The six hundred and thirty-first album: #631 Sonic Youth - Daydream Nation
Sonic Youth's double album feels like it's a bit much - while I enjoy punk, the noise rock is a bit too overpowering and, considering the long length of the album, too frequent to not become off-putting. Even just halfway through, it feels like it's shown its ideas and is doing more with its existing sound, which is fine, but little more.
The two hundred and thirty-second classical recording: #412 Antonin Dvorak - Slavonic Dances
There's something really good and upbeat about these pieces, based a lot on more upbeat dances. Played with high energy and keeping the energy, it feels like a bigger production of these traditional music styles. It's fun to listen to and for the most part you can see how these could be danced to - it does drag you in like that.
The two hundred and twenty-sixth TV show: #24 The Adventures of Robin Hood
The adventure stories of the fifties give you what you expect. Some action - usually fairly mild as there aren't major stunt teams - and a lot of standing around and talking. There are plentyof bards to give diegetic music and the story stays fairly clean. It's fine, but not as action-filled as you'd want from these stories, while the stories are mixed to simple - or, like the episode I'm writing this to, spending a lot of time on the technicalities of archery, clearly from someone having focused their research on it.
The one hundred and twenty-ninth book: #1020 A Christmas Carol - Charles Dickens
The Muppets Christmas Carol is a regular Christmas movie with the in-laws, so I've seen it plenty of times now. One of the brilliant parts of it is how it uses so much of the book's original dialogue and text, but still makes it feel accessible. The book is suited for it - it's pretty short, especially for Dickens' usually work - and the dialogue is kept simple for the time. Add to that the strong visual descriptions, where the ghosts in particular are well described. It's sentimental, of course, but it's a really good, readable book.
The six hundred and thirtieth album: #630 Morrissey - Viva Hate
The dark sound of a lot of the music on Viva Hate contrasts with Morrissey's clear voice, a baritone sound he can play with a lot and feels lighter because of the slower, deliberate pacing of the music. It's thoughtful music, which really helps leave its best impression.
The nine hundred and twenty-seventh song: Fuck Me Pumps - Amy Winehouse
The jazzy sound of this track shows a good combination of production and vocals. The music is straight forward, in a way that really works, and Amy Winehouse vocals' are clear even though her style of singing does sound that bit drunk. What really stands out are the lyrics, a humorous take on a specific type of girl going out, and they are incredibly engaging to listen to here.
The nine hundred and twenty-eighth song: Strict Machine - Goldfrapp
The heavy electronic beat that underlies the disco beat adds gravity to what would otherwise sound like a light but abstract song that has a darker undertone - although it's about lab mice, it's hard to get some clear meaning out of the track. It's intriguing this way, though, and a really good listen.
The nine hundred and twenty-ninth song: Step into My Office, Baby - Belle & Sebastian
This is a nice poppy song, not far removed from the sound of the Beach Boys with its harmonies and lighter sounds, with production that tells a story of its own as the music goes through a few moments. It feels like a throwback to earlier songs, but in a way that works in the modern world as well - in part due to some heavy innuendo.
The nine hundred and thirtieth song: Run - Snow Patrol
The dark introduction of this song continues to allow for the chorus to break through into a more jubilant sound, starting with the words "Light up, light up" - a musical metaphor supporting the lyrics in a place where I feel ready to sing along. The contrasts are its strengths, the light not quite pulling out of the darkness, but the brightness gets me to sing along each time.
The nine hundred and thirty-first song: Maps - Yeah Yeah Yeahs
Maps isn't that complicated, there's not a huge history, but it's just a strong indie rock song, dark guitars and drums surrounding lighter love song vocals.
The nine hundred and thirty-second song: Toxic - Britney Spears
One of the leaders of pop in these years, Britney Spears' Toxic shows why - it's well produced, with some good vocals, a sultry delivery that adds to the heavily sexualized story of the song, while the violin flourishes are used well to build a sound that doesn't quite fit what you expect from these pop songs. It's big and bold and it works.
