6:52:51 > 6:52:53Rave On - on The Arts Show.
6:52:53 > 6:52:57Music, poetry, film, flying guitars and
6:52:57 > 6:53:01a trip down memory lane with 21st-century troubadour Andy White.
6:53:01 > 6:53:02All that and this.
6:53:03 > 6:53:05From duelling banjos to books,
6:53:05 > 6:53:09director John Boorman on his first novel at the age of 83.
6:53:09 > 6:53:13Music producer Ryan Vail finds the Foyle floats his boat
6:53:13 > 6:53:16and a century-old piano.
6:53:16 > 6:53:19How Monet makes the world go round for classical superstar
6:53:19 > 6:53:20Barry Douglas.
6:53:20 > 6:53:22And as she swaps Northern Ireland for
6:53:22 > 6:53:25Northern England, Sinead Morrissey debuts a new poem.
6:53:26 > 6:53:30Since his breakthrough single, Religious Persuasion, in 1985,
6:53:30 > 6:53:33songwriter Andy White has worked with icons like Van Morrison
6:53:33 > 6:53:35and Peter Gabriel.
6:53:35 > 6:53:36Over the course of the show,
6:53:36 > 6:53:39he takes us on a dander through his city.
6:53:41 > 6:53:43So you would have been aged, what, 16 or so?
6:53:43 > 6:53:46Yeah, we were partying on University Street.
6:53:46 > 6:53:49- And what came out of that window?- A friend of mine threw an acoustic
6:53:49 > 6:53:54guitar out that window and it bounced on the pavement
6:53:54 > 6:53:57and broke a big crack in the back.
6:53:57 > 6:53:58There was a big hole in the back of it.
6:53:58 > 6:54:01And he asked me if I wanted it and I said yes.
6:54:01 > 6:54:03"Sure, I'll take that."
6:54:03 > 6:54:07And I'd been writing a lot of poetry and playing the bass, mostly,
6:54:07 > 6:54:12and electric guitar cos we were Good Vibrations punks, at the time.
6:54:12 > 6:54:14And, yeah, I started playing the acoustic guitar
6:54:14 > 6:54:21and put the poetry to the four chords that I knew, or maybe three!
6:54:21 > 6:54:24And that was the start of everything.
6:54:24 > 6:54:26It was music on the road.
6:54:26 > 6:54:28You could put it in a case and travel the world with it.
6:54:28 > 6:54:30Say what you wanted to say.
6:54:30 > 6:54:31It was a big deal for me.
6:54:31 > 6:54:33# I had to get back to Belfast city
6:54:33 > 6:54:36# Where the Jeeps are green and the girls are pretty... #
6:54:36 > 6:54:39Do you feel that you were a political songwriter or
6:54:39 > 6:54:40a personal songwriter?
6:54:40 > 6:54:44- Can you be pigeonholed? - I think both, Marie Louise.
6:54:44 > 6:54:46Everything has been political and personal.
6:54:46 > 6:54:50There has always been a very strong sense of where I've come from
6:54:50 > 6:54:51in what I've written about.
6:54:51 > 6:54:55And I grew up listening to Bob Dylan and John Lennon,
6:54:55 > 6:54:57reading Jack Kerouac.
6:54:57 > 6:55:00And my songs inhabit that kind of world,
6:55:00 > 6:55:03where I've got something to say and I want to say it.
6:55:03 > 6:55:05I'd like to dedicate it to Mr Douglas Hurd.
6:55:05 > 6:55:08It's called The Guildford Four.
6:55:08 > 6:55:11# Oh, the bomb blew at night and the soldiers they died,
6:55:11 > 6:55:17# We've got to catch the guilty no-one can deny
6:55:18 > 6:55:23# We got to round up somebody call them the Guildford Four
6:55:25 > 6:55:30# Doesn't matter who, just anybody as long as there are four... #
6:55:31 > 6:55:34If you tear your chest open and say what you really feel about stuff,
6:55:34 > 6:55:36that's what people really respond to.
6:55:36 > 6:55:40And that's what...
6:55:40 > 6:55:43That's how I express myself, really.
6:55:43 > 6:55:45I put everything into the first album.
6:55:45 > 6:55:50Rave On is 30 this year, but when I sing the songs again -
6:55:50 > 6:55:53I've been singing a lot of them recently - they're not out of date.
