:00:32. > :00:38.I'm delighted to welcome a man with a wonderful
:00:39. > :01:33.# When the flame don't burn so bright
:01:34. > :04:03.# Woo se mama but you don't get me #.
:04:04. > :04:15.We welcome him back, with Woo Se Mama.
:04:16. > :04:27.And we'll be having chats with the wonderful Billy Bragg.
:04:28. > :04:41.There will be people over here applauding.
:04:42. > :04:46.People like from New York, Maggie Rogers.
:04:47. > :04:49.But now, from Gothenburg in Sweden, it is Little Dragon.
:04:50. > :05:18.# Was that angel the stranded pop life?
:05:19. > :05:25.# Just sit still in your chair, watch your fight
:05:26. > :05:32.# Is it true that the spirit's long gone?
:05:33. > :05:37.# Can we bring it back from the dead?
:05:38. > :05:41.# You're such a freak, really don't care
:05:42. > :05:44.# Whip out our knives, broken out here
:05:45. > :05:48.# Waving the flags # Popping the tags
:05:49. > :05:55.# You're such a freak, really don't care
:05:56. > :05:58.# Whip out our knives, broken out here
:05:59. > :06:30.# That new fizz in the air, not this time
:06:31. > :06:38.# When you're desperate you care, we unwind
:06:39. > :06:45.# Watch the fall of our empire on the big screen
:06:46. > :06:55.# Will you take it to the big old dream?
:06:56. > :07:09.# Will you make it to the big old dream?
:07:10. > :07:12.# It's a sign you make it 'cause you want to be seen
:07:13. > :07:15.# The road to fame, sit back in your chair
:07:16. > :07:21.# You're such a freak, really don't care
:07:22. > :07:25.# Whip out our knives, broken out here
:07:26. > :07:36.# You're such a freak, really don't care
:07:37. > :07:40.# Whip out our knives, broken out here
:07:41. > :09:08.You will see more of the talented ensemble later on.
:09:09. > :09:11.Now we move to this corner and welcome back to the show Alt-J.
:09:12. > :11:41.# Blue neon lamp in a midnight country field
:11:42. > :11:46.# Cows surround so you lean on, lean on
:11:47. > :11:54.# So much your heart's become fond of this
:11:55. > :12:04.# Oh, let me whisper like the rubbing hands
:12:05. > :12:27.# I just want to love you in my own language
:12:28. > :13:00.# The road erodes at five feet per year
:13:01. > :13:25.# Oh, let me whisper like the rubbing hands
:13:26. > :14:10.# I just want to love you in my own language. #
:14:11. > :14:22.Alt J with Ellie Rowsell of Wolf Alice.
:14:23. > :14:28.What a lovely name for an album, Relaxer.
:14:29. > :14:31.So now our next artist is all over the radio at the moment.
:14:32. > :14:35.It's her first time on the show, so I want you to give it up
:14:36. > :14:37.for her in the biggest possible way as we welcome, from
:14:38. > :15:02.# Moving slowly through westward water
:15:03. > :15:23.# Oh me, oh my, I thought it was a dream
:15:24. > :16:09.# Cut my hair so I could rock back and forth
:16:10. > :16:39.# Oh me, oh my, I thought it was a dream
:16:40. > :17:43.# You and I, there's air in between #.
:17:44. > :18:55.# What can I play that you ain't heard before?
:18:56. > :19:09.# If you don't like what you see on the menu
:19:10. > :19:13.# Then tell me, tell me what you want
:19:14. > :19:16.# If you don't like what you see, let's change the venue
:19:17. > :19:25.# I can give you what you're wishing for
:19:26. > :19:32.# And I'll give you more and more and more
:19:33. > :20:06.# You're dying from suspense but this won't kill ya
:20:07. > :20:09.# What can I do to get a second glance?
:20:10. > :20:25.# Do you like what you see on the menu
:20:26. > :20:32.# If you don't like what you see, let's change the menu
:20:33. > :20:40.# I'll jump in the kitchen, I know what you're thinking
:20:41. > :20:47.# I can give you what you're wishing for
:20:48. > :20:50.# Tell me that you're sure and I can give you
:20:51. > :21:48.# Customer satisfied, customer satisfied
:21:49. > :22:16.Dazzling, brilliant and unique is the only way
:22:17. > :22:24.Completely unaccompanied, brilliant drums, all with human voice -
:22:25. > :22:25.Naturally 7, Keep The Customer Satisfied.
