And Treme? Forget about it. Appearances by New Orleans' greats, both established and up-and-coming, are practically the raison d'être for the show: John Boutte (featured on the opening theme), Irma Thomas, Big Sam, Lloyd Price, Dr. John, Coco Robicheaux, Galactic, Rebirth Brass Band - the list goes on. But I've already written about New Orleans' music.
Apart from HBO, I have to commend the all-too-brief Life on Mars for not only its titular Bowie tribute, but an entire catalog of glam faves; the CSI franchise, for discovering that there is a song by The Who for every metropolitan locale in the United States; and Scrubs' clever inclusion of performers, including The Polysyllabic Spree and Collin Hay's wistful solo version of "Overkill." Yet there is one show (apart from Treme) that I think makes greater use of music than any other.
I'm talking about Mad Men, of course. I'm sure you watch it. You have taste. You're here, after all. The show just screams style. I love everything about it: atomic age furniture, sharkskin suits, cocktails at noon. The soundtrack is of a piece with the show. The thing is, they actually use a lot less music than many others, but when they do, it serves a purpose. That may be the thing that makes it so hip. They even used "You Know I'm No Good," by Amy Winehouse to promote the pilot, so viewers would know just what they were in for. Some of my favorite moments:
"Blue in Green," by Miles Davis. No one defined the cool aesthetic more than Miles, so it is fitting that he is used multiple times in Season One to set the tone of the show. This Kind of Blue track is heard on Episode 5. "Concerto de Aranjuez," from Flamenco Sketches is used in Episode 8.
"Agua de Beber," by Astrud Gilberto. Ok, you may have to see this one to appreciate it. A super-hip tune from the catalog of Antonio Carlos Jobim.
"Babylon." This one is a bit uncharacteristic for the show, because it's not a period song. Don hears it when he visits the Gaslight in the Village with Midge. It's a hymn from the Colonial era based on Psalm 137, with a poignant lyric and an aching minor melody. All about loss of identity and place - it's the perfect ending to the episode of the same name.
"Don't Think Twice, It's Alright," by Bob Dylan. Heard over the final credits of Season One, the song helps highlight just how alone Don Draper really is.
"Sukiyaki," by Kyo Sakamoto. I think this is a clever choice in Episode 2, Season 2. Don sits alone in a booth in an Asian (Japanese?) restaurant, drinking his signature old-fashioned, while this song plays. The refrain (in Japanese) is "tonight I'm all alone." A beautiful Asian waitress stops to flirt and offers to stop back by later, but he answers, "Not tonight."
"What'll I Do?" by Johnny Mathis. Another great closing credits choice, this one in Season 2. Don has run away to California and the song accompanies his luggage as it is returned to his front door - without him. This one is really heartbreaking.
"C'est Magnifique," by Joan Holloway (Christina Hendricks). Ok, this one isn't going to set the world on fire in terms of performance, but there is something about a woman singing in French (hold on to that thought) and playing . . . accordion! (And yes - Christina Hendricks actually plays.) Another revealing moment in the show, as Joan is goaded into playing a part she does not enjoy.
"(I Can't Get No) Satisfaction," by The Rolling Stones. For a song that is grave danger of overuse, it fits perfectly in the episode "Summer Man" in Season 4. Played as Don emerges from the New York Athletic club wearing a blazing white shirt, narrow black tie, and gray sharkskin trousers, the jacket folded over his arm as he dons his Foster Grants and lights a Lucky Strike in slow motion. Quintessential cool.
"Zou Bisou Bisou," by Gillian Hills (as sung by Megan Draper). From the Season 5 premiere, I can't help but think that this is a nod to Joan's performance in Season 3. Megan sings this flirty French pop song at Don's surprise party, to the great enjoyment of the male guests. Instead of being paraded by her spouse, it's clear that Mrs. Draper is the one in charge.
"Tomorrow Never Knows," by The Beatles. Just perfect. Megan, Don's younger wife, gives him a copy of Revolver so he will be in touch with contemporary music. He listens to the proto-psychedlic sounds on the hi-fi for a few minutes, then impatiently pulls the needle off the record. He clearly belongs to a different age.
"He Hit Me (It Felt Like a Kiss)," by The Crystals. Heard over the final credits of one of the most disturbingly violent episodes in the series, this is one of the creepiest songs of the girl group era. It's suitable for an episode highlighting Vietnam, the Richard Speck murders, violence against African Americans during the Civil Rights struggle, and Don's fever-induced hallucination that he chokes a former lover to death.
I could go on about the music from Season 5, because it seems to use more music than any other, with snippets of Burt Bacharach, Billy Page, The Beach Boys, Dusty Springfield, and The Kinks.
The title music is also worth noting, an instrumental called "A Beautiful Mine," by RJD2, that gives the opening almost a neo-noir feel, especially coupled with the Hitchcock-esque imagery.
Matthew Weiner has indicated that the series will not extend beyond the 1960s, and fans of the show understand why. It's hard to imagine Don wearing bell-bottoms and corduroy jackets. Yet Season 5 left us teetering on the edge of the Summer of Love. I expect the soundtrack is ready to erupt.
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