0:00:28 > 0:00:30# I want to know
0:00:31 > 0:00:35# How does it feel
0:00:35 > 0:00:40# Behind those eyes of blue?
0:00:40 > 0:00:43# You've made some mistakes
0:00:43 > 0:00:47# Now your heart aches
0:00:49 > 0:00:53# Behind those eyes of blue... #
0:00:55 > 0:00:57- How are you feeling?- OK.
0:00:58 > 0:01:03A lot better than I felt at eight o'clock this morning.
0:01:03 > 0:01:05I was a bit worried.
0:01:05 > 0:01:08My voice has been playing up for a few days and I thought...
0:01:08 > 0:01:11I tried all the natural remedies. I thought it'd just clear up.
0:01:11 > 0:01:16It turns out I had this virus that affects your breathing.
0:01:16 > 0:01:20Anyway, I saw a doctor this morning. He gave me something, it feels a lot better.
0:01:20 > 0:01:25So I'm excited again. I hope it's good.
0:01:25 > 0:01:28It'll be great. Rehearsal sounded good.
0:01:28 > 0:01:31- Yeah?- Yeah.- Well, the orchestra sounds fantastic.
0:01:31 > 0:01:34They're just amazing. And this beautiful venue.
0:01:34 > 0:01:36So let's try and enjoy it.
0:01:37 > 0:01:40Shall we go and do it?
0:01:42 > 0:01:46# ..People may say
0:01:46 > 0:01:49# You've had your chance
0:01:50 > 0:01:55# And let it slip away
0:01:55 > 0:01:58# But hard as they try
0:01:58 > 0:02:04# There's a dream that won't die
0:02:04 > 0:02:08# Behind those eyes of blue
0:02:08 > 0:02:11# Maybe once in a while
0:02:11 > 0:02:16# There's a trace of a smile
0:02:16 > 0:02:21# Behind those eyes of blue
0:02:21 > 0:02:24# It's painfully clear
0:02:24 > 0:02:29# There's a river of tears
0:02:29 > 0:02:32# Behind those eyes of blue... #
0:02:32 > 0:02:38BASS PLAYER IMPROVISES
0:02:38 > 0:02:43APPLAUSE
0:03:02 > 0:03:06# It's not too late
0:03:06 > 0:03:10# To bring about a change
0:03:10 > 0:03:13# Not too late to learn from it all
0:03:13 > 0:03:16# By your mistakes
0:03:16 > 0:03:19# Now it's time to look at yourself
0:03:19 > 0:03:22# See just what you are made of
0:03:24 > 0:03:28# You've got to try and see... #
0:03:28 > 0:03:30He's a soulful cat, you know, people can see that.
0:03:30 > 0:03:33They can sense it, that he's soulful.
0:03:33 > 0:03:37He's known here more by music connoisseurs
0:03:37 > 0:03:40and people who are deep into music.
0:03:40 > 0:03:44He's never been super, super huge,
0:03:44 > 0:03:48but every time, when people find out who he is,
0:03:48 > 0:03:53they always go, "Wow, that guy's voice is incredible."
0:03:53 > 0:03:55That's the thing with Paul, isn't it?
0:03:55 > 0:04:00He doesn't actually reckon he's a great anything, but in actual fact,
0:04:00 > 0:04:02he's a great, great everything!
0:04:02 > 0:04:07# ..It ain't over till it's over
0:04:07 > 0:04:11# I never quit till I get to the bottom line
0:04:11 > 0:04:17# Cos it ain't over till it's over... #
0:04:17 > 0:04:21'He has the ability to make people see
0:04:21 > 0:04:26that he's being truthful and he's not a fraud.
0:04:26 > 0:04:28Pop music is filled with frauds, and actually,
0:04:28 > 0:04:32some of the frauds are actually quite entertaining, you know,
0:04:32 > 0:04:36but he is... Look at the length of his career.
0:04:36 > 0:04:39You really don't stick around that long
0:04:39 > 0:04:44if you haven't got something really special going for you.
0:04:44 > 0:04:46He's a really great musician.
0:04:46 > 0:04:48If you put it in football terms, I suppose,
0:04:48 > 0:04:51he's kind of like the Bobby Charlton of football.
0:04:51 > 0:04:54He somebody that you admire, love, and you would want to be around.
0:04:54 > 0:04:57He probably wouldn't say Bobby Charlton. Who would he say?
0:04:57 > 0:04:59Somebody from Sheffield Wednesday.
0:05:05 > 0:05:08What's he up to, young Glen?
0:05:08 > 0:05:12- Glen, sunning himself, I guess. - Gardening.- Is he?!
0:05:12 > 0:05:13He wants us to sign a guitar.
0:05:13 > 0:05:16'I suppose I am pretty down-to-earth.
0:05:16 > 0:05:20'Growing up in Sheffield, you're probably not going to be anything other than that.
0:05:20 > 0:05:23'Sheffield people are down-to-earth, you might say dour,
0:05:23 > 0:05:29'but it's a good grounding for getting through life
0:05:29 > 0:05:33'and getting through a tricky business like the music business.'
0:05:33 > 0:05:36- Wonderful.- No worries.
0:05:36 > 0:05:39- I hope it hasn't detracted from the value!- Ha!
0:05:48 > 0:05:51My maternal grandfather came over from Ireland,
0:05:51 > 0:05:55he was a Flaherty, or as they say in Yorkshire, 'Flarty.'
0:05:55 > 0:05:59And he came over from Ireland to work in the steel mills.
0:05:59 > 0:06:04I think he died quite young, about 36, of consumption,
0:06:04 > 0:06:08and he left my grandma with six young kids. I think only one of them
0:06:08 > 0:06:13of any kind of working age, so my granny, who was a scullery maid,
0:06:13 > 0:06:16had to feed these kids somehow or other.
0:06:16 > 0:06:21She started to work in the newsagents across the road here.
0:06:21 > 0:06:25And it turned out that the fellow who owned the shop had had enough of it,
0:06:25 > 0:06:29he didn't want it, and eventually, my grandmother took over the shop,
0:06:29 > 0:06:33the running of it and the ownership of it, I suppose,
0:06:33 > 0:06:35and so my mum and all my aunts
0:06:35 > 0:06:38and uncles and my grandmother grew up here.
0:06:38 > 0:06:40We've now come down to Broad Street.
0:06:40 > 0:06:43When we set off, it was quite bright and sunny
0:06:43 > 0:06:48but it's gone a bit overcast. We've brought you to see the shop,
0:06:48 > 0:06:50where we stayed for 37 years.
0:06:50 > 0:06:52We moved in 1936,
0:06:52 > 0:06:55took the paper shop, the newsagents,
0:06:55 > 0:06:59and Mum had it for 37 years.
0:06:59 > 0:07:03'Sheffield's changed dramatically over the years.
0:07:03 > 0:07:05'A lot of it's been demolished,
0:07:05 > 0:07:08'but there are still little bits and pieces. There's still Granelli's,
0:07:08 > 0:07:12'the sweet shop's still there, been there as long as I can remember.
0:07:12 > 0:07:15- Did you grow up here, then? - Yes, I've been here all my life.
0:07:15 > 0:07:18'I've always gone back because of family
0:07:18 > 0:07:21'and because I support Sheffield Wednesday,
0:07:21 > 0:07:24'and I still go to the games. It really is an emotional tie.'
0:07:24 > 0:07:27- Well, continue with your success. - We'll try.
0:07:27 > 0:07:31- I'm so pleased for you.- Well, look out for us on the telly.- I will.
0:07:31 > 0:07:34You're still talking to poor people, that's a good thing, isn't it?
0:07:34 > 0:07:38- Lovely to see you.- Take photographs of what you want.- OK, love.
0:07:38 > 0:07:40- See you, Rosita.- Excuse me. Don't leave your wine gums.
0:07:40 > 0:07:42- Thank you very much. - Is that enough for four of you?
0:07:42 > 0:07:46- You never leave empty handed! - Bye, love.- Ta-ra.
