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MUSIC: "Back to Black" by Amy Winehouse | 0:00:02 | 0:00:04 | |
# I go back to black | 0:00:04 | 0:00:07 | |
# Black | 0:00:09 | 0:00:12 | |
# Black | 0:00:15 | 0:00:17 | |
# Black | 0:00:19 | 0:00:22 | |
# Black | 0:00:24 | 0:00:26 | |
# Black | 0:00:29 | 0:00:32 | |
# Black | 0:00:34 | 0:00:36 | |
# I go back to | 0:00:39 | 0:00:42 | |
# I go back to | 0:00:43 | 0:00:47 | |
# We only said goodbye with words | 0:00:48 | 0:00:52 | |
# I died a hundred times | 0:00:52 | 0:00:56 | |
# You go back to her | 0:00:56 | 0:01:00 | |
# And I, I... | 0:01:00 | 0:01:03 | |
# We only said goodbye with words | 0:01:03 | 0:01:08 | |
# I died a hundred times | 0:01:08 | 0:01:12 | |
# You go back to her | 0:01:12 | 0:01:15 | |
# And I go back... | 0:01:15 | 0:01:20 | |
# To black. # | 0:01:20 | 0:01:23 | |
APPLAUSE AND CHEERING | 0:01:23 | 0:01:26 | |
Thank you. | 0:01:26 | 0:01:28 | |
This programme contains some strong language. | 0:01:28 | 0:01:35 | |
Five years ago, Amy Winehouse went to Dingle - | 0:01:35 | 0:01:39 | |
the westernmost town on the coast of County Kerry. | 0:01:39 | 0:01:41 | |
She had accepted an invitation to appear | 0:01:41 | 0:01:44 | |
at one of the world's most exclusive music festivals. | 0:01:44 | 0:01:48 | |
The Dingle Festival, set in a tiny church in the middle of the town, | 0:01:48 | 0:01:51 | |
provides the raw material for the Irish TV series, Other Voices. | 0:01:51 | 0:01:56 | |
Everyone who plays there wants to come back. | 0:01:56 | 0:01:59 | |
CHEERING AND APPLAUSE | 0:02:01 | 0:02:03 | |
Amy Winehouse arrived on a wild, stormy night, | 0:02:05 | 0:02:08 | |
ready to sing, and ready to talk, especially about her musical heroes. | 0:02:08 | 0:02:12 | |
Arena pays tribute to Other Voices, and together they joined forces | 0:02:13 | 0:02:17 | |
to present the whole of that performance, | 0:02:17 | 0:02:20 | |
and allow Amy Winehouse to tell the story of her music in her own words. | 0:02:20 | 0:02:25 | |
Amy appeared in the fifth series of Other Voices, | 0:02:33 | 0:02:37 | |
which we film every winter, here in Dingle. | 0:02:37 | 0:02:40 | |
As the crow flies, Dingle is about the same distance from London | 0:02:40 | 0:02:44 | |
as, say, Aberdeen. | 0:02:44 | 0:02:46 | |
But you can't get to Dingle by crow. | 0:02:46 | 0:02:49 | |
Whether you start your journey by plane, or by train, | 0:02:49 | 0:02:52 | |
you finish it by automobile, weather permitting. | 0:02:52 | 0:02:55 | |
You just don't go to Dingle by accident, it takes a commitment. | 0:02:57 | 0:03:00 | |
A commitment musicians have been making to Other Voices | 0:03:00 | 0:03:03 | |
for ten years now. | 0:03:03 | 0:03:05 | |
A commitment Amy made back in 2006. | 0:03:05 | 0:03:08 | |
The truth is, there's something very, very special about Dingle, | 0:03:09 | 0:03:14 | |
and there's something quite unique about Other Voices. | 0:03:14 | 0:03:17 | |
'Other Voices was never planned - it did just happen. | 0:03:21 | 0:03:26 | |
'Here, there are conditions that are special, | 0:03:26 | 0:03:29 | |
'and that are very conducive to great music.' | 0:03:29 | 0:03:34 | |
It's peripheral - people feel safe here. | 0:03:34 | 0:03:39 | |
Artists sense something here. | 0:03:39 | 0:03:42 | |
Over the years, | 0:03:42 | 0:03:43 | |
as we've asked people to come, | 0:03:43 | 0:03:46 | |
some say no, but many say yes. | 0:03:46 | 0:03:49 | |
And if you go down through the lists | 0:03:49 | 0:03:51 | |
of people who have come - | 0:03:51 | 0:03:53 | |
Irish artists, who begin their careers here, | 0:03:53 | 0:03:56 | |
great artists from all the world around, | 0:03:56 | 0:03:59 | |
whether it's The National, | 0:03:59 | 0:04:01 | |
whether it's Rufus Wainwright, his sister, Martha, | 0:04:01 | 0:04:06 | |
Ray Davies, Ryan Adams. | 0:04:06 | 0:04:08 | |
All these people come, and something special happens. | 0:04:08 | 0:04:12 | |
But something really special happened the day Amy came to Dingle. | 0:04:12 | 0:04:17 | |
MUSIC: "Another Green World" by Brian Eno | 0:04:17 | 0:04:19 | |
PARED DOWN INTRO TO "Back To Black" | 0:04:45 | 0:04:49 | |
It started off bit-by-bit. Not with rock concerts, | 0:05:01 | 0:05:04 | |
but there was a parishioner here, Steve Coulter - | 0:05:04 | 0:05:08 | |
he noticed that the church was only being used one day of the week, | 0:05:08 | 0:05:13 | |
and said, "This is a pity. I can do something for all the tourists | 0:05:13 | 0:05:17 | |
"visiting Dingle". | 0:05:17 | 0:05:18 | |
He was looking for a place to have music, that wasn't a pub. | 0:05:18 | 0:05:24 | |
So he started folk concerts here, | 0:05:24 | 0:05:27 | |
with the permission of the Select Vestry, the parish council, | 0:05:27 | 0:05:30 | |
to help him in his work, | 0:05:30 | 0:05:32 | |
but also to help the parish do a bit of fundraising. | 0:05:32 | 0:05:37 | |
The parish here would have been very badly hit over the years | 0:05:38 | 0:05:41 | |
with emigration, | 0:05:41 | 0:05:43 | |
It would have once been a thriving parish | 0:05:43 | 0:05:45 | |
Now, it's quite small in numbers, | 0:05:45 | 0:05:47 | |
so it's difficult for a small congregation | 0:05:47 | 0:05:50 | |
to keep a building like this up and running. | 0:05:50 | 0:05:52 | |
From that, somebody had the idea, | 0:05:52 | 0:05:55 | |
"Maybe if there are folk concerts here, we can have other things". | 0:05:55 | 0:05:59 | |
So Philip King approached Steve, | 0:05:59 | 0:06:02 | |
and they approached the Select Vestry | 0:06:02 | 0:06:06 | |
with the idea of maybe bringing other musicians in, | 0:06:06 | 0:06:09 | |
for wider variety. | 0:06:09 | 0:06:11 | |
Look at where we are. We're at the edge of the known world, | 0:06:13 | 0:06:17 | |
as it was, before we found out it was round. | 0:06:17 | 0:06:21 | |
We used to think that if you stood at the edge of the Dingle Peninsula | 0:06:21 | 0:06:26 | |
and looked west, and walked out there, you would fall off. | 0:06:26 | 0:06:28 | |
We were at the edge of the known world. | 0:06:28 | 0:06:30 | |
There is something about places that are at the edge. | 0:06:30 | 0:06:35 | |
Artists sense something when they come here, | 0:06:35 | 0:06:39 | |
of that I have no doubt, | 0:06:39 | 0:06:41 | |
and they make an effort to come, | 0:06:41 | 0:06:44 | |
and there's something in the effort of getting here | 0:06:44 | 0:06:48 | |
that makes the way that they perform different, | 0:06:48 | 0:06:51 | |
because the budget isn't big - | 0:06:51 | 0:06:55 | |
the production doesn't have | 0:06:55 | 0:06:58 | |
all of the clipboard people running around, | 0:06:58 | 0:07:03 | |
wondering if everything is all right. | 0:07:03 | 0:07:05 | |
There is something communal and collegiate about the place, | 0:07:06 | 0:07:11 | |
and people come here. | 0:07:11 | 0:07:13 | |
It's real, and they're cherished, | 0:07:13 | 0:07:16 | |
