Episode 5 Later... with Jools Holland

There can be no better way of beginning this rampage of music

than with Iggy Pop!

# Gardenia

# Where are you?

# Black goddess in a shabby raincoat

# Where are you

# Tonight?

# Cheap purple baby-doll dress

# A gardenia in your hair

# Much taller and stronger than me

# A forbidden dream

# A dream A dream

# All I wanna do is tell Gardenia

# What to do tonight

# All I wanna do is tell Gardenia

# What to do tonight

# Gardenia

# Where are you

# Tonight?

# The streets were your home

# Now where do you roam?

# Your hourglass ass

# And your powerful back

# Your slant devil eyes

# And the ditch down your spine

# Deep ass Deep ass

# All I wanna do is tell Gardenia

# What to do tonight

# All I wanna do is tell Gardenia

# What to do tonight

# We lay in the darkness

# Then she turned the lights on

# I saw a dangerous habit

# When she turned the lights on

# There's always a catch

# In the darkness When you

# When you turn the lights on

# There's always a catch

# Oh, well

# Oh, well

# Oh, well

# Oh, well

# All I wanna do is tell Gardenia

# What to do tonight

# All I wanna do is tell Gardenia

# What to do tonight

# Alone in the cheapo motel

# By the highway to hell

# America's greatest living poet

# Was ogling you all night

# You should be wearing the finest gown

# But here you are now

# Gas, food, lodging

# Poverty, misery

# And Gardenia

# You could be burned at the stake

# For all your mistakes

# Mistakes Mistakes

# All I wanna do is tell Gardenia

# What to do tonight

# All I wanna do is tell Gardenia

# What to do tonight. #

Iggy Pop!

What a fantastic man to have in the studio now

and a room filled with dazzling and extraordinary people, also.

We have, from Nashville, Margo Price.

From New York, the amazing Graham Nash.

Up here, from Jamoo... From Jamaica, we have Protoje!

From France, the exquisite sound of Lou Doillon.

And now, from Stockport,

tipped for the top, it's Blossoms!

# Hello, hello

# You put love in my hand

# I know, I know

# It's made of lead

# Hello, hello

# Science came

# A kingdom reigned

# Below, below

# My Charlemagne

# And the river always flows

# So if you go

# I will know

# By the way

# My Charlemagne

# Hello, hello

# My eyes tried, hide, cried, died

# Beside the snow in the winter

# Hello, hello

# The doctors knew

# Prescribed me you

# Below, below

# The amber sky

# And the river always flows

# So if you go

# I will know

# By the way

# My Charlemagne

# And the river always flows

# Streams of gold

# Left me cold

# Do you feel the same?

# My Charlemagne

# My Charlemagne

# My Charlemagne

# My Charlemagne

# My Charlemagne

# Don't go

# If only I could show you

# Don't go

# If only I could show you

# Don't go

# If only I could show you

# Don't go

# If only I could show you

# And the river always flows

# So if you go

# I will know

# By the rain

# My Charlemagne

# And the river always flows

# Tears of gold

# Left me cold

# Do you feel the same?

# My Charlemagne

# Charlemagne. #

Thank you, Blossoms, with Charlemagne.

More from them later.

Now, the beautiful, contrasting flavour

of a different style of music.

Sensational artist, a Jamaican reggae artist,

that is new and is gaining momentum all over the globe.

We welcome Protoje.

