1 00:00:02,840 --> 00:00:05,160 Hello, Hello to you, too. Memories immediately, of course, 2 00:00:05,160 --> 00:00:07,280 of the goons. And at total to 7:00 tomorrow, 3 00:00:07,280 --> 00:00:09,960 the raps come off, the first of five goon shows never before 4 00:00:09,960 --> 00:00:12,640 heard in the UK. They've gathered dust for nearly 5 00:00:12,640 --> 00:00:15,640 30 years and were thought to have been destroyed, but ABBC 6 00:00:15,760 --> 00:00:18,240 recording engineer Ted Kendall tracked them down. 7 00:00:18,240 --> 00:00:19,800 And what does he think of the goons? 8 00:00:19,960 --> 00:00:26,680 The Goon Show is unique. It's a blend of radio comedy and 9 00:00:26,680 --> 00:00:31,600 radio drama. It throws such strong pictures 10 00:00:31,600 --> 00:00:34,920 in the mind. If you read the books, you know 11 00:00:34,920 --> 00:00:37,520 that it's just Sellers, Seek and Milligan just standing at a 12 00:00:37,520 --> 00:00:39,240 couple of bites doing these things. 13 00:00:39,560 --> 00:00:42,680 But when you listen to them, it doesn't sound like that. 14 00:00:43,480 --> 00:00:44,960 There's all these wonderful characters. 15 00:00:44,960 --> 00:00:47,600 There's Blood Knock and Moriarty and Grip Pipe and Eccles and 16 00:00:47,600 --> 00:00:51,880 Blue Bottle, and they're gallivanting over this 17 00:00:51,880 --> 00:00:55,880 ridiculous landscape and, you know, disappearing through 18 00:00:55,880 --> 00:00:58,800 portable holes. In this kind of caper, you get 19 00:00:58,800 --> 00:01:02,400 things like people descending infinite flights of stairs to 20 00:01:02,440 --> 00:01:06,640 answer the door in a bungalow. If the preparations for 21 00:01:06,640 --> 00:01:11,080 Christmas have reduced you to a frazzle, then the best thing you 22 00:01:11,080 --> 00:01:18,080 can do at 12:30 is turn down the Turkey and turn on the goons. 23 00:01:20,840 --> 00:01:52,240 The. Hello and welcome to Goonpod. 24 00:01:52,360 --> 00:01:55,680 My name is Tyler Adams and we have a slightly different show 25 00:01:55,680 --> 00:01:58,480 this week. Last year I interviewed Ted 26 00:01:58,480 --> 00:02:02,640 Kendall, the sound engineers, sound engineer and well known to 27 00:02:02,640 --> 00:02:07,440 all Goons enthusiasts as the man who lovingly and painstakingly 28 00:02:07,440 --> 00:02:12,440 repaired, restored and revitalized most of the existing 29 00:02:12,440 --> 00:02:15,400 Goon Shows, shows which had previously been either 30 00:02:15,400 --> 00:02:18,680 incomplete or muddy sounding or both. 31 00:02:19,360 --> 00:02:23,240 Ted first began working on the Goon shows in the 80s, but it 32 00:02:23,240 --> 00:02:28,160 was his collaboration with Dirk Mags on 1991's At Last the Go On 33 00:02:28,160 --> 00:02:31,400 Show and subsequent Commission to restore a bunch of shows for 34 00:02:31,400 --> 00:02:34,880 a high profile Radio Two and Radio 4 repeat season soon after 35 00:02:35,240 --> 00:02:39,520 that made Ted a household name, or at least any household which 36 00:02:39,520 --> 00:02:41,960 received a quarterly copy of the GSPS newsletter. 37 00:02:42,880 --> 00:02:47,040 Ted would, most notably for us at least, work on the Goon Show 38 00:02:47,040 --> 00:02:50,640 compendiums, and it is him we have to thank for such riches. 39 00:02:51,320 --> 00:02:53,800 Not only all the extent shows restored to their highest 40 00:02:53,800 --> 00:02:55,840 possible quality, but a whole treasure trove of extra 41 00:02:55,840 --> 00:03:00,000 material, from show warmups to outtakes, radio documentaries, 42 00:03:00,240 --> 00:03:02,760 sound effects, interviews and so much more. 43 00:03:03,680 --> 00:03:06,120 There's a few reasons that the episode I recorded with Ted 44 00:03:06,120 --> 00:03:08,760 didn't go out last year, mainly due to my audio feed. 45 00:03:09,360 --> 00:03:12,120 But it was a fascinating conversation and for the longest 46 00:03:12,120 --> 00:03:15,360 time it's been bugging me that I couldn't share it with you 47 00:03:15,360 --> 00:03:17,760 listeners. So what I have done is Knocked 48 00:03:17,760 --> 00:03:23,520 Together, a show which is 99% Ted talking Ted talks with 49 00:03:23,520 --> 00:03:26,240 minimal involvement from me. What could be better? 50 00:03:26,240 --> 00:03:29,840 I hear you cry. Anyway, when Ted and I began 51 00:03:29,840 --> 00:03:33,080 talking, he briefly touched on his earliest memories of goon 52 00:03:33,080 --> 00:03:35,760 type content, the Tele Goons. Here's Ted. 53 00:03:36,760 --> 00:03:39,000 I love them. I mean, you see them back now 54 00:03:39,000 --> 00:03:42,240 and they are a bit crude and rough around the edges. 55 00:03:42,240 --> 00:03:49,400 But now I am a fan of telecoms and I well remember being rather 56 00:03:49,440 --> 00:03:55,600 miffed that one Saturday the telecoms was postponed to allow 57 00:03:55,600 --> 00:03:58,920 for the repeat of the first episode of Doctor Who prior to 58 00:03:58,920 --> 00:04:00,600 the broadcast of the second episode. 59 00:04:01,200 --> 00:04:04,080 I didn't think much of that at the time, but I'm not going to 60 00:04:04,080 --> 00:04:06,160 cross the Whovians, Not on this anyway. 61 00:04:06,760 --> 00:04:11,800 When I started in sound, I could drive a tape recorder before I 62 00:04:11,800 --> 00:04:14,680 could read fluently. We had several tape recorders at 63 00:04:14,680 --> 00:04:17,519 home. Dad was big radio buff and by 64 00:04:17,519 --> 00:04:19,200 profession he was a routine chemist. 65 00:04:19,200 --> 00:04:23,720 But radio and music were twin loves of his. 66 00:04:24,200 --> 00:04:27,720 And we had a Grundig tape machine at home with which I 67 00:04:27,720 --> 00:04:30,240 used to play about. And I remember on one of these 68 00:04:30,240 --> 00:04:34,520 tapes, I mean, I know now exactly where it comes from, but 69 00:04:34,520 --> 00:04:39,560 I, I, I didn't for a long time. And it was just his voice 70 00:04:39,560 --> 00:04:44,360 saying, what does the dirt encrusted Saab desire all these 71 00:04:44,360 --> 00:04:46,840 sensuous drinks of the Orient Ayars. 72 00:04:47,080 --> 00:04:50,960 I remember the Ayars, the, the, the, the, the, the, the roll on 73 00:04:50,960 --> 00:04:53,480 the R. So that was the first genuine 74 00:04:53,480 --> 00:04:57,320 bit of goons I actually heard. And I, I think I just about 75 00:04:57,320 --> 00:05:00,280 connected it as such. Funnily enough, I, I, I missed 76 00:05:00,280 --> 00:05:04,760 the goon repeat season in 69. For me, it really took off with 77 00:05:04,760 --> 00:05:07,800 the last goon show of all in in 72. 78 00:05:07,800 --> 00:05:11,120 And of course that has been a sort of disease like motif 79 00:05:11,120 --> 00:05:14,280 throughout my life. As you know, the last goon show 80 00:05:14,280 --> 00:05:17,400 of all. But but it's it, it, it sort of 81 00:05:17,400 --> 00:05:21,400 went from there, recorded it off Radio 4, played it ceaselessly, 82 00:05:21,400 --> 00:05:26,120 drove my parents to distraction. My mum bought me the Goon Show 83 00:05:26,120 --> 00:05:29,520 companion. I was at home on the bank 84 00:05:29,520 --> 00:05:31,440 holiday weekend. I was at college by then. 85 00:05:32,360 --> 00:05:37,040 I remember reading this book. I seem to remember I was playing 86 00:05:37,040 --> 00:05:40,880 an album by Quiet Sun called Mainstream. 87 00:05:40,880 --> 00:05:42,960 Quiet Sun was an offshoot of Roxy Music. 88 00:05:44,400 --> 00:05:47,240 I remember Sun streaming in through the through through the 89 00:05:47,240 --> 00:05:49,680 front room window. And I was playing Bargain 90 00:05:49,680 --> 00:05:52,160 Classics off that album. It's a track called Bargain 91 00:05:52,160 --> 00:05:54,360 Classics. And I was reading this book and 92 00:05:54,360 --> 00:05:58,120 seeing all these TLO numbers and thinking, hey, what it would be 93 00:05:58,120 --> 00:06:02,720 just to sort of live among those TL OS and do all this stuff and, 94 00:06:02,840 --> 00:06:06,880 and things, you know, ridiculous dream really. 95 00:06:08,040 --> 00:06:11,320 But by that time I'd already resolved I was going to join the 96 00:06:11,320 --> 00:06:15,520 BBC because at that point the BBC, you know, was this great 97 00:06:15,520 --> 00:06:18,160 institution. It stood for a lot more than it 98 00:06:18,160 --> 00:06:20,240 stands for. Now, let me tell you, a few 99 00:06:20,240 --> 00:06:23,320 years earlier I'd written to the BBC and said, look, I'd like to 100 00:06:23,320 --> 00:06:26,320 work for you because wants to recording and all this sort of 101 00:06:26,320 --> 00:06:27,400 things. Very keen on. 102 00:06:27,560 --> 00:06:31,280 And yes, I mean, I just played around with tape machines and 103 00:06:31,720 --> 00:06:34,680 with amplifiers. I mean, I had seven goes 104 00:06:34,720 --> 00:06:37,880 constructing an audio mixer before I made one that worked 105 00:06:38,000 --> 00:06:40,360 and one that worked was actually really quite good. 106 00:06:40,360 --> 00:06:43,920 But I, I, you know, I, I, I, I could weigh the soldering iron 107 00:06:43,920 --> 00:06:48,000 when I was 10, but myself when I was 10 and a quarter and learn 108 00:06:48,000 --> 00:06:49,960 to treat the thing with a bit more respect thereafter. 109 00:06:50,360 --> 00:06:53,920 And, and I got this propensity for sticking a microphone up in 110 00:06:53,920 --> 00:06:57,080 front of school choirs and local orchestras and just about 111 00:06:57,080 --> 00:07:00,440 anything that moved. So, you know, I was trying to be 112 00:07:00,440 --> 00:07:03,240 pretty hands on about recording, even if I didn't know much about 113 00:07:03,240 --> 00:07:05,960 it at that stage. I knew that a single crossed 114 00:07:05,960 --> 00:07:10,160 pair was the way to go. Actually, it isn't necessarily, 115 00:07:10,160 --> 00:07:12,600 but let's not go into that. Yes. 116 00:07:12,600 --> 00:07:14,840 So I was learning about all that sort of stuff as well. 117 00:07:15,920 --> 00:07:19,320 I went to university and my degree was in electronic 118 00:07:19,320 --> 00:07:24,600 engineering, so it's a technical qualification and the general 119 00:07:24,600 --> 00:07:29,960 way of thinking in the BBC, most of it was that technical people 120 00:07:30,000 --> 00:07:32,800 looked after the equipment, planned the equipment, stole the 121 00:07:32,800 --> 00:07:36,520 equipment, and the people who operated it were arts types who 122 00:07:36,520 --> 00:07:40,640 were taught the technical side and that that was the prevailing 123 00:07:40,640 --> 00:07:45,400 culture in domestic radio. I I was never much interested in 124 00:07:45,400 --> 00:07:47,440 television to be honest. For me it was sound. 125 00:07:47,720 --> 00:07:54,280 I I remember when stereo radio actually started, certainly on 126 00:07:54,280 --> 00:07:58,240 the the the widespread stuff on because it the first few years 127 00:07:58,240 --> 00:08:02,160 it was radio three only and only a little every week. 128 00:08:03,600 --> 00:08:06,800 And then I think 72, around the time with the audio fair and the 129 00:08:06,800 --> 00:08:11,960 50th anniversary celebrations, the BBC suddenly launched stereo 130 00:08:11,960 --> 00:08:15,320 across radios 2-3 and four. And, and, and this isn't 131 00:08:15,520 --> 00:08:17,920 absolutely miraculous. You would you because Dad had 132 00:08:17,920 --> 00:08:20,880 built this Heathkit receiver and we tuned it in and the little 133 00:08:20,880 --> 00:08:24,960 stereo light came up and there was stereo coming over the radio 134 00:08:24,960 --> 00:08:26,240 bleed. Miraculous. 135 00:08:26,240 --> 00:08:30,600 You know, I still harbour sort of unbridled affection for the 136 00:08:30,600 --> 00:08:32,480 Multiplex system. I think it's just something 137 00:08:32,480 --> 00:08:36,480 that's so clever that got me into doing electronics at at 138 00:08:36,480 --> 00:08:39,679 university. So the overwhelming push in the 139 00:08:39,679 --> 00:08:43,960 BBC for somebody who came in as a technical graduate was towards 140 00:08:43,960 --> 00:08:47,640 either maintenance or planning and installation. 