Today's guest is a Scottish-born, Melbourne-raised troubadour.
He stormed the world with the tale of a land
where women glow and men plunder.
He's a raconteur and a charmer,
still singing songs of love, loss and hope.
It's Colin Hay.
Was that alright? Was that good, Colin?
That was alright. (LAUGHS AND CLAPS)
Fancy finding you... here. Just standing...
Just standing here, in front of a drain.
In a back lane.
Hey, shall we plug down to the... to The Cricketers Arms?
Aye. I've always liked drinking in the morning.
(LAUGHS) Oh! This is a pub, isn't it?
That's exactly what it is.
Oh, it is such a pub. It's a pub.
Now, this is where Men at Work did some of their first gigs.
Has it changed much?
This was the corner over here that we played.
We were protected from the audience by...
Girls? Foldback wedges.
Oh, phew. Good. Which is the equivalent of a moat.
You know, if you have an army.
If they were gonna come at you, they would trip.
You know. Which they would. You know, they... And, um...
How many would have been there, like, of a night,
when you started actually playing here?
Well, they'd be out in the street.
You know, there'd be hundreds of people here.
I mean, even when Ron and I played in the other room,
I remember when we... when we wrote 'Down Under',
it was before Men at Work existed, and...
Is that true? Yes.
Come and show me.
Look at that plant. Isn't that a pub plant?
Oh, it's shocking, isn't it? It's a shocking plant, that.
They don't look after their plants. So we would play around here.
There'd be maybe 70 or 80 people sitting there.
And we would... we would throw in some original songs.
This guy came up and he said, um...
He said, "Hey, mate. You know, you...
"Last week, you played... you played, like, a...
"like, a song, something about Down Under."
He goes, "That's a bloody good song, that."
He goes, "That'll do well."
Cut to maybe two years ago.
I was playing... the Bledisloe Cup, one of those things,
and I'm walking past the crowd, and this guy,
he just kind of said it like I could only hear it.
Mmm. And he just... He just...
As I walked past him, he just looked at me, and he said,
"Good on you anyway, mate.
"Jeez, you must be sick and tired of playing that fuckin' bastard song."
(LAUGHS)
How many weeks were Men at Work, uh,
on the US 'Billboard' chart at number one?
It's disputed. It's either 15 or 16. Is it?
Who knocked you off? Michael Jackson. Yes.
It took a Michael Jackson? That's incredible.
What, with the space of... It was a year, two years?
It was, um... From here to a Grammy?
Uh, it was really... No, it was really only a few months.
OK. That is nuts.
I'd like to think that we were exceptional.
There was something that they were getting from us
that they weren't getting from... from other people,
and that was always the thing that... that drove me, was,
how creative you could be, and people...
People seem to pick up on that.
(ENGINE STARTS)
Let's take you back to where it all started,
in an Australian context anyway - we won't be going to Scotland -
and take you to Beaumaris.
Are you ready? (OCKER ACCENT) Down to Beauie?
(OCKER ACCENT) Down to Beauie, and you're driving.
Oh, would you look at this gorgeous car, Colin?
It's very lovely, isn't it? And now, um...
Oh. Look at that. Stick shift?
Stick shift. Now, explain to me, why a Peugeot?
I co-owned it with my mother.
Which was strange. Wow!
You know, to have a car that you go, "Oh, yeah, I've got a car.
"Oh, actually, I have to, um...
"I have to get it home because my mother needs it."
('JUMP IN MY CAR' BY TED MULRY GANG PLAYS)
It was a bit Kiwi, wasn't it? (KIWI ACCENT) "Perfect."
SONG: ♪ Jump in my car
♪ I want to take you home... ♪ No. (SPEAKS INDISTINCTLY)
♪ Jump in my car... ♪ OK. Let's have a crack at that.
♪ It's too far to walk on... ♪ Hey, mate!
♪ And he said, "Oh!
♪ "Do you come from a land Down Under?" ♪
Colin Hay was the frontman and force behind Men at Work,
the first Australian band to hold number one positions
on the US single and album charts simultaneously.
With his distinctive voice and a gift for storytelling,
Colin continues to sell out gigs across the world as a live performer.
♪ All comes tumbling down... ♪
He's released a dozen critically acclaimed albums,
with another on the way,
and the use of his music on TV hits like 'Scrubs'
have introduced him to a whole new audience.
