:00:58. > :01:14.Welcome to a brand-new series. Welcome to Elbow.
:01:15. > :01:23.# I am electric. # With a bottle in me.
:01:24. > :01:29.# Got a bottle in me. # And glory be these lockers are
:01:30. > :01:35.ignoring me. # I'm from another century.
:01:36. > :01:48.# I am a preacher. # When I've got it on me.
:01:49. > :01:54.# And I've got it on me. # And glory be their ignoring me.
:01:55. > :02:00.# We never learn from history. # Hey, I am the beau who loved her
:02:01. > :02:10.so in every song. # And I designed that little mystery
:02:11. > :02:20.on your tongue. # I've broken jaws protecting laws
:02:21. > :02:26.to keep you free. # I made your day so take a seat by
:02:27. > :02:31.me. # I am an old tree.
:02:32. > :02:37.# Gonna talk my jaw free. # Someone come and get me.
:02:38. > :02:45.# Another night beside myself would finish me.
:02:46. > :02:53.# Give us G T and sympathy. # I am the die-hard with an empty
:02:54. > :02:57.dance card propping up a young bar. # I'm pouring oil in double time
:02:58. > :03:00.upon the troubled rising tide inside of me.
:03:01. > :03:40.# Upon my history # . I have broken jaws protecting laws
:03:41. > :04:25.to keep proofreading. I made your day so take a seat by me.
:04:26. > :04:45.I am the bone who love to you so. # I have a man, I love him so
:04:46. > :04:56.I have broken jaws, protecting laws, to keep you free. I have made
:04:57. > :05:37.your day so keep a seat by me. We are delighted to have Elbow. From
:05:38. > :05:47.Los Angeles, we have Engelbert Humperdinck. We are delighted to
:05:48. > :05:59.welcome from Copenhagen, Agnes O'Byrne. -- Agnes about.
:06:00. > :06:15.Also a collective with marvellous tunes that have been number one,
:06:16. > :06:23.Clean Bandit froth stop --. From Leeds, Eagulls. From Stockholm,
:06:24. > :06:36.London and New York, it is Neneh Cherry.
:06:37. > :06:42.# I have a man, I love him so much. # Sometimes I hate it, just can't
:06:43. > :06:45.let go. # Together we stand, divided we
:06:46. > :06:51.fall. # Driving me crazy, I need it all.
:06:52. > :06:54.# On my 28th day he is my victim. # He is my saviour, he breaks my
:06:55. > :06:57.phone. # The things that we say, all
:06:58. > :06:59.stacked in one pile. # Stay fresh and good while upright
:07:00. > :07:10.I call. # Too many times you come crawl,
:07:11. > :07:16.then say sorry too late. # Paper cup regrets will not stick,
:07:17. > :07:23.better change. # Too many times you come crawl,
:07:24. > :07:29.then say sorry too late. # Paper cup regrets will not stick,
:07:30. > :07:31.better change. # Need to be right, right to be
:07:32. > :07:34.wrong. # Sometimes a loser, lost down the
:07:35. > :07:37.hall. # Leave me alone but don't leave me
:07:38. > :07:42.lonely. # And please don't look now, can you
:07:43. > :07:45.see this? # Does my ass look big in these new
:07:46. > :07:49.trousers. # My ego won't let me, I forget.
:07:50. > :07:52.# I feel so small, I hate you, I hate you.
:07:53. > :08:04.# I love you, I love you, I love it all.
:08:05. > :08:10.I love you. # Too many times you come crawl,
:08:11. > :08:16.then say sorry too late. # Paper cup regrets will not stick,
:08:17. > :08:22.better change. # Too many times you come crawl,
:08:23. > :08:23.then say sorry too late. # Paper cup regrets will not stick,
:08:24. > :09:05.better change. # Nowhere to run, nowhere to hide.
:09:06. > :09:07.# Husband and wife, leaking perfection.
:09:08. > :09:16.# All kinds of fun, oceans of pride. # We're super, why? We got
:09:17. > :09:20.protection. # We got protection.
:09:21. > :09:24.# Too many times you come crawl, then say sorry too late.
:09:25. > :09:29.# Paper cup regrets will not stick, better change.
:09:30. > :09:46.# Too many times you come crawl, then say sorry too late.
:09:47. > :10:01.# Paper cup regrets will not stick, better change. # I love you. Yes, I
:10:02. > :10:16.do. Love you. I hate you. I hate you. Love you. I hate you. I love
:10:17. > :10:30.you. Hate you. I love you. I hate you. # .
