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Yes, coughing. 
The well known sound. 

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Who invented coughing? 
Was it invented this evening or 

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whenever you're playing this 
record, we have a gentleman who 

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claims he invented coughing, so 
we asked him to leave his 

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deathbed and tell us all about 
his claim. 

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Mr. Ernie Front. 
Well, Sir, originally there was 

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no coughing in England at all. 
Do you mean that? 

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Yes, the Romans introduced it to
England, but when they left they

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took it with them. 
With it, the Saxon lung syrup 

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went off the market and the 
spittoon industry fell into The 

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Cave. 
I was laying in bed one night 

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and someone bent me round and 
back at a nap with a groba. 

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I went and then I started the 
cough. 

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I thought, Blimey, that's a good
sand. 

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So I ABS and Rushes ran to the 
Patent Office. 

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Hello and welcome to Goonpod. 
Now with extra String. 

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My guest this week is a 
Returner, somebody that has been

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on the show last year. 
Actually, it's Jason Krupa of 

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producing The Beatles podcast 
Hello Jason. 

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Hello thank you for having me. 
This is great. 

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This is this is 1 weird album 
and I'm glad to talk about it. 

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Well, yeah, Cuz last time you 
were here, it was to talk about 

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the Bridge on the River Y LP 
produced by George Martin, 

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right? 
From when was that 6262? 

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Yeah. 
And and obviously that featured 

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Spike Milligan, Peter Sellers, 
Peter Cook, Jonathan Miller and 

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uncredited, uncredited Dudley 
Moore. 

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Yeah. 
So this time around, we're 

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scrolling back a year to talk 
about the LP Milligan preserved,

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again produced by George Martin 
and still considered a highlight

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of Milligan's career. 
So before we get started on 

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that, can you just give a bit of
an overview of what producing 

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The Beatles is all about? 
It's it's looking at the The 

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Beatles music from George 
Martin's point of view, from a 

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producer's point of view, and 
from a musician's point of view.

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So I, you know, I used George 
Martin's perspective as as a way

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of, you know, going into the 
music and seeing how, how, how 

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arrangements were put together, 
how the recordings were, were 

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built up step by step when I 
talked to musicians. 

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But, you know, a big part of 
this is also looking at his 

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career before The Beatles and 
the innovations he made in the 

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studio and the discoveries he 
made about how to use the studio

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and in, you know, sort of 
creative ways. 

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And, you know, the goons are a 
big part of this. 

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Not the goons per SE, but Peter 
Sellers and and Spike Milligan 

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because he he really did do some
very creative work in his 

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recordings with them. 
What are you working on it at 

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the moment in terms of 
forthcoming episodes? 

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Yeah, I keep saying, you know, 
I'm working on Season 2. 

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That's been sort of a piece meal
thing. 

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I I have several episodes 
written and I've done interviews

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with a number of people. 
I just need to put them 

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together. 
So that's that's coming this 

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year sometime. 
I can't, I'm not going to 

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promise when because they they 
do take a long time to put 

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together and I'm just one person
and and they're like, you know, 

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many documentaries. 
I tried to to cram a lot of 

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information in but make it 
coherent and understandable. 

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You know, for people I think who
who understand music, but also 

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for people who are laymen and 
don't have any type of either 

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recording or music background. 
Before we get started, just a 

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quick bit of housekeeping. 
So last week I had the very 

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great pleasure of talking to 
Clive Anderson and I hope you've

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listened to that that show 
already, People if not get to 

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it. 
And among other things, we 

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talked about a short lived TV 
panel game that he hosted with 

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team captains Graham Garden and 
Jeremy Hardy and it was called 

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If I Ruled the World. 
Now, it didn't occur to me until

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I was actually editing the damn 
show afterwards that obviously 

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if I ruled the world was Harry 
Seekins signature tune, by which

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time it was, it was too late. 
But thank you to the to the one 

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or two or dozen people that 
messaged me to point out that 

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glaring oversight on my part. 
Anyway, I feel chastened. 

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I wanted to get that off my 
chest. 

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I have done so. 
Thank you for your time. 

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Thank you for your patience. 
Now let's talk about Milligan 

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preserved. 
So this this LP Milligan 

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preserved. 
What's your history with this 

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open? 
I think I probably first heard 

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this about 20 years ago. 
OK. 

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When I started doing research on
George Martin's career and I, 

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you know I just realized at the 
time there was nothing you know 

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there was the six CD set that 
EMI put out that Mark Lewis and 

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curated. 
And I I forget what year that 

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came out. 
But you know I'd I'd begun 

86
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collecting 40 fives and LP's and
everything I could find and and 

87
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reading through old music 
magazines, music papers like 

88
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Melody Maker and and New Musical
Express and just digging up 

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whatever I could find and then 
just listening carefully to see 

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what I could you know determine 
about the recordings. 

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And then initially I made 
several trips to EMI archives 

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and and and dug up all the 
paperwork on these things So 

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Peter Sellers and Spike Milligan
and you know all the comedy 

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artists and a lot of the non 
comedy artists that are sort of 

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important in that story. 
So you know Jerry and the 

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Pacemakers and Billy J Kramer 
and for you know for obvious 

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reasons they didn't give me The 
Beatles paperwork. 

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But yeah, I think, I think you 
know we have that pretty well 

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covered in other. 
Places, yeah. 

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It's been quite difficult to 
find a lot of information about 

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this LP. 
You know, I've got a number of 

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the Milligan biographies and it 
doesn't get a lot of, it doesn't

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00:07:03,240 --> 00:07:05,440
really get a mention. 
It gets passing mentioned in a 

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couple of them, but there's 
there's not a lot of data about 

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the making of this album or 
indeed really Milligan's 

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relationship with George 
Myerson. 

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But as I know you have managed 
to bring together a certain 

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amount of information, 
background information. 

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I've also had help in that from 
people like I just want to give 

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a shout out to former guest Paul
Abbott, who thanks Paul, because

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Paul actually supplied me with 
some newspaper archive material 

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which was really, really 
interesting and I just actually 

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just want to mention Paul. 
I'd like to give a plug to 

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Paul's podcast. 
Paul and his brother Gary do the

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Big Beatles Sort Out podcast 
which is now in its fourth 

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series and at the moment. 
So what they're doing at the 

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moment is a is a what they call 
the big 60s sort out they're 

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they're going through they're 
going they're talking about 

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every British number one single 
from 1960 to the end of the 

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decade. 
Oh wow. 

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And kind of ranking it in terms 
of production, music, lyrics, 

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the whole shebang and it's 
really really fascinating. 

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And I've been I've been just 
happily listen listening to it 

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every Monday. 
I can't get Johnny Remember Me 

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by John Layton out of my head as
a result of that podcast. 

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Although we've got a bit of a 
shooing that song unfairly I 

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think. 
But but no if you've got any 

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interest in The Beatles or or in
60s music in general do you seek

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out the big Beatles sort out 
podcast. 

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So thanks Paul, but yeah so Paul
helped me out with some 

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information and yeah there is 
information out there, but it's 

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it's it's not that easy to come 
by. 

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We know that the album was 
released in it was the 3rd of 

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November 1961 in the UK. 
Now there's a a newspaper or 

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00:09:05,640 --> 00:09:09,640
what would you call that, a 
record paper called Disc, which 

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had a photograph in the October 
the 8th, 1960 edition photograph

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of of Spike with Valentine dial.
And it says that Spike Milligan,

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00:09:22,840 --> 00:09:25,520
seen here with Valentine Dyle, 
is making an LP for EMI to be 

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called Milligan Preserved. 
A&R manager George Martin 

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expects it to be issued in 
January. 

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OK, so that's that's October 
1960. 

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And obviously it comes out over 
just over a year later. 

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And before we started recording,
you said that. 

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Yeah, you said it was around. 
Well, as you call it the fall of

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1960 that the recording of the 
album began. 

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Right. 
It's it's and it is. 

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I mean this may be I I just like
to sort of put together dates 

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and see you know what's 
happening all around this. 

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But at the at the same time 
George Martin was producing this

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he was also working on the Peter
and Sophia album. 

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00:10:01,960 --> 00:10:04,560
OK. 
So he, you know he did the 

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Goodness Gracious Me session in 
July and then from September to 

153
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October off and on he works on 
on the rest of the album. 

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Some of it's just backing tracks
and some of it is Peter Sellers 

155
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coming in and you know, 
recording things. 

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And then interspersed with that 
are sessions with Spike. 

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OK, I wonder if they rub 
shoulders at the corridor. 

158
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Yeah, it's, I mean it's it's 
close. 

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It's not you know, the next day 
or the same day or anything like

160
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that. 
But yeah, you know there's 

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session for sellers on September
20th and there's this, you know,

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a week later, September 27th. 
Spike is in the studio, so. 

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Because we speculated when we 
when we did bridge on the river.

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Why where the? 
Milligan Sellers and Cook and 

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more and Miller might have right
walked past The Beatles at any 

166
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point. 
Bit too early I think, wasn't 

167
00:10:55,120 --> 00:10:56,840
it? 
Yeah, it's much, but it's much 

168
00:10:56,840 --> 00:10:58,360
closer. 
It's within days. 

169
00:10:58,360 --> 00:11:01,480
Yeah, yeah, couple of days. 
So a lot of lot of things 

170
00:11:01,480 --> 00:11:03,760
happening close together in in 
that year. 

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00:11:03,760 --> 00:11:05,960
But you know, again it's like 
they're all sort of they all 

172
00:11:05,960 --> 00:11:09,960
sort of know each other here, 
you know, Spike and George and 

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00:11:09,960 --> 00:11:13,600
Peter Sellers. 
So you know, there may have been

174
00:11:13,600 --> 00:11:17,040
some interaction, but who knows?
Is this usual for there to be 

175
00:11:17,040 --> 00:11:22,320
like a 12 month delay in getting
an LP released? 

176
00:11:22,880 --> 00:11:28,360
The seller's album I Have a have
a memo in EMI that was 

177
00:11:28,360 --> 00:11:35,520
circulated October 27th and it 
says the album will be released 

178
00:11:35,720 --> 00:11:41,040
November 25th and the the final 
tape to tape copy was done 

179
00:11:41,040 --> 00:11:44,120
November 2nd. 
So it was done, you know, within

180
00:11:44,280 --> 00:11:46,200
a month. 
Right, OK. 

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00:11:46,400 --> 00:11:48,360
So right. 
So it is unusual for for there 

182
00:11:48,360 --> 00:11:49,640
to be such a. 
Gap. 

183
00:11:49,680 --> 00:11:50,760
Very unusual. 
Yeah. 

184
00:11:50,760 --> 00:11:52,320
OK, I wonder why. 
And there, and there are two 

185
00:11:52,320 --> 00:11:56,360
more recordings done. 
There's more work done in 1961 

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00:11:56,560 --> 00:11:58,200
just before the album is 
released. 

187
00:11:58,440 --> 00:12:04,600
The brand Windsor was cold but 
the the the plates were hot and 

188
00:12:05,680 --> 00:12:10,040
we're not long out of that that 
Lord George turned it in and he 

189
00:12:10,240 --> 00:12:14,600
he the voice you are hearing Is 
that a retired redundant Mr. 

190
00:12:14,600 --> 00:12:19,040
Aaron Quark. 
Mr. Quark. 

191
00:12:19,120 --> 00:12:20,320
Yes. 
I believe you have a very 

192
00:12:20,320 --> 00:12:24,360
interesting hobby. 
I believe I have say yes. 

193
00:12:25,880 --> 00:12:31,000
I studied the pronunciation of 
words I I learned how to 

194
00:12:31,200 --> 00:12:34,640
pronounce them. 
What words do you take most 

195
00:12:34,640 --> 00:12:38,120
interest in? 
Oh, the large grafter. 

196
00:12:38,120 --> 00:12:41,160
The family size. 
You know, I if I'd measure some 

197
00:12:41,160 --> 00:12:46,800
with a little slider, first 
one's about two and a quarter is

198
00:12:46,800 --> 00:12:51,520
the right size for Deborah. 
Do you know they're sort of the 

199
00:12:52,400 --> 00:12:56,040
epitome of learning. 
So it must be it is, yes. 

200
00:12:56,720 --> 00:12:58,960
Could you demonstrate one of 
these words for us? 

201
00:12:59,000 --> 00:13:09,840
Yes, I'll OV posida OV posida. 
I didn't get some Irish ones. 

202
00:13:10,000 --> 00:13:11,840
The O apostrophe. 
Yes. 

203
00:13:12,000 --> 00:13:13,720
Oh, was it? 
What does it mean? 

204
00:13:14,560 --> 00:13:18,280
Oh, I don't know what it means. 
So I takes me all my time to 

205
00:13:18,280 --> 00:13:21,360
learn. 
So if we talk, if we're looking 

206
00:13:21,360 --> 00:13:27,760
at N61 as the album's release, 
just leading up to that release 

207
00:13:27,760 --> 00:13:30,040
date, what was Spike? 
I looked at what Spike was doing

208
00:13:30,040 --> 00:13:37,200
in the sort of summer in autumn 
of 61 and he starred in ABBC 

209
00:13:37,240 --> 00:13:44,120
television one off sketch show 
on the 5th of September 1961 

210
00:13:44,200 --> 00:13:46,280
which was called rather 
cumbersome title. 

211
00:13:46,920 --> 00:13:49,840
Spike Milligan offers a series 
of unrelated incidents at 

212
00:13:49,840 --> 00:13:54,440
current market value and it was 
it was a 30 minute sketch show 

213
00:13:54,640 --> 00:13:59,640
which he wrote and it had 
unbelievably it had people like 

214
00:13:59,640 --> 00:14:05,400
Graham Stark, Valentine, Dial, 
Mario Fabrizzi, the Alberts. 

215
00:14:05,400 --> 00:14:09,760
So that's who did Tony and 
Dougie Gray. 

216
00:14:09,800 --> 00:14:13,640
Yeah, Bruce Lacey, Bruce Lacey, 
Bob Todd. 

217
00:14:14,440 --> 00:14:16,480
People that Spike was very 
comfortable working with. 

218
00:14:16,920 --> 00:14:21,760
And the Radio Times actually 
reported from the set of the 

219
00:14:21,760 --> 00:14:24,440
show. 
Corner Spike and ask how he 

220
00:14:24,440 --> 00:14:26,320
would describe the show? 
He answers. 

221
00:14:26,320 --> 00:14:31,440
Crisply chaotic, obviously. 
As one would hope. 

222
00:14:31,600 --> 00:14:35,480
Yeah, and also around this time 
Spike was invited by Bernard 

223
00:14:35,480 --> 00:14:40,960
Miles to play the part of Ben 
Gunn in Treasure Island at the 

224
00:14:40,960 --> 00:14:44,040
Mermaid Theatre at Christmas 
1961. 

