:00:03. > :00:06.of Spain and Portugal as well. Sunnyist weather across Greece and
:00:06. > :00:10.through the eastern side of the Mediterranean. Sunshine on Sunday,
:00:10. > :00:15.again that will just trigger these heavy thundery showers. Slow-moving
:00:15. > :00:25.downpours from the Midland, one or two showers as it warms up a touch
:00:25. > :00:25.
:00:25. > :03:25.Apology for the loss of subtitles for 180 seconds
:03:25. > :03:35.Welcome to a brand new series of Later...with Jools Holland. Here is
:03:35. > :03:45.the one and only, legendry Paul # And when he wakes up
:03:45. > :03:56.
:03:56. > :04:06.# And when he wakes up # How high the whirl could start to
:04:06. > :04:06.
:04:06. > :05:31.Apology for the loss of subtitles for 180 seconds
:05:31. > :05:41.# And all her friends # And when he wakes up
:05:41. > :06:04.
:06:04. > :06:14.APPLAUSE What a joy to have this man in the
:06:14. > :06:15.
:06:15. > :06:23.studio. The amazing Paul Weller. We have a room filled with amazing
:06:23. > :06:32.guests. From Brazil we'll welcome Ceu. From Glasgow we'll welcome
:06:32. > :06:39.Paul Buchanan. From Newcastle, Beth Jeans Houghton
:06:39. > :06:49.& The Hooves of Destiny. From Chicago Willis Earl Beal.
:06:49. > :06:59.Mike Skinner. And James Fearnley. I will talk to all these. Now I am
:06:59. > :06:59.
:06:59. > :10:28.Apology for the loss of subtitles for 180 seconds
:10:28. > :10:33.delighted to have in this room from Feel to Follow, the Maccabees.
:10:34. > :10:43.Well, I think it is time for something new. We welcome from
:10:44. > :10:44.
:10:44. > :11:32.Apology for the loss of subtitles for 180 seconds
:11:32. > :11:42.Newcastle Beth Jeans Houghton & The # My sweet tooth bird
:11:42. > :11:42.
:11:42. > :12:35.Apology for the loss of subtitles for 180 seconds
:12:35. > :12:45.# The foreign heights # Where fire cracks
:12:45. > :13:01.
:13:01. > :13:11.Thank you, Beth Jeans Houghton & The Hooves of Destiny.
:13:11. > :13:13.
:13:13. > :13:18.That was Sweet Tooth Bird. That is from their album Yours Truly,
:13:18. > :13:27.Cellophane Nose. There is an empty chair. I am going
:13:27. > :13:32.to sit in it. Welcome to the show Mike Skinner. The last time...
:13:32. > :13:42.loving those jeans. You would look good in those jeans. Which ones?
:13:42. > :13:42.
:13:42. > :13:49.The East London numbers. How do you know they're East London ones? They
:13:49. > :13:56.are from Newcastle. East Newcastle. It is nice to be here without the
:13:56. > :14:00.tension. You've come here because you've got this superb book out. A
:14:00. > :14:05.marvellous book. The first question must be, is when people write books
:14:05. > :14:10.sometimes it is because they have decided it's time they have gone so
:14:10. > :14:17.far and they must look in the rather view mirror before making
:14:17. > :14:25.the -- rear view mirror before making the most of it. What is your
:14:25. > :14:32.reason for writing this? Yeah, I mean just, I came to the end and it
:14:32. > :14:40.seemed like a good time to kind of package it up. There are a few
:14:40. > :14:48.things in there I wanted to say. It just felt like the right time to
:14:48. > :14:54.kind of talk about it. Any rejects? No -- Any regrets? No. Possibly a
:14:54. > :15:00.few outfits. I think there was a pink suit on the show, wasn't
:15:00. > :15:09.there? Actually we can take a trip, magically, you will be delighted to
:15:09. > :15:19.know we can look back at... Some of my suits! I cannot reelect what you
:15:19. > :15:30.