# It's a, it's a Protoje

# June, what you say, eh?

# OK

# Who knows?

# Say who knows? Who knows? Who knows?

# I just go where the trade wind blows

# I'm sending love to my friends and foes

# And I suppose that I'm pleased

# To be chilling in the West Indies

# And Jah provide all my wants and needs

# I got the sunshine, rivers and trees

# And green leaves

# Eh

# When me see Jah me see a way

# Drastically stray from hypocrisy I say

# Now every man to their own philosophy

# I live the proper way and then me read a chapter a day

# The man, they in the city hungry and no eat

# And there down in country just drop off all the tree, yeah

# Uh-huh, you say poverty no real then

# Is what the reasoning revealing

# For who knows?

# And who knows? Who knows? Who knows?

# I just go where the trade wind blows

# I'm sending love to my friends and foes

# And I suppose that I'm pleased

# To be chilling in the West Indies

# And Jah provide all my wants and needs

# I got the sunshine, rivers and trees

# Green leaves

# When the rain pitter-pat pon the roof

# I hope that the steam pepper pot pon the stew

# Life is a dream if you got gratitude

# So go tell the regime they can't stop what we do now

# Information you think on your own

# Or else you're a slave to the things that you know

# But what do you know if you learn every day?

# So be careful of things what you say

# For who knows?

# And who knows? Who knows? Who knows?

# I just go where the trade wind blows

# I'm sending love to my friends and foes

# And I suppose that I'm pleased

# To be chilling in the West Indies

# And Jah provide all my wants and needs

# I got the sunshine, rivers and trees

# Green leaves

# Africa in a-we soul but a-Jah in a-we heart

# It is of importance for I and I gather

# If you cannot show now a balance that you had

# How do you propose then to carry it abroad?

# Cannot go to Ethiopia and you no have a plan

# The building of a nation A-hand a-help a-hand

# Everyone a-love a-one A man is just a man

# It shall be a coronation when we land, land, land

# Who knows?

# Who knows? Who knows? Who knows?

# Said who knows?

# Just go where the trade wind blows

# And I just go sending love to my friends and foes

# And I suppose that I'm pleased

# To be chilling in the West Indies

# And Jah provide all my wants and needs

# I got the sunshine, rivers and trees

# Green leaves

# Uh-huh, it's a, it's a Protoje-eh

# And truth telling, what you say?

# Let them know what reggae music we a-play-eh

# Uh-huh, yeah We do this every day-eh

# Yeah, so if you pop it over there-eh

# OK

# This is Protoje coming live

# And we say

# Uh-huh. #

Performing Who Knows, from Ancient Future, Protoje!

I like that bass, I like that drums, like that whole group.

And now, we change mood again and welcome a different artist,

this time a Parisian artist

who is becoming a huge success all over.

We welcome the exceptional talent of Lou Doillon.

# Let's just pretend for a little while

# That all there is is here and now

# And you and I

# Hey-oh

# Let's turn our backs to all the reasons why we shouldn't

# Let us lay low

# In each other's stare

# Hey-oh

# In the morning lights

# While the world gets busy

# We lay low

# We lay low

# Hey-oh

# And I know it wasn't wise

# To look straight back into your eyes

# And I don't need you to tell me so

# Hey-oh

# And I don't want to think, no

# I don't want to know

# You'll tell me when it's my time to go

# Hey-oh

# In the morning lights

# While the world gets busy

# We lay low

# We lay low

# In the morning lights

# While the world gets busy

# We lay low

# We lay low

# Hey-oh

# Let's just pretend for a little while

# That all there is here and now

# And you and I

# Hey-oh

# Let's turn our backs to all the reasons why we shouldn't

# And let us lay low

# In each other's stare

# Hey-oh

# In the morning lights

# While the world gets busy

# We lay low

# We lay low

# In the morning lights

# While the world gets busy

# We lay low

# We lay low

# Hey-oh. #

Lou Doillon!

Lay Down, from her wonderful album Lay Low.

More from her later this evening. I look forward to it.

Now, over in this corner here,

fantastic legends at the table,

so it's time for chitchat with Iggy Pop and Joshua Homme!

Welcome to our show. Joshua, welcome to our show.

So great to have you here.

We've given you a huge rider of incredible drinks and food,

as you can see here on this table,

laid out as a special treat for you.

But the real treat is this record.

What a great record it is, if I may say.

It really gets my groovy muscles going.

First of all, you've teamed up together

but who else is in the group?

Dean Fertita,

Matt Helders,

and then we've got Troy from Queens

and we've got that killer ass, Matt Sweeney,

the world's heaviest... strange bass player.

With kinks. He's kinky.

Excellent. And Matt from the Arctics, great.

-Yeah, it's a good group.

-It's a great group.

But how did the collaboration - if I can use that word -

the collaboration come about? Where did it start?

