:00:34. > :00:44.This programme contains It is Friday. Everything is looking
:00:44. > :01:11.
:01:11. > :01:17.super, super, because here are # I was looking downtown for a chick
:01:17. > :01:23.# Said, "You let me down twice Now lead me to the painted passage"
:01:23. > :01:29.# I wanna fall down today
:01:29. > :01:35.# I followed her around Going underground, got me buzzing
:01:35. > :01:43.# You looked me in the eye I'm not gonna lie, it's not a sin
:01:43. > :01:49.# But don't she look nice? She's the centre of her own attention
:01:49. > :01:59.# I wanna fall down today
:01:59. > :02:04.
:02:04. > :02:10.# When I get down there There's people painting and dancing
:02:10. > :02:16.# The city sleeps above I light candles in a wall of heads
:02:16. > :02:19.# There's panic in the air Police have found us there
:02:19. > :02:22.# We douse the fires
:02:22. > :02:32.# Wanna fall down again
:02:32. > :02:32.
:02:32. > :03:51.Apology for the loss of subtitles for 79 seconds
:03:51. > :04:01.CHEERING AND APPLAUSE
:04:01. > :04:31.
:04:31. > :04:31.will have Cerys Matthews, a sing song
:04:31. > :04:31.song with
:04:31. > :04:32.song with her.
:04:32. > :04:42.song with her. We
:04:42. > :04:43.
:04:43. > :04:47.song with her. We have the wonderful The Lee Thompson Ska Orchestra. And
:04:47. > :04:57.from London we are delighted to welcome back into this room John
:04:57. > :05:18.
:05:18. > :05:20.# Back then I often found myself # And the radio was broadcasting
:05:20. > :05:23.# Warm late spring wind whips through my hair
:05:23. > :05:25.# I am right here But I wanna be there
:05:25. > :05:31.# And no-one in this world is gonna stop me
:05:31. > :05:33.# Pale green ghosts at the end of May
:05:33. > :05:41.# Soldiers of this black highway Helping me to know my place
:05:41. > :05:43.# Pale green ghosts must take great care
:05:43. > :05:46.# Release themselves into the air
:05:46. > :05:56.# Reminding me that I must be aware
:05:56. > :06:02.
:06:02. > :06:05.# At 25 and 36 to Boulder
:06:05. > :06:08.# I was getting warm But now I'm getting colder
:06:08. > :06:12.# And I stomp my feet Demanding like a child
:06:12. > :06:15.# I hope you get everything you wanted, boy
:06:15. > :06:18.# I hope you conquer the world and turn it into your toy
:06:18. > :06:23.# But don't come crying when you're forced to learn the truth
:06:23. > :06:26.# Pale green ghosts at the end of May
:06:26. > :06:33.# Soldiers of this black highway Helping me to know my place
:06:33. > :06:36.# Pale green ghosts must take great care
:06:36. > :06:39.# Release themselves into the air
:06:39. > :06:49.# Reminding me that I must be aware
:06:49. > :06:49.
:06:49. > :08:20.Apology for the loss of subtitles for 79 seconds
:08:20. > :08:22.# Pale green ghosts at the end of May
:08:22. > :08:29.# Soldiers of this black highway Helping me to know my place
:08:29. > :08:32.# Pale green ghosts must take great care
:08:32. > :08:35.# Release themselves into the air
:08:35. > :08:45.# Reminding me that I must be aware. #
:08:45. > :08:55.
:08:55. > :09:05.CHEERING AND APPLAUSE
:09:05. > :09:14.
:09:14. > :09:14.studio packed full of interesting different
:09:14. > :09:17.different things.
:09:17. > :09:17.different things. Now
:09:17. > :09:23.different things. Now Madness
:09:23. > :09:33.different things. Now Madness have created this fantastic scar
:09:33. > :09:40.
:09:41. > :09:47.orchestra. We welcome the The Lee # We are rocking
:09:47. > :09:57.# Calypso keeps you rocking # Lee Thompson Orchestra with
:09:57. > :09:57.
:09:57. > :11:38.Apology for the loss of subtitles for 79 seconds
:11:38. > :11:48.# As I will say, wha! # It's not what you earn
:11:48. > :12:19.
:12:19. > :12:29.# But what you keep of it # Bam-ba-ba-do, ba-da-da-da-do
:12:29. > :12:30.
