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MUSIC: 'You Spin Me Round'
by Dead Or Alive

2
00:00:04,220 --> 00:00:08,680
There was immense joy
when a record goes to number one.

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We knew, every five clays,
we had to churn out a hit.

4
00:00:12,700 --> 00:00:15,000
It was only a matter of
how did we make great pop music?

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Everything else
was secondary to that.

6
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As a team - magic.

7
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It's always clever,
it's always catchy.

8
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There was this smouldering genius
taking place.

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Over 100 top 40 hits
in a period of four or five years.

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I mean, nobody does that.

11
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MUSIC: 'Better The Devil You Know'
by Kylie Minogue

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It was classic pop.
It was uncompromised.

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That's what the '80s were, you know.
Stock Aitken Waterman defined it.

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I always look for the magic.

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There's some magic operating
in all hit songs.

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It was fun.

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It was super exciting. But they
were on a mission, big time.

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You were on the crest of a wave.

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The harder you work,
the luckier you get.

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MUSIC: 'Never Gonna Give You Up'
by Rick Astley

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It's a lot to have one hit,

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but to have
the whole of the top ten,

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that's just showing off, isn't it?

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Most people treated pop music
as trivial.

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It was more serious
than life and death to us.

26
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I knew the industry
was out to screw us.

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We had to fight all along.

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That it ended the way it did
was tragic.

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I'd probably had enough
by that time, you know,

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probably sick to death
of each other.

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I really do believe
the three of them are geniuses.

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I think the records
still sound as good today

35
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as they did 30, 35 years ago.

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MUSIC: 'Step Back In Time'
by Kylie Minogue

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00:02:01,020 --> 00:02:06,080
I'm just immensely proud
that I'm part of that legacy.

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It was a pretty wild ride.

39
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40
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41
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Step back in time.

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I don't see
anybody else's viewpoint,

43
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because I was driving a ship

44
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that was going in one direction
successfully.

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My job was to be absolutely focused
on delivering hits.

46
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Pete was like the, he,
the circus leader.

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Pete's larger than life.

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Anything was possible.

49
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Pete is the ideas man.

50
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Pete is Pete.
Pete Waterman is Pete Waterman,

51
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and he... he's a strong presence.

52
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He walks into the room,
and he's taken over for a minute.

53
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"Oh, I like that,
I like that, keep that."

54
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Ancl he'd be gone again, you know.

55
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He's calmed down and chilled out
an awful lot, I think,

56
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over the years, but back then,
he was like a box of fireworks.

57
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He's got what we call
a great ear for a pop song.

58
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Matt and Mike, I only ever
really saw them in the studio

59
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just getting on with it
and writing the songs.

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Matt is the kind of groove merchant.

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He's the guy that brings the,
you know,

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sometimes the kind of little
Nile Rodgers guitar elements in.

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I mean, Matt would get
on that guitar and you'd be like...

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As Jamaicans would say,
"Oh, where you come from?"

65
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You know?

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Matt was more just
kind of like the guy next door.

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Like, he'd be your...
that cool, laid back,

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but at the same time,
you knew he was about business.

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And so it was easy working with him
in the studio.

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Mike was the melody.

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A bit of a pop star
in his own right, but quiet with it.

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I mean, I watched Mike
disappear into a room for an hour

73
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and come back with a song.

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He's a fantastic keyboard player.
I love all the chords he uses.

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I think I had a bit of a crush
on Mike Stock, if I'm honest.

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Yeah, and I think he knew it,
if I'm honest.

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They all needed each other,
basically.

78
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So without either of them,
it doesn't work.

79
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You know what I mean?
Without Pete, it wouldn't work.

80
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Without Mike and Matt,
it wouldn't work.

81
00:04:07,300 --> 00:04:09,520
We achieved a lot together.

82
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Er... I don't think Mike and I,
certainly in the early days,

83
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wouldn't have done it without Pete.

84
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Pete achieved a lot, but he wouldn't
have done it without us,

85
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he couldn't have possibly done it
without us.

86
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They were more like artists
than writer/producers.

87
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The three of us grew up in an era

88
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where a single or an EP
was affordable,

89
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but an LP was a real expensive
thing.

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Singles was what we really
understood, and so we did singles.

91
00:04:33,660 --> 00:04:35,840
Welcome to the Hit Factory
in London.

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This is where a host of stars come
every week to make their records.

93
00:04:40,220 --> 00:04:42,480
Ancl for the last three years,
a record from this building

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has been in the top 40
every single week.

95
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Everything they touched
turned to gold.

96
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Only please believe us

97
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Respectable

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But you'll never change us

99
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Respectable.

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00:05:02,620 --> 00:05:05,720

You'll regret it someday

101
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102
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103
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104
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105
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106
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107
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108
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It was literally every record
they then produced, wrote, whatever,

109
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he, was a hit.

110
00:05:43,300 --> 00:05:44,560
Never Gonna Give You Up,

111
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that record is the absolute turning
point of everything in my life.

112
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I'm still unbelievably grateful
for it.

113
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I think more so now than I ever was
while it was being a hit

114
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and even for a few years after.

115
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But America's the big one.

116
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That's the one that usually,
for most British records,

117
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they go, "No, thanks."

118
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With the current countdown
to the number one hit in the USA,

119
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this is Rick Astley live,
Never Gonna Give You Up.

120
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And hurt you

121
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122
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123
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I mean, I know Rick Astley
took America by storm,

124
00:06:20,380 --> 00:06:25,440
and that was Rick's personality
and his vocal prowess.

125
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You know that
that record will be number one

126
00:06:28,260 --> 00:06:30,520
for three weeks, four weeks,
five weeks.

127
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It will start to die down
in the charts,

128
00:06:32,980 --> 00:06:36,960
so in eight weeks, you've got to be
looking for a new single.

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130
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131
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133
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134
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We, with Rick,
absolutely kept that ball spot on.

136
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Bang, bang, bang-

137
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138
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139
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I used to remember some rhyme
when we were kids.

140
00:07:13,060 --> 00:07:15,360
Ancl I went into the office and said,
"Do you remember this,

141
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"when we used to say,
'Together forever'?"

142
00:07:17,580 --> 00:07:20,760
Ancl Sherie said,
"And never to part."

143
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I said, "That was it!"

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145
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146
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I think having Together Forever
become number one in America as well

147
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after Never Gonna Give You Up
almost meant more to me

148
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because it meant, OK,

149
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they might not be throwing me
out the back door,

150
00:07:40,180 --> 00:07:42,680
it might not just be
a one-hit wonder, we've had two.

151
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We ended up selling
something like 12 million albums

152
00:07:45,380 --> 00:07:47,120
on the first album with Rick.

153
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Nobody in Britain was selling
12 million albums at that time.

154
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It was extraordinary.

155
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You were beginning to feel
they had that Midas touch

156
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and almost anything they did
had a chance of being a number one

157
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or a top five record.

158
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Suddenly, that changed
a lot of attitudes

159
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towards what the guys were doing.

160
00:08:01,820 --> 00:08:06,120
And it validated their song writing
and production abilities,

161
00:08:06,140 --> 00:08:09,320
without a doubt, with Rick Astley
and then Kylie Minogue.

162
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Wow, this is about to take off.

163
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164
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I still had my day job, by the way.

165
00:08:16,420 --> 00:08:18,440
I was still, you know,
getting my scripts,

166
00:08:18,460 --> 00:08:20,920
learning my lines for Neighbours,
driving to work,

167
00:08:20,940 --> 00:08:24,240
and those early clays, it was...

168
00:08:24,260 --> 00:08:26,840
yeah, I guess
I still had to pinch myself

169
00:08:26,860 --> 00:08:29,560
that this was really happening.

170
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The interesting thing
on I Should Be So Lucky

171
00:08:36,820 --> 00:08:40,080
is that it was number one
in 16 countries,

172
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and only two of those countries
had run Neighbours.

173
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So it wasn't about the TV show,

174
00:08:46,700 --> 00:08:50,880
it was about Kylie Minogue's voice
on that incredible song.

175
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We're number one for five weeks

176
00:08:52,300 --> 00:08:54,480
and somebody says,
"What's the follow-up?"

177
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And I'm... And then it's,
"Mike, you gotta go to Melbourne!"

178
00:08:57,860 --> 00:09:00,640
So I went out to Australia,

179
00:09:00,660 --> 00:09:03,840
and I got another
couple of songs recorded.

180
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181
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182
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183
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Any more.

185
00:09:19,180 --> 00:09:21,840
It was just hard work keeping up.

186
00:09:21,860 --> 00:09:24,520
"Here's the song,
here's the lyrics,

187
00:09:24,540 --> 00:09:27,320
"do it, quick,
move on to the next one."

188
00:09:27,340 --> 00:09:30,280
Ancl I really had to learn everything
on the job,

189
00:09:30,300 --> 00:09:33,160
which is pretty much
the story of my life.

190
00:09:35,980 --> 00:09:38,760
RICK ASTLEY: I've got masses
of respect for that woman.

191
00:09:38,780 --> 00:09:41,040
There's very, very, very few women

192
00:09:41,060 --> 00:09:44,720
who've managed to stick
to their guns and have the careers

193
00:09:44,740 --> 00:09:46,720
over the length of time
that they've had.

194
00:09:46,740 --> 00:09:49,680
Kylie was the perfect vehicle
for us.

195
00:09:49,700 --> 00:09:52,200
I suppose I'd been waiting
all my life for that to happen.

196
00:09:52,220 --> 00:09:57,600
I remember saying to Matt, "This is
gonna be a real purple patch for us,

197
00:09:57,620 --> 00:10:00,680
"because we can do any pop style
we want with Kylie

198
00:10:00,700 --> 00:10:03,840
"because she's just
the ideal perfect person."

199
00:10:03,860 --> 00:10:08,200


200
00:10:10,700 --> 00:10:14,040


201
00:10:14,060 --> 00:10:18,240


202
00:10:18,260 --> 00:10:22,200
She dances, she sings. She's lovely.

203
00:10:22,220 --> 00:10:25,600


204
00:10:25,620 --> 00:10:28,800
That's all I've ever wanted in my
whole life as a professional writer

205
00:10:28,820 --> 00:10:31,880
or musician - give me
somebody like that, you know.

206
00:10:35,020 --> 00:10:37,000
I was just a kid figuring it out.

207
00:10:37,020 --> 00:10:41,200
Ancl I had amazing people
to propel me in that direction.

208
00:10:41,220 --> 00:10:42,840
There's a real collaboration there.

209
00:10:42,860 --> 00:10:44,360
She was absolutely right for us,

210
00:10:44,380 --> 00:10:46,920
and we were absolutely right for her
at that time.

211
00:10:46,940 --> 00:10:50,120
Knowing what I know now
about the music industry, that's...

212
00:10:50,140 --> 00:10:53,320
that was a pretty amazing run.

213
00:10:53,340 --> 00:10:58,920
Being a, er, a partner of Kylie's at
the time and watching her blossom,

214
00:10:58,940 --> 00:11:01,160
you know, from the girl that I knew

215
00:11:01,180 --> 00:11:03,960
into this sort of
international pop star,

216
00:11:03,980 --> 00:11:08,160
it made me sort of get off my arse
a little bit, if I'm honest,

217
00:11:08,180 --> 00:11:11,160
when I saw what Kylie was doing.

218
00:11:11,180 --> 00:11:16,520
They sort of just asked me, would
I be interested in a record deal?

219
00:11:16,540 --> 00:11:20,080
When he arrived and came into
my office for the first meeting,

220
00:11:20,100 --> 00:11:24,760
he had a ponytail
and he had the manner of a rocker.

221
00:11:24,780 --> 00:11:27,880
Australia was kind of
ten years behind Britain

222
00:11:27,900 --> 00:11:30,440
at that point in the '80s in music

223
00:11:30,460 --> 00:11:33,840
and they were very much into rock,
that was their culture.

224
00:11:33,860 --> 00:11:35,720
Jason, lovely lad.

225
00:11:35,740 --> 00:11:40,040
Er, fine tone,
very fine tone in his voice.

226
00:11:40,060 --> 00:11:43,960
And we had a track we'd recorded
with Rick

227
00:11:43,980 --> 00:11:46,560
that was gonna be Rick's
next number one.

228
00:11:46,580 --> 00:11:48,440
Er, in fact,
when we were working on it,

229
00:11:48,460 --> 00:11:50,640
we called it Rick's next number one,

230
00:11:50,660 --> 00:11:52,320
I think,
before we'd even got a title.

231
00:11:52,340 --> 00:11:55,400
So this was this buzz of excitement
that Rick was coming in

232
00:11:55,420 --> 00:12:00,160
to record Nothing Can Divide Us,
which was written for him.

233
00:12:00,180 --> 00:12:04,920
I really wish they'd written
Never Gonna Give You Up part two.

