0:00:02 > 0:00:04MUSIC: The Worst Band In The World by 10cc
0:00:18 > 0:00:21# It's one thing to know it But another to admit
0:00:21 > 0:00:25# We're the worst band in the world But we don't give a... #
0:00:25 > 0:00:29It was like a scientific lab, really, 10cc, where we were
0:00:29 > 0:00:34encouraging each other to push the limits of what a pop song could be.
0:00:34 > 0:00:36# Load up, load up, load up... #
0:00:36 > 0:00:38We were a completely self-contained band.
0:00:38 > 0:00:40We just did what we wanted to do.
0:00:40 > 0:00:43We were not in the slightest bit interested in anybody else.
0:00:43 > 0:00:46# With rubber bullets... #
0:00:46 > 0:00:49I believe that, musically at least,
0:00:49 > 0:00:53we achieved a lot in a very short space of time.
0:00:53 > 0:00:54MUSIC: I'm Not In Love
0:00:54 > 0:00:5710cc was definitely on its own planet.
0:00:57 > 0:01:00We would experiment on every song we ever took in the studio.
0:01:00 > 0:01:05And I think we did open up some avenues that people had never
0:01:05 > 0:01:07thought of trying.
0:01:07 > 0:01:10PAUL GAMBACCINI: And when you look back at 10cc now and if you look
0:01:10 > 0:01:14through their whole careers, not just while they were part of the group,
0:01:14 > 0:01:20you realise that it was an amazing meeting of so much talent.
0:01:20 > 0:01:24- SIR TIM RICE:- They have influence beyond the obvious influence of nice
0:01:24 > 0:01:25songs and hit records.
0:01:25 > 0:01:27And more than almost any other group,
0:01:27 > 0:01:31they have branched out into lots of different areas,
0:01:31 > 0:01:35particularly electronics, videos, great songwriting.
0:01:35 > 0:01:38I mean, they're much more than just an ordinary pop group.
0:01:48 > 0:01:51MUSIC: You Stole My Love by the Mockingbirds
0:01:54 > 0:01:58# I give you all I have to give... #
0:01:58 > 0:02:00The Manchester scene was amazing,
0:02:00 > 0:02:04because there were so many clubs, so many venues for bands to play in.
0:02:04 > 0:02:07And every Saturday I'd go out with my mates and we'd just go
0:02:07 > 0:02:10and see bands. We'd just go from club to club.
0:02:10 > 0:02:12We saw at these clubs, before they had hits,
0:02:12 > 0:02:16the Stones and all those Liverpool bands.
0:02:16 > 0:02:20So there was a very lively, healthy, music, sweaty club scene.
0:02:20 > 0:02:23A bit of publicity and a bit of action was coming out of Manchester,
0:02:23 > 0:02:25sort of early '60s.
0:02:25 > 0:02:29And most of the kids of that period wanted to be in a band.
0:02:29 > 0:02:32I don't know why, but they did, everyone wanted to be in a band.
0:02:32 > 0:02:34And it was just a real hoot.
0:02:36 > 0:02:39One of the first groups I was with was called the Emperors Of Rhythm,
0:02:39 > 0:02:42and we went to an audition at the BBC,
0:02:42 > 0:02:45and on stage walked these four guys
0:02:45 > 0:02:48who had leather jackets and jeans on.
0:02:48 > 0:02:52It was the Beatles. And I sat there looking at these four guys, saying,
0:02:52 > 0:02:55"These guys are incredible! They're so different."
0:02:55 > 0:02:58And I talked about it to my mates in the Emperors Of Rhythm,
0:02:58 > 0:03:00and they were all saying, "No way, man, no way.
0:03:00 > 0:03:02"Cliff and the Shads are the best.
0:03:02 > 0:03:06"Cliff and the Shadows, yeah. These guys are never going to make it."
0:03:06 > 0:03:10They failed the audition. The Beatles failed the BBC audition!
0:03:10 > 0:03:13We passed, with all our Shadows footsteps.
0:03:13 > 0:03:19When I was 14 and underage and going to these clubs, I saw Eric Stewart
0:03:19 > 0:03:22in the Emperors Of Rhythm, and he later went on to join Wayne Fontana
0:03:22 > 0:03:26and the Mindbenders and became a pop star, y'know, before we even met.
0:03:26 > 0:03:27APPLAUSE
0:03:27 > 0:03:30The first record we released went to number 46.
0:03:30 > 0:03:33And because we were now a chart group, I was suddenly earning
0:03:33 > 0:03:37more than my father was, in one night, than he would earn in a week.
0:03:39 > 0:03:42Then Game Of Love was number one in Britain,
0:03:42 > 0:03:47number one in America in 1965. I would have been 19 then.
0:03:48 > 0:03:50# So come on baby, let's start to play
0:03:50 > 0:03:53# Come on, baby, let's play the game of
0:03:53 > 0:03:54- # Love - Love
0:03:54 > 0:03:55- # Love - Love
0:03:55 > 0:03:57# La-la la-la la-love... #
0:03:57 > 0:03:59But after that, Wayne wanted to go solo,
0:03:59 > 0:04:02and he walked out on us one night on stage!
0:04:02 > 0:04:04He just suddenly turned round and said, "It's all yours, guys,"
0:04:04 > 0:04:07and disappeared offstage!
0:04:07 > 0:04:10So we just carried on, and we went down a storm.
0:04:10 > 0:04:15We went back to the studio to see the A&R man again and said,
0:04:15 > 0:04:17"Wayne's left the band."
0:04:17 > 0:04:19He said, "Well, it's funny, Eric, I've got a song here
0:04:19 > 0:04:23"that I think would suit your voice. It's called Groovy Kind Of Love."
0:04:23 > 0:04:26We recorded it. It was number one everywhere.
0:04:26 > 0:04:28# When I'm feeling blue
0:04:28 > 0:04:30# All I have to do
0:04:30 > 0:04:32# Is take a look at you... #
0:04:32 > 0:04:36I was first aware of Eric Stewart as a Mindbender,
0:04:36 > 0:04:43and it was one of those interesting phenomena where the backing band does
0:04:43 > 0:04:47better than the lead singer after the lead singer and the band split.
0:04:47 > 0:04:52And the Mindbenders had this massive hit in America, and I think it got
0:04:52 > 0:04:55to number two in England, Groovy Kind Of Love, which was just a great song.
0:04:55 > 0:04:57# Wouldn't you agree
0:04:57 > 0:04:59# Baby, you and me
0:04:59 > 0:05:02# Got a groovy kind of love?
0:05:02 > 0:05:04# Groovy kind of love
0:05:04 > 0:05:07# We got a groovy kind of love... #
0:05:07 > 0:05:09It's amazing to think that Eric was in the Mindbenders.
0:05:09 > 0:05:12I don't think people register this at all,
0:05:12 > 0:05:15because of course they associate the group with Wayne Fontana.
0:05:15 > 0:05:20But it's important to see that these people were just all
0:05:20 > 0:05:23bees in this big hive that was
0:05:23 > 0:05:29the northern scene in the '60s in this country and such an important,
0:05:29 > 0:05:32vibrant part of what was called the British Invasion In America.
0:05:34 > 0:05:38I started writing seriously when I was about 18.
0:05:38 > 0:05:42I was in a band with Kevin called the Mockingbirds.
0:05:42 > 0:05:46I was so inspired and turned on by the Beatles that I thought,
0:05:46 > 0:05:49"I'm going to really do some serious songwriting."
0:05:49 > 0:05:52And I came up with a couple of songs that were recorded,
0:05:52 > 0:05:54one of which was For Your Love.
0:05:54 > 0:05:58And our record company turned our version of it down,
0:05:58 > 0:06:00and it eventually found its way to the Yardbirds,
0:06:00 > 0:06:03and that became my first hit as a songwriter.
0:06:03 > 0:06:06- # For your love - I'd give you everything and more
0:06:06 > 0:06:09- # And that's for sure - For your love... #
0:06:09 > 0:06:12When I think back on what I wrote before For Your Love,
0:06:12 > 0:06:14it was pretty crass, I think,
0:06:14 > 0:06:17but For Your Love was different, and I sort of entered a different
0:06:17 > 0:06:19era of my songwriting.
0:06:19 > 0:06:23Particularly '65, '66 were very, very productive
0:06:23 > 0:06:25for me as a songwriter - I mean, every year is productive,
0:06:25 > 0:06:28but I mean productive in the very successful songs.
0:06:28 > 0:06:32People don't appreciate the depth of the catalogue that
0:06:32 > 0:06:35Graham Gouldman assembled.
0:06:35 > 0:06:39The world hits that he churned out for the Yardbirds -
0:06:39 > 0:06:43both For Your Love and Heart Full Of Soul were American top ten records.
0:06:43 > 0:06:45And then Herman's Hermits,
0:06:45 > 0:06:49a million-seller with Listen People, number three in America,
0:06:49 > 0:06:53and No Milk Today, which was the flip of There's A Kind Of Hush.
0:06:53 > 0:06:56# No milk today It seems a common sight... #
0:06:56 > 0:06:59And then of course the Hollies' Bus Stop,
0:06:59 > 0:07:02which was their first American top ten record and is in
0:07:02 > 0:07:03the Rock And Roll Hall Of Fame.
0:07:03 > 0:07:07When we first met Graham Gouldman, he looked like he was 12,
0:07:07 > 0:07:09but he must have been, like, 15 or something.
0:07:09 > 0:07:13He sat down, he picked up a guitar and he goes...
