0:00:02 > 0:00:06This programme contains strong language
0:00:06 > 0:00:08# Oh, I wish I was in Dixie
0:00:08 > 0:00:10# Away, away... #
0:00:13 > 0:00:15Wow...
0:00:15 > 0:00:19In this room, on this toilet, a vital part of rock history died.
0:00:20 > 0:00:24To many people, Mr Elvis Presley simply was rock 'n' roll,
0:00:24 > 0:00:27even when he got older and got a bit tubby.
0:00:27 > 0:00:32Before Mr Presley died, he ate a huge meal and I have here
0:00:32 > 0:00:37the coroner's report, which details the exact menu he ate.
0:00:37 > 0:00:41Nine 12-inch, deep-crust ham and pineapple pizzas,
0:00:41 > 0:00:42one roast pig,
0:00:42 > 0:00:44a can of Fanta,
0:00:44 > 0:00:46six side orders of fries,
0:00:46 > 0:00:47some bacon bits,
0:00:47 > 0:00:5012 burgers, four cobs,
0:00:50 > 0:00:51one Kentucky fried duck,
0:00:51 > 0:00:53a lion bar, a banana,
0:00:53 > 0:00:55a pint of eggs,
0:00:55 > 0:00:57a box of Dairylea Lunchables,
0:00:57 > 0:00:58some more Fanta,
0:00:58 > 0:01:00three Peperamis,
0:01:00 > 0:01:03nine pots of Chambourcy Hippopotamousse,
0:01:03 > 0:01:05two tins of peaches,
0:01:05 > 0:01:06some more Fanta
0:01:06 > 0:01:08and one pistachio nut.
0:01:09 > 0:01:13Mr Elvis Aaron Presley was discovered around 3am
0:01:13 > 0:01:16in this toilet, drenched in Fanta
0:01:16 > 0:01:19and face-down in his own gizzards.
0:01:19 > 0:01:21But it wasn't food that killed Elvis.
0:01:21 > 0:01:26It was success, too much of it, too quick and too fast.
0:01:26 > 0:01:29This week on The Life Of Rock we look at death,
0:01:29 > 0:01:31the end of rock.
0:01:44 > 0:01:47BELL TOLLS
0:01:48 > 0:01:50From a record company's point of view,
0:01:50 > 0:01:52death isn't always a bad thing. They love a death.
0:01:52 > 0:01:54The Doors wouldn't have sold anywhere near as many records
0:01:54 > 0:01:56if Jim Morrison had stayed alive.
0:01:56 > 0:01:58He'd probably be a judge on American Idol now.
0:01:58 > 0:02:00With his own range of pasta sauces.
0:02:02 > 0:02:06The biggest killer of lives and careers in this business
0:02:06 > 0:02:08is undoubtedly drugs.
0:02:08 > 0:02:09I, personally, have never taken them
0:02:09 > 0:02:12and if you speak to many of the great artists
0:02:12 > 0:02:14who worked in the '60s and '70s,
0:02:14 > 0:02:16the '80s and the '90s, even now,
0:02:16 > 0:02:19they will have known or worked with someone who has died
0:02:19 > 0:02:21taking the stuff.
0:02:21 > 0:02:23Brian says he never took drugs, right.
0:02:23 > 0:02:26He was too tight to buy drugs, that's what I'm trying to tell you.
0:02:26 > 0:02:28He had midget's arms and clown's pockets.
0:02:28 > 0:02:31You couldn't get the guy to buy a fucking round of drinks,
0:02:31 > 0:02:34never mind go out and buy a big bag of cocaine, for God's sake.
0:02:34 > 0:02:36No, they were dropping like flies.
0:02:36 > 0:02:39We're not talking about the odd joint and a pint of Parson's Punnet.
0:02:39 > 0:02:41This was mainlining heroin, three bottles of vodka...
0:02:41 > 0:02:43I mean, you'd show up at a party somewhere,
0:02:43 > 0:02:46you'd be having a nice chat with someone, you'd pop off,
0:02:46 > 0:02:48get yourself a pineapple and cheese on a stick.
0:02:48 > 0:02:50By the time you got back, they were dead.
0:02:50 > 0:02:51Often, when I went to parties,
0:02:51 > 0:02:54I'd be very concerned about the company I kept.
0:02:54 > 0:02:55If I saw anyone doing this...
0:02:58 > 0:03:00- ..I'd leave. - And if the press got wind of it,
0:03:00 > 0:03:03you'd get linked to that death, it'd hit your album sales.
0:03:04 > 0:03:06Makes you look very callous.
0:03:07 > 0:03:10Even getting the stuff could cause major problems,
0:03:10 > 0:03:12especially at the airport.
0:03:12 > 0:03:15Keith Richards got arrested for possession of heroin.
0:03:15 > 0:03:16In Japan, my old mucker, Macca,
0:03:16 > 0:03:20got pulled for having a bit of wacky baccy in his pockets.
0:03:20 > 0:03:22We got a load of seeds, kind of in the post.
0:03:23 > 0:03:25We didn't know what they were.
0:03:25 > 0:03:28We planted them all and five of them came up like...
0:03:28 > 0:03:30Five of them came up illegal.
0:03:30 > 0:03:33And Bjork-a also caused a stir when she arrived at Heathrow.
0:03:39 > 0:03:41She wasn't on drugs.
0:03:41 > 0:03:42She was just crackers.
