:00:32. > :00:40.APPLAUSE Greetings, welcome to a brand-new
:00:41. > :00:53.series. We can begin with Laura Mvula.
:00:54. > :00:57.# Nobody ever told her she was beauty
:00:58. > :01:01.# One day she realized she was already free
:01:02. > :01:07.# The color in her eyes was fire rising
:01:08. > :01:12.# She found the light inside a new horizon
:01:13. > :01:42.# Oh my my, oh my, she flies Oh my my, oh my, she flies
:01:43. > :01:45.# She battled trials and every kind of tribulation
:01:46. > :01:50.# She reveled in adventure and imagination
:01:51. > :01:55.# She never listened to no hater liar
:01:56. > :02:01.# Breaking boundaries and chasing fire
:02:02. > :02:25.# Oh my my, oh my, she flies Oh my my, oh my, she flies
:02:26. > :02:35.# Cause they don't know you, where you come from
:02:36. > :03:19.# oh my, she flies (she flies)
:03:20. > :03:42.Laura Mvula, with the song Phenomenal Woman. We have and
:03:43. > :03:49.amazing songwriter, the legend, from New York, Mr Paul Simon. We have a
:03:50. > :03:58.wonderful band in the form of Lake Street Dive. We have more from Laura
:03:59. > :04:07.in a moment. From east London, we are privileged to be joined by Kano.
:04:08. > :04:14.Big squeeze it sound of a man from Alabama, Jason Isbell -- the Higgs
:04:15. > :04:18.quiz it sound. -- the wonderful sound. And now we welcome The
:04:19. > :04:29.Corals. # She's got my name
:04:30. > :05:20.she's got my number # And she moves
:05:21. > :07:40.in and out of time #. APPLAUSE
:07:41. > :07:49.That is The Corals, with Miss Fortune, from their album Distance
:07:50. > :07:56.Inbetween. Now, the 400 unit, we welcome Jason Isbell.
:07:57. > :08:00.# This is how you make yourself vanish into nothing
:08:01. > :08:04.# And this is how you make yourself worthy of the love that she
:08:05. > :08:10.# Gave to you back when you didn't own a beautiful thing
:08:11. > :08:14.# This is how you make yourself call your mother
:08:15. > :08:20.# And this is how you make yourself closer to your brother
:08:21. > :08:27.# And remember him back when he was small enough to help you sing
:08:28. > :08:33.# You thought God was an architect, now you know
:08:34. > :08:38.# He's something like a pipe bomb ready to blow
:08:39. > :08:47.# And everything you built that's all for show goes up in flames
:08:48. > :09:10.# This is how you see yourself floating on the ceiling
:09:11. > :09:15.# And this is how you help her when her heart stops beating
:09:16. > :09:23.# What happened to the part of you that noticed every changing wind
:09:24. > :09:28.# This is how you talk to her when no one else is listening
:09:29. > :09:34.# And this is how you help her when the muse goes missing
:09:35. > :09:40.# You vanish so she can go drowning in a dream again
:09:41. > :09:44.# You thought God was an architect, now you know
:09:45. > :09:50.# He's something like a pipe bomb ready to blow
:09:51. > :09:56.# And everything you built that's all for show goes up in flames
:09:57. > :10:22.# You thought God was an architect, now you know
:10:23. > :10:26.# He's sitting in a black car ready to go
:10:27. > :10:30.# You made some new friends after the show
:10:31. > :10:34.# But you'll forget their names
:10:35. > :11:11.APPLAUSE Thank you, Jason Isbell. We are
:11:12. > :11:16.truly delighted to have one of the great songwriters of all time, one
:11:17. > :11:23.of the great musicians of all time, Mr Paul Simon. APPLAUSE
:11:24. > :11:31.Welcome to the show. Great to see you. Great to be here. You have a
:11:32. > :11:39.superbly record out, you are doing a sold-out tour of America, you love
:11:40. > :11:46.working? I'm wondering about that, I think so. You still love writing?
:11:47. > :11:53.Yes, I do. I did when I started that. What was the starting place?
