Wednesday, April 30, 2014

An EXCLUSIVE interview with NEIL INNES





PARODIES LOST:

An EXCLUSIVE interview 
with 

NEIL INNES

By Stephen SPAZ Schnee





     Though he has yet to be knighted, Neil Innes is British Rock ‘n’ Roll royalty.  He’s been a key player in many of the most influential groups in the last half century.  He formed The Bonzo Dog Doo Dah Band (later shortened to The Bonzo Dog Band) with Vivian Stanshall, appearing in The Beatles’ movie Magical Mystery Tour. Paul McCartney then produced the Bonzos’ biggest hit single  “I’m The Urban Spaceman,” which hit the Top 5 in 1968.  After the Bonzos split, Innes began working with Monty Python, appearing on their records as well as their TV series and films.  In 1976, he and Python’s Eric Idle conceived the BBC TV series Rutland Weekend Television – Idle wrote the sketches while Innes provided the music.  One particular sketch involved The Rutles, a fake ‘60s Pop group fashioned after The Beatles. When that sketch was broadcast in the U.S. on Saturday Night Live, The Rutles became almost as legendary as the band they parodied.  A Rutles mockumentary entitled All You Need Is Cash was created for NBC television and broadcast in 1978. The rest, as they say, is history.
     While The Rutles may have become larger than life, Innes continued to create some of his best work with the BBC TV series Innes Book Of Records, which debuted in 1979.  On this show, he wrote and recorded an amazingly varied batch of songs and created videos for each of them (which was groundbreaking for its time since music videos were not as common as they would be a few years later).  The series lasted until 1981. However, the music and video clips have become the stuff of legend and have popped up on YouTube over the years.  In the 30+ years since Innes Book Of Records, Neil has continued to write and record some amazing work, although not quite as prolifically.  There was even a second Rutles album, Archeology, released in ’96! And in between all of these projects, he also managed a solo career as well as projects with other bands like Grimms (featuring Paul McCartney’s brother Mike McGear) and so much more. In 2008, Innes reunited with his Rutland Weekend Television band, Fatso, and did a reunion tour.  Six years later, a two CD document of that Farewell Posterity Tour finally sees release on Angel Air Records.  Along with All You Need Is Cash’s first appearance on Blu-Ray, the U.S. release of the four disc Le Duck's Box Set and a Rutles reunion tour, 2014 looks to be Innes’ busiest yet.
     Stephen SPAZ Schnee was honored to chat with Neil Innes about the Farewell Posterity Tour release, The Rutles, The Beatles, Monty Python and so much more…


STEPHEN SPAZ SCHNEE: Neil Innes & Fatso’s Farewell Posterity Tour is finally being released. What took so long in releasing it and how are you feeling about the project?
NEIL INNES: I’ve been sort of in the back seat a bit other than being frontman (laughs). We did the tour and we had a great time and it was recorded and then people started fiddling with it and then, you know, it’s just taken its own time. And finally, we’ve got someone who wants to put it out and so it’s just taken the time it needed to. It’s for those people who remember things and like it and then it was a lovely chance for us to play together.


SPAZ: Fatso is the band that you used on Rutland Weekend Television, right?
NEIL: Absolutely.  John Halsey, who became Barry Wom in The Rutles, rang me up one day and said “What are you doing?” And I said “I’m doing this television  with Eric (Idle). What are you doing?” And he said “I’m playing with this great band called Fatso.” I said it sounds wonderful. He says “Why don’t you come and play with us?” I said “I’d love to.” You know, because television is television, but getting up and playing is something else and so I did, and we all got on just immediately and we started playing in pubs in London and what not and Eric Idle came down one night to see us. And then Eric said “Why don’t we make them the Rutland Weekend house band?”  And then we ended up backing George (Harrison) on the Christmas special. So that’s the story of Fatso.


