The three hundred and twentieth song: Life on Mars? - David Bowie
Through all of this list so far, as well as the commentary after his recent death, David Bowie has been building up for me, and this feels like one of the songs that defines why. It's him, but it's a different sound, confident in the way it sounds unlike other songs to some extent. It's a bit alien, as intended, and it works here.
The three hundred and twenty-first song: Bang a Gong (Get It On) - T.Rex
The chorus of this is probably the most famous part, and all of it confirms how rock has moved on - we've entered the era of glam rock, and that stands out. It sounds darker, more aggressive than Life on Mars, while featuring some blues as well. It's a heavy sound, that ends up in your face, while taking some extravagant stylings in there.
The three hundred and twenty-second song: Blackwater Side - Anne Briggs
In the mean time, folk still has its shot and shows it can have a far greater impact with how little it does. With minimal accompaniment, Anne Briggs evokes a mood and sound that stands out and reaches deep into you, telling you a story and setting a mood. Simple, understated but beautiful.
The three hundred and twenty-third song: I Don’t Want to Talk About It - Crazy Horse
We combine what was listed before into a folk rock song that feels like it contains some sadness and despair, a longing mood that becomes impossible to shake. There is not a lot of happiness in it here and while it seems at its core a love song, there's more to it here than that.
The three hundred and twenty-fourth song: A Case of You - Joni Mitchell
While Anne Briggs went for plain folk, Joni Mitchell's song here feels like it has a bit more polish to it. Perhaps because she wrote it for herself, she added some more body and made it more personal. It's an incredibly lovely song, one that resonates and sounds sweet, delivering the right tone.
The three hundred and twenty-fifth song: Crayon Angels - Judee Sill
More folk, with Judee's lovely voice - really standing out even amongst others here - singing lyrics that are compex and powerful, difficult to break through and fully understand even now. There's a feeling of escape that hasn't arrived yet and that she struggles with - and possibly one that didn't come for her, considering her tragic end.
The three hundred and twenty-sixth song: Famous Blue Raincoat - Leonard Cohen
After some strong female representation, very welcome in the list (and with another coming up next), we move to Leonard Cohen's folk. The second of his two songs of the list, here's a song that doesn't really reach a crescendo, the guitar being amplified by a women's voice in the background that possibly emphasizes the singer's connection to the woman in the love triangle. There's a sadness of loss in here, but also an encouragement to take care of her. It feels like it's pointing towards reaching that state of sad detachment that shines through.
The three hundred and twenty-seventh song: Chalte Chalte - Lata Mangeshkar
One of the most recorded artists (a record currenctly held by her sister), Lata Mangeshkar has mostly had a career in Bollywood films, singing the songs that are mimed by the artists on screen. This gives us an insight in Indian music here, a different sound that I feel we see parodied more than that we see legitimate examples of it. For that reason, I do need to get more acquainted with this type of music, as for parts of it, this did feel a bit off putting. It sounds lovely though, and Mangeshkar's voice in particular is lovely, really shining through as a highlight.
The three hundred and twenty-eighth song: Maggie May - Rod Stewart
We might have put the breaks in this year in the wrong place - after a lot of folk and related songs, here we have a straight up rock song, the first to feature Rod Stewart's vocals. It's a protest rock type of love song - the sentiment is there, but the relationship is unconventional and odd, looking back on somethign that isn't quite right, but that still feels right. There are some blues stylings in here as well, the drums dropping out in places to leave a lot more room for a more whimsical mandolin. On the whole it's a good, lovely sound.