The Message In The Song

One of my biggest failing of Season 3 (so far!) is that I’ve not found time to study the music in each episode as much as I’ve wanted. The music and lyrics in Chuck are just too important to be ignored. Lucky for me one of my favorite commentors – you know her as Faith – won’t let me get away with that!

With thanks, a guest post from Faith.

– joe

I’m sure we’re all agreed on this one pure fact: Chuck has good music. The words may not always be a window into the scene but it often tells a deeper story. And in most cases, it’s a story we don’t want to hear.

TPTB has a tendency to be far more real and in your face with their music than with the script itself but it is essential to the completeness of the story. The emotional punch of “Skinny Love,” the tongue in cheek-ness of “Do You Believe in Love,” the vulgar truth of “Keep Yourself Warm,” and the romantic plea of “Christmas Song.” All these serve a purpose and each of these purposes give the script and the story depth and meaning. In this post I’ll examine four specific songs (no, sorry not those mentioned*) and what they could mean for Chuck and thereby Chuck and Sarah’s future.

The season started off (at least what I consider to be the start lol) with Imogene Heap’s “Wait it Out.”

Upon inspection the lyrics, much like previous Chuck songs, has in it a strong and essential message:

Where do we go from here?
How do we carry on?
I can’t get beyond the questions.
Clambering for the scraps
In the shatter of us collapsed.
That cuts me with every could-have-been.

Pain on pain on play, repeating
With the backup makeshift life in waiting.

Everybody says: “Time heals everything.”
But what of the wretched hollow?
The endless in-between?
Are we just going to wait it out?

This is a message. A message of loss, of devastation and the question that requires no answer: “are we just going to wait it out?” The scene is set, Chuck and Sarah are in an emotive “will you run away with me?” scene, where we learn hearts are broken and dreams dashed. The music tells us this, the music expands on this. It foreshadows a future where “I can’t get beyond the questions,” Sarah couldn’t understand why Chuck wasn’t kissing her the way she expected, she couldn’t understand why he’s saying no to her very generous offer. All she can feel is the “wretched hollow and the endless in between.”

But the message is not just for Sarah, it’s for the fans as well. They acknowledge that this scene and these events are going to be upsetting and devastating (if not as much for us as it is for Sarah) and it’s their way of saying, “wait it out.” I found these lines to be most curious:

Are we just going to wait it out?

And sit here cold?
We’ll be long gone by then.

They know they’ll probably lose viewers and that the events succeeding this one will create chaos and “wretched hollow” but again the message, “For all we could and should be being. In the one life that we’ve got.” They know they’re on borrowed time and this is their plea to the fans and viewers to let the story be told and “wait it out.”

Minutes later we get Frightened Rabbit’s “My Backwards Walk.” Now this song needs no explanation with relation to the scene:

I’m working on drawing a straight line
and i’ll draw until i get one right
it’s bold and dark girl, can’t you see
I done drawn a line between you and me

We know now what they were preparing us for. It’s utter devastation, and it won’t stop here. Chuck turns down Sarah and it’s a plea from Sarah to Chuck, “Say Yes, before I change my mind” and for Chuck to Sarah, “it’s bold and dark girl, can’t you see I done drawn a line between you and me.” It’s a message of love and loss. When we love we hurt and that’s what’s happening here and what the song builds on. Chuck is going on a dark path and Sarah is pleading for him to stay with her, stay as the man she fell in love with.

For the fans it’s a declaration of the direction the show will be taking. They’re basically saying what you believed before will no longer be the truth, and that the characters and the story will be taking a “backwards walk:”

I’m working on my faults and cracks
filling in the blanks and gaps
and when i write them out they don’t make sense
I need you to pencil in the rest

They’re again pleading for us that what will be might not make sense, and that it’s going to lead us penciling in the rest, mostly incorrectly but there will be gaps and blanks, even metaphorical ones. But it’s a story they had to tell. It’s a direction and a “backwards walk” they needed to take. And with “wait it out” in mind, it’s a variation on the same message.

