0:00:49 > 0:00:52My name is Fela Anikulapo Kuti.
0:01:00 > 0:01:04"Fela" means "he who emanates greatness".
0:01:08 > 0:01:09"Kuti" means...
0:01:13 > 0:01:15.."one who never dies".
0:01:15 > 0:01:20# Teacher, teacher-o na the lecturer be your name
0:01:20 > 0:01:25# Teacher, teacher-o na the lecture be the same
0:01:25 > 0:01:28# Make-ee no teach-ee me again, oh
0:01:28 > 0:01:33# As soon teaching finish yes, da thing-ee it gon die it dey-o... #
0:01:33 > 0:01:36The title of this song, Teacher Don't Teach Me Nonsense...
0:01:36 > 0:01:44I wrote this song to let the people see that the white men have
0:01:44 > 0:01:46taught us everything we know.
0:01:48 > 0:01:50But I made people see, also,
0:01:50 > 0:01:54that one important thing they taught us was politics.
0:01:54 > 0:01:57I started to think of this word "democracy".
0:01:57 > 0:01:58Democracy.
0:02:00 > 0:02:02"Crazy-demo".
0:02:02 > 0:02:05Demonstration of craze.
0:02:05 > 0:02:07Crazy demonstration.
0:02:07 > 0:02:09- # Demo-crazy - Demo-crazy
0:02:09 > 0:02:12- # Crazy demo - Demo-crazy
0:02:12 > 0:02:14- # Demonstration of craze - Demo-crazy
0:02:14 > 0:02:17- # Crazy demonstration - Demo-crazy
0:02:17 > 0:02:19- # If it no be craze - Demo-crazy
0:02:19 > 0:02:21- # Why for Afrika? - Demo-crazy
0:02:21 > 0:02:24- # As time dey go - Demo-crazy
0:02:24 > 0:02:26- # Things just dey bad - Demo-crazy
0:02:26 > 0:02:29- # They bad more and more - Demo-crazy
0:02:29 > 0:02:31- # Poor man dey cry - Demo-crazy
0:02:31 > 0:02:34- # Rich man dey mess - Demo-crazy
0:02:34 > 0:02:36- # Demo-crazy - Demo-crazy
0:02:36 > 0:02:38- # Crazy Demo - Demo-crazy
0:02:38 > 0:02:40- # Demonstration of craze - Demo-crazy
0:02:40 > 0:02:44- # Crazy demonstration - Demo-crazy.- #
0:02:45 > 0:02:48CROWD APPLAUDS AND CHEERS
0:02:51 > 0:02:54MUSIC: "Santa Maria (Del Buen Ayre) by Gotan Project
0:03:32 > 0:03:36THEY SING IN OWN LANGUAGE
0:04:13 > 0:04:18MUSIC: "Keko" by Kimmo Pohjonen
0:04:39 > 0:04:44HE VOCALISES
0:05:00 > 0:05:03CROWD APPLAUDS AND CHEERS
0:05:11 > 0:05:14I grew up in Benin, in Cotonou, in the city,
0:05:14 > 0:05:16so I would be hearing rhythm and music
0:05:16 > 0:05:17from other parts of Africa.
0:05:17 > 0:05:21Even if I don't understand the language, I was in there.
0:05:21 > 0:05:25It was just a melting pot of different type of sounds.
0:05:25 > 0:05:29You have the highlife that comes from Ghana.
0:05:29 > 0:05:32You have Fela Kuti from Nigeria.
0:05:32 > 0:05:35And Benin is right in the middle of those two places.
0:05:37 > 0:05:40And they all come clashing on you.
0:05:41 > 0:05:45Washing out everything. And you are like, "Oh, I'm liking this."
0:05:45 > 0:05:50So, I was really fortunate to be able to switch from one music to another.
0:05:53 > 0:05:58MUSIC: "Batonga" by Angelique Kidjo
0:06:09 > 0:06:12SHE SINGS IN OWN LANGUAGE
0:06:26 > 0:06:30It's hard in Africa to be a woman and be a singer,
0:06:30 > 0:06:35because, of course, the society is really macho.
0:06:35 > 0:06:40And because there's no consideration, very much,
0:06:40 > 0:06:43for women that sing, if it's not traditional singing.
0:06:51 > 0:06:54SHE SINGS IN OWN LANGUAGE
0:07:14 > 0:07:18BULGARIAN FOLK MUSIC PLAYS
0:07:45 > 0:07:47The Bisserov Sisters, of course.
