Browse content similar to Gilbert O'Sullivan: Out on His Own. Check below for episodes and series from the same categories and more!
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Billy Joel doesn't care if he's bald... | 0:00:06 | 0:00:09 | |
and bearded at 50. Who gives a shit? | 0:00:09 | 0:00:11 | |
Neil Sedaka, up to his last tour, wore a toupee. | 0:00:12 | 0:00:17 | |
We all get kind of sucked in to thinking | 0:00:19 | 0:00:21 | |
we need to look like we used to look. | 0:00:21 | 0:00:23 | |
I think it's much better if you can be allowed to age gracefully. | 0:00:23 | 0:00:27 | |
I love the name Gilbert O'Sullivan. | 0:00:29 | 0:00:31 | |
-What's your real name? -O'Sullivan. Raymond O'Sullivan. | 0:00:31 | 0:00:34 | |
Originally, I was going to be Gilbert just for recording purposes | 0:00:34 | 0:00:37 | |
and use O'Sullivan for writing. | 0:00:37 | 0:00:39 | |
I always thought you'd invented the whole name, | 0:00:39 | 0:00:41 | |
sort of as if you were doing a play on words. | 0:00:41 | 0:00:44 | |
You know, using the name of the famous team of Gilbert and Sullivan | 0:00:44 | 0:00:47 | |
to sort of make people notice you. | 0:00:47 | 0:00:49 | |
I just did what I wanted to do and it was different to everybody else. | 0:00:51 | 0:00:55 | |
I was the biggest selling solo artist in the world in '72. | 0:00:55 | 0:00:58 | |
I'm only aware of that now. | 0:01:00 | 0:01:02 | |
..Mr Gilbert O'Sullivan. | 0:01:02 | 0:01:04 | |
APPLAUSE | 0:01:04 | 0:01:06 | |
'I think I was in every secretary's wall, | 0:01:06 | 0:01:09 | |
'with my hairy chest. | 0:01:09 | 0:01:11 | |
'You were their idol. | 0:01:11 | 0:01:12 | |
'There was David Cassidy, there was you, there was The Osmonds. | 0:01:12 | 0:01:16 | |
'There was you. | 0:01:16 | 0:01:18 | |
'It was good times. Been there, done that, enjoyed every minute of it.' | 0:01:18 | 0:01:22 | |
There's an old saying in showbiz. "When you're hot, you're hot. When you're not you're..." | 0:01:22 | 0:01:26 | |
The first to ignore you are the very people that praised you the most. | 0:01:28 | 0:01:32 | |
That's true of anybody. | 0:01:32 | 0:01:34 | |
You haven't had a really big hit for quite a while. | 0:01:34 | 0:01:38 | |
-HE SOBS SARCASTICALLY -Isn't that a shame? | 0:01:38 | 0:01:40 | |
-Isn't that a shame? -AUDIENCE AHS | 0:01:40 | 0:01:42 | |
I mean, as an artist, | 0:01:43 | 0:01:45 | |
-I'm rock bottom. -No! -No, no, no. I mean, that's OK, but it's true. | 0:01:45 | 0:01:49 | |
-Where is it true? -It's called "credibility crap". | 0:01:49 | 0:01:52 | |
MUSIC: "Nothing Rhymed" by Gilbert O'Sullivan | 0:01:52 | 0:01:55 | |
I'm not in the best position, at 62 years of age, | 0:01:55 | 0:01:59 | |
to be making pop music | 0:01:59 | 0:02:01 | |
when, to all intents and purposes, your career's over, you're history. | 0:02:01 | 0:02:05 | |
# Would you punish me so, unbelievably so | 0:02:05 | 0:02:10 | |
# Never again will I make that mistake... # | 0:02:10 | 0:02:13 | |
You can't really film this, it's a bit naff. | 0:02:13 | 0:02:17 | |
Why? | 0:02:18 | 0:02:19 | |
Well, you know, is that really interesting? I didn't think it was. | 0:02:21 | 0:02:25 | |
Is that really interesting? | 0:02:25 | 0:02:27 | |
I wouldn't be here... Normally, I'd be... | 0:02:27 | 0:02:30 | |
RADIO PLAYS That's me and tea. Is that all right? | 0:02:30 | 0:02:34 | |
I don't drink tea in silence, | 0:02:37 | 0:02:39 | |
so you're not getting the real me, are you? Come on. | 0:02:39 | 0:02:43 | |
You can come in here for two minutes and sit here. | 0:02:43 | 0:02:47 | |
-Sit here for two minutes. Ignore them. -I'm not ignoring them. | 0:02:47 | 0:02:50 | |
You must ignore them. That's what you have to do. | 0:02:50 | 0:02:54 | |
-Did, um, did FX get back to you, then? -Yes. They have everything. | 0:02:54 | 0:02:58 | |
-They have it, yeah? -Yes. -And were they... -I'll pick it up. | 0:02:58 | 0:03:02 | |
-He won't send it to you? They'll just do it. -It's easier to pick it up. | 0:03:02 | 0:03:05 | |
Kevin has a nice way about him, | 0:03:05 | 0:03:09 | |
that he can charm my enemies, | 0:03:09 | 0:03:12 | |
and there's plenty of them. So, Kevin's good like that. He doesn't make enemies, | 0:03:12 | 0:03:16 | |
which I think is a good trait to have. | 0:03:16 | 0:03:18 | |
I'm the opposite, in a way. | 0:03:18 | 0:03:21 | |
By being blunt and honest. If I think you're fat, I'll tell you, you know. | 0:03:21 | 0:03:25 | |
Oh, God. I mean, I got into trouble by being like that. | 0:03:25 | 0:03:29 | |
I figure that, if I think somebody's fat and I should tell them, aren't I doing them a favour? No! | 0:03:29 | 0:03:34 | |
Artists like Kate Bush, Carly Simon, | 0:03:34 | 0:03:38 | |
have never toured because they just don't tour | 0:03:38 | 0:03:42 | |
because they have nerves problems. I think Carly Simon has a nerve problem, | 0:03:42 | 0:03:46 | |
and I think that Kate Bush, for some reason... | 0:03:46 | 0:03:49 | |
She brought out an album about four years ago, after so many years. | 0:03:49 | 0:03:52 | |
If you won't get on the road, I don't think it works. | 0:03:52 | 0:03:55 | |
# I told you once before and I won't tell you no more. | 0:03:55 | 0:03:58 | |
# Get down, get down, get down | 0:03:58 | 0:04:02 | |
-# Oh, you're a... -(AUDIENCE)..bad dog, baby | 0:04:02 | 0:04:05 | |
# ..but I still want you around. # | 0:04:05 | 0:04:07 | |
I've been touring more in the last five years than the previous 30. | 0:04:07 | 0:04:11 | |
I'm doing the Albert Hall in October, Birmingham, Manchester... | 0:04:11 | 0:04:14 | |
And in between that we'll be finishing off another record. | 0:04:14 | 0:04:17 | |
I write pop songs, end of story. | 0:04:17 | 0:04:20 | |
That's all I wanted to do, that's all I want to do and that's all I continue to want to do. | 0:04:20 | 0:04:25 | |
I've no interest in just touring and living in the past. | 0:04:25 | 0:04:29 | |
You get off the treadmill, I don't think you deserve to get back on...in my opinion. | 0:04:44 | 0:04:48 | |
Don't. You shouldn't get off the treadmill if you want to maintain that career. | 0:04:48 | 0:04:53 | |
If you give up, retire and come back | 0:04:53 | 0:04:55 | |
and expect everybody to like you again, I don't get that. | 0:04:55 | 0:04:58 | |
SHE TALKS IN HEBREW | 0:05:01 | 0:05:04 | |
Touch-up? | 0:05:06 | 0:05:07 | |
No, I'm all right. Unless I'm shiny or something, but I don't really like make-up. | 0:05:07 | 0:05:11 | |
-You sure you don't want anything? -No, I don't. -Absolutely nothing. -No. | 0:05:11 | 0:05:15 | |
MOBILE PHONE RINGS | 0:05:15 | 0:05:17 | |
I don't like make-up rooms. For a start, there's mirrors in there. | 0:05:17 | 0:05:21 | |
And people in them. I've never like make-up rooms. | 0:05:21 | 0:05:24 | |
A bit like barber shops. | 0:05:24 | 0:05:25 | |
HE TALKS IN HEBREW | 0:05:29 | 0:05:34 | |
-What do you expect of the Israeli audience? -That's a good question. -Thank you. | 0:05:34 | 0:05:39 | |
That's what I'm asking myself. It's the kind of question I ask myself because | 0:05:39 | 0:05:43 | |
this is the first time I've been here, so it's an experience for that. | 0:05:43 | 0:05:46 | |
-And then... -Where have you been all these years? Why didn't you come? | 0:05:46 | 0:05:50 | |
-Well... -We have been waiting for years. | 0:05:50 | 0:05:52 | |
