0:00:02 > 0:00:09This programme contains some strong language.
0:00:27 > 0:00:29MUSIC: "Movin' On Up" by Primal Scream
0:00:41 > 0:00:45We wanted to make a classic, a great hit record, you know.
0:00:45 > 0:00:48Something that was, like, ecstatic.
0:00:48 > 0:00:53We created something which was conceived as completely new.
0:00:53 > 0:00:55A song could be, suddenly be anything,
0:00:55 > 0:00:59it didn't necessarily have to be verse, chorus, verse, chorus.
0:00:59 > 0:01:02MUSIC: "Loaded" by Primal Scream
0:01:10 > 0:01:14It was very optimistic, the times, I suppose. Anything was possible, really.
0:01:14 > 0:01:17Being a rock band that makes people dance is actually quite rare.
0:01:27 > 0:01:29I can't put my finger on why it works.
0:01:29 > 0:01:33I don't know why it's a great record and that's why it's a great record.
0:01:33 > 0:01:39I think it's a brave, exploratory record which, for all of that, sums up its time.
0:01:39 > 0:01:44The Stone Roses had peaked, the Happy Mondays had peaked, and these bands were imploding,
0:01:44 > 0:01:48so, Primal Scream kind of waded into this huge wave of expectation.
0:01:56 > 0:01:58It brought so many people together.
0:01:58 > 0:02:00I mean, it's a cliche, but it's true.
0:02:00 > 0:02:03MUSIC: "Come Together" by Primal Scream
0:02:09 > 0:02:12I always just totally believed in Bobby, ultimately.
0:02:12 > 0:02:17"You're going to be a pop star." And, you know, 1990, he was.
0:02:27 > 0:02:30# I was blind
0:02:30 > 0:02:32# Now I can see
0:02:32 > 0:02:35# You made a believer... #
0:02:35 > 0:02:40We wrote it as a ballad, it was a really slow ballad.
0:02:40 > 0:02:43And it was... It sounded absolute crap.
0:02:43 > 0:02:47It was piano and a vocal song, like a kinda...
0:02:47 > 0:02:50a gospel song. Um...
0:02:51 > 0:02:54And we were... We weren't really getting anywhere with it
0:02:54 > 0:02:56and Andrew came up with the...
0:02:56 > 0:02:59the Bo Diddley, Magic Bus guitar riff at the start.
0:02:59 > 0:03:02And that was the glue that held everything together.
0:03:02 > 0:03:06Picked up the guitar and went, "This is it, this is the intro,"
0:03:06 > 0:03:09and that then defined the groove of the record.
0:03:09 > 0:03:11It went from a crappy old ballad,
0:03:11 > 0:03:16that we couldn't work out to...
0:03:16 > 0:03:18probably our most successful song.
0:03:37 > 0:03:38Some claps.
0:03:41 > 0:03:42Some shaker.
0:03:44 > 0:03:49Then...listening? Then the congas.
0:03:52 > 0:03:54And we're motoring along now.
0:03:56 > 0:04:00I'm not the loudest singer in the world, you know,
0:04:00 > 0:04:01I have quite a soft voice,
0:04:01 > 0:04:04but we thought if we brought in a gospel choir,
0:04:04 > 0:04:10then it would enhance the choruses and make them sound even bigger, you know.
0:04:10 > 0:04:15It was just record production, really. And also we loved Phil Spector's productions.
0:04:15 > 0:04:17# My love shines on
0:04:17 > 0:04:20# My love shines on
0:04:20 > 0:04:23# My love shines on
0:04:23 > 0:04:25# My love shines on... #
0:04:25 > 0:04:27Jimmy Miller mixed it.
0:04:27 > 0:04:32Obviously he'd worked with the Stones and, you know, the Spencer Davis Group and all that,
0:04:32 > 0:04:37the records we really like and we just thought, "This is perfect for him."
0:04:37 > 0:04:40He was fast and he knew what...
0:04:40 > 0:04:43He knew what to do and he taught us a guitar should answer...
0:04:43 > 0:04:47singing, you shouldn't solo all the way down something,
0:04:47 > 0:04:49you should answer the vocal at all times.
0:04:49 > 0:04:52And it should be a, you know, call-and-response thing.
0:04:52 > 0:04:55You know, the voice goes you know,
0:04:55 > 0:04:58"My light shines on," and Throb goes, "Da, da, da da, da, da,"
0:04:58 > 0:05:02"My light shines on," "Da, da, da da, da, da."
0:05:02 > 0:05:05# My light shines on
0:05:07 > 0:05:11# My light shines on
0:05:12 > 0:05:15# My light shines on
0:05:17 > 0:05:20# My light shines on
0:05:20 > 0:05:22# Everybody sing it
0:05:22 > 0:05:26# Gettin' outta darkness My light shines on
0:05:26 > 0:05:27# Shines on
0:05:27 > 0:05:30# Gettin' outta darkness My light shines on
0:05:30 > 0:05:32# Light shines on
0:05:32 > 0:05:35# Gettin' outta darkness My light shines on
0:05:35 > 0:05:36# Light shines on
0:05:36 > 0:05:40# Gettin' outta darkness My light shines on
0:05:40 > 0:05:42# Light shines on. #
0:05:44 > 0:05:47CHEERING
0:05:49 > 0:05:54I knew this much, that we had the track to start the album with.
0:05:54 > 0:05:57When we, you know, when this was finished, when Jimmy mixed it,
0:05:57 > 0:06:00we knew we had a great start to the album, you know.
0:06:02 > 0:06:06My first memory of Robert Young is a little kid and he could,
0:06:06 > 0:06:09you know, he could play the start to this Clash song.
0:06:09 > 0:06:10I was really impressed.
0:06:10 > 0:06:15He was about 15 or something, and he lived right across the road from me.
0:06:15 > 0:06:19And he'd stick speakers out the window, and he'd,
0:06:19 > 0:06:23you know, like, let our street know
0:06:23 > 0:06:26that he's got the new Ramones single,
0:06:26 > 0:06:29or he's got the new Pistols single.
0:06:29 > 0:06:31Cos the other guy that could do the same thing,
0:06:31 > 0:06:34when I first met him, was Andrew Innes when he was 15.
0:06:34 > 0:06:36And he could play Never Mind The Bollocks,
0:06:36 > 0:06:40the first Clash album, the first three Jam albums, you know?
0:06:40 > 0:06:44Um, the Rich Kids, Generation X, you know?
0:06:44 > 0:06:48He could play all the punk stuff, plus The Beatles!
0:06:48 > 0:06:52And McGee lived, um, just down the road.
0:06:52 > 0:06:54I got into punk maybe about...
0:06:54 > 0:06:58maybe a month before Bobby. Whatever, I mean, who cares?
0:06:58 > 0:07:01It's not like... You don't get a badge for it.
0:07:01 > 0:07:05And, um... And he was the only other person in our area
0:07:05 > 0:07:09that got it as well, so we kind of were thrown together.
0:07:09 > 0:07:12I met him through Alan McGee,
0:07:12 > 0:07:17we'd sort of, you know, met through trying to form a band
0:07:17 > 0:07:22on the south side of Glasgow and he was one of Alan's friends
0:07:22 > 0:07:28so we just ended up sitting up, trying to play punk songs together,
0:07:28 > 0:07:33he was singing I was playing guitar. And Alan played bass as well.
0:07:33 > 0:07:37I think we were called Captain Scarlet and the Mysterons.
0:07:37 > 0:07:40I don't think we intended to be a band, it was a bit of fun.
0:07:40 > 0:07:43We never played a show, except in Andrew Innes's bedroom
0:07:43 > 0:07:46and me and Innes were drinking so...
0:07:46 > 0:07:50God, drinking at 16 what a great advert for the kids, that one(!)
0:07:50 > 0:07:52But, anyway, Andrew would be a bit...
0:07:52 > 0:07:56Andrew's younger than me by quite a long way. Andrew would be about 14,
0:07:56 > 0:07:59so Andrew and me used to drink four cans of Tennent's, each,
0:07:59 > 0:08:00and be smashed!
0:08:00 > 0:08:07But the one that was even more mental - and he was sober - was Gillespie, who was rolling around.
