[Rob In Stereo] Wired for Success

by Rob Hamilton
April 9, 2008

Over the past 10 years, the entertainment quality of television has risen to nearly surpass that of cinema. TV shows such as “The Sopranos” and “The Office” offer better drama and comedy than you will see in any movie playing at your local multiplex today. Movie studios are now adapting television series to the big screen, a reversal in the general spin-off hierarchy. Only a couple years ago, “My Big Fat Greek Life” was trying to capitalize on the success of “My Big Fat Greek Wedding.” Adapted-from-TV-movies in the works include “Arrested Development” and “Jericho.” I’ll pause and let the one person reading this who’s actually seen “Jericho” give his confused buddy a high five.

The leader of the pack in the new wave of cinematic-inspired television is, of course, HBO. The network jump-started the new movement when they debuted “The Sopranos” 10 years ago. Since then, they have debuted shows such as “Rome,” “Deadwood” and “Sex and the City,” which could have just as easily been pulled from the movie theater.

The HBO series that dwarfed all these shows is “The Wire,” which is set in Baltimore’s streets, mayor’s office and everywhere in between. It tackles the drug trade in the city better than anything ever put on television or film. Though critical attention came a little late, it is now recognized for what it is: one of the best shows ever put on television. Going from watching “The Wire” to any other show currently on television makes the latter look dull, meandering and a bit too “Hollywood.”

One of the qualities needed to produce a quality television series is good musical taste. The brains behind “The Sopranos” understood this, which is a major reason the show was so popular. Viewers knew each episode would either introduce them to or remind them of a great song or artist. For instance, after watching an episode featuring The Chi-Lites’ “Oh Girl,” I pulled their greatest-hits record that had long been gathering dust in my CD collection.

“The Wire” understood this as well, and reflected a similar disposition to great music. However, while “The Sopranos” used music in the forefront as a tool to further dramatic tension, “The Wire”—with the exception of the montages at the end of every season—used music in the background and did not flagrantly intend it to increase the scene’s power. The music you hear on the show is the music being played in the scene. Whether it be from someone’s car radio or a bar jukebox, it is by no means the centerpiece of the scene.

“… And All the Pieces Matter: Five Years of Music from The Wire” finally collects many of these songs previously only played from a street-corner boombox on the show. It is a sprawling effort, much like the show itself, featuring 35 songs and running nearly 80 minutes.

The soundtrack features the first four seasons’ covers of the Tom Waits-penned theme song, “Way Down in the Hole.” The Blind Boys of Alabama, The Neville Brothers and Domaje all offer unique takes on Waits’ original. It is unfortunately missing the fifth season’s version, performed by Steve Earle; but Earle, also a recurring character on the show, is included on the set with the great “Feel Alright.”

It is a record, like any great soundtrack, that can be enjoyed by both seasoned fans and strangers to the show. After all, Solomon Burke’s “Fast Train” and The Pogues’ “Body of An American” are great songs whether you hear them on a television show or not.

Fans mourned the departure of “The Wire,” but “… And All the Pieces Matter”—short of a surprise sixth season—is the best parting gift the show could offer.

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