0:00:02 > 0:00:07Pop music. Glitz, glamour, stars.
0:00:07 > 0:00:10A global industry worth an estimated 30 billion.
0:00:10 > 0:00:15But none of it would exist without this...
0:00:15 > 0:00:17- # Baby love... # - ..the song.
0:00:17 > 0:00:19'It all starts with the song.'
0:00:19 > 0:00:23No matter if it's rock and roll, pop music or any of that stuff.
0:00:23 > 0:00:25If the song doesn't have it,
0:00:25 > 0:00:28all the other stuff is just child's play.
0:00:28 > 0:00:32You see the occasional little jewel or hear the occasional jewel
0:00:32 > 0:00:35in the pop cannon and you think OK, that's why I like pop music.
0:00:35 > 0:00:37# It's not about the money... #
0:00:37 > 0:00:39So, what makes a great pop song?
0:00:39 > 0:00:41'Pop music has to be emotional.'
0:00:41 > 0:00:44Whether it makes you angry, makes you cry, laugh,
0:00:44 > 0:00:46makes you want to go and tell somebody you love them.
0:00:46 > 0:00:48It's got to be the record
0:00:48 > 0:00:51you play before you go out. It's got to make you feel good.
0:00:51 > 0:00:54There are certain songs that... everyone loves this song.
0:00:54 > 0:00:56Even if you say you don't, you do.
0:00:56 > 0:00:58You usually get a song,
0:00:58 > 0:01:01a real song, from just something that happens in your head.
0:01:01 > 0:01:05In this series, we'll talk to some of the most successful song writers over the decades,
0:01:05 > 0:01:09to find out how pop songs are written.
0:01:09 > 0:01:12And for the first time, we're going inside the process,
0:01:12 > 0:01:18as we follow professional song writer, Guy Chambers, write three brand new songs.
0:01:18 > 0:01:22Most singles selling over a million in Britain
0:01:22 > 0:01:26are written with the help of professional song writers, like Guy.
0:01:26 > 0:01:30He's worked with everyone from Tina Turner to Kylie Minogue,
0:01:30 > 0:01:34but he's best known for his work with Robbie Williams.
0:01:34 > 0:01:37Together they've sold over 40 million albums.
0:01:37 > 0:01:43In this series, Guy Chambers is collaborating on three very different types of song.
0:01:43 > 0:01:50A ballad with singer songwriter Rufus Wainwright, a breakthrough single with pop maestro Mark Ronson,
0:01:50 > 0:01:55and in THIS programme, it's the anthem - easy to sing, harder to write.
0:01:55 > 0:01:59Guy and pop band the Noisettes attempt a crowd-pleasing sing along.
0:01:59 > 0:02:03We're going to follow the song-writing process as it unfolds
0:02:03 > 0:02:07from pen and paper to the very first performance.
0:02:07 > 0:02:11And along the way we're going to find out some of the tricks of the trade.
0:02:22 > 0:02:26HE PLAYS "LET ME ENTERTAIN YOU" BY ROBBIE WILLIAMS
0:02:26 > 0:02:28# Let me... # Everybody!
0:02:28 > 0:02:30# ..entertain you... #
0:02:30 > 0:02:35Let Me Entertain You, by Robbie Williams and Guy Chambers.
0:02:35 > 0:02:38Simple words, simple tune, great performance.
0:02:42 > 0:02:45# Look me up in the yellow pages I will be your rock of ages
0:02:45 > 0:02:48# See through fads and your crazy phrases yeah... #
0:02:48 > 0:02:52This is Robbie's signature anthem. His mission statement.
0:02:54 > 0:03:00The song that gets people on their feet, singing along and punching the air.
0:03:01 > 0:03:04And a good anthem is key to any live performance.
0:03:04 > 0:03:07These are the songs that ignite an audience.
0:03:07 > 0:03:12Unlike a ballad, the anthem is not about you and me, it's about us.
0:03:12 > 0:03:15It's sort of a mass mentality. It's like a flock of birds, you know?
0:03:15 > 0:03:20They're moving along and suddenly they all turn at the same time - like, who gave the order?
0:03:20 > 0:03:25And over the decades, it's come in many incarnations. CROWD CHANTS
0:03:25 > 0:03:27The football anthem...
0:03:27 > 0:03:29The protest anthem...
0:03:29 > 0:03:33# The answer is blowing in the wind... #
0:03:33 > 0:03:37# I will survive Hey hey... #
0:03:37 > 0:03:39The disco anthem.
0:03:39 > 0:03:41The rock anthem.
0:03:41 > 0:03:46# Sing it We will we will rock you... #
0:03:46 > 0:03:51- # In the name of love... # - The stadium anthem.
0:03:51 > 0:03:53- # So what... # - The pop anthem.
0:03:53 > 0:03:57# ..I got my rock moves And I don't need you... #
0:03:57 > 0:04:00# People try to put us d-down Talkin' 'bout my generation... #
0:04:00 > 0:04:04Rousing and uncomplicated, anthems have come to define entire generations...
0:04:04 > 0:04:07# ..'bout my generation... #
0:04:07 > 0:04:10# Entertain us A mulatto... #
0:04:10 > 0:04:14- ..and catapult a band into the pop stratosphere. - # ..A mosquito... #
0:04:14 > 0:04:18# I want to sleep with common people like you... #
0:04:18 > 0:04:21But there's one thing that unites these anthems - the fans.
0:04:21 > 0:04:24Anthems are not made...
0:04:24 > 0:04:25I'll see what I can do.
0:04:25 > 0:04:27..they're anointed.
0:04:29 > 0:04:32So, how did the anthem go from a Saturday afternoon football sing-along
0:04:32 > 0:04:37to compulsory signature tune for every live act?
0:04:37 > 0:04:42# Ruby, Ruby, Ruby, Ruby Aaaaaa-aah
0:04:42 > 0:04:43# Do you, do you, do you, do you... #
0:04:43 > 0:04:47People sing it when they go for curries. Let's go for a...
0:04:47 > 0:04:50- HE SINGS:- ..Ruby, Ruby, Ruby, Ruby. Ah, ah, ah, ah.
0:04:50 > 0:04:53There's packs of men up and down the country singing that stuff.
0:04:53 > 0:04:56# Ruby, Ruby, Ruby, Ruby Aaah-aah.. #
0:04:56 > 0:04:58It's just so shouty,
0:04:58 > 0:05:03and it's got that great "aaaaah-aah", that response thing.
0:05:03 > 0:05:05That hook, that's a super hook, that.
0:05:05 > 0:05:06I mean, it's like an uber hook.
0:05:06 > 0:05:09# Aaaah-aaaah... #
0:05:09 > 0:05:13All the great songs, the anthemic songs,
0:05:13 > 0:05:18they morph into other things and they have other lives and the song can get rediscovered
0:05:18 > 0:05:21and remixed and put in unusual situations
0:05:21 > 0:05:24and it will still stand up and have this amazing power.
0:05:24 > 0:05:27# Say no and no-one cares... #
0:05:27 > 0:05:31# Go west Life is peaceful there... #
0:05:31 > 0:05:35So, what does a song need to make it an anthem?
0:05:36 > 0:05:40I suppose an anthem, in my mind, is something which brings people together
0:05:40 > 0:05:43with a common thought and a common passion.
0:05:43 > 0:05:45# I love rock n' roll... #
0:05:45 > 0:05:47- 'And what about the music?' - # ..dance with me... #
0:05:47 > 0:05:51Simple, direct, melodic...
0:05:53 > 0:05:55..catchy.
0:05:55 > 0:05:57# So put another dime in the jukebox, baby... #
0:05:57 > 0:06:01I'm thinking of this one that goes, "I get up, I get up and I get down again,
0:06:01 > 0:06:02"dah, dah, dah, dah..."
0:06:02 > 0:06:05- What's that called?- Chumbawamba. - Well, that's an anthem, isn't it?
0:06:05 > 0:06:08# I get knocked down But I get up again
0:06:08 > 0:06:10# You're never going to keep me down
0:06:10 > 0:06:13# I get knocked down But I get up again
0:06:13 > 0:06:15# You're never going to keep me down... #
0:06:15 > 0:06:19Because that's like, I get knocked down but I get up again, you know, and I will not be beaten.
0:06:19 > 0:06:22# ..But I get up again You're never going to keep me down
0:06:22 > 0:06:25That's what an anthem is. It's an empowering song.
0:06:25 > 0:06:27Fight For Your Right To Party by the Beastie Boys, an anthem.
0:06:27 > 0:06:32# You gotta fight For your right
0:06:32 > 0:06:34# To party... #
0:06:34 > 0:06:37It was saying a really simple thing.
0:06:37 > 0:06:40Straight up and hitting you in the gut.
0:06:40 > 0:06:46# Zadok the priest... #
0:06:46 > 0:06:49Anthems have their roots in choral church music. Here's one.
0:06:49 > 0:06:51Handel's Zadok The Priest.
0:06:51 > 0:06:56Otherwise known as the theme tune for the UEFA Champions League.
