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This programme contains some strong language.
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U2 are part of everybody's history of rock music - the biggest band in the world.
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MUSIC: Elevation by U2
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But they're also part of a less well known story -
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how rock and roll changed Ireland.
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I watched, as little girl,
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a lot of what the conditions for grown-up women in Ireland were
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and I wasn't having it.
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MUSIC: Gloria by Them
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The creation of Irish rock is a 40-year story.
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Ireland had a guitar hero...
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It was just very rock and roll, but it was very much him.
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..and one of the few black rock stars.
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And the most bizarre thing - he married Leslie Crowther's daughter, which was weird.
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I used to watch Crackerjack.
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MUSIC: Teenage Kicks by The Undertones
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John Peel's favourite band...
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Ah, they were great. How could you not like The Undertones?
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MUSIC: Rat Trap by The Boomtown Rats
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..a big mouth...
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And I just thought "Finally, the Paddies did it," you know?
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MUSIC: Mandinka by Sinead O'Connor
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..the rare sighting of a female rock star...
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..and finally, the biggest band in the world.
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We had to work hard, cos we were absolutely the worst band ever.
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This is the story of the pioneers of Irish rock -
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how they forged an international presence
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and helped change Ireland along the way.
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MUSIC: Elevation by U2
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The birthplaces of Irish rock
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are the two capital cities of this divided island -
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Dublin in the Republic
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and Belfast in the United Kingdom.
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Two cities that disagreed on virtually everything,
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but united in one goal -
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to repel the new sounds of '50s rock and roll
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wafting in over the airwaves.
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In the 1950s,
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the streets of Belfast seemed an unlikely breeding ground
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for the blues scene that would emerge there.
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The hard-line Protestant ethos of the ruling majority
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preferred church to rock and roll.
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MUSIC: Come Running by Van Morrison
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But in Protestant East Belfast,
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a young Van Morrison -
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the founder of the Belfast blues scene -
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had unique access to the new sounds.
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Belfast was a busy international port
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where Van's dad worked as a shipbuilder -
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and just as in Liverpool and Newcastle,
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the port gave the Morrison household access to the R&B records
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coming in from the States.
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MUSIC:
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Well, I think we was very lucky,
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because we had a great record collection of gospel, blues, jazz -
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we just played this stuff.
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The first time I heard Ray Charles, I completely just...
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You know, it totally just changed my life.
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I went out and bought the records immediately.
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They were hard to get, then.
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You had to go to a specific place at that point, there was...
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In Smithfield, there was a shop that got these 45s.
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There was no scene yet in Belfast,
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but at least the music was being heard.
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100 miles south, over the border in Dublin,
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it was being strangled at birth.
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There, the twin powers of church and state didn't want new music -
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they wanted very old music...
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..a kind of state-sponsored folk music,
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designed to form the bedrock for this new Gaelic and Catholic nation.
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MAN SPEAKS IRISH
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Not an ideal breeding ground for the aspiring rock musician.
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This church-state compact
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was an utter disaster
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and we were trapped by it.
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It was...an appalling fraud on the Irish people.
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Frankly, I wish England had never left Ireland.
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I think we would have been a lot better off, you know?
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We were going to be colonised by someone and as it happened,
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the coloniser which took over was the Church
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and that was disastrous.
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If the Brits hadn't left, that wouldn't have happened.
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My dad grew up in the '50s and '60s.
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He could remember sermons
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in opposition to jazz, you know?
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The Catholic Church had so little on its mind in those days,
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that they would preach against jazz and rock and roll.
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With rock and roll being repressed
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by watchful clerics south and north of the border,
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a uniquely Irish solution emerged -
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the showbands.
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MUSIC: Johnny B Goode
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The hits of the day, but played by Irish lads,
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who toured the ballrooms right across the island.
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It was like the circus coming to town.
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Everybody saw it - entrepreneurs saw it, priests saw it,
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making money for the parish.
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There was no drink
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and the priests used to oversee that they didn't dance too closely.
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And from that moment, it was like a disease spread right round Ireland.
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The showbands provided a valuable training ground
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for two of the first generation of Irish rock musicians.
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The Northern Ireland Protestant, Van Morrison...
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..and the Southern Irish Catholic, Rory Gallagher.
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It's a dance band, you know?
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You do everything, from classic Brothers material to rock and roll,
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to pops, to everything.
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But it was a good schooling, you know? And you got...
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You got your wings there.
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If you were playing in showbands, where you had to play
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other people's music that you didn't really want to play,
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the ultimate goal would be to have a band that would play
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the music that you wanted to play.
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MUSIC: Mystic Eyes by Them
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In 1964,
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19-year-old Van Morrison formed an R&B band
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and named it after the 1950s horror film "Them".
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They got a residency at a trad jazz club called the Maritime Hotel
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and so was born the Belfast blues scene.
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And we went down and we got to the stairs
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and you could hear it on the stairs -
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this pounding, electric rhythm.
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Really raucous, really loud.
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God almighty, you know? It was just... "What's this?"
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It was just exciting.
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For me, it was like being in Memphis or something, or Chicago
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and here it was, on my doorstep.
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And they were great teen anthems -
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Gloria, Here Comes the Night...
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Just really great songs.
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Within six months,
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Them were in the top ten with one of the abiding anthems of British R&B,
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the Van Morrison-written "Gloria".
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# Lord, you know she comes around
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# She's about five feet four
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# Right from her head down to the ground
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# Well, she comes around here
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# Just about midnight
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# She make me feel so good, Lord...#
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Gloria, I mean, it's an amazing song isn't it, you know?
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It's just like an Irish Chuck Berry song in a sense, you know?
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It's got the simplicity of Johnny B Goode,
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but this is like...
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This is Van The Man, doing his thing.
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# Gloria
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# I want to shout it out every day
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# Gloria.. #
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I mean, it was great, because up to then,
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it was like English, British bands that were happening all the time
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and this was the first real Irish band that was happening, big time.
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Them had another big hit...
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..but Van Morrison soon found the constraints of pop
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almost as restricting as the show bands.
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By the time we'd got to Here Comes The Night,
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to me, that was, you know, going in the direction of making pop records.
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That's not really what I wanted to do...
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That wasn't what it was about.
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So that's where it all started to go haywire.
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Van Morrison quit Them
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and took the time-honoured Irish path to America,
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to launch a solo career.
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But in his wake,
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the blues scene in Belfast had attained legendary status
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and had caught the eye of his fellow showband veteran, Rory Gallagher.
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# Everyone is saying what to do and what to think
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# And when to ask permission when you feel you want to blink
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# First look left and then look right and now look straight ahead
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# Make sure and take a warning of every word we've said... #
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250 miles south in Cork,
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Rory uprooted his newly-formed blues trio Taste and headed north.
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# Fireman, please won't you listen to me
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# Gotta pretty woman in Tennessee.
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# Keep rollin' on
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# Keep rollin' on.
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# Goodbye, goodbye It's all over now
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# I'm movin' on... #
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Rory Gallagher came to Belfast in 1965,
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equipped with the first Fender Stratocaster
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to ever arrive in Ireland.
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RORY GALLAGHER JAMS
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He has a really great, very visceral kind of approach.
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It's very physical, very sort of tactile
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and then the other thing was, it was just raw, you know?
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It was very improv-based, you know?
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There was a groove to what he did that was sort of sexy
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and there's not a lot of people that I listened to coming up
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that did that in the realm of sort of rock stuff.
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You'd find '50s guitar players that did it,
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but in rock and roll, it's usually much more straight ahead.
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This had a kind of roll to it.
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Over the next 30 years, Belfast became Rory's spiritual home
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and he became one of its best-loved sons.
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Rory sort of regarded Belfast as his second home, anyway.
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And the first time I saw Taste,
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it would have been '67 in the Maritime
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and it was like, devastating.
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I mean, when they finished...
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I mean, the crowd were just stunned by the whole thing. It was amazing.
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CROWD: We want Rory! We want Rory!
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I mean, Rory was becoming a bit of a star around the town, you know?
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You'd see him around town and people would just recognise him.
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But he saw Belfast as a Northern Catholic,
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as he'd been born in Ulster, before moving south to Cork.
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And in the 1960s, the Catholic minority
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were beginning to demand equal rights in Northern Ireland
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with the Protestant ruling majority.
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Probably from growing up in the North of Ireland,
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Rory could see that my father had been victimised,
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in terms of getting work in Derry,
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cos of the side of the water he lived on.
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Obviously, his love of the blues - it wasn't just playing the music.
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Rory was reading a lot on civil rights in general,
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which was very parallel with the movement in the North of Ireland.
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I wouldn't regard myself as a top 20 musician at all,
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even though I might be...
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I could write a top 20 song, but I wouldn't, but...
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I don't think that's important, you know?
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# Go on and ask him his name
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# Let him try and explain... #
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Taste may never have been in the pop charts,
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but this was the period of the power rock trio,
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led by Cream and Jimi Hendrix...
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..and driven by Gallagher's guitar virtuosity,
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Taste quickly moved up their ranks.
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# Tell the man, lift him up
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# Hand him a paper cup
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# Take away that gin... #
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Taste were a great band in Ireland's bid for...
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..hard rock.
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In an age of guitar heroes, put Rory up there.
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I saw him at the Isle of Wight, up against The Doors, The Who,
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Jimi Hendrix, Leonard Cohen.
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I would put them, at that festival,
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top three acts - easy.
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We lived on an island, the influences on us were limited
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and rock music provided us with a great window on the world.
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But we assumed that the gatekeepers of this window
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were all either English or Americans.
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It was only really when Rory Gallagher came along
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that we realised that this world of rock music
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could also be interpreted by Irish people
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and for a student in the 1970s, that was a very big eye-opener -
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that we could have a local Cork musician
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who would become a world star.
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MUSIC: Leavin' Blues by Taste
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The Isle of Wight was Taste's swan song...