225
00:14:44,560 --> 00:14:47,240
And Spike was a bit hesitant 
about that because it was gonna 

226
00:14:47,240 --> 00:14:50,480
require proper acting and he was
a little bit unsure of himself 

227
00:14:50,480 --> 00:14:54,400
but but it you know it was a 
barnstorming performance by all 

228
00:14:54,400 --> 00:14:58,240
accounts and and around again 
around this time with John 

229
00:14:58,240 --> 00:15:01,600
Anthropus he was putting 
together the play The Bed 

230
00:15:01,600 --> 00:15:05,480
Sitting Room and that would open
in February 62. 

231
00:15:06,160 --> 00:15:11,000
And there's an interview that 
Spike gives in March 62 which I 

232
00:15:11,000 --> 00:15:14,640
have quoted from on previous 
goon pods and I'm not I'm not 

233
00:15:14,640 --> 00:15:18,480
gonna go into too much detail 
again but it's an interview we 

234
00:15:18,480 --> 00:15:24,560
did for the Daily Express with 
Herbert Kretzmer and Herbert 

235
00:15:24,560 --> 00:15:27,680
Kretzmer was a friend of 
seller's as well and Herbert 

236
00:15:27,800 --> 00:15:30,720
Kretzmer I think he wrote the 
did he write. 

237
00:15:30,720 --> 00:15:34,920
I think he wrote the lyrics for 
the theme tune for the Spikes 

238
00:15:34,920 --> 00:15:37,720
film Postman's Knock. 
I think I'm really saying that. 

239
00:15:37,880 --> 00:15:39,200
OK. 
But anyway, well, he. 

240
00:15:39,280 --> 00:15:42,360
He certainly worked on. 
Didn't he work on some? 

241
00:15:42,480 --> 00:15:44,640
He's worked on some Sellers 
tunes too. 

242
00:15:44,640 --> 00:15:48,400
Yes, yeah, but he interviews 
Milligan and it's a long form 

243
00:15:48,400 --> 00:15:50,920
interview for the Daily Express.
And I just mention it now 

244
00:15:50,920 --> 00:15:57,520
because Spike, well, Spike was 
in a foul mood, OK? 

245
00:15:57,960 --> 00:16:00,080
And he, he made sure that 
Herbert Kretzman knew, knew 

246
00:16:00,080 --> 00:16:02,920
about it. 
At one point he says I'd like to

247
00:16:02,920 --> 00:16:06,600
drop a bomb on the whole world. 
So, wow, that's a measure of 

248
00:16:06,600 --> 00:16:09,800
his, his, his worldview at that 
time. 

249
00:16:09,800 --> 00:16:13,000
But he was, he was in a really, 
he was in a real bad place, I 

250
00:16:13,000 --> 00:16:17,520
suppose, and he was complaining 
that he couldn't get any work. 

251
00:16:17,720 --> 00:16:21,560
And this is March 62, by the 
way, OK, But I just want to read

252
00:16:21,560 --> 00:16:24,520
this little bit out here, 
Kretzmer writes in any other 

253
00:16:24,520 --> 00:16:27,200
terms than his own. 
Spike Milligan is a success. 

254
00:16:27,880 --> 00:16:32,280
Last year he starred in two MGM 
films, Invasion Quartet and 

255
00:16:32,280 --> 00:16:35,120
Postman's Knock. 
He bought out a long playing 

256
00:16:35,120 --> 00:16:38,280
record called Milligan Preserved
and a book, a Dustbin of 

257
00:16:38,280 --> 00:16:40,600
Milligan, which became one of 
the country's best sellers. 

258
00:16:41,360 --> 00:16:44,800
His tenure as Radio Compare on 
Children's Choice was a runaway 

259
00:16:44,800 --> 00:16:47,320
triumph. 
Milligan appeared in the Mermaid

260
00:16:47,320 --> 00:16:48,840
Theater production of Treasure 
Island. 

261
00:16:49,320 --> 00:16:53,360
He also found time to write a 
novel, which was Pecoon, and a 

262
00:16:53,360 --> 00:16:55,000
play which was The Bed Sitting 
Room. 

263
00:16:55,800 --> 00:17:00,120
Yet Milligan insists on seeing 
1961 as a disastrous year which 

264
00:17:00,120 --> 00:17:02,800
saw him tottering on the edge of
bankruptcy. 

265
00:17:04,359 --> 00:17:07,440
So so. 
Wow. 

266
00:17:07,560 --> 00:17:13,319
Spikes really got the the Black 
Dog around this point, and he 

267
00:17:13,319 --> 00:17:15,079
hadn't stopped working. 
Really. 

268
00:17:15,400 --> 00:17:17,640
He was. 
He was fingers in so many pies. 

269
00:17:18,119 --> 00:17:21,599
Yeah, tell me about So N61 the 
album comes out. 

270
00:17:21,920 --> 00:17:24,240
What was George Martin doing 
around the lead up to that? 

271
00:17:24,240 --> 00:17:26,440
What was, what was he working 
and what sort of projects was he

272
00:17:26,440 --> 00:17:30,320
involved with? 
Well his year is, I mean he's 

273
00:17:30,320 --> 00:17:33,440
still he's still trying to get a
foothold you know in the in the 

274
00:17:33,440 --> 00:17:37,360
pop market and he's still 
producing He's you know comedy 

275
00:17:37,360 --> 00:17:41,720
is obviously the most successful
thing And he finally has his 

276
00:17:41,720 --> 00:17:45,840
first UK #1 which you're driving
me crazy with the Temperance 7 

277
00:17:45,920 --> 00:17:50,640
in April and there's a huge, you
know trad boom around this 

278
00:17:50,640 --> 00:17:53,640
period 606162. 
It sort of Peters out, you know 

279
00:17:53,760 --> 00:17:55,600
right around the time The 
Beatles come in obviously. 

280
00:17:56,880 --> 00:17:59,400
But he, you know he capitalizes 
on this and this. 

281
00:17:59,640 --> 00:18:02,400
I, you know I have said the 
Temperance seven are 

282
00:18:02,680 --> 00:18:05,880
anachronisms amongst 
anachronisms because they are 

283
00:18:06,320 --> 00:18:08,120
you know the other. 
You get a sense reading the 

284
00:18:08,120 --> 00:18:10,800
papers and looking at the 
footage and and listening to the

285
00:18:10,800 --> 00:18:14,000
music that a lot of these 
people, you know, maybe we're 

286
00:18:14,000 --> 00:18:17,680
dedicated to the music, but 
there was this almost sense of 

287
00:18:17,680 --> 00:18:20,640
cosplay about it. 
Like they all have their, you 

288
00:18:20,640 --> 00:18:23,640
know, particular outfits and 
they kind of kind of look the 

289
00:18:23,640 --> 00:18:24,920
same. 
But the Temperate Seven were 

290
00:18:24,920 --> 00:18:28,800
just, you know, Edwardian frock 
coats and just all dedicated 

291
00:18:28,800 --> 00:18:32,880
eccentrics which perfect for 
George Martin, right. 

292
00:18:34,160 --> 00:18:38,000
And so he, you know he has that 
a little bit before that he in 

293
00:18:38,000 --> 00:18:45,040
6/19/60 he gets in trouble 
because of he he does a cover of

294
00:18:45,400 --> 00:18:49,000
polka dot bikini and he copies 
the American arrangement a 

295
00:18:49,000 --> 00:18:53,400
little too closely and he gets 
he gets some Flack for it 

296
00:18:53,760 --> 00:18:58,680
publicly and is on jukebox jury 
basically having to defend 

297
00:18:58,680 --> 00:19:03,760
himself And and you know that 
opens up sort of this how the 

298
00:19:03,800 --> 00:19:08,280
how the British record industry 
was trying to copy American hits

299
00:19:08,280 --> 00:19:12,440
because that was really the only
way to stay stay current and 

300
00:19:12,440 --> 00:19:15,640
make money and they there 
there's this sort of building 

301
00:19:15,640 --> 00:19:20,040
tension of why don't we have 
more British artists in the in 

302
00:19:20,280 --> 00:19:25,080
the hit parade and it finally 
you know breaks in 6263 

303
00:19:25,280 --> 00:19:28,240
obviously with the The Beatles 
it's huge but there is this 

304
00:19:28,240 --> 00:19:32,320
growing change So you know he 
still he is still sort of having

305
00:19:32,320 --> 00:19:37,520
to copy American hits to a 
certain degree but he is you 

306
00:19:37,520 --> 00:19:38,840
know he is finding greater 
success. 

307
00:19:38,840 --> 00:19:41,520
So the night that he finds out 
he has his first number one he 

308
00:19:41,520 --> 00:19:45,760
is recording beyond the fringe 
and that becomes a very you know

309
00:19:45,760 --> 00:19:50,600
obviously very popular and 
iconic recording in his personal

310
00:19:50,600 --> 00:19:52,440
life. 
He's sort of he's he's edging 

311
00:19:52,440 --> 00:19:57,000
toward leaving his first wife, 
and by the end of the year we'll

312
00:19:57,000 --> 00:19:59,440
have moved into the end of the 
year. 

313
00:19:59,440 --> 00:20:02,760
Beginning of 1962, we'll have 
moved into an apartment in 

314
00:20:02,760 --> 00:20:07,200
London. 
And I don't know, I forget 

315
00:20:07,200 --> 00:20:08,840
exactly when their divorce is 
final. 

316
00:20:08,840 --> 00:20:11,760
But you know, he's he's already 
taken up with his secretary. 

317
00:20:12,440 --> 00:20:14,800
And of course, you failed to 
mention that all through this 

318
00:20:14,800 --> 00:20:19,360
period, I imagine George Martin 
was sticking pins into a voodoo 

319
00:20:19,360 --> 00:20:22,480
doll of Nori Paramore. 
Yes, yes. 

320
00:20:22,720 --> 00:20:26,880
And that that's a big, you know,
big part of, you know, his his 

321
00:20:26,880 --> 00:20:29,600
envy of of wanting to have that 
success. 

322
00:20:30,720 --> 00:20:34,280
And you know, Nori was doing a 
lot of the same things. 

323
00:20:35,080 --> 00:20:37,360
You know, I think George was 
trying to do and wasn't able to 

324
00:20:37,360 --> 00:20:38,960
do success quite as 
successfully. 

325
00:20:38,960 --> 00:20:41,840
Yeah, yeah, yeah. 
And, you know, like putting, you

326
00:20:41,840 --> 00:20:45,040
know, getting half of a composer
credit or putting your own 

327
00:20:45,040 --> 00:20:47,640
compositions on the on the B 
side or record so you get half 

328
00:20:47,640 --> 00:20:50,560
the royalties, you know, things 
like that. 

329
00:20:50,560 --> 00:20:52,040
George was trying those things 
too. 

330
00:20:52,920 --> 00:20:55,960
And but he, you know, he just 
didn't have that, as he called 

331
00:20:55,960 --> 00:20:59,720
it, a fireproof artist like 
Cliff Richard, that he felt like

332
00:20:59,720 --> 00:21:02,440
he could just, you know, release
a record and print money. 

333
00:21:03,520 --> 00:21:06,680
Yeah, I think it's fair to say 
that he had the last laugh, 

334
00:21:06,960 --> 00:21:08,640
really. 
Yes, I think so, yeah. 

335
00:21:11,200 --> 00:21:14,520
Wiping Nori Paramour's memory 
from the face of the Earth, 

336
00:21:14,520 --> 00:21:19,720
practically. 
So the LP Milligan preserved the

337
00:21:19,720 --> 00:21:24,000
album itself. 
It includes 3 tunes which were 

338
00:21:24,000 --> 00:21:27,360
originally featured in Goon Show
episodes. 

339
00:21:28,720 --> 00:21:32,800
And interestingly, I don't know,
I don't know if this was just 

340
00:21:32,800 --> 00:21:38,080
coincidence, but all were shows 
from Series 8 and they were all 

341
00:21:38,080 --> 00:21:42,000
broadcast between January and 
February 1958. 

342
00:21:43,560 --> 00:21:47,240
So what I'm saying is, you know,
he didn't just choose a song 

343
00:21:47,240 --> 00:21:50,520
from, you know, a series six 
episode and then a series nine 

344
00:21:50,520 --> 00:21:52,720
episode. 
They all, they were all from a 

345
00:21:53,440 --> 00:21:55,600
very sort of concentrated little
period of time. 

346
00:21:56,240 --> 00:21:59,120
Yeah. 
And obviously we'll talk about 

347
00:21:59,120 --> 00:22:01,520
those as we go through the album
now. 

348
00:22:01,640 --> 00:22:05,320
It's got a very distinctive 
cover and and and and a direct. 

349
00:22:05,360 --> 00:22:08,440
Front and back cover. 
Front and back, yeah, and A and 

350
00:22:08,440 --> 00:22:10,560
a direct Beetles connection, of 
course. 

351
00:22:11,040 --> 00:22:13,560
Right. 
And when I was at EM, I I found 

352
00:22:13,560 --> 00:22:19,360
the transparencies for the cover
and and not just that photo but 

353
00:22:19,520 --> 00:22:23,160
several other shots from that 
session and uncropped. 

354
00:22:23,160 --> 00:22:26,920
So you can see Spike with his 
shirt off underneath the table 

355
00:22:27,320 --> 00:22:30,360
just just slightly just, you 
know, just just just cut off, 

356
00:22:31,280 --> 00:22:34,320
obviously, you know, cut off 
completely on the album cover. 

357
00:22:34,600 --> 00:22:36,480
Yeah. 
And the story was that, you 

358
00:22:36,480 --> 00:22:39,720
know, Spike nearly suffocated 
underneath the the glass Dome 

359
00:22:39,720 --> 00:22:43,200
because there's no air holes. 
It's a, it's a, it's a it's a 

360
00:22:43,200 --> 00:22:45,720
very distinctive picture 
photograph of Spike, sort of 

361
00:22:45,720 --> 00:22:48,840
grinning inanely. 
And it's a it's a bell jar. 

362
00:22:49,440 --> 00:22:51,120
Yes. 
Inside his head's inside. 

363
00:22:51,120 --> 00:22:52,520
Yeah. 
Yeah, Yeah. 

364
00:22:53,160 --> 00:22:57,520
And. 
And the photograph was by Angus 

365
00:22:57,520 --> 00:22:58,880
Mcbean. 
Yes. 

366
00:22:59,040 --> 00:23:00,640
Now, who's Angus Mcbean? 
Jason. 

