1 00:00:02,000 --> 00:00:06,360 BOOGIE-WOOGIE INTRO 2 00:00:16,160 --> 00:00:17,800 CHEERING AND APPLAUSE 3 00:00:17,800 --> 00:00:19,840 Thank you for joining us. Welcome to the show. 4 00:00:19,840 --> 00:00:21,640 A marvellous myriad of music, 5 00:00:21,640 --> 00:00:25,200 and we begin with the wonderful Joe Bonamassa. 6 00:00:25,200 --> 00:00:27,400 CHEERING AND APPLAUSE 7 00:00:50,000 --> 00:00:52,560 # Oh, come and get here, woman 8 00:00:53,960 --> 00:00:57,760 # I don't know where you've been the last few days 9 00:01:00,000 --> 00:01:03,920 # My mindful eyes may be weak and weary 10 00:01:06,080 --> 00:01:09,320 # I shed no tears till I see things clearly 11 00:01:13,040 --> 00:01:15,960 # Oh, what good is it anyway? 12 00:01:17,800 --> 00:01:21,800 # It's after dark There's steam from the drains 13 00:01:24,040 --> 00:01:27,560 # Solitude is a lonely journey 14 00:01:29,560 --> 00:01:33,440 # I got work to do but I ain't worried 15 00:01:36,760 --> 00:01:41,000 # Oh, I'm headed for a breakthrough I see it all 16 00:01:41,000 --> 00:01:43,760 # Gonna take me a hammer Knock down the walls 17 00:01:43,760 --> 00:01:47,040 # Every stone I chip away I think of you 18 00:01:47,040 --> 00:01:49,560 # I'm headed for a breakthrough 19 00:01:50,600 --> 00:01:52,800 # Headed for a breakthrough 20 00:01:52,800 --> 00:01:57,400 # Headed for a breakthrough 21 00:01:57,400 --> 00:01:59,320 # Gonna get me over you 22 00:02:11,080 --> 00:02:15,240 # You hurt me so bad, it's criminal 23 00:02:17,720 --> 00:02:21,120 # Left me on the streets to die 24 00:02:23,200 --> 00:02:26,400 # Your version of love is so wonderful 25 00:02:29,760 --> 00:02:32,640 # You didn't have to say goodbye 26 00:02:32,640 --> 00:02:37,000 # Oh, I'm headed for a breakthrough I see it all 27 00:02:37,000 --> 00:02:39,760 # I'm gonna take me a hammer Knock down the walls 28 00:02:39,760 --> 00:02:42,960 # Every stone I chip away I think of you 29 00:02:42,960 --> 00:02:44,920 # I'm headed for a breakthrough 30 00:03:31,880 --> 00:03:34,440 # Headed for a breakthrough See it all 31 00:03:34,440 --> 00:03:37,760 # I'm gonna take me a hammer Knock down the walls 32 00:03:37,760 --> 00:03:40,680 # Every stone I chip away I think of you 33 00:03:40,680 --> 00:03:42,640 # I'm headed for a breakthrough 34 00:03:43,920 --> 00:03:46,680 # Headed for a breakthrough Seen it all 35 00:03:46,680 --> 00:03:49,480 # Gonna take me a hammer Knock down the walls 36 00:03:49,480 --> 00:03:52,280 # Every stone I chip away I think of you 37 00:03:52,280 --> 00:03:54,120 # Headed for a breakthrough 38 00:03:55,680 --> 00:03:57,040 # Headed for a breakthrough 39 00:03:58,280 --> 00:04:02,440 # Headed for a breakthrough 40 00:04:02,440 --> 00:04:04,400 # Gonna get me over you. # 41 00:04:05,640 --> 00:04:08,440 CHEERING AND APPLAUSE 42 00:04:09,760 --> 00:04:13,720 The fantastic voice and guitar of Joe Bonamassa, with Breakthrough, 43 00:04:13,720 --> 00:04:16,840 the title track of his album. Joe Bonamassa! 44 00:04:16,840 --> 00:04:19,400 Let's meet our marvellous guests this evening. 45 00:04:19,400 --> 00:04:21,920 From Ashby, Leicester, we welcome Sekou! 46 00:04:21,920 --> 00:04:23,440 CHEERING AND APPLAUSE 47 00:04:23,440 --> 00:04:26,000 From Arkansas, it's Ashley McBryde! 48 00:04:26,000 --> 00:04:27,600 CHEERING AND APPLAUSE 49 00:04:27,600 --> 00:04:30,760 From North Carolina, the wonderful Jocelyn Brown! 50 00:04:30,760 --> 00:04:33,520 CHEERING AND APPLAUSE 51 00:04:33,520 --> 00:04:36,960 From Manchester and Paris, Mandy, Indiana. 52 00:04:36,960 --> 00:04:38,960 CHEERING AND APPLAUSE 53 00:04:38,960 --> 00:04:41,000 But now, from London, 54 00:04:41,000 --> 00:04:44,560 I'm delighted to welcome the delicious voice of James Blake. 55 00:04:44,560 --> 00:04:46,560 CHEERING AND APPLAUSE 56 00:04:50,880 --> 00:04:52,880 # I had a dream 57 00:04:54,640 --> 00:04:57,480 # She took my hand 58 00:05:02,920 --> 00:05:06,760 # It was only a dream 59 00:05:06,760 --> 00:05:09,600 # I had a dream 60 00:05:11,160 --> 00:05:14,360 # She took my hand 61 00:05:14,360 --> 00:05:18,560 # I felt higher than storms 62 00:05:18,560 --> 00:05:23,000 # But lighter than sand 63 00:05:23,000 --> 00:05:26,240 # I had a dream 64 00:05:26,240 --> 00:05:29,760 # She took my hand 65 00:05:29,760 --> 00:05:34,560 # Deeper than whirlpools 66 00:05:34,560 --> 00:05:37,200 # Safer than land 67 00:05:37,200 --> 00:05:40,760 # Oh, this is love 68 00:05:42,120 --> 00:05:45,560 # Let's stay up 69 00:05:45,560 --> 00:05:48,360 # Can we stay here? 70 00:05:48,360 --> 00:05:50,320 # She didn't know 71 00:05:54,000 --> 00:05:56,760 # I had a dream 72 00:05:58,800 --> 00:06:01,600 # She took my hand 73 00:06:02,960 --> 00:06:10,280 # I felt my call to the Titanic band 74 00:06:10,280 --> 00:06:14,640 # Playing them out 75 00:06:14,640 --> 00:06:18,520 # Miles from land 76 00:06:18,520 --> 00:06:22,440 # Nothing left to do 77 00:06:22,440 --> 00:06:25,320 # But grip on that hand 78 00:06:25,320 --> 00:06:29,960 # Oh, this is love This is love 79 00:06:29,960 --> 00:06:33,280 # Let's stay up 80 00:06:33,280 --> 00:06:36,880 # Can we stay here? 81 00:06:36,880 --> 00:06:38,640 # She didn't know 82 00:06:42,960 --> 00:06:46,440 # I had a dream Ah-ah 83 00:06:46,440 --> 00:06:50,640 # She took my hand Ah-ah 84 00:06:50,640 --> 00:06:54,720 # She began to dissolve Aah-aah 85 00:06:54,720 --> 00:06:57,880 # Along with her soul Aah 86 00:06:57,880 --> 00:07:02,480 # I couldn't remember her face Ah-ah-ah-ah 87 00:07:02,480 --> 00:07:05,960 # Remember her name