6:55:53 > 6:55:55I still feel them as strongly as I did then.
6:55:55 > 6:55:58I can sing Things Start To Unwind in Brexit Britain, and
6:55:58 > 6:56:03it's a similar experience people are going through, I think.
6:56:03 > 6:56:10# If God and the government ignore us, things start to unwind... #
6:56:10 > 6:56:15In a strange way, growing up in a terrorist environment is
6:56:15 > 6:56:22a strange, strangely appropriate way to face the modern world, I think.
6:56:22 > 6:56:25Now, all we need is a blue plaque outside this building, saying...
6:56:25 > 6:56:26That would be wonderful!
6:56:26 > 6:56:28Saying "Andy White got his first guitar right here."
6:56:28 > 6:56:30And also, you went to school around the corner.
6:56:30 > 6:56:32Just up the road.
6:56:32 > 6:56:34And Barry Douglas was...
6:56:34 > 6:56:37- He was a couple of years...- Couple of years ahead of you.- Ahead of me.
6:56:37 > 6:56:40Well, from Andy White to Barry Douglas.
6:56:40 > 6:56:42Internationally renowned concert pianist.
6:56:42 > 6:56:47Here he is, telling us about some of his favourite key artistic moments.
6:56:53 > 6:56:57When I first went to London to study, I was 18.
6:56:57 > 6:57:02I saw, the very first week in Covent Garden, The Ring Cycle by Wagner.
6:57:10 > 6:57:12And it just changed my life for ever.
6:57:12 > 6:57:14From that moment on, I became a Wagner nut.
6:57:20 > 6:57:24One of the most powerful books I've ever read in my life is
6:57:24 > 6:57:27Call My Brother Back by Michael McLaverty.
6:57:28 > 6:57:33And it tells us in a very poignant way the upbringing this young
6:57:33 > 6:57:35boy had on Rosslyn Island.
6:57:37 > 6:57:41Because of terrible hardship and a death in the family,
6:57:41 > 6:57:48they moved to Belfast and how, even in such an oppressive and sad
6:57:48 > 6:57:52and tragic existence in Belfast, they were able to find humour.
6:57:55 > 6:57:59The film that I keep going back to all the time is
6:57:59 > 6:58:01Groundhog Day, Bill Murray.
6:58:01 > 6:58:05Because have you ever thought, if it was possible to repeat
6:58:05 > 6:58:09a day and get it right this time, that would be an amazing thing.
6:58:09 > 6:58:14Don't you worry about cholesterol, lung cancer, love handles?
6:58:14 > 6:58:17I don't worry about anything, any more.
6:58:17 > 6:58:20Bill Murray keeps repeating this one day until he makes
6:58:20 > 6:58:22a perfect goal of this one day.
6:58:22 > 6:58:26And I think it's an amazing comment about spontaneity and living
6:58:26 > 6:58:29in the moment, that every day does count and so it's
6:58:29 > 6:58:33a film which is remarkably profound.
6:58:33 > 6:58:34To the groundhog!
6:58:37 > 6:58:42When I moved to Paris, I walked into the Musee d'Orsay on the River Seine
6:58:42 > 6:58:47and stumbled into Monet's Water Lilies.
6:58:47 > 6:58:48This amazing room,
6:58:48 > 6:58:54which is a curved room, and you see this incredible depiction of
6:58:54 > 6:58:58nature and it's almost a feeling of tranquillity
6:58:58 > 6:59:01which comes over you and you feel complete.
6:59:06 > 6:59:09One of world literature's most eminent writers,
6:59:09 > 6:59:12Cork-born William Trevor, has died.
6:59:12 > 6:59:15In tribute, we go to our archives to hear the writer
6:59:15 > 6:59:17in his own words.
6:59:17 > 6:59:21Raised in provincialism, I'm a provincialist still.
6:59:21 > 6:59:24Small towns of Ireland are what I know best
6:59:24 > 6:59:27and turn to first to find my bearings.
6:59:32 > 6:59:34All memory is grist to the fiction writer's mill.
6:59:34 > 6:59:38The pleasure and the pain experienced by any
6:59:38 > 6:59:40storyteller's characters,
6:59:40 > 6:59:44the euphoria of happiness, the ache of grief,
6:59:44 > 6:59:47must of course be the storyteller's own.
