Diamonds are Forever: The Don Black Songbook


Diamonds are Forever: The Don Black Songbook

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Transcript


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MUSIC: "Diamonds Are Forever" (Instrumental)

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APPLAUSE

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Well, good evening and welcome to the Royal Festival Hall in London.

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Tonight, together with a host of musical stars and the incomparable

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BBC Concert Orchestra, conducted by Mike Dixon, we're going to

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celebrate the work of one of Britain's great unsung heroes.

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Now, perhaps "unsung" is a little harsh,

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since it is his words to a host of hits

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that are sung around the world every day by some of the world's

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greatest performers, many of whom are here with us tonight.

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From Born Free to The Man With The Golden Gun,

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let's meet the man with the golden pen.

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Ladies and gentlemen, Mr Don Black.

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APPLAUSE AND CHEERING

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Well, this is quite something!

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If I would have had an audience like this when I was a comedian,

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there'd be a lot of theatres still open.

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-LAUGHTER

-Now, Don, let's start at the beginning.

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-When you were a kid at school...

-Yeah.

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..as we all did, we all sat around

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saying what we were going to do when we grew up.

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Be an engine driver, an accountant, or a grave-digger,

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or whatever it was.

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Did you say, "I'm going to be a poet"?

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No, I actually wanted to be Bob Hope,

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because I was always a great fan of comedy,

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as I hope you'll find out during the course of this evening.

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HE LAUGHS

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But, no, comedy was a big thing with my life, and funnily enough,

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there is a connection between comedy and lyric writing.

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In as much as that, you know, you can listen to a comedian...

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A comedian never wastes any syllables or words, and if you look

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at Cole Porter or Irving Berlin, it's economy and compression...

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There is a connection, somehow.

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And what composers and lyricists of the period

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when you were a kid did you listen to particularly and admire,

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or notice, really, at that age?

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Erm, well, my love for song started...

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I come from Hackney, as you know, I know you've done your research!

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And I remember listening to the radio

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and listening to songs like Cry Me A River,

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and there were lines in it like,

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"You told me love was too plebeian,

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"Told me you were through with me-an,"

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and I thought, "My God, this is so clever, these rhymes!"

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I know this sounds daft, but you know, I collect rhymes.

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Since that day, I've collected rhymes all my life.

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-Were you good at English at school?

-Not particularly, no.

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It was the love of songs, listening to Noel Coward

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and Mad About The Boy,

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And lines like, "This odd diversity of misery and joy."

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I thought, "What does diversity mean?"

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And I thought, "If I can get diversity and plebeian

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"in the same song, I'll make a fortune!"

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LAUGHTER

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Now, there were a few people who changed your life.

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The first one was an encounter you had with a former bus conductor.

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Tell us about that.

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Well, bus driver. The great Matt Monro.

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Well, I was working for the NME as an office boy,

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then the circulation department, and then doing reviews,

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but Matt was always, you know, hanging around, looking for jobs

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trying to get a job as a demo singer, and we just got on great.

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You know, I would not be here today if it wasn't for Matt Monro. He...

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I was so impressed. I managed Matt for 20 years,

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and I've never met anyone who was so unimpressed with show business.

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Whatever the opposite of diva is, that was Matt Monro.

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And I'll give you an idea.

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When he played Talk Of The Town and I was managing him,

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I would go backstage and say,

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"Matt, we've got Tony Bennett in tonight and Sammy Davis Jr.

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"They want to come back and say hello."

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And he would say, "Can't we get out of it, son?

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-"We're supposed to have a curry."

-LAUGHTER

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Well, now, performing the Matt Monro top ten classic, Walk Away,

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please welcome a great friend of Don's

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and one of our greatest musical stars.

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The one and only Michael Ball.

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APPLAUSE

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# Mmm-mmm-mmm-mmm

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# Walk away, please go

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# Before you throw your life away

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# A life that I

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# Could share for just a day

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# We should have met

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# Some years ago

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# For your sake, I say

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# Walk away, just go

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# Walk away, and live

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# A life that's full

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# With no regret

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# Don't look back at me

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# Just try to forget

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# Why build a dream

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# That cannot come true?

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# So be strong

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# Reach the stars now

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# Walk away

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# Walk on

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# If I hear your voice

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# I'd beg you to stay

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# So don't say a word

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# Just run, run away

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# Goodbye, my love

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# My tears will fall

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# Now that you've gone

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# I can't help but cry

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# But I must go on

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# I'm sad that I

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# After searching so long

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# Said I knew you, but I loved you

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# Walk away

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# Walk

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# On

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# Walk on. #

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APPLAUSE

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INAUDIBLE OVER APPLAUSE

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More from Michael later.

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-That's a sad song, isn't it?

-It was a sad song.

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It opened a lot of doors for me, that song,

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because that song was my first successful song.

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I had written a lot of rubbish before then, Michael, believe me.

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My first song I wrote was for a Jewish wedding,

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There's No Smoke Without Salmon.

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LAUGHTER

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APPLAUSE

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-But you don't want to peak too soon, do you?

-No, no, no!

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Now, you said that one of the clues to your lyric writing

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and your talent is rhymes, you love rhymes.

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Do you collect them? Do you hear them?

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Do they come to you in the middle of the night?

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It's a funny thing, but ever since I started writing songs,

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I have written down rhymes. I have so many books at home.

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I know I'll never use them.

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If I see a word like "Maxine"

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I think of "vaccine."

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This is daft.

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"Injury", I've got "gingery."

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"Etiquette" and "Connecticut."

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"Sermon", "Uma Thurman."

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I was looking at this today. It's got no...

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It's just a habit you get into,

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because when you're brought up on Rodgers and Hart and Hammerstein

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and those kind of things, you know, rhymes are very important.

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I always have a piece of paper on me about this.

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And I've got things like "panellist" and "analyst."

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I mean, "foreigner" and "coroner."

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-And you never know when it will come in handy?

-No.

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And especially, this is a good one. "Alias" and "Sibelius."

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LAUGHTER

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Now, one of your first big hits in America was a song called

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To Sir, With Love, which I think is one of many fine lyrics,

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-but one of your most brilliant lyrics.

-Thank you.

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How did that come about?

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Erm, well, in the '60s, everybody...

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well, not everybody, but there were lots of title songs...

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In movies?

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In movies, and I was very lucky to get To Sir, With Love and Ben,

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which were my two big hits at that time, number one songs in America.

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To Sir, With Love was unusual for me,

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because I wrote the lyric first.

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I had a call from James Clavell,

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the man who wrote and directed the movie, and he said,

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"It's very, very important that you get the lyric right."

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And so I wrote it first.

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My favourite line, I'm going to read it

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because I don't want to get it wrong,

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and so you get the royalties tonight...

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LAUGHTER

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"How do you thank someone who has taken you from crayons to perfume?"

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Isn't that a great line? Where did that come from?

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No, it's a line that people often quote,

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but it's a funny thing, lyrics are written to be sung.

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We want to make that...

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You know, they are not written to be read, because if you read,

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"Tea for two, picture you upon my knee," it's rubbish.

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But when you hear it sung, and it hugs...

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There's a chemistry, isn't there? Between...

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The lyric has to hug the contours of the melody.

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So that line, "How do you get someone from crayons to perfume,"

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it's the way it sings.

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It's not just the way it's read.

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Well, in a moment, Grammy-nominated jazz singer Gregory Porter

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and Eliza Doolittle are going to sing Ben,

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but, please, first welcome,

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performing To Sir, With Love, the wonderful Frances Ruffelle.

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APPLAUSE

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# Those school girl days

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# Of telling tales and biting nails are gone

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# But in my mind

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# I know they will still go on and on

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# But how do you thank someone

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# Who has taken you from crayons to perfume?

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# It isn't easy but I'll try

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# If you wanted the sky

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# I would write across the sky in letters

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# That would soar a thousand feet high

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# To sir, with love

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# The time has come

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# For closing books

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# And long last looks must end

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# And as I leave

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# I know I will be leaving my best friend

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# But how do you thank someone

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# Who has taken you from crayons to perfume?

