Mad Men ("Tea Leaves"): Exile on Madison Ave

Megan (Jessica Pare) and Don (Jon Hamm) patronize Heinz's wish to have The Rolling Stones as pitchmen.

Tonight marks the directoral debut for one Jon Hamm, and while he did a marvelous job, this third hour into the season for Mad Men is one that set the world on fire. No big pieces were being moved forward, unless you count the introduction of new copywriter Michael Ginsberg (Ben Feldman), hired to work the Mohawk Airlines account (you know this character is going to contribute more than just a bit to the season, thanks both to his bipolar interviews and the immediate look in on his home life). Outside of that, we're left to again catch up with and/or hang out with characters, this time getting Betty (January Jones in fat makeup!) back into the picture. "When is everything going to get back to normal?" asks Sally at one point, echoing us all a little bit.

One bit that always piques our interest is characters attending a concert. In season three, we had an art director go see "the" Bob Dylan; in season four, Don took Sally to see The Beatles' Shea Stadium concert; so it only makes sense that we now get a Rolling Stones concert. Seeing Don and Harry backstage was amusing, as Harry still thinks he can identify with the youth market, yet is easily duped by faux Stones. When one groupie scoffs at the notion of the Stones doing a TV jingle, Don points out that they've done it before, selling cereal in England just three years prior.

And that ad? An original song written to hawk Rice Krispies cereal, here in all its 1963 glory:

"Wake up in the morning and there's a crackle in your face." That's what your groupie said.

Hello, do you deliver ice cream?

While "Time is on my Side" was referenced in the episode as the song Heinz wanted rewritten (as "Heinz is on my side"), the song never actually made it on the soundtrack. The only track we get is The Sound of Music's "Sixteen Going Seventeen," reminding us again that Betty is a full grown child. The sequence leading up to the song, though, was pretty well thought out, with different characters receiving "good news" in a variety of ways. Betty responds to finding out she doesn't have Cancer with more depression -- thinking it was an excuse for her weight gain.* Roger has his own understandably angry reaction to Pete's version of the Mohawk Airlines "good news," while Michael's dad jokes that they should get prostitutes to celebrate his new job, quickly transforming the moment into an opportunity for prayer.

Playlist: Mad Men Season 5 (Episode 5.03)
1. "Time is on my Side" - The Rolling Stones
2. "Sixteen Going on Seventeen" - Charmain & Dan Truhitte from The Sound of Music

*How ironic to see Sally eating just a few bites of her sundae and pushing it away, while Betty eagerly finishes it off. It wasn't that long ago she was chastising her daughter for being overweight.

Previously: "Zou Bisou, Bisou" on iTunes and Vinyl / "A Little Kiss" (Episode 5.01-5.02)

Mad Men "The Summer Man": Diary of a Wimpy Id

Got to see it late and have little to add to the mix, but had to publish this to get the headline in.

"(I Can't Get No) Satisfaction" - The Rolling Stones

Previously: "The Suitcase" (episode 4.08)

Ear on TV: Week of 05.10.10: Exile on Main St Week

When one of rock and roll's greatest albums also ranks as the most decadent, it deserves its own week. To that end, Late Night with Jimmy Fallon is hosting a week long tribute to the Rolling Stones' 1972 release Exile on Main St, which celebrates a special reissue this week. The week features artists performing songs from the album and culminates on Friday with an hour-long making of documentary, Stones in Exile (scroll down for trailer).

Headlining as music guests for the week are Green Day (Monday,) Sheryl Crow (Tuesday), Keith Urban and Phish (Thursday). But the real treat here are the artists who will be sitting in with The Roots, playing Stones songs throughout each broadcast. Taj Mahal, Pearl Jam's Mike McCready, Stones' longtime keyboardist Chuck Leavell, and New Orleans legend Doctor John. Getting the premiere of the documentary Stones in Exile (on Friday) is a bit unconventional for a late night talk show, but Late Night has always forged ahead, and since Jimmy Fallon and The Roots have taken it over, it's been one musical coup after another for the little talk show that could,


The director of the Stones documentary, Stephen Kijak, got the gig thanks to his amazing work on the rock documentary ScottWalker: 30 Century Man, which, fittingly enough, gets its television debut this week as well, on the Sundance Channel Monday night (8 PM, EST). The film follows the fascinating career of Ohio born Scott Engels (aka Scott Walker), who conquered the UK in the 60s as part of The Walker Brothers and at the height of his fame, had his own TV show and rivaled The Beatles in popularity. He went from crooner to mind-bending solo artist, and to this day, Engels/Walker remains a towering influence over modern rock, as testified by the parade of artists interviewed for the film (David Bowie, Radiohead, Brian Eno, etc.). All the while remaining mostly unknown here in his home country. The film does the enigmatic artist incredible justice, even if it's reluctant star would be just as content to remain unknown to the world of American Idol.