Ah-ah 88 00:07:05,960 --> 00:07:08,640 # As I was losing control Ah-ah 89 00:07:08,640 --> 00:07:14,360 # She motioned to say, oh 90 00:07:14,360 --> 00:07:22,120 # Let's go, let's go, let's go, le... 91 00:07:22,120 --> 00:07:30,320 # Let's go, let's go, last call, le... 92 00:07:30,320 --> 00:07:38,120 # Let's go, let's go, let's go, le... 93 00:07:38,120 --> 00:07:46,920 # Let's go, last call, let's go, let's go 94 00:07:46,920 --> 00:07:50,480 # I had a dream Come back 95 00:07:50,480 --> 00:07:54,320 # She took my hand Come back 96 00:07:54,320 --> 00:07:59,280 # Mm-mm-mm, come back 97 00:07:59,280 --> 00:08:01,840 # It was only a dream 98 00:08:01,840 --> 00:08:04,920 # Ah-ah-ah-ah 99 00:08:04,920 --> 00:08:09,280 # I just wanna know 100 00:08:09,280 --> 00:08:11,560 # What it means 101 00:08:13,200 --> 00:08:14,960 # I just wanna know 102 00:08:14,960 --> 00:08:19,800 # It was only a dream. # 103 00:08:23,760 --> 00:08:25,880 CHEERING AND APPLAUSE 104 00:08:31,040 --> 00:08:32,800 Beautiful choir, beautiful band, 105 00:08:32,800 --> 00:08:36,240 and a beautiful man singing that song. James Blake! 106 00:08:36,240 --> 00:08:38,800 CHEERING AND APPLAUSE 107 00:08:36,240 --> 00:08:38,800 More from him later. 108 00:08:39,920 --> 00:08:43,760 Now, our next guest is one of the great icons of dance music. 109 00:08:43,760 --> 00:08:48,600 Before we meet her, let's remind ourselves of her magnificence. 110 00:08:48,600 --> 00:08:52,720 # You told me a lie and you didn't have an alibi 111 00:08:52,720 --> 00:08:56,680 # But, baby, yet I still cared 112 00:08:56,680 --> 00:08:59,240 # You know I loved you so, baby 113 00:08:59,240 --> 00:09:02,680 # That I can't let you go, no, no 114 00:09:02,680 --> 00:09:06,240 # You are the one who makes me feel so real 115 00:09:06,240 --> 00:09:08,960 # Ooh, what am I supposed to do 116 00:09:08,960 --> 00:09:11,560 # When I'm hooked so on you 117 00:09:11,560 --> 00:09:15,800 # And realise that you're somebody else's guy... # 118 00:09:15,800 --> 00:09:19,320 It's wonderful now to be here with Jocelyn Brown! 119 00:09:19,320 --> 00:09:21,200 CHEERING AND APPLAUSE 120 00:09:21,200 --> 00:09:22,840 So nice to see you again. 121 00:09:22,840 --> 00:09:24,920 We worked together a long time ago, 122 00:09:24,920 --> 00:09:26,800 and it's great to have you back in the room now. 123 00:09:26,800 --> 00:09:29,400 I'm glad to be here, yes. Looking great. Really good to be here. 124 00:09:29,400 --> 00:09:31,880 Now, Somebody Else's Guy, which we saw a little clip of there from 125 00:09:31,880 --> 00:09:33,280 Top Of The Pops... Yes. 126 00:09:33,280 --> 00:09:36,360 ..huge, one of the biggest dance songs of all time. 127 00:09:36,360 --> 00:09:40,400 Now, who wrote that song? Myself and my sister. And what inspired it? 128 00:09:40,400 --> 00:09:44,520 We got involved in a situation that both of us 129 00:09:44,520 --> 00:09:48,240 were individually in with other people... 130 00:09:48,240 --> 00:09:51,680 Oh. And... Not as somebody's else's...? Uh-huh. Oh, dear. 131 00:09:51,680 --> 00:09:54,000 Yeah, one of them. You got caught? 132 00:09:54,000 --> 00:09:55,320 Mm-hm. 133 00:09:55,320 --> 00:09:57,680 But my sister fell in my arms, 134 00:09:57,680 --> 00:10:00,200 and we tried to figure out a way to deal with this. 135 00:10:00,200 --> 00:10:01,720 I said, "I got a melody," 136 00:10:01,720 --> 00:10:05,080 and so we played it on the piano and my sister said, 137 00:10:05,080 --> 00:10:06,560 "Well, what are we going to call it?" 138 00:10:06,560 --> 00:10:08,160 And I said, "What do you think?" 139 00:10:08,160 --> 00:10:11,200 She said, "How about Somebody Else's Guy?" 140 00:10:11,200 --> 00:10:13,400 JOOLS LAUGHS 141 00:10:11,200 --> 00:10:13,400 And I said OK. 142 00:10:13,400 --> 00:10:14,760 I love that being your response. 143 00:10:14,760 --> 00:10:17,080 "Look, we've been caught out in a very awkward situation here. 144 00:10:17,080 --> 00:10:19,040 "What do we do? Go to the piano." Yes. 145 00:10:19,040 --> 00:10:21,560 Yes. That's the great thing about music, isn't it? Isn't it? 146 00:10:21,560 --> 00:10:24,320 You can retreat into it. A healer, for sure. 147 00:10:24,320 --> 00:10:27,360 Now, congratulations, because you've recently had a huge special show 148 00:10:27,360 --> 00:10:31,120 at the Hackney Empire celebrating your work over the decades. 149 00:10:31,120 --> 00:10:34,200 For those of us that weren't there, what would we have seen? 150 00:10:34,200 --> 00:10:37,080 Oh, you'd have seen a little bit of gospel, you know, 151 00:10:37,080 --> 00:10:39,240 a little bit of soul, 152 00:10:39,240 --> 00:10:41,880 and you'll have seen folks acting up and having a good time 153 00:10:41,880 --> 00:10:45,920 and crying and saying thank you, you know, which was impressive 154 00:10:45,920 --> 00:10:48,720 and over... Just overjoying for me. 155 00:10:48,720 --> 00:10:53,040 You never know who appreciates you until you get into that environment, 156 00:10:53,040 --> 00:10:56,160 and I've got to say, the environment when I walked into the theatre 157 00:10:56,160 --> 00:10:58,440 was that, "Oh, my God." 158 00:10:58,440 --> 00:11:03,240 How many people were there to give me respect, and I loved it. 159 00:11:03,240 --> 00:11:05,440 Yeah. I'm appreciative. Well, people love you. 160 00:11:05,440 --> 00:11:08,040 Where does music start for you? At home. 161 00:11:08,040 --> 00:11:12,200 My grandmother was a teacher of the family, gospel music, 162 00:11:12,200 --> 00:11:15,360 which we all sang, as a family unit. 163 00:11:15,360 --> 00:11:17,760 And from that point on, my Aunt Barbara, 164 00:11:17,760 --> 00:11:21,560 who is Barbara Roy from Ecstasy, Passion & Pain, she helped me 165 00:11:21,560 --> 00:11:24,720 to get into the position of doing background singing, 166 00:11:24,720 --> 00:11:27,360 and from that point on it just... God was just good. 167 00:11:27,360 --> 00:11:28,920 He just knew what he was doing. 