-You didn't call, you didn't write. -Better late than never! | 0:05:52 | 0:05:56 | |
# Once upon a time I drank a little wine | 0:05:56 | 0:05:59 | |
# Was as happy as could be, happy as could be... # | 0:05:59 | 0:06:03 | |
-All right, you've got your show tomorrow night. Are you excited? -Really looking forward to it. | 0:06:03 | 0:06:08 | |
-It's a beautiful place. Have you seen it? -No. I've seen pictures. The amphitheatre looks really good. | 0:06:08 | 0:06:13 | |
Very nice. And then the culture hall in Tel Aviv. | 0:06:13 | 0:06:17 | |
1980, you got married with Aase, your Norwegian girlfriend. | 0:06:17 | 0:06:21 | |
-Yeah, that's right. -And ever since then, happily ever after? | 0:06:21 | 0:06:25 | |
Yeah, we've been together through thick and thin, | 0:06:25 | 0:06:27 | |
with our two nice, daughters, two lovely daughters | 0:06:27 | 0:06:30 | |
-in their mid-20s now, living in London. -Oh! That's great. | 0:06:30 | 0:06:33 | |
I admire you for talking so much about yourself. | 0:06:37 | 0:06:40 | |
I'm not talking about myself, I'm talking about Gilbert O'Sullivan. There's a difference. | 0:06:40 | 0:06:44 | |
That's what it's about. Song writing, tour... | 0:06:44 | 0:06:49 | |
-You don't know... -No, no. | 0:06:49 | 0:06:51 | |
That's what it's about. That's what they want to hear. What's the point of doing it? | 0:06:51 | 0:06:55 | |
I don't feel it's about me, I feel it's about the person | 0:06:55 | 0:06:59 | |
who that is, you know. | 0:06:59 | 0:07:00 | |
One o'clock they're coming, aren't they? | 0:07:03 | 0:07:06 | |
1.15pm you've got to be up there. | 0:07:06 | 0:07:07 | |
Right. You sort it out? | 0:07:07 | 0:07:10 | |
In business, you have to be tough to tough it out. | 0:07:10 | 0:07:13 | |
Demand what you think you're worth. Without a formal manager, | 0:07:13 | 0:07:18 | |
Kevin fills that space, albeit on the level of communication with people. | 0:07:18 | 0:07:24 | |
That's the danger of representing yourself is that you have to kind of | 0:07:25 | 0:07:30 | |
blow your own trumpet, which is generally what managers do. | 0:07:30 | 0:07:34 | |
They're they ones that go in and say, "I want this for my artist, he deserves this." | 0:07:34 | 0:07:38 | |
In my case, I have to do that and it's quite good with e-mails cos I can use somebody else's name. | 0:07:38 | 0:07:44 | |
I'll do letters for Kevin. I can say I'm Kevin and make demands. | 0:07:44 | 0:07:50 | |
And if I do get up people's backs, then Kevin can be there to smooth it out a little. | 0:07:50 | 0:07:55 | |
He's good like that. He's very easy-going, Kev. | 0:07:55 | 0:07:57 | |
I take care of how it sounds, but we have sound technicians, | 0:08:01 | 0:08:06 | |
we have on-stage technicians, a lighting technician. It's a big crew. | 0:08:06 | 0:08:10 | |
-# Side by side... # -And back to back | 0:08:14 | 0:08:17 | |
(BOTH) I think it's fair to say that's that. | 0:08:17 | 0:08:19 | |
Martin, tonight, don't play on on "we will". | 0:08:19 | 0:08:23 | |
'Great musicians behind me, but it's my voice that's at the forefront.' | 0:08:23 | 0:08:26 | |
-And Nothing Rhymed, be more gentle even. -OK. -Yeah. | 0:08:26 | 0:08:29 | |
'I can't hide behind anything. | 0:08:29 | 0:08:32 | |
'You know, it's... The focus is on me.' | 0:08:32 | 0:08:35 | |
I've actually taken it down. It's really loud. I can't hear anything. | 0:08:35 | 0:08:41 | |
It's really hard-sounding this. Wah! | 0:08:41 | 0:08:43 | |
Is this feeding back to Francis? I can hear... | 0:08:43 | 0:08:47 | |
One. One, two. | 0:08:47 | 0:08:49 | |
It's really hard-sounding. Wah. Wah! One, two. | 0:08:49 | 0:08:53 | |
If you're a singer with a hard voice, | 0:08:53 | 0:08:55 | |
what you don't want to ever hear in your monitor is it sounding harder. | 0:08:55 | 0:09:00 | |
If it does that, then you just withdraw. | 0:09:00 | 0:09:02 | |
It makes it difficult for you to reach simple notes. | 0:09:02 | 0:09:05 | |
# ..and left standing in the lurch | 0:09:05 | 0:09:08 | |
# At a church where people're saying... # | 0:09:08 | 0:09:11 | |
The nightmare for me is you know from the first song it's wrong, | 0:09:11 | 0:09:14 | |
and you've got 30 songs to go. It's just horrible! | 0:09:14 | 0:09:18 | |
You just want the earth to swallow you up. | 0:09:18 | 0:09:21 | |
# Alone again, naturally. # | 0:09:21 | 0:09:25 | |
The big issue is that the audience enjoyed it, really. | 0:09:30 | 0:09:34 | |
They really enjoyed it. | 0:09:34 | 0:09:36 | |
And that's the main thing, really. | 0:09:37 | 0:09:39 | |
And you managed, you managed to complete the show. | 0:09:42 | 0:09:45 | |
The second half was really good. | 0:09:47 | 0:09:50 | |
'Well, it's nice of people, you know, to say, "Not to worry," and, "We thought it sounded great." | 0:10:16 | 0:10:21 | |
'It doesn't really, in my heart it doesn't help me at all. | 0:10:21 | 0:10:25 | |
'I know how bad it was.' | 0:10:25 | 0:10:27 | |
'I'm still pissed off about last night. I'm kind of depressed.' | 0:11:05 | 0:11:09 | |
After the first number, I knew I had a problem, | 0:11:09 | 0:11:11 | |
-and I had 30-odd numbers to go. -Yeah. | 0:11:11 | 0:11:13 | |
So you ima...so every number, I'm dreading. | 0:11:13 | 0:11:16 | |
I dropped certain numbers. I just couldn't face it. | 0:11:16 | 0:11:19 | |
-Yeah. -It's a silly thing, but it's such an important thing. -Yeah. | 0:11:19 | 0:11:23 | |
But if it's right, it's magic. | 0:11:23 | 0:11:24 | |
# If I give up the seat I've been saving | 0:11:41 | 0:11:45 | |
# To some elderly lady or man | 0:11:45 | 0:11:49 | |
# Am I being a good boy? | 0:11:49 | 0:11:51 | |
# Am I your pride and joy, mother? | 0:11:51 | 0:11:53 | |
# Please, if you're pleased Say I am | 0:11:53 | 0:11:56 | |
# Nothing good, nothing bad | 0:11:59 | 0:12:01 | |
# Nothing ventured, nothing gained | 0:12:01 | 0:12:05 | |
# Nothing still-born or lost | 0:12:05 | 0:12:07 | |
# Nothing further than proof | 0:12:07 | 0:12:09 | |
# Nothing wilder than youth | 0:12:09 | 0:12:11 | |
# Nothing older than time | 0:12:11 | 0:12:13 | |
# Nothing sweeter than wine | 0:12:13 | 0:12:15 | |
# Nothing physically Recklessly, hopelessly blind | 0:12:15 | 0:12:19 | |
# Nothing I couldn't say | 0:12:19 | 0:12:20 | |
# Nothing, why? Cos today, nothing rhymed. # | 0:12:20 | 0:12:26 | |
One. | 0:12:26 | 0:12:27 | |
It feels pretty good. | 0:12:27 | 0:12:29 | |
-Great. -Yeah. Hi, guys. | 0:12:29 | 0:12:33 | |
APPLAUSE AND CHEERING | 0:12:35 | 0:12:39 | |
-Oh! -Good. | 0:12:58 | 0:13:01 | |
-From your fans. -That was good. OK. | 0:13:01 | 0:13:03 | |
I didn't know you cared. | 0:13:03 | 0:13:04 | |
HE LAUGHS | 0:13:04 | 0:13:06 | |
How fantastic was that? | 0:13:06 | 0:13:08 | |
Hmm? | 0:13:08 | 0:13:10 | |
Hi1 | 0:13:12 | 0:13:13 | |
-OK, come on in. -I must be in a picture too, please. | 0:13:17 | 0:13:21 | |
-Did you enjoy it? -Yeah, thank you. -Cool. | 0:13:22 | 0:13:24 | |
'The only kind of down thing is once it's over, it's over.' | 0:13:24 | 0:13:28 | |
APPLAUSE | 0:13:28 | 0:13:30 | |
'The great concert is over. The following day it's gone.' | 0:13:32 | 0:13:36 | |
-Did you enjoy it? -Yeah! | 0:13:36 | 0:13:38 | |
'So the glory of that is very short-lived, | 0:13:38 | 0:13:41 | |
'but the glory of a successful record or a really good song lives on, | 0:13:41 | 0:13:45 | |
'beyond you, even, if it's good enough.' | 0:13:45 | 0:13:48 | |