:12:30. > :13:21.Apology for the loss of subtitles for 79 seconds
:13:21. > :13:28.featuring McLean. One of the best books and I would not say that
:13:28. > :13:33.casually, one of the best books is this book and it is by the person at
:13:33. > :13:39.the piano, Cerys Matthews. Fantastic to have you here. Why would I make
:13:39. > :13:44.this? Why, oh, why would I say this is one of the best booksvy seen for
:13:44. > :13:50.ages? -- best books I have seen for ages? How would you describe it?
:13:50. > :13:57.is a sing along book. If you are at your kitchen and say, do you
:13:57. > :14:00.remember that song from 1989? course I am on a long journey. It is
:14:00. > :14:06.remembering all the words - all the words are there - they are what you
:14:06. > :14:11.think you know and you don't really. I like bananas because they have no
:14:11. > :14:19.bones. Everything needs to know that one! There are some old generals in
:14:19. > :14:25.there. If you get stuck this will be the book to have in your parlour,
:14:25. > :14:29.around the fire. There's Christmas ones in there. You can be in the
:14:29. > :14:34.front room, or in people's consciousness. You at home can sing.
:14:34. > :14:39.We all have a musical instrument, which is our voice. You can sound
:14:39. > :14:46.bad, so long as you are enjoying yourself. We don't need no disco. I
:14:46. > :14:50.want a sing along. Give us one, come on. You can make any noise you like.
:14:50. > :14:56.The thing with these songs is they come with stories. This is a story
:14:56. > :15:00.to warn people about the dangers of drinking alcohol near water and
:15:00. > :15:06.basically the young man fancies a little young girl and gives her some
:15:06. > :15:13.red wine. We'll know it, but this is a very old version.
:15:13. > :15:22.# I see her lips above the waters # Blowing bubbles very fine
:15:22. > :15:25.# No use # So I lost my Clementine
:15:25. > :15:34.# Don't give your ladies too much wine
:15:34. > :15:44.# In case, in this wet weather # They share the fate of Clementine
:15:44. > :15:46.
:15:46. > :15:56.# Oh my darling Clementine # Now you were lost and gone forever
:15:56. > :16:12.
:16:12. > :16:16.# I'm dreadful sorry dreadful sorry Songs you can sing at home, hook,
:16:16. > :16:23.line and sinker. Christmas in the car n the bath - the lot. We are
:16:23. > :16:33.delighted to welcome over in this corner from London Melt Yourself
:16:33. > :16:33.
:16:33. > :17:17.Apology for the loss of subtitles for 79 seconds
:17:17. > :17:25.# I say we just seen # I say we just seen
:17:25. > :17:35.# Together we will run # Arise filthy words
:17:35. > :17:41.
:17:41. > :17:45.# I say we just seen # Beat, beat and the word again
:17:45. > :17:49.# I say we are enough I say we are enough
:17:49. > :17:55.# I say we are enough I say we are enough
:17:55. > :18:01.# Oh yeah, oh yeah, oh yeah
:18:01. > :18:11.# Oh yeah, oh yeah, oh yeah
:18:11. > :18:31.
:18:31. > :18:35.# La-la-la la-la-laaaa
:18:35. > :18:39.# La-la-la la-la-laaaa
:18:39. > :18:49.# La-la-la la-la-laaaa
:18:49. > :18:49.
:18:49. > :19:31.Apology for the loss of subtitles for 79 seconds
:19:31. > :19:41.# Cobbedy-air, cobbedy-air # Cobbedy-air, cobbedy-air
:19:41. > :19:47.
:19:47. > :19:57.Cobbedy-ow # Cobbedy-air, cobbedy-air
:19:57. > :20:22.
:20:22. > :20:32.# Oh yeah, oh yeah, oh yeah CHEERING AND APPLAUSE
:20:32. > :20:32.
:20:32. > :21:25.Apology for the loss of subtitles for 79 seconds
:21:26. > :21:35.band, for the first time ever on # # Suicide
:21:36. > :21:36.
:21:36. > :23:43.Apology for the loss of subtitles for 79 seconds
:23:43. > :23:53.# Even the stone finds a place # You could probably say I'm
:23:53. > :24:08.
:24:08. > :24:18.# I overanalyze and over think # I'm usually only waiting for you
:24:18. > :24:36.
:24:37. > :24:43.# Concerning two-way streets I have # But I am the greatest motherfucker
:24:43. > :24:51.# From the top of my head down to the tips off the toes on my feet
:24:51. > :24:58.# So go ahead and love me while it's still a crime
:24:58. > :25:02.# And don't forget you could be laughing
:25:02. > :25:06.# 65 percent more of the time
:25:06. > :25:16.# You could be laughing 65 percent more of the time
:25:16. > :25:20.