0:07:46 > 0:07:51# Satisfy my soul
0:07:51 > 0:07:55# Let the day begin
0:07:55 > 0:08:02# Make the evening roll
0:08:02 > 0:08:04# Let the big sky in
0:08:06 > 0:08:08# Satisfy my heart... #
0:08:08 > 0:08:11'My mum met my dad and we moved out of town a little bit
0:08:11 > 0:08:15'to a place called Crooks, which was a bit more rural back in those days,
0:08:15 > 0:08:17'almost semi-rural, on the outskirts of Sheffield.
0:08:17 > 0:08:20# ..Love is all around
0:08:20 > 0:08:23# And all the hurt will heal... #
0:08:23 > 0:08:26Mr Carrack, this is your life!
0:08:26 > 0:08:28Ha-ha!
0:08:28 > 0:08:32- We've got a red book.- Present from Rosita Granelli.- Oh, marvellous.
0:08:32 > 0:08:34# ..When we were walking... #
0:08:34 > 0:08:37'I grew up in pretty austere surroundings,
0:08:37 > 0:08:41'as did most people in Sheffield, but we didn't know that.
0:08:41 > 0:08:45'It was a happy upbringing, we had a lot of freedom as kids.
0:08:45 > 0:08:49'We had the love of our family and our parents
0:08:49 > 0:08:52'and things always seemed to be getting better.
0:08:52 > 0:08:55'That was the great thing about growing up as we did,
0:08:55 > 0:08:59'in the '50s and '60s, things always seemed to be improving all the time,
0:08:59 > 0:09:02'and it didn't seem such a complicated world as it is today.'
0:09:04 > 0:09:09My mum run the shop, my dad was a painter-decorator.
0:09:09 > 0:09:14- And then, um, John had just started work, hadn't you?- Yeah.
0:09:14 > 0:09:19Came home from school one day, and they weren't here,
0:09:19 > 0:09:23because unfortunately, my dad had had an accident.
0:09:23 > 0:09:27- As a decorator.- As a decorator. He'd gone down a staircase.
0:09:27 > 0:09:31A ladder came down on him and he trapped his neck
0:09:31 > 0:09:36in-between the ladder rungs and broke his neck.
0:09:36 > 0:09:38Three days later, he passed away.
0:09:38 > 0:09:40In that year, or at that time,
0:09:40 > 0:09:45they didn't really know how to treat spinal injuries so much,
0:09:45 > 0:09:49so the poor lad had two holes drilled in his head, didn't he?
0:09:49 > 0:09:53And weights to try to pull his spine back into position.
0:09:53 > 0:09:56And it didn't happen. My dad had not made a will,
0:09:56 > 0:10:00so we had quite a session with all sorts of people, really.
0:10:00 > 0:10:05And then they gave me six months off and then after six months,
0:10:05 > 0:10:08I stayed here and I've been here ever since, really. So...
0:10:08 > 0:10:13And that was at 15, he took over the shop!
0:10:13 > 0:10:16Yeah, but we had a lot of help.
0:10:16 > 0:10:21I'm saying that the support from where we've been today,
0:10:21 > 0:10:25that's where my mum's family grew up and all my aunts and uncles,
0:10:25 > 0:10:30they were unbelievable support. That's what brought us through.
0:10:30 > 0:10:33# I was standing
0:10:33 > 0:10:38# All alone against the world outside
0:10:40 > 0:10:43# You were searching
0:10:43 > 0:10:47# For a place to hide
0:10:49 > 0:10:53# Lost and lonely
0:10:53 > 0:11:00# Now you've given me the will to survive
0:11:00 > 0:11:04# When we're hungry
0:11:04 > 0:11:06# Love will keep us alive. #
0:11:06 > 0:11:10# Bought a ticket at the station
0:11:12 > 0:11:15# Waved my brother John goodbye
0:11:17 > 0:11:20# Got the ferry down to Hamburg... #
0:11:22 > 0:11:26'I know of other sibling situations
0:11:26 > 0:11:31'where there would be intense resentment, or jealousy,
0:11:31 > 0:11:34'or what-have-you. There isn't any of that with my brother,
0:11:34 > 0:11:37'he's just fantastic. He loves coming to the shows
0:11:37 > 0:11:41'and he's totally supportive. He's started collecting guitars now,
0:11:41 > 0:11:47'and he's still playing. He's just a great guy.'
0:11:47 > 0:11:51# ..And following the gold... #
0:11:55 > 0:11:57When I went to the secondary school,
0:11:57 > 0:11:59they had a couple of bits of kit there.
0:11:59 > 0:12:02They had a snare drum and there was two lads played guitars
0:12:02 > 0:12:06so we had a little group at school.
0:12:06 > 0:12:10We played at the school concert, doing The Shadows,
0:12:10 > 0:12:14we did Foot Tapper. And then, of course, the Beatles, with Love Me Do.
0:12:14 > 0:12:17And I remember playing the school concert, we did Love Me Do,
0:12:17 > 0:12:20and Twist And Shout, and all the girls threw Jelly Babies,
0:12:20 > 0:12:23like this, at us, and asked you for your autograph.
0:12:33 > 0:12:38When I was about 15 or 16, we had a band with my cousin, Robert.
0:12:38 > 0:12:42We entered a bit of a battle of the bands competition,
0:12:42 > 0:12:44the idea being you could win a day in a recording studio.
0:12:44 > 0:12:48So we brought all our pals down, made sure that we won the competition,
0:12:48 > 0:12:51even though we were rubbish. We got our day in the studio,
0:12:51 > 0:12:55and inside the recording studio was a Hammond organ.
0:12:55 > 0:12:57Bear in mind I'm a drummer at this point.
0:12:57 > 0:13:02We turned the Hammond organ on and the engineer showed me a few chords.
0:13:02 > 0:13:07And that was the first time I'd seen how to play chords on a keyboard.
0:13:07 > 0:13:10Not long after that, our singer, Clive,
0:13:10 > 0:13:13went on to form a soul band, CG Morris And The Reaction,
0:13:13 > 0:13:15and he gave me a call one day and said,
0:13:15 > 0:13:18"You want to sell your drums, buy yourself an organ,
0:13:18 > 0:13:20"and you're in the band." So that's what I did.
0:13:20 > 0:13:26I used to buy Jimmy Smith albums and play them at half speed,
0:13:26 > 0:13:28you know, instead of playing them at 33, the next speed down,
0:13:28 > 0:13:31to try and figure out what he was doing.
0:13:39 > 0:13:42- My friend got you a job at the Gas Board...- That's right.
0:13:42 > 0:13:46..which you loved, didn't you?! You loved to be away from it.
0:13:46 > 0:13:49And then you had to go missing one weekend
0:13:49 > 0:13:52and it entailed having Friday off, I think.
0:13:52 > 0:13:58And so he went without any permission, and that was it.
0:13:58 > 0:14:00We came down to London to do an audition, actually,
0:14:00 > 0:14:03that's what we did. We played this audition in a reggae club
0:14:03 > 0:14:06off Caledonian Road. We drove through the night,
0:14:06 > 0:14:09we kipped in the van to be there early.
0:14:09 > 0:14:12Hundreds of bands auditioning to go and play in Germany.
0:14:12 > 0:14:14And, you know, we went for it, big style.
0:14:14 > 0:14:18Got changed and everything, did our set, and they loved us,
0:14:18 > 0:14:21the bloke, and so that was our first gig.
0:14:21 > 0:14:25I was 17, the other lads would probably have been 18, 19.
0:14:25 > 0:14:29- And we went off to Frankfurt. - You never had a proper job after that, did you?- No.- So that was it.
0:14:29 > 0:14:31So he left the Gas Board...
0:14:31 > 0:14:39Which, I mean, at the time, it was really bad to not have a job.
0:14:39 > 0:14:42- Most people had a job. - Because there were too many jobs.
0:14:42 > 0:14:45You left school on Friday and walked into your first job on Monday.
0:14:45 > 0:14:49It was full employment, especially in our lot,
0:14:49 > 0:14:52- to not have a job was really... - Frowned on.
0:14:52 > 0:14:56And to be playing in a band was the lowest of the low!
0:14:59 > 0:15:03Football was my first love, really, probably before music.
0:15:03 > 0:15:07I would play football every day, as did most kids.