SPAZ: What inspired you guys getting back together? I know you played with John Halsey throughout the years but then the band also featured Billy Bremner, who a lot of people in the US know from Rockpile.
NEIL: Yes, of course. This is absolutely surreal, but I was at George’s once and I was talking to Eric Clapton and he said “What are you up to?” and I said “I’m playing with the band Fatso with Billy Bremner on guitar.” And at the same time there was famous footballer, a Scotsman, called Billy Bremner. And Eric says “You’re kidding! You know, he’s a footballer.” I said, “No, no – he’s Billy Bremner, he’s a guitarist.” And he goes “Ahhhh!”… he wasn’t having it. I said, “Come on, there might even be a footballer called Eric Clapton, you never know!” (laughs)


SPAZ: You’ve released some amazing solo records and you’ve also been involved with the Bonzos, The World, Grimms, The Rutles, Fatso…do you feel more comfortable in a band situation rather than a solo artist?
NEIL: I’ve always been a bit of a shrinking violet, you know? I’ve never been one to go “Look at me, I’m wonderful!” I’ve never been that kind of showbiz animal. But I love playing music with people. And, it’s funny, I was good friends with George and he was the same. He was quite happy being the quiet one. I’m very lucky to have played with the people I have played with. Whether it was a band going on the road or whether it was the guys that turned up for the television show Innes Book of Records - a lot of that stuff is now available. I’ve got this Le Duck's Box Set out now. It’s box set of three CDs, which have got most of this stuff on and a free DVD of some clips from Innes Book of Records.



SPAZ: Are the recordings in the box taken from the video master or are they actually the studio mixes?
NEIL: Because of the nature of the television show, we recorded it multi-track. The first series, we did it in the BBC studio and I realized that this is not really going to be helpful because they have 8-track and they had faders that went quieter as they went away from you. The reason for that was if an engineer fell asleep and knocked the fader, it would go quieter, not louder. I remember I was in the control room listening to the drum sound and it sounded awful - like somebody with a wooden spoon and some saucepans. So, you can understand why we wanted to move out. In fact, we used Manfred Mann’s studio, The Workhouse, and Steve James was the engineer who had been my #1, my arm in the studio. So we made it all there.


SPAZ: Now, a lot of people are obviously interested in your work with the Bonzos, Python, Rutles and all of that. Do you think it overshadows your solo work?
NEIL: You know, it’s funny – the first time I went to Japan, I thought it was only because of Bonzo, The Rutles, or whatever, and I said well, what do you want me to do, the Bonzos, the Rutles…and they said “No, we like your stuff.” It’s always nice to know that people listen to some of the less well known things, not so much the fame and all that.


SPAZ: Now, going back to briefly touch on some of the more high profile stuff – how did the Bonzos get involved with Magical Mystery Tour?
NEIL: Well, there are several coincidences. When the Bonzos were on the road, we kept bumping into a group called Scaffold, and they were basically Mike McCartney, Mike McGear as he was known, and we kept bumping into them. We were also playing at places like the Saville Theatre, which was run by Brian Epstein (Beatles manager). Anyway, we heard that the Beatles used to come out and see us and they were wearing false beards and things like that. It happened that Paul (McCartney) was going to make the film and Mike was there and Mike said to Paul, “Why don’t you put the Bonzos in the film?”  And Paul says, “Yeah, good idea.” So, the next thing we know, we just made the album Gorilla, and we had a request to send Paul a copy of the album and so we thought, oh well, why not? So we sent him the album, and he chose “Death Cab For Cutie” as the song to do in Magical Mystery Tour. He came up to me and said oh, I really like the album. He said I really like “Music For The Head Ballet” so I thought, that’s good, he’s alright then.


SPAZ: Were you surprised when a U.S. band called Death Cab For Cutie became popular?
NEIL: Oh yeah, I was quite gob-smacked with that. The Bonzos used to collect old 78s to find songs to do to play in the pubs because we didn’t write anything in the early days and amongst the old records was a box of old magazines and inside there was an American magazine, a True Crime magazine and on the cover was the headline Death Cab For Cutie and just underneath it, ‘It was a great party until somebody found a hammer.’ “Death Cab For Cutie” was one of the few songs that Vivian Stanshall and I wrote in the same room. We wrote in an afternoon. Then we put that on Gorilla and then it ended up in Magical Mystery Tour. I suppose that’s how the guys in Death Cab For Cutie got to hear of it. I don’t know. I really don’t know to this day how they chose the name. It’s unlikely they found a similar magazine… then why didn’t they choose to call themselves It Was A Great Party Until Somebody Found A Hammer? (laughs)



