:00:56. > :00:58.Thank you for joining us. I am thrilled to bits because it is
:00:59. > :01:22.Kasabian. # I aint easy and I make you mad.
:01:23. > :01:24.# Least I ain't sleazy. # I'm just trying to put the world
:01:25. > :01:38.to out.
:01:39. > :01:41.# Cos I got the feeling that I'm gonna keep you up all...
:01:42. > :01:51.# Gonna keep you up all... # Gonna keep you up all night.
:01:52. > :01:54.# The wrong men have the power. # I'm tired of taking orders.
:01:55. > :02:02.# Coping with disorders. # The wrong men have the power.
:02:03. > :02:12.# It's turning my milk sour. # Turning my milk sour.
:02:13. > :02:16.# I aint easy and I make you mad. # Least I ain't sleazy.
:02:17. > :02:23.# I'm just trying to put the world to rights.
:02:24. > :02:25.# and if you want to I'll take you out.
:02:26. > :02:31.# Cos I got the feeling that I'm gonna keep you up all night.
:02:32. > :02:34.# I ain't easy and I ain't that bad. # No ryhme or reason.
:02:35. > :02:36.# I'm just trying to set the world alight.
:02:37. > :02:39.# You've got problems. # Well, so have I.
:02:40. > :02:42.# I got the feeling I'm gonna keep you up all...
:02:43. > :02:56.# Gonna keep you up all... # Gonna keep you up all night.
:02:57. > :02:59.# There's cobras in the mosh pit. # Finally we lost it.
:03:00. > :03:04.# Every day is brutal. # Now we're being watched by Google.
:03:05. > :03:06.# Gotta keep it simple. # Sending out a signal.
:03:07. > :03:13.# Everyone's on bugle. # Now we're being watched by Google.
:03:14. > :03:17.# Being watched by Google. # Being watched by Google.
:03:18. > :03:24.# I aint easy and I make you mad. # Least I ain't sleazy.
:03:25. > :03:27.# I'm just trying to put the world to rights.
:03:28. > :03:32.# And if you want to I'll take you out.
:03:33. > :03:37.# Cos I got the feeling that I'm gonna keep you up all night.
:03:38. > :03:41.# I ain't easy and I ain't that bad. # No rhyme or reason.
:03:42. > :03:44.# I'm just trying to set the world alight.
:03:45. > :03:47.# You've got problems. # Well, so have I.
:03:48. > :03:50.# I got the feeling that I'm gonna keep you up all...
:03:51. > :04:05.# Gonna keep you up all... # Gonna keep you up all...
:04:06. > :04:32.# Gonna keep you up all night. # Gonna keep you up all...
:04:33. > :04:50.# Gonna keep you up all night. Eez-eh! Thank you, Kasabian. Lovely
:04:51. > :04:54.to have them on the show. We have a room packed full of amazing people
:04:55. > :05:01.from all over the world, from Hudson Valley in New York we are going to
:05:02. > :05:05.be welcoming Natalie Merchant. From London for the first time together
:05:06. > :05:13.here in this room, Brian Eno and Karl Hyde. And most talked about and
:05:14. > :05:20.tipped the top brand-new singer with amazing voice and guitar, George
:05:21. > :05:25.Ezra from Bristol. A group from all over the world performing in London,
:05:26. > :05:28.the Ibibio Sound Machine. And now, from Dallas, Texas, we welcome back
:05:29. > :05:43.to the show, St Vincent. # Back to your seats.
:05:44. > :05:47.# Get back. # Gnashing teeth.
:05:48. > :05:56.# Ooh-ooh. # Oooh.
:05:57. > :05:58.# I want all of your mind. # People turn the TV on.
:05:59. > :06:05.# It looks just like a window. # People turn the TV on.
:06:06. > :06:25.# It looks just like a window. # Digital witnesses.
:06:26. > :06:29.# What's the point of even sleeping? # If I can't show it if you can't
:06:30. > :06:34.see me. # What's the point of doing
:06:35. > :06:47.anything? # This is no time for confessing.
:06:48. > :06:56.# I want all of your mind. # People turn the TV on.
:06:57. > :07:10.# It looks just like a window. # People turn the TV on.
:07:11. > :07:17.# It looks just like a window. # Digital witnesses.