0:03:43 > 0:03:46Someone like George Michael has survived a series of scandals,
0:03:46 > 0:03:49largely because no-one else has ever been harmed other than him,
0:03:49 > 0:03:51which is why he's still got fans and a career.
0:03:51 > 0:03:55Had he crashed into Happy Snaps and wiped out a few of the staff,
0:03:55 > 0:03:58instead of the window and the HP all-in-one colour copier,
0:03:58 > 0:04:00it'd be a completely different story.
0:04:00 > 0:04:02Scandal and rock music go hand in hand.
0:04:02 > 0:04:05But with the right scandal, you can sell a million,
0:04:05 > 0:04:08but your reputation can also take a bit of a bashing.
0:04:08 > 0:04:12'I got in hot water myself when I appeared on Saturday Night Live...'
0:04:12 > 0:04:14Lies!
0:04:14 > 0:04:16'..and tore up a picture of the Fonz.'
0:04:18 > 0:04:21E-vil!
0:04:21 > 0:04:23Looking back, I stand by what I did.
0:04:23 > 0:04:25For me, Happy Days symbolised everything
0:04:25 > 0:04:27that was wrong with America -
0:04:27 > 0:04:32a middle-aged Elvis impersonator kicking a jukebox and saying, "Ay!"
0:04:32 > 0:04:34And everyone cheers and claps,
0:04:34 > 0:04:36whilst across the world they're causing havoc
0:04:36 > 0:04:39with their aggressive foreign policy.
0:04:39 > 0:04:40It was just jet lag.
0:04:40 > 0:04:42# Come on, baby
0:04:42 > 0:04:44# You drive me crazy... #
0:04:44 > 0:04:47Jerry Lee Lewis's Great Balls Of Fire caused him
0:04:47 > 0:04:50great balls of trouble when he married a 13-year-old girl.
0:04:50 > 0:04:52You can't do that over here, buster.
0:04:52 > 0:04:56Bill Wyman had to wait three years before he could marry Mandy Smith
0:04:56 > 0:04:58and they lived happily ever after,
0:04:58 > 0:04:59for two months.
0:04:59 > 0:05:02First wife - homemaker, supportive, mother of his first child,
0:05:02 > 0:05:05usually met him before he was famous, put up with the poverty,
0:05:05 > 0:05:09helped him achieve his dream of stardom which enabled him
0:05:09 > 0:05:12to get the second wife who's got a prettier face and a smaller bum.
0:05:12 > 0:05:14- NEWS REPORT:- 'Mandy was only 13 when they met,
0:05:14 > 0:05:16'and their affair caused a scandal.'
0:05:16 > 0:05:20There was a few problems on the way but we finally made it.
0:05:20 > 0:05:21After a couple of weeks,
0:05:21 > 0:05:23they realised they've got nothing else to say,
0:05:23 > 0:05:27so he pines for the first wife who's since run off with the bloke
0:05:27 > 0:05:30who made the Victorian rocking horses for the kid he left behind
0:05:30 > 0:05:32when he was making the difficult album in Monterey.
0:05:32 > 0:05:35I'm glad he's finally taken the plunge.
0:05:35 > 0:05:39I don't think it's a good match. I said I'm happy for him.
0:05:39 > 0:05:41I don't know anything about it.
0:05:41 > 0:05:44- Do you think he'll settle down? - That's another story. I don't know.
0:05:44 > 0:05:46If you pick up the phone,
0:05:46 > 0:05:48we might be able to dig up some nasty questions
0:05:48 > 0:05:50- about your past for you.- Mmm.
0:05:50 > 0:05:51But not all younger women fall
0:05:51 > 0:05:54for the charms of a middle-aged rock star.
0:05:54 > 0:05:55Hello, Elaine.
0:05:55 > 0:05:57Actually, Kate, it's me, Brian Pern,
0:05:57 > 0:05:59and I need to speak to you very seriously.
0:05:59 > 0:06:02- Yeah.- I'm not very good at this sort of thing.
0:06:03 > 0:06:04So here goes...
0:06:04 > 0:06:06I'm sorry about this, folks.
0:06:06 > 0:06:07I'm in love with you.
0:06:07 > 0:06:09I have left my wife
0:06:09 > 0:06:12and I want to swap my old life for a new life with you.
0:06:12 > 0:06:14We can have chickens and stuff...
0:06:16 > 0:06:17..and make wine.
0:06:17 > 0:06:20I'm outside the house. Let me in the window, please.
0:06:20 > 0:06:25Brian, of course, discovered Kate and organised all her demos,
0:06:25 > 0:06:26he played keyboards on
0:06:26 > 0:06:30Heathcliff, It's Me, Cathy, Let Me In Your Window,
0:06:30 > 0:06:33and loads of people were asking questions.
0:06:33 > 0:06:34We all knew something was going on
0:06:34 > 0:06:37cos he was married to Cindy at the time.
0:06:39 > 0:06:41It wasn't much fun watching that back,
0:06:41 > 0:06:43and that's a warning about drinking and dialling.
0:06:43 > 0:06:46Especially drinking and dialling to kids' shows.
0:06:46 > 0:06:47It made the papers.
0:06:47 > 0:06:50Managed to get his latest song to number 32 and, anyway,
0:06:50 > 0:06:53his wife was shagging Mike Batt, so what the fuck.
0:06:53 > 0:06:56# I am just a new boy... #
0:06:56 > 0:06:58Aside from drink, drugs and women,
0:06:58 > 0:07:00touring is the next biggest killer.
0:07:01 > 0:07:04Touring makes a man.
