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Downloaded from
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Official YIFY movies site:
YTS.MX

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Let's throw around some ideas
about what we're gonna do today.

4
00:00:11,282 --> 00:00:13,642
-I've got a few ideas in mind--
-No, excuse me darling, no,

5
00:00:13,642 --> 00:00:15,402
I still love you.
Really, I do love you

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00:00:15,402 --> 00:00:17,082
but you do your job, you know?

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00:00:17,082 --> 00:00:18,842
You do your job
and I'll do mine, okay?

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00:00:18,842 --> 00:00:20,762
I still love you, so let's go
for a take then, shall we?

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00:00:20,802 --> 00:00:22,482
-Okay? Yeah, brilliant.
-Sure.

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00:00:23,802 --> 00:00:27,002
["Shout to the Top!" plays]

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00:00:28,002 --> 00:00:29,842
It was the freedom
I was looking for

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00:00:29,842 --> 00:00:31,402
coming out of The Jam.

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And I found it
within that situation,

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00:00:34,521 --> 00:00:35,561
that set up, you know?

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00:00:35,801 --> 00:00:38,681
I was half in mind
I was half in need

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And as the rain came down
I dropped to my knees

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And I prayed

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00:00:44,441 --> 00:00:46,680
[Mick] The Style Council
were very much

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00:00:47,120 --> 00:00:48,720
out on our own in the '80s.

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00:00:48,720 --> 00:00:51,120
We weren't a stereotypical
sort of '80s band.

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00:00:51,520 --> 00:00:53,840
I wish to stay forever...

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00:00:54,360 --> 00:00:55,880
[Dee C] You gotta keep changing
the game,

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00:00:55,880 --> 00:00:56,960
you gotta keep upping it

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00:00:57,000 --> 00:00:58,920
and you gotta keep mixing it up,
you know.

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00:00:58,960 --> 00:01:00,360
That's what keeps it exciting.

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Once in a while

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I just can't help it

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It's that same old thing

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[Steve] It was such
a fantastic thing to be part of.

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00:01:08,640 --> 00:01:10,640
It was almost, like,
unstoppable, you know,

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it was a fantastic time.

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Have you ever had it blue?

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Have you ever had it blue?

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[Martin] For me it was
and remains

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one of the best combinations
of music and look

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00:01:23,279 --> 00:01:24,999
in a-- in a pop group ever.

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Feel it deep inside

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[Boy George] It was
in the soul pocket,

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but, you know,
using a bit of humor.

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You know, still a little bit of
a kind of punky spirit in there.

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It was kind of like
not what you expected.

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There's a girl in my heart

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And she keeps on stopping

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Right in front of my eyes

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[Billy]  The Style Council

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is when Paul
embraces pop music.

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'Cause you're the best thing
That ever happened

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[Billy] He says, "You know what?
Yeah, I am gonna be a pop star,

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and I am gonna stop
being a punk rocker outsider,

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and I'm gonna embrace pop music,
and I'm gonna make the videos,

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00:02:01,237 --> 00:02:02,557
and I'm gonna get the haircuts."

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And he had the chops to do it
and the vision to do it.

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No matter what I do

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[Tim] I don't think people
saw the Style Council coming.

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There was kind of
a like interesting

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sort of European feeling
to their music

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and I thought it was sort of
quite ahead of its time

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in many ways.

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Are you gonna try
To make this work

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Or spend your days down
In the dirt

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You see things can change

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Yes and walls
Can come tumbling down

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Governments crack
And systems fall...

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The Jam have announced
they're breaking up.

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The group are led by singer
and songwriter Paul Weller.

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At 24, he's become something
of a spokesman

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for the new beat generation.

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A police car
And a screaming siren

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A pneumatic drill
And ripped up concrete

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[Billy] There was something
about The Jam

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that was so essentially suburban
and working class, you know.

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"That's Entertainment"
was about me,

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I was-- all those images
were images in my life

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and I really,
really related to that.

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So when he broke 'em up,
I was like,

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"Well, what you gonna do now,
mate?"

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"I mean, how's this-- you know,
what's gonna happen now?"

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The smash of glass
And the rumble...

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[Paul] However much I loved
my time with The Jam, you know,

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it was just work, work, work,
you know,

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there was a tour
and then there was a record,

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then there was a tour,
then there was a record

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and it just seemed like
a kind of a bit of a treadmill,

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you know, which you have
to be on if you wanna make it

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and do what you do.

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That's entertainment

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Ah

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[Eddie] If you listen to
the last recordings of The Jam,

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he's obviously outgrown,
uh, the band,

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but they are the most
popular band in the country,

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they've got the most
loyal following

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and he went, "Do you know what?
I've had enough."

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[Nicky] You know,
it was kind of like, wow,

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you know,
you're top of your game

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and you're just like
packing it all in,

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but, you know, Paul's always
been one of them free spirits

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that kind of wants to
move forward and stuff.

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For the bitterest pill
Is hard to swallow

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[Jason] When I understood,
"Okay, there's a shift,

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there's a career move,
and it's at risk of losing

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a whole audience,"
all of a sudden

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I don't know,
I see him as an artist.

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[Boy George] The Jam was angry

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and got something to say,
you know,

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and then Style Council
was like whimsical, you know.

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It was probably quite surprising
for any like Mod fans.

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[Billy] Pretty soon,
it was clear that

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the sensibility that he had
was just gonna be communicated

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through a more jazzier,

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more soulful,
if you like, vibe.

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But the need to break it
all down

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and put it back together
another way,

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I can completely understand
that now.

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It's a big decision
In a town called Malice

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Ooh yeah

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It was just something
which I felt inside me,

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you know, you just gotta go
by instinct

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and I felt it was
the right thing to do.

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I thought about it,
it wasn't just as if

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I just sort of made
my mind up overnight.

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I don't know
what's gonna happen, you know,

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which I'm quite enjoying
at the moment,

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'cause like I said,
it's the first time

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for six years
it's been like that.

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So I'm just gonna enjoy
that for a little while,

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just see how it goes,
you know, take it as it comes.

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Whatever I do,
I wanna be successful

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otherwise to me there's no point
in doing it, you know?

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[Paul] It was liberating for me

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to, um, to start again really.

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To feel I've started again,
you know, after The Jam.

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My brother was in a band
with me

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called the Merton Parkas.

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A payment plan
That's so unique

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One hundred now
And the rest next week

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You need wheels

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If you wanna make deals

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[Mick] Danny had met Paul

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and he gave him a copy
of our first single.

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Paul didn't like it,
but he played the B-side

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and there's a piano solo in it.

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["I Don't Want You To Know"
by Merton Parkas playing]

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[Paul] It was finding somebody
that was the sort of

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same age as me

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who was into the same
sort of music

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and someone who could play,

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more importantly,
could play Hammond organ.

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There wasn't too many of those
people around really, you know?

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So, he contacted me.
He said, like, you know,

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"I'm gonna try
and start something

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that's a lot more loose,
not so regimented,

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but I'd like you
to be involved."

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And to find out a bit more about
what Paul's gonna do tonight,

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I'll ask him. Paul,
can you hear us?

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What you-- What are you--
What are you gonna do,

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00:06:06,025 --> 00:06:07,225
and what's it called?

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Um, I dunno, what is it?

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[audience laughs]

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We don't know,
we don't know, Pete.

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[Peter] Just make it up.

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It's kind of-- We kind of fit
into the electro pop duo thing.

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-[Peter] Right.
-We kind-- We kind of--

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-We align ourselves--
-[audience cheers]

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we align ourselves
with, like, Blancmange,

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Tears for Fears,
that sort of thing.

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[Peter] Right.

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That's why we're wearing makeup.

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[Peter] I understand,
I can see it.

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I kind of had ideas
of what I wanted it to be,

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The Style Council to be.

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But nothing too set at all,

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and kind of just sort of
open really.

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[Mick]  He particularly mentioned

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that he wanted to use
the Hammond quite a lot.

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[Paul]  And I just wanted to, um,

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to see where this thing
could go to,

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00:06:43,543 --> 00:06:46,503
this new-- this new band
could go to, you know.

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I didn't wanna
tour for a while, you know,

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00:06:48,983 --> 00:06:50,583
kind of had enough of that
for a little bit.

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The space between us for days
Has been so far

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Ah

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I've spent a lonely week

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Now I wanna be where you are

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We've got a head start

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For happiness
For our part

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Guess we must be kissed
By this force

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I feel inside

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Now I'm not gonna hide

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[Paul] And just to have
a completely open mind

190
00:07:18,942 --> 00:07:20,582
on it all, really, you know,

191
00:07:20,622 --> 00:07:23,262
on music, on the band, on life.

192
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Who I was. You know,
all those things, really,

193
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all those big questions,
really.

194
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Paul lent me a box of records,

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it might have been two boxes,

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but they were all sevens

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and a lot of them
were quite rare soul.

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Just the feel
and the instrumentation

199
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really influenced a lot
of what we were doing

200
00:07:40,180 --> 00:07:42,980
and Paul was saying, "This is
what I've been listening to."

201
00:07:43,260 --> 00:07:46,340
Some of 'em were sort of
more commercial jazz things,

202
00:07:46,340 --> 00:07:48,500
but in the main
they were soul records.

203
00:07:48,900 --> 00:07:51,980
That was a font
of sort of, uh, inspiration.

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00:07:53,019 --> 00:07:55,420
[Paul]
By the sort of January of '83

205
00:07:55,460 --> 00:07:57,940
we were kind of in the studio
really, doing the first single,

206
00:07:57,980 --> 00:07:59,620
you know,
and it just went on from that.

207
00:08:00,140 --> 00:08:02,700
Your hair hangs
In golden steps

208
00:08:02,700 --> 00:08:07,379
You're a bonafide
In every respect you are

209
00:08:07,379 --> 00:08:08,979
[Martin] It felt fresh
is what it felt,

210
00:08:08,979 --> 00:08:10,499
it felt exciting to me.

211
00:08:10,499 --> 00:08:14,379
It felt new, like it was--
like it was enjoyable.

212
00:08:14,379 --> 00:08:16,899
You know, coming in
with the double-edged sword

213
00:08:16,899 --> 00:08:19,139
rather than all the onus
being on him.

214
00:08:19,619 --> 00:08:21,338
I imagine that was quite nice.

215
00:08:21,658 --> 00:08:24,018
Mick, obviously, you know,

216
00:08:24,018 --> 00:08:27,618
brought a very different,
kind of, sort of flavor

217
00:08:27,618 --> 00:08:29,618
to what Paul was doing.

218
00:08:29,618 --> 00:08:32,618
You have to make
A bargain with me now

219
00:08:33,098 --> 00:08:34,658
[Martin] I mean,
The Style Council is half Mick,

220
00:08:34,698 --> 00:08:36,178
you know, it's not Paul Weller

221
00:08:36,178 --> 00:08:37,498
and then a bit
of this other bloke.

222
00:08:37,498 --> 00:08:40,098
Like, it's-- I totally see them
as a unit, you know.

223
00:08:40,138 --> 00:08:43,338
I think because Mick
is such a laid back

224
00:08:43,338 --> 00:08:45,738
kind of person,
I mean, he's very dry,

225
00:08:45,778 --> 00:08:47,497
he's very funny,
and I think that

226
00:08:47,777 --> 00:08:49,337
came out in Paul, you know?

227
00:08:49,377 --> 00:08:51,657
That was the thing that probably
surprised a lot of people

228
00:08:51,657 --> 00:08:53,537
about The Style Council
after The Jam,

229
00:08:53,577 --> 00:08:55,897
was that, "Oh, there's Paul
and he's got a sense of humor."

230
00:08:56,657 --> 00:09:00,297
I really like it
When you speak like a child

231
00:09:00,297 --> 00:09:02,176
The way
You're so proud to be

232
00:09:02,176 --> 00:09:05,216
Oh, so free and so wild

233
00:09:08,096 --> 00:09:10,896
[Paul]  We got Dee in to do
some backing vocals on--

234
00:09:11,136 --> 00:09:12,296
I can't remember what song,

235
00:09:12,296 --> 00:09:13,856
I know it's a very early single
anyway.

236
00:09:14,216 --> 00:09:16,016
You know,
she was a very busy girl

237
00:09:16,016 --> 00:09:17,336
at that time, you know?

238
00:09:17,376 --> 00:09:18,856
We were aware of her
through Wham!

239
00:09:18,896 --> 00:09:20,896
and Animal Light Eye, you know.

240
00:09:20,936 --> 00:09:22,896
[Dee C] When I first got there,
to Solid Bonds,

241
00:09:22,896 --> 00:09:25,736
I did notice these gold discs
on the wall

242
00:09:25,776 --> 00:09:27,976
and they're all saying,
"The Jam," so I said to Paul--

243
00:09:27,976 --> 00:09:30,175
And for some reason, I really
did not recognize him

244
00:09:30,175 --> 00:09:32,095
from the pictures in it
to the person

245
00:09:32,095 --> 00:09:33,615
who was standing in front of me.

246
00:09:33,615 --> 00:09:35,855
So, um, I did say, um,

247
00:09:35,895 --> 00:09:37,175
"You know, who are these guys?"
you know.

248
00:09:37,375 --> 00:09:39,815
He said, "Oh, some shit group
who record here," he said to me.

249
00:09:40,095 --> 00:09:41,895
And I totally fell for it,
and I went

250
00:09:41,895 --> 00:09:43,214
"Oh," didn't say anything else.

251
00:09:43,254 --> 00:09:44,974
We liked her and she seemed
part of us,

252
00:09:45,014 --> 00:09:46,854
so kind of everything
just kind of naturally

253
00:09:46,854 --> 00:09:47,814
just happened, you know.

254
00:09:48,014 --> 00:09:49,534
I actually think
if I had realized--

255
00:09:49,534 --> 00:09:51,134
if I had actually realized
who Paul was,

256
00:09:51,134 --> 00:09:52,654
I might not have taken the job,

257
00:09:52,814 --> 00:09:56,014
'cause I think I might have been
a little bit, um, overwhelmed.

258
00:09:56,014 --> 00:09:59,254
The first thing she sung with us
was  Money Go Round,

259
00:09:59,254 --> 00:10:01,134
and it just worked, you know.

260
00:10:01,134 --> 00:10:03,254
No good praying
To the pristine alters

261
00:10:05,014 --> 00:10:07,854
Waiting for the blessing
With Holy water

262
00:10:09,654 --> 00:10:11,253
[Paul]
We was auditioning for drummers,

263
00:10:11,253 --> 00:10:14,093
'cause I think, probably
for our tour maybe,

264
00:10:14,133 --> 00:10:15,653
I don't know,
I'm not sure anyway.

265
00:10:15,693 --> 00:10:17,933
But anyway, we met Steve White,
he came down,

266
00:10:17,933 --> 00:10:20,653
he was like the last drummer
of the day.

267
00:10:20,893 --> 00:10:22,493
I think we thought
we had a drummer.

268
00:10:22,493 --> 00:10:23,772
I think Steve turned up

269
00:10:24,052 --> 00:10:25,972
and he wouldn't take no
for an answer, you know?

270
00:10:25,972 --> 00:10:28,772
[Steve] Paul said then, "I think
we're sorted," you know.

271
00:10:28,812 --> 00:10:30,532
I said, "Can't I at least
have a play?"

272
00:10:30,572 --> 00:10:32,852
And he went, "Oh, I ain't
really got time."

273
00:10:32,852 --> 00:10:34,252
I said, "Go on,
let me have a play."

274
00:10:34,252 --> 00:10:37,052
And he says, "Oh, go on then,
go on, have a go."

275
00:10:37,052 --> 00:10:38,652
I said, "So what sort of stuff
are you into?"

276
00:10:38,652 --> 00:10:40,052
He went, "Well, I like a lot
of blue note."

277
00:10:40,092 --> 00:10:41,652
"Art Blakey?"
"Yeah, yeah, Art Blakey."

278
00:10:41,652 --> 00:10:43,532
And I started to playing
like-- terrible impression

279
00:10:43,572 --> 00:10:45,452
of Art Blakey.
"What else are you into?"

280
00:10:45,452 --> 00:10:46,932
He said, "Elvin Jones."

281
00:10:46,972 --> 00:10:49,012
Terrible impression
of Elvin Jones, you know.

282
00:10:49,052 --> 00:10:51,092
It was very fast
and very dexterous

283
00:10:51,092 --> 00:10:52,451
and quite explosive.

284
00:10:52,491 --> 00:10:54,211
But it seemed to have
a lot of passion.

285
00:10:54,211 --> 00:10:55,251
He was just amazing.

286
00:10:55,451 --> 00:10:57,331
He was only a kid,
like 17 or something like that.

287
00:10:57,611 --> 00:10:59,371
I just thought, "Right,
if he can do that,

288
00:10:59,371 --> 00:11:01,811
I suppose, you know,
he can do anything."