Backgammon league.

We started a backgammon club and... No, no.

He sent me a text.

We've known each other for a couple of years and...

What did it say? Bing-bong, there you are? Where were you?

That's actually it - you saw the text.

You know, I tried to call him but he doesn't accept calls,

-so I had to learn to text.

-Because he could see it was you?

I just said I thought maybe we could write something and record it

and I signed my name, because I'd never texted him before.

No, it was a wonderful idea that he had,

and we agreed to...

He agreed to come out to me, which is the desert and...

So you wrote in the desert?

-It that where you started off? Writing in the desert?

-Yes.

Yeah, we agreed not to put any of the songs together

until we were together,

and we did it in secret so we could...

You know, if you do something in secret,

you're kind of just doing it for each other

and I think that's a wonderful place to start,

just to enjoy each other's company

and to try to dazzle each other, you know,

in the hopes that you could dazzle someone else later on.

Joshua Tree is in what they call the high desert,

-so you're almost a mile up.

-Yeah.

-Two thirds of a mile. 3,000 feet.

-Could you breathe?

-I can't.

-It's like Clint Eastwood country.

-Yes, nice, yeah, yeah, yeah.

But in that situation,

the environment really helps to dictate what you're doing,

because it's so sparse, there's so few people.

There were about ten of us behind it,

when you counted Tex and Hutch and the...

There were lots of beards and balls

and... You know, it was...

And bearded balls.

-It was a certain feel, you know?

-Yeah, yeah.

Now, you've been play live together

and you've been playing live on your own.

Do you all have fun when you've been touring? Has it been a frenzy?

-Yes.

-Jools, what do you think, babe?

I think it would have been.

-Yeah, I mean... I'd like to speak for us, if that's OK?

-Sure, sure.

We enjoy each other's company.

Yeah.

God, that was a long pause, actually.

No, no.

We've had a wonderful time

and, actually, to our part, this is the last time

we'll be playing together,

and so I'm really glad it's here.

Yeah. And you're off touring,

and you'll be doing lots of old and new material...

Both, everything, yes.

But also, and I would like to ask you, if it's not too difficult,

you'll be doing China Girl

which, of course, you wrote with David Bowie,

who we've very sadly lost,

but for you, what was the thing that you think sums up why he was great?

-You want one?

-No, you can have as many as you like.

He was willing to go against the grain

that was set up when he started.

-Mm.

-That was the big thing.

I mean, he wasn't going to be the Beatles.

He wasn't going to be the Stones.

And it wasn't going to be, sort of easy...

He was going to do something different

and then there's his skills to stick with that,

and I don't...

I don't think, it's not my impression anyway,

that he really favoured one branch of the arts over another.

The guy was... I would say he was an artist who happened to be in music.

-Mm. That's a very great way of looking at it.

-All right.

I think that gets a round of applause, actually...

APPLAUSE

Now, we've got... Thank you. APPLAUSE CONTINUES

-That's a very eloquent...

-If I could say something too.

You know, as a fan,

I would say that he also had a keen eye for collaboration

and seeing people for who they really were.

I think in the case of Iggy and all his collaborators,

I think it was a beautiful thing to watch him,

to understand who someone else was. That's a nice thing.

-Yeah, great thing.

-Open-minded.

-Open-minded, yeah.

That's what I would... Those two words - open-minded.

Well, it's wonderful to have you both here.

The record's been number one, the tour has been a huge success.

We love you here. Is success a joy?

-Why, what have you heard?

-GENTLE LAUGHTER

-Yeah, it's wonderful.

-It's pretty cool.

-Great. Excellent.

No further questions. I'll hand you over to the prosecution.

-Thank you so much.

-All right, Jools.

Thank you so much for joining us. Iggy Pop, Joshua Homme.

The talented men that are here this evening with this superb record.

Now, I casually stroll from one legend to another.

This next artist was in the Hollies

in Crosby, Stills & Nash,

he has a Grammy, he's got an OBE, he's got the lot.

He is Graham Nash.

