This programme contains some strong language.
Welcome to a brand-new series and welcome to my dear old friends.
Let's begin with Squeeze!
# Why don't you scratch me
# If it makes you feel good?
# Go on, attack me
# I promise I won't look
# Let me wipe the sweat from your brow
# It's so easy when you know how
# I want your love and I want it now
# Why don't you kiss me
# Like they do on the screen?
# You know this is me
# You don't know where I've been
# Stand up closer I won't bite at all
# I never think that my love is small
# I want your love cos it's such a ball
# She's like a baby in a cradle I rock her fast to sleep
# Her manners at the table are dirty and they're cheap
# But I want love and not a dinner to eat
# Why don't you hit me?
# Give me a heart attack
# Go on and love me
# And I might love you back
# I know you're much younger than me
# When I pulled you off of the street
# It's cruel love and it's ours to keep
# She's like a baby in a cradle I rock her fast to sleep
# Her manners at the table are dirty and they're cheap
# But I want love and not a dinner to eat
# She's like a baby in a cradle I rock her fast to sleep
# Her manners at the table are dirty and they're cheap
# But I want love and not a dinner to eat
# She's like a baby in a cradle I rock her fast to sleep
# Her manners at the table are dirty and they're cheap
# But I want love and not a dinner to eat
# Oh, oh-oh
# Oh, oh-oh-oh. #
CHEERING AND APPLAUSE
How lovely to have my dear friends in this room.
Thank you, Squeeze, with Why Don't You,
from their new album, Trixies.
A marvellous array of incredible guests this evening,
because we will be welcoming,
from Sussex and Bergen in Norway, Tomora!
From Minehead, it's Getdown Services.
From New York, the extraordinary Aja Monet.
But now, from Mullingar in Ireland, it's Niall Horan!
# Picking up boxes with our teeth
# Playing games we've never played before
# When I was loud as hell you were so discreet
# So typical of me for sure
# Knives, forks
# And things I've never felt before
# Crashing lights when you first saw me
# Yeah, I met you at a dinner party
# Chandeliers, 2am coffee
# Yeah, I met you at a dinner party
# We were piss drunk, fought just for fun
# About who would be the first to leave
# One kiss on your neck, it was so concrete
# I'm done looking for somebody
# Behind closed doors
# Things I've never felt before
# Crashing lights when you first saw me
# Yeah, I met you at a dinner party
# Chandeliers, 2am coffee
# Yeah, I met you at a dinner party
# Crashing lights when you first saw me
# Yeah, I met you at a dinner party
# Chandeliers, 2am coffee
# Yeah, I met you at a dinner party
# Yeah!
# Oh, oh-oh
# Crashing lights when you first saw me
# Yeah, I met you at a dinner party
# Chandeliers, 2am coffee
# Yeah, I met you at a dinner party. #
CHEERING AND APPLAUSE
The wonderful voice of Niall Horan!
Dinner Party, the title track from his forthcoming album.
I'll be chatting to him later,
but now I'm going to chat to my dear old friends
over here from Squeeze,
Chris Difford and Glenn Tilbrook.
How lovely to see you both.
All right, lovely?
So, it's very... It's lovely to have you here on the show -
and your new album, Trixies, which came out in March,
and it's really almost 50 years, I think,
since it was first conceived.
It was. And I was a small part of that,
but it's an amazing set of songs that you both wrote.
Tell us what it's about.
It's about a fictitious nightclub, a dodgy place to go.
Sort of places that we wouldn't have been able to get into
at the age that we wrote this.
But of course we could now. Yes, you could probably run one.
Probably run one, yeah.
And what sort of people inhabit this club?
The sort of people that I think we hadn't met at that time.
I mean, I remember you and I were playing in pubs
and we'd meet some nice people there,
but I think it was a mixture...
I think the thing that Trixies portrays
is a mixture of different classes
and different types of people mixing together.
I think that had an element of danger to it.
Is it based on some of the characters
that we actually would have seen
in our younger days in south east London,
on the fringes of the nefarious world?
Yeah, we used to play in the pub called The Bell.
Do you remember that? Yes.
And there were some dodgy monkeys there, wasn't there?
Let's face it. You're still friends with them, of course.
Speak for yourself.
THEY CHUCKLE
I mean, I loved hearing all these songs because,
I mean, between you, you have a catalogue of extraordinary songs.
