GORILLA
(October 1967)
UK ALBUM CHART: Did Not Chart
US ALBUM CHART: Did Not Chart

Aficionados who delighted in the Bonzo Dog Doo Dah Band’s stage act eagerly awaited the Bonzos’ debut album, which proved a great artistic success. Music critics raved as ‘Gorilla’ proved a joy. The songs and arrangements were funny, witty and clever and revealed the Bonzos’s growing musical diversification as well as their skill at parody.

COOL BRITANNIA (TRAD ARR. STANSHALL/INNES)
‘Cool Britannia – Britannia you are cool. Take a trip. Britons ever ever shall be hip. Hit me hit me!’ Vivian Stanshall, in his best Noel Coward tones, backed by the Bonzos in Jamaican Ska mode, launches a scintillating burst of mock patriotism.

THE EQUESTRIAN STATUE (INNES)
A charming Neil Innes ditty that utilises a harpsichord to imbue an 18th century mood to this tale of an equestrian statue coming to life and prancing through the town square. Neil pays homage to Paul McCartney and The Beatles, making effective use of a high-pitched pocket trumpet, albeit in somewhat crazed Bonzo fashion.

JOLLITY FARM (SARONY)
One of the band’s favourites, written by Leslie Sarony, the British songwriter and comedian who sang with Jack Hylton’s band in the 1930s. It was typical of the novelty songs the Bonzos discovered on old 78-rpm records in junk shops and utilised in their stage act.

I LEFT MY HEART IN SAN FRANCISCO (CROSS)
Anyone grown tired of this lachrymose ballad, would have welcomed Legs Larry Smith’s quiveringly awful version, which brings new meaning to the phrase ‘out of tune.’ A highly sophisticated club audience languidly await the arrival in the spotlight of a famous crooner, come to entertain them.

LOOK OUT, THERE’S A MONSTER COMING (STANSHALL)
‘And three four’ cries the MC, in the manner of Victor Sylvester, the famed dance bandleader. Adopting a Caribbean accent Vivian assumes the role of a ‘lonely heart’ in search of a girlfriend.

JAZZ, DELICIOUS HOT, DISGUSTING COLD (STANSHALL/INNES/ASH/SPEAR/SLATER/NOWELL/SMITH)
British traditional jazz never quite recovered from his glorious spoof that contains every blunder and cliché an amateur trad jazz band in full cry could muster. Despite the Bonzos’ worst efforts, their performance delighted Chris Barber, leader of the nation’s premier traditional jazz band, who voted t

DEATH CAB FOR CUTIE (STANSHALL)
Elvis Presley impersonation has become an obsession in recent years, but Vivian Stanshall was one of the first and best to mimic ‘The King’. Clad in a gold lame suit he amused and even outraged some punters at Bonzo pub gigs.

NARCISSUS (NEVIN)
‘How do you think it’s going?’ inquires Viv in concerned tones ‘So so’ says Neil. ‘A lot of it’s rubbish y’know’ concedes Stanshall in a brief debate between the two protagonists on the progress of the album.

THE INTRO AND THE OUTRO (V.STANSHALL)
One of the Bonzos best loved and brilliantly constructed entertainments. Using the miracle of tape overdubbing Vivian creates a huge orchestra by introducing an increasingly bizarre number of guest musicians.

MICKEY’S SON AND DAUGHTER (Lisbona/Connor)
A merry celebration as the stork brings a son and daughter to Mr. and Mrs. Mickey Mouse.

BIG SHOT (V.STANSHALL)
This homage to Mickey Spillane’s pulp fiction is a cleverly wrought piece of scripting and acting.

PIGGY BANK LOVE (INNES)
A Neil Innes composition that offers a gentle spoof of Sixties girl pop groups. The heroine saves Green Shield trading stamps for her wedding day and sings in high falsetto against rumbling saxophones played in unison with a surprising accuracy.

