0:00:02 > 0:00:05- Two, three, four. - # Ooh ooh
0:00:05 > 0:00:09# Ooh ooh
0:00:09 > 0:00:13# Ooh ooh... #
0:00:13 > 0:00:16So there's just three of us. Is there more than three?
0:00:16 > 0:00:19- # Still the one... # - Yeah, that's nice.
0:00:19 > 0:00:22- # ..Still the one... # - That's nice.
0:00:22 > 0:00:28# We're still having fun Cos you're still the one. #
0:00:28 > 0:00:30- That's nice. Do it again. - # Ohhh... #
0:00:30 > 0:00:36July 2011. Lulu is in final rehearsals for a series of concerts in the UK.
0:00:36 > 0:00:40After five decades in show business, she's still going strong.
0:00:40 > 0:00:42Now that's something to shout about.
0:00:42 > 0:00:48# Well...
0:00:48 > 0:00:51# You know you make me wanna shout... #
0:00:51 > 0:00:54Lulu has been part of the fabric of British popular culture since
0:00:54 > 0:00:59she exploded onto the music scene with her first hit back in 1964,
0:00:59 > 0:01:04and now, at the age of 62, she shows no sign of slowing down.
0:01:04 > 0:01:08She looks like a million bucks. She sounds like a million bucks.
0:01:08 > 0:01:12She's got all the energy in the world. She's fun. She's funny.
0:01:12 > 0:01:13Oh, she's just begun.
0:01:13 > 0:01:15# The boat that I row won't cross no ocean
0:01:15 > 0:01:19# The boat that I row won't get me there soon. #
0:01:19 > 0:01:22It's the spirit of Lulu that is incredible. She's forever young.
0:01:22 > 0:01:26She has this incredible zest for life.
0:01:34 > 0:01:37Lulu's kind of always been around.
0:01:37 > 0:01:40I think probably a lot of people in the UK feel like that.
0:01:40 > 0:01:42She's really a national treasure.
0:01:42 > 0:01:45- You've had a lovely long career, haven't you?- Yes.
0:01:45 > 0:01:47- Longer than Cliff's.- Sir Cliff.
0:01:47 > 0:01:50- Sorry. I bow to you here. And you worked with Take That.- Yes.
0:01:50 > 0:01:54- Frankly, I'd cut my right leg off for that opportunity.- Yeah.
0:01:54 > 0:01:56# Relight my fire... #
0:01:56 > 0:02:00Not only has she constantly adapted to changes in musical style and fashion,
0:02:00 > 0:02:06Lulu was one of the first artists to realise the power of celebrity branding.
0:02:06 > 0:02:10People love her. She's still got a great voice. That's not gone away.
0:02:10 > 0:02:14# You got me begging You got me begging
0:02:14 > 0:02:17# You got me begging Oh... #
0:02:17 > 0:02:21When you know it's come from that little package,
0:02:21 > 0:02:23it's astonishing.
0:02:23 > 0:02:25And she still has the power today.
0:02:25 > 0:02:29If Lulu turned up on a programme like Pop Stars or Pop Idol,
0:02:29 > 0:02:31she would win it.
0:02:31 > 0:02:34# To sir
0:02:34 > 0:02:36# With love... #
0:02:36 > 0:02:41I think in terms of the soul singing, she's probably one of our best soul singers.
0:02:41 > 0:02:44You know, I mean, she's bad.
0:02:44 > 0:02:46To me, she's royalty.
0:02:46 > 0:02:49Lulu has never been seen as just a singer.
0:02:49 > 0:02:53For a whole generation, she's best remembered for having her own
0:02:53 > 0:02:57Saturday night light entertainment shows in the '60s and '70s.
0:02:57 > 0:02:58Hello, everybody.
0:03:02 > 0:03:06I'm 64. I'm older than her. I can't believe I'm still older than Lulu.
0:03:06 > 0:03:09I was watching her when I was at school and I'm still older.
0:03:09 > 0:03:12# Good laughter, joy and happiness We're advanced girls
0:03:12 > 0:03:15- # With a song - And a dance. #
0:03:15 > 0:03:19This is the story of Lulu, a woman who since becoming a child star
0:03:19 > 0:03:23at the age of 15, has blazed a trail for female artists,
0:03:23 > 0:03:26constantly facing battles for control of her career.
0:03:26 > 0:03:31I think I'm doing much more of the kind of stuff that I did when I started,
0:03:31 > 0:03:34not like in the sort of like my 20s, you know,
0:03:34 > 0:03:38when I was on television doing Saturday night TV shows.
0:03:38 > 0:03:41It's much more about the music.
0:03:51 > 0:03:54Lulu has returned to her home town of Glasgow,
0:03:54 > 0:03:57the city she first left 47 years ago to perform a concert,
0:03:57 > 0:04:01to revisit the streets where she grew up, and to talk frankly about
0:04:01 > 0:04:06the ups and downs of a life spent under the show business spotlight.
0:04:06 > 0:04:08I'm here for a big gig,
0:04:08 > 0:04:10erm, tomorrow called Tall Ships.
0:04:10 > 0:04:12So that should be fun.
0:04:12 > 0:04:15You know, once I get on that stage, everything's great.
0:04:19 > 0:04:25At 7pm the following day, Lulu and her band arrive at the venue.
0:04:25 > 0:04:31Before I go on stage, I actually like to have some quiet time,
0:04:31 > 0:04:34because I've got to gather my energy and be focused.
0:04:34 > 0:04:40I like to be left alone to put my make-up on, to fix my hair
0:04:40 > 0:04:44and get myself ready.
0:04:44 > 0:04:47I'm looking forward to getting on. It's a long wait to get on, you know.
0:04:50 > 0:04:54It's always good to actually get on the stage.
0:04:54 > 0:04:57# Yeah, yeah, yeah Still the one. #
0:04:57 > 0:05:00I like to get together with the boys and the band
0:05:00 > 0:05:03and just sing something and have them harmonise first,
0:05:03 > 0:05:05then I'm working myself, I'm ready to go, you know.
0:05:05 > 0:05:09That's kind of a religious part of my performance.
0:05:15 > 0:05:18Whenever we're in Scotland, the crowd really warms to her,
0:05:18 > 0:05:20so it should be a lot of fun.
0:05:20 > 0:05:21I'm really pumped now.
0:05:21 > 0:05:24Yeah, let's go, let's go, let's go.
0:05:24 > 0:05:27It's always hard to impress the Scots.
0:05:27 > 0:05:30There's part of me that wants to please them, that wants to be good
0:05:30 > 0:05:33for them to say, "Oh, you know, she has not lost it,"
0:05:33 > 0:05:35that kind of thing.
0:05:35 > 0:05:39Lulu's set list for the concert will include many of her greatest hits
0:05:39 > 0:05:41along with some soul classics.
0:05:44 > 0:05:47- How you all doing out there? - CHEERING
0:05:47 > 0:05:50I said how's everybody doing out there?
0:05:52 > 0:05:53Ladies and gentlemen,
0:05:53 > 0:05:58we've got an absolute true British icon for you.
0:05:58 > 0:06:03I want everyone here to go absolutely crazy
0:06:03 > 0:06:07for the legend that is Lulu!
0:06:07 > 0:06:09CHEERING
0:06:09 > 0:06:12MUSIC: "Relight My Fire"
0:06:22 > 0:06:27# Yeah, you got to be strong enough to walk on through the night
0:06:27 > 0:06:28# Yeah
0:06:28 > 0:06:31# There's a new day out on the other side
0:06:31 > 0:06:32# Yeah
0:06:32 > 0:06:36# You got to have hope in your soul
0:06:36 > 0:06:38- # Just keep on walking - Keep on walking
0:06:38 > 0:06:40# Whoa oh-oh Yeah, yeah
0:06:40 > 0:06:44# Strong enough to walk on through the night
0:06:44 > 0:06:47# Day on the other side
0:06:47 > 0:06:51# Hope in my soul
0:06:51 > 0:06:56- # Just keep on walking - Keep on walking, baby
0:06:56 > 0:06:57# Relight my fire
0:06:57 > 0:07:00# Yeah, relight my fire
0:07:00 > 0:07:03# Your love is my only desire
0:07:03 > 0:07:06# Relight my fire
0:07:06 > 0:07:08# Cos I need...
0:07:08 > 0:07:11# Oh, I need
0:07:11 > 0:07:14# Yeah, I need...
0:07:14 > 0:07:19# Your love! Your love! Your love! I need your love! #
0:07:20 > 0:07:26I've lived in London for 47 years, but in my heart
0:07:26 > 0:07:28it's kind of, I don't know what is my essence,
0:07:28 > 0:07:31the essence has got a lot to do with being Scottish.
0:07:31 > 0:07:33I'm...
0:07:33 > 0:07:35very proud of being Scottish.
0:07:36 > 0:07:41Lulu was born Marie McDonald McLaughlin Lawrie
0:07:41 > 0:07:43in Glasgow on 3rd November 1948.
0:07:47 > 0:07:50My father worked in the meat market.
0:07:50 > 0:07:52My mother didn't have a job.
0:07:52 > 0:07:55She used to work, I think, sometimes in factories.
0:08:02 > 0:08:04I came from a working-class family.
0:08:04 > 0:08:06And I'm proud of it.
0:08:09 > 0:08:12This is Garfield Street.
0:08:12 > 0:08:17This is where I lived until I was 15 years old
0:08:17 > 0:08:20and it looks very posh.
0:08:20 > 0:08:23The buildings have all been kind of cleaned.
0:08:23 > 0:08:28My parents had hard lives.
0:08:28 > 0:08:30Their relationship was volatile
0:08:30 > 0:08:34and there was a lot of fighting and screaming
0:08:34 > 0:08:38and you never knew what was going to happen from one minute to the other.
0:08:38 > 0:08:41And then there's the memories
0:08:41 > 0:08:44of my father coming home from work,
0:08:44 > 0:08:47having had, you know, a wee bit too much to drink.
0:08:47 > 0:08:51If I hadn't actually gone to pick him up myself,
0:08:51 > 0:08:54cos my mother would say, "Look at the time. Go and get him,"
0:08:54 > 0:08:56and I'd say, "Is my daddy there?"
0:08:56 > 0:08:58"Hey, look, you're not allowed in here."
0:08:58 > 0:09:00"I'm looking for my daddy."
0:09:00 > 0:09:03"Eddie, what you doing here?"
0:09:03 > 0:09:06"My mammy says you've got to come home."
0:09:06 > 0:09:08Lulu was the eldest of four children,
0:09:08 > 0:09:11two girls and two boys, the second child was Billy.
0:09:11 > 0:09:14Our upbringing was...tough,
0:09:14 > 0:09:21you know, there was a lot of friction, there was a lot of anger.
0:09:21 > 0:09:26But at the same time, you know, they were...
0:09:26 > 0:09:30they were very loving, you know, in their way.
0:09:35 > 0:09:40This was the best playground for any kid.
0:09:40 > 0:09:44I was very, very, very young when I could sing with a big voice -
0:09:44 > 0:09:48I had a voice like a foghorn, my father said.
0:09:48 > 0:09:50So I knew I had something.
0:09:50 > 0:09:54I used to sing in the street, do my stuff, and everybody knew.
0:09:54 > 0:09:58I didn't feel awkward or anything because everybody knew me.
0:09:58 > 0:10:02My education, my music education, it wasn't formal,
0:10:02 > 0:10:06but it was about hearing
0:10:06 > 0:10:10sort of records that weren't available to the public,
0:10:10 > 0:10:13the sailors, they would bring the music in
0:10:13 > 0:10:17and that's how we'd get to hear all that great music.
0:10:19 > 0:10:22# ..Cos it brings back memories... #
0:10:22 > 0:10:25From the age of 12, Lulu was singing professionally
0:10:25 > 0:10:29at American Air Force bases and ballrooms around Glasgow.
0:10:29 > 0:10:32Having grown up singing songs by the likes of Connie Francis,
0:10:32 > 0:10:36she now began mimicking then-obscure new artists
0:10:36 > 0:10:39whose records came off the ships, like Aretha Franklin.
0:10:41 > 0:10:44# ...He's talking right away... #
0:10:44 > 0:10:48I never thought I could sing like Aretha, but there's certain inflections
0:10:48 > 0:10:51and there's a certain tone of the voice
0:10:51 > 0:10:53that I would obviously kind of try to get.
0:10:53 > 0:10:55# He lied
0:10:55 > 0:10:57# Darling, I love you
0:10:57 > 0:10:59# I wanna tell you, he lied
0:10:59 > 0:11:00# Darling, I...
0:11:00 > 0:11:07# And, baby, you lied You lied, you lied. #
0:11:07 > 0:11:10I wasn't into anything British. It was American music I liked.
0:11:10 > 0:11:14Gospel, R&B, like Otis Redding.
0:11:14 > 0:11:18The same artists that influenced Lulu during her formative years
0:11:18 > 0:11:20are still a major influence today.
0:11:20 > 0:11:26Basically, it's torture in here because it's so hot.
0:11:26 > 0:11:30For her Glasgow concert, Lulu is rehearsing songs made famous
0:11:30 > 0:11:34by one of her favourites, Otis Redding.