367
00:23:01,320 --> 00:23:05,040
Well, he was a very well known 
photographer and and you know, 

368
00:23:05,040 --> 00:23:08,320
Beatles fans will know that he 
took the cover he shot the cover

369
00:23:08,320 --> 00:23:13,320
of of Please Please Me. 
Did he do the the one that they 

370
00:23:13,480 --> 00:23:17,360
did it, the the one that turns 
up in the Blue Album as well of 

371
00:23:17,360 --> 00:23:19,600
the older Beatles in the same 
location? 

372
00:23:20,240 --> 00:23:22,240
That's a really good question 
and I should know the answer to 

373
00:23:22,240 --> 00:23:26,040
that and I don't. 
OK, I I don't think he did. 

374
00:23:26,040 --> 00:23:31,040
But I should look that up. 
Yes, I'm ashamed to say I don't 

375
00:23:31,040 --> 00:23:35,200
know that at the top of my head.
During the process of 

376
00:23:35,200 --> 00:23:40,240
researching for this show, I 
went to social media and asked 

377
00:23:40,680 --> 00:23:44,200
if people have any fond memories
or comments about this 

378
00:23:44,200 --> 00:23:47,560
particular album. 
And so during the course of our 

379
00:23:47,560 --> 00:23:49,560
conversation, I'm going to 
pepper the conversation with 

380
00:23:49,560 --> 00:23:55,080
them where relevant comments 
from listeners to the to the 

381
00:23:55,080 --> 00:23:59,360
show. 
OK, now Graham Lindsay Foote, 

382
00:23:59,640 --> 00:24:03,400
who's a previous guest. 
In fact he was a guest couple of

383
00:24:03,400 --> 00:24:08,000
shows ago. 
He he talks about the the actual

384
00:24:08,240 --> 00:24:10,480
album cover. 
He says I have a perfect copy of

385
00:24:10,480 --> 00:24:16,120
this replacing a tatty one I 
sold in a week read skint, 

386
00:24:16,120 --> 00:24:19,520
moment some years earlier. 
I love that George Martin's 

387
00:24:19,520 --> 00:24:21,960
profile image on the back is a 
camel. 

388
00:24:23,920 --> 00:24:28,200
And just to explain, everyone on
the back of the album sleeve is 

389
00:24:28,440 --> 00:24:33,800
addressed as Arabs. 
Or in in Paddy Milligan's case, 

390
00:24:34,480 --> 00:24:39,120
a veiled lady and George Martin.
Yeah, is a camel is represented 

391
00:24:39,200 --> 00:24:41,720
as a camel and all the text is 
in Arabic, isn't it? 

392
00:24:42,200 --> 00:24:45,120
Yes, and it wasn't until 
yesterday that I actually 

393
00:24:45,120 --> 00:24:47,120
decided I'd I'd get a 
translation of that. 

394
00:24:47,120 --> 00:24:50,080
So I downloaded a a translation 
app where you can just point at 

395
00:24:50,080 --> 00:24:52,240
something that's written in 
another language and it 

396
00:24:52,240 --> 00:24:56,080
translates it for you. 
And each of the the little 

397
00:24:56,080 --> 00:25:01,720
blurbs is structured. 
It's structured as as you know 

398
00:25:02,640 --> 00:25:06,280
sort of surreal direction. 
So it says first enter Windsor 

399
00:25:06,280 --> 00:25:08,920
Castle, then enter the 1st St. 
on the right. 

400
00:25:09,880 --> 00:25:12,400
Smell the street on the left 
which leads to Spike Milligan. 

401
00:25:13,040 --> 00:25:16,200
Cross the street and take the 
1st St. on the left. 

402
00:25:16,280 --> 00:25:19,440
Smell right, smell left and you 
will come to Valentine. 

403
00:25:19,440 --> 00:25:23,400
Dial and and so that's, that's 
the structure. 

404
00:25:23,400 --> 00:25:25,480
Each of them sort of does the 
same thing. 

405
00:25:25,480 --> 00:25:28,240
They have a different location 
and then it's specific to the 

406
00:25:28,240 --> 00:25:31,520
people who were on that sketch. 
And it's but it's all in Arabic.

407
00:25:31,680 --> 00:25:33,840
It's hardly the seven pillars of
wisdom, is it? 

408
00:25:34,440 --> 00:25:40,160
No, I was expecting something a 
little more, You know, I don't 

409
00:25:40,160 --> 00:25:43,840
know what I was expecting, but 
it seems fitting now that I've 

410
00:25:43,920 --> 00:25:45,240
now that we've got a 
translation. 

411
00:25:45,720 --> 00:25:52,120
Oh, absolutely. 
Apparently 3 tracks from the 

412
00:25:52,120 --> 00:25:56,040
album were banned by the BBC. 
I don't know if they still are 

413
00:25:56,040 --> 00:25:58,440
banned, but they they certainly 
were at that time. 

414
00:25:59,080 --> 00:26:01,720
The Sewers of the Strand because
it was considered to be in bad 

415
00:26:01,720 --> 00:26:03,760
taste. 
I guess it's because sewers have

416
00:26:03,760 --> 00:26:05,360
connotations. 
Sure. 

417
00:26:07,160 --> 00:26:12,840
And Coffer Royal again on 
grounds of taste, which I could 

418
00:26:12,840 --> 00:26:16,120
kind of get, I suppose. 
And Word Power was banned 

419
00:26:16,120 --> 00:26:19,200
because of advertising and I was
trying to work out what what 

420
00:26:20,440 --> 00:26:23,520
specifically it could be 
advertising and the only thing I

421
00:26:23,720 --> 00:26:27,640
can think is, is Webster's 
dictionary, would that be? 

422
00:26:27,880 --> 00:26:31,560
Yeah, I guess that makes sense. 
Yeah, I that that seems strange 

423
00:26:31,560 --> 00:26:34,360
to me. 
And yet the the sketch about 

424
00:26:34,360 --> 00:26:36,600
hitting people was not banned. 
Oh no. 

425
00:26:36,640 --> 00:26:40,640
Interesting. 
But with them, the with the the 

426
00:26:40,640 --> 00:26:42,480
gentleman who likes hitting 
people, he's got like, a 

427
00:26:43,360 --> 00:26:46,000
predilection for casual domestic
violence. 

428
00:26:46,000 --> 00:26:48,080
That's OK That's OK. 
Hit parade, right? 

429
00:26:48,080 --> 00:26:50,200
Yeah, Hit Parade. 
Yeah, that's it. 

430
00:26:51,640 --> 00:26:54,360
John Antribus. 
Do you train for this hitting? 

431
00:26:54,720 --> 00:26:57,280
Oh, yes, Sir, 3 hours a day. 
Obviously I've got a little boy.

432
00:26:58,080 --> 00:26:59,280
What? 
What about the little boy? 

433
00:26:59,960 --> 00:27:01,600
Well said. 
It's another story, isn't it? 

434
00:27:02,960 --> 00:27:04,560
What? 
What apparatus do you use? 

435
00:27:04,560 --> 00:27:06,240
Training. 
What do you hit? 

436
00:27:07,080 --> 00:27:09,680
Well, the missus when the boys 
at school. 

437
00:27:10,360 --> 00:27:14,000
I see. 
Well Mr. Screws as a layman I I 

438
00:27:14,000 --> 00:27:17,160
find this hobby horrifying and I
I fail to see how anybody can 

439
00:27:17,160 --> 00:27:19,680
bring themselves to do it. 
So it's quite a nice I'll be 

440
00:27:19,720 --> 00:27:23,480
really you're look look look. 
And it's three points to me. 

441
00:27:23,600 --> 00:27:27,920
I said oh I I know I look. 
There you are, Sir. 

442
00:27:31,600 --> 00:27:36,000
Oh, just just on in terms of the
album cover again it was voted, 

443
00:27:36,200 --> 00:27:41,280
said the LP cover for Milligan. 
Preserved was voted #25 on the 

444
00:27:41,280 --> 00:27:47,000
Enemy's 50 genuinely disturbing 
record sleeves poll from 2009. 

445
00:27:47,800 --> 00:27:50,920
Just thinks a little unfair. 
I don't. 

446
00:27:51,240 --> 00:27:52,920
I I I think it's hilarious. 
I know. 

447
00:27:53,240 --> 00:27:59,080
Yeah, it's disturbing. 
Now, in a column in record mail 

448
00:27:59,440 --> 00:28:04,480
from November 1961, Richard 
Attenborough of all people is 

449
00:28:04,920 --> 00:28:08,680
listening to the latest LP's. 
So he's got like this whole page

450
00:28:08,680 --> 00:28:13,880
dedicated to his review of 
various new releases, including 

451
00:28:14,760 --> 00:28:19,480
Stan Freeberg, Bing Crosby, the 
International Pops Orchestra, 

452
00:28:20,040 --> 00:28:24,480
Peggy Lee, and of course, in 
this case, otherwise we'll be 

453
00:28:24,480 --> 00:28:26,320
talking about it. 
Spike Milligan's Milligan 

454
00:28:26,320 --> 00:28:31,040
Preserved and Ashenburst says 
This one I've been waiting for 

455
00:28:31,040 --> 00:28:33,800
almost too long. 
It would be quite impossible to 

456
00:28:33,800 --> 00:28:36,960
go into detail about all the 
crazy humor, but if you enjoy 

457
00:28:36,960 --> 00:28:40,400
Goonery, then here it is. 
Having heard it once, you want 

458
00:28:40,400 --> 00:28:43,960
to hear it all over again, 
particularly as you can't absorb

459
00:28:44,080 --> 00:28:46,040
every shred of humor the first 
time around. 

460
00:28:46,720 --> 00:28:49,320
Delightful ballads like the 
sewers of The Strand will 

461
00:28:49,320 --> 00:28:52,440
certainly ensure that you're 
never alone when played to your 

462
00:28:52,440 --> 00:28:55,200
friends. 
A stirring song like Australia 

463
00:28:55,600 --> 00:28:57,960
will stir the blood and 
encourage you to emigrate 

464
00:28:57,960 --> 00:29:00,440
somewhere, and there's a lot to 
be learned from. 

465
00:29:00,440 --> 00:29:03,800
Fun, fun, fun. 
Ignore this one if you can. 

466
00:29:05,760 --> 00:29:11,400
Which you can, if you can. 
Which was music journalism back 

467
00:29:11,400 --> 00:29:14,960
in those days was very. 
I mean, I'm not saying that 

468
00:29:15,280 --> 00:29:17,640
Attenborough was a professional 
music journalist, because he 

469
00:29:17,640 --> 00:29:22,880
wasn't, but I think it's fair to
say music journalism in that pre

470
00:29:22,880 --> 00:29:30,440
Rolling Stone magazine period, 
the journalism was quite dry and

471
00:29:30,440 --> 00:29:33,560
quite literal, wasn't it? 
Like record reviews as written 

472
00:29:33,560 --> 00:29:37,080
by your uncle kind of thing. 
Yeah, and and they would never 

473
00:29:37,080 --> 00:29:39,720
really give a complete pan. 
They would, you know, generally 

474
00:29:40,480 --> 00:29:43,400
damn, with faint praise. 
Kind of a That's a review. 

475
00:29:43,800 --> 00:29:47,120
Yeah, that's it. 
So I want to talk. 

476
00:29:47,120 --> 00:29:50,120
I mean another someone else on 
Facebook, another list there. 

477
00:29:50,400 --> 00:29:56,440
Martin Fenton, he talked about, 
he said that Milligan preserved 

478
00:29:56,440 --> 00:29:59,760
was a was a beautifully recorded
early stereo job by Stuart 

479
00:29:59,760 --> 00:30:02,720
Elton. 
Mm hmm, yeah, he said Like it's 

480
00:30:02,720 --> 00:30:05,640
sister album, he said. 
He describes Milligan preserved 

481
00:30:05,640 --> 00:30:08,640
as sister album 2 songs for 
Sweeney Sellers. 

482
00:30:08,760 --> 00:30:11,680
He says like it's sister album. 
It sounds as if it could have 

483
00:30:11,680 --> 00:30:14,800
been recorded yesterday, bearing
in mind it was done on nothing 

484
00:30:14,800 --> 00:30:17,160
more advanced than two stereo 
tape recorders. 

485
00:30:17,520 --> 00:30:20,280
The multiple spikes in stereo 
are remarkable feat for the 

486
00:30:20,280 --> 00:30:26,480
time, and he says Alton Light to
record in mid sized stereo as an

487
00:30:26,480 --> 00:30:29,960
unexpected consequence. 
Those albums and the stereo at 

488
00:30:29,960 --> 00:30:33,960
the drop of a hat decode very 
nicely into into surround sound.

489
00:30:34,240 --> 00:30:36,080
Now that's a bit too technical 
for me. 

490
00:30:36,160 --> 00:30:38,080
Can you can you unpick all that 
please? 

491
00:30:38,440 --> 00:30:40,200
Well, I. 
I actually think this is 

492
00:30:40,200 --> 00:30:42,800
recorded on four track. 
All right. 

493
00:30:42,840 --> 00:30:46,600
I I again, I would have to dig 
out the paperwork from EMI. 

494
00:30:46,600 --> 00:30:50,240
But in in a number of cases 
George's George Barton has 

495
00:30:50,240 --> 00:30:53,480
written up the you know the 
paperwork for what what the 

496
00:30:53,480 --> 00:30:55,800
session is going to be and he'll
request four track and he'll 

497
00:30:55,800 --> 00:30:58,480
request Stewart Eltham as the 
engineer. 

498
00:30:59,200 --> 00:31:02,880
OK, Which, you know, we had 
talked about this I think on the

499
00:31:02,880 --> 00:31:08,080
River Wye album, but Eltham was 
was his preferred engineer for 

500
00:31:08,080 --> 00:31:09,760
this. 
And I think Stewart Eltham, you 

501
00:31:09,760 --> 00:31:13,320
know, again to give him credit, 
I think he showed George what 

502
00:31:13,320 --> 00:31:15,880
was possible in the studio. 
I think he was very innovative 

503
00:31:15,880 --> 00:31:20,160
and I think he taught not just 
George but a lot of people at 

504
00:31:20,240 --> 00:31:23,400
EMI thinks about how to use the 
studio. 

505
00:31:24,800 --> 00:31:28,040
And I don't remember when he 
began there, but he he was a, 

506
00:31:28,160 --> 00:31:33,760
you know senior engineer and you
know he he see he he's the sort 

507
00:31:33,760 --> 00:31:36,920
of secret weapon of a lot of 
these comedy recordings. 

508
00:31:37,600 --> 00:31:40,000
Do you know I think it does 
sound fantastic. 