Everybody's covered your songs,
and they range from songs that are, to put it simply,
are like ones that Burt Bacharach might have written
or ones that might have been written
for sort of a rock and roll band. Yeah.
What keeps you inspired now?
Well, the fact that we've got such a great catalogue of songs
when we go on tour, which we're doing later in this year
with Billy Bragg.
You know, the fact is, we've got all these great songs.
We've got to preserve them, make use of them,
love them and, with a great band, take them out on tour.
So, you know, with Trixies, we're playing live and it sounds amazing.
We've just done a European tour.
We played the whole thing, from beginning to end
and it was just amazing, you know? People loved it.
Now, we grew up together and learnt our sort of... Trade.
..and learned our trade together
by going in the back of a van and doing all that stuff,
and it was, at the time, called new wave and punk music.
We were one of the first groups to go to America and do that.
And it was a very strange time and it was very turbulent time.
Do you look back on those days with fondness now?
I think, you know,
one of the things about Trixies that struck me
is that we would never have got away
with releasing anything like that in 1977 or '78.
It was just too diverse a bunch of songs.
Too many chords? Too many chords!
Something I've always been guilty of -
but, you know, I think that in a way, when we broke through,
we had to sort of simplify what we did, and learn to grow out of that.
So it was a great time. It was a very exciting time.
And it was also a time when you could identify with the other bands
around you to a certain extent.
I mean, some of the songs are just so fantastic,
and it also includes the original demos,
which were done in a tiny sort of shoe box studio in Islington,
which I think are great.
You know, it's the whole... You're on some of them!
Exactly. Me with very long hair, and skinny.
Yeah. But we haven't played together this century.
People have tried to, you know, have said,
"Oh, Jools, are you going to be back with Squeeze at some point?"
and just because of circumstances, really,
it's never it's never worked out. There was even offers in America.
There was a TV show that tried to get us together,
but, one thing or another, it hasn't worked out. Yeah.
But I propose that we actually do play
to show the love tonight for the first time ever, for years.
Would you like to do that? I think we should.
That's a great idea. Would that be OK with you?
CHEERING AND APPLAUSE
Great. I'd love it too.
It would make me very happy.
Because we made great music together and I'm very proud to be part of it.
Oh, thank you very much. So it's great to have you here.
Thank you very much for joining us -
and we'll be hearing more from Trixies in a moment.
Now I'm going to go over this way.
Thank you very much, Chris Difford and Glenn Tilbrook!
APPLAUSE
Next, an extraordinary Grammy nominated surrealist blues poet
who began writing at the age of eight,
with a song she describes as the portal of possibility.
Please welcome Aja Monet.
# Said we're going to the elsewhere
# Yeah
# Yeah, yeah
# Said we're going to the elsewhere
# We be somebodyness
# When the street lights in your veins go on
# And summer walking up and down the sidewalk of your grin
# Diamonds twinkling on the street
# The thirst of our cool
# On the shorelines of a smile
# Washing up against moon, shuttle-lit eyes
# Freeing impulses
# Whereas folk, we lore
# Laughter - laughter in the face of death, huh
# The carnival of flowers sprouting from closed fists, earth-skinned
# The perfume of stones kissing cuss words
# The rhythm, echo and reverb, riffing
# Wear the garments of Jupiter genius
# Sparkling of spaceships
# Scattered in desire, dressed in vibration
# Cooking on a stove skillet
# Afro-curl-satellite, levitating
# Comb the skies heavenwards
# Embrace the marvellous, embrace the marvellous daydreams
# Born in the forest of our refuge
# We, we, we were born to be sun ray
# We were born to be sun ray
# Radiant, radiant, falling upon the horizon newly each day
# Shining waywardness, let's go
SHE VOCALISES
# Let's go to the elsewhere
# Set loose
# Where as we escape the strangeness
# Whispers of flesh as mirror
# Treasuring the mystery of ourselves, where the spirits dwell
# From not so distant constellations
# Let's go
# Let's go to the elsewhere
# We're going to the elsewhere
# Set loose when we get there
# Said we're going to the elsewhere
# Set loose when we get there
# Said we're going to the elsewhere
# Set loose when we get there
# Said we're going to the elsewhere
# Set loose when we get there
# Said we go into the air
# We need not climb on the shoulders of our elders to look at their toes
# There's love in the elsewhere
# There's, there's, there's liberation in the elsewhere
# Talk, talk, talk about the blood
# Talk, talk about the blood
# There's revolution
# There's revolution in the elsewhere
# Peace of mind in the elsewhere
# Neither here nor there, neither here nor there.
# The end
# The end of the world
# The end of the world as we know it
# Let's go
# Let's go to the elsewhere. #
CHEERING AND APPLAUSE
With Elsewhere from her new album, The Color of Rain,
thank you, Aja Monet.
