Episode 7 Later... with Jools Holland

This programme contains strong language.

Welcome to ah Kaied fire! -- Arcade Fire.

How are you guys doing? You look really good.

# Is anyone as cruel as a normal person?

# You know, I can't tell if I'm a normal person

# When they get excited, they try to hide it

# When they get excited, they try to hide it

# When they get excited, they try to hide it

# When they get excited, they try to hide it

# You can make the changes in our hearts

# You can change us, just where should you start?

# I've never really ever met a normal person

Arcade Fire! The song aptly named Normal Person. Ah Kaied fire! We

have got a room packed with amazing people tonight. So, from South

London, Bermondsey, one of my favourite areas of London, we have

Kwabs! And we'll be chatting to the

legendary guitar player, Hank Marvin! Only chatting to the man who

knows everything. We'll welcome the Wild Beasts!

From New York, we are thrilled to have on the programme, Sharon van

Etten. And we bring you Damien Jarrado. Now

from Dublin, one of my favourite people, it must be Imelda May!

# We all got our marks to what or who we belong

# Apart we are weak but together we're strong

# For a quiff or a crew, we can jump to defence

# With the drum that you bring or the song that you sing

# Fashion is something that comes and goes

# Fickle as fables of emperors' clothes

# What you put on tells a lot of your mind

# If you're part of a pack or you're one of a kind

# With the drum that you bring or the song that you sing

# When you look in the mirror tell me what do you see

# You're a king, you're a queen, you're a wizard, a fool

# Or if you're me then rockabilly rules

# With the drum that you bring or the song that you sing

From her album Tribal. We welcome back into the studio,

Wild Beasts! # Between the hurt and

the tender song # Between the flesh

and the fondest wrong # Where the real and the dream

may consummate # Between bone dry and

the dripping wet # Where the real and the dream

may consummate Thank you Wild Beasts!

Lauren Vula. Fans of our next artists. I now welcome to the show,

Kwabs! # That you're always gonna tread

the wrong road # Cos there's something that I need

to let you know # If you're looking for a place

to hide # I will always try and look

the other way # And if you're ever caught

between the lines # We are one and I will always

keep you safe # From the memories you tried

to leave behind # So I'm reaching out and here's

the reason why # If you're looking for a place

to hide # I will always try and look

the other way # And if you're ever caught

between the lines # We are one and I will always

keep you safe # If you're looking for a place

to hide # I will always try and look

the other way # If you're ever caught

between the lines # I will always try and look

the other way # If you're looking for a place

to hide # I will always try and look

the other way # And if you're ever caught

between the lines # We are one and I will always

keep you safe The amazing Kwabs!

We'll be hearing more from Kwabs later on. Now I think it's time for

me to barge into one of the true great legends of popular music, the

world great legend admired by them all, it's Hank Marvin!

Welcome to the show, Hank, great to have you here.

Imelda May is here. We want to hear what you are about.

You have a new record out which we'll talk about in a moment. The

first thing I wonder is this, you have inspired more guitarists, it's

like the longest list from Eric Clapton, George Harrison, every

guitarist you can think of, all these people. Who were the people

that got you there, made you want to play the guitar? The First sounds I

loved were the sounds coming out of the American movement, buddy Holly,

Chuck Berry, those sorts of guys. The sounds were so different from

anything I'd heard before. Incredibly exciting, slap echo on

guitars, a different way of playing that was basically a combination of

things like rhythm and blues, country, folk, everything mixed

together, cometh this wonderful new sound. Then I think you could say

they came up with that sound but you created a unique sound that was

yours. Thank you. That's the great Eggs thing any musician can do. If

anybody heard you play, they would know it was you. Could you give us a

bit to show us? Let me see a close-up of what that sound is and

what maybes it unique? A treat for me. It's love hi being this close.

HE STRUMS. I get the sounds using the echo, so

you can play a note, you know. All that sort of stuff, you know.

It's great because nobody else plays like that, never played like that

before.let a lot must have tried afterwards. You did instrumentals

which was unique. People didn't have endless hits with instrumentals and

you did? It was one of those things. We played the tune Apache, the first

hit by the writer Joe Lorden. We loved the tune and because it was a

hit, we became an instrueptal group. We have got a bits of footage, then

I'm going to invite Darryl, if he were on mastermind, you would have

been the subject so we have a few expert questions.

LAUGHTER Before we do that, let's enjoy

cracker jack in 1961! CHEERING AND APPLAUSE

Where did that warmth come from? You said you wouldn't embarrass me.

Where did it come from? Fear really. Trying to walk off the stage? Yes.

