:00:30. > :00:38.Welcome to this lovely May springtime show - inside it's warm,
:00:39. > :00:54.Let us welcome the first guest, that is Blondie.
:00:55. > :00:57.# I've been running circles round a night that never ends
:00:58. > :01:01.# I've been chasing heartache, in a city and a friend
:01:02. > :01:06.# I've been with you so long, even seen you lose it
:01:07. > :01:15.# Racing down the Bowery, on a crowded afternoon
:01:16. > :01:19.# Dripping from the downpour of your insecure typhoon
:01:20. > :01:26.# Can you even want me or is this is just a way to keep you safe?
:01:27. > :01:36.# Take me, then lose me, then tell them I'm yours
:01:37. > :01:55.# Does it make you think everybody wants to be your friend?
:01:56. > :02:02.# I can give you a heartbeat, I can give you a friend
:02:03. > :02:10.# I can make you think everybody wants to be your friend
:02:11. > :02:16.# Drinking with your cell phone with a smile on your face
:02:17. > :02:20.# Happy in success, but still a thousand miles away
:02:21. > :02:27.# Is this what you wanted, is this everything you had in store?
:02:28. > :02:35.# Take me, then lose me, then tell them I'm yours
:02:36. > :02:57.# Does it make you think everybody wants to be your friend?
:02:58. > :03:04.# I can give you a heartbeat, I can give you a friend
:03:05. > :03:14.# I can make you think everybody wants to be your friend
:03:15. > :03:21.# Take me, then lose me, then tell them I'm yours
:03:22. > :03:56.# Take me, then lose me, then tell them I'm yours
:03:57. > :04:06.What a thrill to have them back in this room with us tonight, a room
:04:07. > :04:09.We welcome from London, we will be welcoming, London Grammar.
:04:10. > :04:13.Also from London, but strangely from both north and south of the river -
:04:14. > :04:16.as if it could be true - we welcome Binker Moses.
:04:17. > :04:22.So delighted to have, from Senegal, Orchestra Baobab.
:04:23. > :04:26.From Stockholm and London, it is Mabel.
:04:27. > :04:32.And now, welcoming back into this room,
:04:33. > :05:10.# A dress of leaves blows to the winds
:05:11. > :05:19.# Take these sacrificial remnants, untended
:05:20. > :05:26.# Bashed to dust and trust distressed
:05:27. > :05:30.# I don't believe anymore, don't believe anymore
:05:31. > :05:43.# I don't believe anymore, don't grieve anymore
:05:44. > :06:00.# Is this a desperate wish for dying?
:06:01. > :06:13.# The fear that keeps me going and going and going
:06:14. > :06:19.# Is the same fear that brings me to my knees
:06:20. > :06:25.# I don't believe anymore, don't believe anymore
:06:26. > :06:39.# I don't believe anymore, I won't grieve anymore
:06:40. > :06:59.# Always in the clouds searching for some answer
:07:00. > :07:03.# Parted now, I am the shore, repeated
:07:04. > :07:16.# I don't believe anymore, don't believe anymore
:07:17. > :07:32.# I don't believe anymore, I won't grieve anymore
:07:33. > :07:46.# I don't believe anymore, don't believe anymore
:07:47. > :07:57.# I don't believe anymore, don't believe anymore
:07:58. > :08:06.# I won't grieve anymore, won't grieve anymore
:08:07. > :08:34.Actually, we'll have a little chat with them, a table
:08:35. > :08:38.Now, one of West Africa's greatest groups we are welcoming right now,
:08:39. > :13:01.Orchestra Baobab performing a song from their album
:13:02. > :13:21.Some of you may have heard of the expression -
:13:22. > :13:27.Well, of course, it means when you have your first album, it's great.
:13:28. > :13:30.The second album, it can be difficult getting it together.
:13:31. > :13:32.That has not happened with these next artists.
:13:33. > :13:35.Their second album is even greater and more enjoyable than their first,
:13:36. > :13:37.I think you'll agree, as we welcome London Grammar.
