The one hundred and sixty-fifth song: La paloma - Caterina Valente
Most notable here is the song itself, apparently one of the most recorded songs in the world. A classic folk song, this version makes use of a large orchestra, sounded gentle and possibly slightly sultry. It's an attractive, enticing sound here, one that feels massive while still showing the underlying simpler song. The flourishes are nice, but sometimes a bit over the top.
The one hundred and sixty-sixth song: Sinnerman - Nina Simone
An exciting, enticing gospel song, there's fire in the building crescendo of this song. The loud, almost shouted lyrics feel, on some level, triumphant and even from the mixed call and response in here, you can see how good this would sound in a live setting. As a swooping finale to a set, this would work really well, swept up in the music. There are some different parts of the song it moves through after that, all with the same excitement that would be amazing live and sounds good here too (though at times feeling a bit empty compared to a live performance). It always builds up to this bigger explosion of sound, which is what sounds as good about it.
The one hundred and sixty-seventh song: The Irish Rover - The Clancy Brothers & Tommy Makem
This song really starts off as what you'd expect when you say 'Irish jig'. Happy guitar, there's the accent and it feels like this should be a happy singalong. It sounds good, happy, even when there's the darker sections of the song. It's fun to listen to, even if slightly odd. It's just fun to listen to.
The one hundred and sixty-eighth song: Needle of Death - Bert Jansch
Back to folk, now something slow and sad. Written about the death of a friend through death, the sorrow really comes through in this song. It's specific, accusing and wonders why. The guitar playing adds to this, a single guitar accompanying the song that sounds well, creative and different, never overpowering the song but enhancing it a lot.
The one hundred and sixty-ninth song: Papa’s Got a Brand New Bag - James Brown
And then we continue to the upbeat swing of James Brown, as if nothing happened. The loud horns and excited vocals strike you at first, challenging you to get into it, and it takes a few seconds to really take it. After that it swings on though, bringing in the funk sound he made big.
The one hundred and seventieth song: La boheme - Charles Aznavour
French chansons always hit a particular note for me, often somewhere between longing and happiness, nothing big but never quiet. Through sound and lyrics, it establishes the framework of a past life that make you feel the same. It's a good voice balanced well with piano and violins, that inspires a look back on the past without ever getting too sad.
The one hundred and seventy-first song: California Dreamin’ - The Mamas & The Papas
Speaking of this sort of longing, California Dreamin' was written as some of the band members missed the weather and life in California while they lived in New York. It's clear how their life their went, with a hint of sadness but also celebration in there. It's not regret about decisions made, but it's about how it's a part that now missing from their lives, sadly so. It sounds good here, the group's vocals nicely complementing the feeling of it.
The one hundred and seventy-second song: Ticket to Ride - The Beatles
And here the first song of the big bands from the 60s comes in - we have a bunch of releases like that in this year, and who is bigger than the Beatles, in that way? Incredibly prolific, this song feels like an odd pick for them. Based on the book, this is because it is the first song in their more psychedelic oeuvre, creating some stranger sounds and rhythms than you heard in their pop before. Paying attention to that - rather than the simpler love song lyrics - makes it stand out as being something special. Certainly an interesting song of theirs, now I know to focus on that.
The one hundred and seventy-third song: (I Can’t Get No) Satisfaction - The Rolling Stone
And then we get to the band I've seen described as the counter part to the Beatles. The Stones are more raw, rockier and harder. Still with a pop edge, but clearly intended to feel more dangerous. Here, especially, the song sounds quite sexual and provocative in that sense. It's simpler, but catchier, rockier and fun. This is certainly the sound of a loud rebel, as opposed to the more subdued counter culture of the Beatles.
The one hundred and seventy-fourth song: The Tracks of My Tears - The Miracles
After these different strands of rock, we go to some R&B. A few years ago this would be accompanied with just backing vocals, but here more instrumentation comes in, more production is applied. It sounds sweet, a slick sound that seems to belong in Motown's wheel house. There are times where this just sounds inoffensive, but it works so well that this seems like an understatement as well.
The one hundred and seventy-fifth song: Mr. Tambourine Man - The Byrds
Reading about this, this version of the song starts off the folk rock boom, not creating it but making it big. Based on a Bob Dylan song written a bit earlier, it was adapted here for the group making it a bit rockier. As rock it's gentler, though with the stylings still there. You can still hear the mellow sounds in there, but the music sweeps in to make it bigger, more danceable. It's a pioneering sound and it sounds good here.