The two hundred and eighth song: Good Vibrations - The Beach Boys
While this song may be best known by its refrain, the song switches between several styles - and even mixing them at several points - creating a complex combination of sounds that doesn't quite come across by just lifting out a single aspect. There is undoubtably an exchange here between Brian Wilson and the Beatles, both experimenting with creating bigger sounds, even if this song sounds like the biggest example of it, being bigger than any other song in the amount it works to create. It works as it though, with this being its own magnum opus. Don't just think of the refrain - it's almost the most boring part of the track - listen to everything that surrounds it.
The two hundred and ninth song: Dead End Street - The Kinks
Coming down to the ground, this is a poppy song about how life isn't great for everyone. It's a lamenting anthem, complete with several shouts, that indicates how much life... well, just sucks for some. It sounds good, but it's the incisive lyrics that dominate and leave the lasting impression, supported by the instruments and a sad trombone.
The two hundred and tenth song: The Sun Ain’t Gonna Shine Anymore - The Walker Brothers
We really have different streams of music here - while the Beatles and Beach Boys, together with the following acts, are creating their own young sound, here there's a different sound, more led by producers - it's not quite Phil Spector, but the sound definitely feels inspired by that style of music. It still sounds good, creating a great atmosphere, but where before the music supported the lyrics, here it feels the reverse. It still sounds good, but there's almost an interesting counterpoint here.
The two hundred and eleventh song: Season of the Witch - Donovan
Apparently, early on, Donovan was known as the British Dylan, a moniker he was trying to shake at this time. The instruments here seem a lot smaller than the last few songs we listened to, instead getting a guitar, bass and drums together (there is probably a bit more, but it's kept small), creating a simple rock song that relies on the vocals to really take off. There's a crescendo that comes in, but the song doesn't reach the same heights for me as its contemporaries do, not quite making an impact to quite the same extent.
The two hundred and twelfthsong: Friday on My Mind - The Easybeats
Just looking at the title, I was expecting a simple wall of sound style song, but instead we get a bass line reminiscent of Paint it Black, leading into a rock sound that has a nice energy to it - not high or frantic, but enough to set up some excitement. It carries that through, not quite reaching other heights with its lyrics, but working well musically. I think I should probably keep this around for my Friday afternoon anthem, carrying me through into the weekend.
The two hundred and thirteenth song: I’m a Believer - The Monkees
We need to get back to this when we reach this show during the TV writeups, but this is a big enough song that it stands out. I mostly know it from later versions - making this recording sound quite subdued - but it creates a pleasing sound. Of course, The Monkees members themselves don't have quite as much of an influence on the end result as other bands of the time did, but it makes for a more polished, consistent sound that, of course, was also more manufactured rather than reflecting personality. Mostly, it's an infectious, happy song, and that's what works so nicely here.
The two hundred and fourteenth song: Dirty Water - The Standells
Although not exclusive, this is the year of the rock bands, manufactured or not, and this last third of 1966 really seems to reflect it. Dirty Water goes back to more of a raw sound, more towards the hard rock we've heard from the Rolling Stones before, as well as the punk sounds we've heard in previous batches. Here singing a song 'admiring' dirty Boston. Musically it doesn't go to special places, but the sound and commentary enhances the sound of the song and becomes the real star. Knowing that this wasn't written by the band, who stayed in LA, but instead by their manager, removes little from that impact.
The two hundred and fifteenth song: I Feel Free - Cream
Cream is apparently the first succesful supergroup, made up of more bluesy performers doing rockier stuff. Here, it takes psychedelic rock, roughly at the intersection of rock and blues. It sounds good, smoother than most, relaxing while still bringing in the urgency rock often seems to instill in me. It's a nice challenge as a song that really has its own appeal in sounding slightly different.
The two hundred and sixteenth song: You Keep Me Hangin’ On - The Supremes
We're getting away from the rock bands we've had so far, and the white male look of all bands, and go to The Supremes, with their more produced sound that focuses on creating simpler pop. It's still a fairly straightforward love song - or break up song. It layers its instruments quite well for the standard uniform sound. It works well and just creates a good song, with its own good pop sound. More interesting is that the rock influence is in there, that meant that many rock groups later decided to cover it.
The two hundred and seventeenth song: Happenings Ten Years Time Ago - The Yardbirds
We're getting back to another hard rock sound with heavy guitar riffs and clear drums, although with a clear vocal line over it, rather than the rawer voices other bands would prefer. The contrast sounds really good, creating a more ethereal sound. That's what probably drives the song most for me, this clear constrast between the two elements (the music getting interrupted by what sounds like sirens and explosions, mostly well created through the instruments and some loose comments) that sounds slightly odd. This is a precursor of heavy metal, and the band a precursor of Led Zeppelin. This feels like a real step towards it, and is notable enough that way.
The two hundred and eighteenth song: Tomorrow Never Knows - The Beatles
And we end 1966 with a familiar band, but not a familiar sound. The Beatles were getting more experimental through time, and this seems to be a clear example of John Lennon experimenting with a new sound and creating something that's difficult to place. It's psychedelic rock, something that has started to infiltrate previous song, but here we get a disconcerting song that feels like it's thrown a lot together. For me, it doesn't always work as a song, although it's an experience for sure (just quite off putting at times). It is a consistent sound, just not one that I feel I've heard before and one I'm not sure I'll hear again. It's a song to experience, one that stands on its own, and that I feel I can't question too much. I just had to listen to it.