I loved the original version, but this remake by Eric Burdon with Jenny Lewis of the song “Don’t Let Me Be Misunderstood” is even better. The song is featured on True Blood’s Music from the HBO Original Series Vol. 4 which will be available everywhere on May 28, 2013.
The next soundtrack volume of True Blood music will be out just in time to listen to before Season 6 begins on June 16.
The songs included are those used in True Blood, and are hand picked by Music Supervisor, Gary Calamar. It will be available for purchase on May 28.
While there have been 5 seasons of True Blood, this is only the fourth volume of music to be released for the show and includes songs from both Seasons 5 and 6.
Iggy Pop, My Morning Jacket and the Flaming Lips will quench their thirst for blood on this next installment and also features Alabama Shakes, Los Lobos, Best Coast’s Bethany Cosentino, Eric Burdon and more.
Alabama Shakes dust off the Boys and Girls bonus track “Pocket Change,” and Burdon and Rilo Kiley singer Jenny Lewis add their duet “Don’t Let Me Be Misunderstood.” Iggy Pop and Cosentino team for “Let’s Boot and Rally,” which was released last year and was written specifically for the show, and My Morning Jacket add “Turn Turn Turn.” The Flaming Lips dig up their old outtake “Your Face Can Tell the Future.”
Here’s a better photo that includes the back of the CD:
Here’s the full tracklist:
1) “Don’t Let Me Be Misunderstood” – Eric Burdon with Jenny Lewis – title of Season 6, episode 1
2) “Let’s Boot and Rally” – Iggy Pop with Bethany Cosentino – episode 5.05
3) “What Makes a Good Man?” – the Heavy – episode 5.11
4) “Smokestack Lightnin’” – Howlin’ Wolf – episode 5.08
5) “Pocket Change” – Alabama Shakes - episode 5.04
6) “Authority Song” – Bosco Delrey – episode 5.02
7) “Turn Turn Turn” – My Morning Jacket – episode 5.01
8) “Your Face Can Tell the Future” – the Flaming Lips
9) ”The Sun” – the Naked and Famous
10) “Undertow” – Warpaint - episode 5.05
11) “I Wanna Be Your Man” – Mobley
12) “(She’s a) Wanderer” – Deap Vally
13) “Whatever I Am, You Made Me” – Koko Taylor – episode 5.03
14) “We’ll Meet Again” – Los Lobos – episode 5.02
A chance for the Dutch Truebies to get a taste of True Blood in Amsterdam. Gary Calamar, True Blood’s Music Supervisor, has been confirmed to speak at the Buma Music In Motion conference that will take place on May 16th at Pakhuis Willem De Zwijger in Amsterdam.
The man who chooses all the music for True Blood, it’s Music Supervisor Gary Calamar moves his intimate Mimosa Music Series out of his Laurel Canyon living room and into North Hollywood’s beautiful Federal Bar. Come on down for a bagel, mimosa and some great music. So, if you are in Los Angeles this weekend go on over and listen to some great tunes!
The event takes place Sunday December 2 at the Federal Bar and promises a delicious brunch with musical guests LoveyDove (11am) and Kate Earl (12:30). all-ages are welcome!
All True Blood fans will never forget when singer Lisbeth Scott, sang “Take Me Home,” in Season 1. Now, Lisbeth is to be a featured singer on the upcoming album ‘Voice of Life’ being released on iTunes December 11, 2012. You can learn more about the album at www.voiceoflifemusic.com.
The Voice of Life project was born from the vision that all people realize the full power of music to elevate wellness. Music and sound have been used in traditional cultures for ritual and to evoke deep spiritual states since the beginning of recorded history. We are committed to music being commonly used along with participation to elevate wellness. Our tracks are designed to maximize that potential.
Drawing from both Western and Eastern traditions and using both ancient wisdom and modern science, a formula for participating with music has taken shape for our flagship album. In addition to enhancing general wellness as preventative medicine, preliminary tests have also shown that vocalizing with our music works well as complementary treatment for patients of Western medicine. We are excited at how the Voice of LIfe project has taken shape. Please sign up to be on our mailing list so you can be notified about promotional tracks and pre-release offers and special events.
