Derek and Clive Come Again

Derek and Clive Come Again, subtitled on the CD reissue as "Further Ejaculations From......" is the second record released by Derek and Clive, a pair of characters created by comedy duo Peter Cook and Dudley Moore. Although the first album, Derek and Clive (Live), was reasonably good-natured in its blasphemous subversiveness, Come Again was released at the height of the punk rock phenomenon and Cook, in particular, seems keen to elevate the excess to new heights of jaw-dropping offensiveness. To that end, he improvises routines about raping the victims of road traffic accidents and cross-dressing members of the aristocracy masturbating rent boys in taxi cabs, not to mention several extended routines on cancer in all its variations. Moore, on the other hand, improvises a smutty rhyme about his mother sucking his penis, oral sex performed in lavatory cubicles and how he masturbates with the aid of a greased toilet roll connected to his electric train-set.

Derek and Clive

Derek and Clive was 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). A greatest hits album containing some previously unreleased material, called Rude & Rare: The Best of Derek and Clive, was released in 2011. 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 bogeys (leading the pair to conclude that the Titanic was one such bogey), 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.

Derek and Clive (Live)

Derek and Clive (Live) is the debut comedy record recorded by Derek and Clive, drunken alter-egos created by comedy duo Peter Cook and Dudley Moore. The double act began as a private joke between the two of them at the Electric Lady Studios, as a way of easing the tension of their 1973 Broadway show Good Evening. Originally, The record was never intended for release, but when bootleg copies of the recordings proved popular, Cook decided there was money to be made and, padding the record out with live material recorded at the Bottom Line in New York City, the album was released in 1976. The record was very nearly called Derek and Clive (Dead).

The sleeve notes give a flavour of the production of the record:

Come Again

Come Again may refer to:

Come Again (The Quetzal)

"Come Again (The Quetzal)" is a single by Danish singer Soluna Samay. It was released as a Digital download in Denmark on June 15, 2012. The song entered the Danish Singles Chart at number 18.

Live performances

On June 18, 2012 she performed the song live on Aftenshowet.

Track listing

Chart performance

Release history

References

Come Again (Dowland)

"Come Again, sweet love doth now invite" is a song by John Dowland. The lyrics are anonymous. The song is bitter-sweet, typical of Dowland who cultivated a melancholy style.

It was included in Dowland's First Booke of Songes or Ayres, which appeared in 1597. The piece is often performed as a lute song by soloist and lute, but, like other songs in the First Booke, it is printed in a format that can also be performed as a madrigal by a small vocal group (typically SATB).

Lyrics

Come again! sweet love doth now invite
Thy graces that refrain
To do me due delight,
To see, to hear, to touch, to kiss, to die,
With thee again in sweetest sympathy.

Come again! that I may cease to mourn
Through thy unkind disdain;
For now left and forlorn
I sit, I sigh, I weep, I faint, I die
In deadly pain and endless misery.

All the day the sun that lends me shine
By frowns do cause me pine
And feeds me with delay;
Her smiles, my springs that makes my joys to grow,
Her frowns the Winters of my woe.

All the night my sleeps are full of dreams,
My eyes are full of streams.
My heart takes no delight
To see the fruits and joys that some do find
And mark the storms are me assign'd.

Out alas, my faith is ever true,
Yet will she never rue
Nor yield me any grace;
Her eyes of fire, her heart of flint is made,
Whom tears nor truth may once invade.

Gentle Love, draw forth thy wounding dart,
Thou canst not pierce her heart;
For I, that do approve
By sighs and tears more hot than are thy shafts
Did tempt while she for triumph laughs.