0:15:07 > 0:15:09Our Christmas ten bob note from Grandma,
0:15:09 > 0:15:12we used to be straight down to get a new shirt,
0:15:12 > 0:15:14or a new pair socks, or something.
0:15:14 > 0:15:15That was better than Christmas Day.
0:15:20 > 0:15:22'It's an incredible bond
0:15:22 > 0:15:24'and attachment.
0:15:24 > 0:15:28'It's a big thing in your life. I don't know why. It's mental, really.'
0:15:31 > 0:15:36I'm only three miles away, but he's 160-odd, and he'll still drive up and go,
0:15:36 > 0:15:37turn round and go back.
0:15:37 > 0:15:40And unfortunately, it's rubbed off on Charlie, his eldest boy,
0:15:40 > 0:15:43and he's up to his neck in it.
0:15:43 > 0:15:47Unfortunately. It's a terrible thing to do to a lad. It's in your DNA.
0:15:47 > 0:15:48Afraid so.
0:15:48 > 0:15:55# Oh, this is what my heart needs to feel
0:15:57 > 0:16:01# Oh, yes, it is now
0:16:01 > 0:16:04# This is what my heart needs to feel... #
0:16:09 > 0:16:13Then we got a bit more serious and into music,
0:16:13 > 0:16:15and the progressive rock music was happening,
0:16:15 > 0:16:17so that's when we had this little band called Warm Dust,
0:16:17 > 0:16:20which was, uh...
0:16:20 > 0:16:23I mean, we thought it was very important,
0:16:23 > 0:16:26but it was pretty pretentious stuff.
0:16:26 > 0:16:29But we meant it.
0:16:31 > 0:16:34At that time, rock music was taking itself a bit serious,
0:16:34 > 0:16:40and people got fed up with it and a lot of punters didn't really dig it.
0:16:40 > 0:16:45They wanted to hear songs, you know. Short songs and rock'n'roll.
0:16:45 > 0:16:51There was a sort of feeling about bringing music back to its roots,
0:16:51 > 0:16:54which meant in pubs and bars, so groups could see their audience,
0:16:54 > 0:16:57the audience could see the bands,
0:16:57 > 0:17:01and it was engendering a sense of excitement again.
0:17:01 > 0:17:05# She looked out to stand the patience
0:17:05 > 0:17:08# Did a cloud just cross the sun...? #
0:17:08 > 0:17:15'Occasionally, we do one or two of these stand-up rock'n'roll venues,
0:17:15 > 0:17:18'and we skip the ballads.'
0:17:18 > 0:17:22People are out there, they're having a pint, and a bit of a boogie,
0:17:22 > 0:17:24so we keep it a little bit more rock'n'roll.
0:17:24 > 0:17:28# ..Every morning, noon and night
0:17:29 > 0:17:34# Cos though it seems you've walked all over my dreams
0:17:34 > 0:17:39# I'll make believe that it's all right
0:17:39 > 0:17:43# Just a little lie to try and get me through
0:17:43 > 0:17:45# Just a little lie
0:17:45 > 0:17:48# Changed from white to blue... #
0:17:52 > 0:17:56We came back to London, the band fizzled out,
0:17:56 > 0:17:58and out of the ashes of that
0:17:58 > 0:18:00was formed Ace.
0:18:06 > 0:18:11Two of the guys from Warm Dust met up with two guitar-playing singer-songwriters.
0:18:11 > 0:18:15Basically, we just got together to play in pubs in London,
0:18:15 > 0:18:18like the Tally Ho, Hope and Anchor.
0:18:18 > 0:18:21It was wonderful just to sort of turn up and see Ace play,
0:18:21 > 0:18:25or Dux de Lux, Nick Lowe, Brinsley Schwarz, of course.
0:18:25 > 0:18:26It was all great days.
0:18:26 > 0:18:30I remember seeing Ace play a lot of times,
0:18:30 > 0:18:32and we all sort of knew each other.
0:18:32 > 0:18:35All the bands would at least nod to each other
0:18:35 > 0:18:37because it was before punk rock,
0:18:37 > 0:18:40when all the bands were supposed to really hate each other, you know,
0:18:40 > 0:18:42even if they didn't. But the pub rock thing
0:18:42 > 0:18:44was all rather friendly, you know.
0:18:44 > 0:18:46We were a bit different to most pub-rock bands
0:18:46 > 0:18:49because we wrote a lot more of our own material,
0:18:49 > 0:18:52most of the other guys were playing covers, you know, rock'n'roll.
0:18:52 > 0:18:55We did a bit of that, but we also wrote our own stuff.
0:18:55 > 0:18:58And that's when I first started really writing songs.
0:18:58 > 0:19:01One of the first songs I wrote was How Long.
0:19:01 > 0:19:05And I think that probably helped us to get a record deal
0:19:05 > 0:19:08because we were playing that live and it sounded like
0:19:08 > 0:19:13it might have a chance of being a hit. Let's hear you sing now.
0:19:13 > 0:19:19# How long has this been going on?
0:19:22 > 0:19:27# How long has this been going on...? #
0:19:27 > 0:19:31'I thought it was really strong. I was naive enough to think,
0:19:31 > 0:19:37'this is going to be a hit, and it was, but it was a very slow process.
0:19:37 > 0:19:41'It took weeks and weeks of DJs giving it a spin,
0:19:41 > 0:19:44'as they were allowed to do back in those days,
0:19:44 > 0:19:47'play a bit of what they like. And it built up, word-of-mouth.'
0:19:47 > 0:19:51Likewise, in America, it came out and it made its way very,
0:19:51 > 0:19:55very slowly, week-by-week, all the way up the charts.
0:19:55 > 0:19:57# ..And it's no use pretending
0:19:57 > 0:20:00# It could happen to us any day... #
0:20:00 > 0:20:04Sing it! # ..How long... #
0:20:04 > 0:20:10'Our first tour, we were booked to open up for Yes,
0:20:10 > 0:20:14'who were a big arena band at that time, a big live act, a big draw.
0:20:14 > 0:20:16'So we went over there, in front of 20,000 people
0:20:16 > 0:20:20'every night for three months.
0:20:20 > 0:20:23'And we just about got away with it, to be honest,
0:20:23 > 0:20:27'because we were rough and ready, no presentation, pub-rock stylee,
0:20:27 > 0:20:29'in front of 20,000 people.'
0:20:29 > 0:20:32They expected a little bit more, I think!
0:20:32 > 0:20:35But that was such a big hit in the States, that one,
0:20:35 > 0:20:38that, as I say, we got away with it.
0:20:47 > 0:20:50We were a tight little bunch of guys, we'd come from nowhere,
0:20:50 > 0:20:53we had this big hit. They worked us into the ground
0:20:53 > 0:20:57and it went a bit pear-shaped. We got a bit burnt-out
0:20:57 > 0:20:59and there was a bit of falling out.
0:20:59 > 0:21:03But we didn't want to give it up, because we'd been through a lot.
0:21:03 > 0:21:06And it was hard, but it came to the point where it fizzled out.
0:21:09 > 0:21:14And that's when I started playing around London, picking up sessions.
0:21:15 > 0:21:19My peers, that seemed to be what they did.
0:21:19 > 0:21:22And I figured that that's how you progressed as a musician.
0:21:22 > 0:21:26So I started to get a few sessions playing with different people
0:21:26 > 0:21:29but, I mean, I'm self-taught and I was bluffing away like mad.
0:21:29 > 0:21:34I only knew how we did things in Ace, so, yeah, I was learning on the job.
0:21:34 > 0:21:40There are these fantastic guys that can have instant sight-reading,
0:21:40 > 0:21:45and do all the commercials and what-have-you,
0:21:45 > 0:21:52and there are other guys like us that, you know, do it all by ear
0:21:52 > 0:21:56and, you know, manage to come up with something at the end of it.
0:21:56 > 0:21:59I'm an instinctive player, you know,
0:21:59 > 0:22:02and I have a knack of playing what's needed
0:22:02 > 0:22:08and I can blend in and harmonise with the situation, so that's a gift.
