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This programme contains strong language. | 0:00:02 | 0:00:03 | |
The rock star and campaigner Brian Pern | 0:00:03 | 0:00:05 | |
has suffered a major heart attack. | 0:00:05 | 0:00:07 | |
He was taken to hospital in London earlier this evening. | 0:00:07 | 0:00:10 | |
He is reported to be in a critical condition. | 0:00:10 | 0:00:12 | |
The last time I met Brian Pern, | 0:00:12 | 0:00:14 | |
he decided to retire from the music industry, | 0:00:14 | 0:00:16 | |
while he recovered from his heart attack. | 0:00:16 | 0:00:18 | |
Now, after a year out of the public eye, | 0:00:18 | 0:00:20 | |
Brian is back to celebrate 45 years in the music business | 0:00:20 | 0:00:24 | |
with a new album, tour and this exclusive, | 0:00:24 | 0:00:27 | |
access-all-areas documentary series on his past... | 0:00:27 | 0:00:29 | |
-Don't touch these fucking controls again. -..present... | 0:00:29 | 0:00:32 | |
Surely the point of getting me in to read your book is | 0:00:32 | 0:00:35 | |
-because I sound like Martin Freeman. -Really? | 0:00:35 | 0:00:37 | |
-..and future... -I am pregnant! | 0:00:37 | 0:00:39 | |
..with me, the award-winning film-maker Rhys Thomas, OBE. | 0:00:39 | 0:00:43 | |
I've come to Brian's home for his first interview | 0:00:44 | 0:00:47 | |
and public appearance in over a year. | 0:00:47 | 0:00:49 | |
Hi. Erm, this is Astrid. | 0:00:50 | 0:00:52 | |
Hi. | 0:00:52 | 0:00:54 | |
Brian, sit down. | 0:00:55 | 0:00:57 | |
OK, can I see the set-up? | 0:00:57 | 0:00:59 | |
Are all these people staying? | 0:00:59 | 0:01:02 | |
-Yes. Yes, they... Yeah, they are. -Erm, alrighty. | 0:01:02 | 0:01:04 | |
Brian, you need to lift your head up. I can see two of your chins. | 0:01:04 | 0:01:08 | |
Higher. Higher! | 0:01:08 | 0:01:10 | |
-OK, that's great. -Come on, that's silly. -That's great. | 0:01:10 | 0:01:14 | |
Erm... Can we... | 0:01:14 | 0:01:15 | |
Can we soften the lens and maybe increase the light | 0:01:15 | 0:01:19 | |
so we don't see so many lines? | 0:01:19 | 0:01:21 | |
OK, Brian! | 0:01:21 | 0:01:23 | |
Back straight, posture. Let's go! | 0:01:23 | 0:01:26 | |
-Sorry, I have to mention this. You've changed your appearance quite... -No. | 0:01:26 | 0:01:29 | |
-Can we cut there, please? -No, hang on. -OK! | 0:01:29 | 0:01:31 | |
Uh, no, we can only talk about Brian's solo | 0:01:33 | 0:01:35 | |
and future projects, our work with Unicef, mollusc awareness | 0:01:35 | 0:01:38 | |
and Brian's work with the Prince's Trust. | 0:01:38 | 0:01:40 | |
But this is about 45 years of Brian Pern. | 0:01:40 | 0:01:42 | |
How am I supposed to talk about the past? | 0:01:42 | 0:01:44 | |
You'll work that out. | 0:01:44 | 0:01:46 | |
OK. Chin up, Brian. | 0:01:46 | 0:01:48 | |
And roll... | 0:01:48 | 0:01:49 | |
PROG ROCK INTRO | 0:01:49 | 0:01:52 | |
CHEERING | 0:01:52 | 0:01:54 | |
Hello, John. | 0:01:56 | 0:01:58 | |
Manager John Farrow has flown in | 0:01:58 | 0:02:00 | |
for his first meeting with Brian since he came out of retirement. | 0:02:00 | 0:02:03 | |
I don't know who you lot are | 0:02:03 | 0:02:04 | |
and I've got a meeting in here in a minute, so do fuck off. | 0:02:04 | 0:02:07 | |
-I'm Astrid. -How do you do? Fuck off. | 0:02:07 | 0:02:10 | |
And you. | 0:02:10 | 0:02:11 | |
Actually, John, Brian wanted to change the way | 0:02:11 | 0:02:13 | |
-we did things a little. -Did he really now? | 0:02:13 | 0:02:15 | |
Well, we'll see what he has to say when he gets here. | 0:02:15 | 0:02:17 | |
-There's no coffee in here. Why? -HE LISPS: -I am here. | 0:02:17 | 0:02:20 | |
Oh, Jesus Christ! | 0:02:21 | 0:02:23 | |
Brian, what the fuck have you done? | 0:02:23 | 0:02:24 | |
I don't know whath you're thalking about. | 0:02:24 | 0:02:26 | |
Your face. You look... | 0:02:26 | 0:02:28 | |
-You look like a Bee Gee gone wrong. -I just had a few nipth and tuckth. | 0:02:28 | 0:02:31 | |
-And you sound like a Dutchman. -Yeah, that's the gnashers. | 0:02:31 | 0:02:33 | |
They're not bedded in yet. | 0:02:33 | 0:02:35 | |
-How are you supposed to sing like that? -He sings fine. | 0:02:35 | 0:02:37 | |
It's just the talking that's the problem. | 0:02:37 | 0:02:40 | |
But it's only temporary and it is so worth it. | 0:02:40 | 0:02:44 | |
So, Brian thought that a few more brains would help out | 0:02:44 | 0:02:47 | |
in the decision-making process from now on. | 0:02:47 | 0:02:50 | |
Oh, did he really, now? | 0:02:50 | 0:02:51 | |
And this lot are the brains, are they? | 0:02:51 | 0:02:53 | |
Well, let's come up with a cure for ball cancer | 0:02:53 | 0:02:55 | |
and a plan for the Middle East | 0:02:55 | 0:02:56 | |
-while we're at it, shall we? -Nice idea, John, | 0:02:56 | 0:02:58 | |
but I think we should stick to Brian's music career for now. | 0:02:58 | 0:03:01 | |
Oh, dear, oh, dear. | 0:03:01 | 0:03:02 | |
So why don't we all go around the table and introduce ourselves? | 0:03:02 | 0:03:05 | |
-John, you start. -Oh, Jesus. I can't do all that. | 0:03:05 | 0:03:08 | |