:10:31. > :10:40.The wonderful Neneh Cherry. Her first album for 18 years. Our next
:10:41. > :10:45.artists are a collective but originally formed from a string
:10:46. > :10:50.quartet at Cambridge University. They are Clean Bandit.
:10:51. > :10:53.# You can see there's something in the way.
:10:54. > :10:56.# I've tried to show you, my door is open.
:10:57. > :10:59.# I don't know how much more I can take.
:11:00. > :11:04.# Since you've chosen, to leave me frozen.
:11:05. > :11:13.# Am I the only one, who see's what you've become?
:11:14. > :11:17.# Will you drift away? # We're running out of time, two
:11:18. > :11:20.wrongs can make it right. # Could I make you stay?
:11:21. > :11:31.# People making choices they can't fake.
:11:32. > :11:39.# Sacrifice it all and maybe say. # Something extraordinary.
:11:40. > :11:46.# Something real (something real). # To fill my days and nights with
:11:47. > :11:50.something. # That I can feel.
:11:51. > :12:01.# I'm not gonna compromise. # Surely you can simplify?
:12:02. > :12:04.# Say you feel the same. # You've wandered down a path I
:12:05. > :12:08.can't explain. # Have you seen her? The grass is
:12:09. > :12:14.greener. # To let me pass you by would be a
:12:15. > :12:16.shame. # If she's your only then why are
:12:17. > :12:20.you lonely? # Cos I'm the only one, who knows
:12:21. > :12:25.the things you've done. # I'm so good for you.
:12:26. > :12:31.# We're running out of time, two wrongs can make it right.
:12:32. > :12:39.# Could I make you do? # Something extraordinary.
:12:40. > :12:47.# Something real (something real). # To fill my days and nights with
:12:48. > :12:52.something. # That I can feel (I can feel). I'm
:12:53. > :13:03.not gonna compromise. # Surely you can simplify?
:13:04. > :13:06.# Say you feel the same. # Just don't say it will be all
:13:07. > :13:13.right # You're not holding yourself in your arms tonight.
:13:14. > :13:21.# Don't say it will all be fine. # In only a moment you'll say
:13:22. > :13:29.goodbye. # I, I, I, I, I...
:13:30. > :13:34.# Something extraordinary. # Something real.
:13:35. > :13:40.# To fill my days and nights with something.
:13:41. > :14:04.# That I can feel (I can feel). # Oh, oh, oh, oh.
:14:05. > :14:06.# I, I, I, I, I. # Something extraordinary.
:14:07. > :14:08.# Something real. # To fill my days and nights with
:14:09. > :14:11.something. # That I can feel.
:14:12. > :14:14.# Just don't say it will be all right.
:14:15. > :14:24.# You're not holding yourself in your arms tonight.
:14:25. > :14:26.# Don't say it will all be fine. # In only a moment you'll say
:14:27. > :14:46.goodbye. # . That was Clean Bandit featuring Rae
:14:47. > :14:53.Morris. All right, so now, I think it is time to welcome a legend in
:14:54. > :15:00.the corner. We like people who have been very successful and selling
:15:01. > :15:05.great records over the years. So we welcome at the piano, Engelbert
:15:06. > :15:13.Humperdinck! It is really great to have you here. Now, you have got
:15:14. > :15:18.this new record, it is your 80th record, it is your first record of
:15:19. > :15:28.duets ever, amazing people, Elton John, Beverley Knight, that is just
:15:29. > :15:35.the tip of the iceberg. I'm credible idea, when did you decide to do --
:15:36. > :15:41.why did you decide to do duets record now so late? I was listening
:15:42. > :15:51.to one of Elton John's live shows. He said, I was struggling and
:15:52. > :15:56.waiting for Engelbert Humperdinck to come along. That got the ball
:15:57. > :16:03.rolling. You said, I have come along. He said it was wonderful. He
:16:04. > :16:14.said he was the honeycomb and everyone else followed. Where does
:16:15. > :16:21.the title come from? He said, my son said because we call everybody up,
:16:22. > :16:27.it is Engelbert Calling. The next one will be called Engelbert redial!
