:02:39. > :02:49.This programme # Hombre, I got blood lust
:02:49. > :02:49.
:02:49. > :05:05.Apology for the loss of subtitles for 136 seconds
:05:05. > :05:10.The wonderful, delighted to have them in this room with their third
:05:10. > :05:17.number one, Kasabian. We have a room full of amazingly talented
:05:17. > :05:24.writers. The amazing voice of Mr James Morrison. From Candy Island,
:05:24. > :05:33.the legendary and amazing Wilko Johnson. From New Zealand, we are
:05:33. > :05:41.delighted to have in this room Pajama Club. From Mali, we are
:05:41. > :05:51.thrilled to welcomed into the room Fatoumata Diawara. From Tottenham,
:05:51. > :06:01.
:06:01. > :06:07.# Rolling through London # Rolling through London
:06:07. > :06:10.# She was crying him a river I guess she's in denial
:06:10. > :06:11.# Yeah
:06:11. > :06:15.# And the car ain't tinted no And this ain't none of our business
:06:15. > :06:17.# So we ain't tryin' to stare too long
:06:17. > :06:19.# Me and the driver look like there ain't one of us listening
:06:19. > :06:21.# Yeah And not one of us dissed him
:06:21. > :06:24.# We probably both had a row with a sistren, yeah
:06:24. > :06:26.# While the whole street witness
:06:26. > :06:28.# Just gotta turn a blind eye No winking
:06:28. > :06:29.# Uh, yeah
:06:29. > :06:31.# We're still rolling We should have took the other way
:06:31. > :06:34.# I'm still moaning I should have kept that to myself
:06:34. > :06:35.# Still told him
:06:35. > :06:38.# So now he's going on a way real sulkish
:06:38. > :06:39.# Clubs are closed I'm getting mad
:06:39. > :06:41.# Like would you take a look at these lads
:06:41. > :06:43.# Trying to stop the cabs like they can't see, man
:06:43. > :06:46.# Alcohol's got them feeling like they can't be slapped
:06:46. > :06:48.# And one of them is vomiting kebab
:06:48. > :06:50.# And the other one's hopping on his back
:06:50. > :06:53.# YeahAnd his girl's trying to pick him up
:06:53. > :06:55.# That's the one time that she's got to be the man
:06:55. > :06:57.# Yeah
:06:57. > :07:02.# Taking the long way home again
:07:02. > :07:02.# Ah
:07:02. > :07:06.# Watching the world drown in the rain
:07:06. > :07:08.# There's motion but there's no change
:07:08. > :07:14.# It's the same old Same old race till it's over
:07:14. > :07:15.# Rolling through London Where we slipped on the junction
:07:15. > :07:19.# I don't wanna see any more drunkens
:07:19. > :07:20.# Yeah And I'm talking to myself
:07:20. > :07:22.# Cos I wanna conversation with a little more substance
:07:22. > :07:24.# It's all right, it's in the brain
:07:24. > :07:27.# What a surprise, it's gonna rain
:07:27. > :07:29.# And we still speed past the homeless
:07:29. > :07:31.# And still act like we ain't got enough change
:07:31. > :07:33.# I guess something's gotta change
:07:33. > :07:36.# Traffic light he's stunting in the range
:07:36. > :07:38.# Imagine I am sat lusting at the paint
:07:38. > :07:40.# While the prostitute screams that she never got paid
:07:40. > :07:42.# And she thinks that she never got raped
:07:42. > :07:44.# Still got the mind of a child
:07:44. > :07:47.# That only happens when you never get raised
:07:47. > :07:49.# Trapped in the cycle she'll never escape
:07:49. > :07:54.# And this shit used to burn me That's why it's part of my verse B
:07:54. > :08:01.# Sitting in the back of a cab I guess this is part of my journey
:08:01. > :08:03.# And these things used to burn me That's why it's part of my verse B
:08:03. > :08:08.# Sitting in the back of a cab I guess this is part of my journey
:08:09. > :08:13.# Taking the long way home again Ah
:08:14. > :08:18.# Watching the world drown in the rain, ah
:08:18. > :08:21.# There's motion but theres no change
