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Derek and Clive is a double act of comedic characters created by Dudley Moore (Derek) and Peter Cook (Clive) in the 1970s. The performances were captured on the records Derek and Clive (Live) (1976), Derek and Clive Come Again (1977), and Derek and Clive Ad Nauseam (1978), as well as in a film documentary, Derek and Clive Get the Horn (1979). The characters are foul-mouthed extensions of the earlier characters Pete and Dud.

Considered highly offensive by many at the time, the sketches primarily took the form of bizarre, sometime drunken streams of consciousness led by Cook, with interjections from Moore. Memorable moments from the records include Clive claiming that the worst job he ever had was retrieving lobsters from Jayne Mansfield's arsehole, Derek claiming his worst job was cleaning up Winston Churchill's bogies (leading the pair to conclude that the Titanic was one such bogie), Clive claiming that he was sexually aroused by the sight of a deceased Pope lying in state, and a horse-racing 'commentary' featuring horses named after sexual organs or their vulgarised derivatives.

Though the recordings were far too crude for television or a mainstream audience, Derek and Clive bootleg recordings circulated. They became famous as mostly unscripted dialogues, vulgar situations depicting with copious swearing - especially the word "cunt".

Contents 1 Characters 2 Development of the show 3 Discography 4 External links

[edit] Characters

The characters, supposedly two lavatory attendants (although in one sketch, 'Back of the Cab', they play the roles of two London taxi drivers) first surfaced in the mid-seventies.

[edit] Development of the show

Cook and Moore were touring Broadway with their revue show "Good Evening", a live version of their television series "Not Only... But Also." The relationship between the two had become strained as a result of Cook's increasing alcoholism. To reassure Moore, Cook hired out a recording studio in New York, where the two could simply relax, drink and ad-lib. The resulting recording was padded out with live performances of old favourites, such as "Bo Duddley" and began to circulate as Derek and Clive (Live).

Cook became bemused at the idea that they should not be making money from the increasing popularity of Derek and Clive, and suggested to Moore that the recording should be released officially. By this point, Moore had embarked on a successful Hollywood film career and found the tapes embarrassing, until he too realised his contemporaries were fans.

Two more records were made. They were less like dialogues and more like vindictive attacks on the increasingly successful Moore by Cook, whose career had stalled somewhat in comparison. One such merciless assault was in a cancer themed diatribe when Cook was fully aware that Moore had recently lost his father to the disease.

The same love-hate relationship between them is evident in the Derek and Clive Get the Horn movie, during which Moore withstands brutally vindictive verbal tirades from Cook and walks out in anger, only to return, and have Cook reduce him to helpless laughter again mere minutes later.

It's often, mistakenly, assumed that all of their releases were recorded while under the influence of alcohol. While this can be presumed of "Come Again" - where the sounds of bottles can be heard in the background, featuring some tracks where both Cook and Moore are slurring their words, the videotaped release of "Derek and Clive get the Horn" (most of which ended up on "Ad Nauseam") shows a very sober looking Cook and Moore drinking coffee and water throughout. During the recording, an organised prank was played upon Cook and Moore where the 'police' arrive and suspiciously sniff the contents of an ash tray to the dismay of the unnerved and wary pair.

Later taped and CD releases of "Come Again" and "Ad Nauseam" featured out-takes not previously released - most were recorded during the "Ad Nauseam" sessions. Surreal at times, these included "Mother" - featured on "Derek and Clive get the Horn" - where Cook pretended to visit his over-possessive and deranged mum and which ending with Cook telling Moore to "shut your fucking face and die" after Moore rants on about seeing Cook's "Ticket" - a reference to his penis, "Intergalactic Sex", "Valerie's Hymen", where Moore discussed cutting out his wife's hymen with a carving knife and "Lady Vera Fart Teller" where Moore elaborates on a visit to a fortune teller who could tell his future by examining his "farts". Transcripts of further, unreleased, 'out-takes' are available in a book entitled "Come Again", edited by William Cook and feature "General Eisenhower", where Cook reflects on the perils of counting the late General's dandruff flakes, "Vietnam", where Moore received a paper cut inflicted by the Viet Cong; in one insightful remark Cook mentions a "friend" of his who fought in Vietnam but he's not sure "on which side" and "A Million Pounds", where Cook plays an hysterical woman looking for a million pounds off a sympathetic Moore. The remaining unreleased out-takes are variations on actual releases.

Derek and Clive on the album Derek and Clive (Live), specifically the Bo Duddley sketch, were sampled by one of the first UK house music tracks - 1988's Voodoo Ray by A Guy Called Gerald .

[edit] Discography

• Derek and Clive (Live) (1976)
• Derek and Clive Come Again (1977)
• Derek and Clive Ad Nauseam (1978)

[edit] External links

• Derek and Clive - transcripts