1
00:00:00,360 --> 00:00:03,960
We are gathered here to consider
a matter of grave importance to 

2
00:00:03,960 --> 00:00:05,440
the governing of our fair 
community. 

3
00:00:07,160 --> 00:00:11,520
The teenagers of this new town 
are disrupting its peace, its 

4
00:00:11,520 --> 00:00:15,640
serenity, its calm and graceful 
dignity with the wild, the 

5
00:00:15,640 --> 00:00:18,520
furious, the frantic music which
they play constantly. 

6
00:00:19,400 --> 00:00:24,440
Read that back Miss Hampton. 
Read that back Miss Hampton. 

7
00:00:26,120 --> 00:00:32,680
Miss Hampton. 
You see what I mean? 

8
00:00:33,760 --> 00:00:36,280
Creepy jazzism. 
We've got to do something about 

9
00:00:36,280 --> 00:00:38,280
it. 
We're going to do something 

10
00:00:38,280 --> 00:00:39,720
about it. 
Any comments? 

11
00:00:40,000 --> 00:00:44,360
Meeting adjourned. 
Follow me. 

12
00:01:19,600 --> 00:01:23,440
Hello and welcome to Goon Pod. 
My name is Tyler Adams, and this

13
00:01:23,440 --> 00:01:27,320
is a podcast where we talk about
all things Goon related, goon 

14
00:01:27,320 --> 00:01:33,640
adjacent, and this week we are 
talking about a project helmed 

15
00:01:33,640 --> 00:01:37,440
by the Mighty and still with us,
Richard Lester. 

16
00:01:38,400 --> 00:01:43,320
Richard is probably, I guess 
it's fair to say, best known to 

17
00:01:43,320 --> 00:01:49,400
the most people for his work on 
1964's Hard Day's Night film. 

18
00:01:50,360 --> 00:01:54,640
But he didn't arrive at that 
film fully formed without having

19
00:01:54,640 --> 00:01:56,400
to put in the hard yards 
previously. 

20
00:01:57,480 --> 00:02:02,000
And and he developed a unique 
visual flair and gift for comic 

21
00:02:02,000 --> 00:02:05,560
flourishes, having worked with 
Peter Sellers and Spike Billigan

22
00:02:05,560 --> 00:02:09,560
in the 50s on television and 
then branching out into short 

23
00:02:09,560 --> 00:02:13,320
films such as the Running, 
Jumping and Standing Still film 

24
00:02:13,600 --> 00:02:17,360
with the aforementioned 2 Goons,
until he finally got the 

25
00:02:17,360 --> 00:02:20,880
opportunity to script and direct
an actual feature film in late 

26
00:02:20,880 --> 00:02:24,200
1961. 
And it's that film that we are 

27
00:02:24,200 --> 00:02:28,120
discussing today. 
And I think it's pretty hard to 

28
00:02:28,120 --> 00:02:34,040
argue that had Lester never made
It's Tri Dad, which is the film 

29
00:02:34,040 --> 00:02:36,880
we're talking about, A Hard 
Day's Night would have been the 

30
00:02:36,880 --> 00:02:40,800
poorer for it. 
Richard Lester was incredibly 

31
00:02:40,800 --> 00:02:45,280
visually and conceptually 
innovative on that earlier film 

32
00:02:45,280 --> 00:02:48,360
and in some ways he could 
rightfully claim to be one of 

33
00:02:48,360 --> 00:02:52,000
the fathers of the modern music 
video, and my guest will enlarge

34
00:02:52,000 --> 00:02:55,880
upon that during our chat. 
He believes It's Traddad is one 

35
00:02:55,880 --> 00:02:59,360
of the most important British 
music films of all time, not so 

36
00:02:59,360 --> 00:03:02,600
much for the acts that it 
showcased, but for what it 

37
00:03:02,600 --> 00:03:06,280
showed could be done. 
It was, to use that slightly 

38
00:03:06,280 --> 00:03:08,400
irritating phrase, a game 
changer. 

39
00:03:08,840 --> 00:03:11,800
And it was also genuinely for 
all the for all the tunes, it 

40
00:03:11,800 --> 00:03:16,520
was genuinely a comedy with some
proper funny gags and stuff and 

41
00:03:16,520 --> 00:03:19,760
Mario Fabrizzi eating spaghetti 
and what more could you want? 

42
00:03:20,240 --> 00:03:23,400
So my guest is the man behind 
the The Mighty The All 

43
00:03:23,400 --> 00:03:27,680
Conquering, a history of rock 
music and 500 songs, which in 

44
00:03:27,680 --> 00:03:30,040
itself has proven to be a bit of
a game changer in terms of 

45
00:03:30,040 --> 00:03:33,080
podcasting. 
His name is Andrew Hickey and we

46
00:03:33,080 --> 00:03:37,600
talked at length about it's Tred
Dad and the British musical and 

47
00:03:37,600 --> 00:03:41,400
cultural landscape of the time. 
And this conversation was 

48
00:03:41,400 --> 00:03:47,240
recorded in February 2025 and 
1st heard on Goon Pod Film Club,

49
00:03:47,800 --> 00:03:51,920
a select club hosted on Patreon 
where every month the club 

50
00:03:51,920 --> 00:03:55,760
members can enjoy chat about 
classic British comedy films. 

51
00:03:56,920 --> 00:04:00,440
Head over to patreon.com/goon 
Pod For more information and a 

52
00:04:00,440 --> 00:04:02,960
free trial. 
Anyway, hope you enjoy. 

53
00:04:02,960 --> 00:04:06,680
Andrew and I having a good old 
natter about It's Tribe Dad. 

54
00:04:08,200 --> 00:04:12,440
We were talking and you said 
that you would like to talk 

55
00:04:12,440 --> 00:04:16,120
about a film which I guess quite
a lot of the listeners won't 

56
00:04:16,120 --> 00:04:20,200
have heard of, I would imagine, 
called It's Tribe Dad. 

57
00:04:20,399 --> 00:04:22,440
Yeah. 
Or in America, ring a Ding 

58
00:04:22,440 --> 00:04:24,560
rhythm. 
Yeah, yeah. 

59
00:04:25,000 --> 00:04:27,600
And I said to you, because we 
watched this together, obviously

60
00:04:27,600 --> 00:04:28,720
you've seen it before many 
times. 

61
00:04:28,960 --> 00:04:32,680
We we watched it last week 
together and with, with a couple

62
00:04:32,680 --> 00:04:35,200
of other friends. 
And I said to you, why was it 

63
00:04:35,200 --> 00:04:37,480
given that different name for 
the American market? 

64
00:04:37,480 --> 00:04:39,640
And you said because tread just 
wasn't a thing. 

65
00:04:40,200 --> 00:04:44,160
Yeah, yeah. 
The trad movement, the trad jazz

66
00:04:44,160 --> 00:04:47,960
was very much a British thing. 
There was a sort of American 

67
00:04:47,960 --> 00:04:50,640
equivalent, but it was much less
well known. 

68
00:04:50,680 --> 00:04:52,520
Well known. 
It certainly wasn't a pop thing.

69
00:04:52,840 --> 00:04:55,760
And they, they were known in 
America as mouldy figs rather 

70
00:04:55,760 --> 00:04:58,520
than trad. 
And you know, they it's mouldy 

71
00:04:58,520 --> 00:05:00,160
figs, pigs or whatever. 
Wouldn't have been, wouldn't 

72
00:05:00,160 --> 00:05:05,680
have been an appropriate title. 
Yeah, but yeah, also as well, 

73
00:05:06,040 --> 00:05:08,080
there's been surprisingly little
bit about the production of 

74
00:05:08,080 --> 00:05:11,480
this. 
So I may be or I may be under 

75
00:05:11,480 --> 00:05:13,280
false impressions at various 
points here. 

76
00:05:13,640 --> 00:05:16,160
I mean, Richard Lester doesn't 
even talk about this in the book

77
00:05:16,160 --> 00:05:21,040
of interviews that he did with 
Steven Soderbergh a few years 

78
00:05:21,040 --> 00:05:23,640
back. 
It it, it just even though it's 

79
00:05:23,640 --> 00:05:25,800
his first feature, it just 
doesn't really appear. 

80
00:05:26,320 --> 00:05:31,480
It appears that the the plan was
changed at a relatively late 

81
00:05:31,480 --> 00:05:37,120
stage to include Rock'n'roll and
RB musicians as well, and they 

82
00:05:37,120 --> 00:05:40,080
seem to have been put in partly 
as a selling point for 

83
00:05:40,080 --> 00:05:43,160
Americans. 
So the trap title would work 

84
00:05:43,160 --> 00:05:44,920
even less well for the American 
audience. 

85
00:05:44,920 --> 00:05:47,680
So of course, as as we'll get 
into when we talk about the 

86
00:05:47,680 --> 00:05:50,560
plot, the plot is very trap 
heavy. 

87
00:05:51,520 --> 00:05:53,480
Yeah, yeah. 
Well, yeah. 

88
00:05:53,480 --> 00:05:58,280
So to those who haven't seen it,
this film, you might, you know, 

89
00:05:58,280 --> 00:06:00,720
it might be casually assumed 
that it's one of those 

90
00:06:01,440 --> 00:06:03,720
interchangeable late 50s, early 
60s. 

91
00:06:03,880 --> 00:06:05,720
Do they call them 
teensploitation films? 

92
00:06:05,920 --> 00:06:09,840
Yes, yeah, yeah. 
And plot, plot wise, it's it's 

93
00:06:09,840 --> 00:06:12,000
absolutely is interchangeable 
with those. 

94
00:06:12,040 --> 00:06:17,320
I mean, the film is written by 
Milton Subotsky, who I, I should

95
00:06:17,320 --> 00:06:20,680
just mention as well. 
I, I always get Milton Subotsky,

96
00:06:20,680 --> 00:06:23,960
the the film script writer and 
producer confused with Milton 

97
00:06:23,960 --> 00:06:25,800
Subotnik. 
They're very similarly named 

98
00:06:25,800 --> 00:06:28,760
electronic music composer. 
At some point during this 

99
00:06:28,760 --> 00:06:31,360
conversation, I will undoubtedly
say Subotnik when I mean 

100
00:06:31,360 --> 00:06:34,320
Subotsky. 
So if, if people, if people 

101
00:06:34,320 --> 00:06:36,840
could bear in mind that that's a
a me thing. 

102
00:06:37,520 --> 00:06:39,440
Yeah, what a what a duo those 
two could have made. 

103
00:06:39,440 --> 00:06:43,920
Yeah, in some in some field. 
Subotsky and Subotnik. 

104
00:06:44,080 --> 00:06:47,960
Yeah, yes, right. 
But yeah, Milton Subotsky, who 

105
00:06:47,960 --> 00:06:53,840
wrote it, he has a a long list 
of credits as as a film 

106
00:06:53,840 --> 00:06:56,560
screenwriter, but pretty much 
everything is adaptations. 

107
00:06:56,760 --> 00:07:01,600
He he ran Amicus Productions and
he is the credited scriptwriter 

108
00:07:01,600 --> 00:07:04,200
of most of the Amicus 
portmanteau films. 

109
00:07:04,520 --> 00:07:06,800
I think he was the credited 
scriptwriter of Doctor Who and 

110
00:07:06,800 --> 00:07:10,240
the Daleks as well. 
But then, but all these things 

111
00:07:10,240 --> 00:07:13,120
are adaptations of other 
people's work. 

112
00:07:14,200 --> 00:07:17,200
The only film I'm aware of him 
having written before, it's 

113
00:07:17,200 --> 00:07:21,000
Trapdad, is a truly dire 
teensploitation film called Rock

114
00:07:21,000 --> 00:07:23,280
Rock Rock starring the DJ Alan 
Freed. 

115
00:07:23,640 --> 00:07:28,120
And to give you an idea of how 
that is, that's like this seems 

116
00:07:28,120 --> 00:07:30,600
to have been intended to be was 
just an excuse for a bunch of 

117
00:07:30,600 --> 00:07:33,800
musical performances. 
But it was such a threadbare 

118
00:07:33,800 --> 00:07:37,240
excuse that there is one scene 
where literally the protagonist 

119
00:07:37,240 --> 00:07:40,840
and her friend sit down in front
of the TV for 15 solid minutes 

120
00:07:40,840 --> 00:07:43,160
and we just see what they're 
seeing on TV, which, which is a 

121
00:07:43,160 --> 00:07:47,840
bunch of musical, you know, 
it's, it's that badly, badly 

122
00:07:47,840 --> 00:07:50,160
written, some great, some great 
performances. 

123
00:07:50,160 --> 00:07:51,680
People like Chuck Berry and 
stuff in that film. 

124
00:07:51,680 --> 00:07:54,760
But you know, as as a film, it's
it's worthless. 

125
00:07:55,360 --> 00:07:57,160
And that film also is in the 
public domain. 

126
00:07:57,160 --> 00:07:59,400
So anybody wants to see it, you 
can find out on its Wikipedia 

127
00:07:59,400 --> 00:08:00,800
page. 
But I really wouldn't recommend 

128
00:08:00,800 --> 00:08:04,560
it for. 
For, for these these, the 

129
00:08:04,560 --> 00:08:06,400
handful of films like this that 
I've seen. 

130
00:08:06,520 --> 00:08:07,440
If you like. 
Yeah. 

131
00:08:08,440 --> 00:08:12,400
The common motif, if you like, 
is that yeah, you you get the 

132
00:08:12,560 --> 00:08:15,600
the sort of current flavours of 
the month and some more 

133
00:08:15,600 --> 00:08:17,200
established acts. 
Yeah. 

134
00:08:17,480 --> 00:08:21,560
To to crank out a hit or two and
you've got all mostly teenage 

135
00:08:21,560 --> 00:08:25,920
extras nodding, swaying or 
twisting along with varying 

136
00:08:25,920 --> 00:08:29,480
degrees of enthusiasm. 
Yes, the plot is the most by the

137
00:08:29,480 --> 00:08:33,679
numbers version of this plot. 
It's the man of the small town 

138
00:08:33,679 --> 00:08:37,840
where our heroes live is, is an 
an old man who who thinks that 

139
00:08:37,840 --> 00:08:40,400
thinks that this music that the 
that the teenagers listen to, 

140
00:08:40,640 --> 00:08:43,200
it's bad and wrong and must must
be banned because it's evil. 

141
00:08:43,480 --> 00:08:46,080
So the kids decide to put on a 
show with all that all their 

142
00:08:46,080 --> 00:08:49,560
favorite act you know, to prove 
to those old squares that the in

143
00:08:49,800 --> 00:08:52,880
fact the the music the teenagers
like is is good and makes 

144
00:08:52,880 --> 00:08:55,920
everybody happy and everybody 
has a dance at the end. 

145
00:08:57,040 --> 00:08:59,520
Well, you've you've summed it up
very neatly. 

146
00:08:59,520 --> 00:09:03,640
I I I've actually prepared a 
summary of what plot there is. 

147
00:09:03,640 --> 00:09:06,200
Yeah, yeah. 
I mean there is there is more 

148
00:09:06,200 --> 00:09:07,720
detail and please go ahead with 
that. 

149
00:09:07,840 --> 00:09:13,560
But but that that Oval shape, I 
have seen at least 50 films with

150
00:09:13,560 --> 00:09:17,880
that, with that basic, basic 
story, you know, and of them 

151
00:09:17,880 --> 00:09:20,560
all, this is by far the best as 
a film so. 

152
00:09:21,240 --> 00:09:25,040
Yeah, so, OK, so look, we're not
talking about spoilers here. 

153
00:09:25,040 --> 00:09:28,840
No one's going to watch this 
wanting to watch, you know, a 

154
00:09:28,840 --> 00:09:31,200
tightly scripted piece of 
cinema. 

155
00:09:31,320 --> 00:09:33,480
No, no. 
But we have. 

156
00:09:34,000 --> 00:09:36,600
We have Helen and Craig now. 
So this is Helen Shapiro, who I 

157
00:09:36,600 --> 00:09:38,560
believe is 15. 
Yeah, that's right. 

158
00:09:38,560 --> 00:09:41,800
When this was being filmed, she 
was allowed to finish school 

159
00:09:41,840 --> 00:09:45,160
early three weeks before the end
of term. 

160
00:09:45,640 --> 00:09:50,240
They had an on site, on site 
tutor well while she was filming

161
00:09:50,240 --> 00:09:52,320
this. 
So it's Helen Shapiro and Craig 

162
00:09:52,640 --> 00:09:54,000
Douglas. 
Douglas Yeah, I. 

163
00:09:54,480 --> 00:09:58,840
Think there's a bit of a gulf in
the ages actually, but in this I

164
00:09:58,840 --> 00:10:01,120
believe they're meant to be 
going steady. 

165
00:10:01,760 --> 00:10:05,120
I, I, I think so, although it's,
it's not made particularly 

166
00:10:05,120 --> 00:10:07,520
clear. 
And yes, he, he was, he was 

167
00:10:07,520 --> 00:10:14,320
about 6-7 years older than her. 
So yeah, you know, an age gap, 

168
00:10:14,320 --> 00:10:20,320
but not, not an, an 
insurmountable one at the not, 

169
00:10:20,320 --> 00:10:22,840
not like it's not like 50 or 
something, you know? 

170
00:10:24,360 --> 00:10:26,520
You know, it's not. 
It's not acknowledged, but yeah,

171
00:10:26,520 --> 00:10:28,840
but but Hannon and Craig, they 
regularly gather with their 

172
00:10:28,840 --> 00:10:34,040
friends in this suburban coffee 
shop run by Timothy Bateson, and

173
00:10:34,040 --> 00:10:36,720
the TV and the jukebox compete 
for their attention. 

174
00:10:37,560 --> 00:10:40,360
And as you mentioned before, the
the the rather self important 

175
00:10:40,360 --> 00:10:44,400
local mayor, played by the actor
Felix Felton, who I wasn't 

176
00:10:44,400 --> 00:10:48,520
really familiar with. 
But he he drops in one day for a

177
00:10:48,520 --> 00:10:52,680
cappuccino and is appalled by 
what he describes through 

178
00:10:53,320 --> 00:10:56,640
quivering jowls as creeping 
jazzism. 

179
00:10:58,880 --> 00:11:01,400
And he serves a writ on Mr. 
Bateson prohibiting him from 

180
00:11:01,400 --> 00:11:04,160
playing music on the premises 
for public enjoyment without a 

181
00:11:04,160 --> 00:11:08,040
license. 
But being enterprising souls, 

182
00:11:08,040 --> 00:11:12,000
Helen and Craig hit on the the 
idea of organising a musical 

183
00:11:12,000 --> 00:11:15,920
event which will showcase pop 
music and try jazz and any luck 

184
00:11:16,080 --> 00:11:18,360
win hope for public opinion to 
the extent that the miserable 

185
00:11:18,360 --> 00:11:20,880
old mayor and his councillors 
are forced to back down and 

186
00:11:20,880 --> 00:11:25,920
remove the banning orders. 
As I look, I appreciate the, you

187
00:11:25,920 --> 00:11:28,080
know, the the plot is fairly 
difficult to follow. 

