This programme contains some strong language
CHEERING AND APPLAUSE
Welcome to another wonderful pageant of music and song.
And let's start with the titans of pop, it's Take That!
CHEERING AND APPLAUSE
# I've been through a year of madness
# Replaced my hope with sadness
# Found waking up the hardest
# And every day, it felt the longest
# All blessings were unwanted
# Constantly haunted
# Then you opened up
# Opened up my windows
# Yeah, you opened up
# Opened up my windows
# Like fire in the sky
# You know what it's like
# Was so glad to feel the sunlight in my eyes... #
Hey!
# I've been through a year of hurting
# Badly Bad guesses and wrong turnings
# Sadly The memory still burning inside
# And the lights are all at red
# Should I leave or stay in bed?
# Didn't practise what I preached
# So I just shouted, "Help me, help me!"
# Then you opened up
# Opened up my windows
# Yeah, you opened up
# Opened up my windows
# Like fire in the sky
# You know what it's like
# Was so glad to feel the sunlight in my eyes
# Ready now to start this climb
# See the beacon way up high
# If I fall or lose my way
# Please come and get me, get me
# Ooh-ooh-ooh-ooh
# Aah-aah-aah-aah
# You opened up
# Opened up my windows
# Yeah, you opened up
# Opened up my windows
# Then you opened up
# Opened up my windows
# Yeah, you opened up
# Opened up my windows
# Like fire in the sky
# You know what it's like
# Was so glad to feel the sunlight in my eyes
# You opened up
# Opened up my windows
# Yeah, you opened up
# Opened up my windows. #
CHEERING AND APPLAUSE
Fantastic to have these legends in the room for the first time.
Thank you, Take That!
CHEERING AND APPLAUSE
And welcome to a remarkable evening.
Remarkable because none of our performers
have been on the show before.
From Newport, let us welcome, from South Wales, Skindred!
CHEERING AND APPLAUSE
Not performing but chatting about his wonderful new book,
from Manchester, it's Johnny Marr!
CHEERING AND APPLAUSE
From Minnesota, it's METTE.
CHEERING AND APPLAUSE
From Consett, County Durham, Frankie Archer.
CHEERING AND APPLAUSE
And now with some wonderful lyrics in this next wonderful song,
we welcome from London, The Last Dinner Party.
CHEERING AND APPLAUSE
# I have my sentence now at last
# I know just how you felt
# I dig my fingers in expecting more than just the skin
# Cos we're a lot alike, in favour, like a motorbike
# A sailor and a nightingale
# Dancing in convertibles
# And you can hold me like he held her
# And I will fuck you like nothing matters
# And you can hold me like he held her
# And I will fuck you like nothing matters
# We've got the highway tight, the moon is bursting with headlights
# One more and we're away, love tender in your Chevrolet
# And we're a lot alike, in favour, like a motorbike
# A sailor and a nightingale dancing in convertibles
# And you can hold me like he held her
# And I will fuck you like nothing matters
# And you can hold me like he held her
# And I will fuck you like nothing matters
# Even when the cold comes crashing through
# I'm putting all my bets on you
# I hope they never understand us
# I put my heart inside your palms, my home in your arms, now we know
# Nothing matters, nothing matte-e-e-ers
# And you can hold me like he held her
# And I will fuck you like nothing matte-e-ers
# And you can hold me
# Woo! Like he held her
# And I will fuck you
# Like nothing matters
# And you can hold me La-la-la-la-la
# Like he held her La-la-la-la-la
# And I will fuck you La-la-la-la-la
# Like nothing matters
# La-la-la-la-la-la-la
# Ooooh! La-la-la-la-la
# Ooh-ooh-ooh! #
CHEERING AND APPLAUSE
The Last Dinner Party.
I love this group. I love their work.
Thank you very much.
CHEERING CONTINUES
They love you too.
Next over at the piano,
I'm delighted to welcome back to the show a great guitar player,
producer and artist.
It is Johnny Marr!
CHEERING AND APPLAUSE
Lovely to have you back here.
Now you've played on the show on various occasions with
various different people.
When I said at the beginning that this was the first time
for everybody on the show, I didn't mean you.
You said "performing".
Performing, exactly. Thank you.
In case all the letters start coming in. Kind of performing. Exactly.
But you've got this amazing book out
and also you've got a forthcoming best of record.
This book is fascinating, though.
It's a really great insight into the mind of a working artist.
