Freddie Parrotface Davies book signing at Blackpool Waterstones Saturday 2nd August 1.00-3.00pm

Freddie Davies and Blackpool go way back - about sixty years, in fact - so he's delighted to be having a book signing at Waterstones Blackpool this Saturday, August 2nd, between 1-3pm.

Freddie's long-awaited autobiography Funny Bones: My Life in Comedy, cowritten with Anthony Teague, was published on July 31st - fifty years after his TV debut on Opportunity Knocks.

Freddie was brought up in Salford but Blackpool helped give him the taste for performing. As a teenager he would travel there for the day to see the shows, waiting outside the stage door for a glimpse of a star and the chance of an autograph, enjoying comedians such as Bill Waddington (later Percy in Coronation Street) and Joe Church, and singer David Whitfield.

Freddie was entertainment manager at the Butlins Metropole Hotel in Blackpool in the early sixties, a time he remembers fondly. "In those days Blackpool was a great place to go if you wanted to have a look at most of the premier acts of the age. On a good day, there was nowhere nicer: a walk along the prom then a star-studded show in the evening. Blackpool always enjoyed a longer season than most with the famous Illuminations extending it. And the stars shone bright in 1962 with Doddy at the Opera House, Tommy Cooper and Nina and Frederik at the Queens; all the piers had big stars at the top of the bill. It was quite a season for us as well, as they launched Smirnoff vodka from the Metropole!"

In 1963 Freddie made the big decision to leave the security of Butlins in order try his luck as a full time comic. Blackpool was the obvious choice for a base: "In the sixties there were still about ten major summer shows in Blackpool plus big nightclubs and pubs, all needing acts."

Samuel Tweet spluttered his first in a Manchester club, but the homburg hat which started it all was bought in a nearly new shop in South Shore for two and sixpence (12½p). "It was for an impersonation of Arthur Lowe, who was in Coronation Street at the time, but when someone shouted out for a joke about a budgie I put it on and the voice somehow just came out. A few months later I got the call from Opportunity Knocks and that was it - the next twenty years just flew by."

Freddie appeared in many summer shows in Blackpool over the years, and there is still footage of his 1966 appearance at the ABC Theatre, introduced by Tony Hancock: "I was playing on the same stage I was working on every night," recalls Freddie, "so it was easy - a home crowd, you might say. I remember going onstage around that time, and the audience was really going 'Wow!' Such wonderful memories."

Freddie lived in Blackpool until the early seventies and returned to produce pantos there in the early eighties. Later the Disney film Funny Bones was shot there in 1994, featuring Freddie and George Carl as double act the Parker Brothers, along with Jerry Lewis and Lee Evans. "It really captured the spirit of Blackpool as it used to be and is now seen as a cult classic," Freddie says.

Funny Bones: My Life in Comedy by Freddie Davies with Anthony Teague is published by Scratching Shed. There is a 19.99 limited edition hardback and a 14.99 paperback edition. If you can't make it to Waterstones you can order a copy on the Scratching Shed website here.

What a Crazy World DVD review

I have just added the following review of the Network DVD release of What a Crazy World to a well-known shopping website. It rehashes some info from posts on this blog, so it's nothing regular readers won't already know, but I was keen to get something up quickly, and it might work here as an introduction to the posts about Alan Klein (click here) if you haven't read them.  

Readers directed to this blog by Network's newsletter may be interested to know that I have cowritten Funny Bones, the autobiography of veteran comedian Freddie "Parrotface" Davies, who was at Butlins Skegness around the same time as Alan Klein.



The stage version of What a Crazy World came about in 1962 when Gerry Raffles heard Joe Brown sing Alan Klein's song of that name on TV and commissioned him to write a musical for Theatre Workshop. Klein had tired of singing exclusively American songs during a stint at Butlins and wrote a song in the style of George Formby which didn't try to emulate the subject matter of American songs.

The resulting musical was a popular success despite some adverse critical reaction. Robert Stigwood offered to put it on in the West End with Mike Sarne in the lead but Klein opted for Michael Carreras' offer to make a film of it because "a film's gonna be there forever." And thank goodness he did, because now, more than fifty years on, we can still enjoy it on this Network DVD.

Existing fans of the film can be reassured that the restoration is fine. It's a joy to see such sharpness and clarity compared to the ropey off-air copy I have had to make do with until now. True, when the film begins, and at a few other points like a conversation between Joe Brown and Harry H Corbett, you hear a little faint scratchiness, but that's far preferable to overprocessing of sound. So to anyone who has been hesitating, worry no more - it's worth getting. And the film deserves a whole new generation of fans.

What a Crazy World DVD ... yes, it's good!

This is not a review of the film but simply a note to reassure anyone with doubts that the Network DVD release of What a Crazy World is indeed a good 'un. I have watched about half an hour so far, skipping ahead to see some of my favourite sequences (like Independence, filmed just off Denmark Street) and the picture quality compared to the ropey ebay copy I've had to tolerate up till now is remarkable: it's a joy to see such sharpness and clarity.

