WEBVTT 00:14.070 --> 00:16.571 That's the Red Hot Chili Peppers with Universally Speaking. 00:16.611 --> 00:19.793 Before that you heard Blink 182 and I miss you. 00:19.853 --> 00:22.694 This is XFM, London's 104.9. 00:23.154 --> 00:23.935 I'm Adam Buxton. 00:24.015 --> 00:24.735 I'm Joe Cornish. 00:24.755 --> 00:27.216 We're here with you until 3pm. 00:27.256 --> 00:29.817 That's two hours of non-stop us. 00:30.378 --> 00:31.658 And quite a lot of music as well. 00:31.678 --> 00:33.459 And a lot of fantastic music. 00:33.899 --> 00:37.141 Yes, it's the Adam and Joe radio show on XFM. 00:37.541 --> 00:40.843 It's the National Radio Show of the Year. 00:41.183 --> 00:41.403 Is it? 00:41.923 --> 00:42.243 Yes. 00:42.623 --> 00:43.024 Says who? 00:43.324 --> 00:44.184 Well, I do. 00:44.364 --> 00:54.568 You know, it's in England, so it's national, and it's dealing with things that happen in the year. 00:55.128 --> 00:58.890 So it's the National Radio Show of the Year. 00:59.190 --> 01:03.892 And we've got loads of new, well, two new items coming up for you in the next two hours. 01:03.932 --> 01:06.153 That makes an average of one item per hour. 01:07.290 --> 01:08.451 Haven't we even got more than that? 01:08.851 --> 01:10.433 Well, we've got our new movie club. 01:10.753 --> 01:11.954 Yeah, that's one. 01:11.974 --> 01:13.295 We've got the afternoon play. 01:13.555 --> 01:14.356 Yeah, that's two. 01:14.716 --> 01:15.957 They're the two new items. 01:16.798 --> 01:18.980 Oh, I see, but we have more than that in the show. 01:19.000 --> 01:20.261 We've got more old items. 01:20.521 --> 01:25.065 Yeah, we have celebrity regression, and it's quite a hard one this week. 01:25.085 --> 01:25.305 Good. 01:26.086 --> 01:26.907 Last week's was too easy. 01:26.927 --> 01:27.968 It was too easy, wasn't it? 01:28.008 --> 01:28.808 What was it last week? 01:29.449 --> 01:30.150 I can't remember. 01:30.170 --> 01:32.552 Neither can I. Was it Contact? 01:33.152 --> 01:34.152 No, that was the week before. 01:34.172 --> 01:35.433 Oh, it was Swayze. 01:35.733 --> 01:36.353 Swayze. 01:36.413 --> 01:37.053 It was Swayze. 01:37.093 --> 01:37.753 Highway over highway. 01:37.814 --> 01:38.474 Far too Swayze. 01:38.714 --> 01:39.334 Far too easy. 01:39.734 --> 01:44.396 Well, this week it's, I don't know, it's quite easy, but I want you to get all three films right. 01:45.296 --> 01:46.976 And then you'll be in the prizes. 01:47.016 --> 01:48.297 What kind of prizes have we got? 01:48.617 --> 01:52.398 We've got Katie looking after us today in the production booth. 01:52.558 --> 01:53.678 Tickets for 13 Senses. 01:53.698 --> 01:56.279 13 Senses could be yours. 01:56.899 --> 01:58.540 And donuts. 01:58.920 --> 02:01.441 Plus, we've also got Diddy's in the Dock coming up towards the end of the show. 02:01.821 --> 02:08.344 And I'm going to be playing a pretty exclusive play of Charlotte Hathaway's new single, Charlotte Hathaway from Ash. 02:08.464 --> 02:14.486 They're trying to stop me playing it here, so if I say I'm going to play it, then you can't stop me because there'll be a huge reaction from the listeners. 02:14.766 --> 02:16.227 Wow, it's like Pump Up The Volume. 02:16.267 --> 02:16.587 Yeah. 02:16.967 --> 02:18.568 You're like Christian Slater. 02:18.608 --> 02:18.908 Yeah. 02:19.048 --> 02:19.688 Hard Harry. 02:19.868 --> 02:20.148 Yeah. 02:20.208 --> 02:21.069 And what was that other show? 02:22.650 --> 02:24.071 What's the Oliver Stone movie about? 02:24.131 --> 02:25.732 Talk Radio. 02:25.772 --> 02:26.253 That's right. 02:26.293 --> 02:30.216 Barry Champlain with Eric Bogosian. 02:30.616 --> 02:33.058 Shall we explain what the movie club is going to be then? 02:33.739 --> 02:44.547 The idea is to copy what Oprah Winfrey has done very successfully in the States and Richard and Judy copied Oprah Winfrey and started up a book club and now we're going to copy Richard and Judy. 02:44.968 --> 02:47.350 The idea is that you nominate a book each week 02:48.470 --> 02:50.511 This is opera and Richard and Judy's ideas. 02:50.531 --> 02:51.712 They nominate a book each week. 02:51.732 --> 02:53.213 Can I just say, isn't it Oprah? 02:53.773 --> 02:54.714 I like to say opera. 02:54.954 --> 02:56.334 Like going to the opera? 02:56.354 --> 02:57.095 Yeah, exactly. 02:57.195 --> 02:58.335 I've just been watching opera. 02:58.776 --> 03:00.657 Okay, that makes me sound more sophisticated. 03:01.457 --> 03:04.699 So they choose a book each week and then all the viewers read it. 03:05.439 --> 03:08.321 Or, you know, most of them do, and then everyone comes and chats about it the following week. 03:08.341 --> 03:11.743 So we're going to do the same, but just with a really bad film on telly. 03:11.863 --> 03:12.744 And you've picked a film? 03:12.924 --> 03:21.229 Well, what I've done is I've picked three films, and I'd like listeners to call in and vote which one they would like to have on Adam and Jo's Bad Movie Club this week. 03:21.963 --> 03:24.444 So we'll tell you about those films in a while. 03:24.864 --> 03:29.865 And also, shall we explain a little bit about our new move, you know, play segment? 03:30.005 --> 03:30.625 Yeah, yeah. 03:30.725 --> 03:31.345 Afternoon Play. 03:31.585 --> 03:32.246 Afternoon Play. 03:32.286 --> 03:38.487 It's very much like the kind of thing you might hear on Radio 4, possibly written by Alison Pearson or something. 03:38.527 --> 03:41.148 It's kind of a domestic drama about middle class folk. 03:42.588 --> 03:47.370 But it's very exciting and you have the chance to influence which way the play goes. 03:47.430 --> 03:48.830 Shall we say to steer the narrative? 03:49.330 --> 03:51.131 Oh yeah, that's a much better way of putting it. 03:51.572 --> 03:59.917 You, the listener, have a chance to steer the narrative, if you will, simply by phoning in afterwards and voting for which way you think the play should go. 04:00.217 --> 04:07.162 But all this is coming up, it's blowing my mind, and right now I think we should play a little bit more music. 04:07.442 --> 04:13.266 I should say as well that my brother, if you're listening, I hope we haven't said er too much. 04:13.306 --> 04:18.530 He complained to me this week that we say er a lot in like the first links of the show. 04:19.410 --> 04:20.611 I think he meant me, particularly. 04:21.391 --> 04:23.192 Well, that's not a very supportive thing to say. 04:23.272 --> 04:25.213 No, I wanted to punch him in the face when he told me. 04:25.233 --> 04:26.633 Has he said anything nice about the show? 04:27.273 --> 04:29.654 Uh, he's not, yeah, kind of, I think. 04:29.694 --> 04:32.556 He's a bit not very forthcoming with his compliments. 04:32.576 --> 04:32.996 He's jealous. 04:33.236 --> 04:36.917 He might be jealous, but he said he found it really annoying. 04:37.118 --> 04:40.339 You know, if you say, uh, too much, you know what, he says too much. 04:40.579 --> 04:40.759 What? 04:41.559 --> 04:42.360 And then there. 04:43.260 --> 04:43.940 Yeah, that's right. 04:44.221 --> 04:44.961 Here's Supergrass. 04:46.479 --> 04:48.430 With Kiss of Life, Zefan, 104.9. 05:02.403 --> 05:06.164 That's a kind of funky, summery slice of pop from Supergrass. 05:06.184 --> 05:06.425 I like it. 05:06.445 --> 05:07.625 I'll tell you what it sounds a bit like. 05:07.685 --> 05:08.765 It's an INXS single. 05:09.226 --> 05:09.906 That's true. 05:09.946 --> 05:11.947 From the mid to late 80s or early 90s. 05:12.227 --> 05:12.907 Yeah. 05:13.127 --> 05:14.808 INXS is good period, I hasten to write. 05:14.828 --> 05:15.468 Oh, absolutely. 05:15.528 --> 05:16.468 I really like that single. 05:16.648 --> 05:17.589 I love Supergrass. 05:17.749 --> 05:19.790 They performed it on Top of the Pops last night. 05:19.810 --> 05:19.970 Did they? 05:19.990 --> 05:21.490 They performed it very well, confidently, yeah. 05:21.590 --> 05:23.911 Oh, I went to a Supergrass gig last Saturday night. 05:24.031 --> 05:24.311 Did you? 05:24.672 --> 05:26.152 And it was brilliant. 05:26.212 --> 05:28.013 I thought you said it was some sort of club night. 05:28.493 --> 05:36.976 No, I went to the club after the gig, because Gaz and one of the other ones were DJing at this club, The Bar Flying Camp. 05:37.036 --> 05:37.656 Do you know Gaz? 05:37.836 --> 05:38.416 No, don't know him. 05:38.576 --> 05:39.776 Will you call him by his full name then? 05:39.977 --> 05:41.677 Sorry, Gareth, Mr. Coombs. 05:45.166 --> 05:45.866 It was great. 05:45.987 --> 05:46.947 The gig was extraordinary. 05:46.987 --> 05:52.490 I turned up and I thought I was going to leave in about the first 10 minutes because it was so hot and packed. 05:52.530 --> 05:54.471 It was at the forum in Kentish town. 05:54.971 --> 05:56.772 And we were stood right up the back at the top. 05:57.613 --> 05:59.234 And everyone was really into it. 05:59.254 --> 06:03.096 The place was heaving and it was really, really so smoky. 06:03.116 --> 06:04.436 I've never been anywhere so smoky. 06:04.717 --> 06:09.079 I kind of, even though I do have the occasional sickie, I want them to ban smoking in places like that. 06:09.559 --> 06:10.720 I think it would be a good thing. 06:11.500 --> 06:12.481 Anyway, that's by the by. 06:13.382 --> 06:21.489 I stuck with it, and after I'd had a few cans of lager, I suddenly got into it, and Supergrass were brilliant, and they kept up the pace really well. 06:21.870 --> 06:25.093 You know when sometimes bands do an acoustic set halfway through? 06:25.333 --> 06:27.455 And you think, oh no, it's the acoustic set. 06:28.516 --> 06:30.778 But they did it sat on a sofa. 06:31.840 --> 06:35.845 Yeah, they had a sofa that came out and they all sat there, all three of them on this big sofa. 06:36.226 --> 06:37.047 It was really good. 06:37.368 --> 06:38.409 Did that make a genuine difference? 