Browse content similar to 20/01/1977. Check below for episodes and series from the same categories and more!
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ORCHESTRA PLAYS | 0:00:02 | 0:00:05 | |
# You are my honey, honeysuckle | 0:00:08 | 0:00:12 | |
# I am the bee | 0:00:12 | 0:00:16 | |
# I'd like to sip the honey sweet | 0:00:16 | 0:00:19 | |
# From those red lips, you see | 0:00:19 | 0:00:23 | |
# I love you dearly, dearly | 0:00:23 | 0:00:27 | |
# And I want you to love me | 0:00:27 | 0:00:31 | |
# You are my honey, honeysuckle | 0:00:31 | 0:00:35 | |
# I am the bee. # | 0:00:35 | 0:00:41 | |
ORCHESTRA PLAYS | 0:00:45 | 0:00:47 | |
CHEERING | 0:00:49 | 0:00:52 | |
CHEERING | 0:00:58 | 0:00:59 | |
Once again! | 0:01:00 | 0:01:04 | |
Good evening, ladies and gentlemen. | 0:01:04 | 0:01:08 | |
-ALL: -Good evening! -Lovely. | 0:01:08 | 0:01:11 | |
Periphrastically! | 0:01:11 | 0:01:14 | |
Ooooh! | 0:01:14 | 0:01:15 | |
Para-polysyllabic! | 0:01:15 | 0:01:18 | |
Ohhh! | 0:01:18 | 0:01:20 | |
Primarily promulgating... the multipotent Players' Theatre | 0:01:20 | 0:01:25 | |
in perimeter to the irrepressibly unpredictable | 0:01:25 | 0:01:31 | |
Miss Sheila Steafel. | 0:01:31 | 0:01:34 | |
MUSIC: Oh! Mr Porter | 0:01:34 | 0:01:36 | |
CHATTER | 0:01:36 | 0:01:39 | |
# Oh! Mr Porter, what shall I do? | 0:01:41 | 0:01:45 | |
# I wanted to go to Birmingham | 0:01:45 | 0:01:47 | |
# And they're taking me on to Crewe | 0:01:47 | 0:01:48 | |
# Take me back to London as quickly as you can | 0:01:48 | 0:01:52 | |
# Oh! Mr Porter What a silly girl I am | 0:01:52 | 0:01:56 | |
# Send her back to London as quickly as you can | 0:01:56 | 0:02:00 | |
# Oh! Mr Porter What a silly girl I am | 0:02:00 | 0:02:03 | |
# Watching the trains come in | 0:02:05 | 0:02:09 | |
# Watching the trains come in | 0:02:09 | 0:02:13 | |
# We sit and hold each other's hand | 0:02:13 | 0:02:17 | |
# As only lovers understand | 0:02:17 | 0:02:22 | |
# Watching the trains come in | 0:02:22 | 0:02:27 | |
-# Hearing the porter shout... # -All aboard! | 0:02:27 | 0:02:30 | |
# When we have watched all the trains come in | 0:02:30 | 0:02:35 | |
# We watch all the trains go out | 0:02:35 | 0:02:38 | |
# Daddy's on the engine | 0:02:40 | 0:02:44 | |
# Don't be afraid | 0:02:44 | 0:02:48 | |
# Daddy knows what he is doing | 0:02:48 | 0:02:53 | |
# Said the little maid | 0:02:53 | 0:02:57 | |
# We'll never be in danger | 0:02:57 | 0:03:01 | |
# Don't you ever fear | 0:03:01 | 0:03:05 | |
# Everyone is safe | 0:03:05 | 0:03:09 | |
# Because my daddy's the engineer | 0:03:09 | 0:03:14 | |
# Everyone is safe | 0:03:15 | 0:03:18 | |
# Because her daddy's the engineer | 0:03:18 | 0:03:22 | |
# I arrived at Euston by the midnight train | 0:03:26 | 0:03:30 | |
# But when I got to the wicket | 0:03:30 | 0:03:31 | |
# There someone wanted to punch my ticket | 0:03:31 | 0:03:34 | |
# The guards and porters came round me by the score | 0:03:34 | 0:03:38 | |
# And I told them all I'd never had my ticket punched before | 0:03:38 | 0:03:41 | |
# She arrived at Euston by the midnight train | 0:03:41 | 0:03:46 | |
# But when she got to the wicket | 0:03:46 | 0:03:48 | |
# There someone wanted to punch her ticket | 0:03:48 | 0:03:50 | |
# The guards and porters came round her by the score | 0:03:50 | 0:03:53 | |
# And she told them all she'd never had her ticket punched before. # | 0:03:53 | 0:03:57 | |
WHISTLE BLOWS | 0:03:57 | 0:03:59 | |
MUSIC: When the Midnight Choo-Choo Leaves for Alabam' | 0:03:59 | 0:04:02 | |