Very quickly we saw a band in 1958 and what knocked us out, apart from

the music, was that they did the movements in concert. The early day

of Cliff and the Shadows was very much a rock'n'roll approach and

Everymanforhimself. We decided the show needed to look better and this

came back to our minds, this idea of moving the steps and we worked out a

few routines. The first time we did it, the audience went nuts, they

loved it so we thought it was the way to go so added more and more

movement and it kept us fit, definitely. A dual purpose thing,

that's rite. Darryl? We were talking backstage about nowadays young

guitar players have so much digital stuff to learn to play the guitar.

When you first started, you didn't have any of that, so how easy was it

to learn Cliff solos and some of the intricate stuff? It wasn't easy

because you had to play the record obviously, you couldn't slow it

down. Except to a degree you could, if 5, you could play it at 33, but

it wasn't necessarily in the same key of course. It was just

listening, working out the fingerings, which strings to play,

for example, did it sound like a fixed string or an echo string and

you could work it out approximately and you could come up with something

that was close, but not the same. It will give you something to discuss

over dinner when you get home this evening. Thank you. Pleasure!

Finally the record comes out on June 2nd. What material are you working

on? A mixture of music, California Girls, A Taste of Honey, Soupertime,

all loosely related to Summer Days. Like we are having now, with the

rain? ! Yes, all new arrangements. Ben and I did it. My keyboard player

did some. I love an instrumental record. Thank you. Looking forward

to hearing the record. Thank you for joining us all, we are looking

forward to hearing this when it comes out and we hope to see you

again and look forward to seeing you over there in a moment, Darryl.

Thank you for joining us, Hank Marvin!

And now, welcoming back to the show over in this far flung corner to

have studio, that I march across bravely, welcome, Sharon van Etten!

# You read the answers by the shadows on the wall

# Tell me there's something I can change

# Help me deserve you, sing me praise

# To know somebody in and out after a while

# Tear stains I believe that I'm in Houston

# Let's turn it into something we can change

# They're walking around head full of sound

# They walk in the room and stare right through you

# Daddy, it's true, I'm different from you

# But tell me why they treat me like this?

# If you turned away, what would I say?

# Maybe it's true, they're staring at you

# Tell 'em it's fine, stare if you like

# They're down on their knees, begging us please

# Daddy, it's fine, I'm used to 'em now

# But tell me why they treat me like this?

# They're staring at you when you walk in the room

# Tell 'em it's fine, stare if you like

# Down on my knees, begging us please

# You're down on your knees, begging us please

# You're down on your knees, begging us please

# You're down on your knees, begging us please

# You can make the changes in our hearts

# And if you hang together, you can change us

OK, Arcade Fire from their new album, Reflector. Before that,

Sharon van Etten. The person over here is the person that always gets

my muscles twitching for a boogie. It's Imelda May!

# Locked up like a soul that has sinned

# But these wings I will tie so I cannot fly

# So don't stay by my side as I have to deny

# But these wings I will tie so I cannot fly

# So don't stay by my side as I have to deny

What a beautiful song, an amazing voice!

The wonderful Imelda May, Gypsy Me from the new album. Now, we talk to

a man who had Smash Hits and has written a book chronicling his life

with some of the rock stars of the world. We welcome to the show Mark

Owen! Welcome. You have been given a song. Would you say this book is

your memoirs? It's more about music than me, about the glorious sound

track of our lives. -- Mark Ellen. Staying up all night trying to work

out the meaning of life, you know, being at school dances, being in a

school band. That's the early part of the book when I'm a teenager and

later on you see it from the viewing platform.

Earlier on you were in a band with a British Prime Minister. Which Prime

Minister was that, was it Ted Heath because he played a lot of music?

Can't get that image out of my head, playing the rock orbegan would be a

brilliant thought, it wasn't John Major either, it was Tony Blair.

What was he like? Very good singer, and showman. He wore, and this may

be stressful, a very sort of hoop-necked T-shirt with three or

four inches of naked rippling torso. Easily done? Yes, trumpet sleeves,

big cowboy boots, long hair and fringe, looked like the rest of us.

Did you see the Prime Minister material in him? Only the showman,

loving the limelight. Then you went into a career

loving the limelight. Then you went to lots of people around your world

of journalism. How did you get into that? It was quite hard to get into,

there was only the Melody Maker, the Express and the Sounds and I got in

because, as ethe tailed in the book, the manager of Elvis Costello said

if anybody is found in the Nashville rooms when the first album came out,

he'd personally murder them. I got into the venue and went up to him

keenly and was singled out by the manager. I suppose I can say lightly

duffed up actually! Possibly A for being from that magazine and wearing

what I wore. In a sense I deserved it. Why go for the journalist? But I

don't know. Then you went into television. Let us see a clip. This

is you introducing The Smiths on the Whistle Test in 19 3 it says here.

