Spike Milligan

Milligan returned to jazz in the late 1940s and made a precarious living with the Hall trio and other musical comedy acts. He was also trying to break into the world of radio, as a performer or script writer. His first success in radio was as writer for comedian Derek Roy's show. After a delayed start, Milligan, Peter Sellers, Harry Secombe and Michael Bentine joined forces in a relatively radical comedy project, The Goon Show. During its first season the BBC titled the show as Crazy People, or in full, The Junior Crazy Gang featuring those Crazy People, the Goons!, an attempt to make the programme palatable to BBC officials, by connecting it with the popular group of theatre comedians known as The Crazy Gang.[12]

The first episode was broadcast on 28 May 1951 on the BBC Home Service.[13] Although he did not perform as much in the early shows, Milligan eventually became a lead performer in almost all of the Goon Show episodes, portraying a wide range of characters including Eccles, Minnie Bannister, Jim Spriggs and the nefarious Count Moriarty.[14] He was also the primary author of most of the scripts, although he co-wrote many scripts with various collaborators, most notably Larry Stephens and Eric Sykes. Most of the early shows were co-written with Stephens (and edited by Jimmy Grafton) but this partnership faltered after Series 3. Milligan wrote most of Series 4 but from Series 5 (coinciding with the birth of the Milligans' second child, Seán) and through most of Series 6, he collaborated with Eric Sykes, a development that grew out of his contemporary business collaboration with Sykes in Associated London Scripts.[15] Milligan and Stephens reunited during Series 6 but towards the end of Series 8 Stephens was sidelined by health problems and Milligan worked briefly with John Antrobus. The Milligan-Stephens partnership was finally ended by Stephens' death from a brain haemorrhage in January 1959; Milligan later downplayed and disparaged Stephens' contributions.[16]

The Goon Show was recorded before a studio audience and during the audience warm-up session, Milligan would play the trumpet, while Peter Sellers played on the orchestra's drums.[17] For the first few years the shows were recorded live, direct to 16-inch transcription disc, which required the cast to adhere closely to the script but by Series 4, the BBC had adopted the use of magnetic tape.[18] Milligan eagerly exploited the possibilities the new technology offered—the tapes could be edited, so the cast could now ad-lib freely and tape also enabled the creation of groundbreaking sound effects. Over the first three series, Milligan's demands for increasingly complex sound effects (or "grams", as they were then known) pushed technology and the skills of the BBC engineers to their limits—effects had to be created mechanically (foley) or played back from discs, sometimes requiring the use of four or five turntables running simultaneously.[18] With magnetic tape, these effects could be produced in advance and the BBC engineers were able to create highly complex, tightly edited effects "stings" that would have been very difficult (if not impossible) to perform using foley or disc. In the later years of the series many Goon Show "grams" were produced for the series by members of the BBC Radiophonic Workshop, a notable example being the "Major Bloodnok's Stomach" effect, realised by Dick Mills.

Although the Goons elevated Milligan to international stardom, the demands of writing and performing the series took a heavy toll. During Series 3 he suffered the first of several serious mental breakdowns, which also marked the onset of a decades-long cycle of manic-depressive illness. In late 1952, possibly exacerbated by suppressed tensions between the Goons' stars, Milligan apparently became irrationally convinced that he had to kill Sellers but when he attempted to gain entry to Sellers's neighbouring flat, armed with a potato knife, he accidentally walked straight through the plate-glass front door. He was hospitalised, heavily sedated for two weeks and spent almost two months recuperating; fortunately for the show, a backlog of scripts meant that his illness had little effect on production.[19] Milligan later blamed the pressure of writing and performing The Goon Show, for both his breakdown and the failure of his first marriage.[20]

A lesser-known aspect of Milligan's life in the 1950s and 1960s was his involvement in the writers' agency Associated London Scripts. Milligan married for the first time and began a family. This reportedly distracted him from writing so much that he accepted an invitation from Eric Sykes to share his small office, leading to the creation of the co-operative agency.

Spike Milligan during his prime years

Milligan made several forays into television as a writer-performer, in addition to his many guest appearances on interview, variety and sketch comedy series from the 1950s to the 2000s. The Idiot Weekly, Price 2d (1956), starring Peter Sellers, was the first attempt to translate Goons humour to TV; it was followed by A Show Called Fred and Son of Fred, both made during 1956 and directed by Richard Lester, who went on to work with the Beatles. During a visit to Australia in 1958, a similar special was made for the Australian Broadcasting Commission, "The Gladys Half-Hour", which also featured local actors Ray Barrett and John Bluthal, who would appear in several later Milligan projects. In 1961, Milligan co-wrote two episodes of the popular sitcom Sykes and a..., co-starring Sykes and Hattie Jacques and the one-off "Spike Milligan Offers a Series of Unrelated Incidents at Current Market Value".