and they take to the stage, | 0:07:16 | 0:07:19 | |
and sometimes I think that when people go on stage in the church | 0:07:19 | 0:07:23 | |
they are a little bit wary of it, or almost put off by it, | 0:07:23 | 0:07:28 | |
or find it very difficult. | 0:07:28 | 0:07:29 | |
If you are Snow Patrol and you played to 40,000 people last night, | 0:07:29 | 0:07:35 | |
and you play to 80 people tonight, | 0:07:35 | 0:07:38 | |
you're smack up against it. | 0:07:38 | 0:07:41 | |
You're sitting in the lap of the person in the front row. | 0:07:41 | 0:07:44 | |
So this is different - it is a different experience. | 0:07:44 | 0:07:49 | |
It was a bad evening, a terrible evening - very wet, windy and wet, | 0:07:49 | 0:07:55 | |
actually very windy and wet. | 0:07:55 | 0:07:58 | |
They gave me a name, but I hadn't a clue from Adam | 0:07:58 | 0:08:01 | |
who the lady was - not a clue, just got the name. | 0:08:01 | 0:08:06 | |
I remember going up to the airport, and writing it out | 0:08:06 | 0:08:09 | |
at the information desk, | 0:08:09 | 0:08:13 | |
getting the paper thing and writing her name on it, | 0:08:13 | 0:08:16 | |
and standing there with it. | 0:08:16 | 0:08:18 | |
I didn't have a clue who Amy Winehouse was. | 0:08:18 | 0:08:21 | |
I know the flight was late, and I was waiting there for a while, | 0:08:21 | 0:08:25 | |
and this girl came along, and a man with her, | 0:08:25 | 0:08:28 | |
and I was looking out for more people, | 0:08:28 | 0:08:31 | |
and I said to her, "Where's your mother?" | 0:08:31 | 0:08:34 | |
She said, "My mother's back in London". | 0:08:34 | 0:08:38 | |
She was laughing, and we were laughing in-between her. | 0:08:38 | 0:08:41 | |
I thought she was a child of Amy Winehouse's, to tell you the truth. | 0:08:41 | 0:08:45 | |
My first reaction of seeing her was that she was a child! | 0:08:45 | 0:08:48 | |
I remember it being a very long day, | 0:08:53 | 0:08:55 | |
getting here, and then going to the hotel to get ready, | 0:08:55 | 0:09:00 | |
and then coming to do the performance, | 0:09:00 | 0:09:03 | |
and then going straight back to the airport. | 0:09:03 | 0:09:05 | |
-And it was so long, it was a blur. -HE LAUGHS | 0:09:07 | 0:09:10 | |
-Can I stick my phone in there? -Sure - by all means. | 0:09:11 | 0:09:14 | |
We had a great time - we always did. | 0:09:14 | 0:09:17 | |
She loved coming to Ireland, actually. | 0:09:17 | 0:09:20 | |
We'd been a few times... | 0:09:20 | 0:09:21 | |
..and she always enjoyed herself a lot. | 0:09:23 | 0:09:26 | |
APPLAUSE AND CHEERING | 0:09:26 | 0:09:28 | |
The label - Chantal - was texting me, | 0:09:29 | 0:09:33 | |
"Is she there? Is she OK? Who's arrived, who's picked her up? | 0:09:33 | 0:09:37 | |
"Is everything OK?" | 0:09:37 | 0:09:38 | |
And I was like, "Everything is wonderful". | 0:09:38 | 0:09:40 | |
She marched up the stairs in Benners, into her room, and says, | 0:09:40 | 0:09:43 | |
"Can you give me a hand?" I said, "What?" and she said, | 0:09:43 | 0:09:46 | |
"Will you hold my hair while I backcomb it?" | 0:09:46 | 0:09:49 | |
I was like, "OK". I'm holding the back of her hair | 0:09:49 | 0:09:51 | |
and she's backcombing the front, and I was like, | 0:09:51 | 0:09:55 | |
"Can I get you something to eat?" She was like, "No, no, no - | 0:09:55 | 0:09:57 | |
"I'm late. I'm sure you're way behind schedule | 0:09:57 | 0:09:59 | |
"We've got work to do". | 0:09:59 | 0:10:01 | |
We are delighted to have here tonight Amy Winehouse. | 0:10:02 | 0:10:06 | |
CHEERING AND APPLAUSE | 0:10:06 | 0:10:08 | |
# All I can ever be to you is the darkness that we knew | 0:10:11 | 0:10:15 | |
# And this regret I got accustomed to | 0:10:15 | 0:10:19 | |
# Once it was so right When we were at our height | 0:10:19 | 0:10:24 | |
# Waiting for you in the hotel at night | 0:10:24 | 0:10:27 | |
# I knew I hadn't met my match But every moment we could snatch | 0:10:27 | 0:10:32 | |
# I don't know why I got so attached | 0:10:32 | 0:10:36 | |
# It's my responsibility You don't owe nothing to me | 0:10:36 | 0:10:40 | |
# But to walk away I have no capacity | 0:10:40 | 0:10:44 | |
# He walks away, the sun goes down | 0:10:44 | 0:10:49 | |
# He takes the day, but I'm grown | 0:10:49 | 0:10:51 | |
# And in your way | 0:10:51 | 0:10:54 | |
# In this blue shade | 0:10:54 | 0:10:56 | |
# My tears dry on their own | 0:10:56 | 0:11:01 | |
# I don't understand Why do I stress a man | 0:11:01 | 0:11:05 | |
# When there's so many bigger things ahead? | 0:11:05 | 0:11:08 | |
# We could have never had it all We had to hit a wall | 0:11:08 | 0:11:13 | |
# So this is inevitable withdrawal | 0:11:13 | 0:11:17 | |
# Even if I stop wanting you And perspective pushes through | 0:11:17 | 0:11:21 | |
# I'll be some next man's other woman soon | 0:11:21 | 0:11:25 | |
# I cannot play myself again I should just be my own best friend | 0:11:25 | 0:11:29 | |
# Not fuck myself in the head with stupid men | 0:11:29 | 0:11:33 | |
# He walks away, the sun goes down | 0:11:33 | 0:11:38 | |
# He takes the day, but I am grown | 0:11:38 | 0:11:41 | |
# And in your way In this blue shade | 0:11:41 | 0:11:45 | |
# My tears dry on their own | 0:11:45 | 0:11:49 | |
# So we are history Your shadow covers me | 0:11:49 | 0:11:54 | |
# The sky above ablaze | 0:11:54 | 0:11:58 | |
# He walks away, the sun goes down | 0:11:58 | 0:12:02 | |
# He takes the day, but I am grown | 0:12:02 | 0:12:06 | |
# And in your way In this blue shade | 0:12:06 | 0:12:10 | |
# My tears dry on... | 0:12:10 | 0:12:14 | |
# I wish I could say, "No regrets" No emotional debts | 0:12:14 | 0:12:19 | |
# Boy, as we kiss goodbye The sun sets | 0:12:19 | 0:12:23 | |
# So we are history | 0:12:23 | 0:12:25 | |
# Your shadow covers me | 0:12:25 | 0:12:27 | |
# The sky above ablaze That only lovers see | 0:12:27 | 0:12:32 | |
# He walks away The sun goes down | 0:12:32 | 0:12:35 | |
# He takes the day, but I am grown | 0:12:35 | 0:12:38 | |
# And in your way In this blue shade | 0:12:38 | 0:12:43 | |
# My tears dry on... | 0:12:43 | 0:12:48 | |
# He walks away, the sun goes down | 0:12:48 | 0:12:51 | |
# He takes the day, but I am grown | 0:12:51 | 0:12:56 | |
# And in your way In this blue shade | 0:12:56 | 0:12:59 | |
# My tears dry on their own | 0:12:59 | 0:13:03 | |
# He walks away, the sun goes down | 0:13:03 | 0:13:08 | |
# He takes the day, but I am grown | 0:13:08 | 0:13:10 | |
# And in your way In this blue shade | 0:13:10 | 0:13:15 | |
# My tears dry on their own. # | 0:13:15 | 0:13:19 | |
Thank you. | 0:13:19 | 0:13:21 | |
APPLAUSE AND CHEERING | 0:13:21 | 0:13:24 | |
Amy, you've just done a set which is clearly | 0:13:28 | 0:13:32 | |
"Amy Winehouse - soul singer". | 0:13:32 | 0:13:34 | |
We don't get to hear that kind of music in real life often, | 0:13:34 | 0:13:37 | |
but we do hear it on record. | 0:13:37 | 0:13:38 | |
