:00:32. > :00:47.Thank you and welcome to The One Show with the beautiful Alex Jones.
:00:48. > :00:51.Thank you. Is back on my sofa, Shane Richie. I'm back again.
:00:52. > :00:59.APPLAUSE It's great to be back, the last time
:01:00. > :01:07.I was here was before Christmas. I will stick by you this time! That is
:01:08. > :01:11.a relief. I didn't even know you had started kissing.
:01:12. > :01:13.Later we'll be meeting the Moxhams who have a classic car
:01:14. > :01:15.collection with a difference - they don't actually
:01:16. > :01:25.First though, what connects these three incredible worldwide hits?
:01:26. > :01:39.# In the middle of a chain reaction # Lost in action #
:01:40. > :01:42.# Why do you have to be a heartbreaker
:01:43. > :01:47.# When I was being what you want me to be #
:01:48. > :01:49.# Islands in the stream # How can we be wrong?
:01:50. > :01:56.Well of course they were sung by Diana, Dionne, Dolly and Kenny,
:01:57. > :01:58.but they were all co-written by one man, who you'll probably recognise
:01:59. > :02:10.# Jive talking # So misunderstood
:02:11. > :02:12.# Jive talking # Really no good.
:02:13. > :02:26.APPLAUSE This is so excited, genuinely so
:02:27. > :02:29.excited. Could you clear something up because earlier when we were
:02:30. > :02:35.asking what sort of questions we would ask you but the song Islands
:02:36. > :02:41.in the stream, did you write that for Dolly and Kenny? No, we had a
:02:42. > :02:46.writing room above the studio and it was written with Diana Ross in mind.
:02:47. > :02:51.Kenny Rogers called up and said, will you do a couple of songs? I
:02:52. > :02:56.said I'd rather do an album, you know? I didn't expect him to say
:02:57. > :03:01.yes. They said, OK, let's do an album and I thought, oh dear, now
:03:02. > :03:07.I've got to do a whole album. Sometimes you walk into something
:03:08. > :03:11.but I'm glad I did. He was a very special person and it was a pleasure
:03:12. > :03:15.to work with him. We both have different stories. He thinks Dolly
:03:16. > :03:20.was already in the building and we were looking for him the maximum for
:03:21. > :03:25.him to sing with. There are different versions of this story. We
:03:26. > :03:31.have cleared it up tonight. When we cut the track we already have Dolly
:03:32. > :03:35.in mind and so did he so part of the puzzle had slipped away, part of the
:03:36. > :03:40.memories. We've cleared that one up. I don't know if we have cleared it
:03:41. > :03:44.up. We will talk about your new album soon, Barry, and you will
:03:45. > :03:49.perform the title track In The Now at the end of the show. I got so
:03:50. > :03:53.excited when I knew I would be on the show and I knew you would be
:03:54. > :03:57.here. On the way in I was listening to the radio and when you listen to
:03:58. > :04:01.it there is only a handful of artists over the last 40 years, as
:04:02. > :04:04.soon as you hear the voice you know who they are, Elvis, Prince Khama
:04:05. > :04:09.Michael Jackson command seriously, I think when you hear one of your
:04:10. > :04:12.tracks you know exactly it is Barry Gibb. You are too kind. It is a
:04:13. > :04:17.unique falsetto voice. But how hard is it for men
:04:18. > :04:25.to reach those high notes? Hitting the high notes has been a
:04:26. > :04:28.problem for many a male singer over the centuries. For some it seems to
:04:29. > :04:32.elude them and for others it is a career defining moment. Brake life
:04:33. > :04:38.had just begun. # Touching you...
:04:39. > :04:41.Falsetto is produced when only a vibration occurs across half the
:04:42. > :04:47.length of the vocal cords which produces a shorter sound wave and
:04:48. > :04:52.therefore a higher pitch. Falsetto is thought to go back to the 13th
:04:53. > :04:58.century, and by the 16th century it was a term in common use in Opera.
