Episode 7 Later... with Jools Holland


Episode 7

Joining Jools in the studio are Florence and the Machine with tracks from new album Ceremonials. Plus Pete Townshend, My Morning Jacket, Brett Anderson, Bombino and Al Spx.


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Transcript


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Welcome to Later and welcome to # Time, it trickles

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# And time goes quicker # And oh, my love, don't forsake me

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# Lay me down Let the only sound be the overflow

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# Pockets full of stones

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# Lay me down Let the only sound be the overflow

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# And, oh, poor Atlas was a beast of a burden

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# You've been holding on a long time

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# And, oh, poor Atlas was a beast of a burden

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# You've been holding on a long time

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# And don't listen only

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# And the ships are left to rust

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# That's what the water gave us

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# So lay me down

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# Let the only sound be the overflow

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# Pockets full of stones

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# Lay me down Let the only sound be the overflow

:02:56.:03:06.
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# Cos next will be your loved ones But return them in exchange for you

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# But would you have it any other way?

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# Would you have it any other way?

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# You couldn't have it any other way

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# Cos she's a cruel mistress and the bargain must be made

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# But oh, my love, don't forget me But I let the water take me

:03:38.:03:48.
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# Lay me down Let the only sound be the overflow

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# Pockets full of stones

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# Lay me down Let the only sound be the overflow

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# Lay me down Let the only sound be the overflow

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# Yeah-ay, yeah-ay

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# Yeah-ay, yeah-ay

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Wonderful

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Wonderful to

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Wonderful to have

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Wonderful to have them back here, Florence and The Machine.

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We have an incredible selection of guests this evening. I'm delighted

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to say the legendary, from New York, Mary J Blige is here! Welcome back

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to the studio the talent that is Brett Anderson.

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Lovely to see you. An amazing new voice with an

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amazing guitar. We welcome Bombino. And one of the greats of all time.

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Pete Townshend. Now please welcome # First light this morning

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# Been looking back # First I was an ancient

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# Been holding out # Something to carry me over

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# First light this evening # Then I found it

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# My search, it was over # First light this morning

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Apology for the loss of subtitles for 67 seconds

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# First light this morning Thank you My Morning Jacket. The

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song was First Lite. Now we go into this corner and welcome superb

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Apology for the loss of subtitles for 67 seconds

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sounds from west Africa. Give it up CHEERING AND APPLAUSE. Bombino! So,

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Quadrophenia one of the great MoD opera and a fantastic piece of

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music is being rereleased. I'm delighted to say that Pete

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Townshend is here! Very good to see you. This is a fantastic work. Very

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fantastic work. Let me ask, steady, please be seated. It's all right.

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Good. Let me ask first of all, what inspired you to write faud row FINA

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in the first place? It's a bit of a long story -- Quadrophenia in the

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first place? It's a bit of a long story. The band was a bit lost.

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We'd had Tommy and then we'd had an album called Who's Next, based on a

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more ambitious idea, which had failed. I zooded -- decided to go

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back to our roots. Our roots were in west London and we started our

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first gigs in the Shepherd's Bush area. There was a big mod movement

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back then. I went back, in a sense, to reroute the band, reconnect with

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the past. In the end, it became a story about a boy and our audience

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really, who I called Jimmy. Very good name for it. It's a great

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story. It's a fantastic piece of music and a fantastic story as well.

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It's interesting how the two things developed. It's 40 years,

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unbelievably, 40 years since it was first released. Do you think it's

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still relevant, like it was when you did it? I don't know. I think

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what's interesting about it for me is that it's not just that it

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worked very well for me as a composer. I was happy with it. I

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had complete control of it. I managed to land it well. What I

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wanted to do was create a piece of music in which the listener could

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put themselves inside it and the vehicle that I chose for that

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journey that the listener would have was a boy who had a multiple

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personality disorder. So he had four aspects to his personality,

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which he recognised inside the four members of the band. In a sense, he

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was a nutter. What was delightful about it is that when the album

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came out was how so many people identified with this boy and I had

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all kinds of people, varied people, from Cabinet ministers even come

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and say, "I grew up with Quadrophenia. It helped me through

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a difficult part of my life." It's become a universal story. Every

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teenage boy goes through this stuff. When you think about The Who, what

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made them great? There was an interesting chemistry with the four

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members of the band. We were all very, very different. I came out of

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art school with a bit of a manifesto, which was an

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autoinstructive manifesto. It wasn't just about smashing guitars.