I’M BORED (STANSHALL)
An ode to boredom sung with surprising vigour by Stanshall in his best lounge lizard manner. He makes an inventory of all the things he finds boring such as the latest Julie Andrews’ film and Frank Sinatra’s LP

THE SOUND OF MUSIC (ROGERS & HAMMERSTEIN)
Gentle piano and then we find our beloved narrator in mid flow as he relates a particularly moving experience. Cue trilling harp and then the most hideous, discordant row as singers wail and shriek like banshees and cymbals crash.

THE DOUGHNUT IN GRANNY’S GREENHOUSE
(November 1968)
UK ALBUM CHART: UK Top 40
(Number 40 January 1969).
US ALBUM CHART: Did Not Chart

Major developments on the Bonzos’ eagerly awaited second album, marked their progression from comedy cabaret act to experimental rock band. Psychedelic overtones to many of the performances baffled some critics but delighted and intrigued fans. The meaning of the album’s obscure title entirely escaped those unfamiliar with Cockney slang and euphemisms. Vulgarians well understood that ‘Granny’s greenhouse’ was not a place for horticultural pursuits, but an outside toilet and clearly a noisesome place, unfit for casual visitors. Surprisingly, the Bonzos had heard the phrase on the ‘Two Ronnies’ BBC TV comedy show.

WE ARE NORMAL (STANSHALL/INNES)
‘We are normal and we want our freedom!’ chant the Bonzos, above a melange of frantic organ glissandos and stomping drums. ‘Normal’ makes for a dramatic overture, performed amidst wild whoops and yells in a frenzied atmosphere of abnormality.

POSTCARD (STANSHALL/INNES)
Soothing sounds of the seaside - waves and children laughing - provide a pleasing contrast to the uproar of the previous performance.

BEAUTIFUL ZELDA (INNES)
This spirited paean to Zelda, a space goddess from Galaxy 4 is also a homage to cosmic Doo Wop of the Fifties and is full of amusing instrumental diversions that encourage the bright-eyed vocalist.

CAN BLUE MEN SING THE WHITES
(Stanshall)
‘I need to have a shave cos I’ve gotta sing the blues’ wails Vivian in this light hearted spoof of the deadly serious blues craze sweeping the nation in 1969.

HELLO MABEL (INNES)
A charming pastiche of a Twenties swinging love ditty starts with some armchair musing from Stanshall in avuncular mood. ‘I can’t help the way I feel’ says Viv lighting a pipe and uncorking a bottle.

KAMA SUTRA (STANSHALL/INNES)
Two minutes of unmitigated pleasure in the hands of our guide, Vivian ‘No Holds Barred’ Stanshall. In an interlude whose brevity is all part of the joke, Stanshall sings of his sexual experiments based on cursory readings of the ancient Hindu text on erotic pleasure.

HUMANOID BOOGIE (NNES)
Having already beaten Paul Whitehouse, New Labour and Boy George to the cultural punch The Bonzos anticipated the sounds of Gary Numan and Kraftwerk with this extraordinary robotic concoction.

TROUSER PRESS (SPEAR)
‘One two three kick. Come on everybody clap your hands. Are you having a good time? Do you like thoul music?’ lisps a camp dance instructor. ‘No’ snorts a curt Stanshall so dismissively you can almost see his lip curling. ‘Well do the Trousers Press baby 1,2,3’ says our host, cheerfully undaunted. Cue Roger Spear with his clattering contraption, the electric trouser press

MY PINK HALF OF THE DRAINPIPE
(Stanshall/Innes)
An affectionate but sharp observation of the absurdities of everyday life. Stanshall’s strong vocal performance is enhanced by Innes’ delightful arrangement that features a lilting Parisian piano accordion, supported by nifty drumming.

ROCKALISER BABY (STANSHALL/INNES)
An intriguing Neil Innes concoction.

RHINOCRATIC OATHS (STANSHALL/INNES).
More eccentric tales told with ineffable charm by Mr. Stanshall reading from his collection of newspaper clippings and his own wild inventions.

