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In January, every US TV station – cable and network – shows off its forthcoming programmes. This year, there was a lot of deserved self-congratulation. Dustin Hoffman's Luck (HBO) is an impressive study of the murky underworld of horse racing and mob tactics; Smash (NBC) is an ambitious take on the High School Musical/Glee trope about the backstage antics of a Broadway musical about Marilyn Monroe; Kiefer Sutherland's riff as the father of a mute Aspergers sufferer sets post-9/11 American parenting in a sharp, cruel context. Everyone agrees, we're in a golden age of TV.
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- Find a Various - The Singing Detective: Music From The BBC TV Serial first pressing or reissue. Complete your Various collection. Shop Vinyl and CDs.
- The Singing Detective meshes the finest bits of Glee and Smash with the edgy darkness of Dexter and Breaking Bad, and features a wizened Tony Soprano-style figure at its core. It breaks every TV convention: the star, played by Michael Gambon, is a podgy middle-aged man raddled with skin disease, battling hallucinations and dark memories of childhood abuse.
BBC4, meanwhile, has a show coming up that makes these epics look like amateur hour. The Singing Detective meshes the finest bits of Glee and Smash with the edgy darkness of Dexter and Breaking Bad, and features a wizened Tony Soprano-style figure at its core. It breaks every TV convention: the star, played by Michael Gambon, is a podgy middle-aged man raddled with skin disease, battling hallucinations and dark memories of childhood abuse. And yet the tempo is upbeat – even merry – and the tale is hypnotic and addictive.
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Produced for the BBC by Kenith Trodd and directed by Jon Amiel, the drama revolves around the personal entanglements -real, remembered, and imagined - of a crime writer, Philip Marlow (played by Michael Gambon), who is suffering from acute psoriasis and from the side-effects associated with its treatment. The result is a complex, multi-layered text which weaves together the varied interests and themes of the detective thriller, the hospital drama, the musical and the autobiography.
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Install devexpress visual studio 2017. Philip E Marlow lies in a hospital bed that could be in a 70s sitcom. His dreams enter 1940s noir, with mystery, song and thrills. His memories of growing up in post-industrial mining towns blur in and out of both settings. It's sort of a musical, sort of a thriller, sort of a comedy … it's the pinnacle of the golden age. The golden age of the 1980s, that is.
The Singing Detective Bbc Dry Bones
Dennis Potter's masterpiece is 25 years old but still feels avant garde. It's got the kind of confidence in the audience and in the medium that American writers are only just discovering. The smouldering Brit-made-good Damian Lewis – talking in Los Angeles about his Golden Globe-winning cable drama Homeland (coming to More4 this month) – said it was a shame that we don't have the writers to pen that sort of stuff in the UK. Well, we did once.
The Singing Detective's influence is hard to quantify but its not stretching things too far to say that it helped create the current Golden Age. Steve Bochco, Alan Ball and Charlie Kaufman all cite Potter as a key influence. Robert Downey Jnr starred in a flawed remake of the show in 2003 – although, let's be honest, if it's got Downey it's a gem.
I'd go toe to toe on The Singing Detective as a desert island DVD of best-ever TV. How many shows get props from the Manic Street Preachers, Franz Ferdinand and Elbow while framing the works of post-modern novelists like Paul Auster? (Auster's New York Trilogy riffed on identity and hallucination – with author and detective characters swapping roles, much as Marlow swapped with Marlow in Detective. Auster published in 1987. The Singing Detective was out on PBS a year earlier.)
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Of course you could say – and probably will – 'Why, oh why, can't we do it any more?/Where is the next Dennis Potter coming from?/It's all Thatcher's fault/Sod you BBC'… but that all misses the point. This is one of the best pieces of TV you'll see in your life. The Iron Lady wouldn't be as it is without it. True Blood likewise. Forget the context. Just watch this show.
