>> rose: welcome to the program, and happy new year on this first day of 2016. we look back at some of our favorite musical guests from last year. we begin with tom jones. >> he would say, forget that rock and roll, you're a great jazz singer. you could really get into some jazz. and i said, well, i like doing it all, to be honest with you. so i was in a position where frank sinatra was trying to pull me one way and elvis presley was trying to pull me another. i thought, what a position to be in, you know, trying to be pulled by two of the greatest singers ever. >> rose: we continue with edie brickell and steve martin. >> it was just a couple of bits of serendipity that edie ran into me at a party and she said,

i'd like to write a song with you. and i had never written a song with anybody. so i'm kind of nodding, oh, yeah, sure. i thought, this is edie brickell, i have to call her, i said i would. >> rose: we conclude with ed sheeran. >> i've only written songs from the heart. sic if it's not an expressionng of self or therapy. if i've had a bad day, i want to write a song not to have a hit but to make me feel better. it's never been about the audience or pleasing people or trying to fit in. it's been about myself and my love for music. >> rose: bringing in the new year with music, when we continue. >> rose: funding for "charlie rose" has been provided by: >> and by bloomberg, a provider of multimedia news and information services worldwide.

captioning sponsored by rose communications from our studios in new york city, this is charlie rose. >> rose: sir tom jones is here. he is known simply as "the voice" and for very good reason. his full-throated, unmistaken singing has helped him sell more than 100 million records and score 19 top 40 hits in the united states alone. "vanity fair" said of jones he is a wide ranging voice with the force of an entire brass section or possibly a wind tunnel distilled into a single sacco instrument. he has now written a book that chronicles his legendary career called "over the top and back." he's also just released his 41st album. here is tom jones in our studio performing elvis presley blues from his new 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 hair ♪ ♪ he put on a 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, the 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 ♪ ♪ grabbed his wand in the other hand and held on tight ♪ ♪ and he shook it like a hurricane ♪ ♪ he shook it like to make it break ♪ ♪ and he shook it lake 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 a long decline ♪ ♪ thinking how happy john henry was when he laid 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 ♪ what's wrong with me? ? ♪ >> rose: i'm pleased to have sir tom jones at this table for the first time, and what an honor it is. welcome. >> thank you, charlie. >> rose: pleasure to have you here. >> thank you. >> rose: music for you began when you heard, what, rock around the clock? >> well, that was when i was aware of rock and roll. but long before that, i was singing, since i was a child. i was born in 1940, and my mother says that i could sing before i could walk. >> rose: but did you have tuberculosis? >> i had tb, yeah, when i was 12, so i was bed ridden from the age of 12 till 14. >> rose: bed ridden. bed ridden. for the first year. the second year, i could get up an hour a day. but i stayed warm, though,

because, when they discovered that i had it, there were these tb hospitals up in scotland and, you know, in switzerland, and they wanted to send me there. >> rose: called sanatoriums, weren't they? >> exactly, sanatoriums. my mother said, if you're going to send them there, he's not going to get well. >> rose: stay here with me and i'll make him well. >> exactly. and she did. >> rose: what a great mother. yeah. we lived in a three-story house and they put me in a room on the middle floor, so my mother was up and down stairs all day because the doctor said, don't let him worry about anything, stress is the worst thing. so she took it to heart and she nursed me through it. >> rose: you have said an interesting thing to me and i'll tell you why. you said to be great in music, you have to have young ears. >> yes. >> rose: what are you think

ears? >> young ears, to keep them open. >> rose: hearing new sounds? yes. because some people have been in the business as long as i have and they say, oh, it's not like it used to be, it's all changed. not really, you still have to get up in front of a microphone and sing. i've always been interested in new sounds and new singers, you know, to know what's going on. i don't want to be an oldie but goodie. i want to be, you know, spinning in the rng. i'm proud of the records that i've made, you know, because, at the time they were made, they were very good records, and they still stand the test of time. you know, if you play the green green grass of home or it's not unusual or delilah, they stand out, but i don't want to live in the past. i don't want to sort of go on the road and say, oh, well, i'll do the greatest hits forever. >> rose: how do you take care of your voice? >> i drink plenty of water and try to get eight hours' sleep, if possible, go easy on the alcohol. >> rose: yes. i've never got into drugs,

