Browse content similar to 05/02/2012. Check below for episodes and series from the same categories and more!
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Fruitmarket in Glasgow, and some of our highlights of Celtic | :00:02. | :00:12. | |
:00:12. | :00:26. | ||
It's another fantastic year - this is the 19th festival that features | :00:26. | :00:32. | |
300 events over 18 days and across 20 different venues. It's an | :00:32. | :00:34. | |
eclectic mix of world, Celtic, protest songs, country, gospel and | :00:34. | :00:44. | |
:00:44. | :00:53. | ||
lots more. Here's a taste of what's to come tonight. # You're not here | :00:53. | :00:56. | |
# But you're never too far from my heart... | :00:56. | :01:01. | |
# Rumo ao Sul # Sem amor... | :01:01. | :01:07. | |
# Time of pilgrims # Air of a strange heaven... | :01:07. | :01:10. | |
# You couldn't have come at a better time | :01:10. | :01:12. | |
# You couldn't have come at a better time... | :01:12. | :01:14. | |
# Hey, little darling # I've been calling | :01:14. | :01:24. | |
:01:24. | :01:49. | ||
# But you don't seem to hear... # CHEERING AND APPLAUSE Three-times | :01:49. | :01:52. | |
winners of Radio 2's Folk Award for Best Band, Scottish three-piece Lau | :01:52. | :01:55. | |
have an amazing pedigree, garnered from working with the likes of | :01:55. | :01:58. | |
Blazin' Fiddles, Roddy Woomble and Joan Baez. One of the busiest bands | :01:58. | :02:00. | |
at the festival this year, they'll be performing with Cream legend | :02:00. | :02:03. | |
Jack Bruce, as well as the Northern Sinfonia. We're so pleased they | :02:03. | :02:13. | |
:02:13. | :02:22. | ||
have the time to join us at the Old # I never though life would be easy | :02:22. | :02:27. | |
# I was lately falling apart # Then you came and then you made | :02:27. | :02:35. | |
# Lean that much harder on my heart # Aren't you just ravenous for a | :02:35. | :02:40. | |
midnight feast? # Old drooling moon is shining down | :02:40. | :02:44. | |
on us # At the end of the street | :02:44. | :02:49. | |
# I'm damned if I do, my love # Damned if I don't, my sweet | :02:49. | :02:55. | |
# Dare I declare # This morning love turned evening | :02:55. | :03:05. | |
:03:05. | :03:18. | ||
# Well, we went down the road # We got soaked in moonlight | :03:18. | :03:23. | |
# Hedged in roses on either side # And all that was in our ears | :03:23. | :03:27. | |
# Was the sound of the ocean # And in the distance was an indigo | :03:27. | :03:35. | |
# Aren't you just ravenous for a midnight feast? | :03:35. | :03:39. | |
# Old drooling moon is shining down on us | :03:39. | :03:44. | |
# At the end of the street # I'm damned if I do, my love | :03:44. | :03:49. | |
# Damned if I don't, my sweet # Dare I declare | :03:49. | :03:59. | |
:03:59. | :04:12. | ||
# This morning love turned evening # So come away with me | :04:12. | :04:15. | |
# Or leave me # Come nearer to me | :04:15. | :04:22. | |
# Or go away # Just the sound of your breathing | :04:22. | :04:25. | |
# A feeling worth feeling # Come a summer's evening and the | :04:25. | :04:28. | |
break of day # Aren't you just ravenous for a | :04:28. | :04:32. | |
midnight feast? # Old drooling moon is shining down | :04:32. | :04:37. | |
on us # At the end of the street | :04:38. | :04:43. | |
# I'm damned if I do, my love # Damned if I don't, my sweet | :04:43. | :04:45. | |
# Dare I declare # This morning love turned evening | :04:46. | :04:48. | |
deep # I'm damned if I do, my love | :04:48. | :04:53. | |
# Damned if I don't, my sweet # I do declare | :04:53. | :05:03. | |
:05:03. | :05:03. | ||
Apology for the loss of subtitles for 42 seconds | :05:03. | :05:46. | |
CHEERING AND APPLAUSE Perhaps reflecting the times we live in, | :05:46. | :05:48. | |