:25:20. > :25:25.# Half of the time I think I'm in some movie
:25:25. > :25:34.# I play the underdog of course
:25:34. > :25:41.# I wonder who they'll get to play me
:25:41. > :25:49.# Maybe they could dig up Richard Burton's corpse
:25:49. > :25:53.# I am not who you think I am
:25:53. > :26:03.# I am quite angry which I barely can conceal
:26:03. > :26:03.
:26:03. > :26:08.# You think I hate myself it's you I hate
:26:08. > :26:17.# Because you have the nerve to make me feel
:26:18. > :26:25.# But I am the greatest motherfucker that you'll ever gonna meet
:26:25. > :26:32.# From the top of my head down to the tips off the toes on my feet
:26:32. > :26:38.# So go ahead and love me while it's still a crime
:26:38. > :26:41.# And don't forget you could be laughing
:26:42. > :26:47.# 65 percent more of the time
:26:47. > :26:56.# You could be laughing 65 percent more of the time
:26:56. > :27:06.# I should've practised my scales I should not be attracted to males
:27:06. > :27:08.
:27:08. > :27:15.# But you said that I should learn to love myself
:27:15. > :27:25.# Make up your mind Doctor Frankenstein
:27:25. > :27:42.
:27:42. > :27:47.# But I am the greatest motherfucker that you'll ever gonna meet
:27:47. > :27:55.# From the top of my head down to the tips off the toes on my feet
:27:55. > :28:00.# So go ahead and love me while it's still a crime
:28:00. > :28:04.# And don't forget you could be laughing
:28:04. > :28:09.# 65 percent more of the time
:28:09. > :28:18.# You could be laughing 65 percent more of the time
:28:18. > :28:24.# You could be laughing 25 percent more of the time. #
:28:24. > :28:34.CHEERING AND APPLAUSE
:28:34. > :28:42.
:28:42. > :28:43.The wonderful voice of Grant. Before that,
:28:43. > :28:43.that, we
:28:43. > :28:43.that, we enjoyed
:28:43. > :28:47.that, we enjoyed Low.
:28:47. > :28:52.that, we enjoyed Low. There is one more man we should applaud, and I
:28:52. > :28:55.will tell you who it is - this week he would have been 109 had he been
:28:55. > :29:05.able to come here this evening. He was one of the greatest composers,
:29:05. > :29:05.
:29:05. > :30:55.Apology for the loss of subtitles for 79 seconds
:30:55. > :31:05.one of the inventors of jazz. I will # It was a cold September before the
:31:05. > :31:10.
:31:10. > :31:19.# Went from station to station on a train across the nation
:31:19. > :31:23.# And the rain of November
:31:23. > :31:28.# That's the time that we ended
:31:28. > :31:32.# She was the one, for me
:31:32. > :31:38.# Well, all right
:31:38. > :31:47.# Vodka with Coca Cola, cocaine tucked in her shoes
:31:47. > :31:50.# Cigarettes over coffee
:31:50. > :31:55.# Her halo slipped to a noose
:31:55. > :32:00.# Take a slow boat to China
:32:00. > :32:05.# You fly a rag around the moon
:32:05. > :32:08.# She could take it or leave it
:32:08. > :32:12.# I knew it had to end soon
:32:12. > :32:16.# She was the one, for me
:32:16. > :32:20.# She opened my eyes to see
:32:20. > :32:26.# She was the one, for me
:32:26. > :32:30.# Well, all right
:32:30. > :32:39.# It was a cold September before the Indian summer
:32:39. > :32:48.# That's the thing I remember when she gave me her number
:32:48. > :32:57.# Went from station to station on a train across the nation
:32:57. > :33:06.# And the rain of November, that's the time that we ended
:33:06. > :33:10.# She was the one, for me
:33:10. > :33:14.# She opened my eyes to see
:33:14. > :33:19.# She was the one, for me
:33:19. > :33:29.# Well, all right, all right, all right, yeah. #
:33:29. > :34:03.
:34:03. > :34:13.CHEERING AND APPLAUSE
:34:13. > :34:28.
:34:28. > :34:33.# Woman no wanna bangarang
:34:33. > :34:39.# Woman no wanna bangarang
:34:39. > :34:49.# Woman no wanna bangarang
:34:49. > :34:49.
