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Welcome to the show! Welcome to John Newman! | :00:00. | :00:47. | |
# Know I've done wrong left your heart torn | :00:48. | :00:52. | |
# Took you so long where only fools gone | :00:53. | :00:58. | |
# Feel with all the strength I found there's nothing I can't do | :00:59. | :01:23. | |
# It's unforgivable I stole and burnt your soul | :01:24. | :02:06. | |
# They rule the worst in me destroy everything | :02:07. | :02:12. | |
# Filled with all the strength # There's nothing I can't do | :02:13. | :02:30. | |
# Do this again, do this again oh oh | :02:31. | :03:51. | |
How wonderful to have that talented man back in this room, John Newman, | :03:52. | :04:44. | |
Love Me Again. It is a room packed of extraordinary and diverse talent. | :04:45. | :04:54. | |
We will welcome MGMT. I will have a close and personal encounter with | :04:55. | :04:59. | |
one of the greatest Londoners of all time, Sykes. -- Suggs. And, | :05:00. | :05:12. | |
Passenger. Also, per week. From south-west London, Anna Calvi. But | :05:13. | :05:23. | |
now, from Glasgow and New York, one talented man, Lloyd Cole. | :05:24. | :05:38. | |
# Taking unpaid leave from my women's studies, uh huh | :05:39. | :05:47. | |
# Out here in the meadow With A People's History Of America | :05:48. | :05:54. | |
# I smoke a pipe to Johnny 99 Bipartisan Consensus | :05:55. | :06:01. | |
# I'm keeping it dry, nothing flighty | :06:02. | :06:04. | |
# We were young and we were stupid and it was fine while it lasted | :06:05. | :06:15. | |
# To complete my education I wake up in your bathtub | :06:16. | :06:22. | |
# Oh, those Monday morning quarters I grew so accustomed to | :06:23. | :06:36. | |
# I've seen enough, I've made my recommendations | :06:37. | :06:39. | |
# Your powers of reduction remain strangely undiminished | :06:40. | :06:49. | |
# Yes you, in your hushed tones and your campus etiquette | :06:50. | :06:58. | |
# Then nothing should keep her mouth shut | :06:59. | :07:04. | |
# We were young and we were stupid and it was fine while it lasted | :07:05. | :08:12. | |
# Are these riches here the spoils of my retreat? | :08:13. | :08:13. | |
# These rented rooms and bachelors degree | :08:14. | :08:15. | |
# It's a Penguin Classic scene broken spine and faded green | :08:16. | :08:17. | |
# Trying to re-locate my arms around a memory | :08:18. | :08:20. | |
# Taking unpaid leave from my women's studies, uh huh | :08:21. | :08:27. | |
# Hiding up here in my library/study with The Great Wall Of China | :08:28. | :08:34. | |
# If Josef K was from Edinburgh and Fast Product from Prague | :08:35. | :10:12. | |
# If Josef K was from Edinburgh # The lonely won't hold me for good | :10:13. | :10:14. | |
# Tomorrow, tomorrow's too late so hold me up | :10:15. | :11:04. | |
# Hold me up I know that I could be you, Eliza | :11:05. | :11:15. | |
# So dress-less and godless I wait to leave | :11:16. | :11:35. | |
# This should behind entangled the jangle of bells | :11:36. | :11:41. | |
# They ring my fear through the night | :11:42. | :12:00. | |
Thank you, Anna Calvi, with Eliza. Now, regular viewers will notice I | :12:01. | :13:38. | |
am bunked up, because I have a slight cold, but they say feed a | :13:39. | :13:44. | |
cold, so I have decided to feed it with delightful music. These next | :13:45. | :13:50. | |
artists took a year out to recharge themselves before creating a | :13:51. | :13:51. | |
wonderful new record, MGMT. # He knows it's all right | :13:52. | :14:04. | |
to live a life # Not knowing that your life | :14:05. | :15:28. | |
is a lie Thank you, MGMT, Your Life Is A Lie. | :15:29. | :16:20. | |
From the album temp -- from the album MGMT. I have a talented man in | :16:21. | :16:26. | |
the studio, the band that they dare to call Suggs! Welcome to the show, | :16:27. | :16:34. | |
nice to see do, I am sorry I have a cold. An amazing autobiography, you | :16:35. | :16:46. | |
cannot put it down. It should be flunk with great force out of the | :16:47. | :16:51. | |
train window. I saw somebody reading it like this. Fantastic. The first | :16:52. | :16:59. | |
