:00:10. > :00:14.Good evening and welcome to you wherever you are, perhaps in her
:00:14. > :00:18.home, perhaps in a public house, perhaps an institution, perhaps
:00:18. > :00:25.your head or bed, wherever you are, come into this room and see what we
:00:25. > :00:35.have, because we have some of the most sensational music on earth, in
:00:35. > :00:53.
:00:53. > :00:58.this room, and I insist that we # And the boy's number there
:00:58. > :01:02.# I eat 16 saltine crackers then I lick my finger
:01:02. > :01:05.# Well every morning I deliver the news
:01:05. > :01:08.# Black hat white shoes and I'm red all over
:01:08. > :01:11.# She's got a big mail box that she puts up front
:01:11. > :01:13.# Garbage in, garbage out
:01:13. > :01:15.# She's getting what she wants
:01:15. > :01:15.# Who's jealous? Who's jealous?
:01:15. > :01:23.# Who's jealous? Who's jealous of who?
:01:23. > :01:24.# Who's jealous? Who's jealous?
:01:24. > :01:26.# Who's jealous? Who's jealous of who?
:01:26. > :01:27.# If I get busy
:01:27. > :01:28.# The I couldn't care less what you do
:01:28. > :01:30.# But then I'm by myself
:01:30. > :01:32.# I think of nothing else
:01:32. > :01:33.# Than if a boy just might be
:01:33. > :01:42.# Getting through and touching you
:01:42. > :01:45.# Spike heels make a hole in a lifeboat
:01:45. > :01:48.# Jumpin' and wavin' I'm talkin' and laughin' as I float
:01:48. > :01:50.# I hear a whistle
:01:50. > :01:51.# That's how I know she's home
:01:51. > :01:53.# Lipstick, eyelash
:01:53. > :01:55.# Broke mirror, broken home
:01:55. > :01:56.# Force fed, force
:01:56. > :01:58.# Mixed till I drop dead
:01:58. > :02:02.# You can't defeat her, when you meet her, you'll be what I said
:02:02. > :02:05.# And Lord knows there's a method to her madness
:02:05. > :02:15.# Bustin' those jokes as I float in a sea of sadness
:02:15. > :02:15.
:02:15. > :02:18.# She doesn't know but when she's gonna sit up and drink a few
:02:18. > :02:22.# I'm sure she's drinkin' two but wonderin' what for and who
:02:22. > :02:24.# And I'm solo rollin' I'm one side off the boat
:02:24. > :02:26.# Looking out, throwin' up
:02:26. > :02:36.# A lifesaver down my throat
:02:36. > :02:51.
:02:51. > :02:53.# Who's jealous? Who's jealous?
:02:53. > :02:54.# Who's jealous? Who's jealous of who?
:02:54. > :02:56.# Who's jealous? Who's jealous?
:02:56. > :02:58.# Who's jealous? Who's jealous of who?
:02:58. > :02:59.# Who's jealous? Who's jealous?
:02:59. > :03:09.# Who'sjealous? Who's jealous of who? #
:03:09. > :03:23.
:03:23. > :03:33.APPLAUSE
:03:33. > :03:38.
:03:38. > :03:38.I
:03:38. > :03:38.I am
:03:38. > :03:41.I am delighted
:03:41. > :03:49.I am delighted to say live and direct from London England here, we
:03:49. > :03:55.welcome Jack White. So nice to gent lay poll jiezing for knocking his
:03:55. > :04:02.gear over there. In the room as well, from Canada Griems. From New
:04:02. > :04:12.York, the amazing, Norah Jones. From Dublin The Chieftains. Joined
:04:12. > :04:12.
:04:12. > :04:52.Apology for the loss of subtitles for 40 seconds
:04:52. > :05:02.my Carolina Chocolate Drops. And # "You got to come on up,
:05:02. > :05:02.
:05:02. > :08:12.Apology for the loss of subtitles for 40 seconds
:08:12. > :08:15.Superb! Alabama Shakes withhold hold. This next artist we have is
:08:15. > :08:19.the marvellous new record out called Little Broken Hearts. She
:08:19. > :08:29.first appeared in this show in 2001. We're delighted to have her back
:08:29. > :08:59.
:08:59. > :09:09.# Trying to make it so I never see # Want to make sure that you never
:09:09. > :09:19.
