For One Night Only The Old Grey Whistle Test


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For One Night Only

Bob Harris hosts a live tribute to the series, featuring music, special guests and rare archive footage to mark the 30 years since the last broadcast.


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Transcript


LineFromTo

Hello and welcome back

to the Old Grey Whistle Test Live:

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For One Night Only.

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We're here after 30 years

away and we're back

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at Television Centre -

our home for the 16 years that

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Whistle Test was on the air.

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We're older, maybe a little wiser,

certainly greyer, and totally

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ready to bring you three hours

of fantastic music,

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memories and conversation.

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There are loads of friends with us

in the studio tonight -

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An incredible list.

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Joan Armatrading, Dave Stewart,

Ian Anderson, Chris Difford

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and Toyah Wilcox are among those

here to help us explore the archive

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and share their recollections

of appearing on the show.

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Gary Numan, Richard Thompson,

Peter Frampton, Albert Lee

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and Kiki Dee will all be playing

live, and in true programme

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tradition, I'll be introducing

you to some essential new music,

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with performances from

Robert Vincent and Wildwood Kin.

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But first, a montage of memories -

a whistle stop journey

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through the Whistle Test years.

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Happy New Year!

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ROCK MUSIC

how you doing?

Complaints?

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# It's been a long time, rock and

roll...

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You were wonderful!

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# It's been a long time, a long,

long time...

The Whistle Test works

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for me.

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ROCK MUSIC

# Living rock and roll...

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The taxi Johnny Mitchell Santner

about.

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I really enjoyed that bit of film,

if I may say so.

Still haven't got

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that fixed.

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# Open your arms, open your arms...

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# It's been a long time

# Lonely, lonely, lonely time #.

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CHEERING AND APPLAUSE

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It is amazing to see all those clips

again.

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But of course, The Old Grey Whistle

Test was always about live music,

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and kicking us off tonight is a very

dear friend of the show.

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This is the wonderful Kiki Dee.

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# Oh she's smiling now

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# She has broken down

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# All her barriers

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# All her demons

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# Oh it fills my cup

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# To see her shining so bright

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# No regrets she says

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# Will touch her life

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# It was a long time coming

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# But she flowered and in time

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# Every day is her playground

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# Un-abandoned and free to choose

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# In the midst of something

that we don't understand

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# Then the answers come

and guide us once again

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# Oh she's smiling now

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# She has broken down

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# All her barriers

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# All her demons

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# Oh it scares me somehow

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# It's never too late to fall

in love with life again

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# There are people in this world

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# That touch you more

than life's design,

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# You want to see them go out

and live the life they choose

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# For all the things

that they have done for you

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# Oh she's smiling now

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# She has broken down

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# All her barriers

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# All her demons

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# Oh it fills my cup

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# To see her shine so bright

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# No regrets she says

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# Will fill her life

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# Oh she's smiling now

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# Oh she's smiling now

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# Smiling #.

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CHEERING AND APPLAUSE

Thank you.

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Thank you. Thank you, Bob. We have

one more song and we are so thrilled

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to be here. This is a song from' 73,

and the lyric is from Gary Osborne,

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who is out there in the audience.

Thank you, Gary. And it got my first

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hit! This is Amoureuse.

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# Strands of light

upon a bedroom floor

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APPLAUSE

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# Change the night

through an open door

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# I'm awake but this not my home

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# For the first time I'm not alone

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# Reaching out I touch another skin

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# Breathing out

as he is breathing in

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# Deep inside I feel my soul aflame

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# Can my life ever be the same?

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# I should have told him

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# I'd do anything

if I could hold him

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# For just another day,

for just another day

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# His love is something

I will not forget

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# When I am far away,

when I am far away

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# I feel the rainfall

of another planet

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# Another planet

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# Close together in the afterglow

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# I remember how his loving flow

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# Turned the key into another world

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# Made a woman of a simple girl

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# Daylight comes as

we both know it must

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# Soon my fantasy will turn to dust

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# But I would give him

anything he asked

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# If my first love could be my last?

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SINGING IN FRENCH

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# I feel the rainfall

of another planet

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# When I am far away,

when I am far away

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# I feel the rainfall

of another planet

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# Another planet

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Enter

CHEERING AND

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APPLAU seven

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Thank you to Kiki seven

for that performance.

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She'll be joining me on the sofa

to share her Whistle Test

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memories later in the show.

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But right now it's time to revisit

The Old Grey Whistle

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Test's very first days.

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Here's Tom Robinson

to explain how it all began.

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As the 1960s gave way to the 70s,

music TV had been going on happily

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with stuff like this.

# Only the lonely

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# Knows the way I feel tonight... #

Then in 1971, this happened.

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Then in 1971, this happened. Let's

go back to how it all began. This is

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a BBC producer. His name is Mike

Appleton and he's looking for a new

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programme idea.

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programme idea. In 1967 there were

pop and rock audiences. Pop fans

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were catered for by the Top 40

singles format of Top of the Pops on

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BBC One. Mike Appleton understood

there was now a huge hunger among

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serious music fans for a different

kind of TV show focused on albums.

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In September 1971, that's what he

gave them.

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# And there's still choice

# When we keep on keeping on... #

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Everybody knows this. Just in case.

The phrase "The Old Grey Whistle

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Test" came from a New York building,

a publishing house where songwriters

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sat and wrote pop hits by the yard

as their 9 to 5 job. At the end of

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every week the building's doormen

and cleaners would be played a

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selection of the latest songs. If

they could whistle the tune after a

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single hearing it was deemed a

potential hit having passed the Old

0:16:150:16:21

Greys Whistle Test. Ironic really

given that the programme itself was

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focused on credible album artists

rather than per Fayers of catchy hit

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singles.

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singles. The first series was

presented by rich yard Williams.

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Hello and welcome to the #3r0e gram

with a funny name.

It was screened

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at 11.00pm, perfect for its target

audience. Since most households had

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one.telly album fee nannics with

watch after the family went to bed.

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This was our time.

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This was our time. Fanatics.

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# After the first series, Richard

Williams left to concentrate on his

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writing career and. A am turned to

Radio 1DJ and co-editor of Time Out

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magazine, he was Bob Harris at the

time.

Welcome to this week's Whistle

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Test.

Despite being on BBC Two at

the nonprime-time of 11.00pm, the

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programme built to an audience of

over five million viewers.

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over five million viewers. The

tipping point came when an unknown

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Dutch band called Focus first sang

Hocus Pocus to an unsuspecting

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Britain.

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# Ahhhh! ... #

Following that performance Polydor

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records turned their plant over to

making Focus albums for the next ten

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days to keep pace with demand. The

Old Grey Whistle Test had arrived. I

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like that very much indeed.

APPLAUSE

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Here we are again.

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We have the show's creator and

producer, Mike Appleton.

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APPLAUSE

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Also with us my predecessor and

presenter of the first series,

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Richard Williams.

APPLAUSE

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And an early fan and great friend of

the programme, Danny Baker.

Thank

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you.

APPLAUSE

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So Mike, we have to discuss the

origins and how the programme grew

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because it took a while, didn't it,

with BBC Two to bring music into the

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curriculum?

Yeah. It's... It was

always on the cards, but it was

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actually how we infiltrated the

line-up which we would introduce

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every night of the week, or most

nights of the week. And... We were

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beginning to think that it was

reaching its, sort of, sell by date

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because we were taking sections of

media and concentrating, like film

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night, on film. We started academy

pop when BBC Two went into colour.

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Obviously. No need to explain that.

68. That was followed by Disco Two.

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That was purely a name. It had

nothing to do with disco music, but

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it was of the moment, really. Yeah.

Then on the end of that we decided

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to go full speed ahead with a music

programme. I wanted for a long time

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to make the equivalent on television

of something like Sounds or NME or

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Melody Maker, which treated the

music with a little bit more

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seriousness than it was generally

treated. After all, the only thing

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at the time on television was Top of

the Pops that was the top 20. That

0:20:520:20:57

was their menu, the Top 20. You

didn't get outside that. Academy Pop

0:20:570:21:03

featured the music of one band. It

hadn't really got itself put

0:21:030:21:07

together properly as a hopefully an

instruction on an interesting piece

0:21:070:21:11

of music paper.

Yeah.

That was what

Whistle Test was aimed to be.

The

0:21:110:21:16

two things about it was, a, an album

programme.

Yes.

Designed as a

0:21:160:21:22

magazine show. When you break down

the format of The Old Grey Whistle

0:21:220:21:28

Test there was a main band, a

support band, if you like, a news

0:21:280:21:32

desk, film features, interviews. So,

as you are going through the

0:21:320:21:35

programme, in a sense you are

turning the pages, aren't you, of a

0:21:350:21:38

magazine and finding these different

features?

That is what I was aiming

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to do with it. It was something for

people to get into. Not just to sit

0:21:420:21:46

down in front of a television set

and watch music, but also hear about

0:21:460:21:51

music and see things they might not

have seen without the opportunities

0:21:510:21:54

of Whistle Test.

Absolutely.

I mean,

if you lived in the north, in

0:21:540:21:59

Scotland and things and touring

bands coming from the States they

0:21:590:22:02

didn't go up there. The only chance

you got to see them was on Whistle

0:22:020:22:06

Test.

Yeah.

That's why we never

turned it into a showbusiness

0:22:060:22:11

programme. It was always a sort of

reporting type programme.

Hence

0:22:110:22:24

journalistes -- journalists who

could broadcast. You got the call

0:22:240:22:27

from Mike, Richard, how did it

happen for you at the time?

Well, I

0:22:270:22:31

had done a couple of things for him

on Disco Two. We did an interview

0:22:310:22:39

with Frank Zapper and it slid into

being invited to do the series.

0:22:390:22:46

Obviously, you know, I was 22 or 23,

it is was an interesting thing to be

0:22:460:22:50

asked to do. There were weeks when I

was rather sorry that in the

0:22:500:22:57

magazine format you introduced

interviews somebody like Gerry Lee

0:22:570:23:02

Lewis put me in fear of my life.

I

think he did most people, actually.

0:23:020:23:07

Not always on camera to a national

audience. There is a great story of

0:23:070:23:18

a blues musician who called himself

the Guitarist from Hell. He called

0:23:180:23:24

to see Jerry Lee. He got to the

front door. There was a massive

0:23:240:23:27

party going on inside the house. He

kept knocking. All the sound stopped

0:23:270:23:32

completely. It was silence. Then two

seconds later he saw the barrels of

0:23:320:23:38

a double barrel shotgun appear out

of the letterbox. Which is kind of

0:23:380:23:42

sort of what happened to you in a

while?

It was a sharpened metal comb

0:23:420:23:51

whipped out of the back pocket and

held towards me in a menacing way.

0:23:510:23:55

In the studio he walked out of the

passage way with a glass of wine and

0:23:550:23:59

handed it to me and said, "look

after this boy." He played a couple

0:23:590:24:03

of numbers. Walked out, didn't say

anything, thank you or anything.

0:24:030:24:06

Picked up the wine and went off

again.

You introduced, I was a you

0:24:060:24:12

videoer of that first series,

Richard. I remember just absolutely

0:24:120:24:15

being blown away by the show and the

artists that you had on. Jackson

0:24:150:24:21

Brown in that first series. There

was one particular performance that

0:24:210:24:26

I know remains one of your

favourites from the entire history

0:24:260:24:29

of the show?

Yeah. Physical there

was a flaw in the programme to me

0:24:290:24:34

was that it didn't have enough black

music on it at the time. The real

0:24:340:24:38

highlight of that year for me was

when Mike got Curtice Mayfield. He

0:24:380:24:47

came in with his four-piece band.

Fantastic musicians. The great thing

0:24:470:24:53

about it was, it was a tiny studio.

This is like Hyde Park compared to

0:24:530:24:59

it. The telephone box we did the

first year of shows in. You couldn't

0:24:590:25:04

play loud. If you were playing live.

Curtice' musicians turned everything

0:25:040:25:12

down to one and below one and played

with intensity and power that they

0:25:120:25:17

played with at the Rainbow or

somewhere, which is where they were

0:25:170:25:21

playing that weekend. It was magical

for me.

Danny, when do you begin

0:25:210:25:27

seeing the show?

13 or 14 in 71. It

was the otherness of it. You have

0:25:270:25:33

the benefit and the honour of

actually creating it, being involved

0:25:330:25:35

in it. Somebody who... It can't be

stated enough, not that BBC Four

0:25:350:25:42

audience of the demographic, but how

extraordinarily rare was hearing any

0:25:420:25:48

music on television and this music,

whatever it was, the fact, 11.30pm

0:25:480:25:53

at night. You would wait. It felt

like the twilight zone. It wasn't...

0:25:530:25:57

I was staggered to see the figures.

It never felt popular. It went out

0:25:570:26:01

of its way to be popular. It's a

good things. I can't think of being

0:26:010:26:10

a young person saying, "they were on

TV. We can see them on YouTube." It

0:26:100:26:14

felt other. They looked other. I

didn't know who the boys were. I

0:26:140:26:19

took on trust they were any good. I

was abused of that many years later.

0:26:190:26:27

The last thing on television, which

is an alien concept in itself now,

0:26:270:26:31

would be this thing. Which I

thought, me and only another kid at

0:26:310:26:38

school knew about it, Bernard. It

was that otherness. They looked so

0:26:380:26:41

strange. It was underground. It's

something that is very important in

0:26:410:26:45

music. To get that personality of

being underground off the radar. It

0:26:450:26:50

felt particularly unBBC. It looked

like they had just said, leave these

0:26:500:26:54

kids to get on with it. It was so

important that sense that it wasn't

0:26:540:26:58

part of a mainstream. Equally, the

bands, the Stones were never going

0:26:580:27:02

to play the Whistle Test. Might be

on film. You would never get

0:27:020:27:06

McCartney in. The procession of

bands, like Curtice May Field and

0:27:060:27:16

Druid... I know. I would give them

the benefit of the doubt. They

0:27:160:27:24

looked unlike anything else in

television or in my life. It was an

0:27:240:27:27

extraordinary world. Yourself and

Richard introducing the bands saying

0:27:270:27:32

they have tours coming up. It felt

like, oh, I didn't know where else

0:27:320:27:36

you could go for this stuff. I would

travel to Soho and buy the albums

0:27:360:27:40

the next day. You felt, even though

I heard it's a five million club.

0:27:400:27:43

That idea of being part of something

that wasn't anything to do with any

0:27:430:27:47

pop culture. It was a beautiful

thing. Once pop culture is now

0:27:470:27:52

spread so thin, I don't envy people

at all. That rarity. It felt like a

0:27:520:27:57

nightclub you would go to

once-a-week. It was a wonderful

0:27:570:28:00

experience.

Yeah. We will look

through the archive of course during

0:28:000:28:04

the course of the evening and see

some of these early performances as

0:28:040:28:07

well. The archive is the fantastic

legacy of the show. The many amazing

0:28:070:28:14

performances that resonate down the

years. We have already seen some

0:28:140:28:18

clips and we will be seeing more

during the course of this evening. I

0:28:180:28:21

picked a handful of my own

favourites. You have now got the

0:28:210:28:25

chance to vote for the you would

like to see in full later this

0:28:250:28:29

evening. So here are my four

contenders.