0:07:13 > 0:07:17# Bus stop, wet day She's there, I say
0:07:17 > 0:07:18# "Please..." #
0:07:18 > 0:07:21Now, from the opening line,
0:07:21 > 0:07:24if you're smart at all you know that this is a great song.
0:07:24 > 0:07:26And not only is it a great song, but it could be a single,
0:07:26 > 0:07:27it could be a hit, a smash.
0:07:27 > 0:07:31# All that summer We enjoyed it
0:07:31 > 0:07:34# Wind and rain and shine... #
0:07:34 > 0:07:37So he gets to the end of the song and we go, "Great!
0:07:37 > 0:07:39"What else have you got?"
0:07:39 > 0:07:42He goes, "Well, I've got this song that I wrote about a week ago.
0:07:42 > 0:07:44"It goes like this.
0:07:44 > 0:07:47"# Look in any window, yeah..."
0:07:47 > 0:07:49# What do you see?... #
0:07:49 > 0:07:52And so we wanted that song, too,
0:07:52 > 0:07:54because we knew what the Hollies could do to that song.
0:07:54 > 0:07:58# Look through any window, yeah
0:07:58 > 0:08:00# What do you see? #
0:08:00 > 0:08:02There's no doubt about it, that we
0:08:02 > 0:08:06recognised in Graham Gouldman that he was really a formidable writer.
0:08:06 > 0:08:09And that little kid that we met changed my life
0:08:09 > 0:08:10for the better, you know,
0:08:10 > 0:08:14because Bus Stop was a smash for the Hollies, Look Through Any Window
0:08:14 > 0:08:16was a smash for the Hollies, and that set us
0:08:16 > 0:08:20off on a trajectory that I've been on ever since, you know?
0:08:20 > 0:08:24So in a very profound way, Graham Gouldman changed my life.
0:08:24 > 0:08:25No doubt about it.
0:08:25 > 0:08:28He's a good kid. We knew that the moment we met him.
0:08:30 > 0:08:32I do remember one or two articles about Graham Gouldman
0:08:32 > 0:08:34in the very early days saying,
0:08:34 > 0:08:38"He's written four or five megahits for other acts but he can't
0:08:38 > 0:08:41"seem to write one for his own band," which was the Mockingbirds.
0:08:41 > 0:08:44And they were a good group, but for some reason the other groups
0:08:44 > 0:08:47seemed to nab the really commercial songs.
0:08:47 > 0:08:51But he had enormous variety in his songwriting way before he began
0:08:51 > 0:08:54displaying that in 10cc.
0:08:54 > 0:08:57Graham was a top-rate writer.
0:08:57 > 0:09:00He may not have realised it at the time because he was so young
0:09:00 > 0:09:05and he was just doing it as his job, but the fact is he has one of the
0:09:05 > 0:09:09best catalogues in this country, and he should be recognised for that.
0:09:09 > 0:09:11# Let me tell you about this girl I've met... #
0:09:11 > 0:09:14I always wanted to manage Graham, because I thought Graham was
0:09:14 > 0:09:17brilliant, and I used to go and meet him and try and encourage him.
0:09:17 > 0:09:19I knew Kev and Lol, as well.
0:09:19 > 0:09:24We were from a tight community, we all lived near each other.
0:09:24 > 0:09:29Kev and Lol were crazy. I loved Kev and Lol! They were inseparable.
0:09:29 > 0:09:33They were like students. They always had mad ideas.
0:09:33 > 0:09:36Kevin and I had become such close chums doing crazy projects
0:09:36 > 0:09:40together, art projects and music projects, and through Graham,
0:09:40 > 0:09:43we met Eric and really liked Eric.
0:09:43 > 0:09:44And that was the first time
0:09:44 > 0:09:48we started a relationship with Eric Stewart.
0:09:48 > 0:09:51Eric was a bit of a star in his own right,
0:09:51 > 0:09:54but I think, more than anything else, he wanted to be a producer,
0:09:54 > 0:09:58an engineer, and very smartly he sort of partnered with a guy in
0:09:58 > 0:10:00the local music shop,
0:10:00 > 0:10:05and they laboriously set up what became Strawberry Studios.
0:10:05 > 0:10:07We'd found this old building in the middle of Stockport
0:10:07 > 0:10:10and started to turn it into a studio.
0:10:10 > 0:10:12We were doing it ourselves with hammers and nails.
0:10:12 > 0:10:14It was incredible.
0:10:14 > 0:10:16And we started with a very little control desk and two stereo
0:10:16 > 0:10:21machines, and Strawberry Studios opened and we started getting work.
0:10:21 > 0:10:26So I went from the Mindbenders to being an engineer at Strawberry.
0:10:27 > 0:10:31For some reason, he got in touch with myself and Lol to come
0:10:31 > 0:10:34and help him test the first version of the studio, and we just
0:10:34 > 0:10:40tried some stuff, really to test the capabilities of the new equipment.
0:10:40 > 0:10:41SONG: Neanderthal Man
0:10:41 > 0:10:44He needed somebody that would bang drums endlessly,
0:10:44 > 0:10:48for hours on end, while he fiddled and, you know,
0:10:48 > 0:10:52finessed the noise to get a good drum sound.
0:10:52 > 0:10:54Even Kevin was beginning to fade!
0:10:54 > 0:10:58So I went in and I sat on the floor with an acoustic guitar
0:10:58 > 0:11:02and I sat in front of the bass drum,
0:11:02 > 0:11:05and I started strumming any old stuff
0:11:05 > 0:11:09just to keep Kevin buoyant, really, so that he could keep banging.
0:11:09 > 0:11:13Eric was very enthusiastic, and said, "Just a bit more!
0:11:13 > 0:11:15"Just a bit more!"
0:11:15 > 0:11:18And at some point, to keep me occupied,
0:11:18 > 0:11:23I started singing this nursery rhyme that sort of came spontaneously.
0:11:23 > 0:11:27It was simply a test, but a guy, a music publisher,
0:11:27 > 0:11:32swanned by and heard what we were doing and said, "It's a smash."
0:11:32 > 0:11:36People actually did say things like that in those days.
0:11:36 > 0:11:40And we promptly wiped it by mistake,
0:11:40 > 0:11:44erased it and had to start again from scratch!
0:11:44 > 0:11:47# I'm a Neanderthal man... #
0:11:47 > 0:11:51We got it slightly better, because we knew what we were doing, a bit,
0:11:51 > 0:11:54and indeed that's how Neanderthal Man was made.
0:11:54 > 0:11:57And it was released, and it was a hit everywhere!
0:11:57 > 0:12:01# I'm a Neanderthal man
0:12:01 > 0:12:04# You're a Neanderthal girl
0:12:04 > 0:12:07# Let's make Neanderthal love
0:12:07 > 0:12:10# In this Neanderthal world... #
0:12:10 > 0:12:13The studio was getting more professional.
0:12:13 > 0:12:18After Neanderthal Man was a hit, we were being booked all the time.
0:12:18 > 0:12:22And Graham Gouldman had been working in America.
0:12:22 > 0:12:26When he heard that we were actually working together with people,
0:12:26 > 0:12:29he joined our backing-group team.
0:12:29 > 0:12:33Actually, we were four disparate guys who became a house band
0:12:33 > 0:12:35for the various acts that came
0:12:35 > 0:12:38through the door of Strawberry Studios.
0:12:38 > 0:12:40MUSIC: The Boys In Blue by Manchester City
0:12:40 > 0:12:43It was more like Broadway Danny Rose than rock and roll.
0:12:43 > 0:12:45Some pretty bizarre people came through that door.
0:12:45 > 0:12:48We found ourselves doing music for football teams
0:12:48 > 0:12:50and TV producers' girlfriends,
0:12:50 > 0:12:54ventriloquists and God knows what else.
0:12:54 > 0:12:58So it was a crash course in being versatile.
0:12:58 > 0:13:04I remember Harvey Lisberg, Graham's manager, persuaded Neil Sedaka,
0:13:04 > 0:13:09who had had his hits in the '50s and had a pretty dry run in the
0:13:09 > 0:13:12'60s - he was pretty much out of favour -
0:13:12 > 0:13:15he'd sold Neil on these great guys at Strawberry Studios
0:13:15 > 0:13:20in Manchester that could produce wonderful material for him.
0:13:20 > 0:13:23Neil was actually due to make a new record and had all this material.
0:13:23 > 0:13:28I think the idea was he'd come over and do, like, two or three songs.
0:13:28 > 0:13:31But it worked like magic, and we all got on very well,
0:13:31 > 0:13:33and Neil did the whole album.
0:13:33 > 0:13:36# That's when the music takes me... #
0:13:36 > 0:13:39We did five hit singles and a couple of hit albums.
0:13:39 > 0:13:41He came back again.
0:13:41 > 0:13:44And it was Neil who said, "You should keep working on your own
0:13:44 > 0:13:48"material, because you deserve to have some hits. You're good."
0:13:48 > 0:13:50And he encouraged us.
0:13:50 > 0:13:53I've no idea why we never thought of it before, but we didn't,
0:13:53 > 0:13:58and it was only after we'd finished the album with
0:13:58 > 0:14:02Neil Sedaka that we decided that we should become a band.
0:14:02 > 0:14:04MUSIC: Waterfall by 10cc
0:14:07 > 0:14:10Eric and I had written a song called Waterfall, that Apple Records,
0:14:10 > 0:14:13the Beatles' record company, were interested in putting out,
0:14:13 > 0:14:16so we thought, "Well, in case they do, let's get everything ready."
0:14:16 > 0:14:18And because Eric and I had written the A-side,
0:14:18 > 0:14:22we thought it'd be fair that Kevin and Lol should write the B-side.