CHEERING AND APPLAUSE

# Where are we going?

# Where are we going?

# In all my waking days of wonder

# All my ways of wrong and right

# With all my dreams Of clouds and thunder

# I wander down this path tonight

# All these dangers of destruction

# Fill my breath with life and light

# I drink it deep and think about us

# On this path tonight

# This path tonight

# Where will it lead me?

# Crumbling rock and stones on fire

# This path tonight

# You better believe it

# Cos I'm stumbling To my heart's desire

# On this path tonight

# I try to question all the answers

# Try to answer all that's asked

# I try my best to be myself

# But wonder who's behind this mask

# I'll take care of all my problems

# Comfort in my soul's delight

# I may not know just where I'm going

# But I'm on this path

# This path tonight

# Where will it lead me?

# Crumbling rock and stones on fire

# This path tonight

# You better believe it

# Cos I'm stumbling to my heart's desire

# What will I do with all these feeling?

# Will my heart behave tonight?

# This time is not like any other

# Will I flee or will I fight?

# No-one's asking how I'm dealing

# With this heart that's not for hire

# It's got me rocking Got me reeling

# And I feel like I'm on fire

# This path tonight

# Where will it lead me?

# Crumbling rock and stones on fire

# This path tonight

# You better believe it

# Cos I'm stumbling to my heart's desire

# On this path tonight

# This path tonight

# On this path tonight

# Where are we going?

# Where are we going?

# On this path tonight

# On this path tonight

# On this path tonight

# On this path tonight. #

APPLAUSE

Accompanied by Shane Fontayne,

This Path Tonight, the title track from the new album

by the wonderful Graham Nash!

CHEERING

Now, over in this corner,

a brand-new and very exciting country singing star

who is signed to Jack White's Third Man Records.

We welcome Margo Price!

# When I rolled out of town

# On the unpaved road

# I was 57

# From being broke

# Kiss my mama and my sisters

# And I said goodbye

# And with my suitcase packed I wiped the tears

# From my eyes

# Times, they were tough

# Growing up at home

# My daddy lost the farm

# When I was two years old

# Took a job at the prison

# Working second shift

# And that's the last time I let them take

# What should be his

# Cos all I want to do

# Is make a little cash

# Cos I've worked all the bad jobs

# Busting my ass

# I wanna buy back the farm

# And bring my mama home some wine

# Turn back the clock On the cruel

# Hands of time

# When I hit the city

# I joined the band

# I started singing in the bars

# And running with the men

# But the men They brought me problems

# And the drinking caused me grief

# I thought I'd found a friend But I only

# Found a thief

# Soon I settled down

# With a married man

# We had a couple babies

# Started living off the land

# But the first-born died

# And I cried out to God

# Is there anybody out there looking down on me

# At all?

# Cos all I wanna do

# Is make something last

# But I can't see the future

# I can't change the past

# I want to buy back the farm

# And bring my mama home some wine

# Turn back the clock On the cruel

# Hands of time

# Still I keep a-running

# Fast as I can

# I try to make something honest

# With my own two hands

# And I ain't got the breath

# To say another bad word

# So if I ever said it wrong

# Won't you forget

# What you heard

# Cos all I wanna do

# Is make my own path

# Cos I know what I am

# I know what I have

# I wanna buy back the farm

# And bring my mama home some wine

# Turn back the clock On the cruel

# Hands of time

# Cruel

# Hands of time. #

# I'm gonna break into your heart

# I'm gonna crawl under your skin

# I'm gonna break into your heart

# And follow

# Till I see where you begin

# Time is so tired

# It's closing in

# 40 more hours to go

# When the tumbler spins

# I'm getting in

# It's gonna be time to blow

# I'm gonna break into your heart

# I'm gonna crawl under your skin

# I'm gonna break into your heart

# And follow

# Gonna see where you begin

# Hooks go deep

# But it's make-believe

# It's never gonna grow

# Your heart is buried underneath

# Mountains capped with snow

# I'm gonna break into your heart

# I'm gonna crawl under your skin

# I'm gonna break into your heart

# And follow

# To see where you begin

# Break them all

# Take them all

# Fake them all

# Steal them all

# Fail them all

# Touch them all

# Break them all

# Break them

# All

# I'm gonna break into your heart

# I'm gonna break into your heart

# I'm gonna break into your heart

# I'm gonna break into your heart

# Till it all comes crashing down

# I'm gonna break into your heart

# I'm gonna crawl under your skin

# I'm gonna break into your heart

# And follow

# Till I get under your skin

# And the wall comes tumbling down

# And you finally let me in

# I'll break into your. #

What a pleasure having that man in the studio.

