0:00:02 > 0:00:05HE SINGS SCALES
0:00:21 > 0:00:24Because he was out singing in the cold,
0:00:24 > 0:00:26in all different weathers, gives him a strength which,
0:00:26 > 0:00:29maybe some of the divas haven't got, you know?
0:00:29 > 0:00:33So, even if you are known, in this day and age it's not an easy task?
0:00:33 > 0:00:36If you are not a known name it is 10 times more difficult.
0:00:38 > 0:00:42Really, to go alone, it's not going to happen.
0:00:42 > 0:00:44It just isn't going to happen, sadly.
0:00:47 > 0:00:48It's cold!
0:00:49 > 0:00:52HE SINGS SCALES
0:00:53 > 0:00:56It just gives you a sort of wonderful glow
0:00:56 > 0:00:58that talent can be found in the mud.
0:01:00 > 0:01:03To make it in the music business you have to get out there,
0:01:03 > 0:01:07learn your trade, learn how to entertain people.
0:01:07 > 0:01:09One, two...
0:01:09 > 0:01:11Realistically, I'd say it's too late.
0:01:13 > 0:01:15OK, good afternoon, ladies and gentlemen,
0:01:15 > 0:01:18welcome here to Plymouth city centre.
0:01:18 > 0:01:20My name is John Craig Innes,
0:01:20 > 0:01:23I'm here singing a few songs for you in support of...
0:01:23 > 0:01:24MAN SHOUTS
0:01:24 > 0:01:26Do you mind?
0:01:27 > 0:01:29..in support of Help For Heroes.
0:01:29 > 0:01:34I'm going to sing for you a popular Spanish classic
0:01:34 > 0:01:39and this one is called Aranjuez Con Tu Amor.
0:01:39 > 0:01:43GUITAR MUSIC PLAYING
0:01:46 > 0:01:51# Aranjuez
0:01:52 > 0:01:57# Un lugar de ensuenos y de amor
0:01:57 > 0:02:04# Donde un rumor de fuentes de cristal
0:02:04 > 0:02:09# En el jardin parece hablar... #
0:02:09 > 0:02:13John Innes has been singing opera on the streets of towns and cities
0:02:13 > 0:02:16throughout the UK for over 15 years.
0:02:21 > 0:02:25# Aranjuez... #
0:02:25 > 0:02:29If TV talent contests today have shown us the easiest path
0:02:29 > 0:02:34to musical stardom, this is the story of the very hardest.
0:02:34 > 0:02:39# ..recuerdos del romance que una vez
0:02:39 > 0:02:45# Juntos empezamos tu y yo
0:02:45 > 0:02:52# Y sin razon olvidamos... #
0:02:52 > 0:02:56'I find opera, because it's so potent, is very intense.
0:02:56 > 0:03:01'It's a very intense form of singing and, in terms of therapy, I think
0:03:01 > 0:03:06'it does give you that rush of kind of emotional kind of release.
0:03:06 > 0:03:10'The people that are listening to you and kind of taking in that moment,
0:03:10 > 0:03:12'they are with you in that moment, aren't they?
0:03:12 > 0:03:15'They're kind of, like, getting second-hand what I guess
0:03:15 > 0:03:16'you're giving out, you know?'
0:03:16 > 0:03:20Lovely singer, lovely man. He's got lovely looks. He sings lovely.
0:03:20 > 0:03:23Absolutely beautiful. He feels the song as well. Very, very important.
0:03:23 > 0:03:29# He's like the son I might have known
0:03:29 > 0:03:33# If God has granted me a son
0:03:33 > 0:03:36# The summers die one by one... #
0:03:36 > 0:03:40'There's a lot of excitement because you never know what you're going to get.'
0:03:40 > 0:03:43You turn up on the street and it, it's spontaneous.
0:03:43 > 0:03:46You're starting with nothing because people are just
0:03:46 > 0:03:49walking by doing their everyday things, shopping, basically.
0:03:49 > 0:03:53You don't have a captive audience, so it really is challenging.
0:03:59 > 0:04:02# Dilegua...
0:04:02 > 0:04:04He is absolutely marvellous
0:04:04 > 0:04:07and he is as near I've ever heard as to Pavarotti.
0:04:09 > 0:04:17..vincero. #
0:04:24 > 0:04:29- Could you sign it to Cat and Hannah?- Yeah, sure.
0:04:29 > 0:04:32I think busking and singing on the streets
0:04:32 > 0:04:35can do more harm than good to an untrained voice.
0:04:35 > 0:04:38It can, you know, without a solid technique
0:04:38 > 0:04:41you're going to be using up the reserves of your vocal cords.
0:04:41 > 0:04:47It's an incredibly rigorous process, learning to sing,
0:04:47 > 0:04:50and part of that process is building up the stamina
0:04:50 > 0:04:53so you can sing a complete and utter programme.
0:04:53 > 0:04:57# Here's to the heroes
0:04:57 > 0:05:03# Who never rest
0:05:03 > 0:05:06# Heading for glory... #
0:05:06 > 0:05:08Thank you for your support.
0:05:08 > 0:05:11- You're very brave singing in the cold weather!- Oh, I'm used to it.
0:05:11 > 0:05:15I'm a brazen Scot! You know, I'm used to this cold weather!
0:05:15 > 0:05:17'It seems to me that his public loves what he does.'
0:05:17 > 0:05:20Who go wild for his top B, as people should.
0:05:20 > 0:05:23I mean, it's a rare gift to be able to sing a great note like that.
0:05:23 > 0:05:25It's called the money note in vulgar parlours.
0:05:25 > 0:05:26He's got the money note.
0:05:26 > 0:05:31# To reach
0:05:31 > 0:05:39# The unreachable star. #
0:05:46 > 0:05:47Thank you.
0:05:48 > 0:05:49How are you?
0:05:51 > 0:05:56From Glasgow to Brighton, whenever John sings on the streets
0:05:56 > 0:06:00people is ask him the same question, "Why are you here?"
0:06:02 > 0:06:05'I'd moved to London back in 1998.
0:06:05 > 0:06:08'I auditioned for most of the big colleges in London -
0:06:08 > 0:06:12'Guildhall, Royal College of Music and the National Opera Studio
0:06:12 > 0:06:14'but, unfortunately, I was turned down by most of them
0:06:14 > 0:06:17'because I didn't have the essential music qualifications.
0:06:17 > 0:06:20'Well, at least for someone my age maybe.'
