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The 1980s - the decade that gave us
homegirls, fly guys,
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and new tech was in full effect.
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And no pop master worth their muster
would pass up the chance
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to make that most '80s of artefact -
the mix tape.
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So, the mix tape would be about
60 to 90 minutes
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of your favourite tracks.
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So we've asked some '80s icons
to pull together the tracks
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that define for them
the ultimate '80s sound.
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This programme contains
strong language.
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# Drop that ghetto blaster... #
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The records that sum up the '80s
and have to be on my mix tape....
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Hmm. It's the greatest record,
probably pop record ever.
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Hello, she is the '80s.
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That is a record that brings
everybody together.
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What a song. You know, cannot be
denied.
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But which tracks will make
it onto our metaphysical mix tape?
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I mean, it would be such
a mishmash of stuff.
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Bring on the next time-travelling
hour, which triumphantly sounds
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like the '80s.
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No better place to start than 1980,
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and the synth sounds swirling
around London's clubland, a scene
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dubbed New Romantic, that attracted
the soon-to-be-famous scenesters
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Steve Strange, Boy George,
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the boys that became Spandau Ballet,
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and Rich Kids' band members
Rusty Egan and Midge Ure.
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It was a vibrant little scene, you
know, for a short period of time.
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Everyone was experimenting
with synthesisers as a reaction
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to punk, and all these people
had been into punk before, and punk
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had kind of gone up a cul-de-sac
with, like, three chords and
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everyone had to look the same and
look a certain way.
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And this was rebelling
against that whole thing.
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Synthesisers, drum machines,
technology, home recording
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all kind of happened in the
early '80s.
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The Japanese manufacturers came
along and they weren't nearly
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as horrifically expensive
as they used
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to be up until that point.
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But to find an instrument that's
as limited as your imagination
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was a revolution. You could think,
"I want to make something weird.
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0:2:13,560 --> 0:2:15,240
"I want to make something
atmospheric.
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"I want to make this all haunting
and glossy and shimmery."
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And this instrument, with your
imagination, could do that.
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That was unheard of.
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It was stuff that you saw
on Tomorrow's World, you know,
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on a Thursday night, prior to Top
Of The Pops. It was black magic
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to us, and the ultimate tool.
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# Devenir gris
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# Devenir gris
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# One man on a lonely platform
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# One case sitting by his side... #
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I adored Steve Strange, and I adored
Fade To Grey.
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He took the New Romantics
into the mainstream.
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# Ah, ah
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# We fade to grey... #
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0:3:21,80 --> 0:3:25,280
Visage was born out of a desire
to make music.
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Rusty and I were still in the Rich
Kids.
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I'd bought a synthesiser to bring
it into the Rich Kids, with a view
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to integrating this thing
into traditional rock instruments.
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And half the band hated it.
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So half the band who liked it,
that was Rusty and I,
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we said, "Well, let's put a band
together with all our favourite
musicians."
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And that was, you know,
the guys from the band Magazine
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and Billy Currie from Ultravox.
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And I said, "Well, we need a
singer."
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He said, "Well, my mate Steve,
he used to be in a band.
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"He'll do it."
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So Steve was the last one involved,
I think.
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We went, "You'll do.
Come on, let's go."
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# Ah, ah
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0:4:0,40 --> 0:4:1,840
# We fade to grey... #
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0:4:1,880 --> 0:4:3,840
When it came out, it did not
disappoint.
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It just sounded like the perfect
extension
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of what we'd been listening to.
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And it felt futuristic, it felt
fresh, it felt modern, and it felt
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like, yeah, things are going
to change.
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Rusty's Belgian girlfriend
was in the studio that day,
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and I said, "Oh, would you read
these lyrics in French?"
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# Sortant de derriere d'un poster
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# Esperant que la vie ne fut
aussi longue... #
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They had Princess Julia
appear in the video, miming
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to the French vocals.
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She's actually a Cockney
girl, so she would never
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have sounded like that.
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# We fade to grey
Fade to grey... #
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It brought synthesiser music
into the mainstream, paved the way
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for Spandau Ballet, paved the way
for Marc Almond, paved the way
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for Duran Duran.
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People were hungry for more.
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Fade To Grey was an eternally
brilliant song.
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0:5:3,800 --> 0:5:8,80
I think in 100 years' time, people
will still love that song.
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0:5:9,680 --> 0:5:13,760
Synthpop was intellectual, engaged,
future-facing, but an equally
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effective way to embrace the '80s
was to dance your cares away.
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You see, my sound, I wasn't into
sort of
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the synthesised sound or anything.
I was just real pop.
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Even now I'm just pop, you know,
disposable pop.
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Nice, happy-go-lucky.
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Oh, I could dance to this
type of music.
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Without a doubt, I'd say
that Haircut 100 would be right
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up there in my... Probably the first
five songs that I'd have on.
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See, I didn't call it a mix tape.
I called it a compilation cassette.
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# Where does it go from here?
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0:6:0,40 --> 0:6:3,120
# Is it down to the lake I fear?
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0:6:4,240 --> 0:6:7,160
# Ay, ay, ay, ay, ay
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# Ay, ay, ay, ay, ay
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# Then I call
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# Ring, ring, ring, ring
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# La, la, love plus one... #
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0:6:18,0 --> 0:6:22,320
So '80s. They were very sort
of clean, they were fresh,
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they were innocent.
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But there was this, like,
positive glow about them.
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They were a cool little set of guys
who, you know, they were very
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well-coiffed.
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Haircut 100 sort of suited where
I came from, you know, my brand,
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which was sort of middle class.
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So I tended to go for sort
of nothing too risque, you know,
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everything was very
take-home-to-mother.
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They were take-home-to-mother boys.
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# Where does it go from here?... #
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The only poster I ever had on my
bedroom wall was a Nick Heyward.
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The only one ever in my youth.
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# Ay, ay, ay, ay, ay... #
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Nick Heyward from Haircut 100.
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Is that bad?
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Meanwhile, Birmingham brought
a different beat to the mix.
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# This generation
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# Rules the nation... #
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I am going to pick Musical Youth's
Pass The Dutchie.
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# With version... #
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Pass The Dutchie is like a big
cultural totem for many people.
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# Music happens to be the
food of love
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# Sounds to really make you rub and
scrub... #
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I go to Birmingham to see
these kids in a club
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that shouldn't have been
in this club,
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by the way. They were about 13
or 14.
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# I say
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# Pass the Dutchie 'pon the
left-hand side... #
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I came up with the idea of recording
the boys in Birmingham.
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Absolutely natural.
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We then brought in some
serious musicians on top.
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So we kept the reggae exactly.
We didn't touch that.
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# How does it feel when you got no
food?... #
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What's really funny about that song
is it was originally done
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by the Mighty Diamonds and it was
called Pass The Kouchie,
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which is a herb pipe
that you smoke weed in.
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But obviously you couldn't
have little black kids
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from Birmingham that were yay high
singing about smoking weed.
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So the only rhyme they could find
with Kouchie was the word Dutchie.
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# Pass the Dutchie 'pon the
left-hand side... #
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Which in Jamaica is a cooking pot.
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Pun intended.
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# Give me the music, make me jump
and prance
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# It a go dung
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# Give me the music, make me rockin'
at the dance... #
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I directed the video for that
in 1982, at a time when being black
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and British was a very confusing
concept, believe me.
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My vision for that video
is that by this time, MTV was in
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part of the mix, and I imagined
how the rest of the world would see
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this music video.
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To me, it was like a postcard
from the UK, you know, to show
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that this is what the UK is about,
not changing of the guards
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0:8:59,800 --> 0:9:1,200
outside Buckingham Palace.
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It's red, gold and green
sound systems and bass.
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# Pass the Dutchie 'pon
the left-hand side
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0:9:8,320 --> 0:9:11,720
# Pass the Dutchie 'pon the
left-hand side
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0:9:11,760 --> 0:9:14,520
# Give me the music, make me dance
and prance
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# Give me the music, make me rockin'
at the dance
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0:9:17,160 --> 0:9:19,600
# Me say listen to the drummer... #
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0:9:19,640 --> 0:9:22,280
It came out and sold something
ridiculous, and it made
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the 10 o'clock news.
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Well, pop records didn't make
the news in them days.
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The pop chart has a new number
one this week.
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0:9:28,840 --> 0:9:33,0
The record Pass The Dutchie by
Musical Youth has shot from number
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26 to the top slot.
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This thing blew up and was,
like, number one around the world.
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And in fact, it was the very first
all black video to be shown on MTV.
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Before Michael Jackson's
Billie Jean.
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0:9:47,600 --> 0:9:50,640
# On the left-hand side... #
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You're suddenly having lunch
with Michael Jackson or Mr T
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or Diana Ross.