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# It isn't easy but I'll try

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# If you wanted the moon

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# I would try to make a start, but I

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# Would rather you let me give my heart

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# To sir, with love

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# To sir, with love

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# With love. #

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APPLAUSE AND CHEERING

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# Ben, the two of us need look no more

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# We both found what we were looking for

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# With a friend to call my own

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# I'll never be alone

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# And you, my friend, will see

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# You've got a friend in me

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# You've got a friend in me

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# Ben, you're always running here and there

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# You feel you're not wanted anywhere

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# If you ever look behind

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# And don't like what you find

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# There's something you should know

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# You've got a place to go

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# You've got a place to go

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# I used to say

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# I and me

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# Now it's us

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# Now it's we

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# I used to say

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# I and me

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# Now it's us

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# Now it's we

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# Ben, most people would turn you away

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# Turn you away

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# I don't listen to the words they say

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# Words they say

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# Ohhhh

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# They don't see you as I do

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-# I wish they knew or tried to

-# Ohhhh

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# I'm sure they'd think again

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# If they had a friend like Ben

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# Like Ben

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# Like Ben

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# Like Ben

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-BOTH:

-# Like Ben. #

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APPLAUSE

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The amazing Gregory Porter with Miss Eliza Dolittle.

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Who was Ben?

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-Ben was a rat.

-LAUGHTER

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Yeah, that's when I got to know Michael Jackson.

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Erm, it's a funny thing, yeah.

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It was an unusual song to write, because, well,

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how do you write a song about a rat?

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But the story in the movie, Ben, it's a boy, he's very ill,

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and a rat comes into his room, and it was a very friendly rat.

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And I thought, "Well, I'll write about friendship."

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So, I thought, "You can't write about cheese and traps,"

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and I couldn't find a rhyme for Rentokil.

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LAUGHTER

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And so, funnily enough, it's one of Michael's favourite songs, it was.

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Especially the middle eight. He loved the lines,

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"I used to say I and me. Now it's us, now it's we."

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-The musical theatre.

-Right.

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Different discipline to sitting down with a blank sheet of paper?

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Oh, very much so.

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My first successful musical was Billy, with John Barry,

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but my first one before that wasn't successful at all,

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and it was called Maybe That's Your Problem.

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It was about a boy who gets overexcited,

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over-aroused around women,

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-and he can't quite get it together.

-LAUGHTER

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Ironically, the show didn't last long either.

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LAUGHTER

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Alan Jay Lerner said I should have called it Shortcomings.

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LAUGHTER

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There weren't any ballads in the show. There just wasn't time.

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We talked about how the wonderful and late lamented Matt Monro

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changed your life, but there is

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a man in the audience tonight who changed your life considerably.

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Three people changed my life, from a career point of view.

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Matt Monro, John Barry, and the great Andrew Lloyd Webber.

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And I think Andrew's with us. Where's Andrew? Andrew, take a bow!

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-APPLAUSE

-Where are you?

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-What did he ask you to do, first of all?

-We got together after...

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I wrote a musical called Bar Mitzvah Boy, with Jule Styne,

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which didn't do very well, but Andrew saw something in the lyrics,

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and invited me for lunch and said,

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"Do you fancy doing a one-woman show?"

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He wanted to do something small.

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And we talked and we said,

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"Could it be an English girl

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"who goes to America to try and find herself?"

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And we wrote a song cycle called Tell Me On A Sunday.

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How difficult is it to write from a woman's point of view?

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Because that show is very much the woman's point of view, isn't it?

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Yeah, people often say that. I don't think so.

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You write from a woman's point of view

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because you're sensitive to women's feelings,

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but Alan Jay Lerner was American and he wrote My Fair Lady.

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I wrote Bombay Dreams, and I've never been further than Southall!

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-LAUGHTER

-I don't think it matters.

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Take That Look Off Your Face, now,

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that's a wonderful kind of grab-you title.

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Well, one always tries to look for a universal theme in a song,

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if you can. Something that people can recognise themselves in.

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I always think I've cracked it when someone says, "I felt that."

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When they say, "I felt that,"

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as they have done with Tell Me On A Sunday,

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because so many people wrote to me, so many women, saying,

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"How did you know my life?"

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It is a funny thing, but, you know, if you can strike that honesty

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and truth in a lyric, it pays dividends.

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Well, the original leading lady of Tell Me On A Sunday

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was Marti Webb, and I'm delighted to say she's here tonight

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to sing two of your songs from that musical.

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APPLAUSE

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The title song and Take That Look Off Your Face.

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Ladies and gentlemen, Marti Webb!

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APPLAUSE

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# You must be mistaken

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# It couldn't have been

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# You couldn't have seen him

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# Yesterday

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# He's doing some deal

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# Up in Baltimore now

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# I hate it when he's away

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# You must be mistaken

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# I'm sure that you are

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# There's more than one car with stickers on

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# And lots of young guys wear corduroy pants

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# And I'd know if he hadn't gone

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# Take that look off your face

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# I can see through your smile

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# You would love to be right

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# I bet you didn't sleep good last night

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# Couldn't wait to bring all of that bad news to my door

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# Well, I've got news for you

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# I knew before

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# If I'm not mistaken

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# It started last year

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# I'm not very clear how it began

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# I noticed a change, but I just closed my eyes

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# As only a woman can

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# No, I didn't dig deep

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# I did not want to know

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# Well, you don't interfere

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# When you're scared of the things you might hear

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# When he's back, you think I will end it

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# Right there and then

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# Well, my fair-weather friend

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# You're wrong again

0:21:470:21:49

# Take that look off your face

0:21:540:21:56

# I can see through your smile

0:21:580:22:00

# You would love to be right

0:22:000:22:02

# I bet you didn't sleep good last night

0:22:020:22:06

# Couldn't wait to bring all of that bad news to my door

0:22:060:22:11

# Well, I've got news for you

0:22:110:22:13

# I knew before

0:22:140:22:23

# I can see through your smile

0:22:230:22:28

# You would love to be right

0:22:280:22:30

# I bet you didn't sleep good last night

0:22:300:22:33

# Couldn't wait to bring all of that bad news to my door

0:22:330:22:38

# Well, I've got news for you

0:22:380:22:40

# I knew before. #

0:22:420:22:51

APPLAUSE AND CHEERING

0:22:510:22:54

# Don't write a letter

0:23:200:23:23

# When you want to leave

0:23:230:23:26

# Don't call me at 3am from a friend's apartment

0:23:260:23:32

# I'd like to choose

0:23:320:23:36

# How I hear the news

0:23:360:23:39

# Take me to a park

0:23:400:23:44

# That's covered with trees

0:23:460:23:51

# Tell me on a Sunday, please

0:23:510:24:00

# Let me down easy

0:24:000:24:03

# No big song and dance

0:24:030:24:05

# No long faces, no long looks

0:24:050:24:09

# No deep conversation

0:24:090:24:12

# I know the way

0:24:120:24:14

# We should spend that day

0:24:140:24:18

# Take me to a zoo

0:24:180:24:22

# That's got chimpanzees

0:24:220:24:25

# Tell me on a Sunday, please

0:24:250:24:31

# Don't want to know who's to blame

0:24:330:24:35

# It won't help knowing

0:24:350:24:38

# Don't want to fight day and night

0:24:380:24:41

# Bad enough you're going

0:24:410:24:44

# Don't leave in silence with no words at all

0:24:440:24:51

# Don't get drunk and slam the door

0:24:510:24:54

# That's no way to end this

0:24:540:24:57

# I know how I

0:24:570:25:00

# Want you to say goodbye

0:25:000:25:04

# Find a circus ring

0:25:050:25:09

# With a flying trapeze

0:25:100:25:13

# Tell me on a Sunday, please

0:25:130:25:20

# I don't want to fight day and night

0:25:280:25:31

# Bad enough you're going

0:25:310:25:35

# Don't leave in silence with no word at all

0:25:350:25:42

# Don't get drunk and slam the door

0:25:420:25:45

# That's no way to end this

0:25:450:25:48

# I know how I

0:25:480:25:50

# Want you to say goodbye

0:25:500:25:54

# Don't run off in the pouring rain

0:25:540:25:59

# Don't call me as they call your plane

0:25:590:26:02

# Take the hurt out of all the pain

0:26:020:26:10

# Take me to a park

0:26:150:26:22

# That's covered with trees

0:26:230:26:28

# Tell me on a Sunday

0:26:300:26:38

# Please. #

0:26:390:26:47

APPLAUSE AND CHEERING

0:26:470:26:50

Wow!