Elsewhere, The National promotes their latest release, the gorgeous and melancholy High Violet (out this week), with a performance on Letterman Thursday. The Hold Steady drop by The Colbert Report on Thursday, highlighted by a sit down between Colbert and Craig Finn. And last, but not least, MGMT takes their crazy to Letterman on Tuesday night.

Playlist: Picks for the week
Monday, May 10
ABC: Jimmy Kimmel Live: Crash Kings
CBS: Late Late Show With Craig Ferguson: Wilco
FUEL: The Daily Habit: Dr. Dog
NBC: Late Night With Jimmy Fallon: Green Day, Taj Mahal sits in with The Roots
NBC: Last Call With Carson Daly: Wild Light (REPEAT)
PBS: Tavis Smiley: Tom Petty
SUNDANCE: Scott Walker: 30 Century Man: Scott Walker, David Bowie, Brian Eno, Radiohead, Jarvis Cocker
Tuesday, May 11
CBS: Late Show With David Letterman: MGMT
CBS: Late Late Show With Craig Ferguson: Jonsi
ESPN: Straight Outta L.A.: Ice Cube (direction and score), Snoop Dogg
FUSE: Nirvana Live at Reading: Nirvana
IFC: Dinner With the Band: Sharon Jones & the Dap Kings (REPEAT)
NBC: Late Night With Jimmy Fallon: Keith Urban, Pearl Jam's Mike McCready sits in with The Roots
TBS: Lopez Tonight: Ozomatli (REPEAT)
Wednesday, May 12
ABC: Jimmy Kimmel Live: B.o.B.
FUEL: The Daily Habit: We Were Promised Jetpacks
HBO: Music by Prudence: Prudence Mabhena
NBC: The Tonight Show with Jay Leno: Macy Gray
NBC: Late Night With Jimmy Fallon: Sheryl Crow, The Rolling Stones' longtime keyboardist Chuck Leavell sits in with The Roots
SYNDICATION: The Ellen DeGeneres Show: Court Yard Hounds
TBS: Lopez Tonight: Slash (REPEAT)
Thursday, May 13
ABC: Jimmy Kimmel Live: Dirty Heads
CBS: Late Show With David Letterman: The National
COMEDY CENTRAL: The Colbert Report: The Hold Steady
NBC: The Tonight Show with Jay Leno: Jakob Dylan
NBC: Late Night With Jimmy Fallon: Phish, Doctor John sits in with The Roots
SYNDICATION: The Ellen DeGeneres Show: Common
Friday, May 14
FUEL: The Daily Habit: A Day to Remember
NBC: Today: Sting
NBC: Late Night With Jimmy Fallon: Stones in Exile (documentary on The Rolling Stones' Exile on Main Street)
SUNDANCE: Live From Abbey Road: Temper Trap, Little Boots, Michael Buble
Saturday, May 15
NBC: Saturday Night Live: Tom Petty & the Heartbreakers
PBS: Austin City Limits: Manu Chao (REPEAT) [check local listings]
Sunday, May 16
HBO: The Wire: Various artists from New Orleans

Framed by The Frames

Last night concluded the amazing two-parter from Life ("Dig a Hole" and "Fill it Up") and cemented the drama as a weekly must see. The second-hour especially had many goose bump-inducing moments, especially with song choices, including the use of The Frames' "Finally" for the ending. Why then do I get the feeling that Life has given us the best it has to offer, and can only disappoint from here on?

Now that Crews has found the real killer of the crime that sent him to prison, how long can it survive just putting together the rest of the puzzle? So much of this series relies on Damien Lewis' powerful performance that the episodes suffer from any straying from his story, and how long can it really take now to figure out how he was framed? For now I guess we can only trust that the writers can work there way around these obstacles.

