Bonzo Dog Doo/Dah Band "Gorilla" 1967*****

I have two versions of this LP (the second one was a gift with the express instruction to use for the blog). One is credited to Bonzo Dog Doo/Dah Band and the other to Bonzo Dog Band. This musical collective actually started as The Bonzo Dog Dada Band but they got tired of explaining Dada to people and changed it to the nonsensical "Doo/Dah" before dropping it altogether. In the meantime they had released their debut Gorilla which in subsequent reissues is released under both name variants. The result is a very English mix of comedy, jazz, music hall, pop, and everything else you can think of. It is upbeat, timeless, and good-naturedly funny - it never fails to make me laugh because it's all about the delivery, not just the jokes. It starts off with a short trad jazz hymn to "Cool Britannia", followed by one of the more conventional numbers: "The Equestrian Statue" sounds like that whimsical psychedelic pop of The Kinks and Beatles circa '66-'67. Next we get a cover of a 1929 novelty song called "Jollity Farm" and a parody of crooner classic "I Left My Heart in San Francisco". The band displays their ability in different styles by including a comedic calypso number ("Look Out, There's a Monster Coming"), trad jazz ("Jazz Delicious Hot, Disgusting Cold") and rockabilly ("Death-cab for Cutie") - the latter song being one of their most famous, as it was included in the contemporary Beatles film Magical Mystery Tour. The Beatles were friends and fans of the group, they even endorsed a Beatles parody film featuring assorted Bonzos and Monty Pythons (Neil Innes played John Lennon's counterpart, Ron Nasty). So many different styles, and that's just Side 1 of the LP! Side 2 opens with "The Intro and the Outro", presenting the "members of the band" playing increasingly exotic musical instruments - apparently these bandmembers include Adolf Hitler, John Wayne and "Quasimodo, on bells". The multitude of instruments was such the studio didn't have enough channels to fit them all playing at the same time, so each instrument fades out after a few seconds to make way for the next. 30's cartoon tune "Mickey's Son and Daughter" is followed by jazz-noir parody "Big Shot". "Music for the Head Ballet" sounds like classical music played by one of those mechanical street organs still used here in the Netherlands. "Piggy Bank Love" is a Beach Boys-turn-psychedelic pastiche, and "I'm Bored" another manic music hall number. The album closes with "The Sound of Music" disparaging Hollywood musicals. While none of the abovementioned songs brought anything new musically, this particular melange, combined with the band's anarchic humor (The Monty Python connection should be indication enough) made it sound at once quaintly old fashioned and fresh. It sounds just as fresh (or timeless) 50 years later, especially the more joyful upbeat numbers. Perfect remedy for a bad day: if one listen to "Jollity Farm" doesn't improve your mood, nothing will.

**** for Cool Britannia, The Equestrian Statue, Jollity Farm, Look Out, There's a Monster Coming, Jazz (Delicious Hot, Disgusting Cold), Death-cab for Cutie, The Intro and the Outro, Mickey's Son and Daughter, Big Shot, Piggy Bank Love, I'm Bored

** for I Left My Heart in San Francisco, Narcissus, Music for the Head Ballet, The Sound of Music

Cocky "Twelve Inches Of Cocky" 1976***

I found this record at my neighbourhood thriftshop (or, as we say here in Holland, "kringloopwinkel"). Nowadays you can scarcely find any good LP records in them, people don't give them away because they think vinyl is the new black gold. But someone did unload his collection of 60's/70's novelty records, including a few Bonzo Dog Band albums as well as this one by an unknown to me band called Cocky. The title 12 Inches Of Cocky "sounds a bit rude" as they say. Many of the songs are of a similar slightly naughty nature, which took me back to my first experience with British humor The Benny Hill Show, which aired on the state TV channel (we had no other kind) when I was a kid. Side 2 opens with a faithful cover of Bonzo Dog's "Jollity Farm", and if you're familiar with the original you will know what to expect from this album: a similar mix of country, trad jazz and music hall with a dash of Monty Python-esque humour. Country instrumental "Dallas Rag" is followed by Phil Ochs' anti-war satire "Draft Dodger Rag" which is played for maximum laughs, while another familiar tune is their jaunty version of jazz standard "Sheik Of Araby" (in which for some reason the chorus gleefully repeats "with no pants on"). Country folk and music hall tunes make up most of the rest, as well as some blues (Leadbelly's "Keep Your Hands Off Her", "Maggie Campbell", "You Can't Leave Me Now") though always played fast an' feisty. Side One closes with "Medley À La Cocky" comprised by "Five Foot Two Eyes Of Blue/ Ain't She Sweet/ When You're Smiling". The internet, for once, doesn't reveal much information on the band so we'll have to make do with what little info is available on the album's back cover. The members are: Kevan (dobro, guitar, harp, bass, shiny banjo, well-scrubbed pine tables), Keith (guitar, base, madolin, jews harp), Clive (guitar, ukelele, bass, jug) and Mal (washboard, wooden bits and brass round things on sticks). It was "Recorded at Riverside Studios with the help of David Le-Neve Foster. Produced by Dave 'Hot Licks' Peabody." It has never been re-released on either CD or vinyl.

*** for Cocaine Habit, I'm Satisfied With My Gal, You Can't Leave Me Now, Medley À La Cocky, Supper At The Ritz, Draft Dodger Rag, Maggie Campbell, Sheik Of Araby

** for Keep Your Hands Off Her, Astor, Side By Side, Jollity Farm, Dallas Rag, Somebody Stole My Wife