What happens when you mix what is - arguably - the world's most interesting record company, with an anarchist manic-depressive rock music historian polymath, and a method of dissemination which means that a daily rock-music magazine can be almost instantaneous?

Most of this blog is related in some way to the music, books and films produced by Gonzo Multimedia, but the editor has a grasshopper mind and so also writes about all sorts of cultural issues which interest him, and which he hopes will interest you as well.

Tuesday, 5 July 2016


Podcasts and radio plays, a new fad? In the 60s and 70s the radio landscape was also decorated with radio plays. The crossover between text and music came closer and also in theaters music was no exception. In England this genre grows extra interest again. Think of the Tiger Lillies already creating a stir worldwide with their years of theater.

In 2006, Michael was Livesley's attention drawn to a 'lost album' Vivian Stanshall Sir Henry at Rawlinson End. Vivian Stanshall seventies received much attention in John Peel's Radio 1 sessions, replacing him even when the master was on leave. He was also the founder of the famous Bonzo Dog Doo-Dah Band who experimented with jazz, psychedelia and poetry. In 1978 appeared on the Charisma label his personal blend of Music And Spoken Word. The plate had a cult status but still remained in the obscurity of the British Isles.

Later the album was well filmed and there appeared a book version. In 1991 Vivian spent his Rawlinson Dog Ends even before a sold out crowd. For me the CD recording of this performance. And now a new adaptation by Michael Livesley. Nothing is easy so ... it overtook a few years before he was surrounded with the perfect musicians. In 2010, Liverpool received the honor for the premiere and still 'on the running (see website). Michael sings and acts as narrator of a bizarre story with lots of puns and quips. Musically, he received help from include Rick Wakeman on piano. As in the original version, it is mainly old instruments which emphasizes the specific nature of the work. No easy task for an arranger / composer / guitarist Bill Leach to preserve faithfully present the bizarre compositions.Unfortunately, my knowledge of the English language was much too short to understand the comical puns of the late Vivian Stanshall (RIP 1995) in all its nuances.

Prove that the resurrection of this masterpiece deserves attention: Rick Wakeman brings this CD as first release of his newly established record label Guilty Dog. Lineup:

Vivian Stanshall (Writer)
Michael Livesley (Singing/Narrator/Everybody Else)
Bill Leach (Arrangements, Guitar, Ukulele, Jaw’s harp)
Susie Honeyman (Violin, Stroh Violin)
John Lewis (Clarinet, Recorder, Violin)
Chris Hough (Banjolele, Double Bass)
Ged Fox (Trumpet, Penny Whistle, Kazoo, Sousaphone)
Jonny ‘purple’ Hase (Concussion and Percussion)
Andy Frizell (Crumhorns, Recorders, Backing Vocals)
Rick Wakeman (Piano)
Neil Innes (Ukelele)

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