0:06:56 > 0:07:01These are bonding songs, which is why most of us have sung along to them,
0:07:01 > 0:07:04stood for them and let off steam to them.
0:07:04 > 0:07:07# God save the Queen
0:07:07 > 0:07:10# We mean it man... #
0:07:10 > 0:07:14- I put my hand up for the Sex Pistols' Pretty Vacant.- Mm.
0:07:14 > 0:07:16Or God Save The Queen. That is an anthem.
0:07:16 > 0:07:18Any one of those two would do for me.
0:07:18 > 0:07:19# I'm so pretty... #
0:07:19 > 0:07:23- Or, er...- Upsetting the status quo.
0:07:23 > 0:07:27Anti-establishment vent can be fully expressed by just bellowing out,
0:07:27 > 0:07:30and we don't care, at the top of your voice.
0:07:30 > 0:07:33It's just a wonderful way to vent.
0:07:33 > 0:07:37# And we don't care... #
0:07:37 > 0:07:40I don't think anthems are meant to be too intellectual.
0:07:40 > 0:07:44I think it's really basic stuff, you know.
0:07:44 > 0:07:46It's fairly primitive and that's the appeal.
0:07:46 > 0:07:53Can Guy's legendary skills as a hit maker create something that will speak to today's audiences?
0:07:53 > 0:07:57If a pop writer could come up with an anthem every time, they would,
0:07:57 > 0:07:59because everybody loves a great anthem.
0:07:59 > 0:08:01You can't really say what it is that makes it work.
0:08:01 > 0:08:08He's given himself only three days to write it, before he performs it in front of the only experts that count.
0:08:08 > 0:08:10A live audience.
0:08:10 > 0:08:13So, a big hand for the Noisettes.
0:08:13 > 0:08:16To help him, he's working with chart-topping band, the Noisettes.
0:08:16 > 0:08:18# Go baby go baby go
0:08:18 > 0:08:20# Don't upset the rhythm no
0:08:20 > 0:08:22# Go baby go baby go
0:08:22 > 0:08:25# Don't upset the rhythm
0:08:25 > 0:08:26# Go baby go baby go
0:08:26 > 0:08:29# Don't upset the rhythm, don't you dare
0:08:29 > 0:08:33# Go baby go baby go Don't upset the rhythm... #
0:08:33 > 0:08:38Dan and Shingai of the Noisettes have made a name for themselves for their eclectic range of songs,
0:08:38 > 0:08:39including this one.
0:08:39 > 0:08:42# You can use my dog and bone Go baby go... #
0:08:42 > 0:08:46Their reputation as a live act has turned them into crowd favourites.
0:08:46 > 0:08:48- # Don't upset the rhythm... # - 'She's a fabulous singer'
0:08:48 > 0:08:53and I love their energy, and I like the fact they like taking risks.
0:08:53 > 0:08:55Their songs haven't just been one sound.
0:08:55 > 0:08:58They've experimented with different things.
0:08:58 > 0:09:01They began as a rock-influenced band.
0:09:01 > 0:09:06They brought out their first album in 2005, but they're now moving into the mainstream,
0:09:06 > 0:09:08so can Guy help them along?
0:09:08 > 0:09:10There's no set way of doing it, really.
0:09:10 > 0:09:14Just very excited we're here. It feels like it's our first day at school.
0:09:14 > 0:09:17You can't hide behind anything with an anthem.
0:09:17 > 0:09:23It either makes people want to put their fists up in the air and jump around, or not.
0:09:25 > 0:09:28'It can't be too musical and it can't be too involved.
0:09:28 > 0:09:30'It should be very easy to get straight away.
0:09:30 > 0:09:32'As soon as it starts.'
0:09:32 > 0:09:36- Nice to meet you. Guy.- Hi, Guy. Pleasure to make your acquaintance. - We're here to write an anthem!
0:09:36 > 0:09:38Yeah. As you do!
0:09:41 > 0:09:45I think it can be anything we want it to be.
0:09:45 > 0:09:47I don't think we need to worry too much about
0:09:47 > 0:09:51whether it has big rock guitars.
0:09:51 > 0:09:55Oh, wow. Hey.
0:09:55 > 0:09:57- Mother ship. - This is the mother ship.
0:09:57 > 0:10:00- Yes, exactly.- It's beautiful. Wow.
0:10:00 > 0:10:06I was thinking Sly And The Family Stone could be good.
0:10:06 > 0:10:11- That would be cool.- Rather than thinking big guitars and...
0:10:11 > 0:10:16necessarily going down the Queen road. Doesn't...
0:10:16 > 0:10:20I don't know why everyone just sort of suddenly, straight away,
0:10:20 > 0:10:24- I mean... - I suppose they're the biggest ones.
0:10:24 > 0:10:27- Shall we have a listen to I Wanna Take You Higher, Rich?- Yeah.
0:10:27 > 0:10:31- # Feeling's gettin' stronger... # - Busy drums. Busy drums.
0:10:31 > 0:10:37'To get things going they listen to Sly And The Family Stone's '60s anthem, I Want To Take You Higher.
0:10:37 > 0:10:40MUSIC PLAYS
0:10:40 > 0:10:44# I want to, I want to, I want to take you higher
0:10:47 > 0:10:49# I want to take you higher
0:10:50 > 0:10:54# Baby, baby, baby, Light my fire... #
0:10:56 > 0:10:59Slower than you think, isn't it?
0:11:04 > 0:11:07Probably about one, ten maybe?
0:11:09 > 0:11:13I mean, that's basically one chord, isn't it? With the riff.
0:11:13 > 0:11:16- Oh, that's better.- And that...- Yeah. - Brrrr.- And that's all it is.
0:11:18 > 0:11:21'So, where to start?
0:11:21 > 0:11:24'The first thing to decide is the tempo.'
0:11:24 > 0:11:27Try jamming a bit of a Sly Stone vibe. Shall we try that?
0:11:29 > 0:11:30See what happens. OK.
0:11:35 > 0:11:38- Sorry?- It might be good if we start with the singing.
0:11:38 > 0:11:41- Oh, yeah. Cool.- Yeah, you can do a bit of that later.
0:11:41 > 0:11:43- Yeah. Awesome. Yeah. I'm just, er...- Messing around.
0:11:43 > 0:11:47- Yeah. Exactly. - So, feeling, feel inspired.
0:11:47 > 0:11:49Hey, hey, hey.
0:11:49 > 0:11:52Yeah.
0:11:56 > 0:12:01'Guy and Dan try out a Sly Stone type riff, while Shingai tests out some lyrics.
0:12:01 > 0:12:04'Guy's used to working fast but not this fast.'
0:12:06 > 0:12:10# You say it's down I say it's down
0:12:10 > 0:12:13# I go up round in this crowd
0:12:13 > 0:12:17# You're saying yes And I'm saying no
0:12:17 > 0:12:22# Please get your coat baby it's time to go round
0:12:22 > 0:12:26# Hail me a taxi It's raining outside
0:12:26 > 0:12:29# Don't want to stay here These people aren't polite
0:12:29 > 0:12:33# And on my space Just want you to be with me
0:12:34 > 0:12:36# Hang on now What do I have to see now... #
0:12:36 > 0:12:39'It had attitude to it and kind of felt like I had to'
0:12:39 > 0:12:45step to it but give it a little bit of contrast and like something feminine as well.
0:12:45 > 0:12:51Sometimes when you're jamming it's sort of, I don't know, it's very tentative and...
0:12:51 > 0:12:57but I think we just had an idea of what we were going to try and do and just made it up on the spot,
0:12:57 > 0:13:01and made a Motown anthemy Sly And The Family Stone type of racket.
0:13:03 > 0:13:04# And now I know... #
0:13:04 > 0:13:10'So far, everyone seems happy with the direction they're taking, but is it the right direction?'
0:13:13 > 0:13:17We Will Rock You is the pinnacle of what really makes an anthem work.
0:13:17 > 0:13:20For this, Queen have their audience to thank.
0:13:20 > 0:13:24And it began one memorable night in the Midlands in 1977.
0:13:24 > 0:13:28In our youth, we used to play and it was sort of quite a serious thing,
0:13:28 > 0:13:31a concert, and if people made a noise it got in the way.
0:13:31 > 0:13:37But, by this moment in Bingley, Queen audiences sang everything.
0:13:37 > 0:13:40It was really bizarre and we weren't quite ready for it,
0:13:40 > 0:13:45and I think we all looked at each other and something clicked,
0:13:45 > 0:13:49and we went, well, why would we not be embracing this?
0:13:49 > 0:13:52The audience has become as big a part of the show as we are, the way it should be,
0:13:52 > 0:13:56and I remember thinking, well, if you're going to embrace this, what would you do?
0:13:56 > 0:14:01You would give people something to do which was easy and they could do even when crammed together.
0:14:01 > 0:14:05And I thought, well, you can stamp and you can clap
0:14:05 > 0:14:07and you can sing something simple.
0:14:07 > 0:14:12Something that's not too rangy. Something which expresses - what would it express?