Really and truly, you know exactly who I am. Who the fuck are YOU? | 0:03:08 | 0:03:10 | |
-OK, go. -I'm Suzanne, Brian's dentist. | 0:03:10 | 0:03:13 | |
Hello, Suzanne. | 0:03:13 | 0:03:14 | |
Stuart, Brian's Ocado delivery driver. | 0:03:14 | 0:03:16 | |
Good. | 0:03:16 | 0:03:17 | |
-I'm Dan, Brian's studio runner. -Great, Dan. | 0:03:17 | 0:03:21 | |
And I'm Brian! | 0:03:21 | 0:03:22 | |
-Hello, Brian. -Hello. | 0:03:22 | 0:03:24 | |
This is Serge, my youngest, | 0:03:24 | 0:03:26 | |
and I am Astrid Maddox-Pern, Brian's wife and personal assistant. | 0:03:26 | 0:03:30 | |
# Something in the way she moves... # | 0:03:33 | 0:03:37 | |
I never thought I'd fall in love again, | 0:03:37 | 0:03:39 | |
and here I am like a puppy dog. | 0:03:39 | 0:03:41 | |
Erm... | 0:03:41 | 0:03:43 | |
Obviously, she's a bit younger than me, but that's OK. | 0:03:43 | 0:03:47 | |
That happens a lot with people of your generation, doesn't it? | 0:03:47 | 0:03:50 | |
-Ronnie Wood ran off with that young lady... -We didn't run off anywhere. | 0:03:50 | 0:03:53 | |
That's totally different. Astrid has a degree in science. | 0:03:53 | 0:03:55 | |
-And you met her at the premier of Danny Collins. -Yeah, that's correct. | 0:03:55 | 0:03:58 | |
Is it a good film? | 0:03:58 | 0:03:59 | |
It's OK. | 0:04:01 | 0:04:02 | |
None of us were invited to the wedding, of course. | 0:04:02 | 0:04:04 | |
Not that we would have gone had we been. | 0:04:04 | 0:04:06 | |
I mean, he was never really a ladies' man, but... | 0:04:06 | 0:04:09 | |
Yeah, she's a cracking bit of stuff. | 0:04:09 | 0:04:12 | |
I was very, very, very, very, very upset when he get with her | 0:04:14 | 0:04:18 | |
because all the time in the hospital, I were there for him. | 0:04:18 | 0:04:21 | |
I was feeding him the mushy food, changing his sheets, | 0:04:21 | 0:04:24 | |
mucking him out like a pony in the stables, | 0:04:24 | 0:04:27 | |
sitting on his fires | 0:04:27 | 0:04:29 | |
then as soon as he's well, he's off with her | 0:04:29 | 0:04:31 | |
and all she is after is his purse. | 0:04:31 | 0:04:33 | |
For example, at my last wedding, we had a table for ten. | 0:04:33 | 0:04:37 | |
I mean, that's £100 per head. | 0:04:37 | 0:04:39 | |
I mean, that's an awful lot of salmon en croute. | 0:04:39 | 0:04:41 | |
The worst thing about her is she cooks fish. | 0:04:41 | 0:04:43 | |
All the time - fish in the microwave. It stinks everything out. | 0:04:43 | 0:04:46 | |
The bedroom stinks of fish, the bathroom stinks of fish, | 0:04:46 | 0:04:49 | |
the kitchen stinks of fish. Fish, fish, fish, fish. Everywhere! | 0:04:49 | 0:04:52 | |
I mean, I've known Brian since we were both five years old. | 0:04:52 | 0:04:55 | |
He was my best man for two of my weddings at least, | 0:04:55 | 0:04:59 | |
and each time, we bought him a gift which cost well in excess of £100. | 0:04:59 | 0:05:05 | |
So I did think maybe he'd pick me for this wedding. | 0:05:05 | 0:05:08 | |
Not that I'd have accepted, anyway. | 0:05:08 | 0:05:10 | |
He's scared of her. She keeps his blood in a cup. She's voodoo. | 0:05:10 | 0:05:14 | |
I mean, I don't want to speak ill of anyone, but she's an arsehole. | 0:05:14 | 0:05:17 | |
OK, so, what's first on the agenda? | 0:05:17 | 0:05:19 | |
Desert Island Discs are asking | 0:05:21 | 0:05:22 | |
for your playlist for the show this week. | 0:05:22 | 0:05:24 | |
Yes, and we have it right here. | 0:05:24 | 0:05:27 | |
So we all thought carefully, making sure we had an eclectic mix | 0:05:27 | 0:05:30 | |
of songs to make Brian sound, well, er, relevant. | 0:05:30 | 0:05:33 | |
Do you want any of your own songs here? | 0:05:33 | 0:05:35 | |
-Well, I thought it was a bit egotistical. -Brian! | 0:05:35 | 0:05:38 | |
Desert Island Discs gets a global reach of 150 million listeners. | 0:05:38 | 0:05:41 | |
Where else are you going to get that many people | 0:05:41 | 0:05:43 | |
listening to your latest songs? | 0:05:43 | 0:05:44 | |
-Which incidentally didn't make the Radio 2 playlist. -Point taken. | 0:05:44 | 0:05:47 | |
So pick eight of your own favourite songs from your latest album, OK? | 0:05:47 | 0:05:50 | |
Right, since we announced your comeback appearance | 0:05:50 | 0:05:53 | |
at the Isle of Wight Festival, | 0:05:53 | 0:05:54 | |
the official Thotch fan club are going to hold | 0:05:54 | 0:05:56 | |
their annual convention on a cruise ship | 0:05:56 | 0:05:58 | |
on the way to the festival on the day you perform | 0:05:58 | 0:06:00 | |
and they really want you to appear in person | 0:06:00 | 0:06:02 | |
as it's your 45th anniversary. | 0:06:02 | 0:06:03 | |
They've offered you 20 grand and whatever you make on autographs. | 0:06:03 | 0:06:07 | |
That is a lot of money for a boat ride. | 0:06:07 | 0:06:09 | |
-Yeah, but not enough, so I turned it down for you. -Why? | 0:06:09 | 0:06:12 | |
Because it's tragic, that's why. | 0:06:12 | 0:06:15 | |
There is nothing tragic about 40,000. | 0:06:15 | 0:06:17 | |
That could make a difference to so many lives. | 0:06:17 | 0:06:19 | |
So you think Brian should appear at his own convention on a ferry | 0:06:19 | 0:06:22 | |
