Browse content similar to 03/06/2016. Check below for episodes and series from the same categories and more!
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Imagine a day that celebrates the very best in music. Imaginate set | :00:08. | :00:13. | |
among the most use of full plans from around the planet. Sounds like | :00:14. | :00:19. | |
Eden? It is. Welcome to the one Show with Patrick | :00:20. | :00:37. | |
Kielty... That is awkward, has anybody seen him? | :00:38. | :00:50. | |
Come on! It is OK. We are here. And Brive. You love a subtle entrance. | :00:51. | :01:04. | |
Lovely to be here. We are alive. How nice is this? We have over 2 million | :01:05. | :01:15. | |
plants and 5000 varieties. We've cultivated our own audience! Let us | :01:16. | :01:25. | |
tell you exactly where we are. Let's look at the outside. We are in the | :01:26. | :01:32. | |
Mediterranean Biome, it is like Spain here. It is so hot. It must be | :01:33. | :01:37. | |
the warmest outside broadcast we've ever done. We've almost got a | :01:38. | :01:43. | |
time-share. If it gets chilly we could head over there to the | :01:44. | :01:50. | |
Rainforest Biome. It is 35 degrees. You would get a bit sweaty in their | :01:51. | :01:58. | |
but it is well worth a visit. Via I am looking at the biggest flowering | :01:59. | :02:02. | |
plant ever in the world. It smells of a dead corpse. Then on the | :02:03. | :02:10. | |
viewing platform above the rainforest, which is absolutely | :02:11. | :02:18. | |
incredible. Lots of steps. Wherever rest. It is an unbelievable venue | :02:19. | :02:25. | |
but it is all about the music today. Today is BBC music they and we have | :02:26. | :02:28. | |
three magnificent guests tonight. # It's time to take | :02:29. | :02:39. | |
the pressure off... Please welcome Simon and John from | :02:40. | :03:09. | |
Duran Duran and the fantastic Nile Rodgers. Happy music today. -- happy | :03:10. | :03:28. | |
music day. You are dressing like the ambassador tonight, John, you've got | :03:29. | :03:36. | |
the Ferrero Roche. Isn't it brilliant that the centrepiece to | :03:37. | :03:39. | |
the whole day is happening in this fantastic location? It is amazing. | :03:40. | :03:45. | |
We played here a couple of years ago and it is one of my favourite places | :03:46. | :03:52. | |
to play. This is my first time here. I was saving up a time when I could | :03:53. | :03:56. | |
play a show here and that is what we are doing. It is very special. That | :03:57. | :04:08. | |
is almost a link. It is very Chelsea Flower Show meets Glastonbury. It | :04:09. | :04:18. | |
will not be for much longer. As you can hear in the background, the | :04:19. | :04:28. | |
voice of the BBC Euro 2016 team is playing, Izzy Bizu. We get you guys | :04:29. | :04:34. | |
for the next hour. It is very good news. Up and down the country all | :04:35. | :04:41. | |
day, people have been celebrating home -- how music can bring people | :04:42. | :04:49. | |
together and we will start with one of the most ambitious projects. This | :04:50. | :04:54. | |
one is ambitious because bridges have been bringing people together | :04:55. | :04:58. | |
and communities together for centuries but today over 40 bridges | :04:59. | :05:02. | |
around the UK have been coming together to bring communities | :05:03. | :05:03. | |
together in music. # But I can't seem | :05:04. | :05:17. | |
to find my way over # Wade in the water, | :05:18. | :05:48. | |
wade in the water One bridge that has taken | :05:49. | :06:51. | |
celebrations to the next level is Middlesbrough Transporter Bridge. | :06:52. | :06:56. | |
They've really gone for it. They've taken us through the decades, | :06:57. | :06:58. | |
playing music from a different decade every hour. Angelica is | :06:59. | :07:07. | |
helping them bring that to a crescendo. We will be heading to | :07:08. | :07:14. | |
Glasgow to the famous barren land and chatting to Fran Healy. The | :07:15. | :07:21. | |
attempt is to put a classic spin on Travis's hits. -- Glasgow's famous | :07:22. | :07:29. | |
Barrowlands. We will be going to Stormont for a very special | :07:30. | :07:34. | |
performance of Game of Thrones. First, we know that Duran Duran | :07:35. | :07:37. | |
started out in Birmingham and have been celebrating BBC music in | :07:38. | :07:45. | |
Birmingham, there was a surprise for commuters this morning as Ruby | :07:46. | :07:47. | |
Turner, the gospel singer, turned up. | :07:48. | :07:54. | |
What a lovely way to start your morning. That is what this day is | :07:55. | :08:24. | |
all about. Bringing people together. You guys got together when? 1983. We | :08:25. | :08:35. | |
were at a party in Melbourne and we heard this record, made them play | :08:36. | :08:45. | |
again. We met backstage at Blondie concert. He wanted to meet me | :08:46. | :08:57. | |
because... I had heard the INXS song which was produced by Nile Rodgers | :08:58. | :09:02. | |
and it drove us crazy. We had to have that sound. It was a meeting of | :09:03. | :09:10. | |
minds because at the end of the Blondie gig you ended up playing | :09:11. | :09:13. | |
hide and seek? We were very juvenile that night. Especially and the | :09:14. | :09:18. | |
comedy was a little out of control. That is not like him at all. I | :09:19. | :09:28. | |
remember you to cast a studio 54. -- you to us. I said to John, I want to | :09:29. | :09:34. | |
take you to the studio, you thought I meant the recording studio but I | :09:35. | :09:41. | |
meant studio 54. I like that you are piecing this together. I remember | :09:42. | :09:53. | |