289
00:11:02,011 --> 00:11:04,211
[Steve] And he says, um,
"So tomorrow, we're doing this

290
00:11:04,211 --> 00:11:06,370
Kid Jensen show."
We weren't gonna use a band,

291
00:11:06,370 --> 00:11:08,050
you know,
but if you wanna do it,

292
00:11:08,050 --> 00:11:11,450
turn up, Maida Vale,
at five o'clock or whatever,

293
00:11:11,450 --> 00:11:13,250
we're going on at like 6:00."

294
00:11:13,250 --> 00:11:16,850
"The evening show, Kid Jensen,
13 million people listening."

295
00:11:16,850 --> 00:11:17,970
I'm like, "What we gonna play?"

296
00:11:18,170 --> 00:11:20,090
"Oh, we'll sort that out
tomorrow." That was it, he went.

297
00:11:20,290 --> 00:11:22,250
I think that was the first time
we played, um,

298
00:11:22,290 --> 00:11:23,290
"The Paris Match."

299
00:11:23,570 --> 00:11:25,410
["The Paris Match"
by The Style Council plays]

300
00:11:25,410 --> 00:11:26,970
I was just kind of singing it
to him,

301
00:11:26,970 --> 00:11:28,850
I was sitting next to him
on the drum stool.

302
00:11:28,890 --> 00:11:30,970
And that was it,
we did the session.

303
00:11:31,010 --> 00:11:33,289
...where you are

304
00:11:33,329 --> 00:11:37,169
You sort of clouded my mind

305
00:11:37,169 --> 00:11:38,729
[Paul]
We got our studio, Solid Bond,

306
00:11:38,769 --> 00:11:41,969
which was the old, um,
Phonogram studio,

307
00:11:41,969 --> 00:11:43,849
and before that
it was the Phillips studio

308
00:11:43,889 --> 00:11:45,409
where they did Dusty
and Scott Walker

309
00:11:45,409 --> 00:11:46,328
and all those people.

310
00:11:46,688 --> 00:11:48,768
So it had a real history to it.

311
00:11:48,808 --> 00:11:51,008
I really liked that studio,
I'd used it a few times

312
00:11:51,008 --> 00:11:52,248
when it was still Phonogram,

313
00:11:52,248 --> 00:11:55,048
and that became the playground,
really.

314
00:11:55,048 --> 00:11:56,848
[Mick]  I could tell
that Paul was, you know,

315
00:11:57,048 --> 00:11:59,128
had many studio hours
under his belt.

316
00:11:59,168 --> 00:12:03,248
He was very at ease,
there's no red-light fever.

317
00:12:03,248 --> 00:12:05,168
[Dee C] We were literally
in the studio every day,

318
00:12:05,448 --> 00:12:08,648
nine til 5:00, like a--
like a real sort of, you know,

319
00:12:08,648 --> 00:12:12,048
like a real 9:00 to 5:00 job,
but just working on music.

320
00:12:12,248 --> 00:12:13,727
Being around Paul
for a little while,

321
00:12:13,727 --> 00:12:17,287
you start losing
your kind of inhibitions.

322
00:12:17,327 --> 00:12:19,167
[Steve] It was like
a place of work

323
00:12:19,207 --> 00:12:21,847
but a very--
a very kind of, um, humor.

324
00:12:22,127 --> 00:12:23,447
There was lots
of humor going on.

325
00:12:23,447 --> 00:12:25,567
[Dee C] It was a very
family orientated studio.

326
00:12:25,567 --> 00:12:27,966
Paul's mum, Paul's dad
run in and everything,

327
00:12:27,966 --> 00:12:29,806
we had Kenny,
we had Paul's sister.

328
00:12:30,006 --> 00:12:32,246
We had a little caretaker guy,

329
00:12:32,246 --> 00:12:33,606
God bless him, Arthur.

330
00:12:33,646 --> 00:12:36,166
[Mick] To me, it kind of felt
very un-rock and roll.

331
00:12:36,526 --> 00:12:39,246
It really felt
properly down to earth,

332
00:12:39,246 --> 00:12:41,325
and that's from John downwards,
you know.

333
00:12:41,365 --> 00:12:43,766
Just very realistic,
normal people.

334
00:12:43,806 --> 00:12:46,566
Not a very pressured environment
but a lot come out.

335
00:12:46,566 --> 00:12:48,806
[announcer]  And here at three,
The Style Council.

336
00:12:49,166 --> 00:12:51,046
And of course, at
number three The Style Council

337
00:12:51,046 --> 00:12:52,526
with the EP À Paris

338
00:12:52,566 --> 00:12:54,806
from which for the very
first time on Top of The Pops,

339
00:12:54,846 --> 00:12:57,445
here he is, with Paris Match.

340
00:12:57,725 --> 00:13:00,205
[cheers and applause]

341
00:13:00,245 --> 00:13:02,445
["The Paris Match"
starts to play]

342
00:13:09,044 --> 00:13:13,204
Empty hours spent
Combing the streets

343
00:13:14,324 --> 00:13:18,404
Daytime showers
They've become my beat

344
00:13:18,764 --> 00:13:20,524
[Mick] There was an idea
that we were gonna do

345
00:13:20,524 --> 00:13:22,364
these themed EPs,
and I think, uh,

346
00:13:22,843 --> 00:13:25,804
Paul saw them as sort
of musical postcards.

347
00:13:26,164 --> 00:13:28,604
So, you know, we got as far
as doing one,

348
00:13:28,604 --> 00:13:30,644
and that was the À Paris EP.

349
00:13:30,644 --> 00:13:32,844
I think we were out there
for five days or something...

350
00:13:33,644 --> 00:13:37,843
at a studio and got four
pretty good tracks out of it.

351
00:13:37,843 --> 00:13:41,043
I liked all the sort of chic
sort of, you know, bars abroad

352
00:13:41,043 --> 00:13:44,843
and they were the antithesis
of all the stale old pubs

353
00:13:44,843 --> 00:13:47,283
that were around at that time,
it wasn't like it is now,

354
00:13:47,323 --> 00:13:48,683
that's what you gotta remember,
you know.

355
00:13:48,883 --> 00:13:50,722
They were still sort of smoky,
dirty,

356
00:13:50,762 --> 00:13:52,762
fucking places really,
a lot of 'em.

357
00:13:52,802 --> 00:13:56,882
I'm only sad
In a natural way

358
00:13:57,722 --> 00:14:02,442
And I enjoy sometimes
Feeling this way

359
00:14:03,002 --> 00:14:06,842
The gift you gave is desire

360
00:14:07,802 --> 00:14:12,122
The match
That started my fire

361
00:14:12,122 --> 00:14:14,442
Ah

362
00:14:16,322 --> 00:14:17,841
[Martin]
The whole European thing,

363
00:14:17,841 --> 00:14:20,201
however true it was
or however authentic it was,

364
00:14:20,641 --> 00:14:24,241
it was a statement of intent,
you know.

365
00:14:24,241 --> 00:14:25,641
It was, "We're not gonna be

366
00:14:25,641 --> 00:14:28,201
a parochial little
suburbanite band

367
00:14:28,201 --> 00:14:30,361
just for people who are wearing
parkas and bowling shoes,"

368
00:14:30,401 --> 00:14:33,000
you know, and that bitterly
disappointed a lot of people.

369
00:14:33,200 --> 00:14:35,240
We just wanted to move it away
from just--

370
00:14:35,240 --> 00:14:37,040
from just being English, really.

371
00:14:38,000 --> 00:14:41,760
["The Paris Match"
continues in French]

372
00:14:55,600 --> 00:14:57,560
[song fades]

373
00:14:58,000 --> 00:15:00,439
[Mick] I like the fact
that we stuck with the EP format

374
00:15:00,479 --> 00:15:03,199
and I think  À Paris
is a really good

375
00:15:03,199 --> 00:15:06,559
encapsulation of four strands
of The Style Council,

376
00:15:06,599 --> 00:15:08,639
and I think that's a really good
beginning.

377
00:15:09,199 --> 00:15:15,358
The match that started
My fire

378
00:15:16,278 --> 00:15:18,318
[cheers and applause]

379
00:15:18,358 --> 00:15:21,318
[Steve] After we done
the recording in Paris,

380
00:15:21,318 --> 00:15:24,558
it was-- very quickly
it was turned round,

381
00:15:24,558 --> 00:15:26,118
"Long Hot Summer" came out.

382
00:15:26,118 --> 00:15:28,758
["Long Hot Summer" playing]

383
00:15:36,158 --> 00:15:38,118
[Paul] Two days up in Cambridge

384
00:15:38,118 --> 00:15:39,358
and the weather
was brilliant that year,

385
00:15:39,358 --> 00:15:41,277
it was '83, right,
great summer.

386
00:15:41,717 --> 00:15:44,037
And just great,
just go up and down the Cam,

387
00:15:44,037 --> 00:15:45,077
on the River Cam.

388
00:15:45,357 --> 00:15:47,397
They tell me that it helps

389
00:15:47,877 --> 00:15:51,397
But I know when I'm beaten

390
00:15:52,757 --> 00:15:54,036
[Boy George] "Long Hot Summer"
was the one

391
00:15:54,036 --> 00:15:56,156
that really made me prick
my ears up, you know,

392
00:15:56,196 --> 00:15:59,036
it was, uh-- 'cause, you know,
this is Great Britain,

393
00:15:59,036 --> 00:16:00,916
you know, we always
write people off. [chuckles]

394
00:16:00,916 --> 00:16:03,036
If you've had a moment,
you can't have another one.

395
00:16:03,316 --> 00:16:05,316
And if you have another one,
it can't be good.

396
00:16:05,556 --> 00:16:07,516
So when it's kind
of next level good...

397
00:16:07,755 --> 00:16:09,756
I wanted to give it
this very summery

398
00:16:09,796 --> 00:16:10,916
sort of sexy feel.

399
00:16:11,236 --> 00:16:14,556
But obviously the sexuality
that appeared in the end video

400
00:16:14,596 --> 00:16:17,516
was, well, to be honest,
was fairly homoerotic,

401
00:16:17,556 --> 00:16:19,116
which I thought was great,
because I thought

402
00:16:19,116 --> 00:16:21,595
that completely played
with Paul's image

403
00:16:21,635 --> 00:16:23,595
and the fact
that he was not afraid

404
00:16:23,595 --> 00:16:26,595
to go there
and to be seen like that

405
00:16:26,595 --> 00:16:28,315
I thought was
absolutely brilliant.

406
00:16:28,315 --> 00:16:29,715
Tim was very--
kind of cutting edge,

407
00:16:29,715 --> 00:16:32,915
and he was the go-to guy
for videos at that time.

408
00:16:32,915 --> 00:16:35,834
And so, I think they wanted
to be seen as something--

409
00:16:35,834 --> 00:16:37,154
they weren't doing, you know,

410
00:16:37,194 --> 00:16:38,314
kind of straight performance
video,

411
00:16:38,594 --> 00:16:40,314
it had to be something that
had kind of a bit of an edge

412
00:16:40,354 --> 00:16:41,474
and a bit of fun to it.

413
00:16:41,794 --> 00:16:44,794
And Tim brought a lot to that,
certainly, and they trusted him.

414
00:16:44,834 --> 00:16:46,594
[Paul] Yeah, we loved Tim, yeah.

415
00:16:46,594 --> 00:16:48,714
He was bonkers and eccentric
and we loved him.

416
00:16:48,714 --> 00:16:49,793
We thought he was great.

417
00:16:49,953 --> 00:16:52,994
And I remember meeting him
and he was saying to me,

418
00:16:52,994 --> 00:16:54,234
"Well, you know,
what you up for then?"

419
00:16:54,234 --> 00:16:56,074
"What can we do and not do?"

420
00:16:56,074 --> 00:16:58,114
And I was going,
"Just fucking whatever really,

421
00:16:58,114 --> 00:16:59,954
you know, just let's do
something different," um...

422
00:17:00,274 --> 00:17:01,714
which we certainly did.

423
00:17:01,714 --> 00:17:03,913
Don't matter what I do

424
00:17:04,113 --> 00:17:07,713
'Cause I end up hurting you

425
00:17:07,713 --> 00:17:09,473
[Steve] I said,
"Can I be in a video?"

426
00:17:09,473 --> 00:17:11,473
And Paul's like, "Well,
you can be in the video

427
00:17:11,473 --> 00:17:13,273
as long as you wear
a Brunton jumper,

428
00:17:13,313 --> 00:17:15,913
a little goatee beard,
a beret and play the bongos."

429
00:17:15,953 --> 00:17:18,472
So I'm like, "Yeah, I'm in."
[chuckles] That was it.

430
00:17:18,512 --> 00:17:21,672
The long hot summer
Just passed me by

431
00:17:21,672 --> 00:17:23,592
[Simon] I think Paul knew
full well,

432
00:17:23,592 --> 00:17:25,152
and Mick knew full well that,

433
00:17:25,472 --> 00:17:28,152
"Oh, this is gonna throw
another sort of

434
00:17:28,192 --> 00:17:30,751
fly in the ointment
for certain people."

435
00:17:30,951 --> 00:17:32,672
[Boy George] It was interesting,
'cause it was like

436
00:17:32,672 --> 00:17:35,752
Paul being someone
completely different.

437
00:17:35,752 --> 00:17:37,632
Do you know what I mean?
It was a bit more playful.

438
00:17:37,952 --> 00:17:40,312
["A Solid Bond" playing]

439
00:17:43,312 --> 00:17:45,711
[Martin] I loved the video
for "A Solid Bond."

440
00:17:45,711 --> 00:17:47,631
They look amazing.

441
00:17:48,191 --> 00:17:50,951
They both look beautiful,
great suits.

442
00:17:51,431 --> 00:17:53,271
I love the references
to the, you know,

443
00:17:53,311 --> 00:17:55,351
like the early '70s reference

444
00:17:55,351 --> 00:17:56,991
of them being sort of
suedeheads together

445
00:17:57,151 --> 00:17:58,510
to a sort of, you know--

446
00:17:58,510 --> 00:18:00,030
which, for an English pop record
at the time,

447
00:18:00,030 --> 00:18:01,510
was pure fucking Northern Soul.

448
00:18:01,510 --> 00:18:03,310
It's a great record,
I love that.

449
00:18:03,350 --> 00:18:06,470
A solid bond in your heart
Yeah

450
00:18:06,470 --> 00:18:08,870
A solid bond in your heart

451
00:18:08,910 --> 00:18:10,390
[Boy George]
It was kind of Motown

452
00:18:10,390 --> 00:18:12,389
and a bit of Stax, but it was,
you know,

453
00:18:12,389 --> 00:18:16,070
but it still had that kind of
English kind of understanding

454
00:18:16,070 --> 00:18:19,270
of soul that's a little bit
sort of irreverent.

455
00:18:19,270 --> 00:18:23,190
Respectful, but you know,
I'm not gonna try my hardest

456
00:18:23,190 --> 00:18:25,749
to sound too much like
an American, you know,

457
00:18:25,789 --> 00:18:27,469
sort of R 'n' B musician,

458
00:18:27,469 --> 00:18:28,829
I wanna sound
a little bit British.

459
00:18:28,869 --> 00:18:31,229
I just want to build up

460
00:18:31,229 --> 00:18:34,469
A solid bond in your heart

461
00:18:34,469 --> 00:18:36,429
[Paul]  It was me and Mick
reliving our youth, really.

462
00:18:36,469 --> 00:18:38,949
You know, all the sort of
post skinheads,

463
00:18:38,949 --> 00:18:40,268
suedehead days really.

464
00:18:40,268 --> 00:18:42,228
[Mick] I don't think
those characters that we were,

465
00:18:42,228 --> 00:18:44,308
course they're me and Paul,

466
00:18:44,308 --> 00:18:48,108
I think they're people
that we aspired to be

467
00:18:48,428 --> 00:18:51,028
when we were like, 11.

468
00:18:51,508 --> 00:18:53,387
And they were people
that we looked at

469
00:18:53,387 --> 00:18:55,468
who were about 16 or 17.

470
00:18:55,948 --> 00:18:57,388
If you look at that video,

471
00:18:57,388 --> 00:19:00,868
it's got all Paul's styles
in the audience, you know?

472
00:19:00,868 --> 00:19:04,268
It's like a feeling
Deep inside

473
00:19:04,268 --> 00:19:06,867
Please don't ever try
To hide

474
00:19:06,867 --> 00:19:09,187
That solid bond
In your heart

475
00:19:09,187 --> 00:19:12,787
Yeah, a solid bond
In your heart

476
00:19:12,787 --> 00:19:14,467
Aha

477
00:19:15,547 --> 00:19:17,227
Hoo-hoo

478
00:19:18,707 --> 00:19:20,826
["My Ever-Changing Moods"
playing]

479
00:19:25,786 --> 00:19:28,986
I think it was 1984,

480
00:19:28,986 --> 00:19:32,906
um, that they did their first,
you know, kinda proper tour.

481
00:19:37,226 --> 00:19:38,586
[Billy] They opened the show.

