it's the kids who misbehave. | 0:09:52 | 0:09:57 | |
When I was doing Swap Shop, | 0:09:57 | 0:09:58 | |
it was on Saturday mornings and it was live... | 0:09:58 | 0:10:02 | |
Used to have quite a few pop stars come in | 0:10:07 | 0:10:09 | |
and maybe sometimes came in with a bit of a hangover. | 0:10:09 | 0:10:12 | |
They'd have a go at trying to pull Maggie Philbin or Delia Smith, | 0:10:12 | 0:10:17 | |
or, depending on their persuasions, even have a crack at Craven. | 0:10:17 | 0:10:22 | |
It wasn't the pop stars that were the issue, to be honest. | 0:10:22 | 0:10:25 | |
Hopefully, we have a call for you straightaway. It's live on the line, | 0:10:25 | 0:10:28 | |
if you'd like to pick up the phones there. | 0:10:28 | 0:10:31 | |
What I recall is that it was the kids. | 0:10:31 | 0:10:33 | |
We were live, there was no delay. | 0:10:33 | 0:10:34 | |
We just never knew what they were going to say. | 0:10:34 | 0:10:37 | |
-Line three. -'Hello.' | 0:10:37 | 0:10:38 | |
-Hi, who are you? -'It's Tracy.' | 0:10:38 | 0:10:40 | |
Hello, Tracy. What can I do for you? | 0:10:40 | 0:10:43 | |
'Are you into wife swapping?' | 0:10:43 | 0:10:45 | |
Ah, that question. | 0:10:45 | 0:10:48 | |
Uh... | 0:10:48 | 0:10:50 | |
-I wouldn't say that. -No, I don't think I am, either. | 0:10:50 | 0:10:54 | |
When record sales dried up for artistes, | 0:10:54 | 0:10:56 | |
there was always another avenue they could go down - acting. | 0:10:56 | 0:11:01 | |
It's invariably an absolutely shocking move. | 0:11:01 | 0:11:04 | |
I think they shouldn't be allowed to act. | 0:11:04 | 0:11:07 | |
It should be banned. | 0:11:07 | 0:11:09 | |
I can think of several instances in which case | 0:11:09 | 0:11:12 | |
I've nearly died from cultural shock. | 0:11:12 | 0:11:15 | |
Mick Jagger, however, appearing in his first film since 1970, | 0:11:15 | 0:11:18 | |
is quite the ineffable twit that he sometimes seems. | 0:11:18 | 0:11:21 | |
Ringo Starr drifts in and out in a performance which suggests | 0:11:21 | 0:11:24 | |
that he should run, not walk, to the nearest acting school. | 0:11:24 | 0:11:26 | |
What opens this week is The Krays, starring Gary and Martin Kemp. | 0:11:26 | 0:11:30 | |
The acting, I have to tell you, is quite terrible. | 0:11:30 | 0:11:32 | |
David Essex, I thought, was the first successful musician | 0:11:32 | 0:11:36 | |
to transfer over to the world of acting. | 0:11:36 | 0:11:39 | |
I can't remember the name of his film. It was about a funfair. | 0:11:39 | 0:11:43 | |
That'll Be The Day. | 0:11:43 | 0:11:45 | |
Whatever. | 0:11:45 | 0:11:46 | |
Brian had noticed that I'd got a lot of my other acts into | 0:11:46 | 0:11:49 | |
big TV shows, films... | 0:11:49 | 0:11:51 | |
Sting in Dune, Bowie in Happy New Year Mr Christmas | 0:11:51 | 0:11:55 | |
or whatever it was called, | 0:11:55 | 0:11:57 | |
and Suggs into Rambo: First Blood Part Two. | 0:11:57 | 0:12:00 | |
So, I got him into one of the biggest soaps of the '80s. | 0:12:00 | 0:12:06 | |
