Hello everybody I am Eli Silverman over across from me on the couch and the house of mache and eggs is Paul Ganon And it's time again this very week now for cheap show Hello I do I'm flaccid and then I get to say mr. Boy's and girls and Mrs. Lady Donutman a little pulse doesn't it go from flaccid to rock hard within 60 seconds boy, they should have done a porn film based on 60 seconds boughton 60 seconds Should be flaccid to rock on in 60 seconds. What's the film 60 seconds of a man going hard?
Well what you do is Yeah, and you stick it right up to someone's ass a guy's ass. Yeah, it's jaxie and it will prod the prostrate I just what that's what that's what happy ending is Paul. It's not. It's not you.
I've never had a happy Jesus Flips you over two fingers right on the process. That's a happy ending. Ladies and gentlemen. This is usually a podcast about the economy It's not really it's mostly blog guys about about the economy about economic things like no, it's not It is about fucking the other no if you went to a mass use yeah, and then you get a lovely massage senty doils Yeah, explain to you ladies.
You know it's cheap. Joe is a podcast first of all that is a fact secondly its topic is Scatological in nature fundamentally it's about the things we find in charity shops barking beans pound lands jumble cells such and the like he or she Might say to you after the massage pit is over would you like a happy ending and you think oh, this is where they Josh We're off. Yeah, but they don't they flip you over if you say yes, please how much is it? Right flip you are 30 when I get a better experience you get it three times well All right, then I'm paying for a good.
No, I do it. What they do is they flip you over fact straight in fucking knuckle deep tickle the prostate You have even if you're not a wreck yet. I'll just all shut this up. I guess that's cheap Joe hello And your fucking noodle posy You can have the fucking sex Chee Show Rock, rock, rock, rock, rock, Chee Show It's the price of short, Morgana He likes to have a good show And a girl with her nuzzles Let's try this again, hello ladies and gentlemen, welcome to Chee Show It's nice in here If we have a podcast about all lovely things that we find in charity shops and such and what not It's that kind of show, all the things that Rammage sales, the bargain basements I've never heard of Rammage sales before, but I like the phrase Now we are, I'm holding wood It's a block of wood from last week's episode, everybody This is my wood shaker You know what, this is now a new prop in Chee Show This is called my E-light prod What do you do with it?
Every time you get on the tip, I'm just going to go Ooh, it's got some girth I'm going to whack with my wood when you displease me this week I didn't say anything This is violence and abuse He's now pretending that the piece of wood people is his non-people The non-people are wood people, where are they from? Hello boys and girls, today's time for a new adventure with the non-people I'm a non-people I'm just one person, but I call myself a people I know some people in my head Hello, he's she the she the knob Hello, he's in my head, he's Johnny Knob Hello, he's in my head And he's Roger the knob, that's just me So let's leave people, but it's just in one person, they're not people You know who I hate? You know who I absolutely cannot stand You know who I would put on a moon boat and send them to Mars On a moon boat, God, no question me May I regret fighting this knob I was looking for my whimsical... We other wood people, we live in trees I regret this, considerably It's something quite nice, I think, sounds You don't do whimsical, I mean I say You flip it over, two fingers up, it's hard to give it a happy ending If a badger happy end, no Last time I went through my suppose, she said You know what I said, yeah, you know what I said, we got married, three kids, a little bit of big house, it was great It was a bit more thought out than just you invading an orifice Evading, I don't evade orifice It's a right for a man I home in, I home in on the orifice I'm on the orifice radar The arsehole bleeps in green, ball, blip, blip Arsehole incoming, blip, blip I'll stop this podcast, I'll stop it right now You won't stop it, you won't stop it Rammage sails, ow, he's hit me with his word stop, that's huge That's exactly what this is for, that, all that shit you just did I should have brought this stick in sooner, should I send the old people in the wood people away?