when you brought this charismatic singer into the dressing room, she | :09:54. | :09:59. | |
was chewing gum and flicking it around her finger, and it was | :10:00. | :10:07. | |
Madonna. It was. After that, when did you start working together? It | :10:08. | :10:17. | |
was the Reflex. We were not in the room together but what had happened | :10:18. | :10:22. | |
was the concept of remixes were starting to get popular and they | :10:23. | :10:28. | |
asked me to remix it and I said I could not do it but what I will do | :10:29. | :10:34. | |
is do it as if you called me in the first place. I have re-visualised | :10:35. | :10:38. | |
it. The rest is history. What the song. It's a classic. Is it | :10:39. | :11:16. | |
true that the record company were not fans of that? It was difficult. | :11:17. | :11:26. | |
They did not know what to tell us about it. They kept using words | :11:27. | :11:33. | |
like, a bit too arrogant. They finally said, the record is too | :11:34. | :11:37. | |
black and the band was like, we want to sound like this. I still remember | :11:38. | :11:46. | |
getting a phone call from Nick, he was sort of sad about it. He did not | :11:47. | :11:51. | |
know how to explain it to me. I got really angry and I said, I think the | :11:52. | :11:55. | |
record is brilliant, just put it out. Let's see what happens. Look | :11:56. | :12:01. | |
what happened. The biggest single ever. We know that you've been | :12:02. | :12:07. | |
playing music since an early age and our team of researchers have worked | :12:08. | :12:13. | |
really hard this week. You are going to love this because they unearth | :12:14. | :12:15. | |
this clip. # Slow down, you're | :12:16. | :12:21. | |
moving too fast... # You've got to make | :12:22. | :12:28. | |
the morning last Looking quite shell-shocked. Do you | :12:29. | :12:39. | |
recognise him? I've never seen the actual film. I've seen stills from | :12:40. | :12:45. | |
it. Why did he not go through the interesting harmony notes? He always | :12:46. | :12:49. | |
goes to different notes that you would not expect. He sang the | :12:50. | :12:58. | |
regular song. What happened? I was pleased they sang it in tune! I | :12:59. | :13:06. | |
thought it was very nice. It is time to head to Belfast, where Colin | :13:07. | :13:14. | |
Murray has got into the corridors of power for an orchestral arrangement | :13:15. | :13:21. | |
of Game of Thrones. Colin, what is the craic? What a brilliant Davis | :13:22. | :13:32. | |
says. Me forgetting nostalgic. -- excuse me for getting nostalgic. I | :13:33. | :13:41. | |
used to try and sneak in to Patrick's club with fake ID. Look at | :13:42. | :13:45. | |
you now. What a historic day we have, all these beautiful people, | :13:46. | :13:50. | |
this is just my family. This is the choir. Give me a wave, Ulster | :13:51. | :14:03. | |
Orchestra. Look at our wonderful musicians. Are you all right? Ready | :14:04. | :14:16. | |
to rock. This man cannot stay off the programme. We've got a musical | :14:17. | :14:20. | |
treat for you but first I want to take you away from the madding crowd | :14:21. | :14:25. | |
and into a really quiet part. Patrick Kielty is not allowed in | :14:26. | :14:31. | |
here because he is still on a couple of lists. This is the chamber. If | :14:32. | :14:35. | |
you don't follow Northern Irish politics this is where they come in | :14:36. | :14:38. | |
and agree on everything and have total harmony! You are only allowed | :14:39. | :14:47. | |
one person in at a time, cameraman, you need to leave. Northern Ireland | :14:48. | :14:56. | |
has become a hotbed for TV and film. The daddy of them all is Game of | :14:57. | :15:00. | |
Thrones, filmed just down the road. As a little treat, I've got the | :15:01. | :15:05. | |
Ulster Orchestra sitting in the great Hall of Stormont. I thought | :15:06. | :15:07. | |
I'd get them to do the theme tune. MUSIC: | :15:08. | :15:28. | |
Game of APPLAUSE. | :15:29. | :16:53. | |
So harmonious! A good finish. A big finish! Now, Nile, we heard | :16:54. | :16:59. | |
from a good source, you are a bit of a telly addict. That the Game of | :17:00. | :17:04. | |
Thrones box set is up there with one of your favourites. So we pictured | :17:05. | :17:09. | |
Nile Rodgers had his pants watching Game of Thrones, is that right? All | :17:10. | :17:15. | |
the time. Whenever in Belfast, we go to see | :17:16. | :17:17. | |
the set. What did you think of that, could | :17:18. | :17:23. | |
you add funk? I would not. It like the theme tune the way it is. | :17:24. | :17:28. | |
It is cool. It is a classic that cannot be | :17:29. | :17:36. | |
improved? Well, we could interpret it, we could do, f, f, flex! Well, | :17:37. | :17:44. | |
this show is about the amazing project here at the Eden Project. It | :17:45. | :17:50. | |
is all down to one man. We sent Joe to meet the man himself, | :17:51. | :17:57. | |
his name is Sir Tim Smit. Standing here it is so difficult to | :17:58. | :18:02. | |
believe that 20 years ago this site was just a muddy abandoned hole in | :18:03. | :18:07. | |
the ground. Everything you see here today was simply a dream in the mind | :18:08. | :18:13. | |
of one man. Since its opening in 2001, Sir Tim | :18:14. | :18:21. | |
Smit's creation of a large-scale educational charity and | :18:22. | :18:25. | |
entertainment venue has received more than 18 million visitors and | :18:26. | :18:29. | |
put more than ?1.5 billion into the local economy. So did the man who | :18:30. | :18:38. | |
transformed this quarry, into a moonscape, ever think it would be | :18:39. | :18:42. | |
