0:00:02 > 0:00:05This programme contains strong language
0:00:14 > 0:00:16When the call came through,
0:00:16 > 0:00:22"You're going on Top Of The Pops." I mean, that was just unbelievable!
0:00:24 > 0:00:27They were hard and tough and rocking.
0:00:29 > 0:00:33You could listen to Tales From A Topographic Ocean
0:00:33 > 0:00:35or you could listen to Piledriver.
0:00:35 > 0:00:38I mean, just the titles alone sets you apart.
0:00:40 > 0:00:44Every frigging newsreel in the world carried us!
0:00:45 > 0:00:48# Rockin' all over the world. #
0:00:48 > 0:00:50Three chords, bang!
0:00:50 > 0:00:52There's only three chords anyway, isn't there?
0:01:05 > 0:01:07# Whatever you want
0:01:07 > 0:01:09# Whatever you like
0:01:09 > 0:01:10# Whatever you say
0:01:10 > 0:01:13# You pay your money You take your choice
0:01:13 > 0:01:15# Whatever you need
0:01:15 > 0:01:17# Whatever you use
0:01:17 > 0:01:19# Whatever you win
0:01:19 > 0:01:21# Whatever you lose... #
0:01:26 > 0:01:30I grew up in a family that manufactured ice cream
0:01:30 > 0:01:33in a place in Catford and there were various relatives
0:01:33 > 0:01:36that made it, people say, "Rossi's!
0:01:36 > 0:01:39"I know! I used to love your ice cream." I'd go, "Oh, good. Yeah."
0:01:39 > 0:01:42We lived in this most amazing setting because
0:01:42 > 0:01:46just to the left of the cul-de-sac was a cricket field
0:01:46 > 0:01:50and then behind that was a wood and then there was a river
0:01:50 > 0:01:52and then it was open fields.
0:01:52 > 0:01:56And then it went into, like, proper fields,
0:01:56 > 0:01:58like football and stuff like that.
0:01:58 > 0:02:03And I was completely surrounded by everything a kid could ever want.
0:02:03 > 0:02:06My dad was a hard-working guy. He was a...
0:02:06 > 0:02:08Never any violence in my family.
0:02:08 > 0:02:11Perfect, I had a great upbringing. Very happy upbringing.
0:02:11 > 0:02:13No qualms about that.
0:02:13 > 0:02:16At the age of 11, that's when I met Francis at school.
0:02:17 > 0:02:21His dad used to park the ice cream van outside
0:02:21 > 0:02:25and on a very few occasions, Francis used to get into the van
0:02:25 > 0:02:28and help him, but he didn't really like that.
0:02:28 > 0:02:30I somehow ended up playing trumpet
0:02:30 > 0:02:33in the school orchestra with Alan Lancaster and Alan Key
0:02:33 > 0:02:36and got to know Alan Lancaster very well
0:02:36 > 0:02:39and I got to know his family very well, who I subsequently realised,
0:02:39 > 0:02:42last year when we were in Australia, I loved his mum and dad.
0:02:42 > 0:02:45They were so good to me. They were such lovely people.
0:02:45 > 0:02:48We used to, you know, go down the local working man's club
0:02:48 > 0:02:50and my dad would say to me,
0:02:50 > 0:02:52he'd say, "Are you going to take your box down?"
0:02:52 > 0:02:56He used to call it my box, which was my guitar.
0:02:56 > 0:03:00And I would get up and sing Babyface and, you know, I'd really enjoy it.
0:03:00 > 0:03:03And I won a talent contest out of pub, the club,
0:03:03 > 0:03:05the working man's club.
0:03:05 > 0:03:10I won five quid, which was an absolute fortune.
0:03:10 > 0:03:13My dad, you know, he was well knocked out.
0:03:13 > 0:03:15We'd started rehearsing in Alan Key's place,
0:03:15 > 0:03:18cos of his brother, and his brother sat us down and said,
0:03:18 > 0:03:20"One of you has got to sing."
0:03:20 > 0:03:24Lancaster went like that, and so did Alan Key. He was even shier.
0:03:24 > 0:03:27So I became the singer! It was that much of an audition!
0:03:27 > 0:03:29We had gone to this place near...
0:03:29 > 0:03:32We rehearsed in Forest Hill, Jess's place,
0:03:32 > 0:03:34and we had gone to this place, an ATC,
0:03:34 > 0:03:37an Air Training Corp place.
0:03:37 > 0:03:40I don't know why, we rehearsed in this garage once...
0:03:40 > 0:03:45And lo and behold, this other group came near that were working there,
0:03:45 > 0:03:48called The Cadets! And...
0:03:50 > 0:03:52John Coghlan came in, and somehow...
0:03:52 > 0:03:55I suppose to show off or whatever,
0:03:55 > 0:03:57and he started just belting the hell out of this snare drum
0:03:57 > 0:04:01and blatting the hell out of this thing and he was a very good drummer.
0:04:01 > 0:04:03I first started playing drums...
0:04:03 > 0:04:08I started playing in the band at the Air Cadets at school.
0:04:08 > 0:04:10We formed a little band in the squadron
0:04:10 > 0:04:14and these two guys kept coming over on a Sunday
0:04:14 > 0:04:17to ask if they could watch us rehearse.
0:04:17 > 0:04:19And they were playing in the TA barracks,
0:04:19 > 0:04:22which was across the road from the Air Cadets.
0:04:22 > 0:04:25And it was Francis Rossi and Alan Lancaster, and they said,
0:04:25 > 0:04:29"Are you doing anything next weekend? Would you come and play with us?"
0:04:29 > 0:04:33So I went down to Forest Hill and set the little drum kit up
0:04:33 > 0:04:34and that was it.
0:04:34 > 0:04:37So the band was formed in the autumn of '62.
0:04:37 > 0:04:41There were various gigs we were going to do and we backed out
0:04:41 > 0:04:43and then Alan Lancaster's dad worked for...
0:04:45 > 0:04:47..Samuel Jones, they were called.
0:04:47 > 0:04:49I think it was something to do with metalwork
0:04:49 > 0:04:52and stuff like that and they had a sports ground in Dulwich,
0:04:52 > 0:04:54which is still there. Lovely little place.
0:04:54 > 0:04:58And they had a work do there once a month or something
0:04:58 > 0:04:59so he came in and said,
0:04:59 > 0:05:02"I've got you two..." not a gig, "..got you two a booking."
0:05:02 > 0:05:05"Oh, right." "Fucking hell," I thought, "If his dad's involved,
0:05:05 > 0:05:07"Alan has definitely got to go."
0:05:07 > 0:05:09Because his dad would have mullered him.
0:05:09 > 0:05:12And we started off with Savage, the first number we played,
0:05:12 > 0:05:14and that was it.
0:05:14 > 0:05:17So we turn up at this thing and we set up and I'm shitting myself.
0:05:17 > 0:05:19There's no way I'm going on until Nuff's mother's there.
0:05:19 > 0:05:22Until May turned up, I was not going on. He said, "We've got to go."
0:05:22 > 0:05:25I said, "I don't care. If your mum's not here we're not going on."
0:05:25 > 0:05:28"Yeah, we..." "I don't care. We're not going on until your mother gets here."
0:05:28 > 0:05:31His mum got there, "Thank God for that!" Not my mother, his mother.
0:05:31 > 0:05:33And I couldn't play naff all.
0:05:33 > 0:05:36I was just happy to strum and...
0:05:36 > 0:05:38So they passed a hat round, which was...
0:05:38 > 0:05:40Going round everybody. Lovely.
0:05:40 > 0:05:44We got about five quid, which was fucking marvellous at the time.
0:05:44 > 0:05:46We played there a month later and they passed round the hat again
0:05:46 > 0:05:49and we got two quid, so we were buggered before we started,
0:05:49 > 0:05:50we were on a downhill slope.
0:05:50 > 0:05:53This guy walked up to us, "I'm a manager."
0:05:53 > 0:05:56"You'd better go and ask Alan's mum," I said.
0:05:56 > 0:06:00"Don't fucking try that on with us! You've got to get past May!"
0:06:00 > 0:06:02And she went, "Fine."
0:06:02 > 0:06:06And she said it was all right and this is Pat Barlow, who was great.
0:06:06 > 0:06:09Pat Barlow was managing us at the time and he said,
0:06:09 > 0:06:14"I think we can get you into an audition for Butlins."
0:06:15 > 0:06:19And thinking about it, I think we didn't think we'd get it.
0:06:19 > 0:06:21So we went into London somewhere,
0:06:21 > 0:06:24did this audition, and passed it!
0:06:24 > 0:06:29And we ended up playing in Butlins Minehead for the summer season.
0:06:29 > 0:06:32Until we see you around later on, this is Tom,
0:06:32 > 0:06:35on behalf of all the gang, saying bye-bye.
0:06:35 > 0:06:37ALL: Bye-bye.
0:06:37 > 0:06:39- NARRATOR:- And back to the nosh,
0:06:39 > 0:06:41happy in the knowledge it has all worked out for him.
0:06:41 > 0:06:45I did what's called a shop window at the Feathers pub
0:06:45 > 0:06:48in Goodge Street in London.
0:06:49 > 0:06:52And this agent was there from a holiday camp
0:06:52 > 0:06:55called Sunshine Holiday Camp, which was down in Hayling Island.
0:06:56 > 0:06:59He said to my dad, "I'd like to book this lad.
0:06:59 > 0:07:01"When does he leave school?"
0:07:01 > 0:07:04My dad said, "You know, a few months' time."
0:07:04 > 0:07:06He said, "Right. He's got the job."
0:07:06 > 0:07:09We were always just a double act called the Harrison Twins.
0:07:09 > 0:07:11It was never going to be anything else,
0:07:11 > 0:07:14not as far as we were concerned,
0:07:14 > 0:07:20- until we went to Sunshine and we bumped into Richard.- Ricky.
0:07:20 > 0:07:24We sat and rehearsed a couple of songs like Island Of Dreams by The Springfields,
0:07:24 > 0:07:27I think that was probably the first song we ever did.
0:07:27 > 0:07:31We learned three songs initially, for the very first show,
0:07:31 > 0:07:34and we called ourselves The Highlights.
0:07:34 > 0:07:36And after that, you know, I said to the twins,
0:07:36 > 0:07:39"I'll come up and live with you in Plumstead." You know.
0:07:39 > 0:07:43We was with a guy called Joe Cohen in London. He was our manager.
0:07:43 > 0:07:46He was one of the Keystone Cops.
0:07:46 > 0:07:50Ricky said, "I don't want to be on my own when we finish the season."
0:07:50 > 0:07:54And we said, "We don't want to leave you either."
0:07:54 > 0:07:58So we said, "Shall we ask him if he can get us work as a trio?"
0:07:58 > 0:08:00And he managed... God knows how!
0:08:00 > 0:08:03He managed to secure us a season at Butlins!
0:08:03 > 0:08:07And of course, way back then, I mean, Butlins was...
0:08:07 > 0:08:11You know, if you got a season at Butlins, you'd all but made it.
0:08:11 > 0:08:13He's kind of ashamed of the fact he's come from cabaret
0:08:13 > 0:08:17and I think he's a dickhead cos it's training but it's still showbiz.
0:08:17 > 0:08:19I know Francis thought I was gay.
0:08:19 > 0:08:22He thought I was queer cos I kind of minced over, you know,
0:08:22 > 0:08:26I had my sort of silver suit on, which I'd been rehearsing in.
0:08:26 > 0:08:29I just went up and said "Hello," you know,
0:08:29 > 0:08:31"I'm Rick. I'm working over there."
0:08:31 > 0:08:34And we literally struck up a friendship.
0:08:35 > 0:08:39I just wanted to go and see the band. It just blew me away.
0:08:39 > 0:08:41I just thought they were just great.
0:08:41 > 0:08:44I'd sort of got pally with everybody there
0:08:44 > 0:08:47and I was right into the bass player at the time, believe it or not,
0:08:47 > 0:08:50after we left for about a year.
0:08:50 > 0:08:52And then the manager at the time, who was a plumber,
0:08:52 > 0:08:55good-looking bloke, though, said,
0:08:55 > 0:08:59"Do you want to join? We need another voice, believe it or not."
0:08:59 > 0:09:02We got our first recording contract in '66.