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They all just wanted to meet
Musical Youth.
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0:9:58,960 --> 0:10:2,280
# Me say east, say west, say north
and south
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# This is gonna really make us jump
and shout... #
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Coming up, every mix of beats
you could wish for.
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And it all sounds like the '80s.
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There was a poll and it asked
1,000 DJs what was the track
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that they put on to rescue a night
when it's all going wrong.
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Let's load up another track
and keep our '80s mix tape turning.
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How about we kick off again
at a canter?
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# Stand and deliver... #
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At the beginning of the '80s,
I was 14 years old and I absolutely
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loved Adam and the Ants. And I had
all of their lyrics written
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on my rough book at school.
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# I'm the dandy highwayman
you're too scared to mention
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0:11:1,0 --> 0:11:4,640
# I spent my cash on looking
flash and grabbing your attention
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0:11:4,680 --> 0:11:7,40
# The devil take your stereo... #
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0:11:7,80 --> 0:11:11,200
My favourite Adam and the Ants
song - Stand And Deliver!
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0:11:11,240 --> 0:11:14,840
# Stand and deliver
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0:11:14,880 --> 0:11:18,160
# Money or your life...
# Doo, doo, doo, doo, doo. Oh!
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0:11:18,200 --> 0:11:21,360
# Try and use a mirror
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0:11:21,400 --> 0:11:24,480
# No bullet or a knife... #
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0:11:24,520 --> 0:11:27,120
It was always a joy to see Adam and
the Ants.
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0:11:27,160 --> 0:11:29,840
The whole look of the band,
of the Vivienne Westwood outfit.
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0:11:31,480 --> 0:11:34,320
The sound of it. The whole, you
know, that Burundi, the double drum
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0:11:34,360 --> 0:11:35,920
of the big Burundi. Badoom!
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0:11:35,960 --> 0:11:38,400
And it was never overly serious.
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0:11:38,440 --> 0:11:41,480
# Stand and deliver
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0:11:41,520 --> 0:11:43,280
# Your money or your life... #
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0:11:43,320 --> 0:11:45,640
His kind of hero behaviour.
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0:11:45,680 --> 0:11:50,120
I mean, come on, let's face it.
What Johnny Depp did later,
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0:11:50,160 --> 0:11:51,960
Adam did it first.
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0:11:52,0 --> 0:11:54,840
# Even though you fool your soul
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0:11:54,880 --> 0:11:58,720
# Your conscience will be mine... #
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0:11:58,760 --> 0:12:2,120
He was like the true pirate
of the Caribbean.
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0:12:2,160 --> 0:12:4,680
It was massively successful.
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0:12:6,360 --> 0:12:8,840
He was over the top. He was
theatrical.
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0:12:8,880 --> 0:12:12,160
He was camp. And I really loved him.
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0:12:12,200 --> 0:12:15,320
# We're the dandy highwaymen so
tired of excuses
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0:12:15,360 --> 0:12:18,400
# Of deep-meaning philosophies where
only showbiz loses... #
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0:12:18,440 --> 0:12:23,160
That's what also makes '80s music,
was the videos. You know, suddenly
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0:12:23,200 --> 0:12:25,560
videos were really important.
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# Stand and deliver
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0:12:28,840 --> 0:12:30,640
# Your money or your life... #
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0:12:30,680 --> 0:12:34,600
It's like a little theatrical,
three-minute performance.
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0:12:38,400 --> 0:12:41,520
Some people say that Stand
And Deliver was a bit pantomime,
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0:12:41,560 --> 0:12:45,200
but it just wasn't.
It was a working-class message.
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0:12:45,240 --> 0:12:47,920
Stand and deliver, your money
or your life.
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0:12:47,960 --> 0:12:50,360
You know, this is... This happened.
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0:12:55,320 --> 0:12:59,120
And it was kind of cute
that you had this punk rocker
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0:12:59,160 --> 0:13:0,600
singing about it.
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0:13:0,640 --> 0:13:3,800
The working class robbing
the upper classes.
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0:13:5,520 --> 0:13:7,760
High drama to rouse the rabble.
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0:13:9,240 --> 0:13:11,960
Let's take the tempo down again.
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0:13:22,440 --> 0:13:25,200
In the '80s, you've got the poppy
escapist thing going on.
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0:13:25,240 --> 0:13:28,880
And for me, as a young black
man, there was no escape.
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0:13:28,920 --> 0:13:31,440
You can't spend your life
on the dance floor.
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0:13:31,480 --> 0:13:34,240
Eventually the music's going to stop
and you'll have to go out
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0:13:34,280 --> 0:13:35,920
and face reality. And guess what?
237
0:13:35,960 --> 0:13:38,120
There's some great tunes for that,
too.
238
0:13:40,480 --> 0:13:42,800
# This town
Town
239
0:13:42,840 --> 0:13:45,600
# Is coming like a ghost town... #
240
0:13:45,640 --> 0:13:47,600
Oh, it's got to be Ghost Town.
241
0:13:47,640 --> 0:13:51,160
You'd have to be living under a rock
if you didn't know The Specials,
242
0:13:51,200 --> 0:13:53,360
because they were huge.
243
0:13:53,400 --> 0:13:55,800
# This place
Town
244
0:13:55,840 --> 0:13:58,40
# Is coming like a ghost town... #
245
0:13:58,80 --> 0:14:0,560
I'm putting Ghost Town
because that really summed
246
0:14:0,600 --> 0:14:4,280
up that moment in the '80s
when it just felt like the whole
247
0:14:4,320 --> 0:14:6,880
of the United Kingdom was
falling apart.
248
0:14:6,920 --> 0:14:9,80
# La, la-la, la-la
249
0:14:9,120 --> 0:14:11,680
# La-la, la-la, la-la, la-la
250
0:14:12,800 --> 0:14:15,200
# La-la
251
0:14:15,240 --> 0:14:17,400
# La, la, la, la, la, la
252
0:14:19,520 --> 0:14:22,960
# La, la-la, la-la... #
253
0:14:23,0 --> 0:14:27,520
What I loved about ska
was that it had the danceability
254
0:14:27,560 --> 0:14:31,0
of reggae and the energy of punk
rock, and it mashed them
255
0:14:31,40 --> 0:14:35,360
up, and they were the kind of
natural sons. They were the bastard
256
0:14:35,400 --> 0:14:38,40
children of the whole punky
reggae party.
257
0:14:39,120 --> 0:14:43,40
# Do you remember the good old
days before the ghost town?
258
0:14:45,160 --> 0:14:49,480
# We danced and sing and the music
played in a de boomtown... #
259
0:14:57,160 --> 0:15:0,560
You showed your serious side
and your political side
260
0:15:0,600 --> 0:15:3,560
by following, certainly The
Specials.
261
0:15:3,600 --> 0:15:6,560
They were definitely wanting
to change politics.
262
0:15:6,600 --> 0:15:9,320
But then by the weekend,
you were completely hedonistic
263
0:15:9,360 --> 0:15:13,120
and it was like,
"Fuck politics, let's just dance."
264
0:15:13,160 --> 0:15:17,200
# Ah, ah,
265
0:15:17,240 --> 0:15:20,440
# Ah, ah... #
266
0:15:22,0 --> 0:15:23,400
I didn't have to think about this,
267
0:15:23,440 --> 0:15:26,520
David Bowie's Let's Dance,
because it's the greatest record,
268
0:15:26,560 --> 0:15:28,160
probably pop record ever.
269
0:15:28,200 --> 0:15:31,440
The guitar starts
and it's relentlessly brilliant.
270
0:15:31,480 --> 0:15:34,120
It's dance. It just doesn't stop.
271
0:15:34,160 --> 0:15:36,400
It holds the song up.
272
0:15:37,960 --> 0:15:40,440
# Let's dance
273
0:15:40,480 --> 0:15:44,400
# Put on your red shoes and dance
the blues
274
0:15:46,200 --> 0:15:48,360
# Let's dance
275
0:15:48,400 --> 0:15:52,600
# To the song
they're playing on the radio... #
276
0:15:52,640 --> 0:15:57,280
Let's Dance was produced by master
of disco Nile Rodgers of '70s
277
0:15:57,320 --> 0:16:0,720
funksters Chic, who put
all the latest '80s technology
278
0:16:0,760 --> 0:16:5,400
into the hands of master musicians
to create an era-defining classic.
279
0:16:5,440 --> 0:16:9,520
# Sway through the crowd
to an empty space
280
0:16:9,560 --> 0:16:14,0
It was reinvented by Nile Rodgers,
because Nile heard the original demo
281
0:16:14,40 --> 0:16:17,520
and said, "Come on, white
man. You know, let's
282
0:16:17,560 --> 0:16:19,40
"make this dance."