It's about your guitars, but it's about a bit more than that really.
But let me ask you, what was your earliest memory of a guitar?
The earliest one, believe it or not, was when I was a very little boy.
I was five and my parents bought me this little toy wooden guitar
from a shop called Emily's in Ardwick Green in Manchester
and I was just obsessed with this little object.
I've no idea why, but I used to go and look at this thing in the window
of the shop until I think my mum said to my dad,
"Look, he's obsessed with this guitar. Let's get it for him."
And I carried that around with me all the time.
It was just a toy thing, but...
And who was the first guitar player?
Did you see a guitar player one time and think,
"Hang on, I've got the guitar, I want to be this person?"
Well, on the television, this would have been the late '60s/early '70s,
there was a lot of great guitar music out.
Bands like The Hollies and I used to like them.
And then, really, my first hero really was Marc Bolan, T.Rex.
I was just captivated by, well, the sound, for a start,
but he was this very pretty little fella who looked very glamorous.
You know, he had all the moves, and the records were built on guitars.
They were amazing-sounding things.
It's never really left me, that love of T.Rex, really.
Early heroes, they all go in there.
And what was the first guitar that you had that you thought,
"Wait a minute, I can do this now?"
Er, I had one that I no longer have, actually.
When I was about 14, 15, and me and my mates...
I used to be in all these different bands
doing all this different kind of music,
so I learned quite a lot in those early bands when I was 14, 15.
I was in a band with adults when I was, like, 15.
I left school to be in this band
and that was kind of a useful apprenticeship,
but the thing about the book that I was pleased about was it officially
starts with a guitar that I had before...
Just before I formed The Smiths, I was in a couple of different bands
and I had this guitar that I traded in, when I formed The Smiths,
and I thought that was the last I'd seen of it,
and then a mate of mine found it about three years ago in a shop,
a record shop, so we got it back.
So that's become the very start of this guitar book.
The kind of narrative, if you like, starts with me in my bedroom.
What guitar is it? It's a Les Paul, Gibson Les Paul. OK.
With The Smiths and with other music you made, does the guitar sometimes
dictate what the sound of the record or the sound of the group is?
Obviously it's the person playing it,
but guitars have a certain sound. Does that help inform what's going to happen? Yeah, I think so.
Pretty much, yeah.
I mean, to this day really I think certain instruments,
if you're very, very lucky, some instruments have songs in them.
When The Smiths started doing them well and making a bit of money,
that was my justification for buying another one and another one.
I'd go, "I'll get a song out of this"
and that actually used to happen, so it justified paying for it, really.
That sounds, also, like the beginning of the addiction.
"That was a great song, I'll get another one,
"get another great song out of this." It's definitely an addiction.
We've got a clip of What Difference Does It Make?,
with The Smiths, in 1983. Oh, yeah?
And what guitar do you think that is?
That's going to be my Rickenbacker, I think,
which was the first one that I got when we got a record deal.
It was the first thing I did with it, rushed out...
But the guitar sound does cut through.
It's the signature sound of The Smiths, isn't it?
I got that Rickenbacker guitar
because it would make me play in a certain way.
I figured it would make me play in a non-bluesy way,
because most rock guitar players lean into the blues-rock thing,
and I knew that I didn't want to do that.
I thought that playing the Rickenbacker, in a way,
it would be a bit restrictive, almost, but would lead me
down a road that would bring out the things that were more unusual
about my playing, and that's, in fact, what happened, really.
Let's have a little look at that.
# All men have secrets and here is mine
# Let it be known
# We have been through hell and high tide
# I think I can rely on me
# And yet, you start to recoil
# Heavy words are so lightly thrown
# But still I'd leap in front of a flying bullet for you
# So, what difference does it make?
# It makes none... #
APPLAUSE
The very distinctive sound of Johnny Marr on the guitar there.
Now, I've heard some people say that musical instruments,
whether it's a Stradivarius of a concert player or a guitar or
whatever it is, but if it's played by a musician who's
had it a long time, it's imbibed with that person's spirit.
Do you think that's the case? Absolutely. Yeah, I think so, yeah.
Because I've, over the years, loaned a couple guitars,
just in passing, to different people. And if they've...
It feels like it's someone else's when it comes back
and you have to kind of change that.
Now, speaking of imbibed with spirit, Spirit Power is the title
of your best of record that's about to come out.
Yeah. What sort of thing can we expect to hear on it?
