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Ready Steady Go! really was the
most innovative
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rock and roll show probably ever.
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00:00:07,400 --> 00:00:10,560
Ready Steady Go! defined the '60s.
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Almost as much as, say,
The Beatles did.
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It wasn't just the music.
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It was everything that affected
youth,
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including, sort of, clothes, hair
and make-up
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and all that sort of stuff as well.
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And the attitude of it just had a
bit more fun
10
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and an edge to it than anything had
had before.
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Dusty, I want to ask you a straight
question. Oh!
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It broke all the rules of...
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..television for young people.
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I have fond memories of
Ready Steady Go!
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Martha & The Vandellas.
16
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That was the big time.
17
00:00:39,400 --> 00:00:43,840
Just to be on a hot new TV show...
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00:00:43,840 --> 00:00:45,680
The Supremes!
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00:00:45,680 --> 00:00:47,480
..was, like, "Hey, we made it."
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00:00:47,480 --> 00:00:48,680
Gerry And The Pacemakers!
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It was great.
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Felt like a star!
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# Five, four, three, two, one. #
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00:01:04,960 --> 00:01:08,160
Ready Steady Go! came about through
Elkan Allen,
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00:01:08,160 --> 00:01:11,600
who was head of the entertainment
division at Rediffusion.
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I was out of work.
27
00:01:13,200 --> 00:01:14,880
I was broke.
28
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I had come from BBC Radio and wanted
to get into television.
29
00:01:19,520 --> 00:01:21,880
A friend of mine was going out
with Elkan Allen,
30
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introduced me to Elkan,
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and Elkan took a shot on myself and
several young people
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and gave us the show.
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And Ready Steady Go! came from that.
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I hadn't a clue. I mean, he said,
"OK, book the first show.
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00:01:33,400 --> 00:01:35,320
"We need The Beatles, we need..."
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OK, who the hell are The Beatles and
how do I find them?
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ANNOUNCER: The boys show the press
their latest present.
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They're a natural, these fabulous
four, bubbling over with fun,
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getting as much kick out of
entertaining
40
00:01:46,120 --> 00:01:47,960
as the fans get from them.
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00:01:47,960 --> 00:01:51,680
1963, which is just as The Beatles
happen.
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00:01:51,680 --> 00:01:56,160
And so the whole wave of the
youth revolution,
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I mean, the timing was perfect.
44
00:02:03,080 --> 00:02:07,160
The pill had come along in '61,
I think.
45
00:02:07,160 --> 00:02:09,320
So, you had birth control.
46
00:02:12,400 --> 00:02:15,280
And so there was a new world which
the rock and rollers
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were writing about.
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# Girl, you really got me now
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# You got me so I can't sleep at
night. #
50
00:02:21,640 --> 00:02:25,840
And so that was also encouraging
the kids to find for themselves
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00:02:25,840 --> 00:02:29,880
what might make them happy in the
world, as opposed to getting stuck
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like the generation behind them had
because of war,
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00:02:33,960 --> 00:02:37,320
because of privation, because of
lack of opportunity.
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00:02:39,120 --> 00:02:42,400
It was the big British R&B boom.
55
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So, there was a lot of real cool,
hit-making trendy bands
56
00:02:46,280 --> 00:02:47,840
like The Who.
57
00:02:47,840 --> 00:02:51,640
We had The Who, The Animals, The
Kinks, who were just starting.
58
00:02:51,640 --> 00:02:54,240
So, you know, they're probably
on their first or second single,
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00:02:54,240 --> 00:02:55,720
at the most.
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00:02:56,960 --> 00:02:59,720
Vicki Wickham said, "You know,
after you've done this,
61
00:02:59,720 --> 00:03:01,960
"you're going to be number one next
week."
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00:03:01,960 --> 00:03:03,960
I said, "Unbelievable." I couldn't
believe that.
63
00:03:03,960 --> 00:03:06,960
Next week, we were. It had that
much power.
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It was a stunning piece of TV.
65
00:03:09,600 --> 00:03:11,720
Yeah, it was worth watching.
66
00:03:11,720 --> 00:03:15,200
It was a whole, sort of, world that
was exploding.
67
00:03:15,200 --> 00:03:19,320
And it's great that that programme
sort of managed to capture both
68
00:03:19,320 --> 00:03:21,840
the artist and the atmosphere of
the time.
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00:03:31,840 --> 00:03:33,240
In its early days,
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00:03:33,240 --> 00:03:35,920
Ready Steady Go! was in the basement
71
00:03:35,920 --> 00:03:38,240
of some building at the bottom
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00:03:38,240 --> 00:03:40,400
of Kingsway, I think it was.
73
00:03:40,400 --> 00:03:43,400
The Rediffusion building in Kingsway
74
00:03:43,400 --> 00:03:45,720
was quite a substantial building.
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A big television HQ, if you like.
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We had no choice.
77
00:03:49,600 --> 00:03:54,040
There was one studio available
at Rediffusion, in the basement.
78
00:03:54,040 --> 00:03:56,520
And, in the daytime, or other times,
79
00:03:56,520 --> 00:04:00,360
it had Muriel Young, who did
children's programmes.
80
00:04:00,360 --> 00:04:04,640
# Five o'clock club
Five o'clock club. #
81
00:04:09,320 --> 00:04:11,600
Ollie, we know that!
Let's see it work.
82
00:04:11,600 --> 00:04:14,720
I fixed it!
Right, Fred. Switch on.
83
00:04:14,720 --> 00:04:16,160
Right!
84
00:04:18,440 --> 00:04:20,200
And then there was Ready Steady Go!
85
00:04:31,520 --> 00:04:34,360
So, we had no choice but to use the
studio.
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It was very small.
87
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It could've been done anywhere.
88
00:04:41,080 --> 00:04:42,960
It could've been done in an
underground car park.
89
00:04:42,960 --> 00:04:44,280
It felt a bit like that.
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00:04:44,280 --> 00:04:46,680
Well, hi there. This is Keith
Fordyce welcoming you
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00:04:46,680 --> 00:04:49,200
to a very special edition
of Ready Steady Go!
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00:04:49,200 --> 00:04:51,960
For those of you who don't know this
show, I might say that each week,
93
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we invite all sorts of pop singers
along here to Studio Nine
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00:04:55,040 --> 00:04:58,720
in Kingsway, London, and the crowd
who come in, get a chance
95
00:04:58,720 --> 00:05:00,440
to meet their stars close to.
96
00:05:00,440 --> 00:05:05,560
The atmosphere in the studio was so
lively and so natural.
97
00:05:05,560 --> 00:05:09,960
It was very, erm, buzzy.
Very active.
98
00:05:09,960 --> 00:05:11,600
And there was a gantry.
99
00:05:11,600 --> 00:05:13,200
Dusty Springfield!
100
00:05:15,920 --> 00:05:18,440
It was shot all over.
101
00:05:18,440 --> 00:05:25,920
# Every day I have to cry some
Every day I have to cry some
102
00:05:25,920 --> 00:05:29,360
# Dry the water from my eyes some
103
00:05:29,360 --> 00:05:33,040
# Every day I have to cry. #
104
00:05:33,040 --> 00:05:36,080
And sometimes they would get people
to come down the stairs.
105
00:05:36,080 --> 00:05:38,320
# You know, you make me want to
shout
106
00:05:38,320 --> 00:05:40,320
# Look, my hand's jumping
107
00:05:40,320 --> 00:05:41,720
# Look, my heart's thumping
108
00:05:41,720 --> 00:05:43,160
# Throw my head back
109
00:05:43,160 --> 00:05:44,560
# Come on, now
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# Don't forget to say you will. #
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I would say the studio...the whole
studio was used.
112
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# Baby, I need your loving
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# I really need you
114
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# Although you're never near
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# I really need you
116
00:05:58,320 --> 00:06:01,040
# Your voice I often hear. #
117
00:06:01,040 --> 00:06:04,080
There were lots of music shows on TV
before Ready Steady Go!,
118
00:06:04,080 --> 00:06:07,600
but they grew out of light
entertainment.
119
00:06:07,600 --> 00:06:09,760
# Just in time
120
00:06:09,760 --> 00:06:12,760
# You found me just in time. #
121
00:06:12,760 --> 00:06:17,080
And they tended to be very
acceptable for adults, as well.
122
00:06:17,080 --> 00:06:20,080
There had been shows like Thank Your
Lucky Stars...
123
00:06:20,080 --> 00:06:22,520
# When the night is cold
124
00:06:22,520 --> 00:06:26,600
# And my arms want someone to hold
125
00:06:26,600 --> 00:06:29,320
# I think of you. #
126
00:06:29,320 --> 00:06:31,880
..that felt like an old-fashioned
variety show
127
00:06:31,880 --> 00:06:33,440
being brought up-to-date.
128
00:06:33,440 --> 00:06:37,080
Audiences in television before
Ready Steady Go!
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00:06:37,080 --> 00:06:40,960
were often treated as, kind of,
props, really.
130
00:06:40,960 --> 00:06:42,360
# I love you
# Yes, I do
131
00:06:42,360 --> 00:06:44,560
# Yes, I do
I love you
132
00:06:44,560 --> 00:06:46,160
# Baby, I really love you
133
00:06:46,160 --> 00:06:48,440
# If you break
And if you break
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# My heart
My heart
135
00:06:50,240 --> 00:06:52,320
# I'll die. #
136
00:06:52,320 --> 00:06:55,520
They were there to make some noise
and occasionally, for the cameras,
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00:06:55,520 --> 00:06:57,200
to turn round and take a shot of.
138
00:06:57,200 --> 00:06:59,080
Ready Steady Go!, of course,
139
00:06:59,080 --> 00:07:02,320
completely broke the mould when it
came to that style of television.
140
00:07:02,320 --> 00:07:04,960
# You pass me by
141
00:07:04,960 --> 00:07:07,400
# Well, you made me sigh
142
00:07:07,400 --> 00:07:11,960
# Oh, why? Oh, why? Oh, why? #
143
00:07:11,960 --> 00:07:15,000
It felt very dangerous because the
audience were all around.
144
00:07:15,000 --> 00:07:16,400
They were part of the show.
145
00:07:16,400 --> 00:07:18,760
An important part of the show,
as well.
146
00:07:21,040 --> 00:07:23,560
That's what frightened me when
I first walked in.
147
00:07:23,560 --> 00:07:25,560
I saw the place,
148
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then the kids all started
coming in
149
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and I said, "Where do they go?"
150
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They said, "There, in front of you."
151
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I said, "Are they close?"
152
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He said, "Why?"
153
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I said, "Well, I don't want to be
pulled off stage."
154
00:07:42,320 --> 00:07:43,880
He said, "Oh, shut up!"
155
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We could stand right next to the
platforms.
156
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We could go anywhere we wanted in
the studio.
157
00:07:50,840 --> 00:07:54,800
So, we tended to chase the platforms
around as they were moving.
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Our friends could see us.
159
00:07:56,400 --> 00:07:58,600
Sometimes we'd do a little...you
know.
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A little wave.
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Here I am on Ready Steady Go!
162
00:08:05,760 --> 00:08:09,040
You could actually touch the
pop stars,
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so, for a 14-year-old girl,
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that was the most exciting thing
that could ever happen in your life.
165
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# Every evening
When my all day's work is through
166
00:08:16,720 --> 00:08:19,320
# I call my baby and ask her
What shall we do? #
167
00:08:19,320 --> 00:08:20,960
I was sitting at the Hammond organ,
168
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concentrating on playing and
singing,
169
00:08:22,840 --> 00:08:24,640
as were all the musicians
in the band.
170
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We were happy doing it and we were
happy being part
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of what was happening.
172
00:08:28,320 --> 00:08:30,800
And the punters were happy being
part of what was happening
173
00:08:30,800 --> 00:08:31,920
with the music.
174
00:08:31,920 --> 00:08:33,720
# ..We'll play a melody
175
00:08:33,720 --> 00:08:35,720
# And turn the lights down low
176
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# So that none can see
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00:08:37,240 --> 00:08:39,480
# We got to do that, we got to do
that, yeah, yeah
178
00:08:39,480 --> 00:08:41,440
# We got to do that
We got to do that. #
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00:08:41,440 --> 00:08:44,000
It was all mimed, so you didn't have
to worry
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00:08:44,000 --> 00:08:47,520
about singing properly.