this way? It is a wonderful feeling. I sometimes pinch myself a little | :18:43. | :18:47. | |
bit. I share the excitement that A the visitors are still coming in | :18:48. | :18:51. | |
drove but also the drive to kick on and do something more. We promised | :18:52. | :18:55. | |
ourselves if we went to this effort and all that was there was a theme | :18:56. | :18:59. | |
park in the hole in the ground it would be a dreadful waste of time. | :19:00. | :19:09. | |
Where did the idea come from? From Arthur Conan Doyle's Lost World. I | :19:10. | :19:13. | |
think that we all love adventures. What I learned is that the bigger | :19:14. | :19:19. | |
you make the idea of an adventure, the more people that there are that | :19:20. | :19:24. | |
think they would love to do that. Did people think it was impossible? | :19:25. | :19:29. | |
Impossible or inappropriate. Too big a success for Cornwall. | :19:30. | :19:34. | |
Eden's success has been terrific. The people doing it had the faith to | :19:35. | :19:38. | |
leap. The fear of being a coward is the biggest of all if you make a | :19:39. | :19:44. | |
leap and don't look aside, things come right for you. | :19:45. | :19:48. | |
This is not the first time Sir Tim Smit had brought hope to a project | :19:49. | :19:54. | |
where there was none. In 1981, part of a group restoring the Last | :19:55. | :20:04. | |
Gardens of Hellegin. We were the first time to tell the | :20:05. | :20:09. | |
story of this stately home, not from the point of view of the lords and | :20:10. | :20:13. | |
the ladies but from the point of view of the ordinary men and women | :20:14. | :20:17. | |
who made it a great place. Am I right in thinking you did not | :20:18. | :20:23. | |
know much about gardening? Often those who know nothing, are the | :20:24. | :20:26. | |
people that should do it, as they don't come to the table with the | :20:27. | :20:32. | |
preconceptions of we have more gardens, more than eve no-one the | :20:33. | :20:38. | |
Victorian times, and why? Because it is fantastic! The success of the | :20:39. | :20:50. | |
Lost Gardens of Hellegin and the Eden Project has spurred Tim on. Now | :20:51. | :20:55. | |
he has his sights set on a third attraction. This is where the new | :20:56. | :21:01. | |
idea could spring from. To you and me it looks like a couple of fields | :21:02. | :21:08. | |
near to a motorway. But if anyone can transform this into an | :21:09. | :21:12. | |
incredible reality it is him. So, you built these project, | :21:13. | :21:16. | |
encourage people to come but when they are here, how do you engage | :21:17. | :21:20. | |
them? I hope that people look at nature in a different way and look | :21:21. | :21:24. | |
more kindly on themselves and their ability to change things. It is | :21:25. | :21:28. | |
about the notion that is deep inside everybody of putting something back. | :21:29. | :21:31. | |
I think that is what we do. I want the kids to think at school that | :21:32. | :21:38. | |
they want to be a farmer, a historicalist, you know what I mean? | :21:39. | :21:43. | |
Well, I reckon that we need to find out more about the project in Devon. | :21:44. | :21:49. | |
You have to spill the beans, Tim. Come on, Tim. | :21:50. | :21:53. | |
What do you want to know? Your plan, when is the opening? Does it have a | :21:54. | :21:59. | |
zip line. Will Duran Duran be playing there? In reverse order, | :22:00. | :22:08. | |
yes, I hope, yes. No. I can't tell you where the new project is but it | :22:09. | :22:12. | |
will be dedicated to nutrition and well-being. That is peddled as | :22:13. | :22:18. | |
hippie. But it will be the change of the whole medical system globally. | :22:19. | :22:23. | |
So focussing on that. We are build in Australia, we are building in | :22:24. | :22:29. | |
Canada, where we are working with First Nation, a local tribe and | :22:30. | :22:35. | |
building a huge Eden Project in China which started just now. | :22:36. | :22:40. | |
So much stuff. But sitting here tonight and listening to the birds | :22:41. | :22:45. | |
and the music outside, is this your greatest achievement? It is a huge | :22:46. | :22:50. | |
achievement by a lot of people. The trouble with these situations is | :22:51. | :22:53. | |
that the media think it is is you but it is not. It is a combination | :22:54. | :22:58. | |
of a lot of people in concert together. Anybody with the good | :22:59. | :23:03. | |
fortune to have the attention of the world on them at certain times is | :23:04. | :23:09. | |
humbled, as by the grace of God, it would be so different if it were not | :23:10. | :23:13. | |
for others. Some incredible things have happened | :23:14. | :23:16. | |
here over the years. Let's have a look at this bit of footage. Halle | :23:17. | :23:22. | |
Berry did not pay the entrance fee but came down through a zip wire | :23:23. | :23:26. | |
through the middle that is one way to get in. | :23:27. | :23:32. | |
Patrick, you know about that. But the biomes are an amazing feat of | :23:33. | :23:37. | |
engineering, the idea came from a mundane task, didn't it? It did. We | :23:38. | :23:43. | |
had a problem designing the place as the foundations were moved by giant | :23:44. | :23:50. | |
diggers. The architects got fed up. A junior architect was doing the | :23:51. | :23:54. | |
washing up and happened to notice how the bubbles settled on the | :23:55. | :23:58. | |
drying board. He came in with a great idea. This is it. | :23:59. | :24:03. | |
Here we are in the bubble. It is the strongest structure in the | :24:04. | :24:09. | |