:16:28. > :16:33.He calls back. In the 1960s, that is when he first became a phenomenon,
:16:34. > :16:36.selling millions of records and hitting the TV screens and becoming
:16:37. > :16:45.a huge star all over the world. We have got a clip from Top Of The Pops
:16:46. > :17:00.I think in 1967. It is one of your marvellous songs, Last Waltz.
:17:01. > :17:11.# I had the last waltz with you, two lonely people together.
:17:12. > :17:27.# all fell in love with you, the last waltz will last forever.
:17:28. > :17:39.That is great. You are one of Britain's greatest
:17:40. > :17:47.sinners there are. Was it a different world to the rock 'n' roll
:17:48. > :17:52.world that was going on? It happened in the same era. Release Me came
:17:53. > :17:55.along in 1967. It was doing nothing for three months and then I did
:17:56. > :18:04.Sunday night at the London Palladium and then it went up to 127,000 a day
:18:05. > :18:09.from 80,000. It stopped the Beatles from going to number one with their
:18:10. > :18:12.30th number one. That is an amazing story, people all over the world
:18:13. > :18:21.buying that record. On the record you have revisited the song Spanish
:18:22. > :18:25.Eyes which Elvis recorded. Were you good friends with Elvis? Nella Macri
:18:26. > :18:33.yes, he was a want for man. We saw each other a lot in Vegas. He said
:18:34. > :18:36.some wonderful things, he said he always considered me the twin
:18:37. > :18:41.brother he lost at birth. I think that is one of the reasons he put
:18:42. > :18:47.those sideburns on! That is lovely! Also, there is another and new
:18:48. > :18:51.version on here of Release Me. That is an amazing song. Where did you
:18:52. > :18:57.get that song from? That song came from Nashville. It was a country
:18:58. > :19:00.song to start with. It was given a wonderful arrangement over here in
:19:01. > :19:07.London. All of a sudden, it just took off. It made my day, made my
:19:08. > :19:11.year, made my life actually. And thank you for choosing it for me to
:19:12. > :19:16.do with you tonight. We are looking forward to it. We will be singing
:19:17. > :19:21.with the trio later on. Looking forward to that, a marvellous song,
:19:22. > :19:26.and marvellous guest to have here. Superb. Engelbert Humperdink, thank
:19:27. > :19:35.you very much. See you later. And so, we will be hearing the great
:19:36. > :19:37.song Release Me in a moment. But now, from Leeds, we welcome the
:19:38. > :19:58.Eagulls! # My eyes feel funny and I can't
:19:59. > :20:03.seem to think. # The voice inside my head tells me
:20:04. > :20:05.to flinch when I sing. # I've flipped my wig back, wound my
:20:06. > :20:17.neck in. # Done all things that don't help.
:20:18. > :20:22.# Don't think I have a problem. # I just think I like to feel I'm
:20:23. > :20:27.possessed. # I'm possessed.
:20:28. > :20:28.# I don't want to know what you think.
:20:29. > :20:31.# I know something else. # I don't want to know what you
:20:32. > :20:37.think. # I know something else.
:20:38. > :20:44.# I'm possessed. # I'm possessed.
:20:45. > :21:40.# I'm possessed. # I don't want to know what you
:21:41. > :21:43.think. # I don't want to know what you
:21:44. > :21:48.think. # I don't want to know what you
:21:49. > :21:53.think. # I know something else.
:21:54. > :22:07.# I'm possessed. # I'm possessed.
:22:08. > :22:11.# My eyes feel funny and I can't seem to think.
:22:12. > :22:14.# The voice inside my head tells me to flinch when I sing.
:22:15. > :22:17.# I've flipped my wig back, wound my neck in.
:22:18. > :22:21.# Done all things that don't help. # Don't think I have a problem.
:22:22. > :22:29.# I just think I like to feel I'm possessed. #.
:22:30. > :22:55.CHEERING # Please Release Me.
:22:56. > :23:07.# Let me go. # For I.
:23:08. > :23:19.# Don't love you anymore. # To waste our lives.
:23:20. > :23:30.# Would be a sin. # Release Me.
:23:31. > :23:40.# And let me love again. # I have found.
:23:41. > :23:51.# A new love dear. # And I will always.
:23:52. > :24:02.# Want her near. # Her lips are warm.
:24:03. > :24:07.# While yours are cold. # Release me, my darling.
:24:08. > :24:37.# Let me go. # For I.
:24:38. > :24:56.# Don't love you anymore. # So release me.
:24:57. > :25:06.# And let me love again. # Please release me.