A couple of episodes later we get “Living a Lie” by Daniel Zott at the infamous, “friends” scene in Angel de la Muerte. Now it’s easy enough to see that although the words are spoken, and spoken NOT at the fountain, it’s a lie but it’s even deeper than that:

when I wake up with the morning light I can always breathe
somehow that never has meant much to me
and I can’t say i am thankful for the things I have
I’m a hell of a guy
living a hell of a lie

and if I gave it all way I’d expect something back
I’m never sure that I could tell you where my heart is at

These lines are the paint to the story’s canvas. Chuck is living a lie now. He’s given everything he had away and in essence so has Sarah, though in different ways. When once life was easy, and free, now it’s not and it’s more than just the lie they live, it’s the “never sure” aspect of that life and lie. The stakes are higher and the things that once gave comfort now restricts. The feelings that bubbled over and were once universal truths are now mired in lies and untruths. “Being friends” is so far beyond from where they are it’s almost a pun. Because these two can and will never be just “friends.”

The fans are to read into this scene what they may. The words probably should be taken at face value but the lyrics and the facial expressions suggest a truth contrary to the lie. The season builds onto this one concept: living a lie.

Finally comes Franz Ferdinand’s “Can’t Stop Feeling,” in Mask.

Soul boy, down and alone
And his soul is broken again
But you can’t stop moving
No you won’t stop moving along

Soul starts spinning again
I can’t stop feeling
No, I don’t stop feeling
And the word’s not ‘us’ anymore
I can’t stop feeling
No, I won’t stop feeling

By this time we know by now that whatever feeling they may have takes the back-burner to the spy situation, “the world is not ‘us’ anymore”. And we’re given a sliver of hope for the upcoming “moving on” speech: a message that says, “I can’t stop feeling.” It’s interesting that this specific song was playing as they enter the mission. It’s followed by the “jealous” speech and which in itself built on the “I can’t stop feeling” message. The scene is set and the players in position, Chuck with Hannah and Shaw with Sarah but through it all we’re reminded that “no, I won’t stop feeling.”

So what do these songs tell us about Chuck and Sarah’s future? That it will require some leap of faith for us to “wait it out.” That they will be taking a “backwards walk” and that they are “living a lie.” But through it all one essential truth remains: “can’t stop feeling” and that for the shippers is the carrot to the stick 🙂 I’m beyond interested in what songs they’ll use in the future. They’ve yet to channel the poignant fan favorite: Bon Iver and have yet to explore the depths of the National. But if and when they do, the fans will be listening, for more than just the tune.

-ChuckNewbie8 aka Jem

*I still don’t quite know what Skinny Love means, so I purposely didn’t explore that one lol.


About Faith

Eternally faith-ful at least as it relates to my beloved Los Angeles Lakers. Yes that's where the username comes from. Other than that self-professed Chuckaholic, Laker blogger and part time internet addict. Ok, full time.
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65 Responses to The Message In The Song

  1. Ernie Davis says:

    End of Nacho Sampler.

    Bye Bye to that too good to be true kind of love…

    Just a thought.

    • Faith says:

      Good song Ernie. And yes even that has a message. The idea is that the fairy tale love of “nerd gets the girl” has passed, it’s now something entirely different if not more real. The feelings are still there like I said, they’ve gone so far as to emphasize that several times but it’s a deeper, far more dark and realistic and painful kind of love. Definitely not the “too good to be true” kind.

  2. Ernie Davis says:

    End of Mask:

    Astair you’re there and I’m still here
    I swear I’m so confused
    The signs you wear are making me
    Feel like I’m the one to lose

    Full lyrics are even more interesting.

    And if you’re leaving well come
    Give me reason why I let you down
    Before you turn around now, now

    Find them here.

  3. Jen says:

    The music us one of my favorite aspects if Chuck n I love how it’s woven into the story. I’ve even gone to see Bon Iver live n got the albums after I heard them in the show. The National is amazing too.

    I’m glad u bring out this analysis of “wait it out” n “backwards walk”. They perfectly describe the C/S relationship now. If we pay attention to them we’ll see that we were already told what would happen, but also that theive us still there.

    The dark is lasting a long time now, I really want it to be over. Hopefully we’ll have some sings of love recovered soon n see C n s happy.

    Thanks Jem!

    • Jen says:

      I meant to say “If we pay attention to them we’ll see that we were already told what would happen, but also that the love is still there.”

