0:00:03 > 0:00:05SONG: "The Promise" by Girls Aloud
0:00:07 > 0:00:12In 2009, it seems as if men are running out of things to say.
0:00:12 > 0:00:15Female artists suddenly rule the charts
0:00:15 > 0:00:18but they're far from the first to balance beehives,
0:00:18 > 0:00:20give up their private lives
0:00:20 > 0:00:23or sing heartbroken soul.
0:00:23 > 0:00:25This golden generation didn't get here alone.
0:00:25 > 0:00:27Women's lives weren't always in colour.
0:00:27 > 0:00:31The women who came before them have not only been there and done that
0:00:31 > 0:00:33but they've got the back catalogue to prove it.
0:00:33 > 0:00:36This week we celebrate the trailblazers -
0:00:36 > 0:00:40the stars that lit us up from the early '60s to the late '70s.
0:00:40 > 0:00:43We give you our first Queens of British Pop.
0:00:45 > 0:00:48# Who's that girl
0:00:48 > 0:00:51# Running around with you?
0:00:51 > 0:00:56# Tell me, who's that girl
0:00:56 > 0:01:00# Running around with you?
0:01:00 > 0:01:04# Tell me, who's that girl? #
0:01:09 > 0:01:12Our first queen is the woman Elton John described
0:01:12 > 0:01:15as the greatest white singer there has ever been.
0:01:15 > 0:01:18The shy schoolgirl who grew up into the epitome
0:01:18 > 0:01:21of glamour, soul and late-night heartbreak.
0:01:25 > 0:01:27# Left alone
0:01:27 > 0:01:31# With just a memory... #
0:01:31 > 0:01:34Dusty was really...she was heavyweight, you know?
0:01:34 > 0:01:38She paved for girls like Leona
0:01:38 > 0:01:41and any other female that's followed from these shores.
0:01:41 > 0:01:44Well, she was a serious musician.
0:01:44 > 0:01:46Well, Dusty in the '60s was big as you could get.
0:01:46 > 0:01:49There was nobody bigger than Dusty Springfield.
0:01:49 > 0:01:51She was the female voice.
0:01:51 > 0:01:55# You don't have to say you love me
0:01:55 > 0:01:58# Just be close at hand
0:01:58 > 0:02:02# You don't have to stay for ever
0:02:02 > 0:02:05# I will understand... #
0:02:05 > 0:02:08She's an icon. There were no other soul singers coming from England
0:02:08 > 0:02:12at the time, particularly that had that many amazing songs.
0:02:12 > 0:02:14# You don't have to say you love me... #
0:02:14 > 0:02:18Dusty was one of the greatest ever to do my songs.
0:02:18 > 0:02:22# You don't have to stay for ever
0:02:22 > 0:02:25# I will understand... #
0:02:25 > 0:02:27Who did we all fall in love with? Dusty Springfield.
0:02:27 > 0:02:30Who did we want as our girlfriend? Dusty Springfield.
0:02:30 > 0:02:32Whose songs did we sing? Dusty Springfield.
0:02:32 > 0:02:37# Believe me! #
0:02:40 > 0:02:44This is Mary Catherine Bernadette Isabel O'Brien from north London,
0:02:44 > 0:02:48who told the nuns at her convent school that, one day,
0:02:48 > 0:02:49she would be a jazz singer.
0:02:52 > 0:02:56At the dawn of the '60s, she adopted her childhood nickname, Dusty,
0:02:56 > 0:02:59and joining with her brother, Tom, formed The Springfields.
0:02:59 > 0:03:03# And the gay, crowded places
0:03:03 > 0:03:06# There on the beautiful... #
0:03:06 > 0:03:08The Springfields played family-friendly folk
0:03:08 > 0:03:12but it was clear Dusty was made of more soulful stuff.
0:03:12 > 0:03:19# High in the sky is a bird on the wing
0:03:19 > 0:03:24# Please carry me with you... #
0:03:24 > 0:03:27By late 1963, The Beatles were making Britain
0:03:27 > 0:03:29the centre of the pop universe,
0:03:29 > 0:03:32and the now-solo Dusty was at the heart of it.
0:03:32 > 0:03:35I remember all the press at the time,
0:03:35 > 0:03:40the fact that Dusty had left The Springfields to go out on her own
0:03:40 > 0:03:42was big news, you know?
0:03:42 > 0:03:45Dusty Springfield had to go out there all on her own and become
0:03:45 > 0:03:48a big star with the help of nobody.
0:03:48 > 0:03:50That's down to her.
0:03:50 > 0:03:54# I don't know what it is that makes me love you so
0:03:54 > 0:03:57# I only know I never want to let you go
0:03:57 > 0:04:01# Cos you started something Can't you see
0:04:01 > 0:04:04# That ever since we met you've had a hold on me... #
0:04:04 > 0:04:07When I think of her now, it's a very strong image of a woman
0:04:07 > 0:04:12with that candyfloss hair backcombed up the wazoo,
0:04:12 > 0:04:15the black eyes and the absolutely pale, pale lips.
0:04:15 > 0:04:17In fact, she was singing a certain way
0:04:17 > 0:04:19so that her lip-gloss wouldn't move.
0:04:19 > 0:04:23# It's crazy, but it's true
0:04:23 > 0:04:26# I only want to be with you... #
0:04:32 > 0:04:35She might have created one of the trademark images of the '60s
0:04:35 > 0:04:38but it was a mask as well as uniform.
0:04:38 > 0:04:42She was actually very insecure, so the make-up and the hair
0:04:42 > 0:04:45and the costumes and everything, that was a mask
0:04:45 > 0:04:48that she could hide behind and once she went on stage, she was Dusty.
0:04:48 > 0:04:51When she came off stage, she was Mary.
0:04:53 > 0:04:57# How can I be sure...? #
0:04:57 > 0:05:01Mary O'Brien was very shy, very timid
0:05:01 > 0:05:04wouldn't really have spoken up in the same way
0:05:04 > 0:05:05that Dusty Springfield did.
0:05:07 > 0:05:09I started singing when I was 17
0:05:09 > 0:05:14and purposely set about creating somebody else, Dusty Springfield.
0:05:14 > 0:05:19# I just don't know what to do with myself... #
0:05:19 > 0:05:22Despite her insecurities, in the early '60s,
0:05:22 > 0:05:24everything was coming up Dusty.
0:05:24 > 0:05:27She was the first act on Top Of The Pops,
0:05:27 > 0:05:30she presented the latest acts on "Ready Steady Go!"
0:05:30 > 0:05:32and even had her own show on the BBC.
0:05:32 > 0:05:36Dusty will always be, for me,
0:05:36 > 0:05:37of that period, the greatest -
0:05:37 > 0:05:40for the looks, for the charm, for the voice.
0:05:40 > 0:05:45# I don't know just what to do with myself
0:05:45 > 0:05:47# I don't know just what... #
0:05:47 > 0:05:48She was a proper singer.
0:05:48 > 0:05:51You know a full-bore singer.
0:05:51 > 0:05:55'Even though she was influenced by soul singers,
0:05:55 > 0:05:56'she had her own sound.
0:05:56 > 0:05:59'Once you hear her voice, you know it's Dusty Springfield.'
0:05:59 > 0:06:02BOTH: # In the midnight hour
0:06:02 > 0:06:04# When my loving for you comes out
0:06:04 > 0:06:07# In the midnight hour
0:06:07 > 0:06:09# You leave me spellbound... #
0:06:09 > 0:06:12'She was great to work with, you know?
0:06:12 > 0:06:13'We got on really well together'
0:06:13 > 0:06:16and we were influenced by the same music.
0:06:16 > 0:06:20Dusty so loved Black American music
0:06:20 > 0:06:22that she wanted to champion Motown
0:06:22 > 0:06:25and it's then unknown acts to a British audience
0:06:25 > 0:06:26and pitched it as a TV special.
0:06:26 > 0:06:31You're watching The Sounds Of Motown!
0:06:31 > 0:06:34Introduced by Dusty Springfield.
0:06:34 > 0:06:36CHEERING
0:06:36 > 0:06:39And now, The Supremes!
0:06:39 > 0:06:42It was a very brave move, in terms of nobody knew
0:06:42 > 0:06:44who the hell these artists were,
0:06:44 > 0:06:49so Dusty said, "Well, what if I introduce it and become part of it?"
0:06:49 > 0:06:52# Wishing and hoping... #
0:06:52 > 0:06:55My thrill and delight was when Dusty decided to do
0:06:55 > 0:06:57Wishing And Hoping with me and Betty and Rosalind.
0:06:57 > 0:07:00We had never really blended our voices together.
0:07:00 > 0:07:02And it was a thrill to see how easy it was to do
0:07:02 > 0:07:05and how much fun we had doing it.
0:07:05 > 0:07:14# So, if you're thinking of how great true love is
0:07:14 > 0:07:15# All you gotta do
0:07:15 > 0:07:17# Is hold him and kiss him
0:07:17 > 0:07:20# And love him... #
0:07:20 > 0:07:23Her instincts were absolutely right because after
0:07:23 > 0:07:26the special had aired, Motown really did explode.
0:07:26 > 0:07:30People then suddenly went, "Oh, my God, this music is really good."
0:07:30 > 0:07:35# The look of love
0:07:35 > 0:07:40# Is in your eyes... #
0:07:40 > 0:07:43There was no female artist bigger than Dusty
0:07:43 > 0:07:46and no-one more difficult to please than Dusty the recording artist.
0:07:46 > 0:07:50She didn't want to be in the control room with me or the engineer,
0:07:50 > 0:07:52she wanted a separate room to hear playbacks.
0:07:52 > 0:07:55So, I was loving it, how she sounded
0:07:55 > 0:07:59but getting her happy seemed to be harder.
0:08:02 > 0:08:05Underneath the facade, I really wasn't very grown-up at all
0:08:05 > 0:08:08and was apt to lapse into all sorts of tantrums
0:08:08 > 0:08:10if things didn't go my way
0:08:10 > 0:08:15and very, very impatient and extremely hard, mainly on myself.
