Kingdom Come from Elevation Worship on Vimeo.

So. Tonight’s top 5 will be (drumroll) my Top 5 Musical Moments. These are my 5 favorite song cues in the 6 seasons we’ve had this show. This list will be a bit season 1-heavy I think, given the propensity to end episodes with a pop song in that season. But I can live with that if you can. Here we go.

Tie-5. “Make Your Own Kind of Music” by Mama Cass – Episode 201 – “Man of Science, Man of Faith” – This is our first introduction to Desmond (my favorite character on the show…ever), as well as the moment we realize it’s our new Scottish friend down in that hatch. I know, seems so long ago now. I’d love to know what made the writers choose this song for Des to play in his introduction. Dharma initiative’s heyday was in the early 70′s, so it makes sense time-wise, but why that song? Why not something by Creedence Clearwater Revival or Cream? Maybe royalties play a factor, but regardless, it’s an interesting choice. A read of the lyrics might suggest that this song would provide a comfort for Desmond after spending several years alone in a hatch pushing a button. Here’s this stanza, for instance:

You’re gonna be knowing
the loneliest kind of lonely.
It may be rough goin’,
just to do your thing’s
the hardest thing to do.

This song will forever be associated with this moment on this show for me now. And now I think of more than choking on sandwiches and Scooby Doo episodes when someone mentions Mama Cass.

Tie-5. “Downtown” by Petula Clark – Episode 301 – “A Tale of Two Cities” – This song is our introduction to Juliet and New Otherton, as we open Season 3 to the Others’ book club meeting. Now, I know it’s a bit of a cheat to have a tie for 5th, thereby making this a Top 6 list, but just stay with me. Two seasons in a row the writers of Lost introduce us to a new character in an unfamiliar place with an old song. The song has connections to the character that are subtle enough that it takes a reading of the lyrics to find them. Both songs are at least indirectly about isolation, and both characters are completely isolated. Desmond from the entire world, and Juliet from the world she loves and misses. Juliet is stuck on an island with a group of people she agreed to work with and now is expected to help lead (while her leadership role is never directly stated, it’s at least implied that Others like Juliet and Tom Friendly are high in the pecking order under Ben) under a leader she now hates. A leader who has manipulated her into this position. Juliet wants nothing more than to “forget all your troubles, forget all your cares and go…”

4. “Wash Away (Reprise)” by Joe Purdy – Episode 103 – “Tabula Rasa” – This episode is our first Kate flashback episode, where we first follow her fugitive ways. If you didn’t know, “Tabula Rasa” is Latin for blank slate. One of the biggest themes of the first season is that the island offers each of the survivors of flight 185 a new beginning, a fresh start. This may be more important for Kate than for anyone. The end of the episode, featuring this Joe Purdy tune over shots of the survivors finally showing glimpses of optimism and hope, was the first moment in the series that seemed to transcend mere storytelling into something more beautiful. Also, I’ll never forget how the song faded out to ominous tones as the “mysterious” Mr. Locke looked at Michael and Walt. Remember when we had no idea what was up with that guy?

3. “I Shall Not Walk Alone” by The Blind Boys of Alabama – Episode 108 – “Confidence Man” – Sayid steps off to plot the island and escape the man he fears he’s going to become again after torturing Sawyer. The song plays over shots of several of the castaways spending time together, ending with Sawyer, alone with his baggage and the letter he wrote decades ago to the man he’s going to kill, and Sayid starting his journey. The irony here is that as the band sings “I shall not walk alone” Sayid is off down the beach by himself. But again, a reading of the lyrics reveals more.

Beauty that we left behind; how shall we tomorrow find?
Set aside our weight in sin so that we can live again

Sayid hopes to be able to set aside the weight of his sin, of the things he’s done to who knows how many people. And as we see in the next episode, he wishes to find the beauty he has left behind, his dear Nadia. Sayid doesn’t walk alone. He carries the weight of all the victims he’s tortured, and the memory of the woman he loves and prays to meet again someday. Hope and guilt are a strange combination we all carry.

2. “You All Everybody” by Drive Shaft – Episode 107 – “The Moth” – We finally hear the hit song Charlie hints at in the pilot, and it is so totally worth it. “You all everybody acting like the stupid people wearing those expensive clothes” is a lyric ripped from a Jerry Springer-type show, according to the writers. It makes no sense and yet is totally perfect. It’s the only “original” Lost song on this list, because of its association for me with Charlie’s story. A man with a passion for music who falls into the deepest pit of addiction and somehow manages to claw his way out much like a moth. I identify with Charlie’s struggle to break free of his chains, of his baggage.

1. “Are You Sure?” by Willie Nelson – Episode 106 – “House of the Rising Sun” – This song is my number 1 musical moment on Lost because of the perfect intersection of the plot and the music, put together for emotional effect. This song plays as the survivors settle in at the island ‘homes’ they’ve chosen. Some are at the caves, while others remain at the beach with the signal fires.

Look around you, take a good look and tell me what you see.
Are you sure this is where you want to be?

