0:00:02 > 0:00:05- Jools.- Jools.- Jools Holland. - Jools Holland.
0:00:05 > 0:00:08This programme contains some strong language.
0:00:08 > 0:00:11- Twat, obviously. - LAUGHTER
0:00:11 > 0:00:13Wham, bam, thank you, ma'am.
0:00:13 > 0:00:14Squeeze.
0:00:15 > 0:00:17Cue. Michael Jackson's willy.
0:00:17 > 0:00:20- They wanted him sacked. - The late Jools Holland.
0:00:20 > 0:00:22- Jools has charm.- Hootenanny!
0:00:23 > 0:00:24It is a big band.
0:00:26 > 0:00:29- That's the secret of Jools Holland. - Grr!
0:00:38 > 0:00:43PIANO MUSIC
0:01:30 > 0:01:36I stepped into the world on 24 January 1958.
0:01:36 > 0:01:39It was a very thundery and rainy evening.
0:01:39 > 0:01:41THUNDER CRASHES London hospital.
0:01:41 > 0:01:44And either side of my mother, the hospital beds,
0:01:44 > 0:01:48were two Jamaican women who were screaming and wailing,
0:01:48 > 0:01:50and they also gave birth at the same time.
0:01:50 > 0:01:53So somewhere out there, there are two people with Jamaican mums
0:01:53 > 0:01:56that have the same birthday as me.
0:01:56 > 0:01:58Happy birthday, if you're watching.
0:01:59 > 0:02:03I was taken home to the small bedsit in Wembley that my parents lived in,
0:02:03 > 0:02:06and thank goodness I'd been given rather nice patents.
0:02:09 > 0:02:12My mother and father were quite Bohemian.
0:02:12 > 0:02:16My mother used to paint a little bit. They were 21 or 22 when I was born.
0:02:16 > 0:02:19They were young people and they lived with their friends and so
0:02:19 > 0:02:23there was like a lot of young people and a child living in the house.
0:02:23 > 0:02:27It was quite, I wouldn't say disorderly, but it was quite chaotic.
0:02:27 > 0:02:30At one point I remember they forgot to pay the electricity bill
0:02:30 > 0:02:32so it was cut off and that was great fun,
0:02:32 > 0:02:35we had oil lamps and one of them fell over and burnt a hole in the floor.
0:02:35 > 0:02:37All that sort of fun thing that you go through.
0:02:37 > 0:02:41We didn't have a television, but my dad read to me.
0:02:41 > 0:02:44From Winnie the Pooh to the Iliad, I had the lot.
0:02:44 > 0:02:49I would be taken round to art galleries or plays that they'd be interested in, that sort of thing.
0:02:49 > 0:02:52They liked classical music, but they loved jazz and blues music, like,
0:02:52 > 0:02:55they had Bessie Smith records, which they loved.
0:02:55 > 0:02:58And to this day I think Bessie Smith is probably my favourite,
0:02:58 > 0:03:00maybe my favourite singer of all time, maybe.
0:03:00 > 0:03:03BESSIE SMITH SINGS
0:03:07 > 0:03:10So I'd been an only child till the age of eight
0:03:10 > 0:03:13which was really marvellous, being smothered in attention.
0:03:13 > 0:03:17But then all that was ruined when my twin brothers were born in 1966.
0:03:17 > 0:03:21And they were the most delightful little things you'd ever seen.
0:03:21 > 0:03:24My oldest memory, I'm trying to remember, was about three or four,
0:03:24 > 0:03:27I remember he was on a stilt,
0:03:27 > 0:03:30he was on some stilts and I was just a little baby really,
0:03:30 > 0:03:32he was walking around the room and then this stilt
0:03:32 > 0:03:34kind of came crashing down on my head.
0:03:34 > 0:03:36And he'd obviously fallen off.
0:03:36 > 0:03:39But since then, he's obviously been extra nice,
0:03:39 > 0:03:40trying to make up for that, I think.
0:03:40 > 0:03:43So he's always been really lovely and kind, you know.
0:03:43 > 0:03:44As we didn't have a bath,
0:03:44 > 0:03:48I was made to go to the next street where my grandmother had a bath.
0:03:48 > 0:03:53She still had an outside loo, but she had a bath.
0:03:53 > 0:03:56And that was all right, but the best thing about it was she had
0:03:56 > 0:04:00something much better than a bath in her house, and that was a piano.
0:04:00 > 0:04:04This is the piano that I learned on.
0:04:04 > 0:04:07Everybody has to learn on some instrument to be a musician,
0:04:07 > 0:04:09and I'm delighted to say this was it.
0:04:09 > 0:04:11And this is my dear mother playing away.
0:04:16 > 0:04:19And it's a very special piano, because it's a pianola,
0:04:19 > 0:04:22which means you don't even need your hands to play it.
0:04:22 > 0:04:26You can just pedal away. Isn't that a lovely sound?
0:04:28 > 0:04:30My mother, I think in a house we'd rented, used to play,
0:04:30 > 0:04:32that's when I first heard the blues,
0:04:32 > 0:04:35which would be Careless Love, I heard her playing that. But then
0:04:35 > 0:04:40when it really came to life was when I heard my uncle playing boogie-woogie piano.
0:04:43 > 0:04:46In a charming and simple and naive way,
0:04:46 > 0:04:50which is often the best thing, how the best things are.
0:04:50 > 0:04:53PLAYS PIANO And when I heard him playing that,
0:04:53 > 0:04:57all of the chaos of the universe became ordered.
0:04:57 > 0:04:58Everything made sense.
0:04:58 > 0:05:03I wanted to jump up and down with joy hearing this music.
0:05:03 > 0:05:06I couldn't believe this beautiful thing that I'd heard.
0:05:22 > 0:05:26And it sort of alerted me not just to that music,
0:05:26 > 0:05:29which was boogie-woogie and blues, but also all the other things
0:05:29 > 0:05:32that it led to, so I'd be hearing on the radio...
0:05:32 > 0:05:35MUSIC: Uptight (Everything's Alright) by Stevie Wonder
0:05:35 > 0:05:38Like the Tamla Motown and the Beatles and the Rolling Stones
0:05:38 > 0:05:41and all the stuff that I was hearing at the time.
0:05:41 > 0:05:42# Baby
0:05:42 > 0:05:46# Everything is alright, uptight... #
0:05:46 > 0:05:50It was all part of the same thing. It touched the same button for me.
0:05:50 > 0:05:53And for me the way I learned was by ear first.
0:05:53 > 0:05:56I didn't learn to read music.
0:05:56 > 0:05:58I got sent, it seemed to slow me down,
0:05:58 > 0:06:01because I could listen to things and I can play...
0:06:01 > 0:06:03PLAYS BOOGIE-WOOGIE
0:06:05 > 0:06:08So this is great, being able to do this.
0:06:08 > 0:06:11And then you go to the music lesson and it's "Well, can we play...?"
0:06:11 > 0:06:15PLAYS SIMPLE TUNE
0:06:15 > 0:06:17That's very agreeable, there's nothing wrong with that,
0:06:17 > 0:06:20but it wasn't getting me going. And the thing for me was,
0:06:20 > 0:06:23to learn something you had to love it.
0:06:23 > 0:06:25And so I sort of thought to myself then,
0:06:25 > 0:06:27I'm not interested in playing any music unless I love it.
0:06:27 > 0:06:29MUSIC: "Lady Madonna" by the Beatles
0:06:36 > 0:06:39The summer of love, the '60s drew to a close,
0:06:39 > 0:06:42and I went to my next school, which was Shooters Hill school.
0:06:42 > 0:06:45And there was a wonderful music teacher called Mr Pixley.
0:06:45 > 0:06:47I was the only person in the whole school
0:06:47 > 0:06:49who picked to do music as a subject.
0:06:49 > 0:06:50So he showed me the theory of music -
0:06:50 > 0:06:53what chords were called, what time signatures were called,
0:06:53 > 0:06:55what key signatures were.
0:06:55 > 0:06:58All of these essential bits of information.
0:06:58 > 0:07:01And I would then take them away and put them together
0:07:01 > 0:07:03and I'd have a Beatles songbook or Motown songbook
0:07:03 > 0:07:06and all the songs I couldn't play, I suddenly found I could play.
0:07:06 > 0:07:08Also it meant when I got together with Squeeze,
0:07:08 > 0:07:11I could sort of understand what we were playing,
0:07:11 > 0:07:14what the chords were called. And to this day it means that sometimes
0:07:14 > 0:07:18when I come up against a chord, I can sort of more or less name it.
0:07:21 > 0:07:26I put an advert in a sweet shop window and Glenn...
0:07:26 > 0:07:28answered the advert.
