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This programme contains some strong language. | 0:00:02 | 0:00:09 | |
# Driving off the old cooling towers in Tinsley | 0:00:09 | 0:00:11 | |
# Cos when you listen to my beats | 0:00:11 | 0:00:14 | |
# You'll probably have to change your sheets... # | 0:00:14 | 0:00:17 | |
No, scrap that. | 0:00:17 | 0:00:19 | |
# I'm taking over Yorkshire Try to touch me, I'll scorch ya | 0:00:19 | 0:00:22 | |
# I'm like the surface of Venus I'm ho-ho-ho-hotter than Jesus | 0:00:22 | 0:00:26 | |
# I'm getting more fans than Bieber Rocking harder than David Guetta | 0:00:26 | 0:00:30 | |
# I can shit all over Skrillex cos you know I'm just generally better | 0:00:30 | 0:00:34 | |
# C-Bomb. # | 0:00:34 | 0:00:35 | |
What's up, people? | 0:00:37 | 0:00:39 | |
This is C-Bomb, godfather of the South Yorkshire dubstep scene. | 0:00:39 | 0:00:41 | |
You probably know me from my 2008 hit single Rektal Dysfunktion. | 0:00:41 | 0:00:46 | |
Now, I've been off-radar recently. | 0:00:46 | 0:00:47 | |
You think I've just been off spending all the cash | 0:00:47 | 0:00:50 | |
from the single. Well, yeah, I have. I spent it. | 0:00:50 | 0:00:53 | |
The money's gone. | 0:00:53 | 0:00:54 | |
But, no, I've actually been working on my live set. See? | 0:00:54 | 0:00:59 | |
Of course, the "man" would have me churn out "content" | 0:00:59 | 0:01:01 | |
as quick as "possible". | 0:01:01 | 0:01:03 | |
The last bit didn't need the air quotes. | 0:01:03 | 0:01:05 | |
< I'm back. | 0:01:05 | 0:01:06 | |
Right, well, anyway, I thought | 0:01:06 | 0:01:08 | |
I'd give you a sneak preview of the new track. | 0:01:08 | 0:01:10 | |
Now, I don't want this leaked, so keep it under your hats. | 0:01:10 | 0:01:13 | |
I mean, share it, by all means. | 0:01:13 | 0:01:14 | |
Stick it on Facebook, Twitter, whatever. | 0:01:14 | 0:01:16 | |
I just don't want this getting out there prematurely. | 0:01:16 | 0:01:19 | |
OK, so, ladies and gentlemen, this is Toxic Medicine. | 0:01:19 | 0:01:23 | |
SILENCE | 0:01:23 | 0:01:25 | |
Just... | 0:01:25 | 0:01:26 | |
Bastard hasn't saved it. Christ's sake. | 0:01:28 | 0:01:31 | |
You should see what I got from work. > | 0:01:31 | 0:01:34 | |
Right, people, the wait continues a few more weeks. | 0:01:34 | 0:01:36 | |
Bed sheets. The hospital were just going to throw them out. > | 0:01:36 | 0:01:39 | |
Smell them. They're virtually clean. > | 0:01:39 | 0:01:42 | |
The voice your hearing there is my... Sheila. | 0:01:42 | 0:01:44 | |
She kind of owns this whole place. | 0:01:44 | 0:01:46 | |
Yeah, and does the cooking and cleaning. Like I'm his mum. > | 0:01:46 | 0:01:50 | |
Cos I am his mum. Here, I want a word about money. | 0:01:50 | 0:01:54 | |
Right, cut. | 0:01:54 | 0:01:55 | |
That's another bloody blog ruined. | 0:01:55 | 0:01:56 | |
At least you've got your clothes on this time. | 0:01:56 | 0:01:58 | |
Sorry, love, but you're going to have to start chipping in or else | 0:01:58 | 0:02:01 | |
-I'm going to have to rent out your bum shelter. -Bomb Shelter. | 0:02:01 | 0:02:04 | |
Whoa, you can't rent out the Bomb Shelter. | 0:02:04 | 0:02:06 | |
Where am I going to do my bloody web hangouts? | 0:02:06 | 0:02:08 | |