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..but not before they played Belfast's Ulster Hall one last time.
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This was a very different Belfast.
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Sectarian hatred had erupted.
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The Civil Rights movement had led to violent confrontations
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and had eventually been supplanted
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by Catholic and Protestant paramilitaries.
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There was murder and mayhem on the streets.
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There had been quite a harmony.
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It was extraordinary to see
256
00:14:40,520 --> 00:14:43,320
how the whole thing so quickly got so radical.
257
00:14:46,160 --> 00:14:48,440
The unique thing was that you had the Ulster Hall,
258
00:14:48,440 --> 00:14:52,280
where Taste were playing, with the unity of young fans...
259
00:14:52,280 --> 00:14:55,960
and at the same time, it was being used as a so-called church
260
00:14:55,960 --> 00:14:57,880
by Ian Paisley at that time.
261
00:15:01,880 --> 00:15:04,080
It just seemed to get worse and worse.
262
00:15:10,520 --> 00:15:12,480
By the end of the '60s,
263
00:15:12,480 --> 00:15:15,160
the blues boom in the divided city of Belfast
264
00:15:15,160 --> 00:15:19,520
had produced two of rock music's most enduring stars -
265
00:15:19,520 --> 00:15:21,120
Protestant Van Morrison
266
00:15:21,120 --> 00:15:22,880
and Catholic Rory Gallagher.
267
00:15:26,280 --> 00:15:29,600
It was time for folky Dublin to catch up.
268
00:15:29,600 --> 00:15:32,800
Rory was huge in Belfast. It seemed to be bigger up there.
269
00:15:32,800 --> 00:15:35,200
You always got the impression that if you went up there,
270
00:15:35,200 --> 00:15:37,720
you'd a better chance of getting from B to A, than from here.
271
00:15:37,720 --> 00:15:39,040
But that changed.
272
00:15:39,040 --> 00:15:41,320
Everything just took off in Dublin.
273
00:15:41,320 --> 00:15:43,720
It was unbelievable.
274
00:15:43,720 --> 00:15:47,560
In the late '60s, Dublin was still a predominantly folky town.
275
00:15:49,120 --> 00:15:51,520
HE SINGS A FOLK SONG
276
00:15:55,400 --> 00:15:58,120
But it moved on from the enforced Gaelic culture
277
00:15:58,120 --> 00:15:59,440
of a decade earlier.
278
00:16:01,040 --> 00:16:03,840
Folk was now fashionable -
279
00:16:03,840 --> 00:16:08,720
and out of this scene came Dublin's first bona fide rock star.
280
00:16:08,720 --> 00:16:12,040
# I am your main man if you're looking for trouble
281
00:16:12,040 --> 00:16:15,480
# I'll take no lip, no-one's tougher than me
282
00:16:15,480 --> 00:16:18,480
# If I kicked your face you'd soon be seeing double
283
00:16:18,480 --> 00:16:21,080
# Hey, little girl, keep your hands off me
284
00:16:21,080 --> 00:16:22,800
# I'm a rocker... #
285
00:16:22,800 --> 00:16:27,280
Philip was one of those guys who believed that...
286
00:16:27,280 --> 00:16:30,960
every morning that you got up, you dressed in leather trousers
287
00:16:30,960 --> 00:16:35,000
and that there was a limousine to take you to Tesco's.
288
00:16:35,000 --> 00:16:38,320
# Down at the juke joint me and the boys were stompin'
289
00:16:38,320 --> 00:16:41,280
# Bippin' and boppin' and telling a dirty joke or two... #
290
00:16:41,280 --> 00:16:42,720
He knew his Irish history.
291
00:16:42,720 --> 00:16:45,240
He could even speak a good bit of Irish
292
00:16:45,240 --> 00:16:47,040
and he was very proud of being Irish,
293
00:16:47,040 --> 00:16:49,080
there's no doubt about that whatsoever.
294
00:16:49,080 --> 00:16:51,280
But he was still black
295
00:16:51,280 --> 00:16:52,760
and he liked being black.
296
00:17:00,600 --> 00:17:04,920
Philip Parris Lynott was born in Birmingham in 1949
297
00:17:04,920 --> 00:17:08,680
to an unmarried 18-year-old Irish girl and a Caribbean father...
298
00:17:10,240 --> 00:17:12,240
..but soon was sent to Dublin.
299
00:17:13,560 --> 00:17:17,920
You see, I'd kept a secret from my parents that I'd had a child -
300
00:17:17,920 --> 00:17:20,160
never mind a black child -
301
00:17:20,160 --> 00:17:23,120
and thank God, they had got a heart
302
00:17:23,120 --> 00:17:25,600
and they told me that they would take him.
303
00:17:26,960 --> 00:17:30,440
It all began in 85 Leighlin Road, Crumlin, Dublin.
304
00:17:32,120 --> 00:17:35,480
Well, I was brought up in a corporation scheme,
305
00:17:35,480 --> 00:17:38,040
where every house looked the same
306
00:17:38,040 --> 00:17:42,720
and the biggest way to get a reputation was to be tough -
307
00:17:42,720 --> 00:17:45,440
and I got myself a reputation!
308
00:17:47,120 --> 00:17:49,680
Philip used to carry a hurling stick in school
309
00:17:49,680 --> 00:17:53,680
and he would just lay into anybody that said anything to him
310
00:17:53,680 --> 00:17:57,680
about being black or "Hey, Sambo, way back home", which he did get.
311
00:17:59,120 --> 00:18:01,400
Phil was at school with me.
312
00:18:01,400 --> 00:18:03,640
The only black guy in the whole school, right?
313
00:18:03,640 --> 00:18:05,560
So everybody knew who he was, you know?
314
00:18:06,600 --> 00:18:10,040
After a couple of years I found out that he played in a band.
315
00:18:10,040 --> 00:18:12,280
It was called The Black Eagles and Phil was great.
316
00:18:12,280 --> 00:18:14,440
He wasn't playing bass, he was just singing,
317
00:18:14,440 --> 00:18:16,600
but he had a great voice and a great presence.
318
00:18:16,600 --> 00:18:19,840
His stage presence was just brilliant.
319
00:18:19,840 --> 00:18:24,000
By his late teens, Phil was a face on a hip Dublin beat scene.
320
00:18:25,840 --> 00:18:29,960
The beat scene in Dublin was traditional stuff,
321
00:18:29,960 --> 00:18:33,440
but with a hippy undertone to it, alternative folk,
322
00:18:33,440 --> 00:18:38,040
and Philip would go down and play and sing folk music
323
00:18:38,040 --> 00:18:40,960
with a lot of these people, as well.
324
00:18:40,960 --> 00:18:43,800
Eric Bell was a Belfast blues guitarist
325
00:18:43,800 --> 00:18:45,720
who'd played with Van Morrison
326
00:18:45,720 --> 00:18:48,280
and when Eric joined forces with Phil Lynott,
327
00:18:48,280 --> 00:18:52,360
Dublin folk met Belfast blues for the first time.
328
00:18:54,800 --> 00:18:57,560
That was how Thin Lizzy started.
329
00:18:58,560 --> 00:19:01,360
If anyone asked Philip, "What do you want to be?"
330
00:19:01,360 --> 00:19:03,080
"Rich and famous."
331
00:19:03,080 --> 00:19:06,720
It wasn't a big, long-winded explanation -
332
00:19:06,720 --> 00:19:08,680
"rich and famous."
333
00:19:08,680 --> 00:19:10,600
So he knew exactly what he wanted.
334
00:19:12,320 --> 00:19:15,080
MUSIC: Shades Of A Blue Orphanage by Thin Lizzy
335
00:19:15,080 --> 00:19:16,520
# And it's true
336
00:19:16,520 --> 00:19:18,640
# True blue
337
00:19:20,000 --> 00:19:22,640
# Irish blue... #
338
00:19:25,120 --> 00:19:27,240
He was a very interesting writer, you know?
339
00:19:27,240 --> 00:19:29,680
The first time I ever heard the word "Dublin"
340
00:19:29,680 --> 00:19:33,680
in a song that wasn't a folk song or a traditional song
341
00:19:33,680 --> 00:19:35,000
was in a piece he wrote.
342
00:19:35,000 --> 00:19:38,560
"I always said that if our affair ended, I would leave Dublin"
343
00:19:38,560 --> 00:19:41,880
and there was a kind of curious validation in that -
344
00:19:41,880 --> 00:19:45,840
just those two syllables being included on a record anywhere.
345
00:20:00,640 --> 00:20:04,640
Once in London, Lizzy signed to Decca records
346
00:20:04,640 --> 00:20:07,040
and Phil set about his task of becoming
347
00:20:07,040 --> 00:20:08,840
Ireland's most famous Irishman.
348
00:20:10,160 --> 00:20:11,960
Philip's trying to belong -
349
00:20:11,960 --> 00:20:14,760
"Look, I'm more Irish than the Irish, you know?
350
00:20:14,760 --> 00:20:16,960
"I'm black, but I'm more Irish than the Irish,
351
00:20:16,960 --> 00:20:19,720
"even though my dad was... whatever the fuck, you know?
352
00:20:19,720 --> 00:20:21,520
"Look, I'm writing your songs for you".
353
00:20:21,520 --> 00:20:23,840
Insisting on a Celtic mythology.
354
00:20:23,840 --> 00:20:26,120
Look at his Jim Fitzpatrick sleeves -
355
00:20:26,120 --> 00:20:28,360
and of course, Philip loved all this.
356
00:20:28,360 --> 00:20:31,960
MUSIC: Whiskey In The Jar by Thin Lizzy
357
00:20:31,960 --> 00:20:33,960
The band hit on the idea of doing
358
00:20:33,960 --> 00:20:36,440
a rock version of an old Irish folk song,
359
00:20:36,440 --> 00:20:38,320
but were struggling with the sound.