188
00:11:29,920 --> 00:11:33,360
We have this omnipresent 
narrator played by played by 

189
00:11:33,360 --> 00:11:36,840
Derek Guile and he guides us on 
the way throughout the film. 

190
00:11:37,000 --> 00:11:41,320
And non non British listeners 
may know Derek Geiler from his 

191
00:11:41,840 --> 00:11:45,120
short yet memorable appearance 
in A Hard Day's Night as the 

192
00:11:45,240 --> 00:11:48,520
police station Sergeant who 
offers Paul's grandfather a cup 

193
00:11:48,520 --> 00:11:50,200
of tea. 
He was in so much stuff that I, 

194
00:11:50,360 --> 00:11:52,800
I imagine that people who are 
listening to this have probably 

195
00:11:52,800 --> 00:11:56,800
seen various other things, 
things he was in, you know, it 

196
00:11:56,800 --> 00:11:58,360
was, it was in Sykes and so on, 
wasn't he? 

197
00:11:58,360 --> 00:12:01,800
And I, I imagine the the 
majority of the listeners here 

198
00:12:01,800 --> 00:12:04,360
will have at least seen a few 
episodes of Sykes because, 

199
00:12:04,680 --> 00:12:08,920
because of the goons connection.
He is somebody who is very known

200
00:12:08,920 --> 00:12:12,480
to people of our generation and 
older in Britain, but who is 

201
00:12:12,480 --> 00:12:15,960
not, not a known face elsewhere.
Yeah. 

202
00:12:16,360 --> 00:12:21,080
Once Upon a time, in a small 
town which will be nameless, 

203
00:12:25,440 --> 00:12:32,840
there was a boy, a girl and some
assaulted parents. 

204
00:12:34,960 --> 00:12:37,520
Now in this town there was a 
mayor. 

205
00:12:38,520 --> 00:12:42,760
One day the mayor decided he'd 
like a quiet cup of coffee. 

206
00:12:43,120 --> 00:12:46,600
I'd like a quiet cup of coffee. 
But he was a virtuoso on a 

207
00:12:46,600 --> 00:12:48,640
particular unusual instrument, 
wasn't he? 

208
00:12:49,200 --> 00:12:52,240
Was he? 
Yeah, the washboard. 

209
00:12:52,600 --> 00:12:54,960
Oh right, I I was actually not 
aware of that. 

210
00:12:56,160 --> 00:12:59,240
Oh, right. 
You've learned something from 

211
00:12:59,480 --> 00:13:01,440
me. 
No, he was. 

212
00:13:01,440 --> 00:13:04,360
He was quite he was quite a 
celebrated player of the 

213
00:13:04,360 --> 00:13:23,840
washboard. 
OK, so just just to wrap this 

214
00:13:23,840 --> 00:13:27,880
up, so, so Helen and and Craig, 
they, they want to find a disc 

215
00:13:27,880 --> 00:13:31,280
jockey who can assist and they 
eventually enlist the help of 

216
00:13:31,360 --> 00:13:36,600
Alan Freeman, Pete Murray, who I
believe is still with us and is 

217
00:13:36,600 --> 00:13:38,920
going to be 100 this year. 
That's right. 

218
00:13:39,800 --> 00:13:43,000
And David Jacobs, Brian Matthew 
was due to appear, but he pulled

219
00:13:43,000 --> 00:13:45,600
out. 
Oh, that's a shame, Yeah. 

220
00:13:46,520 --> 00:13:49,440
And they find themselves in an 
in an ATV television studio, 

221
00:13:49,440 --> 00:13:53,920
which has just kind of 
foreshadows Hard Day's night a 

222
00:13:54,000 --> 00:13:57,800
few years later. 
There there's also they're in a 

223
00:13:57,800 --> 00:14:02,280
nightclub cabaret and and the 
mayor learns of the upcoming 

224
00:14:02,280 --> 00:14:05,240
musical Dubbins and is bent upon
scuppering it. 

225
00:14:05,880 --> 00:14:09,120
And he wants to prevent the bus 
carrying the performers from 

226
00:14:09,120 --> 00:14:12,520
reaching the venue. 
But the bus manages to evade the

227
00:14:12,520 --> 00:14:17,280
rather ineffective roadblock. 
And the the bus arrives and and 

228
00:14:17,280 --> 00:14:20,480
they put on the show. 
And even the even the crusty old

229
00:14:20,480 --> 00:14:24,440
mare and his sidekick Arthur 
Mullard can't resist the 

230
00:14:24,440 --> 00:14:28,640
unrepentant rhythms in a scene 
hoofing it along to the music as

231
00:14:28,640 --> 00:14:32,200
the credits roll. 
So that's that's a very 

232
00:14:32,200 --> 00:14:34,920
simplistic, what's not it's 
that's the plot. 

233
00:14:36,440 --> 00:14:38,840
That's probably more detailed 
than than actually than Milton 

234
00:14:38,880 --> 00:14:40,800
Tboski looked down in his 
script. 

235
00:14:40,920 --> 00:14:43,000
You know well, Richard, Lester 
said. 

236
00:14:44,480 --> 00:14:47,720
You say Lester didn't really go 
on record about this film much. 

237
00:14:47,720 --> 00:14:51,680
I found a little bit of 
information at the time and and 

238
00:14:51,800 --> 00:14:55,800
Lester was interviewed while 
making the film and he said he 

239
00:14:55,800 --> 00:14:59,800
was handed what he assumed to be
an 18 page treatment by support.

240
00:14:59,800 --> 00:15:02,080
Yes, yes. 
But then then he was informed 

241
00:15:02,080 --> 00:15:05,120
this was this was actually the 
shooting script and he said, he 

242
00:15:05,120 --> 00:15:06,480
said. 
So I just turned it around and 

243
00:15:06,480 --> 00:15:09,680
made it, yeah, made it send 
itself up. 

244
00:15:09,880 --> 00:15:14,160
That's that's exactly what I had
assumed the process was because 

245
00:15:14,520 --> 00:15:18,480
having having seen Subotsky's 
other work had knowing 

246
00:15:18,600 --> 00:15:21,880
Subotsky's methods and having 
seen Lester's other work, it's 

247
00:15:21,920 --> 00:15:26,400
very, very clear that this film 
was not written by the credited 

248
00:15:26,400 --> 00:15:29,840
scriptwriter. 
You know, an 8 an 18 page 

249
00:15:29,880 --> 00:15:32,520
treatment is frankly more than 
more than I expected it to have 

250
00:15:32,520 --> 00:15:35,440
been. 
This is a film that is clever, 

251
00:15:35,440 --> 00:15:38,280
that is witty, that is 
constantly breaking the 4th 

252
00:15:38,280 --> 00:15:41,200
wall, that is constantly doing 
little cinematic tricks. 

253
00:15:41,200 --> 00:15:43,840
So you have you have a scene 
where Howard Shapiro and Craig 

254
00:15:43,840 --> 00:15:46,360
Douglas want to get from one 
place to another and they just 

255
00:15:46,360 --> 00:15:51,200
stand in place and the, the the 
film move side, move sideways. 

256
00:15:51,200 --> 00:15:53,720
You see the sprockets and then 
then there's a different 

257
00:15:53,720 --> 00:15:55,360
background, those kind of 
things. 

258
00:15:55,520 --> 00:15:58,720
Or like you're saying that we're
talking about the roadblock that

259
00:15:58,720 --> 00:16:03,280
the mayor and Arthur Mullard put
put up the the bus bounces off 

260
00:16:03,360 --> 00:16:06,600
this rope that they've put up 
and on the little, the little 

261
00:16:06,600 --> 00:16:09,440
model that Arthur Mullard and 
the mayor are using to to plot 

262
00:16:09,440 --> 00:16:13,080
what's happening. 
The bus bounces back off that it

263
00:16:13,120 --> 00:16:18,600
it it's a very Warner Brothers 
cartoon influenced thing for a 

264
00:16:18,600 --> 00:16:21,800
lot of this. 
And you get none of that in 

265
00:16:21,800 --> 00:16:24,560
anything else Subotsky did. 
But of course that that kind of 

266
00:16:24,560 --> 00:16:27,720
comedy is throughout Lester's 
work, isn't it? 

267
00:16:27,720 --> 00:16:31,160
You know, from running, jumping,
standing still film before 

268
00:16:31,360 --> 00:16:34,120
before this right through to 
something like Superman 3. 

269
00:16:36,120 --> 00:16:39,440
He has a very, very clear 
director of your style and a 

270
00:16:39,440 --> 00:16:44,200
very, very clear vision. 
And it's entirely, blatantly 

271
00:16:44,200 --> 00:16:47,240
obvious that Richard Richard 
Lester wrote this script in in 

272
00:16:47,240 --> 00:16:51,560
everything but name. 
He, he was clearly quite a, 

273
00:16:51,560 --> 00:16:54,280
quite a decent comedy writer 
himself, You know, he, he he 

274
00:16:54,280 --> 00:16:56,000
wasn't, he wasn't a Spank 
Milligan or something like that.

275
00:16:56,000 --> 00:16:59,560
But he was clearly more, more 
than capable of writing this 

276
00:16:59,560 --> 00:17:00,440
stuff. 
Yeah. 

277
00:17:01,280 --> 00:17:04,200
I've seen, I've read a lot of 
reviews from the time of this 

278
00:17:04,200 --> 00:17:07,880
film and the the one thing that 
sort of runs through all these 

279
00:17:07,880 --> 00:17:11,160
reviews, you know, they, they, 
they kind of dismiss the plot 

280
00:17:11,359 --> 00:17:14,079
for what it is, but they. 
But for example, The Hollywood 

281
00:17:14,079 --> 00:17:19,240
Reporter said what makes this 
movie outstanding for at least 

282
00:17:19,359 --> 00:17:22,800
for at least 2/3 of the way, is 
that it's director and producer 

283
00:17:22,800 --> 00:17:25,440
have attacked A hackneyed form 
with style and wit. 

284
00:17:25,880 --> 00:17:28,079
The familiar premise for these 
films has been crossed with 

285
00:17:28,079 --> 00:17:31,320
British humour and the French 
New Wave with delightful 

286
00:17:31,320 --> 00:17:32,600
results. 
Yeah, right. 

287
00:17:33,280 --> 00:17:35,800
And the and the Daily Mirror 
said a bright new director, Dick

288
00:17:35,800 --> 00:17:38,760
Lester, keeps the screen 
constantly alive with offbeat 

289
00:17:38,760 --> 00:17:42,980
ideas and wit. 
So, yeah, that that's the take 

290
00:17:42,980 --> 00:17:45,240
away that most people took from 
this film. 

291
00:17:45,760 --> 00:17:46,960
Now, Richard Lester, do you want
to? 

292
00:17:48,040 --> 00:17:50,600
I know you've talked about 
Richard Lester, for Was It the 

293
00:17:50,600 --> 00:17:52,840
Hard Day's Night? 
Yes, 500. 

294
00:17:52,840 --> 00:17:57,320
Songs do you do you have just a 
quick chat about his his sort of

295
00:17:57,320 --> 00:18:02,000
how we got to this point? 
Now forgive me, I, I, I often 

296
00:18:02,000 --> 00:18:04,920
get details a little bit wrong 
when, when I do this kind of 

297
00:18:04,920 --> 00:18:06,360
thing. 
It's, it's worth pointing out, 

298
00:18:06,680 --> 00:18:09,080
I, I have a reputation for 
getting for getting things 

299
00:18:09,080 --> 00:18:11,000
scrupulously right on my 
podcast. 

300
00:18:11,000 --> 00:18:16,000
So, but that's with me having 
written a script in there, I can

301
00:18:16,000 --> 00:18:19,360
Fact Check things. 
So, so please, please understand

302
00:18:19,360 --> 00:18:21,240
that that I will probably 
probably get some of the, some 

303
00:18:21,240 --> 00:18:24,680
of the details wrong and 
misremember things here, you 

304
00:18:24,680 --> 00:18:28,800
know. 
But yeah, he, he had done a 

305
00:18:28,840 --> 00:18:33,520
little bit of work in the state.
He'd got into TV very, very 

306
00:18:33,520 --> 00:18:37,240
young, like in like the very 
early 50s when he, when he was a

307
00:18:37,240 --> 00:18:41,480
teenager himself. 
And he'd, I think he'd 

308
00:18:41,480 --> 00:18:46,560
originally started out doing 
music for TV, but he worked his 

309
00:18:46,560 --> 00:18:51,160
way up to, to being ATV director
basic basically because at, at 

310
00:18:51,160 --> 00:18:54,880
the time in the States, nobody 
was involved in TV really. 

311
00:18:55,160 --> 00:18:58,960
And so you, you, you know, like 
I say, very, very early 50s, it 

312
00:18:58,960 --> 00:19:02,600
was just take whatever job's 
going and and like he he so 

313
00:19:02,600 --> 00:19:06,560
yeah, he ends up directing 
episodes and then he comes 

314
00:19:06,600 --> 00:19:11,280
outcomes over to Europe and, and
I think for a while he was a 

315
00:19:11,280 --> 00:19:13,720
busker. 
But then then he then he goes 

316
00:19:14,320 --> 00:19:18,640
comes to Britain and starts 
working on what one of those 

317
00:19:19,360 --> 00:19:22,720
film shows that that was meant, 
like half hour shows that was 

318
00:19:22,720 --> 00:19:26,360
meant to be made for the export 
market that they had a lot of at

319
00:19:26,360 --> 00:19:29,520
the at the time, you know. 
The oh, was it? 

320
00:19:29,520 --> 00:19:31,160
Was it? 
Was it called Mark Sabre? 

321
00:19:31,160 --> 00:19:34,560
That's that's the one, yes. 
And it was one like that, yeah. 

322
00:19:34,920 --> 00:19:37,800
So he he starts, he starts 
direct directing that. 

323
00:19:37,800 --> 00:19:42,080
And then Peter Sellers sees a 
show that that Richard Lester 

324
00:19:42,080 --> 00:19:46,480
did Lester did his did his own 
show where he was. 

325
00:19:46,640 --> 00:19:48,800
He was the star as well, as I 
recall. 

326
00:19:49,720 --> 00:19:54,360
And there was only one episode 
of it went out and it, it, it 

327
00:19:54,400 --> 00:19:58,240
was considered like a, a massive
failure, but it was a sort of 

328
00:19:58,240 --> 00:20:00,200
experimental failure. 
And Peter Sellers phoned him 

329
00:20:00,200 --> 00:20:03,640
that night and sort of, sort of 
said I, I can't remember the 

330
00:20:03,640 --> 00:20:05,720
wording, but it was something. 
So he said, yeah, he said, he 

331
00:20:05,720 --> 00:20:07,960
said, he said either that's the 
worst television program that 

332
00:20:07,960 --> 00:20:11,000
I've ever, ever seen, or I think
you're onto something that we 

333
00:20:11,000 --> 00:20:13,040
are aspiring to. 
Yes, exactly. 

334
00:20:13,040 --> 00:20:16,360
Yes, yeah. 
By the way, am I right in saying

335
00:20:16,360 --> 00:20:20,080
that that one episode of the 
Dick Lester Show also had Alan 

336
00:20:20,080 --> 00:20:22,480
Owen? 
I believe so, yes. 

337
00:20:22,480 --> 00:20:26,280
And Alan Owen, of course, starts
out as starts out as an actor 

338
00:20:26,280 --> 00:20:30,440
and transitions into writing. 
And Alan Owen also appears in 

339
00:20:30,760 --> 00:20:35,680
the a show called Fred, doesn't 
he, which which is the the the 

340
00:20:35,680 --> 00:20:38,600
show that Lester starts to 
starts doing Peter Sellers. 

341
00:20:38,600 --> 00:20:41,920
And of course the story about 
that is that it was meant to be 

342
00:20:41,920 --> 00:20:43,240
a televised version of the 
Goons. 

343
00:20:43,240 --> 00:20:45,920
I'm sure you must have done an 
episode on a show called Yeah. 

344
00:20:46,880 --> 00:20:49,000
But for anybody who has not 
listened, that was meant to be a

345
00:20:49,040 --> 00:20:51,920
televised version of the Goons. 
But first, Spike Milligan didn't

346
00:20:51,920 --> 00:20:54,120
want to be involved at all, 
thinking that you couldn't do 

347
00:20:54,120 --> 00:20:58,600
goon style humour on TV. 
And the story, as Lester tells 

348
00:20:58,600 --> 00:21:01,360
it goes, they did. 
They did the first episode with 

349
00:21:02,560 --> 00:21:05,520
like various other of the people
from associated London scripts 

350
00:21:05,520 --> 00:21:07,480
writing writing bits for it 
instead. 

351
00:21:07,920 --> 00:21:12,160
And then but the the night that 
the first episode is broadcast, 

352
00:21:12,320 --> 00:21:14,560
Milligan phones him up and 
starts saying, OK, so for the 

353
00:21:14,560 --> 00:21:16,000
second episode, I want to do 
this. 

354
00:21:16,040 --> 00:21:19,200
I'm talking talking as if it's 
his show all along, you know? 

355
00:21:19,720 --> 00:21:22,000
Absolutely. 
We have two very interesting 

356
00:21:22,000 --> 00:21:25,880
young men now in the studio just
back from Oxford where they've 

357
00:21:25,880 --> 00:21:28,480
been studying music for quite 
some time, Peter and Hugh 

358
00:21:28,480 --> 00:21:31,200
Jampton. 
Good evening, Peter and Hugh. 

359
00:21:32,280 --> 00:21:34,760
Very nice to have you in the 
studio with us and to be 

360
00:21:34,760 --> 00:21:38,200
visiting Ying Tong tonight. 
You've just come down from 

361
00:21:38,200 --> 00:21:39,880
Oxford, haven't you? 
Yes, that's right. 

362
00:21:39,920 --> 00:21:41,720
What were you doing there? 
If I Maybe it's a rude one. 

363
00:21:41,720 --> 00:21:43,960
Studying music. 
Music under Professor WH 

364
00:21:44,000 --> 00:21:45,760
Vickers. 
Oh, WH Vickers? 

365
00:21:45,760 --> 00:21:48,920
Yes. 
Oh, how very nice for you. 29 

366
00:21:48,920 --> 00:21:51,480
years. 29 years. 
Have you Really. 29 years? 

367
00:21:51,840 --> 00:21:53,640
Well, that is a long time, isn't
it? 

368
00:21:53,640 --> 00:21:59,560
And when you think about it, 
tell me I, I mean, I must make 

369
00:21:59,560 --> 00:22:02,640
it quite clear that we know 
we're in on the joke because, 

370
00:22:02,640 --> 00:22:04,880
well, it's not really a joke. 
But let's tell the world, shall 

371
00:22:04,880 --> 00:22:07,920
we? 
These two young men are just off

372
00:22:07,920 --> 00:22:09,840
on a world tour, isn't that 
right? 

373
00:22:10,360 --> 00:22:13,040
But it's a world tour with a 
subtle difference, isn't it? 