06:38.469 --> 06:40.693 It was like jamming with someone in your front room or something? 06:40.713 --> 06:41.854 It made a genuine difference, yeah. 06:41.874 --> 06:46.782 It just seemed like it fitted with what you wanted from Supergrass and it seemed like from the heart somehow. 06:47.322 --> 06:52.066 And they did justice to all their tracks, and you forget how many amazing songs they've done. 06:52.606 --> 06:54.948 And they were just fantastic. 06:54.968 --> 06:57.570 And the audience, I've never seen an audience so up for it. 06:57.630 --> 07:00.873 In every single part of the auditorium, people were just wigging out. 07:01.293 --> 07:02.674 It was a fantastic evening. 07:02.734 --> 07:05.016 They've got a singles collection coming up, haven't they? 07:05.076 --> 07:06.077 Or a greatest hits collection? 07:06.277 --> 07:07.158 Yeah, that's right. 07:07.178 --> 07:11.761 Sometimes that's a sign of lack of confidence from the record company, isn't that true to say sometimes? 07:11.801 --> 07:12.762 Yeah, to gauge the fans. 07:12.782 --> 07:14.744 It's a way of a record company testing the water. 07:14.964 --> 07:16.365 Yeah, that's true, that's true. 07:16.465 --> 07:18.787 It's just a way of measuring fans, right? 07:18.807 --> 07:28.714 Yeah, well it's a weird, I guess you get to a weird stage in your career if you're a big band where maybe you're not selling as much as you used to and yeah, the record company say, right, it's time to poo or get off the potty. 07:29.875 --> 07:30.955 It's revolting, isn't it? 07:31.275 --> 07:34.096 And yeah, the Greatest Hits is a way of testing that, I suppose. 07:34.136 --> 07:37.357 Doesn't make much sense though, because if you're a fan of the band, you wouldn't buy the Greatest Hits. 07:37.657 --> 07:38.497 But you have them already. 07:38.677 --> 07:39.937 No, but that's what they do, isn't it? 07:39.957 --> 07:43.058 They get them to re-record a couple of new tracks, and that's what Kiss of Life is. 07:43.798 --> 07:45.839 That'll go on the Greatest Hits. 07:46.379 --> 07:50.300 It's all a bit nasty, that side of the record industry. 07:50.320 --> 07:51.860 It makes me slightly want to kill myself. 07:52.941 --> 07:54.361 Actually, no, I'm talking rubbish. 07:55.714 --> 07:56.374 Shall we have some Jay-Z? 07:57.055 --> 07:57.735 Oh, do we have to? 07:57.975 --> 07:58.576 I think we do. 07:58.916 --> 08:00.036 You love Jay-Z, don't you? 08:00.056 --> 08:01.677 Well, all of them except for this one. 08:02.518 --> 08:03.478 No, I love it, I love it. 08:03.498 --> 08:04.659 You love this one, don't you? 08:04.679 --> 08:07.840 Yeah, personally, it's my favorite Jay-Z song, 99 Problems. 08:07.880 --> 08:08.841 Here it is on XFM. 08:22.628 --> 08:24.949 As the Scissor Sisters with Laura. 08:24.989 --> 08:29.290 Coming up in the next half hour we have Celebrity Regression Therapy. 08:29.330 --> 08:34.892 Joe will regress me into the mind or the roles of a famous Hollywood star. 08:34.912 --> 08:38.114 You have to guess which star it is and which films I'm being regressed into. 08:38.134 --> 08:42.495 You could win tickets to go and see Dylan Moran's new comedy show. 08:43.075 --> 08:43.596 That's a good prize. 08:43.616 --> 08:44.436 Is it called Monster? 08:44.736 --> 08:45.296 Yes, it is. 08:45.396 --> 08:47.657 Everything's called Monster these days, isn't it? 08:47.957 --> 08:50.358 The film with Charlize Theron. 08:50.398 --> 08:51.359 That's right, Monster. 08:51.579 --> 08:54.580 Nick Broomfield's documentary about Aileen Wuornos. 08:54.600 --> 08:58.142 That might not be called Monster, but it's about the same thing. 08:58.162 --> 08:59.062 It's about the same thing. 08:59.502 --> 09:00.423 And Monster Munch. 09:00.563 --> 09:01.743 Monsters Incorporated. 09:01.783 --> 09:03.264 Monsters Incorporated. 09:03.644 --> 09:04.645 Monster from the Deep. 09:04.865 --> 09:06.846 That old film that doesn't exist. 09:06.866 --> 09:07.286 Yeah, the phrase. 09:07.366 --> 09:08.346 It's called Monster. 09:08.426 --> 09:08.886 Monster. 09:08.906 --> 09:09.507 Yeah. 09:09.547 --> 09:11.047 Monster, Nigel Kennedy used to say. 09:11.207 --> 09:11.648 Monster. 09:11.828 --> 09:12.208 Monster. 09:12.688 --> 09:13.048 What's that? 09:13.168 --> 09:15.649 Do you ever want to revivify old- revivify? 09:15.689 --> 09:16.170 Is that a word? 09:16.190 --> 09:19.711 Do you ever want to bring back old buzzwords? 09:20.371 --> 09:20.651 Sure. 09:20.872 --> 09:21.312 Stonker. 09:21.812 --> 09:22.612 Stonker. 09:23.132 --> 09:24.213 Like referring to what? 09:24.753 --> 09:25.333 Comic Relief. 09:26.274 --> 09:26.534 What? 09:27.214 --> 09:30.916 Comic Relief sort of tries to push these slightly naff. 09:31.596 --> 09:34.557 ...comedy buzzwords into popular currency every year. 09:34.617 --> 09:36.998 And one year, like the other year it was just pants, wasn't it? 09:37.039 --> 09:37.919 Big, big pants. 09:38.119 --> 09:38.579 Oh yeah, yeah. 09:38.639 --> 09:40.420 And then one year it was the word stonker. 09:40.760 --> 09:41.000 Right. 09:41.340 --> 09:43.682 The big, they call it comic relief, the big stonker. 09:43.962 --> 09:46.843 Isn't stonker a word for stiffy? 09:47.503 --> 09:47.743 Is it? 09:48.264 --> 09:48.564 Isn't it? 09:49.364 --> 09:50.325 Yeah, well let's not dwell on it. 09:50.425 --> 09:50.645 Nah. 09:50.785 --> 09:52.526 What word would you bring back then if it was up to you? 09:52.546 --> 09:54.868 Oh, I don't know, I'll have to think about that. 09:55.228 --> 09:55.988 Probably stonker. 09:57.710 --> 09:58.650 Otherwise I wouldn't have mentioned it. 09:59.311 --> 10:04.014 So yeah, you could win tickets to go and see Monster, or indeed Thirteen Senses. 10:04.054 --> 10:04.534 It's up to you. 10:04.554 --> 10:09.097 If you win Ditties in the Dock, it's your- Sorry, Celebrity Regression Therapy, it's your choice. 10:09.417 --> 10:10.118 Wow, wow. 10:10.598 --> 10:20.543 So I was watching this morning, during the week, and it's always fun to watch this morning because of the terrible faux pas, the holes they dig themselves into. 10:20.583 --> 10:21.243 Fern and Phil. 10:21.463 --> 10:22.144 Fern and Phil. 10:22.344 --> 10:23.424 Who's the worst for the faux pas? 10:23.464 --> 10:25.865 Oh no, hang on, it wasn't this morning, it was Richard and Judy. 10:25.966 --> 10:26.246 Was it? 10:26.266 --> 10:28.467 I've got two faux pas here, one of them's a Phil and Fern one. 10:28.787 --> 10:30.968 But let me start with the Richard and Judy one. 10:31.108 --> 10:31.388 Okay. 10:31.728 --> 10:33.429 It's also fun to watch that because of the faux pas. 10:33.449 --> 10:34.890 So they've got Samantha Janis on. 10:35.390 --> 10:36.591 I prefer to call her Janus. 10:36.691 --> 10:37.072 Janus. 10:37.472 --> 10:44.079 They've got Samantha Janus on and, you know, they don't stick to the script, they go off on tangents, they freestyle Richard and Judy. 10:44.119 --> 10:46.822 Richard just thinks of something and he says it, sees where it'll go. 10:47.442 --> 10:53.788 So he says the previous item's been about stalkers, about how there are so many stalkers in Britain and everyone's stalking. 10:54.540 --> 10:55.160 Not stonkers. 10:55.381 --> 10:56.041 Not stonkers. 10:56.441 --> 10:57.942 And so he goes to Samantha Janis. 10:58.443 --> 11:00.024 Did you ever have a stalker, Samantha? 11:00.664 --> 11:03.065 And she goes, yeah, yeah, yeah, I did it a few years ago. 11:03.866 --> 11:04.146 Really? 11:04.706 --> 11:05.147 What did he do? 11:05.187 --> 11:05.607 What was it like? 11:05.647 --> 11:06.147 What happened? 11:06.528 --> 11:09.429 Oh, he followed me around in a white transit van. 11:09.890 --> 11:11.951 And the police stopped him after weeks. 11:11.991 --> 11:14.573 And he had a knife in the back and lots of photos of me. 11:14.633 --> 11:16.154 And my house was burgled. 11:16.634 --> 11:19.216 And a threatening letter was sent to the production company. 11:19.736 --> 11:21.277 So it was getting quite dark at this point. 11:21.297 --> 11:21.437 Yeah. 11:21.657 --> 11:22.478 Richard goes, oh, really? 11:23.058 --> 11:24.079 I said, what happened to him? 11:24.219 --> 11:24.719 Did they catch him? 11:24.959 --> 11:25.359 Did they get him? 11:25.379 --> 11:26.160 Was he caught and put away? 11:27.220 --> 11:27.721 Slight pause. 11:27.761 --> 11:28.481 Janice, no. 11:29.181 --> 11:30.242 No, he was let go. 11:30.282 --> 11:31.463 They told him it was a camping knife. 11:33.064 --> 11:38.026 Sort of atmosphere of sinister doom descends on the studio at this point. 11:38.046 --> 11:39.267 Is she beginning to look a little tearful? 11:39.287 --> 11:43.569 She's beginning to look nervous and tearful, which she goes, so, so he's still out there, is he somewhere? 11:45.290 --> 11:48.432 Janice, nervous, regretting this, she says, yes. 11:49.198 --> 11:52.940 Judy sort of goes, oh, tries to put a jolly face and it goes, well, hello if you're out there. 11:54.922 --> 11:56.343 And then they move on to the next item. 11:57.219 --> 12:00.580 That is transcribed verbatim from Richard and Judy. 12:01.200 --> 12:03.181 So Janice may not survive the week. 12:03.861 --> 12:04.961 Oh, don't say that. 12:05.381 --> 12:07.322 Can you imagine if she didn't, that would be dreadful. 12:07.342 --> 12:08.222 That would be dreadful. 12:08.522 --> 12:10.743 Oh man, at least the guy got a name check. 12:11.203 --> 12:12.543 He must have been jazzed. 12:12.823 --> 12:14.784 That would have been the best day of his life, don't you reckon? 