360
00:20:39,760 --> 00:20:42,760
Philip put on this cassette and it was The Chieftains
361
00:20:42,760 --> 00:20:45,640
and I suddenly said, "That's what you want -
362
00:20:45,640 --> 00:20:48,240
"traditional Irish pipe -
363
00:20:48,240 --> 00:20:50,000
"try and get it on the guitar."
364
00:20:56,360 --> 00:20:58,280
The chemistry worked.
365
00:20:58,280 --> 00:21:01,080
The mix of Dublin folk and Belfast blues
366
00:21:01,080 --> 00:21:04,720
created a timeless classic, which Lynott desperately wanted.
367
00:21:05,800 --> 00:21:09,440
# I first produced my pistol
368
00:21:09,440 --> 00:21:12,200
# Then produced my rapier
369
00:21:12,200 --> 00:21:15,640
# I said "Stand-o, deliver
370
00:21:15,640 --> 00:21:19,840
# "Or the devil, he may take you
371
00:21:19,840 --> 00:21:22,800
# Musha ring dum-a-doo-dum-a-da
372
00:21:24,680 --> 00:21:28,280
# Whack for my daddy-o
373
00:21:28,280 --> 00:21:31,640
# Whack for my daddy-o
374
00:21:31,640 --> 00:21:34,640
# There's whiskey in the jar-o... #
375
00:21:35,960 --> 00:21:38,440
While Phil Lynott was basking in the glory of his debut
376
00:21:38,440 --> 00:21:40,040
in the British charts...
377
00:21:40,040 --> 00:21:42,040
MUSIC: Brown Eyed Girl by Van Morrison
378
00:21:42,040 --> 00:21:43,720
..across in New York,
379
00:21:43,720 --> 00:21:46,560
Van Morrison was still on a search for his sound,
380
00:21:46,560 --> 00:21:48,880
despite a solo top ten hit.
381
00:21:48,880 --> 00:21:50,800
# Heart's a-thumping and you
382
00:21:52,200 --> 00:21:53,800
# My brown eyed girl
383
00:21:56,920 --> 00:21:58,920
# You my brown eyed girl. #
384
00:21:58,920 --> 00:22:02,960
My original intention, where I was coming from, musically,
385
00:22:02,960 --> 00:22:05,240
was rhythm and blues and soul.
386
00:22:05,240 --> 00:22:08,200
I just wanted to break everything down and...
387
00:22:09,640 --> 00:22:11,360
..create my own soul music.
388
00:22:15,360 --> 00:22:18,080
# If I ventured in the slipstream
389
00:22:20,520 --> 00:22:23,240
# Between the viaducts of your dream... #
390
00:22:25,360 --> 00:22:28,720
Once Van Morrison finally got control of his output,
391
00:22:28,720 --> 00:22:30,440
he released a series of albums
392
00:22:30,440 --> 00:22:32,640
that expanded the boundaries of rock music.
393
00:22:34,760 --> 00:22:37,960
# Could you find me? #
394
00:22:37,960 --> 00:22:41,120
They chronicled his own personal journey into the mystic,
395
00:22:41,120 --> 00:22:43,600
but were also shot through with Irish themes,
396
00:22:43,600 --> 00:22:45,680
like exile and redemption.
397
00:22:45,680 --> 00:22:48,160
# Lay me down
398
00:22:48,160 --> 00:22:51,520
# In silence easy
399
00:22:51,520 --> 00:22:53,320
# To be born again
400
00:22:55,720 --> 00:22:57,840
# To be born again... #
401
00:22:57,840 --> 00:23:01,560
A singular, really original,
402
00:23:01,560 --> 00:23:05,040
intuitive and instinctive genius is Van Morrison...
403
00:23:07,800 --> 00:23:10,640
..and he took this bedrock of excellence -
404
00:23:10,640 --> 00:23:12,160
the blues and jazz -
405
00:23:12,160 --> 00:23:15,680
and he married it to this other feeling,
406
00:23:15,680 --> 00:23:18,360
using this...Yeats-ian language.
407
00:23:18,360 --> 00:23:20,720
It was profoundly Irish Van Morrison,
408
00:23:20,720 --> 00:23:23,240
in that he tuned in, instinctively, to language.
409
00:23:24,640 --> 00:23:27,280
Primarily, yeah - I'm an Irish writer and I think that...
410
00:23:27,280 --> 00:23:31,240
I mean, I think... We're preoccupied with the past, because...
411
00:23:31,240 --> 00:23:34,280
you know, we're sort of trying to get to
412
00:23:34,280 --> 00:23:37,440
transcending the mundane existence.
413
00:23:37,440 --> 00:23:39,760
# Down on Cyprus Avenue
414
00:23:42,200 --> 00:23:45,840
# With the childlike visions leaping into view
415
00:23:49,840 --> 00:23:52,920
# Clicking clacking of the high-heeled shoe... #
416
00:23:55,120 --> 00:23:57,800
Like many an exiled Irish artist,
417
00:23:57,800 --> 00:24:00,680
Van was preoccupied with the city of his childhood.
418
00:24:02,040 --> 00:24:05,400
What Joyce did for Dublin, Van did for Belfast.
419
00:24:05,400 --> 00:24:09,560
# Marching with the soldier boy behind... #
420
00:24:09,560 --> 00:24:13,120
There's a preoccupation with the past - it's not sentimental.
421
00:24:14,360 --> 00:24:16,640
I mean, the actual street...
422
00:24:16,640 --> 00:24:20,080
Rather than being like a street with a row of houses,
423
00:24:20,080 --> 00:24:22,880
you're coming away thinking that this is an incredible place,
424
00:24:22,880 --> 00:24:24,560
it must be, it has to be.
425
00:24:24,560 --> 00:24:27,040
I mean, the lives that have been lived in this place
426
00:24:27,040 --> 00:24:29,040
and the things that have happened.
427
00:24:34,040 --> 00:24:37,920
East Belfast is so topographically specific
428
00:24:37,920 --> 00:24:39,960
in Van Morrison's work.
429
00:24:41,560 --> 00:24:45,320
It is probably one of the most extraordinary examples
430
00:24:45,320 --> 00:24:48,120
of imagination acted on by environment
431
00:24:48,120 --> 00:24:49,920
in any art form I can think of.
432
00:24:51,480 --> 00:24:53,480
And yet, it's also the launchpad
433
00:24:53,480 --> 00:24:56,080
for his explorations of wherever he goes
434
00:24:56,080 --> 00:24:58,480
in those extraordinary songs.
435
00:25:37,160 --> 00:25:39,440
Van, I see as a priest.
436
00:25:39,440 --> 00:25:42,480
You know, he's a searcher - all his records,
437
00:25:42,480 --> 00:25:44,880
he's been on a search for God.
438
00:25:44,880 --> 00:25:48,320
I call them sky-rippers - somebody who opens up the sky.
439
00:25:48,320 --> 00:25:50,720
You look through, you know that there are other worlds
440
00:25:50,720 --> 00:25:52,800
and there are other things going on.
441
00:25:54,160 --> 00:25:56,760
And they're able to access something - perhaps psychically -
442
00:25:56,760 --> 00:25:58,280
that other artists don't.
443
00:26:00,160 --> 00:26:02,040
He was the first Irish artist, I think,
444
00:26:02,040 --> 00:26:03,520
that shone a light on the fact that
445
00:26:03,520 --> 00:26:06,120
there is a path one can take towards healing.
446
00:26:07,320 --> 00:26:09,640
One could argue...
447
00:26:09,640 --> 00:26:12,240
that perhaps he hasn't got there.
448
00:26:12,240 --> 00:26:14,880
But what's important was that he showed that there is a path,
449
00:26:14,880 --> 00:26:16,320
that the rest of us could take.
450
00:26:19,720 --> 00:26:22,240
Van's healing journey constantly brought him back
451
00:26:22,240 --> 00:26:25,080
to the idyllic days of his Belfast childhood
452
00:26:25,080 --> 00:26:27,080
and in the process,
453
00:26:27,080 --> 00:26:29,440
he imprinted the street names of the city
454
00:26:29,440 --> 00:26:32,240
on the imaginations of his fans around the world.
455
00:26:34,160 --> 00:26:36,400
But he was singing of brighter times.
456
00:26:40,280 --> 00:26:44,360
In the '70s, other Belfast streets were becoming world famous.
457
00:26:46,480 --> 00:26:49,560
NEWS REPORT: 'Daly's bar, on the Falls Road, was crowded with people,
458
00:26:49,560 --> 00:26:50,600
' waiting to watch...
459
00:26:50,600 --> 00:26:53,000
'..a similar explosion in a pub in the Shankill Road,
460
00:26:53,000 --> 00:26:54,160
'a Protestant pub.'
461
00:26:55,240 --> 00:26:58,760
Then, on 31st July 1975,
462
00:26:58,760 --> 00:27:02,240
the terrorists threatened the future of Irish music itself.
463
00:27:06,800 --> 00:27:10,120
Up to that point, the troopers of the music industry -
464
00:27:10,120 --> 00:27:12,560
the show bands - continued to play the ballrooms
465
00:27:12,560 --> 00:27:14,000
on both sides of the border.
466
00:27:15,560 --> 00:27:16,800
On that night,
467
00:27:16,800 --> 00:27:19,800
The Miami Showband had played Banbridge in the North
468
00:27:19,800 --> 00:27:21,800
and were heading home after the gig,
469
00:27:21,800 --> 00:27:25,600
when they were stopped by a gang of paramilitaries, who began to fire.
470
00:27:28,960 --> 00:27:31,600
I was actually shot with a dum-dum bullet
471
00:27:31,600 --> 00:27:33,960
and a dum-dum is an explosive bullet
472
00:27:33,960 --> 00:27:37,560
and when it went in, into my gut,
473
00:27:37,560 --> 00:27:40,440
it exploded into 13 pieces
474
00:27:40,440 --> 00:27:43,200
and all the other guys were falling on top of me
475
00:27:43,200 --> 00:27:46,960
and I could feel them just thumping on top of me.