world. But they are the weakest until the last piece goes in, when | :24:10. | :24:14. | |
it becomes the strongest. It imitates nature. Which of course is | :24:15. | :24:20. | |
what the Eden Project is all about. Now, let's talk about a charity, Big | :24:21. | :24:27. | |
Lunch? We began in 2009. My friend Peter Stuart had the idea to see if | :24:28. | :24:32. | |
we could get people up and down the country knocking on doors to ask | :24:33. | :24:37. | |
them for lunch. We wanted to do it without celebrities. As celebrities | :24:38. | :24:43. | |
sometimes is seen as a fad. Loneliness is not a fad it is about | :24:44. | :24:51. | |
all of us taking responsibility on helping. So last year 70,000 people | :24:52. | :25:00. | |
participated. And last year across the world, 72 million people | :25:01. | :25:03. | |
participated it is happening on Sunday week on the 12th. We are | :25:04. | :25:08. | |
hoping to go past the 10 million. It shares on that Sunday, the birthday | :25:09. | :25:12. | |
of Her Majesty the Queen. So auspicious. So we will disembowl a | :25:13. | :25:17. | |
foul and hope that the portent will be fine! We wish you the best. Not | :25:18. | :25:23. | |
only are you a visionary entrepreneur but you have dabbled in | :25:24. | :25:29. | |
the music business. Not only dabbled, oh, only on a number one | :25:30. | :25:33. | |
hit. Don't you roll your eyes, Simon Le | :25:34. | :25:38. | |
Bon! I'm having job insecurity. This man had a number one hit in | :25:39. | :25:46. | |
questioner many. Check this out... # Eyes for you | :25:47. | :25:50. | |
# Only there for you # Only there for you. He has more | :25:51. | :26:02. | |
hair there! I thought I recognised him when he walked in. | :26:03. | :26:07. | |
A number one is a number one. I should have said you were Holland. | :26:08. | :26:13. | |
Were you a composer? Not of that piece. | :26:14. | :26:17. | |
That is the only video I appeared in. I am sad it happened. | :26:18. | :26:24. | |
You looked great in a yellow jacket. Thank you, I like you too! So, is | :26:25. | :26:37. | |
there a place for Tim in Will Chic? We can make it funky. L. | :26:38. | :26:53. | |
Now, Glasgow's Barrowland Ballroom has been the host to so many bands | :26:54. | :26:58. | |
over the years, The Clash and The Smiths to Muse and Foo Fighters. | :26:59. | :27:03. | |
Earlier we spoke to Fran Healy from Travis as he prepared to hand over | :27:04. | :27:08. | |
the back catalogue to the BBC Scottish Symphony Orchestra. | :27:09. | :27:11. | |
We have been a four-piece for 20 years. This is the first time we | :27:12. | :27:15. | |
have been a 60 piece. I like our sound as the four of us but with a 7 | :27:16. | :27:23. | |
of the best musicians in the country behind you, it's taking it to | :27:24. | :27:27. | |
another level. I could get used to it -- 57. | :27:28. | :27:35. | |
You guys, can you come on the road with us? | :27:36. | :27:37. | |
ALL SPEAK AT ONCE Yes! If it were not enough to | :27:38. | :27:44. | |
arrange the songs and turn it into a big thing, we only had a council of | :27:45. | :27:49. | |
days for the rehearsal. I think we are doing pretty good. | :27:50. | :27:57. | |
The Barrowlands is a place, they call it one of the places to do the | :27:58. | :28:01. | |
best gigs. There is something about the venue, how it sounds when you | :28:02. | :28:05. | |
play in it and what it does to an audience. We have never played with | :28:06. | :28:12. | |
an Orchestra, ever. So to play with a an Orchestra at the Barrowlands is | :28:13. | :28:17. | |
just another thing completely. If a band does something like this | :28:18. | :28:22. | |
with an Orchestra, you usually do it over at their bit. Tonight they are | :28:23. | :28:28. | |
doing it over at our bit. They have built out the stage, | :28:29. | :28:34. | |
almost two-and-a-half times more. They would not have been able to fit | :28:35. | :28:39. | |
the Orchestra on, you would have had the classic guy with the violin | :28:40. | :28:44. | |
poking his mate in the eye! The bands rehearse and do a sound check, | :28:45. | :28:49. | |
then come off stage and the Orchestra sound check so we are not | :28:50. | :28:55. | |
#12e7ing on each other's toes. Then we go and do it together. | :28:56. | :29:05. | |
Finding a balance between the Orchestra and the bands, and putting | :29:06. | :29:09. | |
the arrangements together it is using your imagination, I suppose. | :29:10. | :29:14. | |
You are there to give colour and to add depth to the sound of the band. | :29:15. | :29:22. | |
I've not played in the Barrowlands before but I did see a lot of | :29:23. | :29:27. | |
concerts here. Some of the first I came to see were Travis, so I'm | :29:28. | :29:33. | |
really excited. I have two grown up sons and a 13-year-old daughter, and | :29:34. | :29:38. | |
they are jealous as I am now the rock and roll mum. | :29:39. | :29:44. | |
Throughout each album there has been a little orchestral piece here and | :29:45. | :29:50. | |
there. Even in Why Is Always Raining, there are the strings at | :29:51. | :30:00. | |
the start. This is called Why Does It Always Rain On Me. | :30:01. | :30:02. | |
# Why does it always rain on me... That's a keeper. If you're not lucky | :30:03. | :30:34. | |
enough to be one of the thousand people who got tickets, you can | :30:35. | :30:40. | |
listen to us, I've got to check the time... Today on BBC Radio six and | :30:41. | :30:53. | |
from APM. -- BBC Radio six and -- Scotland. I'm a little bit jealous. | :30:54. | :31:02. | |
