:00:34. > :00:55.This programme contains strong language.
:00:56. > :01:24.Welcome to ah Kaied fire! -- Arcade Fire.
:01:25. > :01:34.How are you guys doing? You look really good.
:01:35. > :01:39.# Is anyone as cruel as a normal person?
:01:40. > :02:03.# You know, I can't tell if I'm a normal person
:02:04. > :03:35.# When they get excited, they try to hide it
:03:36. > :03:40.# When they get excited, they try to hide it
:03:41. > :03:44.# When they get excited, they try to hide it
:03:45. > :03:48.# When they get excited, they try to hide it
:03:49. > :04:32.# You can make the changes in our hearts
:04:33. > :04:46.# You can change us, just where should you start?
:04:47. > :05:01.# I've never really ever met a normal person
:05:02. > :05:49.Arcade Fire! The song aptly named Normal Person. Ah Kaied fire! We
:05:50. > :05:54.have got a room packed with amazing people tonight. So, from South
:05:55. > :05:57.London, Bermondsey, one of my favourite areas of London, we have
:05:58. > :06:00.Kwabs! And we'll be chatting to the
:06:01. > :06:09.legendary guitar player, Hank Marvin! Only chatting to the man who
:06:10. > :06:13.knows everything. We'll welcome the Wild Beasts!
:06:14. > :06:19.From New York, we are thrilled to have on the programme, Sharon van
:06:20. > :06:27.Etten. And we bring you Damien Jarrado. Now
:06:28. > :06:38.from Dublin, one of my favourite people, it must be Imelda May!
:06:39. > :06:43.# We all got our marks to what or who we belong
:06:44. > :06:54.# Apart we are weak but together we're strong
:06:55. > :06:59.# For a quiff or a crew, we can jump to defence
:07:00. > :07:03.# With the drum that you bring or the song that you sing
:07:04. > :07:18.# Fashion is something that comes and goes
:07:19. > :07:24.# Fickle as fables of emperors' clothes
:07:25. > :07:29.# What you put on tells a lot of your mind
:07:30. > :07:34.# If you're part of a pack or you're one of a kind
:07:35. > :07:38.# With the drum that you bring or the song that you sing
:07:39. > :08:41.# When you look in the mirror tell me what do you see
:08:42. > :08:52.# You're a king, you're a queen, you're a wizard, a fool
:08:53. > :08:57.# Or if you're me then rockabilly rules
:08:58. > :09:01.# With the drum that you bring or the song that you sing
:09:02. > :09:37.From her album Tribal. We welcome back into the studio,
:09:38. > :10:20.Wild Beasts! # Between the hurt and
:10:21. > :10:49.the tender song # Between the flesh
:10:50. > :10:56.and the fondest wrong # Where the real and the dream
:10:57. > :11:11.may consummate # Between bone dry and
:11:12. > :12:06.the dripping wet # Where the real and the dream
:12:07. > :13:59.may consummate Thank you Wild Beasts!
:14:00. > :14:01.Lauren Vula. Fans of our next artists. I now welcome to the show,
:14:02. > :14:17.Kwabs! # That you're always gonna tread
:14:18. > :14:45.the wrong road # Cos there's something that I need
:14:46. > :14:56.to let you know # If you're looking for a place
:14:57. > :14:58.to hide # I will always try and look
:14:59. > :15:07.the other way # And if you're ever caught
:15:08. > :15:09.between the lines # We are one and I will always
:15:10. > :15:18.keep you safe # From the memories you tried
:15:19. > :15:46.to leave behind # So I'm reaching out and here's
:15:47. > :15:57.the reason why # If you're looking for a place
:15:58. > :16:00.to hide # I will always try and look
:16:01. > :16:07.the other way # And if you're ever caught
:16:08. > :16:10.between the lines # We are one and I will always
:16:11. > :16:23.keep you safe # If you're looking for a place
:16:24. > :16:40.to hide # I will always try and look
:16:41. > :16:48.the other way # If you're ever caught
:16:49. > :16:50.between the lines # I will always try and look
:16:51. > :17:04.the other way # If you're looking for a place
:17:05. > :17:06.to hide # I will always try and look
:17:07. > :17:10.the other way # And if you're ever caught
:17:11. > :17:13.between the lines # We are one and I will always
:17:14. > :17:59.keep you safe The amazing Kwabs!