0:06:20 > 0:06:21Yeah!
0:06:23 > 0:06:25The money started to run out.
0:06:25 > 0:06:29I decided I wanted to go out there and get some experience by singing
0:06:29 > 0:06:32and through that, you know, I've got some form of education.
0:06:34 > 0:06:37From that, you know, I went on to become what I am now.
0:06:37 > 0:06:40You know, this kind of tenor whose kind of, like,
0:06:40 > 0:06:46trodden the streets for the last 12 or 13 years singing for the people.
0:06:48 > 0:06:52Unlike street performers, John doesn't take donations.
0:06:52 > 0:06:55He sells CDs that he produces in a home-made studio
0:06:55 > 0:06:57at the bottom of his garden.
0:06:57 > 0:06:58A tenner for a tenor!
0:06:58 > 0:07:01- OK, yeah, that's great! Thank you. - Shall I sign it for you?
0:07:01 > 0:07:03Yes, please. That would be nice. Thank you.
0:07:08 > 0:07:11The neighbours in Dartford don't often hear lawn mowing
0:07:11 > 0:07:13coming from John's back garden.
0:07:15 > 0:07:18It's a very different sound that greets them each day.
0:07:20 > 0:07:25I guess I've graduated from a one bedroomed flat in Dartford,
0:07:25 > 0:07:30where I converted my ex-girlfriend's attic out to do all my recordings
0:07:30 > 0:07:32but now this one's got a bit more space
0:07:32 > 0:07:35and I decided to build it here at the bottom of my garden,
0:07:35 > 0:07:38just to give my neighbours some peace and quiet.
0:07:41 > 0:07:42As you can see,
0:07:42 > 0:07:46we don't have much storage space around here so everything seems to...
0:07:48 > 0:07:52..congregate in this, kind of, shed, you know, if you like.
0:07:55 > 0:07:59On this occasion I'm just recording two tracks -
0:07:59 > 0:08:01my backing track and my vocal.
0:08:01 > 0:08:02The backing track, here,
0:08:02 > 0:08:06just downloaded about half an hour ago, from the internet.
0:08:07 > 0:08:12# ..forme discio...
0:08:12 > 0:08:18# ..gliea dai veli!
0:08:19 > 0:08:27# Svani per sempre il sogno mio d'amore
0:08:29 > 0:08:33It's a lonely existence producing your own music in the suburbs
0:08:33 > 0:08:36and without any collaborators or a music producer
0:08:36 > 0:08:40John has to make all his own creative decisions.
0:08:40 > 0:08:43'It's actually quite difficult to be working on your own in the studio
0:08:43 > 0:08:46'because you don't have that other pair of ears.'
0:08:47 > 0:08:50You're having to man all the...
0:08:50 > 0:08:52controls and everything,
0:08:52 > 0:08:55and your attention should be on the creative side of it, as opposed
0:08:55 > 0:09:00to engineering the process, but it is the cheapest way of doing it,
0:09:00 > 0:09:06and by creating your own products it's going to help create
0:09:06 > 0:09:11some revenue to take it to that next stage, which is the recording studio.
0:09:15 > 0:09:18Some of the early recordings that John played to me were very good
0:09:18 > 0:09:23but there was obviously, they are not custom-built for the voice.
0:09:23 > 0:09:27It can only go so far because you're generally working with...
0:09:27 > 0:09:30backing tracks which are general-purpose.
0:09:30 > 0:09:32They are not really for everybody.
0:09:33 > 0:09:37It's not just the technical skills he's had to acquire, he's had
0:09:37 > 0:09:41to take on every element of building his street performance business.
0:09:41 > 0:09:47And I produced a CD and so far we've raised about, I think, £8-9,000.
0:09:47 > 0:09:50So, I've set up a gig for 13 August.
0:09:50 > 0:09:53I know it can be very tempting for an artist to want to manage
0:09:53 > 0:09:57themselves, I mean, for financial reasons or artistic control
0:09:57 > 0:10:00but the difficulty is that...
0:10:00 > 0:10:03they can't really get the promotion or the marketing
0:10:03 > 0:10:05which a record company would deliver.
0:10:07 > 0:10:09Lock this lot up.
0:10:09 > 0:10:15'Have artists ever successfully gone it alone? No. Not in my experience.'
0:10:15 > 0:10:18Two, two, two, one, two, two...
0:10:18 > 0:10:22'So I think that artists do kind of realise, having gone it alone,
0:10:22 > 0:10:26that there are benefits to having a record company behind you
0:10:26 > 0:10:28and a good manager.
0:10:30 > 0:10:33While street performing has allowed John to sing for a living,
0:10:33 > 0:10:40now in his late 40s, he realises his dream of becoming a recording artist has almost slipped away.
0:10:40 > 0:10:43Two, one, two. Testing, two...
0:10:44 > 0:10:48I don't think anyone's made it in that kind of field
0:10:48 > 0:10:53using backing tracks. I think you have to go to the next level
0:10:53 > 0:10:58and have a good producer, good studio, symphony orchestra.
0:10:58 > 0:11:02For most singers a record deal would be little more than a dream.
0:11:02 > 0:11:05At John's age it's a near impossibility.
0:11:05 > 0:11:07With few options,
0:11:07 > 0:11:11he's considering professionally recording his debut CD for himself.
0:11:11 > 0:11:18But at a price of over £50,000 he will need a way to lower the cost.
0:11:18 > 0:11:21Erm, my brother is a saxophone player for the band
0:11:21 > 0:11:27of the Royal Regiment of Scotland and the band's director, being his boss,
0:11:27 > 0:11:31has heard me singing, at least I think he's heard a CD, and...
0:11:32 > 0:11:36..he said he was interested in recording some music for me
0:11:36 > 0:11:41so long as I do the next product for charity. So...
0:11:41 > 0:11:46I'm thinking that this is going to free up quite a bit of money
0:11:46 > 0:11:49so that I can have a big stringed orchestra.
0:11:49 > 0:11:52So it may be a cheaper way to go.
0:11:56 > 0:11:59If the band of the Royal Regiment of Scotland help him record, it will
0:11:59 > 0:12:04save some money but it will still mean putting his house on the line.
0:12:05 > 0:12:08But John does see at least one benefit to taking the risk.
0:12:08 > 0:12:12..I can possibly commit to. OK, well...
0:12:12 > 0:12:15'I'm not keen on spending all of my savings
0:12:15 > 0:12:17'from my street performances to do it alone.
