0:00:02 > 0:00:04MUSIC: "Diamonds Are Forever" (Instrumental)
0:00:27 > 0:00:30APPLAUSE
0:00:37 > 0:00:40Well, good evening and welcome to the Royal Festival Hall in London.
0:00:40 > 0:00:44Tonight, together with a host of musical stars and the incomparable
0:00:44 > 0:00:48BBC Concert Orchestra, conducted by Mike Dixon, we're going to
0:00:48 > 0:00:52celebrate the work of one of Britain's great unsung heroes.
0:00:52 > 0:00:55Now, perhaps "unsung" is a little harsh,
0:00:55 > 0:00:58since it is his words to a host of hits
0:00:58 > 0:01:01that are sung around the world every day by some of the world's
0:01:01 > 0:01:05greatest performers, many of whom are here with us tonight.
0:01:05 > 0:01:08From Born Free to The Man With The Golden Gun,
0:01:08 > 0:01:10let's meet the man with the golden pen.
0:01:10 > 0:01:12Ladies and gentlemen, Mr Don Black.
0:01:12 > 0:01:16APPLAUSE AND CHEERING
0:01:32 > 0:01:34Well, this is quite something!
0:01:34 > 0:01:36If I would have had an audience like this when I was a comedian,
0:01:36 > 0:01:39there'd be a lot of theatres still open.
0:01:39 > 0:01:42- LAUGHTER - Now, Don, let's start at the beginning.
0:01:42 > 0:01:44- When you were a kid at school... - Yeah.
0:01:44 > 0:01:46..as we all did, we all sat around
0:01:46 > 0:01:48saying what we were going to do when we grew up.
0:01:48 > 0:01:50Be an engine driver, an accountant, or a grave-digger,
0:01:50 > 0:01:51or whatever it was.
0:01:51 > 0:01:54Did you say, "I'm going to be a poet"?
0:01:54 > 0:01:57No, I actually wanted to be Bob Hope,
0:01:57 > 0:02:00because I was always a great fan of comedy,
0:02:00 > 0:02:03as I hope you'll find out during the course of this evening.
0:02:03 > 0:02:05HE LAUGHS
0:02:05 > 0:02:08But, no, comedy was a big thing with my life, and funnily enough,
0:02:08 > 0:02:11there is a connection between comedy and lyric writing.
0:02:11 > 0:02:15In as much as that, you know, you can listen to a comedian...
0:02:15 > 0:02:19A comedian never wastes any syllables or words, and if you look
0:02:19 > 0:02:24at Cole Porter or Irving Berlin, it's economy and compression...
0:02:24 > 0:02:27There is a connection, somehow.
0:02:27 > 0:02:30And what composers and lyricists of the period
0:02:30 > 0:02:33when you were a kid did you listen to particularly and admire,
0:02:33 > 0:02:35or notice, really, at that age?
0:02:35 > 0:02:39Erm, well, my love for song started...
0:02:39 > 0:02:42I come from Hackney, as you know, I know you've done your research!
0:02:42 > 0:02:46And I remember listening to the radio
0:02:46 > 0:02:49and listening to songs like Cry Me A River,
0:02:49 > 0:02:50and there were lines in it like,
0:02:50 > 0:02:52"You told me love was too plebeian,
0:02:52 > 0:02:55"Told me you were through with me-an,"
0:02:55 > 0:02:58and I thought, "My God, this is so clever, these rhymes!"
0:02:58 > 0:03:00I know this sounds daft, but you know, I collect rhymes.
0:03:00 > 0:03:03Since that day, I've collected rhymes all my life.
0:03:03 > 0:03:06- Were you good at English at school? - Not particularly, no.
0:03:06 > 0:03:10It was the love of songs, listening to Noel Coward
0:03:10 > 0:03:12and Mad About The Boy,
0:03:12 > 0:03:16And lines like, "This odd diversity of misery and joy."
0:03:16 > 0:03:18I thought, "What does diversity mean?"
0:03:18 > 0:03:20And I thought, "If I can get diversity and plebeian
0:03:20 > 0:03:22"in the same song, I'll make a fortune!"
0:03:22 > 0:03:24LAUGHTER
0:03:24 > 0:03:26Now, there were a few people who changed your life.
0:03:26 > 0:03:29The first one was an encounter you had with a former bus conductor.
0:03:29 > 0:03:30Tell us about that.
0:03:30 > 0:03:32Well, bus driver. The great Matt Monro.
0:03:32 > 0:03:35Well, I was working for the NME as an office boy,
0:03:35 > 0:03:39then the circulation department, and then doing reviews,
0:03:39 > 0:03:43but Matt was always, you know, hanging around, looking for jobs
0:03:43 > 0:03:47trying to get a job as a demo singer, and we just got on great.
0:03:47 > 0:03:52You know, I would not be here today if it wasn't for Matt Monro. He...
0:03:52 > 0:03:55I was so impressed. I managed Matt for 20 years,
0:03:55 > 0:03:59and I've never met anyone who was so unimpressed with show business.
0:03:59 > 0:04:02Whatever the opposite of diva is, that was Matt Monro.
0:04:02 > 0:04:04And I'll give you an idea.
0:04:04 > 0:04:07When he played Talk Of The Town and I was managing him,
0:04:07 > 0:04:08I would go backstage and say,
0:04:08 > 0:04:12"Matt, we've got Tony Bennett in tonight and Sammy Davis Jr.
0:04:12 > 0:04:14"They want to come back and say hello."
0:04:14 > 0:04:17And he would say, "Can't we get out of it, son?
0:04:17 > 0:04:20- "We're supposed to have a curry." - LAUGHTER
0:04:20 > 0:04:24Well, now, performing the Matt Monro top ten classic, Walk Away,
0:04:24 > 0:04:27please welcome a great friend of Don's
0:04:27 > 0:04:29and one of our greatest musical stars.
0:04:29 > 0:04:31The one and only Michael Ball.
0:04:31 > 0:04:34APPLAUSE
0:04:58 > 0:05:00# Mmm-mmm-mmm-mmm
0:05:00 > 0:05:03# Walk away, please go
0:05:04 > 0:05:09# Before you throw your life away
0:05:09 > 0:05:12# A life that I
0:05:12 > 0:05:16# Could share for just a day
0:05:18 > 0:05:21# We should have met
0:05:21 > 0:05:25# Some years ago
0:05:27 > 0:05:30# For your sake, I say
0:05:30 > 0:05:35# Walk away, just go
0:05:36 > 0:05:40# Walk away, and live
0:05:40 > 0:05:43# A life that's full
0:05:43 > 0:05:45# With no regret
0:05:45 > 0:05:48# Don't look back at me
0:05:48 > 0:05:53# Just try to forget
0:05:54 > 0:05:58# Why build a dream
0:05:58 > 0:06:01# That cannot come true?
0:06:01 > 0:06:03# So be strong
0:06:03 > 0:06:06# Reach the stars now
0:06:06 > 0:06:08# Walk away
0:06:08 > 0:06:11# Walk on
0:06:11 > 0:06:13# If I hear your voice
0:06:14 > 0:06:20# I'd beg you to stay
0:06:20 > 0:06:23# So don't say a word
0:06:23 > 0:06:30# Just run, run away
0:06:30 > 0:06:33# Goodbye, my love
0:06:34 > 0:06:37# My tears will fall
0:06:37 > 0:06:39# Now that you've gone
0:06:39 > 0:06:41# I can't help but cry
0:06:43 > 0:06:47# But I must go on
0:06:48 > 0:06:52# I'm sad that I
0:06:52 > 0:06:56# After searching so long
0:06:56 > 0:07:00# Said I knew you, but I loved you
0:07:00 > 0:07:03# Walk away
0:07:03 > 0:07:07# Walk
0:07:07 > 0:07:13# On
0:07:13 > 0:07:22# Walk on. #
0:07:22 > 0:07:25APPLAUSE
0:07:29 > 0:07:31INAUDIBLE OVER APPLAUSE
0:07:33 > 0:07:34More from Michael later.
0:07:36 > 0:07:39- That's a sad song, isn't it? - It was a sad song.
0:07:39 > 0:07:41It opened a lot of doors for me, that song,
0:07:41 > 0:07:45because that song was my first successful song.
0:07:45 > 0:07:49I had written a lot of rubbish before then, Michael, believe me.
0:07:49 > 0:07:52My first song I wrote was for a Jewish wedding,
0:07:52 > 0:07:53There's No Smoke Without Salmon.
0:07:53 > 0:07:55LAUGHTER
0:07:55 > 0:07:57APPLAUSE
0:07:57 > 0:08:01- But you don't want to peak too soon, do you?- No, no, no!
0:08:01 > 0:08:04Now, you said that one of the clues to your lyric writing
0:08:04 > 0:08:07and your talent is rhymes, you love rhymes.
0:08:07 > 0:08:08Do you collect them? Do you hear them?
0:08:08 > 0:08:10Do they come to you in the middle of the night?
0:08:10 > 0:08:14It's a funny thing, but ever since I started writing songs,
0:08:14 > 0:08:18I have written down rhymes. I have so many books at home.
0:08:18 > 0:08:20I know I'll never use them.
0:08:20 > 0:08:23If I see a word like "Maxine"
0:08:23 > 0:08:25I think of "vaccine."
0:08:25 > 0:08:26This is daft.
0:08:26 > 0:08:28"Injury", I've got "gingery."
0:08:28 > 0:08:30"Etiquette" and "Connecticut."
0:08:30 > 0:08:33"Sermon", "Uma Thurman."
0:08:33 > 0:08:35I was looking at this today. It's got no...
0:08:35 > 0:08:36It's just a habit you get into,
0:08:36 > 0:08:40because when you're brought up on Rodgers and Hart and Hammerstein
0:08:40 > 0:08:42and those kind of things, you know, rhymes are very important.
0:08:42 > 0:08:45I always have a piece of paper on me about this.
0:08:45 > 0:08:48And I've got things like "panellist" and "analyst."
