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This programme contains strong language. | :00:00. | :00:10. | |
David Bowie is undefinable, Romantic. Beautiful. Trance | :00:11. | :00:15. | |
formedive. Ahead of his time. Handsome. Space child. Dude. Great | :00:16. | :00:23. | |
guy. # There's a Starman waiting in the | :00:24. | :00:26. | |
sky # Head's like to come and meet uses | :00:27. | :00:33. | |
# Oh, you pretty things # Don't you know you're driving your | :00:34. | :00:42. | |
mamas and papas insane # Lives on his back... # | :00:43. | :00:47. | |
He changes your life. He changed my life. If he talked about a musician | :00:48. | :00:53. | |
or a film or a book or an arti you wanted to explore it. He led you | :00:54. | :00:58. | |
into a world of exploration. I'm very honoured to be involved in | :00:59. | :01:03. | |
curating this special concert in tribute to the work of David Bowie | :01:04. | :01:11. | |
and I'm also directing Stargaze, classically trained musicians. We | :01:12. | :01:15. | |
have brought together eight or nine singers from the world of pop and | :01:16. | :01:22. | |
soul music, classical singer and rock music. | :01:23. | :01:28. | |
# We spoke of... # We want to bring out the different | :01:29. | :01:32. | |
elements that in the songs. Maybe in different colours, different ways. | :01:33. | :01:38. | |
Three songs I was asked to arrangement there were no boundaries | :01:39. | :01:42. | |
as to how the arrangement would go. It let me get closer to the song. | :01:43. | :01:47. | |
The lyrics have so much power. It's great. We had a long list of artists | :01:48. | :01:53. | |
we spoke to. Some said, this is amazing, we want to try it. Even | :01:54. | :02:00. | |
though it scares me a lot, not only because it's David Bowie, and this | :02:01. | :02:03. | |
particular year, but also because they are working out of their | :02:04. | :02:11. | |
comfort zone. A very experiment It's al concert. Expect to really hear | :02:12. | :02:17. | |
things that you've never heard before. | :02:18. | :02:25. | |
# Makes a man take thingses over... # | :02:26. | :02:29. | |
Fame has that funk element. When we did it in rehearsal, I was like - | :02:30. | :02:34. | |
OK, it has a whole new lilt. We wanted to really show off the depths | :02:35. | :02:40. | |
of the compositions of David Bowie's songs and it's reach beyond genre | :02:41. | :02:54. | |
borders. We always say from David Bowie he has a super loyal and super | :02:55. | :03:04. | |
male. It makes sense for me to sing between male and female. | :03:05. | :03:17. | |
# I will be King... # Underneath everything there is this | :03:18. | :03:23. | |
idea that we're honouring and the music is all about rev reasons for | :03:24. | :03:27. | |
David Bowie and what he did. I think for the audience it's going to feel | :03:28. | :03:34. | |
slightly out-of-body. Slightly psychedelic at times. I think people | :03:35. | :03:37. | |
will be talking about this for a long time. | :03:38. | :03:43. | |
# Look up here # I'm in heaven | :03:44. | :03:48. | |
# I've got scars that can't be seen... # | :03:49. | :03:51. | |
I think there will be will be some grieving in it. Ultimately, I think | :03:52. | :03:55. | |
I think it should be celeb rate are you. You can ask me that again if I | :03:56. | :04:03. | |
get through the songs. Pole tongsly, celebratory. -- potentially | :04:04. | :04:05. | |
celebratory. # Here are we, one magical | :04:06. | :04:33. | |
moment, such is the stuff # Bending sound, dredging | :04:34. | :10:10. | |
