S05E13: Savage Songs

19 Oct

In an attempt to write a heartfelt finale song of his own, Rattus seeks inspiration from one last selection of sublime (and, as always, chronologically sorted) videos from the previous series. Which lead him merely–and inevitably–to the conclusion that there’s nothing he can sing that the HH crew hasn’t pulled heartstrings with already…

In this episode:

Alexander the Great (from S05E06)

“Alexander is my name, Macedonia’s most famous
Commander, history calls The Great but I prefer The Greatest
A king aged only twenty when my dad assassinated
Advisers called for calm but frankly peace is over-rated…”

Where I’d rank it: 6th

One of the nicer little subplots of the HHTV Experience is the fact that fully half of the core sextet have small offsprings of their own, thus the upcoming chance to introduce their works to same. While Simon and Mat will likely have some serious ‘splainin to do in order to achieve unbridled inter-generational admiration (especially given that, if Family Ties has taught us anything, it’s that Bo Baynton is inevitably due to grow up into the next Alex P. Keaton) all Ben has to do is cue up the ol’.vob file of this song and turn to his son with an air of quiet triumph…

…at which point, yes, Willbond Jr will most likely barely lift his eyes from the latest CGI-intensive blockbuster and snort “Geez, Dad, you guys used to, like, use actual makeup to look younger?” But once he ‘accidentally’ destroys the kid’s Xbox, Ben will have a clear shot at Coolest Parent Ever, is the important point here.

It’s important because, alas, I don’t see this becoming one of the all-time HH music video classics otherwise, clever arena-rock satire or no. One has to be intimately familiar with Willbond’s usual HH personae to appreciate what an amazing piece of work it really is. And it doesn’t help that instead of swirly-cape-intensive romanticks, Benjamin’s big Highwayman Moment, so to speak, is all-too-thoroughly muffled under relentlessly dry exposition and those dubious blond curls. Also, there’s the bit where his best friend is now Jim in that beard. Still, though, definitely worth as many viewings as it takes to get past it all…

Crassus: Minted (from S05E04)

“Smashed the slaves, it got real gory
But then Pompey stole my glory
To show it was me that crushed the horde
Nailed up the slaves like on a billboard!”

Where I’d rank it: 5th

Someone on YouTube pointed out that this is easily the most expensive-looking music video HH ever produced. While I remain sceptical re: actual $$ involved–to me, those effects look very much like the ones Sesame Street used to seem hip’n’happening on a public broadcasting budget back in the mid-Seventies–I will concede that they were put to excellent use boosting Farnaby’s shot at musical-comedy immortality. Like Ben… except, y’know, sort of crossed with Larry the lead Aztec priest… anyway, in full keeping with the what-the-hell spirit of S5–Simon gets handed a non-sequitur showcase and told to go nuts.

Whereupon, being Farnaby, he quite literally does. And it’s a magnificent thing. Never mind if you love or loathe hip-hop; so generously, hilariously authentic is Farnaby’s unexpected emergence as Grime God that–in a manner interestingly reminiscent of Charles II–you’re swept along regardless on a wave of purely joyful noise. It doesn’t hurt that the producers had the wit to schedule same immediately after the delicately erudite masterpiece that is Dickens/Morrissey, thus achieving a sort of afterparty-at-the-Animal House effect for the under-twelve set. Not the kind of treat your average SS episode can provide.

Vikings and Garfunkel (from S05E02)

“Think we’re scary? No, don’t flee
Conquered Saxons would find we
Settled and lived in harmony…”

Where I’d rank it: 4th

Apparently this particular bit of sublime musical silliness was the net result of Jim and Mat, the show’s self-proclaimed enfants terrible, relentlessly begging for a Simon & Garfunkel-themed spoof (because when you’re trying to terrorise the producers of a children’s show who hand you the Sex Pistols parodies as a matter of course, you have to get creative). Y’know, in case you were wondering where to send the therapy bills for those wigs–or, for that matter, the petal-strewing Rickards.

