I Think We're All Bozos on This Bus
| I Think We're All Bozos on This Bus | ||||
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| Studio album by The Firesign Theatre | ||||
| Released | August 1971 | |||
| Recorded | April–June 1971 | |||
| Genre | Comedy | |||
| Length | 39:10 | |||
| Label | Columbia | |||
| Producer | The Firesign Theatre | |||
| The Firesign Theatre chronology | ||||
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| The New Rolling Stone Record Guide |   |
I Think We're All Bozos on This Bus is the fourth comedy recording made by The Firesign Theatre for Columbia Records. It was released in August 1971 and is the last of a tetralogy, comprising their first four albums. In addition to standard stereo formats, the album was released as a Quadraphonic LP and Quadraphonic 8-Track. It was nominated for a Hugo Award for Best Dramatic Presentation in 1972 by the World Science Fiction Society.
This album, like its predecessor Don't Crush That Dwarf, Hand Me the Pliers, is one complete narrative that covers both sides of one LP.
Side One starts with an audio segue from Don't Crush That Dwarf, Hand Me the Pliers — the sound of an ice cream truck moving off down the street and out of earshot.
The piece opens as a bus appears on a typical suburban road identified as "Dutch Elm Street" in "Beautiful 'This Area' ". When it stops, vegetable-shaped holograms pop out of thin air and sing a song inviting people to board the bus and visit "The Future Fair" ("A fair for all and no fare to anybody!"). The main character, a young man named Clem (Philip Proctor), boards and takes a seat next to his soon-to-be companion, Barney, a self-identified bozo (person with a large nose which honks when squeezed), is responsible for the title line, "I think we're all bozos on this bus." They are taken to the Future Fair, where they hear an announcement that they are "about to experience a period of simulated exhilaration" presented using a technique called "technical stimulation", and encounter several virtual-reality-like, quasi-educational rides and exhibits similar to those at Disneyland and the 1964 World's Fair.
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