You don't even have to, we can just not do anything else right now They're gonna recurve for at this old end of the night No, they're not, yeah, I am the wood people I'm the wood people Congratulations Mr Silverman, you've spoiled my plans yet again My discipline stick is now impotent It's a flaccid, impotent stick, does it chunder? No, it's a stick of what I was gonna hit you with across the episode You already have hit me with it Yeah, I should have hit you more, or You over, you're stuck it right up your cavity Happy ending, right, on this week's episode of Cheecho No, I've lost the pod, no, no, just because I've stopped you from going off on one of your arstagions You used to play along You know what it is mate, a comment recently upset me on YouTube And the one that you reposted, the one that said this show used to be about stuff And now it's just come from its spunk My instant reaction to that comment was you have not listened to this podcast Because as far back as I can remember Eli was putting something in his mouth and going, what a commie sticky goo load Something like that You think we mentioned spunk explicitly on the first ever episode of Cheecho? I can even tell you, I remember when we did the live shows at the beginning And it's like, ah, fuck trabs, what I fucked trabs, whatever, I've chopped them up It all goes back five years ladies and gentlemen And those who have followed my so-called creator, that's all I've ever done, ever in my comedy I don't mind, I don't mind, no, I'm cutting this out, give me a minute Sorry, I just got a message, the context of that was the wood people, it's not the wood people They're very unhappy With what? I'm gonna beat you with my discipline stick They're unhappy that you are using a piece of wood because they need to give their permission What, am I, is this like their grandad or something?
They're all the bits of the wood pool, and they impure every wood, no, what am I doing with their relatives then right now? You're rubbing the gusset of your jeans with it, and rubbing it's grandad's head on me gooch Oh, let's start No, no, you don't get to say that now You don't get to tell me when to stop rubbing grandad's wood on me gooch I tell you what mate, if anyone just tune in, they'll give this post-doc This is a radio show, where they just tune in Listen, five seconds in, new listeners will loss to us He's still rubbing the wood on his gooch chain I'm actually beginning to feel a little bit of heat Now Paul, what have we got coming up on the show today? Coming up on the show today we have a Silverman's Platter And we also have, oh, a little special something actually It's a Ganon's Golden Games, but even though we've tackled this particular game show before We've never tackled it in the electronic gaming medium So, maybe I'll just say Ganon's Golden Games is an electronic robot voice No, you know what, I'll approve that, and so would grandad would stick discipline, man He's not a man, he's now blowing, he's doing a blowjob on the wood Oh, it was so big in my mouth, oh grandad What are you doing? What's perfect is doing into the show?
Oh, listen to episode 204 Come on, take a sound effect No, I'll do it, well I'll do it I leave it to you Paul, can I just say though, take away from this intro Badger happy ending? Yeah, wood people And the knob people are little ground goppling They look like mushroom penises And the knob people, but they only appear as one person Richard Knob person This is a bit like that green lantern knock-off you do as well Oh no. Oh no. Oh no.
Quiff-uffer, Quiff-uffer. Quiff-uffer. Just a catalog of poorly thought out lazily executed characters from the mind of Eli Silverman. And all I have to say on that is I'm sorry, ladies and gentlemen.
I wanted this to be a respectable podcast. I wanted it to be high class. I wanted it to be featured up along those big podcasts, like my dad writes a porno, or there's no such thing as fish. Or there's such thing as fish.
QI wanted it where people go, did you know? And someone goes, I did know. And someone else goes, actually I did know. That's that podcast.
So yeah, we're not like them. And we can't be. We're a cheap show. The Mookie Boys that you love.
So much. I'm bomb- I'm bomb- Rain in me. Right. Come on, we gotta go to the sound effect.
I'm gonna get out of the sound effect now. I'm gonna get out of the sound effect box. Look, I'm just- Yeah, have a little scurvy's around in the box. What do you want to do?
What do you want to do? I like the tingle dangle one. Do you want the tingle dangle one? I like all fashion cash register.
I want the cash register one. Yeah. All right, here's the cash register one for you. I'll put it in now.
And now it's time for a very popular segment of cheap show where we look at vinyls of years past records tapes. We got a new tape player. Oh, I know. So any bizarre tapes you see when you're on the scrummage?
You know how we can chop this. Pick them up. I'll say this, even though platters have been largely vinyl, right? That's not a problem.
We probably have missed out on a lot of interesting stuff because we haven't included cassettes and CDs. Now CDs lack the uniqueness of a vinyl vine because the most of the compilations are albums. Nothing really unique like someone's talking about. It's hard to- What you're saying is it's hard to find CDs that are obscure.
No, we're the talk about in any particular way. But there's all sorts of strange stuff. Cassettes. Cassettes.
Very old format, the compact cassette back to the 60s. Yes. You want to know more, go to tech-moments, what our YouTube site. I'm going to go into it in graphic detail.
Back to the 60s, isn't it? Earlier? I think like 50s, not something the first cassette to have been banging around. No, I believe.
No, but the commercial sales. No, I mean, the actual format of the compact cassette, which is the tape there. Yeah. That was the 60s.
Anyway, the point being is that, fucking hell that phrase. Fuck, hell that phrase. The point being, you've got to stop me. I don't even notice it.
It's just one of your things. It's all that they do. My brain doesn't know what to do next and it needs to jump to a sentence. Yeah, it's a linking.