:13:38. > :13:48.# My only hope is to let life stretch out before me
:13:49. > :14:01.# I'm made of many things, but I'm not what you are made of
:14:02. > :14:17.# But I swear that these scars are fine
:14:18. > :14:23.# Only you could've hurt me in this perfect way tonight
:14:24. > :14:28.# I might be blind, but you've told me the difference
:14:29. > :14:35.# Between mistakes and what you just meant for me
:14:36. > :14:59.# Have you forgotten all the lies you left there so fresh
:15:00. > :15:16.# You can try to get close to those I love
:15:17. > :15:24.# Do you really think they don't know what you're made of
:15:25. > :15:32.# But I swear that these scars are fine
:15:33. > :15:37.# Only you could've hurt me in this perfect way tonight
:15:38. > :15:41.# I might be blind but you've told me the difference
:15:42. > :15:45.# Between mistakes and what you just meant for me
:15:46. > :16:38.# But I swear that these scars are fine
:16:39. > :16:43.# Only you could've hurt me in this perfect way tonight
:16:44. > :16:58.# I might be blind but you've told me the difference
:16:59. > :17:00.# Between mistakes and what you just meant for me
:17:01. > :17:31.So now we welcome a brand-new artist who has never
:17:32. > :17:34.We are delighted to have in the studio now, Mabel.
:17:35. > :18:36.# I don't planning on coming your way.
:18:37. > :18:43.# Put your arms all around it. # It don't need to be no deeper.
:18:44. > :18:50.# Its finders keepers. # Take it now that you found it.
:18:51. > :18:57.# It don't need to be no deeper. # Its finders keepers.
:18:58. > :19:05.# It don't need to be no deeper. # It's finders keepers.
:19:06. > :19:13.# At goal which you want. # I got you.
:19:14. > :19:22.# I don't need miracles from you. # Just keep the torque minimal.
:19:23. > :19:34.# It's criminal for me. # To say it's all chemical.
:19:35. > :19:38.# Boy, why you living in fear. # You know I don't mind if you take
:19:39. > :19:48.me home. # Let's make it some time then.
:19:49. > :19:54.# Put your arms all around. # It only to be no deeper.
:19:55. > :20:01.# It's finders keepers. # Take it now that you found it.
:20:02. > :20:15.# It don't need to be no deeper. # It's finders keepers.
:20:16. > :20:17.# I've got what you want. # If you trust me, I have got what
:20:18. > :20:27.you want. # Because I've got you.
:20:28. > :20:39.# It's you and me, so put your arms all around it.
:20:40. > :20:45.# Put your arms all around it. # Take it now that you found it.
:20:46. > :20:49.# It don't need to be no deeper, it's finders keepers.
:20:50. > :20:54.# Put your arms all around it, take it now that you found it.
:20:55. > :20:55.# It don't even need to be no deeper. It's finders keepers.
:20:56. > :21:00.CHEERING AND APPLAUSE. Now some great legends,
:21:01. > :21:07.amazing legends who I welcome Chris Klein, Clem Burke,
:21:08. > :21:14.Debbie Harry from Blondie. Great to have you here
:21:15. > :21:18.and lovely to see you You have got your camera
:21:19. > :21:23.here, that's great. You are a very good photographer
:21:24. > :21:28.aren't you as well? You've had exhibitions.