509
00:31:40,000 --> 00:31:45,280
The I always say that the stereo
mixes of these comedy albums 

510
00:31:45,360 --> 00:31:50,280
this and the Sellers albums, the
River Y and the Michael Bentin 

511
00:31:50,280 --> 00:31:55,080
album are really great examples 
of early stereo that you know 

512
00:31:55,080 --> 00:31:57,760
when when they're more complex 
recordings, they have this real 

513
00:31:57,840 --> 00:32:00,920
they have this great sense of a 
sound stage. 

514
00:32:00,920 --> 00:32:05,640
You know not not just sort of 
discreet left middle right but 

515
00:32:05,760 --> 00:32:08,840
how do you how to spread the 
sound across the sound stage in 

516
00:32:08,840 --> 00:32:16,200
an interesting way. 
So and and EMI did release A2 CD

517
00:32:16,200 --> 00:32:18,720
set on Spike. 
What's the copyright date on 

518
00:32:18,720 --> 00:32:22,080
this? 
Maybe it was the late 90s, early

519
00:32:22,080 --> 00:32:26,640
2000s, but the IT it it has the,
among other things, it has the 

520
00:32:27,120 --> 00:32:30,400
entire album in stereo. 
Yeah, So if anybody's 

521
00:32:30,440 --> 00:32:32,400
interested, you know, seek that 
out. 

522
00:32:32,800 --> 00:32:38,240
Sounds great, Lots of detail and
a real tribute to what George 

523
00:32:38,240 --> 00:32:40,480
Martin and Stewart Elton were 
getting up to at the time. 

524
00:32:40,720 --> 00:32:42,560
Sure. 
And OK. 

525
00:32:42,560 --> 00:32:46,200
And in terms of tracks on the 
album, it's a mixture of songs 

526
00:32:46,200 --> 00:32:50,400
and sketches, right? 
And and little, yeah, a couple 

527
00:32:50,400 --> 00:32:53,000
of little to throw away 
quickies. 

528
00:32:54,680 --> 00:32:57,600
So what? 
What tracks stand out to you in 

529
00:32:57,600 --> 00:33:02,560
particular? 
Well, I listened yesterday again

530
00:33:02,560 --> 00:33:03,920
for the first time in a long 
time. 

531
00:33:03,920 --> 00:33:05,440
So it was, it was a nice 
refresher. 

532
00:33:07,280 --> 00:33:11,960
I've always liked good King 
Eccles, Sloss. 

533
00:33:11,960 --> 00:33:13,200
I guess that's how you pronounce
that. 

534
00:33:13,280 --> 00:33:18,920
Yeah, with the overdubbed Eccles
and the sound effects and you 

535
00:33:18,920 --> 00:33:23,400
know, the very familiar gunshot 
sound sound effect that shows 

536
00:33:23,400 --> 00:33:25,280
up. 
Another lots of other things. 

537
00:33:25,560 --> 00:33:30,040
Probably not just George Martin 
productions, but yeah, I like 

538
00:33:30,040 --> 00:33:31,960
that. 
But that's that's interesting 

539
00:33:31,960 --> 00:33:36,760
that because that track it's 
it's the penultimate track on 

540
00:33:36,760 --> 00:33:40,120
the the LP and I've got down 
here, I don't know where I got 

541
00:33:40,120 --> 00:33:41,920
this from. 
I've got that that track was 

542
00:33:42,040 --> 00:33:44,360
actually recorded 10th of August
1961. 

543
00:33:45,880 --> 00:33:48,000
I'm not sure where I picked up 
that information, but it's on my

544
00:33:48,000 --> 00:33:51,160
notes. 
Yeah, it's well OK. 

545
00:33:51,240 --> 00:33:54,320
I think the I think sound 
effects were added to that. 

546
00:33:54,640 --> 00:34:01,480
The the whatever basic recording
was done was 24th October 1960 

547
00:34:02,040 --> 00:34:04,920
along with something called 
approaching trends. 

548
00:34:04,920 --> 00:34:06,080
Is that on the album? 
There are few. 

549
00:34:06,160 --> 00:34:08,480
There are actually a few 
outtakes from this right that 

550
00:34:08,480 --> 00:34:12,199
are not on the album and radio 
salon, which I think neither of 

551
00:34:12,199 --> 00:34:13,880
those I think are, no. 
No, no. 

552
00:34:13,920 --> 00:34:22,120
Yeah, but so this good king 
echoes Las first appeared in a 

553
00:34:22,120 --> 00:34:27,199
Goonja in the string robberies 
from Series 8, and then it was 

554
00:34:27,199 --> 00:34:29,920
repeated, well, that the gag, if
you like. 

555
00:34:29,920 --> 00:34:33,159
Well, the song was repeated in 
Series 9 in Ned's Atomic 

556
00:34:33,159 --> 00:34:36,320
Dustbin. 
So obviously Spike was very 

557
00:34:36,320 --> 00:34:40,880
taken with it and then proceeds 
to put it on this LP and it's 

558
00:34:40,960 --> 00:34:45,239
it's a group of it's Spike as a 
group of echoes bickering 

559
00:34:45,239 --> 00:34:51,480
between themselves and then 
Carol singing and and Spike also

560
00:34:51,480 --> 00:34:56,239
doing a miserly Scottish as sort
of John Laurie type Scottish 

561
00:34:56,239 --> 00:34:57,800
voice and as you say shoots at 
them. 

562
00:34:58,840 --> 00:35:03,160
What I what I picked up on this 
realism though was that at one 

563
00:35:03,160 --> 00:35:06,760
point the all the echoes are 
sort of talking amongst each 

564
00:35:06,760 --> 00:35:13,200
other and someone asks where Dan
is and they start shouting Dan 

565
00:35:15,480 --> 00:35:18,480
and now are you familiar at all 
with Alan Partridge? 

566
00:35:19,960 --> 00:35:23,360
A little, yes. 
Well, I don't have to explain to

567
00:35:23,360 --> 00:35:26,480
people very familiar with Alan 
Partridge that somebody shouting

568
00:35:26,480 --> 00:35:29,920
Dan repeatedly is very, very 
funny. 

569
00:35:29,920 --> 00:35:32,600
Just. 
A minute. 

570
00:35:34,640 --> 00:35:41,480
Just a minute. 
No, you don't. 

571
00:35:42,960 --> 00:35:47,280
Damn. 
Damn, damn. 

572
00:35:47,280 --> 00:35:48,880
Damn. 
Damn. 

573
00:35:49,000 --> 00:35:51,560
Damn. 
Damn. 

574
00:35:52,600 --> 00:35:53,880
Damn. 
Damn. 

575
00:35:53,880 --> 00:36:01,520
Damn, damn, damn, damn, damn, 
damn. 

576
00:36:01,520 --> 00:36:07,480
You're not. 
Seeing me, OK Elisa. 

577
00:36:07,480 --> 00:36:15,160
Dan, what what other tracks do 
you do you see as highlights? 

578
00:36:17,160 --> 00:36:19,560
It's not. 
I can't say it's fun to listen 

579
00:36:19,560 --> 00:36:24,120
to, but I think it's it's 
interesting as as a sort of a 

580
00:36:24,120 --> 00:36:28,280
window into things that George 
Martin will be getting into very

581
00:36:28,280 --> 00:36:31,200
soon. 
And that's how I'm going out 

582
00:36:31,200 --> 00:36:33,840
with a mountain or as it's 
listed in the session paperwork.

583
00:36:33,840 --> 00:36:39,240
I'm in love with a mountain 
because he intercuts sound 

584
00:36:39,240 --> 00:36:43,680
effects with specific timing and
they're very absurd. 

585
00:36:43,680 --> 00:36:46,480
You know it's like a like a 
circular saw and and who knows 

586
00:36:46,680 --> 00:36:51,280
you know what else but he's you 
know he's cutting these in in 

587
00:36:51,280 --> 00:36:53,840
time. 
It's not just random thrown in 

588
00:36:53,840 --> 00:36:57,160
they it's it's sort of meant to 
shock you and be unexpected. 

589
00:36:57,640 --> 00:37:03,520
But you know the next year he 
would do this with hole in the 

590
00:37:03,520 --> 00:37:08,200
ground and Wright, said Fred. 
Wright said Fred. 

591
00:37:08,360 --> 00:37:10,000
Yep. 
So he's cutting these effects 

592
00:37:10,000 --> 00:37:15,080
in, you know, comic effects in 
specific, you know, specific in 

593
00:37:15,080 --> 00:37:16,600
time to the music. 
Yeah. 

594
00:37:16,600 --> 00:37:20,640
And then if you jump ahead a few
years, he's essentially doing 

595
00:37:20,640 --> 00:37:22,040
the same thing with Yellow 
Submarine. 

596
00:37:22,040 --> 00:37:25,400
Although those are performed 
live, those aren't cut in, he's 

597
00:37:25,440 --> 00:37:27,400
he actually has, you know, they 
have a session where they do 

598
00:37:27,400 --> 00:37:30,560
this and they they perform these
in time with the music. 

599
00:37:30,560 --> 00:37:37,680
So this it's like it's not music
specifically but it's it's timed

600
00:37:37,680 --> 00:37:42,280
in such a way that it it sort of
has AII lack the technical 

601
00:37:42,280 --> 00:37:45,800
language to be able to describe 
this but it it's sort of 

602
00:37:45,800 --> 00:37:50,440
functions in tempo with the 
music it it's sort of extra 

603
00:37:50,440 --> 00:37:54,320
musical I guess is is a good 
phrase for it and so and you 

604
00:37:54,320 --> 00:37:57,640
know this is and he and he does 
you know a similar thing with my

605
00:37:57,640 --> 00:38:01,760
boomerang won't come back which 
is also in 1961 he's he cuts 

606
00:38:01,960 --> 00:38:07,560
effects into that So you know 
this is part of a larger thing 

607
00:38:07,560 --> 00:38:10,720
that he's you know he's 
experimenting with in these 

608
00:38:10,720 --> 00:38:15,000
comedy recordings. 
And and and so was this from 

609
00:38:15,000 --> 00:38:18,000
what you're saying, is this the 
first time that cutting in 

610
00:38:18,760 --> 00:38:23,000
effects was done by Martin? 
I would have to check to be 

611
00:38:23,000 --> 00:38:25,600
certain of that, but if it's not
the first time, it's one of the 

612
00:38:25,600 --> 00:38:27,560
first time. 
Yeah, very early. 

613
00:38:27,760 --> 00:38:32,320
Yeah and and yeah I'm Walking 
Out with a Mountain was again 

614
00:38:32,320 --> 00:38:36,120
taken from a goon show in this 
case the White Nettie trade from

615
00:38:36,680 --> 00:38:41,840
Series 8. 
And and in in that show it was 

616
00:38:41,840 --> 00:38:45,560
Henry Crown and mini Bannister 
singing I'm going Out with a 

617
00:38:45,560 --> 00:38:51,160
mountain and I'm only four foot 
three lengths play a big part in

618
00:38:51,160 --> 00:38:55,960
Milligan's comedy don't they? 
Do you pick up on that and? 

619
00:38:56,440 --> 00:38:59,400
String in this album and just in
general. 

620
00:38:59,440 --> 00:39:02,280
Oh, and Brown. 
Yeah, yeah, yeah. 

621
00:39:03,960 --> 00:39:09,280
And on this track for the LP, 
Alan Clare is on the piano and 

622
00:39:09,280 --> 00:39:13,160
again listening to the show. 
And guest on the show, John 

623
00:39:13,160 --> 00:39:19,400
Dredge said that he thinks I'm 
going out with a mount of the 

624
00:39:19,400 --> 00:39:22,600
total classic and he seems to 
remember Michael Palin 

625
00:39:22,600 --> 00:39:24,240
specifically talking about the 
track. 

626
00:39:25,760 --> 00:39:28,640
And yeah, I think from I haven't
actually got it to hand. 

627
00:39:28,640 --> 00:39:30,400
I hadn't I didn't have a chance 
to re watch it. 

628
00:39:30,400 --> 00:39:33,240
But I I know Michael Palin was 
on that George Martin 

629
00:39:33,240 --> 00:39:37,760
documentary, that BBC 
documentary from about 10 years 

630
00:39:37,760 --> 00:39:41,480
ago maybe 15 years ago. 
And he yeah, I remember Palin 

631
00:39:41,480 --> 00:39:45,960
talking about listening to 
Milligan preserved and and 

632
00:39:45,960 --> 00:39:49,720
having been very taken by it. 
An album that I remember very 

633
00:39:49,720 --> 00:39:52,920
well was Milligan preserved. 
I remember playing that at 

634
00:39:52,920 --> 00:39:57,400
Oxford and about a year later I 
started doing Cabaret. 

635
00:39:57,400 --> 00:39:59,800
It was the first time I'd ever 
done any comic performing of any

636
00:39:59,800 --> 00:40:03,760
kind, and and that was a little 
inspirational album because it 

637
00:40:03,760 --> 00:40:07,040
was so free and different. 
And I don't know what it felt 

638
00:40:07,040 --> 00:40:10,400
like to make it or whether it 
was a complicated business with 

639
00:40:10,400 --> 00:40:13,720
spikes, good or bad days. 
But had some wonderful things in

640
00:40:13,720 --> 00:40:15,480
very different from sellers I 
mean. 

641
00:40:15,640 --> 00:40:17,840
Well, it was. 
It was really your kind of 

642
00:40:17,840 --> 00:40:30,240
stuff. 
Oh, a song divine, sung by a 

643
00:40:30,240 --> 00:40:33,360
beautiful, tall, willowy 
creature called Miss Patricia 

644
00:40:33,360 --> 00:40:36,400
Ridgway. 
Despite her fair face, fair 

645
00:40:36,400 --> 00:40:40,160
figure and fair voice, she only 
had one small piece of toast for

646
00:40:40,160 --> 00:40:42,520
breakfast. 
But when you consider what this 

647
00:40:42,520 --> 00:40:47,760
young girl has eaten in her 
lifetime, 43 whole bullocks, 81 

648
00:40:47,760 --> 00:40:53,960
prime Hereford cows, 1000 acres 
of potatoes, 207 sacks of 

649
00:40:53,960 --> 00:40:57,680
Spanish onions, 8 warehouses of 
brown bread. 

650
00:40:58,000 --> 00:41:00,520
I don't know if you've ever 
looked at the back of that LP. 

651
00:41:00,680 --> 00:41:02,280
All of the sleeveless were in 
Arabic I. 

652
00:41:03,720 --> 00:41:05,240
Don't remember that. 
That's right. 

653
00:41:05,240 --> 00:41:06,320
You couldn't get a very. 
Python. 

