The five hundred and sixty-seventh album: #567 Beastie Boys - Licensed to Ill

There's something really appealing to Beastie Boys' sound, even as it has its points where some of the tracks blend together. Part of it feels like it's from the punk rock origins of the band, with the backing track feeling heavily punk influenced while the rap on top feels like it still has some part of that sentiment. It's mostly pretty happy and upbeat in its sound, which helps as well - juvenile at times, but it works with the sound that's present, and it's no wonder there are so many hit tracks on here to recognise. It feels as much part of a build to this version of hip hop as it sets where rock starts to develop to, with a larger fusion than before.

And as an aside, the TV references in Time to Get Ill feel like they meshed really well with the TV project and everything I've been covering lately.

The two hundred and fourth classical recording: #406 Pyotr Ilyich Tchaikovsky - The Seasons

With The Seasons, I felt I had to adjust my expectations a bit. Rather than this representing the twelve months of the year, with an emotional arc of sorts, the twelve pieces are more written to be one per month that don't necessarily reflect the seasons as you'd normally experience it - spring is a lot more melancholic, for example, and the work never gets as abundant as you otherwise might expect. As twelve pieces with some different inspirations, it works through that melancholic link that doesn't really fade away as much until August or September's piece. The title of 'The Hunt' is probably the greater indication of that month's tone.

The five hundred and sixty-sixth album: #566 Afrika Bambaataa & The Soul Sonic Force - Planet Rock: The Album

It feels like we've reached another stage of hip hop. Planet Rock, both the title track and album, feature heavy electronic music and really are a fusion of the two to the point where it feels hard to separate them. The rap sections still have the heavy focus on rhyming and elation, while the electronic sound builds on the likes of Kraftwerk, the funky disco sound still running through all of the tracks. It's a good listen, nothing too focused, but it really has that party atmosphere.

The six hundred thirty-fifth song: Sally Maclennane - The Pogues

I've covered the Pogues before as an album and this of course doesn't have much that's different - it's a good example of their Irish folk rock with a fair bit of excitement in it. It feels like a good drinking song and just listening to it works really well.

The six hundred thirty-sixth song: Voices Carry - ‘Til Tuesday

As a new wave song, it feels like Voices Carry hits the semi-love song, relationship investigation angle well. As with a lot of new wave songs, the form overshadows the content in places, but it works well outside of that.

The six hundred thirty-seventh song: The Sun Always Shines on T.V. - A-ha

THe drive of this song really tells its story in its build up, the ballad giving way for to something more poppy, with a more new wave vibe. It has a slightly unsettling vibe from the lyrics, but here too the music masks that a fair bit.

The six hundred thirty-eighth song: Into the Groove - Madonna

Here she finally appears - the rise of Madonna has started in my chronological listening order. The first track I'm covering is a straight up dance track, no frills and relatively innocent. It's addictive though and hard to resist - it hits all its beats so well that it's a good song regardless of where she would go later.

The six hundred thirty-ning song: Running Up That Hill (A Deal with God) - Kate Bush

And then what almost feels like the other side of female vocalists. I've covered the album here already, but the song itself really does stand out. The vocals work perfectly - Kate Bush's lonely main vocals sharp and fresh, piercing through the dreamy music and softer additional layers. It is still a gorgeous song.

The six hundred fortieth song: West End Girls - Pet Shop Boys

Although not normally my musical genre, I've always enjoyed Pet Shop Boys - possibly since the video for Go West dominated and formed at least one aesthetic that got settled in my brain. West End Girls obviously predates that, but the synth sound of it is still so attractive and engaging that this just hits every spot for me. This is just a gorgeous track

The six hundred forty-first song: She Sells Sanctuary - The Cult

After these few tracks, this feels like a simpler rock song. It sells itself quite well and is an enjoyable enough track, but not with as much to help itself stand out.

The six hundred forty-second song: Close to Me - The Cure

Even as there's a fair bit to this song, it's nice to have a song here that isn't as overblown as most new wave tracks - there is a simplicity to it that is pretty engaging and really draws you in. it's a good, friendly pop song that I can really enjoy.

The five hundred and sixty-fifth album: #565 Elvis Costello & The Attractions - Blood and Chocolate

Today it feels like Elvis Costello's aggressive singer-songwriter rock isn't hitting for me. The vocals feel a bit off putting and the sounds of the tracks blend together more than on previous albums. Lyrically, it also doesn't satisfy as much, it's a bit simpler, while not really messing with the vocals - the sleazy sound isn't meshing with me.