:18:00. > :18:04.We'll be hearing more from Kwabs later on. Now I think it's time for
:18:05. > :18:08.me to barge into one of the true great legends of popular music, the
:18:09. > :18:13.world great legend admired by them all, it's Hank Marvin!
:18:14. > :18:23.Welcome to the show, Hank, great to have you here.
:18:24. > :18:27.Imelda May is here. We want to hear what you are about.
:18:28. > :18:32.You have a new record out which we'll talk about in a moment. The
:18:33. > :18:37.first thing I wonder is this, you have inspired more guitarists, it's
:18:38. > :18:40.like the longest list from Eric Clapton, George Harrison, every
:18:41. > :18:44.guitarist you can think of, all these people. Who were the people
:18:45. > :18:55.that got you there, made you want to play the guitar? The First sounds I
:18:56. > :19:00.loved were the sounds coming out of the American movement, buddy Holly,
:19:01. > :19:06.Chuck Berry, those sorts of guys. The sounds were so different from
:19:07. > :19:08.anything I'd heard before. Incredibly exciting, slap echo on
:19:09. > :19:12.guitars, a different way of playing that was basically a combination of
:19:13. > :19:16.things like rhythm and blues, country, folk, everything mixed
:19:17. > :19:22.together, cometh this wonderful new sound. Then I think you could say
:19:23. > :19:27.they came up with that sound but you created a unique sound that was
:19:28. > :19:31.yours. Thank you. That's the great Eggs thing any musician can do. If
:19:32. > :19:35.anybody heard you play, they would know it was you. Could you give us a
:19:36. > :19:40.bit to show us? Let me see a close-up of what that sound is and
:19:41. > :19:52.what maybes it unique? A treat for me. It's love hi being this close.
:19:53. > :20:00.HE STRUMS. I get the sounds using the echo, so
:20:01. > :20:05.you can play a note, you know. All that sort of stuff, you know.
:20:06. > :20:09.It's great because nobody else plays like that, never played like that
:20:10. > :20:16.before.let a lot must have tried afterwards. You did instrumentals
:20:17. > :20:19.which was unique. People didn't have endless hits with instrumentals and
:20:20. > :20:27.you did? It was one of those things. We played the tune Apache, the first
:20:28. > :20:33.hit by the writer Joe Lorden. We loved the tune and because it was a
:20:34. > :20:39.hit, we became an instrueptal group. We have got a bits of footage, then
:20:40. > :20:42.I'm going to invite Darryl, if he were on mastermind, you would have
:20:43. > :20:45.been the subject so we have a few expert questions.
:20:46. > :20:47.LAUGHTER Before we do that, let's enjoy
:20:48. > :21:40.cracker jack in 1961! CHEERING AND APPLAUSE
:21:41. > :21:46.Where did that warmth come from? You said you wouldn't embarrass me.
:21:47. > :21:53.Where did it come from? Fear really. Trying to walk off the stage? Yes.
:21:54. > :21:58.Very quickly we saw a band in 1958 and what knocked us out, apart from
:21:59. > :22:03.the music, was that they did the movements in concert. The early day
:22:04. > :22:06.of Cliff and the Shadows was very much a rock'n'roll approach and
:22:07. > :22:11.Everymanforhimself. We decided the show needed to look better and this
:22:12. > :22:16.came back to our minds, this idea of moving the steps and we worked out a
:22:17. > :22:20.few routines. The first time we did it, the audience went nuts, they
:22:21. > :22:24.loved it so we thought it was the way to go so added more and more
:22:25. > :22:30.movement and it kept us fit, definitely. A dual purpose thing,
:22:31. > :22:32.that's rite. Darryl? We were talking backstage about nowadays young
:22:33. > :22:36.guitar players have so much digital stuff to learn to play the guitar.
:22:37. > :22:42.When you first started, you didn't have any of that, so how easy was it
:22:43. > :22:45.to learn Cliff solos and some of the intricate stuff? It wasn't easy
:22:46. > :22:50.because you had to play the record obviously, you couldn't slow it
:22:51. > :22:54.down. Except to a degree you could, if 5, you could play it at 33, but
:22:55. > :23:01.it wasn't necessarily in the same key of course. It was just
:23:02. > :23:06.listening, working out the fingerings, which strings to play,
:23:07. > :23:11.for example, did it sound like a fixed string or an echo string and
:23:12. > :23:17.you could work it out approximately and you could come up with something
:23:18. > :23:20.that was close, but not the same. It will give you something to discuss
:23:21. > :23:26.over dinner when you get home this evening. Thank you. Pleasure!
