0:00:02 > 0:00:03SCREAMING AND CHEERING
0:00:06 > 0:00:081975.
0:00:11 > 0:00:16The UK's biggest chart sensation are on the brink of superstardom.
0:00:19 > 0:00:23Five lads from Edinburgh with a look and sound unlike any other
0:00:23 > 0:00:26are about to become the biggest thing since the Beatles.
0:00:31 > 0:00:35This is the tale of the world's first international boyband,
0:00:35 > 0:00:38and how they turned the whole world tartan.
0:00:38 > 0:00:42CHANTING: We want the Rollers! We want the Rollers!
0:00:42 > 0:00:45They're the most beautiful human beings in the world!
0:00:54 > 0:00:58Edinburgh, 1966.
0:01:00 > 0:01:02Two brothers, Alan and Derek Longmuir,
0:01:02 > 0:01:04form a band with their schoolmates.
0:01:04 > 0:01:08Well, the line-up in the Saxons was myself, my brother...
0:01:08 > 0:01:11I was on the drums and my brother was on bass guitar.
0:01:11 > 0:01:13..and my cousin Neil.
0:01:13 > 0:01:15And that really was the birth of the Saxons.
0:01:19 > 0:01:23A guy called Nobby Clark, he was in Derek's class at school.
0:01:23 > 0:01:26And then we had a guy called Dave Pettigrew,
0:01:26 > 0:01:27who we used to call Dave the Rave.
0:01:29 > 0:01:33We were playing Tamla Motown, we were playing Beatles stuff,
0:01:33 > 0:01:37Rolling Stones stuff. You had to keep the people happy, you know?
0:01:39 > 0:01:43The Saxons were soon filling church halls throughout Edinburgh
0:01:43 > 0:01:45playing covers of up-tempo pop.
0:01:45 > 0:01:47# Oh, hey
0:01:47 > 0:01:50# I'm sick and tired of everybody just pushing us around... #
0:01:50 > 0:01:53The Saxons just sounded a bit bland.
0:01:53 > 0:01:55We kind of wanted an American-sounding name.
0:01:55 > 0:01:58And there was a band called Mitch Ryder and the Detroit Wheels,
0:01:58 > 0:02:00so we said, "Something rolling,"
0:02:00 > 0:02:03and that's where we got "Rollers" - great.
0:02:03 > 0:02:05So we thought, let's look at the map of America
0:02:05 > 0:02:08and see if there's any places that will give us some inspiration.
0:02:08 > 0:02:11So we eventually just shut our eyes and stuck the pin in the map!
0:02:11 > 0:02:13It went into Bay City, and we thought,
0:02:13 > 0:02:15"Bay City Rollers, that's quite a good name."
0:02:15 > 0:02:17That's how it happened. Easy as that, you know?
0:02:20 > 0:02:21By the end of the '60s
0:02:21 > 0:02:25the Rollers were building a loyal following in the Edinburgh area.
0:02:25 > 0:02:28I used to remember as a kid coming through to Edinburgh,
0:02:28 > 0:02:29you'd see the initials BCR
0:02:29 > 0:02:33sprayed on walls in Edinburgh, and I just thought they were a gang.
0:02:33 > 0:02:36I thought, to begin with, BCR was a gang.
0:02:37 > 0:02:39We had a big following.
0:02:39 > 0:02:43We used to get busloads following us up to Aberdeen and places like that.
0:02:43 > 0:02:44It was just about being successful.
0:02:44 > 0:02:47Our aim was to be like the Beatles, basically.
0:02:47 > 0:02:51It wasn't long before they found their very own Brian Epstein -
0:02:51 > 0:02:55local pop promoter and son of a potato salesman Tam Paton.
0:02:55 > 0:02:57I went down to see them,
0:02:57 > 0:02:59and I really fancy managing them, you know?
0:02:59 > 0:03:02I think, I'd like to get involved, you know,
0:03:02 > 0:03:04they're young and they're enthusiastic.
0:03:04 > 0:03:06Tam was very controlling, you know,
0:03:06 > 0:03:10everybody had to do what they were told, basically, and that was it.
0:03:10 > 0:03:12And he was quite an intimidating character as well,
0:03:12 > 0:03:15so you weren't going to go up against him, that's for sure!
0:03:16 > 0:03:20Tam gave us work down at the Borders, likes of Kelso and Selkirk
0:03:20 > 0:03:22and Coldstream and all those places.
0:03:22 > 0:03:24So we were constantly playing gigs all the time.
0:03:27 > 0:03:31By 1971, Tam had also landed the Bay City Rollers
0:03:31 > 0:03:33a deal with Bell Records.
0:03:34 > 0:03:37Keep On Dancing was the one that was going to happen.
0:03:37 > 0:03:39# Shake it, shake it, baby... #
0:03:39 > 0:03:43By the end of the year, Keep On Dancing had crept up the charts
0:03:43 > 0:03:44to reach number nine.
0:03:47 > 0:03:49It was brilliant, it was unbelievable.
0:03:49 > 0:03:52We were just young guys - I was a plumber out of trade
0:03:52 > 0:03:54and my brother was a joiner, Nobby was a joiner.
0:03:54 > 0:03:55We used to rehearse in
0:03:55 > 0:03:58what we called the "tattie shed" - potato shed.
0:03:59 > 0:04:03But their two subsequent singles failed to chart.
0:04:03 > 0:04:08Despite Tam making changes to the line-up and their look,
0:04:08 > 0:04:10by the end of 1972, the Rollers
0:04:10 > 0:04:13are starting to look like a one-hit wonder.
0:04:13 > 0:04:15# Manana
0:04:15 > 0:04:18# Mana-na-na-na-na-na-na... #
0:04:18 > 0:04:22In London, Bell Records enlist a new writing and producing team
0:04:22 > 0:04:23to work with the band.
0:04:23 > 0:04:26# Manana, manana... #
0:04:26 > 0:04:28I can remember meeting the Bay City Rollers,
0:04:28 > 0:04:31and there was this unshakeable belief
0:04:31 > 0:04:35amongst these kids, who were then 18, 19,
0:04:35 > 0:04:38unshakeable belief that it was only a matter of time
0:04:38 > 0:04:40before they were going to be stars.
0:04:41 > 0:04:44Phil Coulter and Bill Martin had written and produced
0:04:44 > 0:04:46Britain's first Eurovision win
0:04:46 > 0:04:48in 1967 for Sandie Shaw.
0:04:48 > 0:04:51# ..gladly be there
0:04:51 > 0:04:54# Like a puppet on a string... #
0:04:54 > 0:04:57I was always looking for a Scottish band.
0:04:57 > 0:05:00And I thought they were quite special.
0:05:00 > 0:05:03Quite different from any other pop group.
0:05:03 > 0:05:06The first hurdle was when we got the Bay City Rollers into the studio
0:05:06 > 0:05:07and I discovered they could
0:05:07 > 0:05:09barely tune their guitars.
0:05:09 > 0:05:13The reality was that in order for me to try and come up with hit records,
0:05:13 > 0:05:16er, in a concentrated period of time,
0:05:16 > 0:05:19I figured my only chance of doing this
0:05:19 > 0:05:22is to use session players to lay the tracks.
0:05:22 > 0:05:24And of course the Rollers didn't want that,
0:05:24 > 0:05:25they wanted to play on it.
0:05:25 > 0:05:28I mean, they'd be better blowing their nose.
0:05:28 > 0:05:31Because it was... The weren't good musicians.
0:05:31 > 0:05:33I couldn't say to Dick Leahy,
0:05:33 > 0:05:36"It's going to take me six months to get something out of these guys."
0:05:36 > 0:05:38I mean, you were getting a shot.
0:05:38 > 0:05:41MUSIC: Remember (Sha La La) by the Bay City Rollers
0:05:44 > 0:05:48Hiring session musicians to keep studio time to a minimum,
0:05:48 > 0:05:51Phil and Bill get to work creating a new sound for the Rollers.
0:05:53 > 0:05:55# ..Sha la la loo
0:05:55 > 0:05:56# I used to sing to you
0:05:56 > 0:05:59# Remember... #
0:05:59 > 0:06:01It's easy to write a song.
0:06:01 > 0:06:04Writing a hit song is difficult.
0:06:04 > 0:06:07Getting people to remember it forever is the hardest thing.
0:06:07 > 0:06:10# ..Then we said goodbye Made each other cry
0:06:10 > 0:06:12# Remember... #
0:06:12 > 0:06:15Remember. Sha La La, in brackets.
0:06:15 > 0:06:18We weren't trying to do Bohemian Rhapsody and all this.
0:06:18 > 0:06:20We knew it wasn't right.
0:06:20 > 0:06:23It was pure unadulterated pop.
0:06:23 > 0:06:27And the process for writing the song
0:06:27 > 0:06:30was very much built around, er...
0:06:30 > 0:06:33the sound of the track.
0:06:33 > 0:06:36# Sha la la la la la loo... # That was it.
0:06:36 > 0:06:39We were good at doo-bee-doo-bops, you know.
0:06:39 > 0:06:42# The singer sang a song We used to sing along... #
0:06:42 > 0:06:45But in 1973, with the new sound ready to go,
0:06:45 > 0:06:48lead singer Nobby Clark quits,
0:06:48 > 0:06:52forcing Tam to make further changes to the line-up of the band.
0:06:52 > 0:06:56One night in 1973, Tam Paton said
0:06:56 > 0:06:58that they need a singer for their band,
0:06:58 > 0:07:00the Bay City Rollers.
0:07:00 > 0:07:03I said, "Why's that?" He said, "Cos their other singer's left."