I loved that. Alone Naturally it's my hymn. You know, my hymn? | 0:13:48 | 0:13:52 | |
-I love you. -OK. So what's your name? -Anita. | 0:13:52 | 0:13:57 | |
Thank you very much. Thank you very much. | 0:13:58 | 0:14:01 | |
Not many singers put their own clothes away. Notice that? | 0:14:01 | 0:14:04 | |
See, this is...You wouldn't catch Elton John doing this. | 0:14:04 | 0:14:08 | |
'I was born in Waterford, County Waterford. | 0:14:17 | 0:14:20 | |
'Left when I was seven, moving to Swindon, a council house in Swindon. | 0:14:20 | 0:14:23 | |
'I was 13 when my father died. | 0:14:25 | 0:14:27 | |
'The biggest regret I have is not knowing him.' | 0:14:29 | 0:14:32 | |
And my mother was extremely good and strong and, | 0:14:33 | 0:14:36 | |
you know, bringing up six kids ruled with a rod of iron. | 0:14:36 | 0:14:39 | |
# Take off your shoes | 0:14:39 | 0:14:42 | |
# The both of yous... # | 0:14:42 | 0:14:45 | |
I spilled my dinner on the floor once, | 0:14:47 | 0:14:49 | |
and she made me pick it up and eat it again. | 0:14:49 | 0:14:51 | |
Can't waste dinners! | 0:14:51 | 0:14:53 | |
'The other side of that is the piano was there, | 0:14:54 | 0:14:57 | |
'guitar was there for me, drum kit was there. | 0:14:57 | 0:15:00 | |
'Who got me those?' | 0:15:00 | 0:15:02 | |
My mother was... | 0:15:02 | 0:15:04 | |
..tough on one hand but there she was providing me | 0:15:05 | 0:15:09 | |
'with these things which were the basis of my future, my career. | 0:15:09 | 0:15:14 | |
'Everybody on a Sunday, the men would be out digging their little bit of garden, | 0:15:16 | 0:15:20 | |
'and Ray would be out there in the garden shed, banging away on this old piano in there. | 0:15:20 | 0:15:25 | |
'What they had to put up with was incredible, when you think about it. | 0:15:25 | 0:15:29 | |
'You could see where it was leading. It was leading me to a musical kind of career of some kind.' | 0:15:29 | 0:15:34 | |
Gordon Mills, manages Tom Jones, Humperdinck. | 0:15:36 | 0:15:39 | |
He was like a god. He was the most powerful manager of a solo artist in the world. | 0:15:39 | 0:15:43 | |
'I thought I was fantastic, and when I wrote to Gordon I just said, look, I would like you to manage me. | 0:15:43 | 0:15:47 | |
'I didn't say, would you like to manage me? I said, I've picked you | 0:15:47 | 0:15:51 | |
'cos I think you're the right manager for a great artist like me. | 0:15:51 | 0:15:55 | |
'He produced great records. | 0:16:03 | 0:16:05 | |
'Alone Again, Clair, Get Down, he produced them all. He was a top man.' | 0:16:05 | 0:16:09 | |
He was like a sort of father figure to me. | 0:16:11 | 0:16:13 | |
'I went on holiday with him and his family. If I needed any money to buy | 0:16:13 | 0:16:17 | |
'on a boat trip, I'd ask him and he'd give it to me. | 0:16:17 | 0:16:19 | |
'It was just like being one of the family. | 0:16:19 | 0:16:21 | |
'I babysat for Gordon and his wife,' | 0:16:21 | 0:16:24 | |
and Clair was the one that would tend to get up in the middle of the night and whatever, | 0:16:24 | 0:16:29 | |
so I grew very fond of her, so the song was written not for her but for the parents. | 0:16:29 | 0:16:34 | |
So really it's a song, almost a thank you to them. | 0:16:34 | 0:16:37 | |
# As hard as I might do | 0:16:37 | 0:16:40 | |
# I don't know why | 0:16:40 | 0:16:43 | |
# You get to me in a way I can't describe | 0:16:43 | 0:16:47 | |
# Words mean so little when you look up and smile | 0:16:47 | 0:16:51 | |
# I don't care what people say | 0:16:51 | 0:16:53 | |
# To me you're more than a child Oh, Clair... # | 0:16:53 | 0:16:56 | |
'He was a great manager in the beginning, I had respect for him. | 0:16:56 | 0:17:00 | |
I think he was losing interest, he had gorillas and tigers, | 0:17:00 | 0:17:04 | |
and I'm young and I'm still very kind of ambitious and stuff, so... | 0:17:04 | 0:17:10 | |
I think his big mistake was | 0:17:10 | 0:17:12 | |
not letting me work with another producer. | 0:17:12 | 0:17:15 | |
The tragedy of the whole situation, | 0:17:15 | 0:17:19 | |
with the litigation, with the breaking up, | 0:17:19 | 0:17:22 | |
was not so much with him, but his family. | 0:17:22 | 0:17:24 | |
As far as his family are concerned, | 0:17:24 | 0:17:26 | |
they only saw what was on the surface. | 0:17:26 | 0:17:28 | |
All I wanted was the interest in my songs | 0:17:28 | 0:17:30 | |
that had been promised to me, that's all. | 0:17:30 | 0:17:32 | |
I didn't get it, and then when we split - amicably, I thought - | 0:17:32 | 0:17:36 | |
he told me that I would get it, go into his office and see | 0:17:36 | 0:17:41 | |
his chairman, or managing director, and he'd sort it out. | 0:17:41 | 0:17:45 | |
And I go in there and he tells me to eff off! | 0:17:45 | 0:17:48 | |
And it's not funny, cos it wasn't funny, it was devastating for me, | 0:17:48 | 0:17:52 | |
it was absolutely devastating for me. It was just horrible. | 0:17:52 | 0:17:57 | |
And so I then left that determined to fight. | 0:17:57 | 0:18:01 | |
On the day of the judgement, sitting with my lawyers and saying, | 0:18:02 | 0:18:06 | |
what does that mean? And he's looking at me and he says, | 0:18:06 | 0:18:08 | |
"You get everything." I said, "What do you mean, I get everything." | 0:18:08 | 0:18:12 | |
"You get everything." | 0:18:12 | 0:18:13 | |
The shirts off their back was basically what I was given. | 0:18:13 | 0:18:17 | |
I was the bastard, so I was the one that, after all he had done for me, | 0:18:17 | 0:18:20 | |
this is how I repay him. | 0:18:20 | 0:18:21 | |
I sued a manager and won. | 0:18:21 | 0:18:25 | |
Massively. | 0:18:25 | 0:18:26 | |
I think the business turned on me, but it is ironic that | 0:18:26 | 0:18:30 | |
losing makes you more liked than winning. | 0:18:30 | 0:18:34 | |
It's a strange thing, that. | 0:18:34 | 0:18:37 | |
It's a human trait, I think. | 0:18:37 | 0:18:39 | |
Do people actually call you Gilbert? | 0:18:39 | 0:18:41 | |
It depends. If they like me, they call me Gilbert. | 0:18:41 | 0:18:43 | |
If they don't like me, it's usually Bastard or something. | 0:18:43 | 0:18:46 | |
# You say you got a big house out in the country | 0:18:50 | 0:18:54 | |
# With a ruddy great swimming pool | 0:18:54 | 0:18:56 | |
# You say you got a lot of things I never had, that's true | 0:18:56 | 0:19:02 | |
# But are you happy? | 0:19:02 | 0:19:03 | |
# Are you happy? | 0:19:03 | 0:19:06 | |
# Are you happy? | 0:19:06 | 0:19:09 | |
# When you get right down to the nitty gritty, are you happy? # | 0:19:09 | 0:19:15 | |
I'm very much a home person. | 0:19:15 | 0:19:18 | |
I'm not interested in celebrity on any level. | 0:19:18 | 0:19:22 | |
I was always very shy as a person, still am, | 0:19:22 | 0:19:26 | |
but I was never shy musically. | 0:19:26 | 0:19:28 | |
The last people I let in here were The Guardian, | 0:19:31 | 0:19:34 | |
and I'm a Guardian reader, and I was thrilled to bits. | 0:19:34 | 0:19:37 | |
Again, I do it when I have a record out. | 0:19:37 | 0:19:39 | |
We'll push for any press we can get, of course. | 0:19:39 | 0:19:42 | |
Eight times out of ten, you don't get it. | 0:19:42 | 0:19:44 | |
I've learned not to read good things about me if there are good things, | 0:19:44 | 0:19:50 | |
because you can't be a hypocrite and say, | 0:19:50 | 0:19:52 | |
