APPLAUSE
Welcome to this room.
Welcome to my world.
And welcome, all the way from Boston,
to Pixies!
DRUMSTICKS TAP
# First you run out of time
# Then you run out of space
# It's like watching a line erased
# First your tongue is tied
# Then your words collide
# Just right when you found your place
# First you run out of time
# Then you run out of space
# It was a very good line
# I rode my scooter round Berlin
# Yeah
# I washed away all my sin
# Yeah
# I tried to call you on the telephone
# And now I gotta do this all alone
# First you run out of time
# Then you run out of space
# It was a very good line
# First you run out of time
# Then you run out of space
# Like watching a line erased
# Well, first your tongue is tied
# Then your words collide
# Just right when you found your place
# First you run outta time
# Then you run outta space
# It was a very good line
# They killed it dead at Mason Hall
# I hit my head against the wall
# Oh, yeah
# We tried to play it on the saxophone
# We tried to play it
# But that shit was blown
# First you run out of time
# Then you run out of space
# It was a very good line
# First you run out of time
# Then you run out of space
# It's like watching a line erased
# First your tongue is tied
# Then your words collide
# Just right when you found your place. #
APPLAUSE
Thank you, Pixies,
playing Motoroller from their latest album,
The Night The Zombies Came.
Who are my guests?
I have marvellous guests!
I shall be chatting to Neneh Cherry!
CHEERING
From Croydon, we will be enjoying Pozer!
CHEERING
And we'll be having further fascinating chats
with Clara Amfo and Jordan Stephens!
CHEERING
Classical genius from Oxfordshire, Max Richter!
CHEERING
From Fife, Jacob Alon!
CHEERING AND APPLAUSE
But now we welcome back to this show,
from Bristol, Katy J Pearson!
CHEERING
DRUMSTICKS TAP
# You can speak
# And you can breathe
# And you can teach me how to love you more
# You can see that I am vulnerable
# To love and life
# And still I'm needing
# Oh, another heartache
# Another heartbreak
# I want to lie on that mountain top
# I want to feel it
# Maybe
# I don't need your love
# Oh, to show me
# To show me
# I'm good enough
# Oh, I walked along the path
# I made no retrograde
# But I got a feeling
# That there is something here for me
# It's right, it fits
# I struggle to see it
# Maybe
# I don't need your love
# Oh, to show me
# To show me
# I'm good enough
# Yes, I am deserving
# I see the truth I'm learning
# No more looking back
# It's as simple as that
# Oh
# Maybe
# You can show, you can show, you can show
# Oh, maybe
# You can show, you can show, you can show
# Oh, maybe
# You can show, you can show, you can show
# Oh, maybe
# Oh
# You can show, you can show, you can show
# Oh
# You can show, you can show, you can show
# Oh
# You can show, you can show, you can show
# Oh
# You can show, you can show, you can show. #
CHEERING AND APPLAUSE
Making a great, triumphant return. Thank you, Katy J Pearson!
APPLAUSE
Next, it's delightful to welcome back to the show
an amazing legend of popular music,
who's just finished a wonderful book.
We welcome Neneh Cherry!
My old pal! Lovely to see you.
Oh, great to see you!
Again! Again! Again!
Lovely! We're still here. It's been a while!
And you... It's been a while, but it's given you
time to reflect... Yes.
..and write this sort of extraordinary book,
A Thousand Threads. Yeah.
What's...? Where does that come from, A Thousand Threads?
Do you know what? I got to a place in my life, right,
where I kind of realised that I'd just kind of been doing stuff,
and that there were kind of a thousand threads
dangling around - all the different things that had happened.
But that they were kind of starting to find each other.
And I realise that I kind of needed to go
and help stitch them
to make one straight line,
which kind of took me right back to my...
..I guess my root, like, my parents.
And it made me see kind of how everything is connected,
how kind of one thing is rolled into another.
And...yeah, so A Thousand Threads was just one of those things.
I kept talking about threads.
When you say where you come from,
one of the things is that your family's very musical.
An artistic family. Yeah.
Is that part of it? And your... Yeah.
I mean, your parents and your children
are all involved in music and the arts.
Yeah, I mean, we all seem to...
Why do you think that that would happen to a family?
I think... It's like...
It's a trip, isn't it?
Because it becomes this kind of fundamental thing.