The 15-minute series The Telegoons (1963), was the next attempt to transplant the Goons to television, this time using puppet versions of the familiar characters. The initial intention was to "visualise" original recordings of 1950s Goon Show episodes but this proved difficult, because of the rapid-fire dialogue and was ultimately frustrated by the BBC's refusal to allow the original audio to be used. Fifteen-minute adaptations of the original scripts by Maurice Wiltshire were used instead, with Milligan, Sellers and Secombe reuniting to provide the voices; according to a contemporary press report, they received the highest fees the BBC had ever paid for 15-minute shows.[21] Two series were made in 1963 and 1964 and (presumably because it was shot on 35mm film rather than video) the entire series has reportedly been preserved in the BBC archives.

Milligan's next major TV venture was the sketch comedy series The World of Beachcomber (1968), made in colour for BBC 2; it is believed all 19 episodes are lost. That same year, the three Goons reunited for a televised re-staging of a vintage Goon Show for Thames Television, with John Cleese substituting for the late Wallace Greenslade but the pilot was not successful and no further programmes were made.

In early 1969, Milligan starred in blackface in the situation comedy Curry and Chips, created and written by Johnny Speight and featuring Milligan's old friend and colleague Eric Sykes. Curry and Chips set out to satirise racist attitudes in Britain in a similar vein to Speight's earlier creation, the hugely successful Till Death Us Do Part, with Milligan 'blacking up' to play Kevin O'Grady, a half-Pakistani–half-Irish factory worker. The series generated numerous complaints, because of its frequent use of racist epithets and 'bad language'—one viewer reportedly complained of counting 59 uses of the word "bloody" in one episode—and it was cancelled on the orders of the Independent Broadcasting Authority after only six episodes. Milligan was also involved in the ill-fated programme The Melting Pot.

Director John Goldschmidt's film The Other Spike dramatised Milligan's nervous breakdown in a film for Granada Television, for which Milligan wrote the screenplay and in which he played himself. Later that year, he was commissioned by the BBC to write and star in Q5, the first in the innovative Q... TV series, acknowledged as an important precursor to Monty Python's Flying Circus, which premiered several months later. There was a hiatus of several years, before the BBC commissioned Q6 in 1975. Q7 appeared in 1977, Q8 in 1978, Q9 in 1980 and There's a Lot of It About in 1982. Milligan later complained of the BBC's cold attitude towards the series and stated that he would have made more programmes, had he been given the opportunity. A number of episodes of the earlier "Q" series are missing, presumed wiped.

Milligan's daughter, Laura, conceived and co-wrote an animated series called The Ratties (1987). Milligan narrated the 26 five-minute episodes. He later voiced the highly successful animated series Wolves, Witches and Giants, which aired on ITV from 1995 to 1998. The series was written by Ed Welch, who had previously appeared in the Q series, and collaborated with Spike on several audio productions produced and directed by Simon & Sara Bor. Wolves, Witches and Giants was broadcast in more than 100 territories, including Britain and the United States.

Milligan also wrote verse, considered to be within the genre of literary nonsense. His poetry has been described by comedian Stephen Fry as "absolutely immortal—greatly in the tradition of Lear."[22] One of his poems, "On the Ning Nang Nong", was voted the UK's favourite comic poem in 1998 in a nationwide poll, ahead of other nonsense poets including Lewis Carroll and Edward Lear.[23] This nonsense verse, set to music, became a favourite Australia-wide, performed week after week by the ABC children's programme Playschool. Milligan included it on his album No One's Gonna Change Our World in 1969, to aid the World Wildlife Fund. In December 2007 it was reported that, according to OFSTED, it is among the ten most commonly taught poems in primary schools in the UK.[24]

While depressed, he wrote serious poetry. He also wrote a novel Puckoon and a series of war memoirs, including Adolf Hitler: My Part in His Downfall (1971), "Rommel?" "Gunner Who?": A Confrontation in the Desert (1974), Monty: His Part in My Victory (1976) and Mussolini: His Part in My Downfall (1978). Milligan's seven volumes of memoirs cover the years from 1939 to 1950 (his call-up, war service, first breakdown, time spent entertaining in Italy and return to the UK).