      I don’t recommend n iPhone for posting comments =P

    • Faith says:

      You’re welcome 🙂

      Yeah I thought it was especially powerful because it was in the first epi and it really sets the tone. If you notice from that moment on (including one of my favs this year in 3 words) they didn’t have as much songs with meanings. In fact they tended to go for the score when Chuck and Sarah have a conversation. On the off chance that they have a song, the song really has a punch.

      Too bad you can’t listen to the songs on the iphone. Boo wordpress lol. But yeah I listen to these songs every where I go so it really sticks with me.

      • Jen says:

        It’s ok, I know the songs cause I have the albums. I’m a music junkie 🙂 I love it, I buy it, I listen to it, n I love to talk about it.

        I do remember feeling the sadness of the songs in Pink Slip. The songs are powerful, of the real pain love can cause, so it’s like u said: all is more real now, the relationp IS there, so there is pain until things get sorted out.
        I thought that sadness would end w the ending in angel de la muerte (the nice family dinner n exchanged looks n smiles), it’s just gotten deeper all through Mask because of the lack of C n S interaction n OOCness. I’m hopeful of what’s coming next, after 3.08 🙂

  4. lizjames says:

    Beautiful post, Faith. Lovely.

    But the only song that really broke through for me this year was Bears, which they played at the end of Awesome. Here’s how it goes:

    I want to live in a house
    surrounded by snow and bears and wood and stars.
    And all along the front of this stage
    there will be fairy lights, as bright as any city night.
    I was lost in the night time. How am I a stranger to you when we’re friends?
    I am young and I’ve made awful mistakes.
    You are older and you’d do the same.

    This dashboard is staying cold.
    I’m so scared of the truth and automatic doors.
    I’m proud of this map I’ve drawn.
    These paper lines with red pins on.
    We’re going to tell it just how it is.
    We’re not comfortable. We’re unhappy here.

    I’m pretty sure it was meant to convey that Chuck and Sarah weren’t quite right yet, despite the happy scene at the dinner table.

    But I’m a lot older than Chuck and Sarah and this thought has been haunting me: What happens when you’re old and you kept making the same awful mistakes?

    • Jen says:

      “we are uncomfortable. We are not happy here” this line describes them well at the time.

      Making mistakes is human, but to keep making the same mistake is dumb. The PLI game n non-communication needs to stop.

      The dinner is at the end of awesome! I was so sleepy last night I could not remember that!

    • ChuckNewbie8 says:

      Thanks! I knew those years of fine tooth combing Shakespeare was good for something haha.

      As for what does it mean? I’m thinking it just means a shorter lifespan of regret. When you’re young and you keep on making the same mistakes you have time to change your ways and longer time to dwell on not having changed it. When you’re older it becomes one of those, it is what it is situations lol.

  5. JC says:

    Saw this, might give us a hint about the tone of next couple episodes.

    • joe says:

      I saw a link to a form where Tim Jones was soliciting suggestion for music to be on a Chuck CD. He send me back a very nice note thanking me for the suggestion. – not an auto-reply. I was impressed.

      Oh, when they become available, he said he would send me info on the CD. I will, of course, pass that on.

    • Mischeivous says:

      Hey all!

      I just wanted to specifically point out the track Chuck – 314_Jetplane. If I’m right about the numbering system this refers to a track from season 3 episode 14. If so the tone of the cover they use, and the lyrics, point to good things if used over a C/S moment.

    • Jen says:

      No 3.08 music on the site 😦 could they be leaving it out on purpose?

  6. lizjames says:

    It’s a 1960s John Denver tune, although this is a cover. It’s come to mean any departure from a loved one. But if you listen to lyrics, it’s obviously from one lover to another.

    And now you know how old I am. This was a big song when I was a teenager…

    • Marvin says:

      Something important about that song is the POV of the character, While it is a man singing on this cover, he’s using the POV of the woman “I’ll wear your wedding ring” as sung by Peter, Paul and Mary, instead of the POV of the man “I’ll bring your wedding ring” as written (and sung) by John Denver.

      It gives whole new meaning to the conflict in the song.