never fans idea any of that. i never got caught up in the drug thing. but, you know, alcohol, you've got to be careful. everything in moderation, and i've learned that over the years. >> rose: how many dates do you do a year? >> well, i used to do a lot more than i'm doing now. i used to do about 200 a year. >> rose: out of 365 days, you did 200? >> yeah. so i don't know exactly -- some years are more shows than others, but, for instance, i did a european tour for june, july and august, and that was pretty packed, for three months. so i'm always singing somewhere at some time because i love to sing. >> rose: are you happiest when you're singing? >> definitely. i don't know what life is like without it. i've always sung since i was a child. so to take that away from me, i wouldn't know what to do. >> rose: who's influenced you the most? >> a lot of people. mostly american roots music.

>> rose: really. a lot of black singers, ma hailia jackson was the first gospel singer i heard. i went to a presbyterian chapel. we used to do a song called "the old rugged cross" and i always loved that song. then i heard mahalia jackson sing it and i thought, how come we don't do it like that? but then again, she must have rubbed off on me, and other gospel singers as well, because when i was in school i sang the lord's prayer one day and the teacher said, why are you singing this like a negro spiritual? i said, i don't know what that is, i'm just singing its the way i'm feeling it. but i must have heard it because i don't think -- you know, jerry lee lewis says, i was born with what i've got. i don't think anybody -- >> rose: were you influenced by presley then? >> definitely, when rock and roll kicked in. elvis was doing what i was

doing, basically. he was just reassuring me this could be done. >> rose: where did delilah come from? >> from a man named les reed, who co-wrote a song with my manage gordon mills at the time. so i had been friendly with les, and he did the arrangement on the green, green grass of home. he took it from a country -- bom, bom, bom, the whole hometown, and then spread it out. so les has been a friend of mine for a long time. so i was looking for a new song and he came up with delay dla. with -- delilah. ♪ , my, my, my, delilah ♪ why, why, why, delilah

♪ i could see that you were no good for me ♪ >> rose: man, how many undergarments did you get thrown in after singing delilah? >> quite a few, but that started at the copa in new york. >> rose: how did that affect you from the sheer sense of saying to the world, this is one to have the the sex symbols of our time? >> well, the initial thing with the underwear was it was the copacabana, a supper club, and i was standing on the sam level as the people sitting at the table and they were giving me table napkins because i was sweating a lot. this woman stood up, lifted it and like this. and i went, be careful you don't catch a cold, like that. (laughter) because singing and working clubs in south wales, what

happens, you try to turn it to your advantage. >> rose: working clubs, you say? >> men's clubs, coal miners and their wives and girlfriends, so that's where i starre started s. whatever happens, if someone throws a bottle, you try to catch it, say thank you very much and drink a drop of it, whatever. so when that happened, i sort of did something and handed it back, but it caught up with me as time went on. they'd bring them in hand bags. there's tom jones, throw underwear at him. that's not the reason i was there. i was there to sing. >> rose: you were there to sing. >> yeah. but i think it -- >> rose: it created an image. it backfired. i became like a nicker magnet, but i never meant it to be. it just caught up with me. >> rose: what's your biggest passion outside of music? >> that's a good question. i don't really have -- >> rose: really?

no, honestly. music is my life. it's performing. >> rose: presley came over to you once and say, how do you sing like that? >> yeah, i met him in 1965, the first year i was in the business. i was at paramount studios and i had gone there to talk about a song for a movie and they said elvis is here and he would like to say hello. i didn't know he knew i existed. i had a ballad sawed "with these hands" and he was walking toward me singing that. i thought, if the boys could see me how thousand. when i used to sing in the pubs and clubs in wales i used to sing a lot of presley songs and i used to say, i'll meet elvis one day. they said, we love you, but, please... i said, i'm telling you. so when i was shaking hands, all

these guys' faces were flashing in front of me. it was tremendous. we were friends from 1965 up until about two years before he died. he started pushing everybody away from him. >> rose: american blues had a big influence. >> absolutely. >> rose: even mick jagger and the rolling stones had an influence. >> everybody in the mid '60s, we all listened to roots music -- van morrison, joe cocker, the beatles, the stones, all of us the same age as john lennon, so we were all listening to that and wanting to do it. but then it came about -- like b.b. king said, if it wasn't for the british rock bands, the blues might have died. >> rose: that's exactly right. but they brought it and sold it back to america. >> rose: you were also on the same wavelength as frank sinatra. you two were friends, too. >> 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 i did with big arrangements. and elvis had bought it. and i said, what do you think? he said, we don't do that, tom. we leave that to frank. >> rose: with we? he said "we leave that to frank." he said, don't go there. i said, but i like it he said, but don't record it, don't do it. you stick with me. >> rose: listen to what i'm saying... >> yes. and then when i would see frank sinatra, frank would say, forget that rock and roll, you're a great jazz singer, you could really get into some jazz. i said, women, i like doing it all, to be honest with you. so i was in a position where frank sinatra tried to pull me another one and elvis presley was trying to pull me another. i thought, what a position to be