:25:07. > :25:18.# Can't you see. # You'd be a fool.
:25:19. > :25:28.# To cling to me. # To live a lie.
:25:29. > :25:31.# Would bring us pain. # Release me.
:25:32. > :26:12.# And let me love again. #. The legendary Engelbert
:26:13. > :26:38.Humperdinck! Therefore that, we enjoyed Eagulls. And now, Elbow!
:26:39. > :26:45.# If you wake in the quake in the roll of the heartbroken.
:26:46. > :26:49.# Pounding the ground in a sawn off ballet.
:26:50. > :26:57.# Bring us in an indigo dawn with the lovelorn and renegade.
:26:58. > :27:02.# You always found peace in the grip of the beat, darling.
:27:03. > :27:07.# Time alone with the pounding of your heart.
:27:08. > :27:24.# As it starts to heal you'll find a better mirror in another.
:27:25. > :27:32.# You have never known dumbfounded. # So out of reach and hollowed
:27:33. > :27:42.through. # Blue and white the light and sound
:27:43. > :27:59.surrounded. # As the music pulls you through.
:28:00. > :28:08.# And on that hallelujah morning. # In the arms of new love, the peace
:28:09. > :28:13.that you feel's real life. # Go straight to the place where you
:28:14. > :28:18.first lost your balance. # And find your feet with the people
:28:19. > :28:29.that you love. # And bring us in an indigo dawn
:28:30. > :28:32.with the lovelorn and renegade. # Yes, you were the eyes of a men
:28:33. > :28:35.not forgotten. # Get hold of the night that rises
:28:36. > :28:39.in your blood. # Focus on your pulse, focus on your
:28:40. > :28:46.breath, know that we're never far away.
:28:47. > :29:03.# You have never known dumbfounded. # So out of reach and hollowed
:29:04. > :29:13.through. # Blue and white the light and sound
:29:14. > :29:29.surrounded. # As the music pulls you through.
:29:30. > :29:32.# And on that hallelujah morning. # In the arms of new love, the peace
:29:33. > :30:05.that you feel's real life. # You have never known dumbfounded.
:30:06. > :30:16.So out of reach and followed through. Blue and white than light
:30:17. > :30:34.and sound surrounded. As the music pulls you through. And on that
:30:35. > :30:38.hallelujah morning. In the arms of new love, the piece that you feel 's
:30:39. > :31:10.real life. # . From then number one EP. Now it is
:31:11. > :31:17.then a cherry. -- Neneh Cherry. Welcome back to the show. We really
:31:18. > :31:25.have missed you. You have not heard a solo record for 18 years. Why have
:31:26. > :31:32.we had to wait so long? I think I needed to take a left turn. After
:31:33. > :31:43.I've finished my last album, Man, I was a bit tired of myself. I was 16
:31:44. > :31:48.when I joined. I'd took some time out to be with my family and to kind
:31:49. > :31:53.of not be a front person for a while. I was writing and
:31:54. > :31:59.collaborating and I was in a band for a while. That kind of thing. The
:32:00. > :32:07.album has been around me. It has been brewing. I was all was going to
:32:08. > :32:15.make it. 18 years since your last solo record. Is the act of making
:32:16. > :32:21.and engaging music different? It is always changing and it is always
:32:22. > :32:37.different. I have always come back to my roots a bit. I made a record
:32:38. > :32:51.before this, which was pretty raw. We recorded this album live. Getting
:32:52. > :32:54.there. So, BBC Two is, of course, celebrating capturing wonderful
:32:55. > :33:01.music on film. You're one of those singers. This is your first
:33:02. > :33:17.performance in June, 1993. The show was in its second series. # I took a
:33:18. > :33:31.picture with my camera. I like my own bedroom best. I put chill
:33:32. > :33:37.fingers through my... Watch out how you know. Watch out how you are
:33:38. > :34:00.giving. Watch out how you know. # . That was the first one. That was the
:34:01. > :34:11.first time you were on the show. I was trying to remember what was
:34:12. > :34:19.where. That was our second series. That has been captured. Here we are
:34:20. > :34:25.capturing more and keeping going. 18 years have flown by. You have been
:34:26. > :34:36.doing this 22 years. White I think 270 years! -- I think 270 years!