# When the midnight choo-choo leaves for Alabam' | 0:04:02 | 0:04:07 | |
# I'll be right there | 0:04:07 | 0:04:09 | |
# I've got my fare | 0:04:09 | 0:04:12 | |
# When I see that rusty-haired conductor man | 0:04:12 | 0:04:17 | |
# I'll grab him by the collar | 0:04:17 | 0:04:19 | |
-# And I'll holler -Alabam'! Alabam'! | 0:04:19 | 0:04:22 | |
# That's where you stop your train | 0:04:22 | 0:04:25 | |
# That brings me back again | 0:04:25 | 0:04:27 | |
# Down home where I'll remain | 0:04:27 | 0:04:29 | |
# Where my honey lamb am | 0:04:29 | 0:04:33 | |
# I will be right there with bells | 0:04:33 | 0:04:36 | |
# When that old conductor yells | 0:04:36 | 0:04:38 | |
# All aboard! All aboard! | 0:04:38 | 0:04:41 | |
# All aboard for Alabam' | 0:04:41 | 0:04:44 | |
# All aboard! All aboard! | 0:04:44 | 0:04:46 | |
# All aboard for Alabam'! # | 0:04:46 | 0:04:52 | |
APPLAUSE | 0:04:52 | 0:04:55 | |
Ebullient... | 0:05:05 | 0:05:07 | |
terpsichorean... | 0:05:07 | 0:05:10 | |
bucolicism... | 0:05:10 | 0:05:12 | |
morris dancing. | 0:05:12 | 0:05:15 | |
Twinning in tintinnabulation, | 0:05:15 | 0:05:18 | |
Mr Ray C Davis and Mr Tudor Davies. | 0:05:18 | 0:05:22 | |
CHEERING | 0:05:22 | 0:05:25 | |
MUSIC: Come To The Fair | 0:05:25 | 0:05:27 | |
# The sun is a-shining to welcome the day | 0:05:33 | 0:05:35 | |
# With a heigh-ho, come to the fair | 0:05:35 | 0:05:38 | |
# The folks all singing So merry and gay | 0:05:38 | 0:05:41 | |
# With a heigh-ho, come to the fair | 0:05:41 | 0:05:43 | |
# All the stalls on the green are as bright as can be | 0:05:43 | 0:05:46 | |
# With trinkets and tokens So plenty to see | 0:05:46 | 0:05:48 | |
# So it's come, then, maidens and men | 0:05:48 | 0:05:51 | |
# To the fair in the pride of the morning | 0:05:51 | 0:05:54 | |
# So lock up your house There'll be plenty of fun | 0:05:54 | 0:05:56 | |
# With a heigh-ho | 0:05:56 | 0:05:59 | |
# Come to the fair. # | 0:05:59 | 0:06:01 | |
MUSIC CHANGES | 0:06:06 | 0:06:08 | |
HONK! | 0:06:11 | 0:06:13 | |
Boys, boys, boys, boys! | 0:06:29 | 0:06:33 | |
Boys! | 0:06:33 | 0:06:35 | |
Abandon this belligerent bellicosity. | 0:06:35 | 0:06:39 | |
I should think so, too. | 0:06:42 | 0:06:44 | |
GENTLE MUSIC | 0:06:44 | 0:06:46 | |
APPLAUSE | 0:07:04 | 0:07:06 | |
ORCHESTRA PLAYS | 0:07:06 | 0:07:08 | |
HE YELLS | 0:07:33 | 0:07:35 | |
MUSIC: Come to the Fair | 0:07:37 | 0:07:39 | |
MUSIC QUICKENS | 0:07:42 | 0:07:45 | |
Hey! | 0:07:45 | 0:07:47 | |
BOTH: Whoa! | 0:07:47 | 0:07:48 | |
Hey! | 0:07:48 | 0:07:49 | |
# So deck yourselves out in your finest array | 0:07:53 | 0:07:55 | |
# With a heigh-ho, come to the fair | 0:07:55 | 0:07:57 | |
# Maidens and men, come to the fair | 0:07:57 | 0:07:59 | |
# Come to the fair in the morning | 0:07:59 | 0:08:01 | |
# With a heigh-ho | 0:08:01 | 0:08:02 | |
# Come to the fai-ai-air. # | 0:08:02 | 0:08:09 | |
APPLAUSE | 0:08:09 | 0:08:12 | |
CHEERING | 0:08:25 | 0:08:27 | |
Continentally contributory | 0:08:38 | 0:08:41 | |
to our corybantic cornucopia... | 0:08:41 | 0:08:46 | |
Oooh! | 0:08:46 | 0:08:47 | |
More dancing. | 0:08:47 | 0:08:49 | |
Welcome to the convulsive capriciousness... | 0:08:49 | 0:08:53 | |
LAUGHTER | 0:08:53 | 0:08:55 | |
..of Elsa and Waldo. | 0:08:55 | 0:08:59 | |
CHEERING | 0:08:59 | 0:09:01 | |
ORCHESTRA PLAYS | 0:09:01 | 0:09:03 | |
APPLAUSE | 0:10:16 | 0:10:18 | |
MUSIC BUILDS | 0:11:23 | 0:11:26 | |
MUSIC STOPS | 0:11:32 | 0:11:34 | |
APPLAUSE | 0:11:34 | 0:11:35 | |
THEY SUCK IN AIR SHARPLY | 0:11:56 | 0:11:58 | |
SMOOCHING | 0:12:13 | 0:12:14 | |
SHE EXCLAIMS | 0:12:37 | 0:12:38 | |
Ohh! | 0:12:44 | 0:12:45 | |