in, to be pulled by two of the greatest singers ever. >> rose: what was it about sinatra? was it the phrasing that made everybody -- >> i think it was the tone. the tone of his voice. he had a demanding tone, and he was a very good singer. i learned to appreciate frank sinatra later on because, you know, rock and roll in the '50s hit me had, yo you know. >> rose: oh, yeah. when that came in, i thought, all that other stuff is old fashioned. but when you get older and you realize more about music, you know, than you do when you're a teenager, then frank sinatra started to make a lot of sense to me, and then i started to watch a lot of his old movies, and 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. he set a trend, you see, because singers after that, they wanted

to sound like frank sinatra. >> rose: in the '80s, things went down a little bit, didn't they? >> for me? >> rose: yeah. yeah, well, what happened was i got complacent. not meaning to, but what had happened, because of the success that i'd had in the '60s and early '70s, i was playing arenas in america throughout the '70s into the '80s, trying to get songs, but they just were not coming my way, and i thought, well, maybe they won't. maybe i'll just wait until the song comes. so i was playing places that maybe i shouldn't have been in, you know, and that's why, in the book, i started playing in massachusetts in a place where they had weddings in the daytime and singers at night. my son was working the lights for me and he said -- >> rose: mark. mark, my son, yes. and he was trying to get the spotlight through chandeliers that were still hanging there

from the afternoon. and, to be honest, my son made me aware. he said, do you really want to play these places? i said, yeah, right... you know, he made me aware. >> rose: so you did sphwhat. i well, when my manager died, gordon mills, who was my original manager, there was a musical written by two british writers eddy siegel and mike leander sent over these songs theto l.a. and said they will be looking for a singer to sing the songs and they had gone to opera singers but they were too operatic, and tried with pop singers and they just didn't have the change, so they said it's all come down to you, you know, you're the only one. >> rose: only one they've got. yeah. so i said, okay, i was listening to it. meanwhile, gordon mills had

carnes, you know, and he -- had cancer and he died and my son and daughter-in-law sort of just took over, because my son had been working with me, knew me better than anybody else, and we listened to the songs and mark said, why don't we bring eddie siegel and mike leander over to l.a. and try them. >> rose: you're a family man, aren't you? >> yes. >> rose: linda's been with you for 58 years. >> yeah, we were kids together. >> rose: 16. i was almost 17 and she was 16 when we got married in 1967. >> rose: what did she feel about the sex symbol stuff. >> she saw it when we were kids because she saw it when we were in school so she knew i was aiming at that. when i said i have to go to london, i've met gordon mills, and she knew he was in business and there was a man who could do something.

>> rose: you call this "over the top and back." >> yes. >> rose: meaning? well, i think i went over the top and sort of went into those comfortable areas i was talking about and then anything, wait a minute, you know, shaking this up and saying let's get back to recording properly. >> rose: yeah. so now i'm back. you know, especially with these albums that i'm doing now because they're more like what i was doing in wales, you know, back to brass tax with a rhythm section. i was singing blues, country, gospel-flavored songs that i had been wanting to do for a long time andnow i'm doing it. >> rose: look at. this this is a montage of you. roll tape. we'll end with this. >> good golly miss molly ♪ ♪ you sure are fine ♪ i think about you girl

♪ you get another day older and deeper in debt ♪ ♪ i want you to give me all your love ♪ >> rose: that's the life. and i'm still having it. (laughter) >> rose: and who took this picture? >> i can't remember who the photographer was, but it's a recent one, as you see. but the one on the back is 1964. >> rose: this is $64. yeah. >> rose: how old were you? 24. >> rose: you're 75 now? yeah. >> rose: great to have you. great to see you, charlie. honestly. >> rose: steve martin and edie brickell are here. steve called their musical partnership a giant accident.