0:22:08 > 0:22:11I'm not knocking that, I mean, that's a good thing to have,
0:22:11 > 0:22:14but that's what saw me through,
0:22:14 > 0:22:18rather than being, "Oh, yeah, well, I can do this."
0:22:18 > 0:22:21I had to really feel my way into things.
0:22:21 > 0:22:27And just by word of mouth, you know, that you're an OK guy and,
0:22:27 > 0:22:31you know, you're tasteful in what you do,
0:22:31 > 0:22:36and adaptable. But the session work was never really a big part
0:22:36 > 0:22:41of what I did. I always thought I was a singer-songwriter.
0:22:41 > 0:22:45My peers, a lot of them played in a band called Kokomo,
0:22:45 > 0:22:48and before that, The Grease Band. I'm talking about guys like Alan Spenner
0:22:48 > 0:22:53and Neil Hubbard. Great, great players, the best players in town.
0:22:53 > 0:22:58They were involved in making the records for people like Bryan Ferry,
0:22:58 > 0:23:02and later on, for Roxy. They were the sidemen.
0:23:02 > 0:23:04That was the connection that got me involved with Roxy.
0:23:04 > 0:23:07And I was invited to play on a few of their records
0:23:07 > 0:23:10and invited to go on tour with them, which was fantastic fun.
0:23:10 > 0:23:15I really enjoyed it, because it had been a bit of a struggle after the Ace thing had fizzled out,
0:23:15 > 0:23:19and that was a really, like, back on the road in a posh way.
0:23:19 > 0:23:22It was good. Celebrity travel, and all that!
0:23:22 > 0:23:29Yeah, fantastic. You know, lovely hotels, all that sort of stuff.
0:23:29 > 0:23:33Everything was taken care of,
0:23:33 > 0:23:37and just really nice people to work with.
0:23:37 > 0:23:40And Paul, as usual, being...
0:23:40 > 0:23:45just very amusing and great to play with.
0:23:45 > 0:23:48What else can I say?
0:23:48 > 0:23:52To me, he's the Michael Palin of rock'n'roll,
0:23:52 > 0:23:55because everybody likes him.
0:23:55 > 0:24:02Nobody would ever dream of taking a dislike to Paul.
0:24:10 > 0:24:13Every time I sing a song, it's almost like I'm doing it for the first time
0:24:13 > 0:24:18because I'll be in a different frame of mind, my voice'll be in a different state.
0:24:18 > 0:24:22If I've done five gigs in a row, my voice is different. I have to find a way of getting through it.
0:24:22 > 0:24:26# You tell me I'm wrong
0:24:26 > 0:24:29# And out of line... #
0:24:32 > 0:24:36'A song is really just a framework for me,
0:24:36 > 0:24:39'almost like the jazzers, really, although not to that extent,
0:24:39 > 0:24:41'but I don't think I'm a great songwriter at all.
0:24:41 > 0:24:43'My songs are very simple, very basic,
0:24:43 > 0:24:47'but inside of that, as a singer,
0:24:47 > 0:24:49'there's so much scope for what you can do,
0:24:49 > 0:24:52'the phrasing and the intonation,
0:24:52 > 0:24:57'and just subtle little changes, without taking huge liberties.
0:24:57 > 0:25:00'It's never stale, in that respect.'
0:25:00 > 0:25:04# ..Oh, if I didn't love you
0:25:04 > 0:25:07# Would I let you walk from me?
0:25:09 > 0:25:13# If I didn't need you
0:25:13 > 0:25:19# Would I lose you from my dreams...? #
0:25:19 > 0:25:22'Performers make the best songwriters in many ways,
0:25:22 > 0:25:26'because they understand how a song has to work in performance.
0:25:26 > 0:25:30'And just his vocal ability, just tremendous.
0:25:30 > 0:25:33He's always absolutely in tune, and just little flourishes
0:25:33 > 0:25:37contain four or five little notes which are all perfectly in tune.
0:25:37 > 0:25:43He's just got such skill with that, and the feeling that comes with it.
0:25:43 > 0:25:47He's got a voice that's, no pun intended,
0:25:47 > 0:25:51strikes a chord with everybody, it seems like.
0:25:51 > 0:25:54He has a voice that just makes you want to listen.
0:25:54 > 0:25:57Is it the songs, is it the voice?
0:25:57 > 0:26:02Sometimes, I think the voice can speak a million words just with its sound.
0:26:02 > 0:26:06When he sent me the final version of the album before last,
0:26:06 > 0:26:09when he'd written some tunes to my lyrics,
0:26:09 > 0:26:12and I just listened to them and I cried my eyes out
0:26:12 > 0:26:16because they were exactly how I imagined it to be.
0:26:16 > 0:26:21And he touched the spirit inside me that no other writer really touches.
0:26:21 > 0:26:25And that is a lot to do with the way he voices songs.
0:26:26 > 0:26:31# ..If I didn't need you
0:26:31 > 0:26:35# Would I lose you from my dreams...? #
0:26:36 > 0:26:41Not long after that, I was approached by a guy called Jake Riviera,
0:26:41 > 0:26:46who later became a manager. Jake had also taken on Squeeze.
0:26:46 > 0:26:50Jools Holland had left the band, so they needed a keyboard player.
0:26:50 > 0:26:55And they tried a lot of people and nobody would fit, for whatever reason, and Jake put me forward.
0:26:55 > 0:26:58He said, go down, have a play with the guys, see how it goes.
0:26:58 > 0:27:00So I went down, I didn't know anything about them.
0:27:00 > 0:27:06I was absolutely knocked out by their musicality.
0:27:06 > 0:27:12They were fantastic, really bright, upbeat, amazing songs.
0:27:12 > 0:27:15Amazing players and singers.
0:27:15 > 0:27:18And they were about to go in the studio
0:27:18 > 0:27:21and record an album called East Side Story.
0:27:21 > 0:27:24And they said, well, if you want to do it, you know,
0:27:24 > 0:27:26you've got the job, basically.
0:27:26 > 0:27:29We went in to do the East Side Story album with Elvis Costello.
0:27:29 > 0:27:34And the song Tempted was tipped out on to the studio floor
0:27:34 > 0:27:38and Paul sang it in one take, and it was like, my God!
0:27:38 > 0:27:41One day, at the end of the album, we'd more or less finished everything
0:27:41 > 0:27:43and we're messing about,
0:27:43 > 0:27:45we're doing this song called Tempted,
0:27:45 > 0:27:51which they had already recorded a different version of. But we were doing it in this kind of soul way,
0:27:51 > 0:27:55and I was playing the Hammond organ. And Elvis Costello was producing it.
0:27:55 > 0:27:59He came running in and said, "This is great. Let's put this down."
0:27:59 > 0:28:04And we recorded the track in this new style, and he said,
0:28:04 > 0:28:06"This is great, but you know what, Paul, you should sing it."
0:28:06 > 0:28:10# Let's get out of this place... #
0:28:10 > 0:28:13I felt a bit strange about it because, you know,
0:28:13 > 0:28:16Squeeze already had two great singers, Glenn and Chris,
0:28:16 > 0:28:22but it's a fantastic song and I just jumped at the chance to sing it.
0:28:22 > 0:28:25So I ended up singing that song on the album,
0:28:25 > 0:28:29which became a bit of a breakthrough hit for them in America.
0:28:29 > 0:28:32# ..I know I will
0:28:32 > 0:28:36# Tempted by the fruit of another
0:28:36 > 0:28:43# Tempted but the truth is discovered
0:28:43 > 0:28:45# What's been going on... #
0:28:45 > 0:28:50He put a trademark on Squeeze which still lives to this day,
0:28:50 > 0:28:52and that's a really gracious thing
0:28:52 > 0:28:55and a loving thing for him to have done, really,
0:28:55 > 0:28:58because it's not often you get someone with such talent
0:28:58 > 0:29:04and such soul, really, coming to your band, give you a great song
0:29:04 > 0:29:06and then leave the band.
0:29:06 > 0:29:10Jake persuaded me that it wasn't in my best interests
0:29:10 > 0:29:14to stay with Squeeze because I would always just be a side man...
