0:00:02 > 0:00:06This programme contains some strong language.
0:00:06 > 0:00:08Being in a successful band can seem like a dream come true.
0:00:08 > 0:00:10Our dream was to become big rock stars,
0:00:10 > 0:00:11make out with lots of girls,
0:00:11 > 0:00:14and, of course, do lots of drugs.
0:00:14 > 0:00:16And our dream came true.
0:00:19 > 0:00:22But the vast majority of bands break up badly.
0:00:23 > 0:00:25Johnny dropped the bombshell.
0:00:25 > 0:00:28The colour went from everybody's face.
0:00:28 > 0:00:29And that was that.
0:00:31 > 0:00:36The truth is that band life can easily become a nightmare.
0:00:36 > 0:00:39It was getting a little bit crabby and bitchy, and...
0:00:39 > 0:00:41I suppose we were growing apart, really.
0:00:41 > 0:00:47The chemistry that actually makes great music, and forms great bands,
0:00:47 > 0:00:51is inevitably the chemistry that destroys them.
0:00:51 > 0:00:54The word "dysfunctional" and "band" should be synonymous.
0:00:56 > 0:01:00So I'm going to show you what life in a great band is really like.
0:01:02 > 0:01:04Conflicts and confrontations can erupt.
0:01:04 > 0:01:07MUFFLED VOICES
0:01:07 > 0:01:12"I hate him, I love him, I hate him." It got more confused.
0:01:14 > 0:01:16There are jealousies and resentments...
0:01:16 > 0:01:21They very quickly see that certain members are getting more attention...
0:01:21 > 0:01:25"Dear Robbie, you are best in show business."
0:01:25 > 0:01:28..more sex, and are getting more money.
0:01:28 > 0:01:32..and long-standing relationships that can go sour.
0:01:32 > 0:01:35We don't want to discuss our private life any more.
0:01:35 > 0:01:36At least not I.
0:01:38 > 0:01:40And we'll discover the secrets of bands
0:01:40 > 0:01:42who successfully stay the course.
0:01:42 > 0:01:44We're like a band of brothers, I guess.
0:01:44 > 0:01:47We have been doing this so long now, it is no longer a career,
0:01:47 > 0:01:49it is actually what you do with your life.
0:01:55 > 0:01:59Just about everyone has dreamt of being in a band at some point.
0:01:59 > 0:02:02Some of us have been doing it since our teens with mixed results.
0:02:02 > 0:02:05I've been in loads of brilliant bands since I was a kid
0:02:05 > 0:02:08and yet remain mystifyingly unappreciated by the general public.
0:02:08 > 0:02:09Well, it's your loss.
0:02:09 > 0:02:14But at the centre of every band lies this thing called creative tension.
0:02:14 > 0:02:15Can this be a force for good?
0:02:15 > 0:02:18Well, yes, it can, and lead to the production of great music,
0:02:18 > 0:02:21but it can also be a very destructive thing.
0:02:21 > 0:02:25So, what are these destructive forces that blow a band apart
0:02:25 > 0:02:27and what are the secrets of staying together?
0:02:27 > 0:02:34# Roxanne, you don't have to put on the red light... #
0:02:34 > 0:02:38Every band dreams of global success like this.
0:02:38 > 0:02:40But be careful what you wish for.
0:02:41 > 0:02:43# Roxanne... #
0:02:43 > 0:02:46Being seriously famous is where the problems start,
0:02:46 > 0:02:48as many band members will tell you.
0:02:49 > 0:02:51There should be a band prenup.
0:02:51 > 0:02:54It should be called the Hooky Prenup that you all sign
0:02:54 > 0:02:56when you're all big mates at the start,
0:02:56 > 0:02:59of how you are going to handle it when it all falls apart.
0:02:59 > 0:03:02The splits we have had within our band,
0:03:02 > 0:03:04when I look back on it now,
0:03:04 > 0:03:09probably two weeks' holiday in Cuba would have solved the problem.
0:03:09 > 0:03:15Somebody comes back with a fresh perspective. But...
0:03:15 > 0:03:18But when you get someone in a stranglehold in a rehearsal room,
0:03:18 > 0:03:21that's...you know, unlikely.
0:03:21 > 0:03:24# Every little thing she does is magic... #
0:03:24 > 0:03:27The Police are one of many super-successful bands
0:03:27 > 0:03:29who have had to deal with these pressures.
0:03:29 > 0:03:32Between 1977 and 1983,
0:03:32 > 0:03:35the trio became the biggest band in the world,
0:03:35 > 0:03:39eventually selling nearly 25 million records in the USA alone.
0:03:39 > 0:03:40Those early days
0:03:40 > 0:03:43of the wonderful camaraderie that you got,
0:03:43 > 0:03:47three mates in the back of a van travelling across Oklahoma
0:03:47 > 0:03:49to try and make it to some miserable den
0:03:49 > 0:03:53to do a gig to 14 people, those days have gone.
0:03:53 > 0:03:55Now you are really famous.
0:03:55 > 0:03:59Now everyone, Hollywood celebrities, want to come to your gigs.
0:03:59 > 0:04:01And you actually grow more estranged.
0:04:01 > 0:04:04You start going in separate cars. You find it harder.
0:04:04 > 0:04:07Suddenly, you've got to get back in the studio
0:04:07 > 0:04:08and be the three mates again
0:04:08 > 0:04:12and get that camaraderie and looseness back to where you were.
0:04:12 > 0:04:14The whole world is standing
0:04:14 > 0:04:16at the back door of the studio, waiting for it.
0:04:16 > 0:04:17"Jesus. This is intense."
0:04:17 > 0:04:19We are like this all the time.
0:04:19 > 0:04:21- This what you get. - We'll be like this tomorrow.
0:04:21 > 0:04:23At the moment, I want to have a fight.
0:04:23 > 0:04:26- You do?- Better television than your questions, I promise you.
0:04:26 > 0:04:29- OK.- I'll tell you what. Shall we film me whupping Sting?- Yes.
0:04:29 > 0:04:31- That would be good, wouldn't it? - That would be great.
0:04:34 > 0:04:35Oh, dear.
0:04:35 > 0:04:39'There are not very many entirely happy bands, I suppose.'
0:04:39 > 0:04:41Whether a band survives those pressures or not
0:04:41 > 0:04:44depends entirely on what kind of people they are.
0:04:46 > 0:04:49How they treat each other.
0:04:49 > 0:04:51How their internal chemistry and dynamics work.
0:04:51 > 0:04:56It's the conflict that creates that very creative spark.
0:04:56 > 0:04:58I don't think you can have three or four mellow guys
0:04:58 > 0:05:00becoming a great band.
0:05:00 > 0:05:02You don't want to be too agreeable.
0:05:02 > 0:05:05In our band, we were all fighting for that place in the sun.
0:05:05 > 0:05:07And fight they did. A lot.
0:05:07 > 0:05:12Most memorably here at New York's Shea Stadium in 1983.
0:05:14 > 0:05:17Yes, I saw that happen. I was on the stage when it happened.
0:05:17 > 0:05:21They were rolling around, having a mock fight.
0:05:21 > 0:05:23And the mock fight got a bit serious
0:05:23 > 0:05:25and Sting wound up with a broken rib.
0:05:26 > 0:05:30There are quite big boys, both Stewart and Sting.
0:05:30 > 0:05:33I wouldn't want to get in a punch-up with them myself, I can tell you.
0:05:35 > 0:05:37All bands are at each other's throats sometimes.
0:05:37 > 0:05:39That's rock and roll.
0:05:39 > 0:05:42But when all the members are creative types like in The Police,
0:05:42 > 0:05:44it can cause all kinds of trouble.
0:05:44 > 0:05:50Certain things sort of crystallise. In our case, it was Sting.
0:05:50 > 0:05:53Because I thought I was writing some really good songs.
0:05:53 > 0:05:54But he wouldn't sing them.
0:05:54 > 0:05:56I thought some of my songs were better than his.
0:05:56 > 0:05:59It becomes a sort of failed democracy.
0:06:00 > 0:06:04- The band was not the happiest band? - No.- Why was that?
0:06:04 > 0:06:07Well, we all cared passionately about the music we were playing.
0:06:07 > 0:06:10We were all very strong personalities
0:06:10 > 0:06:15and I wanted to run the show, but we had a fight.
0:06:15 > 0:06:19- Literally...- A physical fight? - Fisticuffs in-between encores.
0:06:19 > 0:06:21LAUGHTER
0:06:22 > 0:06:25I think there were always tussles in The Police
0:06:25 > 0:06:27about which record should be the single.
0:06:27 > 0:06:30So there were always disagreements on that score.
0:06:30 > 0:06:33Sting usually got his way.
0:06:33 > 0:06:34He knew a hit when he heard it.
0:06:34 > 0:06:39# Every breath you take... #
0:06:39 > 0:06:41You just take a look at any of them -
0:06:41 > 0:06:46Rod Stewart, Mick Jagger, any of those star frontmen -
0:06:46 > 0:06:48they have a ruthless quality
0:06:48 > 0:06:51and that's how they survive.
0:06:52 > 0:06:55The cliche about personal and musical differences
0:06:55 > 0:06:58breaking up bands is a cliche because it is true.
0:06:58 > 0:07:01In 1984, Sting chose a solo career
0:07:01 > 0:07:04where he had complete creative control.
0:07:05 > 0:07:10# If you need somebody call my name... #
0:07:10 > 0:07:13'The logical thing would be
0:07:13 > 0:07:14'to stay in The Police because we were'
0:07:14 > 0:07:16the most successful band.
