The two hundred and twenty-second classical recording: #980 Philip Glass - Violin Concerto
This is a lovely, abstract violin concerto, a bit of mystery and slower speed that gives a lot of time to contemplate and listen. It's sweeping and big, but not loud and overbearing, and the combination is one that works well here.
The two hundred and seventeenth TV show: #11 American Bandstand
I've covered Top of the Pops before and it's safe to say that built on this formula. Quite simply, they play popular contemporary music and the audience of the show dances to it. What's probably most notable is that almost all of these are recordings, rather than being performed (or at least mimed) live. I can see the appeal of being in the club without having to go out, but aside from how much feels dated, it just doesn't have as much to actually watch. I would have been almost as good as a radio show, and indeed that's how it's shaped, with the visuals not doing much. There might be a wider point here of how in these days, people are more connected and don't need this parasocial connection, but that'd just be a lot more speculation.
The six hundred and eighth episode: Pet Shop Boys - Actually
I've said a lot about my admiration of the Pet Shop Boys' music before when covering several of their songs, so it's good to reach the first album on the list as well. When listening to this album in full, rather than having the tracks in isolation, one thing that stands out is the darkness that comes through in the songs. It's clearly against the political establishment of the eighties, as well as challenging a lot of other societal expectations. It works, though, the more upbeat track getting well balanced and the darkness really having its impact.
The eight hundred thirty-fourth song: Guilty By Association - Joe Henry and Madonna
This duet is more of a ballad than I would expect from Madonna, and it's hard to ignore that Joe Henry feels like he's taking the lead on this, his rougher vocals and stronger sound dominating over Madonna's more ethereal vocals - a sound that doesn't entirely suit it. It's a good combination, but maybe doesn't show the best of both.
The eight hundred thirty-fifth song: A irmandade das estrelas - Carlos Nunez
This is a nice Spanish folk inspired track, based on the music of Carlos Nunez's roots. It's an attractive sound where a lot of it comes together well, with a proper traditional build and overall good sound. It's different, but works.
The eight hundred thirty-sixth song: Brooklyn’s Finest- Jay-Z featuring The Notorious B.I.G.
The intro of this track is so cheesy, it really doesn't fit the gangster violence of the rap that follows. It works as a rap, coming together as a good combined song, but it references a culture I'm too far removed from.
The eight hundred thirty-seventh song: Novocaine for the Soul - Eels
This is a subdued indie rock track, one that mirrors the feelings of depression that seem to lead through the song, and the happier moments that the novocaine for the soul brings. It's a nice listen, with what sounds like string sections bolstering the mood of the track.
The eight hundred thirty-eighth song: Ready or Not - Fugees
Lauryn Hill's Ready or Not chorus dominates this song, setting a staccato trend that both contrasts with the smooth and sensual sound of the rest of the track, but also puts something mechanical in as a comment. The Fugees here, too, show a side of hip hop and rap that feel like they provide more depth and insight than the gangster rap we saw earlier and create something beautiful.
The eight hundred thirty-ninth song: Firestarter - The Prodigy
Firestarter is straightforward enough to leave an impact and become one of the early memorable and impactful moments of my secondary school life. There's something devilish in Keith Flint's sound and appearance, which is underscored by the heavy electronic dance track, while the alt rock references add extra musicality and variation to it that wouldn't be there. The clip that went with it reinforced that image, and it really feels like one of the big influences on my tastes and that of the friends I had at the time.
The eight hundred fortieth song: Professional Widow (Armand’s Star Trunk Funkin’ Mix) - Tori Amos
For a remix, it feels like a lot of the song has less in common with the track - only halfway through the extended mix do we really get a large chunk of Tori Amos' vocals, while a lot of the remainder introduces two vocal samples to the beat. It's put together really well and a great thing to listen to regardless.
The eight hundred forty-first song: Nancy Boy - Placebo
The punk-inspired, grunge sound of Placebo in this sets its tone, the tenor vocals lending a boyish charm to heavy lyrics and an even more overpowering music. It's a simple concept in a way, dealing with daily life, but the full energy adds so much more to it, while the lyrics are that much smarter and more interesting.
The six hundred and seventh album: #607 Michael Jackson - Bad
It feels like there just isn't much to say here already. Michael Jackson is such a known name, and the songs well known enough, that I don't think I need to describe Bad or Smooth Criminal. It's his brand of pop, including funk and some rock, produced to perfection, which some evocative lyrics and a great beat serving a good track. It's varied - there are some quite touching ballads, and it all feels more real than you might expect it to be. Of course this is absolutely worth it.