Yeah. I need to just get to the point. Just say the point. Just say the point.
Yeah. Odd stuff. I like a set and a phone of mine, you had this Yamaha component cassette player. The GAN system.
And it is broken, but only in terms of the bracket that you slot the cassette into is broken. Yeah. It's a bit of a fiddle to get it to play. I like that a slippable in me for a while.
But you, you, it's got a lot of Dolby up the yingang, isn't it? Yeah. That's always unnecessary. Like a lot of formats didn't use it.
But if it has got it, it's good. It's got a lovely, and the sound is lovely, isn't it? Yeah, they've been listening to Prince's Purple Rain. It's the first track of Purple Rain.
Yeah, the rain. Let's go crazy. Let's go crazy. Great song.
So yeah, we should do more cassettes. That's good. But a lot of kids stuff came out on cassette, a lot of like a rainbow cassettes. Yeah.
There's a lot of books and things. Storytellers. There's loads of cassettes out there that we've probably not given enough time. But you can, the last time we did was when we featured the Benny Hill cassette.
I remember they had songs from his original ITV show. Oh yes. All the kind of weird, passionate, and kind of almost political stuff. No, Paul, when I was first getting into soul music, I had some Motown, the Motown story cassettes, for their 25th anniversary, I believe.
And that was a compilation of songs that told the story track by track of the evolution. But more than that, they had interviews and little bits in between the tracks where they saw this. And so it was really immersive. You heard about how they were made.
And one that stuck out to me was their reflections. You know that Diana Ross and Suprin? Yeah. Reflections of...
And it's got all these weird sort of electronic things in it. They were saying they were trying to sort of keep up with the times and give it a bit of a sort of... What we did, that led to the kind of... I'm not going to take down for, but like the kind of how bland Motown got in the 80s.
Well, that was decades later. True. But you know, a whole of the sort of soul scene got bland. But there's some good 80s Motown stuff.
The ebb flow of just being a record label, I suppose. And they moved from the Motor City of Detroit in 69. They relocated to LA. Oh, that changed.
That changed a lot. A lot of philosophy of place does change to make some words in the country. It did. It did.
Well, there you go. So yeah, there's loads of cassettes. Also, things like, for instance, when the BBC released cassette compilation for things like Comic Relief, they brought out special tapes you could buy. Yes.
They had this one that was like smashing 90 due links to all the comic relief songs. It was like a proper little radio play. Yes. They aren't going to be on the artist on the cassette.
They don't exist on CD. And also, radio one. This is just one example that springs to mind. But it was unique because of it.
When Independence, they came out. They brought out a radio play in the style of all the worlds. And what the idea was, it starts with radio one, radio one, and the presenter. And then we're getting users of a news story.
Yeah. And then it becomes an adventure where it's like you see Independence Day from the UK's perspective in London through news reports. It's not a promotional. Well, no, it was just, it was obviously to sell the movie, but fundamentally it was just an extra thing to buy.
And I think there was a magazine cover because they used to gave out. No, it was a purchase report. I never buy a mine, but I swear. And it was on cassette.
Yeah, but I think it was only like half an hour. So it was like 15, like a little bit short cassette. Directed by Dirk Maggs who does amazing work in radio. He does the recent He Becca's Guide stuff.
He did the Death of Superman for Audios and Aliens. He does work with, he's fucking great Dirk Maggs. It just occurred to me sort of one of the advantages of cassette because it doesn't matter. You don't have to fuck around with formats or speeds, do you?
No. You can have a single, you can have a whole album. If they also have to do anything. Yeah, you don't have to do anything.
Or you don't have to do anything. Or you don't have to like with records, you need to convert, you know, adapter to get through a dinked 45 single. Yeah, single. None of that.
But it's often, you know, maligned as a format, but that's because during the kind of a boom of it popularity, 80s and 90s, it was cheap tapes because they were following the mountain. And the cassette boom boxes you got were low quality equipment. And that's the problem now. It's a similar problem that, you know, the vinyl resurgence has come across.
People cashing in, companies cashing in by doing those terrible record players. And so people go, oh, I remember vinyl sounding so good. And then they get one of those things. But then we, in the day, they wouldn't have sounded that great on one of the vinyl players of the day that you could have formed with the money you had.
No, it would. You stand a cheaper record player back in the day. Like 50s 60s, if you had a portable record player. Well, the point is what you play on those small portable record players in the 50s and 60s were 45 inch, 45 RPM, 75 inch singles, which have a big groove.