Just remember the words.
181
00:08:47,520 --> 00:08:49,920
And it was just...it was great fun.
182
00:08:49,920 --> 00:08:54,480
# So ferry across the Mersey
183
00:08:54,480 --> 00:08:58,520
# Cos this land's the place I love
184
00:08:58,520 --> 00:09:01,480
# And here I'll stay
185
00:09:04,680 --> 00:09:11,560
# People, they rush everywhere
186
00:09:11,560 --> 00:09:15,480
"Don't forget, don't look at the
camera.
187
00:09:15,480 --> 00:09:20,120
"Look at the kids, get on with the
song, forget you're on telly."
188
00:09:20,120 --> 00:09:22,240
We said, "OK."
189
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All through the song, that's...
190
00:09:24,720 --> 00:09:26,200
Everybody looking at the camera.
191
00:09:26,200 --> 00:09:28,480
Fred, on drums, and me.
192
00:09:28,480 --> 00:09:30,640
"Look! It's me!"
193
00:09:32,200 --> 00:09:35,760
# So, ferry across the Mersey
194
00:09:35,760 --> 00:09:40,160
# And always take me there
195
00:09:40,160 --> 00:09:43,920
# The place I love
196
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# People around every corner. #
197
00:09:49,440 --> 00:09:52,080
It was something that you accepted
and you thought,
198
00:09:52,080 --> 00:09:54,640
"This is really the only way
to do it."
199
00:09:54,640 --> 00:09:57,080
If you want to get a perfect track,
like the record,
200
00:09:57,080 --> 00:09:58,760
that's the way to do it.
201
00:09:58,760 --> 00:10:04,920
# Just a little rain
Just a little rain
202
00:10:04,920 --> 00:10:10,240
# What have they done to the rain?
203
00:10:13,000 --> 00:10:15,960
# Just a little boy
204
00:10:15,960 --> 00:10:19,280
# Standing in the rain. #
205
00:10:19,280 --> 00:10:22,120
One of the things that was amazing
about it was the fact
206
00:10:22,120 --> 00:10:25,400
that the cameras were among the
audience.
207
00:10:25,400 --> 00:10:30,160
# Because my baby's got soul. #
208
00:10:30,160 --> 00:10:33,960
Nobody said, "Let's put the cameras
in the picture."
209
00:10:33,960 --> 00:10:35,840
They just happened to be in the
picture
210
00:10:35,840 --> 00:10:37,840
because there was no way to
avoid it.
211
00:10:37,840 --> 00:10:40,080
Cameras come right past and they
were big.
212
00:10:40,080 --> 00:10:42,520
Big, big cameras. Quite scary.
213
00:10:42,520 --> 00:10:44,280
They were like Daleks.
214
00:10:44,280 --> 00:10:49,080
MUSIC: Doctor Who Opening Theme
by Ron Grainer and Delia Derbyshire
215
00:10:49,080 --> 00:10:52,160
There were times when one had to
go, "Ooh!"
216
00:10:52,160 --> 00:10:55,160
Because a camera came scudding
past, you know?
217
00:11:02,840 --> 00:11:05,880
But, again, it was great because it
added a flavour to it.
218
00:11:05,880 --> 00:11:07,200
Hi there!
219
00:11:07,200 --> 00:11:09,560
This is Ready Steady Go! I'm sorry
I wasn't with you last week.
220
00:11:09,560 --> 00:11:12,240
I missed being with you. My thanks
to Clive Goodwin for standing in.
221
00:11:12,240 --> 00:11:16,600
At the very beginning, the presenter
was Keith Fordyce,
222
00:11:16,600 --> 00:11:19,720
who was solid, a professional.
223
00:11:19,720 --> 00:11:22,920
Now, our amateur disc jockey this
week is John Lennon.
224
00:11:22,920 --> 00:11:24,320
JOHN BARKS
225
00:11:24,320 --> 00:11:28,160
Now, Keith was a lovely man,
but we always thought he was...
226
00:11:28,160 --> 00:11:29,920
..he was kind of ancient.
227
00:11:29,920 --> 00:11:32,400
He was from another generation,
you know?
228
00:11:32,400 --> 00:11:35,440
But, just before we talk about disc
jockeying and records that you like,
229
00:11:35,440 --> 00:11:38,360
John, what about books?
What about them?
230
00:11:38,360 --> 00:11:40,240
Well, you've just written one,
haven't you?
231
00:11:40,240 --> 00:11:42,880
Well, it just so happens I have.
It's at nine and six, Keith,
232
00:11:42,880 --> 00:11:44,920
and it'll be out on Tuesday or
Wednesday.
233
00:11:44,920 --> 00:11:47,920
Keith was kind of a seasoned
presenter person,
234
00:11:47,920 --> 00:11:50,520
who was very kind of shirt and tie.
235
00:11:50,520 --> 00:11:52,640
He could have been reading the news.
236
00:11:52,640 --> 00:11:55,080
Are you going to go on being an
amiable goon
237
00:11:55,080 --> 00:11:56,800
or are you going to be a star?
238
00:11:56,800 --> 00:11:58,520
I don't know. A big, big star.
239
00:11:58,520 --> 00:12:00,480
Probably be an amiable goon, I hope.
240
00:12:00,480 --> 00:12:02,800
We had several presenters.
241
00:12:04,320 --> 00:12:08,280
Somebody called Michael Aldred was
excellent because he knew music.
242
00:12:10,880 --> 00:12:14,080
Well, you certainly knock yourself
out, don't you, Milly? Yes, I do.
243
00:12:14,080 --> 00:12:15,600
Are you really only 15?
244
00:12:15,600 --> 00:12:17,120
Yes, I'm only 15.
245
00:12:17,120 --> 00:12:18,480
How long have you been singing?
246
00:12:18,480 --> 00:12:19,840
Since I was three.
247
00:12:19,840 --> 00:12:21,320
But he just wasn't neat.
248
00:12:21,320 --> 00:12:24,080
He had no charisma in front
of the camera.
249
00:12:24,080 --> 00:12:28,320
And we advertised for a presenter
and Cathy McGowan came in.
250
00:12:28,320 --> 00:12:31,520
It's not just because our next group
are really great friends of mine,
251
00:12:31,520 --> 00:12:33,880
or because they're over there
listening to what I'm saying,
252
00:12:33,880 --> 00:12:36,800
but I really do think they're
absolutely fantastic.
253
00:12:36,800 --> 00:12:39,840
And here, with Off The Hook, are
The Rolling Stones.
254
00:12:39,840 --> 00:12:42,560
She came over as a real person.
255
00:12:42,560 --> 00:12:44,600
And that's really what the show
was about,
256
00:12:44,600 --> 00:12:48,160
about real people and a way of life.
257
00:12:48,160 --> 00:12:50,160
She was Ready, Steady, Go!
258
00:12:50,160 --> 00:12:52,480
She loved music, too.
259
00:12:52,480 --> 00:12:55,240
But I think, honestly, what her
attraction was,
260
00:12:55,240 --> 00:12:58,440
was she wasn't terribly good at
being a compere.
261
00:12:58,440 --> 00:13:01,560
I'm going to leave you in the tender
care of Cathy. OK?
262
00:13:01,560 --> 00:13:03,640
Have a chat. Hello, Paul.
263
00:13:03,640 --> 00:13:05,400
What can I ask you? Erm...
264
00:13:05,400 --> 00:13:09,600
Then, everything was, you know,
speak proper English.
265
00:13:09,600 --> 00:13:11,360
All your bulletins, all your news.
266
00:13:11,360 --> 00:13:13,960
Everybody spoke the Queen's English.
267
00:13:13,960 --> 00:13:15,600
This is London Calling.
268
00:13:15,600 --> 00:13:18,040
Here is the news, read by
Derek Baker.
269
00:13:18,040 --> 00:13:20,920
She was your every day girl.
270
00:13:20,920 --> 00:13:24,400
I remember looking at it and
thinking that, you know,
271
00:13:24,400 --> 00:13:27,160
Cathy McGowan was very beautiful
and elegant and was the sort
272
00:13:27,160 --> 00:13:29,040
of person that I'd like to be
my friend.
273
00:13:29,040 --> 00:13:31,200
Although I was only probably,
sort of, six or something,
274
00:13:31,200 --> 00:13:33,200
but I still could sort of see
the point of that.
275
00:13:33,200 --> 00:13:35,880
And Keith Fordyce was the sort of
senior, more responsible figure,
276
00:13:35,880 --> 00:13:37,160
that probably had a car.
277
00:13:37,160 --> 00:13:39,600
And I rather identified with that,
as well.
278
00:13:39,600 --> 00:13:41,400
Which one have you picked?
Number two.
279
00:13:41,400 --> 00:13:42,960
Number two is the winner!
280
00:13:42,960 --> 00:13:44,480
There we are. Give her the prize.
281
00:13:44,480 --> 00:13:46,400
Well done, Susan. And a kiss, too!
I ask you!
282
00:13:46,400 --> 00:13:48,040
Right, you've got work to do, lad.
283
00:13:48,040 --> 00:13:49,560
You move that way.
284
00:13:49,560 --> 00:13:52,200
There's a real attraction to
live shows.
285
00:13:52,200 --> 00:13:56,120
And, in a way, each week,
something went wrong.
286
00:13:56,120 --> 00:13:58,240
But, of course, that was the
attraction.
287
00:13:58,240 --> 00:14:01,240
Somebody was introduced and they
didn't come straight on
288
00:14:01,240 --> 00:14:04,520
or someone fell off the chair.
289
00:14:04,520 --> 00:14:06,920
I mean, there was always something
and you couldn't redo
290
00:14:06,920 --> 00:14:08,360
it because it was live.
291
00:14:08,360 --> 00:14:11,040
Right, where's Ringo? I bet he's
with Cathy. Where are you?
292
00:14:12,200 --> 00:14:14,280
JOHN: Dirty Ringo!
293
00:14:14,280 --> 00:14:16,200
Ringo, you can sign the record
later on.
294
00:14:16,200 --> 00:14:17,480
How's the new film going?
295
00:14:17,480 --> 00:14:19,160
I do know one story, though.
296
00:14:19,160 --> 00:14:20,520
Sandie Shaw.
297
00:14:20,520 --> 00:14:24,760
She was in the dressing room and
we'd put her name on the bottom,
298
00:14:24,760 --> 00:14:26,120
"Sandie Shaw",
299
00:14:26,120 --> 00:14:30,040
and then we tilted up from the...to
her face...
300
00:14:30,040 --> 00:14:31,840
..empty frame.
301
00:14:31,840 --> 00:14:35,160
And there was Burt Bacharach doing
this, looking round, thinking.
302
00:14:35,160 --> 00:14:39,400
He just made the whole thing work
musically.
303
00:14:39,400 --> 00:14:41,520
They kept repeating it,
repeating it...
304
00:14:41,520 --> 00:14:45,120
But no sign. We did the entire
number without Sandie Shaw.
305
00:14:54,000 --> 00:14:56,800
And then everybody's saying,
"Well, where was she?!"
306
00:14:56,800 --> 00:14:59,080
And she was in the wait...
307
00:14:59,080 --> 00:15:04,280
In her dressing room, watching
the show live, going out...
308
00:15:04,280 --> 00:15:06,720
and no Sandie Shaw.
309
00:15:06,720 --> 00:15:08,280
She said, "Well, nobody called me."
310
00:15:08,280 --> 00:15:09,680
Don't be late.
311
00:15:09,680 --> 00:15:11,480
SHE GIGGLES
312
00:15:11,480 --> 00:15:13,240
I'm afraid it was.
313
00:15:13,240 --> 00:15:15,920
Yes, yes. There was so much
happening backstage.
314
00:15:15,920 --> 00:15:17,880
I got, kind of, involved in that.
315
00:15:17,880 --> 00:15:19,480
Try singing it, Sandie!