:08:21. > :08:26.# It's the same old Same old race till it's over
:08:26. > :08:29.# And these things used to burn me
:08:29. > :08:31.# And now they're just part of my journey
:08:31. > :08:33.# And these things used to burn me
:08:33. > :08:35.# And now they're just part of my journey
:08:35. > :08:37.# And these things used to burn me
:08:37. > :08:39.# And now they're just part of my journey
:08:39. > :08:42.# And these things used to burn me
:08:42. > :08:47.# And now they're just part of my journey
:08:47. > :08:49.# Taking the long way home again Ah
:08:49. > :08:54.# Watching the world drown in the rain, Ah
:08:54. > :08:58.# There's motion but there's no change
:08:58. > :09:03.# It's the same old Same old race till it's over
:09:03. > :09:07.# Taking the long way home again Ah
:09:07. > :09:11.# Watching the world drown in the rain, ah
:09:12. > :09:15.# There's motion but there's no change
:09:15. > :09:16.# Because there's no rain over there, yes
:09:16. > :09:17.# Show me a sign post
:09:17. > :09:23.# I'll make my own way back when it's over
:09:23. > :09:25.# Over
:09:25. > :09:28.# Over
:09:28. > :09:31.# Hmm yeah yeah, when it's over
:09:31. > :09:41.CHEERING AND APPLAUSE
:09:41. > :09:42.
:09:42. > :09:42.Thank
:09:42. > :09:43.Thank you
:09:43. > :09:53.Thank you very
:09:53. > :09:56.Thank you very much, Wretch 32. So, we have a bit of a legend in the
:09:56. > :10:02.room, a man that I have a musically grown up with, worked with many
:10:02. > :10:09.years ago. A true legend, an inventor of riffs, one of the great
:10:09. > :10:19.guitarists and blues men of Britain, joined by Norman Wright and the
:10:19. > :10:30.
:10:30. > :10:40.amazing drama, I am delighted to # And if there's something
:10:40. > :10:56.
:10:56. > :11:06.# And there ain't a single trouble # You ought to see her walk
:11:06. > :11:43.
:11:43. > :11:49.# And there ain't a single trouble # You know I'd give her anything
:11:49. > :11:54.# Anything she wants just to keep her by my side
:11:54. > :11:56.# She does it right
:11:56. > :12:00.# She does it right
:12:00. > :12:02.# She works hard every night
:12:02. > :12:04.# To make me feel all right
:12:04. > :12:05.# She told me not to worry
:12:06. > :12:15.# And there ain't a single trouble in sight. #
:12:16. > :12:52.
:12:52. > :12:52.Men
:12:52. > :12:52.Men of
:12:52. > :12:56.Men of Essex,
:12:57. > :13:04.Men of Essex, stand prowled, from Canvey Island, the legendary Wilko
:13:04. > :13:11.Johnson. One of the greatest touring artists their ears. You can
:13:12. > :13:17.see him on tour now and I recommend it. Our next artists over here are
:13:17. > :13:24.also marvellously, again, number one. We welcome Kasabian. Very nice
:13:24. > :13:28.to have you here. I have been told that when I sit down I always move
:13:28. > :13:33.my chair. They said, don't do that because we can't see what is going
:13:33. > :13:40.on. I will put it where it was. Really comfortable. You have
:13:40. > :13:50.squeezed in. First of all, congratulations. You are number one.
:13:50. > :13:51.
:13:51. > :13:56.Thank you. For the third time. 3, 1. Are you into numerology? No.
:13:56. > :14:01.neither. Let's move on. How have you celebrated being number one?
:14:01. > :14:11.have not had time. We were in Dublin on Saturday having a few
:14:11. > :14:17.beers. Too busy to celebrate. Liza Minnelli. To have won at
:14:17. > :14:24.number one is fantastic, two is amazing, to have three, what do you
:14:24. > :14:28.attribute it to? We cannot be bad, can we? We are all right.
:14:28. > :14:33.Cornflakes in the morning. being talented. Are there any
:14:33. > :14:39.disadvantages to being number one, or is everything about it great?