Do you like driving?
Driving is about freedom, isn't it? It's about doing whatever you want.
(GASPS) Oh. That guy's in the bus lane.
Yes, he is, but he's... It's not a very clear bus lane.
You would expect a bus lane to be a bit clearer than that, wouldn't you?
Look, mate. The idiots on the road. That's right, yeah.
What about all the different ways that you can say 'mate'?
You know, if you've fucked up, someone'll go, "Oh, mate,"
you know, you know, and then just a simple, "Hey, mate!"
You know, it's...
Um... But...
And then there's, um...
.. "M-a-a-ate."
I have American friends, and they're always
trying to do Australian accents, and they go,
"Well, how do you say, 'Hey, mate! Hey, mate'?"
And they go, "How do you say that?"
And I go, "Well, OK, just imagine you're saying,
"'I might go down there, '" in an American accent.
You go... (US ACCENT) "Yeah, I might." I go, "It's exactly that."
And they go, "Oh!" It's a completely different...
(US ACCENT) "I might." (NORMALLY) Yeah, that's good.
"I might". "Hey, mate."
You lived in Melbourne until 1989.
Why did you go to L.A.?
Why not back to...
..the UK?
Um...
Well, it wasn't really...
I didn't have a master plan, really.
I was, um, trying to stop drinking,
and I found it difficult to stop in Melbourne.
I was getting divorced. Mmm.
And I also had a record deal which was based in Los Angeles.
Right.
Everything was kind of pointing in that direction.
And so that's what I did. I just stopped there.
And I liked it because, um...
I wasn't... I didn't have a history there.
Yeah. And everyone was stopping.
Everyone was in various stages of recovery.
And it felt like I could heal myself there.
It's accepted too. It's accepted. Absolutely, 100%.
People don't go, "Oh, yeah. You don't drink at all?"
Oh, mate, I know. And it's just... Yeah.
"Have one of these, mate. You'll be better off, yeah."
It's an awful thing to do to someone.
"Your birthday. Aren't you gonna have a drink for your birthday?"
They don't get it. Yeah. They don't get it.
This is, uh... This is where I lived.
Wow. Was it this posh?
Back in the day? It's pretty posh.
Should I drive in? Yeah.
My sister and I sold this house.
Um... I think it was even just, like...
It was either one or two years ago. And it was a difficult thing to do.
And I never thought that I would drive into this driveway again.
It's a bit strange. Thank you for doing it.
Thanks for letting us. (LAUGHS)
(APPLIES HANDBRAKE)
Well, this is... charming.
How long has it been since you've been here, Colin?
Um...
One day.
One day? Mmm.
Um, I was coming back from, uh, down the coast,
and I drove back and I just drove this way
so that I could drive past the house.
Is that weird? No! What made you do that?
(LAUGHS)
I wanted to, um...
(LAUGHS NERVOUSLY)
I wanted to...
..feel my mother and father again.
Yeah.
Let's go in.
Is it weird? Not at all.
If someone would come, my father would say...
(LAUGHS)
He'd go, "Hello! Come in. Nobody's going to bite you."
With his teeth like that?
Like a vampire? Yes.
Funny guy. Yeah, he was funny.
Well, the splendour of the, um... The main room. The family room.
The lounge room. The loun... Oh, sorry.
The lounge room, everyone. What would happen in the lounge room?
Yeah, my mother and father had lots of parties.
They were good party-givers.
Did they? Yeah. And they danced a lot.
No! Yeah.
My parents were incredible dancers, yeah. Both of them.
You know, my father was on the stage when he was a teenager.
He was a great singer and a great dancer. He was a child prodigy.
I've still got a program from the Metropole Theatre in Glasgow.
He gave it up, you know, when he was a teenager,
then the war came, you know, so that kind of spoiled...
So much for everyone. Yes.
As my mother said, it was a terrible nuisance, that war.
A nuisance.
(BOTH LAUGH)
What's through here?
This is the dining room.
These are the original doors. This is the '50s, I think, was rebuilt.
This? Was it this small, the dining room?
Yeah. But there was... there wasn't many of us.
What was a Hay family dinner like?
Because you were living here with your mum, Isabel,
your dad, Jim, you've got a brother and a sister.
My grandmother was here until she died in '75, and so she was cool.
Lots of laughter. Lots of...
Small, contained... kind of Scottish family against the world.