:09:19. > :09:29.# Oh how does it feel to be you # So pick up your piece
:09:29. > :09:29.
:09:29. > :10:11.Apology for the loss of subtitles for 40 seconds
:10:11. > :10:21.# Would you please # Trying to keep myself
:10:21. > :10:32.
:10:32. > :10:42.# Makes me feel like I took # Oh how does it feel to be the one
:10:42. > :11:01.
:11:01. > :11:11.# I won't be a fool for you no more, # Would you please
:11:11. > :11:11.
:11:11. > :12:01.Apology for the loss of subtitles for 40 seconds
:12:01. > :12:04.I melt when I hear that woman's voice, the wonderful Norah Jones!
:12:04. > :12:10.Happy Pills from her Little Broken Hearts.
:12:10. > :12:16.And now, at the table, I'm delighted to welcome Jack White. It
:12:16. > :12:19.is always a joy and pleasure to have you here in this room.
:12:19. > :12:23.Blunderbuss, superb record here and if I may say, it's great somebody
:12:23. > :12:28.has a proper record out, that's great. Thank you. On your record, a
:12:28. > :12:32.moment ago you had your all-male group playing, what a fantastic
:12:32. > :12:36.drummer. But now you have an all- female group live. That's in a
:12:36. > :12:40.moment. Yeah. From one to the other two, drummers, how does that work?
:12:40. > :12:45.I'm a drummer. I started off playing the drums. I always play to
:12:45. > :12:49.the drummer, you know. I always figure we just join in with that.
:12:49. > :12:52.That's the structure of the song. lot of people don't realise that.
:12:52. > :12:55.Would you agree with me, the drummer is the most important
:12:55. > :12:59.person in the group? Most definitely. There are a lot of
:12:59. > :13:03.horrible drummer jokes, but they're wrong. That's what I mean, it's
:13:03. > :13:07.hard to get one good drummer in a group, but you have two. Threats
:13:07. > :13:11.and bribery you can get a lot of things done. The other thing of
:13:11. > :13:15.course, we're going to show, on Friday, there's a lot more of you,
:13:15. > :13:19.but what I said, we're live now, I'd like to say it again, if I
:13:19. > :13:25.dropped dead, I would like you to inherit my job here. Would you be
:13:25. > :13:30.happy to take it over? That's quite an offer. Is there a time frame on
:13:30. > :13:34.this, when are you hoping this will happen? 2371... I'm going to be
:13:34. > :13:39.kept alive frozen. I was hoping you had a plan in place. I hope you
:13:39. > :13:45.don't die man. What a lovely bloke. You've got the job. Can I just say,
:13:45. > :13:49.correct response. It was a trick question. You're having your all-
:13:49. > :13:53.female band next, what are you doing? Doing a song called Freedom
:13:53. > :13:57.at 21. We recorded that in Nashville a few months ago. It was
:13:57. > :14:00.one of the first days with all girls in the studio. It was a
:14:00. > :14:04.production idea to change the vibe, to shake things up. You changed the
:14:04. > :14:08.vibe and great, you're the only person with two bands live on the
:14:08. > :14:13.television in the same show that I know of. That gets a round of
:14:13. > :14:16.applause. APPLAUSE
:14:16. > :14:22.Third man, that's your record label, did you get that from the Carol
:14:22. > :14:32.Reid film? I loved that film. I was a huge Orson Welles fan. It came
:14:32. > :14:34.
:14:34. > :14:39.from my upholstery man, I was the third you pollsterer on my black.
:14:39. > :14:43.Do you still do that? I just rebuilt my shop last year. I got my
:14:43. > :14:46.tools out of storage. It's marvellous to have you here. It's a
:14:46. > :14:49.sensation. I'm looking forward to the next thing you're going to do,
:14:49. > :14:53.a completely different band, it's the first time on British
:14:53. > :14:56.television, live, swapping over the bands. That's the kind of people we
:14:56. > :15:01.are. Thank you very much, Jack White. More from Blunderbuss later
:15:01. > :15:06.Now there's a lot of great things in this room live. You can see The
:15:06. > :15:10.Chieftains standing by, 50 years they've been together. Before we
:15:10. > :15:20.enjoy all that, we're going to enjoy something else, very special,
:15:20. > :15:39.
:15:39. > :15:49.# Oh, my Heart I never be # My heart I never be
:15:49. > :15:49.
