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Seaside Special

In Collings & Herrin Podcast 116, we fully intended to kick it old skool and talk about what was in the newspapers and everything, but we got somewhat sidetracked by some old Edinburgh Fringe brochures from 1989 [Andrew’s first Edinburgh], 1993, 1998 and 2001 [the debut of Christ On A Bike], which unfortunately turned it into an indulgent smoking-jacketed remembrance of comedians and Fringes past. However, there was just time to go over the 11-hour-and-5-minute long Most Boring Tennis Match In History, praise the bionic cat and reclaim both a joke from Russell Brand’s new Hollywood comedy Get Him To The Greek which Richard probably wrote, and the bits that were too complimentary to broadcast on Lenny Henry’s afternoon chat show.

In the traditional one-hour-six-minute-and-35-seconds version of this podcast, we accidentally end on a contentious note, so we have taken the diplomatic and ethical decision to publish this slightly longer version, so it doesn’t. Oh, and Richard takes his shirt off, mid-podcast.


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7 responses to “Seaside Special

  1. Godot

    The reason podcasts recorded with Richard's microphone sound so quiet is because the whole recording is being 'normalized' based on the loudest sound in the recording, which is usually someone clapping or something similar. If you open podcast 116 in Audacity or similar sound editing app you'll see that the volume peaks with the clapping at 25m37s and finger clicking at 1h08m02s. Try recording and exporting a couple of short test files, one with just talking and one with talking and some claps. I can't tell you how to get round this, but another (mac-owning) nerd might be able to given the above info. The only thing I can think of is to use a peak limiter or turn the mic levels up enough that the vocals aren't distorted but the clapping is.Yes, I know I am a massive nerd.

  2. Rich

    Andrew, please let us have Tiny Andrew Collings back. He is comedy genius. By insisting that Richard doesn't use him you seem to have removed all of the momentum from this run of AIOTM(aiotm). The latest show paled before the rest of the season. Please, Andrew. We all realise that it's not really you. PLEEEEASE!

  3. Anonymous

    I agree with 'Rich' above re: AIOTM and go further re: the C&H podcast. I would appreciate a return to some of the more puerile, spiteful, vitriolic, vile, ground breaking, scurrilous, hate-filled comment on news and events that sparked the surreal highlights of the earlier ..ings and …in podcasts. The brilliant edginess of the earlier …ings and podcasts seems to have been smoothed off by the conventions needed for the 6music podcast and excessive talk of sucess/failure elsewhere. FFS go back and listen to your earlier …ings and in podcasts and think about why we al listen to you. Your weaker imitators are overtaking you (I'm not Michael Legge – he is a cunt).BTW, listening to the BBCR4 obituary prog tonight, Tiny Andrew Collings sounds suspiciously like Frank Sidebotton (RIP). I assume, therefore, he will be heard from no more? What a shame.Colin of Leicester

  4. Colin, if our "weaker imitators" are "overtaking" us, there's probably a reason for that. We have never set out to imitate anyone. The last thing we are going to do now is try to imitate *ourselves*. Things evolve. If the podcast has changed, it's not because we sat down and decided to change it. So it would be pointless and artificial if we sat down and decided to change it now. I'm sorry if you preferred the podcast how it was (not sure how far back your nostalgia stretches), but since we've been doing it for well over two years now, it would be odd, I think, if it was exactly the same. If anything, I think the "conventions" of 6 Music have been good for us. They have made this podcast a release for our indulgences and darker moments. The 6 Music show feels like a small reward for our endeavours, and most people seem to like it.I personally think the most recent C&H ones have been much darker, with a genuine tension. But it would be suicidal to start analysing what we do at this late stage. You can analyse it, if you want, but we're not about to. As we've always said, it is what it is, and you get rough with the smooth. We've never made any grand claims for what we have achieved, if anything, or than a frankly astounding commitment to trying to get one of these out ever week, for free.

  5. Clive

    Re Rich's worry about a cat not being able to cope without its back legs Lola the kitten manages just fine in this news report;- up the good work- still the best podcast around.

  6. mark

    i think rich and colin are barking up the wrong tree.AIOTM has a narrative arc which develops over time,AC becomes 'tiny 'AC becomes…?,who knows but i for one look forward to finding for the C&H's so random it's genius and i think any imposed structure would be detrimental. the trick with genies is to let them out of the lamp not try to stuff them in one

  7. Phil Moss

    "We got somewhat sidetracked by some old Edinburgh Fringe brochures…….which unfortunately turned it into an indulgent smoking-jacketed remembrance of comedians and Fringes past."Not unfortunate at all..!I found 116 one of my most enjoyable yet. I have been going to the Edinburgh Fringe since a child and await 2010's with great eagerness. Receiving the Fringe brochure in mid-June and scouring the pages for stand-out shows is a ritual I have enjoyed all my life. So to hear such happy reminiscence put a great big smile on my face. Thank you !And also:I too remember Eddie Izzard on a unicycle round the back of the fringe box office, issuing big yellow stickers with his name on (remember The Uncles performing there as well?)Was honestly nearly put off seeing Alan Parker Urban Warrior when I saw 'NME Journalist' on his poster, but glad I wasn't ! Al Murray in his white 'blood' covered tuxedo with superb voice sound effects…the car boot noise stood out for me too I saw Stewart Lee's early solo show at the Assembly Rooms with my cousin and we liked it very much so that journalist is a c***

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