It’s this emphasis on frolicsomeness–both follicular and literal–that got it bumped down a notch in these rankings. (Well, that and the possibly-not-unrelated fact that up closer it’s lyrically one of the weaker songs of the series.) I have no brief against unbridled joy, but I do also adore S&G past all reason, and thus every time I hear those uncannily faithful harmonies start up I cannot quite get past the realisation that conditions were perfect for a much more sharply-focussed satire.

Instead, we got the HH crew merely out lookin’ for fun and feelin’ groovy, and just to repeat, I am not at all complaining about it. I’m not even sure how one would go about complaining, because every time I try to figure it out a petal-strewing Rickard dances in from stage left. I am merely saying, I had one chance in my whole entire lifetime of ever hearing anyone redo The Sounds of Silence with Valhalla references, and it’s gone.*tiny, wistful sigh*

Joan of Arc (from S05E05)

“So I did it like a dude, cut my hair
Gave up wearing dresses, bought a pair
Of trousers

No blouses
Said I wanna fight Angleterre!”

Where I’d rank it: 8th

Yeah, so in the original review I said I was willing to forgive the fluffy affectations as a means to get Saint Joan across effectively to a younger audience, and I stand by that here… but man, the subsequent listens are making it harder. Not so much Martha’s performance, that holds up unsurprisingly well; albeit so does my reservations re: costuming. Accurate or no, damn it’s hard to keep up with the fine details of Joan’s military prowess when you’re baffled by fleur-de-lys-covered pantaloons. That Ms. Howe-Douglas even makes it possible easily keeps this video out of last place.

What lands it in next-to-last place is–well, look, I can appreciate a song that’s solely about the catchy hook as well as the next Eighties kid. But ye gods, kiddies, in my day the hook at least involved Ghostbusters. The only creative upside to the current vapid frothiness, or frothy vapidness, or whatever, is that it fully manages to give the trial sequence the weight it deserves by comparison. For a lovely moment, it all springs to real, appealing life… and then Bishop Mat starts dancing along, and I conclude once again that I would be the single worst person to watch Eurovision with, like, ever.

Henry VII: The Original Tu-Tu-Tudor (from S05E09)

“I didn’t agree with King Richard III
So I fought him at Bosworth Field and won
How cool does it sound, that I’m the king who found 
Richard’s crown in a hedge on the winning battleground?”

Where I’d rank it: 7th

What strikes me most on rewatching this one is how much sheer fun everyone’s clearly having filming it–no, more than usual. A lot more, actually. More as in they appear to be still playing the half-schnockered party animals from the Crassus video, except I think here they may actually be half-schnockered. As Exhibit A I present the huge beaming isn’t-this-just-the-best-thing-EVER grin on Jim. Apparently even playing Richard III pales in comparison with the chance to back Henry VII, to the point where it starts seeming vaguely treasonous.

The good news is, every bit of all this unbridled joy is justified… save perhaps the far end of Larry’s, but we should all be used to that by now. This is altogether the most charming of S5’s second-tier musical experiments, coming in below Alexander’s here only because Willbond is playing so much more against type than Mat.

But in all other ways, the comedic logic that starts with giving dour Henry VII a glam-rock makeover and ends up with Baynton kicking ass and taking names on both counts–in falsetto!–is seamlessly and unassailably smile-worthy, in an un-self-conscious manner that recalls the very best of S2. Come to think of it, everybody looked idiotically happy to be celebrating Pachacuti, too…

Transportation (from S05E08)

“We were creative, inventive
Progress our incentive
Always searching for a solution
We took some steel and a wheel
Made a plane, car and train and created a revolution!”

Where I’d rank it: 9th

OK, two things: a) Yes, of course this should be the Owain Glyndwr song. I have no idea why it isn’t, save perhaps the desire to avoid further irritating the Welsh grammar police. On the other hand, in this song there is b) Benjamin T. Willbond, attempting to sing, keep up with doo-wop choreography, maintain an American accent and wear a nineteenth-century suit, all at the same time. Given the gushing I’m about to do in the next couple entries, I feel I should note here that comedic achievement comes in many and diverse forms.