:22:26. > :22:30.Before that we enjoyed Maggie Rogers.
:22:31. > :22:38.A beautifully inspired Matisse dress as well.
:22:39. > :22:50.But now, thank goodness, I'm so pleased this book has now
:22:51. > :22:53.been written because it fills a gap in history that was completely
:22:54. > :22:56.being ignored and now a man has made a great study of it.
:22:57. > :22:58.I'm very pleased he's here to tell us about it,
:22:59. > :23:07.So you've written this book - Roots, Radicals and Rockers -
:23:08. > :23:12.It's really the history of how British pop music went from being,
:23:13. > :23:14.sort of, a jazz based confection for grown-ups to becoming
:23:15. > :23:18.a guitar-led music for teenagers and Loni Donegan and skiffle
:23:19. > :23:24.First of all, why did you want to write this book?
:23:25. > :23:29.I think the story of how skiffle emerged has really been obscured
:23:30. > :23:31.over time because it comes out of trad jazz and trad jazz
:23:32. > :23:33.is incredibly unfashionable, no-one wants to talk about that.
:23:34. > :23:37.No-one wants to talk about the fact that The Who - I love it!
:23:38. > :23:39.The Who were originally a trad jazz band, you know.
:23:40. > :23:43.So it's kind of almost a sort of unwritten
:23:44. > :23:46.Yes, and played in the trad jazz way, played in
:23:47. > :23:49.Not an overly trained or schooled way?
:23:50. > :23:53.Rod Stewart was in a skiffle band where there were 12 guitar players
:23:54. > :23:56.and he never knew that they had to tune the guitars together,
:23:57. > :24:08.And the bass with the stretch - Yeah, yeah.
:24:09. > :24:11.The tea chess base, with a piece of string on a broom handle
:24:12. > :24:13.because they couldn't really afford to buy the instruments.
:24:14. > :24:15.There were very few - it was all acoustic
:24:16. > :24:19.There weren't any electric guitars around for people to buy.
:24:20. > :24:21.A lot of great stars which you're talking about have been
:24:22. > :24:26.We're coming up to the 60th an anniversary, 6th July 1957,
:24:27. > :24:28.when Paul McCartney meets John Lennon.
:24:29. > :24:29.Lennon's band, a skiffle band, The Quarrymen,
:24:30. > :24:32.are playing at a school, a church fete in Liverpool, and it
:24:33. > :24:36.Almost all those bands from the 1960s were all
:24:37. > :24:40.Now, a lot of the skiffle artists are male, aren't they?
:24:41. > :24:43.Predominantly it was a male - There are some female ones?
:24:44. > :24:46.Well, Nancy Whiskey, who sang with Chas McDevitt,
:24:47. > :24:49.Peggy Seeger sang a little bit as well.
:24:50. > :24:51.There was Hylda Sims in The City Ramblers,
:24:52. > :24:54.but I'd say Nancy was the prime female involved in it.
:24:55. > :24:56.Well, we've got a little bit of this here.
:24:57. > :25:23.# Freight train, freight train, going so fast.
:25:24. > :25:39.# Would you tell me where he's gone #.
:25:40. > :25:40.Fantastic whistling there by Chas McDevitt there.
:25:41. > :25:46.Lovely rhythm, it's like real dance stuff.
:25:47. > :25:49.I mean the young people wanted to jive and skiffle
:25:50. > :25:52.It kind of like comes just before rock-and-roll.
:25:53. > :25:55.Donegan has a hit, six months before Presley has a hit and that's
:25:56. > :25:58.what kind of kicks off the whole connection with rock-and-roll.
:25:59. > :26:03.No, there was no skiffle in the United States of America.
:26:04. > :26:05.Loni Donegan, had a hit with Rock Island Line, but it's
:26:06. > :26:09.What happens is, they're so young when they're playing.
:26:10. > :26:11.I mean, George Harrison, Paul McCartney and John Lennon
:26:12. > :26:14.were 13, 14 and 15 respectively when they saw Donegan in '56.