0:07:16 > 0:07:18As we say, we sold 45 million records.
0:07:18 > 0:07:21Why on earth would you leave that situation?
0:07:21 > 0:07:24Except my instinct told me to start again.
0:07:24 > 0:07:26# Get up and throw away the key... #
0:07:26 > 0:07:29What we should've done if Sting wanted to go and do a solo record
0:07:29 > 0:07:32was, "Go and do it, man, but let's come back together
0:07:32 > 0:07:34"and do the real thing in two years' time."
0:07:34 > 0:07:37Take a couple of years' break, which people do now.
0:07:37 > 0:07:41They take years. We were, like, we were still young and on fire,
0:07:41 > 0:07:43we had the world in the palm of our hand.
0:07:43 > 0:07:45We could have gone on for a long time.
0:07:45 > 0:07:48But we got off and let U2 take over basically.
0:07:58 > 0:08:00For those not abstemious like me,
0:08:00 > 0:08:04drink and drugs have been the fuel of the band lifestyle.
0:08:04 > 0:08:06Many take their highs on the road just to keep going.
0:08:06 > 0:08:10For others, it's just for kicks, isn't it? It's just a high.
0:08:10 > 0:08:13Drink and drugs - it's always been rock and roll.
0:08:13 > 0:08:15Peanut? Sweet chilli.
0:08:19 > 0:08:24I mean, it started with alcohol, then it went to pep pills.
0:08:24 > 0:08:26Then it went to marijuana,
0:08:26 > 0:08:28then it went to LSD, then it went to cocaine.
0:08:28 > 0:08:29Then it went to heroin.
0:08:29 > 0:08:32Heroin was the killer.
0:08:32 > 0:08:35MUSIC: Voodoo Child by Jimi Hendrix Experience
0:08:38 > 0:08:40Keith Richards once said a really,
0:08:40 > 0:08:44to me, seemingly so realistic explanation
0:08:44 > 0:08:46of why he started to take hard drugs -
0:08:46 > 0:08:48he's touring every single day,
0:08:48 > 0:08:51he's getting a huge buzz off the crowd,
0:08:51 > 0:08:54every single day, his best friends are down the hall,
0:08:54 > 0:08:57it's all amazing, and then it just stops.
0:08:57 > 0:09:00You're supposed to go back into real life.
0:09:00 > 0:09:03I think that - you can see why they have problems.
0:09:07 > 0:09:10I think the problem with drugs in rock and roll
0:09:10 > 0:09:12is you don't hear many stories where people are,
0:09:12 > 0:09:14"Yeah, yeah, I started taking drugs.
0:09:14 > 0:09:16"You know what? It ended fantastically.
0:09:16 > 0:09:20"I was much more creative, I had a wonderful marriage, my kids love me."
0:09:20 > 0:09:23You know, it's exactly the opposite.
0:09:23 > 0:09:25MUSIC: Welcome To The Jungle by Guns N' Roses
0:09:27 > 0:09:30One of the many great bands pulled apart by drink and drugs
0:09:30 > 0:09:32were '80s LA mega-rockers Guns N' Roses.
0:09:33 > 0:09:35# Welcome to the jungle
0:09:35 > 0:09:37# We've got fun and games
0:09:37 > 0:09:39# We've got everything you want
0:09:39 > 0:09:41# Honey, we know the names
0:09:41 > 0:09:43# We are the people that can find... #
0:09:43 > 0:09:44The first night
0:09:44 > 0:09:45on the Motley Crue tour.
0:09:46 > 0:09:50We'd just gone on stage and Tommy Lee said,
0:09:50 > 0:09:52"Come here, Stevie, I want to show you something."
0:09:52 > 0:09:54He takes me into one of those rooms, those big rooms,
0:09:54 > 0:10:00and there was six-foot tables, with the legs that fold under.
0:10:00 > 0:10:03There was two lines of coke,
0:10:03 > 0:10:04the whole length of the table.
0:10:04 > 0:10:08He said, "You start there, I start here." We met in the middle.
0:10:08 > 0:10:11There was couches behind us, and we, both of us...
0:10:11 > 0:10:13MUSIC: Paradise City by Guns N' Roses
0:10:13 > 0:10:16So their 1987 album title Appetite for Destruction
0:10:16 > 0:10:19was a bit to close to the truth.
0:10:19 > 0:10:22You know, we're just five guys that drink a lot.
0:10:22 > 0:10:23We have fun together.
0:10:23 > 0:10:28But it sold more than 28 million copies worldwide -
0:10:28 > 0:10:31the USA's best-selling debut album of all time.
0:10:31 > 0:10:34# Take me down to the paradise city
0:10:34 > 0:10:37# Where the grass is green and the girls are pretty
0:10:37 > 0:10:41# Oh, won't you please take me home... ? #
0:10:41 > 0:10:47Guns N' Roses reinvented the idea of rock and roll debauchery
0:10:47 > 0:10:53at a time when its cache had dwindled a little bit.
0:10:53 > 0:10:57It's amazing that the core line-up lasted as long as it did.
0:10:58 > 0:11:00I don't think there was anything
0:11:00 > 0:11:01that could have kept the band together.
0:11:01 > 0:11:04It was on the path it was on.
0:11:05 > 0:11:08At their peak - if that's the right word -
0:11:08 > 0:11:10all four players in Guns N' Roses were overdoing it
0:11:10 > 0:11:12on drink, drugs or both.
0:11:17 > 0:11:19Adler was fired in 1990.
0:11:19 > 0:11:22The band said his drug use was affecting his drumming.
0:11:22 > 0:11:23He took the news badly.
0:11:25 > 0:11:27I tried to kill myself a few times.
0:11:27 > 0:11:29It didn't work.
0:11:30 > 0:11:36There was two separate occasions I took 100 Valiums,
0:11:36 > 0:11:39I drunk a big bottle of Jagermeister
0:11:39 > 0:11:42and shot up three forks of grandma heroin.
0:11:42 > 0:11:45Had the best sleep I ever had in my life.
0:11:48 > 0:11:51Somehow, Adler survived his appetite for self-destruction.
0:11:53 > 0:11:56I tried to cut my wrist, I have some nice scars right there,
0:11:56 > 0:11:58if you want to zoom in on it.
0:11:58 > 0:11:59Not very attractive.
0:11:59 > 0:12:02I got this and this
0:12:02 > 0:12:06from shooting cocaine and missing.
0:12:06 > 0:12:09So...I've got scars head to toe.
0:12:09 > 0:12:10I broke my chin.
0:12:10 > 0:12:12I mean, shattered my chin.
0:12:15 > 0:12:17Broke my nose a few times.
0:12:17 > 0:12:19I'm surprised I'm alive.
0:12:24 > 0:12:27Happy relationships are one of the keys to keeping a band together.
0:12:27 > 0:12:30Maybe you've been friends for a very long time.
0:12:30 > 0:12:32Perhaps you're in love. Even better if you're married.
0:12:32 > 0:12:35Perhaps you've lived your whole lives together
0:12:35 > 0:12:37having been related by birth.
0:12:37 > 0:12:39Those have got to be the firm foundations
0:12:39 > 0:12:42which ensure lasting success, haven't they?
0:12:42 > 0:12:44Well, possibly, until it becomes a matter of...
0:12:44 > 0:12:47"Actually, I know we've always been mates, but I hate you."
0:12:47 > 0:12:50"Actually, I'm not in love with you any more.
0:12:50 > 0:12:52"In fact, actually, why don't we get divorced?"
0:12:52 > 0:12:56"Actually, I know you're my brother, but I've always resented you."
0:12:56 > 0:12:59Well, that's when things get really tricky.
0:13:03 > 0:13:06Being in a band with your sibling can be a disaster,
0:13:06 > 0:13:08especially if you're a Gallagher.
0:13:11 > 0:13:12They had a punch-up
0:13:12 > 0:13:15the very first interview they did with some guy from NME.
0:13:15 > 0:13:19Before anyone knew who they were, it got them their first press.
0:13:19 > 0:13:21MUSIC: Live Forever by Oasis
0:13:21 > 0:13:23So the surprise isn't that Oasis split up,
0:13:23 > 0:13:27but that they managed to stay together for as long as they did.
0:13:29 > 0:13:31We all wanted it to last forever.
0:13:31 > 0:13:33I certainly did, do you know what I mean?
0:13:33 > 0:13:35But I was always aware that when it came to it,
0:13:35 > 0:13:37that one of us would eventually...
0:13:39 > 0:13:40..you know, say,
0:13:40 > 0:13:42"Eff you and you and you and you and you."
0:13:42 > 0:13:44It just happened to me. It could well have been Liam.
0:13:44 > 0:13:48# I live my life in the city
0:13:48 > 0:13:49# There's no easy way out... #
0:13:50 > 0:13:52The warring brothers, the battling brothers.
0:13:52 > 0:13:54That was always the Oasis story, wasn't it?
0:13:54 > 0:13:58In the end, that's what finished the group off as well.
0:13:58 > 0:14:02Noel left in 2009 when Liam threatened him with a guitar
0:14:02 > 0:14:04and threw - wait for it -
0:14:04 > 0:14:05a plum.
0:14:05 > 0:14:08Times to consider the role of fruit in history.
0:14:08 > 0:14:10Pride of place - what with Adam and Eve, Isaac Newton
0:14:10 > 0:14:12and Steve Jobs - belongs, of course, to the apple.
0:14:12 > 0:14:15But it turns out the plum has had a significant impact
0:14:15 > 0:14:16on modern music.