0:07:47 > 0:07:49The man responsible for the appearance
0:07:49 > 0:07:52of Trio Bulgarka in Britain is Joe Boyd, a veteran producer
0:07:52 > 0:07:55and champion of folk and other so-called "minority" musics.
0:07:55 > 0:07:58I have to tell you that when I was told that my brief tonight was
0:07:58 > 0:08:02Bulgarian folk music, I thought it was some kind of punishment or joke.
0:08:02 > 0:08:06How is it perceived by the so-called hip people in Bulgaria?
0:08:06 > 0:08:09I mean, would they rather be listening to punk, Iron Maiden, whatever?
0:08:09 > 0:08:11When I first went there...
0:08:12 > 0:08:16..very few urban young people had any interest.
0:08:16 > 0:08:21But since, particularly the trio and the radio choir have toured America,
0:08:21 > 0:08:24and after the trio recorded with Kate Bush
0:08:24 > 0:08:26and there have been pictures in the papers there of
0:08:26 > 0:08:29Yanka Rupkina from the trio kissing George Harrison
0:08:29 > 0:08:31backstage at The Festival Hall.
0:08:31 > 0:08:33And suddenly, the trio
0:08:33 > 0:08:37and other traditional singers have had triple and quadruple the
0:08:37 > 0:08:40number of normal bookings and young audiences pouring out to see them.
0:08:40 > 0:08:43And the whole thing has begun to, sort of, turn around.
0:08:59 > 0:09:03CHOIR HARMONISES IN BULGARIAN
0:09:44 > 0:09:48MUSIC: "Petit Pays" by Cesaria Evora
0:09:57 > 0:09:59SHE SINGS IN KRIOLU
0:11:19 > 0:11:22CROWD APPLAUDS AND CHEERS
0:11:22 > 0:11:23And this is Charlie Gillet
0:11:23 > 0:11:28live from the WOMAD Festival in Reading 2003.
0:11:28 > 0:11:31Back in London, you've got no idea what we're on the middle of,
0:11:31 > 0:11:33it's like a town of tents.
0:11:33 > 0:11:37Much bigger than anybody imagines - there's a lot of us here.
0:11:37 > 0:11:39CROWD CHEERS
0:11:40 > 0:11:46You know what? I cannot believe it, Charlie's playing my song on BBC!
0:11:49 > 0:11:51JJC on BBC!
0:11:52 > 0:11:55Let me show you what this song is all about.
0:11:57 > 0:12:02MUSIC: "Malemisita" by JJC and 419 Squad
0:12:14 > 0:12:17CROWD CHEERS
0:12:18 > 0:12:21MULTI-RHYTHMIC DRUMMING
0:12:57 > 0:13:00BHANGRA DRUMMING
0:13:48 > 0:13:51TAIKO DRUMMING
0:14:01 > 0:14:02HE SCREAMS
0:14:06 > 0:14:07THEY SCREAM AND SHOUT
0:14:34 > 0:14:35HE SHOUTS IN JAPANESE
0:14:38 > 0:14:41THEY SHOUT
0:14:46 > 0:14:49TAIKO DRUMMING CONTINUES
0:15:09 > 0:15:12CROWD APPLAUDS AND CHEERS
0:15:18 > 0:15:22MUSIC: "Mekeyershin Salawq" by Ethiopiques
0:15:29 > 0:15:33HE SINGS IN AMHARIC
0:16:31 > 0:16:34CROWD CHEERS
0:16:40 > 0:16:44What was the idea behind it? What did you want to do with this festival?
0:16:48 > 0:16:51- TRANSLATION:- 'The idea was to rediscover all the colours.
0:16:54 > 0:16:58'To come together in peace and prosperity,
0:16:58 > 0:17:01'in the spirit of understanding...to share.'
0:17:03 > 0:17:07How important, then, do you think that the festival is now to
0:17:07 > 0:17:11Malian culture in general and the Kel Tamasheq culture in particular?
0:17:12 > 0:17:16- TRANSLATION:- 'This festival is important for the for the Peul,
0:17:16 > 0:17:21'the Songhai, for the Tamasheq, for the Bozo, for the Bambara,
0:17:21 > 0:17:25'for the Senufo, for the Hassaniya.
0:17:25 > 0:17:30'That's to say, it's meeting or, at least, it's about sharing,
0:17:30 > 0:17:34'as I said, to find understanding, agreement, friendship,
0:17:34 > 0:17:37'to discover and to be discovered.'
0:17:44 > 0:17:49MUSIC: "Goye Kur" by Ali Farka Toure
0:17:57 > 0:18:00HE SINGS IN OWN LANGUAGE
0:18:42 > 0:18:45Now, a marvellous young musician who's making his very first
0:18:45 > 0:18:47appearance on British television.
