The one hundred and twenty-third song: Spanish Harlem - Ben E. King
This song was recorded soon after Ben E. King had left the Drifters, who we've heard before. There's still some doo wop here (what happened to that in modern times?), but the song focuses more on just his vocals, together with a musical arrangement that brings in strings and trumpets to create a dream-like atmosphere. The song is trying to invoke that as well, talking about a rose that grows in Spanish Harlem, an area of New York. It's mostly esoteric, with some Latin hints from the marimbas.
The one hundred and twenty-fourth song: Mad About the Boy - Dinah Washington
The most famous version of the song, where the lyrics of the song are good, Dinah Washington turns this song into something special. The dark sound of her voice adds a maturity to the adoration expressed in the song. It's got power and character to it, making it more than a simple love song. Performed incredibly well and distinctive enough to stand out.
The one hundred and twenty-fifth song: Lazy River - Bobby Darin
Is it possible to be bored of jazz pop already? This song sounds fine, but it doesn't really quite work. It's upbeat and swingy, but seems to hold back a bit and "Lazy River" doesn't really get the impact of the song across. It just doesn't seem to add much for me.
The one hundred and twenty-sixth song: Back Door Man - Howlin’ Wolf
We're getting to a double act of Howlin' Wolf blues songs. It sounds more raw than I expected, dirty and filthy as it goes around to see house wives while the husbands are out - escaping by the back door, as the vernacular goes. The book describes the character as a Casanova/predator, and that comes through. It's clear the women in the song wants him, but he has a raunchy side to the performance (even if it's not quite there in the lyrics) which is dark enough on its own.
The one hundred and twenty-seventh song: The Red Rooster - Howlin’ Wolf
While the obvious interpretation of the song, about a lazy rooster, is the source for the song, Howlin' Wolf's delivery and voice turn it into something more. Indeed, going out to town occasionally gives it a more sexual connotation that makes you wondering what he is really up to. Again, despite a good composition, it's the performance that really impresses and gives this body.
The one hundred and twenty-eighth song: Johnny Remember Me - Johnny Leyton
There's intentionally something eerie to this country-like song. A song about remembering his dead girlfriend, the female lyrics make it sound spooky and add that weird edge to the song. It invokes the idea of a ghost even if it is not actually so. He can't replace her and will always hear her song. It's an amazingly memorable sound.
The one hundred and twenty-ninth song: I Fall to Pieces - Patsy Cline
Patsy Cline's country ballad feels like a bit of a come down after that. A simple love song about a (former) lover who doesn't want to come back, it is a slow and simple song, sang to perfection. It's a simple country ballad, sung by someone who was probably the best at it in these days and seems to have originated it. It's fine, but... it's a country ballad. It'd never really wow me.
The one hundred and thirtieth song: Stand by Me - Ben E. King
Based on an old gospel song, this feels like such a standard. Ben E. King, who is the first artist to perform the song, feels a bit slower and less ostentatious than other later versions, but uses the strings and Latin influences in a way that makes it a breezier, happier song (the musicians coming in because they were hired from Spanish Harlem - this was recorded in time left over after Spanish Harlem had finished recording). It's an amazing composition that works well here.
The one hundred and thirty-first song: Blue Moon - The Marcels
This is not the version of Blue Moon that you were expecting. Although the basics of the ballad are here, The Marcels give it a doo wop twist, starting off with a lot of that, and surrounding the basic lyrics with a lot of their own additions. It's expertedly crafted, but sound off the cuff and more uptempo than the original. I really enjoy these doo wop songs here, and this makes a really good case why. It sits somewhere between doo wop and rock and roll. Just up my alley.
The one hundred and thirty-second song: Crazy - Patsy Cline
It feels like there's more power to this song than Patsy Cline's earlier entry this year. Recorded two months after a near fatal accident, there's a determination in her voice that is striking and empowering. Willie Nelson, the composer, described her performance as magic, and that's certainly in there. An impressive tour de force.