full of Thotch fans from which there is no escape? | 0:06:22 | 0:06:24 | |
For that money? Yes. | 0:06:24 | 0:06:26 | |
-Have you ever met a Thotch fan? -Then you are a very lucky person. | 0:06:26 | 0:06:29 | |
V Festival people have asked if you want to headline, | 0:06:29 | 0:06:31 | |
but they're offering half of what Tom Jones is getting, | 0:06:31 | 0:06:34 | |
so I told them to fuck off too. | 0:06:34 | 0:06:35 | |
Celebrity... | 0:06:35 | 0:06:37 | |
Mastermind, Celebrity Pointless, Celebrity Crimewatch - | 0:06:37 | 0:06:40 | |
turned them all down. And... | 0:06:40 | 0:06:42 | |
There's another one. | 0:06:42 | 0:06:44 | |
Oh, yeah, Children In Need. Told them to fuck off. | 0:06:44 | 0:06:46 | |
-You didn't! -Why? -Politely! | 0:06:46 | 0:06:49 | |
What did you say? | 0:06:49 | 0:06:50 | |
Fuck off, please. | 0:06:50 | 0:06:52 | |
I just don't see why you pay him 10% to turn things down for you, | 0:06:52 | 0:06:55 | |
some of which you should be doing. | 0:06:55 | 0:06:58 | |
I think you should let him go. | 0:06:58 | 0:07:00 | |
-Oh, no, no. I couldn't do that. -Well, why not? | 0:07:00 | 0:07:04 | |
You can manage yourself. Lots of artists do that these days. | 0:07:04 | 0:07:08 | |
But, Astrid, I am not a businessman. I'm a musician. | 0:07:08 | 0:07:11 | |
Well, OK, I'll manage you, then. | 0:07:13 | 0:07:15 | |
And that way, all the money goes into the same pot. | 0:07:16 | 0:07:20 | |
Brian has been surrounded by negativity for too long and, erm... | 0:07:20 | 0:07:24 | |
He's too nice for his own good, so I just jettison some of those | 0:07:24 | 0:07:28 | |
grey spirits that were draining the positive energy from his aura. | 0:07:28 | 0:07:32 | |
John's been with me for years. He's good for me. | 0:07:32 | 0:07:34 | |
And I'm not? | 0:07:36 | 0:07:37 | |
-Oh, come on now, I didn't say that. -No, no. No, I mean, I get it. | 0:07:37 | 0:07:42 | |
All the old boys, they stick together | 0:07:42 | 0:07:44 | |
and us silly women, we just get to worry about your fucking hair | 0:07:44 | 0:07:47 | |
-and making your tea... -OK. | 0:07:47 | 0:07:49 | |
OK, you can manage me. | 0:07:49 | 0:07:51 | |
Yeah, great. | 0:07:51 | 0:07:52 | |
-It'll be good. New start. -Oh, God, Brian! Really? -No problem. | 0:07:52 | 0:07:57 | |
-So I'll call the V Festival and the fan club. -Uh-huh. | 0:07:58 | 0:08:02 | |
-And you'll speak to John? -Yes. | 0:08:02 | 0:08:06 | |
OK. | 0:08:06 | 0:08:07 | |
Bye-bye. | 0:08:07 | 0:08:08 | |
Brian has come to BBC Broadcasting House to record Desert Island Discs. | 0:08:18 | 0:08:22 | |
Do you think Astrid will be a better manager than John? | 0:08:22 | 0:08:25 | |
-Yes. -Do you regret what you did? -No. | 0:08:25 | 0:08:29 | |
Brian. | 0:08:29 | 0:08:30 | |
John. What are you doing here? | 0:08:32 | 0:08:34 | |
I sent you a voicemail, | 0:08:35 | 0:08:37 | |
saying I'd be here and buy you some lunch afterwards. | 0:08:37 | 0:08:39 | |
You didn't get it? | 0:08:39 | 0:08:41 | |
Oh, Astrid takes all my calls now. | 0:08:41 | 0:08:43 | |
Oh, I see. | 0:08:43 | 0:08:44 | |
-That's why I haven't heard from you, then, is it? -John, I sent you a fax. | 0:08:44 | 0:08:48 | |
A fax?! I haven't had a fax for 20 fucking years, mate. Why? | 0:08:48 | 0:08:51 | |
Oh, no reason. | 0:08:51 | 0:08:54 | |
-Brian Pern? -Yes. | 0:08:54 | 0:08:56 | |
-If you'd like to follow me. -Yes, certainly. | 0:08:56 | 0:08:59 | |
-KIRSTY YOUNG: -My castaway this week is a rock musician, | 0:08:59 | 0:09:01 | |
humanitarian and inventor of world music. | 0:09:01 | 0:09:05 | |
He first came to fame as lead singer | 0:09:05 | 0:09:06 | |
of the progressive rock back Thotch | 0:09:06 | 0:09:08 | |
which he formed at Stowe with fellow pupils Pat Quid and Tony Pebble. | 0:09:08 | 0:09:12 | |
This summer, he's about to embark on a festival tour | 0:09:12 | 0:09:15 | |
marking 40 years as a solo artist. | 0:09:15 | 0:09:18 | |
-He is Brian Pern. -Hello, Kirsty. | 0:09:18 | 0:09:21 | |
Let's talk a little bit about your parents, then. | 0:09:21 | 0:09:23 | |
Your father was a surgeon, your mum, I think, was a teacher. | 0:09:23 | 0:09:26 | |
Yes, my father was a surgeon. My mother was a teacher. | 0:09:26 | 0:09:29 | |
And were they musical at all themselves? | 0:09:31 | 0:09:34 | |
No. | 0:09:34 | 0:09:35 | |
What's your first piece of music that we're going to hear today? | 0:09:35 | 0:09:38 | |
My first choice today is a track called | 0:09:38 | 0:09:39 | |
Succulent Chinese Meal by Brian Pern. | 0:09:39 | 0:09:43 | |
-That's you. -Yes. | 0:09:43 | 0:09:44 | |
And why do you like it? | 0:09:46 | 0:09:47 | |
Well, it's a track that I wrote | 0:09:47 | 0:09:49 | |
and this is a new orchestral cover of the song. | 0:09:49 | 0:09:52 | |
It's on my new orchestral album, which is called | 0:09:52 | 0:09:55 | |
Strings Attached. | 0:09:55 | 0:09:56 | |
-MUSIC STARTS -Pam, cancel the LA flight. | 0:09:58 | 0:10:01 | |
I'm going to stay in London because of these festivals. | 0:10:01 | 0:10:03 | |
And dig out the fax machine, would you? Brian sent me a fax, the twat. | 0:10:03 | 0:10:07 | |
