The five hundred and sixty-first album: #561 New Order - Low Life

There's just nothing to suggest that out of the ashes of Joy Division we got New Order, going from dark gothic rock to a synth-heavy pop album. The bass still features prominently enough to stand out, but it's not all depressing either at this point. There are exceptions - the second side opener Elegia is a lot darker - but even that has a synthier backing that keeps the brighter tone of the album. Fundamentally, though, it sticks to the more upbeat sound even when there's that bit of darkness.

The two hundred and first classical recording: #559 Claude Debussy - La Mer

It's been a while since I've been in a position to listen to a classical piece. It's one that gives feeling of water, calmer at first, more animated in the second movement and a bit darker later. It plays with that gentler feeling though, with a stormy crescendo that doesn't last as long as most. It's lovingly constrained, with that right build up at the end that doesn't overdo it, but limits itself really nicely.

The two hundred and second TV show: #322 Police Squad

It's easy to understand why Police Squad didn't last - the humour feels so ahead of its time, it's dense even by today's standards, with the gags coming fast and hard. There are recurring gags - probably the best the 'freeze frame' at the end of each episodes, which has the actors stop mid-action regardless of what they're doing. There's a massive number of non sequiturs, some of which feel like they're a lot of effort for just a single joke. It's a delight to watch, but I also wondered if it was good this didn't last for ages - I can't see how you'd keep this pace going for this much longer. What's there, though, is its own perfection and absolutely worth a watch, one of the best comedies from the time.

The two hundred and first TV show: #504 The Day Today

It's been nice to get a short show in. I've been looking forward to The Day Today as a satirical news show, one that clearly stayed around for a short enough time to not wear out its welcome, even as Alan Partridge, in particular, stuck around. Some of the jokes are clearly referencing the time, but a lot of the satire managed to carry over really well. It's been a lot of fun to watch these shows even as we managed to race through it - out of enjoyment, mostly. It's been worth waiting for.

The five hundred and sixtieth album: #560 The Jesus & Mary Chain - Psychocandy

Avoiding use of the synthesizer and other excesses of their contemporaries, Psychocandy doesn't sound stripped down. It brings in the noise distortion that featured in the earliest rock albums, with songs that feel in the same vein, even if the lyrics aren't as innocent. Instead, it takes that punk edge and adds it in. The vocals feel a lot more classic though, a place where you'd expect some harmonies if they were a band to go there as well. Unfortunately it does wear out its welcome after a while, with the repeated distortion becoming obnoxious as often as it's welcome.

The six hundred eleventh song: Two Tribes - Frankie Goes to Hollywood

Theme aside, the high energy of this song combines with the chaos of its explosions makes for an exciting run with a straightforward enough message, but a sound that makes you sit up and pay attention

The six hundred twelfth song: Runaway - Bon Jovi

Runaway is a pretty strong rock track. It doesn't give the depth that I think I fancy at the moment, or any of the extra things that could have helped elevate it, but it hits the beats it needs to.

The six hundred thirteenth song: Born in the U.S.A. - Bruce Springsteen

As I think I addressed in the album writeup, this song is a deceptively strong piece of songwriting, an anthem that condemns rather than celebrates and helps build a feeling of contempt for the jingoistic types that would otherwise celebrate it. It's really been worth a listen again.

The six hundred fourteenth song: World Destruction - Time Zone

I don't think I ever heard of this song, but it hits so well. The rap and rock fusion feels a bit ahead of its time, but the rebellious spirit from both hits fits the time period, a counter balance to power that matches the lyrics of Born in the U.S.A. It's powerful and works so well here.

The six hundred fifteenth song: Immigres/Bitim Rew - Youssou N’Dour

The African sound heard here is joyful. While it feels like the list puts these on here to have diversity, it means that we get the best, and this is an incredibly strong and enjoyable song.

The six hundred sixteenth song: It’s My Life - Talk Talk

Another synthy anthem, It's My Life is an oddly feel good track with what feels like an ode to individualism that again suits the eighties. It's a nice dance track, even if the lyrics make it feel like it needs a little bit more of an edge.

The six hundred seventeenth song: Smooth Operator - Sade

I wasn't expecting some British bossa nova today, but the smooth jazz track works really well. It's a really good sound that feels like it fits with a fairly standard but strong love song.

The six hundred eighteenth song: I Feel for You - Chaka Khan

The funky R&B sound of I Feel for You is enhanced by the rap vocals, to the point where they really feel like the star of the show. As a song though, this works well, and the extended chorus helps a lot having it sound that good throughout.

