:00:33. > :00:42.APPLAUSE Everywhere you look it is a
:00:43. > :00:47.celebration. Spring has come. We start with Laura Mvula!
:00:48. > :02:52.# Round the mountain all God's children run
:02:53. > :02:59.# Round the mountain all God's children run
:03:00. > :03:07.# Round the mountain all God's children run
:03:08. > :03:16.# Round the mountain all God's children run
:03:17. > :03:28.# Round the mountain all God's children?run
:03:29. > :03:37.# Round the mountain all God's children?run
:03:38. > :04:13.APPLAUSE The exquisite Laura Mvula with
:04:14. > :04:18.Overcome. And we have Paul Simon... We have the Lake District
:04:19. > :04:38.-- Lake Street Dive. And now, from the Wirral, we have The Coral.
:04:39. > :05:32.# She's got my name, she's got my number
:05:33. > :07:37.# And she moves in and out of time #.
:07:38. > :07:56.APPLAUSE The Coral with Miss Fortune. Their
:07:57. > :08:00.new album is distant in between. -- is Distance Inbetween. Now, all the
:08:01. > :08:06.way from America, Lake Street Dive. # You got me wishing
:08:07. > :08:22.that I never said # This is what I get
:08:23. > :08:29.for being civilized # Took my salutations
:08:30. > :08:40.and threw 'em away # I know there's something
:08:41. > :08:47.wrong with the limits # We got turned around,
:08:48. > :08:50.but we could spin it # Remember when you
:08:51. > :09:12.used to like me baby? # This is what I get
:09:13. > :09:17.for being civilized # You took my salutations
:09:18. > :09:28.and threw them away # I know there's something
:09:29. > :09:35.wrong with the limits # We got turned around,
:09:36. > :09:37.but we could spin it # I know there's something
:09:38. > :10:41.wrong with the limits # We got turned around,
:10:42. > :10:43.but we could spin it # I know there's something
:10:44. > :11:00.wrong with the limits # We got turned around,
:11:01. > :11:50.but we could spin it APPLAUSE
:11:51. > :11:54.Lake Street Dive. I am now joined by an incredible legend. A privilege to
:11:55. > :12:01.have in the studio this evening. The wonderful Mr Paul Simon. It is great
:12:02. > :12:08.to see you. It is great to have you here in the studio live. A lovely
:12:09. > :12:12.record, Stranger to Stranger, a great record. We will be playing
:12:13. > :12:17.something from it in a moment. You are busy, on a world tour, a
:12:18. > :12:25.sold-out tour, the new record, and you are back in England. When did
:12:26. > :12:35.you first come over here? 1964. Just when the Beatles were happening.
:12:36. > :12:38.What sort of things... Is it a better or worse place now do you
:12:39. > :12:44.think? LAUGHTER
:12:45. > :12:47.Well, I think the whole world was better in 1964.
:12:48. > :12:57.CHUCKLES Anyway, I was 23, or 22, you know,
:12:58. > :13:04.so everywhere was better. Everywhere was good. Did you write songs when
:13:05. > :13:10.you were here? Yeah, I wrote quite a few songs that became, you know,
:13:11. > :13:19.well known, well, Homeward Bound, that was pretty well known. I Am A
:13:20. > :13:28.Rock, I wrote that here. I wrote a song with... Do you remember a group
:13:29. > :13:36.called, what was The Seekers it? -- what was it, The Seekers? Were they
:13:37. > :13:42.Australian? I think so, but I know them. I was playing clubs, looking
:13:43. > :13:50.for enough money to pay rent. I wrote a song called Red Rubber Ball,
:13:51. > :13:57.which became a huge hit. But I never play it. You were writing. You will
:13:58. > :14:08.be playing Wristband in a moment, which is a great new song. You will
:14:09. > :14:17.be playing The Sound Of Silence,, do like the new version of it? -- do
:14:18. > :14:21.you like. I do, actually. I saw them play on US television about eight
:14:22. > :14:27.days ago. It was an interesting performance. They had strings, they
:14:28. > :14:32.had timpani, big orchestration... I was surprised... It was a pretty
:14:33. > :14:38.moving performance. Different from the way I do it. We will hear its
:14:39. > :14:42.next Friday. And we will hear Wristband from your new album
:14:43. > :14:45.Stranger to Stranger in a moment. Looking forward to that. I have been
:14:46. > :14:52.instructed to move along because we all live. Move along, Jools. I
:14:53. > :14:56.shall. Thank you. APPLAUSE
:14:57. > :15:02.We will be hearing more from Paul in a moment. Now, we welcome Jason
:15:03. > :15:14.Isbell. APPLAUSE
:15:15. > :15:18.# Who are you if not the one I met
:15:19. > :15:23.# One July night before the town went wet
:15:24. > :15:36.# Where are you if you're not on your own?