0:11:34 > 0:11:37# Ooh, she may be weary
0:11:38 > 0:11:41# Young girls they do get weary
0:11:43 > 0:11:50# Wearing the same old shabby dress
0:11:53 > 0:11:56# But when she gets weary
0:11:59 > 0:12:05# You've got to try a little tenderness
0:12:13 > 0:12:15# You won't regret it
0:12:16 > 0:12:20# Young girls they don't forget it
0:12:21 > 0:12:28# Love is their whole happiness
0:12:28 > 0:12:31# Yeah
0:12:32 > 0:12:34# But when she gets weary
0:12:38 > 0:12:43# You've got to try a little tenderness
0:12:43 > 0:12:46# That's all you've got to do. #
0:12:46 > 0:12:49Lulu had always been very grown-up for her age
0:12:49 > 0:12:52and she sang like an adult and that was the thing. From square one,
0:12:52 > 0:12:55she sounded like an adult and she thought that way too, you know.
0:12:55 > 0:12:58She wasn't interested in school really.
0:12:58 > 0:13:00She was interested in singing.
0:13:00 > 0:13:02It was obvious that's what she was going to do.
0:13:02 > 0:13:04She'd such a passion for it.
0:13:04 > 0:13:08Anything to get up and sing. I just...loved it.
0:13:08 > 0:13:10And I still do.
0:13:10 > 0:13:14# You gotta squeeze her Tease her
0:13:14 > 0:13:16# Oh...
0:13:20 > 0:13:24# Try a little tenderness
0:13:24 > 0:13:29# You've got to put her on your shoulder, yeah, yeah
0:13:29 > 0:13:32# You've got to squeeze her
0:13:32 > 0:13:38# Tell her that you'll never, never, never ever leave her
0:13:38 > 0:13:44# Oh Try a little tenderness
0:13:44 > 0:13:48# That's all you've got to do, yeah. #
0:13:52 > 0:13:54That was my fantasy. Just singing.
0:13:54 > 0:13:57Take me into another world.
0:13:57 > 0:13:59Still does and it still does.
0:14:03 > 0:14:07I think success was always the dream but it was a dream.
0:14:07 > 0:14:11I certainly wasn't thinking I've got to get out of Glasgow, go somewhere else.
0:14:11 > 0:14:16I just wanted to sing but there was any opportunity that I could get to,
0:14:16 > 0:14:20you know, sing with my band, and I was 14 at the time, there was a competition
0:14:20 > 0:14:23and I was in the competition and I got through,
0:14:23 > 0:14:26and then I got to go to London, I got a recording contract.
0:14:26 > 0:14:28The record came out, I had a hit record,
0:14:28 > 0:14:32it was like boom, boom, boom, boom!
0:14:32 > 0:14:35Erm, amazing, really.
0:14:35 > 0:14:38# You know you make me wanna shout Look my hand's jumping
0:14:38 > 0:14:41# Look my heart's thumping Throw my head back
0:14:41 > 0:14:43# Come on now... #
0:14:43 > 0:14:47Lulu's debut single Shout was released in 1964.
0:14:47 > 0:14:50She'd recorded the song when she was just 14,
0:14:50 > 0:14:52but because of the child labour laws,
0:14:52 > 0:14:57the record's release was held back until after her 15th birthday.
0:14:57 > 0:14:59Prior to the record's release,
0:14:59 > 0:15:01Marie became Lulu and her band, The Lovers.
0:15:01 > 0:15:04# ..Say that you love me Say that you need me
0:15:04 > 0:15:08# Say that you want me Ain't gonna leave me
0:15:08 > 0:15:09# Come on now
0:15:09 > 0:15:13# Come on now Come on now... #
0:15:13 > 0:15:15The record would storm into the top ten
0:15:15 > 0:15:20and remains one of the most memorable debut singles of all time.
0:15:20 > 0:15:21I was a big R&B fan
0:15:21 > 0:15:24and I knew the Isley Brothers' version of that song very well,
0:15:24 > 0:15:28but this little girl from Scotland, there she was on the television,
0:15:28 > 0:15:30and this huge voice coming out of her
0:15:30 > 0:15:33and it was the most soulful voice and I was blown away,
0:15:33 > 0:15:38and I think everybody who saw her at that time just couldn't believe it.
0:15:38 > 0:15:40I was shocked because there was this voice
0:15:40 > 0:15:45that just came out of nowhere and then you suddenly realise
0:15:45 > 0:15:47it's this little girl from Glasgow
0:15:47 > 0:15:51and she had this incredible voice, very American to a certain degree.
0:15:51 > 0:15:54It was only when I met her that I realised
0:15:54 > 0:15:59she was this ball of energy, she was this Little Miss Dynamite.
0:15:59 > 0:16:02When we heard Shout, we thought, "This is fantastic."
0:16:02 > 0:16:06We thought, "How can someone that young sing like that?"
0:16:06 > 0:16:08# You know you make me want to shout
0:16:08 > 0:16:11# Whoo, shout Whoo. #
0:16:11 > 0:16:15The success of the record would turn Lulu's world upside down, and soon
0:16:15 > 0:16:19she was saying goodbye to Garfield Street and hello to swinging London.
0:16:19 > 0:16:20I thought Glasgow was huge.
0:16:20 > 0:16:23It was the world to me,
0:16:23 > 0:16:27but then when I came to London, I couldn't believe how big it was.
0:16:27 > 0:16:33The whole of the world was focused on swinging London, you know.
0:16:33 > 0:16:35And I was in the middle of it.
0:16:35 > 0:16:39This was the time where Britain was controlling entertainment
0:16:39 > 0:16:43around the world with the Mersey Sound and all the groups.
0:16:43 > 0:16:48I think everybody felt that, you know, there is nothing stopping us becoming huge stars.
0:16:48 > 0:16:52The Beatles had gone to America and conquered America. Every one of us can do this.
0:16:52 > 0:16:56And whether you came from Glasgow, like Lulu, or Liverpool like me,
0:16:56 > 0:16:59you know, you just thought, "The world's my oyster here."
0:16:59 > 0:17:03In Glasgow, people were footballers, boxers,
0:17:03 > 0:17:07they were musicians, to give them a different life.
0:17:07 > 0:17:11Now I see how lucky I was, but I don't think I planned it.
0:17:11 > 0:17:14What I did do was I took the opportunities,
0:17:14 > 0:17:17because when I left Glasgow I used to cry myself to sleep.
0:17:17 > 0:17:22I mean, it was scary because, you know, I was 14, 15 years old,
0:17:22 > 0:17:24but I wouldn't go home.
0:17:24 > 0:17:27- # Hey-eh eh-eh - Hey-eh eh-eh
0:17:27 > 0:17:29# Hey-eh eh-eh. #
0:17:29 > 0:17:34My mother said that if she'd had stopped me going to London then,
0:17:34 > 0:17:37she knows that I would have held it, been angry with her,
0:17:37 > 0:17:39and I would have done it anyway later.
0:17:39 > 0:17:41It became clear very early on,
0:17:41 > 0:17:45especially with the speed it was happening for Lu,
0:17:45 > 0:17:47the rate the success was coming,
0:17:47 > 0:17:50that who was going to look after this 14, nearly 15-year-old girl?
0:17:50 > 0:17:54The job of looking after Lulu would fall to her manager, Marian Massey.
0:17:54 > 0:17:56The first time I saw Lulu,
0:17:56 > 0:18:00I was absolutely knocked out
0:18:00 > 0:18:02with this little girl
0:18:02 > 0:18:06who positively erupted onto the stage.
0:18:06 > 0:18:11She actually...was very maternal towards me,
0:18:11 > 0:18:14which was an incredible thing for a 14-year-old girl.
0:18:14 > 0:18:19She was so confident and she had such a terrific voice.
0:18:19 > 0:18:26She was a star. There was absolutely no doubt in my mind whatsoever.
0:18:26 > 0:18:31Marian absolutely believed in me 150%.
0:18:31 > 0:18:35She thought I could do anything, but it was very turbulent
0:18:35 > 0:18:38with my mother and I for a long time,
0:18:38 > 0:18:41and because of my relationship with Marian.
0:18:41 > 0:18:43And as a mother, I understand it.
0:18:43 > 0:18:46As a teenager, I just thought she was unreasonable
0:18:46 > 0:18:49and I couldn't get it,
0:18:49 > 0:18:53that she had sort of lost me.
0:18:53 > 0:18:58# Well, I want you to leave a little love
0:18:58 > 0:19:04# In my heart
0:19:04 > 0:19:11# Leave a little love so when we part... #
0:19:11 > 0:19:1418 months after arriving in London,
0:19:14 > 0:19:18Lulu's record company decided to repackage her as a solo artist.
0:19:18 > 0:19:21Her backing band, The Lovers, became surplus to requirements.
0:19:21 > 0:19:27Lulu would have little say in the new direction her career was about to take.
0:19:27 > 0:19:28As soon as I dropped the band,
0:19:28 > 0:19:31then I became a much more middle of the road artist.
0:19:31 > 0:19:34I was really in the hands of much older people
0:19:34 > 0:19:37and I didn't write my own material,
0:19:37 > 0:19:40so they tried to find songs for me.
0:19:40 > 0:19:43Got a top line, have a listen to this.
0:19:43 > 0:19:47I think it's...a smash, as they say.
0:19:47 > 0:19:50Now it's a whole different marketplace.
0:19:50 > 0:19:52A lot of girl singers like Adele
0:19:52 > 0:19:55will have written most of her own material.
0:19:55 > 0:19:58In those days that wasn't so common.
0:19:58 > 0:20:01You didn't really... kind of get that
0:20:01 > 0:20:05until the Joni Mitchells of this world came along in the '70s,
0:20:05 > 0:20:11but mostly, in the '60s, Sandie Shaw, Lulu, Dusty,
0:20:11 > 0:20:13all relied on songwriters.
0:20:13 > 0:20:18# Sun shines bright on my veranda Had a lot of luck
0:20:18 > 0:20:20# But I've a plan to
0:20:20 > 0:20:25# Find the only thing that never came my way. #
0:20:25 > 0:20:27Enlisted to find songs for Lulu
0:20:27 > 0:20:33was the man with the Midas touch, legendary pop producer, Mickie Most.
0:20:33 > 0:20:36There should be a statue erected to Mickie Most. He was a genius.
0:20:36 > 0:20:40He had great ears and you know, some people have just got
0:20:40 > 0:20:43this God-given gift for whatever,
0:20:43 > 0:20:47and Mickie just could listen to a song and I know as a songwriter,
0:20:47 > 0:20:50I used to go round to him and play him maybe a dozen songs,
0:20:50 > 0:20:54and he would take them off straightaway off the record player.
0:20:54 > 0:20:56He'd say, "No, no, no."
0:20:56 > 0:21:00Then he'd hear a few bars of another song and he'd say yes, straightaway.
0:21:02 > 0:21:04# I'm a tiger
0:21:04 > 0:21:05# I'm a tiger
0:21:05 > 0:21:09# I'm a tiger I'm a tiger... #
0:21:09 > 0:21:13One of the many songs that Mickie Most chose to produce for Lulu was I'm A Tiger.
0:21:13 > 0:21:17Despite it becoming a top-ten hit, it was a far cry from the soul
0:21:17 > 0:21:20and rhythm and blues songs that Lulu wanted to sing.
0:21:20 > 0:21:23I would have rather sang songs that
0:21:23 > 0:21:26had more of a gravel, raw edge to them.
0:21:26 > 0:21:31I had an inner struggle with a lot of stuff I had hits with.
0:21:31 > 0:21:34# ..Might make you think and change your mind. #
0:21:36 > 0:21:39# I'm a tiger I'm a tiger. #
0:21:39 > 0:21:43Well, maybe she hates it but she was so cute in that video.
0:21:43 > 0:21:49She had this really coquettish series of looks for the camera,
0:21:49 > 0:21:51which was, I'm sure she had men hot under the collar
0:21:51 > 0:21:54and the girls wondering how they could get that look.
0:21:54 > 0:21:57I'm definitely overacting,
0:21:57 > 0:22:00and how cheap was it to do this film?
0:22:00 > 0:22:06One camera, one stuffy and one poor...tiger
0:22:06 > 0:22:09pacing up and down behind me and listening to me.
0:22:09 > 0:22:12Anybody could have sung this song, you know,
0:22:12 > 0:22:15and I kind of wanted to sing different things.
0:22:15 > 0:22:18This is the kind of song that my record producer would say,
0:22:18 > 0:22:20"This is going to be a hit, you've got to do it."
0:22:20 > 0:22:22And I would do it.
0:22:22 > 0:22:26And I'm overacting like such... God, the faces. Oh, my goodness.
0:22:26 > 0:22:29# I'm a tiger... #
0:22:29 > 0:22:30I was very young.
0:22:33 > 0:22:36I mean, Mickie was amazing.
0:22:36 > 0:22:40He was a hit-maker but I kind of wanted someone who could,
0:22:40 > 0:22:43you know, understand my soul. Don't get me wrong,
0:22:43 > 0:22:46if I wouldn't have been with people like Mickie,
0:22:46 > 0:22:48I may have been forgotten and lost
0:22:48 > 0:22:52and you know, never have lasted this long.
0:22:55 > 0:22:57Today, unlike the early part of her career,
0:22:57 > 0:22:59Lulu now controls everything,
0:22:59 > 0:23:02from the songs she sings to the people she works with.