0:29:14 > 0:29:20I was happy being a side man in the band, because I didn't try to,
0:29:20 > 0:29:25you know, ingratiate myself, because the identity of the band
0:29:25 > 0:29:29was the songs and the singers, so I was just along for the ride.
0:29:29 > 0:29:34But Jake said, "Really, it's not good for you to stay there too long."
0:29:34 > 0:29:36So I was with them for about a year
0:29:36 > 0:29:40and then I left, in order to work more with Nick Lowe.
0:29:40 > 0:29:44# Dry all the raindrops
0:29:44 > 0:29:48# Hold back the sun
0:29:48 > 0:29:54# My world has ended
0:29:54 > 0:29:58# My baby's gone
0:30:03 > 0:30:07# Hold back the rushing minutes
0:30:07 > 0:30:11# Make the wind lie still... #
0:30:11 > 0:30:14'Three or four years, we more or less had the same band together
0:30:14 > 0:30:17'and, depending on who had the current album, that's how we went out.
0:30:17 > 0:30:19'It was either The Paul Carrack Band,
0:30:19 > 0:30:22'or it was Nick Lowe and The Cowboy Outfit.
0:30:22 > 0:30:25'But we did many tours up and down America.
0:30:25 > 0:30:28# ..My world has ended
0:30:28 > 0:30:29# My baby's gone... #
0:30:29 > 0:30:33'Our little act, the Cowboy Outfit, went all over the place.
0:30:33 > 0:30:39'We opened for big acts, we played our own shows, we played little tiny dives,'
0:30:39 > 0:30:43huge great stadiums, whatever came our way.
0:30:43 > 0:30:47And sometimes, we were really good,
0:30:47 > 0:30:52and other times, we were frankly not so good.
0:30:52 > 0:30:56He produced a solo album for me called Suburban Voodoo,
0:30:56 > 0:31:00which is quite interesting, if you listen to it now.
0:31:00 > 0:31:04I can manage about three tracks and I have to go and have a lie-down.
0:31:04 > 0:31:08It's quite fuelled. But nevertheless, for me, it was a solo album
0:31:08 > 0:31:12and it actually had a four-star review in Rolling Stone that year
0:31:12 > 0:31:15and I had my first Top 30 hit from it, a song called I Need You.
0:31:15 > 0:31:19- Can you remember it?- Of course I can remember it, of course.
0:31:26 > 0:31:31# Don't need a roller or a limousine
0:31:31 > 0:31:35# Don't need my picture in a magazine
0:31:35 > 0:31:39# Don't need approval... # D to A.
0:31:39 > 0:31:41# ..From a chosen few
0:31:41 > 0:31:45# I tell you what I do need I need you... #
0:31:45 > 0:31:47'When we had our little group together,
0:31:47 > 0:31:51'he was really head and shoulders better than the rest of us.
0:31:51 > 0:31:55'We were sort of holding him back, really.
0:31:55 > 0:32:01'But it was quite a rambunctious little outfit.'
0:32:01 > 0:32:04We had a pretty good time, or sort of a good time.
0:32:04 > 0:32:07There was a lot of boozing and what-have-you going on.
0:32:07 > 0:32:10I tell you what there is on Suburban Voodoo, actually,
0:32:10 > 0:32:14which is a cracking song which I have thought about doing again,
0:32:14 > 0:32:19but about five tones lower and half the speed than we did it,
0:32:19 > 0:32:24which is another great song that you wrote, From Now On.
0:32:24 > 0:32:27Oh, yeah. Yes, yes, yes.
0:32:27 > 0:32:32- Oh, yes.- Which has got one of my favourite all-time lines in it.
0:32:34 > 0:32:38"You're going to see the biggest change in any man there's ever been.
0:32:38 > 0:32:41"I'm going to do my level best to keep my nose clean."
0:32:43 > 0:32:45I was onto something there.
0:32:46 > 0:32:49Pity you didn't take your own advice!
0:32:51 > 0:32:52How true, how true.
0:32:52 > 0:32:56Can you remember it? E might be a bit high.
0:32:57 > 0:33:03# From now on, I'm going to be
0:33:03 > 0:33:09# Turning over a brand new leaf
0:33:09 > 0:33:11# It may be tough
0:33:11 > 0:33:14# But I will be strong
0:33:14 > 0:33:19# From now on, from now on... #
0:33:23 > 0:33:26'He had a family, the rest of us didn't.
0:33:26 > 0:33:30'And he sort of looked around and said to himself,
0:33:30 > 0:33:34'"This is going nowhere. These guys are nice fellas,'
0:33:34 > 0:33:36"but we're going nowhere.
0:33:36 > 0:33:41"The records aren't very good and I need to do something about it."
0:33:41 > 0:33:47And he really took a conscious decision to change his act.
0:33:47 > 0:33:54# ..I'm gonna do my level best to keep my nose clean
0:33:54 > 0:33:59# From now on, from now on
0:33:59 > 0:34:01# Cos from now on
0:34:01 > 0:34:05# I'm gonna be
0:34:05 > 0:34:09# Turning over a brand new leaf
0:34:11 > 0:34:13# It may be tough
0:34:13 > 0:34:15# But I will be strong
0:34:15 > 0:34:22# From now on, from now on
0:34:22 > 0:34:27# From now on, from now on
0:34:27 > 0:34:31# From now on
0:34:32 > 0:34:38# From now, from now on. #
0:34:43 > 0:34:48'As luck would have it, timing-wise, that was when I was approached by Mike Rutherford.
0:34:48 > 0:34:51Would I be interested in going and singing on a few tracks
0:34:51 > 0:34:53on an album that he was making?
0:34:53 > 0:34:57Surprisingly, The Mechanics was 25 years ago, we started.
0:34:57 > 0:35:01And really, my kind of reason for doing it was, I love to write songs.
0:35:01 > 0:35:03You write a good song, you want a great singer.
0:35:03 > 0:35:05And that's not me, without doubt.
0:35:05 > 0:35:07So really, I started the project,
0:35:07 > 0:35:11I wrote some songs with Chris Neil and BA Robertson.
0:35:11 > 0:35:14We went away to Montserrat, for some reason, to record it.
0:35:14 > 0:35:18On a winter's day, we chose to go there. Came back with songs,
0:35:18 > 0:35:22backing tracks, and no singers, hadn't even thought about that.
0:35:22 > 0:35:23It seems strange, looking back at it,
0:35:23 > 0:35:27but at the time, it worked that way. It was an unplanned project.
0:35:27 > 0:35:29And quite early on,
0:35:29 > 0:35:31it was BA Robertson who brought Paul Carrack down
0:35:31 > 0:35:35to sing a couple of things, just to try out and see,
0:35:35 > 0:35:37you know, there was no brief.
0:35:37 > 0:35:41There was this track, a very simple track, but quite ethereal,
0:35:41 > 0:35:45and they didn't have much of a lyric at the time,
0:35:45 > 0:35:48just "Can you hear me, can you hear me running?"
0:35:48 > 0:35:52So I went in and sang. They liked what they heard.
0:35:52 > 0:35:56BA wrote this strange science-fiction lyric,
0:35:56 > 0:35:59so that was the first song I recorded with Mike,
0:35:59 > 0:36:01and I really enjoyed it, actually,
0:36:01 > 0:36:06because it was very different to what I was doing at the time.
0:36:06 > 0:36:08# Can you hear me?
0:36:08 > 0:36:12# Can you hear me running?
0:36:12 > 0:36:14# Can you hear me running?
0:36:14 > 0:36:17# Can you hear me calling you...? #
0:36:19 > 0:36:21'I think, for him, it was a different sound,
0:36:21 > 0:36:24different sort of textures, quite heavy lyrics.
0:36:24 > 0:36:27And I think one of the nice marriages of The Mechanics,
0:36:27 > 0:36:31and Paul's involvement, was that having that kind of R'n'B voice
0:36:31 > 0:36:35singing our kind of melodies was actually not his normal style
0:36:35 > 0:36:38of melody, in a way, and I think it was a great combination
0:36:38 > 0:36:39that still sort of works now.
0:36:39 > 0:36:43# Can you hear me?
0:36:43 > 0:36:47# Can you hear me running?