:07:18. > :07:27.# What's the point of even sleeping? # If I can't show it if you can't
:07:28. > :07:31.see me? # Watch me jump right off the London
:07:32. > :07:48.Bridge. # This is no time for confessing.
:07:49. > :07:56.# People turn the TV on and throw it out the window.
:07:57. > :08:10.# Get back to your stare. # I care but I don't care.
:08:11. > :08:18.# Oh, oh, oh. # Want all of your mind.
:08:19. > :08:29.# Gimme all of your mind. # I want all of your mind.
:08:30. > :08:34.# Gimme all of it. # Digital witnesses.
:08:35. > :08:38.# What's the point of even sleeping? # If I can't show it if you can't
:08:39. > :08:43.see me? # What's the point of doing
:08:44. > :08:50.anything? # What's the point of even sleeping?
:08:51. > :08:53.# So I stopped sleeping. # I stopped sleeping.
:08:54. > :09:16.# Won't somebody sell me back to me? Thank you, St Vincent. Digital
:09:17. > :09:22.Witness. I said this band were from all over. All over Nigeria, Brazil
:09:23. > :09:34.and beyond. They are Ibibio Sound Machine.
:09:35. > :11:42.# One, two, three, four, let's dance.
:11:43. > :12:15.# One, two, three, four, let's dance.
:12:16. > :12:28.# One, two, three, four, let's dance.
:12:29. > :13:01.# One, two, three, four, let's dance.
:13:02. > :13:11.Ibibio Sound Machine! On this show, next up, we love collaborators, and
:13:12. > :13:15.now we have dance music pioneer Carl Hyde collaborating with the
:13:16. > :14:31.legendary producer Brian Eno. So big it up for Brian Eno and Carl Hyde!
:14:32. > :15:13.MUSIC: Daddy's Car # My house in Budapest.
:15:14. > :17:24.CHEERING AND APPLAUSE Brian Eno, Carl Hyde. I shall be
:17:25. > :17:30.discussing various things with both of them later on in the show. One
:17:31. > :17:36.thing I should be discussing is what makes a great record producer
:17:37. > :17:41.because of course Brian is one. Have our next artists done it themselves?
:17:42. > :17:45.Let's find out when we discuss things with Kasabian! Welcome to the
:17:46. > :17:49.show. Great to have you back here. Thank you. Marvellous new record.
:17:50. > :18:01.Just about to come out any minute now. The first thing I've got to ask
:18:02. > :18:07.about is the title, 48 Spots 13. Pf What is that? It's the sum of all
:18:08. > :18:11.its parts. It's that simple. We kept everything direct on this record,
:18:12. > :18:14.including the title. One word for each song. Everything was the vision
:18:15. > :18:19.from the start, it was to keep everything. Three minutes, is that
:18:20. > :18:25.the perfect song? It's easy, yes. I just agree with what he says!
:18:26. > :18:30.What a great band! Do the band all get on, do you have
:18:31. > :18:34.a nice time together? We do have a nice time together, don't we? Yes,
:18:35. > :18:42.we are a good old-fashioned gang. I suppose this show is a bit like
:18:43. > :18:46.being in The Beano. Yes. You did everything in the studio, does that
:18:47. > :18:50.affect how you do things? Every record from the first thing has been
:18:51. > :18:55.done in a bedroom. The studio that I have now at shoal a glorified
:18:56. > :18:59.bedroom. Is there a bed in there? There is next door. Yes,
:19:00. > :19:00.bedroom. Is there a bed in there? of like that, but it's just
:19:01. > :19:09.bedroom. Is there a bed in there? it's got an old '70s desk, it's like
:19:10. > :19:13.a museum really. I don't feel comfortable in studios, always been
:19:14. > :19:18.frightened of the red light. Take it to stages, do the demos, then finish
:19:19. > :19:27.it off. That's a great way of doing it. Tips for a home studio? Warn
:19:28. > :19:29.your neighbours? Sound proofing. Air conditioning. It's ten years since
:19:30. > :19:33.you released your first conditioning. It's ten years since
:19:34. > :19:36.because of the nature to have show and it's television, we are
:19:37. > :19:37.because of the nature to have show zoom back with time travel. Wow.
:19:38. > :19:54.Yes. 2004 all over again.
