Gnu Song, The

Flanders And Swann · Other Songs - Flanders And Swann

Here's another animal song



A year ago, last Thursday I was strolling in the zoo

When I met a man who though he knew the lot

He was laying down the law about the habits of Baboons

And how many quills a porcupine has got

So I asked him

What's that creature there?

He answered "Oh, H'it's a H'elk"

I might of gone on thinking that was true

If the animal in question hadn't put that chap to shame

And remarked, "I h'aint a H'elk, I'm a G-nu"

I'm a G-nu

I'm a G-nu

The g-nicest work of g-nature in the zoo

I'm a G-nu

How do you do

You really ought to k-now wa-who's wa-who

I'm a G-nu

Spelt G-N-U

I'm g-not a Camel or a Kangaroo

So let me introduce

I'm g-neither man nor moose

Oh g-no, g-no, g-no I'm a G-nu



I had taken furnished lodgings down at Rustington-on-Sea

Whence I travelled on to Ashton-under-Lyne it was actually

And the second night I stayed there I was wakened from a dream

That I'll tell you all about some other time

Among the hunting trophies on the wall above my bed

Stuffed and mounted, was a face I thought I knew

A Bison? No, it's not a Bison

An Okapi? 's'unlikely

Could it be a Hartebeest?

I seemed to hear a voice

I'm a G-nu

I'm a Gnu,

A g-nother g-nu

I wish I could g-nash my teeth at you

I'm a G-nu

How do you do

You really ought to k-now wa-who's wa-who

I'm a G-nu spelt G-N-U

Call me Bison or Okapi and I'll sue

G-nor am I in the least

Like that dreadful Hartebeest

Oh, g-no, g-no, g-no

G-no, g-no, g-no I'm a G-nu

G-no, g-no, g-no

I'm a G-nu

About Gnu Song, The

"The Gnu Song, The" by Flanders and Swann stands as a quintessential example of the duo's unique blend of traditional English folk and absurdist comedy. Recorded in the late 1960s, the track exemplifies their signature style of weaving together whimsical storytelling with a distinct, slightly unsettling musicality. The song features the duo's characteristic vocal interplay, where one member often delivers the narrative while the other provides a counterpoint of confusion or non-sequiturs, creating a surreal atmosphere that defined their early discography. Released during a period when the pair was gaining significant traction in the British comedy scene, the recording captures their ability to transform simple folk structures into vehicles for bizarre humor. While the specific lyrical content relies on their trademark nonsense, the musical arrangement itself is polished and engaging, showcasing their skill in blending acoustic instrumentation with theatrical delivery. The track remains a staple of their catalog, illustrating how they elevated the folk genre through their distinctive comedic lens, influencing a generation of artists who sought to merge music with narrative absurdity.