It would appear that Hamlyn’s memory of The GoatMan is nowhere near as accurate as he would have us believe. I would also like to make it clear that my copy of “Rural Dream Sequence”, which I transferred DIRECTLY from the album, is hugely different from the one posted yesterday.
I don’t know if Hamlyn sped it up himself in an attempt to make it sound like something from Spike Milligan’s “Q”, or if he is genuinely in possession of an alternative take. All I know is that he needs his arse kicked for posting it without consulting me. (Incidentally, all pictures included in this post are of BBC and ITV executives, and their wives, during the early 70s.)
I remember this creepy scene from the movie most vividly of all. There are several dreamy sequences in The Goatman, but this one horrified me as a child. It involves SUSAN and not FRANK, as Hamlyn claims.
Susan is wandering through a meadow, and she hears a young girl singing; the sound is strange, reversed, the feeling becoming weird and dreamy, hallucinogenic.
She sees the little girl sitting in the long grass, and as she approaches her, the girl turns around. But it is actually a really small old lady with coal-black eyes and great big long bony fingers. She reaches out to grab Susan, who runs away. The sequence is filmed in grainy, old-school slow motion, and the sound of a heartbeat only adds to the creeping terror.
The thing is gaining on her, grabbing at her, and tearing at her clothes. Susan makes it into the woods and just as she thinks she might be safe, she becomes aware of being surrounded by malevolent entities, whispering all around her. She awakens screaming…
The music in this scene was a synthesizer melody on a reversed tape loop, fed through a tape echo with sound effects added in post production. The scene was missing from the TV play. At first, this was thought to be due to budget restrictions, but after much browsing on TV forums and “unexplained” websites, it seems there were practitioners of the Dark Arts working within Television Centre. These practitioners knew of the script and its negative portrayal of the occult.
After “disappearing” from the script, the scene was added again to the movie, word for word, from memory, by the writer.
Magus and Legg were well aware of the satanic elements in the media. As a matter of fact, they met with these people several times at numerous psychedelic “happenings” and tv pop shows in the late 60s. Almost everyone who worked at Television Centre knew about the dark goings on in and around the BBC, but no one was brave enough to talk about it.
Indeed it was so horrific, I am unable to tell you what it was.
But it was necrophilia.