The two hundred and third classical recording: #669 Giacomo Puccini - Gianni Schicchi

Operas always have a trickier task to judge purely as a recording. The Italian book here doesn't give me much of a story to go on, although a Wikipedia performance helps a lot to roughly keep track. The music gets harder to keep track of as a specific sound - while character leitmotifs appear, they can also be buried by the rest of the music, and setting the scene and the story means that parts of it can struggle to retain its identity. Here, the opera has a good footprint and while the score seems heavy, the voices really get a chance to shine with this. The humour doesn't always shine through in the music, this mostly coming from the lyrics instead. It's good, the piece works well, but in hindsight, it would have been better in context.

The five hundred and sixty-fourth album: #564 Scritti Politti - Cupid & Psyche 85

Cupid & Psyche 85 is a pretty light weight album, mostly formed of some upbeat pop tracks that mostly don't feel like they reach too deep. It fits in with the likes of Wham! that appeared around the same time, as well as some Beach Boys throwbacks. Even so, it feels like it misses some depth that other albums have given and while it's well crafted and fun to listen to, it's not the direction I want to see everything move to.

The six hundred twenty-seventh song: How Soon Is Now? - The Smiths

The darkness that The Smiths bring to their music is present here, a wailing guitar occasionally piercing through the dark bass line. It's evocative and mood setting, encapsulating your emotions completely. It's still a powerful piece, the full version's slow descent adding to that feeling.

The six hundred twenty-eighth song: Rattlesnakes - Lloyd Cole & The Commotions

Rattlesnakes is a throwback rock record, more evocative of the sixties than the eighties. It's a nice rock song like that, but it feels out of place compared to what surrounds it and misses that bit of punch that could really elevate it. The lyrics are intelligent, but not quite easy enough for me to follow along to.

The six hundred twenty-ninth song: Im Nin’ Alu - Ofra Haza

Based on a traditional poem, Im Nin' Alu opens with a sober sound. The pop music kicks in, reminiscent of other sounds from the region, but there's something quite hypnotic about the poppier traditional sound that isn't far off from a Bollywood arrangement. With the lyrics in Hebrew, the text isn't easily accessible to me, but it makes the sounds even more hypnotic, building on that feeling that lures you in.

The six hundred thirtieth song: Purple Rain - Prince & The Revolution

And then there's the better known, more accessible purple rain, the weirdly evocative title invoking its own thoughts and images. It's strong in its repetition, with the lyrics and music merging well. It's long, and not the most intense, but it's powerful enough in what it does.

The six hundred thirty-first song: State of Shock - The Jacksons featuring Mick Jagger

As a collaboration of some music greats, this seems to be missing something for me. There's something missing in how the songs build and a connection that's missing - the back and forth doesn't feel as magical as you'd hope from this. I was hoping for something better.

The six hundred thirty-second song: Private Dancer - Tina Turner

I mentioned how good Tina Turner sounded on the album by the same name, and this song is still one of the highlights, a soulful ballad that feels like it has a an edge and the wisdom of age in it that is otherwise missing. It's still as good to listen to here.

The six hundred thirty-third song: Freedom - Wham!

Freedom is a poppy love song that's uncomplicated in its sound, not looking for a deeper meaning but just staying what it is. It's happy and fun and just a good song.

The six hundred thirty-fourth song: I Want You Back - Hoodoo Gurus

I don't think this is the strongest rock song - a garage throwback that does the pop rock genre quite well, but doesn't have a track here that I really managed to connect with.

The five hundred and sixty-third album: #563 Dexys Midnight Runners - Don't Stand Me Down

Don't Stand Me Down focuses on a few long tracks more than anything, supporting a progression through the music with definite stages to the song. There's a fair bit of spoken word included to set the stage in several tracks, which sets it apart together with the special mix of instruments - a heavy emphasis on saxophone, which makes the album feel closer to jazz, and a fair bit of violin. There's a heavy blues tint that follows from this, repackaged from a new wave era that feels like it creates a unique sound - regardless of whether that really hits or not.

The two hundred and second classical recording: #328 Robert Schumann - Symphony no. 4

It's always great when something simpler can come through from a more complex work - although there is a lot of complexity to this piece, with a lot of beautiful surroundings, the core melody shines through really brightly and it's a treat between the movements, a layering that just works exquisitely well. There's this timeless, enduring quality to this piece that I just really loved.