90210, Talk that smack

The CW may have skipped sending out the pilot for screening the series 90210, but we do know at least something about tonight's episode. The band Tilly and the Wall will be making an appearance on tonight's premiere, playing at a not-so-sweet sixteen party for character Naomi (AnnaLynne McCord). They play the song "Pot Kettle Black," which is perfect for the bitch set, with lyrics like:

Oh my god, Did you hear (yeah)
About that bitch, and what she did?
I don't believe it... Aw, aw
What a ho, what a tramp, what a slut
Pot kettle, pot kettle black
Talk that, talk that smack!
Pot kettle, pot kettle black
Watch your, watch your back

We also know that the Peach Pit is back, only this time around it's known simply as The Pitt. The Peach Pit is, of course the hangout that ultimately inspired The O.C.'s Bait Shop, and it's the scene of one of alternative music's most surreal moments:



"Hey is that the Flaming Lips?"
"It's not Michael Bolton."

TV's Top Music Moments of 2007

After a popular series finale fades -- or cuts -- to black, nowadays there's a mad dash to find the song that ushered out the show. Download stats the next day go through the roof, and sometimes that recording will make a mark on Billboard charts. This year, that scenario happened time and time again, even bringing a group long since out of favor back into the limelight. Not all the moments I have below followed this path, but they all stuck with me, long after the credits rolled.

10. Total Eclipse of Meth Lab Matt [video]
Nip/Tuck - Ep 5.07, Song: "Total Eclipse of the Heart" - Bonnie Tyler
Miserable Matt pulls a Richard Pryor, setting himself on fire trying to cook up some drugs (meth in this case) in his apartment. After catching on fire, he manages to do a swan dive from the second floor into his complex's pool. The usual histrionics of Matt's scenes are amusingly sent over the top by using this Bonnie Tyler classic. Songwriter Jim Steinman -- the writer behind Meatloaf -- has a gift for over the top.

9. Mad Men Don't Think Twice
Mad Men Ep1.13, Song: "Don't Think Twice, It's Alright" - Bob Dylan
A fitting end to a nearly perfect first season of television. Dylan wrote the song as "a statement that maybe you can say to make yourself feel better," a consolation for your lover leaving you. As Don sits on the steps, we can imagine him having this argument in his head thinking about Betty and kids having left him -- this after finally realizing just how much he needs them.

8. Say Goodbye to the O.C., Bitch [video]
The O.C. Ep4.16, Song: "Life Is A Song" - Patrick Park
Credit Josh Schwartz for not playing the end of the series for tears, instead using the music for for a more simple montage of events that lead up to the series coming full circle. A grown and successful Ryan pays it forward by taking in a trouble youth. Cue whistling.

7. Life is Good [video] / [video] / [video]
Life Ep1.11, Songs: "Who By Fire" - Leonard Cohen, "Down Boy" - Yeah Yeah Yeahs, "Finally" - The Frames
The freshman NBC series was on a serious roll to end the year. Not only did it get picked up, but the final few episodes were it's strongest, especially musically. It seemed like someone beefed up the budget when it became apparent that the show had legs, and the work that was done with music in the final episode was some of the most inspired placement I've seen all year.

6. The End to a 'Series of Dreams' [video]
John From Cincinnati Ep1.10, Song: "Series of Dreams" - Bob Dylan
JFC proved to be a frustrating series -- moments of brilliance were followed by unexplained madness. David Milch's brilliant use of language couldn't save the series from being known as 'the show that killed Deadwood.' I still get a bit emotional watching the beauty of the opening credits, and the opening to the final episode, where John and Shaunie surf in from God knows where to this Bob Dylan song. With the series already dead, it felt like a wasted moment of brilliance... a beautiful bridge to nowhere.

5. Prince in Purple (and freezing) Rain [video]
Super Bowl XLI Half-Time Show - Playlist: Prince's Super Bowl Set List
After several disappointing half-time shows in a row, Prince steps in and tears the place apart. His royal badness owned the stage wearing heels in freezing rain, and in need of hip-replacement surgery! His cover of Foo Fighter's "The Best of You" was amazing -- I still don't understand why it's a single.

4. Morning Breaks for The Darling Mermaids [video]
Pushing Daisies - Ep 1.07, Song: "Morning Has Broken" - Cat Stevens (sung by Ellen Greene)
Ok, if you haven't seen this one, then it probably won't seem that special. But when Aunt Vivian breaks into the Cat Stevens classic, all the perfectly orchestrated silliness that preceded in the episode helped set this up to feel more then just a tug at the heart strings. The Aunts finally break from their depression and The Darling Mermaids are back in the pool, synchronized beautifully to the music. For me, this is the point where the series went from good to positively great.

3. David Bowie is Having a Laugh[video]
Extras Ep2.02, Song: "Little Fat Man" - David Bowie
Ricky Gervais supplied the lyrics for David Bowie, reportedly suggesting that he try and do something musically in the vein of "Life on Mars" and the result is pure magic. Everyone sing along, 'see his pot-nosed face...'