0:14:19 > 0:14:22# I'm a rock and roll star... #
0:14:23 > 0:14:24# I'm just a poor boy
0:14:24 > 0:14:27# Though my story's seldom told... #
0:14:27 > 0:14:31'60s duo Simon and Garfunkel had been friends since the age of 12,
0:14:31 > 0:14:34but even that couldn't keep them together.
0:14:34 > 0:14:35Why did you break up?
0:14:35 > 0:14:38People said that you were getting fed up with the sight of each other.
0:14:38 > 0:14:41Was it just too much of each other at that time?
0:14:42 > 0:14:46I think Paul knows the answer. I was never sure myself.
0:14:46 > 0:14:48Simon, who wrote all the songs,
0:14:48 > 0:14:52seems to have felt overshadowed by Art Garfunkel's angelic voice.
0:14:52 > 0:14:55He admired Bob Dylan, who had blazed a trail in the '60s
0:14:55 > 0:14:57for the solo singer-songwriter.
0:14:58 > 0:15:01Paul Simon was very torn.
0:15:01 > 0:15:04He really, I think, wanted to be a solo star,
0:15:04 > 0:15:07but he knew Artie's voice gave him something
0:15:07 > 0:15:10that nothing else gave him -
0:15:10 > 0:15:14a kind of gloss, a kind of romance, a sweetness.
0:15:15 > 0:15:22# She once was a true love of mine... #
0:15:22 > 0:15:23Annie Nightingale famously asked him
0:15:23 > 0:15:28this question on camera in an interview -
0:15:28 > 0:15:31"Do you feel it harder now to write songs
0:15:31 > 0:15:34"now that you're no longer working with Garfunkel?"
0:15:34 > 0:15:36Well, we weren't a writing partnership.
0:15:36 > 0:15:38We didn't write together.
0:15:38 > 0:15:41It was always your song, his song, your song, his song?
0:15:41 > 0:15:43No, he never. He didn't write any.
0:15:43 > 0:15:45He didn't write any. I don't mean...
0:15:45 > 0:15:47I feel funny. He didn't write any of the songs.
0:15:47 > 0:15:48I wrote all of the Simon And Garfunkel songs.
0:15:48 > 0:15:51God, he was cross.
0:15:51 > 0:15:53Boy, he was cross.
0:15:53 > 0:15:57A 1984 reunion album, eventually called Hearts And Bones,
0:15:57 > 0:15:59did not end well.
0:16:00 > 0:16:03Do you think the rest from each other has done you good in the end?
0:16:03 > 0:16:05- Yeah.- Oh, sure.
0:16:05 > 0:16:08Do you think you might stay together, then?
0:16:08 > 0:16:10Eh...for a bit.
0:16:10 > 0:16:11- LAUGHING:- Yeah.
0:16:12 > 0:16:14From what I understand,
0:16:14 > 0:16:18one of the things that Art Garfunkel used to do
0:16:18 > 0:16:21when he was very angry at Paul
0:16:21 > 0:16:23was he would disappear.
0:16:23 > 0:16:26What seemed to be common knowledge
0:16:26 > 0:16:30was that he said he was going to go for a walk
0:16:30 > 0:16:33and he didn't come back for days.
0:16:33 > 0:16:35It turned out, apparently,
0:16:35 > 0:16:39that he was walking between two towns in South America.
0:16:39 > 0:16:41Um, and...
0:16:41 > 0:16:47Paul blew a gasket and he was fired.
0:16:47 > 0:16:50There was a suggestion that when he released Hearts And Bones
0:16:50 > 0:16:53he took your voice off the album
0:16:53 > 0:16:56- in the British press. Is that true?- Mm-hmm.
0:16:56 > 0:16:57# If you change your mind
0:16:57 > 0:17:00- # Take a chance... - I'm the first in line... #
0:17:00 > 0:17:01Band life is a bit like a marriage,
0:17:01 > 0:17:04so what happens when actual marriages
0:17:04 > 0:17:06between band mates fall apart?
0:17:06 > 0:17:08ABBA contained two couples -
0:17:08 > 0:17:10Bjorn and Agnetha, Anni-Frid and Benny.
0:17:10 > 0:17:12They conquered the charts in the '70s
0:17:12 > 0:17:15and have sold over 350 million records.
0:17:15 > 0:17:17# If you're all alone
0:17:17 > 0:17:19# When the pretty birds have flown... #
0:17:19 > 0:17:22The band managed to survive Bjorn and Agnetha's separation in 1980.
0:17:23 > 0:17:26We don't want to discuss our private lives, you know?
0:17:26 > 0:17:28We don't want to discuss it any more.
0:17:28 > 0:17:29At least not I.
0:17:30 > 0:17:33There's no question. It's working really well.
0:17:33 > 0:17:37The divorce was because we couldn't live together. That's all.
0:17:38 > 0:17:40Heartbreak can, of course, lead to great music.
0:17:40 > 0:17:45Bjorn channelled his grief into the classic song Winner Takes It All.
0:17:45 > 0:17:47He'd been at home
0:17:47 > 0:17:49with a bottle of whisky by his side,
0:17:49 > 0:17:52which he more or less emptied as he wrote these lyrics.
0:17:52 > 0:17:58It took maybe an hour for him to write those lyrics.
0:17:58 > 0:17:59It turned out to be a masterpiece.
0:17:59 > 0:18:01# I don't wanna talk
0:18:03 > 0:18:06# About things we've gone through... #
0:18:07 > 0:18:09Bjorn brought the lyrics to the studio,
0:18:09 > 0:18:13showed them to Agnetha, who read them through
0:18:13 > 0:18:17and actually, she was so moved, she started crying in the studio.
0:18:17 > 0:18:19But there were no winners
0:18:19 > 0:18:21when Benny and Frida divorced the following year.
0:18:21 > 0:18:24It was the beginning of the end for Abba.
0:18:24 > 0:18:26The papers recently have been full of stories that you are
0:18:26 > 0:18:28going to split eventually.
0:18:28 > 0:18:31- We're not.- You're not?
0:18:31 > 0:18:35It would be more of a feeling, I think, because when we were
0:18:35 > 0:18:38recording an album, we would feel that it's not fun any more.
0:18:38 > 0:18:41We haven't got anything more to give.
0:18:41 > 0:18:43And that would be the time to split.
0:18:43 > 0:18:46- We should have done that a long time ago, then.- I know.
0:18:48 > 0:18:51Abba never formally split up - they never stood on a balcony
0:18:51 > 0:18:55and said, "Goodbye, everyone. This is the end of the Abba story.
0:18:55 > 0:18:58I think that's why they're still so fascinated with them.
0:18:58 > 0:19:01# To me. #
0:19:01 > 0:19:04CHEERING
0:19:09 > 0:19:12'70s Californian outfit Fleetwood Mac also contained
0:19:12 > 0:19:15two married couples, but not for long.
0:19:15 > 0:19:19# Don't stop thinking about tomorrow
0:19:19 > 0:19:20# Don't stop... #
0:19:20 > 0:19:23Things were happening in lives, you know.
0:19:23 > 0:19:25People..."Fuck you, screw you.
0:19:25 > 0:19:28"Well, OK, I'll screw you..."
0:19:28 > 0:19:31The only ones who didn't have an affair were me and Mick.
0:19:31 > 0:19:33HE CHUCKLES
0:19:33 > 0:19:37Both marriages collapsed and they wrote songs about each other.
0:19:37 > 0:19:39A lot of the Rumours album was
0:19:39 > 0:19:42actually about the disintegration of both relationships
0:19:42 > 0:19:46and the rather remarkable decision of the band
0:19:46 > 0:19:48to carry on regardless.
0:19:48 > 0:19:53Fleetwood Mac's 1976 album is like group therapy in song form.
0:19:53 > 0:19:56And it sold an extraordinary 40 million copies.
0:19:58 > 0:20:01Lindsey Buckingham penned Go Your Own Way to Stevie Nicks,
0:20:01 > 0:20:03including the sensitive line...
0:20:03 > 0:20:08# Loving you isn't the right thing to do
0:20:11 > 0:20:14# You can go your own way... #
0:20:14 > 0:20:20Stevie was very angry at Lindsey and she retaliated
0:20:20 > 0:20:22with lyrics of her own.
0:20:22 > 0:20:26But Stevie was never a real negative person,
0:20:26 > 0:20:29so she would turn it into something that was a little more positive
0:20:29 > 0:20:31and a little more hopeful.
0:20:33 > 0:20:36# Now here you go again
0:20:36 > 0:20:40# You say you want your freedom
0:20:40 > 0:20:46# Well, who am I to keep you down? #
0:20:46 > 0:20:49There were times when I thought
0:20:49 > 0:20:50"This is too much for me."
0:20:50 > 0:20:53But, you know, sit me in a room
0:20:53 > 0:20:56of five crying people and...
0:20:57 > 0:20:59..I'm a soft touch, you know.
0:20:59 > 0:21:02It's like, you know, I've always said I'd never be the one,
0:21:02 > 0:21:04I'd never be the one to break up Fleetwood Mac.
0:21:04 > 0:21:06Somebody else can do that.
0:21:07 > 0:21:11I think that it was because of that honesty
0:21:11 > 0:21:16that their success grew exponentially.
0:21:16 > 0:21:19Because people could relate to it.
0:21:19 > 0:21:23# When the rain washes you clean you'll know... #
0:21:26 > 0:21:29Drummer Mick Fleetwood somehow managed to hold the band together,
0:21:29 > 0:21:32despite his wife sleeping with his best friend,
0:21:32 > 0:21:34band guitarist Bob Weston.
