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welcome to this wonderful world. Welcome to Coldplay. | :00:57. | :01:23. | |
# Collared magic. # Call it truth. | :01:24. | :01:35. | |
# Collet magic. # When I'm with you. | :01:36. | :01:46. | |
# And I'd just got broken. # Broken into two. | :01:47. | :01:56. | |
# Still high collet magic. # When I'm next to you. | :01:57. | :02:07. | |
# And I don't and they don't ever know. | :02:08. | :02:12. | |
# I don't, it's true. # I don't want anybody else but you. | :02:13. | :02:18. | |
# And I don't, and I don't, no, I don't, it's true. | :02:19. | :02:21. | |
# I don't, I don't want anybody else but you. | :02:22. | :02:35. | |
# Call it magic. # Company into two. | :02:36. | :02:48. | |
# And with all your magic. # I disappear from view. | :02:49. | :02:58. | |
# And I can't get over. # Can to get over you. | :02:59. | :03:05. | |
-- can get. # Still high collet magic. | :03:06. | :03:23. | |
# Such a precious jewel. # And I don't want anybody else but | :03:24. | :03:34. | |
you. # No, I don't want anybody else but you. | :03:35. | :03:45. | |
# When I'd fall, I've also fire. -- high fall so far. # When | :03:46. | :04:00. | |
nightfall, I fall so far. # And I collet magic, high collet | :04:01. | :04:11. | |
truth. # I collet magic. | :04:12. | :04:34. | |
# Ooh, ooh, ooh, ooh, ooh, ooh, # And if you were to ask me | :04:35. | :04:41. | |
# After all that we've been through # "Still believe in magic? " | :04:42. | :04:49. | |
# Well yes, I do # Oh, yes, I do | :04:50. | :04:56. | |
# Oh yes, I do # Of course I do... # | :04:57. | :05:29. | |
# Ooh, ooh, ooh, ooh, ooh # Ooh, ooh, ooh... | :05:30. | :05:53. | |
Thank you, Coldplay. Magic. A roomful of legends. Who are our | :05:54. | :06:00. | |
guests this evening two legends in the world music from Barcelona, we | :06:01. | :06:09. | |
welcome Aziza Ibrahim. A brand-new artist from North London, Tom | :06:10. | :06:14. | |
Hickox. A legend from London in the form of Damon Albarn! | :06:15. | :06:21. | |
From Brooklyn New York, we welcome back Sharon Jones and the Dap-Kings! | :06:22. | :06:30. | |
From Akron or high, we have The Black Keys! -- of Ohio. | :06:31. | :07:01. | |
# Fever, where'd you run to? # Fever, where'd you run to? # | :07:02. | :07:12. | |
Acting right is so routine. # Fever, let me live a dream. | :07:13. | :07:19. | |
# Fever, I'm a slave to. # No one misbehaved too. | :07:20. | :07:26. | |
# Fever, they're misunderstood. # Wouldn't leave you if I could. | :07:27. | :07:32. | |
# Fever. # Fever cus I'm breaking. | :07:33. | :07:39. | |
# Fever got me aching. # Fever, why don't you explain? | :07:40. | :07:43. | |
# Break it down again. # Fever # Fever, why don't you explain? | :07:44. | :07:54. | |
# Just go ahead and kill me. # Fever, why don't you explain? | :07:55. | :07:57. | |
# Break it down again. # Fever, can you hear me? | :07:58. | :08:18. | |
# You shook me like I've never been. # Now show me how to live again. | :08:19. | :08:28. | |
# You used to be a blessing. # But fever's got me stressing. | :08:29. | :08:33. | |
# Realise I have been played. # But fever let me play the game. # | :08:34. | :08:39. | |
Fever. # Fever, cus I'm breaking. | :08:40. | :08:48. | |
# Fever got me aching. # Fever, why don't you explain? | :08:49. | :08:53. | |
# Break it down again. # Fever got me guilty. | :08:54. | :09:03. | |
# Just go ahead and kill me. # Fever, why don't you explain? | :09:04. | :09:05. | |
# Break it down again. # Now if the cold pale light in your | :09:06. | :09:26. | |
eyes. # Reaches those horizon lines. | :09:27. | :09:35. | |
# You know not to leave her. # Fever. # Now if the cold pale | :09:36. | :09:51. | |
light in your eyes. # Reaches those horizon lines. # You | :09:52. | :09:54. | |
