Episode 2 Later... with Jools Holland


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Episode 2

Joining Jools in the studio are Kasabian with tracks from their fourth album Velociraptor!, Wretch 32, Pajama Club, Fatoumata Diawara, James Morrison and Wilko Johnson.


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This programme # Hombre, I got blood lust

:02:39.:02:49.
:02:49.:02:49.

Apology for the loss of subtitles for 136 seconds

:02:49.:05:05.

The wonderful, delighted to have them in this room with their third

:05:05.:05:10.

number one, Kasabian. We have a room full of amazingly talented

:05:10.:05:17.

writers. The amazing voice of Mr James Morrison. From Candy Island,

:05:17.:05:24.

the legendary and amazing Wilko Johnson. From New Zealand, we are

:05:24.:05:33.

delighted to have in this room Pajama Club. From Mali, we are

:05:33.:05:41.

thrilled to welcomed into the room Fatoumata Diawara. From Tottenham,

:05:41.:05:51.
:05:51.:06:01.

# Rolling through London # Rolling through London

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# She was crying him a river I guess she's in denial

:06:07.:06:10.

# Yeah

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# And the car ain't tinted no And this ain't none of our business

:06:11.:06:15.

# So we ain't tryin' to stare too long

:06:15.:06:17.

# Me and the driver look like there ain't one of us listening

:06:17.:06:19.

# Yeah And not one of us dissed him

:06:19.:06:21.

# We probably both had a row with a sistren, yeah

:06:21.:06:24.

# While the whole street witness

:06:24.:06:26.

# Just gotta turn a blind eye No winking

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# Uh, yeah

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# We're still rolling We should have took the other way

:06:29.:06:31.

# I'm still moaning I should have kept that to myself

:06:31.:06:34.

# Still told him

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# So now he's going on a way real sulkish

:06:35.:06:38.

# Clubs are closed I'm getting mad

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# Like would you take a look at these lads

:06:39.:06:41.

# Trying to stop the cabs like they can't see, man

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# Alcohol's got them feeling like they can't be slapped

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# And one of them is vomiting kebab

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# And the other one's hopping on his back

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# YeahAnd his girl's trying to pick him up

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# That's the one time that she's got to be the man

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# Yeah

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# Taking the long way home again

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# Ah

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# Watching the world drown in the rain

:07:02.:07:06.

# There's motion but there's no change

:07:06.:07:08.

# It's the same old Same old race till it's over

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# Rolling through London Where we slipped on the junction

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# I don't wanna see any more drunkens

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# Yeah And I'm talking to myself

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# Cos I wanna conversation with a little more substance

:07:20.:07:22.

# It's all right, it's in the brain

:07:22.:07:24.

# What a surprise, it's gonna rain

:07:24.:07:27.

# And we still speed past the homeless

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# And still act like we ain't got enough change

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# I guess something's gotta change

:07:31.:07:33.

# Traffic light he's stunting in the range

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# Imagine I am sat lusting at the paint

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# While the prostitute screams that she never got paid

:07:38.:07:40.

# And she thinks that she never got raped

:07:40.:07:42.

# Still got the mind of a child

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# That only happens when you never get raised

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# Trapped in the cycle she'll never escape

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# And this shit used to burn me That's why it's part of my verse B

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# Sitting in the back of a cab I guess this is part of my journey

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# And these things used to burn me That's why it's part of my verse B

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# Sitting in the back of a cab I guess this is part of my journey

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# Taking the long way home again Ah

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# Watching the world drown in the rain, ah

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# There's motion but theres no change

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# It's the same old Same old race till it's over

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# And these things used to burn me

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# And now they're just part of my journey

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# And these things used to burn me

:08:31.:08:33.

# And now they're just part of my journey

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# And these things used to burn me

:08:35.:08:37.

# And now they're just part of my journey

:08:37.:08:39.

# And these things used to burn me

:08:39.:08:42.

# And now they're just part of my journey

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# Taking the long way home again Ah

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# Watching the world drown in the rain, Ah

:08:49.:08:54.

# There's motion but there's no change

:08:54.:08:58.

# It's the same old Same old race till it's over

:08:58.:09:03.