0:21:36 > 0:21:40And there are still out there playing, you know,
0:21:40 > 0:21:45because they are, you know, married to the mob, you know?
0:21:45 > 0:21:48That's forevermore. That's what they are.
0:21:48 > 0:21:50# Thunder only happens... #
0:21:50 > 0:21:54When creative tension is good, it can be very good indeed.
0:21:54 > 0:21:58And when it's bad, well, you get the general idea.
0:21:59 > 0:22:00Just ask the Beatles.
0:22:00 > 0:22:03# Love, love me do
0:22:03 > 0:22:06# You know I love you... #
0:22:06 > 0:22:09From their first hit, Love Me Do, in 1963,
0:22:09 > 0:22:11right through to that final performance
0:22:11 > 0:22:13on a rooftop in Savile Row,
0:22:13 > 0:22:15it was just six years.
0:22:15 > 0:22:19But from that all too brief career, their spectacular success
0:22:19 > 0:22:20and dramatic collapse,
0:22:20 > 0:22:24they set the template for so many bands who came after them.
0:22:24 > 0:22:27# She loves you, yeah, yeah, yeah
0:22:27 > 0:22:30# She loves you, yeah, yeah, yeah
0:22:30 > 0:22:31# And with a love like that
0:22:31 > 0:22:34# You know you should be glad. #
0:22:34 > 0:22:37The Fab Four were the first band to write their own songs,
0:22:37 > 0:22:40which was brilliant, but also left room for trouble.
0:22:42 > 0:22:44There was the creative tension, obviously.
0:22:44 > 0:22:48Lennon and McCartney had monopolised the songwriting credits throughout.
0:22:48 > 0:22:51George Harrison was actually a pretty good songwriter himself,
0:22:51 > 0:22:54but he'd been cut out from a very early stage
0:22:54 > 0:22:56and was very resentful of that.
0:22:58 > 0:23:01Before long, Lennon and McCartney began to pull
0:23:01 > 0:23:06in different creative directions, and in 1970, the Beatles split up.
0:23:06 > 0:23:08So they were sort of semi-detached.
0:23:08 > 0:23:11That was starting to lead towards their solo careers,
0:23:11 > 0:23:15so lots of those tunes that ended up on their first solo records
0:23:15 > 0:23:19could easily have been on the later Beatles records.
0:23:19 > 0:23:22But by then, they'd kind of drifted apart.
0:23:25 > 0:23:28Well, I mean, the truth was that
0:23:28 > 0:23:31when the Beatles broke up, you out of a job.
0:23:31 > 0:23:33That was a very depressing time.
0:23:33 > 0:23:35Because, as I say, the group had done its thing,
0:23:35 > 0:23:39I think we were all beginning to feel we had come full circle
0:23:39 > 0:23:41and it was getting a bit crabby and bitchy.
0:23:41 > 0:23:45It just wasn't as pleasant as it had been and...
0:23:45 > 0:23:47I suppose we were growing apart, really.
0:23:52 > 0:23:55So, the Beatles exited the roof of the Apple building
0:23:55 > 0:23:57and entered the history books.
0:23:57 > 0:23:59And yet somehow their closest rivals,
0:23:59 > 0:24:02the Rolling Stones, managed to hold it all together,
0:24:02 > 0:24:05despite the same pressures of superstardom
0:24:05 > 0:24:07and one member who thought of himself
0:24:07 > 0:24:09very much as the star attraction.
0:24:12 > 0:24:15The Stones were the first to come out with a guy
0:24:15 > 0:24:19absolutely upfront, someone whose sole job was doing the singing.
0:24:20 > 0:24:21# If you start me up... #
0:24:21 > 0:24:24You know, it makes sense to have a solo vocalist at the front.
0:24:24 > 0:24:27Gives you someone to focus your attention on.
0:24:27 > 0:24:30Jagger defined the role, really, and I think everyone who came
0:24:30 > 0:24:34after him, to some extent, followed in his footsteps.
0:24:34 > 0:24:39# I live in an apartment on the 99th floor of my block... #
0:24:39 > 0:24:41When I first took over PR for the Stones,
0:24:41 > 0:24:43in my first meeting with Mick,
0:24:43 > 0:24:46it wasn't long before Mick was explaining to me,
0:24:46 > 0:24:50"Charlie doesn't do interviews, Bill is boring, Keith is out of it,
0:24:50 > 0:24:52"Ronnie does what I tell him,
0:24:52 > 0:24:54"you talk to me."
0:24:56 > 0:24:58I thought, "We know where we are now."
0:24:59 > 0:25:01It's the Mick Jagger show.
0:25:01 > 0:25:03HE CHUCKLES
0:25:03 > 0:25:07# I know it's only rock'n'roll
0:25:07 > 0:25:10# But I like it... #
0:25:10 > 0:25:13But without Mick, it probably would have crumbled.
0:25:13 > 0:25:17You know, somebody had to pull things together, and he did it.
0:25:17 > 0:25:20When the lead singer gets most of the attention,
0:25:20 > 0:25:23it can lead to resentment among the other band members.
0:25:23 > 0:25:28In the worst-case scenario, it results in what Keith Richards
0:25:28 > 0:25:31calls, in a swipe at Jagger, LVS -
0:25:31 > 0:25:32lead vocalist syndrome.
0:25:34 > 0:25:38Lead singer syndrome is not a myth, it is a syndrome.
0:25:38 > 0:25:43You just have got to keep a perspective on yourself.
0:25:43 > 0:25:47You are just a human being. You need to remember that.
0:25:47 > 0:25:49The moment you start thinking
0:25:49 > 0:25:52and behaving like a rock god,
0:25:52 > 0:25:54you are in serious trouble.
0:25:59 > 0:26:04Guns N' Roses lead singer Axl Rose had his own, um...eccentricities.
0:26:04 > 0:26:07They became more extreme as the band's success grew.
0:26:07 > 0:26:11Sometimes he's an asshole, you know. And he'll admit it.
0:26:11 > 0:26:12And he'll say sorry later.
0:26:12 > 0:26:16But it's just something he can't really help right now, you know.
0:26:21 > 0:26:25Rose had a habit of arriving late on stage - really, really late -
0:26:25 > 0:26:28prompting riots at stadiums around the world.
0:26:28 > 0:26:30He said he's coming to this thing,
0:26:30 > 0:26:33and the announcer doesn't come out, makes 'em wait
0:26:33 > 0:26:37for four or five hours till one or two in the morning.
0:26:37 > 0:26:41I'd say, "Oh, these guys are coming, sing a friggin' couple of songs.
0:26:41 > 0:26:45"What's the deal?" And I would say that, I would say that to him.
0:26:45 > 0:26:48"What's the deal? Let's go."
0:26:48 > 0:26:53And he wouldn't like it. And that's why I was the first to go.
0:26:53 > 0:26:56It's because I stood up to him.
0:26:57 > 0:27:02By 1997, only Axl Rose remained of the original Guns N' Roses line-up.
0:27:05 > 0:27:09# Shine on, shine a light on me... #
0:27:11 > 0:27:14Just about every band that becomes globally successful
0:27:14 > 0:27:16wrestles with lead singer syndrome -
0:27:16 > 0:27:19bands like Simple Minds who, during the '80s,
0:27:19 > 0:27:23went from arthouse Euro-popsters to American stadium fillers.
0:27:24 > 0:27:29Yeah, I think I've got an A+ in the lead singer syndrome, it was my job.
0:27:29 > 0:27:34# What a world Or sometimes, oh, so it seems... #
0:27:34 > 0:27:37You have to be a bit of an arsehole, I think.
0:27:38 > 0:27:41You know, you're standing there, the music is playing,
0:27:41 > 0:27:45all their stuff, and you are standing with the spotlight on you, going...
0:27:45 > 0:27:46It's me.
0:27:46 > 0:27:50Bar making the odd nod to them.
0:27:50 > 0:27:54While they got hopefully a sort of 10-minute...10-second solo.
0:27:59 > 0:28:02The problem is that, you know, you are young
0:28:02 > 0:28:06and...the oxygen then starts to get rare.
0:28:06 > 0:28:09And you start to sort of...
0:28:10 > 0:28:13..you know - "No, it's my hands on the driving wheel."
0:28:13 > 0:28:15And, you know, with great bands,
0:28:15 > 0:28:19it's never one person's hands on the driving wheel.
0:28:19 > 0:28:24And you can see why all the others would tire of that.
0:28:24 > 0:28:27Yet the core of Simple Minds, like the Rolling Stones,
0:28:27 > 0:28:29is still going strong,
0:28:29 > 0:28:32so what's the secret of a lasting musical relationship?
0:28:33 > 0:28:35# Reel to reel... #
0:28:35 > 0:28:37People talk about what we've been in,
0:28:37 > 0:28:39they say, "It's like a marriage, isn't it?"
0:28:39 > 0:28:42And I say, "No - first of all we don't sleep with each other,
0:28:42 > 0:28:46"and as yet, Charlie hasn't taken my house off me."
0:28:46 > 0:28:48So it's not like a marriage at all.
0:28:51 > 0:28:54One of the problems Jim and I had, actually,
0:28:54 > 0:28:58was that after so long together, we started thinking like one person.
0:28:58 > 0:29:02You know...it's great to have a little bit of tension in there.
0:29:02 > 0:29:05I think we are very tolerant,
0:29:05 > 0:29:10so inside the tension, there's a great tolerance as well.
0:29:12 > 0:29:15# Hey, hey, hey, hey
0:29:16 > 0:29:17# Oooh... #
0:29:17 > 0:29:21By 1985, this song, Don't You Forget About Me,
0:29:21 > 0:29:23was a global hit.
