The Goons - Goon Show Classics 5 (Cassette) download full album zip cd mp3 vinyl flac
Throughout its history, each episode of The Goon Show, which usually ran just under 30 minutes, was essentially structured as a comedy-variety programme, consisting of scripted comedy segments alternating with musical interludes.
The first two series were mostly produced by Dennis Main Wilson ; none of the episodes was given an individual title  and these early shows were loosely structured and consisted of four or five unconnected sketches, separated by musical items. According to later producer Peter EtonThe Goons - Goon Show Classics 5 (Cassette), the musical segments took up around half the programme. From Series 3, The Goon Show as it was now officially titled gradually settled into its 'classic' format.
Milligan, Stephens and Grafton began to work within a narrative structure and by the second half of Series 4 each episode typically consisted of three acts linked by a continuing plot,  with Geldray performing between Acts I and II and Ellington between Acts II and III.
Almost all the principal and occasional characters were now performed by Milligan and Sellers, with Secombe usually playing only Neddie Seagoon, who had replaced Pureheart as the hero of most of the stories. The closing theme, backing for Geldray and incidental music was now provided by a big band of freelance musicians under the direction of Wally Stottwho had been writing for the show since the first series.
From Series 3 onwards, the principal character roles were: . The traditional plots involved Grytpype-Thynne and Moriarty getting Neddie Seagoon involved in some far-fetched plan, and meeting the other cast members along the way. Many characters had regular catchphrases which quickly moved into the vernacular; among the best known are:. The Goon Show has been variously described as "avant-garde", "surrealist", "abstract", and "four dimensional".
Whole scenes were written in which characters would leave, close the door behind themselves, yet still be inside the room. Further to this, characters would announce their departure, slam a door, but it would be another character who had left the room. That character would then beat on the door for re-admittance, the door would open and close and again the wrong character would be locked out.
The show paved the way for surreal and alternative humour, as acknowledged by comedians such as Eddie Izzard.
It was the surreality of the imagery and the speed of the comedy that I loved - the way they broke up the conventions of radio and played with the very nature of the medium. Cleese recalls listening to The Goon Show as a teenager in the mids "and being absolutely amazed by its surreal humour.
It came at a key stage in my own development and I never missed a show". Orchestral introductions, links and accompaniment were provided by a hand-picked big band made up of London-based session musicians.
Stott produced many arrangements and link passages, further improved by the first-class sound quality the BBC engineers managed to achieve. The show's concluding music was usually either " Ding-Dong! In keeping with the variety requirements of the BBC's "light entertainment" format, The Goon Show scripts were structured in three acts, separated by two musical interludes.
Both Ellington and Geldray also made occasional cameo appearances; Ellington was often drafted in to play stereotypical "black" roles such as a tribal chieftain, native bearer or Major Bloodnok's nemesis and counterpoint to Bloodnok's affliction "The Red Bladder".
It was in its use of pre-recorded and live sound effects that The Goon Show broke the most new ground. Secombe recalled "Back in the studio, Spike had already placed a sheet of three-ply near a microphone.
In the beginning, when the programme was recorded on disc, it was extremely difficult to achieve the right sound effect. It was only when tape came into use that Spike felt really happy with the effects. If you can't get two lions, two hippos will do". Over time, the sound engineers became increasingly adept at translating the script into desired sounds, assisted from the late s onwards by specialists in the BBC's newly formed Radiophonic Workshop. Milligan's relationship with BBC managers preparing for the recording of episodes was often acrimonious and resulted in rows, and Milligan later agreed that he was a diva during this time, adding "I was trying to shake the BBC out of its apathy.
Sound effects were a knock on the door and tramps on gravel— that was it, and I tried to transform it. Many of these sequences involved the use of complex multiple edits, echo and reverberation and the deliberate slowing down, speeding up or reversing of tapes. One of the most famous was the legendary "Bloodnok's Stomach" sound effect, created by the BBC Radiophonic Workshop to represent the sound of Major Bloodnok's digestive system in action, which included a variety of inexplicable gurgling and explosive noises.
Lewisp. Several of the words and phrases invented for the show soon entered common usage, the most famous being the word lurgi. In the episode "Lurgi Strikes Britain", Spike Milligan introduced the fictional malady of Lurgi sometimes spelled Lurgywhich has survived into modern usage to mean the common cold, or any miscellaneous or non-specific illness often preceded by the adjective "dreaded".