-Look at that. -Down, boy. | 0:12:12 | 0:12:14 | |
I wonder what it's like topsides. | 0:12:16 | 0:12:18 | |
I think I'll go and find out. | 0:12:18 | 0:12:20 | |
Oh, I like a man in uniform. | 0:12:28 | 0:12:30 | |
-Are you a passenger? -I bought my ticket. | 0:12:30 | 0:12:33 | |
It's a free country. | 0:12:33 | 0:12:34 | |
This is a private area here. This is the cruise deck. | 0:12:34 | 0:12:37 | |
-Officers and crew only. -Bugger off, I'm having a sleep. | 0:12:37 | 0:12:40 | |
Brian also auditioned for parts in Long Good Friday... | 0:12:40 | 0:12:43 | |
I put money in all of your pockets. | 0:12:43 | 0:12:46 | |
Which one of yous is a grass? | 0:12:46 | 0:12:48 | |
..Buster... | 0:12:49 | 0:12:50 | |
I'm Buster Edwards. Which one of yous is a grass? | 0:12:50 | 0:12:54 | |
..and Labyrinth. | 0:12:54 | 0:12:55 | |
I'm the goblin king. Which one of yous is a grass? | 0:12:55 | 0:12:58 | |
Thankfully, for cinemagoers everywhere, | 0:12:58 | 0:13:00 | |
he didn't get any of them. | 0:13:00 | 0:13:02 | |
Some rock stars who couldn't act decided to put | 0:13:02 | 0:13:05 | |
their names and faces to worthy causes. | 0:13:05 | 0:13:07 | |
Hey, you two! Come here. How old are you? | 0:13:07 | 0:13:10 | |
-Nine. -Well, if you want to live to be ten, | 0:13:10 | 0:13:13 | |
you'd better learn to stop at the curb. | 0:13:13 | 0:13:15 | |
And I mean stop, right? | 0:13:15 | 0:13:18 | |
Look at those two! They must be crazy. | 0:13:18 | 0:13:21 | |
A double-decker bus could have come along | 0:13:21 | 0:13:23 | |
and made an eggnog out of their noggins. | 0:13:23 | 0:13:26 | |
Hey, you've got to be careful to look where you're going, | 0:13:26 | 0:13:29 | |
otherwise the only place you'll be going is heaven or hell, | 0:13:29 | 0:13:33 | |
or purgatory, depending on which you believe in. | 0:13:33 | 0:13:35 | |
So look left, look right, be smart, be safe. | 0:13:35 | 0:13:39 | |
In the early years of rock music, the most popular song writers | 0:13:42 | 0:13:45 | |
were singing about love or dancing and rocking around clocks. | 0:13:45 | 0:13:49 | |
Music was for entertaining. | 0:13:49 | 0:13:50 | |
But others were keen to send a different message | 0:13:50 | 0:13:52 | |
out to their listeners. | 0:13:52 | 0:13:54 | |
This was when the protest song was born. | 0:13:54 | 0:13:57 | |
# How many roads must a man walk down... # | 0:13:57 | 0:14:01 | |
It was Bob Dylan who kick-started the protest song | 0:14:01 | 0:14:04 | |
and was an inspiration to us all. | 0:14:04 | 0:14:07 | |
As you know, I'm a political animal. | 0:14:07 | 0:14:09 | |
In my solo career, I've drawn attention to certain events | 0:14:09 | 0:14:12 | |
and situations that would not normally have registered | 0:14:12 | 0:14:14 | |
to fat, white, middle-class people. | 0:14:14 | 0:14:17 | |
In 1982, I wrote my own protest song | 0:14:17 | 0:14:20 | |
when I saw this shocking footage of John Bartlett, | 0:14:20 | 0:14:23 | |
a man arrested by the police in Australia | 0:14:23 | 0:14:25 | |
