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.

The first album: #1 In The Wee Small Hours of the Morning - Frank SInatra

Starting at the beginning for this list. I want to broaden my musical knowledge, and this is one step in this process. On my lunch break!

Frank Sinatra has appeared in the songs list, and indeed this album's title track has been covered before.Just as much a crooner, the song and album feel a bit slower than his later work, something that feels like a notable development in his music. It sounds good, the tragic sounds working well to set the mood.

Sadly the recording quality isn't the best on all of these, which did make a bunch of these somewhat distracting to listen too - the fuzz was a bit overpowering at times and the echoes distracting.

The jazz/big band style of performing doesn't appeal to me as much, partially perhaps because I haven't been exposed to it as much. The whole album feels a bit slow to me and, while it's performed well (both vocals and music), it doesn't quite have the emotional power that I was expecting from it.

The twelfth book: #12 The Lusiad

The Lusiad didn't work for me - ticking several boxes there. Set up as a poem, the story went lyrical and allegorical - rarely describing much and getting lost on tangents. And not in a good way. The focus is less on telling the story, and more on rhymes, and in this case that just bored me.

Then it got set up as a series of monologues. I've mentioned before why that doesn't work for me - see La Celestina - and the 'arguments' (as they're called) may expound on feelings a lot, but they are terrible at actually telling a story (something plays do by being visual instead). It works if it's about a discussion, but not as much when you're talking about something more adventurous like exploring and discovering new countries.

Probably the most interesting part for me were the footnotes including in my edition, explaining the historical facts and such behind the story. At least there was something I could get out of it.

The sixteenth TV show: #801 Childrens Hospital

Oh, I'm going to miss this show.

Childrens Hospital originally started as five minute long shorts created during the 2008 writer's strike, then was picked up on Adult Swim as fifteen minute shorts. It started off as a hospital show parody, set in a children's hospital (founded by Arthur Children, located in Brazil... it's a long story). It has evolved into a show that is set in a hospital, but can tell any sort of story with it - spoofs of movies, takes on genres and just following weird ideas. Not only do we see Childrens Hospital, but also the supposed behind the scenes aspects invovled in creating it (which is distinct from the actual actors).

It all works brilliantly - there's some lesser moments, but the shows are always packed with jokes and references and seems willing to try everything. I struggle to find a favourite, especially once (in the second season) they really find their feet and go beyond Grey's Anatomy's spoofs. There's just too much.

I'll miss it (and will need to rewatch it).

The fifteenth TV show: #323 Knight Rider

When I was young, we watched a lot of Knight Rider. I sort of remembered what to expect from that - although I suppose anyone with the description of the show could. Somewhat trashy, an action show focused on a lot of car chases and other action sequences. For most episodes, this is the case. It's well done, everyone is clearly having fun creating the show, and we get some good moments in there. There are, however, also a few episodes that play with the concept, occasionally try a slightly different concept, and present a series that does something interesting with it. Those episodes are usually the best too.

It is made bearable mostly by the performances. David Hasselhoff does fine as Michael Knight (and is clearly in his element as stunt driver - until an accident happened he did some of the car stunt work himself) and the supporting cast really adds to the show, but the clear star is, and remains, KITT (something that, compared to other series, doesn't seem to have caused much friction). Although he gets a number of the good lines, it's the personality as well. The wit, lack of compassion in places (though, as you'd expect, not always) and upstaging works well. Him being the most powerful car works well for it, but he's more than just that, and making it this AI is what probably made the show. Sure, it's an idea that's used more often (at least now), and the technology looks dated at times (as you'd expect), it all works well together.

The ninetieth song: It's Only Make Believe - Conway Titty

Although Conway Twitty started his career in part through Elvis Presley, he sticks (in this song at least) to slower country tunes. Not as swinging, more barbershop, the song sounds good but won't get you going wild. Of course, the lyrics aren't conductive to this either, the story of a man in a relationship with a girlfriend who doesn't love him, seeming as painful as it sounds.

The ninety-first song: Johnny B. Goode - Chuck Berry

So this song went into space, an indication of how much it got into the USA's concious. This song has the standard rock sound, the guitars and vocals are all there. It sounds good and engaging. Even outside teh socail implications, this song about a boy becoming a famous guitar player feels right.

The ninety-second song: Move It! - Cliff Richard & The Drifters

I suppose this shows how much more difficult it was for music to travel at the time. In isolation, this song does start off sounding as if we have an Elvis Presley rip-off - and indeed, part of the success in Great Britain came from Cliff Richard being British. It also takes from the musical elements as well, basically being a song saying it's going to introduce rock & roll to you (as derived from country).

The ninety-third song; La Bamba - Ritchie Valens

Here's an example of how rock & roll started to influence other genres. Sitting somewhere between rock and flamenco (and other Latin-American music styles). It sounds good and works well as a mix of the two, adding a welcome note of upbeatness to what can be a darker sounding genre.