0:07:28 > 0:07:33And about two months later he told me that he'd been to school with a guy called Jools Holland.
0:07:36 > 0:07:42The first time that we met I think we impressed each other,
0:07:42 > 0:07:45and we decided to meet up again and start playing together,
0:07:45 > 0:07:46which is what we did.
0:07:49 > 0:07:52We used to, we used to regularly get locked into pubs
0:07:52 > 0:07:55till three in the morning, just because Jools could play the piano.
0:07:55 > 0:07:57It was brilliant, actually.
0:07:57 > 0:08:00And when Gilson joined the band, it was just,
0:08:00 > 0:08:03it just sort of all fell into place.
0:08:03 > 0:08:05DRUM SOLO
0:08:06 > 0:08:09Ah yeah yeah yeah yeah yeah!
0:08:12 > 0:08:15Ah, he makes Buddy Rich look fucking poor!
0:08:18 > 0:08:19I contributed
0:08:19 > 0:08:22mainly a bit of arrangement, a drum kit
0:08:22 > 0:08:23and a driving licence.
0:08:30 > 0:08:33When you look back at the Silver Jubilee in 1977,
0:08:33 > 0:08:36you can see how young and happy we all were,
0:08:36 > 0:08:41and if you said "London, Deptford, Greenwich, 1977 Silver Jubilee,"
0:08:41 > 0:08:45people probably all imagine everybody dressed in Mohican hair
0:08:45 > 0:08:48and kilty and punky sort of looking,
0:08:48 > 0:08:52but of course it hadn't really caught on down in Greenwich like that.
0:08:52 > 0:08:55It was still, everybody looked like
0:08:55 > 0:08:58a rather tired episode of The Sweeney with a very low budget.
0:08:58 > 0:09:00# I'm always on my own
0:09:00 > 0:09:03# I'm fed up with the posters
0:09:03 > 0:09:06# That hang up on my wall
0:09:06 > 0:09:08# It might as well be prison
0:09:08 > 0:09:11# Except I think I've got a hall
0:09:11 > 0:09:14# Landlord or lady... #
0:09:14 > 0:09:18Well, I had a friend, who actually was a friend of my brother Stuart,
0:09:18 > 0:09:22they went to school together, he came to see me
0:09:22 > 0:09:24and he says "I've got this amazing young band," you know?
0:09:24 > 0:09:26"It's the next Beatles."
0:09:26 > 0:09:30So off I went to Deptford and met Squeeze, signed them up.
0:09:30 > 0:09:33Our first hit single was Take Me I'm Yours.
0:09:33 > 0:09:36# Take me I'm yours
0:09:36 > 0:09:40# Because dreams are made of this... #
0:09:40 > 0:09:43Pretty quickly, our dreams came true, because we were having hits
0:09:43 > 0:09:45and we were on Top Of The Pops.
0:09:45 > 0:09:48A lot of people have a group and they think this is going to happen,
0:09:48 > 0:09:51but before we knew it, what we imagined happened.
0:09:51 > 0:09:55# I never thought it would happen with me and the girl from Clapham
0:09:55 > 0:09:59# Out on the windy Common That night I ain't forgotten... #
0:09:59 > 0:10:02We annoyed the record company quite a lot.
0:10:02 > 0:10:06Because we didn't have an image. We didn't even want an image, really.
0:10:06 > 0:10:07We were just five blokes, you know?
0:10:07 > 0:10:10Jools, when he went to Jools he had the bow tie,
0:10:10 > 0:10:12inappropriately chequered.
0:10:12 > 0:10:16He was the one putting out a personality.
0:10:16 > 0:10:19# The Indians send signals From the rocks above the pass
0:10:19 > 0:10:23# The cowboys take position In the bushes and the grass
0:10:23 > 0:10:26# The squaw is with the Corporal She is tied against the tree
0:10:26 > 0:10:29# She doesn't mind the language It's the beating she don't need
0:10:29 > 0:10:32# She lets loose all the horses When the Corporal is asleep
0:10:32 > 0:10:34# And he wakes to find the fire's dead
0:10:34 > 0:10:38# And arrows in his hats And Davy Crockett rides around
0:10:38 > 0:10:40# And says it's cool for cats It's cool for cats
0:10:40 > 0:10:42# Cool for cats... #
0:10:42 > 0:10:45Cool For Cats had come out and been a great hit here,
0:10:45 > 0:10:48and then Miles said we'd better go and tour in America.
0:10:48 > 0:10:49At that time, nobody really had done that.
0:10:49 > 0:10:55MUSIC: "Pulling Mussels" by Squeeze
0:10:55 > 0:10:58They actually fit in America quite better because America was not
0:10:58 > 0:11:02so committed to sort of the hard punk rock element that England was.
0:11:09 > 0:11:12# Two fat ladies window-shop Something for the mantelpiece... #
0:11:14 > 0:11:18It was a great experience for us to be bundled in the back of a van
0:11:18 > 0:11:20and getting arrested, that sort of thing.
0:11:23 > 0:11:26It was around this time that, I suppose because we were
0:11:26 > 0:11:30touring all the time, I never seemed to have a moment to myself,
0:11:30 > 0:11:35and I was kind of missing playing music, my own music, I suppose.
0:11:35 > 0:11:37I was in charge of the direction.
0:11:37 > 0:11:39And when it worked for Jools, it was great,
0:11:39 > 0:11:42and there were sometimes I know he was horrified with what's going on.
0:11:42 > 0:11:45It wasn't musical differences. I love the music of Squeeze.
0:11:45 > 0:11:47But if Squeeze became really successful,
0:11:47 > 0:11:50I'm going to become comfortable, and not want to change my situation.
0:11:50 > 0:11:54So I thought it's better to get out now before I get too comfortable.
0:11:54 > 0:11:58# Trying to be good by not being round... #
0:12:00 > 0:12:06And Jools said to me, "Hey, if I left the band, would you manage me?"
0:12:06 > 0:12:11And I said, "Yeah, I think I would, actually. That sounds great!"
0:12:11 > 0:12:15# On the turn of a card The spin of a wheel
0:12:15 > 0:12:18# Flip of the coin Won't you shovel up and deal
0:12:18 > 0:12:21# Back it up to the hilt Jack on red
0:12:21 > 0:12:25# Cold as ice Take another bet... #
0:12:25 > 0:12:28Frankly the type of material that the Millionaires was doing
0:12:28 > 0:12:31was fun for Jools, and was great for a live show,
0:12:31 > 0:12:34but wasn't particularly album material at that time.
0:12:34 > 0:12:36# Everyone get hip
0:12:36 > 0:12:37# Wanna take another trip
0:12:37 > 0:12:39# Take a little sip
0:12:39 > 0:12:41# For the midnight jib
0:12:41 > 0:12:43# Wanna do the boogie
0:12:43 > 0:12:44# All night long
0:12:44 > 0:12:46# Gonna have a ball
0:12:46 > 0:12:48# Why don't you come along?
0:12:49 > 0:12:51# But I love you
0:12:51 > 0:12:53# And I don't know what to do
0:12:53 > 0:12:56# I'm afraid I've done gone crazy over you
0:12:57 > 0:12:59# I'm afraid I've done gone crazy over you
0:13:00 > 0:13:03# I'm afraid I've done gone crazy over you
0:13:03 > 0:13:06# I'm afraid I've plumb gone crazy over you. #
0:13:11 > 0:13:14WOLF-WHISTLES
0:13:14 > 0:13:16We made one record and it didn't really work out,
0:13:16 > 0:13:18and then the record company dropped us.
0:13:18 > 0:13:23At that point, I couldn't really afford to keep the group going.
0:13:23 > 0:13:26And really I was at a bit of a low ebb, and I was thinking to myself,
0:13:26 > 0:13:29"Well, I left Squeeze, did I do the right thing?
0:13:29 > 0:13:32"Would I have been better off staying in my comfort zone,
0:13:32 > 0:13:36"not taking this risk? Because now I'm kind of stuck.
0:13:36 > 0:13:38"Am I just going to have to do solo piano shows?
0:13:38 > 0:13:39"What am I going to have to do?"
0:13:39 > 0:13:42And then the phone rang.
0:13:42 > 0:13:45PHONE RINGS
0:13:45 > 0:13:48Hello. This is Malcolm Gerrie. Could I speak to Jools Holland, please?
0:13:48 > 0:13:52It was Tyne Tees Television in Newcastle, and they say
0:13:52 > 0:13:56they're doing a brand-new, completely brand-new type of music programme,
0:13:56 > 0:13:59and would I and Paula Yates like to go up and audition for it?
0:13:59 > 0:14:04I'd recorded a show, a BBC documentary,
0:14:04 > 0:14:07about The Police in Montserrat, a little island in the Caribbean
0:14:07 > 0:14:09where they were recording their new album.