234
00:12:04,940 --> 00:12:08,800
I really, really do, believe me.
But they didn't.

235
00:12:08,820 --> 00:12:12,840
I saw Rick, you know,
coming down the stairs ashen faced

236
00:12:12,860 --> 00:12:14,920
just heading for the door.

237
00:12:14,940 --> 00:12:18,000
It was just at the point
when Rick was teetering on the edge

238
00:12:18,020 --> 00:12:21,160
and he didn't like it
and didn't want it to be finished.

239
00:12:21,180 --> 00:12:23,040
So we had this number one hit
sitting there

240
00:12:23,060 --> 00:12:24,440
with nobody singing it.

241
00:12:24,460 --> 00:12:27,320
And it was in Jason's key
and Jason sang it really well,

242
00:12:27,340 --> 00:12:29,120
and that was Nothing Can Divide Us,

243
00:12:29,140 --> 00:12:30,880
and that was the start
of his career.

244
00:12:30,900 --> 00:12:34,560

Some things about me

245
00:12:34,580 --> 00:12:37,480


246
00:12:38,980 --> 00:12:41,680

About me.

247
00:12:44,700 --> 00:12:48,760
How do we bring Jason up to date?

248
00:12:48,780 --> 00:12:50,280
We introduced him to stylists,

249
00:12:50,300 --> 00:12:52,520
we had a great team of stylists
as well.

250
00:12:52,540 --> 00:12:58,400
Ancl gradually, once he had his hair
cut and the clothes were fantastic,

251
00:12:58,420 --> 00:12:59,880
and he became a pop star.

252
00:12:59,900 --> 00:13:04,520

I would never set you free

253
00:13:04,540 --> 00:13:08,720

And let everybody see

254
00:13:08,740 --> 00:13:11,600


255
00:13:11,620 --> 00:13:14,240


256
00:13:14,260 --> 00:13:16,680
I always knew what clothes
I wanted to wear

257
00:13:16,700 --> 00:13:19,520
and how I wanted to present myself,

258
00:13:19,540 --> 00:13:22,600
but when I cut my hair,

259
00:13:22,620 --> 00:13:29,280
things suddenly got really good
and really exciting.

260
00:13:29,300 --> 00:13:32,000
Scott! I'll thump you.

261
00:13:32,020 --> 00:13:34,360
I've only got half an hour
to fix the oil leak.

262
00:13:34,380 --> 00:13:37,520
All you have to say is yes
and then you can get on with it.

263
00:13:37,540 --> 00:13:39,920
I've heard that one before.
"Yes," what?

264
00:13:39,940 --> 00:13:43,360
Yes, I will.
"Yes, I will," what?

265
00:13:43,380 --> 00:13:44,760
Marry me?

266
00:13:44,780 --> 00:13:49,680
I was a bit dubious about recording
with Jason Donovan on his own,

267
00:13:49,700 --> 00:13:50,960
let alone as a duet.

268
00:13:50,980 --> 00:13:53,000
I was thinking, "Two soap stars?"

269
00:13:53,020 --> 00:13:54,680
I said,
"Oh, no, we're not doing a duet,

270
00:13:54,700 --> 00:13:56,560
"not with Kyl...
That would be too much."

271
00:13:56,580 --> 00:13:58,520
We were dead set against the idea

272
00:13:58,540 --> 00:14:00,880
of doing a duet
between the two of them.

273
00:14:00,900 --> 00:14:02,520
We thought it was naff.

274
00:14:02,540 --> 00:14:06,160
The demand from the trade,
the retailers and so on,

275
00:14:06,180 --> 00:14:08,000
particularly Woolworths,
was enormous.

276
00:14:08,020 --> 00:14:10,360
Everybody was demanding this record.

277
00:14:10,380 --> 00:14:12,720
It was just the right moment

278
00:14:12,740 --> 00:14:15,880
with the kind of mania
of Neighbours.

279
00:14:15,900 --> 00:14:18,200
Ancl Jason had started recording
and I'd...

280
00:14:18,220 --> 00:14:21,080
You know, we'd both had our success.

281
00:14:21,100 --> 00:14:26,920
Woolworths want to order
400,000 copies in advance.

282
00:14:26,940 --> 00:14:30,040
Oh, God. We've gotta do it, then.

283
00:14:30,060 --> 00:14:35,480
That is Mike Stock and Matt
and Pete at their best.

284
00:14:35,500 --> 00:14:37,160
That's where the team were.

285
00:14:37,180 --> 00:14:40,080
That's where the genius
of those guys came into play.

286
00:14:40,100 --> 00:14:43,080
I'd already been to Melbourne
to work with Kylie

287
00:14:43,100 --> 00:14:44,400
after I Should Be So Lucky,

288
00:14:44,420 --> 00:14:46,560
and then I'd gone out to Melbourne
to work with Jason

289
00:14:46,580 --> 00:14:48,600
to do his first album.

290
00:14:48,620 --> 00:14:50,360
My wife said,
"No, you're not going again,

291
00:14:50,380 --> 00:14:52,520
"tell one of the other two to go."

292
00:14:52,540 --> 00:14:56,240
So I recorded Especially For You

293
00:14:56,260 --> 00:15:00,840
with one of my girl singers
playing the Kylie part,

294
00:15:00,860 --> 00:15:02,280
and I played the Jason part.

295
00:15:02,300 --> 00:15:06,880
I recorded it, erm,
and Matt and Pete went,

296
00:15:06,900 --> 00:15:09,400
took the recording out to...

297
00:15:09,420 --> 00:15:12,080
I think they met them in Sydney
to record it.

298
00:15:12,100 --> 00:15:15,000


299
00:15:16,420 --> 00:15:20,560

I was feeling that way, too

300
00:15:22,340 --> 00:15:23,720


301
00:15:23,740 --> 00:15:26,680

Flown to you

302
00:15:26,700 --> 00:15:30,120


303
00:15:30,140 --> 00:15:32,720


304
00:15:32,740 --> 00:15:38,640
And the record was designed
not to be a Christmas song

305
00:15:38,660 --> 00:15:41,960
because Pete always said,
"I want this record to be played

306
00:15:41,980 --> 00:15:47,160
"on Boxing Day and on New Year's Day
and into 1989."

307
00:15:47,180 --> 00:15:49,160


308
00:15:49,180 --> 00:15:51,800


309
00:15:51,820 --> 00:15:54,600


310
00:15:54,620 --> 00:15:57,760


311
00:15:57,780 --> 00:16:00,840


312
00:16:00,860 --> 00:16:05,640


313
00:16:06,860 --> 00:16:10,080
KYLIE: Especially For You,
I'm always overwhelmed.

314
00:16:10,100 --> 00:16:15,440
It's more than a hit song
that people...

315
00:16:15,460 --> 00:16:17,880
still love.
It's... It's beyond that.

316
00:16:17,900 --> 00:16:20,480
It just avoids being too slushy.

317
00:16:20,500 --> 00:16:24,200
There's a lot of musical tension
in the track itself.

318
00:16:24,220 --> 00:16:26,000
Ancl a big part of that is the tempo,

319
00:16:26,020 --> 00:16:29,640
which is really achingly slow
for a four-on-the-floor beat,

320
00:16:29,660 --> 00:16:33,920
and it really shouldn't work, but it
just clings on by its fingertips.

321
00:16:35,420 --> 00:16:38,560
I'm thinking back to that
Top Of The Pops performance.

322
00:16:38,580 --> 00:16:40,520
I think we were quite nervous
about it.

323
00:16:40,540 --> 00:16:42,880
INDISTINCT

324
00:16:42,900 --> 00:16:44,920
All right, 9W5-

325
00:16:44,940 --> 00:16:46,480
Stage one.

326
00:16:46,500 --> 00:16:50,160
With gigantic great
cluster earrings or something.

327
00:16:50,180 --> 00:16:52,320


328
00:16:52,340 --> 00:16:56,960


329
00:16:58,260 --> 00:17:01,160
AUDIENCE CHEERING

330
00:17:01,180 --> 00:17:04,600
JASON: No, I didn't have any idea
that the Especially For You spin

331
00:17:04,620 --> 00:17:06,080
would be so iconic.

332
00:17:06,100 --> 00:17:09,320
It is quite sort of cheesy in a way,

333
00:17:09,340 --> 00:17:12,600
but it's sort of
what the public wanted.

334
00:17:12,620 --> 00:17:16,960
The kind of slow coming together,
the lift, the swing.

335
00:17:16,980 --> 00:17:21,160
It's so naive,
but it became a thing.

336
00:17:21,180 --> 00:17:23,560
This connection between two people.

337
00:17:23,580 --> 00:17:28,600
And it was a connection
as characters and as people,

338
00:17:28,620 --> 00:17:31,640
as we were at the time,
you know, as partners.

339
00:17:31,660 --> 00:17:34,000
You know,
are they or aren't they together?

340
00:17:34,020 --> 00:17:36,960
And it sort of...
It's a love story.

341
00:17:36,980 --> 00:17:38,720
You know, it's a love story.

342
00:17:38,740 --> 00:17:40,120
We did go to number one with that,

343
00:17:40,140 --> 00:17:41,960
but we didn't get
the Christmas number one,

344
00:17:41,980 --> 00:17:43,520
it went in at number one
in the January.

345
00:17:43,540 --> 00:17:45,040
We were held off
by Mistletoe And Wine.

346
00:17:45,060 --> 00:17:47,920
Went on to sell, like, 950,000.

347
00:17:47,940 --> 00:17:50,200
I've forgiven Cliff for that
since then.

348
00:17:50,220 --> 00:17:54,920


349
00:17:54,940 --> 00:17:57,280


350
00:17:57,300 --> 00:17:58,480


351
00:17:58,500 --> 00:18:02,160
When I perform that song,
people's nostalgia neurons

352
00:18:02,180 --> 00:18:03,640
are just firing everywhere.

353
00:18:03,660 --> 00:18:05,600
It was about the moment
and their childhood.

354
00:18:05,620 --> 00:18:09,560
Any time they see Jason and I
together,

355
00:18:09,580 --> 00:18:13,000
it's like, is this...
is this even happening?

356
00:18:13,020 --> 00:18:15,800
And then when we did the show
at the O2,

357
00:18:15,820 --> 00:18:19,320
I didn't realise they'd never
sung the song together live.

358
00:18:19,340 --> 00:18:21,320
Probably he and I are thinking
the same thing,

359
00:18:21,340 --> 00:18:25,160
"God, we're still here,
we're still doing this."

360
00:18:25,180 --> 00:18:27,360
I thinkjason and I talked about it,

361
00:18:27,380 --> 00:18:29,880
and we were going,
"We'd better not muck this up."

362
00:18:29,900 --> 00:18:32,760
You know, we weren't...
we weren't in our 20s any more,

363
00:18:32,780 --> 00:18:35,080
so we thought, we hope this works.

364
00:18:45,980 --> 00:18:48,240
I can't guarantee
we'll ever do it again.

365
00:18:49,540 --> 00:18:53,080
I don't think being a pop star...

366
00:18:53,100 --> 00:18:55,240
er, is a very natural thing
for anybody,

367
00:18:55,260 --> 00:18:57,560
but some people...

368
00:18:57,580 --> 00:18:58,920
some people manage to do it.

369
00:18:58,940 --> 00:19:01,120
Some people are born to do it,
perhaps.

370
00:19:01,140 --> 00:19:02,800
I don't think I was, really.

371
00:19:02,820 --> 00:19:06,240
Ancl Rick had been out promoting
all round the world on his own,

372
00:19:06,260 --> 00:19:08,240
other than with a tour manager.

373
00:19:08,260 --> 00:19:13,520
So we saw, pretty quickly,
a worn out artist.

374
00:19:13,540 --> 00:19:14,880
He'd come from the band.

375
00:19:14,900 --> 00:19:17,280
If you're in a band and you've
got that sort of a set-up,

376
00:19:17,300 --> 00:19:20,000
you've got your mates with you,
and you're having a good laugh,

377
00:19:20,020 --> 00:19:23,040
and you can wreck a few hotel rooms,
it makes it all worthwhile.

378
00:19:23,060 --> 00:19:25,720
Rick on his own, I think,
was a lonely business.

379
00:19:25,740 --> 00:19:27,480
Rick didn't want it.

380
00:19:27,500 --> 00:19:30,160
So at the height at all of this,
Rick just went,

381
00:19:30,180 --> 00:19:34,040
"No, no, I'm not doing it,
I don't want to do it."

382
00:19:34,060 --> 00:19:35,720
Cos he wasn't comfortable.

383
00:19:50,700 --> 00:19:52,320
RICK: I developed a fear of flying.

384
00:19:52,340 --> 00:19:54,560
I didn't want to go
and promote records.

385
00:19:54,580 --> 00:19:56,080
I didn't want to do any of it,
really.

386
00:19:56,100 --> 00:19:58,840
I was super lucky that I had
a massive amount of success

387
00:19:58,860 --> 00:20:00,640
in a very short space of time.