      This is apparently used in 314 “Chuck vs The Honeymooners” so it gives some interesting vibes…

      • lizjames says:

        Well, I find the whole thing interesting because we know e14 is on a train. Moreover, from the French spoilers, we know it ends with Chuck, Sarah and Morgan in a hottub back at the apartment.

        So it might NOT be about Chuck and Sarah at all. It might be the parallel arc of Ellie going to Africa. And do we actually know if it’s just Ellie going to Africa or is Awesome going with her?

    • lizjames says:

      Bit more on Jetplane. It was a big hit for Peter, Paul and Mary, but it was covered by EVERYONE of note at the time.

      Here’s a nearly contemporary version of it with Peter Paul and Mary singing WITH John Denver:

      The problem with it is that Jetplane is usually used when someone SAYS they are coming back, but circumstances show that they don’t ever expect to come back. Of course, that was THEN, this is now…

      I’ll just jazzed that you guys can find a new song from MY era rather than me learning about all these new bands. And who knows. Maybe I WILL get Patti LaBelle’s “If Only You Knew…” for Chuck and Sarah at some point. )

    • joe says:

      I heard the track at Tim Jones’ site after midnight last night and was just too tired to comment. But I had dreams because of that song. I’m amazed to see all the comments about it this morning!

      Liz – for you. I was one of those guys with the acoustic guitar who would use that song (and others like it) to woo the girls in high school (okay, stop laughing, everybody!)

      Thought it was one of those things where you just had to be there.
      Apparently not.

      • lizjames says:

        Then this one is for you, especially tonight… From Carry On….

        Where are you going now my love?
        Where will you be tomorrow?
        Will you bring me happiness?
        Will you bring me sorrow?
        Oh, the questions of a thousand dreams
        What you do and what you see
        Lover can you talk to me?

      • joe says:

        You just hit me where I live, Liz!

        I left a comment on Tim Jones’ blog noting how the evocative power of music seems to grow over time. And I *still* understated it. 🙂

      • lizjames says:

        That’s WAY TOO TRUE for people of our generation. I can’t speak for any others, but I suspect it’s true.

        Which is why I’m so angry that we have never seen the rehersal dinner and its aftermath from Colonel. (Although we MAY see it this year, you never know.)

        In my mind (and, yes, sorry, Ernie, here I am writing my own story…) Chuck and Sarah dance to Patti LaBelle’s If Only You Knew. I just can’t imagine there is a better song for them. Or at least “them” as we knew them at the end of Colonel.

        I must have rehearsed my lines
        A thousand times
        Until I had them memorized
        But when I get up the nerve
        To tell you, the words
        Just never seem to come out right

        If only you knew
        How much I do
        Do love you
        If only you knew
        How much I do
        Do need you

        I dream of moments we share
        But you’re not there
        I’m living in a fantasy
        ‘Cause you don’t even suspect
        Could prob’ly care less
        About the changes I’ve been going through

      • Ernie Davis says:

        Liz, I have no problem with writing the story, I do it myself. My coping mechanism is to try to forget what I wrote when watching and take what they are presenting at face value rather than unintentionally limit the story based on where I think it should go. I can often re-contextualize later and see the point they are trying to make. It has made this season a lot easier to enjoy.

        But you are right…so many missed opportunities are so long gone now.

      • Jason says:

        ernie – yep – I think I agree 100% with each sentence you wrote there

      • joe says:

        Now it’s my turn.
        The song I heard during the end of The Mask when Chuck & Sarah were talking about Shaw & Hannah was a Croce tune from 1972.

        These Dreams

        Once we were lovers
        But somehow things have changed
        Now we’re just lonely people
        Trying to forget each other’s names
        Now we’re just lonely people
        Trying to forget each other’s names

        What came between us?
        Maybe we were just too young to know
        But now and then
        I feel the same,
        And sometimes at night I think
        I hear you calling my name
        Mm, mm, these dreams
        Keep me going these days

      • lizjames says:

        Well, you know my feelings about Mask. If it is ONLY what we saw, it’s a terrible episode. And NOT because of the last 10 minutes. They’re going to have to explain to me how Chuck and Sarah were estatic to be together when they dispatched Shaw and then squabbling second later.