Now let's move over to this corner,
because Tom Rowlands of the Chemical Brothers
and Norwegian artist Aurora
have formed a remarkable duo.
So please welcome Tamora.
# I don't think I understand
# This feeling
# Unclenching thirst
# I came here first
# I'll drink it all
# I wanted to touch what I couldn't
# I wanted to feel what I shouldn't feel
# I wanted to taste the whole world from my palm
# Oh, I drink the light
# I drink the light
# Wanted to feel, wanted to feel...
# I wanted to feel, wanted to feel something
# As I count the lights on the runway
# I'm chasing the speed of an airplane
# I just want to feel the whole sun in my mouth
# Oh, I drink the light
SHE VOCALISES
# Feel, I wanted to feel
# I wanted to feel
# I wanted to feel, I wanted to feel
# With the weight of the world over my brain
# I'm reaching the height of a flood wave
# I want to be one with the fabric of life
# Oh, I drink the light
# I drink the light
# I drink the light. #
SHE VOCALISES
CHEERING AND APPLAUSE
I Drink The Light, from their album, Come Closer.
Thanks, Tomora!
What a ravishing and mystical sound that was.
And now I am delighted to have at the piano
my dear friend, Niall Horan! Great to have you here.
Really good to see you.
APPLAUSE
Well, thanks so much for coming on the show.
Absolutely. Great to have you here.
Thanks for having me. Marvellous album.
You're about to go on tour and everything. Mm-hm.
Since One Direction, you've had two number-one albums -
but let's go back to the beginning moment.
Where does music start for you?
What's the first music that you thought, "Hey, this is for me."
Um... What got you excited?
I remember, like, a lot of vinyl at home when I was a kid.
My parents are mainly '70s American rock music fans,
so I grew up a lot on like Laurel Canyon stuff,
like, the Eagles, Fleetwood Mac,
Crosby, Stills, all that kind of stuff.
So, I remember going to an Eagles concert when I was four...
Wow. ..at the RDS in Dublin and just looking at the stage
and just not really knowing who they were, or what it was I was at,
but I remember thinking, "That's what I want to do.
"That's... That's the kind of thing,"
and, to this day, I'm still a lifelong Eagles fan.
Yeah. Love them very much. How great.
What a great, interesting start to the whole thing.
And when you did start your solo career,
did you have an idea of what you wanted to do, or did it evolve?
I think it is a constant evolution,
but it all starts from rock, really, I think.
You know, the fact I picked up the guitar at a young age.
It's always helpful when you go to write a song,
and I think that kind of guitar pop-rock sound
is something that I knew exactly where I was going to go with it,
what the initial stuff was going to sound like -
but then I also had this like love for singer-songwriter,
I grew up on Damien Rice
and a lot of Irish folk music
that kind of got me into the singer-songwriter
side of things too.
So I think both of them played into what I do now, yeah.
And earlier tonight, you played Dinner Party.
Yeah. What was the inspiration for that song? Great song.
Well, the inspiration is it's actually about the first night
that I met my now-girlfriend, years ago, and, um...
Yeah, it tells the story of what happened that night,
but after I'd written the song, it kind of...
..it told me what the rest of the record was going to be about,
and the dinner party not just being that one night,
it being, you know, the nucleus for the rest of our time together,
and it allowed me to write songs
from all the different angles of a relationship,
whether it be the good and the bad times,
and I think after... I had written a lot of songs up to that point,
but once I'd written that song, I thought,
"Right, I'm out the gate here.
"I know exactly what I need to say, what I need to do."
And thinking of a dinner party, who would some of your...
If you were throwing a dinner party, say, next week,
obviously you'd be... You.
Thank you very much. Correct.
Um, who else would you,
who else would you be having at your dream dinner party?
That's a good question. Um...
I've spent a little bit of time around the actor Joe Pesci.
Yes. Very good.
And he's, um...he's a big golf fan, like meself.
We play at the same club in Los Angeles,
and I see him around, waving his hands
and being very Joe Pesci-like, obviously,
and he can spin a yarn, he can,
and I think he'd be a good guest.
