Browse content similar to Anyone for Demis? How the World Invaded the Charts. Check below for episodes and series from the same categories and more!
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Laurence, Angela likes Demis Roussos, Tony likes Demis Roussos, | 0:00:02 | 0:00:05 | |
I like Demis Roussos and Sue would like to hear Demis Roussos. | 0:00:05 | 0:00:09 | |
So, please, do you think we could have Demis Roussos on? | 0:00:09 | 0:00:12 | |
# Ever and ever | 0:00:14 | 0:00:16 | |
# For ever and ever... # | 0:00:16 | 0:00:17 | |
We British have a love-hate relationship with foreign pop, | 0:00:17 | 0:00:20 | |
but some of these songs have sold in their millions | 0:00:20 | 0:00:23 | |
and gone into our hearts. | 0:00:23 | 0:00:26 | |
The way he puts it over. The way he sings. | 0:00:26 | 0:00:28 | |
It's that little tone in his voice that no other singer's got. | 0:00:28 | 0:00:32 | |
Catchy tunes - once heard, never forgotten. | 0:00:32 | 0:00:36 | |
Instant memories of a holiday abroad. | 0:00:36 | 0:00:39 | |
# This year I'm off to sunny Spain... # | 0:00:39 | 0:00:41 | |
It's sort of a pop equivalent | 0:00:41 | 0:00:43 | |
of coming back with a sombrero | 0:00:43 | 0:00:45 | |
or a straw donkey or some duty free retsina. | 0:00:45 | 0:00:49 | |
This is a different history of pop since the war. | 0:00:51 | 0:00:54 | |
Never mind guitar, bass and drums, | 0:00:54 | 0:00:56 | |
think balalaikas, zithers and panpipes. | 0:00:56 | 0:01:00 | |
I think every now and again, | 0:01:00 | 0:01:02 | |
a funny instrument breaks into the mainstream! | 0:01:02 | 0:01:06 | |
It's a story that starts with Hawaiian bands... | 0:01:08 | 0:01:11 | |
..and leads to Shakira. | 0:01:12 | 0:01:14 | |
# Le-lo, lo-le, lo-le Le-lo, lo-le, lo-le | 0:01:14 | 0:01:18 | |
# Can't you see? I'm at your feet... # | 0:01:18 | 0:01:23 | |
And now that music's gone global, | 0:01:23 | 0:01:25 | |
has the appeal of the foreign pop song gone for ever? | 0:01:25 | 0:01:29 | |
Is there still anyone for Demis? | 0:01:29 | 0:01:31 | |
Ange... | 0:01:33 | 0:01:34 | |
..imagine making love to this, do you know what I mean? | 0:01:35 | 0:01:38 | |
We start our story in the 1940s | 0:01:46 | 0:01:50 | |
and the aftermath of the Second World War. | 0:01:50 | 0:01:52 | |
Life for most British people was far from exotic, | 0:01:52 | 0:01:56 | |
but in dance halls and on the radio, | 0:01:56 | 0:01:58 | |
music played a huge role in cheering up the nation. | 0:01:58 | 0:02:01 | |
The popular music was big bands, Glenn Miller and Vera Lynn... | 0:02:02 | 0:02:06 | |
..but there were other sounds, as well. | 0:02:08 | 0:02:10 | |
Influenced by Hollywood films, | 0:02:10 | 0:02:12 | |
music from around the world was reaching these shores. | 0:02:12 | 0:02:16 | |
Hawaiian music had swept through the US in the 1930s. | 0:02:16 | 0:02:20 | |
During the war, it came to Britain. | 0:02:20 | 0:02:23 | |
Introducing Felix Mendelssohn And His Hawaiian Serenaders, | 0:02:23 | 0:02:27 | |
in Sophisticated Hula. | 0:02:27 | 0:02:29 | |
# Hands on your hips | 0:02:29 | 0:02:31 | |
# Do your hula dips | 0:02:31 | 0:02:33 | |
# Sophisticated hula is the talk of the town... # | 0:02:33 | 0:02:37 | |
Felix Mendelssohn, a distant descendant of the famous composer, | 0:02:37 | 0:02:41 | |
was a London-born band leader | 0:02:41 | 0:02:43 | |
who latched on to the fad for Hawaiian music. | 0:02:43 | 0:02:46 | |
His star guitarist was Harry Brooker, | 0:02:46 | 0:02:48 | |
whose son Gary later found fame himself, | 0:02:48 | 0:02:51 | |
with the group Procol Harum. | 0:02:51 | 0:02:53 | |
Felix Mendelssohn And His Hawaiian Serenaders - | 0:02:54 | 0:02:57 | |
they were huge. | 0:02:57 | 0:02:59 | |
They were one of the biggest live entertainment things on the circuit. | 0:02:59 | 0:03:03 | |
A lot of my father's friends, | 0:03:03 | 0:03:04 | |
who were obviously his colleagues and Felix Mendelssohn's, | 0:03:04 | 0:03:08 | |
were from the South Seas | 0:03:08 | 0:03:10 | |
and certainly were exotic. The women were absolutely wonderful. | 0:03:10 | 0:03:14 | |
I can remember nestling on, | 0:03:14 | 0:03:16 | |
I think it was Luisa Mao's lap whilst she wasn't dancing | 0:03:16 | 0:03:21 | |
and it was very comfortable in there! | 0:03:21 | 0:03:24 | |
My name is Doreena Tahni Sugondo... | 0:03:32 | 0:03:35 | |
..and I danced for Felix Mendelssohn's Hawaiian Serenaders. | 0:03:36 | 0:03:41 | |
I was one of his hula lovelies. | 0:03:41 | 0:03:43 | |
I sang with a local dance band, Hawaiian, of course, | 0:03:43 | 0:03:46 | |
and they took me to Sheffield to see Felix Mendelssohn's show... | 0:03:46 | 0:03:52 | |
..and I was absolutely fascinated. | 0:03:53 | 0:03:56 | |
Mesmerised, if you like. | 0:03:56 | 0:03:58 | |
I sat there and it transported me from Sheffield in Yorkshire | 0:03:59 | 0:04:03 | |
into Hawaii, and I really loved it. | 0:04:03 | 0:04:06 | |
I told my mum, "I'm going to go in showbusiness", | 0:04:08 | 0:04:12 | |
and I packed my suitcase and went to Hull, | 0:04:12 | 0:04:14 | |
to the Tivoli Theatre where Felix was appearing... | 0:04:14 | 0:04:18 | |
..and I asked him, "Can I join your band, please?" | 0:04:19 | 0:04:22 | |
And he said yes. | 0:04:22 | 0:04:24 | |
This is my grass skirt... | 0:04:24 | 0:04:26 | |
..and I made it in 1947. | 0:04:27 | 0:04:32 | |
We had a head girl - she would go out and buy materials. | 0:04:32 | 0:04:36 | |
We all had to make our own costumes, then. | 0:04:36 | 0:04:38 | |
If I had been in the audience and I was watching that show, | 0:04:40 | 0:04:45 | |
I would have been transported out of an ordinary, humdrum life | 0:04:45 | 0:04:49 | |
into paradise because that's what it was like. | 0:04:49 | 0:04:51 | |
Exotic performers like Felix Mendelssohn | 0:04:58 | 0:05:01 | |
were popular speciality acts in film, | 0:05:01 | 0:05:04 | |
on the radio and also on television. | 0:05:04 | 0:05:06 | |
The BBC television service had gone off air during the war, | 0:05:08 | 0:05:13 | |
but when it returned in 1946, | 0:05:13 | 0:05:15 | |
so did a roll call of international entertainers. | 0:05:15 | 0:05:19 | |
It seemed to me that the war | 0:05:21 | 0:05:23 | |
gave people an interest in continental artists, | 0:05:23 | 0:05:27 | |
particularly the French. | 0:05:27 | 0:05:29 | |
The producer I worked for - | 0:05:32 | 0:05:34 | |
he managed to persuade the gentleman who owned the Lido cabaret in Paris, | 0:05:34 | 0:05:39 | |
which was very famous and still is there today, | 0:05:39 | 0:05:42 | |
to close it for a night so that we could fly over the whole company | 0:05:42 | 0:05:46 | |
to Alexandra Palace to do a show. | 0:05:46 | 0:05:50 | |
And they came, all of them - | 0:05:50 | 0:05:53 | |
the acts and the Bluebell Girls | 0:05:53 | 0:05:56 | |
who, of course, were part of it. | 0:05:56 | 0:05:58 | |
And the mannequins - we had special costumes made for them | 0:05:58 | 0:06:01 | |
because we couldn't have any bare breasts, of course. | 0:06:01 | 0:06:04 | |
There was no template | 0:06:11 | 0:06:12 | |
for what television programmes were going to be | 0:06:12 | 0:06:14 | |
and so, you did variety programmes. | 0:06:14 | 0:06:17 | |
Variety but with a little bit more, not just music hall artists, | 0:06:17 | 0:06:23 | |
but artists who could blend in a bit of ballet, a bit of opera, | 0:06:23 | 0:06:27 | |
