:00:32. > :00:46.APPLAUSE. We live with you. We welcome the Lumineers.
:00:47. > :01:43.# You've been on my mind, girl, since the flood
:01:44. > :01:58.# Heaven help a fool who falls in love
:01:59. > :02:08.# You got big plans and you gotta move
:02:09. > :02:20.# And you can't feel nothing small
:02:21. > :02:27.# Honey, I love you That's all she wrote
:02:28. > :02:32.# You've been on my mind, girl, like a drug
:02:33. > :02:35.# Oh, oh, Ophelia, heaven help a fool who falls in love
:02:36. > :02:44.# You've been on my mind, girl, since the flood
:02:45. > :02:51.# Oh, oh, Ophelia, heaven help a fool who falls in love
:02:52. > :02:57.# Oh, oh, Ophelia, you've been on my mind, girl, like a drug
:02:58. > :03:04.# Oh, oh, Ophelia, heaven help a fool who falls in love #
:03:05. > :03:22.Thank you the Lumineers. Also tonight, a studio packed with
:03:23. > :03:28.extraordinary and marvellous talent. We have from East London, Rationale.
:03:29. > :03:34.From New Zealand, Marlon Williams. From London, Savages, we welcome
:03:35. > :03:38.them back. The dazzling voice of Beverley Knight. And from Wales and
:03:39. > :03:50.Essex, I am pleased we have Underworld.
:03:51. > :03:57.# A little bit more voice, yeah
:03:58. > :04:11.# The origin of numbers is a questionable hypothesis
:04:12. > :04:19.# This is the most ancient form of a sign
:04:20. > :04:24.# This is a more recent sign
:04:25. > :05:01.# Home and away
:05:02. > :06:53.# Luna luna luna luna # Luna luna luna luna
:06:54. > :07:52.# Luna luna luna luna Thank you, Underworld, live in this
:07:53. > :07:57.room right now. They're brand-new album, the first in six years.
:07:58. > :08:01.Hopefully born later. Now we will move quickly to this end of the
:08:02. > :08:08.studio. So that we can enjoy Rationale.
:08:09. > :08:14.# Everybody speeds in the fast lane truly now
:08:15. > :08:24.# Tryin' to keep ourselves from stressing out
:08:25. > :08:29.# Take a look in your heart and your soul
:08:30. > :08:36.# We're so caught up in the riddle
:08:37. > :09:24.# And you've only now just figured out how
:09:25. > :09:29.# You can give him your heart and your soul
:09:30. > :09:37.# But when you're caught up in the riddle
:09:38. > :09:40.# Man, your pride ain't worth a nickel
:09:41. > :10:37.# Got to find a way through this fast lane.
:10:38. > :10:55.Rationale. A pleasure to have them in the studio and it is a pleasure
:10:56. > :11:02.to have with us the wonderful and talented Beverley Knight. We have to
:11:03. > :11:07.minutes briefly. You have just got back from Memphis. You have made an
:11:08. > :11:13.incredible record, what made you decide to go there? I was honoured
:11:14. > :11:17.enough to be invited to Memphis to research my role in a West End show
:11:18. > :11:24.I did called Memphis and when I got there I knew I had to go back and
:11:25. > :11:29.knew I had to record. The atmosphere drew you? Absolutely, it is the home
:11:30. > :11:34.of rock 'n' roll. The cradle. I hatched to be there and soak it in
:11:35. > :11:43.and record. How did you choose the songs? The songs that are covered
:11:44. > :11:47.are songs that speak to me and the other songs are those I have
:11:48. > :11:56.written. Original material inspired by my time in Memphis. You are going
:11:57. > :12:02.to do a big Mama Thornton song. How did you come across her? I was on
:12:03. > :12:09.YouTube and I was looking at Buddy Guy, who was playing fabulous guitar
:12:10. > :12:13.and I clicked on a link and saw him introduce big Mama Thornton and she
:12:14. > :12:25.comes in and smashes it to pieces. It is a famous song and she did it
:12:26. > :12:29.first. It is famous, the son of Memphis did it, Elvis Presley and it
:12:30. > :12:39.was a worldwide smash. You are about to go on tour. Is it different for
:12:40. > :12:42.you when you are on tour, you have had awards doing musicals, is it
:12:43. > :12:47.different with your own band? Completely different. In a musical
:12:48. > :12:53.you are someone else but on stage as yourself, freedom to do whatever you
:12:54. > :12:58.want. I am looking forward to hearing Beverley Knight in a moment.