I mean, I've never said to my kids, you know,
"You've got to sit down and you must have piano lessons,"
or, "You have to become musicians," or anything like that.
In a way, you know, I was almost, like, thinking that
they were going to kind of go in the completely opposite direction.
Me and my brother, Eagle-Eye -
I mean, we grew up inside the inner sanctum
of music and creativity that my parents kind of built.
They say, in motoring, mirror, signal, manoeuvre.
Do you think that you had to look in the mirror,
look back, before you could move forward?
Is that one of the reasons you wrote the book?
I think that I definitely needed to take stock for a minute.
You know, just to kind of...
Just to honour it.
I think it's really easy to just kind of take things for granted
and you just kind of blunder through. And also, I think...
Yeah, I mean, I turned 60 in March.
And I was just like, "Shit, how did I get here?"
You know, "What...? WHAT happened?"
Well, there's a part in the book where you talk about
moving to London from Sweden... Yeah.
..at the age of 15, entirely on your own. Yeah.
I mean, nowadays it wouldn't be allowed. No.
What advice...? What would you...? What would you...?
And I wouldn't let my kids do it! No, exactly.
But what would you have advised your 15-year-old self -
now, looking back - being sent off on your own to a city?
I think my parents were, like, very supportive.
I'm sure they had a few sleepless nights, no doubt.
But they were also wanting and supporting
and knowing that I was on my way to kind of finding myself,
and ultimately that's what they'd been bringing me up to do.
And so, I think I would probably say -
and I've definitely said to my kids
as they walk out the door to do something -
stay as you are.
And my dad used to say to me, "Don't let 'em change you."
LAUGHTER
And that's something I...
You know? Or, like, "Own it." No chance.
Yeah. But anyway, the other thing is, of course,
I think we first met in the '80s. Yeah.
Nowadays, people will look back and imagine the sort of,
I don't know, the Renaissance and say, "This was a great period."
There's a lot of people now who sort of think that the 1980s
has this magical glow.
Is it true that, if you can remember it,
you weren't there, do you think? Or were you part of it?
I mean, I was definitely a part of it.
But I think it was kind of an open time.
You know, I came here and became really close with Ari Up,
the singer from The Slits,
and started kind of an amazing journey in a time
where people and musicians and creative people were kind of open.
There was a crazy cross-collaboration
of a lot of culture and sound and music.
And, of course, it's played a really huge part
in carrying me through.
We've got a clip now of you on Top Of The Pops.
And I think this is probably a first.
You were pregnant on Top Of The Pops.
I think you were maybe seven months pregnant?
I was seven months pregnant with Tyson.
And that's quite a thing. I don't think there'd ever been...
They might've been pregnant,
but they were never allowed to show it before. No.
So it was about time.
Yeah, exactly. So there you were.
Paula Yates had been on The Tube,
and was the first woman to sort of appear on The Tube pregnant.
Oh, yeah! Yeah, yeah. They nearly banned her because of that.
And then we all said, "No, hang on a minute."
And it was a time... It was time to change things.
And I think that's what we were trying to do. Yeah.
You know? Yeah, exactly.
LAUGHTER
So let's have a little look at that clip right now. All right.
# No moneyman can win my love
# It's sweetness that I'm thinking of
# We always hang in a buffalo stance
# We do the dive every time we dance
# I'll give you love, baby Not romance
# I'll make a move Nothing left to chance
# So don't you get fresh with me... #
APPLAUSE
Neneh Cherry, Buffalo Stance, 1988.
Did that...? A few years ago now! Yeah, but that was...
Did that change things for you at all?
Do you know what? I mean, it kind of did.
But I think I was so determined to just kind of stay in my lane -
you know, to be able to go down to my newsagents in my slippers -
that I kind of just put a little kind of inner circle
around my home life and my family and my posse.
And we kind of... I think what did...
What it did create was an environment
where we were able to just continue to work
in a fairly creatively free kind of way.
Carrying on. It keeps going.
That's the great thing about your life, the music.
Yeah, it's a beautiful thing. So it's a wonderful book.
Neneh Cherry, A Thousand Threads. Thank you.
You can see it right there.
And I'd like to thank you for being a wonderful guest...
Thank you for having me. ..and joining us here on the programme.
Great to see you again, dear old friend.
So good to see you!
Thanks, Neneh Cherry!
Next, an artist who has just released their first single,
Fairy In A Bottle.
With their first appearance on British television,
we welcome Jacob Alon.