0:08:18 > 0:08:20I think with the insecurities that she had
0:08:20 > 0:08:24and her own demons, I'm sure that she was fighting,
0:08:24 > 0:08:29it became a reflection of her feelings, what was inside her.
0:08:30 > 0:08:34She was a tortured soul and, sometimes,
0:08:34 > 0:08:39I guess that that torture comes across in her performance.
0:08:39 > 0:08:42# If you go away
0:08:42 > 0:08:44# On this summer day... #
0:08:44 > 0:08:48She was very sensitive, extremely vulnerable.
0:09:01 > 0:09:04And that was very attractive, a very attractive quality.
0:09:04 > 0:09:07And you could hear it in her voice,
0:09:07 > 0:09:12the great heart-rending vocals that she would give.
0:09:13 > 0:09:16# If you go away
0:09:16 > 0:09:21# If you go away. #
0:09:21 > 0:09:23Whatever the public wanted to know about Dusty's life
0:09:23 > 0:09:25she didn't want to tell them.
0:09:27 > 0:09:30We had the same manager, briefly, and in fact in 1964
0:09:30 > 0:09:32he decided to link us romantically.
0:09:32 > 0:09:34So on the front page of the Daily Mirror
0:09:34 > 0:09:37was a picture of myself and Dusty, you know?
0:09:37 > 0:09:39Are they engaged or, you know,
0:09:39 > 0:09:40which was ridiculous.
0:09:42 > 0:09:45Every interview would go to her sexuality and she said,
0:09:45 > 0:09:48"It's got nothing to do with the records I make.
0:09:48 > 0:09:51"I'm number two in the charts and they want to know who I'm screwing."
0:09:51 > 0:09:55# And don't tell me what to do... #
0:09:55 > 0:09:59At the time, the insiders knew that Dusty was gay, you know?
0:09:59 > 0:10:02And...but nobody...
0:10:02 > 0:10:05the general public didn't, they do now.
0:10:05 > 0:10:09And it's no big deal any more, but in those days if somebody was gay
0:10:09 > 0:10:12you wouldn't publicise it, it wasn't something to be talked about
0:10:12 > 0:10:16because it was voodoo in those days.
0:10:16 > 0:10:19At the end of the '60s,
0:10:19 > 0:10:21Dusty signed with Atlantic records
0:10:21 > 0:10:23to record with American soul musicians,
0:10:23 > 0:10:27a decision which didn't please all Dusty fans.
0:10:27 > 0:10:29People wanted big ballads, didn't they, from her?
0:10:29 > 0:10:33And it must have been quite difficult for her to move on.
0:10:33 > 0:10:35# Billy Ray was a preacher's son
0:10:35 > 0:10:38# And when his Daddy would visit He'd come along... #
0:10:38 > 0:10:40When Dusty In Memphis came out,
0:10:40 > 0:10:43it wasn't that well received at first.
0:10:43 > 0:10:46Now, all these years later,
0:10:46 > 0:10:49it's always in the best 50 albums of all time.
0:10:49 > 0:10:54# Lord knows, to my surprise The only boy who could ever reach me
0:10:54 > 0:10:56# Was the son of a preacher man
0:10:56 > 0:11:00# The only one who could ever teach me
0:11:00 > 0:11:03- # Was the son of a preacher man... # - Subsequent recordings didn't chart,
0:11:03 > 0:11:05and Dusty's career
0:11:05 > 0:11:08began to look as anchored in the '60s as her eyeliner.
0:11:11 > 0:11:16But in the late '80s, The Pet Shop Boys stepped in,
0:11:16 > 0:11:19and provided Dusty with the perfect setting for her voice again.
0:11:19 > 0:11:23# Since you went away I've been hanging around
0:11:23 > 0:11:28# I've been wondering why I'm feeling down
0:11:28 > 0:11:29# You went away... #
0:11:29 > 0:11:33Certainly for us, the public, it was nice to hear Dusty again,
0:11:33 > 0:11:35and, you know, to hear her talent.
0:11:35 > 0:11:38Thank goodness she had that period before she went.
0:11:38 > 0:11:42# How I'm gonna get through... #
0:11:42 > 0:11:47But it was a last goodbye.
0:11:47 > 0:11:52Dusty was diagnosed with breast cancer and lost her battle in 1999.
0:11:52 > 0:11:56Maybe she's bigger...
0:11:58 > 0:12:01..in our consciousness now that she's not here any more.
0:12:04 > 0:12:07Kinda wish she were around, still.
0:12:07 > 0:12:08# Oh, oh, oh-oh... #
0:12:08 > 0:12:10I think she'll always be with us, you know,
0:12:10 > 0:12:11I don't think there's anybody
0:12:11 > 0:12:14that ever sounded better than Dusty Springfield.
0:12:14 > 0:12:20# You've gotta give me some Give me some of your loving
0:12:20 > 0:12:24# Whoa, yeah, yeah-yeah. #
0:12:24 > 0:12:27APPLAUSE
0:12:31 > 0:12:34If Dusty's the consummate professional
0:12:34 > 0:12:35who started in the '50s,
0:12:35 > 0:12:39our next Queen is a natural, barefoot, off the factory floor
0:12:39 > 0:12:43and straight onto Top Of The Pops - Sandie Shaw.
0:12:46 > 0:12:48Sandie Shaw, like Nancy Sinatra in America,
0:12:48 > 0:12:52she absolutely epitomises Swinging '60s England.
0:12:52 > 0:12:57She's the quintessential Swinging '60s girl.
0:12:57 > 0:13:00I loved Sandie's look. She was original and special,
0:13:00 > 0:13:03and not blonde.
0:13:03 > 0:13:09Which I think was important at that particular time.
0:13:09 > 0:13:11# We meet every night at 8... #
0:13:11 > 0:13:14It sounds so arrogant and egotistic but I always knew I'd do it,
0:13:14 > 0:13:17and I think it's because I was young.
0:13:17 > 0:13:21And when you're young you don't know all the things that might stop you,
0:13:21 > 0:13:24or limit you. You just have dreams.
0:13:24 > 0:13:26# ..Long long live love. #
0:13:26 > 0:13:30Sandra Ann Goodridge worked at Ford Dagenham,
0:13:30 > 0:13:32but dreamed of being a singer.
0:13:32 > 0:13:36I remember once in a dancehall, there was this group on
0:13:36 > 0:13:39and there was the most terrible singer singing.
0:13:39 > 0:13:42And I turned round to my friends. "Look, me and you could do better."
0:13:42 > 0:13:46She said, "Well, you could anyway." So she went up to the group,
0:13:46 > 0:13:47and said something in their ear
0:13:47 > 0:13:49and next thing I knew I was onstage,
0:13:49 > 0:13:50singing with them.
0:13:50 > 0:13:54'It was only blokes around then. There weren't any girls doing it.
0:13:54 > 0:13:56'So when I was on, all the boys in the bands,'
0:13:56 > 0:13:59they were all huddled along the side of the stage,
0:13:59 > 0:14:02cos they just couldn't get enough, cos it was so unusual
0:14:02 > 0:14:06to actually see a girl standing up and singing like that.
0:14:06 > 0:14:11When I came off, I fell into their arms. It was like a dream come true!
0:14:11 > 0:14:16It was a working-class heartthrob that helped her realise her dream.
0:14:16 > 0:14:19# Wish you wanted my love, baby... #
0:14:19 > 0:14:21Afterwards, I met Adam Faith backstage.
0:14:21 > 0:14:25He'd said, "I want you to make some records, here's my manager, etc,"
0:14:25 > 0:14:28and then I was just about to sign a record contract,
0:14:28 > 0:14:30and I mentioned it to my friends.
0:14:30 > 0:14:33"I'm sorry, I don't think I'll be coming in, in future,
0:14:33 > 0:14:34"cos I'm going to be a star."
0:14:34 > 0:14:37As you do, when you're 16.
0:14:37 > 0:14:41'They laughed, cos they thought, "She's lost it completely."
0:14:41 > 0:14:45'But within months, I'd got a number one record.'
0:14:45 > 0:14:51# I walk along the city streets You used to walk along with me... #
0:14:51 > 0:14:55'It was amazing to have my song played on the radio all the time.
0:14:55 > 0:14:56'To wake up and it was playing.'
0:14:56 > 0:14:59The first time I heard it was in the kitchen with my mum,
0:14:59 > 0:15:01and we danced around in the kitchen to it.
0:15:01 > 0:15:07# Cos there is always something there to remind me... #
0:15:07 > 0:15:10It was a completely surreal and unheard of situation
0:15:10 > 0:15:12from some little girl in Dagenham.
0:15:12 > 0:15:19# I was born to love you And I will never be free
0:15:19 > 0:15:21# You'll always be a part of me... #
0:15:21 > 0:15:25Adam Faith's manager, Eve Taylor, had a background in variety,
0:15:25 > 0:15:28and saw Sandie as a light entertainment star.
0:15:32 > 0:15:33# My dearest one... #
0:15:33 > 0:15:38But songwriter Chris Andrews saw the girl of the moment.
0:15:38 > 0:15:39The first time I saw her,
0:15:39 > 0:15:41my God, she was absolutely stunning-looking,
0:15:41 > 0:15:44very, very tall. Wonderful cheekbones.
0:15:44 > 0:15:48And they always said, "You can't take a bad photograph of Sandie."
0:15:48 > 0:15:50I played a few things on the piano,
0:15:50 > 0:15:53Sandie sang, and this brilliant, unique voice came out.
0:15:53 > 0:15:55I thought, "Great, we've got it."
0:15:55 > 0:16:00# As long as you're happy, baby
0:16:00 > 0:16:02# Whoa, as long as you're happy, baby... #
0:16:02 > 0:16:06I just liked him immediately cos he was like the older brother
0:16:06 > 0:16:10I think I'd always wanted. So we just immediately hit it off.