:04:59. > :05:04.Now, I want to find out how hard it is to reach this falsetto heaven so
:05:05. > :05:08.I am off to the Royal College of music in Manchester, where the elite
:05:09. > :05:17.come to train. Kieren Fallon time is heading towards his musical goals.
:05:18. > :05:22.# Smile though your heart is aching # Smile even though it's breaking. #
:05:23. > :05:26.Do you think there are guys out there who could sing like you but
:05:27. > :05:29.they have never discovered that part of their voice?
:05:30. > :05:34.There probably is but you have to work through your voice and find out
:05:35. > :05:37.what your voice can do. Is the part of your voice that you
:05:38. > :05:41.are using slightly more fragile than it would be if you were singing as a
:05:42. > :05:46.lower singer? Definitely. The voice is way more
:05:47. > :05:50.fragile so you have to look after it, no shouting, no screaming, you
:05:51. > :05:54.have to warm up so nothing can go wrong. You've got to have your
:05:55. > :05:59.armoury ready. When you learn to sing the way that I sing you get
:06:00. > :06:02.lots of tension and sore throats get in the way. Once you get mentally
:06:03. > :06:09.over that of the mixing of the sounds and it is easy.
:06:10. > :06:14.Away from the refined environment of the Royal Northern College of music
:06:15. > :06:20.I wanted to find out whether the people of Manchester could hit the
:06:21. > :06:32.high notes. # Mamma Mia! Let me go
:06:33. > :06:35.# Mamma Mia!! Let me go. It is there but it is not strong but it is
:06:36. > :06:44.there. # Don't blame it on the goodtime
:06:45. > :06:50.# Limit on the boogie. I can't get any higher than that.
:06:51. > :06:56.# Stay with me. It is in there, it is just rusty,
:06:57. > :07:04.have a good calf. # Stayin' Alive nick Stayin' Alive!
:07:05. > :07:12.# Cry me a River.
:07:13. > :07:17.# Cry me a River. That's what you call a falsetto
:07:18. > :07:23.singer. There is probably lots of dogs
:07:24. > :07:28.howling now. It is tough to do. Barry, let's get onto your album, In
:07:29. > :07:30.The Now, lots of emotive songs on the album, what was the inspiration
:07:31. > :07:39.behind it? My own feelings about life. I didn't
:07:40. > :07:43.focus on really on In The Now, I focused on my opinions about things
:07:44. > :07:54.in an abstract form. In The Now is a defiance of time. So much loss in my
:07:55. > :07:58.family, including mum. They are in the songs. Wonderful lyrics. Yes,
:07:59. > :08:02.but in abstraction. You know what is great about songs, you can say
:08:03. > :08:07.everything you want to say that you can't say in words. You can say it
:08:08. > :08:11.within the lyrics of the song. As a writer what comes first, the melody
:08:12. > :08:15.or the words? The melody and the centre, in other words, what's this
:08:16. > :08:22.song about? That will happen to me in the middle of the night and I've
:08:23. > :08:28.got a little recorder. There is a song called you Win again which came
:08:29. > :08:31.about four o'clock in the morning in a dream.
:08:32. > :08:36.# There is no fight. That was in the middle of the night
:08:37. > :08:39.and you recorded it? Yes, but it wasn't by my bed, I had to run
:08:40. > :08:44.around the house. I've got a tune in my head!
:08:45. > :08:48.It is like a dream and when you wake up it disappears and I had to catch
:08:49. > :08:50.it and you have to catch it at that moment.