"Well, I read the good reviews but I ignore the bad ones." | 0:19:52 | 0:19:54 | |
You have to take the view that | 0:19:54 | 0:19:56 | |
if you're not going to read one or the other, don't read any of them. | 0:19:56 | 0:19:59 | |
That's the important bit. | 0:19:59 | 0:20:00 | |
# I love it, but it doesn't knock me out | 0:20:00 | 0:20:04 | |
# I think it's great, but it could be better... # | 0:20:04 | 0:20:08 | |
The Gilbert O'Sullivan baggage of images has hurt me deeply. | 0:20:08 | 0:20:12 | |
# It's just not my cup of tea... # | 0:20:12 | 0:20:13 | |
If I was the kind of artist that had no image, | 0:20:13 | 0:20:16 | |
it would have stood me in much better stead. | 0:20:16 | 0:20:18 | |
As a songwriter, I would have had much more credibility. | 0:20:18 | 0:20:21 | |
# I hate it, but that doesn't mean it's bad... # | 0:20:21 | 0:20:25 | |
Lots of doors have closed, yeah. | 0:20:25 | 0:20:27 | |
The business is a young business, it's youth orientated. | 0:20:27 | 0:20:30 | |
Mojo, Q, these are the magazines that | 0:20:30 | 0:20:32 | |
people who are interested in music buy, | 0:20:32 | 0:20:34 | |
so if you're not written about in those magazines, you don't exist. | 0:20:34 | 0:20:37 | |
You don't fit into their view of what are good songwriters. | 0:20:37 | 0:20:42 | |
I don't get bitter. | 0:20:44 | 0:20:46 | |
Bitterness leads to it affecting your work. | 0:20:47 | 0:20:50 | |
I get angry, I can put my fist through a door. | 0:20:50 | 0:20:54 | |
I did some phone interviews from my home in Jersey, | 0:20:54 | 0:20:58 | |
and one of them was from a reporter from your paper, | 0:20:58 | 0:21:01 | |
and he said... He started off by saying, "Do you still write songs?" | 0:21:01 | 0:21:06 | |
So I figure that, you know... | 0:21:06 | 0:21:08 | |
I mentioned that, has he heard of the word "research"? | 0:21:08 | 0:21:11 | |
Because I had an album out. | 0:21:11 | 0:21:13 | |
And so a little bit of research would have told him | 0:21:13 | 0:21:16 | |
exactly what I was up to and what we were doing. | 0:21:16 | 0:21:18 | |
But anyway, when I pointed it out to him, he said, | 0:21:18 | 0:21:22 | |
"I can't handle this," and he put the phone down on me. | 0:21:22 | 0:21:25 | |
So I wrote to your editor, | 0:21:25 | 0:21:27 | |
and the editor said they were going to check out. | 0:21:27 | 0:21:30 | |
I think he was an independent who wasn't... Not like you are! | 0:21:30 | 0:21:35 | |
I'm famous for my letters. | 0:21:37 | 0:21:39 | |
I do write. | 0:21:39 | 0:21:41 | |
Hot Press have got in their files quite some vitriolic ones from me. | 0:21:41 | 0:21:45 | |
So I don't mind doing that. I think Spike Milligan was a bit like that. | 0:21:45 | 0:21:49 | |
Spike used to write to people | 0:21:49 | 0:21:51 | |
that made what he felt were unfair comments | 0:21:51 | 0:21:54 | |
about his problems, or whatever. So he would send off notes and stuff. | 0:21:54 | 0:21:58 | |
So I'm quite famous for doing that. I can be quite... | 0:21:58 | 0:22:01 | |
But I get to the point. | 0:22:01 | 0:22:02 | |
I get my point across. I'm not looking for a response, | 0:22:02 | 0:22:06 | |
necessarily - I just like to point out certain things. | 0:22:06 | 0:22:11 | |
Interesting thing yesterday. I heard that Radio 2 are going to do | 0:22:11 | 0:22:14 | |
a Billy Joel celebration of his 60th birthday. | 0:22:14 | 0:22:16 | |
Where were they when it was my 60th? | 0:22:16 | 0:22:18 | |
They never came calling. Anyway, they are celebrating his 60th birthday. | 0:22:18 | 0:22:23 | |
Billy Joel, one of the greatest singer-songwriters ever. | 0:22:23 | 0:22:25 | |
It'll be Sting next, and it'll be Elton John again. | 0:22:25 | 0:22:31 | |
Then it'll be Paul McCartney again, | 0:22:31 | 0:22:33 | |
and then it'll be back to Billy again. | 0:22:33 | 0:22:35 | |
So that's what comes around. | 0:22:35 | 0:22:37 | |
Which doesn't bother me. | 0:22:39 | 0:22:42 | |
'You seem to be quite healthy | 0:22:42 | 0:22:46 | |
'after a career in the music business which produces so many...' | 0:22:46 | 0:22:50 | |
-'Not after a career.' -'Yes...' -'A career that's still going on. | 0:22:50 | 0:22:53 | |
'Be very careful here!' | 0:22:53 | 0:22:56 | |
'APPLAUSE' | 0:22:56 | 0:22:57 | |
'I can see why the lyrics of your songs were so good, | 0:23:00 | 0:23:04 | |
'because you're careful, picking me up on my... | 0:23:04 | 0:23:07 | |
'There's people that would like to see me written off. I have to be very careful. | 0:23:07 | 0:23:10 | |
'Well, I'm not about to write you off.' | 0:23:10 | 0:23:12 | |
Out of sight, out of mind. | 0:23:12 | 0:23:15 | |
If you're not on the box regularly, you're a has-been. | 0:23:15 | 0:23:17 | |
No harm in that. Not in the public eye, people think you're dead. | 0:23:17 | 0:23:21 | |
I meet people all the time who say, | 0:23:21 | 0:23:22 | |
"We used to love you, we thought you were dead." | 0:23:22 | 0:23:25 | |
I mean, it's OK, I know exactly where they're coming from. | 0:23:25 | 0:23:29 | |
It only ever gets to me when people think, you know, | 0:23:29 | 0:23:33 | |
"What do you do now?" | 0:23:33 | 0:23:34 | |
I'm at it, I'm well at it. | 0:23:38 | 0:23:42 | |
I'm scratching at the door, you know, I'm desperate for success, | 0:23:42 | 0:23:46 | |
even at my age, because I want to be as successful as Snow Patrol. | 0:23:46 | 0:23:52 | |
I want to be up there with all of them. | 0:23:53 | 0:23:56 | |
Why not? | 0:23:56 | 0:23:58 | |
MOBILE RINGS | 0:23:58 | 0:24:02 | |
Aase, your phone. | 0:24:02 | 0:24:04 | |
All these are kind of up-to-minute stuff that I need to work on. | 0:24:04 | 0:24:09 | |
They're all good stuff. | 0:24:09 | 0:24:11 | |
MUSIC PLAYS | 0:24:11 | 0:24:12 | |
Just... It's all good stuff. | 0:24:16 | 0:24:18 | |
I've always been enthusiastic about the song writing, | 0:24:19 | 0:24:23 | |
regardless of what hasn't happened. | 0:24:23 | 0:24:25 | |
We sell 15, 20,000 albums, which is fine, | 0:24:25 | 0:24:28 | |
but obviously you'd like to sell hundreds of thousands. | 0:24:28 | 0:24:32 | |
I've just finished the remaining four lyrics of this album. | 0:24:34 | 0:24:38 | |
14 songs, we have. I'll probably use 12. I'll drop a couple. | 0:24:38 | 0:24:42 | |
There are two elements in this album which are very interesting. | 0:24:42 | 0:24:46 | |
Orchestra tracks, which are very different to the Nashville stuff. | 0:24:46 | 0:24:49 | |
Nashville stuff rocks, | 0:24:49 | 0:24:50 | |
and the orchestra stuff is kind of traditional. | 0:24:50 | 0:24:53 | |
# Don't be a stick in the mud | 0:24:53 | 0:24:55 | |
# Be a little clean... # | 0:24:55 | 0:24:58 | |
Well, I put my money where my mouth is. | 0:25:02 | 0:25:04 | |
It's me that pays for this. | 0:25:04 | 0:25:06 | |
-I've written these songs, I want to do it with an orchestra. -I see. | 0:25:11 | 0:25:14 | |
-And I like what Laurie does, and so that's what we do. -Great. | 0:25:14 | 0:25:17 | |
We have great pleasure in accompanying Gilbert, | 0:25:18 | 0:25:22 | |
an old friend of mine, and always composes interesting music, | 0:25:22 | 0:25:27 | |
so it will be fun. Shall we take an A? | 0:25:27 | 0:25:30 | |
-Laurie played piano on Get Down, that's his claim to fame. -Yeah. | 0:25:31 | 0:25:36 | |
He played the electric piano. | 0:25:36 | 0:25:39 | |
-I was... -Engelbert's. He was Engelbert's MD. | 0:25:39 | 0:25:41 | |
