♪ announcer: from our studios in new york city, this is "charlie rose." charlie: he is a wide-ranging voice with the force of an entire brass section, or possibly windtunnel, distilled into a single instrument. book that written a chronicles his legendary career. it is called "over the top and back." he has just released his 41st studio album. here is tom jones in our studio performing "elvis presley blues" from his album "long-lost suitcase." ♪

>> ♪ i was thinking that night about elvis the day that he died the day that he died i was thinking that night about elvis the day that he died the day that he died just a country boy that combed his red hair he put on the shirt his mother made and he went on the air and he shook it like a chorus girl yeah, he shook it like a harlem queen he shook it like a midnight rambler, baby like you never seen, you never

seen i was thinking that night about elvis the day that he died day that he died i was thinking that night about elvis the day that he died day that he died how he took it all out of black-and-white he grabbed his wand in the other hand and he held on tight and he shook it like a hurricane yeah, he shook it like to make it break he shook it like a holy roller, baby with his soul at stake, his soul at stake

i was thinking that night about elvis the day that he died day that he died i was thinking that night about elvis the day that he died day that he died he was all alone in long decline thinking how happy john henry was when he lay down and died and he shook it and he rang like silver he shook it and he shined like gold he shook it and he beat that steam drill, baby well, bless my soul bless my soul he shook it and he beat that steam drill, baby

well, bless my soul ? ♪ 's wrong with me charlie: i am pleased to have sir tom jones at the table for the first time and what an honor it is. sir tom: thank you. thank you. charlie: music began when you heard "rock around the clock"? sir tom: that's when i first heard rock 'n roll. but i was first saying long before that. i was singing as a child. i was born in 1940, and my mother said i could sing before the walk. charlie: did you have tuberculosis? sir tom: i had tb when i was 12. so i was bedridden from the age of 12 until 14. charlie: bedridden? sir tom: bedridden.

for the first year. the second year i could get up one hour per day. i stayed warm. when they discovered i had it, there were these tb hospitals in scotland and, you know, switzerland. charlie: sanatoriums? sir tom: exactly. sanatoriums. my mother said if you sent him there he will never get well. charlie: stay here with me and i will make him well. sir tom: exactly and she did. , we lived in a three-story house. they put me in a room on the middle floor. so my mother was up and down stairs all day because the doctor said, you cannot worry about anything. stress is the worst thing. you know, don't let him worry about anything so she took it to , heart, and she nursed me through it. charlie: you have said an interesting thing to me. and i will tell you why. you said that to be great in music, you have to have young ears. sir tom: yes.

mean "youngt do you ears"? sir tom: to keep them open. there are some people who have been in the business as long as i have and they say it is not like it used to be. it has all changed. it hasn't really. you still have to get in front of a microphone and sing. i have always kept my ears open. i have always been interested in sounds new sounds and new , singers. to know what is going on. i don't want to be an oldie but goodie, i want to be still in the ring. i am proud of the records i have made, because at the time they were made, they were very good records, and they stand the test of time. "delilah." you know, they stand up. i don't want to live in the past. i don't want to go on the road and say i will do the greatest hits forever. charlie: how do you take care of your voice? tom: get eight hours of sleep entering plenty of water.

go easy on the alcohol. i never got into drugs. i never fancied any of that. but, alcohol, you have to be careful. everything in moderation. and i have learned that over the years. charlie: how many dates do you do a year? sir tom: i used to do a lot more than i do now. i used to do about 200 per year. some years have more than others, but for instance, i did a european tour for june, july, and august which was packed for three months. so i am always singing somewhere. sometime. i love to sing. charlie: are you happiest when you are singing? sir tom: definitely. i don't know what life is like without it. i have always sung since i was a child. and so to take that away, i would not know what to do. charlie: who has influenced you the most? sir tom: a lot of people. mostly american roots music. a lot of black singers.