0:07:03 > 0:07:06He had seen Les perform with another band.
0:07:06 > 0:07:08He was quite keen to get him onto our band,
0:07:08 > 0:07:10but Tam would always kind of manipulate things around
0:07:10 > 0:07:11and change things around.
0:07:11 > 0:07:14He said, "It's a professional outfit, they've got their own gear,
0:07:14 > 0:07:17"they've got their own pay, they've got their own roadie.
0:07:17 > 0:07:18"They've got loads of gigs."
0:07:18 > 0:07:20"They're offering you £10 a week" -
0:07:20 > 0:07:23you know, "How can you say no?"
0:07:23 > 0:07:26So that's what made me decide to go with them.
0:07:26 > 0:07:28And he was a great signing, actually.
0:07:28 > 0:07:30He transformed the whole situation.
0:07:32 > 0:07:35Joining the Longmuir brothers and guitarist Eric Faulkner
0:07:35 > 0:07:39was another new face - 16-year-old Stuart Wood.
0:07:39 > 0:07:41I was gobsmacked.
0:07:41 > 0:07:43"What? Join the Rollers? What?"
0:07:43 > 0:07:47Cos I'd only been playing guitar a year and a bit,
0:07:47 > 0:07:50and, you know, probably knew about five, six chords.
0:07:50 > 0:07:52GUITAR CHORD INTRO TO SHANG-A-LANG
0:07:55 > 0:07:57With the classic line-up in place,
0:07:57 > 0:08:01Les was brought in to learn the songs and re-record the vocals.
0:08:03 > 0:08:04They would get me up to their house
0:08:04 > 0:08:08and play it on the piano, find the right key for me, you know.
0:08:08 > 0:08:10Get me through the songs.
0:08:10 > 0:08:12Shang-A-Lang was my favourite.
0:08:12 > 0:08:15De-dink-de-dink-de-dink Bud-da-dink-de-dink-de-dink...
0:08:15 > 0:08:17And a dug, a dug and a cat,
0:08:17 > 0:08:19a cat and a dug, a dug and a cat...
0:08:19 > 0:08:22Just throbbing like that. Very powerful.
0:08:22 > 0:08:25"Do you know what I mean, Les? It's a ba-dum-ba-dah..."
0:08:25 > 0:08:27What's that in claps, you know?
0:08:27 > 0:08:30We had two boards with handles on it,
0:08:30 > 0:08:32and we used to use it as a clapper.
0:08:32 > 0:08:35And it made a tremendous noise.
0:08:35 > 0:08:36No-one had it.
0:08:36 > 0:08:39# Hey, hey, rockin' to the music
0:08:40 > 0:08:42# Hey, hey, rockin' to the music
0:08:43 > 0:08:46# Rockin' every night and day
0:08:46 > 0:08:48# Hey! #
0:08:48 > 0:08:51My mother, if I swore, she would hit me.
0:08:51 > 0:08:53We weren't allowed to swear.
0:08:53 > 0:08:57And I'd go, "Oh, shang..." - used to always say "shang-a-lang".
0:08:57 > 0:09:01And my mother said, "What's that?" "It's something I just say."
0:09:01 > 0:09:03To stop me swearing.
0:09:03 > 0:09:05And, er...
0:09:05 > 0:09:08Phil said, "We should use that, that's good."
0:09:08 > 0:09:10"We sang shang-a-lang and we ran with the gang,
0:09:10 > 0:09:12"doin' doo wop be dooby do ay."
0:09:12 > 0:09:16There was lots of gangs in Govan, Glasgow, you know, lots of gangs.
0:09:16 > 0:09:18Razor gangs and what have you.
0:09:18 > 0:09:21And then Blue Suede Shoes is in there.
0:09:21 > 0:09:24I mean, that's pure. That's pure '50s.
0:09:24 > 0:09:28It's all mixed in like a pop puree, or whatever it is.
0:09:28 > 0:09:32# Well we sang shang-a-lang and we ran with the gang
0:09:32 > 0:09:36# Doin' doo wop be dooby do ay
0:09:36 > 0:09:39# We were all in the news with our blue suede shoes
0:09:39 > 0:09:41# And our dancin' the night away... #
0:09:41 > 0:09:45"I sang shang-a-lang when I ran with the gang" -
0:09:45 > 0:09:48you know, they weren't running with their school rugby team,
0:09:48 > 0:09:49they were running with a gang.
0:09:49 > 0:09:51And the gang they were referring to
0:09:51 > 0:09:53was the gangs of their neighbourhoods,
0:09:53 > 0:09:55the gangs of industrial working-class Scotland,
0:09:55 > 0:09:58and the gangs of the late '60s, early '70s.
0:09:58 > 0:10:00It's actually quite a powerful song.
0:10:00 > 0:10:04# Shang-a-lang Shang-a-lang... #
0:10:04 > 0:10:06I mean, Shang-A-Lang by the Bay City Rollers
0:10:06 > 0:10:09should be the national anthem of Scotland!
0:10:09 > 0:10:14Better than that dirge Flower Of Scotland, that's a load of rubbish!
0:10:14 > 0:10:17# And we sang shang-a-lang as we rang with the gang... #
0:10:17 > 0:10:23Released in 1974, Shang-A-Lang reached number two in the charts.
0:10:23 > 0:10:26It was phenomenal. They just took off like a rocket.
0:10:26 > 0:10:28#...music like ours couldn't die. #
0:10:28 > 0:10:31Determined to capitalise on their chart success,
0:10:31 > 0:10:34Tam booked the Rollers on a major UK tour.
0:10:34 > 0:10:36There were starting to play in places in England,
0:10:36 > 0:10:38the band was building up this big following,
0:10:38 > 0:10:40more and more and more and more.
0:10:40 > 0:10:43It was so exciting to, you know, finally be up on stage.
0:10:43 > 0:10:47All I had to do was remember a few chords and kind of go for it
0:10:47 > 0:10:51and do my thing, and that's exactly what happened!
0:10:51 > 0:10:54# With the juke box playing and everybody saying
0:10:54 > 0:10:57# That music like ours couldn't die. #
0:10:57 > 0:11:00The Rollers' present publicity was masterminded by Tam
0:11:00 > 0:11:05from his parents' house in a small town just outside of Edinburgh.
0:11:05 > 0:11:08'To every Roller fan, this is Mecca.
0:11:08 > 0:11:11'The Prestonpans council house of Tam Paton's mum and dad
0:11:11 > 0:11:14'is the headquarters of the Bay City Rollers' fan club.'
0:11:14 > 0:11:17Well, when they started first, we didn't think anything about it,
0:11:17 > 0:11:20because we didn't think anything was really going to come of it.
0:11:20 > 0:11:23And then they started coming more and more
0:11:23 > 0:11:27and I had to just dig in and get into it, and that's how it started.
0:11:27 > 0:11:29I've done it ever since.
0:11:29 > 0:11:32I liked the Rollers and started speaking to Mrs Paton
0:11:32 > 0:11:35and she just asked if I'd like to help, so...
0:11:35 > 0:11:37Oh, it's pandemonium.
0:11:37 > 0:11:40But it's lovely pandemonium. HE LAUGHS
0:11:40 > 0:11:42Then Tam decided to do this kind of mailing thing
0:11:42 > 0:11:44where he would mail all the David Cassidy fans,
0:11:44 > 0:11:46and the band just kind of grew from there -
0:11:46 > 0:11:49and that's when it really took off, big-time.
0:11:53 > 0:11:56As the British Isles suffered industrial decline
0:11:56 > 0:11:58and was rocked by sectarian violence,
0:11:58 > 0:12:02by 1974, the Bay City Rollers got bigger and bigger.
0:12:05 > 0:12:06SHOUTING
0:12:07 > 0:12:09From not having any people screaming at you
0:12:09 > 0:12:10to having thousands screaming at you,
0:12:10 > 0:12:15it was pretty quick, you know. The space of six months.
0:12:15 > 0:12:17SCREAMING
0:12:17 > 0:12:20I always remember Liverpool, there was a crowd outside the Empire,
0:12:20 > 0:12:22and there was the mirrors on the wall,
0:12:22 > 0:12:25and we were all changing and they must've seen up through the window
0:12:25 > 0:12:30and those mirrors... We had nothing on and they're all screaming!
0:12:30 > 0:12:35I never realised they were watching through the mirror.
0:12:35 > 0:12:37SCREAMING
0:12:41 > 0:12:46The noise was colossal. And that's what they created.
0:12:46 > 0:12:48They were a sensation.
0:12:48 > 0:12:50Why do you scream at these concerts?
0:12:50 > 0:12:53Well, during the year we see pictures of them
0:12:53 > 0:12:56and receive letters off them and it's all building up inside you
0:12:56 > 0:12:59and when you see them on stage, you just scream.
0:12:59 > 0:13:02SCREAMING
0:13:02 > 0:13:03As you can tell...
0:13:03 > 0:13:06I love you too!
0:13:06 > 0:13:10By midsummer, even The Osmonds were being drowned out by Roller fans.
0:13:10 > 0:13:11SCREAMING
0:13:11 > 0:13:14- And here they are with Summer Love Sensation!- Whoo!
0:13:19 > 0:13:21SCREAMING
0:13:31 > 0:13:34# Summer sun's sitting high in the sky
0:13:34 > 0:13:38# And the love that's in everyone's eye
0:13:38 > 0:13:46# Now the waiting, the anticipating is over, over, over, over. #
0:13:46 > 0:13:50Record executives had believed comfortably for years beforehand
0:13:50 > 0:13:54that kids buying records were like, 16, 17, 18, 19.