2. Bob Dylan is a Cylon [video]
Battlestar Galactica Ep3.20, Song: "All Along the Watchtower" - Bear McCreary w/ Bt4
A Bob Dylan song acts as a catalyst that triggers beloved characters on the Galactica ship to realize that they are in fact cylons. BSG composer Bear McCreary says about the use of the song in BSG's universe: "Perhaps this unknown performer and Dylan pulled inspiration from a common, ethereal source." I guess that's related to the infinite monkey theorem, but Dylan still might think about retaining the services of Romo Lampkin to sue said unknown performer over trans-universe copyright infringement.

1. The Sopranos Resurrects Journey's Career [video]
The Sopranos Ep6.21, Song: "Don't Stop Believin'" - Journey
Possibly the cultural event of the year, it also sent Journey back up the charts for the first time in twenty years. The moment when creator David Chase cuts off the song with singer Steve Perry singing "Don't Stop..." and the screen went black still has folks talking about it. The choice of the song was partly for the opportunity to sync up 'Don't Stop' with the cut, but it's also simply a song from Tony and Carmela's past, telling nothing about his future. He's alive, though, ok? So is Journey, for that matter, with a new album coming out in 2008 (sans Steve Perry).

The devil's concubine

When I heard Melinda Clarke (Julie Cooper on The O.C.) was going to be playing the Devil's girlfriend (Mimi) on Reaper, my first thought was 'the bitch is back' -- envisioning there being all sorts of fun and sexy mischief. I should have known better, I guess. This show has been quickly losing it's goodwill earned on an amazing pilot, but who would expect Melinda Clarke in such a role could be so boring? I mean, why not utilize at least some of the bitch skills that Clarke brings to the table, you know? Instead we get a completely passive Mimi who's been waiting for twenty years for her Jerry (aka the Prince of Darkness) to commit to their relationship.

O.K., I understand it's meant as a metaphor for the Andi/Sam relationship, complete with gender reversal clues provided bluntly by Sock, but since the show hasn't given us much of a reason to care if Sam and Andi get together, it's kind of pointless. At this point, we're all cheering for Sam to hook up with anyone, especially now with Caddy, who could be the Devil's daughter. That, my friends, has potential -- even more then just calling her Beelzebabe. Fathers are naturally protective of their daughters, while the devil likes to lead those same daughters down a slippery slope. Sticking Old Scratch with these conflicting goals sounds like a lot of fun. A LOT more fun then what ambivalent Andi brings to the table.

I honestly know nothing about the bands that were featured in the episode, but I present them for you nonetheless. Enjoy!

Reaper - Episode 1.09
1. "Tummy Tum Tum" - The Dollyrots - The gang collect cremated remains from the list
2. "No Reason" - All Night Chemists - Sam meets Caddy at Mimi's yard sale

Previously - Slippage and traction, indie attraction (Episode 1.05)

Of Sandworms and Silicon

Last night's Chuck was a strange combination of funny and frustrating. On one hand, it was easily the funniest episode thus far, but it still trips over the recurring trust theme. I realize the spy world is ripe with trust issues, but the plot of "Chuck doesn't trust his handlers and screws up as a result" is going to get old (if it hasn't already). Schwartz brings the funny in loads this week, however, so all is forgiven, and previews for next week hint that there might be some mythology-building for Chuck's character, with a flashback to his Stanford dorm days.

Our first musical entry is appropriately enough a reference to the game Guitar Hero, shown here as something called "Guitar Shredder" -- Morgan and Lazslo face off to Free's "All Right Now." GH3 came out this week, so it's an easy reference that works as a nice intersect for both Morgan's and Lazslo's storylines. The next reference is odd, however, as Chuck mentions Arcade Fire's Funeral (42:15 is about 5 minutes too short for the album, by the way) as his album choice for romance, but then plays Editors' "The Weight of The World." Was Funeral's opening track, "Neighborhood #1 (Tunnels)", supposed to play here? As Paul Haggis found out last year with The Black Donnellys pilot, you may write a scene for the indie now band in mind, but that doesn't mean that they'll license the song for you. But with lyrics like "keep a light on those you love" underscoring Chuck's surveillance, the blow of having Editors as a substitute is lessened.

Meanwhile, the choice of A View To a Kill as the Bond movie to watch seemed curious at first, given that it ranks easily as one of the worst in the 007 oeuvre. However, A View To A Kill actually is a pretty good reference when you think about another movie/book referenced: Dune. Both plots deal with sand as a sought after commodity (as silicon for Kill's Zorin, and the sandworms' spice byproduct for Dune's Baron Harkonnen) and the destruction involved in attempting to gain a monopoly in distribution of these products. Lazslo sees himself turned into a commodity, so it's appropriate that Chuck and Morgan unconsciously embrace the notion, dressing up as sandworms as their Halloween tradition.

The other interesting music choice has Schwartz spoofing his own The O.C. using the Finley Quaye/William Orbit song "Dice" to back a scene-for-scene take off of the new year's episode from season one. It seemed familiar to my wife (The O.C. season 1 expert in my household) and Alan Sepinwall confirmed her suspicion this morning. Even if you're not familiar with The O.C., it still worked as a spoof of modern day romantic scenes. If that wasn't enough, ending with the 'sandwich on a deserted island' discussion for Casey's surveillance torture cemented it as the funniest episode yet for the young series.