I was Engelbert's musical director, and that was '69 to '75. | 0:25:41 | 0:25:46 | |
-And Laurie got out. -I did. | 0:25:46 | 0:25:49 | |
Actually, I'm going to a dinner the Variety Club are giving. | 0:25:49 | 0:25:53 | |
-I was invited. -Were you? | 0:25:53 | 0:25:54 | |
-To Engelbert's. -Yeah. So I said, "Yes, I'd love to go," | 0:25:54 | 0:25:57 | |
and then I found out it's in Manchester. | 0:25:57 | 0:25:59 | |
Yeah, yeah. I had to turn it down, because I said we'd be away. | 0:25:59 | 0:26:02 | |
-It was nice of them to ask me, actually. -Mmm. | 0:26:02 | 0:26:05 | |
-On behalf of Engelbert, they asked you? -Yeah. | 0:26:05 | 0:26:07 | |
-Engelbert had asked them to ask you? -Yes. | 0:26:07 | 0:26:09 | |
Why couldn't he have called you up and just said...? | 0:26:09 | 0:26:11 | |
He probably wanted me to play the bloody piano, didn't he?! | 0:26:11 | 0:26:14 | |
Free, another freebie! | 0:26:14 | 0:26:17 | |
The way Laurie plays, I couldn't play like that, pianoforte and stuff. | 0:26:17 | 0:26:22 | |
You know, Laurie as a piano player | 0:26:22 | 0:26:25 | |
is traditional, piano-style playing, moving around and stuff, | 0:26:25 | 0:26:30 | |
whereas with me it's very chord, strict chord... | 0:26:30 | 0:26:33 | |
Which is good for me on my other songs, | 0:26:33 | 0:26:35 | |
but it would have been a little static on this. | 0:26:35 | 0:26:38 | |
I'm not fond of myself in other areas, but musically, I am really... | 0:26:41 | 0:26:45 | |
I have no problem having a healthy arrogance about my music | 0:26:45 | 0:26:49 | |
and about music in general. | 0:26:49 | 0:26:50 | |
I'll talk with... I'll stand with anybody. | 0:26:50 | 0:26:53 | |
I'm going to play this, yeah? | 0:26:53 | 0:26:57 | |
I think I should play it. | 0:26:57 | 0:26:58 | |
-Let me... -One, two, two, two. | 0:26:58 | 0:27:00 | |
It's about talking of murder. | 0:27:14 | 0:27:17 | |
It's, you know... What is it? I've never... No. | 0:27:17 | 0:27:20 | |
I never thought I'd see the day when murder would become so commonplace, | 0:27:20 | 0:27:24 | |
hardly a day goes by without a murder taking place, and why? | 0:27:24 | 0:27:27 | |
Well, for a start, the punishment is not hard, | 0:27:27 | 0:27:30 | |
they send you to jail for life, but you're out in no time. | 0:27:30 | 0:27:33 | |
So it's that line of argument. It's a fact of life. | 0:27:33 | 0:27:35 | |
# I never thought I'd see the day... # | 0:27:40 | 0:27:42 | |
Most contemporary songwriters, from Lennon and McCartney through, | 0:27:42 | 0:27:47 | |
don't read music. That's not how we write. | 0:27:47 | 0:27:51 | |
Our generation of songwriters wrote through their love of the music, | 0:27:51 | 0:27:56 | |
and it's that ignorance, | 0:27:56 | 0:27:58 | |
that naivety about not knowing which has helped me as a songwriter. | 0:27:58 | 0:28:03 | |
This song about Private Eye, it's nonsense. | 0:28:36 | 0:28:41 | |
"A lady asked me nicely if I'd find just what it is that is on her mind. | 0:28:41 | 0:28:44 | |
"I said, 'Certainly, that's my job - you see, I'm private eye.'" | 0:28:44 | 0:28:48 | |
End of story! | 0:28:48 | 0:28:51 | |
It's the contrast to murder. | 0:28:51 | 0:28:53 | |
You know, when you get depressed about writing a song about murder, | 0:28:53 | 0:28:57 | |
you just move into a light-hearted mood. So it's a bit of fun. | 0:28:57 | 0:29:00 | |
# So I investigated right away | 0:29:00 | 0:29:04 | |
# Started from her head and through the day | 0:29:05 | 0:29:09 | |
# Worked down to her feet, no time to stop and eat | 0:29:09 | 0:29:15 | |
# I'm private eye, at your service until I die | 0:29:15 | 0:29:19 | |
# My nose angles... # | 0:29:19 | 0:29:24 | |
# La, la, la, la, la, la | 0:29:24 | 0:29:27 | |
# La, la, la, la, la, la | 0:29:27 | 0:29:29 | |
# La, la, la, la, la | 0:29:29 | 0:29:31 | |
# La, la, la, la, la. # | 0:29:31 | 0:29:32 | |
Done. A good day at the office. | 0:29:36 | 0:29:38 | |
Yeah, a lot of hard work, | 0:29:40 | 0:29:42 | |
and, you know, it's work in progress, there's no sitting back. | 0:29:42 | 0:29:46 | |
# When, a little while from now | 0:29:53 | 0:29:54 | |
# If I'm not feeling any less sour | 0:29:54 | 0:29:57 | |
# I promised myself to treat myself | 0:29:57 | 0:30:00 | |
# And visit a nearby tower | 0:30:00 | 0:30:03 | |
# And, climbing to the top | 0:30:03 | 0:30:06 | |
# Will throw myself off | 0:30:06 | 0:30:09 | |
# In an effort to make clear to whoever | 0:30:09 | 0:30:11 | |
# What it's like when you're shattered | 0:30:11 | 0:30:15 | |
# Left standing in the lurch | 0:30:15 | 0:30:17 | |
# At a church where people are saying | 0:30:17 | 0:30:20 | |
# "My God, that's tough, she stood him up | 0:30:20 | 0:30:23 | |
# "No point in us remaining | 0:30:23 | 0:30:26 | |
# "We may as well go home" | 0:30:26 | 0:30:29 | |
# As I did on my own | 0:30:29 | 0:30:31 | |
# Alone again, naturally. # | 0:30:31 | 0:30:35 | |
I mean you can't write something like that, you know - | 0:30:37 | 0:30:40 | |
I mean, it's so personal, the song - | 0:30:40 | 0:30:42 | |
I don't think you can have written it without having lived it. | 0:30:42 | 0:30:46 | |
It had to come from your own life, I would think. No? | 0:30:46 | 0:30:48 | |
Well, that's what most people who hear it say. They say to sing about something like that, | 0:30:48 | 0:30:53 | |
you obviously must have experienced it. But that's not true, | 0:30:53 | 0:30:56 | |
and, really, the way I answer that question is by saying | 0:30:56 | 0:30:58 | |
it's not necessarily to experience a situation | 0:30:58 | 0:31:01 | |
to write about it. What's important, | 0:31:01 | 0:31:03 | |
to me anyway, is to understand the situation. | 0:31:03 | 0:31:05 | |
These are the original Alone Again lyrics. | 0:31:05 | 0:31:09 | |
In those days, I didn't write that many extra verses. | 0:31:09 | 0:31:12 | |
I do that a lot more now. | 0:31:12 | 0:31:13 | |
"To think that only yesterday, but to think that this afternoon, | 0:31:13 | 0:31:16 | |
"a week tomorrow afternoon, we'd have been on our honeymoon." | 0:31:16 | 0:31:20 | |
You know, so those are the... "Lying in the sun, having lots of fun, | 0:31:20 | 0:31:23 | |
"As any newly-married couple would do, | 0:31:23 | 0:31:26 | |
"but reality is such, I suppose, that to keep us on our toes..." | 0:31:26 | 0:31:30 | |
So those are all the Alone Again early stages. Interesting. | 0:31:30 | 0:31:34 | |
I have a good memory for all my songs. | 0:31:38 | 0:31:40 | |
I often think that if a fire came in here and razed everything, | 0:31:40 | 0:31:44 | |
I'd remember a lot. | 0:31:44 | 0:31:45 | |
Of course, I'd be absolutely gutted to lose all this stuff. | 0:31:45 | 0:31:49 | |
# What's in a kiss? | 0:31:49 | 0:31:51 | |
# Have you ever wondered just what it is? | 0:31:51 | 0:31:55 | |
# More perhaps than just a moment... # | 0:31:55 | 0:31:57 | |
All these songs are my very first songs. | 0:31:57 | 0:32:00 | |
A lot of them I haven't used. Some of them I haven't used. | 0:32:00 | 0:32:02 | |
Mary And Me is a really good song. | 0:32:02 | 0:32:05 | |
# Mary and me, a couple deep in love, I know it's true | 0:32:09 | 0:32:14 | |
# I always wanted to | 0:32:14 | 0:32:18 | |
# Please go away and leave us be, the way it used to do. # | 0:32:18 | 0:32:21 | |
People say, "Who inspires you lyrically?" Very few people. | 0:32:23 | 0:32:28 | |