0:14:22 > 0:14:26So we went next door to the control room and knocked out Donna.
0:14:26 > 0:14:29We came and recorded it, and everyone, when we'd finished that,
0:14:29 > 0:14:31we thought, "Well, maybe this is
0:14:31 > 0:14:34"even more commercial than Waterfall."
0:14:34 > 0:14:37# Oh, Donna... #
0:14:37 > 0:14:40Donna was a sort of pastiche of '50s doo-wop,
0:14:40 > 0:14:43and Eric had the bright idea of asking
0:14:43 > 0:14:47Jonathan King to come down and have a listen to it, which he
0:14:47 > 0:14:50subsequently did and, again, said, "It's a smash."
0:14:50 > 0:14:53People still said those kind of things.
0:14:53 > 0:14:54I said, "Are you serious?"
0:14:54 > 0:14:59He said, "Yeah. It's a smash. What's the name of the band?"
0:14:59 > 0:15:01I said, "We haven't got a name."
0:15:01 > 0:15:04So he said, "Well, this is really weird, Eric.
0:15:04 > 0:15:08"Last night, I had a dream, and I saw a poster, and it said,
0:15:08 > 0:15:10"'10cc, the greatest group in the world'."
0:15:10 > 0:15:14I said, "OK, sounds great to me, 'the greatest group in the world'.
0:15:14 > 0:15:15"I'll ask the guys."
0:15:15 > 0:15:17And they said, "Yeah, OK. Is he offering us a deal?"
0:15:17 > 0:15:19I said, "Yeah."
0:15:19 > 0:15:22He offered us a deal, and we signed up with him.
0:15:22 > 0:15:26And he released that record, Donna, a number two, from nowhere!
0:15:26 > 0:15:31# You make me sit down, Donna
0:15:31 > 0:15:34# Sit down, Donna
0:15:34 > 0:15:37# Sit down
0:15:37 > 0:15:40# You make me stand up
0:15:40 > 0:15:43# Donna, I'd stand on my head for you... #
0:15:43 > 0:15:46After Donna, we put out another single called Johnny, Don't Do It!
0:15:46 > 0:15:51that completely bombed. It was in a similar vein to Donna.
0:15:51 > 0:15:54It was another pastiche, and maybe we were,
0:15:54 > 0:15:58"Enough with the pastiche, already! You did it once."
0:15:58 > 0:16:03So we cleared the slate to start again,
0:16:03 > 0:16:06and the next thing we wrote was Rubber Bullets.
0:16:06 > 0:16:10And that just seemed to have a life of its own when we recorded it
0:16:10 > 0:16:13and we finished it, and it was an even bigger hit.
0:16:13 > 0:16:16Donna went to number two, and Rubber Bullets actually went to number one.
0:16:16 > 0:16:17It was our first number one.
0:16:17 > 0:16:22# Well, the band were playing and the booze began to flow
0:16:23 > 0:16:28# But the sound came over on the police-car radio
0:16:30 > 0:16:33# Down at Precinct 49
0:16:33 > 0:16:36# Having a tear gas of a time
0:16:36 > 0:16:41# Sergeant Baker got a call from the governor of the county jail... #
0:16:41 > 0:16:42Rubber Bullets I always loved.
0:16:42 > 0:16:47I think it's just a hilarious song and really smart and really clever...
0:16:47 > 0:16:50and, yeah, something joyful about it.
0:16:50 > 0:16:53# ..load up, load up with rubber bullets... #
0:16:53 > 0:16:57It's that kind of brilliant, superb, poppy...
0:16:57 > 0:16:59with this nuts idea for a song.
0:16:59 > 0:17:02You know, like, it's a crazy idea lyrically.
0:17:02 > 0:17:05# Roll up with rubber bullets... #
0:17:05 > 0:17:08It's like, "What are you on about?" It's mad! But brilliant.
0:17:08 > 0:17:11Y'know? Why would you do that in a pop song?
0:17:11 > 0:17:13But they did, and they got away with it.
0:17:13 > 0:17:17# There's a rumour going round Death Row
0:17:17 > 0:17:20# That a fuse is gonna blow
0:17:20 > 0:17:23# At the local hop at the local county jail
0:17:23 > 0:17:27# Watcha gonna do about it, watcha gonna do?
0:17:27 > 0:17:30# Watcha gonna do about it, watcha gonna do?... #
0:17:30 > 0:17:35The actual amazing directions that we were taking, musically,
0:17:35 > 0:17:37came mostly from Godley and Creme.
0:17:37 > 0:17:40They would just come up with the most ridiculous idea,
0:17:40 > 0:17:44but eventually you would not say, "Er, we can't do that,
0:17:44 > 0:17:48"that's ridiculous," you would say, "Let's try it!"
0:17:48 > 0:17:53It was a very sort of energised atmosphere in the studio,
0:17:53 > 0:17:57because we had these sort of... basically, two writing teams.
0:17:57 > 0:18:00And Eric and I would be in one room, Kevin
0:18:00 > 0:18:02and Lol would be in another room,
0:18:02 > 0:18:05and, like, whoever finished the song first would go, "We've got one."
0:18:05 > 0:18:07We'd listen to it and play it to the other boys
0:18:07 > 0:18:09and they'd come up with suggestions and changes.
0:18:09 > 0:18:14It certainly was a chemical reaction. And we were lucky.
0:18:14 > 0:18:18But I think part of the reason it worked out so well is
0:18:18 > 0:18:21because we positioned ourselves so that no-one could interfere.
0:18:21 > 0:18:23MUSIC: The Dean And I
0:18:23 > 0:18:25We were out of the limelight, we were away from London,
0:18:25 > 0:18:28we were a little studio in Stockport, of all places.
0:18:28 > 0:18:30And probably no-one even knew we were there,
0:18:30 > 0:18:33so we could just mess around and play and experiment.
0:18:33 > 0:18:37# But in the eyes of the dean, his daughter
0:18:37 > 0:18:40# Was doing what she shouldn't oughta
0:18:40 > 0:18:43# But a man's gotta do what a man's gotta do
0:18:43 > 0:18:46# The consequence should be... #
0:18:46 > 0:18:50I remember listening to The Dean And I when Kevin and Lol
0:18:50 > 0:18:54played it for us. It was just such an amazing song.
0:18:54 > 0:19:01I could almost say if anything represented 10cc, it was that song.
0:19:01 > 0:19:06It had everything. I mean, there are so many musical changes in it.
0:19:06 > 0:19:10The chords are amazing. I've never heard anything like it since.
0:19:10 > 0:19:11I hated that song.
0:19:12 > 0:19:15I hated The Dean And I,
0:19:15 > 0:19:19because I really wasn't very, very fond of American musicals.
0:19:19 > 0:19:20I always thought they were a bit cheesy.
0:19:20 > 0:19:23# What have we got? We ain't got dames... #
0:19:23 > 0:19:25And all that...stuff.
0:19:25 > 0:19:28And I thought, "All right, I'm going to go along and record this,"
0:19:28 > 0:19:31because we were a very democratic group.
0:19:31 > 0:19:34I thought, "But how can I do something different in this?"
0:19:34 > 0:19:36So I put some blues guitar in it.
0:19:36 > 0:19:39And it fattened it up and it put some balls into it.
0:19:42 > 0:19:47It's so anti his influences, which are sort of rock and roll and blues.
0:19:47 > 0:19:52This came from Doris Day and South Pacific, and Rodgers and Hammerstein
0:19:52 > 0:19:55and that whole genre, so it was a world away!
0:19:55 > 0:19:57And we didn't see any barriers,
0:19:57 > 0:19:59we didn't see any reason why we shouldn't.
0:19:59 > 0:20:01We wrote those songs because we wrote...
0:20:01 > 0:20:04I don't know why we wrote songs like that.
0:20:04 > 0:20:05But what we were into was harmony.
0:20:05 > 0:20:08We liked singing, we liked testing our...
0:20:08 > 0:20:12And we had the facility, we had the time to try and get harmonies right.
0:20:12 > 0:20:14We didn't have anybody breathing down our necks.
0:20:14 > 0:20:19We just sort of gravitated towards that kind of stuff, just naturally.
0:20:19 > 0:20:21# And then I kissed her
0:20:21 > 0:20:22# Ooh-ooh-ooh... #
0:20:22 > 0:20:26We just did stuff. There was very little thought.
0:20:26 > 0:20:29It was about doing as opposed to thinking.
0:20:29 > 0:20:33And the first album, I think, was written and recorded in three weeks,
0:20:33 > 0:20:36which sounds crazy these days,
0:20:36 > 0:20:42because people labour and craft and hone and carve, smooth and polish.
0:20:42 > 0:20:45We didn't, we just did it!
0:20:45 > 0:20:49And it was all the better for it, because what came out was pure us.
0:20:49 > 0:20:53# It's a wonderful world when you're rolling in dollars
0:20:53 > 0:20:54# Rolling in dollars
0:20:54 > 0:20:57# Rolling in dollars
0:20:57 > 0:20:59ALL: # Now! #
0:20:59 > 0:21:01The writing of the songs was very important to us all
0:21:01 > 0:21:04in those days, and it became the form that
0:21:04 > 0:21:07when you had a separate kind of colour in the writing,
0:21:07 > 0:21:10it was worth trying a different vocal colour.
0:21:10 > 0:21:16By that, I mean either a harmony or a different lead voice or any
0:21:16 > 0:21:18combination that we could figure out.
0:21:18 > 0:21:20We used to have a system of...