0:23:02 > 0:23:04Lulu calls the shots,
0:23:04 > 0:23:08even down to choreographing the stage moves of her backing singers.
0:23:11 > 0:23:13Do you know what?
0:23:13 > 0:23:17I like what he just did. He just did this. He just did...
0:23:17 > 0:23:21SHE HUMS MUSIC
0:23:21 > 0:23:24Something like that, do it. Do it again. I like that.
0:23:24 > 0:23:28- SHE HUMS MELODY - I like it, cool.
0:23:28 > 0:23:31How comes he does it wrong and...?
0:23:31 > 0:23:34I didn't know that. I was just...
0:23:34 > 0:23:37The fact that he did it wrong and it looked good,
0:23:37 > 0:23:39means it's now right.
0:23:42 > 0:23:44# I can't turn you loose, yeah
0:23:46 > 0:23:48# If I do I'm gonna lose my mind, babe
0:23:48 > 0:23:51# I'm never gonna turn you loose
0:23:51 > 0:23:54# If I do I'm gonna lose my life
0:23:54 > 0:23:56# You know I can't turn you loose
0:23:56 > 0:24:01# For nobody Cos I love you, love you, baby
0:24:01 > 0:24:03# Yes, I do Yes, I do
0:24:03 > 0:24:06# Hip-shakin' papa I told you I'm in love
0:24:06 > 0:24:09# With only you Come on now
0:24:09 > 0:24:11# Do it to me, baby Why don't you?
0:24:11 > 0:24:14# I want to give you everything you want... #
0:24:14 > 0:24:17Every musician I've ever worked with and introduced her to,
0:24:17 > 0:24:21come away going, "She's the real deal, you know, she's amazing."
0:24:21 > 0:24:24She'll be demanding, but never a hard time though.
0:24:24 > 0:24:26It's always done with a good heart, you know.
0:24:28 > 0:24:31# Hey, I can't turn you loose... #
0:24:31 > 0:24:33She's pretty cool, isn't she?
0:24:33 > 0:24:36- Pretty cool, yeah. Very cool, yeah. - She doesn't shout at you, yet.
0:24:36 > 0:24:39- We'll just have to wait and see. - That'll come.
0:24:39 > 0:24:40Wait till you get to the show.
0:24:40 > 0:24:42She's going to get really Glasgow on us.
0:24:42 > 0:24:46- No, she's awesome. Brilliant. She's really nice.- Great person.
0:24:46 > 0:24:48Even when I was a teenager,
0:24:48 > 0:24:52I would be very bossy with the band about what I needed,
0:24:52 > 0:24:54and what I would like.
0:24:54 > 0:24:59So I think today, because I've had so much experience,
0:24:59 > 0:25:03they listen to me. And, you know, I'm paying their wages,
0:25:03 > 0:25:05- they'll listen to me, of course. - SHE LAUGHS
0:25:07 > 0:25:10MUSIC: "I Can't Turn You Loose"
0:25:21 > 0:25:24# I can't turn you loose, yeah
0:25:24 > 0:25:28# If I do I'm going to lose my mind, babe
0:25:28 > 0:25:31# I'm never going to turn you loose, papa
0:25:31 > 0:25:34# If I do I'm going to lose my life
0:25:34 > 0:25:37# No, I can't turn you loose for nobody
0:25:37 > 0:25:40# Cos I love you, baby Love you, baby
0:25:40 > 0:25:42# Yes, I do Yes, I do
0:25:42 > 0:25:47# Hip-shakin' papa, I told you How I love only you
0:25:47 > 0:25:51# Come on now, give it to me, baby Why don't you?
0:25:51 > 0:25:54# I'm going to give you everything you want
0:25:54 > 0:25:55# Yeah, baby now
0:25:57 > 0:25:59# Never going to turn you loose, whoa... #
0:26:02 > 0:26:05I don't like to be just the only one out front.
0:26:05 > 0:26:08I like to get singers on stage that'll come forward.
0:26:08 > 0:26:11I'm always saying to my band, "Come forward. Don't stand up there.
0:26:11 > 0:26:15"Don't look at your feet. Come forward, be with me at the front.
0:26:15 > 0:26:17- SHE GIGGLES - "I'm lonely at the front."
0:26:17 > 0:26:19Get down here.
0:26:20 > 0:26:22# Never going to stop me now... #
0:26:22 > 0:26:25Whenever you see Lulu, whether it's footage from the old days
0:26:25 > 0:26:27or whether it's live now,
0:26:27 > 0:26:30you still get a tingle up your spine because she still has that ability
0:26:30 > 0:26:35to get an audience in the palm of her hand and just excite you.
0:26:36 > 0:26:40In the end, it is to do with singing
0:26:40 > 0:26:44and whether she's standing by the microphone in the studio singing,
0:26:44 > 0:26:47or singing live on stage moving around, she still sounds great.
0:26:47 > 0:26:49She is still a Little Miss Dynamite.
0:26:49 > 0:26:52# Turn loose, turn loose... #
0:26:52 > 0:26:54She makes it look effortless as well.
0:26:54 > 0:26:56I don't know how effortless it is,
0:26:56 > 0:27:00probably quite because she had that voice from such a young age.
0:27:00 > 0:27:04What's equally amazing is she still has the power.
0:27:07 > 0:27:09# ..Turn loose, yeah. #
0:27:09 > 0:27:11Just love it. I love to perform.
0:27:11 > 0:27:15Yeah, it just gets me going. It gets me out of bed. It gets me moving.
0:27:30 > 0:27:32Oh, I hope you had a good time tonight.
0:27:32 > 0:27:35Well, Lulu, what do you hope to do in your 20s
0:27:35 > 0:27:38when you're no longer a teenager?
0:27:38 > 0:27:42Well, somewhere round about my 20s, I'd like to be married,
0:27:42 > 0:27:44and I'd like to have kids, you know.
0:27:44 > 0:27:47But I'd still like to be a singer.
0:27:47 > 0:27:49In fact, I think I'd like to do some films.
0:27:49 > 0:27:52You mention films, have you done any lately?
0:27:52 > 0:27:56Well, there is something in the offing but I can't just say yet.
0:28:00 > 0:28:03Lulu's ambition was realised when she auditioned for a part
0:28:03 > 0:28:06in the upcoming British movie, To Sir With Love.
0:28:06 > 0:28:09The film tells the story of an American teacher
0:28:09 > 0:28:14who has to confront the harsh realities of teaching in a tough East London school.
0:28:20 > 0:28:23I got the part. Wasn't much of a part.
0:28:23 > 0:28:30But there I was with all these little actresses and actors,
0:28:30 > 0:28:34young teenage, and they were all
0:28:34 > 0:28:39so excited that I was in the film with them because I was a pop star.
0:28:39 > 0:28:43I was nervous because I'm not an actress.
0:28:43 > 0:28:46The thing about acting is you can either do it or you can't,
0:28:46 > 0:28:49and she could do it first off,
0:28:49 > 0:28:52and because she has a good ear,
0:28:52 > 0:28:55she could pick up on the cockney that she had to do for the movie.
0:28:55 > 0:28:59Shut up. Look, sir, when can we go? There's no time after school
0:28:59 > 0:29:01and I've got to look after the kids and flat and all.
0:29:01 > 0:29:04I have to do the housework and get the supper for the lodgers
0:29:04 > 0:29:05and all that, sir.
0:29:05 > 0:29:08I decided I was not going to be the odd one out.
0:29:08 > 0:29:09I wasn't going to be the singer.
0:29:09 > 0:29:13I wasn't going to be the Scottish person.
0:29:13 > 0:29:16I was going to be like, I wanted to be like them.
0:29:16 > 0:29:2017-year-old Lulu's first time acting role in the movie,
0:29:20 > 0:29:22cast her alongside Sidney Poitier,
0:29:22 > 0:29:25one of Hollywood's all-time great actors.
0:29:25 > 0:29:29But as this scene shows, she appeared totally undaunted.
0:29:29 > 0:29:31Never be afraid to experiment.
0:29:31 > 0:29:35And always remember that you can eat well even though you're broke, see.
0:29:35 > 0:29:39You ever been broke, sir? Real broke, skint?
0:29:40 > 0:29:42Yeah, many, many, many times.
0:29:42 > 0:29:44Oh, I don't understand you a bit, sir.
0:29:44 > 0:29:47I mean, you're a toff and you ain't.
0:29:47 > 0:29:50Huh?
0:29:50 > 0:29:53Sir, what he means is...
0:29:53 > 0:29:56Blimey, I can't sort of put it into words or anything.
0:29:56 > 0:30:02Well, sir, you're like us but you ain't - I mean, you're not.
0:30:02 > 0:30:05It's kind of scary but nice, you know what I mean, don't you?
0:30:05 > 0:30:07Movies were vehicles for rock-and-roll singers.
0:30:07 > 0:30:10Yeah, Elvis kicked off that whole thing
0:30:10 > 0:30:13but it was a chance for us, and in this case, Lulu,
0:30:13 > 0:30:19to be in a film that was recognised as a serious movie, dealing with
0:30:19 > 0:30:23a particular serious topic, you know, how kids behave at school.
0:30:23 > 0:30:29So for her to get that role must have been a fantastic treat for her.
0:30:29 > 0:30:32- She must have loved every minute of it.- I had no idea.
0:30:32 > 0:30:37I was in a film with a great famous actor and it was about a teacher.
0:30:37 > 0:30:39I mean, he was black, you know,
0:30:39 > 0:30:42he was dealing with...
0:30:42 > 0:30:48kids from the East End and teaching them about America.
0:30:48 > 0:30:54What did I know? I didn't know that Sidney Poitier was doing
0:30:54 > 0:30:59his thing the way Martin Luther was doing his thing in America
0:30:59 > 0:31:01for black people and equality.
0:31:01 > 0:31:03Sidney Poitier was doing it on film.
0:31:03 > 0:31:07Do you think it's wrong to change, to be different, to rebel, sir?
0:31:07 > 0:31:10It is your duty to change the world if you can,
0:31:10 > 0:31:15not by violence. Peacefully, individually, not as a mob.
0:31:15 > 0:31:17Sidney worked with us so brilliantly.
0:31:17 > 0:31:22There's an end scene where Lu sings the title song
0:31:22 > 0:31:25and Sidney made James Clavell shoot the reaction shot,
0:31:25 > 0:31:30one time only, and at the end of this number,
0:31:30 > 0:31:36we were all crying our eyes out and if you actually watch the movie -
0:31:36 > 0:31:37watch the movie -
0:31:37 > 0:31:40if you watch the movie, we're crying our eyes out,
0:31:40 > 0:31:43we couldn't have acted that way unless it was absolutely real,
0:31:43 > 0:31:48and Sidney knew that we were inexperienced
0:31:48 > 0:31:50and so he was there for us.
0:31:50 > 0:31:54# A friend who taught me right from wrong
0:31:54 > 0:31:56# And weak from strong
0:31:56 > 0:31:59# That's a lot to learn
0:31:59 > 0:32:07# What can I give you in return?
0:32:07 > 0:32:11# If you wanted the moon I will try to make a start
0:32:11 > 0:32:18# But I would rather you let me give my heart
0:32:18 > 0:32:24# To sir with love. #
0:32:28 > 0:32:31I wasn't sure about the song when I first heard it.
0:32:31 > 0:32:35Eventually, I grew to love it. But the success it had was unbelievable.
0:32:35 > 0:32:37It was unparallelled, really, at that time.
0:32:37 > 0:32:39And it made her a big star in America.
0:32:39 > 0:32:43And that's when I started to really pay attention to her,
0:32:43 > 0:32:47because it was a great song and then she executed it very well.
0:32:47 > 0:32:50In fact, a lot of black people thought it wasn't me singing.
0:32:50 > 0:32:53They thought it was somebody, a black person singing,
0:32:53 > 0:32:56that was like, "Whoa! What a compliment!"
0:32:56 > 0:32:59And yeah, it was amazing.
0:32:59 > 0:33:01To Sir With Love was enormous in America.
0:33:01 > 0:33:05It went to number one and it stayed there, I think, for five weeks.
0:33:05 > 0:33:09It was a huge... I think I got the Billboard award for it,
0:33:09 > 0:33:10many awards came.
0:33:11 > 0:33:15To Sir With Love was only ever a B-side in the UK,
0:33:15 > 0:33:18but its popularity in the USA endures to this day.
0:33:18 > 0:33:21So much so that when Lulu appeared
0:33:21 > 0:33:23as a mentor on American Idol in 2007,
0:33:23 > 0:33:26this was the song she was asked to perform.
0:33:26 > 0:33:27But being Lulu,
0:33:27 > 0:33:30she didn't want to do it in the same way she did back in the '60s.
0:33:30 > 0:33:35I got Barry Manilow to give it a kick up the backside for me.
0:33:35 > 0:33:38She said if I have to sing To Sir With Love in that same arrangement
0:33:38 > 0:33:41that I did when I was 18 years old, I'm going to shoot myself.
0:33:41 > 0:33:45Can you possibly just beef it up a little? I said, "Sure."
