0:00:37 > 0:00:39Hello and welcome back to the Old Grey Whistle Test Live:
0:00:39 > 0:00:43For One Night Only.
0:00:43 > 0:00:46We're here after 30 years away and we're back
0:00:46 > 0:00:52at Television Centre - our home for the 16 years that
0:00:52 > 0:00:55Whistle Test was on the air.
0:00:55 > 0:00:59We're older, maybe a little wiser, certainly greyer, and totally
0:00:59 > 0:01:01ready to bring you three hours of fantastic music,
0:01:01 > 0:01:09memories and conversation.
0:01:09 > 0:01:12There are loads of friends with us in the studio tonight -
0:01:12 > 0:01:15An incredible list.
0:01:15 > 0:01:17Joan Armatrading, Dave Stewart, Ian Anderson, Chris Difford
0:01:17 > 0:01:20and Toyah Wilcox are among those here to help us explore the archive
0:01:20 > 0:01:23and share their recollections of appearing on the show.
0:01:23 > 0:01:26Gary Numan, Richard Thompson, Peter Frampton, Albert Lee
0:01:26 > 0:01:31and Kiki Dee will all be playing live, and in true programme
0:01:31 > 0:01:34tradition, I'll be introducing you to some essential new music,
0:01:34 > 0:01:38with performances from Robert Vincent and Wildwood Kin.
0:01:38 > 0:01:41But first, a montage of memories - a whistle stop journey
0:01:41 > 0:01:48through the Whistle Test years.
0:01:48 > 0:01:56Happy New Year!
0:01:56 > 0:02:06ROCK MUSIChow you doing? Complaints?
0:02:10 > 0:02:20# It's been a long time, rock and roll...
0:02:20 > 0:02:29You were wonderful!
0:02:31 > 0:02:43# It's been a long time, a long, long time...The Whistle Test works
0:02:43 > 0:02:52for me.
0:02:53 > 0:03:05ROCK MUSIC # Living rock and roll...
0:03:05 > 0:03:08The taxi Johnny Mitchell Santner about.
0:03:08 > 0:03:17I really enjoyed that bit of film, if I may say so.Still haven't got
0:03:17 > 0:03:24that fixed.
0:03:29 > 0:03:39# Open your arms, open your arms...
0:03:39 > 0:03:48# It's been a long time # Lonely, lonely, lonely time #.
0:03:50 > 0:03:53CHEERING AND APPLAUSE
0:03:59 > 0:04:01It is amazing to see all those clips again.
0:04:01 > 0:04:04But of course, The Old Grey Whistle Test was always about live music,
0:04:04 > 0:04:08and kicking us off tonight is a very dear friend of the show.
0:04:08 > 0:04:10This is the wonderful Kiki Dee.
0:04:57 > 0:05:01# Oh she's smiling now
0:05:01 > 0:05:07# She has broken down
0:05:07 > 0:05:11# All her barriers
0:05:11 > 0:05:19# All her demons
0:05:25 > 0:05:26# Oh it fills my cup
0:05:26 > 0:05:31# To see her shining so bright
0:05:31 > 0:05:37# No regrets she says
0:05:37 > 0:05:41# Will touch her life
0:05:41 > 0:05:47# It was a long time coming
0:05:47 > 0:05:53# But she flowered and in time
0:05:53 > 0:05:56# Every day is her playground
0:05:56 > 0:06:03# Un-abandoned and free to choose
0:06:03 > 0:06:11# In the midst of something that we don't understand
0:06:14 > 0:06:22# Then the answers come and guide us once again
0:06:22 > 0:06:28# Oh she's smiling now
0:06:28 > 0:06:34# She has broken down
0:06:34 > 0:06:39# All her barriers
0:06:39 > 0:06:45# All her demons
0:06:45 > 0:06:51# Oh it scares me somehow
0:06:51 > 0:06:57# It's never too late to fall in love with life again
0:06:57 > 0:07:02# There are people in this world
0:07:02 > 0:07:10# That touch you more than life's design,
0:07:11 > 0:07:19# You want to see them go out and live the life they choose
0:07:19 > 0:07:27# For all the things that they have done for you
0:07:27 > 0:07:32# Oh she's smiling now
0:07:32 > 0:07:40# She has broken down
0:07:40 > 0:07:47# All her barriers
0:07:47 > 0:07:50# All her demons
0:07:50 > 0:07:54# Oh it fills my cup
0:07:54 > 0:08:01# To see her shine so bright
0:08:01 > 0:08:09# No regrets she says
0:08:09 > 0:08:11# Will fill her life
0:08:11 > 0:08:17# Oh she's smiling now
0:08:17 > 0:08:23# Oh she's smiling now
0:08:23 > 0:08:31# Smiling #.
0:09:41 > 0:09:53CHEERING AND APPLAUSE Thank you.
0:09:53 > 0:10:00Thank you. Thank you, Bob. We have one more song and we are so thrilled
0:10:00 > 0:10:10to be here. This is a song from' 73, and the lyric is from Gary Osborne,
0:10:10 > 0:10:17who is out there in the audience. Thank you, Gary. And it got my first
0:10:17 > 0:10:20hit! This is Amoureuse.
0:10:25 > 0:10:30# Strands of light upon a bedroom floor
0:10:30 > 0:10:32APPLAUSE
0:10:32 > 0:10:39# Change the night through an open door
0:10:39 > 0:10:47# I'm awake but this not my home
0:10:47 > 0:10:55# For the first time I'm not alone
0:10:56 > 0:11:04# Reaching out I touch another skin
0:11:04 > 0:11:12# Breathing out as he is breathing in
0:11:12 > 0:11:18# Deep inside I feel my soul aflame
0:11:18 > 0:11:26# Can my life ever be the same?
0:11:27 > 0:11:31# I should have told him
0:11:31 > 0:11:37# I'd do anything if I could hold him
0:11:37 > 0:11:44# For just another day, for just another day
0:11:44 > 0:11:49# His love is something I will not forget
0:11:49 > 0:11:56# When I am far away, when I am far away
0:11:56 > 0:12:02# I feel the rainfall of another planet
0:12:02 > 0:12:08# Another planet
0:12:08 > 0:12:15# Close together in the afterglow
0:12:15 > 0:12:21# I remember how his loving flow
0:12:21 > 0:12:29# Turned the key into another world
0:12:29 > 0:12:37# Made a woman of a simple girl
0:12:41 > 0:12:47# Daylight comes as we both know it must
0:12:47 > 0:12:55# Soon my fantasy will turn to dust
0:12:55 > 0:13:02# But I would give him anything he asked
0:13:02 > 0:13:10# If my first love could be my last?
0:13:26 > 0:13:33SINGING IN FRENCH
0:13:33 > 0:13:36# I feel the rainfall of another planet
0:13:36 > 0:13:40# When I am far away, when I am far away
0:13:40 > 0:13:48# I feel the rainfall of another planet
0:13:48 > 0:13:56# Another planet
0:13:59 > 0:14:00Enter CHEERING AND
0:14:07 > 0:14:10APPLAU seven
0:14:10 > 0:14:11Thank you to Kiki seven for that performance.
0:14:11 > 0:14:14She'll be joining me on the sofa to share her Whistle Test
0:14:14 > 0:14:16memories later in the show.
0:14:16 > 0:14:18But right now it's time to revisit The Old Grey Whistle
0:14:18 > 0:14:20Test's very first days.
0:14:20 > 0:14:25Here's Tom Robinson to explain how it all began.
0:14:25 > 0:14:31As the 1960s gave way to the 70s, music TV had been going on happily
0:14:31 > 0:14:36with stuff like this. # Only the lonely
0:14:36 > 0:14:47# Knows the way I feel tonight... # Then in 1971, this happened.
0:14:52 > 0:14:57Then in 1971, this happened. Let's go back to how it all began. This is
0:14:57 > 0:15:02a BBC producer. His name is Mike Appleton and he's looking for a new
0:15:02 > 0:15:08programme idea.
0:15:08 > 0:15:11programme idea. In 1967 there were pop and rock audiences. Pop fans
0:15:11 > 0:15:18were catered for by the Top 40 singles format of Top of the Pops on
0:15:18 > 0:15:23BBC One. Mike Appleton understood there was now a huge hunger among
0:15:23 > 0:15:28serious music fans for a different kind of TV show focused on albums.
0:15:28 > 0:15:35In September 1971, that's what he gave them.
0:15:45 > 0:15:48# And there's still choice # When we keep on keeping on... #
0:15:48 > 0:15:55Everybody knows this. Just in case. The phrase "The Old Grey Whistle
0:15:55 > 0:16:00Test" came from a New York building, a publishing house where songwriters
0:16:00 > 0:16:09sat and wrote pop hits by the yard as their 9 to 5 job. At the end of
0:16:09 > 0:16:12every week the building's doormen and cleaners would be played a
0:16:12 > 0:16:15selection of the latest songs. If they could whistle the tune after a
0:16:15 > 0:16:21single hearing it was deemed a potential hit having passed the Old
0:16:21 > 0:16:27Greys Whistle Test. Ironic really given that the programme itself was
0:16:27 > 0:16:32focused on credible album artists rather than per Fayers of catchy hit
0:16:32 > 0:16:37singles.
0:16:38 > 0:16:41singles. The first series was presented by rich yard Williams.
0:16:41 > 0:16:50Hello and welcome to the #3r0e gram with a funny name.It was screened
0:16:50 > 0:16:56at 11.00pm, perfect for its target audience. Since most households had
0:16:56 > 0:17:00one.telly album fee nannics with watch after the family went to bed.
0:17:00 > 0:17:06This was our time.
0:17:07 > 0:17:12This was our time. Fanatics.
0:17:19 > 0:17:25# After the first series, Richard Williams left to concentrate on his
0:17:25 > 0:17:33writing career and. A am turned to Radio 1DJ and co-editor of Time Out
0:17:33 > 0:17:36magazine, he was Bob Harris at the time.Welcome to this week's Whistle
0:17:36 > 0:17:44Test.Despite being on BBC Two at the nonprime-time of 11.00pm, the
0:17:44 > 0:17:53programme built to an audience of over five million viewers.
0:17:53 > 0:17:57over five million viewers. The tipping point came when an unknown
0:17:57 > 0:18:05Dutch band called Focus first sang Hocus Pocus to an unsuspecting
0:18:05 > 0:18:10Britain.
0:18:19 > 0:18:25# Ahhhh! ... # Following that performance Polydor
0:18:25 > 0:18:30records turned their plant over to making Focus albums for the next ten
0:18:30 > 0:18:40days to keep pace with demand. The Old Grey Whistle Test had arrived. I
0:18:40 > 0:18:45like that very much indeed. APPLAUSE
0:18:45 > 0:18:49Here we are again.
0:18:51 > 0:18:55We have the show's creator and producer, Mike Appleton.
0:18:55 > 0:18:59APPLAUSE
0:19:03 > 0:19:08Also with us my predecessor and presenter of the first series,
0:19:08 > 0:19:13Richard Williams. APPLAUSE
0:19:13 > 0:19:16And an early fan and great friend of the programme, Danny Baker.Thank
0:19:16 > 0:19:21you. APPLAUSE
0:19:21 > 0:19:25So Mike, we have to discuss the origins and how the programme grew
0:19:25 > 0:19:32because it took a while, didn't it, with BBC Two to bring music into the
0:19:32 > 0:19:40curriculum?Yeah. It's... It was always on the cards, but it was
0:19:40 > 0:19:44actually how we infiltrated the line-up which we would introduce
0:19:44 > 0:19:50every night of the week, or most nights of the week. And... We were
0:19:50 > 0:20:00beginning to think that it was reaching its, sort of, sell by date
0:20:00 > 0:20:06because we were taking sections of media and concentrating, like film
0:20:06 > 0:20:11night, on film. We started academy pop when BBC Two went into colour.
0:20:11 > 0:20:18Obviously. No need to explain that. 68. That was followed by Disco Two.
0:20:18 > 0:20:23That was purely a name. It had nothing to do with disco music, but
0:20:23 > 0:20:31it was of the moment, really. Yeah. Then on the end of that we decided
0:20:31 > 0:20:37to go full speed ahead with a music programme. I wanted for a long time
0:20:37 > 0:20:44to make the equivalent on television of something like Sounds or NME or
0:20:44 > 0:20:48Melody Maker, which treated the music with a little bit more
0:20:48 > 0:20:52seriousness than it was generally treated. After all, the only thing
0:20:52 > 0:20:57at the time on television was Top of the Pops that was the top 20. That
0:20:57 > 0:21:03was their menu, the Top 20. You didn't get outside that. Academy Pop
0:21:03 > 0:21:07featured the music of one band. It hadn't really got itself put
0:21:07 > 0:21:11together properly as a hopefully an instruction on an interesting piece
0:21:11 > 0:21:16of music paper.Yeah.That was what Whistle Test was aimed to be.The
0:21:16 > 0:21:22two things about it was, a, an album programme.Yes.Designed as a
0:21:22 > 0:21:28magazine show. When you break down the format of The Old Grey Whistle
0:21:28 > 0:21:32Test there was a main band, a support band, if you like, a news
0:21:32 > 0:21:35desk, film features, interviews. So, as you are going through the
0:21:35 > 0:21:38programme, in a sense you are turning the pages, aren't you, of a
0:21:38 > 0:21:42magazine and finding these different features?That is what I was aiming
0:21:42 > 0:21:46to do with it. It was something for people to get into. Not just to sit
0:21:46 > 0:21:51down in front of a television set and watch music, but also hear about
0:21:51 > 0:21:54music and see things they might not have seen without the opportunities
0:21:54 > 0:21:59of Whistle Test.Absolutely.I mean, if you lived in the north, in
0:21:59 > 0:22:02Scotland and things and touring bands coming from the States they
0:22:02 > 0:22:06didn't go up there. The only chance you got to see them was on Whistle
0:22:06 > 0:22:11Test.Yeah.That's why we never turned it into a showbusiness
0:22:11 > 0:22:24programme. It was always a sort of reporting type programme.Hence
0:22:24 > 0:22:27journalistes -- journalists who could broadcast. You got the call
0:22:27 > 0:22:31from Mike, Richard, how did it happen for you at the time?Well, I
0:22:31 > 0:22:39had done a couple of things for him on Disco Two. We did an interview
0:22:39 > 0:22:46with Frank Zapper and it slid into being invited to do the series.
0:22:46 > 0:22:50Obviously, you know, I was 22 or 23, it is was an interesting thing to be
0:22:50 > 0:22:57asked to do. There were weeks when I was rather sorry that in the
0:22:57 > 0:23:02magazine format you introduced interviews somebody like Gerry Lee
0:23:02 > 0:23:07Lewis put me in fear of my life.I think he did most people, actually.
0:23:07 > 0:23:18Not always on camera to a national audience. There is a great story of
0:23:18 > 0:23:24a blues musician who called himself the Guitarist from Hell. He called
0:23:24 > 0:23:27to see Jerry Lee. He got to the front door. There was a massive
0:23:27 > 0:23:32party going on inside the house. He kept knocking. All the sound stopped
0:23:32 > 0:23:38completely. It was silence. Then two seconds later he saw the barrels of
0:23:38 > 0:23:42a double barrel shotgun appear out of the letterbox. Which is kind of
0:23:42 > 0:23:51sort of what happened to you in a while?It was a sharpened metal comb
0:23:51 > 0:23:55whipped out of the back pocket and held towards me in a menacing way.
0:23:55 > 0:23:59In the studio he walked out of the passage way with a glass of wine and
0:23:59 > 0:24:03handed it to me and said, "look after this boy." He played a couple
0:24:03 > 0:24:06of numbers. Walked out, didn't say anything, thank you or anything.
0:24:06 > 0:24:12Picked up the wine and went off again.You introduced, I was a you
0:24:12 > 0:24:15videoer of that first series, Richard. I remember just absolutely
0:24:15 > 0:24:21being blown away by the show and the artists that you had on. Jackson
0:24:21 > 0:24:26Brown in that first series. There was one particular performance that
0:24:26 > 0:24:29I know remains one of your favourites from the entire history
0:24:29 > 0:24:34of the show?Yeah. Physical there was a flaw in the programme to me
0:24:34 > 0:24:38was that it didn't have enough black music on it at the time. The real
0:24:38 > 0:24:47highlight of that year for me was when Mike got Curtice Mayfield. He
0:24:47 > 0:24:53came in with his four-piece band. Fantastic musicians. The great thing
0:24:53 > 0:24:59about it was, it was a tiny studio. This is like Hyde Park compared to
0:24:59 > 0:25:04it. The telephone box we did the first year of shows in. You couldn't
0:25:04 > 0:25:12play loud. If you were playing live. Curtice' musicians turned everything
0:25:12 > 0:25:17down to one and below one and played with intensity and power that they
0:25:17 > 0:25:21played with at the Rainbow or somewhere, which is where they were
0:25:21 > 0:25:27playing that weekend. It was magical for me.Danny, when do you begin
0:25:27 > 0:25:33seeing the show?13 or 14 in 71. It was the otherness of it. You have
0:25:33 > 0:25:35the benefit and the honour of actually creating it, being involved
0:25:35 > 0:25:42in it. Somebody who... It can't be stated enough, not that BBC Four
0:25:42 > 0:25:48audience of the demographic, but how extraordinarily rare was hearing any
0:25:48 > 0:25:53music on television and this music, whatever it was, the fact, 11.30pm
0:25:53 > 0:25:57at night. You would wait. It felt like the twilight zone. It wasn't...
