This week sees the launch of Brian Pern: A Life in Rock on BBC Two.
The mockumentary focuses on prog-rock singer Brian Pern, as he attempts to adapt to life after fronting one of rock’s biggest bands.
Featuring a host of big name guest stars, the show is an absolute treasure, and TVO was lucky enough to talk to its creators, writers and stars, Simon Day and Rhys Thomas about the life of Brian.
Brian Pern is many things. Former frontman for prog-rock legends Thotch. Jukebox musical writer. World music inventor. Campaigner for WiFi-afflicted moths. He’s also the brainchild of Fast Show and Bellamy’s People veterans Rhys Thomas and Simon Day, who first brought the character to life in a series of YouTube videos for BBC Comedy, before Pern was unleashed on a wider audience via his debut tv series earlier this year.
That show, The Life of Rock with Brian Pern, was a critically acclaimed smash, jam-packed with celebrity guest stars as it used the medium of the music documentary (for which Thomas has previously won awards including an Emmy and a Rose D’or), to poke fun at the ridiculous nature of classic rock.
Now Pern is back with a brand new series, Brian Pern: A Life in Rock, which takes the character out of the clip show, and into a living, breathing world of his own. As Rhys explains, this was an easy decision to make.
“To do another series like the first,” he tell us, “would be difficult. Harry Hill had twenty people all watching television at the same time to keep up for TV Burp, but for the first series it was basically me and Simon, hunting through the archives looking for all those funny clips. It would take us about a year to do it again, so we got rid of all that. The money we would have spent clearing archive footage we’ve now put into…”
“Rick Wakeman,” interjects Simon.
Wakeman is one of many guest stars in the new run, which expands Brian’s world by focusing on his day to day life, and the challenges he faces trying to get projects off the ground. In Episode One, Pern and his former Thotch bandmates plan to launch their own jukebox musical, Stowe Boys, with Martin Freeman and Jack Whitehall in its cast and Kathy Burke on directing duties.
Elsewhere, the second episode sees Brian attempt to play a charity gig, for the aforementioned moths, at the peak of Mount Kilimanjaro, whilst the third and final episode focuses on Brian’s attempts to record a charity Christmas album with a string of fellow rock stars including Roy Wood, Chrissie Hynde, Rick Parfitt and Melanie C. Oh, and his live-in assistant and world music protégé Pepita, played once more by Lucy Montgomery.
“To take him forward,” Simon explains. “We knew we had to have him living his life, meeting up with his manager, Pepita living in his house, and how he relates to the outside world. Then we throw crisis at him in each episode.”
“His whole raison d’etre,” he continues, “is to stay very calm, so that nothing can go wrong. But he’s put under this intense pressure, and hopefully that’s where the joke is.”
The expanded world – which also features Tony Way as Brian’s driver Ned, Michael Kitchen as his Jim Beach inspired, yacht loving manager John Farrow, Paul Whitehouse and Nigel Havers as his former bandmates – takes a character that could have seemed like a one-trick idea, and beds him into a believable world, much like the transformation of Alan Partridge over the years. Yet Rhys is determined to spell out the differences between the two characters.
“He’s not like an Alan Partridge,” he states, firmly. “None of it is ever played for laughs. What you’re laughing at is that he’s a foil to his own ideas. When he’s trying to put on a concert to save moths in Africa, if it was a concert for ebola, it wouldn’t be funny. It’s the idea that it’s wifi affected moth’s wings that’s the joke. A silly idea dealt with seriously, and played naturalistically.”
“It’s like the similarity with Peter Gabriel,” adds Simon. “Brian’s based on Peter Gabriel, but Peter’s actually a much nicer person with a really good heart. I just took him a baseline, and run with it, really. Brian’s just a pompous child at heart.”
Indeed, the new run harks back to the duo’s previous collaboration, Bellamy’s People, and it’s radio forbear Down the Line, which focus on heightened realism to base increasingly silly comedic ideas upon. The later ran for five series on Radio 4, but the former was shunned by the Beeb after only one series, a decision which still baffles comedy lovers nationwide.
“It should have carried on, really,” notes Simon. “It’s a shame various events conspired to stop it. But it did use up a lot of characters, which I suppose we could go back to. We still have fond memories of it, but it’s a shame it never really took off.”
Rhys is less philosophical about the experience. “The problem with it,” he suggests, “is that it’s part of that time where comedy series started dropping off with audiences for the first time. Episode One got 1.58 million viewers, but then it tailed off each week. That’s what everything does now, but we were one of the first ones to do it. Something like Toast of London gets something like 450,000 viewers on Channel 4, which is so small for something that great. Ten years ago that would have got five million.” He pauses for a moment, then adds the prophetic: “Christ, people just don’t watch telly like they used to.”
It’s certainly true. When Simon and Rhys first started working together, it was on the hugely acclaimed, ratings grabbing sketch show The Fast Show, which shockingly began airing over twenty years ago now, and still returns sporadically, most recently in the form of online videos for Fosters Comedy converted into full episodes for BBC Two. It’s lasting legacy, apart from establishing a huge network of comedy talent, is that it remains as beloved today as it once was. Simon Day puts this down to canny decisions.