SPAZ: Was working on Magical Mystery Tour what led to Paul producing the Bonzos single “Urban Spaceman?”
NEIL: No, that was a coincidence, but you know, we struck up friendships. We often used to hang out with John outside his flat in Islington. We used to hang out with Paul down at a club called The Speakeasy, which is sort of a place where celebrities could go and have a drink. You couldn’t really go in a pub. Viv was talking about the fact that we had to make a single. The record company was sort of really twisting our arms. We didn’t want to because we were doing quite well without bothering with the hit parade, you know. We were as well paid as anybody who was in the hit parade. We didn’t see the point. So Paul says “I’ll come and produce it.” So, we went to our producer/manager and said “Okay we’ll do the single, but we don’t want you to produce it.” And the poor man, he went “Oh, and who do you think you’re gonna get?” And we said, “Alright, we’ve got Paul McCartney!”  
And then the funny thing happened. The day came and in comes Paul. He said, I’ve just written this and he goes across to the grand piano and he starts playing “Hey Jude.” Well, no one really knew what it was….no one had heard it, probably the Beatles hadn’t heard it. He probably really had written it the night before. So there he is playing. This thing is taking him about three months to play, you know? I thought he was winding up our producer because it’s just taking so long to play this dirge. We were laughing about that. So finally, we get down to doing “Urban Spaceman.” We took about 8 hours and then Viv said, “Well, I’d really like to play my garden hose.” “What’s that, Viv?” “A piece of garden hose with a trumpet mouthpiece in one end and a plastic funnel in the other.” He’d whirl it around his head and so the engineer said, “You can’t record that.” And Paul says, “Yeah he can. Just put a microphone in each corner.” So that took another 20 minutes and that noise you hear on the end of “Urban Spaceman” is Viv whirling his hose pipe trumpet around him. So, anyway, at the end of the session, our producer was saying “We’ve done it. We got Paul McCartney” and it was then we hit him with the bad news that we didn’t want to use Paul’s name. We didn’t want success on someone else’s coattails. And he was almost in tears. “What name are you going to put on the record then?” And then somebody in the room said “Apollo C. Vermouth” and Paul said, “Yeah, I like that. I’m Apollo C. Vermouth.” It got to #17 without anybody knowing and then of course, somebody found out and it shot up to #5.


SPAZ: When the Bonzos split, you formed Neil Innes and The World. Were you trying to go in a different direction with that project?
NEIL: Well, you can imagine five years, no holidays, and we (the Bonzos) really had to sort of stop. But, I didn’t choose the right direction. It was too much of a kind of rebound. It was like the relationship is over so you go out with someone else, but it wasn’t right. And I knew halfway through the album that it wasn’t right. I didn’t really finish the album. But, actually, it’s not too bad. I’m quite fond of it now. But, I know that Robert Fripp was really keen on Ian Wallace, the drummer. His technique was fantastic. I used to say, “Actually Ian, that’s great. That’s fantastic, but can you go boomp, crack, boomp, crack?” And he says okay, and I got a couple of boomp, crack, boomp, crack…and then you get diddly bump, ump, like Animal from The Muppets. When Fripp said “I really like your drummer,” I said, “Do you?” It was very nice for Ian then to go over to join King Crimson. And so I didn’t feel so bad about it. But I think it’s a fair enough album. It was the wrong thing for me to do. I should’ve done a mixture of things that I like to do. I make terrible jokes about this, but I mean Shakespeare would do comedies and dramas, you know. And while nobody says that you can’t do one or the other, he did both. I like to do both. So I said “What I do is rather like Shakespeare, but with better songs.” (laughs)


SPAZ: The album How Sweet To Be An Idiot is a great balance because everyone is familiar with the sort of humorous side, but I think that the songwriting is superb. The title track has this beautiful melody with a ‘different’ lyrical approach…
NEIL: Well, they don’t fit into a comfort zone, do they? I kind of want it all. I want something that’s simple, melodic, but also makes you think. It’s something that stems from art school or because I’ve always wanted to draw even when I was tiny. You reach that stage when you say “Hey, dogs haven’t really got fingers!” or “There’s shadows on trees!” So you start looking at things and you go to art school and see people with no clothes on and you start looking at the human race in another way. It just means you’re not buying into everything. And so, I still think - and it’s all through my life - we need a game more than any other kind of theory or whatever. We need a game to change the game about the way we think. Because none of us know what we are, who we are, or why we’re here. We’re not meant to know. And the people that sort of get up and say they think they know, we should know better than listen to them.
I’m optimistic in this day and age of social networking and whatever. People debate about the fact that we’re really in danger, we’re in danger of killing off the planet. And all you can say about it is “Well, we made fantastic golf shoes!” There’s stupidity all around and it needn’t be like that. It’s because everybody is a kind of an idiot. We are little lonely things, all alone together, and we sort of follow this and that and we go around in herds looking for meaning and it’s not always in a herd. My self-esteem is important to me, and so is somebody else’s important to them. No one is actually better than anyone else because we need plumbers as much as we need rocket scientists. We need good cooks, we need nice mums, we need everybody that there is. We have to put up with the mad because that must be part of humanity. But unless you’ve got some people still pushing away to do good things, it’ll all go belly up. I think it all has to be there. If it’s in your mind, you should say it. Not intrusive, but I mean, just say it.