482
00:19:38,586 --> 00:19:40,986
The Style Council opened
and got everybody in the room

483
00:19:40,986 --> 00:19:42,306
for The Questions.

484
00:19:42,346 --> 00:19:43,986
And then I came on,
and then The Style Council

485
00:19:43,986 --> 00:19:45,186
came on again at the end.

486
00:19:45,186 --> 00:19:46,786
And I've never seen
anyone do that before.

487
00:19:47,146 --> 00:19:49,625
Daylight turns to moonlight

488
00:19:50,745 --> 00:19:53,905
And I'm at my best

489
00:19:53,945 --> 00:19:55,905
[Billy] But Paul's commitment
to the artist,

490
00:19:55,945 --> 00:19:59,185
commitment to those of us
who were on the-- on the bill

491
00:19:59,185 --> 00:20:02,184
was, uh, it was something that
was really an eye opener for me.

492
00:20:02,224 --> 00:20:05,744
The calm after the storm
Oh, the cool before the warm

493
00:20:05,744 --> 00:20:07,384
[Paul] Yeah, it definitely
confused people,

494
00:20:08,064 --> 00:20:09,984
'cause the headlining act
come on first

495
00:20:09,984 --> 00:20:11,584
and they also finished the show
as well,

496
00:20:11,624 --> 00:20:13,744
but we were just trying
to present something different,

497
00:20:13,744 --> 00:20:15,543
you know?
We were trying to get away

498
00:20:15,783 --> 00:20:18,264
from just the support act
and then the main act

499
00:20:18,304 --> 00:20:19,984
and all that.
We wanted it to be

500
00:20:19,984 --> 00:20:23,664
a complete experience
and like a total sort of, uh,

501
00:20:23,664 --> 00:20:25,144
evening for people, you know?

502
00:20:25,144 --> 00:20:27,264
It was a strange thing
to get used to though,

503
00:20:27,264 --> 00:20:29,743
because you kinda just feel like
you're warmed up

504
00:20:29,783 --> 00:20:32,263
and then you're off and then
it's just someone else is on.

505
00:20:32,263 --> 00:20:35,383
But it's nice like, you know,
you sort of feel like,

506
00:20:35,383 --> 00:20:37,143
"Oh, this is like it was

507
00:20:37,143 --> 00:20:38,263
at  Sunday Night
at the Palladium,"

508
00:20:38,263 --> 00:20:39,463
or something, you know?

509
00:20:39,463 --> 00:20:41,823
Being on the old school
variety bill, you know?

510
00:20:41,863 --> 00:20:45,542
It's not dead.
Or we didn't think it was.

511
00:20:45,542 --> 00:20:47,142
We might have helped kill it,
but...

512
00:20:47,142 --> 00:20:51,622
The love after the hate
The love we leave too late

513
00:20:53,222 --> 00:20:54,662
[Helen] Musically, you know,

514
00:20:54,662 --> 00:20:57,661
there was nothing like
being on stage

515
00:20:57,661 --> 00:21:02,342
when that band was-- was in,
you know,

516
00:21:02,982 --> 00:21:04,302
in full swing.

517
00:21:04,462 --> 00:21:07,742
Ba ba ba da ba da ba

518
00:21:08,782 --> 00:21:11,421
[cheers and applause]

519
00:21:13,101 --> 00:21:14,261
[Paul] Thank you.

520
00:21:15,501 --> 00:21:16,901
The early '80s, you know,

521
00:21:16,941 --> 00:21:20,021
we saw this kind of surge
of what they were calling,

522
00:21:20,021 --> 00:21:21,541
you know, kind of "new pop."

523
00:21:21,861 --> 00:21:25,780
You know, bands like ABC,
you know, Haircut 100,

524
00:21:25,780 --> 00:21:27,700
Culture Club and Wham!.

525
00:21:27,740 --> 00:21:30,540
I don't know if we actually
fitted into

526
00:21:30,900 --> 00:21:33,500
the box that the '80s
might have liked us to.

527
00:21:33,540 --> 00:21:37,780
I thought we were outside
of the culture of the '80s.

528
00:21:38,739 --> 00:21:40,580
But it's really hard to do that,
I think.

529
00:21:40,580 --> 00:21:41,820
Whether you like it or not,

530
00:21:41,820 --> 00:21:44,540
you are still
a product of your time, I think.

531
00:21:44,580 --> 00:21:47,780
I said oh heavenly thing
Please cleanse my soul

532
00:21:47,780 --> 00:21:53,619
I've seen all on offer
And I'm not impressed at all"

533
00:21:55,219 --> 00:21:56,699
[Simon] They were doing
all the same TV shows,

534
00:21:56,739 --> 00:21:57,939
whether it be  Top of the Pops

535
00:21:57,939 --> 00:21:59,659
or the Saturday morning
kids shows.

536
00:21:59,659 --> 00:22:01,979
So they were sort of
playing the game,

537
00:22:02,019 --> 00:22:03,859
but they were sort of--
I think they felt,

538
00:22:03,899 --> 00:22:06,258
and rightly so,
that they were playing the game

539
00:22:06,298 --> 00:22:07,418
to their own beat.

540
00:22:07,658 --> 00:22:10,938
I said send me a sign
To save my life

541
00:22:10,938 --> 00:22:12,898
'Cause at this moment
In time

542
00:22:12,898 --> 00:22:17,538
There is nothing certain
In these days of mine

543
00:22:18,218 --> 00:22:20,577
[Jason] And the reference points
were soul music.

544
00:22:20,577 --> 00:22:21,817
I heard Marvin Gaye in there,

545
00:22:21,817 --> 00:22:25,578
I heard, um, Curtis Mayfield
in there.

546
00:22:25,818 --> 00:22:28,378
I heard jazz in there.

547
00:22:28,418 --> 00:22:29,778
And it just made sense to me.

548
00:22:30,098 --> 00:22:32,338
It was like a series
of reference points

549
00:22:32,338 --> 00:22:34,337
that really impressed me,
the fact that

550
00:22:34,377 --> 00:22:36,457
there was somebody
doing this stuff now.

551
00:22:36,737 --> 00:22:38,257
[Gary] I mean, it was pop music,
you know,

552
00:22:38,257 --> 00:22:41,097
they were written about in,
you know,  Smash Hits,

553
00:22:41,097 --> 00:22:44,137
and  Record Mirror,
and  Number One,

554
00:22:44,137 --> 00:22:47,096
but also interviewed by,
you know, your  NMEs

555
00:22:47,136 --> 00:22:49,216
and your  Sounds
and your  Melody Makers.

556
00:22:49,216 --> 00:22:53,176
Um, but they were a pop band,
but a pop band with substance.

557
00:22:53,696 --> 00:22:59,176
I could be discontent
And chase the rainbow's end

558
00:22:59,576 --> 00:23:04,616
I might win much more
But lose all that is mine

559
00:23:05,216 --> 00:23:06,896
[Boy George] I think
"You're The Best Thing",

560
00:23:06,936 --> 00:23:09,296
it sounds like another song.
It sounds like a cover.

561
00:23:09,296 --> 00:23:10,456
When you first heard it,
it was like,

562
00:23:10,496 --> 00:23:11,976
"Oh, is this an old song?"

563
00:23:12,176 --> 00:23:13,736
And that's when you know,
you know,

564
00:23:13,736 --> 00:23:16,975
when someone's kind of
emulating that kinda mood,

565
00:23:16,975 --> 00:23:20,375
but they get it so right that
you feel like you knew the song.

566
00:23:20,695 --> 00:23:22,135
It's just a beautiful song.

567
00:23:22,135 --> 00:23:25,855
It's very simple, you know,
just kinda touches you,

568
00:23:25,895 --> 00:23:27,775
you know, sits nice
on your ears.

569
00:23:28,054 --> 00:23:30,814
Slides all over your bones,
you know, it's a good one.

570
00:23:30,814 --> 00:23:33,014
It's like you dream
of writing songs like that.

571
00:23:34,014 --> 00:23:36,614
["Blue Cafe"
by The Style Council plays]

572
00:23:51,534 --> 00:23:53,174
[Rev. Richard] "Of days
such as these,

573
00:23:53,374 --> 00:23:55,933
it's here in the Cafe Bleu
where amidst the smoke,

574
00:23:55,973 --> 00:23:57,773
steam and colors present,

575
00:23:57,773 --> 00:24:00,893
I'm to be found passing
the hours of mortal time."

576
00:24:00,893 --> 00:24:02,893
"Sometimes
exchanging the views."

577
00:24:03,133 --> 00:24:05,533
"Sometimes with my think cap
in full view

578
00:24:05,533 --> 00:24:09,572
so that those around me respect
my wish for solitude and refrain

579
00:24:09,572 --> 00:24:14,012
from the chit-chat until
I signal for some, that is."

580
00:24:15,332 --> 00:24:17,732
[Gary] Some people got really
wound up by the sleeve notes

581
00:24:17,732 --> 00:24:19,252
and I can remember,
you know,

582
00:24:19,292 --> 00:24:22,692
sort of letters of indignation
in the, uh, you know,

583
00:24:22,692 --> 00:24:24,931
the kind of music mags
or music papers.

584
00:24:24,931 --> 00:24:27,012
Uh, you know,
"What's he going on about?"

585
00:24:27,012 --> 00:24:29,812
at the time, you know.
So, job done,

586
00:24:29,812 --> 00:24:32,052
I suppose in a way really.
That's what they wanted.

587
00:24:32,332 --> 00:24:34,172
Yeah, it was just to have a bit
of fun, really.

588
00:24:34,172 --> 00:24:36,372
"The Cappuccino Kid."
It was a way of being able

589
00:24:36,412 --> 00:24:38,771
to vent some views,

590
00:24:39,211 --> 00:24:43,291
um, but not have them attributed
necessarily to yourself.

591
00:24:43,291 --> 00:24:45,491
And, uh-- But it was just a bit
of fun, you know,

592
00:24:45,491 --> 00:24:47,451
and it was aping, um...

593
00:24:48,051 --> 00:24:52,610
uh, Colin MacInnes' style
in  Absolute Beginners,  really.

594
00:24:52,610 --> 00:24:54,770
And that book was a huge
influence as well on me

595
00:24:54,810 --> 00:24:57,610
and The Style Council
for forming The Style Council.

596
00:24:57,610 --> 00:25:00,130
[Mick] I always thought
that it had elements of those

597
00:25:00,130 --> 00:25:03,250
early Stones albums as well,
like, getting some strength

598
00:25:03,250 --> 00:25:06,489
and dialogue from a really
good novel,

599
00:25:06,489 --> 00:25:10,610
and using it as a kind of
language that was pertinent

600
00:25:10,610 --> 00:25:11,810
just to one band.

601
00:25:11,810 --> 00:25:15,690
And I just had a kind of another
rebirth of Mod

602
00:25:15,690 --> 00:25:17,410
when I read that book, really.

603
00:25:17,690 --> 00:25:22,209
And I thought, um,
that was the kind of, uh,

604
00:25:22,689 --> 00:25:24,129
sort of blueprint, really,

605
00:25:24,129 --> 00:25:25,889
for Modernism,
I thought, really.

606
00:25:25,929 --> 00:25:28,289
You know, kind of embracing
of all these different cultures

607
00:25:28,289 --> 00:25:30,929
and not being xenophobic

608
00:25:30,969 --> 00:25:35,008
and, um, suspicious
of anything foreign.

609
00:25:35,488 --> 00:25:37,888
[Rev. Richard] "For I say
unto thee that verily thou

610
00:25:37,888 --> 00:25:41,368
hast forsaken your brothers
and sisters to allow the sordids

611
00:25:41,368 --> 00:25:44,568
their space. And much like
the donkey's parable,

612
00:25:44,568 --> 00:25:47,847
have been deceived
by their golden carrots."

613
00:25:52,128 --> 00:25:53,728
A reading from  Cafe Bleu.

614
00:25:53,768 --> 00:25:56,008
According unto
The Style Council.

615
00:25:56,488 --> 00:25:59,847
["Mick's Blessings" playing]

616
00:26:00,447 --> 00:26:03,447
[Mick] I don't know why,
this album worked very well

617
00:26:03,447 --> 00:26:04,487
in shoe shops.

618
00:26:10,367 --> 00:26:11,887
[Paul] Well looking at it now,
right, I mean,

619
00:26:11,887 --> 00:26:15,126
there's like the first
three songs on this record

620
00:26:16,086 --> 00:26:18,086
are instrumentals, right?

621
00:26:18,646 --> 00:26:21,726
And then there's "Paris Match,"
which I didn't even play on it,

622
00:26:21,726 --> 00:26:22,806
I don't think.

623
00:26:23,566 --> 00:26:26,206
So I don't make an appearance
until the fifth track

624
00:26:26,246 --> 00:26:27,685
on "Ever Changing Moods,"

625
00:26:28,085 --> 00:26:30,246
which was different
from the single version as well,

626
00:26:30,286 --> 00:26:31,926
it's just on piano, I think.

627
00:26:32,486 --> 00:26:34,486
And then followed by another
instrumental.

628
00:26:35,246 --> 00:26:38,206
Followed by "A Gospel,"
which was a rap track,

629
00:26:38,206 --> 00:26:40,166
'cause Dizzy Heights did a rap.

630
00:26:40,166 --> 00:26:41,845
So it's a strange little record,
really.

631
00:26:42,125 --> 00:26:46,045
The cool before the warm,
The calm after the storm

632
00:26:46,085 --> 00:26:50,485
Oh the cool before the warm,
The calm after the storm

633
00:26:50,525 --> 00:26:53,565
I wish to stay forever

634
00:26:53,845 --> 00:26:56,644
Letting this be my food

635
00:26:56,644 --> 00:27:00,524
Oh but I'm caught up
In a whirlwind

636
00:27:00,564 --> 00:27:05,804
And my ever-changing moods,
Yeah

637
00:27:05,844 --> 00:27:09,323
[Steve] I know that this record
really bravely said,

638
00:27:09,323 --> 00:27:12,324
"Enough, that was then
and this is now."

639
00:27:12,324 --> 00:27:14,644
And you kind of think
about an artist

640
00:27:14,644 --> 00:27:15,724
that would do that now.

641
00:27:15,924 --> 00:27:19,164
I appreciated the fact
that how courageous they were,

642
00:27:19,164 --> 00:27:20,644
you know. And I'm sure
they weren't trying

643
00:27:20,684 --> 00:27:22,003
to be courageous,
they were just literally

644
00:27:22,003 --> 00:27:23,043
following their nose

645
00:27:23,083 --> 00:27:24,363
and just wanting
to do that more.

646
00:27:24,403 --> 00:27:26,163
But a lot of people stopped
themselves doing that.

647
00:27:26,483 --> 00:27:29,283
Especially when there's money
to be made and lost

648
00:27:29,283 --> 00:27:32,963
and fans to be lost.
And there's no way

649
00:27:32,963 --> 00:27:34,923
they didn't know that
by releasing a first album

650
00:27:34,923 --> 00:27:36,482
with a lot of instrumental jazz
on it,

651
00:27:36,482 --> 00:27:38,002
that that was gonna be a risk,
there's no way

652
00:27:38,002 --> 00:27:38,922
they didn't know that.

653
00:27:39,282 --> 00:27:41,202
Recently a lot of people
seem to think that

654
00:27:41,202 --> 00:27:42,882
because we do change a lot
and there's a lot

655
00:27:42,882 --> 00:27:46,122
of different things going on
that we kind of see things

656
00:27:46,122 --> 00:27:48,482
and treat things, you know,
in a very fickle way.

657
00:27:49,042 --> 00:27:50,721
As if we, you know,
almost as if

658
00:27:50,761 --> 00:27:52,081
we don't really care
about what we do,

659
00:27:52,121 --> 00:27:53,682
which is just, you know,
it's just totally wrong.

660
00:27:53,682 --> 00:27:55,642
I mean, the only reason,
you know, we use

661
00:27:55,682 --> 00:27:57,522
so many different styles
and different ways

662
00:27:57,522 --> 00:27:59,122
of presenting things,
is just, um--

663
00:27:59,122 --> 00:28:00,482
it's just to keep it
interesting, you know.

664
00:28:00,522 --> 00:28:02,442
[interviewer] It's not that
you're confused in what you do?

665
00:28:02,442 --> 00:28:04,441
No, it's not. I mean,
I just get a feeling

666
00:28:04,481 --> 00:28:07,321
you know, that a lot of people
think this but I don't, no.

667
00:28:07,321 --> 00:28:09,321
It's not for that reason,
you know?

668
00:28:09,601 --> 00:28:11,641
["Strength Of Your Nature"
plays]

669
00:28:11,641 --> 00:28:13,521
[Paul] This song's called
"The Strength Of Your Nature."

670
00:28:16,121 --> 00:28:19,320
[Gary] There was a lot
of expectation for  Cafe Bleu.