0:33:45 > 0:33:47So I gave her this new arrangement
0:33:47 > 0:33:52which had much more energy and now that I knew what she could do,
0:33:52 > 0:33:56I went all the way with this arrangement, and she sang it
0:33:56 > 0:34:01on American Idol and blew the house down. I was so happy for her.
0:34:01 > 0:34:06# If you wanted the moon I would try to make a start
0:34:06 > 0:34:12# But I would rather you let me give my heart
0:34:12 > 0:34:18# To sir with love. #
0:34:18 > 0:34:19That's the way I do it now
0:34:19 > 0:34:23and I love it, you know, and I hit, you know, I go right up, you know,
0:34:23 > 0:34:25to the top of my range, full voice,
0:34:25 > 0:34:28chest, voice, you know, which is thrilling to do.
0:34:28 > 0:34:35# ..To sir with love... #
0:34:41 > 0:34:44# Some people live within the world And some people live without it
0:34:44 > 0:34:47# Some people got to whisper their love
0:34:47 > 0:34:49# But some they've got to shout it
0:34:49 > 0:34:53# One thing they have in common is They all talk a lot about it
0:34:53 > 0:34:55# Everybody wants it or has it or holds it
0:34:55 > 0:34:57# But as for me I doubt it
0:34:57 > 0:35:01# Love loves to love love to love love to love. #
0:35:01 > 0:35:05During 1967, London was in full swing
0:35:05 > 0:35:09and Lulu was at the centre of the party scene.
0:35:09 > 0:35:13If you saw Lulu at the party, she was a clean machine.
0:35:13 > 0:35:16You know, there was nothing going on with her.
0:35:16 > 0:35:19She always had that kind of reputation of being,
0:35:19 > 0:35:23one would have said at that time, maybe a little prim, you know.
0:35:23 > 0:35:26# ..Love loves to love love To love love to love... #
0:35:26 > 0:35:31I was embarrassed that I didn't get up to all the tricks that everybody was getting up to.
0:35:31 > 0:35:34I didn't want anyone to know that I wasn't doing it,
0:35:34 > 0:35:37but I wouldn't do it and it was very awkward. It was very awkward.
0:35:37 > 0:35:43# I don't have a lot but with me that's fine
0:35:43 > 0:35:48# Whatever I got Well, I know it's mine, hey
0:35:48 > 0:35:51# I don't go around with the local crowd
0:35:53 > 0:35:58# I don't dig what's in so I guess I'm out. #
0:35:58 > 0:36:03I could talk and I thought I looked like I was pulling it off,
0:36:03 > 0:36:06but for sure, everybody could see I was not cool
0:36:06 > 0:36:13in the slightest, and I was, you know, a naive little teenager.
0:36:13 > 0:36:16# But I got the love if you got the notion
0:36:16 > 0:36:19# The boat that I row is big enough for two
0:36:19 > 0:36:21# Me and you. #
0:36:21 > 0:36:24My hormones are raging, but I was terrified, you know.
0:36:24 > 0:36:28I wasn't really looking to jump into bed with anybody.
0:36:28 > 0:36:31I was frightened to death.
0:36:31 > 0:36:33You don't have sex until you're married.
0:36:33 > 0:36:36My mother, "Oh, it's only for the men."
0:36:36 > 0:36:37That was my mother.
0:36:37 > 0:36:41You can imagine what I was thinking about sex.
0:36:41 > 0:36:43"Oh, no, I don't want to go there!"
0:36:48 > 0:36:51In 1969, after a chance meeting on Top Of The Pops,
0:36:51 > 0:36:55and a whirlwind romance, Lulu married Bee Gee Maurice Gibb.
0:36:55 > 0:37:01You'd think in the '60s, I could have just lived with him but no, we had to get married.
0:37:01 > 0:37:06I was 19 years old and I think she'd just turned 20, and it was...
0:37:06 > 0:37:10actually the wedding of the year in England at that time.
0:37:10 > 0:37:13I wore this white suit with blue shirt
0:37:13 > 0:37:16and she actually had a mink thing on her hood.
0:37:16 > 0:37:20I suppose, you know, when Lu married Maurice Gibb,
0:37:20 > 0:37:24they were possibly the first celebrity couple.
0:37:24 > 0:37:26They were the Beckhams of their day.
0:37:26 > 0:37:30She couldn't drive down the street, get near the church.
0:37:30 > 0:37:32People were screaming. It was like, "Whoa!"
0:37:32 > 0:37:35It reminds me a little bit of what the Big Brother,
0:37:35 > 0:37:37coming out the Big Brother house.
0:37:37 > 0:37:40We were kind of like pop prince and princess, you know,
0:37:40 > 0:37:42a bit deluded, you know.
0:37:42 > 0:37:45Think I'm on top of the world, I can do anything, you know,
0:37:45 > 0:37:47I can make this happen, I can make this work.
0:37:47 > 0:37:50# Everybody's got to clap
0:37:50 > 0:37:53# To the sound of the music. #
0:37:53 > 0:37:58During 1971, Maurice appeared with Lulu on Top Of The Pops,
0:37:58 > 0:38:02performing Everybody Clap, a song he wrote and produced for her.
0:38:02 > 0:38:04On the surface, everything seemed rosy,
0:38:04 > 0:38:09but their commitment to show business was putting a strain on their relationship.
0:38:09 > 0:38:12I think the biggest problem is anybody in this business,
0:38:12 > 0:38:15if they're in the same business,
0:38:15 > 0:38:20and they're focused as much as each other, it's like ships in the night,
0:38:20 > 0:38:25and it's not as easy to get on as you'd think it would be.
0:38:25 > 0:38:27It was a fantasy.
0:38:27 > 0:38:31I mean, we were two lonely, erm...
0:38:33 > 0:38:36..kids, who could totally relate to each other
0:38:36 > 0:38:40and thought we could get married and stay married, you know,
0:38:40 > 0:38:43not emotionally grown-up in any way, shape or form.
0:38:43 > 0:38:48Babies, two little babies thinking they could play a grown-up game.
0:38:48 > 0:38:51It was a shame, very sad, very upsetting.
0:38:53 > 0:38:55Very upsetting.
0:38:55 > 0:38:59# ..But you and I Our love will never die ... #
0:38:59 > 0:39:04Lulu and Maurice divorced in 1973, yet remained friends and, in 2002,
0:39:04 > 0:39:07they duetted on the TV special, An Audience With Lulu.
0:39:07 > 0:39:10Oh, my God, that was tough.
0:39:10 > 0:39:14That was tough. He died not long after that.
0:39:14 > 0:39:19His wife said, "You know, it was kind of sweet that you did that."
0:39:19 > 0:39:22She said, "You sort of closed the circle," she felt.
0:39:22 > 0:39:24I struggled with it.
0:39:26 > 0:39:29But in a way I'm sort of OK with it now.
0:39:37 > 0:39:45# ..Don't ask me why The time has passed us by
0:39:46 > 0:39:49# Someone else moved in
0:39:51 > 0:39:55# From far away... #
0:39:57 > 0:39:59Ladies and gentlemen, Maurice Gibb.
0:39:59 > 0:40:02- Thank you. - CHEERING AND APPLAUSE
0:40:05 > 0:40:08# Hello, everybody
0:40:08 > 0:40:10# Glad to be
0:40:10 > 0:40:14# Meeting you again on your TV
0:40:14 > 0:40:20# And I hope you feel the same as me... #
0:40:20 > 0:40:23If you do, stick around for the next 25 minutes.
0:40:23 > 0:40:28In 1968, Lulu was offered her own Saturday night TV show on the BBC.
0:40:28 > 0:40:31With viewing figures often in excess of 20 million,
0:40:31 > 0:40:34Saturday night TV was the place to be.
0:40:34 > 0:40:39In the '60s, pop stars, the Cilla Blacks, the Sandie Shaws,
0:40:39 > 0:40:43were all moving into this other area of becoming entertainers.
0:40:43 > 0:40:46They sort of knew that, you know,
0:40:46 > 0:40:48it's a very short life as a pop star,
0:40:48 > 0:40:52so they really did want to become family entertainers,
0:40:52 > 0:40:55and Lulu on a Saturday night was an entertainer.
0:40:55 > 0:40:58# I want to be famous A star of the screen
0:40:58 > 0:41:02# But you can do something in between
0:41:02 > 0:41:04# Baby, you can drive my car... #
0:41:04 > 0:41:07My manager told me this is an amazing opportunity.
0:41:07 > 0:41:09She wanted to build a career for me
0:41:09 > 0:41:13and she really wanted me to be a family entertainer.
0:41:13 > 0:41:15- So... - CHUCKLES
0:41:15 > 0:41:19this was a challenge that I was up for.
0:41:21 > 0:41:24# I could have danced all night
0:41:24 > 0:41:28# I could have danced all night
0:41:28 > 0:41:35# And still have begged for more
0:41:35 > 0:41:40# And I could have spread my wings
0:41:40 > 0:41:44# And done a thousand little things
0:41:44 > 0:41:51# Lord, I'd never done before... #
0:41:52 > 0:41:55Over the next eight years, Lulu became a fixture
0:41:55 > 0:41:58of Saturday night TV, establishing her as a household name.
0:41:58 > 0:42:02Les, do you know what we can do? Let's both sing a cheerful song.
0:42:02 > 0:42:07- If you insist.- But remember, Les, happy, happy, happy.- What else?
0:42:10 > 0:42:13# When you're feeling sad and blue
0:42:13 > 0:42:15# Sing root toot toot tooty-too
0:42:15 > 0:42:17# And you'll feel much worse. #
0:42:17 > 0:42:21Saturday night TV in those days was a strange place.
0:42:21 > 0:42:24Lulu could just as likely be rubbing shoulders with comedian Les Dawson
0:42:24 > 0:42:27as rock legend Jimi Hendrix.
0:42:27 > 0:42:30Well, ladies and gentlemen, in case you didn't know,
0:42:30 > 0:42:33Jimi and the boys won, in a big American magazine called Billboard,
0:42:33 > 0:42:38the group of the year, and they're going to sing for you now, Hey Joe.
0:42:38 > 0:42:42When the Jimi Hendrix Experience appeared on the Lulu show
0:42:42 > 0:42:47in January of 1969, Jimi abandoned the pre-rehearsed Hey Joe
0:42:47 > 0:42:50and surprised everyone with an impromptu version
0:42:50 > 0:42:52of Cream's Sunshine Of Your Love.
0:42:52 > 0:42:56We're going to stop playing this rubbish and dedicate a song to Cream.
0:42:56 > 0:42:58Regardless of what kind of group they might be in,
0:42:58 > 0:43:02we'd like to dedicate it to Eric Clapton, Ginger Baker and Jack Bruce.
0:43:02 > 0:43:05HE PLAYS "SUNSHINE OF YOUR LOVE" RIFF
0:43:10 > 0:43:13He'd heard that Cream were splitting up
0:43:13 > 0:43:17and he just wanted to do a tribute to Cream
0:43:17 > 0:43:19and he did Sunshine Of Your Love,
0:43:19 > 0:43:22but it was live on the BBC and everyone was like, "You can't do that!"
0:43:28 > 0:43:32The floor manager nearly had a heart attack because they were all shouting,
0:43:32 > 0:43:36"What's going on down there? What's he doing? Tell him to hurry up!
0:43:36 > 0:43:39"Time! Time!" But it was great television, great.
0:43:39 > 0:43:41A continuacion Inglaterra
0:43:41 > 0:43:43representada por la cancion Boom Bang A Bang.
0:43:43 > 0:43:49In March of 1969, while in the middle of her second TV series for the BBC,
0:43:49 > 0:43:51Lulu jetted off to Madrid to fly the flag
0:43:51 > 0:43:53for Great Britain in the Eurovision Song Contest.
0:43:53 > 0:43:55# ..Come closer and listen
0:43:55 > 0:43:59# The beat of my heart keeps on missing
0:43:59 > 0:44:03# I notice it most when we're kissing
0:44:03 > 0:44:06# Come closer and love me tonight... #
0:44:06 > 0:44:10Bill Cotton, who was the head of the BBC, said to my manager,
0:44:10 > 0:44:14"I would like her to do the Eurovision Song..." I said, "Why?
0:44:14 > 0:44:15"What do I want to do that for?
0:44:15 > 0:44:19"Why do I want to do the Eurovision Song Contest? What's that all about?"
0:44:19 > 0:44:23She said, "They really want you to do it, cos it'll get huge viewing figures."
0:44:23 > 0:44:25# ..Won't you be mine?
0:44:25 > 0:44:28# Boom bang-a-bang bang all the time. #
0:44:28 > 0:44:30Everybody was round our TV thinking,
0:44:30 > 0:44:33"Ooh, it's not only Glasgow that's watching her, and London,
0:44:33 > 0:44:34"it's the world."
0:44:36 > 0:44:39# ..Don't go away I wanna stay my whole life through
0:44:39 > 0:44:43# Boom bang-a-bang bang close to you. #
0:44:43 > 0:44:44We were watching the votes
0:44:44 > 0:44:46and everyone was getting more excited
0:44:46 > 0:44:49and the room was getting hotter and hotter.
0:44:49 > 0:44:51It just built up to a tremendous climax
0:44:51 > 0:44:55and I kept having to run to the toilet every time the votes came up.
0:44:55 > 0:44:59Sweden says five votes for Britain, I went, "Oh, I'll have to go."