283
0:16:19,80 --> 0:16:22,200
Because, you know, Bowie
presented him with something
284
0:16:22,240 --> 0:16:24,560
that sounded like a folk song.
285
0:16:24,600 --> 0:16:27,560
And Nile Rodgers put the groove in.
286
0:16:28,640 --> 0:16:32,240
# Because my love for you
287
0:16:32,280 --> 0:16:35,200
# Would break my heart in two... #
288
0:16:35,240 --> 0:16:41,160
So Bowie can talk in Bowie-esque
ways with strange visual lyrics.
289
0:16:41,200 --> 0:16:46,160
# Tremble like a flower... #
290
0:16:46,200 --> 0:16:51,640
And it will still carry as one
of the best pop songs of the 1980s,
291
0:16:51,680 --> 0:16:55,960
because it's holding that dance
groove in the mix,
292
0:16:56,0 --> 0:16:57,600
almost above the vocal.
293
0:16:59,560 --> 0:17:1,80
# Let's dance... #
294
0:17:1,120 --> 0:17:4,520
When you first heard Let's
Dance, that...
295
0:17:4,560 --> 0:17:6,800
You go, "How have they got that
sound?"
296
0:17:8,0 --> 0:17:10,200
# Let's Dance
297
0:17:10,240 --> 0:17:14,280
# For fear tonight is all... #
298
0:17:14,320 --> 0:17:17,80
You add rock, drama
299
0:17:17,120 --> 0:17:22,280
and dance together. It had all
the R&B elements, all the glamour
300
0:17:22,320 --> 0:17:24,880
that I'd loved from David Bowie
previous.
301
0:17:24,920 --> 0:17:27,280
But it then went further.
302
0:17:27,320 --> 0:17:31,720
# Under the moonlight
This serious moonlight... #
303
0:17:31,760 --> 0:17:34,160
This was a complete
departure for Bowie,
304
0:17:34,200 --> 0:17:36,320
switching to an '80s ideology.
305
0:17:36,360 --> 0:17:40,200
It was art for art's sake,
hits for funk's sake.
306
0:17:40,240 --> 0:17:45,120
David Bowie suddenly realised he
wasn't as wealthy as all the other
307
0:17:45,160 --> 0:17:47,360
rock stars, so he addressed it.
308
0:17:50,200 --> 0:17:54,40
And Let's Dance was him
going into arenas
309
0:17:54,80 --> 0:17:56,400
and putting some
money in the bank.
310
0:17:58,360 --> 0:18:0,200
# If you should fall
311
0:18:0,240 --> 0:18:2,480
# Into my arms
312
0:18:2,520 --> 0:18:7,920
# And tremble like a flower... #
313
0:18:7,960 --> 0:18:11,520
It was one of those records that
just was so good
314
0:18:11,560 --> 0:18:14,120
that the minute
you heard that dun-dun,
315
0:18:14,160 --> 0:18:16,480
everybody
ran for the dance floor.
316
0:18:16,520 --> 0:18:18,600
And, you know, it's like there
are very few records
317
0:18:18,640 --> 0:18:20,600
that are that great.
318
0:18:20,640 --> 0:18:21,960
# Let's dance
319
0:18:23,200 --> 0:18:28,0
# Put on your red shoes and dance
the blues... #
320
0:18:28,40 --> 0:18:29,360
It was a light-bulb moment.
321
0:18:29,400 --> 0:18:31,360
# Let's sway... #
322
0:18:31,400 --> 0:18:32,920
It changed everything.
323
0:18:35,0 --> 0:18:37,840
# This serious moonlight... #
324
0:18:43,760 --> 0:18:47,120
Well, if we're doing
ultimate dance tunes...
325
0:18:47,160 --> 0:18:49,880
New Order - Blue Monday's
seminal track,
326
0:18:49,920 --> 0:18:52,520
and a great example
of how technology changed
327
0:18:52,560 --> 0:18:54,0
what was happening in the '80s.
328
0:18:56,320 --> 0:19:1,440
Our manager was very keen
to be innovative at any cost.
329
0:19:1,480 --> 0:19:5,80
I was the bit of the stick
in the mud here and I was going,
330
0:19:5,120 --> 0:19:7,240
"Can't we just play?
Can't we just play?
331
0:19:7,280 --> 0:19:8,320
"We're so good at playing.
332
0:19:8,360 --> 0:19:9,560
"Why are we doing this?"
333
0:19:9,600 --> 0:19:10,600
Ohhh!
334
0:19:13,280 --> 0:19:15,120
But I was seduced, as well.
335
0:19:22,120 --> 0:19:27,680
Blue Monday in particular was
a sort of blind luck
336
0:19:27,720 --> 0:19:30,400
and also a lack of knowledge
337
0:19:30,440 --> 0:19:34,40
about the instruments
you were using,
338
0:19:34,80 --> 0:19:37,40
the drum machine
and the sequencers.
339
0:19:43,720 --> 0:19:46,680
You were making a lot of mistakes,
but ironically,
340
0:19:46,720 --> 0:19:49,720
those mistakes that you made
actually gave the songs
341
0:19:49,760 --> 0:19:51,600
their unique feel.
342
0:19:52,640 --> 0:19:55,760
# How does it feel
343
0:19:55,800 --> 0:19:59,200
# To treat me like you do?
344
0:19:59,240 --> 0:20:2,960
# When you've laid your hands
upon me
345
0:20:3,0 --> 0:20:5,880
# And told me who you are
346
0:20:7,40 --> 0:20:9,640
# I thought I was mistaken... #
347
0:20:9,680 --> 0:20:14,40
Bernard built himself a sequencer
that came free with a kit
348
0:20:14,80 --> 0:20:17,560
every month in
Electronics Monthly, I believe.
349
0:20:17,600 --> 0:20:20,0
And then we had the syndrums.
350
0:20:20,40 --> 0:20:21,880
And then we had the synthesiser.
351
0:20:21,920 --> 0:20:24,960
# Those who came before me
352
0:20:25,0 --> 0:20:28,440
# Lived through their vocations
353
0:20:28,480 --> 0:20:32,320
# From the past until completion
354
0:20:32,360 --> 0:20:35,160
# They'll turn away no more... #
355
0:20:35,200 --> 0:20:39,640
We were listening to Ennio Morricone
a lot in the studio just for fun,
356
0:20:39,680 --> 0:20:42,360
and I'd heard the spaghetti western
357
0:20:42,400 --> 0:20:45,880
dun, diddle diddle diddle diddle
diddle diddle, dun, dun, dun,
358
0:20:45,920 --> 0:20:48,40
and I thought,
"My God, it sounds like that'd fit."
359
0:20:48,80 --> 0:20:50,120
But I used a six-string bass.
360
0:20:57,520 --> 0:21:1,320
A lot of the incidental sounds
on Blue Monday were recorded
361
0:21:1,360 --> 0:21:3,440
with an Emulator 1.
362
0:21:3,480 --> 0:21:5,720
We'd go outside,
smash a piece of glass,
363
0:21:5,760 --> 0:21:8,200
record it, put it in,
put it on the track,
364
0:21:8,240 --> 0:21:10,40
record a plane going over.
365
0:21:13,440 --> 0:21:15,840
You know, treat it a little
as you were able to then
366
0:21:15,880 --> 0:21:16,920
with the machine,
367
0:21:16,960 --> 0:21:20,80
because it wasn't
really very adaptable.
368
0:21:20,120 --> 0:21:23,320
So, yeah, we had fun, actually.
369
0:21:23,360 --> 0:21:26,360
# But if it wasn't for
your misfortune
370
0:21:26,400 --> 0:21:30,200
# I'd be a heavenly person
today... #
371
0:21:30,240 --> 0:21:34,680
But the thing was is that we did it
so that the machines would play it
372
0:21:34,720 --> 0:21:37,920
at the end of the set
and we'd go off and get drunk.
373
0:21:37,960 --> 0:21:40,280
So that was the idea of Blue Monday,
374
0:21:40,320 --> 0:21:41,840
and we kept that idea going
375
0:21:41,880 --> 0:21:44,320
right the way through
the recording process.
376
0:21:44,360 --> 0:21:47,240
Interestingly, as the song built
in the studio,
377
0:21:47,280 --> 0:21:50,880
it just sounded
more like it should be a song
378
0:21:50,920 --> 0:21:52,720
and should be treated as such
379
0:21:52,760 --> 0:21:57,160
and not a ridiculous idea that
four dickheads had come up with.