know not to leave her. # Fever. | :09:55. | :10:25. | |
Thank you, the Black Keys. Fever, from their new album. It is now a | :10:26. | :10:43. | |
delight to welcome to the studio a man who has been here with other and | :10:44. | :10:49. | |
the good, the bad and the Queen. Now his year as a solo artist. Delighted | :10:50. | :10:50. | |
to welcome Damon Albarn. # Arrhythmia. | :10:51. | :11:46. | |
# Accepting that you live with uncertainty. | :11:47. | :11:55. | |
# If you're lonely, press play. # Die lady die. | :11:56. | :12:01. | |
# The aspects that you pass on while travelling. | :12:02. | :12:09. | |
# When you're lonely, press play. # Because you're not resolved in | :12:10. | :12:14. | |
your heart. # You're waiting for me. | :12:15. | :12:20. | |
# To improve. # Right here. | :12:21. | :12:35. | |
# When I'm lonely I press play. # Swimming in blue. | :12:36. | :12:48. | |
# After New Year into the mirror she flew. | :12:49. | :13:00. | |
# When I'm lonely, I press play. # Can I get any closer?. | :13:01. | :13:07. | |
# What antidote can I bring to you? # When I'm lonely I press play. | :13:08. | :13:12. | |
# Because you're not resolved in your heart. | :13:13. | :13:21. | |
# You're waiting for me. # To improve. | :13:22. | :13:30. | |
# Right here. # When I'm lonely I press play. | :13:31. | :13:41. | |
# Arrhythmia. # Accepting that you live with | :13:42. | :13:49. | |
uncertainty. # When you're lonely, press play. | :13:50. | :13:53. | |
# Can I get any closer? # What antidote can I bring to you? | :13:54. | :14:04. | |
# When I'm lonely I press play. # Cos you're not resolved in your | :14:05. | :14:09. | |
heart. # You're waiting for me. | :14:10. | :14:24. | |
# To improve. # To get closer with you. | :14:25. | :14:29. | |
# Right here, when I'm lonely, I'd press play. | :14:30. | :14:42. | |
# Ooh-ooh. # Right here, when I'm lonely, I'd | :14:43. | :14:50. | |
press play. # Can I get closer to you? | :14:51. | :15:01. | |
# When I'm lonely, I press play. # Cos you were not resolved in your | :15:02. | :15:07. | |
heart. # You're waiting for me. | :15:08. | :15:17. | |
To improve. APPLAUSE. Thank you. Lonely Press | :15:18. | :15:31. | |
Play from his every day Robots low pressure. LP. Sharon Jones and the | :15:32. | :15:36. | |
Dap-Kings are here! # So many times there was a man he | :15:37. | :16:02. | |
met a girl took her hand # Told her never will I leave you my | :16:03. | :16:06. | |
love # But just as soon as he was gone | :16:07. | :16:10. | |
again, she was flapping in the wind # Wondering what she must have been | :16:11. | :16:13. | |
thinking of # She's | :16:14. | :16:14. | |
thinking of # I've been in and out of so many | :16:15. | :16:18. | |
doors # And I've always tried to keep my | :16:19. | :16:21. | |
head # With all the men I've known before | :16:22. | :16:26. | |
# I've seen plenty places # That I'll never see again | :16:27. | :16:32. | |
# I've seen a hundred thousand faces # And only called a few my friend | :16:33. | :16:40. | |
# But it's a mystery # Just how you came right in | :16:41. | :16:44. | |
# And stole my heart away # And left me there again | :16:45. | :17:00. | |
# Feeling like a stranger tomy happiness | :17:01. | :17:04. | |
# Feel like a strange tore my happiness | :17:05. | :17:09. | |
# Oh, yeah... # Now if you think that's a thing | :17:10. | :17:13. | |
that only evil men can bring # Let me skin this cat another way | :17:14. | :17:18. | |
# There was a man who had a plan to settle down with Mary-Ann | :17:19. | :17:22. | |
# He said, darling, darling # I've been in and out of so many | :17:23. | :17:25. | |
doors # And I've always tried to keep my | :17:26. | :17:28. | |
head # With all the girls I've known | :17:29. | :17:33. | |