168 00:11:28,920 --> 00:11:30,560 And who was your favourite gospel singer? 169 00:11:30,560 --> 00:11:33,040 Oh, there was quite a few of them, you know. 170 00:11:33,040 --> 00:11:35,360 But of course we had people like... 171 00:11:35,360 --> 00:11:37,760 Aretha Franklin was outrageous. 172 00:11:37,760 --> 00:11:43,040 You know, there was people like the Five Blind Boys Of Mississippi - 173 00:11:43,040 --> 00:11:44,560 they were rough, you know. 174 00:11:44,560 --> 00:11:49,440 And we had people like Sam Cooke, who was outrageous as well. 175 00:11:49,440 --> 00:11:52,200 HE STARTS TO PLAY PIANO 176 00:11:49,440 --> 00:11:52,200 Oh! 177 00:11:52,200 --> 00:11:53,320 Oh, my God. 178 00:11:54,800 --> 00:11:57,200 Do you want me to do a little bit of that? Just a little. 179 00:11:57,200 --> 00:11:59,440 Just remind us what Sam Cooke's gospel was. 180 00:11:59,440 --> 00:12:01,000 Just a little bit, right? 181 00:12:02,080 --> 00:12:06,280 # I was born by the river 182 00:12:07,920 --> 00:12:11,040 # In a little tent, whoa 183 00:12:11,040 --> 00:12:15,200 # And just like the river, I've been running 184 00:12:16,560 --> 00:12:18,760 # Ever since 185 00:12:18,760 --> 00:12:21,880 # It's been a long 186 00:12:21,880 --> 00:12:24,440 # A long time coming 187 00:12:24,440 --> 00:12:27,960 # But I know 188 00:12:27,960 --> 00:12:30,760 # A change is gonna come 189 00:12:30,760 --> 00:12:33,760 # Oh, yes, it will 190 00:12:35,720 --> 00:12:40,360 # It's been too hard living 191 00:12:41,880 --> 00:12:45,880 # But I'm afraid to die 192 00:12:45,880 --> 00:12:49,240 # I don't know what's up there 193 00:12:50,360 --> 00:12:53,720 # Beyond the sky 194 00:12:53,720 --> 00:12:58,320 # It's been a long 195 00:12:58,320 --> 00:13:00,800 # A long time coming 196 00:13:00,800 --> 00:13:04,040 # But I know 197 00:13:04,040 --> 00:13:07,040 # A change is gonna come 198 00:13:08,800 --> 00:13:12,360 # Oh, yes, it will. # 199 00:13:14,720 --> 00:13:17,840 CHEERING AND APPLAUSE 200 00:13:20,000 --> 00:13:21,520 That was beautiful. 201 00:13:23,640 --> 00:13:25,080 Now... 202 00:13:25,080 --> 00:13:27,720 CHEERING AND APPLAUSE CONTINUES That was beautiful. 203 00:13:29,840 --> 00:13:33,080 So starting in gospel music, which you sang for a long time, 204 00:13:33,080 --> 00:13:35,400 but then you were actually, in... 205 00:13:35,400 --> 00:13:40,280 One of the discotheque queens of New York in the 1980s. 206 00:13:40,280 --> 00:13:43,760 Now, I remember going to New York for the first time in my life 207 00:13:43,760 --> 00:13:47,640 in the sort of early 1980s, and it was like Rome before it fell. 208 00:13:47,640 --> 00:13:49,160 I'd never seen anything like it. 209 00:13:49,160 --> 00:13:51,720 What was the disco scene like in the early '80s when you were there? 210 00:13:51,720 --> 00:13:56,240 Well, it was a change of people's minds about how music works. 211 00:13:56,240 --> 00:13:59,680 And R&B was not the real kick, 212 00:13:59,680 --> 00:14:01,360 because that's because R&B was, 213 00:14:01,360 --> 00:14:07,200 with The Temptations and The Supremes and all of that. 214 00:14:07,200 --> 00:14:10,600 It went into another thing, went to a dance mode 215 00:14:10,600 --> 00:14:15,120 where folks had to find pleasure in dealing with their feet 216 00:14:15,120 --> 00:14:18,280 and getting rid of overpowering possessions 217 00:14:18,280 --> 00:14:21,560 and powering situations that they couldn't get rid of 218 00:14:21,560 --> 00:14:23,360 unless they let go, 219 00:14:23,360 --> 00:14:26,520 and letting go was getting out there on that dance floor. 220 00:14:26,520 --> 00:14:32,480 So New York had a big habit of Studio 54 all night long, you know? 221 00:14:32,480 --> 00:14:36,760 And it was a situation where folks really enjoyed understanding 222 00:14:36,760 --> 00:14:39,320 what disco music was. Well, it's fantastic having you here. 223 00:14:39,320 --> 00:14:41,400 You've got a load of shows coming up over the summer, 224 00:14:41,400 --> 00:14:44,440 the festivals and everything. Yes, that summertime love. 225 00:14:44,440 --> 00:14:45,840 It's wonderful to have you here. 226 00:14:45,840 --> 00:14:48,600 Thank you so much for joining us, Jocelyn Brown. Thank you, baby. 227 00:14:48,600 --> 00:14:50,400 CHEERING AND APPLAUSE 228 00:14:54,200 --> 00:14:55,520 Thank you, baby. 229 00:14:58,560 --> 00:14:59,920 Jocelyn Brown! 230 00:14:59,920 --> 00:15:02,080 CHEERING AND APPLAUSE 231 00:15:03,480 --> 00:15:06,680 And now I am delighted to welcome back to the show 232 00:15:06,680 --> 00:15:10,800 the remarkable voice, and now band, of Sekou. 