Presumably, you heard this kind of music first on record, as well? | 0:13:38 | 0:13:41 | |
-Yes. -So who was it? | 0:13:41 | 0:13:44 | |
When I was younger, I didn't really listen to a lot of soul, | 0:13:44 | 0:13:46 | |
but in the last year I got very into Motown girl groups, | 0:13:46 | 0:13:51 | |
and that kind of thing. | 0:13:51 | 0:13:53 | |
-Just in the last year? -Yeah - two, maybe... Year-and-a-half. | 0:13:53 | 0:13:56 | |
It seems like it's in your bones. | 0:13:56 | 0:13:58 | |
Yeah, I liked Otis Redding when I was younger. | 0:13:58 | 0:14:01 | |
Well, I've liked Otis Redding from when I was about 14 or 15, | 0:14:01 | 0:14:05 | |
but I listened to hip-hop and jazz for so many years | 0:14:05 | 0:14:07 | |
that it took me a while to... | 0:14:07 | 0:14:11 | |
That's pretty much it... | 0:14:11 | 0:14:12 | |
Soul comes in the middle - | 0:14:12 | 0:14:15 | |
it goes jazz, soul, Motown, then hip-hop. | 0:14:15 | 0:14:18 | |
You know, | 0:14:18 | 0:14:20 | |
obviously, I've gone in the middle of them two. | 0:14:20 | 0:14:23 | |
Just recently, I've been listening to a lot of gospel singers | 0:14:23 | 0:14:26 | |
like Mahalia Jackson and Aretha Franklin. | 0:14:26 | 0:14:29 | |
I love gospel singers, cos gospel is so truthful. | 0:14:29 | 0:14:33 | |
There's nothing... I'm not religious, | 0:14:33 | 0:14:36 | |
but there's nothing more pure than the relationship you have | 0:14:36 | 0:14:40 | |
with your God or what you believe in, your faith - | 0:14:40 | 0:14:43 | |
there's nothing stronger than that, apart from your love of music. | 0:14:43 | 0:14:46 | |
Gospel to me is very inspirational. | 0:14:46 | 0:14:48 | |
MUSIC: "Didn't It Rain" by Mahalia Jackson | 0:14:48 | 0:14:50 | |
VINYL CRACKLES | 0:14:50 | 0:14:52 | |
# My Lord, Oh Lord | 0:14:55 | 0:14:57 | |
# Mm, my Lord | 0:14:57 | 0:15:00 | |
# Rained 40 days and 40 nights without stopping | 0:15:00 | 0:15:03 | |
# Noah was glad when the rain stopped dropping | 0:15:03 | 0:15:06 | |
# Knock at the window Knock at the door | 0:15:06 | 0:15:08 | |
# Crying, "Brother Noah Can't you take on more?" | 0:15:08 | 0:15:11 | |
# No, I can't, no You're full of sin | 0:15:11 | 0:15:14 | |
# Lord's got the key and you can't get in | 0:15:14 | 0:15:16 | |
# Just listen, how sweet | 0:15:16 | 0:15:19 | |
# Just listen, how sweet | 0:15:19 | 0:15:22 | |
# All day, all night | 0:15:22 | 0:15:24 | |
# All night, all day | 0:15:24 | 0:15:27 | |
# Just listen, how it's raining | 0:15:27 | 0:15:29 | |
# Just listen, how it's raining | 0:15:29 | 0:15:32 | |
# Some crying, some praying | 0:15:32 | 0:15:35 | |
# Some running, some shouting | 0:15:35 | 0:15:38 | |
# Just listen, how it's raining | 0:15:38 | 0:15:40 | |
# Didn't it rain, children? Rain all night long | 0:15:40 | 0:15:46 | |
# Didn't it, didn't it, didn't it? | 0:15:46 | 0:15:49 | |
# Oh, my Lord | 0:15:49 | 0:15:51 | |
# Didn't it rain? | 0:15:51 | 0:15:53 | |
# Mmmm... # | 0:15:53 | 0:15:56 | |
It's our musicians and our artists | 0:15:56 | 0:15:58 | |
who are the prophets of today, | 0:15:58 | 0:16:01 | |
because a prophet, | 0:16:01 | 0:16:02 | |
biblically speaking, isn't a fortune teller. | 0:16:02 | 0:16:05 | |
A prophet is somebody | 0:16:05 | 0:16:07 | |
who tells it how it is, who can hopefully see things | 0:16:07 | 0:16:12 | |
the way God sees things - | 0:16:12 | 0:16:13 | |
so tell you how things really are, as opposed to the way | 0:16:13 | 0:16:18 | |
that people might think they are. | 0:16:18 | 0:16:20 | |
When you have people singing rock'n'roll songs, pop songs, | 0:16:20 | 0:16:25 | |
or whatever that is, that gives you a window into where society is. | 0:16:25 | 0:16:31 | |
The musicians don't create that, they just reflect it. | 0:16:31 | 0:16:34 | |
Sometimes you do get people writing | 0:16:34 | 0:16:39 | |
really insightful, beautiful pieces that they've brought here... | 0:16:39 | 0:16:47 | |
and it does feel nearly like, erm... | 0:16:47 | 0:16:51 | |
..an act of praise or an act of worship | 0:16:53 | 0:16:55 | |
to have them performed in this space. | 0:16:55 | 0:16:58 | |
This is the next single - this is out January 15th. | 0:16:59 | 0:17:03 | |
This is called I'm No Good. | 0:17:03 | 0:17:04 | |
BASS GUITAR | 0:17:04 | 0:17:09 | |
# Meet you downstairs in the bar and heard | 0:17:14 | 0:17:18 | |
# Your rolled-up sleeves and your skull T-shirt | 0:17:18 | 0:17:22 | |
# You say, "What did you do with him today?" | 0:17:22 | 0:17:27 | |
# And sniff me out like I was Tanqueray | 0:17:27 | 0:17:32 | |
# Cos you're my fellow, my guy | 0:17:33 | 0:17:37 | |
# Hand me your Stella and fly | 0:17:38 | 0:17:41 | |
# By the time I'm out the door | 0:17:41 | 0:17:45 | |
# You tear me down like Roger Moore | 0:17:45 | 0:17:50 | |
# I cheated myself | 0:17:50 | 0:17:53 | |
# Like I knew I would | 0:17:54 | 0:17:58 | |
# I told you I was trouble | 0:17:59 | 0:18:03 | |
# Yeah, you know that I'm no good | 0:18:03 | 0:18:07 | |
# Upstairs in bed with my ex-boy | 0:18:13 | 0:18:18 | |
# He's in the place But I can't get joy | 0:18:18 | 0:18:22 | |
# Thinking of you in the final throes | 0:18:22 | 0:18:26 | |
# This is where my buzzer blows | 0:18:26 | 0:18:32 | |
# Run out to meet you | 0:18:32 | 0:18:33 | |
# Chips in pitta | 0:18:33 | 0:18:36 | |
# You say, "When we're we married" Cos you're not bitter | 0:18:36 | 0:18:41 | |
# "There'll be none of him, no more" | 0:18:41 | 0:18:46 | |
# I cry for you on the kitchen floor | 0:18:46 | 0:18:50 | |
# I cheated myself | 0:18:50 | 0:18:53 | |
# Like I knew I would | 0:18:54 | 0:18:58 | |
# I told you I was trouble | 0:18:59 | 0:19:04 | |
# Yeah, you know that I'm no good | 0:19:04 | 0:19:07 | |
# Sweet reunion, Jamaica and Spain | 0:19:09 | 0:19:13 | |
# We're like how we were again | 0:19:13 | 0:19:17 | |
# I'm in the tub, and you on the seat | 0:19:18 | 0:19:22 | |
# Lick your lips as I soak my feet | 0:19:23 | 0:19:26 | |
# Then you notice little carpet burn | 0:19:28 | 0:19:32 | |
# My stomach drops, and my guts churn | 0:19:32 | 0:19:37 | |
# You shrug, and it's the worst | 0:19:37 | 0:19:41 | |
# Who truly stuck the knife in first? | 0:19:41 | 0:19:46 | |
# I cheated myself | 0:19:46 | 0:19:48 | |
# Like I knew I would | 0:19:50 | 0:19:53 | |
# I told you I was trouble | 0:19:55 | 0:20:00 | |
# Yeah, you know that I'm no good | 0:20:00 | 0:20:02 | |
# I cheated myself | 0:20:04 | 0:20:07 | |
# Like I knew I would | 0:20:09 | 0:20:12 | |
# I told you I was trouble | 0:20:13 | 0:20:17 | |
# Yeah, you know that I'm no good. # | 0:20:17 | 0:20:22 | |
GUITAR SOLO | 0:20:22 | 0:20:25 | |
APPLAUSE AND CHEERING | 0:20:42 | 0:20:44 | |
Thank you. | 0:20:44 | 0:20:46 | |
When you're a singer, | 0:20:48 | 0:20:50 | |
and you haven't heard someone like Mahalia Jackson | 0:20:50 | 0:20:53 | |