:15:37. > :15:47.# Where's the Jesus that you swore you'd find
:15:48. > :15:59.# Are you living the life that chose you
:16:00. > :16:05.# Do you live with a man who knows you
:16:06. > :16:35.# Lost three fingers to a faulty tool
:16:36. > :16:38.# Settled out of court, I'm no one's fool
:16:39. > :16:48.# There's plenty left to make a getaway
:16:49. > :16:53.# I've spent enough nights in the bluegrass state
:16:54. > :16:56.# We could go somewhere where people stay up late
:16:57. > :17:11.# Are you living the life that chose you
:17:12. > :17:18.# Do you live with a man who knows you
:17:19. > :17:47.# Here I am inviting you to throw your life away
:17:48. > :17:56.# Victim of nostalgia, maybe Tanqueray
:17:57. > :18:06.# Just tonight I realized that I am still in your backseat
:18:07. > :18:14.# Nothing I've had since has meant a thing to me
:18:15. > :18:24.# Are you living the life that chose you
:18:25. > :18:29.# Are you taking a grown up dose
:18:30. > :18:32.# Do you live with a man who knows you
:18:33. > :19:13.APPLAUSE Jason Isbell. The Life You Chose.
:19:14. > :19:33.Now, a man with his fifth solo album, we welcome Kano.
:19:34. > :19:35.# I'm from where Reggie Kray got rich as...
:19:36. > :19:37.# East London, who am I to mess tradition up?
:19:38. > :19:40.# Jellied eels, pie and mash, two pints of that pride on tap
:19:41. > :19:43.# Polo top, pair of stans, flat cap and a Burberry mac
:19:44. > :19:45.# Some ASBO kids on the crack here
:19:46. > :19:47.# Super tenants on a park bench, brown packet
:19:48. > :19:49.# Yeah, that's the hood, yeah, that's the hood
:19:50. > :19:52.# I'm just a 2Pac brother in a town full of Suges
:19:53. > :19:55.# Tryna be straight in this town full of crooks
:19:56. > :19:58.# Know when you've never seen a man buy a Bentley with a book
:19:59. > :20:01.# We take to water like a duck, headed to the green
:20:02. > :20:03.# But getting caught up in the rough
:20:04. > :20:06.# Story of my life, and I'm just giving you the crux
:20:07. > :20:08.# The wheels keep on turning, we keep on earning
:20:09. > :20:15.# Back when Lethal Bizzle was Lethal B
:20:16. > :20:18.# This is how we used to dun the dance in East
:20:19. > :20:20.# We used to spit 16s til they called police
:20:21. > :20:23.# Probably somewhere in a party or the dark she'll be
:20:24. > :20:27.# Where you could be a villain or a victim
:20:28. > :20:30.# Where you make money, make it out, avoid pen
:20:31. > :20:33.# That's the idiot's guide to the manor, my friend
:20:34. > :20:36.# Uh, it's been a long time coming, like Sam said
:20:37. > :20:44.# A change gonna come for the masses
:20:45. > :20:47.# Bars back, give that dark stuff a damn rest
:20:48. > :20:49.# Rap for the have-nots and the have-less
:20:50. > :20:50.# This my Rocky stairway flow
:20:51. > :20:52.# Something those Apollos wouldn't know
:20:53. > :20:55.# Brother and a mother, where's Daddy?
:20:56. > :20:59.# Face bothered, two three piece, Lucky Thompson
:21:00. > :21:02.# Fight against the odds to the top like Jack Johnson
:21:03. > :21:05.# You can keep the more money if you keep the problems
:21:06. > :21:08.# I can keep it real, can you keep it 100?
:21:09. > :21:11.# Stripped and underground, king of his highness
:21:12. > :21:14.# Now what will come first, getting rich or the dying?