0:13:56 > 0:14:01Then it dawned on them, finally, that the kids buying records
0:14:01 > 0:14:03were seven, eight, nine and ten!
0:14:03 > 0:14:05This was a whole new thing.
0:14:05 > 0:14:07And that was the gap in the market.
0:14:07 > 0:14:09The group that actually says, "Do you know what?
0:14:09 > 0:14:11"Singles should be two and a half minutes.
0:14:11 > 0:14:13"A single should have a hook and a chorus.
0:14:13 > 0:14:15"You should be able to hum along to it.
0:14:15 > 0:14:18"You should feel that you're tapping your feet."
0:14:18 > 0:14:21All the things that the great pop music from the '60s told us.
0:14:21 > 0:14:25And the Bay City Rollers delivered great pop songs.
0:14:25 > 0:14:29# ..summer love sensation. #
0:14:32 > 0:14:36At the end of 1974, their debut album, Rolling, was at number one.
0:14:38 > 0:14:40But the Rollers were not happy.
0:14:42 > 0:14:46There was a growing resentment, I suppose,
0:14:46 > 0:14:48that they weren't more hands-on.
0:14:48 > 0:14:51And we began to get a sense with that, that they...
0:14:51 > 0:14:53they wanted to write their own hits.
0:14:55 > 0:14:58They wanted to play their own tracks.
0:14:58 > 0:15:01I think because we were not allowed to be doing our own,
0:15:01 > 0:15:04some of our own songs and, you know, doing our own...
0:15:04 > 0:15:07Playing on the records and stuff, it was just, you know,
0:15:07 > 0:15:08that was really getting a bit too much.
0:15:08 > 0:15:11I remember saying there was no way,
0:15:11 > 0:15:16there was no way that the Bay City Rollers can sit in on the mixes.
0:15:16 > 0:15:21There is no way that they can write their hits because, why?
0:15:21 > 0:15:24Simple thing, they're not capable. It's not what they do.
0:15:24 > 0:15:26And the Rollers came to me and said,
0:15:26 > 0:15:29"Look, we're not going in the studio with these guys again.
0:15:29 > 0:15:30"We want a different producer."
0:15:32 > 0:15:35Stung by jibes that they hadn't played on the records,
0:15:35 > 0:15:38the Rollers were keen to prove themselves in the studio.
0:15:40 > 0:15:41I didn't want to stop momentum.
0:15:41 > 0:15:44I didn't want to have a year in the courts trying to work out
0:15:44 > 0:15:46who was doing what to who, you know,
0:15:46 > 0:15:50while we had the opportunity to sell records.
0:15:50 > 0:15:53Bill and Phil were paid off and new producer Phil Wainman
0:15:53 > 0:15:56was given the job of keeping the hits coming.
0:15:56 > 0:16:00My brief was that they've actually got to be playing
0:16:00 > 0:16:04so they had to play and they had to sing and, I mean...
0:16:04 > 0:16:07and that was quite a task.
0:16:07 > 0:16:10MUSIC: The Disco Kid by Bay City Rollers
0:16:10 > 0:16:13We spent three weeks, four weeks in the studio
0:16:13 > 0:16:15and that was wonderful, you know,
0:16:15 > 0:16:18because we were actually doing everything ourselves.
0:16:22 > 0:16:25It was Tam who said, "What do you think of, you know, Bye Bye Baby?
0:16:25 > 0:16:28"Let me play it for you." Well, I actually knew the song
0:16:28 > 0:16:35but getting the Bay City Rollers to duplicate that was not easy,
0:16:35 > 0:16:39and I said, "This is going to give us a real problem
0:16:39 > 0:16:44"because we could spend a month just on the vocals."
0:16:44 > 0:16:47MUSIC: Bye Bye Baby by Bay City Rollers
0:16:47 > 0:16:49I remember being in the studio,
0:16:49 > 0:16:51there's sort of four of us singing in a circle,
0:16:51 > 0:16:53getting these harmonies,
0:16:53 > 0:16:56and the producer's saying move back a bit, you're too loud
0:16:56 > 0:16:59and you move in a wee bit to get the balance kind of right.
0:16:59 > 0:17:02And it took us forever to get these harmonies.
0:17:02 > 0:17:04# Bye-bye, baby
0:17:04 > 0:17:07- # Baby, goodbye - Bye, baby
0:17:07 > 0:17:09# Baby, bye-bye... #
0:17:09 > 0:17:12I was going for the throat, I was actually going for the record sales,
0:17:12 > 0:17:14give the public what they want.
0:17:14 > 0:17:18He was a brilliant producer because he saw the vibe
0:17:18 > 0:17:21and the energy that we could produce,
0:17:21 > 0:17:26that's what he focused on and he got that out of us and it worked.
0:17:26 > 0:17:31# I wish it could be... #
0:17:31 > 0:17:35'I think when you're recording it you kind of get an idea'
0:17:35 > 0:17:39that, you know, this one really sounds good
0:17:39 > 0:17:42where the other ones, they might be OK to do
0:17:42 > 0:17:44but this sounds like it could be in the charts.
0:17:44 > 0:17:45# Bye, bye, baby
0:17:45 > 0:17:48- # Baby, goodbye - Bye, baby... #
0:17:48 > 0:17:52'When I mixed that and Give A Little Love back-to-back,
0:17:52 > 0:17:55'I called the record company and said,'
0:17:55 > 0:17:58"Not only do I think I've got you a number one,
0:17:58 > 0:18:00"I actually think I've got you a follow-up number one
0:18:00 > 0:18:03"so I think I've got two number ones back-to-back."
0:18:03 > 0:18:05# Baby, bye, bye
0:18:05 > 0:18:07# Bye, bye, baby
0:18:07 > 0:18:09# Don't make me cry... #
0:18:09 > 0:18:11Released in March 1975,
0:18:11 > 0:18:14the Rollers' cover of Bye Bye Baby went to number one
0:18:14 > 0:18:18where it stayed for six long weeks.
0:18:18 > 0:18:22You know the figures that were coming in, 75,000 a day,
0:18:22 > 0:18:26I mean, artists don't sell that...
0:18:26 > 0:18:28you know, in a month.
0:18:28 > 0:18:33I mean, you can have a hit with 20,000 records now.
0:18:33 > 0:18:35A hit...
0:18:35 > 0:18:37you know, and we were doing that in a day.
0:18:37 > 0:18:41MUSIC: Give A Little Love by Bay City Rollers
0:18:41 > 0:18:42Just as Phil predicted,
0:18:42 > 0:18:47the follow-up, Give A Little Love, also went to the top of the charts.
0:18:47 > 0:18:51I was invited to EMI's factory and they said,
0:18:51 > 0:18:53"Do you see this wall of records?"
0:18:53 > 0:18:59Now, this wall of records was probably about 50 metres long
0:18:59 > 0:19:01and about...
0:19:01 > 0:19:03maybe four metres high.
0:19:04 > 0:19:09And he said, "There's a half a million albums here
0:19:09 > 0:19:13"and they're all yours and they will all be shipped by Friday."
0:19:13 > 0:19:18And my jaw was on the floor because you think,
0:19:18 > 0:19:23"My word, that's an awful lot of albums to ship."
0:19:23 > 0:19:25# Give a little love... #
0:19:25 > 0:19:28With half the tracks penned by the band,
0:19:28 > 0:19:31Once Upon A Star went platinum in the UK.
0:19:31 > 0:19:35# And when the sun comes shining through... #
0:19:35 > 0:19:38At the start of 1975,
0:19:38 > 0:19:41the Rollers were the biggest selling act in the British Isles
0:19:41 > 0:19:44with a look unlike any other.
0:19:44 > 0:19:46Hold it there a minute.
0:19:46 > 0:19:48Can we redo it again from the top?
0:19:48 > 0:19:53MUSIC: Love Me Like I Love You by Bay City Rollers
0:19:58 > 0:20:02The iconic look that I'm wearing at the moment didn't really happen
0:20:02 > 0:20:05until album number three, Wouldn't You Like It.
0:20:06 > 0:20:10A lot of people claim responsibility for this kind of look -
0:20:10 > 0:20:13it actually was drawn by fans.
0:20:13 > 0:20:18It was a girl from Liverpool, she sent a drawing up
0:20:18 > 0:20:22with a bomber jacket and checks and Eric said that'd be great in tartan.
0:20:26 > 0:20:31As fans copied the look of the band with home-made Roller gear...
0:20:31 > 0:20:32throughout the summer of '75,
0:20:32 > 0:20:36they could also tune into the Rollers' very own weekly TV show.
0:20:36 > 0:20:40MUSIC: Shang-A-Lang by Bay City Rollers
0:20:40 > 0:20:43It was great. We loved doing that. I couldn't believe it.
0:20:43 > 0:20:48Few years prior to that, we were just hoping to be in the charts
0:20:48 > 0:20:52and then now it was a year later, wasn't even a year...
0:20:52 > 0:20:54and we've got our own TV show.
0:20:54 > 0:20:58# With the jukebox playing and everybody saying that
0:20:58 > 0:21:01# Music like ours couldn't die
0:21:01 > 0:21:04# Yeah, we sang shang-a-lang... #
0:21:04 > 0:21:06SCREAMING
0:21:08 > 0:21:12When I joined the band, they were doing the Mecca circuit,
0:21:12 > 0:21:14there was a lot of clubs like that.
0:21:16 > 0:21:20That would've been 16, 17, 18-year-olds
0:21:20 > 0:21:25that were following the band then and as we became more popular,
0:21:25 > 0:21:27the age was getting younger and younger.