APPLAUSE
# I know I shouldn't give in to this fantasy
# Your love won't heal the wounded parts of me
# That still believe
# The pain means more
# Than a flame
# To the white horse
# So let me hold these words
# Until my heart retires
# I want to worship you
# Before the hope expires
# As long as we keep dancing in the land
# Of uncertainty
# You'll come alive
# Like a fairy
# In a bottle
# Like a fairy
# In a bottle
# Have I allowed my heart to become so cruel
# As to imprison an idea of you?
# It's not your fault
# It's my disease
# And I must learn
# To set you free
# Like a fairy
# In a bottle
# Through the swarm, I've seen a child alone
# Alone
# Unsure
# As he cries
# To speak
# Or to die
# But I'm not asking for your forgiveness
# Or an end to our existence
# To be alone
# And dream of you
# It's a ghost
# That I cling to. #
CHEERING AND APPLAUSE
The absolutely enchanting voice and guitar of Jacob Alon.
And Icarus' trousers. Beautiful.
Thank you so much.
So now...
MUSIC: On The Nature Of Daylight by Lorenz Dangel and Max Richter
..maybe you're familiar with this piece of very moving music.
Anybody? Have you heard this piece of music before? Yeah.
Have you heard this before?
Yes.
It's been used in many television programmes, films,
and perhaps you know that it's entitled
On The Nature Of Daylight.
Either way, let's get familiar with its composer
and meet at the piano Max Richter!
CHEERING AND APPLAUSE
Great to have you here, Max.
Now, that piece, On The Nature Of Daylight,
let's start talking about that - because it's been one of
the most streamed pieces of music - classical music, whatever music,
used endlessly in films and productions and things.
What first inspired you to write it?
Well, it comes from a record called The Blue Notebooks,
which is 2004.
And that's basically a protest record.
This is the time of the build-up to the Iraq war.
And, yeah, I wanted to try and make a piece of music
which kind of spoke to the politics of that time.
You couldn't have realised at the time
how much this piece of music was going to be used,
but did you have a sense that there was something special about it?
Well, I mean, when you're making something,
you never really know what you're doing -
at least I don't, you know?
You're moving out into this dark space,
and you're kind of trying to discover something.
So, you know, I'm just...
I was just, like, happy when it kind of ended up
and turned into something.
I mean, that's all you can hope for.
Because then Martin Scorsese took it, didn't he? Yeah.
And used it in his film?
And that was a whole other life that it had.
And hearing Jacob Alon just there, who's lovely. Yeah, amazing.
Wasn't it beautiful? Very beautiful.
What you do as well, it's interesting,
the lines of what is classical music,
or what names you want to put on music -
you know, it's other people who put names on music -
but do you feel as though they're much more blurred now
than they were?
Yeah. I mean, for me, I think music...
You know, it doesn't really have boundaries.
It doesn't have borders.
And that's one of the magical things about it, you know?
It's a space in our lives and the world
where there are just no categories.
There's no... You know, it's all about kind of language -
that we can use to communicate with one another.
Where does it begin for you?
Were you listening to classical records?
Were you listening to jazz records? Popular records?
Where did you start?
Kind of everything, really.
I mean, my first musical memories
are of just my parents playing records,
probably like most people.
They had... You know, they had, like, The Beatles,
they had The Beach Boys, they had Bach -
all the Bs. Yeah.
And, you know, I just heard this music,
and I was kind of enchanted by it immediately.
And is it true your milkman helped... Yes.
..in bringing your music to the fore?
Yeah, well, this was a bit later on in my teen years
when I was already obsessed with music,
and I was learning the piano and...
Crazy thing. So the milkman was an artist.
He was a milkman in the morning,
and then he was an artist in the afternoons
and, you know, did his art.
And he heard me practising and he took me on
as a bit of a project, because he was into experimental music.
So he would start delivering sort of downtown New York records
with the milk in the mornings.
There would be, like, two pints and the latest early Philip Glass then,
or whatever it was.
So I got this introduction to a really broad range
of crazy music,
which I just wouldn't have been able to hear normally.
In A Landscape is the title of your new album. Yeah.
And what does that apply to, In A Landscape?
Erm, well, it's to do with the kind of inner world and the outer world.
It's to do with polarities.
Erm, electronic music, instrumental music,
the natural world, the human world.