12:14.804 --> 12:22.486 Man, if you'd given up stalking Samantha Janice, because this happened a few years ago, not that conversation happened last week, but the actual stalking happened a few years ago. 12:23.126 --> 12:25.907 If you'd given up stalking Samantha Janice and then you saw that, 12:26.667 --> 12:28.508 You'd start again, wouldn't you? 12:28.748 --> 12:30.628 Well, yes, that's like an invitation! 12:30.648 --> 12:31.908 He's interested in me! 12:31.928 --> 12:33.029 He's talking about me! 12:33.069 --> 12:34.309 He's talking about me! 12:35.069 --> 12:38.270 Start up the van, get the knife, and a pen and paper. 12:40.571 --> 12:41.431 That is grim. 12:41.791 --> 12:44.632 Let's hear the next faux pas in just a second. 12:44.672 --> 12:47.453 Right now, here's Graham Coxon. 12:50.113 --> 12:51.714 Oh, it's not Graham Coxon at all, it's Ash. 13:02.714 --> 13:04.556 Whoa, that's Ash with Orpheus. 13:04.576 --> 13:09.101 They're playing some sort of a gig at midnight on Sunday night to launch their album at some record store. 13:09.301 --> 13:09.622 Are they? 13:09.802 --> 13:14.627 I don't know the details, but a central London record store, Midnight Ash, playing to launch the album. 13:14.707 --> 13:15.888 I don't know whether it's open to the public. 13:16.749 --> 13:16.869 Ooh. 13:17.070 --> 13:17.871 It must be, mustn't it? 13:17.951 --> 13:18.571 I don't know, I don't know. 13:18.611 --> 13:19.873 The album's out on Monday. 13:19.933 --> 13:21.034 We should find out more about that. 13:21.094 --> 13:21.675 What's it called? 13:21.775 --> 13:23.837 It's called, it's called... Meltdown. 13:23.897 --> 13:24.298 Meltdown. 13:24.878 --> 13:25.438 Ok. 13:25.759 --> 13:35.565 So you know what, we've just had an email, you can email us here at XFM, adamandjoe at xfm.co.uk or text us on the text number, what's the text number Adam? 13:35.765 --> 13:36.365 83XFM. 13:36.666 --> 13:36.966 Brilliant. 13:38.227 --> 13:40.708 Someone's actually watching us via the webcam which is a first. 13:41.149 --> 13:41.529 Are they? 13:42.049 --> 13:44.451 Well the webcam's not pointed at me so I'm off. 13:44.691 --> 13:46.712 Maybe it's Leslie Grantham. 13:47.473 --> 13:48.213 Oh don't say that. 13:49.174 --> 13:50.755 Ok so I was going to tell you the second faux pas. 13:51.395 --> 13:54.778 I've been watching Phil and Fern and Richard and Judy this week and noting down faux pas. 13:54.798 --> 13:57.360 This is actually quite an old Phil and Fern faux pas. 13:57.640 --> 14:11.051 Can I just say before you go into the Phil and Fern one that I love Richard and Judy as people and as presenters and I wouldn't like them to think that we were poking fun at them. 14:11.548 --> 14:14.209 No, but it's tricky, isn't it? 14:14.309 --> 14:18.331 Because we went on their show when we did 50 greatest magic tricks, didn't we? 14:18.892 --> 14:19.432 Yeah, that's right. 14:19.852 --> 14:27.596 And Richard performed a magic trick for us live on the telly, and his hands were trembling like a frightened child. 14:28.096 --> 14:33.799 I found that really endearing, because they've been on television forever, and he was still really nervous about this magic trick. 14:34.179 --> 14:36.640 And afterwards, in the green room, they were really nice, weren't they? 14:36.660 --> 14:37.100 Well, that's right. 14:37.120 --> 14:39.641 That's where I developed my... They were really sweet and lovely. 14:40.882 --> 14:42.322 Yeah, when you watch them on telly. 14:42.543 --> 14:44.043 They come up with the occasional howler. 14:44.203 --> 14:44.483 Yeah. 14:44.563 --> 14:46.084 But so do we, eh? 14:46.104 --> 14:46.144 No. 14:46.564 --> 14:47.004 Come on then. 14:47.564 --> 14:54.666 Okay, so Fern and Phil, there's a woman on Fern, a member of the public, and she has, it's about phobias. 14:55.166 --> 14:57.047 She's got a terrible spider phobia. 14:58.087 --> 15:04.573 Erm, so Fern goes, Hello Judy, now you're absolutely terrified of spiders, aren't you? 15:05.134 --> 15:09.658 You can't even look at a picture of one without having a really serious panic attack, can you? 15:10.119 --> 15:16.925 Woman goes, that's right, that's right, now I can't even, even if I think about them, cold sweat and a panic, it's really serious. 15:18.186 --> 15:22.847 So Fern is obviously trying to establish in the minds of the viewing audience how serious this thing is. 15:23.387 --> 15:26.748 So she goes, wow, you actually couldn't look at a real spider. 15:26.768 --> 15:27.628 The woman goes, no, no, no. 15:28.108 --> 15:39.311 And Fern without thinking just goes, so if I was to say, for instance, there was a huge spider crawling up the back of your chair about to climb into your hair right now, what would happen? 15:39.911 --> 15:44.952 At which point the woman starts freaking out and having a major panic attack and a sweat. 15:45.752 --> 15:47.974 And they have to go- sweat's not very dramatic, is it? 15:48.214 --> 15:48.934 Well, that's enough! 15:49.594 --> 15:51.836 Starts having a major panic attack, they have to throw to the adverts! 15:52.296 --> 15:58.480 When they come back from the adverts, Fern is apologising so profusely, and the woman's had to leave the studio. 15:58.560 --> 15:59.460 No way! 16:00.341 --> 16:01.562 That's unbelievable! 16:01.782 --> 16:02.902 How did they throw to the ads? 16:02.942 --> 16:03.883 Who threw to the ads? 16:05.384 --> 16:06.665 Phil probably threw to the ads. 16:07.449 --> 16:12.310 Phil is just watching the whole thing unfold in horror, because he's a bit more of a pro, isn't he? 16:13.030 --> 16:13.770 Well, yeah. 16:14.270 --> 16:17.571 Yeah, if you can call training in the broom cupboard. 16:17.811 --> 16:19.551 Yeah, that's what I would call- Professional training. 16:19.571 --> 16:20.251 Proper training. 16:20.691 --> 16:25.512 Whereas Fern, you know, she's been in the business a long time, but she's more of an amiable bumbler. 16:25.752 --> 16:27.192 Yeah. 16:27.332 --> 16:32.193 And she tends to live with her foot in her mouth most of the time. 16:32.573 --> 16:35.894 We've got celebrity regression therapy coming up for you after this. 16:43.174 --> 16:56.241 Okay, we're live in three, two, partition now. 16:56.261 --> 16:56.781 XFM, London. 16:57.441 --> 17:00.223 This is Alan Joe on XFM, London's won a 4.9. 17:00.283 --> 17:01.744 It's time for celebrity regression. 17:02.882 --> 17:15.774 It's time for you, in your homes, in your cars, in your gardens, to relax, sit down, take a deep breath, close your eyes, and see if you can tell which film star I'm regressing, Adam, into the past films of. 17:15.794 --> 17:16.875 Does that make sense? 17:17.015 --> 17:24.663 Yeah, you have to guess not only which star I have become, but which films I am reliving. 17:25.785 --> 17:33.087 And if you guess correctly, you will win tickets either to see Thirteen Senses or to see Dylan Moran, whichever you want. 17:33.347 --> 17:33.687 OK. 17:33.947 --> 17:35.488 So, just relax now, Adam. 17:35.508 --> 17:36.148 Take a deep breath. 17:36.568 --> 17:36.968 OK. 17:38.269 --> 17:39.109 And drift back. 17:40.649 --> 17:41.129 All the way back. 17:41.149 --> 17:41.490 You're not? 17:41.510 --> 17:42.930 I don't think you're in a trance, are you? 17:43.170 --> 17:43.610 Not yet, no. 17:43.850 --> 17:44.110 No. 17:44.230 --> 17:44.911 Well, just breathe. 17:45.571 --> 17:46.131 Clear your mind. 17:47.622 --> 18:07.533 think of a beach clear your mind think of a beach clear your mind and drift back back back back back back to before you were born back into the life of a film star when i ask you to open your eyes you will be in one of their films and i want you to tell us what you can see open your eyes now 18:09.492 --> 18:10.973 Oh, I'm confused. 18:11.773 --> 18:24.920 I'm a violent man who lives by a violent, dangerous code, a man who'll do anything for money, and yet now I'm embroiled in a Chinese puzzle of relationships, risking my life to protect the life of an innocent... life. 18:26.221 --> 18:27.582 But I guess it was bound to happen. 18:28.022 --> 18:34.806 Like the man said, $15 million is not money, it's a motive with a universal adapter on it. 18:35.066 --> 18:35.706 Pajank! 18:36.067 --> 18:38.408 That's the kind of thing people say in this movie. 18:38.908 --> 18:41.709 Things like, you know what I'm gonna tell God when I see him? 18:42.069 --> 18:43.910 I'm gonna tell him I was framed. 18:44.130 --> 18:44.870 Rickshaw! 18:45.391 --> 18:48.012 The problem is, who are the good guys in this film? 18:48.792 --> 18:55.735 I know all the shouting and shooting and tedious crime kingpins may seem a bit thick and boring, but actually it's complicated and nuanced. 18:56.255 --> 19:00.059 So if you don't get it, maybe you should just get out of my regression before I shoot you. 19:00.499 --> 19:06.465 Or say something like, we're not talking about how long you're gonna live, we're talking about how slow you're gonna die. 19:06.805 --> 19:07.426 WAP it! 19:08.027 --> 19:08.607 Yeah! 19:09.008 --> 19:10.569 Shooting, shouting, and shooting! 19:10.589 --> 19:12.010 Just breathe, just breathe, just breathe. 19:12.030 --> 19:12.671 Stay calm, Adam. 19:12.851 --> 19:13.572 Stay calm. 19:14.153 --> 19:14.953 Stay calm and breathe. 19:16.054 --> 19:19.116 If you know what film Adam has been regressed into, call 08712221049. 19:19.396 --> 19:25.898 Let me take you further back now, further back, into another of this star's films. 19:26.899 --> 19:28.039 Open your eyes, tell us what you see. 19:29.500 --> 19:31.461 Oh, I'm excited. 19:32.041 --> 19:32.922 I can't believe it. 19:33.482 --> 19:35.163 It's the opportunity of a lifetime. 19:35.603 --> 19:39.384 I'm gonna be doing what I love in a big kind of genius factory. 