When the film begins and at some other points like a conversation between Joe Brown and his old man, Harry H Corbett, you can hear a little scratchiness, but that's far preferable to overprocessing. So to anyone who has been hesitating, worry no more - it's worth getting.

There is also something which Rich Podolsky, author of a recent book on Don Kirshner, would call ironic about the fact that a restored A Hard Day's Night has also recently been issued. I watched what I presume is the new version on TV last night. A Hard Day's Night was the film whose release suddenly made What a Crazy World look like a period piece, but here's hoping that now both films can be seen and appreciated without any need for comparison.

Ex nihilo or ex-Parrotface? a note on the tangled origins of Monty Python's Parrot sketch

The origins of Monty Python's Parrot Sketch have been well documented, but on the eve of the team's imminent reunion I think they could stand a little more examination. And as the cowriter of Freddie Davies' autobiography Funny Bones, to be published by Scratching Shed on July 31st, I may be able to add a further note.
 
The essence of the joke has been traced back to Ancient Greece but let's begin a little later, with Michael Palin's supremely evasive car salesman (above) in a sketch in the one-off pre-Python show How to Irritate People; if you are unfamiliar with it you can see it here.

As is well known to aficionados, that situation was reworked for a Python sketch with the garage replaced by a pet shop and, at Graham Chapman's suggestion, a parrot replaced the car as the faulty object. (At one point a toaster had also been mooted, which suggests it took a while for the shop's identity to settle.)

 You will find occasional references online to the idea being stolen from Freddie "Parrotface" Davies. That would be getting rather silly, as the late Colonel Chapman might have put it. Nevertheless, it's not beyond the bounds of possibility that Freddie's standup act may have made a small contribution towards this enduring sketch.

Gerry Goffin Pt 2

 (headline on Sky News website)

Two points as a follow-up to the previous post. I have found suggestions online that the singer of the demo of Up on the Roof is Tony Orlando. Think I assumed it was Goffin himself, without knowing or bothering to investigate whether he had any kind of voice: yes, that's the kind of attention to detail which this blog offers as standard. If it is Orlando, then that would certainly make sense: if you want your song to be recorded by Ben E King, then get someone who can make a demo in his style.

Secondly, thanks to the magic of the internet (or wundaweb, as we Bernard Cribbins fans cry it) I find myself transported back to that gig at the Jazz Cafe in Camden - or rather twenty fours earlier to the previous night's performance, but close enough - and Ben E King does sing Up on the Roof. The arrangement borrows from a later recording by James Taylor or Carole King, possibly both, and as I've remarked earlier his voice isn't what it was, but it's still worth hearing.

Gerry Goffin and The Man with the Golden Ear

The recent death of Gerry Goffin has been widely reported, and the importance of his contribution to popular music appropriately acknowledged in the British newspaper obituaries and articles I have looked through. You will find plenty of detailed obits online, and this post is not intended to compete with these, only to add a few personal notes.

One is very personal indeed: the memory of an evening in 2003, walking home from work, when the verse from It Might As Well Rain Until September popped into my head for some reason, and I was struck afresh by its simplicity and perfection: it's not particularly clever or witty but it sets up the song as well as any equivalent introduction crafted in pre-rock'n'roll days by the sort of writers who used to throng the Brill Building.

I immediately thought of the person I could share that thought with, the friend who would undoubtedly get it, and understand why it was important. Then I remembered that from now on it was no longer possible to do that.

Which is probably why those words of Gerry Goffin's had come to me in the first place. They said everything without a word wasted.

It approaches ...it is nigh.

Another videocap from the clip of What a Crazy World in the previous post, out in a month's time.  From left to right, Marty Wilde, David Nott, Alan Klein and Barry Bethel (I think).

Go to the Reel Streets website, here, for six pages of comparing locations as they were at the time of filming with today.

What a Crazy World DVD release delayed?

It looks as though the Network DVD of What a Crazy World has been delayed - the popular online shopping site where I ordered it now says it won't be delivered until July 7th, and that's the date now given on Network's own site.

But the good news is that Network have recently put up a clip on youtube which suggests that the transfer will, indeed, be as good as hoped: the above is a screengrab from that clip which is far sharper, and more subtle tonally, than the ropey off-air version I bought from a well-known auction website.

Breakfasted he is, and yet he's breakfastless

After the demise of my favourite record shop Cheapo a few years back (see here), another blow: I learnt this morning that the cafe in my local supermarket is to close at the end of this month. As I told the assistant, now I'll have to start making my own breakfast.

Alright, in some ways this will be no bad thing - and I have made my own breakfast in the past, I hasten to add. (Yes, really.) But the cafe was more than just a place to eat a meal prepared by other hands. It was a kind of refuge, providing an uncluttered table top when my own desk was messy (yes, yes, maybe I ought to address that too sometime), and over the last three years I have written or planned a substantial amount of my forthcoming book there.

Why? Well, unlike other local cafes - whose competition has, I'm told, finally proven too much to bear - once you sat down with the contents of your tray you were left alone: no passive-aggressive enquiries about whether you were finished; no whisking away of cups and plates, necessitating a mumbled "thank you" or an awkward and guilty silence - either way, something which you had to deal with, drawing you back to the workaday world.