there's a strong political theme running through this year's | :05:48. | :05:52. | |
festival. Woody 100 celebrates the music of dust-bowl troubadour Woody | :05:52. | :05:55. | |
Guthrie, and one of the artists appearing at that concert is also | :05:55. | :06:01. | |
with us tonight. It's our pleasure to welcome to the Old Fruitmarket | :06:01. | :06:03. | |
the granddaughter of Woody Guthrie - and appearing tonight with her | :06:03. | :06:13. | |
:06:13. | :06:18. | ||
husband, Johnny Irion - Sarah Lee # It's a sunny Saturday | :06:18. | :06:24. | |
# People having fun # I hear 'em out on the front porch | :06:24. | :06:28. | |
# Laughing at the crazy things that they've done | :06:28. | :06:34. | |
# An old lawnmower's cranking up # The branches scrape the windows | :06:34. | :06:40. | |
# You know I think about love, babe # Every time that the wind blows so | :06:40. | :06:46. | |
hard # You're not here | :06:46. | :06:56. | |
:06:56. | :06:57. | ||
# But you're never too far from my # All our crazy mistakes | :06:57. | :07:03. | |
# Yes, we've had our share # But I dropped them off at baggage | :07:03. | :07:06. | |
claim # They're going round on a carousel | :07:06. | :07:12. | |
# Gonna renovate # This old house of love | :07:12. | :07:20. | |
# There's no damage here # You know we can't rise above | :07:20. | :07:26. | |
# It's just a few thoughts I had # On my way to the farm | :07:26. | :07:30. | |
# You're not here # But you're never too far from my | :07:30. | :07:35. | |
heart # I'd rather have you under the | :07:35. | :07:45. | |
moon # Than anything under the sun | :07:45. | :07:54. | |
# And I strip myself of that cowgirl holster | :07:54. | :08:04. | |
:08:04. | :08:07. | ||
# And all of my loaded questions # Well, it's give and take | :08:07. | :08:13. | |
# All throughout the years # It won't be long till you find | :08:13. | :08:19. | |
yourself # In an ocean of salty tears | :08:19. | :08:23. | |
# But that lighthouse will guide # Wherever you are | :08:23. | :08:28. | |
# You're not here # But you're never too far from my | :08:28. | :08:32. | |
heart # You're not here | :08:32. | :08:36. | |
# Oooh-oooh You're not here # Oooh-oooh | :08:36. | :08:40. | |
# You're not here # But you're never too far from my | :08:41. | :08:50. | |
:08:51. | :08:51. | ||
heart # You're never too far | :08:51. | :09:01. | |
:09:01. | :09:02. | ||
# You're never too far. CHEERING AND APPLAUSE Thank you | :09:02. | :09:12. | |
:09:12. | :09:19. | ||
Our next act counts Prince and Mick Jagger among her fans. She's one of | :09:19. | :09:22. | |
the world's finest exponents of Fado singing - Portugal's answer to | :09:22. | :09:25. | |
the blues. In common with Celtic traditions, Fado - which means | :09:25. | :09:28. | |
"fate" or "destiny" - is often about love and loss. So get ready | :09:28. | :09:38. | |
:09:38. | :09:52. | ||
to be heartbroken by Ana Moura. APPLAUSE # Estou na estrada de | :09:52. | :10:01. | |
volta p'ra onde # Eu ja nao quero ir | :10:01. | :10:10. | |
# No escritorio esta tarde foi tudo # P'ra me deprimir | :10:10. | :10:20. | |
:10:20. | :10:21. | ||
# A buzina apressada de um carro # Que me quer passar | :10:21. | :10:31. | |
:10:31. | :10:31. | ||
# Na portagem um rosto indiferente # Diz-me p'ra pagar | :10:31. | :10:36. | |
# Rumo ao Sul # Sem amor | :10:36. | :10:45. | |
# Devagar # O meu sonho faz-se ao mar | :10:45. | :10:50. | |
# Sem amor # Rumo ao Sul | :10:51. | :11:00. | |
:11:01. | :11:09. | ||
# Volto as costas as luzes brilhantes | :11:09. | :11:19. | |
:11:19. | :11:21. | ||
# Da cidade mae # Sou a sombra impiedosa do apego | :11:21. | :11:29. | |
# A quem ja nao se tem # Sei que ao fim desta estrada ha | :11:29. | :11:36. | |
uma casa # Que suponho ter | :11:36. | :11:46. | |
:11:46. | :11:46. | ||