0:14:09 > 0:14:13And when I put the tape on to watch it, I got an absolute shock.
0:14:13 > 0:14:16Because the presenter of the show
0:14:16 > 0:14:19did something which I'd never seen before. He was fresh.
0:14:19 > 0:14:22- Welcome to Montserrat. - He was passionate.
0:14:22 > 0:14:26- And the radio station, Radio Antilles!- He was irreverent.
0:14:26 > 0:14:29Her Majesty's prison. For bad Montserrat people.
0:14:29 > 0:14:33The thing which really caught my attention was he did an interview
0:14:33 > 0:14:37in the studio with the guitarist from The Police, one Andy Summers.
0:14:37 > 0:14:40- How about funk stuff, are you into funk?- Yeah.
0:14:40 > 0:14:42I think all three of us enjoy playing,
0:14:42 > 0:14:45we don't actually do much on record, in funk.
0:14:45 > 0:14:48And Andy started to demonstrate this.
0:14:50 > 0:14:52And it went on a little bit too long,
0:14:52 > 0:14:54and it was a little bit dull,
0:14:54 > 0:14:58and to my absolute amazement, Jools just leant over
0:14:58 > 0:15:01and pulled out the cord of Andy Summers's guitar.
0:15:01 > 0:15:05I think actually that's probably best left to James Brown, isn't it?
0:15:05 > 0:15:09'And I thought, you know what, this is our man.'
0:15:09 > 0:15:10'This is now time for The Tube.'
0:15:10 > 0:15:13You're going to see live bands, so remember, turn it up.
0:15:13 > 0:15:14These people are going to go in there
0:15:14 > 0:15:17and they're going to have an absolutely insane time.
0:15:17 > 0:15:21From now on, you'll be watching the fantastic Tube.
0:15:21 > 0:15:25# Relax! Don't do it! When you want to suck it, do it
0:15:25 > 0:15:30# Relax! Don't do it! When you wanna come... #
0:15:30 > 0:15:34# I am an Antichrist
0:15:34 > 0:15:36# I am an anarchist... #
0:15:36 > 0:15:42# I will be with you again... #
0:15:43 > 0:15:46GUITAR SOLO
0:15:48 > 0:15:51# A house in New Orleans
0:15:51 > 0:15:56# They call the Rising Sun... #
0:15:56 > 0:16:01# My hope has gone Till then I turn it on... #
0:16:01 > 0:16:05# I love you baby, baby
0:16:05 > 0:16:08# Baby! #
0:16:14 > 0:16:18We had them all on. You name them... BOTH: We had them.
0:16:23 > 0:16:25It was exciting. That was the one you wanted to watch.
0:16:25 > 0:16:28Friday night, whatever was going to happen, that was a gig.
0:16:28 > 0:16:31For the next five months
0:16:31 > 0:16:35you're going to be able to see live music, interviews,
0:16:35 > 0:16:37my stomach getting bigger week by week.
0:16:37 > 0:16:40Just before the first show, Paula suddenly announced she was pregnant.
0:16:40 > 0:16:44And she thought "That's it," you know. "I really want to do this,"
0:16:44 > 0:16:47and she thought she was going to blow it.
0:16:47 > 0:16:51And Andrea Wonfor who was the sort of presiding genius of the thing,
0:16:51 > 0:16:53she thought, "So what?"
0:16:53 > 0:16:54And what can I say?
0:16:54 > 0:16:58One small step for pop music, one large step for fat girls.
0:16:58 > 0:17:00Paula looked devastatingly beautiful
0:17:00 > 0:17:04and like nothing you'd ever seen on TV before.
0:17:04 > 0:17:06She was very witty and charming.
0:17:06 > 0:17:09We now move on to Jools looking hunky, and stylish.
0:17:09 > 0:17:13'And was kind of dizzy at all at the same time.'
0:17:13 > 0:17:17And it was an extraordinary mix of all of these elements.
0:17:17 > 0:17:18It's Friday, it's 5.30,
0:17:18 > 0:17:21and that means spotty herberts coming through the door.
0:17:21 > 0:17:24I think they just absolutely smashed through the screen.
0:17:24 > 0:17:28The birthday of the world's greatest pianist,
0:17:28 > 0:17:30and the world's biggest as well.
0:17:30 > 0:17:31She loved him.
0:17:32 > 0:17:34Loved him.
0:17:34 > 0:17:36People always assumed as well
0:17:36 > 0:17:39that Paula, because she was like my television wife,
0:17:39 > 0:17:41they assumed she was my real wife.
0:17:41 > 0:17:45My mother even, for a long time, on top of her piano at home
0:17:45 > 0:17:47had a photograph of me and Paula
0:17:47 > 0:17:48instead of me and my actual sort of...
0:17:48 > 0:17:50- Proper wife.- Yes, exactly.
0:17:50 > 0:17:54In reality, of course, Paula wasn't my actual wife.
0:17:54 > 0:17:55I had a wonderful partner called Mary
0:17:55 > 0:18:00and we had two delightful children, George and Rosie.
0:18:00 > 0:18:03The Tube did give us a lot of stability,
0:18:03 > 0:18:06because I was becoming a household name and at last had some money
0:18:06 > 0:18:09so I could sort of buy a car and things like this and the house.
0:18:09 > 0:18:13It was also during this period I met my current wife Christabel,
0:18:13 > 0:18:18and in 1990, we had a daughter, Mabel.
0:18:18 > 0:18:20Anyway, let's get back now to the Tube.
0:18:22 > 0:18:26# She was there in the heat My black beauty in the shade... #
0:18:26 > 0:18:30'Part of The Tube's format was we used to send Jools'
0:18:30 > 0:18:33to the far-flung corners of the world,
0:18:33 > 0:18:36where there was something interesting happening musically.
0:18:36 > 0:18:39And one of my favourite films was Jools in Jamaica.
0:18:39 > 0:18:43# Sittin' pretty Standin' out
0:18:43 > 0:18:47# Not exactly one of the crowd
0:18:47 > 0:18:50# My black beauty
0:18:50 > 0:18:54# What sweet sounds you make... #
0:18:54 > 0:18:57When we went to Jamaica, we did a song in the street, you know,
0:18:57 > 0:19:01the Black Beauty, which me and Chris Difford had written.
0:19:01 > 0:19:05And the effect on me and the people was just great.
0:19:05 > 0:19:06It was a magical moment.
0:19:06 > 0:19:10Caught on film, that was something spontaneous caught on film.
0:19:10 > 0:19:12Which I'll never forget. Great joy.
0:19:25 > 0:19:29All right, what's the toaster doing on top of the fence there?
0:19:29 > 0:19:33- It means that I am a toaster.- Right. - And I am not a boaster,
0:19:33 > 0:19:35but a positive toaster.
0:19:35 > 0:19:38On one of the many spin-offs that we did with Jools
0:19:38 > 0:19:41in the run of The Tube over the years,
0:19:41 > 0:19:45was a film called Walking To New Orleans.
0:19:45 > 0:19:49# This time I'm walkin' to New Orleans
0:19:50 > 0:19:54# I'm walkin' to New Orleans... #
0:19:54 > 0:19:57This man Quint Davis, who's great, who ran a jazz festival,
0:19:57 > 0:19:59he said "I can introduce you to Fats Domino."
0:20:10 > 0:20:12Oh, that's it!
0:20:18 > 0:20:22He went "Hey, that's my music! You love my music."
0:20:22 > 0:20:26He could see by the way I played his music that I loved his music,
0:20:26 > 0:20:29and so he said he'd be in the film, and he was in it.
0:20:29 > 0:20:31It was just a very special moment.
0:20:42 > 0:20:46You got it! You got it!
0:20:46 > 0:20:50- Thank you very much indeed. - Oh, baby, all right. Don't forget.
0:20:50 > 0:20:53- Remember me, yeah?- OK. - Cos I love you.
0:20:53 > 0:20:56How could we forget him? Brilliant man. Fats Domino.
0:20:56 > 0:21:00'To be invited into Fats Domino's home and meet him
0:21:00 > 0:21:02'and do things that were just sort of unbelievable,'
0:21:02 > 0:21:07and still, to this day, are some of my most treasured memories.
0:21:07 > 0:21:11MUSIC: "Two Tribes" by Frankie Goes To Hollywood
0:21:14 > 0:21:17Through all the chaos and the anarchy,
0:21:17 > 0:21:20there was absolutely something magical.
0:21:20 > 0:21:25# When two tribes go to war A point is all you can score... #
0:21:25 > 0:21:28And it was kind of like freefall television.
0:21:28 > 0:21:30And now we go to Jools Holland and his rhythm stick.
0:21:30 > 0:21:33And nobody ever told you kind of what to do.