654
00:41:06,720 --> 00:41:08,920
Very Python. 
Let me put the microphone to a 

655
00:41:08,920 --> 00:41:24,960
tum tum so you can hear. 
As I was listening again 

656
00:41:24,960 --> 00:41:27,960
yesterday, and I've, you know, 
this registered before, there is

657
00:41:27,960 --> 00:41:31,680
an absurdity to this that does, 
you know, obviously prefigures 

658
00:41:31,680 --> 00:41:36,760
Monty Python and it also strikes
me as as very Marx Brothers in 

659
00:41:36,760 --> 00:41:39,440
some ways. 
There's some sort of surreal 

660
00:41:39,920 --> 00:41:44,960
humor and just word play that 
seems very Marx Brothers to me. 

661
00:41:46,200 --> 00:41:49,480
Yeah, absolutely. 
I I think and I've always said 

662
00:41:49,480 --> 00:41:53,880
this, I have gone on record on a
number of occasions that I think

663
00:41:53,880 --> 00:41:58,800
word power from this album is 
one of the funniest sketches 

664
00:41:58,800 --> 00:42:00,360
that millions ever been involved
in. 

665
00:42:01,200 --> 00:42:05,360
It's certainly for me it's the 
stand out track on this LP and 

666
00:42:05,360 --> 00:42:11,200
it's it's Spike as Aaron Kwok 
which is the Spike doing his 

667
00:42:11,200 --> 00:42:15,760
kind of working class old man 
voice right and it's and he's 

668
00:42:15,760 --> 00:42:20,760
being interviewed by the 
mellifuous tones of Valentine 

669
00:42:20,760 --> 00:42:29,760
dial and Mr. Kwok is he's into 
he studies the the the what he 

670
00:42:29,760 --> 00:42:31,800
says he studies the the 
pronation of words. 

671
00:42:31,800 --> 00:42:33,640
He learns. 
He learns how to pronounce. 

672
00:42:34,600 --> 00:42:36,240
Right. 
We know from the very beginning 

673
00:42:36,240 --> 00:42:40,200
we're in trouble. 
And it's a hobby that started 

674
00:42:40,200 --> 00:42:42,840
during the Kaiser Wilhelm World 
War. 

675
00:42:42,840 --> 00:42:44,440
One War. 
Yeah. 

676
00:42:44,920 --> 00:42:47,920
And he discovered during a 
looting spree of bombed houses 

677
00:42:48,480 --> 00:42:51,640
and Webster's Dictionary. 
And it's just, I mean, I'm not 

678
00:42:51,640 --> 00:42:53,600
going to go through the whole 
sketch, but it's just to me it's

679
00:42:53,720 --> 00:42:55,080
it's beautiful. 
It's up. 

680
00:42:55,160 --> 00:42:58,640
It means it's surreal. 
It's got the usual milliken 

681
00:42:58,960 --> 00:43:02,760
tropes, You know, he's got he, 
he always, he's also got a thing

682
00:43:02,760 --> 00:43:04,680
for talking about legs and bad 
legs. 

683
00:43:04,680 --> 00:43:06,960
He's talking about Mrs. Kwok, 
his wife. 

684
00:43:06,960 --> 00:43:08,880
She's got bad legs. 
They're in awful shape. 

685
00:43:08,880 --> 00:43:12,400
They're thin and she's up every 
morning at dawn polishing the 

686
00:43:12,400 --> 00:43:16,600
dictionary with brass so and he 
has to beat her as it's made of 

687
00:43:16,680 --> 00:43:18,720
another example of domestic 
violence. 

688
00:43:19,440 --> 00:43:26,040
He has to beat her as it's made 
of crab broad and and as with 

689
00:43:26,040 --> 00:43:30,040
Spike Spike's got a real problem
with finishing sketches, ending 

690
00:43:30,040 --> 00:43:36,320
sketches and and as in this one 
he he manages to end the sketch 

691
00:43:36,320 --> 00:43:39,000
by Valentine dial asking is 
there any record you'd like to 

692
00:43:39,000 --> 00:43:41,240
hear. 
And he chooses Jesse Owens at 

693
00:43:41,240 --> 00:43:44,120
the Berlin Olympics in 1933 
which obviously has the wrong 

694
00:43:44,120 --> 00:43:45,520
year. 
Yeah, as well. 

695
00:43:47,040 --> 00:43:48,840
But no, I think. 
I actually think that's a great 

696
00:43:48,840 --> 00:43:52,120
way to end the sketch. 
It's just, it's just there are a

697
00:43:52,120 --> 00:43:54,360
number of these where it just 
takes a weird left turn. 

698
00:43:54,360 --> 00:43:55,960
You think it's, you know, it's 
sort of go. 

699
00:43:55,960 --> 00:43:59,120
And again, that's a Monty, you 
know, I associate that with 

700
00:43:59,120 --> 00:44:01,720
Monty Python too. 
Like you know, a sketch will 

701
00:44:01,720 --> 00:44:05,320
just end or will just go in a 
completely unexpected direction.

702
00:44:05,680 --> 00:44:07,840
Yeah. 
Well, they got that, of course, 

703
00:44:07,840 --> 00:44:10,240
from. 
Well, partly they got that from 

704
00:44:10,240 --> 00:44:13,280
Spike's Q5 series. 
Yeah, yeah, yeah. 

705
00:44:14,880 --> 00:44:19,320
And and to a degree from benting
from it's a square, square world

706
00:44:19,320 --> 00:44:22,040
I think they've never really 
gone on record I don't think and

707
00:44:22,040 --> 00:44:25,760
said that but having watched 
it's a square world, there's 

708
00:44:25,760 --> 00:44:28,080
some clear Python influences 
there. 

709
00:44:28,440 --> 00:44:30,440
Yeah, I've only seen a few of 
those. 

710
00:44:30,440 --> 00:44:33,680
I I think at the time when I 
was, I was at the British Film 

711
00:44:33,680 --> 00:44:37,080
Institute and I was watching 
things in their basement with 

712
00:44:37,080 --> 00:44:40,480
their permission, they there 
were a few episodes and they did

713
00:44:40,480 --> 00:44:42,400
have that feel just like 
anything could happen. 

714
00:44:42,400 --> 00:44:44,000
Very absurd. 
Very over the top. 

715
00:44:45,040 --> 00:44:48,240
Yep, the mention of puns and 
word play. 

716
00:44:48,640 --> 00:44:51,040
I had made a note about Sewers 
of the Strand because it has 

717
00:44:51,040 --> 00:44:54,520
that whole section that's very, 
you know, very rapid fire. 

718
00:44:54,520 --> 00:44:57,840
And my favorite, the one I 
actually had to stop the 

719
00:44:57,840 --> 00:45:00,600
recording so I could laugh, was 
when he says. 

720
00:45:00,600 --> 00:45:02,760
Let me take you out of the 
squalor you live in, to be in 

721
00:45:02,760 --> 00:45:07,880
the squalor that I live in. 
To be That's pure Groucho Marx. 

722
00:45:08,280 --> 00:45:09,920
Yeah, yeah, exactly. 
Yeah. 

723
00:45:10,160 --> 00:45:12,760
Yeah. 
I know he's used spikes, used 

724
00:45:12,760 --> 00:45:14,880
variations of that before 
instance I think Ah. 

725
00:45:15,000 --> 00:45:18,520
My darling little bride. 
We met by accident, folks. 

726
00:45:18,680 --> 00:45:22,520
She ran over me in a triumph. 
Her name was Beulah. 

727
00:45:23,000 --> 00:45:25,760
Mine was Jim. 
I was glad they call me Jim, 

728
00:45:25,760 --> 00:45:29,840
folks, because that was my name.
I found out that she'd been 

729
00:45:29,840 --> 00:45:32,200
going out with an Irish dentist 
called Fuel My Cavity. 

730
00:45:32,920 --> 00:45:34,400
He walked with a pronounced 
limp. 

731
00:45:34,880 --> 00:45:37,040
LIMP. 
Pronounced limp, folks. 

732
00:45:37,400 --> 00:45:40,160
Oh, the worry, Tommy Gray. 
This gave me a strange 

733
00:45:40,160 --> 00:45:41,560
appearance as I was bald at the 
time. 

734
00:45:42,440 --> 00:45:45,200
The first time I met her was 
late early one morning in 

735
00:45:45,200 --> 00:45:47,600
spring. 
There was a heavy dew on the 

736
00:45:47,600 --> 00:45:49,760
grass. 
He'd just been thrown out of a 

737
00:45:49,760 --> 00:45:51,200
synagogue for eating during the 
sermon. 

738
00:45:51,800 --> 00:45:55,520
I told her, Darling, let me take
you away from the squally living

739
00:45:56,160 --> 00:46:00,320
and live in the squad I living. 
So we were married in the 

740
00:46:00,320 --> 00:46:02,760
spring, folks. 
We had the reception in the 

741
00:46:02,760 --> 00:46:05,040
pond. 
There was plenty to drink, 

742
00:46:05,040 --> 00:46:12,560
folks, and then off we went for 
sideways through those naughty 

743
00:46:12,560 --> 00:46:16,680
sores of the naughty strand will
be a paradise for two, not one, 

744
00:46:16,680 --> 00:46:21,840
but two folks. 
Who cares if the atmosphere is 

745
00:46:21,840 --> 00:46:26,800
blue? 
Who said that 'cause there's 

746
00:46:27,200 --> 00:46:31,840
nothing wrong, is there? 
With a good old British boom 

747
00:46:34,080 --> 00:46:38,160
sideways, the song was on the 
strand with you. 

748
00:46:38,680 --> 00:46:46,480
I don't mean maybe. 
Sue was of the strands. 

749
00:46:46,480 --> 00:46:50,560
Interesting again. 
It's a it's a it's a song that 

750
00:46:50,560 --> 00:46:55,680
was debuted in a goon show. 
In this case, the the episode 10

751
00:46:55,680 --> 00:46:58,680
Snowballs That Shook the World. 
I'm setting you up brilliantly 

752
00:46:58,680 --> 00:47:00,680
every time you look at this. 
Oh, absolutely. 

753
00:47:00,680 --> 00:47:03,560
Plan this any better? 
Well, it's the interesting thing

754
00:47:03,560 --> 00:47:05,920
as well. 
So in that show, Blue Bottle 

755
00:47:06,040 --> 00:47:10,720
sings series of The Strand and 
interesting about this track and

756
00:47:11,560 --> 00:47:14,360
there's there's an early mention
of it. 

757
00:47:14,360 --> 00:47:16,920
So I say that you know the the 
sewers of The Strand, the The 

758
00:47:16,920 --> 00:47:22,880
Goon Show episode is from 
February 58, but there's a 

759
00:47:23,000 --> 00:47:28,840
there's an article in Picture 
Goer magazine from September 56 

760
00:47:30,000 --> 00:47:31,360
where it gets a mention. 
Hmm. 

761
00:47:32,400 --> 00:47:36,120
So it's been percolating, if you
know what I mean, because it's 

762
00:47:36,120 --> 00:47:37,720
basically that the art. 
I'm not going to read the whole 

763
00:47:37,720 --> 00:47:39,840
article, of course, but it's 
it's talking about the fact, the

764
00:47:39,880 --> 00:47:43,240
articles talking about I'm 
walking backwards for Christmas 

765
00:47:43,720 --> 00:47:46,840
being a hit. 
And it's also talking about 

766
00:47:47,000 --> 00:47:51,320
Milligan's contempt for the for 
the music industry, basically. 

767
00:47:53,400 --> 00:47:56,440
Something to do with George 
Martin and EMI and well, the EMI

768
00:47:56,720 --> 00:48:01,600
cancelling Unchained Melody. 
Yeah, he he says. 

769
00:48:03,000 --> 00:48:06,000
It's Milligan's belief that a 
pop song is just gibberish with 

770
00:48:06,000 --> 00:48:08,960
a melody. 
It says that I'm Walking 

771
00:48:08,960 --> 00:48:12,640
Backwards for Christmas has sold
over 150,000 copies. 

772
00:48:12,760 --> 00:48:16,640
It reached 4th place in the top 
20 and is indeed still selling. 

773
00:48:17,040 --> 00:48:19,680
And Milligan's 4 minutes 
composing stint has earned him 

774
00:48:19,680 --> 00:48:24,320
more than 1000 lbs in royalties 
and has elevated Lunacy to a new

775
00:48:24,320 --> 00:48:26,880
high in the music world. 
OK, And then he says. 

776
00:48:27,080 --> 00:48:32,600
Later on the article, he says 
talks about Spike working with 

777
00:48:33,400 --> 00:48:38,800
the likes of Eric Sykes and 
Goldman Simpson at Associated 

778
00:48:38,800 --> 00:48:43,800
London Scripts, and he's writing
scripts for The Goon Show for 

779
00:48:43,800 --> 00:48:47,120
the Fred series. 
And also he's writing pop tunes.

780
00:48:47,320 --> 00:48:49,760
And here are some song titles 
that Spike Milligan has in 

781
00:48:49,760 --> 00:48:53,080
preparation. 
I'm walking sideways through the

782
00:48:53,080 --> 00:48:57,480
sewers of the Strand. 
OK, jump into a dustbin and 

783
00:48:57,480 --> 00:48:59,880
dance. 
Which was which was used in the 

784
00:48:59,880 --> 00:49:01,160
French. 
Dust and dance, yeah. 

785
00:49:01,280 --> 00:49:05,880
Yeah, the yellow rose of East 
Acton and a new novelty song 

786
00:49:06,480 --> 00:49:13,680
doing the Blin. 
That's BLI Double N, Which, No 

787
00:49:13,680 --> 00:49:16,480
idea about that. 
Yeah, OK, but there you go. 

788
00:49:16,480 --> 00:49:20,520
So there's a very early 
reference to the series of the 

789
00:49:20,520 --> 00:49:22,000
Strand there from 56. 
Wow. 

790
00:49:25,160 --> 00:49:27,440
Yeah. 
But yeah, it's a it's a great 

791
00:49:27,440 --> 00:49:29,000
tune. 
It's not a great tune is it? 

792
00:49:29,000 --> 00:49:31,880
But it's it's it's amusing. 
Particularly like you say the 

793
00:49:31,880 --> 00:49:36,600
middle the the the the middle 
sort of corny gag section if you

794
00:49:36,600 --> 00:49:44,040
like, where at one point Spike 
struggles not to corpse, as is 

795
00:49:44,040 --> 00:49:49,880
his won't. 
There's also the track called 

796
00:49:49,880 --> 00:49:55,320
Another Lot Which. 
I was gonna mention that one 

797
00:49:55,320 --> 00:49:56,000
too. 
Yeah, go ahead. 

