Jeroen's Micro Blog

The one hundred and twenty-third song: Spanish Harlem - Ben E. King

This song was recorded soon after Ben E. King had left the Drifters, who we've heard before. There's still some doo wop here (what happened to that in modern times?), but the song focuses more on just his vocals, together with a musical arrangement that brings in strings and trumpets to create a dream-like atmosphere. The song is trying to invoke that as well, talking about a rose that grows in Spanish Harlem, an area of New York. It's mostly esoteric, with some Latin hints from the marimbas.

The one hundred and twenty-fourth song: Mad About the Boy - Dinah Washington

The most famous version of the song, where the lyrics of the song are good, Dinah Washington turns this song into something special. The dark sound of her voice adds a maturity to the adoration expressed in the song. It's got power and character to it, making it more than a simple love song. Performed incredibly well and distinctive enough to stand out.

The one hundred and twenty-fifth song: Lazy River - Bobby Darin

Is it possible to be bored of jazz pop already? This song sounds fine, but it doesn't really quite work. It's upbeat and swingy, but seems to hold back a bit and "Lazy River" doesn't really get the impact of the song across. It just doesn't seem to add much for me.

The one hundred and twenty-sixth song: Back Door Man - Howlin’ Wolf

We're getting to a double act of Howlin' Wolf blues songs. It sounds more raw than I expected, dirty and filthy as it goes around to see house wives while the husbands are out - escaping by the back door, as the vernacular goes. The book describes the character as a Casanova/predator, and that comes through. It's clear the women in the song wants him, but he has a raunchy side to the performance (even if it's not quite there in the lyrics) which is dark enough on its own.

The one hundred and twenty-seventh song: The Red Rooster - Howlin’ Wolf

While the obvious interpretation of the song, about a lazy rooster, is the source for the song, Howlin' Wolf's delivery and voice turn it into something more. Indeed, going out to town occasionally gives it a more sexual connotation that makes you wondering what he is really up to. Again, despite a good composition, it's the performance that really impresses and gives this body.

The one hundred and twenty-eighth song: Johnny Remember Me - Johnny Leyton

There's intentionally something eerie to this country-like song. A song about remembering his dead girlfriend, the female lyrics make it sound spooky and add that weird edge to the song. It invokes the idea of a ghost even if it is not actually so. He can't replace her and will always hear her song. It's an amazingly memorable sound.

The one hundred and twenty-ninth song: I Fall to Pieces - Patsy Cline

Patsy Cline's country ballad feels like a bit of a come down after that. A simple love song about a (former) lover who doesn't want to come back, it is a slow and simple song, sang to perfection. It's a simple country ballad, sung by someone who was probably the best at it in these days and seems to have originated it. It's fine, but... it's a country ballad. It'd never really wow me.

The one hundred and thirtieth song: Stand by Me - Ben E. King

Based on an old gospel song, this feels like such a standard. Ben E. King, who is the first artist to perform the song, feels a bit slower and less ostentatious than other later versions, but uses the strings and Latin influences in a way that makes it a breezier, happier song (the musicians coming in because they were hired from Spanish Harlem - this was recorded in time left over after Spanish Harlem had finished recording). It's an amazing composition that works well here.

The one hundred and thirty-first song: Blue Moon - The Marcels

This is not the version of Blue Moon that you were expecting. Although the basics of the ballad are here, The Marcels give it a doo wop twist, starting off with a lot of that, and surrounding the basic lyrics with a lot of their own additions. It's expertedly crafted, but sound off the cuff and more uptempo than the original. I really enjoy these doo wop songs here, and this makes a really good case why. It sits somewhere between doo wop and rock and roll. Just up my alley.

The one hundred and thirty-second song: Crazy - Patsy Cline

It feels like there's more power to this song than Patsy Cline's earlier entry this year. Recorded two months after a near fatal accident, there's a determination in her voice that is striking and empowering. Willie Nelson, the composer, described her performance as magic, and that's certainly in there. An impressive tour de force.

The twenty-second TV show: #339 Blackadder

For this write up, we really have to ignore the final episode, and especially the last few minutes of the show. It's such a sad and special moment that works well (and is led up to by plenty of jokes), but isn't quite the same.

This show is divided in four series (we're also ignoring the specials) and they really are four different series. They're all set at different periods in times and the main characters, though all called Blackadder and played by the same actor. The first is notably less intelligent and they descend down the ranks and classes as time goes on, from being a prince to a captain stuck in the trenches of the first world war.

