0:00:02 > 0:00:04APPLAUSE
0:00:04 > 0:00:06# Love, sweet love
0:00:07 > 0:00:09# It's love, sweet love
0:00:11 > 0:00:12# It's the only thing... #
0:00:12 > 0:00:14Wow! Good evening.
0:00:16 > 0:00:20Welcome to the Festival Hall where, tonight, we are celebrating
0:00:20 > 0:00:22a songwriting legend.
0:00:22 > 0:00:25In the 1960s, he turned popular music on its head.
0:00:25 > 0:00:29His unique style broke many musical boundaries
0:00:29 > 0:00:33and he composed some of the most recognisable and lasting melodies
0:00:33 > 0:00:34ever created.
0:00:34 > 0:00:37Walk On By, I Say A Little Prayer, The Look Of Love,
0:00:37 > 0:00:40What's New Pussycat?, That's What Friends Are For,
0:00:40 > 0:00:43Alfie, Raindrops Keep Falling On My Head,
0:00:43 > 0:00:44I'll Never Fall In Love Again.
0:00:44 > 0:00:47The list goes on and on and on.
0:00:47 > 0:00:49And tonight, these songs and many others
0:00:49 > 0:00:52will be performed by a host of stars, including Alfie Boe.
0:00:52 > 0:00:59# And this all can be mine? #
0:00:59 > 0:01:00Sophie Ellis-Bexter.
0:01:00 > 0:01:04# No, no, I'll never fall in love again. #
0:01:04 > 0:01:05Shaun Escoffery.
0:01:05 > 0:01:11# And a house is not a home without two of us. #
0:01:11 > 0:01:12Rebecca Ferguson.
0:01:12 > 0:01:15# Forever, forever You'll stay in my heart
0:01:15 > 0:01:16# And I will love you. #
0:01:16 > 0:01:18Justin Hayward.
0:01:18 > 0:01:21# What the world needs now
0:01:22 > 0:01:25# Is love, sweet love. #
0:01:25 > 0:01:26Michael Kiwanuka.
0:01:26 > 0:01:32# The windows of the world are covered with rain. #
0:01:32 > 0:01:33Laura Mvula.
0:01:33 > 0:01:37# Do you know the way to San Jose? #
0:01:40 > 0:01:41And Joss Stone.
0:01:41 > 0:01:45# In between the heartaches
0:01:45 > 0:01:49# You hold me here in your arms. #
0:01:49 > 0:01:52APPLAUSE
0:01:52 > 0:01:55Our guest of honour was nicknamed "Happy".
0:01:55 > 0:01:59This was curious, since he was a self-confessed, insecure loner.
0:01:59 > 0:02:02He had endless battles with his mother over his piano lessons,
0:02:02 > 0:02:04he'd rather have been playing ball.
0:02:04 > 0:02:08But, happily for us, he went on to become one of popular music's
0:02:08 > 0:02:11most gifted and accomplished composer-performers.
0:02:11 > 0:02:15Ladies and gentlemen, the legend himself,
0:02:15 > 0:02:17the maestro, Mr Burt Bacharach!
0:02:17 > 0:02:20CHEERING AND APPLAUSE
0:02:20 > 0:02:24# Always something there to remind me
0:02:26 > 0:02:30# There's always something there to remind me... #
0:02:30 > 0:02:31Thank you.
0:02:33 > 0:02:38# ..There's always something there to remind me... #
0:02:41 > 0:02:45One of the things I wanted to ask you to begin with is,
0:02:45 > 0:02:48at what point in your life,
0:02:48 > 0:02:51did you give up football and take music seriously?
0:02:51 > 0:02:54Because it was a good decision, I'll tell you now.
0:02:54 > 0:02:55It was a hell of a good decision.
0:02:55 > 0:02:57I think I was too small.
0:02:57 > 0:03:00I got kicked around, you know, playing football. American football.
0:03:00 > 0:03:02Not your football.
0:03:02 > 0:03:05Did you like music as a very young kid?
0:03:05 > 0:03:08I did not like music.
0:03:08 > 0:03:12As a matter of fact, I really objected
0:03:12 > 0:03:15to being forced to take piano lessons by my mother,
0:03:15 > 0:03:18who bought me a Steinway grand,
0:03:18 > 0:03:20and coming home from school,
0:03:20 > 0:03:23I'd have to practise for a half an hour and hated it.
0:03:25 > 0:03:28- But we wouldn't be sitting here if it wasn't for my mother.- Really?
0:03:28 > 0:03:30Yeah.
0:03:30 > 0:03:33Because she came into my bedroom one night,
0:03:33 > 0:03:36you know, to say good night to me.
0:03:37 > 0:03:40I was maybe 24. No!
0:03:41 > 0:03:4325. 25.
0:03:43 > 0:03:45She came into my bedroom to say good night,
0:03:45 > 0:03:47probably when I was 14,
0:03:47 > 0:03:4913 or 14,
0:03:49 > 0:03:50and said...
0:03:52 > 0:03:54"You know, we've tried, I've pushed.
0:03:54 > 0:03:56"I don't want to push you any more.
0:03:56 > 0:03:59"I feel you don't really like doing this.
0:03:59 > 0:04:01"You don't like taking lessons.
0:04:01 > 0:04:03"You don't like practising.
0:04:03 > 0:04:04"So it's your choice.
0:04:04 > 0:04:07"If you want to stop, you can stop now."
0:04:07 > 0:04:09And I thought, "I am free.
0:04:09 > 0:04:11"I'm out."
0:04:11 > 0:04:13You know?
0:04:13 > 0:04:16I went to bed and somewhere at about four in the morning,
0:04:16 > 0:04:18it occurred to me,
0:04:18 > 0:04:22maybe the Jewish guilt or something that came about,
0:04:22 > 0:04:24"I can't do this to my mother!"
0:04:24 > 0:04:26LAUGHTER
0:04:26 > 0:04:27So... "To my mother!"
0:04:29 > 0:04:31This is the reason we're sitting here, you know, actually.
0:04:31 > 0:04:33OK.
0:04:33 > 0:04:35Early musical influences.
0:04:35 > 0:04:38You give up the football and you start to take music seriously
0:04:38 > 0:04:40and it starts to take you seriously.
0:04:40 > 0:04:43Early influences - bebop,
0:04:43 > 0:04:45Thelonious Monk, Charlie Parker,
0:04:45 > 0:04:47Dizzy Gillespie,
0:04:47 > 0:04:49the Count Basie Big Band.
0:04:49 > 0:04:51Somebody told me that you had a copy
0:04:51 > 0:04:54of Ravel's Daphnis And Chloe under your desk at school.
0:04:54 > 0:04:56Yeah, because the other choice
0:04:56 > 0:04:58was what I was learning in high school
0:04:58 > 0:05:01was total disinterest for me.
0:05:01 > 0:05:04We need to get now to
0:05:04 > 0:05:08your first sight or your first hearing of Dionne Warwick.
0:05:08 > 0:05:12There was something about her that was star-like,
0:05:12 > 0:05:13maybe, potentially.
0:05:13 > 0:05:15She came in to sing for Hal and me
0:05:15 > 0:05:18maybe six weeks after the recording in Mexican Divorce.
0:05:18 > 0:05:21And we said,
0:05:21 > 0:05:24"Phew, this girl is unbelievable."
0:05:24 > 0:05:26I think it's time we heard some music
0:05:26 > 0:05:29and we're going to hear one of Burt and Dionne's
0:05:29 > 0:05:32most famous collaborations - Walk On By.
0:05:32 > 0:05:35Please welcome the wonderful Rebecca Ferguson!
0:05:35 > 0:05:39APPLAUSE
0:05:45 > 0:05:48# If you see me walking down the street
0:05:48 > 0:05:51# And I start to cry
0:05:51 > 0:05:53# Each time we meet
0:05:53 > 0:05:56# Walk on by
0:05:58 > 0:06:01# Walk on by
0:06:01 > 0:06:04# Make believe
0:06:04 > 0:06:06# That you don't see the tears
0:06:06 > 0:06:08# Just let me grieve
0:06:08 > 0:06:10# In private
0:06:10 > 0:06:12# Because each time I see you
0:06:12 > 0:06:17# I break down and cry
0:06:17 > 0:06:19# Walk on by
0:06:19 > 0:06:21# Don't stop
0:06:21 > 0:06:24# Walk on by
0:06:24 > 0:06:26# Don't stop
0:06:26 > 0:06:29# Walk on by
0:06:33 > 0:06:36# Well, I just can't seem to get over you
0:06:36 > 0:06:38# And so if I seem
0:06:38 > 0:06:41# Broken and blue
0:06:41 > 0:06:43# Walk on by
0:06:45 > 0:06:48# Walk on by
0:06:49 > 0:06:51# Foolish pride
0:06:51 > 0:06:53# Is all that I have left
0:06:53 > 0:06:56# So let me hide
0:06:56 > 0:07:00# The tears and the sadness you gave me
0:07:00 > 0:07:04# When you said goodbye
0:07:04 > 0:07:07# Walk on by
0:07:07 > 0:07:09# Don't stop
0:07:09 > 0:07:12# Walk on by
0:07:12 > 0:07:14# Don't stop
0:07:14 > 0:07:16# Walk on by
0:07:16 > 0:07:18# Don't stop
0:07:19 > 0:07:27# Walk on by
0:07:29 > 0:07:31# Ah-ha
0:07:31 > 0:07:33# Ha-ah
0:07:38 > 0:07:40# Walk on by
0:07:41 > 0:07:43# Foolish pride
0:07:43 > 0:07:45# Is all that I have left
0:07:45 > 0:07:48# So let me hide
0:07:48 > 0:07:52# The tears and the sadness you gave me
0:07:52 > 0:07:56# When you said goodbye
0:07:56 > 0:07:59# Walk on by
0:07:59 > 0:08:01# Don't stop
0:08:01 > 0:08:03# Walk on by
0:08:03 > 0:08:05# Don't stop
0:08:05 > 0:08:08# Now you really gotta go So walk on by
0:08:08 > 0:08:10# Don't stop
0:08:10 > 0:08:13# Babe, believe, you'll never see the tears I cry
0:08:13 > 0:08:15# Don't stop
0:08:15 > 0:08:18# Now you really gotta go So walk on by
0:08:18 > 0:08:20# Don't stop
0:08:20 > 0:08:23# Babe, believe, you'll never see the tears I cry
0:08:23 > 0:08:26# Walk on by. #
0:08:26 > 0:08:29APPLAUSE
0:08:29 > 0:08:31Thank you.