        It looks now like the BIG reveals about this season, including the romantic ones, won’t come tonight, but in episodes 9-11. But we sure don’t have all the facts.

        As for Croce, such a talent. And dead at 31. Like so many of our generation–Hendrix, Lennon and on and on–so many great lyrics and so many great melodies were never created. So many of our generation’s best and brightest cut down (or cut themselves down) before their prime.

      • Ernie Davis says:

        Liz, I agree, it took a bit of effort to be generous and accept 3.07 as presented. I’m hoping the payoff is worth it.

        My older sisters were big Croce fans when I was growing up. I remember so much of the music you and Joe are talking about as part of my pre-teen years and liked so much of it that looking at my vinyl collection (yes, I still play actual records on occasion) you’d think I was about a decade older.

      • lizjames says:

        Who says I accept Mask at face value? 🙂 I do not.

        I may have been wrong about who’s zooming who–it may have been Chuck and Sarah conning each other–but I take NOTHING at face value this year. The reveals are going to be IMMENSE. That won’t make me feel better about the storyline or the storytelling, but I do know we don’t know half of the truth about what we’ve already seen.

      • Ernie Davis says:

        Liz, I didn’t assume you ever did. In fact I don’t really take it at face value either. I’m just about sure we’ll find out about Shaw’s hidden agenda soon. I was just referring to my own coping mechanism. Even being generous and allowing for some impact from the rushed production and limited budget it seems a poorly executed episode

      • lizjames says:

        Just got back from a long road trip with a long plane ride to think about this (among other things, of course…)

        I think the quality of Season 3’s storytelling almost totally rests on the Hannah reveal (or non-reveal). If she is a civilian, then these guys (and Adler) are just lost as storytellers.

        Hannah as a civilian is disastrous. It means Chuck has UNLEARNED the lesson he learned in Season 1 with Lou: That spies can’t mix with civilians. Worse, if he only learns that lesson again AFTER Hannah, it means, no matter what he says or they claim, Chuck ends up “settling” for Sarah as the least-worst option.

        If Hannah is a player (even if it’s only for Buy More or Orion), then you can see the duality of Chuck and Sarah’s decisions. And you can see that Season 3 is a skewed retelling of Season 2. And that would make some kind of sense.

      • weaselone says:

        Liz, I have to repeat something that I find myself posting quite frequently to the NBC boards. Sarah is always Chuck’s first choice. He settles for brunettes. Chuck makes it very clear Hannah is a second stringer when he grants Sarah a veto over the relationship at the end of 3.07. No man grants their ex that power unless they want the ex more than the new woman.

      • Waverly says:

        Liz, I think the damage to Chuck’s character w.r.t Hannah has already been done, because we don’t have any evidence that Chuck knows that Hannah isn’t a civilian, and yet he’s pursuing a relationship with her anyway.

      • weaselone says:

        I’m also not certain that this was the lesson Chuck learned from the situation with Lou. Most of the problems stemmed from Lou having a shady ex, not Chuck being involved in the spy world. If Lou’s previous boyfriend had been some random guy from the Large Mart as opposed to the son of a shipping magnate smuggling Bryce Larkin for Fulcrum the end would have come not from conflicts with the spy world, but as a result of the kiss he shared with Sarah at the end of the episode.

      • Ernie Davis says:

        Liz, Weaselone, I kind of come down somewhere in the middle. I do think Hannah will be a spy (Never trust a woman whose name is a palindrome.) but I think it would be sloppy storytelling if she wasn’t and Chuck had to break it off because he couldn’t be honest and date a civilian. Even though we know Sarah is always the first choice it would make it seem as if Chuck returns to her by default. Last episode, even though we know Sarah isn’t the caricature who falls for every guy she works with it seemed a lot more plausible due to some sloppy storytelling IMHO.

      • Jason says:

        what if hannah is a civilian and chuck just breaks up with her mid / end 3.8 – he tells her he does not love her – it won’t work out – implies or says he loves someone else???? Isn’t that the most obvious way it is a choice, if hannah is a spy, then chuck did not choose, the hannah spy chooses for him – or am i mssin somethin???

