ULTIMATE DHARMA MIXTAPE
OPENING TITLES – JJ ABRAMS (1.01, etc)
16 seconds of dissonant goodness to usher us in every single time, written by a pretty talented fellow. The piano arpeggios over the FRINGE titles are the counterpoint to this.
LEAVING ON YOUR MIND – PATSY CLINE (1.03)
Our first of many doses of Patsy, heard in Ray Mullen's truck. Kate digging Patsy is one of the better examples of using a fictional character's critical taste to define character that I can think of. Such a good fit.
WASH AWAY (REPRISE) – JOE PURDY (1.03)
And we shut down the first non-pilot episode with this over our first no-dialogue montage. Classic stuff.
ARE YOU SURE? – WILLIE (1.06)
Another perfect selection made by Mr. Reyes for episode's end. Still possibly feeling ambient energy from one Dr. Chang, it turns out.
YOU ALL EVERYBODY – DRIVESHAFT (1.07)
No description necessary. This track should be available for purchase, they would move quite a few units. As did the Pace brothers back in the day and I'm sorry!
I SHALL NOT WALK ALONE – BLIND BOYS OF ALABAMA (1.08)
To score Sayid walking off in the direction of instant karma after torturing Sawyer. Think I remember thinking that Hurley must be listening to it, but they never showed him.
INTERMEZZO (FROM CARMEN) - BIZET (1.09, then again and beforehand in 5.05)
What Rousseau's music box played after Sayid fixed it. And right after and perhaps during Rousseau gunning down her countrymen. Don't talk back to pregnant women. Especially if you’re infected!
LA MER – SHANNON RUTHERFORD (1.16)
This is actually Bobby Darin's "Beyond the Sea" that Shannon must have caught at the end of a French translation of FINDING NEMO. Love her acapella take on it, perfectly accompanied by Giacchino, of course.
DELICATE – DAMIAN RICE (1.17)
One of the top five tunes that ever shows up, I'd say. Between this and “The Blower’s Daughter” in CLOSER, ol Damian’s cornered the market on making people walking in slow motion seem just so important and resonant. Great bit with Hurley’s Discman finally running out of batteries about five seconds after we're all wondering when that IS going to get around to happening.
PARTING WORDS (RAFT THEME) - MICHAEL GIACCHINO (1.23)
I've gone on and on about this one. One of my favorite compositions of all time. Stirring and majestic. This show has you long before this scene at the end of the first season, but it's here that it sinks its teeth into you forever, between this music and everyone helping launch the raft and then Vincent not being able to let go and the kid having to, just too much.
HURLEY ON THE MOVE - MICHAEL GIACCHINO (1.24)
Always thought this was a cool little piece that never got revisited. Nice "La Grange" quote at the end.
MAKE YOUR OWN KIND OF MUSIC – CASS ELLIOTT (2.01, then again at the same time in 2.02, in muzak form at the listening station in the final scene of the season in 2.23, and twice! in 3.08, making it a very happy Valentine's Day indeed, even though for Desmond, it was just another night losing his mind at the pub)
Damon Lindelof said that he chose this song because his mom used to turn it up loud as hell on the record player and vacuum their house and just break down, sobbing and sobbing. Though that initially came as a disturbing bit of a surprise, it's a perfect fit. The best song I'd never heard that this show gave me.
WALKIN AFTER MIDNIGHT – PATSY CLINE (2.10, 2.20, 3.15)
Then there's an entire spate of tunes that Hurley rocks on the Swan record player, and a couple of questionable bands (Dave Matthews in Shannon's apt, Staind in the bar where Ana-Lucia tracks down that fellow), but we're going to jump back on the Patsy train with Kate's first selection when she gets some downtime with the Swan record player. This particular track turns back up when Christian and Ana are driving in Australia and when the tow truck comes for Kate when she's hooking up with Cassidy.
MOONLIGHT SERENADE – GLENN MILLER (2.13, 3.01)
This tune first turns up when Sayid manages to fix a radio from the Arrow and he and Hurley sit on the beach and listen while looking at the stars. Hurley's little bit about picking up signals from any time is one of the first hints of how far into science fiction country we're going to wind up, but also probably references the old TWILIGHT ZONE episode "Static," in which an old man hears radio broadcasts from the past, including this particular song. Particularly messed up if Hurley conclusively turns out to've been the one who recorded the Numbers broadcast. Also playing on Jack’s car radio while stalking his recently estranged wife.