head # And I've always tried to keep my | :17:34. | :17:37. | |
head # With all the girls I've known | :17:38. | :17:40. | |
before # He said | :17:41. | :17:44. | |
# I've seen plenty places # That I'll never see | :17:45. | :17:48. | |
# I've seen plenty places # I've seen a hundred thousand faces | :17:49. | :17:50. | |
# I've seen plenty places # And only called a few my friend | :17:51. | :17:56. | |
# But it's a mystery # Just how you came right in | :17:57. | :18:00. | |
# And stole my heart away # And left me there again | :18:01. | :18:04. | |
# I'm feeling # Feeling like a stranger to my | :18:05. | :18:08. | |
happiness # Feeling like a strange tore my | :18:09. | :18:12. | |
happiness # Feeling like a stranger | :18:13. | :18:19. | |
I'm feelin' # I'm feelin' | :18:20. | :18:31. | |
# Feeling like a stranger # I feel like | :18:32. | :18:37. | |
# A strange tore my happiness # To my happiness | :18:38. | :18:45. | |
# I've seen so many pretty faces # I've been to a lot of places | :18:46. | :18:50. | |
# I'm feelin' # I'm feelin' | :18:51. | :19:01. | |
# Ouch! APPLAUSE | :19:02. | :19:12. | |
A sensation, Sharon Jones and the Dap-Kings, strange tore my | :19:13. | :19:15. | |
happiness. Give the people what they want with her LP. Now, look at all | :19:16. | :19:20. | |
this goes on, there's cameras, people, a lot going on, everything | :19:21. | :19:24. | |
about this show is tension and then release. A bit like a beautiful | :19:25. | :19:28. | |
piece of music, a beautiful ballet all here and I'm now with the Black | :19:29. | :19:38. | |
Keys. Great to have you here. You were last on the show in 2010 and | :19:39. | :19:43. | |
now you have really been conquering the world, you haven't stopped, | :19:44. | :19:48. | |
going from success to success, lots of awards, playing the arenas and | :19:49. | :19:51. | |
the records selling better than ever. Is it more difficult with | :19:52. | :19:55. | |
success to come up with new material to get you and the people going? | :19:56. | :19:59. | |
It's harder to find time to get into the studio, I guess. We had to force | :20:00. | :20:03. | |
ourselves off the road basically. It's still fun for us. Running | :20:04. | :20:08. | |
around the studio is easy. Would you say you prefer that? Are you studio | :20:09. | :20:12. | |
animals? That's why we started because we had a cassette | :20:13. | :20:16. | |
four-tracker and we didn't even think about playing on the stage | :20:17. | :20:19. | |
until we got a record deal. That was a new idea to us. It's worked very | :20:20. | :20:24. | |
well because you have got between you various things. Six Grammies, I | :20:25. | :20:33. | |
believe, is that right? Anyway, a load. Where do you keep yours? On a | :20:34. | :20:40. | |
book shelf. The biggest award we ever won, in my mind is still, we | :20:41. | :20:47. | |
won an MTV Video Music award. When they sent it to us, it was made out | :20:48. | :20:52. | |
to the Black Eyed Peas, to me that is... That is good. That is the | :20:53. | :20:57. | |
highlight of awardism! This record you have got is really | :20:58. | :21:01. | |
great. It's basically this sleeve and it's fantastic. Is the idea that | :21:02. | :21:06. | |
you place this on your deck and cut it out? It's based on this thing | :21:07. | :21:14. | |
that was written, which is a hypno disc that you put on a gram that | :21:15. | :21:22. | |
phone and it will -- gramaphone and it will spin. | :21:23. | :21:26. | |
It's supposed to hypnotize you, the pattern. If anybody's particularly | :21:27. | :21:31. | |
sensitive to hypnotizing at home, look closely at this and just | :21:32. | :21:37. | |
completely relax. If you want to give up smoking, everybody will love | :21:38. | :21:40. | |