Listen to the lovely Nathan Barr music sung by Lisbeth below:
This season of True Blood has given us some great music, and most of it has been chosen by it’s Music Supervisor, Gary Calamar. In the two audio interviews with the Latest From The Greatest we can hear how Gary choses the songss and how there are times when he doesn’t. The interviewers also play two of the songs featured on the show, so it’s worth a listen.
The episode, titled “Gone, Gone, Gone,” led fans to expect to hear some variation on the Everly Brothers song of the same name (which was recently covered by Robert Plant and Alison Krauss on their Grammy-winning Raising Sand album). Instead, True Blood used the Carl Perkins song “Gone, Gone, Gone” beneath an emotional scene where Hoyt Fortenberry (Jim Parrack) asks his ex-girlfriend, vampire Jessica Hamby (Deborah Ann Woll) to wipe his memory of her (she cheated on him with his best friend, in a twist fit for a blues or country music classic). In the background, “Gone, Gone, Gone” played, with its lyrics, “Well that must be my girl, yours don’t look like that.”
True Blood’s episode titles are generally inspired by songs that play during the end credits. However, instead of “Gone, Gone, Gone” the episode closed with John Lee Hooker’s “You Know, I Know.” The lyrics: “You know, I know, we’re gonna get together one day,” leading fans to wonder which characters inspired the song choice.
CBS Local spoke with True Blood Music Supervisor Gary Calamar, who noted that both song choices came from the episode’s writer, Alex Woo. ”I had suggested that we do a new cover on ‘Gone, Gone, Gone’ but Alex loves the Carl Perkins version on Sun Records, so we went with that.”
True Blood showed their sense of humor in another scene where vampires Russell Edgington (Denis O’Hare) and Steve Newlin (Michael McMillian) went to a fraternity party where they “drained” the attendees. As the two slow danced together while surrounded by bloody bodies, Katy Perry’s upbeat “Teenage Dream” was playing. The lyrics “We can dance until we die, you and I, we’ll be young together,” are accurate, provided that neither character meets the “true death.”
Calamar says that the True Blood team had a good time debating what song would work best: “We wanted a big, recognizable pop song that would show the twisted romance of Russell and Newlin… and would also work ironically against the drained college students. We tried Rihanna, Far East Movement, Maroon 5… but ‘Teenage Dream’ worked the best on all levels.”
“Plus,” he confesses, “Katy Perry is one of my guilty pleasures.” And echoing what is on the minds of many fans of the pop singer, or those who frequent gossip websites, ”[I'm] hoping she moves past the John Mayer fling quickly.”
Next week’s episode (the second to last of the season) is titled “Sunset.” The Moody Blues, Roy Orbison and Stevie Wonder have all recorded songs with that title, so it’s anyone’s guess what song will actually be used.
As all True Blood fans know, each episode is always titled after a song chosen by it’s music supervisor Gary Calamar in consultation with the writers. We enjoy trying to guess which song it will be when the title for each episode is revealed during the filming of each season.
For episode 8, Somebody That I Used To Know”, Shadaliza was very sure that it would the song by Gotye. She was so sure, in fact, that she put it in print prior to the episode airing. I told her that although that could be it, I knew that Gary Calamar wouldn’t pick such a popular tune for True Blood. And, in our music speculation for this episode, we posted the Goyte song, but we also posted the one that was used by Elliott Smith, thanks for our friend from our affiliated site Skarsgårdnews.com.
However now, Shadaliza is somewhat vindicated because we learn below that the version she chose, was the original song that was intended for the episode. Read about it below:
So, we agree that the latest episode’s title — “Somebody That I Used To Know” — led fans to expect that the song of the same name, by breakout artist Gotye, would be used over the end credits. That song, which sounds more like Peter Gabriel’s ’80s material than anything in the pop music today, topped the U.S. singles charts earlier this year, has been covered on American Idol and The Voice, and was used on an episode of Glee. It turns out that sometimes a song can get too big for its own good.