Iggy Pop!

Break Into Your Heart...

..from Post Pop Depression.

Before that, we enjoyed Margo Price!

More from her later.

Now, more wonderful and beautiful vibrations directly from this room,

we welcome, from Stockport, Blossoms!

# Your room I leave wide door open for me

# Dead leaves upon the grass

# I walk myself clean through 70 dreams

# And we broke like a paper seam

# But when it breaks don't cry

# I'll always hold some place for you

# I'm over you

# You're under me

# This is the last time

# Don't say it's the last time

# Call me up

# You've got me choking up

# If we're in love

# Tonight we can get away

# Too soon I'll wait

# They say, "Boy, you should know

# "This will never work out"

# But you say "You're my best friend

# "Boy, you should know

# "What if forever works out?

# "And if it works, let's try"

# I'll always hold some place for you

# I'm over you

# You're under me

# This is the last time

# Don't say it's the last time

# Call me up

# You've got me choking up

# If we're in love

# Tonight we can get away

# Tonight we can get away

# You said, "How could I?"

# I say, "It's a long time coming"

# You say, "Can we try?"

# I say, "It's a waste of time loving"

# I'm over you

# You're under me

# This is the last time

# Don't say it's the last time

# Call me up

# You've got me choking up

# If we're in love

# Tonight we can get away

# Tonight we can get away

# Tonight we can get away

# Tonight we can get away

# Tonight we can get away

# Tonight we can get away

# Tonight we can get away. #

Blossoms, Getaway, from their album Blossoms.

Delightful to have them in the studio.

Now, we have a songwriting legend from The Hollies,

Crosby, Stills & Nash,

the visual artist, the Grammy winner, the OBE-ist, the lot.

It is Graham Nash!

We've given you a luxury spread, almost as generous as Iggy's.

-Almost, almost.

-There we are.

So this is the first time you've joined us a solo artist.

A great record you have, you played something from it earlier,

and it's your first solo album in 14 years. Is that right? Yeah.

-Are you enjoying being on your own?

-I'm enjoying it tremendously.

I've spent most of my life in a band, you know,

but it's very interesting now

not having to ask Crosby or Stills or Neil what to play next.

I have my free rein and it's very interesting.

And another thing is that,

because there's four strong writers in the band,

you can't use all the stuff you write,

so what do you do with it, right?

Songs drive me crazy when they're in here.

They don't leave my being

until they're on record, vinyl, whatever it is, right?

And this album is really touching people's hearts.

I've been travelling all around the world with Shane Fontayne,

who produced the record, of course.

Who was playing with you earlier, there.

A brilliant, brilliant guitar player.

Not only played lead guitar with Sting

but with Bruce Springsteen for a few years. Yeah.

But is the writing process different for you now

to how it was in the '60s when you were writing in the Hollies?

The way you approach, is it a different approach

-or is it the same thing?

-It's a slightly different approach.

What I learned with the Hollies is how to create a melody

that you can't forget if you've heard it twice, right?

But, with all due respect,

the lyrics were a little teenage, a little naive.

When I joined Stephen and David in America

and saw what they were writing,

I began to realise that, if I could change my lyrics

and make them more important to me

and attach them to a melody that I've written,

now we're in business and that's what's been going on.

And I suppose, as you get older,

you've learned more of the things you've got to say.

-And you forget a lot of stuff, too.

-Yeah, exactly, yeah, yeah.

Well, we've got something here from the Hollies from Top of the Pops,

-might be in Manchester.

-Probably.

Let's just have a little look at this just to go back.

It's just one look.