I love Travis and I would love to be a that gig. We are with some people | :31:03. | :31:08. | |
who've honoured today because of the way they've changed lives through | :31:09. | :31:13. | |
the power of music. You established a children's choir in 2012. Not only | :31:14. | :31:22. | |
hitting the high notes with that choir but raising money for a | :31:23. | :31:30. | |
special project. We've had a very specific dream in our hearts. All | :31:31. | :31:34. | |
the way from 2012 we've had one goal and purpose beside singing and | :31:35. | :31:46. | |
having fun, we get to release so much joy for children. We are | :31:47. | :31:50. | |
building them a school. How is the fundraising going? I had the help of | :31:51. | :32:04. | |
my children and the dream so expansively that this was never a | :32:05. | :32:08. | |
difficulty for them. Within three years we have realised the target | :32:09. | :32:15. | |
and raised more than it. Now we will build them a playground and we have | :32:16. | :32:20. | |
done way more than we would have ever dreamt. I believe you're going | :32:21. | :32:24. | |
over to the school and your husband is going with you even though he is | :32:25. | :32:28. | |
petrified of flying. Patrick, who argue with? You are the man behind | :32:29. | :32:41. | |
Core Music in Hexham. This is why you've been nominated. Mike is a bit | :32:42. | :32:45. | |
of a legend. He's come up with this great idea of making sure everyone | :32:46. | :32:48. | |
who wants to access music can access music. He first came to Core Music | :32:49. | :32:59. | |
and is 14 now, he was eight when he started. Because of his autism he | :33:00. | :33:03. | |
gets very anxious and I was looking for somewhere inclusive. Core Music | :33:04. | :33:13. | |
is exactly that. He is an incredible guy but he is very modest. He needs | :33:14. | :33:18. | |
recognition. How good is that? How does it feel? | :33:19. | :33:24. | |
Brilliant. I don't know what to say. I'm a bit shocked to be honest | :33:25. | :33:29. | |
because I just like to be behind the scenes most of the time. It is about | :33:30. | :33:35. | |
having your moment and we are giving it to you tonight. Somebody else | :33:36. | :33:42. | |
having their moment is Jane, nominated by Tom. You set up an | :33:43. | :33:49. | |
inclusive drumming group for adults with mental health problems. How has | :33:50. | :33:54. | |
this group helped you and what has it brought to your life? In 2008 I | :33:55. | :34:00. | |
was particularly unwell and Jane invited me along. I had never tried | :34:01. | :34:13. | |
drumming before. I kept going, the weeks turned into months, in two | :34:14. | :34:18. | |
years. I turned myself around and I credit Jane with giving me my life | :34:19. | :34:25. | |
back. I am a support worker with the NHS now and I volunteer and it is | :34:26. | :34:30. | |
all down to Jane. It is so humbling to see you all. You have got the | :34:31. | :34:46. | |
choir with the greatest name. It is called aChoired Taste. | :34:47. | :34:51. | |
It is a female choir. A lot of women I knew enjoyed music and I thought | :34:52. | :35:03. | |
it would be a nice social event. It has grown from around 15 to a lot of | :35:04. | :35:12. | |
members. It is important for a lot of them and it is about the music, | :35:13. | :35:20. | |
coming together, who would not want over 100 friends? It is not just | :35:21. | :35:26. | |
about the stars denied, we have more on stage. We have got a great | :35:27. | :35:31. | |
audience here and I'm going to get them to sing a Beach boys classic. | :35:32. | :35:37. | |
50 years ago they released an album that was so influential, John Lennon | :35:38. | :35:43. | |
called it the most influential album ever made. Here is more on the Pet | :35:44. | :35:45. | |
Sounds story. # God only knows what | :35:46. | :35:56. | |
I'd be without you Pet Sounds. It is not an ounce -- | :35:57. | :36:15. | |
not a record of animal noises, but is consistently voted as the best | :36:16. | :36:20. | |
album ever made. Bizarre then that not many people have heard of it or | :36:21. | :36:25. | |
listen to it. It fundamentally challenged the idea of what pop | :36:26. | :36:31. | |
music could achieve. It gave the Beatles something to think about. If | :36:32. | :36:36. | |
only other albums could do that. Wouldn't it be nice? Brian Wilson | :36:37. | :36:42. | |
first appeared with his brothers Carl and Dennis alongside Mike Love | :36:43. | :36:55. | |
and Al Jardine. In December 1964, he had a severe panic attack on board a | :36:56. | :37:01. | |
plane. With the pressures of playing live taking their toll the band | :37:02. | :37:05. | |
would too without him and he concentrated on recording something | :37:06. | :37:09. | |
rather special instead. The new project was pet sounds, but to make | :37:10. | :37:15. | |
the record he wanted to make he intentionally turned his back on the | :37:16. | :37:19. | |
formula which had sold millions of records. He was not talking about | :37:20. | :37:29. | |
car and girls. He was talking about his feelings. It took guts. I'm | :37:30. | :37:34. | |
trying to create an atmosphere of love and harmony. | :37:35. | :37:45. | |
The album would showcase symphonic arrangements, elaborate vocal | :37:46. | :37:50. | |
harmonies coupled with bizarre sound effects. All treated with a wall of | :37:51. | :37:59. | |
sound mix. It meant their music sounded fuller and richer than ever | :38:00. | :38:06. | |
before. Throughout 1965, aged 23, he arranged, composed and produced Pet | :38:07. | :38:15. | |
Sounds using session musicians and not his bandmates. When they return | :38:16. | :38:18. | |