:34:49. > :37:35.Apology for the loss of subtitles for 79 seconds
:37:35. > :37:40.Orchestra. Now, I am delighted to say that I am joined by the
:37:40. > :37:48.incredibly talented person that is no other than Kelly Jones of
:37:48. > :37:53.Stereophonics. Now, you have this fantastic record here and the first
:37:54. > :38:02.thing, Graffiti On The Train - interesting title. Where does that
:38:02. > :38:09.from come from? I was at home on my own. I heard footsteps. I shouted to
:38:09. > :38:15.them politely one night, "What are you doing on my roof? " They said
:38:15. > :38:18.they were trying to get to the train track behind my house to paint it. I
:38:18. > :38:24.started to think of different stories of why you take risks to
:38:24. > :38:30.leave your mark on it, really. It stemmed an idea for a song and a
:38:30. > :38:34.film idea. You have a script for a feature film for it? Screen plays
:38:34. > :38:38.have been developing with BAFTA for 15 months. We are starting to look
:38:38. > :38:47.for money and producers. You have come to the right place. What do you
:38:47. > :38:51.need? A lot.What have you got? Five quid! You have the brilliant David
:38:51. > :38:56.Arnold, who does James Bond music and all sorts of things. When we
:38:56. > :39:00.started to make demos of the record we had French horn ideas on a
:39:00. > :39:05.keyboard. We never thought he would want to work with us. I played him
:39:05. > :39:07.three songs and he liked it. He arranged some of the ideas and
:39:08. > :39:17.contributed to Graffiti On The Train and with his orchestra. You first
:39:17. > :39:27.came on the show, I think about 16 years ago - 1996. Would you say that
:39:27. > :39:38.
:39:38. > :39:44.your philosophical is different now? -- Physically I am still a short
:39:44. > :39:52.cars. And the third one? There were only three of us on the first one.
:39:52. > :39:58.It is a change. You keep making it bigger. Ads a few more people.
:39:58. > :40:06.-- add a few more people. Thank you for joining us, Kelly
:40:06. > :40:10.Jones. So, one of the great things in this
:40:10. > :40:18.show is we have fantastic music from all over the world. One artist who
:40:18. > :40:28.has been a great success in parts of the world is a here now. From
:40:28. > :40:28.
:40:28. > :48:02.Apology for the loss of subtitles for 79 seconds
:48:02. > :48:11.I am delighted to say Lee thom Thompson is standing by. Tell me who
:48:11. > :48:20.Sister Mary is? She was a nun, who opened up the Alfha School for boys
:48:20. > :48:28.in Kingston, Jamaica, in the early 1950s and she took in the likes of
:48:28. > :48:35.the scatterlights and a friend of ours? Yes. You know more than me.
:48:35. > :48:41.band were terrified of them, but they learnt music. Sister Mary gave
:48:41. > :48:47.them an instrument each and said, music is the food of love, play on.
:48:47. > :48:52.And he still has the photo in his wallet, until this day. And, so
:48:52. > :49:00.marvellous. I salute you all, gentlemen. Good day. Now, we go up
:49:00. > :49:10.this end here. What a love lovely variation of
:49:10. > :49:34.
:49:34. > :49:44.stuff this evening. We have had ska. # I could tell the whole world
:49:44. > :49:44.
:49:44. > :50:42.Apology for the loss of subtitles for 79 seconds
:50:42. > :50:52.# You say I'm something I'm not # I could tell the whole world
:50:52. > :50:52.
:50:52. > :53:10.Apology for the loss of subtitles for 79 seconds
:53:10. > :53:15.# I could tell the whole world # What you can't mark your pretty
:53:15. > :53:20.# Etch-a-sketch your way out of this one, reject
:53:20. > :53:22.# You are at the height of your game aren't you
:53:22. > :53:23.# Would you not say that you agree baby
:53:23. > :53:27.# You got your grip all fine tuned and sparkling
:53:27. > :53:31.# Yeah, you got your bored look all worked out
:53:31. > :53:35.# You are all enlightened, nothing makes you frightened
:53:35. > :53:39.# You ain't got no time to waste on entry level middle class
:53:39. > :53:43.# You are supercilious, pretty and ridiculous
:53:43. > :53:48.# You got really good taste, you know how to cut and paste
:53:48. > :53:51.# What you got is a black belt in BS
:53:51. > :53:55.# What you can't mark your pretty ways up in here any more
:53:56. > :53:59.# Hit your head on the playground at recess
:53:59. > :54:09.# Etch-a-sketch your way out of this one, reject
:54:09. > :54:19.