380
0:22:0,320 --> 0:22:3,520
# I thought I told you to leave me
381
0:22:3,560 --> 0:22:6,560
# While I walk down to
the beach... #
382
0:22:6,600 --> 0:22:9,240
My greatest compliment
with Blue Monday
383
0:22:9,280 --> 0:22:12,520
was that there was
a poll in Mixmag
384
0:22:12,560 --> 0:22:17,360
and it asked 1,000 DJs
what was the track
385
0:22:17,400 --> 0:22:22,640
that they put on to rescue a night
when it's all going wrong,
386
0:22:22,680 --> 0:22:27,920
and the overwhelming winner
was Blue Monday,
387
0:22:27,960 --> 0:22:31,960
which was done by
us idiots in 1982
388
0:22:32,0 --> 0:22:34,880
without a bloody clue
of what we were doing.
389
0:22:41,400 --> 0:22:42,920
I'm very, very proud of it.
390
0:22:44,440 --> 0:22:46,880
That's the end of our epic side A.
391
0:22:46,920 --> 0:22:49,960
But what will be added to the inlay
on the B-side?
392
0:22:57,240 --> 0:22:59,560
Our '80s meta mix tape
turns over
393
0:22:59,600 --> 0:23:3,80
and we need a belting track
to bring the swagger.
394
0:23:15,40 --> 0:23:17,880
For me, the 1980s is Billy Idol
395
0:23:17,920 --> 0:23:20,920
and Billy Idol turned pop music
on its head.
396
0:23:20,960 --> 0:23:23,80
# Last night a little dancer
397
0:23:23,120 --> 0:23:26,400
# Came dancing to my door
398
0:23:26,440 --> 0:23:28,800
# Last night, that little angel
399
0:23:28,840 --> 0:23:32,120
# Came pumping on my floor... #
400
0:23:32,160 --> 0:23:35,440
And I just would have to choose
Billy Idol's Rebel Yell
401
0:23:35,480 --> 0:23:38,680
as an absolute example of '80s rock.
402
0:23:38,720 --> 0:23:40,640
# And if it expires
403
0:23:40,680 --> 0:23:42,760
# I pray help from above
404
0:23:42,800 --> 0:23:44,80
# Because
405
0:23:44,120 --> 0:23:46,120
# In the midnight hour
406
0:23:46,160 --> 0:23:49,800
# She cried more, more, more
407
0:23:49,840 --> 0:23:51,760
# With a rebel yell
408
0:23:51,800 --> 0:23:55,0
# She cried more, more, more
409
0:23:55,40 --> 0:23:56,360
# Ow! #
410
0:23:56,400 --> 0:24:0,120
Billy Idol reinvented himself
from punk
411
0:24:0,160 --> 0:24:6,400
with this exceptionally
high quality LA rock style.
412
0:24:6,440 --> 0:24:8,40
# More, more, more! #
413
0:24:10,120 --> 0:24:11,760
It took us all by surprise.
414
0:24:11,800 --> 0:24:15,640
The reinvented voice,
the kind of...the deep rock voice,
415
0:24:15,680 --> 0:24:20,680
the quivering lip,
the fantastically sexualised videos.
416
0:24:20,720 --> 0:24:23,480
He became what we all wanted to be.
417
0:24:23,520 --> 0:24:25,320
We all wanted to dress like him.
418
0:24:25,360 --> 0:24:27,480
We wanted to behave like him.
419
0:24:27,520 --> 0:24:30,120
He was ultimate cool.
420
0:24:30,160 --> 0:24:32,440
# What set you free?
421
0:24:32,480 --> 0:24:34,800
# I need you here by me
422
0:24:34,840 --> 0:24:36,200
# Because
423
0:24:36,240 --> 0:24:38,280
# In the midnight hour
424
0:24:38,320 --> 0:24:41,40
# She cried more, more, more... #
425
0:24:41,80 --> 0:24:43,400
What Billy Idol did with rock
426
0:24:43,440 --> 0:24:47,240
was to take it out of the dark
and dingy rock clubs
427
0:24:47,280 --> 0:24:50,280
and move it
into the arena space.
428
0:24:51,440 --> 0:24:54,240
From blistering post-punk
to bouncing funk
429
0:24:54,280 --> 0:24:57,880
and one of the most
sampled '80s masterpieces.
430
0:25:0,880 --> 0:25:3,160
# What you gonna do when you get out
of jail?
431
0:25:3,200 --> 0:25:5,320
# I'm gonna have some fun... #
432
0:25:5,360 --> 0:25:7,600
Genius of Love by the Tom Tom Club,
433
0:25:7,640 --> 0:25:9,640
I don't know how you could
not dance to it.
434
0:25:11,880 --> 0:25:14,280
But it was a different
kind of dancing.
435
0:25:14,320 --> 0:25:16,320
I think the young 'uns would
call it chugging nowadays.
436
0:25:16,360 --> 0:25:19,480
It's that kind
of slow but irresistible...
437
0:25:19,520 --> 0:25:23,600
# I'm in heaven... #
438
0:25:23,640 --> 0:25:25,440
Tom Tom Club were interesting,
439
0:25:25,480 --> 0:25:27,120
cos they were kind of being informed
440
0:25:27,160 --> 0:25:29,280
by the whole hip-hop explosion.
441
0:25:29,320 --> 0:25:33,400
# Clinton's musicians such as
Bootsy Collins... #
442
0:25:33,440 --> 0:25:36,160
Just the intelligence in it,
fusing black dance music
443
0:25:36,200 --> 0:25:38,880
and white electronic music
and guitars together.
444
0:25:38,920 --> 0:25:42,440
# No-one can sing
445
0:25:42,480 --> 0:25:47,320
# Quite like Smokey,
Smokey Robinson... #
446
0:25:47,360 --> 0:25:52,800
This is white people recognising
the importance of black music.
447
0:25:52,840 --> 0:25:55,880
# Reggae's expanding with Sly
and Robbie... #
448
0:25:55,920 --> 0:25:58,840
Which we did, but we didn't
say it enough.
449
0:25:58,880 --> 0:26:1,440
It kind of seemed to sum up
what I was into.
450
0:26:1,480 --> 0:26:3,120
# Bohannon, Bohannon, Bohannon... #
451
0:26:3,160 --> 0:26:6,600
Brilliant. Especially with
my culture clash mentality.
452
0:26:6,640 --> 0:26:9,800
You know, there was something,
you know, in the rock, in the beats,
453
0:26:9,840 --> 0:26:12,520
in the guitars and, you know,
in the ambient,
454
0:26:12,560 --> 0:26:14,400
in the dance music,
in the reggae.
455
0:26:14,440 --> 0:26:15,640
It was all there.
456
0:26:15,680 --> 0:26:19,880
# James Brown, James Brown... #
457
0:26:19,920 --> 0:26:22,960
That is a record
that brings everybody together.
458
0:26:24,920 --> 0:26:28,480
But it's also one that's not
overplayed and that's important.
459
0:26:30,520 --> 0:26:32,840
It flies under the radar
wonderfully,
460
0:26:32,880 --> 0:26:36,320
but when you air it for people,
they just love it,
461
0:26:36,360 --> 0:26:38,80
whether they've heard it
before or not.
462
0:26:41,520 --> 0:26:43,0
Better not kill the groove.
463
0:26:43,40 --> 0:26:44,960
Let's stay with the dance tunes.
464
0:26:51,40 --> 0:26:53,760
I was very much
into underground music.
465
0:26:53,800 --> 0:26:56,880
So listening to a lot of
pirate stations,
466
0:26:56,920 --> 0:27:0,520
soul, funk pirate stations.
467
0:27:0,560 --> 0:27:3,600
You had your finger on the pulse
before the tracks came out,
468
0:27:3,640 --> 0:27:6,120
so, like, six months later,
the tracks would come out
469
0:27:6,160 --> 0:27:7,160
that you already knew.
470
0:27:7,200 --> 0:27:9,0
# You gotta get up,
you gotta get on
471
0:27:9,40 --> 0:27:11,240
# You gotta get down, girl... #
472
0:27:11,280 --> 0:27:14,720
I loved Indeep -
Last Night A DJ Saved My Life,
473
0:27:14,760 --> 0:27:17,160
because I'd been listening
to it on pirate radio
474
0:27:17,200 --> 0:27:20,680
and very rarely what you
listen to on pirate radio
475
0:27:20,720 --> 0:27:22,320
made it into the mainstream.
476
0:27:22,360 --> 0:27:24,600
# Called you on the phone... #
477
0:27:24,640 --> 0:27:27,720
And I remember that one
making it into the mainstream,
478
0:27:27,760 --> 0:27:29,360
being played on Radio 1,
479
0:27:29,400 --> 0:27:32,880
and then eventually making
its way to Top Of The Pops.
480
0:27:32,920 --> 0:27:34,680
That was a huge moment.