the ocean # Tall in this room overlooking the | :10:11. | :10:22. | |
ocean # Here are we, one magical movement | :10:23. | :10:53. | |
from Kether to Malkuth # There are you, you drive | :10:54. | :11:11. | |
like a demon from station to station # The return of the Thin White Duke, | :11:12. | :11:22. | |
throwing darts in lovers' eyes # The return of the Thin White Duke, | :11:23. | :11:44. | |
making sure white stays # Once there were | :11:45. | :11:54. | |
mountains on mountains # And once there were | :11:55. | :11:57. | |
sun birds to soar with # Got to keep searching | :11:58. | :11:59. | |
and searching # Oh, what will I be believing | :12:00. | :12:08. | |
and who will connect me with love? # Wonderful, wonderful, | :12:09. | :12:13. | |
wonder when # Have you sought fortune, | :12:14. | :12:16. | |
evasive and shy? # Drink to the men | :12:17. | :12:23. | |
who protect you and I # Drink, drink, drain your glass, | :12:24. | :12:28. | |
raise your glass high # It's not the side-effects | :12:29. | :12:33. | |
of the cocaine # I won't let the day | :12:34. | :12:37. | |
pass without her # Should I believe that | :12:38. | :13:08. | |
I've been stricken? # Does my face show | :13:09. | :13:23. | |
some kind of glow? # The European cannon | :13:24. | :13:27. | |
is here, yes it's here Good evening, ladies and gentlemen. | :13:28. | :14:09. | |
APPLAUSE. This is Conor O'Brien on the guitar and Neil Hannon. Conor | :14:10. | :14:26. | |
O'Brien from Villagers. This is the Stargaze gaze. They will be our | :14:27. | :14:30. | |
house band tonight. I'm Amanda Palmer. | :14:31. | :14:38. | |
We are so incredibly honoured to be here. And the most important thing, | :14:39. | :14:48. | |
I think, is that we feel this is not a wake for David Bowie, this is an | :14:49. | :14:56. | |
amazing art form, Hall, secular celebration of some of the most | :14:57. | :15:01. | |
incredible music in the world. So thank you so much for being here | :15:02. | :15:05. | |
with us. And Conor O'Brien is going to take it away with this next song. | :15:06. | :15:09. | |
Put your hands together. APPLAUSE | :15:10. | :15:41. | |
The man who sold the world, sung by Conor O'Brien. Thank you, Connor. | :15:42. | :20:58. | |
We got as many composers and arrangers involved in this evening | :20:59. | :21:10. | |
as singers and soloists. This next song was arranged by a Dutch | :21:11. | :21:14. | |
composer, and I am not going to give it away quite yet, but we welcome | :21:15. | :21:18. | |
back onstage Neil Hannon. # Will die | :21:19. | :21:54. | |
This is not America # Falcon spirals to the ground | :21:55. | :22:08. | |
This could be the biggest sky # This is not America | :22:09. | :23:19. | |
Oh, this is not the miracle # Oooh | :23:20. | :23:42. | |
For this could be the biggest sky this ain't America, but trust me, we | :23:43. | :24:30. | |
love it. This is my home, no place like the other. This ain't America. | :24:31. | :24:39. | |
Trust me, we are on it. In the projects, and trust me, there's no | :24:40. | :24:43. | |
place like home. That's my man them. Standard. To Stansted. I'm saying, | :24:44. | :24:50. | |
this ain't America. # Oh | :24:51. | :24:55. | |
Sha la la la Neil Hannon, ladies and gentlemen. | :24:56. | :26:06. | |
And joining him on stage was our special guest, Elf Kid. Thank you. | :26:07. | :26:24. | |
Now it's my great pleasure to welcome onstage Mr Marc Almond. | :26:25. | :26:35. | |