TAP DANCING | 0:12:55 | 0:12:57 | |
SHE WITTERS | 0:13:08 | 0:13:10 | |
SHE WITTERS | 0:13:13 | 0:13:15 | |
CLICK, CLICK | 0:13:35 | 0:13:36 | |
CLICK | 0:13:40 | 0:13:41 | |
CLICK | 0:13:43 | 0:13:44 | |
CLICK, CLICK | 0:13:46 | 0:13:47 | |
CLICK, CLICK | 0:13:49 | 0:13:50 | |
CLICK, CLICK | 0:13:51 | 0:13:53 | |
TAP DANCING | 0:13:55 | 0:13:57 | |
SHE YELPS EXCITEDLY | 0:14:01 | 0:14:03 | |
Stop it! | 0:14:04 | 0:14:06 | |
Ohh! Oh! | 0:14:14 | 0:14:15 | |
SHE GIGGLES | 0:14:22 | 0:14:23 | |
CLICK, CLICK | 0:14:25 | 0:14:26 | |
SHE EXCLAIMS | 0:14:31 | 0:14:33 | |
DRUMS PLAY | 0:14:33 | 0:14:36 | |
CYMBAL CRASHES | 0:14:36 | 0:14:38 | |
APPLAUSE | 0:14:38 | 0:14:39 | |
ORCHESTRA PLAYS A SLOW TUNE | 0:14:39 | 0:14:41 | |
-Liquescent lilt of Lehar... -Ohhh! | 0:15:06 | 0:15:11 | |
..symphonic swirl of Strauss | 0:15:11 | 0:15:14 | |
in a Viennese extravaganza involving Players' Theatre Cavaliers | 0:15:14 | 0:15:21 | |
and the ravishingly velutinous... | 0:15:21 | 0:15:25 | |
Miss Rita Morris! | 0:15:25 | 0:15:28 | |
# As the years roll on | 0:15:31 | 0:15:34 | |
# After youth has gone | 0:15:34 | 0:15:36 | |
# We will remember Vienna | 0:15:36 | 0:15:39 | |
# Whence did they come | 0:15:39 | 0:15:41 | |
# Where did they go | 0:15:41 | 0:15:43 | |
# Those wonderful songs of Vienna? # | 0:15:43 | 0:15:51 | |
APPLAUSE | 0:15:53 | 0:15:56 | |
SHE SINGS IN GERMAN | 0:16:00 | 0:16:03 | |
APPLAUSE | 0:17:37 | 0:17:40 | |
# Are you going to dance? | 0:17:44 | 0:17:46 | |
# Mon ami, mon ami | 0:17:46 | 0:17:48 | |
# Well, do I have a chance? | 0:17:48 | 0:17:51 | |
# Not with me, as you see | 0:17:51 | 0:17:53 | |
# Do you find any faults | 0:17:53 | 0:17:54 | |
# In the way that I waltz? | 0:17:54 | 0:17:57 | |
# If you do, won't you please explain | 0:17:57 | 0:18:01 | |
# Shall we try, just we two? | 0:18:01 | 0:18:05 | |
# You and I | 0:18:05 | 0:18:07 | |
# I and you | 0:18:07 | 0:18:09 | |
# Let us believe the dream is true | 0:18:09 | 0:18:13 | |
# That you love me | 0:18:13 | 0:18:15 | |
# And I love you | 0:18:15 | 0:18:19 | |
# Say not love is a dream | 0:18:19 | 0:18:24 | |
# Say not that dream is vain | 0:18:24 | 0:18:28 | |
# Say not that cruel fate will redeem | 0:18:28 | 0:18:34 | |
# Every joy with pain | 0:18:34 | 0:18:38 | |
# Look not, look not beyond | 0:18:38 | 0:18:43 | |
# Joy so dear | 0:18:43 | 0:18:48 | |
# Two hearts may not despond | 0:18:48 | 0:18:53 | |
# For love knows naught of fear | 0:18:53 | 0:18:58 | |
# Love breaks every bond | 0:18:58 | 0:19:03 | |
# And love, true love | 0:19:03 | 0:19:08 | |
# Is here. # | 0:19:08 | 0:19:14 | |
# One day when we were young | 0:19:20 | 0:19:26 | |
# One wonderful morning in May | 0:19:26 | 0:19:32 | |
# You told me you loved me | 0:19:32 | 0:19:39 | |
# When we were young one day | 0:19:39 | 0:19:45 | |
# You told me you loved me | 0:19:45 | 0:19:49 | |
# And held me to your heart | 0:19:49 | 0:19:53 | |
# We laughed then and cried then | 0:19:53 | 0:19:57 | |
# Then came the time to part | 0:19:57 | 0:20:05 | |
# When songs of spring are sung | 0:20:08 | 0:20:15 | |
# Remember that morning in May | 0:20:15 | 0:20:21 | |
# Remember you loved me | 0:20:21 | 0:20:31 | |
# When we were young | 0:20:32 | 0:20:39 | |
# One day. # | 0:20:39 | 0:20:48 | |
APPLAUSE | 0:20:48 | 0:20:51 | |