until later in life, that must make you reassess yourself as a singer. | 0:20:53 | 0:20:57 | |
You just kind of... There are a lot of singers who, if you are singing, | 0:20:57 | 0:21:01 | |
and you don't know certain people's work intimately, you give up. | 0:21:01 | 0:21:06 | |
Like Sarah Vaughan, Minnie Riperton is another singer like that. | 0:21:06 | 0:21:10 | |
Mahalia Jackson, Dinah Washington. | 0:21:10 | 0:21:12 | |
Kim Burrell is another one. | 0:21:12 | 0:21:14 | |
To see... For live performances, you have to see Carleen Anderson | 0:21:15 | 0:21:20 | |
at least three times in your life - you have to. | 0:21:20 | 0:21:23 | |
She's someone who I would sit around the venue all day | 0:21:23 | 0:21:27 | |
just to hear her sound check, all day. | 0:21:27 | 0:21:29 | |
She did a version of Don't Look Back in Anger, | 0:21:30 | 0:21:33 | |
and I was just crying. Oh! | 0:21:33 | 0:21:35 | |
# Take me to the place where you go | 0:21:35 | 0:21:39 | |
# Where nobody knows | 0:21:40 | 0:21:45 | |
# If it's night or day | 0:21:45 | 0:21:49 | |
# And please don't put your life in the hands | 0:21:50 | 0:21:57 | |
# Of a rock'n'roll band | 0:21:57 | 0:22:01 | |
# And throw it all away | 0:22:01 | 0:22:05 | |
# So I'll start a revolution from my bed | 0:22:07 | 0:22:14 | |
# Cos you said the brains I had weren't in my head | 0:22:15 | 0:22:23 | |
# Step outside, the summertime's in bloom | 0:22:23 | 0:22:31 | |
# Stand up beside the fireplace | 0:22:31 | 0:22:35 | |
# And take that look from off your face | 0:22:35 | 0:22:39 | |
# Cos you ain't ever | 0:22:39 | 0:22:42 | |
# Gonna burn my heart out | 0:22:42 | 0:22:51 | |
# All I do is wait | 0:22:52 | 0:22:57 | |
# I know it's too late | 0:22:57 | 0:23:01 | |
# As they're walking on by. # | 0:23:01 | 0:23:06 | |
These are very inspirational people, | 0:23:06 | 0:23:08 | |
but they're also very hard to emulate, | 0:23:08 | 0:23:10 | |
because they're so extraordinary, some of these people you talk about. | 0:23:10 | 0:23:13 | |
I admire both dex... | 0:23:13 | 0:23:15 | |
What's that word? Dexterity, | 0:23:15 | 0:23:18 | |
but also the way they stand out. | 0:23:18 | 0:23:21 | |
You know, you can't... | 0:23:21 | 0:23:23 | |
They're very... | 0:23:24 | 0:23:26 | |
Singers like Ella Fitzgerald, | 0:23:26 | 0:23:28 | |
I always say she was one of the greatest singers of all time. | 0:23:28 | 0:23:31 | |
She knew how to carry a tune. To me, really, she doesn't stand out. | 0:23:31 | 0:23:34 | |
She just sounded like a lot of other people. You can hear her, and go, | 0:23:34 | 0:23:37 | |
"That's Ella Fitzgerald". But it's not like she stood out. | 0:23:37 | 0:23:39 | |
Would you prefer Sarah Vaughan to Ella Fitzgerald? | 0:23:39 | 0:23:42 | |
Easily. Sarah Vaughan is one of my favourite singers of all time. | 0:23:42 | 0:23:45 | |
Sarah Vaughan was an instrument. | 0:23:45 | 0:23:47 | |
I've heard her on record humming - she does like, a humming solo. | 0:23:47 | 0:23:51 | |
She sounds like a reed instrument, a clarinet, or something. It's mad. | 0:23:51 | 0:23:57 | |
# ..is sentimental | 0:24:02 | 0:24:07 | |
# Not made | 0:24:07 | 0:24:11 | |
# Not made of wood | 0:24:13 | 0:24:18 | |
# I got it bad | 0:24:18 | 0:24:20 | |
# I got it bad | 0:24:20 | 0:24:22 | |
# I got it bad | 0:24:22 | 0:24:27 | |
# And that ain't good | 0:24:28 | 0:24:38 | |
# But when the weekend's over | 0:24:39 | 0:24:49 | |
# And Monday rolls around | 0:24:51 | 0:25:00 | |
# I end up like I started | 0:25:00 | 0:25:08 | |
# Just crying | 0:25:10 | 0:25:14 | |
# My poor heart out | 0:25:14 | 0:25:19 | |
# Lord, lord, lord, lord above me | 0:25:19 | 0:25:26 | |
# Make him love me | 0:25:27 | 0:25:33 | |
# The way he should | 0:25:35 | 0:25:43 | |
# I got it bad | 0:25:44 | 0:25:48 | |
# And that ain't good. # | 0:25:49 | 0:25:57 | |
When you started to sing, first of all, | 0:25:57 | 0:25:59 | |
was it singers like Sarah Vaughan you were trying to copy, or be? | 0:25:59 | 0:26:03 | |
No, I think I came to Sarah Vaughan a lot later, I was about 18. | 0:26:03 | 0:26:07 | |
But I'd started listening to Ella Fitzgerald, | 0:26:07 | 0:26:11 | |
then I was, like, my brother had all the good stuff, and my brother was like, | 0:26:11 | 0:26:15 | |
"Tsk-tsk, Dinah Washington". | 0:26:15 | 0:26:16 | |
I learnt to sing from Dinah Washington a lot. | 0:26:16 | 0:26:18 | |
But I learnt to sing from stuff like Monk, and a lot of soloists. | 0:26:18 | 0:26:23 | |
That's how I learned to sing, rather than just listening to singers. | 0:26:23 | 0:26:27 | |
Because I loved jazz - it wasn't really the vocal jazz, | 0:26:27 | 0:26:30 | |
I just loved jazz, so I learnt from everything, really. | 0:26:30 | 0:26:33 | |
And when you started to perform as a jazz singer, | 0:26:33 | 0:26:36 | |
what was the set-up? | 0:26:36 | 0:26:37 | |
Were you part of a band - were you invited to sit in with people? | 0:26:37 | 0:26:41 | |
I think I did one gig as a jazz singer | 0:26:41 | 0:26:45 | |
for the National Youth Jazz Orchestra, | 0:26:45 | 0:26:47 | |
which everyone has come through, | 0:26:47 | 0:26:50 | |
comes through or goes through at some point. | 0:26:50 | 0:26:54 | |
That was my first and last gig, | 0:26:54 | 0:26:56 | |
cos after that, my manager came to that gig and said, | 0:26:56 | 0:26:58 | |
"I'll give you loads of studio time - just go in and play guitar, | 0:26:58 | 0:27:01 | |
"and write songs". I was like, "Thanks, why?" | 0:27:01 | 0:27:03 | |
And he was like, "You're going to make an album, | 0:27:03 | 0:27:05 | |
"and then I'm going to get you signed and everything". | 0:27:05 | 0:27:08 | |
And I was like, "Really?" | 0:27:08 | 0:27:11 | |
It was cool. | 0:27:11 | 0:27:13 | |
But I did a lot of... I still did, | 0:27:13 | 0:27:16 | |
up until a couple of months ago, | 0:27:16 | 0:27:18 | |
I'd do a massive opening for a casino. | 0:27:18 | 0:27:22 | |
I'd go out with just my piano player, and we'd do jazz all night. | 0:27:22 | 0:27:26 | |
Or sometimes we'd get these Russian bankers | 0:27:26 | 0:27:30 | |
that really like me cos I'm Russian Jew. | 0:27:30 | 0:27:33 | |
They always book me if they're in town and we do jazz for them. | 0:27:33 | 0:27:36 | |
We don't do my stuff. | 0:27:36 | 0:27:38 | |
So I still sing jazz, but I do it in a duo context. | 0:27:38 | 0:27:40 | |