Let me know what it says. | 0:10:07 | 0:10:08 | |
Time for some more music. What are we going to hear now? | 0:10:08 | 0:10:11 | |
Well, I always admired the films of Alfred Hitchcock | 0:10:11 | 0:10:13 | |
and I was appalled to discover they're knocking down his early home | 0:10:13 | 0:10:17 | |
in Leighton in East London to build a Nando's barbecue franchise. | 0:10:17 | 0:10:21 | |
I wrote a song about it. I was angry. | 0:10:21 | 0:10:23 | |
And it's called Dial N For Nando's. | 0:10:23 | 0:10:26 | |
So there's another song by you? | 0:10:26 | 0:10:28 | |
-Uh-huh. -Are you going to pick any songs today by other artists? | 0:10:28 | 0:10:32 | |
No. | 0:10:32 | 0:10:33 | |
Right. | 0:10:33 | 0:10:35 | |
'This is a story about a lovely old house | 0:10:35 | 0:10:38 | |
-'in London's East End.' -PSYCHO STRINGS | 0:10:38 | 0:10:40 | |
'They want to turn it into a chicken shack.' | 0:10:40 | 0:10:44 | |
-Dermot. -Hello, John, how are you? | 0:10:44 | 0:10:46 | |
-I'm all right. And you? -Yeah. What you doing here? | 0:10:46 | 0:10:48 | |
-Brian's doing Kirsty Young. -Ooh, lovely. Great. | 0:10:48 | 0:10:51 | |
What's all this about Brian not making the Radio 2 playlist? | 0:10:51 | 0:10:54 | |
Oh, nothing to do with me. | 0:10:54 | 0:10:56 | |
You could get him on your show, couldn't you? | 0:10:56 | 0:10:58 | |
Yeah, I mean, it's tricky because our show is kind of | 0:10:58 | 0:11:01 | |
up and coming bands and he's kind of...been and gone a little bit. | 0:11:01 | 0:11:05 | |
You could pull a few strings, though, couldn't you? | 0:11:05 | 0:11:07 | |
I could have done, but then he told Children In Need to F-off when | 0:11:07 | 0:11:10 | |
they asked him to perform and since then he's been on the blacklist. | 0:11:10 | 0:11:13 | |
-Oh. -You know what it's like. No-one disses Pudsey and gets away with it. | 0:11:13 | 0:11:16 | |
-Oh, right. -Anyway, good luck, mate. | 0:11:16 | 0:11:18 | |
-PHONE RINGS -Fucking Pudsey. | 0:11:20 | 0:11:22 | |
Little wanker's a stuffed toy with a gammy eye, for fuck's sake. | 0:11:22 | 0:11:26 | |
Pam? What's it say? | 0:11:26 | 0:11:29 | |
I'm now going to play you a cover version | 0:11:29 | 0:11:31 | |
that I recorded of his song. | 0:11:31 | 0:11:33 | |
It's an orchestral cover on my new album, which is called | 0:11:33 | 0:11:36 | |
Strings Attached. | 0:11:36 | 0:11:37 | |
This song is called Kitchu Akka Ba Aga Aga, | 0:11:37 | 0:11:40 | |
which means "Put the lid back on the jam." | 0:11:40 | 0:11:42 | |
Put that in your fucking documentary. | 0:11:45 | 0:11:47 | |
Ta-ta. | 0:11:47 | 0:11:48 | |
Can I ask you about the time Brian sacked you? | 0:11:50 | 0:11:53 | |
No. | 0:11:53 | 0:11:54 | |
Under new management, Brian has now agreed to appear | 0:11:56 | 0:11:58 | |
on the Thotch convention cruise to the Isle of Wight Festival. | 0:11:58 | 0:12:02 | |
-Whose idea was it to do this festivals tour? -Astrid's. | 0:12:02 | 0:12:05 | |
-What's the reason behind it? -To get back and connect with my fans. | 0:12:05 | 0:12:09 | |
Astrid believes that I have become something of a hermit prince | 0:12:09 | 0:12:13 | |
in a high tower, with my fans way below. | 0:12:13 | 0:12:15 | |
She believes I need to reconnect. | 0:12:15 | 0:12:17 | |
Thotch fans tend to come in several categories. | 0:12:17 | 0:12:20 | |
There are fans of the Brian era, | 0:12:20 | 0:12:21 | |
there are fans of the post-Brian era, | 0:12:21 | 0:12:23 | |
there are '70s fans, there are '80s fans | 0:12:23 | 0:12:26 | |
and then there are the nutcases who buy everything, | 0:12:26 | 0:12:29 | |
including the awful solo albums by the second bass player. | 0:12:29 | 0:12:32 | |
We're dedicated! | 0:12:32 | 0:12:33 | |
We live Thotch, we eat Thotch, | 0:12:33 | 0:12:36 | |
we breathe Thotch, we shit Thotch. | 0:12:36 | 0:12:38 | |
Our fans were always more intellectual rather than attractive. | 0:12:38 | 0:12:41 | |
They were all blokes in the early days. | 0:12:41 | 0:12:43 | |
You know, greasy-haired men in nylon shirts that smelt under the armpits. | 0:12:43 | 0:12:47 | |
All the birds were off seeing Cliff Richard. | 0:12:47 | 0:12:49 | |
Which is ironic. | 0:12:49 | 0:12:50 | |
Brian Pern! | 0:12:50 | 0:12:52 | |
Brian's first engagement on the ship is a Q & A session. | 0:12:52 | 0:12:55 | |
Hi. So, ask away. | 0:12:55 | 0:12:58 | |
Who did the costume and make-up in the 1970s? | 0:12:58 | 0:13:01 | |
Xanadu Bramble. | 0:13:01 | 0:13:03 | |
Er, next question, please. | 0:13:03 | 0:13:04 | |
How many instruments did you play on your solo album? | 0:13:04 | 0:13:07 | |
Er, it was six. It was drums, bass, guitar, synth and flute. | 0:13:07 | 0:13:13 | |
Do you mind if I answer the questions? | 0:13:13 | 0:13:15 | |
Right. There you go. | 0:13:15 | 0:13:16 | |
This is the biggest cabin. | 0:13:18 | 0:13:19 | |
There's baby-wipes on the bed if you want to freshen up | 0:13:19 | 0:13:22 | |
and there's water in the spout. | 0:13:22 | 0:13:23 | |
Erm, and I'll be down in the bar doing the auction. | 0:13:23 | 0:13:26 | |