:21:15. > :21:18.# The wheels keep on turning, we keep on earning
:21:19. > :21:29.# Back when Lethal Bizzle was Lethal B
:21:30. > :21:31.# This is how we used to dun the dance in East
:21:32. > :21:34.# We used to spit 16s til they called police
:21:35. > :21:37.# Probably somewhere in a party or the dark she'll be
:21:38. > :21:42.# Where you could be a villain or a victim
:21:43. > :21:44.# Where you make money, make it out, avoid pen
:21:45. > :21:48.# That's the idiot's guide to the manor, my friend
:21:49. > :21:50.# It's not a hip hop party without a butt twerk
:21:51. > :21:53.# It's not a real rap song without a cuss word
:21:54. > :21:56.# It's not a house party without a shuffle
:21:57. > :21:57.# It's not a garage rave without champagne
:21:58. > :22:03.# This was how we used to get the party gassed
:22:04. > :22:08.# Then you covered your face and dossed out the back
:22:09. > :22:10.# I'll tell you, back when Lethal Bizzle was Lethal B
:22:11. > :22:13.# This is how we used to dun the dance in East
:22:14. > :22:15.# We used to spit 16s til they called police
:22:16. > :22:18.# Probably somewhere in a party or a dark she'll be
:22:19. > :22:23.# Where you could be a villain or a victim
:22:24. > :22:25.# Where you make money, make it out, avoid pen
:22:26. > :22:28.# That's the idiot's guide to the manor, my friend
:22:29. > :22:31.# Back when Lethal Bizzle was Lethal B
:22:32. > :22:34.# This is how we used to dun the dance in East
:22:35. > :22:36.# We used to spit 16s til they called police
:22:37. > :22:39.# Probably somewhere in a party or the dark she'll be
:22:40. > :22:44.# Where you could be a villain or a victim
:22:45. > :22:47.# Where you make money, make it out, avoid pen
:22:48. > :22:53.# That's the idiot's guide to the manor, my friend #.
:22:54. > :23:32.# I stepped outside the backstage door to breathe some nicotine
:23:33. > :23:38.# And maybe check my mailbox, see if I can read the screen
:23:39. > :23:43.# Then I heard a click, the stage door lock
:23:44. > :23:48.# I'm gonna have to walk around the block
:23:49. > :23:56.# Wristband, my man, you've got to have a wristband
:23:57. > :24:02.# If you don't have a wristband, my man, you don't get through the door
:24:03. > :24:09.# Wristband, my man, you've got to have a wristband
:24:10. > :24:11.# And if you don't have a wristband, my man,
:24:12. > :24:24.I don't know why my heart beats like a fist
:24:25. > :24:31.# When I meet some dude with an attitude saying
:24:32. > :24:34.# "hey, you can't do that, or this" #
:24:35. > :24:38.# And the man was large, a well-dressed six-foot-eight
:24:39. > :24:42.# And he's acting like Saint Peter standing guard at the pearly...
:24:43. > :24:46.# Wristband, my man, you've got to have a wristband
:24:47. > :24:53.# If you don't have a wristband, you don't get through the door
:24:54. > :25:07.# My axe is on the bandstand, my band is on the floor" #
:25:08. > :25:40.# The riots started slowly with the homeless and the lowly
:25:41. > :25:44.# Then they spread into the heartland towns
:25:45. > :25:51.# Kids that can't afford the cool brand
:25:52. > :26:01.# For you'll never get a wristband and if you don't have a wristband
:26:02. > :26:05.# Then you can't get through the door
:26:06. > :27:14.The great Paul Simon. We've only got ten seconds, I would like to thank
:27:15. > :27:30.my guests. Laura Mvula! # Nobody ever told
:27:31. > :27:33.her she was beauty # One day, she realized
:27:34. > :27:37.she was already free # The colour in her
:27:38. > :27:41.eyes was fire rising # She found the light
:27:42. > :27:45.inside, a new horizon # She battled every
:27:46. > :28:23.kind of tribulation # She reveled in adventure
:28:24. > :28:27.and imagination # She never listened
:28:28. > :28:29.to no hater, liar # Breaking boundaries
:28:30. > :28:33.and chasing fire # Where you come from
:28:34. > :29:12.or where you're going # Where you come from
:29:13. > :29:19.or where you're going