0:09:02 > 0:09:06We got that because I was asked to do a cover and the cover I arranged
0:09:06 > 0:09:10was a Shirley Bassey number called I (Who Have Nothing).
0:09:12 > 0:09:15# I, I who have nothing
0:09:17 > 0:09:20# I, I who have no-one... #
0:09:24 > 0:09:27Yeah, so the first one was I (Who Have Nothing).
0:09:27 > 0:09:29The second one...
0:09:29 > 0:09:32was a track of Alan Lancaster's called Hurdy Gurdy Man,
0:09:32 > 0:09:33which was great.
0:09:33 > 0:09:36And then we did a cover that John Schroeder had got
0:09:36 > 0:09:38by a band called the Blues Magoos.
0:09:38 > 0:09:41They knew how to have names in those days, didn't they?
0:09:41 > 0:09:45And they had a song called We Ain't Got Nothing Yet,
0:09:45 > 0:09:47I'd wrote Almost But Not Quite There
0:09:47 > 0:09:50and then Matchstick Men went out, it was a hit.
0:09:50 > 0:09:54I was only a kid. I remember myself as a kid.
0:09:54 > 0:09:57And they were already rock stars or pop stars.
0:09:57 > 0:09:59I didn't know the difference.
0:09:59 > 0:10:01I didn't know there was a difference, really.
0:10:01 > 0:10:05He had an amazing record, which has this, # Dew, dew, dew, dew, dew... #
0:10:05 > 0:10:09MUSIC: "Pictures of Matchstick Men" by Status Quo
0:10:24 > 0:10:28# When I look up to the skies
0:10:28 > 0:10:31# I see your eyes a funny kind of yellow
0:10:35 > 0:10:38# I rush home to bed, I soak my head
0:10:38 > 0:10:42# I see your face underneath my pillow... #
0:10:42 > 0:10:45I remember Alan Florence, the engineer, suggested,
0:10:45 > 0:10:47"Let's put this phasing on."
0:10:47 > 0:10:50And as I remember it - again, it's a long time ago now -
0:10:50 > 0:10:53there was this wheel on the wall
0:10:53 > 0:10:56like Dan Dare, you know, like Flash Gordon.
0:10:56 > 0:10:59And he kind of, fshh...
0:11:01 > 0:11:03..phased it, you know.
0:11:03 > 0:11:07# Pictures of matchstick men and you
0:11:08 > 0:11:12# Mirages of matchstick men and you
0:11:14 > 0:11:18# All I ever see is them and you. #
0:11:25 > 0:11:28Which just made for this fantastic little record,
0:11:28 > 0:11:32that was just different, lyrically fantastic,
0:11:32 > 0:11:35melodically, you know, really good. Everything about it.
0:11:35 > 0:11:39# Windows echo your reflection
0:11:39 > 0:11:42# When I look in their direction now
0:11:46 > 0:11:49# When will this haunting stop?
0:11:49 > 0:11:53# Your face, it just won't leave me alone. #
0:11:53 > 0:11:55And it sounded very kind of psychedelic to me.
0:11:55 > 0:11:58I don't know if psychedelic was even invented in those days
0:11:58 > 0:12:01but it sounded rather sort of trippy and mysterious.
0:12:01 > 0:12:04We'd finished, walked out the studio, I'm talking to John Schroeder
0:12:04 > 0:12:07and I said to him, "What's next? What happens now?"
0:12:07 > 0:12:10He said, "We'll just see what happens."
0:12:10 > 0:12:12We didn't quite know which way we were going,
0:12:12 > 0:12:16although Matchstick Men had taken us, had got our foot in the door,
0:12:16 > 0:12:18as it were, which was amazing.
0:12:18 > 0:12:22I mean, the thing about going on telly, when the call came through,
0:12:22 > 0:12:25"You're going on Top Of The Pops."
0:12:25 > 0:12:28I mean, that was just unbelievable.
0:12:28 > 0:12:31Cos you'd watched Top Of The Pops, that was for other people.
0:12:31 > 0:12:34You don't visualise yourself on there.
0:12:34 > 0:12:37Matchstick Men was a massive hit, a hit in the States
0:12:37 > 0:12:40and all over the place. God knows how it was a hit in the States!
0:12:40 > 0:12:44As a matter of fact, when it was released in the United States,
0:12:44 > 0:12:47it was put on a label called Cadet Concept,
0:12:47 > 0:12:49a subsidiary of Chess Records,
0:12:49 > 0:12:51which would please all fans of the blues,
0:12:51 > 0:12:53for their more psychedelic material.
0:12:53 > 0:12:56So when we've broke, we were a rock band with a soul set
0:12:56 > 0:12:58and a psychedelic single.
0:12:58 > 0:13:01I didn't know what psychedelic meant and people keep asking me!
0:13:01 > 0:13:03I don't know! I was copying things!
0:13:12 > 0:13:14We were sent off to Carnaby Street.
0:13:14 > 0:13:18We were sent off. You know, you've got to look for part.
0:13:18 > 0:13:20You're going on Top Of The Pops.
0:13:20 > 0:13:23There was this place in Carnaby Street called Carnaby Cavern
0:13:23 > 0:13:27and there was this guy with what we call a shock of red hair
0:13:27 > 0:13:30who you would always see dancing on Top Of The Pops.
0:13:30 > 0:13:32"Hang on a minute, summat going on here."
0:13:32 > 0:13:34And so the entire industry went to his shop
0:13:34 > 0:13:36so you'd do a photo session or something like this
0:13:36 > 0:13:39and I remember doing this fucking photo session
0:13:39 > 0:13:41and there's this yellow shirt
0:13:41 > 0:13:44with these huge dew-drop fucking things, you know.
0:13:44 > 0:13:47I come out and, "Here we go, that'll do."
0:13:47 > 0:13:50"You can't wear that, mate." "What?"
0:13:50 > 0:13:52"You can't wear that. I did that with Jimmy last week."
0:13:52 > 0:13:55"Shit!" Go and get another shirt out.
0:13:57 > 0:13:59"No, I did that with Amen Corner." "Fuck it."
0:13:59 > 0:14:02And that's what it was... They had all been to the same shop!
0:14:02 > 0:14:04But when Francis says he felt he got pressurised
0:14:04 > 0:14:07into sort of wearing the wrong things or being
0:14:07 > 0:14:10part of something he wasn't quite ready for, I can understand that.
0:14:10 > 0:14:14I can see Rick enjoying a kaftan, but I can't see Francis.
0:14:14 > 0:14:16# No-one cares who you are
0:14:19 > 0:14:20# You won't come back
0:14:20 > 0:14:22# It's too late now... #
0:14:24 > 0:14:27I mean, all the pop bands after '67 all dressed like that, didn't they?
0:14:27 > 0:14:30Whether they were dressed or whatever, I don't know
0:14:30 > 0:14:34what the deal was but they all wore strange outfits, didn't they?
0:14:34 > 0:14:37Funny little bolero jackets and massive great flares
0:14:37 > 0:14:40and all that, but I liked it. I like that look.
0:14:45 > 0:14:49We were missing what we were, really, you know, which was,
0:14:49 > 0:14:51you know, we were jeans.
0:14:51 > 0:14:54We liked jeans and pumps and T-shirts, you know.
0:14:56 > 0:15:00And that's really how we kind of saw the band.
0:15:00 > 0:15:04Because we were out in Germany
0:15:04 > 0:15:07and Francis and I went to this club,
0:15:07 > 0:15:11I think it was called Studio M in Bielefeld,
0:15:11 > 0:15:16and the fucking Doors come on, playing Roadhouse Blues.
0:15:16 > 0:15:18HE HUMS ROADHOUSE BLUES
0:15:18 > 0:15:21Roadhouse Blues. "Fucking listen to this!
0:15:21 > 0:15:24"It's up our street and look at them two move!"
0:15:24 > 0:15:27And there was this couple on the dance floor
0:15:27 > 0:15:29and they were dancing so slinkily
0:15:29 > 0:15:31and Frame and me were just sitting there
0:15:31 > 0:15:34and we just looked at one another and thought,
0:15:34 > 0:15:36"We've got to do this song."
0:15:36 > 0:15:38It immediately turned us on,
0:15:38 > 0:15:43this whole slinky feel of this 12-bar shuffle, you know.
0:15:43 > 0:15:46And we thought, "Well, this is the end of the Mecca ballrooms,
0:15:46 > 0:15:50"this is the end of the frilly shirt."
0:15:50 > 0:15:53You know, let's take a chance.
0:15:53 > 0:15:55Pop music moved so fast.
0:15:55 > 0:16:00Every year between 1955 and 1972 was like a decade today.
0:16:01 > 0:16:04So it's no wonder that we could say that
0:16:04 > 0:16:07Quo had their psychedelic period and whoosh, it was gone.
0:16:07 > 0:16:12Status Quo means, in Latin, it means "us as we are".
0:16:12 > 0:16:15Status means your rank and position
0:16:15 > 0:16:17and quo means an unaltered condition.
0:16:17 > 0:16:19- He's got it!- It means the existing state of affairs.
0:16:19 > 0:16:21THEY CLAP
0:16:21 > 0:16:24We like the meaning of it. Thanks! We like the meaning of that.
0:16:24 > 0:16:28Although there was no thing of creating a meaning,
0:16:28 > 0:16:32we just liked the sound and it went with the band.
0:16:32 > 0:16:34We tried to make ourselves look ugly.
0:16:34 > 0:16:37That was the trend at the time.
0:16:37 > 0:16:40Everyone was looking so ugly in the hippy area,
0:16:40 > 0:16:44long hair and spots and things. "Oh, they're cool."
0:16:44 > 0:16:46The jeans had to be ripped.
0:16:46 > 0:16:50They had to be as scruffy as they possibly could be.
0:16:50 > 0:16:53You couldn't buy new jeans ripped in those days
0:16:53 > 0:16:57so somebody had really beaten them up and washed the fuck out of them.
0:16:57 > 0:16:59The knees were out. Brilliant.
0:16:59 > 0:17:02And they were hard and tough and rocking
0:17:02 > 0:17:06and quite different from the Matchstick Men kind of image.
0:17:06 > 0:17:09In those days, the heads, as they were called,
0:17:09 > 0:17:12were all sat on the floor cross-legged because that was it.
0:17:12 > 0:17:16If you want to have a good night, on the floor, head down, rocking.
0:17:16 > 0:17:18Long hair, couldn't see anything.
0:17:18 > 0:17:20And the way I remember it was, you know,
0:17:20 > 0:17:24they were all down there so let's get down with them.
0:17:24 > 0:17:26You want to just rock out, not to think too hard.
0:17:26 > 0:17:29If you want to think, listen to Bob Dylan. Listen to Leonard Cohen.
0:17:29 > 0:17:32Status Quo weren't there to represent them.
0:17:32 > 0:17:35They were the antitheses of that. They were the opposite.
0:17:35 > 0:17:40They were the relief from all the hippie, overblown prog crap
0:17:40 > 0:17:42that was going off in the '70s.
0:17:42 > 0:17:45You could listen to Tales From A Topographic Ocean
0:17:45 > 0:17:47or you could listen to Piledriver.
0:17:47 > 0:17:50I mean, just the titles alone sets you apart.
0:17:51 > 0:17:54MUSIC: "Paper Plane" by Status Quo
0:18:15 > 0:18:17"Riding on a big white butterfly" -
0:18:17 > 0:18:19physically not possible.
0:18:19 > 0:18:22"Turned my back away towards the sky."
0:18:22 > 0:18:23The fuck's he saying there?
0:18:23 > 0:18:26But if you had a joint, it's "Yeah, I know what you mean, man!"
0:18:26 > 0:18:29Nearly everything I've done I think is a nick.
0:18:29 > 0:18:32And I'm only saying it cos Leonard said it a few times.
0:18:32 > 0:18:34And then I realised that Matchstick Men...
0:18:34 > 0:18:37# Da da da da Da da da... #
0:18:37 > 0:18:39The opening verse of Down Down...
0:18:39 > 0:18:40# I want all the world to see... #
0:18:40 > 0:18:42It's exactly the same. Shit!
0:18:42 > 0:18:44At least I've been nicking from myself. Ish!