:11:54. > :12:00.Four years ago. Maybe after I did your show last. That was more than
:12:01. > :12:07.that. Was it? Yes. You lose your memory. It is a great record, great
:12:08. > :12:15.songs, what kind of things inspire you, are they different to what used
:12:16. > :12:28.to inspire you? Inspiration has virtually nothing to do with it. I
:12:29. > :12:35.seem to periodically have ideas and since I've been doing this since the
:12:36. > :12:42.age of 12, 13, Mike rated impulses -- might creative impulses go
:12:43. > :12:46.towards songs and record making, this is as regular as the seasons
:12:47. > :12:58.turn, and I don't need anything to inspire me. A cycle of work. Yes, it
:12:59. > :13:01.just comes. An idea. First I have no ideas and I think I'm done and
:13:02. > :13:09.finished, I've got no ideas, and that is the end of that. And then I
:13:10. > :13:17.get a bit depressed about it. And then some cord, coalitions with
:13:18. > :13:23.another, and I think, oh! Here we go, and then I'm off. It starts with
:13:24. > :13:29.the chords rather than the words? Always with the music, it could be
:13:30. > :13:35.the rhythm, but always music before the words. Interesting. You said
:13:36. > :13:44.earlier your father was a musician and he was an influence on you. My
:13:45. > :13:48.father was a bass player. Yes, it taught me, you got me my first
:13:49. > :13:54.guitar, and he had a big effect on how I thought about music. He was a
:13:55. > :13:59.very interesting guy. What I learned about music and had to be a band
:14:00. > :14:02.leader, I learned from him. The other thing you said was great,
:14:03. > :14:12.which applies to many people. You said you learned even from... You
:14:13. > :14:16.said even a mediocre musician has to have so much knowledge. Yes, just to
:14:17. > :14:23.be an average musician, you have to learn so much, you know, most people
:14:24. > :14:28.don't think of it that way. In a moment you will be playing
:14:29. > :14:32.Wristband, that is a metaphor for many things, but the story starts
:14:33. > :14:37.with somebody not getting in somewhere because they have not got
:14:38. > :14:51.their wristband. Or bare pass. Has that happened to you? No. LAUGHTER
:14:52. > :15:02.What happened, Wristband occurred to me as a title, and then I thought, I
:15:03. > :15:07.don't know if it is going to be a good title or not, and then I was
:15:08. > :15:15.having dinner with a friend of mine, Paul Muldoon, and I said I don't
:15:16. > :15:20.know, I have this song I don't know whether I should use it or not, it
:15:21. > :15:28.is Wristband, and he said that there was a lot of opportunity for it, and
:15:29. > :15:33.then I had to make up a story for it, what with that title implied,
:15:34. > :15:38.and that is how these songs all go, it is just me following whatever my
:15:39. > :15:46.thought is, whatever the ending is going to be. Yes, because the
:15:47. > :15:55.wristband can be much more than just getting into the gig. They think it
:15:56. > :16:00.is great. He doesn't think it! It is a pleasure having you, and we look
:16:01. > :16:05.forward to hearing that soon. Mr Paul Simon!
:16:06. > :16:11.APPLAUSE Now, let's go and listen to this
:16:12. > :16:14.superb quartet, Lake Street Dive. APPLAUSE
:16:15. > :16:16.# I got a parrot of hair on my shoulder
:16:17. > :16:18.# It's apparent it's there, and it's bolder
:16:19. > :16:21.# Like I show you my cards, I'm no folder
:16:22. > :16:26.# Yes I'm a soldier Against everything square and unsightly
:16:27. > :16:29.# Yes I know I look good, so don't fight me
:16:30. > :16:33.# All I need is a clip or a scrunchie And then I'm ready
:16:34. > :16:38.# Because I rock a side pony Baby I'm just living my life
:16:39. > :16:44.# Because I rock a side pony I rock a side pony
:16:45. > :16:50.# I rock a side pony Who doesn't love a side pony?
:16:51. > :16:55.# Baby I'm just living my life Because I rock a side pony
:16:56. > :17:01.# I rock a side pony I rock a side pony
:17:02. > :17:04.# Since I met you, you've been in my stable
:17:05. > :17:06.# And I see you whenever I'm able Though we're
:17:07. > :17:11.# keeping it under the table It ain't a fable
:17:12. > :17:14.# Why can't we hide it away in your derby
:17:15. > :17:17.# We're having fun and we're keeping it flirty
:17:18. > :17:21.# Everybody might say that it's dirty But don't you worry
:17:22. > :17:26.# Because I rock a side pony Baby I'm just living my life
:17:27. > :17:32.# Because I rock a side pony I rock a side pony
:17:33. > :17:35.# I rock a side pony Who doesn't love a side pony?