:12:59. > :13:06.APPLAUSE. The next artist is an extraordinary
:13:07. > :13:08.mix. Choirboy classical training, the incredible talent that is Marlon
:13:09. > :13:23.Williams. # 'Cos everyone's
:13:24. > :13:59.got something to say # And I made made out
:14:00. > :14:24.like I'm some wild bird of prey # And everyone's got
:14:25. > :14:37.something to say # Dreaming just gives
:14:38. > :15:37.glory to the great # Dreaming just gives
:15:38. > :15:39.glory to the grave # Seems like everyone's
:15:40. > :16:13.got something to say #. The extraordinary voice of Marlon
:16:14. > :16:34.Williams. And for now, we welcomed back Savages!
:16:35. > :17:12.# The more you have, the more you crave
:17:13. > :17:33.# So what else? What else, what else?
:17:34. > :17:51.# You want to know why I changed my mind
:17:52. > :17:53.# And when I did, everything was fine
:17:54. > :17:57.# Sometimes the truth is right there, right there
:17:58. > :18:01.# If you're beautiful here, you're beautiful there
:18:02. > :18:29.# So what else? What else, what else?
:18:30. > :19:03.# So what else? What else, what else?
:19:04. > :19:08.# Look at me and decide All the truth is right here
:19:09. > :19:34.# So what else, what else, what else #.
:19:35. > :19:48.Thank you, Savages! Sad Person. And now we welcomed the wonderful
:19:49. > :20:22.Beverley Knight! CHEERING. # Quit snooping round my door!
:20:23. > :20:29.# You can wipe your tail # I'm not going to feed due no more
:20:30. > :20:34.# When they said you was high classed
:20:35. > :20:53.# # You are not know real cool cat!
:20:54. > :21:00.You are just some all the hound dog! # Quit snooping round my door.
:21:01. > :21:19.# You can wipe your tail, but I ain't going to feed you know more!
:21:20. > :21:31.# Well, well you made me feel so blue, you made me weep.
:21:32. > :21:37.# You made me feel so with, you made me weep and Murray!
:21:38. > :21:42.# You are not looking for a woman, you are looking for a new home!
:21:43. > :21:56.# You can wag your tail, but I ain't going to feed you no more!
:21:57. > :22:25.# When you left this town with your windows down
:22:26. > :22:31.# Let the exits pass, all the tar and glass
:22:32. > :22:43.# They raise you up just to cut you down
:22:44. > :22:51.# Oh, Angela, it's a long time coming
:22:52. > :22:53.# And your Volvo lights lit up green and white
:22:54. > :23:01.# But you held your course to some distant war
:23:02. > :23:18.# Oh, Angela, it's a long time coming
:23:19. > :23:33.# Were you safe and warm in your coat of arms
:23:34. > :23:37.# Did you hear the notes, all those static codes
:23:38. > :23:51.# They raise you up just to cut you down
:23:52. > :23:56.# Oh, Angela, it's a long time coming
:23:57. > :24:01.# Oh, Angela, spent your whole life running away
:24:02. > :24:23.# Vacancy, hotel room Lost in me, lost in you
:24:24. > :25:35.Thank you, The Lumineers! Angela. Thank you to all our guests, Marlon
:25:36. > :25:40.Williams, Savages, Beverley Knight. More from the guests on Friday but
:25:41. > :25:46.now I've five seconds to tell you something very important. That is
:25:47. > :25:51.right, we will finish with Underworld!
:25:52. > :25:55.CHEERING. # Random blonde bio
:25:56. > :27:24.high density rhythm # Blonde boy, blonde
:27:25. > :27:28.country, blonde high density # Babes and babes and babes
:27:29. > :27:44.and babes and babes # You like my tin horn boy
:27:45. > :27:50.and get wet like an angel # Squatting in a Tube hole
:27:51. > :28:38.at Tottenham Court Road # Talking to the most
:28:39. > :28:43.blonde I ever met # Mega, mega, mega
:28:44. > :29:22.going back to Romford