:23:27. > :23:34.Finally the record comes out on June 2nd. What material are you working
:23:35. > :23:40.on? A mixture of music, California Girls, A Taste of Honey, Soupertime,
:23:41. > :23:44.all loosely related to Summer Days. Like we are having now, with the
:23:45. > :23:52.rain? ! Yes, all new arrangements. Ben and I did it. My keyboard player
:23:53. > :23:55.did some. I love an instrumental record. Thank you. Looking forward
:23:56. > :23:58.to hearing the record. Thank you for joining us all, we are looking
:23:59. > :24:01.forward to hearing this when it comes out and we hope to see you
:24:02. > :24:05.again and look forward to seeing you over there in a moment, Darryl.
:24:06. > :24:10.Thank you for joining us, Hank Marvin!
:24:11. > :24:15.And now, welcoming back to the show over in this far flung corner to
:24:16. > :24:40.have studio, that I march across bravely, welcome, Sharon van Etten!
:24:41. > :24:55.# You read the answers by the shadows on the wall
:24:56. > :25:12.# Tell me there's something I can change
:25:13. > :25:30.# Help me deserve you, sing me praise
:25:31. > :26:02.# To know somebody in and out after a while
:26:03. > :27:02.# Tear stains I believe that I'm in Houston
:27:03. > :27:47.# Let's turn it into something we can change
:27:48. > :29:12.# They're walking around head full of sound
:29:13. > :29:20.# They walk in the room and stare right through you
:29:21. > :29:37.# Daddy, it's true, I'm different from you
:29:38. > :29:42.# But tell me why they treat me like this?
:29:43. > :29:45.# If you turned away, what would I say?
:29:46. > :29:53.# Maybe it's true, they're staring at you
:29:54. > :30:00.# Tell 'em it's fine, stare if you like
:30:01. > :30:28.# They're down on their knees, begging us please
:30:29. > :30:36.# Daddy, it's fine, I'm used to 'em now
:30:37. > :30:40.# But tell me why they treat me like this?
:30:41. > :31:05.# They're staring at you when you walk in the room
:31:06. > :31:08.# Tell 'em it's fine, stare if you like
:31:09. > :32:39.# Down on my knees, begging us please
:32:40. > :32:47.# You're down on your knees, begging us please
:32:48. > :33:06.# You're down on your knees, begging us please
:33:07. > :33:12.# You're down on your knees, begging us please
:33:13. > :34:14.# You can make the changes in our hearts
:34:15. > :34:21.# And if you hang together, you can change us
:34:22. > :34:49.OK, Arcade Fire from their new album, Reflector. Before that,
:34:50. > :34:53.Sharon van Etten. The person over here is the person that always gets
:34:54. > :35:41.my muscles twitching for a boogie. It's Imelda May!
:35:42. > :36:19.# Locked up like a soul that has sinned
:36:20. > :37:05.# But these wings I will tie so I cannot fly
:37:06. > :37:24.# So don't stay by my side as I have to deny
:37:25. > :38:51.# But these wings I will tie so I cannot fly
:38:52. > :39:09.# So don't stay by my side as I have to deny
:39:10. > :39:41.What a beautiful song, an amazing voice!
:39:42. > :39:49.The wonderful Imelda May, Gypsy Me from the new album. Now, we talk to
:39:50. > :39:52.a man who had Smash Hits and has written a book chronicling his life
:39:53. > :40:05.with some of the rock stars of the world. We welcome to the show Mark
:40:06. > :40:11.Owen! Welcome. You have been given a song. Would you say this book is
:40:12. > :40:18.your memoirs? It's more about music than me, about the glorious sound
:40:19. > :40:22.track of our lives. -- Mark Ellen. Staying up all night trying to work
:40:23. > :40:25.out the meaning of life, you know, being at school dances, being in a
:40:26. > :40:30.school band. That's the early part of the book when I'm a teenager and
:40:31. > :40:34.later on you see it from the viewing platform.