6:59:49 > 6:59:51It cannot be otherwise and in that sense,
6:59:51 > 6:59:55all fiction has its autobiographical roots.
6:59:55 > 6:59:58Spreading through, in my case, a provincial world.
6:59:58 > 7:00:02Limited and claustrophobic.
7:00:10 > 7:00:13The memory lane that winds through the little towns of Ireland
7:00:13 > 7:00:16has its bundles of personal riches.
7:00:17 > 7:00:20CHURCH BELLS
7:00:21 > 7:00:25There is that sound, most evocative of all,
7:00:25 > 7:00:29that will accompany you for ever on all your journeys.
7:00:46 > 7:00:50John Boorman's films have often looked at the effect of man
7:00:50 > 7:00:51on his environment.
7:00:51 > 7:00:55From The Emerald Forest to Excalibur and from Zadoz to Deliverance,
7:00:55 > 7:00:58he has had a lifelong affinity with nature.
7:00:58 > 7:01:02To end among trees, there is a fine thing.
7:01:02 > 7:01:06A great oak in its lifetime consumes little more than
7:01:06 > 7:01:09a cupful of nutrients.
7:01:09 > 7:01:11Everything else it needs to form
7:01:11 > 7:01:14its great bulk comes from the air,
7:01:14 > 7:01:16and light and water.
7:01:16 > 7:01:18Light and water,
7:01:18 > 7:01:19light on water,
7:01:19 > 7:01:23have been my markers, my working companions.
7:01:23 > 7:01:29I am 70, I have lived in this house in the Wicklow hills for 33 years.
7:01:29 > 7:01:34I inherited great trees, some of them have died and fallen.
7:01:34 > 7:01:37I shall leave many more than I have found.
7:01:37 > 7:01:41Some are young oaks, now 25 feet high.
7:01:42 > 7:01:45I started planting too late in life.
7:01:45 > 7:01:51But some acorns are now sturdy trees and I'm not yet too old to climb them.
7:01:51 > 7:01:58I lie in their arms and watch the world recede by one foot each year.
7:01:59 > 7:02:0246 years, I've lived in this house.
7:02:02 > 7:02:06And from this house I of course ventured out across the world
7:02:06 > 7:02:09to make my movies.
7:02:09 > 7:02:12I've brought up seven children in this house.
7:02:13 > 7:02:14And...
7:02:15 > 7:02:19took me two wives to manage seven children, mind you.
7:02:19 > 7:02:23Well, you may not be making films any more, you've written a novel,
7:02:23 > 7:02:25Crime Of Passion.
7:02:25 > 7:02:31The lead character is a film director called Daniel Shaw.
7:02:31 > 7:02:33Doing OK, doing well.
7:02:33 > 7:02:38How much of you, John Boorman, is Daniel Shaw?
7:02:38 > 7:02:41Well, not very much.
7:02:41 > 7:02:44Odd things, but, you know,
7:02:44 > 7:02:47I deliberately put myself in the book as a character
7:02:47 > 7:02:50because I wanted to disassociate myself from
7:02:50 > 7:02:57this Daniel Shaw, who is much more manic and crazed than I ever was.
7:02:57 > 7:03:00But he's based on a couple of...
7:03:01 > 7:03:03..directors that I've known.
7:03:03 > 7:03:06- Can you name them? - No. Not really, they're still alive.
7:03:08 > 7:03:10Is there any bit of you in Daniel?
7:03:10 > 7:03:14The way he deals with actors, takes something from me.
7:03:14 > 7:03:19There's a rather disaffected actor and he gets very upset and
7:03:19 > 7:03:26Daniel consoles him by putting his arm around him, because what
7:03:26 > 7:03:31actors mostly want is love.
7:03:31 > 7:03:36At 83, you felt the need, the burning need to write a novel?
7:03:36 > 7:03:41I was invited, asked to write a book about how to make a film,
7:03:41 > 7:03:46and I sort of sketched it out and it grew, little by little,
7:03:46 > 7:03:51and over several years, I've been just developing it.
7:03:51 > 7:03:58It's very personal, because you are an insider, you know this world.