Elsewhere on Monday night, Weeds ended with Nancy knockin' boots again, this time with Conrad to Page France's "Chariot." Meanwhile, on the season finale of Californication, Becca gets her period and then sings "Only Women Bleed" (in the style of Alice Cooper, thank goodness) at her mom's wedding (instead of the agreed upon Cheap Trick's "Surrender"?) The series ends with Tommy Stinson (The Replacements, Guns N' Roses) covering The Rolling Stones' "You Can't Always Get What You Want" adding a touch of irony to the already unbelievable ending.

Playlist: Chuck - Ep106
1. "All Right Now" - Free - Morgan plays Lazslo at Guitar Hero knockoff
2. "The Weight of The World" - Editors - Pretending to get some action in Chuck's room, plays in lieu of Arcade Fire's Funeral
3. "Dice" - Finley Quaye and William Orbit - Slow-mo of Chuck racing in to find Morgan
4. "It Takes Two" - Rob Base and DJ E-Z Rock - Chuck and Morgan perform the Sandworm dance

Playlist: Showtime's Monday night, 10/29
1. "Chariot" - Page France - Weeds Ep 3.12 - Nancy and Conrad finally do it
2. "Reconsider Me" - Steve Earle - Californication Ep 1.12 - Hank's wedding dream
3. "Only Women Bleed" - Alice Cooper - Californication Ep 1.12 - Becca sings this at her mom's wedding
4. "High Flying Bird" - Elton John - Californication Ep 1.12 - Hank dances with Mia, Becca and Karen
5. "You Can't Always Get What You Want" - Tommy Stinson - Californication Ep 1.12 - Hank drives off with Becca & Karen

Previously: The Wounded Raccoon (Ep 1.05)

tags: music, television, soundtrack, chuck, arcade fire, dune, 007, the oc, weeds, californication, playlist

Say goodbye to the O.C., bitch

Campaigns were waged, hands were shaked, maybe even deals made behind the scenes... but in the end, the prize could only go to one.

The Oscar? No, I'm talking about the series ending last song for The O.C. News actually leaked about it over a week ago, so I'll refrain from the suspense. Patrick Park's song "Life is a Song" indeed was used in the closing montage that flashed forward in time ala Six Feet Under's series finale (but without the crucial dying part.) I'm sure the end of the montage had longtime O.C. devotees all teary-eyed and lost in memories of the first season. In the end, it was how it began: With a succesfull man (Ryan, now an architect) beckoning a young teen who looks in need. Come to think of it, it's kind of sexual-predator creepy, don't you think?

Park had a song in the first season as well, and so much of last night referenced that monumental season, I'm really surprised we didn't hear Seth say "say goodbye to the O.C., bitch" when it became apparent that the Cohen family was moving back to Berkley.
The only song in the episode not in the vein of Park's indie ballad was the song used while Ryan and Taylor got comfy in the Cohens' new (old) digs, Clinic's sinister "The New Seeker," which is more of a reminder of the kind of chances The O.C. was willing to take when it was good.

The O.C. - Episode 416
1. "The New Seeker" - Clinic - Ryan and Taylor make out in the Berkeley house
2. "Shine On" - Jet - Frank tries to win Julie back
3. "On A Saturday" - Jacob Golden - Julie and Kaitlin talk about the future, while Kirsten and Sandy look at old photos
4. "Life Is A Song" - Patrick Park - The end of the episode montage

In case you forgot (or missed) how it all began, here's the "welcome to the O.C., bitch" intro to the series:

Previously: Like Spinning Plates (Episode 4.15)

tags: music, television, soundtrack, the oc, patrick park, six feet under, patrick park, clinic, indie rock, rhapsody

Like spinning plates

I realized during last night's episode (the second to last ever for The O.C.) that I'm actually going to miss this show. I like to make fun and all, but occasionally it makes for inspiring television, specifically the use of music. Take for instance the opening, which used Radiohead's uneasy "Like Spinning Plates" to illustrate the post-earthquake wobbly foundation the characters find themselves on. It conveys beautifully both the tension and liquidity of the surroundings, and represents a bold music choice, considering it's inherent inaccessibility. The song crops up again following the aftershock, reminding us again that we can't be that sure of our footing.

Elsewhere, Sufjan Stevens' instrumental "The Incarnation" provides the right tension in multiple situations, and this song fades impressively into the next song used, Silversun Pickups' "Rusted Wheel," which also has an eerie tension associated with it. Finally, Bloc Party's "Kreuzberg" provides some resolution to this tension, uplifting the mood as the gang all bonds together for whatever comes next. Even as the mood lightens, lyrically, the song has us braced for change:

I have decided, at twenty-five
Something must change

Recognizing the end of the show has been one of the bright points of these last few episodes. Jokes about The Bait Shop ("how does such a small venue get such big name acts?") and other unanswered questions have dotted the path, and last night was no different. To help Ryan deal with his pain, Seth counts down all the folks that Ryan has punched in the face ("How about Johnny...did you hit him? Because I know a lot of people were pulling for that to happen.") Then later when Ryan finds out Seth donated blood for him, Ryan jokes that he has a "strange urge to listen to Death Cab and read comic books." To which Seth quips:

Ah, it's too bad (it's not true) because if we could've turned this into a body swap comedy, we could've squeezed another year or two out of this.