# Good wines if you can afford 'em, tra-la-la-la-la-la-la | 0:20:52 | 0:20:56 | |
# Soon do away with boredom, tra-la-la-la-la-la-la | 0:20:56 | 0:20:59 | |
# Champagne can make you gladsome | 0:20:59 | 0:21:01 | |
# I know because I've had some | 0:21:01 | 0:21:03 | |
# A rosy glow inside you | 0:21:03 | 0:21:05 | |
# No conscience left to guide you | 0:21:05 | 0:21:07 | |
# A toast, a toast! | 0:21:07 | 0:21:08 | |
# To get another drink | 0:21:08 | 0:21:10 | |
# Join with me in praising the wine we love the most | 0:21:10 | 0:21:14 | |
# A toast, a toast | 0:21:14 | 0:21:16 | |
# A-ha! | 0:21:16 | 0:21:19 | |
# Champagne is quite the modern thing | 0:21:19 | 0:21:22 | |
# King of wine, wine of kings | 0:21:22 | 0:21:24 | |
# We give you this sparkled drink, tra-la-la-la, champagne | 0:21:24 | 0:21:27 | |
# Champagne is quite the modern thing | 0:21:27 | 0:21:29 | |
# King of wine, wine of kings | 0:21:29 | 0:21:31 | |
# We give you this sparkled drink | 0:21:31 | 0:21:33 | |
# Ah-ha-ha-haaaaa | 0:21:33 | 0:21:36 | |
# Champagne | 0:21:36 | 0:21:39 | |
# La-la-la-la-la-la-la, la-la-la-la-la-la, oi! # | 0:21:39 | 0:21:43 | |
APPLAUSE | 0:21:43 | 0:21:45 | |
# Danube so blue | 0:21:56 | 0:22:01 | |
# Sweet memories of you | 0:22:01 | 0:22:06 | |
# Still winding along | 0:22:06 | 0:22:10 | |
# Live on like a song | 0:22:10 | 0:22:14 | |
# So gently you flow | 0:22:14 | 0:22:19 | |
# Far down to the sea | 0:22:19 | 0:22:23 | |
# And we will agree | 0:22:23 | 0:22:26 | |
# On our paths | 0:22:26 | 0:22:28 | |
# You will see in our | 0:22:28 | 0:22:34 | |
# Our hearts. # | 0:22:34 | 0:22:44 | |
An engagingly inexhaustible inundation... | 0:22:59 | 0:23:03 | |
..of nugatory inanities... | 0:23:05 | 0:23:08 | |
..silly trifles... | 0:23:09 | 0:23:11 | |
..from two incorrigible messrs, | 0:23:12 | 0:23:16 | |
messrs, | 0:23:16 | 0:23:18 | |
Dailey & Wayne. | 0:23:18 | 0:23:21 | |
APPLAUSE | 0:23:21 | 0:23:23 | |
# Roses are shining in Picardy | 0:23:30 | 0:23:37 | |
# In the hush of... # | 0:23:37 | 0:23:40 | |
LOUD MARTIAL DRUMMING INTERRUPTS MUSIC | 0:23:40 | 0:23:43 | |
Thank you, thank you! | 0:23:53 | 0:23:55 | |
Thank you! | 0:23:55 | 0:23:58 | |
Thanking you. Thank you. | 0:23:58 | 0:24:00 | |
Thank you. | 0:24:01 | 0:24:03 | |
-Are you Mr Dailey? -Correct. | 0:24:06 | 0:24:08 | |
I've got a telegram for you, sir. | 0:24:08 | 0:24:10 | |
-Would you mind reading it? -Yes, I will. | 0:24:10 | 0:24:12 | |
"Dear Mr Dailey, | 0:24:12 | 0:24:14 | |
"you've just become the father of triplets." | 0:24:14 | 0:24:16 | |
-Well, I never did. -Go on, you must have done. | 0:24:17 | 0:24:20 | |
That's wonderful, sir, innit? | 0:24:23 | 0:24:25 | |
How do you know? | 0:24:25 | 0:24:27 | |
-That calls for a celebration. -Really? | 0:24:28 | 0:24:30 | |
Come in next door, I'll buy you a drink. | 0:24:30 | 0:24:32 | |
Uh, I don't drink. | 0:24:32 | 0:24:34 | |
Well, have a cigar. | 0:24:34 | 0:24:35 | |
I don't smoke. | 0:24:35 | 0:24:37 | |
You don't drink, you don't smoke? | 0:24:37 | 0:24:40 | |
-What do you do? -Read that telegram. | 0:24:40 | 0:24:42 | |
It's good, that, love, innit, eh? | 0:24:44 | 0:24:46 | |
-It's cheeky. -Enjoying yourself? | 0:24:46 | 0:24:48 | |
-Yes. -Why, what are you doing? | 0:24:48 | 0:24:49 | |
-Where are you from, love? -Bishop Auckland. | 0:24:53 | 0:24:55 | |
Oh, Bishop Auckland! | 0:24:55 | 0:24:56 | |
Ooh, really? | 0:24:58 | 0:24:59 | |
Ooh, Bishop Auckland. | 0:25:01 | 0:25:03 | |
Oh! | 0:25:04 | 0:25:06 | |
-It's very posh there. -Very posh. -Oh, very posh. | 0:25:06 | 0:25:09 | |
Get your fish and chips in a violin case there! | 0:25:09 | 0:25:11 | |
-You shouldn't say things like that to these people. -No? | 0:25:13 | 0:25:16 | |
This is a beautiful audience. | 0:25:16 | 0:25:18 | |
Look at the character, just look at the character on those faces. | 0:25:18 | 0:25:21 | |