233 00:15:10,800 --> 00:15:12,720 CHEERING AND APPLAUSE 234 00:15:14,240 --> 00:15:18,640 # D-A-N-G-E-R-O-U-S 235 00:15:18,640 --> 00:15:23,600 # D-A-N-G-E-R-O-U-S 236 00:15:26,080 --> 00:15:28,960 # It's 2.00am and I'm waiting up for you 237 00:15:30,720 --> 00:15:34,120 # If I want trouble, you're really not hard to find 238 00:15:35,360 --> 00:15:38,320 # Regret kicked in from the moment I called you 239 00:15:39,840 --> 00:15:43,400 # You really got me breaking every single rule of mine 240 00:15:45,160 --> 00:15:48,680 # The sound of your voice got me caving in 241 00:15:50,080 --> 00:15:52,000 # So why am I acting this way? 242 00:15:52,000 --> 00:15:56,520 # You're such a dangerous lover 243 00:15:56,520 --> 00:16:01,480 # You're such a dangerous lover 244 00:16:01,480 --> 00:16:05,720 # I say goodbye, then you come over 245 00:16:05,720 --> 00:16:08,160 # You're so dangerous, dangerous 246 00:16:08,160 --> 00:16:12,560 # I can't get over you 247 00:16:12,560 --> 00:16:17,840 # Can't get over you 248 00:16:17,840 --> 00:16:20,640 # I'm right back in your 249 00:16:20,640 --> 00:16:22,880 # I'm right back in your room, yeah 250 00:16:22,880 --> 00:16:26,200 # I can't get over you No, no 251 00:16:26,200 --> 00:16:29,320 # You're so dangerous, dangerous 252 00:16:32,160 --> 00:16:34,920 # Another weekend that you end up on my mind 253 00:16:36,680 --> 00:16:40,120 # My heart knows the truth but my body keeps telling lies 254 00:16:42,040 --> 00:16:43,640 # And you wanna come out and play 255 00:16:43,640 --> 00:16:46,160 # Always come running when you say my name 256 00:16:46,160 --> 00:16:50,320 # Got you addicted to getting your way, hey 257 00:16:50,320 --> 00:16:56,000 # The hairs on my neck, they keep raising, yeah 258 00:16:56,000 --> 00:16:58,160 # You got me feeling a way 259 00:16:58,160 --> 00:17:02,520 # You're such a dangerous lover 260 00:17:02,520 --> 00:17:07,840 # You're such a dangerous lover 261 00:17:07,840 --> 00:17:11,640 # I say goodbye, then you come over 262 00:17:11,640 --> 00:17:14,000 # You're so dangerous, dangerous 263 00:17:14,000 --> 00:17:18,280 # I can't get over you 264 00:17:18,280 --> 00:17:23,400 # Can't get over you, yeah 265 00:17:23,400 --> 00:17:26,520 # I'm right back in your 266 00:17:26,520 --> 00:17:29,080 # I'm right back in your room, yeah 267 00:17:29,080 --> 00:17:32,680 # Can't get over you No, no 268 00:17:32,680 --> 00:17:35,720 # You're so dangerous, dangerous 269 00:17:35,720 --> 00:17:40,280 # D-A-N-G-E-R-O-U-S, mm 270 00:17:40,280 --> 00:17:44,760 # D-A-N-G-E-R-O-U-S, oh 271 00:17:44,760 --> 00:17:49,680 # D-A-N-G-E-R-O-U-S, oh-oh 272 00:17:49,680 --> 00:17:51,720 # D-A-N-G 273 00:18:02,840 --> 00:18:04,240 # No, no 274 00:18:06,040 --> 00:18:07,840 # Do-do-do, do-do 275 00:18:07,840 --> 00:18:10,800 # You're so dangerous, dangerous 276 00:18:10,800 --> 00:18:15,760 # I can't get over you 277 00:18:15,760 --> 00:18:18,240 # Can't get over 278 00:18:18,240 --> 00:18:20,280 # Can't get over 279 00:18:20,280 --> 00:18:23,080 # I'm right back in your 280 00:18:23,080 --> 00:18:25,400 # I'm right back in your room 281 00:18:25,400 --> 00:18:28,840 # Can't get over you No, no 282 00:18:28,840 --> 00:18:32,880 # Cos you're so dangerous, dangerous. # 283 00:18:32,880 --> 00:18:36,120 CHEERING AND APPLAUSE 284 00:18:39,320 --> 00:18:41,960 Dangerous Lover. Thank you, Sekou! 285 00:18:41,960 --> 00:18:43,840 CHEERING AND APPLAUSE 286 00:18:45,200 --> 00:18:48,280 Now... Beautifully backing-vocalled there as well. 287 00:18:48,280 --> 00:18:51,360 The whole band, lovely. Let's hear it once again for Sekou! Yes! 288 00:18:51,360 --> 00:18:54,160 CHEERING AND APPLAUSE Lovely band. 289 00:18:54,160 --> 00:18:57,600 And now a beautiful contrasting moment, 290 00:18:57,600 --> 00:19:00,360 because we have a Grammy-winning country artist 291 00:19:00,360 --> 00:19:05,880 whose new album Wild pulls together 15 years of dazzling songwriting. 292 00:19:05,880 --> 00:19:08,600 Please welcome Ashley McBryde. 293 00:19:08,600 --> 00:19:10,800 CHEERING AND APPLAUSE 294 00:19:17,440 --> 00:19:20,000 # From the taste of things 295 00:19:20,000 --> 00:19:23,200 # It must've been Marlboro Reds 296 00:19:24,520 --> 00:19:26,520 # From the shape I'm in 297 00:19:26,520 --> 00:19:29,640 # I must've barely made it to the bed 298 00:19:30,840 --> 00:19:35,400 # There wasn't a good time poured over ice and sip it slow 299 00:19:38,480 --> 00:19:42,840 # For the bottle tells me so 300 00:19:45,640 --> 00:19:48,160 # If I can find my phone 301 00:19:48,160 --> 00:19:50,800 # I bet I need to apologise 302 00:19:53,080 --> 00:19:55,440 # The only problem is 303 00:19:55,440 --> 00:19:58,240 # I can't remember to who or why 304 00:19:59,320 --> 00:20:04,160 # And whatever day it is It's gonna be a long one, I know 305 00:20:06,760 --> 00:20:11,640 # For the bottle tells me so 306 00:20:13,480 --> 00:20:18,600 # One of us is gonna break one of these days 307 00:20:20,160 --> 00:20:26,880 # If this ain't bottom, it's as far down as I ever wanna go 308 00:20:26,880 --> 00:20:31,320 # The party's over and as always 309 00:20:31,320 --> 00:20:34,640 # I'm the last one to know 310 00:20:34,640 --> 00:20:39,320 # For the bottle tells me so 311 00:20:42,080 --> 00:20:44,120 # I tried counting rounds 312 00:20:45,480 --> 00:20:47,200 # I tried cutting back 313 00:20:49,280 --> 00:20:55,280 # I tried changing kinds so many times that I lost track 314 00:20:55,280 --> 00:21:00,600 # And all this need to, want to, going to's getting old 315 00:21:03,520 --> 00:21:07,280 # For the bottle tells me so 316 00:21:09,840 --> 00:21:15,560 # One of us is gonna break one of these days 317 00:21:16,920 --> 00:21:23,720 # If this ain't bottom, it's as far down as I ever wanna go 318 00:21:23,720 --> 00:21:27,960 # The party's over and as always 319 00:21:27,960 --> 00:21:31,520 # I'm the last one to know 320 00:21:31,520 --> 00:21:35,920 # For the bottle tells me so 321 00:21:55,280 --> 00:22:00,360 # Neither one of us got this empty on our own 322 00:22:03,480 --> 00:22:07,960 # For the bottle tells me so 323 00:22:10,760 --> 00:22:16,040 # The bottle tells me so. # 324 00:22:20,360 --> 00:22:23,240 CHEERING AND APPLAUSE 325 00:22:29,440 --> 00:22:33,240 Bottle Tells Me So. Thank you, Ashley McBryde! 