0:26:550:26:57

It's a very dramatic lyric, isn't it?

0:27:000:27:02

Yes, and Marti's a great storyteller

0:27:020:27:04

-and she sang beautifully.

-Absolutely wonderful.

0:27:040:27:06

-It was a pleasure to hear her again.

-Wonderful, wonderful.

0:27:060:27:09

APPLAUSE

0:27:090:27:12

Now, your name is just Don Black.

0:27:150:27:17

You're not AND Don Black, and all the great lyric writers are "AND."

0:27:170:27:22

You know, Gilbert AND Sullivan...

0:27:220:27:24

-Right.

-Rodgers AND Hammerstein...

0:27:240:27:27

Tate and Lyle.

0:27:270:27:28

-Tate and Lyle!

-LAUGHTER

0:27:280:27:31

You've never found, or never wanted to find a music writing partner.

0:27:310:27:35

You're a freelancer. You're a gun for hire, aren't you?

0:27:350:27:38

Basically, yes. I mean, I was writing with John Barry regularly,

0:27:380:27:43

then he moved to America for 40 years,

0:27:430:27:45

so we did write infrequently.

0:27:450:27:47

But that's one of those...

0:27:470:27:49

I mean, I've often envied people like Kander and Ebb,

0:27:490:27:51

who stay together for many, many years.

0:27:510:27:53

I think there's something in that,

0:27:530:27:55

because you learn to know each other's strengths and weaknesses.

0:27:550:27:59

But, you know, it's been fun,

0:27:590:28:01

going from Quincy Jones to Henry Mancini, you know.

0:28:010:28:04

Tell us what Quincy has done. So, for people who...

0:28:040:28:08

Well, the assignment with Quincy was The Italian Job,

0:28:080:28:12

the movie with Michael Caine.

0:28:120:28:14

And it was very difficult for Quincy,

0:28:140:28:17

because Quincy's background

0:28:170:28:19

is very much with those great jazz people like Count Basie,

0:28:190:28:22

Sarah Vaughan, Billy Eckstein, Billie Holiday, he goes way back.

0:28:220:28:27

He was a composer, arranger, producer...

0:28:270:28:29

Mainly an arranger-producer. Not really a songwriter.

0:28:290:28:31

And our brief on The Italian Job was to write a summery song,

0:28:310:28:36

and he found it SO difficult.

0:28:360:28:38

I said, "We've got to write something like Volare,

0:28:380:28:42

"or Come Prima, or Cuando Caliente El Sol."

0:28:420:28:46

"One of those summery songs."

0:28:460:28:48

And he stared at his piano for hours and hours,

0:28:480:28:51

and couldn't come up with anything.

0:28:510:28:53

I finally gave him a title - On Days Like These -

0:28:530:28:56

-and he still stared at the piano...

-AUDIENCE MEMBER WHISTLES

0:28:560:29:00

And I went round the block, he had an apartment in Marble Arch,

0:29:000:29:04

and I tell you, it took him for ever and ever

0:29:040:29:07

to come up with such a simple thing, but it worked,

0:29:070:29:09

and it is beautiful, but when you hear it, it sounds so easy. But...

0:29:090:29:14

You didn't think of writing a song with the title

0:29:140:29:16

You're Only Supposed To Blow The Bloody Doors Off?

0:29:160:29:19

-LAUGHTER

-No, they wanted something more romantic than that!

0:29:190:29:22

More romantic than that, OK.

0:29:220:29:24

Performing On Days Like These, from the classic The Italian Job,

0:29:240:29:28

please welcome back Gregory Porter.

0:29:280:29:30

APPLAUSE

0:29:300:29:33

# Questi giorni quando vieni

0:29:460:29:53

# Il bello sole

0:29:530:29:57

# La-la-la-la

0:29:570:29:59

# La-la-la-la

0:29:590:30:02

# La-la-la-la

0:30:020:30:05

# On days like these

0:30:070:30:09

# When skies are blue

0:30:090:30:12

# And fields are green

0:30:120:30:14

# I look around and think about

0:30:160:30:21

# What might have been

0:30:210:30:24

# And then I hear sweet music float

0:30:250:30:31

# Around my head

0:30:310:30:33

# As I recall the many things

0:30:360:30:40

# We left unsaid

0:30:400:30:43

# It's on days like these

0:30:450:30:49

# That I remember

0:30:490:30:54

# Singing songs and drinking wine

0:30:540:30:58

# While your eyes

0:30:580:31:00

# Played games with mine

0:31:000:31:02

# On days like these

0:31:040:31:07

# I wonder what became of you

0:31:070:31:11

# Maybe today, you're singing songs

0:31:130:31:19

# With someone new

0:31:190:31:22

# I'd like to think

0:31:230:31:26

# You're walking by those willow trees

0:31:260:31:33

# Remembering the love we knew

0:31:330:31:38

# On days like these

0:31:380:31:40

# It's on days like these

0:31:420:31:46

# That I remember

0:31:460:31:51

# Singing songs and drinking wine

0:31:510:31:55

# While your eyes

0:31:550:31:57

# Played games with mine

0:31:570:32:01

# On days like these

0:32:010:32:04

# I wonder what became of you

0:32:040:32:08

# Maybe today, you're singing songs

0:32:110:32:15

# With someone new

0:32:150:32:17

# On days like these

0:32:200:32:23

# I wonder what became of you

0:32:230:32:27

# Maybe today, you're singing songs

0:32:290:32:34

# With someone new

0:32:340:32:37

# With someone new. #

0:32:390:32:47

APPLAUSE AND CHEERING

0:32:470:32:51

The wonderful Gregory Porter there.

0:32:590:33:01

I'd forgotten what a wonderful song that is.

0:33:010:33:03

Now, John Barry is a key figure in your career, obviously,

0:33:030:33:07

and a very, very, very great musician.

0:33:070:33:09

Oh, he's great. John Barry, I cannot...

0:33:090:33:12

I mean, I was writing with him for over 40 years and, yet,

0:33:120:33:15

I remember the lunches more than the songs,

0:33:150:33:18

because John...

0:33:180:33:22

He had great taste. He was a bit of a James Bond character himself,

0:33:220:33:25

before James Bond, although he was responsible for that great music.

0:33:250:33:29

He drove a white Maserati,

0:33:290:33:30

he wore the best suits,

0:33:300:33:33

he was always surrounded by beautiful women.

0:33:330:33:35

But when it came to eating, he ate like a ballerina.

0:33:350:33:39

He was very skinny.

0:33:390:33:40

I remember Michael Caine once presented him with an award

0:33:400:33:44

and he said, "This is the first time I've presented an award

0:33:440:33:48

"that's heavier than the recipient."

0:33:480:33:49

LAUGHTER

0:33:490:33:52

There were many songs, wonderful songs, that everybody recognises

0:33:520:33:55

that you two came up with, but there one particular

0:33:550:33:58

favourite throughout the world,

0:33:580:34:01

which is also almost a hymn. I'm referring, of course,

0:34:010:34:04

to Born Free.

0:34:040:34:06

Well, you know...

0:34:060:34:09

APPLAUSE

0:34:090:34:12

You know, I have a theory. Luck plays a very big part

0:34:120:34:16

in a songwriter's career.