316
00:15:21,720 --> 00:15:25,480
The obvious effect of Ready Steady
Go! on the culture of Britain
317
00:15:25,480 --> 00:15:27,800
is the fashion, because you had
Cathy.
318
00:15:27,800 --> 00:15:30,120
# These boots are made for walking
319
00:15:30,120 --> 00:15:33,040
# And that's just what they'll do
320
00:15:33,040 --> 00:15:39,600
# One of these days these boots
are going to walk all over you. #
321
00:15:39,600 --> 00:15:42,840
Cathy was so perfect for the show.
322
00:15:42,840 --> 00:15:44,760
First off, the look.
323
00:15:44,760 --> 00:15:46,200
She was a mod.
324
00:15:46,200 --> 00:15:50,640
She was the epitome of a mod girl.
325
00:15:50,640 --> 00:15:55,320
And that was when the mod movement
was coming to the fore.
326
00:15:55,320 --> 00:15:56,640
Do you think you're a mod?
327
00:15:56,640 --> 00:15:58,240
Do you know what a mod is, Ringo?
328
00:15:58,240 --> 00:16:00,280
LAUGHTER
329
00:16:00,280 --> 00:16:03,120
No, I'm not a mod or a rocker.
330
00:16:03,120 --> 00:16:05,200
You're nothing? No. No.
I'm a mocker.
331
00:16:05,200 --> 00:16:07,880
The women were very straight-laced.
332
00:16:07,880 --> 00:16:10,440
They weren't overtly sexy.
333
00:16:10,440 --> 00:16:13,400
And they weren't, like, low necks
or anything like that.
334
00:16:13,400 --> 00:16:16,160
It'd be probably quite high neck
but short skirts.
335
00:16:16,160 --> 00:16:17,840
Very demure.
336
00:16:17,840 --> 00:16:21,200
But Cathy always looked amazing.
337
00:16:28,560 --> 00:16:33,480
# I can feel a new expression
on my face
338
00:16:36,000 --> 00:16:40,240
# I can feel a glowing sensation
taking place
339
00:16:42,880 --> 00:16:45,720
# I can hear the guitars playing
340
00:16:45,720 --> 00:16:48,920
# The tu-u-unes
341
00:16:48,920 --> 00:16:52,280
# Every time that you
342
00:16:54,160 --> 00:16:56,480
# Walk in the room. #
343
00:16:56,480 --> 00:16:59,760
She just had the fashion
nailed down.
344
00:16:59,760 --> 00:17:04,000
She wore a lot of Barbara
Hulanicki clothes, Mary Quant.
345
00:17:04,000 --> 00:17:06,560
Cathy McGowan, along with Twiggy...
346
00:17:07,920 --> 00:17:10,320
..was one of THE faces of the '60s.
347
00:17:10,320 --> 00:17:13,200
I mean, she looked like a
supermodel.
348
00:17:13,200 --> 00:17:17,160
She's got such a strong look in the
same way that Twiggy has
349
00:17:17,160 --> 00:17:20,280
but the opposite. You know, Twiggy
was kind of short and blonde hair
350
00:17:20,280 --> 00:17:23,360
and Cathy McGowan was this, you
know, gorgeous,
351
00:17:23,360 --> 00:17:26,240
kind of almost Cleopatra kind of
look.
352
00:17:26,240 --> 00:17:31,400
Cathy was the first name that I knew
that had started,
353
00:17:31,400 --> 00:17:33,360
like, a fashion line.
354
00:17:33,360 --> 00:17:36,200
ANNOUNCER: Cathy McGowan, of Ready
Steady Go! fame, has designed
355
00:17:36,200 --> 00:17:37,800
her first collection for this show.
356
00:17:37,800 --> 00:17:41,280
This attractive TV star is a girl
of many talents.
357
00:17:45,000 --> 00:17:47,880
The next creation was
displayed by Cathy McGowan herself -
358
00:17:47,880 --> 00:17:50,000
a check, woollen shirt dress.
359
00:17:53,720 --> 00:17:58,440
Women were driving British street
fashion in the way that, you know,
360
00:17:58,440 --> 00:18:00,800
we'd always looked to Paris before
that.
361
00:18:00,800 --> 00:18:04,440
It was reflecting this big fashion
revolution.
362
00:18:04,440 --> 00:18:07,760
It meant that girls could buy high
street clothes
363
00:18:07,760 --> 00:18:10,360
and look like Cathy McGowan.
364
00:18:10,360 --> 00:18:14,040
I always wanted to wear what she was
wearing or try and find
365
00:18:14,040 --> 00:18:17,520
a similar outfit which, for a
14-year-old girl, you know,
366
00:18:17,520 --> 00:18:20,280
was something, to have those
clothes.
367
00:18:29,880 --> 00:18:35,720
# Five, four, three, two, one. #
368
00:18:35,720 --> 00:18:38,360
Every television set seemed to be
on in England.
369
00:18:38,360 --> 00:18:41,680
Anybody who had a television set
would watch Ready Steady Go!
370
00:18:41,680 --> 00:18:43,880
Me included, I would rush home from
work,
371
00:18:43,880 --> 00:18:46,120
hoping that I wouldn't miss
anything.
372
00:18:46,120 --> 00:18:48,120
Life was, sort of, simpler
373
00:18:48,120 --> 00:18:51,680
and people would go home to their
tea to home and sit down
374
00:18:51,680 --> 00:18:53,960
and have their tea at
half past six,
375
00:18:53,960 --> 00:18:56,320
so they'd all sit and watch
our show.
376
00:18:56,320 --> 00:18:58,720
That's what happened all over
the country.
377
00:19:00,720 --> 00:19:03,280
Because everybody used to watch it,
especially the kids,
378
00:19:03,280 --> 00:19:04,600
who bought the records.
379
00:19:04,600 --> 00:19:07,360
We were all in love with the pop
stars and music
380
00:19:07,360 --> 00:19:09,560
and fashion and dancing.
381
00:19:09,560 --> 00:19:13,040
It opened parents' eyes to,
you know,
382
00:19:13,040 --> 00:19:14,680
what their kids were all about
383
00:19:14,680 --> 00:19:16,040
and music was all about.
384
00:19:16,040 --> 00:19:19,120
Even my step-father used to say,
"Bloody rubbish!
385
00:19:19,120 --> 00:19:21,280
"Absolutely disgusting."
386
00:19:21,280 --> 00:19:24,960
My mother said he'd sit there glued
to the screen, shouting at it.
387
00:19:24,960 --> 00:19:26,800
"Mick Jagger's dreadful!"
388
00:19:26,800 --> 00:19:29,120
And so it was it was a
national thing.
389
00:19:29,120 --> 00:19:30,320
We didn't have a television.
390
00:19:30,320 --> 00:19:31,800
But my neighbours did
391
00:19:31,800 --> 00:19:33,520
and so we'd go in and watch that.
392
00:19:33,520 --> 00:19:36,280
At the time, it seemed risque and
daring because you were seeing
393
00:19:36,280 --> 00:19:38,760
the cameras and you didn't quite
know what was going to happen.
394
00:19:38,760 --> 00:19:40,600
Well, don't forget our great
big date...
395
00:19:40,600 --> 00:19:43,000
Good evening, sir. We'll see you
later, thank you very much.
396
00:19:43,000 --> 00:19:48,120
# Five, four, three, two one. #
397
00:19:49,600 --> 00:19:56,040
I think it was the first kind
of television show from that era
398
00:19:56,040 --> 00:20:00,480
that actually depicted what it was
actually like playing in the clubs.
399
00:20:03,080 --> 00:20:05,640
Which was all the go at the
time.
400
00:20:05,640 --> 00:20:07,880
You know, we were all playing live
in clubs.
401
00:20:07,880 --> 00:20:11,400
# My baby found a new place to go
402
00:20:11,400 --> 00:20:13,920
# Hangs around town in the club
called Go-Go. #
403
00:20:13,920 --> 00:20:15,600
There was so many clubs.
404
00:20:15,600 --> 00:20:17,560
You could go from one club to
another.
405
00:20:17,560 --> 00:20:19,880
If you didn't like what they were
playing in one,
406
00:20:19,880 --> 00:20:21,360
you'd just walk to another one.
407
00:20:21,360 --> 00:20:23,360
I mean, it was absolutely brilliant.
408
00:20:23,360 --> 00:20:26,560
It was kind of the first really
massive,
409
00:20:26,560 --> 00:20:29,160
home-grown British youth cult.
410
00:20:29,160 --> 00:20:33,280
And the atmosphere was one of kind
of hedonism,
411
00:20:33,280 --> 00:20:37,240
of pleasure, of looking for a good
time.
412
00:20:37,240 --> 00:20:40,560
It was a time when youth was
celebrated
413
00:20:40,560 --> 00:20:42,880
and celebrating itself, in a way.
414
00:20:45,200 --> 00:20:48,920
Vicki Wickham, the producer of the
show,
415
00:20:48,920 --> 00:20:51,280
she would come down
and hear the bands
416
00:20:51,280 --> 00:20:54,160
and say, "Oh, we must get this band
on Ready Steady Go!"
417
00:20:54,160 --> 00:20:56,000
Cos they were good, you know?
418
00:20:56,000 --> 00:20:58,040
Vicki was like the gatekeeper.
419
00:20:58,040 --> 00:21:03,640
And if Vicki didn't want something,
it wasn't going to happen.
420
00:21:03,640 --> 00:21:05,240
What was good, in those days
421
00:21:05,240 --> 00:21:07,120
the business was really small.
422
00:21:07,120 --> 00:21:11,440
So everybody knew everybody and we
all, you know, knew to go
423
00:21:11,440 --> 00:21:14,400
whichever the club was happening at
the moment.
424
00:21:14,400 --> 00:21:18,000
So, for us, it was like a great
opportunity
425
00:21:18,000 --> 00:21:20,360
for us to get our name known.
426
00:21:20,360 --> 00:21:22,720
We didn't have any hit records at
that time, you know,
427
00:21:22,720 --> 00:21:25,560
but we were the in band.
428
00:21:25,560 --> 00:21:29,280
# This is a man's world
429
00:21:29,280 --> 00:21:31,920
# But it would've been nothing
430
00:21:31,920 --> 00:21:34,120
# Nothing
431
00:21:34,120 --> 00:21:37,920
# Without a woman or a girl. #
432
00:21:37,920 --> 00:21:41,000
We did Ready Steady Go! and we built
our name up
433
00:21:41,000 --> 00:21:44,320
to become nationwide, you know?
434
00:21:44,320 --> 00:21:48,560
# It's a man's world
Yes, it is
435
00:21:48,560 --> 00:21:54,240
# It's a man's, man's
Man's world. #
436
00:21:54,240 --> 00:21:59,000
APPLAUSE AND CHEERS
437
00:21:59,000 --> 00:22:01,760
Thank you very much! Thank you!
438
00:22:01,760 --> 00:22:05,520
We did have a vision
of what worked
439
00:22:05,520 --> 00:22:09,880
and what Ready Steady Go! was in
terms of the people we booked,
440
00:22:09,880 --> 00:22:13,960
because we didn't necessarily book
a band because it was in the charts.
441
00:22:13,960 --> 00:22:16,160
We argued amongst ourselves
sometimes,
442
00:22:16,160 --> 00:22:17,680
particularly Michael and I.
443
00:22:17,680 --> 00:22:20,000
He threw a clipboard at me once.
444
00:22:20,000 --> 00:22:24,320
But, you know, we just, between us,
would be able to book
445
00:22:24,320 --> 00:22:26,240
who we wanted when we wanted.
446
00:22:26,240 --> 00:22:28,200
VOICEOVER: Hundreds of
the Whither Generation
447
00:22:28,200 --> 00:22:29,320
flocked to the West End
448
00:22:29,320 --> 00:22:31,040
on the opening night of
a new kind of club.
449
00:22:31,040 --> 00:22:33,960
It has music, but so have hundreds
of other places, though,
450
00:22:33,960 --> 00:22:35,960
here, it's provided by The Animals.
451
00:22:35,960 --> 00:22:38,000
Let's listen. Explanation later.