671
00:28:19,320 --> 00:28:21,440
You know, they'd released
a couple of singles,

672
00:28:21,480 --> 00:28:22,640
a couple of EPs,

673
00:28:22,640 --> 00:28:24,920
but they made us wait
for the album.

674
00:28:25,240 --> 00:28:28,560
When you gonna find
The strength of your nature

675
00:28:28,560 --> 00:28:30,719
[Steve] I love this record,
I love, um,

676
00:28:30,719 --> 00:28:32,159
I love the humor in it,

677
00:28:32,159 --> 00:28:36,680
I love the, uh, expansion
of sounds that we got.

678
00:28:36,680 --> 00:28:40,160
It probably gave us a lot
of confidence, you know,

679
00:28:40,400 --> 00:28:43,680
to keep at this kind of
experimental thing.

680
00:28:43,680 --> 00:28:46,399
When you gonna let
Yourself take control

681
00:28:46,679 --> 00:28:48,639
[Steve] I was 18 at that point.

682
00:28:48,839 --> 00:28:52,159
Paul and Mick were only 25,
you know, it was fantastic.

683
00:28:52,159 --> 00:28:54,919
I think Paul was just
getting into kind a of thing

684
00:28:54,959 --> 00:28:56,959
where he was listening
to a lot of Blue Note records

685
00:28:56,959 --> 00:29:00,558
and stuff. And he had
a new awareness

686
00:29:00,598 --> 00:29:03,798
of some of that music,
but we were very appreciative

687
00:29:03,798 --> 00:29:06,318
of the kind of sleeve design
of things like that.

688
00:29:06,318 --> 00:29:08,878
[Simon] You know, at that time
we were sort of thick and fast

689
00:29:08,878 --> 00:29:13,077
into our kind of Blue Note
influence and Reed Miles

690
00:29:13,117 --> 00:29:16,278
and all those great covers
from that era.

691
00:29:16,278 --> 00:29:18,278
It was a fun time.
Again, we went to Paris

692
00:29:18,278 --> 00:29:20,638
to do a photo session
with Peter Anderson

693
00:29:20,678 --> 00:29:22,038
taking the pictures,
and we came back

694
00:29:22,038 --> 00:29:24,278
with such great photos
from that trip.

695
00:29:24,438 --> 00:29:26,477
We achieved exactly
what we set out to do

696
00:29:26,477 --> 00:29:27,917
because it was supposed to be
that kind of

697
00:29:27,917 --> 00:29:30,917
paparazzi-style
feel in a Blue Note setting.

698
00:29:31,437 --> 00:29:34,957
[Martin] From the packaging
to the way that they dressed,

699
00:29:35,517 --> 00:29:37,797
you know, all the aesthetic
side of it,

700
00:29:37,797 --> 00:29:39,876
I think they would survive
better than most.

701
00:29:40,356 --> 00:29:41,876
But because I suppose
The Style Council

702
00:29:41,876 --> 00:29:45,116
were already partly drawing
on an age that had gone by,

703
00:29:45,156 --> 00:29:48,196
whether it was, you know,
the French New Wave,

704
00:29:48,196 --> 00:29:51,676
or Ivy League,
or general Modernism,

705
00:29:51,676 --> 00:29:54,835
it sort of couldn't date
as quickly as, you know,

706
00:29:54,875 --> 00:29:56,355
"Rio" video.
Do you know what I mean?

707
00:29:56,355 --> 00:29:58,556
'Cause that dates very,
very quickly.

708
00:30:01,116 --> 00:30:03,916
It was something a bit more
classic about it, I suppose.

709
00:30:03,916 --> 00:30:05,756
It kind of had
all these reference points

710
00:30:05,756 --> 00:30:08,195
that I related to.

711
00:30:08,435 --> 00:30:10,315
And, um, even though
they were kind of disparate,

712
00:30:10,315 --> 00:30:11,915
I kind of had a sense
that there was--

713
00:30:11,955 --> 00:30:14,755
he was heading in the direction
that I kind of wanted to be

714
00:30:14,795 --> 00:30:17,435
in as well. So,
it kind of-- it just resonated.

715
00:30:17,835 --> 00:30:19,635
He's taking loads more
influences,

716
00:30:19,635 --> 00:30:24,194
all fundamentally Mod, you know,
but just from different places,

717
00:30:24,194 --> 00:30:26,194
you know, like existentialism.

718
00:30:26,234 --> 00:30:28,634
Film, books,
the whole kind of next wave

719
00:30:28,674 --> 00:30:31,154
of Mod was coming out
of Paul's imagination

720
00:30:31,154 --> 00:30:33,514
from the sleeve notes
to the clothes,

721
00:30:33,514 --> 00:30:36,353
to the way the sleeves looked,
to the sound.

722
00:30:36,353 --> 00:30:38,954
["One Night In Rio"
by Louie Austen plays]

723
00:30:41,714 --> 00:30:43,194
[Jason] You know,
if you're a Mod

724
00:30:43,194 --> 00:30:45,354
then this is really what Mod is
about now.

725
00:30:45,594 --> 00:30:50,273
And so he completely embraces
the contemporary.

726
00:30:50,553 --> 00:30:51,953
It's music for now.

727
00:30:52,793 --> 00:30:55,593
[Eddie] The Style Council
are much more Mod than The Jam,

728
00:30:55,593 --> 00:30:57,193
and he was just saying,
"Here it is, boys,

729
00:30:57,233 --> 00:30:58,873
you don't have to be like that
anymore."

730
00:30:58,873 --> 00:31:00,433
So I think it was much more
contemporary,

731
00:31:00,473 --> 00:31:03,912
but it still had an eye
on his Mod routes,

732
00:31:03,912 --> 00:31:05,872
but trying to change it
for the future.

733
00:31:05,872 --> 00:31:07,912
It was a lovely--
a lovely melting pot

734
00:31:07,912 --> 00:31:10,152
but I think-- I think
there was a, you know,

735
00:31:10,152 --> 00:31:15,152
an awareness of like, I think,
you know, if that kind of part

736
00:31:15,192 --> 00:31:18,151
of his career was turn left,
I think he wants to turn right.

737
00:31:18,151 --> 00:31:19,191
You know, which was great.

738
00:31:19,431 --> 00:31:21,672
It just all went
in the melting pot, you know,

739
00:31:21,712 --> 00:31:24,072
and it come out in different
ways, I suppose really.

740
00:31:24,072 --> 00:31:26,672
Sometimes successful,
really successful

741
00:31:26,672 --> 00:31:27,832
and other times it wasn't,
you know,

742
00:31:28,032 --> 00:31:30,231
but that's just what happens
when you experiment with,

743
00:31:30,831 --> 00:31:33,311
or try and see where
your limitations are

744
00:31:33,311 --> 00:31:35,431
and if you can go beyond
those limitations.

745
00:31:35,751 --> 00:31:40,311
["Dropping Bombs
On The White House" playing]

746
00:31:41,111 --> 00:31:46,750
[Hilary] It felt like we were
taking so many influences

747
00:31:46,750 --> 00:31:48,390
from so many different places.

748
00:31:48,430 --> 00:31:52,390
I think Paul described it
as musicians who like jazz

749
00:31:52,390 --> 00:31:53,870
rather than jazz musicians.

750
00:31:53,910 --> 00:31:57,149
We shied away from calling
ourselves jazz musicians.

751
00:31:57,149 --> 00:32:01,750
I think we felt that
we were competent in playing

752
00:32:01,750 --> 00:32:05,670
what we wanted to play
and jazz was an influence.

753
00:32:05,990 --> 00:32:08,430
But it's another one
of these things that I feel...

754
00:32:09,310 --> 00:32:14,389
genres of music
and... cults of fashion,

755
00:32:15,029 --> 00:32:17,309
and once you start putting
a label on it, it's like,

756
00:32:18,269 --> 00:32:20,669
you know, you have to fit in
with the rules,

757
00:32:20,669 --> 00:32:23,669
so it was an important influence
but I don't know

758
00:32:23,669 --> 00:32:26,508
if we were part
of the '80s jazz scene.

759
00:32:26,508 --> 00:32:28,788
I was really getting into it
at that stage, anyway.

760
00:32:29,868 --> 00:32:31,508
But we weren't jazz band
or whatever,

761
00:32:31,508 --> 00:32:33,228
you know what I mean?
It wasn't like that.

762
00:32:33,228 --> 00:32:34,548
We were-- We were influenced--

763
00:32:34,588 --> 00:32:37,668
Our influences were varied
and they ranged

764
00:32:37,668 --> 00:32:39,987
from Tony Hancock to...

765
00:32:39,987 --> 00:32:41,307
to, uh, Horace Silver,

766
00:32:41,347 --> 00:32:42,908
do you know what I mean?
It was like that.

767
00:32:43,148 --> 00:32:45,668
There was a big breadth
of things that-- that, um...

768
00:32:46,988 --> 00:32:49,108
that influenced us
in lots of ways,

769
00:32:49,148 --> 00:32:50,428
you know,
lots of cultural things.

770
00:32:50,748 --> 00:32:53,427
Daylight turns to moonlight

771
00:32:54,307 --> 00:32:57,747
And I'm at my best

772
00:32:57,787 --> 00:32:59,587
[Eddie]  The best music
transports you

773
00:32:59,587 --> 00:33:00,707
to a different time and place,

774
00:33:00,747 --> 00:33:02,267
and that's what  Cafe Bleu
did to me.

775
00:33:02,507 --> 00:33:04,267
[Gary] You know, there's four
or five classic songs

776
00:33:04,707 --> 00:33:06,626
on that album, um, you know,

777
00:33:06,626 --> 00:33:08,906
"The Paris Match,"
"Headstart for Happiness,"

778
00:33:08,906 --> 00:33:11,466
you know, different versions
of "You're The Best Thing"

779
00:33:11,466 --> 00:33:13,466
and "My Ever-Changing Moods."

780
00:33:13,466 --> 00:33:15,026
Doesn't get much better
than that.

781
00:33:15,066 --> 00:33:17,386
Letting this be my food

782
00:33:17,386 --> 00:33:18,626
[Paul] I was proud of it
at the time

783
00:33:18,666 --> 00:33:20,705
and that's all that matters
to me in my mind.

784
00:33:20,705 --> 00:33:23,145
You know, you can only commit
to what you feel at the time.

785
00:33:23,505 --> 00:33:24,986
You can't think
how you're gonna feel ten years

786
00:33:24,986 --> 00:33:27,426
down the line or 40
or 30 or whatever.

787
00:33:28,026 --> 00:33:30,386
And I liked it at the time
and that's good enough for me.

788
00:33:31,506 --> 00:33:33,905
Its Christmas time

789
00:33:35,705 --> 00:33:38,145
There's no need
to be afraid

790
00:33:39,385 --> 00:33:40,625
[Paul] Bob called me up
and just said,

791
00:33:40,865 --> 00:33:42,585
"Look, you know,
we're doing this--

792
00:33:42,585 --> 00:33:44,825
I wanna do this record,
this charity record

793
00:33:44,825 --> 00:33:46,905
and would you come
and do it with us,

794
00:33:46,945 --> 00:33:48,224
or sing on it?"

795
00:33:48,464 --> 00:33:50,184
And, um,
they played me the track,

796
00:33:50,184 --> 00:33:53,144
which I thought was just fucking
dreadful really, you know?

797
00:33:53,144 --> 00:33:55,584
God bless 'em,
but it was just, oh, Jesus.

798
00:33:55,944 --> 00:34:01,343
Throw your arms around
The world at Christmas time

799
00:34:01,343 --> 00:34:04,063
"It's Christmas time
there's no need to be afraid."

800
00:34:04,103 --> 00:34:06,544
[laughs] But, you know...

801
00:34:07,624 --> 00:34:09,344
Strange--
Strange opening line, no?

802
00:34:09,784 --> 00:34:12,584
The greatest gift
they'll get

803
00:34:12,584 --> 00:34:15,583
This year is life

804
00:34:15,823 --> 00:34:18,743
I was surprised that Paul
had done it,

805
00:34:18,783 --> 00:34:20,743
given the number of people
that were involved

806
00:34:20,743 --> 00:34:22,903
in the project
that weren't of his stamp.

807
00:34:23,343 --> 00:34:25,863
I've gotta say, I think
it was admirable,

808
00:34:25,903 --> 00:34:28,103
um, I don't think...

809
00:34:28,303 --> 00:34:30,902
He looks very uncomfortable
in the video, you know?

810
00:34:30,942 --> 00:34:33,702
I don't think Paul
liked being in Band Aid.

811
00:34:33,702 --> 00:34:37,942
You couldn't help but smile
a little bit because, of course,

812
00:34:37,982 --> 00:34:41,662
you now, Mr. Weller's surrounded
by this, uh, you know,

813
00:34:41,662 --> 00:34:46,221
this, um, you know,
array of pop stars who, um,

814
00:34:46,261 --> 00:34:48,662
you know, how can I put this?
He wouldn't have been

815
00:34:48,662 --> 00:34:52,262
too kind about in, um,
in, you know,

816
00:34:52,262 --> 00:34:54,862
the music magazines and papers.

817
00:34:54,902 --> 00:34:58,861
And, um, you know, he looks like
a little bit of a fish

818
00:34:58,901 --> 00:35:01,981
out of water to kinda
say the least, really.

819
00:35:02,021 --> 00:35:05,101
A thing I really admire
about him is he's resolutely

820
00:35:06,101 --> 00:35:09,381
not played a pop star
most of the time.

821
00:35:09,381 --> 00:35:11,900
You know, or he's not tried to
fall for the trappings of that.

822
00:35:11,940 --> 00:35:13,980
Um, you know,
"I'm just gonna come along

823
00:35:13,980 --> 00:35:15,540
and make a record,
I'm gonna make a record

824
00:35:15,540 --> 00:35:17,420
for charity," and sometimes
that can be almost too,

825
00:35:17,460 --> 00:35:19,100
you know, sometimes you think,
"Fuck it,

826
00:35:19,100 --> 00:35:21,820
enjoy yourself a bit mate,
you can enjoy some things."

827
00:35:21,860 --> 00:35:23,699
But I like the fact
that he was--

828
00:35:23,699 --> 00:35:26,459
he seemed to be there in a very,
very understated way,

829
00:35:26,459 --> 00:35:28,500
he wasn't pushing himself
front and center.

830
00:35:28,500 --> 00:35:30,940
And, you know, he was a big act
that that time.

831
00:35:30,980 --> 00:35:32,100
It's easy to forget that.

832
00:35:32,300 --> 00:35:34,540
[Paul] I was probably just like
the grumpy sort of...

833
00:35:34,980 --> 00:35:36,900
little grumpy bloke
in the corner, really, you know,

834
00:35:36,900 --> 00:35:38,099
I wasn't really digging it.

835
00:35:38,339 --> 00:35:40,419
And I didn't relate to almost
anybody there.

836
00:35:40,699 --> 00:35:43,539
They were very much, um,
pop stars,

837
00:35:43,579 --> 00:35:46,179
and I didn't feel any affinity
with that at all.

838
00:35:46,179 --> 00:35:47,179
I wasn't really into that.

839
00:35:47,419 --> 00:35:51,458
Feed the world

840
00:35:51,498 --> 00:35:55,578
Let them know
It's Christmas time again

841
00:35:55,578 --> 00:35:56,618
[Paul] You know, the outcome

842
00:35:56,618 --> 00:35:57,978
sort of speaks for itself,
really.

843
00:35:57,978 --> 00:36:00,658
If you're raising money
and possibly,

844
00:36:00,698 --> 00:36:02,698
hopefully saving
people's lives,

845
00:36:02,698 --> 00:36:04,418
the cause is far greater

846
00:36:04,418 --> 00:36:06,497
than your own personal opinions
of it.

847
00:36:06,497 --> 00:36:08,097
What it did, I suppose,

848
00:36:08,137 --> 00:36:09,538
you couldn't really argue
with, you know.

849
00:36:09,938 --> 00:36:15,978
Well tonight thank God
It's them instead of you

850
00:36:15,978 --> 00:36:18,538
["A Stone's Throw Away"
plays]

851
00:36:18,578 --> 00:36:20,657
[announcer]
The Style Council present

852
00:36:20,657 --> 00:36:21,977
Our Favourite Shop.

853
00:36:22,017 --> 00:36:24,897
Fourteen classic tracks
including the hit single

854
00:36:24,897 --> 00:36:28,297
"Walls Come Tumbling Down,"
available on record,

855
00:36:28,297 --> 00:36:30,497
cassette and compact disc.

856
00:36:33,176 --> 00:36:35,176
In your favorite shop now.

857
00:36:35,776 --> 00:36:39,336
["Walls Come Tumbling Down"
plays]

858
00:36:41,736 --> 00:36:44,656
[announcer] Our Favourite Shop
by The Style Council.

859
00:36:44,656 --> 00:36:46,695
Probably the best pop group
in the world.