0:25:57 > 0:26:01I was staggered to see the figures. It never felt popular. It went out
0:26:01 > 0:26:10of its way to be popular. It's a good things. I can't think of being
0:26:10 > 0:26:14a young person saying, "they were on TV. We can see them on YouTube." It
0:26:14 > 0:26:19felt other. They looked other. I didn't know who the boys were. I
0:26:19 > 0:26:27took on trust they were any good. I was abused of that many years later.
0:26:27 > 0:26:31The last thing on television, which is an alien concept in itself now,
0:26:31 > 0:26:38would be this thing. Which I thought, me and only another kid at
0:26:38 > 0:26:41school knew about it, Bernard. It was that otherness. They looked so
0:26:41 > 0:26:45strange. It was underground. It's something that is very important in
0:26:45 > 0:26:50music. To get that personality of being underground off the radar. It
0:26:50 > 0:26:54felt particularly unBBC. It looked like they had just said, leave these
0:26:54 > 0:26:58kids to get on with it. It was so important that sense that it wasn't
0:26:58 > 0:27:02part of a mainstream. Equally, the bands, the Stones were never going
0:27:02 > 0:27:06to play the Whistle Test. Might be on film. You would never get
0:27:06 > 0:27:16McCartney in. The procession of bands, like Curtice May Field and
0:27:16 > 0:27:24Druid... I know. I would give them the benefit of the doubt. They
0:27:24 > 0:27:27looked unlike anything else in television or in my life. It was an
0:27:27 > 0:27:32extraordinary world. Yourself and Richard introducing the bands saying
0:27:32 > 0:27:36they have tours coming up. It felt like, oh, I didn't know where else
0:27:36 > 0:27:40you could go for this stuff. I would travel to Soho and buy the albums
0:27:40 > 0:27:43the next day. You felt, even though I heard it's a five million club.
0:27:43 > 0:27:47That idea of being part of something that wasn't anything to do with any
0:27:47 > 0:27:52pop culture. It was a beautiful thing. Once pop culture is now
0:27:52 > 0:27:57spread so thin, I don't envy people at all. That rarity. It felt like a
0:27:57 > 0:28:00nightclub you would go to once-a-week. It was a wonderful
0:28:00 > 0:28:04experience.Yeah. We will look through the archive of course during
0:28:04 > 0:28:07the course of the evening and see some of these early performances as
0:28:07 > 0:28:14well. The archive is the fantastic legacy of the show. The many amazing
0:28:14 > 0:28:18performances that resonate down the years. We have already seen some
0:28:18 > 0:28:21clips and we will be seeing more during the course of this evening. I
0:28:21 > 0:28:25picked a handful of my own favourites. You have now got the
0:28:25 > 0:28:29chance to vote for the you would like to see in full later this
0:28:29 > 0:28:32evening. So here are my four contenders.
0:28:38 > 0:28:44So, my first choice tonight is one of the most historic and iconic
0:28:44 > 0:28:48moments from the entire history of the show. The first ever appearance
0:28:48 > 0:29:02on British television in 1973 of Bob Marley and the Wavers.
0:29:02 > 0:29:08Next, another from our days in presentation B, our tiny studio
0:29:08 > 0:29:11situated behind the lift shaft on the fourth floor of Television
0:29:11 > 0:29:17Centre. Humble pie plate black coffee with the vocal group and what
0:29:17 > 0:29:23a great atmosphere they made. This is Steve Marriot, one of our most
0:29:23 > 0:29:27soulful vocalists ever.
0:29:34 > 0:29:39My third choice comes from the stage of the BBC television Theatre, now
0:29:39 > 0:29:44known as the Shepherd's Bush Empire. It's from there that we broadcast
0:29:44 > 0:29:58the Whistle Test live concert specials from 1976, this is Bonnie.
0:29:58 > 0:30:05And my final choice, Tom Petty and the Heartbreakers. We were the first
0:30:05 > 0:30:11to film them at a showcase in Los Angeles in 1977, and soon after they
0:30:11 > 0:30:17made their first visit to Britain and called in the BBC television
0:30:17 > 0:30:21Theatre to play a fantastic set which included this version of
0:30:21 > 0:30:31American Girl. # She was an American girl... #.
0:30:31 > 0:30:34Those are the choices. So had to distil so many performances down to
0:30:34 > 0:30:36that four.
0:30:36 > 0:30:40You have until 11pm to cast your vote and it couldn't be easier.
0:30:40 > 0:30:43Just go online to bbc.co.uk/whistletest
0:30:43 > 0:30:46where you will also find terms and conditions.
0:30:46 > 0:30:49The song that gets the most votes will be played in full
0:30:49 > 0:30:54later on in the show.
0:30:54 > 0:30:57Please do not try and vote if you are watching on demand.
0:30:57 > 0:31:03But now we have another live performance here in the studio
0:31:03 > 0:31:07and one of my favourite memories from the mid-'70s is of
0:31:07 > 0:31:14a concert we broadcast from the Hemel Hempstead Pavilion
0:31:14 > 0:31:16around the release of the album Frampton Comes Alive,
0:31:16 > 0:31:19which became one of the biggest selling albums of all time.
0:31:19 > 0:31:22The love in the room that night was incredible and I'm so pleased
0:31:22 > 0:31:24that Peter has flown in from Nashville especially
0:31:24 > 0:31:27to be with us tonight.
0:31:27 > 0:31:29Ladies and gentlemen, this is Peter Frampton.
0:31:29 > 0:31:35CHEERING AND APPLAUSE
0:31:53 > 0:31:56# I heard her at the back door
0:31:56 > 0:32:00# The little-wing bird
0:32:00 > 0:32:07# Lying there, it should've been
0:32:07 > 0:32:11# The end for her
0:32:11 > 0:32:13# Was she going somewhere?
0:32:13 > 0:32:19# Did she have a place to be?
0:32:19 > 0:32:21# Perhaps, today, was on her way
0:32:21 > 0:32:26# To rescue me
0:32:26 > 0:32:30# Sometimes you fly
0:32:30 > 0:32:38# On top of the world
0:32:38 > 0:32:39# Sometimes you cry
0:32:39 > 0:32:47# Sometimes it hurts
0:32:48 > 0:32:49# We all need somebody
0:32:49 > 0:32:57# To understand
0:33:00 > 0:33:02# We all need somebody
0:33:02 > 0:33:04# Lend a hand
0:33:04 > 0:33:08# I could see some movement
0:33:08 > 0:33:14# An idea came clear
0:33:14 > 0:33:16# To care for one another is
0:33:16 > 0:33:24# The reason we are here
0:33:25 > 0:33:26# I wrapped her in a blanket
0:33:26 > 0:33:33# The sky falling stray
0:33:33 > 0:33:35# I took her to the river
0:33:35 > 0:33:41# And watched her get away
0:33:41 > 0:33:42# Sometimes you fly
0:33:42 > 0:33:48# On top of the world
0:33:48 > 0:33:52# Sometimes you cry
0:33:52 > 0:34:00# Sometimes it hurts
0:34:00 > 0:34:02# We all need somebody
0:34:02 > 0:34:09# To understand
0:34:09 > 0:34:10# We all need somebody
0:34:10 > 0:34:18# Lend a hand
0:34:55 > 0:34:57# Sometimes you fly
0:34:57 > 0:35:04# On top of the world
0:35:05 > 0:35:06# Sometimes you cry
0:35:06 > 0:35:13# Sometimes it hurts
0:35:13 > 0:35:15# We all need somebody
0:35:15 > 0:35:23# To understand
0:35:24 > 0:35:26# We all need somebody
0:35:26 > 0:35:34# Lend a hand #.
0:35:55 > 0:36:00CHEERING AND APPLAUSE
0:36:05 > 0:36:13Thank you. That one, I wrote that recently about a very large bird, an
0:36:13 > 0:36:17American coot that flew into my bathroom window, knocked itself out
0:36:17 > 0:36:23and then lay on my balcony. This next one is also about a bird that
0:36:23 > 0:36:31knocked me out about 30 years ago. LAUGHTER
0:36:41 > 0:36:49# Shadows grow so long before my eyes
0:36:49 > 0:36:55# And they're moving across the page
0:36:55 > 0:37:00# Suddenly the day turns into night
0:37:00 > 0:37:08# Far away from the city
0:37:12 > 0:37:16# But don't hesitate
0:37:16 > 0:37:24# 'Cause your love won't wait
0:37:26 > 0:37:34# Oh baby I love your way, everyday
0:37:35 > 0:37:43# Wanna tell you I love your way, everyday
0:37:44 > 0:37:52# Wanna be with you night and day
0:38:02 > 0:38:10# Moon appears to shine and light the sky
0:38:12 > 0:38:13# With the help of some firefly
0:38:13 > 0:38:21# Wonder how they have the power to shine, shine, shine
0:38:22 > 0:38:30# I can see them under the pine
0:38:30 > 0:38:38# But don't hesitate
0:38:39 > 0:38:45# 'Cause your love won't wait
0:38:45 > 0:38:53# Oh baby I love your way, everyday
0:38:54 > 0:38:57# I wanna tell you I love your way, oh
0:38:57 > 0:39:05# Wanna be with you night and day, oh yeah
0:39:39 > 0:39:42# But don't hesitate
0:39:42 > 0:39:50# 'Cause your love won't wait
0:39:54 > 0:39:57# I could see the sunset in your eyes
0:39:57 > 0:40:03# Brown and gray, blue besides
0:40:03 > 0:40:08# Clouds are stalking islands in the sun
0:40:08 > 0:40:11# I wish I could buy one
0:40:11 > 0:40:19# Out of season
0:40:22 > 0:40:24# But don't, don't hesitate
0:40:24 > 0:40:31# 'Cause your love won't wait
0:40:31 > 0:40:39# Oh baby I love your way, everyday
0:40:42 > 0:40:46# I wanna tell you I love your way
0:40:46 > 0:40:53# Wanna be with you night and day
0:40:53 > 0:41:01# Oh baby I love your way, everyday
0:41:04 > 0:41:09# I wanna tell you I love your way
0:41:09 > 0:41:17# I wanna be with you night and day, yeah #.
0:41:26 > 0:41:31CHEERING AND APPLAUSE
0:41:39 > 0:41:47And while Peter makes his way over, let me introduce you to the two
0:41:47 > 0:41:52people he'll be joining on the sofa, because I'm really thrilled that
0:41:52 > 0:41:59Mollie Marriott is here to talk about her Dad, Steve Marriott,
0:41:59 > 0:42:02and her own career.
0:42:02 > 0:42:05We also have with us a man who made his first
0:42:05 > 0:42:08appearance on the show as part of Emmylou Harris' Hot Band in 1977.
0:42:08 > 0:42:11Albert Lee. APPLAUSE
0:42:11 > 0:42:13I've seen him on many stages since, including the Concert For George
0:42:13 > 0:42:16at the Royal Albert Hall and he is one of the most
0:42:16 > 0:42:18versatile and brilliant guitarists in the world.
0:42:18 > 0:42:28Peter is also with us now. Your history, Mollie and Peter's join.
0:42:28 > 0:42:32Converge.With your dad Steve. Before we chat, I have a wonderful
0:42:32 > 0:42:39piece of film I want you to see. Let's go back to the 60s, the small
0:42:39 > 0:42:51faces, All Or Nothing. You're on! Next time, speak up!LAUGHTER
0:42:52 > 0:43:01# Don't just sit there... #.
0:43:01 > 0:43:10Such a great song.Look at that!It was a song that topped the chart in
0:43:10 > 0:43:171966, one of their best records ever. But you've inherited your
0:43:17 > 0:43:24dad's voice, the soul and depth of his voice.Thank you.Establishing
0:43:24 > 0:43:29your own career, Mollie, help or hindrance having such a famous dad?
0:43:29 > 0:43:34Oh, both, I think. I think people think that straightaway it is a help
0:43:34 > 0:43:39and you are in. But it's not. I think you have do kind of,
0:43:39 > 0:43:43especially with my dad, I have a lock to prove, vocally. I think it
0:43:43 > 0:43:48would be different if I was a boy, because I would have the comparison
0:43:48 > 0:43:55more, so that is a help.Yes!That I'm not. I think it's a bit of both
0:43:55 > 0:44:01but I think that is healthy, good. You have a new record out and on the
0:44:01 > 0:44:06threshold of a tour. Tell us a bit about the album.The album has taken
0:44:06 > 0:44:10a while to make. I was very happy being a backing vocalist, I still
0:44:10 > 0:44:15am, I love doing backing vocals, it's my favourite thing. But it was
0:44:15 > 0:44:20a cathartic thing for me, I needed to write. I needed to just do it
0:44:20 > 0:44:24purely for selfish reasons, and if anyone else linked to it or heard
0:44:24 > 0:44:35and liked it, it's a bonus.A final thought about the title, Truth Is A
0:44:35 > 0:44:40Wolf.That Came About In Nashville With The Wonderful Trudi. I Had A
0:44:40 > 0:44:44Great Time Out There and met Gary Nicholson. He showed me the song I
0:44:44 > 0:44:52had written for Bonnie Riat, I asked if I could have it and I won!
0:44:52 > 0:44:56LAUGHTER It tied the whole album up for me.
0:44:56 > 0:45:01It is the only song I haven't written on the album but the truth
0:45:01 > 0:45:06is a wall firm will hunt you down, I love that.Peter, you worked with
0:45:06 > 0:45:14Mollie's dad. Humble pie was a great band and you already had great
0:45:14 > 0:45:18success, so in a way I guess you were at least somewhat prepared for
0:45:18 > 0:45:23the incredible success that came along.
0:45:23 > 0:45:29Humble Pie was the place where I found my musicality and put it
0:45:29 > 0:45:34altogether. You know, when you start, you listen to everybody and
0:45:34 > 0:45:41you try to copy them. I listened to the Blues and Jazz. Humble Pie was
0:45:41 > 0:45:46the place that it all came together for me. I felt like I woke up one
0:45:46 > 0:45:54morning and I had a guitar style that was my my open, you know. I've
0:45:54 > 0:45:57always thought and felt thankful to Humble Pie. It was the best band
0:45:57 > 0:46:04anyone could have been in. Steve, who was the one that convinced me in
0:46:04 > 0:46:10the end to leave the herd.I always wanted to be in the Small Faces.
0:46:10 > 0:46:16When I first saw him on Ready, Steady Go! He was helping me put a
0:46:16 > 0:46:24band together. I had Jerry Shirley that he found for me on drums. We
0:46:24 > 0:46:29were looking for another two players. Steve decided that he was
0:46:29 > 0:46:35going to leaved and called me up and said, "hello, mate, can I join your
0:46:35 > 0:46:45bad band." That was it. He had Greg Ridley, from Spooky Tooth, which
0:46:45 > 0:46:50isn't bad. Off we went. That was it. The peak was 76, 77, 78. In the
0:46:50 > 0:46:59middle of that moment, 77, you were Emmylou Harris. The Liner Album, a
0:46:59 > 0:47:06massive success for her. She brought it over with her when you played on
0:47:06 > 0:47:10The Old Grey Whistle Test?The first track I played with her. It ended up
0:47:10 > 0:47:14nothing like the way Graham wrote it. It turned into a vehicle for me,
0:47:14 > 0:47:20too.What a band that was, the Hot Band. Run through the line-up.
0:47:20 > 0:47:32Ronnie.Gordy on base. Piano and John on drums. Hank on steel.Yeah.
0:47:32 > 0:47:42That was 77. Hiding came out in 79. That is right.That's recently been
0:47:42 > 0:47:48released that album?Yeah.One of two or three records you put out
0:47:48 > 0:47:54again.Yeah, they were unavailable. I had to put them out. People ask
0:47:54 > 0:47:58are are You have dates them.In the UK?I will start the tour. It worked
0:47:58 > 0:48:04out to be here a couple of days early! Yes.You have been touring
0:48:04 > 0:48:09America and about to again with Steve Miller.That's Right.Yes.