Flash fact: Glenn Miller vanished on 12/15/1944 while flying from England to Paris to perform for troops after they'd liberated the city. Plane and body never found. Ask Faraday's mom.
CATCH A FALLING STAR – PERRY COMO (2.15, 5.11)
This is the tune that was in the mobile that Claire had in the Staff nursery, and I THINK this is what she asked Ethan to sing Aaron at bedtime when she was wavering on giving the kid up. Then, Kate slams it home by revisiting it while walking up Cassidy’s driveway with Aaron, post-rescue.
THESE ARMS OF MINE – OTIS REDDING (2.19)
Rose and Bernard’s tune. Played in both her car and at the Swan.
CHAINS AND THINGS – BB KING (2.23)
Yet another tune from the Swan record player, included for thematic relation to Locke, as well as just because it’s the last tune we get from that record player. The, ahem, swan song? You might could say? Your rotten produce will never find me!
DOWNTOWN – PETULA CLARK (3.01, 3.16)
Cass is a tough act to follow, but Miz Clark does a fine job introducing us to Juliet Burke, even though we have to wait a season and a half to find out what she’s so upset about. Also playing in the car when Juliet and her sister drive up to have Richard Alpert whisk her away.
SLOWLY – ANN MARGRET (3.06)
Just figured this was Patsy as well. The tune playing while Kate’s walking down the hall getting ready for sexy times with Mal. More resonant if you’ve seen MAD MEN 3.02.
SHAMBALA – THREE DOG NIGHT
SHAMBALA (INSTRUMENTAL) – MICHAEL GIACCHINO (3.10, 3.20)
The sound that we hear instead of Hurley and Charlie smiting their own ruin upon the mountainside in our first DHARMA VW bus. Followed by Giacchino’s exceptional arrangement of the song’s chords, E-A-D (three letters that make up a four-letter word with significance to both characters, if you want to read just way too much into every single facet). Then, of course, we get the first half of the tune when mean old Roger Linus drives his kid up a hill to knock back a few DHARMA beers on the ungrateful tyke's birthday.
PIANO SONATA NO. 11 – MOZART (3.10)
Playing at Hurley’s lovely dinner. Wolfie, man.
CARRIE ANNE – THE HOLLIES (3.21)
Sweet tune playing in the background when Chahlie learns to swim. “You’re swimming, Chahlie! You’re SWIMming!”
SCENTLESS APPRENTICE (3.22)
The preferred audio consumption of all pill-popping bearded maniacs just bubbling over with regret. Cobain’s preferred demographic, as well, maybe.
GOOD VIBRATIONS - THE BEACH BOYS (3.22)
Somewhat sketchy reason that Chahlie and only Chahlie can save the day in the Looking Glass. As possibly previously noted, was initially so pumped to see Faraday playing that piano in 5.14, figured with his journal finding its way over to Alcatraz, he could certainly have been the funny guy musician who programmed this into the keypad that controlled the signal jammer. Now thinking it’ll just be left dangling, like so much else.
XANADU – OLIVIA NEWTON-JOHN (4.04)
What Hurley’s watching on the VCR when Kate drops in on Sawyer and him at their little place in Dharmaville. Catchy tune, but just one of the most horrific things to ever be committed to film. Singlehandedly squashed musicals out of existence in Hollywood for twenty years until Rob Marshall convinced everybody that it was a viable commercial proposition one year after Baz Luhrmann did it ten times better.
SHE’S GOT YOU – PATSY (4.04, 5.11)
What Kate and Claire are listening to when Locke drops in on them; what’s playing in Kate’s car while she drives up to Cassidy’s, right before she drops the Como.
IT’S GETTING BETTER – CASS (4.08)
A fine tune to crash your car to. That Michael Dawson has himself one keen sense of irony.
PRELUDE IN C# MINOR – RACHMANINOFF (4.09)
What Ben’s playing on the piano when Locke comes to ask him about the phone ringing when Kimi and crew break the perimeter.