      • ChuckNewbie8 says:

        Music transcends all generation. Although I only know that song from John Denver it’s still as poignant and meaningful as it is when it was first composed. 🙂

  7. Waverly says:

    One that really caught my ear and eye was at the end of First Class: L’Amoureuse by Carla Bruni. I had never heard any of her songs before, but this one was delightful.

    As Chuck is sitting dejectedly at the Nerd Herd booth, looking at the Eiffel Tower (keychain) in his hand, the camera reveals Hannah walking in. At that moment, the song goes:

    Je suis l’amoureuse, je suis ton amoureuse
    Et je chante pour toi la seule de toutes les choses
    Qui vaille d’être là, qui vaille d’être là.

    I am the lover, I am your lover
    and I sing for you that one thing
    that ought to be there, that ought to be there.

    I hope I translated that with the right connotations.

  8. ReadySet says:

    Reading this fascinating thread, I couldn’t help but notice the dichotomy of the two generations of Chuck fans. Those of us who see them as our kids who we root for and are protective of and those of us who can envision themselves as Chuck and Sarah because they are of their generation.

    By and large, the music of Chuck has been of the current generation (I’d never heard of The Shins, Bon Iver, Blitzen Trapper, Cassettes Won’t Listen, etc).

    So here’s a challenge for the end of the season, assuming any of us oldersters will still care: Redub Chuck with music from OUR generation, i.e., the 60s and 70s.

    What song would substitute for A Comet Arrives in the pilot? What would substitute for Freeze and Explode in Suburbs? What songs would substitute for the three brilliantly used Bon Iver songs, etc.

    Could be interesting…

    • joe says:

      What a fun challenge!

    • Mischeivous says:

      Such a great idea!

      Although I’m part of this generation I really do prefer the songs of old to a good majority of what we’re told is music today. I can’t wait to see and listen to the songs people suggest! Who knows, I might even be able to offer up a suggestion or two.

  9. ReadySet says:

    Could we start with Papa Was a Rolling Stone as a substitute for Blood Bank?

  10. ReadySet says:

    OOOOOHHHHH, I hadn’t thought of it as a substitute for Furr by Blitzen Trapper, but you’re right. It works MUCH better for Jack Burton than as a replacement for Blood Bank, the Bon Iver thing they played for Papa B’s introduction.

    Meanwhile, I’m torn (because this is more fun than looking at demos today…) about the replacement for Creature Fear. An EASY choice would be Long and Winding Road. But there is a Ray Charles song called Just Because that would also be perfect if edited right. You can listen here:

    • joe says:

      How about this little known song by The Association?

      Stay by me and tell me how my kiss can cause a change in you.
      Send out your thoughts on love in tender phrases proven true

      We found what seems to be
      A love that will always be
      The kind of thing that makes the rest of life seem to be
      Standing still

      • ReadySet says:

        We could also go with Let My Love Open the Door by The Who.

        And for Papa B as a replacement for Blood Bank: Nowhere Man by the Beatles…

        We may have to stop before we find a place for Build Me Up Buttercup…

      • joe says:

        Listening to your Ray Charles now. Wow! Never heard it before, and I really like it!

        Build me up, Buttercup! 15 yard penalty! Loss of down! The quarterback is sacked!

        One more – When Sarah cartwheels into the Buy More in Chuck’s fantasy vision – Stevie Wonder’s 1973 Golden Lady. Note the verse about hands!

        Added: Hey, wait! Does Nowhere Man work better for Stephen or for – Bryce?

    • ReadySet says:

      That Association tune is superlative. Could work. The Ray Charles thing IS amazing, isn’t it. Never been covered by anyone else, to my knowledge. Do not know why.

      Nowhere Man would work for Bryce, but I don’t think he ever got a song. Orion had it at the opening of Dream Job.

      As for Build Me Up Buttercup, well, some of those near-bubble-gum stuff from our childhood is just fun!

      Skinny Love and A Comet Appears would be the toughest, I think. A Comet Appears, especially. It is still the single best moment musically of the series. The entire show is there–once you realize the song was talking about Sarah AS WELL AS Chuck.

      Golden Lady is good. Now we have to replace that Conchords thing in First Date.