0:18:44 > 0:18:49# I want all the world to see
0:18:50 > 0:18:52# To see you're laughing
0:18:52 > 0:18:55# And you're laughing at me... #
0:18:55 > 0:18:58Every band has this, maybe, it could be
0:18:58 > 0:19:02anything from 18 months to 18 years where it's their momentum period.
0:19:02 > 0:19:04Nothing they do is wrong.
0:19:04 > 0:19:06Everything they do is like a snowball.
0:19:06 > 0:19:10It builds its own momentum going downhill and it just keeps going.
0:19:10 > 0:19:11It's like a big juggernaut.
0:19:11 > 0:19:15And between '72 and '74, they had it down.
0:19:17 > 0:19:20# Come on, sweet Caroline
0:19:20 > 0:19:23# You're my sweet Caroline
0:19:23 > 0:19:25# You know I want to take you
0:19:25 > 0:19:27# I've really got to make you
0:19:27 > 0:19:30# Come on, sweet Caroline
0:19:30 > 0:19:32# Take my hand
0:19:32 > 0:19:34# Together we can rock'n'roll...#
0:19:46 > 0:19:48Three chords, bang.
0:19:48 > 0:19:50There's only three chords anyway, ain't there?
0:19:50 > 0:19:52There's no more than three chords.
0:19:52 > 0:19:54I don't know any more than three chords.
0:19:54 > 0:19:57If I was in Status Quo, I'd be very proud of myself.
0:19:57 > 0:19:59It doesn't matter how many chords you use.
0:19:59 > 0:20:01And they have a great sense of humour, of course.
0:20:01 > 0:20:02They've always done that.
0:20:02 > 0:20:05And this great thing, searching for the fourth chord.
0:20:05 > 0:20:07I don't think they were ever purporting to be
0:20:07 > 0:20:09breaking new ground musically.
0:20:09 > 0:20:11They just did what they did.
0:20:11 > 0:20:13They had their sound and it's a very recognisable sound.
0:20:13 > 0:20:17I mean, what else do people want from you? I don't know.
0:20:17 > 0:20:19There's huge truth in the three corners.
0:20:19 > 0:20:21My response would be, "So what?"
0:20:21 > 0:20:23These are the same people that would give
0:20:23 > 0:20:25ten-star reviews to the Ramones.
0:20:25 > 0:20:27Two chord wonders. And look at The Adverts,
0:20:27 > 0:20:29even had a song called One-Chord Wonders. You know?
0:20:29 > 0:20:34Simplicity is a real hard thing to accomplish,
0:20:34 > 0:20:38if it's not just bland or boring. They make it exciting.
0:20:38 > 0:20:40And it's just three chords, you know?
0:20:40 > 0:20:42It's sometimes five or six, don't tell anybody.
0:20:44 > 0:20:47# When I get home tomorrow night after this morning
0:20:47 > 0:20:51# Show me the care you showed in the note the night before
0:20:51 > 0:20:54# Maybe I won't take a drink from the table
0:20:54 > 0:20:57# Reckon I'll lay me straight down on the floor
0:20:57 > 0:21:01# Roll over, lay down and let me in
0:21:01 > 0:21:04# Roll over, it's a long way where I've been
0:21:04 > 0:21:08# Roll over, lay down and let me in
0:21:08 > 0:21:11# Roll over, lay down. #
0:21:11 > 0:21:13Sex, drugs and rock'n'roll in the 1970s?
0:21:13 > 0:21:15HE LAUGHS
0:21:16 > 0:21:18There was heaps of it.
0:21:20 > 0:21:23We got to the studio about 11, like we do.
0:21:23 > 0:21:27And I was going to have a cup of tea.
0:21:27 > 0:21:30And he whacked a couple of spoonfuls of speed in my tea.
0:21:30 > 0:21:32And I didn't know that he'd done it.
0:21:32 > 0:21:36So I'd drunk the tea and I obviously tasted it.
0:21:36 > 0:21:39And he said, "I put a little bit..." I said, "Oh, fine." You know?
0:21:39 > 0:21:42I didn't know he'd put two spoonfuls of it in.
0:21:42 > 0:21:45"Where's that..." "I drank it."
0:21:45 > 0:21:46"No, that's too much!
0:21:46 > 0:21:48"That'll fucking kill you! No! Come with me!"
0:21:48 > 0:21:51So I get him down the bog, me fingers down his throat
0:21:51 > 0:21:52trying to... No, nothing happening.
0:21:52 > 0:21:54So the day went by. It was the Blue For You album.
0:21:54 > 0:21:56If you listen to the Blue For You album,
0:21:56 > 0:21:59we can't play shit that fast any more.
0:21:59 > 0:22:01I don't care how good your hand is.
0:22:01 > 0:22:04So, everybody left the studio eight, nine o'clock that evening.
0:22:04 > 0:22:06I'm still going. I'm still flying.
0:22:06 > 0:22:08And I'd got this tuning,
0:22:08 > 0:22:11which I loved, this open G tuning
0:22:11 > 0:22:13that I started to mess about with.
0:22:13 > 0:22:16And it was one of those things where everything sounded good, you know?
0:22:16 > 0:22:19Because you're away with the fairies.
0:22:19 > 0:22:21And Rick was on a stool.
0:22:23 > 0:22:25# Do do do
0:22:25 > 0:22:26# Do do da-da da-da
0:22:26 > 0:22:28# Do do do
0:22:28 > 0:22:29# Do do da-da
0:22:29 > 0:22:30# Do do do
0:22:30 > 0:22:32# Do do da-da da-da # Do do da da... #
0:22:32 > 0:22:34And I sat there all night.
0:22:34 > 0:22:36"Ta-ra, you lot! See you tomorrow!
0:22:36 > 0:22:39"Everything's fine, don't worry about it.
0:22:39 > 0:22:41"Leave me here, I'm fine. Don't worry."
0:22:41 > 0:22:42And so, I just sat and played that.
0:22:42 > 0:22:45When they came back in the morning, I had the Mystery Song.
0:22:45 > 0:22:46I think I had the lyrics, everything.
0:22:46 > 0:22:49Just did it, you know, overnight.
0:22:49 > 0:22:52And you get so wrapped up in it.
0:22:52 > 0:22:55# Oh, my legs are shaking
0:22:55 > 0:22:58# Oh, my heart is breaking
0:22:58 > 0:23:01# I'm just feeling like a boy... #
0:23:03 > 0:23:05I love rock'n'roll!
0:23:05 > 0:23:06AUDIENCE SCREAMS
0:23:06 > 0:23:09I love rock'n'roll!
0:23:09 > 0:23:11And I know we need 10,000 of the best
0:23:11 > 0:23:15rock 'n' rollers in this country tonight!
0:23:15 > 0:23:17And that's in here!
0:23:17 > 0:23:19Will you welcome the greatest
0:23:19 > 0:23:23rock'n'roll band in the world!
0:23:23 > 0:23:25Status Quo!
0:23:28 > 0:23:32# When I get home tomorrow night after this morning
0:23:32 > 0:23:36# Show me the care you showed in the note the night before
0:23:36 > 0:23:39# Maybe I won't take a drink from the table... #
0:23:39 > 0:23:41They were the first band I ever saw.
0:23:41 > 0:23:451972, I think, at Guildford Civic Hall.
0:23:45 > 0:23:50And me and the band, my band, we got tickets
0:23:50 > 0:23:51and we were in the last row
0:23:51 > 0:23:53in Guildford Civic Hall.
0:23:53 > 0:23:55And it was the first gig I'd ever seen, anyway.
0:23:55 > 0:23:57And it was so fucking loud.
0:23:57 > 0:23:59We were just like this, pinned back like this.
0:23:59 > 0:24:01And we were just like, "That's fucking..."
0:24:01 > 0:24:04That was all the confirmation we ever needed about being in a band.
0:24:04 > 0:24:06We just thought it was amazing.
0:24:06 > 0:24:07# You spend my money
0:24:07 > 0:24:10# You drink my best red wine
0:24:12 > 0:24:14# You think it's funny
0:24:14 > 0:24:16# To see me all the time... #
0:24:16 > 0:24:19My old man was mates with Dick, who was Ricky's dad.
0:24:19 > 0:24:21They used to play cards.
0:24:21 > 0:24:24They'd just have a regular card school round the working men's club.
0:24:24 > 0:24:28The Woking Working Mens Club in Walton Road.
0:24:28 > 0:24:30So that was the connection, really.
0:24:30 > 0:24:33He lent us a few bits and pieces, a few bits of equipment,
0:24:33 > 0:24:36some of which he got back, some of which he didn't.
0:24:36 > 0:24:39I remember us going down the A3 one day on the way to London,
0:24:39 > 0:24:42doing a gig, and Rick was coming down the other side.
0:24:42 > 0:24:44And he was saying, "Where's my amp?"
0:24:44 > 0:24:46And we were like, "No, you'll get it back."
0:24:46 > 0:24:47But he never did. Sorry, mate.
0:24:47 > 0:24:49Listen to radio something, and again,
0:24:49 > 0:24:51this is why I like not looking for music.
0:24:51 > 0:24:55I don't know where I was going, down the hill here.
0:24:55 > 0:24:58"Fuck me! This is blinding!
0:24:58 > 0:25:00"Jesus Christ, that's good!"
0:25:00 > 0:25:04It was The Jam. That's like...
0:25:04 > 0:25:07Well, that taught you, then, didn't it? I said, "It teaches me."
0:25:07 > 0:25:09I said, "I can't stick... Love the record."
0:25:09 > 0:25:11So things I think I don't like and
0:25:11 > 0:25:13then suddenly along will come a record.
0:25:13 > 0:25:16"Shit! Didn't want to like that, but I do."
0:25:16 > 0:25:17APPLAUSE
0:25:20 > 0:25:22MUSIC: "Rockin' All Over the World"
0:25:27 > 0:25:31# Ah, here we are and here we are and here we go
0:25:31 > 0:25:34# All aboard and we're hitting the road
0:25:34 > 0:25:36# Here we go
0:25:36 > 0:25:38# Rockin' all over... #
0:25:38 > 0:25:43I was driving home from town one night and I was probably out of it.
0:25:43 > 0:25:46I don't remember. But this song came on the radio.
0:25:46 > 0:25:48And I'd never heard it before.
0:25:48 > 0:25:50I obviously knew John Fogerty,
0:25:50 > 0:25:53but I'd never heard this Rockin' All Over the World.
0:25:53 > 0:25:55And I thought, "What a great song!" The chorus...
0:25:55 > 0:25:57- # I like it, I like it...- #
0:25:57 > 0:26:00# I like it, I like it, I like it, I like it
0:26:00 > 0:26:02# I la-la-la-like it
0:26:02 > 0:26:04# La-la-la-la
0:26:04 > 0:26:06# Here we go-o
0:26:06 > 0:26:09# Rockin' all over the world... #
0:26:11 > 0:26:13"That would be so great for us."
0:26:13 > 0:26:15And the fact that I'd never heard it, I thought,
0:26:15 > 0:26:18"Well, this couldn't have been a hit here." You know?
0:26:18 > 0:26:21Very few people had known John Fogerty's
0:26:21 > 0:26:23version of Rockin' All Over the World.
0:26:23 > 0:26:26Because, when he left Creedence Clearwater Revival,
0:26:26 > 0:26:31his first solo album was an undeserved flop.
0:26:31 > 0:26:34It just turned out like it turned out. Just magic, straightaway.
0:26:34 > 0:26:37It was magical. And the bit on the end...
0:26:37 > 0:26:39# Da da da da da da... #
0:26:52 > 0:26:54To my mind, the point where I became
0:26:54 > 0:26:56a full-time member was after
0:26:56 > 0:27:00we'd recorded the Rockin' All Over the World album
0:27:00 > 0:27:02and then the band got together
0:27:02 > 0:27:04about three or four months later,
0:27:04 > 0:27:06after a nice break,
0:27:06 > 0:27:11to start touring the Rockin' All Over the World tour
0:27:11 > 0:27:15to promote the album. And they decided that...
0:27:16 > 0:27:20..they would need a keyboard player full-time.
0:27:20 > 0:27:22Yeah, I love Andy.
0:27:22 > 0:27:24He's a great guy.
0:27:24 > 0:27:26We spent many a good day together.
0:27:26 > 0:27:29Andy likes sightseeing. I always thought I was wasting my time,
0:27:29 > 0:27:32because Francis never went out of his room. Rick was always sort of,
0:27:32 > 0:27:34"I'll go in a minute." But never would.