EVERYDAY – BUDDY (4.11)
What crazy Emily is getting dressed to before she runs out in the middle of the street while carrying a baby who I guess wasn’t really that special after all? (except for serving host to a loophole?)
GOUGE AWAY – PIXIES (4.13)
A tune that I like to think is sequenced right before Nirvana and just after some of your wilder Jane’s Addiction on a mix that Jack made called FUCKSHITUP for those nights you’ve got to GOT to knock back a handful of painkillers and half a bottle of Absolut and just drive, baby.
SHOTGUN WILLIE (5.01)
And after that dip for Season Four, we come back with another strong musical number to kick things off while we wonder who the hell we’re looking at. Chang’s preferred tune for morning feedings. I guess Kind of Blue would have been too on the nose.
DHARMA LADY – GERONIMO JACKSON (5.06, 5.09)
We finally get a track from this classic fictitious band. First heard while Jin rolls up on Jack, Kate, and Hurley after they’ve come back, but I didn’t catch it until a month later real-time when it was playing right before they got their picture taken after processing.
I CAN’T GIVE YOU ANYTHING BUT LOVE, BABY – BILLIE HOLIDAY (5.10)
Oh, what a creepy song for E. B. Farnum to be listening to out the big ol horn of a record player in the woods before giving Sayid some acid, which is like three times nicer than what I thought was going to happen, given that kind of Deliverance vibe that was happening while they marched him up and this tune kicked in.
FANTAISIE-IMPROMPTU IN C# MINOR – CHOPIN (5.14)
Killer Chopin piece that Faraday could play a lot better when he was a kid, before starting to mess about with time travel. Turns out we only ever see him working on the slow parts, it gets pretty blistering in there.
THREE CIGARETTES (IN AN ASHTRAY) – PATSY (5.16)
And the only tune you need, if you’re looking to shoplift a New Kids on the Block lunchbox. Thinking the taking was much more important to young Katie than what was being taken. Hoping so, anyway, but smart money tags her as a Donnie girl, if she’s got a favorite.
And we’ve got six slots left on the All-Time list. It will be interesting to see what Season Six gives us!
16 seconds of dissonant goodness to usher us in every single time, written by a pretty talented fellow. The piano arpeggios over the FRINGE titles are the counterpoint to this.
LEAVING ON YOUR MIND – PATSY CLINE (1.03)
Our first of many doses of Patsy, heard in Ray Mullen's truck. Kate digging Patsy is one of the better examples of using a fictional character's critical taste to define character that I can think of. Such a good fit.
WASH AWAY (REPRISE) – JOE PURDY (1.03)
And we shut down the first non-pilot episode with this over our first no-dialogue montage. Classic stuff.
ARE YOU SURE? – WILLIE (1.06)
Another perfect selection made by Mr. Reyes for episode's end. Still possibly feeling ambient energy from one Dr. Chang, it turns out.
YOU ALL EVERYBODY – DRIVESHAFT (1.07)
No description necessary. This track should be available for purchase, they would move quite a few units. As did the Pace brothers back in the day and I'm sorry!
I SHALL NOT WALK ALONE – BLIND BOYS OF ALABAMA (1.08)
To score Sayid walking off in the direction of instant karma after torturing Sawyer. Think I remember thinking that Hurley must be listening to it, but they never showed him.
INTERMEZZO (FROM CARMEN) - BIZET (1.09, then again and beforehand in 5.05)
What Rousseau's music box played after Sayid fixed it. And right after and perhaps during Rousseau gunning down her countrymen. Don't talk back to pregnant women. Especially if you’re infected!
LA MER – SHANNON RUTHERFORD (1.16)
This is actually Bobby Darin's "Beyond the Sea" that Shannon must have caught at the end of a French translation of FINDING NEMO. Love her acapella take on it, perfectly accompanied by Giacchino, of course.
DELICATE – DAMIAN RICE (1.17)
One of the top five tunes that ever shows up, I'd say. Between this and “The Blower’s Daughter” in CLOSER, ol Damian’s cornered the market on making people walking in slow motion seem just so important and resonant. Great bit with Hurley’s Discman finally running out of batteries about five seconds after we're all wondering when that IS going to get around to happening.