for eating a Chinese meal without chopsticks. | 0:14:25 | 0:14:28 | |
Gentlemen, this is democracy manifest. | 0:14:28 | 0:14:33 | |
Have a look at the headlock here. What is the charge? | 0:14:34 | 0:14:37 | |
Eating a meal, a succulent Chinese meal? | 0:14:37 | 0:14:41 | |
I was so enraged by the footage, | 0:14:41 | 0:14:43 | |
I had to act upon it immediately. | 0:14:43 | 0:14:45 | |
# John Bartlett ate a Chinese meal | 0:14:45 | 0:14:49 | |
# A succulent Chinese meal... # | 0:14:49 | 0:14:53 | |
Get your hand off my penis! | 0:14:53 | 0:14:55 | |
This is the bloke who got me on the penis, people. | 0:14:55 | 0:14:58 | |
# ...and egg-fried rice | 0:14:58 | 0:14:59 | |
# Pretty soon he'd have to pay the price | 0:15:01 | 0:15:04 | |
# The waiter said | 0:15:05 | 0:15:07 | |
# You must sling your hook | 0:15:07 | 0:15:09 | |
# Mistaking John for a common crook | 0:15:11 | 0:15:14 | |
# In a headlock, they compressed his nuts | 0:15:16 | 0:15:21 | |
# Drove him off With no ifs or buts | 0:15:21 | 0:15:24 | |
# All John wanted was a Chinese meal | 0:15:26 | 0:15:30 | |
# Now it's dark and it's cold... # | 0:15:31 | 0:15:34 | |
The impact of that song was immense. | 0:15:34 | 0:15:35 | |
I mean, it brought down the Australian government | 0:15:35 | 0:15:38 | |
and no-one was arrested for eating a Chinese meal ever again, | 0:15:38 | 0:15:41 | |
which has been a great relief to quite a few of us, let me tell you. | 0:15:41 | 0:15:44 | |
# This is democracy manifest | 0:15:44 | 0:15:46 | |
# Get your hands off my penis... # | 0:15:46 | 0:15:47 | |
The protest song evolved into the charity single. | 0:15:47 | 0:15:50 | |
And in 1984, one man had the vision to save the starving in Africa | 0:15:50 | 0:15:55 | |
by making the ultimate charity record of all time. | 0:15:55 | 0:15:57 | |
That person was me. | 0:15:59 | 0:16:01 | |
Good evening... | 0:16:04 | 0:16:05 | |
It was 9:05, | 0:16:05 | 0:16:08 | |
October 23, 1984. | 0:16:08 | 0:16:10 | |
I got a call from Brian. He said, | 0:16:10 | 0:16:12 | |
"Are you watching the Nine O'Clock News?" | 0:16:12 | 0:16:14 | |
I said, "No, I'm watching Gentle Touch on the other side." | 0:16:14 | 0:16:16 | |
-SIRENS -Damn you, damn you, damn you. | 0:16:16 | 0:16:19 | |
He said, "Switch over." I said, "Don't be daft. | 0:16:21 | 0:16:23 | |
"Can't do that, it's a good bit." | 0:16:23 | 0:16:25 | |
What the hell's he doing, eating that pie? | 0:16:25 | 0:16:27 | |
And what do you think you're doing | 0:16:27 | 0:16:28 | |
with your collar open and your shirt hanging out? | 0:16:28 | 0:16:30 | |
Anyway, he told me about the famine in Africa, | 0:16:30 | 0:16:34 | |
which was horrendous of course. | 0:16:34 | 0:16:35 | |
And he suggested I call a few people, | 0:16:35 | 0:16:37 | |
get them down to his Poggle studios | 0:16:37 | 0:16:39 | |
and get some sort of charity single started. | 0:16:39 | 0:16:42 | |
So I did. I got straight on the phone | 0:16:42 | 0:16:44 | |
to some of the biggest acts I had access to at that time. | 0:16:44 | 0:16:46 | |