0:08:38 > 0:08:42Burt, there's a fateful moment where you meet somebody
0:08:42 > 0:08:44who's to play a big part in your career,
0:08:44 > 0:08:45which is Hal David writing lyrics.
0:08:45 > 0:08:46Where did you meet?
0:08:46 > 0:08:51We were just a part of a whole group in the Brill Building.
0:08:51 > 0:08:52The Brill Building?
0:08:52 > 0:08:55Famous. 1619 Broadway, like the Music Factory.
0:08:55 > 0:08:59- And it was all music publishers and writers?- Yes.
0:08:59 > 0:09:01And Hal was hanging around like you were hanging around?
0:09:01 > 0:09:04Hal had been writing and had a couple of hits.
0:09:04 > 0:09:07- And had you had any hits at this point?- No.- Nothing?
0:09:07 > 0:09:10So you meet him and what was the first song you wrote with him?
0:09:10 > 0:09:11Can you remember?
0:09:11 > 0:09:15We wrote some early songs that were really terrible.
0:09:15 > 0:09:17MICHAEL CHUCKLES
0:09:17 > 0:09:21There's a song called Peggy's In The Pantry. You'll never hear that.
0:09:21 > 0:09:23- Peggy's In The Pantry?- Right.
0:09:23 > 0:09:26Underneath The Overpass was another song that we wrote.
0:09:26 > 0:09:29These were unrecordable songs, you know?
0:09:29 > 0:09:31How did you and Hal work?
0:09:31 > 0:09:34Did you sit in a room together, all different ways?
0:09:34 > 0:09:36It was an office. It was like a...
0:09:38 > 0:09:40Not a very pretty office.
0:09:40 > 0:09:42The window didn't open.
0:09:42 > 0:09:44The air conditioning didn't work.
0:09:44 > 0:09:45Hal smoked a lot.
0:09:45 > 0:09:47But you had a piano?
0:09:47 > 0:09:50- A bad piano.- A bad piano!
0:09:50 > 0:09:52A kind of beat-up upright.
0:09:52 > 0:09:54But we wrote there and we...
0:09:54 > 0:09:58Actually, Mike, we never finished a song in one day.
0:09:58 > 0:10:01Because he would like to go home to Long Island
0:10:01 > 0:10:04and I would want to go back to my apartment
0:10:04 > 0:10:06and work on what we were working on
0:10:06 > 0:10:09and maybe finish it the next day or the day after that.
0:10:09 > 0:10:12So, you know,
0:10:12 > 0:10:15you don't get awards for writing five songs a day.
0:10:15 > 0:10:18I think it's time for another song.
0:10:18 > 0:10:20So our next performer's sound
0:10:20 > 0:10:24has been likened to hearing Billie Holiday with the Beach Boys.
0:10:24 > 0:10:28Please welcome the amazing Laura Mvula!
0:10:28 > 0:10:30APPLAUSE
0:10:38 > 0:10:42# Do you know the way to San Jose?
0:10:42 > 0:10:44# I've been away so long
0:10:44 > 0:10:46# I may go wrong and lose my way
0:10:46 > 0:10:50# Do you know the way to San Jose?
0:10:50 > 0:10:52# I'm going back to find
0:10:52 > 0:10:55# Some peace of mind in San Jose
0:10:55 > 0:10:59# LA is a great big freeway
0:10:59 > 0:11:02# Put a hundred down and buy a car
0:11:04 > 0:11:06# In a week, maybe two
0:11:06 > 0:11:08# They'll make you a star
0:11:09 > 0:11:11# Weeks turn into years
0:11:11 > 0:11:13# How quick they pass
0:11:13 > 0:11:16# And all the stars that never were
0:11:16 > 0:11:20# Are parking cars or pumping gas
0:11:21 > 0:11:25# You can really breathe in San Jose
0:11:25 > 0:11:27# They've got a lot of space
0:11:27 > 0:11:30# There'll be a place where I can stay
0:11:30 > 0:11:33# I was born and raised in San Jose
0:11:33 > 0:11:35# I'm going back to find
0:11:35 > 0:11:38# Some peace of mind in San Jose
0:11:39 > 0:11:42# Fame and fortune is a magnet
0:11:42 > 0:11:46# It can pull you far away from home
0:11:47 > 0:11:50# With a dream in your heart you're never alone
0:11:52 > 0:11:56# Dreams turn into dust and blow away
0:11:56 > 0:11:59# And there you are without a friend
0:11:59 > 0:12:02# You pack your car and ride away
0:12:04 > 0:12:08# I've got lots of friends in San Jose
0:12:11 > 0:12:14# Do you know the way to San Jose?
0:12:32 > 0:12:35# LA is a great big freeway
0:12:35 > 0:12:38# Put a hundred down and buy a car
0:12:41 > 0:12:42# In a week, maybe two
0:12:42 > 0:12:44# They'll make you a star
0:12:45 > 0:12:47# Weeks turn into years
0:12:47 > 0:12:49# How quick they pass
0:12:50 > 0:12:53# And all the stars that never were
0:12:53 > 0:12:56# Are parking cars and pumping gas
0:12:59 > 0:13:03# Do you know the way to San Jose?
0:13:06 > 0:13:10# Can't wait to get back to San Jose
0:13:13 > 0:13:15# Ah-ooooh
0:13:17 > 0:13:20# Oh, oh, oh-oh, oh-oh Oh-oh, oh-oh, oh
0:13:23 > 0:13:27# Oh, oh, oh-oh, oh-oh, oh-oh Oh-oh, oh. #
0:13:30 > 0:13:33APPLAUSE
0:13:38 > 0:13:42It must have been quite difficult to get artists like Dionne Warwick,
0:13:42 > 0:13:44getting people like that to understand
0:13:44 > 0:13:45that these songs had value,
0:13:45 > 0:13:49that they were new and that the audience would listen to them?
0:13:49 > 0:13:52Well, Michael, I never intended to break rules.
0:13:53 > 0:13:55You know?
0:13:55 > 0:13:58It never was my intention to make things difficult.
0:13:59 > 0:14:03But, you know, sometimes I wouldn't know, until I wrote the music out,
0:14:03 > 0:14:07that it was not an eight-bar phrase,
0:14:07 > 0:14:09it was a ten-bar phrase.
0:14:09 > 0:14:11Which is very unusual.
0:14:11 > 0:14:13Well... But it felt right.
0:14:13 > 0:14:16And my voice really got to be heard
0:14:16 > 0:14:20when somebody let me get into a recording studio
0:14:20 > 0:14:22and record the artists.
0:14:22 > 0:14:24Up until then, you know, I'd had songs recorded
0:14:24 > 0:14:26and some were pretty good.
0:14:26 > 0:14:29We're going to hear an amazing song,
0:14:29 > 0:14:31which everybody will know immediately.
0:14:31 > 0:14:33And since 1965,
0:14:33 > 0:14:38What The World Needs Now has been covered by more than 100 artists.
0:14:38 > 0:14:40And tonight, we have the great pleasure
0:14:40 > 0:14:43of introducing another singer-musician-songwriter,
0:14:43 > 0:14:44the voice of the Moody Blues,
0:14:44 > 0:14:47please welcome Mr Justin Hayward!