0:08:48 > 0:08:50I mean, "foreigner" and "coroner."
0:08:50 > 0:08:52- And you never know when it will come in handy?- No.
0:08:52 > 0:08:55And especially, this is a good one. "Alias" and "Sibelius."
0:08:55 > 0:08:57LAUGHTER
0:08:57 > 0:09:01Now, one of your first big hits in America was a song called
0:09:01 > 0:09:06To Sir, With Love, which I think is one of many fine lyrics,
0:09:06 > 0:09:08- but one of your most brilliant lyrics.- Thank you.
0:09:08 > 0:09:09How did that come about?
0:09:09 > 0:09:12Erm, well, in the '60s, everybody...
0:09:12 > 0:09:15well, not everybody, but there were lots of title songs...
0:09:15 > 0:09:17In movies?
0:09:17 > 0:09:20In movies, and I was very lucky to get To Sir, With Love and Ben,
0:09:20 > 0:09:26which were my two big hits at that time, number one songs in America.
0:09:26 > 0:09:28To Sir, With Love was unusual for me,
0:09:28 > 0:09:30because I wrote the lyric first.
0:09:30 > 0:09:32I had a call from James Clavell,
0:09:32 > 0:09:34the man who wrote and directed the movie, and he said,
0:09:34 > 0:09:38"It's very, very important that you get the lyric right."
0:09:38 > 0:09:40And so I wrote it first.
0:09:40 > 0:09:42My favourite line, I'm going to read it
0:09:42 > 0:09:43because I don't want to get it wrong,
0:09:43 > 0:09:45and so you get the royalties tonight...
0:09:45 > 0:09:47LAUGHTER
0:09:47 > 0:09:51"How do you thank someone who has taken you from crayons to perfume?"
0:09:51 > 0:09:54Isn't that a great line? Where did that come from?
0:09:54 > 0:09:56No, it's a line that people often quote,
0:09:56 > 0:10:00but it's a funny thing, lyrics are written to be sung.
0:10:00 > 0:10:02We want to make that...
0:10:02 > 0:10:05You know, they are not written to be read, because if you read,
0:10:05 > 0:10:08"Tea for two, picture you upon my knee," it's rubbish.
0:10:08 > 0:10:10But when you hear it sung, and it hugs...
0:10:10 > 0:10:13There's a chemistry, isn't there? Between...
0:10:13 > 0:10:15The lyric has to hug the contours of the melody.
0:10:15 > 0:10:20So that line, "How do you get someone from crayons to perfume,"
0:10:20 > 0:10:21it's the way it sings.
0:10:21 > 0:10:23It's not just the way it's read.
0:10:23 > 0:10:26Well, in a moment, Grammy-nominated jazz singer Gregory Porter
0:10:26 > 0:10:30and Eliza Doolittle are going to sing Ben,
0:10:30 > 0:10:32but, please, first welcome,
0:10:32 > 0:10:37performing To Sir, With Love, the wonderful Frances Ruffelle.
0:10:37 > 0:10:40APPLAUSE
0:10:53 > 0:10:58# Those school girl days
0:10:58 > 0:11:07# Of telling tales and biting nails are gone
0:11:07 > 0:11:12# But in my mind
0:11:12 > 0:11:19# I know they will still go on and on
0:11:20 > 0:11:23# But how do you thank someone
0:11:23 > 0:11:29# Who has taken you from crayons to perfume?
0:11:29 > 0:11:37# It isn't easy but I'll try
0:11:37 > 0:11:39# If you wanted the sky
0:11:39 > 0:11:44# I would write across the sky in letters
0:11:44 > 0:11:48# That would soar a thousand feet high
0:11:48 > 0:11:55# To sir, with love
0:11:56 > 0:11:59# The time has come
0:12:01 > 0:12:03# For closing books
0:12:03 > 0:12:09# And long last looks must end
0:12:09 > 0:12:14# And as I leave
0:12:14 > 0:12:21# I know I will be leaving my best friend
0:12:23 > 0:12:26# But how do you thank someone
0:12:26 > 0:12:31# Who has taken you from crayons to perfume?
0:12:32 > 0:12:38# It isn't easy but I'll try
0:12:39 > 0:12:41# If you wanted the moon
0:12:41 > 0:12:46# I would try to make a start, but I
0:12:46 > 0:12:51# Would rather you let me give my heart
0:12:51 > 0:12:58# To sir, with love
0:13:02 > 0:13:07# To sir, with love
0:13:07 > 0:13:14# With love. #
0:13:14 > 0:13:16APPLAUSE AND CHEERING
0:13:48 > 0:13:55# Ben, the two of us need look no more
0:13:55 > 0:14:01# We both found what we were looking for
0:14:01 > 0:14:05# With a friend to call my own
0:14:05 > 0:14:09# I'll never be alone
0:14:09 > 0:14:12# And you, my friend, will see
0:14:12 > 0:14:15# You've got a friend in me
0:14:15 > 0:14:19# You've got a friend in me
0:14:21 > 0:14:27# Ben, you're always running here and there
0:14:27 > 0:14:33# You feel you're not wanted anywhere
0:14:33 > 0:14:37# If you ever look behind
0:14:37 > 0:14:41# And don't like what you find
0:14:41 > 0:14:44# There's something you should know
0:14:44 > 0:14:48# You've got a place to go
0:14:48 > 0:14:51# You've got a place to go
0:14:52 > 0:14:55# I used to say
0:14:55 > 0:14:58# I and me
0:14:58 > 0:15:02# Now it's us
0:15:02 > 0:15:04# Now it's we
0:15:04 > 0:15:07# I used to say
0:15:07 > 0:15:11# I and me
0:15:11 > 0:15:14# Now it's us
0:15:14 > 0:15:17# Now it's we
0:15:17 > 0:15:21# Ben, most people would turn you away
0:15:21 > 0:15:24# Turn you away
0:15:24 > 0:15:28# I don't listen to the words they say
0:15:28 > 0:15:30# Words they say
0:15:30 > 0:15:32# Ohhhh
0:15:32 > 0:15:35# They don't see you as I do
0:15:35 > 0:15:39- # I wish they knew or tried to - # Ohhhh
0:15:39 > 0:15:41# I'm sure they'd think again
0:15:41 > 0:15:45# If they had a friend like Ben
0:15:45 > 0:15:48# Like Ben
0:15:48 > 0:15:51# Like Ben
0:15:51 > 0:15:54# Like Ben
0:15:54 > 0:16:01- BOTH:- # Like Ben. #
0:16:01 > 0:16:03APPLAUSE
0:16:10 > 0:16:15The amazing Gregory Porter with Miss Eliza Dolittle.
0:16:15 > 0:16:16Who was Ben?
0:16:16 > 0:16:19- Ben was a rat. - LAUGHTER
0:16:19 > 0:16:22Yeah, that's when I got to know Michael Jackson.
0:16:22 > 0:16:25Erm, it's a funny thing, yeah.
0:16:25 > 0:16:29It was an unusual song to write, because, well,
0:16:29 > 0:16:31how do you write a song about a rat?
0:16:31 > 0:16:35But the story in the movie, Ben, it's a boy, he's very ill,
0:16:35 > 0:16:40and a rat comes into his room, and it was a very friendly rat.
0:16:40 > 0:16:42And I thought, "Well, I'll write about friendship."
0:16:42 > 0:16:46So, I thought, "You can't write about cheese and traps,"
0:16:46 > 0:16:48and I couldn't find a rhyme for Rentokil.
0:16:48 > 0:16:51LAUGHTER
0:16:51 > 0:16:55And so, funnily enough, it's one of Michael's favourite songs, it was.
0:16:55 > 0:16:58Especially the middle eight. He loved the lines,
0:16:58 > 0:17:02"I used to say I and me. Now it's us, now it's we."
0:17:02 > 0:17:05- The musical theatre.- Right.
0:17:05 > 0:17:08Different discipline to sitting down with a blank sheet of paper?
0:17:08 > 0:17:09Oh, very much so.
0:17:09 > 0:17:12My first successful musical was Billy, with John Barry,
0:17:12 > 0:17:14but my first one before that wasn't successful at all,
0:17:14 > 0:17:17and it was called Maybe That's Your Problem.
0:17:17 > 0:17:21It was about a boy who gets overexcited,
0:17:21 > 0:17:24over-aroused around women,
0:17:24 > 0:17:27- and he can't quite get it together. - LAUGHTER
0:17:27 > 0:17:29Ironically, the show didn't last long either.
0:17:29 > 0:17:31LAUGHTER
0:17:31 > 0:17:35Alan Jay Lerner said I should have called it Shortcomings.
0:17:35 > 0:17:37LAUGHTER
0:17:37 > 0:17:40There weren't any ballads in the show. There just wasn't time.
0:17:40 > 0:17:44We talked about how the wonderful and late lamented Matt Monro
0:17:44 > 0:17:45changed your life, but there is
0:17:45 > 0:17:49a man in the audience tonight who changed your life considerably.
0:17:49 > 0:17:52Three people changed my life, from a career point of view.
0:17:52 > 0:17:55Matt Monro, John Barry, and the great Andrew Lloyd Webber.
0:17:55 > 0:17:58And I think Andrew's with us. Where's Andrew? Andrew, take a bow!
0:17:58 > 0:18:01- APPLAUSE - Where are you?
0:18:07 > 0:18:10- What did he ask you to do, first of all?- We got together after...
0:18:10 > 0:18:13I wrote a musical called Bar Mitzvah Boy, with Jule Styne,
0:18:13 > 0:18:17which didn't do very well, but Andrew saw something in the lyrics,
0:18:17 > 0:18:19and invited me for lunch and said,
0:18:19 > 0:18:22"Do you fancy doing a one-woman show?"
0:18:22 > 0:18:24He wanted to do something small.
0:18:24 > 0:18:26And we talked and we said,
0:18:26 > 0:18:27"Could it be an English girl
0:18:27 > 0:18:30"who goes to America to try and find herself?"
0:18:30 > 0:18:33And we wrote a song cycle called Tell Me On A Sunday.
