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Neil Innes on The Rutles, ‘working’ with Lennon & McCartney and being impersonated by Elvis!
08.06.2013
03:36 pm
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Neil Innes as “Ron Nasty,” right. There will be a partial Rutles reunion later this month in the UK.

Because this interview already runs quite long, I don’t want to burden the text with much of a preamble. I think my feelings about the music of the great Neil Innes are pretty clear from the opening question (and if you want to know how I really feel...), but if they aren’t I’ll point you in the direction of an earlier Dangerous Minds post that I wrote about him that has lots of video clips.

The following, wide-ranging interview was conducted via email back and forth primarily while Neil and his wife Yvonne were visiting some of her relatives in Norway. As anyone who has gotten an email from me since 2009 knows, I have a quote from an Innes-penned Bonzo Dog Band song as my sigfile [“There are no coincidences, but sometimes the pattern is more obvious.”] so we used the secret word “Groucho” in the subject line so a search through my Gmail didn’t bring up 60,000 results.

As there is a newly released “Le Duck’s Box Set” of Neil’s three CD Recollections anthology, which includes a bonus DVD of sixteen videos from his Innes Book of Records TV series of the late 1970s and early 80s, that’s more or less where we started:

Richard Metzger: As a big fan of your music since I was very young, I will unashamedly state that I think you’re one of the greatest songwriters that Britain has ever produced. As a fan, I also find it frustrating that your work doesn’t really get the attention it deserves, but it must come down to the fact that you’ve effortlessly mastered so many musical genres that you just can’t be pigeonholed. “Le Duck’s Box,” the new retrospective of your Collections collections available from your website roams all over the place stylistically—an Elton John pastiche, country and western, dub reggae, punk, “New Wave,” Eurovision cliches, Stevie Wonder—and it’s absolutely pitch perfect every time. You’re not a parodist like Weird Al, but neither are you a “wry” songwriter in the mold of Ray Davies, either—compare your idea of “Shangri la” to his—or Loudon Wainwright III.

Your music is as beautiful as it is funny, but it’s an art form that stands apart. Where do you see yourself fitting in or are you perhaps more properly viewed as a genre consisting only of yourself—as many, myself included, would argue?

Neil Innes: Wow! What a question! Is there a short answer? No.

Yes I am different. I don’t try to “fit in.” The Music Business is well known for it’s systematic cultivation and exploitation of sentimentality for financial gain. We all know that. I am an observer. I am more like a painter than a songwriter, more of an artist than a salesman. I am an idiot.

My work gets all the attention it needs. Those who come across it seem to understand it – and even enjoy it – it is successful in its own small, one to one way. True - it is not easy to “pigeonhole” or describe - but I like that.

Why? Because I believe History has proved that Naming and Measuring does not necessarily mean understanding. Aristotle wrote 3 books on Physics – then a 4th - all about what could NOT be named and measured. He called it “Metaphysics.” I’ll settle for being “a far cry from anything you can put your finger on.”

It’s the same with “genres.” Whether it’s a likeness or a shared feeling, Art can only parody Nature because Parody is the nature of Art. Art is a make-believe game that runs through the centuries, from cavemen to CEOs. Never quite the real thing or the whole story because the whole story is forever beyond human experience.

We are once upon a time things. As sociable creatures we strongly feel the need to follow rules of conformity and the desire to accumulate wealth and be admired by others would appear to be top of the list. But I would argue that we all too easily forget that each one of us consists of as many cells as there are stars in the Milky Way. And that’s just one galaxy. Hollywood? Fame? Don’t make me laugh! Oh all right – go on then… once upon a time there were two Irishmen – now look how many there are! Thank you Abbott and Costello… wait a moment - there IS a short answer - “Absolutely!”

Richard Metzger: Maybe you’re the last vaudevillian?

Neil Innes: Maybe I am. Glad I wasn’t the first Vaudevillian - it must have been terrifying!
 

 
Richard Metzger: The box set is from the era of your Innes Book of Records TV series and there’s a DVD of several clips from that. Until YouTube and bit torrenting came around, that material went largely unseen for decades, even by your biggest fans. I feel like IBOR is really your magnum opus—you’re carrying the whole thing creatively, musically and you’re in practically every shot as a performer— in a sense, IBOR is kind of like your take on Vaudeville, isn’t it?