0:14:12 > 0:14:15It would express some kind of desire to break out of where you are
0:14:15 > 0:14:19or to make a change or something.
0:14:19 > 0:14:23And I think this is all unconscious and I just found myself thinking,
0:14:23 > 0:14:25Well, they could go, "we will, we will rock you".
0:14:25 > 0:14:27And they could be going...
0:14:27 > 0:14:32# We will, we will rock you... #
0:14:32 > 0:14:36So I think I woke up the next morning with the whole song in my head,
0:14:36 > 0:14:39and everything I think, you know, words and all and it was,
0:14:39 > 0:14:44once you got it in your head it was just a question of realising in the studio.
0:14:44 > 0:14:48It is funny because people go, oh, it's a great drum anthem, isn't it?
0:14:48 > 0:14:51And I go, "Actually, there's no drums on it". Which there aren't.
0:14:51 > 0:14:54Only stamps and claps. That's what we did in the studio.
0:14:54 > 0:14:58We stamped on some boards which fortuitously happened to be lying around
0:14:58 > 0:15:01in this disused church that we were recording in.
0:15:01 > 0:15:04Much like in Bohemian Rhapsody we're multi-tracking voices,
0:15:04 > 0:15:08in this case we're multi-tracking the sort of rhythmic side of it as well.
0:15:15 > 0:15:19That's it. There isn't much else on there except a guitar at the end.
0:15:25 > 0:15:28From the germ of an idea in a small venue in Bingley,
0:15:28 > 0:15:34We Will Rock You would become the centrepiece of Live Aid in 1985.
0:15:34 > 0:15:39- Sing it! - # We will, we will rock you. # - Yeah! Do it!
0:15:39 > 0:15:43Queen's performance to a global audience of over two billion people
0:15:43 > 0:15:46had set a benchmark for the new era of stadium anthems.
0:15:46 > 0:15:49# ..rock you... One more time!
0:15:49 > 0:15:53# We will, we will rock you! #
0:15:59 > 0:16:02I mean the whole place erupted and knew what to do.
0:16:02 > 0:16:05It's was amazing for us.
0:16:05 > 0:16:08To realise we'd sort of permeated further than our...
0:16:08 > 0:16:10what we thought was our audience.
0:16:11 > 0:16:15And if you get your anthem right, it can take on a life of its own.
0:16:15 > 0:16:20The musical We Will Rock You is now in its ninth year
0:16:20 > 0:16:25and is showing in every major city in the world, all thanks to one very simple but effective anthem.
0:16:28 > 0:16:30Guy and the band have spent the morning trying out ideas.
0:16:30 > 0:16:35They've got the outline for one anthem, Nothing To Be Scared Of,
0:16:35 > 0:16:37now they want to try another.
0:16:37 > 0:16:40It's good to just do that and try and work quickly
0:16:40 > 0:16:42and not get attached to something
0:16:42 > 0:16:47because when you start writing, you're going to get attached to the sound of what you're doing.
0:16:47 > 0:16:52And it's important to try and be not too attached to that to begin with
0:16:52 > 0:16:57and then sort of come up with three things and out of three, find the best one.
0:16:57 > 0:17:00Maybe something that isn't so fast this time.
0:17:00 > 0:17:01HE PLAYS A CHORD
0:17:01 > 0:17:03Mm.
0:17:09 > 0:17:11It's an Elton John thing, isn't it?
0:17:29 > 0:17:31And again.
0:17:33 > 0:17:34And G.
0:17:44 > 0:17:47Finally they pick up on another riff they think will work.
0:17:57 > 0:18:03Yeah. I think maybe if we could maybe employ a little bit more dynamics cos it's all quite loud.
0:18:03 > 0:18:05It is.
0:18:05 > 0:18:07- Which is cool.- No, I see what you're saying. Yeah, yeah.
0:18:07 > 0:18:10# I want to grow up
0:18:10 > 0:18:14# I want a chance to be so free-ee
0:18:14 > 0:18:18# But you met me-e-e
0:18:20 > 0:18:24# I'm gonna give you my time tonight
0:18:25 > 0:18:30# I said I'm gonna give you my time tonight
0:18:33 > 0:18:35# I'm gonna give you my all my time
0:18:35 > 0:18:39# Cos the morning's right and it feels so nice
0:18:39 > 0:18:42# I said I'm gonna give you all my time tonight
0:18:42 > 0:18:45# I'm gonna give you my uh-uh time... #
0:18:45 > 0:18:49- Go, yeah.- Something, I don't know what that word is.- All right.
0:18:51 > 0:18:57# Said I'm gonna give you my precious time tonight... #
0:18:57 > 0:18:58Yeah.
0:18:58 > 0:19:00# Said I'm gonna give you my precious time
0:19:00 > 0:19:04# Cos the moon is right and it feels so nice
0:19:04 > 0:19:09# I'm gonna give you my precious time tonight... #
0:19:09 > 0:19:10Yeah, could you...?
0:19:10 > 0:19:15- That's great but can you try that an octave higher?- Oh, yeah.
0:19:15 > 0:19:21# I'm gonna give you my precious time tonight
0:19:22 > 0:19:26# Said I'm gonna give you my precious time tonight
0:19:28 > 0:19:32# I'm gonna give you my precious time
0:19:32 > 0:19:35# Cos the moon is right and it feels so nice
0:19:35 > 0:19:41# I'm gonna give you my precious time toni-i-ight. #
0:19:41 > 0:19:43Maybe some kind of pre-chorus, you know?
0:19:43 > 0:19:47- Think it should have changed there cos it's like...- Yeah, OK.
0:19:47 > 0:19:49That chorus is quite big, isn't it?
0:19:51 > 0:19:53PLAYS WITH MORE INTENSITY
0:19:55 > 0:19:58Something like that!
0:19:58 > 0:20:05To write a rock song is sort of to negate a part of Shingai's range as a singer as well,
0:20:05 > 0:20:08cos she can sing over rock really well,
0:20:08 > 0:20:12but I think that there always has to be a good sort of a kind of chord change
0:20:12 > 0:20:14that she can get her teeth into.
0:20:14 > 0:20:18She's finding the thing that people can go, "Oh, yeah, I want to sing that,"
0:20:18 > 0:20:21and sing it at the top of their lungs as well. That is an anthem.
0:20:21 > 0:20:25They've worked out the song's basic structure,
0:20:25 > 0:20:29so Shingai can lay down a vocal track with some but not all of the lyrics written.
0:20:29 > 0:20:33# I'm gonna give you my precious time
0:20:33 > 0:20:36# My precious time, precious ti-i-ime
0:20:36 > 0:20:39# My precious, precious time
0:20:39 > 0:20:43# My precious, precious ti-i-ime. #
0:20:43 > 0:20:45That's really, really good.
0:20:45 > 0:20:47- Right.- I like that a lot.
0:20:47 > 0:20:51It's the end of day one and they've come up with two very strong ideas.
0:20:51 > 0:20:57- That's good.- Third time lucky. - Yeah. Third time lucky.
0:20:57 > 0:20:58It's all about the lyric.
0:20:58 > 0:21:00It drives it, it drives all the energy,
0:21:00 > 0:21:03so it's a got a good...
0:21:03 > 0:21:07And it's quite a cool thing to say to a crowd as well.
0:21:07 > 0:21:09- "This is our precious time."- Yeah.
0:21:09 > 0:21:11Time's precious, isn't it, Elvis?
0:21:13 > 0:21:17Guy thinks the lyric of the last track has real potential,
0:21:17 > 0:21:22but will it have the emotional pull of some of the great anthems of the past?
0:21:22 > 0:21:27# When you walk through a storm
0:21:27 > 0:21:28SCREAMING
0:21:28 > 0:21:34# Hold your head up high... #
0:21:34 > 0:21:40In the '60s, Liverpool football fans adopted Gerry And The Pacemakers' hit, You'll Never Walk Alone.
0:21:40 > 0:21:45It appealed to their strong sense of togetherness at a time when the communal singsong
0:21:45 > 0:21:47was still commonplace.
0:21:47 > 0:21:49CROWD SINGS "You'll Never Walk Alone"
0:21:52 > 0:21:57The original You'll Never Walk Alone came from the musical Carousel, by Rodgers and Hammerstein.
0:21:57 > 0:22:02At first it was associated not with Liverpool but with Manchester United,
0:22:02 > 0:22:07where it was sung following the Munich air disaster in 1958.
0:22:07 > 0:22:10There was a stage production of it locally,
0:22:10 > 0:22:13and the singers in this production,
0:22:13 > 0:22:17I think it was probably the first match after the Munich air disaster,
0:22:17 > 0:22:19they went on the terraces at Old Trafford
0:22:19 > 0:22:23and sang You'll Never Walk Alone in tribute to the Busby Babes who died.
0:22:23 > 0:22:27# At the end of the storm
0:22:27 > 0:22:31# Is a golden sky
0:22:31 > 0:22:40# And the sweet silver song of a lark... #
0:22:40 > 0:22:47It never kind of caught on at Old Trafford but in 1963 it was a hit for Gerry And The Pacemakers,
0:22:47 > 0:22:50Gerry Marsden being famously a Scouser.