Meanwhile, though, last night's episode had many moments wreaking havoc on my '10 Best TV Music Moments' list that I'd already started. Right off, they used the slippery instrumental intro from "El Rodeo" from Kyuss for Crews return to prison. Next was the cover of Richard and Linda Thompson's "Shoot Out The Lights" by the legendary band X, which they recorded over a decade ago for a Thompson tribute album called Beat the Retreat. John Doe and Exene Cervenka harmonize while Charlie tosses his Zen cassette out the window, signaling that he's ready to lose control. There was already a signal, though, at the end of the previous hour, when it The Rolling Stones' "Gimme Shelter" played out the episode, which we know from it's many prior uses that things are about to 'get real'.

The goose-bumps only got bigger as the show went on, as next up came Leonard Cohen's classic "Who By Fire," backing Charlies' interrogation of Hollis along with the search for the shotgun swallowing snake. Cohen's lyrics "who by high ordeal, who by common trial?" were so right for nearly any scene with Charlie, but here especially. Then comes the slow building of The Yeah Yeah Yeah's "Down Boy," which climaxes when Charlie stands up looking over the two men he just surgically cut down with two shots. Down, down, down boy... good boy.

And finally, literally, when Crews makes his triumphant return to the station after having nabbed the real killer Kyle Hollis, it's to The Frames' "Finally," making the half-season come full circle, as their song "Dream Awake" played in the pilot as Charlie comes home after getting out of prison. That they use The Frames to frame the half-season works on so many levels, and not just because the series' mystery is about Charlie being framed for murder. The lyrics to "Finally" fit so well into the ending, and the series so far, it's almost as if frontman Glen Hansard
wrote it after watching.

Did you fall on your way
its a long way down
welcome back to your place
i hope you know it now
cause its true what you say
were the wrong way round
and the lie that cut the worse
has been resolved, then reversed... finally

Playlist: Life Eps 110-111
1. "Ride" - Liz Phair - Ep 1.10, opening
2. "Ooh La La" - Goldfrapp - Ep 1.10, discovery of old cellphone
3. "Fleur De Saison" - Emilie Simon - Ep 1.10, enter wild party
4. "Hello Hello I'm Back Again" - Shivaree - Ep 1.10, Connie shows up at the precinct
5. "Gimme Shelter" - The Rolling Stones - Ep 1.10, ending
6. "El Rodeo" - Kyuss - Ep 1.11, Charlie approaches the prison
7. "Ahead of My Time" - Teddybears w/ Daddy Boastin' - Ep 1.11, Charlie leaves the prison, approaches crime scene
8. "Shoot Out the Lights" - X - Ep 1.11, Charlie tosses Zen cassette out window, drives to Hollis residence
9. "Sorry" - Gram Rabbit - Ep 1.11, Charlie gives away his car
10. "Who By Fire" - Leonard Cohen - Ep 1.11, interrogation of Hollis / search for snake
11. "Down Boy" - Yeah Yeah Yeahs - Ep 1.11, Charlie stands up and looks over the two men he just killed
12. "Finally" - The Frames - Ep 1.11, they bring Hollis in, Charlie is greeted at the station

Previously: A Tale of Two Shows (Life Ep1.09)

(I can't get no) pumpkin pie

I have to ask if anyone else following this great drama? Last night, Showtime's Brotherhood turned Thanksgiving on it's ear -- and dropped it like an overweight turkey on the linoleum floor. When matriarch Rose takes off unexpectedly to spend the holiday with an old flame, the rest of the Caffey clan is left to fend for themselves, and it's quickly apparent that no one is equipped to handle the burden.

Colin (played by Bryan O'Byrne) is dreaming of his first Thanksgiving with his long lost family, but is sent off by Michael to take out Freddy. He's got two hours to 'kill' and the only restaurant in town has no pumpkin pie. What's a Thanksgiving-starved Belfastian supposed to do? No one's getting any satisfaction, though. Rose's "old flame" is more the latter then the former, and the Caffey's turkey hopes rested on the cooking of vegetarian Mary-Kate. Meanwhile the eldest daughter Mary Rose is stoned, and Jimmy's already eaten the pumpkin pie (Rose at least had the foresight to order five of them before leaving her family high and dry).

