Walking With Wilson

 

Hearing of Brian Wilson's death yesterday my immediate thought was of the duophonic - ie fake stereo - cassette of Pet Sounds which had been my regular companion on late-night walks in the early eighties, slotted into one of the bulky Walkmans of the day. Water was an integral part of the scene - no, not a surf-tormented shore but a loch, centrepiece of the local country park, which I would circle.  

Doc Pomus and Mort Shuman documentary and books

 

I have just watched AKA Doc Pomus, a documentary about the songwriter best known for his partnership with Mort Shuman in the late 50s and early 60s. The mix of images, interviews and the obvious taking of pains has resulted in a compelling and satisfying account which feels like the last word: we see, for example, not only footage of Pomus's wedding but also the song ideas he scrawled on the backs of unused wedding invites - including the one which was to result in Save The Last Dance For Me, one of Ben E King's finest moments as well as its writers'.

And if that isn't enough Pomus's wife, the addressee of the song, is on hand to talk, with understandable emotion, about her response when first hearing it - although here and elsewhere you never feel the director is exploiting the situation, merely recording the depth of feeling which these songs and their creator evoked in so many.

Tweet in store as Blackpool Show goes legit

I have just learnt that the 1966 episode of The Blackpool Show featuring Freddie "Parrotface" Davies at the height of his fame can be found on a newly released Blu-ray edition of The Punch and Judy Man; Tony Hancock is hosting the show, hence its inclusion.

As far as I am aware this is the first legitimate release of this programme, the only one which survives of the series; Bob Monkhouse also appears, so possibly the recording originated from his famously extensive collection. 

Reasonable-quality pirate DVDs of The Blackpool Show have been available for some years but according to the Tony Hancock podcast Very Nearly an Armful a great deal of work was put into restoring The Rebel for a companion release, so here's hoping The Blackpool Show has received a bit of a boost too. (The above image is not from the new release.)

I believe that, despite the name, The Blackpool Show was essentially a continuation of Blackpool Night Out (1964-65), only without Mike and Bernie Winters, the earlier hosts. It was recorded at the ABC Theatre, where Freddie, enjoying the early years of his fame after his 1964 breakthrough on Opportunity Knocks, was appearing every night in summer season. 

Variety theatres had closed in the 1950s, but major seaside resorts still had what were in effect fixed variety bills with a major star headlining (the form later migrated to cruise ships, where it has stayed). Bob Monkhouse also appears on the show but seems a bit too wordy for the crowd; it's the psittacine one, on home ground, who makes the more audible impact (not only had he been appearing on the same stage every night but he was living in Blackpool at the time).

Compere is not a role Tony Hancock was best suited to, as several biographers have said.  Nor was he comfortable with the terrain, as Freddie told me: