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