7:03:58 > 7:04:01You know the people, you know their strengths,
7:04:01 > 7:04:02you know their weaknesses.
7:04:02 > 7:04:05Of course, I've been doing it for 50 years,
7:04:05 > 7:04:07so I should have learned something about it.
7:04:07 > 7:04:12The book also takes you to Hollywood and to the whole Hollywood
7:04:12 > 7:04:18system, how the director goes there trying to pitch this idea.
7:04:18 > 7:04:24You find out really how Hollywood studios work.
7:04:24 > 7:04:28The thing about Hollywood is that they are all whores,
7:04:28 > 7:04:29so they never...
7:04:29 > 7:04:36I've insulted people in Hollywood for years and years to the point
7:04:36 > 7:04:39where they I think they would never speak to me again,
7:04:39 > 7:04:43but if you have a project they want, you're forgiven.
7:04:43 > 7:04:49Your journey as a director and your life in movies comes out
7:04:49 > 7:04:51cos you tell the most delicious stories.
7:04:51 > 7:04:55Have there ever been any moments where you thought, what am I doing?
7:04:55 > 7:04:58- Why am I doing this? - Yeah, nearly all the time!
7:04:59 > 7:05:02I've always had the fear of losing an actor,
7:05:02 > 7:05:06which I came close to in Deliverance.
7:05:06 > 7:05:12We had Ned Beatty going down the waterfall, cataract and
7:05:12 > 7:05:16he disappeared and didn't come up and the diver went in after him
7:05:16 > 7:05:18and couldn't find him.
7:05:18 > 7:05:21And eventually, he turned up.
7:05:21 > 7:05:24He was under water for nearly two minutes.
7:05:24 > 7:05:26I said,
7:05:26 > 7:05:31"Ned, what did you think about when you thought you were drowning?"
7:05:31 > 7:05:33And he said, "My first thought was,
7:05:33 > 7:05:36"'How is John going to finish the film without me?'
7:05:36 > 7:05:41"And then my second thought was, 'He'll find a way to do it.'
7:05:41 > 7:05:44"And that's when I decided, I had to live!"
7:05:44 > 7:05:45It's such hard work,
7:05:45 > 7:05:50and it's so demanding that every time I finish a film,
7:05:50 > 7:05:54I always say, that's my last film, I'm not going to do another one.
7:05:54 > 7:05:59It's both very stimulating as an experience...
7:05:59 > 7:06:04And of course, the pleasures are in the relationships with your
7:06:04 > 7:06:07comrades, with your crew and your cast.
7:06:07 > 7:06:10And it's the intensity of those relationships that makes it
7:06:10 > 7:06:12really worthwhile.
7:06:12 > 7:06:16And all the actors I have made films with have remained very close,
7:06:16 > 7:06:18strong friends.
7:06:18 > 7:06:22It's like, you know, if you've been in the trenches with someone,
7:06:22 > 7:06:23you are bonded for ever.
7:06:32 > 7:06:37# It makes me want to get back home
7:06:40 > 7:06:45# It makes me want to get back home... #
7:06:47 > 7:06:51- You've lived away for how long from here?- From Belfast?- Yeah.
7:06:51 > 7:06:5325 years.
7:06:53 > 7:06:57I've been really lucky to be able to take whatever I do wherever
7:06:57 > 7:07:01I want to, and retaining a sense of coming from here, for sure.
7:07:01 > 7:07:03Sort of culturally, politically, socially,
7:07:03 > 7:07:07I've got a very firm base in Belfast.
7:07:07 > 7:07:10It's somewhere people are interested in, for sure.
7:07:10 > 7:07:13And I think in this modern world we live in,
7:07:13 > 7:07:17just growing up the way we did is peculiarly...
7:07:17 > 7:07:23- relevant, really, to the kind of world we live in now.- Yeah.
7:07:23 > 7:07:28# I'm leaning on a bus stop listening to the Lavery's din
7:07:30 > 7:07:33# Bradbury Place, spring '93
7:07:33 > 7:07:37# Old sensations rushing in... #
7:07:37 > 7:07:39If you look back at the 12 albums, I can see
7:07:39 > 7:07:42it's like an autobiography of sorts and each one is a chapter.
7:07:42 > 7:07:46So I can see that Rave On is about growing up here.