you, have lots of sex, whatever the thing is, whatever you want, lovely. | :21:41. | :21:45. | |
I think that's worked. Yes. It's beautifully done. It's a bit like | :21:46. | :21:55. | |
the Time Tunnel. Right. So you are playing Glastonbury this year and | :21:56. | :21:59. | |
lots of other festivals and other huge places. Are you keen tourists? | :22:00. | :22:03. | |
Do you visit the ancient sites of Europe? No, just the muddy fields | :22:04. | :22:11. | |
and all the Little Chefs. That really is very sad, soy sorry. We | :22:12. | :22:16. | |
have toured England maybe 25 times and we went to Hadrian's Wall | :22:17. | :22:22. | |
because it was close to a Little Chef. Are you big fans? Our tour | :22:23. | :22:29. | |
manager is vegan. All he could ever eat was Linda McCartney sausages so | :22:30. | :22:34. | |
he made us go constantly. Very nice. There are the Little Chefs really | :22:35. | :22:40. | |
there, you Dow know that don't you? Where? At the Little Chefs. You | :22:41. | :22:47. | |
don't expect to see them. There is a little village near Newcastle and | :22:48. | :22:50. | |
they are all little. Thank you for joining me very much indeed. We | :22:51. | :22:54. | |
shall look forward to hearing more from the Black Keys later. Thank | :22:55. | :23:02. | |
you, Dan and Patrick! APPLAUSE | :23:03. | :23:02. | |
Thank you. Over here, a really splendid new | :23:03. | :23:12. | |
artist from London. Please welcome, Tom Hickox. | :23:13. | :23:23. | |
# Barman, I know you well # You are a kind of crew | :23:24. | :23:30. | |
# You've hauled in halves of ordinary | :23:31. | :23:33. | |
# And legion chasers too # So listen to me barman | :23:34. | :23:37. | |
# Listen to this drunk # I was on that ship and it really | :23:38. | :23:41. | |
did get sunk # You see I was a seaman | :23:42. | :23:49. | |
# A seaman on a warship # And I know you don't believe me | :23:50. | :23:56. | |
# Because you never saw it # But I'm fifty years your senior | :23:57. | :24:05. | |
# I've fought waist deep in mud # And I've swum with severed heads | :24:06. | :24:11. | |
in a crimson tide of blood # I told you it was true | :24:12. | :24:23. | |
# The Lisbon Maru # I was a prisoner of war | :24:24. | :24:28. | |
# Caught on the China sea # But never marked as such | :24:29. | :24:32. | |
# Bombed my own country # I was left to swim | :24:33. | :24:38. | |
# Amongst the corpses and the sharks # But somehow I am here with your | :24:39. | :24:43. | |
beer and cheap remarks # I told you it was true | :24:44. | :25:01. | |
# The Lisbon Maru # I told you it was true | :25:02. | :25:10. | |
# The Lisbon Maru It's in the news today | :25:11. | :25:16. | |
# So I would like to hear your views today | :25:17. | :25:18. | |
# Barman, I know you well # You are a kind of crew | :25:19. | :25:24. | |
# You've hauled in halves of ordinary | :25:25. | :25:25. | |
# And legion chasers too # Listen to me barman | :25:26. | :25:49. | |
# Listen to this drunk # I was on that ship and it really | :25:50. | :25:56. | |
did get sunk # I dwroiled it was true | :25:57. | :25:58. | |
# I told # I dwroiled it was true | :25:59. | :26:09. | |
# The Lisbon Maru # I told you it was true | :26:10. | :26:18. | |
# The Lisbon Ma dumb Maru... # Thank you, Tom Hickox. | :26:19. | :26:51. | |
From his new album. That was the Lisbon Maru. We are really thrilled | :26:52. | :26:58. | |
to have these on the show. It was almost to the day that they are back | :26:59. | :27:05. | |
here all that time later. We are going to hear again from Coldplay, a | :27:06. | :27:08. | |
song from their album Ghost Stories. # The call never came | :27:09. | :27:48. | |