:21:29. > :21:31.Occasionally. That is not for the purpose
:21:32. > :21:38.of selfies, that is for the purpose of exhibition,
:21:39. > :21:40.printing them, isn't that right? That is the opposite
:21:41. > :21:45.of one of someone else. This record is a great
:21:46. > :21:48.record that we have got You have worked with lots
:21:49. > :21:53.of new interesting people. Who are some of the people
:21:54. > :21:55.you have worked with? Is the recording process,
:21:56. > :22:04.more enjoyable now, do Is it the same as it was
:22:05. > :22:09.when you first started? Well, the same but different,
:22:10. > :22:11.you know, I think it was great, that we all got
:22:12. > :22:14.into the studio together, bit of preproduction instead of just
:22:15. > :22:19.showing up, so in that sense, One of the things,
:22:20. > :22:26.I think it is great, when music sounds of its place
:22:27. > :22:28.and to me, your music is fantastic, it is the sound
:22:29. > :22:34.of exciting New York. One of the things,
:22:35. > :22:36.when I first went to New York, in 1977, I went
:22:37. > :22:38.to go and see you. Are you essentially,
:22:39. > :22:41.a New York sound, do you think? We have had a lucky break,
:22:42. > :22:46.being from there because we get so many influences and I think
:22:47. > :22:50.it has come through. Back then when I first saw you,
:22:51. > :22:53.it seemed like a completely It's a lot more user-friendly
:22:54. > :23:05.now, which is great. The dirt of New York City is a part
:23:06. > :23:11.of what made the Blondie sound. As romanticised as the period is,
:23:12. > :23:18.I did not know anyone at the time who at some
:23:19. > :23:20.point did not say, this is so screwed up,
:23:21. > :23:22.I have And then, you first came
:23:23. > :23:25.to England and I remember this because I am
:23:26. > :23:29.personally involved. A great photographer
:23:30. > :23:32.sent us this photograph. In fact, I think you
:23:33. > :23:34.were there but he only I am so pleased that I have this
:23:35. > :23:38.pint of beer and this But that is actually,
:23:39. > :23:42.although we are both in it, you are there as well, and I think
:23:43. > :23:45.it was your first show in England. What did you make of
:23:46. > :23:48.England when you got Well, we had an idea of what it was
:23:49. > :23:52.because of the exchange, with musicians, and we were just really
:23:53. > :23:56.looking forward to it. We were prepared for
:23:57. > :24:01.a physical reaction. Everybody at CBEEs,
:24:02. > :24:03.were still in beatnik coffee They would sit there, there was no
:24:04. > :24:10.rock dance, and we got here, and everyone was flinging themselves
:24:11. > :24:13.around, and it was an eye opening And I remember years ago, in Boston,
:24:14. > :24:21.Squeeze did a show and you were doing a show, and I was going
:24:22. > :24:24.around, the thrift stores and would buy dead men's suits
:24:25. > :24:27.which fitted me very well. Everywhere I went, I noticed
:24:28. > :24:33.you were in the same shops. All the good stuff has been
:24:34. > :24:37.absorbed, there is nothing I's a little tricky
:24:38. > :24:40.now for the vintage. There are professional
:24:41. > :24:45.vintage shoppers. What are you going
:24:46. > :24:47.to play for us next? I think we are going to do Fun
:24:48. > :24:50.which is a sort of a Thank you very much
:24:51. > :25:00.for joining us, Blondie. We will look forward
:25:01. > :25:04.to hearing more from Now now it is time for a brand new,
:25:05. > :25:13.let's use the word jazz, a fantastic improvisational group,
:25:14. > :25:15.we welcome Binker Moses. # I was scared, cuz I've lost
:25:16. > :29:26.so many things before # Kept me running from
:29:27. > :29:31.the world and from myself # You gave me second
:29:32. > :29:35.chance and hopes to run to # I couldn't bare to spend
:29:36. > :29:41.another day without you # Now I'm stuck in this