0:27:34 > 0:27:36But Andy liked to go out and see the sights a bit.
0:27:36 > 0:27:38So I always clung to him a bit.
0:27:38 > 0:27:42I enjoyed Alan's company a lot of the time.
0:27:42 > 0:27:45One of the best days out I've ever had, Alan and I went for
0:27:45 > 0:27:47a day out in Venice together,
0:27:47 > 0:27:50just us and the pigeons.
0:27:51 > 0:27:53# Living on an island
0:27:54 > 0:27:58# Looking at another line
0:27:58 > 0:28:01# Waiting for my friend to come
0:28:01 > 0:28:04# And we'll get high
0:28:06 > 0:28:10# Hugh, he got a real nice place
0:28:10 > 0:28:13# Cruxie gonna be there soon
0:28:14 > 0:28:17# And I just want to see his face
0:28:17 > 0:28:21# I'm getting lonely in my empty room... #
0:28:21 > 0:28:25Well, Living on an Island, I was...again...
0:28:25 > 0:28:30I was doing a tax year and I was flitting around Europe.
0:28:30 > 0:28:34I'd spent quite a bit of time in Germany.
0:28:35 > 0:28:38And it was then suggested that we all go
0:28:38 > 0:28:42and hole up on the island of Jersey.
0:28:42 > 0:28:45# Waiting for my friend to come
0:28:45 > 0:28:49# And we'll get high
0:28:50 > 0:28:54# Passing time away
0:28:54 > 0:28:57# In blue skies... #
0:28:57 > 0:29:00There wasn't a lot to do on the island, really. You know?
0:29:00 > 0:29:04And... So I just...
0:29:04 > 0:29:08I started the song off with Bob Young, I think.
0:29:08 > 0:29:14And we just talked about being bored, really.
0:29:14 > 0:29:16Living on an island, waiting for somebody to come out.
0:29:16 > 0:29:20Waiting for somebody maybe to sneak a bit of Niki Lauda
0:29:20 > 0:29:23onto the island, cos bad news there, you know?
0:29:24 > 0:29:26And that song was really lovely
0:29:26 > 0:29:31and it reflected the time spent on Jersey.
0:29:31 > 0:29:35So, I suppose you could say the old nugget,
0:29:35 > 0:29:38if something good came out of it,
0:29:38 > 0:29:40it was Living on an Island.
0:29:40 > 0:29:43But... God, we had such a...
0:29:43 > 0:29:46I mean, lucky to be alive, really.
0:29:46 > 0:29:49Cos I was going out of my skull.
0:29:49 > 0:29:52I so nearly drove a car over a cliff one night.
0:29:52 > 0:29:54I mean, lost it on a corner.
0:29:54 > 0:29:57And the back end of the car was
0:29:57 > 0:30:03literally a couple of feet away from a 200-foot drop.
0:30:03 > 0:30:05And falling off bicycles.
0:30:05 > 0:30:09I hurt myself so badly on bicycles and stuff.
0:30:09 > 0:30:13And backing cars into trees.
0:30:13 > 0:30:15Just going out... Just bored!
0:30:15 > 0:30:18Going out of my skull, just didn't know what to do.
0:30:18 > 0:30:22So you used to start drinking and doing what you can.
0:30:22 > 0:30:25It was a wild time.
0:30:25 > 0:30:27Coke was getting into the...
0:30:27 > 0:30:31You can see Rick changing considerably. And...
0:30:31 > 0:30:34kind of becoming coke-driven, I think.
0:30:34 > 0:30:37In rock bands, maybe it doesn't seem like it,
0:30:37 > 0:30:39but there's a lot of downtime on the road.
0:30:39 > 0:30:42So there's a lot of boredom to try to get rid of.
0:30:42 > 0:30:44So, you know, it's easy.
0:30:44 > 0:30:48You smoke a joint here, you rack up a couple of lines of coke there
0:30:48 > 0:30:52and then you start getting into really heavy, Class A staff
0:30:52 > 0:30:54and that feels even better, you know?
0:30:54 > 0:30:56I'm not at liberty to talk about
0:30:56 > 0:30:58things like sex and drugs
0:30:58 > 0:31:00and rock 'n' roll,
0:31:00 > 0:31:04but I would say that what you've heard is
0:31:04 > 0:31:07probably only half of the truth.
0:31:07 > 0:31:09# Whatever you want
0:31:09 > 0:31:10# Whatever you like
0:31:10 > 0:31:12# Whatever you say
0:31:12 > 0:31:15# You pay your money You take your choice
0:31:15 > 0:31:17# Whatever you need
0:31:17 > 0:31:18# Whatever you use
0:31:18 > 0:31:20# Whatever you win
0:31:20 > 0:31:23# Whatever you lose... #
0:31:24 > 0:31:28And then we kind of got into the dope smoking
0:31:28 > 0:31:32and I think Spud felt so alienated, you know?
0:31:32 > 0:31:34Because we were laughing at nothing.
0:31:34 > 0:31:37We were laughing at anything and nothing.
0:31:37 > 0:31:40Of course, he's sitting there, scratching his pissed head,
0:31:40 > 0:31:43going "What the fuck are they laughing at?
0:31:43 > 0:31:44"Why aren't I laughing?"
0:31:44 > 0:31:46You know, he's just sitting there,
0:31:46 > 0:31:48talking to Jeremy, you know?
0:31:48 > 0:31:50Well, I think there was a lot of bub open
0:31:50 > 0:31:52and a lot of drink happening.
0:31:52 > 0:31:56And I think, let's be honest about it, I overdid it.
0:31:56 > 0:32:00And I think Francis was tuning my drums, or something.
0:32:00 > 0:32:03Which I didn't like the idea of that.
0:32:03 > 0:32:06I'd set up two or three drum kits with Johnny, whomever the thing was,
0:32:06 > 0:32:09ready for Spud to come in and try. Cos his attention span was...
0:32:09 > 0:32:11He'd get fed up quick.
0:32:11 > 0:32:13We'd say, "Just try a little longer..."
0:32:13 > 0:32:14It's too late, he's lost it.
0:32:14 > 0:32:18And again, that's not going at him, that's just how shit was.
0:32:18 > 0:32:21And he'd inevitably kick the kit all over the friggin' place,
0:32:21 > 0:32:23cos he lost his temper with it.
0:32:23 > 0:32:26I don't particularly remember ever kicking drums over,
0:32:26 > 0:32:30because I like playing drums. I don't kick them around.
0:32:30 > 0:32:33But I do remember the next morning
0:32:33 > 0:32:36Ian Jones coming into my room.
0:32:36 > 0:32:38And he was called The Axeman in those days,
0:32:38 > 0:32:41because he used to sack people, roadies and stuff,
0:32:41 > 0:32:43and just go around sacking people.
0:32:43 > 0:32:46We were in the hotel room that night,
0:32:46 > 0:32:51and Francis came in with our tour manager at the time, Ian Jones,
0:32:51 > 0:32:54and said, "We're going to get...
0:32:54 > 0:32:56"We think John should go and we should get somebody else in.
0:32:56 > 0:32:58"We can't stand it."
0:32:58 > 0:33:00And me and Rick thought, "Oh, this'll blow over tomorrow.
0:33:00 > 0:33:02"We'll be gone tomorrow." "Yeah, OK, man."
0:33:02 > 0:33:04Carried on playing our backgammon.
0:33:04 > 0:33:07Because of what had happened last night in the studio,
0:33:07 > 0:33:09the band have had a meeting
0:33:09 > 0:33:11and they want to use a drum machine.
0:33:13 > 0:33:16"Oh, right. A drum machine.
0:33:16 > 0:33:20"A shuffling drum machine. That's an idea." And...
0:33:21 > 0:33:25And I think I just remember going,
0:33:25 > 0:33:28"Bollocks. I'll get on the plane."
0:33:28 > 0:33:29And it was quite funny,
0:33:29 > 0:33:32cos it took not just The Axeman
0:33:32 > 0:33:37and someone else to put me in a cab, take me to the airport.
0:33:37 > 0:33:40It was a representative from the record company and someone else.
0:33:40 > 0:33:45And, you know, I think I can find an effing airport on my own
0:33:45 > 0:33:47without you having to show me where it is.
0:33:47 > 0:33:50Next day, Rick and I were down in the breakfast room
0:33:50 > 0:33:53and the tour manager came in and said,
0:33:53 > 0:33:56"John's on his way to London. He's gone back."
0:33:56 > 0:33:58And I believe, looking back now,
0:33:58 > 0:34:02I don't think I touched a drum kit for a year.
0:34:02 > 0:34:04Because I'd really had enough of it.
0:34:04 > 0:34:07And my wife and I just went on holidays
0:34:07 > 0:34:09and put our feet up, really.
0:34:09 > 0:34:12And Pete, who I'd worked with before,
0:34:12 > 0:34:15we'd all worked with Pete before,
0:34:15 > 0:34:16Pete Kircher, great drummer,
0:34:16 > 0:34:20came in and we recorded the album. We forgot about John.
0:34:20 > 0:34:23But, of course, once you step outside the frame, that circle,
0:34:23 > 0:34:25that bubble of the band,
0:34:25 > 0:34:27you soon know who your friends are.
0:34:27 > 0:34:30So, John was out and that was the start.
0:34:30 > 0:34:32That was unthinkable at the time.
0:34:32 > 0:34:34And it was never the same since.
0:34:34 > 0:34:36We made bad albums after that.
0:34:39 > 0:34:41Now on Top of the Pops, Status Quo, this week at number five,
0:34:41 > 0:34:44with Marguerita Time.
0:34:58 > 0:35:00# Captured my heart... #
0:35:00 > 0:35:02'Various frictions come over the years.
0:35:02 > 0:35:05'Marguer...Rick didn't want to do it either
0:35:05 > 0:35:07'and we were about to have dinner in Montserrat
0:35:07 > 0:35:10'and came up to an old school, where we used to record.'
0:35:10 > 0:35:13About six o'clock, we'd stop for dinner and people to get shit-faced.
0:35:13 > 0:35:16You'd work till two in the morning and waste your time.
0:35:16 > 0:35:18But, I think Alan said to me,
0:35:18 > 0:35:21"Shall we do that one of yours? That Marguerita?"
0:35:21 > 0:35:22So we kind of put it down and said,
0:35:22 > 0:35:24"It's not going to be used."
0:35:24 > 0:35:28It just had this impact on Alan,
0:35:28 > 0:35:31where it was just a bit too much for him.
0:35:31 > 0:35:32Yeah, that's a load of rubbish.
0:35:32 > 0:35:35Why did I record it if I didn't want to record it?
0:35:35 > 0:35:38I didn't think it was right for the band, that's another story.
0:35:38 > 0:35:40We put it into the set, as well,
0:35:40 > 0:35:43and fans loved it. Loved it.
0:35:43 > 0:35:45# Picture a dream
0:35:47 > 0:35:49# Picture a fantasy... #
0:35:49 > 0:35:51I thought it looked quite big
0:35:51 > 0:35:54to have the bass player from another big band on with us.
0:35:54 > 0:35:57I thought it looked really good. I was quite excited by that.
0:35:57 > 0:36:01So I went in and told our lot. Our lot didn't like it at all!
0:36:01 > 0:36:04So, anyway, they never mentioned it again.
0:36:04 > 0:36:08Just when they were going up - we'd opened the show -
0:36:08 > 0:36:10a knock came on the door.
0:36:10 > 0:36:12And the door opened. "Jim, if you're up for it...
0:36:12 > 0:36:15So, we hadn't rehearsed.
0:36:15 > 0:36:17And I just went up on stage.
0:36:17 > 0:36:19# Find no other reason
0:36:19 > 0:36:23# I never knew what had happened to me
0:36:23 > 0:36:26# I didn't think it was true... #
0:36:26 > 0:36:32So, this week of us doing Marguerita Time, it was live.
0:36:32 > 0:36:34So I said to Pete Kircher, I said,
0:36:34 > 0:36:38"Right, what I'm going to do towards the end of the song..."
0:36:38 > 0:36:40And nobody believes this story.
0:36:40 > 0:36:43Over the years, I've fought with people, saying
0:36:43 > 0:36:45"No, I did it deliberately!"