:17:36. > :17:45.# Baby I'm just living my life Because I rock a side pony
:17:46. > :17:57.# I rock a side pony I rock a side pony #.
:17:58. > :18:17.# La la Lala Lala # La la la la la
:18:18. > :18:17.# La la la # Because I rock a side pony
:18:18. > :18:30.Baby I'm just living my life # Because I rock a side
:18:31. > :18:42.pony I rock a side pony # Baby I'm just living my life
:18:43. > :18:45.Because I rock a side pony # I rock a side pony
:18:46. > :19:33.I rock a side pony APPLAUSE
:19:34. > :19:44.CHEERING Thank you. Lake Street Dive. From
:19:45. > :19:49.their album Side Pony. Now a song from a recent top ten album by the
:19:50. > :19:58.man who joins us now, the artist is Kano.
:19:59. > :20:07.# My sound's the realest My sound's the real deal
:20:08. > :20:10.# Hold tight the ends, East Ham, Plaistow, Stratford
:20:11. > :20:26.# Hold tight the ends that city Got the whole
:20:27. > :20:30.# ends and Richard with me Man like Goose and my brother Sticky
:20:31. > :20:33.# Ashmond just got the Richard Mille Man can't call me no pickaninny
:20:34. > :20:36.# Big magnum cost a pretty penny Couple LPs and a couple Diddys
:20:37. > :20:39.# Couple Liv Popes and a couple Iggys All-white dance get shutdown
:20:40. > :20:42.# Ragga just touch down Gyal come with you, they're with us now
:20:43. > :20:44.# Boogie got jungle on lock now I don't cut shapes
:20:45. > :20:50.# If it ain't Vybez, I ain't messing with it
:20:51. > :20:55.# Rudeboys don't response for no dissing
:20:56. > :20:57.# Catch up inna big is a man's schism Man have got
:20:58. > :21:01.# Mek a boy run like he stole something
:21:02. > :21:03.# Run up on me, that's a madness Rum-pu-pu-pum-pum
:21:04. > :21:05.# Hold tight the mandem on lockdown God bless
:21:06. > :21:13.# Wifey was real, she did hold out Dozen roses up her nose now
:21:14. > :21:18.# Shut down dance wherever we go And we keep a big
:21:19. > :21:21.# ting for those haters And it goes po-po-po-po-po-po
:21:22. > :21:24.# My sound's the realest, we know Shut down dance wherever we go
:21:25. > :21:31.# And we keep a big ting for those haters
:21:32. > :21:36.# And it goes po-po-po-po-po-po Call me from rice, it was real then
:21:37. > :21:42.# Please buss a shot for your real friend
:21:43. > :21:44.# Man like Fab and my brother Smithy Got the whole ends
:21:45. > :21:50.# Man just might fly up Manny Link up the mandem up Manny
:21:51. > :21:52.# Got a couple bruddas up country Hold tight
:21:53. > :22:03.# Shut down dance wherever we go And we keep a big
:22:04. > :22:05.# ting for those haters And it goes po-po-po-po-po-po
:22:06. > :22:08.# My sound's the realest, we know Shut down dance wherever we go
:22:09. > :22:10.# And we keep a big ting for those pagans
:22:11. > :22:13.# And it goes (po-po-po-po-po-po) Dem boy some haters
:22:14. > :22:24.# Hating for real Those boys some haters
:22:25. > :22:29.# So we keep a big ting for those pagans
:22:30. > :22:33.# And it goes (everybody dead now) We either whine gyal or we stan' up
:22:34. > :22:40.# But badman don't MC Hammer Made in the manor
:22:41. > :22:44.# where the guns dem clap up Don't need no Santa Fe boy get wrap up
:22:45. > :22:47.# Must big up Marlene and Big Pat up RIP Auntie Vicky, true champion
:22:48. > :22:50.# Down by the River Thames, Mum played and she played Daddy
:22:51. > :22:52.# They scream no black role models on these streets
:22:53. > :22:57.# Tryna push a roller out on these streets
:22:58. > :23:00.# Tryna get a Rover out on these deets Paid my dues,
:23:01. > :23:06.# This the mother thanks I get from this scene
:23:07. > :23:12.# Ten years deep, a thousand 16s And man a headline but didn't receive
:23:13. > :23:14.# Let me bloodclart live, spit my bloodclart
:23:15. > :23:16.# I'm a forefather, that's my bloodclart kids
