The seven hundred forty-first song: 1952 Vincent Black Lightning - Richard Thompson
There's something odd about a folk song about a motorcycle. It's not, by far, the first song I've heard about the topic, but there's something odd about the different expectations of the sounds. It's a fine folk song, not feeling as bottled up because of the topic, but not something that feels really challenging.
The seven hundred forty-second song: Balada conducatorolui - Taraf de Haidouks
It's hard to remember at this point, but I don't think I've heard much Romani music before. It's weirdly discordant, strangely off, quite a different experience with clear eastern influences. It's an odd melting pot, interesting to hear a bit off, but even this song was discordant for too long.
The seven hundred forty-third song: Calling All Angels - Jane Siberry with k.d. lang
From the start, the electronic sounds of this track mixed in with the dreamy synths create an otherworldly atmosphere - my first thought was aliens. It's really sweet and wishful when it gets started and the feeling it settles into works incredibly well, but the lead in helps set up the mood so much better.
The seven hundred forty-fourth song: I Can’t Make You Love Me - Bonnie Raitt
This is a full, sensitive ballad, a love song with a forlorn vibe as the outcome seems clear. It's small and sweet, its own type of tearjerker performed so beautifully and sensitively - Bonnie Raitt does amazing work here interpreting the song.
The seven hundred forty-fifth song: Jesus Built My Hotrod - Ministry
The bizarre vocals of this song are almost completely hidden by the aggressive metal track, the repetitive nature of the lyrics nonsensical enough that it just becomes an instrument instead of imparting much music, a scat base overlaid with guitars and heavy drumming. It's a strong, heavy track, exhausting to listen to but at the same time incredibly energetic.
The seven hundred forty-sixth song: No More Tears - Ozzy Osbourne
As much as this is a metal track - and all the instruments are there - there's a level of production to this that feels different, while Ozzy's vocals feel like they also set it apart, more of a falsetto that drag themselves out of the music, contrasting with the heavy sounds in a way that lets them stand apart and increase the impact of the music. It's a real story, told in several acts with variation in the track, but all culminating in something great still.
The seven hundred forty-seventh song: Smells Like Teen Spirit - Nirvana
Even if the lyrics are difficult to follow at times, the idea is clear. It's an anthem for teens, a demand for the post punk to be given what they want. It's rebellious and angry, it's selfish but also resonates now as life is getting harder and more superficial. It's a feeling of rebellion, wrapped up in vague lyrics and a lot of memorable parts that all fit in a single track.
The seven hundred forty-eighth song: Summertime - DJ Jazzy Jeff & The Fresh Prince
After all that, some nice, unintimidating hip hop is a nice break. There's nothing threatening or challenging, the lyrics are easy to follow and identify with, and it's just about enjoying summer. It's perhaps aimed a bit too broadly, but it's a nice, fluffy track.
The seven hundred forty-ninth song: Give It Away - Red Hot Chili Peppers
While it feels like they may have been a bit more of their own joke, there's something that really works in this RHCP track. The refrain is incredibly catchy and memorable, a vocal trick in there making that more compelling. The remainder doesn't hold up as well - it's fun to listen to and makes for a good rock track, but the energy there is just more infectious.
The seven hundred fiftieth song: One - U2
U2's big power ballads are their strength. One is one of those clear ones, a strong sound, clearly focusing on the message, not pushing the music out too much but making sure they tell their story. It's pretty well done.
The seven hundred fifty-first song: Losing My Religion - R.E.M.
Following that, Losing My Religion probably hits those beats even more. It sounds really good, the message hits, but doesn't overpower. I don't know why, but there's something where the combination, again, really works, sending a message while staying really interesting musically as well.