Yeah, and look at the faces on those characters. | 0:25:23 | 0:25:26 | |
You shouldn't really say that. | 0:25:26 | 0:25:27 | |
These people don't come here to be insulted, you know. | 0:25:27 | 0:25:29 | |
Where do they generally go? | 0:25:29 | 0:25:32 | |
Bishop Auckland! | 0:25:32 | 0:25:33 | |
I think you should apologise to the chairman for insulting his audience. | 0:25:36 | 0:25:39 | |
Oh, I'm sorry, sir. | 0:25:39 | 0:25:41 | |
No, really and truthfully, I am sorry. | 0:25:41 | 0:25:42 | |
I'll apologise to you in French. | 0:25:42 | 0:25:45 | |
Do you speak French? | 0:25:45 | 0:25:46 | |
Heureusement, je peux me debrouiller. | 0:25:46 | 0:25:48 | |
-AUDIENCE: -Ohhh! | 0:25:49 | 0:25:52 | |
I beg your pardon? | 0:25:53 | 0:25:55 | |
Je dis, je peux me debrouiller. | 0:25:56 | 0:25:59 | |
Yeah, you clean it up. | 0:25:59 | 0:26:00 | |
I'll apologise in German. | 0:26:02 | 0:26:03 | |
-Mr Sachs. -Oh! | 0:26:05 | 0:26:07 | |
Do you mind idiots on this show? | 0:26:07 | 0:26:08 | |
I certainly do mind idiots on the show. | 0:26:08 | 0:26:11 | |
Well, would you mind him until I finish singing? | 0:26:11 | 0:26:14 | |
They don't think much of you, do they? | 0:26:14 | 0:26:17 | |
Maestro, Mary. | 0:26:17 | 0:26:19 | |
You know this. | 0:26:21 | 0:26:23 | |
# Her name was Mary, Mary | 0:26:23 | 0:26:27 | |
# Plain as any name can be... # | 0:26:27 | 0:26:29 | |
"And in society..." | 0:26:29 | 0:26:31 | |
# And in society | 0:26:31 | 0:26:32 | |
# Propriety | 0:26:32 | 0:26:35 | |
# Will say "Marie" | 0:26:35 | 0:26:39 | |
# But it was Mary, Mary... # | 0:26:39 | 0:26:42 | |
"Long before the fashion came." | 0:26:42 | 0:26:44 | |
# Long before the fashions came | 0:26:44 | 0:26:47 | |
# For there is something there | 0:26:47 | 0:26:49 | |
# That sounds so rare, it's a grand old name... # | 0:26:49 | 0:26:54 | |
All right! | 0:27:52 | 0:27:53 | |
Some among you will undoubtedly remember the honourable Emmeline. | 0:28:04 | 0:28:09 | |
Who could ever forget... | 0:28:09 | 0:28:11 | |
..her rendering | 0:28:12 | 0:28:14 | |
of I'm A Little Too Young To Know? | 0:28:14 | 0:28:17 | |
But she has since acquired some experience... | 0:28:17 | 0:28:22 | |
of eurhythmic dancing | 0:28:22 | 0:28:25 | |
and she's nearly learnt a song. | 0:28:25 | 0:28:27 | |
-AUDIENCE: -Ooh! | 0:28:27 | 0:28:29 | |
So here I am, it's my duty to foist her on you again. | 0:28:29 | 0:28:32 | |
Ladies and gentlemen, to your amazement, | 0:28:32 | 0:28:36 | |
the honourable Emmeline Wellington Boot! | 0:28:36 | 0:28:41 | |
CHEERING | 0:28:41 | 0:28:43 | |
LAUGHTER | 0:28:54 | 0:28:56 | |
-TUNELESSLY: -# A hermit who dwells in these solitudes crossed me | 0:29:03 | 0:29:10 | |
# As wayworn and faint up the mountains I pressed | 0:29:10 | 0:29:15 | |
# The aged man leaned on his staff to accost me | 0:29:17 | 0:29:22 | |
# And proffered his cell as my mansion of rest | 0:29:25 | 0:29:31 | |
# And nay, dearest father, right onward I rove | 0:29:31 | 0:29:35 | |
# No rest but the grave for the pilgrim of love | 0:29:35 | 0:29:41 | |
# Fo-o-or the | 0:29:42 | 0:29:46 | |
# Pilgrim of love, for the pilgrim of love | 0:29:46 | 0:29:51 | |
# Rest but the grave | 0:29:51 | 0:29:53 | |
# Fo-o-or | 0:29:53 | 0:29:55 | |
# The pilgrim of love | 0:29:55 | 0:29:59 | |
# But shaking his head, he denied my refusal | 0:30:14 | 0:30:20 | |
# And taking my hand to his cave I was led | 0:30:20 | 0:30:25 | |
# And there he laid bare all his wealth for perusal | 0:30:25 | 0:30:30 | |
# It quite overwhelmed me | 0:30:36 | 0:30:39 | |
# But bravely I said | 0:30:39 | 0:30:42 | |
# Nay, dearest father, right onward I rove | 0:30:42 | 0:30:47 | |
# No rest but the grave for the pilgrim of love... # | 0:30:47 | 0:30:51 | |
SHE BREATHES HEAVILY | 0:30:51 | 0:30:53 | |