388
00:20:00,660 --> 00:20:02,880
Somebody gave me
a truckload of money for it,

389
00:20:02,900 --> 00:20:05,760
and I went, "OK, I'm done."

390
00:20:05,780 --> 00:20:08,240
Be careful what you can dream of.

391
00:20:08,260 --> 00:20:10,760
It... It takes a lot of work.

392
00:20:10,780 --> 00:20:13,080
It takes a lot of anxiety.

393
00:20:14,860 --> 00:20:18,360
You know, my mates were in Australia
surfing up and down the coast,

394
00:20:18,380 --> 00:20:23,200
and I was, you know, on a plane,
you know, working my arse off.

395
00:20:24,900 --> 00:20:27,600
We'd written this song,
Too Many Broken Hearts.

396
00:20:27,620 --> 00:20:30,920
He comes into England
on February 10th, we record it,

397
00:20:30,940 --> 00:20:33,680
we finish the record,
we shoot a video,

398
00:20:33,700 --> 00:20:37,200
and the song is number one
on March 10th.

399
00:20:37,220 --> 00:20:38,960
At the time we were doing
what we were doing,

400
00:20:38,980 --> 00:20:40,560
I think we were the only ones
in the world

401
00:20:40,580 --> 00:20:42,800
doing what we were doing
in the way we were doing it.

402
00:20:44,020 --> 00:20:46,280
You know,
that's how quickly we moved.

403
00:20:46,300 --> 00:20:48,880
But we could move
as an independent company.

404
00:20:48,900 --> 00:20:52,520
Er, it would take a year-and-a-half
now to try and do that.

405
00:20:52,540 --> 00:20:55,760

You talked about leaving

406
00:20:55,780 --> 00:21:00,240


407
00:21:00,260 --> 00:21:03,320
And I'll never forget
when Pete heard the record,

408
00:21:03,340 --> 00:21:05,760
he went, "Kerching."

409
00:21:05,780 --> 00:21:09,000
I mean, Too Many Broken Hearts
was an amazing hit.

410
00:21:09,020 --> 00:21:10,480
I mean, that shocked us.

411
00:21:10,500 --> 00:21:13,560
I remember that week
it went to number one...

412
00:21:13,580 --> 00:21:19,200
He was in... On the Wednesday night,
he was in a series about Anzacs.

413
00:21:19,220 --> 00:21:21,680
Yeah, I got my hair actually cut
not for the music,

414
00:21:21,700 --> 00:21:25,560
I got my hair cut for a television
series called The Heroes.

415
00:21:25,580 --> 00:21:29,040
And I said to him, "Do me a favour,
Jase, tell me you die tonight."

416
00:21:29,060 --> 00:21:32,000
And he went, "I do."
I went, "Thank God for that."

417
00:21:32,020 --> 00:21:35,320
I said, "We'll sell double
the records on Saturday."

418
00:21:35,340 --> 00:21:38,520
Too Many Broken Hearts
sort of enabled me

419
00:21:38,540 --> 00:21:40,560
to create my own pop story,

420
00:21:40,580 --> 00:21:45,080
and it was the perfect song, er,
for the perfect time.

421
00:21:45,100 --> 00:21:48,480
I was looking different,
I was looking like a pop star.

422
00:21:48,500 --> 00:21:51,120
I was becoming my own person

423
00:21:51,140 --> 00:21:56,840
and I think Mike and Matt and Pete
gave me the best song

424
00:21:56,860 --> 00:22:01,080
to define me at that time.

425
00:22:01,100 --> 00:22:05,080

In the world

426
00:22:05,100 --> 00:22:09,080

Dreams can be broken in two

427
00:22:09,100 --> 00:22:12,440

In the world

428
00:22:12,460 --> 00:22:14,880


429
00:22:14,900 --> 00:22:17,360


430
00:22:17,380 --> 00:22:18,600
They just took off.

431
00:22:18,620 --> 00:22:21,520
I mean, really, really
ballistic a lly took off.

432
00:22:21,540 --> 00:22:28,240

For the summer

433
00:22:28,260 --> 00:22:32,120


434
00:22:32,140 --> 00:22:34,360


435
00:22:34,380 --> 00:22:38,520


436
00:22:39,700 --> 00:22:43,160


437
00:22:43,180 --> 00:22:47,120
Kylie and Jason come out
on our own in-house PWL label.

438
00:22:47,140 --> 00:22:49,720


439
00:22:50,820 --> 00:22:54,400


440
00:22:54,420 --> 00:22:56,600


441
00:22:56,620 --> 00:23:02,000

I love you more

442
00:23:02,020 --> 00:23:03,320


443
00:23:03,340 --> 00:23:08,040
I think you can't now think
of yourself as a cottage industry.

444
00:23:08,060 --> 00:23:09,880
Over the years,
the more I went there,

445
00:23:09,900 --> 00:23:13,800
the more platinum and gold records
there seemed to be on the walls.

446
00:23:13,820 --> 00:23:19,280
At some point,
we were 28% of the whole market.

447
00:23:19,300 --> 00:23:22,400

And tell me...

448
00:23:22,420 --> 00:23:27,560
Being part of that era,
it's amazing.

449
00:23:27,580 --> 00:23:30,360

And tell me

450
00:23:30,380 --> 00:23:33,360


451
00:23:33,380 --> 00:23:35,160


452
00:23:35,180 --> 00:23:39,040

Hand on your heart...

453
00:23:39,060 --> 00:23:40,640
There was a time when I thought,

454
00:23:40,660 --> 00:23:42,600
"You know what,
the eyes and the ears

455
00:23:42,620 --> 00:23:45,360
"of the business
are on us right now.

456
00:23:45,380 --> 00:23:46,880
"They're waiting for our next move.

457
00:23:46,900 --> 00:23:48,840
"They want to see
what we're going to do next."

458
00:23:48,860 --> 00:23:50,400
And that's a great feeling.

459
00:23:50,420 --> 00:23:53,480


460
00:23:53,500 --> 00:23:58,160


461
00:23:58,180 --> 00:24:01,360


462
00:24:01,380 --> 00:24:03,760


463
00:24:03,780 --> 00:24:07,600


464
00:24:07,620 --> 00:24:11,600
It was a resentment from the
industry that was coming back at us,

465
00:24:11,620 --> 00:24:14,680
where they were trying
to keep us down.

466
00:24:14,700 --> 00:24:18,880
And it's hard to, you know,
over-emphasise how tough this was.

467
00:24:18,900 --> 00:24:22,360


468
00:24:22,380 --> 00:24:25,800


469
00:24:25,820 --> 00:24:27,960


470
00:24:29,220 --> 00:24:32,720


471
00:24:32,740 --> 00:24:38,200

Pain in my heart

472
00:24:38,220 --> 00:24:43,200


473
00:24:43,220 --> 00:24:48,120
When you're talking about the 20,000
people employed by Sony or CBS,

474
00:24:48,140 --> 00:24:51,280
whoever they were at the time,
or Warner's or EMI,

475
00:24:51,300 --> 00:24:54,200
and the American bosses normally
were screaming down the phone,

476
00:24:54,220 --> 00:24:57,320
"Well, how come you're letting
these guys take your market share?

477
00:24:57,340 --> 00:24:59,960
"There's thousands of you,
and there's five of them.

478
00:24:59,980 --> 00:25:01,160
"What's going on?"

479
00:25:11,100 --> 00:25:15,080
I'm in LA,
at the California Hotel...

480
00:25:16,180 --> 00:25:19,200
...and Bruce,
who was Donna Summer's husband,

481
00:25:19,220 --> 00:25:21,200
comes over, he said,
"Pete, how are you?

482
00:25:21,220 --> 00:25:23,840
"Can I bring Donna over
to meet you?"

483
00:25:23,860 --> 00:25:26,000
Straightaway, she said,
"Could you write me a song?"

484
00:25:27,980 --> 00:25:31,080
And I said,
"Yeah, of course we can," you know.

485
00:25:31,100 --> 00:25:34,840
GARY DAVIES:
Donna Summer was just genius.

486
00:25:34,860 --> 00:25:37,280
Giorgio Moroder was the sound for me
for Donna Summer.

487
00:25:37,300 --> 00:25:41,000
I couldn't see how
Stock, Aitken and Waterman,

488
00:25:41,020 --> 00:25:42,960
what they would do with her sound.

489
00:25:42,980 --> 00:25:46,080
I grew up with the Moroder stuff.

490
00:25:46,100 --> 00:25:48,320
Actually, that stuff
was really influential

491
00:25:48,340 --> 00:25:51,600
on our early hi-NRG stuff,
you know, her '70s stuff.

492
00:25:51,620 --> 00:25:54,400
We thought it was incredible
that Donna was entertaining

493
00:25:54,420 --> 00:25:56,080
working with
Stock, Aitken and Waterman,

494
00:25:56,100 --> 00:25:57,560
and that was no disrespect to them.

495
00:25:57,580 --> 00:26:01,400
But, you know, it's a very kind of
European, English sound.

496
00:26:01,420 --> 00:26:03,200
Donna came from America.

497
00:26:03,220 --> 00:26:05,720
"What can we do with Donna?"

498
00:26:05,740 --> 00:26:07,760
And we've got a few other songs
ready to go,

499
00:26:07,780 --> 00:26:10,680
but I'm looking for something now
that you can make a statement with.

500
00:26:10,700 --> 00:26:13,120
I go to bed thinking about it.
I've got this idea in my head.

501
00:26:13,140 --> 00:26:15,640
I wake up, I go in the bath...

502
00:26:15,660 --> 00:26:18,520
and I'm getting
"This Time I Know It's For Real".

503
00:26:18,540 --> 00:26:21,400
I drive in the car to the studio.

504
00:26:21,420 --> 00:26:23,840
By that time,
I've sort of worked it out.

505
00:26:23,860 --> 00:26:26,280
There was a general hum
went round the building,

506
00:26:26,300 --> 00:26:29,240
and an atmosphere, you know, "Oh,
Donna Summer's coming in today."

507
00:26:29,260 --> 00:26:31,160
Ancl the whole building stops.

508
00:26:31,180 --> 00:26:33,680
So here's a singer that,
whatever you write,

509
00:26:33,700 --> 00:26:36,840
can perform it better
than you even dream about.

510
00:26:36,860 --> 00:26:42,000
MIMING:
How I'm feeling

511
00:26:42,020 --> 00:26:44,440


512
00:26:44,460 --> 00:26:45,800
Donna comes in...

513
00:26:45,820 --> 00:26:48,840
I always have to sing the tune
to the singer, to the artist,

514
00:26:48,860 --> 00:26:51,080
because it's the first time
they've ever heard it.

515
00:26:51,100 --> 00:26:53,040
And she sings it back to me.

516
00:26:53,060 --> 00:26:58,200
VOCALISING

517
00:26:58,220 --> 00:27:02,280
And she sings it back,
with embellishment.

518
00:27:02,300 --> 00:27:05,640

If I would let you know

519
00:27:05,660 --> 00:27:06,720


520
00:27:06,740 --> 00:27:10,160

Even if I knew...

521
00:27:10,180 --> 00:27:13,160
Part of the deal with Donna was
that we were gonna write with her.

522
00:27:13,180 --> 00:27:15,160
"This Time I Know It's For Real"
is an Americanism.

523
00:27:15,180 --> 00:27:16,280
We'd never have used it.

524
00:27:16,300 --> 00:27:22,200

I know it's for real...

525
00:27:22,220 --> 00:27:25,160
"Shout it out with a megaphone,"
or "a neon sign",

526
00:27:25,180 --> 00:27:26,880
those were her bits.

527
00:27:26,900 --> 00:27:31,640


528
00:27:31,660 --> 00:27:36,080


529
00:27:36,100 --> 00:27:38,320
She just absolutely leathered
everything we gave her.

530
00:27:38,340 --> 00:27:40,520
She was absolutely fantastic.
What a voice.

531
00:27:40,540 --> 00:27:42,080


532
00:27:42,100 --> 00:27:43,720


533
00:27:43,740 --> 00:27:47,560

To know

534
00:27:47,580 --> 00:27:55,200

I know it's for real...

535
00:27:55,220 --> 00:27:57,560
It's just a killer track.

536
00:27:57,580 --> 00:27:59,880
The fact she'd worked with
Stock, Aitken and Waterman,

537
00:27:59,900 --> 00:28:01,680
for us, it was like, "Wow!"

538
00:28:01,700 --> 00:28:03,440
Ancl by this time,

539
00:28:03,460 --> 00:28:06,520
we had the confidence
not to put too much on tape.

540
00:28:06,540 --> 00:28:10,200
So there's an economy on that track.
There's nothing that's, er...

541
00:28:10,220 --> 00:28:12,840
You know, there's no
"tik-a-tik-a-tik" going on.