People like Big Country, Liza Minnelli, | 0:16:46 | 0:16:49 | |
Zucchero, Suggs, Mike Batt... | 0:16:49 | 0:16:51 | |
-# Si-i-i-i-i-i-ide -# I'm masquerading... # | 0:16:51 | 0:16:55 | |
About 20% of them were engaged, 10% were out | 0:16:55 | 0:16:57 | |
and the rest of them were watching The Gentle Touch. | 0:16:57 | 0:17:00 | |
You're improperly dressed, both of you. | 0:17:00 | 0:17:02 | |
Your behaviour's disgusting. | 0:17:02 | 0:17:03 | |
It was the last episode of the series | 0:17:03 | 0:17:05 | |
and nobody knew if it was going to come back. | 0:17:05 | 0:17:07 | |
Fortunately it did, in the guise of CATS Eyes with Leslie Ash. | 0:17:07 | 0:17:11 | |
It wasn't as good. | 0:17:12 | 0:17:14 | |
The following day, I bumped into Bob Geldof. | 0:17:14 | 0:17:17 | |
The Boomtowns had gone bust | 0:17:17 | 0:17:18 | |
and he part-owned a sports shop in Chiswick | 0:17:18 | 0:17:21 | |
called The Boomtown Racquets. | 0:17:21 | 0:17:23 | |
I was purchasing a punnet of squash balls | 0:17:23 | 0:17:25 | |
and I relayed what I'd seen on the news | 0:17:25 | 0:17:28 | |
and told him about my plans to release a charity single that Christmas. | 0:17:28 | 0:17:32 | |
He sounded keen. | 0:17:32 | 0:17:33 | |
Unfortunately, I couldn't start work on it right away, | 0:17:33 | 0:17:36 | |
as I was booked to go skiing with the in-laws | 0:17:36 | 0:17:38 | |
and Lunn Poly wouldn't give me my deposit back. | 0:17:38 | 0:17:41 | |
When I arrived home ten days later, | 0:17:41 | 0:17:43 | |
Do They Know It's Christmas? was number one | 0:17:43 | 0:17:45 | |
and the rest is history. | 0:17:45 | 0:17:47 | |
# Feed The world... # | 0:17:47 | 0:17:51 | |
Yeah, Brian was upset for months. | 0:17:51 | 0:17:53 | |
Every time he heard that record, he'd break a piece of furniture. | 0:17:53 | 0:17:56 | |
I was never out of Habitat that Christmas. | 0:17:56 | 0:17:58 | |
In the end, I suppose the important thing | 0:17:58 | 0:18:00 | |
was that millions of pounds went to Africa. | 0:18:00 | 0:18:02 | |
Whoever tied the ribbon on the parcel is irrelevant. | 0:18:02 | 0:18:05 | |
But I will say one thing, | 0:18:05 | 0:18:06 | |
when I talked to Bob that day in Boomtown Racquets, | 0:18:06 | 0:18:09 | |
he said he'd never seen the news. | 0:18:09 | 0:18:11 | |
He was watching The Gentle Touch on the other side. | 0:18:11 | 0:18:13 | |
# Snooker loopy Nuts are we | 0:18:13 | 0:18:16 | |
# We're all snooker loopy... # | 0:18:16 | 0:18:18 | |
Do They Know It's Christmas Time? inspired countless charity singles, | 0:18:18 | 0:18:21 | |
including this one by Charlie and David called Snooker Crazy, | 0:18:21 | 0:18:25 | |
which raised money for snooker players with arthritis. | 0:18:25 | 0:18:28 | |
# I'll celebrate And buy another eight | 0:18:28 | 0:18:30 | |
# Hairbrushes for me barnet | 0:18:30 | 0:18:32 | |
# I always pipe me eyeballs | 0:18:32 | 0:18:35 | |
# Perhaps I ought to chalk it | 0:18:35 | 0:18:37 | |
# Cos I wear these goggles... # | 0:18:37 | 0:18:40 | |
Just Say No by the Grange Hill gang | 0:18:42 | 0:18:44 | |
