The eighty-eighth book: #73 Rob Roy - Walter Scott
Can I complain about a work's false advertising based on its title? While Scottish outlaw Rob Roy appears in the story, he's far from the focus. The introduction in the edition I had tells a lot about his exploits, but it feels like almost nothing of that comes through in the novel. The focus is on Frank Osbaldistone, a nobleman who gets stripped of his inheritance and flees the law but, in the end, is proven right and gets it all back. Rasleigh makes for a good villain - a definite upside - but I wish the story could focus on Rob Roy more - he's a more interesting character and while we hear some of him, it's his exploits that I thought would be the focus. As it is, this is a story with a lot of setup, but a lacklustre pay-off.
The one hundred ninety-third album: #193 The Who - Live at Leeds
As an intentional counter point to Tommy, Live at Leeds is an unthemed collection of songs from a live performance. The sound is, for the most part, still the same - hard rock songs - with the psychedelia obviously dialled back in favour of a sound that can be done - and would work better - on stage. It culminates in a 15 minute jam around My Generation,including parts of Tommy and songs on other albums. It's a glorious hard rock celebration, dropping the messages and stories in favour of just playing music. As a counter point to the rock opera albums, this hits a different spot, and it's impressive that both sides work - a testament to how good The Who was (and is?).
The one hundred ninety-second album: #192 Ananda Shankar - Ananda Shankar
The Beatles started to include Indian influences in their musi as they drifted towards psychedelia, with the sitar being an important instrument used in that. It feels natural then that this is a stream that developed further. Ananda Shankar had moved to the US a few years earlier and gotten involved with the rock groups of the era. His first, self-titled album brings that in, but instead features his sitar playing first, with a rock influence in the background. Some of that comes through in the (mostly) instrumental covers of rock songs, which keep that rock sound as well, while Mamata has the feel of a jazz improv number instead, the sitar supported by quieter instruments.
Metamorphosis really feels like the point the psychedelia ramps up, not just in the stranger soundscape, but also the repetition that heightens the emotions. The later tracks go back to something that sounds more traditional, but there is that undertone of modernity that creates an interesting fusion, even if it's not compelling for me in the long run.
The eighty-first classical recording: #481 Johannes Brahms - Clarinet Quintet
I think this might have been the first piece we've done that focuses on the clarinet. It's nice as a change of pace, the strings aren't as heavy and without a full orchesa the piece feels a lot more delicate. The piece itself feels a bit downbeat and sad, with the third movement having some exceptions, but the tone gets set for that early on. The bts where the clarinet really gets to shine with some rapid movements and pieces, change that a bit as well, but it is mostly kept low key. It works, a nice listenable piece that do't assault you, but keeps you in a slightly sombre (apparently autumnal mood).
The one hundred ninety-first album: #191 Nick Drake - Bryter Layter
Nick Drake's folk music may need the feeling of a grey, wet Thursday more than a sunny July like I had for the previous album. The melancholic vocals get a good counter point in the music, with the different instruments often adding some optimism to the thoughtful songs. The instrumental help set the mood, creating a natural atmosphere that helps create that setting. It's a lovely, magical album, with Northern Sky being the peak of that atmosphere.
The eighty-first second comic: #654 Tekkon Kinkreet: Black & White
It's hard to say sometimes to what extent lofty ambitions should count versus the execution. Tekkon Kinkreet: Black & White creates an interesting world in which two orphans, called Black and White in the translation I had, live a violent existence in their attempts to survive a brutal world. It's clear normal life goes on around them, but they sleep in a car, surrounded by junk they gathered, and deal with the seedy parts of the city. This gets heightened as the yakuza moves in to get its own control on the city. They have to change as their environment changes.
It looks good, with a harsh and artificial art style, but the writing isn't quite there. I don't quite care enough about the characters, but that feels undercut anyway by the rapid cuts between characters and locations, which means you never get quite enough time to get to know them. It's unclear quite what they want, especially for anyone other than the main two. Sure, it comes together in the third act, but the build up fails and the pay off isn't quite satisfying enough for that reason. It's a good set up, but it feels like it's missing a step somewhere.
The one hundred ninetieth album: #190 The Grateful Dead - American Beauty
Restarting the sequence, I come back to some friendly folk rock with the acoustic sound of the Grateful Dead - avoiding the lengthy jams from before, instead focusing on shorter, to the point songs that have meaningful lyrics reflected in the music. There's something melancholic about a lot of them and even Truckin', the closest to a jam, still feels a bit sedate. It's good, but it does feel like a quiet morning, not necessarily sad but not something loud if that's what you want.
The eighty-first comic: #318 Mickey Mouse Meets the Air Pirate Funnies
Some comics are on this list not because they are the pinnacle, because they are the first or because they achieved something special - some are on here for their notoriety and influence outside their immediate reach. We've had several crude comics before, but they never used existing characters in the name of satire. The Air Pirate Funnies though went after Mickey Mouse and other Disney properties and stood out all the more because of it. It tried but, tied up in legal proceedings, got two issues out. The thing is, they're not that funny. The jokes are drawn out and crass humour doesn't really connect with me. It's a decent attempt at satire, but for that to work there needs to be more of a point to it - drawing Mickey and Minnie Mouse having sex doesn't really make one. It's notable, but not that worthwhile.
The eightieth classical recording: #767 Dmitri Shostakovich - Piano Concerto no. 1
While other concertos often have a soloist that gets followed by an orchestra, in this concerto they are not quite synced and it feels like the piano is almost overlaid on top of the rest of the orchestra. They flow well together, but there's something off about the way it sounds. The trumpet, too, plays into the idea of two independent instruments supported by an orchestra, though not following entirely along with it, and the independence of it feels like a commentary - it makes for a lighter piece, even in the more sombre movements, which feels enlightening on its own.
The one hundred twenty-ninth TV show: #692 Hustle
I've been looking forward to my partial rewatch of Hustle. The premise is interesting already - you're following a group of con men in London, taking money from rich scum. Obviously, you need to feel on their side - not just because they're targetting bad people (innocents do get caught in their wake), but because they're charismatic enough so you stay on their side - flawed and funny, with enough smarts to pull everything off in the end.
The show explores a lot of con options and styles, focusing on long cons but using shorter ones as well. There are plans and backup plans that interact, with enough improv as needed to avoid the perfection - one episode partially hinging on them being too perfect, which is also an interesting direction. Even when rewatching it, it's a delight as even knowing what happens the plan still works out nicely. It stays light enough, which makes for a good, watchable sequence - whether you get invested in every step or sit back and enjoy the ride.