question has to be, why? Because he wanted to reflect on where you have | :17:00. | :17:03. | |
been before you can move on, or because he wanted a load of money? | :17:04. | :17:11. | |
Or both? A bit of both. A set of converging circumstances. It was my | :17:12. | :17:20. | |
50th birthday party, I was contemplating the half-century on | :17:21. | :17:25. | |
the planet. My cat fell off the shelf and died beside me. It was | :17:26. | :17:32. | |
very upsetting. A portent. Given the dreadful things that may or may not | :17:33. | :17:36. | |
have happened to me, that tipped me over the edge into contemplating | :17:37. | :17:42. | |
what I have been doing. A lot of great things in here, it is funny | :17:43. | :17:49. | |
and moving. You run the gamut. Where did Suggs come from? Legend has it | :17:50. | :17:56. | |
that I decided to pick a new name for myself and I put a pin in an | :17:57. | :18:01. | |
encyclopaedia of jazz musicians, and it stuck in the middle of the letter | :18:02. | :18:06. | |
E of the name Peter. I thought, that is no good! Then, I read his second | :18:07. | :18:13. | |
name, Suggs. Things fall into mythology, it was Peter Suggs, a | :18:14. | :18:20. | |
drummer from Kentucky. He played piano as well. I wondered if there | :18:21. | :18:32. | |
were any other parallels? Probably, but the coincidence starts to strike | :18:33. | :18:35. | |
more coincidently, the older you get! I was just saying that! You | :18:36. | :18:45. | |
have met so many more people, been through so many more situations. | :18:46. | :18:54. | |
Touchingly, you have dedicated a chapter to Television Centre. You | :18:55. | :19:01. | |
were there when it closed. I was talking to your producer, who | :19:02. | :19:06. | |
invited us to play at the closing, and he gave me a last chapter to the | :19:07. | :19:10. | |
book. I was finding it difficult to round off. I be lysed in the end, | :19:11. | :19:16. | |
having closed the jubilate, the Olympics, I then closed Television | :19:17. | :19:25. | |
Centre, which are in the market for closing things! Cyprus and the Post | :19:26. | :19:29. | |
Office have been on the phone! We have got a clip right now. | :19:30. | :19:44. | |
# Our house. # In the middle of our street. | :19:45. | :19:59. | |
# Our house. # That was where we used to sleep. | :20:00. | :20:08. | |
Also, you have been doing a fantastic one-man show, how would | :20:09. | :20:18. | |
you describe it to people who have not seen it? A musical, semi-tragic | :20:19. | :20:23. | |
comedy, laugh a minute, fantastic but nonsense. It is a must see. It | :20:24. | :20:31. | |
describes my life story. If you are nervous about buying the book, come | :20:32. | :20:39. | |
and see me in December. If they have come to see you, and they have | :20:40. | :20:45. | |
bought the book, what do they do then? Can they go on holiday with | :20:46. | :20:49. | |
you? Maybe we should take them on holiday together! Please do not ask | :20:50. | :20:54. | |
me what I am doing next, it is grinding to a halt! I am finally | :20:55. | :21:04. | |
finished, talking about myself. It is wonderful to have Suggs on the | :21:05. | :21:07. | |
show, with his superb book. Thank you, Suggs. The greatest living | :21:08. | :21:17. | |
Englishman! Now, an amazing singer from Brighton, Passenger. | :21:18. | :21:32. | |
# Well, you only need the light when it's burning low | :21:33. | :21:36. | |
# Only miss the sun when it starts to snow | :21:37. | :21:40. | |
# Only know you love her when you let her go | :21:41. | :21:47. | |
# Only know you've been high when you're feeling low | :21:48. | :21:50. | |
# Only hate the road when you're missin' home | :21:51. | :21:54. | |
# Only know you love her when you let her go | :21:55. | :22:00. | |
# Staring at the bottom of your glass | :22:01. | :22:17. | |
# Hoping one day you'll make a dream last | :22:18. | :22:20. | |
# But dreams come slow and they go so fast | :22:21. | :22:28. | |
# You see her when you close your eyes | :22:29. | :23:30. | |
# Well, you only need the light when it's burning low | :23:31. | :23:39. | |
# Only miss the