mahalia jackson was the first gospel singer i heard. i went to a presbyterian chapel. we've to do a song called the old rugged cross. you know? charlie: yes. sir tom: i always loved that song and i heard mahalia jackson sing it and then i thought why don't we do it like them? but then again, she must have rubbed off on me, because in the lord's prayer one day, and the teacher said to me, why are you singing this like a negro spiritual? i said i do not know what that is. i am just singing it like i feel it. but i must have heard it. jerry lee lewis says i was born with what i got. sir tom: were you influenced by presley then? sir tom: definitely. when rock 'n roll came, elvis was doing what i was doing basically. you know, he was just like reassuring may. charlie: where did "delilah"

come from? sir tom: "delilah" came from a man named les reed. i had been friendly with him. he did the arrangement on the green green grass of home. he took it from the country. bom bom bom town ♪ d home so les has been a friend of mine for a long time. i was looking for a new song he came up with "delilah." charlie: roll tape. here it is. >> ♪ my my my, delilah why why why, delilah? i could see that you are no good for me but i was lost like a slave that

no man could free ♪ charlie: how many undergarments did you get thrown at you for "delilah"? sir tom: quite a few. charlie: what you get from the sheer sense of saying to the world that this is one of the sex symbols of our time? main sex symbols. sir tom: the initial thing with the underwear was the copacabana. it was a supper club, and -- i am sorry. i was standing on the same level as the people sitting at the tables. and they were giving the table napkins because i was sweating. this woman stood up and lifted it -- like this. and i said, be careful you do not catch a cold. it was like that. singing at workerman's clubs in south wales, whatever happens,

you try to turn it around to your advantage. working men's clubs. coal miners. their wives and girlfriends, so that is where i started singing, so whatever happens, if someone throws a bottle at you, you try to catch it and say, thank you very much and drink a drop. but whatever. when that happened, i did something and handed it to. but it caught up with me. there is tomon, jones, there is the underwear. that is not the reason i was there. it backfired. i became like a knicker magnet, which i never wanted it to be. it just caught up with me. charlie: what is your biggest passion outside of music? sir tom: that is a good question. i don't really have. music is my life.

i know it is an old cliché. performing. charlie: presley came over to you once and said, how do you sing like that? sir tom: yes, when i first met him. i met him in 1965, the first year i was in the business. he came over to me. it was at paramount studios. i went to talk about a movie and they said elvis is here and he would like to say hello. i didn't know that he knew i existed. i had this ballad out called "with these hands." and elvis was walking toward me singing, and i thought, if the boys back home could see me now. when i used to sing in pubs and clubs, i used to sing a lot of elvis presley songs. i said i will meet elvis one day. the fellows would say, tom, we love you and everything, but please, and i said, i am telling you. i will meet him, so when i was shaking his hand, all of these guys' faces were flashing in front of me.

and we were friends from 1965 up until about two years before he died, because then he started pushing everyone away from him. charlie: american blues had a big influence, too, didn't it? sir tom: definitely. 1960's, we all listened to roots music. really. van morrison, joe cocker, the beatles, the stones. all of us of a certain age. i am the same age as john lennon. and so we were all listening to that and wanting to do it. you know, but then, it came about -- like bb king said, if it wasn't for the british rock bands, the blues might have died. but they brought it and sold it back to america. charlie: you are also on the same wavelength as frank sinatra. you two were friends, too. sir tom: yes, but when i was in vegas at the same time as frank

sinatra and elvis presley, i recorded an album called "from the heart." they called it -- i don't know why, but it was a bunch of standards that i did with big arrangements. and elvis had bought it, and i said what you think? , and he said, we don't do that, tom. we leave that to frank. "we." he said "we." we leave that to frank, and he said, don't go there. i said, i like a lot of standards. but he said, don't go there, don't record it. stick with me. and then when i would see frank , sinatra, he would say forget that rock 'n roll. you know? you are a great jazz singer. you could really get into just. -- into some jazz. all, said, i like doing it really, to be honest with you, so i was in a position where frank sinatra was trying to pull me one way and elvis presley another. what a position to be in. being pulled by two of the greatest singers ever.