I'd like to see, um... Fleetwood Mac in the same room.
That'd be fun. All of them? All of them, be a good laugh.
Don Henley. Yes.
Uh... Don Henley, Joe Pesci, and...
..Bill Murray.
Nice mix. Yeah. Nice, weird mix. Yes.
Yeah. I think that's a very... And you. Oh, thanks very much.
Yeah. No, I'd enjoy that very much. Yeah.
Now, you are a global megastar,
but when you've got time off, what do you do?
What's your sort of little downtime sort of quiet thing that you do
that no-one knows about?
If it was up to me, I wouldn't leave the house.
No, I like being at home, got into a bit of cooking,
mowing the lawn, a bit of gardening these days.
I'm only - I'm only 33...!
I'm a big, big golfer.
I spend a lot of time playing golf
and I have my own golf management company
and we manage some players
and that's a bit of a side hustle for me -
but, yeah, I like to get, I like the freedom of golf,
sticking the phone in the bag,
not worrying about, you know, whatever happens,
whatever's going on in life
and just getting out there and concentrating on that one thing.
Yeah, golf is my kind of...my thing.
And I always like golf courses. They look so lovely, don't they?
Yeah. It's a dream landscape. The undulation.
It's been great. I'm looking forward, I'm counting the moments
till our big dinner together. Absolutely.
And it's been great having you on the show,
and the songs are fantastic.
What are you going to play for us in a moment?
I'm going to play the song that comes with the album in June,
Tastes So Good. I can't wait to play it.
First time ever. Thank you so much. Cheers, Jools.
It's great to have you. Thank you. Really great to have you.
APPLAUSE
Thank you, Niall Horan!
What a nice fellow.
And now I go to this bit of the room here
where there's a duo who met in school in Minehead, Somerset,
performing a song inspired by faulty heating.
Please welcome Getdown Services.
CHEERING
# Whoo-whoo-whoo-whoo-whoo-whoo!
My name's Josh. Everyone say yes!
CROWD CHEERS
Everyone, say yes! CROWD: Yes!
My name's Ben. Scream!
Come on!
WHOOPING
Thank you. We're Getdown Services. Balcony, scream!
CHEERING
Thanks for watching.
# I bang my head on the radiator
# I hang my socks on the radiator
# I bang my head on the radiator
# I bang my head
# I bang my head on the radiator
# I hang my socks on the radiator
# I bang my head on the radiator
# I bang my head
# Stuff's coming out
# Oh, yeah
# Let's actually go
# Oh, yeah
# The weight scales in my belly
# Oh, yeah
# I trust them
# Oh, yeah
# And I eat raw flour
# I call this shit a cake
# Oh, yeah
# My body fizzes and my armpits trickle
# Oh, yeah...
Here we go.
# I bang my head on the radiator
# I hang my socks on the radiator
# I bang my head on the radiator
# I bang my head
# We're gonna stroke the doggy
# Oh, yeah
# And then we're gonna hit the doggy...
Not really. That'd be illegal.
I got three words for you.
The Dyson Airblade.
# It was once just a man
# Looking at his hands, thinking...
"I'm gonna make these so fucking dry you won't believe it!"
# It's a lifelong fiddling
# Oh, yeah.
# The thumb twiddling
# Oh, yeah
# Forty-hundred minor tweaks
# Oh, yeah # And a big fat gas leak
# Fucking oh, yeah
# The smell doesn't stop
# I feel sick
# Just stop sniffing it
# I feel sick
# Five to six days a week
# Everything's fucking shit
# The rest I feel fucking shit
# Everything's fucking shit
# Head on the radiator
# Feel shit # Bang my head on the radiator
# I feel sick # Bang my head on the radiator
# I feel sick # Bang my head on the radiator...
What is going on?! Come on!
CHEERING
Come on!
Put that in your face.
# Bang my head on the radiator
# I bang my head on the radiator
# I'm like a government burial chamber
# Oh, yeah
# I failed the task # Oh, yeah
# Can someone punch me in the face? # Oh, yeah. #
Thank you very much, Jools Holland. Thanks for watching.
Thanks for watching. Yes!