326 00:22:33,240 --> 00:22:35,920 CHEERING AND APPLAUSE 327 00:22:37,840 --> 00:22:40,160 Now, let me take you over into this corner, 328 00:22:40,160 --> 00:22:43,000 and we're going to meet a remarkable group of artists 329 00:22:43,000 --> 00:22:46,560 from Manchester and Paris. Please welcome Mandy, Indiana! 330 00:22:46,560 --> 00:22:48,840 CHEERING AND APPLAUSE 331 00:23:45,920 --> 00:23:49,240 # Am, stram, am stram gram Pic et pic et colegram 332 00:23:49,240 --> 00:23:52,640 # Bour et bour et ratatam Am, stram, gram 333 00:23:52,640 --> 00:23:54,440 # Crac, trac, drame 334 00:23:54,440 --> 00:23:57,680 # Tete qui tourne, coeur en flammes Le silence puis le drame 335 00:23:57,680 --> 00:23:59,560 # Am, stram, gram 336 00:23:59,560 --> 00:24:01,680 # Souffle, souffle court 337 00:24:01,680 --> 00:24:03,680 # Baisers voles sous l'averse 338 00:24:03,680 --> 00:24:05,240 # Rien ne bouge tout est lourd 339 00:24:05,240 --> 00:24:06,840 # De promesse 340 00:24:06,840 --> 00:24:10,040 # Coeur en transe Repetition, feu sans fin 341 00:24:10,040 --> 00:24:14,000 # Plus de pensee que la danse Et ma main dans ta main 342 00:24:14,000 --> 00:24:15,400 # Nuit bleue 343 00:24:15,400 --> 00:24:17,400 # Dans l'echo jusqu'a l'aurore 344 00:24:17,400 --> 00:24:21,000 # Toute la ville est un jeu Pendant que le monde dort 345 00:24:21,000 --> 00:24:24,600 # Am, stram, am stram gram Pic et pic et colegram 346 00:24:24,600 --> 00:24:28,040 # Bour et bour et ratatam Am, stram, gram... # 347 00:24:43,680 --> 00:24:46,360 INDISTINCT TANNOY ANNOUNCEMENT 348 00:24:57,160 --> 00:25:00,640 # Je danse en attendant que le monde disparaisse 349 00:25:00,640 --> 00:25:04,480 # Et mes reves refusent d'etre tenus en laisse 350 00:25:04,480 --> 00:25:07,320 # J'avance a reculons vers des villes que j'invente 351 00:25:07,320 --> 00:25:11,400 # Mes pas sur les paves prouvent que je suis vivante 352 00:25:11,400 --> 00:25:14,840 # Je danse en attendant que le monde disparaisse 353 00:25:14,840 --> 00:25:18,480 # Et mes reves refusent d'etre tenus en laisse 354 00:25:18,480 --> 00:25:21,760 # J'avance a reculons vers des villes que j'invente 355 00:25:21,760 --> 00:25:25,120 # Mes pas sur les paves prouvent que je suis vivante 356 00:25:53,640 --> 00:25:56,960 # Je danse en attendant que le monde disparaisse 357 00:25:56,960 --> 00:26:00,400 # Et mes reves refusent d'etre tenus en laisse 358 00:26:00,400 --> 00:26:04,480 # J'avance a reculons vers des villes que j'invente 359 00:26:04,480 --> 00:26:07,400 # Mes pas sur les paves prouvent que je suis vivante 360 00:26:07,400 --> 00:26:11,120 # Je danse en attendant que le monde disparaisse 361 00:26:11,120 --> 00:26:14,600 # Et mes reves refusent d'etre tenus en laisse 362 00:26:14,600 --> 00:26:18,160 # J'avance a reculons vers des villes que j'invente 363 00:26:18,160 --> 00:26:20,920 # Mes pas sur les paves prouvent que je suis vivante. # 364 00:26:51,040 --> 00:26:55,240 CHEERING AND APPLAUSE 365 00:26:57,120 --> 00:26:59,920 Cursive, from their second album, Urgh. 366 00:26:59,920 --> 00:27:01,160 Urgh! 367 00:27:01,160 --> 00:27:02,680 Mandy, Indiana! 368 00:27:02,680 --> 00:27:05,160 CHEERING AND APPLAUSE 369 00:27:05,160 --> 00:27:07,240 Wonderful. Mandy, Indiana. 370 00:27:07,240 --> 00:27:12,200 And now, one of the... In my view, maybe one of the greatest... 371 00:27:12,200 --> 00:27:16,360 The small handful of the greatest guitarists on the planet today. 372 00:27:16,360 --> 00:27:18,600 I'm delighted to have this one at the piano. 373 00:27:18,600 --> 00:27:21,560 We welcome Joe Bonamassa! Thank you, sir. 374 00:27:21,560 --> 00:27:23,240 Very good to have you here. 375 00:27:23,240 --> 00:27:25,480 APPLAUSE 376 00:27:26,920 --> 00:27:30,080 So you opened the show with the title track 377 00:27:30,080 --> 00:27:32,800 from your 2025 album Breakthrough. Yes. 378 00:27:32,800 --> 00:27:36,040 You've got a Rory Gallagher tribute album you're working on. Yes. 379 00:27:36,040 --> 00:27:41,000 And in between all of that, you managed to do a tribute album 380 00:27:41,000 --> 00:27:43,560 to what would have been BB King's 100th birthday, 381 00:27:43,560 --> 00:27:46,320 involving an incredible selection of artists, 382 00:27:46,320 --> 00:27:49,120 and doing a triumphant job on the whole thing. 383 00:27:49,120 --> 00:27:52,000 What made you decide that you wanted to pay great tribute to BB? 384 00:27:52,000 --> 00:27:55,040 Well, I met BB King when I was 12 years old, 385 00:27:55,040 --> 00:27:57,600 and the reason why you and I are having this conversation 386 00:27:57,600 --> 00:28:01,920 is for people like BB King who gave me my start in the music business. 387 00:28:01,920 --> 00:28:06,720 And it was brought to our attention that he would be turning 100 in 2025 388 00:28:06,720 --> 00:28:10,960 and we got to thinking - my friend and guitar player over there 389 00:28:10,960 --> 00:28:13,920 Josh Smith and I co-produced the record - 390 00:28:13,920 --> 00:28:16,440 and we just started making tracks 391 00:28:16,440 --> 00:28:19,200 and sending them off to our friends, you know? 392 00:28:19,200 --> 00:28:21,400 We sent one off to Eric Clapton and Chaka Khan 393 00:28:21,400 --> 00:28:24,400 and they did The Thrill Is Gone, and, you know, the list 394 00:28:24,400 --> 00:28:27,760 is over 40 artists and 35 songs. 