19:39.805 --> 19:42.766 And what's more, I'm gonna be paid top dollar for the pleasure. 19:44.033 --> 20:02.525 my friends are so jealous in fact they're calling me a sellout but they just don't understand what it's like to be a genius with no money no one understands no one except Gary Winston he built this company from nothing and now he's the most powerful man in the world with pictures on his wall that actually morph 20:02.885 --> 20:04.546 from one crap image to another. 20:04.906 --> 20:07.467 And he wants me to join his genius factory. 20:07.747 --> 20:13.849 And I should fit in pretty well, because like all the other geniuses, I look like a kind of thick skateboard slacker. 20:14.349 --> 20:16.170 I love it at the genius factory. 20:17.050 --> 20:17.930 Or do I? 20:19.271 --> 20:19.911 Oh no. 20:19.931 --> 20:23.032 I think there's something wrong with the genius factory. 20:24.073 --> 20:25.473 Oh no. 20:25.633 --> 20:30.695 O-8-7-1-2-2-2-1-0-4-9, if you know which film star Adam's been regressed into, we'll take him back one further stage. 20:31.929 --> 20:33.551 She's losing control of his bowels. 20:34.712 --> 20:36.274 Drift back, back, back, back, back. 20:37.055 --> 20:39.017 Open your eyes, tell us what you can see now. 20:40.599 --> 20:40.940 Hello. 20:42.133 --> 20:43.493 I'm feeling naughty. 20:44.134 --> 20:48.715 I might snog someone soon, even though I could be fired for it. 20:48.975 --> 20:49.895 But that's just me. 20:50.195 --> 20:53.136 I'm not uptight like the rest of you slaves. 20:53.536 --> 21:02.099 In fact, I'm acting with the gay abandon of some kind of ludicrously liberated Yankee Doodle, even though I assure you I'm British. 21:02.499 --> 21:03.579 I'm a British man. 21:04.039 --> 21:06.142 Can't you hear it in my accent? 21:06.623 --> 21:08.805 That's how us Britishers talk, you know. 21:08.825 --> 21:12.550 At least, that's how us British working class people talk. 21:12.811 --> 21:16.876 But you wouldn't know with all your airs and graces and lard it does. 21:17.396 --> 21:18.358 I detest you. 21:18.378 --> 21:20.561 I'm sorry, I lost my head. 21:20.621 --> 21:21.982 Forgive me, it won't happen again. 21:22.603 --> 21:27.384 Unless I decide to snog you, and it'll be a British snog, because I'm a British man. 21:27.464 --> 21:29.165 Can't you tell by my accent? 21:29.565 --> 21:32.345 Oh, by Jing-Jong's lady marmalade's ringing the bell bongs. 21:32.805 --> 21:35.346 Apples and pears, pint of brown cobblers. 21:35.826 --> 21:37.887 I'd better go upstairs, because I'm British. 21:38.287 --> 21:41.368 And I'd better go upstairs to answer lady marmalade. 21:41.588 --> 21:43.068 She's ringing the bing bong. 21:43.768 --> 21:44.488 Jing-Jong. 21:46.589 --> 21:47.409 What is this now? 21:47.469 --> 21:48.969 Is this still celebrity regression? 21:49.149 --> 21:49.369 Yes. 21:49.730 --> 21:49.970 Yes. 21:50.350 --> 21:50.730 Okay. 21:50.790 --> 21:51.410 Jing-Jong. 21:52.983 --> 21:58.672 08712221049, if you know which films are and which films Adam was being regressed into, call quickly! 22:17.972 --> 22:21.996 Ooh, this is Celebrity Regression with Adam and Joe on XFM. 22:23.077 --> 22:24.258 Adam, are you still in your trance? 22:24.298 --> 22:25.800 I can't hear the trance music. 22:25.820 --> 22:28.342 Oh, I don't know what's going on. 22:28.362 --> 22:31.085 Wow, it's a team of trance this week. 22:31.866 --> 22:39.813 Okay, Adam has been regressed into the mind, body and films of a popular film star. 22:41.054 --> 22:45.258 You heard his regressions and you're in with a chance of winning... What are they winning? 22:45.278 --> 22:48.041 The monster tickets or the 13 ding-dongs? 22:48.161 --> 22:49.562 Which ever one they want. 22:49.622 --> 22:50.983 Which ever one they want. 22:51.504 --> 22:52.925 Okay, and we've got a Burn on the line. 22:52.945 --> 22:53.506 Hello Burn. 22:53.906 --> 22:54.306 Hello there. 22:54.567 --> 22:54.907 How are you? 22:54.927 --> 22:56.488 Oh, quite well, quite well. 22:57.149 --> 22:58.210 I'm enjoying your show immensely. 22:58.556 --> 22:59.597 Oh, you're very kind, Burn. 23:00.517 --> 23:03.378 We've had some problems this morning with our brains. 23:03.919 --> 23:05.840 Other than that, it's been quite fun. 23:05.860 --> 23:07.300 No, I can tell you're having problems with your brains. 23:07.380 --> 23:08.061 Yeah, yeah. 23:08.141 --> 23:08.621 Thanks, Burn. 23:08.641 --> 23:09.542 You're very supportive. 23:10.022 --> 23:11.062 So, Adam's in his trance. 23:11.102 --> 23:14.644 What I'd like you to do in a second is say the name of the actor who you think he was regressed into. 23:15.445 --> 23:24.269 If you're correct, he will wake up out of his trance, and if you're incorrect, he may stay in the body of this actor forever. 23:24.509 --> 23:25.149 Really? 23:25.290 --> 23:25.450 Oh, no! 23:25.690 --> 23:26.010 Yes. 23:26.170 --> 23:26.650 So, Burn. 23:26.770 --> 23:28.111 What kind of body does this actor have? 23:28.771 --> 23:29.992 Well, let's see whether you're right. 23:30.072 --> 23:31.052 Who do you think it is, Burn? 23:31.092 --> 23:31.492 Tell us now. 23:31.572 --> 23:33.273 Ryan Philippe. 23:33.493 --> 23:33.994 Burn! 23:34.234 --> 23:35.674 You're absolutely correct. 23:36.875 --> 23:37.015 Hey! 23:37.495 --> 23:39.996 Was that you, Burn, or one of your sons or daughters? 23:41.057 --> 23:42.957 This is my beautiful friend. 23:43.418 --> 23:44.398 Oh, your beautiful friend? 23:45.559 --> 23:45.939 Yes. 23:46.359 --> 23:47.820 Sounds a bit like a baby. 23:48.360 --> 23:49.800 Sorry if that seems healthy. 23:52.433 --> 23:53.434 That's fantastic, Burton. 23:53.454 --> 23:54.075 Congratulations. 23:54.095 --> 23:59.420 Can you tell us how you deduced it was Ryan Felipe and which films you think he was being addressed into? 23:59.520 --> 23:59.880 Good question. 23:59.920 --> 24:02.943 Well, the first movie was Way of the Gun, the hardcore dialogue. 24:03.224 --> 24:06.227 Yes, did you recognize all those amazing lines? 24:06.647 --> 24:08.789 Oh, because it was a very subtle and nuanced movie. 24:08.829 --> 24:09.470 So we're told. 24:10.240 --> 24:15.524 And then the second movie was Antitrust, which I haven't had the pleasure of, but there's quite a few trailers. 24:15.864 --> 24:22.008 And then the last one was Godford Park, which is just an astonishing movie. 24:22.509 --> 24:30.594 Even though you find out of course at the end of Godford Park that the reason he does have that ludicrous accent is because he is an American guy playing, proposing. 24:30.614 --> 24:31.495 Really? 24:31.595 --> 24:32.416 I thought he was Scottish. 24:33.376 --> 24:36.097 No, I can't remember which one he was supposed to be. 24:36.117 --> 24:36.997 I don't think anyone knows. 24:37.178 --> 24:38.638 Not even Robert Altman knows. 24:38.658 --> 24:41.839 You should have thought, surely the other servants would bust him before that. 24:41.939 --> 24:42.960 It's just unbelievable. 24:43.760 --> 24:45.000 But anyway, congratulations. 24:45.040 --> 24:46.381 That was very, very well done. 24:46.421 --> 24:47.461 Burn, which would you like? 24:47.481 --> 24:50.622 Would you like the tickets to go and see Dylan Moran or Thirteen Senses? 24:51.282 --> 24:52.103 Uh, Dylan, please. 24:52.223 --> 24:53.043 Good choice. 24:53.363 --> 24:53.883 Good choice. 24:53.903 --> 24:55.104 I think you'll have a fantastic time. 24:55.144 --> 24:57.044 Thank you very much, Burn, and thanks for calling in. 24:57.925 --> 24:58.505 Thanks, FM. 25:08.149 --> 25:11.778 That, uh, well, this still is Magnet with Lay Lady Lay. 25:11.818 --> 25:13.081 This is Adam and Joel on XFM London's 104.9. 25:15.041 --> 25:15.942 Yes, I agree. 25:16.703 --> 25:28.872 And it's a beautiful day, although we can't tell exactly how beautiful, because there is scaffolding up outside the Capitol building in the heart of London's West End, so we can't see if it's still nice, but I suspect it is. 25:29.673 --> 25:33.996 Probably very few people actually listening to us, but if you are, congratulations. 25:34.517 --> 25:35.097 Thank you very much. 25:35.157 --> 25:38.640 Please turn your radio down out of respect to your neighbours. 25:38.660 --> 25:45.103 Do you think it's going to be one of those weekends where, you know, it's hot for, because in London when it's hot for two or three days continuously, people start getting out of hand. 25:45.583 --> 25:45.823 Yes. 25:45.903 --> 25:46.683 Over-excited. 25:47.143 --> 25:48.144 All the windows go open. 25:48.244 --> 25:48.544 That's right. 25:48.564 --> 25:49.745 Everyone becomes a DJ. 25:49.765 --> 25:50.485 That's right. 25:50.525 --> 25:55.627 Barbecues, football in the street, the thought thing that I cannot tolerate. 25:55.767 --> 25:57.628 British people go mental. 25:57.888 --> 25:59.729 And then people start revealing their underwear. 26:00.009 --> 26:00.449 Yeah, yeah. 26:00.569 --> 26:03.750 Yeah, like pants come up over the top of jeans. 26:04.050 --> 26:05.491 Really horrible blue pants. 26:05.731 --> 26:09.033 There's a good song by The Fall called British People in Hot Weather. 26:09.634 --> 26:11.555 Yeah, and deals with all these problems. 26:11.615 --> 26:13.356 Maybe I should bring it in if it's still hot next week. 26:13.596 --> 26:16.038 But listen, we do have a purpose for this link, don't we? 26:16.158 --> 26:16.458 Do we? 26:16.678 --> 26:24.163 Yeah, because I was looking through Time Out, and I came across an advert for the film The Usual- I thought it was the film The Usual Suspects. 26:24.303 --> 26:27.446 It looked like the poster for the film The Usual Suspects, but it was a play. 26:28.246 --> 26:30.948 So for the poster for the play, they're doing a stage version of The Usual Suspects. 