0:14:47 > 0:14:50APPLAUSE
0:15:01 > 0:15:05# What the world needs now
0:15:06 > 0:15:08# Is love, sweet love
0:15:09 > 0:15:12# It's the only thing
0:15:12 > 0:15:16# That there's just too little of
0:15:16 > 0:15:19# What the world needs now
0:15:20 > 0:15:23# Is love, sweet love
0:15:24 > 0:15:30# No, not just for some but for everyone
0:15:31 > 0:15:35# Lord, we don't need another mountain
0:15:37 > 0:15:42# There are mountains and hillsides enough to climb
0:15:44 > 0:15:50# There are oceans and rivers enough to cross
0:15:50 > 0:15:56# Enough to last until the end of time
0:15:56 > 0:16:00# What the world needs now
0:16:00 > 0:16:04# Is love, sweet love
0:16:04 > 0:16:07# It's the only thing
0:16:07 > 0:16:10# That there's just too little of
0:16:10 > 0:16:14# What the world needs now
0:16:14 > 0:16:17# Is love, sweet love
0:16:18 > 0:16:24# No, not just for some but for everyone
0:16:26 > 0:16:30# Lord, we don't need another meadow
0:16:31 > 0:16:36# There are cornfields and wheat fields enough to grow
0:16:38 > 0:16:44# There are sunbeams and moonbeams enough to shine
0:16:44 > 0:16:47# Oh, listen, Lord
0:16:47 > 0:16:53# If you want to know
0:16:53 > 0:16:58# What the world needs now
0:16:58 > 0:17:01# Is love, sweet love
0:17:02 > 0:17:04# It's the only thing
0:17:04 > 0:17:07# That there's just too little of
0:17:07 > 0:17:11# What the world needs now
0:17:11 > 0:17:15# Is love, sweet love
0:17:15 > 0:17:18# No, not just for some
0:17:18 > 0:17:27# Oh, but just for everyone
0:17:35 > 0:17:39# What the world needs now
0:17:39 > 0:17:42# Is love, sweet love
0:17:43 > 0:17:46# What the world needs now
0:17:46 > 0:17:49# Is love, sweet love
0:17:49 > 0:17:53# What the world needs now
0:17:53 > 0:17:57# Is love, sweet love
0:18:04 > 0:18:07# No, not just for some
0:18:07 > 0:18:18# Oh, but just for everyone... #
0:18:20 > 0:18:24APPLAUSE
0:18:29 > 0:18:32I want to talk now about I Say A Little Prayer.
0:18:32 > 0:18:35You weren't sure that this ought to be released for Dionne, were you?
0:18:35 > 0:18:38You weren't absolutely certain it was going to be a hit.
0:18:38 > 0:18:40No, I tried to keep it from coming out.
0:18:40 > 0:18:42Did you? Why?
0:18:42 > 0:18:44Well, I wrote the arrangement, produced the record.
0:18:44 > 0:18:46I didn't think I'd got it.
0:18:46 > 0:18:48I didn't think I'd got it in the studio.
0:18:48 > 0:18:51I thought the tempo maybe was too fast.
0:18:51 > 0:18:53Got overruled by the label.
0:18:53 > 0:18:55They put it out.
0:18:55 > 0:18:57And it was a hit.
0:18:57 > 0:18:59- Well, it was one of her biggest hits, wasn't it?- Biggest hits.
0:18:59 > 0:19:03But then, you know, Aretha covered it,
0:19:03 > 0:19:05Aretha Franklin covered it,
0:19:05 > 0:19:07and made a seamless record,
0:19:07 > 0:19:09a much better record than I made.
0:19:09 > 0:19:12And it was one of my favourite records.
0:19:12 > 0:19:15Did you ever doubt your own judgment after that, or...
0:19:15 > 0:19:17- Constantly. - ..you'd go with your instincts?
0:19:17 > 0:19:20Constantly. I don't write quickly.
0:19:20 > 0:19:23And maybe I'll wind up with,
0:19:23 > 0:19:25after two, three weeks,
0:19:25 > 0:19:27with exactly what I started.
0:19:27 > 0:19:30Maybe make one slight change. Maybe.
0:19:30 > 0:19:34But I'm very difficult on myself that way.
0:19:34 > 0:19:36I'm very hard on myself.
0:19:36 > 0:19:37Well, let's hear the song.
0:19:37 > 0:19:41Please welcome, singing I Say A Little Prayer, Rebecca Ferguson!
0:19:41 > 0:19:43APPLAUSE
0:19:56 > 0:19:59# Oh, when I wake up
0:19:59 > 0:20:03# Before I put on my make-up
0:20:03 > 0:20:05# I say a little prayer for you
0:20:07 > 0:20:10# I'm combing my hair now
0:20:11 > 0:20:14# And wondering what dress to wear now
0:20:14 > 0:20:17# I say a little prayer for you
0:20:18 > 0:20:21# Forever, forever You'll stay in my heart
0:20:21 > 0:20:24# And I will love you forever and ever
0:20:24 > 0:20:26# We never will part
0:20:26 > 0:20:27# Oh, how I love you
0:20:27 > 0:20:30# Together, together That's how we must be
0:20:30 > 0:20:32# To live without you
0:20:32 > 0:20:36# Will always be heartbreak for me
0:20:38 > 0:20:41# I run for the bus, dear
0:20:41 > 0:20:45# Oh, I ride and I think of us, dear
0:20:45 > 0:20:47# I say a little prayer for you
0:20:49 > 0:20:52# At work, I just take time
0:20:53 > 0:20:56# And all through my coffee break time
0:20:56 > 0:20:59# I say a little prayer for you
0:21:00 > 0:21:03# Forever, forever You'll stay in my heart
0:21:03 > 0:21:04# And I will love you
0:21:04 > 0:21:08# Forever and ever We never will part
0:21:08 > 0:21:10# Oh, how I love you
0:21:10 > 0:21:12# Together, together That's how we must be
0:21:12 > 0:21:14# To live without you
0:21:14 > 0:21:18# Will always be heartbreak for me
0:21:27 > 0:21:30# I say a little prayer for you
0:21:38 > 0:21:42# I say a little prayer for you
0:21:42 > 0:21:45# Forever, forever You'll stay in my heart
0:21:45 > 0:21:47# And I will love you
0:21:47 > 0:21:50# Forever and ever We never will part
0:21:50 > 0:21:52# Oh, how I love you
0:21:52 > 0:21:55# Together, together That's how we must be
0:21:55 > 0:21:56# To live without you
0:21:56 > 0:22:00# Would only be heartbreak for me
0:22:02 > 0:22:05# My darling, believe me
0:22:06 > 0:22:09# For me, there is no-one
0:22:10 > 0:22:12# But you
0:22:13 > 0:22:16# Please, love me, too
0:22:17 > 0:22:20# Cos I love you
0:22:20 > 0:22:22# Answer my prayers, babe
0:22:24 > 0:22:27# And say you love me, too
0:22:27 > 0:22:29# Answer my prayers, baby
0:22:34 > 0:22:36# Just answer my prayers, baby
0:22:38 > 0:22:43# Oooh-ooooh-hooooh. #
0:22:45 > 0:22:48APPLAUSE
0:22:50 > 0:22:54I've got this picture, Burt, of you and Hal sitting
0:22:54 > 0:22:58facing a blank sheet of manuscript and a blank sheet of paper for him.
0:22:58 > 0:23:01Where on earth do you...
0:23:01 > 0:23:04How do you decide what the subject is for a song?
0:23:04 > 0:23:06You've got the world to choose from.
0:23:06 > 0:23:10Maybe I have a melodic fragment,
0:23:10 > 0:23:12something that I've come in with four bars of music.
0:23:14 > 0:23:16Maybe he's got a title.
0:23:16 > 0:23:19And it's a building process from there.
0:23:19 > 0:23:20You know, it's sort of snowballs.
0:23:20 > 0:23:22Right. Right.
0:23:22 > 0:23:25When you did Windows Of The World and generally...
0:23:25 > 0:23:28So this is the question you always get asked
0:23:28 > 0:23:31and it's such a cliched question, but it's so interesting,
0:23:31 > 0:23:33music or lyrics first?
0:23:33 > 0:23:36In this particular case, Windows Of The World, the lyrics came first?
0:23:36 > 0:23:37I think so.
0:23:37 > 0:23:40To my memory, they did come first.
0:23:40 > 0:23:43- But it doesn't matter to you, does it, which way round...- No.
0:23:43 > 0:23:45..the inspiration comes?
0:23:45 > 0:23:49No, I prefer sometimes to write with the lyrics first and set it.
0:23:49 > 0:23:51It takes me into different places
0:23:51 > 0:23:55that I might take myself just going with the music.
0:23:56 > 0:24:00I think, with Windows Of The World,
0:24:00 > 0:24:04the first record on that song was with Dionne.
0:24:05 > 0:24:07And it's a record that I blew.
0:24:07 > 0:24:11I mean, I really wrote the wrong arrangement, wrong concept.
0:24:11 > 0:24:13It was too happy.
0:24:13 > 0:24:15It should have been just with a guitar.
0:24:15 > 0:24:17It should have just had...
0:24:17 > 0:24:19So I missed, you know?
0:24:19 > 0:24:21And that's one of the nice things
0:24:21 > 0:24:24about having control of your songs in the studio.
0:24:24 > 0:24:28You can kind of say,
0:24:28 > 0:24:30"I will take the blame.
0:24:30 > 0:24:32"I take the blame if it didn't work
0:24:32 > 0:24:34"and I'll take the credit if it worked."
0:24:34 > 0:24:38So, first recorded by Dionne, as we've talked about.
0:24:38 > 0:24:41But covered by artists including Isaac Hayes, the Pretenders,
0:24:41 > 0:24:43Luther Vandross.
0:24:43 > 0:24:46Here tonight, to perform The Windows Of The World,
0:24:46 > 0:24:50please welcome singer-songwriter Michael Kiwanuka!
0:24:50 > 0:24:52APPLAUSE
0:24:58 > 0:25:01# The windows of the world
0:25:01 > 0:25:03# Are covered with rain
0:25:05 > 0:25:08# Where is the sunshine
0:25:09 > 0:25:12# We once knew?