0:21:35 > 0:21:40The show went out at 5:15 on a Friday night.
0:21:40 > 0:21:43You animal, you bloody animal!
0:21:43 > 0:21:45It is true that we had incidents.
0:21:45 > 0:21:49'I announced Michael Jackson had a pet hamster called Willy.'
0:21:49 > 0:21:53The competition is, guess the size of Michael Jackson's Willy.
0:21:53 > 0:21:54Body parts were revealed.
0:21:54 > 0:21:56Let's burst in on them! Bursting in!
0:21:56 > 0:22:00Oh dear. Completely bursting out again all in a hurry.
0:22:00 > 0:22:03Even worse, they used to do these earlier trailers
0:22:03 > 0:22:05at like 3pm and 4pm that went out. They would grab them
0:22:05 > 0:22:08in the middle of rehearsals and have them say something.
0:22:08 > 0:22:10The camera was on me, I wasn't really thinking and I said,
0:22:10 > 0:22:14"Join me! Be there, or be..." And I didn't want to say "be square,"
0:22:14 > 0:22:17so instead, rather unfortunately,
0:22:17 > 0:22:19I said "be a completely ungroovy fucker."
0:22:22 > 0:22:26The director and I looked at each other and said, "What did he say?"
0:22:26 > 0:22:27And that was a bit of a mistake
0:22:27 > 0:22:30because it was really too early in the day.
0:22:30 > 0:22:32The phones were white-hot.
0:22:32 > 0:22:37The producers went off to be sort of hauled before the authorities.
0:22:37 > 0:22:40- And they wanted him sacked.- They had to be seen to take some action.
0:22:40 > 0:22:43"It's unprofessional, you've got to get shot of him now."
0:22:43 > 0:22:46It really was a bit slip of the tongue and I was rather tired.
0:22:46 > 0:22:51And we managed to change his sentence
0:22:51 > 0:22:56to a plea bargain of a six-week suspension.
0:22:56 > 0:22:57I think as well maybe The Tube
0:22:57 > 0:23:00was something that had lived on the edge so much,
0:23:00 > 0:23:04that it kind of had to come to an end.
0:23:04 > 0:23:06It's been a wonderful five years
0:23:06 > 0:23:08but you're going to miss us when we're gone.
0:23:08 > 0:23:13Because you don't appreciate us until next Friday you switch on the telly and it's some old poo,
0:23:13 > 0:23:14that you don't want to see at all.
0:23:14 > 0:23:17The reason that the programme finished
0:23:17 > 0:23:22was that myself and Andrea Wonfor and the whole team, basically,
0:23:22 > 0:23:24wanted to end on a high.
0:23:24 > 0:23:28Still, tomorrow is another day. Saturday, I think.
0:23:28 > 0:23:31So chill out and...bye.
0:23:41 > 0:23:45Sadly, this is all now that remains of Tyne Tees Television.
0:23:45 > 0:23:49This is the floor of studio five where all the bands were,
0:23:49 > 0:23:52and all the music and all the joy and laughter was.
0:23:53 > 0:23:55All rubble now.
0:23:55 > 0:24:00It's so sad to see a creative place flattened, isn't it, really?
0:24:00 > 0:24:02I suppose it's like a metaphor for everything in life.
0:24:02 > 0:24:03It all ends up as dust.
0:24:20 > 0:24:23We had gone to do a charity show one evening.
0:24:23 > 0:24:27We had rented a car, a Vauxhall Cavalier estate.
0:24:28 > 0:24:30Gilson and John were in the front.
0:24:30 > 0:24:33And Christabel and Jools were in the back.
0:24:33 > 0:24:36And one of them says, "'ere, what's that?"
0:24:36 > 0:24:40And it was a car driving towards us, coming down the motorway.
0:24:40 > 0:24:44- At that point there was a bit of, like, swearing.- "Oh, shit!"
0:24:44 > 0:24:47- Not road rage, mind you, just sort of disappointment.- "Oh, shit!"
0:24:47 > 0:24:49I braced myself because I saw what was going to happen.
0:24:57 > 0:24:59I looked around. Christabel had broken her leg,
0:24:59 > 0:25:02Gilson had broken his arm, smashed his face.
0:25:02 > 0:25:05Ribs were broken, and I was in quite a bad way.
0:25:05 > 0:25:09And John Lay, it had been awful, because he didn't have an airbag,
0:25:09 > 0:25:11had hit the steering wheel.
0:25:11 > 0:25:13And was really badly mashed up.
0:25:13 > 0:25:16And they were pulling Gilson out of the car,
0:25:16 > 0:25:18who had been in the front, and he said,
0:25:18 > 0:25:20"You need to pull my mate out."
0:25:20 > 0:25:22And a woman who was helping said, "Oh, no, he's dead."
0:25:22 > 0:25:25At which point John Lay must have just heard this and went...
0:25:25 > 0:25:27MUMBLES LOUDLY
0:25:27 > 0:25:30I pulled myself up from the steering wheel and said, "I'm fucking not!"
0:25:30 > 0:25:32So I thought I'd better get out of the car...
0:25:32 > 0:25:35I was wincing with pain, and as I was wincing I looked up to my right
0:25:35 > 0:25:39and Julian was leaning on the crash barrier doing an interview.
0:25:39 > 0:25:41Jools Holland, star of stage and screen.
0:25:44 > 0:25:47I woke up suddenly in my hospital bed,
0:25:47 > 0:25:50like sat up with my arms out like at the steering wheel,
0:25:50 > 0:25:54and looked across and in the bed opposite me was Jools.
0:25:57 > 0:26:00And he's all plumped up on cushions and all the nurses,
0:26:00 > 0:26:02because he was pretty well known by this stage,
0:26:02 > 0:26:06all the nurses are hovering round him and pumping up his pillows
0:26:06 > 0:26:08and mopping his brown and bringing him grapes and feeding him
0:26:08 > 0:26:11and all that sort of stuff going on.
0:26:11 > 0:26:14One of them says, "Well, the thing is,
0:26:14 > 0:26:15"we've had local press interest,
0:26:15 > 0:26:19"and we wondered, we got the local Exeter Times or whatever,"
0:26:19 > 0:26:22"and we wondered if they could come and have a picture."
0:26:24 > 0:26:26Not now, mate, you know?
0:26:26 > 0:26:29The nurses came rushing in first thing in the morning with a paper
0:26:29 > 0:26:31and held this newspaper up for him to read,
0:26:31 > 0:26:33and I saw him nodding sagely,
0:26:33 > 0:26:35and she turned it round so I could see it
0:26:35 > 0:26:39and it said "Jools Holland in motorway miracle escape!"
0:26:39 > 0:26:41And both John and me
0:26:41 > 0:26:45laughed painfully in unison at the irony of the situation.
0:26:45 > 0:26:47HE LAUGHS
0:26:48 > 0:26:53All along, I suppose my big band had been going from slightly earlier,
0:26:53 > 0:26:57and it really dates back to when I made the film in New Orleans
0:26:57 > 0:27:00and Gilson came with me, and was sort of helping in the film.
0:27:00 > 0:27:04And we did a concert in a little club in New Orleans called Snug Harbor.
0:27:04 > 0:27:08Thank you. Ladies and gentlemen, please welcome to the stage
0:27:08 > 0:27:10the Jools Holland Big Band. CHEERING AND APPLAUSE
0:27:10 > 0:27:14And then the idea is, just one man walks on,
0:27:14 > 0:27:15and that's amusing, you see.
0:27:19 > 0:27:20Here he is.
0:27:20 > 0:27:23I've got to say, I knew it was going to happen.
0:27:23 > 0:27:26In those early days of being "the big band",
0:27:26 > 0:27:30when I walked out - to groans, usually -
0:27:30 > 0:27:31I knew that it wouldn't be long
0:27:31 > 0:27:34before there were other people walking behind me.
0:27:34 > 0:27:36And probably in front of me, I should think.
0:27:36 > 0:27:37You got to be careful what you wish for.
0:27:37 > 0:27:39I started off saying it as a joke,
0:27:39 > 0:27:42"Ladies and gentlemen, please welcome my big band" and it's one bloke,
0:27:42 > 0:27:44before you know it, it is a big band!
0:27:44 > 0:27:48BAND PLAYS
0:28:14 > 0:28:17Very nice interviewer said to me the other day, "what's your dream band?"
0:28:17 > 0:28:20I said, "You don't understand. I've got it. My dream band is it."
0:28:20 > 0:28:23I wouldn't want anybody else different,
0:28:23 > 0:28:24I wouldn't want to sound different.
0:28:24 > 0:28:26The sound that comes out of us is unique.
0:28:26 > 0:28:31Please welcome the one and only, the sensational Ruby Turner!
