Читать книгу Spice Girls: The Story of the World’s Greatest Girl Band - Sean Smith - Страница 10

Imagine you were casting a sit-com. That was what Chris Herbert did. He wanted characters who would appeal to everyone. The series Friends wouldn’t start until later in 1994 but his idea of throwing together a group of young people with different personalities, characteristics and quirks was very similar to the thinking behind the classic comedy.

He wanted to cover all bases: ‘I approached it as if I was a casting director, finding characters that appealed to every colour in the rainbow – finding a gang of girls everyone could relate to. We were looking to create a lifestyle act.’

In the early nineties there was no The X Factor, The Voice or Britain’s Got Talent. The new millennium celebrations would come and go before Pop Idol heralded a new era of Saturday night TV in 2001. There was no quick fix to becoming a pop star. None of the young women who became the Spice Girls was likely to thrive in those competitions.

The era of the Spice Girls was closer to Opportunity Knocks than one of the new reality talent shows. The old favourite, originally hosted by Hughie Green, left our screens for good in 1990.

Instead, young hopefuls would rush to buy the Stage newspaper every week. Chris Herbert, too, would go to auditions, not to grab a spot on a cruise ship but to hand out flyers about his new group and see for himself the sort of personalities who were out there seeking work.

He decided not to limit his search. He went to pubs, clubs, open-mic nights, dance studios – anywhere he could get his message out: ‘My number-one focus wasn’t looking for singers. I was looking for young girls seeking opportunities within entertainment. I was trying to cast the net as wide as possible.’ He even went to Butlins and Blackpool in his search for five stars. He was unlucky not to have come across Melanie before the big audition day.

Chris might have been a young man, filled with enthusiasm and energy for a great new idea, but he wasn’t a novice in the music business. He had grown up in that world and was at ease within it, well used to coming home from school and finding pop stars sitting on the sofa enjoying a cuppa.

His father, Bob Herbert, was a millionaire accountant, drove a Rolls-Royce and had a penchant for wearing white suits. Geri Halliwell memorably described him as looking like an extra from Miami Vice, the American cop show from the eighties that perfectly captured an era obsessed with designer fashion.

More pertinently from the point of view of the future Spice Girls, he had experience of nurturing young talent. He spotted the potential of two of his son’s teenage friends at the Collingwood College in Camberley, Surrey. They were twin brothers, Matt and Luke Goss. At the time they were only fifteen but Bob could see they had the looks to engage a strong female following.

Bob was of the music school that was always seeking to copy a successful formula. He saw the twins as a late eighties version of the Bay City Rollers, the teen heartthrobs of the previous decade. When the brothers formed a band called Gloss, with young bassist Craig Logan (Goss with an L for Logan), Bob stepped in to offer them advice and, more importantly, space to rehearse in his summerhouse. He helped to plot their futures, introduced them to songwriters and financed their demo tapes but, because of their age, could not sign them to a binding legal contract until they were eighteen. When they came of age they were snapped up by Tom Watkins, former manager of the Pet Shop Boys, who secured them a deal with CBS.

The whole nightmare sequence of events would come back to haunt Bob with the Spice Girls. Under the new name of Bros, the boys released their first single, ironically titled ‘I Owe You Nothing’, which, when re-released in 1988, would be their only UK number one. At this time, a very large poster of Matt Goss was adorning the bedroom wall of an ambitious teenager called Victoria Adams.

Undaunted, Bob decided to have another go at finding an all-conquering band. After his son left college, they went into partnership, forming a management company called Heart, with offices in the Surrey town of Lightwater. Bob was keen to develop a project for his son to take on but, like all good accountants, he preferred to find someone else to absorb the financial risk. He immediately thought of his old music compadre, Chic Murphy.

Tall and silver-haired, Chic had a tiny cross tattooed on his earlobe and spoke in an EastEnders Cockney accent, but he frequented the upmarket Surrey haunts more usually associated with stockbrokers and golfers. Chris Herbert describes Chic as ‘old school’, which in music-business terms means he played it tough and preferred an environment in which the artists had very little control over their destiny.

He had made his first fortune importing big American cars into the UK. Subsequently, he had seen the business possibilities of bringing US pop acts across the Atlantic. In the eighties he signed up chart regulars like the Drifters, who were plying their trade in Las Vegas, and brought them over to the blossoming cabaret club scene where venues like Caesar’s Palace in Dunstable or Blazers in Windsor could pack in a thousand people a night. It was very lucrative.

From the point of view of the future Spice Girls, his most important involvement was with the Three Degrees, the popular UK girl group of the seventies. The trio, modelled more or less on the Supremes, were originally part of the Philadelphia stable, a rival of Motown in the US. They had their biggest hit in the UK, however, in 1974 topping the charts with the disco favourite ‘When Will I See You Again’ before Melanie Brown and Emma Bunton were born.

