Everyone who has ever raised a VAT invoice should raise at least one worded like the invoice below:
INVOICE – FILE COPY
VAT REG NO GB 646 1995 04
Date: 9 January 1995
FAO Risk Theatre Company Limited
c/o John Random Tax point: 9 January 1995
c/o Canal Cafe Theatre
Delamere Terrace
London
W2
INVOICE TO: Risk Theatre Company Limited
ACCOUNT REF: RT01
INVOICE NO: 02010
In respect of songs and sundry patter for the 1994 run of Whoops Vicar, Is That My Dick.
£
ROYALTIES 11.07
VAT @ 17.5% 1.93
————-
TOTAL £13.00
========
This amount has been received, with thanks.
Of course, as any fule no, that invoice should have read “Whoops Vicar, Is That YOUR Dick”. How I might have mistaken my dick for that of the vicar is anyone’s guess.
I think I might have been pushing my luck a bit pointing out that I recommended her, but there we go. I think it worked, though, as my material at that time was going through a bit of a Z/Yen start-up lull, but quite a lot of this stuff (the better pieces) did get used.
Usual caveats about Amipro tables losing their formats for Ogblog blah blah.
Vicky Jeffries
News Revue
LIST OF SONGS SUBMITTED AND TAPE TRACK LISTING
JANUARY-FEBRUARY 1995 RUN
Dear Vicky
Its good to learn that you are back. I hope Harriet has told you that I suggested your name for directing this run. So think of me as you wade through all the material you must be receiving!!
This starter pack consists mainly of brand new songs, with one or two rewrites of previously unperformed ones. If you want me to work on a rewrite of an old chestnut of mine that you might have uncovered in the archive, just let me know.
Call me and let me know if you are short of any subjects or styles and I shall try to oblige. Also, if any of these need a bit of rewrite then I am happy to change them on request.
Good luck and I very much look forward to seeing you again soon.
Song Title / Original Title/ Artist on Tape
Aprox. No. of Performances 7+ 4-6 1-3 New
Side 1
privatise / bright eyes/art garfunkle – New
the peanut farmer / the peanut vendor/alvin “snake eyes” tyler – New
tory rebel (co-written with d a barham) / rebel rebel/david bowie – New
intel / inchworm/danny kaye – New
gillian shepherd / jennifer eccles/hollies – New
veal meat again / we’ll meet again/vera lynn – New
newt gingrich / moon river/danny williams – New
virginia / cecilia/simon & garfunkle – New
i’ll never find another job / i’ll never find another you/seekers – New
qe2 (co-wrttten & sent in by d a barham) / sos/abba – New
Side 2
jeffrey archer medley / we’re in the money/goldiggers
i say a little prayer/aretha franklin – New
…I had a go at the old classic in the matter of Dutch veal a few months earlier.
I think this might have been used briefly. Certainly the Wheel Vera Lynn one was a big NewsRevue hit.
I subsequently met William Waldegrave en passant occasionally; he and his family lived locally in those days and were big fans of the Park Inn restaurant. If May had a function there, the Waldegraves tended to show.
VEAL MEAT AGAIN (To the Tune of “We’ll Meet Again”)
INTRO – CALVES
Let’s say goodbye with a smile, calves, Just for a while, calves, We’re en route. Don’t let departing distress you, We’ll all impress you, En croute.
CHORUS 1 – WILLIE WALDEGRAVE
Veal meet again, Don’t know where don’t know when, But I’ll sell veal meat again some market place. Keep them in stew, while they’re rare or they’re blue, I’ll pretend I think the Dutch are a disgrace.
MIDDLE EIGHT – STILL THE IDIOT WALDEGRAVE
So will you calves all be brave for Will’yim Wald’grave, With Dutch courage and spice; Please don’t stay looking puce, lilly liver’s no use, It might depress your price.
CHORUS 2 – CALVES
Veal meat again, On a Dutch boat and train; And you know we’ll be in pain, Stuck in a crate.
MIDDLE EIGHT – BACK TO WILLIE
So will you go to yer grave cursing me, Waldegrave, Selling you down the shops; You’ll be happy I know, that you all got to go, And be veal escalopes.
CHORUS 3 – CALVES
Veal meat again, Shipped back by boat and train, Cos you know we’ll meet again, On British plates.
