WEBVTT 00:04.926 --> 00:06.447 That's going to be a tricky one to dance to. 00:07.088 --> 00:07.348 Why? 00:07.368 --> 00:08.729 That's dancealicious. 00:08.829 --> 00:10.450 It's got lots of stopping and starting. 00:10.550 --> 00:15.573 You know when you're on a dance floor and the record suddenly has a section without a beat? 00:16.014 --> 00:16.174 Yeah. 00:16.214 --> 00:17.575 And you've got to think of something to do. 00:17.595 --> 00:18.335 Right. 00:18.735 --> 00:18.955 Yeah. 00:18.995 --> 00:21.317 Well, you can't do that, Lyla's doing, dancing. 00:21.337 --> 00:22.838 You can't dance when there's no beat. 00:22.918 --> 00:26.741 So everyone just sort of stands around looking like a wally for about ten seconds. 00:27.541 --> 00:28.682 waiting for the beat to come back in. 00:28.902 --> 00:31.125 I'm just saying that in that record there's a lot of stopping and starting. 00:31.565 --> 00:32.266 Ah, it doesn't matter, man. 00:32.286 --> 00:33.227 That's the Gorillaz for you. 00:33.247 --> 00:34.047 They're unpredictable. 00:34.328 --> 00:35.369 Other than that, good record, I think. 00:35.819 --> 00:58.558 yeah fantastic that was called feel good incorporated that's the new single from the gorillas taken from their second album demon days uh follow up to the five million selling first album by the gorillas can you believe it that's got to make them one of the all-time great cartoon combos surely uh who else is on that list the cartoons the archies right uh they did sugar sugar 00:59.678 --> 01:00.779 And... Were they animated? 01:00.979 --> 01:01.979 They were animated, yeah. 01:02.139 --> 01:02.379 Right. 01:03.179 --> 01:05.860 And... Can't think of anyone else to think about that. 01:06.400 --> 01:07.401 Hi, this is Adam and Joe. 01:07.441 --> 01:11.082 Oh, before that, incidentally, you heard the bravery with an honest mistake. 01:11.822 --> 01:16.304 And, yes, we're Adam and Joe, with you for the next one hour, 50 minutes, here on XFM. 01:17.144 --> 01:18.725 And... Oh, I'll play the jingle, shall I? 01:18.945 --> 01:19.125 Yeah. 01:19.365 --> 01:25.407 That sounds interesting, let's talk about it I always enjoy our little chats 01:26.508 --> 01:34.299 I never know what you'll say Have you seen that film The Amityville Horror? 01:34.660 --> 01:41.049 It's a new film and it is brand new I'm not sure about that new TV show 01:41.670 --> 01:56.695 You hear the Prince of Charlie's comments He just can't seem to get anything right I'm not sure about that new TV show That sounds interesting, let's talk about it Let's start talking now 01:58.683 --> 01:59.683 So we don't have to stick to that. 01:59.703 --> 02:00.824 That's not the manifesto for the show. 02:00.844 --> 02:01.624 I've written them down. 02:02.525 --> 02:03.205 I've written them down. 02:03.305 --> 02:04.346 One, Amityville Horror. 02:04.506 --> 02:05.506 Two, Prince Charles. 02:06.026 --> 02:07.847 Three, something that wasn't on that list. 02:07.967 --> 02:08.247 OK. 02:08.467 --> 02:11.129 I do want to talk to you about the Amityville Horror situation. 02:11.189 --> 02:12.849 Yeah, I've got a lot to tell you about that. 02:12.909 --> 02:13.950 As a film expert. 02:14.010 --> 02:15.070 I'm just confused. 02:15.250 --> 02:16.031 I'm very knowledgeable. 02:16.191 --> 02:17.011 About the posters. 02:17.031 --> 02:19.392 Yeah, because you know a lot about the original film, don't you? 02:19.432 --> 02:19.772 Yes, I do. 02:20.373 --> 02:22.834 So yeah, I want to chat to Joe, who's our film expert. 02:23.454 --> 02:25.855 a bit later on about the new version of the M&M's. 02:25.875 --> 02:26.796 But listen, listen, listen, listen. 02:27.036 --> 02:27.916 Make me a supermodel. 02:28.596 --> 02:29.557 It's gone a bit wrong. 02:29.577 --> 02:30.157 No, it hasn't. 02:30.197 --> 02:31.218 It's got better and better. 02:31.378 --> 02:31.618 Really? 02:31.638 --> 02:32.478 I missed the last one. 02:32.618 --> 02:34.719 I'm trying to decide whether to go to the live final. 02:35.059 --> 02:35.740 Where is it? 02:35.820 --> 02:36.320 I don't know. 02:36.340 --> 02:37.800 You should go. 02:37.820 --> 02:39.041 Do you think it would be fun? 02:39.341 --> 02:45.984 Yeah, well- It's produced by the lady who used to produce the Adam and Jo show and it's made by Tiger Aspect, who are a production company in the same building as our agents. 02:46.184 --> 02:47.024 I'm sure you could go. 02:47.044 --> 02:47.765 I could go. 02:47.905 --> 02:48.805 Who do you want to meet there? 02:48.865 --> 02:49.806 The sexy one, Alice. 02:50.566 --> 02:53.069 with the bug eyes and the floppy mouth, wonky mouth. 02:53.509 --> 02:54.170 She's so hot. 02:54.190 --> 02:54.730 Do you know her? 02:54.750 --> 02:56.992 Steve I know who you're talking about, yeah. 02:57.012 --> 02:58.153 I don't know her personally. 02:58.193 --> 02:59.895 Ricky I think- I mean, she's got quite a strong look. 02:59.915 --> 03:00.896 Steve She does. 03:00.916 --> 03:04.059 Ricky You might get sick of her after a bit, but for a couple of weeks it'd be amazing. 03:04.079 --> 03:05.941 Steve She is- Ricky Do you think she'd go out with me on those terms? 03:05.961 --> 03:08.283 Steve Well, you- you've got a girlfriend, yeah. 03:08.303 --> 03:09.024 Ricky Yeah, engaged. 03:09.044 --> 03:09.665 Steve Yeah. 03:09.685 --> 03:12.067 Ricky But, uh, do you think she'd go out with me on those terms? 03:12.087 --> 03:13.128 Steve Yes. 03:13.288 --> 03:14.189 Yes, I think she would. 03:14.790 --> 03:15.330 I think she would. 03:15.350 --> 03:17.953 I think if she heard what you just said about her, she'd be- She's got to win. 03:18.093 --> 03:18.834 She'd be very impressed. 03:18.854 --> 03:19.295 She has to win. 03:19.815 --> 03:35.432 Well, I like- I'm sorry if listeners haven't been watching this, but it's basically down to three ladies to be the best supermodel in the world, and one of them looks like a sort of gangly Natalie Portman, and the other one looks like a big frosty ice queen, and the third one's got a wonky mouth and she's very attractive. 03:35.732 --> 03:38.013 Did you watch the show where they put them in the tank? 03:38.253 --> 03:38.713 Yes, I did. 03:38.733 --> 03:40.674 I thought that was a bit lame, though, didn't you think? 03:40.734 --> 03:41.114 I love it. 03:41.274 --> 03:46.737 They said, um, they said, okay, now it's time for a tough modelling assignment for our prospective models. 03:47.077 --> 03:50.178 They don't know what they have to do, but they're gonna have to throw themselves into it, literally, 100%. 03:50.218 --> 03:51.178 Yeah. 03:51.218 --> 03:55.620 It turns out to be a big tank of water with some eagles or snakes swimming around in it. 03:55.940 --> 03:56.220 Brilliant. 03:56.260 --> 03:56.521 Brilliant. 03:56.541 --> 03:58.381 It just seemed a bit, a bit- It seemed brilliant. 03:58.401 --> 04:01.142 Like a lame, kind of, I'm a celebrity, get me out of here challenge. 04:01.283 --> 04:01.943 It seemed brilliant. 04:02.583 --> 04:05.186 And then one of them didn't have to do it because she was feeling a bit- Yeah. 04:05.486 --> 04:05.927 Poor thing. 04:07.168 --> 04:07.729 It was brilliant. 04:07.789 --> 04:08.249 It's brilliant. 04:08.910 --> 04:09.290 Well done. 04:09.470 --> 04:10.732 And the live final is on Monday. 04:10.772 --> 04:11.072 Monday. 04:11.132 --> 04:11.633 Don't miss it. 04:12.133 --> 04:14.676 If Alice with the wonky mouth doesn't win, there's gonna be trouble. 04:14.856 --> 04:20.302 Well listen, can we say if Debbie Searle or anyone else connected with the programme is listening, could you call us? 04:20.322 --> 04:20.422 0-8-7-1-222-1049. 04:24.626 --> 04:26.608 I really want to go and chat to all the models. 04:26.668 --> 04:30.392 Obviously I won't make a part in any of them, but I'm interested in their careers. 04:30.472 --> 04:31.813 And their bodies. 04:32.253 --> 04:33.575 You could probably help them, man. 04:33.775 --> 04:34.476 I could help them. 04:34.816 --> 04:36.297 Give them a leg up. 04:37.338 --> 04:39.100 Give them a leg up. 04:39.300 --> 04:40.922 Maybe I could help you give them a leg up. 04:41.502 --> 04:41.742 No. 04:41.882 --> 04:42.963 I'm not into that sort of thing. 04:43.064 --> 04:44.265 I'd love to give them a leg up. 04:44.725 --> 04:52.810 Anyway, we've got competition time already coming up sometime soon in the show, and also it's celebrity regression therapy this week. 04:52.870 --> 04:53.251 Quite an easy one. 04:53.271 --> 04:53.571 That's right. 04:53.671 --> 04:54.672 And we're going to have a text competition. 04:54.692 --> 04:58.894 You'll be able to win tickets to see Feeder at the Brixton Academy or The Departure at the Oulu. 04:59.495 --> 05:04.978 And for Diddy's in the dock, in the final 20 minutes of the show, this week it is instrumentals. 05:05.239 --> 05:05.519 Yeah. 05:05.619 --> 05:07.360 Would you say yours is a classic instrumental? 05:07.600 --> 05:08.720 Well, I don't know if it is. 05:08.740 --> 05:10.001 It is in my head. 05:10.021 --> 05:10.481 There we go. 05:10.501 --> 05:11.861 You've bent the rule over here. 05:12.121 --> 05:14.141 It was quite tricky for me to find an instrumental. 05:14.421 --> 05:20.743 Anyway, so, we've chosen an instrumental each and we'll be playing them off for digits in the dock, and every caller that gets through wins a copy of the Happy Mondays Greatest Hits. 05:20.903 --> 05:21.483 So lots of boo-say. 05:21.503 --> 05:23.623 Of course, we have, er, Fantastic Music. 05:23.843 --> 05:24.444 Like this one. 05:24.604 --> 05:25.124 From Howl. 05:25.144 --> 05:27.264 Oh, I've pressed the button. 05:27.544 --> 05:28.364 What is it, Mac? 05:28.384 --> 05:30.645 Yeah, there's only two buttons to press. 