0:12:17 > 0:12:19'There are some positives to doing it myself.
0:12:19 > 0:12:25'I've heard so many stories about being ripped off by music companies'
0:12:25 > 0:12:27and not really being in control of your own destiny
0:12:27 > 0:12:30and where you go, what you're doing, what you record.
0:12:30 > 0:12:31All of that, really.
0:12:33 > 0:12:37John is learning his lesson from another Scots recording artist
0:12:37 > 0:12:42who thinks his record label cost him his long-awaited shot at fame and fortune.
0:12:43 > 0:12:47Having lived through the bad experience of being signed to
0:12:47 > 0:12:52a major record company, inasmuch as we were taken advantage of,
0:12:52 > 0:12:54I wouldn't allow a manager to have carte blanche
0:12:54 > 0:12:56over your complete career.
0:12:56 > 0:12:59You know, you have to retain some kind of, if not control,
0:12:59 > 0:13:02but you have to have a say in what you do
0:13:02 > 0:13:04because what went wrong with us is that
0:13:04 > 0:13:06the manager took us down the wrong road.
0:13:07 > 0:13:11'Here come the Rollers!'
0:13:16 > 0:13:19After risking it all to record a debut album,
0:13:19 > 0:13:23John would need more than a little luck to attract a record label.
0:13:23 > 0:13:27Even with a label there's no guarantee the album will succeed.
0:13:27 > 0:13:32OK, well, if you could possibly come back to me on that
0:13:32 > 0:13:36and maybe we can see what we can do.
0:13:36 > 0:13:39If you're lucky enough to be picked up by a record label,
0:13:39 > 0:13:41of which there's very few left,
0:13:41 > 0:13:44I've been signed to four major record companies
0:13:44 > 0:13:46in my musical career.
0:13:46 > 0:13:47None of them exist any more.
0:13:49 > 0:13:53# Bye-bye baby, baby, goodbye... #
0:13:53 > 0:13:55The music industry is changing.
0:13:55 > 0:13:58There's so much competition out there, it's very,
0:13:58 > 0:14:02very difficult but it's probably easier to get a record deal
0:14:02 > 0:14:05than to win the X Factor or Britain's Got Talent.
0:14:05 > 0:14:09To go alone and then want to join a record company,
0:14:09 > 0:14:13it's not going to happen. It just isn't going to happen, sadly.
0:14:14 > 0:14:17Realistically, I would say it's too late.
0:14:20 > 0:14:23The band of the Royal Regiment of Scotland agrees to record
0:14:23 > 0:14:25the brass section of his album.
0:14:27 > 0:14:28With his house as security,
0:14:28 > 0:14:32John commits to the first of two recording sessions.
0:14:32 > 0:14:35He's hired one of London's top recording studios.
0:14:35 > 0:14:39This particular studio can accommodate up to 60 musicians.
0:14:39 > 0:14:42It's largely used for orchestral recordings.
0:14:42 > 0:14:44With 20 minutes before the start of the session
0:14:44 > 0:14:48most recording artists might be warming up their voices.
0:14:48 > 0:14:53To save money, John is making sandwiches for the 40 members of the band.
0:14:53 > 0:14:55So, how many sandwiches do you have to make?
0:14:55 > 0:15:00Erm, well, me being a Scot I'm a bit stingy so I reckon about one each!
0:15:00 > 0:15:02To economise even more,
0:15:02 > 0:15:05John booked the studio for the minimum two hours...
0:15:05 > 0:15:07..it's 14.06...
0:15:07 > 0:15:12..a decision he is already beginning to regret. The band is late.
0:15:12 > 0:15:14Oh, here we go.
0:15:14 > 0:15:16Hi, how far away are you now?
0:15:16 > 0:15:21Just we actually, we've got to get all set-up and stuff.
0:15:21 > 0:15:24I was just wondering what the position is.
0:15:24 > 0:15:26Sat nav? Have you got a sat nav?
0:15:31 > 0:15:33They said they'd be about 10 minutes in the coach...
0:15:33 > 0:15:3820 minutes into the session the band finally arrives.
0:15:40 > 0:15:42- Ready to go!- Good, good.
0:15:47 > 0:15:50INSTRUMENTS BEING TUNED
0:15:50 > 0:15:51As the band warms up,
0:15:51 > 0:15:55the star performer is still making sandwiches for the troops.
0:15:55 > 0:15:58- 'Stressful now?'- It is, I'm running against the clock here.
0:15:58 > 0:16:00You know, these bloody army blokes
0:16:00 > 0:16:02should be having their guts for garters!
0:16:03 > 0:16:06But there is another more pressing problem.
0:16:06 > 0:16:09He's forgotten the music for the conductor.
0:16:10 > 0:16:11You have the scores?
0:16:11 > 0:16:14Yeah, they're just the scores for the ones that...
0:16:14 > 0:16:21I got them as PDF, I think. I'll see, see if I can get it from the laptop.
0:16:21 > 0:16:24John has to face the embarrassment of calling the musical arranger
0:16:24 > 0:16:26to ask him for the missing part.
0:16:26 > 0:16:30Just, I'm wondering if you could e-mail me across the PDF file
0:16:30 > 0:16:34for the Here's To The Heroes. The actual full score.
0:16:34 > 0:16:37Just the PDF for the full score. Great.
0:16:37 > 0:16:40Just that we're ready to do a session.
0:16:46 > 0:16:49If you can do that for me, that would be great. Thanks. Bye.
0:16:51 > 0:16:52What are we going to do?
0:16:52 > 0:16:55Are we going to do it as a full-on band
0:16:55 > 0:16:58or are we going to record solos, overdub, etc?
0:16:58 > 0:17:00Er...
0:17:00 > 0:17:03- Have you got your SOP with you? - No.- You've not?
0:17:03 > 0:17:06That would be an overdub. It's best to do it like that.
0:17:06 > 0:17:10Recording himself until now has not prepared John for supervising
0:17:10 > 0:17:14a recording session alone and things are beginning to unravel.
0:17:15 > 0:17:19His self-reliant style takes a while for the military band to get used to.
0:17:19 > 0:17:22Even his own brother is finding it testing.
0:17:22 > 0:17:25He does delegate. Well, I think sometimes he skips that bit.
0:17:25 > 0:17:30You know, he so driven and he's such a workhorse.
0:17:30 > 0:17:32He never stops, you know?
0:17:32 > 0:17:34Sometimes he forgets to tell you what he wants
0:17:34 > 0:17:38before he marches off and he expects you to read his mind!