After Colin's botched hit on Freddy, he discovers that there's not going to be a Thanksgiving after all, and Cat Power's cover of "(I Can't Get No) Satisfaction" slowly drifts in to underscore the holiday's frustration. Just like the characters, viewers are all left wanting more, but let's give thanks for the coming two weeks, in what's looking to be a great final two episodes.

Song: "(I Can't Get No) Satisfaction" - Cat Power

More: There's really only two great covers of the Stones song, and Nip/Tuck used the other one a couple weeks ago, so I think we're covered for the year now, thank you very much.

Previously: Brotherhood's Sophomore Season Headaches

Dexter at Altamont

It's time to check back in with you're favorite serial killer, and it appears our poor anti-hero is having a crisis of faith. No, Dexter hasn't lost his faith in God, he didn't really have that to lose, Dexter instead worships at the code of Harry, the late foster father/detective. Lately, though, all the lies that have surfaced have Dex taking his eye off the ball, getting emotional and sloppy with his 'work.'

Not only was Harry using Dexter's mom as an informant, but also for intimacy. So when Lila theorizes that Dexter has some Oedipal issues to work out, she has no idea how spot on she is. But when she tells Dexter to get some closure with her mother's killers, she's really handing him a cocked and loaded gun. Dexter pays lip service to Lila's request for peaceful closure with the one killer left to confront, but having "Gimme Shelter" play while he strolls into the bar is certainly an indicator that things are going to turn from peaceful to violent real quick. The song, while overused now thanks to Scorsese's three turns at it (Goodfellas, Casino, and The Departed,) is still the perfect song to encapsulate that change in climate from well-intentioned to bad.

Gimme Shelter is of course the document of the change in climate for 1969, where the year of Woodstock ended with the violence of Altamont. The Rolling Stones intended for a peaceful concert, but hiring the Hell's Angels to provide security is too unlike sending a serial killer to get peaceful closure with his mother's killers. As the song says, "war, children, it's just a shot away."

Meanwhile, I don't know about you, but I find the parallel graphic novel character (The Dark Defender, drawn by comic artist Tone Rodriguez) a bit tiresome. If anything, though, it does provide Dexter with the thought of Lila as a potential superhero sidekick. He seems to be grooming her as an accomplice, which can only end badly for Lila, who's in way over her pretty little head.

Previously: That 7-10 Split is a Killer (Season 2 preview)

tags: music, television, soundtrack, dexter, rolling stones, martin scorsese, showtime,

Soundtracking Anderson: The Royal Tenenbaums

If Rushmore bent time and space with music from the British Invasion, Wes Anderson's third film pushes the method to the extreme of near timelessness using music, costume and prop design to create a sort of cartoon version of Manhattan. For The Royal Tenenbaums, Anderson moved on to baroque rock from the early seventies, helping to create a feeling of melancholy throughout the film, and cementing the label of 'melancomic' to Anderson's work (like it's meaning, this made-up label is both tragic and a bit humorous).

The first song that Anderson had in his head before sitting down to write was a Jackson Browne cover of "These Days" by Warhol Superstar Nico and he wrote his first scene with that in mind: Margo (Gwyneth Paltrow) getting off the Green Line Bus in slow motion (video). Nico's sad and beautiful voice helps color in Margo as much as the raccoon eyeliner that they share.

The opening montage that introduces the characters (expertly voiced by Alec Baldwin) is done to the tune of "Hey Jude" (see video,) which was recorded at the last minute by score scribe Mark Mothersbaugh and his offshoot Mutato Muzika Orchestra. Anderson originally meant to have The Beatles original version open the film (and close it with "I'm Looking Through You,") but circumstances forced their hand to record another version (EW, 12/04). Elliott Smith was approached initially, but he wasn't in any shape to do so at the time, as he was already on a downward spiral that would eventually end with him taking his own life just two years later. Eerily, the song he did provide, "Needle in the Hay," was used prophetically as the backdrop for Richie's attempted suicide (video). That co-writer Owen Wilson had a hand in writing the scene makes it doubly eerie. Continuing on the musical suicide tour of RT, when Richie (Luke Wilson) gets out of the hospital and takes the bus home, it's to Nick Drake's "Fly". Drake's upbeat song is meant to signify a sort of rebirth, but it's hard to ignore the fact that this singer took his own life as well.