Maybe The O.C. could take a page from Buffy and extend the series through comic books. Kid Chino and The Ironist could swap bodies and... oh, never mind.

Playlist: The O.C. - Episode 415
Title track: "Night Moves" - Bob Seger

1. "The Sad Song" - Fredo Viola (MySpace) - A recap of the last episode.
2. "Like Spinning Plates" - Radiohead - The beginning of the episode as the characters are dealing with the initial aftermath of the earthquake. Again later as Seth and Ryan are walking down the street trying to stay focused by listing everyone Ryan's punched in the face.
3. "I Turn My Camera On" - Rock Kills Kid - Seth rides Summer on his bike handlebars, on their way to the Cooper's house.
4. "The Incarnation" - Sufjan Stevens - Taylor and Summer look for Pancakes. Again later while Sandy talks to a Doctor, and Seth looks for help.
5. "Rusted Wheel" - Silversun Pickups - Seth and Ryan are driving and get a flat tire.
6. "Kreuzberg" - Bloc Party - The end of the episode... everyone is together and thankful.

Previously: Love's fault (Episode 4.14)

tags: music, television, soundtrack, the oc, bloc party, radiohead, sufjan stevens, silversun pickups, indie rock, rhapsody

Love's fault

Three little words... that's all it takes from Ryan to unite he and Taylor for the next four years at Berkley. Love and school... a theme that Bloc Party's album (A Weekend in the City,) touches on with their song "I Still Remember," which recounts what could have been:

And our love could have soared
Over playgrounds and rooftops
Every park bench screams your name
I kept your tie

The twist here, of course, is that the fleeting encounter is between two school boys, a storyline that's still fringe territory here in the states. The song might be their best chance at a hit here the US (see video,) and it will be interesting to see how it translates. Elsewhere, Rogue Wave sucks the life out of the classic Pixies "Debaser," making it palatable for Taylor's birthday party and Damien Jurado solemly asks "would you change your last name to mine?" on the song "What Are the Chances."

Back to themes, throughout the episode there is a constant reminder of impending doom. In response to the constant predictions of an earthquake, Taylor and Summer tempt fate by wishing that "the big one" would just happen already, and Seth and Summer go to an art/film exhibit featuring a plethora of reminders that little by little, the earth is being destroyed.

Seth: "Let's go rent An Inconvenient Truth, I want to count how many times Al Gore looks solemnly out of an airplane window"
Summer: "Do not make fun of Al Gore!"

And when the real earthquake hits, it makes Grey's Anatomy's little ferry incident look like a shriner parade. Only two episodes left, which it looks like they'll at least need to deal with the quake's aftermath. I can guarantee you I'll work 'aftershock' into next week's post.

Playlist: The O.C. - Episode 414
1. "I Still Remember" - Bloc Party - Taylor and Summer discuss Taylor's birthday and college plans while shopping
2. "Broken In All The Right Places" - i am jen - Summer visits Ryan at work to talk to him about Taylor's birthday
3. "Debaser" - Rogue Wave - Taylor's birthday party, when she first arrives
4. "What Were The Chances" - Damien Jurado - Taylor's birthday cake is presented
5. "The Sad Song" - Fredo Viola - The end of the episode as night falls on Newport

Previously: Combien du temps? (Episode 4.13)

tags: music, television, soundtrack, the oc, bloc party, pixies, rogue wave, inconvenient truth, indie rock, rhapsody

Combien du temps?

Last night The O.C. continued it's final sprint to the finish (only three episodes left now,) going back and answering lingering questions through the art of flashbacks. We learn the mythology behind Seth's early love of Summer (a poem that turns out to have been written by a coke-bottle-glasses-wearing Taylor,) and the reasons why Kirsten broke up with her high school sweetheart Jimmy Cooper.

For that flashback, they utilized R.E.M.'s "Talk About the Passion," an appropriate song both for the time (September, 1983) and the lyrics, which reference Kirsten's situation both then and now:

Not everyone can carry the weight of the world
Combien, combien, combien du temps?

Combien du temps translates as "how much time," and it's later revealed (although we all pretty much guessed) that Kirsten terminated a pregnancy (from Jimmy,) and had been carrying that secret (ie the weight of the world) with her until now. Meanwhile, Summer and Seth continue their back and forth, with Kirsten's rememberences adding doubt to Summer's belief that Seth is 'her Sandy Cohen.'

Elsewhere, the triangle between Julie, Bullit and Frank pulls in a couple fine film references, the first being the Oscar-winning Picnic, which is referenced through use of the theme song, "Theme from Picnic" by Frank Chacksfield. Picnic tells the story of an ex-football star turned drifter who arrives in a small town and is drawn to a girl who's already spoken for by a rich man. Sounds like we have a remake here, with Frank as the drifter, Julie the girl spoken for, and Bullit the rich man. Later, in a more overt homage, Bullit walks off the tarmac with Katlin and says "this could be the start of a beautiful relationship..." referencing Casablanca.