0:28:31 > 0:28:34'Different fantastic singers come and sing with us,
0:28:34 > 0:28:37'but the singer who really is just part of our orchestra,
0:28:37 > 0:28:40'she doesn't guest with us, she is us, is Ruby Turner.'
0:28:40 > 0:28:45# No-one's ever made me feel
0:28:45 > 0:28:50# That I could ever make it... #
0:28:50 > 0:28:53It's not about the sound, it's about the feeling.
0:28:53 > 0:28:54And then you hear this sound
0:28:54 > 0:28:58and this is coming from a completely different place to the modern world.
0:28:58 > 0:29:02But touching a thing that's live and vital now.
0:29:02 > 0:29:05It's all those things of the church, the blues, of everything,
0:29:05 > 0:29:08all mashed up into this thing that hits you like a nuclear reactor.
0:29:08 > 0:29:14# Nobody but you
0:29:14 > 0:29:19# Nobody but you
0:29:19 > 0:29:27# I said no, nobody but you No, no, no, no
0:29:27 > 0:29:29# Said nobody
0:29:29 > 0:29:35# Nobody
0:29:35 > 0:29:43# Nobody but you. #
0:29:43 > 0:29:45CHEERING AND APPLAUSE
0:29:45 > 0:29:47We've had an amazing life, our orchestra,
0:29:47 > 0:29:50and had incredible people work with us.
0:29:51 > 0:29:55Sam Brown, of course, was one of the first, really.
0:29:55 > 0:29:58She became our vocalist. And Sam, I wrote with a great deal.
0:29:58 > 0:30:00And one of the ones we wrote, Valentine Moon,
0:30:00 > 0:30:02about a little pub in Deptford.
0:30:02 > 0:30:10# The streets and the markets and the old Dog and Bell
0:30:10 > 0:30:18# We've gone through the changes We've lived our lives well
0:30:18 > 0:30:20# But the old town... #
0:30:20 > 0:30:23And when she sings that song, you're with that elderly
0:30:23 > 0:30:27couple in that pub in Deptford and the mundane becomes romantic
0:30:27 > 0:30:30and beautiful and I think that's probably the great thing
0:30:30 > 0:30:33about any sort of paintings or music or something,
0:30:33 > 0:30:35is when just nothing becomes everything.
0:30:35 > 0:30:43# We danced together as old lovers do
0:30:43 > 0:30:48# Valentine moon
0:30:48 > 0:30:55# Valentine moon
0:30:56 > 0:31:02# We always remember our
0:31:02 > 0:31:08# Valentine moon. #
0:31:08 > 0:31:12APPLAUSE
0:31:12 > 0:31:14Thank you.
0:31:14 > 0:31:17BAND PLAYS
0:31:24 > 0:31:29I love it. I would go five nights a week if I could.
0:31:29 > 0:31:31What am I going to do the other two nights?
0:31:31 > 0:31:32I haven't worked it out.
0:31:32 > 0:31:36I just said five to hint that I have some mysterious other life - I don't.
0:31:36 > 0:31:38I'll go seven nights a week.
0:31:40 > 0:31:43It's just a marvellous thing because you know how much more money
0:31:43 > 0:31:47he could make if he just had a trio and people would still want to come and see it.
0:31:47 > 0:31:50But he likes, you know, he has a big payroll and, you know,
0:31:50 > 0:31:52that's typical of him.
0:31:52 > 0:31:53It's hard enough doing it with...
0:31:53 > 0:31:56If you were just, like, two of you, that would be tricky,
0:31:56 > 0:31:59but when you don't even know how many people there are -
0:31:59 > 0:32:02oh, my word - how everybody organises it for us, I don't know.
0:32:02 > 0:32:04But I'm so pleased that they do.
0:32:06 > 0:32:09When the Rhythm And Blues Orchestra is not on tour,
0:32:09 > 0:32:14you'll find us here at my studios - rehearsing, recording,
0:32:14 > 0:32:17making radio shows and eating sandwiches.
0:32:19 > 0:32:23This is the entrance to my studio, the great portal. St Cecilia Place.
0:32:23 > 0:32:27St Cecilia, of course, being the patron saint of music.
0:32:27 > 0:32:33Music is, I'm delighted to say, has been my life but, I suppose,
0:32:33 > 0:32:36as a hobby, I suppose, architecture has been my hobby
0:32:36 > 0:32:40and I've enjoyed building.
0:32:40 > 0:32:43Let's take a break and look at some of my dirty pictures.
0:32:43 > 0:32:45Here is a rather grubby hard-core picture that
0:32:45 > 0:32:47I made myself of this building here.
0:32:47 > 0:32:49If you love these buildings, you sketch them.
0:32:49 > 0:32:51The other thing you do is measure them.
0:32:51 > 0:32:54In measuring these buildings one of the things I have understood is
0:32:54 > 0:32:58that they are all on a rather small scale, which adds to their charm.
0:32:58 > 0:33:01So, the question that a lot of you are probably asking
0:33:01 > 0:33:04yourselves is, "Hey, what does he know about architecture?
0:33:04 > 0:33:08"He is a pianist." Well, the answer is very little until I came here.
0:33:08 > 0:33:12This place, Portmeirion, designed by the architectural magician
0:33:12 > 0:33:14Clough Williams-Ellis.
0:33:14 > 0:33:18Going there, I realised that you could really start to build your own
0:33:18 > 0:33:23things so I started to build Helicon and I could never stop, really.
0:33:23 > 0:33:26It was like it was a nervous habit that I had.
0:33:26 > 0:33:30A classical arch topped off by a couple of lions and a unicorn.
0:33:32 > 0:33:35Now, this herb garden is the beginning of my real
0:33:35 > 0:33:37Portmeirion style.
0:33:37 > 0:33:39As you can see in the background here, Fred the builder,
0:33:39 > 0:33:42who's built all of this station, is building a little,
0:33:42 > 0:33:45what's going to be a cylindrical temple with a dome on top of it.
0:33:45 > 0:33:46Canary Dwarf.
0:33:48 > 0:33:51This building is based on lovely doll's house proportions.
0:33:51 > 0:33:53It's a nice small scale.
0:33:53 > 0:33:56A lovely lion up there and a Venetian window here.
0:33:57 > 0:34:01The details of his buildings, which he has got a few,
0:34:01 > 0:34:05are taken from just travelling the country and seeing things
0:34:05 > 0:34:08and photographing it and then reproducing a window.
0:34:08 > 0:34:11Quatrefoil window.
0:34:11 > 0:34:13Or a mullion.
0:34:13 > 0:34:16That's a rather nice 3-D hobby and it means that you do a sketch
0:34:16 > 0:34:18and it becomes three-dimensional.
0:34:18 > 0:34:20I suppose it's a bit like music - you do a sketch on the piano
0:34:20 > 0:34:23then becomes three-dimensional with a band.
0:34:23 > 0:34:28A Victorian railway station complete with its canopy and ogee windows.
0:34:28 > 0:34:32We built this in about 1988 to house my recording studios.
0:34:32 > 0:34:35After it was finished, a lovely little old lady came down here
0:34:35 > 0:34:37and said to me, "Oh, it's so lovely.
0:34:37 > 0:34:40"I remember when this was an old station in the 1960s
0:34:40 > 0:34:42"and we used to get trains to Waterloo from here."
0:34:42 > 0:34:47That made me so happy because it never, ever had been a station.
0:34:50 > 0:34:54Fortunately, I have planning permission to use this facade on
0:34:54 > 0:34:56the front of these buildings here
0:34:56 > 0:34:58when we extend the studio within there.
0:34:58 > 0:35:01Instead of just a boring breezeblock sort of lump,
0:35:01 > 0:35:05we'll have this charming doll's house facade on the exterior.
0:35:07 > 0:35:11The main facade of Helicon - our studios.
0:35:11 > 0:35:16You can see here the coin stones, seven arches, a balcony
0:35:16 > 0:35:21from which you can make speeches and a lovely unicorn up on the top here.
0:35:21 > 0:35:25This is the door where all the musicians and artists come in and go out.
0:35:27 > 0:35:30So, as you can see, I've had a lot of fun building
0:35:30 > 0:35:32and I hope that I've brightened up the world around me
0:35:32 > 0:35:35with my bits of fun that I've built,
0:35:35 > 0:35:38but the buildings are only a frame and an enclosure.
0:35:38 > 0:35:42And they enclose the most important thing and that's the people
0:35:42 > 0:35:44and the music that we make.