Really, as noted in the original review this is no more than the boys’ charisma having a grand day out, and as such would be impossible to dislike even if it didn’t give me the odd feeling–also noted in the original, and reiterated here to indicate that I am totally not kidding–that I’ve suddenly just got home from grade school and turned on American PBS. There’s something about the the combination of a guileless salute to the iconic transportation pioneers and a Greased Lightnin’ parody that once again just screams Sesame Workshop… And no, I still haven’t worked out if that’s a compliment or not.

Charles Dickens (from S04E03)

“In my life, felt shamed by poverty in childhood.
Wrote about sadness, suffering and fears
Also wrote about people with funny names
Bumble, Smallweed, Scrooge, Uriah Heep
And Wackford Squeers…”

Where I’d rank it: 2nd

Because duh. Sorry once again, poor dear Richard III, but the title of ‘most perfect piece of musical comedy HH has ever produced’, bestowed on your showcase video in the S3 edition of this article, must formally be slipped to a new and more virally successful candidate. You’ll always have the children’s drawings, but Dickens-via-Morrissey here has the swinging gladioli. Q.E.D.

Honestly, the subject/parody fusion this time is so ridiculously, brilliantly perfect down to the smallest sparkling facet–not forgetting the wonderful backup shrewdness from Jim, Larry and even Al “Mutton-Chops” Murray–there’s literally nothing left to say. So you’ll excuse me if I take the opportunity instead to do something I generally try to avoid, on account of not trusting my own objectivity.

But here we are at the very last, I’ve got Slate magazine on my side, and so for once I’m going to flat-out fawn over Mathew Baynton’s onscreen charisma when filtered through his obviously heartfelt ease within music. If not actually genius, the boy’s gift for genre mimicry does a damn good impression of it; at their best, his HH musical turns are delicately, authentically sophisticated in a way that provokes unusually sharp disbelief that they’re part of a children’s show. Thus, Robert Knox, the King of Bling, Dick Turpin, Charles Darwin, Henry VII, and now Dickens, among many others: Take a bow, indeed.

Rosa Parks: I Sat on a Bus (from S05E01)

What act of mine caused havoc to ensue
How come I caused such fuss?
What shocking behaviour did I do?
I sat on a bus.”

Where I’d rank it: 3rd

And then there is Dominique… well, I’ve already gushed about that, and indeed this song, at full length in the relevant episode review, and can only add here that both become more so with each repeat viewing. Short version: the decision to lead off the last-ever series premiere with this video, regardless of Dickens and the Hippie Vikings also on tap, is entirely understandable.

…Also, I have the nagging feeling I should be saying something profound about diversity and the show finally breaking out of the Dominant White Male ideology with a vengeance and all that. I dunno. What I feel needs to be celebrated above all, on that score, is how effectively the HH format breaks down any ideology to its component humanity–exposing same as flawed and foible-ridden, yes, sometimes disturbingly so, but as a corollary making the moments when it rises above stand out as that much more precious.

Thus no-one has ever been placed on a pedestal while the show demanded they be admired solely because they happen to fit the latest politically correct fashion in whatever form; they’ve simply presented human beings worthy of real, relateable consideration, whether that leads to contempt or admiration. Trust me, folks, this is something to be cherished. Don’t ever, ever discount it.

We’re History (Finale) (from S05E12)

“Together, we made the world
A little bit grim
We’re history–
Could be fairly… dim.'”

Where I’d rank it: 1st

Yeah… so… yeah… this… um…


…Y’know what, I think I’m just gonna let the tears raised in my eyes at the sheer sweet rightness of it all–even after two years and approx. thirty-seven thousand viewings later–stand as my last tribute to this video, and to all of Horrible Histories. Thank you once again, all of you. It’s been one hell of a ride.


P.S. — To the ‘new team’ behind what now appears certain to be a sixth series–which, from patching together hints on social media, does not involve Caroline Norris, Greg Jenner or any of the core cast, but does for some reason involve Lawry (there’s an AfterM*A*S*H joke in there somewhere, if I could only figure out how to make it)–anyway, I wish you nothing but free and open goodwill.

P.P.S.– But if you screw with this finale song in any way, shape or form, I will [insert Liam Neeson’s Taken speech here]. Yes, I know I’m on the other side of the Atlantic. Trust me, I’ll figure it out.

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Posted by on October 19, 2014 in Series Five


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