And trying to kind of reconcile those polarities,
trying to find a kind of harmony between them.
Well, also, congratulations.
Because you recently made chart history.
Because you've had the most number one classical albums
ever on the UK charts for a British composer.
Has it changed your lifestyle? LAUGHTER
Not really, no. Oh.
Not really. We were hoping you would sort of...
Fly off and...? ..squander everything, yeah.
No, no, no. No.
What are you going to play for us in a moment?
I'm going to play The Poetry Of Earth,
which is on the new record.
And what inspired that particular piece?
It's a beautiful line in a poem by Keats,
and I just thought, you know, The Poetry Of Earth...
It says, "The poetry of Earth is never dead."
That's the first line of it.
And I just thought it's an amazing line.
Well, you are an amazing composer.
And we can look forward to hearing that very much in a moment.
And we'll be welcoming you on Radio 3 as well.
So thank you so much for joining us, Max Richter.
APPLAUSE
This is the kind of bloke I am.
I whizz from a top classical artist to a brand-new British rap artist
who is finding his way into the charts.
We're delighted to welcome, from Croydon, it is Pozer!
CHEERING AND APPLAUSE
POZER VOCALISES
# Oh
POZER VOCALISES
# I'm tryna see how much bread I can make
# Why'd you think that I bruck this weight?
# Tagging it into different shapes
# Supply and demand I got deals all day
# Really take trips Pulling up on estates
# But I ain't seeing not one familiar face
# Feds in the rear Fully gas, no brakes
# I'm in a blacked out ding-dong with no
# I'm tryna see how much bread I can make
# Why'd you think that I bruck this weight?
# Tagging it into different shapes
# Supply and demand I got deals all day
# Really take trips Pulling up on estates
# But I ain't seeing not one familiar face
# Feds in the rear Fully gas, no brakes
# I'm in a blacked out ding-dong with no
# Dots came long Chopped it shorter
# Numb to the fact death's around the corner
# Masked up, creeping around like a
# Tryna put somebody's son on my
# Six shot spin parked off and it's greased down
# Weak in the knees Now he's seen this, yeah
# Slap more than one I ain't inna no beat down
# This ain't tables, ladders and chairs
# I'm tryna better my circumstances
# Why'd you think Pozer's now an artist?
# Still live for anyone asking
# Back mine out of da And harm him
# I never thought that I would be charting
# Come a long way from where I was starting
# Live on the strip My Nokia dancing
# If I see feds You know I'm departing
# I'm tryna see how much bread I can make
# Why'd you think that I bruck this weight?
# Tagging it into different shapes
# Supply and demand I got deals all day
# I really take trips Pulling up on estates
# I ain't seeing not one familiar face
# Feds in the rear Fully gas, no brakes
# I'm in a blacked out ding-dong with no
# I'm tryna see how much bread I can make
# Raking it in That's by any means
# Sauced my Bleaching it clean
# Being extra Using Mr Sheen
# I see through the whole of these yutes, they're fake
# Why'd you think that I ain't got time for these neeks?
# Teeth in the ride, honestly
# Gloves on tight tryna hide my ID
# I don't know duke But he said he knows me
# Cap We checked and his CV's blank
# I bill spliffs And they look like bats,
# And I pour half sets drinking slatt
# I cut ties if they look like rats
# And I won't indulge if it ain't 'bout racks
# I'm in the trap with the yeah in my lap
# The folks, 'nem telling me stick to the rap
# Shake it Shake it, she want to shake it
# Shake it I'm tryna break her back
# I don't do bets like William Hill
# But I bet I'ma die tryna get to the bag
# Bad one said that she proud of me
# But I know all she wants is a Prada bag
# I'm running up lag even if my feet cramp
# Where I'm born from I won't go back
# I'm tryna see how much bread I can make
# Why'd you think that I bruck this weight?
# Tagging it into different shapes
# Supply and demand I got deals all day
# I really take trips Pulling up on estates
# I ain't seeing not one familiar face
# Feds in the rear Fully gas, no brakes
# I'm in a blacked out ding-dong with no
# I'm tryna see how much bread I can make
# Why'd you think that I bruck this weight?
# Tagging it into different shapes
# Supply and demand I got deals all day
# Really take trips Pulling up on estates
# I ain't seeing not one familiar face
# Feds in the rear Fully gas, no brakes
# I'm in a blacked out ding-dong with no plates
POZER VOCALISES
# Oh! #
CHEERING AND APPLAUSE
Wa!