Finally... did you catch the funny Bait Shop reference? Justin Timberlake is mentioned on a newscast as being booked to play there, to which the newscaster ponders "how does a venue so small get such big name acts?" And with that, we continue the countdown... combien du temps? Just more three weeks.

Playlist: The O.C. - Episode 4.13
1. "Theme From 'Picnic' (Moonglow)" - Frank Chacksfield & His Orchestra
2. "Talk About The Passion" - R.E.M.
3. "Wannabe" - cast member on camera
4. "Start Today Tomorrow" - Youth Group
5. "Unaware" - The Midway State

Previously: I Ching, you ching (Episode 4.12)

tags: music, television, soundtrack, the oc, rem, movies, picnic, casablanca, justin timberlake, indie rock, rhapsody

I Ching, you ching

It's Groundhog's Day a week early on The O.C., which I guess is understandable as they hurry (scurry?) to close out the series by the end of next month - and that's not a lot of time to fit a whole year's worth of cultural references. Last night's more memorable ones included a little South Korean shock cinema, and Che's experimentation with I Ching divination.

Leading up to this divination, though, was the wholly appropriate song "Gronlandic Edit" from Of Montreal, who's latest album Hissing Fauna, Are You The Destroyer? (see review) was just released this week. The album follows frontman Kevin Barnes' mental breakdown, and this song is the point where Barnes tries on different life principals in hopes that something might work:

Art/Philosphy:
The Surrealists were just Nihilists with good imaginations
Religion:
Guess it would be nice to give my heart to a god
But which one which one do I choose?
and finally Science:
We fell back to earth like gravity's bitches
Physics makes us all its bitches

Che, similarly, is literally grabbing at straws here, specifically yarrow sticks, which are one of the methods for divining The I Ching. After one of his tosses and readings, he seems to mutter "the grasshopper lies heavy at night," which I believe is a direct reference to Phillip K. Dick's great novel The Man in the High Castle, which Dick reportedly wrote using The I Ching. In the novel, there's a book called The Grasshopper Lies Heavy which is written using, you guessed it, The I Ching, and yarrow sticks are used throughout Dick's story. This novel within a novel describes an alternative reality to what exists in Dick's main storyline, and this alternative reality turns out to be the real one. Che's spirit animal dream of falling in love with an otter also turns out to be a reality - albeit a misinterpreted one, as it turns out to be a groundhog - a hottie dressed up as one, anyway.

The rest of the episode is flooded with great music, probably the best mix they've had in a few seasons. Silversun Pickups, Hot Chip, The Stills... it's almost like a best of 2006 mix. The other unique music moment, though, goes to The Chemical Brothers' classic jam "Leave Home," which was used to back Che and Seth's stealth-y kidnapping of Chuck the Groundhog. "Brother's gonna work it out" indeed... The O.C. appears to be at least going out with a bang musically.

Playlist: The O.C. - Episode 4.12
1. "Gronlandic Edit" - Of Montreal
2. "Lazy Eye" - Silversun Pickups
3. "Leave Home" - The Chemical Brothers
4. "High Lonesome Moan" - David Pajo
5. "And I Was A Boy From School" - Hot Chip
6. "The House We Live In" - The Stills

Previously: The O.C.'s version of Fear Factor (Episode 4.11)

tags: music, television, soundtrack, the oc, of montreal, silversun pickups, the chemical brothers, i ching, phillip k dick, man in the high castle, indie rock, books, rhapsody

The O.C.'s version of Fear Factor

We're down to five episodes left of The O.C., and while there are still plenty of balls in the air, you can sense a bit of a winding down. For instance, nearly every relationship that ended rocky last week (Taylor/Ryan, Summer/Seth, Kirsten/Julie) this found themselves mending despite incredible odds. It was almost like a Fear Factor episode, as in each case, a greatest fear was confronted and defeated.

Ryan wrote and (nearly) read a love (nearly) poem to Taylor. Can you imagine how many pencils he broke in a white-knuckle writing session? Kirsten had to tell a client that they may have contracted chlamydia from one of her escorts. In a bar... next to bottles of chardonnay, no less. And Seth, well, he had to actually go on a hike and confront nature searching for his spirit animal with Che. The horror!

As far as the music goes, Sufjan Stevens provided Che's theme with the song "Dear Mr. Supercomputer," a song which worries about technology and it's hold on society (I'm sure Che approves.) Meanwhile, all the scenes with Taylor's ex frenchie Henri featured songs in his countrys tongue, including one by the delectable Charlotte Gainsbourg, who not only has both a lovely voice and famous father (Serge Gainsbourg) but also a budding acting career (The Science of Sleep.) Elsewhere, Sparklehorse delivers the final song, "Return to Me," which has always sounded to me like an acoustic cover of Sia's "Breathe Me," which hauntingly ended the Six Feet Under series. Good company on both fronts.