542
00:28:12,860 --> 00:28:16,120
Donna Summer is different
from any other act we ever did.

543
00:28:16,140 --> 00:28:19,920
So we would do a single,
er, it would be a hit.

544
00:28:19,940 --> 00:28:23,000
We'd do a follow-up single,
and then if that was a hit,

545
00:28:23,020 --> 00:28:24,280
we'd do an album.

546
00:28:24,300 --> 00:28:28,200
She was with Geffen Records
in America.

547
00:28:28,220 --> 00:28:31,400
They didn't understand
that concept at all.

548
00:28:31,420 --> 00:28:33,560
It wasn't an option for them.

549
00:28:33,580 --> 00:28:35,720
So we had to do this album.

550
00:28:35,740 --> 00:28:37,640
She had some real strong beliefs

551
00:28:37,660 --> 00:28:41,360
about not singing songs
in the negative.

552
00:28:41,380 --> 00:28:43,360
I remember sitting her down and...

553
00:28:43,380 --> 00:28:45,720
Because it did get difficult,

554
00:28:45,740 --> 00:28:48,520
and I had to explain
that Shakespeare wrote about death,

555
00:28:48,540 --> 00:28:50,520
but he didn't actually die to do it.

556
00:28:50,540 --> 00:28:54,560

I don't wanna get hurt

557
00:28:54,580 --> 00:28:58,160

just another heartache

558
00:28:58,180 --> 00:29:00,640


559
00:29:00,660 --> 00:29:05,880

I've got to take...

560
00:29:05,900 --> 00:29:07,680
We'd made a few changes
to a couple of things,

561
00:29:07,700 --> 00:29:09,600
but she was absolutely delighted.

562
00:29:09,620 --> 00:29:11,480
She just went,
"This is exactly what I want."

563
00:29:11,500 --> 00:29:15,440


564
00:29:15,460 --> 00:29:17,880


565
00:29:17,900 --> 00:29:23,800


566
00:29:23,820 --> 00:29:31,820


567
00:29:31,940 --> 00:29:33,440
You get that with the best singers.

568
00:29:33,460 --> 00:29:35,200
I got it with Cliff,
with Paul McCartney.

569
00:29:35,220 --> 00:29:37,200
It was a great experience.

570
00:29:38,420 --> 00:29:41,360


571
00:29:41,380 --> 00:29:42,720


572
00:29:42,740 --> 00:29:45,920

Change...

573
00:29:45,940 --> 00:29:51,200
I got home one night from a club,
and I put the telly on,

574
00:29:51,220 --> 00:29:54,840
and they were talking about politics
at two in the morning.

575
00:29:54,860 --> 00:29:57,480
I thought, "I've just come in,
I've had a few beers,

576
00:29:57,500 --> 00:30:00,520
"the last thing I wanna hear about,
bloody politics on the telly."

577
00:30:00,540 --> 00:30:03,200
So about three weeks later,
I'm with David Liddiment,

578
00:30:03,220 --> 00:30:06,480
who was the controller at Granada,

579
00:30:06,500 --> 00:30:10,720
and I said, "Christ, your station
is rubbish at one in the morning."

580
00:30:10,740 --> 00:30:12,480
He said,
"Well, what's your answer, then?"

581
00:30:12,500 --> 00:30:14,640
"Well, why don't they come in
from the club

582
00:30:14,660 --> 00:30:16,240
"and we start another club?"

583
00:30:16,260 --> 00:30:19,360
"Go on."
"Well, we put a club on live."

584
00:30:20,580 --> 00:30:22,480
This is the Hitman.
And this is Her.

585
00:30:22,500 --> 00:30:24,920
Ancl this is Shelley's Laser do me
in Stoke!

586
00:30:24,940 --> 00:30:26,240
Yes!

587
00:30:26,260 --> 00:30:28,320
CHEERING AND APPLAUSE

588
00:30:28,340 --> 00:30:30,920
Loads of stuff,
all the usual sort of competitions,

589
00:30:30,940 --> 00:30:33,520
and also,
we've got some champion spinners in.

590
00:30:33,540 --> 00:30:35,840
They're probably an awful lot better
than I am. Oh!

591
00:30:35,860 --> 00:30:37,320
Oh'.
Whoa'.!

592
00:30:37,340 --> 00:30:40,720
Terrible. Bloody awful program me.
Awful idea.

593
00:30:40,740 --> 00:30:43,120
People remember me
more for The Hitman And Her

594
00:30:43,140 --> 00:30:44,520
than they do for anything else.

595
00:30:44,540 --> 00:30:46,160
I knew that The Hitman And Her

596
00:30:46,180 --> 00:30:48,800
was important
to Stock Aitken Waterman,

597
00:30:48,820 --> 00:30:51,640
cos it kept us in that
night-time club audience

598
00:30:51,660 --> 00:30:54,960
when the club scene
was changing dramatically.

599
00:30:54,980 --> 00:30:57,720
And the only way to stay in that

600
00:30:57,740 --> 00:31:03,040
was to have a brand
that stayed there alongside it all.

601
00:31:06,340 --> 00:31:10,120
The Hitman And Her created so much
grief within the partnership.

602
00:31:10,140 --> 00:31:14,320
I think he was on
twin trajectories, yeah.

603
00:31:14,340 --> 00:31:16,560
Possibly. Definitely.

604
00:31:16,580 --> 00:31:18,760
I mean, maybe we all were
to a certain extent,

605
00:31:18,780 --> 00:31:22,280
but Mike and I didn't go and do
a bloody radio show or a TV show,

606
00:31:22,300 --> 00:31:24,640
because we were knackered
by the end of the week.

607
00:31:24,660 --> 00:31:26,640
I did the pilot for that.

608
00:31:26,660 --> 00:31:27,840


609
00:31:27,860 --> 00:31:32,000
into love.

610
00:31:33,780 --> 00:31:37,360
As one of The Hit man's artists,
whenever we released a song,

611
00:31:37,380 --> 00:31:41,760
we'd be invited to perform at one of
The Hitman venues or locations.

612
00:31:43,620 --> 00:31:45,560
I think I did it three times,

613
00:31:45,580 --> 00:31:49,040
and, erm, yeah,
it was just bonkers, wasn't it?

614
00:31:49,060 --> 00:31:51,640
Before you go, just get a quick
round in. Get a quick round in.

615
00:31:51,660 --> 00:31:54,040
Go on, HazelL I'm gonna go
and sing a few songs now, Pete.

616
00:31:54,060 --> 00:31:55,720
Who's leaving who?
That's the very one.

617
00:31:55,740 --> 00:31:57,880
Hazell Dean, ladies and gentlemen!

618
00:31:57,900 --> 00:32:00,880
We did Who's Leaving Who in 1988,

619
00:32:00,900 --> 00:32:03,720
and that sort of
turned it all over again.

620
00:32:03,740 --> 00:32:05,520
Massive. It was a great song.

621
00:32:05,540 --> 00:32:07,840


622
00:32:07,860 --> 00:32:11,240


623
00:32:11,260 --> 00:32:13,440


624
00:32:13,460 --> 00:32:16,280



625
00:32:16,300 --> 00:32:19,520
There was something about
Stock Aitken Waterman.

626
00:32:19,540 --> 00:32:22,360
You wanted to be
a part of their gang, you know.

627
00:32:22,380 --> 00:32:24,560
They were creating magic, you know,

628
00:32:24,580 --> 00:32:26,760
that was reverberating
around the world.

629
00:32:26,780 --> 00:32:29,280
You'd hear records and you'd go,
"They've nicked that off us!"

630
00:32:29,300 --> 00:32:30,480
HE CHUCKLES

631
00:32:30,500 --> 00:32:33,520
So it proved
you were having a reach.

632
00:32:33,540 --> 00:32:37,200
They were creating this little slice
of three-and-a-half minutes

633
00:32:37,220 --> 00:32:40,800
that made everyone feel
fucking great, you know.

634
00:32:40,820 --> 00:32:43,000
If we had Jason Donovan
on a roadshow,

635
00:32:43,020 --> 00:32:46,840
I mean,
we would triple up on security.

636
00:32:48,140 --> 00:32:51,280
It was just pandemonia.

637
00:32:51,300 --> 00:32:54,560
These were things that had
never happened since The Beatles,

638
00:32:54,580 --> 00:32:57,480
in truth,
and everywhere that they went,

639
00:32:57,500 --> 00:32:59,400
it was just mayhem.

640
00:32:59,420 --> 00:33:02,160
Now onto the stage,
you've waited long enough -

641
00:33:02,180 --> 00:33:04,000
Jason Donovan!

642
00:33:04,020 --> 00:33:06,000
CHEERING AND APPLAUSE

643
00:33:07,980 --> 00:33:10,840
Thank you.
Welcome.

644
00:33:10,860 --> 00:33:13,840
Oh, there is a few people
here today, isn't there?

645
00:33:15,180 --> 00:33:19,400
I didn't feel sexualised
in any way, shape or form.

646
00:33:19,420 --> 00:33:22,680
I was very much in control
of my image. Always have been.

647
00:33:22,700 --> 00:33:24,880
It's the one thing
I knew a lot about.

648
00:33:24,900 --> 00:33:27,840

In the world

649
00:33:27,860 --> 00:33:32,200

Dreams can be broken in two

650
00:33:32,220 --> 00:33:35,720

In the world

651
00:33:35,740 --> 00:33:40,520

For you.

652
00:33:40,540 --> 00:33:43,120
There was these two girls
called Donna and Anne-Marie,

653
00:33:43,140 --> 00:33:47,760
who were, like, the Jason fans,
and they literally had pen all over,

654
00:33:47,780 --> 00:33:50,760
like, "Jason" written
that many times all over their face.

655
00:33:50,780 --> 00:33:52,120
And they got backstage,

656
00:33:52,140 --> 00:33:54,800
and they both had bottles
with Jason's name on it.

657
00:33:54,820 --> 00:33:56,760
Ancl they sat down,
they couldn't speak,

658
00:33:56,780 --> 00:33:59,200
they were crying,
they both had these empty bottles.

659
00:33:59,220 --> 00:34:01,040
And he was like,
"What are these bottles for?"

660
00:34:01,060 --> 00:34:03,960
Ancl they were like, "Could you
breathe into the bottles?"

661
00:34:03,980 --> 00:34:05,600
The Jason bottled breath thing...

662
00:34:05,620 --> 00:34:10,360
So, Jason undoes the top
and he breathes into the bottle

663
00:34:10,380 --> 00:34:13,960
and quickly put the top back on
so they could keep his breath.

664
00:34:13,980 --> 00:34:16,160
That's when it got sorta silly.

665
00:34:16,180 --> 00:34:19,200
It was phenomenal.
It was absolutely phenomenal.

666
00:34:19,220 --> 00:34:24,400
Ancl you realise at this point
what you had achieved

667
00:34:24,420 --> 00:34:26,120
in the eyes of the public.

668
00:34:26,140 --> 00:34:29,440
I wrote a letter to Pete, saying
I wanted to be a record producer.

669
00:34:29,460 --> 00:34:31,400
Surprisingly, he wrote back to me.

670
00:34:31,420 --> 00:34:35,640
I am like a big sponge.
I soak up information.

671
00:34:35,660 --> 00:34:40,960
Ancl so when I got any letters,
I responded,

672
00:34:40,980 --> 00:34:44,960
on the grounds that one of 'em
might know something I don't know.

673
00:34:44,980 --> 00:34:49,240
Ancl I was DJ at the time, Saturday
mornings on Radio City in Liverpool.

674
00:34:49,260 --> 00:34:53,520
Of course, I went down to meet Pete
as soon as he started the show.

675
00:34:53,540 --> 00:34:55,320
He would stand outside
the radio station.

676
00:34:55,340 --> 00:34:57,920
He would talk to the kids.
He would ask them what they wanted.

677
00:34:57,940 --> 00:35:01,960
Tony Wilson once said
I had the best AandR department

678
00:35:01,980 --> 00:35:03,800
in playgrounds in the world.

679
00:35:03,820 --> 00:35:06,960
Ancl he's right, cos kids
knew everything we were doing.

680
00:35:06,980 --> 00:35:09,360
Every Saturday,
we would go to the radio station.

681
00:35:09,380 --> 00:35:12,280
We would wait for Pete to arrive.
He'd drive up in his big red GTO,

682
00:35:12,300 --> 00:35:15,720
and there was always a girl outside,
long red hair

683
00:35:15,740 --> 00:35:17,920
and she would pass him a tape
every week.

684
00:35:17,940 --> 00:35:22,240
"Pete, Pete, listen, it's me.
I'm Sonia. Sonia Evans.

685
00:35:22,260 --> 00:35:25,200
"Please, please,
you've got to listen to my voice."

686
00:35:25,220 --> 00:35:27,120
Eventually,
he did listen to the tape.