But Dylan was a big inspiration in one sense, | 0:32:28 | 0:32:31 | |
because he wrote about other things than moon in June. | 0:32:31 | 0:32:35 | |
But Spike Milligan was a huge influence, | 0:32:35 | 0:32:38 | |
nonsensical lyrics and stuff, and I like that aspect of lyric writing. | 0:32:38 | 0:32:42 | |
Life In The Old Dog Yet, good album title. | 0:32:42 | 0:32:45 | |
Growing Old Disgracefully, I have a song called that. | 0:32:45 | 0:32:48 | |
So these things kind of remind me of these things. | 0:32:48 | 0:32:51 | |
We've done that one. | 0:32:51 | 0:32:54 | |
That was on... Look at that. | 0:32:56 | 0:33:00 | |
That's Gordon Mills' handwriting for Nothing Rhymed. | 0:33:00 | 0:33:03 | |
So he wrote that, it was the first time it was written out. | 0:33:03 | 0:33:06 | |
I'd had the idea for the lyric having seen the... I think it was Biafra, | 0:33:06 | 0:33:11 | |
but it was certainly the significance of starving children on the screen, | 0:33:11 | 0:33:15 | |
which nobody had seen. That was the first time footage like that had been | 0:33:15 | 0:33:19 | |
on a major TV channel. That really brought it home to so many people. | 0:33:19 | 0:33:23 | |
So you couldn't not be affected by it. | 0:33:23 | 0:33:26 | |
# When I'm drinking my Bonaparte Shandy | 0:33:26 | 0:33:30 | |
# Eating more than enough apple pies | 0:33:30 | 0:33:33 | |
# Will I glance at my screen and see real human beings starve to death | 0:33:35 | 0:33:40 | |
# Right in front of my eyes? # | 0:33:40 | 0:33:42 | |
It's no big deal. | 0:33:44 | 0:33:46 | |
These are just the songs you have at the time. | 0:33:46 | 0:33:49 | |
Nothing stands out being the relevance of writing that, | 0:33:49 | 0:33:52 | |
it's just what comes out at the time. | 0:33:52 | 0:33:54 | |
# I may be old-fashioned | 0:34:00 | 0:34:03 | |
# So what if I am? # | 0:34:03 | 0:34:06 | |
I was a prolific songwriter. | 0:34:06 | 0:34:09 | |
A nine-to-five songwriter. You know, | 0:34:09 | 0:34:10 | |
you're touching on all kinds of areas that interest you, intrigue you, | 0:34:10 | 0:34:14 | |
that catch your attention. | 0:34:14 | 0:34:15 | |
I am chauvinistic in the sense that | 0:34:15 | 0:34:17 | |
I believe I don't think marriage works without children. | 0:34:17 | 0:34:21 | |
# But I believe | 0:34:21 | 0:34:23 | |
# A woman's place is in the home... # | 0:34:23 | 0:34:27 | |
What's the role of the woman within marriage? | 0:34:28 | 0:34:31 | |
A housewife, of course. | 0:34:31 | 0:34:33 | |
It's not the healthiest thing to be writing about | 0:34:33 | 0:34:36 | |
if you're looking for exposure, | 0:34:36 | 0:34:38 | |
but on the other hand, as a lyricist, it's great. | 0:34:38 | 0:34:41 | |
I'll defend it because I do take the... It's not straight ahead, | 0:34:41 | 0:34:46 | |
it looks at both sides. | 0:34:46 | 0:34:49 | |
I think it covers the issue pretty well, | 0:34:49 | 0:34:52 | |
but if you just pick up aspects of it, just the title throws you. | 0:34:52 | 0:34:56 | |
That came later, which is | 0:34:56 | 0:34:57 | |
I Don't Trust Men With Earrings In Their Ears. | 0:34:57 | 0:34:59 | |
You know, what's it...? "I don't like women that look like they're men, | 0:35:02 | 0:35:05 | |
"I trust only those who are true to themselves, | 0:35:05 | 0:35:08 | |
"and God knows there aren't too many of them." | 0:35:08 | 0:35:10 | |
Relentless rhythm has always been Gilbert's trademark. | 0:35:10 | 0:35:14 | |
At home, bashing away karate-style, | 0:35:14 | 0:35:17 | |
he builds a lot of songs and destroys a lot of pianos. | 0:35:17 | 0:35:21 | |
That's why I break notes. | 0:35:24 | 0:35:26 | |
It's what's known as a karate chop. | 0:35:26 | 0:35:30 | |
Your left hand is your drum. | 0:35:30 | 0:35:31 | |
I've always played like that. | 0:35:31 | 0:35:33 | |
Very, very tough left hand and stuff, | 0:35:33 | 0:35:37 | |
so it, I think, would make most piano teachers scream with horror. | 0:35:37 | 0:35:42 | |
If you wanted to kind of categorise | 0:35:44 | 0:35:46 | |
an O'Sullivan approach to song writing, | 0:35:46 | 0:35:49 | |
what's nice about his work is that when you do middle... | 0:35:49 | 0:35:52 | |
I love middle sections, | 0:35:52 | 0:35:53 | |
because I like going off the beaten track lyrically | 0:35:53 | 0:35:56 | |
to go into another story and getting back to the original story, | 0:35:56 | 0:36:00 | |
but I also do it musically, | 0:36:00 | 0:36:01 | |
because what's nice is... And Lonely is a good example. | 0:36:01 | 0:36:04 | |
MUSIC CHANGES | 0:36:10 | 0:36:11 | |
You see? Suddenly you're into a "How do you do that?" | 0:36:11 | 0:36:15 | |
And it's because when I was writing it, I came up with that | 0:36:15 | 0:36:18 | |
and I also came up with another one, | 0:36:18 | 0:36:20 | |
a different one, and I just chose that one. | 0:36:20 | 0:36:23 | |
So that searching for... | 0:36:23 | 0:36:24 | |
After having the original inspiration on melody on the verse, | 0:36:24 | 0:36:27 | |
you look for the middle section. I like middle sections. | 0:36:27 | 0:36:30 | |
You say you still sit down every morning and... | 0:36:30 | 0:36:34 | |
Hey, it's a nine-to-five. | 0:36:34 | 0:36:36 | |
This is a daily thing still? | 0:36:36 | 0:36:37 | |
Yeah, I'll sit there. I love it. It's hard work. I mean, you know, | 0:36:37 | 0:36:40 | |
you can get up and it's a sunny day and you think, "Who needs this?" | 0:36:40 | 0:36:43 | |
I don't have to do it, but I love it, because it's exciting to think | 0:36:43 | 0:36:47 | |
what this lyric, what this melody I've come up with... | 0:36:47 | 0:36:50 | |
What could I write about, what's the lyric, what's coming out of my head? | 0:36:50 | 0:36:54 | |
I feel that there is so much still to write about. | 0:36:54 | 0:36:57 | |
I love lyric writing, | 0:36:57 | 0:36:59 | |
-and I like the difficult thing of coming up with good melodies. -Mmm. | 0:36:59 | 0:37:03 | |
Because the danger is, as you get older as a writer, | 0:37:03 | 0:37:06 | |
that you lose interest in honing in on | 0:37:06 | 0:37:08 | |
getting the influence to write a good melody. | 0:37:08 | 0:37:11 | |
Because very often, good melodies you write are based on an influence | 0:37:11 | 0:37:14 | |
of hearing other melodies. | 0:37:14 | 0:37:15 | |
You buy CDs not because you want to amass a collection of them, | 0:37:15 | 0:37:19 | |
you buy them because you're interested in what's going on, | 0:37:19 | 0:37:22 | |
and you listen to them and put them away. | 0:37:22 | 0:37:24 | |
That's a pretty broad church of music. | 0:37:24 | 0:37:29 | |
I like Lindsey Buckingham from Fleetwood Mac. | 0:37:29 | 0:37:33 | |
I'll buy Take That to see what they're up to. | 0:37:35 | 0:37:37 | |
That's the one I last bought, | 0:37:37 | 0:37:38 | |
which, of course, is Shirley Temple's greatest hits. | 0:37:38 | 0:37:41 | |
It's a knockout LP. | 0:37:41 | 0:37:42 | |
The Killers. | 0:37:42 | 0:37:44 | |
Fleet Foxes, interesting vocals. | 0:37:44 | 0:37:48 | |
RAP MUSIC PLAYS | 0:37:50 | 0:37:52 | |
Biz Markie, he's a famous rapper. | 0:37:57 | 0:37:59 | |
Biz Markie was the main man to begin with in the '80s. | 0:37:59 | 0:38:03 | |
They requested the use to sample the intro to Alone Again. | 0:38:03 | 0:38:08 | |
Such is life. | 0:38:10 | 0:38:12 | |
-And the reason you didn't let him use it? -Because he's comedy. | 0:38:13 | 0:38:17 | |