# For you, I was a flame | 0:27:47 | 0:27:50 | |
# Love is a losing game | 0:27:51 | 0:27:57 | |
# Five-storey fire as you came | 0:27:57 | 0:28:03 | |
# Love | 0:28:03 | 0:28:05 | |
# Is a losing game | 0:28:06 | 0:28:10 | |
# One I wish I'd never played | 0:28:10 | 0:28:17 | |
# Oh | 0:28:17 | 0:28:18 | |
# What a mess we made | 0:28:18 | 0:28:22 | |
# And now, the final frame | 0:28:25 | 0:28:28 | |
# Love | 0:28:29 | 0:28:31 | |
# Is a losing game | 0:28:31 | 0:28:34 | |
# Played out by the band | 0:28:41 | 0:28:44 | |
# Love is a losing hand | 0:28:46 | 0:28:51 | |
# And it was more than I could stand | 0:28:53 | 0:28:57 | |
# Love is a losing hand | 0:28:59 | 0:29:05 | |
# Self-professed, profound | 0:29:06 | 0:29:11 | |
# Till the chips were down | 0:29:13 | 0:29:18 | |
# Though you're a gambling man | 0:29:20 | 0:29:23 | |
# Love is a losing hand | 0:29:25 | 0:29:30 | |
# Though I battle blind | 0:29:37 | 0:29:41 | |
# Love is a fate resigned | 0:29:43 | 0:29:49 | |
# And my memories | 0:29:49 | 0:29:52 | |
# They mark my mind | 0:29:52 | 0:29:55 | |
# Love is a fate resigned | 0:29:56 | 0:30:00 | |
# Oh-ho-oh-oh | 0:30:00 | 0:30:03 | |
# Over futile odds | 0:30:03 | 0:30:08 | |
# And laughed at by the gods | 0:30:09 | 0:30:13 | |
# Now the final frame | 0:30:17 | 0:30:20 | |
# Love | 0:30:22 | 0:30:23 | |
# Is a losing game. # | 0:30:23 | 0:30:27 | |
Thank you. APPLAUSE AND CHEERING | 0:30:27 | 0:30:31 | |
The whole jazz thing has gone a bit strange, | 0:30:33 | 0:30:35 | |
because anybody who sings any kind of acoustic folk, even, | 0:30:35 | 0:30:38 | |
is called a "jazz singer". | 0:30:38 | 0:30:39 | |
Yet you grew up singing the real stuff. | 0:30:39 | 0:30:42 | |
-You were into Monk, and all of that. -Yeah. | 0:30:42 | 0:30:44 | |
Is there a good jazz scene in England at the moment in London? | 0:30:44 | 0:30:47 | |
Yes, there is - not in London, necessarily, | 0:30:47 | 0:30:50 | |
but we have Dune Records. | 0:30:50 | 0:30:53 | |
My guitarist actually plays for them, | 0:30:53 | 0:30:55 | |
it's not really their house band, but they have a band. | 0:30:55 | 0:30:58 | |
There's a band signed to Dune Records called Jazz Jamaica - | 0:30:58 | 0:31:02 | |
they're amazing. | 0:31:02 | 0:31:04 | |
Saw them at Brecon. | 0:31:04 | 0:31:07 | |
It was a massive auditorium, and they were on quite early in the day, | 0:31:07 | 0:31:10 | |
cos not a lot of people know who they are. | 0:31:10 | 0:31:12 | |
We sat at the back of the auditorium, expecting it to fill up, | 0:31:12 | 0:31:15 | |
and there was probably about 30 people in there. | 0:31:15 | 0:31:18 | |
When I say "massive", I mean the size of 1,000-capacity, | 0:31:18 | 0:31:23 | |
and we were practically alone, it was amazing. | 0:31:23 | 0:31:26 | |
They were so cool. | 0:31:26 | 0:31:27 | |
Their stuff is literally like ska jazz, and they're wicked. | 0:31:27 | 0:31:31 | |
Then there's members of that... | 0:31:31 | 0:31:34 | |
Denys Baptiste is in there, and there's Abraham Wilson, | 0:31:34 | 0:31:39 | |
who's a great trumpet player - he's doing his own thing. | 0:31:39 | 0:31:42 | |
But I think my favourite jazz artist in England | 0:31:42 | 0:31:47 | |
is definitely Soweto Kinch. | 0:31:47 | 0:31:49 | |
-He's great. -I love Soweto. I melt every time I see him. | 0:31:49 | 0:31:52 | |
I'm like, "Hi, have you still got a girlfriend?" | 0:31:52 | 0:31:56 | |
And he's like, "I'll chuck her for you". | 0:31:56 | 0:31:58 | |
The mission to excel is a solitary one. | 0:32:03 | 0:32:06 | |
Hours of dedicated practice every day, | 0:32:06 | 0:32:09 | |
for little or no financial reward. | 0:32:09 | 0:32:11 | |
Milkmen and paperboys have long finished their rounds, | 0:32:23 | 0:32:26 | |
schoolchildren are on their way, | 0:32:26 | 0:32:29 | |
and the ordinary bustle goes on around. | 0:32:29 | 0:32:32 | |
The jazz musician's quest goes on regardless | 0:32:32 | 0:32:35 | |
in this unlikely setting. | 0:32:35 | 0:32:38 | |
High above the drudgery of routine, | 0:32:38 | 0:32:40 | |
trying to climb the stratosphere, | 0:32:40 | 0:32:42 | |
and be heard. | 0:32:42 | 0:32:44 | |
Were you also listening - I presume you were, when you were at school, | 0:33:06 | 0:33:09 | |
all girls together - listening to Top of the Pops | 0:33:09 | 0:33:12 | |
and regular pop music, as well? | 0:33:12 | 0:33:14 | |
Yeah. When I was very young, only when I was very young. | 0:33:14 | 0:33:19 | |
I watched Top of the Pops because you do watch Top of the Pops, | 0:33:19 | 0:33:22 | |
until you're old enough to go out on a Friday night - | 0:33:22 | 0:33:24 | |
is it Friday night? | 0:33:24 | 0:33:26 | |
It was Thursday, I don't know when it is now. | 0:33:26 | 0:33:28 | |
-I don't even think there is Top of the Pops any more. -No, there isn't! | 0:33:28 | 0:33:32 | |
But, um... | 0:33:32 | 0:33:34 | |
But I loved Kylie when I was about six. | 0:33:34 | 0:33:37 | |
Then, when I was... Yeah, I loved Kylie when I was about six, | 0:33:37 | 0:33:40 | |
then Madonna. I graduated to the church of Madonna. | 0:33:40 | 0:33:45 | |
I converted to the church of Madonna. I loved Madonna so much. | 0:33:45 | 0:33:48 | |
And, um... | 0:33:48 | 0:33:50 | |
And when I was ten, I got wind of Salt'n'Pepa, and my life changed. | 0:33:51 | 0:33:56 | |
-What A Man. -Completely, my life changed - | 0:33:56 | 0:33:59 | |
and from then on it was like R&B only from about ten. | 0:33:59 | 0:34:04 | |
Then, when I was about 14, jazz. | 0:34:04 | 0:34:07 | |
MUSIC: "Rhythm-a-ning" by Thelonious Monk | 0:34:07 | 0:34:11 | |
She was heavily influenced with Thelonious Monk | 0:34:20 | 0:34:24 | |
and I'd spend time in the evenings with her, listening to Monk, | 0:34:24 | 0:34:29 | |
and her following everything note for note. | 0:34:29 | 0:34:31 | |
It was amazing, really, because it's such heavy music, anyway. | 0:34:31 | 0:34:34 | |
Yeah, she was very much into instrumentation | 0:34:44 | 0:34:47 | |
as well as the voice, really, | 0:34:47 | 0:34:50 | |
and it came out when she'd sing. | 0:34:50 | 0:34:53 | |
She had that ability to improvise phrases, | 0:34:53 | 0:34:56 | |
and her rhythm was phenomenal, | 0:34:56 | 0:34:58 | |
so she could just literally manipulate it | 0:34:58 | 0:35:01 | |
in the way she wanted to, | 0:35:01 | 0:35:02 | |
and every night when we'd go on stage, | 0:35:02 | 0:35:06 | |
she could sing the same song, but different every night | 0:35:06 | 0:35:08 | |
and she'd give her all. | 0:35:08 | 0:35:10 | |
Did you have help in finding this stuff? | 0:35:16 | 0:35:18 | |
Did your parents have these records, or did you have to look for them? | 0:35:18 | 0:35:22 | |
No, my brother had everything - all the R&B | 0:35:22 | 0:35:26 | |
and all that stuff that I came to, it was called "swing" at the time. | 0:35:26 | 0:35:29 | |
Stuff like that, I would buy. | 0:35:29 | 0:35:31 | |
At the time my brother was listening to a lot of, | 0:35:31 | 0:35:34 | |
like, Sonic Youth, and Pearl Jam and Therapy?, | 0:35:34 | 0:35:39 | |
"I-want-to-die" bands, | 0:35:39 | 0:35:40 | |
and I had a very brief flirtation with that, | 0:35:40 | 0:35:42 | |
but I must have been literally, like I said, nine, | 0:35:42 | 0:35:45 | |
and then I discovered Salt'n'Pepa and I was like, | 0:35:45 | 0:35:48 | |
"I've got my music now". | 0:35:48 | 0:35:49 | |
He started listening to jazz when he was about 18, | 0:35:49 | 0:35:52 | |