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There's a wonderful scene from Tony Palma's film, I say "The Who are a

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band and we're chopping away at our own legs." The idea was that we

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would explode and then I would become a painter. Unfortunately we

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got a hit and unfortunately I got a cheque, for having a hit. Van vas -

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- canvas in the bin. That's right. I was going to stay with the band

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until we came apart. We didn't come apart. We all had different needs.

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We all liked different music in a way. We had some common stuff but

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we were very different. I think that difference worked well for us

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in the long-term. We have some lovely footage of The Who. Let's

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have a look. Let's walk down memory # Inside, out

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# Leave me alone # Nowhere is home

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# Inside, outside APPLAUSE

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Marvellous, The Who! Was it true that you were banned from the BBC

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after that performance? I think we were, yeah. We kind of, I got very

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angry because it was a, it was a musician's union strike. We were

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called scabs because we performed live. I got very angry about that.

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Sir Jimmy Savile was on that. I remember him coming up to me after

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and saying, because I smashed up a guitar, I kind of Jimmy came up

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after and said "There's no need for that lad. No need for that. No need

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for that. Happy memories. What are you playing for us? I think I'm

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playing a song called quad ra phone, which is -- Quadrophenia. I think

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it's called Drowned. Can I check, is he still banned? No, OK. The ban

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is over. Thank you very much, the wonderful, amazing, Pete Townshend.

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Now I'm delighted to welcome back into the studio a talented fellow

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indeed. He's here with a lovely new report, give it up for Brett

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# Give me your brittle heart # I'll give you carpet burns

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# And all that power and all that passion can be ours tonight

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# Give me your brittle heart and I'll light a fire

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# I'll make an effigy from a lock of your hair

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# And all those cinders and all those embers can be ours to share

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# And I'll take them all on and force down their doors

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# And I'll take them all on and walk through their walls

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# And I'll take them all on and crawl to your door

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# And crawl to your door

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# Give me your brittle heart and your orphan's eyes

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# I'll give you carpet burns and antiseptic skies

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# And all that power and all that passion can be ours tonight

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# And I'll take them all on and force down their doors

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# And I'll take them all on and walk through their walls

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# And I'll take them all on and crawl to your door

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# And crawl to your door

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# And I'll come to you like a ship to the shore

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# Like a paper plane that falls to the floor

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# And I'll take them all on and crawl to your door

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# And crawl to your door

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# Give me your brittle heart

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# Give me your brittle heart

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# Give me your brittle heart and I'll light a fire

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# Whoa, oh-oh-oh

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# Whoa, oh-oh-oh

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# Light a fire

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# Give me your brittle heart

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# Light a fire

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# Give me your brittle heart

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# Light a fire. #

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CHEERING

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CHEERING AND

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CHEERING AND APPLAUSE

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# There are men high up there fishing

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# Haven't seen quite enough of the world

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# Ain't seen a sign of my heroes

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# And I'm still diving down for pearls

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# Let me flow into the ocean

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# Let me get back to the sea

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# Let me be stormy and let me be calm

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# Let the tide in

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# I want it to rush over me

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# You know I wanna drown

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# I'm travelling over canyons

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# Then flying through the sky

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# I'm moving down cold metal

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# Just a tear in a baby's eye

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# Let me flow into the ocean

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# Let me get back to the sea

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# Let me be stormy and let me be calm

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# Let the tide in

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# I want it to rush over me

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# You know I wanna drown

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# I am not the actor

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# This can't be the scene

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# But I am in the water

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# As far as I can see

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# I wanna drown in your sweet, sweet love

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# I wanna drown in your sweet, sweet love

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# I wanna drown in your sweet, sweet love

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# I don't wanna die

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# Drown in it, drown in it

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# I'm remembering distant memories

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# Recalling other names

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# Rippling over canyons

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# And boiling in the train

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# Let me flow into the ocean

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# Let me get back to the sea

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# Let me be stormy and let me be calm

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# Let the tide in

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# I want it to rush over me

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# Cos you know I wanna drown

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# I wanna drown, drown, drown

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# Drown in your sweet, sweet love

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# I wanna

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# Drown in it, drown in it

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# Drown in it, drown in it

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# I wanna drown in your sweet, sweet love

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:27:22.:27:28.