141 00:08:47,920 --> 00:08:51,400 And I got a traineeship. It was called Studio Capital 142 00:08:51,400 --> 00:08:53,440 Projects Department, but it was basically planning and 143 00:08:53,440 --> 00:08:57,760 installation. They renamed it from PID because 144 00:08:57,920 --> 00:09:00,640 most people that stood for panic and indecision, you see. 145 00:09:01,080 --> 00:09:02,520 So. So I had to give it a new name. 146 00:09:02,840 --> 00:09:06,360 Anyway, you see, I was doing that and not so naturally I 147 00:09:06,360 --> 00:09:09,680 wanted to get into installing sound studios if that was the 148 00:09:09,680 --> 00:09:12,560 bit I was going to do. But no, I ended up in broadcast 149 00:09:12,560 --> 00:09:16,000 systems, which I found dry as dust. 150 00:09:16,840 --> 00:09:20,040 I could do it, but it was it wasn't really what I wanted to 151 00:09:20,040 --> 00:09:25,040 do. And quite by chance, I saw an 152 00:09:25,040 --> 00:09:30,920 advert in the BBC staff paper for a senior balance engineer at 153 00:09:31,200 --> 00:09:34,800 Transcription Recording Unit. Transcription. 154 00:09:34,800 --> 00:09:37,000 Ah ha, ha, ha, goes my little brain. 155 00:09:37,000 --> 00:09:39,120 You see, that's where the gooms are. 156 00:09:39,800 --> 00:09:43,520 Two birds, one stone. So full of the confidence of 157 00:09:43,520 --> 00:09:46,880 youth. You see, I sent my application 158 00:09:46,880 --> 00:09:50,960 in for an interview and they granted me one. 159 00:09:51,160 --> 00:09:53,600 And the first thing that happened then was they showed me 160 00:09:53,600 --> 00:09:57,760 into this room and they said, right, there's a 16 track tape, 161 00:09:57,760 --> 00:10:01,480 mix it. Now, I hadn't sat in front of a 162 00:10:01,480 --> 00:10:05,360 multitrack desk in my life. I had a basic idea of what it 163 00:10:05,360 --> 00:10:08,080 was about. But in 10 minutes I had to 164 00:10:08,080 --> 00:10:13,320 produce a light music balance. Now light, light music balances 165 00:10:13,400 --> 00:10:18,680 are difficult. Serious music, you see generally 166 00:10:18,680 --> 00:10:21,080 the ensemble balance themselves internally. 167 00:10:21,440 --> 00:10:24,840 You can essentially put a pair and some spots up and the thing 168 00:10:24,840 --> 00:10:28,880 will work if you've got a pair of ears and a basic idea of 169 00:10:28,880 --> 00:10:32,080 what's going on. Light music is very much more 170 00:10:32,320 --> 00:10:34,520 driven. You're given a lead sheet, so 171 00:10:34,520 --> 00:10:36,840 the particular instruments carrying the melody. 172 00:10:37,680 --> 00:10:40,400 But anyway, so it had strings. So I thought, well, yes, I know 173 00:10:40,440 --> 00:10:42,680 how strings going to simply orchestra put them sort of 174 00:10:42,680 --> 00:10:45,960 across the across the thing. And there was a bit of thing 175 00:10:45,960 --> 00:10:49,160 and, and a bit, you know, bit of brass and a vocal and 176 00:10:49,160 --> 00:10:50,800 everything. And I was a bit shy with the 177 00:10:50,800 --> 00:10:56,080 reverb because I, you know, and I produced this sort of balance 178 00:10:57,200 --> 00:11:00,560 and it then got immediately played to the board, you see. 179 00:11:00,560 --> 00:11:05,920 And the chairman of the board, bless him, Adrian Revel, was a 180 00:11:06,520 --> 00:11:09,160 recording engineer of many years standing by that time. 181 00:11:09,840 --> 00:11:13,600 And I could see him trying not to laugh and, but he was very 182 00:11:13,600 --> 00:11:16,160 good about it. And he sort of asked me about 183 00:11:16,160 --> 00:11:18,480 details, the balance, like why did you, the strings like that? 184 00:11:18,480 --> 00:11:20,320 I said, well, Symphony layout and everything. 185 00:11:20,680 --> 00:11:22,200 Why didn't you put any reverb on? 186 00:11:22,200 --> 00:11:26,200 And I said, well, I don't want Mantovani, which was, you know, 187 00:11:26,200 --> 00:11:28,840 the, the standard funny answer to that question, but, you know, 188 00:11:28,840 --> 00:11:30,520 well, yes, all right, he's got the first idea. 189 00:11:30,800 --> 00:11:32,880 What about the harp? And I said, what harp? 190 00:11:34,800 --> 00:11:37,320 He said, yes, all right, That was sitting on track 16. 191 00:11:37,520 --> 00:11:39,920 You might not have noticed it. All that sort of thing. 192 00:11:39,920 --> 00:11:41,920 And, and, and this sort of thing went on. 193 00:11:42,000 --> 00:11:45,480 And like, you know, Jimmy Burnett, who was the music 194 00:11:45,480 --> 00:11:49,320 coordinator, said the very vast experienced guy. 195 00:11:49,320 --> 00:11:53,600 I mean, his first balancing job was Edinburgh Festival 1947 or 196 00:11:53,600 --> 00:11:56,920 something and he was Julian Breen's right hand in the studio 197 00:11:57,280 --> 00:11:59,880 and he said, well Ted, how would you go around getting a good 198 00:11:59,880 --> 00:12:02,480 string sound? I said well I get the best 199 00:12:02,480 --> 00:12:05,320 orchestra I could lay my hands on to start with because I 200 00:12:05,320 --> 00:12:06,920 couldn't think of anything else to say. 201 00:12:07,880 --> 00:12:13,280 I didn't get that job. But I I rang Adrian up and said 202 00:12:13,680 --> 00:12:16,600 it was nice of you to at least humor me. 203 00:12:17,520 --> 00:12:21,600 And he said not at all that considering you've 0 experience, 204 00:12:21,600 --> 00:12:24,160 you did quite well. How about an attachment? 205 00:12:25,280 --> 00:12:28,080 And that's where it all started. I got established in 206 00:12:28,080 --> 00:12:31,520 transcription service and then I went looking for goons because I 207 00:12:31,520 --> 00:12:34,520 knew from Wilma that there were goon tapes lurking. 208 00:12:35,280 --> 00:12:38,640 And that's where the source of the professional thing started. 209 00:12:39,480 --> 00:12:42,160 The first transcriptions issue, issues of the goon show were 210 00:12:42,160 --> 00:12:44,440 basically more or less as soon as they went out. 211 00:12:45,280 --> 00:12:48,600 The orders of transcription service was serving at the time 212 00:12:48,880 --> 00:12:53,600 was very largely sort of an expat thing, very largely 213 00:12:53,600 --> 00:12:56,880 broadcasting organizations within the empire or the 214 00:12:56,880 --> 00:12:59,200 Commonwealth. There was still an empire in the 215 00:12:59,200 --> 00:13:04,040 mid 50s, but it was diminishing. So there were a large number of 216 00:13:04,040 --> 00:13:07,560 stations which weren't actually commercial, so didn't have to 217 00:13:07,720 --> 00:13:10,680 have commercial breaks in 1/2 hour program. 218 00:13:11,240 --> 00:13:18,440 So the general idea was to run the program to 2930 with a bit 219 00:13:18,440 --> 00:13:22,040 of play out to allow for variations in turntable speed, 220 00:13:22,040 --> 00:13:25,200 that kind of thing. So it fit nicely in 1/2 hour 221 00:13:25,200 --> 00:13:27,320 slot. In the 50s certain things were 222 00:13:27,320 --> 00:13:31,320 taken out. Topical references, offensive 223 00:13:31,320 --> 00:13:34,320 gags. Now the definition of offensive 224 00:13:34,320 --> 00:13:37,160 interestingly changed between the 50s and the 60s. 225 00:13:37,840 --> 00:13:39,840 In the 50s it was generally smut. 226 00:13:40,880 --> 00:13:46,760 In the 60s it had more to do with race, so you would find 227 00:13:46,880 --> 00:13:50,720 certainly through most of the 50s, you know, the notorious gag 228 00:13:50,720 --> 00:13:55,120 in white box of Great Barfield. I think ladies and gentlemen, 229 00:13:55,640 --> 00:14:01,120 actually got into the TS1 issue, but was taken out of TS2 because 230 00:14:01,120 --> 00:14:02,600 the sensitivities were different. 231 00:14:03,280 --> 00:14:05,920 Also, there were these extraordinary things about 232 00:14:05,920 --> 00:14:09,760 topicality in the 50s. In the Mighty Wurlitzer, 233 00:14:09,920 --> 00:14:14,000 Moriarty is singing a snatch of I'm Walking Backwards for 234 00:14:14,000 --> 00:14:18,880 Christmas and it actually comes out on the thing as I'm walking 235 00:14:18,880 --> 00:14:22,560 backwards across the Irish Sea. The reference to Christmas 236 00:14:22,880 --> 00:14:25,600 snipped out policy cut had to go see. 237 00:14:26,520 --> 00:14:32,880 So some of those cuts either lose a joke or goblet and say 238 00:14:32,880 --> 00:14:36,920 the in In the 60s, the requirements were more that 239 00:14:37,040 --> 00:14:42,280 racial sensitivities become more enlightened and also 27 minutes 240 00:14:42,280 --> 00:14:45,800 would leave room in the 30 minutes slot for the newer 241 00:14:45,800 --> 00:14:49,640 customers to insert commercials into the half hour slot. 242 00:14:49,720 --> 00:14:52,840 And and also, you know, the world had moved on and some 243 00:14:52,840 --> 00:14:57,120 things that were sort of, you know, in common parlance in the 244 00:14:57,120 --> 00:15:00,720 50s in common knowledge no longer standard as fresh. 245 00:15:00,720 --> 00:15:03,920 So out they went. By the mid 60s, Gilbert Harding 246 00:15:03,920 --> 00:15:05,520 was dead and Sabrina was retired. 247 00:15:06,360 --> 00:15:10,520 I mean, Jane Mansfield, yeah, still current and she didn't die 248 00:15:10,520 --> 00:15:14,040 till I think 67. And Marilyn Monroe was well 249 00:15:14,040 --> 00:15:16,040 known, known enough even then to be immortal. 250 00:15:16,600 --> 00:15:19,800 But but yes, there were sort of things on the on the judgment of 251 00:15:19,800 --> 00:15:27,360 the particular. Producer, Hello, me again. 252 00:15:28,000 --> 00:15:31,280 At this point I saw fit to mention to Ted about the 253 00:15:31,320 --> 00:15:35,720 glaringly clunky edits in the String Robberies episode, it 254 00:15:35,720 --> 00:15:39,480 being fresh in my mind as we'd recently covered it on Goompod. 255 00:15:39,640 --> 00:15:41,960 Max Geldrey will show what fun could be had. 256 00:15:41,960 --> 00:15:45,560 Brandy. Yeah, well, the problem with 257 00:15:45,560 --> 00:15:49,000 that is that it didn't even get as far as transmission. 258 00:15:49,880 --> 00:15:52,400 Tom Ronald was a slightly old fashioned producer. 259 00:15:52,400 --> 00:15:53,960 I mean, he he did Hancock's half hour. 260 00:15:53,960 --> 00:15:58,360 So he wasn't that old fashioned, but he was less in sympathy with 261 00:15:58,360 --> 00:16:02,160 the Goons than most. Now that cut is a great 262 00:16:02,160 --> 00:16:05,680 frustration because there's absolutely no material anywhere 263 00:16:06,520 --> 00:16:10,760 now. Rumor has that when the main 264 00:16:10,760 --> 00:16:14,240 editing channel for the Goons was in a room in Aeolian Hall, 265 00:16:15,120 --> 00:16:17,520 there was a cupboard without takes in. 266 00:16:18,520 --> 00:16:21,800 But Yodian Hall I think got demolished about 1969. 267 00:16:22,440 --> 00:16:26,520 I was too late. I mean, I pulled lots of 268 00:16:26,520 --> 00:16:30,280 material in from lots of other places as you well know, but no, 269 00:16:30,280 --> 00:16:33,080 that particular cut, there's nothing to be done about. 270 00:16:33,080 --> 00:16:37,440 The other one is Shangranar. Again, it's based on the book 271 00:16:37,440 --> 00:16:41,320 Lost Horizontally otherwise known as Cross Ava Gardner with 272 00:16:41,320 --> 00:16:48,360 Stethoscope Geiger counter and you know those two of the two 273 00:16:48,400 --> 00:16:53,400 worst deficiencies that come to mind easily and there's nothing 274 00:16:53,400 --> 00:16:55,960 to be done. I mean, I have dug extensively 275 00:16:56,600 --> 00:16:57,960 and that is the best that could be done. 276 00:16:57,960 --> 00:17:00,360 But it's still, it's still jars now. 277 00:17:00,640 --> 00:17:03,280 Meantime, Mexico will show what fun can be had. 278 00:17:03,280 --> 00:17:09,760 Brandy, the story of Shangri-La. Is adopted from Fred Hilton's 279 00:17:09,760 --> 00:17:15,640 book Lost Horizontally, based on the legend of Shangra Loo from 280 00:17:15,640 --> 00:17:19,800 the play across Ava Gardner with stethoscope Geiger counter. 281 00:17:21,119 --> 00:17:26,680 Shangri-La Goons isn't the only thing I did by long chalk. 