26:31.248 --> 26:35.331 So they've mocked up the poster exactly the same as the film, but instead of all the stars, 26:36.272 --> 26:37.653 People you've never seen before. 26:39.074 --> 26:39.915 Bob Sponge. 26:41.076 --> 26:42.057 I love Bob Sponge! 26:42.397 --> 26:43.438 Phil Heckelstick. 26:44.440 --> 26:45.280 Is Jane Slit in it? 26:45.381 --> 26:49.863 Jane Slit may well be in it, but Robert Fringe was unavailable. 26:50.303 --> 26:53.585 But you sort of think, well, what is the point? 26:54.265 --> 26:55.466 Don't you think what's the point? 26:55.486 --> 26:58.708 Have you ever seen one of these kind of movie to theatre adaptations? 26:58.728 --> 27:00.289 A staged version of a famous film. 27:00.349 --> 27:00.589 Yeah. 27:01.009 --> 27:03.310 Because there was When Harry Met Sally was on a while ago. 27:03.390 --> 27:04.751 I saw Chitty Chitty Bang Bang. 27:05.091 --> 27:06.072 Well, that's not the same, is it? 27:06.092 --> 27:07.332 It's a different kettle of fish, isn't it? 27:07.372 --> 27:11.875 Because the point of that is you think, how are they going to achieve those amazing filming effects on stage? 27:12.515 --> 27:15.258 And then you were like... And you see it and you see, oh... You haven't bothered. 27:15.378 --> 27:16.959 That's how they're gonna do it. 27:17.300 --> 27:18.901 Oh, if I'd known that, I wouldn't have turned up. 27:18.921 --> 27:20.603 With a big car on strings. 27:20.763 --> 27:21.824 It's not on strings, Adam. 27:21.984 --> 27:22.345 What is it? 27:22.585 --> 27:23.246 It's on a stick. 27:23.726 --> 27:23.886 Is it? 27:23.966 --> 27:24.527 Yeah. 27:24.647 --> 27:25.908 A big mechanical stick? 27:25.948 --> 27:27.450 A sticky, sticky bang bang. 27:28.190 --> 27:29.191 Did you see Chitty Chitty Bang Bang? 27:29.211 --> 27:30.793 Yes, I did see Chitty Chitty Bang Bang. 27:30.973 --> 27:31.433 Was it fun? 27:31.674 --> 27:31.974 Yeah. 27:32.334 --> 27:32.815 Okay, good. 27:33.095 --> 27:34.516 And I'm going to see Mary Poppins as well. 27:34.916 --> 27:35.697 That's not out, is it? 27:35.957 --> 27:36.377 Not yet. 27:36.397 --> 27:38.018 What about Feston? 27:38.658 --> 27:40.419 Feston was on stage as well, wasn't he? 27:40.480 --> 27:40.600 Yeah. 27:41.100 --> 27:43.381 What the hell is the point of doing Feston? 27:43.401 --> 27:51.286 Well, that's understandable because that's a very dramatic piece about her and it's got one location, you know, it's about the family get together and the argument. 27:51.306 --> 27:53.447 But half the point of that was the argument. 27:53.467 --> 27:55.749 So it says on the back of the sleeve. 27:57.116 --> 27:58.077 And remember the argument. 27:58.117 --> 27:59.237 Big argument. 27:59.778 --> 28:02.540 But half the point of that film was the way it was shot, wasn't it? 28:02.580 --> 28:03.200 Absolutely. 28:03.720 --> 28:04.501 The whole dogma thing. 28:04.521 --> 28:06.082 Well, maybe that's how they stage it. 28:06.122 --> 28:07.223 Maybe you don't sit down. 28:07.283 --> 28:13.306 Someone just stands behind you and grabs your shoulders and pushes you towards the actors, then pulls you away and jiggles you around. 28:13.387 --> 28:14.147 Yeah, there's no seats. 28:14.167 --> 28:15.208 And sprays water in your eyes. 28:15.248 --> 28:16.489 No seats and no set. 28:16.529 --> 28:20.151 You just go into a big room and the action takes place like when everyone's milling around. 28:20.191 --> 28:20.891 Promenade performance. 28:20.911 --> 28:23.093 You know what, I suspect that's not the case. 28:23.173 --> 28:23.293 No. 28:23.533 --> 28:27.857 I was trying to think of other films that would be good to make a transfer. 28:28.578 --> 28:34.684 Basically, I'm not going to go and see Paycheck with Ben Affleck in the cinemas, because I'm waiting for the stage version of that. 28:34.844 --> 28:37.187 You're not even going to get the DVD and wait for it to hit the West End. 28:37.267 --> 28:39.629 Yeah, I mean it's a tough choice. 28:39.649 --> 28:41.571 That's a good choice, man. 28:42.612 --> 28:45.595 John Woo's material always translates well to the stage. 28:45.655 --> 28:49.500 Well, I went to see Broken Arrow at the... At the London Palladium. 28:49.520 --> 28:51.762 At the Palladium and I was just very moved. 28:51.922 --> 28:52.163 Yeah. 28:52.223 --> 28:53.784 How did they do the jet plane? 28:55.426 --> 28:56.467 It was on a stick. 28:56.507 --> 28:57.508 Was it on a stick? 28:57.689 --> 28:58.910 Sticky sticky bang bang. 29:09.226 --> 29:14.049 That's an old classic by the Wu-Tang Clan, Gravel Pit. 29:16.550 --> 29:18.071 They smashed something during that record. 29:18.412 --> 29:22.094 I distinctively heard something fall over a bottle or maybe an expensive vase. 29:22.635 --> 29:23.615 Yeah, it was weird. 29:23.735 --> 29:25.897 Let's not have them in again, they always make a mess. 29:26.477 --> 29:28.338 I know, at least they didn't swear. 29:29.978 --> 29:40.621 So we're just talking about plays there and we thought maybe we're trying out a few new ideas for sections on the show and we've come up with this. 29:41.661 --> 29:43.162 It's like an afternoon play. 29:43.362 --> 29:48.043 It's the sort of thing you'd stumble upon if you turned on Radio 4 during the afternoon on a weekend. 29:48.263 --> 29:49.844 Yeah, or pretty much any time, in fact. 29:49.884 --> 29:54.388 Whenever I turn on Radio 4, it's either Woman's Hour or it's a radio play. 29:54.669 --> 29:56.090 We should just basically just play it. 29:56.130 --> 29:57.471 We want you to listen closely. 29:57.491 --> 30:00.614 You might need to turn your radios up a bit to get the nuances of this play. 30:00.894 --> 30:02.655 It's a middle-class sort of domestic drama. 30:02.876 --> 30:05.578 What we want you to tell us is what should happen next. 30:05.958 --> 30:08.040 There's quite a lot of phone ringing at the top of this. 30:08.060 --> 30:09.962 Okay, imagine a kitchen, a domestic kitchen. 30:12.264 --> 30:13.925 That's the radio playing in the background. 30:17.803 --> 30:19.726 Come on, you two, you're going to be late! 30:19.746 --> 30:22.090 Rolly, I can't find my satchel! 30:22.451 --> 30:22.831 Wait! 30:23.672 --> 30:23.913 Wait! 30:24.690 --> 30:25.010 Hello? 30:25.290 --> 30:25.910 Hello, Jenny. 30:26.511 --> 30:26.971 Who's this? 30:27.511 --> 30:28.271 Don't you remember? 30:28.871 --> 30:30.212 It's Lench Pufar. 30:30.812 --> 30:31.792 Oh, hello. 30:32.172 --> 30:33.273 Well, how are you? 30:33.733 --> 30:34.753 I'm cold, Jenny. 30:35.053 --> 30:38.474 So very cold without that stupid smile of yours to toast my face. 30:38.814 --> 30:41.435 I keep wondering, when will I see that face again? 30:42.616 --> 30:44.856 Well, I don't know. 30:45.116 --> 30:46.937 Perhaps at the conference in July. 30:47.197 --> 30:48.477 How about that lunch we talked about? 30:49.098 --> 30:50.418 Tomorrow, at La Cuisine. 30:50.778 --> 30:51.298 Tomorrow? 30:51.598 --> 30:52.359 I don't know what to say. 30:52.479 --> 30:52.939 Say yes. 30:54.952 --> 30:56.473 Well, sorry, hang on. 30:56.673 --> 30:57.693 What is it, sweetie? 30:57.713 --> 30:59.154 Mum, where's my satchel? 30:59.234 --> 31:02.095 It's in the hall next to the coats where it always is. 31:02.655 --> 31:04.376 Mummy, have you got my sandwiches? 31:04.396 --> 31:07.497 They're in the fridge, second shelf, and take an apple, too. 31:07.517 --> 31:08.718 Thanks, Mummy. 31:08.738 --> 31:11.719 And don't forget your field trip permission slips. 31:12.239 --> 31:12.620 We won! 31:12.640 --> 31:12.900 We won! 31:16.162 --> 31:16.742 I'm sorry. 31:17.003 --> 31:18.985 It's a bit manic here, as always. 31:19.005 --> 31:20.166 La cuisine. 31:20.747 --> 31:21.828 Um, right. 31:22.769 --> 31:23.310 Well, yes. 31:23.910 --> 31:24.311 Marvellous. 31:24.491 --> 31:25.472 I'll see you at 1pm. 31:25.812 --> 31:26.213 1pm. 31:29.737 --> 31:31.438 Well, this is a nice place. 31:31.979 --> 31:33.180 Such an elaborate menu. 31:33.461 --> 31:34.141 What are you going to have? 31:34.462 --> 31:36.324 Why don't we eat just white food? 31:37.556 --> 31:38.697 I wouldn't be sure which was which. 31:38.977 --> 31:39.737 Let me choose then. 31:40.177 --> 31:44.359 For a starter, fillet of yellow on a bench of gifted brusque, followed by a couple of pills. 31:44.599 --> 31:49.322 Then a jerk-in of buckle suspended over 28 julliards of beaten rail, and for dessert, yuck-out. 31:50.142 --> 31:50.882 Sounds perfect. 31:51.003 --> 31:51.423 Perfect! 31:51.703 --> 31:52.143 Grouchois! 31:52.163 --> 31:55.765 Monsieur, madame, would you like to order? 31:56.405 --> 31:58.547 Tell me, Gauchois, the yellow, is it bleached? 31:58.647 --> 31:59.568 Is it very white? 31:59.868 --> 32:00.768 The yellow? 32:01.269 --> 32:05.812 Oh, Bip, we'll have two hamburgers and cheese dittlers and a packet of fruit-flavored tofu without the wrappers. 32:06.313 --> 32:06.813 The pleasure. 32:07.013 --> 32:08.875 Ah, I love this place. 32:09.175 --> 32:11.016 You, the toilets, let's never leave. 32:11.997 --> 32:14.839 I hope you don't think me scummy, but I felt a little brittle when you didn't bloody call. 32:15.888 --> 32:16.488 I wanted to. 32:17.328 --> 32:18.089 I wanted to. 32:18.609 --> 32:19.589 I've been so busy. 32:20.229 --> 32:23.891 Michael's been working in Brighton, so I've been on my own, and Holly's been ill. 32:24.851 --> 32:26.071 Michael, yes, yes. 32:26.091 --> 32:28.132 Holly, your son, Sancho. 32:28.692 --> 32:29.292 You mean Harry? 32:29.812 --> 32:31.553 Yes, yes, Harry, yes, Sancho. 32:31.953 --> 32:33.994 Your lucky, lucky family. 32:34.690 --> 32:36.270 You give them so much, Jenny. 