05:30.685 --> 05:31.985 You'd think it wouldn't be so hard. 05:32.005 --> 05:32.765 What rotten luck. 05:33.666 --> 05:34.146 Thanks, man. 05:40.080 --> 05:42.361 How would you describe that song by how, Joe? 05:43.041 --> 05:49.462 Oh, a squeaky-voiced, high-speed, uh, record-plonking, record-plonking. 05:49.803 --> 05:51.083 You know what word I would use? 05:51.123 --> 05:51.283 What? 05:51.703 --> 05:52.243 Summery. 05:52.803 --> 05:53.323 Oh, brilliant. 05:53.383 --> 05:55.764 I'd call it a slice of summery pop. 05:55.844 --> 05:59.725 Carry on talking like that, and the magical portal to Capitol Radio may open up. 06:00.025 --> 06:00.225 Wow. 06:00.245 --> 06:00.665 Can you imagine? 06:00.685 --> 06:02.786 You might be sucked upstairs into Foxy's chair. 06:03.626 --> 06:06.448 Oh, I'd like to be sucked upstairs into Foxy's something. 06:07.568 --> 06:09.369 This is Adam and Joe here on XFM. 06:09.389 --> 06:17.613 Now, this is the first of our three plays this week, and it's a song by a group called The Fiery Furnaces, which I'm sure many XFM listeners are familiar with. 06:17.853 --> 06:23.336 This is a track from their album called EP, or maybe it's just an EP called EP, I don't know. 06:23.696 --> 06:29.419 But I think it's a fantastic track from a really exciting young band, and it's called... 06:30.439 --> 06:33.082 Keeping on the summer theme, here comes the summer. 06:33.622 --> 06:34.523 Hope you like this one. 06:34.603 --> 06:36.725 From the Fiery Furnaces, this is Adam and Joe on XFM. 06:43.598 --> 06:44.439 They just stopped there. 06:45.159 --> 06:53.046 Music- it's as if- it's as if bands are getting so desperate to discover a new sound that music's just going a bit insane at the moment, don't you think? 06:53.386 --> 06:55.968 It's like that record by Color Me Bad or whatever they're called. 06:56.268 --> 06:58.210 Do Me Bad Things, not Color Me Bad. 06:58.230 --> 07:00.312 They did I Want To Sex You Up, didn't they? 07:00.332 --> 07:07.418 No, Do Me Bad Things, that record's sort of insane, fusing Donald Fagan with- It's the sound of the future, Joe, it's just hurting you. 07:08.686 --> 07:09.186 I'm past it. 07:09.246 --> 07:09.706 I'm over it. 07:09.866 --> 07:10.086 Yeah. 07:10.306 --> 07:11.487 No, the fiery furnaces are great. 07:11.507 --> 07:13.967 That's one of the more straightforward tracks from them, actually. 07:14.027 --> 07:19.688 Their record, Blueberry Boat, is well worth a listen, but that is completely demented. 07:19.988 --> 07:22.989 Listen, still no call from anyone who works on Make Me a Supermodel. 07:23.129 --> 07:26.089 It's looking bad for my visit to the party on Monday. 07:26.149 --> 07:28.070 Just remind people how to get in touch with us, Joe. 07:28.230 --> 07:33.491 0 8 7 1 triple 2 1 0 4 9 text 8 3 X F M e-mail Adam and Joe at X F M dot co dot U K. 07:34.656 --> 07:36.919 I said, come on, Joe wants to get a leg up. 07:37.700 --> 07:39.522 He wants to help them get legs up. 07:40.223 --> 07:41.945 So give him a call, help him out. 07:42.225 --> 07:43.587 He wants to go to the live final. 07:43.967 --> 07:46.470 It's gonna be competition time very shortly here on XFM. 07:46.510 --> 07:47.131 Stick with us. 07:48.293 --> 07:48.793 XFM. 07:54.790 --> 08:02.177 Well, you know, who would rather be anywhere but good old London Tan on a beautiful sunny Saturday afternoon like what this one is? 08:02.357 --> 08:13.428 Yeah, people walking around, eating food, wearing not too many clothes, men without their shirts on, kissing ladies with their mouths open. 08:13.868 --> 08:15.370 It makes you happy. 08:15.530 --> 08:18.553 Jelly deals, pearly kings and queens and knuckles. 08:18.593 --> 08:19.834 Cooga booga for everybody. 08:20.134 --> 08:21.835 And friendly gangsters. 08:22.275 --> 08:22.575 Yeah. 08:23.115 --> 08:28.297 Um, now, Joe, I wanted to, uh, incidentally, that was, uh, that was Razorlight. 08:28.757 --> 08:30.358 And this is Adam and Joe on XFM. 08:30.838 --> 08:41.822 And I just want to talk to you, Joseph Cornish, uh, film expert, about the Amityville horror poster that I've been seeing in the London Tube network. 08:42.562 --> 08:45.404 And it says at the top of it, I mean, obviously it's a remake, 08:46.804 --> 08:51.781 But it says at the top, from the producer of the Texas Chainsaw Massacre... 08:52.710 --> 08:53.810 comes the Amityville Horror. 08:53.830 --> 09:11.156 So it's basically kind of a weird revisionist take on horror for a whole generation that perhaps don't realize that Michael Bay, who produced the miserable remake of the Texas Chainsaw Massacre, is now producing the miserable remake of the Amityville Horror. 09:11.236 --> 09:13.997 Yeah, only the remake of the Texas Chainsaw Massacre wasn't that miserable. 09:14.117 --> 09:14.717 Was it quite good? 09:14.897 --> 09:15.457 It was alright. 09:15.477 --> 09:17.958 I wasn't a patch on the original, but it was alright. 09:18.598 --> 09:19.259 Well there you go. 09:19.439 --> 09:28.508 It had a man and his head was- there was a hole in his head and the camera went through the hole and out the other side. 09:28.628 --> 09:29.309 Did that make your day? 09:29.329 --> 09:30.450 In the first five minutes. 09:31.011 --> 09:33.694 Yeah it sort of did but I tell you that that was the high point- high point. 09:33.814 --> 09:34.314 Michael Bayes though. 09:34.334 --> 09:40.360 Listen to me or may not agree, the low point was, uh, what's he called, Leatherface, in his nutty chop-up room. 09:41.141 --> 09:54.468 and he's shuffling past a sideboard and there's various bits of human bodies on platters and one of them is the head of the big ginger mountain man, Harry Knowles, from the Ain't It Cool website. 09:54.868 --> 09:55.368 Oh, what? 09:55.388 --> 09:59.050 Yeah, that sort of punctures the suspension of disbelief fairly rapidly. 09:59.470 --> 10:00.731 Anyway, keep going. 10:00.851 --> 10:02.752 I thought you were gonna say Jerry Halliwell there for a second. 10:02.772 --> 10:03.412 That would've been better. 10:04.413 --> 10:07.555 Michael Bay, I've just got a problem with Bay and anything Bay touches. 10:07.615 --> 10:13.399 Surely Michael Bay is, you know, the most evil man in Hollywood today. 10:13.419 --> 10:21.924 I'm just saying that because he's responsible for just the most cynical, money-making piles of dross that I can think of. 10:22.405 --> 10:28.109 For example, Pearl Harbor, he directed, and there can't be films much worse than that in the world. 10:28.749 --> 10:29.309 Armageddon. 10:29.329 --> 10:31.910 Uh, have you got- you've got- you're smiling. 10:31.950 --> 10:33.131 You like Armageddon, don't you? 10:33.271 --> 10:35.291 No, I- I- no, I was smiling about something else. 10:35.351 --> 10:36.352 Armageddon is terrible, yeah. 10:36.372 --> 10:37.032 Well, it's terrible. 10:37.632 --> 10:39.173 Uh, you like Bad Boys, though, don't you? 10:39.353 --> 10:40.753 I'm- I'm a fan of Bad Boys 2. 10:40.993 --> 10:41.494 Bad Boys 2. 10:41.814 --> 10:42.054 Yeah. 10:42.554 --> 10:46.755 And, uh, he's also produced, um, let's see, what else? 10:46.875 --> 10:47.416 The Island? 10:48.476 --> 10:48.916 That's right. 10:48.956 --> 10:49.917 That's yet to be released. 10:49.957 --> 10:53.219 That's Ewan McGregor and some sort of cloning thing, thriller. 10:53.720 --> 10:54.160 Right. 10:54.360 --> 10:54.560 Yeah. 10:54.860 --> 10:56.642 But you know what interests me about the Amersfield Horror? 10:56.762 --> 10:56.902 What? 10:57.122 --> 10:58.903 Is obviously it says based on a true story. 10:59.163 --> 10:59.384 Yeah. 10:59.704 --> 11:01.685 And it's obviously not true, is it? 11:02.506 --> 11:07.269 Well, it's not true to the extent that most sane people don't really believe in... Yeah. 11:07.309 --> 11:10.731 And it just amazes me that it can last for this long even though it's patently not true. 11:10.771 --> 11:12.993 It's actually based on a real, genuine, horrific murder. 11:13.053 --> 11:17.256 A guy called Ronnie DeFeo who was involved in gang lands in Long Island who shot his entire family. 11:17.876 --> 11:26.826 And then the house was going cheap, so the next family move in, can't pay their mortgage, decide to write a, decide to sort of flee the house and write a pretend ghost story to raise some money. 11:26.846 --> 11:28.768 And that's all that happened, it wasn't true. 11:29.168 --> 11:30.189 But the myth is still going on. 11:30.489 --> 11:32.692 And a similar story to the entity, have you ever seen the entity? 11:33.012 --> 11:35.513 Yeah, with the invisible ghost that touches the ladies' buildings. 11:35.553 --> 11:36.073 Exactly. 11:36.133 --> 11:42.754 That's about to be remade by one of these Japanese horror directors, a big American remake, similarly, supposedly based on a true story. 11:43.055 --> 11:44.795 But she wasn't molested by a ghost. 11:45.095 --> 11:45.875 It doesn't happen. 11:46.375 --> 11:47.676 I don't think ghosts exist. 11:48.196 --> 11:49.816 And I don't think they molest ladies. 11:50.236 --> 11:52.817 Some people swear they are molested by ghosts. 11:52.877 --> 11:59.999 It's just weird that these really grotty, horrible true stories turn into these ridiculous, sort of fantastic ghost things and still... 12:00.919 --> 12:01.619 stay well known. 12:01.819 --> 12:05.921 I'd like to see a film about the true story behind the Amityville Horror. 12:05.941 --> 12:07.721 That sounds pretty interesting what you just described. 12:07.781 --> 12:14.164 Well, there's a new reissue of the original movie coming out on DVD, Adam, with two documentaries on it, I think, that tell you the original story. 