:19:55. > :20:05.# We got our backs to the wall # Come on
:20:06. > :20:06.# Watch out # Come on
:20:07. > :20:22.# We got our backs to the wall... Beautiful.
:20:23. > :20:27.APPLAUSE Beautiful.
:20:28. > :20:34.Watching that back's nice seeing that.
:20:35. > :20:38.We couldn't use the word "LSD" on Top of the Pops, they had a problem
:20:39. > :20:42.with it, referring to acid trips and that, they said they were going to
:20:43. > :20:45.ban us all, that's why I had it on my hand. You can say it here as much
:20:46. > :20:49.as you like. We are much more easy going here. Thank you. That's ten
:20:50. > :20:53.years ago when you were first starting. Now you are going to be
:20:54. > :20:56.headlining on the pyramid stage at Glastonbury. Do you approach
:20:57. > :21:01.performing live differently now Glastonbury. Do you approach
:21:02. > :21:04.years later? You learn so much. When you have been doing it for so long,
:21:05. > :21:09.you just learn so much. you have been doing it for so long,
:21:10. > :21:11.Glastonbury gig, we'd be training for that, you know.
:21:12. > :21:15.Glastonbury gig, we'd be training you are still based in Leicester and
:21:16. > :21:19.I like Leicester very much. Yes. I really do, I go there quite a bit
:21:20. > :21:24.and I like the pubs there, I go there quite a bit. We went in
:21:25. > :21:28.Engelbert Humperdinck's pub? He's got one in his house, I've never
:21:29. > :21:30.been. It's only a few minutes down the road from my house, he's never
:21:31. > :21:41.invited us in. I'm sure the road from my house, he's never
:21:42. > :21:44.But there are in Leicester, because I walked around them one evening,
:21:45. > :21:47.some fantastics pubs, because I like I walked around them one evening,
:21:48. > :21:54.a pub that hasn't changed for years. Leicester has some of the best ones.
:21:55. > :22:00.Do you go to the Shakespeare? I've never been in! I swear. So glad you
:22:01. > :22:04.pointed that out. They'll be loving that now.
:22:05. > :22:06.Now you have said that, that now.
:22:07. > :22:11.going to shout about that. It's that now.
:22:12. > :22:14.marvellous to have you both here and that now.
:22:15. > :22:20.we shall look forward to hearing more from this superb record later
:22:21. > :22:25.on. APPLAUSE
:22:26. > :22:28.Our next artist is a marvellous brand-new person who lots of people
:22:29. > :22:30.are talking about and he's on lots of festivals this year. From
:22:31. > :22:44.Bristol, please welcome George Ezra. My house in Budapest #
:22:45. > :22:50.My hidden treasure chest. # Golden grand piano.
:22:51. > :22:53.# My beautiful Castillo. # For you.
:22:54. > :22:58.# You. # I'd leave it all.
:22:59. > :23:03.# My acres of a land. # I have achieved.
:23:04. > :23:06.# It may be hard for you to Stop and believe.
:23:07. > :23:12.# But for you. # You.
:23:13. > :23:23.# I'd Leave it all. # Give me one good reason why I
:23:24. > :23:33.should never make a change. # And baby if you hold me then all
:23:34. > :23:38.of this will go away. # My many artifacts.
:23:39. > :23:41.# The list goes on. # If you just say the words I'll up
:23:42. > :23:46.and run. # Oh, to you.
:23:47. > :23:50.# You. # I'd leave it all.
:23:51. > :24:06.# Give me one good reason why I should never make a change.
:24:07. > :24:13.# And baby if you hold me then all of this will go away.
:24:14. > :24:21.# Give me one good reason why I should never make a change.
:24:22. > :24:34.# And baby if you hold me then all of this will go away.
:24:35. > :24:39.# My friends and family, they don't understand.
:24:40. > :24:42.# They fear they'd lose so much if you took my hand.
:24:43. > :24:54.# But, for you. # You.
:24:55. > :24:57.# I'd lose it all. # But for you
:24:58. > :25:01.# You # I'd lose it all #
:25:02. > :25:06.Give me one good reason why I should never make a change.
:25:07. > :25:15.# And baby if you hold me then all of this will go away.
:25:16. > :25:21.# Give me one good reason why I should never make a change.
:25:22. > :25:33.# And baby if you hold me then all of this will go away.