798
00:49:56,000 --> 00:49:56,440
Sorry. 
Yeah. 

799
00:49:56,480 --> 00:50:01,760
Well it's it's, I mean Spike. 
Spike loves lists listing 

800
00:50:01,960 --> 00:50:04,720
ridiculous things. 
He's done it in the goon shows 

801
00:50:04,720 --> 00:50:10,120
he's doing it here and it's an 
auctioneer. 

802
00:50:10,720 --> 00:50:15,440
Yeah. 
And he's just reading out a lot 

803
00:50:15,920 --> 00:50:22,880
for an auction and and I've got.
I actually have the every item 

804
00:50:22,880 --> 00:50:24,760
here list them. 
I'm going to read them all out 

805
00:50:24,760 --> 00:50:27,240
of course, but there's just 
there's just a couple of 

806
00:50:27,240 --> 00:50:30,800
highlights. 
One anti burglar, self 

807
00:50:30,800 --> 00:50:35,200
preservator, hand bludgeon, sand
filled and hand sewn in brown 

808
00:50:35,200 --> 00:50:39,760
leather. 2 bottles of imitation 
wax fruit. 

809
00:50:39,920 --> 00:50:42,880
One banana ruefully chipped. 
I love that. 

810
00:50:42,960 --> 00:50:47,320
That ruefully chipped once, once
the property of the late Lord 

811
00:50:47,320 --> 00:50:48,920
Frederick Crepton Lee of 
Monmouth. 

812
00:50:50,280 --> 00:50:53,960
One cut glass Dove claret 
decanter with extra string. 

813
00:50:54,080 --> 00:50:57,680
There's the extra string. 
Yes, that's a string. 2 volumes 

814
00:50:57,680 --> 00:51:01,440
on how to wean vultures. 
One volume on how to leave 

815
00:51:01,440 --> 00:51:05,200
vultures alone. 
The 14 man mounted ivory monkeys

816
00:51:05,200 --> 00:51:06,880
cut from single wrought iron 
elephant. 

817
00:51:06,880 --> 00:51:09,280
Tuscan signed Jin Yakamoto of 
Leeds. 

818
00:51:10,640 --> 00:51:16,240
One small brown pot containing 
another small brown pot and one 

819
00:51:16,240 --> 00:51:19,960
iron bound uncle frightener in 
three foot lengths, so there's 

820
00:51:19,960 --> 00:51:23,800
another length reference and so 
on and so on. 

821
00:51:24,160 --> 00:51:28,600
One Anti Burglar Self 
Preservated Head Bludgeon sand 

822
00:51:28,600 --> 00:51:33,760
field in hand sewn brown 
leather. 2 Cleverly and 

823
00:51:33,840 --> 00:51:38,080
Chondrick hand operated brown 
oak candle holders With 

824
00:51:38,080 --> 00:51:43,960
additional stirring. 
One stuffed Galapagos giant 

825
00:51:43,960 --> 00:51:46,880
turtle on wheels with clockwork 
revolving eye. 

826
00:51:46,880 --> 00:51:50,880
Poor bottles of imitation wax 
fruit. 

827
00:51:51,440 --> 00:51:56,480
One banana ruefully chipped. 
Once the property of the late 

828
00:51:56,480 --> 00:51:59,520
Lord Frederick Crapton Lee of 
Monmouth. 

829
00:52:00,680 --> 00:52:17,760
One Brown 
with extra string, one brown 

830
00:52:17,760 --> 00:52:22,520
leather and maquette fireside 
chair, One engraved Capac Field 

831
00:52:22,520 --> 00:52:27,960
Arctic tea cozy with additional 
string and computer. 1 brass 

832
00:52:27,960 --> 00:52:32,680
iron bound bedstead with spring 
head manipulator and foot 

833
00:52:32,680 --> 00:52:35,840
operated mallet. 
A Shimla lot. 

834
00:52:36,760 --> 00:52:40,800
Several and a half pairs of 
brown damaged curtains with foam

835
00:52:40,800 --> 00:52:43,760
rubber lining. 
Well known in Belgravia. 

836
00:52:45,960 --> 00:52:50,160
One cut glass delve clarity 
canter with extra studying. 

837
00:52:50,920 --> 00:52:54,400
It's interesting as well because
there's a there's an article 

838
00:52:54,400 --> 00:52:57,680
from the Daily Mail from July 
1961. 

839
00:52:59,240 --> 00:53:01,680
I'm sorry to keep reading from 
newspaper articles. 

840
00:53:01,680 --> 00:53:02,160
Go. 
For it. 

841
00:53:02,320 --> 00:53:05,000
But I love that stuff. 
But this is this is really 

842
00:53:05,000 --> 00:53:10,600
interesting and the the headline
is so no deal with Delias. 

843
00:53:12,040 --> 00:53:15,360
It starts one Ironbound Uncle 
Frightener in three foot 

844
00:53:15,360 --> 00:53:19,920
lengths. dot dot dot, some brown
leather boxes filled with brown 

845
00:53:19,920 --> 00:53:25,600
leather boxes, dot dot .1 
child's Hangman's kit brackets 

846
00:53:25,600 --> 00:53:28,600
Once used. 
These are some of the lots 

847
00:53:28,600 --> 00:53:31,400
offered in one of the zaniest 
auctions you're ever likely to 

848
00:53:31,400 --> 00:53:33,920
hear. 
And you will be able to hear it 

849
00:53:34,240 --> 00:53:37,240
in the autumn when Parlophone 
releases the Spike Milligan long

850
00:53:37,240 --> 00:53:41,480
player Milligan Preserved. 
What you won't hear in the 

851
00:53:41,480 --> 00:53:44,920
auction room track is the 
background of Delius Music, 

852
00:53:45,080 --> 00:53:47,920
which Spike and recording 
manager George Martin wanted to 

853
00:53:47,920 --> 00:53:51,400
use. 
The Delius estate was approached

854
00:53:51,400 --> 00:53:54,040
for the use of some of the 
composer's material, says 

855
00:53:54,040 --> 00:53:57,800
Martin, but they objected to it 
being used with Spike's voice 

856
00:53:57,800 --> 00:54:00,840
over it. 
Instead, some other ethereal 

857
00:54:00,840 --> 00:54:02,960
music has had to be specially 
written. 

858
00:54:04,040 --> 00:54:06,880
Milligan has written most of the
material for the album himself, 

859
00:54:07,440 --> 00:54:10,280
and it promises to be as gooney 
as any of the goon shows ever 

860
00:54:10,280 --> 00:54:13,400
were. 
And then actually, the article 

861
00:54:13,400 --> 00:54:18,320
goes on to talk about, just talk
about mentions, mountains, work 

862
00:54:18,320 --> 00:54:21,440
with Peter Sellers and then 
Martin's collaboration with 

863
00:54:21,440 --> 00:54:25,760
Bentin and the LP, So that's 
quite And and then Houston Off 

864
00:54:25,760 --> 00:54:28,680
and Bernard Braden later on as 
well in the article. 

865
00:54:29,040 --> 00:54:33,920
But it's interesting that I mean
that music that plays behind 

866
00:54:33,920 --> 00:54:37,400
Spike as the auctioneer is 
beautiful and they wanted it to 

867
00:54:37,400 --> 00:54:38,760
be delious. 
Yeah. 

868
00:54:39,720 --> 00:54:41,640
Yeah. 
And George Martin composed that,

869
00:54:41,920 --> 00:54:46,280
that, that piece, which I I 
think this is the earliest thing

870
00:54:46,280 --> 00:54:49,400
he he composed himself rather 
than farming it out to somebody 

871
00:54:49,400 --> 00:54:50,920
else. 
OK. 

872
00:54:51,480 --> 00:54:56,240
Which he he does that on the 
bentine LP and he, you know he 

873
00:54:56,240 --> 00:55:00,240
sort of scattered throughout 
these he'll do these these 

874
00:55:00,240 --> 00:55:01,640
arrangements. 
Yeah. 

875
00:55:02,040 --> 00:55:04,760
Which, you know, again says to 
me how close he is to a lot of 

876
00:55:04,760 --> 00:55:08,160
this material and and how you 
know how deeply involved he is 

877
00:55:08,160 --> 00:55:15,000
in in these projects. 
Former guest of the show Louis 

878
00:55:15,000 --> 00:55:18,000
Bath. 
He he said that he said another 

879
00:55:18,000 --> 00:55:20,520
lot might be my favorite thing 
that Spike. 

880
00:55:20,520 --> 00:55:26,000
If it did, I find myself adding 
with extra string to the end of 

881
00:55:26,000 --> 00:55:27,840
sentences on an almost daily 
basis. 

882
00:55:28,960 --> 00:55:30,960
And he says, and this is 
interesting, I also wish that 

883
00:55:30,960 --> 00:55:34,200
the background music by George 
Martin was available in its own 

884
00:55:34,200 --> 00:55:35,560
right. 
It's beautiful. 

885
00:55:36,040 --> 00:55:39,680
Yeah. 
And it's, yeah, it's a pity. 

886
00:55:39,680 --> 00:55:44,120
It can't be, I think, he said. 
He said later on on Facebook. 

887
00:55:44,120 --> 00:55:46,400
This is Louis, he said something
along the lines of, you know, 

888
00:55:46,400 --> 00:55:49,120
with AI. 
Could it be separated from the, 

889
00:55:50,280 --> 00:55:52,280
from the dialogue that music 
now, perhaps? 

890
00:55:52,280 --> 00:55:55,160
I'll I'll give that a try. 
I've used that with varying 

891
00:55:55,160 --> 00:55:57,240
success on different things 
before. 

892
00:55:57,240 --> 00:55:58,760
I'll I'll see if that that 
works. 

893
00:55:59,520 --> 00:56:01,320
The other thing I was going to 
mention, which is completely 

894
00:56:01,320 --> 00:56:05,440
personal, is that as a 
photographer, one of the I do a,

895
00:56:05,640 --> 00:56:08,360
you know, as a freelancer I do 
many types of photography. 

896
00:56:08,760 --> 00:56:12,120
And one of those is 
photographing pieces for auction

897
00:56:12,120 --> 00:56:20,200
houses, contract work. 
And nothing nearly as absurd as 

898
00:56:20,280 --> 00:56:23,240
as what Spike is describing 
here, but it gets the tone of 

899
00:56:23,240 --> 00:56:28,640
that very well. 
Just just, you know, sometimes I

900
00:56:28,640 --> 00:56:31,440
walk through the warehouse and I
just like what is, what is this 

901
00:56:31,440 --> 00:56:33,640
like what we're selling this 
what? 

902
00:56:36,120 --> 00:56:38,600
So yeah, it it fits in 
perfectly. 

903
00:56:39,040 --> 00:56:42,400
I was going to say from the for 
fun, fun, fun. 

904
00:56:43,360 --> 00:56:46,320
And the listing spike 
interrupts. 

905
00:56:46,440 --> 00:56:52,160
Patricia Ridgeway's, you know, 
his his new girlfriend's singing

906
00:56:52,800 --> 00:56:58,480
to talk about how much she's 
eaten and and he, you know. 

907
00:56:58,480 --> 00:57:02,880
In addition, 81 Hereford cows, 
1000 acres of potatoes, 207 

908
00:57:02,880 --> 00:57:09,040
sacks of Spanish onions. 
The 1700 square foot of red 

909
00:57:09,040 --> 00:57:12,480
Jelly. 
I think 1200 weights of fish and

910
00:57:12,480 --> 00:57:13,560
chips, yeah. 
Right. 

911
00:57:13,720 --> 00:57:15,320
Yeah. 
And then, but then, you know, 

912
00:57:15,640 --> 00:57:18,040
puts the microphone to her 
stomach and it's it's blood 

913
00:57:18,040 --> 00:57:19,000
knocks. 
It is. 

914
00:57:19,000 --> 00:57:23,280
Stomach yeah. 
And and I believe I, I again, I 

915
00:57:23,280 --> 00:57:27,440
I I have my notes, but I don't 
have the I the paperwork has 

916
00:57:27,440 --> 00:57:29,560
packed away for all this stuff. 
But I believe they're you know 

917
00:57:29,560 --> 00:57:32,000
they had to pay a certain amount
to use that sound effect. 

918
00:57:33,960 --> 00:57:38,360
To the because it was a radio 
BBC Radio Phonic Workshop sound 

919
00:57:38,360 --> 00:57:39,680
effect, wasn't it? 
Right. 

920
00:57:40,400 --> 00:57:43,360
Yeah, BBC, Dick Mills. 
Yeah, had come up with that 

921
00:57:43,360 --> 00:57:47,320
sound effect. 
Yeah, yeah, just on that. 

922
00:57:47,920 --> 00:57:50,840
So fun fun fun is is yeah. 
Like you say it's Spike's then 

923
00:57:50,840 --> 00:57:55,480
girlfriend Patty Ridgeway 
Patricia Ridgeway singing and 

924
00:57:55,720 --> 00:57:59,560
and then Spike interrupts. 
I think the track was written. 

925
00:58:00,480 --> 00:58:02,560
I think I'm right saying the 
track was, or at least partly 

926
00:58:02,560 --> 00:58:07,520
written by Spike's wartime 
friend Harry Edgington, I 

927
00:58:07,560 --> 00:58:10,000
believe. 
And the the orchestra is the Ken

928
00:58:10,000 --> 00:58:11,800
Jones Orchestra. 
Yes. 

929
00:58:12,800 --> 00:58:14,920
And Spike and Paddy. 
So they. 

930
00:58:14,960 --> 00:58:18,640
So he met her. 
She was an extra in the film 

931
00:58:18,640 --> 00:58:22,360
invasion quartet, which he'd 
appeared in, and that's how he 

932
00:58:22,840 --> 00:58:25,600
spotted her. 
And and they got married in as, 

933
00:58:25,720 --> 00:58:28,400
as we've discussed, they got 
married in April 62. 

934
00:58:28,400 --> 00:58:30,280
And the best man was George 
Martin, of course. 

935
00:58:30,520 --> 00:58:32,640
Right. 
Yeah, yeah. 

936
00:58:32,640 --> 00:58:36,120
And Paddy, she sings. 
And she's got quite a good 

937
00:58:36,120 --> 00:58:38,680
voice, Got quite good pipes 
really, I think. 

938
00:58:40,240 --> 00:58:44,080
And and George, the the EMI 
compilation that I mentioned a 

939
00:58:44,080 --> 00:58:47,600
few minutes ago, George Martin 
wrote the sleeve note for it. 

940
00:58:48,120 --> 00:58:51,640
And just a little bit of about 
that, he says. 

