Like now it's so late, I can't remember what not late is. Also a working class euphuism for tits is bangers as well so these things play in my mind.ĭo you find it harder to be funny this late at night?īrand: No, but eventually you lose context. You don't want to ketchup getting in the mash.
The title of the song is neither a euphuism for sex nor an English dish both of which Jason is unaware of I imagine because otherwise why would have written it. What's your favorite song that you've recorded?īrand: Bangers, Beans and Mash written by Jason Segel.
I'm more than grateful to have had the opportunity to do this. You did a song in Sarah Marshall but did you know you were going to have to do a musical as Aldous Snow?īrand: No, that would have been madly presumptuous. Whereas a musical performance is about self grandization. Don't look at me.' There is a bit of embarrassment and humiliation. F*ck me I'm so sexy.' As a comedian you stand on stage saying, 'Oh this awful thing happened. How does a music performance differ or is similar from a stand up comedy?īrand: It differs almost entirely because as a music performer you stand on the stage saying, 'Look at me. Sometimes I curse my fertile imagination. To those who haven't seen Get Him to the Greek, the opening line of "When the world slips you a Jeffrey/ Stroke the furry wall" may initially seem baffling however, it's really no more asinine than anything the Gallaghers were spouting off about in their cocaine-supernova heyday.So you could go all night doing one scene?īrand: Yes, that is a possibility that I bear in mind at the beginning of each day. And Brand does score a direct hit with the faux-Oasis trifle "Furry Walls", a rare instance where the song's nonsensical status outside the film actually proves to be its saving grace. Ironically, it's the two bonus tracks by Jackie Q- Snow's starlet ex-girlfriend, played and sung by Rose Byrne- that are the most successfully subversive, coaxing out the sexual suggestiveness of Spice Girls-style dance-pop to the point where the innuendo turns literal. The songs must therefore yield their one-note snickers through the overuse of British vernacular ("Bangers, Beans and Mash"), numbskull declarations of hedonism (see: the Barat-penned "let's get fucked!" refrain of "Gang of Lust") and elaborate set-ups to crass punchlines (the Cocker/Chilly Gonzales co-write, "F.O.H.", an ascendant, U2-scaled piano ballad whose source of uplift is finally revealed in the chorus: "fucking on heroin").
(Think of how the Tap's "Gimme Some Money" perfectly aped not just the freakbeat blues of The Yardbirds and early Rolling Stones, but also the lazy misogyny often expressed within.) Get Him to the Greek, however, is built upon a more generic, vaguely defined base- popular British rock of the last 15 years- so there's less fun to be had in picking out its targets. There's a good reason why real-world rock bands have covered songs by Spinal Tap and The Rutles: the tunes may have been written as jokes, but their humor was communicated through a keen application of readily identifiable genre conventions. But it loses a considerable degree of its outrageousness when heard without its abominable video. "African Child (Trapped in Me)"- Snow's ridiculously patronizing attempt at a help-the-poor power ballad- is essentially Get Him to the Greek's catalyst, the career-killing nadir that sets the film's comeback narrative in motion. Which means that they don't serve much purpose outside of that context. Instead, like the numbers in a musical, their key function is to advance the film's plot and provide its emotional cues. However, unlike the gold standards of mock rock- the soundtracks to This Is Spinal Tap and The Rutles: All You Need Is Cash- the songs heard on Get Him to the Greek don't cohere into a parallel-universe career retrospective of an artist that you could imagine actually existing.
Brand certainly has the voice that the ruse requires, adopting a convincing Liam-esque whine for the rockers and exuding an appropriately insufferable air of self-importance on the big ballads.
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