:14:39. > :14:45.Pretty amazing. We have come a long way. We met in 97, went to school
:14:45. > :14:50.together. We were babies. I read in an interview that you used to do
:14:50. > :14:56.things are like you used to say, hello, Glastonbury, although you
:14:56. > :15:01.were just playing in a pub. That is true. Carpet on the walls, you know
:15:01. > :15:06.the rehearsal spaces. We played a set and we would be like,
:15:06. > :15:15.Glastonbury, with our arms in the air. I would impersonate you as
:15:15. > :15:19.well. I swear! But the thing is, it has worked. What I'm getting out of
:15:19. > :15:23.this is that I have heard musicians talk about visualising material.
:15:23. > :15:31.You think about something enough and it comes. Do you think that is
:15:31. > :15:36.what has happened? I do not know. I suppose so, yeah. It was written in
:15:36. > :15:46.the stars, the Wizard of Oz. If you acted that out, what are you acting
:15:46. > :15:50.
:15:50. > :15:55.out now? World domination? Yes. What is a Villar so raptor? That is
:15:55. > :16:01.a tiny dinosaur, about this big, and they hunted in packs of four.
:16:01. > :16:08.told him that from my Jurassic Park research. Why not in packs of
:16:08. > :16:15.three? Four is a better number. They had feathers. Are you having a
:16:15. > :16:21.laugh? They were scavengers. They hunted down a T Rex, which is what
:16:21. > :16:27.we want to do. The power of the T Rex. Are you very interested in
:16:27. > :16:34.dinosaurs and stuff? Yes, I love it. National Geographic stuff, I am all
:16:34. > :16:39.over it, yes. What are you going to play next? What are we going to
:16:39. > :16:43.play? Goodbye kiss, which is a heartbreaker. It's a fantastic
:16:43. > :16:49.record. It is great that it is number one. Three times number one.
:16:49. > :16:56.Great. Wonderful to have you here. You said, hello, Glastonbury and
:16:56. > :17:00.what would I say? Kasabian. Thank you, Kasabian. Living the dream.
:17:00. > :17:05.That is the kind of people we are. It is quite a nice room this
:17:06. > :17:10.evening. Wherever you are in the world, I know there are viewers all
:17:10. > :17:13.over Europe, South America, Africa, in Russia, there are people
:17:13. > :17:17.watching us all over the shop. I am speaking in English because this is
:17:17. > :17:21.the only language I can speak, but now an artist from the other side
:17:21. > :17:27.of the world who is incredibly talented. He is with his wife,
:17:27. > :17:37.Sharon. It is Neil Flint and his group. He is behind the drums.
:17:37. > :17:37.
:17:37. > :21:22.Apology for the loss of subtitles for 136 seconds
:21:22. > :21:28.Tell me what you want. Thank you, Pajama Club. Feeling good question
:21:28. > :21:32.mark I hope you are feeling good, too. Now, one of the most amazing
:21:32. > :21:42.voices we have heard for a while, the beautiful sound of James
:21:42. > :21:42.
:21:42. > :26:24.Apology for the loss of subtitles for 136 seconds
:26:24. > :26:34.# So when you asked me # We met with a goodbye kiss
:26:34. > :26:42.
:26:42. > :26:48.# You said that you didn't mind Cos love's hard to find
:26:48. > :26:52.# Maybe the days we had are gone Living in silence for too long
:26:52. > :27:00.# Maybe the days we had are gone Living in silence for too long
:27:00. > :27:04.# Open your eyes and what do you see?
:27:04. > :27:13.# No more laughs No more photographs
:27:13. > :27:20.# Turning slowly, looking back, see
:27:20. > :27:28.# No words can save this You're broken and I'm pissed
:27:28. > :27:35.# Run along like I'm supposed to Be the man I ought to
:27:35. > :27:39.# Rock and roll sent us insane
:27:39. > :27:48.# I hope someday that we will meet again
:27:48. > :27:55.# Running wild
:27:55. > :28:03.# Giving it everyone Now that's all done
:28:03. > :28:10.# Cos we burnt out That's what you do
:28:10. > :28:20.# When you have everything It can't be true
:28:20. > :28:21.