481
0:27:34,720 --> 0:27:37,600
# Last night a DJ saved my life
482
0:27:38,720 --> 0:27:43,200
# Last night a DJ saved my life
from a broken heart... #
483
0:27:43,240 --> 0:27:45,320
Brilliant track. And of course,
you've got the guitar
484
0:27:45,360 --> 0:27:47,160
that goes through the whole track
485
0:27:47,200 --> 0:27:50,200
and, you know, and then you've got
the kind of very soft
486
0:27:50,240 --> 0:27:52,240
rap that comes.
487
0:27:52,280 --> 0:27:54,120
# There's not a problem that
I can't fix
488
0:27:54,160 --> 0:27:55,960
# Cos I can do it in the mix
489
0:27:56,0 --> 0:27:58,600
# And if your man gives you trouble,
just you move out on the double
490
0:27:58,640 --> 0:28:0,440
# And you don't let it trouble
your brain
491
0:28:0,480 --> 0:28:4,480
# Cos away goes troubles
down the drain... #
492
0:28:4,520 --> 0:28:5,680
Also, the sentiment.
493
0:28:5,720 --> 0:28:7,520
Last night a DJ saved my life.
494
0:28:7,560 --> 0:28:8,920
I mean, it was just genius.
495
0:28:8,960 --> 0:28:11,600
# Last night a DJ saved my life
496
0:28:13,160 --> 0:28:16,960
# Last night a DJ saved my life
from a broken heart... #
497
0:28:17,0 --> 0:28:19,960
And it was huge for anyone
that was into soul music
498
0:28:20,0 --> 0:28:22,400
and was kind of
listening to pirate radio
499
0:28:22,440 --> 0:28:24,680
because it gave you hope
that you thought,
500
0:28:24,720 --> 0:28:30,80
OK, there is an opening on the
mainstream for this kind of music.
501
0:28:30,120 --> 0:28:32,600
That was a big wow moment, actually.
502
0:28:32,640 --> 0:28:34,840
And it's still a classic today,
isn't it?
503
0:28:34,880 --> 0:28:37,440
# Last night a DJ saved my life... #
504
0:28:38,800 --> 0:28:40,80
Oh, so classic
505
0:28:40,120 --> 0:28:43,960
it was sampled for this
'80s dance floor triumph.
506
0:28:44,0 --> 0:28:46,440
What could I say about Chaka Khan?
507
0:28:46,480 --> 0:28:48,160
# Chaka, Chaka, Chaka,
Chaka Khan... #
508
0:28:48,200 --> 0:28:49,520
Chaka Khan.
509
0:28:49,560 --> 0:28:51,520
Chaka... Chaka...
510
0:28:51,560 --> 0:28:53,240
# Chaka Khan, let me rock you... #
511
0:28:53,280 --> 0:28:54,920
Oh, my gosh, Chaka Khan.
512
0:28:54,960 --> 0:28:57,400
Hello. She is the '80s.
513
0:28:57,440 --> 0:29:0,280
I Feel For You was written by Prince
in 1979,
514
0:29:0,320 --> 0:29:3,120
but it wasn't a hit
until five years later
515
0:29:3,160 --> 0:29:5,920
when transformed by Chaka Khan.
516
0:29:5,960 --> 0:29:8,880
She's still living inspiration
517
0:29:8,920 --> 0:29:10,280
for a lot of the vocalists
518
0:29:10,320 --> 0:29:14,840
that I actually worked with
and continue to work with.
519
0:29:14,880 --> 0:29:17,200
That woman, her vocals,
520
0:29:17,240 --> 0:29:19,680
she was the one who got me
on the dance floor,
521
0:29:19,720 --> 0:29:21,80
even when I was underage
522
0:29:21,120 --> 0:29:24,80
and I went to the hippodrome
when I was about, like, 14.
523
0:29:24,120 --> 0:29:25,120
Sorry, Mum.
524
0:29:25,160 --> 0:29:27,360
# Baby, baby, when I look at you
525
0:29:27,400 --> 0:29:30,920
# I get a warm feeling inside
526
0:29:32,840 --> 0:29:35,680
# There's something 'bout
the things you do
527
0:29:35,720 --> 0:29:39,80
# That keeps me satisfied... #
528
0:29:39,120 --> 0:29:42,280
I've been in Chaka's presence
on many occasions.
529
0:29:42,320 --> 0:29:44,80
Yeah, she's very fierce.
530
0:29:44,120 --> 0:29:46,320
# It's mainly a physical thing... #
531
0:29:47,320 --> 0:29:49,0
What a force she was.
532
0:29:49,40 --> 0:29:51,160
What a humongous talent.
533
0:29:51,200 --> 0:29:54,40
Such an energy and such a power.
534
0:29:55,600 --> 0:29:57,40
# I feel for you
535
0:29:58,800 --> 0:30:0,800
# I think I love you
536
0:30:2,760 --> 0:30:4,800
# I feel for you
537
0:30:6,440 --> 0:30:8,520
# I think I love you... #
538
0:30:8,560 --> 0:30:10,40
You know, for girls like me,
539
0:30:10,80 --> 0:30:11,760
it gave me a fire in my belly.
540
0:30:11,800 --> 0:30:13,0
# Let me rock you, Chaka Khan
541
0:30:13,40 --> 0:30:14,840
# Let me rock you,
that's all I wanna do
542
0:30:14,880 --> 0:30:17,680
# Chaka Khan, let me rock you
Let me rock you, Chaka Khan... #
543
0:30:17,720 --> 0:30:20,0
I wasn't really connected with
what was going on in my hormones
544
0:30:20,40 --> 0:30:22,680
or whatever, but I was like,
"Oh! I've got to dance."
545
0:30:22,720 --> 0:30:24,880
I just wanted
to play it over and over again.
546
0:30:24,920 --> 0:30:26,600
That was the song.
547
0:30:26,640 --> 0:30:29,600
# Baby, baby, when I lay with you
548
0:30:29,640 --> 0:30:32,680
# There's no place
I'd rather be... #
549
0:30:33,800 --> 0:30:37,880
Chaka Khan, she was kind of like
a graduation from the tweeness,
550
0:30:37,920 --> 0:30:39,760
no offence, of Whitney, you know.
551
0:30:39,800 --> 0:30:42,160
That was very
Disney princess to me.
552
0:30:42,200 --> 0:30:44,320
Very lovely and very danceable, too.
553
0:30:44,360 --> 0:30:47,40
But Chaka Khan, she just
took it up a notch to,
554
0:30:47,80 --> 0:30:48,960
"Right, girls,
we know who we are,
555
0:30:49,0 --> 0:30:50,320
"we know what we want
556
0:30:50,360 --> 0:30:53,160
"and we know how to dance
on the dance floor.
557
0:30:53,200 --> 0:30:54,520
"This is the '80s.
558
0:30:54,560 --> 0:30:55,640
"Make your mark."
559
0:30:59,600 --> 0:31:1,440
Nobody does it like Chaka.
560
0:31:3,360 --> 0:31:5,80
# I feel for you... #
561
0:31:5,120 --> 0:31:6,600
Totally stands alone.
562
0:31:6,640 --> 0:31:8,200
# I think I love you... #
563
0:31:8,240 --> 0:31:9,240
Don't stop now.
564
0:31:9,280 --> 0:31:11,720
Let's get some high energy
thumping through.
565
0:31:15,480 --> 0:31:18,880
Pete Burns,
I loved him as a human being.
566
0:31:18,920 --> 0:31:20,0
He was funny.
567
0:31:20,40 --> 0:31:21,560
He was acerbic.
568
0:31:21,600 --> 0:31:26,80
He could be really vicious,
but he was a great pop star.
569
0:31:26,120 --> 0:31:27,680
# If I
570
0:31:28,760 --> 0:31:31,320
# I get to know your name... #
571
0:31:32,800 --> 0:31:36,920
They played me this one song
that they'd written that weekend,
572
0:31:36,960 --> 0:31:41,880
and I remember thinking,
"Oh, my God, that's a song."
573
0:31:41,920 --> 0:31:43,520
# All I know is that to me
574
0:31:43,560 --> 0:31:45,520
# You look like you're lots of fun
575
0:31:45,560 --> 0:31:47,520
# Open up your lovin' arms
576
0:31:47,560 --> 0:31:49,200
# I want some, want some... #
577
0:31:49,240 --> 0:31:51,360
It isn't my kind of music,
578
0:31:51,400 --> 0:31:54,0
but this was
an absolute masterpiece.
579
0:31:54,40 --> 0:31:56,480
# And no-one else will do
580
0:31:56,520 --> 0:31:57,840
# And I... #
581
0:31:57,880 --> 0:32:0,120
I suppose it was like
eating fast food.
582
0:32:0,160 --> 0:32:1,240
You just wanted more.
583
0:32:1,280 --> 0:32:4,240
You wanted more of him
and more of that song.
584
0:32:4,280 --> 0:32:9,880
He was fabulous and such the right
person to do that particular song.