282 00:17:27,160 --> 00:17:29,160 I've done. I've done jazz. 283 00:17:29,160 --> 00:17:32,280 I've done some rather important, at least to my mind, classical 284 00:17:32,280 --> 00:17:34,880 releases. I've worked across the board. 285 00:17:35,280 --> 00:17:40,160 And because I've been a freelance for so long, the only 286 00:17:40,160 --> 00:17:43,120 guarantee you've got of anything is the phone continuing to ring. 287 00:17:44,080 --> 00:17:47,760 And the only way you're going to get that is if your name on the 288 00:17:47,760 --> 00:17:51,320 back of the CD case as it was, you know, you pick it up out the 289 00:17:51,320 --> 00:17:54,480 rack, you turn it over, got Ted Kendall on the back, and they 290 00:17:54,480 --> 00:17:56,720 say fine, that's as good as it's going to be. 291 00:17:57,680 --> 00:17:59,920 If Ted's worked on it, it's as good as it's going to be, I'll 292 00:17:59,920 --> 00:18:03,920 buy it. And that was the guarantee to 293 00:18:03,920 --> 00:18:08,120 the consumer that I was striving for because I reckon that if 294 00:18:08,120 --> 00:18:10,680 you, if the stuff doesn't sell, then people are going to pay 295 00:18:10,680 --> 00:18:12,160 you. You see. 296 00:18:12,400 --> 00:18:16,760 So that was sort of the ethos. I, I, I suppose, yes. 297 00:18:16,760 --> 00:18:20,560 I mean, I'm a bit of a fuss ass really, but just won't get it 298 00:18:20,560 --> 00:18:28,080 right. I had I had mentor in sound 299 00:18:28,080 --> 00:18:33,560 restoration, John RT Davis, whose name is known to goon fans 300 00:18:33,560 --> 00:18:36,960 of the world over. Anyway, I'd had quite a good 301 00:18:37,160 --> 00:18:39,480 training in modern sound techniques and transcription 302 00:18:39,480 --> 00:18:43,440 service, and when I seriously started doing Goons I, I'd 303 00:18:43,480 --> 00:18:46,680 hooked up with John quite early, of course, because he had a lot 304 00:18:46,680 --> 00:18:49,000 of acetates taken off air in the 50s. 305 00:18:49,160 --> 00:18:55,600 And that turned into another branch of what I do because he 306 00:18:55,600 --> 00:19:01,240 was able to bring home to me just what music you could get 307 00:19:01,240 --> 00:19:04,200 off of 78 if you played the thing sympathetically. 308 00:19:04,200 --> 00:19:07,560 I have to admit, sort of growing up when I did, I thought the 70 309 00:19:07,560 --> 00:19:09,120 eights were a bit of a back number. 310 00:19:09,360 --> 00:19:13,720 Technically, they would only sound OK, but not really good. 311 00:19:13,880 --> 00:19:17,440 And John said, well, no, there are ways because of course we 312 00:19:17,440 --> 00:19:20,240 jazz, of course, it's down very much more to the original 313 00:19:20,240 --> 00:19:21,640 performer than the serious music. 314 00:19:22,080 --> 00:19:25,720 And if you want Coleman Hawkins, the peak of Coleman Hawkins, 315 00:19:25,720 --> 00:19:29,480 you've got to get it off at 78. Now granted, Hawkins was 316 00:19:29,480 --> 00:19:33,720 recording into the 60s, but you know, he was a bit of a ruin by 317 00:19:33,720 --> 00:19:36,880 then. A magnificent ruin to be sure, 318 00:19:37,040 --> 00:19:40,880 but a ruin Stillwell drank and all that. 319 00:19:41,160 --> 00:19:44,040 But you know, if you really want the cream of Colin Hawkins to 320 00:19:44,040 --> 00:19:47,880 say, you know, that is the stuff recorded in the 30s on 78. 321 00:19:48,640 --> 00:19:54,040 And John had done a lot of largely empirical work because 322 00:19:54,040 --> 00:19:57,760 he was essentially a musician with a technical bent and I was 323 00:19:57,760 --> 00:20:00,440 a technician with musical bent. So there was quite a bit of 324 00:20:00,440 --> 00:20:04,560 synergy going on, which led to my disc transfer box called the 325 00:20:04,560 --> 00:20:07,640 front end, which has been another one of the disease like 326 00:20:07,640 --> 00:20:13,720 motifs in my existence. And he said to me quite early 327 00:20:13,720 --> 00:20:19,440 on, look, a lot of people achieve things because they 328 00:20:19,440 --> 00:20:24,840 don't know it can't be done. Now that's quite a powerful 329 00:20:24,840 --> 00:20:30,160 idea, that. Standing on giant shoulders is 330 00:20:30,160 --> 00:20:36,480 obviously a way to see far, OK. And a lot of what I've done in 331 00:20:36,480 --> 00:20:39,320 goods particularly has been built on the efforts of other 332 00:20:39,320 --> 00:20:42,560 people in preservation particularly, you know, there 333 00:20:42,560 --> 00:20:45,600 have been tapes going out of odd parts of the BBC under people's 334 00:20:45,600 --> 00:20:48,320 coats and all that kind of thing when otherwise they would have 335 00:20:48,320 --> 00:20:51,720 been wiped. So, you know, there's a lot of 336 00:20:51,720 --> 00:20:54,720 that going on. We got talking about the Goon 337 00:20:54,720 --> 00:20:57,480 Show Companion and about Roger Willmott and Peter Copeland. 338 00:20:58,240 --> 00:21:01,200 Peter had assisted Roger in putting together the companion. 339 00:21:02,320 --> 00:21:07,760 I think the story goes that Roger and Peter Copeland were 340 00:21:07,760 --> 00:21:12,120 given the job of clearing out a look of somebody who'd left, and 341 00:21:12,320 --> 00:21:17,800 in that locker were 16 reels of the Goon Show. 342 00:21:19,640 --> 00:21:29,000 And of those 16, I think 15 were very close to complete shows. 343 00:21:29,000 --> 00:21:31,200 One had very little mod on it at all. 344 00:21:31,200 --> 00:21:35,520 It was a badly wiped original of I think the better pudding her. 345 00:21:35,880 --> 00:21:39,040 But then essentially what had happened is that this guy had 346 00:21:39,800 --> 00:21:44,160 gone because transcriptions service and the external 347 00:21:44,160 --> 00:21:47,400 services at Bush House had close lengths of both part of external 348 00:21:47,400 --> 00:21:49,360 services. And I think this guy had 349 00:21:49,360 --> 00:21:53,120 obviously gone to Saint Hilda's, which was where transcription 350 00:21:53,120 --> 00:21:55,600 was at the time. One day had seen the washing 351 00:21:55,600 --> 00:21:58,560 pile. Washing is the BBC term for bulk 352 00:21:58,560 --> 00:22:02,440 Eurasia incidentally. And you've seen these goon show 353 00:22:02,440 --> 00:22:04,800 tapes on the washing pile and had just walked out of the hand 354 00:22:04,840 --> 00:22:09,080 with was very big handful of 1610 inch tapes and he'd 355 00:22:09,080 --> 00:22:12,280 secreted them in his lock at a loss to know what to do next 356 00:22:12,280 --> 00:22:15,360 with them. Well, Peter and Roger knew 357 00:22:15,360 --> 00:22:17,680 exactly what to do with them. They spirited them out of the 358 00:22:17,680 --> 00:22:21,520 building pronto. Those reels eventually came back 359 00:22:21,520 --> 00:22:25,320 to the BBC when I sought them out in, I think 1986. 360 00:22:26,520 --> 00:22:29,520 Whereas a transcription service, I got an attachment to archives 361 00:22:30,800 --> 00:22:34,600 to find exactly what was in transcription service, which 362 00:22:34,600 --> 00:22:37,560 would be of interest to Sound Archives, Extraordinary, the two 363 00:22:37,560 --> 00:22:39,080 parts. The BBC didn't communicate 364 00:22:39,080 --> 00:22:41,920 better, but there you are. That's the way the BBC worked at 365 00:22:41,920 --> 00:22:44,520 the time. But there were a lot of things 366 00:22:44,520 --> 00:22:48,360 that were right about the BBC then which aren't now. 367 00:22:49,440 --> 00:22:54,760 So I don't wish to decry the BBC of old and the spirited these 368 00:22:54,760 --> 00:22:57,480 tapes out and preserve them. They didn't actually get back on 369 00:22:57,480 --> 00:23:02,840 air till about 808687. But once I got to transcription 370 00:23:02,840 --> 00:23:06,200 service and and and found out there was all this stuff, I did 371 00:23:06,200 --> 00:23:08,400 quietly start to talk to people about it. 372 00:23:09,520 --> 00:23:15,240 One of the producers on comedy, Bridget Marrow, nice lady, she 373 00:23:15,240 --> 00:23:18,760 humored me, which was nice of it. 374 00:23:19,360 --> 00:23:22,960 And she said well look, you know, let's try and find out 375 00:23:22,960 --> 00:23:25,520 exactly what there is, see if there's more stuff we can put 376 00:23:25,520 --> 00:23:27,440 out. Because I think there was a bit 377 00:23:27,440 --> 00:23:35,560 of interest generated around 1985 because Richard Eves was 378 00:23:35,560 --> 00:23:38,160 doing good repeats at the time and he got in touch with 379 00:23:38,160 --> 00:23:41,080 Transcription and said, look, if you got the original of 1985, 380 00:23:41,080 --> 00:23:43,160 obviously Transcription never issued it because it was too 381 00:23:43,160 --> 00:23:46,600 topical. But yes, we did have 1985 that 382 00:23:46,600 --> 00:23:50,880 got dubbed and sent over and had a, a domestic repeats. 383 00:23:51,800 --> 00:23:54,240 And then that got sent out overseas. 384 00:23:54,680 --> 00:23:56,640 And that created a little flurry of interest. 385 00:23:56,680 --> 00:23:59,520 And Bridget said, well, look, can you do a bit of ferreting 386 00:23:59,520 --> 00:24:01,720 and see what else we've got there which could be used? 387 00:24:02,240 --> 00:24:04,320 So that was really the start of that. 388 00:24:04,600 --> 00:24:09,440 And that caused me to get in touch with John RT, Now Peter 389 00:24:09,440 --> 00:24:12,760 Copeland, of course, I knew from the Gooncho Companion. 390 00:24:14,120 --> 00:24:20,640 And by that time in his career he was the fastest dubbing mixer 391 00:24:20,640 --> 00:24:23,920 in the West. Well, he worked out of Bristol, 392 00:24:23,920 --> 00:24:26,960 so that was in the West. But he was doing soundtracks 393 00:24:26,960 --> 00:24:29,880 with things like film dubbing for things like wildlife on one. 394 00:24:31,280 --> 00:24:35,520 And as he said to me, his greatest virtue in that thing 395 00:24:35,760 --> 00:24:38,680 was that he had a reaction time of about 8 frames. 396 00:24:39,760 --> 00:24:43,800 OK, 8 frames is about 1/3 of a second in in film parlance, 397 00:24:44,280 --> 00:24:46,520 slightly less in television because it's 25 frames. 398 00:24:46,520 --> 00:24:50,000 But this reaction time and, and, and, you know, he could 399 00:24:50,000 --> 00:24:53,760 construct soundtracks for all the these Attenborough epics and 400 00:24:53,760 --> 00:24:59,360 very good he was at it too. Peter was essentially a 401 00:24:59,560 --> 00:25:03,240 collector of sound recordings. He was recording off air. 402 00:25:04,200 --> 00:25:09,160 Well, he started on disc, built his own disc recorder and he 403 00:25:09,360 --> 00:25:13,920 started using tape about 1960. And by this time he was already 404 00:25:13,920 --> 00:25:17,800 working for the Beeb. He kept his sound business going 405 00:25:17,800 --> 00:25:20,440 basically as an insurance against sudden dismissal from 406 00:25:20,440 --> 00:25:24,080 the BBC because he felt he was probably saying a little bit 407 00:25:24,080 --> 00:25:26,760 close to the wind for the way the BBC worked at the time. 408 00:25:26,760 --> 00:25:30,080 But the BBC actually decided he was quite valuable because he 409 00:25:30,080 --> 00:25:33,920 was one of those guys they could show anywhere to plug a hole. 410 00:25:34,120 --> 00:25:37,640 So he ended up dotting around various bits of the BBC through 411 00:25:37,640 --> 00:25:40,640 the 60s, doing various difficult jobs and he was found very 412 00:25:40,640 --> 00:25:42,360 useful and he washed up in film dubbing. 413 00:25:42,640 --> 00:25:46,920 But all this time he was collecting the 70 eights and 414 00:25:47,520 --> 00:25:52,200 spoken word on 78 was a big thing with him and recording 415 00:25:52,200 --> 00:25:57,960 comedy, particularly comedy off air all throughout the 60s and 416 00:25:57,960 --> 00:26:00,000 70s. Throughout the 60s, it was 417 00:26:00,000 --> 00:26:03,360 pretty good quality. The 70s, like a lot of us at the 418 00:26:03,360 --> 00:26:07,400 time, he felt the economic pinch a bit and the, the speeds went 419 00:26:07,400 --> 00:26:08,840 down and the tracks got narrower. 