# But her friend is nowhere to be seen | :26:36. | :27:25. | |
# Now she walks through her sunken dream | :27:26. | :27:30. | |
# And she's hooked to the silver screen | :27:31. | :27:39. | |
# For she's lived it ten times or more | :27:40. | :27:50. | |
# She could spit in the eyes of fools | :27:51. | :27:52. | |
# Take a look at the law man beating up the wrong guy | :27:53. | :28:18. | |
# That Mickey Mouse has grown up a cow | :28:19. | :29:11. | |
# Now the workers have struck for fame | :29:12. | :29:16. | |
# See the mice in their million hordes | :29:17. | :29:24. | |
# Take a look at the law man beating up the wrong guy | :29:25. | :30:16. | |
Thank you, and this song was arranged for Malc by the great | :30:17. | :31:41. | |
British composer, Anna Meredith. APPLAUSE. This winning combination | :31:42. | :31:49. | |
will be back later, actually. But now, we welcome on stage Anna Calvi | :31:50. | :31:57. | |
and Jherek Bischoff. APPLAUSE. | :31:58. | :32:25. | |
Jherek Bischoff has arranged this next song. Thank you, Jherek. | :32:26. | :33:33. | |
# The lady from another grinning soul | :33:34. | :34:09. | |
# And when the clothes are strewn, don't be afraid of the room | :34:10. | :34:47. | |
# She'll lay belief on you, but she won't stake her life on you | :34:48. | :35:49. | |
# How can life become her point of view | :35:50. | :36:01. | |
# And when the clothes are strewn don't be afraid of the room | :36:02. | :36:08. | |
Here's another song that Jherek Bischoff arranged. Actually, this | :36:09. | :38:42. | |
was part of the tribute EP that inspired a lot of the cure ration of | :38:43. | :38:49. | |
this programme that Jherek Bischoff and Amanda Palmer did shortly after | :38:50. | :38:55. | |
David Bowie's passing. It was a true inspiration and, but tonight we hear | :38:56. | :39:01. | |
it with a different singer. It's my great pleasure to welcome on stage, | :39:02. | :39:09. | |
Paul Buchanan. APPLAUSE. | :39:10. | :39:21. | |
Hi. You should feel free to sing, if you like. CHEERING. | :39:22. | :39:32. | |
Is that a, yes? CHEERING. # I heard a rumour | :39:33. | :39:50. | |
from ground control # They got a message | :39:51. | :39:57. | |
from the action man # The shrieking of nothing | :39:58. | :40:04. | |
is killing me # Just pictures of Jap girls | :40:05. | :40:21. | |
in synthesis # But the little green wheels | :40:22. | :40:25. | |
are following me # One flash of light, | :40:26. | :41:12. | |
but no smoking pistol # I never did anything | :41:13. | :41:31. | |
out of the blue # No | :41:32. | :41:48. | |
No, no # You better not mess | :41:49. | :41:50. | |
with Major Tom. # # You better not mess | :41:51. | :43:04. | |
with Major Tom. # And now we welcome onstage Laura | :43:05. | :43:57. | |
Mvula. This next song was arranged by Greg | :43:58. | :45:01. | |
Saunier. # Puts you there | :45:02. | :46:10. | |
where things are hollow # Is it any wonder | :46:11. | :46:19. | |
you are too cool to fool? This next one was also arranged by | :46:20. | :48:20. | |
Greg Saunier. Shall we say it was recomposed? Now | :48:21. | :51:41. | |
we welcome back onstage Laura Mvula and Paul Buchanan. | :51:42. | :51:57. | |
I would like to introduce the next three songs, actually, because we | :51:58. | :52:04. | |
wanted to find a special place in this concert for David Bowie's last | :52:05. | :52:11. | |
work and we decided to have a little trilogy... | :52:12. | :52:12. | |
APPLAUSE We wanted to have a little trilogy | :52:13. | :52:30. | |
of songs here. The first one, Girl Loves Me which was arranged by | :52:31. | :52:35. | |
Stargaze, and is a duet between Laura and Paul. And then a song that | :52:36. | :52:40. | |