He also wrote comedy songs, including "Purple Aeroplane",[25] which was a parody of the Beatles' song "Yellow Submarine". Glimpses of his bouts with depression, which led to the nervous breakdowns, can be found in his serious poetry, which is compiled in Open Heart University.[26][27]

Bernard Miles gave Milligan his first straight acting role, as Ben Gunn, in the Mermaid Theatre production of Treasure Island. Miles described Milligan as:

... a man of quite extraordinary talents ... a visionary who is out there alone, denied the usual contacts simply because he is so different he can't always communicate with his own species ....[28]

Treasure Island played twice daily through the winter of 1961–62 and was an annual production at the Mermaid Theatre for some years. In the 1968 production, Barry Humphries played the role of Long John Silver, alongside William Rushton as Squire Trelawney and Milligan as Ben Gunn. To Humphries, Milligan's "best performance must surely have been as Ben Gunn ..., Milligan stole the show every night, in a makeup which took at least an hour to apply. His appearance on stage always brought a roar of delight from the kids in the audience and Spike had soon left the text far behind as he went off into a riff of sublime absurdity."[29]

In 1961–62, during the long pauses between the matinee and the evening show of Treasure Island, Milligan began talking to Miles about the idea he and John Antrobus were exploring, of a dramatised post-nuclear world. This became the one-act play The Bedsitting Room, which Milligan co-wrote with John Antrobus and which premiered at the Marlowe Theatre, Canterbury on 12 February 1962. It was adapted to a longer play and staged by Miles at London's Mermaid Theatre, making its debut on 31 January 1963. It was a critical and commercial success and was revived in 1967 with a provincial tour before opening at London's Saville Theatre on 3 May 1967. Richard Lester later directed a film version, released in 1969.[30][31]

On 6 October 1964, Milligan appeared in Frank Dunlop's production of the play Oblomov, at the Lyric Theatre in London, based on the novel by Russian writer Ivan Goncharov. According to Scudamore's biography:

Milligan's fans and the theatrical world in general found it hard to believe that he was to appear in a straight play ... He refused to be serious when questioned about his motives. In the story, Oblomov decides to spend his life in bed. Spike decided to identify with his character, and told disbelieving reporters that he thought it would be a nice comfortable rest for him. This was of course, prevarication. Spike was actually intrigued with Oblomov and had read a translation of Ivan Goncharov's novel.[32]

Milligan's involvement transformed the play. The first night started poorly, Joan Greenwood played Olga and later recalled that her husband André Morell thought the show was so appalling, they should get her out of the play. According to Scudamore:

Nobody seemed at all comfortable in their roles and the audience began to hoot with laughter when Milligan's slipper inadvertently went spinning across the stage into the stalls. That was the end of Spike's playing straight. The audience demanded a clown, he became a clown. When he forgot his words, or disapproved of them, he simply made up what he felt to be more appropriate ones. That night there were no riotous first night celebrations and most of the cast seemed to go home stunned. The following night Milligan began to ad lib in earnest. The text of the show began to change drastically. The cast were bedevilled and shaken but they went along with him ... Incredibly, the show began to resolve itself. The context changed completely. It was turned upside down and inside out. Cues and lines became irrelevant as Milligan verbally rewrote the play each night. By the end of the week, Oblomov had changed beyond recognition. Andre Morell came again ... and afterwards said 'the man is a genius. He must be a genius—it's the only word for him. He's impossible—but he's a genius!'. After Oblomov had run for a record-breaking five weeks at the Lyric Theatre, Hammersmith, it was retitled Son of Oblomov and moved to the Comedy Theatre in the West End.[33]

In an interview with Bernard Braden, Milligan described theatre as important to him:

First it was a means of livelihood. And I had sort of lagged behind my confederates, that I ... remained in the writing seat. And I realise that basically I was quite a good clown ... and the one and only chance I ever had to prove that was in Oblomov when I clowned my way out of what was a very bad script ... I clowned it into a West End success and uh, we kept changing it all the time. It was a tour de force of improvisation ... all that ended it was I got fed up with it, that's all."[34]

In 1959 Ken Russell made a short 35 mm film about and with Milligan entitled Portrait of a Goon. The making of the film is detailed in Paul Sutton's 2012 authorised biography Becoming Ken Russell.[35] In 1971 Milligan played a humble village priest in Russell's film The Devils. The scene was cut from the release print and is considered lost but photographs from the scene, together with Murray Melvin's memory of that day's filming, are included in Sutton's 2014 book Six English Filmmakers.[36]

As illustrated in the description of his involvement in theatre, Milligan often ad-libbed. He also did this on radio and television. One of his last screen appearances was in the BBC dramatisation of Mervyn Peake's Gormenghast and he was (almost inevitably) noted as an ad-libber.