# Fo-o-or the | 0:30:53 | 0:30:57 | |
# Pilgrim of love, for the pilgrim of love | 0:30:57 | 0:31:01 | |
# No rest but the grave fo-o-or | 0:31:01 | 0:31:05 | |
# The pilgrim of love | 0:31:05 | 0:31:09 | |
# "I am but a maiden," I said to him blushing | 0:31:09 | 0:31:15 | |
# And mother has hopes of a wedding in white | 0:31:17 | 0:31:22 | |
# He answered, "Come taste of the grapes I've been crushing | 0:31:24 | 0:31:28 | |
# "Honi soit qui mal y pense" | 0:31:31 | 0:31:34 | |
# I said, "Quite" | 0:31:34 | 0:31:36 | |
# Yes, dearest father, I rest in your grove | 0:31:36 | 0:31:42 | |
# It seems the right place for the pilgrim of loove...love | 0:31:42 | 0:31:47 | |
# Fo-o-or the | 0:31:47 | 0:31:50 | |
# Pilgrim of love, for the pilgrim of love | 0:31:50 | 0:31:55 | |
# It seems the right place | 0:31:55 | 0:31:58 | |
# Fo-o-o-o-o-orrr | 0:31:58 | 0:32:03 | |
# The pi-ilgr-i-im | 0:32:03 | 0:32:08 | |
# O-o-o-o-of | 0:32:08 | 0:32:13 | |
# Love. # | 0:32:17 | 0:32:20 | |
That was, of course, Ms Sheila Steafel. | 0:32:39 | 0:32:42 | |
And now, for you participatory reciprocity, | 0:32:42 | 0:32:46 | |
your own, your very, very own | 0:32:46 | 0:32:50 | |
Val Doonican! | 0:32:50 | 0:32:52 | |
Hey! | 0:32:54 | 0:32:57 | |
Ho! | 0:32:57 | 0:32:58 | |
Thank you! | 0:33:01 | 0:33:03 | |
# A half a dozen tourists stood outside a Limerick bar | 0:33:13 | 0:33:17 | |
# They thought they'd like to take a trip by Irish jaunting car | 0:33:17 | 0:33:21 | |
# They jumped up on the side seats and started down the street | 0:33:21 | 0:33:25 | |
# But they didn't see the character up in the driver's seat | 0:33:25 | 0:33:29 | |
# The jarvey was a leprechaun and had some magic powers | 0:33:32 | 0:33:35 | |
# He toured them through the Emerald Isle at 1,000mph | 0:33:35 | 0:33:39 | |
# A phantom horse was in the shafts and no-one was surprised | 0:33:39 | 0:33:43 | |
# For the jarvey was a leprechaun and he had them hypnotised | 0:33:43 | 0:33:48 | |
# He showed them Connemara on the way to Ireland's eye | 0:33:48 | 0:33:52 | |
# They heard him say that Galway Bay was frozen in July | 0:33:52 | 0:33:55 | |
# He had them kiss the Blarney Stone on Ballybunion Strand | 0:33:55 | 0:33:59 | |
# And a football team from Donegal was McNamara's band | 0:33:59 | 0:34:03 | |
# Yes, the jarvey was a leprechaun and did the trip so fast | 0:34:03 | 0:34:08 | |
# Although the horse had spouted wings, the pace it couldn't last | 0:34:08 | 0:34:11 | |
# He drove them up the airy mount and down the rushy glen | 0:34:11 | 0:34:17 | |
# And that jarvey and his passengers | 0:34:17 | 0:34:21 | |
# Were never seen again. # | 0:34:21 | 0:34:29 | |
CHEERING AND APPLAUSE | 0:34:30 | 0:34:32 | |
Thank you. Thank you very much, ladies and gentlemen. | 0:34:42 | 0:34:44 | |
A very good evening to you. Have you had enough? | 0:34:44 | 0:34:46 | |
-AUDIENCE: -No! | 0:34:46 | 0:34:48 | |
I'll sit down. | 0:34:48 | 0:34:49 | |
In case there's any people here who are not very well educated, | 0:34:49 | 0:34:52 | |
I would like to explain that that song, | 0:34:52 | 0:34:53 | |
the word "jarvey" in that song, | 0:34:53 | 0:34:55 | |
is simply an ancient Irish word meaning a sort of cabbie, | 0:34:55 | 0:34:59 | |
a fellow who drives a cab, or, in Ireland, a jaunting car, | 0:34:59 | 0:35:02 | |
so there we are. | 0:35:02 | 0:35:03 | |