The Singing Detective Film
There doesn't seem to exist a truly complete soundtrack album of the original 1986 BBC television serial The Singing Detective, let alone an expanded compendium containing every single piece of music mentioned in the text on which the series was based. That would be truly fascinating, and hopefully someone will eventually go to the trouble of assembling it. At the very least, 24 canonical selections considered to be the genuine playlist as heard in the TV soundtrack would fill a compact disc to perfection, while reflecting the remarkable assortment of vintage recordings specified by author Dennis Potter for inclusion in the series. Why no one has seen fit to present them in that manner is very much a mystery. EMI's 2010 reissue of the 20-track 1987 BBC Enterprises release uses exactly the same album cover art with four tunes swapped out for other melodies and one song added. There also exists a soundtrack album for the U.S. film adaptation starring Robert Downey, Jr. and Mel Gibson which was concocted in 2003 and brandishes pop hits from the 1950s rather than the ‘40s, but that compilation should be considered as far removed from any discussion of the authentic Singing Detective playlist as was the movie from the original TV series and the screenplay from whence it sprang. Maybe the ‘40s seemed too remote for the makers of that film, despite Potter's perpetual invocation of Raymond Chandler's archetypal private eye Philip Marlowe, introduced in The Big Sleep of 1939 and retrofitted by Chandler to stories written as early as 1934. Perhaps future audiences will be subjected to a ‘60s, a ‘70s, or an ‘80s version of The Singing Detective. After all, nothing is sacred on this earth. Potter's own medical condition -- maximal psoriasis so severe as to be disfiguring and painfully crippling -- is part of the uneasy subtext for everything in the screenplay, the TV show and, vicariously, the albums. In the screenplay the specter of an emotionally disturbed man confined to a hospital bed by an agonizing and debilitating condition is never far from the surface. The patient's struggle with both actual and delusional childhood memories invites comparison with Jaco Van Dormael's 1991 film Toto le Heros, although that is a much rosier and more whimsical tale beside which the original screenplay for The Singing Detective feels like a morbidly deranged blend of Charles Bukowski, William S. Burroughs, Anthony Burgess, and Harlan Ellison.
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Potter's use of pop music from the '40s, and from 1945 in particular, is one of the strengths of the work. The Ambrose Orchestra's 1936 take on the old 'Limehouse Blues' predates most of the rest, which mainly showcase vocalists like Bing Crosby and the Andrews Sisters, Ella Fitzgerald and the Ink Spots, Anne Shelton, Dick Haymes, and Vera Lynn. Al Jolson's handling of 'After You've Gone,' with backing by Matty Malneck's orchestra and the vocal group billed as Four Hits and a Miss, was described by Potter as 'threatening.' In the screenplay it is lip-synced by a scarecrow. Inexplicably, EMI omits 'Peg O' My Heart,' which was clearly designated as the story's theme song. Also excised are Duke Ellington's 'Rockin' in Rhythm,' the Mills Brothers' 'Paper Moon,' and 'Dry Bones' sung by Waring's Pennsylvanians, using a rigid arrangement and nutty percussive sound effects. The substitutions include 'I'm in Love for the Last Time' by Ken 'Snakehips' Johnson & His West Indian Dance Orchestra and 'My Baby Just Cares for Me' by Woolf Phillips & His Swing Stars. Epson t50 resetter free download. Both collections, let it be observed, do include the BBC Orchestra's zippy recording of 'Teddy Bear's Picnic' with that group's leader, Henry Hall, featured at the xylophone. Neither BBC nor EMI include the BBC Dance Orchestra's recording of Cole Porter's 'I've Got You Under My Skin,' a gruesomely ironic music bed that is introduced along with the full horrors of dermatological disaster. Nor did either collection present 'The Umbrella Man' by Sammy Kaye's orchestra or 'Bei Mir Bist Du Schoen' sung by Al Bowlly backed by Ray Noble's Orchestra. Fortunately, what is included here adds up to a pleasant retrospective tour of English and American pop music from before and during the Second World War, even for those who are not familiar with Dennis Potter or his Singing Detective.
| Sample | Title/Composer | Performer | Time |
|---|---|---|---|
| 1 | 02:51 | ||
| 2 | Harold Arlen / Johnny Mercer | 03:12 | |
| 3 | 03:20 | ||
| 4 | 03:07 | ||
| 5 | 03:09 | ||
| 6 | Hans Leip / Norbert Schultze | 02:47 | |
| 7 | 03:14 | ||
| 8 | 02:37 | ||
| 9 | Bing Crosby / The Andrews Sisters | 02:44 | |
| 10 | Doris Fisher / Allan Roberts | 03:13 | |
| 11 | 02:45 | ||
| 12 | 03:12 | ||
| 13 | Ella Fitzgerald / The Ink Spots | 03:07 | |
| 14 | 03:33 | ||
| 15 | 02:54 | ||
| 16 | 02:55 | ||
| 17 | 03:23 | ||
| 18 | 02:52 | ||
| 19 | Lewis Brown / Buddy DeSylva / Ray Henderson | 02:47 | |
| 20 | 02:29 | ||
| 21 | Hugh Charles / Ross Parker | 03:27 |
The Singing Detective Bbc
blue highlight denotes track pick