charlie: what was it about sinatra? was it the phrasing that made everybody -- sir tom: i think it was the tone. he had a demanding tone. and he was a very good singer. i learned to appreciate frank sinatra later on. because rock 'n roll in the 50's hit me hard. you know, it was like when that , came in, i thought all the other stuff is old-fashioned. you know what i mean? what when you get older, and you realize more about music, than when you are a teenager, then frank sinatra started to make a lot of sense to me, and i started to watch a lot of his old movies. there was one song when he did "old man river" in a musical. and you hear how great his voice was. so, you know, he had a quality, and he set a trend. you see, because singers after that wanted to sound like frank sinatra.

charlie: in the 80's, things went down a bit? sir tom: for me? well, what happened was i got complacent. not meaning to. but because of the success in the 1960's and 1970's, i was playing arenas in america. throughout the 1970's and into the 1980's, trying to get songs they just were not coming my way, and i thought maybe they won't. maybe i will just wait until a song comes. and so i was playing places that , maybe i should not have been in. -- iis white in the book started in framingham, massachusetts. i was playing in a place with a head weddings in the daytime and singers at night. my son was working the lights. mark, trying to get the spotlight to the chandeliers , you know, that were still hanging from the afternoon.

you know? and to be honest, my son made me aware. you know, he said, do you really want to play these places? you know what i mean? what's -- and i said, yeah, you're right. he made me aware. charlie: so you did what? sir tom: when my manager, gordon mills died, my original manager there was a musical written by , two british writers. eddie siegal and mike leander, and they sent over these songs to l.a. they said they had been looking for a singer to sing the songs. they had gone to the opera singers, but they were too operatic. and then they tried with pop noters, and they just did have the range, so they said it has all come down to you. so i said ok, and i was listening to it, and meanwhile, gordon mills had cancer and he died. and my son and my

daughter-in-law sort of just, you know, took over, because my son had been working with me and knew me better than anybody else. and we listened to these songs, and mark said, why don't we bring eddie siegel and mike to l.a., and let's try them. charlie: you are a family man? argue? sir tom: oh, yeah. my wife and i have been together years. we were kids together. i was almost 17, and she was just 16 when we got married in 1967. charlie: how did she feel about all that sex symbol stuff? sir tom: she knew i was aiming for that. so when i said i have got to go to london, i met gordon mills. from television, because he was in a vocal group, so she knew that he was in show business, and there was a man that could do something. charlie: you call this open over

-- "over the top and back." meaning -- sir tom: i went over the top into those comfortable areas, and said wait a minute, let's get back to recording properly. so i went over, and now, i am back. especially with these albums i am doing now. because they are more like what i was doing in wales. back to brass tacks. you know, with a rhythm section and singing blues, country, gospel-flavored songs. i have wanted to do it, and now i am doing it. charlie: this is a montage of you. roll tape. >> ♪ good golly miss molly ♪ ♪ every time i think about the bright lights i think about you ♪

♪ you get another day older and deeper in debt ♪ ♪ like a johnny with a ball headed sally ♪ ♪ i am -- give me all your love ♪ charlie: that is the life. sir tom: i am still having it. [laughter] charlie: who took this picture? sir tom: i cannot remember the photographer, but it is a recent one. as you can see, but the one in the back is 1964. charlie: how old were you? sir tom: 24. charlie: you are 75? sir tom: yeah. charlie: it is great to have you. sir tom: i watch you, and my wife. big fans. ♪

♪ charlie: steve martin and edie burquelle are here. steve martin called it an giant accident. said he was the first one to inspire someone to say, hey, everyone, quiet down. i want to hear the banjo. a follow-up to their grammy award-winning debut album. here is the trailer for "so familiar." ♪