-I'll give you a shout when we're ready. -Auction? -Yeah. | 0:13:26 | 0:13:28 | |
And this is for you. 20k in there, plus per-diems. | 0:13:28 | 0:13:32 | |
Don't spend it all at once. | 0:13:32 | 0:13:34 | |
I thought we were doing it by BECS? | 0:13:34 | 0:13:36 | |
Er, no, no, no, no. | 0:13:36 | 0:13:37 | |
Cash is king, mate. No VAT. | 0:13:37 | 0:13:39 | |
HE SIGHS | 0:13:41 | 0:13:43 | |
-Brian, can I have a word a second? -Oh... | 0:13:44 | 0:13:47 | |
-Not now. -I just want to talk about the convention while we're... | 0:13:47 | 0:13:51 | |
You know, I feel like someone's made a monkey out of me. | 0:13:51 | 0:13:54 | |
Do you regret doing this a bit? | 0:13:54 | 0:13:56 | |
Don't you think it's, like, beneath you? | 0:13:56 | 0:13:58 | |
Please, let me just look. | 0:13:58 | 0:14:01 | |
OK. | 0:14:01 | 0:14:03 | |
-When you change your mind... -Just leave me alone! | 0:14:05 | 0:14:07 | |
Just really quickly. | 0:14:07 | 0:14:09 | |
I am contractually obliged to do certain things on this vessel | 0:14:11 | 0:14:16 | |
with certain Thotch fans. | 0:14:16 | 0:14:19 | |
I am not contractually obliged to continually | 0:14:19 | 0:14:22 | |
speak to you at every given fucking opportunity. | 0:14:22 | 0:14:25 | |
OK, all right. All right, just leave him. | 0:14:25 | 0:14:26 | |
Leave him. Leave him, leave him. | 0:14:26 | 0:14:28 | |
OK, Thotch fans, are you ready? It's auction time! | 0:14:28 | 0:14:32 | |
Hello, it's me. Where are you? | 0:14:32 | 0:14:34 | |
It's my fourth call. | 0:14:34 | 0:14:35 | |
The guy who runs the fan club is an absolute pipsqueak. | 0:14:35 | 0:14:38 | |
Pat Quid's bottle-green replica guitar. £2,000? | 0:14:38 | 0:14:42 | |
Three times to the silver fox at the front. Thank you, sir. | 0:14:42 | 0:14:45 | |
Just call me. | 0:14:45 | 0:14:46 | |
-Brian? -What? WHAT?! | 0:14:49 | 0:14:51 | |
Oh, please, no more! What are you doing in here? | 0:14:51 | 0:14:54 | |
I just... Can I just ask you some questions? | 0:14:54 | 0:14:57 | |
But how did you get in? | 0:14:57 | 0:14:58 | |
Well, I had the key. | 0:14:58 | 0:14:59 | |
If you want this to be properly your whole life, you have to do this. | 0:14:59 | 0:15:03 | |
That's the whole point. | 0:15:03 | 0:15:04 | |
Buddy, you have overstepped the boundaries. Now take yourself off. | 0:15:04 | 0:15:09 | |
-There aren't any boundaries. -No! No! | 0:15:09 | 0:15:10 | |
How do you want to come across on this? | 0:15:10 | 0:15:13 | |
Not like this, on my fucking knees! | 0:15:13 | 0:15:15 | |
You shit. | 0:15:15 | 0:15:17 | |
'Despite Brian's new wife, new manager and new look, | 0:15:17 | 0:15:20 | |
'cracks were clearly beginning to show.' | 0:15:20 | 0:15:23 | |
Right, a little bit of decorum in the room now. | 0:15:23 | 0:15:24 | |
Are you ready for this, right? | 0:15:24 | 0:15:26 | |
OK, now, the final lot... | 0:15:26 | 0:15:28 | |
Unbeknownst to Brian, Astrid has donated the star auction prize. | 0:15:28 | 0:15:32 | |
One very lucky person will not only get to see Brian perform | 0:15:32 | 0:15:36 | |
LIVE at the V Festival this year, | 0:15:36 | 0:15:39 | |
but they will get to spend the whole day with Brian. | 0:15:39 | 0:15:45 | |
Do I see £1,000? | 0:15:45 | 0:15:46 | |
£1,000 at the back, sir. Rubbish. £1,500 to me. | 0:15:46 | 0:15:50 | |
I'm bidding against you. | 0:15:50 | 0:15:52 | |
Do I see £2,000? £2,000, then, lady at the back. Not enough. | 0:15:52 | 0:15:55 | |
£2,500, me! | 0:15:55 | 0:15:57 | |
Do I see 4,000 in the room? | 0:15:57 | 0:15:58 | |
Gentleman at the back. Marquis of Bath. | 0:15:58 | 0:16:01 | |
£5,000 to me. Going once, twice, three times. | 0:16:01 | 0:16:06 | |
Me! Get in! | 0:16:06 | 0:16:08 | |
Today is Brian's first festival performance since 1975. | 0:16:11 | 0:16:16 | |
Do you know, I've yet to meet a single festivalgoer | 0:16:21 | 0:16:24 | |
who I haven't found to be a complete twat. | 0:16:24 | 0:16:26 | |
You're obviously Thotch fans. | 0:16:28 | 0:16:30 | |
-You've come all the way to see him. -Yeah, man. | 0:16:30 | 0:16:32 | |
-How far can you come to see Brian Pern today? -About four miles. | 0:16:32 | 0:16:34 | |
Festivals are an incredibly important part of British history. | 0:16:37 | 0:16:41 | |
They go way back to pagan times. To the Stone Age. | 0:16:41 | 0:16:45 | |
Ever since a group of people sat out in a field and a guy picked up | 0:16:45 | 0:16:49 | |
a stick and banged it on a tree. | 0:16:49 | 0:16:52 | |
Never enough toilets in the '70s and people would hog 'em. | 0:16:52 | 0:16:54 | |
Van Morrison was the worst. He used to sing in there. | 0:16:54 | 0:16:57 | |
He was in there forever. | 0:16:57 | 0:16:58 | |
The festival promoter would give you a bucket, spade and a dock leaf | 0:16:58 | 0:17:01 | |
and...you'd just fuck off. | 0:17:01 | 0:17:04 | |
Everyone had bum grief. It was wall-to-wall vegetarian cooking. | 0:17:04 | 0:17:08 | |
CHEERING | 0:17:08 | 0:17:10 | |
Hello, good morning. My name is Brian Pern. This is my new band. | 0:17:17 | 0:17:20 | |
We're going to play you a song. It's called Spirit Level. | 0:17:20 | 0:17:23 | |