0:36:47 > 0:36:49# Can you hear me running?
0:36:49 > 0:36:51# Can you hear me calling you? #
0:36:52 > 0:36:56It happened terribly easily. He came down, the tape started running, bang.
0:36:56 > 0:36:59A couple more songs, and then we got a surprise, really.
0:36:59 > 0:37:03We put the album out and it took off in America, which was fantastic.
0:37:03 > 0:37:07Mike basically assembled the musicians that had made the studio album,
0:37:07 > 0:37:10and myself and Paul Young, a guy from Manchester,
0:37:10 > 0:37:14from a band called Sad Cafe, sadly, no longer with us,
0:37:14 > 0:37:18he passed away ten years ago, to be the frontmen to do the lead vocals
0:37:18 > 0:37:20on tour, and it kind of went from there.
0:37:20 > 0:37:26# I never wanted to say goodbye... #
0:37:26 > 0:37:31We really worked around Mike because his schedule was most important,
0:37:31 > 0:37:36he was still a part of Genesis. Of course, Phil Collins was having all this phenomenal success
0:37:36 > 0:37:39at the time, so Mike did have time.
0:37:39 > 0:37:43So for me, it was perfect because I would get together
0:37:43 > 0:37:46and do Mike's albums and then do some touring with that,
0:37:46 > 0:37:49but then I had plenty of time to get on with my own thing.
0:37:49 > 0:37:51But it did sort of take second place
0:37:51 > 0:37:56to what was happening with The Mechanics because that was the happening thing at the time.
0:37:56 > 0:38:00# Every generation
0:38:02 > 0:38:05# Blames the one before
0:38:07 > 0:38:10# And all of their frustrations
0:38:11 > 0:38:14# Come beating on your door
0:38:16 > 0:38:21# I know that I'm a prisoner to all my father held so dear
0:38:21 > 0:38:25# I know that I'm a hostage to all his hopes and fears... #
0:38:25 > 0:38:29'To basically be involved in a song that actually touches people...'
0:38:29 > 0:38:33# ..In the living years... #
0:38:33 > 0:38:36'BA and I were not sure, actually, when we wrote it,
0:38:36 > 0:38:38'whether it was going to work, you know what I mean?
0:38:38 > 0:38:40'A song about death, in a way.
0:38:40 > 0:38:42'If you got it wrong, it could have failed.
0:38:42 > 0:38:45'But the writing was good and I think Paul sang beautifully.
0:38:45 > 0:38:48'I didn't realise at that time, Paul lost his father so young.
0:38:48 > 0:38:50'He's quite reserved about things like that, Paul,'
0:38:50 > 0:38:55and I'm sure when he sang it, it had a feeling for him.
0:38:55 > 0:38:59# ..Say it loud. Say it loud... #
0:38:59 > 0:39:02The subject matter is about a difficult relationship
0:39:02 > 0:39:07with your father and regretting that more effort
0:39:07 > 0:39:09wasn't made in that respect.
0:39:09 > 0:39:12Now, I didn't have that problem myself
0:39:12 > 0:39:15with my own father, he was a great guy, we all loved him.
0:39:15 > 0:39:19The problem was, I lost him too young.
0:39:19 > 0:39:24So although I didn't relate entirely with the subject of the song,
0:39:24 > 0:39:27I felt I was able to give it that little bit of gravity
0:39:27 > 0:39:31that it needed to get a good performance out of it,
0:39:31 > 0:39:35and by understanding the loss element of it.
0:39:35 > 0:39:38# ..You can listen as well
0:39:38 > 0:39:43# As you hear. #
0:39:43 > 0:39:47'Last year, the choir contacted us and said, we'd love to come down
0:39:47 > 0:39:51'and sing on The Living Years, and we said, yeah, come along.
0:39:51 > 0:39:53'And they came down, and it sounded wonderful.
0:39:53 > 0:39:58'It was a nice little moment in the show, so here we are again.'
0:39:58 > 0:40:02- There's another song that's very... - What's that?- Beautiful World.
0:40:02 > 0:40:06Beautiful World? Do you want us to work it out for you? Yeah?
0:40:06 > 0:40:09It might be an idea. I'm just wondering how that would work,
0:40:09 > 0:40:12because we'd probably need to do them both together, wouldn't we?
0:40:12 > 0:40:16- Leave it with us, if you'd like, we'll get it done.- It's dead easy.
0:40:16 > 0:40:19It's just the chorus. It'd be great, actually.
0:40:19 > 0:40:22I wish we'd have thought of it. In fact, I'm sure I did think of it,
0:40:22 > 0:40:24but one of my people didn't sort it out!
0:40:26 > 0:40:28One, two, three...
0:40:28 > 0:40:32THEY SING "OOH" ALONG WITH THE RECORDING
0:40:49 > 0:40:54# Beautiful world
0:40:54 > 0:40:58# Yeah, you shook me to my senses
0:40:58 > 0:41:00# Ooh, ooh, ooh
0:41:00 > 0:41:03# Opened my eyes
0:41:03 > 0:41:06# Opened my eyes
0:41:06 > 0:41:08# To the love inside of me... #
0:41:08 > 0:41:12By now, Mike and The Mechanics was basically Mike, Paul and myself,
0:41:12 > 0:41:16and that was the nucleus of the thing.
0:41:16 > 0:41:19It was a real sad loss, not just for us,
0:41:19 > 0:41:21but for his family and his friends.
0:41:21 > 0:41:25And obviously, when you lose somebody like that,
0:41:25 > 0:41:29it does completely upset the balance of it, and why it kind of worked.
0:41:29 > 0:41:32It didn't feel quite right, you know, something had changed.
0:41:32 > 0:41:35The chemistry had gone. Things have certain times and eras, you know.
0:41:35 > 0:41:40And after that tour, I was talking to Paul and my manager,
0:41:40 > 0:41:43saying, "Do you want to give it a go?" And I felt Paul really felt
0:41:43 > 0:41:47he'd done his... he'd served his time, his sentence.
0:41:47 > 0:41:52At that time, as I say, I was trying to establish myself,
0:41:52 > 0:41:57rather than being a hired hand, or whatever way you want to put it.
0:41:57 > 0:42:00I was keen to establish myself and my own life.
0:42:00 > 0:42:07I think he found it quite a formidable challenge facing him,
0:42:07 > 0:42:11because he knew he was... Although he is an extremely funny
0:42:11 > 0:42:16and fabulous bloke, he's diffident,
0:42:16 > 0:42:19and quite shy. And I think he realised
0:42:19 > 0:42:25that he was going to really have to teach himself how to be a front man.
0:42:25 > 0:42:28And that is exactly what he did.
0:42:28 > 0:42:30The Mike and The Mechanics years, for me,
0:42:30 > 0:42:32there were a bit too many Mike and The Mechanics years.
0:42:32 > 0:42:35I wanted to see more of Paul.
0:42:35 > 0:42:37And I always want to see more of Paul
0:42:37 > 0:42:41and less of the other things that he does, because he's the deal, really.
0:42:42 > 0:42:47And it was with the help of the success from Mike and The Mechanics
0:42:47 > 0:42:49that I got a proper recording contract with Chrysalis.
0:42:49 > 0:42:52The only thing about the album I made,
0:42:52 > 0:42:54it was very poppy,
0:42:54 > 0:42:57and very programmed,
0:42:57 > 0:42:59and not quite as organic,
0:42:59 > 0:43:01possibly, as I would have liked.
0:43:01 > 0:43:04People who liked what I did were a little put off by it.
0:43:04 > 0:43:07Having said that, it introduced me
0:43:07 > 0:43:12to a lot of other people who wouldn't have heard of me otherwise.
0:43:12 > 0:43:15And I had, in fact, my first top ten American single,
0:43:15 > 0:43:17a song called Don't Shed A Tear.
0:43:17 > 0:43:20# Don't shed a tear for me
0:43:20 > 0:43:24# My life won't end without you... #
0:43:24 > 0:43:28We were on tour in the States, riding high with Don't Shed A Tear,
0:43:28 > 0:43:31it was a bit of a hit. And when I got the call,
0:43:31 > 0:43:36because my wife was actually quite seriously ill,
0:43:36 > 0:43:39she'd been having problems for some time
0:43:39 > 0:43:45and we discovered that, in fact, she did have a problem with her kidney.