0:36:45 > 0:36:47They, "You were pissed, weren't you, pal?" "No, I wasn't!"
0:36:47 > 0:36:51All right, so I had had a couple of drinks, but it was all pre-planned.
0:36:51 > 0:36:52I said to Pete, I said,
0:36:52 > 0:36:54"Towards the end, I'm going to walk back to you."
0:36:54 > 0:36:57I hadn't told Francis, I hadn't told anybody.
0:36:57 > 0:36:58Just the drummer.
0:37:00 > 0:37:03So, towards the end of the song, I thought, "Here we go."
0:37:03 > 0:37:06And I walked back and just fell into the kit.
0:37:06 > 0:37:08And, of course, it worked brilliantly.
0:37:08 > 0:37:11The whole thing went off the side.
0:37:11 > 0:37:14We all fell off the stage sideways.
0:37:14 > 0:37:16And it caused a bit of a furore.
0:37:36 > 0:37:39CHEERING
0:37:43 > 0:37:45LAUGHTER
0:37:45 > 0:37:48# I've known a lot of women and I've known a lot of men
0:37:48 > 0:37:50# I've always known the difference
0:37:50 > 0:37:52# Ever since I was ten
0:37:52 > 0:37:54# I married a girl from the sweetshop
0:37:54 > 0:37:56# Who turned out to be a bag
0:37:56 > 0:37:58# And now she's getting on a bit
0:37:58 > 0:37:59# All she does is nag
0:37:59 > 0:38:01# Oh, I'm fond of her
0:38:01 > 0:38:03# Very fond of her
0:38:03 > 0:38:05# But she goes on and on and on and on and on... #
0:38:05 > 0:38:09Barker did me, didn't he?
0:38:09 > 0:38:10It's just not possible!
0:38:10 > 0:38:14However, it was the closest to looking like Rick ever.
0:38:14 > 0:38:18# And if she's out when I come home, it really gets my goat
0:38:18 > 0:38:20# She can't nag me in person
0:38:20 > 0:38:22# So she leaves a naggy note
0:38:22 > 0:38:24# I'm fond of her
0:38:24 > 0:38:26# Very fond of her
0:38:26 > 0:38:28# But she goes on and on and on and on
0:38:28 > 0:38:30# And on and on and on... #
0:38:30 > 0:38:32And he came out, straight out of his shop.
0:38:32 > 0:38:35"Hi, guys!" And it was almost like some Quo puncturing,
0:38:35 > 0:38:37we was so taken to talking with him.
0:38:37 > 0:38:40So, thanks very much. You made me feel great.
0:38:40 > 0:38:44For the best thing that I've ever seen done of us. Hilari...
0:38:44 > 0:38:45# And I'm fond... #
0:38:45 > 0:38:47In fact, for a few years, Rick and I sing
0:38:47 > 0:38:50"# I'm fond of her, I'm very fond of her... #"
0:38:50 > 0:38:51We'd sing that instead of Wanderer.
0:38:51 > 0:38:54It's very, very clever. Bastards.
0:39:10 > 0:39:14Status Quo's farewell tour was in '84.
0:39:14 > 0:39:19I always thought that's far, far, far too premature, that is.
0:39:19 > 0:39:23And I think it started with Hammersmith Odeon,
0:39:23 > 0:39:25as it probably was then.
0:39:25 > 0:39:29And they did seven nights, and they sold out in a couple of hours.
0:39:29 > 0:39:31And, I mean, I remember the queues.
0:39:31 > 0:39:33There were queues from round the block.
0:39:37 > 0:39:38If you look at the posters
0:39:38 > 0:39:41"At the end of the road, but still making tracks."
0:39:41 > 0:39:44Somebody said to me, "Quo will never sell an album unless they tour."
0:39:44 > 0:39:46You shouldn't have fucking said that.
0:39:46 > 0:39:48What You're Proposing, and Never Too Late.
0:39:48 > 0:39:50Both sold without touring, you see?
0:39:50 > 0:39:54And I was getting to the thing with them. I said, "Let's do the end..."
0:39:54 > 0:39:57And I said, "You don't do that. It's a bad move to say, 'end of the...'
0:39:57 > 0:39:59"You think it's great to pull in tickets,
0:39:59 > 0:40:01"but I don't think you should say it."
0:40:01 > 0:40:03You know, we weren't getting on at all well.
0:40:03 > 0:40:06And it was real pressure, being in the band.
0:40:06 > 0:40:09It was the end, yeah.
0:40:09 > 0:40:12People keep saying, "Oh, Status Quo,
0:40:12 > 0:40:15"you've reformed again, have you?
0:40:15 > 0:40:19"Another reformation, or another final tour?"
0:40:19 > 0:40:21No, we've only stopped once, and that was it.
0:40:21 > 0:40:25And we did that gig and I remember being on the stage
0:40:25 > 0:40:28at Milton Keynes there, thinking,
0:40:28 > 0:40:30"Well, we finished Caroline."
0:40:30 > 0:40:34You think, "God, that's the last time I'm ever going to play that."
0:40:34 > 0:40:38And 4500 Times, all that, "Never going to play this again."
0:40:39 > 0:40:42The great thing about Bowie retiring,
0:40:42 > 0:40:45Quo knocking it on the head,
0:40:45 > 0:40:48Bruce Dickinson deciding to leave Maiden and then,
0:40:48 > 0:40:51oops, coming back again, you know,
0:40:51 > 0:40:53we had Frank Sinatra as a great yardstick.
0:40:53 > 0:40:56You know, he retired more times than everybody put together.
0:40:56 > 0:40:59FRANCIS: And, to be honest, what we should have done is said,
0:40:59 > 0:41:02"We'll take two years out. Or a year out."
0:41:02 > 0:41:07But I do believe that, with our various managers, other than Simon...
0:41:08 > 0:41:11..is that they always thought, "This won't fucking last long."
0:41:59 > 0:42:02Thank you! Good night! Goodbye!
0:42:02 > 0:42:05CHEERING
0:42:05 > 0:42:08We had a secret weapon. And it wasn't secret, it was Geldof.
0:42:08 > 0:42:10You don't say no to Geldof.
0:42:10 > 0:42:12When he calls you up and says, "I need your help.
0:42:12 > 0:42:15"I need you to do this." He's incredibly persuasive.
0:42:15 > 0:42:18And, bear in mind, this was at a time when
0:42:18 > 0:42:20his bubble had been and gone.
0:42:20 > 0:42:24I think it was a few minutes to 12, when we went on stage.
0:42:24 > 0:42:25Little did I know, 20 minutes later,
0:42:25 > 0:42:27that would be the last chord I'd ever play.
0:42:27 > 0:42:31- ANNOUNCER:- 'It's 12 noon in London, 7am in Philadelphia,
0:42:31 > 0:42:34'and around the world, it's time for Live Aid.'
0:42:34 > 0:42:36CHEERING
0:42:36 > 0:42:39- MIDGE:- And, of course, you want to kick something like that off.
0:42:39 > 0:42:41You've got to have a killer opening.
0:42:43 > 0:42:47'And now, to start the 16 hours of Live Aid,
0:42:47 > 0:42:50'would you welcome Status Quo!'
0:42:50 > 0:42:51CHEERING
0:42:54 > 0:42:55Hello!
0:42:55 > 0:42:57- CROWD:- Hello!
0:42:57 > 0:42:58Hello, are you all right?!
0:42:58 > 0:42:59CROWD CHEERS
0:42:59 > 0:43:01You all right?!
0:43:01 > 0:43:02CROWD CHEERS
0:43:13 > 0:43:17# Oh, here we are and here we are and here we go
0:43:17 > 0:43:20# All aboard and we're hittin' the road
0:43:20 > 0:43:22# Here we go
0:43:22 > 0:43:24# Rockin' all over the world. #
0:43:24 > 0:43:26Go on, son!
0:43:28 > 0:43:31The artiest of people backstage would have gone, "Oh, yeah."
0:43:31 > 0:43:33I can imagine Bowie, you know,
0:43:33 > 0:43:36or Brian Ferry going, "Yeah, that makes sense."
0:43:36 > 0:43:39It was real. All of a sudden, they kicked off
0:43:39 > 0:43:42and the whole thing was real. It was genuine.
0:43:42 > 0:43:46# I like it, I like it, I like it, I like it
0:43:46 > 0:43:49# I la-la-la-like it, la-la-la
0:43:49 > 0:43:53# Here we go, rockin' all over the world... #
0:43:54 > 0:43:57It's just the best fit ever, really, isn't it?
0:43:57 > 0:44:02Rockin' All Over The World, and it's the world concert, so perfect.
0:44:11 > 0:44:14I said, look, Bob, we ain't getting on, we ain't rehearsed,
0:44:14 > 0:44:16and he said, "It doesn't matter a fuck what you sound like,"
0:44:16 > 0:44:19but he said that to everybody so he made you feel,
0:44:19 > 0:44:21and all credit to him, he got us all down there.
0:44:21 > 0:44:25Yeah, Live Aid stirs up memories, of course, for me, with Quo,
0:44:25 > 0:44:31because we sat in the Royal Box with Charles and Diana,
0:44:31 > 0:44:36and Bob Geldof, and David Bowie and a few other people
0:44:36 > 0:44:41and watched Quo open the whole day, doing Rockin' All Over The World.
0:44:41 > 0:44:45# I like it, I like it, I like it, I la-la-la-like it
0:44:45 > 0:44:47# La-la-la
0:44:47 > 0:44:51# Here we go, rockin' all over the world... #
0:44:54 > 0:44:57Most people, you want to jockey for the top spot. Not interested.
0:44:57 > 0:45:02And then you realise how many cameras there are, all of a sudden,
0:45:02 > 0:45:07you realise that the whole pit is full of cameras, you know,
0:45:07 > 0:45:11not just photographers, movie cameras, you know,
0:45:11 > 0:45:13so we went on first
0:45:13 > 0:45:16and every frigging newsreel in the world carried us.
0:45:16 > 0:45:19That's when I think everyone went, "Shit, should have opened the show."
0:45:19 > 0:45:21And contrary to common belief
0:45:21 > 0:45:24that we were out of it when we went on there,
0:45:24 > 0:45:29well, I don't know about Frame but I certainly wasn't.
0:45:29 > 0:45:31I did it completely straight.
0:45:33 > 0:45:37We came off stage and I immediately hit something quite strong,
0:45:37 > 0:45:42I don't remember what it was, and we were chatting away to Janice Long
0:45:42 > 0:45:44a couple of minutes after we came off
0:45:44 > 0:45:47and I remember because my whole body was fizzed anyway
0:45:47 > 0:45:50and I'm pumping from what we've just done.
0:45:50 > 0:45:53Hey! Hello, darling, are you all right?
0:45:53 > 0:45:55How did it go? Rick Parfitt, Status Quo.
0:45:55 > 0:45:58It was fantastic, it's an incredible atmosphere out there
0:45:58 > 0:46:01with the weather and everything, and the crowd are wonderful.
0:46:01 > 0:46:03Just wish we could have stayed on a bit longer.
0:46:03 > 0:46:06But actually launching the whole thing must have been amazing.
0:46:06 > 0:46:09It's very exciting, especially with Rockin' All Over The World
0:46:09 > 0:46:11because it's been advertised with Rockin' All Over The World.
0:46:11 > 0:46:14- Come on, mate!- Come on, lads. Hiya.
0:46:14 > 0:46:17- How are you doing? How did it go? - Don't stick it up my nose!
0:46:17 > 0:46:20- I'd like to shove this up your nose. - Steady on, steady on.- How did it go?
0:46:20 > 0:46:22- Have you had a drink?- Pardon?
0:46:22 > 0:46:24- How did it go? - Quickly. Very quickly, yeah.
0:46:24 > 0:46:27Once you get there, you want to stay a bit longer. He said, "Wind it up."
0:46:27 > 0:46:30Wind it up because I think The Style Council are coming on.
0:46:30 > 0:46:31And that was that.
0:46:31 > 0:46:36I don't remember another thing about the day, not a thing.
0:46:36 > 0:46:38It's show business, right?
0:46:38 > 0:46:43After the event, I think Dire Straits' album went...whoosh!
0:46:43 > 0:46:45So did Tina Turner and so did U2,
0:46:45 > 0:46:48but some of us didn't have any extra product out.