:08:51. > :09:02.You are writing the album with two of your eldest sons, and Ashley and
:09:03. > :09:11.Stephen. He is outside the studio. Did you want to keep it in the
:09:12. > :09:15.family? You evolve into it. The same with my brothers, their harmonies
:09:16. > :09:18.were not wanted by me, they were natural and they just started doing
:09:19. > :09:25.that. I think it is based on my father bringing the Mills brothers
:09:26. > :09:28.home and I became a fanatic on the Mills brothers, their harmonies were
:09:29. > :09:33.beautiful and that is what triggered it. Who do you like listening to
:09:34. > :09:38.now? I started listening to a lot of Prince tekkers he's not here any
:09:39. > :09:44.more, I started focusing on what he was doing. He sang so much in
:09:45. > :09:51.falsetto, I didn't realise how much. Michael, always. Frank Sinatra. Any
:09:52. > :09:59.modern stuff? That's as modern as it gets, Stevie Wonder. Stevie Wonder,
:10:00. > :10:04.Ray Charles. OK. You collaborated with Chris Martin, the highlight of
:10:05. > :10:05.the summer, you in Glastonbury. Let's remind ourselves of Stayin'
:10:06. > :10:17.Alive. # Feel the city breakin'
:10:18. > :10:19.and everybody shakin' # Ah, ha, ha, ha, stayin'
:10:20. > :10:37.alive, stayin' alive APPLAUSE
:10:38. > :10:44.I'm always intrigued, who makes the phone call? He called me. I wouldn't
:10:45. > :10:50.have called and said, can I come on the show. There are lots of shows
:10:51. > :10:53.I'd like to be on but you cannot call them. He called me and asked if
:10:54. > :10:58.I would consider doing Glastonbury, even if it was just two songs, and I
:10:59. > :11:04.said I would love to. But you don't need me. You are on your own wave
:11:05. > :11:09.right now, don't worry about it. He said, no, I really want you to do
:11:10. > :11:13.it. If you call me again I will do it. Could you feel the love on the
:11:14. > :11:17.stage from hundreds of thousands of people? On the screen it came out of
:11:18. > :11:24.the screen. It is like a water of people. Yes, it is a difficult thing
:11:25. > :11:28.to face. I could see the first 10% of the audience, but magic, you
:11:29. > :11:33.know? Magic and money! It was a definite highlight of our summer. In
:11:34. > :11:35.The Now, the new album, is out next Friday.
:11:36. > :11:40.if you've got an Austin Allegro, Ford Cortina or a Vauxhall Viva
:11:41. > :11:47.Are you listening to this, Barry? You could be in luck.
:11:48. > :11:49.They could all soon be reclassified as 'classic cars' by
:11:50. > :11:53.Christine's met somebody who's already ahead of the curve -
:11:54. > :11:58.he's got a familiar face and a hundred familiar voices.
:11:59. > :12:11.This is lovely. What would your dream car the? Jaguar. Lamborghini.
:12:12. > :12:16.Bentley or a Jaguar. My favourite car, Ford Cortina. Impressionist and
:12:17. > :12:22.comedian Jon Culshaw has a passion for old British cars. But with
:12:23. > :12:26.surprisingly few left he is devoted to bringing them back. Here is where
:12:27. > :12:42.they live. I sort of consider this place a bit
:12:43. > :12:46.of a Donkey Sanctuary for old cars. Donkeys? These are more like
:12:47. > :12:56.thoroughbreds, three immaculately restored 1970s Fords. Two Cortinas,
:12:57. > :13:01.and a great big console. But why splash his cash on such ordinary
:13:02. > :13:06.models? There is something about how common they were in the 1970s. So
:13:07. > :13:13.many people had cars just like this, the Cortina and the Granada. Now
:13:14. > :13:22.they are so rare. Believe it or not, my first car was this lovely Cortina
:13:23. > :13:32.Mark two. Can we have a go? I think we should, which one would you like
:13:33. > :13:38.to have a trip in? The 2000 E. Tyler, get the Cortina, move it! The
:13:39. > :13:48.Cortina 2000 E featured in the 70s police drama Life On Mars with John
:13:49. > :13:50.Glen and Philip Glenister are nice but naughty. The perfect car for
:13:51. > :14:08.cops who don't stick to the rules. Driving with John is a slightly
:14:09. > :14:14.unnerving experience as you're not quite sure who will turn up in the
:14:15. > :14:17.driving seat. Sometimes it's a Doctor. I reversed the polarity of
:14:18. > :14:22.the neutron flow so the Tardis should be in the force field. Or the
:14:23. > :14:28.bloke who Rhys Priestland his Fords. I've got to keep it the original
:14:29. > :14:34.colour, you know -- re-sprays. He first laid dot-mac fell in love with
:14:35. > :14:38.Cortinas aged eight at junior school. I can see it so vividly now,
:14:39. > :14:45.there was a metallic purple mark three Cortina and it caught your
:14:46. > :14:49.attention. I thought that is the one and when I grow up I'm going to get
:14:50. > :14:55.one of those and sure enough I did. When the Cortina was launched in
:14:56. > :15:00.1962 and it cost ?573, about two thirds of the annual average wage.