SPAZ: The next thing you did was Monty Python. Did you sort of feel that was an extension of what you were doing with the Bonzos?
NEIL: The Bonzos were invited to make this television show called Do Not Adjust Your Set and also invited to do it was Michael Palin, Terry Jones, Eric Idle, and David Jason., who is now Sir David Jason - he’s a brilliant comedy actor - and Denise Coffey, who is one of the all-time great Scottish-English-British comediennes. And there we were, thrown together to make children’s television. And they made 26 of these. Even grownups would rush home from work in time to see it, including John Cleese and Graham Chapman. And then Terry Gilliam joined us for the second 13 so really, I was involved in the embryonic Monty Python. And we knew each other very, very well. The Bonzos went off to America, and by the time we’d come back, they’d formed Monty Python with Graham and John. And then the Bonzos sort of packed up, and I did a kind of convenience deal with United Artists…
So all of a sudden I’m just writing, recording and producing various people for the next three years. Then Eric rings me up and says “What are you doing?” I said “I’m writing and producing and recording…” He said “Fancy coming up to the television center?” And I said “Why?” And he said, “Well, our warm up man is ill.” I said, “I don’t do warm ups!” He said, “Its 35 quid.” So, I went up and they were recording Monty Python so I just did a few songs and things and mucked about and then we went off for a meal after the recording. The real reason they asked me up was that they were gonna make an album and they wanted some help with their songs. I think Eric and Mike and Terry had suggested me because we’d worked together in doing Do Not Adjust Your Set. Eric is on record as saying that they learnt about anarchy from the Bonzos. So I said, what kind of songs have you written? And Eric said “Well, Michael’s written this thing about Agrarian Reform in the Middle Ages… (“The Background To History” from the 1973 album Matching Tie & Handkerchief). So I ended up helping them make records in the early days and then I got stuck with them on live shows and bits and pieces and worked with them on and off for the next ten, fifteen years.


SPAZ: In 1976, you did Rutland Weekend Television with Eric Idle. Can we expect that to be released at some point?
NEIL: It’s on YouTube, but I don’t think Eric wants it to go out officially. I don’t think he’s happy with it. It’s a bit patchy…. and you know, when something is that old now, I think patchy is quite nice, but it’s up to him. It’s his call.

SPAZ: The show itself, it accented your gift of doing any style of music. Was creating the music a challenge or did you find it to be a great creative outlet?
NEIL: It was definitely an outlet because that’s only another step on from what we were doing in the Bonzos. The Bonzos did all kinds of music. And in fact, if you think about it, so did the Beatles. Let’s have a bit of this, let’s have a bit of that, you know? I must pay tribute to John Altman, who was doing all the arrangements because I couldn’t have managed with so many… When we started making Innes Book Of Records and what have you, John Altman was on everything. In return, at least every series, I’d do one big band number. That was his outlet so he got a go at that. But it was lovely. I mean I know it doesn’t make commercial sense to deal with different styles. Once you get used to it and you realize that it’s a game changing thing. What I’ve done is just celebrate music, you know? I’ve played with all these wonderful people and the box set…. people are so nice about that. They say what a body of work it is. And it is amazing. It doesn’t fit into the narrow-minded exploitation of the mass market, which is what drags Pop music down. And there’s some great songs out there, but you don’t get to hear them because you’ve got people farmers out there, neo Nazis running disposable income gathering systems. (laughs)

SPAZ: It still gives me goosebumps when I listen all these years later.
NEIL: That’s what it’s for though, isn’t it? I often think what I’ve done is more like paintings and any generation can come along and see it later on and say, “Oh yeah, I know what that’s about.”

(The original Rutland Weekend sketch that started Rutlemania.  They appear roughly 5 minutes in!)