0:07:04 > 0:07:05It can also break a man.
0:07:07 > 0:07:10Why are roadies always men?
0:07:10 > 0:07:12All those awful, pasty men from Birmingham,
0:07:12 > 0:07:14bending down showing their fucking cracks.
0:07:14 > 0:07:18Why not have a young bird in a tight boiler suit or hot pants?
0:07:18 > 0:07:21That would have been something to look at.
0:07:21 > 0:07:23I wonder if Pink Floyd ever played the biscuit game.
0:07:25 > 0:07:27INTERVIEWER: What's the biscuit game?
0:07:28 > 0:07:30- Uh...- INTERVIEWER: How do you entertain yourselves?
0:07:30 > 0:07:33I'd rather not say how we entertained ourselves.
0:07:33 > 0:07:35I had them all, all the big dogs.
0:07:35 > 0:07:39Jimmy P, Jimmy H, Jiminy Cricket.
0:07:39 > 0:07:41It was the '70s, that's what we did.
0:07:43 > 0:07:47I made moulds of their yam bags, you know?
0:07:47 > 0:07:49Their ball sacks!
0:07:49 > 0:07:51This is James Taylor right here.
0:07:51 > 0:07:53This is Carlos Santana's.
0:07:53 > 0:07:55These are Midge Ure's.
0:07:56 > 0:07:59Life on the road is a bit like anal sex.
0:07:59 > 0:08:01It starts off fun and exciting
0:08:01 > 0:08:03but it ends up a pain in the arse.
0:08:03 > 0:08:05Touring is boring.
0:08:05 > 0:08:09It's just dull, Kansas City on a wet Thursday afternoon,
0:08:09 > 0:08:11it's just...
0:08:11 > 0:08:14Every hotel room looks the same, and I'm sure Thotch and Brian Pern
0:08:14 > 0:08:19went through all that, you know, and that is enough to break any band up.
0:08:21 > 0:08:22When an artist goes solo,
0:08:22 > 0:08:25it doesn't always lead to the death of a band.
0:08:25 > 0:08:28In fact it can be a creative rebirth.
0:08:28 > 0:08:31# Waiting in the garden, by the shed
0:08:31 > 0:08:32# I saw you washing
0:08:32 > 0:08:34# Then making up your bed
0:08:34 > 0:08:37# Creeping through the bushes, over the fence
0:08:37 > 0:08:40# Into the window in the bathroom instead
0:08:40 > 0:08:42# I'm taking off my smalls
0:08:42 > 0:08:45# Do you mind if I have a bath?
0:08:45 > 0:08:46# Where's your flannel?
0:08:46 > 0:08:49# Let me wash and I'll use up your flannel
0:08:49 > 0:08:52# Ah-aah... #
0:08:52 > 0:08:56I finally left Thotch to pursue my solo career in 1978.
0:08:56 > 0:08:58It allowed me to have creative freedom
0:08:58 > 0:09:01and make the music I was interested in
0:09:01 > 0:09:03and them to make what they were interested in
0:09:03 > 0:09:06without me breathing down their necks.
0:09:06 > 0:09:07# Was ist das? Was ist das? #
0:09:07 > 0:09:09Did we miss Brian when he left?
0:09:11 > 0:09:12Of course not.
0:09:12 > 0:09:15He was becoming a fucking pain in the bottom.
0:09:15 > 0:09:18Thotch were more than just a band to us. They were everything.
0:09:18 > 0:09:20They were part of our development, our lives,
0:09:20 > 0:09:23they were a unifying force, and Brian...
0:09:23 > 0:09:25chose to throw it all away...
0:09:26 > 0:09:28..in pursuit of commercial success
0:09:28 > 0:09:31doing those rubbish songs that he did.
0:09:31 > 0:09:36Brian Pern left a really important group that people really loved
0:09:36 > 0:09:37and went into the wilderness.
0:09:37 > 0:09:42He went into the wilderness and then came back and used Plasticine
0:09:42 > 0:09:45and made Spirit Level and everybody loved him again.
0:09:45 > 0:09:47CALYPSO MUSIC
0:09:52 > 0:09:55Brian had a transatlantic number one right out of the blue
0:09:55 > 0:09:57with Spirit Level.
0:09:57 > 0:09:58Who'd have thought it?
0:09:58 > 0:10:01And, ironically, knocking Thotch off the top.
0:10:05 > 0:10:09What people forget is that, at that point in time,
0:10:09 > 0:10:13Brian Pern was to Thotch what Paul McCartney was to Wings.
0:10:13 > 0:10:16So it was like Wings carrying on without Paul McCartney.
0:10:16 > 0:10:18That probably wouldn't have worked.
0:10:18 > 0:10:19But as it happens,
0:10:19 > 0:10:25I really love the first two non-Brian Pern Thotch albums.
0:10:25 > 0:10:27Then, of course, they got shit.
0:10:27 > 0:10:29INTERVIEWER: What's it like leaving Thotch?
0:10:29 > 0:10:33Good! No, seriously, I put together a young band,
0:10:33 > 0:10:35some of the best musicians in England.
0:10:35 > 0:10:38They certainly do what they're told, anyway.
0:10:38 > 0:10:39Yeah, it's been a real challenge,
0:10:39 > 0:10:41working with Brian for the first time.
0:10:41 > 0:10:42He's, er...
0:10:42 > 0:10:45He's made me really think about my drumming.
0:10:45 > 0:10:49Last year, Brian sent me to Cambodia to...