0:28:290:28:32

So, my first choice tonight is one

of the most historic and iconic

0:28:380:28:44

moments from the entire history of

the show. The first ever appearance

0:28:440:28:48

on British television in 1973 of Bob

Marley and the Wavers.

0:28:480:29:02

Next, another from our days in

presentation B, our tiny studio

0:29:020:29:08

situated behind the lift shaft on

the fourth floor of Television

0:29:080:29:11

Centre. Humble pie plate black

coffee with the vocal group and what

0:29:110:29:17

a great atmosphere they made. This

is Steve Marriot, one of our most

0:29:170:29:23

soulful vocalists ever.

0:29:230:29:27

My third choice comes from the stage

of the BBC television Theatre, now

0:29:340:29:39

known as the Shepherd's Bush Empire.

It's from there that we broadcast

0:29:390:29:44

the Whistle Test live concert

specials from 1976, this is Bonnie.

0:29:440:29:58

And my final choice, Tom Petty and

the Heartbreakers. We were the first

0:29:580:30:05

to film them at a showcase in Los

Angeles in 1977, and soon after they

0:30:050:30:11

made their first visit to Britain

and called in the BBC television

0:30:110:30:17

Theatre to play a fantastic set

which included this version of

0:30:170:30:21

American Girl.

# She was an American girl... #.

0:30:210:30:31

Those are the choices. So had to

distil so many performances down to

0:30:310:30:34

that four.

0:30:340:30:36

You have until 11pm to cast your

vote and it couldn't be easier.

0:30:360:30:40

Just go online to

bbc.co.uk/whistletest

0:30:400:30:43

where you will also find

terms and conditions.

0:30:430:30:46

The song that gets the most votes

will be played in full

0:30:460:30:49

later on in the show.

0:30:490:30:54

Please do not try and vote

if you are watching on demand.

0:30:540:30:57

But now we have another live

performance here in the studio

0:30:570:31:03

and one of my favourite memories

from the mid-'70s is of

0:31:030:31:07

a concert we broadcast

from the Hemel Hempstead Pavilion

0:31:070:31:14

around the release of the album

Frampton Comes Alive,

0:31:140:31:16

which became one of the biggest

selling albums of all time.

0:31:160:31:19

The love in the room that night

was incredible and I'm so pleased

0:31:190:31:22

that Peter has flown

in from Nashville especially

0:31:220:31:24

to be with us tonight.

0:31:240:31:27

Ladies and gentlemen,

this is Peter Frampton.

0:31:270:31:29

CHEERING AND APPLAUSE

0:31:290:31:35

# I heard her at the back door

0:31:530:31:56

# The little-wing bird

0:31:560:32:00

# Lying there, it should've been

0:32:000:32:07

# The end for her

0:32:070:32:11

# Was she going somewhere?

0:32:110:32:13

# Did she have a place to be?

0:32:130:32:19

# Perhaps, today, was on her way

0:32:190:32:21

# To rescue me

0:32:210:32:26

# Sometimes you fly

0:32:260:32:30

# On top of the world

0:32:300:32:38

# Sometimes you cry

0:32:380:32:39

# Sometimes it hurts

0:32:390:32:47

# We all need somebody

0:32:480:32:49

# To understand

0:32:490:32:57

# We all need somebody

0:33:000:33:02

# Lend a hand

0:33:020:33:04

# I could see some movement

0:33:040:33:08

# An idea came clear

0:33:080:33:14

# To care for one another is

0:33:140:33:16

# The reason we are here

0:33:160:33:24

# I wrapped her in a blanket

0:33:250:33:26

# The sky falling stray

0:33:260:33:33

# I took her to the river

0:33:330:33:35

# And watched her get away

0:33:350:33:41

# Sometimes you fly

0:33:410:33:42

# On top of the world

0:33:420:33:48

# Sometimes you cry

0:33:480:33:52

# Sometimes it hurts

0:33:520:34:00

# We all need somebody

0:34:000:34:02

# To understand

0:34:020:34:09

# We all need somebody

0:34:090:34:10

# Lend a hand

0:34:100:34:18

# Sometimes you fly

0:34:550:34:57

# On top of the world

0:34:570:35:04

# Sometimes you cry

0:35:050:35:06

# Sometimes it hurts

0:35:060:35:13

# We all need somebody

0:35:130:35:15

# To understand

0:35:150:35:23

# We all need somebody

0:35:240:35:26

# Lend a hand #.

0:35:260:35:34

CHEERING AND APPLAUSE

0:35:550:36:00

Thank you. That one, I wrote that

recently about a very large bird, an

0:36:050:36:13

American coot that flew into my

bathroom window, knocked itself out

0:36:130:36:17

and then lay on my balcony. This

next one is also about a bird that

0:36:170:36:23

knocked me out about 30 years ago.

LAUGHTER

0:36:230:36:31

# Shadows grow so long

before my eyes

0:36:410:36:49

# And they're moving across the page

0:36:490:36:55

# Suddenly the day turns into night

0:36:550:37:00

# Far away from the city

0:37:000:37:08

# But don't hesitate

0:37:120:37:16

# 'Cause your love won't wait

0:37:160:37:24

# Oh baby I love your way, everyday

0:37:260:37:34

# Wanna tell you I love

your way, everyday

0:37:350:37:43

# Wanna be with you night and day

0:37:440:37:52

# Moon appears to shine

and light the sky

0:38:020:38:10

# With the help of some firefly

0:38:120:38:13

# Wonder how they have the power

to shine, shine, shine

0:38:130:38:21

# I can see them under the pine

0:38:220:38:30

# But don't hesitate

0:38:300:38:38

# 'Cause your love won't wait

0:38:390:38:45

# Oh baby I love your way, everyday

0:38:450:38:53

# I wanna tell you I

love your way, oh

0:38:540:38:57

# Wanna be with you

night and day, oh yeah

0:38:570:39:05

# But don't hesitate

0:39:390:39:42

# 'Cause your love won't wait

0:39:420:39:50

# I could see the

sunset in your eyes

0:39:540:39:57

# Brown and gray, blue besides

0:39:570:40:03

# Clouds are stalking

islands in the sun

0:40:030:40:08

# I wish I could buy one

0:40:080:40:11

# Out of season

0:40:110:40:19

# But don't, don't hesitate

0:40:220:40:24

# 'Cause your love won't wait

0:40:240:40:31

# Oh baby I love your way, everyday

0:40:310:40:39

# I wanna tell you I love your way

0:40:420:40:46

# Wanna be with you night and day

0:40:460:40:53

# Oh baby I love your way, everyday

0:40:530:41:01

# I wanna tell you I love your way

0:41:040:41:09

# I wanna be with you

night and day, yeah #.

0:41:090:41:17

CHEERING AND APPLAUSE

0:41:260:41:31

And while Peter makes his way over,

let me introduce you to the two

0:41:390:41:47

people he'll be joining on the sofa,

because I'm really thrilled that

0:41:470:41:52

Mollie Marriott is here to talk

about her Dad, Steve Marriott,

0:41:520:41:59

and her own career.

0:41:590:42:02

We also have with us

a man who made his first

0:42:020:42:05

appearance on the show as part

of Emmylou Harris' Hot Band in 1977.

0:42:050:42:08

Albert Lee. APPLAUSE

0:42:080:42:11

I've seen him on many stages since,

including the Concert For George

0:42:110:42:13

at the Royal Albert Hall

and he is one of the most

0:42:130:42:16

versatile and brilliant

guitarists in the world.

0:42:160:42:18

Peter is also with us now. Your

history, Mollie and Peter's join.

0:42:180:42:28

Converge.

With your dad Steve.

Before we chat, I have a wonderful

0:42:280:42:32

piece of film I want you to see.

Let's go back to the 60s, the small

0:42:320:42:39

faces, All Or Nothing. You're on!

Next time, speak up!

LAUGHTER

0:42:390:42:51

# Don't just sit there... #.

0:42:520:43:01

Such a great song.

Look at that!

It

was a song that topped the chart in

0:43:010:43:10

1966, one of their best records

ever. But you've inherited your

0:43:100:43:17

dad's voice, the soul and depth of

his voice.

Thank you.

Establishing

0:43:170:43:24

your own career, Mollie, help or

hindrance having such a famous dad?

0:43:240:43:29

Oh, both, I think. I think people

think that straightaway it is a help

0:43:290:43:34

and you are in. But it's not. I

think you have do kind of,

0:43:340:43:39

especially with my dad, I have a

lock to prove, vocally. I think it

0:43:390:43:43

would be different if I was a boy,

because I would have the comparison

0:43:430:43:48

more, so that is a help.

Yes!

That

I'm not. I think it's a bit of both

0:43:480:43:55

but I think that is healthy, good.

You have a new record out and on the

0:43:550:44:01

threshold of a tour. Tell us a bit

about the album.

The album has taken

0:44:010:44:06

a while to make. I was very happy

being a backing vocalist, I still

0:44:060:44:10

am, I love doing backing vocals,

it's my favourite thing. But it was

0:44:100:44:15

a cathartic thing for me, I needed

to write. I needed to just do it

0:44:150:44:20

purely for selfish reasons, and if

anyone else linked to it or heard

0:44:200:44:24

and liked it, it's a bonus.

A final

thought about the title, Truth Is A

0:44:240:44:35

Wolf.

That Came About In Nashville

With The Wonderful Trudi. I Had A

0:44:350:44:40

Great Time Out There and met Gary

Nicholson. He showed me the song I

0:44:400:44:44

had written for Bonnie Riat, I asked

if I could have it and I won!

0:44:440:44:52

LAUGHTER

It tied the whole album up for me.

0:44:520:44:56

It is the only song I haven't

written on the album but the truth

0:44:560:45:01

is a wall firm will hunt you down, I

love that.

Peter, you worked with

0:45:010:45:06

Mollie's dad. Humble pie was a great

band and you already had great

0:45:060:45:14

success, so in a way I guess you

were at least somewhat prepared for

0:45:140:45:18

the incredible success that came

along.

0:45:180:45:23

Humble Pie was the place where I

found my musicality and put it

0:45:230:45:29

altogether. You know, when you

start, you listen to everybody and

0:45:290:45:34

you try to copy them. I listened to

the Blues and Jazz. Humble Pie was

0:45:340:45:41

the place that it all came together

for me. I felt like I woke up one

0:45:410:45:46

morning and I had a guitar style

that was my my open, you know. I've

0:45:460:45:54

always thought and felt thankful to

Humble Pie. It was the best band

0:45:540:45:57

anyone could have been in. Steve,

who was the one that convinced me in

0:45:570:46:04

the end to leave the herd.

I always

wanted to be in the Small Faces.

0:46:040:46:10

When I first saw him on Ready,

Steady Go! He was helping me put a

0:46:100:46:16

band together. I had Jerry Shirley

that he found for me on drums. We

0:46:160:46:24

were looking for another two

players. Steve decided that he was

0:46:240:46:29

going to leaved and called me up and

said, "hello, mate, can I join your

0:46:290:46:35

bad band." That was it. He had Greg

Ridley, from Spooky Tooth, which

0:46:350:46:45

isn't bad. Off we went. That was it.

The peak was 76, 77, 78. In the

0:46:450:46:50

middle of that moment, 77, you were

Emmylou Harris. The Liner Album, a

0:46:500:46:59

massive success for her. She brought

it over with her when you played on

0:46:590:47:06

The Old Grey Whistle Test?

The first

track I played with her. It ended up

0:47:060:47:10

nothing like the way Graham wrote

it. It turned into a vehicle for me,

0:47:100:47:14

too.

What a band that was, the Hot

Band. Run through the line-up.

0:47:140:47:20

Ronnie.

Gordy on base. Piano and

John on drums. Hank on steel.

Yeah.

0:47:200:47:32

That was 77. Hiding came out in 79.

That is right.

That's recently been

0:47:320:47:42

released that album?

Yeah.

One of

two or three records you put out

0:47:420:47:48

again.

Yeah, they were unavailable.

I had to put them out. People ask

0:47:480:47:54

are are You have dates them.

In the

UK?

I will start the tour. It worked

0:47:540:47:58

out to be here a couple of days

early! Yes.

You have been touring

0:47:580:48:04

America and about to again with

Steve Miller.

That's Right.

Yes.

0:48:040:48:09

Great double bill.

I've known Steve

about the same time as Humble Pie

0:48:090:48:16

formed. We had done a few days

together, a couple of stadium dates

0:48:160:48:21

in the 70s. We always liked playing

with each other. He called me up and

0:48:210:48:27

said, "I think it's time we need to

play together again." I said, "I

0:48:270:48:31

thought you'd never ask." It went so

well last year that he said, "let's

0:48:310:48:36

do it again. " The places we haven't

played. We are trying to come here.

0:48:360:48:42

Is there any chance of bringing it

over here

I think it will be

0:48:420:48:46

amazing. A great night. I get to go

and jam with him and his set too.

0:48:460:48:50

It's a lot of fun.

Yeah. Well, I

wish you all the best with the tours

0:48:500:48:55

and the new releases and everything.

Albert we will see you in a few

0:48:550:48:59

minutes playing live for us tonight.

Yeah.

Peter Frampton, Albert Lee and

0:48:590:49:06

Mollie Marriott everybody.

APPLAUSE

0:49:060:49:12

You do not want to miss Albert.

Stick around he'll be playing live

0:49:120:49:15

for us in a few minutes' time. We

have had a taster of some of the

0:49:150:49:21

standout performances featured on

the show in the 70s. Here's just a

0:49:210:49:24

few more.

0:49:240:49:30

# I'm watching the cruisers below

# You're married with a kid when you

0:49:480:49:53

could be having fun with me

#

0:49:530:49:59

There ain't no doubt about it

# You've got to go and shout it

0:49:590:50:06

# There ain't no doubt about it

# We were doubly blessed

0:50:060:50:12

# You were barely 17 and we were

barely dressed

0:50:120:50:15

# Whatever I ask of you, you deny it

# I don't even get a chance to try

0:50:150:50:20

it

# You give me your reason

0:50:200:50:22

# But I just don't buy it

# What's going on

0:50:220:50:27

# I wish was your honey man, baby

# I wish I was your...

0:50:270:50:45

# I hate myself when... I get enough

rope

0:50:450:50:54

# Hold me closer tiny dancer

# Count the headlights on the

0:50:540:51:02

highway

# And she only reveals what she

0:51:020:51:06

wants you to see

# And she hides like a child, but

0:51:060:51:10

she's always a woman to me

#

0:51:100:51:26

I'll

0:51:340:51:39

# O

# I won't come home for me

0:51:510:51:59

# He acted cool and cocky

# There's going to be a party

0:51:590:52:04

# I'll met you at 7.30

# She visualised

0:52:040:52:20

heaven

#

0:52:210:52:24

# Telephone is ringing

# You've got me on-the-run

0:52:240:52:30

# I'm driving in my car now

# I got you under my...

0:52:300:52:40

# Psycho

0:52:410:52:46

# Psycho killer

# Ba-ba,

0:52:480:52:53

# Ba-ba, ba-ba

# Waltzing Matilda

0:52:530:52:55

# You come a waltzing Matilda with

me

0:52:550:53:06

# White shining, silver, stud with

the nose

0:53:060:53:13

# Horses, horses, horsing

# Long live rock

0:53:130:53:18

# Be it dead or alive

#. Just amazing range of music on

0:53:180:53:31

The Old Grey Whistle Test. We will

be seeing more later on. One of the

0:53:310:53:36

other things that makes me feel very

proud is the extent to which Whistle

0:53:360:53:42

Test always supported new music and

we wanted to continue that tradition

0:53:420:53:46

tonight. Later we'll be hearing live

music from the hauntingly brilliant

0:53:460:53:52

Robert Vincent. First, a band that

I'm sure you're going to love.