The nine hundred and thirty-third song: Destroy Rock N’ Roll - Mylo
There's a lot of boldness in an electronic song - probably more associated with the devilish side of things at this point than rock & roll - sampling a preacher's sermon against rock music. Even more that its samples focus on the long list of artists named in the speech, which creates more of a love song to these artists than a condemnation, even more with the repeated mispronounced names. It's surprisingly strong, even if the concept stays weird.
The nine hundred and thirty-fourth song: Mr. Brightside - The Killers
There's something anthem-like in the lyrics of this, even if a lot of it isn't. The visual language coming from the jealous lyrics are strong, a position you can really feel yourself in, and it's that dark feeling combined with the heavy rock track that works, a weird optimistic facade that is far too easy to pierce. It's so attractive it keeps connecting - weirdly timeless in what it does.
The nine hundred and thirty-fifth song: Televators - The Mars Volta
I don't think I'd come across Mars Volta before, but this track does have me convinced - the dark sound and harmonies creating such a sad feeling it sets up everything well. It's beautiful in how it's put together, with other influences working just as strongly with this composition. It's bizarre at times, but it works.
The nine hundred and thirty-sixth song: Through The Wire - Kanye West
It's odd to have a song about a car accident, jaw surgery and all that involves - and not something you'd expect from the modern Kanye West (or what moniker he goes by now). It's a decent rap track, but not the direction that works for me - the lyrics are more interesting than the music here.
The nine hundred and thirty-seventh song: 7 Nation Army - The White Stripes
This is a track where there's a lot of depth in simplicity - the music is sparse, the lyrics simple but it all creates a clear, strong song with an incredibly engaging riff that suits the message and theming of the song and lyrics.
The nine hundred and thirty-eighth song: Fix Up, Look Sharp - Dizzee Rascal
Dizzee Rascal's sound has always felt a bit unique, a clear throwback to an earlier direction I've come across before. It doesn't feel like it fits the way he's trying to be serious in his lyrics, but his identity is clearly through this song. The heavy drum beat adds to the aggression of the song. On the whole the hooks work, but I don't think the combination ultimately works for me.
The nine hundred and thirty-ninth song: Crazy in Love - Beyonce
Beyonce's solo debut album is topped by this single, her first collaboration with Jay-Z, a power couple that has persisted for a long time. I'm not sure the rap verse works best here, but her polished vocals and the dance beat of this track work well to create a perfectly polished R&B track that would start a massive legacy.
The six hundred and twenty-ninth album: #629 American Music Club - California
As an indie rock album, this one is gentle and it ended up as good music, something to suit a grey, cloudy day. The album starts maudlin, but it's beautiful, engaging and transferring its emotions really well. There are some harder tracks, but it's not the focus, and they're more a short change of pace to reset for a bit.
The two hundred and thirty-first classical recording: #256 Franz Schubert - Piano Sonata in A Major, D959
The intricacies of this sonata is what shows how good of a composer Schubert is. One of his last, it has a maturity of melody, with a number of themes interweaving without overwhelming. It's peaceful and intriguing, with a variation that still integrates well with all the different parts.
The one hundred and twenty-sixth book: #95 Lost Illusions - Honore De Balzac
It's rare I get this frustrated with one of the protagonists of a book, but Lost Illusions was frustrating to read - even if it stayed compelling enough to keep going. Between the two protagonists, David - printer and inventory - is too trustful, getting swindled and taken advantage of by several people. It's the more compelling story, helped by real details that set the tone a lot better. The most painful abuse of his good nature is that of his friend Lucien, an unsuccessful poet who we see move between patrons. Seeing the starry-eyed belief that he can make it without any real effort put in is tricky enough, but the middle part of the book that focuses on him feels vacuous enough. When he makes things worse for David, we see him run away (eventually making up for it in a slightly odd sequel hook), but it's only once he's gone that the story can resolve for David and work. It's a troubling book to read, but I think I got enough out of it in the end to keep going. Just be ready.