0:22:50 > 0:22:52At the end...
0:22:52 > 0:22:56Before the matches at Liverpool, they always used to play a rundown of the top ten,
0:22:56 > 0:22:59before the players came out, ending with the number one.
0:22:59 > 0:23:02You'll Never Walk Alone was number one for three weeks
0:23:02 > 0:23:05and the crowds sang along when they played it,
0:23:05 > 0:23:08but they carried on singing it when the players ran out on the pitch.
0:23:08 > 0:23:12It's that sense of community, We're with you. Whatever happens, we're behind you all the way.
0:23:12 > 0:23:17I think Liverpool still represent that better than most teams.
0:23:17 > 0:23:21Gerry Marsden's trick was to give a show tune a poppy edge
0:23:21 > 0:23:25by adding a regular beat and a rising and falling piano melody.
0:23:25 > 0:23:30The song's hymn-like build to a rousing climax has a timeless appeal
0:23:30 > 0:23:32that has spread to other football clubs,
0:23:32 > 0:23:36but it will always be part of what it is to be a Scouser.
0:23:36 > 0:23:44# ..in your heart And you'll never walk alone... #
0:23:44 > 0:23:48This is what a great anthem can do.
0:23:48 > 0:23:58# You'll never walk alone. #
0:23:58 > 0:24:02CROWD CHEERS
0:24:07 > 0:24:13For a song to become an anthem, it still has to be sing-a-longable.
0:24:13 > 0:24:16So for something to be sing-a-longable, you have to make sure that it's fairly simple
0:24:16 > 0:24:18and you're not going to get any song
0:24:18 > 0:24:21that's very, very straightforward like We Will Rock You,
0:24:21 > 0:24:25but you don't want something like Kate Bush's Wuthering Heights.
0:24:30 > 0:24:33Where it's key changes all over the place,
0:24:33 > 0:24:35you're singing in the stratosphere,
0:24:35 > 0:24:37you've got semi-quavers all over the place.
0:24:37 > 0:24:41You want something very, very straightforward and that's what works.
0:24:41 > 0:24:45# Oh-oh, living on a prayer
0:24:45 > 0:24:48# Living on a prayer... #
0:24:48 > 0:24:52So something like Bon Jovi's Livin' On A Prayer, you've got that... # Oh-oh. #
0:24:52 > 0:24:56And you held that note and, you know, you keep your fist in the air
0:24:56 > 0:24:58and you're doing all your gestural participation.
0:24:58 > 0:25:00# We're halfway there. #
0:25:00 > 0:25:04Again, there's a descending scale so that's much easier to sing.
0:25:04 > 0:25:08# Oh-oh, we're halfway there
0:25:08 > 0:25:10# Oh-oh! #
0:25:10 > 0:25:13Then you're going to go up, but you shout it, it doesn't matter.
0:25:13 > 0:25:16Do what the football crowd do, shout it out.
0:25:16 > 0:25:19# Oh-oh, living on a prayer... #
0:25:19 > 0:25:22And this is what anthems sounded like in the '80s.
0:25:22 > 0:25:27# Halfway there Oh-oh, living on a prayer... #
0:25:27 > 0:25:31Big hair. Big arenas. Big anthems.
0:25:31 > 0:25:36# In the name of love... #
0:25:36 > 0:25:40Stadium rock has arrived and the bands milk it.
0:25:40 > 0:25:44# In the name of love... #
0:25:44 > 0:25:46- AUDIENCE:- # I like it I like it, I like it, I like it
0:25:46 > 0:25:49# I la, la-la, like it
0:25:49 > 0:25:50# La, la-la, la
0:25:50 > 0:25:53# Here we go
0:25:53 > 0:25:54# Rockin' all over the world... #
0:25:54 > 0:26:01In fact any powerful and catchy chorus found a ready and willing crowd.
0:26:01 > 0:26:04# I la, la-la, like it La, la-la, la, here we go... #
0:26:04 > 0:26:07And it was all very blokey.
0:26:07 > 0:26:08Except for this one.
0:26:08 > 0:26:10# Yeah, me
0:26:10 > 0:26:13# And I could tell it wouldn't be long till he was with me
0:26:13 > 0:26:15# Yeah, me, singin'
0:26:15 > 0:26:18# I love rock n' roll... #
0:26:18 > 0:26:19Enter the rock chick.
0:26:19 > 0:26:22Thanks to Joan Jett,
0:26:22 > 0:26:26a minor hit from the '70s becomes a major genre-busting '80s anthem.
0:26:26 > 0:26:28# Ow! #
0:26:28 > 0:26:32We would play this song live and you'd just notice a reaction,
0:26:32 > 0:26:36singing along and it was just sort of, um...
0:26:36 > 0:26:40You know, you knew you had something special.
0:26:40 > 0:26:42# And I could tell it wouldn't be long
0:26:42 > 0:26:44# Till she was with me Yeah, me... #
0:26:44 > 0:26:47Its route to stardom was an unlikely one.
0:26:47 > 0:26:51It was first sung by English glam rockers The Arrows in 1975.
0:26:51 > 0:26:54# I love rock n' roll
0:26:54 > 0:26:58# So put another dime in the jukebox, baby, I love... #
0:26:58 > 0:27:02Joan Jett caught them performing it on their children's TV show
0:27:02 > 0:27:04when touring in the UK. She made it her own.
0:27:05 > 0:27:08An element of it, at the time,
0:27:08 > 0:27:11you have to remember it was a whole different time,
0:27:11 > 0:27:14was the fact that a girl was singing it.
0:27:14 > 0:27:16And a girl was playing guitar.
0:27:16 > 0:27:19And I could be totally wrong, but I think part of it
0:27:19 > 0:27:22was that because you were singing lyrics like,
0:27:22 > 0:27:24"I saw him standing there by the record machine",
0:27:24 > 0:27:27or, "dancing there by the record machine", you know,
0:27:27 > 0:27:31instead of her. And it just really, maybe gave girls the thought that,
0:27:31 > 0:27:34"Oh, you know that sounds good to go..."
0:27:34 > 0:27:36You know, I'll be able to go pick up the guy
0:27:36 > 0:27:39instead of waiting for him to say something.
0:27:39 > 0:27:43# Where we can be alone
0:27:43 > 0:27:44# An' next we were movin' on
0:27:44 > 0:27:48# He was with me, yeah, me... #
0:27:48 > 0:27:51And the guys were like, "Oh, that sounds great,"
0:27:51 > 0:27:55you know, having a girl coming up and hitting on me and, you know...
0:27:55 > 0:27:58So I think it kind of turned the tables a little bit.
0:27:58 > 0:28:00# I love rock n' roll
0:28:00 > 0:28:03# So come an' take your time an' dance with me... #
0:28:03 > 0:28:06It was saying a really simple thing.
0:28:06 > 0:28:12Just three chords and they're powerful, just the way they don't...
0:28:12 > 0:28:16What I call pedal, you know? They don't move. It's not like going...
0:28:16 > 0:28:18PLAYS ONE CHORD CONTINUOUSLY
0:28:18 > 0:28:24It's... You know, they're like strong hits and there's nothing in-between.
0:28:24 > 0:28:31So it's like guitar, space, guitar, space. Guitar, drums, guitar, drums.
0:28:31 > 0:28:34AUDIENCE: # Put another dime in the jukebox... #
0:28:34 > 0:28:37It's just a statement of pure joy,
0:28:37 > 0:28:40of I love rock and roll, whatever that is to you.
0:28:40 > 0:28:43# I love rock n' roll
0:28:43 > 0:28:45# So put another dime in the jukebox, baby
0:28:45 > 0:28:47# I love rock n' roll
0:28:47 > 0:28:50# So come an' take your time an' dance with me
0:28:50 > 0:28:52# I love rock n' roll
0:28:52 > 0:28:54# So put another dime in the jukebox, baby... #
0:28:54 > 0:28:58Loud guitars being so loud it doubles you over.
0:29:02 > 0:29:07Even if it is sort of our right to riot and sort of, you know...
0:29:07 > 0:29:10We're the underdogs, damn it.
0:29:12 > 0:29:16It's day two in the studio with Guy and the Noisettes.
0:29:17 > 0:29:22In a surprise move, Guy has decided to ditch their last effort.
0:29:22 > 0:29:25Listening to it again just now, I'm not sure...
0:29:25 > 0:29:31if it's going to be anthemic enough and it's very old fashioned as well.
0:29:31 > 0:29:36And I think if you're going to try and do anthems now, for 2011,
0:29:36 > 0:29:41the challenge is to try and write something that's still contemporary,
0:29:41 > 0:29:43but using the cliches of the past,
0:29:43 > 0:29:47but without it actually sounding like something from 1972.
0:29:47 > 0:29:51Instead, he's gone back to the first song they tried -
0:29:51 > 0:29:53Nothing To Be Scared Of.
0:29:53 > 0:29:54'Needs a proper chorus,'
0:29:54 > 0:30:00which would hopefully be the anthemic bit, or try something else.