:28:21. > :28:27.# Maybe the days we had are gone Living in silence for too long
:28:27. > :28:34.# Open your eyes and what do you see?
:28:34. > :28:42.# The last stand, let go of my hand
:28:42. > :28:49.# Turning slowly, looking back, see
:28:49. > :28:58.# No words can save this You're broken and I'm pissed
:28:58. > :29:05.# Run along like I'm supposed to Be the man I ought to
:29:05. > :29:10.# Rock and roll sent us insane
:29:10. > :29:14.# I hope someday that we will meet again
:29:14. > :29:21.# You go your way and I'll go my way
:29:21. > :29:29.# No words can save us This lifestyle made us
:29:29. > :29:36.# Run along like I'm supposed to Be the man I ought to
:29:36. > :29:40.# Rock and roll sent us insane
:29:40. > :29:50.# I hope someday that we will meet again. #
:29:50. > :30:00.
:30:00. > :30:10.CHEERING AND APPLAUSE
:30:10. > :30:11.
:30:11. > :30:11.Thank
:30:11. > :30:11.Thank you,
:30:11. > :30:17.Thank you, Kasabian.
:30:17. > :30:22.Thank you, Kasabian. How marvellous to have them in this room. Before
:30:22. > :30:27.that, we enjoyed James Morrison. And now I am delighted to welcome
:30:27. > :30:35.at the table one of the great guitar players of Britain. Yes,
:30:35. > :30:39.Wilko Johnson. Very good to have you here. The
:30:39. > :30:47.first thing, you have an amazing touring group. Who have you got
:30:47. > :30:53.with you? On the base, Norman. I have known him for many years and
:30:53. > :30:59.he remains my favourite bass player. He came to fame with Hit Me With
:30:59. > :31:09.Your rhythm stick, which is still a test for bass players. He is a
:31:09. > :31:12.
:31:12. > :31:16.blockhead. Yes. And who is on the drums? Another blockhead. Dylan.
:31:16. > :31:25.Fantastic. You do an amazing amount of touring and you just get better
:31:25. > :31:32.and better. The EU enjoy it? Yes. I like to get up there and strum,
:31:32. > :31:42.more than to ponder. That should be the philosophy of this show. Strum,
:31:42. > :31:49.
:31:49. > :31:57.don't ponder. What is the Latin for that. Are you a keen fan of Latin?
:31:57. > :32:07.I will take that as No. Can the island is quieter place, isn't it?
:32:07. > :32:09.
:32:09. > :32:13.A lot of music comes from there. -- I was born there, and it is in the
:32:13. > :32:18.Thames estuary, as you may know. It is actually below sea level. I was
:32:18. > :32:25.born below sea level. I think the submarine influence on my music is
:32:25. > :32:31.very strong. I can sense it. The other thing was that when I first
:32:31. > :32:36.met you, Squeeze were supporting you in Dr feel-good, in the very
:32:36. > :32:39.early days. That was interesting, because that group was one of the
:32:40. > :32:46.first punk-blues, whatever you want to call it, one of the first
:32:46. > :32:53.different groups in Britain. think we were, yes. We did not have
:32:53. > :33:03.the money can. But I think we started a few things going. We have
:33:03. > :33:05.
:33:05. > :33:11.a little footage of view. That's # I have got to go away
:33:11. > :33:21.# And leave you for a couple of days
:33:21. > :33:31.# You'd better be there waiting when I get back
:33:31. > :34:07.
:34:07. > :34:14.# You'd better be there waiting, What comes to mind when you see
:34:14. > :34:19.that lovely performance? What comes to mind, a long time. It still
:34:19. > :34:25.sounds great, I'm your guitar was driving that thrusting, amazing bit
:34:25. > :34:30.of sound. On a different tack, a lot of actors want to be musicians.