0:35:48 > 0:35:54# You got me in between the devil and the deep blue sea. #
0:35:54 > 0:35:56# I'm the one
0:35:56 > 0:35:59# Yes, I'm the one
0:35:59 > 0:36:01# I'm the one, I'm the one
0:36:01 > 0:36:04# The one they call the seventh son. #
0:36:04 > 0:36:07At the turn of the century, all these different experiences
0:36:07 > 0:36:11we've had led us to making these records of collaborations,
0:36:11 > 0:36:13which were phenomenally successful, I have to say.
0:36:13 > 0:36:16They sold more records than I'd ever dreamed of before.
0:36:16 > 0:36:19# I'm the one
0:36:19 > 0:36:22# Yes, I'm the one. #
0:36:22 > 0:36:25One of the first people, which I thought was very touching,
0:36:25 > 0:36:30to agree to be on this first Friends record that we did was
0:36:30 > 0:36:33George Harrison and Sting was the other one.
0:36:33 > 0:36:36George I had met because we'd been filming The Beatles
0:36:36 > 0:36:38and we had sort of become friends
0:36:38 > 0:36:41when we were filming the film about their anthology.
0:36:41 > 0:36:44And he had been great and he was very, you know,
0:36:44 > 0:36:49he is a very funny, kind, gentle and agreeable fellow.
0:36:49 > 0:36:51One of the nicest people you could meet, really.
0:36:51 > 0:36:54And he said, "I'll do your record." And when it got to doing the record,
0:36:54 > 0:36:56actually, he was quite ill and I said,
0:36:56 > 0:36:58"If you're not well, you don't want to do this,"
0:36:58 > 0:37:01and he said, "No, no, I said I'd do it so I want to do it."
0:37:01 > 0:37:04And he started to do it and the most interesting thing was this -
0:37:04 > 0:37:08by carrying out the act of music, it, for those moments when he was
0:37:08 > 0:37:12playing and singing, it kind of made him better and enabled him to
0:37:12 > 0:37:16be well, which I think is one of the extraordinary things about music.
0:37:16 > 0:37:20It does do that. It gets people out of where they are for the moment.
0:37:20 > 0:37:25But I think that was the last record he made, the one with us.
0:37:27 > 0:37:34# You can take a horse to the water but you can't make it drink
0:37:34 > 0:37:38# Oh no, oh no
0:37:38 > 0:37:39# Oh no. #
0:37:42 > 0:37:46With Jools, you know, we are in tune with one another.
0:37:46 > 0:37:50And so when he said, "Do you fancy doing an album together,"
0:37:50 > 0:37:51I said, "Yeah."
0:37:51 > 0:37:55And that was a very enjoyable year, the year we did that record.
0:37:55 > 0:37:59# Well, if you hear somebody knocking on your door
0:37:59 > 0:38:03# If you see something crawling across the floor
0:38:03 > 0:38:07# Baby, it'll be me
0:38:07 > 0:38:10# And I'll be looking for you. #
0:38:10 > 0:38:13And he is, of course, a great boogie-ist and always has been.
0:38:13 > 0:38:17When he first started he was a boogie-ist and he is one to this day.
0:38:17 > 0:38:22Also, he knows when to take it right back down to nothing.
0:38:22 > 0:38:25We did an Elvis Presley song called Mess Of Blues
0:38:25 > 0:38:27and it's just Jools and I.
0:38:27 > 0:38:31# I just got your letter, baby
0:38:31 > 0:38:34# Too bad you can't come home. #
0:38:34 > 0:38:38So, that's what I feel with Jools will only record, you know,
0:38:38 > 0:38:42that we are both doing something that we both love.
0:38:42 > 0:38:47The attitude in music is, I think, one of the main things I've learnt is you learn from the masters,
0:38:47 > 0:38:49the people you admire. I always admired Ray Charles.
0:38:49 > 0:38:52Not just cos of the beautiful way he played and sang.
0:38:52 > 0:38:55Whether it was a song he had written or someone else's song,
0:38:55 > 0:38:57he just kind of brought it to life, for me.
0:38:57 > 0:38:59But his attitude as well.
0:38:59 > 0:39:03And I met him earlier on when we had been doing The Tube
0:39:03 > 0:39:06and he said something to me that had stuck with me.
0:39:06 > 0:39:08It would be good if, if, if,
0:39:08 > 0:39:14if the people would just remember my music as being sincere.
0:39:14 > 0:39:17I was talking to Sam and we said, "We've got to write a song."
0:39:17 > 0:39:20So we wrote the song and we thought, "We've got to get this to Ray."
0:39:20 > 0:39:23So we got it to Ray and he thought it was great
0:39:23 > 0:39:25but it was when he was, unfortunately,
0:39:25 > 0:39:28near the end of his life and he was very ill so he wasn't able to do it.
0:39:28 > 0:39:33But Paul Rodgers heard this song, who has got an amazing voice,
0:39:33 > 0:39:36and said, "That song has been written for me, I feel it."
0:39:36 > 0:39:39And that was, I think, probably the greatest compliment you could
0:39:39 > 0:39:42have from an artist about a song when he says, "It's written for me."
0:39:42 > 0:39:45And then when he sang it, it's his song now, not ours.
0:39:45 > 0:39:46It's become his.
0:39:46 > 0:39:52# The world has listened to my every sound
0:39:52 > 0:39:58# I've drowned in my tears and I've messed around
0:39:58 > 0:40:02# But whatever I've done
0:40:02 > 0:40:04# Whatever I do
0:40:04 > 0:40:06# I've told the truth
0:40:06 > 0:40:09# Now, let me say... #
0:40:13 > 0:40:17My music career was going in directions that I always dreamed of.
0:40:17 > 0:40:19But where was my television career?
0:40:19 > 0:40:22Ding-dong - the phone rang once again.
0:40:22 > 0:40:24A guy called me and his name was John Head
0:40:24 > 0:40:27and he was producer of a thing called Sunday Night.
0:40:35 > 0:40:39A lot of the top New York session musicians, jazzers, were
0:40:39 > 0:40:43going to be the house band and would you come and do the show as well?
0:40:43 > 0:40:45And it was with a huge American producer -
0:40:45 > 0:40:48the guy that did Saturday Night Live. So this was like,
0:40:48 > 0:40:51"Oh, my God, we've really scored this time."
0:40:51 > 0:40:54- APPLAUSE - Good evening.
0:40:54 > 0:40:56I'm thinking, "This is fantastic.
0:40:56 > 0:41:00We've got America going now and we've got England going now and that's fantastic."
0:41:00 > 0:41:05I know Jools and me played something together on that show.
0:41:13 > 0:41:17So when we finally did hook up - it was special.
0:41:28 > 0:41:33It's not about just Jools as my partner or my friend,
0:41:33 > 0:41:36it's the fact that he plays his ass off.
0:41:38 > 0:41:42That is the key to the kingdom.
0:41:49 > 0:41:52I think that was probably, for me, one of the best,
0:41:52 > 0:41:55one of my most enjoyable moments when out in New York.
0:41:58 > 0:42:01APPLAUSE
0:42:01 > 0:42:03It was a great experience to be working in America,
0:42:03 > 0:42:05playing the music I loved.
0:42:05 > 0:42:08This meant commuting once a week on Concorde.
0:42:08 > 0:42:12This started out as fun but after a while became rather wearing.
0:42:12 > 0:42:15There was no time for anything else, even my own family.
0:42:15 > 0:42:17On top of all this, I was turning down offers of live gigs
0:42:17 > 0:42:20and television work back at home.
0:42:20 > 0:42:23It had been an amazing experience making a network show for NBC
0:42:23 > 0:42:27and Lorne Michaels in New York but, ultimately, I had to resign.
0:42:32 > 0:42:36MUSIC: "The Prisoner Theme" by Ron Grainer
0:42:58 > 0:43:01So, we're making a music show and they...
0:43:01 > 0:43:06it's advised that people have protective earplugs.
0:43:06 > 0:43:09Must be the only music show where you're given earplugs on the way in.
0:43:09 > 0:43:12We're off Neil Sedaka round the piano, please, Eric,
0:43:12 > 0:43:13and we're wrapping.
0:43:13 > 0:43:15He's the bloke that will be filming me.
0:43:15 > 0:43:17Eric and I, we're like hand in glove.
0:43:19 > 0:43:22It's called prompt boards in some worlds.
0:43:22 > 0:43:25I think here they are called idiot boards.
0:43:29 > 0:43:33- Sam's being me now, you see. - Just like you.
0:43:33 > 0:43:35She's being me so I don't have to really bother, really.
0:43:35 > 0:43:37I don't know if I'll turn up.
0:43:37 > 0:43:40Will you give me something down the line and let's see what looks like?
0:43:40 > 0:43:44No pressure, we're live. Tense up, everybody. Let's get in the studio.
0:43:49 > 0:43:52That is the complete extent of rehearsal.