It was a Madd, Madd, Madd, Madd, Madd world ... but not anymore.

I happened to notice that Madd, the mango dessert  emporium which took over the former home of Cheapo Cheapo Records in Rupert Street, Soho, is no more. A blog post says:

After 3 sweet years of dessert loving, we have bid our final farewell to our beloved Rupert Street location. The MADD team would like to send a very big thank you to every customer, staff and Soho “character” that has walked through our fluorescent yellow doors and joined in the experience. Leaving your first home is never easy but we are excited about our move and will never forget the memories here.
Thank you letting us be a part of your Soho experience and we look forward to seeing you very soon at our next grand launch.

"Never forget the memories"? Oh well, I suppose they're entitled to their own mango-themed brand of nostalgia. I would like to know the full story but I suppose today's economic climate is explanation enough. No one wants to go out and buy CDs, and they obviously aren't all that keen on mango desserts which were not, from my occasional forays, all that cheap.

Wonder what will take its place? Could there be scope for a Daniel Kitson-type show about all those businesses which alight there over the next few years, filled with an optimism which gradually leaks away ... I don't know how long Phil reigned there but I would like to think that he would have carried on had his health permitted. An article about Roy Orbison's years in the commercial wilderness (but still singing his heart out at county fairs or whatever gigs he could get) likened him to a mighty oak tree, staying the same, unmoveable, while all around him changed.

"Eat your heart out, Temptations!"

Doo wop being on my mind in the last few posts, perhaps now is a good time to remind you of the documentary Life Could Be a Dream, which I have reviewed here. It has been uploaded to yout*be, though who knows how long it will be there, so it's worth having a look. Thanks to the magic of the internet I can even take you to the precise place I mentioned in the review, namely the sequence at the end when lots of singers, including one of the Teenagers and Earl "Speedo" Carroll, have a bash at a couple of Smokey Robinson songs. It's ragged but will bring a smile to your face if you are anything like me.

On the Beat doo wop special featuring interview with Little Anthony available on BBC iplayer until 29th March

I have now listened to the On the Beat doo wop special and it can be thoroughly recommended. I think it's possible for US readers to access it too, so click here, wherever you are, if you want to hear an engrossing interview punctuated by lots of doo wop. The programme, which is on BBC Radio Merseyside and presented by Spencer Leigh, lasts two hours. I don't have the time to give a blow by blow account but will add a few thoughts here.

On the Beat Doo Wop Special on BBC iplayer soon

This is to alert readers that there will  be an On the Beat doo wop special with Little Anthony and the Imperials available on BBC iplayer shortly for one week - I only caught the very end of the progamme live so can't review it yet. Anthony Gourdine was part of the David Gest soul package in Liverpool recently but only got to sing two songs - though he is still in good voice, according to Spencer Leigh, who relayed the happy information that there might be a bit of a Little Anthony renaissance on the cards: he has a track on an album with Paul McCartney, there will be an album of him singing with other big names, and he has an autobiography coming out soon.

I will be interested, in particular, to read about his relationship with Richard Barrett, a name who ought to be more widely known to the general public.I have read in an excellent series of articles about Barrett that Anthony Gourdine resented, at the time, Barrett's disciplinarian and seemingly overprotective ways but now he understands what it was all about. You can find a series of articles about Barrett on the Classic Urban Harmony website here; scroll down and you will links on the left. Part 4 focuses on Little Anthony and the Imperials.

Now you can listen to some of those Decca sides ...

Seven of the nine Decca sides on Jasmine's Time Was Flamingos compilation can be found on yout*be. Sound is reasonably good except in the case of Jerri-Lee (a girl rather than the pumpin' piano man), which is a pity as the vaguely Spanish or South American backing is rather nice. Anyway, here, to save you effort, are those available recordings and handy notes. Think I'll stop now.

Helpless (everything but the kitchen sink: bells, white-sounding chorus and ending OTT in a bad way)
Where Mary Go (not unpleasant: sounds vaguely Jamaican-y in a Harry Belafonte way)
The Rock and Roll March (this is very corny, like something even  the Ravens would have turned up their noses at - possibly it was meant for them as there is a bass lead)
Ever Since I Met Lucy (a pop confection I can take or leave which doesn't seem to fit the group)

Kiss-A-Me (almost very good but production lets down)
Jerri-Lee (pleasant, Spanish-tinged pop)
Hey Now! (bit like Chance recordings but sounds a bit more regimented, formulaic - wonder if hearing higher quality recording would make a difference?)

Now click below if you can't see the clips.

The Flamingos 1953-1962

Below are my reviews of the two Flamingos compilations as posted on a well-known shopping website. They don't really contain anything which hasn't already been said on this blog, but they may be more concisely expressed. The Dream of a Lifetime collection includes all their Chance and Parrot sides; you can find my complete guide to them here. The Time Was set is notable for including their little-known, more pop-oriented, Decca recordings, the first step of the transition from R&B to pop which led to their crossover success with End Records.