# E a vontade indomavel que teima # Em me querer perder | :11:46. | :11:53. | |
# Rumo ao Sul # Sem amor | :11:53. | :12:00. | |
# Devagar # O meu sonho faz-se ao mar | :12:00. | :12:06. | |
# Sem amor # Rumo ao Sul | :12:06. | :12:16. | |
:12:16. | :12:46. | ||
# Rumo ao Sul # Sem amor | :12:46. | :12:55. | |
# Devagar # O meu sonho faz-se ao mar | :12:55. | :13:01. | |
# Sem amor # Rumo ao Sul | :13:01. | :13:11. | |
:13:11. | :13:17. | ||
# O meu ceu perdeu # O azul. # | :13:17. | :13:27. | |
:13:27. | :13:30. | ||
CHEERING AND APPLAUSE eltic Connections may have a diverse | :13:30. | :13:33. | |
range of concerts on offer, but its roots are based in traditional | :13:33. | :13:36. | |
music a bit like this next band - a massively energetic supergroup who | :13:36. | :13:39. | |
describe themselves as a modern melting pot of musical influences | :13:39. | :13:49. | |
:13:49. | :13:49. | ||
Apology for the loss of subtitles for 42 seconds | :13:49. | :18:39. | |
from all around Scotland and beyond. One of the sell-out shows at this | :18:39. | :18:43. | |
year's festival is named after a song title, A Song For Ireland. | :18:43. | :18:46. | |
Recorded at Glasgow's Royal Concert Hall, here's a flavour of this | :18:46. | :18:56. | |
:18:56. | :19:15. | ||
stand-out event, celebrating the best of Irish music and song. | :19:15. | :19:25. | |
:19:25. | :19:26. | ||
# Where is this place we've come # We don't know what to say. | :19:26. | :19:31. | |
# We long to see each other # And are frightened of that day | :19:31. | :19:36. | |
# You met me in a barren place # You walked me to the hill | :19:36. | :19:38. | |
# We were so good for each other then | :19:38. | :19:41. | |
# I know we could be still # You couldn't have come at a | :19:41. | :19:44. | |
better time # You couldn't have come at a | :19:44. | :19:48. | |
better time # You couldn't have come at a | :19:48. | :19:50. | |
better time # Not if you tried, oh, no | :19:50. | :19:59. | |
# Not if you tried. Oh, no # You have 500 questions | :19:59. | :20:06. | |
# Between you and me # If you look into my eyes, my love | :20:06. | :20:11. | |
# Tell me what you see # Is it something you're not sure | :20:11. | :20:19. | |
# Is it something true and fine? # Or is it just another case of the | :20:19. | :20:26. | |
right thing at the wrong time? # No, wait, baby | :20:26. | :20:29. | |
# You couldn't have come at a better time | :20:29. | :20:34. | |
# You couldn't have come at a better time | :20:34. | :20:38. | |
# You couldn't have come at a better time | :20:38. | :20:44. | |
# Since we were first together # By the lakeside sky so blue | :20:45. | :20:53. | |
# We were so good for each other # Me and you and me and you | :20:53. | :20:57. | |
# And me and you and me and you # You couldn't have come at a | :20:57. | :21:02. | |
better time # You couldn't have come at a | :21:02. | :21:06. | |
better time # You couldn't have come at a | :21:06. | :21:11. | |
better time # Not if you tried, oh, no | :21:11. | :21:20. | |
# You couldn't have come at a better time | :21:20. | :21:24. | |
# You couldn't have come at a better time | :21:24. | :21:27. | |
# You couldn't have come at a better time | :21:27. | :21:37. | |
:21:37. | :21:38. | ||
Apology for the loss of subtitles for 42 seconds | :21:38. | :23:31. | |
# Not if you tried, oh, no # My young love said to me | :23:31. | :23:41. | |
:23:41. | :23:43. | ||
# My mother won't mind # And my father won't slight you | :23:43. | :23:53. | |
:23:53. | :23:54. | ||
# For your lack of kind # And she stepped away from me | :23:54. | :24:04. | |
:24:04. | :24:04. | ||
# And this she did say # It will not be long, love | :24:04. | :24:14. | |
:24:14. | :24:15. | ||
# 'til our wedding day # She stepped away from me | :24:15. | :24:25. | |
:24:25. | :24:26. | ||