0:08:07 > 0:08:10Me, just rolling around the floor, screaming, pretending I had a mic.
0:08:10 > 0:08:16Me and Alan sort of went to London when we were 18, 19.
0:08:16 > 0:08:20I just didn't want a real job, so when I started running a club,
0:08:20 > 0:08:25I chucked in my British Rail job and I'd formed Creation in '83.
0:08:25 > 0:08:27This was the '80s, so, you know,
0:08:27 > 0:08:30there was things like Frankie Goes To Hollywood going on
0:08:30 > 0:08:38and, you know, a lot of kinda Howard Jones and kinda big, shiny, plastic, chart pop.
0:08:38 > 0:08:42So to be influenced by punk, you know, in the mid-'80s
0:08:42 > 0:08:47was kinda like a weird thing, really, you know, because it wasn't really
0:08:47 > 0:08:51a guaranteed way of having any kind of success, you know.
0:08:51 > 0:08:53I'd just finished touring with Nico,
0:08:53 > 0:08:58I was with Nico for about six or seven years before she died
0:08:58 > 0:09:01and, um there was an advertisement in the NME.
0:09:01 > 0:09:04I was looking for a drummer who was into, like,
0:09:04 > 0:09:09Johnny Thunders, The Heartbreakers, the MC5, you know, Stooges.
0:09:09 > 0:09:13"Beach Boys, New York Dolls," and I thought, "Oh, that's interesting,"
0:09:13 > 0:09:15applied for it and it was Primal Scream.
0:09:15 > 0:09:20I went down to audition and that's it. That's it, really.
0:09:20 > 0:09:24Well, I played in a band called Felt from Birmingham
0:09:24 > 0:09:29and we were on Creation Records, so that's when we first met.
0:09:29 > 0:09:33I remember thinking, "I wish he was in our band."
0:09:33 > 0:09:37And when I heard Felt were splitting up, I just rang him up,
0:09:37 > 0:09:39said, "Do you you want to come play with us?"
0:09:39 > 0:09:41I got involved with Primal Scream
0:09:41 > 0:09:46because I lived downstairs from Toby, the drummer, and they wanted
0:09:46 > 0:09:51some string arrangements doing for...Dead Skin, which is on the Primal Scream album,
0:09:51 > 0:09:55and he shouted down and said, "I've got you some work".
0:09:55 > 0:09:58We were still trying to find a voice and trying to find a way
0:09:58 > 0:10:02and find a language, you know, we were still kind of finding ourselves.
0:10:02 > 0:10:05We went into Bark Studios in Walthamstow
0:10:05 > 0:10:09and we just recorded an album we wanted to do which is, you know,
0:10:09 > 0:10:13a straightforward rock 'n' roll, New York Dolls-y, punky album
0:10:13 > 0:10:16that's what we were listening to, that's where we all come from.
0:10:20 > 0:10:26# Ivy, Ivy, you destroy me Ivy, Ivy, you destroy me
0:10:26 > 0:10:33# Ivy, Ivy, you destroy me Ivy, Ivy, you destroy me
0:10:33 > 0:10:39# Ivy, Ivy, you destroy me Ivy, Ivy, you destroy me
0:10:39 > 0:10:46# Ivy, Ivy, you destroy me. Ivy, Ivy, you destroy me, you do. #
0:10:46 > 0:10:48By the second album, they were in danger
0:10:48 > 0:10:51of being a bit of a joke, actually, Primal Scream.
0:10:51 > 0:10:54With the leathers and the long hair and the speedy attitude,
0:10:54 > 0:10:57they were completely out of step with the times.
0:10:57 > 0:11:01I was doing the press for the group at the time and it was hard, man.
0:11:01 > 0:11:04It was really difficult. In fact, I'll never forget, actually,
0:11:04 > 0:11:07Andrew Innes, things were so bad, he said to me,
0:11:07 > 0:11:12"Can you not even get us in, like, the guitar magazines?" You know?
0:11:12 > 0:11:13And I couldn't!
0:11:13 > 0:11:17And they just toured and toured and toured and toured
0:11:17 > 0:11:20and it was called the Throw Away the Atlas Tour.
0:11:20 > 0:11:23They were playing Aberystwyth one night, Norwich the next,
0:11:23 > 0:11:25anywhere they good secure a booking.
0:11:25 > 0:11:28It was only McGee who obviously knew something,
0:11:28 > 0:11:31or hoped something good would come of it.
0:11:31 > 0:11:35I wouldn't give in. I mean, even though all the media hated Primal Scream,
0:11:35 > 0:11:40I didn't give a shit. I was just going to win with Primal Scream.
0:11:40 > 0:11:45# I don't want nobody else
0:11:45 > 0:11:50# I just want you to myself
0:11:50 > 0:11:53# I betrayed you
0:11:54 > 0:11:58# I'm sorry I hurt you... #
0:11:58 > 0:12:01It was the first song that we'd wrote that I thought,
0:12:01 > 0:12:04and Andrew thought, and Robert thought,
0:12:04 > 0:12:07"This is a really good song, our songwriting's getting good."
0:12:07 > 0:12:12It is a good... I think it's a classic love song. It's a cheating song.
0:12:13 > 0:12:15# Don't you believe me?
0:12:15 > 0:12:17# Will you redeem me?
0:12:18 > 0:12:21# Don't you believe me, baby?
0:12:22 > 0:12:25# Stay with me, come on
0:12:25 > 0:12:27# Stay with me
0:12:27 > 0:12:29# Stay with me, come on. #
0:12:29 > 0:12:34Easily the biggest response, the most important response we had to that record
0:12:34 > 0:12:38was from a DJ, a guy called Andrew Weatherall.
0:12:38 > 0:12:40He gave me a copy and I think, you know, er,
0:12:40 > 0:12:43and I think I came back to him a couple of days later going,
0:12:43 > 0:12:46"This is amazing, I love this record." He's like, "Really?"
0:12:46 > 0:12:48"You are literally the only one,"
0:12:48 > 0:12:51you know, "You are the only one in the world that likes it."
0:12:51 > 0:12:53And he picked up on all the ballads,
0:12:53 > 0:12:56especially I'm Losing More Than I'll Ever Have.
0:12:56 > 0:12:59A catalyst for a lot of this thing happening
0:12:59 > 0:13:04and she doesn't get the credit that she's due is an NME journalist called Helen Mead.
0:13:04 > 0:13:07I still remember that phone call, vividly,
0:13:07 > 0:13:14and it went something like, "Alan McGee has told me he's sacking me
0:13:14 > 0:13:17"unless I get some press on this record and at the moment,
0:13:17 > 0:13:22"I have nothing. Please, there must be something you can do to help!"
0:13:22 > 0:13:26She came up with a good idea. She said, "Why don't we make this work for everybody?
0:13:26 > 0:13:31"You're looking for a live review for your group. Why don't we get Andrew to do it?" So off we went.
0:13:31 > 0:13:33Andy came down to Exeter,
0:13:33 > 0:13:36and we got on right away, you know, he kind of liked...
0:13:36 > 0:13:38He liked a lot of the music that we like.
0:13:38 > 0:13:42My first meeting with Bobby, I had exceedingly long hair at the time,
0:13:42 > 0:13:45shoulder-length, kind of corkscrew hair,
0:13:45 > 0:13:48and I was sat waiting for him to come in and he came in
0:13:48 > 0:13:50and he looked me up and down and went,
0:13:50 > 0:13:54"Cool hair, man. It looks like Marc Bolan's. Is it a perm?"
0:13:55 > 0:13:59"Thank you. Thank you. No, it's not a perm."
0:13:59 > 0:14:03He'd a great sense of humour, as well. He's a really funny guy.
0:14:04 > 0:14:07So, he reviewed us for the NME.
0:14:07 > 0:14:12Although this was Exeter on a wet Wednesday and we were in a cupboard and it wasn't very rock 'n' roll,
0:14:12 > 0:14:16they gave the most rock 'n' roll performance I've ever seen.
0:14:16 > 0:14:18You know, that's when I knew it was in their bones.
0:14:18 > 0:14:22He gave them this great review and they clicked. They clicked,
0:14:22 > 0:14:24over this love of music. It was that simple.
