What music delivers a headrush of nostalgia, makes you feel everything’s for the best in this best of all possible worlds and we’re not all going to hell in a handbasket?
For me, it’s the short reprise of the ‘Moonlighting’ theme that used to play over the end credits, featuring Toots Thielemans’ (citation needed… Ed.) harmonica swooping gorgeously over swooning strings.
It shouldn’t be any surprise that Lee Holdridge’s title song (with lyrics added later by Al Jarreau) was reminiscent of an old standard in the Porter/ Gershwin mould. After all, the TV show, which ran in the States and on the BBC from 1985 to 1989, most assuredly harked back to the romantic comedies and private-eye noirs of the ’30s and ’40s.
Co-star Cybill Shepherd, upon reading the script for the pilot episode, apparently called it a ‘Hawksian comedy’ (as in ‘Bringing Up Baby’/’His Girl Friday’ director/writer Howard Hawks), an influence of which creator/co-writer Glenn Gordon Caron was fairly unaware. He had instead been focusing his energies on lampooning the in-vogue detective shows of the early ’80s, one of which (‘Remington Steele’) he’d helped usher into existence.
‘Moonlighting’ made a star out of Bruce Willis and reignited Cybill Shepherd’s career, though she was apparently an exceptionally reluctant contributor and not a huge fan of her male co-star.
For the part of David Addison, Willis apparently had to audition not once but 11 times, and even then almost lost the role until a lone female NBC executive said (in front of a cadre of other male execs): ‘He looks like a dangerous f*ck’!
I was hooked on ‘Moonlighting’ in the mid-’80s, helped no doubt by a teenage crush on Shepherd. I watched two eps again recently – the pilot, which seemed overlong and clunky, and the absolutely superb ‘A Womb With A View’, the big-budget Season 5 curtain-raiser first transmitted in December 1988.
Gleefully jumping the shark, it has everything – an exuberant, self-referential song-and-dance number (‘A chance for critics to scoff and sneer’!), a chubby Willis in a diaper playing Shepherd’s unborn child, and some startling, creative visuals.
It also brought home how the show always assumed the audience was smart, rather than most modern TV which assumes it’s dumb. And the production values were super high, even though the pressure was on – they had to make 22 x 50-minute episodes per season. That works out at around ten days per shoot…
But back to the music. I’m partial to the original version of the theme song with its cool rhythm guitars and JR Robinson drums, but not so keen on Al’s re-recording with producer Nile Rodgers which – rather incredibly – made the UK top 10.
And Willis of course enjoyed a brief solo music career (and made a weird HBO mockumentary) off the back of his David Addison persona, tapping into a kind of Billy/Brucie, New Jersey ‘everyman’ vibe.