FUNK BEAT | 0:17:23 | 0:17:25 | |
SCAT SINGING | 0:17:31 | 0:17:34 | |
I hate playing in the daylight, you know. | 0:17:34 | 0:17:35 | |
You can see every oily student, | 0:17:35 | 0:17:37 | |
drunk, bald people, children dancing about - Jesus! | 0:17:37 | 0:17:40 | |
I kept looking at this squirrel at one festival. Really put me off. | 0:17:40 | 0:17:43 | |
It was, like, staring me out. | 0:17:43 | 0:17:45 | |
Like it hated me. | 0:17:45 | 0:17:47 | |
I shot it. | 0:17:48 | 0:17:49 | |
What's the worst thing that can happen at a festival? | 0:17:49 | 0:17:52 | |
Probably murder. | 0:17:54 | 0:17:55 | |
Yep. | 0:17:58 | 0:17:59 | |
-JOHN: -In 1975, five years after what was the last Isle of Wight Festival, | 0:17:59 | 0:18:04 | |
myself, Richard Branson and Harvey Goldsmith tried to revive the event. | 0:18:04 | 0:18:07 | |
A lot of great acts there. | 0:18:07 | 0:18:09 | |
Mike Oldfield, Kiki Dee, The Who, Clapton, Mike Batt... | 0:18:09 | 0:18:14 | |
I managed to wangle Thotch as the headlining act. | 0:18:14 | 0:18:16 | |
What we didn't want was a repeat of what happened at Altamont | 0:18:16 | 0:18:19 | |
with the Hells Angels, | 0:18:19 | 0:18:20 | |
so I suggested that we get the Salvation Army for security | 0:18:20 | 0:18:24 | |
because they were trustworthy, kind and it would send a message | 0:18:24 | 0:18:27 | |
to people that this was a festival of peace. | 0:18:27 | 0:18:30 | |
But some fucker spiked their teapot, didn't they? | 0:18:30 | 0:18:33 | |
PSYCHEDELIC MUSIC | 0:18:33 | 0:18:35 | |
It was absolute carnage! | 0:18:38 | 0:18:40 | |
The Salvation Army were very wound up. | 0:18:40 | 0:18:42 | |
Poor old Don McLean had a tooth knocked out. | 0:18:42 | 0:18:44 | |
That was a very sad day for all involved. | 0:18:44 | 0:18:47 | |
There was a big fat bloke. | 0:18:47 | 0:18:48 | |
And he jammed his tuba on people's heads. | 0:18:48 | 0:18:51 | |
-Christ! -And it was happening right in front of us! | 0:18:51 | 0:18:53 | |
Part of me what thinking, "Christ, what a disaster." | 0:18:53 | 0:18:56 | |
But at the same time, "Great! | 0:18:56 | 0:18:57 | |
"What better publicity could there have been?" | 0:18:57 | 0:18:59 | |
But someone died. | 0:18:59 | 0:19:01 | |
Well, there is that, I suppose, but... | 0:19:04 | 0:19:06 | |
I mean, it was a long while afterwards. | 0:19:06 | 0:19:08 | |
I mean, the bloke was six months in a coma | 0:19:08 | 0:19:10 | |
before he finally booked out, so you know... | 0:19:10 | 0:19:13 | |
Did you ever find out who spiked the teapot? | 0:19:13 | 0:19:15 | |
Yes. | 0:19:16 | 0:19:18 | |
All right, who was it? | 0:19:18 | 0:19:19 | |
Well, it's a long time ago, you know. | 0:19:19 | 0:19:22 | |
I don't want to drag it all up. | 0:19:22 | 0:19:24 | |
But it would be nice to find out who... | 0:19:24 | 0:19:25 | |
-I'm not really at liberty to say... -But you know who it was? | 0:19:25 | 0:19:28 | |
-Yes. -Was it a man? | 0:19:28 | 0:19:30 | |
-Yes. -Was it someone who was on the bill on that day? | 0:19:32 | 0:19:36 | |
-Yes, I believe... Yes. -So it was a man. | 0:19:36 | 0:19:39 | |
He was on the bill at the festival. | 0:19:39 | 0:19:41 | |
Did he have blond hair? | 0:19:41 | 0:19:42 | |
-No. -Brown hair? | 0:19:44 | 0:19:45 | |
-No, but what does it... -Did he have red hair? | 0:19:46 | 0:19:49 | |
Yes. | 0:19:51 | 0:19:52 | |
Did this person write the music for The Wombles... | 0:19:52 | 0:19:56 | |
and Watership Down? | 0:19:56 | 0:19:57 | |
He could have. | 0:20:00 | 0:20:02 | |
Brian, did Mike Batt spike the teapot that belonged to the Salvation Army, | 0:20:02 | 0:20:06 | |
which drove several of them crazy on June 4, 1975? | 0:20:06 | 0:20:11 | |
Yes or no? | 0:20:11 | 0:20:12 | |
Yes. | 0:20:12 | 0:20:13 | |
Thank you. | 0:20:13 | 0:20:14 | |
It's the evening after Brian's triumphant performance | 0:20:17 | 0:20:19 | |
on the Isle of Wight. | 0:20:19 | 0:20:21 | |
With his wife away, | 0:20:21 | 0:20:22 | |
he has decided to get into the festival spirit by camping overnight. | 0:20:22 | 0:20:26 | |
Hello, darling. How are you? | 0:20:26 | 0:20:28 | |
Oh... Hi. Hi, Brian. | 0:20:28 | 0:20:31 | |
-Is this a bad time? -No... | 0:20:31 | 0:20:34 | |
No, I, er... I just got Serge off, so... | 0:20:34 | 0:20:37 | |
-Um... How was the show? -Oh, it was great. | 0:20:38 | 0:20:41 | |
-Yeah. Did you see it? -Er, no. | 0:20:41 | 0:20:44 | |
No, they don't have iPlayer here, which is really annoying. | 0:20:44 | 0:20:49 | |
Brian... | 0:20:50 | 0:20:51 | |
-SHE YAWNS -I am so tired! | 0:20:51 | 0:20:54 | |
It's just with the jet lag and the time difference, | 0:20:54 | 0:20:57 | |
it just really messes with my aura. | 0:20:57 | 0:21:00 | |
But you're in the South of France? | 0:21:00 | 0:21:02 | |
Martin Kemp is behind you. | 0:21:04 | 0:21:05 | |
Oh! | 0:21:07 | 0:21:08 | |
God, what are you doing? | 0:21:08 | 0:21:10 | |
I... I'm sorry. Er, it's the wrong room. | 0:21:12 | 0:21:14 | |
-I'm supposed to be seeing this other woman next door. -Right. | 0:21:14 | 0:21:18 | |
