Liner Notes
Notes for the songs included in my Camsher mix were requested by a few so here is my thinking.
Almost Lover:
Cameron, regarding House. For six years they were not in a relationship. They went on a few dates, they shared one on-screen kiss, she professed her feelings a number of times, and it was strongly suggested, but never overtly confirmed (or denied), they'd slept together. She left three times: in the first season, in the third season, and finally, for good (we assume), in the sixth season. Each time she stated her case, said good bye, and then waited for a response that never came. He was silent and she left.
Papillon:
Sherlock. He's manic-depressive, or close enough.
Moonlight Sonata:
First, I love this piece of music greatly (just because everyone knows it doesn’t mean it is not brilliant). Second, music is so important to both Sherlock and House I had to include instrumentals. It is meant to set a mood of melancholy and introspection, but this is not a sad piece, merely reflective.
Hated Because of Great Qualities:
I adore the title. Sherlock, and House, get away with being disagreeable know-it-alls because they do, in fact, tend to know it all. People put up with it. And not just the people who love them, like Cameron and Watson, but the people who want to hit them more often or not, like the staff at Princeton-Plainsboro and the entirety of Scotland Yard. But putting up with does not equate to adoring or even, really, admiring. They are hated for it as much as they are accepted for it.
But the lyrics are about this:
House: Figures you'd try and come up with a solution where no one gets hurt. The problem is, the world doesn't work that way just 'cause you want it to.
Cameron: Figures you'd stall and refuse to deal with the issue. Problem is, the world doesn't go away just because you want it to.
Also "you were sorry that I was alone/so sorry that you run away" is something House would post to his Facebook just to mess with Cameron’s head. Just saying.
Late Night, Maudlin Street:
This song is so oddly perfect while being about something else entirely. There is a story behind it and it is not this story but somehow it all fits in.
This song is for both Cameron and Sherlock. It’s a song about motion, about growing up and/or moving on. It touches on their relationships. Cameron’s to House and Chase; Sherlock’s to Irene; and in moving forward, Sherlock’s to Watson, and both to each other.
It is also worth noting this song is desperately British.
Building a Mystery:
I could have used every lyric in the song as the teaser bit. Even the religious aspects work -- House calls Cameron "the most naive atheist" he's met. But my favourite line is "Oh you're a beautiful/a beautiful fucked up man". Cameron is drawn to fucked up men just as surely as Sherlock is drawn to mysteries.
This song lends its title to needmoredata's fanfic which has inspired me to use the mix as a promptlist for a set of stories.
Rabbit Heart/If I Had a Heart:
These two songs go together. Two hearts too timid. Waiting and weighing. Cameron has more momentum because she has taken her first step (she left NJ and everyone there). But Sherlock is in a safer place.
Also, the refrain in If I Had a Heart "If I had a voice I would sing" echoes back to Late Night, Maudlin Street "wherever you are I hope you’re singing now". If that song is step one, here is step two.
Damaged:
I use this song's lyrics in my user info; it has been a "Cameron Song" for a long while. House calls both Cameron and himself "damaged" in season one of the series. She is only more so now.
The Scientist:
An over-used song, but too fitting to leave off. It’s a Sherlock song -- 'if I can't pick it apart I don't want to deal with it'. But it is especially good for this couple because, in a sense, Cameron is going back to the start: she is attracted to Sherlock because he reminds her of House, because he has those same qualities that drew her in in the first place...
Wise Up:
...which is why it's dangerous.
This is also the more depressive side to Papillon's manic side.
Waiting on an Angel:
Every mix needs one "what if it just all worked out" song. This may seem an odd choice for that, but I think it fits the mood.
Never Trust a Burning Thing:
But this is far more likely. No mere human can stand in a fire and not be consumed. But if Cameron wanted a stable relationship she would have been happy with Chase (regardless of how it ended, she was never happy with Chase). And Sherlock doesn’t want anything so boring as stable.
I Will Wait for You:
Important instrumentals again, and violin. There is something very ruminative to this piece despite its urgency. It's beautiful. Let your mind wander.