0:43:52 > 0:43:5525th of September, 10 o'clock, that would make it
0:43:55 > 0:43:58approximately 20 years
0:43:58 > 0:44:01since we've been doing this show.
0:44:01 > 0:44:0420 years. You don't get that for armed robbery.
0:44:04 > 0:44:08But there we are, it has been 20 fantastic years.
0:44:10 > 0:44:13We are a family. We have been a family for years.
0:44:13 > 0:44:15Most of the people working on this show have worked on it
0:44:15 > 0:44:20since it started, you know, and that's a triumph, really.
0:44:23 > 0:44:26Thank you very much. Good evening, welcome, ladies and gentlemen,
0:44:26 > 0:44:28to the first show of these shows
0:44:28 > 0:44:31Later... with me the late Jools Holland.
0:44:31 > 0:44:34Well, certainly I didn't know that much about television
0:44:34 > 0:44:37when we started or all the golden rules of television
0:44:37 > 0:44:39so one of the good things about Later was
0:44:39 > 0:44:41we have sort of developed it from the ground up.
0:44:44 > 0:44:47Later is... It's hardly a format.
0:44:47 > 0:44:50It's a bunch of bands, some good, some bad,
0:44:50 > 0:44:54but it only works because you've got a ringmaster.
0:44:56 > 0:44:59The fit that we did have, that Janet and myself and Mark
0:44:59 > 0:45:02worked out, was for me to be in the middle of the room
0:45:02 > 0:45:05and everything work around me - that was the real key to it.
0:45:05 > 0:45:08We wanted the people at home to be the people experiencing
0:45:08 > 0:45:12the show and not to see it third hand through the veil of an audience
0:45:12 > 0:45:15so when we did get an audience, we put them behind the band.
0:45:22 > 0:45:24It's a great feeling on there - you don't feel like,
0:45:24 > 0:45:27"Oh, I'm on a TV show now."
0:45:27 > 0:45:31# And now I've found you Yes, I've found you. #
0:45:31 > 0:45:34It's more of a relaxed feel.
0:45:34 > 0:45:38The musicians know that it is about them and I think that's important.
0:45:38 > 0:45:42And they know that Jools brings them all together and makes the room work.
0:45:42 > 0:45:47It's just his natural way, which is unbounded enthusiasm for everything.
0:45:47 > 0:45:49Welcome to another beautifully-packed Later.
0:45:49 > 0:45:53He hasn't really moved on from The Tube cos there is no moving on,
0:45:53 > 0:45:54that's who he is.
0:45:54 > 0:45:57Was that too alarming for you over there?
0:45:57 > 0:46:00No, they liked it. You see, that's exactly the sort of thing they like.
0:46:00 > 0:46:05So, the idea of just introducing people, I wasn't so mad about
0:46:05 > 0:46:08that because there were people who could do that loads better than me.
0:46:08 > 0:46:10But the idea of interacting with them,
0:46:10 > 0:46:12that I thought was interesting to me.
0:46:12 > 0:46:16- # You make me feel - You make me feel
0:46:16 > 0:46:20# You make me fee-ee-eel
0:46:20 > 0:46:26# And you make me feel like a natural woman
0:46:26 > 0:46:29# Yea-a-a-ah! #
0:46:29 > 0:46:30And Liza Minnelli came on.
0:46:30 > 0:46:33She was the one person that could smoke around the BBC
0:46:33 > 0:46:36and everyone was too frightened to tell her to put it out.
0:46:36 > 0:46:41# Mama may have and Papa may have
0:46:41 > 0:46:47# But God bless a child that's got his own... #
0:46:47 > 0:46:52She was such an incredible nervous energy and full of talent.
0:46:52 > 0:46:58# Oh, yea-a-a-ah! #
0:46:58 > 0:47:00We have lots of famous artists, lots of legends,
0:47:00 > 0:47:04lots of very current ones, but hopefully we use that power to introduce new people,
0:47:04 > 0:47:07that's a part of the calling card of the show, I think.
0:47:07 > 0:47:12# We need to take it back in time When music made us all unite
0:47:12 > 0:47:14# And it wasn't low blows and video ho's
0:47:14 > 0:47:17# Am I the only one getting tired? #
0:47:17 > 0:47:21I think if you're asked to perform on Later with Jools,
0:47:21 > 0:47:25you definitely know that there's something that you're doing right.
0:47:25 > 0:47:29You know, it feels like you've just got a sticker at school.
0:47:29 > 0:47:31Give us a bit of this, would you?
0:47:31 > 0:47:34HE PLAYS PIANO
0:47:34 > 0:47:37- That's like a gauntlet you've thrown down.- I have.
0:47:39 > 0:47:43He is so unruffled and so cheerful about whatever he's doing that
0:47:43 > 0:47:50things like rehearsal seem, well, fleeting at best.
0:47:50 > 0:47:54I think I went to his dressing room for about four minutes
0:47:54 > 0:47:57and he said, "What shall we do?" So that's one minute gone
0:47:57 > 0:48:00while we are talking about what we are going to do.
0:48:00 > 0:48:03And then, "What key shall we do it in?" That's the second minute gone.
0:48:03 > 0:48:07"Shall we try it?" Then he kind of went, "No, it'll be fine."
0:48:22 > 0:48:25So, they're sitting where I should be sitting for the light.
0:48:25 > 0:48:27That's for the lighting.
0:48:27 > 0:48:28Later on, that'll be me...
0:48:28 > 0:48:32and Lisa Marie Presley sitting over there having a chat.
0:48:32 > 0:48:35Were you aware of music from your dad or sort of music that was around the house?
0:48:35 > 0:48:38Was that something that inspired you when you were small?
0:48:38 > 0:48:40I've always had, you know, a tiny, little record player.
0:48:40 > 0:48:44Music was always such a big part of my life since before, I think,
0:48:44 > 0:48:46before I was aware of what was going on.
0:48:46 > 0:48:49I have never really made any great claims to be a great
0:48:49 > 0:48:52inquisitor or questioner.
0:48:52 > 0:48:54What got you into poetry?
0:48:54 > 0:48:57Well, I don't know, I thought that was the way to, kind of,
0:48:57 > 0:48:59win women's hearts.
0:48:59 > 0:49:03The man's a past master with gibberish so he can waffle
0:49:03 > 0:49:07and speak pants to anybody and make it sound incredibly interesting.
0:49:07 > 0:49:10That's interesting though - left-hand instruments.
0:49:10 > 0:49:12Do you find that you're always seeking out
0:49:12 > 0:49:15a left-handed this or left-handed that?
0:49:15 > 0:49:18Really, yeah, cos I don't play right-handed ones.
0:49:18 > 0:49:19LAUGHTER
0:49:19 > 0:49:22- Right-handed piano. - OK, you got me there.
0:49:22 > 0:49:24We would quite often like the interviews to be more
0:49:24 > 0:49:28journalistic but I think we are probably slightly missing the point
0:49:28 > 0:49:30because essentially Later is a show,
0:49:30 > 0:49:32and what Jools' job in the interview is to do
0:49:32 > 0:49:35is to make those people feel welcome and at home
0:49:35 > 0:49:39and tease out some comfort and sense of personality out of them.
0:49:39 > 0:49:41- Now I'm used to your sense of humour. - Yeah?- Yeah.
0:49:41 > 0:49:44What sort of adjustments do you have to make?
0:49:44 > 0:49:47Well, really, I discovered that all you have to do is be a little more
0:49:47 > 0:49:51sarcastic and you fit right in.
0:49:53 > 0:49:56Paul McCartney came on and he did Lady Madonna and, as a child,
0:49:56 > 0:49:58I'd learned that piece on the piano.
0:49:58 > 0:50:01I said, "Wow, I used to play that on the piano when I was kid."
0:50:01 > 0:50:04And he said, "Play it to me." I played it. He said, "It doesn't go quite like that."
0:50:04 > 0:50:07He showed me this little way the notes slid and I thought,
0:50:07 > 0:50:11"I can't believe this is like, I've got the best job on earth."
0:50:11 > 0:50:15# Lady Madonna, baby at your breast
0:50:15 > 0:50:19# Wonder how you manage to feed the rest. #
0:50:28 > 0:50:30So, Later had been running for a couple of years
0:50:30 > 0:50:35and obviously with the Big Band we are still doing lots of shows
0:50:35 > 0:50:37and we were doing a show in Aberdeen.
0:50:37 > 0:50:39So, we were driving up in the car.
0:50:39 > 0:50:42It was when the first car telephones had happened and I was
0:50:42 > 0:50:45so excited to have this big sort of phone with a coily wire
0:50:45 > 0:50:47and you'd answer it like that. I loved it.
0:50:47 > 0:50:50And if anybody rang me it just made my day as I could pick up
0:50:50 > 0:50:53the phone, "Ah, yes." The phone rings - Mark Cooper.
