:00:53. > :00:57.It is May. Spring has sprung. Welcome to our show and welcome to
:00:58. > :01:03.underworld. # The origin of numbers
:01:04. > :01:26.is a questionable hypothesis # This is the most
:01:27. > :05:06.ancient form of a sign CHEERING
:05:07. > :05:10.Delighted to have Underworld back in the studio. Delighted also to have
:05:11. > :05:16.the dazzling voice of Beverley Knight. From London, please welcome
:05:17. > :05:21.Savages. From all the way over in New Zealand, Wellcome Marlon
:05:22. > :05:27.Williams. From east London, Rationale. From Denver, Colorado, we
:05:28. > :05:34.welcome The Lumineers. # Oh oh when I was younger
:05:35. > :05:43.Oh oh should have known better # And I can't feel no remorse
:05:44. > :06:03.and you don't feel nothing back # Oh oh got a new girlfriend
:06:04. > :06:13.he feels like he's on top # And I don't feel no remorse
:06:14. > :06:26.and you can't see past my blinders # Oh Ophelia you've been on my mind
:06:27. > :06:34.girl since the flood # Oh Ophelia heaven help
:06:35. > :06:46.a fool who falls in love # Oh oh got a little paycheck
:06:47. > :06:56.you got big plans and you gotta move # Honey I love you
:06:57. > :07:15.that's all she wrote # Oh Ophelia you've been
:07:16. > :07:21.on my mind girl like a drug # Oh Ophelia heaven help
:07:22. > :07:27.a fool who falls in love # Oh Ophelia you've been on my mind
:07:28. > :07:33.girl since the flood # Oh Ophelia heaven help
:07:34. > :07:39.a fool who falls in love # Oh Ophelia you've been
:07:40. > :07:45.on my mind girl like a drug # Oh Ophelia heaven help
:07:46. > :08:05.a fool who falls in love # APPLAUSE
:08:06. > :08:13.The Lumineers with Ofere. From their number one LP, Cleopatra. We welcome
:08:14. > :08:18.back into the studio since their debut performance back in 2012,
:08:19. > :08:39.we're so pleased to have them here. We welcome, Savages.
:08:40. > :09:17.# The more you have the more you crave
:09:18. > :09:22.# Oh how I never managed such level of intensity yeah
:09:23. > :09:56.# You want to know why I changed my mind
:09:57. > :10:01.# Sometimes the truth is right there right there
:10:02. > :10:04.# If you're beautiful here you're beautiful there
:10:05. > :10:22.# What can I do I'm not gonna hurt you
:10:23. > :11:52.# So what else what else what else?
:11:53. > :12:02.Savages! Now, in this corner at the piano a person with one of the great
:12:03. > :12:09.voices of the day. We are delighted to have those the one and only,
:12:10. > :12:14.Beverley Knight. Very nice to see you. Especially as you have got this
:12:15. > :12:24.great record out. What's the story behind this record? I was playing
:12:25. > :12:30.the role in the west end musical Memphis. It required me to go to
:12:31. > :12:35.Memphis to do some research. I was really excited. It is Mecca for any
:12:36. > :12:41.musician. As I was going around, seeing the place, the home of rock
:12:42. > :12:47.'n' roll. It inspired me so much, I've got to come back here and do my
:12:48. > :12:51.album here. It inspired me to do a whole new slew of songs to write.
:12:52. > :12:58.Once you were inspired, what did you want to do? I visited lots of
:12:59. > :13:13.studios. The one place I went to that gave me the chills was Royal
:13:14. > :13:24.Studio where Hi records was based. People like Al Karim, and Peebles. I
:13:25. > :13:29.wanted to capture that earthy sound of southern Memphis soul. You've
:13:30. > :13:35.managed to capture that lightning in a bottle and bring it back. You've
:13:36. > :13:42.covered an amazing version of an Aretha Franklin song. It's Don't
:13:43. > :13:50.Play That Song. What you like about that song? She was born and raised a
:13:51. > :13:55.little bit in Memphis. She was a vocal game change. When she came
:13:56. > :14:00.along, any female artist who had a touch of soul blues followed in her
:14:01. > :14:08.path. Me included. See is just so special. That song, the way she
:14:09. > :14:14.plays it is really jaunty and lively sounding but I have taken it back to
:14:15. > :14:16.the heartbreak. We have a bit of Aretha Franklin playing Don't Play
:14:17. > :14:35.That Song. # Don't play that song for me
:14:36. > :14:44.# Because it brings back memories # Of days I once knew
:14:45. > :14:55.# Those days I spent with you # Don't feel that way.