this accident has led to two highly-acclaimed albums, a grammy and new broadway musical. conan o'brien said of martin he's the first one in history to inspire the phrase, hey, everyone, quiet down, i'm trying to hear the banjo, following up their grammy-award winning debut album friday, here's the trailer for "so familiar" (banjo music) ♪ got my four wheels on the pavement ♪ ♪ if you look you will find me gone ♪ ♪ got the pedal to the metal, ♪ my radio ♪ radio on ♪ got you in my rearview mirror ♪ ♪ i intend to leave you there ♪ never going down that dark road ♪ ♪ the road you're on ♪ i have been there

♪ i've gone there ♪ i'll go anywhere ♪ but i won't go back >> rose: i'm pleased to have steve martin and edie brickell at this table. welcome. congratulations. >> thank you very much. >> rose: you said this partnership was a giant accident. what did you mean? >> i meant that it was not by design. it was kind of a coincidence, and then we've had such great fortune come from it. i mean, i'm not talking financially, i'm talking artistically. and it was just a couple of bits of serendipity that edie ran into me at a party, and she said, i'd like to write a song with you. and i had never written a song with anybody, so i'm kind of nodding, oh, yeah. and i thought, this is edie brickell, i've got to call her. i said i would. so we got together. >> rose: before you got together, did you send her something? >> yes.

well, actually, the first time, we didn't. i just came over to your house, and i said, i've got this song -- >> and we were both shy. i couldn't believe he was showing me a tune. i thought the suggestion would record it and i'll see. which i did and it's in our musical "the sun is gonna shine." >> rose: tell us about the musical. >> it's hard to discuss. it's going to open in the kennedy center in december. then it's coming to broadway in march. the music is based on the type of music that we write. we agreed that we both love mewicles and -- musicals and

both grew up on them and one of the great assets of those musicals were very strong melodies, and that's the way we try to write. >> rose: what were you surprised about with steve? >> his heart. >> rose: his heart... yeah, i knew he was a really smart guy. everybody knows how funny he is. but he sent me a version of the script very early on, and he's written the most beautiful scene, and i we wan -- i wept be it had so much heart and love in it. >> rose: you were moved. i was. i picked up the phone and i said, i can't believe you've written this -- i didn't mean it insulting, of course -- the most george thing. >> rose: much better than i thought you would be -- (laughter) >> i think edie and i work alike in that i don't think either of us is crazy, you know. we get along and don't make

demands. we collaborate and work together. >> rose: what was your training? >> i don't have any training. >> rose: nice. singing around the house. my mom singing around the house. she allowed for a house that was not shy. >> rose: music in the house. so much music. it was like the sound track of life going on and we were encouraged to sing along. >> rose: what's the process for writing a song? >> well, with steve, i'm inspired by his banjo track and his personality and the image of the banjo. images settle in my consciousness, i pay attention to them and narrate them. the music dictates how you're going to sing, what key and just pay attention and being in the present moment. >> you have many ways of writing songs. the way we define it is one thing, but you can improvise a new song. >> i love to improvise. that's my favorite thing to do.

>> yeah. just paying attention to what's flowing through the consciousness. >> rose: steve brings out testify best in you -- steve brings out the best in you. >> and likewise. thank you. >> rose: and how does that work? just because she understands what we're all capable of? >> here's what's great about what the best collaboration is, is the other person is doing something you cannot do or do as well. edie's written the lyrics for our show and i think they're stunning. first of all, i didn't know -- you know, when you write a musical -- when you write a regular song, one person is singing. when you write a musical song, you have several people singing in their various characters, and edie showed that she excelled at that, giving opinions coming back and forth, you know, in the scenes. you have an extra challenge in a musical that the song doesn't just simply reiterate the scene that came before it.