# Say you will

# Will be mine

# Forever

# And always

# Oh-oh oh-oh

# Just one look

# And I knew, knew, knew

# That you

# Were my only one

# Oh, oh oh-oh

# I thought I was dreaming

# But I was wrong

# Yeah, yeah, yeah

# Oh, but I'm gonna keep on scheming

# Till I can make you

# Make you my own... #

-I mean, that is a black-and-white world.

-Indeed.

Are things essentially the same or are they very different

to how things were then in the music business?

I think the common thread between it all in terms of what I do

is that I have to feel something about some subject,

whether I'm angry about something or I'm in love, you know?

I have to feel something first.

Once I feel, then I utilise the tools

that I've been using for the last 50 or 60 years.

I'm a songwriter, you know?

Now, in a moment, you're going to play for us Marrakesh,

which is a great, legendary song and...

How much time have we got left?

How much?

Ten seconds. Where did you write that song?

-Oh, in Marrakesh.

-Thank you very much.

Just checking!

Thank you so much, Graham Nash!

He will be playing a legendary song,

one of his many legendary songs,

in just a moment.

And, in fact, you can see here, this is the very stool

that they're going to be sitting on when they play that song

that he wrote while he was in Marrakesh!

But now, this is a truly wonderful and international show

with people coming from all over the world to perform with us.

We have now one of the new and most fantastic artists from France.

We welcome Lou Doillon!

# I wouldn't know

# Where to start

# If you ever were to ask me

# If I ever came to say

# So is this what

# You're proposing to me?

# A front seat to your parade

# To sit and fill?

# Well, it seems pointless to explain

# Just give it a stare

# If only you'd notice

# If only you'd dare

-# I've gotta stop

-Stop

# This obsession

-# I've gotta stand

-Stand

# By my reason

# Let the film roll

# Without me

# I'm always waiting

# For what comes rare

# Knees black from bending

# Seeking a little love here and there

# But I don't blame you

# For the act

# The show, the lights

# Maybe myself for taking part

# Well, it seems pointless to explain

# Just give it a stare

# If only you'd notice

# If only you'd dare

-# I've gotta stop

-Stop

# This obsession

-# I've gotta stand

-Stand

# By my reason

# Let the film roll

# Without me

-# I've gotta stop

-Stop

# This obsession

-# I've gotta stand

-Stand

# By my reason

# Let the film roll

# Without me. #

CHEERING AND APPLAUSE

# Looking at the world through the sunset in your eyes

# Travelling the train through clear Moroccan skies

# Ducks and pigs and chickens call

# Animal carpet wall-to-wall

# American ladies five foot tall in blue

# Sweeping cobwebs from the edges of my mind

# Had to get away to see what we could find

# I hope the days that lie ahead

# Bring us back to where they've led

# Listen not to what's been said to you

# Don't you know we're riding on the Marrakesh Express

# Don't you know we're riding on the Marrakesh Express

# They're taking me to Marrakesh

# All on board the train

# All on board the train

# I've been saving all my money

# Just to take you there

# I smell the garden in your hai-ai-air

# Take the train from Casablanca going south

# Blowing smoke rings from the corners of my mouth

# Coloured cottons hang in the air

# Charming cobras in the square

# Striped djellabas we can wear at home

# Yeah

# Don't you know we're riding on the Marrakesh Express

# Don't you know we're riding on the Marrakesh Express

# They're taking me to Marrakesh

# Don't you know we're riding on the Marrakesh Express

# Don't you know we're riding on the Marrakesh Express

# They're taking me to Marrakesh

# All on board the train

# All on board the train

# All on bo-oard. #

CHEERING AND APPLAUSE

Graham Nash.

Marrakesh.

1969.

Before that, we enjoyed Lou Doillon.

CHEERING AND APPLAUSE

Now an artist, she writes great songs, she sings amazingly,

she's got a wonderful band.

In fact, she has ticked all the boxes that you need to have

to be a wonderful new country star.

We welcome Margo Price.