APPLAUSE
# There she lay on the hospital floor
# Blood on her face and spikes in her mind
# Everyone knew she could take no more
# As she ran screaming with death by her side
# The window was broken
# Smoke trickled in
# Along with the spiders and smells
# How did I know where the end might begin
# When the story was so hard to tell?
# The story was so hard to tell
# You can't mend a mind
# But you can mend a face
# I'm lost in the line
# To visit the place
# The place we call Mars
The place we call Mars
# With her hands in her hair
# She swept it and ran
# Into the blankets a fumes
# What could I do except give my love
# To the man who entered my room?
# There was no answer
# My mind was amazed
# At how the King sat and cried
# Upon the cloud was a head with no face
# At least the good men died
# You can't mend a mind
# But you can mend a face
# I'm lost in the line
# To visit the place
# The place we call Mars
# At last we rest in the shelters of tin
# Down by the shopping parade
# How do we know where the end might begin
# As the night turn into the day?
# It seems so long since the last men fell
# For the sake of being alive
# The hospital stands and it's just as well
# As the wound is still in my mind
# The wound is still in my mind
# You can't mend a mind
# But you can mend a face
# I'm lost in the line
# To visit the place
# The place we call Mars
# Ten, nine, eight, seven, six, five, four, three, two, one. #
CHEERING AND APPLAUSE
Thank you, Squeeze -
who you can see on tour somewhere near you soon.
Wonderful to have Squeeze back in the studio!
Now, I'm going to chat to Tom Rowlands and Aurora,
who together are Tomora.
Welcome to you both. Very good to see you.
APPLAUSE
First of all, it's fantastic seeing you earlier on.
Your voice sounded amazing, and the vibrations -
but how did this project come about? How did you meet?
Well, we were making music together in the studio,
which is something we love to do, isn't it?
Very much so.
And, um, the feeling was so strong with these songs we'd written
that we thought this deserved a band,
this deserved, like, a project of its own,
as opposed to just a featuring kind of thing.
Its own name.
So, it's been like, it's been ten years since we met,
and I guess two years since we began making this world.
And did Tom approach you?
Yes, he came out...
Yes. And he said, "Please, come home." No.
Yes. It was kind of like that.
And then I was like, "Yes, of course! I want to make more."
And it's just been, yeah, absolutely wonderful.
And am I right in saying, did you see Aurora's...?
I saw her at Glastonbury. Glastonbury.
Yeah, I was actually... It was a year I didn't go to Glastonbury.
I was sitting on the sofa
and there she was singing
and she pulled me off the sofa and was like,
"Come on, there's something happening."
Yeah, there's a lot of this in our relationship.
There's something happening here.
How did you decide on the name?
Well... Well, we, um...
One name we really wanted to have was taken.
We couldn't be called The Thing.
And then... You wanted to be called The Thing? Yes. For, like, a minute.
But it's over now. Yeah. That's so yesterday.
And then for a while, I wanted us to be Raat, because I love rats.
Raat with double-A - Raat.
You know, but thank God, Tom was like...
Then you've got the Boomtown Rats, you know?
Yeah. True. People could get confused.
We do do that. And then Tomora. It's just a good smash...
Mix of your two names. I believe, am I right in thinking
that it also means "friendly companion on Earth."
Oh, in Japanese. In Japanese. Yes. You're right.
They have some good words for things that we don't have words for.
Isn't that wonderful? Yeah.
And how would you describe your working relationship with Tom?
Who does what?
We share a lot, don't we? Everything...
All the production and the playing.
Obviously, I don't sing quite as much.
But you do sing a bit.
Little bit, yes.
Aurora tries to get me to sing more.
And I'm like, "It's all right, I think you have this."
And dance more. But you have it in you, Tom. Yes, I do.
And where do you record?
Well, between our two studios.
So, Aurora has an amazing studio above a fjord.
And you open, you play music with the windows open
and it drifts across, you know,
across the most beautiful place you've ever seen.
Mm. And I have a little cave in Sussex
where we get together. Yes.
Nice. And is it right that, after you finished recording,
your parents gave you a present?
Oh, it was a very moving handover, wasn't it? Yeah.
My parents did give you a present.
A very important thing to our country - a cheese cutter?
Cheese cutter, yes. Yeah.
Antler horn. Made from horn.
But for brown cheese only. Yeah. For brown cheese.
Why, what happens if you try and cut yellow or soft cheese?
Oh, you just die.
Yes.
LAUGHTER
Immediately. Yes. It's very sad.
Finally, Niall earlier was saying about,
you know, the things he liked to do when he was relaxing.