:34:37. > :34:41.There is always something new to discover with music. There is always
:34:42. > :34:47.something fresh, a fresh pitch to come out. At this point in your
:34:48. > :34:56.career, the last question would be best. You have a musical family. You
:34:57. > :34:59.are surrounded by a lot of interesting people. All these year
:35:00. > :35:11.later, do think those things are very important? I think that it is
:35:12. > :35:17.all there in my backbone. It was like going in the studio and
:35:18. > :35:21.bringing panic for the first time. Not really knowing what I was going
:35:22. > :35:28.to do but feeling, on balance, it is in there. I need to maybe know it in
:35:29. > :35:32.here. I think that is like, you are just saying, music is was
:35:33. > :35:40.different. There are always places to go where you have never been.
:35:41. > :35:45.That is the joy. I have it all in there somewhere. We are looking
:35:46. > :35:57.forward to hearing more of it in a short while. Thank you very much for
:35:58. > :36:01.joining us. Now from Copan Hagen, Denmark, the wonderful voice of
:36:02. > :36:29.Agnes Obel. # I wanna buy you roses.
:36:30. > :36:36.# Cos the words are dead. # Follow in the blindness.
:36:37. > :36:43.# On the arrow head. # Cos the words are dead.
:36:44. > :36:47.# And you know it. # Yeah, the words are dead.
:36:48. > :37:24.# Lower them down. # Didn't know if you could deny the
:37:25. > :37:31.dead. # Leaving them in silence on their
:37:32. > :37:43.mouldy bed. # Oh, I am numb.
:37:44. > :37:51.# And over their kingdom come. # Lower me down.
:37:52. > :38:34.# Oh, don't cry for me. # Oh, don't cry for me.
:38:35. > :40:01.# Oh, don't you cry for me. # Lower them down in the ground. #
:40:02. > :40:10.Lower them down in the ground. # Lower them down in the ground.
:40:11. > :40:44.Walking down the street, lost my way. Every thought I had just runs
:40:45. > :41:03.away. Frustrated, angry. Put my fingers in my ears. I can't
:41:04. > :41:16.hear you. What I can't here won't upset me. Don't touch me. Don't test
:41:17. > :41:22.me. Everything is everything. Good things come to those who wait.
:41:23. > :41:36.Everything is everything. Good things come to those who wait. They
:41:37. > :41:43.say. I can't here with my right ear. I can't see with the left eye. The
:41:44. > :41:57.doctor has been telling me I have got the stress. Listen to my chest.
:41:58. > :42:02.Looking good, I've passed the test. Got my fingers in my ear, I can't
:42:03. > :42:10.hear you. What I can't here can't upset me. What I know I can't here
:42:11. > :42:16.can't upset me. Don't touch me, don't stress me. Everything is
:42:17. > :42:20.everything. Good things come to those who wait, they say. If
:42:21. > :42:22.everything is everything, good things come to those who wait, they
:42:23. > :42:57.say. Everything is everything. Good
:42:58. > :43:07.things come to those who wait. Everything is everything. I mean it.
:43:08. > :43:16.Good things come to those who wait. I hold you down. I don't want to
:43:17. > :43:25.know. I want it now, I want it now. I climbed to the top. I can hear
:43:26. > :43:28.you. Everything, everything is everything. Everything is
:43:29. > :43:54.everything. Heh, heh. Yeah, yeah. All right.
:43:55. > :44:01.Yeah, yeah. Oh, oh. Yeah, yeah. All right. That 's right. Oh, oh. Yeah,
:44:02. > :44:11.yeah. Hold you down. In your filthy ways,
:44:12. > :44:27.singing me your bitter song. Everything is everything. Everything
:44:28. > :44:49.is everything. # . Thank you, Neneh Cherry,
:44:50. > :44:58.Everything. Before that, we enjoyed Agnes Obel. CHEERING And this in
:44:59. > :45:01.here, the amazing Guy Garvey is at the piano.
:45:02. > :45:05.It is great to have you on the show. The reason I have got you at the
:45:06. > :45:10.piano is to discuss something we are going to do in a moment. On this
:45:11. > :45:14.show, let's face it, as Neneh Cherry was then, music is learning
:45:15. > :45:19.something new. You and I are doing an old song which I did not know but
:45:20. > :45:32.now I love it. It is a brand-new friend. It is Everything Happens To
:45:33. > :45:36.Me. It is a wistful song and about someone who is kind of happiness. I
:45:37. > :45:41.love the song but I did not know it. That is what I love about music.