0:18:47 > 0:18:50His unconventional and modern approach to playing flamenco
0:18:50 > 0:18:52has already made him a big star in the continent,
0:18:52 > 0:18:54particularly in his native Spain.
0:18:54 > 0:18:57Here is Paco de Lucia.
0:18:57 > 0:19:01MUSIC: "Entre Dos Aguas" by Paco de Lucia
0:19:46 > 0:19:50MUSIC: "So Broken" by Bjork
0:20:05 > 0:20:08# Oh, darling
0:20:08 > 0:20:13# I'm trying to
0:20:13 > 0:20:21# Land this aeroplane of ours
0:20:21 > 0:20:24# Gracefully
0:20:24 > 0:20:27# My heart is so broken... #
0:20:30 > 0:20:33SHE SINGS IN ICELANDIC
0:20:45 > 0:20:48# So broken... #
0:20:48 > 0:20:51SHE SINGS IN ICELANDIC
0:21:01 > 0:21:04I've been writing about so many different subjects, you know?
0:21:04 > 0:21:06The social things, you know?
0:21:06 > 0:21:10The social struggle, also, has been one of my themes.
0:21:10 > 0:21:13But I'm never...
0:21:13 > 0:21:18I've never got sort of dark, you know?
0:21:19 > 0:21:21It's always...
0:21:21 > 0:21:23It has to be always sunshine.
0:21:26 > 0:21:30MUSIC: "Garote de Ipanema" by Gilberto Gil
0:21:43 > 0:21:45This song's by other people, you know?
0:21:46 > 0:21:49It's easy, it's happy...
0:21:49 > 0:21:51I love doing that.
0:21:51 > 0:21:56It's like being back to childhood. It's nice.
0:22:04 > 0:22:07HE SINGS IN OWN LANGUAGE
0:22:43 > 0:22:46HE SINGS IN OWN LANGUAGE
0:23:34 > 0:23:37RODRIGO Y GABRIELA PLAY FLAMENCO-STYLE GUITAR
0:25:08 > 0:25:10Wow! HE LAUGHS
0:25:10 > 0:25:12That's phenomenal.
0:25:12 > 0:25:13Show us your fingers.
0:25:15 > 0:25:17- Wow!- Oh!
0:25:22 > 0:25:26And now a Greek tune for you,
0:25:26 > 0:25:31which means you have come one evening with the wind, and my heart sighed.
0:25:31 > 0:25:34From the very moment I've told you, "Good evening",
0:25:34 > 0:25:36you've just replied, "Goodbye."
0:25:36 > 0:25:42So, please, speak to me, for in my dreams I've kissed you once,
0:25:42 > 0:25:45and since then, I cannot forget you.
0:25:49 > 0:25:54MUSIC: "Milesse Mou" by Nana Mouskouri And The Athenians
0:26:09 > 0:26:13SHE SINGS IN GREEK
0:26:51 > 0:26:54THEY SING IN GREEK
0:27:10 > 0:27:12CROWD CHEERS
0:27:18 > 0:27:22MUSIC: "Buenos Hermanos" by Ibrahim Ferrer
0:27:33 > 0:27:36THEY SING IN SPANISH
0:28:53 > 0:28:55CROWD CHEERS
0:28:57 > 0:29:00So much variety in this week's chart.
0:29:00 > 0:29:02Take our next act, for instance. She's a huge star in Israel
0:29:02 > 0:29:04and she's going to be monstrous here too.
0:29:04 > 0:29:08Up ten places to 15, Ofra Haza this is Im Nin'alu.
0:29:18 > 0:29:21SHE SINGS IN HEBREW
0:30:32 > 0:30:33# You know I love you
0:30:33 > 0:30:36# Like no other, like no other
0:30:36 > 0:30:38# In my prayer... #
0:30:40 > 0:30:43SHE SINGS IN HEBREW
0:31:13 > 0:31:17MUSIC: "Mas Que Nada" by Jorge Ben
0:31:35 > 0:31:38HE SINGS IN BRAZILIAN PORTUGUESE
0:32:17 > 0:32:20HE SINGS IN BRAZILIAN PORTUGUESE
0:33:00 > 0:33:03CROWD APPLAUDS
0:33:16 > 0:33:19THEY SING IN OWN LANGUAGE
0:33:43 > 0:33:46King Sunny Ade, very appropriate name for you, isn't it?
0:33:46 > 0:33:49Because you are connected with royalty, aren't you, in Nigeria?