0:16:10 > 0:16:16# You have a date for half past eight tonight
0:16:16 > 0:16:20# Some distant bell starts chiming now... #
0:16:20 > 0:16:22'I couldn't write music, couldn't play anything,'
0:16:22 > 0:16:25but I was able to choose the musicians and I was able to say
0:16:25 > 0:16:28'in my own limited naive way,
0:16:28 > 0:16:31' "I want the horn to sound like this,
0:16:31 > 0:16:34' "and if you put a guitar with a horn, what that sound would make?" '
0:16:34 > 0:16:39It was a young woman finding her feet and expressing herself
0:16:39 > 0:16:41'in this musical sense.'
0:16:41 > 0:16:44# You wait and wait Girl don't come... #
0:16:44 > 0:16:47Sandie was a natural from head to her very toes.
0:16:47 > 0:16:51'I remember being called up to the box.'
0:16:51 > 0:16:52Summoned up to the box!
0:16:52 > 0:16:56'They're all sat round talking about my feet,
0:16:56 > 0:17:00'and I said, "Sorry, I'm singing down there. What's all this about?"
0:17:00 > 0:17:02'And they were saying to me, "Well,'
0:17:02 > 0:17:04"we'd like you to continue singing
0:17:04 > 0:17:08"like that, cos you sing better when you've got your shoes off."
0:17:08 > 0:17:11# How can you tell me somebody loves you?
0:17:11 > 0:17:13# How d'you know they mean it? #
0:17:13 > 0:17:18But Sandie didn't really need permission to be herself.
0:17:18 > 0:17:22It became sort of a trademark, I suppose.
0:17:22 > 0:17:24It wasn't done to be all cool... That was...
0:17:24 > 0:17:26She was absolutely natural.
0:17:27 > 0:17:30The feet that launched 1,000 discs are barefoot no more.
0:17:32 > 0:17:35A shoe collection, launched by Sandie Shaw,
0:17:35 > 0:17:39and pretty psychedelic it was. Flashing lights and twisting torsos
0:17:39 > 0:17:42transformed this Chelsea restaurant into a bizarre bazaar.
0:17:42 > 0:17:45Because I'd become known as this fashionable person,
0:17:45 > 0:17:49that everyone was copying anyway, some designers came to me and said,
0:17:49 > 0:17:53would I like to do a range and they would put it together for me?
0:17:53 > 0:17:56Sandie had style.
0:17:56 > 0:17:59She knew exactly what she looked good in.
0:18:02 > 0:18:05Let's take a swing at our mates across the channel,
0:18:05 > 0:18:08where even the kids talk funny.
0:18:08 > 0:18:14SHE SINGS IN FRENCH
0:18:14 > 0:18:19Sandie's chic translated across the continent, and her manager
0:18:19 > 0:18:22saw this as an opportunity to force her in a new direction.
0:18:22 > 0:18:27Once upon a time, an English song, for the first time,
0:18:27 > 0:18:32won the Eurovision Song Contest. I was the lucky one who sang it.
0:18:32 > 0:18:38It had such an awful reputation, and I thought I was just so cool,
0:18:38 > 0:18:41and it was the worst possible match!
0:18:41 > 0:18:44- You think I'm very hard on you, but I'm not.- She's bringing me down.
0:18:44 > 0:18:47No, I'm not bringing you down cos you know it's the truth.
0:18:47 > 0:18:51She convinced me that if I didn't do this, I could never work again.
0:18:52 > 0:18:55# Had a dream last night... #
0:18:55 > 0:18:59There were five songs in contention, but Sandy was hoping
0:18:59 > 0:19:01Chris Andrews' song would win.
0:19:02 > 0:19:04And now it's up to you.
0:19:04 > 0:19:07The public, in the end, chose the song that they wanted,
0:19:07 > 0:19:10which to my horror was Puppet On A String,
0:19:10 > 0:19:12my least favourite of all the songs.
0:19:12 > 0:19:18# I wonder if one day that You'll say that
0:19:18 > 0:19:19# You care... #
0:19:19 > 0:19:21I know that her manager wanted us to win,
0:19:21 > 0:19:24and her manager was very clever.
0:19:24 > 0:19:28But Sandie was a professional. She got on with what she was given.
0:19:28 > 0:19:31The public had voted for Puppet On A String.
0:19:31 > 0:19:33She was going to give a magnificent performance.
0:19:35 > 0:19:41# I wonder if one day that You'll say that, you care
0:19:41 > 0:19:45# If you say you love me madly I'd gladly, be there
0:19:45 > 0:19:48# Like a puppet on a string... #
0:19:48 > 0:19:49'I was just embarrassed by it.'
0:19:49 > 0:19:53I didn't kind of realise that it wasn't for the audience
0:19:53 > 0:19:54that I'd been aiming at before.
0:19:54 > 0:19:57It was for a family audience. # String! #
0:19:57 > 0:19:59APPLAUSE
0:19:59 > 0:20:01Thank you. Thank you.
0:20:01 > 0:20:03But as the natural became professional,
0:20:03 > 0:20:06she found herself in the middle of the road.
0:20:06 > 0:20:09She always says it ruined her career. But it went to number one
0:20:09 > 0:20:13all over Europe, practically all over the world, except America.
0:20:13 > 0:20:18I was very concerned cos I thought, "NOW what am I going to do?
0:20:18 > 0:20:20"How am I going to get out of this and turn it around?"
0:20:24 > 0:20:27Sandie tried to turn it round by becoming the driving force
0:20:27 > 0:20:31behind her own TV show. She also produced an album,
0:20:31 > 0:20:33covering artists such as the Stones and Dylan,
0:20:33 > 0:20:36songs which she thought defined her generation.
0:20:36 > 0:20:37# Pleased to meet you... #
0:20:37 > 0:20:41Her old-school manager was less than impressed.
0:20:41 > 0:20:43Of course, Evie hated it! She hated the thought of it,
0:20:43 > 0:20:46she hated the sound of it, she hated the look,
0:20:46 > 0:20:51she hated its very existence, so it kind of disappeared without a trace.
0:20:51 > 0:20:59Shortly after that, what happened is that I began to lose...heart.
0:20:59 > 0:21:01# Always something there to remind me... #
0:21:06 > 0:21:08APPLAUSE
0:21:08 > 0:21:13Sandie and her public started to disagree on what Sandie should be.
0:21:13 > 0:21:15She'd tried to move on, but they hadn't.
0:21:15 > 0:21:22# I walk along the city streets You used to walk along with me...#
0:21:22 > 0:21:25In the early '70s Sandie deliberately withdrew
0:21:25 > 0:21:29from the music industry to concentrate on her family.
0:21:29 > 0:21:34But just as the Pet Shop Boys had reclaimed icon, Dusty Springfield,
0:21:34 > 0:21:38someone in the '80s wanted to reclaim one of his.
0:21:38 > 0:21:41Here's Sandie Shaw with The Smiths
0:21:41 > 0:21:45The Smiths and Sandie Shaw. We all thought, "Of course!"
0:21:45 > 0:21:46It seemed so perfect.
0:21:46 > 0:21:48# Hand in glove
0:21:48 > 0:21:54# The sun shines out of our behinds No, not like any other love... #
0:21:54 > 0:21:59I think she pulled off that trick of not trying to look like she did then.
0:21:59 > 0:22:01She seemed comfortable in her skin.
0:22:01 > 0:22:04She seemed comfortable being the age she was,
0:22:04 > 0:22:09and you thought, "Marvellous to see a woman behaving with such abandon,
0:22:09 > 0:22:11"you know, on Top Of The Pops."
0:22:11 > 0:22:15# Hand in glove... #
0:22:15 > 0:22:20She wasn't behaving as a woman of her age, a mother, all this kind of thing
0:22:20 > 0:22:22was supposed to behave.
0:22:22 > 0:22:26# Oh, we don't care... #
0:22:26 > 0:22:29She was the first singer ever to cover Led Zeppelin.
0:22:29 > 0:22:33And she's a qualified psychotherapist, you know.
0:22:33 > 0:22:36I'm actually very proud of what I did when I was younger.
0:22:36 > 0:22:39I'm proud of what I did in the '60s and what I did in the '80s.
0:22:41 > 0:22:45There are obviously lots of things I wished I'd done better.
0:22:45 > 0:22:47Just give me the chance and I will!
0:22:50 > 0:22:54Her mother was a baroness and a ballerina.
0:22:54 > 0:22:57She went to convent school. She was posh.
0:22:59 > 0:23:03Marianne Faithfull could never be and never was ordinary.
0:23:05 > 0:23:08Andrew Oldham, you were the person who discovered Marianne Faithfull.
0:23:08 > 0:23:11Is it literally possible to go to a party, pick up someone
0:23:11 > 0:23:15with no evident talent and make a star of them.
0:23:15 > 0:23:17Er, yes.
0:23:20 > 0:23:25A couple of aspiring music moguls saw gold when they first spotted
0:23:25 > 0:23:27the 17-year-old Marianne Faithfull.
0:23:27 > 0:23:32As with everything in the '60s, it all started at a party.
0:23:32 > 0:23:34- How did it begin, Marianne? - I went to a party,
0:23:34 > 0:23:38and there were lots of famous people there. The Rolling Stones were there
0:23:38 > 0:23:42and Millie and Crystal. All these people.
0:23:44 > 0:23:47It was amazing, the way she walked into the room,
0:23:47 > 0:23:50and literally, it was like someone was standing at the record player
0:23:50 > 0:23:56and turned the volume down. Everybody...everybody went, "Huh?"
0:23:56 > 0:24:00And Mick said to Andrew, "She's a star."
0:24:00 > 0:24:03And they came up and said to the person I was with,
0:24:03 > 0:24:04"And can she sing?"
0:24:04 > 0:24:09And he said, "Well, I shouldn't think so, but she's all right."