:26:15. > :26:15.It's what they're doing five years later.
:26:16. > :26:19.Our young men are already in Hamburg when the American young men are just
:26:20. > :26:22.That's what leads to the British invasion
:26:23. > :26:24.of the American charts in '64, '65.
:26:25. > :26:28.Also, because I'm going to be speaking to Giles Martin
:26:29. > :26:31.So it's a whole circular thing that goes on.
:26:32. > :26:33.His dad produced The Vipers, the skiffle Clash,
:26:34. > :26:46.Thank you very much for joining us, Billy Bragg.
:26:47. > :26:50.This is a great book and it's also the first, it fills that gap.
:26:51. > :26:53.So now a very talented - now we fly forward into 2017.
:26:54. > :26:56.Here we are now and we welcome, from Streatham, a brilliant
:26:57. > :26:58.new artist who's very highly thought of - Dave.
:26:59. > :27:31.# Picture me, 23, a bag of sold out shows
:27:32. > :27:34.# I made it out of music, I took all my bros
:27:35. > :27:36.# And this merchandise is poppin, I sell all my clothes
:27:37. > :27:39.# And all these hoes are ghost, I got one real girl
:27:40. > :27:41.# Picture me, 23, I didn't chase my dreams
:27:42. > :27:44.# My mum wanted me to do finance, so I came off beats
:27:45. > :27:47.# And now I'm sitting at a desk, with a 2:2 in finance
:27:48. > :27:50.# Eating pasta on my lunch break while I'm scribbling my rhymes
:27:51. > :27:53.# And picture me, 17, in an all black suit
:27:54. > :27:55.# Laying still in a coffin, surrounded by my crew
:27:56. > :27:58.# Giving half-heart apologies for watching while they bottled me
:27:59. > :28:01.# Or running when they shot at me you're next up if you prodigy, wait
:28:02. > :28:06.# A road banger, I hope that you don't notice me
:28:07. > :28:11.# Kill him in seven ways, lemon haze how I smoke a G
:28:12. > :28:14.# Name can get you out the beef, pissed if you owe me Ps
:28:15. > :28:17.# Them boys try and piss take, boy, what a mistake
:28:18. > :28:20.# I'll come back with a shotty and blow your lungs out your ribcage
:28:21. > :28:22.# Picture me a snitch, nah I couldn't picture that
:28:23. > :28:25.# Picture me a snitch, nah I couldn't ever think of that
:28:26. > :28:31.# So she let my talent go to waste like Robinho
:28:32. > :28:33.# I've been involved, I've seen the roads
:28:34. > :28:36.# Where the good die young, and the bad get life
:28:37. > :28:40.# But Picture me, a legend, worldwide or in Streatham
:28:41. > :28:43.# Known for words in a sentence I put verbs in a sentence
:28:44. > :28:55.# But what about the kids that ain't athletes or rappers?
:28:56. > :28:57.# What about the kids that ain't athletes or rappers
:28:58. > :28:59.# Picture you, I don't know your picture
:29:00. > :29:04.# And can you take out all the man thats gonna taint it for me?
:29:05. > :29:08.# And can you take out all the girls that's gonna waste it for me?
:29:09. > :29:11.# Or illustrate how you're gonna get to all these places for me?