0:33:49 > 0:33:51Yes, I'm a prince by birth but the king was given to me
0:33:51 > 0:33:53for my music in Nigeria.
0:33:53 > 0:33:54Now, your music in Nigeria...
0:33:54 > 0:33:57For ten years you've been selling millions and millions of records.
0:33:57 > 0:34:00It's estimated the 12 million albums
0:34:00 > 0:34:02of juju music were sold last year in Nigeria.
0:34:02 > 0:34:06I was actually amazed to find out that Nigeria has such
0:34:06 > 0:34:08a thriving music industry.
0:34:08 > 0:34:13- 100 million people in Nigeria, more than that even.- Yes.
0:34:13 > 0:34:17And you can imagine that my records sold for 12 million is not up
0:34:17 > 0:34:20to 12 and a half per cent, as you think.
0:34:20 > 0:34:23Yeah, I suppose that probably averages out the same as Britain in that way.
0:34:23 > 0:34:26Yeah, because the music industry in Nigeria is really developing
0:34:26 > 0:34:27very, very much.
0:34:27 > 0:34:30Because we've been influenced by traditional music
0:34:30 > 0:34:36- and also African music and also foreign music.- Mm.
0:34:36 > 0:34:40MUSIC: "Synchro System" by King Sunny Ade & His African Beats
0:35:32 > 0:35:35TRADITIONAL YIDDISH MUSIC PLAYS
0:35:54 > 0:35:59Klezmer music is a traditional east European Yiddish dance music,
0:35:59 > 0:36:03mostly heard at weddings, celebrations, market days.
0:36:03 > 0:36:06But identified with Ashkenazi Jews
0:36:06 > 0:36:08from Eastern Europe and the United States.
0:36:14 > 0:36:21The real meaning of "klezmer" comes from two Hebrew words -
0:36:21 > 0:36:23"kli"..."zemer".
0:36:23 > 0:36:27The translation - "instrumental song".
0:36:27 > 0:36:31Because we're born singers, all mankind.
0:36:31 > 0:36:33We're born singers.
0:36:33 > 0:36:35This is a natural force.
0:36:35 > 0:36:40To express this natural force we need one instrument,
0:36:40 > 0:36:43we are the instrument of song.
0:36:44 > 0:36:49MUSIC: "Lolly Lo" by The Klezmatics
0:36:55 > 0:36:56# As I look up and see the stars
0:36:56 > 0:36:58# I see the house that we call ours
0:36:58 > 0:36:59# I see the mailbox at the door
0:36:59 > 0:37:01# I see the baby on the floor
0:37:01 > 0:37:02# Hey-la, Lolly, Lolly
0:37:02 > 0:37:03# Hey-la, Lolly Lo
0:37:03 > 0:37:04# Hey-la, Lolly, Lolly
0:37:04 > 0:37:06# Hey-la, Lolly lo
0:37:06 > 0:37:07# I lay out on deck and think
0:37:07 > 0:37:08# I see your Soviet kitchen sink
0:37:08 > 0:37:10# See her now she's working hard
0:37:10 > 0:37:11# In the house and the yard
0:37:11 > 0:37:13# Hey-la, Lolly, Lolly
0:37:13 > 0:37:14# Hey-la, Lolly lo
0:37:14 > 0:37:15# Hey-la, Lolly, Lolly
0:37:15 > 0:37:17# Hey-la, Lolly lo
0:37:17 > 0:37:18# I see the baby on the bed
0:37:18 > 0:37:19# I think of words I should have said
0:37:19 > 0:37:20# I see your hair blow in the wind
0:37:20 > 0:37:22# See your smile when I walk in
0:37:22 > 0:37:23# Hey-la, Lolly, Lolly
0:37:23 > 0:37:24# Hey-la, Lolly lo
0:37:24 > 0:37:26# Hey-la, Lolly, Lolly
0:37:26 > 0:37:27# Hey-la, Lolly lo... #
0:37:44 > 0:37:46CROWD CHEERS
0:37:51 > 0:37:54TOUMANI DIABATE PLAYS THE KORA
0:38:34 > 0:38:36Most people's only experience of the music of Africa
0:38:36 > 0:38:39is from Paul Simon's Graceland album.
0:38:39 > 0:38:41This band has recently been number one in Belgium, Holland,
0:38:41 > 0:38:46Switzerland, France, Germany and I suspect we're next.
0:38:46 > 0:38:49With "Yeke Yeke", welcome Mory Kante.