7:07:46 > 7:07:49Kiss The Big Stone is about going away for the first time.
7:07:49 > 7:07:52Himself is about coming back and living in the countryside here.
7:07:52 > 7:07:55I mean, a lot of the songs I wrote, and albums I wrote,
7:07:55 > 7:07:58just because I wasn't really thinking of who was listening
7:07:58 > 7:08:01to them, I was just writing the songs because I had to write them.
7:08:01 > 7:08:02The fourth album, Out There,
7:08:02 > 7:08:06was when we were asked to go to Eastern Europe after the Wall
7:08:06 > 7:08:10came down and play in Czechoslovakia and East Germany.
7:08:10 > 7:08:13And that was part of the reason that we were asked, was because we
7:08:13 > 7:08:15were from a divided city.
7:08:15 > 7:08:20And I was saying something about social concerns which chimed
7:08:20 > 7:08:23with those people there.
7:08:23 > 7:08:26# Walking down the town on this particular day
7:08:26 > 7:08:29# I heard a voice from the radio coming my way
7:08:29 > 7:08:32# You hear a bright noise out on holiday
7:08:32 > 7:08:35# And we are all invited so you tell me what you're gonna say
7:08:35 > 7:08:40# Revolution... #
7:08:40 > 7:08:41If you're a troubadour,
7:08:41 > 7:08:43you've got to go out and take your stories to the world.
7:08:43 > 7:08:48- And that's what you see yourself as, is it? A troubadour?- I think so.
7:08:48 > 7:08:51Spreading...spreading whatever you do around the world
7:08:51 > 7:08:53and getting reaction to it, yeah.
7:08:53 > 7:08:57And so you see yourself in the exile of James Joyce and those kind
7:08:57 > 7:09:02- of literary guys?- Great literary figures of our time?
7:09:02 > 7:09:06Well, in the way they had to get out of here, get off the island,
7:09:06 > 7:09:09to feel that they could express themselves...
7:09:11 > 7:09:12..in the way that they wanted to.
7:09:12 > 7:09:15And I've thought similarly.
7:09:15 > 7:09:19We've got you here at the moment, but he is a current exile
7:09:19 > 7:09:22and Sinead Morrissey is about to become a future one.
7:09:22 > 7:09:26The poet is about to leave our shores for pastures new.
7:09:37 > 7:09:38It never looks warm
7:09:38 > 7:09:42or properly daytime in black-and-white photographs
7:09:42 > 7:09:47The sheer cliff face of the ship still enveloped in its scaffolding
7:09:47 > 7:09:50backside against the launching cradle
7:09:50 > 7:09:52Ladies lining the quay in their layered drapery,
7:09:52 > 7:09:55touching their glass to their lips and just as
7:09:55 > 7:09:59They That Go Down To The Sea In Ships
7:09:59 > 7:10:02rises from choirboys' mouths
7:10:02 > 7:10:04in wisps and snatches
7:10:04 > 7:10:09and evil skitters off and looks askance for now
7:10:09 > 7:10:11A switch is flicked at a distance
7:10:11 > 7:10:14and the moment swollen with catgut, about to snap
7:10:14 > 7:10:16with ice picks, hawks' wings,
7:10:16 > 7:10:20pine needles, eggshells, bursts and it starts
7:10:20 > 7:10:24Grandstand of iron palace, of rivets, starts moving,
7:10:24 > 7:10:27starts slippery-sliding down,
7:10:27 > 7:10:31slow as a snail at first in its viscous passage
7:10:31 > 7:10:33Taking on slither and speed,
7:10:33 > 7:10:38gathering in the Atlas-capable weight of its own momentum
7:10:38 > 7:10:41Tonnage of grease beneath to get it waterborne
7:10:41 > 7:10:46Tallow, soft soap, train oil, a rendered whale
7:10:46 > 7:10:49This last, the only Millihelen,
7:10:49 > 7:10:52her beauty slathered all over the slipway
7:10:52 > 7:10:55Faster than a boy with a ticket in his pocket might run
7:10:55 > 7:10:56alongside it,
7:10:56 > 7:11:00the bright sheet of the Lough advancing faster than a tram
7:11:00 > 7:11:05Heavy chains and anchors kicking in lest it outdoes itself
7:11:05 > 7:11:09Straining up to a riot of squeals and sparks
7:11:09 > 7:11:13Lest it capsizes before its beginning
7:11:13 > 7:11:17Lest it drenches the aldermen
7:11:17 > 7:11:22And the ship sits back in the sea as though it were ordinary
7:11:22 > 7:11:25And wobbles ever so slightly
7:11:25 > 7:11:30And then it and the sun-splashed tilted hills, the railings,
7:11:30 > 7:11:34the pin-striped awning, in fact everything,
7:11:34 > 7:11:37regains its equilibrium.