:45:42. > :45:45.Also, I do not think people have heard you in this zone before which
:45:46. > :45:52.is what I am looking forward to. Thank you for the opportunity. Thank
:45:53. > :45:56.you, Guy Garvey. We will be with you in the second. By the way, if you
:45:57. > :46:02.want to know how I got here, after this there is a programme all about
:46:03. > :46:05.me, so it is my night on BBC Two. Now we enjoy a wonderful band from
:46:06. > :46:36.Leeds. Eagulls! # As long as you gonna sex for me.
:46:37. > :46:41.# Behind my AWKWARD smile. # I've never listened, I've never
:46:42. > :46:44.listened your type. # Stop singing that verse, stop
:46:45. > :46:49.feelings like that. # Stop singing that song.
:46:50. > :46:51.# You stand on this, you stand till this world dies.
:46:52. > :47:08.# Can't find my head. # No music, no sex, no immediate out
:47:09. > :47:13.just for my health. # I'm still nervous, I'm still
:47:14. > :47:20.nervous, I'm drunk. # This cold feeling, nervous, my
:47:21. > :47:23.feelings spread out. # I feel like that.
:47:24. > :47:28.# Still nerve endings. # Still nerve endings won't die.
:47:29. > :47:32.# Come find that out. # Come find that out.
:47:33. > :47:37.# No-one, nowhere. # Nowhere, no-one.
:47:38. > :47:41.# Come find that out. # Nowhere, nowhere.
:47:42. > :47:46.# Come find that out. # Nowhere, nowhere.
:47:47. > :48:04.# Come find that out. # I could never have a problem with
:48:05. > :48:08.a feeling. # All behind, just like that.
:48:09. > :48:12.# I'm still lonely, I'm still lonely in my head.
:48:13. > :48:16.# I'm still feeling nervous, these feelings go worse.
:48:17. > :48:19.# I stay trying. # My nerve endings.
:48:20. > :48:27.# My nerve endings won't die. # Come find that out.
:48:28. > :48:46.# No-one, nowhere. # Nowhere, no-one.
:48:47. > :48:49.# Come find that out. # No-one, nowhere.
:48:50. > :49:17.# Nowhere, no-one. # Come find that out.
:49:18. > :49:21.?NEWLINE # I'm still lonely, I'm still lonely in my head.
:49:22. > :49:24.# I'm still feeling nervous, these feelings go worse.
:49:25. > :49:29.# I stay trying. # My nerve endings.
:49:30. > :49:30.# My nerve endings won't die. # Come find that out.
:49:31. > :50:13.# Come find that out. # I make a date for golf, and you
:50:14. > :50:22.can bet your life it rains. # I try to give a party, and the guy
:50:23. > :50:33.upstairs complains. # I guess I'll go through life, just
:50:34. > :50:44.catching colds and missing trains. # Everything happens to me.
:50:45. > :50:51.# I never miss a thing. I've had the measles and the mumps.
:50:52. > :50:59.# And every time I play an ace, my partner always trumps.
:51:00. > :51:15.# I guess I'm just a fool, who never looks before he jumps.
:51:16. > :51:23.# Everything happens to me. # At first, my heart thought you
:51:24. > :51:32.could break this jinx for me. # That love would turn the trick to
:51:33. > :51:40.end despair. # But now I just can't fool this
:51:41. > :51:49.head that thinks for me. # I've mortgaged all my castles in
:51:50. > :51:58.the air. # I've telegraphed and phoned and
:51:59. > :52:07.sent an air mail special too. # Your answer was goodbye and there
:52:08. > :52:17.was even postage due. # I fell in love just once, and then
:52:18. > :52:32.it had to be with you. # Everything happens to me.
:52:33. > :52:50.CHEERING Everything happens to me. -- Everything Happens To Me, Guy
:52:51. > :53:01.Garvey as you have never seen him before. Before that, we enjoyed
:53:02. > :53:05.Eagulls. And now, it is Mozart's string Quartet number 21 and
:53:06. > :53:15.featuring the voice of Love Ssegga, it is Clean Bandit!
:53:16. > :53:19.# I don't know, skip a beat. # I don't know, skip a beat.
:53:20. > :53:46.# I don't know, skip a beat. # I don't know, skip a beat.
:53:47. > :53:49.# Find myself on stage but I hate to speak.
:53:50. > :53:52.# I said I don't know, skip a beat. # It's my right to dance without two
:53:53. > :53:57.left feet. # I said I don't know, skip a beat.
