For the sleeve notes, on the back cover of this LP, click here

For the sleeve notes, on the back cover of this LP - penned by Galton & Simpson, in their imitable style, click here

For the sleeve notes, on the back cover of this LP - penned by Galton & Simpson, in their imitable style, click here

For the sleeve notes, on the back cover of this LP - penned by Galton & Simpson, in their imitable style, click here

For the sleeve notes, on the back cover of this LP - penned by Galton & Simpson, in their imitable style, click here

Sleeve notes for A tribute to Tony Hancock - (ST 897)

     In the early years of television broadcasting, the BBC relied exclusively on comedians already established, who had worked out their apprenticeship in the music halls and theatres - comics like Jimmy Jewel and Ben Warriss, Charlie Chester and Arthur Askey. However, as television audiences grew, anew form of comedian emerged. These new comedians were, although masters of comic timing, basically actors who were funny, rather than stand-up gagsters. So successful have they become that the older comedian is a rarity on our screens now.
     Despite a gruelling training in Pantomime and the Windmill theatre, Tony Hancock was one of the harbingers of the New Look in television comedy. His first broadcast appearances were in the radio programme 'Educating Archie' featuring Peter Brough and his dummy Archie Andrews. This show proved a fine breeding ground for theatrical talent. Warren Mitchell and Julie Andrews were both regulars on this show at one time or another.
     Tony Hancock joined forces with Jimmy Edwards in London Laughs and Talk of the Town at the Adelphi theatre, but it was in his own show "Hancock's Half Hour" or "HhhHancock's Half Hour" - as its eponymous hero announced it each week - that his personality as a comedian emerged. Hancock himself was born on 12th May - Taurus - and the character traits of his television persona were broadly Taurean. Clad in his maxi length black overcoat and black homberg he was stubborn, selfish, generous - but only when his own needs had been satisfied (remember where he offers Hugh Lloyd any winegum - except the black ones! (The Blood Donor). The capacity for self deception was equally immense and at the heart of all, an essential loneliness, not perhaps seen as easily in his splendid series co-starring Sid James as in his solo shows which followed. All were scripted by Ray Galton and Alan Simpson (who also wrote Steptoe) but latterly Hancock deserted his writing team, and the BBC for an ITV series. Two films, "The Rebel" in which he played a truly terrible painter and sculptor, and "The Punch and Judy Man " did not seem to offer Hancock the same opportunity as his small screen appearances, where the close-range subtlety of his playing was best appreciated.
     A memorable one man show was televised including monologues, impersonations and the odd song and dance. His death in Sydney, Australia at the age of 44 whilst at work on a series for Australian television robbed us of a truly great comedian described impressively by "The Times" as "The chronicler of social disorientation, of submission to undigested or indigestible little ideas dressed pompously in big words, or a craving for intellectual and social eminence on the cheap. Whether by instinct or design these things found in him a mercilessly derisive commentator."
We shall miss Tony Hancock.

M.P. Kennedy

Sleeve notes for IT'S HANCOCK - (LK 4740) (UK & AUS)

Dear reader,
               Either you are reading these sleevenotes in the comfort of your own home, having bought the record, having had it bought for you, having nicked it from the last party you went to, having exchanged it for a record voucher won by getting ten out of fourteen questions right on the memory test in "What do You Know", having been given it by a friend who was conned into buying it after having read these sleevenotes... or you are reading them in a record shop. If you are in a record shop, you are in a state of uncertainty. You are surrounded by thousands of other records, all competing with this one for your hard earnt cash. This is where the hard sell comes in. It is our job to seduce you, to convince you that this is the only one worth buying. We must persuade you that this record represents your innermost desires... never mind the half naked South American bird on the Mambo record, she is not for you. Or the head and shoulders of that sophisticated blonde bit with the wet lips and the tip of her tongue poking suggestively between two rows of gleaming white capped choppers. Dismiss her from your mind. It is a cheap, tawdry trick to deceive you. By putting a photo of this bird on the cover, they are merely trying to draw your attention away from the fact that "Music to Soften Her up with" consists of sixteen rotten songs played by some band you've never heard of. They are also suggesting to you that the minute you put the record on, the bird sitting next to you is going to leap up in an erotic frenzy, tear all her clothes off, and drag you bodily into the bedroom. Come now. How much better to get her laughing. Reduce her to such a state of helpless hysteria that she is in no state to defend herself. Apart from which if it doesn't work and she goes home in high dudgeon, you've still got the record to enjoy by yourself. Which is even better, because she probably hasn't got a sense of humour anyway. Whereas, if she gets a bit stroppy and walks out half way through "Music to Soften Her up with" you're left with a rotten record that you can't play again till you find another bird. No, taking things all round, this is the record for you. A much sounder investment. A good laugh, that's what you need, it'll do much more good, and get you into less trouble. This is a record which is undoubtedly destined to become a collectors item. Already the Biggleswade County Council have bought a copy to be placed in an air tight chamber at the bottom of a three hundred feet deep atomic shelter, along with a photograph of Jean Shrimpton, a lock of the Beatle's hair, a gallon drum of Dusty Springfield's eye make-up, and several other holy relics. If, after all this, you are still dickering... if all our exhortations have failed to undicker you... if you decide not to purchase it, will you kindly put it back. Not in the middle, at the front. Thank you. Now, if you wouldn't mind moving on, we've wasted enough time on you as it is. Let someone else have a look at it. Look at him, there he goes, the sex starved fool, straight over to the bird with wet lips. Yes, he's going to buy it. Thirty eight and a tanner. The fool. Wonder if it's too late to get a photo of Hancock on the front with his shirt open?