meant a lot to Paul when he first heard it, and it was one of his | :52:41. | :52:44. | |
wishes to sing this, I Can't Give Everything Away. And then we welcome | :52:45. | :52:52. | |
back onstage Amanda and Anna Calvi to play the amazing Black Star. | :52:53. | :53:10. | |
# Cheena so sound, so titty up this Malchick, say | :53:11. | :53:15. | |
# Party up moodge, ninety vellocet round on Tuesday | :53:16. | :53:22. | |
# Real bad dizzy snatch making all the homies mad, Thursday | :53:23. | :53:28. | |
# Popo blind to the polly in the hole by Friday | :53:29. | :53:36. | |
# I'm go to this Giggenbach show I'm sailin' in the chestnut tree | :53:37. | :53:57. | |
# Yippie loving little zipshot # Professor wanshot yarbles | :53:58. | :55:07. | |
Arranged by another young British composer, Josephine Stephenson. I | :55:08. | :57:40. | |
Can't Give Everything Away. # The post returns | :57:41. | :58:42. | |
for prodigal songs # With blackout harks | :58:43. | :58:51. | |
with flowered muse # The blackout harks | :58:52. | :58:55. | |
with flowered muse So now we're going to ask back on | :58:56. | :03:52. | |
stage the formidable trio of Anna Calvi, Amanda Palmer and Jherek | :03:53. | :03:53. | |
Bischoff. APPLAUSE So right after David Bowie | :03:54. | :04:19. | |
passed away Jherek Bischoff put out this EP of string songs. We decided | :04:20. | :04:28. | |
to try Blackstar which felt so intimidating because it was brand | :04:29. | :04:31. | |
new and David Bowie had just left a week before. Once he was gone and we | :04:32. | :04:37. | |
heard that album, we understood what it was. It was such a gift. And... I | :04:38. | :04:48. | |
think he's in the house tonight. APPLAUSE. | :04:49. | :04:51. | |
Anna Calvi is going to join us. # In the villa of Ormen, | :04:52. | :05:16. | |
in the villa of Ormen # Stands a solitary | :05:17. | :05:22. | |
candle, ah ah, ah ah # In the centre of it all, | :05:23. | :05:35. | |
in the centre of it all # On the day of execution, | :05:36. | :05:41. | |
on the day of execution # Only women kneel | :05:42. | :06:10. | |
and smile, ah ah, ah ah # At the center of it all, | :06:11. | :06:21. | |
at the center of it all # In the villa of Ormen, | :06:22. | :06:30. | |
in the villa of Ormen # Stands a solitary | :06:31. | :07:47. | |
candle, ah ah, ah ah # At the center of it all, | :07:48. | :07:59. | |
at the center of it all # Something happened | :08:00. | :08:08. | |
on the day he died # Spirit rose a metre | :08:09. | :09:20. | |
then stepped aside # Somebody else took his | :09:21. | :09:24. | |
place, and bravely cried # How many people lie | :09:25. | :09:30. | |
instead of talking tall? # He trod on sacred ground, | :09:31. | :09:49. | |
he cried loud into the crowd # I'm a blackstar, I'm | :09:50. | :09:54. | |
a blackstar, I'm not a gangster # I can't answer why, | :09:55. | :10:02. | |
I'm a blackstar # Just go with me, | :10:03. | :10:14. | |
I'm not a film star # I'm-a take you home, | :10:15. | :10:20. | |
I'm a blackstar # Take your passport | :10:21. | :10:25. | |
and shoes, I'm not a pop star # And your sedatives, | :10:26. | :10:29. | |
boo, I'm a blackstar # You're a flash in the pan, | :10:30. | :10:34. | |
I'm not a marvel star # I'm the great I am, | :10:35. | :10:45. | |