0:46:48 > 0:46:50Somebody had the nous to put product out, and so on.
0:46:50 > 0:46:54We've got time for one more. Have we?
0:46:54 > 0:46:56No?
0:46:57 > 0:46:59No more? One more.
0:46:59 > 0:47:01We've got time for one more, maybe a favourite.
0:47:01 > 0:47:04We'll have some hands in the middle of this with a bit of luck.
0:47:04 > 0:47:05After four. Four.
0:47:14 > 0:47:16# You spend my money
0:47:16 > 0:47:18# You drink my best red wine... #
0:47:18 > 0:47:21Come on, let's see you in the room.
0:47:21 > 0:47:24We got on great that day. It was a fantastic day.
0:47:24 > 0:47:28I was staying with Rick in Rick's apartment, we were having great fun
0:47:28 > 0:47:30and I spent most of the day with Francis -
0:47:30 > 0:47:32we was walking around everywhere,
0:47:32 > 0:47:36and I flew back to Australia not long after that, about a week after,
0:47:36 > 0:47:41and received a letter from the office, the management office,
0:47:41 > 0:47:43signed by Francis,
0:47:43 > 0:47:46typed out by the office, obviously, with their address,
0:47:46 > 0:47:49and signed by Francis, saying they didn't want to work with me any more
0:47:49 > 0:47:51because the end of the road had really come.
0:47:51 > 0:47:54Alan had gone. He had gone from the band.
0:47:54 > 0:47:59He came back for Live Aid, he came across to do Live Aid,
0:47:59 > 0:48:01but as far as we were all concerned then,
0:48:01 > 0:48:05certainly as far as I was concerned, the band was over, it was finished.
0:48:05 > 0:48:09It was really Alan and Francis
0:48:09 > 0:48:12that just couldn't work together any more. They just couldn't.
0:48:12 > 0:48:14How many bands can you name me
0:48:14 > 0:48:17that have all the original members in it, right?
0:48:17 > 0:48:23And there's really, when you play the game, there's maybe that many.
0:48:23 > 0:48:25How many fingers do I got up?
0:48:25 > 0:48:29That's about how many are left that have all their original members,
0:48:29 > 0:48:32so you just, you've got to find the hurdles to get over
0:48:32 > 0:48:34and you got to be able to jump over them,
0:48:34 > 0:48:37you have to grow a thicker skin
0:48:37 > 0:48:39and you have to just kind of drive through the whole thing.
0:48:39 > 0:48:42I always felt in the middle of Rick and Francis,
0:48:42 > 0:48:45and Francis said he always felt he was in the middle of me and Rick,
0:48:45 > 0:48:47and Rick said some time ago
0:48:47 > 0:48:50he always felt he was in the middle of me and Francis, so even there...
0:48:50 > 0:48:53At that point, I dare say he was advised to go for the name,
0:48:53 > 0:48:56stop them doing it, so he did, and we...
0:48:56 > 0:48:58I didn't want to go, I hate all that shite,
0:48:58 > 0:49:00and we went to court
0:49:00 > 0:49:04cos obviously people were behind us, saying, "Get the fucking name,"
0:49:04 > 0:49:06and Nuff had this way, he said,
0:49:06 > 0:49:09"I did warn you two I would do this, blah blah blah,"
0:49:09 > 0:49:11which is Nuff, fair enough,
0:49:11 > 0:49:13and we'd left the court, sat there drinking tea
0:49:13 > 0:49:17because they're going on and on, the bollocks that goes on,
0:49:17 > 0:49:19and when he lost, he went bloody mad.
0:49:19 > 0:49:24I had been out and done a solo album called Recorded Delivery,
0:49:24 > 0:49:30which I was really proud of. I loved it. And on this album,
0:49:30 > 0:49:32Pip Williams had said to me,
0:49:32 > 0:49:34"You've got to use this bass player and this drummer,"
0:49:34 > 0:49:37respectively John "Rhino" Edwards and Jeff Rich.
0:49:37 > 0:49:40So we went down to the studio and met Rick.
0:49:40 > 0:49:43Songs were really good, really good songs,
0:49:43 > 0:49:47and it just went fantastic, really great album. We had a good album.
0:49:47 > 0:49:50Then the record company said,
0:49:50 > 0:49:53you know, "Quo, we want another album off you."
0:49:54 > 0:49:57So I said to Francis, "Look,"
0:49:57 > 0:50:00I said, "I've met this bass player and this drummer."
0:50:00 > 0:50:04I said, "You'll like them. They're good eggs, nice people."
0:50:04 > 0:50:06He said, "Hmmm," he wasn't keen at all.
0:50:06 > 0:50:09I said, "We've got to do it, Frame."
0:50:09 > 0:50:12So we ended up in the studio.
0:50:12 > 0:50:14And to me, they were just another couple of players at the time.
0:50:14 > 0:50:18I'm sure John will tell you, I just went, "Yeah, right, mate."
0:50:18 > 0:50:21I didn't get too close to anybody any more, you know.
0:50:21 > 0:50:24I got asked to go and have a jam with Francis
0:50:24 > 0:50:27at Gaslight Studios, I think it was.
0:50:27 > 0:50:30He walked in and he had the, "Right, mate, how are you doing, yeah,"
0:50:30 > 0:50:32not interested at all.
0:50:32 > 0:50:35And then by the end of the rehearsal, you know,
0:50:35 > 0:50:40we were getting into it, and my head was just going bang, bang,
0:50:40 > 0:50:43it was so loud, I couldn't believe it.
0:50:43 > 0:50:45And then he said, "Yeah, it was really good,
0:50:45 > 0:50:46"Nice and quiet as well!"
0:50:46 > 0:50:49And when it reformed, it reformed without Alan
0:50:49 > 0:50:51because Francis didn't get on with Alan.
0:50:51 > 0:50:53What myself and Rhino did,
0:50:53 > 0:50:58hopefully, was put our own stamp onto that music.
0:50:58 > 0:51:01There was no tension, there was no aggro,
0:51:01 > 0:51:05these two new guys, fresh, you know, and it worked wonderfully.
0:51:05 > 0:51:07We went into the studio.
0:51:07 > 0:51:10Frame had found In The Army Now,
0:51:10 > 0:51:15played it to me and I went, "No, not really."
0:51:15 > 0:51:18Dickhead. Great song.
0:51:18 > 0:51:23And so we did it and did that In The Army Now album with Jeff and John.
0:51:25 > 0:51:30And once again, I mean, it was a huge success, Army was a huge hit,
0:51:30 > 0:51:31and all over Europe.
0:51:31 > 0:51:34The first gig in Dubai, I think I was a little bit nervous,
0:51:34 > 0:51:36but then at the end of it,
0:51:36 > 0:51:39all Francis said to me was, "John, don't jump on the monitors,
0:51:39 > 0:51:40"We'll leave that for Lemmy."
0:51:41 > 0:51:45# Uncle Sam does the best he can
0:51:45 > 0:51:48# You're in the Army now
0:51:48 > 0:51:49# O-o-oh
0:51:49 > 0:51:52# You're in the Army
0:51:52 > 0:51:53# Now
0:51:55 > 0:51:59# Now you remember what the draft man said
0:51:59 > 0:52:03# Nothing to do all day but stay in bed
0:52:03 > 0:52:06# You're in the Army now
0:52:06 > 0:52:10# O-o-oh, you're in the Army
0:52:10 > 0:52:11# Now. #
0:52:14 > 0:52:18Five, four, three, two, one,
0:52:18 > 0:52:20go! They're off!
0:52:30 > 0:52:31When we put that together,
0:52:31 > 0:52:35and we started holding the venues and doing the whole thing,
0:52:35 > 0:52:39we were told, "You're absolutely fucking out of your brains
0:52:39 > 0:52:41"to even think about it." I mean, it was nuts.
0:52:44 > 0:52:48As far as I know, as far as we know, nobody's ever attempted this before.
0:52:48 > 0:52:51- So you're making a record? - We're setting a record, yeah.
0:52:51 > 0:52:54And we've got to do the four shows, which will be
0:52:54 > 0:52:59roughly 50 minutes to an hour each show, in under 12 hours, right?
0:52:59 > 0:53:02All the money the tickets make tonight is all going to charity.
0:53:02 > 0:53:04- It's all going to charity. - Every penny.
0:53:04 > 0:53:07Because Britannia, the music company, sponsored the whole thing,
0:53:07 > 0:53:09we didn't want to be seen to be making any profit,
0:53:09 > 0:53:12it's children's charities throughout the country, basically.
0:53:12 > 0:53:17We took off from Northolt and I saw a plane in the distance.
0:53:17 > 0:53:19"Ah, near miss."
0:53:19 > 0:53:21So, on the phone!
0:53:21 > 0:53:24"It's nearly a disaster before it starts!
0:53:24 > 0:53:26"Quo have just had a near miss."
0:53:26 > 0:53:27Made every news. Blown.
0:53:41 > 0:53:44# Whatever you want, whatever you like
0:53:44 > 0:53:48# Whatever you say, you pay your money, you take your choice
0:53:48 > 0:53:52# Whatever you need, whatever you use... #
0:53:52 > 0:53:54Any idea where we're going?
0:53:54 > 0:53:58# Missiles flying over your head
0:53:58 > 0:54:02# If you want to survive, get out of bed
0:54:02 > 0:54:05# You're in the army now
0:54:05 > 0:54:08# O-o-oh, you're in the army... #
0:54:12 > 0:54:16I can taste being on that helicopter now, heading for the third show,
0:54:16 > 0:54:20thinking, "Oh, my God, we're only halfway through."
0:54:20 > 0:54:22It was ju-ju-ju-juh!
0:54:22 > 0:54:25Deafening. That was another David Walker,
0:54:25 > 0:54:29or Flapper, as he was known, nicknamed.
0:54:32 > 0:54:35MUFFLED MUSIC: "Jump" by Van Halen
0:54:35 > 0:54:38CROWD CHEERS
0:54:40 > 0:54:43Have we got a microphone?
0:54:45 > 0:54:47Listen, you're done really well so far,
0:54:47 > 0:54:49but you must be feeling terrible.
0:54:49 > 0:54:52We are starting to feel it now, but we've got our own equipment here.
0:54:52 > 0:54:55It sounds like a good crowd, so we should be all right.
0:54:55 > 0:54:57Have you been eating all your pasta?
0:54:57 > 0:55:00(HOARSE) No, we missed the first two meals. We've had one bowl of pasta.
0:55:00 > 0:55:02Francis, what's the matter with your throat?
0:55:02 > 0:55:05It's like this. I don't know. We'll go on with it.
0:55:05 > 0:55:07I'll tell you what, never again.
0:55:07 > 0:55:10Is this it? Has it been harder than you thought it was going to be?
0:55:10 > 0:55:13Yeah, a lot harder. We thought we'd breeze through it.
0:55:13 > 0:55:15When we'd done the first one, thought it'd be pretty easy,
0:55:15 > 0:55:17but it's been really difficult.
0:55:17 > 0:55:19# Whatever you want... #
0:55:19 > 0:55:21I thought it would be a piece of cake,
0:55:21 > 0:55:24and I found out afterwards they were going to do This Is Your Life
0:55:24 > 0:55:25just as we finished at Wembley,
0:55:25 > 0:55:29and we were at Wembley playing, out on our feet,
0:55:29 > 0:55:31I really didn't think it would be a problem at all.
0:55:31 > 0:55:37And at the completion of this 25th year by Status Quo,
0:55:37 > 0:55:41having done their gigs at Sheffield,
0:55:41 > 0:55:44at Glasgow, at Birmingham,
0:55:44 > 0:55:49now here in Wembley, we want to present certificates to them
0:55:49 > 0:55:55from the Guinness Book Of Records for decibels and for duration.
0:55:55 > 0:55:58I think we said we did it in 11 hours, 11 minutes at the time,
0:55:58 > 0:56:01but actually that was a made-up figure.
0:56:01 > 0:56:04Had to come up with something to put on the certificate!
0:56:04 > 0:56:06But it was under 12 hours.
0:56:06 > 0:56:08CHEERING
0:56:11 > 0:56:14The performer renowned as one of rock's wildest characters,
0:56:14 > 0:56:18Rick Parfitt's energy has lasted as long as Status Quo's popularity
0:56:18 > 0:56:20over the last three decades.