12:14.464 --> 12:15.204 Oh, that sounds good. 12:15.224 --> 12:16.004 Yeah, I'm looking forward to it. 12:16.024 --> 12:17.645 Next couple of weeks that comes out, I think, in America. 12:18.185 --> 12:18.665 Sexcellent. 12:19.085 --> 12:23.807 Now we've got competition time coming up very, very shortly after this classic track from Pulp. 12:24.627 --> 12:25.767 Yeah, yeah, yeah, yeah, yeah 12:31.505 --> 12:33.107 Yeah, yeah, yeah, yeah, yeah, yeah, yeah. 12:33.227 --> 12:33.947 Oh, I miss Pulp. 12:34.248 --> 12:35.248 That's good, isn't it? 12:35.288 --> 12:35.849 Great record. 12:36.009 --> 12:38.211 I actually miss them being around. 12:38.291 --> 12:38.812 What's happened to them? 12:38.832 --> 12:39.252 Where's he gone? 12:39.652 --> 12:44.216 He lives in France now and he just does a bit of DJing and he's got a baby of his own. 12:44.417 --> 12:46.859 And presumably he just lives off royalties, does he? 12:47.139 --> 12:47.939 I would imagine so. 12:48.140 --> 12:51.961 I- I should think he'll- he'll probably come back with some solo effort at some point. 12:52.001 --> 12:52.602 Which would be good. 12:52.662 --> 12:55.063 I- I'm- you know, the world's a poorer place without cocker. 12:55.383 --> 12:55.883 Absolutely. 12:56.543 --> 12:58.624 So that was Babies by Pop, this is Adam and Joel on XFM. 12:58.865 --> 13:00.505 Um... Yeah. 13:00.545 --> 13:01.386 Competition, isn't it? 13:01.406 --> 13:02.046 Competition, yeah. 13:02.066 --> 13:04.587 I was just gonna make a reference to a couple of texts we've got. 13:04.667 --> 13:05.067 Oh yeah, go on. 13:05.087 --> 13:08.989 Someone saying the Texas Chainsaw Massacre remake was not good, it was bloody rubbish, I think that's what they're saying. 13:09.910 --> 13:12.371 Uh, they're right, of course, but I thought it was entertaining rubbish. 13:13.131 --> 13:20.774 and someone's saying that they know someone who works on Make Me a Supermodel and that we might get a call quite soon to invite us to the live final. 13:20.854 --> 13:22.114 That call hasn't come through yet. 13:22.314 --> 13:24.575 Come on, remind them of the number. 13:25.995 --> 13:33.898 08712221049 if you can get us to the live final of Make Me a Supermodel on Monday or you want to enter celebrity regression, which is going to happen right about now. 13:34.278 --> 13:35.858 Competition time. 13:36.799 --> 13:40.600 You could win a DVD or tickets to a show. 13:41.747 --> 13:48.051 You just never know, so sharpen up your brain and get ready to play! 13:48.732 --> 13:52.454 Is it the DVD or ticket to a show this week that we're giving away? 13:52.554 --> 13:53.275 It's the DVD. 13:53.355 --> 13:57.257 It's the special edition of Steven Spielberg's Jewel, and it comes in a tin. 13:57.718 --> 14:00.920 Hey, that's fantastic, and that's a film all about Jewel, is it? 14:01.060 --> 14:02.601 Yeah, what's the point of these tins? 14:02.701 --> 14:03.281 She's brilliant. 14:03.301 --> 14:03.842 I love Jewel. 14:04.682 --> 14:05.903 That doesn't matter. 14:05.943 --> 14:06.464 Like Jewel. 14:06.764 --> 14:07.204 Yeah. 14:07.525 --> 14:07.885 Jewel. 14:08.265 --> 14:09.566 So it's a special edition of Jewel. 14:09.586 --> 14:12.849 It's a fantastic film about a big truck, what wants to kill a little man in a car. 14:13.430 --> 14:16.092 And it turns out the truck's being driven by the devil. 14:16.392 --> 14:17.213 Don't be silly, Adam. 14:17.233 --> 14:18.234 You've given away the ending. 14:18.314 --> 14:20.196 You know it's not the correct ending. 14:20.276 --> 14:20.496 Is it? 14:20.636 --> 14:21.097 OK. 14:21.137 --> 14:22.918 And it's got a lot of bonus material. 14:23.299 --> 14:24.700 And it mainly comes in a tin. 14:25.180 --> 14:25.421 Yeah. 14:26.161 --> 14:26.821 That's brilliant, isn't it? 14:26.841 --> 14:27.962 Which means it's wiped clean. 14:28.162 --> 14:29.402 In case you get over excited. 14:29.762 --> 14:31.203 And it can double as a baking tray. 14:31.623 --> 14:31.863 Yeah. 14:32.223 --> 14:37.145 Right, let's get on with the competition, which is celebrity regression therapy this week. 14:37.625 --> 14:40.286 Joe, are you ready to put me under in a deep hypnotic trance? 14:40.326 --> 14:40.787 Ah, yes I am. 14:41.167 --> 14:41.467 Here we go. 14:43.467 --> 14:45.028 Okay, remember the numbers 08712221049. 14:46.588 --> 14:51.090 I'm gonna now regress Adam into the mind of a famous Hollywood film star. 14:51.471 --> 14:59.474 That film star will then witness some of their films and you have to tell us who the star is and what film they've been regressed into. 14:59.534 --> 15:01.835 I can never really explain it properly but I think you get the point. 15:02.616 --> 15:08.038 Okay, you can relax along with us if you're at home or in your car or lying in your tiny little speedos in the park. 15:08.438 --> 15:09.439 Just take a deep breath. 15:10.619 --> 15:13.140 In the stomach, remember, inflate the stomach, not the chest. 15:13.821 --> 15:17.162 That's right, and breathe out through the mouth, in through the nose, out through the mouth. 15:18.002 --> 15:19.723 Excuse me, long deep breaths. 15:20.363 --> 15:31.668 Close your eyes, just feel very light and flaky, and now drift back, drift back, all the way back, you're five, you're four, you're three, you're two, you're one, you're in your daddy's nutties, and now you are yes. 15:32.569 --> 15:40.204 in the brain of a Hollywood star and breathe and I want you to wake up now and Are you ready Adam to wake up and and tell us what you see? 15:42.890 --> 15:46.193 And in a nightclub, it's a special movie nightclub. 15:46.253 --> 15:53.839 It's extremely well lit, with bad music that no one in real life listens to, and overdressed ladies dancing all sexy with their arms above their heads. 15:54.400 --> 15:55.181 Oh, seductive. 15:55.661 --> 15:57.362 Two of the ladies are dancing with me. 15:57.683 --> 15:59.885 They look angry or maybe sexy, I can't tell. 16:00.245 --> 16:02.607 Wait a second, one of them's touching my trousers! 16:02.727 --> 16:03.568 I'm confused! 16:04.099 --> 16:06.240 Now it's later and we're back at their house. 16:06.900 --> 16:08.300 I think we're all going to bed soon. 16:08.360 --> 16:09.200 Good, I'm tired. 16:09.420 --> 16:10.481 I'm going to brush my teeth. 16:10.821 --> 16:13.182 Oh, the ladies are in the bathroom together. 16:13.262 --> 16:14.622 They're not brushing their teeth. 16:14.662 --> 16:15.662 What are they doing? 16:16.022 --> 16:17.023 I'm confused. 16:17.263 --> 16:18.163 They look angry. 16:18.503 --> 16:19.383 It's confusing. 16:19.683 --> 16:19.923 What? 16:19.983 --> 16:20.744 Don't touch that. 16:21.124 --> 16:23.344 You ladies know that's not how you brush your teeth. 16:23.524 --> 16:24.325 Where's your brush? 16:24.565 --> 16:25.365 I'm confused. 16:26.626 --> 16:28.588 Okay, just breathe, just breathe. 16:28.648 --> 16:29.368 Very erotic. 16:30.409 --> 16:31.530 Regression there. 16:31.871 --> 16:34.013 Remember, oh, it's seven one two two two one four nine. 16:34.293 --> 16:39.378 You could win a copy of Jewel if you know what film Adam's being regressed into and what star he's being regressed into. 16:39.698 --> 16:41.000 Let's take him into a different film. 16:41.640 --> 16:42.181 Adam, wake up. 16:42.201 --> 16:42.721 Tell us what you see. 16:43.562 --> 16:46.504 I'm in a big room with lots of people wearing suits. 16:46.844 --> 16:47.525 They like me. 16:48.085 --> 16:49.926 I'm telling them what to do and they're doing it. 16:50.126 --> 16:51.027 That's my job. 16:51.207 --> 16:51.948 They're impressed. 16:52.188 --> 16:53.909 I'm impressive and fair-minded. 16:54.289 --> 16:55.470 Wait, wait a second. 16:55.490 --> 16:56.651 There's a woman in the room. 16:57.131 --> 16:59.873 She looks like the torch lady from the Columbia logo. 17:00.133 --> 17:01.534 She's telling me what to do. 17:01.774 --> 17:04.016 She doesn't think I'm impressive and fair at all. 17:04.316 --> 17:05.937 She's a firecracker and I like her. 17:05.977 --> 17:06.717 She's got spunk. 17:06.917 --> 17:10.900 And despite our differences, we're going to bend, because that's what this country's all about. 17:12.777 --> 17:13.719 OK, and just breathe. 17:13.759 --> 17:14.100 Well done. 17:14.120 --> 17:15.222 That was the second film. 17:15.242 --> 17:15.222 08712221049. 17:17.506 --> 17:22.536 As soon as you know who Adam's been regressed into in the films, let's take him to one third and final film. 17:22.616 --> 17:23.077 Adam, wake up. 17:23.097 --> 17:23.638 Tell us what you see. 17:23.719 --> 17:23.979 Yeah! 17:25.012 --> 17:26.013 Oh, I'm in a car. 17:26.533 --> 17:27.234 It's hot. 17:27.474 --> 17:28.134 I'm sweating. 17:28.454 --> 17:29.935 I'm stuck in a traffic jam. 17:30.356 --> 17:34.598 People of all different races and credos are shouting and beeping and shouting. 17:34.699 --> 17:38.301 So much rudeness and aggressitude and racialistic tension. 17:38.341 --> 17:39.502 I can't take it anymore! 17:40.022 --> 17:42.924 I'm gonna leave my car right here in the traffic jam. 17:43.244 --> 17:49.789 And from now on, I'm gonna stand up to all the rude, agressualistic racializers and teach them a bad lesson they won't forget soon. 17:50.569 --> 17:57.950 forget and oh no I've gone too far I've become as bad as them or am I still the victim 17:58.812 --> 17:59.633 Oh, it's confusing. 17:59.673 --> 18:00.373 It's so confusing. 18:00.413 --> 18:01.454 So much to talk about. 18:01.554 --> 18:04.396 So much to discuss on the Late Show Review with Mark Lawson. 18:04.756 --> 18:06.998 And I'm calling in Paul Morley. 18:07.118 --> 18:08.318 OK, just breathe now. 18:08.378 --> 18:08.919 Deep breaths. 