0:21:27 > 0:21:29# Show me how you work
0:21:30 > 0:21:33- # Now you're in motion - Keep on dancin' and a-prancin'
0:21:33 > 0:21:34# Do the locomotion... #
0:21:34 > 0:21:38Rollermania was an official teen sensation.
0:21:38 > 0:21:40Do you know that there's only ever been two manias
0:21:40 > 0:21:42ever in the history of the music business?
0:21:42 > 0:21:45There's Beatlemania and Rollermania.
0:21:45 > 0:21:46Now, that's something.
0:21:46 > 0:21:49I can't believe it, we've got a mania!
0:21:51 > 0:21:53We've got a mania!
0:21:53 > 0:21:58I don't think you could comprehend the dress sense
0:21:58 > 0:22:05of the people under 14 in Birmingham, Grimsby, Aberdeen, Dundee
0:22:05 > 0:22:07all walking about like little Rollers.
0:22:07 > 0:22:09CHEERING AND SCREAMING
0:22:13 > 0:22:17In 1975, the Rollers undertook their biggest UK tour to date.
0:22:17 > 0:22:21CHEERING AND SCREAMING
0:22:23 > 0:22:26God, that was a crazy tour. It was absolutely mental.
0:22:31 > 0:22:33There was mass hysteria as well,
0:22:33 > 0:22:36so it was a problem getting in and out of the venues as well.
0:22:40 > 0:22:42When you first got started,
0:22:42 > 0:22:45did you ever think that what is happening outside now
0:22:45 > 0:22:47would be part of you?
0:22:47 > 0:22:49Yeah, we did actually.
0:22:49 > 0:22:53- This is what we wanted.- Really? - This is what we wanted, yeah.
0:22:53 > 0:22:56We would go on and the police would just make us stop it
0:22:56 > 0:23:00because they just couldn't control the crowd.
0:23:00 > 0:23:02REPORTER: As soon as the Bay City Rollers appeared,
0:23:02 > 0:23:04fans tried to rush the stage.
0:23:04 > 0:23:07Policewomen had to be rescued from the crush
0:23:07 > 0:23:10and the show was stopped twice so that fans could cool down.
0:23:15 > 0:23:18I remember watching out when we were playing on stage
0:23:18 > 0:23:21and there was a balcony that was actually going like this
0:23:21 > 0:23:23and one girl jumped over the top and we had to stop the show.
0:23:23 > 0:23:25And people were fainting everywhere,
0:23:25 > 0:23:28the St John ambulances were full up.
0:23:28 > 0:23:31MUSIC: All Of Me Loves All Of You by Bay City Rollers
0:23:35 > 0:23:37We'd come off the stage, right in the van and away
0:23:37 > 0:23:40before people had the chance to get out of the concert hall,
0:23:40 > 0:23:41otherwise it'd just be bedlam.
0:23:46 > 0:23:50The streets were covered in kids all fainting and crying.
0:23:53 > 0:23:56It became a way of life, the whole thing.
0:23:56 > 0:24:01That, for me, that was, "This is now my life. This is who I am."
0:24:01 > 0:24:05Some places we were playing two times in one day -
0:24:05 > 0:24:07and one time in Ireland, three times in one day
0:24:07 > 0:24:10and from that point on, it was...
0:24:10 > 0:24:12there was no time off, really.
0:24:12 > 0:24:15We were kind of on the road for three years, almost.
0:24:15 > 0:24:22I think my mum recalled I was home six times in that whole period.
0:24:27 > 0:24:30The strain of nonstop touring was compounded
0:24:30 > 0:24:33when Les was involved in a fatal traffic accident.
0:24:33 > 0:24:36RADIO: The news that we promised you about the Bay City Rollers
0:24:36 > 0:24:39which has just come in is that their concert in Colston Hall, Bristol,
0:24:39 > 0:24:41tonight has had to be cancelled...
0:24:41 > 0:24:43Oh, no!
0:24:43 > 0:24:45Les McKeown has been involved in an accident.
0:24:45 > 0:24:49I understand the accident took place just outside Edinburgh...
0:24:53 > 0:24:58On a rare visit home, Les ran over and killed a 76-year-old woman.
0:25:02 > 0:25:05Les McKeown has been involved in an accident. The accident...
0:25:05 > 0:25:07GIRLS GASP AND SCREAM
0:25:07 > 0:25:08Now, wait a minute.
0:25:08 > 0:25:11The accident took place in Edinburgh
0:25:11 > 0:25:14and Les is UNINJURED
0:25:14 > 0:25:16but he's very, very shaken
0:25:16 > 0:25:21and obviously can't take place in tonight's concert.
0:25:22 > 0:25:26It was one of the rare occasions a Rollers gig was cancelled.
0:25:30 > 0:25:33At the time I can remember...
0:25:34 > 0:25:37..just being in complete shock
0:25:37 > 0:25:41and I don't know how long it took me to come out of that shock.
0:25:41 > 0:25:42In retrospect,
0:25:42 > 0:25:47they should've dealt with the issue in a much more comprehensive way.
0:25:47 > 0:25:50I wasn't afforded that privilege.
0:25:52 > 0:25:55The day after the accident, Les rejoined the tour.
0:25:55 > 0:25:58Whether it was the management that had that attitude...
0:25:58 > 0:26:00but the show was definitely going on.
0:26:00 > 0:26:02A couple of nights later, we had to do a gig.
0:26:02 > 0:26:06MUSIC: La Belle Jeane by Bay City Rollers
0:26:08 > 0:26:10So we were doing a gig
0:26:10 > 0:26:13and Les had to leave the stage cos he was just breaking down.
0:26:17 > 0:26:22It's a whole bunch of things. I mean, it's pent up...
0:26:22 > 0:26:26some kind of anger and just lots of emotional stuff,
0:26:26 > 0:26:31when you're that age it's difficult to even know what those things are.
0:26:31 > 0:26:35By rights he should've never been up on that stage, he should've been...
0:26:35 > 0:26:38Somebody should've given a shit, basically.
0:26:42 > 0:26:45But the Rollers' management were already planning the next stage
0:26:45 > 0:26:46of the band's career.
0:26:46 > 0:26:49MUSIC: Let's Go by Bay City Rollers
0:26:52 > 0:26:55You hadn't really made it unless you'd made it in America.
0:26:57 > 0:27:00That was really what I wanted to do, was to take the acts
0:27:00 > 0:27:03that we had in the UK and break them in the States.
0:27:03 > 0:27:09# I know, you and I together make it so right... #
0:27:10 > 0:27:14Legendary record company exec Clive Davis had just acquired
0:27:14 > 0:27:17the Rollers for his brand-new label, Arista.
0:27:20 > 0:27:24I was doing some consulting work for Arista Records.
0:27:24 > 0:27:26The question I was asked is,
0:27:26 > 0:27:30do you think there's anything you can do with them here?
0:27:30 > 0:27:36And my resounding answer was, "Yeah! Yes, for sure."
0:27:36 > 0:27:39The people at Arista were our friends,
0:27:39 > 0:27:41we'd read the British press, we knew they were happening.
0:27:41 > 0:27:44I put together a press junket
0:27:44 > 0:27:49and invited Danny Fields who was the editor of 16 Magazine.
0:27:49 > 0:27:52We invited ourselves, you know,
0:27:52 > 0:27:57I had the most powerful teenage magazine in America.
0:27:57 > 0:28:01We said to Arista, "We should go and see them, fly us over."
0:28:01 > 0:28:03And our first stop was Glasgow.
0:28:03 > 0:28:07MUSIC: Jenny Gotta Dance by Bay City Rollers
0:28:13 > 0:28:15# Looks like an angel
0:28:15 > 0:28:18# Dances like a devil
0:28:18 > 0:28:20# Jenny... #
0:28:21 > 0:28:27'It was just crazy, you know, police and girls and, you know,
0:28:27 > 0:28:30'12-year-olds, 14-year-olds,'
0:28:30 > 0:28:33all dressed up in Roller garb
0:28:33 > 0:28:38with that look in their eye of, like, of love,
0:28:38 > 0:28:41just like young love personified.
0:28:41 > 0:28:44# Dressed in jeans and a too-tight T-shirt
0:28:44 > 0:28:46# Jenny
0:28:46 > 0:28:49# You better watch out, baby you might be hurt
0:28:49 > 0:28:50# Jenny... #
0:28:50 > 0:28:54'It wasn't a city, it was a martial zone.'
0:28:54 > 0:28:56It was...
0:28:56 > 0:29:01the streets were cleared for the Bay City Rollers.
0:29:01 > 0:29:05# When she hears rock 'n' roll tearing her heart and soul
0:29:05 > 0:29:09# Jenny, Jenny Jenny gotta dance... #
0:29:10 > 0:29:15There was a triumphant return of the conquering heroes,
0:29:15 > 0:29:18like a movie spectacle, like Ben-Hur,
0:29:18 > 0:29:23except they were all girls wearing these ugly pants.
0:29:23 > 0:29:26They were so young and so fresh-faced.
0:29:29 > 0:29:33They were just those wonderful Scottish, fair complexions
0:29:33 > 0:29:35with rosy cheeks.
0:29:35 > 0:29:40They were wild-eyed and they can sure scream loud.
0:29:40 > 0:29:42SCREAMING
0:29:44 > 0:29:49At the performance, I don't remember where I sat,
0:29:49 > 0:29:52if I sat, it was just about, like, the being there.
