Diamonds are Forever: The Don Black Songbook


Diamonds are Forever: The Don Black Songbook

Don Black, lyricist behind hit songs including Diamonds are Forever, Born Free and Love Changes Everything, shares fascinating insights into his life's work with Michael Grade.


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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.

0:19:080:19:12

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

0:19:120:19:17

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?"

0:19:250:19:26

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

0:20:020:20:05

# It couldn't have been

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# You couldn't have seen him

0:20:070:20:09

# Yesterday

0:20:090:20:12

# He's doing some deal

0:20:120:20:14

# Up in Baltimore now

0:20:140:20:17

# I hate it when he's away

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# You must be mistaken

0:20:210:20:23

# I'm sure that you are

0:20:230:20:25

# There's more than one car with stickers on

0:20:250:20:29

# And lots of young guys wear corduroy pants

0:20:310:20:35

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

0:20:350:20:39

# Take that look off your face

0:20:390:20:41

# I can see through your smile

0:20:420:20:45

# You would love to be right

0:20:470:20:49

# I bet you didn't sleep good last night

0:20:490:20:52

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

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# Well, I've got news for you

0:20:570:20:59

# I knew before

0:21:010:21:03

# If I'm not mistaken

0:21:060:21:09

# It started last year

0:21:090:21:10

# I'm not very clear how it began

0:21:100:21:15

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

0:21:160:21:20

# 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

0:21:280:21:30

# 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

0:21:410:21:43

# Well, my fair-weather friend

0:21:430:21:47

# 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"

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# With one look

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# I can break your heart

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# With one look

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# I play every part

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# I can make your sad heart sing

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# With one look

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# You'll know all you need to know

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# With one smile

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# I'm the girl next door

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# Or the love

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# That you've hungered for

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# When I speak

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# It's with my soul

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# I can play

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# Any role

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# No words can tell

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# The stories my eyes tell

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# Watch me when I frown

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# You can't write that down

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# You know I'm right

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# It's there in black and white

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# When I look your way

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# You'll hear what I say

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# Yes, with one look

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# I put words to shame

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# Just one look

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# Sets the screen aflame

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# Silent music starts to play

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# One tear in my eye

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# Makes the whole world cry

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# With one look

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# They'll forgive the past

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# They'll rejoice

1:19:551:19:58

# I've come home at last

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# To my people

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# In the dark

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# Still out there

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# In the dark

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# 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

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# I'll return to my glory days

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# They'll say...

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# "Norma's back at last"

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# This time, I'm staying

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# I'm staying for good

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# I'll be back

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# Where I was born to be

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# With one look

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# I'll be...

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# Me. #

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APPLAUSE

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

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

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who have taken part in this fabulous concert.

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

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conducted by Mike Dixon.

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

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Don Black, for giving us so much pleasure.

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

-Fantastic.

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Dazzling performances.

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

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

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So...

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So, we're going to leave you

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

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Singing Love Changes Everything, please welcome back Michael Ball!

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Thanks for this one, Don.

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# Love

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# Love changes everything

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# Hands and faces

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# Earth and sky

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# Love

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# Love changes everything

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# How you live and how you die

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# Love can make the summer fly

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# Or a night seem like a lifetime

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# Yes, love

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# Love changes everything

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# Now I tremble at your name

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# Nothing in the world will ever be

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# The same

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# Love

1:24:471:24:49

# Love changes everything

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# Days are longer

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# Words mean more

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# Love

1:24:571:24:59

# Love changes everything

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# Pain is deeper than before

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# Love will turn your world around

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# And that world will last forever

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# Yes, love

1:25:161:25:18

# Love changes everything

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# Brings you glory

1:25:201:25:23

# Brings you shame

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# 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

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# Planning futures, shaping years

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# Love bursts in and suddenly

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# All our wisdom disappears

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# Love makes fools of everyone

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# All the rules we make are broken

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# Yes, love

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# Love changes everyone

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# Live or perish in its flame

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# Love will never, never let you be

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# The same

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# Love will never, never let you be

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# The

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# Same. #

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APPLAUSE

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

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Let's hear you, Don.

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# Off into the world we go

1:27:151:27:19

# Planning futures, shaping years

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BOTH: # Love bursts in and suddenly

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# All our wisdom disappears

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# Love makes fools of everyone

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# All the rules we make are broken

1:27:371:27:43

# Yes, love

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# Love changes everyone

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# Live or perish in its flame

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# Love will never, never let you be

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# The same... #

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

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

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-STRAINING:

-# The... #

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Goodnight and God bless.

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# Hands and faces

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# Earth and sky. #

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Mr Don Black!

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Don Black, the lyricist behind a huge collection of popular hit songs including Diamonds are Forever, Born Free, Ben and Love Changes Everything, shares some fascinating insights into his life's work with Michael Grade, in between live performances of his songs by Brian May, Eliza Doolittle, Frances Ruffelle, Gary Wilmot, Gregory Porter, Katie Melua, Kerry Ellis, Laura Wright, Marc Almond, Maria Friedman, Marti Webb, Michael Ball, Only Men Aloud and Richard Stilgoe. Recorded at the Royal Festival Hall in London.


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