>> ♪ got my four wheels on the pavement if you look you will find me gone got the pedal to the metal my radio my radio on , got you in the rearview mirror i intend to keep you there i am never going, never going down that dark road the road you are on i have been there i have gone there i will go anywhere but i won't go back ♪ ♪ charlie: i am pleased to have steve martin and edie at this table. welcome. congratulations. >> thank you very much. charlie: you said this was a giant accident. what did you mean? steve: i meant that it was not by design. it was kind of a coincidence,

and then we have had such great fortune come from it. i mean, i am not talking financially. i am talking artistically. it was just a couple bits of serendipity that edie ran into me at a party, and said i would like to write a song with you. and i had never written a song with anybody, so i am kind of nodding going, yeah, sure. so idi,said, this have to call her. charlie: before you got together, did you send her something? steve: the first time we didn't. i just came to your house. edie: we were both so shy. i actually could not believe he was showing me the tune. i thought the suggestion would float away like feathers on the wind. and here he was. steve: we didn't really know how to work together or how it was done.

i would play the song and she and soi would play the song and she would walk around with it. said, why don't you record it, and i will spend some time with it, so i recorded it and she sent this beautiful in our musical. the sun has got to shine. charlie: tell me about it. steve: it is hard to discuss. it is opening at the kennedy center, that it is coming to broadway in march. the music is based around the type of music that we write. we agreed that we both love musicals, and we both grew up on them. one of the great assets were strong melodies. that is kind of the way we think that we write or try to write. we found a story -- am i talking too much? [laughter] charlie: what were you surprised about with steve? edie: his heart. charlie: his heart. edie: yes. i knew he was a smart guy, and

everybody knows how funny he is. he sent me a version of the script very early on and he had written the most beautiful scene. and i wept, because it had so much heart and love that i was moved. i actually did, and i went to pick up the phone and said i cannot believe you have written this. did not mean to be insulting, of course. it was the most gorgeous thing. i was so moved. charlie: you are much better than i thought you were. steve: edie and i are alike. i don't think either of us is crazy all stop we get along and don't make -- crazy. we get along and don't make demands. we collaborate and get along. charlie: what was your training? edie: i don't have any training. [laughter] edie: singing around the house. charlie: was that it? edie: my mom singing around the house.

she allowed for a house that was not shy. it was like a soundtrack to life. we were encouraged to sing along. charlie: what is the process for writing a song? edie: with steve i am invited -- -- inspired by the banjo track. images settle in my subconscious when i listen to them. all i have to do is pay attention and narrate them, and the music dictates how you will sing and in what key. just to pay attention and be in the present moment. steve: you also have many ways of writing songs. the way that we define it is one thing, but you can improvise a new song. edie: i love to improvise. that is my favorite thing to do. just pay attention to what is flowing through the consciousness. charlie: steve brings out the best in you? steve: and likewise. edie: thank you. charlie: how does that work? because she understands what you are capable of? steve: here is what the best collaboration is. it is where the other person is doing something you cannot do or cannot do as well.

has written the lyrics for our show, and i think they are stunning. first of all, when you write a musical, -- when you write a regular song, one person is singing, but in a musical you have several people singing in various characters. showed that she excelled at that, giving opinions coming back and forth. in the scene, and you have an extra challenge in a musical that the song does not reiterate this scene that came before it, knowherwise, yes, you that, so in the song the song , has to review new information too or a new story or new thoughts. charlie: you have said that he does not write stock banjo parts. mean, they are not banjo parts like i have ever

heard before. there are very melodic. it is not the really fast -- it is not what i would expect. he plays in an original way. i think. that is how i hear it. charlie: you say it is not bluegrass. it is americana. because you can do more things. steve: well, you know bluegrass well-defined genre, and it generally means banjo, obro.lin, bass, sometimes d broader,ot say it is but ours swings a different way. not always, and there are bluegrass songs in the show, but i don't define it as bluegrass at all, just music. charlie: take a look at this. this is you and edie performing the grammy-winning song "love has come for you." here it is. ♪