0:30:00 > 0:30:02Do it all again.
0:30:02 > 0:30:06Do three more ideas, cos that's...
0:30:06 > 0:30:10What's there to lose? You know, then we've got six to choose from as opposed to just three.
0:30:13 > 0:30:15This is news to Dan and Shingai.
0:30:15 > 0:30:18How will they react to this change of direction?
0:30:18 > 0:30:20- Good morning.- Hello.
0:30:20 > 0:30:22Good morning.
0:30:22 > 0:30:24Good morning.
0:30:24 > 0:30:27Just listened through to the three things
0:30:27 > 0:30:30and I'm really feeling this first one we did.
0:30:30 > 0:30:32- Oh, right.- Oh. Great!
0:30:32 > 0:30:35- And I just... - Pull up another chair?- Yeah.
0:30:35 > 0:30:36And I...
0:30:36 > 0:30:39just tried writing another section to it
0:30:39 > 0:30:43that may or may not work. Just so...
0:30:43 > 0:30:46Cos it was... Do you remember it was the one that went...
0:30:46 > 0:30:48# Is there nothing to be
0:30:48 > 0:30:52# Dah, dah, dah-dah, dah-dah Dah, dah-dah... #
0:30:52 > 0:30:54# Nothing to be
0:30:54 > 0:30:58# Nothing to be scared oh-oh, oh-of
0:30:58 > 0:31:00# There's nothing to be
0:31:00 > 0:31:02# Nothing to be, nothing to be
0:31:02 > 0:31:06# Nothing to be scared oh-oh, oh-of... #
0:31:06 > 0:31:09# Dah, dah-dah, dah Dah, dah-dah... #
0:31:09 > 0:31:11I can't remember it at all.
0:31:11 > 0:31:13What's... Yeah.
0:31:13 > 0:31:15So I've just written another bit.
0:31:15 > 0:31:17See what you think anyway.
0:31:17 > 0:31:20# Just want you to be with me
0:31:20 > 0:31:24# Hang on now What do I have to see now?
0:31:24 > 0:31:28# Dah, dah, dah, dah-dah Dah-da-dah, dah, dah-da-dah, dum. #
0:31:48 > 0:31:53The music's a little bit too soft and polite for the, kind of...
0:31:53 > 0:31:57- Those melodies are quite sort of, er...- Strident.
0:31:57 > 0:31:59Yeah. # Dah-dah, dah, dah, Dah dah, dah. #
0:31:59 > 0:32:03Almost quite sort of majestic or anthemic, and I think like,
0:32:03 > 0:32:08the chord changes are nice, but the way the music's played is not really matching it, maybe?
0:32:08 > 0:32:10Maybe the music should be simpler.
0:32:10 > 0:32:13If the vocal's going... # Dah-dah, dah-dah. #
0:32:13 > 0:32:16Then the music should just be doing one thing.
0:32:16 > 0:32:20- # Dah-dah, dah-dah, dah, dah. # Then the music carries on, maybe?- OK.
0:32:20 > 0:32:24- Do you know what I mean? - So you could, literally, zone in and tune into it and...
0:32:24 > 0:32:26# Dah-dah, dah-dah. #
0:32:26 > 0:32:27For me, yeah, I think....
0:32:27 > 0:32:30- Yeah, maybe. Stops, yeah. - Yeah. Yeah.
0:32:30 > 0:32:35Cos I think for me, like, anthems should just have that break where you can sing along.
0:32:35 > 0:32:39And the guitar player can just do a little bit of a stupid dance move.
0:32:39 > 0:32:43Not that I'm saying like a stupid dance move is very important.
0:32:43 > 0:32:47- Like a posing move. - Just, yeah, maybe a little bit more sort of strutting.
0:32:47 > 0:32:49A little bit more attitude, I think.
0:32:49 > 0:32:52Shingai's not sure about Guy's new chorus.
0:32:52 > 0:32:54She thinks her ideas might be more crowd pleasing.
0:32:54 > 0:32:59What would take the nah-nah-nahs to the next level on the last chorus
0:32:59 > 0:33:03is if we had those, instead of the nothing-to-bes going on, doing a little breakdown,
0:33:03 > 0:33:05there should be an answer, say...
0:33:05 > 0:33:06# Something, something
0:33:06 > 0:33:09# Nothing Dah-dah, dah, dah, dah-dah, dah
0:33:09 > 0:33:10# Dah-dah, dah-dah. #
0:33:10 > 0:33:13So you're using all the vocalists as well on that last chorus.
0:33:13 > 0:33:17# Dah-dah, dah, dah Dah-dah, dah... #
0:33:17 > 0:33:19It's like an extension, a solo.
0:33:19 > 0:33:21- Yeah, yeah. - You want to keep going up.
0:33:21 > 0:33:23Yeah, keep going up. Yeah.
0:33:25 > 0:33:28Shingai's got her way with the chorus.
0:33:28 > 0:33:32It's now up to Guy and Dan to give the song a richer sound.
0:33:34 > 0:33:39Tell you what would sound good on this is vibraphone. I've got it on my mellotron.
0:33:39 > 0:33:42- You've got some on your mellotron? - Oh, lovely.
0:33:42 > 0:33:45# Nah, nah-nah, nah, nah Nah, nah-nah
0:33:45 > 0:33:49# Oh, oh-oh, oh-oh, ah-ah, ah-ah, ah
0:33:50 > 0:33:57# Nah, nah-nah, nah, ah, oh, oh, oh Oh-oh, oh, oh... #
0:33:57 > 0:33:59With the song's building blocks in place,
0:33:59 > 0:34:02they play it through to check the lyrics,
0:34:02 > 0:34:03ready to fine tune tomorrow.
0:34:03 > 0:34:06This is work. This is what I do at school.
0:34:08 > 0:34:11- It's raining, isn't it? - Well, it's already been used.
0:34:12 > 0:34:13# Nah, nah-nah... #
0:34:13 > 0:34:15But what they really need is a catchy title,
0:34:15 > 0:34:17so that it's instantly memorable
0:34:17 > 0:34:20when they play it to the public in a week's time.
0:34:20 > 0:34:23# Nah-nah, nah, oh, oh, oh, oh
0:34:23 > 0:34:26# There's nothing to be scared of... #
0:34:26 > 0:34:32And the public are notoriously difficult to second guess about what will become an anthem.
0:34:34 > 0:34:37# At first I was afraid I was petrified
0:34:37 > 0:34:41# Kept thinking I could never live without you by my side
0:34:41 > 0:34:46# But then I spent so many nights thinking how you did me wrong
0:34:46 > 0:34:50# And I grew strong And I learned how to get along
0:34:50 > 0:34:51# And so you're back... #
0:34:51 > 0:34:56Some of the key components of anthems include having catchy slogans.
0:34:56 > 0:35:00Something, a small phrase, that means something that,
0:35:00 > 0:35:04you know, builds you up to feel good about yourself.
0:35:04 > 0:35:06So something like...
0:35:06 > 0:35:07# Oh, no, not I
0:35:07 > 0:35:09# I will survive
0:35:09 > 0:35:12# Oh, as long as I know how to love
0:35:12 > 0:35:14# I know I'll stay alive
0:35:14 > 0:35:17# I've got all my life to live I've got all my love to give
0:35:17 > 0:35:19# I'll survive
0:35:19 > 0:35:21# I will survive... #
0:35:21 > 0:35:23Gloria Gaynor's I Will Survive -
0:35:23 > 0:35:27fantastic number-one gay anthem, but there you have that sense
0:35:27 > 0:35:31of everybody joining in because they want to feel the same thing.
0:35:31 > 0:35:37They all have a similar way of thinking and so I Will Survive, in fact, emphasises the collective I.
0:35:37 > 0:35:39It's no longer very selfish,
0:35:39 > 0:35:43but it's looking again at a group, so they still work in very similar ways.
0:35:43 > 0:35:45# Hey, hey! #
0:35:45 > 0:35:50In 1978, I Will Survive was originally released as a B side.
0:35:50 > 0:35:55Seemingly going nowhere, it was discovered by a trend-setting DJ at New York's Studio 54.
0:35:55 > 0:36:02It instantly drew the club's glamorous party goers and drag queens onto the dance floor.
0:36:02 > 0:36:04# Not to fall apart... #
0:36:04 > 0:36:06And the buzz was picked up by the radio stations.
0:36:06 > 0:36:10The more they played it, the more people wanted it.
0:36:10 > 0:36:16B side became A side and over time the record has generated over 100 million.
0:36:16 > 0:36:19# You see me, somebody new... #
0:36:19 > 0:36:23What started as the favourite of New York's beautiful people
0:36:23 > 0:36:26became the empowerment anthem of the century.
0:36:26 > 0:36:29# You're not welcome anymore! #
0:36:30 > 0:36:32It's now the unofficial hen-night anthem
0:36:32 > 0:36:35and the most popular karaoke song in Britain.
0:36:35 > 0:36:38# Oh, no, not I I will survive... #
0:36:38 > 0:36:44And I Will Survive's optimism is repeated in many other successful anthems.
