The two hundred and fifty-eighth song: Say It Loud–I’m Black and I’m Proud - James Brown
While not just a funky song, this is a song that also attempts to address issues in a time when civil rights were still and racism was rife. It works as good, contemporary 'anthem'. Not a protest song, but more an affirmation. There's places where it gets repetitive, but that's what sets the right tone to whip people up.
The two hundred and fifty-ninth song: Hard to Handle - Otis Redding
I just listened to an album of his, so it's good to hear a slightly later work. Released posthumously, this doesn't indicate anything about that - it's full of life, catchy and fun. Head bobbing good, really. It's more up tempo than he normally would, but it excites more and shows a range that's fun to listen to.
The two hundred and sixtieth song: A minha menina - Os Mutantes
Watching City of Men, and seeing a Brazilian act coming up for the songs list, made me wonder how it would reflect here. There is an odd mix going on here - we've heard South American bands before, but this introduces the electric guitar from contemporary rock into a more relaxed song, adding an odd note to the combination of sounds that is coming through. It was an experimental stage for them, and you can almost tell that throughout the song, as it mixes bossa nova with rock, the Beatles coming through without quite being referenced in the song.
The two hundred and sixty-first song: Sympathy for the Devil - The Rolling Stones
From Brazilian music with rock influences, we now go to rock with samba influences. It is a familiar sound, one that doesn't go for anything too loud, and has a fairly friendly, up beat melody. That, of course, contrasts with the lyrics about the devil's deeds. It becomes fairly hypnotic, and good to listen to - maybe not the best song, but so enjoyable.
The two hundred and sixty-second song: Pressure Drop - Toots & The Maytals
Reggae doesn't necessarily work for me, although this example sounds better than others in the genre. It's a bit faster, a bit more of a full sound, but at the same time, the core doesn't deviate enough from what I hear elsewhere, and it still doesn't appeal to me.
The two hundred and sixty-third song: Cyprus Avenue - Van Morrison
Cyprus Avenue starts slow and ramps up slowly, not necessarily by much. It's wistful and longing at first, and some of that goes, but it still inspires you to mentally visit another place. It's a longer journey, not one I might necessarily always have felt on board of, but flows through okay. I can see how it would work better life, when the full emotion is there, as here it never quite takes me far enough on that journey.
The two hundred and sixty-fourth song: Hey Jude - The Beatles
With how weird the later work of the Beatles get, it's good that we end their presence on this list with a more conventional song. It's a sweet, simple song, set up to make you feel better. It slowly builds its instruments and sound. In that sense, the first four minutes or so sound good and encouraging. At that point, the long fade out has begun, unrelated as much to the original, and more playing around with the music. That doesn't add as much to it, and it feels like the original part would have been amazing and touching on its own. The fade out makes the song memorable, but it feels a bit unnecessary. It's still good though - and the more you listen to it, the more it makes sense, showing how repetition can work well in context. It was the first half that really got to me though.
The two hundred and sixty-fifth song: Voodoo Child (Slight Return) - The Jimi Hendrix Experience
Jimi Hendrix's sound feels completely different in this era. It's raw and dark, his vocals drowned out by loud guitars. It makes his lyrics sound distant and mysterious, giving an inviting disconnect. And in the end, the guitars sound amazing, and that's what he was best at. Let that pull you away.
The two hundred and sixty-sixth song: The Pusher - Steppenwolf
We're getting this song from Steppenwolf, rather than the more famous Born to be Wild. I can't say I disagree with the choice, as the message in the song, matched to the music, makes for a more interesting experience and a more interesting whole. It's dark and angry, mostly accompanied by a bass riff with the guitar coming in occasionally to emphasize. The lyrics dominate in between in what feels like a stripped down, powerful combination.
The two hundred and sixty-seventh song: The Weight - The Band
I've mentioned before that country isn't quite my genre. This country rock song, however, does show it's not absolute (but that rock always does good for me). It's not a loud song as before, a gentler song with a piano featuring well but still having the swing rock provides. It's a pleasant chorus as well, and it just relaxes me nicely.
The two hundred and sixty-eighth song: Days - The Kinks
Smaller and sweeter than the more famous You Really Got Me, this is a more wistful, dreamier song thinking back to the good times. Where other songs have done it, here it's still rockier, perhaps closer to what we're used to from the Beach Boys and the like (although less produced). It's incredibly well written, and pleasant to listen to because of that.