0:10:49 > 0:10:51You know, there's been a civil war there recently,
0:10:51 > 0:10:54so when you suggested that, it was kind of, um...
0:10:56 > 0:10:58Er, well, you know, a bit of a head spin.
0:10:58 > 0:11:02I forgot to call him to ask him to come back, so he stayed out there.
0:11:02 > 0:11:03Yeah.
0:11:03 > 0:11:05For four months, wasn't I?
0:11:05 > 0:11:07- Four months... - Certainly shown in the work.
0:11:07 > 0:11:09Yeah, had an interesting month in jail as well.
0:11:09 > 0:11:10- Lost a bit of weight.- Yeah.
0:11:11 > 0:11:13These two don't speak.
0:11:13 > 0:11:15It's why I hired them.
0:11:15 > 0:11:19To be honest, I was never really enamoured with rock music.
0:11:19 > 0:11:22Tight trousers, guitar solos and four beats to the bar,
0:11:22 > 0:11:26so when I left Thotch, I travelled the world, listing for new sounds.
0:11:26 > 0:11:29MUSIC: "Gumboots" by Paul Simon
0:11:29 > 0:11:32I was like a bee landing on flowers in different lands,
0:11:32 > 0:11:35combining sounds and making a new kind of pollen,
0:11:35 > 0:11:38which is how I invented world music.
0:12:00 > 0:12:02HE GURGLES TUNEFULLY
0:12:12 > 0:12:16HE CONTINUES GURGLING
0:12:18 > 0:12:21TUNEFUL TWANGING
0:12:22 > 0:12:24She's OK, just...
0:12:24 > 0:12:26Just keep her off the drink and she'll be all right.
0:12:26 > 0:12:29HIGH-PITCHED SINGING
0:12:29 > 0:12:31- Ouch!- Pepita, can we...
0:12:31 > 0:12:33Can we have some playing without you hurting yourself?
0:12:33 > 0:12:35The pain and the music, they go together,
0:12:35 > 0:12:36just like in life, you know?
0:12:36 > 0:12:39STRANGLED: You cannot separate the two.
0:12:39 > 0:12:43Hello, I'm here with Pepita Arugo Sanchez Montaya,
0:12:43 > 0:12:46who has come from Mexico
0:12:46 > 0:12:49and she is going to help us with this song, I believe.
0:12:49 > 0:12:53I am honoured to be here. You are the James Bond man?
0:12:53 > 0:12:54- Uh, yeah.- Yeah!
0:12:54 > 0:12:57So you do... SINGING: Goldfinger!
0:12:57 > 0:13:00- Well, no, that wasn't... - It was not you?
0:13:00 > 0:13:02Did you do... SINGING: Moonraker!
0:13:02 > 0:13:04That's John Barry.
0:13:04 > 0:13:08What about... SINGING: Skyfall!
0:13:08 > 0:13:10- That wasn't me either, no. - So what did you write?
0:13:10 > 0:13:13Uh, I did Tomorrow Never Dies,
0:13:13 > 0:13:15The World Is Not Enough,
0:13:15 > 0:13:17Die Another Day, Casino Royale,
0:13:17 > 0:13:18Quantum Of Solace.
0:13:18 > 0:13:20Congratulations.
0:13:20 > 0:13:22I think if we can get this down,
0:13:22 > 0:13:24man, woman in space,
0:13:24 > 0:13:27first time they see each other.
0:13:27 > 0:13:29Heartbreak, you want heartbreak.
0:13:30 > 0:13:33# As I saw you
0:13:34 > 0:13:37# Across the Milky Way... #
0:13:37 > 0:13:38That's beautiful.
0:13:38 > 0:13:41# We could hold hands yesterday
0:13:41 > 0:13:44# But we were not alone
0:13:44 > 0:13:48- # Mmm-hmm-hmm! Ah-ah-ah - I had some powdered milk
0:13:48 > 0:13:51# Milky Way!
0:13:51 > 0:13:56# Ay-ay-ay-ay-ay-ay-ay..! #
0:13:56 > 0:13:57- I can't do this. - # In space!
0:13:57 > 0:13:59- # Oh..! # - This isn't going to work.
0:13:59 > 0:14:01# Oh!
0:14:01 > 0:14:04# I know you're waiting for me-ah! #
0:14:04 > 0:14:06That's actually from a different... That's a different song.
0:14:06 > 0:14:09But we will do it better. So we will mix together, it's called a mashup.
0:14:09 > 0:14:12If the world music world lost Brian Pern,
0:14:12 > 0:14:14it would lose a window
0:14:14 > 0:14:16into the world of music.
0:14:16 > 0:14:18- INTERVIEWER:- Do you like world music?
0:14:18 > 0:14:19Um...
0:14:19 > 0:14:21World music, uh,
0:14:21 > 0:14:22no.
0:14:22 > 0:14:24It might be better, Brian...
0:14:24 > 0:14:27- SHE HOLLERS - ..if the piece was in a booth,
0:14:27 > 0:14:28- SHE TRILLS AND BARKS - Then we got control.
0:14:28 > 0:14:30Maybe we could check the vocals.
0:14:30 > 0:14:31- You want to bring me in a box?- Yes.
0:14:31 > 0:14:34- This is not going to work.- Why?!
0:14:34 > 0:14:36- You're drunk.- I am not drunk.
0:14:36 > 0:14:42I had a tiny bit because I am nervous in front of the man from Moonraker!
0:14:42 > 0:14:44I cannot be in a box.