sun when it starts to snow | :23:40. | :23:43. | |
# Only know you love her when you let her go | :23:44. | :23:50. | |
# Only know you've been high when you're feeling low | :23:51. | :23:53. | |
# Only hate the road when you're missin' home | :23:54. | :23:56. | |
# Only know you love her when you let her go | :23:57. | :24:03. | |
# Cos you only need the light when it's burning low | :24:04. | :24:34. | |
# Only miss the sun when it starts to snow | :24:35. | :24:38. | |
# Only know you love her when you let her go | :24:39. | :24:46. | |
# Only know you've been high when you're feeling low | :24:47. | :24:50. | |
# Only hate the road when you're missin' home | :24:51. | :24:54. | |
# Only know you love her when you let her go | :24:55. | :25:04. | |
MUSIC: "Out Of My Head" John Newman | :25:05. | :25:41. | |
# As time goes by there's no pieces left | :25:42. | :25:59. | |
# To shut out feeling lonely I get out of my head | :26:00. | :26:16. | |
#To shut out feeling lonely I get out of my head | :26:17. | :26:31. | |
# Why would you want to love somebody | :26:32. | :26:35. | |
# Free to see the world now as my own | :26:36. | :26:52. | |
# Breaks through my mind what I have lost | :26:53. | :27:18. | |
# To shut out feeling lonely I get out of my head | :27:19. | :27:25. | |
# To shut out feeling lonely I get out of my head | :27:26. | :27:41. | |
# Why would you want to love somebody | :27:42. | :27:44. | |
# You called to say you're missing me | :27:45. | :27:53. | |
# I'm out of my mind but learning to get on by fine | :27:54. | :28:08. | |
# To shut out being lonely I get out of my head | :28:09. | :28:15. | |
# To shut out being lonely I get out of my head | :28:16. | :28:31. | |
# Why would you want to love somebody | :28:32. | :28:35. | |
From his album, Out Of My Head, the wonderful voice of John Newman. | :28:36. | :29:21. | |
Before that, we enjoyed Passenger. Next, the start of the international | :29:22. | :29:30. | |
Latin world, everybody says she is marvellous, please welcome Buika. | :29:31. | :29:44. | |
# You would be the one to come a knocking at my door | :29:45. | :33:25. | |
# And I would be the one to let you in and nothing more | :33:26. | :33:32. | |
# You would break the bread and we would drink the blood of Christ | :33:33. | :33:39. | |
# Blessed are the lovers for theirs shall be the night | :33:40. | :33:48. | |
# And in the morning you' be lying by my side | :33:49. | :33:54. | |
# You would be the one to lay the blanket on the ground | :33:55. | :34:09. | |
# And I would come to you but you'd be nowhere to be found | :34:10. | :34:16. | |
# So I would turn to her for she was always, always there | :34:17. | :34:24. | |
# Lost will be the souls of the wanton and the weak | :34:25. | :34:33. | |
# Lost in the morning she'd be lying next to me | :34:34. | :34:36. | |
# So then it was for me to come a calling at your window | :34:37. | :34:54. | |
# She doesn't live here - just the thin girl | :34:55. | :35:01. | |
# So I would lay the table and I'd wait for you to call | :35:02. | :36:13. | |
# I became the one who sits and watches from afar | :36:14. | :36:45. | |
# Now, who should be the one to come a striding down my street? | :36:46. | :36:48. | |
# To what do we owe this apparent sense of urgency? | :36:49. | :36:51. | |
# And I should be the one touched by your very presence, dear? | :36:52. | :36:56. | |
# The longer you were gone the less the longing | :36:57. | :37:08. | |
Thank you, Lloyd Cole, from his LP. I will be discussing things with him | :37:09. | :38:26. | |
in a moment. Before that, we enjoyed Buika. Another woman with an amazing | :38:27. | :38:31. | |
voice, Anna Calvi. # Crawling out | :38:32. | :38:45. | |
you need to protect me # I'm calling out | :38:46. | :38:57. | |
find me a stronger hand # Better confess | :38:58. | :39:05. | |
it tastes like I'm leaving # Ashes to ashes it leaves me with | :39:06. | :40:57. | |
nothing. # I'm falling away well, if you want | :40:58. | :41:05. | |
it. # The touch and the spell her eyes | :41:06. | :41:12. | |
are so wild. # We stand on the edge it tastes | :41:13. | :41:14. | |