:15:30. > :15:34.were wearing. I am sure it will be # Taller back street brawlers
:15:34. > :15:39.Status # We don't conform to formulas
:15:39. > :15:45.# Double Dutch # Park cars
:15:45. > :15:51.# Let's push things forward # Marvellous!
:15:51. > :15:56.A fantastic singer there, Kevin. The first thing people do, is you
:15:56. > :16:01.look in the index and see if you're in it, you see. I am, but, and this
:16:01. > :16:11.is where I wonder if all history, if everybody has a different view
:16:11. > :16:17.of some event that happened. This is relatively recent. You say you
:16:17. > :16:22.were at the mercury prize and you seemed an elle want young fellow to
:16:22. > :16:28.me. I can't remember what I said. I think you might have got something
:16:28. > :16:33.wrong or I felt you got a minor detail wrong. That is what happens
:16:34. > :16:40.when you have too much beer. There you go - another lesson
:16:40. > :16:49.learnt. Now The Streets have sort of, well The Streets are over, I
:16:49. > :16:54.assume, what do you, what do you plan to do now? What can we expect
:16:54. > :17:01.next?Vy Been doing quite a bit of DJing. For me, it was a case of
:17:01. > :17:08.being 33 and not wanting to jump around telling people to get drunk
:17:08. > :17:15.every single night of the week. And just be the one getting drunk. No,
:17:15. > :17:20.it's a party thing. I didn't really want to take it into my 30's and
:17:20. > :17:26.start talking about raising kids. I wanted it to always be an honest
:17:26. > :17:34.statement, you know. I think as you get into your 30's it becomes a bit
:17:34. > :17:38.of an act really. Apart from that I wanted to be a producer more than
:17:38. > :17:42.anything. Before The Streets I wanted to be a producer. It is
:17:42. > :17:47.great having you here. I look forward to having you back. It is
:17:47. > :17:53.marvellous to seeing you. Thank you very much Mike Skinner.
:17:53. > :17:56.APPLAUSE A nice man with the beard from the
:17:56. > :18:03.DOT. Sorry, should have introduced you.
:18:03. > :18:13.So, now I think we have a truly international shou. Here is our
:18:13. > :18:13.
:18:13. > :20:49.Apology for the loss of subtitles for 180 seconds
:20:49. > :20:59.next artist. They are extraordinary. # Serpentina nos meus
:20:59. > :20:59.
:20:59. > :21:50.Apology for the loss of subtitles for 180 seconds
:21:50. > :22:00.Thank you, Ceu. We'll hear more from their
:22:00. > :22:29.
:22:29. > :22:38.wonderful album. Now we welcome # Calculator broken
:22:38. > :22:41.# Marks on the board from your late # Jack of hearts don't court
:22:41. > :22:44.# Throne's vacant there never was no king
:22:44. > :22:47.# Earl is coming with the switching of the scene
:22:47. > :22:49.# Sprouted stalk only got one bean
:22:49. > :22:53.# Enchanted got up out of his head
:22:53. > :22:56.# Throwed down to a valley now red
:22:56. > :22:59.# Ate and drank like he never been fed
:22:59. > :23:02.# From liquid and a flesh that bled
:23:02. > :23:04.# Pour is great till he found his fate
:23:04. > :23:07.# Parallel power at the end of the hour
:23:07. > :23:11.# Clock's dead so there is no late decimate
:23:11. > :23:14.# Dualities tendency to cower
:23:14. > :23:16.# Shower assured so he lifts his fist
:23:16. > :23:19.# Caught a rare fish number one on his list
:23:19. > :23:22.# Can't let it go cos he had the bliss
:23:22. > :23:23.# No more insist and hiss
:23:23. > :23:33.# Cos he received the gist
:23:33. > :23:37.