420 00:26:08,840 --> 00:26:10,560 But still, it's all valuable stuff. 421 00:26:11,600 --> 00:26:14,360 And, you know, his involvement with the goods was basically 422 00:26:14,360 --> 00:26:16,320 part of that. I think he had a fairly complete 423 00:26:16,320 --> 00:26:20,800 run of the Radio Times or, or could access it And, and, and he 424 00:26:20,800 --> 00:26:23,240 was, you know, a meticulous researcher as well. 425 00:26:23,240 --> 00:26:29,320 See, when I was in transcription, I, I've been sort 426 00:26:29,320 --> 00:26:32,840 of gooing around for for a little while that I was actually 427 00:26:34,160 --> 00:26:37,080 what was rather fun because I, I sort of been trained up, but I 428 00:26:37,080 --> 00:26:39,960 was obviously a little bit square, Peggy in their eyes. 429 00:26:41,280 --> 00:26:44,120 But no matter. But they found and Bridget have 430 00:26:44,120 --> 00:26:48,080 found this thing that I wanted to do was good at and I was 431 00:26:48,080 --> 00:26:51,240 actually put in the allocation sheets for the day. 432 00:26:51,240 --> 00:26:54,600 You know, I have a whole day goons, which was great. 433 00:26:55,720 --> 00:26:58,640 So I go digging and dubbing and generally sorting things out. 434 00:26:59,320 --> 00:27:03,760 And then the retiring OPS manager Pete Brunskill said. 435 00:27:03,760 --> 00:27:07,280 You know, Ted, we've got a few goon tapes in this cupboard in 436 00:27:07,280 --> 00:27:10,560 my office, would like to check them over. 437 00:27:11,000 --> 00:27:13,600 He was a lovely bloke Pete, he'd been in the RAF, I think he'd be 438 00:27:13,600 --> 00:27:17,160 bomber crew. Anyway, he's a lovely bloke and 439 00:27:17,160 --> 00:27:19,640 and things. And so he handed me these tapes 440 00:27:20,280 --> 00:27:22,920 and I sort of took them into a channel and played them. 441 00:27:22,920 --> 00:27:26,800 And I thought, yeah, right, yeah, Mountain eaters, yeah, all 442 00:27:26,800 --> 00:27:28,360 right. But we've really got mountain 443 00:27:28,360 --> 00:27:30,880 eaters and there's this thing dreaded about a pudding hurder. 444 00:27:31,400 --> 00:27:34,960 So I put that on without any sort of particular expectation. 445 00:27:34,960 --> 00:27:38,600 I thought TOXTOX, that sounds odd. 446 00:27:39,440 --> 00:27:43,920 Tox means that it was recorded in a channel at 200 Oxford St. 447 00:27:45,320 --> 00:27:47,880 rather than at Broadcasting House. 448 00:27:48,320 --> 00:27:50,080 You see, I'm playing this thing and I'm expecting it to be 449 00:27:50,080 --> 00:27:50,960 better. Pudding herder. 450 00:27:51,240 --> 00:27:52,600 And of course it's the same script. 451 00:27:52,600 --> 00:27:55,360 And then little things in the performance start to go adrift. 452 00:27:55,360 --> 00:27:58,200 And you think it isn't, is it? What is this? 453 00:27:59,160 --> 00:28:03,560 And then it took a little while to realize that Milligan wasn't 454 00:28:03,560 --> 00:28:07,120 there because Peter was doing a good job doing Eccles and all 455 00:28:07,120 --> 00:28:08,920 that. And then you have the little 456 00:28:08,920 --> 00:28:12,440 things with, you know, Eccles talking to another Milligan 457 00:28:12,440 --> 00:28:14,800 character. So they had to pre record one of 458 00:28:14,800 --> 00:28:16,840 them. That's right. 459 00:28:16,840 --> 00:28:18,400 It's Blue Bottle talking to Eccles. 460 00:28:19,320 --> 00:28:22,600 So so Peter was doing Blue Bottle live and the response 461 00:28:22,600 --> 00:28:26,400 from Eccles was played in on a disc and he thought, yeah, now 462 00:28:26,400 --> 00:28:27,640 what's going on? What's going on? 463 00:28:27,640 --> 00:28:32,120 And then the this is Mr. Attlee. Somebody's just throwing a 464 00:28:32,120 --> 00:28:34,960 better pudding at me, you know, and and, and who would have done 465 00:28:34,960 --> 00:28:37,000 that? And they rang up, rang a number 466 00:28:37,000 --> 00:28:41,640 as a 29 Hyde Park gate which the Churchill's residence after he 467 00:28:41,640 --> 00:28:45,120 resigned. So that put it later than 54 468 00:28:45,120 --> 00:28:48,240 because Church has gone 55. And, you know, I mean, it seems 469 00:28:48,240 --> 00:28:50,960 so obvious now, but I mean, the, the the clues were slowly 470 00:28:50,960 --> 00:28:54,440 meshing in my head. And I think it hello, yes, this 471 00:28:54,440 --> 00:28:57,240 is actually something different. And then I saw Doug further and 472 00:28:57,240 --> 00:29:00,080 found, yes, it was indeed. But that is the only show that 473 00:29:00,080 --> 00:29:05,760 Wilmot missed, which is it's remarkable for research work to 474 00:29:05,760 --> 00:29:08,600 be that good that long after publication. 475 00:29:08,600 --> 00:29:14,960 It's extremely thorough. Blonde buttons there's no need 476 00:29:14,960 --> 00:29:17,520 to worry about the mine. Yes, I must worry. 477 00:29:17,520 --> 00:29:22,400 And Matt, I don't want to be Diddy, you know can't tell you. 478 00:29:22,400 --> 00:29:24,720 Why did I tell you why I didn't want to be in Daddy? 479 00:29:25,600 --> 00:29:30,680 Because I'm wearing my best iron laptop spots yet hurriedly puts 480 00:29:30,680 --> 00:29:34,600 on carbo tin head. Don't you worry, blonde button 481 00:29:35,360 --> 00:29:39,240 that mine can't hurt us. That mine is one of ours. 482 00:29:53,460 --> 00:29:59,380 Around about 8687 could have been somebody decided to have a 483 00:29:59,380 --> 00:30:03,140 bit of a policy at Radio Four. They do it from time to time. 484 00:30:03,140 --> 00:30:07,860 You see, It was to the effect that comedy shows in particular 485 00:30:08,300 --> 00:30:11,420 were after editing, were coming out rather too short and 486 00:30:11,420 --> 00:30:13,140 announcers were having to do a lot of fill. 487 00:30:14,360 --> 00:30:20,240 So the edict went out that for a 30 minute slot, the program had 488 00:30:20,240 --> 00:30:25,640 to run at least 29 minutes 15 or for every 5 seconds the under 489 00:30:25,640 --> 00:30:28,800 ran 100 lbs would be taken off the program budget. 490 00:30:29,800 --> 00:30:32,160 Now, of course, to produce, there's nothing like a monetary 491 00:30:32,160 --> 00:30:36,600 incentive. So when Richard Edis was given 492 00:30:36,600 --> 00:30:40,240 job of selecting the Goon show for that year and it turned out 493 00:30:40,240 --> 00:30:42,280 to be the International Crystal Pudding, first thing that 494 00:30:42,280 --> 00:30:46,560 happened was he got sent the 27 minute version and he came back 495 00:30:46,560 --> 00:30:51,200 and said well that's 27 minutes. Got a bit of a problem with 496 00:30:51,200 --> 00:30:54,160 that, which he explained and that got thrown to me as the 497 00:30:54,160 --> 00:30:56,800 Goon man. And it was one of those 498 00:30:56,800 --> 00:31:00,920 instances where I was able to say, well, it just so happens 499 00:31:02,040 --> 00:31:08,560 that I have about me a tape copy of the original TS issue, which 500 00:31:08,560 --> 00:31:12,840 was one of the tapes which had come from Peters Cash at 501 00:31:12,920 --> 00:31:18,000 Bristol, which had come out of the tin cupboards in Bush House, 502 00:31:18,320 --> 00:31:23,560 which sort of thing. And straight off the bat, I was 503 00:31:23,560 --> 00:31:27,760 able to reinstate most of the script just by cutting between 504 00:31:27,760 --> 00:31:30,360 versions. The cuts actually work quite 505 00:31:30,360 --> 00:31:32,160 well. The, the, the, the tapes were 506 00:31:32,160 --> 00:31:35,000 very far, weren't very far apart in terms of sound, which was 507 00:31:35,000 --> 00:31:37,280 useful. They, they shouldn't have been 508 00:31:37,280 --> 00:31:39,240 being studio does. But there was sort of little 509 00:31:39,240 --> 00:31:41,480 subtle things that were done to the pick of the goon stuff. 510 00:31:41,480 --> 00:31:43,400 Bit of limiting, little bit of equalization. 511 00:31:43,720 --> 00:31:45,080 But the joints weren't well enough. 512 00:31:45,840 --> 00:31:48,480 And that got the thing out to length because I was able to get 513 00:31:48,480 --> 00:31:53,440 the play out off the TS1 version and they weren't on the the pick 514 00:31:53,440 --> 00:31:56,800 of the goon's versions with about one exception, I think 515 00:31:57,120 --> 00:32:01,160 there was no actual play out. So that was very nearly the 516 00:32:01,160 --> 00:32:05,600 thing at transmission length. So Richard was inclined to say 517 00:32:05,600 --> 00:32:09,920 job done, but you see, I wasn't because there was one line left 518 00:32:11,760 --> 00:32:16,720 and that was the explodable granite statue with built in 519 00:32:16,720 --> 00:32:21,400 plunger, which was originally an explosive granite statue of 520 00:32:21,400 --> 00:32:24,240 Bessie Braddock with built in plunger. 521 00:32:24,800 --> 00:32:27,840 Now of course by that time most people have forgotten Bessie 522 00:32:27,840 --> 00:32:30,080 Braddock. Bessie Braddock was quite, quite 523 00:32:30,080 --> 00:32:35,600 significant actually. She was a an MP for a seat in 524 00:32:35,600 --> 00:32:41,800 Liverpool Labour and she was a fierce champion of the 525 00:32:41,840 --> 00:32:44,640 underprivileged and particularly of underprivileged women and 526 00:32:44,640 --> 00:32:46,960 children. And she was a little 527 00:32:46,960 --> 00:32:50,200 uncomfortable for the Labour leadership even in the 1950s. 528 00:32:50,480 --> 00:32:54,080 And the way she went about this, she just did not belt up and she 529 00:32:54,080 --> 00:32:57,720 was about 5 foot nothing and a right battle axe, but a battle 530 00:32:57,720 --> 00:33:03,720 axe in a good cause. So unfortunately the only tape I 531 00:33:03,720 --> 00:33:09,800 had of the complete broadcast was a bit hissy and the 532 00:33:09,800 --> 00:33:12,600 techniques I had available at the time were not brilliant, but 533 00:33:12,600 --> 00:33:17,080 I fought that thing as hard as I could and it was good enough for 534 00:33:17,080 --> 00:33:19,160 transmission. So that thing went out a 535 00:33:19,160 --> 00:33:22,520 complete length. And of Bessie Braddock, yes, it 536 00:33:22,520 --> 00:33:26,280 hisses a bit, but it's there. Now the later restorations are a 537 00:33:26,280 --> 00:33:28,640 lot better because I had different sources, better 538 00:33:28,640 --> 00:33:30,160 techniques, all that sort of thing. 539 00:33:31,040 --> 00:33:37,680 But that was, I think, my first full length restoration that 540 00:33:37,680 --> 00:33:40,480 sort of put me on the map as far as the corporation was concerned 541 00:33:40,480 --> 00:33:51,930 anyway. At this point I asked Ted if he 542 00:33:51,930 --> 00:33:55,130 referred to or borrowed from any of the LP's which had been 543 00:33:55,130 --> 00:33:58,000 commercially released, specifically those the BBC 544 00:33:58,000 --> 00:34:00,520 issued. I tended not to pay too much 545 00:34:00,520 --> 00:34:04,040 attention to the BBC issues because I knew they'd had 546 00:34:04,040 --> 00:34:07,280 various things done to them. The call of the West, for 547 00:34:07,280 --> 00:34:08,600 instance. I mean, it's been through a 548 00:34:08,600 --> 00:34:12,440 noise gate, you can hear it. A noise gate. 549 00:34:12,840 --> 00:34:18,480 It's basically designed to reduce your perception of noise 550 00:34:18,480 --> 00:34:24,040 in the reproduction by dropping the gain of the channel when 551 00:34:24,040 --> 00:34:28,239 there's no signal present. OK, so if something's happening, 552 00:34:28,440 --> 00:34:31,320 yes, you let the signal through. But when there's a bit of 553 00:34:31,320 --> 00:34:35,600 silence, it closes down to a degree so that you hear less 554 00:34:35,600 --> 00:34:38,800 hiss. And and and if you're doing a 555 00:34:38,800 --> 00:34:42,080 rock mix, it's great if you've got a sort of a rather noisy 556 00:34:42,080 --> 00:34:45,360 guitar amplifier and and you just want that Channel to be 557 00:34:45,360 --> 00:34:47,520 quiet when the guitar isn't actually playing. 