:23:17. > :23:18.# Tell a hater it is what it bloodclart is
:23:19. > :23:21.# Then tell a real sound man to bring back my ting
:23:22. > :23:26.# Shut down dance wherever we go And we keep the big
:23:27. > :23:28.# sitting for those haters And it goes po-po-po-po-po-po
:23:29. > :23:31.# My sound's the realest, we know Shut down dance wherever we go
:23:32. > :23:36.# And we keep a big ting for those haters
:23:37. > :23:41.# And it goes po-po-po-po-po-po My sound's the realest
:23:42. > :23:51.# My sound's the real My end's the realest
:23:52. > :24:29.# 86, next door, Melrose's son # I stepped outside
:24:30. > :25:21.the backstage door to breathe # check my mail box see
:25:22. > :25:29.if I can read the screen # Then I heard a click the stage
:25:30. > :25:32.door lock # I knew just what
:25:33. > :25:37.that meant # I'm gone have to walk around
:25:38. > :25:41.the block if I want to get in a... # Wristband, my man,
:25:42. > :25:46.you got to have a wristband # if you don't have a
:25:47. > :25:55.wristband, my man, you don't get # And if you don't have
:25:56. > :26:11.a wristband, my man, # I can't explain it,
:26:12. > :26:15.I don't know why # my heart beats like
:26:16. > :26:16.a fist # When I meet some
:26:17. > :26:18.dude with an attitude # Saying, how you can't
:26:19. > :26:25.do that or this # And the guy was large,
:26:26. > :26:32.a well-dressed six foot eight # And he's acting like
:26:33. > :26:34.St Peter standing guard # Wristband, my man,
:26:35. > :26:46.you got to have a wristband # if you don't have a
:26:47. > :26:49.wristband, my man, you don't get # And I said wristband?
:26:50. > :26:58.I don't need a wristband # My band is on the
:26:59. > :27:04.floor # The riot
:27:05. > :27:28.started slowly with the # Then they spread into the
:27:29. > :27:41.heartland towns # Kids that can't afford the cool
:27:42. > :27:59.brand whose anger is a short-hand # Then you can't get
:28:00. > :28:10.# No you can't get through the door Say you can't
:28:11. > :29:07.The wonderful Paul Simon! APPLAUSE
:29:08. > :29:14.Wristband. From his incredible new album. Speaking of incredible new
:29:15. > :29:15.albums, lest well -- let's welcome the wonderful Laura Mvula.
:29:16. > :29:41.APPLAUSE # I feel lost and found
:29:42. > :29:49.# The same downtown # Made my bed
:29:50. > :30:13.# I've been losing my mind # Played with a noose around my neck
:30:14. > :30:18.# You flew by to save me # Trying to find the reasons why you
:30:19. > :30:25.found me # I've found you
:30:26. > :30:33.# I've been waiting for you # I've been praying for someone like
:30:34. > :30:59.you # Tried to build my house
:31:00. > :31:07.# On a concrete ground, stone turned into sand
:31:08. > :31:24.# I was running deeper and a land # And I was down...
:31:25. > :31:40.# Take my friendliness # I will hold your hand
:31:41. > :31:45.# We can banish together # I've been waiting for you
:31:46. > :31:51.# I've been lost without you # I've been praying for someone like
:31:52. > :31:59.you # I've been waiting for you
:32:00. > :32:06.# I've been lost without you # I've been praying for someone like
:32:07. > :32:15.you # I've been waiting for you
:32:16. > :32:21.# I've been lost without you # I've been praying for someone like
:32:22. > :32:28.you # I've been waiting for you
:32:29. > :32:34.# I've been lost without you # I've been praying for someone like
:32:35. > :32:47.you # Waiting for you, baby
:32:48. > :33:00.# No no no no #. APPLAUSE
:33:01. > :33:11.The extraordinary Laura Mvula. That was the song, Kiss My Feet, from her
:33:12. > :33:19.album, The Dreaming Room. The title of the next song we are going to
:33:20. > :33:26.hear, it is interesting, maybe you are like me, are you waiting or are
:33:27. > :33:47.you dreaming? You can decide yourselves, we have The Corals.