You can hang your web out back in here with me. Or get your own place. | 0:02:08 | 0:02:12 | |
-You're 25 years old, Charlie. -So? What's your problem? | 0:02:12 | 0:02:16 | |
I've got three jobs. | 0:02:16 | 0:02:17 | |
Four, if you count working as your cook and cleaner. | 0:02:17 | 0:02:19 | |
Well, by that logic, that's five. It's not work. | 0:02:19 | 0:02:23 | |
You make it sound like you're my personal slave or summat. | 0:02:23 | 0:02:26 | |
-What's for tea? -Well, I got quite a big quiche. | 0:02:26 | 0:02:29 | |
-I thought we'd invite Claire round. -What, have you asked her? | 0:02:29 | 0:02:33 | |
No, I thought you could. What's the matter? Don't you like her? | 0:02:33 | 0:02:37 | |
-Yeah, I bloody like her. -Well, it's no good telling me, is it? | 0:02:37 | 0:02:40 | |
You need to go round, you need to look her in the eye | 0:02:40 | 0:02:44 | |
and you need to say those magic words. | 0:02:44 | 0:02:46 | |
Claire... | 0:02:46 | 0:02:48 | |
-do you want to come round for your tea? -All right. | 0:02:48 | 0:02:50 | |
I'll bloody do it then. I told you before though. | 0:02:50 | 0:02:53 | |
I can't start relationships that interfere with my music. | 0:02:53 | 0:02:55 | |
It might stop you interfering with yourself so much. | 0:02:55 | 0:02:57 | |
# C-Bomb, C-Bomb, C-Bomb, C-Bomb C-Bomb, C-Bomb, C-Bomb, C-Bomb. # | 0:02:57 | 0:03:04 | |
So, here we are in the Bomb Shelter, | 0:03:21 | 0:03:23 | |
AKA The Lab, AKA where the magic happens, AKA the... | 0:03:23 | 0:03:27 | |
-Charlie, who you talking to? -Oh, I didn't see you there, Claire. | 0:03:27 | 0:03:30 | |
This is Claire, everyone. I'm just addressing the people. | 0:03:30 | 0:03:33 | |
-Are we on Skype? -No, it could be anyone. -Chatroulette? | 0:03:33 | 0:03:37 | |
No, it's not Chatroulette. | 0:03:37 | 0:03:39 | |
I do these videos and stick them online for my followers. | 0:03:39 | 0:03:41 | |
-So, like a terrorist. -Yeah, like a cultural terrorist. | 0:03:41 | 0:03:46 | |
-So, how many followers have you got? -I don't know. I lost count. | 0:03:46 | 0:03:50 | |
Thousands, millions. | 0:03:50 | 0:03:52 | |
You could probably see by just clicking on that. | 0:03:52 | 0:03:54 | |
Well, I'm not interested in specific numbers, Claire. | 0:03:54 | 0:03:57 | |
-Well, I am. -I'd really rather you didn't. Please, don't touch it. | 0:03:57 | 0:04:00 | |
Do not... You've nearly broke it there. | 0:04:00 | 0:04:03 | |
Anyway, what's with the flatscreen on the buggy? | 0:04:03 | 0:04:05 | |
-Have you been on Pimp My Pram? -No, I'm selling it. | 0:04:05 | 0:04:08 | |
You're selling your telly? What are you going to watch telly on? | 0:04:08 | 0:04:11 | |
Dexter needs braces. | 0:04:11 | 0:04:12 | |
He looks like a donkey in a little school uniform, bless him. | 0:04:12 | 0:04:15 | |
Where'll he get his knowledge of the world? | 0:04:15 | 0:04:18 | |
-I've got to have 100 quid by tomorrow. -I'll pay it. -What? -Yeah. | 0:04:18 | 0:04:22 | |
-I mean, I would do, like, if I had the money. -Oh. Well, thanks. | 0:04:22 | 0:04:26 | |
That's nice. | 0:04:26 | 0:04:27 | |
But... | 0:04:29 | 0:04:30 | |
-Claire, I wanted to ask you something, actually. -Yeah, me too. | 0:04:30 | 0:04:34 | |