0:21:20 > 0:21:22Because we'd all like to try out for the vocals,
0:21:22 > 0:21:28mostly, but to save time we'd go into the studio and someone would sing
0:21:28 > 0:21:32on this particular song, then we'd have a sign that just said "Next".
0:21:32 > 0:21:36You would hang your head in shame and go back into the control room,
0:21:36 > 0:21:40and the next person would go in and have a go at singing the song!
0:21:40 > 0:21:44And that's the audition process for 10cc's lead vocals!
0:21:54 > 0:21:57# Do the Wall Street shuffle
0:21:59 > 0:22:02# Hear the money rustle
0:22:03 > 0:22:07# Watch the greenbacks tumble
0:22:08 > 0:22:12# Feel the sterling crumble... #
0:22:13 > 0:22:16Eric and I tended to write more...
0:22:16 > 0:22:18I think there was kind of a sort of pop influence,
0:22:18 > 0:22:21whereas Kevin and Lol were more into experimenting.
0:22:21 > 0:22:26But then, they needed, I think, more of our steadying influence on them.
0:22:26 > 0:22:30Sometimes, the songs would benefit from our rearranging them.
0:22:30 > 0:22:32They would do one brilliant part
0:22:32 > 0:22:35and never, ever repeat it. It would drive me mad!
0:22:35 > 0:22:37I'd say, "You've got to repeat this somewhere else.
0:22:37 > 0:22:39"Here, maybe you could do it like this."
0:22:39 > 0:22:42# Gotta be cool on Wall Street... #
0:22:42 > 0:22:45There's something that you get a certain extent with the Beatles,
0:22:45 > 0:22:48as well, different voices and different ideas coming through.
0:22:48 > 0:22:51But with 10cc it was that slightly cut-and-pastey feel to the
0:22:51 > 0:22:53albums and even to their songs.
0:22:53 > 0:22:55It was, in many ways, quite ahead of its time.
0:22:55 > 0:22:57You get that quite a lot in modern pop songs nowadays.
0:22:57 > 0:23:01You're noticing, like, shifts of mood really quickly, and there
0:23:01 > 0:23:04are certain modern songwriters who've taken a lot from that.
0:23:04 > 0:23:08# Oh, Howard Hughes... #
0:23:08 > 0:23:12It's quite obvious that there are the two main inputs,
0:23:12 > 0:23:15the traditional songwriting, as represented by Graham and Eric,
0:23:15 > 0:23:19and then the art-school background, as represented by Lol and Kev.
0:23:19 > 0:23:23And when you bring more than one source of material to a group,
0:23:23 > 0:23:31you make the group richer, and so 10cc had a wider and deeper
0:23:31 > 0:23:35catalogue than they would have had they been just one or the other.
0:23:35 > 0:23:37# You buy and sell, you wheel and deal
0:23:37 > 0:23:40# But you're living on instinct
0:23:40 > 0:23:42# You get a tip, you follow it
0:23:42 > 0:23:44# And you make a big killing... #
0:23:44 > 0:23:49To me, if there was one album that epitomises 10cc, it's Sheet Music.
0:23:49 > 0:23:52We got a lot of very, very good reviews for that album.
0:23:52 > 0:23:56And I think rightly so - he said modestly!
0:23:56 > 0:24:01After Sheet Music, which was a big seller - we had hits, big hits,
0:24:01 > 0:24:04worldwide we were getting bigger sales -
0:24:04 > 0:24:07we were stone broke.
0:24:07 > 0:24:1210cc were skint, because our contract was paying us 4%.
0:24:13 > 0:24:14I called Jonathan King.
0:24:14 > 0:24:18I said, "Jonathan, we've been with you three years now, we've got
0:24:18 > 0:24:20"two years to run on our contract.
0:24:20 > 0:24:25"4%, I'm sorry, we can't survive on it. We're skint!"
0:24:25 > 0:24:29He had this kind of public-school attitude.
0:24:29 > 0:24:30"You've signed the contract.
0:24:30 > 0:24:33"We're going to the letter of the contract, we're not changing it."
0:24:33 > 0:24:39He was just rigid. So the boys were sort of, "We've got to get away.
0:24:39 > 0:24:40"We've got to get another label."
0:24:40 > 0:24:43It had become a bit of a meat market, really.
0:24:43 > 0:24:46Bids were coming in from every record company for 10cc,
0:24:46 > 0:24:49because it was decided we were changing labels.
0:24:49 > 0:24:53It was only a matter of who we went with. Every label was after us.
0:24:53 > 0:24:55In our minds, it was a done deal,
0:24:55 > 0:24:58because we'd met Richard Branson and he wanted us to be on Virgin.
0:24:58 > 0:25:00That was very exciting,
0:25:00 > 0:25:04but even more exciting was the fact that he proposed to release us
0:25:04 > 0:25:07in America through Atlantic, and we were thrilled about that,
0:25:07 > 0:25:10because that was the best label out for America.
0:25:10 > 0:25:12And we hadn't cracked America yet.
0:25:12 > 0:25:15Unfortunately, we weren't all there at the same time to sign
0:25:15 > 0:25:19the contract, so Lol and I left power of attorney
0:25:19 > 0:25:24with our management to sign with Richard Branson's Virgin Records.
0:25:24 > 0:25:28The idea was that the boys in the band would all go on their holidays
0:25:28 > 0:25:32the next morning, and Eric and I, with our wives, who are sisters,
0:25:32 > 0:25:36were going off to St Lucia in the West Indies for a really
0:25:36 > 0:25:38well-earned holiday, because we were absolutely knackered.
0:25:38 > 0:25:42Got off the plane in St Lucia, and as I'm walking from the plane
0:25:42 > 0:25:46a man comes up to me and he said, "Mr Stewart? Mr Eric Stewart?"
0:25:46 > 0:25:49I said, "Yes, that's me." He said, "I've got a telephone call for you."
0:25:49 > 0:25:52I picked the phone up, I said, "Hi, this is Eric."
0:25:52 > 0:25:56A voice on the other end says, "This is Richard from Virgin Records.
0:25:56 > 0:26:00"Your management have signed you with Philips Phonogram."
0:26:00 > 0:26:03I said, "W-What?! I'm sorry, I don't know anything about this.
0:26:03 > 0:26:04"Can I get back to you?"
0:26:04 > 0:26:07He said, "You'd better do that," and slammed the phone down.
0:26:07 > 0:26:11And the reason for that was that after the boys had left
0:26:11 > 0:26:16the office, yet another phone call had come in from...Polyglot
0:26:16 > 0:26:20and made another offer, added an extra, y'know,
0:26:20 > 0:26:23whatever it was to the sum of money, and the managers,
0:26:23 > 0:26:27with their power of attorney, had said, "Yes. We'll take that."
0:26:27 > 0:26:29And I can only speak for myself,
0:26:29 > 0:26:33I was absolutely horrified, embarrassed and disgusted.
0:26:33 > 0:26:35And to this day, I still am.
0:26:35 > 0:26:39There was a lot of money involved in this deal. A lot of money.
0:26:39 > 0:26:41And, er...
0:26:41 > 0:26:45it was the security and the future of the band financially that
0:26:45 > 0:26:48depended on this deal.
0:26:48 > 0:26:52And with hindsight of course we're all geniuses and probably
0:26:52 > 0:26:56would have been right to go with Virgin now, having looked back.
0:26:56 > 0:26:59At that time, you had the choice between either you're going to
0:26:59 > 0:27:02secure your future or you're going to have a gamble.
0:27:02 > 0:27:04And a gamble two ways - you don't
0:27:04 > 0:27:07even know the record's going to sell, because the record
0:27:07 > 0:27:10company Virgin had had one hit, Tubular Bells. That was it.
0:27:10 > 0:27:14They were nothing! I mean, now, yeah, they're a huge corporation,
0:27:14 > 0:27:16and everything's gone smoothly.
0:27:16 > 0:27:20If I could see the future, y'know, I wouldn't need to manage a band,
0:27:20 > 0:27:21really, would I?
0:27:21 > 0:27:23MUSIC: Life Is A Minestrone
0:27:24 > 0:27:28I was driving home and I thought I heard somebody on the radio say,
0:27:28 > 0:27:30"Life is a minestrone."
0:27:30 > 0:27:33I don't think they had said that, but it sounded like that,
0:27:33 > 0:27:35and I thought, "Well, there's a philosophy."
0:27:35 > 0:27:38# I'm leaning on the Tower Of Pisa
0:27:38 > 0:27:42# Had an Eiffel of the tower in France... #
0:27:42 > 0:27:44And if life is a minestrone, to me... I hate cold food,
0:27:44 > 0:27:46I can't eat cold food.
0:27:46 > 0:27:49So death is a cold lasagne, to me.
0:27:49 > 0:27:52And Eric and I had our turn at writing together.
0:27:52 > 0:27:54We came up with that bit of nonsense.
0:27:54 > 0:27:57That was the first track, because the record company wanted to
0:27:57 > 0:27:59go with something safe, with this new album,
0:27:59 > 0:28:01this new act that they had.
0:28:01 > 0:28:05And it seemed like a more obviously commercial song, Minestrone.
0:28:05 > 0:28:08# Life is a minestrone
0:28:08 > 0:28:12# Served up with Parmesan cheese
0:28:12 > 0:28:16- # Death is a cold lasagne - Baby...
0:28:16 > 0:28:18# Suspended in deep freeze... #
0:28:18 > 0:28:22I think by the time we got into Original Soundtrack,
0:28:22 > 0:28:25we'd shown that our way of doing things could be successful.
0:28:25 > 0:28:29So we were left alone to crack on with things.