0:17:38 > 0:17:42We'll play like this on the loud clarinet.
0:17:42 > 0:17:46I'm lifting that out a lot and I think...
0:17:46 > 0:17:48With only 15 minutes left of the session
0:17:48 > 0:17:51John still hasn't done any singing.
0:18:05 > 0:18:13# Here's to the heroes who... #
0:18:13 > 0:18:14Sorry.
0:18:14 > 0:18:16It's been a rocky start.
0:18:16 > 0:18:19Perhaps the stress of taking it all on has interfered
0:18:19 > 0:18:20with his concentration?
0:18:21 > 0:18:24But in the last few minutes, after two hours in the studio,
0:18:24 > 0:18:28he manages to complete a perfect take.
0:18:29 > 0:18:34'By going out there and doing it, performing in front of people,'
0:18:34 > 0:18:36which I think a more experienced person,
0:18:36 > 0:18:39if they've experienced hardship in life,
0:18:39 > 0:18:41they would certainly would be more emotive
0:18:41 > 0:18:45and bring the lyric to life.
0:18:45 > 0:18:53# Who go further. #
0:18:58 > 0:19:02- Good. Is that OK?- Yeah. - Good, good.- That's lovely.
0:19:02 > 0:19:04But, despite his best efforts,
0:19:04 > 0:19:07it's going to cost a bit more than he budgeted.
0:19:07 > 0:19:10I thought you were going to say, "Don't worry about paying me!"
0:19:10 > 0:19:12I wish I could!
0:19:12 > 0:19:13THEY LAUGH
0:19:13 > 0:19:17- Put your signature. - That's lovely. Thank you very much.
0:19:17 > 0:19:22- Thanks for the band. Sounds good. Sounds really good.- Good.- Good.
0:19:24 > 0:19:26Tastes good. I like your sandwiches.
0:19:26 > 0:19:31Gets us out for nothing and then he gives us a measly sandwich!
0:19:31 > 0:19:35I feel like I'm a sandwich half short of a picnic!
0:19:41 > 0:19:45Didn't sleep that well. Off to Prague.
0:19:45 > 0:19:47It's going to be a long day.
0:19:51 > 0:19:54Undeterred by his experience in London, John has decided
0:19:54 > 0:19:59to add production value to his CD using a full 80 piece orchestra.
0:20:01 > 0:20:04Sparing no expense, he signs up the string section
0:20:04 > 0:20:08of the Prague Philharmonic Orchestra and books another recording session.
0:20:08 > 0:20:11This time, in the Czech Republic.
0:20:11 > 0:20:14But the £40,000 John has managed to raise is all going
0:20:14 > 0:20:19into the recording and he's forced to tighten his belt elsewhere.
0:20:19 > 0:20:21OK. We are going to head for a yellow cab
0:20:21 > 0:20:25because they are a wee bit cheaper and I am a Scot.
0:20:25 > 0:20:27So Scots always do things on the cheap.
0:20:28 > 0:20:32How much is it to Prague city centre?
0:20:32 > 0:20:34City centre. Address? Address?
0:20:34 > 0:20:37Phoenix Central.
0:20:37 > 0:20:43- Se ke Studio?- Studio? - OK. Phoenix Hotel. Yeah.
0:20:49 > 0:20:53With the flight delayed by two hours, it seems that again,
0:20:53 > 0:20:56John will be up against it on his shoestring budget
0:20:56 > 0:20:59if he's going to cut 12 solo music tracks in one day.
0:21:03 > 0:21:07MUSIC: "E Lucevan Le Stelle" by Puccini
0:21:20 > 0:21:23How much was that?
0:21:23 > 0:21:25The bulk of John's money will be spent in the session
0:21:25 > 0:21:29and he's anxious to avoid another experience like Angel Studios.
0:21:31 > 0:21:33Thank you. Bye-bye.
0:21:35 > 0:21:38Is this is where the orchestra? Orchestra?
0:21:46 > 0:21:49'The orchestra didn't really know much how I went about
0:21:49 > 0:21:52'raising the money to do this particular event.
0:21:52 > 0:21:55'They are such a busy orchestra, they are being used all the time
0:21:55 > 0:22:00'so I'm just a client like most other clients.'
0:22:00 > 0:22:02Just up here? Upstairs?
0:22:02 > 0:22:05Not sure if these are designed to keep us out or in.
0:22:10 > 0:22:13John is about to record in a renowned studio
0:22:13 > 0:22:16frequented by major international opera stars,
0:22:16 > 0:22:19including Katherine Jenkins and Andrea Bocelli.
0:22:25 > 0:22:28Learning his lesson from Angel Studios,
0:22:28 > 0:22:31this time John has hired the creative team behind
0:22:31 > 0:22:34recording artists Russell Watson and Hayley Westenra.
0:22:34 > 0:22:36- Nice to see you again. - Hello there, John. How are you?
0:22:36 > 0:22:39- Good, yes.- You've had a shave. - I have indeed.
0:22:39 > 0:22:42- Hi, Bill. - Brought extra work with you?
0:22:42 > 0:22:45- Hi, hello.- Nice to meet you.
0:22:45 > 0:22:47Oh, dear.
0:22:50 > 0:22:54Once you have custom-built your track and your arrangement,
0:22:54 > 0:22:57with the help of people like Bill - fantastic arranger.
0:22:59 > 0:23:01It was then that the performances start to come together
0:23:01 > 0:23:04and they become truly individual performances.
0:23:04 > 0:23:08MUSIC
0:23:26 > 0:23:29It is now 13 hours since John's 3:00am start
0:23:29 > 0:23:32from his home near London.
0:23:33 > 0:23:35And right now, he's beginning to wish
0:23:35 > 0:23:38he hadn't decided to fly out and back in the same day.
0:23:40 > 0:23:43We are going to try and fit a string session in before we finish.
0:23:43 > 0:23:46With the additional strings.
0:23:46 > 0:23:49Once again, John just about pulls it off
0:23:49 > 0:23:51but on a deadline as tight as this,
0:23:51 > 0:23:53he's had to make some recording compromises
0:23:53 > 0:23:55to finish all the tracks he needs.
0:23:58 > 0:24:01MUSIC: "Nella Fantasia" by Ennio Morricone
0:24:15 > 0:24:18I really wanted to get one last take with the orchestra
0:24:18 > 0:24:21with complete strings
0:24:21 > 0:24:24but we are really running against the clock and...