374
00:22:13,760 --> 00:22:17,400
I mean, actually, you're going 
to go around the world, walk 

375
00:22:17,400 --> 00:22:22,080
around the world backwards on 
stilts and what else are you 

376
00:22:22,080 --> 00:22:23,880
doing playing those, playing 
sousaphone? 

377
00:22:23,880 --> 00:22:26,680
He's he's flashable. 
Oh, how wonderful. 

378
00:22:28,360 --> 00:22:30,480
And all through the heat and 
everything. 

379
00:22:31,760 --> 00:22:33,640
Oh what it could have been 
bandits and everything. 

380
00:22:34,360 --> 00:22:38,360
So yeah, Lester directs a show 
called Fred, and then he decides

381
00:22:38,360 --> 00:22:41,960
he wants to go into making 
films, supposedly because you 

382
00:22:41,960 --> 00:22:44,240
can. 
At the time all TV was live and 

383
00:22:44,240 --> 00:22:48,240
he wanted to be able to do 
retakes and so then the next, 

384
00:22:48,240 --> 00:22:50,240
the next thing he did of course 
was the Running, jumping, 

385
00:22:50,240 --> 00:22:53,040
standing still film, which 
everybody will be familiar with.

386
00:22:53,960 --> 00:22:56,680
I think he did another short 
after that and and then. 

387
00:22:56,720 --> 00:23:00,040
But then it's Trad Dad was his 
first actual feature film. 

388
00:23:00,440 --> 00:23:03,600
Well, yeah, just you said 
there's something else he did 

389
00:23:03,600 --> 00:23:07,600
after between running, jumping 
and It's Trad Dad, he made a 

390
00:23:07,600 --> 00:23:10,400
short documentary called Have 
Jazz Will Travel. 

391
00:23:11,040 --> 00:23:12,240
Oh, right. 
Yes, that's it. 

392
00:23:12,240 --> 00:23:16,560
Yes, yes and yes. 
And, and he said it was and it 

393
00:23:16,560 --> 00:23:19,760
was he was collaborating with 
the cinematographer was Robert 

394
00:23:19,760 --> 00:23:23,920
Kraska, right, who did who was 
on the Third Man. 

395
00:23:24,280 --> 00:23:27,120
Yeah. 
And Lester said he didn't do a 

396
00:23:27,120 --> 00:23:30,040
terribly good job of of 
capturing the music. 

397
00:23:31,160 --> 00:23:33,960
He said jazz combos both both 
modern and traditional, 

398
00:23:34,320 --> 00:23:37,280
photographed in smoky places 
against black just the abstracts

399
00:23:37,280 --> 00:23:40,720
and close-ups of instruments. 
Yes, yeah, yeah, that's right. 

400
00:23:40,880 --> 00:23:43,400
I I believe I've seen this, but 
it was a while back. 

401
00:23:43,400 --> 00:23:45,560
It didn't make, it didn't make a
huge impression on me. 

402
00:23:45,600 --> 00:23:48,680
I, I should really have checked 
that and watched it again before

403
00:23:48,680 --> 00:23:50,600
talking about this because I'm 
sure it would be interesting to,

404
00:23:51,000 --> 00:23:53,800
to contrast that that with it's 
trad dad. 

405
00:23:54,400 --> 00:23:57,880
One of the things about it's 
trap dad that fascinates me and 

406
00:23:57,880 --> 00:24:01,560
that makes me go back to it is 
the fact that he really does do 

407
00:24:01,600 --> 00:24:05,280
an incredible job of capturing 
the, the musical performances, 

408
00:24:05,280 --> 00:24:08,360
even though they're mostly not 
very good musicians. 

409
00:24:08,360 --> 00:24:11,360
You know, a lot of the acts on 
this, no offence to any of them 

410
00:24:11,360 --> 00:24:15,320
are still alive and listening, 
but a lot of them are not, are 

411
00:24:15,320 --> 00:24:19,440
not top tier performers. 
But in this film, Richard Lester

412
00:24:19,760 --> 00:24:24,880
basically invents the visual 
vocabulary that that we will use

413
00:24:25,240 --> 00:24:28,320
that we that continues to be 
used for pop video and stuff to 

414
00:24:28,320 --> 00:24:30,560
this day. 
And you only, you only really 

415
00:24:30,560 --> 00:24:33,760
get that if you only really 
understand that if you compare 

416
00:24:33,760 --> 00:24:37,120
this to the films that came 
before, before it, you watch 

417
00:24:37,120 --> 00:24:42,840
even a really good 1950s teens 
plotation film. 

418
00:24:43,040 --> 00:24:44,280
And there were a handful of 
them. 

419
00:24:44,280 --> 00:24:48,160
There was the girl can't help 
it, which is probably in, in the

420
00:24:48,160 --> 00:24:51,680
film itself, the closest to this
that was directed by Frank 

421
00:24:51,680 --> 00:24:54,680
Tashan, who was a cartoon 
director before he went into 

422
00:24:54,880 --> 00:24:58,160
before he went into cinema. 
And so there's a lot of a lot of

423
00:24:58,160 --> 00:25:01,400
similar kind, similar kind of 
visual gags and 4th world 

424
00:25:01,400 --> 00:25:03,800
breaking humor and so on. 
Very, very similar kind of film.

425
00:25:05,200 --> 00:25:07,360
Much better film, but that's 
largely because of the music in 

426
00:25:07,360 --> 00:25:08,960
it. 
But you you look at that, or you

427
00:25:08,960 --> 00:25:10,760
look at even something like 
Jailhouse Rock with it's 

428
00:25:10,760 --> 00:25:15,560
elaborate musical sequences, or 
you look at the only good 

429
00:25:15,560 --> 00:25:18,000
British music film prior to 
this, Espresso Bongo. 

430
00:25:18,560 --> 00:25:23,800
And none of the music scenes are
shot as anything other than 

431
00:25:24,200 --> 00:25:27,760
place a stationary camera to in 
front of people doing the 

432
00:25:27,760 --> 00:25:32,240
performance and film, film the 
performance pretty much, pretty 

433
00:25:32,240 --> 00:25:34,480
much as live. 
You can have backing dancers, 

434
00:25:34,480 --> 00:25:38,400
you can have other stuff going 
on, but there's no visual 

435
00:25:38,400 --> 00:25:40,760
imagination there at all in any 
of it. 

436
00:25:41,240 --> 00:25:46,480
And that that tends to be the 
case in most film that that is 

437
00:25:46,480 --> 00:25:49,040
intended to portray straight 
musical performances before 

438
00:25:49,040 --> 00:25:52,200
this, normally speaking, if if 
you're watching something 

439
00:25:52,200 --> 00:25:56,240
interesting to music, which is 
done with any kind of visual 

440
00:25:56,240 --> 00:25:59,640
style or finesse, it tends to be
a a musical. 

441
00:25:59,880 --> 00:26:03,760
And the musical performers are 
are non diegetic. 

442
00:26:03,760 --> 00:26:06,600
You, you tends to be people 
singing and dancing with no real

443
00:26:06,600 --> 00:26:08,200
sound of any of the 
instrumentalists. 

444
00:26:09,080 --> 00:26:12,120
And that that kind of thing you 
have, you must be Berkeley kind 

445
00:26:12,120 --> 00:26:15,480
of kind of stuff or whatever. 
You have lots of visual 

446
00:26:15,480 --> 00:26:16,760
imagination and that kind of 
thing. 

447
00:26:16,920 --> 00:26:19,640
But anything where you've got 
musicians playing diegetically 

448
00:26:19,640 --> 00:26:24,120
in frame, suddenly everybody 
goes, OK, we're going to we're 

449
00:26:24,120 --> 00:26:25,680
going to stand Elvis in the 
middle of the frame. 

450
00:26:25,680 --> 00:26:28,480
We'll have Scotty on the left 
and Bill on the right and DJ in 

451
00:26:28,480 --> 00:26:30,560
the back. 
OK, play, play the song. 

452
00:26:30,920 --> 00:26:33,960
You know, and that's that's 
about the extent of the visual 

453
00:26:33,960 --> 00:26:35,880
imagination and in any of these 
things. 

454
00:26:37,520 --> 00:26:43,040
But Lester is doing is doing 
things like, you know, you'll, 

455
00:26:43,040 --> 00:26:47,480
you'll have almost Citizen Kane 
like deep focus shots where 

456
00:26:47,480 --> 00:26:51,280
where you've got somebody like 
in, in close up playing, playing

457
00:26:51,280 --> 00:26:53,120
a trombone. 
And you can you can see another 

458
00:26:53,120 --> 00:26:56,480
one of the musicians through the
through the trombones tube and 

459
00:26:57,480 --> 00:27:01,320
slide and things of things of 
that nature, split screenshots 

460
00:27:01,320 --> 00:27:05,000
and things like this. 
And literally, as far as I'm 

461
00:27:05,000 --> 00:27:08,200
aware, and I've seen a lot of 
these films, nobody has ever 

462
00:27:08,200 --> 00:27:10,360
done this before. 
Like nobody. 

463
00:27:11,320 --> 00:27:14,080
Yeah, and the Temperance 7 
sequence. 

464
00:27:14,120 --> 00:27:17,240
In the yes, that's the most. 
Effective, I think. 

465
00:27:17,240 --> 00:27:18,400
Yeah, sure. 
Yeah. 

466
00:27:18,560 --> 00:27:21,200
That really, really, really 
worked very, very well. 

467
00:27:21,400 --> 00:27:25,160
And that is clearly what we now 
think of as a music video, isn't

468
00:27:25,160 --> 00:27:33,520
it? 
Let's have a dream, A dream away

469
00:27:34,080 --> 00:27:38,560
romance. 
Cut away from Verizon. 

470
00:27:41,360 --> 00:27:46,240
Let's have a dream, a dream away
romance. 

471
00:27:48,440 --> 00:27:54,560
Get away from the blue. 
After A Hard Day's Night, 

472
00:27:54,600 --> 00:27:57,440
everybody starts copying what 
Lester does in A Hard Day's 

473
00:27:57,440 --> 00:28:00,680
Night visually. 
And it's because of that that 

474
00:28:01,080 --> 00:28:04,120
that becomes the language, you 
know, that's then used in the 

475
00:28:04,120 --> 00:28:07,200
monkeys. 
And it's the IT it just, it just

476
00:28:07,200 --> 00:28:13,240
becomes the standard way that 
you that you portray music, 

477
00:28:13,240 --> 00:28:17,920
musicians on on screen. 
But Lester does it, does it all 

478
00:28:17,920 --> 00:28:21,000
in, in it's trap Dad before he 
does it in A Hard Day's Night. 

479
00:28:21,360 --> 00:28:25,240
And frankly, were it not for the
fact that The Beatles are The 

480
00:28:25,240 --> 00:28:28,520
Beatles, it's Trap Dad is the 
better film in most ways. 

481
00:28:28,520 --> 00:28:32,080
You know? 
Yeah. 

482
00:28:32,320 --> 00:28:38,720
It was fighting words. 
In terms of visual imagination, 

483
00:28:38,760 --> 00:28:42,320
in terms of humour, you know, 
the The Beatles are better 

484
00:28:42,320 --> 00:28:44,240
actors than Helen Shapiro and 
Craig Douglas, and they're 

485
00:28:44,240 --> 00:28:48,720
certainly better, better singers
and musicians than basically 

486
00:28:48,720 --> 00:28:52,040
anybody in It's had that, you 
know, the musically it's, it's a

487
00:28:52,040 --> 00:28:54,480
million light years away and, 
you know, The Beatles have 

488
00:28:54,480 --> 00:28:57,640
actual characters, which Helen 
Shapiro and Craig Douglas don't 

489
00:28:57,640 --> 00:29:00,080
have in this, you know. 
There's a door leading straight 

490
00:29:00,080 --> 00:29:03,600
into the studio. 
Oh yes, when the music finishes,

491
00:29:03,600 --> 00:29:24,600
we'll try and sneak past them. 
Both films are absolutely, 

492
00:29:24,600 --> 00:29:28,280
absolutely full of like, little 
cameos by great, great faces of 

493
00:29:28,320 --> 00:29:30,200
British comedy, aren't they? 
You know there's. 

494
00:29:31,400 --> 00:29:34,520
In in this film, sorry, in this 
in it's triad Dad, you have 

495
00:29:34,520 --> 00:29:37,640
Derek Nimmo. 
Yeah, non speaking role as a as 

496
00:29:37,640 --> 00:29:39,520
a waiter. 
Yeah, of course he turns up in a

497
00:29:39,520 --> 00:29:42,160
non speaking role and credited 
in Hard Day's night. 

498
00:29:42,240 --> 00:29:43,080
Absolutely. 
Yep. 

499
00:29:43,720 --> 00:29:47,960
And Derek Gala in both, Yeah. 
You've got Mario Fabrizio in 

500
00:29:47,960 --> 00:29:50,080
here, who obviously wasn't in 
Hard Day's Night because of 

501
00:29:50,080 --> 00:29:52,840
being dead, you know, But you've
got you've got. 

502
00:29:53,400 --> 00:29:55,560
Yeah, he absolutely would have 
been. 

503
00:29:55,560 --> 00:29:56,520
There's no question, isn't 
there? 

504
00:29:57,000 --> 00:29:58,960
Who else is in this? 
Obviously we mentioned Arthur 

505
00:29:58,960 --> 00:30:01,000
Mallard, Hugh Lloyd, Frank 
Thornton. 

506
00:30:01,320 --> 00:30:03,520
It's it's just, it's just full 
of full of all these great 

507
00:30:03,520 --> 00:30:04,160
people. 
Yeah. 

508
00:30:04,480 --> 00:30:08,480
Frank Thornton, who's playing a 
television producer. 

509
00:30:08,520 --> 00:30:11,720
Yeah, yeah. 
And I'm, I'm quite fond of, I'm 

510
00:30:11,720 --> 00:30:13,840
sure you are Gonks go beat. 
Yes. 

511
00:30:14,200 --> 00:30:16,320
I mentioned as we were watching 
this the other night that 

512
00:30:16,320 --> 00:30:20,760
because in Gonks Go Beat, Frank 
Thornton plays Mr. A&R, Whether 

513
00:30:20,760 --> 00:30:23,600
Mr. A&R was the same character 
sort of transformed. 

514
00:30:23,880 --> 00:30:28,720
Yeah, I, I, I, I can imagine, I 
can imagine he is, yes, that, 

515
00:30:28,720 --> 00:30:32,440
that's actually, that's funny. 
I I just clicked on the IMDb 

516
00:30:32,440 --> 00:30:37,000
page for this and and the the I 
I look look to see if there was 

517
00:30:37,000 --> 00:30:40,120
a photo of Frank as ATV director
because was trying to remember 

518
00:30:40,120 --> 00:30:44,520
does he wear these the same 
sweater that Victor Spinetti 

519
00:30:44,520 --> 00:30:46,360
wears in A Hard Day's Night? 
I think he does, doesn't he? 

520
00:30:46,360 --> 00:30:48,200
I. 
Think so that that that and 

521
00:30:48,360 --> 00:30:51,280
visibly hairy jumper. 
Yeah, the Angola thing I just 

522
00:30:51,280 --> 00:30:55,960
noticed that the the top user 
list for instrad dad is trailers

523
00:30:55,960 --> 00:30:58,040
from Help Presents the Movies 
That Made Me with Andrew Hickey 

524
00:30:58,040 --> 00:31:01,840
Part 2. 
There you go. 

525
00:31:02,120 --> 00:31:03,960
I I, I am. 
I am clearly, I know. 

526
00:31:03,960 --> 00:31:05,920
And it's Trump that person. 
But they are. 

527
00:31:06,120 --> 00:31:11,880
Yes, OK, let's just mention a 
few of the the acts you see 

528
00:31:11,880 --> 00:31:15,880
here, because you said, OK, you 
said that quite a lot of them 

529
00:31:16,080 --> 00:31:18,840
were you didn't say third rate, 
but you, you, you said that 

530
00:31:18,920 --> 00:31:20,600
maybe weren't that weren't that 
great. 

531
00:31:20,600 --> 00:31:22,920
But there's a, there's a few, I 
mean John Layton of. 

532
00:31:23,320 --> 00:31:26,920
Course, yes. 
Yeah, John, John Layton is he. 

533
00:31:26,920 --> 00:31:30,240
He's somebody who is not very 
well known now, but his single 

534
00:31:30,240 --> 00:31:32,960
Johnny Remember Me was was an 
excellent single, but more for 

535
00:31:32,960 --> 00:31:35,320
Joe Meek's production than for 
Leighton himself. 

536
00:31:47,520 --> 00:31:49,000
And the rain is. 
Falling. 

537
00:31:49,200 --> 00:31:52,880
And the wind. 
Is blowing cold across the moon.

538
00:31:56,400 --> 00:31:59,520
He, he was an I think he's still
alive. 

539
00:31:59,520 --> 00:32:03,240
He was an actor first and 
foremost, but he was sort of 

540
00:32:03,520 --> 00:32:08,440
started by Robert Stigwood and 
by Joe Joe Meek, who was who was

541
00:32:08,440 --> 00:32:12,440
the the the producer of Johnny 
Remember Me and he he made some 

542
00:32:12,440 --> 00:32:15,000
fabulous records, but. 
What was that? 

543
00:32:15,040 --> 00:32:18,080
What was that curious sort of 
was it was it a genre or a mini 

544
00:32:18,120 --> 00:32:21,200
genre of the time of, of what 
would you call it, Death pop? 

545
00:32:21,440 --> 00:32:24,840
Yeah, Death discs is the term 
that's that's generally used. 

546
00:32:24,840 --> 00:32:27,240
Yeah, a lot of these came came 
around. 

547
00:32:27,480 --> 00:32:31,080
I think the first one I did, I 
did a Patreon bonus episode on 

548
00:32:31,080 --> 00:32:32,520
this, but it was like 4 or five 
years ago. 

549
00:32:32,520 --> 00:32:34,280
So I I get, I may get on the 
timeline. 

550
00:32:34,560 --> 00:32:38,280
I think the I think the first 
one was a record called Black 

551
00:32:38,280 --> 00:32:40,600
Leather Trousers and Motorcycle 
Boots, which was written by 

552
00:32:40,800 --> 00:32:43,440
Lieberman Stoller. 
But after after that, there was 

553
00:32:43,440 --> 00:32:45,760
a whole run of them for about a 
decade. 

554
00:32:46,360 --> 00:32:47,920
Obviously, Johnny, Remember Me, 
which we're talking about. 

555
00:32:47,920 --> 00:32:51,880
You had things like Terry by 
Twinkle and you had the the sort

556
00:32:51,880 --> 00:32:56,160
of final culmination was was 
with the Shangri LA's leader of 

557
00:32:56,160 --> 00:32:57,960
the pack. 
Which? 

558
00:32:58,560 --> 00:33:02,440
And since then you've had the 
odd sort of pastiche of them, 

559
00:33:02,440 --> 00:33:06,320
like Richard Thompson's 1952 
Vincent Black Lightning, for 

560
00:33:06,320 --> 00:33:10,200
example, is a song very much 
written on this this schemer. 