476
00:27:46,960 --> 00:27:49,000
I think Brian was dead very quickly.
477
00:27:49,000 --> 00:27:52,120
He had been shot in the back and in the back of the head
478
00:27:52,120 --> 00:27:56,000
and they turned Fran over...
479
00:27:56,000 --> 00:27:57,440
and he was lying on the ground,
480
00:27:57,440 --> 00:27:59,880
he was crying and asking them, "Don't kill me".
481
00:27:59,880 --> 00:28:02,280
They shot him 22 times,
482
00:28:02,280 --> 00:28:05,240
but 17 of those was in his face,
483
00:28:05,240 --> 00:28:08,840
because he was, as you said, a particularly good-looking lad
484
00:28:08,840 --> 00:28:12,600
and Tony had been hit in the back of the head
485
00:28:12,600 --> 00:28:14,400
and in the back and his hands...
486
00:28:15,640 --> 00:28:17,040
..and...
487
00:28:18,320 --> 00:28:20,400
..with multiple injuries as well.
488
00:28:23,160 --> 00:28:25,560
And I heard somebody on the road shouting,
489
00:28:25,560 --> 00:28:30,120
"Come on, I got those bastards with dum-dums. They're dead."
490
00:28:30,120 --> 00:28:31,560
The guy didn't fire into me.
491
00:28:32,840 --> 00:28:34,040
He just left.
492
00:28:39,720 --> 00:28:42,200
Three band members were murdered that night
493
00:28:42,200 --> 00:28:43,880
and two seriously injured...
494
00:28:45,440 --> 00:28:47,800
..innocent victims of a complicated game
495
00:28:47,800 --> 00:28:49,720
of false propaganda and collusion.
496
00:28:54,280 --> 00:28:55,720
Miami Showband...
497
00:28:55,720 --> 00:28:58,920
I mean, that was when a place that already seemed difficult
498
00:28:58,920 --> 00:29:00,800
seemed almost impossible
499
00:29:00,800 --> 00:29:04,920
and you just can't imagine it getting any worse than this.
500
00:29:06,960 --> 00:29:10,800
Belfast had, I think, pretty much ceased to be
501
00:29:10,800 --> 00:29:13,200
a place where musicians would come.
502
00:29:21,720 --> 00:29:24,200
'Well, it's time for me to stop "Messin' With The Kid",
503
00:29:24,200 --> 00:29:27,320
'and hand you over to Rory Gallagher!'
504
00:29:27,320 --> 00:29:30,040
MUSIC: Messin' With The Kid by Rory Gallagher
505
00:29:30,040 --> 00:29:32,680
Virtually no-one, apart from Rory Gallagher, that is.
506
00:29:41,080 --> 00:29:43,760
Now a hugely successful solo artist,
507
00:29:43,760 --> 00:29:46,280
Rory never abandoned his adopted city.
508
00:29:53,600 --> 00:29:56,680
He became a hero to the music-starved Belfast fan.
509
00:29:56,680 --> 00:29:59,160
MUSIC: Goin' To My Hometown by Rory Gallagher
510
00:29:59,160 --> 00:30:00,680
'In an Irish tour,
511
00:30:00,680 --> 00:30:03,240
'I always try and include Belfast and the North of Ireland.
512
00:30:03,240 --> 00:30:05,680
'After all, I lived there for a while
513
00:30:05,680 --> 00:30:09,080
'and I learnt a lot playing in the clubs there.
514
00:30:09,080 --> 00:30:11,640
'So I had a certain home feeling for the place.'
515
00:30:11,640 --> 00:30:14,480
# I'm gettin' lonesome I'm gettin' blue
516
00:30:14,480 --> 00:30:16,280
# I need someone to talk to
517
00:30:16,280 --> 00:30:18,960
'It's always a great audience in Belfast.
518
00:30:18,960 --> 00:30:21,240
'It's a pity almost no-one else goes to play there.'
519
00:30:21,240 --> 00:30:23,480
# Now let me tell you where I'm going to
520
00:30:31,200 --> 00:30:34,040
# Yes, I'm goin' to my hometown
521
00:30:35,160 --> 00:30:37,560
# Sorry, babe, but I can't take you
522
00:30:41,800 --> 00:30:44,480
# Yes, I'm goin' to my hometown
523
00:30:45,800 --> 00:30:48,200
# Sorry, baby, but I can't take you
524
00:30:54,120 --> 00:30:56,680
# Only got one ticket
525
00:30:56,680 --> 00:30:58,720
# You know I can't afford two
526
00:31:02,040 --> 00:31:05,240
The dates - they'd have to wait until a ceasefire,
527
00:31:05,240 --> 00:31:07,760
which normally happened over Christmas, anyway.
528
00:31:07,760 --> 00:31:11,160
But it was always a fragile peace
529
00:31:11,160 --> 00:31:12,600
and you'd be told,
530
00:31:12,600 --> 00:31:15,640
"Well, no - there's no way you can drive down to Dublin tonight".
531
00:31:15,640 --> 00:31:19,240
He took the risk of being stopped by rogue paramilitary outfits.
532
00:31:20,640 --> 00:31:22,520
But Rory wouldn't take "no" for an answer.
533
00:31:22,520 --> 00:31:24,560
He said "Well, I'm certainly not going to go back
534
00:31:24,560 --> 00:31:27,280
"and play Dublin and Cork and not play in the North of Ireland".
535
00:31:27,280 --> 00:31:29,480
- # Do you wanna go?
- Yeah!
536
00:31:29,480 --> 00:31:31,840
- # Do you wanna go?
- Yeah!
537
00:31:31,840 --> 00:31:34,520
- # Do you wanna go?
- Yeah!
538
00:31:34,520 --> 00:31:37,120
- # Do you wanna go?
- Yeah!
539
00:31:37,120 --> 00:31:39,840
- # Do you wanna go, baby?
- Yeah!
540
00:31:39,840 --> 00:31:42,280
- # Do you wanna go?
- Yeah!
541
00:31:42,280 --> 00:31:44,320
# Do you wanna go? #
542
00:31:46,800 --> 00:31:49,880
There was always this thing about "where did Rory Gallagher come from?"
543
00:31:49,880 --> 00:31:52,720
I remember Taste were one of Maritime bands,
544
00:31:52,720 --> 00:31:55,040
so I always thought he was from here, you know?
545
00:31:55,040 --> 00:31:58,600
There's an example of someone who defied the border
546
00:31:58,600 --> 00:32:00,560
and those difficulties.
547
00:32:02,120 --> 00:32:03,680
I just want to continue playing.
548
00:32:03,680 --> 00:32:05,840
I want to be able to walk into a shop
549
00:32:05,840 --> 00:32:08,040
and buy a bar of chocolate, if I want to,
550
00:32:08,040 --> 00:32:11,560
or go into a bar and have a pint, without being besieged all the time.
551
00:32:11,560 --> 00:32:13,560
I just want an ordinary kind of...
552
00:32:13,560 --> 00:32:16,720
walk down the streets without being recognised sort of life.
553
00:32:16,720 --> 00:32:19,480
Of course, if somebody comes over and says "How you doing, Rory?"
554
00:32:19,480 --> 00:32:22,040
that's fine, but I don't want to get into the Rolls-Royce
555
00:32:22,040 --> 00:32:25,320
and the mansion and the cloak-and-dagger style of living.
556
00:32:25,320 --> 00:32:28,120
Rory Gallagher was actually my first rock gig -
557
00:32:28,120 --> 00:32:30,440
the Irish tour of '74.
558
00:32:30,440 --> 00:32:35,480
He was a home boy and he was dressed as a generic teenager...
559
00:32:35,480 --> 00:32:37,920
he was playing guitar
560
00:32:37,920 --> 00:32:40,280
and he was Irish and he was local
561
00:32:40,280 --> 00:32:42,800
and you could bump into him walking down the street.
562
00:32:45,520 --> 00:32:48,040
Philo was the opposite.
563
00:32:48,040 --> 00:32:50,360
I mean, Phil Lynott was a star, you know?
564
00:32:50,360 --> 00:32:52,320
He was a truly Irish rock star.
565
00:32:55,360 --> 00:32:59,320
Phil Lynott had come a long way from his corporation house in Crumlin.
566
00:33:02,400 --> 00:33:04,520
With a top ten hit in America,
567
00:33:04,520 --> 00:33:08,040
he was providing much-needed glamour to his beloved Dublin...
568
00:33:10,760 --> 00:33:14,040
..with its crumbling economy and rocketing immigration.
569
00:33:16,320 --> 00:33:18,600
I was tired of hearing rock and roll stars saying
570
00:33:18,600 --> 00:33:20,640
how sorry they were for themselves, you know?
571
00:33:20,640 --> 00:33:23,920
Like how they disliked fame and how they were bothered.
572
00:33:23,920 --> 00:33:25,360
I jumped to it, you know?
573
00:33:25,360 --> 00:33:28,640
I was famous, I thought, "Great, the women are after me."
574
00:33:28,640 --> 00:33:31,000
Like, people want to buy me free drink, you know?
575
00:33:31,000 --> 00:33:33,360
And they want to treat me, they want to take me here,
576
00:33:33,360 --> 00:33:34,920
they want to take me there.
577
00:33:34,920 --> 00:33:38,920
Great - and you know, I really went for it, hook, line and sinker.