0:24:09 > 0:24:10'They talked about me'
0:24:10 > 0:24:12as if I wasn't there,
0:24:12 > 0:24:16which was one of the most strange things about the '60s -
0:24:16 > 0:24:22that if you were a girl or a woman, nobody spoke as if you had a brain,
0:24:22 > 0:24:24or as if you could talk.
0:24:24 > 0:24:29Without hearing her sing, this girl had a presence.
0:24:29 > 0:24:34This was the girl that you knew was for the age of the Beatles and Stones
0:24:34 > 0:24:38and so it didn't really matter how she sounded.
0:24:40 > 0:24:42Within weeks, Marianne was in the studio
0:24:42 > 0:24:46with a debut single written for her by Mick Jagger and Keith Richards.
0:24:46 > 0:24:53# It is the evening of the day
0:24:53 > 0:24:59# I sit and watch the children play... #
0:25:01 > 0:25:05I took the acetate back, played it to my family.
0:25:05 > 0:25:09They didn't think much about it and I forgot about it.
0:25:09 > 0:25:16# I sit and watch as tears go by
0:25:16 > 0:25:20# Mmm, mmm, mmm-mmm mmm mmm mmm-mmm... #
0:25:20 > 0:25:25'And suddenly there was a job and I had to leave school,'
0:25:25 > 0:25:28and of course, you know, you wouldn't be a normal little girl
0:25:28 > 0:25:32if you didn't want to get away from your mother and go to London
0:25:32 > 0:25:36and live in a flat and all that stuff, you know.
0:25:36 > 0:25:40From St Joseph's convent school to the top 10,
0:25:40 > 0:25:44Marianne's beauty and apparent innocence instantly fascinated.
0:25:44 > 0:25:52# There's a little bird That somebody sends... #
0:25:52 > 0:25:57Andrew's great ability was to look at an artist and take the basic raw data
0:25:57 > 0:26:01and put it into a package that was what the media wanted.
0:26:01 > 0:26:05# He's light and fragile... #
0:26:05 > 0:26:08Everybody fell in love with her and they loved this convent girl image.
0:26:08 > 0:26:10And she played the part really well.
0:26:10 > 0:26:16# So thin and graceful The sun shines through... #
0:26:16 > 0:26:21But Andrew knew the public would only want an innocent for so long.
0:26:21 > 0:26:24I built up a friendship with Andrew Oldham. He said, "Look,
0:26:24 > 0:26:26"I've gotta do something with Marianne.
0:26:26 > 0:26:29"She's got a great body and all the rest of it,
0:26:29 > 0:26:31"but people just see her as this
0:26:31 > 0:26:33"sort of convent girl, really."
0:26:36 > 0:26:38She just did everything she was told.
0:26:38 > 0:26:42I mean, if Andrew Oldham said, "Do that," she'd do it,
0:26:42 > 0:26:46cos that's the way things worked. He ran everything entirely.
0:26:46 > 0:26:49She was treated, I thought, like a commodity.
0:26:51 > 0:26:54I liked the fact that Terry O'Neill's pictures were going
0:26:54 > 0:26:57against the sort of virginal little girl image.
0:26:57 > 0:27:01If I'd known anything, or understood anything about anything,
0:27:01 > 0:27:07I would have avoided it because it would... Eventually I would begin
0:27:07 > 0:27:11to HATE being seen as a sexual object,
0:27:11 > 0:27:14and that would be ALL people would see.
0:27:17 > 0:27:19# Yesterday
0:27:19 > 0:27:25# All my troubles seemed so far away... #
0:27:25 > 0:27:28In the '60s, Marianne was the ultimate It-girl
0:27:28 > 0:27:31and friends with all its boy geniuses.
0:27:31 > 0:27:34# I believe in yesterday
0:27:34 > 0:27:40# Suddenly I'm not half the one I used to be... #
0:27:40 > 0:27:44But despite all her hard work, Marianne's career and relationship
0:27:44 > 0:27:46with her management began to run out of steam.
0:27:46 > 0:27:50Andrew was a great believer that pop stars should be available.
0:27:50 > 0:27:55He lost his love affair with Marianne because of John Dunbar.
0:27:55 > 0:28:03Because...married, she had the baby, and it ruined the image he'd created.
0:28:03 > 0:28:09# I said something wrong Now I long for... #
0:28:09 > 0:28:14Her marriage was short-lived and a Rolling Stone bounded into her life.
0:28:14 > 0:28:16SCREAMING
0:28:16 > 0:28:19I went down to Bristol
0:28:19 > 0:28:22to see the Stones play and it was really wonderful.
0:28:22 > 0:28:24It was like a revelation.
0:28:24 > 0:28:28# Yeah, the place was packed Front doors was locked
0:28:29 > 0:28:34# Yeah, the place was packed And when the police knocked... #
0:28:34 > 0:28:36I hadn't understood it till then.
0:28:36 > 0:28:38I'd never seen them play live before.
0:28:38 > 0:28:42And I ended up that night with Mick.
0:28:42 > 0:28:45And so Mick started calling me all the time.
0:28:45 > 0:28:48This is an awful thing to say, cos I did fall in love with Mick,
0:28:48 > 0:28:55but I wasn't making money and I was beginning to feel very insecure.
0:28:55 > 0:29:00And so when Mick started calling me, I thought, "This is a way out."
0:29:00 > 0:29:05I then stepped into that very privileged role
0:29:05 > 0:29:07of Mick Jagger's consort.
0:29:09 > 0:29:14Marianne gave Mick culture. Mick gave Marianne rock'n'roll.
0:29:14 > 0:29:18# Please allow me to introduce myself
0:29:18 > 0:29:22# I'm a man of wealth and taste... #
0:29:22 > 0:29:27It's very hard to describe how she had this knowledge and charm
0:29:27 > 0:29:31and breeding and character that everybody wanted a piece of.
0:29:31 > 0:29:36Here was somebody who knew about the theatre, who knew about Chekhov,
0:29:36 > 0:29:37knew what books to read.
0:29:37 > 0:29:40And Mick loved her for it.
0:29:40 > 0:29:43# Pleased to meet you Hope you guess my name... #
0:29:43 > 0:29:49What I gave to Mick was just my mind and my education.
0:29:49 > 0:29:51Everything, really.
0:29:51 > 0:29:55And that was very interesting. He had somebody to talk to
0:29:55 > 0:29:57about all these things, and we did talk a lot.
0:29:57 > 0:30:00She went from being Marianne Faithfull, the pop star,
0:30:00 > 0:30:03to Mick Jagger's plus-one.
0:30:04 > 0:30:10I thought that the only thing I could do was be the muse,
0:30:10 > 0:30:16the beautiful girl on the arm, but it wasn't a high-self-esteem choice,
0:30:16 > 0:30:18let's put it like that.
0:30:18 > 0:30:23The establishment were to bring down rock'n'roll's royal couple.
0:30:23 > 0:30:28Evidence that an unnamed naked woman was sitting on a sofa
0:30:28 > 0:30:33with a rug around her, when police raided Keith Richards' house
0:30:33 > 0:30:36at West Wittering, was given in court today.
0:30:36 > 0:30:38We went down there to take acid,
0:30:38 > 0:30:42and the News Of The World tapped the phones.
0:30:42 > 0:30:47And then 25 cops walked in and busted us.
0:30:47 > 0:30:52# Everybody must get stoned. #
0:30:52 > 0:30:54I was the only woman there.
0:30:54 > 0:30:57And, of course, I was very easy and free,
0:30:57 > 0:31:03so this thing about the fur rug and me being naked and all this stuff,
0:31:03 > 0:31:05and the shock, the public shock,
0:31:05 > 0:31:07that this little song thrush could...
0:31:07 > 0:31:10I don't know what they expected.
0:31:13 > 0:31:15It was really the benchmark case
0:31:15 > 0:31:17because the politicians and judges
0:31:17 > 0:31:20wanted to stop sex, drugs and rock'n'roll coming to the UK.
0:31:20 > 0:31:24And Marianne was part of that.
0:31:24 > 0:31:25She was really right in there.
0:31:25 > 0:31:29It didn't do her any good - Marianne.
0:31:29 > 0:31:31It did the Stones a lot of good.
0:31:32 > 0:31:39I became Miss X and awful jokes went round, horrible things,
0:31:39 > 0:31:43and terrible letters were sent to me. Really nasty.
0:31:43 > 0:31:45And then I began to believe that.
0:31:45 > 0:31:49And that was the beginning of a very difficult period.
0:31:50 > 0:31:54If you ask me, I guess I have to say that of course I took drugs,
0:31:54 > 0:31:55like everyone.
0:31:57 > 0:32:00Marianne was spiralling into drug abuse and depression.
0:32:00 > 0:32:03Things worsened with the death of her close friend,
0:32:03 > 0:32:06Rolling Stone Brian Jones.
0:32:06 > 0:32:09Brian died, which had a very bad effect on me.
0:32:09 > 0:32:12And I got very, very depressed after that.
0:32:12 > 0:32:18# I saw her today at the reception... #
0:32:18 > 0:32:25I was in a very sorry place and had a lot of inside pain and problems.
0:32:25 > 0:32:31# You can't always get what you want... #
0:32:31 > 0:32:33Marianne became a serious drug addict.
0:32:33 > 0:32:37And the situation with drugs, as Andrew always taught,
0:32:37 > 0:32:41nothing wrong with the drugs, as long as you're their master.
0:32:45 > 0:32:49# Here I lie... #
0:32:51 > 0:32:55She ended her relationship with Jagger and found herself
0:32:55 > 0:32:57living on the streets, addicted to heroin.
0:32:57 > 0:33:03# Tell me, Sister Morphine... #
0:33:03 > 0:33:08In 1979, Marianne went back into the recording studio.
0:33:08 > 0:33:11At the time, when I made Broken English,
0:33:11 > 0:33:15I believed... I was always very dramatic,
0:33:15 > 0:33:18and I believed I wasn't going to live after that.
0:33:18 > 0:33:21I thought I was going to die after Broken English.
0:33:21 > 0:33:26And to me, what Broken English was, was, "Right, this is my last chance.