:23:37. > :23:40.# Swing on low in the flow
:23:40. > :23:43.# For the souls that don't know now I'm whole
:23:43. > :23:46.# Swing on low in the flow
:23:46. > :23:49.# For the souls that don't know now I'm whole
:23:49. > :23:55.# Swing on low swing on low
:23:56. > :24:03.# Swing on low
:24:03. > :24:05.# Big punk small time still in my prime
:24:05. > :24:07.# Send the coupe through the loop of a satisfied mind
:24:08. > :24:09.# I'm the bunny rock hopper
:24:09. > :24:11.# Derelict soul down
:24:11. > :24:14.# Imma dance in a trance till they put me in the pound
:24:14. > :24:17.# I ain't satisfied unless I'm acting a fool
:24:17. > :24:20.# I'm the caffeinated chap microphone is my tool
:24:20. > :24:21.# I'm shiver fit
:24:21. > :24:22.# With a shovel in my fist
:24:23. > :24:25.# Got my graveyard boots cos I hide in the midst
:24:25. > :24:27.# I'm a fiend for the feeling
:24:27. > :24:28.# Got a bone like a rocket
:24:29. > :24:32.# With a motor so loco no bozos can stop it
:24:32. > :24:34.# Frogman, hop it, at the wall I can't knock it
:24:34. > :24:36.# Thunder clatter, chitter chatter
:24:36. > :24:38.# Don't matter if I drop it
:24:38. > :24:39.# One hand in my pocket
:24:39. > :24:41.# The other on the bar sitting back on the seat
:24:41. > :24:43.# And tonight I'm going far
:24:43. > :24:45.# Cocoa butter on my hands
:24:45. > :24:46.# Potpourri on my pants
:24:46. > :24:50.# I'm sitting still on the side because I know in advance
:24:50. > :24:53.# Swing on low in the flow
:24:53. > :24:56.# For the souls that don't know now I'm whole
:24:56. > :24:59.# Swing on low in the flow
:24:59. > :25:07.# For the souls that don't know now I'm whole
:25:07. > :25:13.# Swing on low, swing on low
:25:13. > :25:15.# Swing on low
:25:15. > :25:25.# Swing on low
:25:25. > :25:39.
:25:39. > :25:49.CHEERING AND APPLAUSE
:25:49. > :26:06.
:26:06. > :26:10.# There's a will there
:26:10. > :26:13.# It's a feeling
:26:14. > :26:18.# Always rushing
:26:18. > :26:23.# To the higher ground
:26:23. > :26:27.# So long you bum
:26:27. > :26:32.# You can get your work done
:26:32. > :26:42.# Come now beside the water sit and rest
:26:42. > :26:48.
:26:48. > :26:57.# Sit and rest
:26:57. > :27:01.# On a high blown
:27:01. > :27:09.# Hear the sky cry
:27:09. > :27:12.# Hear the world turn
:27:12. > :27:15.# Can you not learn?
:27:15. > :27:19.# So long you said
:27:19. > :27:24.# But it's not in your head
:27:24. > :27:32.# Come now beside the water sit and rest
:27:32. > :27:40.# Come now beside the water sit and rest
:27:40. > :27:50.# Sit and rest
:27:50. > :28:15.
:28:15. > :28:23.# Been a long time always burning
:28:23. > :28:32.# In the night sky many miles by
:28:32. > :28:36.# So long you bum
:28:36. > :28:41.# You can get your work done
:28:42. > :28:51.# Come now beside the water sit and rest
:28:52. > :28:59.
:28:59. > :29:09.# Come now beside the water sit and rest
:29:09. > :29:14.
:29:14. > :29:15.# Sit and rest
:29:15. > :29:17.# Sit and rest
:29:17. > :29:25.# Sit and rest
:29:25. > :29:35.APPLAUSE
:29:35. > :29:44.
:29:44. > :29:44.The
:29:44. > :29:44.The wonderful,
:29:44. > :29:51.The wonderful, amazing
:29:51. > :29:56.The wonderful, amazing voice of Paul Weller.