561
00:33:11,240 --> 00:33:15,760
It was, it was always the exact 
same story, which is the 

562
00:33:15,760 --> 00:33:19,400
rebellious, misunderstood 
teenager whose girlfriend loves 

563
00:33:19,400 --> 00:33:22,160
him, but everybody tells her to 
keep away from keep away from 

564
00:33:22,160 --> 00:33:25,240
him because he's rebellious and 
dark and brooding and handsome 

565
00:33:25,560 --> 00:33:28,800
and he's from the wrong side of 
the tracks and he's only going 

566
00:33:28,960 --> 00:33:30,200
to have bad things happen to 
him. 

567
00:33:30,600 --> 00:33:32,880
And eventually she decides to 
break up with him. 

568
00:33:33,160 --> 00:33:36,880
And then he he goes off and 
immediately dies in a fatal 

569
00:33:36,880 --> 00:33:41,360
crash. 
And some, some sometimes the the

570
00:33:41,520 --> 00:33:43,480
the singer is visited by his 
ghost or similar. 

571
00:33:43,680 --> 00:33:45,560
Now, in the case of Johnny 
Remember Me, which was John 

572
00:33:45,560 --> 00:33:48,120
Leighton's big one, the roles 
are sort of reversed because 

573
00:33:48,120 --> 00:33:50,880
it's a man singing, you know, 
but it's, it's still the same, 

574
00:33:50,880 --> 00:33:53,280
the same kind of thing. 
The other the other main example

575
00:33:53,280 --> 00:33:57,040
of a song in in this style 
that's not quite like that is 

576
00:33:57,240 --> 00:33:59,880
The Beach Boys. 
Don't worry baby, where again, 

577
00:33:59,880 --> 00:34:03,760
because it's the man singing, he
doesn't end up dying at the end,

578
00:34:04,800 --> 00:34:07,560
but it sort of implied that he 
might do and that that one 

579
00:34:07,560 --> 00:34:09,400
you've got. 
She told me, baby, when you race

580
00:34:09,400 --> 00:34:11,400
today, take along my love for 
you and if you knew how much I 

581
00:34:11,400 --> 00:34:12,920
love you, nothing could go wrong
with you. 

582
00:34:13,679 --> 00:34:16,880
But I mean, there was also a 
Dead Man's Curve by Jan and 

583
00:34:16,880 --> 00:34:18,960
Dean, which was another Brian 
Wilson song. 

584
00:34:19,400 --> 00:34:21,600
So there were there were loads 
and loads and loads of these 

585
00:34:21,600 --> 00:34:23,320
things for about a nine year 
period. 

586
00:34:46,600 --> 00:34:51,199
But yeah, so John Layton, he's 
quite prominent in this film. 

587
00:34:51,600 --> 00:34:54,639
But you've got people like 
Chubby Checker. 

588
00:34:54,719 --> 00:34:59,000
Yeah, yeah, Vincent. 
Yeah, Gene Vincent, of course 

589
00:34:59,320 --> 00:35:02,400
was wonderful, but but he at 
this point was in a weird 

590
00:35:02,400 --> 00:35:04,920
position in his career when he'd
had no hits at all in the 

591
00:35:04,920 --> 00:35:07,240
States. 
Bibo Palula was a one hit wonder

592
00:35:07,240 --> 00:35:10,080
thing in the States, but over 
here, because he was one of the 

593
00:35:10,080 --> 00:35:13,440
fewer Americans who'd actually 
come over here to perform at all

594
00:35:14,240 --> 00:35:15,800
because he couldn't get gigs in 
America. 

595
00:35:16,040 --> 00:35:22,080
Over here, he was the big 
American rock star and he'd, and

596
00:35:22,080 --> 00:35:25,120
he'd been very, very big on 
British TV in the late 50s, 

597
00:35:25,120 --> 00:35:30,400
early 60s, but was on the 
downturn of his career in 

598
00:35:30,400 --> 00:35:34,440
Britain at this point after the 
car accident he'd been in with 

599
00:35:34,440 --> 00:35:36,320
Eddie Cochran, where Eddie 
Cochran had died. 

600
00:35:36,600 --> 00:35:39,920
He'd, he'd already been an 
alcoholic and he'd already been 

601
00:35:39,920 --> 00:35:42,400
in lots of chronic pain. 
But, but both of them got worse 

602
00:35:42,400 --> 00:35:46,080
and he became a very heavy drug 
user. 

603
00:35:46,080 --> 00:35:51,360
He was dead within like 6-7 
years of this, you know, so and 

604
00:35:51,480 --> 00:35:54,920
I don't, I, I think it'd already
been, he gave us since his since

605
00:35:54,920 --> 00:35:57,440
his last hit over here. 
But in Britain he was a 

606
00:35:57,440 --> 00:36:00,120
rock'n'roll star in a way that 
he just wasn't in the States. 

607
00:36:00,800 --> 00:36:03,440
But yeah. 
That that, that car crash, am I 

608
00:36:03,480 --> 00:36:05,120
right? 
Am I right in remembering that 

609
00:36:05,480 --> 00:36:08,600
either you or or our friend Tilt
mentioned it that wasn't one of 

610
00:36:08,600 --> 00:36:11,320
the policemen on the scene? 
Dave Dee. 

611
00:36:11,360 --> 00:36:15,080
Yes, Dave, Dave Dee. 
Later of Dozy Beaky, Mick and 

612
00:36:15,080 --> 00:36:18,480
Titch fame, yeah. 
Yeah, yes, Dave, Dave Dee was, 

613
00:36:18,760 --> 00:36:20,560
was one of the policemen on the 
scene there. 

614
00:36:20,960 --> 00:36:22,600
Yeah. 
And just just one of those 

615
00:36:22,600 --> 00:36:26,360
little weird coincidences, or in
another weird coincidence, the 

616
00:36:26,360 --> 00:36:29,360
driver of the car was called 
George Martin. 

617
00:36:30,200 --> 00:36:33,840
That's right. 
That's right, just on George 

618
00:36:33,840 --> 00:36:35,400
Martin. 
It's a It's a That's a handy 

619
00:36:35,400 --> 00:36:39,640
little Segway, a good excuse 
just to talk briefly about the 

620
00:36:39,640 --> 00:36:42,040
musical director for this film. 
Yeah. 

621
00:36:42,520 --> 00:36:46,600
He was a a bitter rival. 
Yes, Ken Thorne, Yeah. 

622
00:36:47,720 --> 00:36:50,840
Oh, Nori Paramore. 
Oh, you're talking. 

623
00:36:50,880 --> 00:36:55,200
You're talking about the one who
recorded the Ken Thorne, did the

624
00:36:55,200 --> 00:36:58,880
incidental music for the film, 
and he was also apparently a bit

625
00:36:58,880 --> 00:37:01,400
of a rival with George Martin. 
Yeah. 

626
00:37:02,320 --> 00:37:06,680
Or at least there was apparently
some disgruntlement between them

627
00:37:06,720 --> 00:37:09,680
after Ken Thorne got chosen to 
do the music for help rather 

628
00:37:09,680 --> 00:37:11,920
than George Martin. 
I can't, I can't remember the 

629
00:37:11,920 --> 00:37:14,000
details, but that was. 
But yes, of course. 

630
00:37:14,760 --> 00:37:17,960
Yeah. 
Nori Nori Paramore produced most

631
00:37:17,960 --> 00:37:21,880
of most of the music for this, 
although not not every track. 

632
00:37:21,880 --> 00:37:27,320
For example, the John later one,
Lonely City is a is a Joe Meek 

633
00:37:27,320 --> 00:37:30,400
production. 
And I believe, I believe that 

634
00:37:31,080 --> 00:37:33,960
the Temperate 7 tracks will be 
produced by George Martin 'cause

635
00:37:33,960 --> 00:37:36,280
he was there, he was their 
producer, Yeah. 

636
00:37:36,320 --> 00:37:38,960
But yeah, I think, I think most,
most of the rest of it is 

637
00:37:38,960 --> 00:37:41,000
produced by Nabi Paramore. 
Yes, Yeah. 

638
00:37:41,760 --> 00:37:44,600
And do you just just sorry, keep
going all over the place? 

639
00:37:44,600 --> 00:37:46,240
No, no, no. 
You mentioned the temperate 7 

640
00:37:46,240 --> 00:37:47,000
again. 
Yeah. 

641
00:37:47,320 --> 00:37:51,440
And and how we I think we both 
agree that their sequence in the

642
00:37:51,440 --> 00:37:52,880
film was the most visually 
arresting. 

643
00:37:53,080 --> 00:37:54,080
Absolutely. 
Yes. 

644
00:37:54,600 --> 00:37:58,040
Was Do you think that's because 
of the nature of, of the, you 

645
00:37:58,200 --> 00:38:00,280
know, because they were slightly
eccentric and they were. 

646
00:38:00,640 --> 00:38:05,480
I, I, I suspect they, they, they
must, they must both, both more 

647
00:38:05,480 --> 00:38:09,840
eccentric performers and they 
were more arty, you know, I, I, 

648
00:38:10,040 --> 00:38:12,800
I think, I think they were the 
ones who were most, most eager 

649
00:38:12,800 --> 00:38:15,160
to go along with it with Richard
Lester. 

650
00:38:16,160 --> 00:38:18,480
For those those who don't know, 
well, we haven't really 

651
00:38:18,480 --> 00:38:20,360
explained even what Trad is at 
this point, have we? 

652
00:38:20,560 --> 00:38:25,400
Trad was a, a musical movement 
in the 50s in Britain where 

653
00:38:25,400 --> 00:38:32,160
people were trying to slavishly 
recreate 1920s New Orleans jazz.

654
00:38:32,360 --> 00:38:34,240
That was the, that was the 
original idea of it. 

655
00:38:34,560 --> 00:38:38,000
And people like Humphrey 
Littleton and Chris Barber, 

656
00:38:39,000 --> 00:38:42,160
these, these kind of people were
making records that were just 

657
00:38:42,680 --> 00:38:45,560
note for note recreations of the
of music was made before about 

658
00:38:45,560 --> 00:38:47,960
1927 in New Orleans was, was 
their aim. 

659
00:38:48,880 --> 00:38:53,600
So some of them would would get 
very, very, very dogmatic about 

660
00:38:53,600 --> 00:38:56,760
this. 
And like, yeah, we, we, we can't

661
00:38:56,760 --> 00:38:58,600
have anything from Chicago in 
the 1920s. 

662
00:38:58,600 --> 00:39:00,480
So we can't have anything from 
after 1927. 

663
00:39:00,480 --> 00:39:03,040
You know, once, once Louis 
Armstrong formed his Hot 5, 

664
00:39:03,040 --> 00:39:05,480
that's, that's what, that's when
music, music went downhill. 

665
00:39:05,480 --> 00:39:08,400
It'll never be the same again. 
You know, there were, there were

666
00:39:08,400 --> 00:39:10,560
bands that split up because 
somebody suggested doing a Duke 

667
00:39:10,560 --> 00:39:12,600
Ellington tune, you know, that, 
that, that kind of thing. 

668
00:39:13,000 --> 00:39:18,600
But but that that was that was 
trad as it was in the 50s and it

669
00:39:19,080 --> 00:39:23,120
the, the trad music actually 
spawn things like the skiffle 

670
00:39:23,120 --> 00:39:26,640
craze and so on the the track 
bands would have breakout 

671
00:39:26,640 --> 00:39:28,760
sessions where they play skiffle
music as well. 

672
00:39:28,760 --> 00:39:32,000
And that's that's where, you 
know, Rock Island Line by Lonnie

673
00:39:32,000 --> 00:39:36,720
Donegan was recorded during a 
session for a Chris Barber tried

674
00:39:36,720 --> 00:39:37,880
album. 
Oh. 

675
00:39:38,120 --> 00:39:40,520
Yeah, because you, because you, 
you mentioned about Chris Barber

676
00:39:40,520 --> 00:39:41,960
going to to a Humphrey 
Littleton. 

677
00:39:42,320 --> 00:39:44,040
That's that's right, yeah, 
Chris. 

678
00:39:44,080 --> 00:39:47,120
Chris Barber is largely 
responsible for the British 

679
00:39:47,120 --> 00:39:50,920
Blues boom and for the existence
of the Marquee Club in London, 

680
00:39:51,440 --> 00:39:52,840
for the existence of the Reading
Festival. 

681
00:39:52,840 --> 00:39:56,200
And basically you don't get 
British rock music without him 

682
00:39:56,600 --> 00:40:01,120
because he brought over all the 
the Blues musicians who inspired

683
00:40:01,120 --> 00:40:03,320
people like The Rolling Stones 
and the Animals and all those 

684
00:40:03,320 --> 00:40:06,560
kind of bands. 
And he only became a musician 

685
00:40:06,680 --> 00:40:09,320
because he went to a Humphrey 
Littleton gig and sat in the 

686
00:40:09,320 --> 00:40:11,520
front row. 
And halfway through the gig, the

687
00:40:11,520 --> 00:40:14,560
trombone player leaned over and 
said, said to Chris Barber, who 

688
00:40:14,560 --> 00:40:17,440
was like 15 at the time, kid, do
you want to buy a trombone? 

689
00:40:17,760 --> 00:40:21,680
And Chris Barber said, how much?
And he said, I, I think the 

690
00:40:21,680 --> 00:40:24,560
number was £5.10 shillings. 
But it was some, some amount of 

691
00:40:24,560 --> 00:40:25,280
money. 
Yeah. 

692
00:40:25,560 --> 00:40:27,480
And Chris Barber checked his 
pocket, and he happened to have 

693
00:40:27,480 --> 00:40:29,600
exactly £5.10 shillings in his 
pocket. 

694
00:40:29,680 --> 00:40:31,640
So he said, all right, and 
bought the trombone. 

695
00:40:31,640 --> 00:40:33,200
And that's why he became a 
trombonist. 

696
00:40:34,240 --> 00:40:37,400
And and did this trombonist 
immediately get fired by 

697
00:40:37,400 --> 00:40:40,200
Humphrey Littleton for not being
able to play as trombone 

698
00:40:40,200 --> 00:40:42,360
anymore? 
Have a spare one? 

699
00:40:42,640 --> 00:40:46,000
History doesn't relate. 
I I, I presume they sort of made

700
00:40:46,000 --> 00:40:48,040
the exchange at the end of the 
gig or something like that. 

701
00:40:48,040 --> 00:40:49,560
But but. 
Not halfway through. 

702
00:40:50,800 --> 00:40:54,840
But that's, yeah, that that's 
that's how Chris Barber, who who

703
00:40:54,840 --> 00:40:57,240
became one of the biggest 
musicians in Britain in the 50s,

704
00:40:57,480 --> 00:41:01,360
it became a trad musician. 
The camera swing from Kenny 

705
00:41:01,360 --> 00:41:04,800
Balls, Jasmine will swing with 
Chris Barber and Yellow Dog 

706
00:41:04,800 --> 00:41:34,080
Blues. 
But by this point this is like 8

707
00:41:34,080 --> 00:41:37,600
to 10 years after the peak of 
trad as a musical subculture. 

708
00:41:38,440 --> 00:41:41,560
There'd been this sort of 
watered down commercialised 

709
00:41:41,560 --> 00:41:46,200
version of it that it had a lot 
of minor chart successors. 

710
00:41:46,200 --> 00:41:50,080
People like people like Akebilk 
and so on were, were having hits

711
00:41:50,080 --> 00:41:54,200
with what was often not far, not
far from just being Muzak at 

712
00:41:54,200 --> 00:41:56,360
this point. 
It certainly wasn't this sort of

713
00:41:56,680 --> 00:42:00,760
rigorous trying to be authentic 
to to, you know, it was, it was 

714
00:42:00,800 --> 00:42:03,320
far more commercial and you can 
make arguments as to, you know, 

715
00:42:04,480 --> 00:42:08,280
whether that's better or worse. 
And frankly, I, I am not a huge 

716
00:42:08,280 --> 00:42:10,880
fan of a lot of this music in in
either capacity. 

717
00:42:11,160 --> 00:42:13,640
But though some of the some of 
the stuff that Chris Bob and 

718
00:42:13,640 --> 00:42:15,840
hopefully a little to do in the 
50s is actually very good. 

719
00:42:15,840 --> 00:42:19,120
But but in general, it wasn't a 
musical subculture that made any

720
00:42:19,120 --> 00:42:20,880
anything of any great lasting 
worth. 

721
00:42:21,400 --> 00:42:25,120
But by by this point, it's gone 
into a far more sort of poppy 

722
00:42:25,120 --> 00:42:27,600
style. 
But that's also meant that a 

723
00:42:28,000 --> 00:42:32,080
group of art students who 
created the Temperate 7, it's 

724
00:42:32,080 --> 00:42:34,760
almost a sort of concept, 
conceptual art thing. 

725
00:42:35,120 --> 00:42:40,160
And they they were performing 
recreations of old 20s novelty 

726
00:42:40,160 --> 00:42:44,280
songs, sort of. 
Before the Bonzos, yes, sort of 

727
00:42:44,480 --> 00:42:47,720
like like the the Alberts. 
Yes, they were, they were very, 

728
00:42:47,840 --> 00:42:50,240
they were very influential on 
both the Bonzos and the Alberts.

729
00:42:50,240 --> 00:42:52,840
And I can't remember exactly, 
but I believe that there was at 

730
00:42:52,840 --> 00:42:54,680
least one member of the 
Temperance Seven who went on to 

731
00:42:54,680 --> 00:42:55,960
be in the Alberts or something 
like that. 

732
00:42:55,960 --> 00:42:58,680
There was, there was certainly 
some sort of fluidity between 

733
00:42:58,680 --> 00:43:01,760
those two, but they were, they 
were, they were very obviously a

734
00:43:01,760 --> 00:43:04,640
huge influence on the Bonzos as 
well, who came along like 3-4 

735
00:43:04,640 --> 00:43:08,160
years after this. 
But the the temp, the temperate 

736
00:43:08,160 --> 00:43:13,200
Seven were a novelty act, but a 
novelty act that had space 

737
00:43:13,200 --> 00:43:17,120
created for them by the 
existence of the the trap, the 

738
00:43:17,120 --> 00:43:20,400
trap movement. 
And they'd had a number one hit 

739
00:43:20,400 --> 00:43:24,360
the year earlier that George 
Martin had actually produced for

740
00:43:24,360 --> 00:43:28,760
them. 
And I, I, I believe that they'd 

741
00:43:28,760 --> 00:43:31,960
also had a hit in the States. 
But yeah, they're they're most 

742
00:43:31,960 --> 00:43:35,280
of you're driving me crazy was 
yeah, certainly was number one 

743
00:43:35,280 --> 00:43:38,800
over here. 
And they had another few top ten

744
00:43:38,800 --> 00:43:42,720
hits and that was that was, I 
believe, George Martin's first 

745
00:43:42,720 --> 00:43:47,800
number one record for anybody. 
Also they they did people 

746
00:43:47,800 --> 00:43:51,280
listeners to this will quite 
probably know the version of the

747
00:43:51,360 --> 00:43:54,360
ukulele lady that Peter Sellers 
did a couple of years before 

748
00:43:54,360 --> 00:43:56,400
this. 
And that's them them backing him

749
00:43:56,400 --> 00:43:57,600
on that. 
Oh, that's. 