“They never sold it to a channel like Dave,” he explains, “where it could get repeated on a loop. It never really has been repeated. They want to but Paul [Whitehouse]’s holding back. People have dvds and videos of it, but that’s it, so it’s held up in people’s memory without them getting sick of it.”
“And also,” he adds, “lots of people watched it. Back in the days of four channels, no internet, no Twitter, it really took off. We didn’t do too many – three series and a couple of Christmas specials – so its preserved itself quite well.”
“The third series was the best…” chips in Rhys. “You’re only saying that,” Simon retorts, “cos you were in it!”
Two decades on, and both Simon and Rhys are still working with the same people. Fellow Fast Show veteran Paul Whitehouse stars in A Life in Rock as Thotch guitarist Pat Quid, whilst Rhys is married to co-star Lucy Montgomery, and went to school with Tony Way (Ned) and composer Steve Burge. Many of those involved, as with a number of their projects, have genuinely known each other for decades, making the show something of a family affair.
“Oh, we really do feel like a family,” enthuses Rhys. “I like the idea we all work together better anyway, cos we’re all friends and it ends up being more fun. You can do what you want and don’t mind making a fool out of yourself.”
“When I did Star Stories,” he reveals, “I didn’t know anybody. And you turn up, and it’s all a bit competitive. Everyone’s trying to get one up on each other. I like everyone there, and I ended up making friends with them all, but these days I’d rather not do that again, and just work with people I know.”
If this sounds like comedic nepotism, it should be pointed out that these choices are also made because said actors are brilliant at what they do. And besides, TVO itself is based on a continuing trend of recycling the same talent in new ways, as part of one big comedic family.
“There’s this thing with television,” Rhys explains, in reference to this, “where someone will get famous, and then they’re endlessly in everything. We’re sort of not using the same faces as everyone else. Commissioners decide they want a funny actress, say, so they just ask the same people over and over. I like using people like Lucy and Tony. Even though Tony’s been in Edge of Tomorrow, in terms of comedy television, people will still think: ‘Oh, let’s get James Corden instead.’”
Indeed, knowing each other for such a long time has further benefits, in that there’s an innate sense of reliability that allows everyone to do the best job possible. Steve Burge, who was part of comedy trio Stay Alive Pepi with Thomas and Way, was put in charge of most of Brian Pern’s musical back catalogue.
“I would say to Steven: I need a song like this,” reveals Rhys, “or a piece a bit like that. He would then go off and write something brilliant, and I knew he’d deliver it in time for us to write the lyrics. Then there’s songs like Simon’s written, like Black Christmas.”
“Which I sold,” chips in Simon. “I sold it to Westlife.”
Rhys laughs, straightens himself up and states: “You know, Simon and Steve remind me of each other, cos they don’t think like anybody else. They won’t come up with what you predict, but they’ll find something funny. Tony too… he came up with the version of Little Donkey we gave to Chrissie Hynde to sing. They’re so good. But they never put me in their fucking things!”
“Who?” asks Simon, perplexed.
“Tony or Steve,” Rhys answers, as Simon erupts with laughter.
Not that Rhys is short on work. Since he persuaded Brian May to write the theme music for his sitcom Fun at the Funeral Parlour, he has been working on dvds, blu-rays and award winning documentaries for Queen. His last piece, The Great Pretender won an International Emmy and a Rose D’or, no less, even though it very nearly didn’t get made.
“I wasn’t going to direct that,” Rhys reveals. “Just produce it. But the director I had said it wasn’t going to be any good, cos it’s boring and about an opera singer. So I did it myself, and I’m glad I did!”
Part of the joy of Brian Pern is that the show uses Rhys’ background in documentary filmmaking to look authentic. “I’ve got the same editor I worked with on the Queen documentaries, and the same cameraman,” he tells us. “So it has the right look. When people try to make spoof documentaries with cameramen who haven’t come from that field, they make it look shoddy on purpose. Real documentary makers try to make it look as good as they can.”
“We thought about doing something after this about crime,” adds Simon. “Sending up gangsters and the whole middle class obsession with it. But getting real people to talk about it.”
Rhys agrees. “I think it’s better than having people pretending to be real people,” he suggests. “You look at Spinal Tap, and it’s brilliant, but it’s just taking the piss out of idiot heavy metal bands. It’s not taking the piss out of the documentary form itself, and we could have a lot of fun doing that.”
Perhaps this is what the future holds for Brian Pern?
“If there’s a desire for it, he’ll be back,” states Simon. “If the channel want to do it, cos people like it, we’re never going to say: ‘No, we’re killing that off.’ Though, I don’t think it’s something you could do for a hell of a long time.”
Could we even see Brian take to the road? A live tour of his classic hits, perhaps? Simon is most definitely keen. “YES!” he enthuses, when the suggestion is put to him. Rhys is a little more pragmatic: “As long as it does well,” he opines, “it’d be a nice thing to do.”
Brian Pern: On Tour. Here’s hoping.