18:08.999 --> 18:09.659 Is it over now? 18:10.180 --> 18:15.623 OK, so Adam's going to remain in his regressed state until one of you listeners calls 0-8-7-1-2-2-1-0-4-9. 18:17.424 --> 18:25.510 Not only will you rescue Adam from basically permanent regression, but you'll win a copy of Jewel, a film by Steven Spielberg, in a tin box. 18:25.530 --> 18:26.190 0-8-7-1-2-2-1-0-4-9, call now! 18:29.313 --> 18:44.210 XFM This is element John XFM you join us in the middle of celebrity regression Adam has been regressed Into the mind and films of a famous film star and we've got a caller on the line who thinks she knows What that? 18:45.371 --> 18:46.833 Who that star is and what the films are okay? 18:48.553 --> 18:49.294 How are you doing? 18:49.494 --> 18:50.255 Very well, how are you? 18:50.275 --> 18:51.897 I'm very well, thank you. 18:51.977 --> 18:55.801 Thanks for respecting the clinical nature of this competition and keeping your voice calm. 18:55.821 --> 18:57.403 So are you confident, Kate? 18:58.124 --> 18:58.524 Very. 18:58.865 --> 18:59.706 Very confident. 18:59.726 --> 19:03.110 You think you've got the actor or actress and all the films? 19:08.599 --> 19:14.241 OK Kate, what I'd like you to do is when I tell you, say the name of the actor. 19:14.501 --> 19:17.342 If you're right, Adam will come back to consciousness. 19:17.602 --> 19:20.424 If you're wrong, you may damage his brain permanently. 19:21.244 --> 19:22.364 Are you OK with that Kate? 19:22.384 --> 19:23.385 You're happy about that? 19:25.100 --> 19:28.923 Well, there's not a lot of brain damage, so the repercussions could be major. 19:29.964 --> 19:30.565 Are you ready, then? 19:30.585 --> 19:33.928 Say the name of the actor or actress who you think it is now. 19:34.548 --> 19:35.609 Michael Douglas. 19:37.391 --> 19:38.452 Oh, Kate! 19:38.652 --> 19:39.553 Fantastic, Kate. 19:39.613 --> 19:40.393 Well done, Kate. 19:40.654 --> 19:41.514 Absolutely right. 19:41.574 --> 19:42.175 First go. 19:42.195 --> 19:43.056 That's brilliant. 19:43.096 --> 19:44.237 But wait, wait, Kate. 19:44.317 --> 19:44.837 Wait, Kate. 19:45.077 --> 19:45.558 Kate, wait. 19:45.778 --> 19:47.840 Do you know what the films was? 19:47.860 --> 19:49.181 Yes, the films. 19:50.780 --> 20:13.227 basic instinct of course it was a wonderful scene where Gina Gershon lesbian lavatory love and was it Gina Gershon I don't care it was Sharon Stone and they were fooling around the ladies fooling around with each other in the toilet not gonna get on the live vinyl of muggles yes I am with that attitude oh yes I am now are you still there Kate? 20:13.607 --> 20:16.148 I am okay that's lucky what was film number two 20:16.633 --> 20:18.014 Film number two was Wall Street. 20:18.154 --> 20:18.314 Wrong. 20:18.334 --> 20:18.994 Hang on a second. 20:19.095 --> 20:19.535 Hang on a second. 20:19.615 --> 20:20.155 Hang on a second. 20:20.215 --> 20:20.916 Hang on a second. 20:20.956 --> 20:21.316 Hang on a second. 20:21.336 --> 20:21.716 Hang on a second. 20:21.896 --> 20:22.477 Hang on a second. 20:22.657 --> 20:23.177 Hang on a second. 20:23.297 --> 20:23.677 Hang on a second. 20:23.697 --> 20:24.418 Hang on a second. 20:24.458 --> 20:25.018 Hang on a second. 20:25.038 --> 20:25.478 Hang on a second. 20:25.518 --> 20:25.919 Hang on a second. 20:25.979 --> 20:26.379 Hang on a second. 20:26.399 --> 20:26.799 Hang on a second. 20:26.819 --> 20:27.219 Hang on a second. 20:27.259 --> 20:27.700 Hang on a second. 20:27.720 --> 20:28.040 Hang on a second. 20:28.060 --> 20:28.540 Hang on a second. 20:28.660 --> 20:29.501 Hang on a second. 20:29.701 --> 20:30.061 Hang on a second. 20:30.081 --> 20:30.541 Hang on a second. 20:30.581 --> 20:30.942 Hang on a second. 20:30.962 --> 20:31.922 Hang on a second. 20:31.982 --> 20:32.603 Hang on a second. 20:32.843 --> 20:33.763 Hang on a second. 20:33.803 --> 20:34.684 Hang on a second. 20:34.724 --> 20:35.364 Hang on a second. 20:35.424 --> 20:36.385 Hang on a second. 20:36.825 --> 20:37.265 Hang on a second. 20:37.285 --> 20:37.746 Hang on a second. 20:37.766 --> 20:38.706 Hang on a second. 20:38.766 --> 20:39.307 Hang on a second. 20:39.507 --> 20:40.407 Hang on a second. 20:40.447 --> 20:40.908 Hang on a second. 20:40.988 --> 20:41.928 Hang on a second. 20:41.948 --> 20:42.429 Hang on a second. 20:42.449 --> 20:43.069 Hang on a second. 20:43.089 --> 20:43.529 Hang on a second. 20:43.549 --> 20:44.150 Hang on a second. 20:44.170 --> 20:44.570 Hang on a second. 20:44.590 --> 20:45.010 Hang on a second. 20:45.050 --> 20:45.611 Hang on a second. 20:46.551 --> 20:49.679 It's just because you've got one film wrong, we might have to scratch your copy of Jewel. 20:50.120 --> 20:50.801 Oh, dear. 20:50.821 --> 20:50.881 No! 20:50.901 --> 20:52.144 Just damage it a bit. 20:52.525 --> 20:55.051 What about if I just bang it against the desk just to dent it? 20:55.091 --> 20:55.532 Bang it, man. 20:55.833 --> 20:55.913 OK. 20:57.389 --> 20:58.049 Ooh, that was a good bang. 20:58.069 --> 20:59.150 That was a good noise, wasn't it? 20:59.170 --> 21:00.330 But it's made no damage at all. 21:00.690 --> 21:02.271 I think I got the third one right, though. 21:02.391 --> 21:03.751 OK, what do you think the third one was? 21:03.771 --> 21:05.872 Falling Down. 21:05.932 --> 21:07.332 You just cut out in the middle of the words. 21:07.372 --> 21:07.832 Say that again. 21:08.032 --> 21:08.633 Falling Down. 21:09.033 --> 21:20.996 Falling Down, of course, yes, where Douglas plays a close-to-the-edge kind of nerd who goes on a shooting and punching rampage because he's been pushed to the limit by the callous modern world. 21:21.036 --> 21:21.717 We've all been there. 21:22.137 --> 21:22.717 Absolutely. 21:22.737 --> 21:22.877 Yeah. 21:23.177 --> 21:24.518 Well, Kate, that's fantastic. 21:24.578 --> 21:25.838 Very good deductions there. 21:26.198 --> 21:37.483 It wasn't quite as easy as it could have been this week due to the rambling nature of the competition, but you did very well indeed, and you're going to get that dual metal box sent to you forthwith. 21:38.024 --> 21:38.904 Thanks. 21:39.284 --> 21:40.105 Thanks for calling, Kate. 21:40.145 --> 21:41.185 Thanks for listening as well. 21:41.405 --> 21:42.266 Have a lovely Saturday. 21:42.346 --> 21:43.526 Have a wonderful weekend. 21:43.946 --> 21:47.188 Oh, I thought so nice. 21:47.468 --> 21:49.149 Let's just take time out just to think. 21:49.169 --> 21:49.349 Yeah. 21:50.089 --> 21:51.790 What are you thinking about? 21:51.810 --> 21:52.811 Oh, evil. 21:52.991 --> 21:53.791 Pure, pure evil. 21:53.951 --> 21:55.252 Don't think about pure evil. 21:55.272 --> 21:55.912 I can't help it. 21:56.073 --> 21:56.553 I must kill. 21:56.593 --> 21:57.393 It's a sunny day. 21:57.433 --> 21:57.754 Don't. 21:57.834 --> 21:58.414 I must kill. 21:58.434 --> 21:59.254 No, don't kill. 21:59.274 --> 21:59.555 Sorry. 21:59.655 --> 21:59.935 Here, look. 21:59.955 --> 22:07.339 I'll tell you what I'm thinking about, that I will be going to the Make Me Model, uh, Make Me Supermodel, uh, final night, because we've had an email from the lovely producer Debbie Sol. 22:07.539 --> 22:12.202 Doesn't want to be called on air, but she says, we'll try and see if we can squeeze you in. 22:12.822 --> 22:13.923 Oh, what's she talking about? 22:13.943 --> 22:15.584 I don't know, but I'm very excited. 22:15.784 --> 22:16.885 Squeeze me in, too? 22:18.006 --> 22:18.970 Oh, Dr Fox. 22:19.371 --> 22:20.796 Uh, Debbie, I'll give you a call after the show. 22:20.816 --> 22:21.378 Set that up. 22:21.398 --> 22:21.960 That's brilliant. 22:22.562 --> 22:24.388 If it's too far out of London, might not bother. 22:28.832 --> 22:30.373 Hard-Fi with Tied Up Too Tight. 22:30.393 --> 22:31.514 That was very good, I thought. 22:31.894 --> 22:32.514 Fantastic. 22:32.675 --> 22:34.156 This is Adam and Joe on XFM. 22:34.196 --> 22:34.996 Yeah, well done, man. 22:35.316 --> 22:35.737 Thanks a lot, man. 22:35.757 --> 22:36.657 You must be really pleased with that. 22:36.677 --> 22:38.818 I'm really happy with that Hard-Fi single. 22:38.879 --> 22:39.199 Yeah. 22:39.319 --> 22:39.819 Good singing. 22:40.119 --> 22:40.420 Yeah. 22:40.700 --> 22:41.300 Thanks a lot, man. 22:41.860 --> 22:43.542 So listen, film posters. 22:44.122 --> 22:50.246 You know the BBFC put little certificates, obviously, on all film posters, and then next to the certificate, it's got some words, hasn't it? 22:50.586 --> 23:17.126 yeah like stereophonic style words like exactly mild language strong graphic nudity yeah yeah yeah exactly like the title of the stereophonic album but you know i'm a bit worried that uh these little blocks of text by the bbfc sorry i'm just looking at my notes here uh are giving stuff away don't worry they're sort of spoiling the film like what for instance uh the weirdest one i've come across is on pooh's heffalump movie 23:17.908 --> 23:19.993 POO's Heffalump Movie, Certificate U, obviously. 23:20.013 --> 23:24.044 It says that the little box contains no sex, violence or bad language. 23:26.290 --> 23:28.751 Mummy, can I see a film? 23:29.111 --> 23:31.232 Yes, let's go and see Pooh's Heffalump movie. 23:31.392 --> 23:33.033 Does it have sex, violence and language? 23:33.834 --> 23:34.054 No. 23:34.074 --> 23:35.494 I don't want to see it then. 23:35.955 --> 23:40.096 Is it coming from the point of view of a toddler that loves really extreme stuff in films? 23:40.437 --> 23:47.440 It just seems like they're all written from the point of view of someone who's sick in the head and is assessing these films for how freaky they are. 23:48.180 --> 23:52.025 You know, for instance, sideways contains strong language and moderate sex. 23:52.906 --> 23:53.627 Won't see it then. 23:54.508 --> 23:55.810 If the sex is only moderate. 23:56.311 --> 24:00.957 The machinist contains strong language, gory images and sex references. 24:00.977 --> 24:03.059 No one cares about sex references. 24:03.500 --> 24:04.201 You want the sex. 24:04.742 --> 24:05.923 Won't so go and see the machinist. 24:06.984 --> 24:07.725 What else have we got? 24:08.145 --> 24:12.009 Nine songs contains frequent, strong, real sex. 24:12.529 --> 24:14.030 That's brilliant, guaranteed. 24:14.291 --> 24:15.812 The other thing you can do is make up your own. 24:15.872 --> 24:22.177 For instance, a good one for Matrix Revolutions would be, contains confusing ideas, weak CGI and strong tedium. 24:23.198 --> 24:27.382 For robots, I think it should say certificate U, contains one old joke. 24:29.685 --> 24:30.847 I went to all these films I've seen. 24:30.907 --> 24:35.132 Hitch contains no laughs, one use of strong language and intense boredom. 24:35.652 --> 24:36.373 And Will Smith. 24:36.954 --> 24:37.514 And Will Smith. 24:37.574 --> 24:38.175 Is that a warning? 24:38.435 --> 24:39.417 Yeah, it should be. 24:39.517 --> 24:42.340 It should have been on the Shark's Tale box a bit more prominently. 24:42.500 --> 24:43.521 Then I would have avoided it. 24:43.882 --> 24:47.926 So if you listeners want to win tickets to see The Departure or Feeder, 24:48.487 --> 24:55.172 Text us in what you would put in the BBFC certificate box for your favourite or least favourite film. 24:55.532 --> 25:02.017 If there's a film you want to warn people about, what sort of five or six words would you put in that BBFC box? 25:02.437 --> 25:13.445 The text number is 83XFM, email's adamandjoe at xfm.co.uk, win tickets to feeder or the departure for telling us what you'd put in that little BBFC box for your favourite film. 25:14.025 --> 25:15.308 This is Adam and Joe on XFM. 25:15.368 --> 25:20.237 Here's a really short free play, maybe the shortest free play ever at 54 seconds. 25:20.658 --> 25:24.886 This is Brian Eno with a remix of a Cannes song called Pneume. 26:23.987 --> 26:26.789 Wow, that's... really worrying. 26:27.630 --> 26:28.270 About the fire? 26:28.390 --> 26:29.191 About the fire. 26:29.211 --> 26:30.012 Why are we so quiet? 26:30.032 --> 26:30.992 Oh, that's better. 26:32.093 --> 26:33.014 It's out of control. 26:33.034 --> 26:34.034 The fire's out of control. 26:34.054 --> 26:35.936 I hope he doesn't work for the fire service. 26:35.956 --> 26:37.357 Well, it's gonna burn the city. 26:37.377 --> 26:38.738 He's an insane pyromaniac. 26:40.433 --> 26:41.214 That's just so worrying. 26:41.234 --> 26:41.994 That's a shame, isn't it? 26:42.514 --> 26:44.696 That was the news with Franz Ferdinand. 26:44.716 --> 26:46.577 Apparently there's an out of control fire. 26:46.717 --> 26:49.379 There's some kind of fire, it's going to burn this city. 26:49.959 --> 26:53.841 And before that you heard Dakota by the Stereophonics. 26:53.961 --> 26:55.582 This is Adam and Joe on XFM. 26:55.682 --> 27:01.126 We've been asking you to text him what you would put in the BBFC box on a film poster for your favourite films. 27:01.166 --> 27:02.326 We've had some quite good ones. 27:04.768 --> 27:05.889 I've written some of them down. 27:06.509 --> 27:09.551 Independence Day contains the knob out of Hitch. 27:11.257 --> 27:11.977 That's quite good, isn't it? 27:12.017 --> 27:16.639 The thing I like about that one is also that Hitch obviously is a recent film, Independence Day is an old film. 27:16.859 --> 27:23.542 I like the idea that they would, you know, warn you about a film, eight to nine years in the future on the BBFC thing. 27:23.562 --> 27:24.323 That's a good idea. 27:24.563 --> 27:26.423 That was from Pale John. 27:26.924 --> 27:27.744 Well done, Pale John. 27:27.784 --> 27:32.066 I assume you're a sort of Clint Eastwood sort of character, riding around on a horse. 27:32.326 --> 27:33.006 He's just white. 27:33.366 --> 27:34.187 Yeah, very white. 27:35.547 --> 27:38.589 The Magic Roundabout contains no charm. 27:39.469 --> 27:40.889 or contains none of the charm of the original. 27:41.049 --> 27:43.310 I've had to change some of these around so they're a bit better. 27:45.150 --> 27:47.090 And I didn't sort of... Oh, dear. 27:48.611 --> 27:56.032 Uh, nine songs, contains ejaculation, no storyline, and cinema full of sex offenders with rucksacks full of Kleenex. 27:56.252 --> 27:58.232 You know what, I never went to see that film the other day. 27:58.252 --> 28:02.373 Well, you were trying to pimp yourself to some sexy female listener. 28:02.473 --> 28:06.394 I was trying to pick up girls on air to go and see nine songs. 28:06.414 --> 28:07.474 And it was all for nothing. 28:07.714 --> 28:11.296 and it was all, I just thought better of it, and went home to my wife instead. 28:11.316 --> 28:12.257 Ricky Laughs Slightly So. 28:12.277 --> 28:19.182 And someone else has texted in with, uh, they haven't given their name, but, uh, warning contains rubbish coming out scene. 28:19.582 --> 28:22.824 And I think that's quite a good observation, because there are a lot of rubbish coming out scenes. 28:23.204 --> 28:29.389 In Bridget Jones 2, we've discussed this already, when the sexy girl, uh, turns out to fancy Bridget Jones. 28:30.009 --> 28:31.811 That's an awful coming out moment. 28:32.151 --> 28:34.033 Oh, I haven't seen Bridget Jones' Edge of Reason. 28:34.053 --> 28:39.919 Bend It Like Beckham, I believe Keira Knightley's character comes out as a lesbian in a terrible little coming out scene. 28:40.719 --> 28:46.425 Sort of coming out as a sort of weird little subplot in the third act of a film is always particularly crap. 28:46.485 --> 28:48.367 Well, there's In and Out, of course, the classic. 28:48.567 --> 28:51.749 Almost Famous, apparently there's a coming out as well in Almost Famous. 28:52.409 --> 28:55.350 One of the band just goes, oh I'm gay and I love you. 28:55.410 --> 28:58.552 Well they think they're gonna crash and suddenly he admits that he's gay. 28:58.572 --> 29:00.773 That's a good observation, rubbish coming out scenes. 29:00.833 --> 29:04.034 If I was gay I'd be really patronised by all of those films. 29:04.514 --> 29:07.676 I am gay and I am patronised by all those scenes. 29:08.056 --> 29:09.637 I'm gay enough to be patronised. 29:10.317 --> 29:11.778 So are you gonna give some prizes out then? 29:12.478 --> 29:12.818 Er, no. 29:12.838 --> 29:14.520 Are you going to keep asking people to send stuff in? 29:14.580 --> 29:22.186 Yeah, cos we've got some more coming in and maybe the next link will give away those tickets to, to feeder or, or the departure and maybe get someone on the, on the line. 29:22.826 --> 29:23.647 Oh, can you imagine? 29:23.687 --> 29:25.128 Call one of our texters back. 29:25.729 --> 29:27.670 Slightly frightening for people who've just texted in. 29:28.071 --> 29:29.211 We may be calling your numbers. 29:30.012 --> 29:44.626 calling your numbers so you definitely going to give it a feeling well done just did the jingle there just made it up are you going along to the model show final on Monday then I hope I am Wow yeah is that a definite well I picked it I've been definitely offered 29:45.618 --> 29:46.499 Is it squeezed in? 29:46.659 --> 29:48.660 And do you think that you would actually be on the telly then? 29:48.720 --> 29:51.202 Is it going to be like Big Brother with lots of people standing around? 29:51.222 --> 29:51.502 I hope not. 29:51.522 --> 29:51.983 I'd hope not. 29:52.303 --> 29:52.883 No, I don't know. 29:52.903 --> 29:53.404 I don't know. 29:53.484 --> 29:53.924 I don't know. 29:54.525 --> 29:54.925 Oh, man. 29:54.945 --> 29:56.706 It's so hard to tell in TV, isn't it? 29:56.726 --> 29:57.147 So exciting. 29:57.167 --> 29:58.087 It's very exciting. 29:58.548 --> 29:59.869 And who's the name? 29:59.889 --> 30:01.670 What's the name of the woman judge on it? 30:01.930 --> 30:04.332 The really ludicrous, obnoxious one. 30:04.412 --> 30:06.193 Not Rachel Hunter, but the... Nattys. 30:06.573 --> 30:07.194 Natalia. 30:07.954 --> 30:08.315 Nattys. 30:08.355 --> 30:10.957 There's Pingu or Peru or whatever his name is. 30:11.317 --> 30:12.758 Pingu's a character from Nathan Barley. 30:13.038 --> 30:13.178 Yeah. 30:13.198 --> 30:14.880 But Peru is the absurd photographer. 30:16.241 --> 30:22.205 and then there's Rachel Hunter and then there's Nick Knox, Natty Knox, Nitty, Natty. 30:22.446 --> 30:23.787 I can't remember, Tanya? 30:23.867 --> 30:25.428 Tanya, maybe it's Tanya, yes. 30:25.468 --> 30:25.848 Tiddles? 30:26.329 --> 30:26.629 Yes. 30:26.729 --> 30:30.632 This is Make Me a Supermodel on Channel 5 we're talking about in case you just don't know. 30:30.652 --> 30:31.593 Not very coherently. 30:31.633 --> 30:32.674 What the hell we're talking about. 30:32.694 --> 30:35.076 This is Adam and Joe on XFM. 30:35.436 --> 30:36.877 It's music time once again. 30:36.897 --> 30:39.019 This is The Choral within the morning. 30:39.039 --> 30:42.302 What are you looking for? 30:43.763 --> 30:44.584 Not you, listeners. 30:45.545 --> 30:46.226 Stop talking. 30:46.246 --> 30:46.666 Sorry. 30:46.706 --> 30:47.867 Do you know what? 30:47.887 --> 30:54.034 This is just a- Suddenly everything just went disastrous there. 30:59.099 --> 30:59.319 Why? 30:59.440 --> 31:00.841 Because I put the wrong song on. 31:00.861 --> 31:01.642 Are we on again? 31:01.662 --> 31:02.984 Yeah, I just- Wow. 31:03.124 --> 31:03.545 I don't know. 31:03.565 --> 31:04.846 This is like a behind-the-scenes link. 31:05.327 --> 31:07.549 This is something for media students out there. 31:07.569 --> 31:08.891 The whole show is behind the scenes. 31:08.931 --> 31:09.992 That's the problem with us. 31:10.112 --> 31:12.876 There's nothing in front of the scenes at all. 31:12.936 --> 31:15.639 Okay, it was your fault, Alan Buxton, so come on, Carrie, Carrie, Phil. 31:16.020 --> 31:16.721 Okay, Phil. 31:17.982 --> 31:18.523 Here's the choral. 31:23.700 --> 31:27.565 Well, there you go, that was worth actually getting to in the end because it was fantastic. 31:27.645 --> 31:29.147 In the Morning by The Coral. 31:29.627 --> 31:31.750 Yeah, so listen, Valiant vs Robots. 31:32.541 --> 31:34.723 Oh yeah, I've seen neither of them, but I'm very excited. 31:34.763 --> 31:43.932 You know, like any father of young children, these films become super important because you're guaranteed to have to sit through them about 500 times. 31:44.152 --> 31:46.775 It's an interesting period because of course they're both big CGI movies. 31:47.035 --> 31:48.356 One of them's British, one of them's American. 31:48.376 --> 31:49.537 They've both got the same people in them. 31:49.577 --> 31:51.960 Both got Ewan McGregor and Jim Broadbent in them. 31:52.640 --> 31:53.361 So they're very similar. 31:53.581 --> 31:55.363 The main difference is one's British, one's American. 31:55.383 --> 31:56.344 So it's like a big 31:56.964 --> 32:01.589 a test of whether the British film industry can make a big American-style CGI movie. 32:01.649 --> 32:02.490 I've seen robots. 32:03.031 --> 32:04.032 I haven't seen Valiant. 32:04.412 --> 32:06.835 Valiant is about pigeons in the Second World War. 32:06.855 --> 32:08.076 That is correct, yeah. 32:08.917 --> 32:12.081 So, you know, and it looks as if Valiant won't make as much money as robots. 32:12.581 --> 32:16.685 Er, it's inevitable, I think, based on the fact that which word can a three-year-old pronounce better? 32:16.845 --> 32:17.846 Valiant or robots? 32:17.946 --> 32:18.406 Robots. 32:18.646 --> 32:18.847 Yeah. 32:18.967 --> 32:26.193 If you said to a child, do you want to see robots or do you want to see Valiant, they'll go, you know, what does the- they won't even know what the second word means. 32:26.533 --> 32:27.834 They'll go, robots, robots, won't they? 32:28.094 --> 32:28.735 Yeah, they love robots. 32:28.755 --> 32:29.316 Yeah, exactly. 32:29.376 --> 32:29.976 So, come on. 32:30.256 --> 32:33.319 I mean, they really should have thought that through at the development stage with Valiant. 32:33.639 --> 32:35.981 If I'd been on the crew of that film, I would have pointed that out. 32:36.342 --> 32:37.302 What would you have called it then? 32:38.303 --> 32:38.623 Pigeons. 32:38.984 --> 32:40.205 Pigeons or the birdie film? 32:40.325 --> 32:40.845 Dirty Birds. 32:41.125 --> 32:41.886 Dirty Birdies. 32:42.446 --> 32:43.147 Winghead Rats. 32:43.587 --> 32:43.787 Yeah. 32:43.807 --> 32:44.468 I don't know, something like that. 32:44.508 --> 32:52.714 But anyway, it got me thinking, and I'm thinking, well, you know, there's a way to make a talking bird movie very, very cheaply that no one has yet done. 32:52.975 --> 32:53.815 Mm-hm. 32:53.875 --> 32:54.956 And this is it, OK? 32:55.337 --> 32:57.338 So the film's about a gay parrot. 32:58.079 --> 32:58.379 Yeah. 32:58.419 --> 33:01.241 It's a big CGI spectacle about a gay parrot. 33:01.261 --> 33:02.722 Can you think of a good name for that? 33:04.383 --> 33:07.845 Er, Polly wants a boyfriend. 33:07.865 --> 33:08.925 Yeah, OK, stop right there. 33:08.945 --> 33:09.565 So it's called Polly. 33:09.585 --> 33:10.326 So it's called Polly. 33:10.526 --> 33:10.586 OK. 33:10.666 --> 33:12.266 It's about a bright pink parrot. 33:12.667 --> 33:19.830 All you do is you get your scripts, you get a brilliant script, and then you get a parrot for every- you get- you buy enough parrots for every line of dialogue. 33:20.170 --> 33:21.670 So say 500 parrots. 33:22.050 --> 33:23.931 You teach them all one line of dialogue. 33:24.251 --> 33:26.452 Because parrots can for real talk, can't they? 33:26.572 --> 33:26.872 Yeah. 33:27.093 --> 33:30.114 So you teach them all a line of dialogue each, spray them all pink, 33:30.874 --> 33:32.035 thereby the gay parrot thing. 33:32.415 --> 33:32.936 Bob's your uncle. 33:33.456 --> 33:33.977 Make the film. 33:34.517 --> 33:35.638 That's a bad idea. 33:35.658 --> 33:36.799 It's a fantastic idea. 33:36.819 --> 33:38.901 You don't have to bother with any of the CGI. 33:39.121 --> 33:40.242 You've got talking parrots. 33:40.262 --> 33:42.444 You don't have to bother with the CGI at all anyway. 33:42.464 --> 33:43.385 You just dub them. 33:43.585 --> 33:44.947 Have you not seen Paulie? 33:46.348 --> 33:47.689 Okay, well what about this? 33:47.709 --> 33:52.994 What about you just put a sort of weird digital sheen on it that makes it look CGI, even though it's actually real? 33:53.234 --> 33:57.357 We- was- did you think of this very late last night when you were quite ill? 33:57.897 --> 33:58.238 Yeah. 33:59.198 --> 33:59.659 I bet. 33:59.739 --> 34:01.400 I think that parrot idea is a winner. 34:01.440 --> 34:03.021 Hey, have they got songs in robots? 34:03.641 --> 34:10.946 Uh, there is some Tom Waits music in robots and there's a terrible moment when they start singing Brit- you know, Hit Me Baby One More Time. 34:11.507 --> 34:12.487 Is robots no good then? 34:12.568 --> 34:13.268 Robots is terrible. 34:13.308 --> 34:14.228 Oh, that's a shame. 34:14.268 --> 34:15.309 I was really excited about that. 34:15.329 --> 34:18.210 It's good for the kids to love it, but it's like a photocopy of a photocopy of a photocopy. 34:18.230 --> 34:19.590 It's amazingly derivative. 34:19.710 --> 34:20.090 Yeah. 34:20.230 --> 34:22.831 It's on a Shark Tale level for sort of unoriginality. 34:22.891 --> 34:27.553 My wife went out and made some unauthorised purchases this week and came back with Shark Tale. 34:28.113 --> 34:32.374 I'm the one that does the CGI film purchasing for the children, not her. 34:32.794 --> 34:35.055 She came back with that pile of... carp. 34:35.615 --> 34:37.616 That was a little shard to tell the joke for you. 34:38.156 --> 34:40.077 And what else did she bring back? 34:40.097 --> 34:43.759 She brought back something else completely unauthorised that I don't really want in my house. 34:44.399 --> 34:46.100 But I'm very disappointed about Little Robots. 34:46.480 --> 34:52.882 One of the things I've been subjected to recently is a lot of very bad songs in these animated films. 34:53.023 --> 34:53.803 Paulie wants a pecker. 34:54.223 --> 34:55.023 Paulie wants a pecker? 34:55.063 --> 34:55.424 Very nice. 34:55.444 --> 34:56.264 Well, yeah. 34:56.284 --> 34:56.564 Well done. 34:56.584 --> 34:57.424 That came in by text. 34:57.464 --> 34:58.065 Another pecker. 34:58.105 --> 34:58.465 Well done. 34:59.734 --> 35:23.557 Yeah, so I've been collecting some of the worst songs that pop up in these animated films because they very often have a moment around about halfway through when they have a little montage of all the action going on accompanied by a really dreadful song that they've got someone to Do especially for the film of course the brilliant ones are things like Randy Newman You've got a friend in me and all the classic Disney wasn't that brilliant lost ditches in the dock for your last weekend. 35:23.617 --> 35:24.218 Yeah, well 35:25.759 --> 35:28.942 So here's, I just want to play you some of the ones that I've been listening to. 35:28.982 --> 35:35.627 This one is called, this is from Help, I'm a Fish with Michael J. Fox, which isn't a bad film, it's not too bad. 35:35.647 --> 35:36.367 You're gonna play some? 35:36.947 --> 35:37.508 Yeah, check it out. 35:37.528 --> 35:39.229 This is the sort of main theme. 35:44.033 --> 35:46.094 Yeah, this was on telly over Christmas, wasn't it? 35:46.415 --> 35:46.715 Was it? 35:46.855 --> 35:49.357 Yeah, I saw this on telly over Christmas, or as much as I could bear. 35:50.097 --> 35:50.638 Is this aqua? 35:53.160 --> 35:54.241 It sounds like Aqua, doesn't it? 35:54.341 --> 35:57.102 It's by... The kids love this sort of stuff, though. 35:57.122 --> 35:58.663 This is like musical orange juice. 35:58.763 --> 35:59.983 They absolutely do not love it. 36:00.003 --> 36:00.764 Musical E numbers. 36:00.864 --> 36:03.785 If my son is any indication, he's not interested. 36:03.825 --> 36:05.286 He's probably gonna be straight. 36:05.486 --> 36:05.766 He's obsessed. 36:05.786 --> 36:06.767 Little gay kids love this. 36:07.167 --> 36:07.447 Really? 36:09.437 --> 36:10.998 It's by someone called Lunar. 36:11.579 --> 36:13.720 Yeah, being a fish isn't that person's main problem. 36:14.120 --> 36:14.841 And check this out. 36:16.262 --> 36:19.024 Check out the lyrics to this one, also from Help, I'm a Fish. 36:19.064 --> 36:21.806 This is a song called Do You Believe in Magic? 36:22.206 --> 36:32.374 And this comes at a point in the film where basically they've discovered that if they want to be transformed back from fish into human beings, they have to collect a number of ingredients. 36:32.394 --> 36:34.695 But they've got to do it before the sun rises. 36:34.955 --> 36:37.637 Now, all these facts are cleverly incorporated into this song. 36:37.978 --> 36:38.218 Listen. 36:58.442 --> 37:04.561 ingredients being gathered we're on the run all of this needs to be done before the sun sets my friends 37:07.811 --> 37:08.531 Yeah, that's, yeah. 37:08.551 --> 37:09.912 Pretty amazing rapping there. 