32:36.290 --> 32:38.351 You give and you give and give. 32:38.871 --> 32:43.672 Given, given, goven, goven, goven, gaven. 32:43.933 --> 32:44.833 But what do you get back? 32:45.493 --> 32:46.493 I don't need anything back. 32:46.993 --> 32:48.894 And what if I wanted to give you something back? 32:51.055 --> 32:51.655 What are you doing? 32:52.195 --> 32:53.635 I'm brushing back your hair. 32:54.075 --> 32:55.956 Your silly, fluffy hair. 32:56.949 --> 32:58.249 Lunch. 32:58.950 --> 33:01.250 I love my husband and my children very much. 33:01.390 --> 33:02.471 Oh, come, come, Jenny. 33:02.511 --> 33:03.271 It's only lunch. 33:03.911 --> 33:04.631 So far. 33:04.651 --> 33:05.471 It's only lunch. 33:05.491 --> 33:05.712 So far. 33:05.732 --> 33:06.672 What could he mean by that? 33:07.612 --> 33:10.293 I was about to find out. 33:19.201 --> 33:19.561 Wow! 33:19.882 --> 33:25.306 So that's episode one of the afternoon play here on the Adam and Jo radio show on XFM. 33:25.346 --> 33:26.327 What's going to happen next? 33:26.407 --> 33:29.530 Is Jenny going to start having an affair with Lench Pufar? 33:29.610 --> 33:30.110 Surely not. 33:30.150 --> 33:32.913 She's a happily married woman with two small children. 33:32.933 --> 33:33.954 With kids! 33:34.094 --> 33:37.336 But on the other hand, Lench is a very attractive and persuasive man. 33:37.437 --> 33:38.658 He's got a way with words. 33:39.318 --> 33:44.139 So, you decide what Jenny should do next. 33:44.719 --> 33:46.060 We want to hear your ideas. 33:46.780 --> 33:57.803 The number to call is 0871221 049 or you can email adamandjaredxfm.co.uk or you can text 83xfm. 33:58.663 --> 34:01.404 And how should we decide which advice to heed? 34:01.624 --> 34:05.128 Well, we'll just see what sort of quality writing we get in. 34:06.169 --> 34:11.995 You can steer this narrative, you could suggest new characters, you could suggest new things for Jenny to do. 34:12.616 --> 34:13.577 You know, she could do anything. 34:13.617 --> 34:18.402 She could call him, she could ignore him, she could try and kill him, she could go on a ballooning adventure with him. 34:18.823 --> 34:20.344 Just a few things to choose from there. 34:20.905 --> 34:23.026 The only limit is the listener's imagination. 34:23.166 --> 34:24.646 Wow, can you imagine that? 34:25.827 --> 34:28.008 Nothing too filthy, because obviously we won't be able to do that. 34:28.048 --> 34:31.509 Well, they could send in filthy stuff, because I'll enjoy reading it, but it won't make it to air. 34:31.829 --> 34:32.329 Okay then. 34:33.190 --> 34:44.634 Still to come in the programme, we have the Adam and Joe film club, we'll be explaining about that, and of course Ditty's in the Dock, as well as more great music of this calibre. 34:56.069 --> 35:02.372 You know, that's Snow Patrol with Run, and doesn't it remind you a little bit of the tune of that, of Everlasting Love? 35:03.453 --> 35:07.375 It's true, but I get that a lot. 35:07.475 --> 35:10.217 Almost every single I hear reminds me of something else. 35:10.357 --> 35:12.118 Yeah, it's getting old I suppose, isn't it? 35:13.278 --> 35:16.400 Anyway, have we had any suggestions for where the afternoon place should go? 35:16.420 --> 35:19.763 Adam's suggestions are raining down, like rain. 35:20.243 --> 35:21.264 Like acid rain. 35:21.444 --> 35:31.390 Um, already, someone's suggesting that Lent should have the affair with Jenny, then kill Jenny and take her place because he fancies her husband. 35:32.071 --> 35:32.351 Right. 35:32.911 --> 35:36.354 Jenny chokes on cheese dipper, Sancho should eat the dog. 35:37.214 --> 35:38.876 Sancho is of course one of Jenny's children. 35:39.616 --> 35:47.403 You've seized the initiative, listened closely to the play and are offering some sensational, dramatic weaves to the story. 35:47.563 --> 35:49.665 I like elements of some of those ideas. 35:50.245 --> 35:52.447 I like the idea of Lench being in love with her husband. 35:52.527 --> 35:54.809 You know what, there'll be new characters as well. 35:55.049 --> 35:56.070 It's not just Lench. 35:56.230 --> 35:57.271 I'm working on a gay kiss. 35:59.112 --> 36:01.193 Good idea strand for the afternoon play. 36:01.433 --> 36:13.375 Yeah, it might be a gay kiss that never happens But just a scene that's really full of homosexual tension because it's too young as a kind of a Afternoon play community a bit like Royston vasey. 36:13.415 --> 36:25.358 Yeah, you could be plunged into any kind of scene with different characters Yes, so next week might not even be Lynch at all Although I'm sure he'll be back but you know you could take us in any kind of direction you wanted and 36:25.478 --> 36:29.462 Keep sending in your suggestions to Adam and Joe at xfm.co.uk. 36:29.502 --> 36:33.746 The and is the word A-N-D, not an ampersand, in case your email gets returned. 36:34.247 --> 36:39.752 You can also text 83XFM or you can, what, write a letter. 36:39.812 --> 36:40.893 You could write us a letter. 36:41.554 --> 36:43.736 Capital Building, Leicester Square, London. 36:44.468 --> 36:54.670 Now this week I went to see a preview of The Day After Tomorrow, the sensational new disaster movie from Roland Emmerich, the director of Godzilla, Independence Day, and The Patriot. 36:55.530 --> 36:59.631 Yes, and it's a kind of eco-horror yarn. 37:00.152 --> 37:11.234 It says what is going to happen, or it says, it shows what will happen if we continue living the exploitative fossil fuel dependent existences that we currently live. 37:11.494 --> 37:14.056 And it's a freezing scenario, is that right? 37:14.156 --> 37:15.377 It's not only freezing, Adam. 37:15.917 --> 37:18.359 It is at first, it's a giant hail scenario. 37:19.320 --> 37:26.605 At about ten, the ten minute mark, it's a giant, well actually the opening sequence involves massive crevasses opening up in an ice shelf. 37:27.586 --> 37:28.467 That's the first minute. 37:28.487 --> 37:31.489 By minute ten... In an ice land, a branch of ice land. 37:31.889 --> 37:35.592 Well, no, but weirdly that does sort of happen later in the film. 37:35.932 --> 37:40.276 Minute ten, giant hail size of bowling balls hit Tokyo. 37:41.073 --> 37:43.194 and we see people being impacted. 37:43.234 --> 37:54.598 Now already there's nothing you haven't seen before, Touching the Void does the crevasses, Giant Hailstones, Dante's Peak does that very effectively in the first 10 minutes with Pierce Brosnan's wife getting her brain replaced. 37:54.618 --> 37:55.178 True! 37:55.318 --> 37:56.959 It's not Linda Hamilton, it's the wife before. 37:56.979 --> 37:57.819 Yeah, it's the wife that dies. 37:58.039 --> 37:58.299 Shocking. 37:58.359 --> 38:01.560 So, but back to the day after tomorrow, so you've got the Giant Hailstones, that's only the beginning. 38:01.800 --> 38:05.142 Then you get a swarm of tornadoes destroying Los Angeles. 38:05.382 --> 38:05.602 Right. 38:05.882 --> 38:06.762 Very suddenly. 38:06.862 --> 38:07.302 Not just them. 38:07.362 --> 38:08.623 Nope, a whole lot of them. 38:08.783 --> 38:09.203 A gang. 38:09.464 --> 38:10.207 Oh my God! 38:10.629 --> 38:13.662 The Hollywood sign is being destroyed by a tornado! 38:14.406 --> 38:14.946 is a line. 38:15.887 --> 38:20.429 They care more about the Hollywood sign being sucked up by a tornado than any human life. 38:20.509 --> 38:21.149 Rightly so. 38:21.749 --> 38:24.330 And that's so by minute 20 you've got the swarm of tornadoes. 38:24.890 --> 38:33.454 By the 45 minute mark, which is when you expect the FX money shots, you've got a huge tidal swell engulfing New York. 38:34.094 --> 38:41.477 And a fantastic bird's eye view of this amazing, what would you describe a massive body of water as? 38:41.497 --> 38:42.518 A boob. 38:44.190 --> 38:46.151 An amazing boob of water. 38:46.351 --> 38:49.972 An amazing knocker of water. 38:50.432 --> 38:51.713 Progressing through New York. 38:52.093 --> 38:53.474 And they've got the technology now. 38:53.754 --> 38:55.875 Did you see the Day of the Dead remake? 38:55.935 --> 38:57.935 No, I haven't seen it yet. 38:57.955 --> 39:01.517 That's got an amazing top shot of a whole town going mad. 39:01.597 --> 39:03.157 And you can see all the little details. 39:03.638 --> 39:06.559 A little car whizzing along, smashing into a bus. 39:06.659 --> 39:10.880 You know it's a bit like one of those children's books that just shows you an amazing gatefold. 39:10.940 --> 39:11.801 Is it like Trumpton? 39:12.381 --> 39:13.803 Yes, it's like Trumpton. 39:14.303 --> 39:17.767 But this is like what would happen if Trumpton got destroyed by a huge boob of water. 39:18.407 --> 39:19.268 And it is amazing. 39:19.308 --> 39:27.256 And then, so that's the 45 minute mark, at the 1 hour and maybe 10 minute mark, you get an incredibly rapid temperature plunge. 39:28.077 --> 39:31.781 So much so that in every disaster film you've got to have your protagonist chased. 39:32.341 --> 39:33.222 Buy something. 39:33.622 --> 39:35.324 A wall of flame, a boob of water. 39:35.724 --> 39:36.865 In this face, Frost. 39:37.106 --> 39:38.127 That actually chases by Frost. 39:38.147 --> 39:38.727 Nick Frost? 39:39.188 --> 39:41.129 Not Nick Frost, Jack Frost. 39:41.350 --> 39:41.750 Wow. 39:41.890 --> 39:42.631 Actual Frost. 39:42.791 --> 39:43.632 Do you think that's possible? 39:44.012 --> 39:48.877 Oh, what, like Frost sort of, um, clambering after them, freezing everything up? 39:48.937 --> 39:50.258 That's ridiculous. 39:50.558 --> 39:53.561 Well, you say that and follow your arms, Adam Buxton, but when you're in the cinema, 39:54.682 --> 39:56.023 I don't think you'll think it's ridiculous. 39:56.043 --> 39:59.064 The theory being that if it catches up, then he'll be totally frozen. 