:25:34. > :25:36.# My house in Budapest. # My hidden treasure chest.
:25:37. > :25:41.# Golden grand piano. # My beautiful Castillo.
:25:42. > :25:44.# For you. # You.
:25:45. > :25:49.# I'd leave it all.? # Yeah, yeah.
:25:50. > :25:57.# For you # Ooh you
:25:58. > :26:01.# You # I'd leave it all... #
:26:02. > :26:14.CHEERING AND APPLAUSE #
:26:15. > :26:26.Yeah, yeah. # Yeah, yeah.
:26:27. > :26:30.# Get him a message, a message from me.
:26:31. > :26:35.# I'm caught up in love and I'm in ecstasy.
:26:36. > :26:39.# What can I do now when nothing's the same?
:26:40. > :26:45.# And all that I know I wanna do it again.
:26:46. > :26:49.# Well, tell me now. # Life is so simple when you are
:26:50. > :26:53.with me. # Cos when we're together I'm in
:26:54. > :27:02.ecstasy. # I'm in ecstasy.
:27:03. > :27:07.# Yeah. # I'm in ecstasy.
:27:08. > :27:26.# Here we go again. # Yeah, yeah.
:27:27. > :27:29.# All you pretty things get on board this mothership.
:27:30. > :27:32.# All you got to do is be ready for action, baby.
:27:33. > :27:44.# Don't think I'm twisted as a matter of fact.
:27:45. > :27:48.# Welcome you now to the second act. # Where I fight off robots and the
:27:49. > :27:53.men in the suits. # Wear out the soles of your monkey
:27:54. > :27:58.boots. # Well, tell me now.
:27:59. > :28:02.# Can't get enough of the sunshine. # Can't get enough of the moonlight.
:28:03. > :28:05.# And all the colours that are coming on strong.
:28:06. > :28:09.# Trying to hold on, trying to hold on.
:28:10. > :28:15.# Can't get enough of the oceans. # Can't get enough of the mantra.
:28:16. > :28:20.# All we will ever feel is ecstasy. # We're in ecstasy.
:28:21. > :28:26.# Yeah. # We're in ecstasy.
:28:27. > :28:44.# Here we go again. # Yeah, yeah.
:28:45. > :28:47.# All you pretty things get on board this mothership.
:28:48. > :28:49.# All you got to do is be ready for action, baby.
:28:50. > :29:00.# Well, tell me now. # Can't get enough of the sunshine.
:29:01. > :29:08.# Well, tell me now # Can't get enough of the sunshine #
:29:09. > :29:12.Can't get enough of the moonlight. # And all the colours that are
:29:13. > :29:15.coming on strong. # Trying to hold on, trying to hold
:29:16. > :29:20.on. # Can't get enough of the oceans.
:29:21. > :29:24.# Can't get enough of the mantra. # All we will ever feel is ecstasy.
:29:25. > :29:32.# We're in ecstasy. # We're in ecstasy.
:29:33. > :29:45.# Yeah, everybody go. # Yeah, yeah.
:29:46. > :29:47.# All you pretty things get on board this mothership.
:29:48. > :29:56.# Yeah. # All you got to do is be ready for
:29:57. > :30:15.# Ready for action, baby. # Ready for action, baby.
:30:16. > :30:26.48: 13. That is their LP. Thank you, Kasabian. That was Bumblebee. And
:30:27. > :30:35.now sounding tremendous from Dallas, St Vincent.
:30:36. > :30:40.# Prince Johnny, you're kind but you're not simple.
:30:41. > :30:43.# by now I think I know the difference.
:30:44. > :30:59.# You wanna be a son of someone. # Remember the time we went and
:31:00. > :31:01.snorted. # That piece of the Berlin Wall that
:31:02. > :31:13.you'd extorted. # That piece of the Berlin Wall that
:31:14. > :31:24.# And we had such a laugh of it. # Prostrate on my carpet.
:31:25. > :31:30.# You traced the Andes with your index.
:31:31. > :31:48.# And bragged of when and where and who you gonna bed next.
:31:49. > :32:00.# All with sons of someones. # Saw you pray to all to make you a
:32:01. > :32:13.real boy. # Saw you pray to all to make you a
:32:14. > :32:15.real boy. # Prince Johnny, you're kind but do
:32:16. > :32:19.be careful. # Prince Johnny, you're kind but do
:32:20. > :32:27.# by now I know just when to clear.