Neil Innes: Well, if by Vaudeville you mean “Variety” – then yes – I’m guilty as charged. When Ian Keill, (the producer of Rutland Weekend Television), expressed a desire to make a kind of Rutland Weekend Songbook, we naturally followed in the best BBC tradition and had lunch.

Over soup we heartily agreed that putting pictures to music is a lot of fun, allowing, even demanding, a more abstract approach to entertainment than mainstream television. Over Mains, with a good wine, we discussed how Television has always sadly lacked the basic confidence that viewers are indeed sentient individuals with some kind of emotional equilibrium and that this is why it is constantly “in your face.” Dessert brought the euphoria of a title: “The Innes Book of Records.”

And so it was decided. We would make “Songs and Pictures about People and Things.” But we also agreed that if anyone began to wonder what on earth it was all about – then we would have failed. I suppose there is a lot of “me” on screen but the truth is we didn’t have that big a budget. Michael Palin was a guest and only got the minimum Actors Union rate! IBOR depended on variety, surprise and the unexpected. It was a little “in your face” – but in a laid back way. It was only television after all…

Richard Metzger: I noticed that you’ve got a petition to get the BBC to rerun IBOR on your website. They should! I’ve only seen it myself in recent years and it’s still totally fresh. Surprisingly so—a parody of punk rock from 1979 effortlessly achieves greater authenticity in 2013! (Lucky for you, the same can be said of virtually every genre that you’ve dabbled in.) IBOR would go over great with a generation raised on things like The Mighty Boosh.

Neil Innes: I suppose we were blazing a trail back then – the Music Business was just about to discover “videos” – but I have always loved all kinds of music. As a child I used to conduct the radio with a ruler – and a bare bottom - just before my bedtime diaper. And as “Bonzos,” we reveled in every kind of music. “Pop” music is totally about all kinds of music – much of it very silly! You can’t let all that silliness go prancing by without a little hoot or a catcall!

Yes – I’ve put up a petition – because people are forever asking me if the BBC is going to show it all again – or put it out on DVD. But the number of signees is not all that encouraging, considering we had a peak of 7.5 million viewers in the second series. By the third series, the BBC did me the honour of treating me like Monty Python – changing broadcast times and even cancelling because of snooker. Maybe THEY don’t like it – too weird? It could be that the petition is in the wrong place – my IBOR website is the poor cousin to neilinnes.org – 15 years old this month! Thank you Bonnie Rose and Laurie Stevens! Anyway, what will be will be – there’s an idea for a song – I’m with Duke Ellington when he said: “There are two kinds of music – good and bad.”
 

“How Sweet to Be an Idiot” Sound like something else you’ve heard before, perhaps?
 
Richard Metzger: That makes for a very easy segue to the next question: “So what was it like to collaborate with Oasis?” I found it delightfully ironic that the world’s most flagrant Beatles… well, wannabes, got sued for ripping off the world’s finest forger of Lennon and McCartney!

Neil Innes: Ah! First of all let me say that Oasis were perfect gentlemen and no one actually got sued! Yes, they had to part with money but that was all sorted out by EMI Music Publishers Ltd. “Their people” were hung out of the window by “my people.” I got “whatever” scraps they threw me! (Ha!)

It was the same with The Rutles. The Music Business is like a school where Big Boys come and take your candy away. No other business in the world gets away with Stealing like the Music Business – apart from Banking.

Yes – on second thoughts – Banking AND the Music Business are the only enterprises in the World that are actually based on Stealing. There ought to be a law against taking stuff that does not belong to you. It should be written in stone.

What gets me is the Denial! Did you know there are 14 songs hidden away in the vaults of International Copyright that are credited to “Innes, Lennon and McCartney”? It’s all there – in black and white! However - under no circumstances am I to be credited for writing any “part” of these compositions. What’s more, I am forbidden to tell anyone this! Yes! It’s all there – in the so-called Settlement Agreement. So – if anyone wants to cover one of the first Rutle songs – like Galaxy 500 did with “Cheese and Onions” – remember - it has to be just “Lennon/McCartney” on the cover or the label.

Now, working with THOSE guys was a blast! I’ll never forget it…
 

 
Richard Metzger: Whoa, wait a minute, back up, there… What exactly happened?