>> ♪ she had a job with the men from the bank he was married with a son all the family tried to give that child away try to erase what you done but when she held that sweet boy in her arms none of their words meant a thing and when she held that sweet boy in her arms she heard the quiet angel sing ♪ >> ♪ love, love, love has come for you for, love, love has come you ♪

charlie: is performing in front of an audience, singing and playing the banjo, is it the same sensation as stand up comedy? steve: in that show, i'm so glad we taped it, and i am so glad we taped it with the rangers, and we toured that show for several years. it was constantly changing. i am glad we have some kind of record. but there is a lot of comedy in that show. it is actually kind of ideal, because i do not have to do 1.5 hours a standup. which is really, really hard, so i get to break it up with songs, make jokes with the band, make a joke with edie. start another song. it is a relaxing way to work. charlie: this is a clip of "won't go back." off their new out over him. here we go. >> ♪ i have been there i have done that i will go anywhere

but i won't go back ♪ i have been there i have done that i will go anywhere but i won't go back never never never going back never never never going back never, never, never going back never going back ♪ [laughter] charlie: you once said about the banjo, if you are sitting at home playing and your spouse says, oh, look, i see that jerry seinfeld is doing an evening of original songs for the basoon.

steve: i forgot about that. charlie: you are past that? steve: i have been playing for 50 years. but i say i have just started playing with a band at about eight years now, so that is another thing to do. charlie: but why is the banjo your instrument? steve: from the first time that i heard it, i loved it. one, it has this ability to be played at a high speed. a hard-driving, fast speed. what i really was interested in it for was its capacity for melancholy. it is a very american sound. you know like copeland never it, but he sort of didn't need to, but i really love the with strings,

which we do in our show, and it is an emotive instrument. it has gone through a huge complex history. , ♪ >> ♪ we are supposed to be together i know i feel it way down deep in my soul we are never meant to be oapart i keep you here inside of my heart i always have always will always, always, always will i always have always will always, always, always will we are supposed to be together it's true

i have had my doubts but not about you we are not meant to be a part i love you now i have from the start i always have always will lways, always, always will i always have, always will always, always, always will ♪ i always have always will always, always, always will i always have always will

always, always, always will ♪ ♪

charlie: we are pleased to have ed sheeren here. "the new york times" has called him an unexpected pop

phenomenon. the video for his single has been viewed over 730 million times on youtube. he has shared the stage with musical royalty, like sir elton john, beyoncé, and the rolling stones. his debut chronicles his sold-out tour at wimbley stadium. here is the trailer for "jumpers for goal posts." [applause] ♪ >> i will tell you a little secret. every wish i have made in the past five years has come true. i wished to play wembley. now it has come to it and reality hits. 240,000 people. 1, 2, 3, 4. ♪ ♪ will you let me know? ♪ this is my first headline stadium show. when you play guitar and start on the pub circuit, your dreams

don't stretch that far. ♪ take me now take me now into your loving arms ♪ this is the most important milestone so far. real people, buying real tickets, to sit with all these other people to watch me play. ♪ we keep moving. [applause] went to brooklyn for the show, then went for pizza with jay z , and then took them to a bar and did yager bombs.

charlie: incredible numbers. you are -- i don't know how to say it other than a phenomenon. how would you characterize your experience? ed: i have always had an ethos of just working harder than anyone else i admire and respect and trying to portray -- and be nice. my dad always told me to choose someone you admire and to work harder than and be nicer than them. so when i was signed to atlantic records, i saw that james blunt had sold however many of back to bedlam. so i said i wanted his diary that year, so so i took the diary of everything he did that year, and doubled it. we did everything he did and twice as much. we ended up selling half as much, but on this record we sold more. so it is working. charlie: how do you -- other than hard work, what else is at the core of this? are you writing lyrics people connect to? ed: i don't know. i have never really -- i have

only ever written songs from the heart. i don't really see the point of making music if it is not an expression of self or a form of therapy. if i have a bad day, i want to write a song. i don't want to write it to have a hit. i want to write it to make me feel better. it has never been about the audience or pleasing people or trying to fit in. it has just been about myself and my love for music. i guess that has come across. charlie: wembley. where you recorded this concert. this was three concerts over three days. wembley stadium. stadium. ed: [laughter] it was interesting -- charlie: it's not a pub. it's a stadium. ed: it was difficult to cover -- comprehend, because i don't play with the band. was always like -- i thought i could not do an arena, but when i did it, and it was fine, i thought we might as well try wembley.

