I’m on ABC Local Radio Overnights tomorrow (Sunday) morning across Australia. As Rod Quinn’s guest, I’ll be bringing in a bunch of samples as we discuss comedy duos. I’m on from around 4 am EST (which I think is 2am in Western Australia and somewhere in between, when you’re somewhere in between the eastern states and WA). Since I’m doing it live, and there’ll be talkback, if you’re an insomniac do listen and phone in. Don’t make the questions too hard – I’m working off the top of my head.
My playlist will be drawn from the following:
1. ‘The Cuckoo Song’ - Laurel & Hardy (sort of)
A logical place to start: Laurel & Hardy are a – perhaps the – seminal comedy team and this ditty – which existed independent of them – became their signature tune.
2. ‘Smokers’ – Fry & Laurie
Stephen Fry and Hugh Laurie were Cambridge students who graduated to
Edinburgh Fringe shows as part of the Footlights (the student club that gave members of Monty Python and The Goodies there start along with so many others I shan’t get caught up listing here), like so many
university revue-educated wits before them. They first came to
prominence in episodes of Black Adder before landing their own excellent sketch show, A Bit of Fry & Laurie,
which is where this sketch originated. Nowadays Fry continues to write
books and make documentary series while serving as Twitter’s biggest celebrity user, while Laurie enjoys massive success as
the main character in the US medical drama series House.
3. ‘Pregnant Women Are Smug’ – Garfunkel & Oates
How’s this for a ‘comedy duo’? Their name itself is a joke on ‘duos’, referring to the ‘lesser sidemen’ in music duos. The point, in comedy, is that even if it looks like only one comedian in the duo is doing the work, the other one is still necessary for the comedy to work: it’s all about the dynamic. (“What was it that Dudley Moore used to do?” the question has been posed. “He made Peter Cook look funny” is the standard answer. He did much more than that – without him as a foil, Cook was more-or-less lost; his work never shone as brightly after cuddly Dudley made it in his own right in Holywood.)
Garfunkel & Oates are two young Californian actors, Riki
Lindhome and Kate Micucci – Kate’s a regular in later episodes of Scrubs.
Their sideline are these cute satirical songs. I’m hoping they become popular enough to visit some Aussie comedy festivals, in time.
4. ‘Six of the Best’ – Peter Cook & Dudley Moore
I could bang on about the genius of Peter Cook & Dudley Moore for days. Suffice to say, as a duo, what they did on stage was magic, and in many ways I see Noel Fielding and Julian Barratt of The Mighty Boosh as their present-day equivalent. For its time, groundbreaking social commentary, since Moore plays the elderly schoolmaster, Cook, the arrogant and disrespectful student, reversing the power structure just as the young generation appeared to be taking control – or at least becoming the dominant element in popular culture – in the ’60s. It’s funny because it was revealing the unspoken truth. Of course a lad on the threshold of manhood could intimidate an elderly schoolmaster, but respect for age, experience, intellect, class and position prevented it from taking place. It’s less funny now that the scenario being enacted is one that more-or-less takes place in schools all the time now.
5. ‘Chocolate’ – The Smothers Brothers
The Smothers Brothers – Tom and Dicky – illustrate why the comic
song works so well within the parameters of ‘comedy duo’. The ‘straight
man’/‘funny man’ dichotomy creates humour through the straight guy
trying to deliver the song as it should be performed, while the clown
continues to subvert expectations. Within this song, many of the
traditional elements of the folk song are turned on their head.
6. ‘Bob Geldof’ – Mel Smith & Grif Rhys Jones
After working on the sketch show Not The Nine O’Clock News with Pamela Stephenson and Rowan Atkinson, Smith & Jones continued to work with each other on the sketch show Alas Smith & Jones (the title’s a piss-take of the early ’70s cowboy series Alias Smith & Jones). One aspect of their work together were their ‘chats’, naturalistic dialogues derived, no doubt, from initital improvisations, not unlike the work Peter Cook and Dudley Moore in ‘Pete ’n’ Dud’ mode – two old mates talking bollocks over beer.
7. ‘Sarah Jackman’ – Allan Sherman
Allan Sherman was mostly a solo act, coming out of a Jewish television/showbiz background (the titles of many of his albums began with the words, ‘My Son…’ like My Son The Nut and My Son The Folk Singer – as though his parents were still disapproving). He was a producer of the classic Tonight Show ever so briefly – but not good enough at it. After he was sacked, he returned as a performer, doing what he did best: song parodies. Indeed, the first time you watch the Walt Disney animated masterpiece Fantasia, you may think yourself a little crazy when you realise the melody of Ponchielli’s ‘The Dance of Hours’ (ostriches doing ballet) sounds almost exactly like ‘Hello Muddah, Hello Fuddah’; that’s because Sherman took ‘The Dance of Hours’ melody and wedded new lyrics to it. And he did it well – every syllable is where it should be.