0:33:26 > 0:33:28"I'm going to lay it out."
0:33:28 > 0:33:32# At the age of 37
0:33:32 > 0:33:38# She realised she'd never ride through Paris
0:33:38 > 0:33:40# In a sports car... #
0:33:40 > 0:33:42There is that thing of when you listen to her sing,
0:33:42 > 0:33:44you can hear she's been through things.
0:33:44 > 0:33:49And when she sings a song, it's like someone telling a story to you.
0:33:49 > 0:33:50I like that about her singing.
0:33:50 > 0:33:52# I am a muse
0:33:52 > 0:33:54# Not a mistress
0:33:54 > 0:33:56# Not a whore... #
0:33:56 > 0:34:00Marianne Faithfull was never just a muse.
0:34:00 > 0:34:02With Broken English she became an artist.
0:34:02 > 0:34:06In the last 30 years she's continued to make critically acclaimed albums
0:34:06 > 0:34:08with the rock elite.
0:34:08 > 0:34:11'It just sort of slowly, slowly,'
0:34:11 > 0:34:14like climbing a granite cliff,
0:34:14 > 0:34:17'it started to get better.'
0:34:17 > 0:34:22# I'm still sliding through life on charm... #
0:34:22 > 0:34:26She is Marianne Faithfull and she's unique.
0:34:26 > 0:34:29I've never met anybody else like her.
0:34:29 > 0:34:37# I sit and watch As tears go by... #
0:34:37 > 0:34:41'It's taken me a long time to understand that I have done it.
0:34:41 > 0:34:43'I've had to take a breath and say,'
0:34:43 > 0:34:46"Listen, you just calm down now.
0:34:46 > 0:34:51"This is all fine. You can do anything you like". And I can.
0:34:51 > 0:34:56# Da, da-ah. #
0:34:56 > 0:34:58APPLAUSE
0:35:02 > 0:35:04COUGHING
0:35:04 > 0:35:09Oh, my God! Where are the nurses? Somebody must be doing something.
0:35:09 > 0:35:12Hi, honey. The doctors tried to stop me, but I said,
0:35:12 > 0:35:15"You give that chick anything she needs." I'm from Detroit
0:35:15 > 0:35:19and I don't mess around. What do you need? Sex, drugs, rock'n'roll?
0:35:19 > 0:35:21Rock'n'roll!
0:35:21 > 0:35:23# So make a stand for your man, honey
0:35:23 > 0:35:24# Try to can the can... #
0:35:24 > 0:35:29Being brazen and bad wasn't the done thing for a nice English girl.
0:35:29 > 0:35:33So enter the girl from Detroit. Our first rock'n'roll queen.
0:35:33 > 0:35:35# Well, can the can. #
0:35:43 > 0:35:48# You know I can be found Sitting all alone... #
0:35:48 > 0:35:51It was January, 1956. I was five, nearly six.
0:35:51 > 0:35:53And Elvis Presley was on.
0:35:53 > 0:35:58# Don't be cruel To a heart that's true
0:35:58 > 0:36:01And I was watching him, and my sister was screaming
0:36:01 > 0:36:03and pulling her hair
0:36:03 > 0:36:06and I was looking at her thinking, "What is she doing?"
0:36:06 > 0:36:08As it was going on, my father came in.
0:36:08 > 0:36:11He looked at the TV and he looked at us and he said, "Disgusting."
0:36:11 > 0:36:14He switched it off. At that minute in time,
0:36:14 > 0:36:17I decided I was going to be Elvis Presley.
0:36:17 > 0:36:19And it didn't occur to me that he was a guy.
0:36:19 > 0:36:22I just thought, "I'm going to be him."
0:36:22 > 0:36:26Clearly a visionary, teenage Suzi formed a rock band with her sisters.
0:36:26 > 0:36:30We were with guys all the time. We were the only females.
0:36:30 > 0:36:33And, boy, you have to walk your course carefully.
0:36:36 > 0:36:40To keep your femininity but to still be bossy enough to hold your own.
0:36:40 > 0:36:41So to speak.
0:36:41 > 0:36:44# Woo, what a way to die... #
0:36:44 > 0:36:48When the band played a local gig, Suzi was determined to stand out.
0:36:48 > 0:36:52Nancy did most of the singing then, and then, as I was in those days,
0:36:52 > 0:36:55as I probably still am now, I very cockily came up to the mic,
0:36:55 > 0:36:57and I said, "Here's one I wrote."
0:36:59 > 0:37:04In the audience that night, was one of Britain's top record producers,
0:37:04 > 0:37:07Mickie Most, who was after the next big thing.
0:37:07 > 0:37:09There was a demand for a new girl singer in England.
0:37:09 > 0:37:12We needed that. There was just a void there.
0:37:12 > 0:37:16And whilst there's a void there's always a chance to make success.
0:37:16 > 0:37:20He didn't know what I was. He said to his wife, "Oh, I found it!
0:37:20 > 0:37:22"Finally!" She said, "What?"
0:37:22 > 0:37:25and he said, "I don't know, but I've found it."
0:37:25 > 0:37:31# All my life I wanted to be somebody and here I am
0:37:31 > 0:37:33# I know what I got And there ain't nobody
0:37:33 > 0:37:35# Gonna take it away from me... #
0:37:35 > 0:37:40Suzi was a garage rocker but Mickie Most wanted to make her go pop.
0:37:45 > 0:37:48OK, let's get on the piano. Let's get back on the piano.
0:37:48 > 0:37:50'Mickie didn't know how to put me on record.'
0:37:50 > 0:37:52And he was getting desperate.
0:37:52 > 0:37:54He believed in me but didn't know what to do.
0:37:54 > 0:37:56If you come up with one little idea.
0:37:56 > 0:37:59Little, little one, telephone me
0:37:59 > 0:38:01and, er, play it to me over the phone.
0:38:01 > 0:38:05# Does anyone know the way To hear someone say... #
0:38:05 > 0:38:07The British charts were sodden with glam,
0:38:07 > 0:38:11and Mickie turned to the Lennon and McCartney of The Stack Heel,
0:38:11 > 0:38:13Nicky Chinn and Mike Chapman.
0:38:13 > 0:38:15# ..Blockbuster! #
0:38:15 > 0:38:18Once I had written the song and given it to Mickie,
0:38:18 > 0:38:21his eyes lit up and he said, "This is fantastic!
0:38:21 > 0:38:25"Now we can create the image. Boom!"
0:38:25 > 0:38:30At the crucial moment of her rebirth, Suzi turned to the King.
0:38:30 > 0:38:33I saw him on the comeback special and decided I would wear leather.
0:38:33 > 0:38:37That was it. I was going to wear leather.
0:38:37 > 0:38:40Mickie said, "No, no, no, no, no." I said, "Yes!"
0:38:40 > 0:38:43He said, "No, no, no, no, no. It's been done."
0:38:43 > 0:38:46I said, "Not by a woman," and he saw he was going to lose
0:38:46 > 0:38:47and he said, "OK...
0:38:47 > 0:38:52What about a jumpsuit?" I said, "Great."
0:38:52 > 0:38:56# Well, you call your mamma Tiger And we know you ain't lying... #
0:38:56 > 0:39:00Can The Can was a pretty exciting and raw-sounding record,
0:39:00 > 0:39:05for those times. It had real energy and attitude to it.
0:39:05 > 0:39:09I'd never seen a woman fronting a rock band before and playing bass.
0:39:09 > 0:39:11It wasn't just like
0:39:11 > 0:39:13four hairy-arsed dockers with someone to stick in front
0:39:13 > 0:39:15to make it look a bit more presentable.
0:39:15 > 0:39:19# Yeah, so make a stand for your man, honey
0:39:19 > 0:39:21# Try to can the can... #
0:39:21 > 0:39:26She took it to number one. I mean, OK, it was a great record,
0:39:26 > 0:39:29but you need the package and Suzi sold the song
0:39:29 > 0:39:31like, really, very few artists I've worked with.
0:39:31 > 0:39:35# Oh, honey! Honey! Honey! Honey! Honey! #
0:39:35 > 0:39:38She wasn't pretty-pretty, but men were quite attracted by that
0:39:38 > 0:39:41and the women just thought, "Ooh, blimey,
0:39:41 > 0:39:44"I don't just have to be the lead singer's girlfriend.
0:39:44 > 0:39:46"I could be the lead singer, actually!
0:39:47 > 0:39:51# Oh-h-h! Take a stand for your man, honey...! #
0:39:51 > 0:39:56Everyone was keen to capitalise on the small girl with the big bass.
0:39:56 > 0:40:00I remember Mickie actually saying to Mike and Nicky,
0:40:00 > 0:40:02"We need another number one for Suzi."
0:40:02 > 0:40:05- # Hey, you all wanna go down To Devil Gate Drive?- Yeah!
0:40:05 > 0:40:07# Well, come on...! #
0:40:07 > 0:40:10'And so that's what they did. They wrote another number one.
0:40:10 > 0:40:13'I mean, it's ridiculous if you say it like that. How flippant!'
0:40:13 > 0:40:16Mickie knew that Quatro could do even more
0:40:16 > 0:40:18and dreamt up their next plan of attack.
0:40:18 > 0:40:20Mickie said, "Why don't we do a dance routine?"
0:40:20 > 0:40:23The boys said, "Oh God, we can't dance!" I said, "Great! I can."
0:40:23 > 0:40:27The boys look like West Side Story gone wrong.
0:40:28 > 0:40:31- # ..So come alive!- Yeah! - Come alive!- Yeah!
0:40:31 > 0:40:34# Down in Devil Gate Drive... #
0:40:34 > 0:40:36'There's Lenny looking at my feet the entire time,
0:40:36 > 0:40:38'afraid to move wrong.
0:40:38 > 0:40:41'You know, Alastair looks like a coat hanger.'
0:40:41 > 0:40:43# ..Down in Devil Gate Down in Devil Gate.. #
0:40:43 > 0:40:46It's brilliant, brilliant stuff. And it went straight to number one.