7:11:44 > 7:11:47PIANO NOTE CHIMES
7:12:06 > 7:12:09PIANO MUSIC
7:12:37 > 7:12:41This wonderful piano spent its life travelling across the
7:12:41 > 7:12:46Irish Sea into the port in Derry where it had one owner before
7:12:46 > 7:12:48it went to quite an important figure in the town,
7:12:48 > 7:12:53which was Dr Joe Cosgrove, who was my wife's grandfather.
7:12:58 > 7:12:59And after he had passed,
7:12:59 > 7:13:03his lovely wife gave Katie and I the piano and I thought it would
7:13:03 > 7:13:06be a really interesting story to tell,
7:13:06 > 7:13:10the story of this piano's 90 years on earth.
7:13:10 > 7:13:14Surrounded by humans and this kind of connection between the piano
7:13:14 > 7:13:16and the owner.
7:13:16 > 7:13:20Its voyage to its home was from the Irish Sea up the River Foyle
7:13:20 > 7:13:22to the Lisahally docks.
7:15:13 > 7:15:16The piano now is in quite a rough state.
7:15:17 > 7:15:19We tried to salvage it as much as we
7:15:19 > 7:15:23could, so this is almost like its final voyage.
7:15:25 > 7:15:29It's on the river that it arrived on and so, you know,
7:15:29 > 7:15:30it's pretty special.
7:16:20 > 7:16:25It's 30 years since you stood on a roof in Belfast to launch the
7:16:25 > 7:16:26songs that kicked off your career.
7:16:26 > 7:16:29Yeah, the Whistle Test filmed us playing
7:16:29 > 7:16:31Religious Persuasion up there.
7:16:31 > 7:16:33- That building there?- Yeah.
7:16:33 > 7:16:35One Saturday morning, 1985.
7:16:35 > 7:16:38# Should have packed my bags headed off for the coast
7:16:38 > 7:16:42# Had my time already come to meet the heavenly host... #
7:16:43 > 7:16:47So, talk to me about this career that you have had over 30 years.
7:16:47 > 7:16:50You've got a very unique relationship with your fans, don't you?
7:16:50 > 7:16:53Well, I was always very independent.
7:16:53 > 7:16:57I always... I grew up with the spirit of the Good Vibrations
7:16:57 > 7:17:00punk thing from Belfast that you could do it yourself.
7:17:00 > 7:17:04I was just arrogant and young and believed that I had
7:17:04 > 7:17:06something to say which nobody else was saying.
7:17:06 > 7:17:09# The mothers do the rain dance
7:17:09 > 7:17:11# The daughters file for rape
7:17:11 > 7:17:14# While the lawyers behind closed curtains
7:17:14 > 7:17:17# Adjust their red tape... #
7:17:17 > 7:17:21From the very start, I controlled what I did,
7:17:21 > 7:17:24the master recordings and the writing.
7:17:24 > 7:17:27We always recorded in Northern Ireland.
7:17:27 > 7:17:29And just kept it very independent.
7:17:29 > 7:17:32# I said, someone gotta stand up or nothing is gonna change
7:17:32 > 7:17:36# Till religion is rearranged... #
7:17:36 > 7:17:38Like, who wants to release a single with as many words on it as
7:17:38 > 7:17:40Religious Persuasion?
7:17:40 > 7:17:43Or as Speechless, another song I did on Out There,
7:17:43 > 7:17:45which is eight minutes long?
7:17:45 > 7:17:47I mean, I believe that you should be able to do those sorts of things,
7:17:47 > 7:17:53and if you do, then you've got to control your output yourself.
7:17:53 > 7:17:57In fact, the whole social media and independent record company thing
7:17:57 > 7:17:59is just a development of that, really.