All right, Bri? Saw the show tonight. It was brilliant. | 0:21:18 | 0:21:21 | |
-Watched it all on the iPlayer. -Er, no. No, no, we didn't. | 0:21:21 | 0:21:25 | |
We didn't? No, we... | 0:21:25 | 0:21:28 | |
Oh, that's right, we were watching something completely different. | 0:21:28 | 0:21:31 | |
You know, I wasn't paying attention. | 0:21:31 | 0:21:34 | |
So, anyway, you... | 0:21:34 | 0:21:35 | |
Er, I'll leave you to it, then. All right. | 0:21:35 | 0:21:37 | |
Sorry about the confusion! | 0:21:37 | 0:21:39 | |
See you, Bri. | 0:21:39 | 0:21:41 | |
Goodnight, Martin. | 0:21:41 | 0:21:43 | |
SHE YAWNS | 0:21:43 | 0:21:45 | |
Brian, I am just so tired. | 0:21:45 | 0:21:47 | |
So, erm, I'll call you in the morning. | 0:21:47 | 0:21:50 | |
All clear? | 0:21:52 | 0:21:53 | |
I've done it again, haven't I? | 0:21:58 | 0:22:01 | |
Erm... | 0:22:01 | 0:22:02 | |
I'll get me eyes tested. | 0:22:02 | 0:22:05 | |
Good luck with the, erm, other woman. | 0:22:05 | 0:22:07 | |
Goodnight. | 0:22:09 | 0:22:11 | |
-OK. -All clear? | 0:22:13 | 0:22:15 | |
PHONE RINGS | 0:22:19 | 0:22:21 | |
-Who's that? Going to get it? -It's Brian, no. -No, ask him over. -No, no! | 0:22:22 | 0:22:27 | |
He's a user. If his woman not around, he wants me. No! | 0:22:27 | 0:22:32 | |
-Fuck you, Brian. No. -Oh! -Do not answer that. No! | 0:22:32 | 0:22:36 | |
-Don't be a party pooper. -No, I'm going to bed. I'm going to bed. | 0:22:36 | 0:22:40 | |
Bloody zips. | 0:22:40 | 0:22:41 | |
Give us a toke on that. | 0:22:41 | 0:22:42 | |
Hello? | 0:22:48 | 0:22:51 | |
Oh, hello, Brian. | 0:22:51 | 0:22:52 | |
What are you calling me at this time for? | 0:22:52 | 0:22:55 | |
Yeah, yeah. I can... Yeah, yeah, yeah, | 0:22:55 | 0:22:57 | |
I can sort that out. No problem. Yeah. | 0:22:57 | 0:23:00 | |
Leave it with me, pal. | 0:23:00 | 0:23:01 | |
Three weeks later, the remaining members of Thotch announce | 0:23:04 | 0:23:07 | |
they are to reform without Brian and headline the V Festival - | 0:23:07 | 0:23:10 | |
one of the hottest tickets of the summer. | 0:23:10 | 0:23:13 | |
Thotch are now reforming without you. | 0:23:13 | 0:23:15 | |
The four members are coming back together again, | 0:23:15 | 0:23:17 | |
and they're going to play the Virgin Festival. | 0:23:17 | 0:23:19 | |
I saw how you felt when you found out | 0:23:19 | 0:23:21 | |
they were higher than you on the bill. | 0:23:21 | 0:23:22 | |
It's the new set list for the V Festival - you might want to have a look. | 0:23:22 | 0:23:25 | |
Where am I? I'm not headlining. | 0:23:27 | 0:23:29 | |
-SHE SIGHS -You're down between The Charlatans and Black Lace. | 0:23:29 | 0:23:33 | |
Sad to say I think it may be John Farrow doing some skulduggery | 0:23:33 | 0:23:36 | |
behind the scenes. | 0:23:36 | 0:23:38 | |
You know, he's stirring the pot. | 0:23:38 | 0:23:40 | |
Putting the different ingredients in. The wizard, the toad. | 0:23:40 | 0:23:44 | |
Oh, I would never do a thing like that. | 0:23:44 | 0:23:47 | |
No, Thotch were asked to reform last minute. | 0:23:47 | 0:23:49 | |
Pat and Tony thought it would be fun for old times' sake. | 0:23:49 | 0:23:52 | |
We approach Brian's manager, who declined the offer. | 0:23:52 | 0:23:55 | |
And so we went ahead without him. | 0:23:55 | 0:23:57 | |
Brian and Astrid are on their way to the V Festival in Manchester | 0:24:00 | 0:24:04 | |
with fan club president, Perry Booth. | 0:24:04 | 0:24:06 | |
But, halfway there, the train makes an unexpected stop. | 0:24:08 | 0:24:11 | |
With only a few hours before the show, the timing could not be worse. | 0:24:11 | 0:24:15 | |
Oh, excuse me. | 0:24:15 | 0:24:17 | |
-But what is going on? -Sorry, madam. | 0:24:17 | 0:24:19 | |
I can't really say at the moment. | 0:24:19 | 0:24:20 | |
-HE LAUGHS LOUDLY -The driver will be making an announcement. | 0:24:20 | 0:24:23 | |
Yes, but how long? | 0:24:23 | 0:24:24 | |
He's performing at the V Festival in a few hours. | 0:24:24 | 0:24:27 | |
Madam, I really can't say. | 0:24:27 | 0:24:28 | |
TANNOY: I'm sorry for the delay, ladies and gentlemen. | 0:24:30 | 0:24:33 | |
But I'm afraid we have hit a herd of cows crossing the track. | 0:24:33 | 0:24:36 | |
The emergency services are on their way, | 0:24:36 | 0:24:39 | |
but we expect to be here for some time. | 0:24:39 | 0:24:41 | |
As a mark of respect, the roast beef baps are off the menu. | 0:24:41 | 0:24:44 | |
Oh, God. | 0:24:44 | 0:24:45 | |
You're kidding me! | 0:24:45 | 0:24:46 | |
We really need to get off this train, | 0:24:46 | 0:24:48 | |
because if you don't turn up to the concert, we don't get paid. | 0:24:48 | 0:24:51 | |
I tell you, we'd be lucky if we move out of here by midnight. | 0:24:51 | 0:24:54 | |
I'm going to go to the other end of the train. | 0:24:54 | 0:24:56 | |
See if someone there has a signal. | 0:24:56 | 0:24:57 | |
I'm going to go and speak to the driver. | 0:24:57 | 0:25:00 | |
It's supposed to be my day. | 0:25:00 | 0:25:02 | |
I've got Chas, Dave, | 0:25:02 | 0:25:03 | |
half of Quo, a third of Thotch, | 0:25:03 | 0:25:06 | |