578
00:33:45,120 --> 00:33:48,160
# Guess who just got back today
579
00:33:48,160 --> 00:33:51,440
# Them wild-eyed boys that had been away
580
00:33:51,440 --> 00:33:54,400
# Haven't changed, had much to say
581
00:33:54,400 --> 00:33:57,360
# But man, I still think them cats are great
582
00:33:57,360 --> 00:34:00,080
# They were asking if you were around
583
00:34:00,080 --> 00:34:03,240
# How you was, where you could be found
584
00:34:03,240 --> 00:34:05,920
# Told 'em you were living downtown
585
00:34:05,920 --> 00:34:08,800
# Driving all the old men crazy
586
00:34:08,800 --> 00:34:12,160
- # The boys are back in town
- The boys are back in town... #
587
00:34:12,160 --> 00:34:13,600
They're a people's band.
588
00:34:13,600 --> 00:34:15,360
Not a critic's band,
589
00:34:15,360 --> 00:34:17,760
not a band that's going to win the record of the year,
590
00:34:17,760 --> 00:34:19,080
but they're a people's band.
591
00:34:19,080 --> 00:34:21,840
That's music that people turn to when they're having a hard time,
592
00:34:21,840 --> 00:34:24,680
when they need a song to lift them up and make them want to fight.
593
00:34:24,680 --> 00:34:27,520
# Dancing in the moonlight
594
00:34:27,520 --> 00:34:30,360
# It's caught me in its spotlight
595
00:34:30,360 --> 00:34:33,280
- #
- It's all right, all right
- Dancing in the moonlight... #
596
00:34:33,280 --> 00:34:35,640
It's Phil's sensitivity in the songs, that I think is
597
00:34:35,640 --> 00:34:38,400
the romance of Thin Lizzy, that most people overlook,
598
00:34:38,400 --> 00:34:39,680
which is why they endure.
599
00:34:39,680 --> 00:34:42,800
Yeah, they're a great hard rock band, but I think it's really Phil's heart
600
00:34:42,800 --> 00:34:46,000
that carries the band through the ages.
601
00:34:46,000 --> 00:34:47,880
# And I'm walking home... #
602
00:34:49,640 --> 00:34:51,440
You'll never find a Dubliner
603
00:34:51,440 --> 00:34:53,920
who would say a bad word about Phil Lynott.
604
00:34:53,920 --> 00:34:56,960
The first Irish person who ever went onto a stage
605
00:34:56,960 --> 00:34:59,280
at Madison Square Garden and said,
606
00:34:59,280 --> 00:35:00,920
"Are you out there?"
607
00:35:00,920 --> 00:35:04,760
was Phil Lynott and it was so fantastic, that one of us...
608
00:35:04,760 --> 00:35:08,120
that any member of this rainy, miserable nation
609
00:35:08,120 --> 00:35:10,440
would ever be given permission to do that.
610
00:35:10,440 --> 00:35:12,600
# The girl's a fool She broke the rules
611
00:35:12,600 --> 00:35:14,560
# She hurt him hard... #
612
00:35:14,560 --> 00:35:16,840
But Phil Lynott's returning rock god act
613
00:35:16,840 --> 00:35:20,360
was only a temporary respite from the grind of Dublin life.
614
00:35:20,360 --> 00:35:23,440
CHORAL CHURCH MUSIC
615
00:35:23,440 --> 00:35:26,840
In truth, little had changed in 20 years.
616
00:35:26,840 --> 00:35:29,960
The power of the Catholic Church remained largely unchallenged.
617
00:35:31,560 --> 00:35:34,880
Political corruption was on the rise
618
00:35:34,880 --> 00:35:37,160
and the economy was in freefall.
619
00:35:38,520 --> 00:35:41,440
Ireland had rock stars, but no rock business.
620
00:35:43,400 --> 00:35:46,400
Come the moment, cometh the man.
621
00:35:46,400 --> 00:35:47,960
There was nothing at all.
622
00:35:47,960 --> 00:35:50,760
There were fans and there were showbands
623
00:35:50,760 --> 00:35:53,040
and therefore, there were no rock gigs and so,
624
00:35:53,040 --> 00:35:55,480
you had to go about setting up your own gigs
625
00:35:55,480 --> 00:35:57,360
and doing your own posters
626
00:35:57,360 --> 00:36:00,160
and creating a sensibility of pop and rock,
627
00:36:00,160 --> 00:36:01,840
doing weird things during gigs.
628
00:36:13,480 --> 00:36:17,440
- # Life pours down into the neon heart
- It's late at night
629
00:36:17,440 --> 00:36:20,840
- # Cement City is all a-spark
- Yeah, that's right
630
00:36:20,840 --> 00:36:24,760
- # The whores are loose and the dames are abroad
- My pants are tight... #
631
00:36:26,400 --> 00:36:30,240
What was great about Bob was he came along and said,
632
00:36:30,240 --> 00:36:31,800
"We're going to take this over.
633
00:36:31,800 --> 00:36:36,000
"We are going to change what happens in the Irish music scene
634
00:36:36,000 --> 00:36:38,200
"and we're going to do it single-handedly".
635
00:36:38,200 --> 00:36:40,480
Bob was the first person who actually ever came along
636
00:36:40,480 --> 00:36:43,880
and sang in an Irish accent, but made it punky and cool, you know?
637
00:36:43,880 --> 00:36:46,000
And that was terribly important, actually,
638
00:36:46,000 --> 00:36:47,560
because whether he meant to or not,
639
00:36:47,560 --> 00:36:49,720
he gave us a sense that it was OK to be Irish,
640
00:36:49,720 --> 00:36:51,960
cos it really wasn't OK to be Irish, you know?
641
00:36:51,960 --> 00:36:56,040
- # I picked her up at the bar that night
- What did you do?
642
00:36:56,040 --> 00:37:00,200
- # I took her home, she didn't put up a fight
- What did you do? #
643
00:37:00,200 --> 00:37:02,600
And they were angry and it was OK to be angry -
644
00:37:02,600 --> 00:37:05,480
anger is still an emotion in Ireland that's looked on
645
00:37:05,480 --> 00:37:06,920
as being terribly not OK -
646
00:37:06,920 --> 00:37:08,880
and especially if you're a girl, you know?
647
00:37:08,880 --> 00:37:11,560
But Bob was angry and that was good, you know?
648
00:37:11,560 --> 00:37:13,200
I had nothing else going.
649
00:37:14,600 --> 00:37:17,080
No exams, no jobs,
650
00:37:17,080 --> 00:37:19,600
no economy, walk.
651
00:37:19,600 --> 00:37:21,720
They're everywhere. The Boomtown Rats here -
652
00:37:21,720 --> 00:37:24,760
a bit of social comment for you. Have a listen to the lyrics of this.
653
00:37:24,760 --> 00:37:28,680
So come the moment, what do you think the songs are going to be about?
654
00:37:44,160 --> 00:37:47,000
We were all in love with him. We all just fancied the arse off him.
655
00:37:47,000 --> 00:37:49,760
He was just the sexiest thing to ever walk the earth, you know?
656
00:37:49,760 --> 00:37:51,520
He was cheeky.
657
00:37:51,520 --> 00:37:54,720
He delivered angry things, but in a funny way.
658
00:37:54,720 --> 00:37:57,080
1977 pop music - that's what we play.
659
00:37:59,040 --> 00:38:00,680
We're the only ones doing it.
660
00:38:00,680 --> 00:38:03,600
And now, this week's number one. As we expected, it's up there again -
661
00:38:03,600 --> 00:38:06,600
Olivia Newton-John, John Travolta and oh, those Summer Nights.
662
00:38:06,600 --> 00:38:08,080
# Had me a blast
663
00:38:08,080 --> 00:38:10,320
# Summer loving Happened so fast...#
664
00:38:10,320 --> 00:38:15,000
It's very hard to describe to people what it was like
665
00:38:15,000 --> 00:38:16,880
when Rat Trap went to number one.
666
00:38:18,560 --> 00:38:21,840
Not just in Ireland...
667
00:38:21,840 --> 00:38:24,320
but in England, it was a great moment, he tears...
668
00:38:24,320 --> 00:38:25,720
On Top Of The Pops,
669
00:38:25,720 --> 00:38:28,840
Bob tears a picture of John Travolta and Olivia Newton-John,
670
00:38:28,840 --> 00:38:33,480
who had sort of... You know, Grease had been at the top of the charts.
671
00:38:33,480 --> 00:38:36,200
It was like pop domination
672
00:38:36,200 --> 00:38:39,400
and here was rock and roll, just biting it on the arse.
673
00:38:42,120 --> 00:38:43,720
Top Of The Pops...
674
00:38:43,720 --> 00:38:46,400
I decided I'd get a special suit for the occasion
675
00:38:46,400 --> 00:38:50,480
and I bought this sort of space-age-y suit and I put an Irish flag here.
676
00:38:51,680 --> 00:38:53,960
Never done it before in my life, never done it since,
677
00:38:53,960 --> 00:38:57,160
but I just thought "Finally, the Paddies did it", you know?
678
00:38:57,160 --> 00:39:00,000
I also tore up John Travolta's picture,
679
00:39:00,000 --> 00:39:02,320
cos that was the end of that period, too.
680
00:39:02,320 --> 00:39:07,000
# There was a lot of rockin' going on that night
681
00:39:07,000 --> 00:39:10,040
# Cruisin' time for the young bright lights... #
682
00:39:10,040 --> 00:39:11,640
Bob Geldof and The Boomtown Rats
683
00:39:11,640 --> 00:39:16,680
were the blueprint for the modern Irish music business.
684
00:39:16,680 --> 00:39:21,440
I mean, Bob had the star quality that Philo had,
685
00:39:21,440 --> 00:39:22,800
that Phil Lynott had,
686
00:39:22,800 --> 00:39:25,720
and they went out there and they took the applause,
687
00:39:25,720 --> 00:39:27,720
whether they deserved it or not
688
00:39:27,720 --> 00:39:30,840
and that taught a young U2
689
00:39:30,840 --> 00:39:32,360
that you had to make your own luck.