:54:19. > :54:23.# You know how to get what you want don't you
:54:23. > :54:28.# Would you not say that you agree baby
:54:28. > :54:31.# You really think that you can school me in semantics
:54:31. > :54:33.# I can't recommend that, baby
:54:33. > :54:36.# I see through your antics
:54:36. > :54:39.# You think you're mysterious you cannot be serious
:54:39. > :54:43.# You got lots of time to think of new ways to deceive yourself
:54:43. > :54:47.# You are callipygian, but look at the state you're in
:54:47. > :54:52.# You got really nice clothes, bet you didn't pay for those
:54:52. > :54:55.# What you got is a black belt in BS
:54:55. > :55:00.# What you can't mark your pretty ways up in here any more
:55:00. > :55:03.# Hit your head on the playground at recess
:55:03. > :55:13.# Etch-a-sketch your way out of this one, reject
:55:13. > :55:13.
:55:13. > :55:56.Apology for the loss of subtitles for 79 seconds
:55:56. > :55:59.# What you got is a black belt in BS
:55:59. > :56:04.# What you can't mark your pretty ways up in here any more
:56:04. > :56:07.# Hit your head on the playground at recess
:56:07. > :56:17.# Etch-a-sketch your way out of this one, reject
:56:17. > :56:27.
:56:27. > :56:31.# What you got is a black belt in BS
:56:31. > :56:35.# What you can't mark your pretty ways up in here any more
:56:35. > :56:39.# Hit your head on the playground at recess
:56:39. > :56:43.# Etch-a-sketch your way out of this one, reject
:56:43. > :56:47.# What you got is a black belt in BS
:56:47. > :56:51.# What you can't mark your pretty ways up in here any more
:56:51. > :56:55.# Hit your head on the playground at recess
:56:55. > :57:04.# Etch-a-sketch your way out of this one, reject. #
:57:04. > :57:05.# What you got is a black belt in BS
:57:05. > :57:07.# What you can't mark your pretty ways up in here any more
:57:07. > :57:12.# Hit your head on the playground at recess
:57:12. > :57:17.# Etch-a-sketch your way out of this one, reject. #
:57:17. > :57:27.CHEERING AND APPLAUSE
:57:27. > :58:01.
:58:01. > :58:07.# Oh, the graffiti on the train
:58:07. > :58:12.# Oh, the graffiti on the train
:58:12. > :58:20.# Oh, no, rolled into her life
:58:20. > :58:27.# Oh, the graffiti on the train
:58:27. > :58:32.# Ohh, sets out He left his lover sleeping
:58:32. > :58:35.# Rain falls He's drowning in his secret
:58:35. > :58:38.# Wet streets are quiet as a church hall
:58:38. > :58:42.# Last house Where children kick the football
:58:42. > :58:45.# Crossroads His heart is beating faster
:58:45. > :58:49.# Getting close to ask another question
:58:49. > :58:52.# "Marry me" He wants to paint the words on
:58:52. > :58:56.# The night train He's hiding with his spray cans
:58:56. > :59:01.# Tonight he's gonna ride When the paint is done and dried
:59:01. > :59:09.# Oh, come on, ohh-ohh-ohh
:59:09. > :59:16.# The graffiti on the train
:59:16. > :59:21.# Oh, the graffiti on the train
:59:21. > :59:28.# Oh, the graffiti on the train
:59:28. > :59:34.# Oh, she'll never be the same Oh, no
:59:34. > :59:41.# Rolled into her life
:59:41. > :59:50.# Oh, the graffiti on the train
:59:50. > :59:53.# Oh, day breaks His lover yawns and wakes up
:59:53. > :59:56.# Sips her cup and dusts her face in make-up
:59:56. > :00:00.# Platform She hears the people whisper
:00:00. > :00:03.# Someone died, they surfed the train and slipped up
:00:03. > :00:06.# Train comes The coach she's always used to
:00:06. > :00:10.# The doors read "Marry me, I love you"
:00:10. > :00:13.# Heart stops Ecstatic and suspicious
:00:13. > :00:16.# She makes the call But he don't pick the phone up
:00:16. > :00:20.# The train sped down the line
:00:20. > :00:27.# It was the last train he would ride, oh no
:00:28. > :00:35.# Oh, the graffiti on the train
:00:35. > :00:42.# Oh, the graffiti on the train
:00:42. > :00:49.# Oh, the graffiti on the train
:00:49. > :00:56.# Oh, she will never be the same Oh, no
:00:56. > :01:02.# Rolled into her life
:01:02. > :01:09.# Oh, the graffiti on the train