Really?
You would find that your parents would ask you things
that you'd think, "Why are they asking me that? They're my parents.
"They're supposed to know, really, everything," you know.
But they were kind of a little bit...
They're learning as well.
They were a little bit lost as well, you know, kind of.
(GASPS)
I always thought of my mother as being quite glamorous.
She was kind of like a film star that just didn't do any movies.
You never quite knew everything about
what was going on with her, you know?
Mmm. Mysterious.
When I would come and stay, I would come and stay here.
And was that nice, being an adult living with them, visiting them?
'Cause it's such a different dynamic, isn't it?
It's lovely. Yeah.
Right up until they... they were... not doing so well.
You know? Mmm. Mmm.
My mother wanted to die here, you know, but, of course,
she had to go and live somewhere else
because she couldn't look after herself,
but she was very annoyed by that, and she sat in there... in there
and, um, said to me, "I'm not going to that place."
Couple of days before she died, uh, I was sitting on the bed,
and she said something very profound...
..to me, and I think about it every day.
She just looked at me. And she was morphed up. You know, she was...
And she looked beautiful, you know.
She had really beautiful soft white hair.
And she just looked at me - she said...
.."We had a good time, didn't we, son?"
What's out the back here?
We had a dismal, a very bleak, backyard in Scotland,
which was just stupid - nothing there.
When you came out to Australia from Scotland, you're 14.
You come out on the boat. How fully formed do you think you were?
Well, I think I was pretty fully formed, you know.
I already knew what I wanted to do. "I'm gonna sing and play music."
And my mother and father were a bit frightened of that,
'cause they felt, well, you know, it's a very difficult thing
to do for a living,
but at the same time, they got me singing lessons.
What's it like being here, out the back in this garden?
It's very odd. Is it?
Yes. It's odd, yeah.
And I love these... these two big palm trees,
because you know where they came from?
Men at Work did a tour in 1982, 1983,
and on each side of the stage, we had these two palm trees.
And at the end of the tour... No!
..they said, "What are we gonna do with these palm trees?"
I said, "I'll take those," and there they are.
How fan... And they're still here. Yeah.
They'll be here forever. Hey, should we...
Should we go find where Beaumaris High School is?
Is it still there? Well...
Alright.
There you go. That's good news.
(GEARS GRIND) Ooh!
(SNIGGERS)
Would you say you're a songwriter or a storyteller?
I just like to think of mys...
I like to think that I can write not a bad song. I mean, I...
I think... I think I'm getting better as I get older.
But, yeah, I think... I think of myself as a songwriter, yeah.
Where's the school? Well, it's obviously been...
It's obviously gone. It's gone!
It's gone to school heaven.
Where was it exactly? Well...
In... in your memory. The school was where it's not now.
(LAUGHS)
It was like a prefabricated school. Oh.
You know, like... Yes. How many flies are there?
Goodness. You know you're back in Australia with your little wave.
I know. Aren't you?
My school in the old country looked more like
a school out of 'Harry Potter'.
Did it really? You know. Yeah, old building.
And the teachers still wore the capes.
I came here and I did well for two or three years,
and then it just all went downhill for me, you know.
So you came to this school when you were 14.
Did you have any favourite teachers? There was a guy called Mr Mooney.
He was horrendous. And he wore the shorts.
You know. 'Cause a lot of peop...
And that was a strange thing, coming from Scotland -
grown men wearing shorts is weird.
And they would have these long... BOTH: Socks.
You know. And... Yes.
And they look like... just like grown-up toddlers.
And he would smoke in the corridors, right,
and, you know, you're going to school.
He'd be standing there going... (INHALES)
"Where are you going, son?" He'd go, "Get to your class."
(LAUGHS)
Why did you move from Scotland?
Why does Jim decide that Australia will be...
I developed bronchial asthma. Oh.
And so my father thought, "Well, let's go to Australia,
"because that's a warmer climate," and then you come to Melbourne,
which is one of the worst countries in the world for asthma.
But we didn't know that at the time.
He wanted a better life for the family.
You have a beautiful line where you say,
"It was like going from black-and-white to colour."
Oh, yeah. Scotland was always...
You know, you can poke the sky with a stick.
It's always grey and it's... it's raining,
and even when it's not raining, sky's always... (GROWLS)
"I'm gonna rain on you soon." You know.