:14:56. > :15:07.# Don't take the heart ache away # Because I remembered just what you
:15:08. > :15:14.said #. APPLAUSE What a strange coincidence... In the
:15:15. > :15:19.Trocadero they have cast off people's hands. They have mine and
:15:20. > :15:24.hers and they are indistinguishable, they are twin hands. It's strange,
:15:25. > :15:30.isn't it? The other thing is, you went on mastermind and Prince was
:15:31. > :15:34.your chosen specialist subject. We dedicated last week's show to him.
:15:35. > :15:44.Was he an important influence on you? He was the biggest by Miles the
:15:45. > :15:49.biggest influence. The way I wanted to write songs, the way I arrange my
:15:50. > :15:54.background vocals, the way I perform. There wasn't an aspect of
:15:55. > :15:58.what he did that I didn't want to then do and I felt that way since I
:15:59. > :16:05.was nine and I'm a lot older than nine now. Sweet. The other thing is,
:16:06. > :16:11.on this record, you've gone back right into the depths of the song,
:16:12. > :16:18.and you found a big Mama Thornton song which a lot of people might not
:16:19. > :16:25.know. They might now be done by others. Stripped back band. We'll
:16:26. > :16:27.hear it later. It's a great record. Thanks for joining us, Beverley
:16:28. > :16:38.Knight. We'll have our moments of the blues.
:16:39. > :16:43.I'm always happy to have elements of the blues with Beverley Knight,
:16:44. > :16:47.later in the programme. A superb artist over here. We welcome
:16:48. > :16:54.Rationale. # Everybody speeds
:16:55. > :17:01.in the fast lane truly now # Revving through the gears
:17:02. > :17:03.trying to keep ourselves # Take a look in your
:17:04. > :17:13.heart and your soul # We're so caught up in the riddle
:17:14. > :17:51.and we suffer for so little oh lord # Holding back the tears on the last
:17:52. > :18:01.train homeward bound # It's been 27 years and you've only
:18:02. > :18:10.now just figured out how # You can give him your
:18:11. > :18:15.heart and your soul # You can give him every
:18:16. > :18:20.ounce that you are # But when you're
:18:21. > :18:22.caught up in the riddle # Man your pride ain't
:18:23. > :18:47.worth a nickel no no #. # I'm braving through the tears, I'm
:18:48. > :19:24.braving through the tears APPLAUSE
:19:25. > :19:41.CHEERING Thank you, Rationale! How's
:19:42. > :19:45.everybody over there, all right? In this corner we have a wonderful
:19:46. > :19:50.artist who combines his family Maori upbringing with his classical
:19:51. > :19:59.choirboy training. We welcome Marlon Williams.