452
00:22:42,080 --> 00:22:47,960
Vicki was very open, very much
a fan of all of the acts
453
00:22:47,960 --> 00:22:50,160
that were there, you knew that.
454
00:22:50,160 --> 00:22:52,120
It's called
Baby, Let Me Take You Home.
455
00:22:52,120 --> 00:22:53,400
And here are The Animals.
456
00:23:01,720 --> 00:23:04,600
# Baby, can I take you home?
457
00:23:04,600 --> 00:23:07,840
# Baby, let me take you home
458
00:23:07,840 --> 00:23:10,240
# I'll love you all my life
459
00:23:10,240 --> 00:23:11,840
# You can bet I'll treat you right
460
00:23:11,840 --> 00:23:14,360
# If you just let me take you
home... #
461
00:23:14,360 --> 00:23:19,080
Visits to Ready Steady Go!
to do a show was like going home
462
00:23:19,080 --> 00:23:21,200
and the band that I was in,
463
00:23:21,200 --> 00:23:24,560
we were such Tyneside scruffs,
you know?
464
00:23:24,560 --> 00:23:28,080
For instance, Hilton Valentine
would look forward to doing
465
00:23:28,080 --> 00:23:31,520
Ready Steady Go! because he could
use the shower.
466
00:23:31,520 --> 00:23:33,400
They had a shower there, man.
467
00:23:35,240 --> 00:23:37,720
How come a name like The Animals?
Where did you get that from?
468
00:23:37,720 --> 00:23:40,160
Well, we look like animals, I think.
469
00:23:40,160 --> 00:23:46,720
Vicki Wickham had a love
of American music
470
00:23:46,720 --> 00:23:49,440
and she was instrumental in bringing
471
00:23:49,440 --> 00:23:52,120
all these acts on to
Ready Steady Go!
472
00:23:52,120 --> 00:23:54,360
Here they are with their big hit
number, I Get Around,
473
00:23:54,360 --> 00:23:56,280
The Beach Boys!
474
00:23:56,280 --> 00:23:59,720
# Round, round, get around
I get around, yeah
475
00:23:59,720 --> 00:24:02,600
# Ooh-ooh-ooh-ooh
476
00:24:02,600 --> 00:24:05,440
# I get around... #
477
00:24:07,680 --> 00:24:10,880
You know, so we had people
on like The Beach Boys.
478
00:24:10,880 --> 00:24:12,960
I thought, "Well, that's not our
kind of music."
479
00:24:12,960 --> 00:24:15,840
But, in fact, it was because
it was another movement,
480
00:24:15,840 --> 00:24:20,080
which she had spotted,
who they should have on the show.
481
00:24:21,160 --> 00:24:23,040
# I get around
482
00:24:23,040 --> 00:24:25,200
# From town to town
483
00:24:25,200 --> 00:24:28,000
# I'm a real cool head
484
00:24:28,000 --> 00:24:29,600
# I'm making' real good bread
485
00:24:29,600 --> 00:24:31,840
# Round, round, round
I get around... #
486
00:24:31,840 --> 00:24:37,360
The show was very savvy
with having a lot of black acts
487
00:24:37,360 --> 00:24:40,320
on for the first time on British TV.
488
00:24:40,320 --> 00:24:44,600
And that's what the British R&B
boom bands were copying.
489
00:24:44,600 --> 00:24:47,760
# Baby, back
Dressed in black
490
00:24:47,760 --> 00:24:50,880
# Silver buttons all down her back
491
00:24:51,920 --> 00:24:55,880
# High hose, tippy toes
492
00:24:55,880 --> 00:24:58,960
# She broke the needle
and she can't sew
493
00:24:58,960 --> 00:25:00,520
# Walking the dog... #
494
00:25:00,520 --> 00:25:04,240
They all had been influenced early
on by American musicians
495
00:25:04,240 --> 00:25:06,880
and artists, and so again,
Ready Steady Go!,
496
00:25:06,880 --> 00:25:08,720
we had a lot of the great American
497
00:25:08,720 --> 00:25:11,560
and particularly
the black American acts.
498
00:25:11,560 --> 00:25:13,960
# If you don't know how to do it
499
00:25:13,960 --> 00:25:16,560
# I'll tell you
how to walk the dog. #
500
00:25:16,560 --> 00:25:18,920
Ha-ha!
501
00:25:21,760 --> 00:25:26,040
The music we were playing was
American, you know?
502
00:25:26,040 --> 00:25:28,120
And the clientele at the Flamingo
503
00:25:28,120 --> 00:25:30,400
was basically black American GIs
504
00:25:30,400 --> 00:25:33,320
stationed in the US Air Force in
London,
505
00:25:33,320 --> 00:25:37,160
so that was the culture that we
were deeply involved in.
506
00:25:37,160 --> 00:25:39,760
# ..We're gonna be happy
like we used to be... #
507
00:25:39,760 --> 00:25:43,000
That's where Ready Steady Go!
flourished, really.
508
00:25:43,000 --> 00:25:46,920
I started booking a lot of the
black artists through Dusty
509
00:25:46,920 --> 00:25:49,800
cos she would go to America,
call me up.
510
00:25:49,800 --> 00:25:52,160
In those days, it was expensive to
make phone calls,
511
00:25:52,160 --> 00:25:54,680
but she would call up and play me a
record down the phone
512
00:25:54,680 --> 00:25:57,080
and I'd go, "Oh, my God,
that's brilliant!"
513
00:25:57,080 --> 00:25:59,800
# Ah, listen, everybody
514
00:25:59,800 --> 00:26:01,920
# Especially you girls
515
00:26:01,920 --> 00:26:05,000
# Is it right to be left alone
516
00:26:05,000 --> 00:26:08,000
# When the one you love
is never home
517
00:26:08,000 --> 00:26:11,160
# I love too hard
Yeah, my friends... #
518
00:26:11,160 --> 00:26:14,000
Obviously, Dusty had a big influence
519
00:26:14,000 --> 00:26:17,200
because of her wonderful voice,
520
00:26:17,200 --> 00:26:20,560
but also her world of soul music,
521
00:26:20,560 --> 00:26:24,680
she brought that to Ready Steady Go!
as well.
522
00:26:24,680 --> 00:26:30,280
Everyone loved Dusty because she was
a very wonderful, sweet girl.
523
00:26:30,280 --> 00:26:34,000
But she also was a girl who spoke
her mind
524
00:26:34,000 --> 00:26:37,120
and she was very much
into the black culture.
525
00:26:37,120 --> 00:26:39,800
# ..Can I get a witness? #
526
00:26:39,800 --> 00:26:43,360
Dusty was really, really important
to the show.
527
00:26:43,360 --> 00:26:46,000
Her stamp was on Ready Steady Go!
528
00:26:46,000 --> 00:26:47,880
# ..Is it right to be treated so bad
529
00:26:47,880 --> 00:26:50,480
# When you've given
everything you had? #
530
00:26:50,480 --> 00:26:52,440
She loved The Vandellas,
531
00:26:52,440 --> 00:26:54,040
Martha & The Vandellas.
532
00:26:54,040 --> 00:26:56,160
We became sisters.
533
00:26:56,160 --> 00:26:59,760
She was the first person that I let
hear Dancing In The Street
534
00:26:59,760 --> 00:27:02,640
cos we carried around our own
reel-to-reel tape recorders,
535
00:27:02,640 --> 00:27:04,480
and I was able to take a demo
536
00:27:04,480 --> 00:27:06,800
and actually see what
she thought of it.
537
00:27:06,800 --> 00:27:11,240
# All we need is music
Sweet music
538
00:27:11,240 --> 00:27:14,680
# There'll be music everywhere
539
00:27:14,680 --> 00:27:19,200
# They'll be swinging, swaying
And records playing
540
00:27:19,200 --> 00:27:21,880
# Dancin' in the street... #
541
00:27:21,880 --> 00:27:24,520
The recruiting of dancers
for the show,
542
00:27:24,520 --> 00:27:27,160
who were actually the audience,
543
00:27:27,160 --> 00:27:29,880
that was the most incredible thing,
really,
544
00:27:29,880 --> 00:27:31,480
because we went into clubs,
545
00:27:31,480 --> 00:27:35,200
like the Scene Club was the one
where all the kids danced.
546
00:27:37,880 --> 00:27:39,800
Cathy, myself, Michael Aldred,
547
00:27:39,800 --> 00:27:42,680
various people would go around
the clubs
548
00:27:42,680 --> 00:27:46,360
and we would pick people
that looked great.
549
00:27:46,360 --> 00:27:48,560
They told me that
the Ready Steady Go! people
550
00:27:48,560 --> 00:27:50,120
were coming down,
551
00:27:50,120 --> 00:27:52,800
so don't...
You know, make sure you're here.
552
00:27:52,800 --> 00:27:55,240
And I walked into the club,
pushed the door open
553
00:27:55,240 --> 00:27:56,960
and it was heaving, you...
554
00:27:56,960 --> 00:27:59,600
It was just, the sweat was coming
off the ceiling.
555
00:27:59,600 --> 00:28:01,320
Somehow everybody had found out
556
00:28:01,320 --> 00:28:03,440
that Ready Steady Go!
were going to be there
557
00:28:03,440 --> 00:28:05,200
and you couldn't move.
558
00:28:05,200 --> 00:28:07,560
And I just thought, "Well, I haven't
got a hope in hell."
559
00:28:07,560 --> 00:28:11,600
Then if we liked what we saw,
we'd tap them on the shoulder
560
00:28:11,600 --> 00:28:14,560
and then they'd get the golden
ticket to be on the show.
561
00:28:14,560 --> 00:28:16,760
And the next thing, somebody
tapped me on the shoulder
562
00:28:16,760 --> 00:28:18,600
and it was somebody
from Ready Steady Go!
563
00:28:18,600 --> 00:28:20,360
and they gave me a little card.
564
00:28:20,360 --> 00:28:24,480
# We're going to load it up
Baby now... #
565
00:28:24,480 --> 00:28:26,800
Now, it's my great pleasure
to introduce to you
566
00:28:26,800 --> 00:28:30,600
Britain's two top young dancers,
Patrick Kerr and Theresa Confrey.
567
00:28:30,600 --> 00:28:32,960
CHEERING AND APPLAUSE
568
00:28:32,960 --> 00:28:35,840
Patrick and Theresa would introduce
a new dance every week.
569
00:28:35,840 --> 00:28:38,880
# There is a boy I'm crazy about
570
00:28:38,880 --> 00:28:42,120
# Won't even look my way... #
571
00:28:42,120 --> 00:28:45,200
And they had names like
the Mashed Potato
572
00:28:45,200 --> 00:28:46,840
and the Block
573
00:28:46,840 --> 00:28:48,960
and, obviously, the Hitchhiker.
574
00:28:48,960 --> 00:28:51,880
# ..Gonna make him mine
575
00:28:51,880 --> 00:28:55,560
# Gonna tell him
that I love him... #
576
00:28:55,560 --> 00:28:57,680
There was just so many of them.
577
00:28:57,680 --> 00:28:59,560
I mean,
they were five-minute wonders.
578
00:28:59,560 --> 00:29:02,080
# ..Gonna make him mine... #
579
00:29:02,080 --> 00:29:04,520
We learned all these dances.
580
00:29:04,520 --> 00:29:06,560
They were very simple, really.
581
00:29:06,560 --> 00:29:08,160
They were the sort of dances
582
00:29:08,160 --> 00:29:09,640
that the audience could do.
583
00:29:09,640 --> 00:29:13,720
To get onto the show,
there was a huge competition.
584
00:29:13,720 --> 00:29:17,960
Thousands of us lined up, queued up.
585
00:29:17,960 --> 00:29:21,440
It was Kingsway in Holborn,
all the way around the block.
586
00:29:21,440 --> 00:29:23,680
I mean, God knows how many
there were,
587
00:29:23,680 --> 00:29:26,600
and then we were herded
into the studio.
588
00:29:26,600 --> 00:29:30,160
Sort of maybe 100 of us
at a time.
589
00:29:30,160 --> 00:29:32,280
And then there was another audition.
