#Kiss Me Son Of God is the best TMBG song but that's the closer

[bertybum]

Ana Ng is such a good song i sometimes skip it when listening to the album because it feels unfair to the other songs

[captain-sodapop]

so here’s a list of music moments I would have liked to have seen in supernatural:

Elmer Bernstein’s theme to The Hallelujah Trail should have been played during Dean’s just...absolute finest moment, whatever that may have been.  Maybe it was something we never saw, but it definitely would have happened close to the end of the show’s run.  Not only is it the theme to an old cowboy movie (and we all know Dean loves cowboys and westerns) scored by one of Hollywood’s best composers, it’s got such a fun grandeur to it that I think Dean embodies in his best moments.  Just imagine him contemplating whatever impulsive, batshit thing he’s about to do for all of half a second, he stands, puts on his cowboy hat, gets in his trusty steed, and goes off to kill the bad guys like the Last Great American Cowboy he is.

“Milky White Way” is a song off of one of Elvis’s gospel albums, and it’s just so Sam.  It is simple, clean, beautiful faith that dreams of one day going back to Heaven, back to you maker, back to your mother.  Imagine Sam sneaking out on a Sunday morning and walking into a church service while this plays and he seeks out comfort in his faith, in prayer, in such a rockabilly, Nashville way.  (Alternate take would have worked beautifully, as well.)

Mary should have killed some monsters and been seen driving cross-country to The Lemonheads’ cover of “Mrs. Robinson.”  That would have been so badass.  Here’s to you, Mrs. Winchester.

“Tomorrow” from Annie is a Jack song.  It might seem like a weird choice, especially since I’m not a huge fan of the play in general, but hear me out: Jack, awake in the middle of the night, scared of what’s to come, unsure of what’s next, a mess after another nightmare, and he bumps into Cas as he takes his nightly walkabout around the bunker.  Cas does what he can to assure him even though he himself is scared, and they go outside to watch the sunrise, sitting shoulder-to-shoulder.  They’re both uncertain, but they have each other, and as the sun rises and the darkness of the screen silhouettes as if they have a bright spotlight on them, the song reaches its swelling climax before the spotlight goes out and they cut to the credits.

Rowena’s theme song is Bowie’s “Queen Bitch.”  Period, full stop.

Every snippet we get of Cas driving around, there’s something different playing on the radio, not just sermons.  He listens to a lot of hymns and pop music.

In an early seasons episode, season 1 or 2, Sam and Dean are undercover at a college toga party (complete with togas and olive wreaths) and get roped into “Shout” a la Animal House.  One of them is dancing, the other one is getting the kill during the song sequence. 

Macca’s “Dear Boy” plays the first time Sam loses Eileen.  But in a version of the ending where we get to see the two of them reunite after Dean’s death and they decide they want to spend the rest of their lives together, it’s George Harrison’s “What is Life” that plays in a montage of them coming together.  It’s funny, because Sam doesn’t know now what his life would be life without Eileen, just like he never used to know what it would be like without Dean and Cas and Jack.

“Everybody’s Gotta Live” is a very first apocalypse-era song.  Just the two of them, Sam and Dean, absolutely miserable after another thwarted attempt to stop fate in its tracks intercut with Castiel’s search for God.  All of it fruitless.

Why do I want to see Cas and Meg searching for each other in a busy club while “Gimme! Gimme! Gimme! (A Man After Midnight)” plays?  I just do.  Who even knows why they’re there, but they are.  Quick cuts between the two of them, a confident Meg and slightly nervous Cas, surrounded by smoke and bathed in dark, colorful light until they bump into each other and wordlessly, breathlessly kiss, Meg tearing off his trench coat and suit jacket just to get that much closer to him.

When Cas gets swallowed by the Empty, “Video Killed the Radio Star” plays.  (Video = the Empty, Cas = the Radio Star.  Get it?)  But like, the part starting at about the 2-minute mark where the guitars are just...woah.

Sam and Dean are riding along in Garth’s car on a hunt, late season 7 or sometime in season 8, and Dean reaches for the radio.  Garth, though, smiles and holds up a hand.  “Allow me,” he says, and MF Doom’s “Vinca Rosea” begins to play.  They emerge from the car in slow motion under a bright moon, and the footage speeds up as they hunt down the baddie.  It is the most badass Garth has ever looked and will ever look.

Montage of Standford!Sam set to “Campus” because DUH.

John is flashing back to his Vietnam days in, well, a flashback.  He’s completely sober as he tells Sam and Dean about ‘Nam, about the horrors inflicted by humans and ends the story by telling them “And that’s why I know how to make a bed with sheets so tight I can bounce a quarter off it.”   “Fortunate Son”, of course, plays.  Young Sam and Dean just kinda shrug at each other and say “got it, Dad.  Jungle scary.”  John rolls his eyes.

“Heaven On Their Minds” and season 6 Cas.  Tell me it doesn’t work.

They want Jensen to sing so much?  Dean apparently likes Fiddler On the Roof?  Alright, then he can sing “If I Were A Rich Man” in a weird, daydream-esque sequence in an episode where the case is one that forces a serious exploration of class and the brothers’ status on the fringes of society.  A window into Dean’s own desire to be secure.

Jack finally gets to pick the music on the drive home, and guess what?  He’s picked “The Rainbow Connection.”  It just makes him so happy, and he smiles the whole time.  Four bloodied and beaten men driving along in the Impala, and Cas watches on with fond bewilderment as the other three sing along.  (Sam and Dean really resist at first, but when Sam cracks, Dean is quick to follow.)

Sam and Dean do something spectacularly stupid (think Malcolm in the Middle levels of stupid) to “I Should Be Allowed to Think” because the brilliantly stupid idea is Sam’s, and he likes TMBG.  But also, he’s thinking about the life he gave up - all that potential, wasted.  The worst hope of his generation for sure.  But Dean looks like he’s having a good time and it miraculously all works out, so it’s okay for now.

“Things Have Changed” needs to be in there somewhere, definitely in the later seasons, but I’m not quite sure where.  It just needs to be there.  And “Duquesne Whistle” in some little diner and “Like a Rolling Stone” (like, that whole ALBUM) and UGH DYLAN IS PERFECT FOR THIS SHOW.  All the Bob Dylan!

Come to think of it, all of All Things Must Pass, too.  Just scattered throughout the show.  So much about love and faith and even brotherhood in there.

Two brothers, driving home to Kansas, standing amongst the summer crop after the rain as the sun slowly sets with a couple of beers and “Over the Rainbow.”  Just glad to be home.