:29:42. > :30:14.place, without you # All I knew I couldn't
:30:15. > :30:22.wait one more night # Freezing rain can't
:30:23. > :30:49.keep me away, from you # Covered you, half a world
:30:50. > :31:14.away, a world asleep # Cuz I've lost
:31:15. > :31:18.so many things before # Kept me running from
:31:19. > :31:28.the world and from myself # You gave me second
:31:29. > :31:31.chance and hopes to run to # I couldn't bare to spend
:31:32. > :31:34.another day without you # Freezing rain can't
:31:35. > :31:40.keep me away, from you # Falling planes can't
:31:41. > :32:10.keep me away from you Future Islands, North Star,
:32:11. > :32:27.from The Far Field LP. Far Field, that sound
:32:28. > :32:31.very spring-like. Before that we enjoyed the sound,
:32:32. > :32:37.the very beautiful, funky delic sound of Binker
:32:38. > :32:39.Moses. # You're my heart,
:32:40. > :33:24.I can't get enough # I get the feeling that
:33:25. > :33:46.you're changing my mind # You're my heart,
:33:47. > :34:29.I can't get enough # I get the feeling that
:34:30. > :34:36.you're making me blind # I get the feeling that
:34:37. > :34:49.you're changing my mind # You're my heart,
:34:50. > :35:17.I can't get enough # I get the feeling that
:35:18. > :35:42.you're changing my mind # I get the feeling that
:35:43. > :35:54.you're changing my mind # I get the feeling that
:35:55. > :36:09.you're making me blind # I get the feeling that
:36:10. > :36:13.you're changing my mind # I get the feeling that
:36:14. > :36:27.you're changing my mind Blondie, from their
:36:28. > :37:13.album Pollinator. What a good title, Pollinator -
:37:14. > :37:25.I like that word. If you were in West Africa
:37:26. > :37:29.and you went out for an evening's fun, one of the things you'd
:37:30. > :37:31.probably be listening # It is only, you are the only thing
:37:32. > :43:46.I've ever truly known # So, I hesitate, if I can
:43:47. > :43:59.act the same for you # And my darlin', I'll
:44:00. > :44:16.be rooting for you # And I need her tonight because I'm
:44:17. > :44:42.scared of loneliness with you, baby # But all that is left
:44:43. > :44:54.is my perspective, broken # It is only, you are the only thing
:44:55. > :45:40.I've ever truly known # So, I hesitate, if I can
:45:41. > :45:55.act the same for you # And my darlin', I'll
:45:56. > :46:15.be rooting for you #. The wonderful sound
:46:16. > :46:27.of London Grammar A lovely voice and strings coming
:46:28. > :46:38.in all together like that. But now, to change the tone
:46:39. > :46:41.again, we go over to this table here where Garrett, Sam
:46:42. > :46:44.and William of Future Islands are Each week I sit at this
:46:45. > :46:55.particular spot and the guests are given either cameras
:46:56. > :46:57.or what is that you've got there? Great record, the Future
:46:58. > :47:05.Islands record is great and the first thing I must ask,
:47:06. > :47:08.there is someone in this room who That was connected
:47:09. > :47:15.through our mutual We felt, we had written
:47:16. > :47:22.a song that appears on this album in 2013
:47:23. > :47:26.for our last record right voice and we were still
:47:27. > :47:30.searching through the cosmos to find the classic voice that we needed
:47:31. > :47:33.and John was one day like, why don't I hit up Debbie
:47:34. > :47:38.and connected us. I suppose, you broke out
:47:39. > :47:46.and people became aware of you here three or four years ago,
:47:47. > :47:49.but have you been together a long We've been writing songs since 2003
:47:50. > :47:57.and Future Islands, for 11 years And were you all in,
:47:58. > :48:05.because the group I have become obsessed with, really,
:48:06. > :48:09.is Art Lord and the Self Portraits. Was it difficult
:48:10. > :48:18.being a self-portrait? It became a little difficult
:48:19. > :48:22.for so many years, I think he was still mad
:48:23. > :48:28.that he was number 4. I was the German Lord of Art.