687
00:35:27,140 --> 00:35:28,720
He said,
"I'll tell you what, then, kid,

688
00:35:28,740 --> 00:35:32,360
"come next Saturday on my radio show
and let's see what you got."

689
00:35:32,380 --> 00:35:35,360
Sonia performed live,
and I think that was him

690
00:35:35,380 --> 00:35:37,800
testing to see
what the audience reaction would be.

691
00:35:37,820 --> 00:35:39,960
And then the switchboards
were going like crazy.

692
00:35:39,980 --> 00:35:41,120
"Who's that girl?"

693
00:35:41,140 --> 00:35:45,520
And he said, "You're in luck, kid.
Would you like to sign with us?"

694
00:35:45,540 --> 00:35:47,080
And I was like, "Whoa!"

695
00:35:47,100 --> 00:35:51,400
We were in our peak period of just
being able to write to order.

696
00:35:51,420 --> 00:35:55,640
My big song came from
talking to Matt, Mike and Matt,

697
00:35:55,660 --> 00:35:58,760
and it must've took
probably about 40 minutes.

698
00:35:58,780 --> 00:36:00,520
And her voice was great,
and she's got...

699
00:36:00,540 --> 00:36:03,080
But she was rushing ahead
all the time.

700
00:36:03,100 --> 00:36:06,560
And that was just,
I think, adrenaline

701
00:36:06,580 --> 00:36:09,040
and enjoyment and enthusiasm.

702
00:36:09,060 --> 00:36:12,480
And I was trying to get her to,
"Hold back, Sonia, hold back."

703
00:36:12,500 --> 00:36:15,920
The next thing I knew, you know,
I'm on Top Of The Pops, number one.

704
00:36:15,940 --> 00:36:18,360


705
00:36:18,380 --> 00:36:20,520


706
00:36:20,540 --> 00:36:24,000


707
00:36:24,020 --> 00:36:28,240

From loving you

708
00:36:28,260 --> 00:36:32,000

What you put me through

709
00:36:32,020 --> 00:36:34,040


710
00:36:34,060 --> 00:36:38,360


711
00:36:38,380 --> 00:36:41,040
I was the first female artist

712
00:36:41,060 --> 00:36:44,240
to have five top 20 singles
from one album.

713
00:36:44,260 --> 00:36:46,040
I was absolutely chuffed with that.

714
00:36:46,060 --> 00:36:49,560
It was just hit after hit, really,
just one after the other.

715
00:36:49,580 --> 00:36:51,960
Being 18 years old...

716
00:36:51,980 --> 00:36:55,680
Oh, wow, singing those love...
brilliant songs,

717
00:36:55,700 --> 00:36:59,400
meeting the people that I met,
all the places I went to.

718
00:36:59,420 --> 00:37:01,200


719
00:37:01,220 --> 00:37:03,240


720
00:37:03,260 --> 00:37:06,920

You'll be OK

721
00:37:06,940 --> 00:37:08,880


722
00:37:10,940 --> 00:37:14,120


723
00:37:14,140 --> 00:37:16,760
I thank Pete
from the bottom of my heart.

724
00:37:16,780 --> 00:37:23,440
I was like a 30-year-old guy
making records for kids of 15 to 17.

725
00:37:23,460 --> 00:37:26,920
I can't possibly be in tune
with what they are.

726
00:37:26,940 --> 00:37:30,240
But by listening to them
and working with them,

727
00:37:30,260 --> 00:37:31,880
that's how you pick it up.

728
00:37:31,900 --> 00:37:35,600
Pete said, you know, "Come down and
visit us in the studio in London,"

729
00:37:35,620 --> 00:37:37,320
probably, you know, just being nice.

730
00:37:37,340 --> 00:37:39,520
I think we just arrived one clay,
and he was kind of like,

731
00:37:39,540 --> 00:37:40,960
"What, what are you doing here?"

732
00:37:40,980 --> 00:37:43,000
Like, you know,
these three kids from Liverpool.

733
00:37:43,020 --> 00:37:46,600
It was at the time when Kylie was
there recording her second album,

734
00:37:46,620 --> 00:37:49,000
and Jason was recording
his first album.

735
00:37:49,020 --> 00:37:50,760
Of course, they were an item -

736
00:37:50,780 --> 00:37:52,760
the much-rumoured
Kylie and Jason stories.

737
00:37:52,780 --> 00:37:56,120
You'd see them kissing in reception,
and it was a bit like...

738
00:37:56,140 --> 00:37:59,320
So she was the biggest pop star
in the UK at this time,

739
00:37:59,340 --> 00:38:02,000
and we were kids, and she was just
sitting in reception with us,

740
00:38:02,020 --> 00:38:05,160
hanging around, I guess, waiting
to be called back into the studio.

741
00:38:05,180 --> 00:38:06,920
Ancl we'd sit and chat with her.

742
00:38:06,940 --> 00:38:11,360
I guess you couldn't
get your fix of your pop stars

743
00:38:11,380 --> 00:38:14,280
or celebrities on social media
and that kind of thing then.

744
00:38:14,300 --> 00:38:18,080
You'd just...
They would trek to the Vine Yard

745
00:38:18,100 --> 00:38:20,680
and hope to glimpse someone.

746
00:38:20,700 --> 00:38:23,720
We did Stock Aitken Waterman tours,

747
00:38:23,740 --> 00:38:27,120
where we would have tour buses that
would take us around the country,

748
00:38:27,140 --> 00:38:31,880
and we'd do afternoon discos to kids
when they got out of school.

749
00:38:31,900 --> 00:38:34,200
As successful as they got,

750
00:38:34,220 --> 00:38:37,600
they still used to go to
this little cafe around the corner.

751
00:38:37,620 --> 00:38:40,160
They would go to the pub
every night,

752
00:38:40,180 --> 00:38:44,640
even though, at that point,
they were, without question,

753
00:38:44,660 --> 00:38:48,480
the most important people
in the music business in the world.

754
00:38:48,500 --> 00:38:52,320

I'm a fool

755
00:38:52,340 --> 00:38:55,760

So badly.

756
00:38:55,780 --> 00:38:59,320


757
00:38:59,340 --> 00:39:00,840


758
00:39:00,860 --> 00:39:02,760


759
00:39:02,780 --> 00:39:06,560
It was just an incredible time.
Lots of money coming in.

760
00:39:06,580 --> 00:39:07,920
And it became more hated.

761
00:39:07,940 --> 00:39:11,080
I mean, I think at one point,
Stock, Aitken and Waterman

762
00:39:11,100 --> 00:39:13,800
had seven or eight records
in the top ten in one week.

763
00:39:22,980 --> 00:39:27,360
Quite a lot of people
have talked to me about Big Fun,

764
00:39:27,380 --> 00:39:29,640
and they've been quite sneering
about it.

765
00:39:29,660 --> 00:39:33,840

I couldn't forget you

766
00:39:33,860 --> 00:39:36,160


767
00:39:37,700 --> 00:39:41,240

To see you again was...

768
00:39:41,260 --> 00:39:43,120
Pop is supposed to be fun.

769
00:39:43,140 --> 00:39:46,320
Some people think Big Fun
was a bit fun too far.

770
00:39:46,340 --> 00:39:48,320


771
00:39:48,340 --> 00:39:51,520


772
00:39:51,540 --> 00:39:56,240



773
00:39:56,260 --> 00:39:59,880
If I look back now,
and I look at the Big Fun period,

774
00:39:59,900 --> 00:40:03,800
I probably would not
have done Big Fun, OK,

775
00:40:03,820 --> 00:40:05,840
because it looked like
we were taking the mickey.

776
00:40:05,860 --> 00:40:08,760
It looked like we could take
three kids from the park

777
00:40:08,780 --> 00:40:10,160
and just turn them into hits.

778
00:40:10,180 --> 00:40:13,360
Now, as it happens,
they were probably the most popular

779
00:40:13,380 --> 00:40:15,360
out of all of the acts we had
on the Roadshow.

780
00:40:15,380 --> 00:40:18,240
Other, obviously,
than Kylie and Jason, and Sonia.

781
00:40:18,260 --> 00:40:20,520
Big Fun went down
better than anybody.

782
00:40:20,540 --> 00:40:24,720
In a way, Stock, Aitken and Waterman
really started what became

783
00:40:24,740 --> 00:40:26,760
the boy bands and X Factor,

784
00:40:26,780 --> 00:40:29,080
is you that can actually take
a front person

785
00:40:29,100 --> 00:40:34,440
and put a formula behind that person
and have commercial success.

786
00:40:34,460 --> 00:40:36,600
Sometimes, it lasts.

787
00:40:36,620 --> 00:40:39,600
Sometimes, it's very ephemeral.

788
00:40:39,620 --> 00:40:43,040
You know, we did make some stinkers.
There's no question about that.

789
00:40:43,060 --> 00:40:44,880
Some of them, you listen back,
and you think,

790
00:40:44,900 --> 00:40:46,360
"Oh, God, what were we thinking of?

791
00:40:46,380 --> 00:40:50,560
Or, "We weren't giving it full knobs
and whistles on that one, were we?

792
00:40:50,580 --> 00:40:52,360
"That was a bad week."

793
00:40:52,380 --> 00:40:56,320


794
00:40:56,340 --> 00:41:00,160

The songs we know.

795
00:41:00,180 --> 00:41:02,920
Some tracks, you heard them
and they'd just blow you away.

796
00:41:02,940 --> 00:41:05,320


797
00:41:05,340 --> 00:41:09,560

Change your ways.

798
00:41:09,580 --> 00:41:12,200
We made a terrific album with some
of the best songs we've ever written

799
00:41:12,220 --> 00:41:13,440
with Lonnie Gordon.

800
00:41:13,460 --> 00:41:17,680
But Lonnie was probably
a little mature to be a pop star.

801
00:41:17,700 --> 00:41:19,520
It doesn't mean
they weren't great records.

802
00:41:19,540 --> 00:41:21,720
She's got a strong voice,

803
00:41:21,740 --> 00:41:24,600
and the song just caught some...

804
00:41:24,620 --> 00:41:25,800
another bit of magic.

805
00:41:25,820 --> 00:41:28,520

Seen the light

806
00:41:28,540 --> 00:41:32,680

Go to my head

807
00:41:33,860 --> 00:41:36,280


808
00:41:36,300 --> 00:41:38,600


809
00:41:38,620 --> 00:41:41,440


810
00:41:41,460 --> 00:41:43,600


811
00:41:43,620 --> 00:41:47,000


812
00:41:47,020 --> 00:41:50,640

You'd never leave me

813
00:41:50,660 --> 00:41:54,320

All over again.

814
00:41:54,340 --> 00:41:55,800
In the very early '90s,

815
00:41:55,820 --> 00:41:59,520
it's not... not throwing an idea
that's too crazy here,

816
00:41:59,540 --> 00:42:01,240
but the world changed.

817
00:42:01,260 --> 00:42:02,680
Attitudes changed.

818
00:42:02,700 --> 00:42:04,480
I think with Kylie,

819
00:42:04,500 --> 00:42:08,080
she developed amazingly
as an artist.

820
00:42:08,100 --> 00:42:10,160
I wanted to get more involved.

821
00:42:10,180 --> 00:42:13,920
I wanted to do more
than turn up diligently,

822
00:42:13,940 --> 00:42:15,960
do the song, deliver the song.

823
00:42:15,980 --> 00:42:18,320
Pete said, "All right, kid,

824
00:42:18,340 --> 00:42:20,320
"what do you like,
what are you listening to?"

825
00:42:20,340 --> 00:42:23,320
MUSIC: 'Better The Devil You Know'
by Kylie Minogue

826
00:42:26,300 --> 00:42:29,600
By this stage, you know, starting
to get into club culture in London

827
00:42:29,620 --> 00:42:31,800
and all of that, and getting
a bit older and, you know,

828
00:42:31,820 --> 00:42:36,320
having a bit of a rebellious
late teens moment.

829
00:42:41,780 --> 00:42:44,000
She was saying all along
she wanted to do something

830
00:42:44,020 --> 00:42:46,680
a little less teenage-y,
more grown-up.

831
00:42:46,700 --> 00:42:48,280
So we were up for that.

832
00:42:48,300 --> 00:42:50,080
Yeah, music had changed a bit.

833
00:42:50,100 --> 00:42:52,560
Club music had become
very, very big.

834
00:42:52,580 --> 00:42:54,240
Kylie wanted to move on.

835
00:42:54,260 --> 00:42:58,320


836
00:42:58,340 --> 00:43:02,840


837
00:43:02,860 --> 00:43:05,120
And I think
it's an amazing illustration

838
00:43:05,140 --> 00:43:09,080
of how Stock Aitken Waterman
could really tap into the zeitgeist

839
00:43:09,100 --> 00:43:12,720
of what was happening
and spin that to work for them.