0:34:160:34:18

I have this theory that behind every successful songwriter

0:34:180:34:22

there's an astonished mother-in-law.

0:34:220:34:25

LAUGHTER

0:34:250:34:27

And Carl - the producer of Born Free, Carl Foreman -

0:34:270:34:31

did not like John's melody and he wasn't happy with my lyric.

0:34:310:34:35

He wanted it more about cages and jungles and things like that.

0:34:350:34:39

He said I made too much of a social comment about it.

0:34:390:34:43

However, when, you know, it won the Oscar and, that night,

0:34:430:34:47

Dean Martin gave it to me,

0:34:470:34:49

Carl Foreman came up to me at the party afterwards and said,

0:34:490:34:52

"Well, Don, it does grow on you."

0:34:520:34:54

LAUGHTER

0:34:540:34:56

-But it's true...

-Did Born Free nearly not get in the film?

-No.

0:34:560:35:00

One night, we went - Matt Monro and his family and me and my family -

0:35:000:35:04

we went to a premiere and it wasn't in the film.

0:35:040:35:06

Carl Foreman actually took it out.

0:35:060:35:08

But the song became a big hit in America and so, they quickly,

0:35:080:35:12

to make it eligible for the Academy Award,

0:35:120:35:14

-they made sure it was in every print.

-They released the song

0:35:140:35:17

-as a single?

-Yes, a single.

-With Matt?

0:35:170:35:20

Not with Matt, with Roger Williams

0:35:200:35:22

and his Orchestra. It was a big hit in America.

0:35:220:35:24

To perform this iconic song, Born Free, West End star Kerry Ellis,

0:35:240:35:29

accompanied by the legendary guitarist, Brian May.

0:35:290:35:33

CHEERING AND APPLAUSE

0:35:330:35:37

# Born free

0:36:020:36:06

# As free as the wind blows

0:36:060:36:12

# As free as the grass grows

0:36:120:36:16

# Born free to follow your heart

0:36:160:36:21

# Live free

0:36:240:36:27

# And beauty surrounds you

0:36:270:36:33

# The world still astounds you

0:36:330:36:37

# Each time you look at a star

0:36:370:36:44

# Stay free

0:36:440:36:47

# Where no walls divide you

0:36:470:36:52

# You're free as a roaring tide

0:36:520:36:56

# So there's no need to hide

0:36:560:37:04

# Born free

0:37:040:37:07

# And life is worth living

0:37:070:37:13

# But only worth living

0:37:130:37:17

# When you are free

0:37:190:37:27

# Born free

0:37:270:37:31

# Whoa-oh-oh

0:37:490:37:51

# No man

0:37:510:37:54

# Should choose your life for you

0:37:540:37:58

# No man has the right to say

0:37:580:38:02

# You'll live or die

0:38:020:38:06

# Today

0:38:060:38:12

# Born free

0:38:120:38:16

# And life is worth living

0:38:160:38:21

# But only worth living

0:38:210:38:26

# When you are

0:38:260:38:31

# Free

0:38:310:38:40

# Born free. #

0:38:410:38:49

CHEERING AND APPLAUSE

0:38:590:39:03

-What makes a Bond song?

-What makes a Bond song?

0:39:260:39:28

Well, I've written five of them - three with John Barry,

0:39:280:39:32

two with David Arnold. I always think a Bond song should be

0:39:320:39:37

provocative, seductive and have the whiff of the boudoir about it.

0:39:370:39:41

A whiff of the boudoir?

0:39:410:39:43

The lure of the forbidden. I also think Shirley Bassey

0:39:430:39:46

should sing 'em all.

0:39:460:39:48

LAUGHTER AND APPLAUSE

0:39:480:39:51

Were you a big Bond fan

0:39:540:39:55

-before you got the first call?

-Very much. They used me because

0:39:550:39:59

of my uncanny resemblance to Sean Connery(!)

0:39:590:40:01

LAUGHTER

0:40:010:40:03

But seriously, who isn't a Bond fan? Everyone is a Bond fan.

0:40:030:40:06

And did the music excite you when you saw the first one?

0:40:060:40:09

Yeah, I saw Dr No and Goldfinger and that's when I came in,

0:40:090:40:12

I think, on the third one, with Thunderball.

0:40:120:40:16

There's just something very special about Bond music.

0:40:160:40:19

I mean, John Barry... Take away John Barry

0:40:190:40:22

and it wouldn't be the same. His contribution has been phenomenal.

0:40:220:40:26

-But he did the arrangement.

-Only of the theme, but everything else,

0:40:260:40:31

he scored the whole picture and written so many of the songs.

0:40:310:40:34

Very muscular music. Very masculine, muscular.

0:40:340:40:38

It is. It is. And yet, you do get tender things.

0:40:380:40:40

You get We Have All The Time In The World,

0:40:400:40:43

which Louis Armstrong sang. A very tender love song.

0:40:430:40:46

Many moods of Bond.

0:40:460:40:47

What was your first Bond?

0:40:470:40:49

Erm, the first one... Again, luck comes into it,

0:40:490:40:53

because it was Thunderball and John asked me to do Thunderball.

0:40:530:40:58

I looked it up in a dictionary and it wasn't there.

0:40:580:41:01

There isn't a word such as thunderball,

0:41:010:41:04

so I used it as a kind of a code. But I went to the session,

0:41:040:41:08

-with Tom Jones and...

-Sorry, did you know

0:41:080:41:11

-that Tom was going to sing it when you were writing it?

-Yeah.

0:41:110:41:14

-You were writing a song for Tom Jones?

-We wanted Tom Jones,

0:41:140:41:17

because it was that muscular sound and Tom was the right man for it.

0:41:170:41:21

But there was a major problem on the day, because when we sang it -

0:41:210:41:26

he sang it beautifully, in one take -

0:41:260:41:28

but on the last note, he fainted.

0:41:280:41:31

He actually passed out. It was a blood-rush thing.

0:41:310:41:36

He wobbled and I thought, "Oh, my God, that's the end of that."

0:41:360:41:40

But John Barry said, "No, I'm happy with the first take."

0:41:400:41:43

-So he was done in one take.

-He got the note out, then fainted?

0:41:430:41:45

He did. I've spoken to him about it since. He still sings the song,

0:41:450:41:49

but he's lowered the key.

0:41:490:41:50

LAUGHTER

0:41:500:41:52

Well, ladies and gentlemen,

0:41:520:41:54

please welcome, singing the first of Don's Bond songs,

0:41:540:41:57

Thunderball, the very brave Marc Almond.

0:41:570:42:00

CHEERING AND APPLAUSE

0:42:000:42:04

# He always runs while others walk

0:42:220:42:27

# He acts while other men just talk

0:42:310:42:37

# He looks at this world and wants it all

0:42:390:42:45

# So he strikes

0:42:490:42:51

# Like Thunderball

0:42:510:42:56

# He knows the meaning of success

0:42:580:43:03

# His needs are more

0:43:070:43:11

# So he gives less

0:43:110:43:14

# They call him the winner who takes all

0:43:160:43:22

# And he strikes

0:43:240:43:27

# Like Thunderball

0:43:270:43:32

# Any woman he wants, he will get

0:43:340:43:41

# He will break any heart without regret

0:43:430:43:51

# His days of asking are all gone

0:43:520:43:57

# His fight goes on and on and on

0:44:000:44:07

# But he thinks that the fight is worth it all

0:44:100:44:15

# So he strikes

0:44:180:44:20

# Like Thunderball

0:44:200:44:26

# Like Thunderball

0:44:260:44:30

# Like Thunderball. #

0:44:300:44:37

CHEERING AND APPLAUSE

0:44:400:44:43

And he's still standing!

0:44:510:44:54

That was great. Marc Almond. And now, with her own interpretation

0:44:540:44:57

of the Lulu classic, The Man With The Golden Gun,

0:44:570:45:00

please welcome Eliza Doolittle.