Here is Vera Lynn singing We’ll Meet Again with the lyrics on the screen:
Debbie Barham was one of the most talented young writers to enter our NewsRevue orbit back in the early-mid Nineties. She really was just a kid when she first showed up; pretending to be a drop-out after a year at University whereas she was actually a fifteen year old runaway from school and family. Her untimely demise was a genuine tragedy.
But by late 1994/early 1995 she and I had started corresponding by e-mail and attempted to write a little bit together, with very limited success.
This lyric is one of just a couple of joint submissions we made to NewsRevue. I don’t remember it making the cut.
TORY REBEL
(To the Tune of “Rebel Rebel”)
VERSE 1
REBELS: We’ve got John Major in a whirl,
(Cos) Theresa Gorman’s our kind of girl;
MAJOR Hey guys, you’re so far right,
Hey guys, please party tonight;
REBELS: We hate Frogs, Krauts and Wops we shun,
We love hanging even more than the Sun;
MAJOR You sound off like Attilla the Hun,
How many of you are with me?
REBELS None!
MIDDLE BIT
REBELS: We’ll stick our ground, ‘cos we’re no drips,
MAJOR: We’re cracking down with our Tory whips.
CHORUS 1
ALL: Tory rebels,
MAJOR You’re past your best,
ALL Tory rebels,
REBELS: John Major’s a mess;
ALL: Tory rebels,
REBELS You look forlorn,
MAJOR Tough shit, you’re whip’s withdrawn.
CHORUS 2
ALL Tory rebels,
REBELS: We’ve earned some credit,
ALL Tory rebels,
REBELS: From Thatcher and Tebbit;
ALL Tory rebels,
MAJOR: Most people know,
You’re as bent as Portillo.
Here is Bowie singing Rebel Rebel with lyrics in English and Italian – that might get up the Eurosceptics’ noses…
Hmmm, I’m not too sure about this one. There was a lot not to like about Gillian Shepherd and her education policies, but this lyric feels a bit personal in a way that one probably wouldn’t direct bile at a male politician.
Mind you, writing in April 2017, I can think of another senior Tory female who makes me feel angry enough…
…and the Gillian Shepherd lyric is supposed to have a “nasty kids” feel to it…
GILLIAN SHEPHERD
(To the Tune of “Jennifer Eccles”)
(Sung by a chorus of nasty schoolkids)
VERSE 1
White chalk written on red brick,
Our funds bound to withdraw;
That’s why we’ve got no blackboard,
Tough bitch, hateful old bore.
CHORUS 1
We hate Gillian Shepherd (ugh-ugh),
We know that she’s ugly;
We hate Gillian Shepherd (ugh-ugh),
We know she’s not cuddly.
La la, la-la-la, la la,
La la, la-la-la, la;
La la, la-la-la. la la,
La la, la-la-la, la;
MIDDLE BIT
One rotten morning,
Found out we’d failed our grades;
Started us thinking,
That vixen ought to be spayed.
VERSE 2
We hope Gillian Shepherd (ugh-ugh),
Will soon be down on her knees;
She screwed up agriculture,
And got mad cows disease.
CHORUS 2
We hate Gillian Shepherd (ugh-ugh),
We know that she’s cutting;
We hate Gillian Shepherd (ugh-ugh)
She looks like pigs rutting.
WE hate Gillian Shepherd!!
Here is Jennifer Eccles by The Hollies – lyrics are there below if you fully load YouTube:
I don’t think I was at my very best as a lyricist in the opening overs of 1995. I think my mind was more on “baby Z/Yen” than on humour. A few hits but more misses, just for a few months.
This is one of the misses from that period. I don’t think it got used. I think I was very keen to do something to the tune of The Peanut Vendor. That aspect I still applaud. But the piece almost feels unfinished to me – like some fragments I can still find on my old jotters that never got past the “decent idea” or “good line or two” stage.
THE PEANUT FARMER
(To the Tune of “The Peanut Vendor”)
INTRO
Jimmy Carter, he’s such a brick,
Jimmy Carter, he’s old and thick,
(refrain throughout)
MAIN BIT
Carter,
If you languish in Korea or Port-au-Prince,
Meet the fella with a mouth full of foot prints;
One day he’s out in Bosnia,
Next day with strike torn US baseball stars;
So if he swings a Balkan compromise,
Will they give him a Nobel Peaceful Prize?