0:40:46 > 0:40:47So there you go.
0:40:49 > 0:40:54Suzi was now a polished act. But she was a knowing player.
0:40:54 > 0:40:57Never did she looks as if she was under the cosh
0:40:57 > 0:40:58or was playing to order.
0:40:58 > 0:41:01I mean, she looked very much, always to me, and sounded as if,
0:41:01 > 0:41:04she was her own woman, despite her songs being provided
0:41:04 > 0:41:07by someone else. And Mickie produced the records.
0:41:07 > 0:41:10She struck her own chord and moved to her own rhythm.
0:41:10 > 0:41:12# You got the hands of a man
0:41:12 > 0:41:16# And the face of a little boy blue...#
0:41:16 > 0:41:20Mickie was accused of being a Svengali,
0:41:20 > 0:41:24and controlling his artists. But there would certainly be times
0:41:24 > 0:41:29when Mickie would listen to Suzi when she'd state in no uncertain fashion,
0:41:29 > 0:41:30"This is what I want to do."
0:41:30 > 0:41:35# 48 crash, 48 crash Come like a lightning flash
0:41:35 > 0:41:39# A lightning flash And it's a silk sash bash... #
0:41:39 > 0:41:42Four albums in, Suzi picked up her bass, spread her wings,
0:41:42 > 0:41:44and turned her hand to acting.
0:41:44 > 0:41:46Over here, Leather!
0:41:46 > 0:41:48There she is now!
0:41:48 > 0:41:54Hey, she is cool. Hubba, hubba, hubba.
0:41:54 > 0:41:57'Now, Happy Days came along, and that was the number one show'
0:41:57 > 0:42:02in America. And people to this day recognise me as Leather Tuscadero.
0:42:02 > 0:42:05'That was 30 years ago. I still can't believe it.'
0:42:05 > 0:42:07CANNED LAUGHTER
0:42:07 > 0:42:10He's so glad to see me(!)
0:42:10 > 0:42:12It was like a duck to water.
0:42:12 > 0:42:16Everybody loved Suzi and she was
0:42:16 > 0:42:19'magnificent in the series. I mean, if you watch it, you would not know'
0:42:19 > 0:42:21that she'd never done it before.
0:42:21 > 0:42:24What's this music con you're into?
0:42:24 > 0:42:28It ain't no con. Ah, why bother? You won't listen.
0:42:28 > 0:42:30Hey, I got ears. Try me.
0:42:30 > 0:42:34'And I thought that she was spectacular.'
0:42:34 > 0:42:36Her personality jumped off the screen.
0:42:36 > 0:42:39Her personality came right through the camera.
0:42:39 > 0:42:43Well, let's listen to this great talent that's put you on the road
0:42:43 > 0:42:44to righteousness.
0:42:44 > 0:42:46You got it!
0:42:48 > 0:42:52# Well, I've seen you before On the discotheque floor
0:42:52 > 0:42:55# You were driving me out of my mind... #
0:42:55 > 0:42:59But music was Suzi's first love. And now it was all grown-up.
0:42:59 > 0:43:02We were having rock'n'roll hit singles for quite some time.
0:43:02 > 0:43:05You know, the image was intact.
0:43:05 > 0:43:11We talked and Mike said, "How would you feel about a change of mood?"
0:43:11 > 0:43:13# You can't give me love
0:43:13 > 0:43:14# Lo-ove
0:43:14 > 0:43:16# If you can't give me love
0:43:16 > 0:43:18# Lo-ove
0:43:18 > 0:43:20# If you can't give me... #
0:43:20 > 0:43:23Suzi didn't go all soft. She was our first queen of rock,
0:43:23 > 0:43:25and she's still a-rockin' and a-rollin' today.
0:43:25 > 0:43:28When I look back at everything I've done...
0:43:28 > 0:43:31yeah, I'm still sane.
0:43:31 > 0:43:32I'm not a drug addict.
0:43:32 > 0:43:34I'm still gigging.
0:43:35 > 0:43:37I'm still normal.
0:43:37 > 0:43:41So...yeah, I'm pretty proud of myself.
0:43:46 > 0:43:48In the Top Of The Pops Studio in the mid '70s,
0:43:48 > 0:43:52you'd be hard pushed to find somebody cool.
0:43:52 > 0:43:54But then came the ice queen.
0:43:54 > 0:43:59# Following the footsteps of a rag doll dance we are entranced...#
0:43:59 > 0:44:02A human blade, a bird of prey.
0:44:13 > 0:44:15Growing up in the suburbs,
0:44:15 > 0:44:18you're always very aware of being different,
0:44:18 > 0:44:21and you want desperately to just not stick out.
0:44:21 > 0:44:23Thankfully, as I grew older,
0:44:23 > 0:44:25I kind of appreciated the difference
0:44:25 > 0:44:28and I guess accentuated it.
0:44:29 > 0:44:32When I was growing up, a lot of girls
0:44:32 > 0:44:36kind of had that cliche of finding someone to look after them,
0:44:36 > 0:44:38you know, with a car, with a job.
0:44:38 > 0:44:41And I just...found that really boring.
0:44:41 > 0:44:44I wanted to be my own person.
0:44:44 > 0:44:47I wanted to be...I dunno, an actress or an artist -
0:44:47 > 0:44:52or anything that didn't have a 9-5 parameter to it.
0:44:52 > 0:44:55# I'll find some
0:44:55 > 0:44:58# Way of connection
0:44:58 > 0:45:00# Hiding my intention... #
0:45:00 > 0:45:04Music and attitude were the common ground binding together
0:45:04 > 0:45:07what was to become known as the Bromley contingent.
0:45:10 > 0:45:13It was just about being a bit of a peacock,
0:45:13 > 0:45:15and having fun and meeting people
0:45:15 > 0:45:17that you felt some kind of connection with.
0:45:17 > 0:45:19They mentioned a band
0:45:19 > 0:45:23that they'd just started seeing called Sex Pistols.
0:45:23 > 0:45:26# I am an anti-Christ
0:45:26 > 0:45:29# I am an anarchist... #
0:45:29 > 0:45:31In the audience,
0:45:31 > 0:45:36right from the start were Siouxsie, Billy Idol, Steve...
0:45:37 > 0:45:40I discovered that they were all from Bromley.
0:45:40 > 0:45:42And as the punk movement developed, I began to say
0:45:42 > 0:45:45that if the Bromley contingent was at the gig, you know,
0:45:45 > 0:45:47the gig was that important.
0:45:47 > 0:45:51The Pistols were headlining a punk festival,
0:45:51 > 0:45:54and their manager, Malcolm McLaren, needed to flesh out the bill.
0:45:57 > 0:46:02Malcolm - literally, he needed a band for this festival he was organising.
0:46:02 > 0:46:06And I just...without thinking, just..."I'll do it."
0:46:14 > 0:46:18I do remember wanting to come across as...all-powerful
0:46:18 > 0:46:21and I wanted to kind of make it painful for people!
0:46:23 > 0:46:25I suppose, looking back at it, it took some balls,
0:46:25 > 0:46:28not knowing what she was doing,
0:46:28 > 0:46:29or what we were doing,
0:46:29 > 0:46:32to stand on stage in front of, you know...
0:46:32 > 0:46:33a pretty heavy audience
0:46:33 > 0:46:36doing a song which wasn't even a song.
0:46:38 > 0:46:41- You're singing?- Yeah.- Have you sung before?- Not on stage, no.
0:46:41 > 0:46:44Did you think that was important?
0:46:44 > 0:46:47Um...no.
0:46:47 > 0:46:53Siouxsie just appeared, fully made, fully in control, utterly confident.
0:46:55 > 0:46:58It totally, totally blew me away.
0:46:58 > 0:47:01There she was, doing something that I dared to dream,
0:47:01 > 0:47:03but she took it and did it.
0:47:03 > 0:47:06And it wiped the rest of the festival for me - that was it.
0:47:06 > 0:47:08I can't even remember anything else about it,
0:47:08 > 0:47:10except that one performance.
0:47:10 > 0:47:13When punk had its decisive moment on The Today Show,
0:47:13 > 0:47:16Siouxsie was in the centre of the scandal,
0:47:16 > 0:47:19with Ziggy eyeliner, being leered at.
0:47:19 > 0:47:20What about you girls behind?
0:47:20 > 0:47:23- Are you worried, or just enjoying yourself?- Enjoying myself.
0:47:23 > 0:47:27- That's what I thought.- I've always wanted to meet you.- Did you?
0:47:27 > 0:47:29We'll meet afterwards, shall we?
0:47:29 > 0:47:31You dirty sod!
0:47:31 > 0:47:33You dirty old man!
0:47:36 > 0:47:39Having seen how easy it would be to blow people's minds,
0:47:39 > 0:47:41Siouxsie got serious with her band,
0:47:41 > 0:47:44and began to assert herself as a front woman.
0:47:44 > 0:47:46I thought she was one of the mesmerising performers
0:47:46 > 0:47:50I'd ever seen. She had this great stage presence and command.
0:47:50 > 0:47:51She was unpredictable -
0:47:51 > 0:47:54would she threaten somebody at the front of the stage?
0:47:54 > 0:47:56She would sing in their faces,
0:47:56 > 0:47:59she'd be giving this very, very kind of full-on performance.
0:48:00 > 0:48:03She was overtly sexual
0:48:03 > 0:48:06on a level, but not for anyone's pleasure but her own.
0:48:06 > 0:48:11Some of the early shows I'm wearing the vinyl thigh boots -
0:48:11 > 0:48:13they're actually stockings.
0:48:13 > 0:48:16It was all, like, fetish underwear,
0:48:16 > 0:48:20and I think wasn't really to be worn outside the bedroom,
0:48:20 > 0:48:22or somebody's office...
0:48:22 > 0:48:26She was opening the closet to male sexual fantasies...
0:48:27 > 0:48:30and owning that sexual fantasy.