0:29:53 > 0:29:55# I wish that I could get a chance
0:29:55 > 0:29:59# But all she ever wants to do is dance
0:29:59 > 0:30:02# Dance, dance... #
0:30:02 > 0:30:04Danny knew right away.
0:30:04 > 0:30:06I mean, he had been in the business
0:30:06 > 0:30:09long enough to know that, instantly...
0:30:09 > 0:30:11that they fit the profile
0:30:11 > 0:30:12and that they were going to be big.
0:30:12 > 0:30:16They were adorable, you know?
0:30:16 > 0:30:19And, yeah,
0:30:19 > 0:30:22five cute guys at once,
0:30:22 > 0:30:24that's the story of rock and roll.
0:30:24 > 0:30:26When you have a band,
0:30:26 > 0:30:28each kid can pick her favourite.
0:30:28 > 0:30:33Same as they do with One Direction or 'NSYNC or the Backstreet Boys.
0:30:36 > 0:30:40The Bay City Rollers happened to roll along
0:30:40 > 0:30:44at exactly the right time in terms of 16 land.
0:30:49 > 0:30:50In the autumn of 1975,
0:30:50 > 0:30:54the final touches were being put to the campaign
0:30:54 > 0:30:57to launch the Rollers in America.
0:30:57 > 0:30:59It was a bit scary.
0:30:59 > 0:31:01The record company boss Clive Davis,
0:31:01 > 0:31:06who is probably a recognised genius in picking songs,
0:31:06 > 0:31:08of course, we didn't know that at the time,
0:31:08 > 0:31:13but he had chosen a song called Saturday Night for our first single.
0:31:13 > 0:31:17# S-A-T-U-R-D-A-Y night... #
0:31:17 > 0:31:19Originally a Bill and Phil production,
0:31:19 > 0:31:23Saturday Night had failed to chart back in 1973.
0:31:25 > 0:31:27I felt it was an odd choice, perhaps,
0:31:27 > 0:31:29to take a record that had been a failure to be the one
0:31:29 > 0:31:31that he put his weight behind.
0:31:31 > 0:31:34Why didn't they release Bye Bye Baby? It's number one, you know?
0:31:34 > 0:31:37Clive just said, "You have to be joking,"
0:31:37 > 0:31:41he says, "that's a classic, The Four Seasons, we're not releasing that."
0:31:41 > 0:31:43That's how we picked Saturday Night.
0:31:43 > 0:31:46# S-A-T-U-R-D-A-Y night... #
0:31:46 > 0:31:49The way the music's structured in that song, it's pretty good.
0:31:49 > 0:31:52You know, da-da-downg-downg-downg-downg.
0:31:52 > 0:31:53# ..D-A-Y night... #
0:31:53 > 0:31:57It's like cheerleaders going, "O-H-I-O, Ohio."
0:31:57 > 0:31:59You know, the cheerleaders thing.
0:31:59 > 0:32:03Well, this one went - S-A-T-U-R-D-A-Y night.
0:32:03 > 0:32:05The off-beat kind of guitar riff.
0:32:05 > 0:32:07It's got the Roller kind of drums in it.
0:32:08 > 0:32:10It gets faster and faster.
0:32:10 > 0:32:13# Keep on dancing to the rock 'n' roll
0:32:13 > 0:32:15# Saturday night... #
0:32:15 > 0:32:17On September 20, the Rollers performed
0:32:17 > 0:32:19at London Weekend Television
0:32:19 > 0:32:21and were beamed by satellite
0:32:21 > 0:32:26into the homes of 30 million unsuspecting Americans.
0:32:28 > 0:32:30I was at school in Millburn, New Jersey,
0:32:30 > 0:32:33which is about 20 miles outside New York.
0:32:33 > 0:32:35I only had a black-and-white TV
0:32:35 > 0:32:40but, even so, I could tell that they were such an explosion
0:32:40 > 0:32:45of youth and joy and exuberance.
0:32:45 > 0:32:47And, the minute their song ended,
0:32:47 > 0:32:53the phone rang and it was my friend Pat and she said to me, "Eric!"
0:32:53 > 0:32:56And I said, "Woody!"
0:32:56 > 0:32:58And...
0:32:58 > 0:33:01And I was absolutely amazed.
0:33:01 > 0:33:04I mean, this must have been what Donny Osmond fans had gone through,
0:33:04 > 0:33:07but this was happening to me.
0:33:07 > 0:33:11# S-A-T-U-R-D-A-Y night... #
0:33:11 > 0:33:14Their performance in London ended with a stage invasion
0:33:14 > 0:33:18that put Woody and Les in hospital.
0:33:18 > 0:33:21Two of the Bay City Rollers left hospital today
0:33:21 > 0:33:23and returned to Glasgow.
0:33:23 > 0:33:27There have been accusations that this Saturday evening's riot
0:33:27 > 0:33:31was deliberately put on for the sake of the huge American audience
0:33:31 > 0:33:34watching the show from the other side of the Atlantic.
0:33:34 > 0:33:37We were getting check-ups yesterday.
0:33:37 > 0:33:40- No broken bones.- You feel OK?
0:33:40 > 0:33:45- Yeah.- Jolly good.- Right, we'd better get this plane, chaps.- See ya.- Ta-ra.
0:33:45 > 0:33:49Ten days later, the Rollers were on their way to America.
0:33:49 > 0:33:52# Saturday night
0:33:52 > 0:33:56# Saturday night... #
0:33:56 > 0:34:00When they came to New York, actually turned up in person,
0:34:00 > 0:34:03obviously, I had to go.
0:34:03 > 0:34:06# S-A-T-U-R-D-A-Y night
0:34:06 > 0:34:09# S-A-T-U-R-D-A-Y night
0:34:09 > 0:34:12# S-A-T-U-R-D-A-Y night... #
0:34:12 > 0:34:13When the Rollers arrived,
0:34:13 > 0:34:16their new fans were there to meet them.
0:34:16 > 0:34:19We had arranged for them to be there
0:34:19 > 0:34:22by leaking their flight information.
0:34:22 > 0:34:26She said, "Oh, it's going to be flight whatever, TWA, September 30."
0:34:26 > 0:34:28GIRLS SCREAMING
0:34:32 > 0:34:37I went out there and witnessed this unbelievable happening
0:34:37 > 0:34:39at, you know, JFK.
0:34:44 > 0:34:46This was an era when rock bands didn't smile
0:34:46 > 0:34:49because it would have meant that they weren't serious
0:34:49 > 0:34:50but the Rollers were actually smiling
0:34:50 > 0:34:53and you could tell they weren't American.
0:34:53 > 0:34:59There was something smaller, scrawnier, paler about them.
0:34:59 > 0:35:04Slightly kind of almost unhealthy looking, which I loved.
0:35:08 > 0:35:10The crush was crazy
0:35:10 > 0:35:13and there were so many Roller fans.
0:35:13 > 0:35:17They pushed me onto one of those carousels, those luggage carousels,
0:35:17 > 0:35:19and I...I had to be rescued,
0:35:19 > 0:35:22I was like with my feet up in the air
0:35:22 > 0:35:26going around on the carousel.
0:35:34 > 0:35:36Watch your backs! Watch your backs!
0:35:36 > 0:35:38It was like the Beatles all over again.
0:35:38 > 0:35:40In fact, it might have even been bigger
0:35:40 > 0:35:44because we walked to our limos and we drove straight out of that airport.
0:35:44 > 0:35:46HORN BEEPS
0:35:46 > 0:35:47That was brilliant.
0:35:47 > 0:35:50I remember getting out of a big stretch Lincoln
0:35:50 > 0:35:53and I was just seeing the tall, tall buildings, you know?
0:35:53 > 0:35:55I'd never been there.
0:35:55 > 0:35:58First time in America, you know, it was great. It was unbelievable.
0:35:58 > 0:36:00# Be my, be my baby
0:36:00 > 0:36:02# Be my baby now
0:36:02 > 0:36:05# My one and only baby... #
0:36:05 > 0:36:07That was great. I mean, that was like a dream come true.
0:36:07 > 0:36:09I mean, you know, never having been to America,
0:36:09 > 0:36:11to suddenly be driving through New York
0:36:11 > 0:36:13with these big skyscrapers and stuff.
0:36:13 > 0:36:15For us, that was just, you know -
0:36:15 > 0:36:19never imagined in your wildest dreams you'd get to America, obviously.
0:36:19 > 0:36:21All I could think about was, "I want to see the skyscrapers.
0:36:21 > 0:36:23"I want to get a hot dog."
0:36:23 > 0:36:25Hot dog!
0:36:25 > 0:36:27"And just experience New York."
0:36:29 > 0:36:31The biggest event on the promotional schedule?
0:36:31 > 0:36:34Saturday night's the Howard Cosell show.
0:36:34 > 0:36:38They put us in a big tartan box with a big ribbon on it
0:36:38 > 0:36:42and he goes, "Ladies and gentlemen, from Scotland," you know,
0:36:42 > 0:36:45"Scotland, England," or something like that,
0:36:45 > 0:36:46"The Bay City Rollers."
0:36:46 > 0:36:49And, of course, the ribbon was pulled to the side,
0:36:49 > 0:36:52"S-A-T-U-R..." And that was it.
0:36:53 > 0:36:56# S-A-T-U-R-D-A-Y night
0:36:56 > 0:37:00# S-A-T-U-R-D-A-Y night
0:37:00 > 0:37:03# S-A-T-U-R-D-A-Y night
0:37:03 > 0:37:07# S-A-T-U-R-D-A-Y night
0:37:07 > 0:37:10# S-A-T-U-R-D-A-Y night
0:37:10 > 0:37:13# Gonna keep on dancing to the rock 'n' roll
0:37:13 > 0:37:17# On Saturday night Saturday night... #
0:37:17 > 0:37:18It was about them.