and so forth, so... | 0:06:27 | 0:06:29 | |
And a lot of the artists were continental. | 0:06:29 | 0:06:31 | |
But television only had a tiny audience. | 0:06:34 | 0:06:36 | |
The cinema was still king. | 0:06:36 | 0:06:39 | |
Played by Anton Karas on a hitherto unknown instrument | 0:06:40 | 0:06:43 | |
called the zither, | 0:06:43 | 0:06:44 | |
the most popular continental tune of the day | 0:06:44 | 0:06:47 | |
was the Harry Lime theme from the film The Third Man. | 0:06:47 | 0:06:50 | |
It sold half a million copies in its first month | 0:06:52 | 0:06:55 | |
and zither sales rocketed. | 0:06:55 | 0:06:57 | |
Although people in the services had travelled abroad during the war, | 0:07:04 | 0:07:08 | |
for most Britons, the idea of venturing outside the UK | 0:07:08 | 0:07:11 | |
was still a dream. | 0:07:11 | 0:07:13 | |
You might not even leave your home town or your home city | 0:07:15 | 0:07:18 | |
virtually at all in your life. | 0:07:18 | 0:07:20 | |
For a lot of people, music from Spain or from France or Italy, | 0:07:23 | 0:07:27 | |
I mean, this is a world they could never imagine | 0:07:27 | 0:07:29 | |
and it gives them a sort of, a taste of the almost unfathomably exotic. | 0:07:29 | 0:07:34 | |
It really is the ultimate escapism. | 0:07:34 | 0:07:36 | |
Britain's taste for exotic music | 0:07:41 | 0:07:43 | |
could be seen on television | 0:07:43 | 0:07:44 | |
and in the newly-invented pop charts which first started in 1952. | 0:07:44 | 0:07:50 | |
The top sellers of those days were a bizarre combination | 0:07:50 | 0:07:52 | |
of novelty records, comedy songs and foreign-themed instrumentals. | 0:07:52 | 0:07:57 | |
The pre-Beatle era in Britain, in British pop, is fascinating | 0:07:57 | 0:08:02 | |
because it is this unformed mish-mash. | 0:08:02 | 0:08:06 | |
Simply another facet of what you might call entertainment or variety. | 0:08:06 | 0:08:10 | |
So, music is part of the same culture that brings you | 0:08:10 | 0:08:14 | |
ventriloquism and end-of-the-pier comics | 0:08:14 | 0:08:17 | |
and, erm, you know, orchestral pop and things like that. | 0:08:17 | 0:08:21 | |
So, it isn't the preserve of kids | 0:08:21 | 0:08:23 | |
and it isn't speaking about their culture, it's simply... | 0:08:23 | 0:08:27 | |
It's just silliness, if you like. | 0:08:27 | 0:08:29 | |
# Life will be sweeter | 0:08:29 | 0:08:31 | |
# With senoritas | 0:08:31 | 0:08:33 | |
# Who can besame as mucho as they please... # | 0:08:33 | 0:08:38 | |
It's like the Good Old Days or something like that. | 0:08:39 | 0:08:42 | |
Here's a ventriloquist, here's a comic, here's an impressionist | 0:08:42 | 0:08:46 | |
and here's some music | 0:08:46 | 0:08:48 | |
but it's essentially trivial. | 0:08:48 | 0:08:50 | |
Two-Way Family Favourites on a Sunday afternoon - | 0:09:29 | 0:09:31 | |
the radio programme that we'd always associate | 0:09:31 | 0:09:34 | |
with the smell of boiling cabbage, you know, | 0:09:34 | 0:09:36 | |
is full of those kind of tunes - | 0:09:36 | 0:09:39 | |
Walk In The Black Forest and Happy Wanderer. | 0:09:39 | 0:09:42 | |
# Mein Vater war ein Wandersmann... # | 0:09:42 | 0:09:47 | |
The Happy Wanderer by the Obernkirchen Children's Choir | 0:09:47 | 0:09:50 | |
is one of the most indestructible of these international pop melodies. | 0:09:50 | 0:09:55 | |
The choir was set up to help children of the German town | 0:09:55 | 0:09:58 | |
orphaned by wartime bombing. | 0:09:58 | 0:10:01 | |
They became a propaganda tool | 0:10:01 | 0:10:02 | |
when the choir was sent on a goodwill tour to Britain in 1953. | 0:10:02 | 0:10:07 | |
And it was at a music festival in North Wales | 0:10:09 | 0:10:12 | |
that the choir revealed their secret weapon - | 0:10:12 | 0:10:16 | |
a new song called the Happy Wanderer. | 0:10:16 | 0:10:19 | |
Recorded by the BBC and rapidly released on record, | 0:11:01 | 0:11:04 | |
the Happy Wanderer was an instant hit. | 0:11:04 | 0:11:07 | |
It stayed in the British top ten for an astonishing 26 weeks. | 0:11:07 | 0:11:11 | |
The Obernkirchen Children's Choir is still going and still singing the Happy Wanderer. | 0:11:33 | 0:11:40 | |
However, in the 1950s, the world was changing fast, | 0:11:43 | 0:11:48 | |
not least in Britain's fading empire. | 0:11:48 | 0:11:50 | |
Music from the Commonwealth had rarely been heard in the UK, | 0:11:55 | 0:11:58 | |
but one style of Caribbean music made a big impact that lasted well into the 1960s. | 0:11:58 | 0:12:04 | |
That's perhaps the only living folk music in English in the Commonwealth. | 0:12:05 | 0:12:10 | |
A pungent thing, usually, rich in innuendo. | 0:12:10 | 0:12:13 | |
A vehicle for topical lampoon and political satire, | 0:12:13 | 0:12:17 | |
for the hard luck story and the veiled sexual allusion. | 0:12:17 | 0:12:21 | |
The kind of calypso which became very popular internationally | 0:12:25 | 0:12:30 | |
was specifically a calypso from Trinidad, | 0:12:30 | 0:12:33 | |
from Port of Spain, where there was group of extremely talented | 0:12:33 | 0:12:40 | |
songwriters and singers, who had a talent for a thing called extemporisation | 0:12:40 | 0:12:44 | |
which was basically singing the news. | 0:12:44 | 0:12:47 | |
# ..Because we want peace in the world | 0:12:47 | 0:12:49 | |
# What we need Peace in the world | 0:12:49 | 0:12:51 | |
# No more greed | 0:12:51 | 0:12:55 | |
# To unite universally Because we want peace... # | 0:12:55 | 0:12:58 | |
Calypso initially made an impression on British musical tastes | 0:12:58 | 0:13:02 | |
with the arrival of the first immigrants from the Caribbean on the Empire Windrush in 1948. | 0:13:02 | 0:13:09 | |
NEWSREEL: Arrivals at Tilbury. | 0:13:09 | 0:13:11 | |
The Empire Windrush brings to Britain 500 Jamaicans. Many are ex-servicemen who know England. | 0:13:11 | 0:13:16 | |
They served this country well. In Jamaica, they couldn't find work. | 0:13:16 | 0:13:20 | |
Discouraged, but full of hope, they sailed for Britain. | 0:13:20 | 0:13:23 | |
One of the very first 400, 500 people, | 0:13:23 | 0:13:26 | |
who arrived on the Empire Windrush in Tilbury in 1948 | 0:13:26 | 0:13:31 | |
was a guy called Lord Kitchener - his nom de plume, obviously - | 0:13:31 | 0:13:35 | |
who was a singer and who entertained people on the boat, apparently, | 0:13:35 | 0:13:39 | |
and his early records, which are wonderful records like London Is The Place for Me, | 0:13:39 | 0:13:43 | |
is a fantastic tune. | 0:13:43 | 0:13:45 | |
I am told you really are the king of calypso singers. | 0:13:45 | 0:13:48 | |
-Is that right? -That is true. -Can you sing for us? | 0:13:48 | 0:13:50 | |
-Right now? -Yes. | 0:13:50 | 0:13:51 | |
# London is the place for me... | 0:13:51 | 0:13:54 | |
# London, this lovely city | 0:13:56 | 0:14:00 | |
# You can go to France or America India, Asia or Australia | 0:14:00 | 0:14:04 | |
# But you must come back to London city. # | 0:14:04 | 0:14:09 | |
The fondness here in Britain for calypso at that time | 0:14:09 | 0:14:12 | |
was picked up by the British media | 0:14:12 | 0:14:15 | |
and if they didn't use the authentic Trinidadian calypsonians themselves, | 0:14:15 | 0:14:19 | |
then other people appeared on popular television and radio programmes at the time, | 0:14:19 | 0:14:25 | |
doing a very similar thing. | 0:14:25 | 0:14:27 | |
So you would get people like Lance Percival... | 0:14:27 | 0:14:31 | |