0:18:33 > 0:18:36How difficult is it to write from a woman's point of view?
0:18:36 > 0:18:39Because that show is very much the woman's point of view, isn't it?
0:18:39 > 0:18:42Yeah, people often say that. I don't think so.
0:18:42 > 0:18:44You write from a woman's point of view
0:18:44 > 0:18:47because you're sensitive to women's feelings,
0:18:47 > 0:18:51but Alan Jay Lerner was American and he wrote My Fair Lady.
0:18:51 > 0:18:55I wrote Bombay Dreams, and I've never been further than Southall!
0:18:55 > 0:18:58- LAUGHTER - I don't think it matters.
0:18:58 > 0:19:00Take That Look Off Your Face, now,
0:19:00 > 0:19:04that's a wonderful kind of grab-you title.
0:19:04 > 0:19:08Well, one always tries to look for a universal theme in a song,
0:19:08 > 0:19:12if you can. Something that people can recognise themselves in.
0:19:12 > 0:19:17I always think I've cracked it when someone says, "I felt that."
0:19:17 > 0:19:18When they say, "I felt that,"
0:19:18 > 0:19:21as they have done with Tell Me On A Sunday,
0:19:21 > 0:19:25because so many people wrote to me, so many women, saying,
0:19:25 > 0:19:26"How did you know my life?"
0:19:26 > 0:19:31It is a funny thing, but, you know, if you can strike that honesty
0:19:31 > 0:19:35and truth in a lyric, it pays dividends.
0:19:35 > 0:19:38Well, the original leading lady of Tell Me On A Sunday
0:19:38 > 0:19:42was Marti Webb, and I'm delighted to say she's here tonight
0:19:42 > 0:19:44to sing two of your songs from that musical.
0:19:44 > 0:19:46APPLAUSE
0:19:46 > 0:19:48The title song and Take That Look Off Your Face.
0:19:48 > 0:19:50Ladies and gentlemen, Marti Webb!
0:19:50 > 0:19:52APPLAUSE
0:20:02 > 0:20:05# You must be mistaken
0:20:05 > 0:20:07# It couldn't have been
0:20:07 > 0:20:09# You couldn't have seen him
0:20:09 > 0:20:12# Yesterday
0:20:12 > 0:20:14# He's doing some deal
0:20:14 > 0:20:17# Up in Baltimore now
0:20:17 > 0:20:20# I hate it when he's away
0:20:21 > 0:20:23# You must be mistaken
0:20:23 > 0:20:25# I'm sure that you are
0:20:25 > 0:20:29# There's more than one car with stickers on
0:20:31 > 0:20:35# And lots of young guys wear corduroy pants
0:20:35 > 0:20:39# And I'd know if he hadn't gone
0:20:39 > 0:20:41# Take that look off your face
0:20:42 > 0:20:45# I can see through your smile
0:20:47 > 0:20:49# You would love to be right
0:20:49 > 0:20:52# I bet you didn't sleep good last night
0:20:52 > 0:20:57# Couldn't wait to bring all of that bad news to my door
0:20:57 > 0:20:59# Well, I've got news for you
0:21:01 > 0:21:03# I knew before
0:21:06 > 0:21:09# If I'm not mistaken
0:21:09 > 0:21:10# It started last year
0:21:10 > 0:21:15# I'm not very clear how it began
0:21:16 > 0:21:20# I noticed a change, but I just closed my eyes
0:21:20 > 0:21:24# As only a woman can
0:21:24 > 0:21:26# No, I didn't dig deep
0:21:28 > 0:21:30# I did not want to know
0:21:32 > 0:21:34# Well, you don't interfere
0:21:34 > 0:21:38# When you're scared of the things you might hear
0:21:38 > 0:21:41# When he's back, you think I will end it
0:21:41 > 0:21:43# Right there and then
0:21:43 > 0:21:47# Well, my fair-weather friend
0:21:47 > 0:21:49# You're wrong again
0:21:54 > 0:21:56# Take that look off your face
0:21:58 > 0:22:00# I can see through your smile
0:22:00 > 0:22:02# You would love to be right
0:22:02 > 0:22:06# I bet you didn't sleep good last night
0:22:06 > 0:22:11# Couldn't wait to bring all of that bad news to my door
0:22:11 > 0:22:13# Well, I've got news for you
0:22:14 > 0:22:23# I knew before
0:22:23 > 0:22:28# I can see through your smile
0:22:28 > 0:22:30# You would love to be right
0:22:30 > 0:22:33# I bet you didn't sleep good last night
0:22:33 > 0:22:38# Couldn't wait to bring all of that bad news to my door
0:22:38 > 0:22:40# Well, I've got news for you
0:22:42 > 0:22:51# I knew before. #
0:22:51 > 0:22:54APPLAUSE AND CHEERING
0:23:20 > 0:23:23# Don't write a letter
0:23:23 > 0:23:26# When you want to leave
0:23:26 > 0:23:32# Don't call me at 3am from a friend's apartment
0:23:32 > 0:23:36# I'd like to choose
0:23:36 > 0:23:39# How I hear the news
0:23:40 > 0:23:44# Take me to a park
0:23:46 > 0:23:51# That's covered with trees
0:23:51 > 0:24:00# Tell me on a Sunday, please
0:24:00 > 0:24:03# Let me down easy
0:24:03 > 0:24:05# No big song and dance
0:24:05 > 0:24:09# No long faces, no long looks
0:24:09 > 0:24:12# No deep conversation
0:24:12 > 0:24:14# I know the way
0:24:14 > 0:24:18# We should spend that day
0:24:18 > 0:24:22# Take me to a zoo
0:24:22 > 0:24:25# That's got chimpanzees
0:24:25 > 0:24:31# Tell me on a Sunday, please
0:24:33 > 0:24:35# Don't want to know who's to blame
0:24:35 > 0:24:38# It won't help knowing
0:24:38 > 0:24:41# Don't want to fight day and night
0:24:41 > 0:24:44# Bad enough you're going
0:24:44 > 0:24:51# Don't leave in silence with no words at all
0:24:51 > 0:24:54# Don't get drunk and slam the door
0:24:54 > 0:24:57# That's no way to end this
0:24:57 > 0:25:00# I know how I
0:25:00 > 0:25:04# Want you to say goodbye
0:25:05 > 0:25:09# Find a circus ring
0:25:10 > 0:25:13# With a flying trapeze
0:25:13 > 0:25:20# Tell me on a Sunday, please
0:25:28 > 0:25:31# I don't want to fight day and night
0:25:31 > 0:25:35# Bad enough you're going
0:25:35 > 0:25:42# Don't leave in silence with no word at all
0:25:42 > 0:25:45# Don't get drunk and slam the door
0:25:45 > 0:25:48# That's no way to end this
0:25:48 > 0:25:50# I know how I
0:25:50 > 0:25:54# Want you to say goodbye
0:25:54 > 0:25:59# Don't run off in the pouring rain
0:25:59 > 0:26:02# Don't call me as they call your plane
0:26:02 > 0:26:10# Take the hurt out of all the pain
0:26:15 > 0:26:22# Take me to a park
0:26:23 > 0:26:28# That's covered with trees
0:26:30 > 0:26:38# Tell me on a Sunday
0:26:39 > 0:26:47# Please. #
0:26:47 > 0:26:50APPLAUSE AND CHEERING
0:26:55 > 0:26:57Wow!
0:27:00 > 0:27:02It's a very dramatic lyric, isn't it?
0:27:02 > 0:27:04Yes, and Marti's a great storyteller
0:27:04 > 0:27:06- and she sang beautifully. - Absolutely wonderful.
0:27:06 > 0:27:09- It was a pleasure to hear her again. - Wonderful, wonderful.
0:27:09 > 0:27:12APPLAUSE
0:27:15 > 0:27:17Now, your name is just Don Black.
0:27:17 > 0:27:22You're not AND Don Black, and all the great lyric writers are "AND."
0:27:22 > 0:27:24You know, Gilbert AND Sullivan...
0:27:24 > 0:27:27- Right.- Rodgers AND Hammerstein...
0:27:27 > 0:27:28Tate and Lyle.
0:27:28 > 0:27:31- Tate and Lyle! - LAUGHTER
0:27:31 > 0:27:35You've never found, or never wanted to find a music writing partner.
0:27:35 > 0:27:38You're a freelancer. You're a gun for hire, aren't you?
0:27:38 > 0:27:43Basically, yes. I mean, I was writing with John Barry regularly,
0:27:43 > 0:27:45then he moved to America for 40 years,
0:27:45 > 0:27:47so we did write infrequently.
0:27:47 > 0:27:49But that's one of those...
0:27:49 > 0:27:51I mean, I've often envied people like Kander and Ebb,
0:27:51 > 0:27:53who stay together for many, many years.
0:27:53 > 0:27:55I think there's something in that,
0:27:55 > 0:27:59because you learn to know each other's strengths and weaknesses.
0:27:59 > 0:28:01But, you know, it's been fun,
0:28:01 > 0:28:04going from Quincy Jones to Henry Mancini, you know.
0:28:04 > 0:28:08Tell us what Quincy has done. So, for people who...
0:28:08 > 0:28:12Well, the assignment with Quincy was The Italian Job,
0:28:12 > 0:28:14the movie with Michael Caine.
0:28:14 > 0:28:17And it was very difficult for Quincy,
0:28:17 > 0:28:19because Quincy's background
0:28:19 > 0:28:22is very much with those great jazz people like Count Basie,
0:28:22 > 0:28:27Sarah Vaughan, Billy Eckstein, Billie Holiday, he goes way back.
0:28:27 > 0:28:29He was a composer, arranger, producer...
0:28:29 > 0:28:31Mainly an arranger-producer. Not really a songwriter.
0:28:31 > 0:28:36And our brief on The Italian Job was to write a summery song,
0:28:36 > 0:28:38and he found it SO difficult.