0:48:30 > 0:48:32Although they were the only female-fronted band
0:48:32 > 0:48:34from the original crop of punks,
0:48:34 > 0:48:38Siouxsie And The Banshees were having trouble getting signed...
0:48:38 > 0:48:40# Cracking up, up, up
0:48:40 > 0:48:44# Face is cracking up My face is cracking up... #
0:48:44 > 0:48:47Around a year ago, the entrance to almost every record company
0:48:47 > 0:48:51in London was aerosoled with the command, "Sign the Banshees,
0:48:51 > 0:48:54"Do it now." In fact, no-one did, for a long time,
0:48:54 > 0:48:57but as soon as Siouxsie was committed to vinyl,
0:48:57 > 0:48:59they've had more or less instant success.
0:48:59 > 0:49:03# Harmful elements in the air
0:49:03 > 0:49:06# Cymbals crashing everywhe-ere
0:49:06 > 0:49:10# Reap the fields of rice and reeds
0:49:10 > 0:49:13# While the population fades
0:49:13 > 0:49:15# Junk boats on polluted... #
0:49:15 > 0:49:17Looking like her own Warhol print,
0:49:17 > 0:49:20Siouxsie was an instant gothic goddess
0:49:20 > 0:49:23for any pop fan with a taste for the stronger, darker stuff.
0:49:23 > 0:49:25I find it really difficult to describe,
0:49:25 > 0:49:28but there just was nobody like her.
0:49:28 > 0:49:30You know, she wasn't emulating anyone.
0:49:30 > 0:49:35She seemed like somebody who just wouldn't be told how to do it.
0:49:35 > 0:49:38It was very real and raw, there was nothing plastic -
0:49:38 > 0:49:42no man marionetting up above her,
0:49:42 > 0:49:45sort of... She was in charge, she was in charge of the band.
0:49:45 > 0:49:47She's a very, very strong person,
0:49:47 > 0:49:49so...that was very new.
0:49:49 > 0:49:54# Hanging...hanging... #
0:49:54 > 0:49:56She was a rebel, and I just identified with that.
0:49:56 > 0:50:01Because I was a 13-year-old child at school, with red hair,
0:50:01 > 0:50:03getting bullied every day,
0:50:03 > 0:50:06and I felt completely disenfranchised
0:50:06 > 0:50:07and disempowered.
0:50:07 > 0:50:09I'd go home, put on my Siouxsie And The Banshees records
0:50:09 > 0:50:11and feel like I could rule the world.
0:50:11 > 0:50:14# Down on your knees... #
0:50:14 > 0:50:18I like strong women, and I guess because I grew up
0:50:18 > 0:50:22where my mother kind of was in control of the household,
0:50:22 > 0:50:26and...because of the situation at home with my father,
0:50:26 > 0:50:27who was an alcoholic,
0:50:27 > 0:50:31she did everything. And she had to, she didn't really have a choice.
0:50:31 > 0:50:35# This is the happy house
0:50:35 > 0:50:39# We're happy here In the happy house... #
0:50:39 > 0:50:43I grew up thinking it normal that women went out to work,
0:50:43 > 0:50:46you know, mended fuses or mowed the lawn...
0:50:48 > 0:50:50That's what my mother did.
0:50:50 > 0:50:52She kept the family together.
0:50:52 > 0:50:54# In the happy house... #
0:50:54 > 0:50:58Strong women also influenced Siouxsie's image.
0:50:58 > 0:51:00Siouxsie is like an old-time film star,
0:51:00 > 0:51:03like a Marlene Dietrich or a Greta Garbo.
0:51:03 > 0:51:06Someone who you never see, apart from being Siouxsie.
0:51:06 > 0:51:08When she goes out, she's always Siouxsie,
0:51:08 > 0:51:11when she makes a record, whatever styles she's using,
0:51:11 > 0:51:13it's always Siouxsie.
0:51:13 > 0:51:17I realised from a really early age that I wasn't going to be
0:51:17 > 0:51:20what was on the covers of, you know, like the Jackie that I used to get -
0:51:20 > 0:51:24like blonde, suntan and smiling and approachable.
0:51:24 > 0:51:26# The sun is up
0:51:26 > 0:51:28# The sky is blue
0:51:28 > 0:51:30# It's beautiful
0:51:30 > 0:51:34# And so are you Dear Prudence... #
0:51:34 > 0:51:38The funny thing is that Siouxsie was not the girl next door.
0:51:38 > 0:51:41You know, that she looked like a dominatrix and...
0:51:41 > 0:51:44she was very cool and very inaccessible. But, actually,
0:51:44 > 0:51:48she WAS the girl next door - she WAS Susan from Bromley.
0:51:48 > 0:51:52Siouxsie rode the bone carriage of the Banshees for 20 years
0:51:52 > 0:51:53before leaping off solo
0:51:53 > 0:51:56and collaborating with cutting-edge musicians
0:51:56 > 0:51:58and eye-liner.
0:51:58 > 0:51:59Always eye-liner.
0:51:59 > 0:52:03She ignites a passion in people that they never lose
0:52:03 > 0:52:05and I think she's still doing it.
0:52:05 > 0:52:07# It's not enough Must have all of it... #
0:52:07 > 0:52:10I just think she is who she is, she does what she does
0:52:10 > 0:52:13and she does it brilliantly. And she won't be swayed from it.
0:52:15 > 0:52:17# You wanted life... #
0:52:17 > 0:52:22I think at times she's often sacrificed more commercial success
0:52:22 > 0:52:25to have more artistic success and do the things she wants
0:52:25 > 0:52:27and that's what makes an artist last.
0:52:27 > 0:52:30In a way, not getting the commercial attention she should get
0:52:30 > 0:52:33but nevertheless will leave a longer legacy of work
0:52:33 > 0:52:36that people will always rediscover as time goes on.
0:52:36 > 0:52:40At the time, I was just doing what came naturally to me
0:52:40 > 0:52:46and I didn't really think about it at all. I was having fun.
0:52:46 > 0:52:50And I was doing what I wanted to do.
0:52:54 > 0:52:55APPLAUSE
0:52:55 > 0:53:00- And now...- Whose dancing is amazing? - And whose looks are amazing?
0:53:00 > 0:53:04- Whose voice is amazing?- Is it a bird? Is it a plane? Is it a tree?
0:53:04 > 0:53:06No. No, no. It's a bush.
0:53:07 > 0:53:10Perhaps all our women led to our final star.
0:53:10 > 0:53:13She lit up the late seventies and beyond.
0:53:13 > 0:53:19Half carnal, half dream-time. And always under her own strict control.
0:53:19 > 0:53:22# Wow, wow, wow
0:53:22 > 0:53:26# Wow, wow, wow, ooh!
0:53:26 > 0:53:29# Unbelievable... #
0:53:29 > 0:53:34I can't think off anything before Kate Bush...that was like Kate Bush.
0:53:34 > 0:53:38You know, she came out seemingly from another planet.
0:53:38 > 0:53:41# Unbelievable... #
0:53:41 > 0:53:44Her voice in general is just incredibly captivating, isn't it?
0:53:44 > 0:53:47You're just sort of, "Eh? What is THAT?"
0:53:47 > 0:53:51# Ooh, yeah, you're amazing
0:53:51 > 0:53:54We think you're incredible... #
0:53:54 > 0:53:57Kate Bush and her grand piano,
0:53:57 > 0:54:01that's like John Wayne and his saddle. You know? Thank you.
0:54:03 > 0:54:06A GP's daughter, the 11-year-old Kate
0:54:06 > 0:54:10started writing songs in her childhood home in Welling, Kent.
0:54:10 > 0:54:13I could never do it in front of people. I've never been able to.
0:54:13 > 0:54:16And If I do, I automatically feel that...
0:54:16 > 0:54:18the fact that it's a performance.
0:54:18 > 0:54:20Because as soon as you have someone in the room with you,
0:54:20 > 0:54:24I feel that you should give them the best, you should perform.
0:54:24 > 0:54:31# I hear him before I go to sleep... #
0:54:31 > 0:54:33They were very, very quirky at that age.
0:54:33 > 0:54:36And then round about 13, 14 they started to take a structure,
0:54:36 > 0:54:40musically and in the lyric content.
0:54:40 > 0:54:42And so, something like Man With The Child In His Eyes
0:54:42 > 0:54:45was showing the potential of her music.
0:54:45 > 0:54:47# Oooh
0:54:47 > 0:54:50# He's here again
0:54:50 > 0:54:56# The man with the child in his eyes... #
0:54:56 > 0:54:59A demo tape found its way to EMI.
0:54:59 > 0:55:01I remember when I got into EMI
0:55:01 > 0:55:06there was literally a mantra - "birds don't sell".
0:55:06 > 0:55:09It struck me that she WAS so unusual.
0:55:09 > 0:55:12The songs were unusual, the voice was unusual.
0:55:12 > 0:55:15Everything was pretty well unique.
0:55:15 > 0:55:17I signed the contract
0:55:17 > 0:55:21and there was just...feelings that we weren't sure how to handle it.
0:55:21 > 0:55:24I mean, I myself felt that I was very young at that time.
0:55:24 > 0:55:29Signed at 16 and given 18 months to learn exactly how to be Kate Bush,
0:55:29 > 0:55:32she released her first single in 1978.
0:55:32 > 0:55:36# Out on the winding, windy moors
0:55:36 > 0:55:39# We'd roll and fall in green... #
0:55:39 > 0:55:41When I first heard
0:55:41 > 0:55:43the finished version of Wuthering Heights,
0:55:43 > 0:55:46I thought, "This has got to be a hit single."
0:55:46 > 0:55:48And I remember at the time, she had some disagreements
0:55:48 > 0:55:52with the people at EMI about which should be the first single.
0:55:52 > 0:55:54She just put her foot down and I gave in.
0:55:54 > 0:55:55# I hated you... #
0:55:55 > 0:55:57I said, "We'll put Wuthering Heights out,
0:55:57 > 0:56:00"it won't work and then you'll have learned a lesson."