860
00:36:47,495 --> 00:36:50,375
[Mick] I think we got to
a point with  Our Favourite Shop

861
00:36:50,375 --> 00:36:53,776
where we had a more kind of
set line-up

862
00:36:53,776 --> 00:36:57,176
and we kinda became aware
of our strengths more.

863
00:36:58,016 --> 00:37:00,415
From the playground
To the wasteground

864
00:37:00,415 --> 00:37:02,735
Hope ends at 17

865
00:37:03,055 --> 00:37:05,695
Sweeping floors
And filling shelves

866
00:37:05,695 --> 00:37:08,215
Forced
Into government schemes

867
00:37:08,695 --> 00:37:11,055
Eleven years spent
To dig out ditches

868
00:37:11,095 --> 00:37:13,734
Forget your school day
Dreams

869
00:37:14,214 --> 00:37:16,894
Guarantees and lie-filled
Speeches

870
00:37:16,894 --> 00:37:19,494
But nothing's what it seems

871
00:37:19,854 --> 00:37:24,854
Qualified and patronized
And with everything to lose

872
00:37:25,254 --> 00:37:27,134
Ooh

873
00:37:27,653 --> 00:37:31,773
[Paul] This was more
of a very definite album.

874
00:37:32,054 --> 00:37:33,414
You know, we kind of set up,

875
00:37:33,414 --> 00:37:34,574
"This is gonna be
the next record."

876
00:37:34,854 --> 00:37:38,094
I think it's probably our most
consistent album, musically.

877
00:37:38,094 --> 00:37:41,213
And it may be
the most accessible.

878
00:37:41,253 --> 00:37:43,853
I bought the paper
Yesterday

879
00:37:43,893 --> 00:37:47,813
And I saw the obituary

880
00:37:47,853 --> 00:37:50,693
And I read of how you died
In pain

881
00:37:51,013 --> 00:37:54,333
Well I just
Couldn't understand it

882
00:37:54,493 --> 00:37:58,092
There was a more of a cohesive,
you know, band sound.

883
00:37:58,132 --> 00:38:01,812
And awash with, uh, you know,
the-- these wonderful,

884
00:38:01,812 --> 00:38:04,092
beautiful melodies.
I thought that was them

885
00:38:04,132 --> 00:38:05,292
at the top of their game.

886
00:38:05,292 --> 00:38:07,972
It's a real sort of
galvanization of all

887
00:38:08,012 --> 00:38:11,011
of our ideas and our commitment
to things that we were into.

888
00:38:11,011 --> 00:38:14,292
But you were always
Chained and

889
00:38:14,292 --> 00:38:16,892
Shackled by the dirt

890
00:38:17,132 --> 00:38:19,732
Our Favourite Shop
is a fantastic snapshot

891
00:38:19,732 --> 00:38:22,012
of a slice of Britain in 1985.

892
00:38:22,052 --> 00:38:26,091
The miners, Thatcher,
Pinochet, all sorts of things

893
00:38:26,131 --> 00:38:28,291
in a-- in a pop record.
You know?

894
00:38:28,291 --> 00:38:31,611
And taking on racism,
homophobia.

895
00:38:31,611 --> 00:38:33,931
It was all the things
that as a young lefty,

896
00:38:33,931 --> 00:38:36,290
you wanted your favorite group
to be doing.

897
00:38:36,290 --> 00:38:39,010
Well Thatcher came to power
in '79, I think,

898
00:38:39,010 --> 00:38:41,690
and that was the first time
I was old enough to vote.

899
00:38:41,690 --> 00:38:45,050
Where there is discord,
may we bring harmony.

900
00:38:45,050 --> 00:38:48,410
Where there is error,
may we bring truth.

901
00:38:48,450 --> 00:38:51,489
Where there is doubt,
may we bring faith

902
00:38:51,489 --> 00:38:54,409
and where there is despair,
may we bring hope.

903
00:38:54,609 --> 00:38:56,210
No peace for the wicked

904
00:38:56,570 --> 00:38:58,410
There's only war
on the poor

905
00:38:59,010 --> 00:39:03,769
They're batting on pickets
Trying to even the score

906
00:39:03,809 --> 00:39:07,409
It's all inclusive
And the dirt comes free

907
00:39:07,809 --> 00:39:13,009
And you can be all
That you want to be

908
00:39:13,929 --> 00:39:17,488
After that
was the Falklands, '82.

909
00:39:17,488 --> 00:39:19,488
And I think it just all,

910
00:39:19,528 --> 00:39:21,728
just bit by bit,
all went downhill, really.

911
00:39:22,128 --> 00:39:24,048
Shutting down of the mines

912
00:39:24,048 --> 00:39:26,928
and trying to dismantle
trade unions.

913
00:39:27,448 --> 00:39:30,008
I think it was really them
getting their revenge back

914
00:39:30,048 --> 00:39:31,967
on what had happened
to Ted Heath, isn't it?

915
00:39:32,007 --> 00:39:34,247
That was-- I thought
it was the vibe I always got.

916
00:39:34,247 --> 00:39:36,808
I thought there was this sort of
determined plan to smash

917
00:39:36,848 --> 00:39:38,648
the working classes
and the trade unions

918
00:39:38,648 --> 00:39:42,168
because of the power they'd had
and brought down a government,

919
00:39:42,208 --> 00:39:43,448
almost really.

920
00:39:44,928 --> 00:39:47,527
[Rev. Richard] Many themes
emerged from this collection

921
00:39:47,567 --> 00:39:50,167
and for instance,
check the first tune out,

922
00:39:50,367 --> 00:39:54,447
which tells sad of a family torn
and broken in two

923
00:39:54,447 --> 00:39:56,407
by the curse of unemployment.

924
00:39:56,447 --> 00:40:00,286
The two young sons in London,
one in search of work,

925
00:40:00,286 --> 00:40:03,126
the other looking to revenge
this outrage

926
00:40:03,126 --> 00:40:05,086
whilst the father
who has been marked,

927
00:40:05,086 --> 00:40:09,366
made redundant, stays behind,
his wiles swept with nostalgia

928
00:40:09,366 --> 00:40:12,006
as he blames all except
the real enemy.

929
00:40:12,286 --> 00:40:16,605
Good morning day
And how do you do

930
00:40:16,605 --> 00:40:20,806
I wonder what will you do
For me

931
00:40:20,806 --> 00:40:25,006
[Mick] "Homebreakers" was a tune
that I had, and Paul said,

932
00:40:25,046 --> 00:40:26,765
"I think I've got some lyrics
for that."

933
00:40:26,765 --> 00:40:29,605
He wanted me to sing it
because my dad and my brother,

934
00:40:29,605 --> 00:40:31,125
they were both
in the printing union,

935
00:40:31,165 --> 00:40:33,925
and SOGAT
was getting ripped to shreds.

936
00:40:33,965 --> 00:40:36,285
My dad did get made redundant.

937
00:40:36,325 --> 00:40:39,965
It's 30 years with one firm.
I think he was like 33 years

938
00:40:39,965 --> 00:40:42,284
with the same firm
and that was personal to me,

939
00:40:42,284 --> 00:40:43,524
but it was everyone's story

940
00:40:43,564 --> 00:40:45,524
and it was going on
all over the place.

941
00:40:45,564 --> 00:40:48,764
And also, it kinda
cocks a snook

942
00:40:48,764 --> 00:40:50,764
at the Norman Tebbit
"get on your bike,"

943
00:40:50,804 --> 00:40:52,164
that famous speech.

944
00:40:52,164 --> 00:40:54,563
...and he kept looking
till he found it.

945
00:40:54,763 --> 00:40:57,763
If you can't find work

946
00:40:58,403 --> 00:41:00,444
In your own town

947
00:41:00,444 --> 00:41:02,124
[Paul] When you saw
the nightly news

948
00:41:02,164 --> 00:41:03,324
during the miners' strike

949
00:41:03,364 --> 00:41:05,764
of the police beating shit out
of the miners,

950
00:41:05,764 --> 00:41:08,683
it was just incredibly fucking
depressing,

951
00:41:08,683 --> 00:41:10,243
really, it was just like,
"Is this our country?

952
00:41:10,243 --> 00:41:11,563
Is this what it's come to?"

953
00:41:11,563 --> 00:41:15,083
These people are heroes
a few years before that.

954
00:41:15,323 --> 00:41:17,123
Going down deep
into the fucking ground,

955
00:41:17,123 --> 00:41:18,483
digging out coal, right?

956
00:41:19,003 --> 00:41:21,083
Uh, which ain't the most
pleasant

957
00:41:21,083 --> 00:41:22,322
of jobs, I can imagine.

958
00:41:22,522 --> 00:41:25,882
And all of a sudden
they are, um, being beaten

959
00:41:25,882 --> 00:41:30,362
and, uh...
and vilified by the media

960
00:41:30,682 --> 00:41:33,242
for standing up
for their livelihoods, man.

961
00:41:33,242 --> 00:41:36,001
The sign says closed
It's a sign of the times

962
00:41:36,001 --> 00:41:40,522
Like everything else
It's all gone away

963
00:41:40,522 --> 00:41:42,522
[Billy] For me and Paul,
I think the miners' strike

964
00:41:42,562 --> 00:41:43,482
was a class war,

965
00:41:43,682 --> 00:41:45,482
and if you had a working class
background

966
00:41:45,482 --> 00:41:46,802
like Paul did
and like I did, you're--

967
00:41:46,802 --> 00:41:48,682
you know, you realize
these are our people,

968
00:41:48,682 --> 00:41:50,441
-we have to take sides here.
-There are definitely

969
00:41:50,481 --> 00:41:52,201
a working class

970
00:41:52,441 --> 00:41:54,521
mass of people
who didn't have a voice

971
00:41:54,521 --> 00:41:56,841
and were being completely
neglected.

972
00:41:57,201 --> 00:41:59,801
But somewhere
The party never ends

973
00:41:59,801 --> 00:42:03,000
And greedy hands rub
Together again

974
00:42:03,040 --> 00:42:08,440
Shipping out the profits
That they've stolen

975
00:42:08,440 --> 00:42:11,240
[Martin] They were one
of the most effective acts

976
00:42:11,240 --> 00:42:15,120
at getting
a political message across

977
00:42:15,160 --> 00:42:17,719
in an absolutely pop way.

978
00:42:17,719 --> 00:42:19,999
You don't have to take
This crap

979
00:42:20,759 --> 00:42:23,560
You don't have to sit back
And relax

980
00:42:23,560 --> 00:42:28,200
You can actually try
Changing it

981
00:42:28,640 --> 00:42:30,559
[Billy] What a great anthem
that was.

982
00:42:30,559 --> 00:42:34,599
The whole dynamic of that song,
it's got the energy of punk,

983
00:42:34,599 --> 00:42:36,119
it's got the beauty of soul,

984
00:42:36,319 --> 00:42:38,319
and it's got the anger
of the 1980s in it.

985
00:42:38,319 --> 00:42:41,039
Are you gonna try to make
This work

986
00:42:41,079 --> 00:42:43,519
Or spend your days
Down in the dirt

987
00:42:43,519 --> 00:42:45,318
You see things can change

988
00:42:45,358 --> 00:42:47,358
Yes and walls
Can come tumbling down

989
00:42:47,558 --> 00:42:50,998
[Eddie] All that kind of stuff
is very clever political music

990
00:42:50,998 --> 00:42:52,278
that makes you wanna dance.

991
00:42:52,318 --> 00:42:53,878
If you're on the dancefloor
first, the message

992
00:42:53,878 --> 00:42:55,518
doesn't come back 'til later,
you know?

993
00:42:55,558 --> 00:42:57,438
It's a very clever way
of doing it.

994
00:42:57,677 --> 00:42:59,757
There were other political
groups around at the time,

995
00:42:59,757 --> 00:43:01,877
but they weren't getting
in the top ten, really.

996
00:43:01,877 --> 00:43:03,838
And they weren't doing it
with beautiful melodies

997
00:43:03,838 --> 00:43:05,158
and they weren't doing it
looking like

998
00:43:05,158 --> 00:43:07,478
they could have been
on the cover of  Smash Hits,

999
00:43:07,478 --> 00:43:09,518
and being on the cover
of  Smash Hits,  you know.

1000
00:43:09,558 --> 00:43:12,357
Are you gonna be
Threatened by

1001
00:43:12,837 --> 00:43:14,837
The public enemies
Number ten

1002
00:43:15,877 --> 00:43:18,557
Those who play
The power game

1003
00:43:18,997 --> 00:43:21,077
They take the profits,
You take the blame

1004
00:43:21,277 --> 00:43:26,356
When they tell you
There's no rise in pay

1005
00:43:26,836 --> 00:43:29,676
[Steve] The attention to detail
in the Our Favourite Shop sleeve

1006
00:43:29,676 --> 00:43:31,116
is absolutely brilliant,
you know,

1007
00:43:31,116 --> 00:43:34,516
from the homoerotic post card
to Georgie Best, you know.

1008
00:43:34,516 --> 00:43:37,196
And I think for the fans
of the band at the time,

1009
00:43:37,196 --> 00:43:39,995
it was absolutely fantastic
to have all that detail.

1010
00:43:39,995 --> 00:43:42,035
It was supposed to be
just everything we loved

1011
00:43:42,075 --> 00:43:43,315
and believed in.

1012
00:43:43,555 --> 00:43:46,516
I've heard a lot of people say
that they've checked out things

1013
00:43:46,516 --> 00:43:49,796
that they've randomly seen on it
and it's led them somewhere.

1014
00:43:50,116 --> 00:43:53,875
And that's the way me and Paul
got to where we were going,

1015
00:43:53,875 --> 00:43:56,795
really, just pursuing things
like that.

1016
00:43:57,035 --> 00:43:59,115
You got Otis,
you got Georgie Best,

1017
00:43:59,155 --> 00:44:01,795
you got Tony Hancock
Another Country,

1018
00:44:01,835 --> 00:44:03,635
yeah, all sort of things here,
man.

1019
00:44:04,035 --> 00:44:05,435
All the books up there,

1020
00:44:05,475 --> 00:44:07,674
Joe Horton, see these
are influences on us.

1021
00:44:07,874 --> 00:44:09,954
And there's the Lennon
and McCartney

1022
00:44:10,194 --> 00:44:13,034
shot by David Bailey
that's on the wall,

1023
00:44:13,034 --> 00:44:16,514
which we then mirrored
as the band's portrait inside

1024
00:44:16,514 --> 00:44:18,714
and we all brought along
lots of different things.

1025
00:44:18,714 --> 00:44:20,633
There's a picture
of Terry Thomas, Michael Caine.

1026
00:44:20,793 --> 00:44:22,953
Lots of-- yeah. I think
even Paul's Rickenbacker,

1027
00:44:22,953 --> 00:44:24,433
again, so that was a look
to the past.

1028
00:44:24,473 --> 00:44:26,274
But that was just
an opportunity for us

1029
00:44:26,274 --> 00:44:27,474
to have a bit of fun.

1030
00:44:27,474 --> 00:44:28,914
[Mick] There's lots of things
I know are there

1031
00:44:28,914 --> 00:44:30,354
that you can't really see
are there.

1032
00:44:30,354 --> 00:44:32,314
But it-- it kind of means a lot

1033
00:44:32,354 --> 00:44:34,233
that we bothered
putting them there.

1034
00:44:34,233 --> 00:44:36,433
And there were things
on this cover,

1035
00:44:36,433 --> 00:44:40,513
things that I learned about
from this cover and things

1036
00:44:40,513 --> 00:44:43,313
that were confirmed to me
about things I already liked.

1037
00:44:43,353 --> 00:44:45,473
I liked  Carry Ons
and I love Tony Hancock

1038
00:44:45,473 --> 00:44:47,553
and you know,
I already like that stuff.

1039
00:44:47,952 --> 00:44:51,112
Um, obviously like The Beatles,
and I love George Best.

1040
00:44:51,112 --> 00:44:54,872
And it's funny how just
a half-blurred image of some,

1041
00:44:55,392 --> 00:44:58,832
you know, torn up novel
or something

1042
00:44:58,872 --> 00:45:01,591
can lead someone younger
somewhere else, you know?

1043
00:45:01,631 --> 00:45:02,511
It's great.

1044
00:45:02,751 --> 00:45:03,871
[host] You've just released
a new single,

1045
00:45:03,871 --> 00:45:04,871
while we're on the subject,

1046
00:45:04,911 --> 00:45:06,311
it's called
"Come to Milton Keynes,"

1047
00:45:06,311 --> 00:45:08,472
and itself caused a stir
in this week's press

1048
00:45:08,472 --> 00:45:09,632
so we ought to have a look
at that

1049
00:45:09,672 --> 00:45:11,112
before we talk
about anything else.