0:37:18 > 0:37:22It was about these five young boys,
0:37:22 > 0:37:26different, accessible, fresh
0:37:26 > 0:37:28and coming to America.
0:37:28 > 0:37:33# I-I-I-I got a date... #
0:37:33 > 0:37:35I know we went to Rockefeller Center.
0:37:35 > 0:37:37I took pictures of them in front of the skating rink
0:37:37 > 0:37:39and then we went on top of the RC building
0:37:39 > 0:37:43and got the whole panorama of New York City behind them.
0:37:43 > 0:37:44# Do it all Have a ball
0:37:44 > 0:37:49# Saturday night Saturday night... #
0:37:49 > 0:37:51At the time, I made more money with the Rollers
0:37:51 > 0:37:53than any other band I worked with.
0:37:53 > 0:37:55If I would go to a magazine,
0:37:55 > 0:37:57I would show them pictures I had taken
0:37:57 > 0:37:58of all the bands I'd seen recently
0:37:58 > 0:38:00and they might take one picture of Blondie,
0:38:00 > 0:38:03maybe two or three pictures of the Rolling Stones
0:38:03 > 0:38:05and 48 pictures of the Bay City Rollers.
0:38:05 > 0:38:07# S-A-T-U-R-D-A-Y night
0:38:07 > 0:38:10# S-A-T-U-R-D-A-Y night... #
0:38:10 > 0:38:13The typical 16 reader was the girl
0:38:13 > 0:38:16who was too old to be sitting on daddy's knee
0:38:16 > 0:38:20and really too young to be dating the boy next door.
0:38:20 > 0:38:22So the Rollers, when they came over here,
0:38:22 > 0:38:24they were not only on the cover
0:38:24 > 0:38:27but on the banner, on the top banner.
0:38:27 > 0:38:29Many, many, many issues.
0:38:31 > 0:38:36There was room for a new phenomenon for teens.
0:38:36 > 0:38:38A group for teens.
0:38:43 > 0:38:45During the week that they spent in New York,
0:38:45 > 0:38:49I spent a lot of time on the phone to Carol Strauss.
0:38:49 > 0:38:52She was really happy to tell us exactly what they were going
0:38:52 > 0:38:54to be doing and where to find them.
0:38:56 > 0:38:58It was from one event to the next.
0:38:58 > 0:39:00They would pop out of the cars,
0:39:00 > 0:39:02or, in one case, the helicopter,
0:39:02 > 0:39:04and, you know, run into the event
0:39:04 > 0:39:06because there were a lot of screaming and kids outside,
0:39:06 > 0:39:08the cops holding them back,
0:39:08 > 0:39:10and so there was always chaos wherever we went.
0:39:10 > 0:39:12I was having a really good look at them, up and down,
0:39:12 > 0:39:15and I suddenly saw that Leslie, as he was called then,
0:39:15 > 0:39:19wasn't wearing underwear and I thought, "Edgy!"
0:39:19 > 0:39:21Oh, yeah, that's common.
0:39:21 > 0:39:25I mean, we didn't know what underwear was until we were like 16.
0:39:27 > 0:39:29I did get a really good picture of Woody.
0:39:29 > 0:39:33He was wearing his top button, top trouser button, undone,
0:39:33 > 0:39:34which was a Roller thing.
0:39:34 > 0:39:38It was actually a Tam thing.
0:39:38 > 0:39:40He insisted that they were their top buttons undone
0:39:40 > 0:39:43because it was a little bit provocative
0:39:43 > 0:39:47but, at the time, I just thought, "God," I mean, "Mind blown."
0:39:47 > 0:39:48It was amazing.
0:39:48 > 0:39:51Helicopters and planes and hotels.
0:39:51 > 0:39:54Looking out the window and, every time you stuck your head
0:39:54 > 0:39:56out a window, you'd have thousands of people going "Wahey!"
0:39:56 > 0:39:59And then getting the phone call saying, "Could you stop?
0:39:59 > 0:40:00"Pull your curtains, please."
0:40:00 > 0:40:03You know, you'll get thrown out.
0:40:03 > 0:40:06Imagine if you could do that in real life.
0:40:06 > 0:40:10I mean, almost like scratching your ear and have people faint
0:40:10 > 0:40:13because that was the sexiest thing they ever saw.
0:40:13 > 0:40:16Nothing could go wrong. It was just...
0:40:16 > 0:40:17Couldn't believe it.
0:40:17 > 0:40:21And here we are, we've made it, in America.
0:40:21 > 0:40:24# S-A-T-U-R-D-A-Y... #
0:40:24 > 0:40:27By January 1976,
0:40:27 > 0:40:30Saturday Night had climbed to the top of the Billboard chart.
0:40:30 > 0:40:33Saturday Night went to number one in America
0:40:33 > 0:40:36and sold 12 million records.
0:40:36 > 0:40:38We were thrilled. We were over the moon.
0:40:38 > 0:40:40It was mission accomplished.
0:40:42 > 0:40:45# It's just a Saturday night... #
0:40:45 > 0:40:47The Rollers had even reached the depths
0:40:47 > 0:40:50of New York's underground punk scene.
0:40:50 > 0:40:53The Bay City Rollers were probably the least cool band in the world
0:40:53 > 0:40:57at the time, when Saturday Night became a hit in America.
0:40:57 > 0:41:01Therefore, they would be right high up on the list of the bands
0:41:01 > 0:41:04the Ramones would think were very, very cool.
0:41:04 > 0:41:06HE LAUGHS
0:41:06 > 0:41:08We loved them. They had a number one hit.
0:41:08 > 0:41:09Why didn't we get a number one hit?
0:41:09 > 0:41:11What's their secret? What are they doing?
0:41:11 > 0:41:13Come on, you know them, what do they do?
0:41:13 > 0:41:15How'd they get number one?
0:41:15 > 0:41:19There were two things that were very influential.
0:41:19 > 0:41:22One was this idea of three-minute pop, and quick,
0:41:22 > 0:41:26and everybody having kind of a uniform look,
0:41:26 > 0:41:30and their fans copying what the band looked like.
0:41:30 > 0:41:33And the other aspect of it was the football chant
0:41:33 > 0:41:35at the beginning of Saturday Night.
0:41:35 > 0:41:37# Hey, ho, let's go!
0:41:37 > 0:41:40# Hey, ho, let's go!
0:41:40 > 0:41:42# Hey, ho, let's go! #
0:41:42 > 0:41:44I don't see how anybody's ever missed this -
0:41:44 > 0:41:46the opening of Saturday Night
0:41:46 > 0:41:50is virtually the same as Blitzkrieg Bop.
0:41:50 > 0:41:52# The kids are losing their minds
0:41:52 > 0:41:54# Blitzkrieg bop... #
0:41:55 > 0:41:58Blitzkrieg Bop is,
0:41:58 > 0:42:01if not note for note or word for...
0:42:01 > 0:42:04It's not word for word, but in feeling and everything,
0:42:04 > 0:42:05it's a direct homage.
0:42:07 > 0:42:09# Hey, ho, let's go!
0:42:09 > 0:42:13# Hey, ho, let's go! #
0:42:13 > 0:42:15No-one was immune to their charm.
0:42:15 > 0:42:18# Hey, ho, let's go! #
0:42:18 > 0:42:21I mean, it doesn't get much better than that, and we were like,
0:42:21 > 0:42:24"My God, this is really taking off now," you know?
0:42:25 > 0:42:30I can only refer to it as like a white stallion,
0:42:30 > 0:42:33and in fact, it's staying on that's the problem.
0:42:33 > 0:42:38# Oh, you dream of a silver stallion
0:42:38 > 0:42:42# Riding high on the stars above... #
0:42:42 > 0:42:45The Rollers' desire for more artistic control
0:42:45 > 0:42:48was about to see off another producer.
0:42:50 > 0:42:52We were making a third album,
0:42:52 > 0:42:54and the boys had written...
0:42:54 > 0:42:57I don't know, it might have been four or five songs
0:42:57 > 0:42:59for the new album.
0:42:59 > 0:43:02And these songs weren't great.
0:43:03 > 0:43:04Eric and Woody, yeah,
0:43:04 > 0:43:07they were writing a lot of songs around that time as well.
0:43:07 > 0:43:10We had the same problem over again.
0:43:10 > 0:43:13The boys still wanted to write, and Phil Wainman didn't think either
0:43:13 > 0:43:15that they should be writing their own material.
0:43:15 > 0:43:19I mean, I still wonder if ANY track that we did
0:43:19 > 0:43:21was going to go to number one,
0:43:21 > 0:43:24because the band had become more popular
0:43:24 > 0:43:27than probably the music that we were doing.
0:43:27 > 0:43:31And I said, well, this is maybe wasting... You're wasting my time.
0:43:31 > 0:43:34# Oh, Marlena... #
0:43:35 > 0:43:37With the world at their feet,
0:43:37 > 0:43:41the Rollers escaped the hot summer of '76 to cement their superstardom.
0:43:44 > 0:43:45# Don't you know
0:43:45 > 0:43:49# You're gonna dream your life away? #
0:43:49 > 0:43:51Just remember finishing the acoustic guitar,
0:43:51 > 0:43:53you know, at the end of the song - drrring!
0:43:53 > 0:43:55"That was great, guys, eh?"
0:43:55 > 0:43:57And everyone's going, "Shut up, shut up!"