941
00:58:51,640 --> 00:58:54,640
Spike and his first wife 
eventually separated in a due 

942
00:58:54,640 --> 00:58:56,480
time. 
Spike fell for another lady who 

943
00:58:56,480 --> 00:58:58,240
was appearing in the musical 
Sound of Music. 

944
00:58:58,840 --> 00:59:01,360
Paddy was singing every night 
and the chorus is a nun and I 

945
00:59:01,360 --> 00:59:03,720
think Spike was dying to get her
out of the habit. 

946
00:59:10,280 --> 00:59:13,520
Yeah, yeah, little. 
George. 

947
00:59:13,840 --> 00:59:16,840
Absolutely. 
Now there's a there's a track on

948
00:59:16,840 --> 00:59:20,920
this album that's very personal 
to me as well in in as much as 

949
00:59:22,800 --> 00:59:28,240
so when my son was born, which 
is nearly 18 years ago. 

950
00:59:28,800 --> 00:59:29,200
Oh wow. 
In. 

951
00:59:29,520 --> 00:59:32,160
Fact by the time this goes out 
it will be 18 years ago. 

952
00:59:34,560 --> 00:59:37,960
You know, sitting around in the 
hospital after he was born and 

953
00:59:39,440 --> 00:59:46,320
and somebody had given us a like
a a book to jot down thoughts, 

954
00:59:46,400 --> 00:59:50,200
hopes, you know for the for the 
newborn. 

955
00:59:51,400 --> 00:59:53,840
Just sort of like a really nice 
little sort of notebook. 

956
00:59:54,600 --> 00:59:55,840
And I picked up a pen and I 
just. 

957
00:59:55,840 --> 00:59:59,720
I don't know why. 
I just wrote My Darling Little 

958
00:59:59,720 --> 01:00:39,000
Baby. 
You know, sat there in the. 

959
01:01:01,000 --> 01:01:03,720
Hospital and it just entered my 
head and I just thought, I'd 

960
01:01:03,720 --> 01:01:10,320
like to write this down because 
it's it's kind of fitting now 

961
01:01:10,320 --> 01:01:14,040
he's now he, as I say, he's 18. 
He's not yet the Prime Minister 

962
01:01:14,040 --> 01:01:17,880
of England or the King of Italy 
and I'm hoping he's not. 

963
01:01:17,920 --> 01:01:20,520
He's not going to become a 
dustman in Chiswick Down, but 

964
01:01:20,960 --> 01:01:24,200
let's see. 
But you'll love him anyway. 

965
01:01:24,280 --> 01:01:29,600
Yes, of course, of course. 
And we mentioned Hit Parade 

966
01:01:30,400 --> 01:01:33,280
earlier, so that's written Co 
written by John Entropus, who 

967
01:01:33,280 --> 01:01:38,920
was a a keen Spike collaborator 
and he plays Mr. Screws, who 

968
01:01:38,920 --> 01:01:41,360
retired at 48 and his hobby now 
is to hit people. 

969
01:01:41,720 --> 01:01:43,600
Yeah, which it's fine. 
It's not. 

970
01:01:43,600 --> 01:01:45,920
There's no great shakes, 
particularly. 

971
01:01:46,600 --> 01:01:49,320
No, I mean, I I think, I think 
at the time it was probably, you

972
01:01:49,320 --> 01:01:51,920
know, we raised, we raised more 
than an eyebrow now. 

973
01:01:51,920 --> 01:01:56,680
But yeah, it it's, you know, 
it's a tribute to sort of how 

974
01:01:56,680 --> 01:01:58,480
violence was so much more 
accepted. 

975
01:01:59,120 --> 01:02:03,480
Yes, at that time as it is now. 
The second track in the old 

976
01:02:03,480 --> 01:02:08,480
match, we haven't, we haven't 
talked about Coffer Royal with 

977
01:02:08,480 --> 01:02:10,680
Valentine Dyle again 
interviewing. 

978
01:02:10,680 --> 01:02:14,640
And this is another goon 
reference because Spike doing 

979
01:02:14,640 --> 01:02:18,880
the entire sketch using the 
voice that's known as the 

980
01:02:18,880 --> 01:02:20,840
throat. 
Voice right. 

981
01:02:20,960 --> 01:02:24,600
Which which always I mean it's I
know it's him and I know he's 

982
01:02:24,600 --> 01:02:26,680
doing it and I've heard it you 
know multiple times. 

983
01:02:26,680 --> 01:02:30,840
But it's still, it's still like,
wow, he's actually, he does 

984
01:02:30,920 --> 01:02:32,520
some, you know, such a variety 
of voice. 

985
01:02:32,520 --> 01:02:36,160
But that one is just so sort of 
where did that come from, you 

986
01:02:36,160 --> 01:02:40,240
know, well it. 
'Cause you think you know, like,

987
01:02:40,240 --> 01:02:43,640
we talk about the recording of 
Please Please Me the the album 

988
01:02:44,400 --> 01:02:47,240
and the last track recorded was 
Twist and Shout, wasn't it, when

989
01:02:48,080 --> 01:02:49,920
Lennon's voice was completely 
shot? 

990
01:02:52,400 --> 01:02:55,520
And I imagine it wouldn't 
surprise me if he came out of 

991
01:02:55,520 --> 01:02:59,880
that whole recording session 
talking like Spike as throat. 

992
01:03:02,720 --> 01:03:04,120
Well, I'm never going to forget 
that. 

993
01:03:04,120 --> 01:03:08,800
No, yeah but he the, the, the, 
the sketch. 

994
01:03:08,800 --> 01:03:13,760
Basically it's about Spike, 
whose character is called Ernie 

995
01:03:13,760 --> 01:03:17,160
Flunt I think, and talks about 
how the Romans introduced coffin

996
01:03:17,160 --> 01:03:19,880
to England and then it sort of 
fell out of use. 

997
01:03:19,880 --> 01:03:26,120
And then he, Ernie Flaunt 
patented it in the Victorian 

998
01:03:26,160 --> 01:03:29,960
period and he was appointed 
coffer royal. 

999
01:03:30,640 --> 01:03:33,680
And then there's lots of sort of
mic flopping as he as he coughs 

1000
01:03:33,680 --> 01:03:36,640
into the mic and there's also 
coughing right at the start, 

1001
01:03:37,200 --> 01:03:41,240
which reminded me of the Goon 
Show episode The Last Smoking 

1002
01:03:41,240 --> 01:03:45,920
Seagoon. 
So just throughout this album, 

1003
01:03:45,920 --> 01:03:49,280
there's just goon vibes. 
Oh yeah, absolutely. 

1004
01:03:50,120 --> 01:03:52,960
Yeah. 
And I think with, I mean all 

1005
01:03:52,960 --> 01:03:55,880
this, there's this we haven't 
mentioned underneath it all, 

1006
01:03:55,880 --> 01:03:58,800
which is the You Just Colony 
sketch, which is also very 

1007
01:03:58,800 --> 01:04:00,360
funny, right? 
Right. 

1008
01:04:02,920 --> 01:04:05,160
Yeah, I mean it's tempting to 
quote from all of these, but it 

1009
01:04:05,160 --> 01:04:07,680
it really doesn't do it justice.
You have to, you really have to 

1010
01:04:07,680 --> 01:04:12,120
hear it all in context and hear 
the not just the voices but the 

1011
01:04:12,120 --> 01:04:15,760
way he's and you know similar to
sellers, he's, he's sort of, you

1012
01:04:15,760 --> 01:04:18,840
know, it's puncturing this sort 
of pomposity in this, these 

1013
01:04:18,840 --> 01:04:22,160
pretenses. 
Yeah, and and in underneath it 

1014
01:04:22,160 --> 01:04:28,360
all the the interviewer in this 
case is Graham Stark and he's 

1015
01:04:28,360 --> 01:04:34,360
interviewing again Mr. Frederick
Length, who's the founder member

1016
01:04:35,040 --> 01:04:37,960
of this nudist colony, but he's 
wearing a suit due to the 

1017
01:04:37,960 --> 01:04:41,600
inclement weather and certain 
structural alterations. 

1018
01:04:45,000 --> 01:04:49,840
Yes, I saw this nudist colony 
man, boy and a woman for many of

1019
01:04:49,920 --> 01:04:52,440
the years. 
Mr. Lengths, I noticed that you 

1020
01:04:52,440 --> 01:04:54,880
claim to be the founding member.
You are nevertheless wearing a 

1021
01:04:54,880 --> 01:04:58,600
suit. 
I'm, I'm glad you noticed that I

1022
01:04:58,800 --> 01:05:02,000
I have in the last few years, 
due to the inclement weather and

1023
01:05:02,000 --> 01:05:06,280
certain structural alterations 
taken to wearing the garments. 

1024
01:05:06,680 --> 01:05:11,120
But I must remind you that 
underneath the suit I have all 

1025
01:05:11,120 --> 01:05:14,280
the necessary equipment for the 
the nudism. 

1026
01:05:15,360 --> 01:05:18,160
Mr. Length What was the driving 
impulse behind this instinct to 

1027
01:05:18,160 --> 01:05:23,240
revert to the pattern of nature?
My suit was in bad nick. 

1028
01:05:24,080 --> 01:05:28,720
I couldn't afford a new one. 
But as my body was in good 

1029
01:05:28,720 --> 01:05:31,760
condition, I saw a way of 
economizing. 

1030
01:05:32,440 --> 01:05:38,000
I said to my fiance, Green. 
I said, how about me and you 

1031
01:05:38,440 --> 01:05:40,960
forming ourselves into a nudist 
colony? 

1032
01:05:41,480 --> 01:05:44,600
And she took off her clothes and
agreed. 

1033
01:05:45,000 --> 01:05:48,560
How many members did you get? 
Oh, we didn't go for members at 

1034
01:05:48,560 --> 01:05:51,720
first. 
There's just me and Reen getting

1035
01:05:51,720 --> 01:05:53,120
the hang of it, you know. 
I see, I see. 

1036
01:05:53,520 --> 01:05:55,720
We used to go for the midnight 
runs. 

1037
01:05:56,240 --> 01:05:59,480
How it was quite a belt, you 
know, on the heath, avoiding the

1038
01:05:59,480 --> 01:06:03,080
police and that. 
Oh, there's there's the song 

1039
01:06:03,080 --> 01:06:07,480
Australia, which is fine. 
Yeah, that's got Bill Kerr from 

1040
01:06:07,920 --> 01:06:11,680
famous for for being one of the 
cast members of Hancock's Half 

1041
01:06:11,680 --> 01:06:17,320
Hour, who was also in Peter 
Sellers film Wrong Arm of The 

1042
01:06:17,320 --> 01:06:20,160
Law. 
Spike's got a lot of connections

1043
01:06:20,160 --> 01:06:23,240
with Australia. 
His family moved to Australia. 

1044
01:06:23,440 --> 01:06:26,840
He spent a lot of time in 
Australia throughout his life 

1045
01:06:27,800 --> 01:06:30,920
and at one point he he he adopts
the Echo's voice and refers to 

1046
01:06:30,920 --> 01:06:33,360
Neddy. 
In this case, it's Ned Kelly, 

1047
01:06:33,360 --> 01:06:36,240
though. 
And this? 

1048
01:06:36,360 --> 01:06:41,600
And do you have the the 
recording George Martin did at 

1049
01:06:42,680 --> 01:06:46,640
Royal Festival Hall of Spike 
June 11th 1961? 

1050
01:06:47,240 --> 01:06:50,320
No. 
It's a reading of of, you know, 

1051
01:06:50,320 --> 01:06:55,080
various bits of poetry and one 
of them is is Australia or part 

1052
01:06:55,080 --> 01:06:57,720
of Australia, the lyrics. 
As this is Commonwealth 

1053
01:06:57,720 --> 01:07:00,960
Technical Training Week by our 
different Prince Philip, I've 

1054
01:07:01,240 --> 01:07:05,480
what I've dedicated a little 
unaccompanied song here. 

1055
01:07:05,480 --> 01:07:07,920
It's called Australia, Australia
Land of the Free. 

1056
01:07:07,920 --> 01:07:10,000
I should sing it unaccompanied, 
except for myself. 

1057
01:07:14,360 --> 01:07:26,080
Australia, Australia. 
We think of you each day. 

1058
01:07:27,440 --> 01:07:31,360
Australia, Australia. 
At work. 

1059
01:07:33,880 --> 01:07:39,680
We think of you in the morning 
and in the evening. 

1060
01:07:41,200 --> 01:07:46,960
We even wake up at midnight so 
that we can think of you, 

1061
01:07:48,160 --> 01:07:52,120
Australia. 
Australia, though, we're 

1062
01:07:52,120 --> 01:07:57,800
thousands of miles apart, 
remember, if ever we chase you, 

1063
01:07:58,400 --> 01:08:10,180
you've got already good a start.
I think, yeah, I think that's 

1064
01:08:10,180 --> 01:08:13,460
more or less, that's more or 
less all the tracks on the album

1065
01:08:14,000 --> 01:08:16,040
and we've kind of just we've 
not, we've not gone through them

1066
01:08:16,040 --> 01:08:17,720
in a linear fashion. 
But hey, doesn't matter. 

1067
01:08:18,960 --> 01:08:22,319
It it holds together very well 
on the whole. 

1068
01:08:22,319 --> 01:08:27,359
It's still very funny and yeah, 
highly recommended. 

1069
01:08:27,359 --> 01:08:30,359
If you haven't listened to it, I
think you can listen to it on 

1070
01:08:30,359 --> 01:08:32,120
Spotify, you can listen to it on
YouTube. 

1071
01:08:33,160 --> 01:08:38,880
Now I did find a dissenting 
opinion from what I've just said

1072
01:08:38,880 --> 01:08:43,720
there in terms of a rather 
negative review of the album, 

1073
01:08:45,040 --> 01:08:49,880
again from from disc, and this 
is dated 6th of January 1962. 

1074
01:08:50,960 --> 01:08:56,120
And it says, says Milligan 
preserved disappointing in view 

1075
01:08:56,120 --> 01:08:58,520
of the fact that it stars the 
arch goon of them all. 

1076
01:08:59,240 --> 01:09:01,640
Maybe Spike needs Harry Seekum 
and Peter Sellers around to 

1077
01:09:01,640 --> 01:09:03,800
inspire him to the heights of 
his comic lunacy. 

1078
01:09:04,680 --> 01:09:08,240
Parts of this set are funny, 
especially the reminiscences of 

1079
01:09:08,240 --> 01:09:12,560
the nudist Colony founder in 
Underneath It All and the Eccles

1080
01:09:12,560 --> 01:09:15,880
family's Carol singing 
expedition in Good King Eccles 

1081
01:09:15,880 --> 01:09:18,800
Less. 
Others like Word Power and 

1082
01:09:18,800 --> 01:09:21,200
Another Lot are singularly 
unfunny. 