1050
00:45:11,152 --> 00:45:14,712
["Come To Milton Keynes"
plays]

1051
00:45:18,911 --> 00:45:22,311
May I walk you home tonight

1052
00:45:22,471 --> 00:45:26,031
On this fine
And lovely night tonight

1053
00:45:26,031 --> 00:45:29,550
We'll walk past
The luscious houses

1054
00:45:29,550 --> 00:45:34,430
Through rolling lawns
And lovely flowers

1055
00:45:34,670 --> 00:45:35,870
Our nice new town

1056
00:45:36,110 --> 00:45:38,190
Where the curtains
are drawn

1057
00:45:38,230 --> 00:45:41,550
Where hope is started
And dreams can be borne

1058
00:45:41,990 --> 00:45:43,349
You upset a few people
with that

1059
00:45:43,349 --> 00:45:44,709
and you haven't even been there.

1060
00:45:45,069 --> 00:45:47,229
-Yeah.
-[host] Why did you write

1061
00:45:47,229 --> 00:45:49,630
about Milton Keynes?
What's the meaning of it?

1062
00:45:49,630 --> 00:45:53,030
It was more about, um,
the kind of new towns,

1063
00:45:53,030 --> 00:45:54,750
you know, I mean,
the fact we used Milton Keynes

1064
00:45:54,790 --> 00:45:56,709
is neither here or there, I mean
they're up in arms about it,

1065
00:45:56,709 --> 00:45:58,749
apparently, but big deal,
you know?

1066
00:45:59,269 --> 00:46:01,509
And, um--
But it's more about, um...

1067
00:46:02,189 --> 00:46:04,469
the way that Britain's values
are changing,

1068
00:46:04,469 --> 00:46:07,029
and us as a race
are changing as well, I think.

1069
00:46:07,309 --> 00:46:10,708
And the kind of, um,
materialistic values

1070
00:46:10,708 --> 00:46:12,508
which we seemed to have adopted,

1071
00:46:12,508 --> 00:46:15,468
-quite American, I think.
-Was it the advert

1072
00:46:15,468 --> 00:46:17,668
about Milton Keynes
that made you think of doing it?

1073
00:46:17,668 --> 00:46:19,868
Well, there's a horrible kind
of Ronald McDonald figure

1074
00:46:19,868 --> 00:46:21,148
in the adverts isn't there?

1075
00:46:21,348 --> 00:46:23,228
-That's very American.
-[host] Mm.

1076
00:46:23,228 --> 00:46:24,507
[Paul] It's all showbiz,
you know?

1077
00:46:24,707 --> 00:46:27,467
This fine conservative night
I was looking for a job

1078
00:46:27,467 --> 00:46:29,547
So I came to town

1079
00:46:29,547 --> 00:46:35,348
I easily adopt when the chips
Are down

1080
00:46:35,348 --> 00:46:37,228
Can I do an impersonation
while I'm on here.

1081
00:46:37,228 --> 00:46:38,587
[host] Why now,
do you wanna do it now?

1082
00:46:38,627 --> 00:46:39,947
Which camera shall I face?
This one there?

1083
00:46:39,947 --> 00:46:41,627
Are there any agents
watching this?

1084
00:46:41,667 --> 00:46:43,307
Viewers at home,
see if you can--

1085
00:46:43,347 --> 00:46:44,787
see if you can guess
who this is.

1086
00:46:45,947 --> 00:46:48,107
-That's quite good that.
-[host] That was good.

1087
00:46:48,107 --> 00:46:49,907
Yeah, Christopher Lee that was.

1088
00:46:50,347 --> 00:46:52,946
God bless you all. God bless.

1089
00:46:55,066 --> 00:46:57,346
[Richard Skinner]
It's 12:00 noon in London,

1090
00:46:57,386 --> 00:46:59,066
7:00 AM in Philadelphia

1091
00:46:59,266 --> 00:47:02,346
and around the world,
it's time for Live Aid.

1092
00:47:02,386 --> 00:47:04,186
Sixteen hours of live music

1093
00:47:04,226 --> 00:47:06,105
in aid of famine relief
in Africa.

1094
00:47:06,105 --> 00:47:07,625
[Eddie] Everyone knows
where they were

1095
00:47:07,665 --> 00:47:09,025
when that event happened.

1096
00:47:09,065 --> 00:47:11,626
It must have had
such an international impact.

1097
00:47:11,946 --> 00:47:13,386
It's almost like Woodstock.

1098
00:47:13,426 --> 00:47:18,146
We went down there fairly early
on. We were the second on.

1099
00:47:18,186 --> 00:47:20,705
Status Quo were the first act,
we were second.

1100
00:47:21,105 --> 00:47:23,545
And as we were that early,

1101
00:47:23,825 --> 00:47:25,905
there had been
no sound checking,

1102
00:47:25,905 --> 00:47:28,105
but they just said
to the first few acts,

1103
00:47:28,145 --> 00:47:30,145
"If you wanna get a feel
for the stage and go up there

1104
00:47:30,185 --> 00:47:31,945
or try the gear out, you can."

1105
00:47:31,985 --> 00:47:34,944
So we were told
we could do that.

1106
00:47:34,944 --> 00:47:39,104
But at the same time, they said,
uh, "Prince Charles and Diana

1107
00:47:39,104 --> 00:47:41,224
are turning up
and you can meet them."

1108
00:47:41,544 --> 00:47:43,264
And we just went,

1109
00:47:43,304 --> 00:47:44,944
"We'll do the sound
check shall we?"

1110
00:47:45,304 --> 00:47:47,023
["God Save The Queen" plays]

1111
00:47:50,943 --> 00:47:52,664
[Steve] We knew
that it was gonna be

1112
00:47:52,664 --> 00:47:55,904
like obviously big
but not as big

1113
00:47:55,904 --> 00:47:58,344
as when you kind
of looked out onto the,

1114
00:47:58,344 --> 00:48:00,184
you know, the audience.

1115
00:48:00,184 --> 00:48:01,863
That was pretty breath-taking.

1116
00:48:01,903 --> 00:48:03,103
I don't think anyone
had ever seen

1117
00:48:03,103 --> 00:48:04,383
a crowd like that before.

1118
00:48:04,383 --> 00:48:05,903
It was just-- It was incredible.

1119
00:48:05,903 --> 00:48:07,703
I've always had
a coping mechanism

1120
00:48:07,703 --> 00:48:10,983
of just getting on with the job
and not listening too much

1121
00:48:10,983 --> 00:48:14,182
to what's going on and how many
people are outside and all that.

1122
00:48:14,182 --> 00:48:16,182
But there was no way no to see
what was happening

1123
00:48:16,182 --> 00:48:17,462
on the day of Live Aid.

1124
00:48:17,462 --> 00:48:20,422
[Helen] Before we went on stage,
someone asked us

1125
00:48:20,462 --> 00:48:23,222
to hold our arms up
and we were...

1126
00:48:24,302 --> 00:48:25,462
all like that.

1127
00:48:25,662 --> 00:48:28,981
You know, not only playing
to 19,000 people up front,

1128
00:48:28,981 --> 00:48:31,821
which is pretty, um,
scary as it is,

1129
00:48:31,821 --> 00:48:33,501
but also, the millions of people

1130
00:48:33,501 --> 00:48:34,902
watching it as well, you know?

1131
00:48:35,502 --> 00:48:37,662
And it's all live, so.

1132
00:48:38,182 --> 00:48:40,382
The closer you got,
the more it felt like,

1133
00:48:40,382 --> 00:48:42,861
"It's quite a big gig, this,
it's quite bit news, this."

1134
00:48:42,861 --> 00:48:44,741
"This is sort of going around
the world,"

1135
00:48:44,741 --> 00:48:47,981
and it was a very important day.

1136
00:48:49,101 --> 00:48:51,461
I might shoot to win

1137
00:48:51,901 --> 00:48:54,061
And commit the sin

1138
00:48:54,421 --> 00:48:59,860
I wanted more than
I've already got

1139
00:48:59,860 --> 00:49:04,500
I could runaway
But I'd rather stay

1140
00:49:04,860 --> 00:49:09,979
In the warmth of your smile
Lighting up my day

1141
00:49:09,979 --> 00:49:12,579
The one that makes me say

1142
00:49:13,099 --> 00:49:17,380
You're the best thing
That ever happened

1143
00:49:18,820 --> 00:49:21,300
[Paul] What a monumental thing
to organize, really.

1144
00:49:21,300 --> 00:49:23,259
Hats off to Bob,
really, for doing it all.

1145
00:49:23,259 --> 00:49:26,219
I know we've always been
Taught to rely

1146
00:49:26,259 --> 00:49:28,739
Upon those in authority

1147
00:49:29,419 --> 00:49:32,059
But you never know
Until you try

1148
00:49:32,459 --> 00:49:35,019
How things just might be

1149
00:49:35,019 --> 00:49:39,418
If we came together
So strongly

1150
00:49:39,738 --> 00:49:41,898
[Martin] There were
some awful things that happened

1151
00:49:41,898 --> 00:49:44,138
at Live Aid, you know,
like artistically,

1152
00:49:44,178 --> 00:49:45,418
but there were also some
really good ones.

1153
00:49:45,458 --> 00:49:47,018
There was, you know,
and I--

1154
00:49:47,018 --> 00:49:49,058
'cause this was even before
I was a fanatic.

1155
00:49:49,258 --> 00:49:51,777
Objectively, I thought
they were one of the best things

1156
00:49:51,817 --> 00:49:53,137
about that day.

1157
00:49:56,417 --> 00:49:57,658
Thank you!

1158
00:49:58,858 --> 00:50:01,098
[indistinct]

1159
00:50:01,098 --> 00:50:03,658
[Janice] Well, I mean, stupid
question, but how did it feel?

1160
00:50:03,698 --> 00:50:06,057
Uh, I thought it was very good,
you know, I was a bit--

1161
00:50:06,097 --> 00:50:08,097
I was a bit nervous
but I enjoyed it.

1162
00:50:08,097 --> 00:50:09,337
What about you, Mick?

1163
00:50:09,337 --> 00:50:11,097
Well, it was very nerve-wracking
before we went on,

1164
00:50:11,097 --> 00:50:12,897
but we went out there
and once you saw that crowd,

1165
00:50:12,897 --> 00:50:14,497
you know, you just had
to enjoy it, really.

1166
00:50:14,537 --> 00:50:17,577
The crowd were like amazing
and it was a beautiful sunny,

1167
00:50:17,577 --> 00:50:19,976
beautiful day. But then we had
to get on the bus

1168
00:50:19,976 --> 00:50:22,136
and go down to Kent,
we were doing

1169
00:50:22,136 --> 00:50:24,296
"Come to Milton Keynes"
on a TV show.

1170
00:50:24,336 --> 00:50:27,936
["Come To Milton Keynes"
playing]

1171
00:50:31,336 --> 00:50:32,775
And then we got
on the coach

1172
00:50:32,775 --> 00:50:34,615
and went all the way back
to Wembley.

1173
00:50:35,255 --> 00:50:38,576
And the Christmas bells
That ring there

1174
00:50:38,816 --> 00:50:42,576
Are the clanging chimes
Of doom

1175
00:50:42,576 --> 00:50:46,255
Well tonight thank God
It's them

1176
00:50:46,255 --> 00:50:49,535
Instead of you

1177
00:50:49,535 --> 00:50:50,575
Everyone!

1178
00:50:51,775 --> 00:50:53,695
When you knew
that you were witnessing,

1179
00:50:53,735 --> 00:50:56,175
you know, something, you know,
very, very special...

1180
00:50:57,975 --> 00:51:01,254
It's one of the biggest
events musically of all time.

1181
00:51:03,014 --> 00:51:04,094
[Steve] Looking back on it,

1182
00:51:04,414 --> 00:51:09,094
it's hard to kind of quantify
because everybody that was there

1183
00:51:09,094 --> 00:51:11,734
was just like the top
of their game.

1184
00:51:13,733 --> 00:51:15,333
[Mick] I guess the finale
involves

1185
00:51:16,413 --> 00:51:18,933
a show of strength
and standing at the back,

1186
00:51:19,093 --> 00:51:21,494
watching ambitious backing
vocalists

1187
00:51:21,494 --> 00:51:22,894
fight to get near the front.

1188
00:51:23,974 --> 00:51:27,453
Feed the world

1189
00:51:28,133 --> 00:51:30,053
Let them know

1190
00:51:30,053 --> 00:51:36,213
It's Christmas time again

1191
00:51:36,253 --> 00:51:38,573
[crowd cheering]

1192
00:51:39,973 --> 00:51:42,012
[Mick] Billy Bragg noticed

1193
00:51:42,372 --> 00:51:44,452
the same people turning up
at benefits.

1194
00:51:44,452 --> 00:51:46,932
Um, The Style Council,

1195
00:51:46,972 --> 00:51:50,932
Communards,
him and a few other people.

1196
00:51:51,452 --> 00:51:53,292
[Paul] Billy came to us
with this idea

1197
00:51:53,332 --> 00:51:56,331
trying to get young people, uh,

1198
00:51:56,331 --> 00:51:59,731
engaged with politics and also
for them to use their votes.

1199
00:51:59,971 --> 00:52:01,932
[Billy] Red Wedge came together
after the end

1200
00:52:01,972 --> 00:52:04,132
of the miner's strike
where a lot of the bands

1201
00:52:04,132 --> 00:52:05,852
that had been doing gigs
for the miners were like,

1202
00:52:05,852 --> 00:52:06,972
"Well what happens now?
We just go back

1203
00:52:07,012 --> 00:52:08,571
to being on  Top of the Pops,
is that it?"

1204
00:52:08,611 --> 00:52:11,011
It just was "I'll see
you on Saturday morning TV?"

1205
00:52:11,011 --> 00:52:14,211
No. What's, you know,
"What can we do to get rid

1206
00:52:14,211 --> 00:52:16,851
of the Tories?"
And the next obvious opportunity

1207
00:52:16,851 --> 00:52:19,651
was the 1987 general election.

1208
00:52:19,651 --> 00:52:22,890
Um, and the only viable vehicle
for getting rid of the Tories

1209
00:52:22,890 --> 00:52:23,970
was the Labour Party.

1210
00:52:24,170 --> 00:52:26,850
You know, it kinda-- it sounded
like a good idea.

1211
00:52:27,170 --> 00:52:31,370
We had some, you know,
reluctance to get involved

1212
00:52:31,410 --> 00:52:34,010
with a party as such,
you know what I mean?

1213
00:52:34,050 --> 00:52:35,170
I didn't really...

1214
00:52:35,769 --> 00:52:37,889
I didn't feel any affinity
with them, really.

1215
00:52:38,089 --> 00:52:40,089
We didn't work
for the Labour Party.

1216
00:52:40,449 --> 00:52:42,850
We were an independent
initiative that went to them

1217
00:52:42,890 --> 00:52:45,170
and we worked with them,
rather than for them.

1218
00:52:45,730 --> 00:52:48,130
My involvement
with that whole thing

1219
00:52:48,130 --> 00:52:49,569
was to make a statement

1220
00:52:50,489 --> 00:52:53,089
that we cared
about what was going on

1221
00:52:53,089 --> 00:52:54,689
in our own country

1222
00:52:54,729 --> 00:52:57,009
and that we wanted change.

1223
00:52:57,049 --> 00:52:59,049
Right, we wanted the children,

1224
00:52:59,049 --> 00:53:01,009
the young people at the time

1225
00:53:01,009 --> 00:53:04,848
to view with an open mind
opposed to this closed narrative

1226
00:53:04,888 --> 00:53:06,968
that was being given to us

1227
00:53:06,968 --> 00:53:09,928
by The Conservative Party
of that time.

1228
00:53:09,928 --> 00:53:13,768
Strange when you think
Of the chances

1229
00:53:14,288 --> 00:53:19,367
That we'd both be
In a state of mind

1230
00:53:19,407 --> 00:53:21,407
Too cool to be careless

1231
00:53:21,727 --> 00:53:24,448
Just looking
For the right thing

1232
00:53:24,728 --> 00:53:27,048
Oh baby

1233
00:53:27,048 --> 00:53:30,248
Don't look any further,
Further

1234
00:53:30,727 --> 00:53:32,647
[Billy] Those events
were really, really powerful

1235
00:53:32,687 --> 00:53:35,527
because you-- it took us outside
of just singing about it,

1236
00:53:35,527 --> 00:53:37,607
it got us to actually
to come face to face

1237
00:53:37,647 --> 00:53:39,127
with the reality
of those people.

1238
00:53:39,127 --> 00:53:40,687
And do you think that people
who came to listen

1239
00:53:40,727 --> 00:53:42,327
to the Red Wedge tour,
do you think

1240
00:53:42,367 --> 00:53:44,127
you gained many converts or...

1241
00:53:44,327 --> 00:53:46,646
It's not like we're on
a missionary crusade

1242
00:53:46,646 --> 00:53:48,246
or something, you know,
we're just, um,

1243
00:53:48,246 --> 00:53:49,526
we're just delivering
the facts to people,

1244
00:53:49,526 --> 00:53:50,926
we'll let 'em make
their own minds up.

1245
00:53:50,966 --> 00:53:54,126
We're not out as a-- out to act
as a propaganda machine

1246
00:53:54,166 --> 00:53:55,966
for any political party at all.

