The one hundred and thirteenth song: Wondrous Place - Billy Fury
Another British Elvis-inspired singer, Billy Fury sounds good on this, if a bit young. He apparently liked the sparse instrumentation, but it detracts from the music a bit for me, it doesn't really do as much for me.
The one hundred and fourteenth song: Save the Last Dance for Me - The Drifters
Back to more traditional pop, this song sounds good. It's partially an uplifting song, but with a sad note - especially with the history behind it (referencing to a wedding where one of the writers, the wheelchair bound groom, couldn't join the dancing). It has the right mix of emotions behind it, so much of it coming through in the song's vocals. It summons those emotions slightly, while still remaining upbeat enough.
The one hundred and fifteenth song: Chaje shukarije - Esma Redzepova
Peter introduced this as 'something completely different' - and it certainly is. It wouldn't quite feel out of place for Eurovision (not good enough to score high though). The Roma music feels traditional and even though it is mostly described as a lovesong, there is this different tone to it that would make you dance along and enjoy it. Her voice might not be the clearest, but it is right for the song.
The one hundred and sixteenth song: Oh Carolina - Folkes Brothers
And here we have our first reggae song. The quality of the song is sadly a bit off, which always influences things, and here it means the vocals are subdued, the drums a bit too tinny and the whole song sounding a bit different. It also, however, has something swingy while feeling a bit more subdued than previous Caribbean entries sometimes were (nothing wrong with either, but it's good to hear the variety). It drones a bit occasionally, but certainly has its good moments in the song.
The one hundred and seventeenth song: The Click Song (Qongqothwane) - Miriam Makeba
The name 'Click Song' feels condescending when reading about its origin - the English occupants couldn't pronounce the sound, so that's what they called it. The song's lyrics are simple (mostly about a beetle climbing up a road), but the happy song sounds lovely and upbeat, drawing you into the swing of it.
The one hundred and eighteenth song: Will You Love Me Tomorrow - The Shirelles
This is a slower, sweeter song, the sort of song that'd play at the high school dance that's the climax of a romantic comedy. The strings - which are a bit unexpected for it - elevate it a bit, making it sound a bit more special. The band sounds sweet, begging for love without going too far. It sounds good and plays nicely. There's something risky in the explicit lyrics - but then again, nothing that would shock us today.
The one hundred and nineteenth song: Love Hurts - The Everly Brothers
This song is as much a love song as the previus, but sounds so much sugary than the riskier Shirelles song. It might actually be a bit over the top for me, trying too hard to show how much their love for the girl hurts. They do well enough, vocally and musically, but it just doesn't work for me. Perhaps it's too old fashioned?
The one hundred and twentieth song: September Song - Ella Fitzgerald
It actually feels odd to see covers included by now. It's not a bad thing though, as Ella Fitzgerald makes this song her own, melancholy showing through, sounding perfect for September and the feeling that comes through as the days grow shorter. And the way it's just as much a love song, spending the autumn with someone else, are sweet and romantic. It's certainly more grown up than what we've heard before, and all the sweeter for it.
The one hundred and twenty-first song: Shakin’ All Over - Johnny Kidd & The Pirates
The second rock song of the year, and the first one that really feels it, with electric guitars, drums and a strong band behind it. There's something eerie about it, echoing the shaking when he sees a girl he likes. It still rocks away, and I can see live performances being more intense. It's a good sound.
The one hundred and twenty-second song: Non, je ne regrette rien - Edith Piaf
Probably the biggest song of the batch, Edith Piaf is a vocalist on her own level, with this song standing out to such a degree that it's difficult to compare it to others. As a chanson, it sounds absolutely amazing, the rolling r's lending to a feeling of triumph that comes through in every aspect of the song. A celebration of sorts, and one that's deserved.