# Taking the long way home again Ah

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# Watching the world drown in the rain, ah

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# There's motion but there's no change

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# Because there's no rain over there, yes

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# Show me a sign post

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# I'll make my own way back when it's over

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# Over

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# Over

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# Hmm yeah yeah, when it's over

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CHEERING AND APPLAUSE

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Thank

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Thank you

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Thank you very

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Thank you very much, Wretch 32. So, we have a bit of a legend in the

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room, a man that I have a musically grown up with, worked with many

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years ago. A true legend, an inventor of riffs, one of the great

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guitarists and blues men of Britain, joined by Norman Wright and the

:10:09.:10:19.
:10:19.:10:30.

amazing drama, I am delighted to # And if there's something

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:10:40.:10:56.

# And there ain't a single trouble # You ought to see her walk

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# And there ain't a single trouble # You know I'd give her anything

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# Anything she wants just to keep her by my side

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# She does it right

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# She does it right

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# She works hard every night

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# To make me feel all right

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# She told me not to worry

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# And there ain't a single trouble in sight. #

:12:06.:12:15.
:12:16.:12:52.

Men

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Men of

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Men of Essex,

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Men of Essex, stand prowled, from Canvey Island, the legendary Wilko

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Johnson. One of the greatest touring artists their ears. You can

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see him on tour now and I recommend it. Our next artists over here are

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also marvellously, again, number one. We welcome Kasabian. Very nice

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to have you here. I have been told that when I sit down I always move

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my chair. They said, don't do that because we can't see what is going

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on. I will put it where it was. Really comfortable. You have

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squeezed in. First of all, congratulations. You are number one.

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:13:50.:13:51.

Thank you. For the third time. 3, 1. Are you into numerology? No.

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neither. Let's move on. How have you celebrated being number one?

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have not had time. We were in Dublin on Saturday having a few

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beers. Too busy to celebrate. Liza Minnelli. To have won at

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number one is fantastic, two is amazing, to have three, what do you

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attribute it to? We cannot be bad, can we? We are all right.

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Cornflakes in the morning. being talented. Are there any

:14:28.:14:33.

disadvantages to being number one, or is everything about it great?

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Pretty amazing. We have come a long way. We met in 97, went to school

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together. We were babies. I read in an interview that you used to do

:14:45.:14:50.

things are like you used to say, hello, Glastonbury, although you

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were just playing in a pub. That is true. Carpet on the walls, you know

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the rehearsal spaces. We played a set and we would be like,

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Glastonbury, with our arms in the air. I would impersonate you as

:15:06.:15:15.

well. I swear! But the thing is, it has worked. What I'm getting out of

:15:15.:15:19.

this is that I have heard musicians talk about visualising material.

:15:19.:15:23.

You think about something enough and it comes. Do you think that is

:15:23.:15:31.

what has happened? I do not know. I suppose so, yeah. It was written in

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the stars, the Wizard of Oz. If you acted that out, what are you acting

:15:36.:15:46.
:15:46.:15:50.

out now? World domination? Yes. What is a Villar so raptor? That is

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a tiny dinosaur, about this big, and they hunted in packs of four.

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told him that from my Jurassic Park research. Why not in packs of

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three? Four is a better number. They had feathers. Are you having a

:16:08.:16:15.

laugh? They were scavengers. They hunted down a T Rex, which is what

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we want to do. The power of the T Rex. Are you very interested in

:16:21.:16:27.

dinosaurs and stuff? Yes, I love it. National Geographic stuff, I am all

:16:27.:16:34.

over it, yes. What are you going to play next? What are we going to

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play? Goodbye kiss, which is a heartbreaker. It's a fantastic

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record. It is great that it is number one. Three times number one.

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Great. Wonderful to have you here. You said, hello, Glastonbury and

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what would I say? Kasabian. Thank you, Kasabian. Living the dream.

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That is the kind of people we are. It is quite a nice room this

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evening. Wherever you are in the world, I know there are viewers all

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over Europe, South America, Africa, in Russia, there are people

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watching us all over the shop. I am speaking in English because this is

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the only language I can speak, but now an artist from the other side

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of the world who is incredibly talented. He is with his wife,

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Sharon. It is Neil Flint and his group. He is behind the drums.