0:43:57 > 0:43:59You're meant to, drrring,
0:43:59 > 0:44:02just let it... You know, quiet. Then speak.
0:44:02 > 0:44:04So we had to do that track again.
0:44:15 > 0:44:18- # Money - Money
0:44:18 > 0:44:21# Can't make you turn your head, now... #
0:44:23 > 0:44:26Rallying crowds of tartan teenagers
0:44:26 > 0:44:29in the United States, Canada and Japan,
0:44:29 > 0:44:32in 1976 Rollermania took over the world.
0:44:35 > 0:44:39Tam was very much responsible for a lot of their day-to-day lives,
0:44:39 > 0:44:42and he told them when to get up
0:44:42 > 0:44:43and when to go to bed.
0:44:43 > 0:44:48And it was him who decided they were going to be squeaky-clean.
0:44:48 > 0:44:51In the hotels, we always had to double up in the hotel
0:44:51 > 0:44:53so nobody would get up to any shenanigans.
0:44:53 > 0:44:55You weren't allowed to have any girlfriends
0:44:55 > 0:44:57or anything like that, you know.
0:44:57 > 0:45:00Or any kind of, you know, obvious girlfriends.
0:45:00 > 0:45:03- Do you have a girlfriend? - Not at the moment, no.
0:45:03 > 0:45:05Woody, do you have a girlfriend?
0:45:05 > 0:45:07Er, not at the moment. Still looking.
0:45:07 > 0:45:11- Are you really looking? - Yeah, because I mean, well, I'm 18.
0:45:11 > 0:45:13I mean, aah...!
0:45:13 > 0:45:16- Would you tell me if you had one?- No.
0:45:16 > 0:45:17If the band were seen to have girlfriends,
0:45:17 > 0:45:19that would turn a lot of the fans off.
0:45:19 > 0:45:22I think there's plenty of years ahead of us to get settled down
0:45:22 > 0:45:23and get married and that, you know?
0:45:23 > 0:45:26Apparently it was also his brilliant idea to put jugs of milk
0:45:26 > 0:45:30on tables at press conferences and pretend that they only drank milk.
0:45:33 > 0:45:36There was no alcohol around.
0:45:36 > 0:45:39I remember one time in between something
0:45:39 > 0:45:41I had a sip of something,
0:45:41 > 0:45:43and from five feet away,
0:45:43 > 0:45:46Tam Paton turned around and said, "Who's been drinking?"
0:45:46 > 0:45:48I was like, "Oops."
0:45:49 > 0:45:52Tam's monastic regime and rigorous touring
0:45:52 > 0:45:56took the Eric and Woody track Money Honey to number nine in the US.
0:46:00 > 0:46:03But back home, the media spotlight was falling
0:46:03 > 0:46:05on how much money the band were making
0:46:05 > 0:46:06and how well it was being managed.
0:46:06 > 0:46:09It's upon me to see that they do survive.
0:46:09 > 0:46:13I mean, no use in 10 years' time or 12 years' time or 15 years' time
0:46:13 > 0:46:17to turn round and say, "Tam Paton was our manager.
0:46:17 > 0:46:20"I'm working on a truck now. I'm driving a truck.
0:46:20 > 0:46:22"I haven't got a penny to rub together."
0:46:22 > 0:46:24We had been getting it in the earhole -
0:46:24 > 0:46:25"You guys are all millionaires,
0:46:25 > 0:46:28"you've got nothing to worry about for the rest of your life.
0:46:28 > 0:46:30"I've got it all fixed out for you."
0:46:30 > 0:46:33What he meant was, "I've got it all sorted out for me.
0:46:33 > 0:46:36- "And you guys are all screwed." - HE LAUGHS
0:46:36 > 0:46:39How much did you earn last year?
0:46:39 > 0:46:41Erm, I don't know. You'd probably have to ask Tam that one.
0:46:41 > 0:46:44We came from a background with very little education.
0:46:44 > 0:46:47Basically, we were pretty dumb, you know.
0:46:47 > 0:46:50So all we knew was how to play the music and go on the road.
0:46:52 > 0:46:56By early 1976, founder member Alan had had enough.
0:46:56 > 0:46:58I think I left around about April, May.
0:46:58 > 0:47:01It was just in your face all the time, you know?
0:47:01 > 0:47:04I was getting depressed and things like that.
0:47:04 > 0:47:08I just couldn't take it any more, and I just said, "I'm going."
0:47:08 > 0:47:11THEY CHEER
0:47:11 > 0:47:13Alan, you sad at all at leaving the Rollers?
0:47:13 > 0:47:16Sometimes, yeah, cos I really enjoyed it
0:47:16 > 0:47:18when I was with the group, but I think I've...
0:47:18 > 0:47:20It took me a year to make the decision.
0:47:20 > 0:47:23Ian, are you looking forward to all the money you're going to make?
0:47:23 > 0:47:26Well, I'm not really in it just for the money.
0:47:26 > 0:47:29I like to travel the world and things like that.
0:47:29 > 0:47:31That's going to make life very different for you, isn't it?
0:47:31 > 0:47:34Travelling around the world, after Belfast.
0:47:34 > 0:47:37How does it feel having an Irishman amongst all of you?
0:47:37 > 0:47:39- It's really great. - It's different.- It's different.
0:47:39 > 0:47:41Nah, he's a not bad lad.
0:47:41 > 0:47:44It's better than having all these Scottish guys, you know.
0:47:46 > 0:47:50With new boy Ian Mitchell in, the Rollers were back across the pond
0:47:50 > 0:47:53to promote new album, Rock n' Roll Love Letter.
0:47:56 > 0:48:00I think when Alan left the band, that was the beginning of the end.
0:48:03 > 0:48:07The constant touring and desire to outgrow their teen label
0:48:07 > 0:48:09had taken its toll.
0:48:10 > 0:48:13I'd wake up sometimes and not know what country I was in,
0:48:13 > 0:48:17because we were sort of jet-setting about the place so often.
0:48:17 > 0:48:20Theatres are theatres. Wherever you're playing, venues are venues.
0:48:20 > 0:48:23The limos to the hotels, the aeroplanes -
0:48:23 > 0:48:25it just became a big mush.
0:48:29 > 0:48:33The incessant globetrotting left UK fans wondering
0:48:33 > 0:48:35what had happened to the boys next door.
0:48:35 > 0:48:38Don't you think to some extent this is letting down your fans?
0:48:38 > 0:48:40There have been quite a lot of stories,
0:48:40 > 0:48:42especially in the pop papers, Tam, haven't there,
0:48:42 > 0:48:44that time is over now?
0:48:44 > 0:48:45Oh, yeah. "It's time to go," you know.
0:48:45 > 0:48:48"The Rollers have finished", and all this kind of thing.
0:48:48 > 0:48:50Our fans aren't stupid,
0:48:50 > 0:48:53and I don't think they will believe things that people put in papers.
0:48:53 > 0:48:55And I hope they never will.
0:48:55 > 0:49:00Things were probably starting to fall apart a little bit by then.
0:49:01 > 0:49:05Ian Mitchell quit the Rollers after just six months.
0:49:05 > 0:49:09His replacement, Pat McGlynn, lasted even less time,
0:49:09 > 0:49:13while the band's involvement in an ill-fated American kids' TV show
0:49:13 > 0:49:16did nothing to reassure British bands,
0:49:16 > 0:49:18nor heal the growing rifts within the group.
0:49:18 > 0:49:20# When we walk down the street
0:49:22 > 0:49:25# See the people stop and stare and say
0:49:25 > 0:49:30# Haven't I seen that face somewhere a long time ago? #
0:49:30 > 0:49:32I was feeling restricted.
0:49:32 > 0:49:37Tam Paton still had an iron grip type control on the other guys,
0:49:37 > 0:49:42so they were in the camp, let's say, and I was halfway over the fence.
0:49:42 > 0:49:44He kind of went off the rails a bit,
0:49:44 > 0:49:46cos he was hanging out with all kinds of people that'd tell him
0:49:46 > 0:49:48how wonderful he was and how great he was,
0:49:48 > 0:49:50and unfortunately he just took that on board.
0:49:50 > 0:49:53And then he kind of moved further and further away
0:49:53 > 0:49:55from the rest of the band, thinking, you know,
0:49:55 > 0:49:58that he was going to be the great big solo star.
0:50:01 > 0:50:03Well, I was absolutely loving it,
0:50:03 > 0:50:08being famous all over the world, and I just wanted to eat it up.
0:50:08 > 0:50:11I was young and...
0:50:11 > 0:50:13horny and all those sort of things,
0:50:13 > 0:50:17and I just wanted to get out there and just, you know, eat things.
0:50:17 > 0:50:22You know, everything. I wanted to just be a famous pop star.
0:50:22 > 0:50:26# And I'll show you a song from the heart... #
0:50:26 > 0:50:29CHEERING
0:50:29 > 0:50:31Now, just back from the States, I've got here with me
0:50:31 > 0:50:37the tartan terrors, the BCRs, or the Bay City Rollers.
0:50:42 > 0:50:47In August '77, the Rollers unveiled their sixth studio album.
0:50:49 > 0:50:54# I believe that love has gone
0:50:54 > 0:50:57# I've no strength to carry on
0:50:58 > 0:51:03# Thought my world was upside down
0:51:03 > 0:51:05# Then... #
0:51:05 > 0:51:08Enlisting David Bowie's producer, Harry Maslin,
0:51:08 > 0:51:11It's A Game revealed a more mature sound,
0:51:11 > 0:51:14and its eponymous single, peaking at number 16,
0:51:14 > 0:51:18would give the band their last ever UK top 20 spot.