0:45:000:45:03

CHEERING AND APPLAUSE

0:45:030:45:07

# He has a powerful weapon

0:45:350:45:39

# He charges a million a shot

0:45:390:45:41

# An assassin that's second to none

0:45:430:45:46

# The man with the golden gun

0:45:460:45:52

# Lurking in some darkened doorway

0:45:520:45:55

# Or crouched on a rooftop somewhere

0:45:550:45:59

# In the next room or this very one

0:45:590:46:03

# The man with the golden gun

0:46:030:46:08

# Love is required whenever he's hired

0:46:080:46:12

# It comes just before the kill

0:46:120:46:15

# No-one can catch him No hitman can match him

0:46:150:46:19

# For his million-dollar skill

0:46:190:46:23

# One golden shot means another poor victim

0:46:230:46:27

# Has come to a glittering end

0:46:270:46:30

# For a price, he'll erase anyone

0:46:300:46:34

# The man with the golden gun

0:46:340:46:39

# His eye may be

0:46:390:46:43

# On you or me

0:46:430:46:47

# Who will he bang?

0:46:470:46:52

# We shall see

0:46:540:47:01

# Oh, oh, oh-oh, oh-oh, yeah

0:47:010:47:07

# Love is required whenever he's hired

0:47:400:47:44

# It comes just before the kill

0:47:440:47:48

# No-one can catch him No hitman can match him

0:47:480:47:51

# For his million-dollar skill

0:47:510:47:55

# One golden shot means another poor victim

0:47:550:47:59

# Has come to a glittering end

0:47:590:48:03

# If you want to get rid of someone

0:48:030:48:06

# The man with the golden gun

0:48:060:48:10

# Will get it done

0:48:100:48:12

# He'll shoot anyone

0:48:130:48:17

# With his golden

0:48:170:48:21

# Gun

0:48:210:48:25

# Yeah! #

0:48:270:48:30

CHEERING AND APPLAUSE

0:48:310:48:36

Thank you, Eliza Doolittle.

0:48:410:48:43

Now, please welcome one of Britain's most successful recording artists,

0:48:430:48:48

with her unique acoustic interpretation of the Bond classic,

0:48:480:48:52

Diamonds Are Forever, Katie Melua.

0:48:520:48:55

Yeah!

0:48:550:48:56

CHEERING AND APPLAUSE

0:48:560:49:01

# Diamonds are forever

0:49:190:49:25

# They are all I need to please me

0:49:250:49:30

# They can stimulate and tease me

0:49:320:49:38

# They won't leave in the night

0:49:380:49:42

# I've no fear that they might desert me

0:49:420:49:50

# Diamonds are forever

0:49:520:49:58

# Hold one up and then caress it

0:49:580:50:05

# Touch it, stroke it and undress it

0:50:050:50:11

# I can see every part

0:50:110:50:15

# Nothing hides in the heart to hurt me

0:50:150:50:21

# I don't need love

0:50:240:50:29

# For what good would love do me?

0:50:290:50:33

# Diamonds never lie to me

0:50:360:50:41

# For when love's gone

0:50:430:50:47

# They'll lustre on

0:50:490:50:56

# Diamonds are forever

0:50:580:51:04

# Sparkling round my little finger

0:51:040:51:09

# Unlike men, the diamonds linger

0:51:100:51:16

# Men are mere mortals who

0:51:170:51:20

# Are not worth going to your grave for

0:51:200:51:27

# I don't need love

0:51:280:51:35

# For what good would love do me?

0:51:350:51:39

# Diamonds never lie to me

0:51:410:51:46

# For when love's gone

0:51:480:51:53

# They'll lustre on

0:51:540:52:00

# Diamonds are forever, forever, forever

0:52:030:52:09

# Diamonds are forever and ever

0:52:090:52:15

# Forever

0:52:150:52:19

# And ever. #

0:52:210:52:33

APPLAUSE

0:52:330:52:37

Wow.

0:52:540:52:56

Saving Shirley Bassey, have you ever heard your lyrics

0:52:580:53:01

-sung as well as that?

-No. I mean, a stunning performance.

0:53:010:53:05

Katie Melua. Wasn't that great?

0:53:050:53:07

I never realised the lyrics were so naughty. I mean, they are...

0:53:140:53:17

-I didn't know you could be smutty.

-LAUGHTER

0:53:170:53:21

Erm...you're a pretty fearless lyric writer, Don, in my book.

0:53:210:53:25

Erm... You don't seem to say no to any challenge.

0:53:250:53:29

-And the bigger the challenge the better.

-What have I done?

0:53:290:53:32

You've written a Hindi song.

0:53:320:53:34

Shakalaka Baby.

0:53:340:53:36

We've had you in Italian...

0:53:360:53:38

-With The Italian Job.

-And now you get a call...

0:53:380:53:41

via Andrew Lloyd Webber again.

0:53:410:53:43

Would you write a lyric for the song

0:53:430:53:46

-for the Barcelona Olympics, I think, in 1992?

-That's right.

0:53:460:53:49

-You speak fluent Spanish.

-Of course.

0:53:490:53:51

Well...

0:53:510:53:53

I'm lost after gazpacho, I think.

0:53:530:53:56

No. It was called Amigos Para Siempre and...

0:53:560:53:59

-Which means?

-Friends For Life.

0:53:590:54:02

And it was originally recorded by Jose Carreras and Sarah Brightman,

0:54:020:54:06

and it's been a huge success in Spanish-speaking territories.

0:54:060:54:10

It's one of the most requested songs, I think.

0:54:100:54:13

Performing Amigos Paras Siempre,

0:54:130:54:16

British soprano Laura Wright and male voice choir Only Men Aloud.

0:54:160:54:21

# I don't have to say a word to you

0:54:540:55:01

# You seem to know whatever mood I'm going through

0:55:010:55:06

# Feels as though I've known you forever

0:55:060:55:12

# You can look into my eyes and see

0:55:130:55:19

# The way I feel

0:55:190:55:21

# And how the world is treating me

0:55:210:55:25

# Maybe I have known you forever

0:55:250:55:30

# Amigos para siempre means you'll always be my friend

0:55:310:55:36

# Amics per sempre means a love that cannot end

0:55:360:55:41

# Friends for life

0:55:410:55:42

# Not just a summer or a spring

0:55:420:55:45

# Amigos para siempre

0:55:450:55:48

# I feel you near me even when we are apart

0:55:500:55:54

# Just knowing you are in this world can warm my heart

0:55:540:55:59

# Friends for life

0:55:590:56:01

# Not just a summer or a spring

0:56:010:56:03

# Amigos para siempre

0:56:030:56:07

# We share memories I won't forget

0:56:090:56:15

# And we'll share more, my friend

0:56:150:56:18

# We haven't started yet

0:56:180:56:20

# Something happens when we're together

0:56:200:56:26

# When I look at you I wonder why

0:56:280:56:34

# There has to come a time when we must say goodbye

0:56:340:56:39

# I'm alive when we are together

0:56:390:56:44

# Amigos para siempre means you'll always be my friend

0:56:450:56:50

# Amics per sempre means a love that cannot end

0:56:500:56:55

# Friends for life

0:56:550:56:56

# Not just a summer or a spring

0:56:560:56:58

# Amigos para siempre

0:56:580:57:04

# I feel you near me even when we are apart

0:57:040:57:08

# Just knowing you are in this world can warm my heart

0:57:080:57:13

# Friends for life

0:57:130:57:15

# Not just a summer or a spring

0:57:150:57:17

# Amigos para siempre

0:57:170:57:20

# When I look at you I wonder why

0:57:410:57:46

# There has to come a time when we must say goodbye

0:57:460:57:52

# I'm alive when we are together

0:57:520:57:56

# Amigos para siempre means you'll always be my friend

0:57:580:58:04

# Amics per sempre means a love that cannot end

0:58:040:58:08

# Friends for life

0:58:080:58:10

# Not just a summer or a spring

0:58:100:58:12

# Amigos para siempre

0:58:120:58:16

# I feel you near me even when we are apart

0:58:180:58:22

# Just knowing you are in this world can warm my heart

0:58:220:58:27

# Friends for life

0:58:270:58:29

# Not just a summer or a spring

0:58:290:58:31

# Amigos para siempre

0:58:310:58:34

# Amigos para siempre means you'll always be my friend

0:58:360:58:44

# Amics per sempre means a love that cannot end

0:58:440:58:48

# Friends for life

0:58:480:58:50

# Not just a summer or a spring

0:58:500:58:52

# Amigos para siempre

0:58:520:58:56

# Amigos para siempre. #

0:58:560:59:10

APPLAUSE

0:59:100:59:14

Laura Wright there and Only Men Aloud.

