The one hundred and sixth song: Brand New Cadillac- Vince Taylor & His Playboys
Rockabilly comes to the UK. Where rock and roll in the country was defined by Cliff Richard early, Vince Taylor brought a more Elvis-like sound in. Strong guitar solos add to a dark, slightly soul-like voice that sounds decidedly non-British - taking off in a brand new cadillac doesn't sound quite right. Sounds good.
The one hundred and seventh song: What'd I Say (Parts 1 & 2)- Ray Charles
Speaking of soul, here's one of the real originators. Interesting experience aside (the song was improvised when Ray Charles has some time to fill at the end of a concert), there is a progression from a simple instrumental song, but then pulls in vocals and builds on the different elements - it seems like there are even more and more instruments joining in as the song continues. It's certainly the looseness the song seems to have (even though they had played it several times by now) that add to the song, it adds an in the moment feeling that is about feeling good for sure.
The one hundred and eighth song: I Only Have Eyes For You- The Flamingos
To remind us that there was more than just rock and roll, here's some doo wop in a ballad about love. The group is described as elegant and sophisticated - that's certainly what the song sounds like. Not just polished or smooth, it sounds very aware and in control of itself. It's dreamy and evokes the love song atmosphere well.
The one hundred and ninth song: Ne me quitte pas- Jacques Brel
I probably heard this song in Dutch as often as I've heard it in French. There's a tenderness to the song, coming from the desperation. It's not about love, it's about being abandoned by his lover. Sure, the song goes big sometimes, but it's the small moments that make the song and tell the message. It keeps you close and that's what pulls you in, the sound of string instruments creating a similar sad feeling. The Dutch version adds urgency, goes bigger (and faster, due to the differences in language). A captivating song.
The one hundred and tenth song: Shout (Parts 1 & 2)- The Isley Brothers
So that song is called 'Shout' - the first bars brought to mind what it was. A happy, poppy song (quite a constrast) Shout does have a tendency to get stuck in your head, and even more gets used for the happy 'here we go' moments in movies. It's energetic and would have gotten people dancing (today is not the day for dancing for me though) and sets the right mood.
The one hundred and eleventh song: Mack the Knife- Bobby Darin
Shades of Sinatra, Mack the Knife features good vocals in a big band production. Despite the feel good tune, it's a song about a criminal and murderer. You need to pay attention to notice it, but it's there. Beyond that, it's swingy - working for the rock and roll crowd while also appealing to a larger audience. Listening to the opera version, Bobby Darin's cover adds swinginess, something you can listen to more for leisure, without quite losing the uncomfortable undertones.
The one hundred and twelfth song: It Ain’t Necessarily So- Diahann Carroll & The Andre Previn Trio
Coming to a jazzier song, this is again adapted from an opera song (the jazziness added for the later release). It originally is a song by a drug dealer questioning the bible, something that comes through in the lyrics here. The vocals from Diahann Carroll add to this,, sounding mocking and questioning throughout. It sounds amazing.