:17:27.:17:37.
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Apology for the loss of subtitles for 136 seconds

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Tell me what you want. Thank you, Pajama Club. Feeling good question

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mark I hope you are feeling good, too. Now, one of the most amazing

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voices we have heard for a while, the beautiful sound of James

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Apology for the loss of subtitles for 136 seconds

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# So when you asked me # We met with a goodbye kiss

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# You said that you didn't mind Cos love's hard to find

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# Maybe the days we had are gone Living in silence for too long

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# Maybe the days we had are gone Living in silence for too long

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# Open your eyes and what do you see?

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# No more laughs No more photographs

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# Turning slowly, looking back, see

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# No words can save this You're broken and I'm pissed

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# Run along like I'm supposed to Be the man I ought to

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# Rock and roll sent us insane

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# I hope someday that we will meet again

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# Running wild

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# Giving it everyone Now that's all done

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# Cos we burnt out That's what you do

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# When you have everything It can't be true

:28:10.:28:20.
:28:20.:28:21.

# Maybe the days we had are gone Living in silence for too long

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# Open your eyes and what do you see?

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# The last stand, let go of my hand

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# Turning slowly, looking back, see

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# No words can save this You're broken and I'm pissed

:28:49.:28:58.

# Run along like I'm supposed to Be the man I ought to

:28:58.:29:05.

# Rock and roll sent us insane

:29:05.:29:10.

# I hope someday that we will meet again

:29:10.:29:14.

# You go your way and I'll go my way

:29:14.:29:21.

# No words can save us This lifestyle made us

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# Run along like I'm supposed to Be the man I ought to

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# Rock and roll sent us insane

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# I hope someday that we will meet again. #

:29:40.:29:50.
:29:50.:30:00.

CHEERING AND APPLAUSE

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Thank

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Thank you,

:30:11.:30:11.

Thank you, Kasabian.

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Thank you, Kasabian. How marvellous to have them in this room. Before

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that, we enjoyed James Morrison. And now I am delighted to welcome

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at the table one of the great guitar players of Britain. Yes,

:30:27.:30:35.

Wilko Johnson. Very good to have you here. The

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first thing, you have an amazing touring group. Who have you got

:30:39.:30:47.

with you? On the base, Norman. I have known him for many years and

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he remains my favourite bass player. He came to fame with Hit Me With

:30:53.:30:59.

Your rhythm stick, which is still a test for bass players. He is a

:30:59.:31:09.
:31:09.:31:12.

blockhead. Yes. And who is on the drums? Another blockhead. Dylan.

:31:12.:31:16.

Fantastic. You do an amazing amount of touring and you just get better

:31:16.:31:25.

and better. The EU enjoy it? Yes. I like to get up there and strum,

:31:25.:31:32.

more than to ponder. That should be the philosophy of this show. Strum,

:31:32.:31:42.
:31:42.:31:49.

don't ponder. What is the Latin for that. Are you a keen fan of Latin?

:31:49.:31:57.

I will take that as No. Can the island is quieter place, isn't it?

:31:57.:32:07.
:32:07.:32:09.

A lot of music comes from there. -- I was born there, and it is in the

:32:09.:32:13.

Thames estuary, as you may know. It is actually below sea level. I was

:32:13.:32:18.

born below sea level. I think the submarine influence on my music is

:32:18.:32:25.

very strong. I can sense it. The other thing was that when I first

:32:25.:32:31.

met you, Squeeze were supporting you in Dr feel-good, in the very

:32:31.:32:36.

early days. That was interesting, because that group was one of the

:32:36.:32:39.

first punk-blues, whatever you want to call it, one of the first

:32:40.:32:46.

different groups in Britain. think we were, yes. We did not have

:32:46.:32:53.

the money can. But I think we started a few things going. We have

:32:53.:33:03.
:33:03.:33:05.

a little footage of view. That's # I have got to go away

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# And leave you for a couple of days

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# You'd better be there waiting when I get back

:33:21.:33:31.
:33:31.:34:07.

# You'd better be there waiting, What comes to mind when you see

:34:07.:34:14.

that lovely performance? What comes to mind, a long time. It still

:34:14.:34:19.

sounds great, I'm your guitar was driving that thrusting, amazing bit

:34:19.:34:25.

of sound. On a different tack, a lot of actors want to be musicians.

:34:25.:34:30.