SPAZ: Rutland Weekend gave birth to The Rutles, and that’s a whole different ball of wax. Are you surprised that this one little sketch on Rutland Weekend Television turned into a US TV special, a soundtrack, and, in some areas, that’s what you’re best known for?
NEIL: The only downside is, and it’s a small downside, is that some people just think I’m a parodist. But, that was the job. You know, the first thing was to try and write some songs that would be in people’s minds just like the Beatles, but not the Beatles. And then I remember when I first got the job, as it were, I thought that, like everybody, at the time it was just a one off that made us laugh. But then when it got shown on Saturday Night Live, it was like a game everyone could play. Not just the people in the band, but everybody connected with it. Everybody then wanted to be a Rutle fan. You know it was a game. Like putting on a cape and pretending you were going to fight evil or something – the way children know how to play. They sort woke that up in everyone and that’s what’s so lovely about the whole project. 
Writing the songs, the big idea I had was I’m not listening to any Beatles songs. So, I did what’s sensible and I didn’t listen to any Beatle songs until I’d written all the songs we needed. And I got through that by thinking of where I was when the Beatles song came out. The only thing I could do was play it in my head, but at the same time put myself in the position that I was when it came out… as far as I could remember. So, a lot of the early songs like “Hold My Hand” and what have you – they’re sort of me going back to school dances and the excitement and thrill of putting your hand inside a girl’s bra for the first time, you know? And then writing from the teenage heart, if you like. That was quite difficult to get back to that. But then some of the Psychedelic stuff was so easy to write. Eric was very helpful with suggesting immediately that “Help,” our version could be “Ouch.” That’s the perfect word. I mean, he should take credit for “Ouch,” certainly for coming up with the title of it. 
The first album, it only took 10 days, and that’s including the mixing and the overdubs that John Altman did and we rehearsed the band - that’s Ricky (Fataar), John, Ollie (Halsall) and myself - in a little house in Hamden for two weeks with 2-track. It was like being on the road, and we came out of there really feeling like a unit. So, that went into the studio and we got the tracks. The first thing, you must have the basic track right… almost like you gotta be able to sell the song with one instrument. You gotta get the track right before you can put the overdubs on and then you can get the overdubs to sound right and so on and so on. Steve technically said “I’m going to record it at 30 inches per second.” But the thing was recorded and we’re going “God, this is sounding great!” Then we went “There’s something wrong though, isn’t there? What is it?” Then we thought “It’s sounding too good!” (laughs) We soon realized that we obviously couldn’t slow it down, but what we could do is take a mix and then put that mix through a compressor to just make it not sound quite as good. And they did that and they said, “That’s the way. That is the way!” And we took that mix and we put that to the sound compressor again and then we got it sounding vintage. That was the anorak side of things. We were heavy into forgery by then, you know. Not at the songwriting stage, you know, cause that had to be fun, and I didn’t want to diminish anything that the Beatles had done.

SPAZ: The songs have truly stood the test of time, too.
NEIL: People have been very kind about the songs. There’s a couple of them that really stand out and one is “Let’s Be Natural.” I met a couple of fans who have lost people, and they’ve chosen to play that at the funeral, and I found that really quite moving.


SPAZ: I think you may have addressed this in separate interviews, but what did each of the four Beatles think of the Rutles?
NEIL: George was the most fanatical in terms of being a fan. He wanted the Rutles made, just like he wanted Life of Brian made. Of all the Beatles, he wanted to put the suit in the cupboard and move on. And this is a good way of telling the story in a more amusing way. The real story is just such a downer, and the Beatles weren’t going to get back together again and you couldn’t go back there. Whatever that euphoria was and the people who rightly or wrongly put too much into Beatlemania, they were going to be bruised and hurt and just like the Beatles themselves were bruised and hurt. But anyway, to answer the question shortly, George loved it, and I think John really liked it. Ringo said it was okay, but it was sort of “Huh, I don’t really play the drums like that.” I think Paul likes the music, but he doesn’t like the way Eric showed the person that he was supposed to be. I mean, it’s up to Paul not to like it. It’s not up to anybody else to say whether he should or not, you know? I thought Eric had gone over the top a bit, but I don’t think there is any problem between me and Paul. The last time I saw Paul at Magical Mystery Tour (2012 screening of the remastered film), he gave me a big hug, so I don’t think he’s got any beef about the music. At the end of the day, all we did was pay tribute.


SPAZ: Ollie Halsall played on the album yet Eric mimed his parts in the show. How did that come about?
NEIL: Eric wanted to sing on it. He’d just had his appendix out and he turned up on the first day in the studio and he could hardly stand. I said, “Look Eric, you owe it to the production to go back to bed and get fit and well for the filming in about three or four weeks’ time. OIlie knows all the songs. We’ve rehearsed them.” He’s never forgiven me for not letting him sing on the record.

