The eight hundred thirty-fourth song: Guilty By Association - Joe Henry and Madonna
This duet is more of a ballad than I would expect from Madonna, and it's hard to ignore that Joe Henry feels like he's taking the lead on this, his rougher vocals and stronger sound dominating over Madonna's more ethereal vocals - a sound that doesn't entirely suit it. It's a good combination, but maybe doesn't show the best of both.
The eight hundred thirty-fifth song: A irmandade das estrelas - Carlos Nunez
This is a nice Spanish folk inspired track, based on the music of Carlos Nunez's roots. It's an attractive sound where a lot of it comes together well, with a proper traditional build and overall good sound. It's different, but works.
The eight hundred thirty-sixth song: Brooklyn’s Finest- Jay-Z featuring The Notorious B.I.G.
The intro of this track is so cheesy, it really doesn't fit the gangster violence of the rap that follows. It works as a rap, coming together as a good combined song, but it references a culture I'm too far removed from.
The eight hundred thirty-seventh song: Novocaine for the Soul - Eels
This is a subdued indie rock track, one that mirrors the feelings of depression that seem to lead through the song, and the happier moments that the novocaine for the soul brings. It's a nice listen, with what sounds like string sections bolstering the mood of the track.
The eight hundred thirty-eighth song: Ready or Not - Fugees
Lauryn Hill's Ready or Not chorus dominates this song, setting a staccato trend that both contrasts with the smooth and sensual sound of the rest of the track, but also puts something mechanical in as a comment. The Fugees here, too, show a side of hip hop and rap that feel like they provide more depth and insight than the gangster rap we saw earlier and create something beautiful.
The eight hundred thirty-ninth song: Firestarter - The Prodigy
Firestarter is straightforward enough to leave an impact and become one of the early memorable and impactful moments of my secondary school life. There's something devilish in Keith Flint's sound and appearance, which is underscored by the heavy electronic dance track, while the alt rock references add extra musicality and variation to it that wouldn't be there. The clip that went with it reinforced that image, and it really feels like one of the big influences on my tastes and that of the friends I had at the time.
The eight hundred fortieth song: Professional Widow (Armand’s Star Trunk Funkin’ Mix) - Tori Amos
For a remix, it feels like a lot of the song has less in common with the track - only halfway through the extended mix do we really get a large chunk of Tori Amos' vocals, while a lot of the remainder introduces two vocal samples to the beat. It's put together really well and a great thing to listen to regardless.
The eight hundred forty-first song: Nancy Boy - Placebo
The punk-inspired, grunge sound of Placebo in this sets its tone, the tenor vocals lending a boyish charm to heavy lyrics and an even more overpowering music. It's a simple concept in a way, dealing with daily life, but the full energy adds so much more to it, while the lyrics are that much smarter and more interesting.