so, otherwise, you have to say, yeah, we know that. so the song has to reveal new information, too, or a new story or new thoughts. >> rose: to move the story. ight. >> rose: you have said, he doesn't write "stock banjo parts." >> well, mein, they aren't banjo parts like i've heard before. it's not what would expect. he plays it in an original way, i think. that's how i hear it. >> rose: you say this is not blue grass, it's americana, because you can do more things. >> well, you know, blue grass is a very well-defined genre, and it generally means guitar, violin, mandolin, bass and sometimes dobro. but our music is -- i'm not

going to say broader, it's just using more instruments, and it swings away from bluegrass. not always. there are bluegrass songs in the show but i just think of this as music. >> rose: this is about you and edie performing "love has come forcnh you." here it is. ♪ he had a child that man from the bank ♪ ♪ he was married from the son ♪ all her family said give that child away ♪ ♪ try to erase what you've 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

angels sing ♪ ♪ love, love, love has come for you ♪ ♪ love, love, love has come for you ♪ >> rose: is performing in front of an audience, singing and playing the banjo, is it the same sensation as standup comedy? >> well, actually, in that show -- i'm so glad we taped it with the canyon rangers and edie -- we toured that show for several years and i was constantly changing. it has a lot of comedy in the show. it's actually ideal because i don't have to do an hour 1/2

standup which is really, really hard. i get to break it up with a song, make jokes with the band, with edie, then start another song. it's a nice, relaxing way to work. >> rose: this is a clip from the music video for "won't go back" off their new album. ♪ i have been there ♪ i've done that ♪ i'll go anywhere but i won't go back ♪ ♪ i have been there ♪ i've gone there ♪ i'll go anywhere but i won't go back ♪ ♪ never, never, never going back ♪

♪ never, never, never, never going back ♪ ♪ never, never, never going back ♪ ♪ never going back >> rose: here's what you once said about playing the banjo. it said it's like if you were sitting at home and your spouse says to you, oh, look, i see jerry seinfeld is doing an evening of original songs, he wrote for the bassoon. >> i forgot about that. >> rose: you have been playing past that point. >> i have been playing for 15 years but i just started playing with a band about eight years. >> rose: why is banjo your instrument of choice? >> from the first time i heard it, i loved it. i loved it for several reasons. for one, it has this ability to

be played at high, hard-driving, fast speed. but what i really was interested in it for was its capacity for memelonmelancholy. i love the idea of banjo with strings and it's a motive instrument. it's gone through a huge, complex history. ♪ ♪ ♪ i feel it way down, deep in my bones ♪ ♪ we were meant to be apart

♪ 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 ♪ i've had my doubts but not about you ♪ ♪ i love you now, i have from the start ♪ ♪ i always have, always will ♪ always, always, always will ♪ i always have, always will ♪ always, always, always will

>> rose: ♪ i always have ♪ always will ♪ always, always, always will ♪ i always have ♪ always will ♪ always, always, always will >> rose: we are very pleased to have ed sheeran here. the "new york times" has called him an unlikely pop star phenomenon. the video for his single "thinking out loud" has been viewed over 730 million times on youtube. he has shared the stage with

musical royalty, like sir elton john, beyonce and the rolling stones. his concert film debut chronicles his three nights sold out runs at london's wimbley stadium. here is the trailer for "jumpers for goalposts." ♪ >> now after you've come through it and reality has hit, there is 240,000 people. >> one, two, three go! (singing) >> think my first headline show. when you play guitar and start on the pop circuit, your dreams don't really stretch that far. ♪ take me now

>> i think this is the most important milestone. thousands of people come and watch me playful (singing) (cheers and applause) >> went to brooklyn for the show, then went for a pizza with beyonce and went to a dive bar. >> rose: >> rose: it's a pleasure to have you here. here's the album in vinyl. it's an extraordinary thing. i read the numbers -- you are, i don't know how to say it other than a phenomenon. how would you characterize what you're experiencing?

>> i've always just worked harder than anyone else and try to be nice. my dad's always told me to choose something and work harder than anybody else. when i signed, i saw james bond sold more than any other. i took the diary of everything he had done and we doubled it. so we did everything he did plus twice as much. >> rose: worked twice as hard. yeah and ended up selling half as much but now on this record more, so it's working. >> rose: and other than hard work, what else is at the core of this? are you writing lyrics people just are in tune to? >> i don't know. i've only written songs from the heart. i don't really see the point of making music if it's 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 t to write a song o hit, i want to write a song to make me feel better. it's never been about the audience or trying to please people or fit in. it's been about myself and my love for music and i guess that's come across. >> rose: music is your therapy and catharsis? >> definitely. i think other people have different ways of letting off steam. friday night, you finish work, go to the pub, have a pint and go home. some go to the gym, taekwondo, sky diving. mine is writing songs. my way of getting out anger, aggression, happen necessary, love. >> rose: tell us how that happens. >> you just -- i don't know if you've ever done this, but i used to do it quite a lot, like when you're angry with something, you write either an email or a letter to that person, and then you write