Can your mum babysit Dexter tonight? I've got a date. | 0:04:35 | 0:04:39 | |
Oh, well, | 0:04:39 | 0:04:40 | |
just ask her yourself. | 0:04:40 | 0:04:43 | |
I don't live with my mum, Claire. I live in Sheila's garage, | 0:04:43 | 0:04:46 | |
which I've converted into the Bomb Shelter, AKA The Lab... | 0:04:46 | 0:04:49 | |
LOUD SLAP SHE LAUGHS | 0:04:49 | 0:04:51 | |
All right, babe? Are we off then? | 0:04:51 | 0:04:54 | |
What's with t'camera? | 0:04:54 | 0:04:55 | |
Are you filming my girlfriend for your private collection, | 0:04:55 | 0:04:58 | |
you cheeky little perv? | 0:04:58 | 0:04:59 | |
-I'm only messing with you, love. -This is Jordan. | 0:05:01 | 0:05:05 | |
-He works at the pub with me. He's really nice. -Yeah. | 0:05:05 | 0:05:08 | |
She gets to see this ugly mug every day at work | 0:05:08 | 0:05:11 | |
and she gets it on her nights off and in t' mornings too. | 0:05:11 | 0:05:15 | |
You've got to feel sorry for her, haven't you, mate? | 0:05:15 | 0:05:18 | |
Yeah. | 0:05:18 | 0:05:20 | |
-I didn't quite catch your name. -C-Bomb. | 0:05:20 | 0:05:23 | |
-Yeah, me and Claire went to school together. -Oh, hey, hang on. | 0:05:23 | 0:05:26 | |
Is that him who does rapping, like? | 0:05:26 | 0:05:28 | |
Largely dubstep, actually, but I do incorporate elements of rap. | 0:05:28 | 0:05:32 | |
-A bloke on Twitter said I'd got a pretty sick flow. -Go on then, mate. | 0:05:32 | 0:05:36 | |
Go on. Give us a freestyle. Come on, it'd be funny. Come on. | 0:05:36 | 0:05:39 | |
No, I need to see it in the right frame of mind to do | 0:05:39 | 0:05:42 | |
-something like that. -I thought you said you had a sick flow. | 0:05:42 | 0:05:44 | |
-Well, I do but... -Fucking do it. | 0:05:44 | 0:05:46 | |
All right. | 0:05:46 | 0:05:47 | |
# C-Bomb comin' at ya | 0:05:47 | 0:05:49 | |
# I'm doper than a badger | 0:05:49 | 0:05:52 | |
# Got more rhymes than Margaret Thatcher | 0:05:52 | 0:05:54 | |
# Thatcher, she got no rhymes | 0:05:54 | 0:05:56 | |
# She shut down all the mines | 0:05:56 | 0:05:59 | |
# Where they used to take down a little canary in a basket | 0:05:59 | 0:06:02 | |
# I'm spouting lyrics... | 0:06:02 | 0:06:04 | |
# I'm spouting prose like Terry Pratchett. # | 0:06:04 | 0:06:08 | |
The author. | 0:06:08 | 0:06:09 | |
Jordan, leave him. | 0:06:09 | 0:06:12 | |
Bloody damn right. | 0:06:12 | 0:06:13 | |
# I'm C-Bomb comin' at ya | 0:06:13 | 0:06:15 | |
# I AM doper than a badger | 0:06:15 | 0:06:17 | |
# I'm at the top of my game | 0:06:17 | 0:06:18 | |
# If I were bread I'd be focaccia | 0:06:18 | 0:06:20 | |
# You'd be a doughnut | 0:06:20 | 0:06:22 | |
# Lacking summat between your ears | 0:06:22 | 0:06:24 | |
# Oh, yeah, the Jim Henson Company phoned | 0:06:24 | 0:06:26 | |
# They're looking for new puppeteers... # | 0:06:26 | 0:06:28 | |
I'm implying you're a muppet. | 0:06:28 | 0:06:30 | |