And, you know, just simple things often brings the most happiness.
How about you both?
What things you would you do to relax and enjoy yourself?
I like to ride my bicycle.
Very boring, but that's what I like to do.
Where did you ride it? I mean... Out in the woods, on the Downs.
Yeah. It's nice. I like riding, but I like riding a bicycle in the city,
because I'm a nosy parker, so I like looking at gardens.
And how about you?
Aurora, what's your thing?
What would you do to relax if you are...
Well, I like having really...really...
What the heck is it called when you play?
Just really low, you know, on piano.
And I do like it. Very...
Pianissimo? Yeah. Pianissimo. Very softly to myself.
Oh. That really calms me down.
Because in piano, my favourite sound
is often in between the...
..in between when you hit the notes, the lingering of the notes.
So that is very relaxing to me.
And of course...
SHE SIGHS
..reading books and pleasuring myself. Yeah.
LAUGHTER
I was going to say, if you were just to show us
when you enjoy yourself,
how you play the piano pianissimo.
That's just... Well, just... Yeah.
There's a soft pedal. OK, so I'm really, I'm really terrified.
But that's OK. You just do it very soft. Terrified of the sound.
But I play piano, but I hate it.
Pianissimo, because a piano can be pianissimo.
PLAYS SOFTLY
Oh, yes.
Maybe this is what I do to relax.
Enchanting.
APPLAUSE
That's how I would play. Congratulations.
What a lovely, a lovely sound.
In the meantime, thank you so much for joining us, Tomora.
CHEERING AND APPLAUSE
And now let's welcome back in this corner, the wonderful Niall Horan.
CHEERING
# I freeze
# When you're not swimming in my bloodstream
# Not in my pocket with my car keys
# Got me exactly where you want me
# Exactly where you want me
# Can't take another breath without you
# Can't walk down the street
# No, I don't know what you're made of
# It tastes so good to me
# When my head's not wrapped around you
# No, I can't fall asleep
# No, I don't know what you're made of
# But it tastes so good to me
# Pathetically
# I look in places that you'll never be
# Perfectly torturing me physically
# Symphony
# Her voice is up in my mind
# Saying just draw the line
# Every night
# Can't take another breath without you
# Can't walk down the street
# No, I don't know what you're made of
# But it tastes so good to me
# When my head's not wrapped around you
# No, I can't fall asleep.
# No, I don't know what you're made of
# But it tastes so good to me
# Yeah, it tastes so good to me
# Controlling my body
# Starving my brain
# I know I'm the one who has to fade
# I want you to leave
# But I want you to stay
# Can't take another breath without you
# Can't walk down the street
# No, I don't know what you're made of
# But it tastes so good to me
# When my head's not wrapped around you
# No, I can't fall asleep
# No, I don't want you're made of
# But it tastes so good for me
# Yeah, it tastes so good to me
# Yeah, it tastes so good to me. #
CHEERING AND APPLAUSE
Yes, thank you, Niall Horan!
And thank you to all of my guests this week.
So, we're going to finish, as I said earlier,
for the first time ever,
not since the... I started with Squeeze
that Chris Difford and Glenn Tilbrook wrote Take Me I'm Yours.
That was our first hit single in 1978.
We haven't played together as one
since probably the 1980s or something,
but I'd like to play,
for the first time ever on British television this century, certainly,
to have us reunited here in this room.
Please welcome, Squeeze!
CHEERING AND APPLAUSE
# I've come across the desert to greet you with a smile
# My camel looks so tired It's hardly worth my while
# To tell you of my travels across the Golden East
# I see your preparations
# Invite me first to feast
# Take me, I'm yours
# Because dreams are made of this
# Forever there'll be a heaven in your kiss
# Amusing belly dancers distract me from my wine
# Across Tibetan mountains are memories of mine
# I've stood some ghostly moments with natives in the hills
# Recorded here on paper
# My chills and thrills and spills
# Take me, I'm yours
# Because dreams are made of this
# Forever there'll be a heaven in your kiss
# It's really been some welcome
# You never seem to change
# A grape to tempt your leisure
# Romantic gestures change
# My eagle flies tomorrow
# It's a game I treasure dear
# To seek the helpless future
# My love, at last, I'm here
# Take me, I'm yours
# Because dreams are made of this
# Forever there'll be a heaven in your kiss. #
CHEERING AND APPLAUSE
MUSIC: I Drink The Light by Tomora