0:45:00 > 0:45:01Lulu.
0:45:01 > 0:45:03Boom Bang-A-Bang was a winner that night,
0:45:03 > 0:45:07and would reach number two in the UK and be a massive hit all over Europe.
0:45:07 > 0:45:09Yet once again, this was an indication of Lulu
0:45:09 > 0:45:14having little or no say in the career choices being made on her behalf.
0:45:14 > 0:45:19I just didn't feel it was the kind of stuff I liked to sing, you know.
0:45:19 > 0:45:21You know, I'd much rather...
0:45:21 > 0:45:24# Walk me out in the morning dew, my honey. #
0:45:24 > 0:45:25Rather than...
0:45:25 > 0:45:27# Boom bang-a-bang Boom bang-a-bang
0:45:27 > 0:45:28# Da-da da-da
0:45:28 > 0:45:32# Dum da-da-da, da-da-da-da Da-da da-da. #
0:45:32 > 0:45:35# Now you are near I want to hear your heartbeat too
0:45:35 > 0:45:37# Boom bang-a-bang bang,
0:45:37 > 0:45:40# Boom bang-a-bang bang Boom bang-a-bang bang
0:45:40 > 0:45:41# I love you. #
0:45:43 > 0:45:46Right now, I won't even do Boom Bang-A-Bang on stage
0:45:46 > 0:45:49because I just don't feel those lyrics, you know.
0:45:49 > 0:45:51Now I want to absolutely feel those lyrics.
0:45:51 > 0:45:58I'm 62, I can't be singing words that don't, you know, resonate with me.
0:46:06 > 0:46:09Lulu is visiting her friend Jools Holland
0:46:09 > 0:46:11in his south London recording studio
0:46:11 > 0:46:13to rehearse a song for his radio show.
0:46:13 > 0:46:16Today, she only sings songs she loves.
0:46:16 > 0:46:19That's the best way to communicate, right.
0:46:19 > 0:46:23- Exactly. Much easier.- Never mind all that silly "Hello, darling".
0:46:23 > 0:46:25- Don't want any of those... - So give us a song.
0:46:25 > 0:46:28Don't use the blunt instruments that we call words,
0:46:28 > 0:46:29which I use all the time.
0:46:29 > 0:46:31Use music, it's much easier.
0:46:31 > 0:46:35I think one of the great things about Lulu is that you can hear
0:46:35 > 0:46:38her voice is completely unique, it sounds just like her,
0:46:38 > 0:46:41but now and again, there's a twinge of somebody else.
0:46:41 > 0:46:44You hear a bit of Ray Charles and the other person I hear is Brenda Lee.
0:46:44 > 0:46:46What if it's too high?
0:46:46 > 0:46:47What if it's the wrong key?
0:46:47 > 0:46:49# So sorry. #
0:46:49 > 0:46:53- Is that too high?- Think it feels a bit high. I'm hoarse, but...
0:46:53 > 0:46:56- Shall we try G?- Sounds nice.
0:46:56 > 0:46:58I'd never sung Brenda Lee's I'm Sorry before
0:46:58 > 0:47:01and I listened to it and thought, "That's my key,"
0:47:01 > 0:47:05but I had to take it down because my voice was as hoarse as anything,
0:47:05 > 0:47:09but I could hear the similarities in our voices, kind of the strong voice, you know.
0:47:09 > 0:47:12Lulu has that spirit in her voice,
0:47:12 > 0:47:14I mean, it's a completely unique voice,
0:47:14 > 0:47:18but it has a spirit that draws a lot of the great elements together
0:47:18 > 0:47:20and has a punch to it. That's what's great about it,
0:47:20 > 0:47:23it has this kind of aggressive sound to it, it's great.
0:47:23 > 0:47:26# I'm sorry
0:47:27 > 0:47:29# So sorry
0:47:30 > 0:47:35# That I was such a fool... #
0:47:35 > 0:47:40There's the elements of blues in there, pop music in there, elements of soul music,
0:47:40 > 0:47:41elements of country music.
0:47:41 > 0:47:45The fact that she doesn't have barriers
0:47:45 > 0:47:48and she loves the music she plays and she plays the music she loves
0:47:48 > 0:47:51and that's what's allowed her her longevity.
0:47:51 > 0:47:54# You tell me
0:47:54 > 0:47:56# Mistakes
0:47:57 > 0:48:03# Are part of being young
0:48:03 > 0:48:07# But that don't right
0:48:08 > 0:48:11# The wrong that's been done
0:48:42 > 0:48:44# You tell me
0:48:46 > 0:48:47# Mistakes
0:48:48 > 0:48:54# Are part of being young
0:48:54 > 0:48:57# But that don't right
0:48:59 > 0:49:02# The wrong that's been done
0:49:02 > 0:49:07# Oh-oh-oh-oh-oh-oh, yeah
0:49:08 > 0:49:11# I'm sorry
0:49:11 > 0:49:14# So so sorry
0:49:15 > 0:49:20# Please accept my apology
0:49:21 > 0:49:25# Love was blind
0:49:25 > 0:49:28# I was too blind
0:49:28 > 0:49:34# To see. #
0:49:42 > 0:49:44Back in 1969, Lulu saw an opportunity
0:49:44 > 0:49:47to take control of her musical direction
0:49:47 > 0:49:50when her contract with Mickie Most was coming to an end.
0:49:50 > 0:49:51I think I'd had three years
0:49:51 > 0:49:55and he was willing to sign me again for another three,
0:49:55 > 0:49:59but I, you know, would be complaining to Marian and saying,
0:49:59 > 0:50:02"I just want to get some of that
0:50:02 > 0:50:07"soulful R&B bluesey, gospel-y, the stuff that I've grown up loving."
0:50:13 > 0:50:17Lulu thought her fortunes had changed when she signed to Atlantic Records,
0:50:17 > 0:50:19the legendary soul label.
0:50:19 > 0:50:23She would be working with the team that produced many of her idols,
0:50:23 > 0:50:25such as Aretha Franklin and Ray Charles.
0:50:25 > 0:50:28When Atlantic Records wanted to sign me up,
0:50:28 > 0:50:30my heart started to beat really fast.
0:50:30 > 0:50:34I was told Jerry Wexler, Tom Dowd, and Arif Mardin
0:50:34 > 0:50:36were going to be my producers.
0:50:36 > 0:50:40I thought all my Christmases had come at once.
0:50:40 > 0:50:44# I'm a hung up by the way it might have been, yeah
0:50:44 > 0:50:46# Left here on my own... #
0:50:46 > 0:50:48Despite feeling at home with the musical style,
0:50:48 > 0:50:52Lulu's time at Atlantic did not produce any hits in the UK
0:50:52 > 0:50:54and only one top-30 single in America.
0:50:54 > 0:50:59They did great work, but I don't think they nailed me.
0:50:59 > 0:51:04I don't think they got me and I don't think I got the right songs.
0:51:04 > 0:51:07I think there was a lot of confusion for Lu, you know.
0:51:07 > 0:51:09She'd started with an incredible rock record, gone pop,
0:51:09 > 0:51:13and then got a bit lost in the middle with the Atlantic stuff,
0:51:13 > 0:51:14though it was good stuff.
0:51:14 > 0:51:19I think the public were confused, and so were the record companies, as to how to market it.
0:51:20 > 0:51:23Although the hits were harder to come by in the early '70s,
0:51:23 > 0:51:27Lulu's management had found other ways to capitalise on her popularity.
0:51:27 > 0:51:32Since 1969, she had been the face of Freemans catalogue.
0:51:32 > 0:51:36Marian thought that I could do anything.
0:51:36 > 0:51:39She thought I could model, I could design clothes.
0:51:39 > 0:51:44The thought that I could be modelling clothes, it was a joke.
0:51:46 > 0:51:48I'm five-foot one, it's ridiculous.
0:51:50 > 0:51:53But I was getting paid a lot of money.
0:51:53 > 0:51:56So some things like Freemans I was sort of like,
0:51:56 > 0:51:59"It's a bit cheesy, I don't know".
0:51:59 > 0:52:03She would explain it to me from a different perspective and I would get it.
0:52:03 > 0:52:08Interestingly enough, now that's all artists do.
0:52:08 > 0:52:12They're advertising everything and they're making money.
0:52:12 > 0:52:17They become a brand and actually, that's what Marian saw me as, a brand.
0:52:17 > 0:52:20Today, the Lulu brand is as strong as ever
0:52:20 > 0:52:23and a current sideline to her music career
0:52:23 > 0:52:25is her ownership of a skincare range
0:52:25 > 0:52:28which she spent years formulating and developing.
0:52:28 > 0:52:32Let's face it, the music business is really all about youth.
0:52:32 > 0:52:35So you learn quite quickly whether you...
0:52:35 > 0:52:38I learned quite quickly, shall I say, that I had to,
0:52:38 > 0:52:41whether I wanted to or not, I had to give attention to my appearance.
0:52:41 > 0:52:45People would just want to talk about how I look.
0:52:45 > 0:52:49So now, because of that, I have got another business.
0:52:49 > 0:52:54Lulu regularly appears live on a home shopping channel to promote the range.
0:52:54 > 0:52:56We're now going to talk about Killer Filler.
0:52:56 > 0:52:59Instant. It's an instant fix, this one, you know.
0:52:59 > 0:53:02I have to say, £27.96, if you've got lines that bug you
0:53:02 > 0:53:05and they've just been there forever and a day...
0:53:05 > 0:53:08If you spend a lot of time in the public eye
0:53:08 > 0:53:13and you have that kind of scrutiny, you do learn,
0:53:13 > 0:53:16you know, you get tips from all over the place and obviously
0:53:16 > 0:53:19she wants to share that with other women, which is great.
0:53:19 > 0:53:21It's a big trend, especially over in America,
0:53:21 > 0:53:24to endorse things, whether it's you have your own perfume,
0:53:24 > 0:53:27clothing line, make-up, everything -
0:53:27 > 0:53:31all artists, everybody is looking at new ways to have income.
0:53:31 > 0:53:34You squeeze it onto the line like this.
0:53:37 > 0:53:39A very small amount, yep.
0:53:39 > 0:53:40- Yeah.- And you don't rub.
0:53:40 > 0:53:43You just pat and it goes in.
0:53:43 > 0:53:45Right, stay tuned, you have got, can't remember.
0:53:45 > 0:53:49I know Jill's coming up next with something marvellous, I'm sure.
0:53:49 > 0:53:51- Thank you.- Thank you. - THEY LAUGH
0:53:51 > 0:53:53We're clear.
0:53:53 > 0:53:59I don't know that it's necessary to have other strings to your bow
0:53:59 > 0:54:03above and beyond singing,
0:54:03 > 0:54:06but I find if you're a creative person
0:54:06 > 0:54:10and you've got other ways that you can express yourself,
0:54:10 > 0:54:12then I think that's fantastic.
0:54:12 > 0:54:13Hello, everybody.
0:54:15 > 0:54:17Back in 1973, and now in colour,
0:54:17 > 0:54:22Lulu was working as hard as ever on her BBC Saturday night TV shows,
0:54:22 > 0:54:26maintaining her profile as an all-round entertainer.
0:54:26 > 0:54:29# That's when the music takes me
0:54:29 > 0:54:32# Takes me to a brighter day... #
0:54:32 > 0:54:34When we were doing the Lulu shows,
0:54:34 > 0:54:35it was a tough time.
0:54:35 > 0:54:36She had so much to do
0:54:36 > 0:54:38and it was only that energy that kept her going.
0:54:40 > 0:54:43# In us you see a couple of song and dance girls... #
0:54:43 > 0:54:47Among Lulu's regular guests was her co-star from To Sir With Love,
0:54:47 > 0:54:48Adrienne Posta.
0:54:48 > 0:54:52There was comedy and dancing and singing and sketches,
0:54:52 > 0:54:55and it was a turnover of one a week.
0:54:55 > 0:54:57I mean, you did it on the Sunday night
0:54:57 > 0:55:00and it got shown the following Saturday,
0:55:00 > 0:55:02so it was quite a quick turnover.
0:55:02 > 0:55:04# For miles and miles
0:55:04 > 0:55:05# Fellows and children pass out cold
0:55:05 > 0:55:07# When her voice hits the air
0:55:07 > 0:55:09# When my feet hit the ground. #
0:55:09 > 0:55:14# If they could see me now
0:55:14 > 0:55:19# That little gang of mine
0:55:19 > 0:55:23# Eating fancy chow and drinking fancy wine... #
0:55:23 > 0:55:25Do you mind(?) Your fish is on my coat.
0:55:25 > 0:55:28Oh, don't worry, it won't harm him.
0:55:28 > 0:55:30That stuff doesn't moult anyway.
0:55:30 > 0:55:34To be honest with you, I look at myself on all those BBC TV shows,
0:55:34 > 0:55:38I think, "Who is that? Who is she?"
0:55:38 > 0:55:40It's like I'm playing a part.
0:55:40 > 0:55:42I'm an actress.
0:55:42 > 0:55:47I was more Julie Andrews than Lulu.
