The five hundred and seventy-ninth album: #579 Run-DMC - Raising Hell

I've mentioned enjoying Run-DMC's music before and I think Raising Hell takes it another step in that direction. The rock background feels stronger - their collaboration with Aerosmith feels really natural between the other tracks - which really grabs me. Lyrically the music is a mixed bag - I think I've now had my fill of raps boasting about their rap skills - but at least it feels like there's more variation in some of them even as I end up enjoying the rhythms and sounds more without paying too much attention to the lyrics.


The two hundred and tenth classical recording: #754 William Walton - Belshazzar's Feast

This piece really felt like it just hit everything. The at times jubilant music sets the tone wherever it leads you, the vocals, whether jubilant or more oppressive, enforcing more of that whether supported by the music or standing on their own. It's a magnificent piece, big in most places but in a way that fits the narrative it aims for.


The one hundred and twentieth book: #91 The Fall of the House of Usher - Edgar Allen Poe

After a holiday, I managed to come back to a short story to make for a quick turnaround while I get back to blogging.

The Fall of the House of Usher is incredibly efficient, its speed a real step up from what we read before. We get a lot of background information and build up, but it also feels relevant and thematic, making the whole story that much snappier. It was really effective, the twist was one I knew from two centuries of it having happened, but it's all been done so well that it stays effective here.


The five hundred and seventy-eighth album: #578 Paul Simon - Graceland

Something feels a bit off about this album - while Paul Simon might have been inspired by African music, I'm not sure it always matches his own style as much as this album might want. It feels like it never quite manages to marry the two styles together.


The six hundred eighty-ninth song: Freak Scene - Dinosaur Jr.

Freak Scene combines this heavily energetic music with slow, chill vocals that put you at rest even as the guitars are screeching. It's a nice little alternative rock song that doesn't demand too much, but gives a lot musically.

The six hundred ninetieth song: Follow the Leader - Eric B. & Rakim

As hip hop is still rising, we've had a lot of happier dance tracks. Here, however, we get the darker side, with a deep, oppressive beat and lyrics that sound more oppressive. There's a lot of talent in it and its grown up feeling really resonates that much more.

The six hundred ninety-first song: Where Is My Mind? - The Pixies

Inspired by Dinosaur Jr., The Pixies have similar slower vocals, with lyrics that match that slower delivery. The music moves along a lot faster and the combination jives well, a nice rock song that keeps moving along.

The six hundred ninety-second song: Waiting Room - Fugazi

Although this track has a clear metal influence, its music goes that much slower, lessening its intensity instead. The vocals are that bit more stripped down as well, with the real power coming as much from the larger choruses joining in instead. The music builds to being more celebrating in places, but the step down from metal does make it that much more accessible and listenable when you come across it like this.

The six hundred ninety-third song: Touch Me I’m Sick - Mudhoney

Following that, Touch me I'm Sick really brings the volume to the point where it becomes incredibly distorated. The repeating, simple chords and drum beat emphasize that further, while the screamed lyrics seem like they're needed just to get through them. It's a lot of energy and a lot of aggression, working to create that full atmosphere.

The six hundred ninety-fourth song: Feed Me with Your Kiss - My Bloody Valentine

Feed Me With Your Kiss loses its lyrics almost completely in its music, heavy guitars almost completely drowning out the lyrics. It's a bit too much for me - without the lyrics, this feels like a repeated chord that wears out its welcome quick enough, lacking the variation that's meant to sustain its four minutes.

The six hundred ninety-fifth song: Buffalo Stance - Neneh Cherry

Buffalo Stance has that classic hip hop build, with a build of energy, lyrics about life on the street, that quickly build into an R&B track for part of it, mixing both together with the samples and DJ stylings. It's a nice combination, not too innocent but also not going as grim in these. It's a pretty nice hip hop pop song that stands out for its own energy.

The six hundred ninety-sixth song: Fast Car - Tracy Chapman

Fast Car is a straight forward folk rock song. Its focused lyrics really sell this point, an appeal to leave, both discussing the life they want to escape (get out of the shelter) and the feeling of freedom when they travel. It's touching and really hits you with every aspect of it. Nothing is underperformed, but the music hits at just the right points.

The six hundred ninety-seventh song: Straight Outta Compton - N.W.A.

And if the previous hip hop tracks weren't enough, we really start getting the gangsta rap in. This feels like a song declaring war on other gangs and others they don't like. It's aggressive and dark, the beat really becoming secondary to the lyrics. The rappers on this album come back in bigger places later, and that's the rap legacy that I feel we see rise in the next two decades.


The one hundred and nineteenth book: #192 The Adventures of Sherlock Holmes - Arthur Conan Doyle

A book like this loses some of its power when you already know the stories. Sherlock Holmes is a known enough figure that a number of these stories have been adapted, for me most notably on TV and in podcast form, and so I knew what a bunch of the twists were. I'm not sure how it would have changed my enjoyment - some of the solutions aren't really ones you can work out from what you're given, especially no longer knowing the cultural context, but others feel fairer in that sense. It's well enough written and fun to follow along to, especially when it hits thestories I'm not as familiar with.


The five hundred and seventy-seventh album: #577 Throwing Muses - Throwing Muses

There's nothing really grabbing about this album. The folk rock feel of this album doesn't really elevate in a way that managed to appeal to me and on the whole it felt a bit dry. Oddly enough, this one is not for me.


The two hundred and ninth classical recording: #797 Bela Bartok - Violin Concerto no. 2

The timing of this work's creation, in the run up to WWII, comes through in this work - there's a lot of energy in parts, as well as a lot of restlessness, while it also has its tragic sounds. At a time where it must have felt like the world was holding its breath waiting to see what would happen, there's a similar uncertainty in this work. It still brings a lot of energy to the table as well, but the different moods, as abstract as they are, still strike you.


The two hundred and ninth TV show: #347 MTV Music Awards

Wrapping up another big yearly event, the MTV Music Awards turned out to be the most interesting one. The performances are obviously more frequent and better than the other shows, interesting even if they're not your music. There is a more infectious energy to it that makes it a lot more watchable, including better acceptance speeches. I still wouldn't go out of my way to watch it, but this stayed entertaining enough.


The five hundred and seventy-sixth album: #576 Slayer - Reign in Blood

Slayer, through the length and intensity of this album, has stripped down metal music to its bare roots. It's an ongoing assault of guitar riffs and surrounding sounds, with anything else cut from the songs, and it becomes too much quite soon after. Even at half an hour for the total length, halfway through a lot of the album starts feeling similar, the dark lyrics become meaningless and a bit farcical and it just tries to do it too much. A song would be good, the full album is already too far over the top.