0:43:45 > 0:43:52And she needed emergency surgery to take the kidney out, basically.
0:43:52 > 0:43:58And so I got the call about that and sort of dropped everything
0:43:58 > 0:44:00and came straight home.
0:44:00 > 0:44:05And at this time, of course, we had a very young family, also.
0:44:05 > 0:44:09My wife had just given birth to our third child,
0:44:09 > 0:44:12and so that upset the applecart a little bit,
0:44:12 > 0:44:16but the main thing was that she, you know,
0:44:16 > 0:44:20is well and she recovered very well. But at the time, it was pretty tough.
0:44:25 > 0:44:27I've made a number of albums
0:44:27 > 0:44:31for various record companies over the years, usually just one,
0:44:31 > 0:44:34and then the staff will change and the new guy will come in
0:44:34 > 0:44:38with his own agenda and he wants to sign his own artists.
0:44:38 > 0:44:43That's kind of how it worked back then. So I've had the benefits
0:44:43 > 0:44:46and pitfalls of being involved with major record labels.
0:44:46 > 0:44:50# I've got the rough end of lousy deals
0:44:50 > 0:44:55# Heaven knows, I'm not a greedy man
0:44:55 > 0:44:58# I can't have all your love
0:44:58 > 0:45:01# I'll get what I can
0:45:01 > 0:45:02# It's better than nothing
0:45:02 > 0:45:05# I can't deny
0:45:05 > 0:45:07# Better than nothing
0:45:07 > 0:45:11# Just a poke in the eye... #
0:45:11 > 0:45:13I've always had my own little studio here at home,
0:45:13 > 0:45:17and I started writing songs for an album
0:45:17 > 0:45:21that was eventually called Satisfy My Soul.
0:45:21 > 0:45:27And basically, I just wanted to get on with making a record,
0:45:27 > 0:45:30kind of a grown-up record, in the way I wanted to make it,
0:45:30 > 0:45:34that I thought was honest and represented me and what I was about.
0:45:34 > 0:45:38# ..If I can't have all your love
0:45:38 > 0:45:41# Get what I need... #
0:45:41 > 0:45:44A good friend of mine, Peter van Hook, suggested looking into
0:45:44 > 0:45:47the possibility of producing the album myself
0:45:47 > 0:45:50and just marketing it myself as an independent artist,
0:45:50 > 0:45:57just in a small-time way, corner-shop way, without really stretching,
0:45:57 > 0:46:01keeping things small and trying to reach to the people
0:46:01 > 0:46:03who liked what I did.
0:46:03 > 0:46:10Paul was still signed when we first worked with Paul.
0:46:10 > 0:46:15He was still signed to a record deal.
0:46:15 > 0:46:18Fortunately, that finished after the tour
0:46:18 > 0:46:20and he decided to form Carrack UK,
0:46:20 > 0:46:24and it's been, I think, the best thing he's ever done.
0:46:24 > 0:46:26We had no idea how it got in the shops,
0:46:26 > 0:46:31how you got the artwork together, any of that stuff.
0:46:31 > 0:46:35So it was a very, very steep learning curve,
0:46:35 > 0:46:42but it was a very good decision, I think, to go that route
0:46:42 > 0:46:45and find out how that worked and to become independent.
0:46:45 > 0:46:48I do the website and the merchandising
0:46:48 > 0:46:52and lots of other things to do with Carrack UK, and keeping the thing
0:46:52 > 0:46:53there on the road.
0:46:57 > 0:47:00I hooked up with these lads from Sheffield about ten years ago,
0:47:00 > 0:47:04just a club band, really, and bolted myself on to them.
0:47:04 > 0:47:08It took us a while to really knock it into shape,
0:47:08 > 0:47:13but it was a great move because I've more or less had the same band together for over ten years,
0:47:13 > 0:47:16almost the same crew, and it's great fun.
0:47:16 > 0:47:18And they're happy to be a part of it
0:47:18 > 0:47:22and have been a very integral part of me establishing myself as a solo touring artist.
0:47:22 > 0:47:28When we want to tour, we just go, click, and we've got a crew,
0:47:28 > 0:47:32we've got a band, and we can go and do it when we feel like it.
0:47:32 > 0:47:37And that's how it's worked, and that's what's made it work, really,
0:47:37 > 0:47:41the fact that Paul owns his own PA, owns his own lighting system,
0:47:41 > 0:47:45everything's done in house, so we're not relying on anybody else.
0:47:45 > 0:47:49APPLAUSE AND CHEERING
0:47:52 > 0:47:55'In some ways, I've never had it so good,
0:47:55 > 0:48:00'certainly as a solo performer. I've been in bands that have had success
0:48:00 > 0:48:04'but never in my own right, and it's probably took the last ten years,
0:48:04 > 0:48:07'actually, a short period of my career but, in rock'n'roll terms,
0:48:07 > 0:48:11'a lifetime, by getting together with these lads that I have now,
0:48:11 > 0:48:14'this band, this crew, just going out there and doing it.
0:48:14 > 0:48:18'There has been no hype, there's been no TV - very little, anyway -
0:48:18 > 0:48:22'it's just been going out there, winning people over
0:48:22 > 0:48:24'and them coming back.'
0:48:24 > 0:48:28# Used to be superstitious
0:48:28 > 0:48:32# Looking out for hidden signs... #
0:48:32 > 0:48:34At heart, he's a low-profile guy.
0:48:34 > 0:48:38You know, he happens to have this fantastic voice
0:48:38 > 0:48:42and a great talent, but he wouldn't dream of, you know,
0:48:42 > 0:48:47he doesn't blow his own trumpet, although I'm sure he probably could.
0:48:47 > 0:48:52I think to a large extent, you know, I'm pretty much ignored by the press
0:48:52 > 0:48:56and what-have-you, which really is the way I like it.
0:48:56 > 0:49:01But at the same time, I'm in the business of touring
0:49:01 > 0:49:04and doing my concerts and people have got to know who you are
0:49:04 > 0:49:08or they're not going to come to the show,
0:49:08 > 0:49:11so I'm quite happy to talk to anybody on a one-to-one basis.
0:49:11 > 0:49:16I try to do it when we're on tour, though, cos when we're on tour,
0:49:16 > 0:49:18the main focus of the day is the gig,
0:49:18 > 0:49:21you try to save your energy and save your voice.
0:49:21 > 0:49:25I'm not great TV, I'm not great-looking and all the rest of it.
0:49:25 > 0:49:28TV's very, very powerful, though, no doubt about it.
0:49:28 > 0:49:33But they're hard to get, those slots, and they generally go
0:49:33 > 0:49:35to the major artists
0:49:35 > 0:49:38and the major record companies that are promoting their artists.
0:49:38 > 0:49:41So from that point of view, as an independent,
0:49:41 > 0:49:43it's very difficult to get those things.
0:49:43 > 0:49:46I was on Crimewatch a couple of years ago, when we had all our gear nicked,
0:49:46 > 0:49:49and that went down well!
0:49:49 > 0:49:53I'm delighted to welcome onto the show a legendary British songwriter and talented musician.
0:49:53 > 0:49:58He's played with Roxy Music, Squeeze, Mike and The Mechanics, the Pretenders, the Eagles,
0:49:58 > 0:50:02- the list goes on and on.- Wow!- Please give a big welcome to Paul Carrack!
0:50:02 > 0:50:03APPLAUSE
0:50:10 > 0:50:14'It's always been about playing live, as far as I'm concerned.
0:50:16 > 0:50:20'We tend to play concerts when we're playing in England these days,
0:50:20 > 0:50:25'but we do occasionally play stand-up rock'n'roll-type venues as well,
0:50:25 > 0:50:29'they're also good fun. So however it comes.
0:50:29 > 0:50:33'I mean, I've played to some incredible audiences.
0:50:33 > 0:50:38'I was one of the guest artists on The Wall Live In Berlin.