0:39:02 > 0:39:06MUSIC: "Yeke Yeke" by Mory Kante
0:39:31 > 0:39:34HE SINGS IN OWN LANGUAGE
0:40:14 > 0:40:16APPLAUSE
0:40:20 > 0:40:23We'll leave you with more music from South Africa
0:40:23 > 0:40:24and Ladysmith Black Mambazo.
0:40:24 > 0:40:26Here they are with Homeless.
0:40:26 > 0:40:29- See you Friday.- Bye.- Bye-bye.
0:40:30 > 0:40:34MUSIC: "Homeless" by Ladysmith Black Mambazo
0:40:34 > 0:40:37THEY SING IN OWN LANGUAGE
0:40:49 > 0:40:53# Homeless, homeless
0:40:53 > 0:40:57# Moonlight sleeping on a midnight lake
0:40:57 > 0:41:00# Homeless, homeless
0:41:00 > 0:41:04# Moonlight sleeping on a midnight lake... #
0:41:04 > 0:41:07THEY SING IN OWN LANGUAGE
0:41:17 > 0:41:19- # Strong wind - Strong wind
0:41:19 > 0:41:21# Strong wind destroy our homes
0:41:21 > 0:41:25# Many dead, tonight it could be you
0:41:25 > 0:41:29- # Homeless - Homeless
0:41:29 > 0:41:34# Moonlight sleeping on a midnight lake
0:41:34 > 0:41:36# Somebody say ih-hih-ih-hih-ih
0:41:36 > 0:41:39# Somebody sing hello, hello, hello
0:41:39 > 0:41:42# Somebody say ih-hih-ih-hih-ih
0:41:42 > 0:41:45# Somebody cry why, why, why?
0:41:45 > 0:41:48# Somebody say ih-hih-ih-hih-ih... #
0:41:48 > 0:41:53THEY SING IN OWN LANGUAGE
0:42:11 > 0:42:18I'm Bachir Attar and I am son of the Master Musicians Of Joujouka.
0:42:18 > 0:42:24I am take my father's place and this is my home of my father, music.
0:42:24 > 0:42:27And you're welcome.
0:42:31 > 0:42:35MUSIC: "Lah'n Tarheeb" by Master Musicians Of Joujouka
0:42:47 > 0:42:51THEY SING IN ARABIC
0:43:20 > 0:43:25MUSIC: "Ah Ndiya" by Oumou Sangare
0:43:25 > 0:43:28SHE SINGS IN OWN LANGUAGE
0:45:01 > 0:45:05NUSRAT FATEH ALI KAHN SINGS
0:45:21 > 0:45:25THEY SING IN OWN LANGUAGE
0:46:09 > 0:46:13MUSIC: "Allah Hoo" by Nusrat Fateh Ali Khan Band
0:46:16 > 0:46:18HE SINGS IN OWN LANGUAGE
0:47:04 > 0:47:07THEY SING IN OWN LANGUAGE
0:47:44 > 0:47:45Now, who's on first now?
0:47:45 > 0:47:47- Osibisa.- Yes, pardon?!
0:47:47 > 0:47:48Osibisa.
0:47:48 > 0:47:51Who is...? Oh, Osibisa!
0:47:51 > 0:47:52Oh, yeah.
0:47:52 > 0:47:54Ooh!
0:47:54 > 0:47:56- Come on... ALL:- Ooh!
0:47:56 > 0:47:59Yes, come on, loosen your truss, mate - ooh!
0:47:59 > 0:48:01Higher. That's it.
0:48:01 > 0:48:03Osibisa. Here they are...
0:48:09 > 0:48:13MUSIC: "Move Your Body" by Osibisa
0:48:21 > 0:48:23# Move your body
0:48:23 > 0:48:25# Move it next to mine, yeah
0:48:25 > 0:48:27# Move your body
0:48:27 > 0:48:29# Do it all the time
0:48:29 > 0:48:31# Move your body
0:48:31 > 0:48:33# And now you're doin' fine
0:48:36 > 0:48:37# Wooh
0:48:37 > 0:48:40# Easy, let it flow
0:48:41 > 0:48:44# Keep it steady, don't let it go
0:48:45 > 0:48:49# Keep the music never care
0:48:49 > 0:48:53# Keep it stronger, we'll soon be there
0:48:53 > 0:48:56# Oh, move your body
0:48:56 > 0:48:58# Move it next to mine, you've got to move on
0:48:58 > 0:49:00# Move your body
0:49:00 > 0:49:02# And now you're doing fine
0:49:02 > 0:49:04# Move your body
0:49:04 > 0:49:06# Grooving next to mine, yeah. #
0:49:14 > 0:49:18MUSIC: "On Verra Ca" by Orchestra Beobab
0:49:18 > 0:49:21THEY SING IN OWN LANGUAGE
0:50:58 > 0:51:01PAN PIPE MUSIC PLAYS
0:53:15 > 0:53:17CROWD APPLAUDS
0:53:21 > 0:53:25MUSIC: "Cacharpaya" by Incantation
0:53:58 > 0:54:00Now, we're going to welcome back
0:54:00 > 0:54:02this marvellous singer with her Peruvian group.