590
00:29:32,280 --> 00:29:35,920
And so they narrowed it
down after thousands of kids,
591
00:29:35,920 --> 00:29:37,960
took probably about 50.
592
00:29:37,960 --> 00:29:42,040
And we got passes to come
every week to the show.
593
00:29:45,480 --> 00:29:47,840
It's Mime Time.
We've got four girls,
594
00:29:47,840 --> 00:29:49,960
picked out and auditioned earlier
in the week,
595
00:29:49,960 --> 00:29:51,960
who are going to mime to
a Brenda Lee disc.
596
00:29:51,960 --> 00:29:54,200
I was then approached by somebody,
597
00:29:54,200 --> 00:29:56,680
would I like to enter the mime
competition?
598
00:29:56,680 --> 00:29:58,160
And I said, "Oh, yes!"
599
00:29:58,160 --> 00:29:59,520
Why wouldn't you?
600
00:29:59,520 --> 00:30:02,200
And it'll be The Beatles,
the week The Beatles are on,
601
00:30:02,200 --> 00:30:06,120
which, oh, my God, how ex...
Heaven.
602
00:30:06,120 --> 00:30:07,320
And we have a judge to pick out
603
00:30:07,320 --> 00:30:09,320
the best of the four
when they've done it,
604
00:30:09,320 --> 00:30:12,080
the judge being Mr Paul McCartney.
605
00:30:12,080 --> 00:30:14,560
Good evening. You're keen on
budding Brenda Lees, are you?
606
00:30:14,560 --> 00:30:15,880
Oh, yes. I bet you are, yes.
607
00:30:15,880 --> 00:30:17,480
Right.
608
00:30:17,480 --> 00:30:20,400
I had thought that because
the week before,
609
00:30:20,400 --> 00:30:22,840
the girl that won the
mime competition
610
00:30:22,840 --> 00:30:26,200
got to go out with whoever
the particular pop star was,
611
00:30:26,200 --> 00:30:27,720
who I can't remember,
612
00:30:27,720 --> 00:30:30,480
I thought I was going to go out
with The Beatles after the show.
613
00:30:30,480 --> 00:30:32,160
Ready, Paul? OK.
614
00:30:32,160 --> 00:30:35,120
Off we go with
Let's Jump The Broomstick.
615
00:30:36,440 --> 00:30:38,800
It was very exciting to be on
the show that week
616
00:30:38,800 --> 00:30:41,640
because we got there at 8.30
in the morning.
617
00:30:41,640 --> 00:30:44,520
It went live at six.
618
00:30:44,520 --> 00:30:46,800
And so we spent the whole day
with The Beatles.
619
00:30:46,800 --> 00:30:48,800
# My mother don't like it
My brother don't like it
620
00:30:48,800 --> 00:30:51,480
# My sister don't like it
My mother don't like it
621
00:30:51,480 --> 00:30:54,200
# Come a little, baby
Let's jump the broomstick
622
00:30:54,200 --> 00:30:56,600
# Come and let's tie the knot... #
623
00:30:56,600 --> 00:30:58,640
Number four. Number four?
Melanie Cole.
624
00:30:58,640 --> 00:31:00,760
CHEERING AND APPLAUSE
625
00:31:00,760 --> 00:31:03,560
There's your prize, Melanie,
the LP from Paul.
626
00:31:03,560 --> 00:31:05,040
And all our congratulations.
627
00:31:05,040 --> 00:31:06,440
Very well done.
628
00:31:06,440 --> 00:31:08,600
I was like a star when I walked
into school.
629
00:31:08,600 --> 00:31:10,680
They all gathered round my desk,
630
00:31:10,680 --> 00:31:13,560
girls that I knew hated me,
previously,
631
00:31:13,560 --> 00:31:16,000
and they wanted my autograph.
SHE LAUGHS
632
00:31:18,520 --> 00:31:22,000
So I was very happy to give
them all my autograph, you know?
633
00:31:22,000 --> 00:31:25,920
And a couple of them came
in with photographs of The Beatles.
634
00:31:25,920 --> 00:31:28,920
One girl, I remember,
came in with the album
635
00:31:28,920 --> 00:31:31,920
and wanted me to sign the album.
636
00:31:31,920 --> 00:31:33,480
So, it was...
637
00:31:33,480 --> 00:31:35,160
Yeah, it was... It was great.
638
00:31:44,480 --> 00:31:49,240
We had to close down Kingsway,
had to get a lot of police.
639
00:31:49,240 --> 00:31:51,200
It was mob scene.
640
00:31:52,440 --> 00:31:54,240
It was phenomenal.
641
00:31:54,240 --> 00:31:56,880
And when the lads came,
they jumped out of their car
642
00:31:56,880 --> 00:31:59,840
and, again, the police had to get
them in.
643
00:32:03,680 --> 00:32:06,160
But what was lovely was,
once they were in,
644
00:32:06,160 --> 00:32:08,720
and, you know, we started working,
etc,
645
00:32:08,720 --> 00:32:10,440
they were just the same.
646
00:32:21,000 --> 00:32:23,720
Went into the studio, which, and
I looked from the gantry,
647
00:32:23,720 --> 00:32:26,400
cos you could look down, and
thought, "There are The Beatles."
648
00:32:26,400 --> 00:32:30,280
And I said, "Oh, gosh,
they're fantastic!"
649
00:32:30,280 --> 00:32:33,360
George, can we hear your latest
record now, please?
650
00:32:33,360 --> 00:32:35,880
No.
LAUGHTER
651
00:32:35,880 --> 00:32:39,320
Yes, certainly. You can hear it
and it's called Can't Buy Me Love.
652
00:32:39,320 --> 00:32:42,800
And on Parlophone and it's 6/9.
653
00:32:42,800 --> 00:32:45,640
Thank you very much. Very good
value, George, thank you.
654
00:32:45,640 --> 00:32:48,920
# Can't buy me love
655
00:32:48,920 --> 00:32:50,680
# Love
656
00:32:50,680 --> 00:32:53,960
# Can't buy me love
657
00:32:53,960 --> 00:32:57,160
# I'll buy you a diamond ring
My friend
658
00:32:57,160 --> 00:32:59,840
# If it makes you feel all right
659
00:32:59,840 --> 00:33:02,080
# I'll get you anything
My friend
660
00:33:02,080 --> 00:33:04,960
# If it makes you feel all right
661
00:33:04,960 --> 00:33:07,920
# Cos I don't care too
much for money
662
00:33:07,920 --> 00:33:10,160
# For money can't buy me love... #
663
00:33:10,160 --> 00:33:12,240
I particular remember The Beatles
being on there
664
00:33:12,240 --> 00:33:14,320
because they were somebody
we listened to at home
665
00:33:14,320 --> 00:33:16,720
and there was a chance to see
them and identify with them.
666
00:33:16,720 --> 00:33:18,600
It was exciting.
667
00:33:18,600 --> 00:33:21,040
I mean, there was
no way WE weren't excited too.
668
00:33:21,040 --> 00:33:22,800
# ..Love
669
00:33:22,800 --> 00:33:26,480
# Can't buy me love... #
670
00:33:30,800 --> 00:33:33,560
Well, I mean, obviously, The Beatles
671
00:33:33,560 --> 00:33:36,240
were not launched by
Ready Steady Go!
672
00:33:36,240 --> 00:33:38,680
but they...
I mean, everyone wants to be on
673
00:33:38,680 --> 00:33:40,560
and people would just turn up.
674
00:33:40,560 --> 00:33:41,680
It was like a club.
675
00:33:41,680 --> 00:33:44,960
Artists, managers, just
people in the record business,
676
00:33:44,960 --> 00:33:47,240
wanted to come, see the show
677
00:33:47,240 --> 00:33:49,760
and we had this wonderful room
called the Green Room.
678
00:33:49,760 --> 00:33:51,400
# Come on, everybody, let's twist
679
00:33:51,400 --> 00:33:53,000
# Hey! Hey!
680
00:33:53,000 --> 00:33:55,760
# Come on, everybody
Let's twist... #
681
00:33:55,760 --> 00:33:58,200
The Green Room was as small as
this area here.
682
00:33:58,200 --> 00:34:00,960
You were supposed
to have one drink...
683
00:34:02,200 --> 00:34:05,520
Somebody called Isabel Davy
ran it like a schoolmistress
684
00:34:05,520 --> 00:34:08,680
and, so, at the beginning,
she could control
685
00:34:08,680 --> 00:34:11,840
people having one drink.
She gave up.
686
00:34:11,840 --> 00:34:15,320
Drinks started
probably before the show
687
00:34:15,320 --> 00:34:17,480
and this was much as you wanted to
drink there,
688
00:34:17,480 --> 00:34:19,440
so stars that had come off,
689
00:34:19,440 --> 00:34:22,640
they'd come into the Green Room,
they'd all drink more
and more drinks.
690
00:34:22,640 --> 00:34:25,200
I'd be there and everybody would
be drinking heavily.
691
00:34:25,200 --> 00:34:29,280
Terrific atmosphere in there.
Peter Blake
692
00:34:29,280 --> 00:34:32,280
and then I think Hockney was
there, I'm pretty sure,
693
00:34:32,280 --> 00:34:34,880
but almost everybody who was
in the scene
694
00:34:34,880 --> 00:34:37,360
in London would come to this show.
695
00:34:40,160 --> 00:34:44,960
Everybody would just come, hang out,
watch the show, chat, catch up.
696
00:34:44,960 --> 00:34:47,720
The odd Rolling Stone would come.
Maybe not all of them.
697
00:34:49,960 --> 00:34:51,840
It was a scene.
698
00:34:51,840 --> 00:34:53,440
It was a Friday night scene.
699
00:34:55,880 --> 00:34:58,040
# Baby, please don't go
700
00:34:58,040 --> 00:35:00,560
# Baby, please don't go
701
00:35:00,560 --> 00:35:03,320
# Baby, please don't go
Down to New Orleans
702
00:35:03,320 --> 00:35:05,680
# You know I love you so
Baby, please don't go... #
703
00:35:05,680 --> 00:35:08,200
What you would get on
Ready Steady Go!
704
00:35:08,200 --> 00:35:11,400
were the people watching it
and you're in the charts.
705
00:35:11,400 --> 00:35:13,520
You wanted - pop! -
to be number one.
706
00:35:14,600 --> 00:35:17,360
# ..Well, your mind done gone
Left the county farm
707
00:35:17,360 --> 00:35:21,840
# You had the shackles on
Baby, please don't go
708
00:35:23,080 --> 00:35:25,760
# Before I be your dog... #
709
00:35:25,760 --> 00:35:27,960
That's what you need, is
to get your record heard,
710
00:35:27,960 --> 00:35:30,880
because we had no Radio 1,
711
00:35:30,880 --> 00:35:32,280
we had no real pop radio.
712
00:35:32,280 --> 00:35:34,240
How else are you going to get
records heard?
713
00:35:34,240 --> 00:35:36,440
Ready Steady Go! really helped
714
00:35:36,440 --> 00:35:38,520
the record in the charts
715
00:35:38,520 --> 00:35:42,080
and you'd even get a few quid
extra.
716
00:35:42,080 --> 00:35:46,360
The BBC Entertainment Department,
I'm told, at the time,
717
00:35:46,360 --> 00:35:50,200
were very jealous of the audiences
that Ready Steady Go! was getting.
718
00:35:50,200 --> 00:35:51,800
So they sold Ready Steady Go!
719
00:35:51,800 --> 00:35:54,840
and said, "Right. You know,
we've got to have some of that."
720
00:35:54,840 --> 00:35:56,480
This is BBC One.
721
00:36:01,120 --> 00:36:03,920
When Top Of The Pops started,
I was pissed
722
00:36:03,920 --> 00:36:07,120
because they had the obvious
formula.
723
00:36:08,280 --> 00:36:10,480
Yes, it's number one.
It's Top Of The Pops!
724
00:36:12,840 --> 00:36:16,280
The only difference was
that the BBC jumped on
725
00:36:16,280 --> 00:36:19,240
the then embryonic singles chart
726
00:36:19,240 --> 00:36:21,240
to make as a format for the show.