0:14:24 > 0:14:29And the icing on the cake was, was that they gave him
0:14:29 > 0:14:32the opportunity to go into the studio for the first time.
0:14:32 > 0:14:37We approached him and says, "Look, would you remix I'm Losing More Than I'll Ever Have?"
0:14:37 > 0:14:40We thought, "Well, he can make a mix of this
0:14:40 > 0:14:45"cos it was done to a click track," cos, you know a lot of times then we hadn't done things to...
0:14:45 > 0:14:46to click tracks.
0:14:46 > 0:14:50The mix, I'm Losing More Than I'll Ever Have, which became known as Loaded,
0:14:50 > 0:14:53that was Innes and Weatherall.
0:14:53 > 0:14:56# I'm losing more than I'll ever have
0:14:56 > 0:14:59# I feel bad
0:14:59 > 0:15:03# Feel so bad, yeah... #
0:15:03 > 0:15:06He wasn't like a producer, or an engineer,
0:15:06 > 0:15:12and he was just like a guy who had ideas. It really appealed to our...
0:15:12 > 0:15:13punk-rock ethics.
0:15:13 > 0:15:16It's an experiment. Let's see what's happening.
0:15:16 > 0:15:19We've got this song, you're on the dance floor,
0:15:19 > 0:15:22or you're in control of the dance floor, in the right clubs
0:15:22 > 0:15:26so, although you may not know what you're doing technically,
0:15:26 > 0:15:28you know what you're doing structurally,
0:15:28 > 0:15:31arrangement-wise, and how it would work on a dance floor.
0:15:31 > 0:15:34I think he was getting 500 quid for doing it
0:15:34 > 0:15:39and he was, he was excited and he was more than a little bit scared.
0:15:39 > 0:15:44I was very nervous. I didn't know what you could and couldn't do,
0:15:44 > 0:15:48but I was full of what Orson Welles called the confidence of ignorance.
0:15:48 > 0:15:50Not that I'm likening the making of Loaded
0:15:50 > 0:15:54to the making of Citizen Kane, but when asked, "How did you do it,
0:15:54 > 0:15:58"how did you come up with something like that, you know, when you were like 23, 24?"
0:15:58 > 0:16:00He said, "It's the confidence of ignorance."
0:16:00 > 0:16:05And I was full of piss and vinegar and full of the confidence of ignorance.
0:16:05 > 0:16:09I don't know that I'm breaking rules cos I don't know what the rules are.
0:16:09 > 0:16:13When he first did it, he was kind of too polite with it and too...
0:16:13 > 0:16:16I mean, he'll tell you, he... he didn't want to ruin our song.
0:16:16 > 0:16:21Mr Innes came in, listened to it, visible disappointment, um, "OK,"
0:16:21 > 0:16:26and he was just like, "Nah, man, fucking destroy it," was his very words...
0:16:26 > 0:16:28You know, that was his... "Dinnae give a fuck."
0:16:28 > 0:16:32We put him on the spot, cos he'd never done it before
0:16:32 > 0:16:35and it took him six, seven attempts, you know,
0:16:35 > 0:16:38"There's a good bit there, a good bit there, a good bit there."
0:16:38 > 0:16:41The bass on I'm Losing More Than I'll Ever Have,
0:16:41 > 0:16:43it starts off with...
0:16:58 > 0:17:02So, following the chords. But none of that's in Loaded.
0:17:02 > 0:17:05The end section of I'm Losing More Than I'll Ever Have
0:17:05 > 0:17:08is E-flat, D-flat, A-flat and E-flat.
0:17:08 > 0:17:10It just goes round on those three chords
0:17:10 > 0:17:14so this bit of I'm Losing More Than I'll Ever Have went...
0:17:33 > 0:17:36I thought, "Right, OK, it's gotta be a big, epic piece."
0:17:37 > 0:17:40# I don't wanna lose your love
0:17:42 > 0:17:45# I don't wanna lose your love
0:17:47 > 0:17:49# I don't wanna lose your love
0:17:52 > 0:17:54# I don't wanna lose your love... #
0:17:56 > 0:18:02I was...blown away by that mix, I was completely blown away.
0:18:02 > 0:18:07It was everything that I loved. It had dub, the space of dub,
0:18:07 > 0:18:12guitars like the blues, Elmore James, Rolling Stones, you know, uh,
0:18:12 > 0:18:15you know, strings and horns like Curtis Mayfield.
0:18:15 > 0:18:18Bob and Andrew sort of started getting into...
0:18:20 > 0:18:27..the dance thing, which I absolutely hated...at the time.
0:18:27 > 0:18:33And...I even threatened to leave the band, you know,
0:18:33 > 0:18:35cos I wanted the rock 'n' roll thing.
0:18:35 > 0:18:39You know, as Quincy Jones always said, it's...
0:18:39 > 0:18:46music doesn't change, it's the beat that changes through time, and every generation has its beat.
0:18:46 > 0:18:49And Andy brought the beat that was modern.
0:18:49 > 0:18:55And then Innes, Mr Innes came up with the idea of, "Let's mix the two together."
0:18:55 > 0:18:58You know it was new music, it was exciting.
0:18:58 > 0:19:04It was new sounds, it wasn't such a formulaic-ness to it, it could...
0:19:04 > 0:19:11A song could just be a horn riff, it could just be a vocal stutter,
0:19:11 > 0:19:13a song could be... suddenly be anything.
0:19:13 > 0:19:16One Manchester DJ, who shall remain nameless, said...
0:19:16 > 0:19:19described it as nonsense,
0:19:19 > 0:19:23and he used the words, "Soft, Southern-drinking shandy shite"!
0:19:23 > 0:19:26Andrew was there the first night it was played,
0:19:26 > 0:19:29and I think it was Subterranea, over in west London,
0:19:29 > 0:19:33and I was still up at four in the morning, and he called me up,
0:19:33 > 0:19:37and he was like, "Bob, Bob, Weatherall played Loaded,"
0:19:37 > 0:19:40and he goes, "The whole club went absolutely crazy."
0:19:40 > 0:19:46Yeah, the reaction was insane, culminating in, about halfway through,
0:19:46 > 0:19:52the whole crowd doing that Sympathy For The Devil "woo-woo" thing over the top.
0:19:52 > 0:19:58When you heard your record getting played in these places and the girls liked it...and, you know,
0:19:58 > 0:20:05"I like this. It's better than playing to 20 people in a club in Bolton, on a Tuesday night."
0:20:05 > 0:20:08Loaded came in to the Smash Hits office, where I was working,
0:20:08 > 0:20:10and we were all kind of blown away by it.
0:20:10 > 0:20:14It was like, "Whoa! It's Primal Scream?" "Well, it's a remix, but it is Primal Scream."
0:20:14 > 0:20:15It was this sort of thing.
0:20:15 > 0:20:18And every time I was putting calls though to,
0:20:18 > 0:20:22you know, magazines like Blitz or the Face, people would pick up
0:20:22 > 0:20:25and I could hear Loaded being played in the background.
0:20:25 > 0:20:28Acid house had emerged in '88, and we'd heard about these people,
0:20:28 > 0:20:30these DJs at clubs like Shoom,
0:20:30 > 0:20:32who were playing all this mad Chicago music,
0:20:32 > 0:20:38but also playing records at the wrong speeds and stuff like that and I was like, "What the hell is this?"
0:20:38 > 0:20:41So the dance music scene was kind of amazing at that time
0:20:41 > 0:20:44but the rock music scene was kind of crap.
0:20:44 > 0:20:48You had U2 in their cowboy boots and their cowboy hats
0:20:48 > 0:20:53and you had Jim Kerr cutting about with his leggings on and giving it all the, "Hey, hey, hey."
0:20:53 > 0:20:55So rock music was kind of a bit duff at that time.
0:20:55 > 0:21:02When Loaded was a hit, it was the biggest shock in the world to me, cos I was like, "Fuck, we done it."
0:21:02 > 0:21:03We got on Top Of The Pops,
0:21:03 > 0:21:07which was...had been our...you know, ever since I was a little kid,
0:21:07 > 0:21:10I wanted to be on Top Of The Pops, so that was amazing.
0:21:10 > 0:21:12'Just what is it that you want to do?'