like I'm leaving. Anna Calvi, Suddenly. Over in this | :41:15. | :42:17. | |
corner, I am delighted to meet the man who was performing for us so | :42:18. | :42:20. | |
brilliantly there, for the first time on this show, Lloyd Cole. | :42:21. | :42:32. | |
Welcome to the show. I have given my cold to Suggs! A great new record, | :42:33. | :42:37. | |
Bob Dylan was instrumental in new putting this together? I suppose so, | :42:38. | :42:46. | |
I reviewed Tempest last year, and I was blown away by how he does not | :42:47. | :42:53. | |
change what he is doing. It is possible but in the last ten years I | :42:54. | :42:57. | |
might have been too worried about what was age-appropriate music, so I | :42:58. | :43:02. | |
decided to see what would happen if I did not think about it. You are | :43:03. | :43:10. | |
going back to your earlier roots. It is an electric pop record, which is | :43:11. | :43:15. | |
what I'd use today. I have been getting quieter over the years, and | :43:16. | :43:20. | |
this is loud again. You have not been on the show before, it is nice | :43:21. | :43:24. | |
to have you here. At the beginning of the show, we say, where would you | :43:25. | :43:31. | |
like us to say you are from, but you wanted to be from Glasgow, New York | :43:32. | :43:38. | |
and Buxton. Is it possible? Yes, I was born in Buxton, I am an honorary | :43:39. | :43:44. | |
Glaswegian, and I have lived in New York for a long time. Home now is in | :43:45. | :43:54. | |
Massachusetts. I am there purely out of inertia, I have two kids and | :43:55. | :43:58. | |
their wife, I would rather be in Whitby. It is very nice! We have a | :43:59. | :44:04. | |
clip of you, that have a look. # Too easily. | :44:05. | :44:19. | |
# Too easily. What year is that? 1985. | :44:20. | :44:57. | |
Terrifying! The same year that you saw me and Miles Davis talking on | :44:58. | :45:04. | |
the television. It was hilarious, he wanted to talk about his drawings of | :45:05. | :45:10. | |
his wife, primarily from behind. That did have a hand in the | :45:11. | :45:21. | |
inspiration for the song I signed earlier, Women's Studies. I said to | :45:22. | :45:28. | |
Miles Davis, you connect your visual art with your music? He paused, it | :45:29. | :45:35. | |
got to the end of the interview, and he said, yeah, sure. What are you | :45:36. | :45:48. | |
going to do for us next? An old one, Perfect Skin. A nice band you have | :45:49. | :45:54. | |
got with you as well. It is good to see you, Lloyd Cole. Everywhere this | :45:55. | :46:03. | |
man goes, people love him, he has been on tour with me, he is great, | :46:04. | :46:06. | |
he is Passenger. # I know a man | :46:07. | :46:19. | |
with nothing in his hands # He told me about | :46:20. | :46:24. | |
when his house burnt down # They were gonna ask | :46:25. | :46:27. | |
his mother to choose # She said one day her husband | :46:28. | :46:35. | |
went to get a paper # Mortgage to pay | :46:36. | :47:38. | |
and four kids to raise # She said, "The wolf's just a puppy | :47:39. | :47:40. | |
and the door's double locked # "Now he left a hole in my heart | :47:41. | :47:42. | |
a hole in a promise # "Oh, now that he's gone | :47:43. | :47:45. | |
well, life carries on # "And I miss him like | :47:46. | :47:48. | |
a hole in the head!" # Well sometimes you can't change | :47:49. | :47:49. | |
and you can't choose # And sometimes it seems | :47:50. | :47:56. | |
you gain less than you lose # Now we've got holes in our hearts | :47:57. | :48:04. | |
yeah, we've got holes in our lives # Where we've got holes, | :48:05. | :48:12. | |
we've got holes but we carry on # Where we've got holes | :48:13. | :48:21. | |
in our hearts # Where we've got holes | :48:22. | :48:24. | |
we've got holes but we carry on # Said we've got holes in our hearts | :48:25. | :48:34. | |
yeah, we've got holes in our lives # Where we've got holes | :48:35. | :48:40. | |
we've got holes but we carry on # Said we've got holes in our hearts | :48:41. | :48:46. | |
we've got holes in our lives # We've got holes, we've got holes | :48:47. | :48:53. | |
but we carry on # Said we've got holes | :48:54. | :48:59. | |