Ohher Lord. Welcome to Whistle Test on the road which comes from the

Assembly Rooms in Derby. There's always been a place in pop

Assembly Rooms in Derby. There's for the bands as exotic as the

sounds they make, like Giant Jelly Worthington Cup bean Cop Out, the

Peppermint Trolley Company and the Electric Fungai Mothers. Fear not if

you don't remember them, we'll continue the great tradition by

bringing you Manchester's wayward sons, the Smiths on stage here!

APPLAUSE That is a slapable performance! I

haven't seen that for 30 years, shocking. Good shirt though.

30 year ago, things were different. The Tube had come on at the same

time. Our great rivals. Which was more spontanic - a German word I

think. Good word! You have met Lady Gaga, how was she? Very

extraordinary interview. I didn't get the time, there was a great

controversy as to whether or not she might be a man, do you remember

this? No. That mild rumour about whether she was not entirely female.

Possibly to be a moon biscuit or to prove the point, I don't know, I

went back into her dress room and she was effectively stark naked.

Hang on a second! You don't get that with Van Morrison, let me tell you.

Let's look at this more carefully. So she was doing a photo shoot. You

barge into her room? She said to me go out "because I have to get naked"

and she was genuinely naked. She got naked. Is that because you were

questioning what sex she was? I think she was trying to throw me a

curve ball of an interesting interview. Which it did. And I went

through each of they are that toos in great detail. Very illustrated?

Yes, very much so -- tattoos. It will make people laugh, cry and

empath, maybe enjoy music more. Thank you very much for joining us,

Mark Ellen! You can read more details for

yourself. But now, we welcome a man who is Damon Jerrado.

# Daylight shaking through the trees

# Daylight shaking through the trees

# Can't start to show our lives parallel

# After the ground We watch our feet

# We're a little bruised and battle-worn

# But the walls they built to keep us

# Should've leave it here without a gent

# Will gonna lead it through another fight

# I'll make it feel the strength between us

The amazing voice of the man they call the Kwabs.

Before that, we enjoyed Damon jury doe. Now, the switch into this

corner over here and enjoy from Kendal, Wild Beasts -- Damon

Juradoe. # We're decadent beyond our means,

with a zeal # We feel the things

they'll never feel # They're solemn in their wealth,

we're high in our poverty # It's a feeling that I've come

to trust # It's a feeling

that I've come to trust # Don't confuse me

with someone who gives a lock # Funny how that little gold

can buy a lot of luck # Don't confuse me

with someone who gives a lock # In your mother tongue,

what's the verb to suck? # Don't confuse me with someone

who gives a lock # Funny how that little gold

can buy a lot of love # Don't confuse me with someone

who gives a lock # In your mother tongue,

what's the verb to suck? # Don't confuse me with someone

who gives a lock # Funny how that little gold

can buy a lot of love. # # I knew a feral girl

once upon a time # She grew into a werewolf,

that monster was all mine # She was incarcerated

to the inside of my skin # And then I sat and waited

for my nice life to begin # I tried and tried to tame her

but she fought me tooth and nail # I couldn't even train her

so I held onto her tail # I never should have fed her,

didn't know how much she'd grow # Just a little bit of danger

and I break out in a sweat # I'm trying to contain her

but she's slippin' through the net Thank you Imelda May with wild

woman. Thank you to all of the artists in the room tonight and so

now I meet a man, there's a popular misconception that in the world of

television everyone lives in a world in a block of flats together, it

could be true because look who's here this evening. Thank you for

coming Jonathan Ross, everyone! You come here for an official purpose,

you are on the recording of these lovely people here? No, Jools, I'm

trying to sneak on to the BBC with your wide-open back door. You are

using my generosity and the spirit of my openness and kindness! You are

always welcome here, we just won't pay you anything. Did they explain

that before you came? This is what you do on The Record, so you can

explain to the BBC in case you do on The Record, so you can

any problems, it's because he does you do on The Record, so you can

this on the Record, we are not trying to elbow him back. OK.

this on the Record, we are not Jonathan Ross, I'll ask you to do

your job. Jonathan Ross, ladies and gentlemen!

We have fabulous music for you from the fantastic Arcade Fire!

# Please stop wondering why you feel so sad

# Please stop wondering why you feel so bad

# Please stop wondering why you feel so bad

# Please stop wondering why you feel so bad