:53:58. > :53:59.# Wanna be a social but I hate to creep.
:54:00. > :54:02.# I said I don't know, skip a beat. # Scared of heights but I gotta
:54:03. > :54:06.leap. # I said I don't know, skip a beat.
:54:07. > :54:10.# Cos I'm leaping for the stars. # No clothes, I'm far from far.
:54:11. > :54:14.# If I won't try, I won't go. # I'll never leave, I won't go.
:54:15. > :54:18.# Can't believe it, I won't go. # No, not far.
:54:19. > :54:22.# Move your left, move your right. # I kept it in my head and I kept
:54:23. > :54:25.trying to fight. # I said, mm, move your left, move
:54:26. > :54:27.your right. # Come a little closer if you like
:54:28. > :54:30.the limelight. # I said, mm, move your left, move
:54:31. > :54:33.your right. # I want to surround and keep your
:54:34. > :54:36.here in my sight. # I said move your left, move your
:54:37. > :54:38.right. # Getting abuse cos everyone's
:54:39. > :54:41.taking all their time. # They chase and flex the beat, it's
:54:42. > :54:43.on my mind. #Moves like that aren't cool, or
:54:44. > :54:45.even crime. # Now they one-handed, won't land
:54:46. > :55:12.it. # Won't stand it, rebranded.
:55:13. > :55:15.# Here's a toucho, pizzicato. # Relax the tempo.
:55:16. > :55:19.# Sips some movato. # And if I get too animato.
:55:20. > :55:21.# Tan my face with that paggiato. # Aliente, mezzoforte, allegro or
:55:22. > :55:26.andante. # I can make this voice, da-da-to,
:55:27. > :55:29.one two, music for legato. # I don't know, skip a beat.
:55:30. > :55:32.# We're rushing now, we're building heat.
:55:33. > :55:35.# The doors are open, but the music's in time.
:55:36. > :55:37.# Is this the place, the final round?
:55:38. > :55:39.# Cruising at the speed where where consider.
:55:40. > :55:41.# Watching the beat, we'll get to Vienna.
:55:42. > :55:45.# Without a doubt, the strings are fine the bass is out.
:55:46. > :55:49.# Give us a beat, you wrote this house.
:55:50. > :55:51.# Couple of skip beats, a couple of movements, ow.
:55:52. > :55:54.# Now we made it to Mozart's House. # Couple of skip beats, a couple of
:55:55. > :55:57.movements, ow. # Couple of skip beats, a couple of
:55:58. > :55:59.movements, ow. # Couple of skip beats, a couple of
:56:00. > :56:29.movements, # Who's that gigolo on the street #
:56:30. > :56:33.With his hands in his pockets and his crocodile feet # Hanging off the
:56:34. > :56:37.curb, looking all disturbed # At the boys from home.
:56:38. > :56:40.They all came running # They were making noise, manhandling toys #
:56:41. > :56:43.That's the girls on the block with the nasty curls # Wearing padded
:56:44. > :56:50.bras sucking beers through straws # Dropping down their drawers, where
:56:51. > :57:04.did you get yours? # Gigolo, Huh, sukka?
:57:05. > :57:07.# Gigolo. # Who's looking good today?
:57:08. > :57:10.# Who's looking good in every way? # No style rookie.
:57:11. > :57:22.# You better watch don't mess with me.
:57:23. > :57:27.# No moneyman can win my love. # It's sweetness that I'm thinking
:57:28. > :57:29.of. # We always hang in a Buffalo
:57:30. > :57:31.Stance. # We do the dive every time we
:57:32. > :57:34.dance. # I'll give you love baby not
:57:35. > :57:37.romance. # I'll make a move nothing left to
:57:38. > :57:50.chance. # So don't you get fresh with me.
:57:51. > :57:56.# So, you say you wanted money but you know it's never funny, # When
:57:57. > :57:59.your shoes worn through and there's a rumble in your tummy.
:58:00. > :58:03.# But you had to have style get a gold tooth smile.
:58:04. > :58:06.# Put a girl on the corner so you can make a pile.
:58:07. > :58:09.# Committed a crime and went inside. # It was coming your way but you had
:58:10. > :58:11.to survive. # When you lost your babe, you lost
:58:12. > :58:14.the race. # Now you're looking at me to take
:58:15. > :58:17.her place. # Who's looking good today?