APPLAUSE DROWNS SPEECH
GENTLE PIANO MELODY
CHEERING AND APPLAUSE
The wonderful Max Richter!
Next, I'm going to pop over here
and have a little bit of a fire-side chat -
or a piano-side chat -
with two podcast legends,
Jordan Stephens and Clara Amfo!
Welcome to you both!
Hello! Nice to see you!
Welcome! And you were here only a couple of weeks ago.
Yes, not long ago at all, yeah.
What brought you here the other week?
I was watching my beautiful girlfriend, Jade,
absolutely smash it.
And she was fantastic. She was honestly incredible, yeah.
She really was. The angel of our dreams!
Angel Of My Dreams, for sure. There we go. Yes, exactly.
There we are.
So, now, Clara, together you have got a wonderful podcast. Mm.
And it's all about making...
Called Make Me A Mixtape. Yes, it is.
How would you describe it?
Er, so, essentially, it's us two music lovers
going head-to-head to create mixtapes,
that are themed mixtapes,
for our lovely listeners or our special guests.
And at the end of each episode, we select six songs each. Yeah.
They have to decide who has made the best one.
So one of you stands to win the friendship
and the great respect and regard of the guest,
and the other one is cast out into the garden? Yes.
In the snow? Correct. Yes. Yeah.
And we're not competitive at all.
And you can get all of this good stuff anywhere on BBC Sounds.
But it's a fascinating idea, a mixtape.
And what sort of subjects do people give you?
Oh, gosh. We've had everything from, I think, what, graduations?
Yeah, we've had, like, a school...
A school run or something?
Or something to do with Ibiza? Yeah, that was it.
You know what? It's all blended into one. Yeah.
Something to do with Ibiza.
We've had an Olympian asking for comeback themes.
All of that kind of stuff. A comeback themes.
Now, you've very kindly invited me to participate... Yes.
..on the programme now, to give people an idea
of what it's all about. Mm. So I gave you a theme,
which I'd carefully prepared with enormous thought,
which was a mixtape to play to my trees and plants
to improve their growth, mood, and humour.
That's a great theme, by the way. Great theme.
A theme's a big part of it.
Because sometimes we get themes where it's a little bit
ambiguous or there's no specific genres.
I was hoping to have one here
so we could actually see the physical effect.
Because it's scientifically proven... Mm.
..with the right music, plants grow better.
That is true. They grow better. So, Clara, I think you've started.
OK, so the song I selected for you
is by an artist that I know you love.
Obviously I'm going to prerequisite and say
there will never, ever be another Nina Simone,
but this artist - deeply influenced by her. Oh!
Beautiful choral voice.
Incredible pianist.
Virtuoso.
I have chosen for you Green Garden by Laura Mvula.
Oh, I love that! Great tune.
That's... Let's just hear a little bit of that,
and imagine this is the flower. Yeah.
# And I'll fly on the wings of a butterfly
# High as a tree top and down, down again
# Putting my bag down... #
Oh, that was lovely. Look at the tree growing. Exactly.
Look, isn't that lovely? Beautiful. Did we see her at Glastonbury,
Laura? Was she...? Probably. She's a wonder.
She's wonderful. She's an absolutely fantastic artist.
I think she's a great choice.
I think just her voice alone would make sort of...
Anything... Yeah, exactly.
You would be able to grow things like oranges in north Kent.
Truly! You know? No, that is the...
I think she should put that on the front of her next album.
"You can grow oranges in north Kent to my music!"
Yeah, "Music for growing oranges in north Kent."
There you go. Yeah, exactly. Yeah. I think it would do very well.
Now, though, what is your choice for me?
My selection? Right!
I've gone for Watermelon Man by Herbie Hancock.
Oh. Oh, OK. Yes. Yeah, that's nice.
It's a song that I... I don't know, I should've built up to it
and then said it. I've done it the wrong way round.
Anyway, it's a song I often...
I went through a phase of listening to Herbie Hancock every morning,
just because of the vibes. Why not?
Obviously he stretched through many different, like, eras. Mm-hm.
This was I think entering into a bit more of a synth era.
And, yeah, I saw him actually in the afternoon at Glastonbury.
Beautiful time to hear music like that.
So shout-out, Herbie Hancock. Boom, boom!
Yes. Marvellous. We love Herbie.