0:28:38 > 0:28:42I said, "We've got to write something like Volare,
0:28:42 > 0:28:46"or Come Prima, or Cuando Caliente El Sol."
0:28:46 > 0:28:48"One of those summery songs."
0:28:48 > 0:28:51And he stared at his piano for hours and hours,
0:28:51 > 0:28:53and couldn't come up with anything.
0:28:53 > 0:28:56I finally gave him a title - On Days Like These -
0:28:56 > 0:29:00- and he still stared at the piano... - AUDIENCE MEMBER WHISTLES
0:29:00 > 0:29:04And I went round the block, he had an apartment in Marble Arch,
0:29:04 > 0:29:07and I tell you, it took him for ever and ever
0:29:07 > 0:29:09to come up with such a simple thing, but it worked,
0:29:09 > 0:29:14and it is beautiful, but when you hear it, it sounds so easy. But...
0:29:14 > 0:29:16You didn't think of writing a song with the title
0:29:16 > 0:29:19You're Only Supposed To Blow The Bloody Doors Off?
0:29:19 > 0:29:22- LAUGHTER - No, they wanted something more romantic than that!
0:29:22 > 0:29:24More romantic than that, OK.
0:29:24 > 0:29:28Performing On Days Like These, from the classic The Italian Job,
0:29:28 > 0:29:30please welcome back Gregory Porter.
0:29:30 > 0:29:33APPLAUSE
0:29:46 > 0:29:53# Questi giorni quando vieni
0:29:53 > 0:29:57# Il bello sole
0:29:57 > 0:29:59# La-la-la-la
0:29:59 > 0:30:02# La-la-la-la
0:30:02 > 0:30:05# La-la-la-la
0:30:07 > 0:30:09# On days like these
0:30:09 > 0:30:12# When skies are blue
0:30:12 > 0:30:14# And fields are green
0:30:16 > 0:30:21# I look around and think about
0:30:21 > 0:30:24# What might have been
0:30:25 > 0:30:31# And then I hear sweet music float
0:30:31 > 0:30:33# Around my head
0:30:36 > 0:30:40# As I recall the many things
0:30:40 > 0:30:43# We left unsaid
0:30:45 > 0:30:49# It's on days like these
0:30:49 > 0:30:54# That I remember
0:30:54 > 0:30:58# Singing songs and drinking wine
0:30:58 > 0:31:00# While your eyes
0:31:00 > 0:31:02# Played games with mine
0:31:04 > 0:31:07# On days like these
0:31:07 > 0:31:11# I wonder what became of you
0:31:13 > 0:31:19# Maybe today, you're singing songs
0:31:19 > 0:31:22# With someone new
0:31:23 > 0:31:26# I'd like to think
0:31:26 > 0:31:33# You're walking by those willow trees
0:31:33 > 0:31:38# Remembering the love we knew
0:31:38 > 0:31:40# On days like these
0:31:42 > 0:31:46# It's on days like these
0:31:46 > 0:31:51# That I remember
0:31:51 > 0:31:55# Singing songs and drinking wine
0:31:55 > 0:31:57# While your eyes
0:31:57 > 0:32:01# Played games with mine
0:32:01 > 0:32:04# On days like these
0:32:04 > 0:32:08# I wonder what became of you
0:32:11 > 0:32:15# Maybe today, you're singing songs
0:32:15 > 0:32:17# With someone new
0:32:20 > 0:32:23# On days like these
0:32:23 > 0:32:27# I wonder what became of you
0:32:29 > 0:32:34# Maybe today, you're singing songs
0:32:34 > 0:32:37# With someone new
0:32:39 > 0:32:47# With someone new. #
0:32:47 > 0:32:51APPLAUSE AND CHEERING
0:32:59 > 0:33:01The wonderful Gregory Porter there.
0:33:01 > 0:33:03I'd forgotten what a wonderful song that is.
0:33:03 > 0:33:07Now, John Barry is a key figure in your career, obviously,
0:33:07 > 0:33:09and a very, very, very great musician.
0:33:09 > 0:33:12Oh, he's great. John Barry, I cannot...
0:33:12 > 0:33:15I mean, I was writing with him for over 40 years and, yet,
0:33:15 > 0:33:18I remember the lunches more than the songs,
0:33:18 > 0:33:22because John...
0:33:22 > 0:33:25He had great taste. He was a bit of a James Bond character himself,
0:33:25 > 0:33:29before James Bond, although he was responsible for that great music.
0:33:29 > 0:33:30He drove a white Maserati,
0:33:30 > 0:33:33he wore the best suits,
0:33:33 > 0:33:35he was always surrounded by beautiful women.
0:33:35 > 0:33:39But when it came to eating, he ate like a ballerina.
0:33:39 > 0:33:40He was very skinny.
0:33:40 > 0:33:44I remember Michael Caine once presented him with an award
0:33:44 > 0:33:48and he said, "This is the first time I've presented an award
0:33:48 > 0:33:49"that's heavier than the recipient."
0:33:49 > 0:33:52LAUGHTER
0:33:52 > 0:33:55There were many songs, wonderful songs, that everybody recognises
0:33:55 > 0:33:58that you two came up with, but there one particular
0:33:58 > 0:34:01favourite throughout the world,
0:34:01 > 0:34:04which is also almost a hymn. I'm referring, of course,
0:34:04 > 0:34:06to Born Free.
0:34:06 > 0:34:09Well, you know...
0:34:09 > 0:34:12APPLAUSE
0:34:12 > 0:34:16You know, I have a theory. Luck plays a very big part
0:34:16 > 0:34:18in a songwriter's career.
0:34:18 > 0:34:22I have this theory that behind every successful songwriter
0:34:22 > 0:34:25there's an astonished mother-in-law.
0:34:25 > 0:34:27LAUGHTER
0:34:27 > 0:34:31And Carl - the producer of Born Free, Carl Foreman -
0:34:31 > 0:34:35did not like John's melody and he wasn't happy with my lyric.
0:34:35 > 0:34:39He wanted it more about cages and jungles and things like that.
0:34:39 > 0:34:43He said I made too much of a social comment about it.
0:34:43 > 0:34:47However, when, you know, it won the Oscar and, that night,
0:34:47 > 0:34:49Dean Martin gave it to me,
0:34:49 > 0:34:52Carl Foreman came up to me at the party afterwards and said,
0:34:52 > 0:34:54"Well, Don, it does grow on you."
0:34:54 > 0:34:56LAUGHTER
0:34:56 > 0:35:00- But it's true...- Did Born Free nearly not get in the film?- No.
0:35:00 > 0:35:04One night, we went - Matt Monro and his family and me and my family -
0:35:04 > 0:35:06we went to a premiere and it wasn't in the film.
0:35:06 > 0:35:08Carl Foreman actually took it out.
0:35:08 > 0:35:12But the song became a big hit in America and so, they quickly,
0:35:12 > 0:35:14to make it eligible for the Academy Award,
0:35:14 > 0:35:17- they made sure it was in every print.- They released the song
0:35:17 > 0:35:20- as a single? - Yes, a single.- With Matt?
0:35:20 > 0:35:22Not with Matt, with Roger Williams
0:35:22 > 0:35:24and his Orchestra. It was a big hit in America.
0:35:24 > 0:35:29To perform this iconic song, Born Free, West End star Kerry Ellis,
0:35:29 > 0:35:33accompanied by the legendary guitarist, Brian May.
0:35:33 > 0:35:37CHEERING AND APPLAUSE
0:36:02 > 0:36:06# Born free
0:36:06 > 0:36:12# As free as the wind blows
0:36:12 > 0:36:16# As free as the grass grows
0:36:16 > 0:36:21# Born free to follow your heart
0:36:24 > 0:36:27# Live free
0:36:27 > 0:36:33# And beauty surrounds you
0:36:33 > 0:36:37# The world still astounds you
0:36:37 > 0:36:44# Each time you look at a star
0:36:44 > 0:36:47# Stay free
0:36:47 > 0:36:52# Where no walls divide you
0:36:52 > 0:36:56# You're free as a roaring tide
0:36:56 > 0:37:04# So there's no need to hide
0:37:04 > 0:37:07# Born free
0:37:07 > 0:37:13# And life is worth living
0:37:13 > 0:37:17# But only worth living
0:37:19 > 0:37:27# When you are free
0:37:27 > 0:37:31# Born free
0:37:49 > 0:37:51# Whoa-oh-oh
0:37:51 > 0:37:54# No man
0:37:54 > 0:37:58# Should choose your life for you
0:37:58 > 0:38:02# No man has the right to say
0:38:02 > 0:38:06# You'll live or die
0:38:06 > 0:38:12# Today
0:38:12 > 0:38:16# Born free
0:38:16 > 0:38:21# And life is worth living
0:38:21 > 0:38:26# But only worth living
0:38:26 > 0:38:31# When you are
0:38:31 > 0:38:40# Free
0:38:41 > 0:38:49# Born free. #
0:38:59 > 0:39:03CHEERING AND APPLAUSE
0:39:26 > 0:39:28- What makes a Bond song? - What makes a Bond song?
0:39:28 > 0:39:32Well, I've written five of them - three with John Barry,
0:39:32 > 0:39:37two with David Arnold. I always think a Bond song should be
0:39:37 > 0:39:41provocative, seductive and have the whiff of the boudoir about it.
0:39:41 > 0:39:43A whiff of the boudoir?
0:39:43 > 0:39:46The lure of the forbidden. I also think Shirley Bassey
0:39:46 > 0:39:48should sing 'em all.
0:39:48 > 0:39:51LAUGHTER AND APPLAUSE
0:39:54 > 0:39:55Were you a big Bond fan
0:39:55 > 0:39:59- before you got the first call? - Very much. They used me because
0:39:59 > 0:40:01of my uncanny resemblance to Sean Connery(!)
0:40:01 > 0:40:03LAUGHTER
0:40:03 > 0:40:06But seriously, who isn't a Bond fan? Everyone is a Bond fan.
0:40:06 > 0:40:09And did the music excite you when you saw the first one?