:40:35. > :40:38.Earlier on you were in a band with a British Prime Minister. Which Prime
:40:39. > :40:43.Minister was that, was it Ted Heath because he played a lot of music?
:40:44. > :40:46.Can't get that image out of my head, playing the rock orbegan would be a
:40:47. > :40:50.brilliant thought, it wasn't John Major either, it was Tony Blair.
:40:51. > :40:55.What was he like? Very good singer, and showman. He wore, and this may
:40:56. > :40:59.be stressful, a very sort of hoop-necked T-shirt with three or
:41:00. > :41:05.four inches of naked rippling torso. Easily done? Yes, trumpet sleeves,
:41:06. > :41:09.big cowboy boots, long hair and fringe, looked like the rest of us.
:41:10. > :41:13.Did you see the Prime Minister material in him? Only the showman,
:41:14. > :41:15.loving the limelight. Then you went into a career
:41:16. > :41:18.loving the limelight. Then you went to lots of people around your world
:41:19. > :41:25.of journalism. How did you get into that? It was quite hard to get into,
:41:26. > :41:30.there was only the Melody Maker, the Express and the Sounds and I got in
:41:31. > :41:36.because, as ethe tailed in the book, the manager of Elvis Costello said
:41:37. > :41:41.if anybody is found in the Nashville rooms when the first album came out,
:41:42. > :41:45.he'd personally murder them. I got into the venue and went up to him
:41:46. > :41:55.keenly and was singled out by the manager. I suppose I can say lightly
:41:56. > :41:59.duffed up actually! Possibly A for being from that magazine and wearing
:42:00. > :42:06.what I wore. In a sense I deserved it. Why go for the journalist? But I
:42:07. > :42:11.don't know. Then you went into television. Let us see a clip. This
:42:12. > :42:17.is you introducing The Smiths on the Whistle Test in 19 3 it says here.
:42:18. > :42:22.Ohher Lord. Welcome to Whistle Test on the road which comes from the
:42:23. > :42:27.Assembly Rooms in Derby. There's always been a place in pop
:42:28. > :42:31.Assembly Rooms in Derby. There's for the bands as exotic as the
:42:32. > :42:39.sounds they make, like Giant Jelly Worthington Cup bean Cop Out, the
:42:40. > :42:42.Peppermint Trolley Company and the Electric Fungai Mothers. Fear not if
:42:43. > :42:46.you don't remember them, we'll continue the great tradition by
:42:47. > :42:52.bringing you Manchester's wayward sons, the Smiths on stage here!
:42:53. > :42:58.APPLAUSE That is a slapable performance! I
:42:59. > :43:04.haven't seen that for 30 years, shocking. Good shirt though.
:43:05. > :43:12.30 year ago, things were different. The Tube had come on at the same
:43:13. > :43:18.time. Our great rivals. Which was more spontanic - a German word I
:43:19. > :43:21.think. Good word! You have met Lady Gaga, how was she? Very
:43:22. > :43:24.extraordinary interview. I didn't get the time, there was a great
:43:25. > :43:32.controversy as to whether or not she might be a man, do you remember
:43:33. > :43:36.this? No. That mild rumour about whether she was not entirely female.
:43:37. > :43:40.Possibly to be a moon biscuit or to prove the point, I don't know, I
:43:41. > :43:46.went back into her dress room and she was effectively stark naked.
:43:47. > :43:49.Hang on a second! You don't get that with Van Morrison, let me tell you.
:43:50. > :43:55.Let's look at this more carefully. So she was doing a photo shoot. You
:43:56. > :44:00.barge into her room? She said to me go out "because I have to get naked"
:44:01. > :44:04.and she was genuinely naked. She got naked. Is that because you were
:44:05. > :44:08.questioning what sex she was? I think she was trying to throw me a
:44:09. > :44:12.curve ball of an interesting interview. Which it did. And I went
:44:13. > :44:18.through each of they are that toos in great detail. Very illustrated?
:44:19. > :44:24.Yes, very much so -- tattoos. It will make people laugh, cry and
:44:25. > :44:27.empath, maybe enjoy music more. Thank you very much for joining us,
:44:28. > :44:37.Mark Ellen! You can read more details for
:44:38. > :45:11.yourself. But now, we welcome a man who is Damon Jerrado.