0:50:38 > 0:50:41'There were a quarter of a million people there for that one,
0:50:41 > 0:50:44'so that was pretty nerve-racking. And I think the following week,
0:50:44 > 0:50:47'I was playing down the Half Moon in Putney with Nick Lowe.'
0:50:49 > 0:50:52'I've seen Paul when he's been off for a couple of weeks
0:50:52 > 0:50:54'and he's, like, chomping at the bit.'
0:50:54 > 0:50:58You know, I'd hope to think that Paul would never stop touring.
0:50:58 > 0:51:01I mean, physically fit to do it until he was 90, you know,
0:51:01 > 0:51:03that would be nice, for him as well.
0:51:03 > 0:51:06But no, I think Paul just gets a little bit bored
0:51:06 > 0:51:08and wants to get out there.
0:51:14 > 0:51:16I'm not getting any younger.
0:51:16 > 0:51:19It does cross my mind occasionally, is this a healthy way to carry on?
0:51:19 > 0:51:22Would I be better off taking up golf, or something?
0:51:22 > 0:51:27But I think also, possibly, I still feel I've got a little bit to prove.
0:51:27 > 0:51:31I don't know who to. To myself, probably.
0:51:31 > 0:51:35You know, as I say, if I was really going downhill,
0:51:35 > 0:51:40I probably wouldn't have any problem saying, OK, enough's enough.
0:51:40 > 0:51:44But I'm enjoying what I'm doing and, musically, I'm kind of getting better, really.
0:51:44 > 0:51:48So I'm not going to stop just yet.
0:51:48 > 0:51:53# It's time to move on... #
0:51:53 > 0:51:57I very rarely come in here and think, I'll write a song called Blah.
0:51:57 > 0:52:00I usually come in, start messing about, sing something
0:52:00 > 0:52:03and then have to try to make some sense out of it.
0:52:03 > 0:52:07He's very good at writing songs which fit him,
0:52:07 > 0:52:13so it sounds like you can't tell the difference between these cover songs
0:52:13 > 0:52:18and his own songs, which is a real skill.
0:52:18 > 0:52:21Paul is one of the only guys,
0:52:21 > 0:52:27one of the few people who are in the club of The Eagles songwriters.
0:52:27 > 0:52:29There are very few outside of the band itself.
0:52:37 > 0:52:41# I was standing
0:52:41 > 0:52:46# All alone against the world outside
0:52:48 > 0:52:50# You were searching... #
0:52:50 > 0:52:56I think it was about 1994. At this time, The Eagles had split,
0:52:56 > 0:52:59but I got a call completely out of the blue from Don Felder,
0:52:59 > 0:53:02who was the guitar player in The Eagles.
0:53:02 > 0:53:09And he said that himself, Timothy and possibly Joe Walsh were frustrated.
0:53:09 > 0:53:11They wanted to work and they wanted to do a project,
0:53:11 > 0:53:15have a band, make an album and play.
0:53:15 > 0:53:18And would I be interested in going over and checking it out?
0:53:18 > 0:53:20So I said, yeah, absolutely.
0:53:20 > 0:53:22# Don't you worry
0:53:22 > 0:53:27# Cos sometimes, you've just gotta let it ride... #
0:53:27 > 0:53:32I made several trips over there, with a view to having a project,
0:53:32 > 0:53:34and it was getting quite exciting,
0:53:34 > 0:53:36actually, and we were writing some good things.
0:53:36 > 0:53:41But The Eagles did reconcile their differences and they got together
0:53:41 > 0:53:45and reformed, and that was basically the end of the project.
0:53:45 > 0:53:48# ..Emptiness inside
0:53:48 > 0:53:52# When we're hungry
0:53:52 > 0:53:55# Love will keep us alive... #
0:53:55 > 0:54:00I got a call from Timothy, who said that The Eagles had reformed,
0:54:00 > 0:54:03they're making a new album, and he needed a song,
0:54:03 > 0:54:08and so, would it be OK if he sang Love Will Keep Us Alive?
0:54:08 > 0:54:12It was written by a guy called Peter Vale, Jim Capaldi and myself,
0:54:12 > 0:54:16which coincidentally became their big comeback record.
0:54:19 > 0:54:22The melody, which it all comes back to,
0:54:22 > 0:54:26"When we're hungry, love will keep us alive," just hits people.
0:54:26 > 0:54:29It's a very simple love song that works.
0:54:29 > 0:54:32# ..When we're hungry
0:54:32 > 0:54:35# Love will keep us alive... #
0:54:37 > 0:54:40'Paul is dedicated to his music, but it's not a chore.
0:54:40 > 0:54:43'I know, as a songwriter, that at times, it is a chore,'
0:54:43 > 0:54:46at times, like, a song just doesn't flow out of you.
0:54:46 > 0:54:53With Paul, it always appears to just fall out so easily.
0:54:53 > 0:54:57With me, effortless means, pffft... Ha-ha!
0:54:57 > 0:55:01That sort of effortless, but with Paul, it's just...
0:55:01 > 0:55:03it comes out of him, you know,
0:55:03 > 0:55:06like water comes out of a spring or something.
0:55:06 > 0:55:13# ..Baby, there's nothing I wouldn't do for you
0:55:15 > 0:55:17# Now I've found you... #
0:55:17 > 0:55:19When your child tells you that he wants to try
0:55:19 > 0:55:22and make his way as a musician, you know it's going to be hard for him
0:55:22 > 0:55:24because it's hard for every musician.
0:55:24 > 0:55:30Jack was always a little bit different, slightly rebellious,
0:55:30 > 0:55:33but he just has the musical gene.
0:55:33 > 0:55:37It's just in there, and I think it's really been his saviour,
0:55:37 > 0:55:40as it was mine, because I think as a young teenager, he was not focused.
0:55:40 > 0:55:44He didn't know what he was wanting to do.
0:55:44 > 0:55:48He went to music college and it really kind of all came together for him.
0:55:48 > 0:55:52I guess I've sort of got big shoes to fill,
0:55:52 > 0:55:54as it was, really.
0:55:54 > 0:55:57But I think there's some expectation of me.
0:55:57 > 0:56:01I mean, my dad's really supportive. He's brought me along on this tour,
0:56:01 > 0:56:03which has been a great learning curve for me.
0:56:06 > 0:56:08It's always hard to make your way as a musician,
0:56:08 > 0:56:13it's not the easiest profession, by any stretch, but he has some talent.
0:56:13 > 0:56:16He'll need some luck and he'll need some determination.
0:56:18 > 0:56:21You've got to find your own way and what's real to you.
0:56:24 > 0:56:27I'm just planning on trying to get better
0:56:27 > 0:56:32and constantly improving, that's my life plan for the minute, anyway.
0:56:32 > 0:56:37# How long has this been going on?
0:56:39 > 0:56:43# Tell me how long... #
0:56:43 > 0:56:45'I think what he delivers to an audience
0:56:45 > 0:56:47'is family. I think Paul manages'
0:56:47 > 0:56:51to plug everybody back into that spirit,
0:56:51 > 0:56:56that soul of what it's like to grow up in a family of love.
0:56:56 > 0:56:59I think music is the way he translates that.
0:56:59 > 0:57:04# ..How long has this been going on, baby? #
0:57:09 > 0:57:12Thank you very much, everybody!
0:57:12 > 0:57:14APPLAUSE AND CHEERING
0:57:22 > 0:57:24# Behind those eyes... #
0:57:24 > 0:57:27I can start worrying about tomorrow now!
0:57:27 > 0:57:30# ..People may say
0:57:32 > 0:57:37# You've had your chance and let it slip away
0:57:40 > 0:57:45# But I want to know what goes on
0:57:47 > 0:57:54# Behind those eyes of blue... #
0:58:03 > 0:58:08BOOGIE-WOOGIE PIANO
0:58:19 > 0:58:23# It's time to move on
0:58:23 > 0:58:27# Forget the past
0:58:27 > 0:58:29# You said our love
0:58:29 > 0:58:31# Would never die
0:58:31 > 0:58:35# Now it seems you've changed your mind
0:58:35 > 0:58:39# After the thrill is gone
0:58:39 > 0:58:42# I know it could never last... #