One of Milligan's ad-lib incidents occurred during a visit to Australia in the late 1960s. He was interviewed live on air and remained in the studio for the news broadcast that followed (read by Rod McNeil), during which Milligan constantly interjected, adding his own name to news items.[37] As a result, he was banned from making any further live appearances on the ABC. The ABC also changed its national policy so that guests had to leave the studio after interviews were complete. A tape of the bulletin survives and has been included in an ABC Radio audio compilation, also on the BBC tribute CD, Vivat Milligna.

Film and television director Richard Lester recalls that the television series A Show Called Fred was broadcast live. "I've seen very few moments of genius in my life but I witnessed one with Spike after the first show. He had brought around a silent cartoon" and asked Lester if his P.A. took shorthand. "She said she did. 'Good, this needs a commentary.' It was a ten-minute cartoon and Spike could have seen it only once, if that. He ad-libbed the commentary for it and it was perfect. I was open-mouthed at the raw comedy creation in front of me."[38]

Milligan contributed occasional cartoons to the satirical magazine Private Eye. Most were visualisations of one-line jokes. For example, a young boy sees the Concorde and asks his father "What's that?". The reply is "That's a flying groundnut scheme, son." Milligan was a keen painter.[39][40]

In 1967, applying a satirical angle to a fashion for the inclusion of Superman-inspired characters in British television commercials, Milligan dressed up in a "Bat-Goons" outfit, to appear in a series of television commercials for British Petroleum.[41] A contemporary reporter found the TV commercials "funny and effective".[41] From 1980 to 1982, he advertised for the English Tourist Board, playing a Scotsman on a visit around the different regions of England.

Other advertising appearances included television commercials for Kellogg's Corn Flakes, Commonwealth Bank of Australia, and Planters nuts.

In the 1970s, Charles Allen compiled a series of stories from British people's experiences of life in the British Raj, called Plain Tales from the Raj, and published in 1975. Milligan was the youngest contributor, describing his life in India when it was under British rule. In it he mentions the imperial parades there:

"The most exciting sound for me was the sound of the Irregular Punjabi Regiment playing the dhol and surmai [a type of drum]—one beat was dum-da-da-dum, dum-da-da-dum, dum-da-da-dum! They wore these great long pantaloons, a gold dome to their turbans, khaki shirts with banded waistcoats, double-cross bandoliers, leather sandals, and they used to march very fast, I remember, bursting in through the dust on the heels of an English regiment. They used to come in with trailed arms and they'd throw their rifles up into the air, catch it with their left hand—always to this dum-da-da-dum, dum-da-da-dum—and then stamp their feet and fire one round, synchronising with the drums. They'd go left, right, left, right, shabash! Hai! Bang! Dum-da-da-dum—it was sensational!"[42]

Music composition. In 1988, whilst visiting his mother in Woy Woy (on the shores of Brisbane Water), Milligan composed and orchestrated a Grand Waltz for Brisbane Water and gave it to the symphony orchestra of nearby Gosford.[43] The orchestra has performed it occasionally since, including a 2020 recording as a COVID-19 isolation project.

Milligan married his first wife, June (Marchinie) Marlow, in 1952; Peter Sellers was best man. They had three children—Laura, Seán and Síle—and divorced in 1960.[44] He married Patricia Ridgeway (also known as Paddy) in June 1962, with George Martin as best man and the marriage produced one child, Jane Milligan (b. 1966). The marriage ended with Patricia's death from breast cancer in 1978.[45][44]

In 1975, Milligan fathered a son, James (b. June 1976), in an affair with Margaret Maughan. Another child, a daughter Romany, is suspected to have been born at the same time, to a Canadian journalist named Roberta Watt. His last wife was Shelagh Sinclair, to whom he was married from 1983 until his death on 27 February 2002.[44] Four of his children collaborated with documentary makers on a multi-platform programme called I Told You I Was Ill: The Life and Legacy of Spike Milligan (2005).