0:55:47 > 0:55:49- # Because of all - All
0:55:49 > 0:55:50- # The - The
0:55:50 > 0:55:53- # The beautiful and new - Beautiful and new
0:55:53 > 0:55:54- # Things - Things
0:55:54 > 0:55:55- # I - I
0:55:55 > 0:55:57# Am learning about you
0:55:58 > 0:56:06# Day by day. #
0:56:06 > 0:56:09Although I like challenging myself on television,
0:56:09 > 0:56:10part of me enjoyed that,
0:56:10 > 0:56:12part of me was destroyed
0:56:12 > 0:56:16because I wasn't making great records and great music.
0:56:16 > 0:56:18'One, two, three, four.'
0:56:18 > 0:56:21# Yeah, yeah, yeah
0:56:22 > 0:56:24# Yeah, yeah, yeah
0:56:25 > 0:56:27# Yeah, yeah, yeah... #
0:56:27 > 0:56:29Although Lulu's musical roots lie
0:56:29 > 0:56:32in the soul and R&B music she grew up listening to,
0:56:32 > 0:56:35she's also a fan of many contemporary artists.
0:56:35 > 0:56:39Recently, she's been putting her own spin on Mercy by Welsh songwriter, Duffy.
0:56:39 > 0:56:43- # ..Got me begging you for mercy - Yeah, yeah, yeah
0:56:43 > 0:56:47- # Why won't you release me? - Yeah, yeah, yeah
0:56:47 > 0:56:50- # You got me begging you for mercy - Yeah, yeah, yeah
0:56:50 > 0:56:54- # Why won't you release me? - Yeah, yeah, yeah
0:56:54 > 0:56:59# I said you'd better release me
0:56:59 > 0:57:01# Yeah, yeah, yeah
0:57:01 > 0:57:05- # Now you think that I - Ooh-ooh
0:57:05 > 0:57:08- # I should be something on the side - Ooh-ooh
0:57:08 > 0:57:14# But you've got to understand I need a man who can take my hand
0:57:14 > 0:57:15# Ooh-ooh
0:57:15 > 0:57:20# I don't know what you do But you do it good
0:57:20 > 0:57:22# Like I knew you would
0:57:23 > 0:57:26# I don't know what you do
0:57:26 > 0:57:31# But you do it well I'm under your spell
0:57:31 > 0:57:34- # You got me begging you for mercy - # Yeah, yeah, yeah
0:57:34 > 0:57:38- # Why won't you release me? - Yeah, yeah, yeah
0:57:38 > 0:57:42- # You got me begging for mercy - Yeah, yeah, yeah
0:57:42 > 0:57:46- # Why won't you release me? - Yeah, yeah, yeah
0:57:46 > 0:57:51# I said you'd better release me
0:57:51 > 0:57:53# Yeah
0:57:54 > 0:57:58# I'm begging you for mercy
0:57:58 > 0:58:02# Why won't you release me?
0:58:02 > 0:58:03# I'm begging
0:58:05 > 0:58:07# You got me begging
0:58:07 > 0:58:12# You got me begging You got me begging
0:58:12 > 0:58:14- # Yeah - Yeah, yeah, yeah... #
0:58:14 > 0:58:17By the mid-'70s, despite being a household name,
0:58:17 > 0:58:21thanks in part to the popularity of her Saturday night TV shows,
0:58:21 > 0:58:25Lulu had not had a top-ten single in the UK for over five years.
0:58:25 > 0:58:30But that was to change, thanks to a chance meeting in a Sheffield hotel.
0:58:34 > 0:58:39# There's a starman waiting in the sky
0:58:39 > 0:58:41# He'd like to come and meet us
0:58:41 > 0:58:44# But he thinks he'd blow our minds
0:58:44 > 0:58:46# There's a starman... #
0:58:46 > 0:58:49The David Bowie thing was a lifeline to me, actually.
0:58:49 > 0:58:51I met him in a hotel in the lobby,
0:58:51 > 0:58:54he said, "Come and see my show tonight".
0:58:54 > 0:58:57After the show, you know, like 10.30, 11,
0:58:57 > 0:59:00the party started, and during the party,
0:59:00 > 0:59:01during the night, he said to me,
0:59:01 > 0:59:05"I want to record you, I'm going to make a big hit record with you".
0:59:05 > 0:59:07He invited me to the Chateaux d'Herouville,
0:59:07 > 0:59:11where he was recording his Pinups album and I'm thinking,
0:59:11 > 0:59:15"Am I going to be able to step up to this because this isn't really me.
0:59:15 > 0:59:19"David Bowie isn't my style.
0:59:19 > 0:59:23"But you know, I'd love to do something different
0:59:23 > 0:59:27"and challenging and he's hot, you know, in several ways."
0:59:27 > 0:59:31# I laughed and shook his hand
0:59:32 > 0:59:35# And made my way back home... #
0:59:35 > 0:59:38He said to me, "I don't want you to sing the way you normally sing.'
0:59:38 > 0:59:42# Oh, no, not me I never lost control... #
0:59:42 > 0:59:45I would sing like that. He said to me, "I want you to sing..."
0:59:45 > 0:59:47# Oh, no, not me
0:59:47 > 0:59:53# I never lost control, You're face to face... #
0:59:53 > 0:59:55And I did it, of course I can do it,
0:59:55 > 0:59:59but it was sort of like, "Oh, my goodness. Is this going to work?"
0:59:59 > 1:00:02And the whole time, I have to tell you, I was nervous.
1:00:02 > 1:00:05# Who knows? Not me
1:00:06 > 1:00:09# We never lost control
1:00:10 > 1:00:13# You're face to face
1:00:14 > 1:00:18# With the man who sold the world... #
1:00:18 > 1:00:20The Man Who Sold The World
1:00:20 > 1:00:24reached number three on the charts during 1974.
1:00:24 > 1:00:26# ..We never lost control... #
1:00:26 > 1:00:30With Bowie, he was king of the world at the time
1:00:30 > 1:00:32and it was instant credibility, you know,
1:00:32 > 1:00:34and also the record's still fantastic.
1:00:34 > 1:00:36You play that record today and it's timeless.
1:00:36 > 1:00:38Her success with David Bowie
1:00:38 > 1:00:42was an indication that Lulu was embracing new musical styles.
1:00:42 > 1:00:44She's always loved all kinds of music, Lu,
1:00:44 > 1:00:48so it wasn't astonishing to find that she'd made this record.
1:00:48 > 1:00:50It's one of David's favourite versions, I think.
1:00:50 > 1:00:54That's the thing I always love about Lu is people with great talent
1:00:54 > 1:00:57or real good artists, they see the artist in Lu
1:00:57 > 1:01:01and the respect she gets from them is fantastic,
1:01:01 > 1:01:03always gives me a buzz for her sake.
1:01:10 > 1:01:14The same year, Lulu scored another hit when she recorded
1:01:14 > 1:01:17the theme tune to the James Bond movie, The Man With The Golden Gun.
1:01:17 > 1:01:21# He has a powerful weapon
1:01:21 > 1:01:25# He charges a million a shot
1:01:25 > 1:01:28# An assassin that's second to none
1:01:28 > 1:01:31# The man with the golden gun... #
1:01:31 > 1:01:34When John Barry and I wrote The Man With The Golden Gun,
1:01:34 > 1:01:38I can't remember any other name being mentioned.
1:01:38 > 1:01:42She just seemed right because it had that kind of biting,
1:01:42 > 1:01:46fiery, you know, angry...
1:01:46 > 1:01:50It was nothing like Shout, but it had the same kind of impact.
1:01:50 > 1:01:54Doing a Bond song was kind of also out of the box for me.
1:01:54 > 1:01:56I was thinking Shirley Bassey, am I Shirley?
1:01:56 > 1:02:01I mean, those are the kind of songs that were done then.
1:02:01 > 1:02:04But I didn't think that song was really me, again,
1:02:04 > 1:02:07but you know, it was a great thing to do.
1:02:07 > 1:02:12# His eye may be
1:02:12 > 1:02:14# On you or me
1:02:16 > 1:02:20# Will he bang?
1:02:20 > 1:02:27# We shall see... #
1:02:27 > 1:02:32In 1976, Lulu married hairdresser John Frieda
1:02:32 > 1:02:35and in 1977, their son Jordan was born.
1:02:35 > 1:02:39I was the eldest of four kids and I thought I'd got a handle on it,
1:02:39 > 1:02:41I know how to bring up kids,
1:02:41 > 1:02:45I know how to be mature, I can run this family,
1:02:45 > 1:02:48I can take it all on, but it hit me hard.
1:02:48 > 1:02:54I think mixing the job of doing what I did and being a mother
1:02:54 > 1:02:57and trying to be a wife was insanity.
1:02:57 > 1:02:59I really do.
1:02:59 > 1:03:01It would have been kinder to myself,
1:03:01 > 1:03:03kinder to Jordan and to my relationship
1:03:03 > 1:03:06to have taken time off, but I didn't know how to do that.
1:03:06 > 1:03:08I really didn't know how.
1:03:10 > 1:03:13# My name is Lulu and this is my groove
1:03:13 > 1:03:16# Doing the show especially for you... #
1:03:16 > 1:03:21As Lulu entered the '80s, her third decade in the business,
1:03:21 > 1:03:24she was back on the light entertainment treadmill.
1:03:24 > 1:03:28The format was beginning to look tired and the songs she was performing
1:03:28 > 1:03:30were doing nothing for her credibility.
1:03:30 > 1:03:34- # I'm going to harden my heart - Swallow my tears
1:03:34 > 1:03:37# Swallow my tears... #
1:03:37 > 1:03:42In the '80s, I think I was definitely lost.
1:03:42 > 1:03:46My manager didn't really know what to do with me
1:03:46 > 1:03:48and I was doing cabaret.
1:03:48 > 1:03:50I was making money.
1:03:50 > 1:03:51I was making a lot of money.
1:03:51 > 1:03:56# Play a song for me Applejack, Applejack
1:03:56 > 1:03:59# Play a song, let your banjo ring... #
1:03:59 > 1:04:01Take it away, Applejack.
1:04:02 > 1:04:05I was really, really, really unhappy
1:04:05 > 1:04:08and I knew deep down things have to change,
1:04:08 > 1:04:10I cannot continue like this.
1:04:10 > 1:04:14- # Hey-ey-ey-ey... # - After an absence of over ten years,
1:04:14 > 1:04:17Lulu returned to the charts in 1986
1:04:17 > 1:04:20with a reworking of Shout, the song that had once been her calling card.
1:04:20 > 1:04:22This new '80s twist on the song
1:04:22 > 1:04:26was a reflection on where Lulu's career was at.
1:04:26 > 1:04:30# Shout, shout, shout Shout, shout, shout... #
1:04:30 > 1:04:34You know, re-recording Shout, I was miserable.
1:04:34 > 1:04:36# Shout
1:04:36 > 1:04:40# Well, I feel all
1:04:40 > 1:04:43# Right. #
1:04:44 > 1:04:47- ARCHIVE:- 'Shout, the number that launched Lulu on the road to stardom
1:04:47 > 1:04:53'and 25 years later, she is being specially honoured by the Variety Club,
1:04:53 > 1:04:56'an occasion which she's sharing with son Jordan and husband John.
1:04:56 > 1:05:02'Also here, the lady that's guided Lulu's career all these years, Marian Massey.'
1:05:02 > 1:05:06Well, she was a very bright little spark when I first met her,
1:05:06 > 1:05:08and now she's a shining star
1:05:08 > 1:05:11and I'm very happy to have helped her along the way.
1:05:12 > 1:05:17In 1989, while Lulu was being honoured by the Royal Variety Club of Great Britain
1:05:17 > 1:05:19to celebrate 25 years in show business,
1:05:19 > 1:05:22cracks were beginning to show in her marriage to John Frieda.
1:05:22 > 1:05:29John was going his way with his career and I was lost and you know,
1:05:29 > 1:05:33I was trying to hold it together somehow because we had a son
1:05:33 > 1:05:36and, um...
1:05:36 > 1:05:40yeah, that was a real dark, dark time for me.
1:05:43 > 1:05:44Very dark.
1:05:46 > 1:05:49At the same time as Lulu's break-up with husband John Frieda,
1:05:49 > 1:05:53she also parted company with manager Marian Massey,
1:05:53 > 1:05:56who, since Lulu left Glasgow 25 years earlier,
1:05:56 > 1:05:58had been like a second mother to her.
1:05:58 > 1:06:00She'd been with Marian for a long time,
1:06:00 > 1:06:04Marian had done a fantastic job, but I think after 20-odd years,
1:06:04 > 1:06:07it had probably run its course, you know.
1:06:07 > 1:06:08You know, when I left home,
1:06:08 > 1:06:13when I got the opportunity to make a record when I was 15,
1:06:13 > 1:06:15it was difficult for my mother
1:06:15 > 1:06:19and I didn't really, really get it until much later.
1:06:19 > 1:06:26I don't think I really, really got how difficult...
1:06:26 > 1:06:28that must have been for Marian.
1:06:31 > 1:06:36# I've had many times I can tell you
1:06:36 > 1:06:42# Times when innocence I'd trade for company... #
1:06:42 > 1:06:45I didn't have a manager. I didn't have a husband.
1:06:45 > 1:06:50My whole life was, you know, falling apart, it felt like.
1:06:50 > 1:06:52I got to this point, "I want a change, I want a change."
1:06:52 > 1:06:55And my brother said, "You're going to write your own songs.