# And she moved through the fair # And fondly I watched her | :24:26. | :24:36. | |
:24:36. | :24:38. | ||
# Move here and move there # And she turned her way homeward | :24:38. | :24:48. | |
:24:48. | :24:48. | ||
# With one star awake # As the swan in the evening | :24:48. | :24:58. | |
:24:58. | :24:58. | ||
Apology for the loss of subtitles for 42 seconds | :24:58. | :25:46. | |
# The people they say # No two e'er were wed | :25:47. | :25:56. | |
:25:57. | :25:58. | ||
# But one has a sorrow # That never was said | :25:58. | :26:08. | |
:26:08. | :26:09. | ||
# And she smiled as she passed me # With her goods and her gear | :26:10. | :26:19. | |
:26:20. | :26:21. | ||
# And that was the last # That I saw of my dear | :26:21. | :26:29. | |
# Last night she came to me # My true love came in | :26:29. | :26:39. | |
:26:39. | :26:42. | ||
# And she came in so easy # Her feet made no din | :26:42. | :26:52. | |
:26:52. | :26:52. | ||
# And she laid her hands on me # And this she did say | :26:52. | :27:02. | |
:27:02. | :27:02. | ||
Apology for the loss of subtitles for 42 seconds | :27:02. | :27:56. | |
# It will not be long, love # Oh... | :27:56. | :28:01. | |
No, it won't be long # My love # No, it won't be long # My love # No, it | :28:01. | :28:11. | |
:28:11. | :28:11. | ||
Apology for the loss of subtitles for 42 seconds | :28:11. | :28:51. | |
# No, it won't be long, my love. # Seattle is, perhaps, more famous | :28:51. | :28:54. | |
for coffee shops than country music stars, but this performer, who | :28:54. | :28:56. | |
hails from that city, has been collecting some rave reviews and | :28:56. | :28:58. | |
respect from country music's heartland and beyond. Her | :28:58. | :29:01. | |
influences range from Woody Guthrie to Leadbelly via the Beatles and | :29:01. | :29:11. | |
:29:11. | :29:22. | ||
Bruce Springsteen. This is Zoe Muth # Hey, little darlin', I've been | :29:22. | :29:29. | |
callin' # But you don't seem to hear | :29:29. | :29:34. | |
# I've been waitin' # I've been hesitatin' | :29:34. | :29:41. | |
# But I have waited my share # I've been hot and I've been cold | :29:41. | :29:44. | |
# Been carrying a heavy load # Trying to lift myself above this | :29:44. | :29:48. | |
old life # If I'm here or if I'm there | :29:49. | :29:53. | |
# I can tell that you don't care # Cause you've got a heart like a | :29:53. | :29:57. | |
bucket full of ice # Hey, little darlin', I've been | :29:58. | :30:04. | |
callin' # But you don't seem to hear | :30:04. | :30:09. | |
# I've been waitin' # I've been hesitatin' | :30:09. | :30:19. | |
:30:19. | :30:36. | ||
# Well the old folks back home # They wonder why I roam | :30:36. | :30:41. | |
# And chase the crooked and cold- hearted men like you | :30:41. | :30:47. | |
# They tried to teach me well # But you have cast some kind of | :30:47. | :30:50. | |
spell # And I am bound to fall until my | :30:50. | :30:52. | |
days are through # And I tell myself no | :30:52. | :30:55. | |
# But you know in the end I'll always go | :30:55. | :30:59. | |
# Back down to the bar to look for # Then I'm right back where I | :30:59. | :31:04. | |
started # All alone and broken-hearted | :31:04. | :31:08. | |
# Hey, what's a girl like me supposed to do? | :31:08. | :31:16. | |
# Then you ask me how I've been # I said I came out on top | :31:16. | :31:18. | |
# But you could hardly call it winnin' | :31:18. | :31:22. | |
# With that hard look in your eyes # Well, I know now | :31:22. | :31:31. | |
# It ain't no disguise # No, it ain't no disguise | :31:31. | :31:41. | |
:31:41. | :31:54. | ||
# Hey, little darlin', I've been callin' | :31:54. | :32:00. | |
# But you don't seem to hear # I've been waitin' | :32:00. | :32:07. | |
# I've been hesitatin' # But I have waited my share | :32:07. | :32:17. | |
:32:17. | :32:32. | ||