:32:28. > :32:36.# When all your friends and acolytes are holding court.
:32:37. > :32:41.# In bathroom stalls. are holding court.
:32:42. > :32:52.# Where you pray to all to make you a real boy.
:32:53. > :33:09.# Saw you pray to all to make you a real boy.
:33:10. > :33:15.# But honey don't mistake my affection.
:33:16. > :33:26.# For another spit-and-penny style redemption.
:33:27. > :33:36.# Cos we're all sons of someones. # We're all sons of someones.
:33:37. > :33:42.# I wanna mean more than I mean to you.
:33:43. > :33:48.# I wanna mean more than I meant to him.
:33:49. > :34:02.# So I pray to all to make me a real girl.
:34:03. > :34:16.# So I pray to all to make me a real girl.
:34:17. > :36:04.# So I pray... The wonderful St Vincent with Prince
:36:05. > :36:09.Johnny. Excellent. So now I am delighted to welcome two men that
:36:10. > :36:12.were making music and collaborating beautifully, Brian Eno and Karl
:36:13. > :36:22.Hyde. Welcome to the show, gentlemen. The first question I have
:36:23. > :36:30.to ask is what made you decide that he wanted to collaborate together?
:36:31. > :36:33.Boredom. Easily done. It started about 20 years ago. We were on the
:36:34. > :36:37.plane journey together. We had never met before. We started talking and
:36:38. > :36:41.realised we thought about music and pretty much the same way and then
:36:42. > :36:48.nothing happened for about 14 years. As is often the way. And then I had
:36:49. > :36:52.a project in Sydney at the Sydney Opera House and I asked him if he
:36:53. > :36:55.would like to be part of that. Though we did that first thing
:36:56. > :37:00.together about five years ago. When you say you met on a plane, a chance
:37:01. > :37:05.encounter, we might say, but when you found you had things in common,
:37:06. > :37:10.did you both go to art school, for instance? Yes. Did that mean you
:37:11. > :37:19.approached music in a different way? Yes, I think we do see things
:37:20. > :37:22.in a different way to people who have not had that bizarre
:37:23. > :37:28.upbringing. It is letting your mind going to places that are likely. We
:37:29. > :37:32.went on courses that were quite radical in their day, the product of
:37:33. > :37:38.a bizarre mind experiment! And you came from a dance music background.
:37:39. > :37:44.Underworld, you went into a different zone. It had a great pulse
:37:45. > :37:47.to it. There is a pulse in what you are doing so I can hear elements of
:37:48. > :37:52.dance music but also elements of contemporary classical music. Maybe
:37:53. > :37:57.that is just me. We both love rhythm -based music. We talked in the early
:37:58. > :38:04.days of our love of Afro beats and bands that we loved back then and
:38:05. > :38:08.Steve Wright, and how through funk it fed into what became rave
:38:09. > :38:13.culture, the recycling of the repetitive beat. It was a very
:38:14. > :38:18.natural place for us to be. I walked into the student one day to do
:38:19. > :38:22.something different. -- the studio. And Brown said what about this? It
:38:23. > :38:29.was like a meeting of minds coming from the same place. Brian, you have
:38:30. > :38:34.produced lots of amazing artists, like Coldplay. Did you produce this
:38:35. > :38:38.or get someone to produce you? Well, I produced with Fred Gibson
:38:39. > :38:43.who is in the band here, the tall one. So Fred and I produced the
:38:44. > :38:46.record. In fact I did appreciate having somebody producing me. I
:38:47. > :38:52.usually produce myself and of course it is not always the best thing to
:38:53. > :38:55.do. People at home will ask what a producer does. It is a very
:38:56. > :39:00.difficult job to define because it really covers a lot of territory.
:39:01. > :39:05.Some famous producers in the 70s, really all they did was take bags of
:39:06. > :39:16.drugs into the studio! That is one extreme. I am not talking about...