climbed to number five in the pop charts, | 0:18:44 | 0:18:46 | |
where it stayed for one consecutive week. | 0:18:46 | 0:18:49 | |
# Just say no! # | 0:18:49 | 0:18:50 | |
I mean, if one of your friends were on drugs, what would you do? | 0:18:50 | 0:18:53 | |
# Just say no! # | 0:18:53 | 0:18:54 | |
# Everybody wants to run the world... # | 0:18:54 | 0:18:58 | |
Everybody Wants To Run The World told people to run the world, | 0:18:58 | 0:19:01 | |
not rule it. | 0:19:01 | 0:19:03 | |
It climbed to number 13 in the charts, | 0:19:03 | 0:19:05 | |
where it stayed for a consecutive week. | 0:19:05 | 0:19:08 | |
Sport Aid never caught on. They only did it twice. | 0:19:08 | 0:19:10 | |
I've got a feeling Bob was using it | 0:19:10 | 0:19:12 | |
just to try and sell a few more of his rackets. | 0:19:12 | 0:19:16 | |
But the mother of all charity records was Doctor In Distress, | 0:19:16 | 0:19:19 | |
which outsold all the others by millions. | 0:19:19 | 0:19:22 | |
# No, no, no, no... # | 0:19:22 | 0:19:25 | |
In 1985, the controller of BBC One threatened to axe Doctor Who | 0:19:25 | 0:19:30 | |
so some of the biggest musicians and actors in the world | 0:19:30 | 0:19:32 | |
got together to try and save it. | 0:19:32 | 0:19:34 | |
# You tried to exterminate | 0:19:34 | 0:19:36 | |
# Doctor in distress... # | 0:19:36 | 0:19:38 | |
The success of Doctor In Distress lead to the next step, | 0:19:38 | 0:19:41 | |
the global jukebox... | 0:19:41 | 0:19:42 | |
Live Aid. | 0:19:42 | 0:19:44 | |
The biggest names in pop music, | 0:19:44 | 0:19:45 | |
from Elton John to Bob Dylan, from Duran Duran to Wham, | 0:19:45 | 0:19:48 | |
are to appear in two concerts in London and the United States on July 13. | 0:19:48 | 0:19:53 | |
Well, of course he was upset. He was never asked. | 0:19:53 | 0:19:55 | |
Brian, he invented world music. He should have been asked. | 0:19:55 | 0:19:58 | |
Mind you, I think he dodged a bullet with that one. | 0:19:58 | 0:20:01 | |
I mean, yeah, everybody remembers Queen, Bowie, U2... | 0:20:01 | 0:20:04 | |
but the rest of it was a bit patchy, wasn't it? | 0:20:04 | 0:20:06 | |
# There's more snakes than ladders | 0:20:06 | 0:20:11 | |
# At this point in time... # | 0:20:13 | 0:20:17 | |
I mean, you look at some of the other acts who weren't there, | 0:20:17 | 0:20:20 | |
you'd see that Brian was in very good company. | 0:20:20 | 0:20:22 | |
Live Aid... | 0:20:22 | 0:20:24 | |
-Limeade? -Status Quo... | 0:20:25 | 0:20:28 | |
-Limeade? -Queen... | 0:20:28 | 0:20:30 | |
-Was it a concert? -Yeah, I don't think we were there! | 0:20:32 | 0:20:35 | |
In secret documents released for the first time, | 0:20:35 | 0:20:38 | |
it appears that a more sinister force | 0:20:38 | 0:20:39 | |
was determined to bring an end to the global jukebox. | 0:20:39 | 0:20:43 | |
Good afternoon, Wembley. CHEERING | 0:20:43 | 0:20:46 | |
In a very short time, my duty is to take | 0:20:46 | 0:20:49 | |