840
00:43:12,740 --> 00:43:17,520
You know, you watched Kylie
evolve into, you know,

841
00:43:17,540 --> 00:43:21,240
Better The Devil You Know
and Step Back In Time,

842
00:43:21,260 --> 00:43:25,720
and you could see her maturity
and her, I guess, sexuality

843
00:43:25,740 --> 00:43:30,000
and change in her artistic
expression move along with that.

844
00:43:30,020 --> 00:43:31,520


845
00:43:31,540 --> 00:43:33,720


846
00:43:33,740 --> 00:43:37,200

Step back in time.

847
00:43:37,220 --> 00:43:42,240
We were right, at that time,
the hottest writing team there was,

848
00:43:42,260 --> 00:43:46,480
and we were right in that vein
of just writing Kylie hits

849
00:43:46,500 --> 00:43:48,640
as if they'd...
they were easy to write.

850
00:43:48,660 --> 00:43:49,720


851
00:43:49,740 --> 00:43:52,600


852
00:43:52,620 --> 00:43:56,280

I really love you, love you?

853
00:43:56,300 --> 00:43:59,240
So we went back
to a more clubbier bass,

854
00:43:59,260 --> 00:44:01,840
and we went a little bit away
from pop-dance,

855
00:44:01,860 --> 00:44:03,680
a bit more back towards dance-pop.

856
00:44:05,660 --> 00:44:08,000
And, actually, on that album,

857
00:44:08,020 --> 00:44:10,200
there are quite a few
sort of techniques that we used

858
00:44:10,220 --> 00:44:12,720
that we hadn't used for a bit,
and it was nice to rediscover those.

859
00:44:12,740 --> 00:44:14,080


860
00:44:14,100 --> 00:44:16,560


861
00:44:16,580 --> 00:44:20,200


862
00:44:20,220 --> 00:44:24,440

To my very foundations

863
00:44:24,460 --> 00:44:27,760

Shocked by the power...

864
00:44:27,780 --> 00:44:29,720
By the time Rhythm Of Love came,

865
00:44:29,740 --> 00:44:34,880
and we had those four songs
that were just like a, you know,

866
00:44:34,900 --> 00:44:39,120
poof-poof-poof-poof
of such a solid collection,

867
00:44:39,140 --> 00:44:44,480
I guess we had worked together long
enough to nail it at that stage.

868
00:44:44,500 --> 00:44:45,640
When I listen to them now,

869
00:44:45,660 --> 00:44:48,000
I think, "That's good,
that's got something about it,

870
00:44:48,020 --> 00:44:49,560
"and there's a magic
going on there."

871
00:44:49,580 --> 00:44:52,720
That whole album is just brilliant.

872
00:44:52,740 --> 00:44:54,320
It's brilliant.

873
00:44:54,340 --> 00:44:57,080
Even when I didn't have the, erm...

874
00:44:57,100 --> 00:45:01,320
the time constraint of getting
from Australia to London,

875
00:45:01,340 --> 00:45:05,320
having to work, and get back and go
straight to work at the other end,

876
00:45:05,340 --> 00:45:08,160
they still worked
at an incredible pace.

877
00:45:08,180 --> 00:45:11,160
I did four albums in four years,
and then a greatest hits.

878
00:45:11,180 --> 00:45:15,480
So we... we didn't waste any time.

879
00:45:15,500 --> 00:45:18,640
You know,
so when Kylie decided to leave home,

880
00:45:18,660 --> 00:45:21,240
because we were like her dads,
she left home.

881
00:45:21,260 --> 00:45:24,360
We never really replaced her
or Jason, really,

882
00:45:24,380 --> 00:45:28,240
with people who
had enough wind in their sails.

883
00:45:28,260 --> 00:45:31,520
They had a forward thrust
before we even worked with them.

884
00:45:31,540 --> 00:45:33,920
I love the Kylie records. I loved...

885
00:45:33,940 --> 00:45:36,080
Ancl we're still great friends
to this clay.

886
00:45:36,100 --> 00:45:38,760
It was just Kylie became too big.

887
00:45:38,780 --> 00:45:42,360
I know that sounds crazy
because of all the money we earnt,

888
00:45:42,380 --> 00:45:46,160
but when an artist
becomes so dominant,

889
00:45:46,180 --> 00:45:49,040
then you have to take the money,
you can't be creative.

890
00:45:59,020 --> 00:46:02,080
You'd got three lads that took
on the world and made a fortune.

891
00:46:02,100 --> 00:46:05,880
There wasn't any lawyers involved,
there wasn't any managers involved.

892
00:46:05,900 --> 00:46:08,760
Then people get involved
and it's always,

893
00:46:08,780 --> 00:46:10,960
"Well, why has he got this
and why has he got that?"

894
00:46:12,380 --> 00:46:17,160
If you go from '85 to... to '91,
that's it,

895
00:46:17,180 --> 00:46:19,840
you know, you know,
in terms of the big stuff.

896
00:46:19,860 --> 00:46:21,280
We ran out of space,

897
00:46:21,300 --> 00:46:24,080
so we did the only thing
that was possible, really,

898
00:46:24,100 --> 00:46:26,600
was to buy a building next door...

899
00:46:26,620 --> 00:46:30,440
and move the administration staff
into that.

900
00:46:30,460 --> 00:46:33,960
I went across to what had been
the accounts office,

901
00:46:33,980 --> 00:46:36,800
which used to have three people
in it,

902
00:46:36,820 --> 00:46:39,880
and I walked through the door,
and there were about...

903
00:46:39,900 --> 00:46:42,080
I don't know, 20-30 desks in there.

904
00:46:42,100 --> 00:46:44,840
Er... and I thought,
"Who the hell are all these people?"

905
00:46:44,860 --> 00:46:48,680
You know, this is not us.
This has become something else.

906
00:46:48,700 --> 00:46:51,160
We were just a recording studio,
and they were the office.

907
00:46:51,180 --> 00:46:52,600
Ancl whenever I'd go over there,

908
00:46:52,620 --> 00:46:54,800
it was like walking into a firm
of accountants.

909
00:46:54,820 --> 00:46:59,120
So that destroyed whatever...
alchemy was going on.

910
00:46:59,140 --> 00:47:02,160
That was ripped apart at that point.

911
00:47:02,180 --> 00:47:05,080
I screamed and shouted at Pete and
told him that that was happening.

912
00:47:05,100 --> 00:47:07,920
Er... I don't know.

913
00:47:07,940 --> 00:47:09,680
When we were just doing it
as a job of work

914
00:47:09,700 --> 00:47:12,560
and going in and doing what
we did best, it was brilliant.

915
00:47:12,580 --> 00:47:13,680
It was...

916
00:47:15,980 --> 00:47:19,000
If you made a million pound,
you made a million pound.

917
00:47:19,020 --> 00:47:21,160
If you lost a million pound,
you lost a million pound.

918
00:47:21,180 --> 00:47:23,480
That was, you know, the way it was.

919
00:47:23,500 --> 00:47:26,920
It wasn't until later
that everybody got accountants

920
00:47:26,940 --> 00:47:30,360
that started to plan it all out
that, to me, ruined it all.

921
00:47:30,380 --> 00:47:34,840
Pete's desire to get back
into the clubs, er...

922
00:47:34,860 --> 00:47:37,240
was overriding a lot of things.

923
00:47:37,260 --> 00:47:39,000
Pete's focus was elsewhere, I think.

924
00:47:39,020 --> 00:47:42,720
Started an offshoot label
called PWL Continental,

925
00:47:42,740 --> 00:47:46,320
er... with the idea of signing
more club records

926
00:47:46,340 --> 00:47:49,400
that weren't necessarily
made at the studio.

927
00:47:49,420 --> 00:47:51,720
And this was
a real bone of contention

928
00:47:51,740 --> 00:47:54,200
between Stock and Nike“
and Waterman.

929
00:47:54,220 --> 00:47:55,920
We didn't make the records.

930
00:47:55,940 --> 00:47:58,120
They weren't
Stock Aitken Waterman records.

931
00:47:58,140 --> 00:48:00,680
These were made by the Belgians
and the Dutch.

932
00:48:00,700 --> 00:48:02,880
We were fighting
our own company here.

933
00:48:02,900 --> 00:48:05,680
We had a label and we had a team,

934
00:48:05,700 --> 00:48:09,200
and we felt that if we put our
efforts into making a decent record,

935
00:48:09,220 --> 00:48:12,880
it gets released and gets promoted
and... and we have a hit.

936
00:48:12,900 --> 00:48:16,720
Towards the end of 1990,
that wasn't happening any more.

937
00:48:16,740 --> 00:48:18,200
Tracks that we were finishing

938
00:48:18,220 --> 00:48:20,560
were being remixed
by lots of other people,

939
00:48:20,580 --> 00:48:22,840
and versions were being released

940
00:48:22,860 --> 00:48:24,880
that were not really
what we'd intended.

941
00:48:24,900 --> 00:48:27,360
And then the standard
of the music drops.

942
00:48:27,380 --> 00:48:32,520
You know, commercially and
business-wise, it was a good move,

943
00:48:32,540 --> 00:48:35,640
and especially, you know,
massive hits with 2 Unlimited,

944
00:48:35,660 --> 00:48:37,960
but it had nothing to do
with the studio team.

945
00:48:37,980 --> 00:48:42,320
My thought at the time was that we
should take a break for a few months

946
00:48:42,340 --> 00:48:44,240
and just do something different.

947
00:48:44,260 --> 00:48:46,760
And then we should have been
in a position

948
00:48:46,780 --> 00:48:50,040
where we could be selective
about what we do.

949
00:48:50,060 --> 00:48:52,800
But I think there was a requirement
to keep the wheels turning,

950
00:48:52,820 --> 00:48:56,440
keep... keep the, you know,
the productivity going

951
00:48:56,460 --> 00:48:58,720
because there were...
I hate to say it,

952
00:48:58,740 --> 00:49:00,640
there was, you know,
there were mouths to feed,

953
00:49:00,660 --> 00:49:02,840
there were other people
that relied on us to do that.

954
00:49:02,860 --> 00:49:06,240
I've got 60 staff that need paying
every month.

955
00:49:06,260 --> 00:49:11,040
I was running a business.
That business was eating money.

956
00:49:11,060 --> 00:49:13,480
The fun that I had
was on keeping going,

957
00:49:13,500 --> 00:49:15,920
not standing back
and patting myself on the back.

958
00:49:15,940 --> 00:49:18,440
I never did that. I just kept going.

959
00:49:18,460 --> 00:49:23,560
But that was my drive and that was
my, erm... that was what I loved.

960
00:49:23,580 --> 00:49:27,480
That was it, working.
It was its own reward.

961
00:49:28,700 --> 00:49:32,680
But Mike and Matt had that
relationship between themselves.

962
00:49:32,700 --> 00:49:35,840
They'd been... Had that relationship
well before I ever met them.

963
00:49:35,860 --> 00:49:38,400
It could get testy at times,
you know?

964
00:49:38,420 --> 00:49:41,920
Ancl only Mike could handle that.

965
00:49:41,940 --> 00:49:45,680
I mean, him and Matt would fight,
and I mean fight.

966
00:49:45,700 --> 00:49:47,320
The nearest we ever came to blows

967
00:49:47,340 --> 00:49:49,600
was we were both walking up
to the bank for some reason,

968
00:49:49,620 --> 00:49:52,200
I don't know why,
and we'd fallen out about something,

969
00:49:52,220 --> 00:49:55,240
and he pushed me and I pushed him.

970
00:49:55,260 --> 00:49:59,680
And, er... and we both looked at
each other and thought, "Oh, for..."

971
00:49:59,700 --> 00:50:02,520
You know?
"No. Let's not go there."

972
00:50:02,540 --> 00:50:07,040
What happened, really,
Matt decided he'd had enough.

973
00:50:07,060 --> 00:50:09,600
I had a fallout with Mike,
which was very unusual.

974
00:50:09,620 --> 00:50:11,240
He was being a complete arse.

975
00:50:11,260 --> 00:50:14,080
And he'd been being a complete arse
for two or three hours,

976
00:50:14,100 --> 00:50:16,280
and I thought,
"Oh, I'm not staying around here."

977
00:50:16,300 --> 00:50:18,920
So I just got my tackle and drive...
I drove home.

978
00:50:18,940 --> 00:50:22,800
And I thought, "Well, what are you
doing here? What are you doing?"

979
00:50:22,820 --> 00:50:26,680
And I went, I remember,
I got to High gate, where I lived,

980
00:50:26,700 --> 00:50:29,720
and I went to The Prince Of Wales
and had a pint of beer.

981
00:50:29,740 --> 00:50:32,400
It was middle of the afternoon,

982
00:50:32,420 --> 00:50:35,480
and this word came into my head,
which was "disaffected".

983
00:50:35,500 --> 00:50:38,520
I knew that Matt and Mike
had had some sort of falling out.