727
00:36:21,240 --> 00:36:22,480
That's why I was pissed
728
00:36:22,480 --> 00:36:25,560
because I knew that Top Of The Pops
had a formula
729
00:36:25,560 --> 00:36:28,560
that was going to knock us off
at some point.
730
00:36:28,560 --> 00:36:32,240
# You'd better tell
what you see... #
731
00:36:32,240 --> 00:36:35,640
Top Of The Pops was kind
of much more staged.
732
00:36:35,640 --> 00:36:39,920
I think they tried to make it a bit
more hip,
733
00:36:39,920 --> 00:36:43,880
a bit more like Ready Steady Go!
but it was very different.
734
00:36:43,880 --> 00:36:46,200
I preferred Ready Steady Go! to
735
00:36:46,200 --> 00:36:49,160
every other music or similar
programme
736
00:36:49,160 --> 00:36:51,800
then and ever after.
737
00:37:02,160 --> 00:37:04,880
We moved to Wembley because
we needed more space
738
00:37:04,880 --> 00:37:06,680
and we needed to be set up properly.
739
00:37:10,200 --> 00:37:12,800
You know, in terms of the space
and the studio -
740
00:37:12,800 --> 00:37:15,440
fabulous, absolutely fabulous.
741
00:37:15,440 --> 00:37:18,680
30 feet of clear height
before you reach the lights.
742
00:37:18,680 --> 00:37:20,880
Enough for a bird's-eye view
of Baghdad
743
00:37:20,880 --> 00:37:23,440
if you want to stage a story
from Arabian Nights.
744
00:37:23,440 --> 00:37:25,120
Ready Steady Go!
745
00:37:25,120 --> 00:37:32,480
was a 99% mimed show
for the first '63, '64.
746
00:37:32,480 --> 00:37:37,960
And then when I came on it in '65,
we were the first show to go live.
747
00:37:40,880 --> 00:37:44,440
# Hubble, bubble
Toil and trouble... #
748
00:37:48,560 --> 00:37:53,040
We very much were designing
it for the sound guys,
749
00:37:53,040 --> 00:37:56,520
who were really going to the moon,
as it were,
750
00:37:56,520 --> 00:38:00,720
because they'd never done live
rock and roll before.
751
00:38:00,720 --> 00:38:04,160
Television shows
usually were really bad sound,
752
00:38:04,160 --> 00:38:05,800
especially for music.
753
00:38:05,800 --> 00:38:08,760
And my memory goes back now
that Michael Hogg,
754
00:38:08,760 --> 00:38:10,440
in the control room,
755
00:38:10,440 --> 00:38:15,120
and Vicki and the team
of Ready Steady Go! made efforts
756
00:38:15,120 --> 00:38:18,320
to actually make the sound
of the music good.
757
00:38:24,800 --> 00:38:27,200
# I'll buy you a Chevrolet
758
00:38:27,200 --> 00:38:28,880
# Buy you a Chevrolet
759
00:38:28,880 --> 00:38:31,760
# I'll buy you a Chevrolet
760
00:38:31,760 --> 00:38:34,160
# Just gimme some of your love
761
00:38:34,160 --> 00:38:36,720
# Just gimme some of your love... #
762
00:38:36,720 --> 00:38:39,600
Michael came to it fresh, trying...
763
00:38:39,600 --> 00:38:42,840
dying to try new things,
not that he knew
764
00:38:42,840 --> 00:38:44,280
what the old things were,
765
00:38:44,280 --> 00:38:46,640
but did it, you know,
very differently,
766
00:38:46,640 --> 00:38:49,200
shot it in a very contemporary way.
767
00:38:49,200 --> 00:38:51,280
A lot of the guys who were my
cameramen
768
00:38:51,280 --> 00:38:53,840
were from outside broadcasts
769
00:38:53,840 --> 00:38:56,760
because some of the guys,
the camera crews
770
00:38:56,760 --> 00:39:01,200
who are used to working
in the studio, were more rigid.
771
00:39:01,200 --> 00:39:05,680
What I wanted was for the camera
to be part of the music
772
00:39:05,680 --> 00:39:07,360
more than just watching the music.
773
00:39:07,360 --> 00:39:09,960
# I could go anyway
The way I choose
774
00:39:09,960 --> 00:39:13,880
# I could live anyhow
Win or lose... #
775
00:39:13,880 --> 00:39:18,640
For example, when The Who
did Anyhow, Anytime, Anywhere,
776
00:39:18,640 --> 00:39:22,920
there's a bit where Roger
is smashing his mic
777
00:39:22,920 --> 00:39:27,800
on to part of Keith's drum kit
778
00:39:27,800 --> 00:39:31,560
and the camera shakes as violently
779
00:39:31,560 --> 00:39:33,280
as what Roger is doing.
780
00:39:40,520 --> 00:39:44,320
I had the idea, if the camera
operator just shakes his camera,
781
00:39:44,320 --> 00:39:46,360
you know, buh-buh-buh, like that.
782
00:39:50,360 --> 00:39:54,680
It's a very interesting version
of that song.
783
00:39:54,680 --> 00:39:56,320
You don't forget it.
784
00:40:04,120 --> 00:40:06,360
And, of course, the artists
loved Michael.
785
00:40:06,360 --> 00:40:08,400
I mean, they talked the same
language.
786
00:40:08,400 --> 00:40:10,320
I mean, nobody had ever talked to
them before.
787
00:40:10,320 --> 00:40:13,000
Mick Jagger totally fell in love
with him
788
00:40:13,000 --> 00:40:14,400
because nobody had said to him,
789
00:40:14,400 --> 00:40:16,400
"Work to this camera,
do this, turn round.
790
00:40:16,400 --> 00:40:17,840
"I'm going to do this,"
791
00:40:17,840 --> 00:40:20,280
you know, and I think it was great
for the artist.
792
00:40:20,280 --> 00:40:23,520
# The dogs begin to bark
793
00:40:23,520 --> 00:40:26,160
# And hounds begin to howl... #
794
00:40:26,160 --> 00:40:29,880
He's extraordinary at performing,
he knows how to do it,
795
00:40:29,880 --> 00:40:31,760
it's instinctive.
796
00:40:31,760 --> 00:40:34,720
It's calculated, but instinctive
at the same time.
797
00:40:34,720 --> 00:40:42,440
I realised that he was...
a...performing artist,
798
00:40:42,440 --> 00:40:46,400
the equivalent of Laurence Olivier
or Rudolph Nureyev
799
00:40:46,400 --> 00:40:50,480
or anyone like that,
an extraordinary kid.
800
00:40:51,600 --> 00:40:55,040
# Oh, no I'm gonna stick right
here, baby
801
00:40:56,120 --> 00:40:59,560
# You know how much I care
802
00:40:59,560 --> 00:41:02,400
# So don't worry about me, baby
803
00:41:02,400 --> 00:41:05,640
# Cos I'm right here at home
804
00:41:05,640 --> 00:41:08,520
# Oh, baby, oh, baby
805
00:41:11,240 --> 00:41:14,040
# We got a good thing going. #
806
00:41:16,480 --> 00:41:18,600
The audience, particularly the
girls, of course,
807
00:41:18,600 --> 00:41:20,520
wanted to get to Mick,
808
00:41:20,520 --> 00:41:25,000
and the first time it happened,
we all went, "Oh, my God."
809
00:41:25,000 --> 00:41:28,000
And, luckily, we had a stage
manager, Roy.
810
00:41:28,000 --> 00:41:31,080
Roy Fewins, who was somewhat older
than we were,
811
00:41:31,080 --> 00:41:32,680
he probably was then in his
forties.
812
00:41:32,680 --> 00:41:34,680
He'd come from the theatre
813
00:41:34,680 --> 00:41:37,640
and he knew what helped
to make exciting television.
814
00:41:37,640 --> 00:41:41,440
And so at the end of
The Rolling Stones,
815
00:41:41,440 --> 00:41:44,000
his arms, which were holding
back the crowd,
816
00:41:44,000 --> 00:41:45,920
maybe dropped just a little bit.
817
00:41:46,920 --> 00:41:51,080
And so kids got onstage,
got near Mick and Keith
818
00:41:51,080 --> 00:41:54,760
and kissed them and hugged them
and knocked them down on the ground.
819
00:41:54,760 --> 00:41:57,440
But it made good television
and no animals were hurt
820
00:41:57,440 --> 00:41:59,640
in the making of this good
television.
821
00:41:59,640 --> 00:42:02,080
CHEERING
822
00:42:02,080 --> 00:42:06,440
Michael's studio direction
on Ready Steady Go! really did what
823
00:42:06,440 --> 00:42:08,400
it had to do, and that is
824
00:42:08,400 --> 00:42:13,440
dismantle the traditional form of
television direction,
825
00:42:13,440 --> 00:42:16,640
which is wide shot,
isn't that nice?
826
00:42:16,640 --> 00:42:20,600
And then maybe a close up and then
go back to a mid-shot and back
827
00:42:20,600 --> 00:42:21,920
to a wide shot.
828
00:42:21,920 --> 00:42:25,560
Ready Steady Go! was close up,
close up, close up
829
00:42:25,560 --> 00:42:27,520
from all sorts of different angles.
830
00:42:27,520 --> 00:42:31,760
Thank you. We'd like to do
one...called Paint It, Black.
831
00:42:31,760 --> 00:42:33,880
SCREAMING
832
00:42:40,400 --> 00:42:42,760
When I heard Paint It, Black,
833
00:42:42,760 --> 00:42:45,240
I knew what I could do.
834
00:42:51,080 --> 00:42:56,280
# I see a red door and I want it
painted black
835
00:42:57,400 --> 00:43:02,080
# No colours any more
I want them to turn black... #
836
00:43:02,080 --> 00:43:08,080
I came up with this idea
that what Mick should do is take
837
00:43:08,080 --> 00:43:10,160
the lights out in the studio.
838
00:43:10,160 --> 00:43:11,840
# ..I have to turn my head... #
839
00:43:11,840 --> 00:43:15,400
So I called him up and I said,
"Here's what I'm thinking.
840
00:43:15,400 --> 00:43:17,920
"Think of it like you are Lucifer
841
00:43:17,920 --> 00:43:21,240
"and every time you put your arms up
at the end of a verse, we'll take
842
00:43:21,240 --> 00:43:25,120
"out a bank of lights, and then
it'll end up just with the spotlight
843
00:43:25,120 --> 00:43:28,720
"on you, in the black."
He liked that also
844
00:43:28,720 --> 00:43:30,760
and so that's what happened.
845
00:43:31,880 --> 00:43:36,480
# ..Like a newborn baby
It just happens every day... #
846
00:43:36,480 --> 00:43:39,560
I got a zoom extender put on one
of the cameras.
847
00:43:39,560 --> 00:43:42,280
The zoom extender was a little
848
00:43:42,280 --> 00:43:44,800
device on, on the end of the
zoom lens,
849
00:43:44,800 --> 00:43:47,040
which, when it was flicked down,
850
00:43:47,040 --> 00:43:50,080
the images of Mick were juddering,
851
00:43:50,080 --> 00:43:52,160
and that was a really
unusual effect.
852
00:43:52,160 --> 00:43:56,120
And also the thing to remember
is it was all done live.
853
00:43:58,280 --> 00:44:01,680
I kept shouting from the control
room, when the zoom was going,
854
00:44:01,680 --> 00:44:05,000
"Kill him, kill him, kill him, kill
him," meaning, driving the cameraman
855
00:44:05,000 --> 00:44:07,680
to get harder and harder
in the shot.
856
00:44:07,680 --> 00:44:11,040
HE HUMS
857
00:44:12,880 --> 00:44:15,360
# ..Paint it... #
858
00:44:17,120 --> 00:44:20,320
# Money, who needs it?
859
00:44:20,320 --> 00:44:23,800
# Let me live my life free and easy
860
00:44:23,800 --> 00:44:27,440
# Put my toothbrush in my hand
861
00:44:27,440 --> 00:44:30,520
# And let me be a
travellin' man... #
862
00:44:30,520 --> 00:44:36,920
Dusty Springfield and I had gone
to see Motown live at a theatre
863
00:44:36,920 --> 00:44:38,160
and there was no audience,
864
00:44:38,160 --> 00:44:39,360
nobody knew about them
865
00:44:39,360 --> 00:44:41,680
and it was so sad because it was
a great show.