1083
01:09:21,920 --> 01:09:24,640
What? 
Not even that, and rather 

1084
01:09:24,640 --> 01:09:29,040
pointless into the bargain? 
Well, Spike never argued that 

1085
01:09:29,040 --> 01:09:30,680
his humor had a point I would 
say. 

1086
01:09:31,720 --> 01:09:35,880
And Spike's talents for throaty 
coughing and indigestion effects

1087
01:09:35,880 --> 01:09:39,760
should at least have a humorous 
context and showcase to justify 

1088
01:09:39,920 --> 01:09:45,920
their vulgarity. 
So at the rather PO faced review

1089
01:09:46,160 --> 01:09:49,240
of the album that is that. 
Is pretty negative. 

1090
01:09:49,240 --> 01:09:55,000
I, you know, I'm surprised, 
yeah, I I don't recall too many,

1091
01:09:55,000 --> 01:09:59,000
too many reviews like that back 
in from the things that I've 

1092
01:09:59,000 --> 01:10:01,120
seen in the early 60s, but 
obviously they exist. 

1093
01:10:01,760 --> 01:10:04,200
Yeah, yeah, yeah. 
So. 

1094
01:10:04,480 --> 01:10:07,960
Any I mean anything else you 
want to cover that we've not had

1095
01:10:07,960 --> 01:10:10,840
a chance to talk about yet or 
any any further thoughts, 

1096
01:10:10,840 --> 01:10:13,240
comments? 
I I mean, I think we've pretty 

1097
01:10:13,240 --> 01:10:16,880
much covered it again, you know,
I I look at this from the Jordan

1098
01:10:16,880 --> 01:10:20,000
Martin perspective and how this 
fits into his, you know, his 

1099
01:10:20,000 --> 01:10:25,360
developing production aesthetic 
and his and and how he's he's 

1100
01:10:25,360 --> 01:10:28,160
working out these ideas. 
And I know, I think these are, 

1101
01:10:28,320 --> 01:10:31,560
these are important proving 
grounds for moving toward what 

1102
01:10:31,560 --> 01:10:33,120
will eventually happen with The 
Beatles. 

1103
01:10:34,120 --> 01:10:37,000
You know, he's gaining an A 
mastery of the studio and and 

1104
01:10:37,000 --> 01:10:39,560
really is, I mean there's a, 
there's a great sense of play in

1105
01:10:39,560 --> 01:10:42,200
all of this, right? 
Yes. 

1106
01:10:42,760 --> 01:10:47,040
Where you know it it it's, you 
know, pointless. 

1107
01:10:47,040 --> 01:10:50,400
OK, well, who cares? 
It's it's to make people laugh. 

1108
01:10:50,400 --> 01:10:51,840
It's to have fun. 
It's to experiment. 

1109
01:10:51,840 --> 01:10:54,600
It's it's to, you know, no one 
else is putting things like this

1110
01:10:54,600 --> 01:10:56,640
on record, but. 
The the other thing, the other 

1111
01:10:56,640 --> 01:11:01,480
thing is, well, that that review
I just mentioned mentions the 

1112
01:11:01,480 --> 01:11:07,120
word vulgarity and and applies 
it to the Coffin royal sketch. 

1113
01:11:07,120 --> 01:11:13,000
But thing about this period, of 
course, there's only so much 

1114
01:11:13,000 --> 01:11:15,440
that Spike could get away with, 
yeah. 

1115
01:11:16,080 --> 01:11:19,760
And as you know, the years went 
on and as we get into the 70s 

1116
01:11:19,760 --> 01:11:23,320
and the Q series and other shows
that he was involved with, 

1117
01:11:24,000 --> 01:11:28,080
vulgarity really crept in and 
there was a lot of jokes about 

1118
01:11:28,800 --> 01:11:35,560
boobs and and and the like and 
just, you know, stuff like that.

1119
01:11:35,560 --> 01:11:37,560
And I've got no problem with 
that sort of stuff. 

1120
01:11:37,560 --> 01:11:42,080
That's fine. 
But you know, this is 906061 and

1121
01:11:42,080 --> 01:11:45,720
Spike, he's, he's he's 
restrained by the mores of the 

1122
01:11:45,720 --> 01:11:50,640
time. 
So it's much more about the the 

1123
01:11:50,640 --> 01:11:54,600
silliness than shock value. 
There's no, there's nothing 

1124
01:11:54,600 --> 01:11:58,480
really shocking on this album. 
It's built on a foundation of 

1125
01:11:58,480 --> 01:12:01,440
silliness. 
And I and I think absurdity. 

1126
01:12:01,480 --> 01:12:04,640
You know, absurdity. 
Yeah, that that's what I take 

1127
01:12:04,640 --> 01:12:08,200
away from this in particular. 
I mean I think this is the 

1128
01:12:08,200 --> 01:12:11,800
Sellers albums have a certain 
amount of that and I think you 

1129
01:12:11,800 --> 01:12:14,000
know the the Michael Ben Teen 
album does too. 

1130
01:12:14,000 --> 01:12:19,400
But this is really just like 
pushing the absurdity into the 

1131
01:12:19,400 --> 01:12:22,880
four that that's just a big part
of it. 

1132
01:12:23,240 --> 01:12:25,440
Yeah. 
And and anarchic, you know it's 

1133
01:12:25,440 --> 01:12:29,680
it's it is that sort of thing. 
The the, the ending, the finale,

1134
01:12:29,880 --> 01:12:32,760
really. 
You know, it sets you up and 

1135
01:12:32,760 --> 01:12:35,640
then it just does this. 
Like Oh yeah, because it's rash.

1136
01:12:35,640 --> 01:12:38,680
Yeah, yeah. 
The the finale is an attempt. 

1137
01:12:39,560 --> 01:12:42,640
Spike attempts to sing AI don't 
know what would you call a 

1138
01:12:42,640 --> 01:12:45,680
rousing show Closer if you like.
And it's and it's curtailed 

1139
01:12:45,680 --> 01:12:47,600
immediately by some unseen 
assailant. 

1140
01:12:47,600 --> 01:12:49,920
He's. 
Yeah, shoots him with an arrow. 

1141
01:12:50,080 --> 01:12:51,760
That's it. 
That's one of those little 

1142
01:12:51,760 --> 01:12:56,200
quickies, like Very Little 
quickies like on Is it Songs or 

1143
01:12:56,200 --> 01:12:58,240
Swinging Sellers where he does 
George Gershwin. 

1144
01:12:58,720 --> 01:12:59,920
Yeah, yeah, yeah, yeah. 
Yeah. 

1145
01:13:01,160 --> 01:13:05,320
But no brilliant album and I'm 
glad that we've had a chance to 

1146
01:13:05,320 --> 01:13:09,440
do a deep dive into it. 
There's probably a lot more that

1147
01:13:09,440 --> 01:13:12,920
we could have said, but 
unfortunately there's not a huge

1148
01:13:12,920 --> 01:13:14,640
amount of background information
on it. 

1149
01:13:15,240 --> 01:13:16,960
Yeah, but I mean well worth your
time. 

1150
01:13:17,120 --> 01:13:21,120
I did find I don't have a copy 
of it anymore but the there was 

1151
01:13:21,120 --> 01:13:25,960
the I said box 51 or 61 is a it 
was a yes compilation yeah of 

1152
01:13:25,960 --> 01:13:29,840
spike material and in there is a
picture from the sessions. 

1153
01:13:31,680 --> 01:13:33,840
I forget who's in the photo, but
it's it's, you know, it's a 

1154
01:13:33,840 --> 01:13:37,960
posed photo somewhere in in EMI,
in the in the control room, I 

1155
01:13:37,960 --> 01:13:39,360
think. 
Yeah, I've seen, I've seen that.

1156
01:13:39,400 --> 01:13:42,120
I think I've seen. 
I've certainly seen a picture of

1157
01:13:42,120 --> 01:13:44,480
them sitting, like, listening to
a playback. 

1158
01:13:44,480 --> 01:13:48,400
Yeah, yeah, Milligan's laughing.
I think Martin is just out of 

1159
01:13:48,400 --> 01:13:50,920
shot. 
I don't recall, but I mean 

1160
01:13:51,640 --> 01:13:54,480
basically, you know, to anyone 
hearing this, I think it's, if 

1161
01:13:54,480 --> 01:13:58,080
you're interested, even broadly,
you know tangentially in the 

1162
01:13:58,080 --> 01:14:01,160
subject, it's worth hearing. 
And I think you know any any 

1163
01:14:01,160 --> 01:14:05,120
Beatles fan I think should be 
digging into this album and the 

1164
01:14:05,280 --> 01:14:08,280
and the sellers albums. 
Very important sort of 

1165
01:14:08,280 --> 01:14:11,880
forerunner stuff, absolutely. 
And I'll be discussing these 

1166
01:14:11,880 --> 01:14:14,600
things on the podcast in much 
less detail than we're doing 

1167
01:14:14,600 --> 01:14:17,960
here and from some sort of a 
more, you know, production point

1168
01:14:17,960 --> 01:14:19,080
of view. 
Yeah. 

1169
01:14:19,600 --> 01:14:23,440
And maybe next year, not this 
year, but next year, perhaps if 

1170
01:14:23,440 --> 01:14:25,240
you're up for it, you could come
back and talk about the Ben 

1171
01:14:25,240 --> 01:14:27,160
team. 
Yes, would love to. 

1172
01:14:27,200 --> 01:14:28,800
I love that album. 
I love that album. 

1173
01:14:30,560 --> 01:14:31,920
Excellent. 
Well, Jason, this you know. 

1174
01:14:31,920 --> 01:14:35,240
Thank you so much for bringing 
all your knowledge and 

1175
01:14:35,320 --> 01:14:39,480
enthusiasm to this to this show.
Thank you for having me. 

1176
01:14:39,480 --> 01:14:40,920
It's, I mean, you brought a lot 
to me. 

1177
01:14:40,920 --> 01:14:43,560
There are a lot of things I had 
not heard before, so this is 

1178
01:14:43,560 --> 01:14:45,480
great. 
Well listen all the best as well

1179
01:14:45,480 --> 01:14:49,000
with the with the podcast and 
you're continuing endeavours and

1180
01:14:49,560 --> 01:14:53,600
and your your auction room 
photographer Thank you and. 

1181
01:14:54,920 --> 01:14:58,520
And there will be, I will say, a
little sort of promotion 

1182
01:14:58,520 --> 01:15:01,400
beforehand as I'm working on 
another book with Ken Womack 

1183
01:15:01,400 --> 01:15:02,680
right now. 
Oh right. 

1184
01:15:02,880 --> 01:15:08,040
Solo Beatles in 74 and all the 
drama and weird activities and 

1185
01:15:08,080 --> 01:15:13,200
and and projects that they have 
going on, which is I've learned 

1186
01:15:13,200 --> 01:15:16,720
a lot, you know, just in 
researching this that had no 

1187
01:15:16,720 --> 01:15:18,760
idea about before. 
Just crazy stuff. 

1188
01:15:18,800 --> 01:15:22,200
So. 
Now, I haven't yet read the Mal 

1189
01:15:22,200 --> 01:15:26,960
Evans book by Ken Wymack. 
Yeah, what's that like? 

1190
01:15:28,680 --> 01:15:32,600
It's it's very in depth like 
it's it's difficult to say. 

1191
01:15:32,600 --> 01:15:39,520
I mean it's it is about Mao and 
it I think it's what's the best 

1192
01:15:39,520 --> 01:15:42,440
way to describe it. 
I mean, obviously tons of 

1193
01:15:42,440 --> 01:15:53,600
detail, but you know, it it, 
it's, it's sort of a study in 

1194
01:15:53,600 --> 01:15:55,760
the, you know, the dangers of 
fame and the dangers, you know, 

1195
01:15:55,800 --> 01:16:02,000
these people who are very close 
to fame and and and really, you 

1196
01:16:02,000 --> 01:16:06,480
know, paints a very vivid 3D 
picture of who Mal Evans was. 

1197
01:16:06,880 --> 01:16:10,800
Yeah, in a very compassionate 
way, you know, and you'll, you 

1198
01:16:10,800 --> 01:16:12,520
know, you'll pick up little 
things about The Beatles too. 

1199
01:16:12,520 --> 01:16:14,760
But it's not, it's not 
specifically a, you know, 

1200
01:16:14,760 --> 01:16:17,160
Beatles centric book. 
It's it's his story. 

1201
01:16:17,480 --> 01:16:20,680
What always amuses me or baffles
me? 

1202
01:16:20,680 --> 01:16:24,600
I'm not quite sure what emotion 
it elicits, but the fact that 

1203
01:16:24,640 --> 01:16:28,160
all through the period of The 
Beatles and post Beatles where 

1204
01:16:28,160 --> 01:16:31,400
Mal Evans was working with them 
for them. 

1205
01:16:32,480 --> 01:16:35,080
You know, both he and Neil 
Aspinall were on a salary of 

1206
01:16:35,080 --> 01:16:37,720
something like, what was it, 17 
lbs a week or something like 

1207
01:16:37,800 --> 01:16:39,080
that? 
It was ridiculous. 

1208
01:16:39,080 --> 01:16:41,880
Yeah, yeah, yeah. 
No, no retainer. 

1209
01:16:41,880 --> 01:16:42,480
No. 
Anything. 

1210
01:16:42,480 --> 01:16:45,720
Just no. 
Yeah, that's that's part of the 

1211
01:16:45,720 --> 01:16:49,240
story too. 
It's it's it's, you know, it it 

1212
01:16:49,240 --> 01:16:52,040
really does pull back the 
curtain for what was going on 

1213
01:16:52,040 --> 01:16:55,440
behind the scenes in in The 
Beatles. 

1214
01:16:55,440 --> 01:16:57,520
World. 
Oh, and well, the. 

1215
01:16:57,600 --> 01:16:59,960
I mean, the 74 book sounds 
fascinating as well, because 

1216
01:16:59,960 --> 01:17:02,840
that's my year of birth. 
Oh, OK. 

1217
01:17:03,360 --> 01:17:06,880
So that, yeah, I'll be look 
forward to, look forward to 

1218
01:17:06,880 --> 01:17:11,240
seeing that when it comes out. 
But yeah, Jason, again, thank 

1219
01:17:11,240 --> 01:17:13,440
you. 
And we'll catch up again next 

1220
01:17:13,440 --> 01:17:15,120
year perhaps. 
Absolutely. 

1221
01:17:15,240 --> 01:17:23,800
I'll talk to you soon all. 
Right, that's become a marsh.