0:14:44 > 0:14:46- We've got a pineapple. - What does this mean?
0:14:46 > 0:14:47You are going to chop off my head?
0:14:47 > 0:14:49No, that's what they do in your country.
0:14:49 > 0:14:52When successful artists reach a certain age, things change.
0:14:52 > 0:14:56The time for throwing televisions into swimming pools is over.
0:14:56 > 0:14:58The groupies have all grown up and bought organic bakeries.
0:14:58 > 0:15:00The fourth wives are in full effect
0:15:00 > 0:15:02with their handbags and small children,
0:15:02 > 0:15:05and they're stuck alone in giant stately homes
0:15:05 > 0:15:06they can't afford to heat.
0:15:06 > 0:15:08What do they do?
0:15:08 > 0:15:11Well, those with money embark on ridiculous hobbies,
0:15:11 > 0:15:13which no-one else is interested in,
0:15:13 > 0:15:16which cost a small fortune.
0:15:16 > 0:15:18MUSIC: "Je Suis Un Rockstar" by Bill Wyman
0:15:21 > 0:15:22BRUCE ROARS
0:15:22 > 0:15:24We all made far too much money.
0:15:24 > 0:15:25Some people enjoy it,
0:15:25 > 0:15:29but after you've unloaded yourself on a thousand pairs of knockers...
0:15:29 > 0:15:31HE INHALES
0:15:31 > 0:15:33..what do you do next? I don't know.
0:15:33 > 0:15:35Hobbies? Well...
0:15:35 > 0:15:38It's just about avoiding the wife and kids, isn't it?
0:15:38 > 0:15:41- LOUD BUZZING - A lot of people use earphones,
0:15:41 > 0:15:43but being a musician, I can avoid that.
0:15:43 > 0:15:46Dad's always traditionally popped off down the garage
0:15:46 > 0:15:49to make his model aeroplanes or whatever.
0:15:49 > 0:15:51- BUZZING - Metal fillings.
0:15:51 > 0:15:53These people don't have garages.
0:15:53 > 0:15:55They've got aircraft hangers.
0:15:55 > 0:15:59- BUZZING - It does, they're great.
0:15:59 > 0:16:00Alice Cooper plays golf.
0:16:01 > 0:16:03Can't get anybody to play with him, though.
0:16:03 > 0:16:06He turns up in all that mascara, a plastic baby in his golf buggy
0:16:06 > 0:16:08and a snake round his neck. He's 62.
0:16:08 > 0:16:11And that bloke from Blur makes cheese.
0:16:11 > 0:16:14In Guantanamo Bay, they stuff cheese up the prisoners' noses
0:16:14 > 0:16:17and play Blur songs to them all day to break their spirit
0:16:17 > 0:16:18and get them to talk.
0:16:18 > 0:16:20With remarkable success, I hear.
0:16:20 > 0:16:23- INTERVIEWER:- You've done a lot for the welfare of ants, haven't you?
0:16:23 > 0:16:24Oh, ants, yeah.
0:16:24 > 0:16:27- You've got ant farms? - We used to. We've sold them now.
0:16:28 > 0:16:30At a great profit, I might add, but, yeah.
0:16:30 > 0:16:32Save the ant, mate.
0:16:32 > 0:16:35That's what I think, cos I think they're in trouble.
0:16:35 > 0:16:40I have a genuine Victorian liquorice still in my home
0:16:40 > 0:16:46and I make the occasional batch of liquorice for my children.
0:16:46 > 0:16:48They actually prefer Cadbury's Heroes.
0:16:48 > 0:16:51I say to them, "That's all very well when you're with your friends,
0:16:51 > 0:16:52"but when you're here with me,
0:16:52 > 0:16:55"it's liquorice, and it's my liquorice."
0:16:56 > 0:16:59Other rock stars have hobbies of far greater importance,
0:16:59 > 0:17:01like saving the rainforests.
0:17:03 > 0:17:06May I talk first of all to Chief Raoni?
0:17:06 > 0:17:10You've travelled thousands of miles from the Amazon to be with us.
0:17:10 > 0:17:13How are your people
0:17:13 > 0:17:15and how is the forest threatened?
0:17:15 > 0:17:18They are fucked, Terry, to be honest. Absolutely.
0:17:18 > 0:17:22They're cutting down an area the size of Milton Keynes every day
0:17:22 > 0:17:24just to make the world's envelopes.
0:17:24 > 0:17:27Is there anything about our life here that he thinks is good?
0:17:27 > 0:17:29Uh, bouncy castles.
0:17:29 > 0:17:32Sting, how did you get involved in this campaign?
0:17:32 > 0:17:33I was on tour in Brazil.
0:17:33 > 0:17:37I was doing these big concerts, big stadiums in Brazil.
0:17:37 > 0:17:39I came to see him. I loved the "do-do-do, da-da-da-da",
0:17:39 > 0:17:42but he didn't do it that night cos it was a solo tour.
0:17:42 > 0:17:45Every time I turned a corner, this man was here pestering me,
0:17:45 > 0:17:47saying, "You have to come to the jungle, it's so important
0:17:47 > 0:17:50"you come to the jungle", and I was trying to avoid him.
0:17:50 > 0:17:51- I was like, "I'm not a tourist..." - Yeah.
0:17:51 > 0:17:54"..I'm working, I'm very busy."
0:17:54 > 0:17:57- But do get rid of this man, I had to agree to go.- Ha!
0:17:57 > 0:17:59It makes you angry.
