The Music of True Blood, Episode 2.4: Junior Walker's Sexy "Fingerpop" and the Mysterious "Dig"
Alan Ball was known for his masterful use of music in Six Feet Under. He's lost none of his touch when it comes to his current HBO series, True Blood - which happens to be set in the Louisiana swamps, not terribly far from Houston. With Season 2 just completed, Rocks Off is now working our way backwards through the episodes we missed as HBO begins reruns. Episode 2.4, "Shake and Fingerpop" Airs 8 p.m. Tuesday, September 22, on HBO Signature
For the first time since beginning Rocks Off's True Blood recaps, we are a little dissapointed. Even though every episode of True Blood is named after a song featured in the episode, that's not always what we consider the featured song. Usually whatever plays over the end credits gets our attention, since it's usually the musical exclamation point on the plot. However, no amount of research has been able to track down any real information on the song or artist involved with a song called "Dig." What little we've been able to uncover is that Bruno Coon, True Blood's music director, wrote the lyrics on the track, but there is little to no information available for the credited artist Headbone or Bubba Kendall (who is apparently featured). Any info on this track to adequately fill out our little vampire music project would be appreciated.
So we'll go with the title track, "Shake and Fingerpop," ye olde Motown hit by Junior Walker and the All Stars. Junior was a sax player born in the 1930s who went on to Hitsville with tracks like "Come and See Me" and "How Sweet it is (To be Loved by You)" until his death by cancer in 1995. "Shake and Fingerpop" is one of the minor sex euphenism songs. It's fun to fuck to, but lacks the double entend-reality of, say, "Little Red Corvette" by Prince. It serves as a great party track, though, as main antagonist Maryann throws the first of her orgy-tastic parties in Sookie's house during our heroine's sojourn to Dallas. Ultimately, though, the soundtrack of the episode is devoid of good stories or even the usual irony that makes the vampure audioscape so lush. To make up for it, here's the title track featuring puppets.
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