Yeah, they're loud, loud and a groove. So they're designed to punch through on a jukebox in a busy bar or whatever. Okay. And so it would sound good because it'd be really loud.
And the speakers would probably help us on what they're tinnying. And it would be better than those briefcase things. No, I tell them all that. They break.
They are awful. But the point I was trying to make in a similar way that there's all these terrible briefcase vinyl players on the market now because of the vinyl revival. And then, and they take sound terrible. And you know, you've got these mechanisms that are they?
Tkeshan, Taneke. Can't remember the name they use that. But there's a standard cassette mechanism, which is an any cassette player that you buy now. And it's shit.
They're all shit. And this is this this Yamaha I got for free. It's fucking lovely. And you forget that they actually can sound really nice.
It's a really warm. It's a really warm. It's been a mid 90s one in the mid 90s ones. They say, oh, often the best to get your hands on because that's when at the top end.
It's got those lovely buttons that touch. I don't know what they call those touch buttons. Touch button. Yeah, trolls.
It's got a good reader. Good head on it. Yeah. And you know, it's got all the not dolby's.
You've got Thomas. That's the only double one. No. Line did you mean with science now?
It's not me. We're science. We're not here to discuss formats or a little chat to warm us up. We are here for Silverman's Plasters.
It's the section of the show where I do. Unearth, source, uncover, find. And sheath. Yes.
Very much. And shut up. Just skin alive. Turn inside out.
Up end. Spank up. Good gizelle on it, but it is all. Records.
That's what we talk about. We have a record and we like novelty records. We like novelty, rap records. We like MOOC records.
We like anything that seems to have a story behind it that we can delve into. We found one this week. We certainly have, but before that, we need to formally introduce this segment by going over to the patron saint of Silverman's Platters. That is Mr.
Clyde McFatter. I found a Clyde McFatter record the other day, didn't I? Yeah, you did. What was it?
It was thank you, love, which is Stevie Wonderchin on Motown. I cover. It's on a British label called Derim, but you can see Jobette Carlin. If you see on a record, it says Jobette Carlin, Joe Bet.
That's always Motown. Oh, really? It's licensed to this all the later. Yeah.
Why don't they do that? I have no idea. Derim is British, so it's probably something that wasn't released on British Motown for whatever reason. Well, that had been a Northern soul label.
Derim, no. Derim had a lot of different stuff, but it's mainly known for sort of psych and rock. Really? It's an interesting thing to release then.
I think it may have been a subsidiary of Decca because it's sort of brown. It's kind of brown and yellow level. But the company's leaves, you know that Decca ones have that spiral. Yes.
Yeah, yeah, yeah. Derim have exactly the same one, but it's brown spiral. No, it's not the brown spiral. Yeah.
I've had the brown spiral. I gave my grandad a trip to the brown spiral. I got my grandad and I fucking rode it down the street. Last week, this week, this week, Jerry Actrix.
No, it was. Pigs and Jerry Actrix. Jerry Actrix, pork. Now, they have made them together.
Old pigs, the fuckers are dead. No, fuck. Sorry, that was another digression about. But it's called Thank You Love, and it's produced by a musical arranged by the guy called Johnny Harris, who did footsteps on the moon.
We should cover him. It's one of these guys, like, one of these sort of Brit music guys, a bit like Tony Hatch. Yeah, and what's the other guy, the Telstar guy? Joe Meek.
Yeah. But he was much, there's an album called, I think, Reflections by Johnny Harris is brilliant. And it's got Walking on the Moon, Footsteps on the Moon, which is brilliant. I don't know that one off top.
It's sort of like orchestral sort of that Brit sort of... Like a Telstar, it's a metal thing. Yeah, but Telstar, the thing with Joe Meek stuff, it's very uniquely Joe Meek. It's got that weird tape loop sound.
Anyhow, it's a great song. And it shows also that the patron saint of this segment... Oh, yes, they have to do that. They've got Mr.
Clyde McVatter. He started right back in the R&B rock and roll days, and he's going all the way up into the sort of Northern soul era as well. So you want to do some talking in a bit, and we can go? Well, we need to go over to him now, and he needs to introduce this section.
So going over now to Clyde McVatter, the patron saint of the Sillman's Platters. Are you there, Clyde? Hello, I'm here. I hope you enjoyed this segment.
Thank you very much, Clyde. All right, thank you for saying it for me. So I found this record in a charity shop in Muswell. I sent you a picture of it and said to like, grab this and you said, yeah, so I did.
That's it. And I got it. I mean, pointed it out because the name on the front rang a bell. I'm not completely over-fay about comedy, especially Stan.com.
