The seven hundred seventeenth song: Can’t Be Sure - The Sundays
As Bjork has really hit, others are filling a similar niche. The vocals and music here are similar to hers, although with a clear English accent to them. It's an incredibly attractive and engaging sound.
The seven hundred eighteenth song: Lullaby - The Cure
The soft, seductive vocals create a dreamlike feeling, with a sultry mood that doesn't give anything away. It's strange and mysterious, a real treat that feels designed to lure you in - a grown up lullaby with its own edge.
The seven hundred nineteenth song: Free Fallin’ - Tom Petty
This is a folk rock song that contributes to that feeling of the open road, a story that describes some part of America's heartlands. It doesn't go too country, which lets it keep its attraction a lot more for it, as an interesting and engaging approach.
The seven hundred twentieth song: Nothing Compares 2 U - Sinead O’Connor
This is a sweet and accessible love song, simple and romantic, not overproduced, instead focuses on a tortured performance that infuses the song with a lot more of a feeling something is wrong and isn't going anywhere. It's beautiful in its scale.
The seven hundred twenty-first song: The Humpty Dance - Digital Underground
Having grown up with more of the grim rap side of hip hop, the lighter sound of hip hop that comes through at this point is interesting. While we've had more upbeat songs, this feels like a full on pardy song, Humpty is a character by lead Shock G that takes on posers - not unlike other track later do - but there's something charming about the over the top portrayal that feels quite engaging. It's an odd one to listen to, but it's a fun concept that still has a really good groove to listen to.
The seven hundred twenty-second song: Back to Life (However Do You Want Me) - Soul II Soul
The rhythmic repetition of the core lines of this track is surprisingly engaging, a really addictive feast that I get stuck in my head every once in a while. It's a lovely R&B track that will just stick with you.
The seven hundred twenty-third song: Nothing Has Been Proved - Dusty Springfield
The production that underlies this song makes it sound a bit like a smaller, subtler James Bond theme - there's trumpets and jazz, as fits its status of movie theme, but the theme and feel of it is more subtle. There's a lot in it, without any of the music going over the top. It makes for a really lovely track.
The seven hundred twenty-fourth song: Headlights on the Parade - The Blue Nile
The synth pop feel of this track is longing and slow, creating a real invitation to lounge and wait things out. It's again another journey, a track that stretches out in front of you that you go down, that love will survive and that you will live through.
The seven hundred twenty-fifth song: Chloe Dancer/Crown of Thorns - Mother Love Bone
As two grunge songs combined, the change in the last two and a half minutes of the song is clear enough in how it shifts down its energy and becomes more languid, the vocals disappearing for a while as the rhythm guitars pull back their sound. It's a nice approach that works well for this sound, managing not to outstay its welcome despite its eight minute length.
The seven hundred twenty-sixth song: Rhythm Nation - Janet Jackson
Another Jackson really begins creating danceable songs, with Rhythm Nation really feeling aimed at the masses to do so. There's a lot of energy in this track that I can see hitting especially well in the right circumstances, with a crowd dancing together. It's incredibly attractive in every beat it hits. What a pile of energy to end the eighties!