# Yes, I have waited my share. Celtic Connections embraces all | :32:32. | :32:36. | |
kinds of music from all over the world, and in recent years gospel | :32:36. | :32:39. | |
has played a major part in the repertoire of the festival. I'm on | :32:39. | :32:42. | |
the stage of Glasgow's Royal Concert Hall to meet a man who's | :32:42. | :32:45. | |
been making music for the last 50 years. He's been described as | :32:45. | :32:48. | |
giving the song the fullness of his heart and soul every time. He's | :32:48. | :32:52. | |
just finished the sound check and he's going to perform for us in a | :32:52. | :32:55. | |
couple of minutes' time. It's my pleasure to give a warm Celtic | :32:55. | :32:58. | |
Connections welcome to Aaron Neville. First of all, I should say | :32:58. | :33:02. | |
to you, a very happy birthday, sir. Thanks a lot. You're still working | :33:02. | :33:06. | |
on your birthday, you've worked for a good bit of your life. Are you | :33:06. | :33:11. | |
not close to putting your feet up yet? No, not at all. I've got a | :33:11. | :33:17. | |
Let's talk about some of your success that brings you most | :33:17. | :33:20. | |
pleasure, because you've had a whole career of doing things on | :33:20. | :33:24. | |
your own, also a lot of stuff doing things with the brothers. Yeah. | :33:24. | :33:27. | |
then also these amazing kind of little tricks, duets with people | :33:27. | :33:30. | |
like Linda Ronstadt and so on. Looking back on it, Aaron, what are | :33:30. | :33:34. | |
the things that bring you the most happiness? You know, all of it - | :33:34. | :33:38. | |
just to be able to do it, just to be able to sing. The duets were all | :33:38. | :33:43. | |
special, with Linda Ronstadt, Tricia Yearwood. You know, and the | :33:43. | :33:49. | |
stuff I done with my brothers - it's all been special, you know? | :33:49. | :33:55. | |
And I'm glad to still be around doing it. You know, you've gone | :33:55. | :33:58. | |
through amazing times. The music business has changed hugely. I | :33:58. | :34:01. | |
guess you come from a time when black musicians were... ..ripped | :34:01. | :34:10. | |
off, really. Yeah. Through to now, the internet and so on. You must | :34:10. | :34:13. | |
have the long view on it. Well, it gives you something to sing about, | :34:13. | :34:17. | |
you know? It gives you some blues. Yeah, but I mean, do you think it's | :34:17. | :34:20. | |
got better or got worse for a musician like yourself? The way it | :34:20. | :34:24. | |
is, that's not better for nobody. The music business has gone south. | :34:24. | :34:29. | |
Yeah. I can't even call it the music business no more, really. | :34:29. | :34:33. | |
You've just got to go for what you know and do what you like to do and | :34:33. | :34:37. | |
roll with the punches. Just make sure you swing back every once in a | :34:37. | :34:40. | |
while. Do you sometimes feel glad that you survived all these | :34:40. | :34:44. | |
different obstacles that are put in your way? No doubt. I wrote a song | :34:44. | :34:47. | |
a couple of years back called It Took Who I Was And Where I Come | :34:47. | :34:53. | |
From To Make Me Who I Am, so no regrets. Absolutely. One other | :34:53. | :34:57. | |
thing I was going to ask you about was, this album is a celebration of | :34:57. | :35:00. | |
gospel music. You are a very devout Catholic. Yeah. Do the Catholic | :35:00. | :35:03. | |
churches in the South have the same style of music as the Protestant | :35:03. | :35:07. | |
churches? Because we know all about the gospel churches in the South, | :35:07. | :35:11. | |
but I wasn't aware that the music crossed over both sides as much. | :35:11. | :35:15. | |
When I was growing up it wasn't. It was strictly... That's where I | :35:15. | :35:20. | |