Neil Innes: You mean with Lennon and McCartney? Nothing happened! That’s my point. But according to the legal eagles of the music industry I must have collaborated with them in order to write those first 14 Rutle songs. That’s the real irony – people have been copying the Beatles ever since they became the most acclaimed haircuts in the world. No other beat group has influenced popular music more than the Fab Four.

They were famous for being “inventive” – playing with all kinds of genres – and “experimental” - keeping their “creativity” alive and fresh by openly celebrating a vast variety of musical influences. You could argue that not one Beatles song is like another – certainly not in the later years.

But when you imitate them deliberately – whether for comic effect or to simply demonstrate how much you admire their craftsmanship – the music industry throws the book at you. Yet I had no “Criminal Intent” – I should have been allowed to walk free – just like those Banking Fraudsters of 2008. Bradley Manning’s Defense Team take note! “NO CRIMINAL INTENT”!

What actually happened was, when ATV Music [then owners of Northern Songs] threatened my publishers with legal action, my “people” were advised that they would certainly win but it was unlikely they would be awarded “Costs.”  ATV Music had a “slush fund” of a million dollars to file lawsuits against Beatles copyright “infringements.” It’s always about the money. I really wanted it to go to court - so my publishers opted for a “Settlement Agreement.”

Two years later, after my deal with them was over, my publishers demanded an extra album from me because they claimed I had delivered an album of non-original material! The nerve! I told them to “fuck off”… and they did.

Richard Metzger: That’s astonishing. What a shitty act of corporate intimidation. I presume this means a Rutles musical on Broadway would be unlikely? I’ve read that Paul McCartney was “chilly” to All You Need Is Cash at the time. I wonder if he gets the joke by now?

Neil Innes: I don’t think Paul has any issues with me, or Ricky or John. We pretty much just did the music. I think a bit of teasing is OK if you do it in a “nudge, nudge, wink, wink,” way – but Eric did make quite a few cheap shots in the movie – maybe that’s why Paul was a bit chilly and didn’t see the funny side of it. 

The Rutles on Broadway is about as likely as a new musical based on old Monty Python sketches called “Hello Polly”!

Richard Metzger: So the odds are better than I’d have thought… fifty/fifty?

Neil Innes: Actually, it’s not a bad idea – there have been worse!
 

 
Richard Metzger: You’re writing from Norway, what are you getting up to there?

Neil Innes: Visiting some cousins-in-law, Yvonne’s relatives. This place is another planet. Huge mountains, some above the tree line. Still plenty of snow on the tops, dribbling into long thin waterfalls… No sign of a Norwegian Blue, so stop that now!

We have a small cabin by the side of a lake-sized fjord that leads into a bigger fjord that stretches all the way to the North Sea and then to the Atlantic and the rest of the World and the surrounding Universe. We have a small boat that takes 15 minutes to get to the shop. It’s a great place to write.

Richard Metzger: Sounds lovely!

Neil Innes: It is.

Richard Metzger:  What sort of material does such an idyllic location inspire?

Neil Innes:  Wool. Thick wool.
 

 
Richard Metzger: What are you writing about?

Neil Innes:  I thought you’d never ask! ME! The full working title is: “How Sweet To Be An Idiot – An Exploration of Human Consciousness – featuring the Life and Times of Neil Innes – Ego Warrior, Style Guru and Fantasist.”

Richard Metzger:  Will there be at least a partial reunion of The Rutles at the Edinburgh festival in August?

Neil Innes:  Yes – and no. The Edinburgh Festival ends the day before we play – and yes, Barry Wom will be there and he’s quite partial as far as reunions go. He was a noisy part of the original Rutles on Rutland Weekend Television. He invited me to gig with his band called Fatso and we went out as Neil Innes and Fatso. Then they became the RWT “house band” - known as “The Alberto Vasectomy Five” until the BBC objected – then they were called “The Alberto Rewrite Five”.

But going back to the “Le Duck’s” Box Set for a moment, there is a FREE DVD with 16 top quality clips from Innes Book of Records and if you care to visit the website, you can click on “free dvd” and check out whether or not “Elvis and the Disagreeable Backing Singers” is on there – if not it’s definitely on YouTube – John Halsey [Barry Wom] is wearing a blonde wig.

And talking of Elvis, a friend of mine who is researching a book just told me Elvis was a huge Monty Python fan and adored Holy Grail. Apparently he knew every word and could do all the voices. Now, since I played the “Obnoxious Minstrel” that makes me one of a very select few to have been impersonated by “The King.” I am very happy to be inducted into that Hall of Fame.