one of the finest ambassadors of the British music industry | 0:20:49 | 0:20:53 | |
from Wembley to Philadelphia. | 0:20:53 | 0:20:56 | |
Ladies and gentlemen, Phil Collins! CHEERING | 0:20:56 | 0:20:59 | |
'Phil Collins was due to fly on Concorde to Philadelphia | 0:20:59 | 0:21:02 | |
'to play with Led Zeppelin.' | 0:21:02 | 0:21:04 | |
And the idea was I'd pick him up in my chopper, | 0:21:04 | 0:21:07 | |
fly him to Concorde, we'd both get on | 0:21:07 | 0:21:10 | |
and off to America. | 0:21:10 | 0:21:11 | |
As we were driving down to the helipad, | 0:21:12 | 0:21:14 | |
we stopped off at BP for, you know, | 0:21:14 | 0:21:17 | |
a pasty and a Vimto | 0:21:17 | 0:21:19 | |
and we had no idea we were being monitored by KGB intelligence. | 0:21:19 | 0:21:23 | |
I'd been seconded to MI6 in 1985 and we'd obtained intelligence | 0:21:23 | 0:21:27 | |
that the Russians were planning to take down Concorde, | 0:21:27 | 0:21:29 | |
which contained Mr Phil Collins. | 0:21:29 | 0:21:31 | |
The Russians were absolutely furious about Live Aid. | 0:21:31 | 0:21:34 | |
You know, they saw it as another classic example of Western decadence. | 0:21:34 | 0:21:39 | |
They'd also got wind that at least 34% of the performers | 0:21:39 | 0:21:42 | |
were homosexual. | 0:21:42 | 0:21:44 | |
In fact, it was closer to 49%. | 0:21:44 | 0:21:46 | |
Apparently, the Prime Minister had been informed of the dangers | 0:21:46 | 0:21:49 | |
but she had promised her son Mark, who's a massive fan of Dire Straits, | 0:21:49 | 0:21:53 | |
that he could go backstage and meet Mark...the other Mark, | 0:21:53 | 0:21:56 | |
Mark Knopfler. | 0:21:56 | 0:21:58 | |
And she knew how disappointed he'd be, | 0:21:58 | 0:22:01 | |
so she kept quiet about the whole thing, | 0:22:01 | 0:22:04 | |
which on so many levels is fucking disgusting. | 0:22:04 | 0:22:08 | |
Welcome to a very special show | 0:22:08 | 0:22:09 | |
from the flight deck of Concorde Alpha Bravo. | 0:22:09 | 0:22:12 | |
In a moment, we're going to take you to America. | 0:22:12 | 0:22:16 | |
A few Russian helicopters set off armed. | 0:22:16 | 0:22:18 | |
We managed to intercept them in Inkst. | 0:22:18 | 0:22:20 | |
Inx... Inxk... | 0:22:20 | 0:22:23 | |
But one did get through and the hardest job we had | 0:22:23 | 0:22:25 | |
was, in intelligence, keeping it all a secret | 0:22:25 | 0:22:28 | |
with a billion people watching on television. | 0:22:28 | 0:22:30 | |
So there we were, Phil and I, sitting together on Concorde | 0:22:30 | 0:22:33 | |
and we were just finishing off the pasty. | 0:22:33 | 0:22:35 | |
And we looked out the window | 0:22:35 | 0:22:37 | |
and there were two Russian helicopters alongside us. | 0:22:37 | 0:22:40 | |
And we thought, "Oh, hang on, | 0:22:40 | 0:22:41 | |
"this is like something out of a Rambo film." | 0:22:41 | 0:22:43 | |
So I immediately ordered a gin and tonic | 0:22:43 | 0:22:45 | |
and some brown trousers. | 0:22:45 | 0:22:47 | |
When I got taken into the cockpit, the captain said, | 0:22:47 | 0:22:50 | |