Playlist: The O.C. - Episode 4.11
1. "Dear Mr. Supercomputer" - Sufjan Stevens - Seth finds Che in Summer's living room doing tai chi. Then again as Summer reads a letter from Che that he and Seth are going hiking in the forest.
2. "The New E Blues" - The Western State Motel (MySpace) - Seth and Summer are on their "date" in Summer's room.
3. "Garcon Glacon" - April March - Ryan shows up at Henri-Michel's hotel suite
4. "Du Temps" - The Low Standards (MySpace) - Taylor walks into Henri-Michel's hotel suite from her day at work.
5. "Hidden in the Sand" - Tally Hall - Seth's sweat hut-induced dream where he finds and saves his spirit animal.
6. "Tel Que Tu Es" - Charlotte Gainsbourg (MySpace) - Taylor enters Henri-Michel's hotel suite and finds a note from him.
7. "Return to Me" - Sparklehorse - Taylor meets up with Ryan in the backyard of The Cohen's house and they talk.

Previously: Rabbit, Run (Episode 4.10)

tags: music, television, soundtrack, the oc, sufjan stevens, charlotte gainsbourg, sparklehorse, indie rock, rhapsody

Rabbit, run

As I mentioned earlier in the week, The Shins are going to be everywhere, and they made an appearance (in advance of this coming Saturday's SNL performance) in last night's episode of The O.C., opening with the track "Turn On Me," from their forthcoming album Wincing the Night Away.

But don't go thinking the song's inclusion is purely promotional, as the lyrics reveal much about the episode:

"So affections fade away,
And do adults just learn to play
The most ridiculous, repulsive games?
On the faith of ruddy sons,
And the double-barreled guns,
You better hurry,
Rabbit, run, run, run."

The first lines about the playing ridiculous relationship games is pretty obvious to the plot (Summer & Seth playing a game of matrimonial chicken, Taylor & Ryan playing... whatever it is that they're playing,) but also notice the 'rabbit' reference here. Ok... I'm not suggesting the rabbit here is a direct reference to Summer's rabbit 'Pancakes,' but instead John Updike's Rabbit Run, which details the dangers of marrying your high school sweetheart at too young an age. Summer here is Updikes 'Rabbit' Angstrom character in reverse, as instead of reflecting on her past as Rabbit does, she sees her future (as a 'newpsie bride') and runs away before the marriage can even happen. It seems 'Pancakes' the rabbit might have just really been a physical manifestation of this literary comparison all along.

This is all running it's course in the background, while at center stage, Taylor and Ryan deal with literature on a more conscious level. Taylor's ex (played with pizazz by Sleeper Cell's Henri Lubatti) is in town promoting a memoir written about Taylor (A Season for Peaches) which is described as Bridges of Madison County meets The Notebook meets... porn. When with her ex-husband, Taylor is revealed to be a French culture tour-de-force: poetry (Anais Nin,) philosophy (Sartre) and even politics (apparently lunched with Jaques Chirac.) All this has Ryan feeling understandably intimidated.

Meanwhile, R&B singer Chris Brown is referred to as 'dorkalicious" (not 'darkalicious' as a couple websites misheard, nearly alerting the NAACP,) but he's certainly not acting-chopsalicious. One episode later, he's still stiff as a board. He sure can sing, though. And yes, that was Jason Schwartzman (Rushmore, Marie Antoinette) singing the close out song ("The West Coast.") Let's not forget he used to be in Phantom Planet, who perform The O.C.'s theme song.

The O.C. - Episode 4.10
1. "Turn on Me" - The Shins
2. "I Spy" - Get Cape. Wear Cape. Fly (Video)
3. "I Ain't Losing Any Sleep" - The Sunshine Underground (MySpace)
4. "The West Coast" - Jason Schwartzman

Previously: Sinking Ship (Episode 4.09)

tags: music, television, soundtrack, the oc, the shins, chris brown, john updike, indie rock, rabbit run, books, anais nin, sartre, jason schwartzman

Sinking ship

As you may have already heard, The O.C. is coming to an end. As a result, I briefly entertained the idea of skipping out on posting this week, thinking that no one would miss it. But after a few of your emails reached my inbox yesterday and this morning, I realize that this pilot must go down with the ship (even if the painkillers I'm on may make it seem like auto-pilot.)

The O.C. may be kaputz, but cry not for creator Josh Schwartz, as he already has two pilots in the works, one for NBC called Chuck and another for CW called Gossip Girl. Both, I'm sure, to feature hot twenty-somethings dropping pop-cultural references backed by an indie-minded soundtrack.

As far as the music goes (sometimes I forget,) this week's episode introduces a new character to Newport High, up and coming R&B teen sensation Chris Brown, who's version of acting is bobbing the head and giving a shy smile. He's got a small role in the movie Stomp The Yard coming out next week, and given this appearance, it's not small enough. Elsewhere, that wasn't The Beach Boys you heard in the opening Summer/Seth montage, but instead a finely-tuned new model - South Carolina's The Explorers Club (not to be confused with the late 90's prog-rock supergroup, of course.) Meanwhile, the ending sequence featured The Long Winters' "The Commander Thinks Aloud," which reminds me that we haven't heard Barsuk Records on the show in awhile. Label acts like Death Cab For Cutie, Aqueduct and Rilo Kiley all owe at least part of their recent success to exposure from the show (as much as they hate to admit it,) and it will be interesting to see if either of Schwartz' new shows fill the void (if it truly needs to be filled.)