0:53:520:53:56

They're from the West Country and

released their debut album Turning

0:53:560:54:03

Tides late last year. This is the

exquisite Wildwood Kin.

0:54:030:54:13

# You run to meet me in the shadows

0:54:200:54:24

# You come to find me in the dark

0:54:240:54:28

# You place your hand

upon my shoulder

0:54:280:54:32

# You set your seal upon my heart

0:54:320:54:36

# When I fall

0:54:360:54:39

# You run to meet me out again

0:54:390:54:45

# Steady my hands

0:54:450:54:47

# Steady my heart

0:54:470:54:50

# Steady my eyes

0:54:500:54:51

# So I can see where you are

0:54:510:54:59

# Steady my hands

0:54:590:55:00

# Steady my heart

0:55:000:55:01

# Steady my eyes

0:55:010:55:02

# So I can see where you are

0:55:020:55:06

# When hope is gone

you are my safe house

0:55:060:55:10

# When lies get hold,

you are my truth

0:55:100:55:14

# When bitterness is

taking root in my soul

0:55:140:55:18

# I'll be running right back to you

0:55:180:55:23

# When I fall

0:55:230:55:27

# You run to meet me out again

0:55:270:55:31

# Steady my hands

0:55:310:55:36

# When I fall

0:55:360:55:37

# You run to meet me out again

0:55:370:55:40

# Steady my hands

0:55:400:55:42

# Steady my heart

0:55:420:55:44

# Steady my eyes

0:55:440:55:46

# So I can see where you are

0:55:460:55:54

# Steady my hands

0:55:540:55:55

# Steady my heart

0:55:550:55:56

# Steady my eyes

0:55:560:55:57

# So I can see where you are

0:55:570:56:02

# Steady my hands

0:56:020:56:03

# Steady my heart

0:56:030:56:04

# Steady my eyes

0:56:040:56:05

# So I can see where you are

0:56:050:56:10

# Steady my hands

0:56:100:56:11

# Steady my heart

0:56:110:56:12

# Steady my eyes

0:56:120:56:13

# So I can see where you are

0:56:130:56:21

# Ooooh hoo hoo

0:56:210:56:27

# Ooooh hoo hoo

0:56:270:56:29

# Ooooh hoo hoo

0:56:300:56:35

# Steady my hands

0:56:350:56:36

# Steady my heart

0:56:360:56:37

# Steady my eyes

0:56:370:56:42

# So I can see where you are

0:56:420:56:45

# Steady my hands

0:56:450:56:46

# Steady my heart

0:56:460:56:48

# Steady my eyes

0:56:480:56:50

# So I can see where you are #.

0:56:500:56:56

CHEERING AND APPLAUSE

0:56:560:57:03

It's such a prif ledge to be here,

it really is. That was our latest

0:57:040:57:09

single Steady My Heart. This next

song is another one from our album,

0:57:090:57:16

it's called Taking A Hold. Thank you

so much, Bob, for having us.

0:57:160:57:28

# Bear within my cold hearted soul

0:57:280:57:31

# Burning a fire shut-up in my bones

0:57:310:57:33

# It's taking a hold

and it won't let go

0:57:330:57:36

# The sirens will teach

what I don't yet know

0:57:360:57:46

# Ooooo Ohhhhhh, Ooooo Ohhhhh

0:57:460:57:54

# Sing sing all you weary

0:58:010:58:02

# Light the fire and feel it

rising up in your soul

0:58:020:58:06

# Sing sing all you weary

0:58:060:58:07

# Light the fire and feel it

rising up in your soul

0:58:070:58:15

# Bear within my cold hearted soul

0:58:220:58:25

# Burning a fire shut-up in my bones

0:58:250:58:28

# It's taking a hold

and it won't let go

0:58:280:58:32

# The sirens will teach

what I don't yet know

0:58:320:58:37

# The sirens will teach

what I don't yet

0:58:370:58:40

# Sing sing all you weary

0:58:400:58:43

# Light the fire and feel it

rising up in your soul

0:58:430:58:47

# Sing sing all you weary

0:58:470:58:49

# Light the fire and feel it

rising up in your soul

0:58:490:58:55

# Sing all you weary

0:58:550:58:56

# Light the fire and feel it

rising up in your soul

0:58:560:59:01

# Sing sing all you weary

0:59:010:59:03

# Light the fire and feel it

rising up in your soul

0:59:030:59:11

# Oooooo Woahhhhh, Ooooo Woaahhh

0:59:160:59:24

# It's taking a hold

and it won't let go

0:59:300:59:32

# It's taking a hold

and it won't let go

0:59:320:59:38

# Sing sing all you

weary (taking a hold)

0:59:380:59:43

# Light the fire and feel

it

(taking a hold)

0:59:430:59:46

# Sing sing all you

weary

(taking a hold)

0:59:460:59:49

# Light the fire and feel it

0:59:490:59:50

# Taking a hold

0:59:500:59:51

# Sing sing all you weary

0:59:510:59:53

# Light the fire and feel it rising

up and it's taking a hold

0:59:530:59:57

# Sing sing all you weary

0:59:571:00:02

# Light the fire and feel it rising

up and it's taking a hold

1:00:021:00:06

. #

CHEERING AND APPLAUSE

1:00:081:00:15

Yes, fantastic. Wildwood Kin.

1:00:181:00:24

Now, while live music

was the backbone of Whistle Test,

1:00:241:00:27

it wasn't always possible to get

the artists we wanted

1:00:271:00:33

actually into the studio.

1:00:331:00:34

So how did we showcase tracks

we liked in those pre-video days?

1:00:341:00:39

Well, Tom Robinson explains...

1:00:391:00:43

By the mid-19 60s, the music

industry began reducing short films

1:00:431:00:48

to promote the upcoming record

releases. Record companies could

1:00:481:00:51

then send these two TV channels

whenever their artists couldn't or

1:00:511:00:54

wouldn't turn up in person. At the

time, this still cost a considerable

1:00:541:01:00

amount of money, so even as the 70s

rolled into town, it was quite a

1:01:001:01:05

rare occurrence and usually done

only for singles. This created a

1:01:051:01:09

problem for The Old Grey Whistle

test, which had to come up with a

1:01:091:01:14

way of illustrating music from

important album releases if the band

1:01:141:01:18

themselves weren't available. Step

forward Philip Jenkinson.

I think

1:01:181:01:22

this cinema is the only art form

that actually had its beginnings in

1:01:221:01:25

living memory...

Creator of The Old

Grey Whistle test Mike Appleton had

1:01:251:01:31

attended a lecture on vintage

cinema, presented by Jenkinson. Mike

1:01:311:01:36

was impressed and immediately

offered him a job at the BBC.

1:01:361:01:42

Jenkinson had amassed an enormous

private collection of films, so Mike

1:01:421:01:47

sent him some of the tracks they

needed to cover and Jenkinson would

1:01:471:01:51

trawl through his library to find a

suitable match.

1:01:511:02:01

Led Zeppelin one of the major album

bands of the late 60s and early 70s,

1:02:031:02:11

by then way too big to show up and

promote it in the studio themselves,

1:02:111:02:15

so Philip Jenkins managed to find in

his archive some dancers who were

1:02:151:02:20

just in the right movement with the

shoulders rolling and the foot

1:02:201:02:25

action, the tempo was just right. It

is an extraordinary match.

1:02:251:02:31

You can see the real genius of what

Jenkinson did when you take a track

1:02:441:02:51

like High roller which is fairly

average rock and roll and he brings

1:02:511:02:54

it to life in a way that makes you

really look at the track in a

1:02:541:02:58

completely different way. This

footage is so silly, so funny and so

1:02:581:03:03

entrancing, you just are drawn into

it.

1:03:031:03:08

# Got to have your love... #.

1:03:121:03:16

One of the best-known combinations

with the footage of skiers and

1:03:211:03:28

tubular Bells.

1:03:281:03:35

MTV launched in 1981 and music

videos became essential to the

1:03:351:03:40

success of any artist. They were a

promotional tool for the band and

1:03:401:03:44

so, even when there was a narrative,

they still tended to feature the

1:03:441:03:49

performance.

# When I'm kneeling by the candle at

1:03:491:03:56

the foot of my own bed... #.

But as Philip Jenkinson had proved,

1:03:561:04:01

if the band weren't available, some

well chosen archive provided a

1:04:011:04:06

useful alternative.

1:04:061:04:12

# This is our last dance

# This is our last dance

1:04:121:04:17

# This is ourselves under pressure

#.

1:04:171:04:24

He was amazing. He was a kind of

genius, I think, Philip Jenkinson,

1:04:301:04:35

at finding exactly the right films

are exactly the right piece of music

1:04:351:04:41

and cutting it to the beats match

the film. These animations in the

1:04:411:04:45

films were very, very important

right at the beginning of the

1:04:451:04:49

history of the show. Two of our

friends here in the studio remember

1:04:491:04:52

these moments really well, Danny

Baker and Ian Emes. You are part of

1:04:521:04:57

the real folklore history of the

Whistle Test and of Pink Floyd. I

1:04:571:05:06

will set the scene... We received a

piece of film from you when you were

1:05:061:05:11

at university.

Yes.

Which you had

cut to a Pink Floyd track. Animated.

1:05:111:05:17

Brilliant. Yes, explain the process

and how you got that to us and what

1:05:171:05:23

happened best, well there it is

playing.

What happened if I went to

1:05:231:05:28

a party and they put on this track.

For some reason or another, the

1:05:281:05:33

whole thing flooded into my head and

I pictured this, really. Then it was

1:05:331:05:41

drawings, individual drawing

storyboards. I went home and grabbed

1:05:411:05:44

a storyboard and had this vision of

animated film and spent six months

1:05:441:05:49

making it. And as this was

happening, it was the most amazing

1:05:491:05:54

process because from hearing music

you saw images coming alive and

1:05:541:05:57

film. When the film was finished,

six months later a friend of mine

1:05:571:06:02

said you should send it to The Old

Grey Whistle test, which I did. That

1:06:021:06:07

was my first TV screening.

And what

happened was we basically received

1:06:071:06:11

it, put it more or less straight on

air and Rick Wright was watching

1:06:111:06:16

that night. Did he get in touch with

you afterwards?

Actually, no, Steve,

1:06:161:06:22

the manager got in touch with me.

The thing is, they were my gods. I

1:06:221:06:27

never even thought I would get near

those guys. I made that film because

1:06:271:06:31

I loved their music and I had to

single album. When I got a call from

1:06:311:06:37

Steve O'Rourke I thought I thought I

was actually in trouble.

LAUGHTER

1:06:371:06:41

I thought he going to tell me for

using Pink Floyd music for my film.

1:06:411:06:47

He said, did you make that film?

Yes. Well, we'd like you to run it

1:06:471:06:53

with the band. I was like, oh my

God. I to hire a preview theatre in

1:06:531:07:00

Wardour Street which was then the

Hollywood of the UK. It all happened

1:07:001:07:03

in Wardour Street. It was the bijou

preview theatre, which was a very

1:07:031:07:11

dated, 50s place with kind of carpet

tiles on the walls. I sat there

1:07:111:07:17

waiting and the projectionist at the

film ready and they kind of came in

1:07:171:07:21

very quietly and sat next to me and

Dave Gilmour was sitting here, you

1:07:211:07:25

know, and that thing is... What I'd

done, because actually one of these

1:07:251:07:31

days is six minutes. I'd taken out a

little bit of music, because it was,

1:07:311:07:39

animation takes forever. I trimmed

it a little bit. As it played,

1:07:391:07:44

Gilmour was drumming his fingers and

the chair next to me and suddenly he

1:07:441:07:47

stopped and said, "Did you cut

something out of that?" . I said

1:07:471:07:55

yes, I'm afraid I did. Then they

asked me to animate the time

1:07:551:08:00

sequence from Dark Side Of The Moon.

This is where I came on again. I was

1:08:001:08:07

at the rainbow theatre when they

played Dark Side Of The Moon and

1:08:071:08:12

famously left the stage with the

instruments humming and the big

1:08:121:08:16

circular screen at the back and it

was on that screen they projected

1:08:161:08:19

your film.

Yes.

You must have been

feeling incredible that night to see

1:08:191:08:25

this work realised in this way.

First time from burning so it's hard

1:08:251:08:30

to ever feel incredible!

LAUGHTER

I was thinking, is it time to write,

1:08:301:08:36

is it moving well enough? I was

being ultra-professional. I was very

1:08:361:08:41

concerned it was all perfect. And

actually, in retrospect... Amazing.

1:08:411:08:51

All, well not all, but you Tube now

congratulate itself when anyone

1:08:511:08:56

takes on old Laurel and Hardy dancer

but scanning a West on it, they say

1:08:561:09:00

is wow, what a mash up. Watching

those, so familiar, that one in

1:09:001:09:05

particular, I thought it was just...

Researchers had smoked dope, gone

1:09:051:09:11

down to the bins and all, we will

Ramis over it. Until you said

1:09:111:09:15

Jenkinson did it, I had no idea.

Creative energy.

You watch it late

1:09:151:09:20

at night... The strange thing about

Whistle Test as a testing ground for

1:09:201:09:27

any kind of art, it was such and

remains probably unique, I think, in

1:09:271:09:34

the history of music television of

having no audience. That no audience

1:09:341:09:37

being made it seem like...

We've

changed it tonight.

You've changed

1:09:371:09:43

it tonight and I think it's a

terrible sell out! Whistle Test

1:09:431:09:47

moment to moment had its own field.

Alice Cooper would be on and any

1:09:471:09:51

rock band is going... Then nothing.

Camera out to you going... Alice

1:09:511:10:00

Cooper there...

LAUGHTER

In silhouette at the back the band

1:10:001:10:04

would stand there going... Until you

linked to a piece of video. The

1:10:041:10:11

extraordinary tone of the old

Whistle Test which of course now we

1:10:111:10:15

realise that art. At the time...

It

became the showcase for experimental

1:10:151:10:20

animation. Us animation students

would have to watch it because all

1:10:201:10:25

the new stuff and ideas had been

worked through visually. All right,

1:10:251:10:30

the music is everything, but you

were really pushing the envelope, in

1:10:301:10:33

terms of the music and the music

video as well.

Yes, because you used

1:10:331:10:39

to start by thing in the studio

tonight we have... Barefoot Jerry

1:10:391:10:43

and Sam apple pie. And music from...

And you always knew that was the

1:10:431:10:49

point... It would normally be a big

band, music from the Rolling Stones,

1:10:491:10:54

bouncy would never get in the

studio, but the audience trust you

1:10:541:10:58

because you knew there was something

like that to go with it.