395 00:28:27,760 --> 00:28:29,520 And, you know, the thing is, 396 00:28:29,520 --> 00:28:32,840 we got to see how much love there still is for BB King. 397 00:28:32,840 --> 00:28:37,760 He was a gentleman of gentlemen, and a towering figure of the blues, 398 00:28:37,760 --> 00:28:42,600 and I'm just proud to be a small part of this tribute record 399 00:28:42,600 --> 00:28:46,040 that we did for him, and I hope that he's looking down 400 00:28:46,040 --> 00:28:48,040 and he's smiling and he's proud 401 00:28:48,040 --> 00:28:51,840 to see the entire community come out and celebrate his life. 402 00:28:51,840 --> 00:28:53,800 Because a piece of music is never the same twice. 403 00:28:53,800 --> 00:28:56,640 It doesn't matter whether you're a concert pianist playing Beethoven 404 00:28:56,640 --> 00:28:59,080 or if you're playing the blues - it's never the same twice. 405 00:28:59,080 --> 00:29:02,640 And you've done an incredible job because it stays very authentic 406 00:29:02,640 --> 00:29:05,720 and close to what it was, but it reinvents it all the time. 407 00:29:05,720 --> 00:29:07,920 But did you notice, the people doing it, 408 00:29:07,920 --> 00:29:10,640 was there something that unified their love of BB? 409 00:29:10,640 --> 00:29:12,200 Well, when we were going to... 410 00:29:12,200 --> 00:29:14,640 I mean, there's so many versions of the same song, 411 00:29:14,640 --> 00:29:19,400 and one of the most notable requests is we cut the song Night Life, 412 00:29:19,400 --> 00:29:21,240 which is the Willie Nelson classic, 413 00:29:21,240 --> 00:29:24,400 and we pitched it to Paul Rodgers, and he came back and said, 414 00:29:24,400 --> 00:29:27,680 "Yes, I'd like to do it, but I want to do the Blues Is King version," 415 00:29:27,680 --> 00:29:30,400 which is this kind of very famous stripped-down version 416 00:29:30,400 --> 00:29:32,240 from, I believe, 1966. 417 00:29:32,240 --> 00:29:37,600 So Josh Smith and the band went in and we, you know, they cut a version 418 00:29:37,600 --> 00:29:40,200 that sounded more like the 1966 version. 419 00:29:40,200 --> 00:29:43,640 He got it, he sang great... Amazing voice he's got. 420 00:29:43,640 --> 00:29:48,760 ..and just nailed it, and it was that kind of thing 421 00:29:48,760 --> 00:29:52,600 where we weren't trying to do soundalikes, 422 00:29:52,600 --> 00:29:55,240 we were just trying to do it in the right spirit 423 00:29:55,240 --> 00:29:57,360 and for the love of BB King 424 00:29:57,360 --> 00:30:01,160 and his massive and incredible catalogue of songs. 425 00:30:01,160 --> 00:30:03,800 He had an incredible... Well, for me he was the blues. 426 00:30:03,800 --> 00:30:06,440 He was the epitome of the blues, which was this spirit 427 00:30:06,440 --> 00:30:09,360 that was large and it was big and it was sort of... 428 00:30:09,360 --> 00:30:11,720 It was grown-up, you know? One of the few artists 429 00:30:11,720 --> 00:30:16,000 that you could really say that defined the genre of music 430 00:30:16,000 --> 00:30:18,080 in which he lived and flourished in. 431 00:30:18,080 --> 00:30:20,440 You could say that about Willie Nelson, you know, 432 00:30:20,440 --> 00:30:22,840 you could have said that about Ozzy Osborne, 433 00:30:22,840 --> 00:30:26,240 and BB was the blues. He was the King of the Blues. 434 00:30:26,240 --> 00:30:29,160 Yes, there are so many great blues artists, from Albert King, 435 00:30:29,160 --> 00:30:33,280 Freddie King, all the Kings, and Muddy Waters and all of that, 436 00:30:33,280 --> 00:30:36,760 but, you know, when his, you know, MC introduced him, 437 00:30:36,760 --> 00:30:39,280 "Ladies and gentlemen, the King of the Blues, BB King," 438 00:30:39,280 --> 00:30:41,880 you believed it. Yeah. And he walked out there 439 00:30:41,880 --> 00:30:44,480 and he had the goods and he could back it up. 440 00:30:44,480 --> 00:30:48,960 He came on our Hootenanny I think in 1997 and played with my big band, 441 00:30:48,960 --> 00:30:52,400 and when he walked into the studio, 442 00:30:52,400 --> 00:30:56,640 all of the bands stood up and all of the film crew applauded him. Yeah. 443 00:30:56,640 --> 00:30:59,120 And I've never known that with anybody else before. 444 00:30:59,120 --> 00:31:01,440 Didn't ask for it. And maybe he... 445 00:31:01,440 --> 00:31:03,640 He sort of was very nice about it, "Thanks very much." 446 00:31:03,640 --> 00:31:05,080 Maybe he thought we did it to everybody. 447 00:31:05,080 --> 00:31:07,360 They had never done it to anybody, before or since. 448 00:31:07,360 --> 00:31:09,360 We've got a little bit of footage which we're going to show 449 00:31:09,360 --> 00:31:11,400 which is him on the Hootenanny doing one of the songs 450 00:31:11,400 --> 00:31:13,680 that you do with them, which is Let The Good Times Roll. 451 00:31:13,680 --> 00:31:16,400 # I don't care if you're young or old 452 00:31:16,400 --> 00:31:18,960 # Get together, let the good times roll... # 453 00:31:47,000 --> 00:31:49,920 CHEERING AND APPLAUSE Thank you. The wonderful BB King. 454 00:31:49,920 --> 00:31:52,080 And Joe, what are we going to play of BB King's at the end? 455 00:31:52,080 --> 00:31:55,120 We're going to play a Will Jennings and Joe Sample tune 456 00:31:55,120 --> 00:31:57,000 called Never Make Your Move Too Soon, 457 00:31:57,000 --> 00:32:00,400 and Will was a friend of mine, I wrote a bunch of songs with him, 458 00:32:00,400 --> 00:32:01,880 and this is one of BB's... 459 00:32:01,880 --> 00:32:04,840 Probably one of his more famous songs of the '80s. 460 00:32:04,840 --> 00:32:07,440 And you were gracious enough to sit in on it! It's going to be great. 