:29:12. > :29:14.# And if you can't, then don't worry g you got time
:29:15. > :29:17.# But you just need to paint a picture, or just sketch a draft
:29:18. > :29:20.# Cos, how you know you're going down the wrong road
:29:21. > :29:23.# If you're in a dark place, and you don't select a path
:29:24. > :29:26.# But picture you talking loads about goals and riches
:29:27. > :29:28.# With a phone, full of cro shots, hoes and bitches
:29:29. > :29:32.# And a head filled with fast dreams I talk to God like it's RE
:29:33. > :29:35.# About my picture cause I can't see I'm at war with my mind
:29:36. > :29:38.# So I'm still with a sket getting Ed like Hardy
:29:39. > :29:41.# And I don't mind cause them man there all speakers like parties
:29:42. > :29:46.with a black star on my waist like Kwame
:29:47. > :29:50.# It's like I wasn't dialling banks for some pay
:29:51. > :29:53.# While you was busy flicking shanks for a name
:29:54. > :29:55.# It's like I wasn't dialling banks for some pay
:29:56. > :29:57.# Or busy robbin' drugs, with a dipper
:29:58. > :30:01.# Cause I got prison in my skin
:30:02. > :30:04.# But I won't ever have a prison in my picture
:30:05. > :30:08.# Principles a killer, all for the skrilla
:30:09. > :30:14.# So don't let anybody tell you to put drugs in the cling
:30:15. > :30:16.# And don't let anybody tell you you can't run,
:30:17. > :30:23.# Now you can work a 9 to 5 if it makes you smile at night
:30:24. > :30:27.# Cause you can have a billion and dead
:30:28. > :30:30.# You can have 20 grand flat and live a long,
:30:31. > :30:35.# I don't know your picture, can you paint it for me?
:30:36. > :30:38.# And can you tell me where you batch of friends is taking you
:30:39. > :30:41.# And can you tell me what your aspirations are, your dreams
:30:42. > :30:43.# Forget the money brother, tell me what makes you you
:30:44. > :30:47.# Can you tell me why you wake up, what makes you tick
:30:48. > :30:49.# What makes you smile, what makes you laugh
:30:50. > :30:52.# Can you tell me why you're on this earth
:30:53. > :31:02.# You get your picture, get to painting
:31:03. > :31:07.# You get your picture, get to painting
:31:08. > :31:09.# Are you the guy inside the hospital
:31:10. > :31:14.# Or working with the surgeons and the nurses tryna save him
:31:15. > :31:21.# A picture you didn't paint I bet them boys think I'm panicking
:31:22. > :31:25.# Stop saying that you beef me, it's embarrassing
:31:26. > :31:31.# Now every other yute is on chatty ting
:31:32. > :31:34.# See me in a rave, it's black blades, lightsabers call me Anakin
:31:35. > :31:36.# Music, money, paigons, education, fam I handle it
:31:37. > :31:39.# I try so hard in my tracks to give a message
:31:40. > :31:42.# But it's messed cah I'll still get you shredded by some savages
:31:43. > :31:47.# I had labels playing deal or no deal
:31:48. > :31:52.# My whole team Nike'd out to the socks you should know better
:31:53. > :32:02.# It's time to paint your picture, my brother
:32:03. > :32:10.He has an album coming out this year which we
:32:11. > :32:13.Now we've come to this corner and we welcome
:32:14. > :32:15.with a wonderful new album, Paul Weller.
:32:16. > :32:17.# In late night bars the ghost of Hopper
:32:18. > :32:29.# In late-night bars the ghost of Hopper
:32:30. > :32:34.# Speaks in whispers only he can here
:32:35. > :32:39.# Smiles like a lion, sighs like a lamb
:32:40. > :32:55.# While you are waiting for the change
:32:56. > :33:07.# In late-night bars the whims of Hopper
:33:08. > :33:11.# Wonders where all the people go when the lights go down
:33:12. > :33:16.# Answers all your questions with a gesture
:33:17. > :33:58.# I'm sat in the corner, by the wall
:33:59. > :34:02.# Become part of the painting, there's no point fighting at all
:34:03. > :34:30.# I'm quite relaxed, it's fine with me
:34:31. > :35:38.# All you ever dream of is right here, baby
:35:39. > :35:47.# Racing endlessly, well, we're not scared
:35:48. > :35:55.# All you truly want, hey, has come true, baby
:35:56. > :36:02.# Don't let little worries make you blue
:36:03. > :37:06.# Riding through the storm. # You truly want, girl.
:37:07. > :37:39.# It's come true, baby. # In your blood now.
:37:40. > :37:42.# It's your time. # I, I, I.
