The fifty-fifth TV show: #823 RuPaul's Drag Race
My LGBT colleagues have been into Drag Race a lot recently and their obsession made me want to watch it. Of course, with it being on the list, it might not have come up a lot... so I spent half an hour trying to find the strip so we could watch it.
Peter wasn't sure - not being into drag - and so this was almost trying to win him over. He loved it and that suited me, as I have been gettin ginto the show a lot more than I expected.
For full disclosure - we watched the fifth season (described by my local experts as the best) and the first (so we could continue watching everything else). The distinction is clear, with more entertainment challenges in the later scenes and loads more polish. But what it shows most of all is that this is a type of performance that requires a lot of different skills - both make up, styling and couture, as well as performance through dancing, lip syncs and comedy. I think personally I go slightly more for performance over looks, but the best ones are those who develop a style in both - one with enough flexibility to vary both, but enough to stand out.
Beyond that, it's just incredibly entertaining. Especially when there's just enough drama, just enough style, just enough everything. There are times when it feels incredibly edited, but it also has moments where it feels real (and where they later confirmed the moments were). On the whole, it's entertaining - both because we see accomplished, experienced entertainers at work who have to show a wide variety of skills and because there is so much going on that's set up to create fun and drama, while the circumstances allows them to have more of this happen as well.
I'm looking forward to our next season.
The sixty-second album: #62 Fred Neil - Fred Neil
I don't think I quite got folk music. It really feels like my parents' music - or mostly my father, in my case. It has a dated feel to it and it takes some time to get past that. Bob Dylan manages to do that with some evocative lyrics (though it may be a bit much to describe him as purely a folk rock musician) and later fine experiments, but Fred Neil doesn't do it quite as well. While there are certainly some interesting sounds in here, for a large part they feel like basic country . The lyrics, when they're present, don't do much for me and on the whole it didn't get me, where other albums do so from the start.
It's not that the lyrics are bad, but musically they simply don't inspire me. Case in point is the big song from the album, Everybody's Talking. Sure, it sounds fine, with a decent message, but it just never manages to grab me and make me interested. A bunch of the vocal stuff he does - mumblng at times, a weird vibrato at others, also feel weirdly affected, unnecessary and to me a bit off putting. I guess it's his style, but then it's a style I don't care for. It's a shame, but on the whole this feels lacklustre compared to what I want.
The sixty-first album: #61 The Beach Boys - Pet Sounds
In an era with famous albums, here is the Beach Boys' peak (or so I understand) and hence one of the best on its own terms. It is as experimental as the earlier Revolver, but with a more consistent sound. It feels more like variations on a basic sound - quite major variations, but it doesn't jump as much as Revolver. On the whole, that's to its benefits, it feels like a true album rather than a compliation of songs, where the whole still retains theme while each song can have its own identity.
The Beach Boys are incredibly strong vocally and that shows up in most of these songs. Not just the harmonies, but also the individual Wilson songs like Don't Talk (Put Your Head On My Shoulders). The Wall of Sound influences are just as strong, but what is important here is how it never drowns the vocals, but supports them far better than I feel I get from Phil Spector's works. It's not as afraid to pull back. For the instrumental tracks, you get a similar impact - they aren't brash, stand on their own, but you can feel where the lyrics would slot in. It's mostly very atmospheric.
God Only Knows starts the second half and is just as memorable, just sounding right. After that, I'm not sure the second half of the album holds up to the first half quite as well. Not that the songs are bad, just that it feels like some of them aren't quite there for me. As we saw that Beach Boys Today had a similar split, I wonder whether that was intentional to some point, creating two halves where this sadder part doesn't connect with me quite as well.
It's difficult to see quite where this fit in in the music of the time, or what I've heard of it, being a mix of genres, but what's clear is that future musicians were as influenced by it, and it feels like it sets up a lot of future pop songs. It led, for example, to Sgt Pepper, and I wonder whether it can quite live up.
The twenty-third classical recording: #358 Camillle Saint-Saens - Introduction and Rondo Capriccioso
By usually going in blind, I always wonder what's next for me. This is a piece written for a violin solo, the orchestra supporting it and at times you'd be forgiven for thinking that it was just the violin. It starts with an introduction that's just the violin, with the remainder adding body in places but never overpowering it. The tempo changes do well to evoke the rushed and calmer emotions in places. It's mostly a very exciting, energetic piece that really gives a pleasant push.
The sixtieth album: #60 The Beatles - Revolver
I took a trip towards pop music as well, which today served me another Beatles album. For me, it doesn't really start until Eleanor Rigby - while Taxman sounds fine, Harrison's writing feels like it is a few years behind Lennon and McCartney. The tonal shift is so great, and for the better, and the placement of Taxman feels like they mostly just want to get it out of the way. Harrison redeems himselt with Love You ~To, adding to the sheer variety on the album.
The flipside of this is that there's isn't much cohesion - Here There and Everywhere, a sweet ballad, is followed by the famous, happier Yellow Submarine. They don't feel like they go together, but it does show the versatility that's there and is so impressive about it.
The thirty-fourth comic: #532 JoJo's Bizarre Adventure
Going through a bunch of manga, JoJo's Bizarre Adventure is one of the famous, long running series. Running for thirty years, it follows members of the family of Joestars, who all possess certain mystical powers, and have to fight certain villains.
Each character gets a section of the story, with the previous sometimes making appearances as side characters - if they survive. There's still always a main JoJo, and what has been interesting is how their stories have differed. The first is straight-laced, the good boy who can't keep up with the perfect adopted son. The second and third are more callous, but on different levels - they are quite different characters still. They grow throughout, learning to control their powers - although again, this feels like they do it on different levels. And that's what is interesting: the adventures for all of them are quite different from each other.