:20:00. > :20:15.# It's funny how I lose my mind when you come around
:20:16. > :20:31.# And she knows when I hide when you come knocking at the door
:20:32. > :21:10.# Miss Lonesome's in the eyes of almost everyone you meet
:21:11. > :21:35.# It was when my daughter said goodbye and took the bus
:21:36. > :21:42.# Now we all pick our poison and we dig our grave
:21:43. > :21:48.# And Jesus is accountable to every soul he saves
:21:49. > :22:35.# Miss Lonesome I see you back in town
:22:36. > :22:43.# It's funny how I lose my mind when you come around
:22:44. > :23:29.APPLAUSE Thank you, Marlon Williams! Hello
:23:30. > :23:30.Miss Lonesome, Marlon Williams. Let's come to the centre of the
:23:31. > :23:50.room. With Underworld. # Stare stare like a bear
:23:51. > :24:38.then you'll know me anywhere # Still though
:24:39. > :24:42.tiny stars your shoes appear # Stare stare like a bear
:24:43. > :24:44.call your mother Ginger Hair # Stare stare like a bear then
:24:45. > :24:52.you'll know me anywhere # Stare stare like a bear
:24:53. > :24:59.call your mother Ginger Hair # Stare stare like a bear
:25:00. > :25:39.then you'll know me anywhere # Stare stare like a bear
:25:40. > :25:45.call your mother Ginger Hair # Stare stare like a bear then
:25:46. > :26:28.you'll know me anywhere # Stare stare like a bear
:26:29. > :26:33.call your mother Ginger Hair # Stare stare like a bear
:26:34. > :26:45.call your mother Ginger Hair # Stare stare like a bear
:26:46. > :26:56.call your mother Ginger Hair # You can wag your tail
:26:57. > :27:52.but I ain't gonna feed you no more # You'd told me you was high-class
:27:53. > :28:00.but I can see you there # And I know you ain't
:28:01. > :28:05.no real cool cat # All you looking
:28:06. > :29:01.for is your new home # You just an old hound dog
:29:02. > :29:14.snooping round my door # You can wag your tail but I ain't
:29:15. > :29:45.gonna feed you no more #. APPLAUSE
:29:46. > :29:56.The wonderful Beverley Knight. With Hound Dog from assault still. Before
:29:57. > :29:58.that, we enjoyed the! Underworld. Next, once again, we welcome The
:29:59. > :30:07.Lumineers. # When you left this town
:30:08. > :30:12.with your windows down # Let the exits pass
:30:13. > :30:19.all the tar and glass # They raise you up
:30:20. > :30:29.just to cut you down # And your Volvo lights
:30:30. > :30:40.lit up green and white # But you held your course
:30:41. > :30:47.to some distant war # Were you safe and warm
:30:48. > :31:15.in your coat of arms # Did you hear the notes
:31:16. > :31:23.all those static codes # They raise you up
:31:24. > :31:34.just to cut you down # Oh Angela spent your
:31:35. > :31:47.whole life running away # Vacancy hotel room
:31:48. > :32:08.lost in me lost in you # Angela on my knees
:32:09. > :33:18.I belong I believe APPLAUSE
:33:19. > :33:31.The Lumineers. With Angella. From their album Cleopatra. Now,
:33:32. > :33:36.delighted in their music there and now, they're seated over here. Let's
:33:37. > :33:46.give it up for Rick Smith and Karl Hyde of Underworld. Sounding
:33:47. > :33:51.excellent. Your first new record for nearly six years. In that time, have
:33:52. > :33:58.you been ruminating on what to do? What's been going on? Yes.
:33:59. > :34:08.Radically. We did the opening ceremony of the Olympics. That was a
:34:09. > :34:15.huge thing. It was quite large. Was that an enjoyable thing to be doing?
:34:16. > :34:19.Yes it was. Fantastic scale. The thing I like about it was all my
:34:20. > :34:24.sceptical mate saying it was never going to work and the next day
:34:25. > :34:30.saying, fair enough, it worked. It was an incredible spectacle. How did
:34:31. > :34:36.that come about? Through Danny Boyle. We were working at the
:34:37. > :34:42.National Theatre on Frankenstein. He said I have a little project and a
:34:43. > :34:46.big project. I thought of the big project was Frankenstein. And the
:34:47. > :34:52.little one was his children's party. We often do that. It turned out
:34:53. > :34:58.different. He asked us to get involved and we couldn't say no. It
:34:59. > :35:08.was a huge success. You been working together now for 35 years. Is it
:35:09. > :35:12.easier now than ever, or... That's the easiest question about the
:35:13. > :35:22.length of the relationship. Yes, it is easier. Has it been easy all the
:35:23. > :35:27.time? Whose fault is that? A little bit of this, a little bit of that.
:35:28. > :35:32.There's a creative thing in that 35 years. Does whatever is going to
:35:33. > :35:39.inspire you to make the records ever change? It is the challenge. It is a
:35:40. > :35:43.constant challenge with Rick. He is always pushing. To say it is never
:35:44. > :35:51.good enough sounds really negative but that is music to my ears to hear
:35:52. > :35:53.him say those kind of things. Always pushing, always challenging.