A creative

1:10:581:11:02

relationship between the two things.

The fact music is a great inspirer

1:11:021:11:06

of moving images and film-makers.

There was a really happy kind of

1:11:061:11:12

playfulness is going on each week

with ideas exploring visual ideas as

1:11:121:11:16

well as musical ones.

That's the

thing. People don't appreciate

1:11:161:11:22

because it is only recognised now or

remembered, people like to send it

1:11:221:11:25

up and that whole era up, they don't

realise how experimental The Old

1:11:251:11:31

Grey Whistle test was. Musically,

the way the bands looked. It was so

1:11:311:11:38

experimental, it felt so other. Now

it's easy to say look at those old

1:11:381:11:43

hippies, it's not quite as simple as

that. It wasn't, certainly there was

1:11:431:11:49

an different bands but any music

show guilty of that. The tone of The

1:11:491:11:53

Old Grey Whistle test will never be

repeated because I don't think pop

1:11:531:11:57

culture, it's exploded now. That

little capsule, work he was doing,

1:11:571:12:01

and certainly the bands themselves,

that's what made it extraordinary.

1:12:011:12:06

It felt like nothing on television

and it generally wasn't anything

1:12:061:12:10

like what was on television.

I'm so

glad you have been here this evening

1:12:101:12:15

and made such a vital contribution

to the programme. Ian Emes. APPLAUSE

1:12:151:12:26

The truth is, we're talking about

time Creevy hence we had to put some

1:12:261:12:31

of these films together, because

there wasn't the video tape or the

1:12:311:12:37

bands available, but as music

changed, so did The Old Grey Whistle

1:12:371:12:40

test.

1:12:401:12:41

Annie Nightingale took the show

from the '70s to the '80s.

1:12:411:12:43

Here are her thoughts

on some of her favourite

1:12:431:12:45

Whistle Test moments.

1:12:451:12:48

Hello and welcome to Whistle Test.

Ladies and gentlemen, the

1:12:511:13:00

Ladies and gentlemen, the Wailers! I

could go into a supermarket and the

1:13:001:13:05

day after Azhar Mahmood, and I saw

the show and bought the album.

1:13:051:13:08

That's what brought home to me the

power of it. The power was immense.

1:13:081:13:15

There wasn't any other programme

that would play albums like that. It

1:13:151:13:22

made such a difference to music

culture.

1:13:221:13:27

Hello and welcome to deny's Whistle

Test. If there was anything you

1:13:271:13:30

didn't like him to say you could go

on and off him up. Tonight the

1:13:301:13:34

Beatles, who decided to reform this

week and with us in the studio.

1:13:341:13:37

Which is a complete lie that I have

always wanted to say it!

1:13:371:13:44

We began in Japan.

This song is

called O what a day!

While we were

1:13:441:14:01

in Hong Kong, there was something

called the Rock and pop awards. The

1:14:011:14:05

idea was I was going to present two

awards via a satellite link. What we

1:14:051:14:10

didn't know was that at the

beginning of the rock and pop

1:14:101:14:17

awards, there would be dancers

coming on the stage, dancing to the

1:14:171:14:21

hit single of the day. They decided

to

1:14:211:14:30

to use oil, the girls slipped and

fell on their bums. We didn't know

1:14:301:14:34

any of this that they would go, OK

we have to take that again, do it

1:14:341:14:40

again, and then the same thing

happened.

1:14:401:14:47

In Hong Kong, the Police were

playing the longest version of

1:14:471:14:52

Walking on the Moon you could ever

imagine. They were waiting for me to

1:14:521:14:58

jump on the stage and interrupt them

and go, "hey, guys, you've just won

1:14:581:15:04

two awards." Eventually they went,

"well, we've had enough of this."

1:15:041:15:09

They retired to the dressing room.

They went, "you can come in the

1:15:091:15:12

dressing room and surprise us

there." So Radio 1DJ Annie

1:15:121:15:19

Nightingale has flown to out to Hong

Kong with their-to-ies. Let's go

1:15:191:15:26

over to Annie Nightingale.

You have

come off stage.

Best Album. I would

1:15:261:15:31

like to present you from London

British Rock and Pop Awards 1979 for

1:15:311:15:39

the Best Album.

Never ask a question

that can be answered yes or no.

Did

1:15:391:15:43

you think when you made this album

you would be presented with an award

1:15:431:15:49

in Hong Kong?

Yes.

You were being

very apprehensive when I saw last

1:15:491:15:56

about coming back here...

I was only

joking. When I was going, "I'm not

1:15:561:16:01

coming back to England." That one?

Yes.

I remember that.

John Lennon

1:16:011:16:07

had released an album called Double

Fantasy, which had had mixed

1:16:071:16:12

reviews. First song I heard, the

song called y just Starting Over. I

1:16:121:16:19

had this shiver. I remember really

well, I went, that's going to be

1:16:191:16:25

No1. It was a few weeks later

because of what happened to him. I'm

1:16:251:16:28

sure by now you heard of today's

tragic news of the death of John

1:16:281:16:33

Lennon, shot outside his home in New

York late last night. I was woken up

1:16:331:16:39

by daughter who said said, "John

Lennon's been killed in New York."

1:16:391:16:45

Is it was decided we would do a live

programme that evening as a tribute

1:16:451:16:50

to him.

# Your

1:16:501:17:01

# Your fool no more... #

Mike Appleton says, "Paul wants to

1:17:011:17:07

speak to you." While that film was

on Paul McCartney said to give you a

1:17:071:17:16

message. On behalf of Yoko, George,

Ringo and Linda to thank everybody

1:17:161:17:22

for their support since this

tragedy. That really hit home. I

1:17:221:17:27

thought, there's only three Beatles

left now. Gary Numan and Two Boy

1:17:271:17:36

Army. Very important new music. It

was electronic. There had been

1:17:361:17:39

nobody like that, really. I didn't

realise he was very nervous.

1:17:391:17:47

realise he was very nervous. But

when everything goes wrong together,

1:17:501:17:51

it was one of those. They brought

with them some props which the fire

1:17:511:17:58

department were not happy about. One

of his bands swung around and

1:17:581:18:04

knocked into a piece of this special

set they brought with them. So this

1:18:041:18:09

was all going a bit hay wire. So

there was kind of a lot of tension

1:18:091:18:15

in the studio. Which was quite

unusual. The other band that was on

1:18:151:18:23

were a German rock band called The

Scorpians. As the floor manager is

1:18:231:18:30

counting down 10, 9, 8 there was a

cry from the

1:18:301:18:35

Scorpions saying, "where is our

drummer." This was going haywire.

1:18:351:18:43

Gary Numan said, you laughed. He was

throwing up backstage. He was so

1:18:431:18:49

nervous about it. I want to say,

Gary, I'm sorry I was trying to

1:18:491:18:59

lighten the atmosphere a bit.

Another number from Thompson Twins,

1:18:591:19:08

In The Name of Love. Good night.

1:19:081:19:13

Thanks Annie.

1:19:131:19:15

And it looks like Gary Numan has

forgiven her, because I'm thrilled

1:19:151:19:18

to say he's here to perform

for us right now.

1:19:181:19:21

Accompanied by his very

talented daughter Persia.

1:19:211:19:28

Ladies and gentlemen,

please put your hands together

1:19:281:19:30

for the incomparable Gary Numan.

1:19:301:19:38

APPLAUSE

1:19:411:19:48

# When they called me broken, I knew

1:20:101:20:15

# When they called me evil, I knew

1:20:151:20:20

# When they called me Ruin, I knew

1:20:201:20:25

# I would always find my way to you

1:20:251:20:33

# When I begged

forgiveness, they knew

1:20:501:20:54

# When I begged for mercy, they knew

1:20:541:21:00

# When I begged for

nothing, they knew

1:21:001:21:05

# I would always find my way to you

1:21:051:21:13

# My name is Ruin,

my name is vengeance

1:21:471:21:52

# My name is no-one,

and no-one is calling

1:21:521:21:57

# My name is Ruin,

my name is heartbreak.

1:21:571:22:02

# My name is lonely,

my sorrow's a darkness

1:22:021:22:07

# My name is Ruin, my name is evil

1:22:071:22:12

# My name's a war song,

I'll sing you a new war

1:22:121:22:16

# My name is Ruin, my name is broken

1:22:161:22:22

# My name is shameless,

I'll tear your world open

1:22:221:22:30

# When I called you poison, you knew

1:22:561:22:58

# When I called you

shameful, you knew

1:22:581:23:04

# When I called you a liar, you knew

1:23:041:23:10

# I would always find my way to you

1:23:101:23:17

# I'll show you Ruin,

I'll show you vengeance

1:23:531:23:57

# I'll show you no-one,

and no-one is calling

1:23:571:24:02

# I'll show you Ruin,

I'll show you heartbreak

1:24:021:24:07

# I'll show you lonely,

a sorrow in darkness

1:24:071:24:12

# I'll show you Ruin,

I'll show you evil

1:24:121:24:16

# I'll sing you a war song,

I'll sing you a new war

1:24:161:24:22

# I'll show you Ruin,

I'll show you broken

1:24:221:24:27

# I'll show you shameless,

I'll tear your world open #.

1:24:271:24:35

APPLAUSE

1:24:411:24:46

INSTRUMENTAL

1:24:511:24:56

APPLAUSE

1:25:031:25:09

# It's cold outside

1:25:221:25:26

# And the paint's

peeling off of my walls

1:25:261:25:31

# There's a man outside

1:25:311:25:36

# In a long coat, grey hat,

smoking a cigarette

1:25:361:25:40

# Now the light fades out

1:25:401:25:48

# Now the light fades out

1:26:071:26:08

# And I wonder what I'm doing

1:26:081:26:10

# In a room like this

1:26:101:26:16

# There's a knock on the door

1:26:161:26:18

# And just for a second I thought

1:26:181:26:20

# I remembered you

1:26:201:26:28

# So now I'm alone

1:26:431:26:45

# Now I can think for myself

1:26:451:26:47

# About little deals

1:26:471:26:48

# And issues

1:26:481:26:49

# And things that I

just don't understand

1:26:491:26:53

# A white lie that night

1:26:531:26:55

# Or a sly touch at times

1:26:551:26:58

# I don't think it

meant anything to you

1:26:581:27:06

# You know I hate to ask

1:27:421:27:44

# But are "friends" electric?

1:27:441:27:45

# Only mine's broke down

1:27:451:27:46

# And now I've no-one to love

1:27:461:27:54

# So I found out your reasons

1:28:101:28:12

# For the phone calls and smiles

1:28:121:28:14

# And it hurts

1:28:141:28:15

# And I'm lonely

1:28:151:28:17

# And I should never have tried

1:28:171:28:19

# And I missed you tonight

1:28:191:28:22

# It must be time to leave

1:28:221:28:26

# You see it meant

everything to me #.

1:28:261:28:33

CHEERING AND APPLAUSE

1:29:161:29:21

Fabulous, fabulous stuff.

1:29:241:29:26

I'll be catching up with Gary

shortly on the impact

1:29:261:29:28

Whistle Test had on his career.

1:29:281:29:32

He will be joining us for a chat in

a few minutes time.

1:29:321:29:35

But right now, it's time

for a reminder that you at home get

1:29:351:29:38

to decide which of my picks of past

Whistle Test performances

1:29:381:29:42

will be shown in full

at the end of the show.

1:29:421:29:45

All you have to do to place

your vote is go online

1:29:451:29:48

to bbc.co.uk/whistletest.

1:29:481:29:50

But first, let's see them again...

1:29:501:29:58

# Stir it up... #.

# Black coffee...

1:30:061:30:10

# You can love me like a man that...

#.

1:30:101:30:19

# She was an American girl #.

1:30:191:30:30

If you want to vote,

1:30:301:30:33

Do not delay.

1:30:331:30:36

The poll closes tonight at 11pm

so please don't delay.

1:30:361:30:39

To pick your favourite,

go to bbc.co.uk/whistletest

1:30:391:30:40

and remember do not try to vote

of you are watching on demand.

1:30:401:30:43

The world wide web wasn't even

invented the last time

1:30:431:30:50

we were on the air...

1:30:501:30:53

Incredible to think.

1:30:531:30:55

The Old Grey Whistle Test gave huge

support to new artists and often

1:30:551:30:58

played a major part

in their success.

1:30:581:31:00

So many of the people we now think

of as household names

1:31:001:31:02

made their first UK television

appearance on the show.

1:31:021:31:07

And here are just a few of them...

1:31:071:31:14

# But you did, but you did, but you

did, I thank you

1:31:141:31:19

# All my life...

# Without your love, it's a crying

1:31:191:31:29

shame #.

1:31:291:31:31

# Two weeks, I went back

# Trying to

1:31:351:31:44

# Trying to find my way in society

#.

1:31:441:31:46

# Like you was my baby... For

1:31:521:32:00

# Use you, now confuse you

# Then I lose you but still you

1:32:051:32:13

won't forsake me #.

1:32:131:32:17

# Is it true that calling you the

Chelsea boys?

1:32:171:32:28

#

1:32:281:32:33

# She records the rise and fall of

every soldier passing

1:32:331:32:38

# The only soldier now is me

# Fighting things I cannot see...

1:32:381:32:47

# I've got the brains, you've got

the looks

1:32:471:32:53

# Let's make lots of money

# You've got the Braun, I've got the

1:32:531:33:01

brains

# Let's make lots of money #.

1:33:011:33:06

# Among emptiness...

#

1:33:111:33:23

# I'm not prepared to go on like

this

1:33:231:33:26

# I can't, I can't stand losing

# I can't, I can't, I can't stand

1:33:261:33:33

losing

# I can't, I can't stand losing

1:33:331:33:35

you...

1:33:351:33:38

# An ocean liner

# All the kids are complaining

1:34:001:34:14

there's nowhere to go

# All the kids are complaining... #.

1:34:141:34:23

It is great.

1:34:231:34:25

My next three guests

are without doubt icons of British

1:34:251:34:27

music, selling millions of records

all over the world.

1:34:271:34:30

All of them, I'm proud to say,

made their television debuts

1:34:301:34:35

here on Old Grey Whistle Test -

Joan Armatrading, Dave

1:34:351:34:38

Stewart and Gary Numan.

1:34:381:34:43

CHEERING AND APPLAUSE

1:34:431:34:48

That is a powerful performance you

gave us just now, Gary. And the

1:34:511:34:56

look. The thing I always think of

with your music is it isn't just

1:34:561:35:02

music. You think outside the music

and the way to present the music and

1:35:021:35:06

the look and the atmosphere of what

you are trying to do. That really

1:35:061:35:10

does show through and the new

record.

It does a bit, I can't hide

1:35:101:35:15

it. I think because when I write

things, I see them, as much as

1:35:151:35:22

anything. I'm part of what I'm

trying to do with the music itself

1:35:221:35:25

and then the music afterwards, to

describe what you see. So there is

1:35:251:35:30

already a visual element to it,

pretty much from the word go. I've

1:35:301:35:35

always enjoyed that side of it as

well. Sometimes I've done it right

1:35:351:35:40

and sometimes it's been dreadful!