# So why haven't you stepped up | 0:06:30 | 0:06:31 | |
# To try and fix her poor little lad's knackered teeth? | 0:06:31 | 0:06:34 | |
# You'd rather just sit back | 0:06:34 | 0:06:35 | |
# And let her lose her bloody great 42-inch plasma screen | 0:06:35 | 0:06:37 | |
# Bullshit | 0:06:37 | 0:06:39 | |
# Lucky she knows someone who's watching her back | 0:06:39 | 0:06:41 | |
# He's a musical legend and he's making a comeback | 0:06:41 | 0:06:45 | |
# I could help you, little lady | 0:06:45 | 0:06:48 | |
# Cos soon I'm gonna be | 0:06:48 | 0:06:49 | |
# Seriously making lots of money on the live scene | 0:06:49 | 0:06:53 | |
# Listen, little lady | 0:06:53 | 0:06:55 | |
# Soon I'll be raking it in so please don't sell your telly | 0:06:55 | 0:06:58 | |
# Sitting round your mobile phone It's not the same | 0:06:58 | 0:07:00 | |
# Uh, uh, uh | 0:07:00 | 0:07:02 | |
# Uh, uh | 0:07:02 | 0:07:04 | |
# Listen, well, just do one thing for me | 0:07:04 | 0:07:06 | |
# Let me do this for you | 0:07:06 | 0:07:08 | |
# I can make all your dreams come true | 0:07:08 | 0:07:10 | |
# Just got to push things forward to the next phase | 0:07:10 | 0:07:13 | |
# And I could pay for Dexter's braces | 0:07:13 | 0:07:15 | |
# And you and me can finally be... # | 0:07:15 | 0:07:17 | |
Charlie? | 0:07:17 | 0:07:18 | |
Hm? Yeah, I was just thinking, | 0:07:18 | 0:07:21 | |
if I can be of any assistance with anything... | 0:07:21 | 0:07:23 | |
You're all right, Dappy, she's got me looking after her now, mate. | 0:07:23 | 0:07:27 | |
Oh, you're paying for Dexter's braces then, are you? | 0:07:27 | 0:07:29 | |
It's not my kid, mate. It's not my problem. | 0:07:29 | 0:07:32 | |
Wow, it's good to know where you stand. | 0:07:32 | 0:07:35 | |
Oh, come on, babe, I'm only being truthful. | 0:07:35 | 0:07:37 | |
What do you think, Charlie? | 0:07:37 | 0:07:39 | |
-I thought it was the bloke from the Morrisons meat counter. -Right. | 0:07:39 | 0:07:43 | |
Are you going to help me get this to Cash Converters? | 0:07:43 | 0:07:47 | |
I will not shirk from that endeavour of helping you, Claire. | 0:07:52 | 0:07:55 | |
I will not rest until I've got you that cash. | 0:07:55 | 0:07:58 | |
I swear on my mum...on Sheila's grave... | 0:07:58 | 0:08:01 | |
Well, obviously, she's not dead. Quite good health. | 0:08:01 | 0:08:04 | |
-SHEILA: Tea's ready! -Coming. | 0:08:04 | 0:08:06 | |
Yeah, I know exactly which type of adapter you need to make this | 0:08:11 | 0:08:14 | |
work but we are closing in five minute and it's on a high shelf. | 0:08:14 | 0:08:19 | |
Sorry. | 0:08:20 | 0:08:21 | |
Don't let anyone else in, Dawn. | 0:08:23 | 0:08:26 | |
-All right. -One at a time, please, people. | 0:08:26 | 0:08:28 | |
I'm kidding. I'm not stopping. I'm just passing through. | 0:08:28 | 0:08:32 | |
-You can't go that way. That's staff only. -C-Bomb! | 0:08:32 | 0:08:35 | |
Have you still got that board advertising all the DJ jobs? | 0:08:35 | 0:08:38 | |
No, I took it down, remember? | 0:08:38 | 0:08:40 | |
You said it were like taking the beautiful lady of music | 0:08:40 | 0:08:42 | |
and whoring her out to commercial gang rape. | 0:08:42 | 0:08:45 | |
I did say that, didn't I? | 0:08:45 | 0:08:47 | |
Got to be this then. | 0:08:49 | 0:08:51 | |
-Seen one of these before, Jonno? -A VX9 Smackbox? -Smackbox Pro. | 0:08:51 | 0:08:55 | |
And it's yours for just 100 dollars! | 0:08:55 | 0:08:59 | |
What's that in pounds? | 0:08:59 | 0:09:01 | |
-Well, it's 1.56 on the pound at the minute. -No, I meant pounds. | 0:09:01 | 0:09:05 | |
