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