everything down and then you don't give it to them. it's just about getting it out and it makes you feel better. you have it, read it, rip it up. >> rose: it's like a fire hose, it just pours out. >> yeah, i could go three months without writing and then write a lot in one week. >> rose: what turns it on? in my experience, time to write, because i'm quite busy. i've made this album on tour and am making the next album on tour. i have a producer to bring a mobile studio in every dressing room and hotel room and in between meet and greets and the gig, try and write a song, then on the bus and the journey to the next place, write a song. so it's about finding the time to make it happen. >> rose: wimbley, three concerts over three days. wimbley stadium!

>> yeah, it was interesting. >> rose: not a pub. no. >> rose: it's a stadium. it was difficult to comprehend because i don't play with a band. i use a sound pedal which is always live. i felt like i couldn't do an arena. but when i did and it was fine, i said we might as well try wimbley. what's the worse that could happen? the worst that could happen is you fail. then you move back to the arenas. so it's a cool thing. >> rose: how many people were there? >> 87,000 every night. >> rose: 87,000. yeah. it's a big old stadium. but the thing is, like, if you fail, you've not lost anything. and if you achieve and make it good, the possibilities are endless. >> rose: you've rejected the idea of a band? >> for now. for now. but i think -- >> rose: because of the music

you want to create or because of some other reason? >> i'm in control of everything i do, and if i want to go off on a tangent halfway through the gig, i don't have to look around or make hand signals, i just do it. or if i mess up which happens quite a lot, i can rectify it without having to have anyone else worry about it. so i will definitely have a band at some point. the thing that people keep coming up and saying they like about me is i don't have a band and i say why change it. >> rose: what's the biggest challenge for you now? >> carrying on the momentum. i think that's the biggest challenge for any artist. to get up to a stadium level for any artist is kind of the peak, but then the challenge from there is staying at that level, you know, to remain at the stadium level, to keep releasing records. not necessarily a hit, but just connect with people, you know. i've never been worried about my record selling millions of copies, but i have been really intent on writing songs that

come from me, but when they go out they belong to people and their people can relate to them and get into it, and then they will come to the shows. the shows are always the end goal. i see an album as a commercial to a show. buy the album or download or stream the album or however you listen to the album and then you do it in a show. >> rose: are artists getting fair treatment in the world of spottofspottify and apple music? >> that allows me to play around the world. you can't buy a record in norway. norway is just spottify, so if you don't have your music in spottify, no one in norway is have your music unless they rip

them off. i'if you make a record and tour, 96% of my income comes from live. we still sell a lot of records. >> rose: that's true with most artists today. >> my thing is live separates who's actually meant to do it from who's not. if you can't play an instrument or sing live, you shouldn't be a mu cigs, get a different job. >> rose: so if your success is based on a whole lot of technology and people -- >> yeah, well, i think it's just -- it's different things like -- i think, like, live is -- live is where i really, really enjoy it. someone like taylor, when you say taylor's show live, it's a spectacle and the songs come to life and there are lots of things going on but it's still at the core of, like, music but she's someone who sells a phenomenal amount of tickets.

i feel like if you can't sell tickets and don't have a good live show, then you shouldn't. >> rose: what happens in a live show that you do? >> i never walk on stage as the presence. i kind of walk on stage and one of the first things i say is my job is to entertain you, your job is to be entertained. it's basically like instantly grabbing them in and saying we're all in this together. i'm willing to lose my voice and sweat if you're willing to do the same thing. >> rose: a bruce springsteen approach. >> i have been influenced by many people. i've watched coldplay d.v.d. and taken tips chris martin does with the crowd, even if it's just like sing this part here -- or one thing i learned quite early on, as my friend went to go see u2 and they were singing and he paid to be on the front row and bono goes, now you sing! and my friend was, like, no!

no! you sing! i paid to come see you! so every time when i play, i'll make sure i do the whole song, and then the sing along happens. so i'll make sure that people get what they paid for, and then, like -- because having crowd sing it back is the most amazing thing in the world, and i wanted to have that for the whole concert, so i give as much as i can then do the sing alongs. >> rose: do the tattoos tell a story? >> yeah, they do. i'm a very strange person and i'm quite eccentric at times an these tattoos can be viewed by someone as quite an eccentric thing. i get a lot of people not understanding them. >> rose: that's why i asked the question. >> every single tattoo relates to something important to me in my life or my career. like this one is called henry matisse, of a mother and child.