11 MUSTACHIOED DAUGHTERS (STANSHALL)
An eerie piece of work in which the Bonzos prove rather more successful in penetrating the dark arts of witchcraft and black magic than any number of heavy metal rock bands

TADPOLES
(August 1969)
UK ALBUM CHART: Number 36
August 1969
US ALBUM CHART: Did Not Chart

Tadpoles was billed as the soundtrack album to the band’s regular TV spots. The original bright yellow LP cover with its cut-out graphics had the strap line ‘Tackle the toons you tapped your tootsies to on Thames TV’s Do Not Adjust Your Set.’ It was an effort by the band’s management and record label to promote the group, following the success of ‘Urban Spaceman’.

HUNTING TIGERS OUT IN ‘INDIAH’ (Hargreaves/Damerell/Evans)
Tigers lack table manners it seems and Vivian Stanshall our jungle guide, warns ‘they don’t say their grace - after they have eaten you.’. ‘Hunting Tigers’ was one of the band’s most popular stage numbers and is ripping fun for all.

SHIRT (SPEAR/BRON)
The sound of Roger’s wah wah rabbits’ provides the introduction to this splendid addition to Mr. Spear’s comical instruments and daffy dance crazes. ‘The Shirt’ is an unlikely rival to The Twist.

TUBAS IN THE MOONLIGHT (Spear/Bron)
A charming and sincere tribute to the sort of orchestrated dance music that held sway in the 1920s, much admired by Roger Spear, who wrote this melodic arrangement.

DR.JAZZ (OLIVER/MELTROSE/DAREWSKI)
A jazz standard beloved of British traditional jazz bands and given the ultimate Bonzo treatment complete with false start, a spoons solo and feature spot for the Swanee whistle.

MONSTER MASH (PICKETT/CAPIZZI/T.M.MUSIC)
When the Bonzos weren’t crucifying Dixieland jazz they had a lot of fun at the expense of rock’n’roll. ‘The Monster Mash’ was a Number One U.S. hit for Bobby ‘Boris’ Pickett and the Crypt-Kickers in 1962. Despite yet another false start by drummer Legs Larry, this is a well-meant tribute to one of Viv Stanshall’s favourite records.

I’M THE URBAN SPACEMAN (INNES/BRON)
Neil Innes’ finest hour and the hit song that gave the band chart status and pop credentials. Paul McCartney, a keen Bonzo fan, produced the session under the pseudonym Apollo C.Vermouth. He showed the lads how to play the bass guitar riff that underpinned the theme and even plinked away briefly on Viv’s ukulele.

ALI BABA’S CAMEL (GAY/FRANCIS DAY & HUNTER)
Mr. Stanshall had to be on top form to cope with this wordy campfire saga. Our hero, Ali Baba, whose very name has become a byword for thievery, steals a camel from a zoo.

LAUGHING BLUES (BRADLEY)
More painful highlights from the Bonzo book of instrumental torture. A companion piece to ‘Dr. Jazz’ this was taped at what sounds like a rehearsal and commences with authentic blues piano followed by the strains of a phonofiddle, once described by Neil Innes as a ‘singularly unrewarding instrument.’

BY A WATERFALL (KAHAL FAIN/FELDMAN)
The unsteady delivery seems to suit the weak and watery nature of the song. The Bonzos do their best to support their singer by providing a barrage of responding love calls and all manner of irrelevant interjections, from xylophone solos to Hawaiian guitar and the return of the dreaded Swanee Whistle.

MR. APOLLO (STANSHALL/INNES/BRON)
Charles Atlas, the bronzed Adonis who advertised his body building course in magazines throughout the Sixties, doubtless impressed the young Stanshall, just the sort of weakling who had sand kicked in his face by bullies on the beach. Mr. Apollo’ was Neil and Vivian’s variant on the Atlas theme.

CANYONS OF YOUR MIND (STANSHALL/BRON)
One of the Bonzo’s funniest and most brilliant creations, this ultimate rock idol spoof can still induce tears of laughter 36 years after it was first conceived. Apart from the masterful performance by Stanshall as the agonised singer protesting his love, ‘Canyons’ also contains one of the greatest guitar solos of all time they were!