0:25:14 > 0:25:18# Everybody knows
0:25:20 > 0:25:22# When little children play
0:25:23 > 0:25:26# They need a sunny day
0:25:26 > 0:25:31# To grow straight and tall
0:25:31 > 0:25:37# Let the sun shine through
0:25:55 > 0:25:58# The windows of the world
0:25:58 > 0:26:02# Are covered with rain
0:26:03 > 0:26:10# What is the whole world coming to?
0:26:11 > 0:26:15# Everybody knows
0:26:16 > 0:26:20# When men cannot be friends
0:26:20 > 0:26:23# Their quarrel often ends
0:26:23 > 0:26:28# Where some have to die
0:26:28 > 0:26:33# Let the sun shine through
0:26:52 > 0:26:55# The windows of the world
0:26:55 > 0:26:58# Are covered with rain
0:26:59 > 0:27:06# There must be something we can do
0:27:08 > 0:27:13# Everybody knows
0:27:13 > 0:27:17# Whenever rain appears
0:27:17 > 0:27:21# It's really angel tears
0:27:21 > 0:27:25# How long must they cry?
0:27:26 > 0:27:32# Let the sun shine through. #
0:27:52 > 0:27:55APPLAUSE
0:28:03 > 0:28:09Now, you and Hal are a hit factory at this point, in huge demand.
0:28:09 > 0:28:11And the Broadway stage comes calling.
0:28:11 > 0:28:12Were you tempted?
0:28:12 > 0:28:15I know you were, because you wrote a fabulous show.
0:28:15 > 0:28:17But how did that happen? And tell us what the show was.
0:28:17 > 0:28:19Well, it was so easy.
0:28:19 > 0:28:22I mean, you had David Merrick, who was the producer.
0:28:24 > 0:28:26The number-one producer in our country.
0:28:27 > 0:28:31And you had Neil Simon to write the book.
0:28:31 > 0:28:33We should say at this point the show, of course,
0:28:33 > 0:28:35everybody knows we're talking about Promises, Promises.
0:28:35 > 0:28:39- Promises, Promises, yeah.- It's a whole different discipline, isn't it?
0:28:39 > 0:28:43Because you're writing to a very strict template.
0:28:43 > 0:28:45You've got a story, you've got characters.
0:28:45 > 0:28:48And there, Michael, it's very important
0:28:48 > 0:28:52that you write the music to the words that are given to you.
0:28:52 > 0:28:58Because Hal's words had come off the script, you might say,
0:28:58 > 0:29:01to sort of be seamless, coming from what Neil Simon had written.
0:29:02 > 0:29:04So it wouldn't sound abrupt.
0:29:04 > 0:29:07And that's why it never was a good idea for me to say,
0:29:07 > 0:29:11"Well, I see what this swansong is, so I'll write the melody."
0:29:11 > 0:29:13Well, it doesn't work that way.
0:29:13 > 0:29:15Now, there's a word in one of the lyrics
0:29:15 > 0:29:19that I suspect that you must have bet him a lot of money
0:29:19 > 0:29:22that he couldn't get into a song and that's "pneumonia",
0:29:22 > 0:29:25which is the most unlikely word to find.
0:29:25 > 0:29:29And that song that lyric is from
0:29:29 > 0:29:32is the fastest song that we ever wrote.
0:29:32 > 0:29:36The one song that we wrote in one day.
0:29:36 > 0:29:38Because I had gotten sick in Boston,
0:29:38 > 0:29:41I got pneumonia, wound up in the hospital.
0:29:41 > 0:29:43- Oh, you got pneumonia? - I got pneumonia.
0:29:43 > 0:29:45And Hal said, "I can use that!"
0:29:46 > 0:29:48"What do you get when you kiss a girl?
0:29:48 > 0:29:51"You catch enough germs to catch pneumonia.
0:29:51 > 0:29:54"If you do, she'll never phone ya."
0:29:54 > 0:29:55LAUGHTER
0:29:55 > 0:29:56Let's hear the song.
0:29:56 > 0:30:00And I'm happy to say that, to perform this enduring classic,
0:30:00 > 0:30:03the lady with the unmistakable voice...
0:30:03 > 0:30:05Sophie Ellis-Bexter!
0:30:05 > 0:30:07APPLAUSE
0:30:24 > 0:30:28# What do you get when you fall in love?
0:30:28 > 0:30:32# A guy with a pin to burst your bubble
0:30:32 > 0:30:36# That's what you get for all your trouble
0:30:36 > 0:30:41# I'll never fall in love again
0:30:43 > 0:30:46# I'll never fall in love again
0:30:49 > 0:30:53# What do you get when you kiss a guy?
0:30:53 > 0:30:57# You get enough germs to catch pneumonia
0:30:57 > 0:31:01# After you do, he'll never phone ya
0:31:01 > 0:31:07# I'll never fall in love again
0:31:07 > 0:31:11# Don't you know that I'll never fall in love again?
0:31:13 > 0:31:17# Don't tell me what it's all about
0:31:18 > 0:31:22# Cos I've been there and I'm glad I'm out
0:31:22 > 0:31:26# Out of those chains Those chains that bind you
0:31:26 > 0:31:29# That is why I'm here to remind you
0:31:29 > 0:31:33# What do you get when you fall in love?
0:31:33 > 0:31:37# You only get lies and pain and sorrow
0:31:37 > 0:31:41# So for at least until tomorrow
0:31:41 > 0:31:47# I'll never fall in love again
0:31:47 > 0:31:51# No, no, I'll never fall in love again
0:32:02 > 0:32:05# I'm out of those chains Those chains that bind you
0:32:05 > 0:32:09# That is why I'm here to remind you
0:32:09 > 0:32:13# What do you get when you fall in love?
0:32:13 > 0:32:16# You only get lies and pain and sorrow
0:32:16 > 0:32:20# So for at least until tomorrow
0:32:20 > 0:32:27# I'll never fall in love again
0:32:27 > 0:32:34# Don't you know that I'll never fall in love again?
0:32:35 > 0:32:43# I'll never fall in love again. #
0:32:51 > 0:32:55APPLAUSE
0:32:59 > 0:33:02The next song we're going to hear is In Between The Heartaches.
0:33:02 > 0:33:04Now, if you were around in the '60s, which I was,
0:33:04 > 0:33:06this was so different to anything
0:33:06 > 0:33:09you could hear or buy in the record store.
0:33:09 > 0:33:11Where does it come from,
0:33:11 > 0:33:14something that breaks the mould as much as this song did?
0:33:15 > 0:33:18To me, it's partly tonal.
0:33:18 > 0:33:22So, in other words, there are two chords that our existing...
0:33:24 > 0:33:25..playing off one another.
0:33:25 > 0:33:30So there is one chord in the lower register
0:33:30 > 0:33:32and another chord in the upper register.
0:33:32 > 0:33:33And it just kind of...
0:33:33 > 0:33:35It just kind of...
0:33:35 > 0:33:37A very kind of magical thing...
0:33:37 > 0:33:39Are we back to Ravel here, or something?
0:33:39 > 0:33:41Yes, you might say. You might say.
0:33:41 > 0:33:44This is very French in its influence.
0:33:46 > 0:33:48And it's a song I always loved.
0:33:48 > 0:33:50Let's now hear In Between The Heartaches.
0:33:50 > 0:33:54And to sing it, we're so thrilled to welcome to the stage...
0:33:54 > 0:33:56Joss Stone!
0:33:56 > 0:33:58APPLAUSE
0:34:03 > 0:34:08# In between the heartaches
0:34:08 > 0:34:12# You hold me here in your arms
0:34:13 > 0:34:16# And say you love me
0:34:17 > 0:34:21# In between the heartaches
0:34:21 > 0:34:24# The way you kiss
0:34:24 > 0:34:30# I can tell you're thinking of me
0:34:33 > 0:34:37# I know you love me
0:34:37 > 0:34:44# And that makes up for all of the heartache
0:34:44 > 0:34:47# And the sadness
0:34:47 > 0:34:50# And the tears
0:34:52 > 0:34:56# Everyone keeps asking me
0:34:56 > 0:34:59# Why I stay with you
0:35:00 > 0:35:03# The way you hurt me
0:35:06 > 0:35:08# They can see
0:35:08 > 0:35:13# How many times I'm alone and blue
0:35:13 > 0:35:16# When you desert me
0:35:18 > 0:35:21# You come and go
0:35:21 > 0:35:25# Without a letter
0:35:25 > 0:35:28# And they say
0:35:28 > 0:35:33# That I should get up and go
0:35:35 > 0:35:38# But they don't know
0:35:40 > 0:35:47# They don't know that in between the heartaches
0:35:47 > 0:35:51# You hold me here in your arms
0:35:51 > 0:35:55# And say you love me
0:35:55 > 0:36:00# In between the heartaches
0:36:00 > 0:36:02# The way you kiss
0:36:02 > 0:36:09# I can tell you're thinking of me
0:36:11 > 0:36:15# I know you love me
0:36:15 > 0:36:22# And that makes up for all the heartache
0:36:22 > 0:36:25# And the sadness
0:36:25 > 0:36:27# And the tears
0:36:27 > 0:36:30# They don't ever see us
0:36:30 > 0:36:34# In between the heartaches
0:36:34 > 0:36:39# You hold me here in your arms
0:36:39 > 0:36:43# And say you love me
0:36:43 > 0:36:48# In between the heartaches
0:36:48 > 0:36:50# The way you kiss
0:36:50 > 0:36:56# I can tell you're thinking of me
0:36:59 > 0:37:03# I know you love me
0:37:03 > 0:37:10# And that makes up for all the heartache
0:37:10 > 0:37:13# And the sadness
0:37:13 > 0:37:17# And the tears
0:37:21 > 0:37:24# The heartache
0:37:24 > 0:37:27# The sadness
0:37:27 > 0:37:31# And the tears
0:37:34 > 0:37:38# Oh, the heartache
0:37:38 > 0:37:40# The sadness
0:37:42 > 0:37:50# And the tears. #
0:37:51 > 0:37:55APPLAUSE
0:38:00 > 0:38:02Wow!