0:59:280:59:31

I want to take you back for a moment, Don,

0:59:310:59:33

-to the West End theatre...

-Right.

0:59:330:59:35

..and to a show that was your first success in theatre, which was Billy.

0:59:350:59:40

Yes. It was a very happy time for me.

0:59:400:59:43

Very different writing songs where the characters are given to you

0:59:430:59:48

rather than you have to imagine the characters.

0:59:480:59:50

Well, you know, in a musical it's the lyrics...

0:59:500:59:53

The lyricist's job is to illuminate the character, further the story.

0:59:530:59:57

And I got hooked straightaway

0:59:570:59:59

because in a musical you can write about tragedy,

0:59:591:00:02

disappointment, you can write about any subject in a musical.

1:00:021:00:05

In a pop song you're looking for a hook,

1:00:051:00:07

but in a musical you can really have a verbal...

1:00:071:00:11

firwork display.

1:00:111:00:12

And given that you're a man that works, really, in solitude,

1:00:121:00:17

it's hugely collaborative, a musical.

1:00:171:00:19

-Yes.

-You've got somebody who's written the book,

1:00:191:00:21

somebody's who's written the music,

1:00:211:00:22

you've got a director, you've got the actors...

1:00:221:00:25

and you've got to fit in to that.

1:00:251:00:26

It's is, but there's nothing wrong. It's not a hardship.

1:00:261:00:29

It's a joy. You create a whole new family

1:00:291:00:32

when you start a musical with new collaborators.

1:00:321:00:35

But Billy was particularly happy because it was John Barry's idea.

1:00:351:00:38

It was based on Billy Liar.

1:00:381:00:40

I remembered when it opened, when Michael Crawford,

1:00:401:00:44

who was wonderful in it,

1:00:441:00:45

and I remember the next day it was a huge hit.

1:00:451:00:49

And the producer, a wonderful Viennese man called Peter Witt,

1:00:491:00:52

he took us to Burke's restaurant in Bond Street,

1:00:521:00:56

and he took Dick Clement, Ian La Frenais,

1:00:561:00:58

Keith Waterhouse and Willis Hall, John Barry and me.

1:00:581:01:01

And he said, "You boys will never be as happy as you are today.

1:01:011:01:06

"You have a hit show in the West End and you're all healthy."

1:01:061:01:09

I always remember that and it stayed with me.

1:01:091:01:11

And why I'm pleased you're doing this show is

1:01:111:01:14

it was John Barry's favourite song from the show Billy.

1:01:141:01:16

Singing Some of us Belong to the Stars from the musical Billy,

1:01:161:01:20

please welcome singer, actor and comedian Gary Wilmot.

1:01:201:01:24

APPLAUSE

1:01:241:01:27

# Some of us belong to the stars

1:01:511:01:54

# And that is where I'm going

1:01:541:01:58

# I will soar all over the sky

1:02:001:02:04

# And I won't need a Boeing

1:02:041:02:08

# Most people stay and battle on with their boredom

1:02:101:02:15

# But what's the sense in dreaming dreams if you hoard 'em?

1:02:151:02:19

# It won't be long before I say my ta-tas

1:02:211:02:25

# I belong to the stars

1:02:251:02:31

# Some of us belong to the stars

1:02:331:02:35

# Up there is where you'll find me

1:02:351:02:39

# If you want to come for the ride

1:02:401:02:43

# Then form a queue behind me

1:02:431:02:46

# Soon I'll be wallowing in all of life's riches

1:02:481:02:51

# I'm going to carve myself some crater-like niches

1:02:511:02:55

# You better go rehearse your hip-hip-hoorahs

1:02:551:02:58

# I belong to the stars

1:02:581:03:01

# Some of us belong to the stars

1:03:031:03:05

# There's followers and leaders

1:03:051:03:11

# Some of us are born to be great

1:03:111:03:13

# And some are born conceders

1:03:131:03:17

# So I will go wherever winners assemble

1:03:171:03:21

# Yes, from now on my world won't spin, it will tremble

1:03:211:03:24

# I'll soon be passing round the Cuban cigars

1:03:241:03:28

# I belong to the stars.

1:03:281:03:31

# Some of us belong to the stars

1:03:331:03:36

# We fly around in orbit

1:03:361:03:39

# We soak up the wisdom of life

1:03:411:03:44

# While others can't absorb it

1:03:441:03:47

# I'll hang my hat in every part of the atlas

1:03:481:03:52

# Most of the time I will be hopelessly hapless

1:03:521:03:55

# You must come visit one of my shangri-las

1:03:551:03:59

# I belong to the stars

1:03:591:04:03

# I belong to the stars

1:04:031:04:05

# I belong to the stars

1:04:051:04:10

# I belong to the stars

1:04:121:04:21

# I belong to the stars. #

1:04:211:04:25

APPLAUSE

1:04:251:04:27

Lovely Gary Wilmot.

1:04:361:04:39

Thank you, Gary.

1:04:391:04:41

What's your latest project?

1:04:411:04:43

Ah, I'm pleased you asked. It's...

1:04:431:04:45

Well, I'm delighted to say it's another musical

1:04:451:04:48

with Andrew Lloyd Webber and Christopher Hampton,

1:04:481:04:51

and it's Stephen Ward, and it opens in December.

1:04:511:04:54

And I'm very excited about this.

1:04:541:04:57

For 20 years... The three of us wrote Sunset Boulevard together

1:04:571:05:01

and we've been looking for something.

1:05:011:05:03

The three of us worked so well on that,

1:05:031:05:05

and Andrew called 18 months or two years ago

1:05:051:05:08

and said he had this idea for The Profumo Affair.

1:05:081:05:12

That's the centre of the story, but it's about Stephen Ward,

1:05:121:05:15

the society osteopath, who...

1:05:151:05:18

Well, it was a great miscarriage of justice.

1:05:181:05:21

He was a scapegoat.

1:05:211:05:22

-He was a scapegoat for...

-A great scandal.

-Exactly.

1:05:221:05:25

That's work done. But knowing what a workaholic you are,

1:05:251:05:28

-you must be up to something at the moment.

-Erm...

1:05:281:05:31

Well, I've been working with Richard Stilgoe on a little idea.

1:05:311:05:34

-With a rival, a rival lyric writer.

-Yes.

1:05:341:05:37

It'll surprise you, I think,

1:05:371:05:38

-what we've come up with.

-Really?

-Yes.

1:05:381:05:41

-What have you been working on?

-Well, you'll see. Introduce the men.

1:05:411:05:44

Oh, OK. Well...

1:05:441:05:47

-LAUGHTER

-This is a surprise to me too,

1:05:471:05:48

but with an exclusive performance of something which has just been

1:05:481:05:52

written - I think the ink is still wet -

1:05:521:05:54

please put your hands together

1:05:541:05:56

for one of your competitors, Don, Mr Richard Stilgoe.

1:05:561:06:00

APPLAUSE

1:06:001:06:02

We have heard, already this evening,

1:06:141:06:17

some wonderful songs sung by wonderful singers.

1:06:171:06:21

Every show needs contrast. LAUGHTER

1:06:211:06:24

Don Black went through some of his favourite rhymes...