The symptoms of Lurgi included the uncontrollable urge to cry "Eeeeyack-a-boo", though even during the episode the ailment proved to be an extortionate attempt to sell brass band musical instruments. Milligan was later to make up his own definition in Treasure Island According to Spike Milliganwhere Jim Hawkins' mother describes it as "like brown spots of shit on the liver". Alcohol was strictly forbidden during rehearsals and recording, so the cast fortified themselves with milk.
The milk in turn was fortified with brandy. In later episodes the catchphrase "round the back for the old brandy! In "The Moon Show" Series 7, Episode 18Ellington sympathises with the listeners, stating "Man, the excuses he makes to get to that brandy! However, Milligan got his own back by making Ellington laugh halfway through the song by doing Minnie Bannister voices while Ellington was singing.
During radio programmes of the s and s, the background noise for crowd scenes was often achieved by a moderately large group of people mumbling " rhubarb " under their breath with random inflections.
This was often parodied by Milligan, who would try to get the same effect with only three or four people, clearly intoning the word rather than mumbling. After some time, Secombe began throwing in "custard" during these scenes for The Goons - Goon Show Classics 5 (Cassette), in "The Fear of Wages  and Wings Over Dagenham", where the phrase was amended to 'flying rhubarb'.
As well as being used as a comic device randomly inserted into different sketches to avoid silence, the blowing of raspberries entered the Goons as Harry Secombe's signal to the other actors that he was going to crack up; you would hear a joke from him, a raspberry, and a stream of laughter.
In the Goons' musical recording "The Ying-Tong Song", Milligan performed a solo for raspberry-blower, as one might for tuba or baritone saxophone. Milligan made much use of a rather surreal Columbia 78RPM sound effects disc, catalogue number YB20, which bears the innocuous title "Donkey" on the label. Approximating possibly the most obscene and flatulent noise ever recorded, it appeared first in the show "The Sinking of Westminster Pier" as a sound to accompany an oyster opening its shell; it thereafter became known as Fred the Oyster, and appears as such in the scripts.
This recording was often used as a reaction to a bad joke. Examples include The Last Goon Show of All during which Neddie shouts old jokes into a fuel tank in order to "start the show".
David Jason has also claimed to have produced the sound effect and indeed was credited with this in the second segment of Ronnie Barker's LWT series Six Dates with Barker In several shows, one character, typically either Henry Crun or Minnie Bannister, would be found trapped in a piano. In The Mystery of the Fake Neddie SeagoonCrun was inside a piano and his speech was accompanied by suitable piano noises. Gritpype-Thynne plays a "do-re-mi" scale to find him - Moriarty is "me".
Sometimes characters were introduced as "scion of the house of Rowton", or "member of Rowton House". This was a reference to the " Rowton Houses ", which were hostels for working men in London. Spike Milligan teamed up with illustrator Pete Clarke to produce two books of comic strip Goons. The stories were slightly modified versions of classic Goon shows. A brief moment from that recreation is seen in the trailer  for that film.
Ying Tong is a play written by Roy Smiles which is set partly in a radio studio, partly in a mental asylum and partly in Spike Milligan's mind.
It recreates the Goons recording the show, but part way through Spike has a mental breakdown and is committed to an asylum. While it features all of the Goons throughout although Bentine is mentioned, the fourth character represents Wallace Greensladethe focus is on Milligan and his breakdown.
Made for Associated-Rediffusion during and only broadcast in the London area, it was mainly written by Milligan, with contributions from other writers in the Associated London Scripts cooperative including Dave Freeman and Terry Nationwith Eric Sykes as script editor. The Idiot Weekly — was an Australian radio comedy series written by and starring Milligan with an Australian supporting The Goons - Goon Show Classics 5 (Cassette) including Ray Barrett and John Bluthal. It was made for the ABC during Milligan's numerous visits to Australia, where his family had emigrated.
Milligan adapted some Goon Show scripts and included his Goon Show characters notably Eccles in many episodes. The Telegoons — was a minute BBC puppet show featuring the voices of Milligan, Secombe and Sellers and adapted from the radio scripts. The series was briefly repeated immediately after its original run, and all episodes are known to survive, having been unofficially released online. Recorded for Harry Secombe's six-part comedy series, of which only a portion was actually used for the original broadcast, this was similar to Tales of Men's Shirts as a re-enactment of a radio play for television.