585
0:32:9,920 --> 0:32:12,440
# Watch out, here I come
586
0:32:12,480 --> 0:32:16,0
# You spin me right round, baby,
right round
587
0:32:16,40 --> 0:32:19,440
# Like a record, baby, right round,
round, round... #
588
0:32:19,480 --> 0:32:21,560
When You Spin Me Round came out,
589
0:32:21,600 --> 0:32:24,320
I remember playing it at all
my clubs
590
0:32:24,360 --> 0:32:28,240
and it was an underground hit
for what seemed like months.
591
0:32:28,280 --> 0:32:31,160
I just kept playing it and everyone
would run on the dance floor,
592
0:32:31,200 --> 0:32:34,160
but it wouldn't get in
the top 30 for some reason.
593
0:32:34,200 --> 0:32:35,680
# I... #
594
0:32:35,720 --> 0:32:38,840
CBS rang me and they said,
"We need something to give it
595
0:32:38,880 --> 0:32:40,560
"a real boost over Christmas.
596
0:32:40,600 --> 0:32:42,400
"Can you do another 12-inch mix?"
597
0:32:42,440 --> 0:32:44,440
And I think we were on about
the fifth mix
598
0:32:44,480 --> 0:32:45,920
and there's only so many mixes
599
0:32:45,960 --> 0:32:48,840
you can do of diddle diddle diddle
diddle diddle diddle diddle diddly.
600
0:32:48,880 --> 0:32:52,400
And so we went and got
a BBC library record,
601
0:32:52,440 --> 0:32:54,160
and it was animal sounds,
602
0:32:54,200 --> 0:32:55,720
so I thought we could sample
603
0:32:55,760 --> 0:32:57,560
some real animals on this track,
you see.
604
0:32:57,600 --> 0:32:59,960
# You spin me right round, baby... #
605
0:33:0,0 --> 0:33:2,0
And I'm reading the sleeve
606
0:33:2,40 --> 0:33:3,440
and it was classic,
607
0:33:3,480 --> 0:33:5,600
two dogs having intercourse.
608
0:33:5,640 --> 0:33:9,360
And it was like...
HE WOOFS
609
0:33:9,400 --> 0:33:11,680
So I thought, "Fantastic.
610
0:33:11,720 --> 0:33:13,960
"We'll sample this
and we'll play it on the keyboard."
611
0:33:14,0 --> 0:33:16,880
DOGS BARK
612
0:33:16,920 --> 0:33:18,800
But it sounded great.
613
0:33:18,840 --> 0:33:21,80
It was only at the end
that we realised,
614
0:33:21,120 --> 0:33:22,360
how do we tell Pete Burns
615
0:33:22,400 --> 0:33:23,880
that the sound was two dogs...?
BARKING
616
0:33:23,920 --> 0:33:26,0
We certainly couldn't tell
the record company.
617
0:33:26,40 --> 0:33:28,560
# All I know is that to me
618
0:33:28,600 --> 0:33:30,360
# You look like you're lots of
fun... #
619
0:33:30,400 --> 0:33:32,560
So Pete came and he loved it.
He went nuts.
620
0:33:32,600 --> 0:33:35,720
He said to me, "What's it called?"
I said, "The TDF mix."
621
0:33:35,760 --> 0:33:38,360
"Well, what does TDF stand for?"
622
0:33:38,400 --> 0:33:41,720
"Uh... Tour De Force mix."
623
0:33:41,760 --> 0:33:44,880
# You spin me right round, baby... #
624
0:33:44,920 --> 0:33:47,200
Well, it went out a week
before Christmas
625
0:33:47,240 --> 0:33:49,600
and it just ripped
through the clubs.
626
0:33:49,640 --> 0:33:51,200
# You spin me right... #
627
0:33:51,240 --> 0:33:54,600
Finally it got to number one
and that was it.
628
0:33:54,640 --> 0:33:57,920
Pete was just, like,
this huge star after that.
629
0:33:57,960 --> 0:33:59,840
He was always
a star in his own head,
630
0:33:59,880 --> 0:34:1,280
but now it was real.
631
0:34:1,320 --> 0:34:3,80
# Like a record, baby,
right round... #
632
0:34:3,120 --> 0:34:6,840
You Spin Me Round is one of those
records that is a signature tune
633
0:34:6,880 --> 0:34:10,360
of the '80s, but sounds
as good today as it did then.
634
0:34:10,400 --> 0:34:12,0
# Right round, right round
635
0:34:12,40 --> 0:34:13,320
# You spin me... #
636
0:34:13,360 --> 0:34:16,160
Coming up,
more must-have '80 sounds
637
0:34:16,200 --> 0:34:19,40
and building
to the essential big finish.
638
0:34:19,80 --> 0:34:20,280
It's a bit like Blade Runner.
639
0:34:20,320 --> 0:34:22,880
You couldn't tell whether it was set
in the past or the future.
640
0:34:22,920 --> 0:34:24,200
It was a bit both.
641
0:34:30,40 --> 0:34:34,80
It's the final few tracks handpicked
by our celebrated selectors
642
0:34:34,120 --> 0:34:37,800
for a mix tape that undeniably
sounds like the '80s.
643
0:34:37,840 --> 0:34:39,920
Press play and cue the music.
644
0:34:45,40 --> 0:34:47,360
Another seminal track that kicked
off the '80s,
645
0:34:47,400 --> 0:34:49,560
Grandmaster Flash
and the Furious Five -
646
0:34:49,600 --> 0:34:50,840
The Message.
647
0:34:50,880 --> 0:34:52,80
# It's like a jungle sometimes
648
0:34:52,120 --> 0:34:55,520
# It makes me wonder how I keep
from goin' under
649
0:34:55,560 --> 0:34:56,760
# It's like a jungle sometimes
650
0:34:56,800 --> 0:34:59,200
# It makes me wonder how I keep
from goin' under... #
651
0:34:59,240 --> 0:35:3,280
The '80s was all about lots of
different underground movements
652
0:35:3,320 --> 0:35:5,40
suddenly becoming massive.
653
0:35:5,80 --> 0:35:9,600
# Don't push me cos I'm close
to the edge
654
0:35:9,640 --> 0:35:13,280
# I'm trying not to lose my head
655
0:35:13,320 --> 0:35:14,320
# Ha-ha-ha-ha! #
656
0:35:14,360 --> 0:35:16,520
There was the whole rise of hip-hop.
657
0:35:16,560 --> 0:35:18,680
I think all the non-believers
658
0:35:18,720 --> 0:35:20,360
were hoping that it would
just go away.
659
0:35:20,400 --> 0:35:21,600
It's novelty.
660
0:35:21,640 --> 0:35:23,40
In six months it would be dead.
661
0:35:23,80 --> 0:35:25,680
And in a way it felt
like that for a while,
662
0:35:25,720 --> 0:35:29,840
but it was all these white artists
suddenly picked up on it
663
0:35:29,880 --> 0:35:32,320
and you had Blondie
doing Rapture.
664
0:35:32,360 --> 0:35:34,640
# Fab Five Freddy told me
everybody's fly
665
0:35:34,680 --> 0:35:36,720
# DJ spinnin', I said, "My my"
666
0:35:36,760 --> 0:35:38,720
# Flash is fast, Flash is cool
667
0:35:38,760 --> 0:35:41,0
# Francois c'est pas,
Flash ain't no dude
668
0:35:41,40 --> 0:35:42,480
# And you don't stop... #
669
0:35:42,520 --> 0:35:46,840
You had Malcolm McLaren
doing Buffalo Gals in 1982.
670
0:35:46,880 --> 0:35:49,160
# First buffalo gal go around
the outside
671
0:35:49,200 --> 0:35:51,400
# Round the outside,
round the outside... #
672
0:35:51,440 --> 0:35:54,840
It opened up this whole culture
that was going on in America
673
0:35:54,880 --> 0:35:58,760
and people were suddenly got
very interested in breakdancing,
674
0:35:58,800 --> 0:36:3,200
rapping, hip-hop music,
graffiti and DJ scratching.
675
0:36:4,560 --> 0:36:6,960
And they were doing
their version of rap.
676
0:36:7,0 --> 0:36:10,280
And this kind of paved the way
for the real deal
677
0:36:10,320 --> 0:36:12,920
to come through, things
like Grandmaster Flash.
678
0:36:12,960 --> 0:36:14,920
# Crazy lady, livin' in a bag
679
0:36:14,960 --> 0:36:17,80
# Eatin' outta garbage pails,
used to be... #
680
0:36:17,120 --> 0:36:19,480
What I loved about it was
you'd go to New York
681
0:36:19,520 --> 0:36:21,280
and everyone would know
the words to it,
682
0:36:21,320 --> 0:36:23,880
because people would walk
around with these giant boom boxes
683
0:36:23,920 --> 0:36:25,160
playing it out loud.