At this stage, sometimes, | 0:14:31 | 0:14:33 | |
I even make up calypsos about things in the show. Madam! | 0:14:33 | 0:14:35 | |
WOMAN SPEAKS | 0:14:35 | 0:14:38 | |
David Frost's curl on the front of his hair? | 0:14:38 | 0:14:41 | |
Ah. | 0:14:41 | 0:14:42 | |
# Here we have a young lady who's not completely lost | 0:14:42 | 0:14:45 | |
# She's worried about the curl on the front of her hair | 0:14:45 | 0:14:48 | |
# Or the hair of David Frost | 0:14:48 | 0:14:50 | |
# But I must admit, sir | 0:14:50 | 0:14:52 | |
# It is plain to see | 0:14:52 | 0:14:54 | |
# As I'm the older of the two | 0:14:54 | 0:14:56 | |
# He got the idea from me. # | 0:14:56 | 0:14:58 | |
There's a chap called Cy Grant, who did them, too, and hugely popular. | 0:14:59 | 0:15:04 | |
Always a topical and up to date, Cy Grant has written a calypso especially for this occasion. | 0:15:04 | 0:15:09 | |
We hope it won't prove too technical for you. | 0:15:09 | 0:15:11 | |
# In this age of miracles, it is plain to see | 0:15:12 | 0:15:15 | |
# Colour television is a reality | 0:15:15 | 0:15:17 | |
# In this age of miracles, it is plain to see | 0:15:17 | 0:15:19 | |
# Colour television is a reality Yes... # | 0:15:19 | 0:15:23 | |
My grandfather always used to play Harry Belafonte. | 0:15:23 | 0:15:26 | |
I knew from his voice this was a different sort of singer, | 0:15:26 | 0:15:30 | |
but I didn't know where he was from or the music was that he made. | 0:15:30 | 0:15:33 | |
# Down the way where the nights are gay | 0:15:33 | 0:15:36 | |
# And the sun shines daily on the mountain top | 0:15:36 | 0:15:41 | |
# I took a trip on a sailing ship | 0:15:41 | 0:15:44 | |
# And when I reached Jamaica I made a stop... # | 0:15:44 | 0:15:49 | |
I always find it interesting that calypso had such a potent effect | 0:15:49 | 0:15:53 | |
on the mainstream in the 1950s. | 0:15:53 | 0:15:56 | |
I think that does play a part in breaking down those prejudices | 0:15:56 | 0:16:01 | |
and making the society accept people from different cultures. | 0:16:01 | 0:16:06 | |
# What's the matter with me donkey? Man, I don't know... # | 0:16:06 | 0:16:13 | |
But by the end of the 1950s, | 0:16:13 | 0:16:15 | |
calypso was becoming a pale imitation of its satirical Trinidadian roots. | 0:16:15 | 0:16:20 | |
Nothing could be much paler than Nina & Frederik, | 0:16:20 | 0:16:24 | |
Danish aristocrats who forged an unlikely career as cosmopolitan folk singers on the BBC. | 0:16:24 | 0:16:30 | |
THEY SING A CALYPSO SONG | 0:16:30 | 0:16:33 | |
-# Does me donkey want money? -No, no, no | 0:16:37 | 0:16:40 | |
-# Maybe he wants honey -No | 0:16:40 | 0:16:42 | |
-# But me donkey won't eat. -No, no, no | 0:16:42 | 0:16:44 | |
-# And me donkey won't sleep -No, no, no... # | 0:16:44 | 0:16:46 | |
Their show was a parade of international stereotypes, | 0:16:46 | 0:16:50 | |
cod foreign accents and all. But the British public lapped it up. | 0:16:50 | 0:16:55 | |
Well! | 0:16:55 | 0:16:56 | |
The next tune is a Spanish-Cuban number | 0:16:56 | 0:17:00 | |
and it's about what a man it sees when he rides through the countryside on horseback. | 0:17:00 | 0:17:05 | |
They also had a taste for exotic pop music. | 0:17:08 | 0:17:11 | |
But, I think our relationship with it has been problematic, as British, | 0:17:11 | 0:17:15 | |
because we've quite often seen it as vaguely inferior. | 0:17:15 | 0:17:19 | |
THEY SING IN SPANISH | 0:17:19 | 0:17:21 | |
Which sometimes, I think, reflects a slightly paternalistic attitude towards the cultures. | 0:17:27 | 0:17:33 | |
We're listening to people singing quite childlike songs about nature | 0:17:33 | 0:17:37 | |
and about happiness and about the simple life. | 0:17:37 | 0:17:40 | |
These catchy songs from around the world were just as popular | 0:17:44 | 0:17:47 | |
as the rock 'n' roll hits we now associate with the '50s. | 0:17:47 | 0:17:50 | |
# The day that the rains came down... # | 0:17:55 | 0:17:58 | |
For many in the record industry, | 0:17:58 | 0:18:00 | |
rock 'n' roll was just another exotic fad | 0:18:00 | 0:18:02 | |
that would fade away just as Hawaiian music had a decade earlier. | 0:18:02 | 0:18:06 | |
It's a myth that in the '50s and '60s the only record-buyers were young people. | 0:18:06 | 0:18:12 | |
There were lots of older listeners, as well. | 0:18:12 | 0:18:14 | |
They don't want to listen to long-haired scruffy kids strumming guitars. | 0:18:14 | 0:18:19 | |
They want to listen to a singing nun or a children's choir or whatever it might be. | 0:18:19 | 0:18:24 | |
Because they're looking for something maybe a bit more conservative, a bit more reassuring. | 0:18:24 | 0:18:28 | |
An escapism that appeals to somebody in their 40s rather than in their teens. | 0:18:28 | 0:18:32 | |
# When I feel that something... # | 0:18:32 | 0:18:36 | |
In 1963, the teenagers seemed to have finally taken over with the arrival | 0:18:36 | 0:18:40 | |
of four young musicians from Liverpool. | 0:18:40 | 0:18:42 | |
But not quite. | 0:18:44 | 0:18:47 | |
Just as The Beatles became global superstars, | 0:18:47 | 0:18:50 | |
they were challenged in the charts by a song sung in French by a nun. | 0:18:50 | 0:18:55 | |
MUSIC: "Dominique" by The Singing Nun | 0:18:55 | 0:18:57 | |
Sister Luc Gabriel was a young nun from a convent in Waterloo, Belgium, | 0:19:00 | 0:19:06 | |
a stone's throw from the famous battlefield. | 0:19:06 | 0:19:08 | |
She composed her own songs, including one called Dominique. | 0:19:08 | 0:19:13 | |
SHE SINGS DOMINIQUE | 0:19:13 | 0:19:14 | |
This catchy ditty was taped and sent to Phillips, | 0:19:18 | 0:19:21 | |
who released it as a single. | 0:19:21 | 0:19:23 | |
It went on to outsell Elvis. | 0:19:23 | 0:19:26 | |
Very quickly, millions of the record were sold all over the world, | 0:19:26 | 0:19:31 | |
from Japan to the United States and in '63, | 0:19:31 | 0:19:37 | |
the hit was even number one on the Billboard Hot 100 in the United States. | 0:19:37 | 0:19:41 | |
She left even The Beatles behind. For the press, it was sensational news. | 0:19:41 | 0:19:46 | |
A singing nun. | 0:19:46 | 0:19:47 | |
And, for the church, she was an interesting instrument | 0:19:47 | 0:19:51 | |
in their promotion campaign to attract Catholic youngsters. | 0:19:51 | 0:19:58 | |
The Singing Nun's success came just after the Kennedy assassination, | 0:19:58 | 0:20:02 | |
when her song's simple charm was much in demand. | 0:20:02 | 0:20:06 | |
But the Singing Nun's story had its own dark conclusion. | 0:20:06 | 0:20:09 | |
Leaving the convent and coming out as a lesbian, | 0:20:09 | 0:20:13 | |
she was ostracised by record company and church alike. | 0:20:13 | 0:20:17 | |
She obviously pulled away from the church and released an anthem to the birth control pill, | 0:20:17 | 0:20:22 | |
which is probably the last thing you would think of a nun or a former nun doing. | 0:20:22 | 0:20:27 | |
Slightly against the grain. | 0:20:27 | 0:20:30 | |
The press, they love to write about her, because it's a juicy story, | 0:20:30 | 0:20:34 | |
articles with titles like Lesbian Ex-Nun, that sells, | 0:20:34 | 0:20:40 | |
and for the church she has become a threat. | 0:20:40 | 0:20:46 | |
In the 1980s, this former singing nun was hounded by the Belgian tax authorities | 0:20:46 | 0:20:51 | |
for royalties on the hit single. | 0:20:51 | 0:20:54 | |