0:36:44 > 0:36:46# I've got all my life to live... #
0:36:46 > 0:36:49They're about the future, don't stop thinking about tomorrow,
0:36:49 > 0:36:52things can only get better, they're about the future.
0:36:52 > 0:36:53They're always aspiring to a future.
0:36:53 > 0:36:56Go West is aspiring to a future.
0:36:57 > 0:37:01'And maybe expresses some hope.'
0:37:01 > 0:37:03# Go west!
0:37:03 > 0:37:05# Life is peaceful there... #
0:37:05 > 0:37:09And anthems can take the most incredible journeys too.
0:37:09 > 0:37:15Go West started out as a piece of disco camp, and has ended up in the most unlikely place.
0:37:15 > 0:37:19The thing that attracted us to Go West... It was Chris's choice.
0:37:19 > 0:37:22When he played me the Village People's version, I didn't like it.
0:37:22 > 0:37:25And if you listen to the Village People's version,
0:37:25 > 0:37:30I don't think it's that anthemic actually. It's more of a disco stomper.
0:37:30 > 0:37:32# Go west
0:37:32 > 0:37:35# Life is peaceful there, go west
0:37:35 > 0:37:39# Lots of open air, go west
0:37:39 > 0:37:40# To begin anew
0:37:40 > 0:37:42# Go west
0:37:42 > 0:37:45# This is what we'll do... #
0:37:45 > 0:37:47It didn't have a middle bit, Go West,
0:37:47 > 0:37:50it just had verse-chorus, verse-chorus, verse-chorus,
0:37:50 > 0:37:55and we put the bit which is the inspirational bit,
0:37:55 > 0:37:57the aspirational bit.
0:37:57 > 0:38:00# There where the air is clear We'll be, we'll be
0:38:00 > 0:38:01# What we want to be... #
0:38:01 > 0:38:03Um, cos it didn't have that
0:38:03 > 0:38:06and it sort of needed to go on a bit more of a journey then come back
0:38:06 > 0:38:10to get that very strong anthemic feel.
0:38:10 > 0:38:13# There where the air is free
0:38:13 > 0:38:17# We'll be what we want to be
0:38:17 > 0:38:21# Now if we make a stand
0:38:21 > 0:38:24# We'll find our promised land... #
0:38:24 > 0:38:28The Pet Shop Boys' Go West is a good example of an anthem,
0:38:28 > 0:38:31as it has that repetition element to it.
0:38:31 > 0:38:33The go west, go west.
0:38:33 > 0:38:35# Go West, dah, dah, dah, dah, dah
0:38:35 > 0:38:37# Go West Dah, dah, dah, dah, dah. #
0:38:37 > 0:38:42And it's all based on this repetitive bass line and chord progression.
0:38:42 > 0:38:45So when you hear it, it might sound very familiar
0:38:45 > 0:38:48as it's based on Pachelbel's Canon. So the chord progression...
0:38:48 > 0:38:52SHE PLAYS CHORD PROGRESSION
0:38:56 > 0:38:59And that base line keeps going.
0:39:04 > 0:39:06And we can put it over the top.
0:39:06 > 0:39:09SHE ADDS GO WEST MELODY
0:39:18 > 0:39:21And if you're singing, "go west, go west," all the time,
0:39:21 > 0:39:26everyone's going to join in, you're going to know what to sing.
0:39:26 > 0:39:29- # Where the skies are blue- Go west
0:39:29 > 0:39:32# This is what we're gonna do... #
0:39:32 > 0:39:36But it wasn't just the song's structure that packed a punch.
0:39:36 > 0:39:39Events that shook the world had given it a new emotional force
0:39:39 > 0:39:43when the Pet Shop Boys released their version in the early '90s.
0:39:43 > 0:39:45We thought about what Go West was when it was written.
0:39:45 > 0:39:50Go West was written before AIDS, and it was about the gay utopia
0:39:50 > 0:39:56of San Francisco and California, in the era of YMCA
0:39:56 > 0:39:59and gay liberation.
0:39:59 > 0:40:03You know, the era of Harvey Milk and all the rest of it.
0:40:05 > 0:40:09In-between the song being written and our version being released,
0:40:09 > 0:40:14you'd had the entire AIDS crisis and we'd all known people
0:40:14 > 0:40:18who had died or at that point were still dying.
0:40:18 > 0:40:24Um... And so we were aware that this song now had a kind of pathos.
0:40:24 > 0:40:29It was a memory of the dream of gay liberation.
0:40:29 > 0:40:36So that gave it a kind of pathos and the pathos reinforces its anthemic quality.
0:40:36 > 0:40:40And here's where Go West went next.
0:40:40 > 0:40:44Its repetitive melody has made it an unlikely hit on the football terraces.
0:40:44 > 0:40:49THEY SING THE FOOTBALL SCORE TO THE TUNE OF GO WEST
0:40:52 > 0:40:54And it's extraordinary that, you know, football,
0:40:54 > 0:40:58with its history of kind of a very male macho environment
0:40:58 > 0:41:00have adopted what is essentially a gay anthem.
0:41:00 > 0:41:07I don't think they care or think about it and that can cut across pop music,
0:41:07 > 0:41:10it can cut across classical music,
0:41:10 > 0:41:15it can cut across religious music, anything really.
0:41:15 > 0:41:17OPERATIC MUSIC PLAYS
0:41:49 > 0:41:53THEY SING INDISTINCT LYRICS ALONG TO LAND OF HOPE AND GLORY
0:41:58 > 0:42:01TO TUNE OF GO WEST: # It's 3-nil And no-one cares, 3-nil
0:42:01 > 0:42:06# And no-one cares, 3-nil And no-one cares, 3-nil
0:42:06 > 0:42:07# And no-one cares. #
0:42:09 > 0:42:11THEY CHANT INDISTINCTLY
0:42:14 > 0:42:16Yeah, that's amazing.
0:42:18 > 0:42:19It's the final day.
0:42:19 > 0:42:21Guy, Dan and Shingai
0:42:21 > 0:42:25have spent two days cooped up inside the studio writing their anthem.
0:42:25 > 0:42:27They still haven't found the right lyrics.
0:42:27 > 0:42:31I think we should try and write a lyric for that line.
0:42:31 > 0:42:34What, the nah-nah, nah-nah, nah?
0:42:34 > 0:42:38# Everything a nah-nah, nah-nah, nah
0:42:38 > 0:42:42# Nothing to be scared of except me. #
0:42:42 > 0:42:44OK. I feel you.
0:42:44 > 0:42:48I think you need to put the "except me", first chorus.
0:42:48 > 0:42:52I kind feel like it's the chorus that's getting a little bit long.
0:42:52 > 0:42:56- The next two lines you'll want to hear something that repeats, I think.- OK, all right.
0:42:56 > 0:42:59I think it's too much lines to be anthemic cos you have to hear it.
0:42:59 > 0:43:01- OK.- I think it shouldn't be too complicated.
0:43:01 > 0:43:06- I just think it's got to be really simple.- Mm.
0:43:06 > 0:43:07Really easy, like a kid can sing it.
0:43:07 > 0:43:11- Mm.- "Care in the whole world," as long as it has that rhythm.
0:43:11 > 0:43:12Like, just not too many words.
0:43:12 > 0:43:14- Yeah. Yeah.- Yeah.- OK.- Throw away.
0:43:14 > 0:43:16# We ain't got a care. #
0:43:16 > 0:43:19So you could even sing it Cockney in a pub.
0:43:19 > 0:43:20# We ain't got a care in the
0:43:20 > 0:43:22# We ain't got a care in the whole world. #
0:43:22 > 0:43:23Too many words?
0:43:23 > 0:43:26Yeah. I can see that it's got the internal rhymes.
0:43:26 > 0:43:29But we could still have a little tag at the end though.
0:43:29 > 0:43:30I like having a small tag. Yeah.
0:43:30 > 0:43:33# I'm tired
0:43:33 > 0:43:38# Get yourself here Let's go, let's go
0:43:38 > 0:43:41# Now let's play, we ain't... #
0:43:41 > 0:43:43Maybe it could be let's go...
0:43:43 > 0:43:46- and play, couldn't it?- OK.
0:43:46 > 0:43:53# So get yourself here and let's go, let's go and play
0:43:53 > 0:43:54# We ain't... #
0:43:54 > 0:43:56And play, yeah, yeah.
0:43:56 > 0:43:58It's not as strong cos it's like a vowelly sort of sound.
0:43:58 > 0:44:02- Let's play is...- Three is good. Let's go, let's go, let's play.
0:44:02 > 0:44:07- I think that's cool.- You were mentioning that less words is good.
0:44:07 > 0:44:09- Can be good.- Maybe the repetition is good, I don't know.
0:44:09 > 0:44:13# I'm tired of this place Look at my face
0:44:13 > 0:44:16# Hey, boy, hey, boy
0:44:16 > 0:44:19# I'm tired of here
0:44:19 > 0:44:24# So get yourself here And let's go, let's go
0:44:24 > 0:44:28# Let's play We ain't got a care in the world
0:44:29 > 0:44:33# There's nothing to be scared of
0:44:33 > 0:44:35# Cos we ain't got a care in the world
0:44:37 > 0:44:41# There's nothing to be scared of Come with me. #
0:44:41 > 0:44:43- It's chase.- Chase, ah.