This scene is then followed by back-to-back tracks from The Rolling Stones, backing the drama between Richie and Margo. They confess their love to one another to "She Smiled Sweetly," and then Margo says it has to be a secret love and leaves as "Ruby Tuesday" raises in volume on the "goodbye" chorus. This, and a few other RT scenes, I believe mark the first time Anderson uses diegetic music of any significance. The songs play on a turntable, and exist in the characters' world, whereas nearly all the music in his prior work was non-diegetic in nature. This diegetic use of music is much harder to do (see the The Sopranos,) and shows Anderson's growth working with Randall Poster on these films (and on his next film, he would take it to another extreme). Another use of this is The Clash's "Rock the Casbah," playing on a stereo for an Eli (Owen Wilson) drug deal (video). The Clash appeared earlier with Eli as well, as when he buys some drugs while out with Margo you hear "Police and Thieves." Anderson seems to associate punk rock with illicit behavior, as he also uses The Ramones' "Judy is a Punk" as a backdrop to the montage of Margo's secret past. Contrasted with the baroque sounds of the rest of the soundtrack, it's meant to be a little jarring.

If Eli Cash is The Clash (why am I just now noticing Cash=Clash?) then I guess Royal Tenenbaum (Gene Hackman) is Bob Dylan. Dylan's "Wigwam" sets the mood for when he meets his grandkids for the first time ("no we didn't" - see video,) and Dylan's theme score Pat Garrett and Billy the Kid helps escort Royal out the door after his ruse has been discovered. And I haven't even brought up the scene of joyful rebellion where Royal and his grandkids raise some hell to Paul Simon's "Me and Julio Down By the Schoolyard" (video). There's really no scene that isn't carefully scored, so that each moment is somehow more precious then the next, which initially is the best thing about the film. But together, much like this post I'm writing, it all feels a bit claustrophobic, and that really is the major flaw in this otherwise beautiful, sad, funny film.

Playlist: Rssmbld Sndtrck - The Royal Tenenbaums
1. "Hey Jude" - The Mutato Muzika Orchestra (video)
2. "String Quartet In F Major (2nd Movement) (Ravel)" - Ysaye Quartet
3. "Sonata For Cello and Piano In F Minor (Enescu)" - The Mutato Muzika Orchestra
4. "Look At Me" - John Lennon - Chas gets his children ready for bed on his first night back home
5. "Christmas Time Is Here (Instrumental)" - Vince Guaraldi - Margot is leaving home / Royal tries to reconcile with Margot in the ice cream shop
6. "These Days" - Nico - Richie is picked up by Margot, by way of the green line bus (video)
7. "Police & Thieves" - The Clash - Eli and Margot visit a drug dealer and discuss Richie
8. "Wigwam" - Bob Dylan - Ethyl and Henry discuss their relationship / Royal meets his grandsons (video)
9. "Gymnopedie No. 1" - Erik Satie
10. "Lullabye" - Emitt Rhodes - Chas confronts Richie in his tent (video)
11. "Me And Julio Down By The Schoolyard" - Paul Simon - Royal takes his grandsons out to raise hell (video)
12. "Main Title Theme (Billy)" - Bob Dylan - Royal leaves the house
13. "Judy Is A Punk" - The Ramones - The Margot private investigator montage
14. "Needle In The Hay" - Elliott Smith - Richie attempts to commit suicide (video)
15. "Fly" - Nick Drake - Richie escapes from the hospital, sneaks back into house (video)
16. "She Smiled Sweetly" - The Rolling Stones - Margot and Richie talk in the tent (video)
17. "Ruby Tuesday" - The Rolling Stones - Margo leaves
18. "Stephanie Says" - The Velvet Underground - Richie is visited by Mordecai* on the roof of the hotel
19. "Rock The Casbah" - The Clash - Royal and Richie try to get Eli some help (video)
20. "Christmas Time Is Here (Vocal)" - Vince Guaraldi
21. "The Fairest Of The Seasons" - Nico - prologue, announcement of Royal's death
22. "Everyone" - Van Morrison - Royal funeral, credits
Score by Mark Mothersbaugh

More: Aside from Mothersbaugh and his score, the other artist who ties the musical theme together goes mostly uncredited, and that's John Cale. He played in Velvet Underground ("Stephanie Says") and played on both Nico tracks as well as "Fly" by Nick Drake.