39:59.224 --> 39:59.984 Yup, yup. 40:00.145 --> 40:05.707 This is Roland Emmerich we're dealing with, director of Godzilla, the Patriot, Independence Day, bang, bang. 40:06.527 --> 40:07.848 You're not paying your money for logic. 40:07.988 --> 40:10.389 For the Patriot, that's not a bang, that's surely a wet phone. 40:10.409 --> 40:11.570 Oh, come on, the Patriot's brilliant. 40:11.690 --> 40:20.354 What other film has a man taking one of his kid's toy soldiers, melting it down into a bullet, and using it to kill the man who killed his son? 40:21.594 --> 40:22.235 You follow? 40:22.335 --> 40:23.336 Yeah, I think I follow. 40:23.356 --> 40:24.817 I love that sequence in the Patriot. 40:24.977 --> 40:25.838 That sounds awful. 40:25.998 --> 40:30.622 So listen, the day after tomorrow, do you see what happens after the world is engulfed? 40:30.822 --> 40:31.462 It blows over. 40:31.482 --> 40:32.443 Does it? 40:32.543 --> 40:34.545 Like any good storm, it blows over. 40:34.565 --> 40:36.587 No, you spoiled it. 40:36.667 --> 40:37.187 No, I haven't. 40:38.348 --> 40:43.991 I haven't spoiled it, I swear, because there's many more idiocies, many more layers of stupidity. 40:44.031 --> 40:47.233 The reaction of the government is fantastic and hilarious. 40:47.694 --> 40:49.555 It's all wrong and yet brilliant. 40:49.775 --> 40:56.219 The thing I like about disaster movies, right, Van Helsing, as anyone who's seen it will know, is unwatchably awful. 40:56.779 --> 41:03.023 It's got no pacing, it's just like being hit in the face with a baseball bat and shouted at for an hour and a half. 41:03.763 --> 41:05.124 But disaster movies have pacing. 41:05.405 --> 41:09.248 They've got special effect, then 10 minutes of talking, then another special effect. 41:09.649 --> 41:13.652 So even though it's complete rubbish, it actually feels sort of like a proper film. 41:13.933 --> 41:16.635 So, better or worse than... My voice actually trembled then. 41:16.895 --> 41:18.597 Yeah, I know. 41:18.637 --> 41:19.838 I feel so passionately about this. 41:19.858 --> 41:21.280 Better or worse than Deep Impact? 41:22.380 --> 41:24.060 Better, more money shots. 41:24.401 --> 41:31.902 The shot of the tidal wave engulfing New York and toppling the Twin Towers like dominoes is extraordinary in Deep Impact, but there's only about four minutes of it. 41:32.222 --> 41:33.783 Better or worse than Independence Day? 41:35.003 --> 41:35.543 Oh, better. 41:35.563 --> 41:37.983 Oh, man, I'm so excited now. 41:38.564 --> 41:39.344 That's excellent. 41:39.784 --> 41:44.845 What am I supposed to be saying here? 41:56.223 --> 42:05.427 What am I supposed to be saying here? 42:08.288 --> 42:15.851 So I've done a deal with my friend Edgar Wright, who directed Space and Shaun of the Dead, who's described in today's Guardian Guide. 42:15.891 --> 42:16.291 What, Adam? 42:16.311 --> 42:16.491 What? 42:16.631 --> 42:17.592 No, go on. 42:17.612 --> 42:19.753 He's described as part of a cult comedy 42:20.833 --> 42:21.173 Mafia. 42:21.714 --> 42:25.035 No, partnership with Charlotte Hathaway from Ash. 42:26.235 --> 42:39.821 I've done a deal with him that if I play Charlotte's new single, which is fantastic, it's called Kim Wilde, it's her first solo single, if I play it on this show, he's going to guarantee me that my diary of being a zombie in Shaun of the Dead will go on the Shaun of the Dead DVD. 42:41.243 --> 42:41.984 Your diary? 42:42.344 --> 42:46.308 Yeah, I made a video diary when I was a zombie on Shaun of the Dead. 42:47.029 --> 42:54.336 It might not fit on the Shaun of the Dead DVD, but Edgar says if I play Shaun of the Dead, it stands a better chance of getting on there. 42:54.676 --> 42:55.897 Isn't this all wholly legal? 42:56.177 --> 42:56.618 Probably. 42:56.958 --> 43:01.382 But you know, even if I hadn't done that deal, I would be playing this single because it is really fantastic. 43:01.543 --> 43:03.685 It's by Charlotte Hathley of Ash. 43:03.905 --> 43:04.806 It's her first solo single. 43:04.826 --> 43:05.466 It's called Kimwah. 43:05.486 --> 43:05.867 Let's hear it. 43:06.226 --> 43:07.167 Yeah, yeah, yeah 43:21.957 --> 43:22.777 Who's that then Adam? 43:22.797 --> 43:24.438 That was Franz Ferdinand. 43:24.558 --> 43:26.058 They're hot, they're so hot right now. 43:26.098 --> 43:27.458 Franz Ferdinand, they're hot. 43:28.199 --> 43:31.279 And take me out, you're listening to Adam and Joe on XFM. 43:31.319 --> 43:32.940 It's got cloudy, I went to go and check. 43:33.400 --> 43:33.800 Has it? 43:33.820 --> 43:34.320 Yes. 43:35.300 --> 43:40.362 So all this talk about it being an amazing scorching weekend is a load of old rollocks. 43:40.562 --> 43:41.942 It's a load of old rubbish. 43:42.242 --> 43:43.282 Maybe it'll clear up again. 43:43.302 --> 43:44.543 I don't know. 43:45.063 --> 43:47.824 We've got Ditties in the Dark coming up very shortly. 43:49.064 --> 43:52.505 But right now we'd like to launch our Adam and Joe film club. 43:52.545 --> 43:53.366 Joe, would you like to tell us more? 43:53.406 --> 43:53.686 Yes. 43:54.406 --> 43:57.127 You know, we should have some sort of background music for this, shouldn't we? 43:57.187 --> 44:00.168 But let's face it, we haven't prepared any. 44:00.188 --> 44:01.828 Have we got the film 2097 music? 44:04.495 --> 44:04.896 Ah, yeah. 44:05.016 --> 44:06.978 Okay, Adam and Jo's Bad Film Club. 44:06.998 --> 44:11.103 This is very similar to Richard and Judy's and Opera Winfrey's Book Club. 44:11.223 --> 44:11.543 Oprah. 44:12.044 --> 44:12.384 Oprah. 44:12.605 --> 44:16.009 But instead of doing books, we're gonna do rubbish films. 44:16.369 --> 44:22.897 So, listeners, what we'd like to do is to get as many of you as possible to watch the same film on telly this week. 44:23.317 --> 44:28.962 Now, you'll either have to be unemployed, or lazy, or just, you know, stay up late to see this. 44:29.042 --> 44:29.602 Or in prison. 44:29.842 --> 44:30.343 Or in prison. 44:30.663 --> 44:34.666 But, uh, tomorrow is tomorrow- no, the day after tomorrow, Monday the 17th. 44:35.006 --> 44:37.548 Well, the whole world's gonna be covered in ice and snow, I thought. 44:37.768 --> 44:40.571 It's true, but, you know, it'll give you something to do while you're huddling by the fire. 44:40.691 --> 44:40.931 Okay. 44:41.531 --> 44:49.157 Uh, so this Monday, Monday the 17th, at 5 past 11 in the evening on BBC One, is the Lenny Henry film, True Identity. 44:49.938 --> 44:53.040 Now we'd like as many listeners as possible to watch True Identity. 44:53.420 --> 44:56.162 Adam and I will be watching True Identity and making notes. 44:56.482 --> 45:05.987 And then next week, at the same sort of time, maybe about half past two, we'll all gather together and discuss True Identity, its positive points and its merits. 45:06.107 --> 45:16.473 And by doing the week with a different film, we hope to raise the illiteracy level of the country in the same way that Richard and Judy and Oprah have raised the literacy level. 45:16.613 --> 45:20.495 Yeah, we'd like to make everyone illiterate, at least by the end of the month. 45:20.795 --> 45:29.499 So this week's Adam and Jo Movie Club movie is True Identity, starring Lenny Henry and Frank Langella, at 5 past 11 this Monday night, Monday the 17th. 45:29.519 --> 45:30.560 Do you want a little plot synopsis? 45:30.940 --> 45:31.480 Go on then, quickly. 45:31.540 --> 45:36.923 Henry plays a struggling actor who takes over the identity of a fugitive mob supremo by having an FX pal trans- Man, brilliant. 45:37.663 --> 45:41.525 I'll be watching, and so should you be, and then next week we can discuss it all together. 45:41.685 --> 45:43.146 After the break, Ditty's in the dark. 45:47.620 --> 45:54.824 It's Diddy's In The Dock time here on the Adam and Jo Radio Show on XFM. 46:02.921 --> 46:12.423 Each week, we battle to choose a record to play amongst the tightly-playlisted nuggets on the XFM playlist. 46:12.443 --> 46:12.763 You know what? 46:12.804 --> 46:15.084 I think I'm saying err a lot today. 46:15.124 --> 46:17.225 Your brother's been complaining that we say err too much. 46:17.305 --> 46:18.205 I think I'm at fault. 46:18.805 --> 46:19.185 You know what? 46:19.205 --> 46:19.745 I don't care. 46:20.045 --> 46:21.206 Err, I don't err care. 46:21.486 --> 46:22.146 Err, David. 46:22.326 --> 46:22.906 Err, Buxton. 46:23.166 --> 46:23.326 Err, err. 46:23.686 --> 46:24.706 Yeah, exactly. 46:25.007 --> 46:25.367 Err, yeah. 46:25.407 --> 46:28.147 I know a word ending with err that would describe you. 46:28.567 --> 46:30.448 Yeah, reindeer. 46:30.788 --> 46:31.929 Yeah, that's the one. 46:32.230 --> 46:34.031 OK, so, Joe, do you want to go first this week? 46:34.232 --> 46:35.052 OK, yes I do! 46:35.373 --> 46:37.635 My Dizzy in the Dot this week is By the Blue Turns. 46:37.715 --> 46:41.539 I think the Blue Turns are a massively under-appreciated and underrated band. 46:41.799 --> 46:46.724 They were huge, the beginning of Britpop, now that Britpop's died, they're the one band that deserved to survive. 46:47.064 --> 46:53.611 He's got a beautiful voice, Mark Morris, he's a lovely fella, and this is one of my favourite songs by them, it's called Slight Return by the Blue Turns. 46:53.971 --> 46:57.943 Where did you go when things went wrong with you? 47:02.276 --> 47:03.817 It goes like that, doesn't it? 47:03.897 --> 47:04.937 Yeah, that's a good one. 47:05.538 --> 47:08.579 Slight Return by the Blue Tones, that one is Slight Return, Blue Tones 08712221049. 47:08.759 --> 47:16.063 Okay, so, my choice this week is by a group called Matching Mole. 47:16.784 --> 47:21.706 And you might be more familiar with the lead singer, who is Robert Wyatt. 