:29:56. > :30:01.We'll hear more from him later. Now I am going over to the piano
:30:01. > :30:08.because one of the The Pogues is here with us. He has written a book
:30:08. > :30:15.on that subject. Yes, we are derighted to -- delighted to
:30:15. > :30:21.welcome James Fearnley. So you were in the The Pogues - I
:30:21. > :30:28.mean you are in the The Pogues. am still. This is the Inside Story,
:30:28. > :30:34.I suppose. Almost like a novel. wanted it to sound like a novel, so
:30:34. > :30:41.I did. I like the sound of my own voice when I write. How did it
:30:41. > :30:46.voice when I write. How did it start? I started out as a guitar
:30:46. > :30:55.player. Came down to London looking to get myself into a band. Did
:30:55. > :31:01.auditions. One I went to was with The Nipple Erectors, who Shane was
:31:01. > :31:05.the lead singer for. Did you become friends immediately? Yeah. I went
:31:05. > :31:11.out drinking with him that night. One of the stimulations that I had
:31:11. > :31:16.for joining the Nips, was I'll join your band if you give me somewhere
:31:16. > :31:21.to live. So he showed me my accommodation that night. We fell
:31:21. > :31:27.into a mess of bicycles in his front haul way, swore a lot and
:31:27. > :31:33.collapse nds a room and that is how it -- collapsed in a room and that
:31:33. > :31:43.is how it started. How did it start? Like IRA cells in a sense.
:31:43. > :31:46.
:31:46. > :31:53.There was, so there were three of us. There was a band The Chain Saws,
:31:53. > :31:57.I didn't know anything about them. Shane and Jem were busking. They
:31:57. > :32:04.auditioned at Covent Garden and failed and Finsbury Park.
:32:04. > :32:14.Jem came to find me in my block of flats and the only clue as to which
:32:14. > :32:16.
:32:16. > :32:20.door he should knock on with his laupbldry bag with an accordion, it
:32:20. > :32:25.is where the type writing was the loudest. He knocked on that door
:32:25. > :32:32.and I answered. Never looked back. We have footage. It is what you
:32:32. > :32:38.mention in your book. We have dug up this clip from the BBC library.
:32:38. > :32:48.It is 1995. You have to dig it out? For security reasons. I hope you
:32:48. > :32:51.
:32:51. > :32:56.# We put them on a train # A song
:32:56. > :33:06.# Far away # You must be on your way
:33:06. > :33:15.
:33:16. > :33:20.# Buy me whisky because I'm going I'm so good looking, aren't I?
:33:20. > :33:26.You're still performing, after 30 years hafplt is the key, do you
:33:26. > :33:30.think -- years, what is the key, do you think? We became a family. Pure
:33:30. > :33:34.and simple, we became a family. For better and for worse we are just
:33:34. > :33:39.stuck together now, really. It is a marvellous band. One of the
:33:39. > :33:48.greatest of all times. It is a great book. Thank you for joining
:33:48. > :33:54.APPLAUSE I'll move along. I will stop here and pause for a moment.
:33:54. > :33:58.Sitting here is Paul Buchanan, ladies and gentlemen. Yes! Your
:33:58. > :34:08.first solo record away from the Blue Nile. Here you are. What will
:34:08. > :34:12.you do for us? Mid Air. It is one of the most enchanting records I
:34:12. > :34:22.have heard for months and months. Paul Buchanan. We will be joined by
:34:22. > :34:22.
:34:22. > :36:41.Apology for the loss of subtitles for 180 seconds
:36:41. > :36:51.him in just a moment. Now, let's # And better never
:36:51. > :36:51.
:36:51. > :38:57.Apology for the loss of subtitles for 180 seconds
:38:57. > :39:07.# And better never # But I can see you
:39:07. > :39:36.
:39:36. > :39:46.# The day she fell # The wind that blows away
:39:46. > :39:46.
:39:46. > :41:13.Apology for the loss of subtitles for 180 seconds
:41:13. > :41:23.# I can see you standing # And swept under carpets in
:41:23. > :41:28.
:41:28. > :41:35.# Cry blind for creation like you're blind for me
:41:35. > :41:45.# Ride swift through the houses like blood rides through me
:41:45. > :41:49.
:41:49. > :41:56.# Ride swift through the houses like blood rides through me
:41:56. > :42:03.# Red wine and whiskey are no good for me
:42:03. > :42:10.# Dissecting the atlas for places we've been
:42:10. > :42:20.# Your list is longer but you've got more years on me
:42:20. > :42:21.
