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The one hundred and thirteenth song: Wondrous Place - Billy Fury

Another British Elvis-inspired singer, Billy Fury sounds good on this, if a bit young. He apparently liked the sparse instrumentation, but it detracts from the music a bit for me, it doesn't really do as much for me.

The one hundred and fourteenth song: Save the Last Dance for Me - The Drifters

Back to more traditional pop, this song sounds good. It's partially an uplifting song, but with a sad note - especially with the history behind it (referencing to a wedding where one of the writers, the wheelchair bound groom, couldn't join the dancing). It has the right mix of emotions behind it, so much of it coming through in the song's vocals. It summons those emotions slightly, while still remaining upbeat enough.

The one hundred and fifteenth song: Chaje shukarije - Esma Redzepova

Peter introduced this as 'something completely different' - and it certainly is. It wouldn't quite feel out of place for Eurovision (not good enough to score high though). The Roma music feels traditional and even though it is mostly described as a lovesong, there is this different tone to it that would make you dance along and enjoy it. Her voice might not be the clearest, but it is right for the song.

The one hundred and sixteenth song: Oh Carolina - Folkes Brothers

And here we have our first reggae song. The quality of the song is sadly a bit off, which always influences things, and here it means the vocals are subdued, the drums a bit too tinny and the whole song sounding a bit different. It also, however, has something swingy while feeling a bit more subdued than previous Caribbean entries sometimes were (nothing wrong with either, but it's good to hear the variety). It drones a bit occasionally, but certainly has its good moments in the song.

The one hundred and seventeenth song: The Click Song (Qongqothwane) - Miriam Makeba

The name 'Click Song' feels condescending when reading about its origin - the English occupants couldn't pronounce the sound, so that's what they called it. The song's lyrics are simple (mostly about a beetle climbing up a road), but the happy song sounds lovely and upbeat, drawing you into the swing of it.

The one hundred and eighteenth song: Will You Love Me Tomorrow - The Shirelles

This is a slower, sweeter song, the sort of song that'd play at the high school dance that's the climax of a romantic comedy. The strings - which are a bit unexpected for it - elevate it a bit, making it sound a bit more special. The band sounds sweet, begging for love without going too far. It sounds good and plays nicely. There's something risky in the explicit lyrics - but then again, nothing that would shock us today.

The one hundred and nineteenth song: Love Hurts - The Everly Brothers

This song is as much a love song as the previus, but sounds so much sugary than the riskier Shirelles song. It might actually be a bit over the top for me, trying too hard to show how much their love for the girl hurts. They do well enough, vocally and musically, but it just doesn't work for me. Perhaps it's too old fashioned?

The one hundred and twentieth song: September Song - Ella Fitzgerald

It actually feels odd to see covers included by now. It's not a bad thing though, as Ella Fitzgerald makes this song her own, melancholy showing through, sounding perfect for September and the feeling that comes through as the days grow shorter. And the way it's just as much a love song, spending the autumn with someone else, are sweet and romantic. It's certainly more grown up than what we've heard before, and all the sweeter for it.

The one hundred and twenty-first song: Shakin’ All Over - Johnny Kidd & The Pirates

The second rock song of the year, and the first one that really feels it, with electric guitars, drums and a strong band behind it. There's something eerie about it, echoing the shaking when he sees a girl he likes. It still rocks away, and I can see live performances being more intense. It's a good sound.

The one hundred and twenty-second song: Non, je ne regrette rien - Edith Piaf

Probably the biggest song of the batch, Edith Piaf is a vocalist on her own level, with this song standing out to such a degree that it's difficult to compare it to others. As a chanson, it sounds absolutely amazing, the rolling r's lending to a feeling of triumph that comes through in every aspect of the song. A celebration of sorts, and one that's deserved.


The twenty-third comic: #437 The Incal

I'm not really sure where to go when describing the Incal. Sure, it's partially a drama comic, partially a sci-fi action strip, partially something more esoteric. It's a bit unfocused, a storyline that meanders a bit sometimes and that I'm not sure necessarily has a focus. It sounds like a consequence of the writing process, mostly done on the spur of the moment. The writer - film director Alejandro Jodorowsky - wrote by dictating to the artist, who interpreted it, dropped or changed phrases to suit the art.

It makes for a very art driven comic, and while the overall story makes sense, there are some sections that clearly go more for creating interesting images instead. The visual storytellng works, drawing you into the alien world where some sort of magic is real and strange things happen. It's an amazing read with some oddities in there.