The downside is that the battles can feel disjointed and, in places, with too many fakeouts and new powers introduced out of nowhere - and so often it doesn't need to matter. I guess it's a staple for the genre, but I didn't care too much and it seemed unnecessary.
Also, I'm not sure what's so bizarre about the adventure.
Even so, it looks good and it's a really compelling story.
The fifty-fourth TV show: #291 Tinker Tailor Soldier Spy
Usually when you talk about spy stories, you think about James Bond. Action, explosions and excitement. Even less ostentatious series focus on that angle.
Of course, real spy work doesn't work that way - it would be way too visible and unnecessarily complex, and I'm sure that once we get to shows like The Americans, we'll see a more realistic approach.
When Tinker Tailor Soldier Spy starts, it has some actions elements. Fifteen minutes in, however, the character set up as the main character (if you go in blind, not knowing Alec Guinness is the lead) is killed in a big action scene and we go to focus on George Smiley, Alec Guinness's character, as he tries to find out who the Soviet mole is in the British intelligence agency.
This is the point where I, of course, have to remind myself this was during the height of the cold war, where so much more espionage was necessary, and I was reminded to read up on number stations as an example of something that focused so much on the era.
This is all done through conversation, mind tricks and investigation. no action, but a lot of older white British men sitting around trying to work this out. Sad, perhaps, but of its time. The way it approaches it becomes quite interesting - some of the early episodes sag a bit, with a lot of names being mentioned and facts thrown out as it narrows down a bit. Once they can zoom in on the specifics, however, it becomes an engaging watch. It definately relies on your keeping up with the story, but can be quite rewarding once you do.
I can't see this being made the same way even now - I suspect the movie has its differences there - but the deliberate pace works well to show how the process works and create a slightly more tense atmosphere. Often not much music is used, relying just on the sounds of the environment. A decent setup for a mini series, though not without its flaws.
The fifty-eighth album: #58 Bob Dylan - Highway 61 Revisited
Bob Dylan's blues has become a welcome companion on this list, a rocky but gentler sound that takes you into its world. Bob Dylan's lyrics stay as biting and complex as ever, but here the music has taken a step up too, creating more of a mood. Like A Rolling Stone is the obvious example of that, but Balld of a Thin Man's shrill organ creates a creepy vibe that really enhances the songs far more.
The songs, then, remain interesting, and the evolution notable. And as much as later singer songwriters seem inspired by him, at the moment he seems unique as well, something enhanced by the rock influences he's building on in this album.
The fifty-ninth album: #59 The Who - My Generation
There are more ballady numbers on here than I'd expect considering the sound and reputation of this album's titular tracks. They are still supported by some loud guitars, but there are real gradations to the aggression in the songs on this album. I don't think I mind that - La-La-La-Lies has a great melody that's lovely to listen to. To prove who they are, the harmonies aren't always as clear as bands thriving on it, and it sounds quite different from the Beatles, even if you can hear the common ground at times.
By the time My Generation comes around, you are primed for different styles, but it still comes off more aggressive and there's a certain infectious, clear energy in it that drives it forward. We've discussed it for the songs list before, but it still stands out here. The other famous song, The Kids Are Alright are closer to the more standard rock sound of the time, more impressive in the way the harmonies and songs work out. On the whole, there's a huge variation of songs, from what feels mainstream to what would have been harsh. There's no full identity, beyond the screaming guitars that tend to stay around. It's what makes this interesting - a debut mostly to show the different things the band can do.
The fifty-seventh album: #57 The Byrds - Mr Tambourine Man
There's something really pleasant about this album. It's folk rock, with songs written by Bob Dylan but a fuller sound to the songs, the instruments added more rhythm to it. At the same time, the arrangements aren't as complex as, for example, I'm getting used to from the Beatles. The Byrds are in a good middleground, with lyrics that feel smarter but songs that are enjoyable to listen to. That's the crux of it, really. The songs are happy and upbeat and made me feel good, even if they're a bit sadder. It works well.
The fifty-sixth album: #56 Bert Jansch - Bert Jansch
This mostly comes down to a nice folk album, deeper than so many other songs, but back to a focus on normal life rather than the more biting lyrics of Bob Dylan. It's gentle, with some impressive guitar play, and perfect on a stressful day like the one I'm writing this on.
I needed some time to get into this and really have it come through, but the more I do, the more it makes that relaxing. The more I hae a change, the more the lyrics sink in. It's a lovely sound that connected the moment I let it.
The fifty-third TV show: #803 Fringe
Like Eureka, we'd been eyeing Fringe as a potential show for a while. Created by JJ Abrams after his Lost success, this is listed as a X-Files based show, though developing in a different direction - something that's up our alley. The show starts off with a bunch of monster/sci fi premises of the week, with some ongoing storylines but not a very visible meta plot. They aren't the best and I admit we skipped ahead to episode 10, where they realised they needed to improve these aspects.
What starts developing is a mythos that thrives on mystery, a plot that starts to involve parallel worlds and other concepts like it. It's driven by a bunch of interesting characters, with plenty of in-built conflict but also one where the like and dislike developes naturally as the plot progresses. The Bishops - the two non-FBI agents, father and son, who serve as the scientific advisors of the fringe division, alternate between being helpful with the plot, providing drama and providing comic relief, played well throughout with plenty of nuances to reinforce their decades long difficulties.
As I'm going to keep watching, I haven't spoiled myself on the ending, but so far, the mysteries have been intriguing. I would have hoped for some more answers, but it feels like there's a solid idea here that has had plenty of time to grow. We've only really scratched the surface of it, which is what makes it more intriguing.