CHEERING

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CHEERING AND

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CHEERING AND APPLAUSE

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CHEERING AND APPLAUSE the amazing legend, the poet, Pete Townshend.

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The amazing work Quadrophenia. Before that we enjoyed Brett

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Anderson. That song was Britle Heart. His album is Black Rainbows.

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Let's hear it for him. Now we're delighted to welcome back into this

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:28:05.:28:05.

Apology for the loss of subtitles for 67 seconds

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# It was always standing # Holding my hand

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Apology for the loss of subtitles for 67 seconds

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# It was something to be # Holding my hand

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Apology for the loss of subtitles for 67 seconds

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# I can see it # Play it safe

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# If you ever emote # You can't get yours

:32:24.:32:34.
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# First you're up # One day you're in

:32:42.:32:52.
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# Yeah, c'mon # Play it smart

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# How you react is what you'll get back

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# Cos that's the way we really see

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# I am "you're" and "you're" is me

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# C'mon, you know how we are

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# First you're up Up, down, down

:33:33.:33:38.

# One day you're in The next one you're out

:33:38.:33:42.

# You wanna freak out, c'mon

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# You wanna freak out, c'mon

:33:47.:33:51.

# Yeah, yeah

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# You wanna freak out, c'mon

:33:59.:34:09.
:34:09.:34:26.

# You wanna freak out, c'mon

:34:26.:34:28.

# You wanna freak out, c'mon

:34:28.:34:33.

# You wanna freak out You wanna freak out

:34:33.:34:38.

# You wanna freak out You wanna freak out

:34:38.:34:42.

# You wanna freak out, c'mon

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# Yeah, c'mon. #

:34:47.:34:57.
:34:57.:35:04.

CHEERING

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CHEERING AND

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CHEERING AND APPLAUSE

:35:09.:35:16.

CHEERING AND APPLAUSE Thank you My Morning Jacket. Before that, we

:35:16.:35:19.

love Florence and The Machine. Marvellous to have Florence and The

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Machine here, yes? APPLAUSE

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Yes. I'm delighted to say we're going to chat with somebody who is

:35:25.:35:28.

performing in the show. One of my favourites of all time actually.

:35:28.:35:30.

I'm delighted to welcome Mary J Blige.

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APPLAUSE You're here on a whirlwind tour.

:35:39.:35:45.

You have My Life Two record coming out. It's brilliant. I've heard a

:35:45.:35:50.

couple of things from it: Thank you. What your -- was your inspiration?

:35:50.:35:54.

The inspiration was the efluegs of the first one. The first My Life

:35:54.:35:58.

album, we were going through so much, going through so much pain

:35:58.:36:02.

and didn't understand what life was about. We've grown and evolved so

:36:02.:36:06.

much, there's eight albums in between. We've grown and evolved,

:36:06.:36:12.

so I wanted people to understand and remind them how far we've come.

:36:12.:36:17.

My Life One, in 1994, was your second LP. Things presumably have

:36:17.:36:20.

improved a great deal since then? Absolutely. Life was horrible

:36:20.:36:27.

during the first album. My fans and I, when I released that album, four

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million people, I didn't know four million people were hurting like I

:36:30.:36:35.

was hurting. They became my fans. We started a movement. We have been

:36:35.:36:39.

growing and evolving together ever since. I felt like it was important

:36:39.:36:44.

right now for them to know we've done a great deal of work on

:36:44.:36:47.

ourselves. We've come a long way. We understand that life is not life

:36:47.:36:50.

without trial. We cannot be strong if we're nol challenged with

:36:50.:36:55.

something in life. That's what the album consists of. It's great. It's

:36:55.:37:00.

a celebration, but at the same time it's very deep because life is

:37:00.:37:05.

still life, no matter how happy you are, you are going to be challenged.

:37:05.:37:08.

There's always something. Always. We're going to play something from

:37:08.:37:14.

your record in a mo.. Tell us about the song. This is called Need

:37:14.:37:19.

Someone to Love. It's like me singing to my younger self in so

:37:19.:37:22.

much pain. It's like I was looking in the mirror saying "You need

:37:22.:37:27.

someone to love you". It's a heart- felt song. It sucks the air out of

:37:27.:37:31.

the room. It's quiet. And you're playing with me. It's beautiful. I

:37:31.:37:35.

think everybody needs somebody to love them. You're absolutely right

:37:35.:37:41.

there. Thank you very much, Mary J Blige! We're going to see more of

:37:41.:37:43.