Ironically, she'd never received any money, which all went to the church. | 0:20:54 | 0:20:58 | |
But the battle drove her to despair. | 0:20:58 | 0:21:00 | |
Her and her partner both killed themselves in a suicide pact, | 0:21:03 | 0:21:07 | |
which is not the thing you think would happen when you hear | 0:21:07 | 0:21:11 | |
this really beautiful, gentle, very religious record, really, | 0:21:11 | 0:21:15 | |
so almost listening to that with the story in mind makes it even more affecting. | 0:21:15 | 0:21:20 | |
By the early 1960s, the British public was hearing a lot more foreign pop. | 0:21:29 | 0:21:34 | |
The Eurovision Song Contest had been launched in 1956, | 0:21:34 | 0:21:39 | |
and the UK first took part a year later. | 0:21:39 | 0:21:41 | |
Then, as now, it was a key date in the viewing calendar. | 0:21:41 | 0:21:46 | |
Eurovision, to lots of people, was the one night | 0:21:46 | 0:21:49 | |
where the whole family would be committed to the TV for possibly four hours, | 0:21:49 | 0:21:53 | |
maybe even longer, depending if Katie Boyle was on it or not. | 0:21:53 | 0:21:56 | |
Come in, Paris. Hello. Hello, France. Come in, Paris. | 0:21:56 | 0:22:01 | |
Hello, Paris, May I have your votes, please? | 0:22:01 | 0:22:03 | |
My mother used to like it. and Miss World as well, | 0:22:03 | 0:22:06 | |
another similar programme of sort of exotic things going on. | 0:22:06 | 0:22:09 | |
Here now is Eric Robinson and the orchestra to sound the fanfare | 0:22:09 | 0:22:13 | |
which opens the Eurovision Song Contest of 1960. | 0:22:13 | 0:22:17 | |
EUROVISION THEME | 0:22:19 | 0:22:22 | |
It was the only time you could sit and listen to European music of the moment, | 0:22:22 | 0:22:27 | |
sort of, and most of the time it was absolutely diabolical. | 0:22:27 | 0:22:33 | |
SHE SINGS IN DANISH | 0:22:35 | 0:22:37 | |
I think that Eurovision made people much more aware, suddenly, | 0:22:41 | 0:22:46 | |
of this wealth of music talent that there was around Europe. | 0:22:46 | 0:22:52 | |
I remember in the one I did in '63, the Danes eventually won, | 0:23:03 | 0:23:09 | |
because the Norwegians bundled the voting a bit. There is always somebody who gets the voting wrong, | 0:23:09 | 0:23:15 | |
which was a bit confusing for poor Katie Boyle. | 0:23:15 | 0:23:20 | |
PHONE RINGS | 0:23:20 | 0:23:21 | |
They are on the line, I can hear them on the line. | 0:23:21 | 0:23:26 | |
There's the telephone again. Hello? | 0:23:26 | 0:23:29 | |
So that is the final result? | 0:23:29 | 0:23:31 | |
Singing was Francoise Hardy, who sang for | 0:23:32 | 0:23:35 | |
Monaco, I think, and Nana Mouskouri who was singing for Luxembourg. | 0:23:35 | 0:23:43 | |
# A force de prier... # | 0:23:45 | 0:23:51 | |
I was in France singing and all of a sudden they spoke to me | 0:23:57 | 0:24:01 | |
about the Eurovision... | 0:24:01 | 0:24:03 | |
There was no television in those days in Greece, | 0:24:03 | 0:24:07 | |
so they used me for Luxembourg | 0:24:07 | 0:24:13 | |
and I came for the first time, just to sing this, the Eurovision. | 0:24:13 | 0:24:20 | |
Nana Mouskouri didn't win Eurovision that year, | 0:24:20 | 0:24:22 | |
but her appearance was a hit with UK audiences. | 0:24:22 | 0:24:26 | |
In a bold move, the BBC gave this young Greek singer her own television series. | 0:24:26 | 0:24:32 | |
It ran until the early 1980s. | 0:24:32 | 0:24:35 | |
This is the way it started, and singing also a few Greek songs | 0:24:35 | 0:24:39 | |
but translate a little bit what the song was about | 0:24:39 | 0:24:44 | |
and we never thought, | 0:24:44 | 0:24:46 | |
I mean I never thought that it would be interesting, | 0:24:46 | 0:24:50 | |
then we have been for many, many years. | 0:24:50 | 0:24:56 | |
The series, it was opening a very beautiful area from Greece, | 0:24:56 | 0:25:02 | |
or the monument or treasures that we have, | 0:25:02 | 0:25:05 | |
so people wanted to learn about the music | 0:25:05 | 0:25:07 | |
and the music also make them know about your country. | 0:25:07 | 0:25:13 | |
When it started in 1968, Nana Mouskouri's series was a big draw | 0:25:13 | 0:25:18 | |
on the new highbrow channel, BBC Two. | 0:25:18 | 0:25:21 | |
It was a pioneering world music show, with European folk, pop, even jazz. | 0:25:29 | 0:25:34 | |
LAID-BACK JAZZ | 0:25:34 | 0:25:37 | |
Nice. | 0:25:38 | 0:25:39 | |
Millions of people were watching the television | 0:25:49 | 0:25:52 | |
and there were only three channels - it was hugely powerful | 0:25:52 | 0:25:55 | |
so if you got on one of the music-based shows, | 0:25:55 | 0:25:58 | |
people would buy your records. | 0:25:58 | 0:26:00 | |
I think the success of someone like Nana Mouskouri was possibly her televisual presence. | 0:26:00 | 0:26:06 | |
Obviously she is beautiful in that kind of harmless, | 0:26:06 | 0:26:09 | |
you wouldn't be offended if your wife liked her | 0:26:09 | 0:26:11 | |
your wife wouldn't be offended if her husband liked her, | 0:26:11 | 0:26:14 | |
she's not this sort of, you know, sexual dynamo, | 0:26:14 | 0:26:18 | |
or doesn't look like one, anyway. | 0:26:18 | 0:26:21 | |
I think you must have had this whole generation who must have looked at pop | 0:26:30 | 0:26:34 | |
and thought, "My God it is awful - look at his haircut! | 0:26:34 | 0:26:36 | |
"He's wearing a dirty jacket!" then all of a sudden you get Nana Mouskouri | 0:26:36 | 0:26:40 | |
in her lovely little dress, with her combed hair and her clean glasses and her lovely way, | 0:26:40 | 0:26:46 | |
singing a very sweet song, so it is, it's an escape, isn't it? | 0:26:46 | 0:26:50 | |
It's a slightly Blackpool Pleasure Beach, Walt Disney version | 0:26:50 | 0:26:53 | |
of the cultures of the world reduced to a series of national dresses | 0:26:53 | 0:26:56 | |
and funny instruments. | 0:26:56 | 0:26:59 | |
But in some ways it's quite liberating. | 0:27:03 | 0:27:05 | |
The first time I heard international pop was sitting with my nan on a Saturday watching Nana Mouskouri. | 0:27:05 | 0:27:10 | |
Another international act that made a big impact on UK audiences was the Red Army Choir. | 0:27:11 | 0:27:17 | |
It might have been the height of the Cold War, but they wowed the crowds | 0:27:17 | 0:27:22 | |
with their combination of physical and musical gymnastics. | 0:27:22 | 0:27:27 | |
THEY SING KALINKA | 0:27:27 | 0:27:28 | |
Now, you see I could sing that for you now... | 0:27:37 | 0:27:40 | |
I'm not singing Kalinka for you | 0:27:42 | 0:27:44 | |
although I think anyone of my age, it's in there and it ain't going to come out. | 0:27:44 | 0:27:48 | |
It's the Red Army Choir. We're in the Cold War. | 0:27:52 | 0:27:55 | |
Why on earth are people listening to this music, the enemy's music? | 0:27:55 | 0:27:58 | |
TEMPO INCREASES | 0:28:05 | 0:28:07 | |
But of course one of the key things about the Cold War is that most people actually | 0:28:17 | 0:28:21 | |
weren't very interested in it at all, because it was only a cold war. | 0:28:21 | 0:28:24 | |
When they came over, a lot of people would still | 0:28:24 | 0:28:27 | |
associate the Red Army with the victory over fascism | 0:28:27 | 0:28:29 | |
and with Stalingrad and with beating Hitler | 0:28:29 | 0:28:32 | |
and I think that is what explains a lot of their appeal in the '60s. | 0:28:32 | 0:28:36 | |
And welcome to the Royal Albert Hall, to witness what has been called | 0:28:36 | 0:28:41 | |