0:48:09 > 0:48:16Great double bill.I've known Steve about the same time as Humble Pie
0:48:16 > 0:48:21formed. We had done a few days together, a couple of stadium dates
0:48:21 > 0:48:27in the 70s. We always liked playing with each other. He called me up and
0:48:27 > 0:48:31said, "I think it's time we need to play together again." I said, "I
0:48:31 > 0:48:36thought you'd never ask." It went so well last year that he said, "let's
0:48:36 > 0:48:42do it again. " The places we haven't played. We are trying to come here.
0:48:42 > 0:48:46Is there any chance of bringing it over hereI think it will be
0:48:46 > 0:48:50amazing. A great night. I get to go and jam with him and his set too.
0:48:50 > 0:48:55It's a lot of fun.Yeah. Well, I wish you all the best with the tours
0:48:55 > 0:48:59and the new releases and everything. Albert we will see you in a few
0:48:59 > 0:49:06minutes playing live for us tonight. Yeah.Peter Frampton, Albert Lee and
0:49:06 > 0:49:12Mollie Marriott everybody. APPLAUSE
0:49:12 > 0:49:15You do not want to miss Albert. Stick around he'll be playing live
0:49:15 > 0:49:21for us in a few minutes' time. We have had a taster of some of the
0:49:21 > 0:49:24standout performances featured on the show in the 70s. Here's just a
0:49:24 > 0:49:30few more.
0:49:48 > 0:49:53# I'm watching the cruisers below # You're married with a kid when you
0:49:53 > 0:49:59could be having fun with me #
0:49:59 > 0:50:06There ain't no doubt about it # You've got to go and shout it
0:50:06 > 0:50:12# There ain't no doubt about it # We were doubly blessed
0:50:12 > 0:50:15# You were barely 17 and we were barely dressed
0:50:15 > 0:50:20# Whatever I ask of you, you deny it # I don't even get a chance to try
0:50:20 > 0:50:22it # You give me your reason
0:50:22 > 0:50:27# But I just don't buy it # What's going on
0:50:27 > 0:50:45# I wish was your honey man, baby # I wish I was your...
0:50:45 > 0:50:54# I hate myself when... I get enough rope
0:50:54 > 0:51:02# Hold me closer tiny dancer # Count the headlights on the
0:51:02 > 0:51:06highway # And she only reveals what she
0:51:06 > 0:51:10wants you to see # And she hides like a child, but
0:51:10 > 0:51:26she's always a woman to me #
0:51:34 > 0:51:39I'll
0:51:51 > 0:51:59# O # I won't come home for me
0:51:59 > 0:52:04# He acted cool and cocky # There's going to be a party
0:52:04 > 0:52:20# I'll met you at 7.30 # She visualised
0:52:21 > 0:52:24heaven #
0:52:24 > 0:52:30# Telephone is ringing # You've got me on-the-run
0:52:30 > 0:52:40# I'm driving in my car now # I got you under my...
0:52:41 > 0:52:46# Psycho
0:52:48 > 0:52:53# Psycho killer # Ba-ba,
0:52:53 > 0:52:55# Ba-ba, ba-ba # Waltzing Matilda
0:52:55 > 0:53:06# You come a waltzing Matilda with me
0:53:06 > 0:53:13# White shining, silver, stud with the nose
0:53:13 > 0:53:18# Horses, horses, horsing # Long live rock
0:53:18 > 0:53:31# Be it dead or alive #. Just amazing range of music on
0:53:31 > 0:53:36The Old Grey Whistle Test. We will be seeing more later on. One of the
0:53:36 > 0:53:42other things that makes me feel very proud is the extent to which Whistle
0:53:42 > 0:53:46Test always supported new music and we wanted to continue that tradition
0:53:46 > 0:53:52tonight. Later we'll be hearing live music from the hauntingly brilliant
0:53:52 > 0:53:56Robert Vincent. First, a band that I'm sure you're going to love.
0:53:56 > 0:54:03They're from the West Country and released their debut album Turning
0:54:03 > 0:54:13Tides late last year. This is the exquisite Wildwood Kin.
0:54:20 > 0:54:24# You run to meet me in the shadows
0:54:24 > 0:54:28# You come to find me in the dark
0:54:28 > 0:54:32# You place your hand upon my shoulder
0:54:32 > 0:54:36# You set your seal upon my heart
0:54:36 > 0:54:39# When I fall
0:54:39 > 0:54:45# You run to meet me out again
0:54:45 > 0:54:47# Steady my hands
0:54:47 > 0:54:50# Steady my heart
0:54:50 > 0:54:51# Steady my eyes
0:54:51 > 0:54:59# So I can see where you are
0:54:59 > 0:55:00# Steady my hands
0:55:00 > 0:55:01# Steady my heart
0:55:01 > 0:55:02# Steady my eyes
0:55:02 > 0:55:06# So I can see where you are
0:55:06 > 0:55:10# When hope is gone you are my safe house
0:55:10 > 0:55:14# When lies get hold, you are my truth
0:55:14 > 0:55:18# When bitterness is taking root in my soul
0:55:18 > 0:55:23# I'll be running right back to you
0:55:23 > 0:55:27# When I fall
0:55:27 > 0:55:31# You run to meet me out again
0:55:31 > 0:55:36# Steady my hands
0:55:36 > 0:55:37# When I fall
0:55:37 > 0:55:40# You run to meet me out again
0:55:40 > 0:55:42# Steady my hands
0:55:42 > 0:55:44# Steady my heart
0:55:44 > 0:55:46# Steady my eyes
0:55:46 > 0:55:54# So I can see where you are
0:55:54 > 0:55:55# Steady my hands
0:55:55 > 0:55:56# Steady my heart
0:55:56 > 0:55:57# Steady my eyes
0:55:57 > 0:56:02# So I can see where you are
0:56:02 > 0:56:03# Steady my hands
0:56:03 > 0:56:04# Steady my heart
0:56:04 > 0:56:05# Steady my eyes
0:56:05 > 0:56:10# So I can see where you are
0:56:10 > 0:56:11# Steady my hands
0:56:11 > 0:56:12# Steady my heart
0:56:12 > 0:56:13# Steady my eyes
0:56:13 > 0:56:21# So I can see where you are
0:56:21 > 0:56:27# Ooooh hoo hoo
0:56:27 > 0:56:29# Ooooh hoo hoo
0:56:30 > 0:56:35# Ooooh hoo hoo
0:56:35 > 0:56:36# Steady my hands
0:56:36 > 0:56:37# Steady my heart
0:56:37 > 0:56:42# Steady my eyes
0:56:42 > 0:56:45# So I can see where you are
0:56:45 > 0:56:46# Steady my hands
0:56:46 > 0:56:48# Steady my heart
0:56:48 > 0:56:50# Steady my eyes
0:56:50 > 0:56:56# So I can see where you are #.
0:56:56 > 0:57:03CHEERING AND APPLAUSE
0:57:04 > 0:57:09It's such a prif ledge to be here, it really is. That was our latest
0:57:09 > 0:57:16single Steady My Heart. This next song is another one from our album,
0:57:16 > 0:57:28it's called Taking A Hold. Thank you so much, Bob, for having us.
0:57:28 > 0:57:31# Bear within my cold hearted soul
0:57:31 > 0:57:33# Burning a fire shut-up in my bones
0:57:33 > 0:57:36# It's taking a hold and it won't let go
0:57:36 > 0:57:46# The sirens will teach what I don't yet know
0:57:46 > 0:57:54# Ooooo Ohhhhhh, Ooooo Ohhhhh
0:58:01 > 0:58:02# Sing sing all you weary
0:58:02 > 0:58:06# Light the fire and feel it rising up in your soul
0:58:06 > 0:58:07# Sing sing all you weary
0:58:07 > 0:58:15# Light the fire and feel it rising up in your soul
0:58:22 > 0:58:25# Bear within my cold hearted soul
0:58:25 > 0:58:28# Burning a fire shut-up in my bones
0:58:28 > 0:58:32# It's taking a hold and it won't let go
0:58:32 > 0:58:37# The sirens will teach what I don't yet know
0:58:37 > 0:58:40# The sirens will teach what I don't yet
0:58:40 > 0:58:43# Sing sing all you weary
0:58:43 > 0:58:47# Light the fire and feel it rising up in your soul
0:58:47 > 0:58:49# Sing sing all you weary
0:58:49 > 0:58:55# Light the fire and feel it rising up in your soul
0:58:55 > 0:58:56# Sing all you weary
0:58:56 > 0:59:01# Light the fire and feel it rising up in your soul
0:59:01 > 0:59:03# Sing sing all you weary
0:59:03 > 0:59:11# Light the fire and feel it rising up in your soul
0:59:16 > 0:59:24# Oooooo Woahhhhh, Ooooo Woaahhh
0:59:30 > 0:59:32# It's taking a hold and it won't let go
0:59:32 > 0:59:38# It's taking a hold and it won't let go
0:59:38 > 0:59:43# Sing sing all you weary (taking a hold)
0:59:43 > 0:59:46# Light the fire and feel it(taking a hold)
0:59:46 > 0:59:49# Sing sing all you weary(taking a hold)
0:59:49 > 0:59:50# Light the fire and feel it
0:59:50 > 0:59:51# Taking a hold
0:59:51 > 0:59:53# Sing sing all you weary
0:59:53 > 0:59:57# Light the fire and feel it rising up and it's taking a hold
0:59:57 > 1:00:02# Sing sing all you weary
1:00:02 > 1:00:06# Light the fire and feel it rising up and it's taking a hold
1:00:08 > 1:00:15. # CHEERING AND APPLAUSE
1:00:18 > 1:00:24Yes, fantastic. Wildwood Kin.
1:00:24 > 1:00:27Now, while live music was the backbone of Whistle Test,
1:00:27 > 1:00:33it wasn't always possible to get the artists we wanted
1:00:33 > 1:00:34actually into the studio.
1:00:34 > 1:00:39So how did we showcase tracks we liked in those pre-video days?
1:00:39 > 1:00:43Well, Tom Robinson explains...
1:00:43 > 1:00:48By the mid-19 60s, the music industry began reducing short films
1:00:48 > 1:00:51to promote the upcoming record releases. Record companies could
1:00:51 > 1:00:54then send these two TV channels whenever their artists couldn't or
1:00:54 > 1:01:00wouldn't turn up in person. At the time, this still cost a considerable
1:01:00 > 1:01:05amount of money, so even as the 70s rolled into town, it was quite a
1:01:05 > 1:01:09rare occurrence and usually done only for singles. This created a
1:01:09 > 1:01:14problem for The Old Grey Whistle test, which had to come up with a
1:01:14 > 1:01:18way of illustrating music from important album releases if the band
1:01:18 > 1:01:22themselves weren't available. Step forward Philip Jenkinson.I think
1:01:22 > 1:01:25this cinema is the only art form that actually had its beginnings in
1:01:25 > 1:01:31living memory...Creator of The Old Grey Whistle test Mike Appleton had
1:01:31 > 1:01:36attended a lecture on vintage cinema, presented by Jenkinson. Mike
1:01:36 > 1:01:42was impressed and immediately offered him a job at the BBC.
1:01:42 > 1:01:47Jenkinson had amassed an enormous private collection of films, so Mike
1:01:47 > 1:01:51sent him some of the tracks they needed to cover and Jenkinson would
1:01:51 > 1:02:01trawl through his library to find a suitable match.
1:02:03 > 1:02:11Led Zeppelin one of the major album bands of the late 60s and early 70s,
1:02:11 > 1:02:15by then way too big to show up and promote it in the studio themselves,
1:02:15 > 1:02:20so Philip Jenkins managed to find in his archive some dancers who were
1:02:20 > 1:02:25just in the right movement with the shoulders rolling and the foot
1:02:25 > 1:02:31action, the tempo was just right. It is an extraordinary match.
1:02:44 > 1:02:51You can see the real genius of what Jenkinson did when you take a track
1:02:51 > 1:02:54like High roller which is fairly average rock and roll and he brings
1:02:54 > 1:02:58it to life in a way that makes you really look at the track in a
1:02:58 > 1:03:03completely different way. This footage is so silly, so funny and so
1:03:03 > 1:03:08entrancing, you just are drawn into it.
1:03:12 > 1:03:16# Got to have your love... #.
1:03:21 > 1:03:28One of the best-known combinations with the footage of skiers and
1:03:28 > 1:03:35tubular Bells.
1:03:35 > 1:03:40MTV launched in 1981 and music videos became essential to the
1:03:40 > 1:03:44success of any artist. They were a promotional tool for the band and
1:03:44 > 1:03:49so, even when there was a narrative, they still tended to feature the
1:03:49 > 1:03:56performance. # When I'm kneeling by the candle at
1:03:56 > 1:04:01the foot of my own bed... #. But as Philip Jenkinson had proved,
1:04:01 > 1:04:06if the band weren't available, some well chosen archive provided a
1:04:06 > 1:04:12useful alternative.
1:04:12 > 1:04:17# This is our last dance # This is our last dance
1:04:17 > 1:04:24# This is ourselves under pressure #.
1:04:30 > 1:04:35He was amazing. He was a kind of genius, I think, Philip Jenkinson,
1:04:35 > 1:04:41at finding exactly the right films are exactly the right piece of music
1:04:41 > 1:04:45and cutting it to the beats match the film. These animations in the
1:04:45 > 1:04:49films were very, very important right at the beginning of the
1:04:49 > 1:04:52history of the show. Two of our friends here in the studio remember
1:04:52 > 1:04:57these moments really well, Danny Baker and Ian Emes. You are part of
1:04:57 > 1:05:06the real folklore history of the Whistle Test and of Pink Floyd. I
1:05:06 > 1:05:11will set the scene... We received a piece of film from you when you were
1:05:11 > 1:05:17at university.Yes.Which you had cut to a Pink Floyd track. Animated.
1:05:17 > 1:05:23Brilliant. Yes, explain the process and how you got that to us and what
1:05:23 > 1:05:28happened best, well there it is playing.What happened if I went to
1:05:28 > 1:05:33a party and they put on this track. For some reason or another, the
1:05:33 > 1:05:41whole thing flooded into my head and I pictured this, really. Then it was
1:05:41 > 1:05:44drawings, individual drawing storyboards. I went home and grabbed
1:05:44 > 1:05:49a storyboard and had this vision of animated film and spent six months
1:05:49 > 1:05:54making it. And as this was happening, it was the most amazing
1:05:54 > 1:05:57process because from hearing music you saw images coming alive and
1:05:57 > 1:06:02film. When the film was finished, six months later a friend of mine
1:06:02 > 1:06:07said you should send it to The Old Grey Whistle test, which I did. That
1:06:07 > 1:06:11was my first TV screening.And what happened was we basically received
1:06:11 > 1:06:16it, put it more or less straight on air and Rick Wright was watching
1:06:16 > 1:06:22that night. Did he get in touch with you afterwards?Actually, no, Steve,
1:06:22 > 1:06:27the manager got in touch with me. The thing is, they were my gods. I
1:06:27 > 1:06:31never even thought I would get near those guys. I made that film because
1:06:31 > 1:06:37I loved their music and I had to single album. When I got a call from
1:06:37 > 1:06:41Steve O'Rourke I thought I thought I was actually in trouble.LAUGHTER
1:06:41 > 1:06:47I thought he going to tell me for using Pink Floyd music for my film.
1:06:47 > 1:06:53He said, did you make that film? Yes. Well, we'd like you to run it
1:06:53 > 1:07:00with the band. I was like, oh my God. I to hire a preview theatre in
1:07:00 > 1:07:03Wardour Street which was then the Hollywood of the UK. It all happened
1:07:03 > 1:07:11in Wardour Street. It was the bijou preview theatre, which was a very
1:07:11 > 1:07:17dated, 50s place with kind of carpet tiles on the walls. I sat there
1:07:17 > 1:07:21waiting and the projectionist at the film ready and they kind of came in
1:07:21 > 1:07:25very quietly and sat next to me and Dave Gilmour was sitting here, you
1:07:25 > 1:07:31know, and that thing is... What I'd done, because actually one of these
1:07:31 > 1:07:39days is six minutes. I'd taken out a little bit of music, because it was,
1:07:39 > 1:07:44animation takes forever. I trimmed it a little bit. As it played,
1:07:44 > 1:07:47Gilmour was drumming his fingers and the chair next to me and suddenly he
1:07:47 > 1:07:55stopped and said, "Did you cut something out of that?" . I said
1:07:55 > 1:08:00yes, I'm afraid I did. Then they asked me to animate the time
1:08:00 > 1:08:07sequence from Dark Side Of The Moon. This is where I came on again. I was
1:08:07 > 1:08:12at the rainbow theatre when they played Dark Side Of The Moon and
1:08:12 > 1:08:16famously left the stage with the instruments humming and the big
1:08:16 > 1:08:19circular screen at the back and it was on that screen they projected
1:08:19 > 1:08:25your film.Yes.You must have been feeling incredible that night to see
1:08:25 > 1:08:30this work realised in this way. First time from burning so it's hard
1:08:30 > 1:08:36to ever feel incredible!LAUGHTER I was thinking, is it time to write,
1:08:36 > 1:08:41is it moving well enough? I was being ultra-professional. I was very
1:08:41 > 1:08:51concerned it was all perfect. And actually, in retrospect... Amazing.