SPAZ: Well, I think Ollie was the perfect musical foil for you.
NEIL: Absolutely. And of course, Ricky’s another one. He can play anything. Wonderful, talented guy. Incidentally, we’re putting the Rutles back together just to play some live things. John is there; Mickey Simmonds, who was on Archeology; Mark Griffiths on bass, he played with Hank Marvin and the Shadows - he’s a great jazz guitarist in his own right - and Ken Thornton who’s played with us before. I emailed Ricky, told him what we’re doing. I said, “You know, it would be lovely if you want to come.” He said “I’ve been on the road with Bonnie Raitt for 22 months. All I want to do now is sit on the beach with an umbrella in my drink. Have a wonderful time!” We’re not trying to be the film. We’re not wearing wigs and running around. That’s over. That wasn’t real. We’re real. We’re playing real music and we’ve moved on. We’re in that time of life when nature stops giving you things and starts taking them away. It’s pointless trying to be young 20-somethings or whatever, but the music is fun to play and sing, and the band is really, really tight, and we’ve got some live recordings from August last year, and I’m so happy with them. John Halsey does a drum solo that makes people laugh. (laughs) It makes me laugh every time I hear it. You hear the audience laughing. I mean, joy like that should be out there.


SPAZ: After The Rutles came Innes Book of Records. Was that just taking the idea of Rutland Weekend and getting rid of the sketches.
NEIL: Ian Keill, the producer of Rutland Weekend, rang me up and said, “You know, I’d really love to do a program like a Rutland Weekend Songbook or something.” I said, “Well, yeah, I’d like it too.” I like putting pictures to music. No one was doing it then. There weren’t really Rock and Roll videos - we’re talking the late ‘70s. So we had lunch and we said, “Yeah, let’s do it. We can’t call it Rutland Weekend Songbook so we’ll think of something else.” And on the way home in the taxi I thought of what I thought was a great name and I rang him up and said “I’ve got the title” and he said “What?” I said “Parodies Lost.” But he went, “Ohhhh yes….that’s amusing.” And I thought… oh, he doesn’t like it. He’d been backing for Innes Book of Records, which I thought was crap. We were out there filming, and I was up a hill somewhat dressed like the character from Cabaret, Joel Gray’s character. I called that character Nick Cabaret because it was nicked from Cabaret. There was an elderly couple with a fat dog who came up the hill and said “Oh, what are you doing?” I said “Oh, we’re making a program for BBC 2.” They say, “What’s it called?” And I went “Parodies Lost.”  “I beg your pardon?” “Parodies Lost, not Paradise Lost.” And they went “Oh, very nice!” and they walked on. And that night in the hotel I saw a reel of film with tape on the side and written in marker: ‘Paroids Lost.’ I said to Ian, “Okay, you win. Innes Book of Records.” And that was it. It was songs and pictures about people and things.  If somebody ever wonders what this is all about, we failed. You know, just keep it bubbling along and interesting.


SPAZ:  What’s next for Neil Innes?
NEIL: Well, immediately it’s the Rutle tour in the UK. We’re doing 19 gigs in the UK in May and then we go to Tokyo and do two nights in Tokyo. Then I come back and I’m carrying on with my audio Memoirs… I’ve taken nearly 6 months off to try and knock them into shape, but I’ll be doing that again through the summer Then I’m doing some one man shows. I try to be as busy as I need to be. I’ve just been finishing up a documentary about Vivian Stanshall for BBC.


SPAZ: Are you thinking of bringing The Rutles to the US with this tour?
NEIL: Well, if we can get the funds right, because touring is expensive. If we can get enough people that really want to come and see us, we’ll come. So it’s a question of if somebody wants to be a Sid Bernstein and bring the Rutles to America, I’m sure we’d come.


Thanks to Neil Innes
Special thanks to Peter Purnell and Dana House





NEIL INNES & FATSO
FAREWELL POSTERITY TOUR
IMPORTCDS     DEEPDISCOUNT



NEIL INNES
RECOLLECTIONS: LE DUCK'S BOX SET
(3CD + DVD)
IMPORTCDS     DEEPDISCOUNT



THE RUTLES
ANTHOLOGY
(Blu-Ray/DVD combo)
IMPORTCDS     DEEPDISCOUNT


THE RUTLES
THE RUTLES
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THE RUTLES
ARCHEOLOGY
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