I meant English pounds. £100. | 0:09:05 | 0:09:08 | |
And I need that money today, ideally. | 0:09:08 | 0:09:11 | |
ASAP, DYKWIM? | 0:09:11 | 0:09:13 | |
DYKWIM? | 0:09:13 | 0:09:14 | |
Yeah, DYKWIM. | 0:09:14 | 0:09:16 | |
-Do you know what I mean? -No. | 0:09:16 | 0:09:18 | |
Look, I need that money | 0:09:19 | 0:09:23 | |
to get my way into a certain lady's affections. | 0:09:23 | 0:09:26 | |
Your mum. Has she asked you for rent? | 0:09:26 | 0:09:28 | |
Well, yeah, she is but it's beside the point. | 0:09:28 | 0:09:30 | |
I could nick my mum's cash card. | 0:09:30 | 0:09:31 | |
I'll just say I'm having another episode. | 0:09:31 | 0:09:33 | |
# Some people think I'm bonkers. # | 0:09:33 | 0:09:36 | |
Stupid therapist. | 0:09:36 | 0:09:38 | |
Dizzee Rascal? I gigged with him back in '07, actually. | 0:09:38 | 0:09:41 | |
-Before he went mainstream, like. -I knew about you and Dizzee. -Yeah. | 0:09:41 | 0:09:45 | |
I've been following you for years. Career-wise, obviously. | 0:09:45 | 0:09:49 | |
Not like as a stalker. | 0:09:49 | 0:09:51 | |
DOOR OPENS | 0:09:52 | 0:09:54 | |
Hey, look, Twats-R-Us. | 0:09:54 | 0:09:57 | |
Now then, I'm looking for a DJ at the New Inn tonight. 200 quid. | 0:09:57 | 0:10:01 | |
'# I could help you, little lady. #' | 0:10:01 | 0:10:04 | |
We need the best DJ in town. | 0:10:04 | 0:10:07 | |
-So I was wondering... -Yeah. -..if you knew anyone to recommend. | 0:10:07 | 0:10:10 | |
Oh, ho-ho-ho(!) | 0:10:10 | 0:10:12 | |
I knew he would do that joke. | 0:10:12 | 0:10:13 | |
-Seriously, though, do you know anyone? -Yeah, I'll do it. | 0:10:13 | 0:10:16 | |
No, mate, I think we are all right for dick-step, thanks. | 0:10:16 | 0:10:19 | |
We want some chart music, pop and a bit of cheese. | 0:10:19 | 0:10:22 | |
You want chart, go to Fearne Cotton. | 0:10:22 | 0:10:25 | |
You want pop, go to Londis. | 0:10:25 | 0:10:26 | |
You want cheese, go to... | 0:10:26 | 0:10:28 | |
-Londis. -Cheshire. -Whatever. | 0:10:28 | 0:10:31 | |
The point is, you book C-Bomb, you get C-Bomb. | 0:10:31 | 0:10:33 | |
Someone who is going to break down your preconceptions about what | 0:10:33 | 0:10:36 | |
music is and build up brand-new ones. | 0:10:36 | 0:10:38 | |
Make you feel like a new baby, freshly born, | 0:10:38 | 0:10:41 | |
hearing for the first time, wondering, "What is that sound? | 0:10:41 | 0:10:45 | |
-"How can it make me feel that way?" -100 is £64.87. -65 quid? | 0:10:45 | 0:10:49 | |
Conversation's moved on, guys. Why, have you got 65 quid? | 0:10:49 | 0:10:52 | |
-No. -Conversation's moved on, mate. | 0:10:52 | 0:10:55 | |
200 dib-dabs, was it? | 0:10:55 | 0:10:56 | |
Enough to pay for Dexter's braces and keep Sheila off my back. | 0:10:57 | 0:11:01 | |
It's a double win. | 0:11:01 | 0:11:02 | |
I'm going to get a right bollocking off t'landlord | 0:11:02 | 0:11:04 | |
but this is going to be chuffing priceless. You're on, Arse-Bomb. | 0:11:04 | 0:11:08 | |
-Be there for 7:30 and bring your own PA. -Well, I'll already be there. | 0:11:08 | 0:11:12 | |
-What? -I'm his PA. -You're not my PA, Dawn. He means speakers. | 0:11:12 | 0:11:17 | |
Right, I'll get the PR machine started. | 0:11:17 | 0:11:20 | |