Almost Lover:
Cameron, regarding House. For six years they were not in a relationship. They went on a few dates, they shared one on-screen kiss, she professed her feelings a number of times, and it was strongly suggested, but never overtly confirmed (or denied), they'd slept together. She left three times: in the first season, in the third season, and finally, for good (we assume), in the sixth season. Each time she stated her case, said good bye, and then waited for a response that never came. He was silent and she left.
Papillon:
Sherlock. He's manic-depressive, or close enough.
Moonlight Sonata:
First, I love this piece of music greatly (just because everyone knows it doesn’t mean it is not brilliant). Second, music is so important to both Sherlock and House I had to include instrumentals. It is meant to set a mood of melancholy and introspection, but this is not a sad piece, merely reflective.
Hated Because of Great Qualities:
I adore the title. Sherlock, and House, get away with being disagreeable know-it-alls because they do, in fact, tend to know it all. People put up with it. And not just the people who love them, like Cameron and Watson, but the people who want to hit them more often or not, like the staff at Princeton-Plainsboro and the entirety of Scotland Yard. But putting up with does not equate to adoring or even, really, admiring. They are hated for it as much as they are accepted for it.
But the lyrics are about this:
House: Figures you'd try and come up with a solution where no one gets hurt. The problem is, the world doesn't work that way just 'cause you want it to.
Cameron: Figures you'd stall and refuse to deal with the issue. Problem is, the world doesn't go away just because you want it to.
Also "you were sorry that I was alone/so sorry that you run away" is something House would post to his Facebook just to mess with Cameron’s head. Just saying.
Late Night, Maudlin Street:
This song is so oddly perfect while being about something else entirely. There is a story behind it and it is not this story but somehow it all fits in.
This song is for both Cameron and Sherlock. It’s a song about motion, about growing up and/or moving on. It touches on their relationships. Cameron’s to House and Chase; Sherlock’s to Irene; and in moving forward, Sherlock’s to Watson, and both to each other.
It is also worth noting this song is desperately British.
Building a Mystery:
I could have used every lyric in the song as the teaser bit. Even the religious aspects work -- House calls Cameron "the most naive atheist" he's met. But my favourite line is "Oh you're a beautiful/a beautiful fucked up man". Cameron is drawn to fucked up men just as surely as Sherlock is drawn to mysteries.
This song lends its title to needmoredata's fanfic which has inspired me to use the mix as a promptlist for a set of stories.
Rabbit Heart/If I Had a Heart:
These two songs go together. Two hearts too timid. Waiting and weighing. Cameron has more momentum because she has taken her first step (she left NJ and everyone there). But Sherlock is in a safer place.
Also, the refrain in If I Had a Heart "If I had a voice I would sing" echoes back to Late Night, Maudlin Street "wherever you are I hope you’re singing now". If that song is step one, here is step two.
Damaged:
I use this song's lyrics in my user info; it has been a "Cameron Song" for a long while. House calls both Cameron and himself "damaged" in season one of the series. She is only more so now.
The Scientist:
An over-used song, but too fitting to leave off. It’s a Sherlock song -- 'if I can't pick it apart I don't want to deal with it'. But it is especially good for this couple because, in a sense, Cameron is going back to the start: she is attracted to Sherlock because he reminds her of House, because he has those same qualities that drew her in in the first place...
Wise Up:
...which is why it's dangerous.
This is also the more depressive side to Papillon's manic side.
Waiting on an Angel:
Every mix needs one "what if it just all worked out" song. This may seem an odd choice for that, but I think it fits the mood.
Never Trust a Burning Thing:
But this is far more likely. No mere human can stand in a fire and not be consumed. But if Cameron wanted a stable relationship she would have been happy with Chase (regardless of how it ended, she was never happy with Chase). And Sherlock doesn’t want anything so boring as stable.
I Will Wait for You:
Important instrumentals again, and violin. There is something very ruminative to this piece despite its urgency. It's beautiful. Let your mind wander.