461 00:32:07,440 --> 00:32:09,800 It's an honour for me in paying tribute to BB, 462 00:32:09,800 --> 00:32:11,440 which we'll look forward to later on. 463 00:32:11,440 --> 00:32:13,600 So thank you very much, Joe Bonamassa. Thank you. 464 00:32:13,600 --> 00:32:16,080 And BB King! CHEERING AND APPLAUSE 465 00:32:16,080 --> 00:32:18,440 Thank you, Joe. Absolutely what a great man. 466 00:32:18,440 --> 00:32:20,280 What a great player. 467 00:32:20,280 --> 00:32:22,200 And now, let's go to this corner. 468 00:32:22,200 --> 00:32:25,360 An amazing producer, Grammy-winner and great British talent. 469 00:32:25,360 --> 00:32:29,320 With the title track from his top-three album Trying Times, 470 00:32:29,320 --> 00:32:32,240 please welcome back James Blake! 471 00:32:32,240 --> 00:32:34,320 CHEERING AND APPLAUSE 472 00:32:34,320 --> 00:32:40,800 # As we go through trying times 473 00:32:40,800 --> 00:32:43,840 # As we go through 474 00:32:54,440 --> 00:32:56,600 # You know I'm shredded 475 00:32:56,600 --> 00:32:58,880 # By the time I'm home 476 00:33:00,840 --> 00:33:05,920 # Like polystyrene foam 477 00:33:08,000 --> 00:33:12,920 # And the jealous end up alone 478 00:33:14,400 --> 00:33:21,160 # Cos there are things that they can never know 479 00:33:21,160 --> 00:33:24,600 # I'm an eyesore 480 00:33:24,600 --> 00:33:29,080 # You're a sight for 481 00:33:29,080 --> 00:33:33,120 # Sore eyes As we go through 482 00:33:35,480 --> 00:33:39,440 # You're the life force As we go through 483 00:33:39,440 --> 00:33:42,520 # You're the life force Trying times 484 00:33:42,520 --> 00:33:47,920 # I would die for As we go through 485 00:33:49,560 --> 00:33:52,560 # I would die for 486 00:33:56,320 --> 00:34:04,320 # Stay alive for 487 00:34:04,320 --> 00:34:10,760 # As we go through trying times As we go through 488 00:34:10,760 --> 00:34:16,040 # Trying times As we go through 489 00:34:18,480 --> 00:34:22,720 # As we go, as we go As we go through trying times 490 00:34:22,720 --> 00:34:26,240 # As we go through trying times 491 00:34:26,240 --> 00:34:31,880 # As we go through 492 00:34:31,880 --> 00:34:35,080 # I'm breaking 493 00:34:35,080 --> 00:34:37,720 # I hide it well 494 00:34:38,920 --> 00:34:44,400 # Cos I can't afford to replace the shell 495 00:34:46,120 --> 00:34:50,760 # And the anxious end up alone 496 00:34:52,600 --> 00:34:58,000 # Cos there are far too many things we can't control 497 00:34:59,760 --> 00:35:03,320 # I'm an eyesore As we go through 498 00:35:03,320 --> 00:35:07,080 # You're a sight for Trying times 499 00:35:07,080 --> 00:35:12,520 # Sore eyes As we go through 500 00:35:12,520 --> 00:35:17,480 # You're the life force As we go through 501 00:35:17,480 --> 00:35:21,040 # You're the life force Trying times 502 00:35:21,040 --> 00:35:27,120 # I would die for As we go through 503 00:35:27,120 --> 00:35:30,360 # I would die for 504 00:35:33,800 --> 00:35:37,960 # Be terrified for 505 00:35:41,400 --> 00:35:45,120 # Simplify for 506 00:35:45,120 --> 00:35:47,800 # Hmm 507 00:35:47,800 --> 00:35:56,320 # And stay alive for 508 00:35:56,320 --> 00:36:04,000 # As we go through trying times As we go through trying times 509 00:36:04,000 --> 00:36:08,400 # As we go through 510 00:36:10,040 --> 00:36:16,600 # As we go, as we go As we go through trying times 511 00:36:16,600 --> 00:36:22,600 # As we go through trying times As we go through trying times 512 00:36:22,600 --> 00:36:32,200 # Trying, trying, trying As we go through trying times 513 00:36:32,200 --> 00:36:37,800 # As we go through 514 00:36:37,800 --> 00:36:45,200 # Trying, trying, trying As we go through trying times 515 00:36:45,200 --> 00:36:51,560 # I'm trying As we go through 516 00:36:51,560 --> 00:36:58,840 # As we go, as we go 517 00:36:58,840 --> 00:37:03,880 # I'm trying. # 518 00:37:07,360 --> 00:37:10,720 CHEERING AND APPLAUSE 519 00:37:39,240 --> 00:37:41,640 One, two, three, here we go! 520 00:37:50,880 --> 00:37:54,680 # Well, I ain't fallin' for no pick-up lines 521 00:37:55,880 --> 00:37:59,240 # I don't care about no dollar signs 522 00:38:00,880 --> 00:38:04,760 # I need someone that can treat me right 523 00:38:06,120 --> 00:38:11,600 # Even though you lookin' good tonight cos 524 00:38:11,600 --> 00:38:13,680 # I been tempted, I been drinkin' 525 00:38:13,680 --> 00:38:16,960 # But this ain't real so we ain't linkin' up 526 00:38:16,960 --> 00:38:19,280 # Might be fun but that just ain't enough 527 00:38:19,280 --> 00:38:21,480 # All right 528 00:38:21,480 --> 00:38:24,280 # Hit me up when you get serious 529 00:38:24,280 --> 00:38:26,920 # I want love just not a pick-me-up 530 00:38:26,920 --> 00:38:29,560 # All these games just cos you curious 531 00:38:29,560 --> 00:38:31,400 # All right 532 00:38:31,400 --> 00:38:33,440 # If you don't want love 533 00:38:33,440 --> 00:38:38,440 # I just rather not waste my time cos baby, I do 534 00:38:38,440 --> 00:38:41,360 # Can't be out here just catchin' bodies 535 00:38:41,360 --> 00:38:43,960 # If you don't want us 536 00:38:43,960 --> 00:38:48,720 # And you lookin' for one and done I'm not for you 537 00:38:48,720 --> 00:38:52,560 # Cos I won't be catchin' bodies cos of you 538 00:38:54,200 --> 00:38:56,400 # No, no 539 00:38:56,400 --> 00:38:57,920 # Oh, no 540 00:39:01,200 --> 00:39:05,200 # Well, I ain't tryna get my roster right 541 00:39:07,000 --> 00:39:10,160 # Even though you lookin' good tonight 542 00:39:11,760 --> 00:39:16,200 # Well, I ain't gon' lie Yes, I'm