Cover of Bonzo Dog Doo Dah Band Gorilla
Laggio

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For fans of british 1960s music, lovers of eclectic and theatrical genres, and those interested in innovative and humorous musical acts.
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THE REVIEW

This is a convertible album, a gentle breeze in the hair and the scent of grass, it's a picnic in Hyde Park on a May day, a balm for the body and the mind, it's the ability to savor life in small doses, it's the 1967 debut of the fabulous, fantastic, phantasmagoric, sparkling...(trumpet fanfare)...Bonzo Dog Doo Dah Band!

We're talking about people cut from the same cloth as Uncle Frank, knowledgeable and competent yet always jovial and modest, capable of shaping the most intricate bignami into the most accessible form without ever showing, not even for a second, pretentiousness or presumption, a band that's anarchic in its own way and at the same time democratic given the absence of a true leader in the collaboration between Neil Innes, Vivian Stanshall, Rodney Slater, Roger Spear, and the dozens of musicians from various musical-cultural backgrounds who take turns alongside this English combo.

"Gorilla" is above all a masterpiece of arrangement: trumpets, sax, ukulele, clarinet, piano, keyboards, synth, and probably much more, serve as a backdrop to the sacred triad of rock instruments.

However, it is inappropriate to talk about rock for this genuine intellectualized country band that dips its generous spoonful of ideas into a colorful soup of swing, ragtime, pop, and vaudeville.

Listening to this album is like burying your face in a bunch of daisies, violets, and rare little flowers like the festive march of "Cool Britannia", the delicate "Jollity Farm", the chaotic fanfare "Jazz, Delicious Hot, Disgusting Cold", the amusing demonstrative lesson of "The Intro And The Outro", the noir atmosphere of "Big Shot", "Piggy Bank Love" that beats the Beatles at their own game, the joyful masterpiece "Look Out There's A Monster Coming", pearls capable of resizing even a magnificent work as a progeny of this under examination like "Cyclops" by Dogbowl.

They are all little candies filled with vibrancy, a lightness and a spontaneous inventiveness truly rare, unique in a musical undergrowth where the Bonzo Band has carved out a special place, perhaps close only to the Canterbury fields but with roots well anchored to the popular terrain and branches that reach out to embrace European rural folklore.

A gorilla that turns into a butterfly.

Delightful!

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Summary by Bot

The 1967 debut album 'Gorilla' by the Bonzo Dog Doo Dah Band is celebrated as a vibrant, inventive masterpiece. It blends swing, ragtime, pop, and vaudeville with expert arrangements and jovial collaboration. The album’s charm lies in its lightness, spontaneity, and unique place in the British music scene. Highlights include standout tracks that range from playful to atmospheric. This album is regarded as a joyful, intellectual, and accessible musical journey.

Tracklist Lyrics Videos

01   Cool Brittannia (01:00)

02   The Equestrian Statue (02:46)

03   Jollity Farm (02:30)

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04   I Left My Heart in San Francisco (01:04)

05   Look Out, There's a Monster Coming (02:55)

06   Jazz, Delicious Hot, Disgusting Cold (03:10)

07   Death-Cab for Cutie (02:55)

09   The Intro and the Outro (03:02)

10   Mickey's Son and Daughter (02:42)

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11   Big Shot (03:31)

12   Music for the Head Ballet (01:46)

13   Piggy Bank Love (03:04)

15   The Sound of Music (01:22)

The Bonzo Dog Band

The Bonzo Dog Doo-Dah Band are an English comedy-psychedelic group formed in the 1960s, famed for mixing vaudeville, trad jazz, pop, and surreal humor. Key figures include Vivian Stanshall and Neil Innes. Their UK hit “I’m the Urban Spaceman” was produced by Paul McCartney (as Apollo C. Vermouth), and they appeared with The Beatles in Magical Mystery Tour and on TV’s Do Not Adjust Your Set.
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