:42:21. > :42:28.# A token to dispense, we take it all in doubles
:42:28. > :42:36.# And weeping on concrete then stealing away
:42:36. > :42:42.# You opened up her mouth and let out all her secrets
:42:42. > :42:52.# Assumed her disordered in her thirst to stray
:42:52. > :43:15.
:43:15. > :43:16.# And these black berries stain your hands and your lips
:43:16. > :43:17.# Sup on their dimension in the gut of our summer trips
:43:17. > :43:21.# So pray, sleep sweet and sharpenyour teeth and escape from this body
:43:21. > :43:24.# Your soul is impounded beneath
:43:24. > :43:25.# Abort the nonchalance and clap for your culture
:43:25. > :43:27.# Your tanned hide exerting the sum of your parts
:43:27. > :43:30.# The bridges will advance devout of their structure
:43:30. > :43:37.# Armour the estuaries that plough through your heart
:43:37. > :43:44.# Ride swift through the houses like blood rides through me
:43:44. > :43:51.# Red wine and whiskey are no good for me
:43:51. > :43:58.# Dissecting the atlas for places we've been
:43:58. > :44:08.# Your list is longer but you've got more years on me. #
:44:08. > :44:12.
:44:12. > :44:22.CHEERING AND APPLAUSE
:44:22. > :44:28.
:44:28. > :44:28.Thank
:44:28. > :44:28.Thank you
:44:28. > :44:32.Thank you very
:44:32. > :44:37.Thank you very much. Beth Jeans Houghton & The Hooves of
:44:37. > :44:46.Destiny. Before that, let's hear it for the
:44:46. > :44:52.amazing Paul Buchanan. His first solo record out since
:44:52. > :44:57.Blue Nile. Now at the piano, I am delighted to welcome a man - the
:44:58. > :45:05.man we like having here most of all, we welcome Paul Weller.
:45:05. > :45:11.So, it's great to have you here. When you first came on this show,
:45:11. > :45:16.20 years. I was 12. And I with was three! Did you think we would still
:45:16. > :45:19.be here in 20 years time? What did you think it would be like in 20
:45:19. > :45:25.years time? I didn't have any vision of what I would be like in
:45:25. > :45:30.20 years time. I never thought I would get to the age I have. I am
:45:30. > :45:34.glad we did. By the way, if you glad we did. By the way, if you
:45:34. > :45:40.want to see D Paul's first performance on the show, go to our
:45:40. > :45:44.website. It is very exciting, when you have had a record it is
:45:44. > :45:50.different to the one before. different to the one before.
:45:50. > :45:54.much as possible. This is great. It seems a different place again. What
:45:54. > :46:01.inspires you to kind finding new things? Well, I think one of the
:46:01. > :46:05.reasons is I get bored easily. I think, it is the roll of any dice
:46:05. > :46:12.to push forward and do something different. I was brought up with
:46:12. > :46:18.The Beatles. They were my template. The anticipation of what they would
:46:18. > :46:22.do next stuck with me. Just that sort of sense of trying to forge
:46:22. > :46:29.forward. Something different. A lot of people go through, but you do
:46:29. > :46:33.it... There's one track I like called Be Happy Children. Where did
:46:33. > :46:39.it come from? I guess I was thinking about my dad, who passed
:46:39. > :46:43.away three years this year. I was thinking what he would tell us -
:46:43. > :46:52.rejoice and be happy and know I am always with you. I guess it came
:46:52. > :46:58.from that. I have two of my kids, my daugt ser here tonight - I got
:46:58. > :47:02.two of my kids to sing on it. your musical taste different than
:47:02. > :47:06.the musical tastes you had 30 years ago? It is broader I think. I
:47:06. > :47:10.listen to everything now. I try and listen to everything as much as
:47:10. > :47:16.possible. Obviously you keep what you like and disregard the rest. I
:47:16. > :47:20.try and listen to all sorts of music. If anything it has opened up.