0:21:12 > 0:21:14# I'm gonna get deep down, deep down
0:21:14 > 0:21:18# Said, I'm gonna get deep down, deep down
0:21:18 > 0:21:20# Whoo! Hey!
0:21:28 > 0:21:31'We wanna be free to do what we wanna do.'
0:21:37 > 0:21:41Being a rock band that makes people dance is actually quite rare.
0:21:41 > 0:21:45And they really have done so many records now, at this point,
0:21:45 > 0:21:48that are really great dance records, but they're a rock band.
0:22:06 > 0:22:09And then McGee gave us a wage.
0:22:09 > 0:22:13He said to us, "You know, you need a follow-up single.
0:22:13 > 0:22:14"This is a hit, you need a follow-up."
0:22:14 > 0:22:19So we...we wrote Come Together pretty quickly after that.
0:22:19 > 0:22:23The Scream would write the songs and give me their ideas, musically.
0:22:23 > 0:22:26I would then add my ideas, musically.
0:22:26 > 0:22:31I knew how I wanted it to sound but I didn't know how to achieve that sound, which is where Hugo came in.
0:22:31 > 0:22:34Andy was always so positive, actually, in the studio
0:22:34 > 0:22:37so it was always... it was always fun, you know.
0:22:37 > 0:22:39It was always, like, "Oh, here we go,"
0:22:39 > 0:22:42and pushing the boundaries of everything I can do.
0:22:42 > 0:22:45Hugo played a massive part from that, from Come Together onwards
0:22:45 > 0:22:47and then into the album.
0:22:47 > 0:22:51Hugo was the kind of glue that held the whole thing together.
0:22:51 > 0:22:58A lot of what I, you know, was trying to do was make music to shag to, basically.
0:22:58 > 0:23:00HE LAUGHS
0:23:00 > 0:23:03# Come together
0:23:03 > 0:23:04# Oh-oh oh-oh
0:23:04 > 0:23:06# Come
0:23:06 > 0:23:08# Together
0:23:08 > 0:23:09# Oh-oh oh-oh
0:23:09 > 0:23:12# Come together... #
0:23:13 > 0:23:20Ecstasy, you know, that, that was the single, transformative thing
0:23:20 > 0:23:24that happened. It transformed absolutely everything.
0:23:24 > 0:23:27# Kiss me
0:23:27 > 0:23:29# Won't you, won't you
0:23:29 > 0:23:31# Kiss me
0:23:33 > 0:23:36# Won't you, won't you kiss me
0:23:36 > 0:23:43# Lift me right out of this world. #
0:23:43 > 0:23:48I got a phone call from Terry Farley, who I was doing a fanzine with, called Boy's Own.
0:23:48 > 0:23:52And he uttered the immortal words, "There's this great club, it's called the Shoom,
0:23:52 > 0:23:56"it's full of football hooligans wearing Chevignon, taking ecstasy."
0:23:56 > 0:23:59I was going through the dry ice and I bumped into somebody
0:23:59 > 0:24:03and they'd a massive tattoo on their neck, and I was thinking,
0:24:03 > 0:24:06"Oh, my God," you know, "here we go," and the guy turned round
0:24:06 > 0:24:10and went, "All right, what are you doing here?" and hugged me.
0:24:10 > 0:24:14"Hey, mate, you OK? Do you want some water? Hey, you look a bit hot there. Hey, how's it going?
0:24:14 > 0:24:19"What's your name, where do you come from?" It was quite...fantastic, actually.
0:24:19 > 0:24:24Alcohol wasn't being consumed, and that's a very different drug,
0:24:24 > 0:24:25very different drug.
0:24:25 > 0:24:29I went from listening to Throbbing Gristle's Hamburger Lady
0:24:29 > 0:24:32to dancing to Josephine by Chris Rea.
0:24:32 > 0:24:35That shows you how dangerous that drug can be.
0:24:36 > 0:24:40The first nine months I was going out taking E, I didn't touch a drink.
0:24:40 > 0:24:45Just didn't want to. All those early clubs weren't even licensed.
0:24:45 > 0:24:47You know, you were drinking Ribena.
0:24:47 > 0:24:53It was a spur, um, for dancing, it was a spur for artistic creation,
0:24:53 > 0:24:55it was a spur for conversation.
0:24:55 > 0:24:59Now, some of that dancing, artistic output and conversation
0:24:59 > 0:25:03was absolute nonsense, as with the '60s and acid.
0:25:03 > 0:25:05But, um, the core of it,
0:25:05 > 0:25:12yeah, the core of it, ecstasy did, literally and metaphorically, open people up.
0:25:12 > 0:25:17A song like Come Together was made for...it was perfect for the times,
0:25:17 > 0:25:23- and it wasn't- made- for the times, it was made by people who were hip to the times, who- were- the times.
0:25:23 > 0:25:27The single version, the original version of Come Together is a pretty straight kind of track,
0:25:27 > 0:25:32it's an amazing track and stuff, but then the remix was in the spirit of Loaded.
0:25:32 > 0:25:35That's the version that appears on the album and it is kind of amazing,
0:25:35 > 0:25:40it captures the spirit of the times and what it felt like being in those clubs at that time.
0:25:40 > 0:25:43# Come
0:25:44 > 0:25:49# Together as one
0:25:50 > 0:25:53# Come
0:25:54 > 0:25:59# Together as one... #
0:25:59 > 0:26:03In the summer of 1990, we built a studio, which was in Hackney,
0:26:03 > 0:26:05quite near where the Creation office was.
0:26:05 > 0:26:09That part of Hackney's been gentrified now, but back then it was pretty rough.
0:26:09 > 0:26:11I think that's why McGee had his label there,
0:26:11 > 0:26:15so people were too scared to go and ask for their royalties.
0:26:15 > 0:26:19There was no Tube line there, they might have got mugged.
0:26:19 > 0:26:22It had a room that was sound-proofed.
0:26:22 > 0:26:26And we had a small computer screen in there,
0:26:26 > 0:26:29and the S-1000 and a keyboard.
0:26:29 > 0:26:31And we had a microphone.
0:26:31 > 0:26:37We had a vocal booth, and we just... we went in there to write.
0:26:37 > 0:26:40Um...Andrew, myself and Robert Young.
0:26:40 > 0:26:42We realised we had to sort of...
0:26:43 > 0:26:47..write things differently, because, you know,
0:26:47 > 0:26:49the, er...
0:26:50 > 0:26:52..the music was taking a turn.
0:26:52 > 0:26:55This is the S-1000, I think it's the second.
0:26:55 > 0:26:59The 900 was the first sort of commercial one,
0:26:59 > 0:27:02but this is the S-1000, the one we'd got, it was stereo,
0:27:02 > 0:27:05and it had one minute of sampling, which was quite a lot in those days.
0:27:05 > 0:27:07But suddenly, you could...
0:27:07 > 0:27:11Suddenly, you could play... but suddenly you could...
0:27:11 > 0:27:13People'd give you discs for it,
0:27:13 > 0:27:18there were floppy disks that went in it and people would give you discs and go, "There's tablas on that,"
0:27:18 > 0:27:23and suddenly you didn't have to learn how to play a tabla, or know a tabla player.
0:27:23 > 0:27:27You could play tablas on your keyboard. Or somebody'd give you...
0:27:27 > 0:27:29Or a sample them from an Indian record, you know.
0:27:29 > 0:27:33Somebody would give you a flute, you know, a flute sample
0:27:33 > 0:27:36and you'd put it in there and then you could write a melody...
0:27:36 > 0:27:41And you could put the flute sample onto the keyboard and play the melody that you wrote.
0:27:41 > 0:27:44If you wrote the melody, you could play the flute sample as a melody.
0:27:44 > 0:27:47FLUTE SOUND PLAYS
0:27:47 > 0:27:48So there's the flute...
0:27:51 > 0:27:56..and to anyone who's listening that probably does sound like a flute,
0:27:56 > 0:28:03but I spent ages trying to make that sound better, and I think I made it sound a bit better.
0:28:03 > 0:28:05Just because we've got a bass player and a drummer
0:28:05 > 0:28:08doesn't mean you've got to have bass and drums in every track.