      • joe says:

        I know what you mean. It’s hard now for me to want to replace Skinny Love and Creature Fear and A Comet Appears (and Christmas TV!) with anything, really.

        As for Bryce, I was thinking that Band of Horses No One’s Gonna Love You More Than I Do was his theme. But it’s played when both he and Chuck are calling Sarah at the same time, so it is ambiguous at best.

        I’ll have to look up that Conchords tune now!

  11. ReadySet says:

    I think I got one as a replacement for Skinny Love. The tone is different and the approach is not quite the same, but the overall sentiment would work: Love is a Battlefield by Pat Benatar. Alternately: Court and Spark by Joni Mitchell

    • joe says:

      M., Wow! It’s been a long time since I thought about the Joni Mitchell song. The whole album was great.

      The mood of that cut is absolutely perfect for a fountain scene.

      His eyes were the color of the sand
      And the sea
      And the more he talked to me
      The more he reached me
      But I couldn’t let go of L.A.
      City of the fallen angels

  12. ReadySet says:

    Actually, this week, playing a lot of the music of our time. I think if Chuck were done in our musical style, you’d have a lot of Crosby Stills Nash (Carry On, 49 ByeByes, Helplessly Hoping, Sute Judy Blue Eyes), Dylan and Joni Mitchell as background music…

    And on Court and Spark, Car on a Hill would also fit in somewhere.

    • ReadySet says:

      And, actually Joe, on Court and Spark, I was thinking more of these verses:

      It seemed like he read my mind
      He saw me mistrusting him
      And still acting kind
      He saw how I worried sometimes
      I worry sometimes

      I cleared myself
      I sacrificed my blues
      And you could complete me
      Id complete you

  13. ReadySet says:

    OMIGOD, JOE, LOOK AT THIS. From Everybody I Love You. If THIS doesn’t fit as a Chuck/Sarah song–it’s even got Strahovski’s “eye acting” covered–I don’t know what does…

    Know you got to run
    Know you got to hide
    Still there is a great life
    Engrained deep within your eyes
    Open up, open up
    Baby let me in
    You expect for me to love you
    When you hate yourself my friend la la la …

    Everybody I love you
    Everybody I do
    (oh yeah)
    Though your heart is in anger
    I need your love to get through
    (oh yea, I really do now)
    When I tell you I love you
    (when I tell you)
    You can believe that it’s true
    (oh yes it is)

    Everybody I love you
    Everybody I do
    (oh, yes I really do now…)

    • joe says:

      Oh yeah. The lyrics fit. (joe does an elbow strike in agreement.)

      But what about the mood of the music? What scene would you attach this to, ReadySet?

      I’m so amused that so much of CSN(&Y) fit this show. I just would not have expected that. 😉

      • ReadySet says:

        Joe, it could work several places. In my mind, CSN=Bon Iver. I think the difference in SOUND is a reflection of the era. But the lyrical intentions of CSN is very much reflected in Bon Iver a generation later…

  14. Anonymous says:

    arkadaşlar bu 3. sezonun 12.bölümünde sarah ve chuck konuşurken (shaw ı kurtardıktan sonra) bir parça çalıoyr ismini bilen var mı

    • joe says:

      Well this is fascinating! This came from a Dutch IP, but seems to be in Turkish. I tried the free translation at, and got this:

      The friends are 3. The season 12. Sarah at your section and chuck (konusurken) after shaw rescues (i) a piece (calioyr) does ismini get sharpened

      …which looks legit, but garbled, of course. I think it should translate something like “The friendship between Chuck and Sarah is strengthened after Shaw [either is rescued or rescues them] in 3.12.”

      Any help you can give is appreciated, Anonymous!

  15. Petr says:

    Please can I ask for the name and interpret of the song? The song plays in Chuck 03×05 The first class. In the scene, when Chuck has to stay in the plane and says bye to Hannah. Then he looks at the Paris from the plane window. I never found this one. Thx

    • Faith says:

      It’s an original composition by Tim Jones. He was working on releasing an album of some of the score he composed for Chuck, but since getting the Human Target job he’s been quite busy. You can find his other works in his site at JonesTimJones(dot)com

  16. Pingback: Message in a Song (Part 3) | Chuck This

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