The third album: #3 Elvis Presley - Elvis Presley

I've listened to a few Elvis singles for the songs list so far, and of course as an artist he has permeated culture to such an extent that I have heard many of his songs.

Starting off with Blue Suede Shoes, you immediately hear Elvis, although "I'm Counting on You" doesn't sound as much like a standard Elvis song, being slower and more blues-like than other songs. It's good, and performed better than I would have believed if you'd told me he had performed a song like this.

Most of these songs are covers, not all quite Elvis yet, but the best is shown when the music goes for the swing and he can use his trademark effects. Held back he sounds good enough, but there isn't the frenzy you quite expect and want from him - what he does best.

In that sense, it's like a first album. A bit shaky when it tries to figure out what it should be, but when it's there, it really hits.


The nineteenth TV show: #191 An American Family

Apologies - this has been a bit of a slog. We'd call this a reality show these days, but back in the day - this was filmed in 1971 - this was a documentary, an overview of the life of this family through nearly a year. It might sound like the Kardashians, but no, as a PBS show this had to be serious. And some interesting things happened - most notably, the parents went through a divorce during this year, which wasn't solely caused by the filming (any references are actually really circumspect), but there's an underlying tension that means the filming might have had an influence. It is, in fact, interesting to see that even in what feels like the first reality show of its kind, people are so aware of the camera and at least some of them are put on their best behaviour.

The hour long length of the shows isn't the only thing that's off putting. We're used to a bunch of reality show tricks these days that are missing here, including things that other documentaries would have done at the time. There are virtually no voice overs, except for a few moments at the start of each episode. That wouldn't have mattered much if there were good throughlines or stories, but as the show is mostly a bunch of unconnected scenes with only the loosest of threads, it's unclear at times what's happening. Not helping here is that they can't get the sound right, which means that a bunch of key scenes are covered by music playing through them, so that the things that seem interesting just can't be understood.

Then again, just as often it doesn't come off as well. It is said that this series was an example of how family members - like so many families - partially live past each other. A lot of the scenes show the parents and siblings talk at, rather than with each other, focused on their own problems while not necessarily listening to the others. The divorce certainly shows how the parents haven't communicated well, with the father away too often. The mother is in the middle of this all, but even then she doesn't always seem focused on the problem. The oldest son is in New York, living on his mother's dime. Seeing the mother and oldest son in New York together - one of the few focused, and because of it most succesful episodes - shows how they don't get each other. Lance plays it up to the camera, wanting to tell his story, but the mother Pat doesn't seem to quite get it either.

The family stated that a lot of this was caused by the editing and the film makers. I'm sure that's true - documentaries and all tv are filtered through that lens. But even if mostly fabricated and statements that were put out of context, the product creates a series with people that aren't as likeable, often filmed in a way that makes it incomprehensible, with kids that we once described as seeming vacuous and sheltered from the world. A few episodes might have given the right insight, but this many didn't do it, and the lack of context made a lot of it incomprehensible.


The twenty-second comic: #618 Ghost World

Ghost World is listed as a 'Teen' comic in the book, and it feels like it's mostly slice of life here. It is the story of a friendship, and how it ends after high school ends and they go their own ways.

Most of it is simple, these two semi-outsiders hanging around their home town, interacting with the odder residents and dealing with situations that come up. The teens have a dark outlook on the world, vaguely goth-like and above it all. At the same time, they make mistakes and the comic doesn't shy away from that either.

It's a simple, but relatable story for the most part and it's a light enough read for a while.


The twenty-first comic: #124 Alix

The basic description of Alix - an adventure comic set in Roman times - sounds good. Some historic references, a more serious story than something like Asterix, but something interesting and colourful. Unfortunately, it doesn't quite work out that way.

Alix is set up as a flawless character. Strong, smart, a good fighter, athletic and able to get out of any situation. If he gets captured, it isn't for long, and most problems arise from him being too trusting. There's no flaws, no internal conflicts and nothing stays bad for long. It's boring, with a lot of repetition between album storylines and no real interesting places it goes.

What doesn't help is a bit of a "show, don't tell" feeling I got from some of them. A few times too often, we get told what people feel or what happens. Sometimes this is duplicate in images, sometimes it would have felt more effective if given an extra panel to show it - either way, it feels unnecessary and lazy here. Sorry, it never quite worked for me.


The one hundred and sixth song: Brand New Cadillac- Vince Taylor & His Playboys

Rockabilly comes to the UK. Where rock and roll in the country was defined by Cliff Richard early, Vince Taylor brought a more Elvis-like sound in. Strong guitar solos add to a dark, slightly soul-like voice that sounds decidedly non-British - taking off in a brand new cadillac doesn't sound quite right. Sounds good.