But I believe recently you have been doing a bit of acting. I have

:34:30.:34:35.

not seen it, but you play a role executioner, is that right? Yes, in

:34:35.:34:40.

a game of thrones. I play the king's executioner. It is an

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interesting part. This character has had his tongue cut out, so I

:34:44.:34:49.

don't have to learn any lines. I have to walk around giving dirty

:34:49.:34:56.

looks. I said, I can do that. was about to be executed, what sort

:34:56.:35:03.

of look do I get? That was quite frightening. In fact, when we were

:35:03.:35:08.

doing it, there was a scene when I had to menace this young girl. I

:35:08.:35:13.

was not going to execute her, just menacing her. The director came up

:35:13.:35:22.

and said, don't do scary, you guys are scary. Just be yourself. You

:35:22.:35:25.

are going to do a book which is coming out next spring. You have

:35:25.:35:33.

started on a book. Yes, this book, which will be out in the spring, it

:35:33.:35:39.

is a fractured autobiography, I would say, bits-and-pieces,

:35:39.:35:48.

pictures and information. And if people go to see you live, what can

:35:48.:35:53.

they expect to see? Musically, three chords and 12 bars. That

:35:53.:36:03.

many! One jump ahead of everybody else. The same as ever, really.

:36:03.:36:07.

Top-of-the-range, that is what it is. Thank you for joining us, Wilko

:36:07.:36:17.

Johnson. Do the menacing. Men of Essex, be proud of that great man.

:36:17.:36:27.
:36:27.:36:27.

Apology for the loss of subtitles for 136 seconds

:36:27.:40:06.

Now, and delighted to welcome, from # I don't know why you chose me

:40:06.:40:16.
:40:16.:40:18.

# I don't need to know Yeah,

:40:18.:40:28.
:40:28.:40:29.

You whispered to me It's like you're always

:40:29.:40:34.

And everybody in the car wants to try and get involved

:40:34.:40:37.

Yeah, then you make a silly tone

:40:37.:40:39.

Puppy love now I'm like give a dog a bone

:40:39.:40:41.

Shut me up how I can breathe another flow

:40:41.:40:44.

Our love's concrete We should leave it set in stone

:40:44.:40:46.

Yeah, and whenever I'm in doubt

:40:46.:40:48.

Yeah, you forever calm me down

:40:48.:40:50.

And sometimes I'm a dummy

:40:51.:40:53.

And I know would've crashed if you never was around

:40:53.:40:55.

# So don't go

:40:56.:40:57.

# Don't leave

:40:57.:40:59.

# Please stay

:40:59.:41:02.

# With me

:41:02.:41:04.

# You are the only thing

:41:04.:41:09.

# I need to get by To get by

:41:09.:41:14.

Yeah I spend a little change on you

:41:14.:41:18.

But you always give it back

:41:18.:41:20.

Cos I know you ain't here for the money

:41:20.:41:23.

You just wanna see me be the man

:41:23.:41:25.

So I earnt my respect like a true gentleman

:41:25.:41:27.

All the rumours were capital irrelevant

:41:27.:41:30.

We should get 32 emblems

:41:30.:41:32.

And I give my life to you That's a street settlement

:41:32.:41:34.

# So don't go... #

:41:35.:41:36.

Yeah I'm feeling ever so emotional

:41:36.:41:37.

Cos I never had nothing when approaching you

:41:37.:41:40.

Sitting with a straight face on a poker move

:41:40.:41:42.

That's why a song like this has been overdue

:41:42.:41:45.

Due over time, time over

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Love drunk you and I would die sober

:41:47.:41:49.

I'm in this for forever and a day

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That's why anywhere I go they've got to put you on a plane

:41:52.:41:54.

# So don't go Don't go

:41:54.:41:56.

# Don't leave I told you, don't leave

:41:56.:41:58.

# Please stay Please stay

:41:58.:42:01.

# With me Stay with me

:42:01.:42:03.

# You are the only thing

:42:03.:42:06.

# I need to get by To get by... #

:42:06.:42:12.

To get by

:42:12.:42:15.

Uh, see I swear I ain't ever seen a sky so clear

:42:15.:42:17.

Together we're gonna make history

:42:17.:42:20.

Why would you wanna be elsewhere?

:42:20.:42:23.

See I swear, I ain't ever seen a sky so clear

:42:23.:42:27.

Together we're gonna make history

:42:27.:42:30.

Why would you wanna be elsewhere?

:42:30.:42:34.

# No, don't leave me now Don't go leave me... #

:42:34.:42:38.