the bloodless victory of the Red Army over the British public. | 0:28:41 | 0:28:44 | |
By the mid-1960s, the British public was buying foreign music LPs in their millions | 0:28:57 | 0:29:03 | |
and with stereograms and hi-fi systems becoming a fixture in many homes, | 0:29:03 | 0:29:08 | |
people could travel the world through their record collections. | 0:29:08 | 0:29:12 | |
I was just wondering why you'd buy these exotic records. | 0:29:12 | 0:29:15 | |
buy another couple the next week and build a little collection | 0:29:15 | 0:29:21 | |
to fill under the little stereo thing that had the little gap underneath | 0:29:21 | 0:29:25 | |
to put the records in, and fill it up with easy listening. | 0:29:25 | 0:29:28 | |
Maybe there is some escapism in a sound, "Oh, tonight we can listen to Greece, | 0:29:28 | 0:29:32 | |
"tonight we can go to the South Seas." | 0:29:32 | 0:29:35 | |
But there was one nation whose music we always had a love-hate relationship with - the French. | 0:29:35 | 0:29:41 | |
Let's take a swing at our mates across the channel, | 0:29:41 | 0:29:45 | |
where even the kids talk funny. | 0:29:45 | 0:29:47 | |
Oh, yeah! | 0:29:47 | 0:29:48 | |
SINGS IN FRENCH | 0:29:49 | 0:29:54 | |
People like to believe that French music was terrible | 0:30:01 | 0:30:05 | |
and they were delighted when The Beatles came along | 0:30:05 | 0:30:08 | |
and conquered the world because it allowed them to say... | 0:30:08 | 0:30:11 | |
"Well, yeah OK, we don't have the biggest army and the biggest empire or whatever | 0:30:11 | 0:30:15 | |
"but culturally, we are still the absolute cutting edge." | 0:30:15 | 0:30:18 | |
SINGS IN FRENCH | 0:30:23 | 0:30:26 | |
Johnny Hallyday has always suffered because we thought | 0:30:31 | 0:30:34 | |
it was a ludicrous... he suffers from what we think of | 0:30:34 | 0:30:37 | |
as slightly stupid, not getting it quite right version | 0:30:37 | 0:30:40 | |
of an indigenous British or American rock 'n' roll, so you get Elvis, | 0:30:40 | 0:30:45 | |
and get our Elvis, who's Cliff Richard | 0:30:45 | 0:30:48 | |
who's kind of not quite right but clings with his fingernails to the precipice of cool, | 0:30:48 | 0:30:53 | |
and then Johnny is kind of like the French Cliff Richard. | 0:30:53 | 0:30:56 | |
Everything about it looks wrong to us. | 0:30:56 | 0:30:59 | |
Some of his records are actually quite good. A bit like franglais. | 0:30:59 | 0:31:02 | |
Instead of making their own stuff and celebrating their own culture, | 0:31:02 | 0:31:07 | |
be it sexiness or the impressionistic cool of Debussy or Ravel, it is simply aping ours. | 0:31:07 | 0:31:12 | |
But some French music WAS cool. | 0:31:13 | 0:31:15 | |
Francoise Hardy never had a big hit in the UK, | 0:31:15 | 0:31:18 | |
but as a French icon, she was up there with Brigitte Bardot | 0:31:18 | 0:31:22 | |
and attracted admirers like Mick Jagger and David Bowie. | 0:31:22 | 0:31:26 | |
# Oui mais moi je vais seule | 0:31:26 | 0:31:29 | |
# Par les rues, l'ame en peine | 0:31:29 | 0:31:32 | |
# Oui mais moi je vais seule | 0:31:32 | 0:31:35 | |
# Car personne ne m'aime. # | 0:31:35 | 0:31:38 | |
Could you move that bass absorber...? | 0:31:42 | 0:31:45 | |
Parisian vocal group | 0:31:45 | 0:31:46 | |
the Swingle Singers were also considered chic and sophisticated. | 0:31:46 | 0:31:50 | |
This mic on the right is a little bit low. | 0:31:50 | 0:31:53 | |
Swingle Singers, Badinerie, take one. | 0:31:54 | 0:31:56 | |
Rather cleverly, they didn't use any of those annoying French lyrics. | 0:31:56 | 0:32:01 | |
MUSIC: "Badinerie" by The Swingle Singers | 0:32:01 | 0:32:05 | |
I think something like the Swingle Singers is quite educated, | 0:32:08 | 0:32:12 | |
quite unusual, but it's beautifully clever and beautifully smooth | 0:32:12 | 0:32:16 | |
and beautifully easy and creates a lovely mood. | 0:32:16 | 0:32:19 | |
It's just wonderful to listen too, so you don't have to be | 0:32:19 | 0:32:22 | |
particularly clever to listen to it, I don't think, | 0:32:22 | 0:32:25 | |
which would explain why it sold in bucket loads. | 0:32:25 | 0:32:29 | |
But there was one French song that did cross the channel to top the British charts. | 0:32:29 | 0:32:35 | |
Although it was sung in French, it didn't have many words, | 0:32:35 | 0:32:39 | |
and everybody knew that they meant. | 0:32:39 | 0:32:41 | |
MUSIC: Je T'aime...Moi Non Plus | 0:32:41 | 0:32:43 | |
Serge Gainsbourg, he does have a hit here | 0:33:03 | 0:33:06 | |
although with one of his maybe worst records, Je T'aime, which - I don't know if it is just by association, | 0:33:06 | 0:33:11 | |
but now whenever you hear the tune, | 0:33:11 | 0:33:14 | |
I don't think of kind of sophisticated French erotic pop, I think of Benny Hill. | 0:33:14 | 0:33:20 | |
# Je vais et je viens | 0:33:20 | 0:33:22 | |
# Entre tes reins... # | 0:33:22 | 0:33:24 | |
A lot of that French music is quite erotically charged. | 0:33:24 | 0:33:27 | |
It was a hit because it was a good record, it is | 0:33:27 | 0:33:30 | |
just an English person and a French person singing about love | 0:33:30 | 0:33:34 | |
but erotically, it's just a brilliant hook as well, it's just a very clever record. | 0:33:34 | 0:33:39 | |
It seems that the French music only travels when it's about something slightly ruder. | 0:33:39 | 0:33:44 | |
By 1969, when Je T'Aime was top of the charts, | 0:33:48 | 0:33:52 | |
for many ordinary Britons, the fantasy of travelling abroad had become a reality. | 0:33:52 | 0:33:57 | |
With higher wages in the UK, the creation of the Costa del Sol in Spain | 0:34:00 | 0:34:06 | |
and the availability of cheap flights, | 0:34:06 | 0:34:09 | |
the package holiday had arrived. | 0:34:09 | 0:34:11 | |
I remember people coming back from the their very first Spanish holidays in the '70s | 0:34:15 | 0:34:20 | |
with those bullfighting posters that had your name inserted that kids used to have on their walls. | 0:34:20 | 0:34:24 | |
There is a certain element of that in the pop at the time, as exemplified by Y Viva Espana. | 0:34:24 | 0:34:29 | |
# Oh, this year I'm off to sunny Spain | 0:34:29 | 0:34:32 | |
# Y viva Espana | 0:34:32 | 0:34:37 | |
# I'm taking the Costa Brava plane | 0:34:37 | 0:34:41 | |
# Y viva Espana... # | 0:34:41 | 0:34:43 | |
Sylvia Vrethammar was a successful Swedish jazz singer, | 0:34:43 | 0:34:48 | |
who first had a hit with Y Viva Espana in her home country. | 0:34:48 | 0:34:52 | |
But with the package holiday boom, the song had the potential to travel. | 0:34:52 | 0:34:56 | |
# Espana por favor. # | 0:34:56 | 0:34:59 | |
We decided after a while to record it in English, | 0:35:01 | 0:35:05 | |
and the English lyrics are fantastic, they are really good, | 0:35:05 | 0:35:08 | |
about Rudolph Valentino, about how the English girls, | 0:35:08 | 0:35:13 | |
they come to Spain and at first they are very pale | 0:35:13 | 0:35:17 | |
and then they get brown and everybody loves them. | 0:35:17 | 0:35:20 | |
# When they first arrive the girls are pink and pasty | 0:35:20 | 0:35:24 | |
# But oh so tasty as soon as they go brown | 0:35:24 | 0:35:27 | |
# I guess they know every fellow will be queuing | 0:35:27 | 0:35:31 | |
# To do the wooing his girlfriend won't allow... # | 0:35:31 | 0:35:35 | |
I came with my hat and my Spanish act | 0:35:35 | 0:35:37 | |
and it was mostly pop groups and then Sylvia from Sweden. | 0:35:37 | 0:35:43 | |