0:28:29 > 0:28:32And we were trying a bit harder
0:28:32 > 0:28:36to push our boundaries in different ways.
0:28:36 > 0:28:40There was always still this desire to go one better
0:28:40 > 0:28:45with a song and do something different with it.
0:28:45 > 0:28:47Hence I'm Not In Love.
0:28:47 > 0:28:52The way that song developed, looking back on it,
0:28:52 > 0:28:55it was astounding we ever released it,
0:28:55 > 0:28:57we ever got it out, we ever got it finished.
0:28:57 > 0:28:59The title was Eric's.
0:28:59 > 0:29:03We'd been discussing writing a love song,
0:29:03 > 0:29:09but I don't think we wanted to write a, y'know, a cliche.
0:29:09 > 0:29:13And I'm Not In Love was the perfect title.
0:29:13 > 0:29:17I wrote all the words, completely, and I took it into the studio,
0:29:17 > 0:29:21and Graham Gouldman said, "I'll finish it with you.
0:29:21 > 0:29:23"I think there's a great idea there."
0:29:23 > 0:29:25So we sat down and we completed it.
0:29:25 > 0:29:27Graham put some lovely chords into it.
0:29:27 > 0:29:31And we went into the studio to record it as a bossa nova!
0:29:31 > 0:29:33Congos and things, bongos.
0:29:33 > 0:29:35# I'm not in love
0:29:37 > 0:29:38# So don't forget it
0:29:40 > 0:29:44# It's just a silly phase I'm going through... #
0:29:44 > 0:29:47When we heard it back, everyone was, erm,
0:29:47 > 0:29:53"underwhelmed" I think is the best word, and nobody had the real
0:29:53 > 0:29:57enthusiasm to carry on with it, it sounded so underwhelming.
0:29:57 > 0:29:59I hated it. I hated it.
0:29:59 > 0:30:04I didn't like it, particularly. I didn't get it, particularly.
0:30:04 > 0:30:05There was something in there.
0:30:05 > 0:30:08And we all recognised there was something in there,
0:30:08 > 0:30:12but that treatment didn't really bring it to life.
0:30:12 > 0:30:15We weren't really sure what we could do with it.
0:30:15 > 0:30:18I think I said at the time, "Well, why don't we do it with voices,
0:30:18 > 0:30:23"no instruments, just all a tsunami of voices, a wash of voices?"
0:30:23 > 0:30:25Probably out of desperation, really,
0:30:25 > 0:30:27trying to come up with SOMETHING to make this thing come to life.
0:30:27 > 0:30:31I said, "What, you mean a cappella?" You know, we sing without a backing.
0:30:31 > 0:30:35He said, "No, the backing track, let's do the whole backing track
0:30:35 > 0:30:39"with voices, like a massive choir, the biggest choir you can imagine."
0:30:40 > 0:30:44I said, "Great! How do we do it? How do we do that?
0:30:44 > 0:30:46"There's only four of us."
0:30:46 > 0:30:49And Lol said, "Tape. Tape loops."
0:30:49 > 0:30:51VOCAL BACKING FROM I'm Not In Love
0:30:51 > 0:30:55I said, "Great. All right. Let's do it."
0:30:55 > 0:30:59And we spent three weeks recording three of them in the studio,
0:30:59 > 0:31:04Kevin, Lol and Graham, singing "Ahhh...",
0:31:04 > 0:31:07as long as they could hold their breath.
0:31:07 > 0:31:10They did that 16 times on the 16-track machine,
0:31:10 > 0:31:15copied all that across to a stereo machine, and we had 13 notes to
0:31:15 > 0:31:19choose from, a chromatic scale with a top C and a bottom C,
0:31:19 > 0:31:24and 624 voices were there at our disposal.
0:31:24 > 0:31:27I then played them back through the 16-track machine,
0:31:27 > 0:31:33through the control desk, and I gave each of us a set of three faders
0:31:33 > 0:31:39to go up and down when the chords were changing for I'm Not In Love
0:31:39 > 0:31:41and the little "Ah-ah ah-ahh..."
0:31:41 > 0:31:44BACKING VOCALS FROM RECORDING
0:31:44 > 0:31:48All of us worked the desk and played it like a keyboard, and when we had
0:31:48 > 0:31:52all the notes playing together, you got that lovely, abstract "ahhh...",
0:31:52 > 0:31:56because it's a mass of harmonics all bleeding together.
0:31:56 > 0:32:00So we kept all of the notes in to a certain degree with
0:32:00 > 0:32:03a piece of masking tape, so that the faders were all at a certain level.
0:32:03 > 0:32:07And that's what made that in-tune, harmonic sound
0:32:07 > 0:32:12but with an extra something, and it made something really special.
0:32:12 > 0:32:15Originally, I think we were going to do it with just voices,
0:32:15 > 0:32:18nothing else, so we recorded a rhythm track,
0:32:18 > 0:32:21which we thought was going to be temporary.
0:32:21 > 0:32:24And I think the idea was that we'd sing to that
0:32:24 > 0:32:28and do all the vocals, then we'd take that off and we'd be left with
0:32:28 > 0:32:32this song recorded with just the choir and the vocals.
0:32:32 > 0:32:36but there was something about it that was magic about it.
0:32:36 > 0:32:38And of course, once we'd put the other voices on,
0:32:38 > 0:32:42we didn't want to touch anything, we didn't want to take it out.
0:32:42 > 0:32:44# I'm not in love
0:32:46 > 0:32:48# So don't forget it
0:32:48 > 0:32:50# Ah-ah ah-ahh
0:32:50 > 0:32:53# It's just a silly phase I'm going through
0:32:53 > 0:32:56# Ah-ah ah-ah ah-ahhh... #
0:32:56 > 0:32:59I did the lead vocal again, but the guide vocal I'd done was
0:32:59 > 0:33:01so good we kept it.
0:33:01 > 0:33:06So it was basically finished, and then you come to the Godley
0:33:06 > 0:33:09and Creme moment again - "What shall we do next?"
0:33:09 > 0:33:13Just as we said that, the secretary at the studio, Cathy Redfern,
0:33:13 > 0:33:15popped her head round the door.
0:33:15 > 0:33:17She said, "Eric, there's a phone call for you."
0:33:17 > 0:33:19And then they said, "That's it."
0:33:19 > 0:33:24So I immediately turned round and ran back to the reception area.
0:33:24 > 0:33:26I thought, "No way!"
0:33:26 > 0:33:30And Lol came back to me, actually, and took me in and they said,
0:33:30 > 0:33:32"We want you to do something for us."
0:33:32 > 0:33:36All the time, I'm thinking, "No! I can't sing! I can't do this."
0:33:36 > 0:33:39And I remember Kev came in with me into the studio and then said,
0:33:39 > 0:33:40"You've just got to whisper,
0:33:40 > 0:33:45"'Be quiet. Big boys don't cry. Big boys don't cry. Big boys don't cry.'"
0:33:45 > 0:33:49FROM RECORDING: Big boys don't cry. Big boys don't cry.
0:33:49 > 0:33:51In those days, we tried everything.
0:33:51 > 0:33:55If someone had an idea, it got tried. It didn't always work,
0:33:55 > 0:33:58but I think it was just one of those sessions where whatever you
0:33:58 > 0:34:03added to it after a certain point, it just kept on getting better!
0:34:03 > 0:34:05Y'know? Astonishing.
0:34:05 > 0:34:06# I keep your picture... #
0:34:06 > 0:34:10The thing was, when we'd recorded it, we used to turn the lights off in
0:34:10 > 0:34:14the control room and just lie down on the floor and play it to ourselves.
0:34:14 > 0:34:16But not one of us said, "Oh, this could be a hit."
0:34:16 > 0:34:19It was only when we took it out of the studio
0:34:19 > 0:34:22and played it to our friends and family
0:34:22 > 0:34:26and the record company that everyone said, "This should be a single.
0:34:26 > 0:34:27"It'd be a big hit."
0:34:27 > 0:34:30It was just so wonderful to be involved with that track,
0:34:30 > 0:34:36and it's been THE best track that I have ever had
0:34:36 > 0:34:38the pleasure of being involved with, really.
0:34:38 > 0:34:41It was just, y'know, you look up to the gods and say thank you
0:34:41 > 0:34:44when something like that comes in front of the speakers.
0:34:44 > 0:34:48# Ooh, you wait a long time for me... #
0:34:48 > 0:34:51Fabulous song. I still love hearing it now.
0:34:51 > 0:34:53I don't think you ever get fed up with it, actually.
0:34:53 > 0:34:55It just stops you in your tracks, really.
0:34:55 > 0:34:59No-one would think that you'd still be hearing it all those years later.
0:34:59 > 0:35:01# I'm not in love... #
0:35:01 > 0:35:04The first time I ever heard I'm Not In Love, I thought
0:35:04 > 0:35:05it was absolutely brilliant.
0:35:05 > 0:35:08I thought I'd never heard anything like that before.
0:35:08 > 0:35:13And when I really started producing records, in 1975, it took me
0:35:13 > 0:35:19until late 1979 to have a hit, and through those years,
0:35:19 > 0:35:21whenever we got really excited
0:35:21 > 0:35:24about something that we'd done, I always used to say,
0:35:24 > 0:35:26"Come on, we've got to put on I'm Not In Love
0:35:26 > 0:35:29"and just remind ourselves..."
0:35:29 > 0:35:32You know, it'd cure our studio fever,
0:35:32 > 0:35:34because it was such a great-sounding record.