The one hundred and seventh song: What'd I Say (Parts 1 & 2)- Ray Charles

Speaking of soul, here's one of the real originators. Interesting experience aside (the song was improvised when Ray Charles has some time to fill at the end of a concert), there is a progression from a simple instrumental song, but then pulls in vocals and builds on the different elements - it seems like there are even more and more instruments joining in as the song continues. It's certainly the looseness the song seems to have (even though they had played it several times by now) that add to the song, it adds an in the moment feeling that is about feeling good for sure.

The one hundred and eighth song: I Only Have Eyes For You- The Flamingos

To remind us that there was more than just rock and roll, here's some doo wop in a ballad about love. The group is described as elegant and sophisticated - that's certainly what the song sounds like. Not just polished or smooth, it sounds very aware and in control of itself. It's dreamy and evokes the love song atmosphere well.

The one hundred and ninth song: Ne me quitte pas- Jacques Brel

I probably heard this song in Dutch as often as I've heard it in French. There's a tenderness to the song, coming from the desperation. It's not about love, it's about being abandoned by his lover. Sure, the song goes big sometimes, but it's the small moments that make the song and tell the message. It keeps you close and that's what pulls you in, the sound of string instruments creating a similar sad feeling. The Dutch version adds urgency, goes bigger (and faster, due to the differences in language). A captivating song.

The one hundred and tenth song: Shout (Parts 1 & 2)- The Isley Brothers

So that song is called 'Shout' - the first bars brought to mind what it was. A happy, poppy song (quite a constrast) Shout does have a tendency to get stuck in your head, and even more gets used for the happy 'here we go' moments in movies. It's energetic and would have gotten people dancing (today is not the day for dancing for me though) and sets the right mood.

The one hundred and eleventh song: Mack the Knife- Bobby Darin

Shades of Sinatra, Mack the Knife features good vocals in a big band production. Despite the feel good tune, it's a song about a criminal and murderer. You need to pay attention to notice it, but it's there. Beyond that, it's swingy - working for the rock and roll crowd while also appealing to a larger audience. Listening to the opera version, Bobby Darin's cover adds swinginess, something you can listen to more for leisure, without quite losing the uncomfortable undertones.

The one hundred and twelfth song: It Ain’t Necessarily So- Diahann Carroll & The Andre Previn Trio

Coming to a jazzier song, this is again adapted from an opera song (the jazziness added for the later release). It originally is a song by a drug dealer questioning the bible, something that comes through in the lyrics here. The vocals from Diahann Carroll add to this,, sounding mocking and questioning throughout. It sounds amazing.


The second album: #2 The Louvin Brothers - Tragic Songs of Life

What else do I need to say with a title like that? These are genuinely tragic songs, slow country music with sad lyrics.Even something like 'All Smiles Tonight' is more about being happy for a night than actually feeling good - more putting on a brave face than anything - and "Let Her Go, God Bless Her" may sound jollier, but seems to be about a break up as well.

One song was written by the brothers themselves - Alabama - which does feel like a personal tribute to their home state, even if it still has the sense of longing in there.

I can certainly appreciate the craftmanship - these are good ballads and the brothers have great voices. Obviously not a lot of production yet, but it works.


The eighteenth TV show: #326 Cheers

Here's a show we fell in love with. We didn't binge our twenty episodes in a day (despite the appearance of publishing dates) - A Warning to the Curious was delayed so we could watch it with others - although we well could have. While we were expecting to like it, we were expecting something a bit more stale. Not so - although the show has its date references, watching the show makes you feel right at home, and the first scenes made us love it. Jumping around a bit, the changes seemed memorable, but we soon said we just had to watch the whole thing. And yeah, we'll continue to do so.

The characters are good, with great performances and people you'll take to straight away. But most important, it does feel like a place where everybody knows your name, and where you feel comfortable because of it.


The seventeenth TV show: #188 A Warning to the Curious

A quick intrusion. One of BBC's Ghost Stories for Christmas, this tells the story of a man who looks for a crown that, while it's hidden, prevents England from harm. It gets found and spooky things start happening.

It's not a story that feels scary now. Vaguely spooky and uncomfortable, but it didn't make us feel that tense or scared. Sure, it's partially because it's a bright but chilly April day outside, but even then I suspect it wouldn't have been the scariest.

With that said, the performances are good and carry over the feeling well. I'm just not sure it's as much of an event show as it feels it should have been.