37:10.312 --> 37:21.176 And they have these raps, these raps that'll pop up in these songs every now and again, as if people just sort of assume, well, kids, they like the rapping and it'll be better for them if there's some rapping, so we'll put a rap in it. 37:21.556 --> 37:26.558 And you know, even so-called rap geniuses like P. Diddy aren't immune from this kind of thing. 37:26.578 --> 37:34.561 This is a track from the Wild Thornberries movie, which is fantastic, I recommend the Wild Thornberries movie, but this is a rather low point at the end. 37:34.581 --> 37:35.601 Is this P. Diddy rapping? 37:35.701 --> 37:36.522 Yeah, check this out. 37:42.816 --> 37:43.717 He's going to start soon. 37:44.998 --> 37:46.479 All the Thorn Berets are jumping about. 37:46.499 --> 37:47.460 Here it comes. 38:06.408 --> 38:09.471 I'm going, going, back, back, yo, yo, yo. 38:09.491 --> 38:10.092 Yeah, yeah, yeah. 38:10.132 --> 38:11.754 You know what that is a reference to, Adam Buxton? 38:11.774 --> 38:12.054 What is it? 38:12.254 --> 38:14.596 It's LL Cool J with I'm Going Back to Cali. 38:14.677 --> 38:18.821 I'm Going, Going, Back, Back to Cali, which is a very, very famous 80s hip-hop hit. 38:19.101 --> 38:21.804 So Puff Daddy's slipping in a little reference for the Puff Daddies. 38:22.144 --> 38:23.265 Now I feel stupid. 38:23.305 --> 38:23.586 Yeah? 38:23.846 --> 38:24.747 Now I feel really stupid. 38:24.767 --> 38:26.509 But they have to pop a farting noise in there, don't they? 38:26.529 --> 38:27.590 Just to keep the kids interested. 38:27.710 --> 38:28.451 Yeah, exactly. 38:29.171 --> 38:29.512 I don't know. 38:30.796 --> 38:31.377 Well, I'm finished. 38:31.437 --> 38:35.644 I just wanted to get those ones off my chest and a few films there for you two. 38:35.664 --> 38:36.105 Wow, there you go. 38:36.125 --> 38:39.110 So that was sort of a 10 to 15 minute chat about CGI films. 38:39.290 --> 38:40.251 Yeah, sorry about that. 38:40.692 --> 38:41.413 Cartoon films. 38:41.433 --> 38:42.215 We'll be back shortly. 38:43.256 --> 38:43.777 XFM 38:47.467 --> 38:48.487 Oh, that's tiring, isn't it? 38:48.787 --> 38:51.628 Uh, Every Day I Love You Less and Less by the Kaiser Chiefs. 38:52.068 --> 38:53.389 Can I just read out a quick e-mail, Adam? 38:53.609 --> 38:53.809 Go on then. 38:53.829 --> 38:56.690 On the subject of robots versus Valiants, it's a very nice e-mail. 38:57.450 --> 38:58.050 Uh, who's it from? 38:58.070 --> 38:58.490 Who's it from? 38:58.510 --> 38:59.010 Who's it from? 38:59.050 --> 39:00.511 From Nicky in York. 39:01.231 --> 39:02.251 Uh, she says, love the show. 39:02.711 --> 39:06.092 Uh, regarding the subject of robots versus Valiants, I took my son to the cinema. 39:06.112 --> 39:06.612 He's four. 39:06.932 --> 39:09.133 I asked him what he wanted to see, robots or Valiants. 39:09.513 --> 39:12.794 And he replied, nah, I don't want to see robots as it's on telly. 39:13.154 --> 39:15.595 Referring to the BBC's Little Robots with Lenny Henry. 39:15.695 --> 39:16.115 That's right. 39:16.135 --> 39:17.076 I wanna see the pidgeys. 39:17.096 --> 39:18.738 The pidgeys. 39:19.138 --> 39:20.360 That's what they should have called it. 39:20.460 --> 39:20.900 Pidgeys. 39:20.960 --> 39:22.002 He laughed all the way through. 39:22.082 --> 39:23.844 I couldn't understand why he found it so funny. 39:23.964 --> 39:25.405 Oh, I wish I was a kid again in brackets. 39:25.446 --> 39:26.327 He wanted to watch it again. 39:26.347 --> 39:27.588 There we go. 39:27.848 --> 39:28.789 So that's sweet, isn't it? 39:28.809 --> 39:31.773 But he said after it, he said it was okay, but Incredibles is far better. 39:32.433 --> 39:32.913 Oh, wow. 39:32.933 --> 39:33.834 So there you go. 39:33.854 --> 39:38.836 And she wants us to play Ian Brown's The Sweet Fantastic, cos it's the only song that can get her 11-week-old daughter off to sleep. 39:38.916 --> 39:39.456 Have we got that? 39:39.496 --> 39:41.037 Well, we haven't got time, I'm afraid, Nicky. 39:41.317 --> 39:42.077 But thanks for that email. 39:42.097 --> 39:42.778 That's very nice. 39:43.398 --> 39:49.400 And, er, our text competition's been to, er, make up a BBFC warnings box for your favourite film. 39:49.660 --> 39:50.701 We've got John on the line. 39:50.741 --> 39:51.221 Hello, John. 39:51.241 --> 39:51.841 Hello. 39:52.202 --> 39:52.562 How are you? 39:52.582 --> 39:53.842 Oh, I'm all right. 39:53.922 --> 39:55.963 I'm, er, quite hungover, but... Oh, dear. 39:55.983 --> 39:56.203 ..all right. 39:56.984 --> 39:59.865 And, er, your, your texts are under the name of Pale John. 40:00.982 --> 40:01.903 Er, yes, that's right, yeah. 40:02.043 --> 40:03.203 Can you explain that to us, please? 40:03.684 --> 40:07.986 Er, well, I'm a chef, so I spend all day under artificial light and not getting any sun. 40:08.326 --> 40:10.047 Right, so do your friends call you pale, John? 40:10.747 --> 40:12.869 Erm, no, that's just a personal moniker. 40:13.349 --> 40:17.271 Are you a mate, are you so pale that when you go out in the sun you actually make people go snow blind? 40:17.291 --> 40:20.393 You actually can't, you can't be looked at with your shirt off. 40:20.473 --> 40:21.173 I used to be like that. 40:21.353 --> 40:26.296 Well, yes, I do, I do look quite like Brian Mocco or, erm, or him out of The Cure. 40:26.496 --> 40:28.037 Are you very scrawny as well, John? 40:28.337 --> 40:29.438 Yes, I was bit in the chest. 40:29.858 --> 40:35.800 So you look a bit like the guy from, what are they called, not the stereophonics, but the stereo MCs. 40:36.861 --> 40:37.761 A little bit, yeah. 40:37.801 --> 40:41.443 You know, the skeletal guy always used to hold his hands out in photos. 40:41.483 --> 40:44.484 That was the only pose he could do, was hands close to the lens. 40:44.944 --> 40:48.686 Or maybe like Christian Bale, is he your film? 40:48.726 --> 40:49.686 The Machinist, yes. 40:49.926 --> 40:50.807 He's lost a lot of weight. 40:51.767 --> 40:53.068 Yeah, well, that's not good, John. 40:53.108 --> 40:55.390 You should have some cakes and get some sun. 40:56.070 --> 40:57.311 But your texts were very good. 40:57.351 --> 40:58.652 They were our favourites. 40:58.932 --> 41:03.255 I've edited them a bit, because the point of these BBFC boxes is they're very succinct. 41:03.555 --> 41:07.598 I particularly like yours for cruel intentions, which would be, contains that bit in the park. 41:08.407 --> 41:09.868 Yes. 41:10.088 --> 41:12.069 Because let's face it, that's all anyone cares about. 41:12.089 --> 41:14.331 There's quite a good bit in the bedroom as well, isn't there? 41:14.571 --> 41:18.133 Well, no, the bit in the back's the only bit I've watched, I think. 41:18.173 --> 41:18.633 Fair enough. 41:18.653 --> 41:20.414 Recommendation, yes. 41:20.514 --> 41:21.355 I think you're absolutely right. 41:21.575 --> 41:25.518 And your other one that we read out previously was Independence Day contains the knob out of Hitch. 41:25.778 --> 41:26.318 That's correct. 41:26.398 --> 41:27.619 I think that's extremely good. 41:27.679 --> 41:30.641 So are you interested in seeing Feeder or The Departure? 41:30.661 --> 41:32.382 I think The Departure. 41:32.944 --> 41:33.284 OK. 41:33.624 --> 41:38.966 So two tickets to the departure will be, uh, I was gonna say, winging their way to you. 41:39.006 --> 41:43.828 But, uh, they'll be- we're gonna send them in- into you in the post. 41:45.069 --> 41:47.289 Winging their- winging their way to you right now, John. 41:47.670 --> 41:49.370 And thank you very much indeed for your call. 41:49.470 --> 41:50.991 Yeah, or, you know, we called him actually. 41:51.011 --> 41:53.912 Thanks for picking up and- and agreeing to- to come on our show. 41:54.212 --> 41:54.733 Thanks very much. 41:54.953 --> 41:55.974 Thanks for having me. 42:13.854 --> 42:18.201 That's Girl by Beck from his new album, which has received a couple of lukewarm reviews. 42:18.221 --> 42:19.062 I think it's a smash. 42:19.523 --> 42:20.965 Well worth a listen. 42:21.085 --> 42:22.768 This is Adam and Joe on XFM. 42:22.808 --> 42:25.633 Time now to launch Ditties in the Dark. 42:27.625 --> 42:34.070 This is the part of the show where Joe and myself battle it out for who gets to play the very last song of the two hours here on XFM. 42:34.110 --> 42:35.311 Joe, do you want to go first or shall I? 42:35.711 --> 42:36.232 I don't mind. 42:36.692 --> 42:38.534 Well, this week it's instrumentals. 42:39.054 --> 42:41.296 We are battling it out to play and I'll go first. 42:41.756 --> 42:45.419 I've brought in Green Onions by Booker T and the MGs. 42:45.599 --> 42:45.699 It's... 42:46.440 --> 42:47.980 you know, a fairly obvious choice. 42:48.020 --> 42:50.041 It's one of the all-time classic instrumentals. 42:50.181 --> 42:57.582 I think in fact it's the all-time, uh, greatest, uh, instrumental song on a lot of the internet lists that I looked at. 42:57.602 --> 42:57.802 Oh, really? 