:15:01. > :15:05.It was a massive hit and over the next 20 years around 2.6 million
:15:06. > :15:10.were sold in Britain. Do you really believe that these cars are worth
:15:11. > :15:15.restoring? I think they are because you hear the stories of so many in
:15:16. > :15:20.the day that would just scrapped. Of the 2.6 million UK Cortina is only
:15:21. > :15:27.around 1300 are still on the road, and as for the 2000 E there are
:15:28. > :15:31.currently less than 50 licensed to drive. I feel a responsibility. I
:15:32. > :15:35.like to give them a good home. If this was to break down, would you
:15:36. > :15:38.know what to do? I would phone the AA!
:15:39. > :15:44.LAUGHTER In fact, the mechanical genius
:15:45. > :15:48.behind John's restored cars is his brother Jim. Together with Jim's
:15:49. > :15:52.friend Albert. I remember growing up and you always
:15:53. > :15:56.have the great cars, the American cars, the Dodge Monaco, the size of
:15:57. > :16:00.the Isle of Wight on wheels, it was very called, your mates at school
:16:01. > :16:04.would talk about it, and it was cool and it made me think, I'm going to
:16:05. > :16:08.do that. He might not know much about engines but John buys the cars
:16:09. > :16:12.and has the bodywork restored to the standard he hopes will keep these
:16:13. > :16:18.rather rare everyday cars going for years. There is actually one last
:16:19. > :16:24.job to complete the restoration of this, and that is the sticking of
:16:25. > :16:33.the GT badge just there. How about I hand that to you. Perfect.
:16:34. > :16:38.It was a bit high, that badge, wasn't it? She spotted it right
:16:39. > :16:50.away. Nice to see you. We've seen your car
:16:51. > :16:59.collection but we will find out about someone else's. Can we please
:17:00. > :17:01.welcome the Motz and family? Dad, Matthew, you wanted a classic car
:17:02. > :17:07.collection that you couldn't quite afford one, tell us what you did?
:17:08. > :17:11.Decided to name my first child after a classic car and then pretty much
:17:12. > :17:19.decided to name all five of them after that. Now all five children
:17:20. > :17:23.are here in the studio. They are all named after classic cars. So this is
:17:24. > :17:27.a game for John, but Barry feel free to join in. We are going to guess
:17:28. > :17:32.the name of the children. We give you a clue and then you guess, OK?
:17:33. > :17:42.You have to do it as other characters. We will start with the
:17:43. > :17:49.daughter, 22, named after a German make of car Janis Joplin once sang
:17:50. > :17:54.about. Must be Mercedes-Benz. Yes, Mercedes! The oldest son, 18, named
:17:55. > :17:59.after a luxury British car Manufacturer once owned by
:18:00. > :18:05.Rolls-Royce. Any ideas, Barry? About what? About the name of a child
:18:06. > :18:11.named after a luxury British car Manufacturer once owned by
:18:12. > :18:18.Rolls-Royce. Bentley. Is he right? Yes! It's Bentley. Brilliant. The
:18:19. > :18:23.middle child, daughter, 16, bit of a tough one, named after a 1952
:18:24. > :18:30.Armstrong Sidley model which shares its name with a blue gemstone. I
:18:31. > :18:36.think I know this. Sapphire. Is sapphire the right answer? Yes! Well
:18:37. > :18:41.done. The second youngest boy is four, named after a British car
:18:42. > :18:49.popularised by James Bond. What is his name? I wonder which one, Martin
:18:50. > :18:56.or Aston, or both. Barry, what do you think? Aston. Is he right? Yes!