1:08:51 > 1:08:56All, well not all, but you Tube now congratulate itself when anyone
1:08:56 > 1:09:00takes on old Laurel and Hardy dancer but scanning a West on it, they say
1:09:00 > 1:09:05is wow, what a mash up. Watching those, so familiar, that one in
1:09:05 > 1:09:11particular, I thought it was just... Researchers had smoked dope, gone
1:09:11 > 1:09:15down to the bins and all, we will Ramis over it. Until you said
1:09:15 > 1:09:20Jenkinson did it, I had no idea. Creative energy.You watch it late
1:09:20 > 1:09:27at night... The strange thing about Whistle Test as a testing ground for
1:09:27 > 1:09:34any kind of art, it was such and remains probably unique, I think, in
1:09:34 > 1:09:37the history of music television of having no audience. That no audience
1:09:37 > 1:09:43being made it seem like...We've changed it tonight.You've changed
1:09:43 > 1:09:47it tonight and I think it's a terrible sell out! Whistle Test
1:09:47 > 1:09:51moment to moment had its own field. Alice Cooper would be on and any
1:09:51 > 1:10:00rock band is going... Then nothing. Camera out to you going... Alice
1:10:00 > 1:10:04Cooper there...LAUGHTER In silhouette at the back the band
1:10:04 > 1:10:11would stand there going... Until you linked to a piece of video. The
1:10:11 > 1:10:15extraordinary tone of the old Whistle Test which of course now we
1:10:15 > 1:10:20realise that art. At the time...It became the showcase for experimental
1:10:20 > 1:10:25animation. Us animation students would have to watch it because all
1:10:25 > 1:10:30the new stuff and ideas had been worked through visually. All right,
1:10:30 > 1:10:33the music is everything, but you were really pushing the envelope, in
1:10:33 > 1:10:39terms of the music and the music video as well.Yes, because you used
1:10:39 > 1:10:43to start by thing in the studio tonight we have... Barefoot Jerry
1:10:43 > 1:10:49and Sam apple pie. And music from... And you always knew that was the
1:10:49 > 1:10:54point... It would normally be a big band, music from the Rolling Stones,
1:10:54 > 1:10:58bouncy would never get in the studio, but the audience trust you
1:10:58 > 1:11:02because you knew there was something like that to go with it.A creative
1:11:02 > 1:11:06relationship between the two things. The fact music is a great inspirer
1:11:06 > 1:11:12of moving images and film-makers. There was a really happy kind of
1:11:12 > 1:11:16playfulness is going on each week with ideas exploring visual ideas as
1:11:16 > 1:11:22well as musical ones.That's the thing. People don't appreciate
1:11:22 > 1:11:25because it is only recognised now or remembered, people like to send it
1:11:25 > 1:11:31up and that whole era up, they don't realise how experimental The Old
1:11:31 > 1:11:38Grey Whistle test was. Musically, the way the bands looked. It was so
1:11:38 > 1:11:43experimental, it felt so other. Now it's easy to say look at those old
1:11:43 > 1:11:49hippies, it's not quite as simple as that. It wasn't, certainly there was
1:11:49 > 1:11:53an different bands but any music show guilty of that. The tone of The
1:11:53 > 1:11:57Old Grey Whistle test will never be repeated because I don't think pop
1:11:57 > 1:12:01culture, it's exploded now. That little capsule, work he was doing,
1:12:01 > 1:12:06and certainly the bands themselves, that's what made it extraordinary.
1:12:06 > 1:12:10It felt like nothing on television and it generally wasn't anything
1:12:10 > 1:12:15like what was on television.I'm so glad you have been here this evening
1:12:15 > 1:12:26and made such a vital contribution to the programme. Ian Emes. APPLAUSE
1:12:26 > 1:12:31The truth is, we're talking about time Creevy hence we had to put some
1:12:31 > 1:12:37of these films together, because there wasn't the video tape or the
1:12:37 > 1:12:40bands available, but as music changed, so did The Old Grey Whistle
1:12:40 > 1:12:41test.
1:12:41 > 1:12:43Annie Nightingale took the show from the '70s to the '80s.
1:12:43 > 1:12:45Here are her thoughts on some of her favourite
1:12:45 > 1:12:48Whistle Test moments.
1:12:51 > 1:13:00Hello and welcome to Whistle Test. Ladies and gentlemen, the
1:13:00 > 1:13:05Ladies and gentlemen, the Wailers! I could go into a supermarket and the
1:13:05 > 1:13:08day after Azhar Mahmood, and I saw the show and bought the album.
1:13:08 > 1:13:15That's what brought home to me the power of it. The power was immense.
1:13:15 > 1:13:22There wasn't any other programme that would play albums like that. It
1:13:22 > 1:13:27made such a difference to music culture.
1:13:27 > 1:13:30Hello and welcome to deny's Whistle Test. If there was anything you
1:13:30 > 1:13:34didn't like him to say you could go on and off him up. Tonight the
1:13:34 > 1:13:37Beatles, who decided to reform this week and with us in the studio.
1:13:37 > 1:13:44Which is a complete lie that I have always wanted to say it!
1:13:44 > 1:14:01We began in Japan.This song is called O what a day!While we were
1:14:01 > 1:14:05in Hong Kong, there was something called the Rock and pop awards. The
1:14:05 > 1:14:10idea was I was going to present two awards via a satellite link. What we
1:14:10 > 1:14:17didn't know was that at the beginning of the rock and pop
1:14:17 > 1:14:21awards, there would be dancers coming on the stage, dancing to the
1:14:21 > 1:14:30hit single of the day. They decided to
1:14:30 > 1:14:34to use oil, the girls slipped and fell on their bums. We didn't know
1:14:34 > 1:14:40any of this that they would go, OK we have to take that again, do it
1:14:40 > 1:14:47again, and then the same thing happened.
1:14:47 > 1:14:52In Hong Kong, the Police were playing the longest version of
1:14:52 > 1:14:58Walking on the Moon you could ever imagine. They were waiting for me to
1:14:58 > 1:15:04jump on the stage and interrupt them and go, "hey, guys, you've just won
1:15:04 > 1:15:09two awards." Eventually they went, "well, we've had enough of this."
1:15:09 > 1:15:12They retired to the dressing room. They went, "you can come in the
1:15:12 > 1:15:19dressing room and surprise us there." So Radio 1DJ Annie
1:15:19 > 1:15:26Nightingale has flown to out to Hong Kong with their-to-ies. Let's go
1:15:26 > 1:15:31over to Annie Nightingale.You have come off stage.Best Album. I would
1:15:31 > 1:15:39like to present you from London British Rock and Pop Awards 1979 for
1:15:39 > 1:15:43the Best Album.Never ask a question that can be answered yes or no.Did
1:15:43 > 1:15:49you think when you made this album you would be presented with an award
1:15:49 > 1:15:56in Hong Kong?Yes.You were being very apprehensive when I saw last
1:15:56 > 1:16:01about coming back here...I was only joking. When I was going, "I'm not
1:16:01 > 1:16:07coming back to England." That one? Yes.I remember that.John Lennon
1:16:07 > 1:16:12had released an album called Double Fantasy, which had had mixed
1:16:12 > 1:16:19reviews. First song I heard, the song called y just Starting Over. I
1:16:19 > 1:16:25had this shiver. I remember really well, I went, that's going to be
1:16:25 > 1:16:28No1. It was a few weeks later because of what happened to him. I'm
1:16:28 > 1:16:33sure by now you heard of today's tragic news of the death of John
1:16:33 > 1:16:39Lennon, shot outside his home in New York late last night. I was woken up
1:16:39 > 1:16:45by daughter who said said, "John Lennon's been killed in New York."
1:16:45 > 1:16:50Is it was decided we would do a live programme that evening as a tribute
1:16:50 > 1:17:01to him. # Your
1:17:01 > 1:17:07# Your fool no more... # Mike Appleton says, "Paul wants to
1:17:07 > 1:17:16speak to you." While that film was on Paul McCartney said to give you a
1:17:16 > 1:17:22message. On behalf of Yoko, George, Ringo and Linda to thank everybody
1:17:22 > 1:17:27for their support since this tragedy. That really hit home. I
1:17:27 > 1:17:36thought, there's only three Beatles left now. Gary Numan and Two Boy
1:17:36 > 1:17:39Army. Very important new music. It was electronic. There had been
1:17:39 > 1:17:47nobody like that, really. I didn't realise he was very nervous.
1:17:50 > 1:17:51realise he was very nervous. But when everything goes wrong together,
1:17:51 > 1:17:58it was one of those. They brought with them some props which the fire
1:17:58 > 1:18:04department were not happy about. One of his bands swung around and
1:18:04 > 1:18:09knocked into a piece of this special set they brought with them. So this
1:18:09 > 1:18:15was all going a bit hay wire. So there was kind of a lot of tension
1:18:15 > 1:18:23in the studio. Which was quite unusual. The other band that was on
1:18:23 > 1:18:30were a German rock band called The Scorpians. As the floor manager is
1:18:30 > 1:18:35counting down 10, 9, 8 there was a cry from the
1:18:35 > 1:18:43Scorpions saying, "where is our drummer." This was going haywire.
1:18:43 > 1:18:49Gary Numan said, you laughed. He was throwing up backstage. He was so
1:18:49 > 1:18:59nervous about it. I want to say, Gary, I'm sorry I was trying to
1:18:59 > 1:19:08lighten the atmosphere a bit. Another number from Thompson Twins,
1:19:08 > 1:19:13In The Name of Love. Good night.
1:19:13 > 1:19:15Thanks Annie.
1:19:15 > 1:19:18And it looks like Gary Numan has forgiven her, because I'm thrilled
1:19:18 > 1:19:21to say he's here to perform for us right now.
1:19:21 > 1:19:28Accompanied by his very talented daughter Persia.
1:19:28 > 1:19:30Ladies and gentlemen, please put your hands together
1:19:30 > 1:19:38for the incomparable Gary Numan.
1:19:41 > 1:19:48APPLAUSE
1:20:10 > 1:20:15# When they called me broken, I knew
1:20:15 > 1:20:20# When they called me evil, I knew
1:20:20 > 1:20:25# When they called me Ruin, I knew
1:20:25 > 1:20:33# I would always find my way to you
1:20:50 > 1:20:54# When I begged forgiveness, they knew
1:20:54 > 1:21:00# When I begged for mercy, they knew
1:21:00 > 1:21:05# When I begged for nothing, they knew
1:21:05 > 1:21:13# I would always find my way to you
1:21:47 > 1:21:52# My name is Ruin, my name is vengeance
1:21:52 > 1:21:57# My name is no-one, and no-one is calling
1:21:57 > 1:22:02# My name is Ruin, my name is heartbreak.
1:22:02 > 1:22:07# My name is lonely, my sorrow's a darkness
1:22:07 > 1:22:12# My name is Ruin, my name is evil
1:22:12 > 1:22:16# My name's a war song, I'll sing you a new war
1:22:16 > 1:22:22# My name is Ruin, my name is broken
1:22:22 > 1:22:30# My name is shameless, I'll tear your world open
1:22:56 > 1:22:58# When I called you poison, you knew
1:22:58 > 1:23:04# When I called you shameful, you knew
1:23:04 > 1:23:10# When I called you a liar, you knew
1:23:10 > 1:23:17# I would always find my way to you
1:23:53 > 1:23:57# I'll show you Ruin, I'll show you vengeance
1:23:57 > 1:24:02# I'll show you no-one, and no-one is calling
1:24:02 > 1:24:07# I'll show you Ruin, I'll show you heartbreak
1:24:07 > 1:24:12# I'll show you lonely, a sorrow in darkness
1:24:12 > 1:24:16# I'll show you Ruin, I'll show you evil
1:24:16 > 1:24:22# I'll sing you a war song, I'll sing you a new war
1:24:22 > 1:24:27# I'll show you Ruin, I'll show you broken
1:24:27 > 1:24:35# I'll show you shameless, I'll tear your world open #.
1:24:41 > 1:24:46APPLAUSE
1:24:51 > 1:24:56INSTRUMENTAL
1:25:03 > 1:25:09APPLAUSE
1:25:22 > 1:25:26# It's cold outside
1:25:26 > 1:25:31# And the paint's peeling off of my walls
1:25:31 > 1:25:36# There's a man outside
1:25:36 > 1:25:40# In a long coat, grey hat, smoking a cigarette
1:25:40 > 1:25:48# Now the light fades out
1:26:07 > 1:26:08# Now the light fades out
1:26:08 > 1:26:10# And I wonder what I'm doing
1:26:10 > 1:26:16# In a room like this
1:26:16 > 1:26:18# There's a knock on the door
1:26:18 > 1:26:20# And just for a second I thought
1:26:20 > 1:26:28# I remembered you
1:26:43 > 1:26:45# So now I'm alone
1:26:45 > 1:26:47# Now I can think for myself
1:26:47 > 1:26:48# About little deals
1:26:48 > 1:26:49# And issues
1:26:49 > 1:26:53# And things that I just don't understand
1:26:53 > 1:26:55# A white lie that night
1:26:55 > 1:26:58# Or a sly touch at times
1:26:58 > 1:27:06# I don't think it meant anything to you
1:27:42 > 1:27:44# You know I hate to ask
1:27:44 > 1:27:45# But are "friends" electric?
1:27:45 > 1:27:46# Only mine's broke down
1:27:46 > 1:27:54# And now I've no-one to love
1:28:10 > 1:28:12# So I found out your reasons
1:28:12 > 1:28:14# For the phone calls and smiles
1:28:14 > 1:28:15# And it hurts
1:28:15 > 1:28:17# And I'm lonely
1:28:17 > 1:28:19# And I should never have tried
1:28:19 > 1:28:22# And I missed you tonight
1:28:22 > 1:28:26# It must be time to leave
1:28:26 > 1:28:33# You see it meant everything to me #.
1:29:16 > 1:29:21CHEERING AND APPLAUSE
1:29:24 > 1:29:26Fabulous, fabulous stuff.
1:29:26 > 1:29:28I'll be catching up with Gary shortly on the impact
1:29:28 > 1:29:32Whistle Test had on his career.
1:29:32 > 1:29:35He will be joining us for a chat in a few minutes time.
1:29:35 > 1:29:38But right now, it's time for a reminder that you at home get
1:29:38 > 1:29:42to decide which of my picks of past Whistle Test performances
1:29:42 > 1:29:45will be shown in full at the end of the show.
1:29:45 > 1:29:48All you have to do to place your vote is go online
1:29:48 > 1:29:50to bbc.co.uk/whistletest.
1:29:50 > 1:29:58But first, let's see them again...
1:30:06 > 1:30:10# Stir it up... #. # Black coffee...
1:30:10 > 1:30:19# You can love me like a man that... #.
1:30:19 > 1:30:30# She was an American girl #.
1:30:30 > 1:30:33If you want to vote,
1:30:33 > 1:30:36Do not delay.
1:30:36 > 1:30:39The poll closes tonight at 11pm so please don't delay.
1:30:39 > 1:30:40To pick your favourite, go to bbc.co.uk/whistletest
1:30:40 > 1:30:43and remember do not try to vote of you are watching on demand.
1:30:43 > 1:30:50The world wide web wasn't even invented the last time
1:30:50 > 1:30:53we were on the air...
1:30:53 > 1:30:55Incredible to think.
1:30:55 > 1:30:58The Old Grey Whistle Test gave huge support to new artists and often
1:30:58 > 1:31:00played a major part in their success.
1:31:00 > 1:31:02So many of the people we now think of as household names
1:31:02 > 1:31:07made their first UK television appearance on the show.
1:31:07 > 1:31:14And here are just a few of them...
1:31:14 > 1:31:19# But you did, but you did, but you did, I thank you
1:31:19 > 1:31:29# All my life... # Without your love, it's a crying
1:31:29 > 1:31:31shame #.
1:31:35 > 1:31:44# Two weeks, I went back # Trying to
1:31:44 > 1:31:46# Trying to find my way in society #.