CHEERING AND APPLAUSE

# I put a hurtin' on the bottle

# Baby, now I'm blind enough to see

# Been drinking whisky like it's water

# But that don't touch the pain you put on me

# Well, I was veering for the white line of the shoulder

# Faded lights all cast upon the wall

# Baby, I know we've been getting older

# But you're never too old to learn to crawl

# I put a hurtin' on the bottle

# Baby, now I'm blind enough to see

# Been drinking whisky like it's water

# But that don't touch the pain you put on me

# Well, I met you with your thumb out in the alley

# Whoa, no-one ever comes around here no more

# Been looking for a peak inside the valley

# I've been searching for a key outside your door

# And I put a hurtin' on the bottle

# Baby, now I'm blind enough to see

# Been drinking whisky like it's water

# But that don't touch the pain you put on me

# I've been riding high on low expectations

# It's like singing loud with no-one left to hear

# I've been drinking from the well of inspiration

# But it's all falling on these wasted ears

# And I put a hurtin' on the bottle

# Baby, now I'm blind enough to see

# Been drinking whisky like it's water

# But that don't touch the pain you put on me

# I put a hurtin' on the bottle

# Ohh, ohh

# Oh, baby, now I'm blind enough to see

# Been drinking whisky like it's water

# But that don't touch the pain you put on me

# Been drinking whisky like it's water

# But that don't touch

# The pain you put

# On me. #

CHEERING AND APPLAUSE

Sowing seeds of crime in the yout' them mind.

Well, now, it's harvest time.

Life over debt.

Good over evil.

And right over might.

And love over hate.

Uh!

This one goes out to all the criminals in the world.

# Dem a criminal Watch it, dem a criminal

# Oh, dem a criminal Whole a dem a criminal

# Say dem a criminal Watch it, criminal

# Say dem a criminal Watch it, dem a...

# Deh-deh-deh-deh

# Dem a criminal

# Nah follow dem

# Take what dem want Then dem gone back again

# Dem a criminal

# Nah guh dem feist

# We nuh retreat, gone to the east

# Dem a criminal But then a we follow Jah law

# Seet dem a gwaan with dem tra-la-la-la

# Dem a criminal

-# Whoa-oa

-Dem a criminal

# Oh-na-naa-na-na

# Yeah, yeah Jah a de main shield

# The eye, dem stay peel The music stay real

# Pickney pon the playfield

# Baby in the stomach Mommy know the pain real

# Headphone pon har belly Watch him stay still

# See the sun a shine See how the rain feel

# Jah beg you keep him dry I beg and pray fi him

# Fi de man dem weh a chop it up a Grange Hill

# Fi de mandem weh a cut it inna cane field

# Dem lock up Leonard Howell fi sell Selassie face

# Dat couldna stop the message This a Selassie place

# A that you hear we reppin

# Ask about what happen pon September 11 1987

# That's when dem kill we bretheren Tosh and Free, I

# So Rasta Reggae Radio could never see the light

# Gwaan, no believe in I Say I a Levi

# Trod with the Simeon So act like you nuh see me

# Dem a criminal

# Nah follow dem

# Take what dem want and dem gone back again

# Dem a criminal

# Nah guh dem feist

# We nuh retreat We gone to the east

-# Dem a criminal

-But then a we follow Jah law

# Seet dem a gwaan with dem tra-la-la-la

# Dem a criminal

# Whoa-oa

-# Dem a criminal

-Na-naa-na-na

# Uh-huh

# The son arise fore the sun arise

# Some despise it a so me summarise it

# See some a eyes it Wan sit where I sit

# Create a crisis Jah come give me ises

# Uh-huh Dem send dem dogs to the synagogues

# But the lions align against the guinea-gogues

# Mr Inquisitor can go see it pause

# Home of Marcus His Majesty did visit yaad

# Me envision dem Timing a go critical

# Dem select the pawn fi lef it sticky pon we

# Walter did warn we Boukman did born deh

# And go Haiti, revolution start

# Same man dem in a jacket and tie

# A dem a pack the supply and attract you to buy... #

Know the word is "criminal".

Can you say the word "criminal"? Let's go.