Stay right here till my dark daysinto light years, I'm a shine, yeah

:42:38.:42:43.

# Don't go leave me now Don't go leave me... #

:42:43.:42:48.

Losing you is one of my fears

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But I ain't selfish I'll share if I have to

:42:49.:42:52.

# Don't go Don't go

:42:52.:42:54.

# Don't leave I told you, don't leave

:42:54.:42:56.

# Please stay Please stay

:42:56.:42:59.

# With me Stay with me

:42:59.:43:01.

# You are the only thing I need Oh, yeah

:43:01.:43:06.

# To get by To get by

:43:06.:43:09.

To get by

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# So don't go Don't go

:43:11.:43:13.

# Don't leave I told you, don't leave

:43:14.:43:16.

# Please stay with me Stay with me

:43:16.:43:20.

# You are the only thing

:43:20.:43:25.

# I need to get by To get by

:43:25.:43:28.

# To get by To get by. #

:43:28.:43:36.

CHEERING AND APPLAUSE

:43:36.:43:46.
:43:46.:43:48.

Wretch

:43:49.:43:49.

Wretch 32,

:43:49.:43:50.

Wretch 32, joined

:43:50.:43:57.

Wretch 32, joined by Josh Kumra. All right, now I am coming to this

:43:57.:44:01.

corner. I am going to have a word with the man with that amazing

:44:01.:44:07.

voice, James Morrison. Great to have you on the show. It is

:44:07.:44:13.

interesting, because your voice is great. You could sing anything.

:44:13.:44:18.

Don't be modest. There is something in it that is very Stevie Wonder.

:44:18.:44:23.

Are you a big Stevie Wonder fan? love Stevie Wonder. Ever since I

:44:23.:44:30.

can remember, all those early songs, he has such a good voice. I don't

:44:30.:44:40.
:44:40.:44:44.

know why. That is a rare one. Do you know that one? Give us a bit.

:44:44.:44:54.
:44:54.:44:54.

# Yeah # I don't know why I love you

:44:54.:45:04.
:45:04.:45:10.

# I don't know why I love you are # But I love you

:45:10.:45:16.

# You can never stop you're cheating ways

:45:16.:45:21.

# With another guy a # Laugh in my face

:45:21.:45:30.

# Why must I be this crazy? # Because I love you, love you

:45:30.:45:40.
:45:40.:45:45.

You have got the spirit. Let's talk about Stevie Wonder. I could talk

:45:45.:45:50.

about Stevie Wonder all day. When did you first hear Stevie? I think

:45:50.:45:56.

I was about nine, and my dad played me Superstition. I had never heard

:45:57.:46:01.

anything like it. I was like, what the hell is this, this is funky,

:46:01.:46:08.

man. It was like nothing I had ever heard really. I remember hearing it.

:46:08.:46:14.

I was about nine and the first one I ever heard was a place in the sun.

:46:14.:46:18.

I heard it on a transistor radio coming out of a car. What is that?

:46:18.:46:24.

Did you ever hear that one? I love it, it is one of my mum's favourite

:46:24.:46:30.

songs. She used to make me sing it to her all the time. Well we have

:46:30.:46:40.
:46:40.:46:44.

to do it. Maybe you can give us a # Like a long lonely stream

:46:44.:46:54.
:46:54.:47:22.

# Like a branch on a tree # Where my poor restless heart's

:47:22.:47:32.
:47:32.:48:03.

# Like an old dusty road # Like this tired troubled earth

:48:03.:48:13.
:48:13.:48:53.

# Where my poor restless heart's Yes! What is your mum's name?

:48:53.:49:01.

For Susan. The wonderful James Morrison. And if you want to see

:49:01.:49:08.

his debut on our shows some time ago, you can look on the website.

:49:08.:49:12.

And then you can enjoy his early performance. Yes, Mr James

:49:13.:49:22.

Morrison! And now, they are sounding superb. Neil has switched

:49:22.:49:32.
:49:32.:49:57.

to the guitar for this song. # Crystallising one thing

:49:57.:50:07.
:50:07.:50:35.

# Never say die # Frozen lake

:50:35.:50:45.
:50:45.:51:10.

# Never say die # Daylight

:51:10.:51:20.
:51:20.:51:27.

# Daylight # Just don't tell me

:51:27.:51:32.