0:28:08 > 0:28:13I like tracks that are just... no bass and drums in it,
0:28:13 > 0:28:19just a voice and...some sounds, or maybe just some sounds,
0:28:19 > 0:28:24and I like instrumentals that don't have a voice, and you've got Inner Flight, you know.
0:28:24 > 0:28:27If we'd used a real flute, it wouldn't have been as psychedelic.
0:28:27 > 0:28:31The fact it was synthetic, cos I think it was a flute sample, so it was...
0:28:31 > 0:28:35it was kind of synthetic, gives it a kind of more trippy texture.
0:28:35 > 0:28:39We never did E in the studio, it was, um...
0:28:39 > 0:28:44but I think being involved in the acid scene and doing ecstasy informed the record
0:28:44 > 0:28:48and that's why the record came out of that, it came out of that experience.
0:28:57 > 0:29:03The start of that song, Higher Than The Sun, is a major ninth.
0:29:03 > 0:29:07- HE SINGS NOTES - See, I can't sing it, but Bobby can.
0:29:08 > 0:29:13Harmonically it's very brave because there's no intro, then there he goes with this big jump,
0:29:13 > 0:29:14it's a very ambitious thing to do.
0:29:15 > 0:29:21# My brightest star's my inner light, let it guide me
0:29:21 > 0:29:27# Experience and innocence bleed inside me... #
0:29:27 > 0:29:32Higher Than the Sun by The Orb which is six minutes 43, which is an epic 12-inch,
0:29:32 > 0:29:37but these records at the time, they were meant to be 12-inch records,
0:29:37 > 0:29:40they were meant to be experimental pop records.
0:29:40 > 0:29:42We brought that different element of the ambient side,
0:29:42 > 0:29:45the dreamy side of Higher Than the Sun,
0:29:45 > 0:29:50which to date is the best thing I've ever done, so I'm quite proud of it.
0:29:50 > 0:29:54When I moved into that flat in Bethnal Green with Andrew Innes,
0:29:54 > 0:30:00The Orb to him was just like a disease that was not to be played on his stereo.
0:30:00 > 0:30:03I remember the first night when I put Little Fluffy Clouds on,
0:30:03 > 0:30:05he was like, "Get that crap off".
0:30:05 > 0:30:08Six weeks later, Higher Than The Sun.
0:30:08 > 0:30:12One of the best mixes ever done, in my opinion.
0:30:12 > 0:30:20I just remember the recording process of Higher Than The Sun, and it being so spectacular,
0:30:20 > 0:30:25and realising that what we'd done was we'd made another Little Fluffy Clouds,
0:30:25 > 0:30:28and I can't give that much higher praise again.
0:30:28 > 0:30:32We did a seven-inch edit, hoping that it might get played on the radio.
0:30:32 > 0:30:36But if you want the full version, it's the 12-inch version.
0:30:36 > 0:30:41But when we were sequencing Screamadelica,
0:30:41 > 0:30:47Andrew felt that it was better to put the shorter version of Higher Than the Sun on,
0:30:47 > 0:30:52and I thought maybe the long version, cos that was my favourite.
0:30:52 > 0:30:57But he said, "No do the short one, I think it's gonna run better within the context of the record"
0:30:57 > 0:31:00and he was right, 100% right.
0:31:01 > 0:31:06# I believe in live and let live
0:31:06 > 0:31:12# I believe you get what you give...#
0:31:12 > 0:31:14Somebody called it the hymn to hedonism,
0:31:14 > 0:31:20and I suppose that's exactly what it is, I think Bobby sometimes is underrated as a lyricist,
0:31:20 > 0:31:22but that's a great lyric.
0:31:22 > 0:31:27Higher Than The Sun, it's a hymn to drugs, it's genius. It's a genius hymn to drugs,
0:31:27 > 0:31:33I was actually thinking when I actually snuff it, I might die to Higher Than The Sun.
0:31:33 > 0:31:37Then the next single was Don't Fight It Feel It, which was strange again cos Bob doesn't sing it,
0:31:37 > 0:31:41Denise sung it, but that's how confident we were feeling -
0:31:41 > 0:31:49we can do what we want, we can have a girl who's not been in the band, we can have her sing it.
0:31:49 > 0:31:53The only demarcation lines were that us three wrote the songs.
0:31:53 > 0:31:56Andrew, Robert and me. Together, we put the songs together.
0:31:56 > 0:31:57And when it came to the studio...
0:31:57 > 0:32:00It was just whoever had a really good idea.
0:32:00 > 0:32:04You know, if somebody had a good idea, we would go, "OK, let's try that".
0:32:04 > 0:32:10The ego was the last thing, it was put to the side - it was like,
0:32:10 > 0:32:13whatever makes it sound good.
0:32:13 > 0:32:19Well, basically we ended up doing a showcase at Shoom in London
0:32:19 > 0:32:24and I think it was Innes and Duffy that came along, and Throb came to the gig,
0:32:24 > 0:32:30Bobby didn't come. So we do this PA and you know, I'm singing and all that kind of stuff,
0:32:30 > 0:32:33and as the story goes, as Innes told me,
0:32:33 > 0:32:37Innes got on the phone to Bobby and said, "You better get the fuck down here,
0:32:37 > 0:32:39"I found the fucking singer for Don't Fight It, Feel It".
0:32:39 > 0:32:43# Rama-lama-lama, fa-fa-fa
0:32:43 > 0:32:47# I'm gonna get high till the day I die
0:32:47 > 0:32:51# Rama-lama-lama, fa-fa-fa
0:32:51 > 0:32:56# I'm gonna get high till the day I die. #
0:33:00 > 0:33:06We wanted to make it, a soul, '60s soul track, but modern, to fit in with the acid house thing.
0:33:11 > 0:33:14# Rama-lama-lama, fa-fa-fa
0:33:14 > 0:33:18# I'm gonna get high till the day I die
0:33:18 > 0:33:22# Rama-lama-lama, fa-fa-fa
0:33:22 > 0:33:27# I'm gonna get high till the day I die. #
0:33:27 > 0:33:31You write what you can sing, and if you write something you can't sing,
0:33:31 > 0:33:32like Don't Fight It, Feel It,
0:33:32 > 0:33:36you've got to find somebody to sing it. We found Denise and she sang it beautifully.
0:33:36 > 0:33:38When she sang it, it made sense.
0:33:38 > 0:33:42# Dance to the music All night long
0:33:42 > 0:33:46# Getting up, gettin' down Gonna get it on
0:33:46 > 0:33:50# Gonna live the life I love
0:33:50 > 0:33:55# I'm gonna love the life I live...#
0:33:57 > 0:34:02But it was just a really weird session and I wasn't used to that sort of session.
0:34:02 > 0:34:08I'd been doing sessions in Manchester where you turn up, sing, do your thing, have a listen,
0:34:08 > 0:34:12"Yeah, everything's great" and then you leave, whereas this was like a whole day and night
0:34:12 > 0:34:17just trying out things and a little bit of a party going on.
0:34:17 > 0:34:22It was open, I mean, it was... experimental, spontaneous and experimental.
0:34:22 > 0:34:26It's quite odd record, Don't Fight, It Feel It, even at the time
0:34:26 > 0:34:30if you play it now, it's stripped down,
0:34:30 > 0:34:32the hook's an out-of-tune whistle.
0:34:46 > 0:34:49That was the summer anthem in clubs and that's when,
0:34:49 > 0:34:52to me, they really crossed over
0:34:52 > 0:34:57because that track was, all these dance kids going up to Bobby G and going,
0:34:57 > 0:34:59"Shit, that's your record, it's amazing."
0:34:59 > 0:35:03I think it's Andy Weatherall's masterpiece, it's just total drugs.
0:35:03 > 0:35:07It is the sound of rushing on ecstasy,
0:35:07 > 0:35:12or it's kind of acid-y as well, but it's, it's just pure...
0:35:12 > 0:35:14it is the sound of that time.
0:35:14 > 0:35:18And the reason that there were so many singles that came out
0:35:18 > 0:35:23was that they were so fucked up on drugs, not on heroin at this point,
0:35:23 > 0:35:26just on ecstasy and stuff like that
0:35:26 > 0:35:33and speed and you know, acid and shit, like we all were, to be fair,
0:35:33 > 0:35:36but I could actually get to the office and do things
0:35:36 > 0:35:40and they couldn't even get to the studio and make a fucking record.