and I was 14, and I just remember the first time I ever heard | 0:35:52 | 0:35:55 | |
Round Midnight, through the wall. | 0:35:55 | 0:35:58 | |
I was just like... | 0:35:58 | 0:36:00 | |
-Was it Monk or Miles playing it? -Monk. | 0:36:00 | 0:36:02 | |
I was just like, "What is that?!" | 0:36:02 | 0:36:04 | |
I'll never forget that. | 0:36:06 | 0:36:08 | |
Yeah, I still remember hearing it. | 0:36:08 | 0:36:10 | |
Ella sings it, too - a great version of it. | 0:36:10 | 0:36:13 | |
Oh, really? Oh, yeah - of course. | 0:36:13 | 0:36:16 | |
I remember the first time I heard Ray Charles, ever. | 0:36:16 | 0:36:19 | |
It was Unchain My Heart. | 0:36:19 | 0:36:22 | |
And, um... Yeah, it was Unchain My Heart. | 0:36:22 | 0:36:25 | |
I remember walking into my brother's room, | 0:36:25 | 0:36:27 | |
and I opened the door... I always used to knock - | 0:36:27 | 0:36:31 | |
I opened the door and I was just like that... | 0:36:31 | 0:36:34 | |
and he goes "What?" | 0:36:34 | 0:36:36 | |
He looked at me like I was about to go, "Mum's dead", | 0:36:36 | 0:36:39 | |
or something like that. Touch wood. | 0:36:39 | 0:36:41 | |
He goes, "What's wrong?" I went, "Who is this?" | 0:36:41 | 0:36:45 | |
And he went, "It's Ray Charles." I was like, "(Ray Charles)". | 0:36:45 | 0:36:48 | |
From then on, I think I just listened to Ray Charles | 0:36:48 | 0:36:51 | |
for three months, exclusively. I was just like, "(Oh, my God)" | 0:36:51 | 0:36:55 | |
-# Unchain my heart -Unchain my heart | 0:36:56 | 0:36:59 | |
-# Baby, let me go -Unchain my heart | 0:36:59 | 0:37:02 | |
-# Unchain my heart -Unchain my heart | 0:37:02 | 0:37:05 | |
-# Cos you don't love me no more -Unchain my heart | 0:37:05 | 0:37:09 | |
# Every time I call you on the phone | 0:37:10 | 0:37:13 | |
# Some fella tells me that you're not at home | 0:37:13 | 0:37:15 | |
# So unchain my heart Oh, please, set me free. # | 0:37:15 | 0:37:20 | |
99% of all the songs, I start with the lyrics. | 0:37:20 | 0:37:23 | |
The lyrics must tell me a nice story - I must get some feeling. | 0:37:23 | 0:37:27 | |
It must be some kind of way | 0:37:27 | 0:37:30 | |
I can identify with that song, | 0:37:30 | 0:37:34 | |
and then it's like being a good actor or actress - | 0:37:34 | 0:37:38 | |
how you do a part on the stage where people become so involved with you, | 0:37:38 | 0:37:42 | |
they forget that you're just playing a part that somebody written, | 0:37:42 | 0:37:46 | |
and they getting mad at you, | 0:37:46 | 0:37:49 | |
or if you're funny, they laugh. | 0:37:49 | 0:37:51 | |
It's that kind of a thing. | 0:37:51 | 0:37:53 | |
If it's sad, they'll cry - because you do what you're doing | 0:37:53 | 0:37:57 | |
so well that you get the people involved | 0:37:57 | 0:38:00 | |
in the feeling of what you're doing. | 0:38:00 | 0:38:02 | |
And it's the same thing with singing a song, | 0:38:02 | 0:38:05 | |
and that's what I try to do. | 0:38:05 | 0:38:06 | |
I find songs that I feel I put myself into, and make you believe | 0:38:06 | 0:38:11 | |
in what I am singing about must have happened to me, | 0:38:11 | 0:38:14 | |
and you too, maybe. | 0:38:14 | 0:38:17 | |
She talked about music in a really beautiful way - | 0:38:17 | 0:38:21 | |
in a way that a real singer does. | 0:38:21 | 0:38:25 | |
And there's something about singers. | 0:38:25 | 0:38:27 | |
Um... | 0:38:27 | 0:38:29 | |
They're sort of... | 0:38:29 | 0:38:31 | |
They're odd - they carry songs with them. | 0:38:31 | 0:38:35 | |
How many songs is any singer singing at one time? | 0:38:35 | 0:38:38 | |
How many songs are in a singer's head, for example? | 0:38:38 | 0:38:43 | |
If you talk to a great jazz singer they'll say, | 0:38:43 | 0:38:45 | |
"I know 500 songs, but I'm singing 30 of them at the minute". | 0:38:45 | 0:38:49 | |
With Amy, even one so young, | 0:38:50 | 0:38:53 | |
who was only 22, on the edge of what became a truly brilliant career... | 0:38:53 | 0:39:00 | |
..that ended in tragedy. | 0:39:01 | 0:39:04 | |
When she was here, I felt she was really happy in some way. | 0:39:04 | 0:39:10 | |
That she... | 0:39:10 | 0:39:11 | |
Certainly, the way that she sang that night, she sang the blues away, | 0:39:11 | 0:39:16 | |
if you know what I mean. | 0:39:16 | 0:39:18 | |
She used her gift | 0:39:18 | 0:39:21 | |
to still her trembling soul. | 0:39:21 | 0:39:24 | |
She used her gift as a way to explain herself to herself, | 0:39:24 | 0:39:29 | |
to entertain people, sure. | 0:39:29 | 0:39:31 | |
But to sing the blues, and to give herself some relief. | 0:39:31 | 0:39:34 | |
INTRO: "Back To Black" | 0:39:34 | 0:39:39 | |
# He left no time to regret | 0:39:50 | 0:39:55 | |
# Kept his dick wet | 0:39:57 | 0:39:59 | |
# With his same old safe bet | 0:40:00 | 0:40:04 | |
# Me | 0:40:05 | 0:40:09 | |
# And my head high | 0:40:09 | 0:40:11 | |
# And my tears dry | 0:40:12 | 0:40:14 | |
# Get on without my guy | 0:40:16 | 0:40:20 | |
# You went back to what you know | 0:40:21 | 0:40:27 | |
# So far removed | 0:40:28 | 0:40:31 | |
# From all that we went through | 0:40:31 | 0:40:35 | |
# And I tread a troubled track | 0:40:36 | 0:40:44 | |
# My odds are stacked | 0:40:44 | 0:40:46 | |
# I'll go back to black | 0:40:47 | 0:40:52 | |
# We only said goodbye with words | 0:40:53 | 0:40:57 | |
# I died a hundred times | 0:40:57 | 0:41:00 | |
# You go back to her | 0:41:01 | 0:41:03 | |
# And I go back to... | 0:41:05 | 0:41:08 | |
# I go back to us | 0:41:08 | 0:41:13 | |
# I love you much | 0:41:15 | 0:41:17 | |
# It's not enough | 0:41:19 | 0:41:21 | |
# You love blow and I love puff | 0:41:21 | 0:41:26 | |
# And life, life is like a pipe | 0:41:27 | 0:41:33 | |
# And I'm a tiny penny | 0:41:34 | 0:41:37 | |
# Rolling up the walls inside | 0:41:37 | 0:41:42 | |
# We only said goodbye with words | 0:41:44 | 0:41:48 | |
# I died a hundred times | 0:41:48 | 0:41:51 | |
# You go back to her | 0:41:52 | 0:41:55 | |
# And I go back to... | 0:41:55 | 0:41:59 | |
# We only said goodbye with words | 0:41:59 | 0:42:03 | |
# I died a hundred times | 0:42:03 | 0:42:07 | |
# You go back to her | 0:42:07 | 0:42:10 | |
# And I go back to... | 0:42:10 | 0:42:15 | |
# I go back to... | 0:42:15 | 0:42:20 | |
# Black | 0:42:20 | 0:42:24 | |
# Black | 0:42:25 | 0:42:27 | |
# Black | 0:42:30 | 0:42:33 | |
# Black | 0:42:35 | 0:42:37 | |
# Black | 0:42:39 | 0:42:42 | |
# Black | 0:42:44 | 0:42:47 | |
# Black | 0:42:49 | 0:42:52 | |
# I go back to... | 0:42:55 | 0:42:59 | |
# I go back to... | 0:42:59 | 0:43:03 | |
# We only said goodbye with words | 0:43:04 | 0:43:08 | |
# I died a hundred times | 0:43:08 | 0:43:12 | |
# You go back to her | 0:43:12 | 0:43:15 | |
# And I... | 0:43:15 | 0:43:17 | |
# I | 0:43:17 | 0:43:19 | |
# We only said goodbye with words | 0:43:19 | 0:43:23 | |
# I died a hundred times | 0:43:23 | 0:43:27 | |
# You go back to her | 0:43:27 | 0:43:31 | |
# And I go back | 0:43:31 | 0:43:35 | |
# To black. # | 0:43:35 | 0:43:38 | |
APPLAUSE | 0:43:40 | 0:43:42 | |