866
00:44:44,400 --> 00:44:46,520
For some reason, they weren't
selling tickets
867
00:44:46,520 --> 00:44:50,960
and I think Arthur Howes
was the promoter and we were asked
868
00:44:50,960 --> 00:44:52,760
if we could do the tour with him
869
00:44:52,760 --> 00:44:54,720
to help sell the bloody tickets.
870
00:44:54,720 --> 00:44:56,200
It's unbelievable because
871
00:44:56,200 --> 00:44:58,200
The Supremes had already had
a couple of hits.
872
00:44:58,200 --> 00:45:01,840
Because the tour was so successful
in the States and Motown wanted to,
873
00:45:01,840 --> 00:45:04,840
sort of, as a record company
874
00:45:04,840 --> 00:45:08,640
Motown wanted to open up the market
for all the other artists.
875
00:45:08,640 --> 00:45:13,400
The Motown organization called
that tour the ghost tour
876
00:45:13,400 --> 00:45:17,000
because the first houses were
absolutely empty, but it was one
877
00:45:17,000 --> 00:45:19,920
of the best tours I've ever
done in my life. It was fantastic.
878
00:45:19,920 --> 00:45:21,840
We all became great friends.
879
00:45:21,840 --> 00:45:25,320
Dusty said to me, "You know,
they should be on television.
880
00:45:25,320 --> 00:45:28,440
"People need to see them.
If they see and hear them,
881
00:45:28,440 --> 00:45:31,880
"they're going to love them.
Why don't you talk to Elkan?"
882
00:45:31,880 --> 00:45:35,600
I said, "OK..." I said, "But
would you be part of it?
883
00:45:35,600 --> 00:45:38,120
"Would you host it? Because
we're going to need somebody
884
00:45:38,120 --> 00:45:41,120
"and obviously, you're a good bet."
"Yes, I will."
885
00:45:41,120 --> 00:45:45,920
And Vicki and Dusty really put
together a show separate
886
00:45:45,920 --> 00:45:48,480
to Ready Steady Go! called
The Sound Of Motown.
887
00:45:48,480 --> 00:45:53,160
Dusty Springfield and now,
The Supremes!
888
00:45:53,160 --> 00:45:55,360
CHEERING
889
00:45:58,640 --> 00:46:01,680
# Ooh-ooh
890
00:46:01,680 --> 00:46:09,320
# Baby love, my baby love
I need you, oh, how I need you
891
00:46:09,320 --> 00:46:12,520
# But all you do is treat me bad
892
00:46:12,520 --> 00:46:16,040
# Break my heart and leave me sad
893
00:46:16,040 --> 00:46:22,320
# Tell me what did I do wrong
To make you stay away so long
894
00:46:22,320 --> 00:46:24,120
# Cos baby love... #
895
00:46:24,120 --> 00:46:27,560
To be on a programme like
Ready Steady Go! was actually
896
00:46:27,560 --> 00:46:32,240
very exciting because that was when
we had our first number one record.
897
00:46:32,240 --> 00:46:37,560
And Vicki getting people
like that in - sensational.
898
00:46:37,560 --> 00:46:39,880
We'd never seen anything
like The Supremes
899
00:46:39,880 --> 00:46:42,720
and they were amazing performers.
900
00:46:42,720 --> 00:46:44,720
..and he's still only 15.
901
00:46:44,720 --> 00:46:48,840
Here with his great new record,
Kiss Me, Baby, it's Stevie Wonder!
902
00:46:48,840 --> 00:46:51,560
CHEERING AND APPLAUSE
903
00:46:54,080 --> 00:46:56,200
Kiss me, baby!
904
00:46:59,040 --> 00:47:00,760
Sugar kisses.
905
00:47:07,520 --> 00:47:10,480
Stevie Wonder, or little Stevie
Wonder as he was called,
906
00:47:10,480 --> 00:47:12,840
we had never seen people
like this before.
907
00:47:12,840 --> 00:47:16,080
# Aw, kiss me, baby
908
00:47:16,080 --> 00:47:18,240
# Gimme sugar kisses
909
00:47:18,240 --> 00:47:21,320
# Ah, give me a little bit of heart
910
00:47:21,320 --> 00:47:23,520
# Keep it like this
911
00:47:23,520 --> 00:47:26,080
# You know you make me say
Aah!
912
00:47:26,080 --> 00:47:28,960
# I said, kiss me, baby... #
913
00:47:28,960 --> 00:47:32,040
The song was so good, Stevie Wonder
was perfect.
914
00:47:32,040 --> 00:47:35,040
And having people like Stevie Wonder
on was incredible.
915
00:47:35,040 --> 00:47:37,720
You know, it's the first show
that would have done that.
916
00:47:37,720 --> 00:47:41,560
# Whenever I'm with him
917
00:47:41,560 --> 00:47:43,680
# Something inside
918
00:47:43,680 --> 00:47:46,320
# Starts to burning
919
00:47:46,320 --> 00:47:50,280
# And I'm filled with desire
920
00:47:50,280 --> 00:47:53,040
# Could it be a devil in me
921
00:47:53,040 --> 00:47:55,640
# Or is this the way love's
supposed to be?
922
00:47:55,640 --> 00:47:58,200
# It's like a heat wave
923
00:47:58,200 --> 00:48:00,600
# Burning in my heart... #
924
00:48:00,600 --> 00:48:05,560
When Berry Gordy got a wind of us
coming to England to do a wonderful
925
00:48:05,560 --> 00:48:08,000
show like Ready Steady Go!,
926
00:48:08,000 --> 00:48:09,960
he said, "The whole crew is going."
927
00:48:09,960 --> 00:48:13,520
And that was my first occasion to
play with the recording musicians.
928
00:48:13,520 --> 00:48:14,960
He didn't let them travel,
929
00:48:14,960 --> 00:48:18,080
they just stayed in the studio
and recorded 24 hours a day.
930
00:48:18,080 --> 00:48:21,880
He sent Earl Van Dyke's quintet
with us and we got a chance to work
931
00:48:21,880 --> 00:48:25,120
with the fabulous Funk Brothers.
932
00:48:25,120 --> 00:48:28,840
And Dusty did Wishin' And Hopin'
with Martha & The Vandellas,
933
00:48:28,840 --> 00:48:30,160
which still is magic.
934
00:48:30,160 --> 00:48:33,240
You can hear Martha and her laughing
in the song.
935
00:48:33,240 --> 00:48:35,240
I mean, they were enjoying it.
936
00:48:35,240 --> 00:48:36,720
# And all you gotta do is hold him
937
00:48:36,720 --> 00:48:39,160
# And kiss him and love him
938
00:48:39,160 --> 00:48:42,440
# And show him that you care
939
00:48:43,800 --> 00:48:47,640
# Just show him that you care
Just for him
940
00:48:47,640 --> 00:48:51,880
# And do the things he likes to do
941
00:48:51,880 --> 00:48:58,200
# You gotta wear your hair
Just for him, cos
942
00:48:58,200 --> 00:49:01,000
# You won't get him
943
00:49:01,000 --> 00:49:03,000
# Thinkin' and a-prayin'
944
00:49:03,000 --> 00:49:05,160
# Wishin' and a-hopin'
945
00:49:05,160 --> 00:49:09,400
# Cos wishin' and hopin'
And thinkin' and prayin'
946
00:49:09,400 --> 00:49:15,400
# Plannin' and dreamin'
His kisses will start... #
947
00:49:15,400 --> 00:49:17,000
We knew we could blend our voices,
948
00:49:17,000 --> 00:49:18,760
cos we'd been singing together
anyway.
949
00:49:18,760 --> 00:49:20,560
And I think it was
a very good blend.
950
00:49:20,560 --> 00:49:22,880
It was a highlight of that show,
I think,
951
00:49:22,880 --> 00:49:26,840
and I'll always remember us
strutting and singing that song.
952
00:49:26,840 --> 00:49:30,480
I've got the video and I visit
it often.
953
00:49:30,480 --> 00:49:37,280
# ..You will be his. #
954
00:49:37,280 --> 00:49:42,920
CHEERING AND APPLAUSE
955
00:49:42,920 --> 00:49:45,280
And the show was, of course,
magnificent.
956
00:49:45,280 --> 00:49:49,040
Well, Berry Gordy to this day
says, "Thank you."
957
00:49:49,040 --> 00:49:51,760
You know, "You introduced Motown."
958
00:49:51,760 --> 00:49:53,880
I mean, no thank you, we just wanted
to, it was great.
959
00:49:53,880 --> 00:49:56,120
You know, I love Motown music,
but I hadn't realised that
960
00:49:56,120 --> 00:49:57,640
the people were any different,
961
00:49:57,640 --> 00:49:59,520
they might as well have been from
Liverpool.
962
00:49:59,520 --> 00:50:01,000
I didn't know that they were from
963
00:50:01,000 --> 00:50:02,480
Detroit and that was a different
place,
964
00:50:02,480 --> 00:50:07,560
so I think that was a great thing,
letting suburban Britain know
965
00:50:07,560 --> 00:50:10,120
how great all this music
was that was happening.
966
00:50:10,120 --> 00:50:11,760
SCREAMING
967
00:50:11,760 --> 00:50:14,280
# Please, please, please me
968
00:50:14,280 --> 00:50:16,240
# Please me, don't go
969
00:50:16,240 --> 00:50:19,240
# Please, please... #
970
00:50:19,240 --> 00:50:23,600
I'd seen James Brown at the Apollo
and his performance
971
00:50:23,600 --> 00:50:25,720
was absolutely amazing.
972
00:50:25,720 --> 00:50:27,280
# ..Now you're gone
973
00:50:27,280 --> 00:50:29,000
# Hey!
974
00:50:29,000 --> 00:50:30,040
# Come on!
975
00:50:30,040 --> 00:50:32,720
# Please, please, please... #
976
00:50:32,720 --> 00:50:35,200
CHEERING AND APPLAUSE
977
00:50:35,200 --> 00:50:37,320
So I was talking to Michael about
this, and he said,
978
00:50:37,320 --> 00:50:38,400
"We've got to have him."
979
00:50:38,400 --> 00:50:41,560
So he was coming over.
So we booked him.
980
00:50:41,560 --> 00:50:44,720
We built him a really big
set because of his dancing
981
00:50:44,720 --> 00:50:47,600
and his movement,
and he needed space.
982
00:50:47,600 --> 00:50:52,360
Anyway, James Brown comes out
at four o'clock and is surprised
983
00:50:52,360 --> 00:50:55,880
because there's a 25ft
stage for him.
984
00:50:55,880 --> 00:50:58,080
He said, "You've done this,
you've done this for me?"
985
00:50:58,080 --> 00:51:01,240
I said, "Yeah, you know,
we did our homework."
986
00:51:01,240 --> 00:51:03,800
And already he felt that
987
00:51:03,800 --> 00:51:08,400
there was respect for him
as an artist.
988
00:51:08,400 --> 00:51:11,200
And it was an incredible,
incredible show.
989
00:51:11,200 --> 00:51:14,240
# Whoa! I feel good
990
00:51:14,240 --> 00:51:17,840
# I knew that I would now
991
00:51:17,840 --> 00:51:21,480
# I feel good... #
992
00:51:21,480 --> 00:51:23,280
A lot of the shows were wiped
993
00:51:23,280 --> 00:51:25,960
because the television company
then, Rediffusion,
994
00:51:25,960 --> 00:51:30,000
thought that rock and roll was kind
of like a fad,
995
00:51:30,000 --> 00:51:32,200
like the hula hoop.
996
00:51:32,200 --> 00:51:33,600
But James Brown was sensational.
997
00:51:33,600 --> 00:51:35,440
That was a great show
which got wiped.
998
00:51:35,440 --> 00:51:38,000
SARCASTICALLY: Thank you,
Rediffusion.