750
00:43:57,920 --> 00:43:58,280
Right. 
Yes. 

751
00:43:58,280 --> 00:43:59,640
It's not about that. 
Yeah, yeah. 

752
00:43:59,640 --> 00:44:01,400
Yeah, yeah. 
So that's the that's the kind of

753
00:44:01,400 --> 00:44:04,680
thing they they were doing. 
They were in this intersection 

754
00:44:04,680 --> 00:44:08,200
of music and comedy, but far 
closer to the music side than 

755
00:44:08,200 --> 00:44:11,000
the comedy side. 
Pastiches of nine and 

756
00:44:11,000 --> 00:44:14,040
recreations of 1920s novelty 
music put with with a slightly 

757
00:44:14,040 --> 00:44:18,560
raised eyebrow about it. 
Yes, yeah, you mentioned Chris 

758
00:44:18,560 --> 00:44:22,360
Barber and Humphrey Littleton. 
I'm I'm a big fan, always have 

759
00:44:22,360 --> 00:44:24,040
been. 
Of I'm sorry I haven't a clue. 

760
00:44:24,160 --> 00:44:27,480
Of course, yes. 
And regularly during during 

761
00:44:27,600 --> 00:44:32,440
humps pomp in that as chairman 
he was regularly getting gently 

762
00:44:32,440 --> 00:44:36,760
ribbed, usually by Barry Cryer. 
Gently ribbed that he wasn't as 

763
00:44:36,760 --> 00:44:40,880
good as Chris Barber or Kelly 
Ball and both of whom appear in 

764
00:44:40,880 --> 00:44:45,160
this. 
Yes, but Humph doesn't. 

765
00:44:45,160 --> 00:44:46,920
I mean, Humph would have been 
perfect for this film. 

766
00:44:47,680 --> 00:44:51,880
Absolutely. 
I I assume, I assume it was, I 

767
00:44:51,880 --> 00:44:56,040
don't know what label he mean. 
He he recorded free MI, didn't 

768
00:44:56,040 --> 00:44:57,120
he? 
Because of course, George Martin

769
00:44:57,120 --> 00:44:59,640
produced his bad penny bad 
thing. 

770
00:45:00,120 --> 00:45:01,280
Yeah, Bad penny Blues. 
Yeah. 

771
00:45:01,280 --> 00:45:04,680
Bad Finger Blues was The Beatles
track that became, yeah, his bad

772
00:45:04,680 --> 00:45:06,240
penny Blues. 
George Martin produced that. 

773
00:45:06,240 --> 00:45:09,160
And Joe Meek, who engineered, 
who produced the John Leighton 

774
00:45:09,160 --> 00:45:13,320
track in this, engineered that, 
you know, so he was clearly 

775
00:45:13,320 --> 00:45:15,280
working. 
He was clearly an EMI at least a

776
00:45:15,280 --> 00:45:17,360
few years earlier than this. 
I'm quite surprised that he 

777
00:45:17,360 --> 00:45:18,800
didn't get picked up for this as
well. 

778
00:45:19,640 --> 00:45:21,360
I mean, maybe maybe he was asked
and said no. 

779
00:45:21,360 --> 00:45:22,640
Maybe there was a scheduling 
conflict. 

780
00:45:22,640 --> 00:45:26,080
You know it, but it it, it is 
surprising because he is, he is 

781
00:45:26,080 --> 00:45:29,840
the one big name from that, from
that genre that that isn't here.

782
00:45:30,120 --> 00:45:32,680
And you know, by this point, 
quite a quite a few of the the 

783
00:45:32,680 --> 00:45:35,920
smaller names of him as well. 
You know, people like the the 

784
00:45:35,920 --> 00:45:37,680
Dukes of Dixieland and stuff 
like that. 

785
00:45:38,160 --> 00:45:40,880
And Bob Wallace at his 
Storyville Jazz Man. 

786
00:45:40,880 --> 00:45:43,840
Yes, yeah, it's very. 
Lightfoot to this New Orleans 

787
00:45:43,840 --> 00:45:44,880
jazz band. 
Yeah. 

788
00:45:45,800 --> 00:45:49,280
And then And then you said about
the fact that there was. 

789
00:45:49,280 --> 00:45:51,320
So Lester went to the States to 
film. 

790
00:45:51,960 --> 00:45:53,760
Yes. 
The likes of Chubby Chequer. 

791
00:45:53,800 --> 00:45:58,480
Yeah, basically towards the end 
of the film, again, getting 

792
00:45:58,480 --> 00:46:00,840
details on the making of this is
difficult. 

793
00:46:00,840 --> 00:46:03,920
So I may be telling anecdotes 
that have been sort of polished 

794
00:46:03,920 --> 00:46:06,720
and but aren't actually what's 
actually happened, you know, But

795
00:46:07,880 --> 00:46:14,240
towards the end of filming the 
the trad boom was not doing all 

796
00:46:14,240 --> 00:46:15,520
that well in Britain at this 
time. 

797
00:46:15,800 --> 00:46:19,880
And Lester had some contacts in 
the the American entertainment 

798
00:46:19,880 --> 00:46:23,480
industry, as did Subotsky. 
And it was basically agreed that

799
00:46:23,720 --> 00:46:26,960
Richard Lester would go over to 
the go over to the States and 

800
00:46:27,240 --> 00:46:30,880
for one day film as many 
American acts as he could, 

801
00:46:30,880 --> 00:46:35,200
miming miming to to their latest
records. 

802
00:46:35,560 --> 00:46:37,400
And they would stick, stick that
in, in. 

803
00:46:37,400 --> 00:46:39,280
There's a there's a nightclub 
scene here, which we mentioned 

804
00:46:39,280 --> 00:46:42,360
earlier, the one, the one where 
you've got Mario Fabrizio and 

805
00:46:42,360 --> 00:46:45,320
Derek Nimmo. 
And basically in that scene, you

806
00:46:45,320 --> 00:46:49,280
keep cutting back and forth 
between performers supposedly on

807
00:46:49,280 --> 00:46:52,280
the stage and comic business 
going on in the audience. 

808
00:46:52,440 --> 00:46:54,120
And all the performers 
supposedly on the stage were 

809
00:46:54,120 --> 00:46:58,040
filmed in one day in the States.
And you had the Paris sisters 

810
00:46:58,040 --> 00:47:00,680
who were sort of one hit wonders
who Phil Spector had produced 

811
00:47:00,680 --> 00:47:02,760
some stuff for. 
But I don't think, I don't think

812
00:47:02,760 --> 00:47:04,760
he produced the track of theirs 
that's on this. 

813
00:47:04,760 --> 00:47:07,480
But don't quote me. 
You've got Jim McDaniels, you've

814
00:47:07,480 --> 00:47:09,960
got Gary U.S. 
Bonds, Dell Shannon and Chubby 

815
00:47:09,960 --> 00:47:12,360
Checker. 
But there's there's like a, a 

816
00:47:12,360 --> 00:47:15,200
stretch of like 5 or six 
performances where you where you

817
00:47:15,200 --> 00:47:17,120
notice that there's never any 
interaction between the 

818
00:47:17,120 --> 00:47:21,600
performers, the audience and 
they're shot much less 

819
00:47:21,600 --> 00:47:23,640
imaginatively than the rest. 
Yeah, yeah. 

820
00:47:24,000 --> 00:47:27,520
And that's because it's the he's
gone over for one day found as 

821
00:47:27,520 --> 00:47:30,840
many American pop stars as he as
he as he could persuade to be in

822
00:47:30,840 --> 00:47:34,920
it and sort of done the Plunk 1 
camera in front of the mind, the

823
00:47:34,920 --> 00:47:36,800
single in front of a black 
background and get them off, get

824
00:47:36,800 --> 00:47:39,840
the next one on kind of thing. 
But even there, you know, that 

825
00:47:39,840 --> 00:47:42,800
is very much the equivalent of 
that of that scene, as I 

826
00:47:42,800 --> 00:47:45,800
mentioned in rock, rock rock, 
the Alan Freed one that that 

827
00:47:45,840 --> 00:47:48,880
Milton Zapotsky wrote where they
they they punk somebody down in 

828
00:47:48,880 --> 00:47:51,800
front of ATV for 15 minutes. 
But even there you have him into

829
00:47:51,800 --> 00:47:55,200
cutting between that and comic 
business between Mario for 

830
00:47:55,200 --> 00:47:59,360
Brittany and Derek Nimmo, you 
know, which is in in inherently 

831
00:47:59,360 --> 00:48:05,080
better than Tuesday world sat on
sat on the sofa, you know, and 

832
00:48:05,240 --> 00:48:07,800
that's that seems to have been a
very, very much a last minute 

833
00:48:07,800 --> 00:48:12,600
decision. 
And that's the the bulk of the 

834
00:48:13,240 --> 00:48:18,240
non trad music that's that's in 
this is is in that one scene, 

835
00:48:18,360 --> 00:48:20,840
not all of it because because 
you've got John Layton and Gene 

836
00:48:20,840 --> 00:48:22,600
Vincent. 
Gene Vincent wasn't American, 

837
00:48:22,600 --> 00:48:25,960
but oh, but he was firmly based 
in the UK at this point. 

838
00:48:27,160 --> 00:48:29,400
And you've got Helen Shapiro and
Craig buglers doing their own 

839
00:48:29,400 --> 00:48:33,560
hits at the end. 
But all all the other pop or 

840
00:48:33,560 --> 00:48:36,200
rock music comes from comes from
that sequence in the middle. 

841
00:48:36,480 --> 00:48:41,760
And it's mostly people doing 
like the hit that's like two 

842
00:48:41,760 --> 00:48:45,360
hits after their last big hit. 
It's all people who It's all 

843
00:48:45,360 --> 00:48:48,800
people who were a little bit 
past their commercial peak. 

844
00:48:49,760 --> 00:48:52,800
Yeah. 
Like the chubby, chubby check is

845
00:48:52,800 --> 00:48:54,360
doing the Luzia inhibitions 
twist. 

846
00:48:54,360 --> 00:48:55,800
He's not. 
He's not doing the twist Or 

847
00:48:55,800 --> 00:48:58,320
let's twist again. 
You know, Del Del Shannon's 

848
00:48:58,320 --> 00:48:59,760
doing. 
You never talked about me. 

849
00:48:59,760 --> 00:49:02,880
He's not. 
He's not doing the runaway. 

850
00:49:02,880 --> 00:49:05,880
Yeah, that that kind of thing. 
They're all a little bit past 

851
00:49:06,160 --> 00:49:08,040
past the peak. 
Chubby Chequer. 

852
00:49:09,400 --> 00:49:11,360
I'm no expert whatsoever on 
Chubby Chequer. 

853
00:49:11,840 --> 00:49:13,760
All his songs. 
Did they have an element of the 

854
00:49:13,760 --> 00:49:16,320
twist? 
They all had, they all had, they

855
00:49:16,320 --> 00:49:18,480
all had the twist or some other,
some other dance. 

856
00:49:19,520 --> 00:49:25,200
He he, he, he tried various 
various other dance crazes and 

857
00:49:25,280 --> 00:49:27,880
some, some of them he had some 
of them he had fairly big hits 

858
00:49:27,880 --> 00:49:31,280
with. 
He had like 7 or 7 or 8 big hits

859
00:49:31,280 --> 00:49:35,200
in sixty 6162. 
You know, he, he, he wasn't just

860
00:49:35,200 --> 00:49:38,320
a one hit wonder by any means, 
but he, he was definitely on the

861
00:49:38,320 --> 00:49:41,680
down downside of his career by 
by this point, you know, he only

862
00:49:41,680 --> 00:49:45,320
had that sort of two year window
where he was doing anything. 

863
00:49:45,320 --> 00:49:48,040
Yeah, yeah, yeah. 
I'm just looking as well. 

864
00:49:48,400 --> 00:49:51,600
I just want to touch on Helen 
Shapiro and Craig Douglas 

865
00:49:51,600 --> 00:49:54,480
because because yeah, we, we, 
we've barely spoken about them, 

866
00:49:54,480 --> 00:49:56,960
but she was, she was huge at 
this time. 

867
00:49:57,120 --> 00:50:00,960
Yeah, again, she was somebody 
who had a very, very big hit. 

868
00:50:00,960 --> 00:50:03,000
I mean, a bunch of very, very 
big hits. 

869
00:50:03,000 --> 00:50:06,000
I mean, the thing that's always 
striking about this is that both

870
00:50:06,000 --> 00:50:09,480
Helen Shapiro and Craig Douglas 
headlined over The Beatles after

871
00:50:09,480 --> 00:50:12,120
The Beatles had their first hits
the the The Beatles. 

872
00:50:12,480 --> 00:50:16,720
The Beatles were their support 
act in in 1963, you know, after 

873
00:50:16,720 --> 00:50:20,040
the after to this point. 
These were these were not small 

874
00:50:20,040 --> 00:50:24,040
stars at all. 
But in both cases, their career 

875
00:50:24,040 --> 00:50:28,040
more or less ended in 63, you 
know. 

876
00:50:28,280 --> 00:50:30,560
Interestingly, Helen Shapiro 
went on to sing with Humphrey 

877
00:50:30,560 --> 00:50:33,400
Littleton in the 80s as a 
regular part of his band. 

878
00:50:34,120 --> 00:50:35,960
Well, she, she was. 
No, she's no actress, was she? 

879
00:50:36,680 --> 00:50:39,320
Although she did appear as a 
regular character in Albion 

880
00:50:39,320 --> 00:50:42,000
Market in the 80s, I discovered.
I didn't didn't. 

881
00:50:42,320 --> 00:50:46,040
Know that I don't know what 
level of acting chop she needed 

882
00:50:46,040 --> 00:50:51,960
to be in but but but her voice 
is so distinctive. 

883
00:50:51,960 --> 00:50:56,040
It's so. 
Yeah, yeah, it's, it's weird. 

884
00:50:57,560 --> 00:51:00,080
What what what does tilt say 
about it? 

885
00:51:00,600 --> 00:51:03,720
If if you need Lulu and Paul 
Robeson to be the same person, 

886
00:51:03,720 --> 00:51:05,320
that is phrasing something like 
that. 

887
00:51:06,800 --> 00:51:09,840
Yeah, yeah, Walking back to 
happiness I guess was her 

888
00:51:10,040 --> 00:51:13,120
biggest hit maybe or. 
So, yeah, yeah, I think, I think

889
00:51:13,120 --> 00:51:15,600
so, yeah. 
She she had she had a couple, 

890
00:51:15,600 --> 00:51:19,240
but that's that's the only one 
that sort of that's that's the 

891
00:51:19,240 --> 00:51:22,480
only one that anybody sort of 
remembers these days. 

892
00:51:22,800 --> 00:51:24,640
The the one that the one she 
does here. 

893
00:51:24,640 --> 00:51:28,040
The the the first hit was don't 
treat me like a child, which 

894
00:51:28,080 --> 00:51:31,120
played up the fact that she was 
only 14 when she had her first 

895
00:51:31,120 --> 00:51:33,600
hit, as she was when she's 
walking back to happiness, I 

896
00:51:33,600 --> 00:51:36,640
think. 
But at this point she's 16. 

897
00:51:37,600 --> 00:51:40,560
The the the song she sings here,
Let's talk about love is like 

898
00:51:40,560 --> 00:51:42,280
one of her last two or three 
hits. 

899
00:51:42,280 --> 00:51:45,600
It was like a top thirty hit. 
But again, like with many of 

900
00:51:45,600 --> 00:51:48,040
these people, this is really 
capturing. 

901
00:51:48,360 --> 00:51:50,960
It's it's it's a snapshot of an 
era that was slightly before 

902
00:51:50,960 --> 00:51:53,560
even the era when it was made. 
You know, we we talk about how 

903
00:51:53,560 --> 00:51:56,600
The Beatles completely 
overturned popular music in 

904
00:51:56,600 --> 00:51:58,080
Britain. 
And they've they really, really 

905
00:51:58,080 --> 00:52:01,240
did. 
But yeah, Helen Shapiro's and 

906
00:52:01,240 --> 00:52:04,680
Craig Douglass's were always 
already slightly on the downturn

907
00:52:04,680 --> 00:52:07,360
when this came out. 
This, this is a film that was 

908
00:52:07,960 --> 00:52:12,520
striking slightly too. 
It's after the iron had already 

909
00:52:12,520 --> 00:52:15,440
started to cool down a little 
bit, which again, I think is why

910
00:52:16,040 --> 00:52:18,600
Richard Lester wanted to put 
these American stars in. 

911
00:52:18,600 --> 00:52:23,880
Because even though they were 
also fading stars in America, 

912
00:52:24,200 --> 00:52:26,560
that was at least a little bit 
of extra glamour to be to beef 

913
00:52:26,560 --> 00:52:29,800
the film up a bit. 
Back at the town centre, unaware

914
00:52:29,800 --> 00:52:31,160
of the plans of the police. 
Come on, Ellie. 

915
00:52:31,680 --> 00:52:34,800
What about a number? 
Come on, come on. 

916
00:52:35,000 --> 00:52:35,960
Let's talk. 
Why don't you drive? 

917
00:52:36,520 --> 00:52:39,800
Let's talk. 
Let's talk, Let's talk, let's 

918
00:52:39,800 --> 00:52:43,840
talk, let's talk, let's talk 
about love. 

919
00:52:47,080 --> 00:52:53,040
If you've got time to spare, 
I've got a heart to share 

920
00:52:53,360 --> 00:52:59,800
anytime or anywhere. 
Let's talk, Let's talk, let's 

921
00:52:59,800 --> 00:53:06,920
talk about love. 
Some folks say love is blind. 

922
00:53:11,400 --> 00:53:16,640
So this film wrapped film 
filming wrapped in December 61 

923
00:53:17,320 --> 00:53:21,040
and it's it's released 30th of 
March 1962 in the UK. 

924
00:53:21,560 --> 00:53:23,680
A day rich with musical 
significance. 

925
00:53:24,040 --> 00:53:27,000
Andrew, because it was also the 
day MC Hammer was born. 

926
00:53:27,560 --> 00:53:29,520
Well, there you go, the stars 
aligned. 

927
00:53:30,080 --> 00:53:33,800
Yeah, but what was it? 
So October 62 was Love Me do, 

928
00:53:33,800 --> 00:53:37,040
wasn't it so? 
October the 5th, 1962 was Love 

929
00:53:37,040 --> 00:53:38,920
Me Do. 
I always say that October the 

930
00:53:38,920 --> 00:53:44,320
5th, 1962 was the day that the 
60s really started because that 

931
00:53:44,320 --> 00:53:46,560
that was the day that Love Me Do
was released. 

932
00:53:46,600 --> 00:53:48,720
It was The Beach Boys first 
single, but in Britain was 

933
00:53:48,720 --> 00:53:50,440
released. 
It'd been released a month or 

934
00:53:50,440 --> 00:53:53,920
two earlier in the States. 
James Brown was doing his life. 