:48:29. > :48:35.Self-proclaimed, I was from a little I spoke a faux Eastern
:48:36. > :48:55.European accent. The idea, was we were freshmen
:48:56. > :48:59.in university and wanted to go into I was trying to combine words
:49:00. > :49:04.with sculpture into the live form and in a way,
:49:05. > :49:10.being able to use... I would show up to class half high
:49:11. > :49:15.and say I am the project. You know, this is it,
:49:16. > :49:18.like final critique. The dance manoeuvres are remarkable,
:49:19. > :49:30.but when did you first The idea was that the
:49:31. > :49:38.self-proclaimed Lord of Art He created the self
:49:39. > :49:45.portraits that came to Because of this weird evolution
:49:46. > :49:57.of us growing together. Our friend who did the cover art,
:49:58. > :50:00.she used to be in Art She was a self portrait,
:50:01. > :50:04.number three. Although it's too late,
:50:05. > :50:09.can I be a self-portrait? You have to wear
:50:10. > :50:19.a black turtleneck and Perhaps I could play
:50:20. > :50:33.the glass harmonica. We look forward to hearing
:50:34. > :50:40.more from them later. I'm now a self-portrait,
:50:41. > :50:49.I am so happy. We now go into this
:50:50. > :50:51.corner and each week the new artists come on,
:50:52. > :50:53.we now # It could be more 'cause
:50:54. > :51:22.I lost track of time # Driving on the wrong
:51:23. > :51:24.side thinking of you # And it isn't like me
:51:25. > :51:28.to be insecure # Tried to forget
:51:29. > :51:45.about you and no chance # Waiting on someone
:51:46. > :51:53.that gotta pick me up # Telling me he wants
:51:54. > :52:21.to show me around # He knows somebody
:52:22. > :52:24.with a fancy house # Standing in his room
:52:25. > :52:32.but I was thinking of you # And I don't want
:52:33. > :52:35.you to be insecure # Oh, don't wanna play
:52:36. > :52:38.with your mind, whoa #Tried to forget
:52:39. > :52:52.about you and no chance # Waiting on someone
:52:53. > :53:00.that gotta pick me up # I'm thinking of you,
:53:01. > :53:18.thinking of you, thinking of you # Tell all your friends that
:53:19. > :53:24.# You're enough to make me turn around and backtrack
:53:25. > :53:29.# Tell all your friends that I'm coming right back
:53:30. > :53:36.# Tried to forget about you and no chance
:53:37. > :53:45.# Waiting on someone that gotta pick me up
:53:46. > :54:07.# Waiting on someone that gotta pick me up
:54:08. > :54:24.# Thinking of you, thinking of you #.
:54:25. > :55:03.This is a song for the road. All the things we've found, all the things
:55:04. > :55:07.we have lost. # Left out on the road
:55:08. > :55:14.eight years ago # And you left too but I never
:55:15. > :55:22.really thought you would really go # If I knew then I'd
:55:23. > :55:30.really losing you # I'd change my ways
:55:31. > :55:35.and my mind fore I lose control # Cuz in a darkened space,
:55:36. > :55:43.we watched our souls replace # The beauty of the road is lost
:55:44. > :56:26.in your eyes I drift # Softly back to when,
:56:27. > :56:36.we were young and in love # You spend your whole life wishing
:56:37. > :56:44.and working all you gets # You spend your whole life
:56:45. > :56:58.searching and find the thing you're # And for years now,
:56:59. > :57:06.I've been hunting the sound # That soft breath on the back
:57:07. > :57:17.of my neck, got me running # The beauty of the road is lost
:57:18. > :57:38.in your eyes I drift # Softly back to when,
:57:39. > :57:48.we were young and in love # The beauty of the road is lost
:57:49. > :58:06.in your eyes I drift # Softly back to when,
:58:07. > :58:17.we were young and in love Still an honorary self-portrait
:58:18. > :58:42.that I am, I'm delighted to thank Future Islands,
:58:43. > :58:47.Beauty of the Road from Far Field. And now I'm delighted
:58:48. > :58:53.to have Blondie! # Colour me your colour,
:58:54. > :59:33.darling # Come up off your
:59:34. > :59:40.colour chart # You can call me any day or night,
:59:41. > :00:10.call me # Cover me with kisses,
:00:11. > :00:12.baby # Roll me in designer sheets,
:00:13. > :00:17.I'll never get enough # When you're ready
:00:18. > :00:50.we can share the wine # Oh, oh, oh, oh, oh, he speaks
:00:51. > :00:53.the languages of love # Oh, oh, oh, oh, oh,
:00:54. > :01:11.amore, chiamami, chiamami # Anytime, anyplace, anywhere,
:01:12. > :01:14.any way # Anytime, anyplace,
:01:15. > :01:52.anywhere, any day-ay # Call me (call me), call me
:01:53. > :02:12.for your lover's lover's alibi What a beautiful way
:02:13. > :02:57.to end our show. We'll be back on Tuesday
:02:58. > :03:01.night with 10cc, Stormzy But now, could I invite you, Clem,
:03:02. > :03:05.to just start off counting in time and give a groove,
:03:06. > :03:08.set that pulse for us, Thank you so much
:03:09. > :03:13.to all of our guests.