0:56:20 > 0:56:23The band had just completed a whirlwind world tour
0:56:23 > 0:56:26when 48-year-old Parfitt was rushed to hospital yesterday evening
0:56:26 > 0:56:28complaining of chest pains.
0:56:28 > 0:56:32Well, I got up, it was a perfectly nice day, and...
0:56:34 > 0:56:37I was feeling fine, I was feeling normal,
0:56:37 > 0:56:40I was living on my own, um...
0:56:42 > 0:56:47..near Kingston, and I went to make a cup of tea,
0:56:47 > 0:56:50this is about 8am, 8:30am,
0:56:50 > 0:56:57and I got this massive pain from one shoulder to the other
0:56:57 > 0:57:01which literally kind of dropped me down on my knees.
0:57:01 > 0:57:04I realised I was still alive and,
0:57:04 > 0:57:09was that a heart attack? And I've survived it? What was that?
0:57:11 > 0:57:16But it really, really hurt, I'd never felt anything like it before,
0:57:16 > 0:57:17so I thought, "Well,"
0:57:17 > 0:57:21sort of unlike me, "I'd better go and see the doctor."
0:57:21 > 0:57:23He had a quadruple heart bypass operation
0:57:23 > 0:57:25lasting more than four hours.
0:57:25 > 0:57:29A spokesman said Parfitt had now regained consciousness,
0:57:29 > 0:57:32even asking a nurse how England's football team had fared against Georgia.
0:57:32 > 0:57:36They came back in and they said, "Well, it's bad news,
0:57:36 > 0:57:40"We've got to operate on you within 24 hours or you could die."
0:57:40 > 0:57:43I went to see him the morning after the operation.
0:57:43 > 0:57:45He was sat with a glass of wine and a cigarette,
0:57:45 > 0:57:48I thought, "He's all right." As soon as I saw him I knew he was all right.
0:57:48 > 0:57:51People said, did I worry? And I did until I saw him and "That's Rick."
0:57:51 > 0:57:55Rick has this incredible talent of bouncing back.
0:57:55 > 0:57:58I reckon he could be dead 25 minutes and still bounce back.
0:57:58 > 0:58:00"Oh, it's all right, I'm all right now."
0:58:00 > 0:58:03I had to take a cushion everywhere with me in case I sneezed
0:58:03 > 0:58:06because you think it's all going to go "ping-ping-ping-ping".
0:58:06 > 0:58:08I had to hold this cushion.
0:58:08 > 0:58:11The first time I did sneeze, it was fucking frightening
0:58:11 > 0:58:15because you think your chest is going to split open.
0:58:15 > 0:58:18But, yeah, I kind of got used to it.
0:58:20 > 0:58:2212 weeks later, I was back on stage.
0:58:31 > 0:58:36We thought it was a novel idea to ask the fans to write in,
0:58:36 > 0:58:39"Do you want Quo to play at your pub?"
0:58:39 > 0:58:44It was like the lottery, really. Put your hand in, pick one out.
0:58:44 > 0:58:46It was a brilliant marketing ploy.
0:58:48 > 0:58:51The Bull in Walkden,
0:58:51 > 0:58:55yep, so there we go, there's a little podium in the corner,
0:58:55 > 0:58:59you know, diamond-shaped podium, so you play on there.
0:58:59 > 0:59:01"Ha! This will be fun!"
0:59:04 > 0:59:05It was a novelty.
0:59:06 > 0:59:10But it wore off, and when the novelty had worn off,
0:59:10 > 0:59:14it was really a pain in the arse.
0:59:14 > 0:59:16I thought it would have been better
0:59:16 > 0:59:20if we would have done maybe just one pub, to be honest.
0:59:20 > 0:59:25To do six wasn't a good idea, as far as I was concerned.
0:59:25 > 0:59:27There were a couple of real shitholes.
0:59:27 > 0:59:30Particularly one in Birmingham I remember, where they literally,
0:59:30 > 0:59:33it was like they were set up in the corner of the room, which...
0:59:33 > 0:59:35I don't know how many we did.
0:59:35 > 0:59:38I just remember it was great for me because I used to drink
0:59:38 > 0:59:41a lot of bitter beer before I became Rhino the Rhino.
0:59:48 > 0:59:49But I loved playing pubs.
0:59:49 > 0:59:53I like playing really small gigs, as well as big ones.
0:59:55 > 1:00:00David was a great ideas man, and you know, he came up with things
1:00:00 > 1:00:05like the Butlins anniversary, which was fantastic at the time, and again,
1:00:05 > 1:00:08it was one of those reinventions of the band. They needed it at the time.
1:00:08 > 1:00:12On a business level, he was extremely good in those days.
1:00:12 > 1:00:15I'm going to ask you something and I don't want you to hit me.
1:00:15 > 1:00:18I want you to think seriously before you say, "No fucking chance."
1:00:18 > 1:00:20So you know what you're saying!
1:00:20 > 1:00:22- The Germans... - No fucking chance, yeah.
1:00:22 > 1:00:30..love the idea of the pub. We're doing the five pubs in Germany.
1:00:30 > 1:00:34- We're doing Berlin, Hamburg. - We've seen what we're doing, go on.
1:00:34 > 1:00:40- They also love the idea of doing a sh-small show.- "A shmall show".
1:00:40 > 1:00:44In the atrium, it's not an atrium, what is it, a big fucking hall?
1:00:44 > 1:00:48- Yes, it's a big foyer.- You know Axel's been dead for a long time.
1:00:48 > 1:00:50- The Axel Springer building. - Hotel receptions?
1:00:50 > 1:00:53No, it's the actual Springer building in their big foyer.
1:00:53 > 1:00:55Yeah, it's a big glass...
1:00:55 > 1:00:58For all their staff, which is a couple of hundred people.
1:00:58 > 1:01:01- Yeah, we heard about that. - Ah! That's the good news because they want it.
1:01:01 > 1:01:04- The bad news is the only... - It's only four staff.
1:01:04 > 1:01:06LAUGHTER
1:01:06 > 1:01:09The only sensible way of making it work...
1:01:09 > 1:01:12- Somebody else does it.- No.
1:01:12 > 1:01:15Is to do it at...
1:01:15 > 1:01:17Christ, you do milk things.
1:01:17 > 1:01:20- ..on the day of... I've said it. Is it clear? I thought we agreed. - What?!
1:01:20 > 1:01:22I'm sorry, I just said that's great.
1:01:22 > 1:01:26It's to do it on the lunchtime of the Hamburg show.
1:01:26 > 1:01:28On the third?
1:01:30 > 1:01:31No, we can't do that.
1:01:31 > 1:01:36Simon had been around with us for years as our PR man.
1:01:36 > 1:01:43We always used to work as a great team with David, Simon
1:01:43 > 1:01:44and ourselves.
1:01:44 > 1:01:47We had a lot of laughs, everybody got on great, you know.
1:01:47 > 1:01:51Simon had been with us for a long while and then when,
1:01:51 > 1:01:54so unexpectedly, David died,
1:01:54 > 1:01:58Francis and I just immediately said to Simon, you know,
1:01:58 > 1:02:00"You'd better step into those shoes."
1:02:00 > 1:02:05What he has done with this band is continue David's legacy in one way,
1:02:05 > 1:02:08but then he's enlarged it.
1:02:08 > 1:02:10We did a TV show in Sweden.
1:02:12 > 1:02:14I went out with them, as I would have anyhow.
1:02:14 > 1:02:18I went out with them and we all sat down and I put my case as to
1:02:18 > 1:02:21why I thought it would work this way.
1:02:21 > 1:02:25And... they agreed.
1:02:25 > 1:02:27MUSIC: Theme from "Coronation Street"
1:02:31 > 1:02:33I've always loved Coronation Street.
1:02:33 > 1:02:38Ever since I was a child, watching it in black-and-white
1:02:38 > 1:02:41with Ena Sharples, I have always loved it.
1:02:41 > 1:02:45We were doing the Manchester Apollo, or one of them up there,
1:02:45 > 1:02:47and Bruce came to see us.
1:02:47 > 1:02:50Les Battersby, Bruce, he always comes along to see us.
1:02:50 > 1:02:54Nice enough bloke, other than he's a ginger, what are you supposed to say?
1:02:54 > 1:02:56I got downstairs. I said to this other guy,
1:02:56 > 1:02:59"Why did we get thrown out of that dressing room,
1:02:59 > 1:03:00"so quick and smartly like?"
1:03:00 > 1:03:03"Coronation Street is on at 7:30, you should know that, Bruce."
1:03:03 > 1:03:04We were like, what?!
1:03:04 > 1:03:08He said, "The Quo won't perform till they've watched Coronation Street."
1:03:08 > 1:03:10"So why don't you put us in your show sometime?
1:03:10 > 1:03:13"Me and Ricky'd love to stand at the bar in Corrie, having a drink."
1:03:13 > 1:03:16He said, "We might do that." Didn't think anything of it.
1:03:16 > 1:03:20A little while, they came up with some idea then Simon said there was a possibility,
1:03:20 > 1:03:22and I went, "Oh shit." Dum, dum.
1:03:22 > 1:03:25Don't tell me...
1:03:25 > 1:03:29And six weeks later, they're in the show.
1:03:29 > 1:03:33Now...7:15.
1:03:33 > 1:03:35Jesus.
1:03:35 > 1:03:36That's rock 'n' roll.
1:03:36 > 1:03:40No, rock 'n' roll is midday you get up. I read in a book once.
1:03:40 > 1:03:42It can't be that small!
1:03:45 > 1:03:48Do they ever use this for shooting in?
1:03:48 > 1:03:54The only people who've ever appeared in it as themselves have been
1:03:54 > 1:03:57Prince Charles, Cliff Richard and Quo.
1:03:57 > 1:03:59See that?
1:03:59 > 1:04:03- Yeah... That is just unbelievable. - See what I mean about the effects.
1:04:03 > 1:04:05You won't get that looking at it from down there.
1:04:05 > 1:04:12Just the storyline was incredible about Francis,
1:04:12 > 1:04:16with this neck brace on and stuff, it could be nothing but amusing.
1:04:16 > 1:04:17Action!
1:04:22 > 1:04:24Francis! Rick!
1:04:26 > 1:04:28Hey, hey! I'm your number one fan!
1:04:28 > 1:04:31I'm your number one fan!
1:04:39 > 1:04:44There was a real scuffle going on. I remember there was a load of trouble.
1:04:44 > 1:04:47I remember Francis shouting he'd never worked with a lunatic before.
1:04:47 > 1:04:51Top. That's how it was. We had some great fun.
1:04:51 > 1:04:53It's really nice and they're great people.
1:04:53 > 1:04:58They walked us round the set. You know what TV sets are like.
1:04:58 > 1:05:02Then I saw Rosamund Street. Wow!
1:05:02 > 1:05:07I don't know why, fucking Rosamund Street. Fucking marvellous.
1:05:07 > 1:05:10As you get to the end, they said to me,
1:05:10 > 1:05:13pass the Rovers, there's where the turning is.
1:05:13 > 1:05:16You can see this arch and a car parked in there.
1:05:16 > 1:05:19Have you been there? Do you know it? You know it, don't you?
1:05:19 > 1:05:23You look there and it's a picture on the fucking wall.
1:05:23 > 1:05:25It's not there at all.
1:05:25 > 1:05:29- That was freaking me out. I thought it was marvellous.- Action.
1:05:38 > 1:05:42- Two pints and a brandy, please, love. - Right.- Do you do food?- Hotpot.
1:05:43 > 1:05:46- Gentlemen, congratulations. - Thank you very much.
1:05:46 > 1:05:50Can I have a look at the medals? Show me your medals.
1:05:50 > 1:05:52She's got a way with words.
1:05:52 > 1:05:56- Isn't it marvellous, look?- Wonderful!
1:05:56 > 1:06:00When you're young and 16 and setting out to do this,
1:06:00 > 1:06:04you're playing in the band, you never believe that 40 years
1:06:04 > 1:06:07later you'll be standing here with something like this in your hand.
1:06:07 > 1:06:09It really is unbelievable.
1:06:09 > 1:06:12What's it like standing in front of Her Majesty?