935
00:53:54,040 --> 00:53:58,960
The Apollo show shows over the 
first couple of weeks of 19 of 

936
00:53:58,960 --> 00:54:02,720
October 1962 and the the the 
first Bond film Doctor No came 

937
00:54:02,720 --> 00:54:06,720
out on October the 5th 1962. 
So that's like the official 

938
00:54:06,720 --> 00:54:08,960
start date of the 60s as far as 
I'm concerned. 

939
00:54:09,200 --> 00:54:11,120
So yeah, it's your birthday as. 
Well, wasn't it? 

940
00:54:11,120 --> 00:54:13,680
But not, not, not 62. 
Yeah, October the 5th, 1978. 

941
00:54:13,680 --> 00:54:16,160
But that's what that's why I 
remember the the October the 5th

942
00:54:16,160 --> 00:54:20,400
specific, but that that is the 
date that all those things were 

943
00:54:20,400 --> 00:54:23,760
happening simultaneously. 
And you have the cubic missile 

944
00:54:23,760 --> 00:54:25,960
crisis kicking off in October 62
as well. 

945
00:54:26,400 --> 00:54:30,320
So this is in that weird liminal
period between, between the end 

946
00:54:30,320 --> 00:54:33,680
of the 50s and the start of the 
start of the 60s, you know, in 

947
00:54:33,800 --> 00:54:36,400
between the end of the chat, the
band and The Beatles first LP as

948
00:54:36,400 --> 00:54:41,160
Larkin talked about, you know? 
Yes, just to put this in the 

949
00:54:41,160 --> 00:54:42,520
context of Beatles context as 
well. 

950
00:54:42,520 --> 00:54:46,120
So this comes out end of March 
6210. 

951
00:54:46,120 --> 00:54:47,760
Days later, Stuart Sutcliffe 
died. 

952
00:54:47,960 --> 00:54:49,920
Yeah. 
And then, little more than what 

953
00:54:49,960 --> 00:54:52,160
six months later, Love Me Do 
comes out. 

954
00:54:52,160 --> 00:54:55,560
Yeah, yeah. 
And some changes it begins to. 

955
00:54:56,360 --> 00:55:00,160
I, I can't remember the exact 
dates, but sometime around the 

956
00:55:00,160 --> 00:55:02,280
time this came out will have 
been when Gene Vincent was 

957
00:55:02,280 --> 00:55:04,440
playing at playing the star club
with The Beatles as well. 

958
00:55:05,280 --> 00:55:09,240
Oh, OK, yeah, yeah, there's, 
there's quite a quite a lot of 

959
00:55:09,240 --> 00:55:11,200
sort of little Beatles 
connections in here. 

960
00:55:11,200 --> 00:55:13,560
Like, like I said, Jim, Jim 
Vinson played this, played the 

961
00:55:13,560 --> 00:55:17,280
star club with them in late 61, 
early 62. 

962
00:55:17,280 --> 00:55:20,800
I can't can't remember the exact
dates, but I, I think I think it

963
00:55:20,800 --> 00:55:23,720
was around then. 
And of course, I can say Helen 

964
00:55:23,720 --> 00:55:25,800
Shapiro and Craig Douglas 
toured, toured with The Beatles 

965
00:55:26,080 --> 00:55:29,680
as as did Del Shannon, also also
toured with them in early 63. 

966
00:55:29,680 --> 00:55:34,280
You know this, this is all all 
people who would be around in 

967
00:55:34,280 --> 00:55:36,480
those early stages of The 
Beatles career. 

968
00:55:36,880 --> 00:55:40,560
It's. 
Just put a pin in Gene Vincent 

969
00:55:40,560 --> 00:55:44,880
for a moment because I was 
looking at some acts or 

970
00:55:44,880 --> 00:55:48,480
performers that were due to 
appear, asked to appear perhaps,

971
00:55:48,480 --> 00:55:52,040
but didn't end up in the film 
The Shadows, apparently. 

972
00:55:52,360 --> 00:55:54,240
That makes sense. 
Makes sense both that they'd be 

973
00:55:54,240 --> 00:55:57,400
asked and that they they would 
turn it down because of course, 

974
00:55:57,400 --> 00:56:00,200
they they were the big stars at 
the time. 

975
00:56:01,320 --> 00:56:05,400
Yeah. 
There's people don't don't 

976
00:56:05,400 --> 00:56:08,440
understand just how big Cliff 
and the Shadows were before The 

977
00:56:08,440 --> 00:56:09,800
Beatles came along. 
I'm. 

978
00:56:09,920 --> 00:56:12,600
I'm just going to read out the 
list. 

979
00:56:12,600 --> 00:56:16,880
This is the list of official 
number ones from 1960. 

980
00:56:17,000 --> 00:56:23,040
From 1963. 
Yeah, first of first of January,

981
00:56:23,360 --> 00:56:25,880
Cliff Richard and the Shadows. 
The next time that stays on the 

982
00:56:25,960 --> 00:56:29,200
stays at #1 for three weeks, 
it's replaced by dance song by 

983
00:56:29,200 --> 00:56:32,680
The Shadows, which which is, 
which is replaced a week later 

984
00:56:32,680 --> 00:56:35,880
by Diamonds by Jet Harris and 
Tony Beehan, the former bass 

985
00:56:35,880 --> 00:56:38,520
player and drummer of the 
Shadows who who'd quit the band.

986
00:56:39,360 --> 00:56:41,600
That's at #1 for three weeks. 
Then you have Frank Ifield with 

987
00:56:41,600 --> 00:56:44,120
The Way We'd Win for three 
weeks, then Cliff in the Shadows

988
00:56:44,120 --> 00:56:47,560
with Summer Holiday, then the 
Shadows with Foot Tapper, then 

989
00:56:47,560 --> 00:56:49,320
Cliff in the Shadows with Summer
Holiday again. 

990
00:56:50,320 --> 00:56:52,440
And then you have how do you do 
it by Jerry and the Pacemakers 

991
00:56:52,440 --> 00:56:53,760
and from me to you by The 
Beatles. 

992
00:56:54,760 --> 00:56:58,000
But that's, that's how big, 
that's how big both Cliff and 

993
00:56:58,000 --> 00:56:59,760
the shadows were at this at this
point. 

994
00:57:00,440 --> 00:57:03,080
Now after that, they wouldn't 
have another hit, the number one

995
00:57:03,080 --> 00:57:05,440
hit again for like 2 years 
because it suddenly becomes all 

996
00:57:05,440 --> 00:57:08,120
mercy beat all the time. 
And the rest of 63, it's like 

997
00:57:08,120 --> 00:57:10,280
Billy J Kramer, the search of 
The Beatles, Jerry and the 

998
00:57:10,280 --> 00:57:13,040
pacemakers. 
You know, there's this total 

999
00:57:13,040 --> 00:57:17,760
Wipeout, but you know, and the 
shadows were appearing in all 

1000
00:57:17,760 --> 00:57:19,920
the Cliff Richard films and 
stuff like that, you know, so 

1001
00:57:20,000 --> 00:57:22,400
there was it. 
It makes perfect sense that 

1002
00:57:22,400 --> 00:57:25,080
they, they, they were, they were
too big for a low budget thing 

1003
00:57:25,080 --> 00:57:28,120
like this, you know, they, they,
they were the major megastars of

1004
00:57:28,120 --> 00:57:31,040
the time, you know? 
Also not in this film, The Mick 

1005
00:57:31,040 --> 00:57:32,600
Mulligan Band. 
Right. 

1006
00:57:32,640 --> 00:57:34,680
Yes. 
Clinton Ford. 

1007
00:57:35,400 --> 00:57:37,240
Right. 
George Malley. 

1008
00:57:37,560 --> 00:57:39,880
Yeah, that, that it, it makes 
sense again, both that he would 

1009
00:57:39,880 --> 00:57:41,600
be asked and both that he would 
turn it down. 

1010
00:57:41,840 --> 00:57:44,560
Mellie. 
Mellie was very much a driver of

1011
00:57:44,560 --> 00:57:49,680
the early trad movement, but he 
was I, I, I believe I might say 

1012
00:57:49,880 --> 00:57:52,760
he didn't like the term trad. 
He he preferred to call himself 

1013
00:57:52,760 --> 00:57:57,000
a revivalist, you know. 
So this, this is already, you 

1014
00:57:57,000 --> 00:58:00,240
know, he performed with a lot 
of, a lot of the people who 

1015
00:58:00,240 --> 00:58:03,520
became the early trad people in 
the in the very early 50s. 

1016
00:58:03,800 --> 00:58:08,280
But he, he was, he had 
ideological differences with 

1017
00:58:08,280 --> 00:58:10,360
with the people who became who 
became the trad movement and 

1018
00:58:10,360 --> 00:58:12,120
didn't really want to be 
associated with them. 

1019
00:58:12,920 --> 00:58:17,160
And he was far too far too much 
a serious performer, even though

1020
00:58:17,160 --> 00:58:19,760
at the same time he was also far
more eccentric than most of them

1021
00:58:19,760 --> 00:58:23,600
and far more. 
He would have fitted in very 

1022
00:58:23,600 --> 00:58:25,760
well with people like the Temp 
and Seven actually, but. 

1023
00:58:25,840 --> 00:58:27,880
A very flamboyant. 
Yes, yes. 

1024
00:58:28,040 --> 00:58:30,080
But I think it's a shame he 
wasn't involved. 

1025
00:58:30,080 --> 00:58:31,560
I think he I think he would 
probably have actually 

1026
00:58:31,560 --> 00:58:34,520
appreciated the finished film. 
But I can I can easily see why 

1027
00:58:34,520 --> 00:58:37,120
he why he would turn down 
appearing in it to start with. 

1028
00:58:37,800 --> 00:58:40,840
Yeah, The Highwaymen. 
Right. 

1029
00:58:42,280 --> 00:58:47,160
And I'll say this delicately, 
but yeah, also a rising young. 

1030
00:58:48,160 --> 00:58:51,240
I think he he'd originally been 
with Decker, but recently signed

1031
00:58:51,240 --> 00:58:55,120
to Polyphone. 
Paul Raven who? 

1032
00:58:55,160 --> 00:58:56,720
OK. 
And so I said, stick a pin in 

1033
00:58:56,720 --> 00:58:59,440
Jean Vincent. 
Doing my research here. 

1034
00:58:59,720 --> 00:59:03,520
In 1968, in a hotel in Germany, 
Jean Vincent tried to shoot Paul

1035
00:59:03,520 --> 00:59:06,760
Raven. 
Yeah, he fired several shots but

1036
00:59:06,760 --> 00:59:09,840
missed, and a frightened Raven 
left the country the next day, 

1037
00:59:09,840 --> 00:59:13,640
apparently. 
I to be to be fair, Gene Vincent

1038
00:59:13,640 --> 00:59:17,080
tried to shoot almost everybody,
but in this case it was probably

1039
00:59:17,080 --> 00:59:18,760
more justifiable than most, you 
know? 

1040
00:59:19,080 --> 00:59:24,400
Yes, it was for the uninitiated.
Paul Raven went on to infamy, or

1041
00:59:24,400 --> 00:59:28,400
fame and infamy as Gary Glitter.
Yeah, but we'll move on from 

1042
00:59:28,400 --> 00:59:30,880
that. 
Craig. 

1043
00:59:31,040 --> 00:59:33,240
Craig Douglas. 
His big hit was only 16. 

1044
00:59:33,400 --> 00:59:36,400
That's right, yeah, the first of
the Sam Cooke song, yeah, that, 

1045
00:59:36,400 --> 00:59:39,400
that was his only #1 and that 
that had been like 2-3 years 

1046
00:59:39,720 --> 00:59:43,280
earlier at this point. 
He, he, he was one of one of 

1047
00:59:43,280 --> 00:59:47,160
those British teen idols who 
made their careers by doing 

1048
00:59:47,840 --> 00:59:51,200
sound alike cover versions of 
hits from the States before the 

1049
00:59:51,200 --> 00:59:54,360
hits had managed to get over 
here and not very good ones in 

1050
00:59:54,360 --> 00:59:56,480
general. 
So he he was already a little 

1051
00:59:56,480 --> 01:00:01,120
bit past it at this point, but 
he he was still popular enough 

1052
01:00:01,120 --> 01:00:03,880
that that he could Co headline 
this kind of thing, you know. 

1053
01:00:04,600 --> 01:00:05,960
Well, I think he's still with 
us. 

1054
01:00:06,360 --> 01:00:07,800
I believe so, yes. 
Yeah. 

1055
01:00:08,000 --> 01:00:11,360
And he, and certainly up until 
about 10 years ago, he was still

1056
01:00:11,360 --> 01:00:14,200
recording music. 
Yeah, because apparently he 

1057
01:00:14,200 --> 01:00:17,920
recorded a a cover version of 
Creep by Radiohead. 

1058
01:00:18,320 --> 01:00:23,640
Right, OK. 
You can imagine such a thing. 

1059
01:00:24,520 --> 01:00:27,480
Yeah, you know, good, good, 
good. 

1060
01:00:27,480 --> 01:00:30,320
The same keeping keeping vaguely
modern, you know. 

1061
01:00:32,480 --> 01:00:36,480
Just wanted to touch on a few of
the other the the more sort of 

1062
01:00:36,480 --> 01:00:40,200
comic personalities that you see
turning up in this film, only in

1063
01:00:40,200 --> 01:00:42,360
very small roles. 
You've got Hugh Lloyd as the TV 

1064
01:00:42,360 --> 01:00:45,120
Centre commissioner. 
I didn't know we'd have so much 

1065
01:00:45,120 --> 01:00:46,520
trouble just getting a disc 
jogging. 

1066
01:00:47,200 --> 01:00:49,240
We better get the next one. 
He's our last one. 

1067
01:00:51,120 --> 01:00:53,640
Hello. 
See those doors? 

1068
01:00:53,880 --> 01:00:56,760
They're closed and they're going
to stay closed by anyone who 

1069
01:00:56,760 --> 01:00:59,440
doesn't have a ticket. 
But how can we get tickets? 

1070
01:00:59,720 --> 01:01:00,800
What? 
For this show? 

1071
01:01:01,000 --> 01:01:02,960
You'll be lucky. 
They're handed out by the 

1072
01:01:02,960 --> 01:01:04,840
performers themselves. 
Fan clubs. 

1073
01:01:05,080 --> 01:01:06,640
We don't belong to any fan 
clubs. 

1074
01:01:06,640 --> 01:01:10,480
Then you don't get in. 
Who's on next week's show? 

1075
01:01:10,560 --> 01:01:13,680
Mr. Akabilk. 
Akabilk. 

1076
01:01:14,360 --> 01:01:16,040
A friend Tilt keep bringing him 
up, don't we? 

1077
01:01:16,040 --> 01:01:19,520
But he he likes to tell the 
story about Sophie Loren, who's 

1078
01:01:19,520 --> 01:01:23,640
working in the in Britain in the
early 60s and her favorite 

1079
01:01:23,640 --> 01:01:29,480
television show was, as she 
called it, huge and I, which, 

1080
01:01:29,880 --> 01:01:33,520
which was Hugh Lloyd's sitcom 
Hugh and I with Terry Scott. 

1081
01:01:34,160 --> 01:01:38,560
So he had an unlikely admirer. 
And Sophia Loren, you got Ronnie

1082
01:01:38,560 --> 01:01:40,680
Stevens as a as ATV director. 
Yeah. 

1083
01:01:42,280 --> 01:01:45,800
Freddie Mane as as waiter. 
But we didn't see Freddie Mane, 

1084
01:01:46,240 --> 01:01:49,520
did we, In actual film? 
As listed, I didn't notice him, 

1085
01:01:51,280 --> 01:01:53,680
but as as as the wait did, did 
he? 

1086
01:01:53,680 --> 01:01:57,720
Did he do the I? 
I thought they did the cutting 

1087
01:01:57,720 --> 01:01:59,520
of the spaghetti, didn't they? 
Yeah. 

1088
01:01:59,520 --> 01:02:01,680
But maybe Ferdi, Maine was sort 
of looking on. 

1089
01:02:02,000 --> 01:02:04,640
Yeah, possibly. 
Flowering at Nimmo yeah 

1090
01:02:04,680 --> 01:02:06,200
whatever. 
And I just want to mention Bruce

1091
01:02:06,200 --> 01:02:09,920
Lacey getting back to the 
Albert's and of course he was. 

1092
01:02:10,960 --> 01:02:14,120
So Bruce Lacey turns up in the 
the beginning of this film in 

1093
01:02:14,120 --> 01:02:17,120
the coffee shop. 
The guy he's he's down as 

1094
01:02:17,120 --> 01:02:22,400
Gardner and he's like trimming 
the the the plant life in the 

1095
01:02:22,400 --> 01:02:26,000
coffee shop. 
Now, I haven't seen help for a 

1096
01:02:26,000 --> 01:02:31,400
while, but he also turns up and 
help as the as the gardener or 

1097
01:02:31,400 --> 01:02:38,360
lawn mower and and and of course
he was in the running, jumping 

1098
01:02:38,360 --> 01:02:39,600
and standing still film. 
Yeah. 

1099
01:02:39,920 --> 01:02:41,960
He was in the mouse on the moon 
as well, wasn't he? 

1100
01:02:41,960 --> 01:02:44,680
And in the neck. 
So he, he, he was sort of like a

1101
01:02:44,840 --> 01:02:48,360
regular Richard Lester player 
in, in the sort of first half, 

1102
01:02:48,360 --> 01:02:50,200
first half of the 60s. 
I don't know. 

1103
01:02:50,680 --> 01:02:53,680
I don't know why he sort of 
disappeared from Lester's films 

1104
01:02:53,680 --> 01:02:56,640
later on. 
But but he, he, you know, always

1105
01:02:56,640 --> 01:02:59,280
in sort of tiny little bowls. 
But yeah, he, he was, he was all

1106
01:02:59,280 --> 01:03:00,520
over, all over them. 
Yeah. 

1107
01:03:00,760 --> 01:03:02,320
But yeah, I mean, there's, 
there's, there's some decent 

1108
01:03:02,320 --> 01:03:06,360
comedy moments in the film, but 
it's fair to say that I'd 

1109
01:03:06,360 --> 01:03:11,320
suppose what 4/5 of the of the 
film is, is music. 

1110
01:03:11,320 --> 01:03:15,440
Yes, yes, yeah. 
Now, I was looking at, as I 

1111
01:03:15,480 --> 01:03:18,280
said, the top of the show, 
looking at some of the reviews 

1112
01:03:18,280 --> 01:03:22,160
from the time and some of them 
are so PO faced, or at least, 

1113
01:03:22,160 --> 01:03:25,800
yeah, maybe not PO faced, but 
just, I mean, look, there's a 

1114
01:03:25,920 --> 01:03:30,000
there's a review in the Tatler 
by the the writer Elspeth Grant.

1115
01:03:30,560 --> 01:03:31,760
She said. 
I'm not going to read the whole 

1116
01:03:31,760 --> 01:03:36,360
review, but She Said, this 
raucous film in which Miss Helen

1117
01:03:36,360 --> 01:03:40,600
Shapiro, the 15 year old prima 
Donna of pop, makes her screen 

1118
01:03:40,600 --> 01:03:42,760
debut. 
Proudly described by its 

1119
01:03:42,760 --> 01:03:46,560
promoters as the hottest musical
ever seen in this country, it is

1120
01:03:46,560 --> 01:03:48,040
certainly the loudest ever 
heard. 