learned Ave Maria. I never knew the words but it was always a soothing, | :35:20. | :35:27. | |
just... It soothed me, you know? And lower times in my life, I | :35:28. | :35:31. | |
remember sitting in the gutter one time, I didn't know what I wanted | :35:31. | :35:35. | |
to do and Ave Maria came into my mind, I sang it to myself, and it | :35:35. | :35:37. | |
made everything all right, you know? But later, the Catholic | :35:37. | :35:47. | |
:35:47. | :35:50. | ||
churches, they have Catholic Baptists now. Right. They rock, you | :35:50. | :35:54. | |
know. And it's fun? Yeah, you know. That's wonderful. You've kindly | :35:54. | :35:57. | |
agreed to do a song for us, and we've been joined by Michael Goods | :35:57. | :36:07. | |
:36:07. | :36:09. | ||
on the piano. You're going to do I Am A Pilgrim. This is Aaron Neville. | :36:09. | :36:14. | |
# I am a pilgrim and a stranger # Travellin' through this worrisome | :36:14. | :36:18. | |
land # I got a home built in that yonder | :36:18. | :36:28. | |
:36:28. | :36:29. | ||
city, good Lord # And it's not, not made by hand | :36:29. | :36:36. | |
# I got a mother, a sister, and a father | :36:36. | :36:43. | |
# Done gone on now to the other shore | :36:43. | :36:50. | |
# And I'm determined to go and see them, good Lord | :36:50. | :36:59. | |
# And to be with them forever more # When I go down to the River of | :36:59. | :37:09. | |
:37:09. | :37:09. | ||
Jordan # Just to bathe my, my weary soul | :37:09. | :37:16. | |
# If I can just touch the hem of His garment, good Lord | :37:16. | :37:26. | |
:37:26. | :37:53. | ||
# And when He lays me down for the last time | :37:53. | :38:03. | |
# With His hard hand resting on my breast | :38:03. | :38:07. | |
# I don't want none of that weepin' and cryin' over me | :38:07. | :38:13. | |
# 'Cause you know that I'm gone to rest | :38:13. | :38:20. | |
# Yes, I am a pilgrim and a stranger | :38:20. | :38:25. | |
# Travellin' through this worrisome land | :38:25. | :38:33. | |
# And I got a home built in that yonder city, good Lord | :38:33. | :38:43. | |
:38:43. | :39:11. | ||
# Havia a solidao da prece no olhar triste | :39:11. | :39:19. | |
# Como se os seus olhos fossem as portas do pranto | :39:19. | :39:26. | |
# Sinal da cruz que persiste, os dedos contra o quebranto | :39:26. | :39:34. | |
# E os buzios que a velha lancava sobre um velho manto | :39:34. | :39:40. | |
# A espreita esta um grande amor mas guarda segredo | :39:40. | :39:49. | |
# Vazio tens o teu coracao na ponta do medo | :39:49. | :39:57. | |
# Ve como os buzios cairam virados p'ra norte | :39:57. | :40:04. | |
# Pois eu vou mexer o destino, vou mudar-te a sorte | :40:04. | :40:12. | |
# Pois eu vou mexer o destino, vou mudar-te a sorte | :40:12. | :40:20. | |
# Havia um desespero intenso na sua # O quarto cheirava a incenso, mais | :40:20. | :40:28. | |
uns quantos pos # A velha agitava o lenco, dobrou-o, | :40:29. | :40:37. | |
deu-lhe dois nos # E o seu padre santo falou usando- | :40:37. | :40:44. | |
lhe a voz # A espreita esta um grande amor | :40:44. | :40:50. | |
mas guarda segredo # Vazio tens o teu coracao na ponta | :40:50. | :41:00. | |
do medo # Ve como os buzios cairam virados | :41:00. | :41:06. | |
p'ra norte # Pois eu vou mexer o destino, vou | :41:06. | :41:14. | |
mudar-te a sorte # Pois eu vou mexer o destino, vou | :41:14. | :41:24. | |
:41:24. | :41:45. | ||
# A espreita esta um grande amor mas guarda segredo | :41:45. | :41:53. | |
# Vazio tens o teu coracao na ponta do medo | :41:53. | :42:02. | |
# Ve como os buzios cairam virados p'ra norte | :42:02. | :42:09. | |
# Pois eu vou mexer o destino, vou mudar-te a sorte | :42:09. | :42:16. | |
# Pois eu vou mexer o destino, vou mudar-te a sorte | :42:16. | :42:24. | |
# Pois eu vou mexer o destino, vou mudar-te a sorte | :42:24. | :42:34. | |
:42:34. | :42:53. | ||