:18:57. > :19:01.You've won a luncheon voucher, Barry. The youngest child is just
:19:02. > :19:12.three and so cute. And he's named after a make of Bugatti that can go
:19:13. > :19:18.faster than 250 miles per hour. I think this calls for a Clarkson
:19:19. > :19:24.impression. Veyron! Is he right? Yes. And they have a cousin out the
:19:25. > :19:35.bag called mini clubman. Trudy, where's Mum? Are you much of a car
:19:36. > :19:46.not like the old man? No. Well thanks for coming, nice big thank
:19:47. > :19:50.you for the family. John, you are on Newzoids at the moment, you brought
:19:51. > :19:56.up at it with you, somebody Shane knows well. Let's introduce the
:19:57. > :20:02.fellow. There he is. All right mate? Who is that supposed to be? That's
:20:03. > :20:09.Phil Mitchell. I'm going to ring him now and tell him you're taking the
:20:10. > :20:15.Mick out of him. Well I have a little mini me to protect me. Barry,
:20:16. > :20:22.Ayew familiar with film actual? I'm not, I thought it was a terrifying
:20:23. > :20:26.baby. Newzoids is on ITV tomorrow night, you can see John and his many
:20:27. > :20:30.voices. In a moment Barry will perform live for us but first the
:20:31. > :20:36.Duke and that is of Cambridge have been in Canada.
:20:37. > :20:38.They were given a local delicacy to eat called a 'gooey-duck'.
:20:39. > :20:41.It's a kind of clam, which Prince William described
:20:42. > :20:46.Back in Britain, chef Tom Kitchin knows how to get
:20:47. > :20:48.round the problem of presenting clams, but he's in two minds
:20:49. > :21:03.These days more and more of us want to know where our food has come from
:21:04. > :21:08.and how it's sourced. It's something I'm really passionate about but
:21:09. > :21:13.sometimes the politics on how our food is fun and fish really muddies
:21:14. > :21:18.the waters. For years I've been dead set against this electro- fishing.
:21:19. > :21:22.Electrodes on the sea bed stun the shellfish and other sea life making
:21:23. > :21:28.for easy pickings. The EU banded nearly two decades ago as a threat
:21:29. > :21:34.to sustainability. But now a rising tide of voices says electro- fishing
:21:35. > :21:38.is the future. I want to see if its supporters can convince me I was
:21:39. > :21:45.wrong. Back in my restaurant one of my signature dishes is this. Razor
:21:46. > :21:54.clams with wild herbs. So today I'm heading out to see for myself how my
:21:55. > :21:58.clams are caught. Razor clams fishing is heavily regulated and
:21:59. > :22:06.monitored to make sure stocks last. Look, there's a baby one. Smaller
:22:07. > :22:10.clams are returned to the sea. Just throw it back. Scott McKinley and
:22:11. > :22:16.his team of divers collect the clams by hand. For me that's the most
:22:17. > :22:22.ethical way of doing it. How much, one diver, how much could he catch
:22:23. > :22:29.in a day. On a good day diver is expected to get 150 kilograms. F1
:22:30. > :22:32.driver Ellie dive is getting 150 kilograms, why is hand-picking not
:22:33. > :22:37.enough? Sundays with bad weather conditions we might be lucky to get
:22:38. > :22:43.ten or 20 kilos. Sometimes we go out and get very little. That's a good
:22:44. > :22:47.day when we would get 150 kilos. For these guys, the legal tentative,
:22:48. > :22:52.commercial dredging, goes against the grain, as it strips the sea bed
:22:53. > :22:55.there. You think it would be more sustainable to be doing the electro-
:22:56. > :23:00.fishing than Hans diving or dredging? More economic and viable
:23:01. > :23:05.way of fishing. We could pick what fish we want, leave all the small
:23:06. > :23:10.ones, they can bury themselves back into the sand. Doctor Sam Collins
:23:11. > :23:15.from the Scottish wildlife trust disagrees. He says electro- fishing
:23:16. > :23:20.could be a real danger. Cobb has been known to have open vertebrae or
:23:21. > :23:25.internal bleeding caused by electro- fishing. There are lots of problems
:23:26. > :23:30.with the nontarget species. These are major concerns we are not aware
:23:31. > :23:35.of yet. This video filmed last year in Scottish waters shows neither
:23:36. > :23:38.environmental concerns nor the ban have stopped illegal electro-
:23:39. > :23:45.fishing. You can see the electrodes on the sea bed. And despite fines of
:23:46. > :23:52.up to ?50,000, it is said to be widespread. Meanwhile law-abiding
:23:53. > :23:56.fishermen like Alan Forbes have to leave their kit lying idle. So
:23:57. > :24:00.you've got this piece of kit here stuck in the back of your car and
:24:01. > :24:04.you can't use it? This bit of equipment has been used once. We had
:24:05. > :24:08.a special permission from the Scottish Government for one-day.