:35:54. > :36:04.Whenever we get together it is never the same. You have got this new
:36:05. > :36:10.record. Barbara, Barbara We Face A Shining Future. This incredible
:36:11. > :36:14.sleeve, it appears to be brushstrokes but then we discover
:36:15. > :36:19.that there is a face behind the brushstrokes. Is it somebody that we
:36:20. > :36:26.know? It is the daughter of the artist. A friend of ours, Simon
:36:27. > :36:33.Taylor from Tomato. A very beautiful young lady. I can see just from
:36:34. > :36:39.high-rise. Take it from ours. At the end of the show, you are going to be
:36:40. > :36:46.performing Born Slippy. It is a great anthem. A folk song. It is.
:36:47. > :36:54.The great singalong. It is a great 90s and from when there was a lot of
:36:55. > :36:58.music, a lot of it in films and that sort of thing. When you look back on
:36:59. > :37:03.it. It is a while ago. How do you view that period? It was a really
:37:04. > :37:10.magic time. We were lucky to be part of that. It was the last of the
:37:11. > :37:15.magic times, just making stuff up. Rick selling records out of the back
:37:16. > :37:18.of the car which led to as headlining festivals. Those things
:37:19. > :37:23.should never have come about. Walking through Soho in the mid-90s
:37:24. > :37:32.saying, I think it is happening right now. We are here. We had a
:37:33. > :37:36.mystic guru on the show. He said, if things happen in the future it will
:37:37. > :37:45.always be great and in the past. But he said, Paradise is now. Do you
:37:46. > :37:49.agree? Lock. It is here now. Where else could it be? It's a great
:37:50. > :37:54.record. Hopefully it will be a success all over the world and later
:37:55. > :37:57.we will be hearing Born Slippy. Thank you very much. We will be
:37:58. > :38:02.hearing more from you later on. APPLAUSE
:38:03. > :38:31.I like these people and their vibrations. Let's enjoyed Savages.
:38:32. > :39:55.# Weightlessness vertigo climax on the go
:39:56. > :41:23.# Surrender Surrender Surrender Surrender #.
:41:24. > :42:07.# When I was a young girl I used to see pleasure
:42:08. > :42:27.# When I was a young girl I used to drink ale
:42:28. > :42:51.# Staying out of the ale house and into the jail house
:42:52. > :43:05.# Straight from the bar room to my doom
:43:06. > :43:18.# Don't send for the preacher to come and pray for me
:43:19. > :43:27.# Don't send for the doctor to heal up my
:43:28. > :43:42.# My poor heart is aching my heart it is breaking
:43:43. > :43:55.# My body salve-aided and hell is my home
:43:56. > :44:35.# When I was a young girl I used to see pleasure
:44:36. > :44:47.# When I was a young girl I used to drink ale
:44:48. > :45:08.# Straight out of the ale house and into the jail house
:45:09. > :45:32.# Straight from the bar room to my doom
:45:33. > :46:13.APPLAUSE CHEERING
:46:14. > :46:23.The remarkable voice of Marlon Williams! When I was a Young Girl
:46:24. > :46:33.from his album. Before that, the Savages. Only a short step for
:46:34. > :46:53.mankind and an even shorter one for me to get over here to Rationale.
:46:54. > :47:07.# Imagine if we had a choice yeah I bet we'd add fuel to the fire
:47:08. > :47:21.# What would we say that'd just deny us?