1247
00:53:55,966 --> 00:53:57,646
But some might say that.

1248
00:53:57,646 --> 00:53:59,485
Some might say--
Some might say a lot of things,

1249
00:53:59,485 --> 00:54:00,805
you yourself, Baz,
seeing as you work

1250
00:54:00,805 --> 00:54:03,085
for the  Daily Mail
or  The Sun  or people.

1251
00:54:03,085 --> 00:54:04,365
[laughs]

1252
00:54:04,405 --> 00:54:06,286
So you'd go to Liverpool,
and all of a sudden,

1253
00:54:06,286 --> 00:54:08,686
like, Derek Hatton's hanging
about backstage,

1254
00:54:08,726 --> 00:54:11,846
and it wasn't a great energy
with people like that, you know?

1255
00:54:11,846 --> 00:54:14,645
It felt like this is probably
a good time to just step back

1256
00:54:14,645 --> 00:54:17,405
a little bit. 'Cause it became
a bit all consuming.

1257
00:54:17,405 --> 00:54:20,605
From a very genuine attempt
to engage young people

1258
00:54:20,605 --> 00:54:21,765
in politics,

1259
00:54:22,125 --> 00:54:25,005
it didn't work, and the reason
it didn't work

1260
00:54:25,005 --> 00:54:27,564
is because the politicians
weren't genuine.

1261
00:54:27,764 --> 00:54:31,084
And I think that is
what resonates to this day.

1262
00:54:31,084 --> 00:54:32,084
[Paul]
With like any politicians,

1263
00:54:32,524 --> 00:54:35,044
there's always some ulterior
motive, isn't there, you know?

1264
00:54:35,044 --> 00:54:37,204
So it just fucking put me off
really, I just thought,

1265
00:54:37,244 --> 00:54:39,723
you know, it is--
they are as I imagined

1266
00:54:39,723 --> 00:54:40,883
they would be,
you know what I mean?

1267
00:54:41,083 --> 00:54:43,323
Day o umba day o

1268
00:54:43,723 --> 00:54:45,603
Mambu ji ay o

1269
00:54:45,603 --> 00:54:47,444
[Billy] Whatever you think
about the politics of Red Wedge,

1270
00:54:47,444 --> 00:54:49,004
whatever you think
about what became

1271
00:54:49,004 --> 00:54:51,124
of that campaign and what it did
and didn't achieve,

1272
00:54:51,124 --> 00:54:53,643
the gigs were really,
really special gigs.

1273
00:54:53,683 --> 00:54:56,683
I still meet people who were
at a particular Red Wedge gig

1274
00:54:56,683 --> 00:54:58,043
and it just sort of blew
their minds

1275
00:54:58,043 --> 00:54:59,203
to see us all up there playing.

1276
00:54:59,243 --> 00:55:01,963
I'm a grown man now,

1277
00:55:02,003 --> 00:55:03,683
I don't really want politics.

1278
00:55:03,683 --> 00:55:05,563
If I perceive something
as having politics

1279
00:55:05,563 --> 00:55:07,362
rammed down my throat,
I totally turn off.

1280
00:55:07,362 --> 00:55:09,442
So I get-- if people felt that,

1281
00:55:09,442 --> 00:55:11,202
I understand why
they wouldn't have liked it

1282
00:55:11,242 --> 00:55:12,362
as much
as "You're The Best Thing."

1283
00:55:12,402 --> 00:55:15,162
I do get it.
I happened to be a little

1284
00:55:15,202 --> 00:55:17,522
rabid lefty then.
So I was like,

1285
00:55:17,522 --> 00:55:19,122
"Great, I'm getting
the best of all worlds."

1286
00:55:19,442 --> 00:55:22,321
But even I, by the-- by the time
I was kind of 16, I was like,

1287
00:55:22,321 --> 00:55:24,081
"No, what I really like
about this group is the music."

1288
00:55:24,601 --> 00:55:27,682
["Have You Ever Had It Blue"
playing]

1289
00:55:48,281 --> 00:55:49,680
[male producer]
Cue lights.

1290
00:55:49,920 --> 00:55:51,120
Cue grams.

1291
00:55:51,400 --> 00:55:55,160
["It Didn't Matter" playing]

1292
00:56:04,839 --> 00:56:06,159
[Simon]  Cafe Bleu
and  Our Favourite Shop

1293
00:56:06,159 --> 00:56:07,999
and all the singles in between,

1294
00:56:07,999 --> 00:56:10,920
it still had a freshness to it,

1295
00:56:10,960 --> 00:56:13,240
and everything was about doing
something new and different,

1296
00:56:13,240 --> 00:56:15,440
but I think you could only do
something new and different

1297
00:56:15,680 --> 00:56:16,919
so many times.

1298
00:56:17,199 --> 00:56:21,239
I remember
All the early days

1299
00:56:21,679 --> 00:56:26,079
Trying to think
Of the right things to say

1300
00:56:26,359 --> 00:56:29,039
I can remember,
we spoke about it, Paul and I

1301
00:56:29,079 --> 00:56:31,078
and he said, like, you know,

1302
00:56:31,398 --> 00:56:36,478
"We could sort of make
Our Favourite Shop  Part 2,

1303
00:56:36,478 --> 00:56:37,718
but I don't want to."

1304
00:56:37,718 --> 00:56:40,238
And I-- And I sort of agreed
with that.

1305
00:56:41,198 --> 00:56:42,638
It-- It would have done better,

1306
00:56:42,878 --> 00:56:44,757
certainly better
than  The Orange Album.

1307
00:56:45,437 --> 00:56:49,797
I mean, I think  The Orange Album
is, not because it's orange.

1308
00:56:49,797 --> 00:56:50,838
[laughs]

1309
00:56:52,518 --> 00:56:54,078
I'm not gonna be colorist.

1310
00:56:54,358 --> 00:56:57,477
It-- But it is
a big turning point.

1311
00:56:57,477 --> 00:56:59,957
And I think  The Orange Album
turned a lot of people off.

1312
00:57:00,197 --> 00:57:05,157
Heavens above
What have we done?

1313
00:57:06,637 --> 00:57:12,196
We've killed off
The thing we had so little of

1314
00:57:14,636 --> 00:57:17,076
[Martin] This is not in any way
a fun or funny album.

1315
00:57:17,076 --> 00:57:20,636
In that-- It's very "dur"
and very, um, straight.

1316
00:57:20,676 --> 00:57:22,636
I guess the music they were
trying to channel,

1317
00:57:22,676 --> 00:57:24,795
like a contemporary
American R 'n' B,

1318
00:57:25,155 --> 00:57:27,275
isn't very camp,
do you know what I mean?

1319
00:57:27,275 --> 00:57:29,315
It's not known
for its musical references.

1320
00:57:29,355 --> 00:57:31,395
And I think they were just
channeling that.

1321
00:57:31,796 --> 00:57:35,636
I think we were keen
on having something that sort of

1322
00:57:35,836 --> 00:57:38,675
was reflecting
a modern soul sound,

1323
00:57:38,675 --> 00:57:43,315
and I think we got a bit lost
in the superficial sound

1324
00:57:43,315 --> 00:57:46,075
of the production
rather than the material.

1325
00:57:46,595 --> 00:57:48,195
When you have a new album out,

1326
00:57:48,235 --> 00:57:49,795
if you've got three
or four singles off it,

1327
00:57:49,795 --> 00:57:52,674
you've got to do three
or four sing-- uh, promos,

1328
00:57:53,234 --> 00:57:54,154
videos.

1329
00:57:54,474 --> 00:57:57,554
So we thought, "Maybe we can do,
like, a short film."

1330
00:58:00,274 --> 00:58:01,874
[Paul] Me and Mick did
an advert, right,

1331
00:58:02,114 --> 00:58:03,794
for some Japanese,

1332
00:58:04,354 --> 00:58:06,273
I think it was like a cassette
or a tape company

1333
00:58:06,273 --> 00:58:07,633
or something like that.

1334
00:58:07,633 --> 00:58:09,953
[announcer speaks Japanese]

1335
00:58:09,953 --> 00:58:11,593
Now we are together

1336
00:58:11,833 --> 00:58:14,034
[announcer]  UD, special version.
[speaks Japanese]

1337
00:58:14,394 --> 00:58:15,754
[announcer 2]  Maxell.

1338
00:58:15,794 --> 00:58:17,434
So the money we got paid
from that,

1339
00:58:17,434 --> 00:58:18,994
we put into this film.

1340
00:58:19,034 --> 00:58:22,633
Go back, go back for my parts
to freeze.

1341
00:58:22,633 --> 00:58:24,833
Thus I say, "Go back."

1342
00:58:24,833 --> 00:58:27,113
I think we got a bit
indulged by people

1343
00:58:27,153 --> 00:58:28,873
that we made videos with.

1344
00:58:28,873 --> 00:58:31,393
[narrator]  Behind him,
his partner, Michael Talbot,

1345
00:58:31,393 --> 00:58:34,592
dressed in a gold lamé cloak
and sporting the Edwardian,

1346
00:58:34,592 --> 00:58:36,992
was busy
with his mighty plonkalodium.

1347
00:58:36,992 --> 00:58:38,232
[Dee] Don't ask me
what that was about,

1348
00:58:38,232 --> 00:58:40,712
'cause I have no idea,
but we did get a chance

1349
00:58:40,712 --> 00:58:42,672
to dress up and act really
stupidly,

1350
00:58:42,712 --> 00:58:45,072
so that was all right.
[laughs]

1351
00:58:45,072 --> 00:58:48,151
It's a totally bizarre film
that generally

1352
00:58:48,191 --> 00:58:50,351
does not hang together
as a piece,

1353
00:58:50,551 --> 00:58:53,191
but I've watched it many times
and loved it every time.

1354
00:58:53,231 --> 00:58:56,072
Observe, if you will,
England's beauty.

1355
00:58:56,632 --> 00:58:58,232
A land within a land

1356
00:58:58,232 --> 00:59:00,672
that doth flower
both in joy and delight.

1357
00:59:00,672 --> 00:59:02,991
That does take
no heed of poison,

1358
00:59:02,991 --> 00:59:06,591
and yet offers infinite healing
to the soul wearied.

1359
00:59:08,231 --> 00:59:10,991
[narrator]  Indeed, my lord,
and wisely said.

1360
00:59:11,631 --> 00:59:14,111
[Martin] For a pop group
who had a lot to lose,

1361
00:59:14,151 --> 00:59:15,990
it was going out on a limb,
you know.

1362
00:59:15,990 --> 00:59:18,750
Two middle class guys,
bored with life,

1363
00:59:18,790 --> 00:59:20,350
bored with grammar school,

1364
00:59:20,390 --> 00:59:22,190
wanna rock out a little,
you know?

1365
00:59:22,190 --> 00:59:25,790
I phoned him, yeah, and he says,
"Yeah," and here we are.

1366
00:59:26,110 --> 00:59:28,190
There were points
trying to be made,

1367
00:59:28,230 --> 00:59:31,109
there was humor
trying to be made.

1368
00:59:31,789 --> 00:59:32,869
We tried.

1369
00:59:32,869 --> 00:59:35,549
[laughs]
And people found it trying.

1370
00:59:35,589 --> 00:59:38,310
I have been thinking
that if America

1371
00:59:38,350 --> 00:59:41,110
were a pair of jeans, England
would be its back pocket,

1372
00:59:41,110 --> 00:59:44,549
for as every five minutes,
its owner dips his hand in,

1373
00:59:44,589 --> 00:59:47,269
removes money
and deposits terror.

1374
00:59:47,309 --> 00:59:50,429
I think we maybe took the piss
taking a little far.

1375
00:59:50,429 --> 00:59:53,709
The in jokes became
a little too in.

1376
00:59:53,909 --> 00:59:56,508
We'd show it,
it'd be the support

1377
00:59:56,508 --> 00:59:57,908
on one of the tours at the time.

1378
00:59:58,228 --> 01:00:00,868
This big screen would come down
on the stage

1379
01:00:00,868 --> 01:00:02,828
and we'd show this film.

1380
01:00:02,828 --> 01:00:05,868
And then the screen would go up
and then we'd start,

1381
01:00:06,148 --> 01:00:09,827
which just fucking baffled
everyone, really. [laughs]

1382
01:00:10,467 --> 01:00:14,187
Maybe the-- that rolling energy
that we had

1383
01:00:14,227 --> 01:00:16,467
in those first couple of years,
it just got dissipated

1384
01:00:16,507 --> 01:00:18,308
and then maybe
just a little bit,

1385
01:00:18,348 --> 01:00:20,268
the foot had come off
the gas a little bit.

1386
01:00:20,268 --> 01:00:21,948
That's what I--
That's what I felt.

1387
01:00:21,948 --> 01:00:23,747
[Paul] At some point you have
to grow up,

1388
01:00:23,947 --> 01:00:29,147
and that was Mick
and his missus having the kids,

1389
01:00:29,747 --> 01:00:32,787
and then me and Dee
getting together.

1390
01:00:33,867 --> 01:00:35,027
Um...

1391
01:00:35,307 --> 01:00:38,506
And, you know, so all those
things take their place,

1392
01:00:38,506 --> 01:00:39,786
you know, as they have to.

1393
01:00:39,826 --> 01:00:42,866
Mother's playing bingo

1394
01:00:42,866 --> 01:00:46,266
She's hoping for a big win

1395
01:00:46,826 --> 01:00:53,705
She buys the daily papers
To see how 10% live...

1396
01:00:54,225 --> 01:00:57,265
The last sort of little shout
from us was, uh,

1397
01:00:57,505 --> 01:00:58,706
Confessions Of A Pop Group,

1398
01:00:58,946 --> 01:01:01,626
and that was kind of like
our farewell, in a way, really.

1399
01:01:01,666 --> 01:01:03,306
I don't know if we said
that was the end of the band

1400
01:01:03,306 --> 01:01:05,425
but it certainly felt like
it could be, you know.

1401
01:01:05,425 --> 01:01:08,545
[Gary] I thought  Confessions
was a very, very good album.

1402
01:01:08,585 --> 01:01:11,865
You know, returning
to that manifesto really,

1403
01:01:11,865 --> 01:01:14,065
that they had, that they said
that they were gonna do

1404
01:01:14,065 --> 01:01:16,545
right at the beginning
which was to, you know,

1405
01:01:16,585 --> 01:01:20,904
kind of experiment really
and shake things up.

1406
01:01:20,904 --> 01:01:25,544
Changes of clothes
And summer showers

1407
01:01:25,584 --> 01:01:28,264
Like changing the guard

1408
01:01:28,264 --> 01:01:31,064
It only lasts for hours

1409
01:01:31,064 --> 01:01:36,023
Wondering what
And where did it go

1410
01:01:36,023 --> 01:01:40,224
Crying over nothing
Worth crying for

1411
01:01:40,544 --> 01:01:43,024
Once in a while

1412
01:01:43,024 --> 01:01:45,424
I still think about

1413
01:01:45,464 --> 01:01:47,903
The smile on your face girl

1414
01:01:47,943 --> 01:01:50,103
The first time around

1415
01:01:50,623 --> 01:01:52,303
[Paul] The influences
on that record

1416
01:01:52,543 --> 01:01:54,063
were quite deep, you know.

1417
01:01:54,063 --> 01:01:58,183
We were sort of thinking
about Debussy and Sarti,

1418
01:01:58,223 --> 01:02:01,382
and so there was elements
of classical music in it,

1419
01:02:01,382 --> 01:02:02,982
and it seemed to be like

1420
01:02:02,982 --> 01:02:04,262
a little bit
kind of pretentious,

1421
01:02:04,262 --> 01:02:05,782
but really-- it wasn't
I don't think.

1422
01:02:05,782 --> 01:02:07,782
It was just what I was listening
to at the time, you know.

1423
01:02:07,782 --> 01:02:09,862
Things like "The Story
of Someone's Shoe," right,

1424
01:02:09,902 --> 01:02:13,582
with the Swingle Singers
was a direct influence, right,

1425
01:02:13,621 --> 01:02:15,821
from the MJQ,
the Modern Jazz Quartet, right,

1426
01:02:15,821 --> 01:02:17,981
who made an album
called  Place Vendôme

1427
01:02:18,021 --> 01:02:19,781
with the Swingle Singers.

1428
01:02:19,781 --> 01:02:21,101
Such a great concept.

1429
01:02:21,502 --> 01:02:24,622
This jazz band with these--
with these singers.