But when I saw the name Ted Chippington, I was like, that rings a bell. Yes, the only thing I recognised from the cover is we've got a first box and we're going to use it. Yes. So what I've got here, I'll just tell them exactly what it is.
It's called the Vindaloo Summer Special starring the Nightingales, Ted Chippington, and we've got a first box and we're going to use it. And it's basically, what did you say, it was a single EP or an EP? It's a 12-inch EP. It's got three tracks on the flip and just the one.
But also it's a lot of different things, actually, Paul, because it's the Vindaloo Summer Special and the Vindaloo is the label. So it's like a label sampler. A lot of people would put out sampler LPs with some by all their artists on their roster, for example. Paul, I've got some from the Atlantic Company, sampler compilations.
And some of them have tracks that aren't anywhere else. For example, one of them has this tune, Hey, Hey, What Do You Say by Zeppelin, which wasn't released anywhere else, only on that sampler. And also it's a single in America, but you might have to remember Zeppelin never refused to put out singles in the UK. I did not understand that.
And it's part of the early season. Why was that? Because they were like, it's an album. Oh, it was a huge thing.
Yeah, there's a huge thing that albums were like, took over. Their sales, that time, the prog rocky, because it was the whole thing with the hippie thing, you put it on, you know, and you don't have to get up and tune in, drop out whatever it is. So the LP was sort of dominant and that particular historical moment, very dominant, because it was a single industry up until like the 60s and 70s, when the concept album started exploiting the fact that you could put songs on a certain length on it. Exactly.
Longer songs as well, because of the whole psychedelic thing meant that songs were elongated. I mean, before the Sleep Face First and You movie and call it 12 minute track, or it was, you know, Emerson, Lake and Palmer and all that wank. It was sent up in a, we asked Michael Tapp when he goes, this is jazz odyssey. Yeah, yeah, yeah, yeah.
So let me just quickly say what I've been the loo records is because I want to be a little point you made on that. So the label started by Robert Lloyd, who was of the Nightingale, who's one of the bands on this EP, who started the label to self-release the Prefects, Robert's first band debut going for the Motions, and the label subsequently released music from artists such as the Nightingales. We've got a fuzz box and we're going to use it to Tedd Chippington, Jerry and Terry, Leggs of Kimbo and the Bumbites. Yes.
I've not heard of the Bumbites, nor have they heard of Jerry and Terry. Leggs of Kimbo I have, but only from the New Deltman reference. Did they reference that band? No, there's a theatre acting group company around Skills called Leggs of Kimbo.
Okay, now it says bonus free track B side. So it's like, yeah, we put an extra track on. Yeah. Because you can fit more on a 12-inch.
So it's like a label sampler. Here's why I disagree. I don't think it's a sampler. I think it's a gimmick EP.
I think the idea is because here's the thing. The album cover looks like one of those British seaside postcards, which was a very British thing, where it was usually some kind of innuendo with a character and a wife, you know, those kind of one frame. Kiss the quick sort of. Yeah.
So it's smarty seaside. You get and you send it to Dirty Little Gag to your more, more your granddad or your friends. Yes. Whatever.
You didn't have to list who you could send it to. You could send it to anyone. They wouldn't have to be. Specifically, you'd have to perform your grandos.
She likes those playing cards with men's dicks. So it's called the Vindaloo Summer Special from the label Vindaloo. It features the Nightingale's Ted Chippington and Fuzzbox, right? And I get the impression this is them just fucking about.
Because what genre music would you say this is before we get into talking about Ted Chippington? Would you say it's Psycho Billy, did you say? Or that's what it's closest to. And Psycho Billy is rock and roll mixed with punk, isn't it?
Yeah. And also another characteristic of Psycho Billy because the cramps are one of the bigs and the misfits. They're both Psycho Billy but groups, I believe. They take punk energy, but they use the music small like primitive rock and rock and billy, which is so.
And they take the rock and roll. And it comes from rock and billy. And that kind of developed in the UK in Skiffle and folksy take on it all. But Psycho Billy was a rock and billy revival in the punk era.
But another thing about rock and billy is they were very fond of schlocky sci-fi and horror imagery. That's what I'm saying. I think this is that example. Rather than the horror imagery, they're taking the piss out of the British.
Like for instance the Beano Summer Special that came out once a year. Or the look in Summer Special. But you say that, Paul, but look at the depiction on the cover of Ted Chippington. Who is he depicted as?
Well, you look at Frank and Star. Frank and Star. He just looks like he's over an ill. But it is meant to be.