i bought my mother a jewelry ring of mother and child. i got three boxing gloves. my grand-dad was a boxer. this one was for my grand-dad. this was for my first gig in canada. there is lots of stuff, but it all relates to -- like, people go, oh, what are you going to look like when you're a 80? i think i'll look awesome because -- >> rose: your life story will be there. >> you will have your kids on your lap and say that's when your grand-dad did this and that. i don't have anything on my body that's pointless. you know how home get ruins and table tattoos just because it looks cool, that isn't going to be great when you grow old.

people may think i'll be a saggy, ugly colorful old man but i will be happy old man because i will have all my memories on me. >> rose: didn't you have one done recently? >> a lion. >> rose: why a lion? it's the biggest venue in england you can play. no one ever does it. it's a big achievement. and the england crest, like you have an american bald eagle, we have three lions. so the england show would be three lions. i wanted to get a lion tattooed on me. a chest is a very proud place. i wanted it to be as big as possible and all the stuff i've done in my life leads up to this point. a lot of people think it's odd, but i really like it. you don't have to see it every day. it's under my shirt. i like it. you don't have to see it. >> rose: the documentary.

jungles for goalposts. >> americans don't get this but a sweater is called a jumper. in school when you play football in the park you take off your sweater as a goalpost and sometimes you make it bigger or smaller. so for me, playing shepherds empire was the goal. because wimbley's happened, the goalposts are endless so you can move the jumpers anywhere. >> rose: you said you never thought about playing wimberly because it seemed out of reach and then it became within reach. >> the point is when you move the goalpost you see the next one. >> rose: are you a savvy business person, too? >> i don't really care about the business but i care about the music. i'm savvy in terms of my music but not the business. >> rose: you're savvy in terms of knowing you want to do stuff because your core belief is if

it's good, it will sell. >> if it has heart, it will sell. anything with heart sells. anything that makes anyone feel something will sell. that's why films are massive like saving private ryan. anything that tugs on anything -- >> rose: connect emotionally. yes, anything that really connects with human beings on a personal and heart level will sell. that's why the last album is the biggest because it's pain pouring out. >> rose: pain pouring out of you? >> pain and happiness. >> rose: emotion pouring out. there is a couple of happy songs on there. but i'm a happy person because i get all the pain out if the songs. my pain might be different than someone else's. it still creates music. >> rose: i'm also impressed you're going with africa to look

for new sounds and feel new sounds. >> yeah, i just know a lot of very talented musicians from that side of the world, and the thing i like about it is there's no other reason to make music and go other than to make music. whereas if you go to l.a., everyone's looking for a piece, wanting to publish you, play in your band or something like. this but anywhere else in the world where there is not an infrastructure or hollywood or grammy system, they just make music because they love it and i want to get back to that because i have been surrounded by so many people who make money off me, i just want to sit in a room of people who just want to make music, you know. >> rose: thank you for coming. mething for me?going to play >> yeah, sure.

♪ i'll be loving you ♪ baby just the touch of your hand ♪ ♪ i fall in love with you every single day ♪ ♪ i just want to tell you i am

♪ take me into your loving arms ♪ ♪ . >> and kiss me until the light of the stars, stars ♪ ♪ lay your head on my beating heart ♪ ♪ we found love right where we are ♪

♪ 'cause, honey, your soul could never grow old ♪ ♪ it's evergreen ♪ and baby your smile's forever in my mind and memory ♪ ♪ and i'm thinking about how people fall in love in mysterious ways ♪ ♪ maybe it's all part of a plan ♪ ♪ we'll, i'll just keep on making the same mistakes ♪ ♪ hoping that you will understand ♪ ♪ that, baby, now ♪ 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 out loud

♪ maybe we found love right where we are ♪ ♪ ♪ oh, maybe we found love right where we are ♪ ♪ and we found love right where we are ♪ >> thank you very much. >> rose: funding for charlie rose is provided by the following.

the following kqed production was produced in high definition. ♪ calories, calories, calories! >> wow, it rocked my world! >> it just kind of reminded me of boot camp. >> i don't know what you had, but this is great! >> it almost felt like country club food to me. >> don't touch. it's hot! >> i gotta tell you, you people