LAUGHTER

1:35:401:35:43

Really embarrassing, but you try.

Exactly, until you try, and that's

1:35:431:35:49

it, you are pushing up the

boundaries. The idea of this record,

1:35:491:35:53

the savage... Tell us how this idea

came to fruition.

I've been trying

1:35:531:35:57

to write a novel for a long time so

it actually started out as a book.

1:35:571:36:01

When I started to write savage I

didn't have many ideas so I started

1:36:011:36:07

to liberate the ideas from the book.

I thought I'd have two or three and

1:36:071:36:11

then get going. The book is about a

global warming apocalyptic future,

1:36:111:36:17

it's all gone to desert. As I

started to write a book, Donald

1:36:171:36:21

Trump started to come along and say

things about global warming and it

1:36:211:36:24

made me want to write more about it.

I ended up doing a whole album. It's

1:36:241:36:29

not really about that future, but it

is set in that future.

OK. Joan, I

1:36:291:36:36

have so many great memories of your

first appearance on The Old Grey

1:36:361:36:43

Whistle test, 1973.

Yes, what I

wanted to start off with, I have a

1:36:431:36:49

new album coming out in the spring,

hear me out! I have a new album

1:36:491:36:55

coming out in the spring. I am and

tour September and October, if you

1:36:551:36:59

want to know where that is, go to my

website. This will be my 21st album.

1:36:591:37:07

Now, why do you think I am able to

say that? Because of The Old Grey

1:37:071:37:12

Whistle test.

APPLAUSE

This is why. When I came onto The

1:37:121:37:20

Old Grey Whistle test, people really

didn't know me, they may have heard

1:37:201:37:22

of me and I have to include John

Peel because he did such a lock for

1:37:221:37:28

different artists.

So much for all

of us.

So people might have heard me

1:37:281:37:33

and John Peel but they hadn't really

seen me and then I came on the Grey

1:37:331:37:37

Whistle Test and they saw me.

Luckily, you asked me back and got

1:37:371:37:43

to see my face again and then you

asked me back and got to see my face

1:37:431:37:47

again. So the relationship I've got

with the audience I've got is built

1:37:471:37:51

up, really, through The Old Grey

Whistle test.

I think it is also

1:37:511:37:56

true to say, Joan, I'm sure you to

also feel the same icon in the 70s,

1:37:561:38:01

the record labels tended to take a

longer-term view of building an

1:38:011:38:06

artist's career. You appeared for

the programme in the first time in

1:38:061:38:09

73. Love and Affection burst through

on 76, that was three years your

1:38:091:38:16

music was aborted, supported what

you are doing. That long-term

1:38:161:38:20

support was so important artists

those days.

Very important. I feel

1:38:201:38:25

very lucky because I love to write.

I write because I kind of have to.

1:38:251:38:30

So I had the first album and on 705I

did another album and came on the

1:38:301:38:36

show, then in 76, and then as you

say, they spend their time nurturing

1:38:361:38:42

people. But I like to think that

they could see that I was going to

1:38:421:38:47

get there.

Absolutely.

And I think

that's what they did to a lot of

1:38:471:38:51

artists. They could see they were

going to get there and just needed

1:38:511:38:54

time to maturing and get it out.

Was

that the same with you, Dave, that

1:38:541:39:00

long-term support at that point?

Well, I think nowadays it's like

1:39:001:39:06

they see an artist and they do what

I call pick it up, mess it up and

1:39:061:39:14

drop it.

APPLAUSE

They get a young artist, like a

1:39:141:39:19

young girl or singer and say, you

are fantastic, with signing you. I

1:39:191:39:23

just want you to write with these

other people and they get to centre

1:39:231:39:28

basement full of LA and everywhere

and they have 63 songs and they

1:39:281:39:32

forget who they are on the record

company has changed staff about

1:39:321:39:35

three times so then they go, this

artist? We don't understand what

1:39:351:39:39

you're doing, and they drop them.

That is a rather tale,

1:39:391:39:44

unfortunately!

Because I meet them

after they have all been dropped.

1:39:441:39:49

The one place you and I know that

does handle things rather

1:39:491:39:53

differently from that is Nashville

and the country music community does

1:39:531:39:59

nurture its artists, looking long

term into the future for their

1:39:591:40:01

career.

I think what's happened is

artists tend to like huddled

1:40:011:40:07

together, there is kind of a

geographical Paul or a lightening

1:40:071:40:11

rod in certain places around the

world, like Kingston Jamaica, or

1:40:111:40:16

have family in Cuba, Liverpool at a

certain time Nashville had it coming

1:40:161:40:21

round again but now it has welcomed

in all sorts of new artists in

1:40:211:40:25

different genres but it still has

that thing about and everyone wakes

1:40:251:40:30

up in the morning and goes, I will

write the best song I possibly can

1:40:301:40:33

today. Not I'm going to get as many

Instagram like sci-fi candidate.

1:40:331:40:37

It's this world people think is

happening -- as I can today. But

1:40:371:40:45

it's not really happening. It's

happening in, I don't know... You

1:40:451:40:50

have likes in Taiwan but you are not

touring in Taiwan at that time. So

1:40:501:40:55

what we used to do, cut me off

whenever you want! I had a coffee

1:40:551:41:02

whilst I was waiting!

At 7:30pm!

Anyway... Actually, one thing I will

1:41:021:41:12

say...

I'm going to pull the three

of you together with one thought.

1:41:121:41:16

All three of you...

I was wondering

how you are going to do that. Gary,

1:41:161:41:23

Dave, Joan, together as one.

Each of

you have pushed up the barriers,

1:41:231:41:27

you've moved across different

musical genres and been prepared to

1:41:271:41:32

put your soul on the line, as it

were, to experiment, to push out

1:41:321:41:38

this particular card and see where

it takes you, which is not always a

1:41:381:41:42

complete success, but then when it

is, and I'm thinking Joan in

1:41:421:41:45

particular about your particular

success in the blues album chart in

1:41:451:41:52

America, 2007?

Yes.

You got to

number one. I think I am right in

1:41:521:41:56

saying you were the first British

female artist ever to top the

1:41:561:42:01

American blues chart.

Yes, yes, and

it debuted at number one as well,

1:42:011:42:05

which was great.

APPLAUSE

Brilliant achievement, yeah.

Let me

1:42:051:42:09

just come back to what Dave was

saying. I think he is absolutely

1:42:091:42:13

right in the wake young artists are

today. I just want to point out one

1:42:131:42:19

by Postman loner. Do you know him?

He is a rapper. I say you must

1:42:191:42:27

listen to him, because he writes

songs and he writes really well.

1:42:271:42:31

When you hear the words he is

saying, he is telling a proper

1:42:311:42:34

story. -- Post Malone. Sometimes he

goes off into the sweary thing. He

1:42:341:42:45

writes great strands and wants to do

performance. One of his songs is

1:42:451:42:48

called Congratulations and he is

talking about people thinking you

1:42:481:42:52

were making and telling him he is no

good and here he is now he has made

1:42:521:42:56

everyone is saying congratulations

and wants to be his friend. I think

1:42:561:42:59

there are lots of artist to do want

to write. When I look at him, I

1:42:591:43:03

think he wants to write, he is not

thinking of the success. I think

1:43:031:43:07

eventually, because that is what

will happen. You will get success if

1:43:071:43:11

you just want to kind of express

yourself.

I think about half the

1:43:111:43:16

income I've made, I've invested into

young upcoming artists, you know,

1:43:161:43:22

just without ever thinking I'm going

to get it back.

1:43:221:43:30

to get it back.

We will be seeing

another great young artist coming up

1:43:311:43:33

on the programme a little later, but

meanwhile, Joan Armatrading, Dave

1:43:331:43:40

Armstrong and are Newman, thank you,

so great to see you. APPLAUSE

1:43:401:43:48

Time to continue our trip down

memory lane.

1:43:481:43:51

As the '80s dawned, Whistle Test

continued to be the home of the very

1:43:511:43:54

best music and live performance.

1:43:541:43:56

Here are just some of the standout

moments from the decade of big

1:43:561:43:59

hair and shoulder pads.

1:43:591:44:02

# If you're lonely, I will call

# Your flesh will always creep...

1:44:151:44:39

# I saw him...

# Just a rumour spread around town

1:44:431:44:53

# Somebody said someone got booted

saying that people get killed...

1:44:531:45:06

# Is it a crime

# Is it a crime that I still want

1:45:061:45:20

you...

1:45:201:45:25

#

# I was on the outside when you say

1:45:401:45:45

you needed me

# I was looking at myself

1:45:451:45:50

# I was blind, could not see...

# You know you've got me so confused

1:45:501:45:56

# The way you're walking in your

shoes

1:45:561:46:01

# I get the blues

# But I feel all right, all right...

1:46:011:46:10

# Oh, yeah

# On my T-shirt...

1:46:171:46:25

# On my T-shirt... #

Made the right decision

1:46:281:46:31

# I was the boy with 20-20 vision...

1:46:311:46:41

# Things will get better

# Oh-oh, oh-oh, no, no...

1:46:461:46:55

# I love a gypsy woman

# I

1:46:551:47:05

# I love you gypsy woman Another

amazing selection of performances. A

1:47:071:47:12

performance coming up now that has

become the stuff of Whistle Test

1:47:121:47:16

legend. Viewers of a nervous

disposition might want to look away

1:47:161:47:20

now.

1:47:201:47:23

Edecided I wanted to be a popstar

from the age of nine years old. I

1:47:231:47:26

just thought the Whistle Test was a

great wrung on the ladder. What I

1:47:261:47:32

didn't realise it was the whole

ladder.

1:47:321:47:39

ladder. In 1976 we got our duo show

together which fitted in quite

1:47:411:47:46

nicely with that sort of move

towards, you know, what eventually

1:47:461:47:51

became the punk movement. Within a

year we'd, you know, g ourselves we

1:47:511:48:01

were booked to appear on the Whistle

Test.

Their history spans a number

1:48:011:48:06

of years. Several disastrous

projects and one or two moments of

1:48:061:48:10

triumph.

Being on the Whistle Test

was brilliant, actually. There was

1:48:101:48:15

hardly any music programmes anyway.

There was only three channels. Most

1:48:151:48:21

people of my age group, you know...

And younger, really, had always

1:48:211:48:28

watched The Whistle Test. You know,

it was cool being on The Whistle

1:48:281:48:32

Test. I got there.

Also very simple

thrill, they're crazy. Anyway,

1:48:321:48:41

thrill, they're crazy. Anyway, you

will see them now. Goodbye.

This is

1:48:431:48:46

your big chance. You are on

television, 5.5 million people are

1:48:461:48:49

watching. Let's do something good.

# I wake up in the morning

1:48:491:48:56

# Tell me baby, what do you see

# She walks and kisses me, I say

1:48:561:49:02

# Come on, baby, that's really

thrilling... #

1:49:021:49:07

We did two songs on that show.

# They just want to kick me

1:49:071:49:14

# I say, cor baby that's really free

#

1:49:141:49:17

That went fine. That was me and

Willie doing what we had been doing.

1:49:171:49:24

I was saving my save for the

1:49:241:49:32

I was saving my save for the thee

what would come later.

1:49:321:49:39

# Yes, I am... #

Something somebody had this idea,

1:49:391:49:43

run up and take a leaped and jump

up-and-down on

1:49:431:49:51

up-and-down on the he amplifier and

make all this noise. It would look

1:49:521:49:54

good. It didn't go out I'd planned.

One foot slipped on one site of the

1:49:541:50:06

amplifier and the other foot slipped

and the whole weight of my body came

1:50:061:50:11

crashing down or what is known as

the most delicate parts of your

1:50:111:50:16

anatomy. It hurt a bit.

1:50:161:50:25

anatomy. It hurt a bit.

I had

unplugged the amplifier from the

1:50:251:50:28

wall. His playing stopped. The

roadieh to plug it back on while I

1:50:281:50:35

tried to recover. I had an instinct

that must have looked pretty neat. I

1:50:351:50:43

just sort of knew. I thought, I

haven't seen anybody else do that on

1:50:431:50:47

television. That must have looked

pretty good. I was quite full of

1:50:471:50:52

beans. I was strutting away

thinking, I think I've done

1:50:521:50:56

something rather neat here. Willie

was thinking exactly the opposite.

1:50:561:51:07

The effect was over night success.

30 night came out on the shows

1:51:071:51:16

before Whistle Test went out. The

next gig after that performance, 500

1:51:161:51:20

people queued around the block. They

were thinking I did that sort of

1:51:201:51:25

thing every night. There was life

before The Whistle Test and life

1:51:251:51:30

after The Whistle Test. They were

completely different things. Before

1:51:301:51:33

The Whistle Test I was somebody

trying to be a popstar. After The

1:51:331:51:37

Whistle Test I was quite famous. My

mum, she always said I would have to

1:51:371:51:44

get a proper job. Thanks to The

Whistle Test I haven't had to. Thank

1:51:441:51:48

you, Bob.

APPLAUSE

1:51:481:51:55

He is just an absolute treasure.

Wonderful as ever, John Ottway. The

1:51:551:52:05

show went out on to the road. We

went to gigs filming performances

1:52:051:52:11

and staging regular live concerts

and Whistle Test specials at the BBC

1:52:111:52:15

Televison Theatre. We're joined now

by wonderful Kiki Dee and by Dennis

1:52:151:52:22

Locorriere, whose band Dr Hook were

the first to play a concert show for

1:52:221:52:27

us in 1974. The time of the

mainstream mania surrounding the Bay

1:52:271:52:32

City Rollers. They were the One

Direction of their day. I remember

1:52:321:52:39

this is the first gig we did at the

BBC Televison Theatre. It was Dr

1:52:391:52:45

Hook. Halfway through the set you

decided to change into...

I think we

1:52:451:52:50

started that way. We came -

You

started that way and changed out

1:52:501:52:54

again.

We came out as the Bay City

Rollers, sort of. One of the EMI

1:52:541:53:03

guys made the costumes Wen felt

obliged to wear them. We came out

1:53:031:53:07

and changed behind a sheet.

Oh,

look.

Yeah. The thing was...

The

1:53:071:53:12

sheet.

If they would have dropped

that sheet, national exposure would

1:53:121:53:17

have been exactly the right term.

It

was almost anyway, wasn't it, to be

1:53:171:53:22

absolutely...

It was. It's funny. We

were... You will remember this, I'm

1:53:221:53:27

sure. We were standing

1:53:271:53:36

sure. We were standing three feet

from Ottway and Barrett and we

1:53:361:53:39

thought, "how weird" we came out

like this and everybody went "how

1:53:391:53:43

weird." After we did that, I had

serious musicians come over to me

1:53:431:53:48

over and over and go. I've studied

for 20 years you came out and had

1:53:481:53:52

the whole show and spent the first

ten minutes mucking around. I said,

1:53:521:53:57

"yes, but we were on the Whistle

Test, Mr 20 years." That was cool

1:53:571:54:02

for us. We done it once, the first

shows with Joan Armatrading. Second

1:54:021:54:08

one can Ottway and Barrett. You gave

us the whole show. It was like a

1:54:081:54:11

little bit what he'd just said.