KEYNSHAM
(November 1969 )
UK ALBUM CHART: Did Not Chart
US ALBUM CHART: Did Not Chart

Keynsham was the Bonzos’ concept album they hoped would be seen as their ‘Sgt. Pepper.’ It was also their fourth album made within two years and although the songs were forged in the white heat of creativity, the production was rushed and there was only a cursory attempt made to explain the ideas behind the ‘concept.’ Nevertheless ‘Keynsham’ contains brilliant wheezes.

YOU DONE MY BRAIN IN (INNES)
Described as ‘an affirmation of madness’ in the marginally helpful sleeve notes, this brief introduction to the world of Keynsham begins with Vivian in best Horace Bachelor tones muttering: “I have personally won

KEYNSHAM (Innes)
“It’s tragic magic” sings Neil Innes, a ringing phrase that concludes “There are no coincidences but sometimes the pattern is more obvious.” Rarely had such literate lyrics been heard in pop, which only made the context seem odder.

QUIET TALKS & SUMMER WALKS (INNES)
“Let’s talk about Keynsham,” says Vivian in his best bedside manner as Neil sings an attractive ballad with fetching sincerity..

TENT (STANSHALL)
‘Summer Walks’ is disturbed by the sound of a dentist’s drill and screams of pain, but there is even more violent upheaval to come. ’Tent’ is one of Stanshall’s most manic performances, whose angry, predatory violence pre-dates punk rock

WE WERE WRONG (STANSHALL)
From tent to bent. A gay love song only Vivian and Legs Larry could deliver with such convincing ardour. It was one of their great gags to pretend to be gay, usually in tough pubs, where their camp gestures and innuendoes caused great affront and outrage, as intended. This is a spoof of a rockabilly teen ballad done with heart-rending passion

JOKE SHOP MAN (INNES)
As if to give Vivian time to recover from his tented orgy and outings with Legs Larry, Neil offers a vignette that is but 1.23 seconds long.

THE BRIDE STRIPPED BARE BY ‘BACHELORS’ (STANSHALL/INNES)
“So the boys formed a band, fate played the straight man and since then they’ve never looked back”, narrates Stanshall in a strangled voice, an imitation of the band’s first hardworking manager.

LOOK AT ME, I’M WONDERFUL (STANSHALL)
More camp theatre as the resolutely star struck and very wonderful ‘Legs’ Larry Smith applies make-up in the seclusion of his dressing room.

WHAT DO YOU DO? (INNES)
The Bonzos rock out. It’s tempting to believe it really is Keith Moon on drums. Certainly the arrangement sounds like The Who in action, complete with Pete Townshend style power chords.

MR.SLATER’S PARROT (STANSHALL)
Meanwhile, back in the asylum…Mr. Slater’s parrot says ‘Hello.’ Squawks, whistles and the kind of repetitive talk favoured by parrots is accompanied by the sound of a washboard being scrubbed in rhythmic fashion behind a merry clarinet theme

SPORT (THE ODD BOY) (Stanshall)
Stephen Fry, the great English comedic actor and televisual entertainer was still at public school when ‘Keynsham’ was drawn to his attention and he immediately fell in love with the sound of Stanshall’s ‘fruity’ voice and this song in particular.

I WANT TO BE WITH YOU (INNES)
Neil Innes in particularly fine voice on this pleasant tune that could have been a hit single, if only fate had played the straight man and the cards had been tipped in their favour.

NOISES FOR THE LEG (Stanshall)
“No, no, please, not the leg.” Vivian’s latest fetish seems to concern amputations. He is clearly amused by the spectacle of a lone leg, possibly removed by stray cannibals.

BUSTED (STANSHALL/INNES)
Here’s where ‘Keynsham’ takes a wrong turning. After a succession of ballads, mad rockers, amusing interludes the grand finale turns out to be a bit of damp squib. They stretch out an idea about teenage rebels being ‘busted’ by the police with a long bass guitar solo and even a spot of jazz trumpet.