7:17:59 > 7:18:02So you're very close to your fans. And you love that?
7:18:02 > 7:18:05I still meet people at concerts now, on the tour I'm just
7:18:05 > 7:18:11doing of the UK, who saw that very first performance up there.
7:18:11 > 7:18:14And say to you, "I saw that.
7:18:14 > 7:18:16"The first album really meant something to me."
7:18:16 > 7:18:18And I think it's a very precious thing.
7:18:18 > 7:18:21That was the start of, my whole thing, and I didn't ever know
7:18:21 > 7:18:25that I would end up on another rooftop in Belfast!
7:18:25 > 7:18:26With you being Rod McVeigh.
7:18:26 > 7:18:29To recreate that video, we're going to do it now.
7:18:29 > 7:18:31I'm going to hold the lyric cards.
7:18:31 > 7:18:34- Thanks, Marie.- And that's where we will leave the show for tonight.
7:18:34 > 7:18:39With a little bit of 30-year-old persuasion of the religious kind.
7:18:40 > 7:18:42One, two, three, four!
7:18:47 > 7:18:50# Protestant or Catholic cried the boys from the crowd
7:18:50 > 7:18:52# Not you again, St Peter I was thinking aloud
7:18:52 > 7:18:55# I should have packed my bags headed off for the coast
7:18:55 > 7:18:59# Had my time already come to meet the heavenly host?
7:19:02 > 7:19:05# They switched on their halos adjusted their harps
7:19:05 > 7:19:08# Checked that the blades on the pearly gates were sharp
7:19:08 > 7:19:10# I asked them what they meant about religious bent
7:19:10 > 7:19:14# They said, that's the test I said, that's the test I meant
7:19:17 > 7:19:19# They were giving holy orders I think you'll find
7:19:19 > 7:19:23# I was up against persuasion of the religious kind
7:19:28 > 7:19:31# It was hailing Marys at the drop of a tract
7:19:31 > 7:19:34# I said the seven deadly sins were staying round at my flat
7:19:34 > 7:19:37# I pondered on the churches of England and Rome
7:19:37 > 7:19:40# I hadn't paid the rent for my spiritual home
7:19:40 > 7:19:44# Needed guidance from the leaders whose names I knew
7:19:44 > 7:19:46# Archbishop whatever he's called now
7:19:46 > 7:19:47# And John Player No 2
7:19:49 > 7:19:53# I quaked in my sackcloth threw away my joss-stick
7:19:53 > 7:19:55# Burned my Koran and said I was agnostic
7:19:55 > 7:19:59# I mean an atheist, I cried as they moved in for the kill
7:19:59 > 7:20:02# The walls tumbled down as they handed me the bill
7:20:04 > 7:20:08# They weren't impressed with my distinctions, I think you'll find
7:20:08 > 7:20:12# I was up against persuasion of the religious kind
7:20:13 > 7:20:15# You'll find
7:20:17 > 7:20:20# A lamb to the slaughter a human sacrifice
7:20:20 > 7:20:23# I told their spiritual leader his sceptre looked nice
7:20:23 > 7:20:26# A hymn book skimmed my ear but I was only grazed
7:20:26 > 7:20:32# And I dived for cover as the sawn-off bibles blazed
7:20:32 > 7:20:35# In the gore I gasped was it something I said?
7:20:35 > 7:20:38# Then a solid granite altar hit me on the head
7:20:38 > 7:20:41# A collection plate plunged deep into my groin
7:20:41 > 7:20:47# They marched off discussing the Battle of the Boyne
7:20:47 > 7:20:50# As I expired I was thinking they'd been rather unkind
7:20:50 > 7:20:54# I was up against persuasion of the religious kind
7:21:00 > 7:21:02# Bleeding and naked I was somewhat at a loss
7:21:02 > 7:21:06# The Good Samaritan was drinking at the sign of the cross
7:21:06 > 7:21:09# Recalling their question I felt totally alone
7:21:09 > 7:21:13# As I peered out from underneath the tablets of stone
7:21:15 > 7:21:18# In the gutter lay the crushed remains of a Bible
7:21:18 > 7:21:21# It proclaimed their grievances were purely tribal
7:21:21 > 7:21:22# They made me see the light
7:21:22 > 7:21:24# For that I offer my thanks... #