People came to see if he was going

1:54:111:54:16

to fall off the amp every night.

People thought we were going to

1:54:161:54:19

change our clothes behind a sheet

every night as well.

That was the

1:54:191:54:23

prelude to an amazing decade of

success.

Yes. To tell you the truth,

1:54:231:54:28

if you want to know where it's

going. I've regrouped me and a new

1:54:281:54:35

band Dr Hook we are starting our

50th anniversary tour next year.

1:54:351:54:39

Fantastic.

It's a bit daunting. You

know. You might as well do. It I was

1:54:391:54:44

telling somebody, if you don't

go-ahead at my age and do it now.

1:54:441:54:48

I'm so close to 50 years, it's like

swimming halfway across the English

1:54:481:54:52

Channel and getting tired and swim

back. I might as well just go

1:54:521:54:56

forward now.

We saw a clip earlier

Kiki of your first appearance on

1:54:561:55:02

Whistle Test. Even at that point, in

the early 70s, you had already

1:55:021:55:09

established an unbelievable

reputation having such a fabulous

1:55:091:55:12

voice. Connecting, as you did,

uniquely prior to that with Motown

1:55:121:55:20

and being part of that?

I had a

couple of northern soul songs. I was

1:55:201:55:27

thinking in the dressing room, prior

to Whistle Test and meeting Elton in

1:55:271:55:31

the early 70s, I was doing

1:55:311:55:38

the early 70s, I was doing the Benny

Hill show, when I got on the Whistle

1:55:401:55:43

Test I thought - that's it, I'm a

musician.

You were part of the Elton

1:55:431:55:49

John family.

I was.

I think now and

thought then how generous Elton is.

1:55:491:55:57

We were talking earlier about people

supporting emerging artists. Elton

1:55:571:56:02

has always been about that, hasn't

he?

Absolutely.

Fantastically

1:56:021:56:07

supportive of yourself?

He was. We

were exactly the same age. We grew

1:56:071:56:12

up with the same music. Before that

I'd been a new kid on the block.

1:56:121:56:18

Everybody I worked with was much

older than they. I m Elton and was

1:56:181:56:27

working with my contemporaries.

Don't Go Breaking My Heart No1. We

1:56:271:56:35

talked about people expanding their

careers, moving around and going

1:56:351:56:38

into different types of music.

That's what you've done. You've

1:56:381:56:42

never stood still and always wanted

to move forward.

I've tried.

1:56:421:56:47

Camilla, when did you meet, 1994.

Mid 90s. The thing is... I think if

1:56:471:56:54

you don't have one niche. Sometimes

I envy people who are a folk singer

1:56:541:57:00

or a jazz singer or a rock singer

because they have their area and

1:57:001:57:04

they work in that area. But I mean

it has worked out for me that I

1:57:041:57:11

dipped my feet in many gifrn genres.

Our first singles were Sylvia's More

1:57:111:57:22

a weeping Balad and cover of Rolling

Stone. We signalled right away you

1:57:221:57:28

could expect everything. Our albums,

I was proud because our albums had

1:57:281:57:32

country music on it and

rock-and-roll and songs with horns.

1:57:321:57:37

The era when they weren't telling

you what you weren't allowed to do

1:57:371:57:40

yet.

Yes.

We had a hit with

Sylvia's Mother songwriters were

1:57:401:57:48

pitching songs about their families,

here is a song about my aunt and my

1:57:481:57:52

uncle. Like we would do that. Cool

not to be in one bag, as they say.

1:57:521:57:56

You are both looking into the

future, aren't you?

Absolutely.

New

1:57:561:58:02

records out and roadwork to come.

Kiki you have dates ahead of you?

1:58:021:58:06

All year I'm doing dates. Going

around the UK. I enjoy it much more

1:58:061:58:14

than I did in the 70s. I did enjoy

it, don't get me wrong, being around

1:58:141:58:21

Elton and the fabulous, Guam rouse

rock star stuff. I'm much more

1:58:211:58:25

myself. Comfortable in my own skin.

I can express my own songs and stuff

1:58:251:58:34

we write together. Like the stuff we

did tonight. I'm in a really good

1:58:341:58:37

place.

More power to both of you.

Dennis Locorriere, Kiki Dee. Thank

1:58:371:58:42

you very much indeed.

Thank you for

having me.

Thank you. Still loads to

1:58:421:58:48

come. We will have more live music

from Whistle Test veteran Richard

1:58:481:58:56

Thompson and rising star Robert

Vincent. We have a man who is

1:58:561:58:59

recognised across many different

genres of music as one of the best

1:58:591:59:02

guitarists in the world. But as we

will see tonight, he is a man of

1:59:021:59:06

many talents. Ladies and gentlemen,

the great Albert Lee.

1:59:061:59:15

CHEERING AND APPLAUSE

.

Thank you, thank you so much.

1:59:161:59:24

# I was a highwayman,

along the coach roads I did ride

1:59:241:59:32

# With sword and pistol by my side

1:59:321:59:37

# Many a young maid lost

her baubles to my trade

1:59:371:59:45

# Many a soldier left his

lifeblood on my blade

1:59:481:59:56

# The hung me in the year of '25

1:59:592:00:02

# I am still alive

2:00:022:00:07

# I was a sailor,

I was born upon the tide

2:00:072:00:14

# And with the sea I did abide

2:00:142:00:20

# I sailed a schooner

round the Horn to Mexico

2:00:202:00:27

# I went aloft and furled

the mainsail in a blow

2:00:272:00:35

# And when the yards broke off

they say that I got killed

2:00:392:00:42

# But I am living still

2:00:422:00:47

# I was a dam builder

across the river deep and wide

2:00:472:00:53

# Where steel and water did collide

2:00:532:01:01

# A place called Boulder

on the wild Colorado

2:01:032:01:08

# I slipped and fell

into the wet concrete below

2:01:082:01:16

# They buried me in that great

tomb that knows no sound

2:01:162:01:24

# But I am still around

2:01:242:01:28

# I'll always be around

2:01:282:01:32

# And around and around

and around and around

2:01:322:01:40

# I fly a starship

across the Universe divide

2:02:002:02:08

# And when I reach the other side

2:02:082:02:14

# I'll find a place

to rest my spirit if I can

2:02:142:02:22

# Perhaps I may become

a highwayman again

2:02:232:02:31

# I may simply be

a single drop of rain

2:02:322:02:37

# But I will remain

2:02:372:02:44

# And I'll be back again, and again

and again and again and again #.

2:02:442:02:52

CHEERING AND APPLAUSE

2:03:572:04:03

Thank you, thank you so much.

2:04:032:04:10

OK, here's one you may remember. 48

years ago, I think! Tried to put it

2:04:102:04:22

to bed a few times, it keeps rearing

its head.

2:04:222:04:30

# I may look like a city slicker

2:04:432:04:45

# Shinin' up through his shoes

2:04:452:04:49

# Underneath I'm

just a cotton picker

2:04:492:04:51

# Pickin' out a mess of blues

2:04:512:04:54

# Show me where I start

2:04:542:04:58

# Find a horse and cart

2:04:582:05:01

# I'm just a country boy

2:05:012:05:04

# Country boy at heart

2:05:042:05:12

# I may look like a bank teller

2:05:212:05:24

# Pushing facts in a file

2:05:242:05:29

# But I'd rather be a haul collar

2:05:292:05:37

# Shooing foot home in style

2:05:372:05:41

# Show me where I start

2:05:412:05:43

# Find a horse and cart

2:05:432:05:44

# I'm just a country boy

2:05:442:05:46

# Country boy at heart

2:05:462:05:52

INSTRUMENTAL

2:05:542:06:01

# I may look like a city slicker

2:06:342:06:37

# Shinin' up through his shoes

2:06:372:06:40

# Underneath I'm

just a cotton picker

2:06:402:06:43

# Pickin' out a mess of blues

2:06:432:06:47

# Show me where I start

2:06:472:06:51

# Find a horse and cart

2:06:512:06:54

# I'm just a country boy

2:06:542:06:59

# Country boy at heart #.

2:06:592:07:07

CHEERING AND APPLAUSE

Thank you.

Wow. I'm very, very proud

2:09:112:09:22

that he gave it one more outing, the

great Albert Lee.

2:09:222:09:27

So the vote is now closed.

2:09:272:09:28

Thank you to everyone

who voted and got involved.

2:09:282:09:31

Soon, someone will hand me

an envelope containing a card

2:09:312:09:35

with the name of the winning

performance and we'll see that

2:09:352:09:37

performance, in full,

before the end of the show.

2:09:372:09:43

You can keep in touch with us over

social media. #OGWT.

2:09:432:09:51

As we've seen already tonight,

Old Grey Whistle Test was a massive

2:09:512:09:54

team effort from day one.

2:09:542:09:55

Music pluggers played

a really important part

2:09:552:09:57

in bringing our attention

to exciting new artists.

2:09:572:09:59

But while many acts jumped

at the chance to appear on the show,

2:09:592:10:03

occasionally they needed a little

bit of persuading.

2:10:032:10:06

Step forward Judd Lander.

2:10:062:10:14

I was involved with the Whistle Test

when it first came on air. I mean,

2:10:172:10:22

at the time it was a really, really

cool programme.

Hello again, welcome

2:10:222:10:30

to this week's Whistle Test.

The

artists they got were the creme de

2:10:302:10:35

la creme of musicians.

It's nice on

the programme, music from the new

2:10:352:10:39

Van Morrison album.

One of

Britain's's greatest experts, Jeff

2:10:392:10:43

Beck. He had just done this deal

with America, epic records, they

2:10:432:10:50

just paid a lot of money for Jeff

Beck's album. They would like

2:10:502:10:54

something in return, by way of Jeff

promoting the album. We decided to

2:10:542:11:00

do the Whistle Test, that was the

only show he would do.

Jeff Beck

2:11:002:11:04

will be in the studio next week.

I

got a call DJ before the show, Judd

2:11:042:11:11

will be in the studio next week.

I

got a call DJ before the show, Judd,

2:11:112:11:11

Jeff would rather not do the show.

He started to pull out Jeff from the

2:11:112:11:15

show so I decided to get the limo to

pick me up and we drove down to his

2:11:152:11:20

house. And as we got nearer, I

started to take my clothes off in

2:11:202:11:24

the back of the limo. When we got

the house, I got out, I was totally

2:11:242:11:29

stark naked with a set of bagpipes

and I started playing the track he

2:11:292:11:33

hated the most,

2:11:332:11:38

hated the most, Hi-Ho Silver Lining.

He came out with a baseball bat and

2:11:412:11:43

said Hooda hell are you? I said I'm

from the record company, and if I

2:11:432:11:47

can turn up like this, you can do

the show. Indian to get rid of me

2:11:472:11:50

decided to call my Bluff. He said I

will do the show on the proviso that

2:11:502:11:54

you come to the show and the way you

did to my house.

I promised you Jeff

2:11:542:12:00

Beck would speak but before I do I

would like to apologise, I don't

2:12:002:12:03

know if you were watching the

programme, I sort of gave the

2:12:032:12:06

impression you hardly ever played,

but you have done...

2:12:062:12:14

BAGPIPES PLAYING

2:12:142:12:18

Was that comment?

I couldn't hear

you!

2:12:182:12:22

There were complaints at the time

from various people and Mary

2:12:222:12:26

Whitehouse, I gather, called up the

show, complaining about a naked

2:12:262:12:30

fellow playing bagpipes while the

interview was going on. Jeff saw the

2:12:302:12:33

funny show side. After the show, I

think it was his birthday party the

2:12:332:12:39

following weekend and he said, come

to the party, but do wear some

2:12:392:12:42

clothes!

What would we have done

without Mary Whitehouse?!

2:12:422:12:48

Joining me now to reminisce with us

for a moment or two are two

2:12:482:12:52

absolute legends of British music -

Ian Anderson and Richard Thompson.

2:12:522:12:57

APPLAUSE

CHUCKLES

2:12:572:13:04

Actually, I remember seeing both of

you start your career is, certainly

2:13:042:13:09

when I was in London in the late

60s, at more or less the same time,

2:13:092:13:14

I remember seeing you the first time

Richard at Middle Earth in Covent

2:13:142:13:19

Garden in 67.

Yes, we played Middle

earth all the time, about once a

2:13:192:13:24

week. The biggest break of your

career was six hours between sets at

2:13:242:13:34

Middle Earth. From 90 until 6am and

you had to find something to do in

2:13:342:13:40

between.

I just about moved in there

every weekend!

It is extraordinary,

2:13:402:13:45

a basement in Covent Garden.

There

was an amazing sense of optimism in

2:13:452:13:51

the air somehow, in the late 60s.

There was an amazing sense of

2:13:512:13:55

terror. I'm sure you are the same,

lots of us had probably quit school

2:13:552:14:00

and music was the big chance. If it

had gone wrong, some of us didn't

2:14:002:14:05

have a plan B or C. I always

remember it as being a bit

2:14:052:14:10

frightening, being now determined to

try make it as a musician but

2:14:102:14:14

knowing that the odds were fairly

seriously stacked against me, or us,

2:14:142:14:19

the band. It was hard then, it must

be a lot harder to date.

At that

2:14:192:14:24

time, record companies were very

confused about the direction of

2:14:242:14:28

music. They didn't know who design,

so they just find everybody,

2:14:282:14:36

including us, in a space of three

months. From when we got started, we

2:14:362:14:40

were signed in three months,

extraordinary.

It's a good point. I

2:14:402:14:46

think if anything, you were even

bigger in America than you were

2:14:462:14:49

here. So much of the success that

British bands were getting in the

2:14:492:14:56

States was driven, the fuel in that

engine with American FM radio.

2:14:562:15:04

An hour appearance on The Old Grey

Whistle Test wasn't from your

2:15:042:15:07

smaller studio, it was from the wide

open spaces of Madison Square

2:15:072:15:11

Gardens. Under the

2:15:112:15:18

Gardens. Under the The Old Grey

Whistle Test we did a live broadcast

2:15:182:15:22

of music from there.

We were there

filming you and reflected your

2:15:222:15:29

performance in Britain. That was

huge news across all media. I

2:15:292:15:34

remember sitting in the hotel room

in the led up to it all and the ABC

2:15:342:15:40

or MBC news you were second story.

There was a kind of acknowledgment

2:15:402:15:47

and embracing of rock music in

America, even more probably than

2:15:472:15:52

here. It was part of the whole

culture there?

Possibly. In radio

2:15:522:15:58

there was. Radio was the big thing.

They played albums. Led Zeppelin

2:15:582:16:05

never released singles.

2:16:052:16:11

never released singles. They would

release every track on the album. It

2:16:112:16:13

would never have happened in the UK.

We did have our own rather special

2:16:132:16:17

scene. I think we always, as they

say, punched above our weight in

2:16:172:16:22

terms of having real international

success for a whole generation of

2:16:222:16:26

British bands in the late 60s and

through the 70s. Then of course in

2:16:262:16:31

the 80s with the people like Gary

Numan who, suddenly, wow, this is

2:16:312:16:35

the new thing. It's still British.

Yes. Richard, much the same with

2:16:352:16:39

you, in terms of translating your

music... Your acceptance in America.