# I'm a blackstar, way up, oh honey, I've got game | :10:46. | :10:48. | |
# I see right so white, so open heart it's pain | :10:49. | :10:53. | |
# I want eagles in my daydreams, diamonds in my eyes | :10:54. | :11:00. | |
# I'm a blackstar, I'm a blackstar | :11:01. | :11:05. | |
# Something happened on the day he died | :11:06. | :11:10. | |
# Spirit rose a metre then stepped aside | :11:11. | :11:14. | |
# Somebody else took his place, and bravely cried | :11:15. | :11:20. | |
# I'm a blackstar, I'm a star star, I'm a blackstar | :11:21. | :11:38. | |
# I can't answer why, I'm not a gangster | :11:39. | :11:42. | |
# But I can tell you how, I'm not a film star | :11:43. | :11:46. | |
# We were born upside-down, I'm a star star | :11:47. | :11:52. | |
# Born the wrong way 'round, I'm not a white star | :11:53. | :11:55. | |
# I'm not a porn star, I'm not a wandering star | :11:56. | :12:13. | |
# In the villa of Ormen stands a solitary candle | :12:14. | :12:46. | |
# At the centre of it all, your eyes | :12:47. | :13:14. | |
# On the day of execution, only women kneel and smile | :13:15. | :13:22. | |
# At the centre of it all, your eyes, your eyes | :13:23. | :13:54. | |
Anna Calvi, ladies and gentlemen, and Jherek Bischoff, the Stargaze | :13:55. | :14:38. | |
ensemble. Amanda Palmer. How is everybody doing? I wanted to | :14:39. | :15:04. | |
especially thank the people who queued today. You guys did excellent | :15:05. | :15:07. | |
queueing. # I wish I could swim | :15:08. | :15:54. | |
# Like dolphins can swim # But nothing will keep us together | :15:55. | :16:00. | |
# Forever and ever. # We can be heroes | :16:01. | :16:25. | |
# Just for one day. | :16:26. | :16:39. | |
Thank you so much. Stargaze ensemble, everybody. Andre de | :16:40. | :18:54. | |
Ridder. And I think it's fair to say, now to | :18:55. | :19:32. | |
something completely different. Maybe this next guest will stand out | :19:33. | :19:42. | |
from the cast, as I think he's the only one that comes more from the | :19:43. | :19:48. | |
classical world. And a wonderful, amazing artist from France. His name | :19:49. | :19:52. | |
is Philippe Jarrousky. We have the pleasure to commission a | :19:53. | :20:19. | |
wonderful American composer, David Lang, to compose and reimagine this | :20:20. | :20:20. | |
next song. # Every chance, every | :20:21. | :20:56. | |
chance that I take # Those kilometers | :20:57. | :21:12. | |
and the red lights # I was always looking left | :21:13. | :21:39. | |
and right # Always crashing in the same car | :21:40. | :22:04. | |
# As I pushed my foot down to the floor | :22:05. | :22:27. | |
# I was going 'round and 'round | :22:28. | :22:37. | |
# Must have been touching close to 94 | :22:38. | :22:52. | |
# Oh, but I'm always crashing in the same car # | :22:53. | :23:20. | |
# But I'm always crashing in the same car | :23:21. | :25:09. | |
I promised we would have Marc Almond back and I promised Anna Meredith | :25:10. | :25:47. | |
arranging for him again. Welcome back, Marc Almond. | :25:48. | :26:06. | |
Back in 1972, I was there and I think a lot of you were to. This is | :26:07. | :26:15. | |
an iconic song of David Bowie's. It introduced him in 1972 to a whole | :26:16. | :26:20. | |
new young audience. And his unforgettable appearance on Top of | :26:21. | :26:24. | |
the Pops with the late, great guitarist, Mick Ronson. It was a | :26:25. | :26:34. | |
life changing moment for so many teenagers, such as me. And David | :26:35. | :26:39. | |
Bowie made us look at the world through different eyes. | :26:40. | :26:47. | |
You can sing to this one if you want to. I'm not going to stop you. | :26:48. | :27:26. | |