# Ready to fall up # Ready to claim | :27:49. | :28:01. | |
# And I'm ready for it all love # Ready for the pain | :28:02. | :28:13. | |
# Meet under sun and # Meet me again | :28:14. | :28:16. | |
# In the rain # In the | :28:17. | :29:00. | |
# Behind the walls, love. # I'm trying to change. | :29:01. | :29:19. | |
# And I'm ready for it all, love. # I'm?ready?for the change. | :29:20. | :29:30. | |
# Meet me in blue sky. # Meet me again. | :29:31. | :29:52. | |
# In the rain. # In the rain. # In the rain. | :29:53. | :30:08. | |
# The rain. # You've got to find yourself alone | :30:09. | :30:14. | |
in this world. # You've got to find yourself alone. | :30:15. | :30:46. | |
# Injilli Injilli can I sing with you? | :30:47. | :31:22. | |
# About Mr Tembo. # And what he's got to do. | :31:23. | :31:27. | |
# But first I'm going back to the Colworth Road. | :31:28. | :31:32. | |
# To find the mission and help him with his load. | :31:33. | :31:39. | |
# Mr Tembo's on his way up the hill. # With only this song to tell you | :31:40. | :31:45. | |
how he feels. # But to get there he will need a | :31:46. | :31:49. | |
helping hand. # It's where he is now but it wasn't | :31:50. | :31:55. | |
what he planned. # Injilli Injilli we will sing with | :31:56. | :32:00. | |
you. # Just like the TV. | :32:01. | :32:04. | |
# In Mr Tembo's room. # Of the emphatic night he checked | :32:05. | :32:09. | |
in on his own. # At Mkomazi inn and made it his | :32:10. | :32:15. | |
home. # Mr Tembo's on his way up the hill. | :32:16. | :32:22. | |
# With only this song to tell you how he feels. | :32:23. | :32:27. | |
# But to get there he will need a helping hand. | :32:28. | :32:32. | |
# It's where he is now but it wasn't what he planned. | :32:33. | :32:37. | |
# It's where he is now but it wasn't what he planned. | :32:38. | :32:51. | |
# Injilli Injilli we will sing to you. | :32:52. | :32:56. | |
# Bout Mr Tembo and what he's going through. | :32:57. | :32:59. | |
# Gets up early while you are still in bed. | :33:00. | :33:07. | |
# Mr Tembo, grey blanket by his head. | :33:08. | :33:16. | |
# Mr Tembo's on his way up the hill. # With only this song to tell you | :33:17. | :33:19. | |
how he feels. # But to get there he will need a | :33:20. | :33:23. | |
helping hand. # It's where he is now but it wasn't | :33:24. | :33:27. | |
what he planned. # It's where he is now but it wasn't | :33:28. | :33:41. | |
what he planned. Man you take those lions off the | :33:42. | :33:47. | |
front? I'm trying to run this expedition in a decent manner. | :33:48. | :33:50. | |
# Logistics, haulage, golf, bungalow. | :33:51. | :33:51. | |
# Spires, canals, cows, hay bales. # Telegraph wires, pylon power, | :33:52. | :33:54. | |
farmhouse oak, chimneys still used. # Stones, satellite, football | :33:55. | :33:57. | |
pitches, faded flags and lots of dogs. | :33:58. | :33:59. | |
# Neon cross on top of a block of flats. | :34:00. | :34:02. | |
# And a church not as usual. # Mr Tembo's on his way up the hill. | :34:03. | :34:08. | |
# With only this song to tell you how he feels. | :34:09. | :34:12. | |
# But to get there he will need a helping hand. | :34:13. | :34:16. | |
# It's where he is now but it wasn't what he planned. | :34:17. | :34:21. | |
# It's where he is now but it wasn't what he planned. | :34:22. | :34:59. | |
# In the dead of the night I start to lose control. | :35:00. | :35:35. | |
# But I still carry the weight like I've always done before. | :35:36. | :35:47. | |
# It gets so heavy at times but what more can I do. | :35:48. | :35:57. | |
# I got to stay on track just like Pops told me to. | :35:58. | :36:09. | |
# I really don't think you know. # There could be hell below, below. | :36:10. | :36:20. | |
# I really do hope you know. # There could be hell below, below. | :36:21. | :36:51. | |