So they are referencing the horror sci-fi aspect there as well. I guess because you look at the scene as an eyeball on a thing. It's an interesting image because you've got this drawing in the style of those postcards where it's like the fuzz box. They're laughing a lot.
There's an old schoolboy. There's someone spilling ice creams and then there's a guy on the beach with the booze. I would be picturing this on the website. Yes.
Just a sum up Paul. I think that genre is novelty, so I could believe. Yes, it has to be novelty because of Ted Chippington. Who is a stand up comic?
Who is a stand up comic? I don't know too much about Ted Chippington other than his reputation. How certain comedians like Mark Lamar feel stupidly or they worship him. They like him because of his style.
He has a sort of a diffident. It's what we would call anti-comedy in that it's kind of going out. It's sort of a shame to have the jokes in their bag. It's funny in the way that it's how it goes out of its way to purposely not be funny.
Yes. And the joke is that in congruity between the effort put involved in downplaying you quite well-written gag or hiding it. They're groaners, aren't they? It's like groaners.
But it's, I don't know, who is the most sort of anti-comedy, the biggest anti-comedy comic of the time? I don't know. That's true at least. No, that's true at least.
He's a few of it's late, formulates jokes and dags. I would say, you know, someone like, well, we can talk about them a bit later, but someone like Neil Hamburger is probably the best example of someone who's anti-comedy. Although Eric Andre also does a lot of it. Basically anyone fucking adult swim deals in anti-comedy.
Yeah, Tim and Eric is that sense of the comedy is, well on cinema, people both know we both love. Yes, that's, I mean, Tim Heideck has said on record that he hates the term anti-comedy because he thinks it kind of goes against all the effort they put into doing this. I agree. It's just that what the phrase...
It's a one of a better term. It's a one of a better term because I think it says like, they create a humorous void where the gag should be. Yes, but that in itself is the gag. It's the failure.
It's very close to what we do on this podcast. It's similar to life. It's failing, but in an amusing way. It's shambolic.
Yeah. It works for how shabby or unprofessional it is. Yes. And there's a sense of that too.
Ted Chippington, real name Francis Smith, born 1962 in Stoke-on-Trent and it's a British... My family, my family from Stoke-on-Trent. Is that in the north east as well? It's just south of the we're all just next to way or society.
And is it, is it stoke? Well, Stoke-on-Trent at different places. You know what? That's a good question.
I can't answer. I think Stoke-on-Trent are neighbours. I think it's something like that. His jokes are all very expensive, they live in that kind of accent.
Bad puns. You know, do you wish to call you slow that really? It's not as strong as that. Well, you're going to play a bit before them because there is a bit on the...
Well, it's a bit... He frequently performs his own versions of well-known songs in a similarly listless style. And his actors left audiences bemused or hostile with heckling a frequent occur during his performances. So, you could also maybe argue that who's that guy Pappinesh at Pappinesh at her head?
Come on, brain, who's his name? And all you do, you really do. What the fucks that Frank's eye? It's like there's a bit of that to it.
Definitely. There's a kind of movement at the time. I call it sort of late period alternative. Do you see what I mean?
It's not like the first wave of alternative. No. It's like the late... They open the door for the acceptance of all the rags like that to get a bit of money.
Yeah. So, let's just listen to the first track now. Let's do a little bit. It's called Rocking With Rita Beach Party Mix.
This is the Magna Gels with Ted Chipperton and We've got a fuzz box. And we're going to use it. And it sounds like... This!
It's not a fan. Oh, it's not a fan. Oh, that's a lot. I'm trying to get a smate.
Okay, here we go. Rocking With Rita. Rocking With Vera. Rocking With Donna.
Rocking With Rita. Rocking With Rita. Rocking With Rita. Rocking With Rita.
You sure can't beat her? No. No. No.
No. Rocking With Elvis. No. No.
No. No. No. No.
No. No. No. No.
No. No. No. No!
Oh, I got some complaints. The production is over the place. The drums are so bright. I'm going to say this, it's this is the point.
I think PSIDANA has got much better in PSIDB. But you're right with this track. It's a bit bright on the drums. It's a bit bright on the drums.
My mainest is... We've got a fuzz-box woman. She's too low and you can't hear what she's saying. She's not loud enough.
When she's singing part of it... This level is not the point. I'm trying to make it is, I think we can at the attention why. JustFFI...
Because when you look at the act, you're the kind of person who's coming at the right. the alternative to your burning mannings and you did Davidson's and all that kind of shit. So yeah, the comic strip come through, 20th century coyote, young ones comes out and that blasts onto the TV and everyone's in that sense of an arctic. We can do what we like.