what is the worst that you can have happened? the worst that could happen is you fail but you still sold wembley. you move back to the arenas. that is what everyone else does. charlie: how many people were there? ed: 87,000 every night. charlie: 87,000. ed: it is a big old stadium. it is a big, old stadium, but the thing is if you fail, you have not lost anything, but if you achieve and make it good, the possibilities are endless. charlie: you have rejected the idea of a band. ed: for now. i am in control of everything that i do. if i want to go off on a tangent halfway through a gig, i don't need to look around and make an signals. or if i mess up, which happens quite a lot, i can rectify it without anyone else worrying about it. i will definitely have a band at some point. i just --

the thing people say to me is they like that i do not have a band. so why change it? charlie: what is the biggest challenge for you now? ed: carrying on the momentum. that is the biggest challenge for any artist. to get up to a stadium level for any artist is kind of the peak, but the challenge from there is staying at that level. you know to remain at the , stadium level. to keep releasing records. hitsnot necessarily our but that just connect with people. i have never been worried about my record selling millions of copies, but i have been in tent -- intent on writing songs that come from me. when they go out, they can belong to people. they can relate to people. and then, they will come to the shows. the show is always the end goal. i see the album as a commercial to the show. buy the album, download the album, however you listen and then say, i want to go see him, and come to the show. charlie: are artists getting

fair treatment in a world of spotify and apple music? and all of the downloading of music that way? ed: i don't want to be a spokesman for anything. i love playing live, so spotify , what it does for me is it allows me to play large venues around the world. charlie: it has increased her popularity. ed: in places like norway -- you cannot buy a record in norway. norway, if you don't have it on spotify, no one will know your music unless they rip it off youtube. i think if you make a record and go out and tour -- 96% of my income comes from live. charlie: that is true of most artists today. ed: it is, but live separates it -- who is actually meant to do it from who is not. if you cannot play an instrument or sing live, you should not be a musician. you should get a different job. charlie: [laughter]

in other words, if your success , in fact is based on technology , and a whole lot of people -- -- it's just -- it is different things. live is where i really enjoy it. someone like taylor, when you see her show live, it is a spectacle. and the songs come to life. there are lots of things going on, but it is still at the core music. she is someone who sells a phenomenal amount of tickets, as well. i feel if you cannot sell tickets because you do not have live show, then you should not. charlie: what happens in the life show? ed: i never walk on as a presence. i walk on stage and one of the first things i say is, my job is to entertain you, and your job is to be entertained. it is like instantly grabbing them in and saying, we are in this together. i am going to lose my voice and sweat if you are willing to do

the same. charlie: kind of a bruce springsteen approach. ed: i have been influenced by many people. i watched a coldplay dvd numerous times and have taken little tricks that chris martin does with the crowd. even it if it is just, sing this part here. one thing that i learned quite early on -- my friend went to go see u2 and they were singing "streets have no name," and he had paid money to be in the front row, and they were about to get to the course, and bono goes, now you sing. and my friend was like, no. no, you sing. i paid to see you. now every time i play, i make sure i do the whole song. then the sing along happens. i will make sure people get what they paid for, and i kind of wanted to have that for the whole concert, so i give as much as i can, and then you do the sing-along. charlie: do the tattoos tell a story?

ed: yes, they are all -- i am a very strange person. i am quite eccentric at times. and these tattoos can be viewed by someone as quite an eccentric thing. a bit odd. i get a lot of people not understanding them. charlie: that is why i asked the question. ed: every tattoo relates to something important to me. in my life or career. , by henrione here matiss. of a mother and child. it was the first thing i bought with a paycheck from my mom, a drawing of mother and child. these three boxing gloves -- i sold out madison square garden three times. my granddad was a boxer, he -- and my dad always said when you make it in america, you play madison square garden. this one from my granddad who was irish. this was from my first gig in canada. there is lots of stuff.