0:17:59 > 0:18:00You really feel as if your children
0:18:00 > 0:18:03have been robbed of something very beautiful.
0:18:03 > 0:18:04It's like looking at a rape.
0:18:04 > 0:18:07You see somebody being raped in the street, you want to stop it.
0:18:07 > 0:18:10Fucking 'ell, Sting, that's a bit heavy, innit?!
0:18:10 > 0:18:13Although Sting and I don't see eye to eye on many things,
0:18:13 > 0:18:15he is right to champion nature,
0:18:15 > 0:18:18for it is in the wild where music began.
0:18:18 > 0:18:22# Africa, Africa, birthplace of man... #
0:18:22 > 0:18:25People thing humans are the only people who make music.
0:18:25 > 0:18:27No, it started in the jungle,
0:18:27 > 0:18:29with the croaking of the frog,
0:18:29 > 0:18:30the call of the cuckabird
0:18:30 > 0:18:32and the hiss of the snake.
0:18:32 > 0:18:36# Africa, Africa, birthplace of man... #
0:18:40 > 0:18:43I have come to a research centre in London to meet Danson,
0:18:43 > 0:18:46a gorilla with extraordinary musical abilities.
0:18:46 > 0:18:48I know we all laugh at the ape
0:18:48 > 0:18:50in the Cadbury's advert who played the drums,
0:18:50 > 0:18:52but this is no joke.
0:18:52 > 0:18:54Danson, here, is a Grade 8 pianist.
0:18:54 > 0:18:58We decided to meet up for a jamming session and this is what happened.
0:18:58 > 0:19:00OK, Danson, this is Brian.
0:19:00 > 0:19:02Don't look him in the eye, keep your head down.
0:19:02 > 0:19:05The most important thing, he doesn't feel threatened by you, OK?
0:19:05 > 0:19:07You've got nothing to worry about.
0:19:07 > 0:19:09DANSON GRUNTS
0:19:09 > 0:19:11- It's Brian, Danson.- Hello, Danson.
0:19:13 > 0:19:15Hello. What do I... Here?
0:19:15 > 0:19:16Yeah.
0:19:18 > 0:19:20Don't look him in the eye. Keep your head down.
0:19:20 > 0:19:22Head down, please.
0:19:25 > 0:19:29Recently, Sarah, here at the institute has contacted me...
0:19:30 > 0:19:33..and we, uh,
0:19:33 > 0:19:36have had the idea of introducing musical lessons
0:19:36 > 0:19:37into some of the apes'...
0:19:38 > 0:19:42..schooling, I suppose it is, if you want to call it that,
0:19:42 > 0:19:43and I've, uh...
0:19:43 > 0:19:45I've been Skyping with Danson and sending him
0:19:45 > 0:19:48various musical soundscapes and textures
0:19:48 > 0:19:51and he has become quite adept at playing the keyboard.
0:19:51 > 0:19:53Uh-uh! Uh-uh!
0:19:53 > 0:19:55Uh-uh! Uh-uh!
0:19:55 > 0:19:58- Sure it's OK? He doesn't seem... - Go ahead, it's fine.
0:19:58 > 0:20:00I assumed we'd be behind a form of screen for this.
0:20:00 > 0:20:03- No, he's just being playful. - Can you not come and sit here?
0:20:03 > 0:20:06I don't want to get in the way of the interaction
0:20:06 > 0:20:08between the two of you. He's a big fan of your work.
0:20:10 > 0:20:11OK, what do we do now?
0:20:13 > 0:20:15- Accept the gift.- Do I take it? - Accept the gift.
0:20:15 > 0:20:17Thank you, Danson.
0:20:17 > 0:20:19He seems like a friendly guy.
0:20:19 > 0:20:20Do I bite it?
0:20:20 > 0:20:23He's had it in his mouth, so, yeah, it should be OK.
0:20:23 > 0:20:25He's had it in his mouth?
0:20:25 > 0:20:26Give that a miss.
0:20:26 > 0:20:29When I was working with Danson over Skype,
0:20:29 > 0:20:30I would lay down a very flat tone
0:20:30 > 0:20:33and Danson would embroider it slightly with some simple keys,
0:20:33 > 0:20:37which is what we're going to try and do again now. Danson, you ready?
0:20:38 > 0:20:42HE HUMS CONTINUOUS TONE
0:20:46 > 0:20:49DANSON PLAYS KEYBOARD DEMO
0:20:49 > 0:20:51Danson, play properly.
0:20:51 > 0:20:53No, no, that's wrong. It's OK.
0:20:53 > 0:20:55Let's try it again, Danson, OK?
0:20:55 > 0:20:57What we did before, remember? On machine?
0:20:59 > 0:21:02HE HUMS CONTINUOUS TONE
0:21:07 > 0:21:08Now. You have to play now.
0:21:09 > 0:21:11- Play... No. - DANSON PLAYS DEMO
0:21:12 > 0:21:14Pressing the, uh...
0:21:14 > 0:21:17- He's play next time.- ..the demo. - He's just playing up.
0:21:17 > 0:21:20Is he ready?
0:21:20 > 0:21:22He's going to make a monkey out of me.
0:21:22 > 0:21:24OK, ready, Danson?
0:21:25 > 0:21:27Know what to do?
0:21:27 > 0:21:31HE HUMS CONTINUOUS NOTE
0:21:31 > 0:21:33Come on.
0:21:33 > 0:21:34Come on, Danson, you know what to do.
0:21:34 > 0:21:36- HE PLAYS DEMO - Oh, come on, Danson.