0:40:09 > 0:40:12Yeah, I saw Dr No and Goldfinger and that's when I came in,
0:40:12 > 0:40:16I think, on the third one, with Thunderball.
0:40:16 > 0:40:19There's just something very special about Bond music.
0:40:19 > 0:40:22I mean, John Barry... Take away John Barry
0:40:22 > 0:40:26and it wouldn't be the same. His contribution has been phenomenal.
0:40:26 > 0:40:31- But he did the arrangement.- Only of the theme, but everything else,
0:40:31 > 0:40:34he scored the whole picture and written so many of the songs.
0:40:34 > 0:40:38Very muscular music. Very masculine, muscular.
0:40:38 > 0:40:40It is. It is. And yet, you do get tender things.
0:40:40 > 0:40:43You get We Have All The Time In The World,
0:40:43 > 0:40:46which Louis Armstrong sang. A very tender love song.
0:40:46 > 0:40:47Many moods of Bond.
0:40:47 > 0:40:49What was your first Bond?
0:40:49 > 0:40:53Erm, the first one... Again, luck comes into it,
0:40:53 > 0:40:58because it was Thunderball and John asked me to do Thunderball.
0:40:58 > 0:41:01I looked it up in a dictionary and it wasn't there.
0:41:01 > 0:41:04There isn't a word such as thunderball,
0:41:04 > 0:41:08so I used it as a kind of a code. But I went to the session,
0:41:08 > 0:41:11- with Tom Jones and... - Sorry, did you know
0:41:11 > 0:41:14- that Tom was going to sing it when you were writing it?- Yeah.
0:41:14 > 0:41:17- You were writing a song for Tom Jones?- We wanted Tom Jones,
0:41:17 > 0:41:21because it was that muscular sound and Tom was the right man for it.
0:41:21 > 0:41:26But there was a major problem on the day, because when we sang it -
0:41:26 > 0:41:28he sang it beautifully, in one take -
0:41:28 > 0:41:31but on the last note, he fainted.
0:41:31 > 0:41:36He actually passed out. It was a blood-rush thing.
0:41:36 > 0:41:40He wobbled and I thought, "Oh, my God, that's the end of that."
0:41:40 > 0:41:43But John Barry said, "No, I'm happy with the first take."
0:41:43 > 0:41:45- So he was done in one take. - He got the note out, then fainted?
0:41:45 > 0:41:49He did. I've spoken to him about it since. He still sings the song,
0:41:49 > 0:41:50but he's lowered the key.
0:41:50 > 0:41:52LAUGHTER
0:41:52 > 0:41:54Well, ladies and gentlemen,
0:41:54 > 0:41:57please welcome, singing the first of Don's Bond songs,
0:41:57 > 0:42:00Thunderball, the very brave Marc Almond.
0:42:00 > 0:42:04CHEERING AND APPLAUSE
0:42:22 > 0:42:27# He always runs while others walk
0:42:31 > 0:42:37# He acts while other men just talk
0:42:39 > 0:42:45# He looks at this world and wants it all
0:42:49 > 0:42:51# So he strikes
0:42:51 > 0:42:56# Like Thunderball
0:42:58 > 0:43:03# He knows the meaning of success
0:43:07 > 0:43:11# His needs are more
0:43:11 > 0:43:14# So he gives less
0:43:16 > 0:43:22# They call him the winner who takes all
0:43:24 > 0:43:27# And he strikes
0:43:27 > 0:43:32# Like Thunderball
0:43:34 > 0:43:41# Any woman he wants, he will get
0:43:43 > 0:43:51# He will break any heart without regret
0:43:52 > 0:43:57# His days of asking are all gone
0:44:00 > 0:44:07# His fight goes on and on and on
0:44:10 > 0:44:15# But he thinks that the fight is worth it all
0:44:18 > 0:44:20# So he strikes
0:44:20 > 0:44:26# Like Thunderball
0:44:26 > 0:44:30# Like Thunderball
0:44:30 > 0:44:37# Like Thunderball. #
0:44:40 > 0:44:43CHEERING AND APPLAUSE
0:44:51 > 0:44:54And he's still standing!
0:44:54 > 0:44:57That was great. Marc Almond. And now, with her own interpretation
0:44:57 > 0:45:00of the Lulu classic, The Man With The Golden Gun,
0:45:00 > 0:45:03please welcome Eliza Doolittle.
0:45:03 > 0:45:07CHEERING AND APPLAUSE
0:45:35 > 0:45:39# He has a powerful weapon
0:45:39 > 0:45:41# He charges a million a shot
0:45:43 > 0:45:46# An assassin that's second to none
0:45:46 > 0:45:52# The man with the golden gun
0:45:52 > 0:45:55# Lurking in some darkened doorway
0:45:55 > 0:45:59# Or crouched on a rooftop somewhere
0:45:59 > 0:46:03# In the next room or this very one
0:46:03 > 0:46:08# The man with the golden gun
0:46:08 > 0:46:12# Love is required whenever he's hired
0:46:12 > 0:46:15# It comes just before the kill
0:46:15 > 0:46:19# No-one can catch him No hitman can match him
0:46:19 > 0:46:23# For his million-dollar skill
0:46:23 > 0:46:27# One golden shot means another poor victim
0:46:27 > 0:46:30# Has come to a glittering end
0:46:30 > 0:46:34# For a price, he'll erase anyone
0:46:34 > 0:46:39# The man with the golden gun
0:46:39 > 0:46:43# His eye may be
0:46:43 > 0:46:47# On you or me
0:46:47 > 0:46:52# Who will he bang?
0:46:54 > 0:47:01# We shall see
0:47:01 > 0:47:07# Oh, oh, oh-oh, oh-oh, yeah
0:47:40 > 0:47:44# Love is required whenever he's hired
0:47:44 > 0:47:48# It comes just before the kill
0:47:48 > 0:47:51# No-one can catch him No hitman can match him
0:47:51 > 0:47:55# For his million-dollar skill
0:47:55 > 0:47:59# One golden shot means another poor victim
0:47:59 > 0:48:03# Has come to a glittering end
0:48:03 > 0:48:06# If you want to get rid of someone
0:48:06 > 0:48:10# The man with the golden gun
0:48:10 > 0:48:12# Will get it done
0:48:13 > 0:48:17# He'll shoot anyone
0:48:17 > 0:48:21# With his golden
0:48:21 > 0:48:25# Gun
0:48:27 > 0:48:30# Yeah! #
0:48:31 > 0:48:36CHEERING AND APPLAUSE
0:48:41 > 0:48:43Thank you, Eliza Doolittle.
0:48:43 > 0:48:48Now, please welcome one of Britain's most successful recording artists,
0:48:48 > 0:48:52with her unique acoustic interpretation of the Bond classic,
0:48:52 > 0:48:55Diamonds Are Forever, Katie Melua.
0:48:55 > 0:48:56Yeah!
0:48:56 > 0:49:01CHEERING AND APPLAUSE
0:49:19 > 0:49:25# Diamonds are forever
0:49:25 > 0:49:30# They are all I need to please me
0:49:32 > 0:49:38# They can stimulate and tease me
0:49:38 > 0:49:42# They won't leave in the night
0:49:42 > 0:49:50# I've no fear that they might desert me
0:49:52 > 0:49:58# Diamonds are forever
0:49:58 > 0:50:05# Hold one up and then caress it
0:50:05 > 0:50:11# Touch it, stroke it and undress it
0:50:11 > 0:50:15# I can see every part
0:50:15 > 0:50:21# Nothing hides in the heart to hurt me
0:50:24 > 0:50:29# I don't need love
0:50:29 > 0:50:33# For what good would love do me?
0:50:36 > 0:50:41# Diamonds never lie to me
0:50:43 > 0:50:47# For when love's gone
0:50:49 > 0:50:56# They'll lustre on
0:50:58 > 0:51:04# Diamonds are forever
0:51:04 > 0:51:09# Sparkling round my little finger
0:51:10 > 0:51:16# Unlike men, the diamonds linger
0:51:17 > 0:51:20# Men are mere mortals who
0:51:20 > 0:51:27# Are not worth going to your grave for
0:51:28 > 0:51:35# I don't need love
0:51:35 > 0:51:39# For what good would love do me?
0:51:41 > 0:51:46# Diamonds never lie to me
0:51:48 > 0:51:53# For when love's gone
0:51:54 > 0:52:00# They'll lustre on
0:52:03 > 0:52:09# Diamonds are forever, forever, forever
0:52:09 > 0:52:15# Diamonds are forever and ever
0:52:15 > 0:52:19# Forever
0:52:21 > 0:52:33# And ever. #
0:52:33 > 0:52:37APPLAUSE
0:52:54 > 0:52:56Wow.
0:52:58 > 0:53:01Saving Shirley Bassey, have you ever heard your lyrics
0:53:01 > 0:53:05- sung as well as that? - No. I mean, a stunning performance.
0:53:05 > 0:53:07Katie Melua. Wasn't that great?
0:53:14 > 0:53:17I never realised the lyrics were so naughty. I mean, they are...
0:53:17 > 0:53:21- I didn't know you could be smutty. - LAUGHTER
0:53:21 > 0:53:25Erm...you're a pretty fearless lyric writer, Don, in my book.
0:53:25 > 0:53:29Erm... You don't seem to say no to any challenge.
0:53:29 > 0:53:32- And the bigger the challenge the better.- What have I done?
0:53:32 > 0:53:34You've written a Hindi song.
0:53:34 > 0:53:36Shakalaka Baby.
0:53:36 > 0:53:38We've had you in Italian...
0:53:38 > 0:53:41- With The Italian Job. - And now you get a call...
0:53:41 > 0:53:43via Andrew Lloyd Webber again.
0:53:43 > 0:53:46Would you write a lyric for the song
0:53:46 > 0:53:49- for the Barcelona Olympics, I think, in 1992?- That's right.
0:53:49 > 0:53:51- You speak fluent Spanish.- Of course.
0:53:51 > 0:53:53Well...