1121
01:03:48,120 --> 01:03:51,160
I tottered away from it, half 
stunned, holding my throbbing 

1122
01:03:51,160 --> 01:03:54,280
head and moaning pathetically. 
It's the noise, boys. 

1123
01:03:55,280 --> 01:03:57,960
Note to editor. 
I deserve danger money, honey. 

1124
01:03:59,240 --> 01:04:02,120
The The film is specifically 
designed for the young and will 

1125
01:04:02,120 --> 01:04:05,040
doubtless afford them endless 
joy as their hip contemporaries 

1126
01:04:05,040 --> 01:04:08,440
are seen to score splendidly of 
stuffy old squares like me. 

1127
01:04:09,200 --> 01:04:13,360
So that gives you that gives you
a taste of the toad. 

1128
01:04:13,880 --> 01:04:16,720
The review there, the data 
Express said there are moments 

1129
01:04:16,720 --> 01:04:19,440
of imaginative photography, as 
we said, and some good jazz. 

1130
01:04:19,440 --> 01:04:22,480
Otherwise, it's straight, loud 
and strictly not for squares. 

1131
01:04:24,200 --> 01:04:28,640
And the the, the, the, the, the 
that that well respected organ 

1132
01:04:28,640 --> 01:04:33,920
the Thanet Times Andrew in in 
reviewing the film, but it also 

1133
01:04:33,920 --> 01:04:37,840
attempted to educate its older 
readers on on some of the the 

1134
01:04:37,840 --> 01:04:42,840
rather puzzling teenage slang 
that was that was in the film or

1135
01:04:42,840 --> 01:04:47,120
the the the you know. 
So here's here's a few sort of 

1136
01:04:47,120 --> 01:04:49,200
definitions that the Thanet 
Times gives. 

1137
01:04:49,600 --> 01:04:53,520
So to feel groovy is to feel 
very down to earth. 

1138
01:04:54,920 --> 01:04:58,680
A cat is the usual word for any 
kind of jazz musician. 

1139
01:04:59,800 --> 01:05:04,000
Crazy can be a eulogistic 
superlative of almost any 

1140
01:05:04,000 --> 01:05:07,720
connotation. 
Dad is a rather endearing or 

1141
01:05:07,720 --> 01:05:11,920
cajoling form of address. 
A gig is a one night job, 

1142
01:05:12,200 --> 01:05:14,240
usually with rather meagre 
compensation. 

1143
01:05:14,880 --> 01:05:18,640
Jack in England is the 
equivalent of Mac or bud of 

1144
01:05:18,640 --> 01:05:22,320
American slang. 
A mouldy fig is what an ardent 

1145
01:05:22,320 --> 01:05:25,280
modernist calls a zealous 
disciple of early jazz. 

1146
01:05:26,280 --> 01:05:29,120
And to send somebody is to 
sharply stimulate another 

1147
01:05:29,120 --> 01:05:34,480
person, musically or otherwise, 
just, you know, and all that 

1148
01:05:34,480 --> 01:05:39,760
would be swept away a mere about
18 months, two years later, as 

1149
01:05:39,760 --> 01:05:42,400
the cultural landscape of the 
country just turned on its head,

1150
01:05:42,400 --> 01:05:42,960
isn't it? 
Yeah. 

1151
01:05:43,080 --> 01:05:44,560
Absolutely. 
Absolutely. 

1152
01:05:45,440 --> 01:05:48,640
Yeah. 
But this, this is absolutely the

1153
01:05:48,640 --> 01:05:52,680
best example of certainly of 
this kind of thing made in 

1154
01:05:52,680 --> 01:05:57,280
Britain. 
And it's it's it's a wonderful 

1155
01:05:57,280 --> 01:06:00,200
time capsule in that way. 
I don't think anybody watching 

1156
01:06:00,200 --> 01:06:02,640
it is going to get much out of 
the musical performances now, 

1157
01:06:02,640 --> 01:06:06,400
unfortunately, from a musical 
point of view, because even as 

1158
01:06:06,400 --> 01:06:09,520
somebody who likes and 
appreciates music from this era,

1159
01:06:09,520 --> 01:06:11,880
most of it is not the best 
stuff. 

1160
01:06:12,040 --> 01:06:17,360
You know, it's rather feeble 
even given that this this is not

1161
01:06:17,360 --> 01:06:22,800
the most not the most innovative
of times for British, British 

1162
01:06:22,800 --> 01:06:28,240
music. 
But as as a capsule of a world 

1163
01:06:28,240 --> 01:06:32,240
that was lost so quickly, it's 
one of the few that that does it

1164
01:06:32,240 --> 01:06:34,280
artistically. 
Like I said, the only other 

1165
01:06:34,280 --> 01:06:38,080
British music film that that is 
worth actually worth watching 

1166
01:06:38,080 --> 01:06:41,960
from before A Hard Day's Night 
is the Cliff film Espresso 

1167
01:06:41,960 --> 01:06:45,440
Bongo, which which is a 
fantastic film and it is so 

1168
01:06:45,440 --> 01:06:47,640
right but. 
And Lawrence Harvey in that. 

1169
01:06:48,600 --> 01:06:50,520
I, I believe so. 
It's been a couple of years 

1170
01:06:50,520 --> 01:06:52,240
since I've watched it. 
I think, I think he's, I think 

1171
01:06:52,240 --> 01:06:54,160
he's one of the major roles, 
yes. 

1172
01:06:55,280 --> 01:06:58,800
I tend not to remember casts all
that well from films, but it's 

1173
01:06:59,160 --> 01:07:03,920
it's a wonderful, wonderful 
satire of Soho life. 

1174
01:07:03,920 --> 01:07:08,200
And far it it it's, it's not 
what you'd expect from a Cliff 

1175
01:07:08,200 --> 01:07:13,320
Richard film, put it that way. 
But most, most of most of this 

1176
01:07:13,320 --> 01:07:17,920
kind of film at this point is 
diabolically bad. 

1177
01:07:18,000 --> 01:07:22,200
You know, even the the Cliff 
ones, other than Espresso Bongo,

1178
01:07:22,200 --> 01:07:23,760
they used to get run every bank 
holiday. 

1179
01:07:24,000 --> 01:07:26,720
They're not actually, they're 
not actually good or even like 

1180
01:07:26,720 --> 01:07:30,080
really watchable films. 
You know, they they, they had a 

1181
01:07:30,080 --> 01:07:33,040
much higher budget than this. 
But they're they're not, they're

1182
01:07:33,040 --> 01:07:36,680
not good. 
Yeah, and things like, you know,

1183
01:07:36,680 --> 01:07:39,160
the Tommy Steele films, I mean, 
they're they're they're just 

1184
01:07:39,960 --> 01:07:44,600
just poor. 
But this is a it's a genuinely 

1185
01:07:44,600 --> 01:07:48,240
imaginative, funny, well made 
film. 

1186
01:07:48,600 --> 01:07:55,920
It's it's let down by the music.
But you know, people, there was 

1187
01:07:55,920 --> 01:07:58,160
the phrase that was used about 
hard days like the Citizen Kane 

1188
01:07:58,160 --> 01:08:00,160
of jukebox musical jukebox 
movies. 

1189
01:08:00,160 --> 01:08:05,960
Wasn't there that in many ways 
that that is better applied here

1190
01:08:06,280 --> 01:08:10,640
in that it I I've I've just been
be watching Citizen Kane 

1191
01:08:10,920 --> 01:08:15,160
yesterday actually, and Lester 
has clearly watched Citizen Kane

1192
01:08:15,200 --> 01:08:18,680
for a a lot of the the visual 
look of this film, which sounds 

1193
01:08:18,680 --> 01:08:23,840
which sounds bizarre, but it's a
lot of the same kind of deep 

1194
01:08:23,840 --> 01:08:26,760
focus shots a lot a lot of the 
same use of black and white 

1195
01:08:26,760 --> 01:08:29,359
cinematography. 
Now just the one person we 

1196
01:08:29,359 --> 01:08:31,160
haven't mentioned of course, is 
Gilbert Taylor. 

1197
01:08:31,160 --> 01:08:33,479
Yes, cinematographer. 
And he was. 

1198
01:08:33,479 --> 01:08:35,359
He worked with Leicester on Hard
Days night as well, didn't he? 

1199
01:08:35,359 --> 01:08:37,760
He did, yes. 
And he, he worked on all sorts 

1200
01:08:37,760 --> 01:08:39,240
of stuff. 
I, I I. 

1201
01:08:39,240 --> 01:08:41,080
Strangelove. 
Yeah, exactly. 

1202
01:08:41,080 --> 01:08:45,319
Yeah, he he he was like the pre 
eminent, particularly black and 

1203
01:08:45,319 --> 01:08:47,760
white cinematographer in in 
Britain at that point. 

1204
01:08:48,160 --> 01:08:51,640
He he he he did did quite a few 
of the early Bond films. 

1205
01:08:51,640 --> 01:08:57,160
I think he he did Star Wars, he 
did The Omen, he was the DP on 

1206
01:08:57,160 --> 01:09:01,479
basically every major film made 
it made in Britain. 

1207
01:09:01,960 --> 01:09:05,160
And also also did a lot, a lot 
of good, good TV work as well. 

1208
01:09:05,160 --> 01:09:08,120
A lot of things like Vandal and 
Hopkirk and The Avengers and 

1209
01:09:08,120 --> 01:09:09,680
stuff. 
He he worked at those as well. 

1210
01:09:10,120 --> 01:09:12,640
Yeah. 
But yeah, I mean of of interest 

1211
01:09:12,640 --> 01:09:15,720
to the people, the people 
listening to this he he made 

1212
01:09:15,720 --> 01:09:18,920
this more or less between the 
the rebel and the Punch and Judy

1213
01:09:18,920 --> 01:09:21,120
man and then went on to do 
Doctor Strangelove, you know, 

1214
01:09:22,319 --> 01:09:25,080
yeah, like I say, he went went 
on to do hard disk. 

1215
01:09:25,080 --> 01:09:27,880
He also did fabric cross the 
Mercy, the Jerry and the 

1216
01:09:27,880 --> 01:09:34,760
Pacemakers film. 
But he, he was a really properly

1217
01:09:35,160 --> 01:09:39,359
good cinematographer. 
He deserves a lot of, a lot of 

1218
01:09:39,359 --> 01:09:42,479
credit for this film. 
I don't know how much is him and

1219
01:09:42,479 --> 01:09:46,200
how much is how much is 
Leicester because obviously he 

1220
01:09:46,200 --> 01:09:47,960
worked on a lot of Leicester's 
early stuff. 

1221
01:09:47,960 --> 01:09:51,200
And so you never know who, you 
never know who did what. 

1222
01:09:51,439 --> 01:09:56,840
But he, he is clearly, you know,
I mean, and anybody who's seen 

1223
01:09:56,840 --> 01:09:58,920
Doctor Strangelove, which I 
again, I assume everybody 

1224
01:09:58,920 --> 01:10:02,880
listened to this has it, it. 
There was a lot, a lot of the 

1225
01:10:02,880 --> 01:10:05,800
similar look to that film about,
about this. 

1226
01:10:07,640 --> 01:10:10,280
And again, I, I was, I was 
thinking Citizen Kane because 

1227
01:10:10,280 --> 01:10:14,880
I've just re watched that. 
But again, the the same stark, 

1228
01:10:14,920 --> 01:10:17,000
noirish black, black and white 
shots. 

1229
01:10:17,000 --> 01:10:19,960
There's there's again, the same 
deep focus where you can see 

1230
01:10:20,280 --> 01:10:23,920
multiple things on multiple 
different levels in in focus and

1231
01:10:23,920 --> 01:10:28,800
it's it's a stunning looking 
film and you know, it's it's 

1232
01:10:28,800 --> 01:10:31,920
made on a budget of top and take
the if that, but it still looks 

1233
01:10:32,080 --> 01:10:35,160
extraordinary. 
Any, anybody who's interested in

1234
01:10:35,160 --> 01:10:39,360
the history of visual 
representation of music on the 

1235
01:10:39,360 --> 01:10:45,160
screen needs to watch this, you 
know, and will be more 

1236
01:10:45,160 --> 01:10:48,120
entertained by it than I suspect
they would, they would imagine 

1237
01:10:48,960 --> 01:10:54,760
big because it's it's, it's got 
a fairly funny script from 

1238
01:10:54,760 --> 01:10:58,280
Leicester. 
It's got some, you know, it's as

1239
01:10:58,280 --> 01:11:02,560
we talked about, it's packed, 
packed full of faces who are all

1240
01:11:02,560 --> 01:11:05,960
in small parts. 
But all can always be be relied 

1241
01:11:05,960 --> 01:11:09,960
on to be good in everything. 
You know, you put Hugh Lloyd or 

1242
01:11:09,960 --> 01:11:12,680
Derek Nemo in the kind of old 7,
they're going, they're going to 

1243
01:11:12,680 --> 01:11:14,280
do the job. 
They know they know how to do 

1244
01:11:14,280 --> 01:11:17,400
the job. 
You know, it it, it looks 

1245
01:11:17,400 --> 01:11:20,720
stunning and it is so visually 
imaginative for most of most of 

1246
01:11:20,720 --> 01:11:23,040
the musical sequences, like I 
said, particularly the temperate

1247
01:11:23,040 --> 01:11:25,960
7/1 and to a lesser extent some 
of the other ones in the TV 

1248
01:11:25,960 --> 01:11:28,360
studio. 
Well, earlier and again, anybody

1249
01:11:28,360 --> 01:11:31,160
who's watched the Hard Days 
night, the the TV studio 

1250
01:11:31,160 --> 01:11:35,920
sequences very, very visually 
similar to Hard Days night, he, 

1251
01:11:36,200 --> 01:11:40,040
he was lifting for himself, 
which makes sense because no, 

1252
01:11:40,080 --> 01:11:42,960
nobody watched this thing. 
You know, it, it, it, it, it was

1253
01:11:42,960 --> 01:11:48,040
not any kind of a hit. 
So it it's, it's an 

1254
01:11:48,040 --> 01:11:51,040
extraordinary piece of history 
in multiple different ways. 

1255
01:11:51,200 --> 01:11:56,640
But it's it's more entertaining 
than than you would expect going

1256
01:11:56,640 --> 01:12:01,360
in, despite having two charisma 
voids, to be, to be frank, as 

1257
01:12:01,360 --> 01:12:06,000
lead actors, you know, and 
despite despite having a plot 

1258
01:12:06,280 --> 01:12:09,920
that was written on written on 
the back of a napkin and despite

1259
01:12:10,280 --> 01:12:13,920
the music, which is meant to be 
the centre of it, not being very

1260
01:12:13,920 --> 01:12:18,560
good, they did still, Despite 
that, it's still an an 

1261
01:12:18,560 --> 01:12:21,280
entertaining film. 
And you have you have to give 

1262
01:12:21,760 --> 01:12:25,960
Lester and Taylor and the the 
various bit parts performers an 

1263
01:12:25,960 --> 01:12:28,320
immense anti credit for that. 
But no, you don't have to give 

1264
01:12:28,320 --> 01:12:29,760
somebody to get any credit at 
all for it. 

1265
01:12:29,760 --> 01:12:31,360
You know, he he, he deserves no 
credit. 

1266
01:12:33,120 --> 01:12:35,200
He got more, more credit than he
deserves, you know. 

1267
01:12:35,360 --> 01:12:38,000
Fair enough. 
He thought that this would be 

1268
01:12:38,000 --> 01:12:42,120
the shot in the arm for for trad
jazz, he he said. 

1269
01:12:42,600 --> 01:12:44,840
He said he thought it would take
off in the States as a result of

1270
01:12:44,840 --> 01:12:47,880
the film, he said. 
He said it has the ingredients 

1271
01:12:47,880 --> 01:12:50,600
for success in America. 
After all, it's American Music 

1272
01:12:50,600 --> 01:12:52,880
anyway, with your own special 
British flavour added. 

1273
01:12:53,280 --> 01:12:56,440
If a trad dad can be found among
the DJs in the States, I think 

1274
01:12:56,440 --> 01:12:58,000
the the youngsters there will 
take to it. 

1275
01:12:59,480 --> 01:13:02,480
It was not to be. 
We watched the, we watched the 

1276
01:13:02,480 --> 01:13:05,320
really nice copy of it or 
transfer of it. 

1277
01:13:06,360 --> 01:13:08,280
I haven't checked to see. 
I'm sure it's probably on 

1278
01:13:08,280 --> 01:13:13,200
YouTube in some shape or form. 
And I'm sure you can probably 

1279
01:13:13,200 --> 01:13:16,040
listen to the soundtrack album 
on Spotify. 

1280
01:13:17,320 --> 01:13:20,280
I know, I know, I know the 
soundtrack album was digitally 

1281
01:13:20,280 --> 01:13:22,840
available for like a quid 
because it, because it's, it's 

1282
01:13:23,000 --> 01:13:25,920
public domain. 
So if nothing, if nothing else, 

1283
01:13:25,920 --> 01:13:28,720
you can literally go go and buy 
an MP3 copy of the soundtrack 

1284
01:13:28,720 --> 01:13:31,960
album for like, I think, I think
I bought it for 2 lbs when I 

1285
01:13:31,960 --> 01:13:34,080
wanted, when I wanted to accept 
some of it for my podcast. 

1286
01:13:34,080 --> 01:13:37,440
So, you know, it's, it's the, 
the soundtrack album is very, 

1287
01:13:37,440 --> 01:13:40,640
very easily available. 
But frankly, frankly, don't 

1288
01:13:41,800 --> 01:13:45,280
watch, watch, watch the film. 
Yeah, unless, unless you are a 

1289
01:13:45,400 --> 01:13:47,760
mega fan of the Dukes of 
Dixieland or something like 

1290
01:13:47,760 --> 01:13:49,920
that, you know, you, you, you 
don't, you don't need the 

1291
01:13:49,920 --> 01:13:52,400
soundtrack album. 
There are a handful, there are a

1292
01:13:52,400 --> 01:13:56,080
handful of decent, decent 
musical performances in it. 

1293
01:13:56,960 --> 01:14:01,520
But even there, it's, it's not, 
it's not usually the best thing 

1294
01:14:01,520 --> 01:14:03,520
that, that those particular 
artists have done. 

1295
01:14:03,520 --> 01:14:06,320
You know, it's always 2 tracks 
past their last big hit. 

1296
01:14:06,840 --> 01:14:11,200
Yeah, Jean Vince is doing 
spaceship to spaceship to Mars 

1297
01:14:11,280 --> 01:14:15,360
rather rather than doing it. 
And you know, Bieba Palula or 

1298
01:14:15,760 --> 01:14:18,200
Blue Jean Bopp or any, any of 
his classics. 