Officially, it's a best of,
because I was informed that it's been ten years since the first
solo album with my band, and that ten years would be good marker.
I was all set to go in and do what I always do, which is go in the
studio and myopically go and write, whatever, 15, 20 new songs.
But it was put to me that it'd be a good idea.
The record company and my management said,
celebrate these ten years of you and your band and all the singles.
So it's like a greatest hits, really. A lovely way to reflect.
It's a nice way of doing it, yeah. A double album. Yeah.
Fascinating, yeah. And it's great work.
Now, last thing I'm going to ask you is, like Take That,
you're from Manchester. It's a uniquely musical city. Yeah.
But what do you think is the essence of the Manchester sound
and why has Manchester got a unique sound about it?
Well, there's a number of reasons but it's an industrial city
and it's built on the Industrial Revolution, really,
and all the things that that meant,
which is immigrants from all over the world plodded up there and then
created their own communities.
In my case, the Irish background.
There's loads of Mancunian/Irish musicians.
And from all over Eastern Europe and Caribbean
and everything, it's a real melting pot of different cultures.
And it's been that way for ages.
And then in my time, as a young boy,
watching bands like particularly The Buzzcocks,
who had a massive stream of hits,
and 10cc and New Order, Joy Division,
so you get these messages as a musician that, oh, I can do it too.
So there's a number of reasons but there's definitely something.
I think a lot of cities have a distinctive sound,
like the way Kraftwerk sound like Dusseldorf
and the way the Beach Boys sound like California... Yeah, yeah.
Even though, say New Order and The Smiths and Oasis, on the face of it,
sound like different bands, they don't sound like the Beach Boys,
they sound like they're from Manchester. Yeah. Well, it's great.
Marr's Guitars is a great book, I've really enjoyed looking at it.
It's fascinating, actually, looking at the guitars. Thank you.
Thank you very much for joining us, Johnny Marr! Nice to be here.
APPLAUSE
Now, she has worked with Pharrell and Rihanna.
She's now here in her own right.
We're delighted to welcome METTE.
APPLAUSE AND CHEERING
I am who I am.
Love it or leave it, baby.
# While you reminisce, I've been gone
# Two years and a fortnight
# I'm friends with the low-lives
# I'm drunk tryna get high
# Still waiting to exhale
# Come out of the shadows
# Five feet, barely three quarters
# In your stilettos
# Like pineapple Mentos
# Your favourite confection
# I'm sweet like your perfume
# Strong like your mind is
# Your skin dripping richness, tend to your flowers without a mention
# You won your wars, you laid down your sword then gave me the weapon
# You say, keep my promises, but I don't
# I should probably listen more, yeah, Mother, I know
# I just wanna be dancing again, I know
# I'm to blame, I gotta heal these scars on my own
# I should learn to listen more, yeah, Mother, I know
# I just wanna be dancing again, I know
# Don't it feel good?
# Don't it feel right?
# When you come home to
# Home to Mama's eyes
# Don't you feel good?
# Full up with pride
# Seeing yourself in
# Self in Mama's eyes
I am who I ams.
# You are every woman
# Whitney and Chaka
# No-one can ever
# Be put above you
# I always believe in you, open my eyes if you say it's all right
# Now I'm here at Heathrow, sunken and see-through,
# Tryna catch my flight
# Hush now, she's speaking
# Preaching her sermon
# The golden rule is to never to lose yourself for a person
# Bebe and Cece play in our kitchen
# Say, Mama, you in Daddy's hoodie swinging your hips
# While you do the dishes
# You say, keep my promises, but I don't
# I should probably listen more, yeah, Mother, I know
# I just wanna be dancing again, I know
# Don't it feel good?
# Don't it feel right?
# When you come home to
# Home to Mama's eyes
# Don't you feel good?
# Full up with pride
# Seeing yourself in
# Self in Mama's eyes. #
Love it or leave it, baby.
CHEERING AND APPLAUSE
The wonderful METTE!
And that beginning sample was her mum's voice. Thank you, METTE!
APPLAUSE
Our next artists have been bravely mixing ragga and metal since 1998.
1998. Which has given them a recent number-two album.
I'm delighted to welcome Skindred.