Yeah, and I really hope the plants will grow for you, Jools.
Well, thanks very much. That's very good.
So shall we here a bit of Watermelon Man? Please. Thank you.
MUSIC: Watermelon Man by Herbie Hancock
Oh, it's not the synth era! It's that double...
It wasn't the synth era, this!
A lot of flutes. It's such a banger, that, though, isn't it?
Yeah. We love Herbie. What a great sound.
Dum, dum, dum!
That was lovely. I got the era wrong.
This is Watermelon Man. This is how the tree has grown,
look, beautifully, to that.
And then this was Laura Mvula. This is how the tree's...
And they do look like trees, don't they? Yeah.
Big old trees. Yeah, what trees? What, your hands?
Yes, do you think so? Yes, Jools. Yeah. Thanks, yeah.
I think so.
And it turns out they've both grown equally.
Aw! I'm afraid you're going to have to pick a winner, then.
This is serious. You have to pick a winner.
In that case, I'm afraid it's absolutely decided.
I'm going to...
Like in The Judgment Of Solomon,
what I'm going to do is I'm going to saw you both in half
and say thank you very much for joining me.
Oh, Jools!
We love you both!
CROSSTALK
We love you! I couldn't do it!
Thank you. We love you. I won.
Thank you so much, Clara and Jordan!
Let's hear it for them. And I shall enjoy the podcast.
Saw them, between the middle of them.
So now, performing Those Goodbyes from her new album,
Somebody, Now... Oh, it's...
From her new album, Someday, Now, we welcome Katy J Pearson!
CHEERING
DISTORTED VOICE: May the wind be always at your back.
May the road rise to meet you.
# I'm tired of waiting on
# Those goodbyes
# Oh, little one
# Don't you cry
# Now that the time has come
# What to say?
# We're tired of reasons why
# We should walk
# And I know you're going to do it
# Oh, make me feel stupid
# And I know you're going to do it
# Oh, make me feel stupid
# Ah
# How did it come to this?
# Feel
# My heart begin to shift
# Ah
# I'm bleeding everywhere
# From all those
# Goodbyes
# And as you walk away
# I count the steps you take
# So people change
# So what are you?
# And when I look another way
# I see a different point of view
# I know my time has come
# Oh, what can I say?
# I'm tired of reasons why
# I should walk
# And I know you're going to do it
# Oh, make me feel stupid
# And I know you're going to do it
# Oh, make me feel stupid
# Ah
# How did it come to this?
# Feel
# My heart begin to shift
# Ah
# I'm bleeding
# Bleeding
# From all those goodbyes
# Those goodbyes
# Those goodbyes... #
CHEERING AND APPLAUSE
Thank you, Katy J Pearson!
Thank you to all of my guests this evening.
We're so looking forward to this next band,
touring in the United Kingdom next year.
But we can enjoy them right now, right at this very moment,
in this time and place.
Thank you to all of my guests, and welcome Pixies!
CHEERING AND APPLAUSE
# He's coming today
# He's coming to save us
# I hope he don't hate us
# I hope he forgave us
# I'm going away
# I'm going to Vegas
# And if I don't make it
# Well, there's lots of other places
# I had a two-year run
# Down in Henderson
# Cos when you've done everything
# Everything is done
BOTH: # He's coming today
# He's coming to save us
# I hope he don't hate us
# I hope he forgave us
# I've broken my legs
# Back in Las Vegas
# But they were so gracious
# I doubled my wages
# I was at the Pizza Hut
# In Needles, California I'll tell you what
# I paid a dollar three times for revolution number nine
# And everything was fine, but, oh
# He's coming today
# He's coming to save us
# I hope he don't hate us
# I hope he forgave us
# He's coming today
# He's coming to save us
# I hope he don't hate us
# I hope he forgave us
# He's coming today
# He's coming to save us
# I hope he don't hate us
# I don't hate you
# I hope he forgave us
# I forgive you
# Ooh, ooh
# Ooh, ooh. #
CHEERING AND APPLAUSE
# I'm tryna see how much bread I can make
# Why'd you think that I bruck this weight?
# Tagging it into different shapes
# Supply and demand I got deals all day
# Really take trips Pulling up on estates
# I ain't seeing not one familiar face
# Feds in the rear Fully gas, no brakes
# I'm in a blacked out ding-dong with no plates
POZER VOCALISES
# Oh. #