0:35:34 > 0:35:36# So if I call you
0:35:38 > 0:35:40# Don't make a fuss
0:35:41 > 0:35:45# Don't tell your friends about the two of us... #
0:35:45 > 0:35:50I remember when I'm Not In Love came out
0:35:50 > 0:35:54and everyone was just in awe,
0:35:54 > 0:35:58because it was a great song,
0:35:58 > 0:36:00had a great melody,
0:36:00 > 0:36:03but the idea of the lyric was fabulous,
0:36:03 > 0:36:07this "he complains too much" aspect of it.
0:36:07 > 0:36:13And then the sound, the multilayered vocals...
0:36:14 > 0:36:16..were a real treat to the ear.
0:36:16 > 0:36:21It was quite ironic that it comes out close in time to Bohemian Rhapsody,
0:36:21 > 0:36:25because those two are really the great multitrack hits of...
0:36:25 > 0:36:27dare I say all time?
0:36:27 > 0:36:32Both bands were hugely fond of overdubs, massed vocals, you know?
0:36:32 > 0:36:35I mean, we were studio bands, essentially.
0:36:35 > 0:36:38Queen were lucky enough to have Freddie as a front man.
0:36:38 > 0:36:42We didn't really have a front man, as such.
0:36:42 > 0:36:44We weren't showmen at all.
0:36:44 > 0:36:49I always described us as we sounded like 400 maniacs from Hollywood
0:36:49 > 0:36:52but looked like four scruffy gits from Manchester.
0:36:52 > 0:36:56And maybe that's why it didn't quite work as well as it could have done!
0:36:56 > 0:36:59MUSIC: Art For Art's Sake
0:37:00 > 0:37:05Looking back on that era, bands like Queen and other sort of more literary
0:37:05 > 0:37:09kind of bands got more recognition or are remembered more
0:37:09 > 0:37:12because they were more flamboyant than 10cc.
0:37:12 > 0:37:1510cc were always a, er... we were all about the music.
0:37:15 > 0:37:17# Art for art's sake
0:37:19 > 0:37:23# Money, for God's sake
0:37:23 > 0:37:25# Art for art's sake
0:37:27 > 0:37:31# Money for God's sake... #
0:37:31 > 0:37:36By then we were a living, breathing, touring brand with responsibilities
0:37:36 > 0:37:39and people working for us, and we were quite successful,
0:37:39 > 0:37:40doing well.
0:37:40 > 0:37:44And what I remember very distinctly, we had a kind of preproduction
0:37:44 > 0:37:47meeting about what "How Dare You!" might be.
0:37:47 > 0:37:51And I found it quite a disturbing meeting, because it wasn't like,
0:37:51 > 0:37:54"Well, let's try a bit of this and let's try a bit of that,"
0:37:54 > 0:37:58it was, "Well, we need one of those and we need two of those".
0:37:58 > 0:38:02It was that attempt to quantify who and what we were
0:38:02 > 0:38:04that I found slightly troubling.
0:38:04 > 0:38:06It took the freedom away,
0:38:06 > 0:38:10it took the sense that you could just go in there and try things.
0:38:10 > 0:38:14The need to be fresh was ever so slightly tarnished, in a way.
0:38:14 > 0:38:16MUSIC: I'm Mandy Fly Me
0:38:16 > 0:38:18There had become a bit of a routine to things,
0:38:18 > 0:38:23but, for me, it was the routine that I wanted, I'd always wanted.
0:38:23 > 0:38:24And I think it was the same for Eric.
0:38:24 > 0:38:27But for Kev and Lol, it was different.
0:38:27 > 0:38:30I think it was important for them to have fun
0:38:30 > 0:38:33and for things to be spontaneous, which I understood,
0:38:33 > 0:38:38but "How Dare You!" signposted a big change for 10cc, I think.
0:38:38 > 0:38:40I think the writing was on the wall.
0:38:40 > 0:38:43Or the songwriting was on the wall.
0:38:43 > 0:38:46I'd written a song called I'm Mandy Fly Me...
0:38:46 > 0:38:48# If it hadn't have been for Mandy... #
0:38:48 > 0:38:51..and completed it, again with Graham Gouldman.
0:38:51 > 0:38:54We got our first hit from the record with that one.
0:38:54 > 0:38:57But I thought there was an underlying thing going on here
0:38:57 > 0:39:00that I hadn't noticed before.
0:39:00 > 0:39:02# I'm Mandy
0:39:02 > 0:39:05# Fly me. #
0:39:05 > 0:39:07Kevin and Lol weren't that happy,
0:39:07 > 0:39:09in that they weren't enjoying it as much.
0:39:09 > 0:39:12And it also coincided with them
0:39:12 > 0:39:17doing an album that featured their invention of the Gizmotron,
0:39:17 > 0:39:20which was an attachment that went onto the guitar.
0:39:20 > 0:39:22MULTILAYERED GUITAR SOUND
0:39:25 > 0:39:29That entire music comes from one guitar multitracked
0:39:29 > 0:39:32and fitted with a device called a Gizmo.
0:39:32 > 0:39:36The Gizmo was devised by Lol Creme and Kevin Godley of 10cc.
0:39:36 > 0:39:39This is the actual prototype that I had on my guitar.
0:39:39 > 0:39:41It's not been used for 40 years!
0:39:41 > 0:39:43But the electric motor is here.
0:39:43 > 0:39:49It's now got a drive cable, a little cable that makes this rotary...
0:39:49 > 0:39:54cog here spin, and every time I press one of those buttons,
0:39:54 > 0:39:56or all of them,
0:39:56 > 0:40:00they come down and the little rotary plectrums will strike the string.
0:40:00 > 0:40:04So I put it on the guitar and I could play like that.
0:40:04 > 0:40:09I'd pick and hold one down and play, or I could hold a chord down -
0:40:09 > 0:40:12I had it going - and I even pluck other top lines.
0:40:12 > 0:40:14And then I learned to play it.
0:40:14 > 0:40:18MULTITRACKED GUITAR SOUNDS
0:40:19 > 0:40:21We're hoping it'll retail at somewhere
0:40:21 > 0:40:25approximately between £50 and £100, maybe £70, £75.
0:40:25 > 0:40:28The thing about Kevin and Lol was, in addition to being able to write
0:40:28 > 0:40:31some weird songs,
0:40:31 > 0:40:36they were really into gadgets and gizmos and electronics,
0:40:36 > 0:40:38and, really, they were ahead of their time.
0:40:38 > 0:40:42I mean, I sort of feel if they'd started out now,
0:40:42 > 0:40:47they would be very much at the forefront of all the technology
0:40:47 > 0:40:48that goes with music today.
0:40:48 > 0:40:53They were always pioneers not just in the songwriting
0:40:53 > 0:40:56but in the way it was presented.
0:40:56 > 0:41:01When Kevin and Lol designed this Gizmo, the natural thought was, "Oh!
0:41:01 > 0:41:03"Where does this lead to?"
0:41:03 > 0:41:05And this project, which was called Consequences,
0:41:05 > 0:41:08did indeed have consequences!
0:41:08 > 0:41:11MUSIC: Wind by Godley and Creme
0:41:12 > 0:41:16Kev and Lol were actually recording Consequences at the time,
0:41:16 > 0:41:19while the other album hadn't been completed,
0:41:19 > 0:41:22so they drained themselves, as well.
0:41:22 > 0:41:24If they do a lot of work on Consequences
0:41:24 > 0:41:26and then they go in the studio afterwards
0:41:26 > 0:41:30and listen to what Eric and Graham had to offer
0:41:30 > 0:41:33and maybe they weren't very kind about it or something,
0:41:33 > 0:41:36I could see there being terrific tensions in there.
0:41:37 > 0:41:42We had a meeting after one of these Buddy Holly days that
0:41:42 > 0:41:43Paul McCartney used to have.
0:41:43 > 0:41:47We're all there with... God - you know, Clapton - Elton, Queen,
0:41:47 > 0:41:50oh, everybody in the music business there.
0:41:50 > 0:41:53After it, we started talking about the future of 10cc,
0:41:53 > 0:41:56and I played them The Things We Do For Love.
0:41:56 > 0:41:58SONG STARTS
0:41:58 > 0:42:01And, er, Kevin said, "I don't like that."
0:42:01 > 0:42:04He said, "In fact, it's crap."
0:42:04 > 0:42:06I was like...
0:42:06 > 0:42:08"What?!
0:42:08 > 0:42:11"This is bland, boring.
0:42:11 > 0:42:13"I don't want to do this."
0:42:13 > 0:42:17On reflection, NOTHING wrong with that song at all.
0:42:17 > 0:42:19But to us then,
0:42:19 > 0:42:25me and Kev had spent the previous four or five months grinding out
0:42:25 > 0:42:27side one of Consequences,
0:42:27 > 0:42:30and the nature of the music that we were making was
0:42:30 > 0:42:36so far removed from the 10cc music, and we became consumed with it.
0:42:36 > 0:42:41And The Things We Do For Love just seemed like another I'm Not In Love
0:42:41 > 0:42:45type of thing, which is all very well, but we didn't want to do that.
0:42:45 > 0:42:49And they said that they didn't want to continue to do it any more.
0:42:49 > 0:42:53They wanted to pursue their own careers, I guess,
0:42:53 > 0:42:57and try and do something with the Gizmo.
0:42:57 > 0:43:00Part of me had tremendous admiration for them for doing it,
0:43:00 > 0:43:03and another part of me just thought they were completely mad.
0:43:03 > 0:43:08I was trying desperately to keep them together. I really was.
0:43:08 > 0:43:11And even with hindsight,
0:43:11 > 0:43:14probably they would have been better off being kept together.