Upon marrying Shelagh, his existing will was automatically revoked by operation of law. His former will had left everything to his children, and instead he made a new will which left his entire estate to Shelagh. The children attempted to overturn the will, to no avail. In October 2008, an array of Milligan's personal effects was sold at auction by his third wife, Shelagh, who was moving into a smaller home. These included his vast legacy of books and memorabilia, and a grand piano salvaged from a demolition and apparently played every morning by Paul McCartney, a neighbour in Rye in East Sussex.[46]

Shelagh Milligan died in June 2011.[47]

He suffered from severe bipolar disorder for most of his life, having several serious mental breakdowns, several lasting over a year.[48][49] He spoke candidly about his condition and its effect on his life:

I have got so low that I have asked to be hospitalised and for deep narcosis (sleep). I cannot stand being awake. The pain is too much ... Something has happened to me, this vital spark has stopped burning—I go to a dinner table now and I don't say a word, just sit there like a dodo. Normally I am the centre of attention, keep the conversation going—so that is depressing in itself. It's like another person taking over, very strange. The most important thing I say is 'good evening' and then I go quiet.[50]

Milligan was born in the British Empire to a British subject mother, and he felt that he was entitled to British citizenship, especially after having served in the British Army for six years. When British law related to Commonwealth-born residents, which had given him a secure place in the UK, changed, he applied, in 1960, for a British passport. The application was refused, partly because he would not swear an Oath of Allegiance. By right of his Irish father, he secured an "escape route" from his stateless condition, becoming an Irish citizen in 1962, and remaining so; this status gave him almost the same rights as a British subject.[2][51][52]

In 1974, Milligan was arrested for shooting a trespasser with an air rifle. Defending himself in court, he was given a conditional discharge.[53]

• The Goon Show Scripts (1972)
• More Goon Show Scripts (1973)
• The Book of the Goons (1974)
• The Goon Cartoons (1982) (illustrated by Peter Clarke)
• More Goon Cartoons (1983) (illustrated by Peter Clarke)
• The Lost Goon Shows (1987)

• Puckoon (1963)
• The Looney: An Irish Fantasy (1987)
• The Murphy (2000)

• Great McGonagall Scrapbook (1975) (with Jack Hobbs)
• William McGonagall: The Truth at Last (1976) (with Jack Hobbs)
• William McGonagall Meets George Gershwin: A Scottish Fantasy (1988) (with Jack Hobbs)
• William McGonagall: Freefall (1992) (with Jack Hobbs)

• The Bible—the Old Testament According to Spike Milligan (1993)
• Lady Chatterley's Lover According to Spike Milligan (1994)
• Wuthering Heights According to Spike Milligan (1994)
• D. H. Lawrence's John Thomas and Lady Jane: According to Spike Milligan—Part II of "Lady Chatterley's Lover" (1995)
• Black Beauty According to Spike Milligan (1996)
• Frankenstein According to Spike Milligan (1997)
• Robin Hood According to Spike Milligan (1998)
• The Hound of the Baskervilles According to Spike Milligan (1998)
• Treasure Island According to Spike Milligan (2000)
• Classic Adventures: According to Spike Milligan (2002)

• The Bed-Sitting Room (1970) (with John Antrobus)
• The Q Annual (1979)
• Get in the Q Annual (1980)
• There's a Lot of it About! (1983)
• The Melting Pot (1983)

• Bald Twit Lion (1968)
• Badjelly the Witch (1973)
• Dip the Puppy (1974)
• Sir Nobonk and the Terrible Dreadful Awful Naughty Nasty Dragon (1982)
• A Children's Treasury of Milligan: Classic Stories and Poems (1999)
• The Magical World of Milligan (2009)
• Spike's Bike Book for Parents of Little Kids (Published by Traffic Authority NSW, 1985)
• Spike Milligan SPIKE'S BIKE BOOK FOR MEDIUM KIDS (Published by Traffic Authority NSW, 1985)
• Spike's Bike Book For Big Kids (Published by Traffic Authority NSW, 1985)

The War (and Peace) Memoirs. (The seven memoirs were also recorded as talking books with Milligan reciting them.)