:39:17. > :39:18.Then there are other people called producers like Phil Specter who
:39:19. > :39:24.effectively invented the music and get people into doing it for them. I
:39:25. > :39:37.am not at either end of that spectrum. This people are an active
:39:38. > :39:41.Junius. -- these people are an act of genius. They have cropped up from
:39:42. > :39:48.time to time. These are oblique strategies. I want you to take one
:39:49. > :39:54.and see if we can try and follow. What have you got? Look closely at
:39:55. > :39:59.the most embarrassing details and amplify them. I am quite good at
:40:00. > :40:05.that. I have made a career out of that. Look at the most embarrassing
:40:06. > :40:12.details and amplify them. I will just check that my flies are done
:40:13. > :40:16.up! They seem to be. I shall amplify that moment and thank Brian Eno and
:40:17. > :40:25.Karl Hyde! I am allowed and amplified. Thank you, Brian Eno and
:40:26. > :40:29.Karl Hyde. From Hudson Valley in New York, she is a wonderful poet, she
:40:30. > :40:43.is super and she is here, it is Natalie Merchant.
:40:44. > :40:47.# Going down picking when it's harvest time.
:40:48. > :40:55.# Gonna get my share. # Gonna get what's mine for me.
:40:56. > :40:57.# Sun is a-blazing down but I don't mind.
:40:58. > :41:05.# I'm picking, I'm digging, it's harvest time for me.
:41:06. > :41:10.# When I get my little eye on it. # When I get my little mind on it
:41:11. > :41:15.you best believe. # Ole sweet tooth aching in my head.
:41:16. > :41:27.# Gonna fill my belly to the brim, oh yes indeed!
:41:28. > :41:30.# Hive is a-buzzing in a hollow tree.
:41:31. > :41:37.# And I don't care if I gotta kill a little honeybee.
:41:38. > :41:43.# When I get my little eye on it. # When I get my little mind on it,
:41:44. > :41:57.you best believe. # Oh my, my, my, my.
:41:58. > :42:04.# It's all coming to me. # Gonna get what's mine.
:42:05. > :42:15.# And wild horses couldn't keep it from me.
:42:16. > :42:17.# Papa says I'm a golden child. # And the whole world's gonna fall
:42:18. > :42:24.at my feet. # And the whole world's gonna fall
:42:25. > :42:32.# It's all coming to me. # And the whole world's gonna fall
:42:33. > :42:36.# Pumpin' and a-suckin' till the well is dry.
:42:37. > :42:46.# Nobody's booming in these busted times like me.
:42:47. > :42:49.# Down in Texas where the cattle don't roam.
:42:50. > :42:54.# Down in Texas where the cattle # Oil is a-dripping and the savings
:42:55. > :42:59.and loans, they bleed. # When I get my little eye on it,
:43:00. > :43:08.when I get my little mind on it, you best believe.
:43:09. > :43:21.# Oh my, my, my, my. # It's all coming to me.
:43:22. > :43:25.# Papa came along and he shook the tree.
:43:26. > :43:31.# Down came a bushel and a peck for me.
:43:32. > :43:42.# Papa shooed away all the honeybees.
:43:43. > :43:49.# Papa dug a well and it flowed for me.
:43:50. > :44:04.# Papa caught the motherload fish for me.
:44:05. > :44:06.# Papa put a skillet in the flame to fry.
:44:07. > :44:10.# Papa filled this little silver spoon of mine.
:44:11. > :44:12.# Papa said the Lord took a shine to me.
:44:13. > :44:15.# Papa said I gotta set the whole world free.
:44:16. > :44:22.# Whole world free, whole world free.
:44:23. > :47:22.# Ooh. Papa said how it's gonna be. Jingle. Timing. Numbers, diamond.
:47:23. > :47:27.Voltage. Heli. Clouds. Free. Summer. Night.
:47:28. > :47:35.Grass. Niceness. Dreaming. Bush. Silence. Cars. Dancing. Chess.
:47:36. > :48:50.Landscape. Pylons. Sun. Moon, drones.
:48:51. > :49:00.CHEERING AND APPLAUSE. Eno and Hyde. Witness. Before that,
:49:01. > :49:04.we enjoyed Natalie Merchant. Back to this extraordinary collective over
:49:05. > :49:08.here formed in London, from all parts of the world, Nigeria, Brazil,
:49:09. > :49:59.the lot, all over. They are Ibibio Sound Machine!
:50:00. > :53:35.# Oh, what an ordinary day.
:53:36. > :53:42.# Take out the garbage, masturbate. # I'm still holding for the laugh.
