Dean Winchester’s eclectic taste in music, as shown in his (non-classic rock/heavy metal) FBI aliases
My whole thought process here started today with the famous Aaron scene, and the alias Dean uses while he shows his badge to his “gay thing”.
Yes, Marc Bolan was an openly bisexual celebrity (referenced here by BEN EDLUND, similar to 10x22, where ANDREW DABB references Freddy Mercury - another bisexual man - as one of the other aliases Dean chooses for himself).
This is a telling reference in itself in the context of this scene, but as a huge T. Rex/Marc Bolan fan myself, this scene got me super excited also besides that. Like, super SUPER excited. Why, you ask?
BECAUSE IT MAKES TEXTUAL THE FACT THAT DEAN IS A GLAM ROCK FAN. Like, classic glam rock. Silk shirts, high heels, glitter eye-shadow glam-rock-fan. A one step away from David Bowie’s “Ziggy Stardust and the Spiders from Mars” glam-rock-fan.
He is a fan of THIS:
He is enough of a fan to take Marc Bolan’s name as his alias while he usually chooses aliases based on classic hard rock musician’s/heavy metal band members that he likes/identifies with.
OR DOES HE?
Out of curiosity (and procrastination, because of course I should be doing something else right now) I checked the list of the music aliases Dean uses over the years (I assume that these aliases are Dean’s ideas since he is the brother more interested in music, after all.) As a result, I spent a great evening with a whole spectrum of music genres, based on Dean Winchester’s amazing and broad AF music taste.
It’s true that most of the aliases Dean chooses are heavy metal and classic rock bands (Led Zeppelin, Black Sabbath, AC/DC, ZZ Top, Kiss, Ted Nudgent, Styx, Rush, Warrant, Poison, Guns and Roses…)(I don’t blame him, these are great bands).
MOST, BUT NOT ALL OF THEM.
There are exclusively six writers who gave Dean a much more eclectic taste in music during the last seven seasons:
and a writing duo Eric Charmelo & Nicole Snyder (season 10/11)
So, let’s look at what genres/bands broadens Dean’s iPod album collection, shall we?
1) 80′S HAIR METAL BANDS (GLAM METAL)
Yes, Dean was sneering at Vince Vincente and his spiked codpiece (and a rainbow wig that I am completely sure Dean imagined, because even google can’t find me one band who used that as a prop), but that was all Performing!Dean talking, obviously. How do we know? Because as far as real-life parallels to the fictional band Ladyheart go, this is what Dean hates so much:
Yes, Dean is completely disgusted by leather pants, huge wigs and studded codpieces, here visualized by
Mötley Crüe. Dean said so IN TEXT.
(I am pretty sure Ladyheart is supposed to be Mötley Crüe since their next album was to be named “Theatre of Mercy” - mirroring Mötley Crüe’s album “Theatre of Pain”. Also, “Rock Never Dies” was written by ROBERT BERENS, who named another one of his episodes “Girls, Girls, Girls” - after a Mötley Crüe song and album.)
And yet, in episode 8.02. “What’s up, Tiger Mommy?” (written by ANDREW DABB), Dean introduces himself and Sam as Agents Neil and Sixx, two members of MÖTLEY CRÜE. Which means Dean is a
fan, and he doesn’t seem to mind huge wigs and studded codpieces that much in their case. (Bam, LAWYERED!)
The name LADYHEART (called into existence by my above mentioned personal god Bobo Berens) reminds me of the British band LADYTRON (playing synth pop/new wave/electronic combo), and named after the super famous ROXY MUSIC synth pop/glam rock song.
So, yeah, Dean is a fan of studded codpieces, big wigs and hair metal. He is also a fan of a long list of different music genres (real Dean behind the cut):
2) 90′S GRUNGE
In episode 10x13 “Halt and Catch Fire” (written by ERIC CHARMELO & NICOLE SNYDER), Sam and Dean use aliases “Grohl and Cobain”, as in DAVE GROHL and KURT COBAIN from NIRVANA.
3) BRITISH 1970′S/1980′S PUNK ROCK
In episode 11x13 “Love Hurts” (also written by ERIC CHARMELO & NICOLE SNYDER) Dean uses alias “agent Weller”, as in PAUL WELLER from the classic British punk rock band THE JAM.
4) POWER POP
In episode 10x19 “The Werther Project” (written by ROBERT BERENS) Dean pretends to be a Neighbourhood Watch member by the name of Dwight Twilley.
DWIGHT TWILLEY is a power pop singer from the 1980s.
5) POP ROCK/ART POP/BLUES ROCK (with female vocals)
In episode 9x14 “Captives” (written by ROBERT BERENS), Sam and Dean take aliases of “agents Nicks and McVie”.
STEVIE NICKS and CHRISTINE MCVIE are members of the legendary soft rock/art pop/blues band FLEETWOOD MAC. THEY ARE ALSO BOTH FEMALES!!!