2:16:392:16:44

What I love about where you are,

part of where your career is at now

2:16:442:16:49

it's based in Nashville. You are a

trail bladeser winner with the

2:16:492:16:59

American, Lifetime Achievement

Acknowledged by the Music

2:16:592:17:06

Association in Nashville. It's still

the home of the Song.

It is. It's

2:17:062:17:10

home of this counter culture. What

they call Americana. It includes

2:17:102:17:19

people like me who don't play an

American style. I am included

2:17:192:17:24

perhaps bob Marley would be

considered as well in a twisted way.

2:17:242:17:30

It's nice there is a place for what

I call serious songwriters, serious

2:17:302:17:37

music so the whole Nashville

underground, Americana thing is a

2:17:372:17:43

really good movement. I think.

We

both do, don't we. We spend a lot of

2:17:432:17:46

time there. Buddy Miller is a great

hero of Mine.

Mine too.

You worked

2:17:462:17:53

with him in Nashville?

Absolutely.

It's just wonderful that not

2:17:532:18:00

everything is driven by money. The

music can still flourish. Sometimes

2:18:002:18:06

the worse it gets, in terms of

corporate interest in music. Then

2:18:062:18:12

the bigger the counter culture, the

bigger the backlash.

What is really

2:18:122:18:16

good is the clash of cultures.

Imagine Progrock the home of the

2:18:162:18:24

grand

2:18:242:18:31

grand old opri. It's the heart of

Nashville music.

They had a picture

2:18:312:18:40

of Elvis in the back.

Oblivious to

the fact they had him on once. They

2:18:402:18:46

thought he was terrible he never

came back. Now of course it's like,

2:18:462:18:55

oh, we had Elvis.

James Brown

played. I'm sure you know the story.

2:18:562:19:01

We must move on. So much to pack

into the show. We will see you in a

2:19:012:19:08

second Richard. Ian Anderson,

pleasure to see you.

2:19:082:19:17

After Annie Nightingale's departure

from the programme in 1982 the

2:19:172:19:25

presentation reins were taken up by

Mark Ellen and David Hepworth. It

2:19:252:19:31

was getting poked away last thing at

night after the snooker or something

2:19:312:19:34

like that.

Whistle Test take as

break now for two weeks to make way

2:19:342:19:42

for the Wimbledon fortnight.

You

have to be forgiving of the sound.

2:19:422:19:45

Those were in the days when

everybody had rubbish rented telly

2:19:452:19:49

with the speaker about that size. It

was a miracle you managed to make

2:19:492:19:55

contact.

2:19:552:20:00

# Billy got down on his hands and

knees... #

2:20:002:20:03

It was a thing you watched because

it was the only place that you were

2:20:032:20:08

going to see Little Feet or Keith

Richards being interviewed all the

2:20:082:20:14

things that were going on in music

in the 1970s. You weren't going to

2:20:142:20:18

see it anywhere else at all. Are you

thinking about a tour for Britain.

2:20:182:20:22

If it hasn't sunk before Christmas,

I wouldn't mind doing a few gigs.

2:20:222:20:32

# May you never lay your head down

without a hand to hold... #

2:20:322:20:37

John Martin turned up and I knew of

John Martin, but I don't think I

2:20:372:20:42

ever really heard him. I probably

was working in a record shop at the

2:20:422:20:49

time, which is quite remarkable that

I hadn't heard him. He played May

2:20:492:20:53

You Never. For the rest of his life,

John Martin was the guy who played

2:20:532:21:02

May You Never on The Whistle Test.

2:21:022:21:12

I took over and they got Mark in.

2:21:122:21:18

Mark Saturday in for John Peel. We

knew each other and worked closely

2:21:182:21:24

together at Smash Hits. There was, I

suppose, a bit of chemistry.

This

2:21:242:21:29

chap on my right here actually

claims that this week he was rung up

2:21:292:21:35

by a lookalike agency and asked to

play the part of Paul McCar any in a

2:21:352:21:39

film. You can confirm or deny

It's

true. I felt obliged to turn it

2:21:392:21:47

down. I didn't feel young enough to

be for the part.

Mike Appleton said

2:21:472:21:51

it should have been journalist led.

To present music on the telly you

2:21:512:21:56

have to be a cheerleader. We weren't

like that at all. We were

2:21:562:21:59

journalists. These bloke in the

sweaters, Big Country. We were, oh,

2:21:592:22:06

that's all right. We would go, no,

this is great.

The only remaining

2:22:062:22:12

visual record of a great group this

is Steely Dan.

That is what

2:22:122:22:18

journalists do. They are snobs, they

are opinionated. I introduced REM.

2:22:182:22:26

Let me tell you, standing in front

of a band introducing them when they

2:22:262:22:32

can hear you is the worst thing in

the world.

Some people would tell

2:22:322:22:38

you no decent groups come out of

America these days. You have to know

2:22:382:22:42

where to look. Sglp you have to

compose something to say about them

2:22:422:22:46

which is Mott what they say in their

bio. They say, "world beating four

2:22:462:22:54

piece in Georgia. Their new album is

the greatest things they've ever

2:22:542:22:59

done or anybody has ever done." You

can't say. That you say something

2:22:592:23:03

that you hope is amusing or

perceptionive. Guardians of that

2:23:032:23:10

gangling guitar, REM. This is

2:23:102:23:19

gangling guitar, REM. This is a

previously unrecorded song Old Man

2:23:222:23:25

Kensey.

We were fortunate to be

there when some of the people who

2:23:252:23:30

did some of the greatest rock music

were doing it and looked fabulous

2:23:302:23:34

doing it.

2:23:342:23:37

Fabulous indeed.

2:23:512:23:52

The great REM remembered

there by David Hepworth.

2:23:522:23:54

And time to reminisce a little more

with guests here in the studio

2:23:542:23:57

and I'm joined by Toyah Willcox

and the mighty Chris Difford.

2:23:572:23:59

Nice to see you.

Good to see you.

Good that you are here. Something

2:23:592:24:04

that I'm so interested to hear from

both of you, OK. David was eluding

2:24:042:24:11

there to the idea of record

companies getting behind people.

2:24:112:24:14

You got the big PR machines and

everything else. Sglm how much is a

2:24:142:24:22

career based on cornerstone

decision-making or how much of it is

2:24:222:24:26

based on just getting swept up and

going with what happens to you?

40

2:24:262:24:31

years ago I would say very little

happened by accident. I was one of

2:24:312:24:35

the last punk artists to be signed

at the end of the 70s. No-one why...

2:24:352:24:41

We didn't know why I wasn't signed

because wherever I played. The pub

2:24:412:24:47

circuit was a healthy touring

circuit back then. 2,000 kids would

2:24:472:24:50

turn up every night and take the

town over. Yet, I was still an

2:24:502:24:55

unsigned artist. It wasn't until I

was signed that I could be taken

2:24:552:25:00

into the national league, as it

were. I think very little happened

2:25:002:25:05

by accident back then.

Yeah. How

much do you surrender to that?

I

2:25:052:25:11

didn't surrender I became an

absolute Hitler. I want this, I want

2:25:112:25:15

that. I want this video to look like

that. I want to look like this. I

2:25:152:25:20

refuse to be girlie, girlie. I have

to be a strong Joan of Arc. I was at

2:25:202:25:28

the Helm with experts behind me who

had to organise the vinyl getting

2:25:282:25:32

into the shops. Who had to organise

the record stations having the

2:25:322:25:36

vinyl. An artist can't do that. The

team does that.

What about you

2:25:362:25:41

Chris?

I don't remember!

Whistle

Test was an important moment for

2:25:412:25:48

Squeeze, wasn't it?

It was. Being in

this building is like being back at

2:25:482:25:52

school. Looking at the steps to the

dressing rooms reminds me of being

2:25:522:25:56

down there chasing Leg and Co around

doing Top of the Pops. Lovely being

2:25:562:26:01

back here. A great idea to be here.

Yeah. It's so interesting to me the

2:26:012:26:07

way that careers are built. Chris,

you are doing fantastic work

2:26:072:26:14

supporting young artists through

songwriting retreats. You match up

2:26:142:26:28

establish songwriters with young

writers.

I do two year. Supported by

2:26:282:26:34

the Buddy Holly Foundation. As our

special guest we have 20, 25 writers

2:26:342:26:39

from all over the world and they all

come and work with the novice

2:26:392:26:44

writers and share. It works really,

really well. Unfortunately, there

2:26:442:26:50

isn't an The Old Grey Whistle Test

at the end of it, like there used to

2:26:502:26:53

be when we were growing up because

there's so little on telly now.

2:26:532:27:00

There is the great Later by a good

friend of mine Jools Holland. He's

2:27:002:27:05

brilliant at it.

Absolutely. We move

into the 80s when Whistle Test

2:27:052:27:11

started, as we said earlier, there

wasn't a huge competition. We didn't

2:27:112:27:15

have multi channel media the way we

do now. Videos weren't part of the

2:27:152:27:20

mix until a little later. As you

were establishing your career,

2:27:202:27:24

Toyah, then you had all those

opportunities opening up to you,

2:27:242:27:27

didn't you?

1981, the start of MTV.

Everyone laughed at the thought of

2:27:272:27:33

24-hour TV. Who the hell would want

to watch telly 24-hours? Suddenly it

2:27:332:27:38

took off and you needed content. It

meant you had to be able to make

2:27:382:27:42

these three minute movies to go with

the song. I absolutely loved that.

2:27:422:27:47

I'm anle actress as well as a

singer. It was an opportunity to

2:27:472:27:52

just show another side of the artist

as well. To create these visions and

2:27:522:27:59

these styles, and to drive something

forward through image as well as

2:27:592:28:03

sound I always found yeah.

Making

videos really, really tough I didn't

2:28:032:28:07

have any of those acting skills. I

just felt very out of place the

2:28:072:28:11

whole time. You know.

Each of you,

it's become a theme really, in a

2:28:112:28:16

way, during the course of this

evening, career longevity does to a

2:28:162:28:25

certain extent depend on diversity.

Yes.

You are prepared to put

2:28:252:28:29

yourself on the line. To try things

that aren't completely, you are

2:28:292:28:32

moving out of your comfort zone and

experimenting and you as an

2:28:322:28:36

Octoberor the other things that you

have done, Toyah, you have expressed

2:28:362:28:39

your self in lots of different

fields?

That is partly accident. I

2:28:392:28:44

have to work. I want to be creative

and if I'm not being offered work,

2:28:442:28:48

I'll create work. My life has

suddenly gone full circle. I'm on

2:28:482:28:54

stage in the stage version of

Jubilee, the first ever punk movie

2:28:542:28:58

to be made. It's using my music.

It's very exciting.

You are the only

2:28:582:29:04

one who is fully clothed, is that

right?

Only one fully clothed. I'm

2:29:042:29:09

60 this year. You don't want to see

any of that. I like to work. I like

2:29:092:29:14

to meet my audience. When I'm not

acting I do four shows a week, art

2:29:142:29:21

centres, festivals. I could play to

150 people one night and 60,000 the

2:29:212:29:27

next Night.

It's fun. Organic. I'm

not owned by a corporation, which

2:29:272:29:31

gives me the freedom to do that.

Absolutely.

That's great.

Both of

2:29:312:29:36

you put huge energy into the work

you do. We are so grateful for it.

2:29:362:29:40

Thank you. Chris Difford and Toyah

Wilcox. Thank you very much indeed.

2:29:402:29:44

Thank you.

APPLAUSE

2:29:442:29:51

Our next performer is a truly great

musician. We were saying earlier, I

2:29:522:29:57

first saw him play over 50 years ago

in the summer of 1967, when

2:29:572:30:05

in the summer of 1967, when he was a

young guitarist. He is now

2:30:062:30:09

established as one of the greatest

writers and musicians of the world.

2:30:092:30:13

Please welcome, Richard Thompson!

APPLAUSE

2:30:132:30:19

# My father he rides

with your sheriffs

2:30:272:30:34

# And I know he would

never mean harm

2:30:342:30:38

# But to see both sides of a quarrel

2:30:382:30:46

# Is to judge without hate or love

2:30:462:30:48

# Oh, oh, helpless and slow

2:30:482:30:55

# And you don't have anywhere to go

2:30:552:31:03

# You take away homes

from the homeless

2:31:042:31:08

# And leave them to die in the cold

2:31:082:31:16

# The gypsy who begs

for your presents

2:31:162:31:20

# He will laugh in your

face when you're old

2:31:202:31:26

# Oh, oh, helpless and slow

2:31:262:31:34

# And you don't have anywhere to go

2:31:342:31:42

# Well one man he

drinks up his whiskey

2:32:032:32:05

# Another he drinks up his wine

2:32:052:32:09

# And they'll drink 'till

their eyes are red with hate

2:32:092:32:15

# For those of a different kind

2:32:152:32:19

# Oh, oh, helpless and slow

2:32:192:32:27

# And you don't have anywhere to go

2:32:282:32:33

# When the rivers run

thicker than trouble

2:32:332:32:35

# I'll be there at your

side in the flood

2:32:352:32:37

# T'was all I could

do to keep myself

2:32:372:32:39

# From taking revenge on your blood

2:32:392:32:41

# Oh, oh, helpless and slow

2:32:412:32:49

# And you don't have anywhere to go

2:32:502:32:58

# Oh, oh, helpless and slow

2:32:582:33:05

# And you don't have

anywhere to go #.

2:33:052:33:13

CHEERING AND APPLAUSE

2:33:182:33:27

Thank you. There's a song I did back

in 18... 69... Or it seemed like it,

2:33:272:33:42

anyway! This is something brand-new.

2:33:422:33:55

# Dance with the Devil

# Jesus save me from a bottle of gin

2:34:002:34:10

Ericsson save me from the Saints and

sinners...

2:34:102:34:13

# Voice might come when you're

taking your pleasure,

2:34:132:34:19

# Voice might come when you're

resting your bones

2:34:192:34:21

# It'll test you if you think you're

alone.

2:34:212:34:29

# Just when you think your voices

running,

2:34:292:34:33

# Just when you think you're fixing

the wind

2:34:332:34:36

# There's that wandering deep within

# Bouzkova save you from a bottle of

2:34:362:34:41

gin?

# Save a man, save a man, save a

2:34:412:34:47

man...

2:34:472:34:49

# Might save you from a dance with

the Devil

2:35:072:35:11

# Who will save you from a bottle of

gin

2:35:112:35:16

# Who will save you from within?

# Man has muscle and he will rustle

2:35:162:35:22

# Who's going to sit on when the

Tampa is empty -- the tank is empty

2:35:222:35:31

# Just when you think your hostel is

running

2:35:312:35:34

# Start to wonder deep inside, who

will save you from the rattle

2:35:342:35:44

within?

# Save me, save me, save me

2:35:442:35:48

# From the rattle within...

2:35:482:35:55

# Save you from a dance with the

Devil

2:36:062:36:11

# Who's going to save you from the

rattle within?

2:36:112:36:14

# Who's going to save you from the

bottle of gin?

2:36:142:36:17

# Who's going to save you from the

rattle within?

2:36:172:36:21

# Who's going to save you from the

rattle within? #.