The two hundred and twenty-first classical recording: #634 Ralph Vaughan Williams - The Lark Ascending
Short, gentle, this is a fifteen minute dream. The solo violin feels like it represents the bird, waking up and flying off through a world of beauty. It's a sweet and lovely movement, something that is exactly what it needs to be.
The two hundred and twentieth classical recording: #110 George Frederic Handel - Messiah
This is one of those classic pieces that you hear a lot of. It's not the most complex - far more choral than operatic - but the build up is quite good and there's a ot of beauty in what it's accomplishing.
The six hundred and sixth album: #606 The Triffids - Calenture
The trappings of pop and glam rock surround this folk album, lyrics being less poppy and more filled with departures, longing and destruction - even if it sometimes feels a bit gleeful about it. It can feel a lot like a breakup album, but the imagery plays it bigger than that. It's surprisingly engaging, more interesting than the initial folk into suggested to me.
The eight hundred twenty-fifth song: Hell Is Round the Corner - Tricky
This electronic hip hop (trip hop?) track prefigures a number of later trends, while also feeling of its time - the beat feels very nineties, while the slow trap supplements the beat for a more relaxed track. It's a style I still hear, but with a different energy, while there's something deeper and relaxing about this, including the lyrics that feel that much more serious. It's a strong vibe that hits really well.
The eight hundred twenty-sixth song: Born Slippy Nuxx - Underworld
Here, too, the electronic music comes to the forefront. It's an iconic track of the era, the electronic beat hitting all those nostalgia centres in my brain, and its shift between the slower and the driving beat works well as it goes through. It's still really good.
The eight hundred twenty-seventh song: You Oughtta Know - Alanis Morissette
There's a lot of power in this alt rock anthem, the lyrics speaking of a really ugly breakup and an anger that keeps going through. It's easy to understand, but in part because it speaks to you on such a basic level.
The eight hundred twenty-eighth song: Back for Good - Take That
We hadn't really hit the boy bands until this point, but Back for Good makes a point for the best of it. Gary Barlow's lead vocals sells it incredibly well, a love song with a lot of emotion. The harmonies that come from the other band members has a feeling of cliche now, but it does the job so well, it's beautiful just to listen to.
The eight hundred twenty-ninth song: Stupid Girl - Garbage
This is a decent, straightforward punky rock track. It's not too hard, but it makes its point, and it sounds decent without much out of the ordinary. It's a fine and pretty fun track, but doesn't feel as special.
The eight hundred thirtieth song: Miss Sarajevo - Passengers
Miss Sarajevo isn't a complicated track. The music is simple and subdued, underlying Bono's strong lyrics about the war that was going on at the time, setting you up for something contemplative. When Pavarotti's solo starts, it's lured you into that atmosphere and it's a goosebumps moment for a bit. The song is sad, but that's what the track sells so well.
The eight hundred thirty-first song: River of Detroit - Mad Season
The blues rock sound of River of Detroit sets its feeling of depression quite well. It's not easy to get into, but there's some beauty in it as well.
The eight hundred thirty-second song: Dear Mama - 2Pac
As his death is part of my cultural consciousness and knowledge of music coming up, 2Pac's death was an early landmark. While there's a lot of bad stuff that happened, this song shows some of the circumstances that would have pushed him to that, while his mother had her own trouble and focus. It's a tough life, and this song of appreciation also builds on that sadness and it stays really quite emotional. It's listed as the peak of the genre, and I can't disagree with that.
The eight hundred thirty-third song: The Bomb! (These Sounds Fall into My Mind) - The Bucketheads
We're ending with just a regular house track. It's a pretty strong one too. The sample that's the song's hook (that I apparently always heard as the correct lyric, rather than the mondegreen that became the song's hook) is incredibly catchy and memorable and it really anchors a good dancing track. It's a good, happy note to end on here.
The six hundred and fifth album: #605 Sonic Youth - Sister
Some albums feel like they come and go. Sonic Youth's Sister is some good alt rock, some screeching and shouting but also the quieter, simpler tracks. It also didn't have much in its sound that actually stuck with me or drew my attention. It's fine, and I could enjoy it on its own, but there's not too much to seek out.