:37:43. > :38:47.# I, I, I. Wonderful Little Dragon
:38:48. > :39:00.with Celebrate. Before that, the
:39:01. > :39:05.sensational Paul Weller. I seem to be carrying
:39:06. > :39:09.a lot of things. I've got this, look,
:39:10. > :39:11.it's for Jools Holland. Well, I happen to know
:39:12. > :39:16.that it is to celebrate 50 years since the release of Sergeant Pepper
:39:17. > :39:18.will stop it has just been remixed by Giles Martin,
:39:19. > :39:21.who is our guest now. A helpful bloke,
:39:22. > :39:39.Billy Bragg, marvellous. Just getting it out
:39:40. > :39:43.of the box, it's like, there it is, is this the copy of the box
:39:44. > :39:46.that the original Sergeant Pepper? This is the copy of the original
:39:47. > :39:50.box, the tape box, original mix, Your father of course
:39:51. > :39:55.was Sir George Martin, the producer of this
:39:56. > :39:57.record in the first place. When did you first see
:39:58. > :40:00.the original record? I guess probably
:40:01. > :40:03.when I was about 14 I heard it and probably thought,
:40:04. > :40:08.as a 14-year-old, probably thought, you know, this is a kind
:40:09. > :40:10.of strange sounding record. And as you get older you realise it
:40:11. > :40:15.means so much, you know. You've done some marvellous mixes
:40:16. > :40:18.before, I should say, of the Beatles But when you started to study
:40:19. > :40:23.this record, was it the So what they did
:40:24. > :40:29.is that because they could only record four things
:40:30. > :40:31.at a time, what they did is they recorded mostly live
:40:32. > :40:34.and then bounced that So we'd actually synch
:40:35. > :40:38.the tapes together So the quality is much
:40:39. > :40:45.better, but also did I tell you what the thing
:40:46. > :40:49.is, nowadays you think about Sergeant Pepper is this album
:40:50. > :40:51.that was the ultimate studio record of
:40:52. > :40:54.the time and they are playing live. It's the band performing
:40:55. > :40:56.in the studio and hole for instance, they went down
:40:57. > :41:07.to the studios in Soho and they took three takes, but they used take one
:41:08. > :41:10.and Paul is playing harpsichord and You forget nowadays that
:41:11. > :41:15.records were so simple, but Sergeant Pepper was the beginning
:41:16. > :41:18.of this painting sound with colours. Now, we've got a little clip,
:41:19. > :41:21.I think, of A Day In The Life. You can see, you can see how
:41:22. > :41:27.the time is a different time. # About a lucky man
:41:28. > :41:38.who made the grade. # And though the news
:41:39. > :41:47.was rather sad. # He didn't notice that
:41:48. > :42:09.the lights had changed. Also, there's so much
:42:10. > :42:18.more on this record. Employs so many different
:42:19. > :42:20.things to get in. What do you think it is that is
:42:21. > :42:24.so enduring about the Beatles' music Well, I think the fact
:42:25. > :42:29.it was them, they were just four normal
:42:30. > :42:31.guys from Liverpool and they were in control
:42:32. > :42:34.of their own destiny, which is I was going through the tapes
:42:35. > :42:37.on Sergeant Pepper and they'd already recorded the song
:42:38. > :42:39.Magical Mystery Tour the mix and then that
:42:40. > :42:42.came out and they went Need Is Love broadcast two weeks
:42:43. > :42:46.later, just constantly went on. And being as funny as the Marx
:42:47. > :42:50.Brothers in between all And as funny as the
:42:51. > :42:53.Marx Brothers, yes. I'm going to go home
:42:54. > :42:57.and listen to it I can't, I've got
:42:58. > :43:00.to finish the show. Brilliant mixes,
:43:01. > :43:03.enhanced and improved. So that celebrates,
:43:04. > :43:05.and by the way, to celebrate 50 years since the release
:43:06. > :43:08.of Sergeant Pepper, we can also, you can hear there's various
:43:09. > :43:11.documentaries and something on the But now we welcome back
:43:12. > :43:16.the extraordinary and magnificent sound of the human
:43:17. > :43:21.voice, times seven, in the form of # I'm so sorry, shouldn't
:43:22. > :43:54.stare but I'm caught up. # Time flies so fast
:43:55. > :43:57.when you're not watching it. # And if this should be
:43:58. > :44:06.the last time we meet, # I'm letting you know I've
:44:07. > :44:10.enjoyed every bit. # Time is chance,
:44:11. > :44:39.this moment to dance. # I wish I could pose
:44:40. > :44:55.like a photograph. # Who knows, God knows,
:44:56. > :45:07.we'll talk and laugh. # And if this should be
:45:08. > :45:13.the last time we made. # I'm letting you know
:45:14. > :45:18.I've enjoyed every bit. # I'm so glad I noticed,
:45:19. > :45:26.I think that you noticed it too. # It's it weren't for this time,
:45:27. > :45:40.this chance, this moment to dance. # If it weren't for
:45:41. > :46:30.this time is chance. # This moment to dance, with
:46:31. > :47:01.# I shouldn't stare, but caught up #.