:45:12. > :45:48.# Daylight shaking through the trees
:45:49. > :46:38.# Daylight shaking through the trees
:46:39. > :48:40.# Can't start to show our lives parallel
:48:41. > :48:43.# After the ground We watch our feet
:48:44. > :48:45.# We're a little bruised and battle-worn
:48:46. > :48:49.# But the walls they built to keep us
:48:50. > :49:28.# Should've leave it here without a gent
:49:29. > :49:42.# Will gonna lead it through another fight
:49:43. > :49:47.# I'll make it feel the strength between us
:49:48. > :51:50.The amazing voice of the man they call the Kwabs.
:51:51. > :51:56.Before that, we enjoyed Damon jury doe. Now, the switch into this
:51:57. > :52:00.corner over here and enjoy from Kendal, Wild Beasts -- Damon
:52:01. > :52:38.Juradoe. # We're decadent beyond our means,
:52:39. > :52:43.with a zeal # We feel the things
:52:44. > :52:48.they'll never feel # They're solemn in their wealth,
:52:49. > :52:53.we're high in our poverty # It's a feeling that I've come
:52:54. > :53:27.to trust # It's a feeling
:53:28. > :54:10.that I've come to trust # Don't confuse me
:54:11. > :55:04.with someone who gives a lock # Funny how that little gold
:55:05. > :55:17.can buy a lot of luck # Don't confuse me
:55:18. > :55:26.with someone who gives a lock # In your mother tongue,
:55:27. > :55:36.what's the verb to suck? # Don't confuse me with someone
:55:37. > :55:46.who gives a lock # Funny how that little gold
:55:47. > :55:57.can buy a lot of love # Don't confuse me with someone
:55:58. > :56:07.who gives a lock # In your mother tongue,
:56:08. > :56:17.what's the verb to suck? # Don't confuse me with someone
:56:18. > :56:26.who gives a lock # Funny how that little gold
:56:27. > :56:53.can buy a lot of love. # # I knew a feral girl
:56:54. > :56:58.once upon a time # She grew into a werewolf,
:56:59. > :57:03.that monster was all mine # She was incarcerated
:57:04. > :57:08.to the inside of my skin # And then I sat and waited
:57:09. > :57:13.for my nice life to begin # I tried and tried to tame her
:57:14. > :57:33.but she fought me tooth and nail # I couldn't even train her
:57:34. > :57:38.so I held onto her tail # I never should have fed her,
:57:39. > :57:43.didn't know how much she'd grow # Just a little bit of danger
:57:44. > :58:30.and I break out in a sweat # I'm trying to contain her
:58:31. > :59:21.but she's slippin' through the net Thank you Imelda May with wild
:59:22. > :59:27.woman. Thank you to all of the artists in the room tonight and so
:59:28. > :59:30.now I meet a man, there's a popular misconception that in the world of
:59:31. > :59:32.television everyone lives in a world in a block of flats together, it
:59:33. > :59:39.could be true because look who's here this evening. Thank you for
:59:40. > :59:43.coming Jonathan Ross, everyone! You come here for an official purpose,
:59:44. > :59:48.you are on the recording of these lovely people here? No, Jools, I'm
:59:49. > :59:52.trying to sneak on to the BBC with your wide-open back door. You are
:59:53. > :59:56.using my generosity and the spirit of my openness and kindness! You are
:59:57. > :00:00.always welcome here, we just won't pay you anything. Did they explain
:00:01. > :00:02.that before you came? This is what you do on The Record, so you can
:00:03. > :00:06.explain to the BBC in case you do on The Record, so you can
:00:07. > :00:09.any problems, it's because he does you do on The Record, so you can
:00:10. > :00:12.this on the Record, we are not trying to elbow him back. OK.
:00:13. > :00:14.this on the Record, we are not Jonathan Ross, I'll ask you to do
:00:15. > :00:21.your job. Jonathan Ross, ladies and gentlemen!
:00:22. > :00:58.We have fabulous music for you from the fantastic Arcade Fire!
:00:59. > :03:16.# Please stop wondering why you feel so sad
:03:17. > :03:23.# Please stop wondering why you feel so bad
:03:24. > :03:33.# Please stop wondering why you feel so bad
:03:34. > :03:41.# Please stop wondering why you feel so bad