I don't want that song associated with anything humorous. | 0:38:17 | 0:38:20 | |
The song is too important to be used for anything humorous. | 0:38:20 | 0:38:23 | |
So we protect that. | 0:38:23 | 0:38:24 | |
The great thing about ownership is that we can protect that. | 0:38:24 | 0:38:27 | |
We said no. | 0:38:27 | 0:38:29 | |
But being who they were, they just went ahead and released it. | 0:38:31 | 0:38:38 | |
So, you know, so what do you do? | 0:38:38 | 0:38:41 | |
So I got hold of American lawyers | 0:38:42 | 0:38:46 | |
and went through the whole process | 0:38:46 | 0:38:48 | |
that I had to go through years before earlier. | 0:38:48 | 0:38:50 | |
I had to go to New York, to go to court in New York. | 0:38:50 | 0:38:53 | |
In fact, all we said to begin with was, | 0:38:53 | 0:38:55 | |
"Just don't put it out, just withdraw it." | 0:38:55 | 0:38:57 | |
We weren't looking for money, just pull it back. | 0:38:57 | 0:38:59 | |
So we just said, | 0:38:59 | 0:39:00 | |
"If you don't withdraw this track within the next... | 0:39:00 | 0:39:03 | |
"I'll have every single Warner Bros record that's scheduled..." | 0:39:03 | 0:39:07 | |
Well, the S hit the fan there and then, | 0:39:07 | 0:39:09 | |
and that evening it was all settled. | 0:39:09 | 0:39:11 | |
We got a massive settlement, and a precedent was set there. | 0:39:11 | 0:39:15 | |
First, that was the first sampling case ever to go to court. | 0:39:15 | 0:39:19 | |
There had been sampling cases before, had been settled out of court, | 0:39:19 | 0:39:23 | |
but none of them had ever... | 0:39:23 | 0:39:24 | |
No sampling cases had ever gone to court with a ruling. | 0:39:24 | 0:39:28 | |
But who needs that? I wasn't looking for that, for God's sakes. | 0:39:29 | 0:39:33 | |
# In a little while from now... # | 0:39:39 | 0:39:42 | |
In my history, I have various songs | 0:39:42 | 0:39:45 | |
that mean more to some countries than they do to others, | 0:39:45 | 0:39:48 | |
but in this particular instance, American took Alone Again (Naturally) to their heart, | 0:39:48 | 0:39:52 | |
and it's never lost the impact it has for them. So that's great for me. | 0:39:52 | 0:39:57 | |
Because, as I say, it helps us, opens up doors. | 0:39:57 | 0:40:00 | |
Nashville is like Los Angeles was in the '70s, | 0:40:04 | 0:40:06 | |
where all these top US session guys played, | 0:40:06 | 0:40:08 | |
and now they all moved to Nashville. The standard of musicianship is high. | 0:40:08 | 0:40:13 | |
The idea of coming here to record appealed to me, | 0:40:13 | 0:40:16 | |
and also to have a base for future live work. | 0:40:16 | 0:40:21 | |
# Alone again, naturally. # | 0:40:21 | 0:40:26 | |
It's taken me seven years, or almost eight years, since I bought the house | 0:40:26 | 0:40:30 | |
to actually get down here to record, | 0:40:30 | 0:40:32 | |
but better late than never, so I'm really looking forward to it. | 0:40:32 | 0:40:36 | |
But Nashville, again one song has led the way. | 0:40:40 | 0:40:44 | |
It's a song written about 9/11, | 0:40:44 | 0:40:46 | |
so therefore it would be nice to record that with American musicians. | 0:40:46 | 0:40:50 | |
Well, I have to have a piano which is detuned below concert pitch, | 0:40:51 | 0:40:55 | |
which is unusual. It's unthinkable that | 0:40:55 | 0:40:58 | |
anybody would play a piano and want it detuned, | 0:40:58 | 0:41:01 | |
but I am that weird exception to the rule. | 0:41:01 | 0:41:03 | |
I have a limited vocal range, so the difference between a semitone and... | 0:41:03 | 0:41:08 | |
I mean, it affects my voice, and to cut a long story short, | 0:41:08 | 0:41:10 | |
when I started writing songs I used to buy really cheap pianos | 0:41:10 | 0:41:13 | |
which were never tuned, obviously, | 0:41:13 | 0:41:15 | |
because I could never afford to buy a tuner, | 0:41:15 | 0:41:17 | |
so they were always under pitch. So I'd then go to a studio | 0:41:17 | 0:41:20 | |
to make a record for the first time and I think, "What's going on? | 0:41:20 | 0:41:23 | |
"I'm playing in the same key, but it sounds higher." | 0:41:23 | 0:41:26 | |
You learn with experience that it's because everything is concert pitch. | 0:41:26 | 0:41:29 | |
But I'm so used to the semitone, | 0:41:29 | 0:41:31 | |
so I actually have a grand piano made by Bluthner in East Germany, | 0:41:31 | 0:41:34 | |
who made it for me, which is probably unique, | 0:41:34 | 0:41:36 | |
the only one in the world that has a lever, | 0:41:36 | 0:41:38 | |
so you turn the lever and it goes down a semitone. | 0:41:38 | 0:41:40 | |
-Oh, wow. So you play in C and you're singing in B? -Yeah, yeah. | 0:41:40 | 0:41:44 | |
We need to get copies of these. | 0:41:44 | 0:41:46 | |
Well, they'll probably do the wrong charts, I'd say. | 0:41:46 | 0:41:48 | |
Yeah? How do you want to work that? | 0:41:48 | 0:41:51 | |
Well, they'll probably say run the song once or twice, just run... | 0:41:51 | 0:41:55 | |
-Yeah? -Run the actual... Raise the tone. | 0:41:55 | 0:41:57 | |
-They can sit round me and they can listen to it? -Exactly. | 0:41:57 | 0:42:00 | |
Hey, play that sequence with the left hand, please. | 0:42:00 | 0:42:04 | |
Just the chords, without the rhythm, real slowly. | 0:42:04 | 0:42:08 | |
A flat minor or B, uh-huh. | 0:42:10 | 0:42:11 | |
Yeah, that's a diminished chord. OK, so that's a B diminished. | 0:42:11 | 0:42:16 | |
# La, la, la, la, la, la, la, la, la | 0:42:16 | 0:42:20 | |
# La, la, la, la, la, la, la... # | 0:42:20 | 0:42:22 | |
There's that slight variation. | 0:42:22 | 0:42:24 | |
# La, la, la, la, la, la, la... # | 0:42:24 | 0:42:25 | |
I can't get to that, because of my right-hand chord. | 0:42:32 | 0:42:35 | |
Shall we put one down? | 0:42:50 | 0:42:52 | |
Yeah. | 0:42:52 | 0:42:53 | |
The vocal set-up is really good here. It's priceless to have that. | 0:42:53 | 0:42:56 | |
So we, another day... | 0:42:56 | 0:42:57 | |
I mean, because you know that problem that we're going to have at home. | 0:42:57 | 0:43:01 | |
'If I make a record, the vocal set-up has to be right. | 0:43:01 | 0:43:04 | |
'I've gone to studios where I've worked with a new engineer | 0:43:04 | 0:43:09 | |
'and the vocal set up is wrong, and I've had to terminate the session, | 0:43:09 | 0:43:13 | |
'bring in another co-producer and write down what it is that works. | 0:43:13 | 0:43:19 | |
'So all that you want to hear is | 0:43:19 | 0:43:20 | |
'your voice sounding the way, naturally, it should be.' | 0:43:20 | 0:43:23 | |
Let me just have a listen. | 0:43:23 | 0:43:25 | |
Might as well hit it. | 0:43:25 | 0:43:26 | |
MUSIC STARTS | 0:43:31 | 0:43:34 | |
# I don't know what makes a man | 0:43:42 | 0:43:44 | |
# Or a woman even think that terror isn't evil | 0:43:46 | 0:43:52 | |
# How could anyone have plans | 0:43:52 | 0:43:56 | |
# That would guarantee the death of thousands of people? | 0:43:56 | 0:44:01 | |
# And yet as I look back now on what happened | 0:44:01 | 0:44:06 | |
# Like the calls from those in planes they were trapped in | 0:44:06 | 0:44:10 | |
# Whatever they felt that day | 0:44:10 | 0:44:16 | |
# "I love you" | 0:44:16 | 0:44:18 | |
# That was all they wanted to say. # | 0:44:18 | 0:44:22 | |
-That was nice. -Well done. That's good. | 0:44:28 | 0:44:30 | |
-It sounded really good. -It's a good day. | 0:44:30 | 0:44:33 | |