0:29:23 > 0:29:27But just as the big time beckoned, the band began to fall apart.
0:29:29 > 0:29:33At the time, we were arguably one of the biggest bands in the world,
0:29:33 > 0:29:37and the way I see it, I've got this...image in my head,
0:29:37 > 0:29:39you know - we were like a jumbo jet
0:29:39 > 0:29:43that was starting to lose engines every month.
0:29:43 > 0:29:46Charlie and I still trying to pilot it through.
0:29:46 > 0:29:53# Don't you forget about me... #
0:29:53 > 0:29:57Over the years, the entire rhythm section, drums, bass and keyboards -
0:29:57 > 0:30:01this was the '80s, after all - have all left, one by one.
0:30:01 > 0:30:05But Jim and Charlie have kept going with a changing cast of members.
0:30:05 > 0:30:09I think, simply, you just have to be into it or not.
0:30:09 > 0:30:12And it takes about 10 years to find out if people are into it.
0:30:12 > 0:30:15One of the members, he said, "I've had enough."
0:30:15 > 0:30:21He said, "I've given 10 years of my life to this."
0:30:21 > 0:30:24You'd have thought he was on Robben Island.
0:30:24 > 0:30:28As opposed to the Four Seasons in New York.
0:30:28 > 0:30:32"I've given 10 years of my life to this."
0:30:32 > 0:30:35And we were sort of looking, and thinking,
0:30:35 > 0:30:38"There's another 40 to go! We're only starting out!"
0:30:38 > 0:30:43# Here's to the babies in a brand-new world
0:30:43 > 0:30:45# Here's to the beauty of the stars... #
0:30:45 > 0:30:48We have proven to be in it for the long haul.
0:30:48 > 0:30:51We've been doing this so long now that it's no longer a career,
0:30:51 > 0:30:53it's actually what you do with your life.
0:30:53 > 0:30:56# Here's to you, my little loves
0:30:56 > 0:30:58# The message from above
0:30:58 > 0:31:01# Let the day begin... #
0:31:01 > 0:31:05A lot of bands have a core creative partnership at their centre.
0:31:05 > 0:31:07Two people who come up with all the songs.
0:31:07 > 0:31:09A kind of musical yin and yang.
0:31:09 > 0:31:11And the problem is that sometimes,
0:31:11 > 0:31:14Yin and Yang don't like each other very much.
0:31:14 > 0:31:16Yin wants a separate limo from Yang.
0:31:16 > 0:31:17They come to town to do a gig
0:31:17 > 0:31:20and Yang wants to be in a separate hotel from Yin,
0:31:20 > 0:31:22on the other side of the city.
0:31:22 > 0:31:24Basically, what I'm saying is what's it like
0:31:24 > 0:31:27when Yin and Yang can't stand the sight of each other?
0:31:27 > 0:31:29Well, look at Mick and Keith.
0:31:32 > 0:31:35I think there's always been a little bit of friction.
0:31:35 > 0:31:38I mean, the classic one I can recall is the one where
0:31:38 > 0:31:41the reporter said to Keith,
0:31:41 > 0:31:44"When are you going to stop this bitching between you and Mick?"
0:31:44 > 0:31:46Keith said, "Ask the bitch."
0:31:52 > 0:31:53I love the man.
0:31:53 > 0:31:57You know, he can be a pain sometimes, but then, no doubt I can.
0:31:59 > 0:32:03But working with a bunch of people for this amount of time is,
0:32:03 > 0:32:05you know, it is fairly unique.
0:32:05 > 0:32:08As the Rolling Stones tour manager and pianist,
0:32:08 > 0:32:10this man, Ian Stewart,
0:32:10 > 0:32:14helped keep the band together from their formation in 1962
0:32:14 > 0:32:16to Stewart's death in 1985.
0:32:17 > 0:32:20People had been imploring them to go on stage for about an hour,
0:32:20 > 0:32:22you know, cos the crowd were getting restless outside
0:32:22 > 0:32:24and there was going to be a riot.
0:32:24 > 0:32:26"You've got to get out there, they're tearing the place apart."
0:32:26 > 0:32:30Stew would come in with his torch and he'd say,
0:32:30 > 0:32:33"All right, come on, my little three-chord wonders."
0:32:33 > 0:32:36And they'd all dutifully troop out behind him and go on stage.
0:32:42 > 0:32:44It's surprising how many long-lasting bands
0:32:44 > 0:32:46are held together by one key figure.
0:32:46 > 0:32:49For Coldplay, one of the world's most successful acts,
0:32:49 > 0:32:52it's their creative director, Phil Harvey.
0:32:52 > 0:32:54Phil Harvey is our fifth member.
0:32:54 > 0:32:58He was our first and original manager.
0:32:58 > 0:33:01He paid for us to record our first EP.
0:33:01 > 0:33:04He put on our first proper show in London. He's one of us.
0:33:04 > 0:33:06He's the buffer between us and everything else.
0:33:06 > 0:33:08For the five of us, there's a balance.
0:33:08 > 0:33:10There's a chemistry.
0:33:10 > 0:33:13I sort of thing of myself as a liquid glue
0:33:13 > 0:33:17that just runs and fills any gaps that need filling.
0:33:19 > 0:33:23# Singing please, please, please... #
0:33:23 > 0:33:28When I notice that the tension between
0:33:28 > 0:33:30two band members is getting...
0:33:32 > 0:33:34..you know, might just be getting a little bit too intense,
0:33:34 > 0:33:38then I think maybe it's my job just to kind of step in
0:33:38 > 0:33:40and ease it off a little bit.
0:33:40 > 0:33:43# In my place, in my place... #
0:33:44 > 0:33:49I think there's a principle in architecture called tensegrity,
0:33:49 > 0:33:52which comes from tension and integrity.
0:33:52 > 0:33:58And it's the idea that if there's just the right amount of tension
0:33:58 > 0:34:01between just the right component parts,
0:34:01 > 0:34:04then the structure will stay upright.
0:34:04 > 0:34:06When we're in the studio
0:34:06 > 0:34:09and the steam is coming out of people's ears
0:34:09 > 0:34:14and there's sulky silence, sometimes we'll nod to each other and just say,
0:34:14 > 0:34:15"Oh, yeah - tensegrity."
0:34:18 > 0:34:21I'd be amazed if we actually split up.
0:34:21 > 0:34:24We're like a band of brothers, I guess.
0:34:29 > 0:34:32But even when a band has someone trying really hard to hold it
0:34:32 > 0:34:35all together, it still doesn't necessarily mean it's going to work.
0:34:35 > 0:34:38Sometimes, it just all becomes too much.
0:34:38 > 0:34:41Especially when those familiar tensions between the lead singer
0:34:41 > 0:34:44and guitarist become too much to bear.
0:34:47 > 0:34:50# I'd like to drop my trousers to the world
0:34:50 > 0:34:52# I am a man of means... #
0:34:52 > 0:34:55'80s indie icons The Smiths had all of that going on.
0:34:55 > 0:34:58As well as writing the music and playing guitar,
0:34:58 > 0:35:0121-year-old Johnny Marr reluctantly assumed the role
0:35:01 > 0:35:03of his band's liquid glue.
0:35:03 > 0:35:05What would happen, they'd be playing,
0:35:05 > 0:35:07Morrissey would be in the control room with me.
0:35:07 > 0:35:10He'd be...singing along to himself, working out what he...
0:35:10 > 0:35:12And he'll go, "No, Johnny, it's too fast
0:35:12 > 0:35:15"or it's too slow or it's too high or it's too low."
0:35:15 > 0:35:17You know, so Johnny would have to put the capo on
0:35:17 > 0:35:19and work out the key to play in.
0:35:19 > 0:35:21Andy would have to tune up his bass differently, or whatever.
0:35:21 > 0:35:23Johnny kind of walked that line
0:35:23 > 0:35:26between the studious side of Morrissey
0:35:26 > 0:35:29and the lad's side of the rest of the band.
0:35:29 > 0:35:32And he trod that line very well, I thought.
0:35:32 > 0:35:36When I think about what most 21-year-olds are doing these days,
0:35:36 > 0:35:40it's quite scary how much he was accomplishing, even then.
0:35:40 > 0:35:44# I was happy in the haze of a drunken hour
0:35:44 > 0:35:47# But heaven knows I'm miserable now... #
0:35:47 > 0:35:50The swift success of The Smiths was pretty scary too.
0:35:50 > 0:35:54But as the band became bigger, Marr became more miserable himself.
0:35:54 > 0:35:56Well, when it came to managers,
0:35:56 > 0:36:00I think we tried about three or four and they'd usually...
0:36:01 > 0:36:06..either walk out or Morrissey would say that it wasn't working,
0:36:06 > 0:36:07blah, blah, blah.
0:36:08 > 0:36:12"So-and-so, he's got to go." We phone him,
0:36:12 > 0:36:15"So-and-so's got to go." And I just got tired of it.
0:36:15 > 0:36:18- INTERVIEWER:- And who was saying, "So-and-so's got to go"?'
0:36:18 > 0:36:19So-and-so was saying it.
0:36:21 > 0:36:26And so, more often than not, it was left to Johnny to do
0:36:26 > 0:36:30all the phone calls and book a van, for instance.
0:36:30 > 0:36:33It probably distracted from what he was supposed to be doing,
0:36:33 > 0:36:37which was writing the songs and playing his guitar.
0:36:37 > 0:36:39It definitely took its toll after a while.
0:36:39 > 0:36:43And probably contributed to, you know, the demise of the band.
0:36:45 > 0:36:49# Is it wrong to want to live on your own?