0:53:53 > 0:53:56I'm lost after gazpacho, I think.
0:53:56 > 0:53:59No. It was called Amigos Para Siempre and...
0:53:59 > 0:54:02- Which means?- Friends For Life.
0:54:02 > 0:54:06And it was originally recorded by Jose Carreras and Sarah Brightman,
0:54:06 > 0:54:10and it's been a huge success in Spanish-speaking territories.
0:54:10 > 0:54:13It's one of the most requested songs, I think.
0:54:13 > 0:54:16Performing Amigos Paras Siempre,
0:54:16 > 0:54:21British soprano Laura Wright and male voice choir Only Men Aloud.
0:54:54 > 0:55:01# I don't have to say a word to you
0:55:01 > 0:55:06# You seem to know whatever mood I'm going through
0:55:06 > 0:55:12# Feels as though I've known you forever
0:55:13 > 0:55:19# You can look into my eyes and see
0:55:19 > 0:55:21# The way I feel
0:55:21 > 0:55:25# And how the world is treating me
0:55:25 > 0:55:30# Maybe I have known you forever
0:55:31 > 0:55:36# Amigos para siempre means you'll always be my friend
0:55:36 > 0:55:41# Amics per sempre means a love that cannot end
0:55:41 > 0:55:42# Friends for life
0:55:42 > 0:55:45# Not just a summer or a spring
0:55:45 > 0:55:48# Amigos para siempre
0:55:50 > 0:55:54# I feel you near me even when we are apart
0:55:54 > 0:55:59# Just knowing you are in this world can warm my heart
0:55:59 > 0:56:01# Friends for life
0:56:01 > 0:56:03# Not just a summer or a spring
0:56:03 > 0:56:07# Amigos para siempre
0:56:09 > 0:56:15# We share memories I won't forget
0:56:15 > 0:56:18# And we'll share more, my friend
0:56:18 > 0:56:20# We haven't started yet
0:56:20 > 0:56:26# Something happens when we're together
0:56:28 > 0:56:34# When I look at you I wonder why
0:56:34 > 0:56:39# There has to come a time when we must say goodbye
0:56:39 > 0:56:44# I'm alive when we are together
0:56:45 > 0:56:50# Amigos para siempre means you'll always be my friend
0:56:50 > 0:56:55# Amics per sempre means a love that cannot end
0:56:55 > 0:56:56# Friends for life
0:56:56 > 0:56:58# Not just a summer or a spring
0:56:58 > 0:57:04# Amigos para siempre
0:57:04 > 0:57:08# I feel you near me even when we are apart
0:57:08 > 0:57:13# Just knowing you are in this world can warm my heart
0:57:13 > 0:57:15# Friends for life
0:57:15 > 0:57:17# Not just a summer or a spring
0:57:17 > 0:57:20# Amigos para siempre
0:57:41 > 0:57:46# When I look at you I wonder why
0:57:46 > 0:57:52# There has to come a time when we must say goodbye
0:57:52 > 0:57:56# I'm alive when we are together
0:57:58 > 0:58:04# Amigos para siempre means you'll always be my friend
0:58:04 > 0:58:08# Amics per sempre means a love that cannot end
0:58:08 > 0:58:10# Friends for life
0:58:10 > 0:58:12# Not just a summer or a spring
0:58:12 > 0:58:16# Amigos para siempre
0:58:18 > 0:58:22# I feel you near me even when we are apart
0:58:22 > 0:58:27# Just knowing you are in this world can warm my heart
0:58:27 > 0:58:29# Friends for life
0:58:29 > 0:58:31# Not just a summer or a spring
0:58:31 > 0:58:34# Amigos para siempre
0:58:36 > 0:58:44# Amigos para siempre means you'll always be my friend
0:58:44 > 0:58:48# Amics per sempre means a love that cannot end
0:58:48 > 0:58:50# Friends for life
0:58:50 > 0:58:52# Not just a summer or a spring
0:58:52 > 0:58:56# Amigos para siempre
0:58:56 > 0:59:10# Amigos para siempre. #
0:59:10 > 0:59:14APPLAUSE
0:59:28 > 0:59:31Laura Wright there and Only Men Aloud.
0:59:31 > 0:59:33I want to take you back for a moment, Don,
0:59:33 > 0:59:35- to the West End theatre...- Right.
0:59:35 > 0:59:40..and to a show that was your first success in theatre, which was Billy.
0:59:40 > 0:59:43Yes. It was a very happy time for me.
0:59:43 > 0:59:48Very different writing songs where the characters are given to you
0:59:48 > 0:59:50rather than you have to imagine the characters.
0:59:50 > 0:59:53Well, you know, in a musical it's the lyrics...
0:59:53 > 0:59:57The lyricist's job is to illuminate the character, further the story.
0:59:57 > 0:59:59And I got hooked straightaway
0:59:59 > 1:00:02because in a musical you can write about tragedy,
1:00:02 > 1:00:05disappointment, you can write about any subject in a musical.
1:00:05 > 1:00:07In a pop song you're looking for a hook,
1:00:07 > 1:00:11but in a musical you can really have a verbal...
1:00:11 > 1:00:12firwork display.
1:00:12 > 1:00:17And given that you're a man that works, really, in solitude,
1:00:17 > 1:00:19it's hugely collaborative, a musical.
1:00:19 > 1:00:21- Yes.- You've got somebody who's written the book,
1:00:21 > 1:00:22somebody's who's written the music,
1:00:22 > 1:00:25you've got a director, you've got the actors...
1:00:25 > 1:00:26and you've got to fit in to that.
1:00:26 > 1:00:29It's is, but there's nothing wrong. It's not a hardship.
1:00:29 > 1:00:32It's a joy. You create a whole new family
1:00:32 > 1:00:35when you start a musical with new collaborators.
1:00:35 > 1:00:38But Billy was particularly happy because it was John Barry's idea.
1:00:38 > 1:00:40It was based on Billy Liar.
1:00:40 > 1:00:44I remembered when it opened, when Michael Crawford,
1:00:44 > 1:00:45who was wonderful in it,
1:00:45 > 1:00:49and I remember the next day it was a huge hit.
1:00:49 > 1:00:52And the producer, a wonderful Viennese man called Peter Witt,
1:00:52 > 1:00:56he took us to Burke's restaurant in Bond Street,
1:00:56 > 1:00:58and he took Dick Clement, Ian La Frenais,
1:00:58 > 1:01:01Keith Waterhouse and Willis Hall, John Barry and me.
1:01:01 > 1:01:06And he said, "You boys will never be as happy as you are today.
1:01:06 > 1:01:09"You have a hit show in the West End and you're all healthy."
1:01:09 > 1:01:11I always remember that and it stayed with me.
1:01:11 > 1:01:14And why I'm pleased you're doing this show is
1:01:14 > 1:01:16it was John Barry's favourite song from the show Billy.
1:01:16 > 1:01:20Singing Some of us Belong to the Stars from the musical Billy,
1:01:20 > 1:01:24please welcome singer, actor and comedian Gary Wilmot.
1:01:24 > 1:01:27APPLAUSE
1:01:51 > 1:01:54# Some of us belong to the stars
1:01:54 > 1:01:58# And that is where I'm going
1:02:00 > 1:02:04# I will soar all over the sky
1:02:04 > 1:02:08# And I won't need a Boeing
1:02:10 > 1:02:15# Most people stay and battle on with their boredom
1:02:15 > 1:02:19# But what's the sense in dreaming dreams if you hoard 'em?
1:02:21 > 1:02:25# It won't be long before I say my ta-tas
1:02:25 > 1:02:31# I belong to the stars
1:02:33 > 1:02:35# Some of us belong to the stars
1:02:35 > 1:02:39# Up there is where you'll find me
1:02:40 > 1:02:43# If you want to come for the ride
1:02:43 > 1:02:46# Then form a queue behind me
1:02:48 > 1:02:51# Soon I'll be wallowing in all of life's riches
1:02:51 > 1:02:55# I'm going to carve myself some crater-like niches
1:02:55 > 1:02:58# You better go rehearse your hip-hip-hoorahs
1:02:58 > 1:03:01# I belong to the stars
1:03:03 > 1:03:05# Some of us belong to the stars
1:03:05 > 1:03:11# There's followers and leaders
1:03:11 > 1:03:13# Some of us are born to be great
1:03:13 > 1:03:17# And some are born conceders
1:03:17 > 1:03:21# So I will go wherever winners assemble
1:03:21 > 1:03:24# Yes, from now on my world won't spin, it will tremble
1:03:24 > 1:03:28# I'll soon be passing round the Cuban cigars
1:03:28 > 1:03:31# I belong to the stars.
1:03:33 > 1:03:36# Some of us belong to the stars
1:03:36 > 1:03:39# We fly around in orbit
1:03:41 > 1:03:44# We soak up the wisdom of life
1:03:44 > 1:03:47# While others can't absorb it
1:03:48 > 1:03:52# I'll hang my hat in every part of the atlas
1:03:52 > 1:03:55# Most of the time I will be hopelessly hapless
1:03:55 > 1:03:59# You must come visit one of my shangri-las
1:03:59 > 1:04:03# I belong to the stars
1:04:03 > 1:04:05# I belong to the stars
1:04:05 > 1:04:10# I belong to the stars
1:04:12 > 1:04:21# I belong to the stars
1:04:21 > 1:04:25# I belong to the stars. #
1:04:25 > 1:04:27APPLAUSE
1:04:36 > 1:04:39Lovely Gary Wilmot.
1:04:39 > 1:04:41Thank you, Gary.
1:04:41 > 1:04:43What's your latest project?
1:04:43 > 1:04:45Ah, I'm pleased you asked. It's...
1:04:45 > 1:04:48Well, I'm delighted to say it's another musical
1:04:48 > 1:04:51with Andrew Lloyd Webber and Christopher Hampton,
1:04:51 > 1:04:54and it's Stephen Ward, and it opens in December.
1:04:54 > 1:04:57And I'm very excited about this.