0:54:02 > 0:54:05I draw your attention to the fact that this number starts with
0:54:05 > 0:54:09a percussive instrument which is, in fact, a donkey's jaw.
0:54:09 > 0:54:12First time ever on Later, please welcome again Susana Baca.
0:54:30 > 0:54:35MUSIC: "Toro Mata" by Susana Baca
0:54:43 > 0:54:48SHE SINGS IN SPANISH
0:55:00 > 0:55:03THEY SING IN SPANISH
0:55:28 > 0:55:32THEY SING IN SPANISH
0:55:48 > 0:55:50CROWD APPLAUDS
0:55:58 > 0:56:02MUSIC: "Me Nome Sabe-Me A Areia" by Amalia Rodrigues
0:56:09 > 0:56:11SHE SINGS IN OWN LANGUAGE
0:57:50 > 0:57:52Hello, again.
0:57:52 > 0:57:54I think that I don't need to tell you
0:57:54 > 0:57:56that the fado is a very strange song.
0:57:57 > 0:57:59But what I have to tell you, is,
0:57:59 > 0:58:03I think that the Portuguese are a very strange people.
0:58:12 > 0:58:17MUSIC: "Maria Lisboa" by Mariza
0:58:29 > 0:58:33SHE SINGS IN PORTUGUESE
0:59:20 > 0:59:22CROWD APPLAUDS
0:59:26 > 0:59:30SINGING IN RAI STYLE
0:59:43 > 0:59:46SINGING IN RAI STYLE CONTINUES
1:00:51 > 1:00:55MUSIC: "Didi" by Cheb Khaled
1:00:57 > 1:01:01HE SINGS IN ARABIC
1:02:20 > 1:02:22TABLA AND SITAR PLAYS
1:02:27 > 1:02:31MUSIC: "Rag Bihag" by Ravi Shankar and Alla Rakha
1:03:38 > 1:03:40TEMPO INCREASES
1:04:34 > 1:04:36TEMPO INCREASES
1:05:05 > 1:05:09MUSIC: "Cucula" by Celia Cruz with Tito Puente and Johnny Pacheco
1:05:09 > 1:05:12SHE SINGS IN SPANISH
1:05:35 > 1:05:37THEY SING IN SPANISH
1:06:30 > 1:06:33THEY PLAY UP-BEAT SALSA MUSIC
1:06:50 > 1:06:53SHE SINGS IN SPANISH
1:07:22 > 1:07:24CROWD CHEERS
1:07:30 > 1:07:34So, Johnny Depp, how did you become a fan of a Romanian gypsy band?
1:07:35 > 1:07:38- I'll let Joe answer that. - THEY LAUGH
1:07:38 > 1:07:41It was in a car park. Go on, Johnny, tell the story.
1:07:41 > 1:07:45It was in car park, and something horrible happened
1:07:45 > 1:07:47and they went to jail, not me.
1:07:47 > 1:07:50- But... - But you were running a film...
1:07:50 > 1:07:53- It was with a film? - Yeah, I was doing a...
1:07:53 > 1:07:56I'd heard their music before and then I was doing this film
1:07:56 > 1:08:02and they...they were hired to play my family, and...
1:08:02 > 1:08:05Yeah, just sort of commenced from there hasn't stopped.
1:08:05 > 1:08:07And what really attracts you to the music?
1:08:07 > 1:08:10Well, firstly, the musicianship is unbelievable.
1:08:10 > 1:08:13These guys are like the greatest musicians I ever saw in my life.
1:08:13 > 1:08:18MUSIC: "The Return Of The Magic Horses" by Taraf De Hadiouks
1:09:17 > 1:09:19THEY PLAY ROMANIAN GYPSY MUSIC
1:10:36 > 1:10:38CROWD CHEERS
1:10:41 > 1:10:45My music is Turk music.
1:10:45 > 1:10:47In general it is music from all Central Asia
1:10:47 > 1:10:52and I am singing by the old way, in the songs.
1:10:55 > 1:11:01The instrument what I am playing is a dutar, which means two strings.
1:11:01 > 1:11:06And that instrument comes from the 15th century.