690
00:39:56,840 --> 00:39:59,640
Then he said some very important things about Ireland.
691
00:39:59,640 --> 00:40:03,680
I mean, this is the guy who wrote Banana Republic 40 years ago.
692
00:40:03,680 --> 00:40:07,920
We're still dealing with issues of political corruption,
693
00:40:07,920 --> 00:40:10,440
abuse in the Catholic Church...
694
00:40:10,440 --> 00:40:14,200
You know, many, many years before it was safe
695
00:40:14,200 --> 00:40:17,080
to come out and talk about these issues,
696
00:40:17,080 --> 00:40:19,800
Geldof and his band did.
697
00:40:22,760 --> 00:40:27,360
Geldof and his band also bequeathed to Dublin a fledgling music scene.
698
00:40:30,680 --> 00:40:34,240
By contrast, Belfast was a musical ghost town.
699
00:40:34,240 --> 00:40:35,960
EXPLOSION
700
00:40:35,960 --> 00:40:37,560
'Shortly after two o'clock,
701
00:40:37,560 --> 00:40:41,040
'the bar security guard was held up by a gunman, who planted the bomb...'
702
00:40:41,040 --> 00:40:43,640
'It follows ten days after a similar explosion
703
00:40:43,640 --> 00:40:45,600
'in a pub in the Shankill Road.'
704
00:40:48,080 --> 00:40:52,640
Mid '70s Belfast was a horror story.
705
00:40:52,640 --> 00:40:54,800
There was murder on the streets.
706
00:40:54,800 --> 00:40:59,680
The IRA were blowing our wonderful city apart.
707
00:40:59,680 --> 00:41:03,160
The Loyalist murder gangs were killing poor Catholics
708
00:41:03,160 --> 00:41:06,080
and it was horrific and you just didn't go out at night,
709
00:41:06,080 --> 00:41:08,840
because our pubs had been bombed
710
00:41:08,840 --> 00:41:11,480
and our friends had been shot going home from the pub
711
00:41:11,480 --> 00:41:14,200
and it was a nightmare.
712
00:41:15,800 --> 00:41:19,160
The whole country seemed to be having a nervous breakdown.
713
00:41:22,160 --> 00:41:25,080
The city centre was a no-go area at night,
714
00:41:25,080 --> 00:41:28,240
so punk music only existed in isolated pockets,
715
00:41:28,240 --> 00:41:31,120
within the divided Catholic and Protestant communities.
716
00:41:37,560 --> 00:41:39,640
In the midst of these divisions,
717
00:41:39,640 --> 00:41:42,560
Terry Hooley thought music therapy could be the answer.
718
00:41:44,240 --> 00:41:48,360
On the most bombed street in Europe, in the closed heart of Belfast,
719
00:41:48,360 --> 00:41:51,960
he opened a music shop and called it "Good Vibrations".
720
00:41:54,120 --> 00:41:57,840
The shop became a great meeting place for people on a Saturday.
721
00:41:57,840 --> 00:42:00,000
The next thing, we would get people come in
722
00:42:00,000 --> 00:42:02,120
looking for protection money and stuff.
723
00:42:03,720 --> 00:42:05,720
So that was a bit difficult, but...
724
00:42:07,360 --> 00:42:10,000
Somebody had given me all these country and Irish records,
725
00:42:10,000 --> 00:42:12,880
which we knew that we definitely weren't going to sell.
726
00:42:12,880 --> 00:42:16,680
So I gave them a pile of records, so I did, and they went away!
727
00:42:16,680 --> 00:42:19,080
MUSIC: Big Time by Rudi
728
00:42:19,080 --> 00:42:22,040
# Big time, you ain't no friend of mine
729
00:42:22,040 --> 00:42:26,080
# Big time, you ain't no friend of mine... #
730
00:42:27,480 --> 00:42:30,920
There was something wonderfully anarchic about Terry.
731
00:42:30,920 --> 00:42:33,200
He's always set his face against
732
00:42:33,200 --> 00:42:35,480
the narrow politics of this particular place.
733
00:42:37,040 --> 00:42:38,720
He sets up a record label
734
00:42:38,720 --> 00:42:42,080
and the first thing he puts out is Big Time by Rudi.
735
00:42:42,080 --> 00:42:45,960
It's the revolutionary power of the seven-inch single.
736
00:42:45,960 --> 00:42:48,360
# You've always got some money... #
737
00:42:51,440 --> 00:42:53,040
With a local record label
738
00:42:53,040 --> 00:42:56,520
and a few venues bravely opening up in the city centre,
739
00:42:56,520 --> 00:42:59,160
an enthusiastic punk scene sprung up.
740
00:43:03,320 --> 00:43:05,520
There's an identity for the kids
741
00:43:05,520 --> 00:43:09,080
and a good excuse for Catholics and Protestants to get together.
742
00:43:09,080 --> 00:43:12,960
It's just completely good, as far as Northern Ireland's concerned.
743
00:43:12,960 --> 00:43:16,000
All the stuff that was going on around us -
744
00:43:16,000 --> 00:43:19,080
being searched going into town, being stopped by the British Army,
745
00:43:19,080 --> 00:43:21,440
bombs going off, guns...
746
00:43:21,440 --> 00:43:25,240
You made it to the Harp Bar, you pogo-ed and you had a good time
747
00:43:25,240 --> 00:43:26,960
and hopefully, you got home safe.
748
00:43:29,040 --> 00:43:31,240
We just decided to start a group,
749
00:43:31,240 --> 00:43:32,960
so we borrowed instruments,
750
00:43:32,960 --> 00:43:36,320
we learned a few songs and...hey presto.
751
00:43:37,600 --> 00:43:41,040
# Teenage dreams, so hard to beat
752
00:43:41,040 --> 00:43:43,440
# Every time she walks down the street... #
753
00:43:43,440 --> 00:43:45,760
The next band signed to Good Vibrations
754
00:43:45,760 --> 00:43:47,680
weren't from Belfast at all.
755
00:43:47,680 --> 00:43:50,800
The Undertones hailed from Derry.
756
00:43:50,800 --> 00:43:53,320
# I wanna hold her, wanna hold her tight
757
00:43:53,320 --> 00:43:57,200
# Get teenage kicks right through the night... #
758
00:43:57,200 --> 00:44:00,240
They arrived in their jeans and their parka jackets
759
00:44:00,240 --> 00:44:03,200
and guitars in cardboard boxes with bits of strings
760
00:44:03,200 --> 00:44:05,440
and they started talking and I just didn't have a clue
761
00:44:05,440 --> 00:44:07,280
what they were saying.
762
00:44:07,280 --> 00:44:09,360
HE SLURS IN LONDONDERRY ACCENT
763
00:44:09,360 --> 00:44:11,480
"I think five o'clock, I think..."
764
00:44:11,480 --> 00:44:15,720
And they quietly undid the nuts and they got their guitars out
765
00:44:15,720 --> 00:44:18,280
and Fergal just went "One, two, three, four..." Bang!
766
00:44:18,280 --> 00:44:20,120
- And we went, "Oh, my God".
- Yes.
767
00:44:21,280 --> 00:44:23,840
# I wanna hold her, wanna hold her tight
768
00:44:23,840 --> 00:44:27,160
# Get teenage kicks right through the night... #
769
00:44:29,520 --> 00:44:32,480
Once their first single Teenage Kicks was released,
770
00:44:32,480 --> 00:44:36,080
the band hatched a plot to get it played on John Peel's radio show.
771
00:44:37,320 --> 00:44:40,840
What happened next was a never-to-be-repeated moment.
772
00:44:40,840 --> 00:44:42,160
He phoned up John Peel -
773
00:44:42,160 --> 00:44:45,400
surprisingly, phoned him and got straight through to John Peel.
774
00:44:45,400 --> 00:44:47,840
And I was speaking to a member of the band, The Undertones
775
00:44:47,840 --> 00:44:50,280
who come from Londonderry and the chap I was speaking...
776
00:44:50,280 --> 00:44:53,320
John Peel gave us a heads-up that it was going to be played on the show.
777
00:44:53,320 --> 00:44:55,160
We assembled in John's front room
778
00:44:55,160 --> 00:44:57,880
and then he played Teenage Kicks and then, I think he said,
779
00:44:57,880 --> 00:45:00,120
"That was so good, I'm going to play it again"
780
00:45:00,120 --> 00:45:02,240
and you hear it go back on again.
781
00:45:02,240 --> 00:45:03,520
And it was just great.
782
00:45:03,520 --> 00:45:05,160
So that was unprecedented,
783
00:45:05,160 --> 00:45:09,680
cos we'd been listening to John Peel play from '73, '74 anyway, so...
784
00:45:09,680 --> 00:45:12,400
He'd never, ever done that, at any time.
785
00:45:12,400 --> 00:45:15,360
And he says he thought the singing sounded like Loudon Wainwright...
786
00:45:15,360 --> 00:45:16,720
- I remember that.
- Aye.
787
00:45:16,720 --> 00:45:18,520
..which we didn't understand.
788
00:45:18,520 --> 00:45:20,560
My ambitions were fulfilled very quickly -
789
00:45:20,560 --> 00:45:22,760
making a record, getting it played with John Peel
790
00:45:22,760 --> 00:45:24,280
and getting on Top Of The Pops.
791
00:45:24,280 --> 00:45:26,360
# I've got a cousin called Kevin
792
00:45:26,360 --> 00:45:29,760
# He's sure to go to heaven
793
00:45:29,760 --> 00:45:31,480
# Always spotless, clean and neat... #
794
00:45:31,480 --> 00:45:33,480
How could you not like The Undertones?
795
00:45:33,480 --> 00:45:36,840
A great pop band. I mean, there was no bullshit about The Undertones,
796
00:45:36,840 --> 00:45:39,320
it was just pure pop music, if you like.