:33:48. > :33:58.# Your spirit flies around me like a butterflies
:33:59. > :34:11.# Shifting through the sleepless nights
:34:12. > :34:15.# Turning all the pages as I've been wasting lights
:34:16. > :34:41.# Stepping through the mirror into the past
:34:42. > :34:49.# Falling through descend and time
:34:50. > :34:55.# Suspended in the moment of a naked eye
:34:56. > :36:25.# Ridden in the symbols hidden in plain sight
:36:26. > :37:16.# Who are you if not the one I met
:37:17. > :37:20.# One July night before the town went wet
:37:21. > :37:29.# You were reading The Bell Jar
:37:30. > :37:33.# Where are you if you're not on your own?
:37:34. > :37:41.# Where's the Jesus that you swore you'd find
:37:42. > :37:50.# Are you living the life you chose
:37:51. > :37:55.# Are you living the life that chose you
:37:56. > :37:58.# Are you taking a grown up dose
:37:59. > :38:03.# Do you live with a man who knows you
:38:04. > :38:32.# Lost three fingers to a faulty tool
:38:33. > :38:35.# Settled out of court I'm no one's fool
:38:36. > :38:45.# There's plenty left to make a getaway
:38:46. > :38:49.# I've spent enough nights in the bluegrass state
:38:50. > :38:52.# We could go somewhere where people stay up late
:38:53. > :39:01.# Are you living the life you chose
:39:02. > :39:07.# Are you living the life that chose you
:39:08. > :39:11.# Are you taking a grown up dose
:39:12. > :39:14.# Do you live with a man who knows you
:39:15. > :39:44.# Here I am inviting you to throw your life away
:39:45. > :39:57.# Victim of nostalgia maybe Tanqueray
:39:58. > :40:03.# Just tonight I realized that I am still in your backseat
:40:04. > :40:09.# Nothing I've had since has meant a thing to me
:40:10. > :40:13.# Are you living the life you chose
:40:14. > :40:18.# Are you living the life that chose you
:40:19. > :40:22.# Are you taking a grown up dose
:40:23. > :40:25.# Do you live with a man who knows you
:40:26. > :41:12.Thank you, Jason Isbell. Great song. Before that we enjoyed The Coral, we
:41:13. > :41:20.enjoyed that. Now to the devastatingly superb Laura Mvula.
:41:21. > :41:25.Nice to see you. Great to have you here, always a pleasure, you have
:41:26. > :41:32.been a great six S since three years ago, you record first came at --
:41:33. > :41:38.great success. Awards, nominations. People love the record, is the
:41:39. > :41:43.success as you expected it? It is mad, but I love it. Since I was a
:41:44. > :41:48.kid, nothing has changed, in a way, I've always made music, that is the
:41:49. > :41:55.familiar thing, my siblings are in my band, the family is on the road.
:41:56. > :41:58.I think about what my mum says, as far she is concerned, as long as you
:41:59. > :42:03.are happy and having fun, it is all good. I'm enjoying it. I love making
:42:04. > :42:12.music and I would not do anything else. Lovely. I had a family in my
:42:13. > :42:21.band. Paul says his father had been a musician. Is music part of the
:42:22. > :42:25.family? Yes, we grew up making music together, me being the eldest,
:42:26. > :42:29.bossing everybody about, being the leader of the band, nothing has
:42:30. > :42:39.changed. Apart I have to pay them money. Exactly. Lucky them. Your new
:42:40. > :42:44.album is called app, it is a great album, I've really enjoyed it. -- is
:42:45. > :42:52.called The Dreaming Room. Do you have a chamber for dreaming in? I
:42:53. > :42:55.wish I did. It is metaphorical. The dreaming room was the place where I
:42:56. > :43:02.could be the most free, the music should sound totally inhibited, it
:43:03. > :43:09.is me doing what I wanted to do. I have guitars and this record, I
:43:10. > :43:15.don't know anything about guitars. Some famous guitarists? John
:43:16. > :43:22.Scofield, Nile Rodgers. This was incredible. It was a privilege to
:43:23. > :43:30.have them contribute to the sound. You also have a keyboard with all
:43:31. > :43:36.white keys, such a great idea. Yoko Ono had a chess set with all white
:43:37. > :43:44.pieces. It was the same thing. Maybe you could have a black keyboard? I