PARTING WORDS (RAFT THEME) - MICHAEL GIACCHINO (1.23)
I've gone on and on about this one. One of my favorite compositions of all time. Stirring and majestic. This show has you long before this scene at the end of the first season, but it's here that it sinks its teeth into you forever, between this music and everyone helping launch the raft and then Vincent not being able to let go and the kid having to, just too much.
HURLEY ON THE MOVE - MICHAEL GIACCHINO (1.24)
Always thought this was a cool little piece that never got revisited. Nice "La Grange" quote at the end.
MAKE YOUR OWN KIND OF MUSIC – CASS ELLIOTT (2.01, then again at the same time in 2.02, in muzak form at the listening station in the final scene of the season in 2.23, and twice! in 3.08, making it a very happy Valentine's Day indeed, even though for Desmond, it was just another night losing his mind at the pub)
Damon Lindelof said that he chose this song because his mom used to turn it up loud as hell on the record player and vacuum their house and just break down, sobbing and sobbing. Though that initially came as a disturbing bit of a surprise, it's a perfect fit. The best song I'd never heard that this show gave me.
WALKIN AFTER MIDNIGHT – PATSY CLINE (2.10, 2.20, 3.15)
Then there's an entire spate of tunes that Hurley rocks on the Swan record player, and a couple of questionable bands (Dave Matthews in Shannon's apt, Staind in the bar where Ana-Lucia tracks down that fellow), but we're going to jump back on the Patsy train with Kate's first selection when she gets some downtime with the Swan record player. This particular track turns back up when Christian and Ana are driving in Australia and when the tow truck comes for Kate when she's hooking up with Cassidy.
MOONLIGHT SERENADE – GLENN MILLER (2.13, 3.01)
This tune first turns up when Sayid manages to fix a radio from the Arrow and he and Hurley sit on the beach and listen while looking at the stars. Hurley's little bit about picking up signals from any time is one of the first hints of how far into science fiction country we're going to wind up, but also probably references the old TWILIGHT ZONE episode "Static," in which an old man hears radio broadcasts from the past, including this particular song. Particularly messed up if Hurley conclusively turns out to've been the one who recorded the Numbers broadcast. Also playing on Jack’s car radio while stalking his recently estranged wife.
Flash fact: Glenn Miller vanished on 12/15/1944 while flying from England to Paris to perform for troops after they'd liberated the city. Plane and body never found. Ask Faraday's mom.
CATCH A FALLING STAR – PERRY COMO (2.15, 5.11)
This is the tune that was in the mobile that Claire had in the Staff nursery, and I THINK this is what she asked Ethan to sing Aaron at bedtime when she was wavering on giving the kid up. Then, Kate slams it home by revisiting it while walking up Cassidy’s driveway with Aaron, post-rescue.
THESE ARMS OF MINE – OTIS REDDING (2.19)
Rose and Bernard’s tune. Played in both her car and at the Swan.
CHAINS AND THINGS – BB KING (2.23)
Yet another tune from the Swan record player, included for thematic relation to Locke, as well as just because it’s the last tune we get from that record player. The, ahem, swan song? You might could say? Your rotten produce will never find me!
DOWNTOWN – PETULA CLARK (3.01, 3.16)
Cass is a tough act to follow, but Miz Clark does a fine job introducing us to Juliet Burke, even though we have to wait a season and a half to find out what she’s so upset about. Also playing in the car when Juliet and her sister drive up to have Richard Alpert whisk her away.
SLOWLY – ANN MARGRET (3.06)
Just figured this was Patsy as well. The tune playing while Kate’s walking down the hall getting ready for sexy times with Mal. More resonant if you’ve seen MAD MEN 3.02.
SHAMBALA – THREE DOG NIGHT
SHAMBALA (INSTRUMENTAL) – MICHAEL GIACCHINO (3.10, 3.20)
The sound that we hear instead of Hurley and Charlie smiting their own ruin upon the mountainside in our first DHARMA VW bus. Followed by Giacchino’s exceptional arrangement of the song’s chords, E-A-D (three letters that make up a four-letter word with significance to both characters, if you want to read just way too much into every single facet). Then, of course, we get the first half of the tune when mean old Roger Linus drives his kid up a hill to knock back a few DHARMA beers on the ungrateful tyke's birthday.