1:06:12 > 1:06:16We've met Her Majesty a couple of times before,
1:06:16 > 1:06:19but on these occasions she represents the Establishment.
1:06:19 > 1:06:22We've grown up with seeing her since I was really tiny.
1:06:22 > 1:06:26She's met Prime Ministers and Presidents around the world.
1:06:26 > 1:06:30- There you are.- And she's met you now as well.- But you're with this woman, and it's...
1:06:30 > 1:06:33It's like you know her or something.
1:06:33 > 1:06:35I found it very nerve-racking.
1:06:35 > 1:06:38Although she makes you feel very at ease.
1:06:38 > 1:06:42But the walk out into the centre of that room, to meet the Queen,
1:06:42 > 1:06:43felt like half a mile.
1:06:43 > 1:06:45- I tell you, it was very nerve-racking.- Really.
1:06:52 > 1:06:56# Rock and roll and you
1:06:56 > 1:06:58# It's all I want to do
1:07:00 > 1:07:03# It's all I ever knew
1:07:04 > 1:07:07# Rock and roll and you, no fancy pants... #
1:07:07 > 1:07:11As a musician, we all saw this coming years ago
1:07:11 > 1:07:15when we first saw the free download thing hit the scene.
1:07:15 > 1:07:19I was like... It was easy to predict.
1:07:19 > 1:07:23Now we're looking straight at it so,
1:07:23 > 1:07:27we'll see what the future actually brings on this little puppy.
1:07:27 > 1:07:33The business has changed so much over the years.
1:07:33 > 1:07:35It's so much more cut-throat now.
1:07:35 > 1:07:39You can have your face on the front page of NME - big deal!
1:07:39 > 1:07:44You know... I'd rather have my face on Coronation Street, if you like.
1:07:44 > 1:07:50Quo can say, "We were selling records when we were really selling records."
1:07:50 > 1:07:54Not just 35,000 a week but sometimes 50, 60, 70,000 a day.
1:07:54 > 1:07:57# Give me half a chance
1:07:57 > 1:07:59# That'll do
1:07:59 > 1:08:01# Give me rock and roll and you... #
1:08:07 > 1:08:09Lady Gaga wears a bacon dress.
1:08:09 > 1:08:12Why? Gets her on the front page of every paper in the world.
1:08:12 > 1:08:16That, sadly, has become more important than the actual music they make.
1:08:16 > 1:08:18Which is sad, cos she's actually quite good.
1:08:18 > 1:08:21We had two very good offers from two of the majors.
1:08:21 > 1:08:23And...
1:08:23 > 1:08:27you know, I think, I suddenly look at things and think, even if
1:08:27 > 1:08:30you've got a top ten album nowadays,
1:08:30 > 1:08:33you're going to be on the supermarket shelves for two,
1:08:33 > 1:08:35three weeks if you're lucky.
1:08:35 > 1:08:38About three minutes after the deal was signed,
1:08:38 > 1:08:41HMV in Bond Street collapsed.
1:08:41 > 1:08:44Suddenly it's not there anymore, it's gone.
1:08:44 > 1:08:45It's over!
1:08:45 > 1:08:48There's only about...
1:08:48 > 1:08:52ten record shops left in the UK!
1:08:53 > 1:08:56And with this new Quo album, I sort of meet people
1:08:56 > 1:09:00and they go, "Have you heard the new one, Two Way Traffic, Status Quo?
1:09:00 > 1:09:02"It's really good, isn't it?"
1:09:02 > 1:09:06Which has been a breath of fresh air. Quite interesting
1:09:06 > 1:09:10that people are talking about the Quo in a different way again.
1:09:10 > 1:09:12GUITAR INTRO
1:09:27 > 1:09:29SPEECH DROWNED BY GUITARS
1:09:44 > 1:09:47# Work work busy busy bang bang
1:09:47 > 1:09:48# 25 hours a day
1:09:50 > 1:09:52# Feels like working on a chain gang
1:09:52 > 1:09:55# I never seem to get away
1:09:55 > 1:09:58# Money to earn, money to burn
1:09:58 > 1:10:00# A platinum card for show
1:10:00 > 1:10:03# Where does it go? How should I know?
1:10:06 > 1:10:09# It's two-way traffic on a one-way street
1:10:09 > 1:10:11# All the voices in the air are stuck on repeat
1:10:11 > 1:10:15# It's a two-horse race in a one-horse town
1:10:15 > 1:10:17# Like a house of cards it's gonna fall down
1:10:17 > 1:10:20# War plays out, getting ready to... #
1:10:20 > 1:10:24Yeah, I think we're all very proud of how it's turned out.
1:10:24 > 1:10:27Like I say, it's probably the best album we've done
1:10:27 > 1:10:29since Heavy Traffic.
1:10:29 > 1:10:30Somebody said to me the other day,
1:10:30 > 1:10:33"Obviously, you all went in a room and played it together."
1:10:33 > 1:10:34I says, "Yeah..."
1:10:34 > 1:10:36HE WHISTLES CASUALLY
1:10:36 > 1:10:39It's not what happened.
1:10:39 > 1:10:40Whoever would be on first,
1:10:40 > 1:10:44me and John would be on here or me and Andy standing here doing...
1:10:44 > 1:10:46You get that thing going on.
1:10:46 > 1:10:50And that's what I think has made that album so...
1:10:51 > 1:10:53..well-received.
1:10:53 > 1:10:56You know, the reviews - wow - were great.
1:10:56 > 1:10:59Everybody - "Fantastic", "What a great album from Quo."
1:11:00 > 1:11:05You know, so there is every reason to carry on at the moment.
1:11:05 > 1:11:08Personally speaking, track three on that, Dust To Gold,
1:11:08 > 1:11:12is the best song I have ever been involved in the writing of
1:11:12 > 1:11:14in Status Quo. I really, really love it.
1:11:14 > 1:11:17# War plays out Getting ready to rumble
1:11:17 > 1:11:20# Survival of the fittest The law of the jungle
1:11:20 > 1:11:22# Fold back, hold back Get yourself a seat
1:11:22 > 1:11:26# For two-way traffic on a one way street... #
1:11:26 > 1:11:29In some ways, a lot of people will be giving a big hurrah
1:11:29 > 1:11:31that it's no longer a record company.
1:11:31 > 1:11:36But does anybody think that a supermarket is any different from a record company?
1:11:38 > 1:11:42I guess the only difference is, the supermarket's wastage ends up
1:11:42 > 1:11:44in a bin out the back of the shop, you know.
1:11:44 > 1:11:45The proof is in the pudding.
1:11:45 > 1:11:50You know, we had a top ten album with an album of new studio material
1:11:50 > 1:11:55by a veteran band. And that is difficult in today's marketplace.
1:11:55 > 1:11:57And we achieved it. And I'm very proud of it.
1:11:57 > 1:11:59# Like a house of cards It's gonna fall down
1:11:59 > 1:12:02# War plays out Getting ready to rumble
1:12:02 > 1:12:05# Survival of the fittest The law of the jungle
1:12:05 > 1:12:07# Fold back, hold back Get yourself a seat
1:12:07 > 1:12:11# For two-way traffic on a one-way street
1:12:11 > 1:12:13# Two-way traffic on a one-way street
1:12:13 > 1:12:16# All the voices in the air are stuck on repeat
1:12:16 > 1:12:19# It's a two-horse race in a one-horse town
1:12:19 > 1:12:22# Like a house of cards It's gonna fall down
1:12:22 > 1:12:24# War plays out... #
1:12:24 > 1:12:29- Hey!- Look who's here!- Well, I never. - I haven't seen him for...
1:12:30 > 1:12:33It's not locking, is it?
1:12:33 > 1:12:35- 27 years.- Is it that long?
1:12:39 > 1:12:43- Hello, my love.- Hi. Fancy seeing you!- This'll be a first.
1:12:43 > 1:12:45This'll be a first, yeah.
1:12:45 > 1:12:48- That's disgraceful, Alan! - That's a big kiss!
1:12:48 > 1:12:51- There's a camera right behind you. - No putting tongues in now!
1:12:51 > 1:12:56- Hasn't he got magnificent teeth these days?- We always used to!- Yeah.
1:12:56 > 1:12:59As time went on, it was more
1:12:59 > 1:13:01and more unlikely that they would ever get back together.
1:13:01 > 1:13:05'And particularly over the last, if you like, ten years,
1:13:05 > 1:13:08'while various court cases have been going on.'
1:13:08 > 1:13:10- You rehearsing today? - Yeah, we're just...
1:13:10 > 1:13:13Would you mind if me and John come along just to have a look?
1:13:13 > 1:13:16- What are you doing here anyway? - I just thought I would come...
1:13:16 > 1:13:17No, sorry(!)
1:13:17 > 1:13:20I'll just... I'll just go home then(!)
1:13:25 > 1:13:27- Come on, then.- Oh!
1:13:32 > 1:13:34This is Rick, this is Dave, my son.
1:13:34 > 1:13:36We've met, we've met.
1:13:38 > 1:13:42I think Quo fans would like to see that. I think there's no question.
1:13:45 > 1:13:47'The original band is the original band.'
1:13:47 > 1:13:50I think it would be amazing, yeah.
1:13:50 > 1:13:55That would be a good ticket to buy. They should do it, yeah.
1:13:55 > 1:13:59'Are they going to do it? Well, they should do. It would be good.
1:13:59 > 1:14:03'I'd like to go and see them one more time as well.'
1:14:03 > 1:14:08'I'd like to sit down and have a natter about old times
1:14:08 > 1:14:14'like we can now, now all the crap's gone. And who knows?
1:14:14 > 1:14:20'If we get in a room together, who knows what might happen?
1:14:20 > 1:14:22'We could end up doing a gig.'
1:14:22 > 1:14:25'I was on the phone and Alan said, "How's Francis?"
1:14:25 > 1:14:28'I said, "Ask him yourself."
1:14:28 > 1:14:29'I put Francis on the phone to him.
1:14:29 > 1:14:32'And I put both of them, if you like,
1:14:32 > 1:14:35'in that situation where they had to talk to each other.
1:14:35 > 1:14:38'And it was a very stifled couple of minutes.
1:14:38 > 1:14:43'"Mm, yeah, mm, yeah." Then they were on the phone for over an hour.'
1:14:43 > 1:14:47'It means a great deal to me because it has been very healing.
1:14:47 > 1:14:51'Our heads have been apart for so long and there has been a lot
1:14:51 > 1:14:56'of angst between us over things that we shouldn't have angst about.
1:14:56 > 1:15:00'And it's great to have all that tidied up
1:15:00 > 1:15:02'and know where we are now, to talk about it.
1:15:02 > 1:15:04'Whatever really happened.'
1:15:04 > 1:15:08'I only know the original four, you know, from my point of view,
1:15:08 > 1:15:11'it was the fact that Alan would always be there.
1:15:11 > 1:15:15'And right in front of the drums, I would be in the middle there.'
1:15:17 > 1:15:21GUITARS RIFF
1:15:26 > 1:15:30MUSIC: "In My Chair"
1:15:36 > 1:15:38# I saw her talking now
1:15:38 > 1:15:41# My ears were burning
1:15:41 > 1:15:43# My feet started walking now
1:15:43 > 1:15:45# They started turning
1:15:45 > 1:15:48# My eyes were half open
1:15:48 > 1:15:51# But she didn't see me there
1:15:58 > 1:16:00# We ran along
1:16:00 > 1:16:04# Walking across the rooftops in my chair
1:16:12 > 1:16:17# Had a car in my pocket and we started moving
1:16:17 > 1:16:21# A man in a helmet said, "What's that you're using?"
1:16:21 > 1:16:24# My eyes were half open
1:16:24 > 1:16:27# But she didn't see me there
1:16:35 > 1:16:37# Put the car back in my pocket
1:16:37 > 1:16:40# And I'm still here in my chair
1:17:03 > 1:17:05# My teeth were laughing now
1:17:05 > 1:17:07# We couldn't stop smiling
1:17:07 > 1:17:12# We danced to the Mystery Band without even trying
1:17:12 > 1:17:15# My eyes were half open
1:17:15 > 1:17:17# We didn't see them there
1:17:25 > 1:17:28# Put the car back in my pocket
1:17:28 > 1:17:31# And I'm still here in my chair. #
1:18:32 > 1:18:36Subtitles by Red Bee Media Ltd