:47:02. > :47:17.Naturally 7 from their album, Both Sides Now,
:47:18. > :47:19.CHEERING AND APPLAUSE What an extraordinary and most
:47:20. > :47:23.Actually, while you're there, shall we just have one,
:47:24. > :47:25.is it good to give me one little burst of something now?
:47:26. > :47:51.The great thing, wherever you went with them, they could just make that
:47:52. > :47:54.They take their musical instruments with them -
:47:55. > :47:57.I've got a grand piano, it's much harder, but there we are!
:47:58. > :47:59.We now welcome back in this corner, alt-J.
:48:00. > :48:06.# Pool, summer, summer, pool, pool summer
:48:07. > :48:23.# Hair the way the sun really wants it to be
:48:24. > :48:26.# Whiskey soda, please, your G is empty
:48:27. > :48:28.# Chairs, inflatables have sunk to the bottom
:48:29. > :48:30.# Pool, summer, summer, pool, pool summer
:48:31. > :48:59.# To the pool's bottom where we belong
:49:00. > :49:15.# Callie, we're sinking like a bleeding stone
:49:16. > :49:17.# All above crowd around so very loud
:49:18. > :49:30.# My pool summer, summer, pool, summer vibes killed
:49:31. > :49:44.# Lifeless back slaps the surface of the pool
:49:45. > :49:46.# Pool killer, killer, pool, pool killer
:49:47. > :50:12.# My pool summer, summer, pool, summer vibes killed
:50:13. > :51:38.# Envy and jealousy, it's everything I wished upon my enemies.
:51:39. > :51:41.# See me doing well and now they're telling me they're getting me.
:51:42. > :51:48.# Now I've got more stones on my watch than a cemetery.
:51:49. > :51:50.# Girls can remember me, F U and your memory.
:51:51. > :51:55.# Come we fly to Nike, and trust me everything we're getting free.
:51:56. > :52:00.# To rap beats and melodies, athletes will never see.
:52:01. > :52:02.# Chat chatting 'bout us man, they'll never be us man.
:52:03. > :52:06.# 'Cause all my man are running to the money.
:52:07. > :52:12.# And all my man are running from them hoes on the roads like.
:52:13. > :52:16.# Like whoa, a month ago you didn't wanna know.
:52:17. > :52:19.# But now I'm seeing dough, these catties they be
:52:20. > :52:23.# All these mandem, they applaud me on the road.
:52:24. > :52:41.# And all my man, and all my man are bros.
:52:42. > :52:44.# My mandem have your mandem on the ropes.
:52:45. > :52:52.# I've got mandem that will slap a man with both.
:52:53. > :52:54.# Nike jacket on my back, I'm looking cold.
:52:55. > :52:56.# It's funny how these catties wanna know.
:52:57. > :52:59.# 'Cause all my man are running to the money.
:53:00. > :53:04.# And all my man are running from them hoes on the roads like.
:53:05. > :53:08.# Like whoa, a month ago you didn't wanna know.
:53:09. > :53:10.# But now I'm seeing dough, these catties they be
:53:11. > :53:13.# All these mandem, they applaud me on the road.
:53:14. > :53:18.# Two bottles in my hand, I think it's looking like I'm waved.
:53:19. > :53:21.# I'm searching for a brown skin girl with a body.
:53:22. > :53:24.# Or a lightskin chick with a smile, good style and a pretty little face.
:53:25. > :53:27.# I used to spend a grand a week, stuntin' on some hoes.
:53:28. > :53:30.# But Prada boy retired, I don't rock designer clothes.
:53:31. > :53:33.# I put ?40 on my H jeans, and the rest came free.