ALAN SIMPSON & RAY GALTON

Sleeve notes for Golden Hour Of Tony Hancock - (GH 577)

Golden Hour of Tony Hancock presents on record a comedian whose radio and television shows have earned him the love and respect and money of millions of people. Mr. Hancock's performance has been described by some critics as the epitomisation of the struggles, frustrations and disillusionments of a romantic in a materialistic society. It has been described by other critics as the epitomisation of the struggles, frustrations and disillusionments of a materialist in a romantic society. Mr. Sidney James, on the other hand, describes him as 'a bit of a twit' which is as good a definition as any. A brief description of Mr. Hancock's habits, and surroundings, may be of some help to the listener in understanding the man under the homburg hat and astrakhan coat. His residence is situated in the Borough of East Cheam, pop. 73,684 (1931). Rates in the pound, three and nine. Alt. 2ft above swamp level, three hundred feet below smog level. Subsoil, clay with vast deposits of builders' rubble. Schools, none. Churches, one. Pubs, two hundred and sixty seven. Main industries, taking in washing, street betting, and hanging about on street corners. Hancock Towers, 23 Railway Cuttings, is a masterpiece of Victorian bad taste, which is also a good description of its owner. The house appears to be in need of repair, which is also a good description of its owner. Mr. Hancock is noted in the district as a man who continually lives above his income, which he has to do in order not to starve.. His closest friends and associates are the aforementioned Mr. Sidney James, and Mr. William Kerr. Mr. James is a man of no fixed abode except for significant periods of six months and fourteen days, depending on the condition of the internal digestive organs of the local magistrate. When cornered, he will describe his occupation as a scrap metal merchant, which profession has necessitated three new roofs being put on the local church in the last four years. Mr. Kerr is an Australian of mixed drinks. His sole claim to fame is the title Red Plonk Champion of New South Wales, 1946. A notable victory, the effects of which he is still suffering from fourteen years later. In the programme Miss Hattie Jacques plays Mr. Hancocks's personal secretary, and Mr. Kenneth Williams plays everbody else. These last two worthies bring a touch of class to what would otherwise be a rather sordid collation. This then is the world of Tony Hancock. Abandon Hope All Ye Who Enter Here.

     Tony Hancock died in Australia in June 1968 and the world lost a great comic.
We first met him in a BBC recording studio in Lower Regent Street, London in the winter of 1951. He didn't say anything to us and we didn't say anything to him. After that the relationship improved. Little did we think that for the next ten years we would write practically everything he appeared in - a film, a stage revue, seventy television shows and 200 radio shows. Apart from that we didn't see very much of him.
     He was a star for over eighteen years, but this did not make performing any easier for him. Every performance was a first night. He was a born worrier and a perfectionist, dedicated to his work. The more successful he was, the more demanding he became of himself and others. Never complacent or self-congratulatory. "We can do better" were the words that continually drove him on. He was basically a shy man. With all his fame and stardom he was genuinely embarrassed about being recognised off stage. He was well loved as a performer, but never in the maudlin sticky sentimental way that would have driven him up the wall. It was strictly on his own terms. Suffice to say that W. C. Fields was one of his great heroes in this respect. He had an instinctive understanding of comedy and unlike many comedians, had a very highly developed sense of humour. He was, however, in essence a serious man. Although his work was the overriding consideration in his life, he held strong convictions on most things. Many a script conference would develop into a discussion on philosophy, religion, politics and the human condition in general which would go on until the early hours of the morning. This facet of his character is quite clearly reflected in much of his work.
We may be accused of prejudice, but it is our honest conviction that he was the greatest comedian to emerge from this country for many many years. Sadly, he is no longer with us, but his records, and his radio, film and television performances are. And we believe these will, like Laurel and Hardy, Chaplin, Buster Keaton and W. C. Fields before him, pass the acid test of time - which is as it should be.

RAY GALTON & ALAN SIMPSON

Sleeve notes for HANCOCK - (REB 260)

This record consists of the soundtracks from two television programmes, neither of which have been issued on record before. Twelve Angry Men was originally broadcast in October, 1959 and as the title indicates was suggested by the film of the same name starring Henry Fonda. In 1960 Tony Hancock and Sid James split up and pursued their own separate successful careers. (They never regarded themselves as a double act anyway, although for some people the names Hancock and James are as irrevocably linked as salt and pepper and fish and chips). The Lift comes from the last series we wrote for Tony in 1961 in which Sid did not appear. And now unfortunately Tony and Sid are no longer with us, having both gone to meet, as Tony would have put it, the Great Casting Director in the Sky. And even though they'll have a lot more competition up there than they ever had down here, if there is any organised entertainment you can bet your bottom dollar they'll both be topping the bill. Meanwhile down here, we all owe a debt of gratitude to Mr. Thomas Edison for inventing his talking machine, for in this way we can still enjoy Tony's and Sid's talents. In fact as long as these records and tapes exist and are listened to, it's just as if they were still with us. Perhaps that's the truth. They haven't gone, they're just "resting between engagements" as we so delicately put it in show business. And so on with the record. To one age group may it bring on a warm glow of nostalgia and to the younger listeners we hope they will discover a new joy... that of laughing at two of the finest exponents of their art who ever lived.

Ray Galton and Alan Simpson

This long player is very difficult to find. If you do find a copy relatively easily, then you were lucky!