The five hundred and fifty-ninth album: #558 Tom Waits - Rain Dogs

Tom Waits' folk music feels somewhat singular. Avoiding the production common of its time, it feels more hand crafted and deliberate, all supporting his gruff vocals. He feels like a great storyteller and creates a picture with the music. Even so, the music isn't accidental or purely supporting, there's a lot that builds here and works well. It's a touching album and you just can't avoid the sound.

The six hundred third song: It’s Like That - Run-DMC

While rap has been coming up before, it feels like this is another step up - the political bent is still there, but there's a call and response that feels stronger and a harder sound in the music. It's an impressive build, partially one of production, but it feels like it's more real even as it breaks into the mainstream without compromising.

The six hundred fourth song: Rock of Ages - Def Leppard

Yeah, as a nineties kid I was wondering if I started the wrong song at first. The aggressive rock works well there, with its anthem quality in places. It's a big and bad rock song and I really like it.

The six hundred fifth song: Gimme All Your Lovin’ - ZZ Top

Gimme All You Lovin' feels like one of those classical hard rock songs - a good riff, lyrics that aren't too complicated. It gives a standard love song feel backed by a slightly more aggressive sound - even if it's far more upbeat than that might imply. It's simple and straightforward, but as a song that works.

The six hundred sixth song: Every Breath You Take - The Police

There's something sinister about this song - something that feels like it builds more in the modern world where there are so many more ways to do so. It's sweet and alluring and even that feels like it could be a commentary - even if initially the influence might not have totally been there. Even so, it's still as impressive now.

The six hundred seventh song: 99 Luftballons - Nena

This song's happy, optimistic sounding title - the release of 99 balloons - belies an underlying theme that you don't really get without hearing the German version. It's about a nuclear apocalypse, caused by the sight of these balloons, and it almost feels like the song is also creating the party before that happens. Considering the events of the 80s, when this was set, luckily it didn't go that way, but the ominous feeling really sticks there.

The six hundred eighth song: Zungguzungguguzungguzeng - Yellowman

The reggae track here has evolved a bit, but it feels like it still builds on the similar base. It is fine, decently rock inspired but not jumping to give me a lot more that I would enjoy.

The six hundred ninth song: Blue Monday - New Order

I wasn't expecting this yet - the build up from disco and synth pop to the dance music that dominated the clubs from the nineties wasn't something I thought I'd hear until later in the decade. This, however, feels like it could often fit in the club music that follows, the choral vocals set it apart too. I've enjoyed it a lot, as it really sets itself apart and gets you going.

The six hundred tenth song: The Trooper - Iron Maiden

We end with an aggressive metal tribute to soldiers and fighters, the song driving relentlessly forward. It's a hardcore metal track, perhaps a bit too much for me but it hits the notes it wants.

The two hundredth TV show: #250 Children of the Stones

Moving some other shows in and out gave us the chance for a random TV show, and I was quite lucky this one came out. Officially a childrens sci-fi show, a lot of it feels more complex than that (possibly teenager focused, I suppose) that works for the entire family. As an extended Christmas horror, this would have worked as well, and on the whole the show presents an interesting mystery with some clear paranormal elements, but keeping it quite human in some of its connections. It's good to see a father and son pairing where they actually get along and mostly believe each other. It feels more mature than the 'kids show' would imply as well, and there are a lot of moving elements that take more time to follow, with the mental submission side having its own challenges. The creepy soundtrack really helps with this too, creating an unsettling vibe at every stage. Sure, the show is seventies at times, but its contemporary setting keeps it from looking cheap and instead it keeps it compelling when you'd normally expect kids television from this era to be less compelling. It keeps the adults in mine, and it's good it doesn't talk down.

The five hundred and fifty-eighth album: #557 Kate Bush - Hounds of Love

With a partner who's a massive fan of Kate Bush, I've heard a lot already and have a lot of affinity for her work. The first side of the album pays that off - Running Up That Hill is a deserved classic (long before Stranger Things made it cool) and Cloudbusting is just so amazingly memorable. There's a lot of depth in those tracks that really resonates. The other side are their collection of tracks for a concept album, immediately starting with a more wistful sound that sets up more of a story than entirely having those feelings in the moment. Under Ice really builds on that, feeling like panic throughout. Waking the Witch, too, reaches that discomfort - although here from its discordant, deliberately fragmented nature. The Irish music it builds up to is as interesting as it invokes a link to nature in its lyrics that builds on a folksy feeling. It moves a lot between the emotions, but it manages to combine the different sounds and emotions with the story it's trying to tell in the arc the songs go through.