0:24:26 > 0:24:28I don't know.
0:24:28 > 0:24:32In terms of what we got done, I think we got what we need.
0:24:32 > 0:24:36But it just would have been good to have that final thing.
0:24:36 > 0:24:38But never mind.
0:24:41 > 0:24:45If it was a struggle to cut a professional debut CD,
0:24:45 > 0:24:48it's an even bigger one to make back his investment.
0:24:50 > 0:24:52ORGAN GRINDER MUSIC
0:24:54 > 0:24:56Is this your CD?
0:24:56 > 0:24:59'How many albums would I have to sell to make my money back?
0:24:59 > 0:25:03'That's a big question. Maybe...'
0:25:03 > 0:25:065,000 albums, maybe.
0:25:08 > 0:25:11It could take me 5,000 albums, 5,000 albums to make my money back
0:25:11 > 0:25:16- after the money I spent. - And how long is that going to take?
0:25:16 > 0:25:21Well, I'd like to think it would take about six months to retrieve that.
0:25:21 > 0:25:23All being well.
0:25:26 > 0:25:28It's about managing expectations.
0:25:28 > 0:25:31If somebody wants to do it alone, it can work
0:25:31 > 0:25:34but then they've got to be satisfied with far less record sales
0:25:34 > 0:25:37but maybe a higher profit per record.
0:25:37 > 0:25:42You can possibly do it without a big record company behind you.
0:25:42 > 0:25:45Certain artists have broken through the internet
0:25:45 > 0:25:48but they are in the minority.
0:25:48 > 0:25:52I would much prefer a big record company promoting me
0:25:52 > 0:25:55and making sure my record was seen and heard.
0:25:59 > 0:26:01The setting of drug culture film Trainspotting,
0:26:01 > 0:26:04West Pilton was not the obvious starting point
0:26:04 > 0:26:07for an opera singer's journey to fame and fortune.
0:26:11 > 0:26:13I sing for the ordinary people
0:26:13 > 0:26:17and people around here are as ordinary as you are going to get.
0:26:17 > 0:26:20You know, that's basically what...
0:26:20 > 0:26:22You are brought up in this environment
0:26:22 > 0:26:25and you feel quite comfortable singing for people
0:26:25 > 0:26:28that live in a similar environment, you know.
0:26:28 > 0:26:32It doesn't have to be Covent Garden. It could be anywhere.
0:26:32 > 0:26:34It could be a place like this.
0:26:34 > 0:26:36MUSIC: "E Lucevan Le Stelle" by Puccini
0:26:40 > 0:26:44# E lucevan le stelle... #
0:26:44 > 0:26:47'One of the reasons...
0:26:47 > 0:26:51'To succeed, I wasn't risking very much by giving up everything I had
0:26:51 > 0:26:55'to take myself off to London and become an opera singer.'
0:26:55 > 0:26:59Because I never really had very much in the first place.
0:26:59 > 0:27:03It was a gamble which, for me, I think, has paid off.
0:27:03 > 0:27:06You know, not in terms of how much money I've made
0:27:06 > 0:27:09or anything like that, just the fact that I've managed to become
0:27:09 > 0:27:12somebody that's regarded to have a quality tenor voice.
0:27:16 > 0:27:21Just over to the right is where we grew up. Number six.
0:27:24 > 0:27:26John, your first stage.
0:27:26 > 0:27:29That will be your window, there.
0:27:29 > 0:27:31There would be curtains at the front of it
0:27:31 > 0:27:34and it would open up like a stage and we would have to perform.
0:27:34 > 0:27:38Edinburgh as well, you know, the fashions of the time.
0:27:38 > 0:27:40It was the '70s. We were just wee kids.
0:27:40 > 0:27:43And...
0:27:43 > 0:27:47the Bay City Rollers were rife all over the world. And the Osmonds.
0:27:47 > 0:27:49And we were completely unfashionable
0:27:49 > 0:27:51because we didn't listen to that kind of music at all.
0:27:51 > 0:27:55# Ever since we met you've got a hold on me
0:27:55 > 0:27:57# It happens to be true... #
0:27:57 > 0:28:01We were more into Al Jolson, Frank Sinatra, Mario Lanza.
0:28:01 > 0:28:03Yeah, I know.
0:28:03 > 0:28:05It was odd. Funny looking back.
0:28:08 > 0:28:12# I only want to be with you. #
0:28:12 > 0:28:15I went to school in a place called Pilton.
0:28:15 > 0:28:19A very, very deprived kind of area
0:28:19 > 0:28:22with its fair share of drug-related problems.
0:28:24 > 0:28:26During my schooling years
0:28:26 > 0:28:29I guess I gravitated towards the music department.
0:28:29 > 0:28:32It's very easy to fall into the wrong kind of company,
0:28:32 > 0:28:34especially in that area.
0:28:37 > 0:28:41I suffered in my first kind of year or two of secondary school,
0:28:41 > 0:28:45I think probably because of my timid, quiet nature.
0:28:45 > 0:28:47The fact I was more on the creative kind of side.
0:28:47 > 0:28:50Deep thinking kind of guy.
0:28:50 > 0:28:52And I tended to be a bit different from everyone else.
0:28:52 > 0:28:55Music as well. If you're involved in music...
0:28:55 > 0:28:57They see you as a bit of a... Yeah.
0:28:57 > 0:28:59A bit kind of soft, you know.
0:29:01 > 0:29:03MUSIC
0:29:11 > 0:29:14From then on I learned to play saxophone.
0:29:14 > 0:29:17Did a stint in the Royal Scots Military Band,
0:29:17 > 0:29:20where I discovered I could sing
0:29:20 > 0:29:24and decided to take some singing lessons for a number of years.
0:29:26 > 0:29:29I realised I had a potential tenor voice
0:29:29 > 0:29:33which went on to become very strong and very professional.
0:29:36 > 0:29:41HE SINGS IN ITALIAN
0:30:02 > 0:30:05It's been six months since John started selling his CD
0:30:05 > 0:30:07and the going is slow.
0:30:09 > 0:30:13My name is John Innes and I'm a professional tenor.
0:30:13 > 0:30:16I've been travelling the country since my...er...
0:30:16 > 0:30:21I recorded with the City of Prague Philharmonic Orchestra
0:30:21 > 0:30:24and I went out there, self-funded,
0:30:24 > 0:30:26this CD which you see in front of you, here.