1:11:06 > 1:11:10And this is a real Uzbek instrument which has silk strings
1:11:10 > 1:11:14and, you know, it looks really simple,
1:11:14 > 1:11:17but the neck is long
1:11:17 > 1:11:21and you must play from all your soul.
1:11:57 > 1:12:01SHE SINGS IN OWN LANGUAGE
1:13:33 > 1:13:34CROWD CHEERS
1:13:45 > 1:13:50MUSIC: "Speaking in Tongues III" by Shiela Chandra
1:13:50 > 1:13:54SHE VOCALISES
1:14:34 > 1:14:38SHE VOCALISES
1:14:56 > 1:14:58MEN CHEER
1:14:58 > 1:15:01DRUMS BEAT
1:15:12 > 1:15:15DRUMS CONTINUE TO BEAT
1:15:15 > 1:15:19I first started listening to music from other countries around '78,
1:15:19 > 1:15:23and at that time there were maybe two record stores in London where you
1:15:23 > 1:15:28could find anything that we would now call "world music", in any quantity.
1:15:28 > 1:15:32And it was even harder to see a lot of these performers live.
1:15:35 > 1:15:38'I was thinking about trying to get some event together
1:15:38 > 1:15:43'and call up a group of friends that might have similar interest.'
1:15:45 > 1:15:49Peter rang myself and a group of colleagues that I was working with
1:15:49 > 1:15:52in a magazine project called The Bristol Recorder in,
1:15:52 > 1:15:54I think January of 1981,
1:15:54 > 1:15:58suggesting his idea of music from this continent
1:15:58 > 1:16:01coming together with music from other places.
1:16:01 > 1:16:06There was a certain amount of elitism around folk music, you know.
1:16:06 > 1:16:11And we were these yobbos from suspicious rock backgrounds
1:16:11 > 1:16:15that were trying to mix up all sorts of things that didn't really
1:16:15 > 1:16:18care to play by the existing rules, and were trying to make
1:16:18 > 1:16:23something, to us, that seemed a lot more alive and vital.
1:16:23 > 1:16:25I played at the first WOMAD with Rip Rig + Panic,
1:16:25 > 1:16:28which was the band that I was in, when I was but a child.
1:16:28 > 1:16:30# You are my kind of climate
1:16:30 > 1:16:31# Swinging lost paradise
1:16:31 > 1:16:33# Your touch, your smell
1:16:33 > 1:16:34# Well, you can tell
1:16:34 > 1:16:36# I ain't talking about heaven or hell... #
1:16:36 > 1:16:40'We were dancing, we were singing, then Neneh was like, "Get up!
1:16:40 > 1:16:42"I'm pregnant and I'm dancing more than all of you."
1:16:42 > 1:16:44And the whole place just got up
1:16:44 > 1:16:48and started to hurl themselves around and it was just beautiful.
1:16:51 > 1:16:57I think the atmosphere of WOMAD is different to other rock festivals.
1:16:57 > 1:17:00It's solidly established in Australia and Spain
1:17:00 > 1:17:06and I think there are various sites around the world now where it
1:17:06 > 1:17:11has an identity and it's really an opportunity for a lot of people
1:17:11 > 1:17:15to come across all sorts of stuff they wouldn't have seen otherwise.
1:17:15 > 1:17:18I mean, every year I know I'm introduced to things
1:17:18 > 1:17:21I didn't now about that I find really exciting.
1:17:33 > 1:17:37HE VOCALISES
1:17:45 > 1:17:47I learnt from my mother
1:17:47 > 1:17:51because my mother always sang traditional songs.
1:17:51 > 1:17:56And that's what helped me to know traditional songs
1:17:56 > 1:18:02because living in the urban areas in South Africa
1:18:02 > 1:18:06and born so many years after the white people came,
1:18:06 > 1:18:09there was always a danger of
1:18:09 > 1:18:13completely forgetting our traditional music,
1:18:13 > 1:18:15even our traditions.
1:18:15 > 1:18:20It's very rare in South Africa to find people dressed traditionally,
1:18:20 > 1:18:23because of that fact that we've had
1:18:23 > 1:18:28this European influence for so many years.
1:18:28 > 1:18:33So, I know a lot of traditional songs thanks to my mother.