*The original hawk used to play Mordecai was captured during shooting and held for ransom - production could not wait for him to be returned which is the reason that the bird that appears later in the movie has “more white feathers” - it’s a different bird

Previously: Bottle Rocket, Rushmore

tags: music, film, soundtrack, wes anderson, mark mothersbaugh, rolling stones, the clash, royal tenenbaums, elliott smith, nico, playlist

Soundtracking Anderson: Bottle Rocket

The latest film from Wes Anderson, The Darjeeling Limited, comes out next Friday, and in anticipation of that I've reassembled all the music to each of his prior films, starting today with Bottle Rocket.

Wes Anderson is a creature of habit, or perhaps I should word that differently... when Anderson finds something he likes, he sticks with it. Bottle Rocket began his long relationship with Owen Wilson, who's been a part of every Anderson film released thus far, and in light of recent events, it's fascinating to go back and see his Dennis Hopper-like portrayal of Dignan, the wanna-be criminal. Anderson keeps going back to the same well with the music as well, and Bottle Rocket started his relationship with music supervisor Randall Poster*, Devo's Mark Mothersbaugh doing score, the songs of The Rolling Stones** and the music of the old Peanuts cartoons, with songs from Vince Guaraldi appearing on the original short from 1994.

Each Anderson film seems to center on a single artist and branch out from there, and for Bottle Rocket it's the band Love. This Los Angeles psychedelic-tinged outfit was led by the late Arthur Lee, who, like Wilson's Dignan, fancied himself an outlaw. That the band incorporated Spanish-style embellishments only added to the appropriateness of the songs to the film.

Below are playlists reassembling the songs as they appeared in the film. I've included the soundtrack to the original short from '94 as well (chock full of Charlie Brown goodness.)

Playlist: Rssmbld Sndtrck - Bottle Rocket (1996)
1. "Alone Again Or" - Love
2. "2000 Man" - The Rolling Stones
3. "Seven & Seven Is" - Love
4. "Prendeme La Vela" - Abelardo Vasquez & Cumanana
5. "Zorro is Back" - Oliver Onions
6. "Mambo Guajiro" - Rene Touzet
6. "Pachanga Diferente" - Rene Touzet
7. "Over And Done With" - The Proclaimers
Score by Mark Mothersbaugh

Playlist: Rssmbld Sndtrck - Bottle Rocket (1994 - Short)
1. Old Devil Moon - Sonny Rollins
2. The Route - Chet Baker
3. Skating - Vince Guaraldi
4. Stevie - Duke Ellington
5. Happiness Is - Vince Guaraldi
6. Jane-O - Zoot Sims

*When Anderson first delivered Bottle Rocket it fell kind of flat, so producer James Brooks brought in Randall Poster to help flesh out the soundtrack and he brought in Mothersbaugh to do the score as well.
**It should be noted that while The Rolling Stones have a song in every film, none appear in the soundtrack releases.... that is until next week. The Darjeeling Limited Soundtrack is being released on ABKO Records, which is notable for being the home of Mick and Keith's little band. That's one way to finally get the Stones on your album.

tags: music, film, soundtrack, wes anderson, mark mothersbaugh, rolling stones, vince guaraldi, bottle rocket, love, arthur lee, playlist

The Monopoly game

So the premiere for this last batch of episodes for The Sopranos happened Sunday night, and I'm only getting to posting on it now. Why? Well, in part because I felt the necessity to watch it over again, there was so many subtle things going on that I swore I saw, and needed to confirm. One thing I did confirm was that it was a pitch-perfect beginning to the end of the series, and it reminded me of a recent interview with David Chase, in which he bristles at the mention of some criticism from fans about the lack of action:

I'll say, 'You want to see nothing?' And I'll do less. Sometimes it's hard not to enjoy that you're irritating some people.
- David Chase, Entertainment Weekly, #929)

Case in point - right off the bat, Tony's house is raided and he's sent to lock-up for weapons charges. From there the episode is set to simmer for a long period of time as Tony as Carm hang out at the lake with Bobby and sister Janice. The wackjobs who were begging for violence were surely squirming in their seats, as Chase dripped his psychological-dialogue-driven-dramatic drips on their forehead. I (and most Sopranos fans, I imagine) was riveted from start to finish, as everything Tony does now seems like it's dripping with impending doom.