# Hey, now, now # Hey, now, now | :27:27. | :27:38. | |
# Didn't now, now know what time it was | :27:39. | :27:40. | |
# Some cat was layin' down some rock'n'roll lotta soul, he said | :27:41. | :27:46. | |
# Then the loud sound did seem to fade-a-ade | :27:47. | :27:51. | |
# Came back like a slow voice on a wave of phase-ha-hase | :27:52. | :27:55. | |
# That weren't no DJ That was hazy cosmic jive | :27:56. | :28:00. | |
# There's a starman waiting in the sky | :28:01. | :28:08. | |
# He'd like to come and meet us But he thinks he'd blow our minds | :28:09. | :28:13. | |
# There's a starman waiting in the sky | :28:14. | :28:17. | |
# He's told us not to blow it Cos he knows it's all worthwhile | :28:18. | :28:21. | |
# He told me - Let the children lose it | :28:22. | :28:25. | |
# Let the children use it Let all the children boogie | :28:26. | :28:46. | |
# I had to phone someone so I picked on you-hoo-hoo | :28:47. | :28:50. | |
# Hey, that's far out so you heard him too-oo-oo | :28:51. | :28:54. | |
# Switch on the TV we may pick him up on channel two | :28:55. | :28:59. | |
# Look out your window I can see his light-a-ight | :29:00. | :29:05. | |
# If we can sparkle he may land tonight-a-ight | :29:06. | :29:10. | |
# Don't tell your poppa or he'll get us locked up in fright | :29:11. | :29:18. | |
# There's a starman waiting in the sky | :29:19. | :29:23. | |
# He'd like to come and meet us But he thinks he'd blow our minds | :29:24. | :29:27. | |
# There's a starman waiting in the sky | :29:28. | :29:32. | |
# He's told us not to blow it Cos he knows it's all worthwhile | :29:33. | :29:37. | |
# He told me - Let the children lose it | :29:38. | :29:39. | |
# Let the children use it Let all the children boogie | :29:40. | :29:45. | |
# He'd like to come and meet us But he thinks he'd blow our minds | :29:46. | :29:52. | |
# There's a starman waiting in the sky | :29:53. | :29:57. | |
# He's told us not to blow it Cos he knows it's all worthwhile | :29:58. | :30:01. | |
# He told me - Let the children lose it | :30:02. | :30:05. | |
# Let the children use it Let all the children boogie | :30:06. | :30:19. | |
# Let the children use it Let all the children boogie | :30:20. | :31:30. | |
Stargaze. CHEERING AND | :31:31. | :31:50. | |
APPLAUSE APPLAUSE | :31:51. | :33:56. | |
Rebel Rebel. His band is ready. Please welcome the amazing John | :33:57. | :33:59. | |
Cale. CHEERING AND | :34:00. | :34:01. | |
APPLAUSE # Feelings he's | :34:02. | :34:44. | |
treasured most of all # The teachers and | :34:45. | :34:57. | |
the football stars # If all the world | :34:58. | :35:02. | |
were under his heels INSTRUMENTAL. | :35:03. | :36:24. | |
CHEERING AND APPLAUSE. # With your long blond hair | :36:25. | :39:48. | |
and your eyes of blue # The only thing I ever got | :39:49. | :40:25. | |
from you # You're acting funny, | :40:26. | :40:29. | |
try to spend my money # You out there playing | :40:30. | :40:38. | |
your high class games # You never do what | :40:39. | :40:42. | |
you know you ought to # Something tells me you're | :40:43. | :41:11. | |
the devil's daughter # I tried to find her | :41:12. | :41:14. | |
cause I can't resist her # I tried to find her | :41:15. | :42:25. | |
cause I can't resist her # I never knew just | :42:26. | :42:29. | |
how much I missed her # With your long blond hair | :42:30. | :42:32. | |
and your eyes of blue # The only thing I ever got | :42:33. | :42:41. | |
from you # With your long blond hair, | :42:42. | :42:45. | |
I couldn't sleep last night # With your long blond hair, | :42:46. | :43:29. | |
I couldn't sleep last night ... # | :43:30. | :44:15. | |
CHEERING AND APPLAUSE. I have to tell you something... Wait | :44:16. | :45:17. | |