It was very big. Everybody was impressed - Top Of The Pops, you know. | 0:35:43 | 0:35:47 | |
# Espana por favor | 0:35:47 | 0:35:50 | |
# La, la, la, la, la, la... # | 0:35:50 | 0:35:53 | |
Y Viva Espana is a brilliantly crafted bit of pop for that market, the lyrics in particular. | 0:35:58 | 0:36:03 | |
# There was one who whispered "Hasta la vista" | 0:36:03 | 0:36:07 | |
# Each time I kissed him behind the castanet | 0:36:07 | 0:36:10 | |
# He rattled his maracas close to me | 0:36:10 | 0:36:14 | |
# In no time I was trembling at the knee | 0:36:14 | 0:36:18 | |
# Oh, this year I'm off to sunny Spain... # | 0:36:18 | 0:36:20 | |
Songs like Y Viva Espana are a chance to kind of recapture | 0:36:20 | 0:36:24 | |
some of the spirit of that holiday | 0:36:24 | 0:36:25 | |
so you don't have to wait 52 weeks before you can | 0:36:25 | 0:36:28 | |
think about sun, sex, sand, sangria and serious sunburn. | 0:36:28 | 0:36:34 | |
It's a sort of mythical Spain as seen by not just us, the English who are buying it, | 0:36:34 | 0:36:39 | |
but by the Swedes and the Germans who are making it. | 0:36:39 | 0:36:41 | |
A Spain of senoritas and... this is a time when red wine was an exotic drink. | 0:36:41 | 0:36:48 | |
It was Britons almost literally putting their toes in the waters of foreign culture. | 0:36:48 | 0:36:53 | |
It wasn't even reflective of the Spain of the time, either, because the Spain of the time | 0:36:53 | 0:36:58 | |
was Franco's Spain, ultra-conservative, you know, horribly repressive. | 0:36:58 | 0:37:02 | |
In Sylvia's home country of Sweden, then strongly left-wing, | 0:37:02 | 0:37:06 | |
Y Viva Espana was seen by some as a pro-Franco anthem. | 0:37:06 | 0:37:10 | |
I was standing in a flower shop and suddenly somebody behind me said... | 0:37:10 | 0:37:15 | |
"Murderer." I said "What?" | 0:37:15 | 0:37:19 | |
They connected me with Franco and his way of treating people, | 0:37:21 | 0:37:25 | |
so, "How can you sing this? | 0:37:25 | 0:37:28 | |
"You must be a murderer too, you must be a dictator or a fascist." | 0:37:28 | 0:37:33 | |
I was standing, I took the telephone and I heard, "Fascist..." Click. | 0:37:33 | 0:37:39 | |
But in reaction to this, on the opening night of her British tour, | 0:37:42 | 0:37:46 | |
Sylvia decided to make her hit into an unlikely protest song. | 0:37:46 | 0:37:50 | |
I am going to sing No Viva Espana. | 0:37:51 | 0:37:55 | |
# This year I'm ba-da ba-da... No viva Espana | 0:37:55 | 0:37:59 | |
# I'm not taking the Costa Brava plane | 0:38:01 | 0:38:03 | |
# No viva Espana... # | 0:38:03 | 0:38:04 | |
And there were my record company sitting in the audience, like, "Oh, what is she doing?" | 0:38:07 | 0:38:12 | |
By the mid-1970s, with Spanish beaches getting overcrowded, | 0:38:16 | 0:38:21 | |
British holidaymakers followed the sun to Cyprus and Greece | 0:38:21 | 0:38:24 | |
and seemingly from nowhere, a new Greek pop star appeared on the horizon. | 0:38:24 | 0:38:30 | |
Demis Roussos had originally been in the 1960s Greek prog-rock group Aphrodite's Child, | 0:38:30 | 0:38:36 | |
along with future film composer Vangelis. | 0:38:36 | 0:38:39 | |
But he emerged as a fully-formed star in the mid-1970s, | 0:38:39 | 0:38:43 | |
as one of the decade's least likely sex symbols. | 0:38:43 | 0:38:46 | |
Demis Roussos is such a fascinating, fascinating character | 0:38:49 | 0:38:52 | |
because the Demis Roussos I first knew, | 0:38:52 | 0:38:55 | |
as indeed that most people probably first knew was this enormous man | 0:38:55 | 0:38:59 | |
in a kaftan, Abigail's Party and these luscious... | 0:38:59 | 0:39:04 | |
he is kind of like Barry White in a way, it that he is sort of ultra-masculine, | 0:39:04 | 0:39:08 | |
just his sheer bulk is ultra- masculine and that made him a kind of weird kind of heart throb | 0:39:08 | 0:39:13 | |
but the voice that comes out of that frame is this tremulous kind of vibrato. | 0:39:13 | 0:39:17 | |
# For ever and ever, for ever, never you'll be the one... # | 0:39:17 | 0:39:24 | |
Shock reaction with this huge man in this kaftan | 0:39:25 | 0:39:28 | |
and this very high voice. | 0:39:28 | 0:39:30 | |
But it was, I mean, once you'd heard it you didn't forget it. | 0:39:32 | 0:39:37 | |
# You'll be my dream... # | 0:39:37 | 0:39:41 | |
'He'd be wearing almost traditional Greek dress - like a dress - | 0:39:41 | 0:39:47 | |
but his voice is like this soprano. | 0:39:47 | 0:39:50 | |
It's this amazing operatic, emotional...thing. | 0:39:50 | 0:39:56 | |
And I think women probably went for it. | 0:39:56 | 0:39:58 | |
And I think there's an awful lot of sex appeal with Demis Roussos | 0:39:58 | 0:40:01 | |
and I think that sells records. | 0:40:01 | 0:40:03 | |
'And please don't push!' | 0:40:03 | 0:40:04 | |
'Everything he does - his voice, his build even,' | 0:40:04 | 0:40:08 | |
it's something quite incredible. | 0:40:08 | 0:40:10 | |
For music like that to come out of a man like that. Oh, it's fantastic. | 0:40:10 | 0:40:13 | |
The way he puts it over, the way he sings it, | 0:40:13 | 0:40:16 | |
it's that little tone in his voice that no other singer's got. | 0:40:16 | 0:40:19 | |
He's romantic, he's big and he's gorgeous, he's sexy and he's beautiful! | 0:40:19 | 0:40:24 | |
Forever And Ever, the classic Demis Roussos second album | 0:40:24 | 0:40:28 | |
with "Ahh-ahh-ahh-ah" on it | 0:40:28 | 0:40:30 | |
is just a classic record. Everyone should have that record. | 0:40:30 | 0:40:33 | |
And there's the Abigail's Party reference which is | 0:40:33 | 0:40:35 | |
for some people just completely unforgettable. | 0:40:35 | 0:40:38 | |
Would anybody mind if I turn this next track up? | 0:40:38 | 0:40:43 | |
Cos it's my favourite, it's Forever And Ever. | 0:40:43 | 0:40:46 | |
And I'd like us all to hear it. | 0:40:46 | 0:40:48 | |
Anybody mind? | 0:40:48 | 0:40:49 | |
-No. -No? Great! | 0:40:49 | 0:40:51 | |
Mike Leigh's 1977 play, Abigail's Party, | 0:40:52 | 0:40:56 | |
is one of the most iconic television dramas. | 0:40:56 | 0:40:59 | |
It sealed for ever Demis Roussos' place as a suburban heart-throb. | 0:40:59 | 0:41:03 | |
-Oh, isn't he great! -Yes! | 0:41:03 | 0:41:05 | |
'To Beverly, the Alison Steadman character, | 0:41:05 | 0:41:07 | |
'she thinks that Demis Roussos is sophisticated, | 0:41:07 | 0:41:12 | |
'it is upmarket, it's the perfect music for somebody who is ambitious | 0:41:12 | 0:41:16 | |
'and aspirational, as she is.' | 0:41:16 | 0:41:18 | |
Do you think he's sexy, Ange? | 0:41:18 | 0:41:20 | |
Yes. It's a pity he's so fat. | 0:41:20 | 0:41:24 | |
Yeah, but he doesn't sound it though, does he, when you hear him? | 0:41:24 | 0:41:29 | |
No, it's funny. | 0:41:29 | 0:41:30 | |
He's still fantastic though, isn't he? | 0:41:30 | 0:41:33 | |
'You live in Surbiton, you listen to Demis Roussos.' | 0:41:33 | 0:41:37 | |
It shows that Surbiton is not your horizon. | 0:41:37 | 0:41:39 | |
You can look beyond it and that you're interested in European things. | 0:41:39 | 0:41:43 | |
Ange, imagine making love to this, do you know what I mean? | 0:41:43 | 0:41:46 | |
'You all right, Laurence?' | 0:41:51 | 0:41:53 | |
Along with Demis Roussos, another exotic record that might | 0:41:53 | 0:41:56 | |
have been on Beverly's hi-fi | 0:41:56 | 0:41:58 | |
featured a plaintive whistling sound from high in the Andes. | 0:41:58 | 0:42:01 | |
