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