Music plays a big part in this doom, as it usually does with the show. When Phil Leotardo is welcomed home, we hear the song "Trouble in Paradise" by The Crests, and if we're not already clued in, Tony is ridiculed (referred to as 'Pork Chop,') and hinted (again) at being a problem. And if you listen carefully, the lyrics "some devil told my angel a lot of lies" says just as much about who's got Phil's ear as who's cheek he squeezes to end the scene.

Even what seems like a song thrown in for fun like James Gang's "Funk #49," is open for interpretation. The lyrics "think there's trouble brewing" is sung as Tony gets off the phone with his lawyer, thinking he's in the clear, but we know different. The next night, the ladies partake of some karaoke, and their song choices are, again, relevant. Janice sings The Rolling Stones' "Out of Time," but we only hear the lyrics "but you can't come back and be the first in line," which is what Tony's been feeling since she came back several seasons ago, trying to reassert her status as his big sister, oldest of the Sopranos. She's battling Tony for power of the family, in her own way - or should I say, in her mother's way. It's easy to see her undermining Tony's power via Bobby much the same way that their mother whispering in Uncle Junior's ear. Once Tony catches on, she'll really be out of time. Meanwhile, when Carmela sings "Love Hurts" (hilariously off-key) I have to ask, is there a more appropriate song for Carm to sing?

Then, after a lot more drinking, comes the (already) legendary Monopoly game. "Killer Joe" by the obscure Rocky Fellers plays as Bobby takes affront to community money going to the Free Parking space instead of the bank. "You know the Parker brothers took time to think this all out. I think we should respect that." With that we're reminded that Bobby plays by the rules, even though he's up to his eyes in organized crime (and is carries the name of his killer father.) Then Dave Brubeck's "Take Five" plays, as Tony is caught stealing $500 from the bank, but that's not the song's only purpose. It's also a clever play on the growing underlying tension, as the song is cool jazz played in 5/4 time, which belies an underlying feeling that something's off, as our ears are used to 4/4 time.

Later, after Bobby pops his hitman cherry (Tony's perverse punishment,) he's born again, much like Michael in The Godfather (especially how he drops the gun at the scene -- and don't those lake scenes remind you of II?) The song that backs this baptism is The Drifters' "This Magic Moment" and it all seems so serene, but didn't we hear that song drift earlier in the episode, only to be cut-in by news of a car bomb in Iraq? Does anyone remember who was 'the car' in that game of monoply? (boom)

Playlist: The Sopranos - Ep 613
1. "Trouble In Paradise" - The Crests (w/ Johnny Maestro) - Phil Leotardo is welcomed back into the fold
2. "Funk #49" - James Gang - Tony and Carm drive out to the lake
3. "Out Of Time" - The Rolling Stones - (Karaoke) Janice sings this defiantly
4. "Love Hurts" - The Everly Brothers - (Karaoke) Carm sings this off-key
5. "Killer Joe" - The Rockyfellers (here's a version by The Kingsmen) - Tony, Carm, Bobby and Janice play Monopoly
6. "Take Five" - Dave Brubeck - Tony, Carm, Bobby and Janice play Monopoly
7. "This Magic Moment" - The Drifters - First comes in on radio as Tony sits staring out at the lake, before changing into a car bomb story in Iraq. Then played again at the end as Bobby comes home from first kill and through the credits

More: Even though I didn't include it, it's worth mentioning the ducks returning briefly as a theme here. As Tony sits an ponders life (and getting beat up by Bobby,) a duck flies over, and in the background Janice's daughter sings the nursery rhyme "Five Little Ducks."

Previously: A moonlight mile down the road (Episode 612)

tags: playlist, the sopranos, television, hbo, soundtrack, rolling stones, monopoly, james gang, the godfather, movies, david chase, the drifters, rhapsody

Ear-jacked

Rosie O'Donnell returned as Dawn Budge for last night's episode of Nip/Tuck, which is fitting given the recent news that she's signed on for a N/T spinoff. Before last night's episode, I was pessimistic about the idea, but seeing her more nuanced second performance made a believer out of me.