The O.C. - Episode 4.09
1. "Forever" - The Explorers Club (MySpace)
2. "I'ts Because... We've Got Hair" - Tunng (YouTube)
3. "Somewhere in Between" - M. Craft
4. "The Commander Thinks Aloud" - The Long Winters

Also: Lots of memorable Judaic tidbits in this episode, from the life-size Torah to the correct pronunciation of Chutzpah. But now that I'm finally indoctrinated into the incredible world that is Battlestar Galactica, hearing Summer curse "Frack!" gave me the biggest thrill. Ok, back to my geek corner.

Previously: War of the Womb (Episode 4.08)

tags: music, television, soundtrack, the oc, long winters, chris brown, barsuk records, indie rock, josh scwartz, frack, rhapsody

War of the Womb

In last night's The O.C., the gang fears that there's been an alien invasion and are frantic to find out for sure before the New Year, because, like, who wants that hanging over your head? Ok... really it's just a pregnancy, but the setting of an Alien-themed rave party in a hangar is symbolism not lost on us.

You see, Summer's uteris is like Area 51 - conspiracy theorists (ie, Taylor) believe there to be an alien housed there, and will stop at nothing to prove it. When Seth discovers the pregancy test that Taylor has smuggled with her (on their New Year's trip to Lost Wages,) Three's Company-like confusion ensues, and unwarranted fear spreads like Orson Welle's War of the Worlds radio broadcast. Backing this portion of the events is John Digweed's "Warung Beach," a sweeping electronica track which serves as a great transition as they follow a woman dressed as an alien to the rave party. Of course that 'alien' stole the proof that Summer and Taylor had on the alien invasion - the home pregnancy test result in Taylor's purse. In the end, though, just like the alien kept at Area 51, the pregnancy turns out to not be there at all (sorry Mulder and Scully.)

And since I'm talking blue in the face about pop-culture symbolism in the episode, I certainly need to mention a song that was played at the Yacht Club party, where Julie's prostitution business was booming. One of the most famous movies to deal with 'the escort' profession is of course Breakfast at Tiffany's and Henry Mancini's "Something for Cat" makes for a nice sideways glance to that classic from 1961, even as they slide into 2007.

Playlist: The O.C. - Episode 4.08
1. "Warung Beach" - John Digweed - When the Range Rover pulls up to a gas station. Picks up again as the Range Rover chases a woman dressed as an alien. Heard finally at a warehouse where there's an alien rave party.
2. "Smile Like You Mean It" - Tally Hall - You hear this song as Ryan, Seth, Summer and Taylor head out to Las Vegas for New Years Eve.
3. "Desafinado" - Si Zentner - Played at the New Years Yacht club party
4. "Dogzilla" - Dogzilla (iTunes) - At the alien warehouse rave... then used again at end of the episode.
5. "Something for Cat" - Henry Mancini - At the Yacht Club party

Previously: It's a wonderful (alternate) life

tags: music, television, soundtrack, the oc, henry mancini, breakfast at tiffanys, area 51, john digweed, aliens, rhapsody

It's a wonderful (alternate) life

Last night's episode of The O.C. was pre-empted in the Northwest by the NFL (the Seachickens lose again.) The episode was instead broadcasted locally at 11pm, which I watched to the sound of 60 mph winds outside, using commercial breaks to tend to a flooding basement armed with a squadron of towels.

Maybe that's why I appreciated the alternative universe/It's A Wonderful Life concept on last night's annual Chrismukkah episode more then I probably would've normally. Right before a major rainstorm, Ryan and Taylor fall off a ladder and end up in a coma ("a sort of coma-lite") and both experience a shared dream of an alternate universe, one where they never existed... and one without a rainstorm. Was I the only one hoping they'd stay in that alternate universe? In that reality, Marissa died three years ago, which in a way wipes seasons 2 and 3 from existence (not a bad proposition.)

Also in this reality, Mates of State sing the theme song instead of Phantom Planet, which is a nice turn of events, no? Later, Sia covers Radiohead with her version of "Paranoid Android," making a nice creepy background for our discovery that Marissa's been dead for three years. Later, just before Ryan wakes up, we get a moody interpretation of Mazzy Star's "Into Dust" (by Ashtar Command.)

So to sum up: good music, Marissa has been gone for an even longer period of time and... there's no rain. I liked that universe soooo much better.

1. "California" - Mates of State - Plays over the main title sequence
2. "Paranoid Android" - Sia (Rapster Records) - Song plays as Ryan runs into Kaitlin at the airport, and confuses her for Marissa
3. "Into Dust" - Ashtar Command - Song plays at the end of the episode when as Ryan sits on the beach and reads a letter. It continues to play as he wakes up.