a fifth of Yes and Florence and her fucking Machine stuck here. | 0:25:06 | 0:25:08 | |
They've got to get off the train now to stand a rat-arse chance of | 0:25:08 | 0:25:11 | |
getting on stage on time in Manchester. | 0:25:11 | 0:25:13 | |
There are huge penalty payments for not appearing and we don't get paid. | 0:25:13 | 0:25:16 | |
Are Virgin going to pick that up? Not a chance. | 0:25:16 | 0:25:18 | |
You must understand that I have to follow procedure. | 0:25:18 | 0:25:21 | |
Can I offer you complimentary tea and coffee from the buffet? | 0:25:21 | 0:25:24 | |
As you know, our travelling chef is on board. | 0:25:24 | 0:25:26 | |
I couldn't give a solitary bollock about the travelling chef. | 0:25:26 | 0:25:28 | |
30 seconds is all it takes to open that door and let us off. | 0:25:28 | 0:25:31 | |
John, you've got to help me. Please! | 0:25:31 | 0:25:33 | |
-Somebody say something? -I didn't know you were on the train. | 0:25:34 | 0:25:36 | |
There it goes again. Whatever could it be? | 0:25:36 | 0:25:38 | |
Come on, darling. Open the doors. | 0:25:38 | 0:25:40 | |
I'm sorry, but I can't. | 0:25:40 | 0:25:42 | |
Come on, love, give it a rest, will you? | 0:25:42 | 0:25:44 | |
Right. Who do I have to call to get you to open these doors? Because this is getting serious. | 0:25:44 | 0:25:48 | |
-Now, is it money you want? Have you got a relative who wants to get on The Voice? -I am sorry, sir. | 0:25:48 | 0:25:52 | |
I will not be bribed. We have a herd of cows out there in a critical condition. | 0:25:52 | 0:25:56 | |
Hello, Richard. John Farrow. | 0:25:56 | 0:25:57 | |
You got a signal? | 0:25:57 | 0:25:58 | |
Yeah, if you could. | 0:25:58 | 0:26:00 | |
We've got stuck on one of your trains which appears | 0:26:00 | 0:26:02 | |
to have ground to a halt on the way to the V Festival | 0:26:02 | 0:26:05 | |
and your driver won't let us off. | 0:26:05 | 0:26:08 | |
Yeah... Well, there's me, Chas, Dave, | 0:26:08 | 0:26:11 | |
Wakeman, Parfitt, Pebble... | 0:26:11 | 0:26:13 | |
-And Brian Pern, and his wife Astrid, and a fan. -Yeah, that's all. | 0:26:13 | 0:26:17 | |
Oh, well, that's very generous, Richard. | 0:26:18 | 0:26:21 | |
No, that's brilliant. | 0:26:21 | 0:26:22 | |
-There you are. He says yes. -Who says yes? -Richard Branson. | 0:26:22 | 0:26:25 | |
-How do I know that's Richard Branson? -Look. | 0:26:25 | 0:26:27 | |
That just says Richard. How do I know that's Richard Branson? | 0:26:27 | 0:26:30 | |
-That could be any Richard. -Speak to him. | 0:26:30 | 0:26:32 | |
Hello, is that Richard Branson? | 0:26:32 | 0:26:35 | |
Oh, it is you, sir. Yes, sir. Yes, sir. | 0:26:36 | 0:26:38 | |
Of course I will open the doors, sir. Of course, yeah. | 0:26:38 | 0:26:41 | |
Right, that's it. Yeah, it's him. | 0:26:41 | 0:26:42 | |
Richard? Thank you. | 0:26:43 | 0:26:45 | |
Sorry about that. Come on, then, off. | 0:26:45 | 0:26:47 | |
I'm not happy about this, but don't let anybody see. | 0:26:47 | 0:26:50 | |
How are you getting on? | 0:26:53 | 0:26:54 | |
John, please! You've got to help me. | 0:26:54 | 0:26:57 | |
Speak to your agent, Brian. You're not my problem any more. Ta-ta. | 0:26:57 | 0:27:01 | |
John? Open the door! John! | 0:27:01 | 0:27:02 | |
I can't believe this. | 0:27:04 | 0:27:05 | |
-Do you know Richard Branson? -Now, Brian, breathe. | 0:27:05 | 0:27:07 | |
I can't believe this is happening. | 0:27:07 | 0:27:10 | |
-Come on, then. Hurry up. -Oh, Johnny! | 0:27:13 | 0:27:16 | |
He's sending a helicopter. | 0:27:16 | 0:27:17 | |
-We should get there on time. -I love you. -Yeah, yeah, yeah, all right. | 0:27:17 | 0:27:20 | |
That's enough. | 0:27:20 | 0:27:21 | |
How can I ever repay you? | 0:27:21 | 0:27:23 | |
Well, you know what you got to do. | 0:27:23 | 0:27:25 | |
I'll send you a fax. | 0:27:28 | 0:27:29 | |
Brian? What are you doing? | 0:27:29 | 0:27:31 | |
Brian? | 0:27:31 | 0:27:32 | |
I wouldn't get too upset if I were you. | 0:27:34 | 0:27:36 | |
He fucked two Thotch fans at the Isle of Wight Festival. | 0:27:36 | 0:27:39 | |
One of them were 56. | 0:27:39 | 0:27:40 | |
TANNOY: The buffet car is now open. | 0:27:40 | 0:27:42 | |
Today, our special lunch is a deep-fried Stilton parcel ring | 0:27:42 | 0:27:46 | |
with a salsa. | 0:27:46 | 0:27:48 | |
Oh, hi. Aloha. | 0:27:50 | 0:27:52 | |
Come in. | 0:27:52 | 0:27:53 | |
Enjoy the show? OK. | 0:27:53 | 0:27:54 | |
That's good. | 0:27:56 | 0:27:57 | |
That's fine stuff right there. | 0:27:57 | 0:27:59 | |
Hang on, move up. | 0:27:59 | 0:28:01 | |
One, two, one and two. | 0:28:01 | 0:28:03 | |
One and two. One and two. | 0:28:03 | 0:28:06 | |
Up...over the stile. | 0:28:06 | 0:28:07 | |
Into the field. | 0:28:07 | 0:28:09 | |
The cat is in the trap. | 0:28:09 | 0:28:11 | |
OK, round two. Heads down. | 0:28:11 | 0:28:14 | |
No-nonsense boogie. | 0:28:14 | 0:28:15 | |
The church... | 0:28:15 | 0:28:17 | |
Oh, the church, the steeple, the spire.... | 0:28:17 | 0:28:18 | |
Oh! | 0:28:18 | 0:28:20 | |
Oh! | 0:28:20 | 0:28:22 | |
BRIAN GROANS | 0:28:22 | 0:28:23 | |
Get out! | 0:28:23 | 0:28:24 |