0:38:05 > 0:38:07Anybody remember Dr Kildare?
0:38:07 > 0:38:12Yes, a great big hit television medical series of years ago.
0:38:12 > 0:38:14And the big star of that was Richard Chamberlain.
0:38:14 > 0:38:16He recorded Close To You, I see.
0:38:16 > 0:38:19- Were you involved in that? - Very involved.
0:38:19 > 0:38:21I was very involved with the recording.
0:38:21 > 0:38:24They brought me out from New York to record Richard.
0:38:25 > 0:38:29And it was...an impossibly bad record.
0:38:31 > 0:38:33I think we'll leave it there.
0:38:35 > 0:38:37- Also...- I'll take the blame on that, too. Yeah.
0:38:37 > 0:38:41And I'll let Richard take some of the blame, too!
0:38:41 > 0:38:44Tell me about the Carpenters and Close To You.
0:38:46 > 0:38:48- Did you have a hand in that?- No.
0:38:48 > 0:38:49Were you surprised when they recorded it?
0:38:49 > 0:38:51It was a totally different concept.
0:38:52 > 0:38:56They got into it a different feel, rhythmically,
0:38:56 > 0:39:01than I had done with straight eight notes, and it was kind of boring.
0:39:02 > 0:39:04But from the minute I heard on the phone...
0:39:04 > 0:39:07Jerry Moss called me up and said,
0:39:07 > 0:39:09"Let me play you something."
0:39:09 > 0:39:11And he played me this.
0:39:11 > 0:39:13The Carpenters had worked with me.
0:39:13 > 0:39:17They actually opened for me in St Louis, you know?
0:39:17 > 0:39:19They were first starting out.
0:39:21 > 0:39:23And they were very, very good.
0:39:23 > 0:39:26And Karen had this magical voice.
0:39:27 > 0:39:30There's nobody quite like Karen Carpenter, you know?
0:39:30 > 0:39:32It cannot be replaced.
0:39:32 > 0:39:36Singing Close To You, let's welcome back Sophie Ellis-Bexter.
0:39:36 > 0:39:40APPLAUSE
0:39:51 > 0:39:57# Why do birds suddenly appear
0:39:59 > 0:40:03# Every time you are near?
0:40:04 > 0:40:10# Just like me, they long to be
0:40:10 > 0:40:13# Close to you
0:40:15 > 0:40:20# Why do stars fall down from the sky
0:40:21 > 0:40:25# Every time you walk by?
0:40:27 > 0:40:33# Just like me, they long to be
0:40:33 > 0:40:38# Close to you
0:40:38 > 0:40:43# On the day that you were born the angels got together
0:40:43 > 0:40:48# And decided to create a dream come true
0:40:48 > 0:40:52# So they sprinkled moon dust in your hair
0:40:52 > 0:40:56# Of gold and starlight in your eyes so blue
0:40:59 > 0:41:05# And that is why all the girls in town
0:41:05 > 0:41:08# Follow you
0:41:08 > 0:41:10# All around
0:41:11 > 0:41:17# Just like me, they long to be
0:41:17 > 0:41:20# Close to you
0:41:22 > 0:41:27# On the day that you were born the angels got together
0:41:27 > 0:41:31# And decided to create a dream come true
0:41:33 > 0:41:36# So they sprinkled moon dust in your hair
0:41:36 > 0:41:40# Of gold and starlight in your eyes so blue
0:41:43 > 0:41:48# And that is why all the girls in town
0:41:49 > 0:41:51# Follow you
0:41:51 > 0:41:54# All around
0:41:56 > 0:42:01# Just like me, they long to be
0:42:01 > 0:42:04# Close to you
0:42:07 > 0:42:12# Just like me, they long to be
0:42:13 > 0:42:18# Close to you
0:42:39 > 0:42:47# Close to you. #
0:42:49 > 0:42:52APPLAUSE
0:42:55 > 0:42:57Now, Burt,
0:42:57 > 0:43:00the Burt Bacharach-Hal David consortium,
0:43:00 > 0:43:02mammoth consortium,
0:43:02 > 0:43:04was not just a success in America.
0:43:04 > 0:43:08The British public fell in love with your music very, very, very quickly.
0:43:08 > 0:43:11And so did a lot of British stars.
0:43:11 > 0:43:13And one particular one was the great and wonderful
0:43:13 > 0:43:17and late-lamented Dusty Springfield, who you worked with.
0:43:17 > 0:43:21APPLAUSE
0:43:21 > 0:43:23Yes, I love Dusty.
0:43:24 > 0:43:27I actually was only in the studio once with her,
0:43:27 > 0:43:31and that was to do The Look Of Love for Casino Royale.
0:43:32 > 0:43:34And, erm...
0:43:34 > 0:43:35But I'd known her before
0:43:35 > 0:43:39and I'd heard her different versions of songs of mine.
0:43:40 > 0:43:43I mean, when we talk about singers, you know, you could say...
0:43:45 > 0:43:47Aretha, you know her immediately.
0:43:49 > 0:43:52Dionne, know immediately.
0:43:53 > 0:43:56Dusty, immediately, you know who it is.
0:43:56 > 0:43:58She was very hard on herself.
0:43:59 > 0:44:03When you listened to a playback with Dusty,
0:44:03 > 0:44:06she wanted to go into another control room
0:44:06 > 0:44:08and have it played in there
0:44:08 > 0:44:11so she could hear it without you being in there.
0:44:11 > 0:44:13So we had something in common.
0:44:13 > 0:44:16We both beat ourselves up.
0:44:16 > 0:44:17Great result, though, wasn't it?
0:44:17 > 0:44:22Great result, you know, but you had to convince her it was great.
0:44:22 > 0:44:26Cilla Black had a huge hit with Anyone Who Had A Heart.
0:44:26 > 0:44:27APPLAUSE
0:44:27 > 0:44:30That was a really tricky song, wasn't it?
0:44:30 > 0:44:32That was a tricky song, yes.
0:44:32 > 0:44:34What was...the mechanics of the song?
0:44:34 > 0:44:37I think we started with...
0:44:37 > 0:44:39I started something musically
0:44:39 > 0:44:41and then Hal built upon that
0:44:41 > 0:44:44and then what it became, Michael, was...
0:44:46 > 0:44:47Until I wrote it out,
0:44:47 > 0:44:53I didn't know that it was changing constantly time signature.
0:44:53 > 0:44:54- Time signatures?- Yeah.
0:44:54 > 0:44:58Stop there. Come and show me. Come and show me.
0:44:58 > 0:44:59- Willingly. - Let's go to the piano.- OK.
0:44:59 > 0:45:01APPLAUSE
0:45:06 > 0:45:09Well, you see, until I wrote it out...
0:45:10 > 0:45:14Ordinarily, you would start a song in four-four.
0:45:14 > 0:45:17You would have the first bar in four-four.
0:45:17 > 0:45:20But this is in five, five-four.
0:45:20 > 0:45:22So it's...
0:45:29 > 0:45:31- So, you see... - Can you play it in four-four?
0:45:32 > 0:45:33No.
0:45:33 > 0:45:35LAUGHTER
0:45:35 > 0:45:37I wouldn't know how to do that, Michael.
0:45:37 > 0:45:39And also, at the end...
0:45:40 > 0:45:43The musicians had not seen anything...
0:45:43 > 0:45:45You know, my studio musicians that I worked with
0:45:45 > 0:45:49had not ever seen a seven-eight bar.
0:45:49 > 0:45:51At the end of the song, it's...
0:45:59 > 0:46:02APPLAUSE
0:46:04 > 0:46:10So it is very hard to explain to the musicians to not count...
0:46:10 > 0:46:13not count five beats to the...
0:46:13 > 0:46:15Or at the end, in the seven-eight bar,
0:46:15 > 0:46:18to just feel it, instead of counting.
0:46:18 > 0:46:19You know?
0:46:19 > 0:46:22I think we should hear this song.
0:46:22 > 0:46:23Yeah.
0:46:23 > 0:46:26Let's hear Anyone Who Had A Heart.
0:46:26 > 0:46:29Burt Bacharach and the wonderful orchestra.
0:46:29 > 0:46:31APPLAUSE
0:46:33 > 0:46:36# Anyone who ever loved
0:46:36 > 0:46:38# Could look at me
0:46:39 > 0:46:44# And know that I love you
0:46:46 > 0:46:48# Anyone who ever dreamed
0:46:49 > 0:46:50# Could look at me
0:46:52 > 0:46:56# And know I dream of you
0:46:58 > 0:47:03# Knowing I love you so
0:47:04 > 0:47:07# Anyone who had a heart
0:47:07 > 0:47:11# Would take me in his arms
0:47:11 > 0:47:14# And love me, too
0:47:14 > 0:47:18# You couldn't really have a heart
0:47:18 > 0:47:22# And hurt me like you hurt me
0:47:22 > 0:47:26# And be so untrue
0:47:26 > 0:47:28# What am I to do?