1:31:52 > 1:32:00# Like you was my baby... For
1:32:05 > 1:32:13# Use you, now confuse you # Then I lose you but still you
1:32:13 > 1:32:17won't forsake me #.
1:32:17 > 1:32:28# Is it true that calling you the Chelsea boys?
1:32:28 > 1:32:33#
1:32:33 > 1:32:38# She records the rise and fall of every soldier passing
1:32:38 > 1:32:47# The only soldier now is me # Fighting things I cannot see...
1:32:47 > 1:32:53# I've got the brains, you've got the looks
1:32:53 > 1:33:01# Let's make lots of money # You've got the Braun, I've got the
1:33:01 > 1:33:06brains # Let's make lots of money #.
1:33:11 > 1:33:23# Among emptiness... #
1:33:23 > 1:33:26# I'm not prepared to go on like this
1:33:26 > 1:33:33# I can't, I can't stand losing # I can't, I can't, I can't stand
1:33:33 > 1:33:35losing # I can't, I can't stand losing
1:33:35 > 1:33:38you...
1:34:00 > 1:34:14# An ocean liner # All the kids are complaining
1:34:14 > 1:34:23there's nowhere to go # All the kids are complaining... #.
1:34:23 > 1:34:25It is great.
1:34:25 > 1:34:27My next three guests are without doubt icons of British
1:34:27 > 1:34:30music, selling millions of records all over the world.
1:34:30 > 1:34:35All of them, I'm proud to say, made their television debuts
1:34:35 > 1:34:38here on Old Grey Whistle Test - Joan Armatrading, Dave
1:34:38 > 1:34:43Stewart and Gary Numan.
1:34:43 > 1:34:48CHEERING AND APPLAUSE
1:34:51 > 1:34:56That is a powerful performance you gave us just now, Gary. And the
1:34:56 > 1:35:02look. The thing I always think of with your music is it isn't just
1:35:02 > 1:35:06music. You think outside the music and the way to present the music and
1:35:06 > 1:35:10the look and the atmosphere of what you are trying to do. That really
1:35:10 > 1:35:15does show through and the new record.It does a bit, I can't hide
1:35:15 > 1:35:22it. I think because when I write things, I see them, as much as
1:35:22 > 1:35:25anything. I'm part of what I'm trying to do with the music itself
1:35:25 > 1:35:30and then the music afterwards, to describe what you see. So there is
1:35:30 > 1:35:35already a visual element to it, pretty much from the word go. I've
1:35:35 > 1:35:40always enjoyed that side of it as well. Sometimes I've done it right
1:35:40 > 1:35:43and sometimes it's been dreadful! LAUGHTER
1:35:43 > 1:35:49Really embarrassing, but you try. Exactly, until you try, and that's
1:35:49 > 1:35:53it, you are pushing up the boundaries. The idea of this record,
1:35:53 > 1:35:57the savage... Tell us how this idea came to fruition.I've been trying
1:35:57 > 1:36:01to write a novel for a long time so it actually started out as a book.
1:36:01 > 1:36:07When I started to write savage I didn't have many ideas so I started
1:36:07 > 1:36:11to liberate the ideas from the book. I thought I'd have two or three and
1:36:11 > 1:36:17then get going. The book is about a global warming apocalyptic future,
1:36:17 > 1:36:21it's all gone to desert. As I started to write a book, Donald
1:36:21 > 1:36:24Trump started to come along and say things about global warming and it
1:36:24 > 1:36:29made me want to write more about it. I ended up doing a whole album. It's
1:36:29 > 1:36:36not really about that future, but it is set in that future.OK. Joan, I
1:36:36 > 1:36:43have so many great memories of your first appearance on The Old Grey
1:36:43 > 1:36:49Whistle test, 1973.Yes, what I wanted to start off with, I have a
1:36:49 > 1:36:55new album coming out in the spring, hear me out! I have a new album
1:36:55 > 1:36:59coming out in the spring. I am and tour September and October, if you
1:36:59 > 1:37:07want to know where that is, go to my website. This will be my 21st album.
1:37:07 > 1:37:12Now, why do you think I am able to say that? Because of The Old Grey
1:37:12 > 1:37:20Whistle test.APPLAUSE This is why. When I came onto The
1:37:20 > 1:37:22Old Grey Whistle test, people really didn't know me, they may have heard
1:37:22 > 1:37:28of me and I have to include John Peel because he did such a lock for
1:37:28 > 1:37:33different artists.So much for all of us.So people might have heard me
1:37:33 > 1:37:37and John Peel but they hadn't really seen me and then I came on the Grey
1:37:37 > 1:37:43Whistle Test and they saw me. Luckily, you asked me back and got
1:37:43 > 1:37:47to see my face again and then you asked me back and got to see my face
1:37:47 > 1:37:51again. So the relationship I've got with the audience I've got is built
1:37:51 > 1:37:56up, really, through The Old Grey Whistle test.I think it is also
1:37:56 > 1:38:01true to say, Joan, I'm sure you to also feel the same icon in the 70s,
1:38:01 > 1:38:06the record labels tended to take a longer-term view of building an
1:38:06 > 1:38:09artist's career. You appeared for the programme in the first time in
1:38:09 > 1:38:1673. Love and Affection burst through on 76, that was three years your
1:38:16 > 1:38:20music was aborted, supported what you are doing. That long-term
1:38:20 > 1:38:25support was so important artists those days.Very important. I feel
1:38:25 > 1:38:30very lucky because I love to write. I write because I kind of have to.
1:38:30 > 1:38:36So I had the first album and on 705I did another album and came on the
1:38:36 > 1:38:42show, then in 76, and then as you say, they spend their time nurturing
1:38:42 > 1:38:47people. But I like to think that they could see that I was going to
1:38:47 > 1:38:51get there.Absolutely.And I think that's what they did to a lot of
1:38:51 > 1:38:54artists. They could see they were going to get there and just needed
1:38:54 > 1:39:00time to maturing and get it out.Was that the same with you, Dave, that
1:39:00 > 1:39:06long-term support at that point? Well, I think nowadays it's like
1:39:06 > 1:39:14they see an artist and they do what I call pick it up, mess it up and
1:39:14 > 1:39:19drop it.APPLAUSE They get a young artist, like a
1:39:19 > 1:39:23young girl or singer and say, you are fantastic, with signing you. I
1:39:23 > 1:39:28just want you to write with these other people and they get to centre
1:39:28 > 1:39:32basement full of LA and everywhere and they have 63 songs and they
1:39:32 > 1:39:35forget who they are on the record company has changed staff about
1:39:35 > 1:39:39three times so then they go, this artist? We don't understand what
1:39:39 > 1:39:44you're doing, and they drop them. That is a rather tale,
1:39:44 > 1:39:49unfortunately!Because I meet them after they have all been dropped.
1:39:49 > 1:39:53The one place you and I know that does handle things rather
1:39:53 > 1:39:59differently from that is Nashville and the country music community does
1:39:59 > 1:40:01nurture its artists, looking long term into the future for their
1:40:01 > 1:40:07career.I think what's happened is artists tend to like huddled
1:40:07 > 1:40:11together, there is kind of a geographical Paul or a lightening
1:40:11 > 1:40:16rod in certain places around the world, like Kingston Jamaica, or
1:40:16 > 1:40:21have family in Cuba, Liverpool at a certain time Nashville had it coming
1:40:21 > 1:40:25round again but now it has welcomed in all sorts of new artists in
1:40:25 > 1:40:30different genres but it still has that thing about and everyone wakes
1:40:30 > 1:40:33up in the morning and goes, I will write the best song I possibly can
1:40:33 > 1:40:37today. Not I'm going to get as many Instagram like sci-fi candidate.
1:40:37 > 1:40:45It's this world people think is happening -- as I can today. But
1:40:45 > 1:40:50it's not really happening. It's happening in, I don't know... You
1:40:50 > 1:40:55have likes in Taiwan but you are not touring in Taiwan at that time. So
1:40:55 > 1:41:02what we used to do, cut me off whenever you want! I had a coffee
1:41:02 > 1:41:12whilst I was waiting!At 7:30pm! Anyway... Actually, one thing I will
1:41:12 > 1:41:16say...I'm going to pull the three of you together with one thought.
1:41:16 > 1:41:23All three of you...I was wondering how you are going to do that. Gary,
1:41:23 > 1:41:27Dave, Joan, together as one.Each of you have pushed up the barriers,
1:41:27 > 1:41:32you've moved across different musical genres and been prepared to
1:41:32 > 1:41:38put your soul on the line, as it were, to experiment, to push out
1:41:38 > 1:41:42this particular card and see where it takes you, which is not always a
1:41:42 > 1:41:45complete success, but then when it is, and I'm thinking Joan in
1:41:45 > 1:41:52particular about your particular success in the blues album chart in
1:41:52 > 1:41:56America, 2007?Yes.You got to number one. I think I am right in
1:41:56 > 1:42:01saying you were the first British female artist ever to top the
1:42:01 > 1:42:05American blues chart.Yes, yes, and it debuted at number one as well,
1:42:05 > 1:42:09which was great.APPLAUSE Brilliant achievement, yeah.Let me
1:42:09 > 1:42:13just come back to what Dave was saying. I think he is absolutely
1:42:13 > 1:42:19right in the wake young artists are today. I just want to point out one
1:42:19 > 1:42:27by Postman loner. Do you know him? He is a rapper. I say you must
1:42:27 > 1:42:31listen to him, because he writes songs and he writes really well.
1:42:31 > 1:42:34When you hear the words he is saying, he is telling a proper
1:42:34 > 1:42:45story. -- Post Malone. Sometimes he goes off into the sweary thing. He
1:42:45 > 1:42:48writes great strands and wants to do performance. One of his songs is
1:42:48 > 1:42:52called Congratulations and he is talking about people thinking you
1:42:52 > 1:42:56were making and telling him he is no good and here he is now he has made
1:42:56 > 1:42:59everyone is saying congratulations and wants to be his friend. I think
1:42:59 > 1:43:03there are lots of artist to do want to write. When I look at him, I
1:43:03 > 1:43:07think he wants to write, he is not thinking of the success. I think
1:43:07 > 1:43:11eventually, because that is what will happen. You will get success if
1:43:11 > 1:43:16you just want to kind of express yourself.I think about half the
1:43:16 > 1:43:22income I've made, I've invested into young upcoming artists, you know,
1:43:22 > 1:43:30just without ever thinking I'm going to get it back.
1:43:31 > 1:43:33to get it back.We will be seeing another great young artist coming up
1:43:33 > 1:43:40on the programme a little later, but meanwhile, Joan Armatrading, Dave
1:43:40 > 1:43:48Armstrong and are Newman, thank you, so great to see you. APPLAUSE
1:43:48 > 1:43:51Time to continue our trip down memory lane.
1:43:51 > 1:43:54As the '80s dawned, Whistle Test continued to be the home of the very
1:43:54 > 1:43:56best music and live performance.
1:43:56 > 1:43:59Here are just some of the standout moments from the decade of big
1:43:59 > 1:44:02hair and shoulder pads.
1:44:15 > 1:44:39# If you're lonely, I will call # Your flesh will always creep...
1:44:43 > 1:44:53# I saw him... # Just a rumour spread around town
1:44:53 > 1:45:06# Somebody said someone got booted saying that people get killed...
1:45:06 > 1:45:20# Is it a crime # Is it a crime that I still want
1:45:20 > 1:45:25you...
1:45:40 > 1:45:45# # I was on the outside when you say
1:45:45 > 1:45:50you needed me # I was looking at myself
1:45:50 > 1:45:56# I was blind, could not see... # You know you've got me so confused
1:45:56 > 1:46:01# The way you're walking in your shoes
1:46:01 > 1:46:10# I get the blues # But I feel all right, all right...
1:46:17 > 1:46:25# Oh, yeah # On my T-shirt...
1:46:28 > 1:46:31# On my T-shirt... # Made the right decision
1:46:31 > 1:46:41# I was the boy with 20-20 vision...
1:46:46 > 1:46:55# Things will get better # Oh-oh, oh-oh, no, no...
1:46:55 > 1:47:05# I love a gypsy woman # I
1:47:07 > 1:47:12# I love you gypsy woman Another amazing selection of performances. A
1:47:12 > 1:47:16performance coming up now that has become the stuff of Whistle Test
1:47:16 > 1:47:20legend. Viewers of a nervous disposition might want to look away
1:47:20 > 1:47:23now.
1:47:23 > 1:47:26Edecided I wanted to be a popstar from the age of nine years old. I
1:47:26 > 1:47:32just thought the Whistle Test was a great wrung on the ladder. What I
1:47:32 > 1:47:39didn't realise it was the whole ladder.
1:47:41 > 1:47:46ladder. In 1976 we got our duo show together which fitted in quite
1:47:46 > 1:47:51nicely with that sort of move towards, you know, what eventually
1:47:51 > 1:48:01became the punk movement. Within a year we'd, you know, g ourselves we
1:48:01 > 1:48:06were booked to appear on the Whistle Test.Their history spans a number
1:48:06 > 1:48:10of years. Several disastrous projects and one or two moments of
1:48:10 > 1:48:15triumph.Being on the Whistle Test was brilliant, actually. There was
1:48:15 > 1:48:21hardly any music programmes anyway. There was only three channels. Most
1:48:21 > 1:48:28people of my age group, you know... And younger, really, had always
1:48:28 > 1:48:32watched The Whistle Test. You know, it was cool being on The Whistle
1:48:32 > 1:48:41Test. I got there.Also very simple thrill, they're crazy. Anyway,
1:48:43 > 1:48:46thrill, they're crazy. Anyway, you will see them now. Goodbye.This is
1:48:46 > 1:48:49your big chance. You are on television, 5.5 million people are
1:48:49 > 1:48:56watching. Let's do something good. # I wake up in the morning
1:48:56 > 1:49:02# Tell me baby, what do you see # She walks and kisses me, I say
1:49:02 > 1:49:07# Come on, baby, that's really thrilling... #
1:49:07 > 1:49:14We did two songs on that show. # They just want to kick me
1:49:14 > 1:49:17# I say, cor baby that's really free #
1:49:17 > 1:49:24That went fine. That was me and Willie doing what we had been doing.
1:49:24 > 1:49:32I was saving my save for the
1:49:32 > 1:49:39I was saving my save for the thee what would come later.
1:49:39 > 1:49:43# Yes, I am... # Something somebody had this idea,
1:49:43 > 1:49:51run up and take a leaped and jump up-and-down on
1:49:52 > 1:49:54up-and-down on the he amplifier and make all this noise. It would look
1:49:54 > 1:50:06good. It didn't go out I'd planned. One foot slipped on one site of the
1:50:06 > 1:50:11amplifier and the other foot slipped and the whole weight of my body came
1:50:11 > 1:50:16crashing down or what is known as the most delicate parts of your
1:50:16 > 1:50:25anatomy. It hurt a bit.
1:50:25 > 1:50:28anatomy. It hurt a bit.I had unplugged the amplifier from the
1:50:28 > 1:50:35wall. His playing stopped. The roadieh to plug it back on while I
1:50:35 > 1:50:43tried to recover. I had an instinct that must have looked pretty neat. I
1:50:43 > 1:50:47just sort of knew. I thought, I haven't seen anybody else do that on
1:50:47 > 1:50:52television. That must have looked pretty good. I was quite full of
1:50:52 > 1:50:56beans. I was strutting away thinking, I think I've done
1:50:56 > 1:51:07something rather neat here. Willie was thinking exactly the opposite.