# Pois eu vou mexer o destino, vou Time now for one more from Lau, and | :42:53. | :42:58. | |
a song called Ghosts, written by the band's vocalist, Kris Drever. | :42:58. | :43:01. | |
And they are joined on stage by a very special guest, the wonderful | :43:01. | :43:11. | |
:43:11. | :43:40. | ||
Eddi Reader. # We say we're not # A generation ago | :43:40. | :43:50. | |
:43:50. | :43:55. | ||
# The same on the same ships, we # We came seeking protection | :43:55. | :44:05. | |
# Away from the strife # Away from the struggles and the | :44:05. | :44:15. | |
:44:15. | :44:20. | ||
hardships of life # I'm not an incomer | :44:20. | :44:30. | |
:44:30. | :44:32. | ||
# My parents were ghosts # Sir, I was born here | :44:32. | :44:42. | |
:44:42. | :45:13. | ||
# There's ghosts on the motorway # The world is on fire | :45:13. | :45:23. | |
:45:23. | :45:25. | ||
# There's ghosts on the sandflats as the water gets higher and higher | :45:25. | :45:35. | |
:45:35. | :45:38. | ||
# There's ghosts in the brothels # Behind thick stony walls | :45:38. | :45:48. | |
:45:48. | :45:49. | ||
# There's ghosts and their children in prison foodhalls | :45:49. | :45:59. | |
:45:59. | :46:01. | ||
# I'm not an incomer # My parents were ghosts | :46:01. | :46:11. | |
:46:11. | :46:15. | ||
# Sir, I was born here # So where would I go? | :46:15. | :46:25. | |
:46:25. | :46:27. | ||
# I'm not an incomer # My parents were ghosts | :46:27. | :46:37. | |
:46:37. | :46:37. | ||
Apology for the loss of subtitles for 42 seconds | :46:37. | :47:28. | |
# Sir, I was born here Thank you, Eddi. Sarah Lee Guthrie, | :47:28. | :47:31. | |
a warm welcome to Scotland, and a warm welcome to Celtic Connections. | :47:31. | :47:35. | |
Thank you. Is it your first time here? It is not, actually. I came | :47:35. | :47:39. | |
in '99 with my dad. It was the first time I had left the country, | :47:39. | :47:42. | |
and I had just started playing music. I was probably 19 years old, | :47:42. | :47:45. | |
and we came over to Celtic Connections. Did you have a good | :47:45. | :47:48. | |
time? I had an amazing time, yeah. I was infected, actually, by music. | :47:48. | :47:51. | |
Really? Well, I hadn't really been exposed to Celtic music before. I | :47:51. | :47:55. | |
was a punk rock chick, I was a metal head, I was everything else. | :47:55. | :47:58. | |
So, you know, bluegrass and all kinds of stuff. But I didn't have | :47:58. | :48:01. | |
the Celtic experience until here. So your dad is Arlo Guthrie, whom | :48:01. | :48:04. | |
we know and love very well, and your grandfather was Woody Guthrie, | :48:04. | :48:07. | |
an amazing songwriter. And I'm thinking that, because of the times | :48:07. | :48:10. | |
that we are going through, if we look across the world, look across | :48:10. | :48:13. | |
to the States, especially over the last few months, down in London, | :48:13. | :48:16. | |
the protests and so on, it's all coming back again as well, isn't | :48:16. | :48:19. | |
it? There's a real sense in which that protest movement which Woody | :48:19. | :48:25. | |
was very much at the forefront of is beginning to come back. Yeah, | :48:26. | :48:34. | |
yeah. It's about time. I think we got out there for a while. You know, | :48:34. | :48:37. | |
we weren't sure what fights to fight and we weren't sure what | :48:37. | :48:40. | |
needed to happen, and it's really nice to see people on the streets | :48:40. | :48:43. | |
today. And then we're wondering, what songs are we going to sing out | :48:43. | :48:46. | |
here on the streets? And we look to Woody Guthrie for those. Yeah, | :48:46. | :48:49. | |
which must be incredibly gratifying. Let's talk about this legacy of | :48:49. | :48:53. | |
stuff that he never got round to finishing. Sure, yeah. Now, you | :48:53. | :48:55. | |
