The five hundred first song: Hammond Song - The Roches
Starting off 1979 is this folk song by the all-female Roches, three sisters who sing a lovely folk song with an interesting contralto sound that comes in quite unexpectedly. The lyrics are relatively simple, focused on something more mundane, but even more effective for it. It grows on yo, the guitar underlying the songs, even more when the electric guitar comes in. It's not a very complicated song, but one with a better message for it.
The five hundred second song: Heaven - Talking Heads
Heaven feels like one of those songs where I feel I can see why people enjoy it, see why it makes an impact and sounds special. There's a nihilism in the lyrics that appeals to me, but I'm not sure the music quite lends itself to that - a bit too synthy and poppy to work for it and perhaps that's where I feel like I'm missing something. It's well produced, but the craft that other may have don't feel like it's in the song for me.
The five hundred third song: The Eton Rifles - The Jam
In an already post punk era, The Jam brings another song from that type, an attack on the upper class and how they take on the lower class for a joke, the latter still being forced down - right on the back of worker rights being squashed. The politics are there in the song, but the catchy chorus over aggressive guitars drive the point home more. It's a war song of sorts, a call for a revolution that comes across in many of these songs.
The five hundred fourth song: London Calling - The Clash
Speaking of classic punk, London Calling is one of the big anthems, an effective comment on where the world was going and, in some sense, the same worries and fears that play these days. There's a gloom in the music, on top of the punky angry sound, with some of the ape-like calling sounds adding to the primal fear that's in there. It's not too long, but effective.
The five hundred fifth song: Transmission - Joy Division
The first of Joy Division's three songs on the list is dark and moody, its lyrics sung in such a low bass voice that it becomes unsettling, its commands drowned out by barely harmonious guitars and an almost angelic background sound at times. It keeps going, powerful and strong, without giving a break at any point. It's dark, the "dance to the radio" chorus being menacing throughout rather than something you'd enjoy. It's truly excellent that way.
The five hundred sixth song: Voulez-Vous - Abba
Time to wipe away the darkness for now for an upbeat disco number, showing the other side of life that was happening around the time - probably experienced by more people than the darkness of Joy Division. Voulez-Vous really feels full-on disco, with tightly-honed vocals on top of a relatively simple score, with the chorus getting in the real flourishes. The repetition of it is what really drives it home as a dance song, nothing too intense or complicated, but more having a good time - even if the disco dance break against lasts too long.
The five hundred seventh song: Beat the Clock - Sparks
The Sparks' previous song was, to say the least, bizarre, with sound effects and just general weirdness. Beat The Clock dials back on that, instead bringing in an 80s synth rhythm and driving chorus, backing a more melodic verse that expounds on the need to beat the clock, "no time for relationships", which, too, feels like an 80s philosophy. We're there a bit early, but it's a good start of a musical style and I'm looking forward to reviewing their albums some day.
The five hundred eighth song: Oliver’s Army - Elvis Costello & The Attractions
I guess this is another side of new wave - taking in a heavy disco influence as the backing of the song really sounds like an Abba song in several places, the organ and piano both enforcing that. At the same time, the lyrics go in a completely different direction, primarily referencing the Northern Irish conflicts, as well as other conflicts around the world and how scary they were. It's an anti-war and anti-aggression song, but rather than taking a folksy song, it's a happier, peppier disco mood that is an interesting counter to the feeling the song is trying to bring across.
The five hundred ninth song: Tusk - Fleetwood Mac
Tusk feels a bit experimental still, a prog rock oddity with cheering crowds in the background, a non-rock rhythm and a move to a more pop sound in places. At times it feels like a party or a carneval, with lyrics that don't feel too meaningful but otherwise a sound that feels like an experiment - see what works, what sticks, and what does it for the band. Here, it apparently did - not that it got me wildly enthusiastic, but I guess it works.