APPLAUSE
# Just gimme that boom boom boom
# Just gimme that boom boom, just gimme that
# Gimme that boom boom boom, just gimme that
# I don't care what you got
# Just gimme that boom boom boom
# Just gimme that boom boom, just gimme
# Gimme that boom boom boom, just gimme that
# I don't care what you got, just gimme that
# Stand to attention, I come to mention
# We gonna take you in a different direction
# That's the way we rock and make them move them body
# We got those over there asking for selfies
# This time I got to say no
# Don't try to pull down my bandanna
# Don't let them ruin my
# Then I hear, then I hear them say
# Turn around, stupid
# Turn around, turn around, stupid
# Stupid, turn around, turn around, stupid, turn around
# I don't care what you got
# Just gimme that boom boom boom
# Just gimme that boom boom, just gimme that
# Gimme that boom boom boom, just gimme that
# I don't care what you got
# Just gimme that boom boom boom
# Just gimme that boom boom, just gimme that
# Gimme that boom boom boom, just gimme that
# I don't care what you got, just gimme that
# All and all, this a-place is crawling
# Them a-moving their body, them bawling
# Electricity just a-light up the place
# With the boom boom boom you get a smack up the face
# We got the vibes and the vibes is good good
# You know we're rocking in the damn neighbourhood hood
# You know the Dred are gonna bring it like we should
# Can I hear, can I hear them say
# Turn around, stupid, uh
# Turn around, stupid
# Turn around, turn around, stupid
# Stupid turn around
# Turn around, stupid, now turn around
# I don't care what you got
# Just gimme that boom boom boom
# Just gimme that boom boom, just gimme that
# Gimme that boom boom boom, just gimme that
# I don't care what you got
# Just gimme that boom boom boom
# Let me hear you saying it, boom boom
# Just gimme that boom boom boom, just gimme that
# I don't care what you got, just gimme that
# Just gimme that
# Gimme that, gimme that
# Come on and gimme that
# Switch up the groove some
# Switch it up
# I don't care what you got
# Just gimme that boom boom boom
# Just gimme that boom boom, just gimme that
# Gimme that boom boom boom, just gimme that
# I don't care what you got
# Just gimme that boom boom boom
# Gimme that, gimme that boom boom
# Just gimme that boom boom boom, just gimme that
# I don't care what you got, just gimme tha-a-at
# Just gimme tha-a-at
# Just gimme tha-a-at. #
CHEERING AND APPLAUSE
Skindred!
We love Skindred.
And now we welcome some true titans of popular music,
Gary Barlow, Mark Owen and Howard Donald.
They are, of course, Take That!
CHEERING AND APPLAUSE
Welcome to the show, it's great to have you here.
Really nice to see you! Great to welcome you to the show,
it's great to have you here.
Now, of course, I have to say that you've achieved incredible success,
sold endless number-one records, sold out stadiums,
lorry-loads of awards, but this is your first time on the show,
so I have to welcome you and ask you how you're finding it so far?
Well, we've made it now. Yeah, we have.
It's taken this long... It's the beginning of the end.
We think that a lot. It's lovely to be here, it really is.
Thanks for having us on and it's a real pleasure.
It's lovely to be with other musicians as well,
and to hear their music, it's fabulous.
The great thing about this room, I think, is it's a circle.
And once everybody's in that circle,
they kind of all absorb and just take in one another's music,
it's a great thing.
Now, you opened your show with Windows,
the first new song in over five years.
Does this usher in a new period for the group?
Yeah, it is a new period for us.
We had a big greatest hits in 2018 that celebrated all our years
together, and we really felt as a band that it drew a line and we
thought, right, we can go somewhere different now from this point.
And so we've had a few years off and we've come back to it
and we're energised, we've got new music.
We've been over recording in Nashville and Savannah,
with a guy called Dave Cobb, we've made a whole record with him.
One of the greats, what an amazing producer. Wonderful guy. Yeah.
And we've loved being in the South with him
and soaking in - like you were talking to Johnny about - soaking
in the environment and letting it get into the music as well.
It's been lovely.
And when you've been out in Nashville and in Savannah,
do you get out and see the local sights?
I mean, like Gary said, you soak up the atmosphere and I think, because
we took a bunch of songs there and we knew that David Cobb was the
right person for the sound of the album, and, yeah, it was amazing.
It was a beautiful city, beautiful area. Nashville as well.
And we actually found that recording in his house rather than
the studio, and having different rooms for different acoustics,
we found it really inspirational as well for the actual...
..which way the songs were going to go.
Do you what they really learned how to do?
They learned how to do magnet fishing, these two.