1:51:07 > 1:51:16The effect was over night success. 30 night came out on the shows
1:51:16 > 1:51:20before Whistle Test went out. The next gig after that performance, 500
1:51:20 > 1:51:25people queued around the block. They were thinking I did that sort of
1:51:25 > 1:51:30thing every night. There was life before The Whistle Test and life
1:51:30 > 1:51:33after The Whistle Test. They were completely different things. Before
1:51:33 > 1:51:37The Whistle Test I was somebody trying to be a popstar. After The
1:51:37 > 1:51:44Whistle Test I was quite famous. My mum, she always said I would have to
1:51:44 > 1:51:48get a proper job. Thanks to The Whistle Test I haven't had to. Thank
1:51:48 > 1:51:55you, Bob. APPLAUSE
1:51:55 > 1:52:05He is just an absolute treasure. Wonderful as ever, John Ottway. The
1:52:05 > 1:52:11show went out on to the road. We went to gigs filming performances
1:52:11 > 1:52:15and staging regular live concerts and Whistle Test specials at the BBC
1:52:15 > 1:52:22Televison Theatre. We're joined now by wonderful Kiki Dee and by Dennis
1:52:22 > 1:52:27Locorriere, whose band Dr Hook were the first to play a concert show for
1:52:27 > 1:52:32us in 1974. The time of the mainstream mania surrounding the Bay
1:52:32 > 1:52:39City Rollers. They were the One Direction of their day. I remember
1:52:39 > 1:52:45this is the first gig we did at the BBC Televison Theatre. It was Dr
1:52:45 > 1:52:50Hook. Halfway through the set you decided to change into...I think we
1:52:50 > 1:52:54started that way. We came -You started that way and changed out
1:52:54 > 1:53:03again.We came out as the Bay City Rollers, sort of. One of the EMI
1:53:03 > 1:53:07guys made the costumes Wen felt obliged to wear them. We came out
1:53:07 > 1:53:12and changed behind a sheet.Oh, look.Yeah. The thing was...The
1:53:12 > 1:53:17sheet.If they would have dropped that sheet, national exposure would
1:53:17 > 1:53:22have been exactly the right term.It was almost anyway, wasn't it, to be
1:53:22 > 1:53:27absolutely...It was. It's funny. We were... You will remember this, I'm
1:53:27 > 1:53:36sure. We were standing
1:53:36 > 1:53:39sure. We were standing three feet from Ottway and Barrett and we
1:53:39 > 1:53:43thought, "how weird" we came out like this and everybody went "how
1:53:43 > 1:53:48weird." After we did that, I had serious musicians come over to me
1:53:48 > 1:53:52over and over and go. I've studied for 20 years you came out and had
1:53:52 > 1:53:57the whole show and spent the first ten minutes mucking around. I said,
1:53:57 > 1:54:02"yes, but we were on the Whistle Test, Mr 20 years." That was cool
1:54:02 > 1:54:08for us. We done it once, the first shows with Joan Armatrading. Second
1:54:08 > 1:54:11one can Ottway and Barrett. You gave us the whole show. It was like a
1:54:11 > 1:54:16little bit what he'd just said. People came to see if he was going
1:54:16 > 1:54:19to fall off the amp every night. People thought we were going to
1:54:19 > 1:54:23change our clothes behind a sheet every night as well.That was the
1:54:23 > 1:54:28prelude to an amazing decade of success.Yes. To tell you the truth,
1:54:28 > 1:54:35if you want to know where it's going. I've regrouped me and a new
1:54:35 > 1:54:39band Dr Hook we are starting our 50th anniversary tour next year.
1:54:39 > 1:54:44Fantastic.It's a bit daunting. You know. You might as well do. It I was
1:54:44 > 1:54:48telling somebody, if you don't go-ahead at my age and do it now.
1:54:48 > 1:54:52I'm so close to 50 years, it's like swimming halfway across the English
1:54:52 > 1:54:56Channel and getting tired and swim back. I might as well just go
1:54:56 > 1:55:02forward now.We saw a clip earlier Kiki of your first appearance on
1:55:02 > 1:55:09Whistle Test. Even at that point, in the early 70s, you had already
1:55:09 > 1:55:12established an unbelievable reputation having such a fabulous
1:55:12 > 1:55:20voice. Connecting, as you did, uniquely prior to that with Motown
1:55:20 > 1:55:27and being part of that?I had a couple of northern soul songs. I was
1:55:27 > 1:55:31thinking in the dressing room, prior to Whistle Test and meeting Elton in
1:55:31 > 1:55:38the early 70s, I was doing
1:55:40 > 1:55:43the early 70s, I was doing the Benny Hill show, when I got on the Whistle
1:55:43 > 1:55:49Test I thought - that's it, I'm a musician.You were part of the Elton
1:55:49 > 1:55:57John family.I was.I think now and thought then how generous Elton is.
1:55:57 > 1:56:02We were talking earlier about people supporting emerging artists. Elton
1:56:02 > 1:56:07has always been about that, hasn't he?Absolutely.Fantastically
1:56:07 > 1:56:12supportive of yourself?He was. We were exactly the same age. We grew
1:56:12 > 1:56:18up with the same music. Before that I'd been a new kid on the block.
1:56:18 > 1:56:27Everybody I worked with was much older than they. I m Elton and was
1:56:27 > 1:56:35working with my contemporaries. Don't Go Breaking My Heart No1. We
1:56:35 > 1:56:38talked about people expanding their careers, moving around and going
1:56:38 > 1:56:42into different types of music. That's what you've done. You've
1:56:42 > 1:56:47never stood still and always wanted to move forward.I've tried.
1:56:47 > 1:56:54Camilla, when did you meet, 1994. Mid 90s. The thing is... I think if
1:56:54 > 1:57:00you don't have one niche. Sometimes I envy people who are a folk singer
1:57:00 > 1:57:04or a jazz singer or a rock singer because they have their area and
1:57:04 > 1:57:11they work in that area. But I mean it has worked out for me that I
1:57:11 > 1:57:22dipped my feet in many gifrn genres. Our first singles were Sylvia's More
1:57:22 > 1:57:28a weeping Balad and cover of Rolling Stone. We signalled right away you
1:57:28 > 1:57:32could expect everything. Our albums, I was proud because our albums had
1:57:32 > 1:57:37country music on it and rock-and-roll and songs with horns.
1:57:37 > 1:57:40The era when they weren't telling you what you weren't allowed to do
1:57:40 > 1:57:48yet.Yes.We had a hit with Sylvia's Mother songwriters were
1:57:48 > 1:57:52pitching songs about their families, here is a song about my aunt and my
1:57:52 > 1:57:56uncle. Like we would do that. Cool not to be in one bag, as they say.
1:57:56 > 1:58:02You are both looking into the future, aren't you?Absolutely.New
1:58:02 > 1:58:06records out and roadwork to come. Kiki you have dates ahead of you?
1:58:06 > 1:58:14All year I'm doing dates. Going around the UK. I enjoy it much more
1:58:14 > 1:58:21than I did in the 70s. I did enjoy it, don't get me wrong, being around
1:58:21 > 1:58:25Elton and the fabulous, Guam rouse rock star stuff. I'm much more
1:58:25 > 1:58:34myself. Comfortable in my own skin. I can express my own songs and stuff
1:58:34 > 1:58:37we write together. Like the stuff we did tonight. I'm in a really good
1:58:37 > 1:58:42place.More power to both of you. Dennis Locorriere, Kiki Dee. Thank
1:58:42 > 1:58:48you very much indeed.Thank you for having me.Thank you. Still loads to
1:58:48 > 1:58:56come. We will have more live music from Whistle Test veteran Richard
1:58:56 > 1:58:59Thompson and rising star Robert Vincent. We have a man who is
1:58:59 > 1:59:02recognised across many different genres of music as one of the best
1:59:02 > 1:59:06guitarists in the world. But as we will see tonight, he is a man of
1:59:06 > 1:59:15many talents. Ladies and gentlemen, the great Albert Lee.
1:59:16 > 1:59:24CHEERING AND APPLAUSE .Thank you, thank you so much.
1:59:24 > 1:59:32# I was a highwayman, along the coach roads I did ride
1:59:32 > 1:59:37# With sword and pistol by my side
1:59:37 > 1:59:45# Many a young maid lost her baubles to my trade
1:59:48 > 1:59:56# Many a soldier left his lifeblood on my blade
1:59:59 > 2:00:02# The hung me in the year of '25
2:00:02 > 2:00:07# I am still alive
2:00:07 > 2:00:14# I was a sailor, I was born upon the tide
2:00:14 > 2:00:20# And with the sea I did abide
2:00:20 > 2:00:27# I sailed a schooner round the Horn to Mexico
2:00:27 > 2:00:35# I went aloft and furled the mainsail in a blow
2:00:39 > 2:00:42# And when the yards broke off they say that I got killed
2:00:42 > 2:00:47# But I am living still
2:00:47 > 2:00:53# I was a dam builder across the river deep and wide
2:00:53 > 2:01:01# Where steel and water did collide
2:01:03 > 2:01:08# A place called Boulder on the wild Colorado
2:01:08 > 2:01:16# I slipped and fell into the wet concrete below
2:01:16 > 2:01:24# They buried me in that great tomb that knows no sound
2:01:24 > 2:01:28# But I am still around
2:01:28 > 2:01:32# I'll always be around
2:01:32 > 2:01:40# And around and around and around and around
2:02:00 > 2:02:08# I fly a starship across the Universe divide
2:02:08 > 2:02:14# And when I reach the other side
2:02:14 > 2:02:22# I'll find a place to rest my spirit if I can
2:02:23 > 2:02:31# Perhaps I may become a highwayman again
2:02:32 > 2:02:37# I may simply be a single drop of rain
2:02:37 > 2:02:44# But I will remain
2:02:44 > 2:02:52# And I'll be back again, and again and again and again and again #.
2:03:57 > 2:04:03CHEERING AND APPLAUSE
2:04:03 > 2:04:10Thank you, thank you so much.
2:04:10 > 2:04:22OK, here's one you may remember. 48 years ago, I think! Tried to put it
2:04:22 > 2:04:30to bed a few times, it keeps rearing its head.
2:04:43 > 2:04:45# I may look like a city slicker
2:04:45 > 2:04:49# Shinin' up through his shoes
2:04:49 > 2:04:51# Underneath I'm just a cotton picker
2:04:51 > 2:04:54# Pickin' out a mess of blues
2:04:54 > 2:04:58# Show me where I start
2:04:58 > 2:05:01# Find a horse and cart
2:05:01 > 2:05:04# I'm just a country boy
2:05:04 > 2:05:12# Country boy at heart
2:05:21 > 2:05:24# I may look like a bank teller
2:05:24 > 2:05:29# Pushing facts in a file
2:05:29 > 2:05:37# But I'd rather be a haul collar
2:05:37 > 2:05:41# Shooing foot home in style
2:05:41 > 2:05:43# Show me where I start
2:05:43 > 2:05:44# Find a horse and cart
2:05:44 > 2:05:46# I'm just a country boy
2:05:46 > 2:05:52# Country boy at heart
2:05:54 > 2:06:01INSTRUMENTAL
2:06:34 > 2:06:37# I may look like a city slicker
2:06:37 > 2:06:40# Shinin' up through his shoes
2:06:40 > 2:06:43# Underneath I'm just a cotton picker
2:06:43 > 2:06:47# Pickin' out a mess of blues
2:06:47 > 2:06:51# Show me where I start
2:06:51 > 2:06:54# Find a horse and cart
2:06:54 > 2:06:59# I'm just a country boy
2:06:59 > 2:07:07# Country boy at heart #.
2:09:11 > 2:09:22CHEERING AND APPLAUSE Thank you.Wow. I'm very, very proud
2:09:22 > 2:09:27that he gave it one more outing, the great Albert Lee.
2:09:27 > 2:09:28So the vote is now closed.
2:09:28 > 2:09:31Thank you to everyone who voted and got involved.
2:09:31 > 2:09:35Soon, someone will hand me an envelope containing a card
2:09:35 > 2:09:37with the name of the winning performance and we'll see that
2:09:37 > 2:09:43performance, in full, before the end of the show.
2:09:43 > 2:09:51You can keep in touch with us over social media. #OGWT.
2:09:51 > 2:09:54As we've seen already tonight, Old Grey Whistle Test was a massive
2:09:54 > 2:09:55team effort from day one.
2:09:55 > 2:09:57Music pluggers played a really important part
2:09:57 > 2:09:59in bringing our attention to exciting new artists.
2:09:59 > 2:10:03But while many acts jumped at the chance to appear on the show,
2:10:03 > 2:10:06occasionally they needed a little bit of persuading.
2:10:06 > 2:10:14Step forward Judd Lander.
2:10:17 > 2:10:22I was involved with the Whistle Test when it first came on air. I mean,
2:10:22 > 2:10:30at the time it was a really, really cool programme.Hello again, welcome
2:10:30 > 2:10:35to this week's Whistle Test.The artists they got were the creme de
2:10:35 > 2:10:39la creme of musicians.It's nice on the programme, music from the new
2:10:39 > 2:10:43Van Morrison album.One of Britain's's greatest experts, Jeff
2:10:43 > 2:10:50Beck. He had just done this deal with America, epic records, they
2:10:50 > 2:10:54just paid a lot of money for Jeff Beck's album. They would like
2:10:54 > 2:11:00something in return, by way of Jeff promoting the album. We decided to
2:11:00 > 2:11:04do the Whistle Test, that was the only show he would do.Jeff Beck
2:11:04 > 2:11:11will be in the studio next week.I got a call DJ before the show, Judd
2:11:11 > 2:11:11will be in the studio next week.I got a call DJ before the show, Judd,
2:11:11 > 2:11:15Jeff would rather not do the show. He started to pull out Jeff from the
2:11:15 > 2:11:20show so I decided to get the limo to pick me up and we drove down to his
2:11:20 > 2:11:24house. And as we got nearer, I started to take my clothes off in
2:11:24 > 2:11:29the back of the limo. When we got the house, I got out, I was totally
2:11:29 > 2:11:33stark naked with a set of bagpipes and I started playing the track he
2:11:33 > 2:11:38hated the most,
2:11:41 > 2:11:43hated the most, Hi-Ho Silver Lining. He came out with a baseball bat and
2:11:43 > 2:11:47said Hooda hell are you? I said I'm from the record company, and if I
2:11:47 > 2:11:50can turn up like this, you can do the show. Indian to get rid of me
2:11:50 > 2:11:54decided to call my Bluff. He said I will do the show on the proviso that
2:11:54 > 2:12:00you come to the show and the way you did to my house.I promised you Jeff
2:12:00 > 2:12:03Beck would speak but before I do I would like to apologise, I don't
2:12:03 > 2:12:06know if you were watching the programme, I sort of gave the
2:12:06 > 2:12:14impression you hardly ever played, but you have done...
2:12:14 > 2:12:18BAGPIPES PLAYING
2:12:18 > 2:12:22Was that comment?I couldn't hear you!
2:12:22 > 2:12:26There were complaints at the time from various people and Mary
2:12:26 > 2:12:30Whitehouse, I gather, called up the show, complaining about a naked
2:12:30 > 2:12:33fellow playing bagpipes while the interview was going on. Jeff saw the
2:12:33 > 2:12:39funny show side. After the show, I think it was his birthday party the
2:12:39 > 2:12:42following weekend and he said, come to the party, but do wear some
2:12:42 > 2:12:48clothes!What would we have done without Mary Whitehouse?!
2:12:48 > 2:12:52Joining me now to reminisce with us for a moment or two are two
2:12:52 > 2:12:57absolute legends of British music - Ian Anderson and Richard Thompson.
2:12:57 > 2:13:04APPLAUSE CHUCKLES
2:13:04 > 2:13:09Actually, I remember seeing both of you start your career is, certainly
2:13:09 > 2:13:14when I was in London in the late 60s, at more or less the same time,
2:13:14 > 2:13:19I remember seeing you the first time Richard at Middle Earth in Covent
2:13:19 > 2:13:24Garden in 67.Yes, we played Middle earth all the time, about once a
2:13:24 > 2:13:34week. The biggest break of your career was six hours between sets at
2:13:34 > 2:13:40Middle Earth. From 90 until 6am and you had to find something to do in
2:13:40 > 2:13:45between.I just about moved in there every weekend!It is extraordinary,
2:13:45 > 2:13:51a basement in Covent Garden.There was an amazing sense of optimism in
2:13:51 > 2:13:55the air somehow, in the late 60s. There was an amazing sense of
2:13:55 > 2:14:00terror. I'm sure you are the same, lots of us had probably quit school
2:14:00 > 2:14:05and music was the big chance. If it had gone wrong, some of us didn't
2:14:05 > 2:14:10have a plan B or C. I always remember it as being a bit
2:14:10 > 2:14:14frightening, being now determined to try make it as a musician but
2:14:14 > 2:14:19knowing that the odds were fairly seriously stacked against me, or us,
2:14:19 > 2:14:24the band. It was hard then, it must be a lot harder to date.At that
2:14:24 > 2:14:28time, record companies were very confused about the direction of
2:14:28 > 2:14:36music. They didn't know who design, so they just find everybody,
2:14:36 > 2:14:40including us, in a space of three months. From when we got started, we
2:14:40 > 2:14:46were signed in three months, extraordinary.It's a good point. I
2:14:46 > 2:14:49think if anything, you were even bigger in America than you were
2:14:49 > 2:14:56here. So much of the success that British bands were getting in the
2:14:56 > 2:15:04States was driven, the fuel in that engine with American FM radio.