We can do what we want. This is what the out this EP sounds like. Oh, this is just fucking about. This is our sound.
But like I said to you earlier, Paul, I think it because we are a fuzz box, they were like a legitimate. They eventually became and I say legitimate, but like in the late 80s, they changed their sound and sounded much more like banana rama than they did originally. And then they had the hit with Pink Sunshine and calling International Rescue, which was a song they were about from the birds. Like legit pop songs.
They're more on the side of pop than novelty. It's what I'm saying. Yes. And so this sort of has, it's a comedy record, but it also has sort of like real music aspirations.
Almost. Do you see what I mean? Well, that's why it's all in between. It doesn't really know whether it wants to be serious music or novelty.
There's a touch of like tongue in cheek to this. It's like here's a rockabilly sound that we're doing and it's a list song. In the same way like it's almost like an enjoy the blockheads kind of thing. Yes.
It's got a little bit of that to it. You know, and also the influence of the kind of the punk poetry where Marple Marle and Philip they'll do this day. Yeah, that's all in there. So it feels like this is just like, we'll do what we want and we're having a laugh and this is our sound and whatever.
Fuck you. We don't want it to sound as good as the latest Queen album. We don't want it to sound as good as that. DIY punkies.
And also punk was all about the tiny labels as well, wasn't it? The tiny little home labels, which means the little record obviously is as well. It's a real artifact of its era, isn't it? Really redder than of its era.
I admire it more than I actually like this music. But when we get to the B side, that's where I think they've just got to have a bit of fucking fun, really. Because you've got three tracks on the set. You get a bit of his act as well.
So let's surf, which is a kind of beach-boisie, smoothie, rockabilly thing. And it's not a memorable. It's the weakest track. It's a rockabilly.
Then you've got a little bit of seaside, which is a bit of tetrippet and the standup, basically. Let's see what, let's play a little bit of that right now. Looking down the road yesterday. An old mate of mine comes up to me.
He said, long time, no seat head. I said, I know mate, but I'll be off to the coast tomorrow for a good day out on the couch, you know? This won't come up to me earlier on, just when I got off the couch and said to me, tell me I thought the peer is away from me of eight. I said, one mile.
He said, one mile. He said, one mile, roughly speaking. You know, I'm not too sure. I only just got into town.
I said to him, this won't come up to me after that. He said, I've got his arm on your mate. I said, I'm on my own, can't you see? Here's the sort of gonna seaside shoe before you then.
Went to the chips shop earlier on. Said to the moke, I forgot my chips. I said, have you got any source mate? He said, what, I hate you mate?
I said, no, you're all right, I'll pay cash. Chatting to this old seat, I'll go earlier on. Couldn't understand me though. Excuse me, chap, I'm in a dilemma.
Ah, good momentous, darling. I'm going to carry that. So yeah, you see how that is very similar, but without the violence and the aggression of Neil Hamburg, it's iconic. Yes.
It's almost a reasonably normally structured gag. But the point is, it's terrible though. It's undersold to the point where that's the joke. It's very undersold.
And that definitely, I can't like that. It influenced you at least, whole style, didn't it? Because he has that. He undersales stuff, he's sort of apologetic, but almost, Stuart Lee works on the verbose more.
You know, he's very much a, I'm gonna tell you, a small fact with a thousand words. And that's where his comedy is. It's your necessary level of detail and prose. Yeah, Stuart Lee, Richard Herring is the opposite, almost, where he's like big, bold colours, big, bold, obvious.
I can see the influence from Chippington on people likely. Very, very easily. And then you've got Fuzzy Faves, which is a, let's do a little bit of everything. We've got Fuzzbox doing itty, bitty, bitty.
Yeah, so that's the aspect where this was like a stable of artists that were on this label. And they all got together to do this. But the whole concept seems like a parody. Yes, but what's a parody of specifically?
I think it's a parody of the idea of British summer. Yeah, the seaside. Yeah, the seaside, the music. And they've done the appropriation of American iconography.
Yes. The psychobilly sort of aspect to it as well, which is interesting. They've got the little pan with the B side and the, they've got the A side on the back, they call the B side. I don't quite get that.
And then the B side on the back, the list is the seaside. Yeah, there's no A side. Oh, I just got the A side. It's a bit of labour.
It's terrible, yeah. It's one of his gags, isn't it? I guess that's a good point. I feel hoodwinked.
I've been working everything. It's quite, I mean, they can put some effort into it. I mean, it's very 80s as well. It manages to be kind of retro 50, 60s seaside British postcard and also extremely 80s in that kind of smash its lucky magazine.