0:47:31 > 0:47:34# Every time you go away
0:47:34 > 0:47:36# I always say
0:47:37 > 0:47:42# This time it's goodbye, dear
0:47:43 > 0:47:46# Loving you the way I do
0:47:47 > 0:47:49# I take you back
0:47:50 > 0:47:55# Cos without you I'd die, dear
0:47:56 > 0:48:01# Knowing I love you so
0:48:03 > 0:48:06# Anyone who had a heart
0:48:06 > 0:48:08# Would take me
0:48:08 > 0:48:12# In his arms and love me, too
0:48:12 > 0:48:17# You couldn't really have a heart
0:48:17 > 0:48:21# And hurt me like you hurt me
0:48:21 > 0:48:24# And be so untrue
0:48:25 > 0:48:27# What am I to do?
0:48:55 > 0:49:00# Knowing I love you so
0:49:02 > 0:49:04# Anyone who had a heart
0:49:04 > 0:49:07# Would take me
0:49:07 > 0:49:11# In his arms and love me, too
0:49:12 > 0:49:15# You couldn't really have a heart
0:49:15 > 0:49:19# And hurt me like you hurt me
0:49:19 > 0:49:24# And be so untrue
0:49:24 > 0:49:30# Anyone who had a heart would love me, too
0:49:30 > 0:49:32# Anyone who had a heart
0:49:32 > 0:49:36# Would surely take me in his arms
0:49:36 > 0:49:39# And always love me
0:49:39 > 0:49:43# Why won't you?
0:49:43 > 0:49:48# Hey, anyone who had a heart would love me, too
0:49:48 > 0:49:51# Oh, yeah, anyone who had a heart
0:49:51 > 0:49:56# Would surely take me in his arms
0:49:56 > 0:49:59# And always love me
0:49:59 > 0:50:03# Why won't you?
0:50:03 > 0:50:08# Hey, anyone who had a heart would love me, too
0:50:08 > 0:50:12# Oh-oh, anyone who had a heart
0:50:12 > 0:50:15# Would surely take me in his arms
0:50:15 > 0:50:19# And always love me
0:50:19 > 0:50:27# Why won't you? #
0:50:46 > 0:50:49Now, I don't want the world to think that everything
0:50:49 > 0:50:52for the last 40, 50 years
0:50:52 > 0:50:54has been plain sailing for you.
0:50:54 > 0:50:59You had one major movie setback, which was Lost Horizon,
0:50:59 > 0:51:02which was a huge disappointment to everybody, I think.
0:51:02 > 0:51:05- Not least the audience, I think. - Yeah.
0:51:07 > 0:51:12Lost Horizon, in its original form, was a treasured motion picture,
0:51:12 > 0:51:17and to turn it into a musical was kind of, like, weird.
0:51:17 > 0:51:20It was just the wrong idea from the start, really?
0:51:20 > 0:51:22- I think so.- Yeah.
0:51:22 > 0:51:23The fallout from the picture
0:51:23 > 0:51:26was also that you began to have a disagreement with Hal, did you not?
0:51:26 > 0:51:28Yeah. You know, I had kind of...
0:51:29 > 0:51:32I was still working on this picture. Hal had written the lyrics.
0:51:32 > 0:51:36He was off in Mexico and he was kind of playing tennis every day.
0:51:39 > 0:51:41And it was difficult, because I was still teaching
0:51:41 > 0:51:44George Kennedy and Sally Kellerman
0:51:44 > 0:51:47and little kids how to sing these songs.
0:51:47 > 0:51:50And it was a never-ending process in scoring the film.
0:51:50 > 0:51:55So, actually, it was, you know, my fault.
0:51:55 > 0:51:57But, eventually, you were reconciled, weren't you?
0:51:57 > 0:51:59Yeah, but years went by.
0:51:59 > 0:52:02One great thing came out of the movie, which is another great song,
0:52:02 > 0:52:04if I'm not mistaken.
0:52:04 > 0:52:08And this Bacharach and David song is perfectly suited
0:52:08 > 0:52:11to the distinctive voice of our next guest.
0:52:11 > 0:52:15Performing If I Could Go Back from the soundtrack of Lost Horizon,
0:52:15 > 0:52:18please welcome Britain's favourite tenor...
0:52:18 > 0:52:20Mr Alfie Boe!
0:52:20 > 0:52:22APPLAUSE
0:52:43 > 0:52:49# How do I know this is part of my real life?
0:52:54 > 0:52:59# If there's no pain can I be sure I feel life?
0:53:03 > 0:53:07# And would I go back
0:53:08 > 0:53:17# If I knew how to go back?
0:53:17 > 0:53:23# What good is time when you're sure of tomorrow?
0:53:27 > 0:53:32# Can there be joy where there has been no sorrow?
0:53:38 > 0:53:41# And would I go back
0:53:42 > 0:53:51# If I knew how to go back?
0:53:51 > 0:53:55# Will I find
0:53:55 > 0:54:00# There is really such a thing
0:54:00 > 0:54:04# As peace of mind?
0:54:07 > 0:54:09# And what I thought was living
0:54:09 > 0:54:12# Was really just confusion
0:54:12 > 0:54:14# The chance to live for ever
0:54:14 > 0:54:21# Is really no illusion
0:54:21 > 0:54:29# And this all can be mine
0:54:31 > 0:54:39# Why can't I make myself believe it?
0:55:06 > 0:55:10# Can I accept what I see around me?
0:55:16 > 0:55:21# Have I found Shangri-la or has it found me?
0:55:22 > 0:55:25# And would I go back
0:55:27 > 0:55:34# If I knew how to go back?
0:55:35 > 0:55:38# Will I find
0:55:38 > 0:55:44# There is really such a thing
0:55:44 > 0:55:47# As peace of mind?
0:55:49 > 0:55:53# And what I thought was living
0:55:53 > 0:55:55# Was truly just confusion
0:55:55 > 0:55:58# The chance to live for ever
0:55:58 > 0:56:04# Is really no illusion
0:56:05 > 0:56:14# And this all can be mine?
0:56:15 > 0:56:22# Why can't I make myself believe it? #
0:56:33 > 0:56:36APPLAUSE
0:56:43 > 0:56:45We're going to stay on the movie theme,
0:56:45 > 0:56:48because I want to talk about Alfie,
0:56:48 > 0:56:50which was a very British picture.
0:56:50 > 0:56:54Lewis Gilbert, the director, and my late father, bless him,
0:56:54 > 0:56:55put out that film together.
0:56:55 > 0:56:59And you got a call from some unknown English producer saying,
0:56:59 > 0:57:01"Will you come and write a song for this little British picture
0:57:01 > 0:57:04"with an unknown actor called Michael Caine?"
0:57:04 > 0:57:07Why did you take the job?
0:57:07 > 0:57:11Because I believed in Howard Koch, who was running Paramount Pictures.
0:57:11 > 0:57:14I believed in the film, when I saw the film.
0:57:17 > 0:57:23And it was a chance to really write an important song, I thought.
0:57:23 > 0:57:25It needed an English voice, though, didn't it?
0:57:25 > 0:57:30Lewis Gilbert wanted Alfie to be sung in the film by Cher.
0:57:32 > 0:57:34- By Cher?- Yes. You figure that out.
0:57:38 > 0:57:43So I came over here to record it with Cilla.
0:57:45 > 0:57:47That was an experience because, you know,
0:57:47 > 0:57:51any of you who have ever seen the video
0:57:51 > 0:57:54of me conducting at Abbey Road with Cilla...
0:57:54 > 0:57:58Exasperation as she was up to the 41st take.
0:57:59 > 0:58:01By my request.
0:58:03 > 0:58:05And so George Martin was wonderful.
0:58:05 > 0:58:07He just said, "Burt, I think you have it on the fourth take."
0:58:07 > 0:58:10LAUGHTER
0:58:11 > 0:58:13But I liked the record we made
0:58:13 > 0:58:15and she sang her butt off, she really did.
0:58:15 > 0:58:20Burt, would you mind going back to the piano, if that's OK with you?
0:58:20 > 0:58:22APPLAUSE
0:58:22 > 0:58:25We're going to hear a spectacular medley
0:58:25 > 0:58:29of some of Burt's best-known songs from his work in the movies.
0:58:29 > 0:58:31So please welcome back the man himself
0:58:31 > 0:58:35and the brilliant band with a fabulous movie medley.
0:58:35 > 0:58:39APPLAUSE
0:59:38 > 0:59:41# I can hardly wait to hold you
0:59:41 > 0:59:44# Feel my arms around you
0:59:44 > 0:59:47# How long I have waited
0:59:47 > 0:59:50# Waited just to love you
0:59:50 > 0:59:53# Now that I have found you
0:59:54 > 0:59:59# You've got the look of love... #
0:59:59 > 1:00:02APPLAUSE
1:00:02 > 1:00:04# ..It's in your eyes
1:00:06 > 1:00:07# A look
1:00:09 > 1:00:13# That time can't disguise
1:00:17 > 1:00:18# Be mine
1:00:19 > 1:00:21# Tonight
1:00:24 > 1:00:27# Let this be just the start
1:00:29 > 1:00:30# Of so many nights like this
1:00:34 > 1:00:36# Let's make a lovers' vow
1:00:37 > 1:00:39# And we'll seal it with a kiss
1:00:42 > 1:00:45# I can hardly wait to hold you
1:00:45 > 1:00:48# Feel my arms around you
1:00:49 > 1:00:51# How long I have waited
1:00:51 > 1:00:54# Waited just to love you
1:00:54 > 1:00:58# Now that I have found you
1:01:41 > 1:01:45# Once in your life you find him
1:01:46 > 1:01:50# Someone that turns your heart around
1:01:50 > 1:01:52# And next thing you know
1:01:52 > 1:01:58# You're closing down the town
1:02:00 > 1:02:03# Wake up and he's still with you
1:02:05 > 1:02:09# Even though you left him way across town
1:02:09 > 1:02:12# Wondering to yourself
1:02:12 > 1:02:16# Hey, what have I found?