Really? Yes. Every day, they'd go magnet fishing.
Wait a minute, tell us what exactly magnet fishing is.
I think I've got an idea but I might be wrong.
It's literally this big weight,
big magnet that you throw off the side of the jetty into the water,
and then very, very slowly,
pull it back in.
We caught a chainsaw.
And discarded revolvers?
That's actually what we were looking for.
And we didn't find any.
You had a lot of writing to do because your new album, This Life,
it's going to be out next month.
I mean, how does the writing process work for you now?
We've had a bit of an interesting one on this one,
we've actually, for the first time ever,
we usually sit round a piano and knock it out over a few weeks
and then come back with some more songs a few months later,
but we've actually been off and started songs by ourselves
and brought them into the studio.
And it's been a really interesting way of doing it.
Because, for me, I get my best results sat in a room with a piano.
And I think the guys have really enjoyed the peace and quiet
of being able to have their own time to come up with
the compositions and then bring them in so we can all finish them.
And I think it's worked great. Yeah.
When you're in there together, once one of you brings a song in,
will somebody say, wait a minute, we could just tilt this
for the chorus and here's a little middle eight,
or are they more complete than that?
Yeah, for me personally, it gave me a chance for me
to spread my wings, to do a lot of creation with the songs.
The most nerve-racking I've ever been in my life is actually
bringing the songs into the other guys and actually
getting their approval, which was great because it got their approval.
Like you say, that's what we do, change choruses,
move stuff around and then we do lyrics
and they all end up being co-written together anyway, so.
But you're right, when you play songs to other people in the band,
you can see whether they like it or not. They can't really hide. Even if
they say it's great, you can tell what they really think of it.
It's not just people in the band, is it?
It's when you play it to your kids in the car.
Check out our new song!
And after a bit, you can see they're drifting away.
Now, pop musicians have to be much sharper than any other artist,
really, because they're living by their hits.
They're on the coalface of songs. The song face.
So, if they don't have hits, it's over for them.
So they've got to be much more sharp and aware of all that.
It's easy for the jazzers to just do something else
but the pop musicians have to be very on it.
And you've all stayed, you've had an incredible history
and you've stayed on for a very long time,
so what would you attribute that longevity to?
I mean, I'd like say good music, but I think it's actually
part and parcel with having a really faithful audience.
Our audience have been with us since 1990, when we started,
and they're still with us now.
And we can't believe that we can turn up at places,
hotels or radio stations, and they're still there, following us.
We feel very privileged and it's always an honour for us.
And so, when we go into the studio,
we know we're not just writing music just for the fun of it,
we're writing it for an audience who are sat there
waiting for it to come out.
And it's never guaranteed as well, because when you're writing it,
you're thinking, are they going to like this music?
And then once it starts getting released, you get the relief
of people actually really love the music, so it's a great fanbase.
Next year, you have another great stadium tour.
Do you enjoy that, being on tour?
Is it something - because you've been doing for a long time,
huge venues - is it something you like doing?
It's the best bit, I think, of the whole thing.
We tell our wives, "Oh, they've got us out working again!"
But it is the most fun. We do have a great time.
I was saying to Johnny Marr, you are Manchester icons,
what do you think is the thing that's special about the city?
What makes it a unique place for music?
People say, the further north you go, the friendlier people are.
And I would actually agree with that.
We always say when we go on tour, the further north we go,
the better the audiences get.
So I think it's a sense of community and encouragement as well.
I think people encourage...
When I was young, growing up, I was encouraged a lot to be better
and to keep going, and I think that encouragement's something
that the North have.
We look after each other. I think also, a timing thing as well.
Because when we first formed, '89, '90, there wasn't so many
of this around and we obviously worked our butts off
and we got in there, but we wasn't starting in the days
of the talent shows. I don't think we would have had a chance!
I don't think that's true but you were leading,
you were the first vanguard, really.
I think we got some gigs because people thought
we were a band from Manchester.
So they said, it's a Manchester band,
and then we turn up in our Lycra, in our leather gear
and they were like, "Hmm, not quite what we had in mind."
What's the next thing you're going to play for us?
It's a song called Brand New Sun.
Was this one that was written out in Nashville?
Erm, it came after Windows.
Windows was a song that sort of inspired the record.
The sound of that and the way we were using our voices
and vocals, it inspired it,
so it followed on from where Windows left us.