47:22.246 --> 47:28.550 And he used to be in a band called The Soft Machine, and of course he's released a great deal of stuff as a solo artist. 47:29.390 --> 47:32.812 and he's got a kind of very... Do you know who he is, Joe? 47:33.072 --> 47:33.693 Well, I've heard of him. 47:33.713 --> 47:35.534 He did a cover of Shipbuilding, didn't he, years and years ago? 47:35.554 --> 47:36.194 Yeah, that's right. 47:36.234 --> 47:50.122 He's got a very kind of high voice and he sings in his little kind of high voice and he's just a wonderful, very English figure, unfortunately confined to a wheelchair after falling out of a window drunk as a skunk when he was in the soft machine. 47:51.062 --> 47:52.763 But he's still an amazing talent. 47:52.823 --> 47:54.904 Anyway, this is a kind of weird nugget. 47:54.924 --> 47:57.906 How does it go, the song that you want to play? 47:58.046 --> 47:59.387 It's called Signed Curtain. 47:59.427 --> 48:11.092 This is from 1972 and it's a real sort of ahead of its time post-modern weird bit of rubbish because it sort of talks about the fact that he hasn't got any lyrics for the song. 48:11.512 --> 48:14.554 So he just goes, this is the first verse. 48:16.001 --> 48:19.683 Yes, this is the first, first, first, first. 48:20.203 --> 48:22.264 And this is the chorus. 48:22.544 --> 48:23.684 And he kind of goes on like that. 48:23.704 --> 48:24.445 I like the sound of it. 48:24.725 --> 48:25.565 And it's genius. 48:25.625 --> 48:27.006 It's just a kind of genius song. 48:27.046 --> 48:29.287 It makes you think, why does anyone bother writing lyrics at all? 48:29.307 --> 48:31.187 You just go, this is the bridge. 48:31.848 --> 48:35.129 And then there's a key change and everything. 48:35.169 --> 48:35.949 There's a key change? 48:35.989 --> 48:38.650 Yeah, and this is the key change. 48:39.011 --> 48:39.591 It's really good. 48:39.611 --> 48:40.351 I'm not doing it justice. 48:40.371 --> 48:40.711 You know what? 48:40.791 --> 48:41.892 I think I've heard that before. 48:42.392 --> 48:42.912 Have you really? 48:42.952 --> 48:44.593 Yeah, that does ring a big bell. 48:44.673 --> 48:48.954 It's a real smash and it's just the kind of thing that you probably wouldn't hear. 48:48.974 --> 48:49.914 Hey, hey, hey, time up man. 48:50.014 --> 48:50.874 Played on any station. 48:50.934 --> 48:51.294 Time up man. 48:51.434 --> 48:52.255 Let alone XFM. 48:52.435 --> 48:54.855 So is it going to be Blue Tones or Matching Mole? 48:55.155 --> 48:56.676 Blue Tones or Matching Mole? 48:56.696 --> 48:57.616 0-8-7-1-2-2-2-1-0-4-9. 48:57.676 --> 49:02.497 It's going to be the best of five calls, right? 49:02.557 --> 49:06.258 Yep, best of five calls wins it. 49:06.279 --> 49:07.759 0-8-7-1-2-2-1-0-4-9. 49:07.859 --> 49:09.659 Blue Tones or Matching Mole? 49:09.679 --> 49:10.880 You'll find out after this from D12. 49:16.988 --> 49:25.389 That's D12 and Purple Hills, you're listening to Adam and Jo on XFM. 49:25.990 --> 49:28.270 Still time to get your vote in for Titties in the Dock. 49:28.330 --> 49:34.111 Is it going to be the Blue Tones with Slight Return or Robert Wyatt and Matching Mole with signed curtains? 49:34.171 --> 49:36.212 Well, that's going to be difficult for people to vote for. 49:36.292 --> 49:37.932 You say Blue Tones or Wyatt? 49:38.152 --> 49:41.013 Yeah, Blue Tones or, well, Matching Mole. 49:41.053 --> 49:47.334 And listen, I think the number is confusing some listeners, because when not, we usually get a massive amount of calls. 49:47.454 --> 49:51.835 It might be either the Sun or the new number that is holding some of you back from calling. 49:51.855 --> 49:58.277 0-8-7-1-2-2-2-1-0-4-9 to vote for either Robert Wyatt or the Blue Tones. 49:58.357 --> 49:59.157 Which do you want to hear? 49:59.177 --> 49:59.717 0-8-7-1-2-2-2-1-0-4-9. 50:01.217 --> 50:01.877 Sorry, carry on. 50:01.897 --> 50:02.057 7-1-2-2-2-1-0-4-9. 50:06.748 --> 50:10.212 There you go, something nice and fluffy for a summery day. 50:10.272 --> 50:11.653 That's Muse with Absolution. 50:11.693 --> 50:16.038 Calm down, Muse! 50:24.542 --> 50:27.344 It's the gut-wrenching climax to Dizzy's in the Dock. 50:27.404 --> 50:32.947 This week it's the Blue Tones with Slight Return versus a signed curtain by Matching Mole. 50:33.067 --> 50:36.909 I think maybe I'm pushing the envelope with Matching Mole. 50:37.450 --> 50:41.892 I've got a feeling that the listeners have not gone with Robert Wyatt. 50:41.952 --> 50:42.813 Well, you never know. 50:42.833 --> 50:44.374 There could be a last-minute turnaround. 50:44.394 --> 50:45.334 Shall we go to the phone lines? 50:45.374 --> 50:45.935 Best of five? 50:46.115 --> 50:46.815 Okay, here we go. 50:47.115 --> 50:47.776 Simon, are you there? 50:48.576 --> 50:49.357 Yeah, hello mate. 50:49.497 --> 50:50.217 Hey Simon, how are you doing? 50:50.998 --> 50:51.378 I'm alright. 50:51.398 --> 50:51.578 Good. 50:51.618 --> 50:53.059 Is it going to be Blue Tones or Robert Wyatt? 50:54.032 --> 50:54.713 Blue Tones, mate. 50:54.733 --> 50:55.273 Good choice. 50:55.333 --> 50:56.013 Thank you, Simon. 50:56.113 --> 50:57.354 Thanks very much for calling, Simon. 50:57.454 --> 50:58.514 One for the Blue Tones. 50:58.614 --> 51:00.035 Come on, Matching Mole. 51:00.075 --> 51:00.595 Let's hear it. 51:00.835 --> 51:01.516 Joe, is he there? 51:01.776 --> 51:02.116 Yeah. 51:02.136 --> 51:03.116 Come on, Joe. 51:03.156 --> 51:04.177 You all right? 51:04.297 --> 51:05.557 Yeah, you all right? 51:05.697 --> 51:06.038 Yeah. 51:06.138 --> 51:06.698 I'll say no. 51:06.718 --> 51:07.018 What? 51:08.098 --> 51:09.039 Which one are you going for, Joe? 51:09.079 --> 51:09.319 Mole. 51:09.559 --> 51:09.899 The Mole. 51:10.079 --> 51:10.560 Oh, yeah. 51:10.600 --> 51:10.820 Whoa. 51:10.840 --> 51:11.660 Welcome, Matching Mole. 51:11.740 --> 51:12.560 Thank you very much, Joe. 51:12.580 --> 51:13.481 Thank you, Joe. 51:13.501 --> 51:14.381 OK, so it's one-all. 51:15.202 --> 51:15.922 Kate, are you there? 51:15.942 --> 51:16.722 Hello. 51:17.163 --> 51:17.643 Hello, Kate. 51:18.413 --> 51:19.374 Slight return please. 51:19.575 --> 51:21.076 Slight return, very polite. 51:21.116 --> 51:22.758 Thanks for calling Kate. 51:23.339 --> 51:24.080 Do we have another caller? 51:24.100 --> 51:25.001 Who have we got? 51:25.021 --> 51:26.884 We have Michael. 51:26.924 --> 51:27.925 Michael are you there? 51:28.185 --> 51:32.651 Hi, I'm Matthew Mause, my brother just made me listen to it and I think Matthew Mause people would appreciate. 51:32.951 --> 51:33.692 Wow! 51:34.033 --> 51:35.795 So it's one all, do we have a fifth call? 51:37.509 --> 51:37.929 Here we go. 51:37.989 --> 51:42.251 Wow, this is genuinely real for real spontaneous calls. 51:42.611 --> 51:42.991 Hello. 51:43.532 --> 51:44.292 Hello. 51:44.972 --> 51:46.633 Who are we talking to for a start? 51:46.873 --> 51:47.073 Richard. 51:47.473 --> 51:48.594 Hi Richard, what are you voting for? 51:48.634 --> 51:49.554 Matching Mole or Blue Tones? 51:49.794 --> 51:51.215 Big Tones. 51:52.015 --> 51:52.696 Thanks Richard. 51:52.716 --> 51:53.696 That was close man. 51:53.836 --> 51:55.257 That was close, never mind. 51:56.677 --> 52:00.719 When things go right for you. 52:00.799 --> 52:03.620 When the nights hang out for you. 52:10.599 --> 52:29.759 All you needed was to pray You just had to ask and then You don't have the heart best to go to the best of the problems And don't go hoping for a miracle All this will fade away 52:46.840 --> 52:57.342 Locked away or on your own Chants and your head all blown home What did you learn? 52:58.143 --> 53:16.147 It was unfortunate You missed your chance to find out that You don't have to have the solution You've got to understand the problems And don't go hoping for a fear 53:19.184 --> 53:24.781 All this will fade away So I'm coming home 54:01.341 --> 54:05.388 All this will fade away 54:57.798 --> 55:02.302 I wonder if everyone heard me going, turn the whistling down, man, at the beginning of that track. 55:02.342 --> 55:02.703 I was confused. 55:02.723 --> 55:03.804 I think the mic was still on. 55:04.164 --> 55:05.045 The mic was still on. 55:05.065 --> 55:07.947 The ditties in the dock bed was going on underneath the tones. 55:08.048 --> 55:08.608 Sorry about that. 55:08.668 --> 55:10.149 I thought it went quite well, the whistling. 55:10.570 --> 55:10.810 Yeah. 55:11.030 --> 55:12.672 Mark Morris would be into that kind of thing. 55:13.132 --> 55:13.612 Yeah, exactly. 55:13.652 --> 55:14.633 Well, that was very good. 55:14.693 --> 55:16.094 I mean, you know, you can't go wrong with that. 55:16.615 --> 55:17.915 Blue Tones and Slight Return. 55:18.256 --> 55:26.021 But, you know, if you've got any kind of musical adventurousness in you, then go out and find yourself a copy of Matching Mole. 55:26.041 --> 55:27.262 Play it next week, man. 55:27.342 --> 55:28.763 Play it next week on the show. 55:28.783 --> 55:29.243 Do you know what? 55:29.283 --> 55:36.348 It's not the kind of song that you would really hear on XFM, and I can understand there's a time and a place for everything, but it's well worth seeking out. 55:37.049 --> 55:38.570 Anyway, thanks very much for listening. 55:38.870 --> 55:39.831 We really appreciate it. 55:40.091 --> 55:41.913 Slightly chaotic show this week. 55:42.094 --> 55:47.761 You know, but next week we'll have another afternoon play for you and other celebrity regression and all great news. 55:47.821 --> 55:51.666 Plus, we're leaving you in the slick and capable hands of John Hillcock now here on XFM. 55:51.886 --> 55:52.567 We'll see you next week. 55:52.627 --> 55:52.867 Bye! 55:52.887 --> 55:52.947 Bye!