PIANO SONATA NO. 11 – MOZART (3.10)
Playing at Hurley’s lovely dinner. Wolfie, man.
CARRIE ANNE – THE HOLLIES (3.21)
Sweet tune playing in the background when Chahlie learns to swim. “You’re swimming, Chahlie! You’re SWIMming!”
SCENTLESS APPRENTICE (3.22)
The preferred audio consumption of all pill-popping bearded maniacs just bubbling over with regret. Cobain’s preferred demographic, as well, maybe.
GOOD VIBRATIONS - THE BEACH BOYS (3.22)
Somewhat sketchy reason that Chahlie and only Chahlie can save the day in the Looking Glass. As possibly previously noted, was initially so pumped to see Faraday playing that piano in 5.14, figured with his journal finding its way over to Alcatraz, he could certainly have been the funny guy musician who programmed this into the keypad that controlled the signal jammer. Now thinking it’ll just be left dangling, like so much else.
XANADU – OLIVIA NEWTON-JOHN (4.04)
What Hurley’s watching on the VCR when Kate drops in on Sawyer and him at their little place in Dharmaville. Catchy tune, but just one of the most horrific things to ever be committed to film. Singlehandedly squashed musicals out of existence in Hollywood for twenty years until Rob Marshall convinced everybody that it was a viable commercial proposition one year after Baz Luhrmann did it ten times better.
SHE’S GOT YOU – PATSY (4.04, 5.11)
What Kate and Claire are listening to when Locke drops in on them; what’s playing in Kate’s car while she drives up to Cassidy’s, right before she drops the Como.
IT’S GETTING BETTER – CASS (4.08)
A fine tune to crash your car to. That Michael Dawson has himself one keen sense of irony.
PRELUDE IN C# MINOR – RACHMANINOFF (4.09)
What Ben’s playing on the piano when Locke comes to ask him about the phone ringing when Kimi and crew break the perimeter.
EVERYDAY – BUDDY (4.11)
What crazy Emily is getting dressed to before she runs out in the middle of the street while carrying a baby who I guess wasn’t really that special after all? (except for serving host to a loophole?)
GOUGE AWAY – PIXIES (4.13)
A tune that I like to think is sequenced right before Nirvana and just after some of your wilder Jane’s Addiction on a mix that Jack made called FUCKSHITUP for those nights you’ve got to GOT to knock back a handful of painkillers and half a bottle of Absolut and just drive, baby.
SHOTGUN WILLIE (5.01)
And after that dip for Season Four, we come back with another strong musical number to kick things off while we wonder who the hell we’re looking at. Chang’s preferred tune for morning feedings. I guess Kind of Blue would have been too on the nose.
DHARMA LADY – GERONIMO JACKSON (5.06, 5.09)
We finally get a track from this classic fictitious band. First heard while Jin rolls up on Jack, Kate, and Hurley after they’ve come back, but I didn’t catch it until a month later real-time when it was playing right before they got their picture taken after processing.
I CAN’T GIVE YOU ANYTHING BUT LOVE, BABY – BILLIE HOLIDAY (5.10)
Oh, what a creepy song for E. B. Farnum to be listening to out the big ol horn of a record player in the woods before giving Sayid some acid, which is like three times nicer than what I thought was going to happen, given that kind of Deliverance vibe that was happening while they marched him up and this tune kicked in.
FANTAISIE-IMPROMPTU IN C# MINOR – CHOPIN (5.14)
Killer Chopin piece that Faraday could play a lot better when he was a kid, before starting to mess about with time travel. Turns out we only ever see him working on the slow parts, it gets pretty blistering in there.
THREE CIGARETTES (IN AN ASHTRAY) – PATSY (5.16)
And the only tune you need, if you’re looking to shoplift a New Kids on the Block lunchbox. Thinking the taking was much more important to young Katie than what was being taken. Hoping so, anyway, but smart money tags her as a Donnie girl, if she’s got a favorite.
And we’ve got six slots left on the All-Time list. It will be interesting to see what Season Six gives us!
posted by rb at 9:48 AM
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