0:21:36 > 0:21:38DANSON GROWLS AND BRIAN YELPS
0:21:38 > 0:21:40Danson! Calm!
0:21:40 > 0:21:42Calm! Calm! Danson, calm!
0:21:42 > 0:21:44Calm! Calm!
0:21:44 > 0:21:45BRIAN SQUEALS
0:21:45 > 0:21:47Get away from me!
0:21:48 > 0:21:51DANSON GRUNTS AND BRIAN YELPS
0:21:51 > 0:21:53HE SCREAMS
0:21:54 > 0:21:58These days, you're just as likely to see recording artists like me
0:21:58 > 0:22:01on Later With Jules as you are on the Today programme,
0:22:01 > 0:22:03which I'm about to be on now.
0:22:03 > 0:22:05Ah, morning, Brian, lovely to see you.
0:22:05 > 0:22:07- Hello, John.- How are you doing?
0:22:07 > 0:22:10- I'm OK, I'm OK.- I love what you're doing, this thing with gorillas.
0:22:10 > 0:22:13Love gorillas, great animals, aren't they?
0:22:13 > 0:22:16As much as I love rock stars, and they are my bread and caviar,
0:22:16 > 0:22:20exposing themselves to the bull pit that is the newsroom?
0:22:20 > 0:22:22Terrible mistake. It was awful.
0:22:22 > 0:22:26And the time now is 21 minutes past eight.
0:22:26 > 0:22:31This week, the tireless campaigner and rock star Brian Pern
0:22:31 > 0:22:35launches his new campaign to save the mountain gorilla
0:22:35 > 0:22:39with a new charity record and tour and he joins us in the studio.
0:22:39 > 0:22:43- Hello, Brian.- Hi, John.- Brian, a lot of people are going to be asking
0:22:43 > 0:22:46a single question about all this - why?
0:22:46 > 0:22:47Why what?
0:22:47 > 0:22:51Why is a multimillionaire rock star like you, you're loaded, obviously,
0:22:51 > 0:22:55asking the likes of us to donate money for saving gorillas
0:22:55 > 0:22:57when we haven't got any money ourselves?
0:22:57 > 0:22:58We're broke - why should we care,
0:22:58 > 0:23:00why should we listen to you, basically?
0:23:00 > 0:23:05We, as musicians, owe the animal kingdom a huge debt.
0:23:07 > 0:23:09And these creatures are just as musical as us.
0:23:09 > 0:23:11In some cases, even more so.
0:23:11 > 0:23:15So, you've released this song which features a real gorilla,
0:23:15 > 0:23:19a real gorilla, on backing vocals to raise money.
0:23:19 > 0:23:21- Yes.- What do you intend to do with the money?
0:23:21 > 0:23:24Well, we want to use the money to supply
0:23:24 > 0:23:27the remaining Rwandan gorillas with bulletproof vests
0:23:27 > 0:23:29and also tin helmets
0:23:29 > 0:23:30to protect them from poachers.
0:23:30 > 0:23:34We also want to train them to use iPads so they can warn each other
0:23:34 > 0:23:37of possible attacks and weather systems and so forth.
0:23:37 > 0:23:38I can't believe this.
0:23:38 > 0:23:41I struggle to get my 13-year-old boy to put his blazer on
0:23:41 > 0:23:42to go to school in the morning
0:23:42 > 0:23:46and you want to track down thousands of wild animals and put them
0:23:46 > 0:23:51in bulletproof vests and hats and then teach them to Skype!
0:23:51 > 0:23:55I mean, we're talking here about wild animals, thousands of them,
0:23:55 > 0:23:59in dense jungle, and you're going to make them computer-literate
0:23:59 > 0:24:01and even if you manage that,
0:24:01 > 0:24:04you've got to get a signal into the Rwandan jungle.
0:24:04 > 0:24:08The Rwandan jungle is not exactly renowned for its Wi-Fi hotspots.
0:24:08 > 0:24:12Brian, you're living in cloud cuckoo land, aren't you?
0:24:12 > 0:24:13You are, aren't you?
0:24:13 > 0:24:16Come on, are you or are you not living in cloud cuckoo land?
0:24:16 > 0:24:18Cloud cuckoo land, yes or no?
0:24:18 > 0:24:21- I... No! - Well, I'll take that as a yes.
0:24:21 > 0:24:24- Brian Perry, many thanks.- Pern.
0:24:25 > 0:24:26Pern, hmm.
0:24:29 > 0:24:32These days, it's not just the planet that needs saving -
0:24:32 > 0:24:33it's music.
0:24:33 > 0:24:35When you look at the state of the charts today,
0:24:35 > 0:24:38it's not surprising that some of the biggest bands bury the hatchet
0:24:38 > 0:24:41and go back on the road that one last time.
0:24:41 > 0:24:44# Why can't we be friends..? #
0:24:44 > 0:24:45They all say it.
0:24:45 > 0:24:48Blondie, Fleetwood Mac, Stone Roses, Velvet Underground, Pink Floyd -
0:24:48 > 0:24:51they all say they're not going to reform, but then they do.
0:24:51 > 0:24:53Well, The Eagles famously said
0:24:53 > 0:24:55they'll only get back together when hell froze over.
0:24:55 > 0:24:59It must have frozen over 16 fucking times in the last six years.
0:24:59 > 0:25:02It's just so the kids can tick a little box and say,
0:25:02 > 0:25:04"I've seen the Rolling Stones."