:47:20. > :47:25.Is there any advice now that you would give to you - the younger
:47:25. > :47:32.you? No. Not at all. No. I would say, whatever you're doing is
:47:32. > :47:40.exactly right. Keep on with it. Don't worry about it. No. Very good.
:47:40. > :47:44.What are you going to do next? song off the album called The Attic.
:47:44. > :47:49.It is marvellous to have you back here. We are delighted to welcome
:47:49. > :47:55.Paul Weller. Over in this direction - no around
:47:55. > :48:01.this direction - I'm going around this direction, any direction I can
:48:01. > :48:11.go. Because over in this corner now, yes he's there, we welcome back,
:48:11. > :48:37.
:48:37. > :48:45.# The position behind # Got me counting my dimes
:48:45. > :48:51.# I'm even doubting the rhyme I'm in no rush I can hide
:48:51. > :48:57.# Because I know that I tried no longer taking a side
:48:57. > :49:01.# Tears don't flow from my eyes no longer go for the lies
:49:01. > :49:11.# I don't protest or resist I'm not invested in this
:49:11. > :49:12.
:49:12. > :49:22.# I'm backing out of the fight to give my spirit tonight
:49:22. > :49:24.
:49:24. > :49:30.# Gazing at the phase of an overcast day
:49:30. > :49:38.# Watching rainfall from a dim cafe
:49:38. > :49:43.# Can't see the wind but I see the trees sway
:49:43. > :49:53.# Now the evening's kiss got me fading away
:49:53. > :49:54.
:49:54. > :50:04.# Just fading away
:50:04. > :50:05.
:50:05. > :50:09.# Drip-drop, window pane hypnotic
:50:09. > :50:15.# Clip-clop, concrete, heels on it
:50:15. > :50:21.# I'm still disillusioned and cool catatonic
:50:21. > :50:28.# Always in a daze without smoking that chronic
:50:28. > :50:35.# And the door's still open at the end of the day
:50:35. > :50:41.# And I'm still hoping without much to say
:50:41. > :50:48.# Ask me who I'm with and I'll tell you I'm without
:50:48. > :50:54.# Then ask me how I'm feeling well I'm full of shit 'n doubt
:50:54. > :51:00.# These phantasm women got me swimming through the sea
:51:00. > :51:08.# Apprehension steady creeping whirlpool is pulling me
:51:08. > :51:14.# So I might as well relax go down with the flood
:51:14. > :51:21.# Cos my heart's been attacked and the sharks smell my blood
:51:21. > :51:31.# If I lose consciousness and I wake in the shore
:51:31. > :51:34.
:51:34. > :51:41.# I will never complain
:51:41. > :51:51.# I will never, I will never get never get, old
:51:51. > :51:53.
:51:53. > :52:03.# Never get old
:52:03. > :52:03.
:52:03. > :52:09.# Gazing at the phase of an overcast day
:52:09. > :52:16.# Watching rainfall from a dim cafe
:52:16. > :52:23.# Can't see the wind but I see the trees sway
:52:23. > :52:33.# Now the evening's kiss got me fading away
:52:33. > :52:33.
:52:33. > :52:40.# Just fading away
:52:40. > :52:50.# Just fading away
:52:50. > :53:00.APPLAUSE
:53:00. > :53:04.
:53:04. > :53:04.Willis
:53:04. > :53:04.Willis Earl
:53:04. > :53:07.Willis Earl Beal.
:53:07. > :53:07.Willis Earl Beal. That
:53:07. > :53:08.That was
:53:08. > :53:08.That was Evening's
:53:08. > :53:12.That was Evening's Kiss.
:53:12. > :53:12.That was Evening's Kiss. That
:53:12. > :53:14.That is
:53:14. > :53:14.That is from
:53:14. > :53:19.That is from his
:53:19. > :53:29.That is from his album, entitled Acousmatic Sorcery. We welcome the
:53:29. > :53:31.
:53:31. > :53:41.IN PORTUGUESE: # A ma qualidade do ar
:53:41. > :54:00.
:54:00. > :54:10.# Mesmo que eu tenha criado # Que me permita viagens
:54:10. > :54:10.
