The Secret Life Of Bob Monkhouse

I for one was fascinated by the recent BBC Four Television airing of "The Secret Life Of Bob Monkhouse"... not only a highly interesting documentary record of Bob's life; but also a very inspiring peak into the outstanding archive of material Bob collected of his own performances, as well as 100's and 1000's of performances by other entertainment stars.

Bob's own comedy style is very much in the American vein, of which he was clearly inspired by... rolling gags, punchy one liners, affectionate put downs and of course the self depreciating humour.

The documentary which spans a hearty 90 minutes, has a very wide appeal - for admirers of the great, Bob Monkhouse, keen archivists and fans of all 'round light entertainment. The program showcases rare treats from "Sunday Night At The London Palladium", "Hancock's Half Hour" and audio capturings of Peter Cook and Dudley Moore; to name only a few.

There are many loving and moving tributes to Bob from family, friends and fellow entertainers. Joe Pasquale recalls a touching final visit to see Bob in 2003 and a very delighted Lenny Henry recalls his excitement when a copy of his "New Faces" talent show audition was found in Bob's basement.

We also get an insight into Bob's early adult career in which he formed a writing partnership with Denis Goodwin; and together during these early years, they wrote for many stars of the day such as Arthur Askey, Ted Ray, Jimmy Edwards and Max Miller.


Bob's meticulous attention to detail both in his performance and archival work is also clearly evident throughout the program. His personal archive was maintained very much privately throughout the years until much more recently; and consists of over 50,000 VHS tapes and 400 film prints, all now in the hands of the classic television organisation "Kaleidoscope".

Within his archival work, Bob was well known to correct and ammend printed tv listings if a show featured a different guest line-up to that originally advertised. He was also known to do the same for a change of airing time. I found these precise detailings particularly fascinating. Even if such schedule changes are relatively unimportant, they still have an interesting relevance within an archive collection.

Friend's of Bob's described this love of collecting to be a "near obsession", but I would suggest it to be a strive for perfection. In our modern world, where there is a huge re-sale value to previously broadcast material, Bob's archive serves a very important role, which was often taken far too lightly in years gone by. It's fascinating that many never recognized what they were doing to be anything particularly special. What they were actually doing was something very special indeed - they were creating history.

Like all things, "perfection" is in the eye of the beholder. Some see "perfection" as being "blemish free" or without mistakes. I personally see it as an aim to maintain a high standard of consistency and quality - not necessarily related to (but not excluding) quantity. For example, "Live" TV could be considered "imperfect" without any mistakes; which are of course, natural - we are human after all! The key is in how the mistake is handled in a live environment.

Perry Como, for example maintained complete control and warmth throughout all manner of different "live" problems that arose... scenery falling, clothing problems, mislaid cue cards, etc. It was all in the beauty and art of "live" tv. The shows themselves were produced to a very high standard and were among the first to be broadcast in both full colour and stereo, dating back to as early as 1956; far ahead of the capabilities of even a very good quality TV set of the day.

And so, with "The Secret Life Of Bob Monkhouse", the BBC have produced yet another excellent documentary... and here's to many, many more of the same!

An Interview With Gregory Peck

Last Friday, there was a nice early morning treat to see on BBC 2 Television here in the UK... a very interesting and engaging interview/documentary piece titled "A Conversation With Gregory Peck". The film documents aspects of Gregory's life in his own words on his stage tour throughout the mid to late 1990's. In the program, he recalls happy moments on the sets and throughout the making of his finest films such as "To Kill A Mockingbird", "Duel In The Sun", "Roman Holiday" and many others.

There is also some charming footage of Gregory at home, with his family - by the swimming pool, watching the baseball on television and other aspects which give a nice glimpse into home life for the Peck Family.


Gregory was born on April 5, 1916 in La Jolla, California, USA and went on to become one of our finest actors. I remember a particular warmth to Gregory's acting - especially so within his portrayal of Atticus Finch in the 1962 film adaptation of Harper Lee's novel, "To Kill A Mockingbird".

All in all, the documentary was very entertaining and interesting. What added most to this was the live audience participation - questions, observations and recollections of which are highlighted throughout the program. It was most certainly an interesting start to an eventful friday, in which we also saw the Royal Wedding of William & Kate!

Return Of The Pink!

I must say that it was a real kick to see a return to BBC 2 Television for "The Pink Panther Show" this week. I have many fond memories of watching the show's re-runs on BBC Television throughout the 1990's and it's certainly a welcome return. The show in question is as originally broadcast by NBC Television from 1969 to 1971 and also features "The Inspector" cartoons.

In 1971, the show received a makeover and had a successful run from then until 1976 under the title "The New Pink Panther Show" - featuring "The Ant & The Aardvark" cartoons, which were voiced by John Byner who created a voice similar to Dean Martin for "Charlie Ant" and a very Jackie Mason like voice for "The Aardvark".