0:35:40 > 0:35:45Anywhere in the Home Counties where Andy Weatherall was DJ-ing, we would kind of call him up,
0:35:45 > 0:35:50find out where he was DJ-ing that particular weekend and get a car together,
0:35:50 > 0:35:55get our drugs and go and, you know, hang out, listen to him play records
0:35:55 > 0:35:57and, you know, get absolutely fucking wasted.
0:35:57 > 0:36:02And end up in some stranger's house till, you know...
0:36:02 > 0:36:07Monday morning, having a party and having a good time and a...
0:36:07 > 0:36:09Then back in the studio on Tuesday.
0:36:09 > 0:36:12Or Wednesday.
0:36:12 > 0:36:14I think Wednesday night, back late Wednesday night,
0:36:14 > 0:36:18we'd start about 11 o'clock at night and then work through the night.
0:36:18 > 0:36:23It's just blind loyalty to somebody that we just, you know...
0:36:23 > 0:36:24I trusted the guy.
0:36:24 > 0:36:29He said, "No, you've got to make an album now, you've gotta get some more tracks,
0:36:29 > 0:36:31"write some more songs, make an album.
0:36:31 > 0:36:33"You can't keep releasing singles."
0:36:33 > 0:36:35And he came up with the goods.
0:36:35 > 0:36:39I think an important thing with Screamadelica is that we stopped writing on guitar.
0:36:39 > 0:36:46Before that, we were like, three or four guys jamming in a room with guitar riffs and electric guitars,
0:36:46 > 0:36:53trying to write rock'n'roll songs. But with Screamadelica, all the songs were written on keyboards.
0:36:53 > 0:36:56Or they were written round the sample...
0:36:56 > 0:37:01But you know, the actual melodic structure of the chords and the melody was all keyboards. All of it.
0:37:01 > 0:37:05The only time that we got together as a band to record was Damaged
0:37:05 > 0:37:08We were each in the corner of the studio.
0:37:08 > 0:37:09Bobby was in the control room,
0:37:09 > 0:37:13and that was the only time we played live together as a band.
0:37:27 > 0:37:34# Sweet summer days when I was feeling so fine
0:37:34 > 0:37:40# Just you and me girl was a beautiful time
0:37:40 > 0:37:43# Ah yeah... #
0:37:43 > 0:37:50Throb on acoustic, you on electric, Duff on piano, Henry on double bass, Toby on...
0:37:50 > 0:37:52they were...
0:37:52 > 0:37:55you think he's just got a ride and a snare.
0:37:55 > 0:38:00This is take two, cos I think when we did take one it was pretty good...
0:38:00 > 0:38:04but he forgot to do something, like turn the mics on or something, or some technical problem,
0:38:04 > 0:38:08and then we did take two, and take two is the master take.
0:38:08 > 0:38:12The acoustic guitar, it's just pure feeling.
0:38:12 > 0:38:15You know, soft and gentle and just, it's feeling.
0:38:15 > 0:38:17When Duffy plays piano,
0:38:17 > 0:38:21he plays with as much feeling on the piano as Throb plays on the guitar.
0:38:21 > 0:38:24So, for me as a vocalist, you know, it's...
0:38:24 > 0:38:28it's there, they've set, they've set the song up already before I even sing.
0:38:39 > 0:38:43I mean, I just play, it's kind of a country style, really.
0:38:58 > 0:39:02I think we've got a really great feel, you know.
0:39:02 > 0:39:06There's real sensitivity amongst the musicians for, you know,
0:39:06 > 0:39:11playing this soft and this gentle, but very intensely, with a lot of emotion.
0:39:15 > 0:39:21# I'd wake up beside you you'd hold me in your arms
0:39:21 > 0:39:28# Nothing and nobody's gonna do me any harm
0:39:28 > 0:39:32# Ah yeah
0:39:32 > 0:39:37# Said I felt so happy
0:39:37 > 0:39:40# My, my, my
0:39:40 > 0:39:47# And the way I felt inside... #
0:39:47 > 0:39:50Well, he had a left a long-term relationship,
0:39:50 > 0:39:55and I had around the same time. I had similarly left a long-term relationship,
0:39:55 > 0:40:00so maybe there was a wee bit of sadness in there that came out in Damaged.
0:40:00 > 0:40:02That's, that's what I think, you know.
0:40:02 > 0:40:05We're Scottish, we cannae be too happy for too long
0:40:05 > 0:40:07or we think there's something wrong in the world!
0:40:18 > 0:40:22GUITAR RIFF PLAYS FROM EQUIPMENT
0:40:28 > 0:40:31Now there's several claimants to who did this.
0:40:32 > 0:40:37Robert was supposed to play the guitar solo on "Damaged",
0:40:38 > 0:40:42And he wasn't at the studio that night, and I was there with Andrew and Bobby
0:40:42 > 0:40:44and I said something like,
0:40:44 > 0:40:47"It should sound like Ronnie Wood in the Faces"
0:40:47 > 0:40:50so Innes gave me his guitar, "Go on then".
0:40:50 > 0:40:54I said, "I don't want to do this, I don't want to upset Robert,"
0:40:54 > 0:41:00"No, it will be all right", so I played it, Andrew had a go and I had a go.
0:41:00 > 0:41:04I think it's a bit of you and a wee bit of Henry, I think.
0:41:04 > 0:41:06It's always the same when something's good.
0:41:06 > 0:41:10Success has many fathers.
0:41:10 > 0:41:17Next day Robert comes in, I said "Look, I played the guitar solo on Damaged with Andrew last night,
0:41:17 > 0:41:23"are you ok with it?" "Yeah, no problem it's a great solo", it was easy, fantastic.
0:41:23 > 0:41:28If Henry could do the guitar part better, then you do it,
0:41:28 > 0:41:33cos we'd got two days to go, and you know, he played the part better.
0:41:33 > 0:41:37This is I think what I played on it, my bits of it anyway.
0:42:09 > 0:42:12To share your music that way is a fantastic thing,
0:42:12 > 0:42:18and it also, it did away the concept of a band where this person did this and this person did that,
0:42:18 > 0:42:21it just became a load of people saying "I've got an idea!"
0:42:21 > 0:42:23See, this is the history of Primal Scream,
0:42:23 > 0:42:26it's a band that's not really a band.
0:42:26 > 0:42:30You know, it's, you know, do you know what I mean?
0:42:30 > 0:42:33Which is the way we like it.
0:42:33 > 0:42:37Slip Inside This House, has got like, I think, 16 verses.
0:42:37 > 0:42:40It's like a long, like a... it's like an epic poem.
0:42:40 > 0:42:46It's a radical take of a song by the 13th Floor Elevators,
0:42:46 > 0:42:50who were a Texan psychedelic band from the '60s.
0:42:50 > 0:42:52It's tough to cover bands like 13th Floor Elevators,
0:42:52 > 0:42:56like, to me you don't cover Elevators, Zeppelin, Bob Marley,
0:42:56 > 0:42:58some stuff you just don't really cover,
0:42:58 > 0:43:04cos you don't have much of a chance of doing it as good or better than the original artist.
0:43:04 > 0:43:06But that's a great cover.
0:43:06 > 0:43:10So when we came to record it, I was supposed to sing it.
0:43:10 > 0:43:15And I brought the lyrics up that I'd cut up and stuff, and edited. And, um...
0:43:15 > 0:43:18but I'd, um... I wasn't in the best of shape. And, um...
0:43:18 > 0:43:21Acid house flu.
0:43:21 > 0:43:26Um, I-I remember it was a really, really hot summer's day.
0:43:26 > 0:43:29And, um, I kind of sang a couple of takes.
0:43:29 > 0:43:31And then I sort of more or less collapsed.
0:43:31 > 0:43:35He was like, he was dying. He was lying on the floor like dying of flu.
0:43:35 > 0:43:39So basically we had one day in the studio and I had to...
0:43:40 > 0:43:42..somebody had to do it.
0:43:42 > 0:43:45And I'm not a singer. Trust me.
0:43:45 > 0:43:48But...you know, replicating his voice was...
0:43:50 > 0:43:52I just had to do whispering.
0:43:52 > 0:43:55And the only song he ever sang. But he sings it good.