:34:30. > :34:35.But I believe recently you have been doing a bit of acting. I have
:34:35. > :34:40.not seen it, but you play a role executioner, is that right? Yes, in
:34:41. > :34:44.a game of thrones. I play the king's executioner. It is an
:34:44. > :34:49.interesting part. This character has had his tongue cut out, so I
:34:49. > :34:56.don't have to learn any lines. I have to walk around giving dirty
:34:56. > :35:03.looks. I said, I can do that. was about to be executed, what sort
:35:03. > :35:08.of look do I get? That was quite frightening. In fact, when we were
:35:08. > :35:13.doing it, there was a scene when I had to menace this young girl. I
:35:13. > :35:22.was not going to execute her, just menacing her. The director came up
:35:22. > :35:25.and said, don't do scary, you guys are scary. Just be yourself. You
:35:25. > :35:33.are going to do a book which is coming out next spring. You have
:35:33. > :35:39.started on a book. Yes, this book, which will be out in the spring, it
:35:39. > :35:48.is a fractured autobiography, I would say, bits-and-pieces,
:35:48. > :35:53.pictures and information. And if people go to see you live, what can
:35:53. > :36:03.they expect to see? Musically, three chords and 12 bars. That
:36:03. > :36:07.many! One jump ahead of everybody else. The same as ever, really.
:36:07. > :36:17.Top-of-the-range, that is what it is. Thank you for joining us, Wilko
:36:17. > :36:27.Johnson. Do the menacing. Men of Essex, be proud of that great man.
:36:27. > :36:27.
:36:27. > :40:06.Apology for the loss of subtitles for 136 seconds
:40:06. > :40:16.Now, and delighted to welcome, from # I don't know why you chose me
:40:16. > :40:18.
:40:18. > :40:28.# I don't need to know Yeah,
:40:28. > :40:29.
:40:29. > :40:34.You whispered to me It's like you're always
:40:34. > :40:37.And everybody in the car wants to try and get involved
:40:37. > :40:39.Yeah, then you make a silly tone
:40:39. > :40:41.Puppy love now I'm like give a dog a bone
:40:41. > :40:44.Shut me up how I can breathe another flow
:40:44. > :40:46.Our love's concrete We should leave it set in stone
:40:46. > :40:48.Yeah, and whenever I'm in doubt
:40:48. > :40:50.Yeah, you forever calm me down
:40:51. > :40:53.And sometimes I'm a dummy
:40:53. > :40:55.And I know would've crashed if you never was around
:40:56. > :40:57.# So don't go
:40:57. > :40:59.# Don't leave
:40:59. > :41:02.# Please stay
:41:02. > :41:04.# With me
:41:04. > :41:09.# You are the only thing
:41:09. > :41:14.# I need to get by To get by
:41:14. > :41:18.Yeah I spend a little change on you
:41:18. > :41:20.But you always give it back
:41:20. > :41:23.Cos I know you ain't here for the money
:41:23. > :41:25.You just wanna see me be the man
:41:25. > :41:27.So I earnt my respect like a true gentleman
:41:27. > :41:30.All the rumours were capital irrelevant
:41:30. > :41:32.We should get 32 emblems
:41:32. > :41:34.And I give my life to you That's a street settlement
:41:35. > :41:36.# So don't go... #
:41:36. > :41:37.Yeah I'm feeling ever so emotional
:41:37. > :41:40.Cos I never had nothing when approaching you
:41:40. > :41:42.Sitting with a straight face on a poker move
:41:42. > :41:45.That's why a song like this has been overdue
:41:45. > :41:47.Due over time, time over
:41:47. > :41:49.Love drunk you and I would die sober
:41:49. > :41:52.I'm in this for forever and a day
:41:52. > :41:54.That's why anywhere I go they've got to put you on a plane
:41:54. > :41:56.# So don't go Don't go
:41:56. > :41:58.# Don't leave I told you, don't leave
:41:58. > :42:01.# Please stay Please stay
:42:01. > :42:03.# With me Stay with me
:42:03. > :42:06.# You are the only thing
:42:06. > :42:12.# I need to get by To get by... #
:42:12. > :42:15.To get by
:42:15. > :42:17.Uh, see I swear I ain't ever seen a sky so clear
:42:17. > :42:20.Together we're gonna make history
:42:20. > :42:23.Why would you wanna be elsewhere?