42:57.822 --> 42:58.362 It's a number one. 42:58.742 --> 42:59.263 There you go. 42:59.303 --> 43:07.004 Well, it was a number one hit, uh, by Booker T and the M.G.s, and for those of you who don't know about them, they were... Booker T and the Memphis group is what M.G. 43:07.084 --> 43:07.644 stands for. 43:07.684 --> 43:16.186 Booker T. Jones was in the band with Steve Cropper and Donald Duck Dunn, who of course were part of the Blues Brothers band, and they kind of created 43:16.246 --> 43:39.356 the Memphis soul sound the stacks sound I love that was associated with people like Sam and Dave Otis Redding Wilson picket all those kind of people but this is an amazing instrumental it's so meaty and chunky played on that I think it's a Hammond organ might be wrong about that though but it's just one of the most quintessentially 60s groovy I can't think of any other cliches to describe it 43:39.756 --> 44:00.025 it is an absolute classic if you're not familiar with it do yourself a favor and give me a vote for green onions incidentally as well it's the reason that um who are the crisp manufacturers golden wonder it's the reason why golden wonder made their cheese and onion crisp packets green uh it's a little trivia fact from there because of the song green onions joe what have you got 44:00.625 --> 44:19.530 Okay, well it's sort of a funky instrumental playoff because I mean I was trying to figure out what to choose last night and I consider Green Onions, Wipeout by the Surfaris, couple of good Frank Zappa instrumentals, some Floyd, Pet Sounds by the Beach Boys would have been a good choice, Hawaii Five-O, Average White Band Pick Up the Beat, these are all things I rejected. 44:20.110 --> 44:23.891 In Favour Of, a track by Marvin Hamlisch. 44:24.411 --> 44:30.013 It's from my favourite James Bond movie, The Spy Who Loved Me, and it's the music that accompanies the opening pre-credits 44:30.413 --> 44:37.640 ski chase in The Spy Who Loved Me, the one that climaxes with Bond skiing off a cliff and opening his Union Jack parachute. 44:37.921 --> 44:42.685 And it's basically a disco rendition of the James Bond theme, but it's amazingly funky. 44:43.006 --> 44:46.930 It's got that bass line that goes... Do you know the one? 44:46.950 --> 44:47.610 Fantastic strings? 44:49.592 --> 44:50.753 It's amazingly good. 44:50.793 --> 44:53.554 It's called Bond 77 by Marvin Hamlisch. 44:53.874 --> 44:57.636 It's just the funkiest rendition of the Bond theme ever. 44:57.736 --> 45:00.337 If you're driving, it's a brilliant tune to drive to. 45:00.698 --> 45:01.858 It'll sound great today. 45:01.878 --> 45:03.619 It's recorded in 77. 45:04.119 --> 45:06.240 That's it, basically. 45:06.420 --> 45:08.361 Oh, so there we go. 45:08.381 --> 45:08.802 0-8-7-1-2-2-2-1-0-4-9. 45:08.822 --> 45:12.363 You're voting for either James Bond, but should we say Bond 77 or Green Onions? 45:13.584 --> 45:26.850 Bon 77 or Green Onions, it's either... And we should remind callers that everybody who gets on air will win a copy of Happy Monday's Greatest Hits, or if they prefer, a couple of tickets to Feeder. 45:27.070 --> 45:27.651 Call now! 45:33.793 --> 45:36.835 That is Weezer, and that is called Beverly Hills. 45:38.544 --> 45:39.685 This is Adam and Joel on XFM. 45:39.705 --> 45:42.927 It's the last 10 minutes of our show, so it's time to pay off Ditties in the Dock. 45:42.967 --> 45:44.789 This week it's been an instrumental play-off. 45:45.189 --> 45:51.554 Booker T and the MGs with Green Onions versus Marvin Hamlisch with his funky James Bond theme, Bond 77 from The Spy Who Loved Me. 45:51.574 --> 45:54.756 A strange play-off, but we're going to see what wins now. 45:54.816 --> 45:55.717 Let's go to Jason. 45:55.837 --> 45:56.778 Hello, Jason, are you there? 45:57.298 --> 45:57.938 How you doing, all right? 45:58.159 --> 45:58.979 Very well, Jason. 45:58.999 --> 46:00.200 What are you voting for today? 46:00.781 --> 46:02.182 Booker T. Booker T? 46:02.402 --> 46:03.002 Why not Bond? 46:04.503 --> 46:05.364 Jason, explain yourself. 46:05.404 --> 46:05.584 Why? 46:05.604 --> 46:08.026 I'm just facing a Booker T one. 46:08.407 --> 46:09.108 All right, fair enough. 46:09.188 --> 46:09.928 Can't argue with that. 46:10.589 --> 46:11.370 What do you reckon, Buxton? 46:11.490 --> 46:13.011 Yeah, well, Jason's correct. 46:13.171 --> 46:13.772 I mean, you know. 46:13.792 --> 46:14.332 Jason's wrong. 46:14.512 --> 46:19.417 Also, Jason doesn't sound like the kind of ponce that would vote for the disco Bond one. 46:19.437 --> 46:24.561 I bet you Jason is a very attractive man who skis very well and would love that Bond theme. 46:24.601 --> 46:25.222 Never mind, Jason. 46:25.242 --> 46:26.022 You know, you live and learn. 46:26.363 --> 46:27.584 Mark, are you there? 46:28.750 --> 46:29.731 You know what we should have done? 46:29.751 --> 46:31.372 We should have offered Jason some feeder tickets. 46:32.133 --> 46:33.634 But he's got the Happy Mondays album anyway. 46:33.654 --> 46:34.255 There you go, Jason. 46:34.735 --> 46:35.836 Uh, Mark, how you doing? 46:36.157 --> 46:36.797 Yeah, not too bad, mate. 46:36.817 --> 46:37.077 Very good. 46:37.117 --> 46:38.078 What are you voting for? 46:38.519 --> 46:39.600 Oh, I've got to go to see as well. 46:39.620 --> 46:40.180 What? 46:40.520 --> 46:41.201 Oh, yeah. 46:41.221 --> 46:42.062 This is looking very bad. 46:42.082 --> 46:43.143 What's wrong with James? 46:43.163 --> 46:44.304 You know what I'm talking about, the bomb thing. 46:45.044 --> 46:45.505 I don't know. 46:45.525 --> 46:46.385 I'm not too many with it, mate. 46:46.405 --> 46:47.707 Oh, dear me. 46:48.007 --> 46:50.489 Yeah, you see, it's the film nerds aren't out there. 46:50.509 --> 46:51.690 They're not calling today, Joe. 46:51.730 --> 46:53.291 Are you interested in seeing feeder, Mark? 46:53.992 --> 46:54.693 Yeah, yeah, I am. 46:54.953 --> 46:55.233 Are you? 46:55.293 --> 46:56.174 Are you excited about it? 46:56.994 --> 46:58.895 Er, yeah, I don't like them that much, but yeah. 46:59.015 --> 47:00.715 Oh, well then, well, there you go. 47:00.776 --> 47:02.576 I'm sure someone would want the tickets more than you. 47:02.596 --> 47:05.577 So tell you what, we're going to hold off on them and give you the Happy Mondays greatest hits. 47:05.617 --> 47:06.138 Is that OK? 47:06.378 --> 47:10.679 Because there are some fanatical feeder fans, and the concert is tonight, and we'd rather give it to them. 47:11.039 --> 47:11.920 Thanks for calling, Mark. 47:12.120 --> 47:18.102 So it's 2-0 to Buxton with Booker T. Cornish needs a vote, otherwise he's out of the picture with his gay Bond theme. 47:18.622 --> 47:19.483 It is not gay. 47:19.603 --> 47:20.403 It's slightly gay. 47:20.563 --> 47:20.923 Douglas. 47:21.323 --> 47:23.344 Is that Douglas the storyboard artist again? 47:23.784 --> 47:23.924 Oh. 47:24.465 --> 47:25.165 Oh, Douglas has gone. 47:25.205 --> 47:25.445 Paul. 47:26.906 --> 47:27.407 Hello, Paul? 47:27.827 --> 47:27.967 Hiya. 47:27.987 --> 47:28.768 How you doing? 47:29.128 --> 47:29.789 Yeah, very good. 47:30.189 --> 47:32.271 Oh, you've got, uh, you've got, uh, rugrats there. 47:32.772 --> 47:36.275 Don't call them rugrats, because it's demeaning to the babies. 47:36.656 --> 47:37.897 Okay, you've got children there. 47:38.798 --> 47:40.179 No, they're next door, actually. 47:40.199 --> 47:41.100 Really, next door? 47:41.481 --> 47:42.802 Oh, boy, they're loud, aren't they? 47:42.882 --> 47:43.743 They're that loud. 47:43.763 --> 47:46.746 Oh, you need to get an ASBO on those ones, please, you can. 47:47.427 --> 47:48.628 Um, so what are you voting for, Paul? 47:49.851 --> 47:53.212 It's an absolute walkover. 47:53.232 --> 47:54.553 This is nonsense. 47:54.593 --> 47:56.253 That's a disaster for Cornish. 47:56.273 --> 47:58.274 Well that's it, that's it, that's it. 47:58.554 --> 47:59.934 Thank you very much for your quarter. 47:59.994 --> 48:01.735 I'll find that really disappointing. 48:01.775 --> 48:03.515 Don't worry, we'll talk about it in a second. 48:03.955 --> 48:07.036 Would you like feeder tickets or the Happy Monday CD or both? 48:07.577 --> 48:08.777 Well both would be brilliant. 48:08.797 --> 48:09.997 Why don't we just give you both? 48:10.077 --> 48:11.198 I feel so let down. 48:11.218 --> 48:12.298 When it's feeder, is that tonight? 48:12.498 --> 48:12.778 Yeah. 48:13.259 --> 48:13.739 Can you go? 48:13.759 --> 48:14.580 Yeah, yeah, yeah. 48:14.860 --> 48:15.300 Fantastic. 48:15.340 --> 48:17.142 Have a really good time and thank you so much for your call. 48:17.182 --> 48:17.662 Thanks to everyone. 48:17.682 --> 48:18.323 It's at the Brixton Academy. 48:18.343 --> 48:19.424 Don't forget to take a firearm. 48:20.104 --> 48:21.585 That's not a good thing to say, man. 48:21.705 --> 48:22.586 It's the Nas concert. 48:22.606 --> 48:23.147 The Nas concert. 48:23.187 --> 48:23.867 It's a topical joke. 48:24.147 --> 48:26.149 Yeah, but still, that's not representative. 48:26.169 --> 48:27.090 It's also sarcastic. 48:27.110 --> 48:28.231 That was a disaster. 48:28.251 --> 48:29.372 That was a total disaster. 48:29.392 --> 48:33.635 That was a da- I mean, Booker T- Green on his- played every two minutes on Melody FM. 48:33.655 --> 48:34.356 Do you know what I'm gonna do? 48:34.376 --> 48:37.999 I'm gonna- I'm gonna tease people with a- with a little snatch of your- of your Bond theme. 48:38.059 --> 48:39.280 It's because it is quite good. 48:39.340 --> 48:39.980 It's amazing. 48:40.340 --> 48:40.401 Oh. 48:41.361 --> 48:41.621 Yes. 48:42.301 --> 48:42.802 Do you remember? 48:42.822 --> 48:44.402 This is what you missed out on, folks. 48:44.622 --> 48:46.243 You see, even Adam thinks it should have won. 48:46.323 --> 48:48.624 I'm glad that I won, but this is really good. 48:48.644 --> 48:52.265 Instead you've gone for the Melody FM most overplayed record in the world. 48:52.345 --> 48:53.385 Listeners, you're fools! 48:53.785 --> 48:54.746 No, but it is a smash. 48:54.786 --> 48:55.906 Come on, book it to the AMGs. 48:55.926 --> 48:56.846 You can't argue with this. 48:57.106 --> 48:58.927 Listen, thank you very much for listening, everybody. 48:58.987 --> 49:00.568 Hope you have a fantastic weekend. 49:00.968 --> 49:03.408 We're off next week, but we'll see you the week after, I think. 49:04.429 --> 49:06.249 So, enjoy the sunshine. 49:06.269 --> 49:06.810 Goodbye. 49:06.850 --> 49:07.010 Bye. 50:23.292 --> 50:23.814 you