1:04:57 > 1:05:01For 20 years... The three of us wrote Sunset Boulevard together
1:05:01 > 1:05:03and we've been looking for something.
1:05:03 > 1:05:05The three of us worked so well on that,
1:05:05 > 1:05:08and Andrew called 18 months or two years ago
1:05:08 > 1:05:12and said he had this idea for The Profumo Affair.
1:05:12 > 1:05:15That's the centre of the story, but it's about Stephen Ward,
1:05:15 > 1:05:18the society osteopath, who...
1:05:18 > 1:05:21Well, it was a great miscarriage of justice.
1:05:21 > 1:05:22He was a scapegoat.
1:05:22 > 1:05:25- He was a scapegoat for... - A great scandal.- Exactly.
1:05:25 > 1:05:28That's work done. But knowing what a workaholic you are,
1:05:28 > 1:05:31- you must be up to something at the moment.- Erm...
1:05:31 > 1:05:34Well, I've been working with Richard Stilgoe on a little idea.
1:05:34 > 1:05:37- With a rival, a rival lyric writer. - Yes.
1:05:37 > 1:05:38It'll surprise you, I think,
1:05:38 > 1:05:41- what we've come up with. - Really?- Yes.
1:05:41 > 1:05:44- What have you been working on? - Well, you'll see. Introduce the men.
1:05:44 > 1:05:47Oh, OK. Well...
1:05:47 > 1:05:48- LAUGHTER - This is a surprise to me too,
1:05:48 > 1:05:52but with an exclusive performance of something which has just been
1:05:52 > 1:05:54written - I think the ink is still wet -
1:05:54 > 1:05:56please put your hands together
1:05:56 > 1:06:00for one of your competitors, Don, Mr Richard Stilgoe.
1:06:00 > 1:06:02APPLAUSE
1:06:14 > 1:06:17We have heard, already this evening,
1:06:17 > 1:06:21some wonderful songs sung by wonderful singers.
1:06:21 > 1:06:24Every show needs contrast. LAUGHTER
1:06:27 > 1:06:31Don Black went through some of his favourite rhymes...
1:06:32 > 1:06:34..Maxine, etiquette, Connecticut,
1:06:34 > 1:06:36and things during the course of this show.
1:06:36 > 1:06:40And he came to me as the kind of car boot sale end of the songwriting
1:06:40 > 1:06:44market to see if I could recycle all of those into some sort of a song
1:06:44 > 1:06:46and just use them up.
1:06:46 > 1:06:50So, that's what this song does and...that's what I've done,
1:06:50 > 1:06:52and somehow it just isn't as good as Love Changes Everything.
1:06:52 > 1:06:55LAUGHTER
1:07:02 > 1:07:05# Somewhere within earshot of old Bo Bell's chimes
1:07:05 > 1:07:09# Sits the Don Black Memorial Home For Old Rhymes
1:07:10 > 1:07:13# Outside looking in and in need of befriending
1:07:13 > 1:07:16# Slowly approaching her feminine ending
1:07:16 > 1:07:20# Begrimed and unrhymed lies Maxine
1:07:23 > 1:07:25# Poor Maxine had never had need of a rhyme
1:07:25 > 1:07:29# She spent her professional life as a mime
1:07:29 > 1:07:32# She mimed in Calcutta, she mimed in Connecticut
1:07:32 > 1:07:35# Rhymes were outside her professional etiquette
1:07:35 > 1:07:39# A word was absurd to Maxine
1:07:39 > 1:07:42# Maxine's career had been unorthodox
1:07:42 > 1:07:45# Pretending on stage to live in a glass box
1:07:45 > 1:07:48# A kickboxing mime's nothing like Uma Thurman
1:07:48 > 1:07:52# Her act's as much fun as a sermon in German
1:07:52 > 1:07:53# It's sad but it's true
1:07:53 > 1:07:57# Those who ape Marcel Marceau will be looked on by some
1:07:57 > 1:07:58# As a bit of an idiot
1:07:58 > 1:08:02# They think rhyme is a crime
1:08:02 > 1:08:03# Poor Maxine
1:08:05 > 1:08:09# She was no good on TV quiz shows as a panellist
1:08:09 > 1:08:12# It takes a long time to mime dreams to your analyst
1:08:12 > 1:08:15# So Maxine ran off with a GI on furlough
1:08:15 > 1:08:19# Who plied her with vindaloo washed down with merlot
1:08:19 > 1:08:21# The cooking of Bombay is spicy and gingery
1:08:21 > 1:08:24# And when it's served flambe adds insult to injury
1:08:24 > 1:08:27# Not only that, it was flambeed in Pernod
1:08:27 > 1:08:31# So Maxine's insides were a Bombay inferno
1:08:32 > 1:08:36# And now she lies outside the home in the grime
1:08:36 > 1:08:40# Unable to get in for lack of a rhyme
1:08:40 > 1:08:43# She's dyspeptic, going septic
1:08:43 > 1:08:44# Poor Maxine
1:08:47 > 1:08:50# The staff thought she died so they sent for a coroner
1:08:50 > 1:08:52# Who said, "Elle est morte."
1:08:52 > 1:08:54# The man was a foreigner
1:08:55 > 1:08:57# But she was still breathing
1:08:57 > 1:08:58# They called in a doctor
1:08:58 > 1:09:02# Who looked pretty shocked from the moment he clocked her
1:09:02 > 1:09:04# He cried, "Never fear, I am Dr Sibelius
1:09:04 > 1:09:06# "That's not my real name
1:09:06 > 1:09:07# "I am using an alias..." #
1:09:09 > 1:09:11LAUGHTER AND APPLAUSE
1:09:11 > 1:09:13It gets worse.
1:09:13 > 1:09:16# "The flambe from Bombay was not over-gingery
1:09:16 > 1:09:18# "The Pernod inferno has done her no injury
1:09:18 > 1:09:22# "I have here the cure, the cure for Maxine
1:09:22 > 1:09:27# "I shall give her a shot of my magic vaccine."
1:09:29 > 1:09:32# On hearing the word Maxine pricked up her ears
1:09:32 > 1:09:35# Embraced the old doctor and burst into tears
1:09:35 > 1:09:38# "Oh, doctor," said Maxine, "I thought you a quack
1:09:38 > 1:09:42# "But you brought me a rhyme, the one thing that I lack
1:09:42 > 1:09:46# "Now I have vaccine and that rhymes with Maxine
1:09:46 > 1:09:47# "I'll never be lonely
1:09:47 > 1:09:50# "I'll join the Don Black scene."
1:09:50 > 1:09:52# Maxine will be there
1:09:52 > 1:09:56# Living under the care of the gently satirical lyrical miracle
1:09:56 > 1:09:58# He'll never write Tosca but he has got an Oscar
1:09:58 > 1:10:04# The lyrical miracle known as Don Black. #
1:10:04 > 1:10:08CHEERING AND APPLAUSE
1:10:27 > 1:10:29Do you need a pencil to write some of those down quickly?
1:10:29 > 1:10:32- That was wonderful. - Wasn't that brilliant?- Absolutely.
1:10:32 > 1:10:35I want to go back to talk about Sunset Boulevard,
1:10:35 > 1:10:38which was based on the 1950 Billy Wilder film.
1:10:38 > 1:10:41Did you watch the film before you got involved?
1:10:41 > 1:10:42Oh, yeah, many times.
1:10:42 > 1:10:46I loved the film and I loved Hollywood films.
1:10:46 > 1:10:50In Hackney I used to live at the cinema, between the cinema
1:10:50 > 1:10:52and the Hackney Empire.
1:10:52 > 1:10:54So, it was Humphrey Bogart and James Cagney by day,
1:10:54 > 1:10:57and Max Miller and Anne Sheldon at night.
1:10:57 > 1:11:03But... Sunset Boulevard was a dream assignment, I think, from Andrew.
1:11:03 > 1:11:04I loved it, and...
1:11:05 > 1:11:08On the opening night, Billy Wilder...
1:11:08 > 1:11:09Who originated...
1:11:09 > 1:11:12..who wrote it, he said to Christopher Hampton and me,
1:11:12 > 1:11:14"You boys are very clever."
1:11:14 > 1:11:15I said, "Why's that, Mr Wilder?"
1:11:15 > 1:11:18He said, "You didn't change anything."
1:11:18 > 1:11:21We stayed very close to the original screenplay because it was so good.
1:11:21 > 1:11:23Very dark piece.
1:11:23 > 1:11:27I think it's one of Andrew's best scores. I think it's...
1:11:27 > 1:11:30a thrilling piece. Again, it's that theme that
1:11:30 > 1:11:35so many people can relate to about a woman who is past it, really,
1:11:35 > 1:11:38but she's clinging to that dream.
1:11:38 > 1:11:44And...anyone in this business, who's been in it for some time,
1:11:44 > 1:11:49really loves to play. It's been played by many, many people and...
1:11:49 > 1:11:52Again, it touches a lot of nerves.
1:11:52 > 1:11:53Well, now we're going to hear two
1:11:53 > 1:11:57songs from Andrew Lloyd Webber's hugely successful Sunset Boulevard.
1:11:57 > 1:12:01Please welcome Oliver Award-winning star of the musical stage,
1:12:01 > 1:12:04the one and only Maria Friedman.