But our first exposure to the panpipes came not from South America | 0:42:04 | 0:42:09 | |
but from a country thousands of miles away. | 0:42:09 | 0:42:12 | |
This famous tune is actually a Romanian funeral song and was played | 0:42:12 | 0:42:17 | |
by Gheorghe Zamfir who made his debut on the Nana Mouskouri show in 1971. | 0:42:17 | 0:42:22 | |
Everybody was talking about it, they were saying, | 0:42:27 | 0:42:30 | |
"Did you see that panpipe player?" because he was so brilliant. | 0:42:30 | 0:42:36 | |
Bringing Zamfir and his band over from Ceausescu's Romania wasn't straightforward. | 0:42:36 | 0:42:41 | |
I think we had a bit of trouble finally getting | 0:42:41 | 0:42:44 | |
the authorities to give them visas and there was a member | 0:42:44 | 0:42:48 | |
of the group who was, erm, assigned, shall I say, | 0:42:48 | 0:42:55 | |
the job of making sure that nobody defected while they were here! | 0:42:55 | 0:43:01 | |
It was a bit like the secret police. | 0:43:01 | 0:43:04 | |
I always thought he came from the Andes you see, I always thought | 0:43:09 | 0:43:12 | |
George Zamfir was part of, you know... | 0:43:12 | 0:43:15 | |
It was, I think, one of his albums has the word Andes in the title. | 0:43:15 | 0:43:18 | |
There was a mini-industry that sprung up over this magical sound that no-one had heard before. | 0:43:18 | 0:43:23 | |
You could mirror it with the zither. | 0:43:23 | 0:43:25 | |
I think every now and again a funny instrument breaks into the mainstream. | 0:43:25 | 0:43:31 | |
Unfortunately the thing about panpipes is | 0:43:38 | 0:43:40 | |
you can grow tired of them very quickly. You can hear it and go, "Wow!" | 0:43:40 | 0:43:43 | |
And then you don't want to hear it again for about a decade. | 0:43:43 | 0:43:46 | |
This week we're going to kick off, amigos, with Incantation and Cacharpaya. | 0:43:46 | 0:43:52 | |
And sure enough, ten years after Gheorghe | 0:43:59 | 0:44:02 | |
another panpipe record made its way into the charts. | 0:44:02 | 0:44:06 | |
Incantation was formed by a group of young British classical musicians in 1981. | 0:44:07 | 0:44:12 | |
They were hired to play the music for a Ballet Rambert production, Ghost Dances, | 0:44:12 | 0:44:16 | |
about repression in Pinochet's Chile. | 0:44:16 | 0:44:19 | |
They'd never seen panpipes before and had to learn to play them from scratch. | 0:44:19 | 0:44:24 | |
Their instruments arrived in a big crate. | 0:44:25 | 0:44:28 | |
We opened it, got them out, | 0:44:28 | 0:44:31 | |
tried to figure out which way up they went and we had | 0:44:31 | 0:44:35 | |
two or three weeks before the first performance | 0:44:35 | 0:44:37 | |
to learn how to play this brand-new music and off we went. | 0:44:37 | 0:44:44 | |
The music in the show was so popular it was released on record. | 0:44:50 | 0:44:55 | |
It didn't take off straightaway and then it was taken up | 0:44:55 | 0:44:59 | |
by Sir Terence Wogan on his Radio Two show | 0:44:59 | 0:45:03 | |
and he played it relentlessly and that was that. | 0:45:03 | 0:45:07 | |
It was then played on Radio One | 0:45:07 | 0:45:09 | |
and all of a sudden we were on Top Of The Pops. | 0:45:09 | 0:45:12 | |
So what's the answer? Do panpipes come from Romania or the Andes? | 0:45:14 | 0:45:19 | |
My theory is that panpipes went east a very long time ago. | 0:45:19 | 0:45:25 | |
So in China, they played panpipes | 0:45:25 | 0:45:28 | |
and at some point peoples migrated | 0:45:28 | 0:45:32 | |
across the frozen Bering Strait | 0:45:32 | 0:45:36 | |
and into the Americas | 0:45:36 | 0:45:39 | |
and they took panpipes with them. | 0:45:39 | 0:45:41 | |
And so they ended up in the Andes. | 0:45:41 | 0:45:44 | |
Ethnic, boys, ethnic. That's a Bolivian fisherman's wedding song by Incantation, | 0:45:44 | 0:45:49 | |
or "in-can-ta-thion", as the gauchos call them back home on the pampas. | 0:45:49 | 0:45:52 | |
In the 1980s, music from around the world began to break out | 0:45:56 | 0:46:00 | |
of its easy-listening ghetto. | 0:46:00 | 0:46:02 | |
Along with the trends for new foods and wider travel, | 0:46:02 | 0:46:05 | |
there was a desire for more authentic ethnic sounds. | 0:46:05 | 0:46:09 | |
Music from Africa was hardly known in the UK, | 0:46:09 | 0:46:13 | |
but was being enthusiastically promoted by a few tiny record labels | 0:46:13 | 0:46:16 | |
and festivals like WOMAD. | 0:46:16 | 0:46:18 | |
Its profile was raised further by Radio One DJ Andy Kershaw who, | 0:46:18 | 0:46:23 | |
bored with rock music, started playing | 0:46:23 | 0:46:26 | |
bands like the Bhundu Boys on his Sunday evening show. | 0:46:26 | 0:46:31 | |
# And let's sing with me... # | 0:46:33 | 0:46:36 | |
I thought, this is good, this is great, this is better than | 0:46:36 | 0:46:39 | |
that spotty little band from Leicester who just sent me their new EP. | 0:46:39 | 0:46:43 | |
so before Radio One knew what was happening, and really before I knew | 0:46:43 | 0:46:47 | |
what was happening, Radio One had a world music programme by stealth. | 0:46:47 | 0:46:51 | |
And bands like the Bhundu Boys quickly started to attract some unexpected fans. | 0:46:55 | 0:47:00 | |
I suppose the most emphatic proof I got | 0:47:02 | 0:47:04 | |
that the Bhundus had that quality to take them beyond | 0:47:04 | 0:47:08 | |
not just the confines of a beer garden in Highfield Township, | 0:47:08 | 0:47:12 | |
Zimbabwe but into the much wider world was when my mother, | 0:47:12 | 0:47:18 | |
to my astonishment, declared her love for the Bhundus' music. | 0:47:18 | 0:47:22 | |
# It was a dry wind | 0:47:29 | 0:47:30 | |
# And it swept across the desert... # | 0:47:30 | 0:47:32 | |
But the big breakthrough for African music came with | 0:47:32 | 0:47:35 | |
Paul Simon's 1986 album Graceland. | 0:47:35 | 0:47:38 | |
Controversially breaking the South African cultural boycott, | 0:47:38 | 0:47:42 | |
Simon mixed his own songs with music from groups like Ladysmith Black Mambazo. | 0:47:42 | 0:47:46 | |
Initially the group received demos of the songs. | 0:47:46 | 0:47:50 | |
So he was singing by himself, "Homeless, homeless," | 0:47:50 | 0:47:52 | |
and then playing the piano | 0:47:52 | 0:47:55 | |
and then he was doing some | 0:47:55 | 0:47:57 | |
-Mambazo exclamation, like... -HE CLICKS | 0:47:57 | 0:48:01 | |
and so we laugh about that. | 0:48:01 | 0:48:02 | |
At the beginning, we added the Zulu lyrics which mean "we are homeless." | 0:48:04 | 0:48:11 | |
THEY SING IN ZULU | 0:48:11 | 0:48:13 | |
# Sing, homeless | 0:48:18 | 0:48:21 | |
# Homeless... # | 0:48:21 | 0:48:24 | |
But the song came at the right time for South Africans | 0:48:29 | 0:48:32 | |
because, at that time, there was so much violence, | 0:48:32 | 0:48:35 | |
people were sleeping on the mountains, so this song - it was very good timing for it. | 0:48:35 | 0:48:42 | |
-# Homeless -Homeless... # | 0:48:42 | 0:48:44 | |
Paul Simon's Graceland was hugely important | 0:48:50 | 0:48:53 | |
and it came along in '86 just after I had started this business | 0:48:53 | 0:48:57 | |
on Radio One and suddenly you had, in the most | 0:48:57 | 0:49:02 | |
conservative of record collections, | 0:49:02 | 0:49:06 | |
alongside their Phil Collins and their Elton Johns, | 0:49:06 | 0:49:09 | |
had also got South African township jive and South African vocal music | 0:49:09 | 0:49:14 | |