558 00:34:47,800 --> 00:34:51,800 Very effective when you start using it on a signal, because 559 00:34:51,800 --> 00:34:55,040 then it's just one element of the mix and everything that's 560 00:34:55,040 --> 00:34:57,800 going on around will disguise the action of the boys gate. 561 00:34:58,000 --> 00:35:00,320 But when it's on a mixed signal, it's different matter. 562 00:35:00,880 --> 00:35:03,920 And the air will pick these things up very, very readily, 563 00:35:04,520 --> 00:35:07,360 which may make the thing OK for entertainment value, but it 564 00:35:07,360 --> 00:35:10,200 validates it as a source unless you're ready forced to. 565 00:35:10,400 --> 00:35:14,280 But you know, various things with the BBC issues out of 566 00:35:14,280 --> 00:35:18,560 commercial necessity. The Lagoon show Pure has been 567 00:35:18,560 --> 00:35:21,480 repurposed in many ways for many markets. 568 00:35:22,080 --> 00:35:26,600 And my job, I suppose, was to get it back to the point where 569 00:35:26,600 --> 00:35:31,760 you think it's had it it it hasn't been molested at all and 570 00:35:31,760 --> 00:35:35,840 and then it's just as it was, I suppose. 571 00:35:35,840 --> 00:35:38,480 It's remarkable the number of times I actually managed to do 572 00:35:38,480 --> 00:35:41,080 that and make it completely inaudible. 573 00:35:41,720 --> 00:35:46,280 There are others where, you know, one had to do the best 574 00:35:46,280 --> 00:35:48,640 that could be done for some stuff. 575 00:35:48,640 --> 00:35:52,000 There's there's only one source and it's not ideal. 576 00:35:52,000 --> 00:35:55,080 And it's at that point you rarely earn your corn because 577 00:35:55,080 --> 00:35:59,800 you're trying to make its deficiencies as unobtrusive as 578 00:35:59,800 --> 00:36:03,000 possible and to make the joins as seamless as possible. 579 00:36:03,000 --> 00:36:06,880 And nothing interrupts the comic flow like a burst of hiss or 580 00:36:06,880 --> 00:36:09,800 harm or something like that. It's just distracting. 581 00:36:09,800 --> 00:36:13,520 You're, you're, you're it because, because we're animals 582 00:36:13,840 --> 00:36:17,880 whose survival depended on the acuity of our hearing, 583 00:36:17,880 --> 00:36:20,680 especially to transits to changes in sound. 584 00:36:22,000 --> 00:36:25,160 The you know, the, the tiger that's going to eat you is 585 00:36:25,160 --> 00:36:28,400 probably going to snap it big behind your neck, behind your 586 00:36:28,400 --> 00:36:32,840 left ear, and you have to pick that transient up right. 587 00:36:33,160 --> 00:36:37,040 So the ear is sensitive to these things because of evolutionary 588 00:36:37,040 --> 00:36:40,040 considerations. Part, part of the task is to 589 00:36:40,040 --> 00:36:43,120 make sure that such disturbances don't occur and distract the ear 590 00:36:43,120 --> 00:36:49,600 from the subject matter. And remake of 1985 there was 591 00:36:49,680 --> 00:36:57,040 quite a reasonable, there was one version which I think was 592 00:36:57,040 --> 00:37:04,640 quite reasonable on a slow speed tape, but that it started in the 593 00:37:04,640 --> 00:37:08,680 middle of the Jon Snake telescreen announcement at the 594 00:37:08,680 --> 00:37:10,360 beginning. So it was about a minute and a 595 00:37:10,360 --> 00:37:12,080 half, two minutes missing off the front. 596 00:37:12,200 --> 00:37:14,280 And then the music items were chopped out. 597 00:37:15,160 --> 00:37:20,000 And yeah, I think that had to be from two or three originals, 598 00:37:20,000 --> 00:37:21,800 none of which was particularly good. 599 00:37:23,080 --> 00:37:26,000 And it was just a question of taking the one that was best, 600 00:37:26,000 --> 00:37:29,560 using that as the sort of the the template to match the others 601 00:37:29,560 --> 00:37:31,720 too, and then doing the best I could. 602 00:37:32,280 --> 00:37:37,360 Now our 1985 mark two was, yeah, not fun. 603 00:37:38,080 --> 00:37:42,760 Actually not fun. My name is 846 Winston Seagull. 604 00:37:43,680 --> 00:37:46,000 I'm a worker in the great new reflecting centre of the Big 605 00:37:46,000 --> 00:37:48,920 Brother Corporation, or as you knew it, the BBC. 606 00:37:50,440 --> 00:37:53,840 In every room is ATV screen that gives out a stream of orders. 607 00:37:54,760 --> 00:37:56,560 Attention people of England state. 608 00:37:58,000 --> 00:38:01,320 Thanks to the rationing of the free market, the price of tea 609 00:38:01,520 --> 00:38:08,120 has now gone down to 85°. 1/4 And here's good news for state 610 00:38:08,120 --> 00:38:11,800 housewives. The following goods are now in 611 00:38:11,800 --> 00:38:15,160 the shops. Plastic and sawdust elephant 612 00:38:15,160 --> 00:38:20,880 night shirts, second hand concrete parachutes, artificial 613 00:38:20,880 --> 00:38:26,080 explodable woolen bloomers and self igniting tailless shirts 614 00:38:26,440 --> 00:38:28,040 with anti Thunder sheet attached. 615 00:38:29,760 --> 00:38:31,960 There are unlimited supplies in the shops. 616 00:38:32,880 --> 00:38:39,280 Oh, it's good to be alive, I. Mean, of course, I went 617 00:38:39,280 --> 00:38:41,040 freelance in the teeth of the recession. 618 00:38:41,040 --> 00:38:44,800 I was a bit cushioned by the redundancy payment, but by the 619 00:38:44,800 --> 00:38:52,200 middle of 91 things were looking a bit thin and I took a brief 620 00:38:52,560 --> 00:38:55,440 and rather disastrous appointment at a music college 621 00:38:55,440 --> 00:38:59,840 as their recording manager. Little did I realize at that 622 00:38:59,840 --> 00:39:03,000 point I was being parachuted into a toxic environment and 623 00:39:03,000 --> 00:39:08,120 lasted about a month and I just thought life's too short really. 624 00:39:08,880 --> 00:39:12,800 I was living at the time in Leeds because I'd gone my last 625 00:39:12,800 --> 00:39:16,840 years in the in the Beeb. I'd gone up there to do 626 00:39:16,840 --> 00:39:19,800 recording for the Northeast region. 627 00:39:19,800 --> 00:39:24,560 The North region was split for a few years in the 80s as some 628 00:39:24,560 --> 00:39:27,480 sort of experiment, and basically the Northeast region 629 00:39:28,160 --> 00:39:32,040 was supposed to produce stuff at barking basement prices. 630 00:39:33,400 --> 00:39:36,880 So they were using local radio practices for domestic radio. 631 00:39:37,440 --> 00:39:40,360 And because it was local radio practices, it was engineers on 632 00:39:40,360 --> 00:39:42,480 the knobs. I've been traded transcription 633 00:39:43,080 --> 00:39:46,240 and the serious music producer Tony Askew, I knew from 634 00:39:46,240 --> 00:39:47,960 transcription. So he said, look, there's this 635 00:39:47,960 --> 00:39:50,560 job, come do it. And that was a chance to buy a 636 00:39:50,560 --> 00:39:51,680 house and all that sort of thing. 637 00:39:53,160 --> 00:39:57,920 As I say, I did that rather ridiculous sing at music college 638 00:39:57,920 --> 00:40:02,600 for a month, then a gig with Conifer Records doing a lot of 639 00:40:02,600 --> 00:40:08,680 stuff off 70 Eights started up just about the week after I left 640 00:40:08,920 --> 00:40:12,640 this college, which was pretty fortuitous. 641 00:40:12,800 --> 00:40:16,800 And the guy I worked with, the Conifer, knew Michael Poynton. 642 00:40:17,480 --> 00:40:19,840 Michael Poynton obviously knew Dirk Mags. 643 00:40:20,320 --> 00:40:23,280 And the producer I was working with at Conifer knew I was good 644 00:40:23,280 --> 00:40:24,760 and mad. So he entered in the 645 00:40:24,760 --> 00:40:28,160 introduction. Ah, come to think of it, Dirk 646 00:40:28,160 --> 00:40:30,320 being BBC, would probably have talked to Bridget. 647 00:40:31,320 --> 00:40:35,560 Dirk would have gone to Bridget for material that was in 648 00:40:35,560 --> 00:40:39,040 transcription service. And Bridget would no doubt have 649 00:40:39,040 --> 00:40:41,880 mentioned whether if you're doing goons, don't do it without 650 00:40:41,880 --> 00:40:44,000 Ted Kendall, because he can smooth your path. 651 00:40:44,000 --> 00:40:46,920 He knows. He knows where everything is. 652 00:40:47,360 --> 00:40:50,840 Well, of course I didn't, but I probably knew where more stuff 653 00:40:50,840 --> 00:40:54,120 was than most people. So that's how I got roped into 654 00:40:54,120 --> 00:40:59,120 it last to go on show. Lots and lots of goon talk going 655 00:40:59,120 --> 00:41:01,440 on 'cause we were three goon nuts together. 656 00:41:02,240 --> 00:41:07,240 And I, I said to look, you know, there's a problem with the goon 657 00:41:07,240 --> 00:41:13,120 show among many, but there are so many shows that haven't been 658 00:41:13,120 --> 00:41:20,240 heard in their entirety for so long because EMI have them and 659 00:41:20,240 --> 00:41:22,240 they've only put out these truncated versions. 660 00:41:22,240 --> 00:41:24,040 They're not likely to do anything else with them. 661 00:41:25,360 --> 00:41:30,000 And this thought obviously went into Dirk's mind because at last 662 00:41:30,000 --> 00:41:31,960 the go on show went over very well. 663 00:41:33,200 --> 00:41:39,560 I mean, that was a magnum opus. And oh, it's put it this way, on 664 00:41:39,560 --> 00:41:44,080 the final assembly that was in, I think age 51 or somewhere in, 665 00:41:44,080 --> 00:41:45,760 in BH. And Dirk goes into it in the 666 00:41:45,760 --> 00:41:48,920 podcast. But to start with, there were 667 00:41:48,920 --> 00:41:51,680 three of us there at about 9:00 at night. 668 00:41:52,360 --> 00:41:56,120 I just, I just gave up. I said, sorry, guys, you've got 669 00:41:56,120 --> 00:41:57,960 everything you need to have you. Yes, they said. 670 00:41:58,520 --> 00:42:03,520 So I went home and I hadn't realized at that time that this 671 00:42:03,520 --> 00:42:07,760 was sort of Dirk's MO that in the, in the, in the, you know, 672 00:42:07,760 --> 00:42:09,480 the final assembly or something like that. 673 00:42:09,480 --> 00:42:14,600 He would just work through the night, which we did on the remix 674 00:42:14,600 --> 00:42:19,080 of the Last Goon Show. And obviously that conversation 675 00:42:19,080 --> 00:42:22,680 that Dirk and I had about the EMI shows went into his head and 676 00:42:22,680 --> 00:42:26,680 stayed there. And the phone rang a while later 677 00:42:26,760 --> 00:42:29,440 and he said, look, I've got eight slots on Radio Two and 678 00:42:29,440 --> 00:42:33,720 eight slots on Radio 4. Can you put 16 restored shows 679 00:42:33,720 --> 00:42:35,920 together? Well, I thought for all of a 680 00:42:35,920 --> 00:42:37,960 nanosecond before I said yes, obviously. 681 00:42:38,640 --> 00:42:43,320 And class work was scarce at the time, apart for anything else. 682 00:42:44,000 --> 00:42:48,840 And that is where those restorations started. 683 00:42:49,720 --> 00:42:51,840 I was quite lucky with one of them. 684 00:42:51,840 --> 00:42:56,640 China's story was originally on tape, but there was a very good 685 00:42:57,320 --> 00:43:01,680 copy on three sides of let's say 16 actually, with 17 and a 686 00:43:01,680 --> 00:43:07,000 quarter because they're acetate but slow speeds discs which had 687 00:43:07,000 --> 00:43:08,760 found their way to the National Sound Archive. 688 00:43:08,760 --> 00:43:12,880 The Bieber made them perhaps for repeat or something, I don't 689 00:43:12,880 --> 00:43:14,680 know. But anyway, there they were in 690 00:43:14,680 --> 00:43:18,960 the National Sound Archive and they were pristine. 691 00:43:19,600 --> 00:43:23,400 And because Peter Coblin was by that time conservation manager, 692 00:43:24,120 --> 00:43:28,840 useful, he saw his view as conservation manager as making 693 00:43:28,840 --> 00:43:33,600 sure the stuff was conserved. So if somebody outside, cuz they 694 00:43:33,600 --> 00:43:36,720 were short staffed, if somebody outside was motivated to make a 695 00:43:36,720 --> 00:43:40,400 really good copy of that, as far as he was concerned, you could 696 00:43:40,400 --> 00:43:44,280 borrow the thing, do the copy, give them the copy and then you 697 00:43:44,280 --> 00:43:48,760 know, provide the copper. I was OK use that copy which 698 00:43:48,760 --> 00:43:52,680 which we did. So fortunately China's story I 699 00:43:52,680 --> 00:43:57,120 didn't have to put together from umpteen different sources, but a 700 00:43:57,120 --> 00:43:59,920 lot of the others I did with the cheek of the devil. 