But Jimmy would have gone there anyway,
On a low price Saga Holiday;
The peace talks saved him the fare.
Bill Clinton ought to learn from Carter’s aid,
And just lie low for at least a decade,
Or maybe two to be fair.
If Bill lies low he’ll do no harm,
Should leave his nuts on Jimmy’s peanut farm.
Jimmy’s revered, an autumn flower,
But he was a failure when in power.
Here’s the tune of The Peanut Vendor, by Alvin “Snake Eyes” Tyler. It’s an instrumental really, despite the “jungle fresh” lyric stuck in the heads of all of us who are of a certain age.
I don’t think this one was ever used…while Intel are for sure still going.
INTEL
(To the Tune of “Inchworm”)
INTRO – REVOLTING CHILDREN
Two and two are four,
Four and four are eight,
Eight and eight are sixteen,
Sixteen and sixteen are thirty-one (losing note slightly on the one)
VERSE 1 – IDEALLY A DANNY KAYE SOUNDALIKE
Intel, Intel (two and two are three),
Churning out the Pentiums (four and four are six);
You and your arithmetic (eight and eight are thirteen),
You’re bound to catch a cold (sixteen and sixteen are thirty-nine).
VERSE 2 – IDEALLY A DANNY KAYE SOUNDALIKE
Intel, Intel (two and two are nine),
Hailing the millennium (four and four are twelve);
Bitterly divided now (eight and eight are plenty),
By then you’re bound to fold.
(sixteen and sixteen are beeeeeeeep…………error………..it does not compute………….).
Here’s Danny Kaye – you need to wait a minute or so for Inchworm:
Just sometimes a slow number would be a huge hit in NewsRevue. Privatise was one of those – it was in the show for yonks and frequently got the audience going big time.
One of my best ever lyrics in my opinion. At times (e.g. now in 2017) it could be in the show still.
Beware friends; the chords look straightforward I’ll be working this one up on the baritone ukulele myself.
PRIVATISE
(To the Tune of “Bright Eyes”)
VERSE 1
Is it a kind of scheme,
Dreamt up by the right?
Making utilities less safe and clean,
The price is obscene.
VERSE 2
There is cold comfort for staff,
And hot gas from the mighty;
Silently bosses look after themselves;
Milking them clean,
With pay rise extremes.
CHORUS 1
Privatise,
Post, health and power,
Privatise,
Industry, coal and rail;
How can a trade that’s done quite nicely,
Suddenly turn and fail,
Privatise.
CHORUS 2
Privatise,
Lords, House and Whitehall,
Privatise,
Number Ten Downing Street;
Then maybe berks who’ve caused this nightmare,
Will end up on the street,
Privatise.
The tune is Bright Eyes; here is Art Garfunkle’s delightful rendering:
I also wrote an update 28 May 1996:
PRIVATISE – 1996 REMIX
(To the Tune of “Bright Eyes”)
VERSE 1
Is it a kind of scheme,
Dreamt up by the right?
Making utilities less safe and clean,
The price is obscene.
VERSE 2
There is outsourcing for staff,
And increase for directors;
Silently bosses look after themselves;
Milking us clean,
With pay rise extremes.
CHORUS 1
Privatise,
Trains, health and power,
Privatise,
Military, coal and rail;
How can a trade that’s done quite nicely,
Suddenly turn and fail,
Privatise.
CHORUS 2
Privatise,
Lords, House and Whitehall,
Privatise,
Number Ten Downing Street;
Then maybe berks who’ve caused this nightmare,
Will end up on the street,
Privatise.
Odd one, this. I don’t have a printed copy on file and it has a slightly unfinished feel to it – I’m not sure I ever finished/submitted it.
One or two good lines, though.
2-4-6-8 INTERNET
(To the Tune of “2-4-6-8 Motorway”)
VERSE 1
Whizz kid sitting pretty with a new style Pentium,
Ain’t no 486 , you get speed on your side;
Ain’t no use unless Intel’s been ammending ’em,
Unless you never want to long divide.
CHORUS 1
And it’s 2-4-6-8 Internet,
Me and my modem buzzing all through the night;
3-5-7-9 bug on the line,
Superhighway, crashed, got a warning light.
VERSE 2
Well there ain’t better news if you choose to cruise the Compuserve,
And World-Wide-Web’s like astronomy in a smog;
No one knows if this highway’s leading nowhere,
Cos most people still think Kermit’s just a frog.