# When the music is done and all the lights are low. | :36:52. | :36:59. | |
# I will remember the times when love would really glow. | :37:00. | :37:00. | |
# I world turn blue. | :37:01. | :37:11. | |
# And the light inside would only shine for you. | :37:12. | :37:31. | |
# I really don't think you know. # There could be hell below, below. | :37:32. | :37:46. | |
# I really do hope you know. # There could be hell below, below. | :37:47. | :38:03. | |
# I really don't think you know. # There could be hell below, below. | :38:04. | :38:48. | |
APPLAUSE. Thank you, The Black Keys. Before | :38:49. | :38:57. | |
that, Damon Albarn and before that, Coldplay, who, it | :38:58. | :39:01. | |
that, Damon Albarn and before that, almost exactly to the day, last | :39:02. | :39:05. | |
Tuesday, when he first came on the show. Lovely to have you back. Very | :39:06. | :39:07. | |
nice. 14 years, it seems impossible! show. Lovely to have you back. Very | :39:08. | :39:13. | |
I'm so pleased because here, now, we're joined by Sharon Jones and the | :39:14. | :39:18. | |
Dap-Kings and we have Sharon and Gabriele joining us. | :39:19. | :39:27. | |
First of all, Sharon, welcome back to the show. It is great to have you | :39:28. | :39:30. | |
here and you are looking very well, singing better than ever. But I | :39:31. | :39:35. | |
think it would be fair to say that success has come to you Later in | :39:36. | :39:42. | |
life. Would you always performing? Yes. I was always performing, in the | :39:43. | :39:47. | |
church with the choir, to having a neighbourhood band. The whole | :39:48. | :39:55. | |
spectrum, and then I was in a wedding band. I have always been | :39:56. | :40:03. | |
singing. I feel that God has blessed me. Which singers inspired you to | :40:04. | :40:08. | |
sing? Aretha Franklin, she was a big influence. Gospel. James Brown, Otis | :40:09. | :40:23. | |
riding a stacks and Motown. -- Stax. Gabriele, you have written many of | :40:24. | :40:27. | |
the songs and do the arrangements. How do you approach writing for | :40:28. | :40:32. | |
Sharon? The thing with Sharon, she will not sing a song that does not | :40:33. | :40:36. | |
make sense to her. She will say right away, that don't make sense! | :40:37. | :40:41. | |
So we try to writes songs that might not be something that happened to | :40:42. | :40:45. | |
her or me but it might be. The experiences are real. The | :40:46. | :40:49. | |
experiences of life. How did you hook up? It was about 16, 17 years | :40:50. | :40:56. | |
ago. I was doing a record with Lee Fields and they needed some | :40:57. | :41:01. | |
background vocals. They tried to call three women to come down and | :41:02. | :41:04. | |
sing and Sharon came down by herself. I said, where are the other | :41:05. | :41:09. | |
two? She said, you don't need three girls, you can pay me three times. | :41:10. | :41:14. | |
She came to sing backing and ended up singing lead on that record. And | :41:15. | :41:20. | |
we have worked together ever since. And you have almost stepped in to | :41:21. | :41:23. | |
film with the wolf of Wall Street. How was the world of film compared | :41:24. | :41:28. | |
to the world of music? More glamorous and easy? Don't believe | :41:29. | :41:33. | |
the hype. It is a lot of sitting and waiting. We did all the songs, | :41:34. | :41:41. | |
watching the movie. And zip. But it is a good experience. I've got to | :41:42. | :41:46. | |
meet Leonardo. He did not talk to us but we met him. Leonardo DiCaprio? | :41:47. | :41:52. | |
He was in character. When using character, you don't talk. You don't | :41:53. | :42:00. | |
want to confuse them, but if you are a character as well, you can pretend | :42:01. | :42:04. | |