LET’S MAKE UP AND BE FRIENDLY
(March 1972)
UK ALBUM CHART: Did Not Chart
US ALBUM CHART: 199

Fans were bereft when the group broke up in January 1970. Melody Maker, the weekly music paper that had long championed the Bonzos, took up the clamour for a reunion. Eventually the lads succumbed to pressure and got back together in the Manor Studios, newly opened by Virgin’s Richard Branson in November 1971. The line up consisted of Vivian Stanshall, Neil Innes, Dennis Cowan, Larry Smith and Roger Spear augmented by Bubs White (guitars), Andy Roberts (guitars and fiddle), Dave Richards (bass), Dick Parry (saxophone) and Hughie Flint (drums).

THE STRAIN (Stanshall)
It certainly was a strain when Vivian Stanshall sat on the toilet at the Manor Studios in Oxfordshire, and recorded the sound of his painful attempts at bowel movements.

TURKEYS (INNES)
Neil Innes tip toes away from the unpleasant scenes in the Manor lavatory facility and does his best to raise the tone of proceedings. His complex and neatly executed instrumental arrangement explores new horizons in sound.

KING OF SCURF (INNES)
High pitched vocals from the composer are accompanied by the sound of dandruff being combed from someone’s ‘filthy hair’ in this tribute to the Jan & Dean style surfing genre.

WAITING FOR THE WARDROBE (SPEAR)
Although Roger Spear was on hand to raise the banner of musical mayhem on behalf of the old Bonzo’s tradition, this was not was one of his best works. The main problem is the truly awful singing that is only partially alleviated by the businesslike lead guitar and saxophone playing.

STRAIGHT FROM MY HEART (Innes/Stanshall)
The mysterious sound of rustling paper can be discerned during the saxophone solo on this waltzing ballad, sung by Vivian Stanshall who seems to have developed a severe head cold as well as asthma and memory loss

RUSTY (CHAMPION THRUST) (KAYE/SMITH)
‘Rusty’ consists of a lot of incomprehensible cocktail party chatter about a pair of unsavoury characters and their exploits. It’s hard to hear the dialogue and virtually impossible to understand.

RAWLINSON END (INNES/STANSHALL)
A brilliant collaboration between Neil and Vivian inspired by the sort of BBC afternoon play the band might hear on the car radio en route to a gig. Vivian begins this nine-minute venture into radio theatre with a recapitulation of the story so far. Neil plays a sprightly piano accompaniment that perfectly suits the Home Counties flavour and Viv’s collection of dotty suburban heroes.

DON’T GET ME WRONG (STANSHALL/INNES)
Back to rock’n’roll and the mood is soulful Beatles, as Viv sighs woefully against Neil’s bold lead vocals. ‘Don’t Get Me Wrong’ combines early Merseybeat with Detroit vocal harmonies.

FRESH WOUND (N.INNES)
Nimble acoustic folk guitar ushers in Neil in pre-Rutles mode, singing like a former Beatle hoping to return to the group to claim four years back pay.

BAD BLOOD (Stanshall)
Gunfire ricochets off the canyons of Stanshall’s mind as he intones this gory tale of a one eyed half breed amputee, crippled in his mind and out to settle old scores. Banjos and guitars take us way out West and you can tell Viv read lots of cowboy comics as a lad

SLUSH (Innes)
Neil’s haunting requiem for a faded dream, as the now exhausted band sinks slowly into the studio mire. A slow moving organ theme intertwines with the sort of repetitive manic laughter that Pink Floyd would use on ‘Dark Side Of The Mood’ some three years later.

The music stops but the laughter goes on. And that’s the story of the Bonzo Dog Doo Dah Band.

THE SINGLES

MY BROTHER MAKES THE NOISES FOR THE TALKIES
Released April 1966(Amber/Raymond/Bernauer)
UK SINGLES CHART: Did Not Chart
US SINGLES CHART: Did Not Chart

I’M GOING TO BRING A WATERMELON TO MY GIRL TONIGHT (Conrad)

ALLEY OOP (Frazier) October 1966