:53:34. > :53:36.# I told my mom I'll give her everything I own.
:53:37. > :53:38.# The hell you mean you haven't heard of us?
:53:39. > :53:41.# F a guest list, 20 man is how I'm turning up.
:53:42. > :53:44.# Swear I saw that girl last year, she tried to curve me.
:53:45. > :53:46.# Her boyfriend's in cunch cause he's broke.
:53:47. > :53:49.# That's a joke, tell your man to come and work for us.
:53:50. > :53:52.# Trapping's still alive, my brother I know you've heard of us.
:53:53. > :53:55.# Said you gonna ride my brother but you ain't burst at us.
:53:56. > :53:59.# Guys have got 5 times 5 times 5, that will send you to the sky.
:54:00. > :54:01.# My brother, no you ain't hurting us.
:54:02. > :54:03.# My lifestyle's exciting, imagine being the reason that
:54:04. > :54:06.# Both hands swinging nonstop like a Breitling.
:54:07. > :54:08.# So sorry to my brown ting from Loughton.
:54:09. > :54:10.# And sorry to my white ting from Brighton.
:54:11. > :54:14.# 'Cause all my man are running to the money.
:54:15. > :54:20.# And all my man are running from them hoes on the roads like.
:54:21. > :54:24.# Like whoa, a month ago you didn't wanna know.
:54:25. > :54:26.# But now I'm seeing dough, these catties they be
:54:27. > :54:29.# All these mandem, they applaud me on the road.
:54:30. > :54:37.# But, all my man are bros. on talking on the low.
:54:38. > :54:40.# And all my man, and all my man are bros.
:54:41. > :54:42.# My mandem have your mandem on the ropes.
:54:43. > :54:51.# I've got mandem that will slap a man with both.
:54:52. > :54:53.# Nike Jacket on my back, I'm looking cold.
:54:54. > :54:55.# It's funny how these catties wanna know.
:54:56. > :54:57.# 'Cause all my man are running to the money.
:54:58. > :55:02.# And all my man are running from them hoes on the roads like.
:55:03. > :55:06.# Like whoa, a month ago you didn't wanna know.
:55:07. > :55:09.# But now I'm seeing dough, these catties they be
:55:10. > :55:41.# All these mandem, they applaud me on the road #.
:55:42. > :55:51.CHEERING AND APPLAUSE Thank you Dave what a talented fell lachlt we are
:55:52. > :55:58.looking forward to his record coming out. We come back into this corner
:55:59. > :56:13.and welcome Maggie Rogers. CHEERING AND APPLAUSE
:56:14. > :56:46.# It's okay, it's okay, I'm okay, I'm alright again
:56:47. > :56:58.# Take me to that place where you always go
:56:59. > :57:01.# When you're sleeping or your day takes you low so low
:57:02. > :57:11.# On and off again on and off again, oh
:57:12. > :57:14.# Take me to that space where I need someone
:57:15. > :57:16.# When I'm shaking or my mind starts coming undone
:57:17. > :57:53.# If I'm drenched in madness, tangled blues
:57:54. > :58:14.# On and off again on and off again, oh
:58:15. > :58:17.# Take me to that space where I need someone
:58:18. > :58:20.# When I'm shaking or my mind starts coming undone
:58:21. > :59:46.# Take me to that place where you always go
:59:47. > :59:50.# You always #.
:59:51. > :59:59.Maggie Rogers, wonderful sound of On + Off.
:00:00. > :00:03.So now we finish where we started, and I'm so pleased because this
:00:04. > :00:06.new record, A Kind Revolution, we've been enjoying it so much, we're
:00:07. > :03:36.# There will be some hope in the world
:03:37. > :04:19.Brilliant, Paul Weller, with The Cranes Are Back.
:04:20. > :04:22.You can go to our website and see more about the artists
:04:23. > :04:27.We will be back on Tuesday at 10pm with Sheryl Crow.
:04:28. > :04:30.Lots lots more, but we now finish with a little bit
:04:31. > :04:34.Have you got something about your person, sir?
:04:35. > :04:40.So much easier with two drummers than one.
:04:41. > :04:43.So we thank all the people that have joined us this evening.