to be Napoleon or something and have a chat with him. You are about to go | :42:05. | :42:07. | |
on tour with lots of great artists. What can people expect? Of the | :42:08. | :42:16. | |
shows? Dynamite. Total excitement. Sharon always brings fire to the | :42:17. | :42:20. | |
stage. It is hard to describe. It is not to be missed. Not to be missed. | :42:21. | :42:27. | |
I'd agree it is not to be missed. And the record is great and we look | :42:28. | :42:30. | |
forward to hearing more Later on. Thank you so much. And now, a legend | :42:31. | :42:43. | |
in world music. From the Western Sahara but living in Barcelona, we | :42:44. | :42:47. | |
welcome Aziza Ibrahim. # When I was a child, I believed | :42:48. | :46:59. | |
what they told me # To each one shall come what each | :47:00. | :47:03. | |
one shall earn # And if I worked hard, nobody could | :47:04. | :47:07. | |
hold me # And cheaters will fail, what's | :47:08. | :47:13. | |
what we all learned # Now there is a man who born with a | :47:14. | :47:18. | |
fortune # A hard day's work he's never done | :47:19. | :47:28. | |
# He lives from the sweat of another men's labour | :47:29. | :47:31. | |
# As he sips his champagne and lays in the sun | :47:32. | :47:38. | |
# Money don't follow sweat # Money don't follow brains | :47:39. | :47:48. | |
# Money don't follow deeds or reason # People Don't Get What They Deserve | :47:49. | :47:58. | |
# People doent don't get what they deserve | :47:59. | :48:03. | |
# There was a man who lives like a | :48:04. | :48:06. | |
saint # He works from day break till late | :48:07. | :48:10. | |
in the night # He's never stolen, he's never been | :48:11. | :48:14. | |
lazy # To feed his children is always a | :48:15. | :48:25. | |
# # He tried to do right by all of | :48:26. | :48:29. | |
God's children # I worked mighty hard for what I | :48:30. | :48:33. | |
could afford # But I don't pretend for one single | :48:34. | :48:37. | |
moment # That's what I get is my just | :48:38. | :48:47. | |
moment America money don't follow sweat | :48:48. | :48:53. | |
# Money don't follow brains # It don't follow deeds or reason | :48:54. | :48:57. | |
# People Deserve | :48:58. | :49:03. | |
# People doent People Don't Get What They Deserve | :49:04. | :49:09. | |
# People People Don't Get What They Deserve | :49:10. | :49:18. | |
# People don't get what they deserve # Peopledon't get | :49:19. | :49:30. | |
# People don't get what they deserve # People don't get what they deserve | :49:31. | :49:37. | |
# No matter what you say # People doent get | :49:38. | :49:44. | |
# No matter what you say deserve... # | :49:45. | :49:56. | |
APPLAUSE Sharon Jones and the Dap-Kings! | :49:57. | :50:06. | |
People Don't Get What They Deserve. Before that, is a round of applause | :50:07. | :50:13. | |
for the wonderful Aziza Brahim. Very hard to play the drums and sing. | :50:14. | :50:19. | |
The next artist is wonderful. Damon Albarn! | :50:20. | :50:38. | |
# Chill on the Hollow Ponds # Set sail by a kid | :50:39. | :51:03. | |
# I felt the percussion # The green man had gone | :51:04. | :51:28. | |
-- 1991 # I was by the Black Sea | :51:29. | :51:40. | |
# Two hours in time # The urges and the new school bell, | :51:41. | :51:58. | |
# # Shiny new shoes and a new school | :51:59. | :52:12. | |
bell, 1979 # Turned into Lakeside | :52:13. | :52:25. | |
# In January # (Honourable lady low pond ponds) | :52:26. | :52:34. | |
# Modern life was sprayed on to a wall in 1993 | :52:35. | :52:41. | |
# Where the horses and passing trains | :52:42. | :52:42. | |
# Have been tangled # The horses and passing trains | :52:43. | :53:19. | |
# Have been tangled # In the green woods where you | :53:20. | :53:33. | |
walked with me # A ship on hollow ponds was filled | :53:34. | :53:43. | |