2:15:04 > 2:15:07An hour appearance on The Old Grey Whistle Test wasn't from your
2:15:07 > 2:15:11smaller studio, it was from the wide open spaces of Madison Square
2:15:11 > 2:15:18Gardens. Under the
2:15:18 > 2:15:22Gardens. Under the The Old Grey Whistle Test we did a live broadcast
2:15:22 > 2:15:29of music from there.We were there filming you and reflected your
2:15:29 > 2:15:34performance in Britain. That was huge news across all media. I
2:15:34 > 2:15:40remember sitting in the hotel room in the led up to it all and the ABC
2:15:40 > 2:15:47or MBC news you were second story. There was a kind of acknowledgment
2:15:47 > 2:15:52and embracing of rock music in America, even more probably than
2:15:52 > 2:15:58here. It was part of the whole culture there?Possibly. In radio
2:15:58 > 2:16:05there was. Radio was the big thing. They played albums. Led Zeppelin
2:16:05 > 2:16:11never released singles.
2:16:11 > 2:16:13never released singles. They would release every track on the album. It
2:16:13 > 2:16:17would never have happened in the UK. We did have our own rather special
2:16:17 > 2:16:22scene. I think we always, as they say, punched above our weight in
2:16:22 > 2:16:26terms of having real international success for a whole generation of
2:16:26 > 2:16:31British bands in the late 60s and through the 70s. Then of course in
2:16:31 > 2:16:35the 80s with the people like Gary Numan who, suddenly, wow, this is
2:16:35 > 2:16:39the new thing. It's still British. Yes. Richard, much the same with
2:16:39 > 2:16:44you, in terms of translating your music... Your acceptance in America.
2:16:44 > 2:16:49What I love about where you are, part of where your career is at now
2:16:49 > 2:16:59it's based in Nashville. You are a trail bladeser winner with the
2:16:59 > 2:17:06American, Lifetime Achievement Acknowledged by the Music
2:17:06 > 2:17:10Association in Nashville. It's still the home of the Song.It is. It's
2:17:10 > 2:17:19home of this counter culture. What they call Americana. It includes
2:17:19 > 2:17:24people like me who don't play an American style. I am included
2:17:24 > 2:17:30perhaps bob Marley would be considered as well in a twisted way.
2:17:30 > 2:17:37It's nice there is a place for what I call serious songwriters, serious
2:17:37 > 2:17:43music so the whole Nashville underground, Americana thing is a
2:17:43 > 2:17:46really good movement. I think.We both do, don't we. We spend a lot of
2:17:46 > 2:17:53time there. Buddy Miller is a great hero of Mine.Mine too.You worked
2:17:53 > 2:18:00with him in Nashville?Absolutely. It's just wonderful that not
2:18:00 > 2:18:06everything is driven by money. The music can still flourish. Sometimes
2:18:06 > 2:18:12the worse it gets, in terms of corporate interest in music. Then
2:18:12 > 2:18:16the bigger the counter culture, the bigger the backlash.What is really
2:18:16 > 2:18:24good is the clash of cultures. Imagine Progrock the home of the
2:18:24 > 2:18:31grand
2:18:31 > 2:18:40grand old opri. It's the heart of Nashville music.They had a picture
2:18:40 > 2:18:46of Elvis in the back.Oblivious to the fact they had him on once. They
2:18:46 > 2:18:55thought he was terrible he never came back. Now of course it's like,
2:18:56 > 2:19:01oh, we had Elvis.James Brown played. I'm sure you know the story.
2:19:01 > 2:19:08We must move on. So much to pack into the show. We will see you in a
2:19:08 > 2:19:17second Richard. Ian Anderson, pleasure to see you.
2:19:17 > 2:19:25After Annie Nightingale's departure from the programme in 1982 the
2:19:25 > 2:19:31presentation reins were taken up by Mark Ellen and David Hepworth. It
2:19:31 > 2:19:34was getting poked away last thing at night after the snooker or something
2:19:34 > 2:19:42like that.Whistle Test take as break now for two weeks to make way
2:19:42 > 2:19:45for the Wimbledon fortnight.You have to be forgiving of the sound.
2:19:45 > 2:19:49Those were in the days when everybody had rubbish rented telly
2:19:49 > 2:19:55with the speaker about that size. It was a miracle you managed to make
2:19:55 > 2:20:00contact.
2:20:00 > 2:20:03# Billy got down on his hands and knees... #
2:20:03 > 2:20:08It was a thing you watched because it was the only place that you were
2:20:08 > 2:20:14going to see Little Feet or Keith Richards being interviewed all the
2:20:14 > 2:20:18things that were going on in music in the 1970s. You weren't going to
2:20:18 > 2:20:22see it anywhere else at all. Are you thinking about a tour for Britain.
2:20:22 > 2:20:32If it hasn't sunk before Christmas, I wouldn't mind doing a few gigs.
2:20:32 > 2:20:37# May you never lay your head down without a hand to hold... #
2:20:37 > 2:20:42John Martin turned up and I knew of John Martin, but I don't think I
2:20:42 > 2:20:49ever really heard him. I probably was working in a record shop at the
2:20:49 > 2:20:53time, which is quite remarkable that I hadn't heard him. He played May
2:20:53 > 2:21:02You Never. For the rest of his life, John Martin was the guy who played
2:21:02 > 2:21:12May You Never on The Whistle Test.
2:21:12 > 2:21:18I took over and they got Mark in.
2:21:18 > 2:21:24Mark Saturday in for John Peel. We knew each other and worked closely
2:21:24 > 2:21:29together at Smash Hits. There was, I suppose, a bit of chemistry.This
2:21:29 > 2:21:35chap on my right here actually claims that this week he was rung up
2:21:35 > 2:21:39by a lookalike agency and asked to play the part of Paul McCar any in a
2:21:39 > 2:21:47film. You can confirm or denyIt's true. I felt obliged to turn it
2:21:47 > 2:21:51down. I didn't feel young enough to be for the part.Mike Appleton said
2:21:51 > 2:21:56it should have been journalist led. To present music on the telly you
2:21:56 > 2:21:59have to be a cheerleader. We weren't like that at all. We were
2:21:59 > 2:22:06journalists. These bloke in the sweaters, Big Country. We were, oh,
2:22:06 > 2:22:12that's all right. We would go, no, this is great.The only remaining
2:22:12 > 2:22:18visual record of a great group this is Steely Dan.That is what
2:22:18 > 2:22:26journalists do. They are snobs, they are opinionated. I introduced REM.
2:22:26 > 2:22:32Let me tell you, standing in front of a band introducing them when they
2:22:32 > 2:22:38can hear you is the worst thing in the world.Some people would tell
2:22:38 > 2:22:42you no decent groups come out of America these days. You have to know
2:22:42 > 2:22:46where to look. Sglp you have to compose something to say about them
2:22:46 > 2:22:54which is Mott what they say in their bio. They say, "world beating four
2:22:54 > 2:22:59piece in Georgia. Their new album is the greatest things they've ever
2:22:59 > 2:23:03done or anybody has ever done." You can't say. That you say something
2:23:03 > 2:23:10that you hope is amusing or perceptionive. Guardians of that
2:23:10 > 2:23:19gangling guitar, REM. This is
2:23:22 > 2:23:25gangling guitar, REM. This is a previously unrecorded song Old Man
2:23:25 > 2:23:30Kensey.We were fortunate to be there when some of the people who
2:23:30 > 2:23:34did some of the greatest rock music were doing it and looked fabulous
2:23:34 > 2:23:37doing it.
2:23:51 > 2:23:52Fabulous indeed.
2:23:52 > 2:23:54The great REM remembered there by David Hepworth.
2:23:54 > 2:23:57And time to reminisce a little more with guests here in the studio
2:23:57 > 2:23:59and I'm joined by Toyah Willcox and the mighty Chris Difford.
2:23:59 > 2:24:04Nice to see you.Good to see you. Good that you are here. Something
2:24:04 > 2:24:11that I'm so interested to hear from both of you, OK. David was eluding
2:24:11 > 2:24:14there to the idea of record companies getting behind people.
2:24:14 > 2:24:22You got the big PR machines and everything else. Sglm how much is a
2:24:22 > 2:24:26career based on cornerstone decision-making or how much of it is
2:24:26 > 2:24:31based on just getting swept up and going with what happens to you?40
2:24:31 > 2:24:35years ago I would say very little happened by accident. I was one of
2:24:35 > 2:24:41the last punk artists to be signed at the end of the 70s. No-one why...
2:24:41 > 2:24:47We didn't know why I wasn't signed because wherever I played. The pub
2:24:47 > 2:24:50circuit was a healthy touring circuit back then. 2,000 kids would
2:24:50 > 2:24:55turn up every night and take the town over. Yet, I was still an
2:24:55 > 2:25:00unsigned artist. It wasn't until I was signed that I could be taken
2:25:00 > 2:25:05into the national league, as it were. I think very little happened
2:25:05 > 2:25:11by accident back then.Yeah. How much do you surrender to that?I
2:25:11 > 2:25:15didn't surrender I became an absolute Hitler. I want this, I want
2:25:15 > 2:25:20that. I want this video to look like that. I want to look like this. I
2:25:20 > 2:25:28refuse to be girlie, girlie. I have to be a strong Joan of Arc. I was at
2:25:28 > 2:25:32the Helm with experts behind me who had to organise the vinyl getting
2:25:32 > 2:25:36into the shops. Who had to organise the record stations having the
2:25:36 > 2:25:41vinyl. An artist can't do that. The team does that.What about you
2:25:41 > 2:25:48Chris?I don't remember!Whistle Test was an important moment for
2:25:48 > 2:25:52Squeeze, wasn't it?It was. Being in this building is like being back at
2:25:52 > 2:25:56school. Looking at the steps to the dressing rooms reminds me of being
2:25:56 > 2:26:01down there chasing Leg and Co around doing Top of the Pops. Lovely being
2:26:01 > 2:26:07back here. A great idea to be here. Yeah. It's so interesting to me the
2:26:07 > 2:26:14way that careers are built. Chris, you are doing fantastic work
2:26:14 > 2:26:28supporting young artists through songwriting retreats. You match up
2:26:28 > 2:26:34establish songwriters with young writers.I do two year. Supported by
2:26:34 > 2:26:39the Buddy Holly Foundation. As our special guest we have 20, 25 writers
2:26:39 > 2:26:44from all over the world and they all come and work with the novice
2:26:44 > 2:26:50writers and share. It works really, really well. Unfortunately, there
2:26:50 > 2:26:53isn't an The Old Grey Whistle Test at the end of it, like there used to
2:26:53 > 2:27:00be when we were growing up because there's so little on telly now.
2:27:00 > 2:27:05There is the great Later by a good friend of mine Jools Holland. He's
2:27:05 > 2:27:11brilliant at it.Absolutely. We move into the 80s when Whistle Test
2:27:11 > 2:27:15started, as we said earlier, there wasn't a huge competition. We didn't
2:27:15 > 2:27:20have multi channel media the way we do now. Videos weren't part of the
2:27:20 > 2:27:24mix until a little later. As you were establishing your career,
2:27:24 > 2:27:27Toyah, then you had all those opportunities opening up to you,
2:27:27 > 2:27:33didn't you?1981, the start of MTV. Everyone laughed at the thought of
2:27:33 > 2:27:3824-hour TV. Who the hell would want to watch telly 24-hours? Suddenly it
2:27:38 > 2:27:42took off and you needed content. It meant you had to be able to make
2:27:42 > 2:27:47these three minute movies to go with the song. I absolutely loved that.
2:27:47 > 2:27:52I'm anle actress as well as a singer. It was an opportunity to
2:27:52 > 2:27:59just show another side of the artist as well. To create these visions and
2:27:59 > 2:28:03these styles, and to drive something forward through image as well as
2:28:03 > 2:28:07sound I always found yeah.Making videos really, really tough I didn't
2:28:07 > 2:28:11have any of those acting skills. I just felt very out of place the
2:28:11 > 2:28:16whole time. You know.Each of you, it's become a theme really, in a
2:28:16 > 2:28:25way, during the course of this evening, career longevity does to a
2:28:25 > 2:28:29certain extent depend on diversity. Yes.You are prepared to put
2:28:29 > 2:28:32yourself on the line. To try things that aren't completely, you are
2:28:32 > 2:28:36moving out of your comfort zone and experimenting and you as an
2:28:36 > 2:28:39Octoberor the other things that you have done, Toyah, you have expressed
2:28:39 > 2:28:44your self in lots of different fields?That is partly accident. I
2:28:44 > 2:28:48have to work. I want to be creative and if I'm not being offered work,
2:28:48 > 2:28:54I'll create work. My life has suddenly gone full circle. I'm on
2:28:54 > 2:28:58stage in the stage version of Jubilee, the first ever punk movie
2:28:58 > 2:29:04to be made. It's using my music. It's very exciting.You are the only
2:29:04 > 2:29:09one who is fully clothed, is that right?Only one fully clothed. I'm
2:29:09 > 2:29:1460 this year. You don't want to see any of that. I like to work. I like
2:29:14 > 2:29:21to meet my audience. When I'm not acting I do four shows a week, art
2:29:21 > 2:29:27centres, festivals. I could play to 150 people one night and 60,000 the
2:29:27 > 2:29:31next Night.It's fun. Organic. I'm not owned by a corporation, which
2:29:31 > 2:29:36gives me the freedom to do that. Absolutely.That's great.Both of
2:29:36 > 2:29:40you put huge energy into the work you do. We are so grateful for it.
2:29:40 > 2:29:44Thank you. Chris Difford and Toyah Wilcox. Thank you very much indeed.
2:29:44 > 2:29:51Thank you. APPLAUSE
2:29:52 > 2:29:57Our next performer is a truly great musician. We were saying earlier, I
2:29:57 > 2:30:05first saw him play over 50 years ago in the summer of 1967, when
2:30:06 > 2:30:09in the summer of 1967, when he was a young guitarist. He is now
2:30:09 > 2:30:13established as one of the greatest writers and musicians of the world.
2:30:13 > 2:30:19Please welcome, Richard Thompson! APPLAUSE
2:30:27 > 2:30:34# My father he rides with your sheriffs
2:30:34 > 2:30:38# And I know he would never mean harm
2:30:38 > 2:30:46# But to see both sides of a quarrel
2:30:46 > 2:30:48# Is to judge without hate or love
2:30:48 > 2:30:55# Oh, oh, helpless and slow
2:30:55 > 2:31:03# And you don't have anywhere to go
2:31:04 > 2:31:08# You take away homes from the homeless
2:31:08 > 2:31:16# And leave them to die in the cold
2:31:16 > 2:31:20# The gypsy who begs for your presents
2:31:20 > 2:31:26# He will laugh in your face when you're old
2:31:26 > 2:31:34# Oh, oh, helpless and slow
2:31:34 > 2:31:42# And you don't have anywhere to go
2:32:03 > 2:32:05# Well one man he drinks up his whiskey
2:32:05 > 2:32:09# Another he drinks up his wine
2:32:09 > 2:32:15# And they'll drink 'till their eyes are red with hate
2:32:15 > 2:32:19# For those of a different kind
2:32:19 > 2:32:27# Oh, oh, helpless and slow
2:32:28 > 2:32:33# And you don't have anywhere to go
2:32:33 > 2:32:35# When the rivers run thicker than trouble
2:32:35 > 2:32:37# I'll be there at your side in the flood
2:32:37 > 2:32:39# T'was all I could do to keep myself
2:32:39 > 2:32:41# From taking revenge on your blood
2:32:41 > 2:32:49# Oh, oh, helpless and slow
2:32:50 > 2:32:58# And you don't have anywhere to go
2:32:58 > 2:33:05# Oh, oh, helpless and slow
2:33:05 > 2:33:13# And you don't have anywhere to go #.
2:33:18 > 2:33:27CHEERING AND APPLAUSE
2:33:27 > 2:33:42Thank you. There's a song I did back in 18... 69... Or it seemed like it,
2:33:42 > 2:33:55anyway! This is something brand-new.
2:34:00 > 2:34:10# Dance with the Devil # Jesus save me from a bottle of gin
2:34:10 > 2:34:13Ericsson save me from the Saints and sinners...
2:34:13 > 2:34:19# Voice might come when you're taking your pleasure,
2:34:19 > 2:34:21# Voice might come when you're resting your bones
2:34:21 > 2:34:29# It'll test you if you think you're alone.
2:34:29 > 2:34:33# Just when you think your voices running,
2:34:33 > 2:34:36# Just when you think you're fixing the wind
2:34:36 > 2:34:41# There's that wandering deep within # Bouzkova save you from a bottle of
2:34:41 > 2:34:47gin? # Save a man, save a man, save a
2:34:47 > 2:34:49man...