Invite some industry faces. | 0:11:20 | 0:11:22 | |
-Jesus Christ. -I'm not Jesus, mate. | 0:11:22 | 0:11:25 | |
Jesus died for our sins. I just give our sins a soundtrack. | 0:11:25 | 0:11:29 | |
HE BLOWS | 0:11:29 | 0:11:30 | |
You're such a prick. | 0:11:32 | 0:11:34 | |
For one night only, lock up your lower bass frequencies, | 0:11:36 | 0:11:40 | |
C-Bomb is back. | 0:11:40 | 0:11:42 | |
-Yes! -Sweet. | 0:11:42 | 0:11:43 | |
I've got a gig, Claire...eh, Mum...Sheila. A bloody gig, woman. | 0:11:49 | 0:11:53 | |
I'm back. I'm like a dark angel raining down the fattest beats this | 0:11:53 | 0:11:56 | |
-side of Dronfield. -Very nice. Does it pay? -It does indeed. | 0:11:56 | 0:11:59 | |
-I am looking at two large for this. -£2,000? -No, 200. | 0:11:59 | 0:12:02 | |
-I thought large were 1,000. -It is. -So why did you say it? | 0:12:02 | 0:12:04 | |
I didn't know you knew what it meant. | 0:12:04 | 0:12:06 | |
I just... People say it, don't they? It sounded good. | 0:12:06 | 0:12:09 | |
Still, 200 quid. | 0:12:09 | 0:12:10 | |
I can give you some rent and help Claire out with the braces. | 0:12:10 | 0:12:14 | |
Sorry about Claire. She told me about this Jordan bloke. | 0:12:14 | 0:12:17 | |
-She won't bother with him long. -She seemed keen to me, Charlie. | 0:12:17 | 0:12:20 | |
-I could hear wedding bells. -Bell-ends more like. Guy's a dick. | 0:12:20 | 0:12:24 | |
You know what girls are like with the bad boys. | 0:12:24 | 0:12:27 | |
Yeah, they are quite drawn to us. | 0:12:27 | 0:12:29 | |
Anyway, love, I'd better get ready for work. | 0:12:30 | 0:12:33 | |
You're not going to work are you again, Mum? Mum? | 0:12:33 | 0:12:37 | |
How am I going to get my PA to the gig? | 0:12:37 | 0:12:39 | |
Yippee-ki-yay, motherf... | 0:12:45 | 0:12:46 | |
-Thanks, love. -OK. | 0:13:03 | 0:13:05 | |
Charlie, are you the DJ? | 0:13:05 | 0:13:07 | |
No, I'm the bloke who restocks the condom machine. | 0:13:07 | 0:13:09 | |
-Yeah, I'm the DJ, yeah. -Oh, you star. That's amazing. | 0:13:12 | 0:13:16 | |
That was such a nice thing to do, babe. | 0:13:16 | 0:13:18 | |
-Helping Charlie and his mum like that. -What can I say, love? | 0:13:18 | 0:13:21 | |
I've just got a little bit of a soft spot for hopeless cases, you know. | 0:13:21 | 0:13:25 | |
-That's the biggest Tannoy I've ever seen. -It's a PA, not a Tannoy. | 0:13:28 | 0:13:31 | |
-I'm not doing announcements. -You are if you want to get paid. | 0:13:31 | 0:13:35 | |
You have to tell them when last orders is and do the meat raffle. | 0:13:35 | 0:13:38 | |
The thing is, I'm not an MC. I'm more of a... | 0:13:38 | 0:13:42 | |
Right, you lot, listen up. The turn's about to start. | 0:13:42 | 0:13:45 | |
OK, Charles... | 0:13:49 | 0:13:51 | |
-OVER PA: -..let's lick this puppy on the balls. | 0:13:51 | 0:13:53 | |
LOUD BASS-HEAVY INTRO | 0:13:57 | 0:14:00 | |
Sheffield, | 0:14:03 | 0:14:05 | |
or more specifically the suburb of Gleadless, are you ready? | 0:14:05 | 0:14:09 | |
I said, "Are you ready?" | 0:14:10 | 0:14:13 | |
Then make some bloody noise! | 0:14:14 | 0:14:17 | |
DUBSTEP PLAYS | 0:14:17 | 0:14:20 | |
Yes. I'm back. | 0:14:23 | 0:14:25 | |