0:36:49 > 0:36:51Things came to head in 1987,
0:36:51 > 0:36:55during the filming of a video for the single Sheila Take A Bow.
0:36:55 > 0:36:58Everyone turned up ready for the shoot in London, except Morrissey.
0:36:58 > 0:36:59Fancy that, eh?
0:37:02 > 0:37:04The director and Johnny Marr went round
0:37:04 > 0:37:07to where the elusive singer was staying.
0:37:07 > 0:37:10We can hear that he's there. Like, you hear movement
0:37:10 > 0:37:13behind the door, there's some sounds.
0:37:13 > 0:37:16And now it's like 10 minutes banging, whatever.
0:37:16 > 0:37:18We're like, trying to break down the door, even.
0:37:18 > 0:37:21And then...
0:37:21 > 0:37:23Then Johnny's just, like, had it.
0:37:23 > 0:37:27And he stands at the door and he basically says, "That's it.
0:37:27 > 0:37:29"If you don't come out of this door, the band is over.
0:37:29 > 0:37:33"We can't continue to have a band if this is how you're going to behave.
0:37:33 > 0:37:36"You have to appear, you have to show up. It's not just your band.
0:37:36 > 0:37:39"If you don't come out of this door now,
0:37:39 > 0:37:40"there will be no more Smiths."
0:37:40 > 0:37:44We could not tell if he was behind that door,
0:37:44 > 0:37:47laughing, like, thinking, "Hee-hee-hee!
0:37:48 > 0:37:50"I got him. I'm breaking up.
0:37:50 > 0:37:53"Like, this is where I want them." You know, laughing?
0:37:53 > 0:37:57Or whether he was crying, and he was sad,
0:37:57 > 0:37:58and he was depressed.
0:37:58 > 0:38:02He was, like, broken-hearted that he couldn't get out that door.
0:38:02 > 0:38:05I have no idea. I'll never know.
0:38:05 > 0:38:10Marr kept his doubts to himself during recording of the 1987 album,
0:38:10 > 0:38:13Strangeways, Here We Come.
0:38:13 > 0:38:15I won't lie. I wasn't that aware.
0:38:15 > 0:38:18I thought everything was going swimmingly.
0:38:18 > 0:38:21But behind the scenes, obviously Johnny wasn't happy.
0:38:21 > 0:38:24But he didn't really tell anybody. Or maybe he told Morrissey.
0:38:24 > 0:38:26He didn't tell me.
0:38:29 > 0:38:32The tensions within bands
0:38:32 > 0:38:34are exacerbated by the fact that,
0:38:34 > 0:38:38unique among social organisations,
0:38:38 > 0:38:40they never talk about their problems.
0:38:40 > 0:38:43Ever. They never verbalise their problems.
0:38:43 > 0:38:45Nobody ever gets them a room and says,
0:38:45 > 0:38:48"Do you know what's really irritating me about you?
0:38:48 > 0:38:50"Can you do something about your behaviour?"
0:38:50 > 0:38:52They never do it at all.
0:38:52 > 0:38:54They just go and complain to somebody else.
0:38:55 > 0:38:58With the album completed, The Smiths went to a restaurant
0:38:58 > 0:39:00in London's Notting Hill for a band meal.
0:39:03 > 0:39:07And then Johnny dropped the bombshell. And...
0:39:08 > 0:39:12..I don't think anybody finished their fish and chips.
0:39:13 > 0:39:16The colour went from everybody's face.
0:39:16 > 0:39:18And that was that.
0:39:21 > 0:39:24# Last night I dreamt... #
0:39:24 > 0:39:28I didn't know what I was going to do.
0:39:28 > 0:39:33No idea, but I thought, "It's all right." You know?
0:39:33 > 0:39:35"Signing on is better than this." Really.
0:39:38 > 0:39:41So The Smiths were no more and heaven knows,
0:39:41 > 0:39:44we probably were a bit miserable back then, for a while.
0:39:44 > 0:39:46But the legacy lives on, nowhere more obviously than
0:39:46 > 0:39:50here in The Smiths Room at Salford Lad's Club.
0:39:50 > 0:39:53Things took another turn for the worse in 1996
0:39:53 > 0:39:54when drummer Mike Joyce
0:39:54 > 0:39:57took Morrissey and Marr to court over royalties.
0:39:57 > 0:40:00But countless bands have fallen out about money.
0:40:00 > 0:40:03New romantics Spandau Ballet, country rockers the Eagles,
0:40:03 > 0:40:08gangster rappers NWA - money is always an issue with bands.
0:40:14 > 0:40:17I've seen it with Jimi Hendrix Experience,
0:40:17 > 0:40:19I saw it with the Stones.
0:40:19 > 0:40:24And I've seen it even with the Who, to a certain extent, you know?
0:40:24 > 0:40:26As soon as you become successful
0:40:26 > 0:40:29and you have that first hit record, then people start
0:40:29 > 0:40:32looking around and saying, "Why is he getting more money than I'm getting?"
0:40:32 > 0:40:37"Why are they getting a better share of what I've contributed myself
0:40:37 > 0:40:39"than I seem to have?"
0:40:41 > 0:40:44And that's when you get problems.
0:40:45 > 0:40:48And that's when the splits start.
0:40:48 > 0:40:50# Sweetness, sweetness
0:40:50 > 0:40:52# I was only joking... #
0:40:52 > 0:40:53In The Smiths' court case,
0:40:53 > 0:40:56Mike Joyce won the right to extra royalties.
0:40:56 > 0:40:59But Andy Rourke had settled out of court.
0:40:59 > 0:41:01Horrible, horrible. I don't even like thinking about it.
0:41:01 > 0:41:03Let alone talking about it.
0:41:04 > 0:41:06I regret it, financially,
0:41:06 > 0:41:10but on the other side, I don't regret it.
0:41:10 > 0:41:12I don't think me and Johnny would still have a relationship,
0:41:12 > 0:41:14for instance, if I had gone ahead with that.
0:41:14 > 0:41:18No, I don't think I would change anything.
0:41:18 > 0:41:21When Steven Adler was fired from Guns And Roses,
0:41:21 > 0:41:24his bandmates tried to take away his future royalties.
0:41:24 > 0:41:27You know what it's like to go to court
0:41:27 > 0:41:30and see your best friend, who you grew up with,
0:41:30 > 0:41:32and the other guys in your band,
0:41:32 > 0:41:34and they're talking terrible things about you.
0:41:34 > 0:41:40Which...I could say the same to them, which my lawyer did.
0:41:40 > 0:41:43And it was just so painful. I wanted to die.
0:41:43 > 0:41:47I would bring heroin with me to court.
0:41:47 > 0:41:50At every chance I'd get, I'd go into the bathroom and smoke heroin.
0:41:59 > 0:42:01This is why bands such as Coldplay
0:42:01 > 0:42:04have divided their royalties equally.
0:42:06 > 0:42:10Definitely, as much as anything, a founding principle of the band.
0:42:10 > 0:42:16And yeah, I'm sure we drew on our group heroes, U2 and REM.
0:42:16 > 0:42:18I think they had a similar model.
0:42:18 > 0:42:20# Lights go out and... #
0:42:20 > 0:42:24At some point, along the way, there was a band discussion.
0:42:24 > 0:42:26It was acknowledged that Chris was doing more
0:42:26 > 0:42:29than 25% of the songwriting,
0:42:29 > 0:42:31so that was addressed.
0:42:31 > 0:42:34But everything else has stayed split equally
0:42:34 > 0:42:38and I think that's the way it'll stay till our dying day.
0:42:38 > 0:42:40# Where I wanted to go... #
0:42:46 > 0:42:48But it's not just money that members of a band
0:42:48 > 0:42:50argue about after a break-up.
0:42:50 > 0:42:52There are all kinds of other issues,
0:42:52 > 0:42:53like ownership of the name, for example.
0:42:53 > 0:42:55And then there's the back catalogue.
0:42:55 > 0:43:00What happens when rival ex-members want to tour, doing the same songs?
0:43:00 > 0:43:02Well, that's when things can get really messy.
0:43:04 > 0:43:08# I've watched your face for a long time... #
0:43:08 > 0:43:13The great thing about being human and your faith in humanity is trust.
0:43:13 > 0:43:18And loyalty. What I've found is that there is no trust or loyalty.
0:43:19 > 0:43:23'In 2011, New Order announced that they were going to perform
0:43:23 > 0:43:26'and record again for the first time in five years,
0:43:26 > 0:43:29'without their long-standing bassist, Peter Hook.'
0:43:29 > 0:43:31We've been talking a lot about, you know,
0:43:31 > 0:43:34bands splitting up in this programme.
0:43:34 > 0:43:38We are in an enormously, uniquely interesting situation with you,
0:43:38 > 0:43:42because you say New Order split up and they say -
0:43:42 > 0:43:45or at least, those trading under the banner of New Order -
0:43:45 > 0:43:47say that you left.
0:43:47 > 0:43:48In all fairness, you just go,
0:43:48 > 0:43:53"What does it matter whether you split or whether you left?"
0:43:53 > 0:43:56If the band splits, each member retains
0:43:56 > 0:43:58an equal right in the assets.
0:43:58 > 0:44:01The good will. And the name.
0:44:01 > 0:44:04Now, it's very important for them to carry on, because of what they
0:44:04 > 0:44:07did to me when they reformed in 2011.
0:44:07 > 0:44:10Their stance has to be that "he left".
0:44:10 > 0:44:12We didn't leave. We split up.