1:06:271:06:31

..Maxine, etiquette, Connecticut,

1:06:321:06:34

and things during the course of this show.

1:06:341:06:36

And he came to me as the kind of car boot sale end of the songwriting

1:06:361:06:40

market to see if I could recycle all of those into some sort of a song

1:06:401:06:44

and just use them up.

1:06:441:06:46

So, that's what this song does and...that's what I've done,

1:06:461:06:50

and somehow it just isn't as good as Love Changes Everything.

1:06:501:06:52

LAUGHTER

1:06:521:06:55

# Somewhere within earshot of old Bo Bell's chimes

1:07:021:07:05

# Sits the Don Black Memorial Home For Old Rhymes

1:07:051:07:09

# Outside looking in and in need of befriending

1:07:101:07:13

# Slowly approaching her feminine ending

1:07:131:07:16

# Begrimed and unrhymed lies Maxine

1:07:161:07:20

# Poor Maxine had never had need of a rhyme

1:07:231:07:25

# She spent her professional life as a mime

1:07:251:07:29

# She mimed in Calcutta, she mimed in Connecticut

1:07:291:07:32

# Rhymes were outside her professional etiquette

1:07:321:07:35

# A word was absurd to Maxine

1:07:351:07:39

# Maxine's career had been unorthodox

1:07:391:07:42

# Pretending on stage to live in a glass box

1:07:421:07:45

# A kickboxing mime's nothing like Uma Thurman

1:07:451:07:48

# Her act's as much fun as a sermon in German

1:07:481:07:52

# It's sad but it's true

1:07:521:07:53

# Those who ape Marcel Marceau will be looked on by some

1:07:531:07:57

# As a bit of an idiot

1:07:571:07:58

# They think rhyme is a crime

1:07:581:08:02

# Poor Maxine

1:08:021:08:03

# She was no good on TV quiz shows as a panellist

1:08:051:08:09

# It takes a long time to mime dreams to your analyst

1:08:091:08:12

# So Maxine ran off with a GI on furlough

1:08:121:08:15

# Who plied her with vindaloo washed down with merlot

1:08:151:08:19

# The cooking of Bombay is spicy and gingery

1:08:191:08:21

# And when it's served flambe adds insult to injury

1:08:211:08:24

# Not only that, it was flambeed in Pernod

1:08:241:08:27

# So Maxine's insides were a Bombay inferno

1:08:271:08:31

# And now she lies outside the home in the grime

1:08:321:08:36

# Unable to get in for lack of a rhyme

1:08:361:08:40

# She's dyspeptic, going septic

1:08:401:08:43

# Poor Maxine

1:08:431:08:44

# The staff thought she died so they sent for a coroner

1:08:471:08:50

# Who said, "Elle est morte."

1:08:501:08:52

# The man was a foreigner

1:08:521:08:54

# But she was still breathing

1:08:551:08:57

# They called in a doctor

1:08:571:08:58

# Who looked pretty shocked from the moment he clocked her

1:08:581:09:02

# He cried, "Never fear, I am Dr Sibelius

1:09:021:09:04

# "That's not my real name

1:09:041:09:06

# "I am using an alias..." #

1:09:061:09:07

LAUGHTER AND APPLAUSE

1:09:091:09:11

It gets worse.

1:09:111:09:13

# "The flambe from Bombay was not over-gingery

1:09:131:09:16

# "The Pernod inferno has done her no injury

1:09:161:09:18

# "I have here the cure, the cure for Maxine

1:09:181:09:22

# "I shall give her a shot of my magic vaccine."

1:09:221:09:27

# On hearing the word Maxine pricked up her ears

1:09:291:09:32

# Embraced the old doctor and burst into tears

1:09:321:09:35

# "Oh, doctor," said Maxine, "I thought you a quack

1:09:351:09:38

# "But you brought me a rhyme, the one thing that I lack

1:09:381:09:42

# "Now I have vaccine and that rhymes with Maxine

1:09:421:09:46

# "I'll never be lonely

1:09:461:09:47

# "I'll join the Don Black scene."

1:09:471:09:50

# Maxine will be there

1:09:501:09:52

# Living under the care of the gently satirical lyrical miracle

1:09:521:09:56

# He'll never write Tosca but he has got an Oscar

1:09:561:09:58

# The lyrical miracle known as Don Black. #

1:09:581:10:04

CHEERING AND APPLAUSE

1:10:041:10:08

Do you need a pencil to write some of those down quickly?

1:10:271:10:29

-That was wonderful.

-Wasn't that brilliant?

-Absolutely.

1:10:291:10:32

I want to go back to talk about Sunset Boulevard,

1:10:321:10:35

which was based on the 1950 Billy Wilder film.

1:10:351:10:38

Did you watch the film before you got involved?

1:10:381:10:41

Oh, yeah, many times.

1:10:411:10:42

I loved the film and I loved Hollywood films.

1:10:421:10:46

In Hackney I used to live at the cinema, between the cinema

1:10:461:10:50

and the Hackney Empire.

1:10:501:10:52

So, it was Humphrey Bogart and James Cagney by day,

1:10:521:10:54

and Max Miller and Anne Sheldon at night.

1:10:541:10:57

But... Sunset Boulevard was a dream assignment, I think, from Andrew.

1:10:571:11:03

I loved it, and...

1:11:031:11:04

On the opening night, Billy Wilder...

1:11:051:11:08

Who originated...

1:11:081:11:09

..who wrote it, he said to Christopher Hampton and me,

1:11:091:11:12

"You boys are very clever."

1:11:121:11:14

I said, "Why's that, Mr Wilder?"

1:11:141:11:15

He said, "You didn't change anything."

1:11:151:11:18

We stayed very close to the original screenplay because it was so good.

1:11:181:11:21

Very dark piece.

1:11:211:11:23

I think it's one of Andrew's best scores. I think it's...

1:11:231:11:27

a thrilling piece. Again, it's that theme that

1:11:271:11:30

so many people can relate to about a woman who is past it, really,

1:11:301:11:35

but she's clinging to that dream.

1:11:351:11:38

And...anyone in this business, who's been in it for some time,

1:11:381:11:44

really loves to play. It's been played by many, many people and...

1:11:441:11:49

Again, it touches a lot of nerves.

1:11:491:11:52

Well, now we're going to hear two

1:11:521:11:53

songs from Andrew Lloyd Webber's hugely successful Sunset Boulevard.

1:11:531:11:57

Please welcome Oliver Award-winning star of the musical stage,

1:11:571:12:01

the one and only Maria Friedman.