1:02:18 > 1:02:23# When you get caught between the moon and New York City
1:02:25 > 1:02:27# I know it's crazy
1:02:29 > 1:02:31# But it's true
1:02:35 > 1:02:42# If you get caught between the moon and New York City
1:02:43 > 1:02:46# The best that you can do
1:02:47 > 1:02:53# The best that you can do is fall in love
1:02:53 > 1:02:58# When you get caught between the moon and New York City
1:02:59 > 1:03:01# I know it's crazy
1:03:03 > 1:03:06# Oh, but it's true
1:03:09 > 1:03:14# If you get caught between the moon and New York City
1:03:17 > 1:03:20# The best that you can do
1:03:21 > 1:03:24# The best that you can do
1:03:24 > 1:03:29# Is fall in love... #
1:03:36 > 1:03:39# You and your pussycat
1:03:41 > 1:03:45# What's new, Pussycat? Whoa-oh, whoa-oh-oh
1:03:45 > 1:03:50# What's new, Pussycat? Whoa-oh, whoa-oh-oh
1:03:53 > 1:03:55# Pussycat, Pussycat
1:03:55 > 1:03:57# I've got flowers
1:03:57 > 1:04:02# And lots of hours to spend with you
1:04:02 > 1:04:07# So go and powder your cute little pussycat nose
1:04:08 > 1:04:12# Pussycat, Pussycat, I love you
1:04:12 > 1:04:16# Yes, I do
1:04:16 > 1:04:19# You and your pussycat nose
1:04:20 > 1:04:24# What's new, Pussycat? Whoa-oh, whoa-oh-oh
1:04:24 > 1:04:29# What's new, Pussycat? Whoa-oh, whoa-oh-oh... #
1:04:29 > 1:04:33# The world is a circle without a beginning
1:04:33 > 1:04:36# And nobody knows where it really ends
1:04:38 > 1:04:45# Oh-oh-oh Everything depends on
1:04:45 > 1:04:48# Where you are in the circle
1:04:48 > 1:04:50# That never begins
1:04:50 > 1:04:55# Nobody knows where the circle ends
1:04:55 > 1:04:57# Ah-ah-ah
1:04:59 > 1:05:03# Ah-ah-ah-ah-a-ah... #
1:05:16 > 1:05:19# Are we just
1:05:19 > 1:05:24# April fools
1:05:24 > 1:05:27# Who can't see
1:05:27 > 1:05:31# All the danger around us?
1:05:31 > 1:05:36# If we're just
1:05:36 > 1:05:40# April fools
1:05:40 > 1:05:44# I don't care...
1:05:46 > 1:05:51# We'll find our way somehow... #
1:06:10 > 1:06:13# Raindrops keep fallin' on my head
1:06:15 > 1:06:21# And just like the guy whose feet are too big for his bed
1:06:21 > 1:06:23# Nothing seems to fit
1:06:23 > 1:06:28# Those raindrops keep fallin' on my head
1:06:28 > 1:06:30# They keep fallin'
1:06:30 > 1:06:35# So I just did me some talking to the sun
1:06:37 > 1:06:43# I said I didn't like the way he got things done
1:06:43 > 1:06:45# Sleeping on the job
1:06:47 > 1:06:51# The raindrops keep fallin' Keep on fallin'
1:06:53 > 1:06:56# But there's one thing
1:06:56 > 1:06:58# I know
1:06:58 > 1:07:03# The blues they send to meet me
1:07:03 > 1:07:06# Won't defeat me
1:07:06 > 1:07:09# It won't be long
1:07:09 > 1:07:14# Till happiness steps up to greet me
1:07:18 > 1:07:22# Raindrops keep fallin' on my head
1:07:23 > 1:07:29# But that doesn't mean my eyes will soon be turning red
1:07:29 > 1:07:31# Crying's not for me
1:07:31 > 1:07:39# Cos I'm never gonna stop the rain by complaining
1:07:39 > 1:07:43# Because I'm free
1:07:43 > 1:07:48# See nothing's worrying me. #
1:07:50 > 1:07:52APPLAUSE
1:07:52 > 1:07:55# When Liberty Valance rode to town
1:07:55 > 1:07:59# The womenfolk would hide
1:07:59 > 1:08:01# They'd hide
1:08:01 > 1:08:03# When Liberty Valance walked around
1:08:03 > 1:08:06# The men would step aside
1:08:06 > 1:08:10# Cos the point of a gun was the only law
1:08:10 > 1:08:13# That Liberty understood
1:08:13 > 1:08:17# And the man who shot Liberty Valance
1:08:17 > 1:08:20# He shot Liberty Valance
1:08:20 > 1:08:24# He was the bravest of them all... #
1:08:32 > 1:08:35# Mmm...
1:08:39 > 1:08:44# Ah-ah, mm-mm-mm...
1:08:46 > 1:08:48# Here
1:08:48 > 1:08:53# Close to our feelings
1:08:53 > 1:08:58# We touch again
1:08:58 > 1:09:03# We love again
1:09:03 > 1:09:08# Remember when we thought
1:09:08 > 1:09:11# Our hearts would never mend?
1:09:11 > 1:09:15# And we're all
1:09:15 > 1:09:20# The better for each other
1:09:21 > 1:09:24# Oh-oh-oh
1:09:24 > 1:09:27# There's more to love
1:09:27 > 1:09:31# I know
1:09:31 > 1:09:34# Said I know
1:09:34 > 1:09:39# Than making love
1:09:39 > 1:09:43# And I
1:09:43 > 1:09:48# Remember you...
1:09:50 > 1:09:55# And making
1:09:55 > 1:09:59# Love... #
1:09:59 > 1:10:04# Hey, little girl
1:10:04 > 1:10:06# Comb your hair
1:10:06 > 1:10:08# Fix your make-up
1:10:10 > 1:10:15# Soon he will open the door
1:10:20 > 1:10:24# Don't think because
1:10:24 > 1:10:29# There's a ring on your finger
1:10:31 > 1:10:36# You needn't try any more...
1:12:23 > 1:12:25# Hey
1:12:25 > 1:12:29- # Little girl... # - APPLAUSE
1:12:29 > 1:12:33# ..Dim the lights Start the music
1:12:34 > 1:12:38# It's time to get ready
1:12:39 > 1:12:41# For love
1:12:45 > 1:12:49# Time to get ready
1:12:49 > 1:12:54# Time to get ready
1:12:54 > 1:13:00# Time to get ready... #
1:13:01 > 1:13:05- # What's it all about... # - APPLAUSE
1:13:05 > 1:13:07# ..Alfie?
1:13:09 > 1:13:15# Is it just for the moment we live?
1:13:18 > 1:13:21# What's it all about
1:13:21 > 1:13:25# When you sort it out, Alfie?
1:13:28 > 1:13:32# Are we meant to take more
1:13:32 > 1:13:34# Than we give
1:13:36 > 1:13:41# Or are we meant to be kind?
1:13:44 > 1:13:46# And if
1:13:46 > 1:13:50# Only fools are kind
1:13:50 > 1:13:52# Alfie
1:13:55 > 1:14:01# Then I guess it is wise to be cruel
1:14:04 > 1:14:08# And if life belongs
1:14:08 > 1:14:11# Only to the strong, Alfie
1:14:14 > 1:14:20# What will you lend on an old golden rule?
1:14:22 > 1:14:27# As sure as I believe
1:14:28 > 1:14:33# There's a heaven above
1:14:33 > 1:14:35# Alfie
1:14:39 > 1:14:44# I know there's something much more
1:14:45 > 1:14:51# Something even non-believers
1:14:53 > 1:14:57# Can believe in
1:15:00 > 1:15:03# I believe in love
1:15:03 > 1:15:05# Alfie
1:15:08 > 1:15:12# Without true love we just exist
1:15:14 > 1:15:16# Alfie
1:15:18 > 1:15:21# Until you find the love you've missed
1:15:24 > 1:15:27# You're nothing, Alfie
1:15:35 > 1:15:37# When you walk
1:15:37 > 1:15:42# Let your heart lead the way
1:15:44 > 1:15:48# And you'll find love
1:15:48 > 1:15:52# Any day
1:15:52 > 1:15:55# Alfie...
1:16:01 > 1:16:03# ..Alfie... #
1:16:13 > 1:16:16CHEERING AND APPLAUSE
1:16:40 > 1:16:44Now, here's the toughest question of the night -
1:16:44 > 1:16:46which of your songs is your favourite?
1:16:46 > 1:16:48Do you have a favourite? LAUGHTER
1:16:48 > 1:16:54Erm...I have to say it's hard to top that song,
1:16:54 > 1:16:56because of what it says.