:47:22. > :47:26.# Gone are the days of virtue and honor
:47:27. > :47:30.# Rights that we fought for burn down the wall
:47:31. > :47:37.# Let it never be said that we truly learned from darker days
:47:38. > :47:43.# Pressure it keeps falling on my shoulders from high and low
:47:44. > :47:48.# Ain't no justice in these moments but we'll find comfort
:47:49. > :47:55.# When kingdom comes They are bleeding you
:47:56. > :48:01.# Of every right we've ever earned until we have nowhere to turn
:48:02. > :48:12.# They add fuel to the fire upon other days of virtue and honor
:48:13. > :48:15.# Rights that we fought for burn down the wall
:48:16. > :48:22.# Let it never be said that we truly learned from darker days
:48:23. > :48:27.# Pressure it keeps falling on my shoulders from high and low
:48:28. > :48:34.# Ain't no justice in these moments but we'll find comfort
:48:35. > :48:46.# Bleeding you they are bleeding you they are bleeding you
:48:47. > :49:07.# If we go searching for hand held justice
:49:08. > :49:12.# That's what they want so keep on fighting
:49:13. > :49:27.# When kingdom comes we'll all find comfort
:49:28. > :49:38.# On my shoulders from high and low ain't no justice in these moments
:49:39. > :49:41.# But we'll find comfort when kingdom comes
:49:42. > :49:50.# Pressure it keeps falling on my shoulders from high and low
:49:51. > :49:53.# Ain't no justice in these moments but we'll find comfort
:49:54. > :50:35.APPLAUSE CHEERING
:50:36. > :50:49.# I don't own a single gun but if I did you'd be the one
:50:50. > :51:00.# To hold it aim it make all of the bad men run
:51:01. > :51:34.# But if I did I'd break my neck to please her
:51:35. > :51:40.# Make her want to stay in my arms she'd rest
:51:41. > :51:49.# I can't believe what I found in daddy's
:51:50. > :52:22.# It was a pistol a Smith Wesson holy holy shit
:52:23. > :53:11.# And one day I pray I'll be more than my father's son
:53:12. > :53:46.The Lumineers! From their number one LP. Before that we enjoyed
:53:47. > :53:51.Rationale. And now, with the wonderful folk anthem of the 1990s
:53:52. > :54:04.which they broke and everybody enjoyed, we have Underworld!
:54:05. > :54:08.# Drive boy dog boy Dirty numb angel boy
:54:09. > :54:10.# In the doorway boy She was a lipstick boy
:54:11. > :54:20.# You had hands girl boy and steel boy
:54:21. > :54:28.# Boy and you just groan boy She said come over come over
:54:29. > :54:49.# Drive boy dog boy dirty numb angel boy
:54:50. > :55:01.# You had hands girl boy and steel boy
:55:02. > :55:08.# I've grown so close to you boy and you just groan boy
:55:09. > :55:27.# She said come over come over she smiled at you boy
:55:28. > :55:32.# Let your feelings slip boy but never your mask boy
:55:33. > :55:33.# Random blonde bio high density rhythm
:55:34. > :55:36.# Blonde boy blonde country blonde high density
:55:37. > :55:40.# You are my drug boy you're real boy
:55:41. > :55:43.# Speak to me and boy dog dirty numb cracking boy
:55:44. > :55:54.# Babes and babes and babes and babes and babes
:55:55. > :56:00.# And remembering nothing boy you like my tin horn boy and get
:56:01. > :56:22.# Wonderful and hot times on your telephone line
:56:23. > :56:25.# And god and everything on your telephone
:56:26. > :56:43.# And in walk an angel and look at me your mom
:56:44. > :56:46.# Squatting pissed in a tube hole at Tottenham Court Road
:56:47. > :56:49.# I just come out of the ship talking to the most
:56:50. > :57:12.# Mega mega white thing mega mega white thing
:57:13. > :57:24.# So many things to see and do in the tube hole true
:57:25. > :57:31.# Mega mega mega going back to Romford
:57:32. > :57:35.# Hi mum are you having fun and now are you on your way
:57:36. > :58:17.APPLAUSE Wonderful. Thank you, Underworld,
:58:18. > :58:20.with Born Slippy. Look at our website, of interesting things
:58:21. > :58:26.there. We'll be back live on Tuesday with Sir Elton John, Corinne Bailey
:58:27. > :58:30.Rae, Bloc party and much more. We bid you all farewell and invite
:58:31. > :58:37.Underworld to start off some delightful underpinning which we can
:58:38. > :58:44.build on. Thank you. If you've got something you need... All right,
:58:45. > :58:52.thank you to all of my guests, thank you Underworld! CHEERING
:58:53. > :59:09.Thank you, The Lumineers! Thank you, Rationale! Thank you, Marlon
:59:10. > :59:14.Williams! Thank you, Savages! And thank you, Beverley Knight!