"You're going to have a word with London now. | 0:22:50 | 0:22:54 | |
-"So please don't tell anybody." -And then, the helicopter opened fire. | 0:22:54 | 0:22:59 | |
The pilot - he flopped on the floor like an old sock | 0:22:59 | 0:23:02 | |
and I saw Phil going to pieces. He was very worried cos he said, | 0:23:02 | 0:23:05 | |
"I don't know how to fly a plane!" | 0:23:05 | 0:23:07 | |
So, it was down to me. | 0:23:07 | 0:23:08 | |
Well, I managed to land safely at JFK with Phil, | 0:23:11 | 0:23:13 | |
but I think the whole experience had quite an impact on him, actually. | 0:23:13 | 0:23:18 | |
And I remember arriving and going into their trailer and saying, | 0:23:18 | 0:23:22 | |
"Hi, guys. OK, so..." | 0:23:22 | 0:23:23 | |
And Jimmy Page said, | 0:23:23 | 0:23:25 | |
"So how does it go, Stairway to Heaven? How does it go?" | 0:23:25 | 0:23:28 | |
So I said, "Well, you know, I know this is where I come in | 0:23:28 | 0:23:31 | |
"and I go da-da-da-dum, da-da-la-dum." | 0:23:31 | 0:23:33 | |
He said, "No! | 0:23:33 | 0:23:35 | |
"No!" | 0:23:35 | 0:23:37 | |
STAIRWAY TO HEAVEN INTRO | 0:23:37 | 0:23:40 | |
IN THE AIR TONIGHT DRUM SOLO INTERRUPTS | 0:23:49 | 0:23:52 | |
And I thought, "OK..." | 0:23:52 | 0:23:53 | |
It was like I was being taken apart. | 0:23:53 | 0:23:56 | |
DRUMMING BEGINS AGAIN | 0:24:02 | 0:24:04 | |
# ...who's sure All that glitters is gold... | 0:24:04 | 0:24:08 | |
DRUMMING CUTS IN ONCE AGAIN | 0:24:08 | 0:24:12 | |
# ..the stairway to heaven... # | 0:24:12 | 0:24:16 | |
DRUMMING DROWNS SINGING | 0:24:16 | 0:24:18 | |
After Live Aid, there were all kinds of benefit concerts | 0:24:28 | 0:24:31 | |
and of course, Live 8, | 0:24:31 | 0:24:33 | |
not that I was there. | 0:24:33 | 0:24:35 | |
And again, I think he missed a bullet with Live 8 too. | 0:24:35 | 0:24:38 | |
It was shit. | 0:24:38 | 0:24:40 | |
So the middle age of rock saw bands | 0:24:40 | 0:24:42 | |
growing rich and bored and political. | 0:24:42 | 0:24:44 | |
The outcome of the next age of rock is inevitable. | 0:24:44 | 0:24:47 | |
Rock has two choices - | 0:24:47 | 0:24:49 | |
go peacefully in its sleep, or out with a bang. | 0:24:49 | 0:24:51 | |
Which way will it go? | 0:24:51 | 0:24:53 | |
Find out next week on The Life Of Rock with me, Brian Pern. | 0:24:53 | 0:24:57 | |
Yeah, Peter Morgan submitted the first draft | 0:25:01 | 0:25:03 | |
of the Thotch-Pern biopic. | 0:25:03 | 0:25:04 | |
Tom Hooper, who did The King's Stutter, he's directing. | 0:25:04 | 0:25:08 | |
Did you read it? | 0:25:08 | 0:25:09 | |
No, I couldn't download it. | 0:25:09 | 0:25:11 | |
It's very good. It's all about the break-up. | 0:25:11 | 0:25:13 | |
-Well, hopefully they'll get my side of the story across. -Yeah. | 0:25:13 | 0:25:17 | |
The rest of the band... they're quite keen. | 0:25:17 | 0:25:20 | |
They've got Fassbender playing Pat, | 0:25:20 | 0:25:22 | |
Michael Sheen playing Tony Pebble... | 0:25:22 | 0:25:25 | |
and Tony Blair. | 0:25:25 | 0:25:26 | |