in our hearts # We've got holes, we've got holes | :49:00. | :49:03. | |
but we carry on # Said we've got holes in our hearts | :49:04. | :49:15. | |
yeah, we've got holes in our lives # Where we've got holes | :49:16. | :49:22. | |
we've got holes but we carry on. # Thank you, Passenger. From his | :49:23. | :49:49. | |
album, that is Holes. Wonderful. Now, it is MGMT. | :49:50. | :50:05. | |
MUSIC: "Plenty Of Girls In The Sea" MGMT | :50:06. | :51:11. | |
# No it's whatever you want it to be. | :51:12. | :51:15. | |
# There's plenty of girls in the sea. | :51:16. | :51:34. | |
# Ah, the passionate painter will say with a brush. | :51:35. | :51:39. | |
# "It's best to accept it and not make a fuss. | :51:40. | :51:46. | |
# "Just cos the grass isn't green". # Yeah, there's plenty of girls in | :51:47. | :51:50. | |
the sea. # There's plenty of girls in the | :51:51. | :51:55. | |
sea. # And plenty of clowns in the | :51:56. | :51:59. | |
village. # The trick is to try to be free. | :52:00. | :52:06. | |
# And tend to the void don't just fill it. | :52:07. | :52:10. | |
# The bartender concedes from inside his vest. | :52:11. | :52:14. | |
# That none of the best ones were ever the best. | :52:15. | :52:19. | |
# So keep it short, simple and sweet. | :52:20. | :52:23. | |
# Cos there's plenty of girls in the sea. | :52:24. | :52:38. | |
# Cos there's plenty of girls in the sea. | :52:39. | :52:48. | |
# Cos there's plenty of girls in the sea. | :52:49. | :52:55. | |
# Whenever you want there to be. # I choose my friends | :52:56. | :53:02. | |
only far too well # I'm up on the pavement | :53:03. | :53:22. | |
they're all down in the cellar # With their government grants | :53:23. | :53:24. | |
and my IQ # She's up on the pavement | :53:25. | :53:27. | |
yes, she's a weather girl # And I'm staying up here | :53:28. | :53:44. | |
so I may be undone # She's inappropriate | :53:45. | :53:48. | |
but then she's much more fun and # Shame on you | :53:49. | :53:53. | |
you've got no sense of grace # Other than that | :53:54. | :54:10. | |
which is absolutely necessary # Louise is the girl | :54:11. | :54:20. | |
with the perfect skin # She says turn on the light | :54:21. | :54:38. | |
otherwise it can't be seen # She's got cheekbones like geometry | :54:39. | :54:42. | |
and eyes like sin # And she's sexually enlightened | :54:43. | :54:45. | |
by Cosmopolitan and # She takes me down to the basement | :54:46. | :54:51. | |
to look at her slides # Of her family life | :54:52. | :55:29. | |
pretty weird at times # At the age of ten she looked like | :55:30. | :55:33. | |
Greta Garbo and I loved her then # She takes me down to the basement | :55:34. | :55:37. | |
to look at her slides Thank you, Lloyd Cole with Perfect | :55:38. | :56:30. | |
Skin. Before that, MGMT. Now, we finish where we started, we are | :56:31. | :56:34. | |
delighted to have this man back in the room, what a voice, John | :56:35. | :56:35. | |
Newman! # Gold dust. | :56:36. | :58:40. | |
# Teardrops. # Teardrops. | :58:41. | :59:10. | |
# Did I break your trust completely? # Can't bear to see you leaving. | :59:11. | :59:27. | |
# Gold dust. # Gold dust. | :59:28. | :59:37. | |
# Teardrops. # Teardrops. | :59:38. | :59:47. | |
# Gold dust. # Gold dust. | :59:48. | :59:57. | |
# Teardrops. # Teardrops. | :59:58. | :00:07. | |
# Gold dust. # Gold dust. | :00:08. | :00:17. | |
# Teardrops. # Teardrops. | :00:18. | :00:26. | |
# Gold dust. # Gold dust. | :00:27. | :00:35. | |
# Teardrops. # Teardrops. | :00:36. | :00:39. | |
# Teardrops. The wonderful John Newman, with Gold | :00:40. | :00:56. | |
Dust! They will be back on cheesesteak at 10pm, live. But now, | :00:57. | :01:08. | |
would you have a nice groove to give us? May be in HD? Let's thank our | :01:09. | :01:17. | |
superb guests. Feeling better already! Thank you, John Newman! | :01:18. | :01:25. | |
Thank you, Suggs! Thank you, Passenger! Thank you, Buika! Thank | :01:26. | :01:34. | |
you, Anna Calvi! What a lovely instrument! Thank you, Lloyd Cole! | :01:35. | :01:47. | |
Thank you, MGMT! Feeling good? | :01:48. | :01:53. |