# Feel the bass hit your face | 0:14:25 | 0:14:26 | |
# Got subs deep as the ocean... # | 0:14:26 | 0:14:29 | |
I'll give you an example. | 0:14:29 | 0:14:30 | |
BASS RESONATES | 0:14:30 | 0:14:31 | |
# Feel the stitch of my garb | 0:14:31 | 0:14:33 | |
# This shit is satin, hand-woven | 0:14:33 | 0:14:36 | |
# I don't need no record contract No, I don't wear contacts | 0:14:38 | 0:14:41 | |
# I'm lactating swagger juice I've got it on tap | 0:14:41 | 0:14:45 | |
# I got it dripping off my arms off my legs | 0:14:45 | 0:14:48 | |
# Off my shoulders, off my head It's made a right bloody mess. # | 0:14:48 | 0:14:51 | |
MUSIC DIES | 0:14:51 | 0:14:52 | |
Whoa, whoa, what's this shite? | 0:14:52 | 0:14:54 | |
It's my music, isn't it? It's kind of like my life's work. | 0:14:54 | 0:14:57 | |
Your life's work?! | 0:14:57 | 0:14:59 | |
It's a wonder you haven't topped yourself, listening to that racket. | 0:14:59 | 0:15:02 | |
He only took t'gig to pay for Claire's son's stupid braces. | 0:15:02 | 0:15:06 | |
She keeps saying the little shit looks like... | 0:15:06 | 0:15:08 | |
-MOCKING: -..a little donkey in a school uniform. | 0:15:08 | 0:15:11 | |
"Little shit"? | 0:15:12 | 0:15:14 | |
I'm just having a laugh, babe. You know how it is, don't you? | 0:15:17 | 0:15:20 | |
-I love little Fletcher. -Dexter. -Him as well. | 0:15:20 | 0:15:23 | |
Maybe Charlie should give the money to you. For your nose-job. | 0:15:23 | 0:15:26 | |
What nose-job? Perfect, lads, isn't it? | 0:15:26 | 0:15:28 | |
-CRUNCH! -Oof! | 0:15:28 | 0:15:30 | |
By the way, he's got a three-inch dinger and he cries when he comes. | 0:15:30 | 0:15:33 | |
Turn it up, Charlie. | 0:15:33 | 0:15:34 | |
MUSIC RESTARTS | 0:15:34 | 0:15:37 | |
Hang on, mate. | 0:15:39 | 0:15:40 | |
If he thinks I'm paying good money for this shit, he can think again. | 0:15:40 | 0:15:43 | |
If you won't, allow me. | 0:15:43 | 0:15:46 | |
Just listen. | 0:15:49 | 0:15:51 | |
-DAWN: -C-Bomb! C-Bomb! C-Bomb! | 0:15:55 | 0:15:58 | |
Thank you, Gleadless. Good night. | 0:15:58 | 0:16:01 | |
Great set, mate. Just great. | 0:16:01 | 0:16:04 | |
Yeah, no probs. You want summat signing? What's your name? | 0:16:04 | 0:16:06 | |
Kelvin Peters. Tough Temper Records. | 0:16:06 | 0:16:09 | |
-Your PA emailed me. -She's not my PA. | 0:16:09 | 0:16:12 | |
We're putting together a dubstep tour. | 0:16:13 | 0:16:16 | |
This lady said you might be interested. | 0:16:16 | 0:16:18 | |
Oh, that'd be Dawn, my PA. | 0:16:18 | 0:16:20 | |
I'm going to cut straight to it. | 0:16:20 | 0:16:22 | |
We're going to get a load of acts, on a tour bus, | 0:16:22 | 0:16:25 | |
gigging all over the UK. | 0:16:25 | 0:16:27 | |
-You fancy it? -Fuck off! | 0:16:27 | 0:16:29 | |
Well, sounds do-able. | 0:16:29 | 0:16:31 | |
So, what do you say? | 0:16:31 | 0:16:33 | |
Shit the bed! Count me the hell in. | 0:16:33 | 0:16:35 | |
-Can I come? -No. | 0:16:35 | 0:16:37 | |
Got your money. Landlord was a bit of a dick about it so it's only half. | 0:16:37 | 0:16:40 | |
100 quid. | 0:16:40 | 0:16:41 | |
'# I could help you little lady. #' | 0:16:41 | 0:16:44 | |
Claire, I want you to keep that money for Dexter's braces. | 0:16:44 | 0:16:47 | |