0:44:43 > 0:44:45- I'm tired of the chase. - Tired of this chase.- I like, yeah.
0:44:45 > 0:44:48- Look at my face.- Tired of disgrace.
0:44:48 > 0:44:49- Oh.- Tired of this chase is better.
0:44:49 > 0:44:53- Tired of being chased.- I don't think that's going to fly, that.
0:44:53 > 0:44:55Tired of toothpaste! Cos it's...
0:44:55 > 0:44:57- Tired of toothpaste! - Cos it's got fluoride in it.
0:44:57 > 0:45:02OK, this is a waste. I think tired of this chase is perfect.
0:45:02 > 0:45:03We're on a roll here.
0:45:03 > 0:45:07- Tired of this chase, yeah. - Yeah, it's better.- OK, good.
0:45:07 > 0:45:09Glad we got that sorted out!
0:45:09 > 0:45:14Who needs a thesaurus when you've got a park.
0:45:14 > 0:45:15All right, cool.
0:45:15 > 0:45:19An English park, I feel a Britpop anthem coming on.
0:45:23 > 0:45:26Tired of the bombastic stadium rock of the '80s,
0:45:26 > 0:45:30Britpop bands looked at the world around them.
0:45:30 > 0:45:31# Parklife
0:45:31 > 0:45:33# And morning soup can be avoided
0:45:33 > 0:45:35# If you take a route straight through what is known as... #
0:45:35 > 0:45:38And what better way to celebrate 1990s cool Britannia
0:45:38 > 0:45:41than with a good old mockney sing a long. All right?
0:45:42 > 0:45:49# So many people They all go hand in hand
0:45:49 > 0:45:52# Hand in hand through their parklife... #
0:45:55 > 0:45:57# She told me that her dad was loaded
0:45:57 > 0:46:01# I said, "In that case I'll have rum and coca-cola"
0:46:01 > 0:46:02# She said, "Fine"
0:46:02 > 0:46:04But it was a former art student from Sheffield
0:46:04 > 0:46:09who gave Britpop the real deal with Common People.
0:46:09 > 0:46:11# I want to live like common people... #
0:46:11 > 0:46:16Jarvis Cocker's satire on the British class system.
0:46:16 > 0:46:19# I want to sleep with common people... #
0:46:19 > 0:46:22Suddenly anthems became clever.
0:46:22 > 0:46:23# ..like you
0:46:23 > 0:46:27# Oh what else could I do
0:46:27 > 0:46:31Here you have descriptions of very specific things so, you know,
0:46:31 > 0:46:34he meets this girl at St Martin's College, the art college in London.
0:46:34 > 0:46:35She's a Greek girl.
0:46:35 > 0:46:38You find out that she's rich and she wants to be with the common people.
0:46:38 > 0:46:42There you have the most brilliant example
0:46:42 > 0:46:48of a tale of slumming it, which is also anthemic and celebratory.
0:46:48 > 0:46:51# I said, "Pretend you've got no money"
0:46:51 > 0:46:55# But she just laughed and said, "Oh you're so funny"
0:46:55 > 0:46:57# I said, "Yeah?
0:46:57 > 0:47:01# "Well I can't see anyone else smiling in here"
0:47:01 > 0:47:05# Are you sure you want to live like common people?
0:47:05 > 0:47:09# You want to see whatever common people see
0:47:09 > 0:47:12# You want to sleep with common people
0:47:12 > 0:47:16# You want to sleep with common people like me
0:47:16 > 0:47:19# But she didn't understand
0:47:19 > 0:47:22# She just smiled and held my hand
0:47:24 > 0:47:29# Rent a flat above a shop Cut your hair... #
0:47:29 > 0:47:31It's not the lowest common denominator.
0:47:31 > 0:47:34It's actually quite a smart song and it's totally an anthem
0:47:34 > 0:47:37because it's got a very, very simple tune in it. # Do-do-do-do. #
0:47:37 > 0:47:42It's not formulaic but it's totally relatable.
0:47:44 > 0:47:47# You'll never do what ever common people do
0:47:47 > 0:47:50# You'll never fail like common people
0:47:50 > 0:47:54# You'll never watch your life slide out of view
0:47:54 > 0:47:56# And then dance, and drink, and screw
0:47:56 > 0:48:02#Because there's nothing else to do... #
0:48:02 > 0:48:06I think Common People is a folk song.
0:48:06 > 0:48:09It's a folk song which will be sung
0:48:09 > 0:48:10in, you know, a couple of hundred years' time.
0:48:24 > 0:48:29After three days of intensive work, they're ready to record the song.
0:48:36 > 0:48:39- I'm liking this better. - Better, it's good that.
0:48:49 > 0:48:52# Whoa I'm tired of this chase
0:48:52 > 0:48:57# Look at my face Hey boy, hey boy
0:48:57 > 0:49:00# I'm tired of here
0:49:00 > 0:49:05# So get yourself here and let's go, let's go
0:49:05 > 0:49:10# We ain't got a care in the world... #
0:49:10 > 0:49:12Sounds very tired.
0:49:12 > 0:49:18I'm missing the "scared", you know the way you did that, in the chorus?
0:49:18 > 0:49:20Oh, I think I missed one out, yeah.
0:49:20 > 0:49:21Yeah. It's...
0:49:21 > 0:49:24# Cos we ain't got a care in the world
0:49:24 > 0:49:28# There's nothing to be scared of
0:49:28 > 0:49:33# We ain't got a care in this whole world. #
0:49:33 > 0:49:37- That's very pronounced.- It's gone a bit quiet.- OK. All right.
0:49:37 > 0:49:39- It lacks a bit of energy.- OK.
0:49:39 > 0:49:42Perhaps you need to be standing on your feet to be able to project.
0:49:42 > 0:49:45- Do you know what I mean? - That's a really... That's an idea.
0:49:45 > 0:49:46# Nah, nah, nah, nah-ah-ah-ah
0:49:48 > 0:49:50# Nah, nah, nah, nah-ah-ah-ah. #
0:49:51 > 0:49:53I'm going to do it lower.
0:49:53 > 0:49:55It's too Bee Gees!
0:49:59 > 0:50:00Love 'em, but...
0:50:00 > 0:50:02# Scared of
0:50:02 > 0:50:04# Nah, nah, nah, nah-ah-ah-ah
0:50:06 > 0:50:08# Nah, nah, nah, nah-ah-ah-ah
0:50:10 > 0:50:12# Nah, nah, nah, nah-ah-ah-ah
0:50:13 > 0:50:15# Nah, nah, nah, nah-ah-ah-ah
0:50:17 > 0:50:18# I'm tired of chains... #
0:50:18 > 0:50:21- First half. - Yeah. That's great. Good, yeah.
0:50:21 > 0:50:23# Nah, nah, nah, nah-ah-ah-ah
0:50:23 > 0:50:26# Let's play Nah, nah, nah, nah-ah-ah-ah... #
0:50:26 > 0:50:28The anthem is in the bag.
0:50:28 > 0:50:34It's called Let's Play, but will it convince the experts, the public?
0:50:34 > 0:50:35# Nah, nah, nah, nah... #
0:50:35 > 0:50:38Because without the public, there is no anthem.
0:50:42 > 0:50:44# We come... #
0:50:46 > 0:50:48Through the '90s and into the Noughties,
0:50:48 > 0:50:53a new kind of music arrived, the dance anthem.
0:50:53 > 0:50:58No fancy guitar solos, just a short keyboard riff and a finger.
0:50:58 > 0:51:00# We come... #
0:51:05 > 0:51:07Even though it was sort of relatively simple
0:51:07 > 0:51:09it was a very crafted piece of music.
0:51:09 > 0:51:11It took about seventeen different incarnations
0:51:11 > 0:51:15before we kind of found the right one
0:51:15 > 0:51:17and the lucky thing is that I'm a DJ
0:51:17 > 0:51:21and I played that record in its kind of various forms out in the clubs,
0:51:21 > 0:51:24and so I had that direct affirmation.
0:51:24 > 0:51:27It wasn't that we thought, "Yeah, we've hit on it. Here's anthem."
0:51:27 > 0:51:30We actually had to have the affirmation from the crowd itself
0:51:30 > 0:51:33which is the brilliant thing about dance music.
0:51:33 > 0:51:36It's got this really DIY feel that you can make a track on Thursday,
0:51:36 > 0:51:38play it out on the Friday and it can be,
0:51:38 > 0:51:40you know, a demand for it by Saturday
0:51:40 > 0:51:43when people have obviously recovered from Friday.
0:51:43 > 0:51:45# Flapping like a humming-bird
0:51:45 > 0:51:48# I'm nervous cos I'm the left eye
0:51:48 > 0:51:50# You're the right
0:51:50 > 0:51:54# Would it not be madness to fight? We come one... #
0:51:54 > 0:51:58Max's lyrics have this kind of universality about it.
