The four hundred and tenth song: That’s the Way ( I Like It) - KC & The Sunshine Band
As we're getting into disco, there are songs that feel important because of their chorus, the catchy section you dance to while the verses are less interesting. Here, the chorus really brings that and that's what feels memorable while I have no idea what they were singing about. To be honest, the title makes that clear, and the rhythm of the song makes that clear enough - a song that's clever enough to focus on its hook.
The four hundred and eleventh song: Kalimankou denkou - Le Mystere des Voix Bulgares
While some folk music sort of ended up in the classical list, we come across it here occasionally. It feels rare at this point in the list, but here we have Bulgarian folk music by performers who ended up working with Kate Bush and whose ethereal voices sound like motets, but I guess with village music interests, the angelic sounds changing enough to not be just that. The topic of the song is presumably secular as well, but it works here either way.
The four hundred and twelfth song: Marcus Garvey - Burning Spear
While I think we've covered reggae before, it was a bit bland before. Here, while the energy has gone up much, there's something about the arrangement that works better and adds some pep to it. There's the funk influence, but it still feels like it needs something to help speed it up.
The four hundred and thirteenth song: Bohemian Rhapsody - Queen
Why do so many people love this song, and why do I enjoy it this much? It's partially its weirdness, the changes in the style and the song that makes it feel like it's thrown together. There's an odd narrative, something almost psychedelic about its journey. But I think it's partially because it's so great to sing along to, almost like an anthem, a song to have fun with. It doesn't work for everyone, but I guess it's what you grew up with.
The four hundred and fourteenth song: Gloria - Patti Smith
From what I understand, at this point of time punk is getting started and Patti Smith's opening line sets up that feeling. Musically it might be fairly tame, but it feels like it describes the feeling of being outside the norm and mocking the choruses she uses, rejected the established rock world. I appreciate that sarcasm and that alone connects, making for a good challenge. It's fun as it ramps up, all with that no-care attitude.
The four hundred and fifteenth song: Tangled Up in Blue - Bob Dylan
Having listened to Simon & Garfunkel recently, we got into a conversation about how I prefer them over Bob Dylan. Not just because of their vocal skills, but how they write music that appeals to me more and sounds better produced. Tangled Up In Blue doesn't feel like it does much different musically, with lyrics that do feel quite personal, describing a relationship that he links up to his life, getting to her. I'm not sure how much it manages to affect me, but I can see its journey and how happy it made him.
The four hundred and sixteenth song: Walk This Way - Aerosmith
It's hard to divorce this song from Run DMC's version, which mixes their rap with this song. Here, we just get the fast rock bits, which do show how it connects with the rap, but it stands well on its own. There's a lot of energy in this, the short guitar solos working well to punctuate the fast and high energy lyrics. It's fairly simple to listen to, but the performance is what makes it so impressive to listen to. It can't help but give you that energy.
The four hundred and seventeenth song: Wish You Were Here - Pink Floyd
The long intro to this song sets up the segue to its sad lyrics well, the feeling of missing someone portrayed well through every part of the song. Possibly written refering to Syd Barrett (although this is disputed, it's an interpretation that works on some level) it brings to mind that feeling of loss and missing someone, a seperation that's difficult to overcome. It helps that the vocals are raw, not entirely smooth, creating more of this feeling of being alone.