1:12:011:12:04

APPLAUSE

1:12:041:12:06

# I don't know why I'm frightened

1:12:371:12:40

# I know my way around here

1:12:421:12:46

# The cardboard trees, the painted scenes

1:12:471:12:52

# The sound here

1:12:521:12:57

# Yes, a world to rediscover

1:12:571:13:00

# But I'm not in any hurry

1:13:031:13:06

# And I need a moment

1:13:091:13:16

# The whispered conversations in overcrowded hallways

1:13:181:13:27

# The atmosphere as thrilling here as always

1:13:271:13:34

# Feel the early morning madness

1:13:361:13:41

# Feel the magic in the making

1:13:411:13:45

# Why everything's as if we never said goodbye

1:13:461:13:54

# I've spent so many mornings

1:13:561:14:00

# Just trying to resist you

1:14:001:14:04

# I'm trembling now

1:14:041:14:07

# You can't know how I've missed you

1:14:071:14:12

# Missed the fairy tale adventure

1:14:121:14:17

# In this ever-spinning playground

1:14:171:14:21

# We were young together

1:14:221:14:28

# I'm coming out of make-up

1:14:301:14:35

# The lights already burning

1:14:351:14:39

# Not long until the cameras will start turning

1:14:391:14:47

# And the early morning madness

1:14:471:14:52

# And the magic in the making

1:14:521:14:57

# Yes, everything's as if

1:14:571:14:59

# We never said goodbye

1:14:591:15:03

# I don't want to be alone

1:15:031:15:07

# That's all in the past

1:15:071:15:11

# This world's waited long enough

1:15:111:15:15

# I've come home

1:15:151:15:22

# At last!

1:15:221:15:27

# And this time will be bigger

1:15:271:15:31

# And brighter than we knew it

1:15:321:15:37

# So watch me fly

1:15:371:15:39

# We all know I can do it

1:15:391:15:45

# Can I stop my hand from shaking?

1:15:451:15:49

# Has there ever been a moment

1:15:491:15:53

# With so much to live for?

1:15:531:16:01

# The whispered conversations

1:16:031:16:07

# In overcrowded hallways

1:16:091:16:12

# So much to say

1:16:131:16:16

# Not just today, but always

1:16:161:16:22

# We'll have early morning madness

1:16:221:16:29

# We'll have magic in the making

1:16:291:16:34

# Yes, everything's as if

1:16:341:16:37

# We never said

1:16:371:16:40

# Goodbye

1:16:401:16:47

# Yes...

1:16:471:16:49

# Everything's as if

1:16:491:16:52

# We never said

1:16:521:16:57

# Goodbye

1:16:571:17:04

# We taught the world

1:17:071:17:11

# New ways

1:17:111:17:14

# To dream. #

1:17:141:17:25

APPLAUSE

1:17:251:17:28

MUSIC: "With One Look"

1:17:441:17:49

# With one look

1:17:581:18:01

# I can break your heart

1:18:011:18:06

# With one look

1:18:061:18:08

# I play every part

1:18:081:18:13

# I can make your sad heart sing

1:18:131:18:20

# With one look

1:18:201:18:22

# You'll know all you need to know

1:18:221:18:29

# With one smile

1:18:291:18:33

# I'm the girl next door

1:18:331:18:36

# Or the love

1:18:361:18:39

# That you've hungered for

1:18:391:18:43

# When I speak

1:18:431:18:46

# It's with my soul

1:18:461:18:50

# I can play

1:18:501:18:54

# Any role

1:18:541:18:57

# No words can tell

1:18:571:19:00

# The stories my eyes tell

1:19:001:19:03

# Watch me when I frown

1:19:031:19:06

# You can't write that down

1:19:061:19:09

# You know I'm right

1:19:091:19:13

# It's there in black and white

1:19:131:19:15

# When I look your way

1:19:151:19:18

# You'll hear what I say

1:19:181:19:22

# Yes, with one look

1:19:221:19:26

# I put words to shame

1:19:261:19:29

# Just one look

1:19:291:19:31

# Sets the screen aflame

1:19:311:19:35

# Silent music starts to play

1:19:351:19:41

# One tear in my eye

1:19:411:19:44

# Makes the whole world cry

1:19:441:19:49

# With one look

1:19:491:19:52

# They'll forgive the past

1:19:521:19:55

# They'll rejoice

1:19:551:19:58

# I've come home at last

1:19:581:20:02

# To my people

1:20:021:20:05

# In the dark

1:20:051:20:09

# Still out there

1:20:091:20:12

# In the dark

1:20:121:20:16

# Silent music starts to play

1:20:271:20:33

# With one look

1:20:331:20:35

# You'll know all you need to know

1:20:351:20:42

# With one look

1:20:421:20:44

# I'll ignite a blaze

1:20:441:20:48

# I'll return to my glory days

1:20:481:20:55

# They'll say...

1:20:551:20:57

# "Norma's back at last"

1:20:571:21:04

# This time, I'm staying

1:21:041:21:06

# I'm staying for good

1:21:061:21:09

# I'll be back

1:21:091:21:11

# Where I was born to be

1:21:111:21:16

# With one look

1:21:161:21:19

# I'll be...

1:21:191:21:24

# Me. #

1:21:241:21:32

APPLAUSE

1:21:381:21:40

Well, thank you, Maria Friedman. That was superb.

1:22:141:22:17

And of course, a huge thank you to all the artists

1:22:171:22:19

who have taken part in this fabulous concert.

1:22:191:22:21

A special thank you must also go to the BBC Concert Orchestra

1:22:261:22:30

conducted by Mike Dixon.

1:22:301:22:32

But, of course, finally, thanks to the amazing man himself,

1:22:461:22:50

Don Black, for giving us so much pleasure.

1:22:501:22:52

-I think the artists might have done your lyrics proud.

-Fantastic.

1:23:021:23:06

Dazzling performances.

1:23:061:23:07

And I want to say to the people here tonight...thank you so much.

1:23:071:23:11

I hope you've enjoyed my life as much as I have.

1:23:111:23:14

So...

1:23:191:23:20

So, we're going to leave you

1:23:221:23:23

with the song that transformed our next performer's life.

1:23:231:23:27

Singing Love Changes Everything, please welcome back Michael Ball!

1:23:271:23:32

Thanks for this one, Don.

1:23:441:23:46

# Love

1:23:561:23:57

# Love changes everything

1:23:571:24:00

# Hands and faces

1:24:001:24:02

# Earth and sky

1:24:021:24:04

# Love

1:24:061:24:07

# Love changes everything

1:24:071:24:10

# How you live and how you die

1:24:101:24:15

# Love can make the summer fly

1:24:161:24:20

# Or a night seem like a lifetime

1:24:201:24:26

# Yes, love

1:24:261:24:28

# Love changes everything

1:24:281:24:31

# Now I tremble at your name

1:24:311:24:37

# Nothing in the world will ever be

1:24:371:24:41

# The same

1:24:411:24:45

# Love

1:24:471:24:49

# Love changes everything

1:24:491:24:52

# Days are longer

1:24:521:24:54

# Words mean more

1:24:541:24:57

# Love

1:24:571:24:59

# Love changes everything

1:24:591:25:02

# Pain is deeper than before

1:25:021:25:07

# Love will turn your world around

1:25:071:25:11

# And that world will last forever

1:25:111:25:16

# Yes, love

1:25:161:25:18

# Love changes everything

1:25:181:25:20

# Brings you glory

1:25:201:25:23

# Brings you shame

1:25:231:25:26

# Nothing in the world will ever be

1:25:261:25:30

# The same

1:25:301:25:35

# Off into the world we go

1:25:451:25:49

# Planning futures, shaping years

1:25:491:25:54

# Love bursts in and suddenly

1:25:541:25:58

# All our wisdom disappears

1:25:581:26:04

# Love makes fools of everyone

1:26:041:26:08

# All the rules we make are broken

1:26:081:26:13

# Yes, love

1:26:131:26:15

# Love changes everyone

1:26:151:26:17

# Live or perish in its flame

1:26:171:26:23

# Love will never, never let you be

1:26:231:26:26

# The same

1:26:261:26:32

# Love will never, never let you be

1:26:321:26:37

# The

1:26:371:26:40

# Same. #

1:26:401:26:47

APPLAUSE

1:26:511:26:53

Ladies and gentleman, the star of our show, Mr Don Black.

1:27:051:27:09

Let's hear you, Don.

1:27:131:27:15

# Off into the world we go

1:27:151:27:19

# Planning futures, shaping years

1:27:191:27:24

BOTH: # Love bursts in and suddenly

1:27:241:27:28

# All our wisdom disappears

1:27:281:27:33

# Love makes fools of everyone

1:27:331:27:37

# All the rules we make are broken

1:27:371:27:43

# Yes, love

1:27:431:27:44

# Love changes everyone

1:27:441:27:47

# Live or perish in its flame

1:27:471:27:52

# Love will never, never let you be

1:27:521:27:55

# The same... #

1:27:551:27:58

MICHAEL BALL: No-one sings the end like Don. Take it away.

1:27:581:28:01

# Love will never, ever let you be...

1:28:011:28:06

-STRAINING:

-# The... #

1:28:061:28:08

Goodnight and God bless.

1:28:081:28:10

# Hands and faces

1:28:131:28:17

# Earth and sky. #

1:28:171:28:21

Mr Don Black!

1:28:301:28:32

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