Playlist: Nip/Tuck - Episode 4.07
(Click for tracklisting)

O'Donnell's Dawn gets ear-jacked; that is, her ear is cut off (warning: suspend disbelief) in a motorcyle drive-by robbery of an expensive earring Dawn's wearing. To replace her ear, Sean recommends using genetic engineering to grow an ear on the back of a mouse named Vincent. That's for Van Gogh, the painter (Dawn: "I know who Van Gogh is, I bought one for my bathroom. Every time I take a dump now, I feel artistic"). The music played while Dawn is introduced to the mouse is Ekvat's "Babu Amgelo," which is a good example of how music can make a scene funnier.

Elsewhere, The Rolling Stones make another appearance (their fourth song in the last three episodes), contributing "Under My Thumb" to Christian's evil seduction of Kimber. Then, with a knowing wink, Don McLean's "Vincent" is used as the mouse with the same name gives his life for Dawn's surgery.

Previously:
Tatoo You (Episode 4.06)
The best money can buy (Episode 405)

tags: playlist, music, soundtrack, niptuck, rolling stones, rosie odonnell, evkat, don mclean, rhapsody

Tattoo you

Just when you think it can't get any weirder on Nip/Tuck... it... you know... gets weirder. Surreal scenes set to The Rolling Stones made for some head scratching viewing.

Playlist: Nip/Tuck - Episode 406

Right out of the gates it's a dream-within-a-homo-erotic-dream, with Christian and Sean sunning themselves at a gay retreat to the sounds of The Pleasure Seekers' "I Like The Boys". Sean locks himself in the closet (again with the Tom Cruise references) and then weirdly ends up dying in surgery as Christian gives him mouth-to-mouth. Then Christian's little liason with boss Michelle is found out by Burt, and we're treated to Larry Hagman (Burt) talking about his erectile dysfunction (to the tune of "Macho Man.") But it doesn't end there... Burt then makes Christian and Michelle adulterate while he looks on (creepily.)

Speaking of creepy... what's with all the crazy women? All the women characters introduced to the show this season are nut jobs. Both Monica and Dr. Wolper (Brooke Shields) turn out to be obsessed wackos, and what happens to them is a little disturbing. Not long after going all The Hand That Rocks The Cradle, nanny Monica is hit by a bus, ending her puzzling story line as Sean's object of adultery. Meanwhile bad Dr. Wolper first gets a tattoo removed (Property of Some Dude) by Christian (to "Slave" by the Rolling Stones) then later, after we find out she's the one coaching Burt about Christian and Michelle, she gets another tattoo in the same spot that says Property of Christian Troy. This to the tune of "As Tears Go By."

Sorry, but I don't get it.

Tracklisting compiled by Avalon at Niptuckfans.com

Previously:
The best that money can buy (Episode 405)
Danger when you taste brown sugar... or wear peanut butter (Episode 404)

tags: playlist, music, soundtrack, niptuck, rolling stones, brooke shields, village people, pleasure seekers, rhapsody

The best that money can buy

You can take the girl out of Long Island, but you apparently can't take the Long Island accent out of Rosie O'Donnell. The new host of The View guest starred on last night's Nip/Tuck as a Pensicola white trash lottery winner named Dawn Budge. O'Donnell was fine in the role, but that accent was far more 'I'm down visiting my uncle Saul' then the needed 'I just moved out of the trailer park, y'all.'


Playlist: Nip/Tuck - Ep. 405

For Dawn's lipo surgery, the Flying Lizards' classic post-punk "Money (That's What I Want)" was played. For a real treat, here's the video for the song, circa 1979.

Speaking of money, more of it changes hands in this episode of Nip/Tuck then I think I've seen in any hour of drama. It reaches it's pinnacle when Dawn pays Christian $420K for 10 minutes of nookie on his rug, which is backed oh so subtley by the song "Dawn (Go Away)" by Frankie Valli and the Four Seasons - a look in at Christian's thoughts, if in title only. So what was Christian using all the money he scammed off of Dawn for? To buy the freedom for his new boss and lover Michelle. Turns out she's not so free after all, and to the tune of "Gimme Shelter" by The Rolling Stones, we see her past (and present?) life as escort-meets-organ harvester. War, children... its just a shot away.

And I didn't even bring up Scientology...

Tracklisting compiled by Avalon at Niptuckfans.com

Previously:
Danger when you taste brown sugar... or wear peanut butter (Episode 404)

tags: playlist, music, soundtrack, niptuck, rolling stones, rosie odonnell, flying lizards, frankie valli, rhapsody