0:50:53 > 0:50:55He said he thinks we should do a New Year's Eve show
0:50:55 > 0:50:57and he thinks we should call it the Hootenanny.
0:50:57 > 0:51:00He said, "I'm not sure what a hootenanny is."
0:51:00 > 0:51:04But we both knew what he meant somehow. I think a big knees-up on a New Year's Eve.
0:51:04 > 0:51:07I said, "Great idea. We could do that. That would be great.
0:51:07 > 0:51:08"Have a band there, good idea."
0:51:08 > 0:51:12Then I put the phone down and Steve the tour manager leans over
0:51:12 > 0:51:14and says, "Traffic's on." Traffic news comes on
0:51:14 > 0:51:19and says that they were having a memorial service of Andy Stewart.
0:51:19 > 0:51:21Andy Stewart was a lovely man who had, of course,
0:51:21 > 0:51:24made the White Heather Club which was the New Year's Eve special
0:51:24 > 0:51:29from Scotland that they had every year when I was growing up. I remember it.
0:51:29 > 0:51:35# Should auld acquaintance be forgot
0:51:35 > 0:51:38# and auld lang syne. #
0:51:38 > 0:51:41And he had sadly died but they were having his memorial
0:51:41 > 0:51:44service in Arbroath and it said, "Avoid Arbroath, plenty of traffic."
0:51:44 > 0:51:47I said, "No, we're not avoiding it. Go straight in there.
0:51:47 > 0:51:50"We're laying some flowers for him and then we'll pick up the baton,
0:51:50 > 0:51:53"spiritually, so to speak, of doing a New Year's Eve show."
0:51:53 > 0:51:57Happy New Year! Happy New Year!
0:51:57 > 0:51:58The Hootenanny.
0:51:58 > 0:52:00Hootenanny!
0:52:00 > 0:52:02AUDIENCE: Hootenanny!
0:52:02 > 0:52:04The biggest party a studio's ever seen.
0:52:04 > 0:52:06It's the best New Year's Eve -
0:52:06 > 0:52:09and I'm working - that you can ever possibly have.
0:52:10 > 0:52:12Happy New Year.
0:52:12 > 0:52:15PIPERS PLAY AULD LANG SYNE
0:52:18 > 0:52:21Jools has become the new Andy Stewart, hasn't he, on New Year's Eve?
0:52:21 > 0:52:23And the traditional sound of the Big Band and
0:52:23 > 0:52:26the Rhythm And Blues Orchestra really, I think, suits the occasion.
0:52:26 > 0:52:30# Give my baby a 99 degree
0:52:30 > 0:52:33# She jumped up and throw the pistol down on me
0:52:33 > 0:52:36# Stop breakin' down
0:52:36 > 0:52:38# Please, stop breakin' down. #
0:52:38 > 0:52:41Eric Clapton came on and was just amazing.
0:52:41 > 0:52:45Playing the blues on that show with the Big Band on New Year's Eve
0:52:45 > 0:52:47is really where you want to be more than anywhere on earth.
0:52:47 > 0:52:49And you are there.
0:53:10 > 0:53:13On one of them, Amy Winehouse, I remember,
0:53:13 > 0:53:18she did Teach Me Tonight where you see a completely different Amy.
0:53:18 > 0:53:25# One thing isn't very clear, my love
0:53:25 > 0:53:33# Should a teacher stand so near, my love?
0:53:33 > 0:53:38# Graduation's almost here, my love
0:53:40 > 0:53:44# Mmm, teach me tonight. #
0:53:46 > 0:53:49On another show she came on with Paul Weller
0:53:49 > 0:53:52and it was his idea to do Don't Go To Strangers
0:53:52 > 0:53:55and he was singing it great and when her voice comes in you think,
0:53:55 > 0:53:57"This is like, she's like Dinah Washington."
0:53:57 > 0:54:02# Oh, don't go to strangers
0:54:02 > 0:54:08# My darling, come to me. #
0:54:08 > 0:54:10If you see it back, watch it back,
0:54:10 > 0:54:12apart from her being fantastic on it,
0:54:12 > 0:54:14there is also a point where me
0:54:14 > 0:54:18and Jools, who were both playing keyboards, were just smiling,
0:54:18 > 0:54:20just beaming just to hear her voice, you know.
0:54:20 > 0:54:24# ..So make your mark
0:54:24 > 0:54:26# For your friends to see
0:54:29 > 0:54:31# Baby, but when you need
0:54:31 > 0:54:36# When you need when you need company
0:54:37 > 0:54:43# No, don't go to strangers
0:54:43 > 0:54:51# My darling, come to me-e-e-e
0:54:51 > 0:54:55# Whoo, come to me. #
0:54:59 > 0:55:01Mr Paul Weller!
0:55:01 > 0:55:03There is also, because it's New Year's Eve,
0:55:03 > 0:55:05a feeling of camaraderie.
0:55:05 > 0:55:09So you can have the biggest stars and, as on one show,
0:55:09 > 0:55:12we had Ruby singing the song at the end and, you know,
0:55:12 > 0:55:14"Shall we get people singing verses?"
0:55:14 > 0:55:15Paul McCartney said, "No, no.
0:55:15 > 0:55:18"We'll all sing the backing vocals and Ruby sings the lead."
0:55:18 > 0:55:21- # Up above my head - Up above my head
0:55:21 > 0:55:24- # I hear music in the air - I hear music in the air
0:55:24 > 0:55:28- # Up above my head - Up above my head
0:55:28 > 0:55:30- # I say, I hear music in the air - I hear music in the air
0:55:30 > 0:55:33- # Up above my head, Lord - Up above my head
0:55:33 > 0:55:37- # I say, I hear music in the air - I hear music in the air
0:55:37 > 0:55:41# I really do believe there is a heaven somewhere
0:55:41 > 0:55:43# Heaven somewhere. #
0:55:43 > 0:55:44It's an incredible month.
0:55:44 > 0:55:48You wouldn't see those stars being backing vocalists and singing
0:55:48 > 0:55:50so sweetly anywhere else on earth.
0:55:50 > 0:55:53- # Up above my head, Lord - Up above my head
0:55:53 > 0:55:56- # I hear music in the air - I hear music in the air
0:55:56 > 0:55:59- # Up above my head, Lord - Up above my head
0:55:59 > 0:56:02- # I say, I hear rockin' in the air - I hear rockin' in the air
0:56:02 > 0:56:05- # Up above my head - Up above my head
0:56:05 > 0:56:09- # I hear jumpin' - I hear jumpin'
0:56:09 > 0:56:13# I really do believe it There is a heaven somewhere
0:56:13 > 0:56:18# Heaven somewhere
0:56:18 > 0:56:23# Oh, yeah. #
0:56:23 > 0:56:24Happy New Year.
0:56:25 > 0:56:28So, you know, is Jools, professionally,
0:56:28 > 0:56:32is he a broadcaster or a musician? He's a musician. That's what he is.
0:56:32 > 0:56:37You know, I bet you could throw the lot away, give him a piano,
0:56:37 > 0:56:41a stage and a bunch of guys to play with - that'll do me.
0:56:47 > 0:56:50Jools - he's the real McGillicuddy.
0:56:53 > 0:56:57You have the respect level as a musician but as a human you go,
0:56:57 > 0:57:00"I like this guy." That's the secret of Jools Holland.
0:57:02 > 0:57:05Unpredictable, very wise, astute,
0:57:05 > 0:57:08desperately single-minded,
0:57:08 > 0:57:12unbelievably so, almost shameless as well, which is a wonderful trait.
0:57:14 > 0:57:17I have not found a flaw in Jools Holland.
0:57:18 > 0:57:21He's not as tall as he looks on television.
0:57:21 > 0:57:23That is a flaw.
0:57:26 > 0:57:29I think if one were to choose an exemplar of Britain,
0:57:29 > 0:57:32you really couldn't get much better than Jools.
0:57:34 > 0:57:39He is a national treasure. I can't think of anybody else who actually encapsulates
0:57:39 > 0:57:41all of those different ingredients.
0:57:41 > 0:57:45If he was a drink, I think that would be my favourite cocktail.
0:57:48 > 0:57:52This is my life, it's what I've done now, I'm not doing it, you know...
0:57:52 > 0:57:55I'm going to make music and build buildings, that's what I've done.
0:57:55 > 0:57:59I'm not going to change now and then be, have a job as the head
0:57:59 > 0:58:04of the National Gallery or open a cafe in Pontypridd.
0:58:04 > 0:58:08I'm going to stick with what I'm doing, you know. That's my life, man.
0:58:30 > 0:58:33Subtitles by Red Bee Media Ltd