Its boundless Day-Glo imagination isnt an immediate fit with the constraints of the form.
Its not exactlyMy Family.
And yet a television exec did.
Granted, probably not in those exact words.
Realist mockumentary was the new thing.
A joyfully outlandish flight of fancy with aBlue Peteraesthetic and an anoraks knowledge of jazz fusion, wasnt.
The Mighty Booshs child-like, untrammelled invention might have been more at home in a different form.
But as a noughties TV sitcom, it stood alone.
Not evenThe Goodieshad boasted a purple, tentacled shaman head with the voice of Steve Marriott.
That patter is what rootedThe Mighty Boosh.
The Mighty Booshdirector, Paul King, says the same.
They could just sit down and chat for half an hour and it would make watchable television.
Jazz comedy was their not-entirely-serious description of their own offbeat timing and improvisational, responsive feel.
One memorable cartoon interlude narrates the birth of funk feat.
Rick Wakeman was chuffed to old boots to be included in that one.
Another flashed back to Vinces Jungle Book childhood, as an orphan raised by Roxy Musics Bryan Ferry.
The Booshs musical repertoire was key to its identity.
But one musical form surpassed them all.
Ladies and gentlemen:the crimp.
Fielding describes it as folk rapping, so think the Galileo section of Bohemian Rhapsody with less narrative clarity.
Finally, no salute toThe Mighty Booshcan ignore the inventiveness of its creatures and costumes.
In the words of Dave Brown, it was sometimes necessary to Boosh it up a bit.
It came to an end after that final 100-date tour.
We tried to write a film and it all sort of imploded, Fielding toldThe Independent.
We needed a break.
Wed worked together for 15 years, every day.
We were sick of each other.
Not irreversibly so, to the delight of fans.
Lets give the final words to two men who know all about indefinable, fizzingly inventive comedy.
Nothing, says Bob Mortimer feels so un-cynical, so organic, so joyful as The Boosh.