And you came here and it's, like... and you go to the ocean
and it's glorious.
Now, we're gonna go off and meet, uh, Kym Gyngell...
Yes. ..who... actor/comedian.
Who is your dear friend from high school. What does he mean to you?
There are very few people in your life who really know who you are.
When he says things sometimes, it makes me laugh
from a place that no-one else gets to.
You think... You forget you have it.
Just up here, thank you, driver.
Is that very Aussie?
It is quite beautiful, though, isn't it, the beach road?
Oh, we love the beach road. You get the turbulent skies.
Which is why I like coming back and driving down the Great Ocean Road.
Because, um... There's something empty about it.
It's like having a blank canvas, you know.
You know, you can leave things behind in the wind, you know.
Just things you don't need anymore. Yeah.
Espe... especially in this wind. (LAUGHS)
Always windy down on the beach in Melbourne.
There he is. He looks familiar.
Pow!
Kym Gyngell, meet Colin Hay. Oh.
(LAUGHS)
Oh. They're slapping each other on the back.
(MUMBLES)
Why did you want us to meet Kym here, particularly, with this?
Well, Kym used to live just over here.
Went round there and then you turned left.
And I lived a little further, so...
From here... from where I lived to the clock tower
was, um, my comfort zone.
Oh.
Beyond the clock tower, that's where...
That's where the world was. That's where it began.
That's where the journey out from Black Rock started.
And Kym said to me one night, "Come and meet me in...
"Abbotsford."
(SUCKS IN BREATH) Yes.
Scotland, Beaumaris... (WHISPERS) ..Abbotsford.
And... (LAUGHS) Well, look...
Let's get out of the wind and chat about the two of you at high school.
The first thing that struck me with Collie was his head was...
His head. It was just... His head?!
His head. It was... In what way?
It looked like it would break granite.
It was just one of those heads. It was a powerful, strong head.
Wow! And I think it...
That sort of meant... more than just being powerful bones.
I think it's... for some reason, I just thought, "Wow! He..."
"He's got a good head."
"He'd be really smart underneath that strong head."
And I think it was also that you had that one eye
that was slightly off-beam, and that just added to the power of the head.
Yeah. Yeah. What did you two get up to at school?
We would have little floor shows where we would
try and entertain each other and make each other laugh.
And there was... there was all these characters at school
that you can just... and, you know, they... they become larger than life.
Who was one? Who was a teacher... Well, Mr... Mr...
I remember Frank Rutledge, who was a great...
..who was an art teacher.
If you could imagine Donald Trump teaching art.
And that was our art teacher. Really?
Also, you know, we were kind of very aware of
how other kids connected to their peer group
and... kind of desperation which some kids...
(STAMMERS) Beginnings of Colin Carpenter.
Start of that, wasn't it?
Uh, Mr Carpenter?
Uh...
No, that's, uh...
You... you are Mr Carpenter? No, that's... that's my dad.
I remember when he first wrote it down, you know, it was really good.
When you did the one where he was going to the employment office,
you know, and the guy said to him, "Name,"
and he goes, "Carpenter."
And he said, "Eh? What's that? How's that?"
He goes, "Carpenter." And he goes, "Can you spell that?"
And he goes, "Yeah." (LAUGHS)
"K-R-N...
"K-R-N-PUNTA."
"P-UN-TA-R."
Were you supportive, um, with each other throughout your careers?
Kym... Kym introduced me to Gregory, who's no longer with us.
But Gregory was... Greg Ham?
Yes. He had the shiniest eyes and blond hair.
He was like a little... like, just like a...
Yes. Yes.
And, uh... Can I see?
I just pulled that out of the drawer when I was coming.
"I'm a fan of the man - Greg Ham." That's so great.
It was a very natural thing when...
..when it came time to put the band together.
It wasn't like I wanted a saxophone player or a flautist.
Flautist, yeah. It was, like, I wanted Greg.
You wanted Greg - his energy. Yeah. It was a match.
But I also... I think I introduced you to Jerry the drummer.
Jerry the dr... also. 'Cause Jer...
You practically put the band together.
I did. It should be my band. Um... Where's your name up in lights, Kym?
Thank you so much for coming today. Thank you, Julia.
And maybe you can show us another lovely... a lovely awkward hug.
Maybe if you fast-forward. You know. Yeah. Yeah.