I'm going to sing a song that I don't think you'll have | 0:35:03 | 0:35:05 | |
any problems understanding at all. Here we go. | 0:35:05 | 0:35:08 | |
# I'm going to marry in the fall | 0:35:20 | 0:35:25 | |
# And I ain't going to marry in the spring | 0:35:25 | 0:35:30 | |
# For I'm in love with a pretty girl | 0:35:30 | 0:35:35 | |
# She wears a diamond ring | 0:35:35 | 0:35:40 | |
# For I'm just a country boy | 0:35:40 | 0:35:45 | |
# Money have I none | 0:35:45 | 0:35:50 | |
# But I've got silver in the stars | 0:35:50 | 0:35:56 | |
# Gold in the morning sun | 0:35:56 | 0:36:01 | |
# Gold in the morning sun | 0:36:01 | 0:36:05 | |
# I'm never going to kiss the ruby lips | 0:36:13 | 0:36:18 | |
# Of the prettiest girl in town | 0:36:18 | 0:36:23 | |
# I'm never going to ask her if she'll marry me | 0:36:23 | 0:36:28 | |
# Cos I know she'll turn me down | 0:36:28 | 0:36:33 | |
# Cos I'm just a country boy | 0:36:33 | 0:36:38 | |
# Money have I none | 0:36:38 | 0:36:43 | |
# But I've got silver in the stars | 0:36:43 | 0:36:48 | |
# Gold in the morning sun | 0:36:48 | 0:36:53 | |
# Gold in the morning sun. # | 0:36:53 | 0:37:01 | |
Thank you! | 0:37:15 | 0:37:17 | |
Thank you. Thank you very much. | 0:37:21 | 0:37:23 | |
Thank you. | 0:37:29 | 0:37:30 | |
I think, before I sing the next song, | 0:37:30 | 0:37:32 | |
I would like to explain something and that is, to make it | 0:37:32 | 0:37:34 | |
a bit interesting, in-between each verse, just to keep you awake, | 0:37:34 | 0:37:38 | |
I've put little bits in for you to sing, | 0:37:38 | 0:37:40 | |
so keep your ears open. It goes from ordinary common songs | 0:37:40 | 0:37:44 | |
to rather good classical music, | 0:37:44 | 0:37:46 | |
so we'll have the lot. Are we ready? Here we go. | 0:37:46 | 0:37:48 | |
Now, just answer me. Shh... | 0:37:48 | 0:37:51 | |
-# Ah-ha -Ah-ha | 0:37:54 | 0:37:56 | |
-# Ah-ha -Ah-ha | 0:37:56 | 0:37:58 | |
-HIGHER: -# Ah-ha -Ah-ha | 0:37:58 | 0:38:00 | |
-LOWER: -# Ah-ha -Ah-ha | 0:38:00 | 0:38:02 | |
Sh! | 0:38:04 | 0:38:06 | |
# One fine, pleasant evening last summer | 0:38:06 | 0:38:10 | |
# I was strolling through Couvenemy | 0:38:10 | 0:38:14 | |
# When a couple of playboys was standing | 0:38:14 | 0:38:18 | |
# Before me I happened to see | 0:38:18 | 0:38:22 | |
# Now, to know what these fellas were up to | 0:38:22 | 0:38:26 | |
# A trifle I hastened my walk | 0:38:26 | 0:38:30 | |
# Pretty soon did I learn their profession | 0:38:30 | 0:38:34 | |
# When I got within line of their talk | 0:38:34 | 0:38:38 | |
-# Ah-ha -Ah-ha | 0:38:38 | 0:38:40 | |
-# Ah-ha -Ah-ha | 0:38:40 | 0:38:42 | |
-HIGHER: -# Ah-ha -Ah-ha | 0:38:42 | 0:38:44 | |
-LOWER: -# Ah-ha -Ah-ha | 0:38:44 | 0:38:46 | |
# Little Sir Echo, how do you do? | 0:38:46 | 0:38:50 | |
# Hello | 0:38:50 | 0:38:52 | |
# Hello... # | 0:38:52 | 0:38:53 | |
LAUGHTER | 0:38:55 | 0:38:57 | |
Second verse coming up. | 0:38:59 | 0:39:01 | |
# Now, one of these lads was the devil | 0:39:01 | 0:39:05 | |
# And the other was Bailiff McGlynn | 0:39:05 | 0:39:09 | |
# And, sure, one was as nice as the other | 0:39:09 | 0:39:13 | |
# For they both were as ugly as sin | 0:39:13 | 0:39:17 | |
# Says the oul' lad, "You know, I'm the devil | 0:39:17 | 0:39:21 | |
# "And you are the bailiff, I see" | 0:39:21 | 0:39:25 | |
# "Tis the devil himself," says the bailiff | 0:39:25 | 0:39:28 | |
# "Ah, sure, that beats the devil," says he | 0:39:28 | 0:39:33 | |
-# Ah-ha -Ah-ha | 0:39:33 | 0:39:35 | |
-# Ah-ha -Ah-ha | 0:39:35 | 0:39:37 | |