:15:49. > :17:15.Apology for the loss of subtitles for 40 seconds
:17:15. > :17:25.# Oh, heart I never be, I never see # My heart I never be, I never see
:17:25. > :17:25.
:17:25. > :19:07.Apology for the loss of subtitles for 40 seconds
:19:07. > :19:11.# My heart I never be, I never see Thank you Grimes, from her album
:19:11. > :19:15.Visions. So now, I'm delighted to say that we have Carolina Chocolate
:19:15. > :19:18.Drops in the room with us. Yes, that's a marvellous thing. But it's
:19:18. > :19:23.even more marvellous because in this particular occasion they are
:19:23. > :19:28.joining a band that is celebrating 50 years. They have a fantastic new
:19:28. > :19:38.album out called Voice of Ages, where lots of people join me. They
:19:38. > :20:09.
:20:09. > :20:19.# Pre-eetty little girl with a blue # Pigs in the meadow cows in the
:20:19. > :20:54.
:20:54. > :21:04.# Swing that girl with the blue # Pre-eetty little girl with a blue
:21:04. > :21:04.
:21:04. > :22:39.Apology for the loss of subtitles for 40 seconds
:22:39. > :22:49.# Well now they're gone it's a # Well, I'll tell you
:22:49. > :22:49.
:22:49. > :23:33.Apology for the loss of subtitles for 40 seconds
:23:33. > :23:43.# And all them lions in the jungle # But don't you call me anything,
:23:43. > :23:56.
:23:56. > :24:01.# They done started messin' with the # They got another thing comin'
:24:01. > :24:08.# Ooh and I would do all that for you, I'd do it for you
:24:08. > :24:11.# Cos all of them girls
:24:11. > :24:14.# Don't know you like I do
:24:14. > :24:21.# All of them girls don't know you like I do
:24:21. > :24:27.# All them ladies don't know you like I do
:24:27. > :24:34.# That's why I call you my baby
:24:35. > :24:37.# Oh yeah yeah yeah
:24:37. > :24:43.# Oh oh oh oh
:24:43. > :24:47.# Oh oh oh oh
:24:47. > :24:53.# Don't tell me all right
:24:53. > :25:01.# Ooh
:25:01. > :25:04.# I so wanna know
:25:04. > :25:07.# Would you be mine?
:25:07. > :25:10.# So be mine
:25:10. > :25:13.# Say, baby, be mine
:25:13. > :25:19.# So be mine
:25:19. > :25:21.# So be my baby
:25:22. > :25:31.# Be my baby
:25:32. > :25:40.
:25:40. > :25:43.# Be my, ooh!
:25:44. > :25:48.# I said all right
:25:48. > :25:51.# I said all right
:25:51. > :26:01.# I said all right
:26:01. > :26:21.
:26:21. > :26:28.Thank you Alabama Shakes with Hang Loose. Thank you to all of our
:26:28. > :26:35.guests. Thank you The Chieftains, Carolina Chocolate Drops, thank you
:26:35. > :26:39.the wonderful Norah Jones. Thank you the superb Grimes. Well I'm
:26:39. > :26:43.delighted to say, yes, you'll be able to hear much more from all
:26:43. > :26:50.these incredible guests on Friday night. In fact, some superb and
:26:50. > :26:54.amazing things. Tune in again, if you'd like to. Or look at our
:26:54. > :27:04.website. Next week we will be having even more things, but for
:27:04. > :27:18.
:27:18. > :27:28.now, I leave you with the # Cut off the bottoms of my feet
:27:28. > :27:28.
:27:28. > :27:38.# Take me down to the police # She don't care what kind of wounds
:27:38. > :28:03.
:28:03. > :28:05.# She's got freedom # ..Two black gashes in her hands
:28:05. > :28:08.# No responsibility no guilt or morals cloud her judgment
:28:08. > :28:09.# Smile on her face
:28:09. > :28:16.# She does what she damn well please
:28:16. > :28:17.# And she don't care about the Things people used to do
:28:17. > :28:19.# She don't care that what she does has an effect on you
:28:19. > :28:25.# She's got freedom in the 21st century... #
:28:25. > :28:35.All right!
:28:35. > :29:02.
:29:02. > :29:03.# Cut off the bottoms of my feet
:29:03. > :29:04.# Make me walk on salt
:29:04. > :29:06.# Make me walk on salt
:29:06. > :29:07.# Take me to the police