1:16:56 > 1:16:58I mean, if you just look at a couple of those lines of Hal's,
1:16:58 > 1:17:02you know, like, "What's it all about, Alfie?
1:17:02 > 1:17:05"If only fools are kind, Alfie,
1:17:05 > 1:17:07"then, I guess it's wise to be cruel."
1:17:07 > 1:17:12I mean, it's just full of important information,
1:17:12 > 1:17:14powerful information.
1:17:14 > 1:17:17A House Is Not A Home is also right up there, isn't it?
1:17:17 > 1:17:19CHEERING AND APPLAUSE
1:17:19 > 1:17:22Yes, I love it. I love the song and...
1:17:22 > 1:17:26This is one of those songs that came to you as a lyric from Hal,
1:17:26 > 1:17:29- didn't it?- Yeah.- It was prewritten.
1:17:29 > 1:17:33As Alfie. Both of these songs, Alfie was...
1:17:33 > 1:17:38"Here's a lyric." Said it. "A house is not a home." Same way.
1:17:38 > 1:17:41And the arrangement that you originally created for this has been...
1:17:41 > 1:17:43Most people who've recorded it again
1:17:43 > 1:17:46have stuck to pretty much your arrangement, haven't they?
1:17:46 > 1:17:50I mean, a good song should survive in any setting,
1:17:50 > 1:17:52whether it's a guitar or piano.
1:17:52 > 1:17:54I mean, it should really be...
1:17:54 > 1:17:57I mean, Luther Vandross did pretty well with it.
1:17:57 > 1:18:01- Luther Vandross... - APPLAUSE
1:18:01 > 1:18:06I have to say, Michael, I miss him so much.
1:18:06 > 1:18:08What a voice.
1:18:08 > 1:18:11Well, let's dedicate the next song to him.
1:18:11 > 1:18:16Singing A House Is Not A Home, please welcome singer-songwriter
1:18:16 > 1:18:19and West End star Shaun Escoffery.
1:18:19 > 1:18:22CHEERING AND APPLAUSE
1:18:47 > 1:18:51# A chair is still a chair
1:18:54 > 1:18:58# Even when there's no-one
1:18:58 > 1:19:02# Sitting there
1:19:05 > 1:19:09# Cos a chair is not a house
1:19:11 > 1:19:15# And a house is not a home
1:19:15 > 1:19:18# When there's no-one there
1:19:18 > 1:19:21# To hold you tight
1:19:21 > 1:19:28# And no-one there you can kiss
1:19:28 > 1:19:30# Good night
1:19:33 > 1:19:37# A room is still a room
1:19:37 > 1:19:44# Even when there's nothing there
1:19:44 > 1:19:47# But gloom
1:19:47 > 1:19:51# Cos a room is not a house
1:19:51 > 1:19:54# And a house is not a home
1:19:54 > 1:19:57# When the two of us
1:19:57 > 1:20:00# Are far apart
1:20:00 > 1:20:06# And one of us has a broken heart
1:20:09 > 1:20:11# Now and then
1:20:11 > 1:20:16# I call your name
1:20:16 > 1:20:22# And suddenly your face appears
1:20:22 > 1:20:28# But it's just a crazy game
1:20:28 > 1:20:31# When it ends
1:20:31 > 1:20:36# It ends in tears
1:20:43 > 1:20:47# Darling, have a heart
1:20:48 > 1:20:54# Don't let one mistake keep us apart
1:20:57 > 1:21:01# I'm not meant to live alone
1:21:01 > 1:21:05# Turn this house into a home
1:21:05 > 1:21:08# When I climb the stairs
1:21:08 > 1:21:11# And turn the key
1:21:11 > 1:21:13# Oh, please be there
1:21:13 > 1:21:18# Still in love with me
1:21:20 > 1:21:24# Oh-oh-oh-oh-oh-ohhh
1:21:24 > 1:21:30# I'm not meant to live alone
1:21:30 > 1:21:33# Turn this house into a home
1:21:33 > 1:21:37# When I climb the stairs
1:21:37 > 1:21:39# And turn the key
1:21:39 > 1:21:42# Oh, please be there
1:21:42 > 1:21:46# Still in love...
1:21:50 > 1:21:55# Still in love...
1:22:00 > 1:22:05# Still in love...
1:22:08 > 1:22:12# With
1:22:12 > 1:22:17# Me...
1:22:17 > 1:22:20# Whoa-oh-oh-oh
1:22:20 > 1:22:26# Oh-oh-oh, whoa-oh-oh-oh
1:22:26 > 1:22:29# Still in love
1:22:29 > 1:22:33# With me. #
1:22:36 > 1:22:39CHEERING AND APPLAUSE
1:22:50 > 1:22:53Well, Burt, I've got one last question for you.
1:22:53 > 1:22:58Somewhere out there in the audience are some budding composers
1:22:58 > 1:23:01full of music, looking to make a break.
1:23:01 > 1:23:03What advice would you give them?
1:23:03 > 1:23:05Ah.
1:23:05 > 1:23:12It's a tougher music business now than when I was starting,
1:23:12 > 1:23:18but if they have the ability to perform and sing,
1:23:18 > 1:23:22as well as write, this would be a big advantage,
1:23:22 > 1:23:28singer-songwriter, than writing a song and trying to get it
1:23:28 > 1:23:31placed somewhere. It's more difficult that way.
1:23:31 > 1:23:37So, singer-songwriter, it still is the best way that I see right now.
1:23:39 > 1:23:43If all else fails...
1:23:43 > 1:23:45go into another business.
1:23:45 > 1:23:47What was the best advice you were ever given?
1:23:47 > 1:23:49The best advice I was ever given,
1:23:49 > 1:23:53I was studying with Darius Milhaud,
1:23:53 > 1:23:57the great French composer, and he said to me,
1:23:57 > 1:24:00"Never be discomforted,
1:24:00 > 1:24:05- "ashamed of a melody that you can remember."- Great advice.
1:24:05 > 1:24:09I'm glad you took his advice. APPLAUSE
1:24:09 > 1:24:13Well, we are, sadly, coming to the end of this extraordinary
1:24:13 > 1:24:17musical feast, so would you mind leading us in the finale?
1:24:17 > 1:24:19I can do that.
1:24:19 > 1:24:22Of course, the biggest thank you goes to our guest of honour.
1:24:22 > 1:24:24It has been an absolute pleasure spending time
1:24:24 > 1:24:27with this remarkable man and listening to those touching,
1:24:27 > 1:24:32spine-tingling songs, which will continue to make up the songbook
1:24:32 > 1:24:35of people's lives for many generations to come,
1:24:35 > 1:24:39not least, our last classic, That's What Friends Are For.
1:24:39 > 1:24:42Ladies and gentlemen, Mr Burt Bacharach!
1:24:42 > 1:24:45CHEERING AND APPLAUSE
1:25:05 > 1:25:10# And I never thought I'd feel this way
1:25:10 > 1:25:13# And as far as I'm concerned
1:25:13 > 1:25:17# I'm glad I got the chance to say
1:25:17 > 1:25:22# That I do believe I love you
1:25:22 > 1:25:27# And if I should ever go away
1:25:27 > 1:25:30# Well, then close your eyes and try
1:25:30 > 1:25:35# To feel the way we do today
1:25:35 > 1:25:39# And then if you can remember
1:25:42 > 1:25:45# Keep smilin', keep shinin'
1:25:45 > 1:25:50# Knowing you can always count on me
1:25:50 > 1:25:52# For sure
1:25:52 > 1:25:56# That's what friends are for
1:25:56 > 1:26:00# In good times and bad times
1:26:00 > 1:26:07# I'll be on your side forever more
1:26:07 > 1:26:11# That's what friends are for
1:26:12 > 1:26:15# Oh-oh-oh-oh-oh Keep smilin'
1:26:15 > 1:26:17# Keep shinin'
1:26:17 > 1:26:21# Knowing you can always count on me
1:26:21 > 1:26:23# For sure
1:26:23 > 1:26:28# That's what friends are for
1:26:28 > 1:26:31# In good times and bad times
1:26:31 > 1:26:38# I'll be on your side forever more
1:26:38 > 1:26:42# That's what friends are for...
1:26:44 > 1:26:48ALL: # Keep smilin', keep shinin'
1:26:48 > 1:26:52# Knowing you can always count on me
1:26:52 > 1:26:55# For sure
1:26:55 > 1:26:59# That's what friends are for
1:26:59 > 1:27:02# In good times and bad times
1:27:02 > 1:27:07# I'll be on your side forever more
1:27:09 > 1:27:13# That's what friends are for
1:27:16 > 1:27:20- # Mm-mm-mm - Ah-ah-ah
1:27:20 > 1:27:21# Yeah
1:27:21 > 1:27:26# And you can count on me For sure
1:27:26 > 1:27:29- # You can count on me - Count on me for sure
1:27:29 > 1:27:31# That's what friends are for
1:27:31 > 1:27:32# So keep smilin'
1:27:32 > 1:27:35- # Keep smilin' - Keep shinin'
1:27:36 > 1:27:44ALL: # Cos that's what friends are for. #
1:27:44 > 1:27:46CHEERING AND APPLAUSE
1:28:14 > 1:28:16Thank you all.
1:28:23 > 1:28:25Thank you all very much.