0:44:15 > 0:44:17You get locked out of your house,
0:44:17 > 0:44:20your wife throws you something out the letterbox and goes,
0:44:20 > 0:44:21"Piss off, Mark!"
0:44:21 > 0:44:23- HE LAUGHS - You going to go,
0:44:23 > 0:44:26"Oh, right, love! See you, then. Yeah, that's fine."
0:44:26 > 0:44:29You're not, are you? You're going to want a fair settlement
0:44:29 > 0:44:32for what you put into that relationship.
0:44:32 > 0:44:34And I don't feel I've had a fair settlement.
0:44:34 > 0:44:38People always say "Oh, well, you're synonymous with New Order.
0:44:38 > 0:44:42"You always will be." And yet they're using the brand name
0:44:42 > 0:44:44that I spent 30 years building up.
0:44:44 > 0:44:46All of a sudden, I didn't have 25%
0:44:46 > 0:44:50of New Order's good will or trademark. I had 1%.
0:44:50 > 0:44:53All of a sudden, that's what they shoved through the letterbox to me.
0:44:53 > 0:44:57And it's not fair. And that's what I'm fighting and I'm still fighting.
0:44:57 > 0:45:00I'll fight until the day I die and then my son is on instructions
0:45:00 > 0:45:02to fight on after that until the day he dies.
0:45:02 > 0:45:04And then hopefully his son will fight on after that.
0:45:04 > 0:45:06I'm not stopping.
0:45:06 > 0:45:12# Maybe I've forgotten the name and the address... #
0:45:12 > 0:45:16Band arguments like this can end in farce as well as tragedy.
0:45:16 > 0:45:21# We don't need no education... #
0:45:21 > 0:45:23Like when Roger Waters left Pink Floyd
0:45:23 > 0:45:27and sued his ex-bandmates, not only over the band name,
0:45:27 > 0:45:29but also their famous flying pig.
0:45:29 > 0:45:31He said, "You can't use that.
0:45:31 > 0:45:34"That's my idea, the pig. I'm not having you using it."
0:45:34 > 0:45:36So they had to make sure that the pig
0:45:36 > 0:45:39was demonstrably different from the pig that Roger Waters used.
0:45:39 > 0:45:41So they actually contracted a new pig
0:45:41 > 0:45:44with some very prominent genitalia on it
0:45:44 > 0:45:47and that was deemed sufficient to differentiate it from the old pig.
0:45:50 > 0:45:53It seems these days that every band you've ever heard of reforms.
0:45:53 > 0:45:56Is it because they love each other so much
0:45:56 > 0:45:58that they can't bear to be apart any longer?
0:45:58 > 0:46:00Or is it the stadium gigs, the DVDs,
0:46:00 > 0:46:03the merchandising, the new greatest hits album?
0:46:03 > 0:46:05In other words, is it the cash?
0:46:07 > 0:46:10# On a dark desert highway... #
0:46:10 > 0:46:14After Californian band Eagles' rancorous split in 1980,
0:46:14 > 0:46:17singer Glenn Fry said that hell would freeze over
0:46:17 > 0:46:19before they reformed.
0:46:19 > 0:46:22Guess what the 1994 reunion tour was called, then...
0:46:23 > 0:46:27Everybody knew that the reason they were getting back together,
0:46:27 > 0:46:28primarily, was that there were
0:46:28 > 0:46:30hundreds of millions of dollars at stake.
0:46:30 > 0:46:34And that then did seem
0:46:34 > 0:46:39to make it permissible for all sorts of acts that had hated each other
0:46:39 > 0:46:44and come to blows to reunite very lucratively.
0:46:49 > 0:46:51Some bands reunite successfully.
0:46:51 > 0:46:55The Police's tour made them 2007's highest-paid musicians,
0:46:55 > 0:46:58nearly 30 years after their first hit.
0:46:58 > 0:46:59I can't say that
0:46:59 > 0:47:01it's joyous to get back together.
0:47:01 > 0:47:05It's not like that, you know? We are three smart arses back together.
0:47:05 > 0:47:07They're going to play well
0:47:07 > 0:47:11and they're going to make the most of it, which is what we did.
0:47:11 > 0:47:12It was exhilarating.
0:47:15 > 0:47:19Others hope that a reunion will one day happen.
0:47:19 > 0:47:21Everywhere in the world that I go,
0:47:21 > 0:47:24not one or two,
0:47:24 > 0:47:26hundreds of people come up to me -
0:47:26 > 0:47:27"When are you doing the reunion?
0:47:27 > 0:47:31"You've got to do a reunion. The band was never the same when you left."
0:47:35 > 0:47:38If any of us could go back and do again what we did
0:47:38 > 0:47:42when we were 25 and get paid a fortune for it
0:47:42 > 0:47:46and enjoy waves of approbation like you can't imagine, we would do it!
0:47:49 > 0:47:52'Some reunions seem likely.'
0:47:52 > 0:47:55Once they've had a chance to move on a bit, I think Noel and Liam
0:47:55 > 0:47:57are going to look at each other one day and say, "Shall we do it again?"
0:48:01 > 0:48:03You can probably put some money on that.
0:48:03 > 0:48:08MUSIC: Dancing Queen by Abba
0:48:08 > 0:48:10But even a reported offer of 1 billion
0:48:10 > 0:48:13has failed to persuade Abba out of retirement.
0:48:14 > 0:48:17They are never going to do it, for the simple reason that they...
0:48:17 > 0:48:19(A) They don't need the money and
0:48:19 > 0:48:22(B) They are not interested in being Abba again.
0:48:22 > 0:48:27# You can dance, you can jive... #
0:48:28 > 0:48:30Sometimes it seems amazing that bands
0:48:30 > 0:48:32manage to stay together at all.
0:48:32 > 0:48:35If it's not problems with money, it's the sex, it's the lead singer,
0:48:35 > 0:48:39it's spending endless hours in rehearsal rooms like this.
0:48:39 > 0:48:42It's the drugs, it's the fame, it's the endless touring.
0:48:42 > 0:48:45But with the money to be made, perhaps it's not surprising
0:48:45 > 0:48:48that the business started to create its own bands.
0:48:48 > 0:48:50Particularly in '90s Britain.
0:48:50 > 0:48:53This was the era of New Labour and focus groups.
0:48:53 > 0:48:56And manufactured bands really caught the zeitgeist.
0:48:56 > 0:48:58This is BBC Four, so of course,
0:48:58 > 0:49:01we can confidently use words like zeitgeist.
0:49:01 > 0:49:04# Yo, tell you what I want, what I really, really want
0:49:04 > 0:49:06# So tell me what you want, what you really, really want... #
0:49:06 > 0:49:08The appeal of those early manufactured bands in the '90s
0:49:08 > 0:49:12was that they were basically four or five young kids brought together.
0:49:12 > 0:49:15They were easy to manage because you didn't have prima donnas
0:49:15 > 0:49:17wrestling for control of the group
0:49:17 > 0:49:20as you would have in a non-manufactured band.
0:49:22 > 0:49:26'At least that's what the founders of Spice Girls and Take That hoped.'
0:49:26 > 0:49:30So what was your thoughts behind getting Take That together,
0:49:30 > 0:49:31right back at the beginning?
0:49:31 > 0:49:36I was working with one of the music acts on a Saturday morning TV show
0:49:36 > 0:49:38and New Kids On The Block were on,
0:49:38 > 0:49:39and they were obnoxious.
0:49:39 > 0:49:43Really hard work, wouldn't really deal with the crew
0:49:43 > 0:49:46in a very friendly way and I just thought...
0:49:46 > 0:49:51You know, I could find similar lads in Manchester
0:49:51 > 0:49:53and put them into a band.
0:49:53 > 0:49:55And they'd be massive.
0:49:55 > 0:49:58You know, they'd be far more professional, easy-going.
0:49:58 > 0:50:02- # Ice! - Could never be as cold as you... #
0:50:05 > 0:50:07I've moved to another guitar now
0:50:07 > 0:50:10to showcase my acoustic and sensitive balladry side.
0:50:10 > 0:50:12But whatever those bands were doing,
0:50:12 > 0:50:14they were certainly doing something right.
0:50:14 > 0:50:15Because, as we all remember,
0:50:15 > 0:50:18they became incredibly successful at the time.
0:50:18 > 0:50:20But neither line-up proved as resilient
0:50:20 > 0:50:22as their creators were hoping for.
0:50:22 > 0:50:25And perhaps if you don't have a shared history,
0:50:25 > 0:50:28if you don't have long-standing friendships and relationships,
0:50:28 > 0:50:30some kind of fracture is almost inevitable.
0:50:30 > 0:50:33Which sounds a kind of minor keynote, doesn't it?
0:50:33 > 0:50:35HE STRUMS A MINOR CHORD
0:50:35 > 0:50:38# I'm giving you everything
0:50:38 > 0:50:41# All that joy can bring... #
0:50:41 > 0:50:43At the beginning, it's great.
0:50:43 > 0:50:46Everyone's got one aim and that is to be successful.
0:50:46 > 0:50:49Everyone's getting on with each other cos they have to
0:50:49 > 0:50:52and everyone's aiming to get to the top of the chart.
0:50:52 > 0:50:55Once you're at the top of the charts,
0:50:55 > 0:50:58that's when all of the problems set in.
0:50:58 > 0:51:01GIRLS SCREAMING HYSTERICALLY
0:51:01 > 0:51:04Turns out members of manufactured bands feel the pull
0:51:04 > 0:51:06of a solo career too.
0:51:06 > 0:51:09Robbie Williams left Take That in 1995,
0:51:09 > 0:51:11on the eve of their first world tour.