Mary J in a moment. APPLAUSE

:37:43.:37:48.

So now, over in the middle of the room, I'm delighted to welcome a

:37:48.:37:51.

brand new talent, somebody we haven't had on the show before.

:37:51.:38:01.
:38:01.:38:01.

Apology for the loss of subtitles for 67 seconds

:38:01.:39:03.

# The ground is # With my last breath

:39:03.:39:13.
:39:13.:39:17.

# With my last breath # With my last breath

:39:17.:39:27.
:39:27.:39:27.

Apology for the loss of subtitles for 67 seconds

:39:27.:40:44.

# Where the ground is # With my last breath

:40:44.:40:48.

# With my last breath # When the ground is

:40:48.:40:58.
:40:58.:41:30.

# Your face is armed # You stumble round like a figure

:41:30.:41:37.

# Step off of the brake You're a crash about to happen

:41:37.:41:45.

# Step into the page How you fascinate

:41:45.:41:52.

# Anaesthetised in a room of alterations

:41:52.:42:00.

# Politicised by the carvings and the blackbirds

:42:00.:42:07.

# Step off of the brake You're a crash about to happen

:42:07.:42:15.

# Step into the page How you fascinate

:42:15.:42:21.

# And I stop and I stare And I wait for it to happen

:42:21.:42:31.
:42:31.:42:36.

# And I stop and I stare And I wait for it to happen

:42:36.:42:44.

# And I stop and I stare And I wait for it to happen

:42:44.:42:52.

# Only want you when you're breaking up

:42:52.:42:58.

# Why do they only want you when you're cracking up?

:42:58.:43:06.

# Step off of the brake You're a step away from falling

:43:06.:43:13.

# Step into the page How you fascinate

:43:13.:43:20.

# And I stop and I stare and I wait for it to happen

:43:20.:43:27.

# And I stop and I stare and I wait for it to happen

:43:27.:43:34.

# And I stop

:43:34.:43:35.

# Step off of the brake

:43:35.:43:37.

# And I stare and I wait for it to happen

:43:37.:43:40.

# And I stop

:43:41.:43:42.

# Step off of the brake

:43:43.:43:44.

# And I stare You're a crash about to happen

:43:44.:43:49.

# A crash about to happen

:43:49.:43:52.

# A crash about to happen

:43:52.:43:55.

# A crash about to happen. #

:43:55.:44:05.
:44:05.:44:25.

CHEERING

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CHEERING AND

:44:25.:44:25.

CHEERING AND APPLAUSE.

:44:25.:44:29.

CHEERING AND APPLAUSE. Brett

:44:29.:44:29.

Brett Anderson.

:44:30.:44:34.

Brett Anderson. Crash

:44:34.:44:36.

Brett Anderson. Crash About

:44:36.:44:38.

Brett Anderson. Crash About To Happen from black rainbow. Before

:44:38.:44:41.

that, the wonderful voice of Cold Specks.

:44:41.:44:50.

APPLAUSE Now, the person we met earlier,

:44:50.:44:54.

Need Someone, a beautiful song. I'm delighted to welcome at the piano,

:44:54.:45:04.
:45:04.:45:14.

# From where you stand # No way to make it make sense

:45:14.:45:24.
:45:24.:45:24.

Apology for the loss of subtitles for 67 seconds

:45:24.:46:43.

# You need someone # But you

:46:43.:46:53.
:46:53.:46:53.

Apology for the loss of subtitles for 67 seconds

:46:53.:47:59.

# You need someone to hold you # But you

:47:59.:48:09.
:48:09.:48:09.

Apology for the loss of subtitles for 67 seconds

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# You need someone to tell you CHEERING AND APPLAUSE

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Apology for the loss of subtitles for 67 seconds

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CHEERING AND APPLAUSE. What a handsome boogie woo, from Bombino.

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That's from their new album. Before that, the amazing, almost had me in

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tears, the amazing, Mary J Blige. Now let's keep moving. Here's My

:52:47.:52:57.
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# Oh, woah, woah, woah # Yeah, yeah, yeah, yeah

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# But it don't belong # Distortion finds its place

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# Coming into life you need its grind

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# But at a point you gotta let it go

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# Or it will cross the permanent threshold

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# You know you gotta find it out in something else good

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# Oh, black metal You so misunderstood

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# Holding on to black metal

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# Black metal

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# Holding on to black metal

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# Black metal

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# Black metal, you been holding

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# Oh, black metal, so misunderstood

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# Deep black service under Lucifer's hood

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# Black metal steals souls young Enough's enough

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# 32oz refill out of Lucifer's cup

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# Black metal need to be unlearned You teenage pup

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# Look at you, starchild You all grown up

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# Still holding on to black metal

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# Black metal

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# Still holding onto black metal

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# Black metal

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# You been holding on too long...

