"So we used to look for funny songs, and learn them and play them. And we used to play them in pubs"
About this Quote
There is a quiet manifesto hiding in that offhand "used to". Neil Innes frames creativity not as a lightning bolt but as a routine: hunting for material, learning it properly, then stress-testing it where real people are. The line’s charm is its understatement. No grand claims about art, no mythologizing of genius. Just the work, repeated, with beer-sticky consequence.
The intent is almost archival: to preserve a method and a milieu. Innes came up in a Britain where comedy and music shared cramped stages and low ceilings, and where a pub crowd could be both laboratory and tribunal. "Funny songs" aren’t just novelty; they’re precision tools. Humor has to land immediately, which means the writing has to be structurally sound, the performance timed, the persona calibrated. A pub is the perfect proving ground because it’s indifferent. It doesn’t owe you attention. That pressure produces the kind of sharp, portable wit Innes became known for: songs that can survive heckles, clinking glasses, and the audience’s drifting focus.
The subtext is about community and transmission. "Look for" suggests influence, taste, and apprenticeship: you absorb what works, you borrow, you adapt, you add your own twist. Then you "play them" - plural - implying repertoire over masterpiece. Innes is pointing to a lost ecology of entertainment where craft was social, iterative, and slightly scrappy, and where being funny wasn’t a brand; it was a nightly negotiation with the room.
The intent is almost archival: to preserve a method and a milieu. Innes came up in a Britain where comedy and music shared cramped stages and low ceilings, and where a pub crowd could be both laboratory and tribunal. "Funny songs" aren’t just novelty; they’re precision tools. Humor has to land immediately, which means the writing has to be structurally sound, the performance timed, the persona calibrated. A pub is the perfect proving ground because it’s indifferent. It doesn’t owe you attention. That pressure produces the kind of sharp, portable wit Innes became known for: songs that can survive heckles, clinking glasses, and the audience’s drifting focus.
The subtext is about community and transmission. "Look for" suggests influence, taste, and apprenticeship: you absorb what works, you borrow, you adapt, you add your own twist. Then you "play them" - plural - implying repertoire over masterpiece. Innes is pointing to a lost ecology of entertainment where craft was social, iterative, and slightly scrappy, and where being funny wasn’t a brand; it was a nightly negotiation with the room.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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