:54:10. > :55:19.Apology for the loss of subtitles for 180 seconds
:55:20. > :55:29.# A ma qualidade do ar # Mesmo que eu tenha criado
:55:30. > :55:57.
:55:57. > :56:07.# Que me permita viagens # A ma qualidade do ar
:56:07. > :56:28.
:56:28. > :56:38.# Mesmo que eu tenha criado # Que me permita viagens
:56:38. > :56:38.
:56:38. > :57:46.Apology for the loss of subtitles for 180 seconds
:57:46. > :57:56.# So soon we're, so soon we're # In the middle, in the middle
:57:56. > :58:04.
:58:04. > :58:10.# Before you know it # To have it all, to have it all
:58:10. > :58:12.# One thing's for sure we're all getting older
:58:12. > :58:14.# So we take a lover So we take a lover
:58:14. > :58:17.# So we take a lover waiting in the corner
:58:17. > :58:19.# And before you know it Before you know it
:58:19. > :58:21.# Before you know it pushing up the daisies
:58:21. > :58:30.# Ohhh, ohhh, ohhh
:58:30. > :58:38.# And we go back to where we came from
:58:38. > :58:42.# Like those before and those to come
:58:42. > :58:48.# And know it's the ever and the more
:58:48. > :58:51.# And again and again and again and again we go
:58:51. > :58:55.# In the end, in the end In the end nothing comes easy
:58:55. > :58:58.# So you find a way So you find a way
:58:58. > :59:00.# So you find a way to take a little with you
:59:00. > :59:03.# For the ones you love For the ones you love
:59:03. > :59:06.there if they need to
:59:06. > :59:10.# Pharaoh, pharaoh, pharaoh They're not coming with you
:59:11. > :59:18.# Go back to where we came from
:59:18. > :59:21.# Like those before and those to come
:59:21. > :59:26.# And know it's the ever and the more
:59:26. > :59:31.# And again and again and again and again, go
:59:31. > :59:41.# Ohhh
:59:41. > :59:46.
:59:46. > :59:56.# Ohhh. #
:59:56. > :00:03.
:00:03. > :00:05.# So soon we're, so soon we're So soon we're too old to carry
:00:05. > :00:07.# And we knew we, and we knew we
:00:07. > :00:08.# And we knew we only had a little while
:00:08. > :00:08.# In the middle, in the middleIn the middle just keep ticking over
:00:08. > :00:09.# Before you know it before you know it
:00:09. > :00:11.# Before you know it parent a parent
:00:11. > :00:15.# Ohhh, ohhh, ohhh
:00:15. > :00:25.# To have it all, to have it allTo have it all and still want more
:00:25. > :00:26.
:00:26. > :00:28.# Pharaoh, pharaoh, pharaoh They're not coming with you
:00:28. > :00:30.# Go back to where we came from
:00:30. > :00:31.# Like those before and those to come
:00:31. > :00:33.# And know it's the ever and the more
:00:33. > :00:35.# And again and again and again and again, go
:00:35. > :00:44.# Ohhh
:00:44. > :00:52.# Ohhh. #
:00:52. > :01:02.CHEERING AND APPLAUSE
:01:02. > :01:06.
:01:06. > :01:06.Thank
:01:06. > :01:06.Thank you.
:01:06. > :01:10.Thank you. The
:01:10. > :01:14.Thank you. The Maccabees with Pelican. What a marvellous room
:01:14. > :01:20.it's been this evening. If you enjoyed this all, well you can look
:01:20. > :01:25.again on the website. We've had in the studio, we've enjoyed Mike
:01:25. > :01:31.Skinner, we've enjoyed James Fearnley.
:01:32. > :01:38.Beth Jeans Houghton & The Hooves of Destiny, thank you for joining us.
:01:38. > :01:47.The beautiful voice of Paul Buchanan.
:01:47. > :01:56.We've enjoyed Ceu. Next week, we will be having BackWhite, the
:01:56. > :02:06.Alabama Sheiks, and much more. Let's fin wish the amazingal --
:02:06. > :02:39.