The five hundred fourty-ninth song: It Must Be Love - Madness
Although I don't believe I've covered Madness yet at this point, they were an established band at this point. The reggae-inspired cover of the song then would have probably felt like their sound, although to me it feels differently produced, not entirely fitting in with their ska sound but having a lot of their poppy sounds still in place - not pushing it as much as I thought it could, but still quite well done as a song.
The five hundred fiftieth song: Tom Sawyer - Rush
There's a bit held back in Tom Sawyer, lyrically interesting and musically quite complex, with a far more futuristic sound in especially its solos than later acts did - the use of electronics feels stronger in plces in a way that the eighties really embrace. It's a flavour that's supported by the simpler sound of the vocals, avoiding the hard rock shouting but instead giving an earlier rock feel even as the rest of the music feels more ahead of its time.
The five hundred fifty-first song: Girls on Film - Duran Duran
As a new wave entry, I find Girls on Film a bit overwhelming - I know the music video would have been more tittilating and new wave leads off from here - Duran Duran is a big name after all - but it musically odens't give me that much more of interest. It feels like Duran Duran would work better in an album context, but here it feels like it lacks something.
The five hundred fifty-second song: I Love Rock ‘n Roll - Joan Jett & The Blackhearts
Following the demise of punk and the start of the longer lasting post punk era, it feels like hard rock takes on even more of it. Joan Jett feels like it leans into it heavily, in the presentation - more colourful but with the punk edge, the repetitive chorus underlined with the simpler melody. It's good, though, it's catchy, happy and gives that throwback feel that feels quite contemporary with other songs of the era.
The five hundred fifty-third song: Mickey - Toni Basil
The other side is that we can see where pop really goes. Mickey's cheerleader-like chant was obviously made to suit Toni Basil, but it also creates a pop sound that not only feels catchy, but feels a fairly early new wave evolution that leads to the bubblegum pop music we see being on the rise as well. Even as it lacks depth - it really is a cheesy love song - it also creates a really good atmosphere.
The five hundred fifty-fourth song: Computer Love - Kraftwerk
We're already done with all of Kraftwerk's work for the album's list, while this is the last of their songs on this list. It's softer and gentler, the unrelenting beat replaced by a gentle synthesizer sound. It still sounds electric, but there's something that has softened even though the lyrics still focus on the progress of the earlier work - perhaps reflecting a move to softness needed in the harsh 80s
The five hundred fifty-fifth song: O Superman - Laurie Anderson
I'm not sure whether I can reliably say anything about O Superman. It's an art piece as much as a song, an experiment with music and sound whose beat is a looped 'Ha', the singing is all through a heavy vocorder and is as often spoken word as it's singing, and the remainder of the music comes in and out, often just an ethereal sound that feels like it comes in and then slowly fades away. It's art, it's an experience, but it's surprising it became as big a hit as it did, especially as I'm not sure it holds up for the full eight minutes - but again, I'm not sure if this is something that's purely to be liked.