701 00:43:59,920 --> 00:44:05,960 I went to EMI and said can I have a dub of your master tapes 702 00:44:05,960 --> 00:44:08,840 of the Scarlet Capsule? Wish to be fair to them. 703 00:44:08,840 --> 00:44:10,840 They did. And that was useful because 704 00:44:11,520 --> 00:44:14,600 there were bits on on on scarlet capsule which had been 705 00:44:15,280 --> 00:44:18,360 prematurely faded for the discard, but which were present 706 00:44:18,360 --> 00:44:19,720 on master. So that was good. 707 00:44:20,480 --> 00:44:22,440 And the EMI were very open handed about it because it 708 00:44:22,440 --> 00:44:27,720 wasn't for it was for the BBC who had the broadcasting right. 709 00:44:27,720 --> 00:44:28,920 So they saw no problem with that. 710 00:44:30,120 --> 00:44:33,200 And I got all that. And yeah, that's how that's how 711 00:44:33,200 --> 00:44:37,480 those happened. But that was around that time I 712 00:44:37,480 --> 00:44:44,000 just about got hold of my first digital editing kit and adapt 713 00:44:44,000 --> 00:44:46,960 machine. So a lot of the acquisition was 714 00:44:46,960 --> 00:44:50,040 done on that. Some of the editing, no, all the 715 00:44:50,040 --> 00:44:52,440 editing was done quarter inch because I didn't have my saving 716 00:44:52,440 --> 00:44:54,720 then. So some of the acquisition was 717 00:44:54,720 --> 00:44:57,640 done on that. But all the equalisation, all 718 00:44:57,640 --> 00:45:00,120 the trimming up, all the editing was all done on quarter inch 719 00:45:00,120 --> 00:45:04,080 with block and blade. And considering all that, I 720 00:45:04,080 --> 00:45:05,880 think it came out remarkably well. 721 00:45:16,120 --> 00:45:20,040 I asked Ted what were the criteria for choosing particular 722 00:45:20,040 --> 00:45:24,480 shows for the series of repeats and and then the topic of the T3 723 00:45:24,480 --> 00:45:27,800 wall arose. Part of it was stuff where there 724 00:45:27,800 --> 00:45:30,520 was the material readily available to do stuff at full 725 00:45:30,520 --> 00:45:34,400 length and some of it was stuff where it was really unfinished 726 00:45:34,400 --> 00:45:38,120 business and the EMI stuff had to be expanded to full length. 727 00:45:38,560 --> 00:45:41,080 You know, particularly in Scarlet Capsule, which was, you 728 00:45:41,080 --> 00:45:45,440 know, brilliant parody of quite a mass. 729 00:45:46,080 --> 00:45:48,720 I think I had a complete cover copy of the rent collectors 730 00:45:48,720 --> 00:45:55,520 which had come out in the infamous T3 wall when Sandoca. 731 00:45:55,520 --> 00:45:58,360 I was paid by transcription salary for six months to go 732 00:45:58,360 --> 00:46:01,040 digging. I basically had carte blanche 733 00:46:01,040 --> 00:46:07,320 from both sets of management to go seek where I would because a 734 00:46:07,320 --> 00:46:11,000 lot of stuff that was in junk piles might well be of value. 735 00:46:12,440 --> 00:46:15,800 And I've been sniffing around this sort of thing for a few 736 00:46:15,800 --> 00:46:17,560 weeks, going through tape library and all this sort of 737 00:46:17,560 --> 00:46:19,480 thing. And then Quentin Fuller, who was 738 00:46:19,480 --> 00:46:22,280 the senior classical balancer at the time, I knew quite well 739 00:46:22,280 --> 00:46:24,960 because classical music, another one of my things, you see. 740 00:46:24,960 --> 00:46:28,440 And I was doing assemblies with him and he said, well look, if 741 00:46:28,440 --> 00:46:31,040 you're looking for tapes, you better take some of the wall 742 00:46:31,040 --> 00:46:34,560 panels off T3. T3 being the channel in 743 00:46:34,560 --> 00:46:38,440 Kensington House on editing room, if you like, where we did 744 00:46:38,440 --> 00:46:41,880 the classical assemblies. And I said, well, tell me more. 745 00:46:42,120 --> 00:46:45,440 And he said, well look, T3 was originally mono. 746 00:46:46,440 --> 00:46:49,760 And when we went over to stereo and put the speakers in the 747 00:46:49,760 --> 00:46:54,040 obvious place, everything was very wolfy on the right hand 748 00:46:54,040 --> 00:46:55,520 side. In other words, there was a base 749 00:46:55,520 --> 00:46:58,160 resonance. And he said, well, we looked 750 00:46:58,160 --> 00:47:02,880 there and we found that behind the acoustic treatment on the 751 00:47:02,880 --> 00:47:06,960 right hand side was cavity. It was about 6 foot deep and it 752 00:47:06,960 --> 00:47:12,400 was floored ceiling and it was anything up to 20, about 1012 753 00:47:12,400 --> 00:47:15,480 feet wide. And he said, well, obviously 754 00:47:15,480 --> 00:47:19,960 there was a can of this this cavity which was woofing away. 755 00:47:20,760 --> 00:47:22,240 So we had to do something about it. 756 00:47:22,240 --> 00:47:27,520 So he went down to tape library and just took the first half 757 00:47:27,560 --> 00:47:30,040 many cubic feet it was off the washing pile and stuffed them in 758 00:47:30,040 --> 00:47:34,520 there and deadened it. So he said if you take those 759 00:47:34,520 --> 00:47:37,040 panels off, you may well find some stuff of interest. 760 00:47:38,000 --> 00:47:40,440 Obviously we want you to refill the whole. 761 00:47:41,080 --> 00:47:44,520 So yes, I had to go and find some other more current tapes 762 00:47:44,520 --> 00:47:46,640 that definitely weren't of interest and put them in. 763 00:47:47,240 --> 00:47:50,040 There was very little actual new good material, but there was a 764 00:47:50,040 --> 00:47:51,840 lot of stuff that was in better quality. 765 00:47:52,360 --> 00:47:57,160 Several shows which were the backup copies of the shows which 766 00:47:57,160 --> 00:48:00,200 have been rather badly sliced up for the stereo versions. 767 00:48:01,880 --> 00:48:03,880 The stereo versions is not a can of worms. 768 00:48:06,320 --> 00:48:08,920 I felt it must have been tempting during the restoration 769 00:48:08,920 --> 00:48:13,280 process to tighten up or correct bits of shows with maybe a delay 770 00:48:13,280 --> 00:48:16,240 in a sound effect coming in, or a bit of Graham's hiss, or 771 00:48:16,360 --> 00:48:19,640 simply a fluff which was never removed and and I asked Ted if 772 00:48:19,640 --> 00:48:23,120 he tried to improve upon what actually went out as broadcast. 773 00:48:24,040 --> 00:48:31,120 Where the gag was partly derailed by some technical 774 00:48:31,120 --> 00:48:36,640 deficiency, I didn't hesitate in the fear of wages. 775 00:48:37,960 --> 00:48:40,720 There is blood not playing back his account. 776 00:48:41,320 --> 00:48:45,400 Little bit of what is in the in the script as music, then it's 777 00:48:45,400 --> 00:48:48,920 something I I promise I pay you back at rate of a month. 778 00:48:50,000 --> 00:48:56,000 And then there's Segan says blood not how much is or rather 779 00:48:56,160 --> 00:48:58,360 Segan how much is so much a month. 780 00:48:59,360 --> 00:49:05,400 It's about and it's the the the the barrel organ doing whatever 781 00:49:05,400 --> 00:49:10,280 it is right. OK, so for that gag to work 782 00:49:10,600 --> 00:49:14,200 properly, you want those middle two inserts to be the same 783 00:49:15,080 --> 00:49:19,240 because the Japanese is saying I pay you back at rate of and 784 00:49:19,920 --> 00:49:23,120 blood not saying Seagram how much is OK. 785 00:49:23,360 --> 00:49:26,200 Now on the original transmission, that was basically 786 00:49:26,200 --> 00:49:28,760 a record continuously playing and they were just opening the 787 00:49:28,760 --> 00:49:30,800 fader where the insert was required. 788 00:49:31,640 --> 00:49:37,240 So it was a fairly simple snip job just to make those two the 789 00:49:37,240 --> 00:49:39,680 same. Now I wasn't the 1st to do that 790 00:49:39,680 --> 00:49:43,640 transcription did that actually 'cause that only came out as 791 00:49:43,640 --> 00:49:45,320 pick of the games. I think fear of wage didn't come 792 00:49:45,320 --> 00:49:48,520 out as TS1. So so they did that fine. 793 00:49:48,520 --> 00:49:51,840 I didn't hesitate to follow. If there's a you know, if 794 00:49:51,840 --> 00:49:55,840 there's something that's obviously if a sound effects 795 00:49:55,840 --> 00:49:59,440 playing in from disc and the gag is at making obvious it's from a 796 00:49:59,440 --> 00:50:02,640 disc, then I took the surface noise and the crackles out. 797 00:50:03,080 --> 00:50:06,440 If it was making it obvious that it was actually a gramophone 798 00:50:06,440 --> 00:50:08,200 record as part of the gag, I left them in. 799 00:50:15,440 --> 00:50:19,000 Those running boots are repeat of the running boot you heard in 800 00:50:19,000 --> 00:50:23,360 Those Were the Days on the Light programme of March the 2nd and 801 00:50:23,360 --> 00:50:27,560 was taken from the BBC Great Sound Library of 9000 Scratchy 802 00:50:27,560 --> 00:50:33,000 Records. I like to think that my role was 803 00:50:33,000 --> 00:50:38,200 more that of, you know, you get editions of the Beethoven 804 00:50:38,200 --> 00:50:42,040 sonatas where where, where you have a knowledgeable guy 805 00:50:42,040 --> 00:50:46,440 actually doing the editing like occasion, there may be a wrong 806 00:50:46,440 --> 00:50:49,640 note in, in, in in the editions than previously printed. 807 00:50:49,680 --> 00:50:53,040 And then you say, well, yes, we I've done it this because I 808 00:50:53,040 --> 00:50:55,520 forget what they called it. They didn't call them curated 809 00:50:55,520 --> 00:50:59,280 editions, but it's just, you know, as I say, it's well, it is 810 00:50:59,320 --> 00:51:02,600 an edition of the stuff, if you like, it is my edition. 811 00:51:02,960 --> 00:51:05,040 For the most part, I just let it speak for itself. 812 00:51:05,040 --> 00:51:08,000 But there are times where it's fairly obvious there have been 813 00:51:08,320 --> 00:51:10,920 technical obstacles in the way of the comedy and I've tried to 814 00:51:10,920 --> 00:51:13,640 remove those. There was another thing I tried 815 00:51:13,640 --> 00:51:17,800 to correct in the white Nettie trade, you know, get your get 816 00:51:17,800 --> 00:51:20,560 your teeth out of my legs sort of thing where, where the spot 817 00:51:20,560 --> 00:51:23,640 effect was too early. But any attempt to correct that 818 00:51:23,640 --> 00:51:26,880 just made it worse. So I left it it, it's very 819 00:51:26,880 --> 00:51:30,440 largely about not getting in the way of the comedy. 820 00:51:30,920 --> 00:51:35,400 So no, I, I try not to get fetishistic about mistakes. 821 00:51:36,520 --> 00:51:38,360 If, if it's an obvious mistake, I'll correct it. 822 00:51:40,680 --> 00:51:43,880 I mean Call of the West was a bit tricky, but then I had the 823 00:51:43,880 --> 00:51:45,640 most material for Call of the West. 824 00:51:46,160 --> 00:51:48,760 The trouble was with the line tape that at some point if you 825 00:51:48,760 --> 00:51:51,000 played on tape of the magnetized head, so there was a bit of 826 00:51:51,000 --> 00:51:53,880 rumble going on in the background and that had to be 827 00:51:53,880 --> 00:51:55,520 minimized. There was a fair bit of cross 828 00:51:55,520 --> 00:52:00,400 cutting to do. Spectre of Tintagel, the only 829 00:52:00,920 --> 00:52:03,000 copy I had of the end wasn't brilliant. 830 00:52:03,000 --> 00:52:06,080 It was a bit hissy, so I was driving the his reduction a 831 00:52:06,080 --> 00:52:09,280 little too hard. Although, hang on, I think I 832 00:52:09,280 --> 00:52:11,800 remade that for the companion and made rather better fist of 833 00:52:11,800 --> 00:52:15,120 it because of course, you know, I've been doing these shows over 834 00:52:15,120 --> 00:52:20,720 30 years and of course the techniques for restoration have 835 00:52:20,720 --> 00:52:24,720 become slowly more powerful and there have been more, Yeah, and 836 00:52:24,720 --> 00:52:27,080 more problems I've been able to tackle successfully. 