Charlie, you legend. | 0:16:47 | 0:16:49 | |
-That's right, darling. You can kiss him goodbye. -What? | 0:16:53 | 0:16:55 | |
-Are you going away? -Yeah, I'm... | 0:16:55 | 0:16:57 | |
-No, I'm staying in Sheffield. -You what? | 0:17:00 | 0:17:03 | |
-Yeah, I've got reasons to stay here. -Yeah, he has. -Yeah. | 0:17:03 | 0:17:09 | |
-I mean, his mum's here. -And his fans are here. | 0:17:09 | 0:17:12 | |
It's... Well, it's where he lives. | 0:17:12 | 0:17:15 | |
Yeah, my mum and my fans and...just them, love? | 0:17:15 | 0:17:20 | |
So, yeah, you can shove your tour, mate. | 0:17:21 | 0:17:24 | |
Well, I'm gutted. | 0:17:24 | 0:17:25 | |
-But I understand. -Yeah, I know. | 0:17:27 | 0:17:30 | |
-Listen up... -MIC FEEDS BACK | 0:17:33 | 0:17:35 | |
Listen up, people. | 0:17:35 | 0:17:36 | |
I'd just like to say that bloke over there has just offered me | 0:17:36 | 0:17:40 | |
a bloody brilliant opportunity but I've turned down. Why? | 0:17:40 | 0:17:45 | |
Cos this is where I belong. | 0:17:45 | 0:17:46 | |
-MAN: What, in Gleadless? -No... In the real world. | 0:17:46 | 0:17:49 | |
If things are going to happen for me, | 0:17:49 | 0:17:51 | |
they're going to happen for me here. Music is a wild beast. Untameable. | 0:17:51 | 0:17:54 | |
If you try to put her in your house of capitalism, | 0:17:54 | 0:17:57 | |
she'll do a shit on your money carpet. | 0:17:57 | 0:17:59 | |
The beat will not be held captive. | 0:17:59 | 0:18:02 | |
I'm stopping in Sheffield. | 0:18:02 | 0:18:03 | |
MIC TURNS OFF | 0:18:03 | 0:18:04 | |
So, you did your concert, you got paid but I still get nothing. | 0:18:11 | 0:18:15 | |
Yeah, Claire needed that money. | 0:18:15 | 0:18:17 | |
-It was a random act of orthodontic philanthropy. -You what? | 0:18:17 | 0:18:21 | |
Yeah, I mean, technically she had already got the braces | 0:18:21 | 0:18:23 | |
but she needed the money to get her telly back from Cash Converters. | 0:18:23 | 0:18:26 | |
-It's the same principle. -You and your bloody principles. | 0:18:26 | 0:18:29 | |
She is on her own trying to raise a little kid who, | 0:18:29 | 0:18:31 | |
let's be honest, is a bit special. | 0:18:31 | 0:18:33 | |
You have no idea how tough that is. | 0:18:33 | 0:18:35 | |
Well, I'm off to bed. | 0:18:37 | 0:18:40 | |
Got to be at work at four. Love you. | 0:18:40 | 0:18:43 | |
Oh. Night, Sheila. | 0:18:43 | 0:18:45 | |
Mum. | 0:18:45 | 0:18:47 | |
LOUD DUBSTEP | 0:18:49 | 0:18:51 | |
# C-Bomb | 0:18:54 | 0:18:55 | |
# Bass | 0:18:58 | 0:18:59 | |
# Toxic medicine | 0:19:01 | 0:19:03 | |
# Is the best medicine | 0:19:03 | 0:19:06 | |
# What you gonna do now you're all addicted? | 0:19:06 | 0:19:08 | |
# I'm running through your veins like I'm a kind of liquid | 0:19:08 | 0:19:10 | |
# Every single one of you's afflicted | 0:19:10 | 0:19:12 | |
# Uh, just like I predicted | 0:19:12 | 0:19:13 | |
# I'll blow your mind to the fourth dimension | 0:19:13 | 0:19:15 | |
# I'll make you hot and steamy like a traction engine | 0:19:15 | 0:19:18 | |
# I'll introduce strings to increase the tension... # | 0:19:18 | 0:19:20 | |
-STRINGS PLAY -# That's my toxic medicine. # | 0:19:20 | 0:19:23 | |
-COMPUTER ERROR BEEP -Oh, for... | 0:19:23 | 0:19:25 |