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# Oh, woah, woah, woah Oh, woah, woah

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# Yeah, yeah, yeah, yeah Oh...

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# Catching waves on Lucifer's beach

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# Taking shade underneath Lucifer's trees

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# Getting sustenance from Lucifer's peach

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# Oh, black metal, it's affecting all your speech

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# Still holding on to black metal

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# Black metal

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# Still holding on to black metal

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# Black metal

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# You been holding on too long...

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# Oh, woah, woah, woah Oh, woah, woah

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# Oh, yeah, yeah, yeah Oh...

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# Black metal

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# Black metal

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# Bring it to me

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# Black metal

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# Bring it to me

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# Black metal

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# You been holding on too long. #

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CHEERING

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CHEERING AND

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CHEERING AND APPLAUSE

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CHEERING AND APPLAUSE My

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My Morning

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My Morning Jacket.

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My Morning Jacket. Thank

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My Morning Jacket. Thank you. Thank you to all of our guests. Thank you

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to Brett Anderson. Beautiful to have him back in this room. Thank

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you to Cold Specks. Thank you to the one and only amazing, Mary J

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Blige. The legendary, one and only, Pete

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Townshend. What a beautiful sight at the piano to behold those two

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people. Thank you Bombino! Oh, yes. Next week, me tall ka, Steve

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Metallica, Steve, Earl and now we finish with Florence and The

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# You are the hole in my head # You are the silence in between

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# You are the night-time fear You are the morning when it's clear

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# When it's over You're the start

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# You're my head and you're my heart

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# No light, no light in your bright-blue eyes

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# I never knew daylight could be so violent

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# Revelation in the light of day

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# You can't choose what stays and what fades away

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# And I'd do anything to make you stay

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# Oooh, ah, ah

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# No light, no light, no light

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# Tell me what you want me to say

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# Through the crowd I was crying out

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# And in your place there were a thousand other faces

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# I was disappearing in the play inside

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# Heaven help me I need to make it right

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# You are the revelation You want to get right

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# And it's a conversation I just can't have tonight

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# You want a revelation Some kind of resolution

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# You want a revelation

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# No light, no light in your bright-blue eyes

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# I never knew daylight could be so violent

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# Revelation in the light of day

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# You can't choose what stays and what fades away

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# And I'd do anything to make you stay

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# No light, no light, no light

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# Tell me what you want me to say

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# Would you leave me if I told you what I'd done?

:00:24.:00:34.
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# But it's so hard, my love, to say it to you out loud

:00:34.:00:44.
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# No light, no light in your bright-blue eyes

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# I never knew daylight could be so violent

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# Revelation in the light of day

:00:58.:01:02.

# You can't choose what stays and what fades away

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# And I'd do anything to make you stay

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# No light, no light, no light

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# Tell me what you want me to say

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# You want a revelation You want to get it right

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# But it's a conversation I just can't have tonight

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# You want a revelation Some kind of resolution

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# You want a revelation

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# You want a revelation You want to get right

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# Let me what you want me to say. #

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CHEERING

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Joining Jools in the studio are London's own Florence and the Machine, returning after their incredibly successful debut album. Florence and band perform tracks from their much anticipated follow-up Ceremonials.

Rock legend Pete Townshend celebrates his landmark 1973 album Quadrophenia, performing a couple of tracks from it.

Also on the show, from Louisville, Kentucky, My Morning Jacket with tracks from their sixth album Circuital.

Suede frontman Brett Anderson debuts his own material from his long-player Black Rainbows.

Completing the line-up are Bombino, named after singer and virtuoso electric guitarist Omara Moctar, who is part of the wandering Tuareg tribes of the Sahara desert, and has been granted the complimentary title 'the desert Hendrix'.

Plus, Al Spx, aka Cold Specks, a brand new voice from Etobicoke in Canada, whose songs have been described as 'bleak but beautiful' and she herself calls 'doom soul'.


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