I've often said that cartoons like the Pink Panther, Tom & Jerry and others have had a big influence on my interest in music - this is perhaps most importantly because the cartoons rely heavily on musical scores, as the characters are almost always "mute". In the case of Tom & Jerry; their cartoons were often linked with MGM Musical scores of the time such as "Anchors Aweigh", in which Jerry is actually featured dancing alongside Gene Kelly in a special routine... as for Tom - he resides as butler to Jerry (the king) who had banned singing and dancing in his kingdom; until being encouraged to change his ways by Mr. Kelly.


Tom & Jerry were also one of the earliest introductions I had to classical music. One cartoon particularly sticks in my mind... "Tom & Jerry At The Hollywood Bowl" which features the overture from Strauss' operetta, "Die Fledermaus".

The Pink Panther cartoons were also my main introduction to Henry Mancini, who's "Pink Panther Theme" featured in each program. Over the years, Henry made many wonderful scores and albums for RCA Victor - numerous of which have become personal favourites.

Of course, the Warner Brothers and Disney cartoons cannot go without a mention too. They also featured many delightful scores... like the "Silly Symphonies" and "Merrie Melodies" shorts; which had a charm of their own.

The universal appeal of all these cartoons makes them as timeless and enjoyable today as when they were first shown; and long may they be enjoyed!

John Sullivan - A Tribute

I'm sure most of us would agree that the importance of a solo comedian or double act is always a careful blending of comic delivery/timing and writing. On the same note - without a good script, you don't have a show. When it comes to a sitcom - a hand crafted plot is essential to making the program not only entertaining on different levels, but also believable. John Sullivan did just that. Today he is perhaps best remembered for writing "Only Fools And Horses" and the spin-off's from the series - "The Green Green Grass" and his final work "Rock & Chips".

John was from a South London, working class background and worked for 15 years in a variety of low paid jobs before getting his first big break writing the TV Sitcom "Citizen Smith" starring Robert Lindsay, which ran for 4 series.

His first association with the BBC (British Broadcasting Corporation) came when he gained a job working behind the scenes as a "prop man" - this brought with it the perfect opportunity to network with the right people within the industry and make his creative voice heard.

"Only Fools And Horses" first hit UK screens in 1982 and the main series ran until 1991, along with yearly Christmas specials running to 1996 (concluding with the famous Christmas "Trilogy") and a series of 3 comeback specials between 2001 and 2003. The secret to the longevity and endurance of "Only Fools And Horses" is perhaps most importantly because of it's multi-generational appeal and the fact that the storylines have been inspired by real life stories in "real world" settings.

I am very grateful that my family, friends and I have enjoyed (and continue to enjoy) many happy hours together watching "Only Fools And Horses" and "The Green Green Grass". We've been quite litterally in tears of laughter... which is perhaps the greatest compliment a comedian/comedy writer could ever hope for. I also think it's fair to say that I've not seen any work by John Sullivan that I didn't thoroughly enjoy - he maintained an excellent standard of writing throughout the years and the authenticity of each program to it's "situation" subject has always been a joy to both see and hear.

John passed away this past weekend on Saturday - April 23, 2011... he will be greatly missed by family, friends and all who appreciate comedy writing of the highest order. Although the man may be passed, the legacy is just beginning and will live on as long as there are people who enjoy truly great situation comedy.

Spring Is Here...

With Spring in full bloom now, it's a real kick to have enjoyed the flurry of warm weather we've had across the British Isles this past week or so. We've seen a considerable drop in temperature over the past 24 hours, but a return to the heat will be welcomed by us all in time for this friday - April 29, 2011... it's a kick to think we can enjoy the first royal wedding in some years now. There's much excitement in the air and most importantly - it's good to see people coming together to celebrate... that's what it's all about.

There's little that hasn't already been discussed about Will and Kate's big day; so I'll close simply by extending my best wishes to them both and hope they enjoy a lifetime of happiness together.

On a very different subject, this afternoon - I encountered another example of how even in a highly developing technological age, standards continue in their downward trend. A Worcester Bosch boiler was the case subject... and the issue - inferior quality parts. The boiler leaked over several hours, some 3 or 4 mugs full of water. I called for the engineer and hopefully the problem will be fully rectified by tomorrow evening. It's a pity though that in this age of outstanding technology - products are still falling greatly short of the mark. It's time to raise the bar again and maintain it... I've always thought that Robert Browning put it very well: "Ah, but a man's reach should exceed his grasp, Or what's a heaven for?"

“Perry Como’s Springtime Spectacular”

May 12, 2011 will mark the 10th year since the passing of one of the most important singers of the 20th Century – Perry Como. From very humble beginnings, Perry built up a reputation set on the foundations of integrity, high standards and excellent values. In a career spanning 7 decades, more than 40 of which with the same recording label, RCA Victor – he made more than 800 recordings; and it is a selection of these which we present to you in “Perry Como’s Springtime Spectacular”.

In this year’s offering, we bring to you recordings dating back to as early as 1939, right through to Perry’s final studio album, recorded in 1987. We have rarities, alongside familiar favourites; from the upbeat of our opening number, to our traditional closing with “The Lord’s Prayer”, you can be assured that there’s something for everyone – all hosted by our good friend, Steve Goddard.

We welcome you all to join us as we celebrate the Easter festivities and all the beauty of the spring season with one of our most respected and versatile singers.