684
0:36:25,200 --> 0:36:27,320
So even little old ladies
in the street
685
0:36:27,360 --> 0:36:29,120
who had no interest in hip-hop
686
0:36:29,160 --> 0:36:31,440
would know all the words to it.
687
0:36:31,480 --> 0:36:36,320
# Don't push me cos I'm close
to the edge
688
0:36:36,360 --> 0:36:40,40
# I'm trying not to lose my head
689
0:36:40,80 --> 0:36:41,200
# Ha-ha-ha-ha! #
690
0:36:41,240 --> 0:36:44,280
You know, the kind of decade
starts with that and ends
691
0:36:44,320 --> 0:36:45,640
with Public Enemy.
692
0:36:45,680 --> 0:36:47,960
# 1989, the number
693
0:36:48,0 --> 0:36:50,760
# Another summer
Get down
694
0:36:50,800 --> 0:36:52,200
# Sound of the funky drummer
695
0:36:52,240 --> 0:36:53,600
# Music hitting your heart
696
0:36:53,640 --> 0:36:56,480
# Cos I know you got a soul
Brothers and sisters, hey... #
697
0:36:56,520 --> 0:36:58,560
Fight the Power
would be on my mix tape.
698
0:36:58,600 --> 0:37:0,40
It was the new punk.
699
0:37:0,80 --> 0:37:3,600
Public Enemy were the new punk
with a social message
700
0:37:3,640 --> 0:37:5,200
and an attitude.
701
0:37:5,240 --> 0:37:7,320
And it came from the underground
702
0:37:7,360 --> 0:37:8,440
and it was reaching people.
703
0:37:8,480 --> 0:37:12,600
It was telling the news stories
that weren't reported in the news.
704
0:37:12,640 --> 0:37:14,360
# Listen if you're missing y'all
705
0:37:14,400 --> 0:37:15,920
# Swinging while I'm singing
706
0:37:15,960 --> 0:37:17,160
# Giving whatcha getting
707
0:37:17,200 --> 0:37:18,680
# Knowing what I know
708
0:37:18,720 --> 0:37:20,480
# While the black bands sweating
709
0:37:20,520 --> 0:37:21,920
# And the rhythm rhymes rolling... #
710
0:37:21,960 --> 0:37:24,240
I mean, you ain't going
to get a better rally cry
711
0:37:24,280 --> 0:37:26,80
than Fight The Power.
712
0:37:26,120 --> 0:37:27,600
# Fight the power
713
0:37:27,640 --> 0:37:30,80
# We've got to fight the powers
that be... #
714
0:37:30,120 --> 0:37:32,800
The messages that were coming
out of hip-hop, at least to me,
715
0:37:32,840 --> 0:37:36,240
said that music still had
a possibility to change things
716
0:37:36,280 --> 0:37:38,240
and not just reflect change.
717
0:37:38,280 --> 0:37:42,80
You know, I'm very much part
of that ethos that, yeah,
718
0:37:42,120 --> 0:37:45,80
music can make the world
a better place, you know.
719
0:37:45,120 --> 0:37:48,360
I know it sounds a bit naive
even to me, but hey, you know.
720
0:37:48,400 --> 0:37:50,760
# Don't Worry Be Happy
was a number one jam
721
0:37:50,800 --> 0:37:53,360
# Damn if I say it you can slap me
right here
722
0:37:53,400 --> 0:37:56,600
# Get it, let's get this party
started right
723
0:37:56,640 --> 0:37:57,880
# Right on, c'mon
724
0:37:57,920 --> 0:37:59,680
# What we got to say?
725
0:37:59,720 --> 0:38:1,920
# Power to the people, no delay
726
0:38:1,960 --> 0:38:3,680
# Make everybody see
727
0:38:3,720 --> 0:38:6,240
# In order to fight the powers
that be... #
728
0:38:6,280 --> 0:38:10,600
I'm not really hearing anything
that tough in the 21st century.
729
0:38:10,640 --> 0:38:12,200
Not this week, anyway.
730
0:38:13,480 --> 0:38:16,240
Staying with tracks that caused
maximum impact,
731
0:38:16,280 --> 0:38:19,920
there's this groundbreaking,
ball-busting jaw-dropper.
732
0:38:19,960 --> 0:38:23,880
# Mi-i-n-e
733
0:38:23,920 --> 0:38:28,80
# Give it to me one time now... #
734
0:38:28,120 --> 0:38:30,920
What's got to be the all-time
is Frankie Goes To Hollywood,
735
0:38:30,960 --> 0:38:34,200
because it went past
just being number one.
736
0:38:34,240 --> 0:38:36,640
It became a phenomenon.
737
0:38:36,680 --> 0:38:38,440
Frankie were great.
738
0:38:38,480 --> 0:38:40,640
It was a breath of fresh air.
739
0:38:40,680 --> 0:38:41,880
What a song.
740
0:38:41,920 --> 0:38:43,760
You know, cannot be denied.
741
0:38:43,800 --> 0:38:46,240
# Relax, don't do it
742
0:38:46,280 --> 0:38:48,160
# When you wanna go do it
743
0:38:48,200 --> 0:38:50,160
# Relax, don't do it
744
0:38:50,200 --> 0:38:52,40
# When you wanna come
745
0:38:52,80 --> 0:38:54,520
# Relax, don't do it
746
0:38:54,560 --> 0:38:56,520
# When you wanna suck it, chew it
747
0:38:56,560 --> 0:38:59,480
# Relax, don't do it
748
0:38:59,520 --> 0:39:1,520
# When you wanna come... #
749
0:39:1,560 --> 0:39:4,360
It's aggressive, but it's great
rhythmically.
750
0:39:4,400 --> 0:39:6,240
# When you wanna come... #
751
0:39:7,400 --> 0:39:10,40
Wow. You know, I mean,
the production of that
752
0:39:10,80 --> 0:39:13,920
along with that video
was incendiary when it happened.
753
0:39:13,960 --> 0:39:16,40
Producer Trevor Horn
sent Relax overeasy
754
0:39:16,80 --> 0:39:17,600
with high end synths,
755
0:39:17,640 --> 0:39:21,160
samplers and drum machines,
all at pitch perfection.
756
0:39:21,200 --> 0:39:25,0
You were looking at the most
sophisticated, in my opinion,
757
0:39:25,40 --> 0:39:27,80
use of those machines.
758
0:39:27,120 --> 0:39:31,680
The sound that Trevor Horn got
we would listen to with envy.
759
0:39:31,720 --> 0:39:34,400
Sampling had become really,
really important.
760
0:39:34,440 --> 0:39:36,120
We can do anything with sound.
761
0:39:36,160 --> 0:39:40,80
DISTORTED: We can do anything
with sound...with sound...
762
0:39:40,120 --> 0:39:41,120
..with sound.
763
0:39:41,160 --> 0:39:43,480
# But shoot it in the right
direction... #
764
0:39:43,520 --> 0:39:48,880
What Trevor was doing in the '80s
was pushing the whole idea
765
0:39:48,920 --> 0:39:51,360
of what sonically you could do.
766
0:39:51,400 --> 0:39:52,840
He was breaking every rule.
767
0:39:52,880 --> 0:39:53,880
# Hit me
Hit me
768
0:39:53,920 --> 0:39:55,440
# Hit me
Hit me
769
0:39:55,480 --> 0:39:59,240
# Hit me with those laser beams... #
770
0:39:59,280 --> 0:40:1,440
He seemed to get a sound
771
0:40:1,480 --> 0:40:5,560
that you would literally dream of,
a clarity.
772
0:40:5,600 --> 0:40:8,520
Now, yeah,
I mean, I still don't know
773
0:40:8,560 --> 0:40:11,640
and I've met him a couple of times,
and I'm always like that.
774
0:40:11,680 --> 0:40:13,640
"Should I ask? Dare I ask?"
775
0:40:13,680 --> 0:40:15,160
# Relax... #
776
0:40:15,200 --> 0:40:17,640
Frankie themselves were a force
to be reckoned with.
777
0:40:17,680 --> 0:40:19,600
The video was slapped with a ban,
778
0:40:19,640 --> 0:40:22,400
but as a record,
Relax was irresistible,
779
0:40:22,440 --> 0:40:24,600
even for those
spooked by its edgy lyrics.
780
0:40:24,640 --> 0:40:26,640
Why did you ban it?
I didn't actually ban it.
781
0:40:26,680 --> 0:40:28,360
I just said I wasn't
going to play it.
782
0:40:28,400 --> 0:40:29,600
Everyone else had already played it.