0:30:26 > 0:30:29So if you'd like to pick up a brochure, I do have a brochure,
0:30:29 > 0:30:31and if you'd like a CD...
0:30:35 > 0:30:37Also they do mention a charity...
0:30:37 > 0:30:39There is a detail there about future release etc.
0:30:39 > 0:30:41And if you'd like a copy of that...
0:30:48 > 0:30:52It's been almost six months since I started selling my CD,
0:30:52 > 0:30:53my professional CD, that is.
0:30:53 > 0:30:55And...
0:30:56 > 0:30:59..the new CD isn't really selling any faster
0:30:59 > 0:31:02than the original one that I did in my garden shed.
0:31:04 > 0:31:06So I'm thinking that maybe a concert tour
0:31:06 > 0:31:08would get me a bit more publicity.
0:31:14 > 0:31:18John decides to enlist the help of a professional producer,
0:31:18 > 0:31:23somebody who's heard him sing on the street and thinks there's potential.
0:31:23 > 0:31:27The unique thing about John is that somebody with his voice
0:31:27 > 0:31:29would even sing on the street.
0:31:29 > 0:31:32There's not many singers with even half his voice
0:31:32 > 0:31:34who would even consider doing it.
0:31:34 > 0:31:37That's what caught my attention.
0:31:37 > 0:31:40John is attempting a daring method
0:31:40 > 0:31:43to sell his concerts that nobody else has really tried.
0:31:44 > 0:31:47When he hires a concert hall himself,
0:31:47 > 0:31:50he financially puts the money down.
0:31:50 > 0:31:54It's a huge, huge risk but his unique way of selling it
0:31:54 > 0:31:59is then to busk outside the venue or elsewhere to promote and sell it.
0:31:59 > 0:32:02Huge, huge bravery. Huge risk he's taking.
0:32:02 > 0:32:07Not many people that would have the audacity or the courage to do that.
0:32:10 > 0:32:13Also here today promoting my forthcoming concert
0:32:13 > 0:32:15at York Grand Opera House.
0:32:15 > 0:32:18If you'd like to pick up a brochure, I do have a brochure...
0:32:18 > 0:32:21I do hope you enjoyed my entertainment this morning.
0:32:21 > 0:32:26I'm going to sing another song for you and I hope you enjoy this one...
0:32:29 > 0:32:32John arrives for his opening night performance.
0:32:32 > 0:32:35He has only managed to sell 50% of the tickets.
0:32:39 > 0:32:41Even if you are known in this day and age,
0:32:41 > 0:32:44it's not an easy task to fill a concert hall.
0:32:44 > 0:32:47There's so much competition around.
0:32:47 > 0:32:50If you are not a known name, it's sometimes more difficult.
0:32:50 > 0:32:53I think what John has done, he's taken that money,
0:32:53 > 0:32:55he's made his own recordings
0:32:55 > 0:32:59and then gone into the concert hall and put on his concert.
0:32:59 > 0:33:03He's doing it his way and wherever that leads, we've yet to see.
0:33:06 > 0:33:08For several weeks before a show,
0:33:08 > 0:33:11he'll set up shop outside the theatre
0:33:11 > 0:33:13and sing one to two-hour sets
0:33:13 > 0:33:17and people literally walk straight into the box office and buy tickets.
0:33:17 > 0:33:19He'll sell 50 in a day doing it that way.
0:33:19 > 0:33:21SWING MUSIC
0:33:25 > 0:33:29It's very, very difficult getting this out. Just a skeleton crew.
0:33:29 > 0:33:32John doing a lot of the work. He gets very, very tired.
0:33:32 > 0:33:35He's organising things and he's hawking it, like he is now.
0:33:35 > 0:33:38Normally he likes to belt it out in a rehearsal
0:33:38 > 0:33:40but today he's taking it really easy.
0:33:40 > 0:33:42He sang until 4:00pm yesterday afternoon
0:33:42 > 0:33:44and he seems to have lost his voice.
0:33:49 > 0:33:52Normally you pull a show at this point
0:33:52 > 0:33:55but he hasn't bought any production insurance.
0:33:55 > 0:33:59It's show time and John has to make a decision.
0:33:59 > 0:34:03With no production insurance, he stands to lose a lot of money.
0:34:07 > 0:34:09What would happen if we cancelled the show?
0:34:09 > 0:34:13With the audience already arriving, it's too late to cancel.
0:34:13 > 0:34:16He has to take the risk.
0:34:16 > 0:34:19OK. All right. OK. Fine. Good. Thanks. He wants to go on.
0:34:19 > 0:34:24John's about to learn that the world of professional singing
0:34:24 > 0:34:27on tour can be very unforgiving.
0:34:27 > 0:34:30ANNOUNCER: This is your act one. Thank you.
0:34:31 > 0:34:35He's realising he can't perform a solo concert of 24 songs
0:34:35 > 0:34:38with a voice that's about to break.
0:34:38 > 0:34:41I remember thinking at the time that he'd just pushed it too far
0:34:41 > 0:34:44this time and that he was never going to pull it off for the show.
0:34:44 > 0:34:46The voice wasn't going to hold up.
0:34:59 > 0:35:04Before we start tonight's concert there's some relatively sad news.
0:35:04 > 0:35:08Unfortunately, John's been suffering with a throat infection
0:35:08 > 0:35:11so it may be that throughout tonight's performance,
0:35:11 > 0:35:14we may have to trim some of the numbers.
0:35:14 > 0:35:18# That one man scorned and covered with scars
0:35:18 > 0:35:21# Still strove with his last ounce of courage...
0:35:24 > 0:35:27# To reach... # HIS VOICE BREAKS
0:35:28 > 0:35:32# To reach the unreachable star. #
0:35:46 > 0:35:49APPLAUSE Thank you very much.
0:35:49 > 0:35:51As you can tell I am struggling here a wee bit tonight
0:35:51 > 0:35:55but I'm glad that you're still here!
0:35:55 > 0:35:57John makes it through to the end.
0:35:57 > 0:35:59Luckily for him, the audience,
0:35:59 > 0:36:03many of whom saw him for the first time on the street,
0:36:03 > 0:36:04are starting to root for him.
0:36:05 > 0:36:08And it was about then I started believing
0:36:08 > 0:36:11that this street training, this regime that he's been on,
0:36:11 > 0:36:15has given him capacity and resilience that few singers have.
0:36:15 > 0:36:17What's that? LAUGHTER
0:36:20 > 0:36:22A special delivery from Boots the chemist!