Well, Mark, Howard, Gary, it's been fantastic having you all here.
We're looking forward to hearing a bit and it's great to have
these titans of popular music in the room with us.
Thank you very much, Take That! Thank you.
CHEERING AND APPLAUSE
Our next guest gives us her extraordinary new interpretation
of an old English folk song,
first written down in the 18th century, or maybe earlier.
Please welcome the extraordinary Frankie Archer.
APPLAUSE
# In Oxford City lived a lady
# And she was beautiful and fair
# And she was courted by a sailor
# And he did love her as his dear
# He said, my dear, let us get married
# Let us now no longer stay
# I'll work for you both late and early
# If you my wedded bride will be
# This girl, she loved him, but at a distance
# She did not seem to be quite so fond
# He said, my dear, you seem to slight me
# I'm sure you love some other man
# He saw her dancing with some other
# A jealous thought came to his mind
# And to destroy his own true lover
# He gave to her a glass of wine
# So soon she drank it, so soon she felt it
# Oh, hold me fast, my dear, said she
# Is it that glass of wine you gave me
# That takes my innocent life away?
# That glass of wine now which I gave you
# That glass of wine did poison hide
# For if you won't be my true lover
# You'll never be no other man's bride
# That glass of wine now which I gave you
# Oh, I have drinked of the same, said he
# So in each other's arms we'll die now
# To warn young men of jealousy
# Oh, hark, oh, hark, the cocks are crowing
# The daylight now will soon appear
# And in my cold, cold grave, I am going
# And it's you, Willie, has called me there. #
CHEERING AND APPLAUSE
# Take me back to your swimming pool
# You lovely little
# Foolish, thinking I could have you
# Naked in a trench coat
# I'll see you on Sunday
# I wanna hear them sing
# Teach me how to do as you do
# Guide me, show me how
# And let me be your arrow
# Baby, make me pow
# I'll see you on Sunday
# I wanna hear them sing, ah
# Oh, rest your feet on me
# My lady of mercy
# Strike me, pierce me straight through the heart
# Oh-oh
# I, I want to take your picture
# Picture me in bed under your crucifix
# Under your long, black hair
# I'll see you on Sunday
# I wanna make them sing, ah
# Oh, rest your feet on me
# My lady of mercy
# Strike me, pierce me straight through the heart
# Oh-oh
# Ooh-ooh-ooh-ooh
# Ah-ah-ah-ah
# Ah-ah
# Oh, rest your feet on me
# My lady of mercy
# Strike me, pierce me straight through the heart
# Oh-oh-oh-oh
# Oh-oh-oh-oh. #
CHEERING AND APPLAUSE
Great band.
Thank you, The Last Dinner Party!
APPLAUSE
I hope you've all had a lovely show.
And, now, we finish over here with the great legends of pop,
the wonderful Take That!
CHEERING AND APPLAUSE
# Where do we start with a love that we know so well?
# How do we even begin to explain ourselves?
# The moments we swore on our lives that we won't forget
# Number one
# I couldn't do this for anyone
# Hold out my hands in front of everyone
# You are the reason that I'm holding on
# Cos you're my number one
# Hide away from this whole crowd
# When new waves come and tides move on
# Every day you'll ever know is followed by a brand-new sun
# Hey
# He-e-e-ey
# Hey, hey
# Keeping a faith in a place that we hope won't pass
# Taking a second to stop if we go too fast
# Grass always grows in the garden and through the cracks
# Holding on
# You're still the reason that I'm holding on
# Maybe it's something in our chemistry
# Am I part of you or are you part of me?
# Hey, hey, hey, hey, hey
# Hide away from this whole crowd
# When new waves come and tides move on
# Every day you'll ever know is followed by a brand-new sun
# And the nights won't feel so long
# As long as we've got our eyes on each other
# Hey
# He-e-e-ey
# Hey, hey
# My eyes
# Are bigger than your eyes
# And your eyes
# Are bigger than mi-ine
# Bigger than mi-ine
# Hey
# He-e-e-ey
# Hey, hey
# Hide away from this whole crowd
# When new waves come and tides move on
# Every day you'll ever know is followed by a brand-new sun
# Hey
# He-e-e-ey
# Hey, hey. #
CHEERING AND APPLAUSE
# When you come home to
# Home to Mama's eyes
# Don't you feel good?
# Full up with pride
# Seeing yourself in
# Self in Mama's eyes. #
Love it or leave it, baby.