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.

The fifty-fith album: #55 The Beatles - Rubber Soul

At this point, having listened to later works by the Beatles through the songs list, a lot of these feel fairly standard, but with some of their psychedelic influences sneaking in. Drive My Car and You Won't See Me are standard songs of theirs (although still good), but Norwegian Wood brings in the exotic sounding sitar. Something we've heard plenty since, but interesting here. Then there's Michelle, which sounds like it's based on the French chansons. There is a lot of variation, and it all sounds good - certainly not always the best, but far more interesting this way.

On the whole, there's a lot of the familiar older Beatles songs here, but also more experimental sections that show how they're growing as artists - something I believe they will continue to do. It doesn't feel like their best, but this is still a good album.

The thirty-third comic: #436 Squeak the Mouse

This comic was an awkward one to read on the train. A take off of the Tom & Jerry cartoons, as well as partial inspiration for Itchy & Scratchy, this comic is violent, gorey, with plenty of adult themes and a lot of zombie-like creatures. While normally, these cartoons have a lot of cartoon violence where nobody gets visibly hurt, there is a lot of blood, gore, people being torn apart and skulls carried under arms here. The other side is that there is a lot of nudity in here (aside from the main characters, most wear clothes) and several explicit sex scenes - not long ones, but still there, and they are slightly odd. It's vaguely played for humour, but it's still weird.

Beyond that, it follows through on the standard comic instincts, just with its own bend on these cartoon worlds. It's short, but that way it feels like it mostly doesn't wear out its welcome. Too much of it is gratuitous, but that's the point of it, and it balances it just well enough.

The thirty-second comic: #272 Ashita No Joe

This was a bit disappointing. I must admit I don't have a great feeling about sports based media, as I can't always connect, and the titular Joe is an arrogant ass who never becomes likeable. He doesn't really grow away from that either and I didn't see a point rooting for him. I kept wanting him to fail, because he would need to learn from it, but except for learning more boxing moves, he didn't seem to learn more.

The action scenes look good, but don't have the weight they should have for me - probably because I don't rate boxing high, but also because I don't care much for the characters. The one I rooted for most was the one described as only being there for a coward, and beyond that I would have preferred to see it more as a disciplined character, with a naughty streak, but not to this level.

I believe there's more sports stories like this coming up, but this doesn't feel like a good start.

The fifty-fourth album: #54 BB King - Live at the Regal

BB King is one of those names that I have heard plenty before, but where I would have trouble identifying any songs. Listening to it, his blues sounds good. There's a certain assuredness to his voice that I don't think I've heard in other singers, not going as loud or for other tricks, but instead keeping it grounded and pleasant. I'm happy to just go along with it, which is where it sounds that good.

The songs for the live album are well chosen, showing off the guitar performance as well as his vocal skills. It doesn't fade into the background as the jazz albums do, but it doesn't go too loud and agressive either. It's a smooth, nice album throughout.

The two hundred and sixty-ninth song: My Way - Frank Sinatra

This is one of those standards that almost had me waiting for the famous chorus. Melancholic, it feels like an end and a goodbye. Fitting, perhaps, as this is the last Sinatra song, and these orchestral songs that were common earlier are going from the list. It's the skill that still shows through here, so much smaller and personal even as the full music kicks in. It's something to belt along to, even if Sinatra started to hate being this associated with it - it feels like a classic for a reason.

The two hundred and seventieth song: The First Time I Ever Saw Your Face - Roberta Flack

We have a deliberately slow song here, I suppose intended to indicate some sort of loving, but here I don't really feel that emotion come through. There's nothing that hooks me and mostly it really just bores me. It's gentle, it's technically perfect, but it doesn't do anything for me.

The two hundred and seventy-first song: I’m Just a Prisoner (of Your Good Lovin’) - Candi Staton

Here is what I've been looking for more in this year. A funkier song that goes for a nice rhythm, some variation and something upbeat in the tones. A lot of it relies on the R&B vocals we heard from other singers from the era, and while this might not have a major twist on it, her voice sounds special through it, standing out in a good way.

The two hundred and seventy-second song: She Moves Through the Fair - Fairport Convention

Folk can be a bit hit and miss for me, but this feels like one of the songs that shows how it's developing in a good way. Two decades later this might have been Kate Bush, but here a lesser known band takes a classic, still focuses on the song (and I love the vocals on this song) and adds just enough instruments to give it that extra body. It's clearly still the song, but it couldn't have been made quite like this before the rock revolution. This was a lovely sound.

The two hundred and seventy-third song: Many Rivers to Cross - Jimmy Cliff

My feelings on reggae are quite mixed. It can be done well, but easily becomes sounding similar. Here, the song is more gospel and it is a sadder song. It hits the right tone, in a message that feels like it connects with anyone who is overwhelmed and low. It was a surprise - I wasn't sure what to think of it when I first saw it come up (with the reggae label) but it is a story that's easy to connect to, told in a way that really connects with you through the music.

The two hundred and seventy-fourth song: In the Ghetto - Elvis Presley

Elvis has grown up in a different way here. He doesn't sound like the wild sex symbol here, nor like the country singer that part surprised me before. Here, he has a story about those living in poverty (not something he would have encountered for some time, I would have thought, but the general themes still connect) and how the cycle perpetuates. He sings it well, unmistakable for anyone else, but more subdued and more tender. It's a further development and one that I feel suits him.

The two hundred and seventy-fifth song: Oh Well, Parts 1 & 2 - Fleetwood Mac

This is one of those weirder things - this single had an A and B side for parts 1 and 2, with a more standard rock section at the start and an instrumental, stranger second half. It's quieter, more focused on creating a Spanish melody, and it's hard to see quite why these two combine. The second half seems less notable, but also more interesting. It's very deliberate and could be the main theme of a big movie or TV show.

The two hundred and seventy-sixth song: The Real Thing - Russell Morris

And to go somewhere else again, we've not had psychedelic rock in this block yet, so that's what we get now. It's a decent melodic line that feel fun to bop along to. It's quite heavily produced, but put together well there, with its own sound that seem to pull influences from everywhere. There are times where it starts to feel a bit too extravagant, too taken with itself to really be serious, but the places where it dials that back are the places where we get a good tune as well. The main weirdness is that we literally seem to have other songs intrude on and break into this song, an image that is weird but feels appropriate for this era.

The fifty-second TV show: #845 The Trip

The third season of this show dropped around the time I started my rewatch of the first two series for this list. At this point I've finished all three (again) and it's been a worthwhile journey again. The formula is simple: comedians Steve Coogan and Rob Brydon travel through an area of the world - first the north of England, later Italy and Spain, and visit six restaurants to write a review/travelogue for the Observer.

What we get is a story of these two men traveling, hanging out and having fun together while in the background their demons come through. They are, at times, antagonistic, but what comes through is that first of all, they enjoy hanging out, trading impressions and at times just singing in their cars. As far as I can tell they play exaggerated, less self aware versions of themselves, playing on their public persona, but they are at their most delightful when they drop that act and just have fun together.

The other part is how they play on how they portray themselves. Rob Brydon is the family guy, happy with his place in life, not too worried about doing something different from what he does already. Steve Coogan has aspirations, as writer and serious actor (especially after Philomena) and it's clear that more often, he wants to outdo Rob. Both work well, and despite his more antagonistic feeling attitude, the frustrations he feels are so recognisable that there are times where I agree when he wants them to shut up. Then again, if I was in one of these nice restaurants and they would be sitting two tables over doing their impressions and so on, I would be so annoyed.

This show strips it down to the best parts though, keeping it the most fun it can be. I am genuinely hoping for the fourth series.