984
00:50:38,540 --> 00:50:40,320
Ancl I never saw Matt again.

985
00:50:40,340 --> 00:50:42,520
MATT: I expected the phone to ring
at some point,

986
00:50:42,540 --> 00:50:44,720
but it didn't ring for two or three
days, and I thought,

987
00:50:44,740 --> 00:50:47,040
"Well, fine, if that's the way
you feel, fine, screw you."

988
00:50:48,540 --> 00:50:51,240
When we were fighting together
as a team, we had common enemies.

989
00:50:51,260 --> 00:50:53,120
We then start to fight
against ourselves.

990
00:50:53,140 --> 00:50:55,320
I'd probably had enough
by that time, you know.

991
00:50:57,100 --> 00:51:01,440
Probably sick to death
of each other, you know?

992
00:51:01,460 --> 00:51:03,480
And that was a shock to the company.

993
00:51:03,500 --> 00:51:05,680
As I say, we had
a lot of employees at that time.

994
00:51:05,700 --> 00:51:11,040
We were a machine that was built
to handle this kind of product.

995
00:51:11,060 --> 00:51:15,280
As far as I was concerned,
Matt had decided to go motor racing.

996
00:51:15,300 --> 00:51:17,840
And I'd just had my daughter,
and I had a family,

997
00:51:17,860 --> 00:51:19,280
and I had my motor racing.

998
00:51:19,300 --> 00:51:21,000
I had a few bob.

999
00:51:21,020 --> 00:51:23,480
Matt decides to leave.

1000
00:51:23,500 --> 00:51:25,800
I decide to carry on for a while.

1001
00:51:25,820 --> 00:51:28,800
We soldiered on. Er... we had hits.

1002
00:51:28,820 --> 00:51:32,720
Er... you know, we were still going.

1003
00:51:32,740 --> 00:51:36,400
"Without us making music,"
I was saying to myself,

1004
00:51:36,420 --> 00:51:38,240
"everyone's out of a job."

1005
00:51:38,260 --> 00:51:43,920
But that was what I stayed for,
so to keep it going for the others.

1006
00:51:43,940 --> 00:51:47,360
David Howells came to me and said,
"Mike, look, if it was possible,

1007
00:51:47,380 --> 00:51:50,000
"we should get another album
recorded with Kylie."

1008
00:51:50,020 --> 00:51:52,680
So I telephoned Kylie
and she agreed, you know,

1009
00:51:52,700 --> 00:51:56,120
that she would record another album,
and we'd co-write it.

1010
00:51:56,140 --> 00:51:58,440
And, you know,
we had quite a few hits from that.

1011
00:51:58,460 --> 00:52:01,480
Following that, everything dried up,
there was nothing else to do.

1012
00:52:01,500 --> 00:52:03,000
Kylie had finally left.

1013
00:52:03,020 --> 00:52:06,000
Ancl I found myself on my own,
fighting everybody.

1014
00:52:06,020 --> 00:52:08,520
It wasn't the same, you know?
Because Matt...

1015
00:52:09,660 --> 00:52:12,440
...in hindsight, added to Mike

1016
00:52:12,460 --> 00:52:16,400
something that all the rest
of the musicians we brought in

1017
00:52:16,420 --> 00:52:19,960
just couldn't replicate.

1018
00:52:19,980 --> 00:52:22,040
Mike is really easy-going.

1019
00:52:22,060 --> 00:52:24,880
Mike probably is the probably
the least high-strung

1020
00:52:24,900 --> 00:52:26,400
out of the bunch, you know?

1021
00:52:26,420 --> 00:52:28,840
I love Pete.
But Pete is... Pete is Pete.

1022
00:52:28,860 --> 00:52:31,840
Pete Waterman is Pete Waterman,
and he is going...

1023
00:52:31,860 --> 00:52:33,680
He's a strong presence.

1024
00:52:33,700 --> 00:52:35,840
But Mike was fun.

1025
00:52:35,860 --> 00:52:37,720
Lovely person, Sybil.

1026
00:52:37,740 --> 00:52:42,120
Erm... first of all,
I did a cover of The Love I Lost.

1027
00:52:42,140 --> 00:52:44,360
The beginning of The Love I Lost,

1028
00:52:44,380 --> 00:52:46,960
one of the things I think
what might have happened

1029
00:52:46,980 --> 00:52:51,200
is that I was probably just
singing it before the track came on,

1030
00:52:51,220 --> 00:52:55,720
and the decision was made
based on some of just me singing.

1031
00:52:55,740 --> 00:53:00,800

Building my whole world around you

1032
00:53:00,820 --> 00:53:02,960


1033
00:53:02,980 --> 00:53:04,240
it just made sense.

1034
00:53:04,260 --> 00:53:06,200


1035
00:53:07,860 --> 00:53:11,600

Could make it on through

1036
00:53:12,740 --> 00:53:15,440


1037
00:53:15,460 --> 00:53:20,680

We just couldn't get along

1038
00:53:20,700 --> 00:53:22,920


1039
00:53:22,940 --> 00:53:25,880


1040
00:53:25,900 --> 00:53:30,400

The love, the love I lost

1041
00:53:30,420 --> 00:53:35,000

It was a sweet love...

1042
00:53:35,020 --> 00:53:38,840
As soon as we put it in the clubs,
it was, like... instant.

1043
00:53:38,860 --> 00:53:42,880
Probably the fastest hit we ever had
in that respect.

1044
00:53:42,900 --> 00:53:44,440
Because everybody knew Sybil.

1045
00:53:44,460 --> 00:53:48,120
So all the radio stations like Kiss
had all been supporting Sybil,

1046
00:53:48,140 --> 00:53:49,720
but they'd never had the big hit.

1047
00:53:49,740 --> 00:53:52,560
I was just actually
trying to get into my groove,

1048
00:53:52,580 --> 00:53:57,480
and I think that that's
how the idea was captured.

1049
00:53:57,500 --> 00:53:59,360


1050
00:54:01,020 --> 00:54:04,480

And I'll go my way

1051
00:54:04,500 --> 00:54:07,440


1052
00:54:07,460 --> 00:54:10,480


1053
00:54:10,500 --> 00:54:15,640

The love, the love I lost

1054
00:54:15,660 --> 00:54:19,320

It was a sweet love

1055
00:54:19,340 --> 00:54:20,840


1056
00:54:20,860 --> 00:54:22,440
I think she was probably
in the studio

1057
00:54:22,460 --> 00:54:26,120
for about four-and-a-half minutes,
which is the length of the single.

1058
00:54:26,140 --> 00:54:29,120
Just, you know, that was the great
thing with Sybil, you know?

1059
00:54:29,140 --> 00:54:31,320
Singers like that just come in,
do the job.

1060
00:54:31,340 --> 00:54:34,400
I could sing a pop record,
but I could sing a RandB soul record

1061
00:54:34,420 --> 00:54:36,680
and I could sing
a souly-dance record.

1062
00:54:36,700 --> 00:54:40,400
Those elements made me a little bit
different, and set me apart.

1063
00:54:40,420 --> 00:54:43,200


1064
00:54:43,220 --> 00:54:48,200

I'll give my love to ya

1065
00:54:48,220 --> 00:54:51,840


1066
00:54:51,860 --> 00:54:55,120


1067
00:54:55,140 --> 00:54:57,760
Ancl in the last year
I was working with Pete,

1068
00:54:57,780 --> 00:55:00,840
I did as much recording
and wrote as many songs,

1069
00:55:00,860 --> 00:55:03,480
but I think I only had
three records out.

1070
00:55:03,500 --> 00:55:07,240
We had some hits,
but they were on... outside labels.

1071
00:55:08,500 --> 00:55:11,880
Er, and all of the focus
of the company was moving into this,

1072
00:55:11,900 --> 00:55:14,920
"Bring records from here,
bring records from there."

1073
00:55:14,940 --> 00:55:16,640
Ancl what's the point
of having a writer,

1074
00:55:16,660 --> 00:55:18,320
what's the point
of having a producer,

1075
00:55:18,340 --> 00:55:20,520
what's the point
of having a studio if you do that?

1076
00:55:20,540 --> 00:55:26,360
Mike Stock decided he'd had enough,
and made the move by leaving.

1077
00:55:26,380 --> 00:55:28,720
I had a real break-up with Pete.

1078
00:55:28,740 --> 00:55:31,840
I really let fly,

1079
00:55:31,860 --> 00:55:36,360
because something as brilliant
as what we had

1080
00:55:36,380 --> 00:55:40,360
was being destroyed from the inside,
slowly, taken apart.

1081
00:55:40,380 --> 00:55:42,680
I just sat back and just said,

1082
00:55:42,700 --> 00:55:45,680
"I'll wait,
I'll let it all settle down

1083
00:55:45,700 --> 00:55:49,440
"and wait for it to come back
to me,"

1084
00:55:49,460 --> 00:55:51,160
which, of course, it always does

1085
00:55:51,180 --> 00:55:53,280
if you just sit there
and don't panic.

1086
00:56:05,140 --> 00:56:08,600
MIKE: Went round the corner,
bought a building, built a studio,

1087
00:56:08,620 --> 00:56:10,360
and got going again.

1088
00:56:10,380 --> 00:56:12,960
He rang me up one day, he said,
"Do you fancy making some records?"

1089
00:56:12,980 --> 00:56:14,560
I said, "Yeah, I'm not doing much."

1090
00:56:14,580 --> 00:56:18,080
We released Nicki French in the UK.
Had a hit over here.

1091
00:56:18,100 --> 00:56:20,280
Nicki French,
Total Eclipse Of The Heart,

1092
00:56:20,300 --> 00:56:21,800
got to number two in the States.

1093
00:56:21,820 --> 00:56:24,000
Kept off by Michael bloody Jackson.

1094
00:56:24,020 --> 00:56:25,880


1095
00:56:25,900 --> 00:56:31,080


1096
00:56:32,740 --> 00:56:34,520
We hooked up with Simon Cowell.

1097
00:56:34,540 --> 00:56:37,320
So, Simon said, "Mike, from now on,

1098
00:56:37,340 --> 00:56:39,720
"I'm only going to make number one
records with you."

1099
00:56:39,740 --> 00:56:42,320
Post, he...
Stock, Aitken and Waterman,

1100
00:56:42,340 --> 00:56:45,280
I had two actors signed
called Robson and Jerome.

1101
00:56:45,300 --> 00:56:48,000
They'd sung this song on a TV show.

1102
00:56:48,020 --> 00:56:51,440
Mike, fortunately, saw what I saw,

1103
00:56:51,460 --> 00:56:56,600
which was if we got these two guys
to actually record this song,

1104
00:56:56,620 --> 00:57:00,960
and, trust me, took a lot of calls
to persuade them.

1105
00:57:00,980 --> 00:57:05,440
And we got them in the studio,
and, Mike, thank God,

1106
00:57:05,460 --> 00:57:10,800
made that record Unchained Melody
for me, and it just went... crazy.

1107
00:57:10,820 --> 00:57:17,560


1108
00:57:17,580 --> 00:57:20,960


1109
00:57:20,980 --> 00:57:24,680


1110
00:57:24,700 --> 00:57:30,360


1111
00:57:38,260 --> 00:57:41,320
And so Matt and me, we do, er...
Unchained Melody,

1112
00:57:41,340 --> 00:57:44,320
and then three or four other singles
for that project.

1113
00:57:44,340 --> 00:57:46,080
Ancl they're massive.

1114
00:57:46,100 --> 00:57:49,000
Well, that's how I started to sell
millions and millions of records,

1115
00:57:49,020 --> 00:57:52,360
because I worked out
the power of television.

1116
00:57:52,380 --> 00:57:56,120
Simon was, and still is, to me,

1117
00:57:56,140 --> 00:58:00,320
the greatest dynamo
I've ever seen in my life.

1118
00:58:00,340 --> 00:58:02,000
I mean, Simon is focused,

1119
00:58:02,020 --> 00:58:05,600
and when he's focused,
he can walk through a wall.

1120
00:58:05,620 --> 00:58:10,440
I mean, what Pete did with Steps
was absolutely remarkable.

1121
00:58:10,460 --> 00:58:15,240
And he clearly took everything
that he'd learnt

1122
00:58:15,260 --> 00:58:18,080
during his
Stock, Aitken and Waterman days...

1123
00:58:18,100 --> 00:58:21,200
Because, you know, Steps,
when they started off, they were...

1124
00:58:21,220 --> 00:58:23,200
they were a line dance group.

1125
00:58:23,220 --> 00:58:25,800
Where can they go from here?
You know, that's it.

1126
00:58:25,820 --> 00:58:29,160
I met Tim and Vicky.
Ancl they were the managers.

1127
00:58:29,180 --> 00:58:33,400
Tim and Vicky had styled it on,
like, Mixed Spice,

1128
00:58:33,420 --> 00:58:36,880
so it was, like,
equivalent of Spice Girls.