from Ladysmith Black Mambazo sitting alongside the Lionel Ritchie releases. | 0:49:14 | 0:49:19 | |
Fantastic! That made the job for everyone much easier. | 0:49:19 | 0:49:24 | |
We feel very honoured that people accept and embrace our music. | 0:49:24 | 0:49:29 | |
So we said, it's a blessing, especially in a country | 0:49:29 | 0:49:35 | |
or the continent like the UK. | 0:49:35 | 0:49:38 | |
When we grew up, we were told about this continent, and the people here are very traditional. | 0:49:38 | 0:49:45 | |
So when they accept us, we're very grateful. | 0:49:45 | 0:49:49 | |
MUSIC: "Volare" by The Gipsy Kings | 0:49:56 | 0:49:58 | |
With the success of groups like Ladysmith Black Mambazo, | 0:50:04 | 0:50:07 | |
a new generation of international artists came to the fore | 0:50:07 | 0:50:11 | |
and also got a new name - world music. | 0:50:11 | 0:50:14 | |
Among the most popular were The Gipsy Kings. | 0:50:14 | 0:50:17 | |
Originally street musicians from the South of France, | 0:50:17 | 0:50:19 | |
over the last 20 years, they've sold 80 million records. | 0:50:19 | 0:50:25 | |
But did this newfound respectability for world music mean that | 0:51:32 | 0:51:36 | |
the foreign pop one hit wonder was history? | 0:51:36 | 0:51:39 | |
Of course not! | 0:51:39 | 0:51:40 | |
# 99 red balloons | 0:51:45 | 0:51:48 | |
# Floating in the summer sky | 0:51:48 | 0:51:50 | |
# Panic bells, it's red alert | 0:51:50 | 0:51:53 | |
# There's something here from somewhere else | 0:51:53 | 0:51:55 | |
# The war machine springs to life... # | 0:51:55 | 0:51:58 | |
Catchy foreign pop songs were still regular visitors | 0:51:58 | 0:52:01 | |
to the British charts in the '80s and '90s. | 0:52:01 | 0:52:05 | |
Nena's 99 Red Balloons was originally a number one in Germany. | 0:52:05 | 0:52:08 | |
Translated into English, it didn't make any more sense, | 0:52:08 | 0:52:11 | |
but it still topped the UK charts in 1984. | 0:52:11 | 0:52:16 | |
Four years later, Vanessa Paradis | 0:52:16 | 0:52:18 | |
had a huge hit with Joe Le Taxi. | 0:52:18 | 0:52:21 | |
# Joe le taxi y va pas partout... # | 0:52:21 | 0:52:25 | |
For young record buyers of the 1980s, the appeal of foreign pop songs | 0:52:25 | 0:52:29 | |
was just the same as it had been for their parents. | 0:52:29 | 0:52:33 | |
I remember really loving Joe Le Taxi by Vanessa Paradis. | 0:52:33 | 0:52:36 | |
She was 14 or 15 years old, she was incredibly glamorous even though | 0:52:36 | 0:52:40 | |
she was wearing a jumper and a pair of jeans and she was singing | 0:52:40 | 0:52:43 | |
about this amazing place called Paris, which sounded so exciting. | 0:52:43 | 0:52:46 | |
# Et la Seine | 0:52:46 | 0:52:49 | |
# Et ses ponts qui brillent... # | 0:52:51 | 0:52:54 | |
Joe Le Taxi was just this record from another world. | 0:52:54 | 0:52:59 | |
Not another country just on a ferry across from Dover, | 0:52:59 | 0:53:02 | |
it was just so completely different from anything I knew. | 0:53:02 | 0:53:08 | |
But there was one form of international pop | 0:53:08 | 0:53:10 | |
that everybody got to know in the 1980s. | 0:53:10 | 0:53:13 | |
Latin music had made occasional forays into the charts, | 0:53:20 | 0:53:24 | |
but over the last 25 years, it's swept all before it. | 0:53:24 | 0:53:27 | |
I think to us, in Britain, we always have a slight self image | 0:53:29 | 0:53:32 | |
of being quite grey and buttoned-up and repressed | 0:53:32 | 0:53:35 | |
and miserable - a people characterised by the hot-water bottle. | 0:53:35 | 0:53:39 | |
I think to us, Latin music is a chance to get out of ourselves. | 0:53:39 | 0:53:43 | |
# She will wear you out Livin' la vida loca... # | 0:53:43 | 0:53:47 | |
And Latin music can now be found in every British city, town and village. | 0:53:47 | 0:53:52 | |
Inspired by the hits of Ricky Martin and holidays to the Caribbean, | 0:53:52 | 0:53:56 | |
salsa dancing has become a phenomenon in its own right. | 0:53:56 | 0:53:59 | |
Salsa and Zumba and all those kinds of things, | 0:54:12 | 0:54:15 | |
it's the sound of freedom, of sexiness, of liberation. | 0:54:15 | 0:54:18 | |
People are more open-eared to the music of the world | 0:54:18 | 0:54:21 | |
and are rather distrustful of things that can fall into stereotypes. | 0:54:21 | 0:54:24 | |
Because salsa is from a foreign country, it's a bit more exotic, | 0:54:36 | 0:54:39 | |
I think it has a bit more flavour to it and it's a little bit unusual for people. | 0:54:39 | 0:54:43 | |
I went on a holiday to Cuba, fell in love with the music, | 0:54:43 | 0:54:47 | |
the dancing, came back and, in the January, looked for a class | 0:54:47 | 0:54:50 | |
because it was dark, wet. I wanted something exotic to do. | 0:54:50 | 0:54:56 | |
Because it's so different to music here, day in, day out, | 0:54:56 | 0:54:59 | |
as soon as you hear the beat of the Latin music, you start dancing. | 0:54:59 | 0:55:03 | |
The fashion for salsa shows how firmly foreign music | 0:55:16 | 0:55:19 | |
has buried itself into the British psyche. | 0:55:19 | 0:55:22 | |
So firmly that when Latin American superstar Shakira combines | 0:55:22 | 0:55:26 | |
musical styles from around the world, | 0:55:26 | 0:55:30 | |
it doesn't sound particularly foreign to us. | 0:55:30 | 0:55:33 | |
I don't think people even worry about it now. | 0:55:33 | 0:55:35 | |
Pop become kind of global in a way that people used to think it was once upon a time | 0:55:35 | 0:55:41 | |
but I think it really has become global now. | 0:55:41 | 0:55:43 | |
I think lots of different forms of art and forms of dance | 0:55:43 | 0:55:46 | |
have just been completely incorporated into British culture, | 0:55:46 | 0:55:50 | |
we don't even think of them as being foreign any more, | 0:55:50 | 0:55:56 | |
from another place. It is just part of the great big British multi-cultural soup. | 0:55:56 | 0:56:00 | |
In 70 years, we've gone from being buttoned-up Brits | 0:56:00 | 0:56:05 | |
who only bought the occasional foreign one hit wonder to now being | 0:56:05 | 0:56:08 | |
comfortable with music from all around the world. | 0:56:08 | 0:56:12 | |
It's not that the funny foreign pop song has gone away, | 0:56:12 | 0:56:15 | |
it just doesn't sound so unusual any more. | 0:56:15 | 0:56:17 | |
# Vrei sa pleci dar nu ma, nu ma iei... # | 0:56:17 | 0:56:20 | |
There isn't any room any more for the hit out of nowhere, | 0:56:20 | 0:56:23 | |
the whacky world music novelty record that gets to number one | 0:56:23 | 0:56:28 | |
in the charts because there isn't the space for it, | 0:56:28 | 0:56:31 | |
those records only worked because they were so different... | 0:56:31 | 0:56:35 | |
And sadly, that means there'll never be another star with | 0:56:35 | 0:56:38 | |
the exotic appeal of Demis Roussos, but he's kind of irreplaceable anyway. | 0:56:38 | 0:56:43 | |
# Take me far beyond | 0:56:43 | 0:56:47 | |
# Imagination | 0:56:47 | 0:56:52 | |
# You're my dream come true | 0:56:52 | 0:56:57 | |
# My consolation | 0:56:57 | 0:57:01 | |
# Ever and ever For ever and ever | 0:57:01 | 0:57:05 | |
# You'll be the one | 0:57:05 | 0:57:09 | |
# That shines in me | 0:57:09 | 0:57:12 | |
# Like the morning sun | 0:57:12 | 0:57:17 | |
# Ever and ever, for ever and ever | 0:57:17 | 0:57:21 | |
# My destiny | 0:57:21 | 0:57:26 | |
# Will follow you eternally. # | 0:57:26 | 0:57:32 | |
Subtitles by Red Bee Media Ltd | 0:57:34 | 0:57:37 |