# Hey man Da da da da

:51:32.:51:35.

# It's all right to have a good time

:51:35.:51:39.

# Daylight

:51:39.:51:49.
:51:49.:51:56.

# Oooh oooh oooh oooh

:51:56.:51:58.

# Daylight Da da da da

:51:58.:52:00.

# Let's just see what it looks like

:52:00.:52:05.

# Hey man Da da da da

:52:05.:52:08.

# It's all right to have a good time Da da da da

:52:08.:52:13.

# Daylight Da da da da

:52:13.:52:15.

# Just don't tell me what it looks like Da da da da

:52:15.:52:20.

# Hey man Da da da da

:52:20.:52:24.

# It's all right to have a good time Da da da da

:52:24.:52:34.
:52:34.:52:39.

# Daylight Da da da da

:52:39.:52:41.

# Oooh

:52:41.:52:45.

# Yeah, yeah

:52:45.:52:47.

# Oooh

:52:47.:52:52.

# Yeah, yeah

:52:52.:52:55.

# Oooh

:52:55.:53:01.

CHEERING AND APPLAUSE

:53:01.:53:11.
:53:11.:53:25.

# I live to fly

:53:26.:53:27.

# By sticking close to the ground

:53:27.:53:30.

# If I get too high

:53:30.:53:32.

# Somebody always going to shoot me down

:53:32.:53:37.

# There used to be a time

:53:37.:53:39.

# When you could get your fun

:53:39.:53:41.

# Didn't have to watch yourself with anyone

:53:41.:53:44.

# Seems like these days Everyone is carrying a gun

:53:44.:53:51.

# I had a girl She was as fine as she could be

:53:51.:53:58.

# I loved that girl Never loved no-one but me

:53:58.:54:05.

# Looked like an eight She's so young

:54:05.:54:08.

# Told myself a child never hurt no-one

:54:08.:54:11.

# Seems like these days Everybody carrying a gun

:54:11.:54:19.

# I just wanna warn ya If you go walking round

:54:19.:54:26.

# Stepping in a corner You must hear that sound

:54:26.:54:36.
:54:36.:54:59.

# Well I shake your hand and say how do you do

:54:59.:55:05.

# You gotta understand I don't wanna talk to you

:55:05.:55:12.

# Too many people out in the sun

:55:12.:55:15.

# Cut you if you stand Shoot you if you run

:55:15.:55:19.

# Seems like these days Everybody's carrying a gun. #

:55:19.:55:29.
:55:29.:55:58.

CHEERING AND APPLAUSE

:55:58.:56:07.

CHEERING AND APPLAUSE

:56:07.:56:10.

The

:56:10.:56:11.

The magnificent

:56:11.:56:11.

The magnificent Wilko

:56:11.:56:17.

The magnificent Wilko Johnson, on tour as we speak. Thank you to all

:56:17.:56:23.

of our superb guests. Thank you to James Morrison. Thank you to

:56:23.:56:31.

Fatoumata Diawara. And thank you to Pajama Club, thank you for joining

:56:31.:56:36.

us and being multi-instrumentalist and beautiful. Thank you to Wretch

:56:36.:56:42.

32. And to the lovely guests you had singing with you. Next -- next

:56:42.:56:47.

week, Tony Bennett and much, much more. Now, we leave you, because we

:56:47.:56:57.
:56:57.:57:20.

Joining Jools in the studio this week are Leicester's stadium rockers Kasabian with tracks from their fourth album Velociraptor!, and North London's rapper and former Grime MC, and now star of the charts Wretch 32, with songs from his debut album Black and White, including recent No 1 single Don't Go.

Also Crowded House's Neil Finn returns to the show with his 'supergroup' Pajama Club, which features his wife Sharon on bass along with Sean Donnolly and Alana Skyring completing the line-up, the songs on their self-titled debut album coming after late-night jamming sessions between Neil and Sharon.

The show also features young Mali singer Fatoumata Diawara and Warwickshire's own bestselling and award-winning pop-soul singer/songwriter James Morrison.

Canvey Island's guitarist and songwriter Wilko Johnson, particularly associated with the UK rhythm and blues outfit Dr Feelgood, performs classic tracks from their catalogue, joined by the likes of Norma Watt-Roy of the Blockheads and drummer Dylan Howe before they go out on a UK tour.