CHORUS 2
So let’s start a British Internet,
Too few modems, all get stuck in a jam;
3-5-7-9 work on the line,
Highway’s shut, use an envelope and a stamp.
Here is the Tom Robinson Band singing 2-4-6-8 Motorway, with lyrics on the screen:
I don’t mean “my first flame” in the romance sense. Good heavens no. I was over 20 when Africa was released as a single, in my third year at Keele.
No, no, no, I mean my first internet flame.
I started using the internet in the second half of 1994, while setting up Z/Yen, primarily because I/we expected it eventually to be useful for business.
But there wasn’t much going on commercially on the net in those days, so, to get into the swing of using the net, I used it quite extensively for my personal interests. Not least, at that time, subscribing to some Usenet groups that I thought would help me with my development of comedy lyrics, including one where people simply discussed the lyrics of songs.
One correspondent on that lyrics group stated that Africa by Toto was their favourite lyric of all time. That posting made me recall the spring of 1983 and the way that my flatmate, Alan “The Great Yorkshire Pudding” Gorman and I would mimic the line
As sure as Kilimanjaro rises like Olympus above the Serengeti,
which at the time we thought might be the most pretentious lyrical line ever, not least because it barely rhymes with “solitary company” and also barely scans the beat of the song. You sort of need to rush through that line like a broadside balladeer or a calypso singer with too much to say and not enough beats in which to say it.
I made these points about Africa by Toto on that Usenet group and then went about my business for the next 12 or perhaps even 24 hours, as was the dial-up method in those days.
When I returned to the group, I had been comprehensively flamed by the Africa-lover. Their beef was only partly a disagreement with my feelings about the lyric, which was understandable. It was primarily a character assassination suggesting that I was not qualified to discuss that lyric, on the basis that I had failed correctly to transcribe the line in question.
That line actually reads, “as sure as Kilimanjaro rises like a lepress above the Serengeti”,
explained the angry song-lover.
In those days, there was no Google or YouTube or Wikipedia or on-line repository of lyrics to turn to. But I couldn’t even work out what a “lepress” might be. Nor why anything other than “Olympus” might make sense as the simile in question. I even spent a few minutes looking through the dictionary to see if there was a word which had slipped my mind, the feminine form of which might be lepress and make sense in context. The only word I could think of that might take the feminine form “lepress” was “leper”, which didn’t make sense to me in context.
I made these points on the Usenet group and then went about my business for the next 12 or perhaps even 24 hours.
When I returned to the group, I had been even more comprehensively flamed by the Africa-lover.
You know ******* well that a lepress is a female leopard. Don’t be so ******* insulting.
The flamer had also acquired one or two supporters who joined in the flaming, mostly on the grounds that they like the song, a view which I find fair and with which I have some sympathy. I also sort-of like the song; it’s just that one line that has always grated on me and was the source of our 1983 mirth.
But also, by now, I had acquired quite a few supporters, some of whom were supporting the logic of my specific argument about the lyric, while others were simply arguing that I was entitled to my opinion and that the purpose of the group was, after all, to debate lyrics.
I also received a private message with a plea from one of the group’s moderators, who told me that she felt that I had been unfairly flamed but asked me to post a conciliatory message to try to calm the group down. She was asking me to do this, she said, because she sensed that I was the more likely of the combatants to acquiesce to her request.
I thought about the moderator’s conciliation request, while also consulting my English and American dictionaries, to try to work out what a female leopard might actually be called. “A leopardess”, since you asked. I also listened to Africa by Toto again, just to see if I could detect anything other than “Olympus” in that line.
So I did post a conciliatory note.
I apologised to the original poster for my not liking the Africa lyric as much as they did. I apologised to any females or lepers who had been offended by my attempt to define the mystery word “lepress”. I asserted that the female leopard is a leopardess in both English and American usage. I suggested a compromise lyric, with neither Olympus nor lepress, which might just make sense and satisfy everyone’s sensibilities:
As sure as Kilimanjaro rises like a left breast above the Serengeti.
I dialed-in to that group a couple more times over the next day or so to watch the flaming discussion peter out. Then I unsubscribed from that group.
Anyway, here is Africa by Toto with the lyrics shown in all their glory and accuracy on the screen.