783
0:40:29,640 --> 0:40:32,760
Top of the Pops had already played
it, and I just had the 12-inch
784
0:40:32,800 --> 0:40:35,40
in the studio and
I looked at the lyrics
785
0:40:35,80 --> 0:40:37,600
and I looked at the picture on
the back and I thought,
786
0:40:37,640 --> 0:40:42,40
"I can't, in all fairness, be a face
on children's TV and play this.
787
0:40:42,80 --> 0:40:44,280
"So I just said that I wasn't
going to play it.
788
0:40:44,320 --> 0:40:45,960
"I said it was a great disco
record,
789
0:40:46,0 --> 0:40:47,680
"which I think it is
a fabulous record."
790
0:40:47,720 --> 0:40:48,840
Huh!
791
0:40:51,80 --> 0:40:52,400
The band were fantastic.
792
0:40:52,440 --> 0:40:56,320
It was like this out gay kind of
like we don't give a damn.
793
0:40:56,360 --> 0:40:57,400
It was amazing.
794
0:40:57,440 --> 0:40:59,320
# Oh oh oh oh
795
0:40:59,360 --> 0:41:1,160
# Get it up
796
0:41:1,200 --> 0:41:3,600
# The scene of love
797
0:41:3,640 --> 0:41:5,320
# Oh feel it, relax... #
798
0:41:5,360 --> 0:41:8,320
Relax said, "We're gay.
799
0:41:8,360 --> 0:41:10,480
"We don't care about your opinion.
800
0:41:10,520 --> 0:41:11,760
"This is it.
801
0:41:11,800 --> 0:41:13,640
"This is what it is.
802
0:41:13,680 --> 0:41:15,760
"Grow up, accept it
803
0:41:15,800 --> 0:41:17,840
"and mind your own
sodding business."
804
0:41:17,880 --> 0:41:18,880
And it worked.
805
0:41:18,920 --> 0:41:20,0
# Relax
806
0:41:21,160 --> 0:41:24,880
# One time, one time, one time
Hey! #
807
0:41:24,920 --> 0:41:26,160
It was fantastic.
808
0:41:26,200 --> 0:41:27,360
It was progress.
809
0:41:29,600 --> 0:41:31,360
# Come! #
810
0:41:31,400 --> 0:41:33,640
Every mix tape needs a grand finale
811
0:41:33,680 --> 0:41:38,200
and they don't come more epic
or more '80s than this.
812
0:41:44,40 --> 0:41:46,480
Ultravox would have played
a major role
813
0:41:46,520 --> 0:41:47,960
in my mix tape, as well.
814
0:41:52,800 --> 0:41:55,600
I kind of described Ultravox
as a bit like Blade Runner.
815
0:41:55,640 --> 0:41:58,240
You couldn't tell whether it was set
in the past or the future.
816
0:41:58,280 --> 0:41:59,640
It was a bit of both,
817
0:41:59,680 --> 0:42:3,0
and that's what we ended up
doing with technology.
818
0:42:3,40 --> 0:42:5,520
# We walked in the cold air... #
819
0:42:6,640 --> 0:42:9,80
So you would make a bass sound,
it would go dug,
820
0:42:9,120 --> 0:42:10,920
and then you would put
an echo on it
821
0:42:10,960 --> 0:42:12,440
so it would go dug, dug.
822
0:42:12,480 --> 0:42:14,40
And then you would do it again.
823
0:42:14,80 --> 0:42:16,400
Dug-dug, dug-dug-dug-dug.
824
0:42:16,440 --> 0:42:18,600
RHYTHM PLAYS
825
0:42:18,640 --> 0:42:19,960
You know.
826
0:42:21,200 --> 0:42:23,640
And there's a piano
and there's a viola
827
0:42:23,680 --> 0:42:26,800
and there's a string machine
and there's very little else.
828
0:42:26,840 --> 0:42:30,360
So it's really quite sparse when it
comes to the instrumentation.
829
0:42:30,400 --> 0:42:33,40
But it's the grandeur of the song.
830
0:42:33,80 --> 0:42:36,520
# A man in the dark
in a picture frame
831
0:42:36,560 --> 0:42:39,880
# So mystic and soulful... #
832
0:42:43,440 --> 0:42:46,360
Most songs as you're going
along in a verse,
833
0:42:46,400 --> 0:42:51,80
you rise up from the verse
up to the chorus to give it a lift,
834
0:42:51,120 --> 0:42:52,920
and Vienna does the opposite.
835
0:42:52,960 --> 0:42:54,240
Down...
836
0:42:54,280 --> 0:42:57,520
It goes down and then
I go up with the vocal.
837
0:42:57,560 --> 0:43:0,360
# The feeling has gone,
only you and I
838
0:43:0,400 --> 0:43:4,160
# It means nothing to me
839
0:43:5,640 --> 0:43:11,200
# This means nothing to me
840
0:43:11,240 --> 0:43:16,760
# Oh, Vienna
841
0:43:18,960 --> 0:43:20,640
And that creates a drama
842
0:43:20,680 --> 0:43:24,960
and it's not something we actually
anticipated it happening.
843
0:43:25,0 --> 0:43:27,200
We didn't sit down and plan
that to happen.
844
0:43:30,880 --> 0:43:32,920
Vienna, everyone fell in love
with Vienna
845
0:43:32,960 --> 0:43:35,240
and everyone fell
in love with Midge Ure.
846
0:43:39,280 --> 0:43:42,360
The best brokenhearted song ever.
847
0:43:42,400 --> 0:43:45,400
# Haunting notes, pizzicato strings
848
0:43:45,440 --> 0:43:47,680
# The rhythm is calling... #
849
0:43:52,760 --> 0:43:56,80
What makes a band a band
is that nothing's bang in time.
850
0:43:56,120 --> 0:43:57,240
There's a looseness to it.
851
0:43:57,280 --> 0:44:0,760
# Brings a cool, empty silence... #
852
0:44:0,800 --> 0:44:2,200
And that's exactly what we did.
853
0:44:2,240 --> 0:44:5,0
We used electronics,
but it was played manually.
854
0:44:6,360 --> 0:44:9,160
# The warmth of your hand
and a cold grey sky
855
0:44:9,200 --> 0:44:12,200
# It fades to the distance... #
856
0:44:12,240 --> 0:44:16,840
But also working with very famous
German record producer Conny Plank,
857
0:44:16,880 --> 0:44:19,80
having him on board was
a major boon,
858
0:44:19,120 --> 0:44:20,560
because he thought in sound.
859
0:44:20,600 --> 0:44:22,560
He spoke to you in sound.
860
0:44:24,160 --> 0:44:27,240
He said, "I see an empty ballroom
with an old man at a piano.
861
0:44:27,280 --> 0:44:30,480
"And the man's very tired
and he's played the same melody
862
0:44:30,520 --> 0:44:31,760
"for 40 years."
863
0:44:31,800 --> 0:44:33,120
And we went, "Oh, OK."
864
0:44:33,160 --> 0:44:34,880
And then when we recorded it,
865
0:44:34,920 --> 0:44:37,680
that was exactly the sound
that he got on the piano.
866
0:44:37,720 --> 0:44:43,880
He got this sad, mournful thing,
and it was just incredible.
867
0:45:12,560 --> 0:45:14,840
It's always hard to keep
things really simple
868
0:45:14,880 --> 0:45:17,720
and I think Ultravox were one
of those bands
869
0:45:17,760 --> 0:45:19,400
that were able to do that.
870
0:45:19,440 --> 0:45:22,640
And within that simplicity
there was a depth.
871
0:45:30,680 --> 0:45:32,440
And then this runaway theme
872
0:45:32,480 --> 0:45:34,840
that comes towards the end
of the song.
873
0:45:38,40 --> 0:45:42,280
Just so beautiful
and very confident,
874
0:45:42,320 --> 0:45:46,280
but also accessible
at the same time.
875
0:45:46,320 --> 0:45:49,880
# This means nothing to me
876
0:45:51,560 --> 0:45:54,560
# This means nothing to me... #
877
0:45:54,600 --> 0:45:57,400
Vienna is just a masterful song.
878
0:45:57,440 --> 0:46:5,80
# Oh, Vienna. #
879
0:46:11,0 --> 0:46:13,800
Time to hit stop on our boom box.
880
0:46:13,840 --> 0:46:15,840
Our mix tape is complete,
881
0:46:15,880 --> 0:46:18,320
from iconic tracks to hidden gems.
882
0:46:18,360 --> 0:46:20,880
Which tunes made your mix tape then?
883
0:46:20,920 --> 0:46:22,920
Which tracks would make it now?
884
0:46:22,960 --> 0:46:24,760
The options are endless,
885
0:46:24,800 --> 0:46:28,440
but every combination still sounds
like the '80s.
886
0:46:52,760 --> 0:46:55,760
Subtitles by Red Bee Media
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