1:06:55 > 1:06:59"You can't do it the way you did before. It's a new world out there.
1:06:59 > 1:07:01"The record industry is completely different."
1:07:01 > 1:07:04I said "I can't write." He said, "You can."
1:07:04 > 1:07:05"I can't." "You can." And we did.
1:07:05 > 1:07:09A few years ago, I wrote, well, when I was 40, let's be honest.
1:07:09 > 1:07:12OK, more than a few years ago.
1:07:12 > 1:07:15I wrote a song, the very first song I ever wrote with my brother Billy
1:07:15 > 1:07:17and a friend of mine, Steve DuBerry
1:07:17 > 1:07:21and it was a huge hit all over the world.
1:07:21 > 1:07:23But not for me.
1:07:25 > 1:07:27For Tina Turner, God bless her heart.
1:07:27 > 1:07:30I'd like to sing it for you tonight.
1:07:30 > 1:07:33Tina heard it - so I hear.
1:07:33 > 1:07:37The word is that she said, "It's the story of my life".
1:07:37 > 1:07:39I said, "Hey, girl, it's the story of my life".
1:07:39 > 1:07:40No, I didn't. I thought it.
1:07:51 > 1:07:54# There's a pale moon in the sky
1:07:54 > 1:07:58# The kind you make your wishes on
1:08:00 > 1:08:01# Oh
1:08:01 > 1:08:05# Like the light in your eyes
1:08:05 > 1:08:10# The one I built my dreams upon
1:08:11 > 1:08:14# It's not there any longer
1:08:14 > 1:08:17# Something happened somewhere
1:08:17 > 1:08:19# And we both know why
1:08:21 > 1:08:24# But me, I'm getting stronger
1:08:24 > 1:08:27# We must stop pretending
1:08:27 > 1:08:30# I can't live this lie
1:08:30 > 1:08:33# Oh, I
1:08:33 > 1:08:36# I don't care who's wrong or right
1:08:36 > 1:08:40# I don't really want to fight no more
1:08:40 > 1:08:43# Too much talking, babe
1:08:43 > 1:08:46# Let's sleep on it tonight
1:08:46 > 1:08:51# I don't really want to fight no more
1:08:51 > 1:08:54# Time for letting go
1:09:01 > 1:09:04# I hear a whisper in the air
1:09:04 > 1:09:09# It simply doesn't bother me
1:09:11 > 1:09:12# No, no, no
1:09:12 > 1:09:16# Can't you see that I don't care?
1:09:16 > 1:09:21# Or are you looking right through me?
1:09:22 > 1:09:25# Seems to be that lately
1:09:25 > 1:09:30# You look at me the wrong way and I start to cry
1:09:32 > 1:09:35- # Oh, could it be that maybe - Could it be that maybe
1:09:35 > 1:09:42# This crazy situation is the reason why?
1:09:42 > 1:09:44# Oh
1:09:44 > 1:09:47# I don't care who's wrong or right
1:09:47 > 1:09:51# I don't really want to fight no more... #
1:09:51 > 1:09:56I felt I was rubbish at relationships, rubbish at marriage
1:09:56 > 1:09:59and so just do what you know how to do
1:09:59 > 1:10:02and that's why I focused on going back
1:10:02 > 1:10:07to trying to get back into the recording business.
1:10:07 > 1:10:08# Baby, don't you know... #
1:10:08 > 1:10:11Boosted by the success of her first attempt at songwriting,
1:10:11 > 1:10:14Lulu's next step was to look for new management.
1:10:14 > 1:10:17Highly respected music industry figure Tony King,
1:10:17 > 1:10:22who'd previously worked with the Beatles and the Rolling Stones, was approached.
1:10:22 > 1:10:27I'll be honest, when someone suggested to me about managing Lulu,
1:10:27 > 1:10:29I had my doubts. I thought, "Oh",
1:10:29 > 1:10:33cos she'd been off the map for a while
1:10:33 > 1:10:36and I sort of wondered, kind of,
1:10:36 > 1:10:39"Well, OK, but what is it?" You know?
1:10:39 > 1:10:44Then I got played the track that she'd done, Independence,
1:10:44 > 1:10:46and I thought, "Wow."
1:10:48 > 1:10:51# Don't be surprised by the way that I am
1:10:51 > 1:10:55# By the way that I feel and I act... #
1:10:56 > 1:11:02I bought it not knowing that this was the same Lulu that had sang
1:11:02 > 1:11:07this sweet little pop record To Sir With Love.
1:11:07 > 1:11:09It was that same Lulu.
1:11:09 > 1:11:15This record was spectacular, sung by this soulful energetic girl.
1:11:15 > 1:11:19I couldn't believe it was the same singer that was doing this.
1:11:19 > 1:11:24# I want my independence Yeah, yeah, yeah
1:11:24 > 1:11:26# I want my freedom
1:11:26 > 1:11:28# Right now... #
1:11:28 > 1:11:31The lyrics of the song Independence perfectly encapsulated
1:11:31 > 1:11:35both Lulu's personal life and her career at that point in time.
1:11:35 > 1:11:40I was trying to find what I could do by making my decisions
1:11:40 > 1:11:44and also being an independent woman, that's what it said.
1:11:44 > 1:11:46I am independent.
1:11:46 > 1:11:50Goodbye to the past, sad or not,
1:11:50 > 1:11:55but I can take the reins now and I can move forward and I can move up.
1:11:56 > 1:11:59We both decided what we did not want to do
1:11:59 > 1:12:01and that was all that variety stuff.
1:12:01 > 1:12:04She'd had it. She'd done all that.
1:12:04 > 1:12:06# Relight my fire
1:12:06 > 1:12:09# Cos I need... #
1:12:09 > 1:12:12In 1993, Lulu's collaboration with Take That
1:12:12 > 1:12:18would give her, at the age of 45, her first ever UK number-one single.
1:12:18 > 1:12:21# You've got to be strong enough to walk on through the night
1:12:21 > 1:12:25- # Yeah - There's a new day on the other side
1:12:25 > 1:12:29- # Yeah - You got to have hope in your soul... #
1:12:29 > 1:12:34That really, really brought her to the forefront
1:12:34 > 1:12:36of a lot of younger people, too.
1:12:36 > 1:12:40So all of a sudden she was very much back,
1:12:40 > 1:12:44but also back as a credible singer, you know,
1:12:44 > 1:12:47not as a Eurovision singer,
1:12:47 > 1:12:51or doing the Mickie-Most-type songs - we'd moved on from that.
1:12:51 > 1:12:53# Relight my fire
1:12:53 > 1:12:55# Relight my fire
1:12:55 > 1:12:58# Your love is my only desire... #
1:12:58 > 1:13:03It was number one, like, instantly, and I was doing all these TV shows
1:13:03 > 1:13:05and having so much fun
1:13:05 > 1:13:08cos they were young boys and they were full of enthusiasm.
1:13:08 > 1:13:10You know, they were interested.
1:13:10 > 1:13:12You know, "As a 40-year-old woman
1:13:12 > 1:13:14"that had been in this business a long time,
1:13:14 > 1:13:17"how have you managed to stay afloat for so long?"
1:13:17 > 1:13:20# I need your love... #
1:13:20 > 1:13:23She still has a great love of soul music and stuff
1:13:23 > 1:13:26and she wanted to be seen as a credible artist.
1:13:26 > 1:13:28# I'm back for more
1:13:28 > 1:13:33# Of the love that we had before... #
1:13:33 > 1:13:36In that same year, Lulu returned to the charts again
1:13:36 > 1:13:39when she collaborated with soul legend Bobby Womack.
1:13:39 > 1:13:42- # You and me - You and me
1:13:42 > 1:13:44- # Be like before - Like before
1:13:44 > 1:13:50# Sweet harmony Baby, I'm back for more
1:13:50 > 1:13:52# Of that love that we... #
1:13:52 > 1:13:56You know, it may be a stigma, she wanted to record with me.
1:13:56 > 1:13:58I never thought I could record with her
1:13:58 > 1:14:04after listening many years ago to To Sir With Love.
1:14:04 > 1:14:06Now here I'm the sir, she's the love.
1:14:06 > 1:14:10You know, and that blew me out.
1:14:10 > 1:14:16# But now we've been found, So much better... #
1:14:16 > 1:14:21To be honest with you, the vocals were not done together.
1:14:21 > 1:14:23He did his vocals in America.
1:14:23 > 1:14:28But then he came over and we did Top Of The Pops together. He's a character.
1:14:28 > 1:14:30So I was working with a bit of a legend.
1:14:30 > 1:14:34# There ain't nothing left to do But come running back to you
1:14:34 > 1:14:39# Just to let you know just what's on my mind... #
1:14:39 > 1:14:42Lulu's credibility was further strengthened
1:14:42 > 1:14:44when she felt comfortable enough
1:14:44 > 1:14:47to send herself up on hit TV show, French & Saunders.
1:14:47 > 1:14:50- Course, you've had a lovely long career, haven't you?- Yes.
1:14:50 > 1:14:52- Longer than Cliff's.- Sir Cliff.
1:14:52 > 1:14:56- Sorry. I bow to you.- Sir Cliff. - And you worked with Take That.- Yes.
1:14:56 > 1:14:59- Frankly, I'd cut my right leg off for that opportunity.- Yeah.
1:14:59 > 1:15:02Stayed with the times, hasn't she? Swinging girl.
1:15:02 > 1:15:04Absolutely swinging girl, she is.
1:15:04 > 1:15:07It's not that we don't like your music...
1:15:07 > 1:15:09- Well, we don't like your music. - We don't like it.
1:15:09 > 1:15:13You know, to have such a great woman who's so respected
1:15:13 > 1:15:17to just be able to, you know, let her guard down, have a load of fun,
1:15:17 > 1:15:19it was a really lovely thing to see.
1:15:19 > 1:15:22- Can I have a little private word with you?- Yeah, sure.
1:15:22 > 1:15:25SHE WHISTLES
1:15:25 > 1:15:28- I know we're guarding her and everything.- Yeah.
1:15:28 > 1:15:31Will we inevitably have to kill her?
1:15:32 > 1:15:35- No.- No?- No. Don't kill Lulu.
1:15:35 > 1:15:39- No, no, no. Not to kill her, no. - Not kill Lulu.
1:15:39 > 1:15:41- People would be very upset.- Right.
1:15:41 > 1:15:43Lulu's kind of always been around.
1:15:43 > 1:15:47I think probably a lot of people in the UK feel like that.
1:15:47 > 1:15:49She's really a national treasure.
1:15:49 > 1:15:52- She's a national treasure.- Right.
1:15:52 > 1:15:55- I must not kill Lulu. - Don't kill her.- Right.
1:15:55 > 1:15:58I wouldn't even think about myself being iconic.
1:15:58 > 1:16:01I would never think about that sort of thing.
1:16:01 > 1:16:03It's my job and I've been around a lot.
1:16:03 > 1:16:07People are very friendly with me. On the whole,
1:16:07 > 1:16:11people are very nice to me, because I have been around so long.
1:16:11 > 1:16:15- Oh, look, it's little Lulu. Hi, Lu. - SMACKING KISSING NOISES
1:16:15 > 1:16:19Lulu appeared again with Jennifer Saunders
1:16:19 > 1:16:21on the TV show Absolutely Fabulous
1:16:21 > 1:16:24as the top client of disastrous PR woman Edina.
1:16:24 > 1:16:27The PR person is such a phoney baloney,
1:16:27 > 1:16:32you know, and I am supposedly a star or her star client.
1:16:32 > 1:16:33What would you like, Lulu?
1:16:33 > 1:16:36- Oh, I'd like one of those.- Yes. - And I'll have two of those.
1:16:36 > 1:16:38- Yes, Lulu.- And three of these.
1:16:38 > 1:16:41- Steady on, sweetie.- And...
1:16:41 > 1:16:43OK. Thank you.
1:16:44 > 1:16:47Champagne for Lulu.
1:16:47 > 1:16:50She wants everybody's attention and I'm like...
1:16:50 > 1:16:52so boring, but you know,
1:16:52 > 1:16:55I go a lot of places today and that's what people say,
1:16:55 > 1:16:56especially the gay guys.
1:16:56 > 1:16:59All the gay guys go, "Champagne for Lulu."
1:16:59 > 1:17:01It's a joke and it's fun, you know, it's fun.
1:17:01 > 1:17:05Like wherever I go, I order champagne(!) I don't.
1:17:07 > 1:17:10# Footsteps on the dance floor
1:17:10 > 1:17:14# Reminds me, baby, of you
1:17:14 > 1:17:16# Teardrops in my eyes... #
1:17:16 > 1:17:20Lulu's star continued to rise throughout the late '90s
1:17:20 > 1:17:24and reached new heights in 2002 when a new album of duets
1:17:24 > 1:17:28included a collaboration with close friend Elton John.
1:17:28 > 1:17:29# Every tune
1:17:29 > 1:17:33# And the music don't feel like it did
1:17:33 > 1:17:35# When I felt it with you
1:17:35 > 1:17:38# Oh Nothing that I do or feel
1:17:38 > 1:17:42# Ever feels like I felt it with you... #
1:17:43 > 1:17:45It's like having this bundle of energy next to you.
1:17:45 > 1:17:47I have a lot of energy.
