The two hundred and thirty-ninth song: Montague Terrace - Scott Walker
The sixties were a time of experimentation in music, and this feels like a part of that. Montague Terrace has a sound that implies grandeur, with booming vocals, a focus on violins and an explosion of sound about a minute in. At the same time, I'm not sure it ever quite gets it right in the way later songs do, but it feels like the likes of Queen have listened to this and got inspired by it. It's impressive in its sounds and how the vocals want to come across.
The two hundred and fourtieth song: A Day in the Life - The Beatles
I'm never quite sure what to expect when a Beatles song comes up on the list. I've heard this before - of course I have, I'll have heard most of their big songs before - but couldn't quite link the title. Its upbeat vocals feel at odd with the message, and the crash partway through the song, which reference darker events such as suicide. More interesting is that this song clearly has two different sections, divided between Lennon and McCartney, linked as well, but distinctive enough. What makes it interesting is that the song is clearly a big production - there are places where it's a standard poppy Beatles song that could have been from the earlier albums, but bringing in big orchestral elements as well as more of a message. It's its own type of masterpiece, and I can see why it could be considered the Beatles' best - it certainly brings out the best of each of them.
The two hundred and fourty-first song: Alone Again Or - Love
There is something odd about hearing the mariachi playing in a rock song, adding a weird wistful note to a song that mostly has a fairly upbeat sound (one that obviously doesn't come through in the lyrics about being alone again tonight). It works to evoke a good mood though, while also creating a good sound that I've been enjoying listening to.
The two hundred and fourty-second song: Tin Soldier - The Small Faces
The mix here felt a bit off when we were listening to it, overpowering the vocals slightly, which I think may overpower part of the meaning - I certainly can't say I felt very good about the weird sound of them. At the same, everything else - the music itself - sounded so good that it matters less. It rocks a lot and feels solid all the way through.
The two hundred and fourty-third song: See Emily Play - Pink Floyd
This starts off sounding like we're listening to another Beatles song - the subject and sounds could all do it, although there are a few weird instrumental changes at one point that they hadn't done before. That doesn't necessarily remove value from the record, as it still sounds good, and even if it comes from the same strand of the Beatles, it's a good rip off. It's just as much its own thing still, allowing for an interesting sound to shine through.
The two hundred and fourty-fourth song: A Whiter Shade of Pale - Porcol Harum
"You'll recognise it when you hear it". And that's true, the initial riff of the song feels like it's been used in love scenes all the time. In fact, it might be one of those songs in the supermarket playlist from my teenage years. It's fairly slow, carried by the organ, and doesn't stir as much in me as it probably should. It is well performed, competentn and interesting enough, but not something I'd call as exceptional.
The two hundred and fourty-fifth song: The Tears of a Clown - Smokey Robinson & The Miracles
I'm not sure it's the weirdly high pitched vocals or the tune that does sound a bit like circus music, but together this song becomes something that tries to be a love song, but gets a bit too whimsical to talk about the tears of a clown. I get that's partially the point, but there's no point where it slows down or allows for any sadness.
The two hundred and fourty-sixth song: Sunshine of Your Love - Cream
One thing I had to remind myself of when listening to this is that this came from the blues of earlier, putting the song in context. It might sound odd for the rock songs we've been immersed in recently, but it really takes its tempo from blues classics, fusing it with rock elements, but creating a song that doesn't rely on big gymnastics and special sounds to tell its story and create its impact - a thing it does well here.
The two hundred and fourty-seventh song: Cold Sweat - James Brown & The Famous Flames
We're coming into funk now - this song is cited as the start of that movement. Musically it's fairly simple, repeating a few beats but never becoming challenging. Rhythmically it does a bit more, but it really forms a baseline for the wild, at times incoherent vocals. It sets up a genre that puts the singer front and center, delegating the musicians to the background. Others were in this position before, but it feels like I can see it when listening to this song, in a way that creates mechanical music that keeps sounding the same. It might have impressed me more if it had been shorter, but four months into a seven minutes song, my attention started to drift, and I got bored. It's not worth it.
The two hundred and fourty-eighth song: The First Cut Is the Deepest - P.P. Arnold
While having some sad lyrics, there's something upbeat and happy about the song as well. Arnold's vocals start off slow, but as everything kicks in on the chorus, she sounds amazing, overruling the quite powerful instruments quite easily and continuing to make a strong impact, as befits the lyrics.