They're all good - although you could argue some are better than others - for different reasons. For a bunch of backstage reasons, the first season is quite different from the others, with Black Adder feeling like a different character and everything being on film. The second and third are probably most alike, with Blackadder subservient to royals (in different positions, but partially dealing with their weirdnesses). The fourth season's war setting is quite different. Because of it, it's darker and less upbeat.

There's several elements that make it work. The performances are excellent. Rowan Atkinson is at his best - better, in my opinion, than the Mr Bean role he's known for. Tony Robinson as Baldrick is so pathetic and disgusting it's strangely endearing. From the less regular cast, Hugh Laurie puts in such an amazing effort that that might make the seasons he is in my favourite, creating characters that aren't intelligent, but have enough depth to them that they go beyond just the jokes they seem to be. The writing helps as well, creating more complex characters sometimes to enhance the comedy.

For me, this is one of the great British comedy series, where it all comes together and works well.

The twenty-first TV show: #910 Les Revenants

This book is leading us from one nailbiting 'must see' to the next. After the relative dud of American Family, we watched all of Les Revenants (the Returned) in a week, two episodes a time (as it was originally broadcast), often four a day. As I'm writing this we're watching the final episode, which will answer some of the questions we have, but probably not all of them (there's a call for a third season as well). And that's fine. One of the entertaining parts of the series was that we had questions and things to debate, and that we discussed them constantly after, but also during the show. There are many layers to the mystery, and enough get resolved as others get added that both stay satisfactory - the things you find out and the things you want to find out about. The series is happy to let it be and explain it later when it's ready. There's a few places hwere it feels a bit off - where an earlier explanation might have made some other moments work better, but I guess it usually works for drama's sake.

There are a lot of good performances in there. There are a lot of layers to some of the characters, played with nuance and knowledge of what would happen. And there's always the feeling of the inevitable, of the world, the revenants, moving on. Things have to happen because that's the way things are, and the characters fight it where they can.

One of the most interesting things in this is how the different characters respond to the basic premise. How do you deal with dead relatives and loved ones suddenly returning? How do you respond? We see a lot of emotions and responses, all of which are explored in the 16 episodes. The story and consequences take it further, but the emotions are at the core of this thriller, as difficult as it might be to deal with the impossible.

There are heavy statements on loss and hope, on death, on sadness - a lot of things.

One of the most impressive television series that I think I have ever watched.

The fourth album: #4 Louis Prima - The WIldest

The difference between this list and the song list comes down, in part, to where it starts. Rock only creeps into the songs list slowly, as so many more recordings appear earlier. Albums only started to become notable later, and so encountering Elvis on the third makes more sense, using a style that has already been established. Louis Prima's jazz was more '"your parents' music" - adeptly played, a lot of fun, but more one of the types of work than it would have been a decade or so earlier.

Just listening to the first song makes me happy enough, swinging enough to stay fun. Absolutely enjoyable, as does the band when they get let loose.There's a bunch of jazz, the feel of a big band and some hints of rock and roll. It's positive, not as harsh as rock could sound, but also refuses to sink into the background as other songs with the style can go.

A lot of this was recorded in a casino lounge, and it comes through. There are places where the songs sound loose and a lot of banter comes through, with the musicians egging each other on and encouraging each other. It sounds good, a lot nicer than something isolated and works for the style of the album and the tone it's trying to set quite well.

The twentieth TV show: #748 Dexter

At this point I'm just over halfway through the second season of Dexter. Where, I understand, the show really gets good, until it takes a dive after the fourth season. We'd started Dexter before, but never got around to getting too far in it, so this gave me a good reason to catch up and keep watching.

And the second season certainly steps it up. There's more depth to the characters and it plays more to their strengths. It's not as much about a murder of the week as it is about the way they make it through their life while focusing more on the cat and mouse game. There's just as much actual risk.

And that's where it's interesting. Despite everything he does, you don't want Dexter to be caught. He kills the bad guys, making him more ambiguous. Michael C. Hall brings his best to make the character both charming and frightening, effortlessly blending the two, making you hate and love him at different points. On the other hand, early on some episodes feel too limp to make it work and you can see why this is not a plot you couldn't drag out. I know how the series ends, and looking at it I can see why it would disappoint. Similar to Breaking Bad, while your partially root for the main character, he also needs his comeuppance, and at its bad the series flirts with it, with minor setbacks and last minute victories that make it far more interesting than smooth sailing through.

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.