True Blood Music Supervisor Gary Calamar told CBS Local, “Actually, when Mark Hudis first wrote the episode, he had the Gotye song in mind. At that point the song was new and just starting to become popular. By the time we got to post production on the episode the song was hugely huge. I think it’s great, but once a song has been featured on Glee it’s no longer right for True Blood end credits.” Luckily, there was an easy “plan B”: “I knew this great song by Elliott Smith with the same title. We gave it a try and it worked beautifully.” The late singer/songwriter Elliott Smith released the song on his 2000 album, Figure 8.
Here’s the chosen song by Elliott Smith:
A more familiar artist whose music was used on this week’s episode was blues legend Howlin’ Wolf. For a steamy scene that featured (female) fan favorite Alcide (Joe Manganiello) shirtless and “getting it on” with fellow werewolf Rikki (Kelly Overton), Howlin’ Wolf’s “Smokestack Lightnin’” played in the background. Right after the scene, “Alcide” began trending on Twitter (it was a good week, social media-wise, for the show: “Hoyt” and “Godric,” also characters on the show, were trending during and after the episode as well).
Calamar tells CBS Local, “We tried a few things over the love scene, but when we cut in Howlin Wolf’s blues classic ‘Smokestack Lightning’ we all knew this was the one to capture the wild sexuality of Alcide and Rikki.” True Blood has previously used covers of Wolf’s “Howlin’ For My Baby” and “Evil” on the show. “Smokestack Lightnin’” is one of his most well known songs, and has been covered by The Yardbirds, The Animals and The Grateful Dead, among others.
When Stephen Moyer spends time listening to music, he likes raspy-voiced troubadours, genteel indie folkies, and bath-time anthems. What eclectic choices he has.
Now, don’t you want to load up your mp3 player with some of these lovely Stephen favorites? Click on the links below the descriptions to go to Amazon and get yours and create your Stephen Moyer playlist now.
Check out what True Blood’s Bill Compton likes to jam out to below:
STEPHEN MALKMUS AND THE JICKS “One of the things I always end up going back to is Pavement, ultimately, but more recently it’s been Stephen Malkmus and the Jicks, who are huge. I’ve followed Stephen Malkmus since Pavement was starting out. And you know, they weren’t massive in the U.K., but they were certainly present, and they were a huge influence on me at that time. And I love the new band. Their new album [Mirror Traffic] was produced by Beck.
I remember being at the Hollywood Bowl watching Pavement on their reunion tour, and Beck was sitting behind us. And I was like, ‘Why’s Beck here? There must be a link here,’ because we were surrounded by basically the band’s family. So I went home and obsessively Googled and then found that Beck was producing the new Jicks album, Mirror Traffic, from which I absolutely adore ‘Tigers.’ I like that album, but the one I keep going back to is Real Emotional Trash — especially its title track. It’s one of those ten- or eleven-minute long songs that’s perfect for those journeys to the grocery store. I like songs that fill the entire time [laughs]. So that’s my first choice, I’d say, also because it goes from slow to pure wigging out.”
TOM WAITS “He is my ultimate hero. I’ve actually walked up to him before this one time when I was in London. I literally dribbled in front of him, and he thought it was really sweet. I think he recognized me — I think the people he was with kind of let him know that I was from HBO or whatever — so I wasn’t just a dribbling fan, but a famous dribbling fan. Waits is one of those people that, on any given day, I’ll be obsessed with a given song.
The very first thing that turned me on to him was ‘Tango Till They’re Sore’ from Rain Dogs. I remember being at home, and I think I was about 14 or 15, and there it was. That song just literally changed how I saw music could be, from instead of just an entertainment you could play in the background to something you’re utterly immersed in. And then I just went and got every single thing of his that I could possibly buy.”