© Matthew Long, 2011
Producer, Perry Como’s Seasonal Specials


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The Recording Industry vs. The Consumer

In a World of ever improving technology and much advancement in the way we listen and feel music, the music industry finds itself in the depths of a huge dilemma – should they sink or swim?

In years gone by, it was very easy for mediocrity to sell and flourish; many budget labels enjoyed great success as a result. Today however, with the ease of digital file sharing and distribution - a whole new World of possibilities have evolved.

One of the biggest issues however, is with respect to the way in which products are packaged. One key piece of information which is failed to be included on the vast majority of releases is a declaration of sources and engineering. As a result, we now have a sea of pirated releases where labels are copying recordings from each other with no credit to the original source and engineering. In recent years, these activities have reached epidemic proportions. Consumers cannot identify the wheat from the chaff. It is only on careful individual product analysis that one can see what is going on here... alternate takes popping up within releases inadvertently and very inconsistent mastering to name but a couple of issues.

Those consumers who truly care have lost trust in the labels; those who never cared anyway will be content with mp3’s. Many are not even aware of what is going on... these are the innocent consumers who are fooled into buying products which have been supposedly sourced from “Premium Masters” and such.

When questioned about this, the labels are very dismissive on all counts. They are ready to squeal “copyright!”, yet have no consideration for any misleading within their product packaging.

A very important aspect of this whole issue is that it is not unique or limited to any one artist or group of performers – every artist is affected in the same way; as are the engineers who master the recordings.

The word “Master” in itself is a highly over used and exaggerated term. By correct definition, there is only one master of a recording; that is the actual recording as captured at the very time of the original performance – it is these originals which hold the most faithful reproduction possible from each recording. Any other masters are simply copies – each time drawing further away from the original source. Really speaking, there is no such thing as a “Master Copy” – the two words contradict each other... it is either a “Master” or a “Copy”. This has changed in more recent years with exact digital duplication.

Imagine an original watercolour painting – it is scanned, then copied and copied again and again. Each time, we are drawing further away from the original; fine details become less apparent, clarity is lost and resolution drops considerably. The same fundamental issue is within the recording industry; but, standards have dropped so low that mediocrity appears to be the new “best”!

The reality is that the labels will use absolutely any source they have close to hand and very willingly refer to it as a “master”; regardless of whether the source is phonograph records, audio cassette tapes or simply making exact duplications from compact discs.

“Public Domain” is another big issue… in the United Kingdom this generally means commercially released musical sources that are 50 or more years old can be copied and used by labels without any credit or reimbursement to the original source. The sources in question as it currently stands are generally phonograph records that are 50+ years old… mainly 78 rpm discs and earlier 45’s and LP’s. The “Public Domain” definition is often misused and is not clearly stated. As a result, we see labels using recordings of 50+ years old, but sources of far more recent years. A gramophone record, audio cassette or other commercially released format is not a recording – it is simply a container. There is only one recording.

There is far more to this issue than whether one can tell the difference or not – it’s also a matter of consumer protection. If a consumer wishes to buy mediocrity, they are absolutely entitled to; however, they should be able to clearly determine which product is which, prior to any exchange of money. If you’ve been unhappy with previous or present releases, don’t hesitate to get in touch with the labels – to express your displeasure and demand a full refund. This is the only language they understand. Equally, if you are very pleased with a release – you should certainly consider contacting the label to express your satisfaction – the main issue here though is: Was the product as good as it could or should have been… or has deceptive packaging misled you?

So, what can we do about it? I believe that a full declaration of sources and mastering on product packaging is the essential key to resolving this whole problem. This way, all consumers have the opportunity to find out exactly what they are purchasing and needn’t worry about being deceived by fancy packaging... as the old saying goes – “Don’t Judge a Book by Its Cover”.

With this mandatory declaration in mind, those who choose to produce good or excellent work are protected and their efforts cannot be freely copied and used by other labels for their own profit. It’s no different to the farmer who puts time and effort into planting and harvesting his crops, whilst another simply steals from his crop for his or her own profit. Penalizing individuals for downloading files online is not the answer; online downloading is actually an incredible promotional tool. If one enjoys a recording so much, they will be prepared to pay good money for a proper release, produced to very high standards – it is this foundation on which the whole High Fidelity industry is based. The truth of the matter is that the vast majority of commercial releases to date are very little better than mp3’s; in fact, many CD’s are now being sourced from them. Save your money – the best is yet to come!

Everything begins with the original recording – no recording can be better than its source.

If “fancy” packaging is used, it is often the result of a label whose sources have cost little or no money to compile, leaving the vast budget to deceive customers with very attractive packaging. Like with a box of fine chocolates... it’s the quality of the chocolates that is the top priority – we don’t eat the box! And, like all food products are required to include content details, so the same should be for media products.

If you care about the music you listen to, want to hear the best potential from it and also care for its preservation for future generations – please join us; whether you’re an industry professional or a concerned consumer. There is no discrimination – all are welcome. As individuals, we can all make a difference. We must work together and campaign for change.

Contact your local Members of Parliament and make your voices heard!