This is my jam: “Angelina” by Neil Innes & The World. Download an mp3 file here

Richard Metzger: What are you currently listening to or what are your DIDs?

Neil Innes:  I’m not sure what you mean by “DIDs” – Dissociative Identity Disorders? But then you would have asked; “Who are your DIDs?”…

Anyway, I’m not sure “Dissociative Identity” is a Disorder. According to Wikipedia: “No systematic, empirically-supported definition of “dissociation” exists.” And you can’t get round it by calling it “Multiple Personality Disorder either. Multiple Personalities make up the entire Human Race – “The Apes Who Play With Fire” - and inside each and every one of us is a Baby, a Toddler, a Schoolchild, a Teenager, a Binge Whatever, a Wannabee – we are all like Russian Dolls. These people never go away – even when you ask them to - where can they go?

I suppose what I’m saying is I find it really difficult to answer simple questions like “What are you listening to?”

Music most listened to lately: Django Reinhardt - vintage recordings from the 30’s (Jazz that Hitler tried to stop) and Ry Cooder’s “Mambo Sinuendo” – brilliant “Easy-Listening” virtuosi stuff that Hitler would also have stopped - if he could… What else? A French compilation CD of music chosen by Woody Allen for his movies – “de Manhattan a Midnight in Paris” – from Duke Ellington to Josephine Baker with a little Enrico Caruso in between…

But what has pushed all my buttons in the last week or two is a “Comedy Drama” TV series called Breaking Bad. For a start, I’m SO pleased that “Comedy Drama” has become a genre at last! This program elevates television to where it should be – exploring morals and human values around the Social Media campfire. I love the elegant writing, invisible acting, editing, directing, inspired Music, the EVERYTHING! Fabulous anti-characters flailing about in coincidental flux – talk about the “Empathy Strikes Back”! Is this the new Folk Art?

Is this what Woody Guthrie would have been doing today? I truly hope so…

Thanks to the miracle of Apple TV and Netflix – Yvonne and I are working our way through Season 2 – and Season 3 is about to begin…

Does this answer what my “DIDs” are?

Richard Metzger: I think so!
 

 
Purchase the 3 CD, 1 DVD “Le Duck’s Box Set” at Neil Innes.org. Click here for information of the upcoming Rutles tragical history tour.
 

Posted by Richard Metzger
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08.06.2013
03:36 pm
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Pre-Rutles: ‘I Want To Hold Your Handel’
07.22.2013
10:02 am
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EricIdleHandel
 
On Friday, Eric Idle posted a photo on Twitter of what he thinks is “possibly from a very obscure ITV one off show c 1965 featuring some of the Footlights” singing a pre-Rutles Beatles parody, “I Want To Hold Your Handel.”

Music arranger John Cameron, who later worked with Donovan and producer Mickie Most at RAK Records, started out at Cambridge University with Idle. During Idle’s time as president of the Cambridge Footlights Revue, Cameron was vice president and musical director.

Cameron described “I Want To Hold Your Handel” in the liner notes to the reissue of Donovan’s Sunshine Superman:

“[Eric Idle] and I wrote a lot of pastiches of Beatles tunes… we actually wrote a thing called ‘I Want to Hold Your Handel,’ which was the Hallelujah Chorus for The Beatles. Unfortunately Messrs. Lennon and McCartney weren’t very happy about their songs being pastiched in this way and wouldn’t allow us to do it on English territory, which was a drag, but it did go on to Broadway. Eric and I used to receive royalty cheques at the Footlights in our third year at university, which put us in a rather different spending league to anybody else!”

Idle’s penchant for affectionately spoofing the Beatles developed into The Rutles on his post-Python series Rutland Weekend Television with Neil Innes, Ricky Fataar, John Halsey, Ollie Halsall, and David Battley.

The Birth of ‘The Rutles’ on Rutland Weekend Television, below:
 

Posted by Kimberly J. Bright
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07.22.2013
10:02 am
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Neil Innes, the ‘seventh Python’: How Sweet To Be An Idiot
04.11.2013
02:33 pm
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I’ve been listening to the music of Neil Innes a lot this week as I’ve been writing and as always, enjoying his work immensely. It’s a feast. Truly he is one of the best pop songwriters we have, a chameleon of musical styles from the earliest stages of his career. Tin Pan Alley, vaudeville, psychedelic rock, Beatles pastiches, even reggae, there’s nothing he can’t do. As Innes gets older, his genre hopping songwriting gets even better, something that can’t be said of all—or even many—of his Sixties contemporaries. Sadly, although he is undeniably a musician’s musician, Innes will probably never be recognized as such. Why? Because he’s funny, too.
 