1:19:27 > 1:19:32MUSIC: "Set" by Youssou N'Dour and The Super Etiole De Dakar
1:19:40 > 1:19:44HE SINGS IN OWN LANGUAGE
1:21:06 > 1:21:09MUSIC: "7 Seconds" by Youssou N'Dour and Neneh Cherry
1:21:15 > 1:21:18HE SINGS IN OWN LANGUAGE
1:21:26 > 1:21:27# Roughneck and rudeness
1:21:27 > 1:21:31# We should be using, on the ones who practise wicked charms
1:21:31 > 1:21:34# For the sword and the stone
1:21:34 > 1:21:35# Bad to the bone
1:21:35 > 1:21:36# Battle is not over
1:21:36 > 1:21:40# Even when it's won
1:21:40 > 1:21:45# And when a child is born into this world
1:21:45 > 1:21:47# It has no concept
1:21:47 > 1:21:51# Of the tone the skin is living in
1:21:51 > 1:21:53# It's not a second
1:21:53 > 1:21:56# 7 seconds away
1:21:56 > 1:22:00# Just as long as I stay
1:22:00 > 1:22:02# I'll be waiting
1:22:03 > 1:22:05# It's not a second
1:22:05 > 1:22:08# 7 seconds away
1:22:08 > 1:22:12# Just as long as I stay
1:22:12 > 1:22:14# I'll be waiting
1:22:15 > 1:22:17# I'll be waiting
1:22:21 > 1:22:23# I'll be waiting... #
1:22:29 > 1:22:32HE SINGS IN FRENCH
1:22:55 > 1:22:58# 7 seconds away
1:22:58 > 1:23:02# Just as long as I stay
1:23:02 > 1:23:04# I'll be waiting
1:23:05 > 1:23:07# It's not a second
1:23:07 > 1:23:10# 7 seconds away
1:23:10 > 1:23:14# Just as long as I stay
1:23:14 > 1:23:16# I'll be waiting... #
1:24:09 > 1:24:13MELODIC RHYTHMIC RESONANCE
1:24:19 > 1:24:23MUSIC: "Mupepe" by Zap Mama
1:25:07 > 1:25:09SHE SINGS IN OWN LANGUAGE
1:25:29 > 1:25:33The music I'm playing, it's very rare, right?
1:25:33 > 1:25:36See, you don't find this nowhere else in the world but where I'm from.
1:25:38 > 1:25:40In south-west Louisiana, right.
1:25:40 > 1:25:45And so, you come out, they afraid of it, you see.
1:25:45 > 1:25:46"Hey, man." "What?"
1:25:46 > 1:25:47"An accordion?"
1:25:47 > 1:25:49Not me, right?
1:25:49 > 1:25:52So, I say, "Hey, why don't you just come listen to it, you know what I'm talking about?
1:25:52 > 1:25:55"Hey, man. When you be back?" You know?
1:25:55 > 1:25:58Things like that. Those things happen.
1:25:58 > 1:26:02MUSIC: "On A Night Like This" by Buckwheat Zydeco
1:26:09 > 1:26:10# Well, on a night like this
1:26:13 > 1:26:16# I'm so glad you came around
1:26:16 > 1:26:19# Hold on to me so tight
1:26:19 > 1:26:23# And heat up some coffee grounds
1:26:23 > 1:26:26# We've got so much to talk about
1:26:26 > 1:26:28# And so much to reminisce
1:26:28 > 1:26:30# Yes, I sure feel right
1:26:30 > 1:26:32# On a night like this
1:26:33 > 1:26:35# Well, on a night like this
1:26:37 > 1:26:39# I can't get any sleep
1:26:41 > 1:26:44# It is so cold outside
1:26:44 > 1:26:47# And the snow is so very deep
1:26:47 > 1:26:49# Throw on a log
1:26:49 > 1:26:50# Start a fire
1:26:50 > 1:26:52# And listen to it hiss
1:26:53 > 1:26:55# Let it burn, burn, burn
1:26:55 > 1:26:58# On a night like this
1:26:58 > 1:27:00# Now wait a minute... #
1:27:45 > 1:27:47Everybody feeling all right?
1:27:47 > 1:27:48Let's make it move out here.
1:27:48 > 1:27:50Hey!
1:27:50 > 1:27:52# Get your body next to mine
1:27:52 > 1:27:54# And give me company
1:27:55 > 1:27:59# That has plenty of room for all
1:27:59 > 1:28:01# Now, don't you elbow me
1:28:01 > 1:28:02# Let the four winds blow
1:28:05 > 1:28:07# Around this old cabin door
1:28:08 > 1:28:10# If I'm not too far off
1:28:11 > 1:28:15# I think we did this once before
1:28:15 > 1:28:18# There's more frost on the window glass
1:28:18 > 1:28:20# Now give me a tender kiss
1:28:20 > 1:28:22# Cos I sure feel right
1:28:22 > 1:28:25# On a night like this
1:28:25 > 1:28:27# Yeah. #