0:43:55 > 0:43:57He sings it good.
0:43:57 > 0:43:58He sings it great, actually.
0:43:58 > 0:44:00There's Robert.
0:44:00 > 0:44:02MUSIC PLAYS FROM EQUIPMENT
0:44:05 > 0:44:09# Live where your heart can be given
0:44:09 > 0:44:14# And your life starts to unfold...#
0:44:14 > 0:44:20If you listen to any LPs at the time, they're all just like,
0:44:20 > 0:44:24contemporary albums, they're all pretty similar.
0:44:24 > 0:44:28You know, it's just bass, guitar, drums, you know and so...
0:44:28 > 0:44:31and this was, you know, there'd be a song like,
0:44:31 > 0:44:34like Shine Like Stars, and then a song like Don't Fight It, Feel It
0:44:34 > 0:44:36and you can't even...
0:44:37 > 0:44:43..say that they sound like they're the same band, or even sound like they were made in the same century.
0:44:43 > 0:44:47We had a couple of days to come up with a title for the album.
0:44:48 > 0:44:53I was at home with Andrew Innes and Bobby and his girlfriend at the time
0:44:53 > 0:44:58and Andrew was adamant that the word Scream had to be in the title,
0:44:58 > 0:44:59Adamant.
0:44:59 > 0:45:02So this ludicrous conversation started
0:45:02 > 0:45:06and it was like Scream Next, Scream Out, Scream Off, Scream This, Scream That
0:45:06 > 0:45:12and then the conversation just petered out. Some hours later,
0:45:12 > 0:45:14Andrew was playing his records
0:45:14 > 0:45:19and he put this tune on. I said, "This is really good, what is it?" And he was like, "It's Funkadelic".
0:45:19 > 0:45:25And I just sort of went. "Funkadelic. Screamadelic". And he went, "What did you say?"
0:45:25 > 0:45:30I said, "Screamadelic." And he went, "That's it! Screamadelic! Screamadelic!"
0:45:30 > 0:45:33That was it.
0:45:35 > 0:45:38The sun was a detail from an enormous painting
0:45:38 > 0:45:42from the mind of a guy called Paul Cannell.
0:45:42 > 0:45:48Bob had gone over to Paul's house and looked at Paul's work and found the sun, the detail, like,
0:45:48 > 0:45:51"I don't want the whole picture, but that, I want that."
0:45:51 > 0:45:55It kind of looks like a sun that's taken a pill.
0:45:55 > 0:45:59You know, that's what it looks like, and it just, and it's psychedelic,
0:45:59 > 0:46:05it was everything that the record stood for, it was kind of warm and psychedelic.
0:46:05 > 0:46:08We thought it was gonna be, like, an underground classic,
0:46:08 > 0:46:11you know like Tago Mago by Can.
0:46:11 > 0:46:13Or Metal Box by Public Image, you know.
0:46:13 > 0:46:16Records that weren't big commercial hits, but they were really cool,
0:46:16 > 0:46:20and they were pop, but they were experimental at the same time.
0:46:20 > 0:46:22We pressed 60,000 records, thinking...
0:46:22 > 0:46:28Not because we thought they were a bad band, we loved the record, but we just thought,
0:46:28 > 0:46:33"It's a cult record", and it sold 60,000 records in the first week
0:46:33 > 0:46:37I thought "My god", and I went out of stock from the Monday to the Wednesday
0:46:37 > 0:46:40the following week, we were pressing up about another 100,000 records.
0:46:40 > 0:46:44You know, suddenly Creation would say "You're in Woolworths"
0:46:44 > 0:46:50and the sales went, but people love the weird stuff as well, so it's good,
0:46:50 > 0:46:52I think we took people on our trip.
0:46:52 > 0:46:56It got nominated for the Mercury Prize, and we're like, "Whatever, it's not going to win
0:46:56 > 0:47:00"so let's just go down for the party have a drink, something to eat."
0:47:00 > 0:47:03The first Mercury Prize, I mean, everybody kind of forgets
0:47:03 > 0:47:07but it was dreamt up by a marketing man at Virgin Records,
0:47:07 > 0:47:12the guy that put together all those Now! albums and stuff like that, so it was a marketing thing.
0:47:12 > 0:47:17Bobby and Andrew refusing to attend, for reasons that elude me,
0:47:17 > 0:47:20so the rest of us rock up to the Savoy.
0:47:20 > 0:47:24There's some photographers there, and I think one flash went off
0:47:24 > 0:47:27and I heard someone go, "Who's this lot?"
0:47:27 > 0:47:30Start ordering drinks, the prices were exorbitant,
0:47:30 > 0:47:36so someone was sent down to an off-licence and bought six bottles of Jack Daniels which were concealed
0:47:36 > 0:47:40under the table, it was like, "We'll have 24 Coca-Colas please".
0:47:40 > 0:47:43"And the winner of the Mercury Prize..."
0:47:43 > 0:47:46we're just like, we're pretty half-cut now as well,
0:47:46 > 0:47:51"The winner of the Mercury Prize is Primal Scream", and we were like, totally shocked
0:47:51 > 0:47:57cos it was up against U2 that year, there was some really big names about.
0:47:57 > 0:48:00We won it, and they couldn't give a shit.
0:48:00 > 0:48:06We left the building, not fulfilling any of our media obligations.
0:48:06 > 0:48:10I've got the cheque and I lost it, the cheque went missing.
0:48:10 > 0:48:12We never got to the bottom of it.
0:48:12 > 0:48:16You have talked to Martin Duffy, haven't you?
0:48:16 > 0:48:18It was him.
0:48:18 > 0:48:21So I had to call up the Mercury PR department,
0:48:21 > 0:48:27who were obviously less than impressed that they hadn't really got much out of Primal Scream
0:48:27 > 0:48:32in terms of media coverage and said, "I am the manager of Primal Scream,
0:48:32 > 0:48:37"we've lost the cheque." Deathly silence. "Could you possibly bike another one?"
0:48:37 > 0:48:43And I've still got the award, but I've lost the bulb on top.
0:48:43 > 0:48:45To win the first one, I suppose it's good.
0:48:45 > 0:48:49There is something irresistible about that music,
0:48:49 > 0:48:54and I think everybody caught it at the time
0:48:54 > 0:49:00and it really showed its full potential when the band ended up going live.
0:49:00 > 0:49:06The first gig was, I think it was up in Glasgow, Glasgow Barrowlands,
0:49:06 > 0:49:10I think we were up there, and it was just incredible,
0:49:10 > 0:49:16cos we were used to playing in front of 200 kids maximum, and this was ram-packed
0:49:16 > 0:49:22and there was thousands there, and I remember we were walking on stage, and there was this huge roar.
0:49:25 > 0:49:29Me and Andrew just looked at each other and thought, "What's this about?"
0:49:29 > 0:49:32It was like, totally alien to us.
0:49:35 > 0:49:41We were tying to basically recreate a night out at a rave, not the usual rock show,
0:49:41 > 0:49:467.30, 8pm, the support slot, we wanted a full night
0:49:46 > 0:49:52we wanted Weatherall DJing, you know, get the right atmosphere.
0:49:52 > 0:49:55And just turn it into a rave, basically, not just a normal rock show.
0:49:55 > 0:49:59# Rama-ramma-ramma Fa-fa-fa
0:49:59 > 0:50:03# Gonna get high till the day I die
0:50:03 > 0:50:07# Rama-ramma-ramma Fa-fa-fa
0:50:07 > 0:50:12# Gonna get high till the day I die...#
0:50:12 > 0:50:18I got a phone call from their manager saying "They'd love you to come on tour with them",
0:50:18 > 0:50:22and I was, like, "I don't know about that, I don't think so",
0:50:22 > 0:50:27and then I thought, "I might actually learn something here, it might actually be a good laugh,
0:50:27 > 0:50:31"it might actually be something that I might end up really liking,"
0:50:31 > 0:50:33so I said yes.
0:50:33 > 0:50:39# Stoned love Stoned love singing
0:50:39 > 0:50:45# Stoned love Stoned love singing
0:50:45 > 0:50:50# Stoned love Stoned love singing...#
0:50:56 > 0:51:00So she became a part of the live band, and it was great, you know?