 
Since I was a wee lad I’ve been been a fanatical fan of the Bonzo Dog Doo-Dah Band, the wonderfully zany group of Dada art school rejects featuring Innes and “ginger geezer” front man Vivian Stanshall. I discovered them listening to the Dr. Demento radio show when he played their cover of “Hunting Tigers Out in ‘Indiah’” (I heard Noel Coward and The Mothers of Invention for the first time during that same show, three life-long obsessions launched that fateful evening). I ran right out and spent my birthday money on The History of the Bonzos, a two LP set with a glossy booklet filled with insane photographs and a history of the group. I loved every single song on it. Still do.
 

 
The Bonzos were much beloved of all the really heavy rock groups of the Sixties and they opened for The Who, Led Zeppelin and The Kinks. Eric Clapton was a huge fan. Paul McCartney produced their only hit, “I’m The Urban Spaceman” (under the name “Apollo C. Vermouth”) and they made a guest appearance in the Beatles’ TV special Magical Mystery Tour as the band in the strip joint playing “Death Cab for Cutie” (and yes, this is where the band got their name). If you’ve never heard their seminal albums Gorilla, The Doughnut in Granny’s Greenhouse, Tadpoles or Keynsham (my favorite) you really don’t know as much about Sixties music as you think you do, it’s just that simple.

It’s like never hearing Captain Beefheart or The Velvet Underground and thinking you’re all clever, a glaring and unforgivable cultural blind spot, sez me.

I’ve gone out of my way for three decades now hunting down Bonzo Dog Band related bootlegs, especially video. There wasn’t a lot of it about until a few years ago when the DVD of Do Not Adjust Your Set was released. DNAYS was a hip Sixties tea-time kids show, beloved of children and parents (think Pee-wee’s Playhouse from an earlier era). It starred pre-Python Eric Idle, Terry Jones and Michael Palin (Terry Gilliam did animations for the show). The Bonzos were the primarly musical performers and members of the group appeared as extras in the comedy sketches. DNAYS was thought lost for many years when the ones that were released on DVD were re-discovered. Now there is a terrific amount of “new” Bonzo material for fans like me to feast on much that has been uploaded to YouTube.
 

 
After the breakup of the Bonzos, Neil Innes continued his association with his former DNAYS co-stars by appearing and writing material for the final 1974 series of Monty Python’s Flying Circus, the series after John Cleese left (only Innes and Douglas Adams were ever given writing credits outside of the six Pythons during the show’s history). Innes appears in Monty Python and the Holy Grail as the annoying minstrel and singing his memorable Dylan parody, “Protest Song” (“I’ve suffered for my music and now it’s your turn…”) in Monty Python Live at the Hollywood Bowl. Post-Python, Innes and Eric Idle created the wonderful Rutland Weekend Television series (think Brit version of SCTV) and Innes went on—solo, I think he and Idle had a falling out—to The Innes Book of Records, a musically-oriented comedy series., quite ahead of its time.
 

 
And of course there were The Rutles in All You Need is Cash, Idle and Innes’ adroit parody of the Beatles. Innes went on to a number of children’s shows in the 1980s and 90s such as Puddle Lane. He tours solo and with others and has reformed The Bonzo Dog Band for a reunion concert (with luminaries like Britwits Stephen Fry and Paul Merton filling in for the late Vivian Stanshall). A film was made about Innes’ life and career (and featuring many of his famous friends) in 2008 called The Seventh Python, which has never been released on DVD.

Neil Innes Official Website. Follow Neil Innes on Twitter
 

 
Previously on Dangerous Minds
The Bonzo Dog Band: Rare and Complete version of ‘The Adventures of the Son of Exploding Sausage’

GRIMMS: The most incredible 70’s Supergroup, you’ve probably never heard of

The Bonzo Dog Doo Dah Band: Debut appearance on classic kid’s show ‘Blue Peter’ in 1966

‘High School Hermit’: Another Delightful Moment in TV History from The Bonzo Dog Doo Dah Band

Bonus Clip: George Harrison performing “The Pirate Song” on Rutland Weekend Television in 1975.