The one hundred and twenty-seventh book: #1022 The Purloined Letter - Edgar Allen Poe
As one of the two short stories by Poe I'll be covering in the next few days, this holds interest as what it presages. Our unnamed narrator is the companion of a brilliant detective, making leaps of logic that solve the case and make sense to a point. It's a short version of the Sherlock Holmes narrative and an interesting early version of the detective mysteries that works well, taking its time with some humour as well. It's a story that does what it wants to do well, and you can see how well the formula later stories build on work.
The one hundred and twenty-eighth book: #96 The Pit and the Pendulum - Edgar Allen Poe
The other short story is more unique, an exercise in writing style and creating an oppressive atmosphere. The story of a man tortured by the inquisition, with several death traps in his cell, is short, as unclear about its surroundings as the narrator is in the cell, and the more optimistic ending that I suppose happens feels unnecessary in context, but is such a footnote that it barely matters. The setting of the scene, the tone, it all just works brilliantly to arrive at its endings.
The six hundred and twenty eighth album: #628 k.d. lang - Shadowland
The country stylings of k.d. lang are uncomplicated, often feeling quite classically arranged while her strong voice adds a gentleness to the tracks. They're emotional and feel true, which makes for a great country album - the type of country and blues I feel drawn to.
The nine hundred and nineteenth song: Like I Love You - Justin Timberlake
It's odd to think that Justin Timberlake wasn't the musical giant he is now. This is his debut solo single and it feels like it sets the tone with a grown-up R&B sound that feels like a classic straight away. It's focused and takes its influences without copying anything - modern enough, but with a feeling that calls back to earlier times too. It's a strong song, with Timberlake's vocals really pushing it further to the top.
The nine hundred and twentieth song: You Know You’re Right - Nirvana
A long term posthumous release with a history that's interesting in itself, Nirvana's grunge is out of time for the era, but works in a way that's rotated back with a darkness that appeals again. It's Nirvana as you'd expect it, at their best vocally, and it still has a raw appeal.
The nine hundred and twenty-first song: All the Things She Said - T.A.T.U.
There's two sides to discuss about this song. The lyrics, meaning and controversy are clear, a lesbian song from an area of the world where even now that's not accepted. It makes it feel like the biggest thing in the world, the panic and confusion becoming clear in the music. It's a strong performance, produced to be engaging, worming its way into your brain with the panic the song brings. It's a a strong showing that is still as impactful.
The nine hundred and twenty-second song: Untitled - Interpol
We go back to some lower energy again with a track that brings that downbeat, post-punk vibe that feels laden with depression and sadness rather than anger. The vocals are that down, but even the oppressive guitars contribute to that darker sound. It sets a mood - and seems to have been intended as a concert opener - and sells that well.
The nine hundred and twenty-third song: Slob - Weezer
There's a lot in this track that appeals to me. The indie rock sound, with its accusing town, works well and the admonishments work in a context here. It feels short while strong with everything it does with the music. It's just been really enjoyable.
The nine hundred and twenty-fourth song: Strange and Beautiful (I’ll Put a Spell on You) - Aqualung
After all the singer songwriters I've covered from earlier years, I feel like this is the era where they really work for me more than anything. This is a sensitive, simple ballad, built up just enough to work while not overdoing it. It's still a bit more than a man and a guitar, but instead it feels perfectly balanced in everything it does, which also feels like it feeds into the themes of the song. It's a real highlight of this session.
The nine hundred and twenty-fifth song: Quelqu’un m’a dit - Carla Bruni
It's lovely to hear a modern chanson as well. We're far enough in time that the tempo of it feels more modern and upbeat, but the classic feeling is there, the subdued delivery and sweet sound. Bruni's voice helps by being a lot sweeter and engaging, and rather than having to belt her lyrics, she keeps them small throughout the track, which helps create the intimate feelings that elevate the song.
The nine hundred and twenty-sixth song: Heartbeats - The Knife
We're ending with something electronic, another welcome change in sounds. The electronic beat is varied enough that we've clearly moved away from pure dance music when we talk about electronic, but the highlight really comes in when the vocals start, a stark, Bjork-like sound that adds a distinctive sound that manages to take focus from the rest of the song almost by how relatively sparse it is. It's not something you expect, but it works so well here.