:42:23. > :42:27.See I swear, I ain't ever seen a sky so clear
:42:27. > :42:30.Together we're gonna make history
:42:30. > :42:34.Why would you wanna be elsewhere?
:42:34. > :42:38.# No, don't leave me now Don't go leave me... #
:42:38. > :42:43.Stay right here till my dark daysinto light years, I'm a shine, yeah
:42:43. > :42:48.# Don't go leave me now Don't go leave me... #
:42:48. > :42:49.Losing you is one of my fears
:42:49. > :42:52.But I ain't selfish I'll share if I have to
:42:52. > :42:54.# Don't go Don't go
:42:54. > :42:56.# Don't leave I told you, don't leave
:42:56. > :42:59.# Please stay Please stay
:42:59. > :43:01.# With me Stay with me
:43:01. > :43:06.# You are the only thing I need Oh, yeah
:43:06. > :43:09.# To get by To get by
:43:09. > :43:11.To get by
:43:11. > :43:13.# So don't go Don't go
:43:14. > :43:16.# Don't leave I told you, don't leave
:43:16. > :43:20.# Please stay with me Stay with me
:43:20. > :43:25.# You are the only thing
:43:25. > :43:28.# I need to get by To get by
:43:28. > :43:36.# To get by To get by. #
:43:36. > :43:46.CHEERING AND APPLAUSE
:43:46. > :43:48.
:43:49. > :43:49.Wretch
:43:49. > :43:50.Wretch 32,
:43:50. > :43:57.Wretch 32, joined
:43:57. > :44:01.Wretch 32, joined by Josh Kumra. All right, now I am coming to this
:44:01. > :44:07.corner. I am going to have a word with the man with that amazing
:44:07. > :44:13.voice, James Morrison. Great to have you on the show. It is
:44:13. > :44:18.interesting, because your voice is great. You could sing anything.
:44:18. > :44:23.Don't be modest. There is something in it that is very Stevie Wonder.
:44:23. > :44:30.Are you a big Stevie Wonder fan? love Stevie Wonder. Ever since I
:44:30. > :44:40.can remember, all those early songs, he has such a good voice. I don't
:44:40. > :44:44.
:44:44. > :44:54.know why. That is a rare one. Do you know that one? Give us a bit.
:44:54. > :44:54.
:44:54. > :45:04.# Yeah # I don't know why I love you
:45:04. > :45:10.
:45:10. > :45:16.# I don't know why I love you are # But I love you
:45:16. > :45:21.# You can never stop you're cheating ways
:45:21. > :45:30.# With another guy a # Laugh in my face
:45:30. > :45:40.# Why must I be this crazy? # Because I love you, love you
:45:40. > :45:45.
:45:45. > :45:50.You have got the spirit. Let's talk about Stevie Wonder. I could talk
:45:50. > :45:56.about Stevie Wonder all day. When did you first hear Stevie? I think
:45:57. > :46:01.I was about nine, and my dad played me Superstition. I had never heard
:46:01. > :46:08.anything like it. I was like, what the hell is this, this is funky,
:46:08. > :46:14.man. It was like nothing I had ever heard really. I remember hearing it.
:46:14. > :46:18.I was about nine and the first one I ever heard was a place in the sun.
:46:18. > :46:24.I heard it on a transistor radio coming out of a car. What is that?
:46:24. > :46:30.Did you ever hear that one? I love it, it is one of my mum's favourite
:46:30. > :46:40.songs. She used to make me sing it to her all the time. Well we have
:46:40. > :46:44.
:46:44. > :46:54.to do it. Maybe you can give us a # Like a long lonely stream
:46:54. > :47:22.
:47:22. > :47:32.# Like a branch on a tree # Where my poor restless heart's
:47:32. > :48:03.
:48:03. > :48:13.# Like an old dusty road # Like this tired troubled earth
:48:13. > :48:53.
:48:53. > :49:01.# Where my poor restless heart's Yes! What is your mum's name?