0:51:13 > 0:51:17Robbie left Take That because he was a bit of a boy-band maverick.
0:51:17 > 0:51:19When he became friends with Liam Gallagher
0:51:19 > 0:51:23and he was allowed to dance on stage with Oasis at Glastonbury,
0:51:23 > 0:51:25it was the tipping point for him.
0:51:25 > 0:51:29He suddenly looked out there and saw that he didn't actually have
0:51:29 > 0:51:32to sing Back For Good any more, if he didn't want to.
0:51:32 > 0:51:34# I just want you back for good
0:51:34 > 0:51:37# Want you back, want you back
0:51:37 > 0:51:40# Want you back for good... #
0:51:40 > 0:51:43Take That disbanded a year later.
0:51:43 > 0:51:45Unfortunately, the rumours are true.
0:51:45 > 0:51:49And from today...is no more.
0:51:49 > 0:51:53# The race is on to get out of the bottom... #
0:51:53 > 0:51:56The Spice Girls' break-up three years later in 1998
0:51:56 > 0:51:57was equally dramatic.
0:52:00 > 0:52:03Geri Halliwell, otherwise known as Ginger Spice,
0:52:03 > 0:52:05has announced she's left the Spice Girls.
0:52:05 > 0:52:09Ginger Spice, de facto head Spice Girl and originator
0:52:09 > 0:52:13of Girl Power, walked out on the eve of their first global tour.
0:52:13 > 0:52:16I guess Geri was always the loose cannon, if you like,
0:52:16 > 0:52:18amongst the five of them.
0:52:18 > 0:52:19She could be quite domineering,
0:52:19 > 0:52:22she could be quite strident
0:52:22 > 0:52:25when she was trying to get her ideas...
0:52:25 > 0:52:26Push them through.
0:52:26 > 0:52:29Like Robbie, Geri had her eye on a solo career
0:52:29 > 0:52:33and her own reasons for avoiding lots of live performing.
0:52:33 > 0:52:38She was least confident in that situation of getting her own way.
0:52:38 > 0:52:39It was a big, long tour.
0:52:39 > 0:52:42She was never trained as a dancer or as a singer.
0:52:42 > 0:52:44It was her area of least expertise.
0:52:46 > 0:52:48The advantage, I suppose, of a manufactured band
0:52:48 > 0:52:51is that the public can have more of an investment
0:52:51 > 0:52:52in the brand and the line-up.
0:52:52 > 0:52:55ALL: Girl Power! Whoo!
0:52:55 > 0:52:57Take That reinvented their brand
0:52:57 > 0:53:00when they reformed in 2006 without Robbie.
0:53:00 > 0:53:05# Whoa! Cos I-I-I... #
0:53:05 > 0:53:08I went to the press conference where Take That announced
0:53:08 > 0:53:09that they were coming back.
0:53:09 > 0:53:10Everyone was thinking, you know,
0:53:10 > 0:53:14"How tragic - four members of a defunct boy band come back
0:53:14 > 0:53:17"because their solos careers aren't doing so well."
0:53:17 > 0:53:19But they sent themselves up at the press conference.
0:53:19 > 0:53:25The whole thing was just the four of them bantering with each other
0:53:25 > 0:53:27and showing that they were actually pretty good eggs.
0:53:27 > 0:53:29And all the journalists left that press conference
0:53:29 > 0:53:31really on Take That's side.
0:53:31 > 0:53:34Well, we'd just like to say thank you very much to everyone
0:53:34 > 0:53:36for giving us the last 10 years off.
0:53:36 > 0:53:39But unfortunately, the rumours are true...
0:53:39 > 0:53:41Take That are going back on tour.
0:53:41 > 0:53:45The comeback was complete in 2010, when Robbie rejoined
0:53:45 > 0:53:49for a chart-topping album and record-breaking tour.
0:53:49 > 0:53:54# We will meet you where the lights are
0:53:54 > 0:53:58# The defenders of the faith... #
0:53:58 > 0:54:03That created the rekindling of the relationship.
0:54:03 > 0:54:08But by that time, they'd already earned a big fan base
0:54:08 > 0:54:11who were now becoming older.
0:54:12 > 0:54:15And they're now taking their daughters to see the band.
0:54:15 > 0:54:19And the band have retained this "cheeky chappie" thing.
0:54:19 > 0:54:21So they've got a new generation of fans.
0:54:25 > 0:54:27In the last few minutes, the Spice Girls have announced
0:54:27 > 0:54:29that they are reforming for a world tour.
0:54:29 > 0:54:34# Let's make the headlines loud and true... #
0:54:34 > 0:54:37The Spice Girls' comeback was less successful.
0:54:37 > 0:54:41Their reunion single was called Friendship Never Ends,
0:54:41 > 0:54:45but the world tour in 2008 folded early.
0:54:45 > 0:54:49I mean, it sort of gave the lie to the philosophy of "girl power,"
0:54:49 > 0:54:51the idea that friendship never ends.
0:54:51 > 0:54:53Now it had ended.
0:54:54 > 0:54:56# ..loud tonight... #
0:54:58 > 0:55:01Take That are still soldiering on as a three-piece after
0:55:01 > 0:55:04Jason Orange left the band in 2014.
0:55:04 > 0:55:08But how much longevity can a manufactured band have?
0:55:08 > 0:55:10Bands that survive is definitely something that captures
0:55:10 > 0:55:13the public's imagination.
0:55:13 > 0:55:15And Take That have survived.
0:55:15 > 0:55:19This new thing, when I saw the three of them dancing, my heart sank.
0:55:19 > 0:55:22I think it's good to know when you're past your sell-by date.
0:55:22 > 0:55:27I would say - sorry, Take That - they are fast approaching it.
0:55:34 > 0:55:36Now, we don't want to finish this film on a downer,
0:55:36 > 0:55:38all doom and gloom.
0:55:38 > 0:55:41It is possible to have all the fun and all the success
0:55:41 > 0:55:43and then just part when you've had enough as friends.
0:55:43 > 0:55:45Just ask REM.
0:55:47 > 0:55:52# Oh, life is bigger... #
0:55:52 > 0:55:56They're the only band that I know of that broke up
0:55:56 > 0:55:59with such grace, dignity and style
0:55:59 > 0:56:02that no-one will probably ever do that again.
0:56:02 > 0:56:04We took a while to figure out that
0:56:04 > 0:56:07we wanted to call it a day. Disband.
0:56:07 > 0:56:09Why? Because you could go on,
0:56:09 > 0:56:10you could sort of separate for a bit,
0:56:10 > 0:56:12you could come back for a bit.
0:56:12 > 0:56:14The Rolling Stones do it, other bands do it.
0:56:14 > 0:56:16Because it was an opportunity for us
0:56:16 > 0:56:18to walk away on our own terms.
0:56:18 > 0:56:22Which is something that, as far as I know, very few bands, certainly that
0:56:22 > 0:56:25have been around for any length of time have had the opportunity to do.
0:56:25 > 0:56:28There are no external forces making us do this. We have no problems.
0:56:28 > 0:56:32We can walk away as friends and feel like we've accomplished everything
0:56:32 > 0:56:33we wanted to accomplish.
0:56:35 > 0:56:38I'd be absolutely shocked if they ever got back together again
0:56:38 > 0:56:41and did a "reunion tour" for the money.
0:56:41 > 0:56:43Because they're just not about money.
0:56:43 > 0:56:46You know, I miss them when I hear them on the radio.
0:56:46 > 0:56:48But, at the end of the day, I think it's good to leave
0:56:48 > 0:56:50when you're on top.
0:56:53 > 0:56:56APPLAUSE AND CHEERING
0:57:00 > 0:57:02# Mama
0:57:02 > 0:57:06# I just killed a cat, you know? #
0:57:06 > 0:57:08So. Not everyone can be this good, clearly.
0:57:08 > 0:57:12But what do you have to do if you want to survive in a band?
0:57:12 > 0:57:15In the olden days, we'd have said if you want to keep on trucking
0:57:15 > 0:57:18whilst others fall by the wayside.
0:57:18 > 0:57:20Well, look on and learn, One Direction,
0:57:20 > 0:57:23as you travel to your next gig in your separate limos.
0:57:23 > 0:57:26Especially now it's only four separate limos.
0:57:28 > 0:57:31Any advice I could give to any band is really
0:57:31 > 0:57:35the basic advice of don't do drugs.
0:57:35 > 0:57:37It's really a waste of time,
0:57:37 > 0:57:39it doesn't make you a better performer.
0:57:39 > 0:57:42You think it does, but it doesn't.
0:57:42 > 0:57:44# Said her name was Georgia Rose... #
0:57:44 > 0:57:46Get professional counselling.
0:57:46 > 0:57:49That's one of the things I should have done with Take That.
0:57:49 > 0:57:52If they don't get counselling, they'll start doing it in interviews.
0:57:53 > 0:57:56Well, looking back over the whole thing, the whole experience,
0:57:56 > 0:57:58would I do anything different?
0:57:58 > 0:58:01I think I'd replace the drums and bass.
0:58:06 > 0:58:08Or, to keep it really SIMPLE,
0:58:08 > 0:58:12here's the advice that Jim Kerr gave to Chris Martin of Coldplay.
0:58:12 > 0:58:15I was thinking they're already the biggest band on the planet
0:58:15 > 0:58:16and I thought...
0:58:18 > 0:58:19"Don't split up."
0:58:19 > 0:58:23And...there will be millions of people watching this, saying,
0:58:23 > 0:58:24"Why did you tell them that?"
0:58:24 > 0:58:28That's... That's... I'm speaking from the heart.