the freaky type 543 00:39:16,200 --> 00:39:19,960 # But that's only for my ride or die 544 00:39:19,960 --> 00:39:22,320 # Even though, baby 545 00:39:22,320 --> 00:39:24,800 # I been tempted, I been drinkin' 546 00:39:24,800 --> 00:39:27,520 # But this ain't real so we ain't linkin' up 547 00:39:27,520 --> 00:39:29,920 # Might be fun but that just ain't enough 548 00:39:29,920 --> 00:39:32,440 # All right 549 00:39:32,440 --> 00:39:34,880 # So hit me up when you get serious 550 00:39:34,880 --> 00:39:37,760 # I want love just not a pick-me-up 551 00:39:37,760 --> 00:39:40,360 # All these games just cos you curious 552 00:39:40,360 --> 00:39:42,000 # All right 553 00:39:42,000 --> 00:39:44,240 # If you don't want love 554 00:39:44,240 --> 00:39:49,640 # I just rather not waste my time cos baby, I do 555 00:39:49,640 --> 00:39:52,240 # Can't be out here just catchin' bodies 556 00:39:52,240 --> 00:39:54,680 # If you don't want us 557 00:39:54,680 --> 00:40:00,080 # And you lookin' for one and done I'm not for you 558 00:40:00,080 --> 00:40:03,520 # Cos I won't be catchin' bodies cos of you 559 00:40:05,120 --> 00:40:09,280 # No-no, no 560 00:40:09,280 --> 00:40:14,320 # Won't be catchin' bodies cos of you, baby 561 00:40:14,320 --> 00:40:18,880 # No-no, no... # 562 00:40:23,520 --> 00:40:27,080 OK, Jools, we gonna break it down. 563 00:40:27,080 --> 00:40:29,520 I'm going to give you a little two-snap. 564 00:40:29,520 --> 00:40:30,720 Hey! 565 00:40:32,640 --> 00:40:34,960 # Cos if you don't want love 566 00:40:34,960 --> 00:40:37,040 # I just rather not waste my time... # 567 00:40:37,040 --> 00:40:39,920 Tell me why! # Baby, I do 568 00:40:39,920 --> 00:40:42,680 # Can't be out here just catching bodies 569 00:40:42,680 --> 00:40:45,120 # If you don't want love 570 00:40:45,120 --> 00:40:48,120 # And you're looking for one and done 571 00:40:48,120 --> 00:40:50,240 # Ooh, ooh, ooh 572 00:40:50,240 --> 00:40:54,640 # Cos I won't be catching bodies Cos of you 573 00:40:54,640 --> 00:40:58,880 # Yeah, yeah, yeah, yeah 574 00:41:00,640 --> 00:41:05,160 # Won't be catching bodies cos of you, baby 575 00:41:05,160 --> 00:41:07,280 # No, no 576 00:41:07,280 --> 00:41:10,560 # Oh, no, yeah 577 00:41:10,560 --> 00:41:15,120 # Won't be catching bodies cos of you. # 578 00:41:15,120 --> 00:41:17,440 CHEERING AND APPLAUSE 579 00:41:22,960 --> 00:41:24,440 Thank you, Sekou! 580 00:41:25,680 --> 00:41:28,040 Thank you to all of my wonderful guests this evening. 581 00:41:28,040 --> 00:41:30,360 Let's hear it for everybody who's been in this room tonight! 582 00:41:30,360 --> 00:41:32,160 CHEERING AND APPLAUSE 583 00:41:33,480 --> 00:41:35,960 So let's finish where we began, 584 00:41:35,960 --> 00:41:39,680 and we welcome back the wonderful Joe Bonamassa! 585 00:41:39,680 --> 00:41:41,600 CHEERING AND APPLAUSE 586 00:41:49,200 --> 00:41:53,880 # Three days of snow in Birmingham 587 00:41:53,880 --> 00:41:58,480 # Thought you might wonder where I am 588 00:41:58,480 --> 00:42:02,960 # Ringing your number all night long 589 00:42:02,960 --> 00:42:07,600 # Ain't no comfort on the telephone 590 00:42:07,600 --> 00:42:12,720 # Ran out and caught a midnight flight 591 00:42:12,720 --> 00:42:17,520 # Thought a little love would make things all right 592 00:42:17,520 --> 00:42:20,960 # The landlord said you moved away 593 00:42:22,080 --> 00:42:26,520 # Left me all your bills to pay 594 00:42:26,520 --> 00:42:28,840 # Look out, baby 595 00:42:28,840 --> 00:42:32,560 # You mighta made your move too soon 596 00:42:36,160 --> 00:42:40,680 # Left me with all those Keno cards 597 00:42:40,680 --> 00:42:45,720 # This life in Vegas sure ain't hard 598 00:42:45,720 --> 00:42:50,440 # Ran it up to fifty grand 599 00:42:50,440 --> 00:42:55,160 # Cashed it in, baby, in my hand 600 00:42:55,160 --> 00:43:00,000 # That kind of word will get around 601 00:43:00,000 --> 00:43:04,760 # Make a lost love come up found 602 00:43:04,760 --> 00:43:09,120 # I hear you knockin' at my door 603 00:43:09,120 --> 00:43:13,680 # You ain't livin' here Yeah, no more 604 00:43:13,680 --> 00:43:16,600 # It's too bad, baby Too bad 605 00:43:16,600 --> 00:43:19,840 # Mighta made your move too soon Made your move too soon... # 606 00:43:19,840 --> 00:43:21,240 Jools Holland! 607 00:44:57,400 --> 00:45:02,440 # I've been to Spain and Tokyo 608 00:45:02,440 --> 00:45:07,320 # Africa and Ohio 609 00:45:07,320 --> 00:45:12,120 # I never tried to make the news 610 00:45:12,120 --> 00:45:16,840 # I'm just a man who sings the blues 611 00:45:16,840 --> 00:45:21,280 # I take my lovin' everywhere 612 00:45:21,280 --> 00:45:26,000 # I come back, you know they still care 613 00:45:26,000 --> 00:45:30,800 # One love ahead, one love behind 614 00:45:30,800 --> 00:45:34,880 # One on my arms and one on my mind 615 00:45:34,880 --> 00:45:37,480 # One thing, baby One thing 616 00:45:37,480 --> 00:45:40,320 # Never make your move too soon 617 00:45:40,320 --> 00:45:43,720 # Make your move too soon. # 618 00:46:04,800 --> 00:46:06,920 CHEERING AND APPLAUSE 619 00:46:09,120 --> 00:46:11,320 WHISTLING 620 00:46:13,600 --> 00:46:15,800 # You're so dangerous, dangerous 621 00:46:15,800 --> 00:46:19,920 # I can't get over you 622 00:46:21,160 --> 00:46:25,280 # Can't get over, can't get over 623 00:46:25,280 --> 00:46:27,920 # I'm right back in your 624 00:46:27,920 --> 00:46:30,080 # I'm right back in your room 625 00:46:30,080 --> 00:46:34,280 # Can't get over you No, no 626 00:46:34,280 --> 00:46:37,720 # Cos you're so dangerous, dangerous. #