797
00:45:39,320 --> 00:45:41,280
Really good. Sometimes sublime.
798
00:45:43,480 --> 00:45:47,480
There was that feeling that something has come back.
799
00:45:47,480 --> 00:45:48,920
That energy again.
800
00:45:51,840 --> 00:45:53,640
Punk didn't knock down the walls,
801
00:45:53,640 --> 00:45:56,920
but it certainly chipped away at a few.
802
00:45:56,920 --> 00:45:59,520
We're just tired of all the shit your ma and da tell you.
803
00:45:59,520 --> 00:46:02,040
It's a load of balls. We live in a stone-faced country,
804
00:46:02,040 --> 00:46:04,200
2,000 people dead, for what?
805
00:46:04,200 --> 00:46:05,760
I mean, who wants a united Ireland?
806
00:46:05,760 --> 00:46:07,920
Who wants to be in the United Kingdom?
807
00:46:07,920 --> 00:46:09,320
It makes no odds to me, like -
808
00:46:09,320 --> 00:46:11,840
I'm still standing on the corner every night
809
00:46:11,840 --> 00:46:13,440
and going down the Harp Bar.
810
00:46:14,760 --> 00:46:17,520
With punk, the youth of Ireland had challenged
811
00:46:17,520 --> 00:46:21,320
much of the island's old certainties and tribal identities.
812
00:46:26,160 --> 00:46:28,440
This song is not a rebel song.
813
00:46:28,440 --> 00:46:30,960
This song is Sunday Bloody Sunday.
814
00:46:33,760 --> 00:46:38,280
Post-punk, rock set out to expose the deep wounds of the island's past
815
00:46:38,280 --> 00:46:39,920
and to imagine a healing.
816
00:47:04,280 --> 00:47:07,920
It was very much the sign of the times - the new Ireland.
817
00:47:07,920 --> 00:47:11,600
Our generation were just sick of the sectarianism.
818
00:47:11,600 --> 00:47:13,520
We were a generation that felt
819
00:47:13,520 --> 00:47:16,240
we were as capable as the rest of the world.
820
00:47:16,240 --> 00:47:20,480
We didn't have to live under this downtrodden history
821
00:47:20,480 --> 00:47:22,280
that we'd suffered from.
822
00:47:26,080 --> 00:47:29,600
It's no coincidence that U2 are synonymous with modern Ireland...
823
00:47:31,920 --> 00:47:35,160
..because they didn't really grow up in the old Ireland.
824
00:47:37,120 --> 00:47:40,400
From around Clontarf, a coastal suburb of Dublin,
825
00:47:40,400 --> 00:47:42,720
they were a mix of Protestant and Catholic,
826
00:47:42,720 --> 00:47:45,520
Irish and English-born.
827
00:47:45,520 --> 00:47:49,800
We were unusual, in that we came from a slightly broader base
828
00:47:49,800 --> 00:47:51,400
than a reactionary Dublin.
829
00:47:52,720 --> 00:47:54,880
If you were a Southern Irish Catholic,
830
00:47:54,880 --> 00:47:59,600
you were inevitably pitted against Protestants, in a way,
831
00:47:59,600 --> 00:48:01,160
and we weren't a part of that.
832
00:48:03,200 --> 00:48:06,640
The mixed thing meant that they weren't exposed
833
00:48:06,640 --> 00:48:09,040
or expected to live up to the Ireland
834
00:48:09,040 --> 00:48:11,640
that we were all told existed.
835
00:48:11,640 --> 00:48:13,680
My thing was, "Kick against it".
836
00:48:13,680 --> 00:48:16,240
They didn't have to kick against anything, cos they thought
837
00:48:16,240 --> 00:48:18,880
they were already living in this modern Ireland.
838
00:48:21,240 --> 00:48:24,720
Even their school spoke to a different Ireland.
839
00:48:24,720 --> 00:48:27,280
All four attended Mount Temple,
840
00:48:27,280 --> 00:48:30,640
a rare Dublin non-denominational comprehensive school.
841
00:48:31,960 --> 00:48:34,560
Mount Temple was set up as an experiment...
842
00:48:35,720 --> 00:48:38,800
..and tried to bring Protestant and Catholic together
843
00:48:38,800 --> 00:48:40,920
and very successfully did.
844
00:48:40,920 --> 00:48:43,280
And Larry put a note on the notice board
845
00:48:43,280 --> 00:48:46,880
looking for people interested in forming a band.
846
00:48:46,880 --> 00:48:49,440
# Oh, no! Man, I just got here
847
00:48:49,440 --> 00:48:52,520
# You got me thinking I'm about to leave
848
00:48:52,520 --> 00:48:55,720
# Some day, maybe tomorrow
849
00:48:55,720 --> 00:48:58,880
# I just don't know, I just don't... #
850
00:48:58,880 --> 00:49:02,200
They would listen very closely to what advice you had
851
00:49:02,200 --> 00:49:04,400
and they would come back a week later and say,
852
00:49:04,400 --> 00:49:06,520
"Well, we've thought about that, that and that
853
00:49:06,520 --> 00:49:08,680
"and we agree with this part, but not everything".
854
00:49:08,680 --> 00:49:10,640
So they were thinking the whole time about
855
00:49:10,640 --> 00:49:13,040
what they could take from what you said, for them.
856
00:49:15,080 --> 00:49:19,000
From the start, U2 looked to America, rather than Europe,
857
00:49:19,000 --> 00:49:20,960
and it was the key to their success.
858
00:49:22,480 --> 00:49:26,440
America would understand Irish passion, you know?
859
00:49:26,440 --> 00:49:29,240
Celtic passion, that would go down in America,
860
00:49:29,240 --> 00:49:32,680
whereas England was all too cool for school.
861
00:49:32,680 --> 00:49:36,800
# In the name of love
862
00:49:36,800 --> 00:49:41,880
# What more in the name of love? #
863
00:49:41,880 --> 00:49:44,280
But it wasn't just a commercial impulse.
864
00:49:46,200 --> 00:49:48,520
Their first American hit, Pride
865
00:49:48,520 --> 00:49:51,600
was a homage to Martin Luther King,
866
00:49:51,600 --> 00:49:55,000
whose message they felt could speak to a divided Ireland.
867
00:50:00,480 --> 00:50:04,440
The theme of Martin Luther King's passive rebellion
868
00:50:04,440 --> 00:50:06,360
was a theme that was complex
869
00:50:06,360 --> 00:50:09,160
and it related to the Irish situation, as well.
870
00:50:09,160 --> 00:50:10,920
So there was cross-fertilisation.
871
00:50:12,760 --> 00:50:15,720
We wanted to make music that represented
872
00:50:15,720 --> 00:50:18,440
the constituency of the people we had come from.
873
00:50:20,520 --> 00:50:24,920
For centuries, the Irish had looked to America for a new life.
874
00:50:24,920 --> 00:50:28,120
For their breakthrough album, U2 repeated the journey,
875
00:50:28,120 --> 00:50:29,880
not as penniless immigrants,
876
00:50:29,880 --> 00:50:32,360
but interested observers.
877
00:50:32,360 --> 00:50:35,160
MUSIC: I Still Haven't Found What I'm Looking For by U2
878
00:50:35,160 --> 00:50:37,240
The Joshua Tree is a concept album
879
00:50:37,240 --> 00:50:39,840
that paints an Irish portrait of the States
880
00:50:39,840 --> 00:50:42,560
and the Americans loved it.
881
00:50:46,840 --> 00:50:48,360
We connected very much with
882
00:50:48,360 --> 00:50:52,160
that idea of being an immigrant, of travelling west.
883
00:50:52,160 --> 00:50:54,680
It was a way into that version of America.
884
00:51:23,360 --> 00:51:25,200
The Joshua Tree moment happened
885
00:51:25,200 --> 00:51:28,840
because U2 wanted to discover that stuff.
886
00:51:31,160 --> 00:51:33,600
These were young Irish people, discovering America
887
00:51:33,600 --> 00:51:36,720
and thinking about America - thinking about it from the outside, though.
888
00:51:38,280 --> 00:51:41,440
And it is about the America that's inclusive...
889
00:51:42,760 --> 00:51:44,560
..and welcoming to people
890
00:51:44,560 --> 00:51:48,120
and the America that's imperial and punitive
891
00:51:48,120 --> 00:51:50,440
and that's what delivered them to the entire world.
892
00:51:51,680 --> 00:51:54,360
New York City, gateway to a new life
893
00:51:54,360 --> 00:51:57,680
for so many Irish emigres over the years.
894
00:51:57,680 --> 00:52:00,720
Until you've made it here, you haven't really made it.
895
00:52:00,720 --> 00:52:04,440
20,000 people have come here tonight to see U2.
896
00:52:04,440 --> 00:52:06,800
To be here, when the four lads from Dublin
897
00:52:06,800 --> 00:52:09,880
celebrate their conquest of the New World.
898
00:52:09,880 --> 00:52:12,360
MUSIC: Where The Streets Have No Name by U2
899
00:52:12,360 --> 00:52:15,000
# I wanna reach out and touch the flame
900
00:52:17,160 --> 00:52:20,360
# Where the streets have no name... #
901
00:52:20,360 --> 00:52:23,680
The Joshua Tree sold 25 million copies.
902
00:52:23,680 --> 00:52:26,640
U2 were now the biggest band in the world.
903
00:52:27,920 --> 00:52:30,800
We managed to have two songs off that record
904
00:52:30,800 --> 00:52:34,200
that really were genuine top ten hits
905
00:52:34,200 --> 00:52:37,920
and that changed everything, right up to now.
906
00:52:37,920 --> 00:52:41,840
You know, people see us differently, they listen to us differently.
907
00:52:43,880 --> 00:52:48,840
I do think that U2 probably led the idea of Ireland
908
00:52:48,840 --> 00:52:53,040
as being connected to the world...