Previously: A Tawny-like Taylor (Episode 4.06)

tags: music, television, soundtrack, the oc, mates of state, radiohead, sia, mazzy star, chrismukkah, its a wonderful life, rhapsody

Tawny-like

I'm not sure why a modern day 18-year old would fantasize in the form of the video for Whitesnake's "Here I Go Again," but it certainly made for nice promos for last night's episode of The O.C.

Ryan is falling for Taylor, and visualizes her all Tawny Kitaen-like in his mind, but instead of to Whitesnake, the sequences are to the song "Hot Girls in Good Moods" by Butch Walker (which itself is an homage to T. Rex's "20th Century Boy.")

While it makes perfect sense that Taylor would be Marissa's replacement as Ryan's love interest, you have to admit the writer's could easily have screwed this one up (and seemingly would have in the past couple years.) Instead, though, it feels fairly organic and there's even a believable chemistry between the two that Benjamin McKenzie's Ryan character hasn't had since the first season.

Taylor even has a blog... the erotic memoirs of a soulful college girl... but "blog schmlog," there's a "bevy of blue ray anime" to watch with Ryan, and more fantasy sequences to be had - four in total, one more intentionally cliche then the next. A wet and sudsy window washing, Taylor on rollerskates... they all seem to work. As Seth says "I guess that's why they're called the classics."

Playlist: The O.C. - Episode 4.06
1. "Hot Girls In Good Moods" - Butch Walker - Song used (four times) in a series of fantasies Ryan has
1. "Daisychains" - Youth Group - Played as Summer is in her dorm room
2. "Good Clean Fun" - Clearlake - Kaitlin talks to Olivia and Leah by the pool about Conner and the party
3. "Deadwood" - Dirty Pretty Things - Kaitlin's party is in full swing
4. "Put Your Money Where Your Mouth Is" - Jet - Kaitlin's party as Ryan and Seth look for Taylor and Summer... Ryan runs into Roger and they talk about Taylor
5. "Stay Put" - The Blood Arm (MySpace) - Riley concedes to Kaitlin, and as Ryan confronts Taylor about what he talked about with Roger
6. "Inside Your Head" - Eberg - Song plays as Kaitlin surveys her party, Julie talks to Spencer and Pam, Sandy and Kirsten renew their vows, Ryan and Taylor hang out in the closet and Summer introduces Seth to Pancakes.

Previously:
Sleep on it (Episode 4.05)

tags: music, television, soundtrack, the oc, butch walker, t rex, whitesnake, tawny kitaen, modest mouse, rhapsody

Indie eats itself

While The O.C. struggles with their ratings in their fourth season, the sixth installment of Music From The O.C. Mix series finds them already reminiscing about the glory days - only two years ago. Covering Our Tracks features artists covering (mostly) songs that appeared in their first couple seasons, and in nearly every case, the original is so much better, it's almost embarrassing.

Album: Music From The O.C. Mix 6: Covering Our Tracks
Playlist: The originals tracks covered

A playlist of the original tracks proves to be actually a pretty nice listen, so I'd just skip the covers, except out of boredom or insatiable curiousity (you know you want to hear how Rogue Wave neutered the Pixies' "Debaser".) For instance, who's idea was it to cover ELO on this? I love ELO, but it makes no sense in this context, especially the piss-poor cover that John Paul White mails in.

It's not 100% bad though... the one track I can recommend is Band Of Horses' take on the New Year's "The End's Not Near." They rework the song with reverb and rhythme to make it their own (or, if you please, My Morning Jacket's.)

Thank goodness you can download it alone and forget the rest.

tags: playlist, music, album review, television, soundtrack, the oc, band of horses, indie rock

Sleep on it

For the handful of folks still watching The O.C., last night's episode went further to distance itself from the past lackluster seasons, albeit without the dark edge of previous episodes. Nearly the whole plot centered on setting up a potential romance between brooding Ryan and perky Taylor - call it a poor man's Angel+Buffy (and we all remember how that ended.)

Ok, on the the music - what is it about Canadians and sleep disorder? Last year, Seth walked around in sleep deprivation to the song "No Sleep," by Montreal's Sam Roberts and this year Ryan's insomnia is powered by the dark and twisty "Gubbbish" by Calgary's Chad VanGaalan. The song might be one of the most pleasantly surprising choices I've heard on the series, as VanGaalan's odd dual vocals and dissonant guitar did a better job at conveying the desparation of insomnia better then actor Benjamin McKenzie (who appears to have the emotional range of Teletubby.)

Elsewhere, the Covering our Tracks promotion continues with Goldspot's cover of Modest Mouse's "Float On," famously used in The O.C.'s first season.

1. "Gubbbish" - Chad VanGaalen
2. "Float On" - Goldspot (Modest Mouse)
3. "Waiting To Die" - Zero 7
4. "While You Were Sleeping" - Elvis Perkins
5. "Without You" - Brothers & Sisters
Full track and scene listing

Previously:
Biggest midget in the game (Episode 4.04)

tags: music, television, soundtrack, the oc, chad vangaalan, sam roberts, canada, insomnia, modest mouse, indie rock