0:51:18 > 0:51:21# You made me believe in magic
0:51:21 > 0:51:25# You know that I can be true to your love... #
0:51:25 > 0:51:30By about late 1977 they were declining in popularity quite a bit.
0:51:30 > 0:51:33I mean, there's obviously a sell-by date for all boybands,
0:51:33 > 0:51:35and the Rollers were reaching theirs.
0:51:35 > 0:51:37They'd had a really good run from '74 to '77.
0:51:37 > 0:51:40So the fans were growing up, and also the Rollers themselves,
0:51:40 > 0:51:43they were obviously completely fed up with it.
0:51:44 > 0:51:49In 1977, a new teen sensation took over the streets of Britain.
0:51:49 > 0:51:52That was a Conservative pound.
0:51:54 > 0:51:59That's the Labour pound after four years of Labour government.
0:52:03 > 0:52:06As the pop world mourned the death of Marc Bolan,
0:52:06 > 0:52:09the Rollers went back into the studio.
0:52:09 > 0:52:13But despite Alan returning, the band was in turmoil.
0:52:13 > 0:52:16# You made me believe in magic... #
0:52:16 > 0:52:18I said, "Well, look, I want my own security
0:52:18 > 0:52:21"cos I don't feel safe around you guys."
0:52:21 > 0:52:23So I get my own security and they've got their own security,
0:52:23 > 0:52:26and I want picked up in my limo, they get picked up in their limo.
0:52:26 > 0:52:29So it got to one of those really childish...
0:52:29 > 0:52:32This kind of thing.
0:52:32 > 0:52:34But I couldn't escape from it.
0:52:36 > 0:52:41By the time they arrived to play a concert in Osaka, Japan in 1978,
0:52:41 > 0:52:42the band were unravelling.
0:52:44 > 0:52:48I'd be on stage singing, and there would be no spotlight on me.
0:52:48 > 0:52:51So where do I go for my spotlight?
0:52:51 > 0:52:55Wherever the spotlights are, and that's where the problem started.
0:52:55 > 0:53:00And here's buggerlugs decides to walk along and stand in front of me.
0:53:00 > 0:53:02It wasn't that I stole someone's spotlight.
0:53:02 > 0:53:05It was more, I didn't have a spotlight and I wanted one.
0:53:05 > 0:53:08Just, you know, stealing the limelight.
0:53:08 > 0:53:12# It's a game, a game, a game
0:53:12 > 0:53:14# That we're playing... #
0:53:14 > 0:53:16Les was actually going up front,
0:53:16 > 0:53:18going up to Woody and pushing him all the time.
0:53:18 > 0:53:20And Woody was getting annoyed and annoyed,
0:53:20 > 0:53:21and I could see it happening,
0:53:21 > 0:53:23but you're in front of maybe 20,000 people,
0:53:23 > 0:53:25you can't do anything about it, you know?
0:53:25 > 0:53:28Les, great performer - he was up the front of the stage,
0:53:28 > 0:53:32used to kind of work that stage and get the audience, "Yeah!"
0:53:32 > 0:53:33Join in, and all this.
0:53:33 > 0:53:36He's at the front of the stage, and a bundle of people there,
0:53:36 > 0:53:38and it was those sort of 10-foot high stages.
0:53:40 > 0:53:42Boot. Just kicked him right off the stage.
0:53:42 > 0:53:45I don't know what overcame me. I just couldn't resist it.
0:53:45 > 0:53:47It was just the way he was bending down,
0:53:47 > 0:53:49and I thought, "Right, ya wee..."
0:53:49 > 0:53:52Boot. And off he went, flying into the audience.
0:53:52 > 0:53:56I remember there were a couple of punches thrown as well,
0:53:56 > 0:53:59and it was a bit kind of... This was a concert, for goodness' sake.
0:53:59 > 0:54:00It was like, "Oh, God.
0:54:00 > 0:54:03"You can't behave like that on stage," you know?
0:54:03 > 0:54:04So it was just cos the frustrations
0:54:04 > 0:54:06were getting the better of everybody.
0:54:06 > 0:54:08HE LAUGHS
0:54:08 > 0:54:10As you say, it's like Spinal Tap.
0:54:10 > 0:54:13It was comedy, if it wasn't so painful.
0:54:17 > 0:54:19But the writing was really on the wall
0:54:19 > 0:54:24when Les left in the summer of 1978. It was kind of...
0:54:24 > 0:54:26It was almost like the ravens leaving the Tower Of London,
0:54:26 > 0:54:29or Robbie leaving Take That.
0:54:31 > 0:54:34The classic Bay City Roller line-up was over.
0:54:36 > 0:54:40With Les gone, the remaining Rollers hired a new singer,
0:54:40 > 0:54:44and, in 1979, fired manager Tam Paton.
0:54:45 > 0:54:49It would mark the start of a protracted and costly legal battle
0:54:49 > 0:54:51between themselves and their label
0:54:51 > 0:54:54in pursuit of the money they were owed.
0:54:54 > 0:54:56And of course, Les fell out with everybody,
0:54:56 > 0:54:58and then we fell out with him,
0:54:58 > 0:55:01and then we fell out with Eric and everybody fell out with each other.
0:55:01 > 0:55:05Eventually we lost the house and all this kind of stuff. It was terrible,
0:55:05 > 0:55:08cos don't forget, I had asked my mum and dad to move
0:55:08 > 0:55:11out of their council house and come and live in this house with me.
0:55:11 > 0:55:14"Don't worry, I'm a millionaire. I'll look after you."
0:55:14 > 0:55:16I think we were definitely ripped off, that's for sure,
0:55:16 > 0:55:18but I think there was a big element of naivete as well.
0:55:18 > 0:55:22People would come along and tell you, "You guys just concentrate on playing
0:55:22 > 0:55:25"and we'll do all the business stuff," and you just accepted that.
0:55:27 > 0:55:31Despite estimated global sales of over 300 million records,
0:55:31 > 0:55:34the Rollers maintain they never saw their share.
0:55:34 > 0:55:38I have no qualms about saying about Tam Paton that he was a disgrace.
0:55:38 > 0:55:41He deserved to die a broken man,
0:55:41 > 0:55:45because those wee boys should have had everything.
0:55:45 > 0:55:48There'd be no point in majoring on...
0:55:48 > 0:55:50on the disintegration of the Bay City Rollers.
0:55:50 > 0:55:52That's painful for everybody.
0:55:52 > 0:55:55It's painful for me, and it's certainly painful for them.
0:55:55 > 0:55:57CHEERING AND SCREAMS
0:55:57 > 0:55:59We're going to do a number called Shang-a-Lang.
0:55:59 > 0:56:01CHEERING
0:56:01 > 0:56:03The Rollers should be remembered for their glory days.
0:56:03 > 0:56:06They were undoubtedly the biggest pop group
0:56:06 > 0:56:10before One Direction or any of these things came along.
0:56:10 > 0:56:13The invention of boy bands became an industry
0:56:13 > 0:56:16thanks to the Bay City Rollers, I think.
0:56:16 > 0:56:19# We were rippin' up We were rockin' up
0:56:19 > 0:56:22# Roll it over and lay it down... #
0:56:24 > 0:56:26It simply has everything.
0:56:26 > 0:56:30The deals that go wrong, the ripping off of young, innocent people,
0:56:30 > 0:56:35and of course at the heart of all of this is just great summer pop music.
0:56:35 > 0:56:39# Hey, hey, rockin' to the music... #
0:56:39 > 0:56:43The songs were genuinely happy, vibrant,
0:56:43 > 0:56:46slightly punky songs.
0:56:46 > 0:56:50When I hear them now, I still smile every time.
0:56:53 > 0:56:55The band has actually made a stamp on history,
0:56:55 > 0:56:57and I'm quite happy with that.
0:56:59 > 0:57:04I think it just happened to fit the music industry at that time.
0:57:04 > 0:57:06I think we brought a lot of fun,
0:57:06 > 0:57:09a lot of great times for many, many people,
0:57:09 > 0:57:11many thousands of people all over the world.
0:57:13 > 0:57:17If I was to close my eyes and just sort of think and meditate,
0:57:17 > 0:57:23or just be relaxed and just, you know...
0:57:23 > 0:57:27"What does the '70s mean to you, Les?"
0:57:27 > 0:57:30And I would just see a sea of smiling faces,
0:57:30 > 0:57:33singing along with me, and that's all I would see.
0:57:40 > 0:57:42# Headin' out of the city life
0:57:44 > 0:57:47# A suitcase full of dreams
0:57:48 > 0:57:51# Trying to find some kind of memories
0:57:51 > 0:57:54# That didn't hold a distant scheme
0:57:57 > 0:58:00# Something she said I can't remember
0:58:00 > 0:58:04# But I answered her in turn all the same
0:58:04 > 0:58:07# And what I saw in her style
0:58:07 > 0:58:09# Well I've seen it before
0:58:09 > 0:58:12# But somehow it looked quite different this time
0:58:15 > 0:58:19# Goodbye to all the friends I never had
0:58:19 > 0:58:22# Do you still remember me
0:58:23 > 0:58:27# Takin' care of all your business
0:58:27 > 0:58:29# You give it all away
0:58:30 > 0:58:33# And I wonder
0:58:33 > 0:58:37# With all your broken dreams and promises
0:58:37 > 0:58:39# If you ever knew me at all
0:58:41 > 0:58:44# For we are older now
0:58:44 > 0:58:48# But somehow you still look the same
0:58:49 > 0:58:52# Say a prayer for the one you need... #