0:43:14 > 0:43:18But in those days, bands had to deliver on a budget,
0:43:18 > 0:43:22on a timescale, so although, like,
0:43:22 > 0:43:2520 years later it would be nothing for a member of any band to say,
0:43:25 > 0:43:27"Look, I'm taking a year off, I'm going to do my own album
0:43:27 > 0:43:29"and I'm coming back later..."
0:43:29 > 0:43:33And it's sad, because together they were a power.
0:43:33 > 0:43:35I think at the end of the day,
0:43:35 > 0:43:37there's a natural lifespan of a band.
0:43:37 > 0:43:39It's a bit like the Spinal Tap film!
0:43:39 > 0:43:41Something else is going to happen within
0:43:41 > 0:43:44the band that will trip you up a bit.
0:43:44 > 0:43:47And initially you can take it and say,
0:43:47 > 0:43:49"All right, let's just carry on with it,"
0:43:49 > 0:43:54but in the back of your mind you're thinking, "What's going on? Why?
0:43:54 > 0:43:57"Why is this not working the way it did?"
0:43:57 > 0:44:02If I had my time over again, I suppose, within the band,
0:44:02 > 0:44:03I probably did too much talking
0:44:03 > 0:44:05and not enough strangling...
0:44:06 > 0:44:09..which would probably clear the air quicker!
0:44:09 > 0:44:14But you have other ambitions that don't necessarily have to
0:44:14 > 0:44:17be realised within that particular situation,
0:44:17 > 0:44:21and we kind of wanted to take six months off and do this experiment.
0:44:23 > 0:44:26But because we were forced into a corner and forced to leave
0:44:26 > 0:44:27because of it, we turned it into
0:44:27 > 0:44:31this gigantic Heaven's Gate-style project.
0:44:31 > 0:44:32But that wouldn't have happened
0:44:32 > 0:44:37if we'd have been given the room to manoeuvre.
0:44:37 > 0:44:39So, in a sense, it was a shame.
0:44:39 > 0:44:44I regret the upset that it caused, hugely...
0:44:44 > 0:44:48because it was like a divorce, you know, it was like a big divorce.
0:44:48 > 0:44:51It caused terrible ructions, you know,
0:44:51 > 0:44:55socially and all the rest of it, because my wife, Ange,
0:44:55 > 0:44:58and Gloria, Eric's wife, are sisters,
0:44:58 > 0:45:01so it caused a terrible kind of rift in the family.
0:45:01 > 0:45:06But we couldn't stop ourselves from moving on.
0:45:06 > 0:45:11It was a real shame and something I'm still upset about
0:45:11 > 0:45:16to this day, because I think we could have done major things.
0:45:16 > 0:45:19Even though Eric and I carried on and did very well,
0:45:19 > 0:45:21it was different. It was different.
0:45:21 > 0:45:24MUSIC: Old Wild Men
0:45:32 > 0:45:34I think the idea was that we'd go in the studio.
0:45:34 > 0:45:39There was just myself, Eric and Paul Burgess on the drums, and we'd just
0:45:39 > 0:45:42go in with the same attitude and just write some songs, see what happens.
0:45:42 > 0:45:44Without Kev and Lol there,
0:45:44 > 0:45:48I suddenly felt it was easier, a lot easier.
0:45:48 > 0:45:50And I worked so hard on that album.
0:45:50 > 0:45:52Obviously, I had something to prove,
0:45:52 > 0:45:55mainly to myself - that I could do it.
0:45:55 > 0:45:58But it had The Things We Do For Love,
0:45:58 > 0:46:00and that was such a massive hit.
0:46:00 > 0:46:02It sold more in the States than I'm Not In Love.
0:46:02 > 0:46:06So we were pleased, very, very pleased.
0:46:06 > 0:46:10# You lay your bets and then you pay the price
0:46:10 > 0:46:12# The things we do for love
0:46:12 > 0:46:14# The things we do for love
0:46:14 > 0:46:19# Like walking in the rain and the snow when there's nowhere to go
0:46:19 > 0:46:23# When you're feeling like a part of you is dying... #
0:46:23 > 0:46:26I'm very proud of the album. I think that the album's great.
0:46:26 > 0:46:29I think we came up with some really interesting stuff.
0:46:29 > 0:46:32I can sense slightly we're trying to be Kev and Lol at some point,
0:46:32 > 0:46:35but even so, I thought it was very good.
0:46:35 > 0:46:38And it was quite a well-received album.
0:46:38 > 0:46:42The Things We Do For Love became a massive hit in America.
0:46:42 > 0:46:44And Good Morning Judge was a hit, as well.
0:46:44 > 0:46:47# Well, good morning, Judge, how are you today?
0:46:47 > 0:46:49# I'm in trouble, please don't put me away
0:46:49 > 0:46:51# A pretty thing took a shine to me
0:46:51 > 0:46:53# I couldn't stop her so I let it be... #
0:46:53 > 0:46:58They did great things, Graham and Eric, and with all the tracks,
0:46:58 > 0:47:02I'm quite happy to put Dreadlock Holiday up there,
0:47:02 > 0:47:04which they did, which was magic.
0:47:04 > 0:47:07# I say, I don't like cricket-ah
0:47:07 > 0:47:09# Oh, no
0:47:10 > 0:47:11# I love it-ah
0:47:13 > 0:47:16# I don't like cricket-ah
0:47:16 > 0:47:18# No, no
0:47:19 > 0:47:21# I love it-ah... #
0:47:21 > 0:47:24Dreadlock Holiday is a great story, based,
0:47:24 > 0:47:26I gather, on a true incident.
0:47:26 > 0:47:29And I remember the first time I heard it, I remember thinking,
0:47:29 > 0:47:33"I don't like cricket," and you think, "Oh, that's rather savage,"
0:47:33 > 0:47:35and then immediately, "I love it," you know!
0:47:35 > 0:47:38# She said, "I got it, you want it..." #
0:47:38 > 0:47:39It's got everything.
0:47:39 > 0:47:42It's got a great rhythm, it's funny, it's witty,
0:47:42 > 0:47:46it's got an irresistible beat but it's still sophisticated.
0:47:46 > 0:47:48# And I say, don't like Jamaica
0:47:49 > 0:47:52# Oh, no
0:47:52 > 0:47:54# I love her
0:47:54 > 0:47:56# Yeah
0:47:56 > 0:47:57# Don't like Jamaica... #
0:47:57 > 0:48:01There are a few things that changed everything.
0:48:01 > 0:48:04Eric had an accident which put him out of commission for over
0:48:04 > 0:48:09a year, and in that time I started working on other projects.
0:48:10 > 0:48:16The punk era had kind of happened, the landscape had changed,
0:48:16 > 0:48:19and when we came back, it wasn't the same.
0:48:19 > 0:48:21MUSIC: People In Love
0:48:21 > 0:48:24Things were not really going very well between me and Gouldman.
0:48:24 > 0:48:28We were really not writing stuff that was good enough for 10cc.
0:48:28 > 0:48:31I mean, there were divorces going on...
0:48:32 > 0:48:35I was very sorry the songs that were coming into the studio were
0:48:35 > 0:48:40so depressing, and it was like, "I can't get into these songs,
0:48:40 > 0:48:42"and they're boring."
0:48:42 > 0:48:44We tried a few things to try and inject that magic
0:48:44 > 0:48:48back into what we were doing, because we knew there was something wrong.
0:48:48 > 0:48:54But eventually, Eric and I called it a day in the very early '80s.
0:49:00 > 0:49:02MUSIC: An Englishman In New York by Godley and Creme
0:49:02 > 0:49:06Once we'd become Godley and Creme, regardless of how
0:49:06 > 0:49:07successful or unsuccessful
0:49:07 > 0:49:11we were as a music act - and we did quite well eventually -
0:49:11 > 0:49:16we found our way to a new career, I guess.
0:49:16 > 0:49:19We weren't looking for one, but it kind of came to us!
0:49:19 > 0:49:22# Happy to see you, have a nice day... #
0:49:22 > 0:49:26We did this track called An Englishman In New York,
0:49:26 > 0:49:29and the BBC, on Top Of The Pops, used to show
0:49:29 > 0:49:31"promo clips", they were called.
0:49:31 > 0:49:34When a band in America, the record company, wouldn't pay
0:49:34 > 0:49:36for them to travel and play Europe,
0:49:36 > 0:49:40they would pay for a cheap little film which they would send.
0:49:40 > 0:49:42It's much cheaper than getting board
0:49:42 > 0:49:44and lodgings and flights for a group.
0:49:44 > 0:49:46And Kev came up, I think, with the notion,
0:49:46 > 0:49:49"It'd be great if we could do our own promo film."
0:49:49 > 0:49:52And that's what we did. But it was when we got in the edit suite
0:49:52 > 0:49:57that it all really came to life for us, because it was like being
0:49:57 > 0:50:00in a recording studio but for your eyes.
0:50:00 > 0:50:02That was when we looked at each other and thought,
0:50:02 > 0:50:04"Hello, hello, we could have some fun here!"
0:50:04 > 0:50:06# Strange apparatus... #
0:50:06 > 0:50:12The person that saw it that liked it was Steve Strange from Visage,
0:50:12 > 0:50:15and he asked the record company, "Do you think Kev and Lol would do
0:50:15 > 0:50:19"one of those promo films for my song?"
0:50:19 > 0:50:22We said, "We'd be delighted," and we did.
0:50:22 > 0:50:25And they gave us a budget of something like £2,000.
0:50:25 > 0:50:26But it got us started.
