The nine hundred and nineteenth song: Like I Love You - Justin Timberlake
It's odd to think that Justin Timberlake wasn't the musical giant he is now. This is his debut solo single and it feels like it sets the tone with a grown-up R&B sound that feels like a classic straight away. It's focused and takes its influences without copying anything - modern enough, but with a feeling that calls back to earlier times too. It's a strong song, with Timberlake's vocals really pushing it further to the top.
The nine hundred and twentieth song: You Know You’re Right - Nirvana
A long term posthumous release with a history that's interesting in itself, Nirvana's grunge is out of time for the era, but works in a way that's rotated back with a darkness that appeals again. It's Nirvana as you'd expect it, at their best vocally, and it still has a raw appeal.
The nine hundred and twenty-first song: All the Things She Said - T.A.T.U.
There's two sides to discuss about this song. The lyrics, meaning and controversy are clear, a lesbian song from an area of the world where even now that's not accepted. It makes it feel like the biggest thing in the world, the panic and confusion becoming clear in the music. It's a strong performance, produced to be engaging, worming its way into your brain with the panic the song brings. It's a a strong showing that is still as impactful.
The nine hundred and twenty-second song: Untitled - Interpol
We go back to some lower energy again with a track that brings that downbeat, post-punk vibe that feels laden with depression and sadness rather than anger. The vocals are that down, but even the oppressive guitars contribute to that darker sound. It sets a mood - and seems to have been intended as a concert opener - and sells that well.
The nine hundred and twenty-third song: Slob - Weezer
There's a lot in this track that appeals to me. The indie rock sound, with its accusing town, works well and the admonishments work in a context here. It feels short while strong with everything it does with the music. It's just been really enjoyable.
The nine hundred and twenty-fourth song: Strange and Beautiful (I’ll Put a Spell on You) - Aqualung
After all the singer songwriters I've covered from earlier years, I feel like this is the era where they really work for me more than anything. This is a sensitive, simple ballad, built up just enough to work while not overdoing it. It's still a bit more than a man and a guitar, but instead it feels perfectly balanced in everything it does, which also feels like it feeds into the themes of the song. It's a real highlight of this session.
The nine hundred and twenty-fifth song: Quelqu’un m’a dit - Carla Bruni
It's lovely to hear a modern chanson as well. We're far enough in time that the tempo of it feels more modern and upbeat, but the classic feeling is there, the subdued delivery and sweet sound. Bruni's voice helps by being a lot sweeter and engaging, and rather than having to belt her lyrics, she keeps them small throughout the track, which helps create the intimate feelings that elevate the song.
The nine hundred and twenty-sixth song: Heartbeats - The Knife
We're ending with something electronic, another welcome change in sounds. The electronic beat is varied enough that we've clearly moved away from pure dance music when we talk about electronic, but the highlight really comes in when the vocals start, a stark, Bjork-like sound that adds a distinctive sound that manages to take focus from the rest of the song almost by how relatively sparse it is. It's not something you expect, but it works so well here.