# Yeah, yeah, yeah, yeah

-# Dem a criminal

-And we nah follow dem

# Take what dem want and dem gone back again

# Dem a criminal

# Nah guh dem feist

# We nuh retreat, gone to the east

-# Dem a criminal

-But then a we follow Jah law

# Seet dem a gwaan with dem tra-la-la-la

# Dem a criminal

Whoa-oa

-# Dem a criminal

-Na-naa-na-na

# Oh, dem a criminal Watch it, dem a criminal

# Oh, dem a criminal Whole a dem a criminal

# Say dem a criminal Watch it, a criminal

# Oh, dem a criminal Whole a dem a criminal

# Uh-huh

# Oh, dem a criminal

# Ohh The whole a dem a criminal

# Ohh

# The whole a dem a criminal

# Oh

# The whole a dem a...whaa!

# Hey, hey, hey

# Hey, hey

# Hey, hey, ahh

# Hey, hey

# Hey, hey, hey

# Hey, hey

# Hey, hey, hey

# Hey, hey. #

CHEERING AND APPLAUSE

The dazzling music and dancing of Protoje.

Criminal.

So with tears in our eyes, we say a sad farewell to all of our guests,

hoping that we might meet them again.

Thank you, Lou Doillon.

CHEERING

Thank you, Blossoms.

CHEERING

Thank you, Margo Price.

CHEERING

Thank you, Graham Nash.

CHEERING

I'll be back on Tuesday with Last Shadow Puppets,

Bonnie Raitt, Zucchero, and so much more.

But now we finish where we started,

with the legendary and amazing Iggy Pop.

CHEERING

CHEERING

Yeah.

# I am a passenger

# And I ride and I ride

# I ride through the city at night

# I see the stars come out of the sky

# Yeah, the bright and hollow sky

# You know it looks so good tonight

Come on.

# I am a passenger

# I stay under glass

# I look through my window so bright

# I see the stars come out tonight

# I see the bright and hollow sky

# Over the city's ripped backsides

# And everything looks good tonight

# And I'm singing

# La la la la la-la-la-la

# La la la la la-la-la-la

# La la la la la-la-la-la La-la-la

All right, come on.

Come on, hit me.

# Get into the car

# We'll be the passenger

# We'll ride through this city tonight

# We'll see the city's ripped backsides

# We'll see the bright and hollow sky

# We'll see the stars that shine so bright

# Stars made for us tonight

All right, boys, give it up.

# Oh, the passenger

# How, how he rides

# Yeah, the passenger

# He rides and he rides, hey

# He looks through his window

# What does he see?

# He sees the sign and hollow sky

# He sees the stars come out tonight

# He sees the city's ripped backsides

# All of the winding ocean drive

# And all of it was made for you and me

# All of it was made for you and me

# Cos it just belongs to you and me

# So let's take a ride and see what's mine

# Hey, hey, hey, hey... #

Here we go

# Singing la la la la la-la-la-la

# La la la la la-la-la-la

# La la la la la-la-la-la La-la-la-la... #

All right, baby.

Pick me up, Margo.

Yeah, baby.

Yeah.

Hey, can you sing this one?

Sing it.

# La la la la la-la-la-la

# La la la la la-la-la-la

# La la la la la-la-la-la... #

-That's good.

-# La la la la la-la-la-la

# La la la la la-la-la-la... #

-I know you want to...

-# La la la la la-la-la-la

# La la la la la-la-la-la

# La la la la la-la-la-la... #

-Cool.

-# La la la la la-la-la-la

# La la la la la-la-la-la

# Oh, the passenger

# He rides and he rides

# He sees things from under glass

# He looks through his window inside

# He sees the things he knows are his

# He sees the bright and hollow sky

# He sees the city sleep at night

# He sees the stars come out tonight

# And all of it is yours and mine

# And all of it is yours and mine

# So let's ride and ride and ride and ride

# Oh

# Singing la la la la la-la-la-la

# La la la la la-la-la-la

# La la la la la-la-la-la La-la-la-la

# Singing la la la la la-la-la-la

# La la la la la-la-la-la

# La la la la la-la-la-la La-la-la-la. #

All right! CHEERING AND APPLAUSE

Salud!

Thanks, Margo.

Thanks, Lou. Thanks, you guys.

CHEERING