# La-la-la-la-la | 0:39:37 | 0:39:41 | |
# La-la-la-la-la | 0:39:41 | 0:39:45 | |
-TO TUNE OF "MY BONNIE LIES OVER THE OCEAN": -# La-la-la-la-la-la-la-la-la | 0:39:45 | 0:39:48 | |
# La-la-la-la-la-la-la-la-la... # | 0:39:48 | 0:39:52 | |
Whistle, get ready. | 0:39:52 | 0:39:54 | |
# La-la-la-la-la-la-la... # | 0:39:57 | 0:39:59 | |
AUDIENCE WHISTLE ALONG | 0:39:59 | 0:40:02 | |
Beautiful! | 0:40:03 | 0:40:05 | |
# Then the young lad ran out of the cottage | 0:40:08 | 0:40:12 | |
# And off with him over the fields | 0:40:12 | 0:40:16 | |
# "May the devil take you," says his mother | 0:40:16 | 0:40:19 | |
# As she rattled a stone off his heels | 0:40:19 | 0:40:23 | |
# "Ah, sure, why don't you take the young rascal?" | 0:40:23 | 0:40:27 | |
# "Your highness," the bailiff, he cried | 0:40:27 | 0:40:31 | |
# "Ah, it was not from the heart that the wish came" | 0:40:31 | 0:40:35 | |
# The devil he smiling replied | 0:40:35 | 0:40:39 | |
-# Ah-ha -Ah-ha | 0:40:39 | 0:40:41 | |
-# Ah-ha -Ah-ha | 0:40:41 | 0:40:44 | |
-TO TUNE OF "LA DONNA E MOBILE": -# La-la-la-la-la-la | 0:40:44 | 0:40:46 | |
# La-la-la-la-la-la | 0:40:46 | 0:40:48 | |
# La-la-la-la-la-la | 0:40:48 | 0:40:50 | |
# La-la-la-la-la-la... # | 0:40:50 | 0:40:52 | |
Getting classical now. Ready? Here we go, next one. | 0:40:54 | 0:40:59 | |
-TO CLASSICAL WALTZ: -# La-la-la-la-la-la-la-la-la-la-la | 0:40:59 | 0:41:03 | |
# La-la-la-la-la-la | 0:41:03 | 0:41:05 | |
# La-la-la-la-la-la... # | 0:41:05 | 0:41:08 | |
-LAUGHTER -Do you mind? Wait for me. | 0:41:08 | 0:41:11 | |
Here we go. Clever one. | 0:41:13 | 0:41:17 | |
Three, four... | 0:41:17 | 0:41:19 | |
# La-la-la-la Ha-ha-ha! | 0:41:19 | 0:41:21 | |
# La-la-la-la Ha-ha-ha! | 0:41:21 | 0:41:23 | |
# La-la-la-la Ha-ha-ha! | 0:41:23 | 0:41:25 | |
# La-la-la-la Ha-ha-ha-ha-ha! # | 0:41:25 | 0:41:28 | |
I've been looking forward to this one. | 0:41:30 | 0:41:32 | |
Ready? | 0:41:32 | 0:41:34 | |
After four. Two, three, four... | 0:41:34 | 0:41:37 | |
# Da-da-da-da-da-da-da-daddle-da | 0:41:37 | 0:41:40 | |
# Da-da-da-da-da-da-da-daddle-da | 0:41:40 | 0:41:42 | |
# Da-da-da-da-da-da-da-daddle-da | 0:41:42 | 0:41:45 | |
# Daddle-da-daddle-da-da! # | 0:41:45 | 0:41:46 | |
By Jove, that was great! | 0:41:46 | 0:41:48 | |
Well, what more can I say, really? | 0:41:57 | 0:41:59 | |
All I can think of this - | 0:41:59 | 0:42:01 | |
ladies and gentlemen, here we go. | 0:42:01 | 0:42:04 | |
# Goodbye, goodbye | 0:42:04 | 0:42:07 | |
# I wish you all a last goodbye! # | 0:42:07 | 0:42:15 | |
CHEERING | 0:42:35 | 0:42:38 | |
Now there's just time to ask Mr Val Doonican | 0:42:44 | 0:42:46 | |
to lead the company and yourselves | 0:42:46 | 0:42:49 | |
in the last chorus for tonight, Down At The Old Bull & Bush. | 0:42:49 | 0:42:52 | |
Ladies and gentlemen, Mr Val Doonican, the entire company, | 0:42:52 | 0:42:56 | |
Mr Bernard Herrmann and the entire and indefatigable orchestra... | 0:42:56 | 0:43:00 | |
CHEERING | 0:43:00 | 0:43:03 | |
..but this time, chiefly... | 0:43:03 | 0:43:06 | |
-ALL: -Yourselves! | 0:43:06 | 0:43:08 | |
# Come, come, come and make eyes at me | 0:43:12 | 0:43:16 | |
# Down at the old Bull & Bush, tra-la-la-la-la | 0:43:16 | 0:43:20 | |
# Come, come, drink some port wine with me | 0:43:20 | 0:43:24 | |
# Down at the old Bull & Bush | 0:43:24 | 0:43:27 | |
# Hear the little German band, la-la-la-la-la-la-la | 0:43:28 | 0:43:32 | |
# Just let me hold your hand, dear | 0:43:32 | 0:43:36 | |
# Do, do come and have a drink or two | 0:43:36 | 0:43:39 | |
# Down at the old Bull & Bush | 0:43:39 | 0:43:43 | |
# Bush, Bush! # | 0:43:43 | 0:43:45 | |
CHEERING AND APPLAUSE | 0:43:45 | 0:43:48 |