:43:45. > :43:52.keep getting make up on the white one, it is not a good luck. -- a
:43:53. > :43:57.good look. A smudge. The other thing about your music, there's an element
:43:58. > :44:03.of classical music, is that something you up with? Yes,
:44:04. > :44:08.definitely. Because I grew up playing classical music, one of my
:44:09. > :44:13.earliest memories is playing in a string orchestra, that is where I
:44:14. > :44:16.played violin, when I thought I'd arrived and then the dream of
:44:17. > :44:23.writing film music, which is the ultimate goal. To write music for
:44:24. > :44:29.picture. What film, if you could write for any film? Any film that
:44:30. > :44:37.has been made. Whatever it is, it would be big. James Bond, that is a
:44:38. > :44:46.dream. To write the music and sing the song? Everything. To orchestrate
:44:47. > :44:51.and do everything. Why not? Why not? If anybody could do it, you could
:44:52. > :44:55.cover you would do it beautifully. It is wonderful to see you. Thank
:44:56. > :45:07.you, Laura Mvula. APPLAUSE And now we enjoyed a superb Lake
:45:08. > :45:19.Street Dive. # And it ain't even
:45:20. > :45:43.crossed your mind # Well, you'd best
:45:44. > :45:50.pretend you're blind # But all the reasons
:45:51. > :45:55.I left you behind # I don't care about
:45:56. > :46:09.what you've got to say # I don't care about you and I'd
:46:10. > :46:16.say it to your face # It's been a while,
:46:17. > :46:34.I hear you talkin' # I still feel bad enough
:46:35. > :46:46.about when I didn't listen # In the end it doesn't matter
:46:47. > :47:02.who was wrong or who was right # Cos all the reasons
:47:03. > :47:08.I left you behind # I don't care about
:47:09. > :47:22.what you've got to say # I don't care about
:47:23. > :47:34.what you've got to say # I don't care about
:47:35. > :47:58.what you've got to say # I don't care about
:47:59. > :48:42.what you've got to say Lake Street Dive. From their album
:48:43. > :48:45.Side Pony. Now we welcome into the middle of the floor the man who was
:48:46. > :48:49.over there with his latest and greatest newest work, now we hear
:48:50. > :48:50.one of his great songs from the past. Mr Paul Simon!
:48:51. > :49:48.APPLAUSE # Left its seeds
:49:49. > :50:10.while I was sleeping # And the vision that was planted
:50:11. > :50:19.in my brain, still remains # I turned my collar
:50:20. > :50:48.to the cold and damp # When my eyes were stabbed
:50:49. > :50:58.by the flash of a neon light # People writing songs that voices
:50:59. > :51:49.never shared, and no one dared # Hear my words
:51:50. > :52:04.and I might teach you # Take my arms then
:52:05. > :52:10.I might reach you # But my words, like silent
:52:11. > :52:25.raindrops fell, and echoed # Said the words of
:52:26. > :52:58.the prophets are written # On the subway walls
:52:59. > :53:03.and tenement halls # And whispered in
:53:04. > :53:24.the sounds of silence # That means
:53:25. > :53:54.I'm a direct rudeboy # Some MCs come with
:53:55. > :54:08.the wickedest talk # Mad, reload ting Pop, pop, pop,
:54:09. > :54:21.that's a reload ting # And when I say,
:54:22. > :54:25."It's Kano in the house" # Everybody knows that's a reload
:54:26. > :54:28.# If you've been shotting in the manor from way back when
:54:29. > :54:33.# I don't wanna hear about crunch and food and tings
:54:34. > :54:36.# On-sight, thought he was onside, init
:54:37. > :54:39.# That postcode, that's offside, init
:54:40. > :54:44.# Dem man do obeah, us man are kosher
:54:45. > :54:47.# Where man don't care 'bout fathers Man just care 'bout figures
:54:48. > :54:49.# Man don't care 'bout yards, Man just care 'bout Bimmers
:54:50. > :54:57.# We don't do none of that bare-face fibbing
:54:58. > :54:59.# The realest ish on your airwaves, init
:55:00. > :55:16.# Cook down mutton then pass through the gutter
:55:17. > :55:18.# Link Jus D red cups out the cupboard
:55:19. > :55:20.# In the jungle, I move with original nuttahs
:55:21. > :55:22.# And the same madman fly out for the summer