Thank you. | 0:43:42 | 0:43:43 | |
The reference points on the new album, however, | 0:43:49 | 0:43:52 | |
in terms of soul music, | 0:43:52 | 0:43:54 | |
very often they're on the pop/soul end of things, | 0:43:54 | 0:43:57 | |
the girl groups, the Shangri-Las and those sorts of people. | 0:43:57 | 0:44:01 | |
What appeals to you in those groups, because they are so...some of them, | 0:44:01 | 0:44:05 | |
over the top, you know, melodrama by the bucket load? | 0:44:05 | 0:44:08 | |
Yeah, I love the drama, I love the atmosphere, I love the sound effects. | 0:44:08 | 0:44:13 | |
People will know Leader Of The Pack and things like that, | 0:44:13 | 0:44:16 | |
but there's so many of them, Sophisticated Boom Boom... | 0:44:16 | 0:44:19 | |
Yeah, and they write the most depressing songs ever | 0:44:19 | 0:44:23 | |
like I Can Never Go Home Any More. | 0:44:23 | 0:44:25 | |
When me and my boyfriend finished, | 0:44:25 | 0:44:27 | |
I used to listen to that song on repeat. | 0:44:27 | 0:44:29 | |
I listened to that song for two weeks just sitting on my kitchen floor, | 0:44:29 | 0:44:32 | |
with a bottle of Jack Daniels, | 0:44:32 | 0:44:34 | |
drinking the Jack Daniels and pass out, wake up and just do it again. | 0:44:34 | 0:44:38 | |
My flatmate used to come in, leave me bags of KFC and just leave. | 0:44:38 | 0:44:41 | |
She'd come in and see me, | 0:44:41 | 0:44:43 | |
and be like, "There's your dinner, I'm going out." | 0:44:43 | 0:44:46 | |
Listening to I Can Never Go Home Anymore... | 0:44:46 | 0:44:48 | |
Yeah. On repeat, like that. | 0:44:48 | 0:44:50 | |
# I'm gonna hide if she don't leave me alone | 0:44:50 | 0:44:54 | |
That's the saddest song in the world, | 0:45:36 | 0:45:38 | |
that is the most depressing song. It's like, "Mum, I'm in love." | 0:45:38 | 0:45:41 | |
She's like, "You're too young, you can't be." | 0:45:41 | 0:45:43 | |
"Well, Mum, I'm leaving." First of all she's like, | 0:45:43 | 0:45:45 | |
"I've got nothing in my life, I just go to school." And then, a miracle. | 0:45:45 | 0:45:48 | |
-The angels came. -A boy. Her mum dies of grief because she never goes home. | 0:45:48 | 0:45:51 | |
And when she leaves home, she's like, "I don't love him anyway." | 0:45:51 | 0:45:54 | |
It's like, so depressing. | 0:45:54 | 0:45:56 | |
What's that line? "The angels came and took her for a friend." | 0:45:56 | 0:45:58 | |
Yeah, "She grew so lonely in the end, | 0:45:58 | 0:46:00 | |
"that the angels took her for their friend | 0:46:00 | 0:46:02 | |
"and I can never go home anymore and that's sad." | 0:46:02 | 0:46:05 | |
# Never | 0:46:05 | 0:46:09 | |
# Go home anymore... # | 0:46:09 | 0:46:13 | |
There is this sense in our culture of the suffering artist | 0:46:14 | 0:46:19 | |
or that art come out of a sense of things not being right. | 0:46:19 | 0:46:26 | |
And it's that struggle, the struggle of suffering, | 0:46:26 | 0:46:31 | |
or people being really extreme | 0:46:31 | 0:46:34 | |
and being on the edge | 0:46:34 | 0:46:38 | |
and that is where great art comes from, | 0:46:38 | 0:46:42 | |
and with Amy there is this sense that, yes, | 0:46:42 | 0:46:46 | |
there was this wonderful art, this wonderful music that came out | 0:46:46 | 0:46:50 | |
and to a certain extent came out from her living a life on the edge | 0:46:50 | 0:46:56 | |
but I think there is sort of, like a category mistake. | 0:46:56 | 0:47:02 | |
It's not, it doesn't have to stay on the edge, you know, | 0:47:02 | 0:47:08 | |
it's maybe the great art comes out of the resolution between | 0:47:08 | 0:47:14 | |
being on the edge and then coming to a comfortable, safe place. | 0:47:14 | 0:47:21 | |
Sort of a more whole place for a person. | 0:47:21 | 0:47:26 | |
I find that any time I listen to any of Amy's music, | 0:47:26 | 0:47:30 | |
it is tinged with that touch of sadness - | 0:47:30 | 0:47:33 | |
that she never got the resolution, it seems so very tragic. | 0:47:33 | 0:47:39 | |
This is my first single. Before I go on, | 0:47:39 | 0:47:41 | |
I'd like to introduce my band to you. | 0:47:41 | 0:47:43 | |
We've got Robin Banerjee on the guitar. | 0:47:43 | 0:47:47 | |
And Dale Davis on the bass. | 0:47:47 | 0:47:50 | |
APPLAUSE AND CHEERING | 0:47:50 | 0:47:51 | |
He's got his on fan club, you know. | 0:47:54 | 0:47:56 | |
All right, this is called Rehab. | 0:47:56 | 0:47:58 | |
You boys going to count me in? | 0:48:02 | 0:48:05 | |
One, two, one, two, three. | 0:48:05 | 0:48:07 | |
# They tried to make me go to rehab | 0:48:08 | 0:48:11 | |
# I said no, no, no | 0:48:11 | 0:48:14 | |
# Yes, I've been black But when I come back | 0:48:15 | 0:48:18 | |
# You'll know, know, know | 0:48:18 | 0:48:22 | |
# I ain't got the time | 0:48:22 | 0:48:25 | |
# And if my daddy thinks I'm fine | 0:48:25 | 0:48:28 | |
# Just try to make me go to rehab | 0:48:28 | 0:48:31 | |
# I won't go, go, go | 0:48:31 | 0:48:34 | |
# I'd rather be | 0:48:36 | 0:48:38 | |
# At home with Ray | 0:48:38 | 0:48:41 | |
# I ain't got 70 days | 0:48:44 | 0:48:48 | |
# Cos there's nothing | 0:48:49 | 0:48:51 | |
# There's nothing you can teach me | 0:48:51 | 0:48:54 | |
# That I can't learn | 0:48:56 | 0:48:59 | |
# From Mr Hathaway | 0:48:59 | 0:49:03 | |
# I didn't get a lot in class | 0:49:04 | 0:49:09 | |
# But I know it don't come | 0:49:10 | 0:49:14 | |
# In a shot glass | 0:49:14 | 0:49:17 | |
# They tried to make me go to rehab | 0:49:17 | 0:49:20 | |
# I said no, no, no | 0:49:20 | 0:49:23 | |
# Yes, I been black | 0:49:24 | 0:49:26 | |
# But when I come back you'll know, know, know | 0:49:26 | 0:49:30 | |
# I ain't got the time | 0:49:32 | 0:49:35 | |
# And if my daddy thinks I'm fine | 0:49:35 | 0:49:39 | |
# Just try to make me go to rehab | 0:49:39 | 0:49:41 | |
# I won't go, go, go | 0:49:41 | 0:49:44 | |
# The man said "Why you think you here?" | 0:49:46 | 0:49:51 | |
# I said, "I got no idea" | 0:49:53 | 0:49:58 | |
# I said, "I'm gonna, I'm gonna lose my baby | 0:49:59 | 0:50:06 | |
# "So I always keep a bottle near here" | 0:50:06 | 0:50:13 | |
# He said | 0:50:13 | 0:50:15 | |
# "I just think you're depressed" | 0:50:15 | 0:50:19 | |
# Just me | 0:50:19 | 0:50:22 | |
# Yeah, baby | 0:50:22 | 0:50:24 | |
# And the rest | 0:50:24 | 0:50:27 | |
# They tried to make me go to rehab | 0:50:27 | 0:50:29 | |
# I said no, no, no | 0:50:29 | 0:50:33 | |
# Yes, I've been black | 0:50:34 | 0:50:36 | |
# But when I come back | 0:50:36 | 0:50:38 | |
# You'll know, know, know | 0:50:38 | 0:50:40 | |
# I don't never want to drink again | 0:50:42 | 0:50:46 | |
# I just | 0:50:48 | 0:50:51 | |
# I just need a friend | 0:50:51 | 0:50:55 | |
# I'm not going to spend ten weeks | 0:50:57 | 0:51:00 | |
# Have everyone think | 0:51:02 | 0:51:05 | |
# I'm on the mend | 0:51:05 | 0:51:09 | |
# It's not just my pride | 0:51:11 | 0:51:14 | |
# It's just till | 0:51:16 | 0:51:19 | |
# These tears have dried | 0:51:19 | 0:51:23 | |
# They tried to make me go to rehab | 0:51:23 | 0:51:26 | |
# I said no, no, no | 0:51:26 | 0:51:29 | |
# Yes, I've been black but when I come back | 0:51:31 | 0:51:34 | |
# You'll know, know, know | 0:51:34 | 0:51:37 | |
# I ain't got the time | 0:51:38 | 0:51:41 | |
# And if my daddy thinks I'm fine | 0:51:41 | 0:51:45 | |
# Just try to make me go to rehab | 0:51:45 | 0:51:48 | |
# I won't go, go, go. # | 0:51:48 | 0:51:51 | |
APPLAUSE | 0:51:51 | 0:51:53 | |