They look at the photographs of the back of the mall doing Photoshop. They're all like, you want a more pastel purple background? They get to the gearish, close photos, look extremely sort of. What was that magazine you just mentioned?
Look at all that. Look at all that. You know? What was the music one called?
Smash it. It's very smashy style photo sheets. Yeah. And it's not the 80s unless you're wearing red, yellow, green and black in one costume at the same time.
But they've relented on the actual label on the disc because it has A side and B side. I think you were going to confuse it. I bought this and only had the B and C. Where is my own?
Well, that's it because, you know, that is sometimes the convention, isn't it? If you have a double LP, you'll have ABC and D. So I like that Python. Yeah.
I like that Python. I want it matching time. I had two discs. No, no, but I'm talking about three side discs.
Now, you're talking about something else now. If we talk about the form of the past and also the tech link, which we have to bring up again, the thing about racing record, which had multiple groups starting in eight horses, eight trucks. So depending on where you put the needle down depends on a different outcome of that track, which is simple and ingenious. Yeah.
So I don't know. I'm not a huge fan of that type of music and that type of comedy, certainly from that era. But there's no doubt that in many respects this is an important part of British culture. This is an important part of that comedy voice.
You just don't get stuff like this anymore these days, do you? No. And you would never have, you know, you would never have someone be able to put something like that quality out. There's no need to now because of the kind of, you know, democratization of media where me and you can make a podcast or people can do a YouTube and get an audience.
People will release that stuff via their own channels and find their own audiences where you have to have a label to be the voice of you back then. Yeah. So for instance, Ireland Records, was that primarily spoken word originally? Wasn't?
I think so. Ireland was started by Chris Blackwell in Jamaica. Oh, maybe I'm wrong. I remember there was a label craic just for spoken records, but then it involved with something else.
I thought it was Ireland Records. That was all. Oh, you have Justin Bieber on their label now. Yeah, they're huge.
They're one of the ones who survived. Jeff and then, oh, yeah, started in Jamaica and then eventually sold to Polygram 89, which then got absorbed into Sony. Oh, right. Polygram and Sony.
I might be wrong. Yeah, Polygram and around anymore. Oh. Oh.
Yeah. Started by one person. Yes. But briefly, we can probably talk about how this, when we were listening to this, we went this album, this EP is in many effects similar to another album we both like and enjoy called Neil Hamburgers.
What's it first? It's May. The first of this, yeah, which is a collection of his purposely awful horror. He's got a lot of purposely awful, horrible, aggressive stand-up.
And songs. And songs. Really good songs. They're not good.
Well, they're, well, they're, should we play one? I want to play this one. I want to play, I got them, because they're with us right now. It's about the nostalgia, about this not being the same.
Yeah. Or I'm, maybe I should put in like the one on the bags. Here we can't find the endless roll. Endless roll.
Yeah. Which is the kind of disco we hit. Okay. Let's put that one in.
I'll put the disco one. My life is being measured by this endless roll. This endless roll. My life is being measured by this endless roll.
This endless roll. My life is being measured by this endless roll. Teal bags. Two hundred teal hall bags.
These bags you fury ate me to know it. To know it. What's wrong? Neil Hamburger is again an interesting outlet, feels similar.
Mix of comedy and music. Yes. Like he takes the music more seriously than his own comedy. Well, you know, he is the thing.
But before the stand-up sort of really evolved as its own thing, it was sort of some advanced people would do stand-up, wouldn't they? Like Bruce Forsythe way. It was part of the variety thing. You had to be able to sing as an entertainer.
Yeah. And stand-up was one aspect of being an entertainer. You weren't just a, you couldn't just do gags. No.
Until later on, I guess. Do you know what I mean? Well, that's what I was going to say. It's like in many respects, it feels like you've got artists who, in Ted Jimington's case, and I think Neil Hamburger's case, they're like, the genre of comedy is at the moment primarily stand-up, but I'm going to use this identity to be one of a, a, a, a patch niche on the like entertainment entertainers.
Vic Reeves is very similar. Vic Reeves' initial character for Big Night Out was, I'm an, I'm an entertainer. So I dance guy. And then everything was under cut with how he lived in a weird world and nothing worked.
Yeah. You know, so there's a history of the subversive like entertainer where you've got, on one hand, you've got like, you know, Bruce Forsythe. And then you've got, on the other hand, you've got someone at the other end of the scale, like, I mean, maybe even Barry Humphrey's could fall into that. Yeah.
You know what I mean? He was alternative. He was. Yeah.