The ninety-fourth song: Yakety Yak - The Coasters

Back to doo wop - a bit less rock now. This is mostly a comedy song of sorts - a parent admonishing their kids to do the chores, and the teen's dislike of it and passive defiance. It's basic, but fun to listen to, and the music is put together well to create the effect.

The ninety-fifth song: At the Hop - Danny & The Juniors

The piano here grabs you immediately. By now, this oddly feels like a slight step back again, with doo wop influences creeping back in and slightly less focus on instruments and (most notably) no noticeable guitar. It's also clearly part of a song aimed at a younger demographic and their dancing - singing about going to the record hop, basically a dance place. It's fair enough at that, and creates a cheerful refrain, but doesn't have a lot of substance to it, either musically or in its vocals.

The ninety-sixth song: Stagger Lee - Lloyd Price

A bit of a turn - not only no more rock, but also a story about a murder rather than going to a dance party. It sounds good, with a great arrangement behind it and finding something aggresively loud in it. It's dark, but simultaneously sounds a bit exuberant, an interesting contrast in the song.

The ninety-seventh song: Summertime Blues - Eddie Cochran

So we've had the sexual rock & roll from Elvis Presley and the party atmosphere of, say, Danny & the Juniors, but one other part of it that influenced a lot of people was the rebellious attitude. Eddie Cochran shows that, and it comes through in the song. It's happy on some level, but also has a more annoyed sound, at one time commenting about being too young to vote. It sounds good, raw as it should be, and I was annoyed there wasn't another verse at the end.

The ninety-eighth song: Dans mon ile - Henry Salvador

Moving on from rock for a while to some other genres. The chanson tradition is not one to be ignored (and we have some Sinatra to link to that later). It's slow, soft and relaxing. The music puts you in a mood (the word 'tranquile' popping up a few times, describing the feeling well). Sure, a lot fo the time this would be backgorund music, but it's good background music here. It's lovely.

The ninety-ninth song: Lonesome Town - Ricky Nelson

While there's an element of Elvis wannabeness in Ricky Nelson's vocals, this is the first song where he went for a more mournful sound. The more I listen to it, the more it's there (and looking at the album cover, it seems like you could have gotten lost in his eyes listening to this). The story of a town where broken hearts go, he sweeps you along in the gentle trek there.

The one hundredth song: Fever - Peggy Lee

There's a simple arrangement to this song, mostly relying on Peggy Lee's amazing vocals instead. As a love song, it creates a slightly sultry, slightly attractive atmosphere whose comparisons work well to create a wonderful atmosphere. It's a lounge song, but one that works incredibly well here. The drums add to the arrangement - and effectively so - but it's an exercise in enchanting minimalism.

The one hundred and first song: One for My Baby (and One More for the Road) - Frank Sinatra

Setting Frank Sinatra down as the master of ballads, the sad song isn't just executed well on a musical level. Sinatra puts in a performance here, going quiet as the 'story' demands it, speaking up occasionally to put emphasis on sections of the song. Getting drunk to forget a former love is a well known and well worn theme, and one that Sinatra inhabitats (and, I guess, experienced). An amazing feat.

The one hundred and second song: Le poinconneur des Lilas - Serge Gainsbourg

Again somewhat different - closest to linking back to Yakety Yak, but a lot darker as Serge Gainsbourg talks of the boredom of a train conductor clipping tickets, to the point where it has him consider suicide. That doesn't sound like it would lead to an upbeat song, but it does. There's a certain edge to French that makes it work better here than it would do in other languages, creating an urgency that makes you push past all of it. It's moving, and sounds well as it does. Really good fun.

The one hundred and third song: Nel blu dipinto di blu - Domenico Modugno

Probably our first Eurovision song, this song is better known as Volare. It's a happy chanson, Modugno being the first Italian chansonnier and making an impact here. It's nicely catchy, but doesn't quite hit the right things for me, sounding a bit plain. Well done on a technical sense, with some nice touches, but feeling a bit dated now.

The one hundred and fourth song: All I Have to Do Is Dream - The Everly Brothers

"So that's what that song is called!". Although apparently the Everly Brothers were more rock & roll focused, this is a bit slower than the standard rock song - setting the stage for these genres to almost be created. It sounds lovely, the harmonies working really well. It's sweet, but somehow the composition works well enough to make sure it doesn't go too far (although the "gee whiz" feels out of date now). A nice smooth song, early pop, that stands on its own quite well.

The one hundred and fifth song: To Know Him Is to Love Him - The Teddy Bears

A sweet and soft song, somewhat sad, sounds like a fairly straight forward love song. It doesn't do anything complicated, but is executed really well and sounds quite enjoyable. A nice, well crafted piece of music.