0:51:58 > 0:52:02"We come one." I don't know why, it just pinged into my head.
0:52:02 > 0:52:04I have sort of one good idea every five years
0:52:04 > 0:52:06but luckily it came on that day.
0:52:06 > 0:52:09But "we come one" is like we've become one,
0:52:09 > 0:52:13or we become one thing if you like, but it's a bit more Jamaican.
0:52:13 > 0:52:17And Maxi just went, "I like that", and off we went. It flew.
0:52:17 > 0:52:20Funnily enough, as you said that the exact same words came into my head.
0:52:20 > 0:52:22- Did? What? On that day?- On that day.
0:52:22 > 0:52:24I remember where you were sitting exactly
0:52:24 > 0:52:25cos I was about to say it
0:52:25 > 0:52:27and you came out with it, it came out of your mouth
0:52:27 > 0:52:28and I was like, "Wow! That's odd."
0:52:28 > 0:52:31Well, maybe that explains our telepathic song writing powers.
0:52:34 > 0:52:38This finger used to mean me, me, me, and now it means unity.
0:52:38 > 0:52:42It actually took on a new life as well
0:52:42 > 0:52:46in places where you know, conflict has been quite recent.
0:52:46 > 0:52:50You know, places like Serbia and Croatia, etc,
0:52:50 > 0:52:53and it was always incredibly moving to me to see
0:52:53 > 0:52:57a whole bunch of the youngsters to that song in particular,
0:52:57 > 0:52:59would come hurtling down to the front
0:52:59 > 0:53:01and their want would be so fervent
0:53:01 > 0:53:05because their recent experience has been very far from peace.
0:53:05 > 0:53:07It's, you know, it becomes more than a song
0:53:07 > 0:53:10that was just destined for a club dancefloor.
0:53:10 > 0:53:13It has that extra sort of level of potency.
0:53:21 > 0:53:23Guy and the Noisettes' new song
0:53:23 > 0:53:26is ready for its first ever public performance.
0:53:26 > 0:53:31Has it got the right ingredients for an anthem?
0:53:31 > 0:53:36Shingai was continually saying, now let's make it really simple.
0:53:36 > 0:53:39I tried to make it a little bit more complicated
0:53:39 > 0:53:42but luckily she resisted and kept it super simple.
0:53:44 > 0:53:48I think the melody and the chorus is anthemic.
0:53:48 > 0:53:52I don't know if it's anthemic in the same way as the great rock anthems.
0:53:52 > 0:53:55They'll find out when they play it live and see how people react to it.
0:53:58 > 0:54:02# You say it's love I say it's now
0:54:02 > 0:54:06# I keep on dancing around and about
0:54:06 > 0:54:09# If you leave your friends Cos I can't pretend
0:54:09 > 0:54:13# I saw you in the crowd with the back of my eye
0:54:13 > 0:54:15# Won't you hail me a taxi
0:54:15 > 0:54:17# It's raining outside
0:54:17 > 0:54:21# Take me to a place where hearts collide
0:54:21 > 0:54:24# Cos I'm tired of this chase Look at my face
0:54:24 > 0:54:28# Hey boy, playboy
0:54:28 > 0:54:32# I'm tired of here I just want you near
0:54:32 > 0:54:36# So let's go Let's go
0:54:36 > 0:54:40# Let's play Cos we ain't got a care in the world
0:54:40 > 0:54:45# There's nothing to be scared of
0:54:45 > 0:54:50# We ain't got a care in the world Nothing to be scared of
0:54:50 > 0:54:55# And I swallow my pride I'm taking my time, honey
0:54:55 > 0:54:58# You don't want to know what's going on in my mind
0:54:58 > 0:55:04# Well, ain't it bizarre I'm gonna make you feel like a star
0:55:04 > 0:55:10# And heaven won't be too far Stop! Wait a minute just for me
0:55:10 > 0:55:14# Tell me lover what's it gonna be?
0:55:14 > 0:55:19# Cos I'm tired of this chase Look at my face
0:55:19 > 0:55:21# Hey boy, playboy
0:55:21 > 0:55:22# I'm tired of here
0:55:22 > 0:55:28# I just want you near So let's go, let's go
0:55:28 > 0:55:32# Hey, we ain't got a care in the world
0:55:32 > 0:55:36# There's nothing to be scared of
0:55:37 > 0:55:41# Cos we ain't got a care in the world
0:55:41 > 0:55:44# Nothing to be scared of
0:55:44 > 0:55:49# Nah-nah-nah-nah-ah-ah-ah
0:55:49 > 0:55:52# Nah-nah-nah-nah-ah-ah-ah
0:55:52 > 0:55:55# Nah-nah-nah-nah-ah-ah-ah
0:55:57 > 0:55:59# Wow, let's play
0:55:59 > 0:56:05# Baby I'm tired of this chase Look in my face
0:56:05 > 0:56:07# Hey boy, playboy
0:56:07 > 0:56:10# I'm tired of here I just want you near
0:56:10 > 0:56:14# So let's go, let's go I wanna play
0:56:14 > 0:56:19# Cos we ain't got a care in the world
0:56:19 > 0:56:22# There's nothing to be scared of
0:56:22 > 0:56:23Let's play
0:56:23 > 0:56:29# We ain't got a care in the world Nothing to be scared of
0:56:31 > 0:56:35# I can't seem to find a way out A way out
0:56:39 > 0:56:42# So give me your number and let's go
0:56:42 > 0:56:46# It's high time you were mine
0:56:46 > 0:56:47# Let's play
0:56:47 > 0:56:49# Let's play
0:56:49 > 0:56:55# High time you were mine. #
0:57:00 > 0:57:01Thank you.
0:57:04 > 0:57:05Thank you.
0:57:05 > 0:57:07Yeah, that was my favourite song actually. Yeah.
0:57:07 > 0:57:10Like, definitely the chorus was really good.
0:57:10 > 0:57:12She really got the crowd going
0:57:12 > 0:57:16and you could really feel like what she felt while she was singing.
0:57:16 > 0:57:19Everyone was dancing.
0:57:19 > 0:57:22Everybody sang along after the first time
0:57:22 > 0:57:25so, you know, that's the sign of a great anthem, I think.
0:57:25 > 0:57:27A lot of people were signing it back. That's a good sign.
0:57:27 > 0:57:30It's a great sign for it and I think it's got a very, it's up tempo.
0:57:30 > 0:57:34It's got a very positive feel. But you can never really tell.
0:57:34 > 0:57:35Nothing To Be Scared Of is good,
0:57:35 > 0:57:37it's a good message for her, I think.
0:57:37 > 0:57:41- Yeah, it's great.- Cos she might intimidate some people.- Some blokes!
0:57:41 > 0:57:44So I think it's a good, it's very good for her.
0:57:44 > 0:57:47It's like a child, you can't plan what you want it to look like
0:57:47 > 0:57:49before it comes out.
0:57:49 > 0:57:50You've just got to make good love
0:57:50 > 0:57:53and hope for the most beautiful sonic baby.
0:57:53 > 0:57:54Cos to me a pop song's like a rocket
0:57:54 > 0:57:57- and you want to get to the moon as quickly as possible.- Yeah.
0:57:57 > 0:58:00And you can tell I've had a couple of drinks!
0:58:00 > 0:58:03- But, er...- No, carry on with the analogy. I like it, I like it.
0:58:03 > 0:58:08- Well, it's good when you have a really sharp ramp...- Yeah. - Is that the right word?
0:58:08 > 0:58:13No, it's great when you have a sharp ramp. You start with a bit of teasing. Er, a sort of slow...
0:58:13 > 0:58:14- Not too much teasing. - Not too much teasing.
0:58:14 > 0:58:17You don't want people to fall asleep but when it does take off, it's...
0:58:17 > 0:58:19The foreplay can't be tedious.
0:58:19 > 0:58:21No, it can't be tedious.
0:58:21 > 0:58:22This audience love it.
0:58:22 > 0:58:25So where does Let's Play go from here?
0:58:25 > 0:58:32A great anthem is measured not on one performance but over years.
0:58:32 > 0:58:34# You'll Never Walk Alone... #
0:58:34 > 0:58:36Will it become their signature anthem?
0:58:36 > 0:58:39A key part of their repertoire?
0:58:39 > 0:58:43That decision is now in the hands of the public.
0:58:45 > 0:58:49Which is why there's never been a magic formula for writing an anthem.
0:58:49 > 0:58:50And why they will always be
0:58:50 > 0:58:53one of the hardest things for any songwriter to crack.
0:58:53 > 0:58:56What do you think? Try something else?
0:58:56 > 0:58:58# We are the champions
0:58:59 > 0:59:02# My friends
0:59:04 > 0:59:07# And we'll keep on fighting
0:59:07 > 0:59:09# Till the end
0:59:11 > 0:59:15# We are the champions
0:59:15 > 0:59:19# We are the champions
0:59:19 > 0:59:22# No time for losers
0:59:22 > 0:59:26# Cos we are the champions... #