:55:23. > :55:30.# Yeah, G goes in Bag three-pointer, free throw ting
:55:31. > :55:33.# Brothers looking at me on a keyhole ting
:55:34. > :55:35.# I'm a gangster and a gentlemen, G hosting
:55:36. > :55:37.# I'm a skinny brother, brother, me so slim
:55:38. > :55:40.# Put the jimmy on, that's when the D goes in
:55:41. > :55:42.# Man are getting money, type the keycodes in
:55:43. > :55:44.# So that, brothers in the act, we back 'em up
:55:45. > :55:47.# Knife game-giving if it's backs, I axe them up
:55:48. > :55:49.# And I'm with the bats, I patched it up
:55:50. > :55:51.# Sitting in the trap with crack to cut
:55:52. > :55:54.# I'm sitting in the caff and cracked a cup
:55:55. > :55:56.# I'm silly with the MAC, man mashed 'em up
:55:57. > :55:59.# I hit him with the blap, then backed the truck
:56:00. > :56:01.# Gully, we so slim K, Hollow, we both pimps
:56:02. > :56:04.# Can't look inside the window, brother, peep those tints
:56:05. > :56:06.# Better tell the waiter, better leave those drinks
:56:07. > :56:08.# Add a little bass, you better leave those synths
:56:09. > :56:11.# I'm silly with the clip, I'm gonna teach those chimps
:56:12. > :56:14.# Man a put it on him when we see those wimps
:56:15. > :56:16.# I'm finished with the little brother, he's so rinsed
:56:17. > :56:22.# I let it bap, bap, bap, ping ping And then leave no prints
:56:23. > :56:25.# I said that, that, that, that's me And yes, he's so skint
:56:26. > :56:28.# I'm in the matte black 350 With Clarke, let beef go mince
:56:29. > :56:31.# If you don't look after your own yout, boy
:56:32. > :56:33.# You're not a direct rudeboy And you're in DSTRKT
:56:34. > :56:38.# Bond Street, just bought brand new Gooch, bwoy
:56:39. > :56:45.# Then sent me a direct, rudeboy 16 bars in effect
:56:46. > :56:48.# Might just upset a man's lyrics Take this pen to your neck
:56:49. > :56:51.# And just Joe Pesci man with it Cash rules everything around me
:56:52. > :56:57.# But I still might Mega Man with it
:56:58. > :56:59.# Yeah, I said it, yeah, yeah, I said it
:57:00. > :57:01.# Cheques, we get it, cash and collect it
:57:02. > :57:03.# That likkle pellet, that nah gon' mek it
:57:04. > :57:05.# Rest his head in that man's spaghetti
:57:06. > :57:07.# Yout dem are menace, nuttin' like Dennis
:57:08. > :57:09.# Man got straps, ain't even got credit
:57:10. > :57:11.# Kids push prams to Westfield to lick it
:57:12. > :57:14.# And run from pigs, don't even watch Peppa
:57:15. > :57:15.# Real go-getter, geezers know better
:57:16. > :57:17.# But geezers need excitement, says Skinner
:57:18. > :57:18.# Don't resort to violence, no, never
:57:19. > :57:20.# Man just start with violence, go figure
:57:21. > :57:23.# Eat man's food before man eat dinner Buss that booze,
:57:24. > :57:26.# Left that Giggsy gat for my brother
:57:27. > :57:32.# Can't tell me nuttin' Cook down mutton then
:57:33. > :57:35.# Link Jus D red cups out the cupboard
:57:36. > :57:37.# In the jungle, I move with original nuttahs
:57:38. > :57:39.# And the same madman fly out for the summer
:57:40. > :58:02.APPLAUSE Kano, joined by Giggs. Before that,
:58:03. > :58:06.we enjoyed Paul Simon. And now, we welcome back the sensational Laura
:58:07. > :58:09.Mvula. CHEERING
:58:10. > :59:31.# Keep your head up # Keep your head up
:59:32. > :59:35.# Carreon # Keep your head up
:59:36. > :59:43.# Carry on # Round the mountain
:59:44. > :00:26.all God's children run # Round the mountain
:00:27. > :00:28.all God's children # Round the mountain
:00:29. > :00:39.all God's children # Round the mountain
:00:40. > :01:34.all God's children run Thank you, Laura Mvula, with
:01:35. > :01:42.Overcome. We will be back on Tuesday night. We will have Mumford and Sons
:01:43. > :01:50.and much much more. Can we have a bit of base. We can thank our
:01:51. > :02:00.guests, Laura Mvula. Thank you, Lake Street Dive. Thank you the legendary
:02:01. > :02:12.Mr Paul Simon. Thank you The Coral. Thank you, Jason Isbell. And thank
:02:13. > :02:13.you, Laura Mvula. And thank you for being you -- and thank you, Kano.