Thank you very much. | 0:51:56 | 0:51:58 | |
In any sense was this album, in any way at all, | 0:51:58 | 0:52:01 | |
moving you away from the jazz tag, | 0:52:01 | 0:52:03 | |
-did you want to get away from that at all? -No. Not at all. | 0:52:03 | 0:52:06 | |
I'm a jazz singer. I can do jazz, | 0:52:06 | 0:52:09 | |
I can do hip-hop and I was just not listening to that any more. | 0:52:09 | 0:52:14 | |
And what I listen to influences what I write. Very much so. | 0:52:14 | 0:52:20 | |
I'm going to do my third album now, | 0:52:20 | 0:52:23 | |
just get it out...not get it out the way, not like, knock it out. | 0:52:23 | 0:52:26 | |
I'm just gonna... | 0:52:26 | 0:52:28 | |
I'm just... I'm just taking every opportunity. | 0:52:30 | 0:52:33 | |
Like, I've got two week off over Christmas, I'm going to work. | 0:52:33 | 0:52:36 | |
I'm not going to sit around and eat chocolates and drink brandy, | 0:52:36 | 0:52:43 | |
I'm not going to do stuff like that. | 0:52:43 | 0:52:45 | |
I'm going to have Christmas Eve with my boyfriend, | 0:52:45 | 0:52:48 | |
I'm going to break him into Christmas. | 0:52:48 | 0:52:50 | |
We're going to watch Bad Santa, Elf and It's A Wonderful Life, | 0:52:50 | 0:52:52 | |
I'm going to cook dinner, and if he doesn't cry, I'm going to leave him. | 0:52:52 | 0:52:55 | |
-If that doesn't work, get rid of him. -I'm going to leave him! | 0:52:55 | 0:52:58 | |
Bad Santa, Elf, It's A Wonderful Life | 0:52:58 | 0:53:01 | |
and then me packing my bags. Literally. | 0:53:01 | 0:53:05 | |
And then Christmas Day at my mum's, at my auntie's, | 0:53:05 | 0:53:10 | |
Boxing Day at his mum's and then back to work. | 0:53:10 | 0:53:14 | |
It was literally a few week after the album took off in America | 0:53:18 | 0:53:23 | |
and she'd won loads of awards and then that was it, you know. | 0:53:23 | 0:53:27 | |
We just went off and promoted the record | 0:53:27 | 0:53:29 | |
and I think the demand for her was so great then | 0:53:29 | 0:53:32 | |
that she probably didn't have a chance | 0:53:32 | 0:53:34 | |
to sit down and write that next album, really. | 0:53:34 | 0:53:37 | |
She burnt so brightly, you know. | 0:53:39 | 0:53:41 | |
I have no idea what to do now. | 0:53:41 | 0:53:43 | |
What? | 0:53:43 | 0:53:44 | |
-'Do you miss her? -Absolutely, I think about her. | 0:53:44 | 0:53:47 | |
'When she was alive I used to think about her all the time, every day, | 0:53:47 | 0:53:50 | |
'and now she's gone, you know, I always think about her. | 0:53:50 | 0:53:54 | |
'It's a big loss. | 0:53:54 | 0:53:56 | |
'It's life but it's a big loss, you know, really.' | 0:53:56 | 0:53:59 | |
Yeah, OK. This is called Me And Mr Jones. | 0:53:59 | 0:54:04 | |
I don't need the pre-chord! Thank you. | 0:54:06 | 0:54:10 | |
# Nobody stands in between me and my man | 0:54:14 | 0:54:19 | |
# It's me and Mr Jones | 0:54:19 | 0:54:22 | |
# What kind of fuckery is this? | 0:54:25 | 0:54:28 | |
# You made me miss the Slick Rick gig | 0:54:30 | 0:54:34 | |
# You thought I didn't love you when I did | 0:54:37 | 0:54:41 | |
# Can't believe you played me out like that | 0:54:42 | 0:54:49 | |
# No, you ain't worth guest list | 0:54:51 | 0:54:55 | |
# Plus one of all them girls you kissed | 0:54:56 | 0:55:01 | |
# You can't keep lying to yourself like this | 0:55:03 | 0:55:08 | |
# Can't believe you played yourself | 0:55:10 | 0:55:14 | |
# Like this | 0:55:14 | 0:55:18 | |
# Slick Rick's one thing | 0:55:19 | 0:55:22 | |
# But come Brixton | 0:55:22 | 0:55:26 | |
# Nobody stands in between me and my man | 0:55:26 | 0:55:32 | |
# Cos it's me and Mr Jones | 0:55:32 | 0:55:37 | |
# Me and Mr Jones | 0:55:39 | 0:55:45 | |
# What kind of fuckery are we? | 0:55:45 | 0:55:48 | |
# Nowadays you don't mean dick to me | 0:55:50 | 0:55:55 | |
# But I might let you make it up to me | 0:55:56 | 0:56:00 | |
# Yeah, yeah, baby | 0:56:02 | 0:56:05 | |
# Who's playing Saturday? | 0:56:05 | 0:56:10 | |
# What kind of fuckery are you? | 0:56:13 | 0:56:15 | |
# 'Side from Sammy You're my best black Jew | 0:56:17 | 0:56:22 | |
# I thought I could swear that we were through | 0:56:24 | 0:56:28 | |
# I still wonder 'bout the things you do | 0:56:31 | 0:56:41 | |
# Mr Destiny, nine and 14 | 0:56:41 | 0:56:48 | |
# Nobody stands in between me and my man | 0:56:48 | 0:56:53 | |
# Cos it's me and Mr Jones | 0:56:53 | 0:57:00 | |
# Yeah | 0:57:00 | 0:57:03 | |
# Yeah | 0:57:03 | 0:57:08 | |
# Yeah... # | 0:57:08 | 0:57:12 | |
APPLAUSE Thank you. | 0:57:14 | 0:57:18 | |
Thank you very much. | 0:57:18 | 0:57:20 | |
When Amy Winehouse sang, she let us in, | 0:57:20 | 0:57:25 | |
if we have the ears to hear | 0:57:25 | 0:57:28 | |
and the eyes to see into the heart | 0:57:28 | 0:57:32 | |
of what she really was as a person and as an artist. | 0:57:32 | 0:57:37 | |
She touched all of us that year | 0:57:37 | 0:57:40 | |
because she was so "un" | 0:57:40 | 0:57:43 | |
what she had been represented as in the tabloids. | 0:57:43 | 0:57:48 | |
And we didn't care about any of that, | 0:57:48 | 0:57:51 | |
we weren't interested in any of that and still aren't. | 0:57:51 | 0:57:54 | |
It was just brilliant that she came with her spindly little legs | 0:57:54 | 0:57:58 | |
and her mental hair and sang her heart out in Kerry for us. | 0:57:58 | 0:58:04 | |
Brilliant, absolutely brilliant. | 0:58:04 | 0:58:07 | |
Thanks for talking to us. | 0:58:19 | 0:58:21 | |
Thanks for making this trip, I know it was a long journey. | 0:58:21 | 0:58:23 | |
Actually, having heard what some of you had to do to get here, | 0:58:23 | 0:58:27 | |
mine was a walk in the park, to be honest. | 0:58:27 | 0:58:30 | |
All we did was have a two-hour drive from another airport, | 0:58:30 | 0:58:33 | |
at least we got a flight. | 0:58:33 | 0:58:36 | |
You got here and you did the business in there tonight. | 0:58:36 | 0:58:38 | |
-Thanks, Amy, thanks. -Thank you. -Cheers. | 0:58:38 | 0:58:42 | |
-Sorry I went off on one of my chats. -I went off on one, too. | 0:58:42 | 0:58:46 | |
I don't get to talk to people very often. | 0:58:46 | 0:58:49 | |
-Oh, my God! -Wow! | 0:58:49 | 0:58:52 | |
Thank you so much. | 0:58:52 | 0:58:54 | |
Subtitles by Red Bee Media Ltd | 0:58:56 | 0:58:59 |