• 1 Adolf Hitler: My Part in His Downfall (1971)
• 2 "Rommel?" "Gunner Who?" (1974)
• 3 Monty: His Part in My Victory (1976). This and the previous two books were released and publicised as the first, second and third part respectively of a trilogy.
• 4 Mussolini: His Part in My Downfall (1978). This was announced as the fourth part of his "increasingly misnamed" trilogy.
• 5 Where Have All the Bullets Gone? (1985)
• 6 Goodbye Soldier (1986)
• 7 Peace Work (1991)
• It Ends with Magic: A Milligan family History (1990)
• Spike Milligan: The Family Album: An Illustrated Autobiography (1999)
• Milligan's Meaning of Life: An Autobiography of Sorts (2011)

• The Spike Milligan Letters (1977)
• More Spike Milligan Letters (1984)
• Dear Robert, Dear Spike: The Graves – Milligan Correspondence (1991) (with Robert Graves)
• Depression and How to Survive It (1993) (with Anthony Clare)

• A Dustbin of Milligan (1961)
• The Little Pot Boiler: A Book Based Freely On His Seasonal Overdraft (1963)
• Book of Bits or a Bit of a Book (1965)
• Bedside Milligan (1969)
• Indefinite Articles and Scunthorpe (1981)
• A Potboiling Dustbin Full of Bits (1984)
• Scunthorpe Revisited: With Added Milligan Articles and Instant Relatives (1989)
• A Mad Medley of Milligan (1999)
• The Essential Spike Milligan (2002)
• The Compulsive Spike Milligan (2004)
• Box 18: The Unpublished Spike Milligan (2006)

• Silly Verse for Kids (1959)
• A Book of Milliganimals (1968)
• Values (poems) (1969)
• Milligan's Ark (1971)
• Small Dreams of a Scorpion (poems) (1972)
• Transports of Delight (1974)
• Milligan Book of Records (1975)
• Poems (1977)
• Goblins (poems) (1978)
• Open Heart University (poems) (1979)
• Twelve Poems That Made December Colder (1979)
• Unspun Socks from a Chicken's Laundry (poems) (1981)
• Chill Air (poems) (1981)
• One Hundred and One Best and Only Limericks of Spike Milligan (1982)
• Silly Verse for Kids and Animals (1984)
• Floored Masterpieces with Worse Verse (1985) (with Tracey Boyd)
• Further Transports of Delight (1985)
• The Mirror Running (poems) (1987)
• Startling Verse for All the Family (1987)
• That's Amazing (1988)
• Condensed Animals (1991)
• Hidden Words: Collected Poems (1993)
• Fleas, Knees and Hidden Elephants (poems) (1994)

• "Who was your choice for funniest person of the last 1000 years?". BBC News. August 1999.
• Dixon, Stephen (28 February 2002). "Obituary: Spike Milligan". The Guardian.
• Barnes, Peter (August 2002). Barker, Clive; Trussler, Simon (eds.). "'An Uncooked Army Boot': Spike Milligan, 1918–2002". New Theatre Quarterly. 18 (Part 3 [Intq 71]): 205–210. doi:10.1017/S0266464X02000295. ISBN 978-0-521-52404-9. ISSN 0266-464X.
• "Biography of Spike Milligan". The Telegoons. Archived from the original on 27 November 2010.
• "Spike Milligan exclusive: Previously unheard audio of one of Spike Milligan's last one-man shows". Extrageographic Magazine. 25 December 2006.
• Korn, Eric (21 February 2007). "Spike Milligan's People". Times Online. Archived from the original on 22 October 2009.
• "Spike Milligan (1918–2002)". Big Red Book (Celebrating Television's This Is Your Life).

• Carpenter, Humphrey (2003). Spike Milligan: The Biography. London: Hodder and Stoughton. ISBN 978-0-340-82611-9.
• Farnes, Norma (2003). Spike: An Intimate Memoir. London: Fourth Estate. ISBN 978-1-84115-786-3. OCLC 52738571.
• Farnes, Norma (2004). The Compulsive Spike Milligan. London: Fourth Estate. ISBN 0-00-719543-5.
• Games, Alexander (2003). The Essential Spike Milligan. London: Fourth Estate. ISBN 0-00-717103-X.
• McCann, Graham (2006). Spike & Co. London: Hodder & Stoughton. ISBN 0-340-89809-7.
• Scudamore, Pauline (2003) [1st pub. Granada: 1985]. Spike. London: Sutton Publishing. ISBN 978-0-7509-3254-7.
• Ventham, Maxine (2002). Spike Milligan: His Part in Our Lives. London: Robson. ISBN 1-86105-530-7.