Those lyrics describe the state of the castaways in this moment better than any could. It was another transcendent moment in the history of a show with many transcendent moments, which I guarantee you will be explored further this week. I’m sure I could have more to say on this subject, but it’s 2 AM and I’m downright sleepy. So until tomorrow, Happy LOST Week.

They say imitation is the highest form of flattery. The cover song is possibly the closest it gets in the music business. From time to time an artist may record an entire album’s worth of cover songs. And once in a blue moon an artist may even record an album of covers of only one other artist. A Tribute record. Willie Nelson did it with To Lefty From Willie, his 1977 Lefty Frisell tribute. Matt Houck, better known by his stage name Phosphorescent, has continued the tradition with his album To Willie, a record of some of the Red Headed Stranger’s hits and rarities. I’ve always told people I didn’t like country music, which given today’s definition of country music is true for the most part, but I’ve always had a soft spot in my heart for Willie. Whether it’s the fragile voice, the perfect songwriting, the hippie braids or the beat-up guitar, there’s just something about him you can’t help but love. I don’t even know if Willie knows about the record Houck has made, but he should be flattered. Matt has managed to not merely cover Willie’s songs, but to put a bit of himself in them. The brokenness in his own voice conveyed in “Can I Sleep In Your Arms” (best track on the album by far) and “To Sick To Pray” coupled with the wry humor/cleverness of “I Gotta Get Drunk” is a dynamite combination. If you’re a fan of Willie, or a fan of Phosphorescent, or a fan of MUSIC, pick up this album.

Here’s a digital version and a physical version you can purchase if you’re interested. Support good art!

The Avett Brothers – I and Love and You was without a doubt my favorite album of the year, which shouldn’t come as a surprise as anyone who really knows me knows my love for the two brothers from Carolina and their two compatriots on the bass and cello. I was worried about the release of this album, to be honest. The Avetts’ previous studio work always managed to capture the raw energy of their live show, and I had a bit of apprehension considering this would be their first major label release, and the first time they hadn’t produced their own work. The fact that Rick Rubin would be producing the record quelled my apprehension a bit, but it was still there. On release day, all worry faded away. The combination of Rubin’s production and the fellas’ songwriting was perfect. The result is a polished but not too polished, affecting record of ballads. I and love and this record.

David Bazan – Curse Your Branches is a record about crisis of faith…and the eventual loss of that faith. The emotion effect it has when I listen to it is hard to explain. I still have the faith that Bazan seems to have lost, but I understand his questions, his doubts. I identify with his lyrics, even at their most accusing of the God I trust. It can be hard not to.

The Decemberists – The Hazards of Love: Epic. That’s really the only word for this album. Start to finish, one long tale of awesomeness.

Derek Webb – Stockholm Syndrome: Derek’s usually controversial. He’s also usually playing an acoustic guitar, as opposed to a bass and some synths. I like the change. It seems my musical taste is always moving, and somehow Derek always manages to be in my wheelhouse.

Elvis Perkins in Dearland – Elvis Perkins in Dearland: This was a late find. By late, I mean I didn’t listen to it until about a week ago, when I saw that it was in Paste Magazine’s top 3 on their Albums of the Year list. So I gave it a listen, and it really is fantastic. This guy can write a song.

The Felice Brothers – Yonder is the Clock: The Felice Brothers are a band that seem to be from another time. When you hear a song like “Loves Me Tenderly” from their eponymous album, you get the feeling this music’s been recorded for nearly a century, when it’s new as designer jeans (you know, the ones that are distressed to LOOK old). The 2009 release from the Brothers Felice (nice rhyme) has the same old-timey quality that I can’t help but love.

Florence and the Machine – Lungs: Another late find for me. Florence Welch’s voice falls somewhere between Annie Lennox and Etta James. That’s a strange combination, one that I find endlessly interesting. Adding to this interesting concoction is the White Stripes-y indie-soul-infused-rock that backs her voice.

Great Lake Swimmers – Lost Channels: I expected to find this album on more end-of-year lists than it’s appeared on. This is one of the many indie-folk albums I fell in love with this year. There’s a Neil Young tinge in Tony Dekker’s voice that’s a popular sound these days. It sounds best here.

Grizzly Bear – Veckatimest: Can’t say much that hasn’t been said by the zillions of reviewers who’ve raved about this album in the past months. So I won’t. It’s just really good.

Jay-Z – Blueprint 3: Hey, I listen to rap, too. In this album, HOV declared the Death of Auto-tune, made the Yankee hat more famous than a Yankee can, and ran this town. And guess what? He really is the Frank Sinatra of the rap game.

Langhorne Slim – Be Set Free: Langhorne’s another artist that seems to belong in another time. The production here is modern, but Langhorne’s whiskey-drenched voice belongs in the age of Bob Dylan. “I Love You, But Goodbye” was one of my go-to songs during my horrible break-up earlier this year.