angel wings. it all relates to -- people go, what are you going to look like when you are 80, and i think i will look awesome. because i will be able to -- charlie: your life story will be there. ed: you will have your grandkid on your lap pointing and say , that is when your grad -- granddad went to do this and this. i like it. i have not got anything on my body that is pointless. you know how people get like ruins and tribal tattoos, just as it looks cool. that when you grow up when the great. people may think that i will look very sad, saggy, ugly, man, but i will be a happy old man. charlie: did you have a new one recently? ed: yes. a lion. charlie: why? why a lion? ed: that was for the wednesday stadium show. it's the biggest stadium you can play in england, and no one ever does it. it is a big achievement to do, and the england crest.

you have an eagle. the american bald eagle. we have three lions. the england show would be three lions on the shirt. i wanted to get a lion tattooed on me. the chest would be a very proud place to put it. i wanted it to take centerpiece of all the things i have done in my life up to this point. a lot of people think it is odd, but i really like it. you don't have to see it every day. it is under my shirt. i like it and you do not have to see it. charlie: the documentary. "jumpers for all posts." ed: the reason it is called osts,""jumpers for goal p and americans don't get this because you do not call sweaters jumpers, but in england when you play football in the park, you take off your sweater and use it as a goal post. sometimes you make it bigger, sometimes smaller so for me, , playing this venue like 1500 capacity, that was the first goal. then you move it. to wembley. but now that wembley has

happened, the goal posts are in bliss. you can just move the jumpers. charlie: you said that you never thought about playing wembley because it seemed out of reach. and then it became within reach. ed: when you move the goalposts, you see the next one. charlie: are you business savvy? ed: i have some savvy in terms of my music, but i do not own stocks or anything. charlie: but you are savvy in that you want to do stuff that is good. because your core belief is, if it is good it will sell. ed: yes. no. if it has heart, it will sell. anything that makes anyone feel something will sell. that is why films like "the fault in our stars," "the choice,"" "sophie's "saving private ryan." anything that really connects

with human beings will be good. that is why adele has had the biggest album because it is pain pouring out. charlie: and is pain pouring out of you? ed: i am a happy person because i get the pain out in the songs. there are a couple of happy songs in there. my pain might be different to someone else. that might not be on the scale of anyone else's, but it still creates music. charlie: i'm impressed that you go to africa to look for new sounds. to feel new sounds. ed: i know a lot of very talented musicians from that side of the world. the thing i like about it is, there is no other reason to make music in ghana, other than to make music. whereas you go to l.a., and everyone is looking for a piece. everyone wants to be in publishing, or they want to play in your band, but when you go anywhere else in the world where there is not an infrastructure,

not really like a hollywood, system,like a grammy they do not make money out of it. they make music for the hell of it. they make music because they love it. i want to get back to that because i have been surrounded by so many people who make money off me. i want to sit in a room with people that just want to make music. you know? charlie: thank you for coming. ed: thank you. ♪ when your legs don't work like they used to before will your mouth still remember the taste of our love? will your eyes still smile from your cheeks? darling, i will be loving you till we're seventy baby, my heart still my heart at 23

i'm thinking about how people fall in love in mysterious ways with maybe just a touch of the hand me, i fall in love with you every single day i just want to tell you i am , take me into your loving arms kiss me under the light of a thousand stars place your head on my beating heart i'm thinking that now maybe we found love right where we are

when my hair is almost gone and my memory fades and the crowds won't remember my name when my hands don't play the strings the same way mm, now, i know that you will still love me because, honey, your soul can never grow old baby, your smile forever in my mind and memory o, and i am thinking about how people fall in love in mysterious ways and, baby it is all part of the , plan making'll just keep on

mistakes and hoping that you will but, baby, now take me into your loving arms kiss me under the light of other thousand stars oh, my darling, place your head on my beating heart love right where we are oh, maybe we found love right where we are ♪ thank you very much. ♪

the of sparking a global selloff. it the worst open in decades. china conducted its biggest reverse offer. this after money market rates hit a high. they suspended such operations