6) POST PUNK/INDIE ROCK (with female vocals)
In episode 10x14 “The Executioner’s Song” (written again by ROBERT BERENS) Sam and Dean take names “Moore and Ranaldo”.
THURSTON MOORE and LEE RANALDO are members of the legendary indie rock band SONIC YOUTH, with famous vocals of KIM GORDON.
7) PROGRESSIVE POP ROCK/SYNTH POP of 1970s/1980s
In episode 8x17 “Goodbye Stranger” (written by the one and only ROBBIE THOMPSON), Sam and Dean use names “agents Tandy and Lynne”.
RICHARD TANDY and JEFF LYNDE are members of ELECTRIC LIGHT ORCHESTRA, a band that combines pop-rock, synth pop, electronic music and elements of disco.
In the episode 5x14, “My Bloody Valentine” (written by BEN EDLUND), Dean uses names “agents Cliff and Marley”, as in JIMMY CLIFF and BOB MARLEY - famous reggae musicians.
9) FOLK ROCK
In episode 8x08, “Hunteri Heroici” (written by ANDREW DABB), Team Free Will pose as agents “Nash, Crosby, and Stills”.
DAVID CROSBY, STEPHEN STILLS, GRAHAM NASH (and occasionally NEIL YOUNG) were a folk-rock supergroup started in 1968.
10) COUNTRY ROCK/SOFT ROCK
In episode 11x04 “Baby” (written by ROBBIE THOMPSON), Dean uses name “agent Walsh” as in JOE WALSH from THE EAGLES, a soft rock band of “Hotel California” fame.
Dean’s taste in music, reflected here in the names of musicians he chooses as his personas, alongside his most favourite rockstars, shows how broad Dean is in his tastes - Dean practically is a fan of anything that sounds good to him, regardless of genre (as shown with his liking for Taylor Swift and Broadway musicals, for example). It’s a shame that this wonderful music taste is still hidden in the subtext, and all I can do is hope that our new Dean will be allowed to play some of his favourite bands in his car next season, especially since both Dabb and Berens seem to be the keepers of Dean’s super eclectic, infinite playlist. Please Dabb, make it happen!
On this day in music history: May 14, 1976 - “Fly Like An Eagle”, the ninth album by The Steve Miller Band is released. Produced by Steve Miller, it is recorded at CBS Studios in San Francisco, CA from Late 1975 - Early 1976. Recording with varying degrees of success since their debut album “Children Of The Future”, The Steve Miller Band finally have their major breakthrough in late 1973 with “The Joker”. Miller takes a nearly two year hiatus from recording after the departures of drummer John King and keyboardist Dick Thompson. They are replaced by Gary Mallaber who as both a drummer and keyboard player becomes a key member of the new line up. Before the sessions begin in late 1975, Steve Miller writes enough material for not one but two albums. Once in the studio, Miller, Mallaber and bassist Lonnie Turner are supported by John McFee (dobro), Les Dudek, Curley Cooke (guitar), Joachim Young (organ), Kenny Johnson (drums), Charles Calamise (bass), and Chicago blues legend James Cotton (harmonica). The sessions yield more than two dozen songs. Initially, Miller intends for them to be released as a double album, but is convinced by Capitol to choose the best twelve songs for a single LP, and save the rest. The title track “Fly Like A Eagle” (#2 Pop) is actually written years prior to the release of “The Joker” album. The song’s opening guitar riff has its origins in the song “My Dark Hour” from the “Brave New World” album, that also features Paul McCartney (credited as “Paul Ramon”) on bass, guitar and drums. Miller re-tools the song from how it was originally performed, giving it a more funky, syncopated feel, drawing inspiration from War’s “Slippin’ Into Darkness”. Once released, it quickly becomes the best selling studio album of Miller’s career. It spins off three singles including “Take The Money And Run” (#11 Pop) and “Rock'N Me” (#1 Pop). Though not issued as singles, the tracks “Serenade”, “Dance, Dance, Dance” and “Wild Mountain Honey” become rock radio staples and firm fan favorites. “Fly Like An Eagle” is remixed into quadraphonic stereo and is released on 8-Track tape. Also a favorite album of audiophiles, the original stereo mix is released as a half-speed mastered LP by Mobile Fidelity Sound Lab in 1979. Originally released on CD in 1987, it is remastered and reissued in 1999 on CD and limited edition vinyl. In 2001, DTS Entertainment issues a DVD-A disc featuring the original quadraphonic stereo mix. For its 30th anniversary in 2006, Capitol issues a newly remastered edition of “Eagle” with three additional live bonus tracks, and a bonus DVD with the contents of disc one in 5.1 surround sound. And in October of 2016, the album is released on vinyl again as part of an extensive reissue program, to celebrate the 75th anniversary of Capitol Records. “Fly Like An Eagle” peaks at number three on the Billboard Top 200, and is certified 4x Platinum in the US by the RIAA.