:53:43. > :53:49.# The dogs will bark so let them bark.
:53:50. > :53:55.# The birds will cry, I'll let them cry.
:53:56. > :54:05.# Here's my report from the edge. # Like a birth in reverse.
:54:06. > :54:10.# What I saw through the blinds. # You could say that I'm saying
:54:11. > :54:17.phenomenal lies. # On the cosmic eternity.
:54:18. > :54:23.# Party line was a birth in reverse in America.
:54:24. > :54:45.# This tune will hum me through the war.
:54:46. > :54:52.# This tune will hum me through the war #
:54:53. > :54:55.Laugh all you want but I want more. # Cos what I'm swearing I never
:54:56. > :55:01.sworn before. # Like a birth in reverse.
:55:02. > :55:04.# What I saw through the blinds. # You could say that I'm saying
:55:05. > :55:06.phenomenal lies on the cosmic eternity.
:55:07. > :55:32.# Party line was a birth in reverse in America.
:55:33. > :55:40.# Like a birth in reverse. # What I saw through the blinds.
:55:41. > :55:48.# You could say that I'm saying phenomenal lies on the cosmic
:55:49. > :55:51.eternity. # Party line was a birth in reverse
:55:52. > :57:10.in America.? # Yeah, yeah.
:57:11. > :57:18.CHEERING AND APPLAUSE Birth in Reverse.
:57:19. > :57:21.St Vincent! Before that, we enjoyed Ibibio Sound Machine.
:57:22. > :57:25.APPLAUSE As our programme draws to its later
:57:26. > :57:54.moments, we are delighted to have back over here, Kasabian!
:57:55. > :58:01.# Stevie. # Where you going with that gun?
:58:02. > :58:10.# Who you wanna shoot down? # Who you trying to kid?
:58:11. > :58:21.# You've been watching too much TV. # It's playing with your memories.
:58:22. > :58:27.# It's trying to break your heart. # Just calm down.
:58:28. > :58:34.# Take your medication. # It numbs you to the world.
:58:35. > :58:40.# Not my world. # And all the kids they say.
:58:41. > :58:51.# Live to fight another day. # Live to fight again.
:58:52. > :59:04.# And all the kids they say. # Live to fight another day.
:59:05. > :59:18.# Live to fight again, again, again. # It's no life.
:59:19. > :59:27.# Underneath your finger. # Dreamt a little bigger.
:59:28. > :59:35.# I'm sick and tired of this. # If you show us what we can't have.
:59:36. > :59:45.# What do you expect when we take it back from you?
:59:46. > :59:49.# Cos it's no joke, no joke. # I wanna open up your eyes wide.
:59:50. > :59:52.# Eyes wide. # I feel it coming but you can't
:59:53. > :59:57.hide. # Can't hide.
:59:58. > :00:03.# I wanna make you see light. # And all the kids they say.
:00:04. > :00:12.# Live to fight another day. # Live to fight again.
:00:13. > :00:16.# And all the kids they say. # Live to fight another day.
:00:17. > :00:19.# Live to fight again, again, again, again.
:00:20. > :00:32.# And the ordinary people. # Living ordinary lives.
:00:33. > :00:44.# There's more than just excuses. # I see the fire in your eyes.
:00:45. > :00:54.# But you knew this all already. # It comes as no surprise.
:00:55. > :00:56.# It's time to push things forward. # Cos there's no way back.
:00:57. > :01:26.# Yeah, there's no way back now. CHEERING AND APPLAUSE
:01:27. > :01:30.Thank you, Kasabian! Stevie. Look at the website, you can
:01:31. > :01:35.see them in 2006. We'll be back on Tuesday night at 10 o'clock with
:01:36. > :01:40.Police, Chrissie Hind, Ed Sheeran and much, much more. But now, I
:01:41. > :01:50.would like to invite Kasabian if you have got a couple of chords around
:01:51. > :01:59.the D area... Yeah. I'd like to thank all of our
:02:00. > :02:09.guests. Thank you, Kasabian. Thank you George Ezra.
:02:10. > :02:16.Thank you Ibibio Sound Machine. Thank you, St Vincent.
:02:17. > :02:34.Thank you, Natalie Merchant. Thank you, Brian Eno. And Carl Hyde.
:02:35. > :02:36.Thank you for being you.