from touring he introduced them to the songs. They did not like it. I | :38:19. | :38:26. | |
was confused and could not understand why they did not like it. | :38:27. | :38:32. | |
Then they started liking it. The recording process was hard work and | :38:33. | :38:37. | |
was not easy. We had to adjust to the demands under Brian. I said, we | :38:38. | :38:43. | |
are going to show the world a good love album. I felt it in my chest | :38:44. | :38:45. | |
and in my heart. # God only knows what | :38:46. | :38:54. | |
I'd be without you. I was nervous as hell recording it | :38:55. | :39:11. | |
because I really wanted it to sound good. I wanted Carl to have a chance | :39:12. | :39:19. | |
to sing because... His voice had been hidden? | :39:20. | :39:25. | |
When Pet Sounds was completed it was unfortunately not the hit they hoped | :39:26. | :39:28. | |
for. But he was convinced he needed to make more adventurous music and | :39:29. | :39:36. | |
the next single they released, recorded during the sessions, proved | :39:37. | :39:43. | |
him right. The biggest hit to date, Good Vibrations. | :39:44. | :39:53. | |
Brian comes in... That is pure. After the album he went into a state | :39:54. | :40:07. | |
of physical and mental decline but the album continues to grow in | :40:08. | :40:14. | |
reputation. It is the best album for expressing love we made. He | :40:15. | :40:19. | |
influenced thousands of great artists over decades since. The good | :40:20. | :40:27. | |
news is 50 years later he is still showing the love. | :40:28. | :40:40. | |
Cue the music! Wouldn't it be nice if we were older, then we wouldn't | :40:41. | :40:54. | |
have to wait so long. Wouldn't it be nice to live together in the kind of | :40:55. | :41:03. | |
world where we belong. Now going to make it that much better wouldn't it | :41:04. | :41:11. | |
be nice? Then we wouldn't have to wait so | :41:12. | :41:24. | |
long. Wouldn't it be nice to live together in the kind of world where | :41:25. | :41:26. | |
we belong? Stay forever... We've done those types of things | :41:27. | :41:53. | |
before and actually, the crowd at the Eden Project are probably the | :41:54. | :41:56. | |
best we've had yet! They really were. Stunning. Good news for fans, | :41:57. | :42:06. | |
the Pet Sounds 50th anniversary tour has been extended into September and | :42:07. | :42:10. | |
the album is also being reissued as a special box set. Present for dad. | :42:11. | :42:18. | |
You were just saying how amazing they sound. We did a gig with them | :42:19. | :42:23. | |
and they were extraordinary. They sounded better than before. | :42:24. | :42:32. | |
Obviously they love the beach. Duran Duran, slightly more obscure name? | :42:33. | :42:40. | |
We are just music lovers. Who are you named after? We are at the | :42:41. | :42:53. | |
sci-fi villain from Barbarella. Names are a funny thing. We were | :42:54. | :43:03. | |
talking about Le Freak, not cold that to begin with. It is quite | :43:04. | :43:07. | |
convoluted how that song came about. Take us back to that night. We were | :43:08. | :43:14. | |
invited by Grace Jones to see her show at studio 54. It was 1977 going | :43:15. | :43:25. | |
into 1978. We'd never met her but we spoke to her that one time on the | :43:26. | :43:30. | |
phone and she has a very affected accent so we thought she was telling | :43:31. | :43:41. | |
us how we should ask for her. We knocked on the door and said, | :43:42. | :43:44. | |
hollow, we are personal friends of Miss Grace Jones. He slammed the | :43:45. | :43:50. | |
door in our faces and said to Galway. We said, we are personal | :43:51. | :43:58. | |
friends. He said that he told us to go away. Me and my partner went | :43:59. | :44:04. | |
around the corner, we purchased some bottles of Don Perrin E.ON. We went | :44:05. | :44:22. | |
to the apartment round the corner and we said... | :44:23. | :44:32. | |
Then it changed to freak off. Then we changed it to freak out. And then | :44:33. | :44:49. | |
the world could hear it. We would not have got away with the original | :44:50. | :44:56. | |
lyrics. Your new album, full of meaning for you? It is very | :44:57. | :45:03. | |
important for us because we felt we had to do something meaningful and | :45:04. | :45:14. | |
we took a long time to write it. We finally hit the really rich seam and | :45:15. | :45:20. | |
it is one of the tracks and it is about one of -- it is about modern | :45:21. | :45:31. | |
life and hopefully it is true. Your back working a long time after your | :45:32. | :45:38. | |
single. How has the relationship changed? It is better. | :45:39. | :45:44. | |
fringe I think it is better. We have an amazing tour. It really | :45:45. | :45:52. | |
is the greatest show in town. As Nile said, people leave suffering | :45:53. | :45:56. | |
from hip fatigue, as there is just... . I think I coined that | :45:57. | :46:02. | |
phrase, actually. Sorry, Simon, he does not value his | :46:03. | :46:09. | |
own front man! We are going to talk about your festival Fold Festival. | :46:10. | :46:15. | |
You created it yourself. It is at Fulham Palace. At the end of the | :46:16. | :46:17. | |
month. . Tell us who is head lining your | :46:18. | :46:21. | |
festival. Three nights in a row! We don't call | :46:22. | :46:29. | |
it headlining, even though we play every night. I came up with the | :46:30. | :46:36. | |
concert four years ago, in Switzerland they wanted to honour | :46:37. | :46:40. | |
me. So I called Mark Ronson and a bunch of good friends. I realised it | :46:41. | :46:45. | |