:58:18. > :58:20.# Who's looking good in every way? # No style rookie.
:58:21. > :58:34.# You better watch don't mess with me.
:58:35. > :58:38.# Looking good, hanging with the wild bunch.
:58:39. > :58:40.# Looking good in a Buffalo Stance. # Looking good when it comes to the
:58:41. > :58:44.crunch. # Looking good's a state of mind.
:58:45. > :58:46.# State of mind don't look behind you.
:58:47. > :59:12.# State of mind or you'll be dead. # State of mind may I remind you.
:59:13. > :59:27.# wind in my hair, water from my eyes.
:59:28. > :59:31.# No moneyman can win my love. # It's sweetness that I'm thinking
:59:32. > :59:33.of. # We always hang in a Buffalo
:59:34. > :59:35.Stance. # We do the dive every time we
:59:36. > :59:38.dance. # I'll give you love baby not
:59:39. > :59:40.romance. # I'll make a move nothing left to
:59:41. > :59:50.chance. # So, don't you get fresh with me.
:59:51. > :59:56.# No moneyman can win my love. # It's sweetness that I'm thinking
:59:57. > :00:00.of. # No moneyman can win my love.
:00:01. > :00:31.# It's sweetness that I'm thinking of.
:00:32. > :00:45.The wonderful Neneh Cherry. If you have been enjoying the show, I
:00:46. > :00:49.wonder how much music you have watched on television and how long
:00:50. > :00:53.you have been watching it off. BBC Two has been putting music on the
:00:54. > :01:02.television for 50 years. Tomorrow night at 10:30pm you can see Pop
:01:03. > :01:21.Goes BBC Two. Now back into the present. We are here with Elbow.
:01:22. > :01:35.# I'm running out of miracles. # Oh my soul.
:01:36. > :01:46.# And the streets are lined with one-man shows.
:01:47. > :01:58.# Oh my soul. # Corner boys were moved along.
:01:59. > :02:03.# Oh, my soul. # We're plummeting like crippled
:02:04. > :02:18.crows. # Oh, my soul.
:02:19. > :02:25.# Oh, long before. # You and I were born.
:02:26. > :02:33.# Others beat these benches with their empty cups.
:02:34. > :02:36.# To the night and the stars. # To be here, and now, and who we
:02:37. > :02:43.are. # Another sunrise with my sad
:02:44. > :02:51.captains. # With who I choose to lose my mind.
:02:52. > :02:53.# And if it's all we only pass this way but once.
:02:54. > :03:23.# What a perfect waste of time. # The BMX apothecary.
:03:24. > :03:36.# Oh, my soul. # The architect of infamy.
:03:37. > :03:42.# Oh, my soul. # For each and every train we
:03:43. > :03:48.missed. # Oh, my soul.
:03:49. > :04:15.# A bitter little Eucharist. # Oh, long before.
:04:16. > :04:20.# You and I were born. # Others beat these benches with
:04:21. > :04:26.their empty cups. # To the night and the stars.
:04:27. > :04:29.# To be here, and now, and who we are.
:04:30. > :04:40.# Another sunrise with my sad captains.
:04:41. > :04:44.# With who I choose to lose my mind. # And if it's all we only come this
:04:45. > :04:54.way but once. # What a perfect waste of time.
:04:55. > :05:03.# Another sunrise with my sad captains.
:05:04. > :05:09.# With who I choose to lose my mind. # And if it's all we only pass this
:05:10. > :05:21.way but once. # What a perfect waste of time.
:05:22. > :05:52.Thank you. Thank you, Elbow. What a lovely, epic poem that is. What a
:05:53. > :06:01.way to end the show! If you have enjoyed this, you can go to the
:06:02. > :06:07.website. We will be back on Tuesday. We will also, if you stay
:06:08. > :06:12.tuned after this programme, you will find out how I did not get where I
:06:13. > :06:21.am, I got here will stop how did I get here? There is a programme all
:06:22. > :06:23.about me straight after this. Do you remember what we chatted about
:06:24. > :06:40.earlier? Thanks. # Thank you to all our guests here.
:06:41. > :06:45.Thank you to Elbow. Thank you to Agnes Obel. Thank you to Engelbert
:06:46. > :07:09.Humperdinck. Thank you to Neneh Cherry. Thank you, Eagulls.
:07:10. > :07:10.Thank you, Clean Bandit. We love you madly. CU straight after