1299
01:14:18,200 --> 01:14:22,760
You know, the, the, the Paris 
sisters doing what am I to do 

1300
01:14:22,760 --> 01:14:27,640
rather than I love how you love 
me and the the the couple of 

1301
01:14:27,720 --> 01:14:31,160
like good tracks that are 
properly good. 

1302
01:14:31,400 --> 01:14:34,040
The temperate 7 doing everybody 
loves my baby and John Leighton 

1303
01:14:34,040 --> 01:14:36,200
doing lonely city. 
Anybody who's interested in 

1304
01:14:36,200 --> 01:14:38,680
those kinds of music has 
probably already got those, you 

1305
01:14:38,680 --> 01:14:42,920
know, So it's it's not it's not 
worth seeking out for the for 

1306
01:14:42,920 --> 01:14:45,000
the music. 
Not that not that the music is 

1307
01:14:45,000 --> 01:14:48,360
mostly bad. 
It's it's, you know. 

1308
01:14:49,320 --> 01:14:50,680
It's a nothing. 
It's a bland. 

1309
01:14:51,280 --> 01:14:55,360
Yeah, it's, it's a mixture of 
people who are actually quite 

1310
01:14:55,360 --> 01:14:59,400
good at what they do, like Chris
Barber but not do not at their 

1311
01:14:59,400 --> 01:15:03,280
best, and people who never 
really had the best to be but 

1312
01:15:03,880 --> 01:15:05,760
doing adequately. 
You know, there is, there is 

1313
01:15:05,760 --> 01:15:08,320
nothing unlistenable in in in 
the soundtrack, but there's 

1314
01:15:08,320 --> 01:15:13,360
nothing that's even like, I say 
I, I have far more taste for the

1315
01:15:13,360 --> 01:15:15,480
music of this period than pretty
much anybody I know. 

1316
01:15:15,480 --> 01:15:19,240
But even I would not like, say 
there's anything, there's 

1317
01:15:19,240 --> 01:15:21,360
anything here you really want to
be listening to, you know? 

1318
01:15:21,360 --> 01:15:23,520
Yeah. 
If you if you want to watch a 

1319
01:15:23,720 --> 01:15:26,760
really good Richard Lester film 
with with good songs in it, then

1320
01:15:26,960 --> 01:15:28,920
Hard Day's Night. 
Absolutely, yeah. 

1321
01:15:29,200 --> 01:15:31,760
What do we do now? 
He's bound to have an idea. 

1322
01:15:31,800 --> 01:15:35,240
Otherwise there's no picture. 
I know, but we'll have to get 

1323
01:15:35,240 --> 01:15:37,280
some disc jockeys to help us. 
Disc jockeys? 

1324
01:15:37,280 --> 01:15:38,040
Help us? 
Do what? 

1325
01:15:38,240 --> 01:15:41,000
Well, to bring a show to this 
town, but just so here. 

1326
01:15:41,240 --> 01:15:44,800
Yeah, but to do it, we'll have 
to go to the city. 

1327
01:15:44,920 --> 01:15:47,480
How? 
Well, what do you mean? 

1328
01:15:48,040 --> 01:15:49,560
Can you help us? 
Me. 

1329
01:15:49,960 --> 01:15:52,120
I'm just a simple narrator, all 
right? 

1330
01:15:53,920 --> 01:15:55,280
Hey. 
Crazy. 

1331
01:15:57,520 --> 01:16:00,520
Wow. 
OK. 

1332
01:16:00,680 --> 01:16:02,960
OK, well, and you normally when 
I thank you, you know, thank you

1333
01:16:02,960 --> 01:16:05,120
so much, of course, for coming 
on to talk about this. 

1334
01:16:05,120 --> 01:16:08,880
Now when I have guests on who 
also have podcasts, I always ask

1335
01:16:08,880 --> 01:16:11,680
them to, you know, to to plug 
the podcast. 

1336
01:16:11,680 --> 01:16:15,760
I don't think you really need to
really history of rock music of 

1337
01:16:15,760 --> 01:16:17,480
500 songs. 
You've got enough listeners 

1338
01:16:17,480 --> 01:16:22,560
surely anymore. 
You can always do do with a few 

1339
01:16:22,560 --> 01:16:24,840
extra. 
I have a podcast called The 

1340
01:16:24,840 --> 01:16:26,760
History of Rock Music and 500 
songs. 

1341
01:16:26,760 --> 01:16:34,400
It's ridiculously popular. 
I mean that I, it's far more 

1342
01:16:34,400 --> 01:16:36,600
popular than I ever expected it 
to be. 

1343
01:16:37,320 --> 01:16:40,840
But but I, I think it's, I think
it's quite, quite good. 

1344
01:16:41,160 --> 01:16:44,440
Not not so much at the moment, 
but when I was covering stuff, 

1345
01:16:44,440 --> 01:16:47,840
particularly in the late 50s and
early 60s, there's quite, quite 

1346
01:16:47,840 --> 01:16:52,080
a bit of overlap there with 
thing things that people, people

1347
01:16:52,080 --> 01:16:54,440
listening to goon part might, 
might find interesting. 

1348
01:16:54,440 --> 01:16:57,200
The episode on A Hard Day's 
Night, as we've said, covers a 

1349
01:16:57,200 --> 01:16:58,800
lot of stuff about Richard 
Lester. 

1350
01:16:59,040 --> 01:17:02,480
There's, there's some stuff, I 
can't remember which episode. 

1351
01:17:02,880 --> 01:17:05,440
The episode of Johnny Kidd and 
the Pirates talks about talks 

1352
01:17:05,440 --> 01:17:08,000
about associated London scripts 
quite a bit because their, their

1353
01:17:08,000 --> 01:17:11,960
manager was scruffy Dale from, 
from ALS. 

1354
01:17:13,360 --> 01:17:18,840
Yeah, So the, the, the, if if 
you look at anything, any, any 

1355
01:17:18,840 --> 01:17:24,160
of the episodes about British 
music from 1957 through 1964 

1356
01:17:24,160 --> 01:17:25,360
that I've got, I've got in 
there. 

1357
01:17:25,600 --> 01:17:28,160
The, the tend, there tends to be
a lot of, a lot of coverage of 

1358
01:17:28,160 --> 01:17:31,480
British light entertainment 
stuff, lot of lot of overlap 

1359
01:17:31,480 --> 01:17:33,640
with the, the, the material 
covered here. 

1360
01:17:35,040 --> 01:17:37,040
Those episodes. 
If if you don't know, if you 

1361
01:17:37,040 --> 01:17:39,000
don't know my podcast and you're
not particularly interested in 

1362
01:17:39,000 --> 01:17:41,040
the music side of things, those 
still might have some interest 

1363
01:17:41,040 --> 01:17:45,040
to people anyway. 
But yeah, I'm I'm currently in 

1364
01:17:45,040 --> 01:17:48,200
the middle of doing a a long 
four part story about about The 

1365
01:17:48,200 --> 01:17:51,360
Beach Boys who D LED Belly 
Ledbetter and Charles Manson. 

1366
01:17:51,600 --> 01:17:58,120
So not not so much overlap 
there, but you know, but I tilt 

1367
01:17:59,040 --> 01:18:01,200
mentioning him again, but he 
actually had he actually edits 

1368
01:18:01,200 --> 01:18:04,760
the the podcast and he he's he 
says that it's also a secret 

1369
01:18:04,760 --> 01:18:06,720
history of Granada TV. 
So you know that. 

1370
01:18:09,320 --> 01:18:13,160
And it's gone from being because
the early, early episodes were 

1371
01:18:13,240 --> 01:18:16,520
relatively short, I suppose. 
But it's now it's it's well up 

1372
01:18:16,520 --> 01:18:20,120
to 4 hours so. 
Yeah, yeah, I, I started out 

1373
01:18:20,120 --> 01:18:23,560
trying to keep episodes to half 
an hour, but that was that was 

1374
01:18:23,560 --> 01:18:26,480
why I was covering music from 
like the late 30s, early 40s. 

1375
01:18:26,480 --> 01:18:29,520
And most of my listeners didn't 
have a clue about any of that 

1376
01:18:29,520 --> 01:18:32,120
stuff. 
But after, after you get into 

1377
01:18:32,120 --> 01:18:34,880
the late 50s, early 60s, people 
start saying, why didn't you 

1378
01:18:34,880 --> 01:18:36,320
cover this thing? 
Why didn't you talk about, why 

1379
01:18:36,320 --> 01:18:37,960
don't you talk about that? 
Why don't you talk about that? 

1380
01:18:38,160 --> 01:18:40,480
And there's just more material, 
you know, if you're doing an 

1381
01:18:40,480 --> 01:18:45,880
episode on Gina Eunice, you 
know, or I think my episode on 

1382
01:18:45,920 --> 01:18:49,200
Vince Taylor, who I mentioned 
earlier, I think I literally did

1383
01:18:49,200 --> 01:18:52,040
the longest thing in the English
language about Vince Taylor and 

1384
01:18:52,040 --> 01:18:53,680
it still only came out for about
40 minutes. 

1385
01:18:55,040 --> 01:18:57,000
But there's, there's biographies
of him, but they're in French. 

1386
01:18:57,000 --> 01:18:58,800
He was, he was big in France for
a while. 

1387
01:19:00,160 --> 01:19:03,520
But yeah, I think, I think my 40
minute episode on him is more 

1388
01:19:04,200 --> 01:19:06,280
more information about him than 
there is otherwise in the 

1389
01:19:06,280 --> 01:19:08,000
English language. 
I might, I might be wrong. 

1390
01:19:08,000 --> 01:19:12,040
I might. 
But if it's close to it, you 

1391
01:19:12,040 --> 01:19:17,880
know, but but then when you, 
when you talk about The Beatles,

1392
01:19:18,120 --> 01:19:21,720
you, you do a four hour episode 
on The Beatles in 1968 like I 

1393
01:19:21,720 --> 01:19:25,120
did last year. 
And there is still more 

1394
01:19:25,120 --> 01:19:27,360
information out there, there's 
still more stuff out there that 

1395
01:19:27,360 --> 01:19:31,360
doesn't get covered, and that's 
just the way it is. 

1396
01:19:31,360 --> 01:19:34,560
But also I've got a bit more 
experimental in the storytelling

1397
01:19:34,560 --> 01:19:37,360
and stuff as a result. 
So even those longer episodes do

1398
01:19:37,360 --> 01:19:41,080
I think hold people's attention.
I certainly get told they do so 

1399
01:19:41,840 --> 01:19:44,080
you know. 
And you're gonna have enough 

1400
01:19:44,080 --> 01:19:45,880
work for the next decade or 
more. 

1401
01:19:46,240 --> 01:19:49,040
More than yes. 
You're going up to 2000. 

1402
01:19:49,160 --> 01:19:53,680
Yeah, it's up to 2000. 
It finishes with a song from 

1403
01:19:53,680 --> 01:19:56,440
very late 1999, which I'm not 
gonna say it is. 

1404
01:19:56,520 --> 01:19:58,040
You've told me, Yeah, you've 
told me which one? 

1405
01:19:58,040 --> 01:20:00,840
That. 
Is yeah, I've told a handful of 

1406
01:20:00,840 --> 01:20:05,560
people and many more people. 
Want to know and I'm going to 

1407
01:20:05,720 --> 01:20:08,000
find out. 
It's not actually meant to be 

1408
01:20:08,000 --> 01:20:10,200
some sort of big secret, but 
people started treating it as 

1409
01:20:10,200 --> 01:20:11,880
one so I'm now treating it as 
one as well. 

1410
01:20:13,440 --> 01:20:16,160
But yeah, originally I planned 
to make it last only 10 years 

1411
01:20:16,160 --> 01:20:18,680
cuz I was doing an episode a 
week, but it's a lot easier to 

1412
01:20:18,680 --> 01:20:21,480
do a half hour episode a week 
with no bonus material for the 

1413
01:20:21,480 --> 01:20:23,880
Patreon backers than it is now 
where I'm doing. 

1414
01:20:24,440 --> 01:20:27,600
You know, an average episode 
comes in an hour and a half and 

1415
01:20:27,600 --> 01:20:30,080
some of the, some of the bigger 
episodes are like 4 hours or so.

1416
01:20:30,080 --> 01:20:32,600
So now it tends to be more like 
an, an episode every two weeks 

1417
01:20:32,600 --> 01:20:35,760
or an episode a month. 
But my Patreon backers also get 

1418
01:20:35,760 --> 01:20:38,480
another episode and they're 
often an hour long as well. 

1419
01:20:38,800 --> 01:20:42,760
So, you know, it's, I, I get 
people all the time asking me 

1420
01:20:42,800 --> 01:20:46,040
what, how, why is it taking so 
long between episodes? 

1421
01:20:46,040 --> 01:20:50,400
And you know, I'm, I'm doing, 
turning out like 40,000 words of

1422
01:20:50,400 --> 01:20:52,840
script a month. 
So, you know, so yes, it's, 

1423
01:20:52,960 --> 01:20:54,320
it's, it's going to keep me 
going. 

1424
01:20:56,120 --> 01:21:01,080
Assuming, assuming I live long 
enough, I, I, the current rate, 

1425
01:21:01,080 --> 01:21:03,960
I'll get to song 500 sometime in
the middle of the next decade. 

1426
01:21:04,200 --> 01:21:07,840
Hopefully I'll be able to get 
the get the the episodes shorter

1427
01:21:07,840 --> 01:21:11,760
and more frequent again, because
I'm now past the sort of peak 

1428
01:21:12,160 --> 01:21:16,440
boomer classic rock singularity 
where everybody has a very, very

1429
01:21:16,440 --> 01:21:18,600
fixed idea about what they want 
to hear about. 

1430
01:21:18,600 --> 01:21:22,160
And you know, if you don't cover
this detail or that detail or 

1431
01:21:22,160 --> 01:21:24,760
the other detail of The Beatles 
or the Stones, then some, 

1432
01:21:24,760 --> 01:21:27,040
somebody's going to get very, 
very, very mad at you because 

1433
01:21:27,600 --> 01:21:29,680
there is a portion of the 
audience that assumes that 

1434
01:21:29,720 --> 01:21:32,800
everybody cares about the same 
music. 

1435
01:21:33,000 --> 01:21:36,160
Once you, once you get into the 
early 70s, you know, people know

1436
01:21:36,280 --> 01:21:38,760
that not everybody, like, not 
everybody who like Black Sabbath

1437
01:21:38,760 --> 01:21:40,680
also like James Taylor or 
whatever. 

1438
01:21:40,960 --> 01:21:46,080
So, so they, so they, they would
be more understanding and 

1439
01:21:46,080 --> 01:21:49,760
accepting of the fact that I 
have to explain to people I have

1440
01:21:49,760 --> 01:21:52,120
to give, give a higher level 
overview and don't go down into 

1441
01:21:52,120 --> 01:21:54,080
the detail quite so much. 
So I'm hoping to get back to 

1442
01:21:54,080 --> 01:21:58,320
doing like hour long episodes or
something as as the norm by the 

1443
01:21:58,320 --> 01:22:02,640
time I hit the early 1970s. 
So I'm hoping I'm hoping to get 

1444
01:22:02,760 --> 01:22:07,280
get the series completed by 
maybe 2035 S. 

1445
01:22:08,240 --> 01:22:12,600
Maybe by the time your your 
journey ends, maybe Mark Lewison

1446
01:22:12,600 --> 01:22:13,800
will have released the third 
volume. 

1447
01:22:15,960 --> 01:22:16,560
Who knows? 
Well. 

1448
01:22:18,760 --> 01:22:20,200
Then some, in some ways I hope 
he doesn't. 

1449
01:22:20,680 --> 01:22:23,880
I hope he leaves it until after 
I've completed my work so that I

1450
01:22:23,880 --> 01:22:25,600
don't have to go back and redo 
everything. 

1451
01:22:25,600 --> 01:22:29,200
It's to say sorry I was wrong. 
Thanks again to Andrew. 

1452
01:22:30,800 --> 01:22:31,880
So yeah, thank you for 
listening. 

1453
01:22:32,040 --> 01:22:36,000
Just just one quick point. 
Obviously this is a show first 

1454
01:22:36,000 --> 01:22:41,000
heard on Goon Pod Film Club. 
The reason that it is out this 

1455
01:22:41,000 --> 01:22:45,160
week on Goon Pod is due to the 
fact that it is, it is my 25th 

1456
01:22:45,200 --> 01:22:47,600
wedding anniversary and I'm away
on holiday. 

1457
01:22:48,080 --> 01:22:51,960
But I thought that this was an 
appropriate subject and 

1458
01:22:52,200 --> 01:22:57,000
obviously a fantastic guest to 
showcase to the the the wider 

1459
01:22:57,000 --> 01:23:01,120
listening public. 
And so hence I decided to put it

1460
01:23:01,120 --> 01:23:02,680
out this week as part of Goon 
Pod. 

1461
01:23:02,840 --> 01:23:08,480
So I hope you enjoyed it and I 
will be back next week with 

1462
01:23:09,840 --> 01:23:11,800
another show. 
I'm trying to think what show it

1463
01:23:11,800 --> 01:23:13,160
will be. 
I think it is listeners 

1464
01:23:13,160 --> 01:23:17,360
questions next week where the 
Great and the Good and the ugly 

1465
01:23:17,640 --> 01:23:22,200
who listen to this podcast have 
sent me a bunch of questions, 

1466
01:23:22,200 --> 01:23:26,680
queries, comments and such forth
which I will be tackling. 

1467
01:23:27,040 --> 01:23:28,960
So that will be next week on 
Goonpod. 

1468
01:23:29,920 --> 01:23:34,200
End of this week on Goonpod Film
club, there's a brand new show 

1469
01:23:34,200 --> 01:23:39,400
dropping, which is myself and 
Chris and Rob from still any 

1470
01:23:39,400 --> 01:23:42,400
good podcast. 
They will be joining me to talk 

1471
01:23:42,400 --> 01:23:47,840
about the Mighty Without a Clue,
the the the the Sherlock Holmes 

1472
01:23:47,840 --> 01:23:52,080
comedy starring Michael Caine 
and Sir Ben Kingsley. 

1473
01:23:52,680 --> 01:23:55,880
So look out for that. 
That should be out a few days 

1474
01:23:55,880 --> 01:24:00,800
after this comes out. 
There only remains for me to say

1475
01:24:00,800 --> 01:24:04,600
thank you for listening. 
Any new listeners, please do 

1476
01:24:04,840 --> 01:24:08,360
rate and review in the usual 
places and also look back at the

1477
01:24:08,360 --> 01:24:12,040
back catalog. 
We've got 200 plus shows in the 

1478
01:24:12,040 --> 01:24:17,000
Goon Pod depository, including 
back in when was it March? 

1479
01:24:17,000 --> 01:24:19,880
We did an entire show on the 
running, jumping and standing 

1480
01:24:19,880 --> 01:24:23,480
still film. 
So lots more less the chat in 

1481
01:24:23,480 --> 01:24:27,480
that one. 
Anywho, thank you again as I say

1482
01:24:27,480 --> 01:24:30,200
for listening, take care of 
yourselves and I will see you 

1483
01:24:30,480 --> 01:25:05,280
next time. 
The.