1:17:47 > 1:17:50She has more energy than I have.
1:17:50 > 1:17:52That's what I particularly love about her.
1:17:52 > 1:17:53Her effusiveness, her personality.
1:17:53 > 1:17:56It just comes out like an electric shock.
1:17:56 > 1:18:00# Whoa whoa, whoa whoa
1:18:00 > 1:18:03# Whoa whoa, yeah... #
1:18:03 > 1:18:08Elton, I think, like myself, absolutely loves it.
1:18:08 > 1:18:12I don't think he's going to be giving up any day soon,
1:18:12 > 1:18:14and we both have that thing,
1:18:14 > 1:18:16so to work with him, you know,
1:18:16 > 1:18:19there's a real strong connection.
1:18:19 > 1:18:21Lulu's friendship with Elton
1:18:21 > 1:18:25led to her making a trip to Cambodia earlier this year
1:18:25 > 1:18:28in support of the Elton John Aids Foundation charity.
1:18:30 > 1:18:33- Everybody say "OK". - ALL: OK.
1:18:33 > 1:18:35Say "yeah".
1:18:35 > 1:18:36ALL: Yeah.
1:18:36 > 1:18:39So what I did was I went to Cambodia to see how they spend
1:18:39 > 1:18:44the money to help these people to help themselves.
1:18:44 > 1:18:45# Yeah... #
1:18:45 > 1:18:50And that's what we want the whole world to be able to do,
1:18:50 > 1:18:52is not to have to be taken care of,
1:18:52 > 1:18:55but you know, you always need a start.
1:18:58 > 1:19:00MUSIC: "Crank It" by Soulja Boy
1:19:00 > 1:19:02CHEERING
1:19:02 > 1:19:05When Lulu lent her support to Comic Relief earlier this year,
1:19:05 > 1:19:07she surprised the viewing public.
1:19:07 > 1:19:11The 62-year-old grandmother appeared in full hip-hop garb
1:19:11 > 1:19:15and proceeded to bust some moves to Crank It by rap artist Soulja Boy.
1:19:15 > 1:19:18They gave a couple of suggestions
1:19:18 > 1:19:22and I felt they were predictable suggestions.
1:19:22 > 1:19:24You know, with respect,
1:19:24 > 1:19:28I thought, "Let's try and do something that's not predictable, and I love hip-hop."
1:19:28 > 1:19:31We really wanted to do it for the charity but also because
1:19:31 > 1:19:35Lulu thought it would be a great way to kind of almost show people
1:19:35 > 1:19:38she can still do what everybody else is doing and she really can.
1:19:38 > 1:19:40I take everything easy.
1:19:40 > 1:19:41BOTH: Not.
1:19:41 > 1:19:46So I also kind of like being gentle with my body
1:19:46 > 1:19:48now that I'm such an old fart.
1:19:48 > 1:19:51- Shush.- Well, respect.
1:19:51 > 1:19:53Respect the body, sweetie.
1:19:53 > 1:19:56Yeah. For the maturity...
1:19:56 > 1:19:59It's creeping up ever so fast.
1:20:02 > 1:20:03Do you want to learn something new?
1:20:03 > 1:20:05- Stretch maybe first.- Stretch.
1:20:07 > 1:20:10I didn't exercise once in my life until I had my son.
1:20:10 > 1:20:13I had him when I was 28 so I didn't do anything as a kid.
1:20:13 > 1:20:17No dance lessons or anything like that.
1:20:17 > 1:20:20But because I've been flexible, I've always been fortunate
1:20:20 > 1:20:23but I've always had that, that's just natural.
1:20:26 > 1:20:27For the Comic Relief routine,
1:20:27 > 1:20:31Lulu teamed up with street dance group, Peridot.
1:20:31 > 1:20:34Hey. How are you doing?
1:20:34 > 1:20:38# It's been too long It's been too long. #
1:20:38 > 1:20:42- You all right?- Yeah. How have you survived without me?
1:20:42 > 1:20:44I've barely been able to live!
1:20:44 > 1:20:46How are you?
1:20:46 > 1:20:49Obviously we weren't born when she was doing her thing,
1:20:49 > 1:20:52but we knew what she was about. We knew that she was talented.
1:20:52 > 1:20:54The people that had seen her growing up
1:20:54 > 1:20:57and seen her on the TV screen when they were younger, when they saw her
1:20:57 > 1:21:01come out and she was doing Soulja Boy and all that, it was a laugh,
1:21:01 > 1:21:04but it was actually good. It's not just a joke, like.
1:21:04 > 1:21:08I must tell you, my nan, she's just like, "What?"
1:21:08 > 1:21:11At first, we was thinking maybe we should make it a bit easier.
1:21:11 > 1:21:15She was like, "No". She wants to do it that way. Don't change it.
1:21:17 > 1:21:20We left it how it was and she got it.
1:21:20 > 1:21:23I wasn't surprised because whatever Lulu throws herself into,
1:21:23 > 1:21:26she will make sure that she's the best at doing it.
1:21:26 > 1:21:28Six, seven and...
1:21:28 > 1:21:29DANCE MUSIC PLAYS
1:21:29 > 1:21:33WHOOPING
1:21:43 > 1:21:46- Take it back.- Take it back.
1:21:46 > 1:21:51- POSH VOICE:- Yes, darling, this is a very modern kind of dance, you know!
1:21:51 > 1:21:54We call it hip-hop!
1:21:54 > 1:21:56Look at what they do though, they're amazing.
1:21:56 > 1:22:00I can do a bit, but they do incredible things with their bodies.
1:22:00 > 1:22:03I'd like to take them on tour with me, really.
1:22:03 > 1:22:07You know what, maybe that's how I'm going to go. High tops.
1:22:07 > 1:22:08Badass Lulu.
1:22:12 > 1:22:16Lulu's wish to have the group perform on tour with her came to fruition
1:22:16 > 1:22:20when they made a guest appearance during her Glasgow concert.
1:22:23 > 1:22:27MUSIC: "Crank It" by Soulja Boy
1:22:27 > 1:22:29Mad, energetic, that's what you like to see.
1:22:29 > 1:22:32We're hoping that by the time we're her age, half her age,
1:22:32 > 1:22:34we'll still be able to kick it like that.
1:22:34 > 1:22:37Lulu is in. Lulu is in.
1:22:37 > 1:22:39MUSIC: "Crank It" by Soulja Boy
1:23:18 > 1:23:21CHEERING AND APPLAUSE
1:23:29 > 1:23:31Let's hear it for Peridot, everybody.
1:23:31 > 1:23:34CHEERING AND APPLAUSE
1:23:35 > 1:23:39It's the spirit of Lulu that is incredible. She's forever young.
1:23:39 > 1:23:41She's still really a teenager.
1:23:41 > 1:23:46She has this incredible zest for life and that helps a lot.
1:23:46 > 1:23:48She's always listening to young kids,
1:23:48 > 1:23:50always encouraging young kids,
1:23:50 > 1:23:53always being influenced by young kids and that's very healthy.
1:23:53 > 1:23:56She has a passionate drive that's always been there.
1:23:56 > 1:24:00She loves to sing. She's at her happiest when she's working,
1:24:00 > 1:24:04and music's still right at the centre of her life. She loves it.
1:24:04 > 1:24:06The very fact she can go touring still,
1:24:06 > 1:24:10you know, where most people just think, "Oh, I'll just take it easy,"
1:24:10 > 1:24:11she won't.
1:24:11 > 1:24:14# Relight my fire... #
1:24:15 > 1:24:19During 2009, at the age of 60, Lulu headed out on the road
1:24:19 > 1:24:22for the aptly named Here Come The Girls Tour,
1:24:22 > 1:24:25appearing with Chaka Khan and Anastasia.
1:24:25 > 1:24:27She's a workhorse.
1:24:27 > 1:24:33She is an absolute inspiration for someone like me.
1:24:33 > 1:24:35When you think you're tired,
1:24:35 > 1:24:40you're never that tired, because Lulu can run faster than you.
1:24:40 > 1:24:44If you think your voice is tired, she will sing higher than you.
1:24:44 > 1:24:49You just don't... There's no "no" in her vocabulary.
1:24:49 > 1:24:52Having worked tirelessly for over 45 years,
1:24:52 > 1:24:57Lulu's fan base now included everyone from teenagers to grandmothers.
1:24:57 > 1:25:01The philosophy is, "Girls, it's a night out, come out,
1:25:01 > 1:25:04"off your seats, have a bit of fun."
1:25:04 > 1:25:07That's really, if I'm going to a concert,
1:25:07 > 1:25:09I really want to come home and say
1:25:09 > 1:25:12"What a night, that was unbelievable,
1:25:12 > 1:25:15"I had the best time and I knew most of the songs."
1:25:15 > 1:25:19# Your love, your love, your love, I need your love... #
1:25:19 > 1:25:22Like myself, this is the nicest time of my life,
1:25:22 > 1:25:24in my early 60s or mid-60s.
1:25:24 > 1:25:26I think she would probably say the same, as well.
1:25:26 > 1:25:29And you know, we all look back at the old days
1:25:29 > 1:25:33and we love what we went through and what we did,
1:25:33 > 1:25:35but I think if you asked her now
1:25:35 > 1:25:37she'd say, "No, this is the best time."
1:25:37 > 1:25:41I'm smiling because I'm thinking,
1:25:41 > 1:25:43I am sort of back where I started.
1:25:43 > 1:25:47I'm still waiting to be discovered.
1:25:47 > 1:25:50I've said that but it's very much how it is right now.
1:25:50 > 1:25:52I'm in my 60s. I'm doing the gigs.
1:25:52 > 1:25:56I'm thinking, "This will be the one, this will be my breakthrough gig."
1:25:56 > 1:25:59I just need one minute.
1:25:59 > 1:26:02I'll be 63 in November, give me a break.
1:26:05 > 1:26:09I've been doing this a long time,
1:26:09 > 1:26:12and it's not for the money, let me tell you.
1:26:12 > 1:26:15It's because I love it.
1:26:15 > 1:26:16I love what I do.
1:26:16 > 1:26:20Yeah, but there's something I feel I want to say to you.
1:26:22 > 1:26:27# Well
1:26:27 > 1:26:29# You know you make me want to shout
1:26:29 > 1:26:30# Throw my hands up
1:26:30 > 1:26:31- # Come on now - Shout
1:26:31 > 1:26:34- # Throw my head back - Shout
1:26:34 > 1:26:35- # Come on now - Shout
1:26:35 > 1:26:37- # Don't forget to say you will - Shout
1:26:39 > 1:26:41# Don't forget to shout
1:26:41 > 1:26:42# Yeah, yeah, yeah,
1:26:42 > 1:26:46# Say you will Throw your head back, baby
1:26:46 > 1:26:47# Say you will... #
1:26:47 > 1:26:52Frankly, I think Lulu could keep performing for ever.
1:26:52 > 1:26:54She... She...
1:26:54 > 1:26:57She's still got it, that's it.
1:26:57 > 1:26:59There's nothing more to say. She still has "it".
1:26:59 > 1:27:02# Say that you want me, baby... #
1:27:02 > 1:27:05I think Lulu will go on for as long as she can sing for.
1:27:05 > 1:27:09I think the great artists get greater, I really do believe that.
1:27:09 > 1:27:11# I still remember
1:27:11 > 1:27:13# When you used to be nine years old... #
1:27:13 > 1:27:16Lulu's voice still sounds like Lulu.
1:27:16 > 1:27:20It's still good and I'm convinced that she's better than she used to be.
1:27:20 > 1:27:23# You been good to me, baby
1:27:23 > 1:27:28# Better than I been to myself,
1:27:28 > 1:27:31# But if you ever leave me, honey... #
1:27:31 > 1:27:38At the end of the day, Lulu is so talented and still got this drive.
1:27:38 > 1:27:41And when you've got talent and that drive, you'll go on for ever.
1:27:41 > 1:27:44# You know you make me want to shout... #
1:27:44 > 1:27:50You've got to keep that sense of wonder, that sense of never having grown up,
1:27:50 > 1:27:51that sense of always thinking
1:27:51 > 1:27:54there's something new around the corner.
1:27:54 > 1:27:55- # Come on, baby - Shout
1:27:55 > 1:27:58# Take it easy, baby Take it easy, baby... #
1:27:58 > 1:28:04I think I'm one of the luckiest people. Really.
1:28:04 > 1:28:06- # Pick it up now - Shout
1:28:06 > 1:28:08- # Pick it up now - Shout
1:28:08 > 1:28:09- # Pick it up now - Shout
1:28:09 > 1:28:11# Hey-ey-ey-ey
1:28:11 > 1:28:13# Hey-ey-ey-ey
1:28:13 > 1:28:15# Hey-ey-ey-ey
1:28:15 > 1:28:16# Hey-ey-ey-ey
1:28:16 > 1:28:18# Hey-ey-ey-ey
1:28:18 > 1:28:20# Hey-ey-ey-ey
1:28:20 > 1:28:21# Hey-ey-ey-ey
1:28:21 > 1:28:23# Hey-ey-ey-ey
1:28:23 > 1:28:25# Shout now jump up and shout now
1:28:25 > 1:28:26# Everybody shout now
1:28:26 > 1:28:29# Everybody shout now... #