1:12:04 > 1:12:06APPLAUSE
1:12:37 > 1:12:40# I don't know why I'm frightened
1:12:42 > 1:12:46# I know my way around here
1:12:47 > 1:12:52# The cardboard trees, the painted scenes
1:12:52 > 1:12:57# The sound here
1:12:57 > 1:13:00# Yes, a world to rediscover
1:13:03 > 1:13:06# But I'm not in any hurry
1:13:09 > 1:13:16# And I need a moment
1:13:18 > 1:13:27# The whispered conversations in overcrowded hallways
1:13:27 > 1:13:34# The atmosphere as thrilling here as always
1:13:36 > 1:13:41# Feel the early morning madness
1:13:41 > 1:13:45# Feel the magic in the making
1:13:46 > 1:13:54# Why everything's as if we never said goodbye
1:13:56 > 1:14:00# I've spent so many mornings
1:14:00 > 1:14:04# Just trying to resist you
1:14:04 > 1:14:07# I'm trembling now
1:14:07 > 1:14:12# You can't know how I've missed you
1:14:12 > 1:14:17# Missed the fairy tale adventure
1:14:17 > 1:14:21# In this ever-spinning playground
1:14:22 > 1:14:28# We were young together
1:14:30 > 1:14:35# I'm coming out of make-up
1:14:35 > 1:14:39# The lights already burning
1:14:39 > 1:14:47# Not long until the cameras will start turning
1:14:47 > 1:14:52# And the early morning madness
1:14:52 > 1:14:57# And the magic in the making
1:14:57 > 1:14:59# Yes, everything's as if
1:14:59 > 1:15:03# We never said goodbye
1:15:03 > 1:15:07# I don't want to be alone
1:15:07 > 1:15:11# That's all in the past
1:15:11 > 1:15:15# This world's waited long enough
1:15:15 > 1:15:22# I've come home
1:15:22 > 1:15:27# At last!
1:15:27 > 1:15:31# And this time will be bigger
1:15:32 > 1:15:37# And brighter than we knew it
1:15:37 > 1:15:39# So watch me fly
1:15:39 > 1:15:45# We all know I can do it
1:15:45 > 1:15:49# Can I stop my hand from shaking?
1:15:49 > 1:15:53# Has there ever been a moment
1:15:53 > 1:16:01# With so much to live for?
1:16:03 > 1:16:07# The whispered conversations
1:16:09 > 1:16:12# In overcrowded hallways
1:16:13 > 1:16:16# So much to say
1:16:16 > 1:16:22# Not just today, but always
1:16:22 > 1:16:29# We'll have early morning madness
1:16:29 > 1:16:34# We'll have magic in the making
1:16:34 > 1:16:37# Yes, everything's as if
1:16:37 > 1:16:40# We never said
1:16:40 > 1:16:47# Goodbye
1:16:47 > 1:16:49# Yes...
1:16:49 > 1:16:52# Everything's as if
1:16:52 > 1:16:57# We never said
1:16:57 > 1:17:04# Goodbye
1:17:07 > 1:17:11# We taught the world
1:17:11 > 1:17:14# New ways
1:17:14 > 1:17:25# To dream. #
1:17:25 > 1:17:28APPLAUSE
1:17:44 > 1:17:49MUSIC: "With One Look"
1:17:58 > 1:18:01# With one look
1:18:01 > 1:18:06# I can break your heart
1:18:06 > 1:18:08# With one look
1:18:08 > 1:18:13# I play every part
1:18:13 > 1:18:20# I can make your sad heart sing
1:18:20 > 1:18:22# With one look
1:18:22 > 1:18:29# You'll know all you need to know
1:18:29 > 1:18:33# With one smile
1:18:33 > 1:18:36# I'm the girl next door
1:18:36 > 1:18:39# Or the love
1:18:39 > 1:18:43# That you've hungered for
1:18:43 > 1:18:46# When I speak
1:18:46 > 1:18:50# It's with my soul
1:18:50 > 1:18:54# I can play
1:18:54 > 1:18:57# Any role
1:18:57 > 1:19:00# No words can tell
1:19:00 > 1:19:03# The stories my eyes tell
1:19:03 > 1:19:06# Watch me when I frown
1:19:06 > 1:19:09# You can't write that down
1:19:09 > 1:19:13# You know I'm right
1:19:13 > 1:19:15# It's there in black and white
1:19:15 > 1:19:18# When I look your way
1:19:18 > 1:19:22# You'll hear what I say
1:19:22 > 1:19:26# Yes, with one look
1:19:26 > 1:19:29# I put words to shame
1:19:29 > 1:19:31# Just one look
1:19:31 > 1:19:35# Sets the screen aflame
1:19:35 > 1:19:41# Silent music starts to play
1:19:41 > 1:19:44# One tear in my eye
1:19:44 > 1:19:49# Makes the whole world cry
1:19:49 > 1:19:52# With one look
1:19:52 > 1:19:55# They'll forgive the past
1:19:55 > 1:19:58# They'll rejoice
1:19:58 > 1:20:02# I've come home at last
1:20:02 > 1:20:05# To my people
1:20:05 > 1:20:09# In the dark
1:20:09 > 1:20:12# Still out there
1:20:12 > 1:20:16# In the dark
1:20:27 > 1:20:33# Silent music starts to play
1:20:33 > 1:20:35# With one look
1:20:35 > 1:20:42# You'll know all you need to know
1:20:42 > 1:20:44# With one look
1:20:44 > 1:20:48# I'll ignite a blaze
1:20:48 > 1:20:55# I'll return to my glory days
1:20:55 > 1:20:57# They'll say...
1:20:57 > 1:21:04# "Norma's back at last"
1:21:04 > 1:21:06# This time, I'm staying
1:21:06 > 1:21:09# I'm staying for good
1:21:09 > 1:21:11# I'll be back
1:21:11 > 1:21:16# Where I was born to be
1:21:16 > 1:21:19# With one look
1:21:19 > 1:21:24# I'll be...
1:21:24 > 1:21:32# Me. #
1:21:38 > 1:21:40APPLAUSE
1:22:14 > 1:22:17Well, thank you, Maria Friedman. That was superb.
1:22:17 > 1:22:19And of course, a huge thank you to all the artists
1:22:19 > 1:22:21who have taken part in this fabulous concert.
1:22:26 > 1:22:30A special thank you must also go to the BBC Concert Orchestra
1:22:30 > 1:22:32conducted by Mike Dixon.
1:22:46 > 1:22:50But, of course, finally, thanks to the amazing man himself,
1:22:50 > 1:22:52Don Black, for giving us so much pleasure.
1:23:02 > 1:23:06- I think the artists might have done your lyrics proud.- Fantastic.
1:23:06 > 1:23:07Dazzling performances.
1:23:07 > 1:23:11And I want to say to the people here tonight...thank you so much.
1:23:11 > 1:23:14I hope you've enjoyed my life as much as I have.
1:23:19 > 1:23:20So...
1:23:22 > 1:23:23So, we're going to leave you
1:23:23 > 1:23:27with the song that transformed our next performer's life.
1:23:27 > 1:23:32Singing Love Changes Everything, please welcome back Michael Ball!
1:23:44 > 1:23:46Thanks for this one, Don.
1:23:56 > 1:23:57# Love
1:23:57 > 1:24:00# Love changes everything
1:24:00 > 1:24:02# Hands and faces
1:24:02 > 1:24:04# Earth and sky
1:24:06 > 1:24:07# Love
1:24:07 > 1:24:10# Love changes everything
1:24:10 > 1:24:15# How you live and how you die
1:24:16 > 1:24:20# Love can make the summer fly
1:24:20 > 1:24:26# Or a night seem like a lifetime
1:24:26 > 1:24:28# Yes, love
1:24:28 > 1:24:31# Love changes everything
1:24:31 > 1:24:37# Now I tremble at your name
1:24:37 > 1:24:41# Nothing in the world will ever be
1:24:41 > 1:24:45# The same
1:24:47 > 1:24:49# Love
1:24:49 > 1:24:52# Love changes everything
1:24:52 > 1:24:54# Days are longer
1:24:54 > 1:24:57# Words mean more
1:24:57 > 1:24:59# Love
1:24:59 > 1:25:02# Love changes everything
1:25:02 > 1:25:07# Pain is deeper than before
1:25:07 > 1:25:11# Love will turn your world around
1:25:11 > 1:25:16# And that world will last forever
1:25:16 > 1:25:18# Yes, love
1:25:18 > 1:25:20# Love changes everything
1:25:20 > 1:25:23# Brings you glory
1:25:23 > 1:25:26# Brings you shame
1:25:26 > 1:25:30# Nothing in the world will ever be
1:25:30 > 1:25:35# The same
1:25:45 > 1:25:49# Off into the world we go
1:25:49 > 1:25:54# Planning futures, shaping years
1:25:54 > 1:25:58# Love bursts in and suddenly
1:25:58 > 1:26:04# All our wisdom disappears
1:26:04 > 1:26:08# Love makes fools of everyone
1:26:08 > 1:26:13# All the rules we make are broken
1:26:13 > 1:26:15# Yes, love
1:26:15 > 1:26:17# Love changes everyone
1:26:17 > 1:26:23# Live or perish in its flame
1:26:23 > 1:26:26# Love will never, never let you be
1:26:26 > 1:26:32# The same
1:26:32 > 1:26:37# Love will never, never let you be
1:26:37 > 1:26:40# The
1:26:40 > 1:26:47# Same. #
1:26:51 > 1:26:53APPLAUSE
1:27:05 > 1:27:09Ladies and gentleman, the star of our show, Mr Don Black.
1:27:13 > 1:27:15Let's hear you, Don.
1:27:15 > 1:27:19# Off into the world we go
1:27:19 > 1:27:24# Planning futures, shaping years
1:27:24 > 1:27:28BOTH: # Love bursts in and suddenly
1:27:28 > 1:27:33# All our wisdom disappears
1:27:33 > 1:27:37# Love makes fools of everyone
1:27:37 > 1:27:43# All the rules we make are broken
1:27:43 > 1:27:44# Yes, love
1:27:44 > 1:27:47# Love changes everyone
1:27:47 > 1:27:52# Live or perish in its flame
1:27:52 > 1:27:55# Love will never, never let you be
1:27:55 > 1:27:58# The same... #
1:27:58 > 1:28:01MICHAEL BALL: No-one sings the end like Don. Take it away.
1:28:01 > 1:28:06# Love will never, ever let you be...
1:28:06 > 1:28:08- STRAINING:- # The... #
1:28:08 > 1:28:10Goodnight and God bless.
1:28:13 > 1:28:17# Hands and faces
1:28:17 > 1:28:21# Earth and sky. #
1:28:30 > 1:28:32Mr Don Black!