0:25:04 > 0:25:06Did you see them at Glastonbury?
0:25:06 > 0:25:09I watched it on TV in my house. I could not fucking believe it.
0:25:09 > 0:25:14It was like Last Of The Summer Wine directed by fucking George A Romero.
0:25:14 > 0:25:16Bands reform for money.
0:25:16 > 0:25:18- INTERVIEWER: It's not cos of the fans?- No, it's for money.
0:25:18 > 0:25:20They couldn't give a shit about the fans.
0:25:20 > 0:25:23Usually, one of the group who didn't write the songs
0:25:23 > 0:25:26has finished up signing photos of himself at record fairs
0:25:26 > 0:25:28and another one thinks he's got Alzheimer's.
0:25:28 > 0:25:31The other two claim they're doing it for the first two,
0:25:31 > 0:25:33but that's bollocks cos they're doing it for themselves
0:25:33 > 0:25:36cos their alpaca farms have been hit by foot and mouth,
0:25:36 > 0:25:38they've given all their money to a bloke called Bernie,
0:25:38 > 0:25:40and they're six million in debt
0:25:40 > 0:25:44and not everyone has the ability to do conga adverts like Kevin Bacon.
0:25:44 > 0:25:48- INTERVIEWER: Do you think you'll ever, ever, ever reform?- No.
0:25:48 > 0:25:49You wouldn't want to?
0:25:49 > 0:25:51- No.- Could you be in the same room as him?
0:25:51 > 0:25:52No.
0:25:52 > 0:25:54I...
0:25:54 > 0:25:57I don't think we'll ever...
0:25:57 > 0:25:59reform with Brian.
0:25:59 > 0:26:01He thinks he's above us.
0:26:01 > 0:26:03I mean, he's not even interviewing us now.
0:26:05 > 0:26:06One of his lackeys...
0:26:07 > 0:26:08..is doing it.
0:26:10 > 0:26:14# We are the champions, my friend... #
0:26:14 > 0:26:16Rock is an immortal force.
0:26:18 > 0:26:22No matter how old or young or decrepit, music will always live on,
0:26:22 > 0:26:24through jukebox musicals and tribute bands.
0:26:24 > 0:26:27It'll be repackaged and remastered,
0:26:27 > 0:26:29in box sets and on reunion tours.
0:26:30 > 0:26:33We are indeed the people we thought we might be when we were young.
0:26:33 > 0:26:35We are the champions of the world.
0:26:35 > 0:26:39# We are the champions
0:26:43 > 0:26:50# Of the world. #
0:26:50 > 0:26:52CHEERING
0:26:52 > 0:26:54BELL TOLLS
0:26:56 > 0:26:59So part three is about death?
0:26:59 > 0:27:01- It's called "Death".- Yes, it's called "Death", yes.
0:27:01 > 0:27:03And when does all this go out?
0:27:03 > 0:27:06It's going to go out the same week as the Brits.
0:27:06 > 0:27:08So?
0:27:08 > 0:27:11Well, Brian's winning a lifetime achievement award, isn't he?
0:27:11 > 0:27:12Not any more, he's not.
0:27:12 > 0:27:14- Why not?- I turned it down for you.
0:27:14 > 0:27:17- John, tell me you're joking! - What do you want one of them for?
0:27:17 > 0:27:20If anything in this business means death, it's one of them.
0:27:20 > 0:27:21- John!- Brian!
0:27:21 > 0:27:24Not one of my clients has ever won a lifetime achievement award
0:27:24 > 0:27:26and that's is the way it's going to stay, all right?
0:27:26 > 0:27:29Anyway, they were only going to give it to you if you did a medley
0:27:29 > 0:27:32with Miley Cyrus and we don't want her twonking around you, all right?
0:27:32 > 0:27:35I've been in touch with some of my friends
0:27:35 > 0:27:38at the top end of the culinary world,
0:27:38 > 0:27:39principally Heston,
0:27:39 > 0:27:43and together we're actually developing a liquorice gas.
0:27:43 > 0:27:46That dream will be realised very soon
0:27:46 > 0:27:48and I'm really looking forward to that day.
0:27:48 > 0:27:52So we've been working on this idea of somehow unrequited love.
0:27:52 > 0:27:55You don't really know where it's going to go.
0:27:55 > 0:27:57We know about that, don't we, Brian?
0:27:57 > 0:28:00We were lovers when we were 14.
0:28:00 > 0:28:01What? We certainly weren't.
0:28:01 > 0:28:03No, I was 13.
0:28:03 > 0:28:04That's not very funny.
0:28:04 > 0:28:06At the moment, in this country,
0:28:06 > 0:28:08it's the wrong time to say that sort of thing.
0:28:09 > 0:28:10Yeah.
0:28:10 > 0:28:12Rock is an immortal force.
0:28:12 > 0:28:15No matter how old or decrepit or devalued it becomes,
0:28:15 > 0:28:19it will live on through jukebox musicals,
0:28:19 > 0:28:22tribute bands and photographic albums
0:28:22 > 0:28:24- featuring people... - There's someone in the background.
0:28:27 > 0:28:29Excuse me.
0:28:29 > 0:28:31We're filming here.
0:28:31 > 0:28:32Sorry.
0:28:33 > 0:28:38DRAMATIC MUSIC
0:28:44 > 0:28:47TENSE MUSIC
0:28:55 > 0:28:58MUSIC BUILDS TO CRESCENDO
0:29:03 > 0:29:06HE BLOWS TUNE ON KAZOO