0:51:00 > 0:51:03Just another... I think that's the way bands should be.
0:51:03 > 0:51:05# Moving on up, now
0:51:08 > 0:51:11# Gettin' out of the darkness
0:51:12 > 0:51:17# My light shines on Shine on
0:51:17 > 0:51:20# My light shines on
0:51:20 > 0:51:22# My light shines on
0:51:22 > 0:51:25# My light shines on
0:51:25 > 0:51:27# My light shines on
0:51:27 > 0:51:31# My light shines on...#
0:51:31 > 0:51:35With success comes a bit more money, comes better drugs,
0:51:35 > 0:51:37comes better, you know, whatever.
0:51:37 > 0:51:42And if you've got that kind of personality, then that's what you'll go for.
0:51:42 > 0:51:45We'd finished the record, I went on tour with them,
0:51:45 > 0:51:47it was a huge eye-opening experience.
0:51:47 > 0:51:49I had never seen anything like it.
0:51:49 > 0:51:54I'd been out clubbing before, I'd partied, you know, but it was...
0:51:54 > 0:51:57I was like, "Shit, what's going on?"
0:51:58 > 0:52:02This is a different level of experience.
0:52:02 > 0:52:08Backstage, we had a big crew, lights, you know, roadies and what have you,
0:52:08 > 0:52:12we didn't have that before, and catering, didn't have that before.
0:52:12 > 0:52:19Riders, copious amounts of alcohol, whatever we could drink, basically.
0:52:19 > 0:52:23I think there was one time there was 12 bottles of Jack Daniel's -
0:52:23 > 0:52:28this was for the band - four litres of vodka, whatever,
0:52:28 > 0:52:36it was all there, and it got drunk. I mean, me and Throb were going on stage with pints of vodka
0:52:36 > 0:52:40and, um, we had, you know, our own drug dealers with us,
0:52:40 > 0:52:42our own personal drug dealers.
0:52:42 > 0:52:47They came along with us, and that was what we were getting up to.
0:52:47 > 0:52:50With every tour I've done where it's been a bus,
0:52:50 > 0:52:54there's the back lounge which was the party bit
0:52:54 > 0:52:59there was the bunk bit, where everybody fell into after the party
0:52:59 > 0:53:04and the front lounge was for those people who read Classic Car Monthly
0:53:04 > 0:53:08and gardening magazines and listened to free jazz.
0:53:08 > 0:53:11Who was in front?
0:53:11 > 0:53:13Me and Denise.
0:53:13 > 0:53:16That was their business. I didn't get involved in it.
0:53:16 > 0:53:21I didn't judge them for it. If that's what you wanna do then that's what you wanna do
0:53:21 > 0:53:23so long as you're kinda happy.
0:53:23 > 0:53:29I dunno, how much excess do you want? I mean, you know, we just enjoyed ourselves.
0:53:29 > 0:53:32It was insane. It was insane,
0:53:32 > 0:53:33but it was...
0:53:33 > 0:53:39you know, I'd like to say it was fun and I think it was,
0:53:39 > 0:53:44but there are parts of me that do sadly regret it,
0:53:44 > 0:53:48you know, cos it did take its toll on me.
0:53:48 > 0:53:54There was one time in America I ended up in a bar at four o'clock in the morning on my own
0:53:54 > 0:53:59and this guy pulled a gun on me in the toilets and, like, put a gun to my head
0:53:59 > 0:54:04and he was trying to scare me and I said, "Look, mate you're not scaring me, honestly,
0:54:04 > 0:54:07"just pull it, you'd be doing me a favour."
0:54:07 > 0:54:10We went to Australia, something happened to me
0:54:10 > 0:54:14and I was found by this friend of mine
0:54:14 > 0:54:17looking for the steering wheel of the Sydney Opera House
0:54:17 > 0:54:19so I could drive it to Atlantis.
0:54:19 > 0:54:22Yeah, it got dark.
0:54:22 > 0:54:24And...
0:54:29 > 0:54:32..this is a tough, tough subject to talk about.
0:54:32 > 0:54:35End of '91, it started to get really...
0:54:35 > 0:54:38It was finished. It was over, you know. It was negative.
0:54:38 > 0:54:45And it kind of fucked us for a bit, because creatively, we never recovered from that for a long time.
0:54:45 > 0:54:48We went through the mill, we've done it all...
0:54:50 > 0:54:52Been there, done it
0:54:52 > 0:54:55and all come through the back end...
0:55:00 > 0:55:04Is be-bop, Charlie Parker, the sound of heroin?
0:55:04 > 0:55:06I don't think so.
0:55:06 > 0:55:10I think it's the sound of the of be-bop despite the heroin,
0:55:10 > 0:55:14it's the sound of Charlie Parker despite it, so...
0:55:15 > 0:55:19I'd like to think that Screamadelica is the sound of some...
0:55:21 > 0:55:24..you know, very intense,
0:55:24 > 0:55:30creative musicians who weren't, I don't think, trying to make anything new
0:55:30 > 0:55:34but were trying to make something, passionate and important
0:55:34 > 0:55:37and something that mattered.
0:55:37 > 0:55:40And I think that's what the sound of that record is
0:55:40 > 0:55:44as opposed to the sound of some little pill.
0:55:44 > 0:55:47We recorded this song, Shine Like Stars.
0:55:49 > 0:55:50It's beautiful.
0:55:52 > 0:55:56I'm not gonna say it's like a comedown, but it's like, really...
0:55:58 > 0:56:00You know, soothing, yeah.
0:56:01 > 0:56:03Makes you glad you're alive, I think.
0:56:03 > 0:56:05I wouldn't go that far!
0:56:10 > 0:56:12- I think this song's like a lullaby. - Yeah.
0:56:12 > 0:56:16Just like, you know, going on drifting off to sleep, you know.
0:56:16 > 0:56:20When Jimmy Millar finished the mix for Moving On Up
0:56:20 > 0:56:23and we knew that that was gonna be the opening track on the album,
0:56:23 > 0:56:26just sounded like a great start to the record.
0:56:26 > 0:56:31When Weatherall finally mixed this, Shine Like Stars,
0:56:31 > 0:56:37we knew we had the last track for the record, you know, it just sounded perfect.
0:56:37 > 0:56:43The album is definitely a journey. It is the weekend, a night out,
0:56:43 > 0:56:45it's for getting ready to go out,
0:56:45 > 0:56:49it's for chilling out and sort of floating off into sleep
0:56:49 > 0:56:53satisfied at the end of it - it's everything, it's perfectly put together.
0:56:53 > 0:56:58It just captures that moment perfectly and, um...
0:56:58 > 0:57:03I think it always will, it's just that album, you know, that's the album to have.
0:57:03 > 0:57:07I've always loved that tangled mess of beauty that they seem like, you know.
0:57:07 > 0:57:12They really do seem like you couldn't untangle them, you know?
0:57:12 > 0:57:15But why would, what would you want to do that for?
0:57:15 > 0:57:22It is the spirit of the times, just the fact it's this big melange of all this stuff, this gospel music,
0:57:22 > 0:57:27Stones, space rock, dub, psychedelica, you know, it's just absolutely brilliant.
0:57:27 > 0:57:35And it got the, you know, it got DJs and rock musicians together,
0:57:35 > 0:57:36brilliant, really good.
0:57:36 > 0:57:42Throb's a genius, basically he's a musical genius at playing rock'n'roll
0:57:42 > 0:57:47and Andrew's an incredible talent that seems to be able to play any kind of instrument known,
0:57:47 > 0:57:50give him a clarinet, the guy could get a tune out of that.
0:57:50 > 0:57:56These two are really talented. The one that's really clever, though, is Gillespie, to be honest,
0:57:56 > 0:57:58but then he plays it down,
0:57:58 > 0:58:03he's one of these guys who loves to play dumb, but he's a smart, smart, smart guy.
0:58:16 > 0:58:19Subtitles by Red Bee Media Ltd
0:58:19 > 0:58:23E-mail subtitling@bbc.co.uk
0:58:23 > 0:58:26# Shine like stars
0:58:27 > 0:58:32# Shine like stars
0:58:33 > 0:58:38# Shine like stars
0:58:39 > 0:58:45# Shine like stars. #