:24:09. > :24:11.That one day was for a research project for Marine Scotland, the
:24:12. > :24:16.very government agency that polices the band. And its findings said
:24:17. > :24:22.electro- fishing had little impact on other sea life. And that was two
:24:23. > :24:25.years ago. So if the government commissioned this report and in fact
:24:26. > :24:29.gave it a clean bill of health, why has it not done anything about it
:24:30. > :24:34.with your politics, you know, political things do take time,
:24:35. > :24:38.things don't happen overnight. What we want to do is have them in
:24:39. > :24:42.Scotland established a structured, managed framework. If you leave it
:24:43. > :24:46.as a free for all it becomes uncontrollable and then how can we
:24:47. > :24:50.manage stocks? Well, that's just one of the questions I wanted to ask
:24:51. > :24:54.both Marine Scotland and the Scottish Government but no one was
:24:55. > :24:58.available to speak to me. Although they did send me a statement. In it
:24:59. > :25:02.they admit their own research shows electro- fishing is an extremely
:25:03. > :25:08.benign method of fishing and could provide a useful economic boost. But
:25:09. > :25:14.they go on to say they still won't do anything until they've carried
:25:15. > :25:18.out wider consultation. In the meantime, what I've seen has given
:25:19. > :25:21.me food for thought. I started out fiercely opposed to what I believed
:25:22. > :25:26.was a seriously damaging fishing method, but it seems like electro-
:25:27. > :25:31.fishing for clams might have some serious scientific backing.
:25:32. > :25:33.Well the Scottish government has launched a consultation
:25:34. > :25:36.on electrofishing which has just finished today and they expect to be
:25:37. > :25:40.able to share the results by the end of October.
:25:41. > :25:48.We can't sleep. I will not stop thinking about this. Thanks to
:25:49. > :25:53.shame, it's been lovely having you. Have you enjoyed it? I've had a
:25:54. > :25:56.wonderful time, always do. What are you up to next? Going on tour with
:25:57. > :25:58.my band, everybody in the country come and see me. Watch Barry closely
:25:59. > :26:00.for any tips. Matt
:26:01. > :26:02.and I will be back on Monday with Daniel Radcliffe and Graham
:26:03. > :26:04.Norton. Huge thanks also to Barry Gibb,
:26:05. > :26:07.his new album is out next Friday. Now he's going to perform the title
:26:08. > :26:20.track 'In The Now'. # You're the epitome of innocence
:26:21. > :26:26.# You're only my destination # And all think about is yesterday
:26:27. > :26:32.# I need you here in the now # All my life is so wrapped up
:26:33. > :26:58.in you # To have you suddenly
:26:59. > :27:22.# Standing right in front of me # I'm only happy when I hear
:27:23. > :27:35.you moan # You began to slowly
:27:36. > :28:03.bend my will # All my life I never
:28:04. > :28:18.felt this way before # I'm only happy when I hear
:28:19. > :28:59.you moan