# Up with the dreams we shared on our CDs | :53:44. | :54:02. | |
# Every moment now and every day # Every moment now and every day... | :54:03. | :54:13. | |
# # Down in the waves | :54:14. | :55:52. | |
# She screams again # Roar at the door | :55:53. | :55:57. | |
# My mind can't take much more # I could never drown in | :55:58. | :56:11. | |
# They wanna get my... # They wanna get my... | :56:12. | :56:28. | |
# Gold on the ceiling # I ain't blind | :56:29. | :56:32. | |
# Just a matter of time # Before you steal it | :56:33. | :56:37. | |
# But it's all right # Ain't no guard in my house | :56:38. | :56:54. | |
# Clouds covered love's # Barb-wired snare | :56:55. | :57:02. | |
# Strung up, strung out # I just can't go without | :57:03. | :57:05. | |
# I could never drown # I just can't go without | :57:06. | :57:11. | |
# They Juan that get my... # They wanna get my... | :57:12. | :57:17. | |
# I ain't blind # Just a matter of time | :57:18. | :57:38. | |
# Gold on the ceiling # Gold on the ceiling | :57:39. | :57:44. | |
# Just a matter of time # Before you steal it | :57:45. | :57:48. | |
# It's all right # Ain't no guard in my house | :57:49. | :58:04. | |
# They wanna get my... # They wanna get my... | :58:05. | :58:13. | |
# They wanna get my # Gold on the ceiling | :58:14. | :58:18. | |
# I ain't blind # Just a matter of time | :58:19. | :58:23. | |
# Before you steal it # It's all right | :58:24. | :58:29. | |
# Ain't no guard in my house # Gold On The Ceiling | :58:30. | :58:33. | |
# I ain't blind # It's just a matter of time | :58:34. | :58:37. | |
# Before you steal it # It's all right | :58:38. | :58:39. | |
# Ain't no guard in my house... # APPLAUSE. There is so little time | :58:40. | :59:05. | |
for anything else, so let's thank our guests. Thank | :59:06. | :59:07. | |
for anything else, so let's thank Keys. Thank you, Azizi Ibrahim, | :59:08. | :59:10. | |
Sharon Jones and the Keys. Thank you, Azizi Ibrahim, | :59:11. | :59:15. | |
Damon Albarn, Tom Hickox! We will be back next week live with Little | :59:16. | :59:25. | |
Dragon and much more. I'm so pleased to initio, Coldplay. -- have in the | :59:26. | :59:30. | |
studio. # Cause you're a sky cause you're a | :59:31. | :59:51. | |
sky full of stars. # I'm gonna give you my heart. | :59:52. | :59:58. | |
sky full of stars. # Cause you're a sky, cause you're a | :59:59. | :00:00. | |
sky full of stars?. # Cause you light up the path?. | :00:01. | :00:19. | |
# I don't care, go on and tear me apart. | :00:20. | :00:29. | |
# I don't care if you do. # Cause in a sky, cause in | :00:30. | :00:32. | |
full of stars. # I think I saw you. | :00:33. | :01:05. | |
# Cause in your eyes cause in your eyes there's a spark. | :01:06. | :01:20. | |
# I want to die in your arms. # Cause you get brighter the more it | :01:21. | :01:27. | |
gets dark. # I'm gonna give you my heart. | :01:28. | :01:38. | |
# And I don't care go on and tear me apart. | :01:39. | :01:52. | |
# And I don't care if you do. # Cause in a sky, cause in a sky | :01:53. | :01:56. | |
full of stars. # I think I see you. | :01:57. | :02:09. | |
# I think I saw you.? # Cause in a sky cause in | :02:10. | :03:04. | |
# Cause in a sky, cause in a sky full of stars. | :03:05. | :03:13. | |
# Such a heavenly view. # You're such a heavenly view. # | :03:14. | :03:32. | |
Yeah, yeah, yeah. # Ooh. # Ooh. | :03:33. | :03:49. | |
Thank you, everybody. Sorry, what? | :03:50. | :04:11. | |
I gotta get off the show. ..galling things you have done in the | :04:12. | :04:12. | |
short time that we have known you...! It's like you have | :04:13. | :04:24. | |
no self-awareness. I'll get help. You're not going to get help, | :04:25. | :04:29. | |
are you? Nah. | :04:30. | :04:32. |