999
00:51:38,000 --> 00:51:42,120
Afterwards, he came up in the bar
and he said to me,
1000
00:51:42,120 --> 00:51:44,960
"You've got soul as a director."
1001
00:51:44,960 --> 00:51:46,000
# So nice
1002
00:51:47,000 --> 00:51:48,160
# So nice
1003
00:51:48,160 --> 00:51:49,600
# I got you. #
1004
00:51:49,600 --> 00:51:52,680
So, you know, that's my badge,
1005
00:51:52,680 --> 00:51:54,840
James Brown said I had soul.
1006
00:51:54,840 --> 00:51:56,880
But there was a downside.
1007
00:51:56,880 --> 00:51:58,840
We got a lot of phone calls
saying, "Nooo!"
1008
00:51:58,840 --> 00:52:00,200
SHE CHUCKLES
1009
00:52:00,200 --> 00:52:02,080
And I could use much stronger
language.
1010
00:52:02,080 --> 00:52:05,000
But, you know, a lot of people
really didn't react well.
1011
00:52:05,000 --> 00:52:06,760
Half the television sets in the UK
1012
00:52:06,760 --> 00:52:09,360
had been turned off or turned over.
1013
00:52:09,360 --> 00:52:15,080
And there was some very unflattering
comments in the press.
1014
00:52:16,400 --> 00:52:19,640
# ..I feel nice. #
1015
00:52:19,640 --> 00:52:21,160
That's how it was.
1016
00:52:21,160 --> 00:52:24,680
We often heard, "Oh, we don't
have any racial problems here,"
1017
00:52:24,680 --> 00:52:26,240
which, you know, we could see was
1018
00:52:26,240 --> 00:52:28,240
not true because most people
were white.
1019
00:52:28,240 --> 00:52:29,640
SHE LAUGHS
1020
00:52:29,640 --> 00:52:32,280
You didn't have a lot of people
on TV, black people on TV.
1021
00:52:32,280 --> 00:52:35,400
So we said to ourselves, "Well, they
don't think they have any problems,
1022
00:52:35,400 --> 00:52:37,040
"but they do."
1023
00:52:43,840 --> 00:52:47,480
# When I start losing interest in
what's showing at the movies
1024
00:52:47,480 --> 00:52:50,040
# And I don't wanna go
to a dance... #
1025
00:52:50,040 --> 00:52:52,240
I was singing in The Flamingo Club
one night.
1026
00:52:54,320 --> 00:52:57,200
And I went back
in my dressing room.
1027
00:52:57,200 --> 00:52:59,680
Somebody came in and just said
to me,
1028
00:52:59,680 --> 00:53:02,640
"Did you see the black guy
sitting in the front
1029
00:53:02,640 --> 00:53:05,640
"listening to you?"
And I said, "Yeah."
1030
00:53:05,640 --> 00:53:07,400
He said, "Well, that was
Otis Redding."
1031
00:53:07,400 --> 00:53:08,920
I said, "Oh, don't be silly.
1032
00:53:08,920 --> 00:53:11,120
"Otis Redding. What, he's sitting
there, watching me?
1033
00:53:11,120 --> 00:53:12,520
"You've got to be joking."
1034
00:53:12,520 --> 00:53:14,840
Anyway, I went in the dressing
room, a knock on the door,
1035
00:53:14,840 --> 00:53:16,840
and Otis Redding walked in,
you know?
1036
00:53:16,840 --> 00:53:19,440
So I sort of looked up and went,
"Bloody hell."
1037
00:53:19,440 --> 00:53:22,080
And he said, "I'm doing
a TV show."
1038
00:53:22,080 --> 00:53:25,720
And he said, "I want you to be my
special guest."
1039
00:53:25,720 --> 00:53:27,880
I said, "I've got to pinch myself
here,
1040
00:53:27,880 --> 00:53:30,280
"I think I'm dreaming
this," you know?
1041
00:53:30,280 --> 00:53:35,480
The great, the one and only
Mr Otis Redding!
1042
00:53:35,480 --> 00:53:37,200
# I can't turn you loose now
1043
00:53:37,200 --> 00:53:40,080
# If I do
I'm gonna lose my life
1044
00:53:40,080 --> 00:53:43,080
# Ooh, I can't ever
turn you loose now
1045
00:53:43,080 --> 00:53:45,520
# If I do
I'm gonna lose my life... #
1046
00:53:45,520 --> 00:53:47,120
He was a sweetheart.
1047
00:53:47,120 --> 00:53:48,440
He was like a teddy bear.
1048
00:53:48,440 --> 00:53:52,120
Just one of the nicest guys
you could ever meet.
1049
00:53:52,120 --> 00:53:54,880
Mr Eric Burdon.
1050
00:53:54,880 --> 00:54:00,440
When they picked Chris Farlowe
and myself to perform
1051
00:54:00,440 --> 00:54:04,920
with Otis Redding, I mean,
it was like, it was just love, love,
1052
00:54:04,920 --> 00:54:06,280
love, you know?
1053
00:54:06,280 --> 00:54:07,920
# You put your hands on your hip
1054
00:54:07,920 --> 00:54:09,200
# All right!
1055
00:54:09,200 --> 00:54:11,000
# Girl, and let your backbone slip
1056
00:54:11,000 --> 00:54:12,560
# Baby, yeah!
1057
00:54:12,560 --> 00:54:14,240
# If you do it, do it right, yeah
1058
00:54:14,240 --> 00:54:16,040
# Love, we're gonna shake tonight
Yeah
1059
00:54:16,040 --> 00:54:18,320
# Make your body loose and light
1060
00:54:18,320 --> 00:54:20,440
# Just shake... #
1061
00:54:20,440 --> 00:54:23,120
Chris Farlowe was always one of my
favourite artists.
1062
00:54:24,520 --> 00:54:26,000
# Ow!
1063
00:54:26,000 --> 00:54:28,000
# Shake the shake with all your
might now... #
1064
00:54:28,000 --> 00:54:31,960
To share the stage with Otis was
such a thrill.
1065
00:54:31,960 --> 00:54:33,200
And it's fantastic.
1066
00:54:33,200 --> 00:54:38,000
Even now, I mean, you don't get
tired of looking at it, you know?
1067
00:54:38,000 --> 00:54:40,000
# Everybody loop de lite
1068
00:54:40,000 --> 00:54:41,680
# Just shake... #
1069
00:54:44,000 --> 00:54:45,480
The show wasn't rehearsed at all.
1070
00:54:45,480 --> 00:54:49,480
We were just given bits of music
where we knew
1071
00:54:49,480 --> 00:54:52,080
that we would be dancing,
because obviously
1072
00:54:52,080 --> 00:54:54,400
it was about Otis and the band.
1073
00:54:54,400 --> 00:54:58,240
And I mean, what an amazing,
amazing, amazing, amazing guy.
1074
00:54:58,240 --> 00:55:01,920
And he was so handsome
and he had a voice like honey.
1075
00:55:01,920 --> 00:55:08,080
# I've got sunshine on a cloudy day
1076
00:55:11,040 --> 00:55:18,040
# But it's cold outside
And I've got the month of May... #
1077
00:55:18,040 --> 00:55:21,640
I felt incredibly lucky,
and I was incredibly lucky.
1078
00:55:21,640 --> 00:55:24,520
My star was shining above my head
when, you know,
1079
00:55:24,520 --> 00:55:26,360
that whole thing happened.
1080
00:55:26,360 --> 00:55:29,560
I hadn't trained to dance,
I just loved dancing.
1081
00:55:29,560 --> 00:55:33,600
And I was given an opportunity
and I grabbed it with both hands.
1082
00:55:36,800 --> 00:55:39,080
# Hey, hey, hey!
1083
00:55:41,000 --> 00:55:43,080
# Ooh!
1084
00:55:43,080 --> 00:55:45,200
# Hey! #
1085
00:55:56,640 --> 00:56:01,400
# With your long blonde hair
and your eyes of blue
1086
00:56:01,400 --> 00:56:08,840
# The only thing I ever get from you
is sorrow, sorrow... #
1087
00:56:08,840 --> 00:56:11,080
Yeah, it was pretty sad, really.
1088
00:56:11,080 --> 00:56:14,400
Yeah. Yeah, I would've wanted
it to go on.
1089
00:56:14,400 --> 00:56:17,120
I don't know why it closed down,
I don't know why.
1090
00:56:17,120 --> 00:56:20,040
Ready Steady finished because
our ratings were bad.
1091
00:56:20,040 --> 00:56:22,600
You know, we were losing
out to other people.
1092
00:56:22,600 --> 00:56:25,120
I think Top Of The Pops
probably helped to kill off
1093
00:56:25,120 --> 00:56:27,600
Ready Steady Go!
because it was regular,
1094
00:56:27,600 --> 00:56:28,920
it was on BBC One,
1095
00:56:28,920 --> 00:56:31,920
it was prime time and it was based
on the singles chart.
1096
00:56:31,920 --> 00:56:35,640
They took over from us. They had the
ratings, they had the following.
1097
00:56:35,640 --> 00:56:38,800
Yes. I think eventually it knocked
us off.
1098
00:56:38,800 --> 00:56:42,720
I think the other thing
that added to the demise
1099
00:56:42,720 --> 00:56:45,480
of Ready Steady Go! was the fact
that it had specialised
1100
00:56:45,480 --> 00:56:49,000
in those British early R&B bands.
1101
00:56:49,000 --> 00:56:53,240
They were less popular and people
had moved on to, you know,
1102
00:56:53,240 --> 00:56:57,360
psychedelia and to West Coast
Americana and all sorts
1103
00:56:57,360 --> 00:56:58,640
of different music.
1104
00:56:58,640 --> 00:57:00,280
# What did you do there?
1105
00:57:00,280 --> 00:57:02,200
# I got high
1106
00:57:02,200 --> 00:57:03,760
# What did you feel there?
1107
00:57:03,760 --> 00:57:05,680
# Well, I cried
1108
00:57:05,680 --> 00:57:07,200
# But why the tears there? #
1109
00:57:07,200 --> 00:57:08,680
We didn't rely on chart people.
1110
00:57:08,680 --> 00:57:11,920
You know, we relied on different
people
1111
00:57:11,920 --> 00:57:15,760
coming over, from America,
that nobody's seen before.
1112
00:57:16,760 --> 00:57:19,440
In retrospect, not a good formula.
1113
00:57:19,440 --> 00:57:22,920
I mean, we were really kind
of self-indulgent,
1114
00:57:22,920 --> 00:57:24,960
which we didn't realise either.
1115
00:57:31,880 --> 00:57:33,480
I think insofar as
1116
00:57:33,480 --> 00:57:39,280
Ready Steady Go! has a legacy
and has a life 50 years later,
1117
00:57:39,280 --> 00:57:45,240
it's to show people what a time
1118
00:57:45,240 --> 00:57:50,400
of exuberance and hope and passion,
1119
00:57:50,400 --> 00:57:53,240
of all kinds, was like.
1120
00:57:53,240 --> 00:57:55,480
MUSIC: Lonely
by The Lovin' Spoonful
1121
00:57:55,480 --> 00:57:58,000
It was all just a wonderful
experience.
1122
00:57:58,000 --> 00:58:00,160
It was almost like going to
Disneyland.
1123
00:58:00,160 --> 00:58:02,880
It was wonderful!
1124
00:58:02,880 --> 00:58:07,400
Ready Steady Go! was one
of those magical experiences
1125
00:58:07,400 --> 00:58:11,960
that only happens once in a
lifetime, in a way.
1126
00:58:11,960 --> 00:58:14,880
To be involved with that,
1127
00:58:14,880 --> 00:58:19,360
I felt very fortunate,
very fortunate to be included.
1128
00:58:20,920 --> 00:58:24,600
Disappointing,
but we'd had a good run.
1129
00:58:26,120 --> 00:58:29,960
It was really like being part
of a wonderfully kind
1130
00:58:29,960 --> 00:58:32,080
of rambunctious family.
1131
00:58:32,080 --> 00:58:33,800
So long!
134972
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