1129
00:58:36,900 --> 00:58:40,040
I walked out and just said,
"No, it's ABBA on speed."

1130
00:58:40,060 --> 00:58:43,720


1131
00:58:43,740 --> 00:58:47,440


1132
00:58:47,460 --> 00:58:52,400
GARY DAVIES: He totally transformed
them into another pop phenomenon.

1133
00:58:54,340 --> 00:58:56,320
Ancl I knew exactly
where to take them,

1134
00:58:56,340 --> 00:58:59,720
and I knew that if I was...

1135
00:58:59,740 --> 00:59:02,160
absolutely ruthless...

1136
00:59:03,460 --> 00:59:07,760
...and guided where I wanted it
to go, it would work.

1137
00:59:07,780 --> 00:59:12,320
Package-wise, clothes-wise,
video-wise, presentation-wise,

1138
00:59:12,340 --> 00:59:14,120
they'd got it brilliant.

1139
00:59:14,140 --> 00:59:16,680


1140
00:59:16,700 --> 00:59:18,440


1141
00:59:18,460 --> 00:59:21,720

All night now...

1142
00:59:21,740 --> 00:59:22,920
It worked perfectly.

1143
00:59:22,940 --> 00:59:27,440
Then, of course, everybody starts
adding to it because it's so big.

1144
00:59:27,460 --> 00:59:29,640
I mean, they were so huge.

1145
00:59:29,660 --> 00:59:32,120

All night now...

1146
00:59:32,140 --> 00:59:33,840
They'd go over
and they'd work for Disney,

1147
00:59:33,860 --> 00:59:35,720
and Disney'd want them to do this
and that and...

1148
00:59:36,980 --> 00:59:39,040
...I'm no longer in charge.

1149
00:59:39,060 --> 00:59:42,800
And, you know, I go, "Well, you know
what? I've been here before."

1150
00:59:42,820 --> 00:59:45,880
Don't get upset about it, move on.

1151
01:00:07,820 --> 01:00:12,360
Apart, it doesn't work.
Together, it's magic.

1152
01:00:22,460 --> 01:00:25,000
Stock. Aitken.
Waterman.

1153
01:00:28,660 --> 01:00:32,080
Oh, it's so different
around here now. It's posh now.

1154
01:00:32,100 --> 01:00:35,640
Got windows in it. It didn't have
windows in it when we were here.

1155
01:00:35,660 --> 01:00:40,080
Who'd have thought 30 years ago,
we'd be here making a documentary?

1156
01:00:40,100 --> 01:00:42,320
People do come here.

1157
01:00:42,340 --> 01:00:44,520
Do they?
Yeah. Fans.

1158
01:00:44,540 --> 01:00:46,840
To do what?
To get snaps.

1159
01:00:46,860 --> 01:00:49,600
Shall we get a blue plaque?
We've tried.

1160
01:00:49,620 --> 01:00:51,320
Nobody's interested.

1161
01:00:51,340 --> 01:00:56,240
The main studio was here,
on the first floor.

1162
01:00:56,260 --> 01:01:00,080
Matt, that can't be the, er...
control room, though, can it? Yes.

1163
01:01:00,100 --> 01:01:03,480
Yeah, that was, Mike. And that
is where the tape machines were.

1164
01:01:03,500 --> 01:01:05,680
Ancl this was our office here.

1165
01:01:05,700 --> 01:01:07,560
That was Pete's office.
That was my office.

1166
01:01:07,580 --> 01:01:10,520
That one there. Yeah.
So that's where I had my train set.

1167
01:01:23,660 --> 01:01:27,520


1168
01:01:27,540 --> 01:01:31,040
--- 455'

1169
01:01:31,060 --> 01:01:34,000
JASON DONOVAN: It's never just
one part, it's the sum of three

1170
01:01:34,020 --> 01:01:38,280
that made Stock, Aitken and Waterman
the success they were.

1171
01:01:38,300 --> 01:01:41,720
Well, I think they'll be forever
known for having a volume,

1172
01:01:41,740 --> 01:01:43,400
a body of work.

1173
01:01:43,420 --> 01:01:46,200
The Motown team of the '80s.

1174
01:01:46,220 --> 01:01:47,640
They wrote great pop songs.

1175
01:01:47,660 --> 01:01:53,000
Responsible for the biggest pop hits
of the second half of the '80s.

1176
01:01:53,020 --> 01:01:54,360
They were great songwriters.

1177
01:01:54,380 --> 01:01:55,960
All the hits they achieved,

1178
01:01:55,980 --> 01:01:59,480
all the wonderful artists
that they found,

1179
01:01:59,500 --> 01:02:01,640
and they really touched people.

1180
01:02:01,660 --> 01:02:05,040
They were true to who they were,

1181
01:02:05,060 --> 01:02:07,320
and they allowed me
to be true to who I was.

1182
01:02:07,340 --> 01:02:11,560
It was a beautiful vibe
because they allowed you to be,

1183
01:02:11,580 --> 01:02:14,280
and so, therefore,
they got the best.

1184
01:02:14,300 --> 01:02:16,800
I think they're
some of the greatest songwriters...

1185
01:02:16,820 --> 01:02:20,000
the world, and, without
a shadow of a doubt, Britain,

1186
01:02:20,020 --> 01:02:21,440
have ever produced.

1187
01:02:21,460 --> 01:02:24,520
Legendary. I'd say they...

1188
01:02:24,540 --> 01:02:28,280
they have earned their place
in music history.

1189
01:02:28,300 --> 01:02:30,360
The public, the people that matter,

1190
01:02:30,380 --> 01:02:32,880
they're the ones that bought them,
they've always felt that.

1191
01:02:32,900 --> 01:02:34,720
But I think,
in terms of the critics,

1192
01:02:34,740 --> 01:02:38,400
they're finally, 30 years later,
starting to look at those records

1193
01:02:38,420 --> 01:02:40,680
and give them the respect
that they deserve.

1194
01:02:44,100 --> 01:02:45,680
Well, cheers.
Cheers. Cheers.

1195
01:02:45,700 --> 01:02:47,800
After 30 years.
Or so.

1196
01:02:50,220 --> 01:02:52,760
As a musician, I'd started with pop,

1197
01:02:52,780 --> 01:02:56,480
and gone through heavy rock and
jazz rock and all of these things,

1198
01:02:56,500 --> 01:03:00,920
and ended up back where I started,
doing pop with these two.

1199
01:03:00,940 --> 01:03:02,160
What we did was new.

1200
01:03:03,260 --> 01:03:06,280
Everything you see today is because
of Stock, Aitken and Waterman.

1201
01:03:06,300 --> 01:03:09,240
You know,
we were just the three of us,

1202
01:03:09,260 --> 01:03:12,120
and we had, at one time,
probably two staff.

1203
01:03:12,140 --> 01:03:16,080
I'm only now realising what kind
of an effect it had, really.

1204
01:03:16,100 --> 01:03:19,120
They do sound good.
They absolutely do sound good.

1205
01:03:19,140 --> 01:03:22,680
But I love the fact
that people still like it.

1206
01:03:23,900 --> 01:03:28,080

Lucky, lucky, lucky

1207
01:03:28,100 --> 01:03:30,920


1208
01:03:30,940 --> 01:03:33,800
You do know it!

1209
01:03:33,820 --> 01:03:36,960
I definitely spent a number of years

1210
01:03:36,980 --> 01:03:39,920
in a little personal wrestle
with I Should Be So Lucky.

1211
01:03:39,940 --> 01:03:43,480
I did try and run away from it
for a while.

1212
01:03:43,500 --> 01:03:45,280
And then,
at a certain point in time,

1213
01:03:45,300 --> 01:03:47,680
I realised you can run,
but you can't hide.

1214
01:03:47,700 --> 01:03:52,080

To give you all my loving...

1215
01:03:52,100 --> 01:03:56,840
It kind of came full circle,
and it became cool to do it again.

1216
01:03:56,860 --> 01:03:59,320
And now I love singing those songs.

1217
01:03:59,340 --> 01:04:02,920
Might have gone through a stage
where it was really uncool,

1218
01:04:02,940 --> 01:04:05,840
but I think now it's eternally cool.

1219
01:04:05,860 --> 01:04:08,000


1220
01:04:08,020 --> 01:04:10,400


1221
01:04:10,420 --> 01:04:14,640

And hurt you...

1222
01:04:14,660 --> 01:04:18,000

For so long...

1223
01:04:18,020 --> 01:04:19,760
WILD CHEERING

1224
01:04:19,780 --> 01:04:23,840

But you're too shy to say it

1225
01:04:23,860 --> 01:04:28,080

What's been going on

1226
01:04:28,100 --> 01:04:32,120

Ancl we're gonna play it...

1227
01:04:32,140 --> 01:04:35,040
RICK ASTLEY:
I sang with her at Hyde Park,

1228
01:04:35,060 --> 01:04:37,600
and it's just a fun place to be.

1229
01:04:37,620 --> 01:04:39,400

Too blind to see

1230
01:04:39,420 --> 01:04:41,680


1231
01:04:41,700 --> 01:04:44,000


1232
01:04:44,020 --> 01:04:47,080

And desert you...

1233
01:04:47,100 --> 01:04:50,880
Even though we didn't all
go on tours together on a bus,

1234
01:04:50,900 --> 01:04:52,840
we are kind of...

1235
01:04:52,860 --> 01:04:54,680
connected.

1236
01:04:54,700 --> 01:04:56,880


1237
01:04:56,900 --> 01:05:00,520



1238
01:05:00,540 --> 01:05:02,760
Ancl the fact that Jason turns up.

1239
01:05:02,780 --> 01:05:04,800
Because, believe me,
he turned up on his bike.

1240
01:05:04,820 --> 01:05:07,240
He just turned up. It was just,
like, "Well, come on, then."

1241
01:05:07,260 --> 01:05:09,720
WILD CHEERING

1242
01:05:09,740 --> 01:05:13,000
BAND PLAYS
'ESPECIALLY FOR YOU'

1243
01:05:13,020 --> 01:05:15,640
JASON DONOVAN: Stock, Aitken
and Waterman, they were doing it

1244
01:05:15,660 --> 01:05:17,960
to satisfy people
who just loved music,

1245
01:05:17,980 --> 01:05:20,840
and I think
that's the ultimate accolade.

1246
01:05:20,860 --> 01:05:25,680
And... I'm lucky and grateful
to have been part of their time.

1247
01:05:25,700 --> 01:05:30,200
And, um... yeah, lucky me.

1248
01:05:30,220 --> 01:05:33,960


1249
01:05:33,980 --> 01:05:36,720


1250
01:05:36,740 --> 01:05:39,280


1251
01:05:39,300 --> 01:05:42,040


1252
01:05:42,060 --> 01:05:44,360
Ancl obviously, she's a grown woman.
He's a grown man.

1253
01:05:44,380 --> 01:05:46,560
But for that moment,
they're back again,

1254
01:05:46,580 --> 01:05:50,440
and so the whole audience,
100,000, they're all back with them.

1255
01:05:50,460 --> 01:05:53,360
Ancl I think that is...
It's great. It's really great.

1256
01:05:53,380 --> 01:05:56,920
Ancl it's... it's nothing
to sort of put down in any way.

1257
01:05:56,940 --> 01:05:58,960
It should be elevated.

1258
01:05:58,980 --> 01:06:02,040
There is one thing I'd like to add
to all three of you - thank you.

1259
01:06:02,060 --> 01:06:04,200
I think they should do it
one more time.

1260
01:06:05,620 --> 01:06:07,560
I'm in.

1261
01:06:07,580 --> 01:06:12,160


1262
01:06:12,180 --> 01:06:15,200


1263
01:06:15,220 --> 01:06:18,320


1264
01:06:18,340 --> 01:06:21,600


1265
01:06:21,620 --> 01:06:27,720


1266
01:06:27,740 --> 01:06:30,280
How would you sum up, musically,
what you did?

1267
01:06:30,300 --> 01:06:31,680
FLM.

1268
01:06:33,700 --> 01:06:35,520
Fucking lovely, mate.

1269
01:06:35,540 --> 01:06:37,800
MUSIC: 'You Spin Me Round
(Like A Record)' by Dead Or Alive

1270
01:06:37,820 --> 01:06:39,320


1271
01:06:39,340 --> 01:06:44,120


1272
01:06:44,140 --> 01:06:46,880


1273
01:06:46,900 --> 01:06:51,440

just a little bit closer

1274
01:06:51,460 --> 01:06:54,000


1275
01:06:54,020 --> 01:06:56,080


1276
01:06:56,100 --> 01:07:00,080

Watch out, here I come

1277
01:07:00,100 --> 01:07:02,320

Baby, right round...

1278
01:07:02,340 --> 01:07:05,120
Three cheers
for Stock, Aitken and Waterman.

1279
01:07:06,740 --> 01:07:07,840
The end.