:49:01. > :49:08.For Susan. The wonderful James Morrison. And if you want to see
:49:08. > :49:12.his debut on our shows some time ago, you can look on the website.
:49:13. > :49:22.And then you can enjoy his early performance. Yes, Mr James
:49:22. > :49:32.Morrison! And now, they are sounding superb. Neil has switched
:49:32. > :49:57.
:49:57. > :50:07.to the guitar for this song. # Crystallising one thing
:50:07. > :50:35.
:50:35. > :50:45.# Never say die # Frozen lake
:50:45. > :51:10.
:51:10. > :51:20.# Never say die # Daylight
:51:20. > :51:27.
:51:27. > :51:32.# Daylight # Just don't tell me
:51:32. > :51:35.# Hey man Da da da da
:51:35. > :51:39.# It's all right to have a good time
:51:39. > :51:49.# Daylight
:51:49. > :51:56.
:51:56. > :51:58.# Oooh oooh oooh oooh
:51:58. > :52:00.# Daylight Da da da da
:52:00. > :52:05.# Let's just see what it looks like
:52:05. > :52:08.# Hey man Da da da da
:52:08. > :52:13.# It's all right to have a good time Da da da da
:52:13. > :52:15.# Daylight Da da da da
:52:15. > :52:20.# Just don't tell me what it looks like Da da da da
:52:20. > :52:24.# Hey man Da da da da
:52:24. > :52:34.# It's all right to have a good time Da da da da
:52:34. > :52:39.
:52:39. > :52:41.# Daylight Da da da da
:52:41. > :52:45.# Oooh
:52:45. > :52:47.# Yeah, yeah
:52:47. > :52:52.# Oooh
:52:52. > :52:55.# Yeah, yeah
:52:55. > :53:01.# Oooh
:53:01. > :53:11.CHEERING AND APPLAUSE
:53:11. > :53:25.
:53:26. > :53:27.# I live to fly
:53:27. > :53:30.# By sticking close to the ground
:53:30. > :53:32.# If I get too high
:53:32. > :53:37.# Somebody always going to shoot me down
:53:37. > :53:39.# There used to be a time
:53:39. > :53:41.# When you could get your fun
:53:41. > :53:44.# Didn't have to watch yourself with anyone
:53:44. > :53:51.# Seems like these days Everyone is carrying a gun
:53:51. > :53:58.# I had a girl She was as fine as she could be
:53:58. > :54:05.# I loved that girl Never loved no-one but me
:54:05. > :54:08.# Looked like an eight She's so young
:54:08. > :54:11.# Told myself a child never hurt no-one
:54:11. > :54:19.# Seems like these days Everybody carrying a gun
:54:19. > :54:26.# I just wanna warn ya If you go walking round
:54:26. > :54:36.# Stepping in a corner You must hear that sound
:54:36. > :54:59.
:54:59. > :55:05.# Well I shake your hand and say how do you do
:55:05. > :55:12.# You gotta understand I don't wanna talk to you
:55:12. > :55:15.# Too many people out in the sun
:55:15. > :55:19.# Cut you if you stand Shoot you if you run
:55:19. > :55:29.# Seems like these days Everybody's carrying a gun. #
:55:29. > :55:58.
:55:58. > :56:07.CHEERING AND APPLAUSE
:56:07. > :56:10.CHEERING AND APPLAUSE
:56:10. > :56:11.The
:56:11. > :56:11.The magnificent
:56:11. > :56:17.The magnificent Wilko
:56:17. > :56:23.The magnificent Wilko Johnson, on tour as we speak. Thank you to all
:56:23. > :56:31.of our superb guests. Thank you to James Morrison. Thank you to
:56:31. > :56:36.Fatoumata Diawara. And thank you to Pajama Club, thank you for joining
:56:36. > :56:42.us and being multi-instrumentalist and beautiful. Thank you to Wretch
:56:42. > :56:47.32. And to the lovely guests you had singing with you. Next -- next
:56:47. > :56:57.week, Tony Bennett and much, much more. Now, we leave you, because we
:56:57. > :57:20.