For the duration of this song – a parody of the French children’s song, ‘Frère Jacques’ – Sherman’s part of a duo with Christine Nelson. The song
takes the form of a ‘catch-up’ phone call, one imagines by someone who
has grown up and left the old neighbourhood, catching up with all the
comings-and-goings. There’s a good deal of social commentary from its
time – the early ’60s – with cousin Shirley ‘married early’, brother Bentley ‘feeling better mentally’, cousin Ida a ‘freedom rider’ and – my favourite – Sonja’s daughter Rita, now a ‘regular Lolita’!
8. ‘Who’s On First’ – Abbott & Costello
One of the seminal pieces of comedy from a classic comedy duo.
Essentially the Abbott & Costello signature piece, it was recorded
a number of times – in various films and on radio and television shows.
This is an excerpt.
9. ‘Hawk Hawkins’ – Smart Casual
Ben and Nick Mattick are Roger David and Fletcher Jones (I may have the charaters in the wrong order), AKA Smart
Casual. They first appeared on the Sydney comedy scene a few years ago,
getting to the national final of the Raw Comedy competition on the strength of songs that had the good sense to be more than one gag repeated ad infinitem accompanied by 12-bar blues, or all of their jokes, delivered to opened-ended chordal vamping – which is how so much ‘musical comedy’ is unfortunately presented. (See what I’m saying, comedy n00bs? The tokenistic inclusion of music will fool the masses as easily as any other comedy corners you may find a way to cut. But people who ‘know about’ music and ‘know about’ comedy won’t be be impressed.)
Part of what makes Smart Casual’s material work is something that Garfunkel & Oates also know full well: if the joke is a quickie, so too must be the song. This year Smart Casual featured in Comedy Zone – the show the Melbourne International Comedy Festival puts together from the best new talent around Australia. ‘Hawk Hawkins’ was their Raw Comedy finale and has served them well. I suspect they’ll soon be ‘resting’ it as they move on to new material.
10. ‘Happy Darling?’ – Eleanor Bron and John Fortune
Eleanor Bron and John Fortune came to the fore as part of England’s so-called ’60s satire boom. Bron went to Cambridge University and was a contemporary of Peter Cook’s. She also has a major role in the Beatles film Help! – among other things, she’s the woman being sung to in the clip for ‘You’ve Got To Hide Your Love Away’. During the 70s
Bron and Fortune developed a series of sketches about relationships under the title Is Your Marriage Strictly Necessary? which John Cleese
cites as one of the inspirations for Fawlty Towers.
11. ‘The Phonebook Song’ – Scared Weird Little Guys
The Scared Weird Little Guys are another two-guys-and-a-guitar
comedy duo specialising in genre pardies and clever-silly songs. They
comprise Rusty Berther and John Fleming, who met in a capella groups,
having cut their teeth in barbershop quartets and the like. (Their
first shared project was a five-piece a capella combo, ‘The Phones’.)
‘The Phonebook Song’ is a classic live number that demonstrates vocal
prowess. At the very end, it refers to another novelty song built
around clever rapid-fire syllables.
12. ‘Sweet Fanny Adams Part 2’ – Mel & Sue
Mel Giedroyc and Sue Perkins were (and possibly still are) an English comedy duo who, earlier this century, were likened – and perhaps burdened by the comparison – to ‘French & Saunders’. The BBC Radio 4 show, The Mel & Sue Thing,
and subsequent Edinburgh Fringe shows, demonstrated a clever, funny
approach to sketch comedy. ‘Sweet Fanny Adams’ was a regular feature of
the show – the serialisation of Jane Austen’s last – and lost –
novella, the perfect antidote to the costumed period dramas that still
occupy BBC television broadcast schedules. Part of their ‘Mel & Sue’ persona sees them share a bed in their pyjamas in a very ‘Morecambe & Wise’ manner. Mel pops up in a Vicar of Dibley Christmas special.
13. ‘Bring Me Sunshine’ – Morecambe & Wise
Eric Morecambe and Ernie Wise met as kids in a touring vaudeville
troupe and perfected their comedy in partnership very early on. Being
in the right place at the right time, they were the ones who made the
transition from the vaudeville stage to television most successfully,
becoming the most watched comedians of their age as they broke viewing
records, particularly for their Christmas specials, in which regular
non-comedic television personalities – news readers and the like –
would appear in guest roles. ‘Bring Me Sunshine’ was, by the end of their long career, established as their signature