have taken some of your grandfather's lyrics and set them | :48:55. | :49:00. | |
to new melodies, is this correct? Yeah. Well, I tried to steal the | :49:00. | :49:07. | |
melodies just like he would. THEY LAUGH Good! | :49:07. | :49:10. | |
Always steal the best, though! You're going to perform There'll Be | :49:10. | :49:14. | |
No Church Tonight from the Woody Guthrie archive. Tell us a little | :49:15. | :49:19. | |
bit about that song, Sarah Lee. I am. It's a song that Johnny and I | :49:19. | :49:22. | |
find the lyrics to. They were just sitting there at the house, and we | :49:22. | :49:26. | |
picked up this pile of papers about 40-deep and started to leaf through | :49:26. | :49:29. | |
them and came across There'll Be No Church Tonight, in which we just | :49:29. | :49:33. | |
decided to start singing. And I said, "Johnny, you have to come | :49:33. | :49:36. | |
over here, you have to check this out." It was actually hilarious. | :49:36. | :49:39. | |
And so we started to sing the same melody, started to sing it off the | :49:40. | :49:43. | |
page. It was like it was meant to be. So we took that to the stage | :49:44. | :49:46. | |
the very next day, actually. that's lovely - a granddaughter | :49:46. | :49:48. | |
writing a song with her deceased grandfather. There's something | :49:49. | :49:52. | |
amazing about that. It was almost like I was sitting down having tea | :49:52. | :49:56. | |
with him. You know, I could feel him right there, as if we were | :49:56. | :50:06. | |
:50:06. | :50:11. | ||
doing it together. # Preacher Bill come to the house | :50:11. | :50:15. | |
# One Sunday bright and fine # To fill his belly with sweet | :50:15. | :50:23. | |
potatoes # Biscuits, chicken and wine | :50:23. | :50:33. | |
:50:33. | :50:34. | ||
# He took our Nelly behind the barn # And carried on a sight | :50:34. | :50:44. | |
:50:44. | :50:44. | ||
# I heard him whisper in her ear # There'll be no church tonight | :50:44. | :50:50. | |
# There'll be no church tonight, my dear | :50:50. | :50:55. | |
# There'll be no church tonight # One more kiss from your red, red | :50:56. | :51:04. | |
lips # There'll be no church tonight | :51:04. | :51:09. | |
# While peeking through that knot- hole | :51:09. | :51:19. | |
:51:19. | :51:21. | ||
# I seen him take her hand # Put his head upon her bosom | :51:21. | :51:27. | |
# And called it the promised land # Mountains of life and glory's | :51:27. | :51:35. | |
hills # He touched her leg so light | :51:36. | :51:40. | |
# He gasped for air and said a prayer | :51:41. | :51:47. | |
# There'll be no church tonight. # All right, let's hear you now. | :51:47. | :51:49. | |
# There'll be no church tonight, my dear | :51:49. | :51:58. | |
# There'll be no church tonight # One more kiss from your red, red | :51:58. | :52:08. | |
lips # There'll be no church tonight | :52:08. | :52:18. | |
:52:18. | :52:18. | ||
# She laid on a pile of hay # And gently closed her eyes | :52:18. | :52:23. | |
# Said the words from the 23rd psalm | :52:23. | :52:31. | |
# To the good Lord in the skies # What I'd seen through that knot- | :52:31. | :52:40. | |
hole # I cannot sing or write | :52:40. | :52:49. | |
# But now I know the reason why # There'll be no church tonight | :52:49. | :52:55. | |
# There'll be no church tonight, my dear | :52:55. | :53:02. | |
# There'll be no church tonight # One more kiss from your red, red | :53:02. | :53:11. | |
lips # There'll be no church tonight | :53:11. | :53:17. | |
# There'll be no church tonight, my dear | :53:17. | :53:25. | |
# There'll be no church tonight # One more kiss from your red, red | :53:25. | :53:35. | |
:53:35. | :53:48. | ||
lips Well, that's about all we have time | :53:48. | :53:51. | |
for tonight. There's plenty more on the website | :53:51. | :53:53. |