0:36:26 > 0:36:29Because he was out singing in the cold and all different weathers,
0:36:29 > 0:36:33it gave him some strength that maybe some of the divas haven't got.
0:36:38 > 0:36:42Singers, they're as good as their worst day.
0:36:42 > 0:36:44So if you've got a cold, you're not feeling great,
0:36:44 > 0:36:47your marriage is on the rocks, you've still got to go out
0:36:47 > 0:36:50on that stage and look great and perform well.
0:36:50 > 0:36:54At your lowest point, have you got a good enough technique to ride it?
0:36:54 > 0:36:56And that's where technique comes into play, I think.
0:36:56 > 0:37:01MUSIC: "Rigoletto" by Verdi
0:37:07 > 0:37:09APPLAUSE
0:37:10 > 0:37:13- Phew! Wow! - HE LAUGHS
0:37:16 > 0:37:18You were wonderful.
0:37:18 > 0:37:21It's very different singing in concert
0:37:21 > 0:37:23because you have a captive audience for one thing,
0:37:23 > 0:37:28and they come with an expectation of being entertained.
0:37:28 > 0:37:30Completely different from singing on the street
0:37:30 > 0:37:35because they're passing by, they're stopping for maybe 20 minutes
0:37:35 > 0:37:38and they enjoy what they hear and move on.
0:37:38 > 0:37:41But with a concert performance,
0:37:41 > 0:37:44you're having to entertain people for the space of two hours
0:37:44 > 0:37:48and I find that quite challenging.
0:37:51 > 0:37:54And myself, John Innes.
0:37:54 > 0:37:55CHEERING AND APPLAUSE
0:37:56 > 0:37:58It's an experience.
0:37:58 > 0:38:01You have a different connection with those people.
0:38:01 > 0:38:03A very different connection.
0:38:03 > 0:38:09# You raise me up so I can stand on mountains... #
0:38:09 > 0:38:12'I'm fortunate that every time I've done a concert,'
0:38:12 > 0:38:17it's always been around people who've come along to support me.
0:38:17 > 0:38:21So they come along with that sense of support and wanting me to do well.
0:38:22 > 0:38:26On the steps of the concert hall. I set my PA system up.
0:38:26 > 0:38:28APPLAUSE
0:38:28 > 0:38:30I think most of you here tonight
0:38:30 > 0:38:32I have probably spoken to you at some point.
0:38:32 > 0:38:36It's fantastic to be indoors instead of out, where it's blowing a gale.
0:38:36 > 0:38:39What is up with all this Glasgow weather we have been having today?
0:38:39 > 0:38:41So once again, thank you for coming along.
0:38:41 > 0:38:44It is a real honour to have you tonight. Thank you.
0:38:44 > 0:38:46APPLAUSE
0:38:48 > 0:38:52As John manages to handle the demands of performing his concerts,
0:38:52 > 0:38:56his exhausting system of selling tickets on the street is becoming an issue.
0:38:58 > 0:39:01It is always a struggle to fill these shows.
0:39:01 > 0:39:03John isn't a household name.
0:39:03 > 0:39:06He hasn't been on the TV talent shows, he hasn't gone that route.
0:39:06 > 0:39:08So it always is an uphill battle.
0:39:15 > 0:39:18Off we go again to Cambridge.
0:39:18 > 0:39:21Another day flogging bloody tickets.
0:39:23 > 0:39:25HE SIGHS
0:39:32 > 0:39:36I'm a bit concerned about this concert tour that I'm involved in.
0:39:36 > 0:39:40And I'm almost wishing I hadn't actually committed myself to it
0:39:40 > 0:39:43but if I back out now, I'm going to lose a lot of money.
0:39:43 > 0:39:46Not to mention publicity for my CDs.
0:39:49 > 0:39:52But I can't do that because it's going to give me
0:39:52 > 0:39:56a really bad reputation so I'm going to have to go ahead with it.
0:39:58 > 0:40:00It's one week before the next concert
0:40:00 > 0:40:04and John has only managed to sell 40% of the tickets.
0:40:04 > 0:40:06My name is John Innes
0:40:06 > 0:40:12and I'm here promoting my forthcoming concert at Cambridge Corn Exchange
0:40:12 > 0:40:16so that's the tour here this year in the UK
0:40:16 > 0:40:21after last year's concerts in Worthing and York.
0:40:23 > 0:40:26John's last week on the street has just about paid off.
0:40:27 > 0:40:30The concert is a little over half full
0:40:30 > 0:40:33but now he has an even bigger task.
0:40:33 > 0:40:37To fill the 2,000 seat Glasgow Royal Concert Hall.
0:40:42 > 0:40:45- RADIO:- 'You can be with us on 2nd November, Royal Concert Hall.
0:40:45 > 0:40:47'We'll give the box office details later.'
0:40:47 > 0:40:49The Concert Hall is a fabulous venue
0:40:49 > 0:40:52and it's become one of THE venues now in Scotland.
0:40:52 > 0:40:55It's an amazing place and so many big names have appeared there
0:40:55 > 0:40:57and now you are going to be there too.
0:40:57 > 0:40:59FANFARE
0:41:06 > 0:41:11In his native Scotland, John's story has struck a chord
0:41:11 > 0:41:14with his loyal followers from the streets of Glasgow.
0:41:14 > 0:41:17It's a sell-out performance.
0:41:19 > 0:41:24I certainly think busking has given him the stage presence I've seen.
0:41:24 > 0:41:27It gives him that rapport with his audience.
0:41:27 > 0:41:30It gives him a confidence.
0:41:30 > 0:41:34John has a fearless approach to high notes which I really appreciate
0:41:34 > 0:41:39and he's got great stamina and that counts for a lot, you know.
0:41:39 > 0:41:42When your back's against the wall and you've got to produce the goods,
0:41:42 > 0:41:45John's always there with the notes, the high notes.
0:41:45 > 0:41:48MUSIC: "Nessun Dorma" by Puccini
0:41:48 > 0:41:54# Vincero. #
0:41:56 > 0:41:58He can truly get his heart, his message
0:41:58 > 0:42:02across to those and that's seemingly what he does.
0:42:02 > 0:42:04I mean, the responses that John has,
0:42:04 > 0:42:09people spontaneously jumping up and applauding, that is genuine.
0:42:09 > 0:42:13Although John's concerts in England barely broke even,
0:42:13 > 0:42:17with the success of the Glasgow concert and the subsequent sales
0:42:17 > 0:42:22of his CD, John has finally managed to clear his recording costs.