-Guess who they've got for you. -I don't know. | 0:25:26 | 0:25:29 | |
Idris Elba. | 0:25:29 | 0:25:31 | |
Idris Elba? Well, who's playing you? | 0:25:31 | 0:25:33 | |
Judi Dench. | 0:25:35 | 0:25:37 | |
-Did you ever do the John Peel show? -No, didn't actually do it. | 0:25:37 | 0:25:40 | |
We did send things in to John Peel. | 0:25:40 | 0:25:43 | |
Not records, of course. | 0:25:43 | 0:25:44 | |
Many fruits and debris from the woodland floor. | 0:25:44 | 0:25:47 | |
Promotional items for pizzas | 0:25:47 | 0:25:50 | |
and stuff that had come through our door | 0:25:50 | 0:25:52 | |
that were of no use to us. | 0:25:52 | 0:25:54 | |
-OK, Brian, repeat after me, "You remind me of the babe." -Why? | 0:25:54 | 0:25:58 | |
Oh, come on, Brian. | 0:25:58 | 0:26:00 | |
You remind me of the babe. | 0:26:00 | 0:26:01 | |
-What babe? -What babe? | 0:26:01 | 0:26:03 | |
-The babe with the power. -The babe with the power. | 0:26:03 | 0:26:05 | |
-The power of the voodoo. -The power of voodoo. | 0:26:05 | 0:26:08 | |
-Who do? -Who do? -You do. -You do. | 0:26:08 | 0:26:10 | |
-Do what? -Do what? | 0:26:10 | 0:26:11 | |
-Remind me of the babe. -Oh, come off it! | 0:26:11 | 0:26:13 | |
Oh, here are some of the sounds I invented. | 0:26:13 | 0:26:15 | |
This is perky avocado. | 0:26:15 | 0:26:18 | |
PERKY AVOCADO BUZZES | 0:26:20 | 0:26:23 | |
I have the largest collection of guitars in the UK... | 0:26:23 | 0:26:27 | |
..apart from The Edge. | 0:26:29 | 0:26:30 | |
But he doesn't count, because technically, he's Irish. | 0:26:30 | 0:26:34 | |
-TUNEFUL GURGLING -Jazzy Babies. | 0:26:34 | 0:26:36 | |
This particular model is worth... | 0:26:39 | 0:26:42 | |
..I would say probably about £175, | 0:26:44 | 0:26:47 | |
something like that. | 0:26:47 | 0:26:49 | |
And then of course, I composed demos, | 0:26:49 | 0:26:52 | |
you know, the little tunes you get on keyboards. | 0:26:52 | 0:26:55 | |
This is my personal favourite - | 0:26:55 | 0:26:57 | |
The Sod. | 0:26:57 | 0:26:58 | |
CHIRPY DEMO PLAYS | 0:26:58 | 0:27:02 | |
Oh... | 0:27:07 | 0:27:09 | |
Just rather hurt my back! | 0:27:09 | 0:27:10 | |
Could you... | 0:27:12 | 0:27:14 | |
I've got some co-dydramol and diazepam downstairs. | 0:27:14 | 0:27:17 | |
Would somebody...? Cos I'm stuck now. | 0:27:17 | 0:27:20 | |
Help! | 0:27:20 | 0:27:21 | |
Hello, I'm Pete and this is Martin. | 0:27:26 | 0:27:28 | |
We live in Worcester and we're both unemployed. | 0:27:28 | 0:27:31 | |
Up till now, the only things of any interest | 0:27:31 | 0:27:33 | |
have been rock and pop music and football. | 0:27:33 | 0:27:35 | |
Now, there's a new group started at our local youth centre in Worcester. | 0:27:35 | 0:27:39 | |
We'll be finding out how to convince the boss that we're worth employing. | 0:27:39 | 0:27:42 | |
In other words, how to sell ourselves at interviews. | 0:27:42 | 0:27:45 | |
It's about the only interesting and new thing | 0:27:45 | 0:27:48 | |
to do in Worcester during the daytime. | 0:27:48 | 0:27:50 |