2:35:07 > 2:35:11# Might save you from a dance with the Devil
2:35:11 > 2:35:16# Who will save you from a bottle of gin
2:35:16 > 2:35:22# Who will save you from within? # Man has muscle and he will rustle
2:35:22 > 2:35:31# Who's going to sit on when the Tampa is empty -- the tank is empty
2:35:31 > 2:35:34# Just when you think your hostel is running
2:35:34 > 2:35:44# Start to wonder deep inside, who will save you from the rattle
2:35:44 > 2:35:48within? # Save me, save me, save me
2:35:48 > 2:35:55# From the rattle within...
2:36:06 > 2:36:11# Save you from a dance with the Devil
2:36:11 > 2:36:14# Who's going to save you from the rattle within?
2:36:14 > 2:36:17# Who's going to save you from the bottle of gin?
2:36:17 > 2:36:21# Who's going to save you from the rattle within?
2:36:21 > 2:36:26# Who's going to save you from the rattle within? #.
2:36:26 > 2:36:30CHEERING AND APPLAUSE
2:36:34 > 2:36:39Just fantastic, thank you very much to Richard Thompson.
2:36:39 > 2:36:41Back to the Whistle Test story now, where our timeline has
2:36:41 > 2:36:46moved into the 1980s.
2:36:46 > 2:36:49In 1984, Channel 4's music show The Tube was giving Whistle Test
2:36:49 > 2:36:56a serious run for its money.
2:36:56 > 2:36:56Enter Andy Kershaw.
2:36:56 > 2:36:59He was young, he was passionate about music, and he was
2:36:59 > 2:37:04initially terrified!
2:37:04 > 2:37:08When I first started, when it was live, it was terrifying.Introduced
2:37:08 > 2:37:14to you by our new shy and retiring recruit over on my right.And bang
2:37:14 > 2:37:17up-to-the-minute, Radio 1's Richard Skinner is here...
2:37:17 > 2:37:20The moment came when I saw the red light go on and the camera, which
2:37:20 > 2:37:23meant it was live, pointing at me and we were going out, think I'd
2:37:23 > 2:37:33reached that point where complete and utter fear fades into the
2:37:33 > 2:37:36serenity of fatalism. At the end of the programme we will
2:37:36 > 2:37:39show you the winning video in its entirety, so here are this week's
2:37:39 > 2:37:46candidates. To this day, people recalled my
2:37:46 > 2:37:49introduction to the Smiths. Last time I sat down and tried to
2:37:49 > 2:37:54make a list of the truly great British bands of the 1980s, bands
2:37:54 > 2:37:57whose writing and recording would endure. At an hour I stared at a
2:37:57 > 2:38:02piece of paper with only one name on it, the Smiths!
2:38:06 > 2:38:09Apparently, I said something that was quite.... Eder perceptive or
2:38:09 > 2:38:16prophetic. -- either perceptive or prophetic.
2:38:19 > 2:38:26Neil Morrisey having the reputation of being rather surly, took himself
2:38:26 > 2:38:30very seriously, on the contrary. After a couple of glasses of
2:38:30 > 2:38:36lukewarm bluesy hospitality, a most amusing and engaging fella, we got
2:38:36 > 2:38:39on like a house on fire.
2:38:44 > 2:38:49The worst interview I've ever done in my life, and it was the biggest
2:38:49 > 2:38:52scoop the ball, getting Bob Dylan talking on British television for
2:38:52 > 2:38:55the first time. Now were really funny thing
2:38:55 > 2:39:00happened, when I was making my way home on Friday evening. I heard Bob
2:39:00 > 2:39:03Stewart was working on a London studio cycle, in for a penny, in for
2:39:03 > 2:39:07a pound, let's go round there. I knocked on the door and it can we
2:39:07 > 2:39:10filmed them? They said for your cheek, if you can get the film crew
2:39:10 > 2:39:15here within the hour, you can.
2:39:16 > 2:39:23He was taller than I'd been led to believe. He'd been quite chatty, as
2:39:23 > 2:39:28soon as the film crew turned up, he turned into a monosyllabic Crump.
2:39:28 > 2:39:33What made you come to London to work with Dave Stewart?I wanted to work
2:39:33 > 2:39:37with Dave.For what particular reason, what attracted you to Dave?
2:39:37 > 2:39:46He's great.LAUGHTER I could have run his neck. The night
2:39:46 > 2:39:52we had the Ramon is Inn was memorable.
2:39:52 > 2:39:55memorable. -- the Ramones. In the afternoon during rehearsals it was
2:39:55 > 2:40:04loud, really loud! And some blokes appeared, God knows, collar and tie,
2:40:04 > 2:40:08with a noise meter. There was some huddled discussions with Trevor, the
2:40:08 > 2:40:12producer. I remember Trevor saying, they've told us we had to turn it
2:40:12 > 2:40:19down. I thought, bloody killjoys. So I turned up the telly, open the
2:40:19 > 2:40:24windows, here are the Ramones and their new single Chasing The Night.
2:40:24 > 2:40:35I slipped into the studio and turned the amps back up to full. They were
2:40:35 > 2:40:40bloody loud again by the time they performed, I made sure of that.
2:40:43 > 2:40:50It was really good fun. And we did some good work, you know. I'm rather
2:40:50 > 2:40:57proud of what we did with the Whistle Test. I really am.
2:40:57 > 2:41:03We all are! God bless you Andy Kershaw. Brilliant stuff!
2:41:03 > 2:41:05So, the votes are in and it's time to reveal the classic
2:41:05 > 2:41:11performance that you would like to see in full...
2:41:11 > 2:41:21And... Not really surprising at all.
2:41:21 > 2:41:29It is The Wailers and Stir It Up, let's have a look.
2:41:46 > 2:41:54# Stir it up; little darlin', stir it up
2:41:54 > 2:42:02# Come on, baby
2:42:02 > 2:42:06# Stir it up: little darlin', stir it up.
2:42:06 > 2:42:10# O-oh!
2:42:10 > 2:42:12# It's been a long, long time, yeah!
2:42:12 > 2:42:14# (Stir it, stir it, stir it together)
2:42:14 > 2:42:17# Since I got you on my mind.
2:42:17 > 2:42:22# (Ooh-ooh-ooh-ooh) Oh-oh!
2:42:22 > 2:42:25# Now you are here (stir it, stir it, stir it together),
2:42:25 > 2:42:30# I said, it's so clear
2:42:30 > 2:42:34# There's so much we could do, baby, (ooh-ooh-ooh-ooh)
2:42:34 > 2:42:42# Just me and you
2:42:42 > 2:42:44# Come on and stir it up; little darlin'!
2:42:44 > 2:42:51# Stir it up; come on, baby!
2:42:51 > 2:42:53# Come on and stir it up, yeah!
2:42:53 > 2:42:58# Little darlin', stir it up
2:42:58 > 2:43:02# O-oh
2:43:02 > 2:43:09# I'll push the wood (stir it, stir it, stir it together)
2:43:09 > 2:43:11# Then I blaze ya fire
2:43:11 > 2:43:13# Then I'll satisfy your heart's desire
2:43:13 > 2:43:15# (Ooh-ooh-ooh-ooh)
2:43:15 > 2:43:19# Said, I stir it every (stir it, stir it, stir it together)
2:43:19 > 2:43:21# Every minute
2:43:21 > 2:43:25# All you got to do, baby, (ooh-ooh-ooh-ooh)
2:43:25 > 2:43:33# Is keep it in, eh!
2:43:34 > 2:43:36# Stir it up, I will little darling!
2:43:36 > 2:43:44# Stir it up; come on, baby
2:43:44 > 2:43:46# Come on and stir it up, yeah
2:43:46 > 2:43:53# Little darling, stir it up
2:43:53 > 2:44:01# O-oh
2:45:15 > 2:45:19Their first-ever TV appearance at the UK one of the most important
2:45:19 > 2:45:24sessions in the entire Whistle Test history, The Wailers and Stir It Up.
2:45:24 > 2:45:30Thank you to everybody who voted.
2:45:31 > 2:45:34It was fantastic to see that again in full.
2:45:34 > 2:45:37We're coming up to the end of the show and three hours, not
2:45:37 > 2:45:39to say thirty years, has gone by in a flash.
2:45:39 > 2:45:42We have one more live performance to bring you in a moment, but first
2:45:42 > 2:45:46one last look back at the show which changed my life and I hope
2:45:46 > 2:45:49made a real difference to yours...
2:45:52 > 2:45:58It's almost sadly the end of this week's programme.I think at its
2:45:58 > 2:46:05best Whistle Test was kind of harmonious with a kind of form of
2:46:05 > 2:46:13music and a style of music that still endures, and it's just happily
2:46:13 > 2:46:19associated with those people.
2:46:22 > 2:46:27associated with those people.As a viewer, when I was in my teens, you
2:46:27 > 2:46:34felt like you were the member of some very private, late-night club,
2:46:34 > 2:46:40open exclusively to those with very good taste in music.
2:46:40 > 2:46:47# Gave rock-and-roll to you # Put in the souls of everyone... #
2:46:47 > 2:46:51It's a library of musical history. They got the biggest artists and
2:46:51 > 2:46:55bands of the time to do really intimate sessions. They just don't
2:46:55 > 2:47:01exist anywhere else.
2:47:02 > 2:47:07exist anywhere else.I was in a bar in Tokyo and the owner, we just got
2:47:07 > 2:47:12chatting, he was like, "what are you doing here?" I was the English bloke
2:47:12 > 2:47:20at the bar. I said, "I work for BBC Radio." He said "BBC Radio, do you
2:47:20 > 2:47:26know Annie Nightingale?" I said, "I know Annie" he went, "do you know
2:47:26 > 2:47:33Bob Harris" I went, "yeah, I know Bob Bob Harris" he said The Old Grey
2:47:33 > 2:47:38Whistle Test we always show it in the bar" I Facetimed Bob, we were
2:47:38 > 2:47:43drunk. I was eessentially passing Bob around the bar and waving at
2:47:43 > 2:47:49everybody. It was a completely surreal experience. It shows you how
2:47:49 > 2:47:56big that show was, and is, and how famous it made the presenters.
2:47:56 > 2:48:01# If you want to be a singer or play guitar... #
2:48:01 > 2:48:05I miss The Whistle Test. There really isn't anything that's
2:48:05 > 2:48:22comparable on television to it. How can an act do what I did now?
2:48:30 > 2:48:35It was really, really important for young artists to appear on that
2:48:35 > 2:48:39programme, to get recognition. There wasn't many shows to appear on. But
2:48:39 > 2:48:43if you got on the The Old Grey Whistle Test you knew you kind of,
2:48:43 > 2:48:46you know, it meant something. It meant something that you had me on
2:48:46 > 2:48:52there. I have very, very fond memories of our friendship and being
2:48:52 > 2:48:59on that programme. So all I can say is, 100,000 years later is, thank
2:48:59 > 2:49:06you very much.Hi, Bob, Roger from Queen, we have great memories of The
2:49:06 > 2:49:10Old Grey Whistle Test Live from Hammersmith oweden on Christmas Eve,
2:49:10 > 2:49:1475 I think. Great memories of running around Texas with you and
2:49:14 > 2:49:20all the very best to you and wish you the best for this show. We do.
2:49:20 > 2:49:26You are a true music appreciator, and I think artists understand the
2:49:26 > 2:49:32difference. You are that difference. Bob Harris and Annie Nightingale
2:49:32 > 2:49:36from the programme are very important people to us, and they
2:49:36 > 2:49:43still are. So these days we like to salute the fact that Bob is part of
2:49:43 > 2:49:48our extended family, if you like. We are very grateful to you Bob and
2:49:48 > 2:49:52we're very grateful to The Whistle Test for giving us our first little
2:49:52 > 2:49:56tiny step, our first visit to the first wrung of the ladder on the way
2:49:56 > 2:50:00up to what we became. I don't know quite what we became, but it all
2:50:00 > 2:50:04seemed to go quite well.It was wonderful to be on your show.
2:50:04 > 2:50:08Somehow everybody that appeared on your show felt that we were being
2:50:08 > 2:50:14blessed in a way or honoured to be on your show because somehow you had
2:50:14 > 2:50:19this reputation for only having the creme de la creme. It was a great
2:50:19 > 2:50:24honour to do your show and to be friends with you and be able to
2:50:24 > 2:50:31share our love of music.So I just take one note to say goodbye. Bob,
2:50:31 > 2:50:37you just keep on whispering, my friend.
2:50:46 > 2:50:53I'll keep on twanging. Now that man is a legend. Just great, great
2:50:53 > 2:50:56stuff. APPLAUSE
2:50:56 > 2:51:02That really is it. Thank you to all my guests tonight. Thanks to all
2:51:02 > 2:51:06those Whistle Testers who couldn't be here with us this evening, and
2:51:06 > 2:51:12thank you for watching. But to play us out this evening it's a another
2:51:12 > 2:51:16TV debut from a wonderful singer/songwriter from Liverpool. I
2:51:16 > 2:51:21saw him play over three years ago. Since then he's gone from strength
2:51:21 > 2:51:26to strength winning Album Of The Year at the AMA UK Awards this year
2:51:26 > 2:51:35for his latest release Make the Post most of my Sins. Enjoy the
2:51:35 > 2:51:50incredible Robert Vincent. APPLAUSE
2:52:01 > 2:52:04# We were holding onto nothing
2:52:04 > 2:52:12# Nothing that I want
2:52:13 > 2:52:19# Scared of each other's shadows
2:52:19 > 2:52:25# And each other's wants
2:52:25 > 2:52:30# You were holding on to fear
2:52:30 > 2:52:38# You were holding onto me
2:52:38 > 2:52:42# I'm so in love
2:52:42 > 2:52:50# I'm so in love
2:52:56 > 2:52:57# With you
2:52:57 > 2:53:15# I'm so in love back then
2:53:16 > 2:53:23# You took the right decision
2:53:23 > 2:53:31# It worked for us both
2:53:44 > 2:53:52# At the slight indecision that cut to the core
2:53:52 > 2:53:56# And I was holding on to sails, like fish in the sea
2:53:56 > 2:54:08# I'm so in love back then
2:54:08 > 2:54:26# I'm so in love back then
2:54:57 > 2:55:07INSTRUMENTAL
2:55:09 > 2:55:17# I'm so in love
2:55:28 > 2:55:30# I was so in love back then
2:55:30 > 2:55:34# I'm so in love
2:55:34 > 2:55:41# I was so in love back then
2:55:41 > 2:55:42# I was so in love
2:55:42 > 2:55:47# I'm so in love
2:55:47 > 2:55:49# I was so in love back then
2:55:49 > 2:56:05# I was so in love back then
2:56:19 > 2:56:23CHEERING AND APPLAUSE Thank you very much. It's lovely to
2:56:23 > 2:56:31be here. Thanks very much to Bob for having us. It's been such a great
2:56:31 > 2:56:37night, I'm sure you'll all agree. I'm going to leave you with a little
2:56:37 > 2:56:40song now called Demons.
2:56:40 > 2:56:42# When you're facing your demons
2:56:42 > 2:56:50# When you fall to the floor
2:56:53 > 2:57:01# With no particular reason, you just know that you want more
2:57:03 > 2:57:11When you're fighting to see, what you know is in your sights
2:57:13 > 2:57:21# And you're treading deep water, just to try to make it right
2:57:28 > 2:57:36# The theory it grabs you, nearly tears you apart
2:57:37 > 2:57:40# And you know and you know and you know and you know
2:57:40 > 2:57:48and you know that it's not hard
2:57:55 > 2:58:02# When you're faced with decisions, that can go to a throw
2:58:02 > 2:58:10# And you know that you must make them, choose right once and for all
2:58:12 > 2:58:20# When you're out of your depth, on the tips of your toes
2:58:24 > 2:58:32# And the bluffs almost up And your waters just flows
2:58:36 > 2:58:44# And the silence surrounds you, closing off your escape
2:58:49 > 2:58:53# And you know and you know and you know and you know and you know that
2:58:53 > 2:59:01you're OK
2:59:07 > 2:59:15# When you're put in positions that you can't abide
2:59:18 > 2:59:26# So you turn to your good friends, but they take different sides
2:59:29 > 2:59:36# When you're facing your demons
2:59:36 > 2:59:44# When you fall to the floor
2:59:44 > 2:59:52# For no particular reason, you just know you want more
3:00:02 > 3:00:08# And the feeling grabs you and nearly tears you apart
3:00:08 > 3:00:12# And you know and you know and you know and you know and you know
3:00:12 > 3:00:20that it's not hard
3:00:22 > 3:00:30# And the silence surrounds you, closing off your escape
3:00:33 > 3:00:36# And you know and you know and you know and you know that that
3:00:36 > 3:00:44you're OK
3:00:46 > 3:00:58# When you're facing your demons #.
3:00:58 > 3:01:08Thank you. CHEERING AND APPLAUSE