Yeah, well, are you gonna come back here tomorrow, mate, or...?
Yeah, mate. I will. Alright.
I'll see you tomorrow, mate. OK. See you then.
Alright. Alright.
(LAUGHS)
Yeah. Well... Oh, yeah.
I gave him a little kiss. Yes.
Now, we have found something that's still standing at least...
It's exactly the same. ..of your youth.
Same bricks anyway. (LAUGHS) After you.
Ah, ah! (VOICE ECHOES)
Ah! Oh!
It's exactly the same.
Now, why is this place important, and where are we?
Well, we... It's... It was known as the Beaumaris Community Centre then.
But it was affectionately known as, uh, Stonehenge.
Stonehenge? Yeah, it was a dance.
It was where I could go and see bands. I could walk home.
So who were you seeing here?
My strongest memory is seeing Max Merritt.
You saw Max Merritt here? Max Merritt and the Meteors.
And he... he sang... (SINGS) ♪ I can't turn you loose. ♪
I was like... (GASPS)
Should we get up onstage, where we belong?
Very nice. It's like we're presenting an award.
That's right. How lovely to see you. How wonderful to see you.
Did you want fame, do you think?
I mean, what I really wanted to do was to...
..was to be in a great rock'n'roll band.
You know, tour the world and all that,
and make records and record, write songs and...
Were you ready for what it entailed in the end?
Uh... Yeah, I... I thought I was... I thought I was ready.
My old band was a weird bunch of people.
You know. I mean, all bands are weird.
I have great respect for bands that can manage to stay together,
whether it's, you know, U2 or the Rolling Stones or...
Sometimes within a group of people, especially men,
there's this tension that can work...
..you know, that can work between different personalities,
and in the end, uh, something that comes out of that
is something that's really powerful.
Mmm, and my old band, we had a moment of that,
where we were... I think, great.
But it became... You know, it became Spinal Tap very quickly.
And you don't think it will. Yeah, right.
'Cause you think that you're smarter than that.
Are you glad that you had that fame?
Oh, yeah. But the thing is... Yeah.
It still... It still exists. That's the thing.
It never feels like the past to me. Right.
'Cause once it's happened, you always have it.
It's still in the air, you know. And, um...
Because I've... I've never stopped playing those songs,
and I play new songs, and, happily, the songs all live together.
Mmm.
And I play to audiences now. Sometimes they're... nine years old.
Sometimes they're 60. And people have arguments, you know.
Because sometimes there'll be someone's mother
and there'll be a kid listening to a song by me
and she'll say, "Who's that? That's... He was in Men at Work."
And they go, "Don't be s... Don't be s...
"God! He was in 'Scrubs'."
And they go, "Yeah, but he was in Men at Work."
They go, "Don't be ridiculous," you know.
Is it true that what you create is the only thing that's important?
Well, I think at the end, it is, for me personally,
because... I don't get all that much fulfilment from anything else,
because... I... I... I made a lot of money, and I...
You know, I had my share of... of, um, expensive champagne
and other things and...
You know, drugs that, uh... fast drugs and...
You know, that's the illusory aspect of it.
You know, it's fun, and some people manage it really well, but, um...
In the end, the only... the only real nourishment, fulfilment, I get
is out of... is out of what you create out of nothing,
and then you present it, and when you go out and play,
the best thing is to...
You... you put out this current of energy that comes back to you.
You know, you're singing to them, but you're really...
You're really trying to, um,
make them feel really good about themselves as well.
One of the extremes in your work was in 2010,
when the flute riff of 'Down Under' was, uh, considered to have been...
Appropriated from...
..appropriated from the children's song,
and Larrikin got a cut of the money.
What was the personal fallout for you, do you think?
Well... Well, Gregory died. And, um...
You know, you can't quantify how... how much
the court case impacted his death,
but I know that, uh, he was terribly traumatised
because of the fact that he played that... played that riff.
Although he wasn't sued, because he wasn't one of the songwriters.
Mmm.
It was the greed that came from that, from them saying, "OK.
"We want 60% of your song."
It's like, "Really?" "Really?"
And in the end, the whole case cost about 4.5 million,
and they were really awarded, like, 100 grand.
So there's 4.5 million
chasing around 100,000 that they got awarded.
So they didn't really win. They just lost less than us. So, um...
But the interesting thing was, there was a Welsh song
which is exactly the same as 'Kookaburra'.