1430
01:02:25,422 --> 01:02:28,301
It's either,
Something in their eyes

1431
01:02:28,301 --> 01:02:30,621
Or something in the drink

1432
01:02:30,621 --> 01:02:34,861
But whatever it is
They both stop and think

1433
01:02:35,661 --> 01:02:37,941
Yeah, the songs
were still there, but I think

1434
01:02:37,981 --> 01:02:41,780
what that album
showed was Paul's willingness

1435
01:02:41,780 --> 01:02:44,060
to explore different things.
But I just think

1436
01:02:44,060 --> 01:02:47,020
the record company, you know,
the record company want hits,

1437
01:02:47,020 --> 01:02:49,860
you know, they were happy
with the first couple of albums

1438
01:02:49,860 --> 01:02:52,420
'cause it was top ten hit
after top ten hit,

1439
01:02:52,420 --> 01:02:55,259
number one albums. And when
that's not there anymore

1440
01:02:55,259 --> 01:02:57,099
as good as the music might be,

1441
01:02:57,099 --> 01:03:01,579
that's not always
what's relevant in their eyes.

1442
01:03:01,899 --> 01:03:05,060
She threw it all away

1443
01:03:05,100 --> 01:03:09,619
Oh I wonder if she's there
To stay

1444
01:03:10,459 --> 01:03:11,979
[Paul]
It wasn't liked at the time.

1445
01:03:12,019 --> 01:03:15,019
It was pretty much
sort of slated, really.

1446
01:03:15,419 --> 01:03:18,219
And I don't think it did
that well commercially,

1447
01:03:18,259 --> 01:03:20,099
so the record company
weren't happy, obviously.

1448
01:03:20,099 --> 01:03:22,418
I always considered that
to be the last record, really.

1449
01:03:22,418 --> 01:03:24,058
That's our last album, you know?

1450
01:03:24,098 --> 01:03:26,178
Even though there was one more
after it,

1451
01:03:26,178 --> 01:03:27,858
which never came out
at the time, though.

1452
01:03:29,458 --> 01:03:30,498
Oh, yeah

1453
01:03:31,258 --> 01:03:32,418
Oh, yeah

1454
01:03:33,258 --> 01:03:34,458
Oh, yeah

1455
01:03:35,098 --> 01:03:36,497
Oh, yeah

1456
01:03:36,497 --> 01:03:37,977
[Paul]  Around that time,
I was really getting

1457
01:03:38,017 --> 01:03:40,017
into a lot of the house sounds
that were around,

1458
01:03:40,057 --> 01:03:41,897
what people were calling
"garage" and all that stuff

1459
01:03:41,897 --> 01:03:43,697
as well, but I just thought
it sounded really soulful,

1460
01:03:43,697 --> 01:03:45,098
you know, and I could hear
the kind of gospel

1461
01:03:45,098 --> 01:03:46,538
in a lot of those tunes,
you know.

1462
01:03:46,578 --> 01:03:48,538
[Mick] I think initially,
we may have thought,

1463
01:03:48,538 --> 01:03:51,337
"acid house" was a bit gimmicky
but then once we heard

1464
01:03:51,337 --> 01:03:54,257
what they called "garage"
and "deep house,"

1465
01:03:54,777 --> 01:03:57,177
you could see
a strong connection to...

1466
01:03:57,777 --> 01:03:59,817
Philadelphia Records
that were like

1467
01:03:59,857 --> 01:04:01,417
a lot of four
on the floor stuff.

1468
01:04:01,617 --> 01:04:03,816
And I loved the kind of rawness
of 'em.

1469
01:04:04,016 --> 01:04:06,016
I loved the fact it sounded
like they were done

1470
01:04:06,016 --> 01:04:07,936
in someone's bedroom.
I'm not saying they were,

1471
01:04:07,976 --> 01:04:10,176
but that's, you know,
had a bit of that vibe to it.

1472
01:04:10,176 --> 01:04:12,776
All you needed
was a 909 drum machine

1473
01:04:12,976 --> 01:04:14,776
and a keyboard, and off you go.

1474
01:04:15,056 --> 01:04:19,415
Even though the instrumentation
was very modern

1475
01:04:19,415 --> 01:04:20,975
and technical sounding,

1476
01:04:21,215 --> 01:04:25,375
it had kind of returned
to some soulful gospel roots

1477
01:04:25,375 --> 01:04:29,736
in dance music,
which was really interesting

1478
01:04:29,776 --> 01:04:31,895
and quite inspiring
for us at the time.

1479
01:04:32,095 --> 01:04:34,895
As I always am, whenever I get
sort of turned on to something,

1480
01:04:34,895 --> 01:04:36,815
I just wanna-- "Yeah,
I'm gonna do this now,

1481
01:04:36,815 --> 01:04:38,455
this is, you know,
this is where we're gonna go,"

1482
01:04:38,495 --> 01:04:40,495
and I was in that spirit.

1483
01:04:40,495 --> 01:04:44,895
Taking different trajectories,
taking different paths

1484
01:04:45,294 --> 01:04:47,134
was what The Style Council
was about.

1485
01:04:47,134 --> 01:04:48,414
It was about style.

1486
01:04:48,614 --> 01:04:52,334
And to me, he would take
a certain style of music

1487
01:04:52,334 --> 01:04:55,894
and invigorate it,
or invest his own personality

1488
01:04:55,894 --> 01:04:58,933
and taste level in that music.

1489
01:04:58,933 --> 01:05:03,653
So, house music, um,
quiet storm, soul music, funk,

1490
01:05:03,653 --> 01:05:05,453
whatever the genre was,

1491
01:05:05,453 --> 01:05:08,414
the Style Council
had every right to invest in it.

1492
01:05:08,774 --> 01:05:12,893
Dry your eyes
They will call

1493
01:05:13,213 --> 01:05:17,053
Sure is sure
We'll be one

1494
01:05:17,533 --> 01:05:19,813
[Steve] The record company,
you know,

1495
01:05:19,853 --> 01:05:22,493
were being a little--
I think, a little vicious

1496
01:05:22,493 --> 01:05:26,292
in denying this a release.
They didn't have to do that.

1497
01:05:26,292 --> 01:05:28,732
But there was a point
to be proven in my opinion.

1498
01:05:28,772 --> 01:05:33,012
I think it stands up in the arc
of what the band was about,

1499
01:05:33,012 --> 01:05:37,652
to go from Kenny Burrell jazz
to Chicago influence house music

1500
01:05:37,652 --> 01:05:41,011
in seven years, I think
is a pretty amazing thing.

1501
01:05:41,291 --> 01:05:43,371
La la

1502
01:05:43,411 --> 01:05:45,651
La la la la la

1503
01:05:46,131 --> 01:05:49,812
[Mick] Paul and I had already
chatted about winding it up,

1504
01:05:50,012 --> 01:05:51,412
it was like, you know,
the game's up.

1505
01:05:51,452 --> 01:05:54,171
But we had an album
that we thought we believed in,

1506
01:05:54,171 --> 01:05:56,251
and we thought there'd be
a few singles coming off it

1507
01:05:56,251 --> 01:05:57,731
and we thought we'd tour it
round the world.

1508
01:05:57,731 --> 01:06:01,731
So we were projecting,
"Maybe a year hence,

1509
01:06:01,771 --> 01:06:03,451
let's knock it on the head

1510
01:06:03,611 --> 01:06:08,410
unless this really just blows up
like in an unusual way."

1511
01:06:08,450 --> 01:06:10,170
So we'd already made
that decision,

1512
01:06:10,210 --> 01:06:12,170
but it just kinda got rushed.

1513
01:06:12,170 --> 01:06:14,610
It happened a year earlier
than we would have done.

1514
01:06:14,610 --> 01:06:16,210
[Paul] Well it did feel to me

1515
01:06:16,210 --> 01:06:17,930
like it was all
coming to an end.

1516
01:06:17,930 --> 01:06:20,690
So there was a definite sense of
it sort of slowing down a bit,

1517
01:06:20,730 --> 01:06:24,049
I think we weren't doing so much
live stuff for a start.

1518
01:06:24,049 --> 01:06:26,529
And then we came back
and we did maybe two shows

1519
01:06:26,569 --> 01:06:28,569
at the Albert Hall, yeah.

1520
01:06:28,569 --> 01:06:30,970
We might have done two
or three old songs.

1521
01:06:30,970 --> 01:06:32,490
It was stuff we were working on,

1522
01:06:32,490 --> 01:06:34,650
it was house, the house record
we made.

1523
01:06:35,129 --> 01:06:37,449
And then there was some
other people we had with us,

1524
01:06:37,449 --> 01:06:39,369
some other singers and they did
a song as well,

1525
01:06:39,369 --> 01:06:41,569
so it was kind of a bit
of a mix thing as well.

1526
01:06:41,729 --> 01:06:44,369
[Mick] It's almost like
the first album,  Cafe Bleu,

1527
01:06:44,369 --> 01:06:48,049
it had seven instrumentals
or something, out of 13 tracks.

1528
01:06:48,049 --> 01:06:51,688
And even the vocal tracks,
it's not always Paul singing.

1529
01:06:51,688 --> 01:06:54,888
So it was in the tradition
that we had

1530
01:06:54,888 --> 01:06:57,728
but just six
or seven years later, you know,

1531
01:06:57,728 --> 01:06:59,008
in a live format.

1532
01:06:59,208 --> 01:07:02,248
And we'll walk hand in hand

1533
01:07:02,248 --> 01:07:04,127
Sisters, brothers

1534
01:07:04,127 --> 01:07:07,567
We'll make it
To the Promised Land

1535
01:07:07,607 --> 01:07:10,167
[Mick] But we weren't
particularly playing big hits

1536
01:07:10,167 --> 01:07:12,648
and I think Our Greatest Hits
had just been released

1537
01:07:12,648 --> 01:07:15,608
by Polydor, which we didn't have
any power over,

1538
01:07:15,608 --> 01:07:17,407
but that's almost a bit like
the death now,

1539
01:07:17,447 --> 01:07:19,527
I think, when they start
knocking them out.

1540
01:07:19,567 --> 01:07:21,247
[Paul] People fucking
hated it man, anyway.

1541
01:07:21,247 --> 01:07:23,927
You know, it was just totally,
totally out of step, you know.

1542
01:07:23,967 --> 01:07:25,807
We were getting more and more
out of step with people,

1543
01:07:25,807 --> 01:07:28,167
or they were out of step,
whatever way it works.

1544
01:07:28,167 --> 01:07:30,246
But I think that was
the last straw, really.

1545
01:07:30,246 --> 01:07:33,686
People ripping up their programs
and, you know,

1546
01:07:33,686 --> 01:07:36,366
sort of a modern
sort of you know,

1547
01:07:36,366 --> 01:07:39,406
Dylan going electric
or something. [laughs]

1548
01:07:39,766 --> 01:07:42,326
There was a weird tension
in the audience

1549
01:07:42,366 --> 01:07:44,045
that I'd never seen before.

1550
01:07:44,085 --> 01:07:46,565
I almost felt like there was
gonna be some kind of riot.

1551
01:07:46,605 --> 01:07:48,685
I think it would be a myth
to say, "Well, it was only me

1552
01:07:48,685 --> 01:07:50,005
and my brother who enjoyed it
or got it."

1553
01:07:50,005 --> 01:07:51,285
Lots of people got it.

1554
01:07:51,285 --> 01:07:53,806
But a lot of people didn't,
and vocally didn't.

1555
01:07:53,846 --> 01:07:56,006
But-- And I don't think
people enjoyed it

1556
01:07:56,006 --> 01:07:58,645
and some people left
before we ended.

1557
01:07:58,645 --> 01:08:01,245
Like, I don't really remember it
in great detail,

1558
01:08:01,245 --> 01:08:03,245
but from what I remember,
I liked it.

1559
01:08:04,085 --> 01:08:05,165
Um...

1560
01:08:06,325 --> 01:08:08,365
And that's all you can do, man.
You can only do

1561
01:08:08,365 --> 01:08:10,045
what you feel's right
at the time, you know.

1562
01:08:13,604 --> 01:08:16,484
["Speak Like A Child"
playing]

1563
01:08:17,764 --> 01:08:19,564
I got so much out of it.

1564
01:08:19,604 --> 01:08:21,164
I got to travel the world,
I got to see--

1565
01:08:21,204 --> 01:08:25,004
I got to do one of the most
iconic concerts of all time.

1566
01:08:25,044 --> 01:08:27,123
I played with some
great musicians

1567
01:08:27,123 --> 01:08:29,323
that have been--
remained friends

1568
01:08:29,363 --> 01:08:33,043
pretty much for 35 years.

1569
01:08:33,243 --> 01:08:35,484
The very best band
I ever worked with.

1570
01:08:35,484 --> 01:08:37,044
I'm just...

1571
01:08:37,844 --> 01:08:41,603
struck by what a lot of music
we turned around, really,

1572
01:08:41,643 --> 01:08:45,443
and generally, I'm pretty proud
of all of it.

1573
01:08:45,443 --> 01:08:46,843
My Favourite Shop's
a good record,

1574
01:08:46,843 --> 01:08:48,843
I think  Confessions
is a good record.

1575
01:08:49,243 --> 01:08:52,323
Um... and there was
great singles, you know.

1576
01:08:52,682 --> 01:08:54,802
Great little run of singles.

1577
01:08:54,802 --> 01:08:56,362
But more than anything else,

1578
01:08:56,362 --> 01:08:59,642
it was a happy time for me
in my life, you know.

1579
01:09:00,002 --> 01:09:03,522
And yeah, it was just, when
I think of The Style Council,

1580
01:09:03,562 --> 01:09:04,802
I just think of fun.

1581
01:09:05,202 --> 01:09:06,441
All the fun we had.

1582
01:09:06,481 --> 01:09:11,041
["A Very Deep Sea" starts]

1583
01:09:34,040 --> 01:09:38,840
I keep on diving
Till I reach the ends

1584
01:09:38,840 --> 01:09:45,480
Dredging up the past
To drive me round the bends

1585
01:09:47,919 --> 01:09:52,439
What is it in me
That I can't forget

1586
01:09:52,479 --> 01:09:59,440
I keep finding so much
That I now regret

1587
01:10:02,399 --> 01:10:06,719
But no on I go
Down into the depths

1588
01:10:07,119 --> 01:10:09,599
Turning things over

1589
01:10:09,919 --> 01:10:14,119
That are better left

1590
01:10:16,678 --> 01:10:20,798
Dredging up the past
That is gone for good

1591
01:10:21,278 --> 01:10:28,038
Trying to polish up
What is rotting wood

1592
01:10:29,397 --> 01:10:34,237
Whoa, diving

1593
01:10:34,797 --> 01:10:39,678
I'm diving

1594
01:10:40,238 --> 01:10:44,277
Diving

1595
01:10:44,917 --> 01:10:48,117
Diving

1596
01:10:49,637 --> 01:10:55,877
Diving

1597
01:11:14,355 --> 01:11:19,236
Something inside
Takes me down again

1598
01:11:19,436 --> 01:11:25,795
Diving not for goblets
But tin cans

1599
01:11:28,675 --> 01:11:33,275
Dredging up the past
For reasons so rife

1600
01:11:33,555 --> 01:11:40,154
Passing bits of wrecks
That once passed for life

1601
01:11:42,714 --> 01:11:47,074
But I'll keep on diving
Till I drown the sea

1602
01:11:47,434 --> 01:11:53,833
Of things not worth
Even mentioning

1603
01:11:56,073 --> 01:11:58,913
Perhaps I'll come
To the surface

1604
01:11:58,913 --> 01:12:03,474
And come to my senses
But it's a very deep sea

1605
01:12:03,474 --> 01:12:08,433
Around my own devices

1606
01:12:09,473 --> 01:12:14,113
Whoa, diving

1607
01:12:15,593 --> 01:12:19,112
Diving

1608
01:12:20,072 --> 01:12:23,792
Diving

1609
01:12:24,792 --> 01:12:28,232
Diving

1610
01:12:29,632 --> 01:12:35,431
Diving

1611
01:12:39,311 --> 01:12:42,112
Perhaps I'll come
To the surface

1612
01:12:42,352 --> 01:12:44,592
And come to my senses

1613
01:12:44,592 --> 01:12:46,831
Perhaps I'll come
To the surface

1614
01:12:46,831 --> 01:12:49,271
And come to my senses

1615
01:12:49,271 --> 01:12:51,471
Perhaps I'll come
To the surface

1616
01:12:51,471 --> 01:12:53,591
And come to my senses

1617
01:12:53,591 --> 01:12:56,031
Perhaps I'll come
To the surface

1618
01:12:56,031 --> 01:12:58,751
And come to my senses

1619
01:12:58,791 --> 01:13:02,270
Diving

1620
01:13:03,270 --> 01:13:07,110
Diving

1621
01:13:07,110 --> 01:13:11,790
I'm diving

1622
01:13:12,470 --> 01:13:15,869
Diving

1623
01:13:42,668 --> 01:13:47,828
["Le Depart" playing]

1624
01:14:08,348 --> 01:14:11,267
After a hard day on the set,
there's nothing I like better

1625
01:14:11,307 --> 01:14:13,467
than a cool,
refreshing pint of milk.

1626
01:14:13,787 --> 01:14:14,827
Cheers.

1627
01:14:15,267 --> 01:14:17,027
Chairs with our names
on actually.