M. Ward – Hold Time: I’m admittedly late to the party when it comes to M. Ward. The first time I heard him, a few years ago, there was something about his voice that bothered me. Thank God I got over that. Ward’s usual moralistic themes are accompanied by one of the simplest, catchiest love songs I’ve ever heard (“Never Had Nobody Like You”)

Metric – Fantasies: This was a mid-year find that I was really happy about. I’m a sucker for good female-fronted indie-rock bands with a hint of synth. Metric is yet another band spawned from the Canadian musical juggernaut known as Broken Social Scene.

Mindy Smith – Stupid Love: Patty Griffin, Alison Krauss, Leigh Nash, Sandra McCracken, Norah Jones. The world is full of really talented singer-songwriters. Mindy Smith is one of them. We’re very blessed. This entire album is good, but would make the list only for “Love Lost,” another one of those songs I clung to during the aforementioned break-up.

Monsters of Folk – Monsters of Folk: M. Ward. Jim James of My Morning Jacket. Conor Oberst. Mike Mogis. I really don’t think anything else needs to be said.

Mos Def – The Ecstatic: If Jay-Z is the Frank Sinatra of rap, Mos Def is Dean Martin. He’s the ultimate triple threat in the rap world, singing rapping and acting his way to stardom. I still can’t figure out why his albums don’t go platinum. “Life In Marvelous Times” is right up there with Jay-Z’s “Empire State of Mind” as best rap song of the year for me.

The Mountain Goats – The Life of the World to Come: Before this album, I had trouble “getting” the Mountain Goats. The music seemed good enough to me, the songwriting good…I just couldn’t get into any of it for reasons I couldn’t decipher. This look at religion and life through the lens of the Bible is fascinating to me. And with it, I finally “got” this band.

needtobreathe – The Outsiders: Just listen to the title track and you’ll see why I love this album. These guys represent a part of the CCM world I wish we could see more. They’re out on their own making the music they want to make, and the result is fantastic and fun. Bear Rinehart (a friggin’ cool name) has one of those instantly recognizable, stay-with-you voices.

Paper Route – Absence: A beautiful mix of indie-rock and electro, I love this band. 2009 was the year I got way into electro music, and these guys were partly the reason. Biggest standout track for me is the haunting “Are We All Forgotten”

Passion Pit – Manners: Like I said…the year of electro music. This album makes me want to dance endlessly and only sing in falsetto.

Phoenix – Wolfgang Amadeus Phoenix: Near perfect pop music. Andrew Osenga said on his twitter feed this album nearly made him want to give up making music. I understand.

Sarah Jarosz – Song Up In Her Head: An early-fall find, thanks to a Paste Magazine sampler. Great mando-centric new-grass. She’s young, but a fantastic songwriter.

The Swell Season – Strict Joy: Finally, a genuine full-length album from the duo that starred in the great film Once. The writing/recording of the songs from Once seemed to bring them together romantically, and this album is the record of that romance’s falling apart. “Low Rising” would feel perfectly at home on an old Van Morrison record, and “I Have Loved You Wrong” is the perfect mix of sad and beautiful.

Wilco – Wilco: I can’t really imagine Wilco releasing an album and that album not appearing on my favorites list. I didn’t love this album as much as I loved Sky Blue Sky, but it’s not for lack of quality. A fantastic duet with Feist (“You and I”) and the anthemic “I’ll Fight” are my two favorite tracks on this album.

Yeah Yeah Yeahs - It’s Blitz: A year ago if you’d asked me anything about the Yeah Yeah Yeahs all I could tell you is that they did that one song that’s on Rock Band. Really. Never got on that bandwagon (although yes, “Maps” is a great song, and fun to play Rock Band drums to), but this album changed that. This is the epitome of indie-pop-rock. Karen O is hot and charismatic and fun.

So that’s it, my 25 favorite albums of the past year. If you read this, and don’t have some of them, I encourage you to check them out…they’ve all stuck with me throughout this year.

The Avett Brothers~Laundry Room from LaundroMatinee on Vimeo.

I’m a little too young to have been greatly affected by any of the three of these celebrities’ work, though I’m not sure there’s a non-Amish soul in America that hasn’t been at least somewhat affected by Michael’s music. I learned of Michael after he had already started to go crazy and turn himself into a white woman, so I feel like my experience with his music has always been a bit tainted. That said, there’s nothing like putting an old jam from Thriller, Bad, or Off the Wall and trying to moonwalk.

The man was crazy. We all know that. I just hope the legacy left is the music and not the insanity.

Vertigo
Beautiful Day
New Year’s Day
Sometimes You Can’t Make It On Your Own (I was reminded how consistently good Bono’s voice is here)
Love And Peace Or Else (the following stretch of songs was pretty incredible and flowed perfectly)
Sunday Bloody Sunday
Bullet The Blue Sky
Miss Sarajevo
Pride (In The Name of Love)
Where The Streets Have No Name
One
encore
The Fly
With or Without You
credits
Yahweh

And, as I stated in the last post, it seems that these 3-d concert films are going to become new trend (If U2, the Stones, and Scorcese do it, the rest of the world is sure to follow). I surely hope so.

Yeah. Oh Snap.