Mmm.
Both music and the lyrics of it are about a robin redbreast
that comes and sits on an oak tree.
Yeah. Now...
Maybe it went from Australia to Wales.
Maybe it went from Wales to Australia.
But the chances are that old songs go to new countries.
And how did you deal with it?
It was difficult, very difficult for me,
especially dealing with my father, because my father knew
that I had taken nothing from anybody when I wrote the song,
because I would go down and play it for them when I had written it.
He didn't understand.
And he was getting older too. He was upset about Australia, how c...
You know, 'cause he loved this place.
It's like, "This is all... This is rubbish. How can they...?"
Smoke would come out of his ears.
I'd go, "Listen. Just... It'll be fine. It's just...
"It'll... It'll all go away. It'll be a footnote."
You know. And, in the end, it is. It was.
Look, I know... The song is clean for me.
I don't need... It doesn't... You know...
People can think what they like, but I know what the song is,
and the song and I, we get along fine.
(LAUGHS)
Hey. Shall we go to the beach? Sure.
Can't come to this part of town, not go to the beach.
No. No.
(BIRDS SQUAWK)
(SPEAKS INDISTINCTLY)
What's significant about this building here?
We didn't... we didn't save any lives here, but we used to rehearse here.
I had a band called Deep Impression.
Deep Impression. Yes.
Left no impression whatsoever. (LAUGHS)
There's a great quote, uh, from Keith Richards -
"For years, you want your dreams to come true,
"and then all that happens is your dreams become real."
What's he talking about? Well, I think that...
I think that you think that you're gonna achieve something
and then... you'll achieve some kind of, uh...
..you know, nirvana or happiness, that everything, all your...
..whatever problems you have or what... will go away,
but, of course, you just arrive somewhere,
then you think, "Oh. That doesn't really happen."
You know, you're never there. You know, you get there.
But then you think, "Well, I'm just here now."
And in the end, you know, you... you think, "Well, there is an end."
Like, we're at the end now. And, you know, it's a little bit sad.
Mmm. But you get to the end.
(LAUGHS) (LAUGHS) And...
And you think, "Well, what am I gonna do between now and then?"
You have to make that purposeful and worth it for yourself
and then for... you know, for other people as well.
Well, you've got your 13th solo album coming out.
Yes. Is that exciting?
Yes. Very exciting. A new baby coming out of you.
So you always try and up your game,
always try and make them better than the last one.
Mmm. You know.
In some way, shape or form. Mmm.
Your parents had this dream, the immigrant dream.
Do you think that they were proud of you, of what you did?
Yeah. Very much so. Yeah.
What you achieved? They were very happy.
You know, there's moments of happiness you have, you know,
and in the end, you kind of lose people you love.
One of the great things about still going out on tour is
that when my father died...
He was a great performer, great singer and a dancer,
and he never really got to... to do that properly.
And he seemed to inhabit me.
Even some of the schtick, if you like, or the stuff that I do,
it's my old man.
Like, I tell a joke that my father told me, you know, onstage.
And they love it. It's a good joke. Yeah.
And people love it. So in a way, he's gone, but he's still killing.
I love it. Hey, um...
If a little 12-year-old Colin were to come wandering up,
12 years old, you're still in Scotland,
what would you say to him?
Get on with it. (LAUGHS) "Get on with it"?
And did you get on with it? Yeah.
I got on with it, but I got on with it more of, you know...
..and recently.
Well, thank you for giving me some of your time today.
We've commandeered quite a bit of it. No problem.
Thank you. Thank you so much. It was my... It was my pleasure.
And... How about one last rehearsal? I think I need it.
(LAUGHS) You always need a bit of rehearsal.
Oh... No, you don't. (GUITAR STRUMS)
(SINGS) ♪ I'm not a drinking man no more
♪ But this one night, I got lost
♪ I've never been much of a dancer
♪ But this night, I surely was
♪ I made it up to the cottonwood
♪ Slept with my ear down to the ground
♪ And in my dreams, I can hear the screams
♪ As it all came tumbling down
♪ Come tumbling down
♪ Come tumbling, come tumbling
♪ Come tumbling down
♪ Come tumbling, come tumbling
♪ Come tumbling down! ♪
Captions by Ericsson Access Services
Copyright Australian Broadcasting Corporation
Swim?
Alright.