is like what we have, when you see friends playing together it changes | :46:46. | :46:49. | |
the whole vibe of the awedence. It is like we are all in it together. | :46:50. | :46:55. | |
We had 11 hours of dance music. It was amazing. So now with the Fold | :46:56. | :47:01. | |
Festival, I curate all of the people on the show, they are all friends of | :47:02. | :47:05. | |
mine. So there is no bickering. We play every night. It is OK. We are | :47:06. | :47:10. | |
not the headliners, sometimes we open the show, many nights we open | :47:11. | :47:13. | |
the show. We look forward to that. And we have | :47:14. | :47:19. | |
to say we are sorry if anyone was offended by your naughty language. | :47:20. | :47:27. | |
We are apologising for that but also thankful you did not tell the full | :47:28. | :47:35. | |
story with the full vocabulary. Now, we have to send you off as you | :47:36. | :47:39. | |
are performing on the main stage shortly. We will be with you over | :47:40. | :47:44. | |
there. Also, Laura Mvula is performing on the show, she is | :47:45. | :47:48. | |
closing The One Show. We are really looking forward to that. You saw | :47:49. | :47:54. | |
performances from 41 Bridges from around the UK. It is now over to | :47:55. | :47:59. | |
anning gel car, bringing this to a beautiful finale! Hello and welcome | :48:00. | :48:06. | |
to Middlesbrough! Where I am... Thank you! Where I am standing in | :48:07. | :48:11. | |
front of this amazing historical bridge that literally has been | :48:12. | :48:18. | |
travelling through the ages. Since this morning the Tees Transporter | :48:19. | :48:25. | |
Bridge has been carrying musicians and performers here and there. As | :48:26. | :48:30. | |
you said we have been celebrating a different decade every hour. The | :48:31. | :48:35. | |
bridge was built in 1911 up to now. We have had all sorts of music here. | :48:36. | :48:39. | |
And look at these cars, it is brilliant. I love this. A Morris, | :48:40. | :48:46. | |
built in 1923. As you say, we have to bring the celebrations to a close | :48:47. | :48:50. | |
right now. If you see the bridge, it has had a rebrand today. There is a | :48:51. | :48:56. | |
letter missing. So I have the help of the Apollo Street Band who play | :48:57. | :49:01. | |
before every home game for Middlesbrough FC. You are giving us | :49:02. | :49:06. | |
a count down to reveal the missing letter? That's right. | :49:07. | :49:09. | |
Let's do it, come on! CHEERING AND APPLAUSE. | :49:10. | :49:30. | |
Excellent! Now, there is the Y, the Y is down. Brilliant. We have it. | :49:31. | :49:36. | |
Oh, and we have fireworks! Now, I want to talk to you, John, Iverson, | :49:37. | :49:42. | |
you have been working for the bridge for 20 years. Give us a sense of the | :49:43. | :49:48. | |
history it has been a real part of the community since the Second World | :49:49. | :49:52. | |
War? Yes, since the Second World War, a bomb raid hit the bridge and | :49:53. | :49:57. | |
blue up the car deck. After three days of repairs it was back in | :49:58. | :50:01. | |
service for the public. Robert, music is important here? | :50:02. | :50:05. | |
Yes, it is a vibrant scene. Everyone is behind it. I think there is a | :50:06. | :50:11. | |
legacy of Chris Rea and the steel river where we are now. | :50:12. | :50:17. | |
Also a massive thank you to the Military Band up there right now and | :50:18. | :50:23. | |
the Puma Cheer Leaders. If you are inspired by Music Day and want to | :50:24. | :50:28. | |
take up an instrument and get involved in a virtual Orchestra on | :50:29. | :50:35. | |
The Last Night of the Proms, get involved. Now, this is The One Show | :50:36. | :50:43. | |
and Richard Mainwaring is not playing on a musical instrument, he | :50:44. | :50:48. | |
is playing it! The Welsh triple harp... And the Menai Bridge. | :50:49. | :50:55. | |
Now, I've noticed that these two Welsh icons look a little bit alike. | :50:56. | :51:00. | |
The vertical rods on the bridge look like the strings of a harp, which | :51:01. | :51:06. | |
has me thinking... Can I play the Menai Bridge like a giant harp? The | :51:07. | :51:11. | |
people that manage the bridge have given The One Show the special | :51:12. | :51:16. | |
permission to try out a crazy idea. Expert sound recorder, Gary Moyes is | :51:17. | :51:21. | |
helping. First, rerecord the sound of the rods separately to see if | :51:22. | :51:24. | |
they change in pitch. Here is the moment of truth. | :51:25. | :51:30. | |
That is a really interesting sound? It is a medium strand, no | :51:31. | :51:34. | |
recognisable note on that. No. Using musical principles, small | :51:35. | :51:42. | |
rods should be higher and big rods lower? Well, yes but it is not like | :51:43. | :51:50. | |
a harp. Let's try the bigger rods. It should | :51:51. | :51:54. | |
make a difference in terms of pitch. It is exactly the same! It is | :51:55. | :52:01. | |
exactly the same! Is it equal tension on the wires? Would that | :52:02. | :52:07. | |
make a difference like tuning? Yes, you are right. | :52:08. | :52:16. | |
It just sounds like a bucket! Oh, that's a bit better. So the rods are | :52:17. | :52:21. | |
not resonating like the harp strings and there is not much variation in | :52:22. | :52:25. | |
the pitch. But I do like the sounds I'm getting from the bridge. They | :52:26. | :52:29. | |
are dramatic and in keeping with its history. I think there is something | :52:30. | :52:35. | |
that I can do here. The bridge inspires music, the construction saw | :52:36. | :52:39. | |