[When asked if he's seen Down by Law] Oh, I’ve seen everything. It’s funny, because he is the person who makes Dracula for me. That little tiny cameo is extraordinary. Also, I play very rudimentary piano, and there’s a couple of little Tom Waits-ian numbers that I always repeat because, you know, I haven’t got any imagination [laughs]. And, you know, Swordfish Trombone is that turning point in his career — that’s probably the album that I go back to the most out of everything I own. I saw him play London after he hadn’t played for like twenty years, and he came and did one night. It was just one of those amazing nights that I’m so pleased I managed to go to I paid a fortune for the ticket, and happily would have paid thousands more.”
MIDLAKE “I love the modern, new-wave folky song that’s around. That would be everybody from the Fleet Foxes to Mumford to Kurt Vile, Bon Iver. Huge fan of that sound. Like this early Midlake song, ‘Marion,’ that I really love. Ultimately for me, it comes down to vocals — all the vocalists from those bands I named have very plaintive-sounding vocals, and that song is just haunting.”
FLEET FOXES “Me and my kids, when that first Fleet Floxes album came out, literally learned the lyrics to ‘White Winter Hymnal’ within three listens. We’d drive along the countryside in England with the windows down — I bought a Land Rover so that the three of us, me and the two kids [son Billy, 11, and daughter Lilac, 10, from previous relationships], could all sit in the front in the bench seat — and we’d all be singing this a capella, harmonizing when the kids were like 6 and 8.”
TINY RUINS “There’s an English singer called Tiny Ruins with a song ‘Old as the Hills,’ and it’s again that sort of plaintive, slightly melancholic folky vocal – folky vocal, folky vocal [laughs] — that I absolutely love. It makes me sound like a rampant sentimentalist or some sort of poetic type, but I love it. That song is just this sweet, evocative, plaintive ballad, and it calls up the British countryside for me somehow. I don’t know what it is about it, but it comes on and I become English immediately — it’s England.”
ELBOW “Love them. It’s interesting, they’re very much old-dad rock. I only say that because they’re the same age as me, they’re late-thirties/early-forties, and they’re still making really interesting, melodic, complex three-minute rock songs. They have a particular song called ‘Starlings.’ It’s just this extraordinary, melodic, strange song. He kind of tries to get you to wander in, like he’s trying to reel you with this, like, xylophone or glockenspiel at the beginning. It makes you kind turn it up. Click here to buy on Amazon.
I always shove this song down peoples’ throats because I adore it so much, but I always have to warn them of this trumpet that blares in. Because you want to turn it up as loud as the stereo will go so that you can hear exactly what he’s doing in the beginning, but he wants you to do that, because the intent’s to blow your head off when the trumpet blares in as you get closer and closer. It’s like a kid with a foghorn running into a flock of starlings or seagulls, and watching them scatter. And it’s all about his love for this girl that he’s met at this store he goes into.
There’s one lyric I adore: ‘You are the only thing in any room that you’re ever in/I’m stubborn, selfish, and just too old.’ It’s just beautiful. And then he says ‘So yes, I guess I’m asking you/To back a horse that’s good for glue and nothing else/But find a man that’s truer than/Find a man that needs you more than I.’ I love it, it’s just so evocative. You need to listen to this song. F—ing brilliant.”
P.J. HARVEY “Someone who’s always with me is P.J. Harvey. Just fantastic. One of her songs that I just can’t stop listening to is ‘We Float’ from Stories From the City, Stories From the Sea. Ugh, it’s just f—ing great. There’s this sexy undercurrent of the album, which is basically set in New York. I think it’s a masterpiece, and that song particularly is always kind of going on in the back of my head.”
THE REAL TUESDAY WELD “And there’s this British dude called Stephen Coates. He’s a D.J. who goes by There’s a song by him called ‘Bath Time in Clarkenwell.’ It’s crazy, it sounds like a man singing underwater. It’s this hilarious, fun, brilliant, comedic, D.J.’d, mixed together track. It became a bathtime track for the kids to get them into the tub. When you listen to it, you just want to get in the bath. So it became a good way of getting them in [laughs]. It always works. And also the fact the band’s called the Real Tuesday Weld, you just can’t go wrong.”