909
00:52:54,400 --> 00:52:57,080
..which was not my generation.
910
00:52:57,080 --> 00:53:00,440
It fed into Ireland as part of the EU.
911
00:53:00,440 --> 00:53:05,520
It fed into acknowledgement of the Irish diaspora and returning,
912
00:53:05,520 --> 00:53:08,560
it fed into international sporting events...
913
00:53:08,560 --> 00:53:10,320
An outward-reaching Ireland,
914
00:53:10,320 --> 00:53:13,360
as opposed to tightening our inferiority complex.
915
00:53:16,360 --> 00:53:19,920
But there was one missing piece to the Irish rock jigsaw.
916
00:53:19,920 --> 00:53:21,800
Sinead O'Connor used rock
917
00:53:21,800 --> 00:53:24,360
to confront male domination in Ireland
918
00:53:24,360 --> 00:53:26,880
and in rock music itself.
919
00:53:26,880 --> 00:53:29,680
We didn't have a voice, we didn't have independence.
920
00:53:29,680 --> 00:53:33,280
For me, as a young girl, I noticed very, very early that
921
00:53:33,280 --> 00:53:35,600
it was important to become financially independent,
922
00:53:35,600 --> 00:53:37,120
as quickly as possible.
923
00:53:37,120 --> 00:53:39,320
My granny had drilled it into me at a very young age
924
00:53:39,320 --> 00:53:42,720
never to reveal my cash stash to any male relative,
925
00:53:42,720 --> 00:53:45,200
so that one's life wouldn't be controlled by the men -
926
00:53:45,200 --> 00:53:48,320
whether it was your father, or whoever it might be.
927
00:53:48,320 --> 00:53:50,520
And also to get out - to get out of Ireland.
928
00:53:51,600 --> 00:53:53,200
Couldn't wait to get out.
929
00:53:53,200 --> 00:53:57,000
Deliberately never looked behind me, out the window on the plane.
930
00:53:57,000 --> 00:54:00,800
# I'm dancing the seven veils
931
00:54:00,800 --> 00:54:04,280
# Want you to pick up my scarf
932
00:54:04,280 --> 00:54:06,240
# See how the black moon fades... #
933
00:54:06,240 --> 00:54:09,160
You know, in the '80s, you weren't really seeing women who were doing
934
00:54:09,160 --> 00:54:11,040
something very much on their own terms
935
00:54:11,040 --> 00:54:12,880
and then, Sinead comes along
936
00:54:12,880 --> 00:54:15,600
and I think she was 20 when Mandinka came out
937
00:54:15,600 --> 00:54:17,400
and there was this young,
938
00:54:17,400 --> 00:54:20,560
shaved-headed, doe-eyed girl
939
00:54:20,560 --> 00:54:23,080
with this unbelievable, huge,
940
00:54:23,080 --> 00:54:26,280
gospel-y, part-bardic voice.
941
00:54:26,280 --> 00:54:29,880
# I don't know no shame, I feel no pain
942
00:54:29,880 --> 00:54:32,840
# I can't
943
00:54:32,840 --> 00:54:36,440
# See the flame... #
944
00:54:36,440 --> 00:54:39,120
Somebody who was very much in charge of their own destiny,
945
00:54:39,120 --> 00:54:42,720
but just had this almost Amazonian...
946
00:54:42,720 --> 00:54:44,120
one-off-ness about her.
947
00:54:44,120 --> 00:54:46,160
There was nobody you could compare her to.
948
00:54:46,160 --> 00:54:50,520
# I do, Mandinka... #
949
00:54:50,520 --> 00:54:52,720
The passion is coming right up from the earth.
950
00:54:52,720 --> 00:54:54,800
She's like a tree or something.
951
00:54:54,800 --> 00:54:57,440
She's coming straight from the human soul.
952
00:54:59,040 --> 00:55:03,440
We can all kind of feel what she is expressing.
953
00:55:03,440 --> 00:55:05,960
She's like, expressing it for everybody else.
954
00:55:08,200 --> 00:55:11,520
In 1990, Sinead O'Connor's cover of the Prince song
955
00:55:11,520 --> 00:55:14,080
went to number one across the globe.
956
00:55:14,080 --> 00:55:16,880
She became the year's most unlikely pop star.
957
00:55:19,200 --> 00:55:23,240
It bought me, as a woman, enormous financial freedom.
958
00:55:23,240 --> 00:55:25,440
I didn't have to marry anyone,
959
00:55:25,440 --> 00:55:27,640
for any other reason other than I loved them.
960
00:55:27,640 --> 00:55:30,240
I didn't have to be with a fella to offer any reason I loved him.
961
00:55:30,240 --> 00:55:32,120
I could be with any kind of fella I liked.
962
00:55:32,120 --> 00:55:35,320
# Nothing can take away these blues
963
00:55:36,800 --> 00:55:41,760
# Cos nothing compares
964
00:55:41,760 --> 00:55:47,440
# Nothing compares 2 u... #
965
00:55:48,720 --> 00:55:50,720
While the money was very freeing,
966
00:55:50,720 --> 00:55:53,360
being a pop star all of a sudden
967
00:55:53,360 --> 00:55:55,480
and being expected to behave like one
968
00:55:55,480 --> 00:55:58,600
and all that kind of stuff was very, very confusing.
969
00:55:58,600 --> 00:56:01,080
Because it is required, if you're going to be a pop star,
970
00:56:01,080 --> 00:56:03,440
that you're not going to upset the boat about anything.
971
00:56:03,440 --> 00:56:05,560
If someone asks you what you think about Israel,
972
00:56:05,560 --> 00:56:08,280
you've got to say nothing - you're going to change the subject.
973
00:56:08,280 --> 00:56:10,160
If somebody asked you about abortion,
974
00:56:10,160 --> 00:56:12,840
you weren't going to answer the question, you were going to...
975
00:56:12,840 --> 00:56:14,400
play the game, as such.
976
00:56:14,400 --> 00:56:17,280
And that wasn't really in my nature.
977
00:56:17,280 --> 00:56:20,280
# We have confidence
978
00:56:20,280 --> 00:56:25,520
# In the victory of good
979
00:56:25,520 --> 00:56:30,560
# Over evil. #
980
00:56:34,280 --> 00:56:35,840
Fight the real enemy.
981
00:56:41,160 --> 00:56:45,280
It's a weird thing about pouty pop singers.
982
00:56:46,360 --> 00:56:49,000
The last thing they want to do when they get on telly
983
00:56:49,000 --> 00:56:51,400
is to talk about their new record or flog it, you know?
984
00:56:51,400 --> 00:56:53,240
They've got to go, "And another thing!
985
00:56:53,240 --> 00:56:54,800
"And this is wrong, and that..."
986
00:56:54,800 --> 00:56:59,120
All of them. You know, they never shut the fuck up, you know?
987
00:56:59,120 --> 00:57:00,720
It's true, isn't it?
988
00:57:00,720 --> 00:57:02,680
Like, they're always crapping on...
989
00:57:02,680 --> 00:57:06,440
You know, whatever, about me starting off, get Bono going -
990
00:57:06,440 --> 00:57:08,480
Jesus, he never shuts up.
991
00:57:08,480 --> 00:57:11,160
MUSIC: One by U2
992
00:57:14,520 --> 00:57:18,160
Rock music had become so symbolic of a changing Ireland
993
00:57:18,160 --> 00:57:21,160
that when a peace agreement was finally mooted in the North,
994
00:57:21,160 --> 00:57:25,400
the Yes campaign enlisted Bono to help them get their message across.
995
00:57:25,400 --> 00:57:29,240
I just think it's a great time to be here in Belfast
996
00:57:29,240 --> 00:57:32,160
and to be with these men...
997
00:57:32,160 --> 00:57:36,880
who've put aside...a lot.
998
00:57:36,880 --> 00:57:38,800
# You say
999
00:57:38,800 --> 00:57:41,240
# One love
1000
00:57:41,240 --> 00:57:43,880
# One life
1001
00:57:43,880 --> 00:57:46,280
# When it's one need
1002
00:57:46,280 --> 00:57:47,840
# In the night
1003
00:57:49,040 --> 00:57:51,560
# One love
1004
00:57:51,560 --> 00:57:54,160
# We get to share it
1005
00:57:54,160 --> 00:57:56,640
# Leaves you, darling
1006
00:57:56,640 --> 00:57:59,960
# If you don't care for it... #
1007
00:57:59,960 --> 00:58:03,680
I think that Ireland couldn't have been transformed
1008
00:58:03,680 --> 00:58:07,800
without that sort of group of musicians.
1009
00:58:07,800 --> 00:58:09,680
U2 and The Rats
1010
00:58:09,680 --> 00:58:11,560
and Sinead O'Connor - my sister -
1011
00:58:11,560 --> 00:58:15,520
and the earlier people, Rory Gallagher and everybody else.
1012
00:58:15,520 --> 00:58:17,960
I think those people changed their country
1013
00:58:17,960 --> 00:58:20,440
and their society for the better
1014
00:58:20,440 --> 00:58:23,160
and they had a lot of fun while they were doing it, you know?
1015
00:58:23,160 --> 00:58:26,360
They made fun legal in Ireland
1016
00:58:26,360 --> 00:58:29,520
and for that alone, they should be celebrated.
1017
00:58:29,520 --> 00:58:32,080
# Is it too late
1018
00:58:33,320 --> 00:58:35,920
# Tonight
1019
00:58:35,920 --> 00:58:40,600
# To drag the past out into the light
1020
00:58:40,600 --> 00:58:42,360
# We're one
1021
00:58:42,360 --> 00:58:45,360
# But we're not the same
1022
00:58:45,360 --> 00:58:48,400
# We get to carry each other
1023
00:58:48,400 --> 00:58:50,840
# Carry each other
1024
00:58:50,840 --> 00:58:53,960
# One... #
82859
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