a minute much I have the floor! All week I've been watching these | :45:18. | :45:22. | |
wonderful musicians here put together a show that really has | :45:23. | :45:27. | |
poured hard soul, blood, sweat and tears into showing a different side | :45:28. | :45:33. | |
of David Bowie. Mraus mraus. And I'm so glad, I'm so #2k3w4r5d that so | :45:34. | :45:38. | |
many of you came out tonight to enjoy it, celebrate that side of | :45:39. | :45:42. | |
him. That side of him will keep going. -- glad. Prosperity has that. | :45:43. | :45:56. | |
APPLAUSE David wherever you are, for one | :45:57. | :45:59. | |
night, we can all be Space Oddities. # Take your protein pills | :46:00. | :46:30. | |
and put your helmet on # Check ignition and may | :46:31. | :46:51. | |
God's love be with you # This is Ground | :46:52. | :47:50. | |
Control to Major Tom # And the papers want to know | :47:51. | :47:56. | |
whose shirts you wear # Now it's time to leave | :47:57. | :48:09. | |
the capsule if you dare # I'm stepping through | :48:10. | :48:26. | |
the door # And I'm floating | :48:27. | :48:37. | |
in a most peculiar way # And the stars look | :48:38. | :48:43. | |
very different today # Though I'm past one | :48:44. | :48:59. | |
hundred thousand miles # And I think my spaceship | :49:00. | :50:43. | |
knows which way to go # Tell my wife I love her | :50:44. | :50:56. | |
very much, she knows # Here am I floating | :50:57. | :51:12. | |
round my tin can # Here am I floating | :51:13. | :51:43. | |
round my tin can # I'm here | :51:44. | :53:44. | |
# I'm here. Mr John Cale. The house gospel | :53:45. | :53:55. | |
choir. It's kind of hard to follow this | :53:56. | :55:17. | |
one. But the House Gospel Choir is going to stay and we are going to | :55:18. | :55:22. | |
ask some of the artists back onstage, including Conor O'Brien, | :55:23. | :55:25. | |
Philippe Jarrousky, Marc Almond and Amanda Palmer. | :55:26. | :55:53. | |
For the final song of this evening, and the next generation. And also | :55:54. | :56:06. | |
back on this magnificent organ, Jamie McMahon near. | :56:07. | :56:30. | |
# Please trip them gently, they don't like to fall, oh, by jingo | :56:31. | :56:38. | |
# There's no room for anger, we're all very small, oh, by jingo | :56:39. | :56:49. | |
# And dressing in thoughts from the skies, from paradise | :56:50. | :56:59. | |
# But they think that we're holding a secretive ball | :57:00. | :57:05. | |
# They're just taller children, that's all, after all | :57:06. | :57:32. | |
# Man is an obstacle, sad as the clown, oh, by jingo | :57:33. | :57:44. | |
# So hold on to nothing, and he won't let you down, oh, by jingo | :57:45. | :57:54. | |
# Some people are marching together and some on their own | :57:55. | :58:00. | |
# Others are running, the smaller ones crawl | :58:01. | :58:11. | |
# But some sit in silence, they're just older children | :58:12. | :58:15. | |
# I sing with impertinence, shading impermanent chords | :58:16. | :58:57. | |
# I've borrowed your time and I'm sorry I called | :58:58. | :59:07. | |
# But the thought just occurred | :59:08. | :59:11. | |
# That we're nobody's children at all, after all | :59:12. | :59:27. | |
# Live your rebirth and do what you will | :59:28. | :59:29. | |
# Forget all I've said, please bear me no ill | :59:30. | :59:41. | |
Thank you. Marc Almond, Amanda Palmer, thank you, Stargaze, Jherek | :59:42. | :01:25. | |
Bischoff. Andre de Ridder. APPLAUSE | :01:26. | :01:35. | |
And thank you, David Bowie. Thank you. | :01:36. | :01:43. |