837 00:52:28,560 --> 00:52:32,880 Series four, there was one from Sound Archives, which was OK, 838 00:52:32,880 --> 00:52:35,240 that was basically discopy. There was another one Bank of 839 00:52:35,240 --> 00:52:41,200 England robbery which came via Roger Bickerton from a guy in 840 00:52:41,200 --> 00:52:45,360 the West Country somewhere, and that was a remarkably good 841 00:52:45,600 --> 00:52:47,640 recording considering the time it was made. 842 00:52:47,640 --> 00:52:50,640 I think it was done on domestic Grundig and quite possibly from 843 00:52:50,640 --> 00:52:53,800 one of the experimental VHF transmissions which were 844 00:52:53,800 --> 00:52:57,280 happening at the time. There wasn't a full VHF service 845 00:52:57,280 --> 00:53:01,960 officially to the middle of 55, but there were tests on FM from 846 00:53:01,960 --> 00:53:07,400 about 1953 and some of the more enterprising people took stuff 847 00:53:07,400 --> 00:53:10,600 off there and and then that, that, that was quite good. 848 00:53:11,840 --> 00:53:15,760 The second or third series stuff was, yeah, pretty nightmarish 849 00:53:15,800 --> 00:53:18,920 for the most part. I think Mark Cousins had a very 850 00:53:18,920 --> 00:53:23,160 much better dub of Spike Sound mirror tapes than I'd been able 851 00:53:23,160 --> 00:53:26,040 to get hold of before, but they were still sound mirror tapes. 852 00:53:26,120 --> 00:53:33,000 There was a couple of shows which were made by a guy who 853 00:53:33,200 --> 00:53:38,440 emigrated to New Zealand and his son sent me copies of those. 854 00:53:39,440 --> 00:53:44,200 That was irritating actually, because the punchline of one of 855 00:53:44,200 --> 00:53:47,840 those shows was missing, because the bloke could some put some 856 00:53:47,840 --> 00:53:51,040 sort of spoken introduction of his own on the front. 857 00:53:51,440 --> 00:53:53,200 And if he hadn't, if he dispensed with the spoken 858 00:53:53,200 --> 00:53:55,800 introduction, we could have had the punchline of the show, which 859 00:53:55,800 --> 00:53:58,880 was Henry Cron spent half an hour looking for this rare bloom 860 00:53:59,200 --> 00:54:01,080 and in the process of photographing it, he stepped 861 00:54:01,080 --> 00:54:02,440 back on it. See. 862 00:54:02,800 --> 00:54:04,920 Which is, I mean, it's really going all over, isn't it? 863 00:54:05,960 --> 00:54:07,120 It's no good. Your heart. 864 00:54:07,120 --> 00:54:09,520 I've lost my bearing, so you must have had a hole in your 865 00:54:09,520 --> 00:54:19,640 pocket. I mean, I just know where we 866 00:54:19,640 --> 00:54:22,280 are. I know exactly where we are. 867 00:54:22,360 --> 00:54:26,240 Where here. Thank heavens. 868 00:54:26,280 --> 00:54:28,600 I thought we were lost. All right. 869 00:54:28,600 --> 00:54:29,760 No, no. Come, come. 870 00:54:29,840 --> 00:54:32,240 We can't go up. We've lost over 60 of our 871 00:54:32,400 --> 00:54:34,160 photos. I'm dying at first. 872 00:54:35,040 --> 00:54:37,160 And Illington is dead, aren't you? 873 00:54:37,560 --> 00:54:41,960 Yeah. You see? 874 00:54:42,280 --> 00:54:44,680 Yeah. Come, gentlemen, we must find 875 00:54:44,680 --> 00:54:46,400 this rare African white carnation. 876 00:54:46,640 --> 00:54:48,440 I feel it. Look. 877 00:54:48,760 --> 00:54:50,040 Yeah. Right at my feet. 878 00:54:50,200 --> 00:54:52,000 There's one glowing right at my feet at last. 879 00:54:52,000 --> 00:54:54,840 And that's the. That was that. 880 00:54:54,840 --> 00:54:57,600 But yeah, I mean, there was sort of sound engineering things, and 881 00:54:57,600 --> 00:55:01,120 there were one or two shows in the very early boxes which came 882 00:55:01,120 --> 00:55:04,480 off wire recordings which just wowed all over the place and 883 00:55:04,480 --> 00:55:09,120 slew to a stop. Keith Wickham gave me what 884 00:55:09,120 --> 00:55:13,440 copies he had, which were like MP threes and Oh dear. 885 00:55:13,440 --> 00:55:16,960 But I mean, you know, that was very much the case of any port 886 00:55:16,960 --> 00:55:18,840 in the storm. This is good material. 887 00:55:18,840 --> 00:55:21,120 If that's the best copy there is, I've just got to take it and 888 00:55:21,120 --> 00:55:24,600 do the best I can with it. The wow was appalling and I'm 889 00:55:24,600 --> 00:55:27,880 not sure I made it any better with the tools I had available. 890 00:55:28,720 --> 00:55:32,880 So, you know, bits of those boxes weren't fun, but it had to 891 00:55:32,880 --> 00:55:37,320 be done to get the material, the rarest material out is, you 892 00:55:37,320 --> 00:55:38,720 know, keeping faith with the audience. 893 00:55:38,720 --> 00:55:42,080 Again, look, you know, here it is, it's not brilliant, but here 894 00:55:42,080 --> 00:55:45,920 it is. First meeting I had with John RT 895 00:55:45,920 --> 00:55:52,480 Davis was quite an event ready because I was on a goon research 896 00:55:52,480 --> 00:56:01,560 day and I rang him up and John could be this sort of force of 897 00:56:01,560 --> 00:56:06,040 nature that he was great enthusiast full stop. 898 00:56:06,560 --> 00:56:09,680 You know, anything that caught his fancy, he was enthusiastic 899 00:56:09,680 --> 00:56:13,800 about and he had an opinion on. And very often those opinions 900 00:56:13,800 --> 00:56:16,840 had quite large grains of truth in at the very least. 901 00:56:17,360 --> 00:56:21,080 And and he, he, he said, well, you know, you know, come on, 902 00:56:21,560 --> 00:56:23,560 come on, come down. And because you're not very far, 903 00:56:23,560 --> 00:56:27,120 I'm only in, only in Burnham, you know, come down and let's 904 00:56:27,120 --> 00:56:29,920 see a thing. So I stayed at home about 3:00 905 00:56:29,920 --> 00:56:34,680 the following morning that he just sort of he'd seen something 906 00:56:34,680 --> 00:56:36,280 in me. I hate, you know, this is a guy 907 00:56:36,280 --> 00:56:42,080 I can hand, I can hand some of my torches to and sort of thing. 908 00:56:42,080 --> 00:56:45,080 And I mean, he, he, he sort of when he was expanding his 909 00:56:45,080 --> 00:56:48,640 philosophy of remastering, you know, 70 eights, he said, look, 910 00:56:48,640 --> 00:56:52,960 you don't want something that's you want a sound that comes out 911 00:56:52,960 --> 00:56:55,280 and said, Hey, man, listen to this. 912 00:56:55,280 --> 00:56:58,280 And while he was saying that, he grabbed me by both shoulders and 913 00:56:58,280 --> 00:57:02,760 shaken me as he and he strained a couple of intercostal muscles 914 00:57:02,760 --> 00:57:05,240 in the in the process. I woke up the following morning 915 00:57:05,280 --> 00:57:07,800 a pain in my ribs I'd never had before. 916 00:57:09,120 --> 00:57:12,800 Anyway, at at the end of this little seance, you see, John 917 00:57:12,800 --> 00:57:15,960 said, look, you better take these tapes away with you. 918 00:57:17,480 --> 00:57:20,480 They were willed to me. They're from an estate. 919 00:57:21,520 --> 00:57:24,280 Now this guy was jazz buff and he was goon buff. 920 00:57:24,720 --> 00:57:32,240 OK, so you go through, keep all the goon tapes and let me know 921 00:57:32,240 --> 00:57:35,920 what's on the jazz tapes, OK? I said deal. 922 00:57:37,240 --> 00:57:41,720 So in that box of tapes, among other things, was the master and 923 00:57:41,720 --> 00:57:44,240 Crest shortage. Sorry, no. 924 00:57:44,440 --> 00:57:46,440 The collapse of the British railway sandwich system. 925 00:57:46,480 --> 00:57:50,160 The earlier version of the script, there was one good 926 00:57:50,160 --> 00:57:53,640 version which was slightly incomplete and one rather less 927 00:57:53,640 --> 00:57:56,840 good version which was complete, which is why you can hear the 928 00:57:56,840 --> 00:58:00,400 his change of the box because there weren't any better 929 00:58:00,400 --> 00:58:03,920 sources. But on one of those tapes, 930 00:58:03,960 --> 00:58:06,480 tucked away at the beginning of a track, was the Goons hit 931 00:58:06,480 --> 00:58:14,440 Wales, made by a bloke called Ian Jennings, who died sometime 932 00:58:14,440 --> 00:58:18,120 before 1986. But he was, he was another one 933 00:58:18,120 --> 00:58:21,560 of the giants in that box of tapes. 934 00:58:21,560 --> 00:58:26,640 There were all bits of 3040 shows, most of which were his 935 00:58:26,640 --> 00:58:29,880 own recordings off air, most of which were off were FM. 936 00:58:30,880 --> 00:58:33,640 Some were dubs from John's acetates, but most weren't. 937 00:58:34,000 --> 00:58:37,680 And yeah, that's another source. The the bit at the front of the 938 00:58:37,680 --> 00:58:41,480 Great Regions Park Swim, having a go at Eurovision that came off 939 00:58:41,480 --> 00:58:42,960 one of those tapes, for instance, Yeah. 940 00:58:43,280 --> 00:58:46,200 This is the BBC Home Service, but it's sloping to the right 941 00:58:46,200 --> 00:58:48,040 wall. Would you mind standing in the 942 00:58:48,040 --> 00:58:52,320 centre then, please? So I caused it you and soil 943 00:58:52,320 --> 00:58:57,320 erosion in John Snag's office. And I thought it was an optical 944 00:58:57,320 --> 00:58:58,840 illusion. No, no, no, no, no. 945 00:58:59,120 --> 00:59:00,800 It really is sloping to the right. 946 00:59:00,800 --> 00:59:03,000 So that's where the corporation's going downhill. 947 00:59:09,360 --> 00:59:11,960 This may be amusement to you, but it's better and better to 948 00:59:12,000 --> 00:59:13,400 us. Not so loud. 949 00:59:13,560 --> 00:59:16,440 There may be planners listening. It's hard enough for them 950 00:59:16,440 --> 00:59:18,600 already. Yes, indeed, Poor planners. 951 00:59:18,600 --> 00:59:21,600 Poor fellows. Forced to fly to the continent 952 00:59:21,600 --> 00:59:24,160 every week for conferences about Eurovision. 953 00:59:24,400 --> 00:59:27,640 Forced to wine and dine and stay in the best hotels in Paris. 954 00:59:28,040 --> 00:59:32,720 It must be hell in Paris. Well then, there it is. 955 00:59:34,680 --> 00:59:38,240 You speak I'll of my masters. You, you, you naughty Emmanuel, 956 00:59:39,040 --> 00:59:40,720 you get a punch of your silly old tiger. 957 00:59:40,720 --> 00:59:43,880 Tim's naughty nose just about reached it. 958 00:59:43,880 --> 00:59:46,440 Now then, kindly put on the chiffon nitrous. 959 00:59:46,720 --> 00:59:49,240 Can I announce your attempt to redeem last week's show? 960 00:59:50,360 --> 00:59:53,400 Ladies and gentlemen, the All leather Goon Show presents the 961 00:59:53,400 --> 00:59:56,960 great Regions Park Swim. I know there's a load. 962 00:59:57,120 --> 01:00:01,680 There's about 8 goon sound effects acetates which is still 963 01:00:01,680 --> 01:00:03,440 floating around. They came up for auction about 964 01:00:03,560 --> 01:00:07,960 2025 years ago and I missed them, so somewhere there's some 965 01:00:07,960 --> 01:00:10,760 others. I've got some stuff for the 966 01:00:10,760 --> 01:00:14,840 mountain eaters press for the Plasticine man maybe? 967 01:00:16,520 --> 01:00:20,040 I'd have to check, but amongst amongst other things you see on 968 01:00:20,040 --> 01:00:25,400 my I, I managed to get hold of the I'm walking backwards for 969 01:00:25,400 --> 01:00:29,840 Christmas sequence from the seller's program, the listening 970 01:00:29,840 --> 01:00:33,080 room. It turned up unannounced on an 971 01:00:33,080 --> 01:00:36,400 acetate and I think that's about the only fragments of that 972 01:00:36,400 --> 01:00:39,280 program that exists now, but but that was fun. 973 01:00:39,280 --> 01:00:43,480 That's never actually had an outlet yet, but because there 974 01:00:43,480 --> 01:00:45,640 were bits of those effects, this found their way into the last 975 01:00:45,640 --> 01:00:48,840 goon show of all the the stuff of the rolling of the piano into 976 01:00:48,840 --> 01:00:51,840 a wall that that was on one of those discs. 