2:36:212:36:26

CHEERING AND APPLAUSE

2:36:262:36:30

Just fantastic, thank you very much

to Richard Thompson.

2:36:342:36:39

Back to the Whistle Test story now,

where our timeline has

2:36:392:36:41

moved into the 1980s.

2:36:412:36:46

In 1984, Channel 4's music show

The Tube was giving Whistle Test

2:36:462:36:49

a serious run for its money.

2:36:492:36:56

Enter Andy Kershaw.

2:36:562:36:56

He was young, he was passionate

about music, and he was

2:36:562:36:59

initially terrified!

2:36:592:37:04

When I first started, when it was

live, it was terrifying.

Introduced

2:37:042:37:08

to you by our new shy and retiring

recruit over on my right.

And bang

2:37:082:37:14

up-to-the-minute, Radio 1's Richard

Skinner is here...

2:37:142:37:17

The moment came when I saw the red

light go on and the camera, which

2:37:172:37:20

meant it was live, pointing at me

and we were going out, think I'd

2:37:202:37:23

reached that point where complete

and utter fear fades into the

2:37:232:37:33

serenity of fatalism.

At the end of the programme we will

2:37:332:37:36

show you the winning video in its

entirety, so here are this week's

2:37:362:37:39

candidates.

To this day, people recalled my

2:37:392:37:46

introduction to the Smiths.

Last time I sat down and tried to

2:37:462:37:49

make a list of the truly great

British bands of the 1980s, bands

2:37:492:37:54

whose writing and recording would

endure. At an hour I stared at a

2:37:542:37:57

piece of paper with only one name on

it, the Smiths!

2:37:572:38:02

Apparently, I said something that

was quite.... Eder perceptive or

2:38:062:38:09

prophetic. -- either perceptive or

prophetic.

2:38:092:38:16

Neil Morrisey having the reputation

of being rather surly, took himself

2:38:192:38:26

very seriously, on the contrary.

After a couple of glasses of

2:38:262:38:30

lukewarm bluesy hospitality, a most

amusing and engaging fella, we got

2:38:302:38:36

on like a house on fire.

2:38:362:38:39

The worst interview I've ever done

in my life, and it was the biggest

2:38:442:38:49

scoop the ball, getting Bob Dylan

talking on British television for

2:38:492:38:52

the first time.

Now were really funny thing

2:38:522:38:55

happened, when I was making my way

home on Friday evening. I heard Bob

2:38:552:39:00

Stewart was working on a London

studio cycle, in for a penny, in for

2:39:002:39:03

a pound, let's go round there. I

knocked on the door and it can we

2:39:032:39:07

filmed them? They said for your

cheek, if you can get the film crew

2:39:072:39:10

here within the hour, you can.

2:39:102:39:15

He was taller than I'd been led to

believe. He'd been quite chatty, as

2:39:162:39:23

soon as the film crew turned up, he

turned into a monosyllabic Crump.

2:39:232:39:28

What made you come to London to work

with Dave Stewart?

I wanted to work

2:39:282:39:33

with Dave.

For what particular

reason, what attracted you to Dave?

2:39:332:39:37

He's great.

LAUGHTER

I could have run his neck. The night

2:39:372:39:46

we had the Ramon is Inn was

memorable.

2:39:462:39:52

memorable. -- the Ramones. In the

afternoon during rehearsals it was

2:39:522:39:55

loud, really loud! And some blokes

appeared, God knows, collar and tie,

2:39:552:40:04

with a noise meter. There was some

huddled discussions with Trevor, the

2:40:042:40:08

producer. I remember Trevor saying,

they've told us we had to turn it

2:40:082:40:12

down. I thought, bloody killjoys.

So I turned up the telly, open the

2:40:122:40:19

windows, here are the Ramones and

their new single Chasing The Night.

2:40:192:40:24

I slipped into the studio and turned

the amps back up to full. They were

2:40:242:40:35

bloody loud again by the time they

performed, I made sure of that.

2:40:352:40:40

It was really good fun. And we did

some good work, you know. I'm rather

2:40:432:40:50

proud of what we did with the

Whistle Test. I really am.

2:40:502:40:57

We all are! God bless you Andy

Kershaw. Brilliant stuff!

2:40:572:41:03

So, the votes are in and it's time

to reveal the classic

2:41:032:41:05

performance that you would

like to see in full...

2:41:052:41:11

And... Not really surprising at all.

2:41:112:41:21

It is The Wailers and Stir It Up,

let's have a look.

2:41:212:41:29

# Stir it up; little

darlin', stir it up

2:41:462:41:54

# Come on, baby

2:41:542:42:02

# Stir it up: little

darlin', stir it up.

2:42:022:42:06

# O-oh!

2:42:062:42:10

# It's been a long, long time, yeah!

2:42:102:42:12

# (Stir it, stir it,

stir it together)

2:42:122:42:14

# Since I got you on my mind.

2:42:142:42:17

# (Ooh-ooh-ooh-ooh) Oh-oh!

2:42:172:42:22

# Now you are here (stir it,

stir it, stir it together),

2:42:222:42:25

# I said, it's so clear

2:42:252:42:30

# There's so much we could do,

baby, (ooh-ooh-ooh-ooh)

2:42:302:42:34

# Just me and you

2:42:342:42:42

# Come on and stir it up;

little darlin'!

2:42:422:42:44

# Stir it up; come on, baby!

2:42:442:42:51

# Come on and stir it up, yeah!

2:42:512:42:53

# Little darlin', stir it up

2:42:532:42:58

# O-oh

2:42:582:43:02

# I'll push the wood (stir it,

stir it, stir it together)

2:43:022:43:09

# Then I blaze ya fire

2:43:092:43:11

# Then I'll satisfy

your heart's desire

2:43:112:43:13

# (Ooh-ooh-ooh-ooh)

2:43:132:43:15

# Said, I stir it every (stir it,

stir it, stir it together)

2:43:152:43:19

# Every minute

2:43:192:43:21

# All you got to do,

baby, (ooh-ooh-ooh-ooh)

2:43:212:43:25

# Is keep it in, eh!

2:43:252:43:33

# Stir it up, I will

little darling!

2:43:342:43:36

# Stir it up; come on, baby

2:43:362:43:44

# Come on and stir it up, yeah

2:43:442:43:46

# Little darling, stir it up

2:43:462:43:53

# O-oh

2:43:532:44:01

Their first-ever TV appearance at

the UK one of the most important

2:45:152:45:19

sessions in the entire Whistle Test

history, The Wailers and Stir It Up.

2:45:192:45:24

Thank you to everybody who voted.

2:45:242:45:30

It was fantastic

to see that again in full.

2:45:312:45:34

We're coming up to the end

of the show and three hours, not

2:45:342:45:37

to say thirty years,

has gone by in a flash.

2:45:372:45:39

We have one more live performance

to bring you in a moment, but first

2:45:392:45:42

one last look back at the show

which changed my life and I hope

2:45:422:45:46

made a real difference to yours...

2:45:462:45:49

It's almost sadly the end of this

week's programme.

I think at its

2:45:522:45:58

best Whistle Test was kind of

harmonious with a kind of form of

2:45:582:46:05

music and a style of music that

still endures, and it's just happily

2:46:052:46:13

associated with those people.

2:46:132:46:19

associated with those people.

As a

viewer, when I was in my teens, you

2:46:222:46:27

felt like you were the member of

some very private, late-night club,

2:46:272:46:34

open exclusively to those with very

good taste in music.

2:46:342:46:40

# Gave rock-and-roll to you

# Put in the souls of everyone... #

2:46:402:46:47

It's a library of musical history.

They got the biggest artists and

2:46:472:46:51

bands of the time to do really

intimate sessions. They just don't

2:46:512:46:55

exist anywhere else.

2:46:552:47:01

exist anywhere else.

I was in a bar

in Tokyo and the owner, we just got

2:47:022:47:07

chatting, he was like, "what are you

doing here?" I was the English bloke

2:47:072:47:12

at the bar. I said, "I work for BBC

Radio." He said "BBC Radio, do you

2:47:122:47:20

know Annie Nightingale?" I said, "I

know Annie" he went, "do you know

2:47:202:47:26

Bob Harris" I went, "yeah, I know

Bob Bob Harris" he said The Old Grey

2:47:262:47:33

Whistle Test we always show it in

the bar" I Facetimed Bob, we were

2:47:332:47:38

drunk. I was eessentially passing

Bob around the bar and waving at

2:47:382:47:43

everybody. It was a completely

surreal experience. It shows you how

2:47:432:47:49

big that show was, and is, and how

famous it made the presenters.

2:47:492:47:56

# If you want to be a singer or play

guitar... #

2:47:562:48:01

I miss The Whistle Test. There

really isn't anything that's

2:48:012:48:05

comparable on television to it. How

can an act do what I did now?

2:48:052:48:22

It was really, really important for

young artists to appear on that

2:48:302:48:35

programme, to get recognition. There

wasn't many shows to appear on. But

2:48:352:48:39

if you got on the The Old Grey

Whistle Test you knew you kind of,

2:48:392:48:43

you know, it meant something. It

meant something that you had me on

2:48:432:48:46

there. I have very, very fond

memories of our friendship and being

2:48:462:48:52

on that programme. So all I can say

is, 100,000 years later is, thank

2:48:522:48:59

you very much.

Hi, Bob, Roger from

Queen, we have great memories of The

2:48:592:49:06

Old Grey Whistle Test Live from

Hammersmith oweden on Christmas Eve,

2:49:062:49:10

75 I think. Great memories of

running around Texas with you and

2:49:102:49:14

all the very best to you and wish

you the best for this show. We do.

2:49:142:49:20

You are a true music appreciator,

and I think artists understand the

2:49:202:49:26

difference. You are that difference.

Bob Harris and Annie Nightingale

2:49:262:49:32

from the programme are very

important people to us, and they

2:49:322:49:36

still are. So these days we like to

salute the fact that Bob is part of

2:49:362:49:43

our extended family, if you like. We

are very grateful to you Bob and

2:49:432:49:48

we're very grateful to The Whistle

Test for giving us our first little

2:49:482:49:52

tiny step, our first visit to the

first wrung of the ladder on the way

2:49:522:49:56

up to what we became. I don't know

quite what we became, but it all

2:49:562:50:00

seemed to go quite well.

It was

wonderful to be on your show.

2:50:002:50:04

Somehow everybody that appeared on

your show felt that we were being

2:50:042:50:08

blessed in a way or honoured to be

on your show because somehow you had

2:50:082:50:14

this reputation for only having the

creme de la creme. It was a great

2:50:142:50:19

honour to do your show and to be

friends with you and be able to

2:50:192:50:24

share our love of music.

So I just

take one note to say goodbye. Bob,

2:50:242:50:31

you just keep on whispering, my

friend.

2:50:312:50:37

I'll keep on twanging. Now that man

is a legend. Just great, great

2:50:462:50:53

stuff.

APPLAUSE

2:50:532:50:56

That really is it. Thank you to all

my guests tonight. Thanks to all

2:50:562:51:02

those Whistle Testers who couldn't

be here with us this evening, and

2:51:022:51:06

thank you for watching. But to play

us out this evening it's a another

2:51:062:51:12

TV debut from a wonderful

singer/songwriter from Liverpool. I

2:51:122:51:16

saw him play over three years ago.

Since then he's gone from strength

2:51:162:51:21

to strength winning Album Of The

Year at the AMA UK Awards this year

2:51:212:51:26

for his latest release Make the Post

most of my Sins. Enjoy the

2:51:262:51:35

incredible Robert Vincent.

APPLAUSE

2:51:352:51:50

# We were holding onto nothing

2:52:012:52:04

# Nothing that I want

2:52:042:52:12

# Scared of each other's shadows

2:52:132:52:19

# And each other's wants

2:52:192:52:25

# You were holding on to fear

2:52:252:52:30

# You were holding onto me

2:52:302:52:38

# I'm so in love

2:52:382:52:42

# I'm so in love

2:52:422:52:50

# With you

2:52:562:52:57

# I'm so in love back then

2:52:572:53:15

# You took the right decision

2:53:162:53:23

# It worked for us both

2:53:232:53:31

# At the slight indecision

that cut to the core

2:53:442:53:52

# And I was holding on to sails,

like fish in the sea

2:53:522:53:56

# I'm so in love back then

2:53:562:54:08

# I'm so in love back then

2:54:082:54:26

INSTRUMENTAL

2:54:572:55:07

# I'm so in love

2:55:092:55:17

# I was so in love back then

2:55:282:55:30

# I'm so in love

2:55:302:55:34

# I was so in love back then

2:55:342:55:41

# I was so in love

2:55:412:55:42

# I'm so in love

2:55:422:55:47

# I was so in love back then

2:55:472:55:49

# I was so in love back then

2:55:492:56:05

CHEERING AND APPLAUSE

Thank you very much. It's lovely to

2:56:192:56:23

be here. Thanks very much to Bob for

having us. It's been such a great

2:56:232:56:31

night, I'm sure you'll all agree.

I'm going to leave you with a little

2:56:312:56:37

song now called Demons.

2:56:372:56:40

# When you're facing your demons

2:56:402:56:42

# When you fall to the floor

2:56:422:56:50

# With no particular reason,

you just know that you want more

2:56:532:57:01

When you're fighting to see,

what you know is in your sights

2:57:032:57:11

# And you're treading deep water,

just to try to make it right

2:57:132:57:21

# The theory it grabs you,

nearly tears you apart

2:57:282:57:36

# And you know and you know

and you know and you know

2:57:372:57:40

and you know that it's not hard

2:57:402:57:48

# When you're faced with decisions,

that can go to a throw

2:57:552:58:02

# And you know that you must make

them, choose right once and for all

2:58:022:58:10

# When you're out of your depth,

on the tips of your toes

2:58:122:58:20

# And the bluffs almost up

And your waters just flows

2:58:242:58:32

# And the silence surrounds you,

closing off your escape

2:58:362:58:44

# And you know and you know and you

know and you know and you know that

2:58:492:58:53

you're OK

2:58:532:59:01

# When you're put in positions

that you can't abide

2:59:072:59:15

# So you turn to your good friends,

but they take different sides

2:59:182:59:26

# When you're facing your demons

2:59:292:59:36

# When you fall to the floor

2:59:362:59:44

# For no particular reason,

you just know you want more

2:59:442:59:52

# And the feeling grabs

you and nearly tears you apart

3:00:023:00:08

# And you know and you know and you

know and you know and you know

3:00:083:00:12

that it's not hard

3:00:123:00:20

# And the silence surrounds you,

closing off your escape

3:00:223:00:30

# And you know and you know

and you know and you know that that

3:00:333:00:36

you're OK

3:00:363:00:44

# When you're facing your demons #.

3:00:463:00:58

Thank you.

CHEERING AND APPLAUSE

3:00:583:01:08

Hosted by Bob Harris, this live studio show features music, special guests and rare archive footage to mark the 30 years since the legendary series was last broadcast.

Featuring performances from Peter Frampton, Richard Thompson, Albert Lee and more. Bob also chats to Whistle Test alumni, including Dave Stewart, Joan Armatrading, Ian Anderson, Chris Difford and Kiki Dee, as well as fan Danny Baker.