0:56:00 > 0:56:01And, of course...
0:56:01 > 0:56:05I was 100% wrong and she was 100% right.
0:56:05 > 0:56:07# Wuthering heights
0:56:07 > 0:56:09# Heathcliff
0:56:09 > 0:56:12# It's me, I'm Cathy I've come home
0:56:12 > 0:56:18# I'm so cold Let me in to your window... #
0:56:18 > 0:56:20The day after she'd been on Top Of The Pops,
0:56:20 > 0:56:22everybody at school was saying, "Who was that girl?"
0:56:22 > 0:56:26# I've come home now I'm so cold
0:56:26 > 0:56:28# Let me in your... #
0:56:28 > 0:56:29I remember my mum,
0:56:29 > 0:56:32God rest her soul, when she first heard Kate Bush.
0:56:32 > 0:56:34I played it for her at home, didn't I?
0:56:34 > 0:56:36"Oh, Johnny, it sounds like a bag of cats!"
0:56:36 > 0:56:38HE LAUGHS
0:56:38 > 0:56:41# Your window, oh-oh-oh... #
0:56:41 > 0:56:45At first it seemed absurd, "Heathcliff!" - way up there.
0:56:45 > 0:56:48But it isn't at all. It FITS.
0:56:48 > 0:56:49# ..soul away... #
0:56:49 > 0:56:53Those shrieks and warbles are beauty beyond belief to me.
0:56:53 > 0:56:58# Cathy. #
0:57:01 > 0:57:05With success, Kate found herself on the old promotional treadmill.
0:57:05 > 0:57:08Hello, I know it's back to school for a lot of you.
0:57:08 > 0:57:11I hope you're not too excited about that to enjoy the programme.
0:57:11 > 0:57:14- I'm very happy because my guest is Kate Bush. Welcome, Kate.- Hello.
0:57:14 > 0:57:20But Kate and light entertainment were at times a bizarre mix.
0:57:20 > 0:57:23She'd turn up at a television station
0:57:23 > 0:57:26expecting to be interviewed seriously,
0:57:26 > 0:57:27only to find that they were
0:57:27 > 0:57:30ready to talk to her about her boyfriends or something.
0:57:30 > 0:57:31One last question from Jane
0:57:31 > 0:57:35about your hair. What do you do to it? She loves it.
0:57:35 > 0:57:37# All yours
0:57:37 > 0:57:41# Babooshka, babooshka Babooshka, ya, ya... #
0:57:41 > 0:57:48In 1979, Kate was to prove she was more than mime, music and song.
0:57:48 > 0:57:49# Ooh-hoo. #
0:57:51 > 0:57:54INAUDIBLE
0:57:54 > 0:57:58There was this anticipation of everybody had seen the videos,
0:57:58 > 0:58:01everybody had heard the music - could she actually do it live?
0:58:01 > 0:58:04When she took the decision to go on tour,
0:58:04 > 0:58:07no-one doubted how important it could prove to her career.
0:58:07 > 0:58:13The show was epic, incorporating song, dance, mime and magic.
0:58:13 > 0:58:15Stretch, stretch and down.
0:58:15 > 0:58:19'When I told people I was working on the tour, my position...'
0:58:19 > 0:58:23was elevated immediately, because this was really
0:58:23 > 0:58:26THE big, big pop - it was more than pop -
0:58:26 > 0:58:30event. It was the pop event - it was like a theatre event - of the year.
0:58:32 > 0:58:36It was the pinnacle, at that time, anyway,
0:58:36 > 0:58:39of the realisation of everything that she was working for,
0:58:39 > 0:58:42visually, sound-wise, musically.
0:58:42 > 0:58:44And it was an extraordinary achievement.
0:58:44 > 0:58:48APPLAUSE
0:58:48 > 0:58:51I'm knocked out. I can't believe that audience!
0:58:51 > 0:58:53Worth that three months' hard work?
0:58:53 > 0:58:55I'm just completely knocked out, really.
0:58:55 > 0:58:57'When she went out and did it, it was, like,'
0:58:57 > 0:59:00"Well there you go," you know, "I CAN do it."
0:59:00 > 0:59:02You know, "And I can do it bloody well!"
0:59:02 > 0:59:08Like Kate, her tour was a one-off and she retreated into the studio.
0:59:08 > 0:59:12Don't you have a problem now? You're just over 21 and you've made it.
0:59:12 > 0:59:15What IS there left to do now?
0:59:15 > 0:59:16Everything!
0:59:19 > 0:59:23Kate continued to create music that always had a sense of intrigue.
0:59:23 > 0:59:27# Army dreamers
0:59:27 > 0:59:32# Four men in uniform To carry home my little soldier
0:59:32 > 0:59:35# What could he do? Should have been a rock star
0:59:35 > 0:59:37# But he didn't have the money for a guitar... #
0:59:37 > 0:59:40It's not always easy to read.
0:59:40 > 0:59:42Again there's that sense of mystery.
0:59:42 > 0:59:44She makes you work a little bit for it.
0:59:44 > 0:59:47# But he never even made it to his 20s... #
0:59:47 > 0:59:49I remember I couldn't figure out
0:59:49 > 0:59:51what she was saying when I was younger.
0:59:51 > 0:59:54It's only when I looked at lyric sheets and stuff.
0:59:54 > 0:59:57Actually, not even lyric sheets, I Googled them. Showing my age!
0:59:57 > 1:00:02She provides me with all the clues.
1:00:02 > 1:00:04And it's up to me to put the answer together!
1:00:04 > 1:00:07Well, that's the Koran of music.
1:00:07 > 1:00:09And that surely is what we're all looking for.
1:00:09 > 1:00:12No easy answers to anything.
1:00:12 > 1:00:14Of course, she was taking quite a risk
1:00:14 > 1:00:16cos in those days, lots of people thought
1:00:16 > 1:00:19that girl pop singers shouldn't be involved in anything
1:00:19 > 1:00:22to do with politics or philosophy or whatever.
1:00:23 > 1:00:25'It's in the trees! It's coming!'
1:00:25 > 1:00:30# When I was a child Running in the night... #
1:00:30 > 1:00:34By 1985, with five albums under her belt,
1:00:34 > 1:00:36Kate was now in complete control,
1:00:36 > 1:00:39recording and producing her own music.
1:00:39 > 1:00:41And the accompanying visuals.
1:00:41 > 1:00:44# Do-do, do, do, do
1:00:44 > 1:00:47# The hounds of love are hunting me... #
1:00:47 > 1:00:49You're a very determined girl.
1:00:49 > 1:00:52You went away on your own terms to make this album, didn't you?
1:00:52 > 1:00:54What makes your studio special for you?
1:00:54 > 1:00:57Well, it's got all the environmental things we want,
1:00:57 > 1:00:59the right kind of sounding rooms,
1:00:59 > 1:01:02and it's what we want, which is why we did it.
1:01:02 > 1:01:04# Here I go... #
1:01:04 > 1:01:07You say "we" all the time, it's very much, though, a solo thing.
1:01:07 > 1:01:09You've produced and written the thing.
1:01:09 > 1:01:12I'm in control, but there's no way I could do it by myself.
1:01:12 > 1:01:15I rely on the people around me to advise me.
1:01:16 > 1:01:22# And take my shoes off and throw them in the lake... #
1:01:22 > 1:01:25I think she was one of the first female artists
1:01:25 > 1:01:27that started a creative community around her
1:01:27 > 1:01:32and controlled it and shaped it, really.
1:01:32 > 1:01:37And was just unafraid to experiment, for better and for worse.
1:01:38 > 1:01:41Stepping out of the public eye and into her own creative world
1:01:41 > 1:01:44meant Kate made herself, unintentionally,
1:01:44 > 1:01:46even more mysterious.
1:01:46 > 1:01:49If there is a reluctance to get involved with the media,
1:01:49 > 1:01:52it's because she doesn't want to play with the bullshit.
1:01:52 > 1:01:57And through those years where people say she hid away from the world,
1:01:57 > 1:01:59she was just making records.
1:01:59 > 1:02:01Might take ten years to do it...
1:02:01 > 1:02:05And if that's the way she works, that's the way she works.
1:02:13 > 1:02:15She'd proved that there are no real rules.
1:02:15 > 1:02:18If you want to do it this way,
1:02:18 > 1:02:21do it absolutely in the personal way that you see it.
1:02:21 > 1:02:25And I think that a lot of artists found that incredibly empowering.
1:02:25 > 1:02:27# And if I only could
1:02:27 > 1:02:30# I'd make a deal with God
1:02:30 > 1:02:34# And I'd get him to swap our places... #
1:02:34 > 1:02:36It's not about rolling in the money.
1:02:36 > 1:02:39It's about the joy of knowing what you've done
1:02:39 > 1:02:43really does touch people's hearts. Kate, you just can't beat that.
1:02:46 > 1:02:48We take it for granted now
1:02:48 > 1:02:51that women are going to produce themselves, write their own music,
1:02:51 > 1:02:55be responsible for themselves, have their own management companies.
1:02:55 > 1:02:58Back then, in 1978, that was all new.
1:02:58 > 1:03:02So she is definitely a pioneer, a serious pioneer.
1:03:05 > 1:03:09Kate Bush set a new standard of creativity and control.
1:03:09 > 1:03:11The women who followed her
1:03:11 > 1:03:14from the '80s onwards have also struggled to create and manage
1:03:14 > 1:03:17their own destiny.
1:03:17 > 1:03:19They've looked back into the past
1:03:19 > 1:03:25and stared into the future to become our next Queens of British Pop.
1:03:25 > 1:03:28# Who's that girl
1:03:28 > 1:03:31# Running around with you?
1:03:31 > 1:03:33# Tell me
1:03:33 > 1:03:39# Who's that girl running around with you?
1:03:39 > 1:03:43# Tell me Who's that girl? #
1:03:43 > 1:03:46Subtitles by Red Bee Media Ltd