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In the UK, comedian Benny Hill later made it more widely known as the closing theme music of The Benny Hill Show. "Yakety Sax" was first used, in a version arranged by Ronnie Aldrich and played by Peter Hughes, in the 19 November 1969 episode, which was also the first show for Thames Television. [citation needed]
Homer Louis "Boots" Randolph III (June 3, 1927 [1] – July 3, 2007) was an American musician best known for his 1963 saxophone hit "Yakety Sax", which became the signature tune of The Benny Hill Show.
The show's closing theme tune, "Yakety Sax", which has gained a following in its own right, was written by James Q. "Spider" Rich and Boots Randolph.The show's musical director was pianist and easy listening conductor Ronnie Aldrich, and vocal backing was provided by session singers the Ladybirds (who also frequently appeared on camera from 1969 to 1974).
Alfred Hawthorne "Benny" Hill (21 January 1924 – 18 April 1992) [1] was an English comedian, actor, and scriptwriter. He is remembered for his television programme, The Benny Hill Show, an amalgam of slapstick, burlesque and double entendre in a format that included live comedy and filmed segments, with Hill at the focus of almost every segment.
That said, to Americans anyway, this music is almost synonymous with Benny Hill. It's a bit like Sousa's "Liberty Bell," which few people could identify by name but, once heard, is immediately recognized as the "Monty Python" TV theme. To many people, "Yakety Sax" is "that crazy music they play at the end of every Benny Hill show."
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Atkins, however, thought Reed was a better fingerstyle player than he was himself; Reed, according to Atkins, helped him work out the fingerpicking for one of Atkins's biggest hits, "Yakety Sax". Reed was featured in animated form in a December 9, 1972, episode of Hanna–Barbera 's The New Scooby-Doo Movies , "The Phantom of the Country Music ...
As with the signature "Yakety Sax" instrumental on the end of each show, the implementation of "Mah Na Mah Na" on Benny Hill was used to great effect to reflect the comedy action of particular sketches — notably the ones transitioning into slapstick mode, providing the backdrop of the story of the moment, most often sped up and (mostly) with ...