Posted by Richard Metzger
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04.11.2013
02:33 pm
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Neil Innes: ‘Urban Spaceman’ revisited

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Neil Innes performs two of the quickest versions of his hit song “Urban Spaceman”.

The first is accompanied by “Testing” and is taken from Late Night Line-Up - a kind of late night BBC arts show that kicked-off in the 1960s and was revived in the 1980s. The second is from the brilliant series Rutland Weekend Television, which spawned The Rutles.

Innes is a favorite at DM, for his brilliant musical talents and his incredible back catalog as Bonzo, Python, Rutle and Book of Records. Like the dear olde Ginger Geezer, he is one of the few artists I return to with an obsessional passion. Indeed, m’colleague Richard and I have had phases when we’ve played nothing but the Bonzos for weeks on end.

My earliest memory of “Urban Spaceman” is looped to clips of playing space walks and moon landings with my brother on summer-lit lawns, at my grandparents’ house. Of wearing cardboard space helmets given away free with tasty fruit pastilles called Jelly Tots, and watching the Bonzos on Do Not Adjust Your Set. It was also the first time I learned the lyrics to a song, and became fascinated with its meaning. Who was this “Urban Spaceman”? And why didn’t he exist?

Later, in the 1970s, Innes starred, wrote and performed 3 series of The Innes Book of Records, one TV’s truly brilliant and original shows. Sadly, the BBC has been loathe to rescreen or even release this classic piece of musical culture since. But thankfully there is a petition up-and-running to get the Beeb to pull its finger out and do something useful about it ASAP. So, if like me, you want to see Neil Innes’ genius show, then please click here and sign the petition. Thank you!
 

 
More from the fabulous Neil plus bonus clip of when a Bonzo met The Beatles, after the jump…
 
With thanks to NellyM
 

READ ON
Posted by Paul Gallagher
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08.22.2012
07:45 pm
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The Rutles return with ‘Lunch’!
08.03.2010
08:22 pm
Topics:
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Baby, you’re a rich man, and goo goo ga joob, but all you need is Lunch: If you happen to be a fan of The Rutles, the “Prefab Four” created by Monty Python’s Eric Idle and Neil Innes of The Bonzo Dog Doo Dah Band there will be much smileage with this clever fan-made megamix parody of the Beatles/Cirque du Soleil mash-ups created by George and Giles Martin. Dangerous Minds pal Paul Gallagher has the scoop on his Planet Paul blog:

After ‘Monty Pyhon’s Flying Circus‘, Eric Idle went on to write and star in one of TV’s lost comedy classics, ‘Rutland Weekend Television‘.  The series co-starred Neil Innes, Henry Woolf, Gwen Taylor and David Battley, and ran for two series over 1975 and 1976.  ’RWT’ was required viewing for a generation of impressionable youngsters, myself included, who had arrived late to ‘Python’ and were just at the right age to enjoy the brilliance of Idle, Innes et al.

For me, ‘Rutland Weekend Television‘ was better than ‘Python‘, as it was edgier, closer to Spike Milligan‘s ‘Q‘ series and all the better for being mainly one man’s vision.  Now ‘RWT‘ is best known for unleashing The Rutles: Ron, Dirk, Stig and Barry, the original Prefab Four, who first appeared in a comic musical homage to The Beatles’ ‘Hard Day’s Night’ and then later in 1977, through Idle’s and Innes’ genius collaboration with ‘Saturday Night Live’ producer, Lorne Michaels, in the brilliant mockumentary ‘All You Need Is Cash‘.

Now, over 30 years later, The Rutles return with ‘Lunch‘, one fan’s brilliant musical celebration of Idle’s and Innes’ original concept.  ’Lunch‘ owes much to the Cirque du Soleil’s show ‘Love‘, which was based on a cycle of Beatle songs, and even claims to be a collaboration bewteen Rutle Stig O’Hara and Circle of Hay’s founder, Captain Liberty.

Have a listen and hear how Rutlemania brought joy and laughter to the world, and made The Prefab Four wider than Elvis and taller than The Beatles.  Enjoy.

 
The Official Lunch webpage

Posted by Richard Metzger
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08.03.2010
08:22 pm
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