It's a nice song, that. | 0:44:33 | 0:44:34 | |
-So we'll call it a day? -It's a beautiful song. | 0:44:34 | 0:44:37 | |
-Yeah, man. -You've got some really great compositional ideas coming. | 0:44:37 | 0:44:41 | |
Yeah. | 0:44:41 | 0:44:43 | |
'You see, I don't want to be in a hotel, | 0:44:53 | 0:44:56 | |
'I don't want to be in a hired apartment. I hate all that. | 0:44:56 | 0:45:00 | |
'You get back from a studio | 0:45:00 | 0:45:03 | |
'and you're not in your own kind of environment. | 0:45:03 | 0:45:05 | |
'You can't really relax properly, | 0:45:05 | 0:45:08 | |
'and the beauty of having this place is that this is home.' | 0:45:08 | 0:45:13 | |
Ah. | 0:45:13 | 0:45:14 | |
'Always when I come back from a trip abroad, Aase will tell you this, | 0:45:24 | 0:45:29 | |
'it's so annoying, the first thing I do | 0:45:29 | 0:45:31 | |
'when I walk in the house is straighten the rugs. | 0:45:31 | 0:45:33 | |
'I'm very obsessive compulsive. | 0:45:33 | 0:45:36 | |
'I don't suffer from it, I just have that.' | 0:45:36 | 0:45:38 | |
I'm very set in my ways. I hate it when things are not... | 0:45:38 | 0:45:43 | |
it drives my wife crazy. | 0:45:43 | 0:45:45 | |
It's a bit like if I see a waste bin, I have to empty it. | 0:45:45 | 0:45:49 | |
I don't like to see a waste bin with anything in it. | 0:45:49 | 0:45:52 | |
Work that one out. That's very Freudian! | 0:45:52 | 0:45:54 | |
'Taps always have to be clean. | 0:45:59 | 0:46:01 | |
'I go to the girls' flat in London, | 0:46:01 | 0:46:03 | |
'the first thing I do is check the taps.' | 0:46:03 | 0:46:05 | |
So it's just a quirk, just a freaky little thing I do. | 0:46:07 | 0:46:14 | |
# Nothing you can say or do | 0:46:26 | 0:46:29 | |
# Alters the fact | 0:46:29 | 0:46:32 | |
# Even with experience, which I don't lack | 0:46:32 | 0:46:36 | |
# I'm like a little lamb that can't find my way home | 0:46:37 | 0:46:45 | |
# Write about it, talked about it, | 0:46:51 | 0:46:54 | |
# Even asked | 0:46:54 | 0:46:57 | |
# Wanted it to happen | 0:46:57 | 0:47:00 | |
# And now it has | 0:47:00 | 0:47:02 | |
# I'm like a little lamb | 0:47:03 | 0:47:06 | |
# That can't find my way home | 0:47:06 | 0:47:14 | |
So it's strange really, in a way my mindset is on the new album. | 0:47:20 | 0:47:24 | |
-But this is certainly interesting to be here, right? -You know you're here. | 0:47:24 | 0:47:29 | |
Mentally I was going in with a T-shirt that said "Everybody's going to the Albert Hall except me." | 0:47:29 | 0:47:34 | |
-I found that four clover up in the fields. -Yes. | 0:47:36 | 0:47:39 | |
Where the cows are. | 0:47:39 | 0:47:42 | |
So that should bring lots of luck. | 0:47:42 | 0:47:44 | |
I'm looking forward to this. | 0:47:52 | 0:47:55 | |
You know, we did Glastonbury, we were on the same bill as Leonard Cohen | 0:47:55 | 0:47:58 | |
and Neil Diamond and all those kind of people. | 0:47:58 | 0:48:01 | |
No problem. | 0:48:01 | 0:48:02 | |
It's good. I mean, for me it's... I have to... | 0:48:02 | 0:48:06 | |
Unlike a Cohen and a Diamond, I have to rebuild that | 0:48:06 | 0:48:11 | |
kind of respect. I have to get... | 0:48:11 | 0:48:14 | |
I have to work harder to get people to like my work than they do. | 0:48:14 | 0:48:19 | |
And that, in a way, is also part of what I attempt to do. | 0:48:19 | 0:48:25 | |
APPLAUSE | 0:48:25 | 0:48:27 | |
One, two, three, four. | 0:48:40 | 0:48:42 | |
# I don't wish to hurry you, love But have you seen the time? # | 0:48:50 | 0:48:54 | |
# It's a quarter to ten, and we're supposed to be there at nine... # | 0:48:54 | 0:48:58 | |
I'm always 21 when I write, but there will be a point even if I continue... | 0:48:58 | 0:49:02 | |
Irving Berlin was writing when he was 100, so I could continue to write for a long time, but there will | 0:49:02 | 0:49:07 | |
be a point where you stop. Leonard Cohen had his biggest ever tour success last year and he's 73. | 0:49:07 | 0:49:13 | |
Yeah, so there's life in the old dog yet. | 0:49:13 | 0:49:15 | |
# Once upon a time I drank a little wine | 0:49:15 | 0:49:18 | |
# Was as happy as could be | 0:49:18 | 0:49:20 | |
# Happy as could be | 0:49:20 | 0:49:22 | |
# I'm just like a cat on a hot tin roof | 0:49:22 | 0:49:26 | |
# Baby, what do you think you're doing to me? # | 0:49:26 | 0:49:29 | |
It's an unpredictable business and our business is full of nobody knows and that's comforting. | 0:49:29 | 0:49:36 | |
So there's always the possibility I can turn that corner | 0:49:36 | 0:49:39 | |
so this time next year I could be talking to you on who knows? | 0:49:39 | 0:49:42 | |
1, 2, 3, 4. | 0:49:42 | 0:49:44 | |
WHISTLING INTRO TO "CLAIR" | 0:49:45 | 0:49:49 | |
You can sing along if you want. | 0:49:49 | 0:49:51 | |
# Clair, the moment I met you I swear | 0:49:52 | 0:49:58 | |
# I felt as if something somewhere | 0:49:58 | 0:50:02 | |
# Had happened to me Which I couldn't see | 0:50:02 | 0:50:06 | |
# And then the moment I met you again... # | 0:50:06 | 0:50:13 | |
< This is Clair. | 0:50:13 | 0:50:15 | |
These girls! So how you been? We were going to maybe bring you on, | 0:50:17 | 0:50:24 | |
but you must come to other shows. Next year we're going to tour a lot. I'm really pleased you are here. | 0:50:24 | 0:50:29 | |
I tell you what, that film. | 0:50:29 | 0:50:32 | |
Is my make-up still all over my face? Because all of us were weeping. | 0:50:32 | 0:50:37 | |
< Sobbing. Sobbing! | 0:50:37 | 0:50:39 | |
It was amazing, I loved it. Yes, it was fantastic. | 0:50:39 | 0:50:45 | |
-Bloody good show. -You enjoyed it? | 0:50:45 | 0:50:48 | |
-Yes. -Cool. I'll see you all after. | 0:50:48 | 0:50:51 | |
The ultimate success for me is to be number one | 0:50:51 | 0:50:56 | |
and nobody to know it was me. | 0:50:56 | 0:50:57 | |
-This is to... -Christine. | 0:50:57 | 0:50:59 | |
And Daniel, my husband. We love your music. | 0:50:59 | 0:51:02 | |
So is that K? With a K? | 0:51:02 | 0:51:04 | |
What's your documentary experience been like, to make that step? | 0:51:05 | 0:51:10 | |
Well, it was horrendous to actually agree to it, because I didn't really want to do it. | 0:51:10 | 0:51:16 | |
The intrusion just seemed awful to me. | 0:51:16 | 0:51:18 | |
It goes against the grain of what it is that I kind of stand up for. | 0:51:18 | 0:51:22 | |
On the other hand once I gave the go-ahead, as I told you, | 0:51:22 | 0:51:25 | |
I can't be a hypocrite and start complaining about it. | 0:51:25 | 0:51:28 | |
So I just kind of accept it. | 0:51:28 | 0:51:31 | |
If I don't like what you're doing... | 0:51:31 | 0:51:33 | |
..you'll have a hard job getting your show and... | 0:51:35 | 0:51:38 | |
you'll see the fiery side of me if it ain't good. | 0:51:38 | 0:51:41 | |
# I've no wish to hurry you, love But have you seen the time? | 0:51:50 | 0:51:55 | |
# It's quarter to ten and we're supposed to be there at nine | 0:51:55 | 0:51:59 | |
# I don't think the registrar Will be very pleased | 0:51:59 | 0:52:04 | |
# When we show up an hour late Like two frozen peas | 0:52:04 | 0:52:08 | |
# Both now facing for the first time Presently and past | 0:52:11 | 0:52:15 | |
# Something that begins with M And ends in alas | 0:52:15 | 0:52:19 | |
# More than not complete disaster Even from the start | 0:52:19 | 0:52:24 | |
# What could it be? | 0:52:24 | 0:52:26 | |
# It's matrimony. # | 0:52:27 | 0:52:29 |