Whilst initially it was thought that only the portion used in the TV show survived, a full copy of the performance was found by the British Film Institute. Essentially a re-enactment of a radio performance, the three Goons were joined by John Cleese as announcer for a special shown on Thames Television.
While the original video tape was wipedan almost-complete copy of this broadcast is held by the British Film Institute. The Goons made a number of records including "I'm Walking Backwards for Christmas" originally sung by Milligan in the show to fill in during a musicians' strikeand "Bloodnok's Rock and Roll Call", the B-side of which, the " Ying Tong Song ", soon became more popular and was reissued as an A-side in the mids, becoming a surprise novelty hit.
The last time all three Goons worked together was in when they recorded two new songs, "The Raspberry Song" and "Rhymes".
A spoof of the film The Bridge on the River Kwaiit was originally recorded under that name. However, the film company threatened legal action if the name was used. Thus some clever editing of the recording by future Beatles producer George Martin removed the K every time the word Kwai was uttered, creating Bridge on the River Wye. Lewis'pp. It was not exactly a Goons reunion because Sellers was in Hollywood and had to record his lines separately.
The album was reissued on CD in In George Perry's book The Life of Python he comments: "In the Britain ofhumour was derived from three main sources: print, film and radio, and despite the advent of television, throughout the s radio remained the dominant source of broadcast comedy. In this period, two radio comedy shows exercised a profound influence.
The first was Take It From Herewith its polished professionalism. The other was The Goon Showwith its absurdity, manic surreality and unpredictability. Then, out of the blue The Goons Spike Milligan simply blew the roof off, and lit the whole place with sunshine. At a cursory glance, The Goon Show was merely quick-fire delivery of extremely funny lines mouthed by eccentric characters, but this was only the froth. Eddie Izzard notes that the Goons and Milligan in particular "influenced a new generation of comedians who came to be known as 'alternative'.
The only experiences to which I can compare my own discovery of the Goons are going to see N. Simpson's play One Way Pendulum They were just light years ahead of everyone else.
He wrote: "I was 12 when The Goon Show first hit me, 16 when they finished with me. Their humour was the only proof that the world was insane.
One of my earlier efforts at writing was a 'newspaper' called The Daily Howl. I would write it at night, then take it into school and read it aloud to my friends.
Looking at it now, it seems strangely similar to The Goon Show. According to Ossman:  . We heard a lot of those shows.
They impressed us when we started doing radio ourselves, because they sustained characters in a really surreal and weird kind of situation for a long period of time. They were doing that show for 10 years, all the way through the s. So we were just listening to them at the end. It was that madness and the ability to go anywhere and do anything and yet sustain those funny characters. So when we first did written radio, where we would sit down and write half hour skits and do them once a week, which we did in the fall ofwe did things that were imitative of The Goon Show and learned a lot of voices from them and such.
Among the influences on Monty Pythonthe members of the comedy team are described as being "indebted to BBC radio comedy, and particularly to the Goon Show. It was more a spirit that was passed on, rather than any particular technique.
The point is that once somebody has crossed a barrier and done something that has never been done before, it is terribly easy for everybody else to cross it". Similarly, in the introduction to Graham Chapman 's posthumous anthologyp. In fact, at that stage I wanted to be a Goon".
In their episode Election Night Specialthe Pythons gave an appreciative nod to their forebears. When one of the onscreen elections reporters asks his companion, "What do you make of the nylon dog cardigan and plastic mule rest? Peter Sellers died on 24 Julyaged Two illustrated booklets tell the story of the show's development with reference to original archive paperwork, plus the history of the recordings themselves.
Also featured are some rare archive bonus items, including the unbroadcast and previously unreleased version of The Dreaded The Goons - Goon Show Classics 5 (Cassette) Pudding Hurler of Bexhill-on-Sea. The Goon Show Compendium, Vol. The situation has become quite depressing. But amazon. These are great times, folks! BBC has been reissuing Goon Shows sincealthough the pace has slowed in recent years. There are c. Kendall has gone back to all available sources to create shows that contain all the possible lines cut by the various producers The Goons - Goon Show Classics 5 (Cassette) the various versions previously broadcast--UK original, Transcription Service version, Transcription Service Reissue series version, and more.
In many cases he brings us shows that are more complete than ever heard before. Among the many bonus items are "Curiouser and Curiouser," an anthology of Anglo-American off-beat humour; and the cast rehearsal for The Nasty Affair at the Burami Oasis. Bonus items include Neville Chamberlain's declaration of war on Germany in [you might ask why, which is a darned good question].
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