the village here known in English as Menai Bridge spring up on the | :52:40. | :52:45. | |
Anglesey side of the Menai Straight. For the past 120 years, it has been | :52:46. | :52:54. | |
the home of the Menai Band. Back in 1825, as 150 labourers held the | :52:55. | :53:00. | |
chains into the place, the bands were there throughout the process, | :53:01. | :53:03. | |
helping to keep the men hauling in time. And the Menai Bridge features | :53:04. | :53:12. | |
in Lewis Carroll's Alice Through The Looking Glass, with a debtee | :53:13. | :53:16. | |
claiming it can be kept rust free by boiling it in warm. In reality, the | :53:17. | :53:21. | |
metal was soaked in warm linseed oil. Gary and I are now getting | :53:22. | :53:25. | |
enthusiastic about the sounds we can produce here. | :53:26. | :53:36. | |
It is like a snare drum back... I bet you a pound, I can get a tune | :53:37. | :53:41. | |
out of the Menai Bridge. Wow! I never knew, a Menai Bridge on | :53:42. | :53:56. | |
?1! I call this reverb. It is fantastic, the acoustic properties | :53:57. | :53:59. | |
of the bridge. With the sounds collected it is time to listen and | :54:00. | :54:04. | |
compose. We are going to have to make something that is percussion. | :54:05. | :54:09. | |
In a way, the bridge has told us what to do. | :54:10. | :54:15. | |
I do. I can't believe you have such a complex set of sounds from the | :54:16. | :54:18. | |
bridge. Incredible. It is my hammer! I brought the | :54:19. | :54:24. | |
hammer to the party, you hit it. With the bridge's rich past as | :54:25. | :54:30. | |
inoperation, my composition, using sounds taken only from the bridge is | :54:31. | :54:32. | |
complete... MUSIC: | :54:33. | :54:57. | |
Music of the Menai Bridge. Gary, thank you very much. | :54:58. | :55:04. | |
Well, we made it. Look who we found, Laura Mvula and | :55:05. | :55:09. | |
Nile Rodgers of course, come on! Let's hear it for Laura Mvula and | :55:10. | :55:19. | |
Nile Rodgers! Yes! Nile and Laura, here is our lovely Cornwall | :55:20. | :55:21. | |
audience. CHEERING AND APPLAUSE. | :55:22. | :55:26. | |
We loved your sing song, by the way, fantastic. Really, really good. | :55:27. | :55:30. | |
We have been talking about the importance of music, over the last | :55:31. | :55:34. | |
hour, Laura, it has been a big thing on the BBC today. What has music | :55:35. | :55:41. | |
given you as anything as an artist? This! The privilege of sharing what | :55:42. | :55:46. | |
I write with people, this is what I live for, truly. Coming out to | :55:47. | :55:50. | |
experience live music is the most magical thing on earth. Well, we | :55:51. | :55:55. | |
can't wait to hear you perform. We have to say a big thank you to Simon | :55:56. | :56:00. | |
and John. You can see Duran Duran live at Eden Project at 11.00pm on | :56:01. | :56:05. | |
Sunday night. You can go up to BBC Radio Two to hear the rest of the | :56:06. | :56:09. | |
concert as well. Where are you Patrick? That's it from us, enjoy | :56:10. | :56:13. | |
the rest of the night. So, this woman, we did a record | :56:14. | :56:23. | |
earlier this year called come. Over I was overcome, let me tell you | :56:24. | :56:28. | |
something. Let me tell you something, people, artists like this | :56:29. | :56:33. | |
only come along once in a very short time. Right. It doesn't happen every | :56:34. | :56:41. | |
day that you meet someone like this. When I first heard her, I was blown | :56:42. | :56:47. | |
away. I had to work with her. I met her, I cornered her. I said we had | :56:48. | :56:52. | |
to do something together together. We did Overcome, it was amazing. Now | :56:53. | :57:01. | |
she is going to do her new song... It almost sounds redundant! Because | :57:02. | :57:10. | |
it is call Phenomenal Woman! Laura Mvula! Phenomenal Woman! Check it. | :57:11. | :57:13. | |
Wow! # Nobody ever told her she was | :57:14. | :57:30. | |
beauty # One day she realised she was | :57:31. | :57:34. | |
already free # The colour in her eye was fire | :57:35. | :57:43. | |
# She found a lion on her new horizon | :57:44. | :57:44. | |
# Oh, my # She fly | :57:45. | :57:49. | |
# Phenomenal woman # Oh, my oh, my | :57:50. | :57:53. | |
# Oh, my # She fly | :57:54. | :57:57. | |
# Oh, my, my # Oh, my | :57:58. | :58:05. | |
# She fly # Oh, my, my | :58:06. | :58:16. | |
# Oh, my, she fly # She fly through on every kind of | :58:17. | :58:21. | |
tribulation # Every adventure and imagination | :58:22. | :58:29. | |
# She never listened to no Hayter, liars | :58:30. | :58:31. | |
# Oh, my, my # Oh, my, she fly | :58:32. | :58:36. | |
# Phenomenal woman # Oh, my, my | :58:37. | :58:41. | |
# She fly # Oh, my, she fly | :58:42. | :58:46. | |
# Phenomenal # Oh, my, my | :58:47. | :58:51. | |
# Oh, my, she fly # Oh, my, my | :58:52. | :58:59. | |
# Oh, my, she fly # It don't matter | :59:00. | :59:02. | |
# What people say # Cos they don't know you | :59:03. | :59:05. | |
# Where you come from # Or where you going | :59:06. | :59:10. | |
# It don't matter # What people say | :59:11. | :59:13. | |
# As they don't know you # Where you come from | :59:14. | :59:17. | |
# Where you going # You are | :59:18. | :59:20. | |
# Phenomenal woman # You are | :59:21. | :59:24. | |
# Phenomenal # Oh, my, my | :59:25. | :59:32. | |
Oh, my, my # Oh, my, she fly | :59:33. | :59:36. | |
# Come on now # Oh, my, my | :59:37. | :59:42. | |
# Oh, my, she fly # Phenomenal woman | :59:43. | :59:45. | |
# Oh, my, my # Oh, my, she fly | :59:46. | :59:52. | |
# Phenomenal. CHEERING AND APPLAUSE. | :59:53. | :59:55. |