977 01:00:52,440 --> 01:00:56,720 That was that was quite fun. And what was it for? 978 01:00:56,720 --> 01:01:02,400 Oh, great statue debate. Some of the you know, you know, 979 01:01:02,400 --> 01:01:07,160 that ridiculous effect just before Greenslave walks away and 980 01:01:07,160 --> 01:01:10,760 and says, I told them a fib. We're not overrunning at all. 981 01:01:11,880 --> 01:01:14,200 And the sort of very odd groaning effect that happens 982 01:01:14,200 --> 01:01:19,000 before then it, it's vastly slowed down sort of Hinge Creek 983 01:01:19,000 --> 01:01:22,440 with Milligan going at the end of it. 984 01:01:22,720 --> 01:01:25,520 What the hell it meant when they recorded it, What the hell it 985 01:01:25,520 --> 01:01:27,480 meant when they played it in, I don't know, but there you go. 986 01:01:27,480 --> 01:01:40,160 That's Milligan, I say. 987 01:01:40,760 --> 01:01:44,480 We're really behind time. I told them a fib And I must say 988 01:01:44,480 --> 01:01:46,320 I did enjoy it. We weren't really behind time. 989 01:01:46,640 --> 01:01:47,840 We weren't. You were right. 990 01:01:47,840 --> 01:01:49,720 And I say we weren't really behind time. 991 01:01:50,280 --> 01:01:57,640 You better write it in. I say we weren't really behind 992 01:01:57,640 --> 01:01:59,720 time. I told them a fib And I must say 993 01:01:59,720 --> 01:02:03,800 I did enjoy it. Of course, the thing that turned 994 01:02:03,800 --> 01:02:08,560 up in one of the Goon Show boxes was the bit of the sale of 995 01:02:08,560 --> 01:02:10,960 Manhattan where they were doing the read through before 996 01:02:10,960 --> 01:02:13,640 recording the soundtrack for the telecoms. 997 01:02:15,040 --> 01:02:18,480 This is now the sidetrack. You see Angus Mackenzie, who was 998 01:02:18,480 --> 01:02:26,240 this blind guru of, well, he thought he was a guru of audio 999 01:02:26,240 --> 01:02:29,400 engineers and great proponents of stereo rodeo and everything. 1000 01:02:29,400 --> 01:02:31,440 No, I mean, in all fairness, he did a lot of good. 1001 01:02:32,280 --> 01:02:38,760 And when he died, very long story, but when he died, because 1002 01:02:38,760 --> 01:02:41,200 I was also a member of the audio engineering society, I got to 1003 01:02:41,200 --> 01:02:46,000 hear that his test gear was up for sale and his hifi equipment. 1004 01:02:46,040 --> 01:02:48,920 And, you know, would people like to go on the House, along to the 1005 01:02:48,920 --> 01:02:52,080 house and see what they wanted and what you know, and pay the 1006 01:02:52,080 --> 01:02:56,120 family? And so I went along and picked 1007 01:02:56,120 --> 01:02:58,240 up a couple of bits of test gear and that was fine. 1008 01:02:58,240 --> 01:03:00,720 And but the first thing that happened was when I went to the 1009 01:03:00,720 --> 01:03:02,640 door, I just tripped over this box of tapes. 1010 01:03:04,520 --> 01:03:07,560 And his daughter, who was organizing most of it, said, oh, 1011 01:03:07,560 --> 01:03:09,480 don't worry, they're going in the skit next week. 1012 01:03:10,200 --> 01:03:14,640 I said they are not. She said, you're going to drag 1013 01:03:14,640 --> 01:03:16,960 them away. Then I said, yeah, She said, 1014 01:03:16,960 --> 01:03:20,560 you're on two transit vans later. 1015 01:03:21,200 --> 01:03:23,640 And I mean, they're still out in the shed here, most of them, 1016 01:03:23,760 --> 01:03:25,600 Right. But this is, I mean, I mean, you 1017 01:03:25,640 --> 01:03:28,240 know, a lot of it is sort of classical stuff off Radio Three 1018 01:03:28,240 --> 01:03:31,000 but doesn't exist elsewhere. Of course, he ran Olympic 1019 01:03:31,000 --> 01:03:33,280 Studios for several years. So there's Olympic Masters out 1020 01:03:33,280 --> 01:03:36,480 there, all that sort of thing. But while he was one of the 1021 01:03:36,480 --> 01:03:40,480 things that happened at Olympic was the soundtrack for the Tele 1022 01:03:40,480 --> 01:03:44,280 goons, which were re recordings, as you probably know, not 1023 01:03:44,320 --> 01:03:48,040 edition. And all that survives all. 1024 01:03:48,040 --> 01:03:50,920 All that I have of that is about a 15 minute sequence of them 1025 01:03:50,920 --> 01:03:54,560 reading, doing the read through of the sale of Manhattan. 1026 01:03:56,200 --> 01:04:00,880 And significantly, I'm told it's all three goons because sellers 1027 01:04:00,880 --> 01:04:02,400 wasn't available for one or something. 1028 01:04:02,400 --> 01:04:05,920 But this is all three goons. There may well have been other 1029 01:04:05,920 --> 01:04:08,840 people taking stuff off here at the time. 1030 01:04:09,120 --> 01:04:13,560 The overwhelming likelihood is that it just got shoved into a 1031 01:04:13,560 --> 01:04:16,600 skip. As you see, Angus Mackenzie 1032 01:04:16,600 --> 01:04:21,520 stuff, 40 years of audio history, and his own family were 1033 01:04:21,520 --> 01:04:23,960 willing to put it in a skip just because they didn't think, 1034 01:04:23,960 --> 01:04:25,640 couldn't think of anything else to do with it. 1035 01:04:25,920 --> 01:04:29,280 I mean, it's not malice. I appreciate people's dilemmas 1036 01:04:29,360 --> 01:04:33,560 here, but you know, it's fairly certain that that quite a lot of 1037 01:04:33,560 --> 01:04:38,000 material has disappeared and, and, and, you know, it's just a 1038 01:04:38,000 --> 01:04:40,480 question of being grateful for saving what we can save. 1039 01:04:42,040 --> 01:04:45,080 You see, you see, the, the, the, the, the line type of call of 1040 01:04:45,080 --> 01:04:46,400 the West. I mean, that was, that was just 1041 01:04:46,400 --> 01:04:49,720 pure chance. That was with a guy who was in 1042 01:04:49,720 --> 01:04:52,200 nuts about the goons. He was nuts about jazz. 1043 01:04:52,320 --> 01:04:56,040 Peter Bolt, who works at that time, and I knew him for he'd 1044 01:04:56,080 --> 01:04:58,280 retired from from Thames Television. 1045 01:04:58,440 --> 01:05:02,280 But I mean, I mean, this man was Nutter enough to get the Jazz 1046 01:05:02,280 --> 01:05:04,960 Couriers to play in Morecambe in 1959. 1047 01:05:05,160 --> 01:05:08,360 Go and look that up. Right, OK. 1048 01:05:08,480 --> 01:05:10,760 The gig is available on Gearbox Records now. 1049 01:05:11,560 --> 01:05:15,560 There, there, there you are. I've given the man a plug and he 1050 01:05:15,560 --> 01:05:19,800 had a couple of reels of goon material and he just said, well, 1051 01:05:19,800 --> 01:05:21,360 here they are. They're goons. 1052 01:05:22,000 --> 01:05:24,200 You're the goon man. Take them away. 1053 01:05:24,200 --> 01:05:26,040 Do what you can with them. Let me have a copy. 1054 01:05:27,440 --> 01:05:30,560 And one of them was sort of fairly standard. 1055 01:05:30,560 --> 01:05:33,960 It was the Great Spawn Plague and it was the TS1 edit. 1056 01:05:34,200 --> 01:05:40,000 But the other one was very nearly the complete line tape of 1057 01:05:40,000 --> 01:05:45,040 the Cold West. In other words, the thing as 1058 01:05:45,040 --> 01:05:48,320 recorded from the studio. Now, admittedly, being on this 1059 01:05:48,320 --> 01:05:51,200 magnetized head, it had a bit of rumble on it, but basically it 1060 01:05:51,200 --> 01:05:56,440 was there. And that was just chance that 1061 01:05:56,440 --> 01:06:00,160 would have got into the washing pilot transcription service. 1062 01:06:01,080 --> 01:06:03,080 Somebody would have got it out under their coat. 1063 01:06:03,080 --> 01:06:05,240 But it must have gone through three or four different hands 1064 01:06:05,240 --> 01:06:07,040 before it ended up on Peter's shelf. 1065 01:06:07,800 --> 01:06:12,800 And had I not been doing jazz remastering for Hep Records at 1066 01:06:12,800 --> 01:06:15,080 the time, I wouldn't have met Peter Bold. 1067 01:06:16,000 --> 01:06:18,480 And if I hadn't met Peter Bold, who knows what would have 1068 01:06:18,480 --> 01:06:20,200 happened to that, That, that tape. 1069 01:06:20,200 --> 01:06:24,120 You see, you know, every day in life we have a binary choice of 1070 01:06:24,120 --> 01:06:26,640 one kind or another. And you never know. 1071 01:06:27,600 --> 01:06:29,920 I mean, you know, if you think too much about it, you just go 1072 01:06:29,920 --> 01:06:33,320 mad. You know, you just have to sort 1073 01:06:33,320 --> 01:06:37,000 of, you know, try and do the right thing at any given point. 1074 01:06:37,440 --> 01:06:41,480 But I've got a feeling from what I've heard of the the the sort 1075 01:06:41,480 --> 01:06:44,480 of third series goon shows that, you know, if they came out 1076 01:06:44,480 --> 01:06:47,840 intact, we might not be quite as thrilled with them as as the 1077 01:06:47,840 --> 01:06:51,000 distance. You know, it's his distance less 1078 01:06:51,000 --> 01:06:54,480 enchantment to the view. You see that the Goon show 1079 01:06:54,480 --> 01:06:58,480 proper in a way, really did start with the starlings. 1080 01:07:00,440 --> 01:07:03,720 That was when all the elements properly coalesced. 1081 01:07:04,000 --> 01:07:05,680 There's some good stuff in the fourth series. 1082 01:07:06,240 --> 01:07:10,280 It's very nearly there. But but you see with genius 1083 01:07:10,280 --> 01:07:12,600 people want even the chips from the workbench. 1084 01:07:12,600 --> 01:07:14,040 I can understand that to a point. 1085 01:07:14,280 --> 01:07:17,120 You see another one of my big things, Django Reinhardt, 1086 01:07:18,480 --> 01:07:21,880 enormous, you know, gypsy guitarist, completely feral, 1087 01:07:23,240 --> 01:07:26,080 right, completely feral. But you put a guitar in his 1088 01:07:26,080 --> 01:07:32,240 hands and it's, you know, you're you're hearing stuff from the 1089 01:07:32,240 --> 01:07:35,800 gods. Basically what that guy could 1090 01:07:35,800 --> 01:07:39,040 not do on a guitar with a crippled left hand. 1091 01:07:39,040 --> 01:07:43,360 Be it said, you know, anything Django played, I want to hear 1092 01:07:44,320 --> 01:07:47,520 just because it is to me that glimpse of the infinite almost 1093 01:07:48,160 --> 01:07:51,160 and and I I you know, I can see people wanting wanting 1094 01:07:51,160 --> 01:07:54,440 everything of The Beatles. But there's this lovely, I think 1095 01:07:54,440 --> 01:07:57,800 Ray Coleman thing was doing one one of those many Beatles books 1096 01:07:57,800 --> 01:08:02,240 that were out on the in the 70s. I think there's AB side. 1097 01:08:02,640 --> 01:08:04,360 You know my name. Look up the number. 1098 01:08:04,680 --> 01:08:09,960 And he said it's funny in places, and that was that. 1099 01:08:16,840 --> 01:08:20,160 And there more or less we concluded our chat as we both 1100 01:08:20,160 --> 01:08:22,160 had pressing engagements to meet. 1101 01:08:22,720 --> 01:08:26,399 However, Ted to his credit did offer to return one day because 1102 01:08:26,399 --> 01:08:29,920 in some areas we barely scratched the surface and I was 1103 01:08:29,920 --> 01:08:32,760 thinking that perhaps a future show could solicit questions 1104 01:08:32,760 --> 01:08:36,720 from listeners to put to Ted. This listenership is extremely 1105 01:08:36,760 --> 01:08:39,399 goon savvy and I'm sure would not disappoint in putting 1106 01:08:39,760 --> 01:08:42,439 interesting and even challenging questions to the great man. 1107 01:08:43,240 --> 01:08:45,960 So if you enjoyed this episode and would be interested in a 1108 01:08:45,960 --> 01:08:48,760 follow up, please let me know. You lot are not backward in 1109 01:08:48,760 --> 01:08:51,279 coming forward with feedback and thoughts so I'd really welcome 1110 01:08:51,279 --> 01:08:52,960 this. It only remains for me to say 1111 01:08:52,960 --> 01:08:55,840 thank you for listening. Please rate and review in the 1112 01:08:55,840 --> 01:08:57,439 usual places. Please tell your friends. 1113 01:08:57,439 --> 01:09:02,399 Please do whatever it takes to raise the profile of the show 1114 01:09:02,399 --> 01:09:06,600 and ensure that more and more people TuneIn every week or 1115 01:09:06,600 --> 01:09:10,279 download every week and and listen to this load of rubbish. 1116 01:09:10,880 --> 01:09:12,960 Anyway, see you soon. Bye.