0:42:22 > 0:42:24His house is safe.
0:42:24 > 0:42:28But there was another benefit from the sell-out concert
0:42:28 > 0:42:30that John has yet to realise.
0:42:30 > 0:42:34He meets his future partner, Zoe.
0:42:34 > 0:42:36Do you remember my name?
0:42:36 > 0:42:38- Zoe?- Well done.
0:42:40 > 0:42:43Just two weeks after the success of the Glasgow concert,
0:42:43 > 0:42:49John is facing the reality of having to make a living on the streets.
0:42:49 > 0:42:51He receives an unexpected call
0:42:51 > 0:42:54that could give him his long-awaited shot at the big time.
0:42:54 > 0:42:56I just don't believe that.
0:42:56 > 0:43:01I just got a call from Britain's Got Talent, who want me to audition.
0:43:01 > 0:43:03Where the hell did that come from?
0:43:03 > 0:43:07Could have used it before my concert and at least made some money
0:43:07 > 0:43:09But anyway...
0:43:11 > 0:43:13I've got nothing to lose so I'm going to do it.
0:43:17 > 0:43:19The X Factor comes into its own
0:43:19 > 0:43:22because you are in people's living rooms.
0:43:22 > 0:43:26Millions of people every Saturday and now Sunday
0:43:26 > 0:43:30and the public get to know the personalities
0:43:30 > 0:43:34and what a head start that is in the music business!
0:43:35 > 0:43:37TV talent shows. Well, they worry me.
0:43:40 > 0:43:43Because it has made everything completely disposable.
0:43:44 > 0:43:48I don't feel that these artists get any respect by the powers that be
0:43:48 > 0:43:51and the people who put these shows on.
0:43:52 > 0:43:55I think the only downside is
0:43:55 > 0:43:59if a particular artist was to be on that particular programme
0:43:59 > 0:44:02and they got through to the fourth or fifth round or whatever it is,
0:44:02 > 0:44:06in front of Simon Cowell with the televisions and everything else,
0:44:06 > 0:44:08you would have to sign up to his record label
0:44:08 > 0:44:12in order to get the publicity machine kind of following you.
0:44:12 > 0:44:16But I really wanted to try it and have a bit of fun with it.
0:44:19 > 0:44:22I think that shows like the X Factor
0:44:22 > 0:44:27and Pop Idol are sending out the wrong messages to kids,
0:44:27 > 0:44:32that they have this instant stairway to fame and fortune.
0:44:32 > 0:44:35And to a certain extent,
0:44:35 > 0:44:41that does happen to those who have stood the test of time.
0:44:41 > 0:44:46I think they would be a lot better getting out there
0:44:46 > 0:44:51and learning the trade through joining a band.
0:44:51 > 0:44:54Grafting a bit, instead of queuing up.
0:44:58 > 0:45:01It's about entertainment but a lot of young people do take it
0:45:01 > 0:45:06extremely seriously and maybe there is a danger in that.
0:45:06 > 0:45:09They think if they win the programme, they've succeeded.
0:45:09 > 0:45:12That's it. It is beyond that.
0:45:12 > 0:45:14With the Bay City Rollers,
0:45:14 > 0:45:18they didn't start off as a manufactured band.
0:45:18 > 0:45:21I was personally on the road for seven years with the band,
0:45:21 > 0:45:23trying to make them successful.
0:45:23 > 0:45:28And we actually became successful in Scotland before making any records.
0:45:28 > 0:45:31After eight hours of lining up and waiting,
0:45:31 > 0:45:36the audition is finally over and John has had his chance.
0:45:36 > 0:45:38I sang The Impossible Dream really well in my audition
0:45:38 > 0:45:41and when I got to the high note at the end of it,
0:45:41 > 0:45:44the producer or whatever said, "Wow!"
0:45:49 > 0:45:51I wouldn't take it too seriously
0:45:51 > 0:45:54and if I got to the next round or the round after,
0:45:54 > 0:45:58got on television, I would really see it as a bit of fun, entertainment.
0:45:58 > 0:46:01MUSIC: "Nella Fantasia" by Ennio Morricone
0:46:05 > 0:46:08Back on the streets, with the success of his concert,
0:46:08 > 0:46:10his extraordinary methods
0:46:10 > 0:46:13are starting to attract mainstream media attention.
0:46:15 > 0:46:19- RADIO PRESENTER:- 'Now, every so often a singer comes along...'
0:46:19 > 0:46:21It seems after 15 years of street singing,
0:46:21 > 0:46:26his moment has finally come and he has proved his many doubters wrong.
0:46:26 > 0:46:28A big name to watch out for.
0:46:28 > 0:46:30You may even have come across him before...
0:46:30 > 0:46:34A warm welcome along for tonight's league game.
0:46:34 > 0:46:36Put your hands together for the people's tenor.
0:46:36 > 0:46:40Let's have a nice big Celtic welcome for John Innes!
0:46:40 > 0:46:42People's tenor performing opera in the street
0:46:42 > 0:46:44and he is now attracting a huge following.
0:46:44 > 0:46:46Tonight John Innes...
0:46:46 > 0:46:50Believes passionately in taking opera out of the opera houses
0:46:50 > 0:46:53and going to the streets and the people here
0:46:53 > 0:46:56in Edinburgh's St Andrews Square Gardens are very grateful.
0:47:20 > 0:47:24To make it in the music business, you have to work really hard
0:47:24 > 0:47:28and have fantastic drive and do not give up...
0:47:29 > 0:47:32..regardless of what people say, how many doors are closed.
0:47:32 > 0:47:38And eventually, if you work at it for years doing the same thing,
0:47:38 > 0:47:40it'll work.
0:47:40 > 0:47:43That's just my opinion.
0:47:45 > 0:47:50# We are the champions... #
0:47:51 > 0:47:56I think it's challenging and it can be fun.
0:47:56 > 0:48:02It is hard work but that's why we do it. We enjoy what we do.
0:48:02 > 0:48:04# Champions. #
0:48:06 > 0:48:08CHEERING AND APPLAUSE
0:48:33 > 0:48:38# And I know if I'll only be true
0:48:38 > 0:48:42# To this glorious quest
0:48:42 > 0:48:46# Then my heart will lie peaceful and calm
0:48:49 > 0:48:53# When I'm laid to my rest... #
0:48:53 > 0:48:55Subtitles by Red Bee Media Ltd