The public profile of the Three Degrees increased greatly when the media decided they were the favourite group of Prince Charles. This might not have done wonders for their musical credibility but took them off the pages of NME and Melody Maker and into the columns of the national newspapers. They became much more famous. Prince Charles invited them to perform at his thirtieth birthday party at Buckingham Palace in 1978, and they were subsequently guests at his wedding to Lady Diana Spencer three years later. It would not be the last time the Prince gave an all-girl group the oxygen of priceless publicity.

By the end of the seventies the Three Degrees were moving inevitably towards the cabaret circuit. They were still very popular, though – the sort of act that always gets work – and throughout the eighties Chic Murphy had been a familiar figure at their gigs. Bob Herbert, who did all the accounts for the nightclubs, became part of the group’s management team and forged a long-standing alliance with Chic.

If Bob and Chic had decided things, the new band would have been the Spice Boys. The initial conversation in the offices of Heart Management was about putting a boy band together. In late 1993 Take That were everywhere, with three number-one singles in a row and the platinum-selling album Everything Changes. The entire music world was looking to jump on the bandwagon of their popularity.

Fortunately, for five ambitious young women, Chris Herbert had a better idea: ‘A boy band seemed like the obvious route into the market but I wasn’t that keen on it because I thought we were sort of late to the party. There were loads of them.’ As well as Take That, there was East 17, Bad Boys Inc and Worlds Apart, with the prospect of another arriving any minute, like a double-decker bus in Piccadilly. Chris explained, ‘My feeling was that boy bands of the time were only really appealing to 50 per cent of the market – a female audience. I wanted to put a girl band together that was a bit feisty, sexy and sassy so that they could appeal to both a female and male audience. The girls could relate to them and aspire to be them. The guys would just adore them.’

Bob and, in particular, Chic took a lot of convincing that a girl band was the way forward. Chris observed, ‘They were kind of following the market and it just seemed fairly radical that we should be doing the absolute opposite of that.’ The first thing they wanted to know was the strength of the opposition. It was anything but strong. An all-girl group called Milan were signed to Polydor in 1992 and looked promising for a couple of years, featuring a teenage Martine McCutcheon before she found stardom playing Tiffany in EastEnders. They opened for East 17 on tour but a few singles failed to set the charts alight and they folded in 1994.

Eternal represented more serious opposition. They had already achieved a couple of top-ten singles and their first album Always and Forever peaked at number two. Chris, however, did not see them as direct competition. Despite being very glamorous and including the lads-mag favourite Louise Nurding, they were basically a soulful vocal group specialising in R&B. ‘They were pretty slick and smooth,’ observed Chris. ‘I felt we needed more character.’

Eventually he got his way. ‘My dad was probably the first to come round to the idea, Chic less so. His approach was “Well, OK, go out and see what you can find and we’ll reassess it.” Actually, Chic was like that all the way through. He kind of let me out on a rein to go and do it and then was slightly cynical but I suppose he was prepared to see what turned up.’

At first, it seemed as if it was going to be a hard slog – until he paid £174 to place his own advertisement in the Stage. The now famous ad that would eventually lead to the formation of the Spice Girls appeared on 24 February 1994. It read:

R.U. 18–23 WITH THE ABILITY

TO SING/DANCE

R.U. STREETWISE, OUTGOING,

AMBITIOUS & DEDICATED

HEART MANAGEMENT LTD

are a widely successful

Music Industry Management Consortium

currently forming a choreographed, Singing/Dancing,

all Female Pop Act for a Record Recording Deal.

OPEN AUDITION

DANCE WORKS, 16 Balderton Street,

FRIDAY 4TH MARCH

11.00 a.m.–5.30 p.m.

PLEASE BRING SHEET MUSIC

OR BACKING CASSETTE

On the day, more than four hundred young hopefuls queued on the stairs of the studio off Oxford Street to impress the ‘panel’, consisting of Bob, Chris and his fiancée Shelley, who was a stylist. The girls were divided into groups of ten and put through their dancing paces to the sound of Eternal’s début hit ‘Stay’. The numbers were reduced to fifty before they were asked to do an individual song.

The panel kept rudimentary scorecards that would judge the girls on four categories: singing, dancing, looks and personality. It was the best and quickest way to whittle down the possibles into a short list. Melanie Brown performed her now regular audition song, ‘The Greatest Love of All’ by Whitney Houston. Chris gave her eight out of ten across the board.

She obviously stood out. It wasn’t just that she fitted his vision for the make-up of the group. She had a personality and charisma that shone. Chris recalled, ‘For me, she was the one who walked in and seemed the full package. She was good but she also just had the look. Her image was on point. She could sing and she had a big personality. On the day, I immediately thought, We have found one.’

Melanie had enjoyed the experience so much that she decided to skip the afternoon audition for the cruise ship, preferring to chat to some of the other girls before making her way back to Victoria station to get the coach home. Chris had told her he would be in touch and Melanie was confident she’d got it. She was right.