0:50:26 > 0:50:31And at that point, record companies were sceptical about the value of
0:50:31 > 0:50:35these videos, and they were saying, "We're not sure that we want
0:50:35 > 0:50:38"to spend any money on a new video for the next song."
0:50:38 > 0:50:39It was £2,000.
0:50:39 > 0:50:42And I said, "Well, I have to tell you that on Tuesday,
0:50:42 > 0:50:44"Visage was at number 52 in the German charts,
0:50:44 > 0:50:47"and after they showed the video it's now number two."
0:50:47 > 0:50:49# We fade to grey... #
0:50:49 > 0:50:53And we got £12,000, I think, to do the next video!
0:50:55 > 0:50:57It was proven to be a good commercial.
0:50:57 > 0:50:59MUSIC: Girls On Film by Duran Duran
0:51:00 > 0:51:03There were no rules about making videos.
0:51:03 > 0:51:04It was a very young industry.
0:51:04 > 0:51:07No-one knew, really, what a video was supposed to be.
0:51:07 > 0:51:13So we thought we could make it be anything we want it to be!
0:51:13 > 0:51:15It was a tremendously exciting time.
0:51:15 > 0:51:20# See them walking hand in hand across the bridge at midnight... #
0:51:20 > 0:51:24As far as I was concerned, the spirit of rock and roll was alive
0:51:24 > 0:51:28and well in this new form of entertainment, videos.
0:51:28 > 0:51:30It seemed to have gone from the music game,
0:51:30 > 0:51:35because there was no sense of experimenting any more in music.
0:51:35 > 0:51:40It all seemed formulaic to me, but in the video department,
0:51:40 > 0:51:43nobody knew what they were doing at all,
0:51:43 > 0:51:46least of all the record companies, so they left it to us.
0:51:46 > 0:51:48# Girls on film
0:51:49 > 0:51:51# Girls on film... #
0:51:51 > 0:51:54We didn't know much, but we were learning by doing it
0:51:54 > 0:51:58and having fun, so that's why I say the spirit of rock and roll
0:51:58 > 0:51:59was alive and well, truly,
0:51:59 > 0:52:02and rebirthed in the medium of video.
0:52:02 > 0:52:04MUSIC: Every Breath You Take by the Police
0:52:04 > 0:52:07We made videos together, but we were really good friends.
0:52:07 > 0:52:10Whenever they were in a city where I'd be, that's who we'd hang out
0:52:10 > 0:52:12with, because they were, as chuckle buddies, nobody better,
0:52:12 > 0:52:15for sitting round of an evening just laughing and laughing
0:52:15 > 0:52:17and bullshitting and doing outrageous stuff.
0:52:17 > 0:52:19Or if they were recording, making a film somewhere,
0:52:19 > 0:52:23in the editing booth, that's the place to go hang.
0:52:23 > 0:52:27# Every bond you break, every step you take
0:52:27 > 0:52:29# I'll be watching you... #
0:52:29 > 0:52:31I think their knowledge and understanding,
0:52:31 > 0:52:37deep understanding, of music was what made the images dance with the music
0:52:37 > 0:52:38so effectively.
0:52:38 > 0:52:45# Oh, you'll be wrapped around my finger
0:52:46 > 0:52:52# You'll be wrapped around my finger... #
0:52:52 > 0:52:55I'll just go out on a limb and say that Kevin and Lol created
0:52:55 > 0:52:59the modern video as we know it today, where they would do cool things.
0:52:59 > 0:53:01Instead of just the band
0:53:01 > 0:53:04and that's what you get flouncing around somewhere,
0:53:04 > 0:53:07they would think of some cool idea.
0:53:07 > 0:53:10That first thing, where the video as a concept, the video as a work of
0:53:10 > 0:53:14art, the video has its own artistic power in combination with
0:53:14 > 0:53:18the music, I totally have to give that up for Kevin and Lol.
0:53:18 > 0:53:20# When two tribes go to war
0:53:20 > 0:53:24# One is all that you can score... #
0:53:24 > 0:53:27I suppose our way of going about it was to be driven by the music,
0:53:27 > 0:53:29which is the logical thing to do,
0:53:29 > 0:53:33and make it as different as you possibly can to anything else
0:53:33 > 0:53:36that's around and keep pushing and keep trying
0:53:36 > 0:53:38and see what you can make unique.
0:53:38 > 0:53:41MUSIC: Cry by Godley and Creme
0:53:41 > 0:53:43# You don't know how to ease my pain
0:53:43 > 0:53:47# You don't know
0:53:47 > 0:53:51# You don't know how to ease my pain... #
0:53:51 > 0:53:54For Cry, they were right out there in front of Michael Jackson,
0:53:54 > 0:53:59where the face morphs from one face into another face. Really genius.
0:53:59 > 0:54:02And they did it the hard way, frame by frame.
0:54:02 > 0:54:04And by the time Michael Jackson came on and did the same thing,
0:54:04 > 0:54:08you could all do it on a computer, easy-peasy.
0:54:08 > 0:54:09# You don't know... #
0:54:09 > 0:54:13We got a few casting books and picked a bunch of faces.
0:54:13 > 0:54:16They sat on a chair with their head resting against a very small
0:54:16 > 0:54:19frying pan attached to the back of the chair, which held their
0:54:19 > 0:54:23head in place, and we shot each one of them doing the entire song.
0:54:23 > 0:54:25We asked everyone to learn it.
0:54:25 > 0:54:28And then we hit the edit suite, and that's where...
0:54:28 > 0:54:29the magic happened!
0:54:29 > 0:54:41# You make me wanna cry... #
0:54:41 > 0:54:44The fact that Godley and Creme turned out to have great control
0:54:44 > 0:54:49and mastery of visuals as well as audio and all these gadgets
0:54:49 > 0:54:53and things they came out with, it is quite extraordinary.
0:54:53 > 0:54:59And as a band, 10cc branched out into lots of different areas.
0:54:59 > 0:55:03They have influence beyond the obvious influence of fantastic
0:55:03 > 0:55:05songs and hit records.
0:55:05 > 0:55:06MUSIC: The Film Of My Love by 10cc
0:55:06 > 0:55:09If you look through their whole careers,
0:55:09 > 0:55:11not just while they were part of the group,
0:55:11 > 0:55:14I mean, you realise that they really are working in several
0:55:14 > 0:55:17different fields related to music
0:55:17 > 0:55:20and they were working in music in different ways.
0:55:20 > 0:55:23But that's because that's what they loved.
0:55:23 > 0:55:29# The film of my love will travel the world... #
0:55:29 > 0:55:31The way I think of it was that I was the luckiest
0:55:31 > 0:55:35guy in the world, to have met up
0:55:35 > 0:55:37with Kev and do all those years of writing
0:55:37 > 0:55:40and art nonsense before I even
0:55:40 > 0:55:43met up with Eric and Graham and had 10cc.
0:55:43 > 0:55:46And then together we had all that together and we did all that,
0:55:46 > 0:55:48and I loved every minute of it.
0:55:48 > 0:55:52And I was given the opportunity to be as nuts as I wanted,
0:55:52 > 0:55:57and these other people helped make it into things which sold.
0:55:57 > 0:55:59And we never went into it for fame or money,
0:55:59 > 0:56:02we went into it to enjoy ourselves, and not only did
0:56:02 > 0:56:06we enjoy ourselves but we made a really marvellous living in the end.
0:56:06 > 0:56:0710cc, for me,
0:56:07 > 0:56:12was an affirmation that what I was thinking and the ideas
0:56:12 > 0:56:17I was coming up with could in fact be liked by other people outside
0:56:17 > 0:56:19the confines of my head!
0:56:19 > 0:56:21I wasn't mad!
0:56:21 > 0:56:27I wasn't insane. And I have huge, fond memories of those four years,
0:56:27 > 0:56:32a major, major step up, creatively, for me...
0:56:32 > 0:56:35and I'm sure for everybody involved, in their own way.
0:56:35 > 0:56:40I think the influence of 10cc is still being felt with certain bands.
0:56:40 > 0:56:43I know that because they say so.
0:56:43 > 0:56:48I'm very proud of what we did. I'm sorry that we didn't carry on,
0:56:48 > 0:56:51the four of us.
0:56:51 > 0:56:53But, having said all that,
0:56:53 > 0:56:55we had a fantastic run,
0:56:55 > 0:56:59and it was one of the greatest musical periods of my life.
0:56:59 > 0:57:02# The film of my love... #
0:57:02 > 0:57:05It wouldn't have happened if either one of us had not been there.
0:57:05 > 0:57:07It needed that collaboration
0:57:07 > 0:57:11and...confliction between each other to make it work
0:57:11 > 0:57:15and that we believed in each other and allowed it to happen
0:57:15 > 0:57:20and experimented just to see if it would work.
0:57:20 > 0:57:22Just to see if it would work.
0:57:22 > 0:57:24You know, "What would it be like if...?"
0:57:24 > 0:57:25HE CHUCKLES
0:57:25 > 0:57:27MUSIC: Old Wild Men
0:57:27 > 0:57:31# Old men of rock and roll
0:57:31 > 0:57:37# Keep bearing music
0:57:38 > 0:57:42# Where are they now?
0:57:42 > 0:57:51# They are over the hill and far away
0:57:51 > 0:57:55# But they still gonna play guitar
0:57:56 > 0:57:59# On dead strings
0:57:59 > 0:58:02# And old drums
0:58:02 > 0:58:09# They'll play and play to pass the time
0:58:09 > 0:58:12# The old wild men
0:58:15 > 0:58:18# Old wild men
0:58:20 > 0:58:23# Old wild men... #
0:58:23 > 0:58:26MUSIC: Don't Hang Up