Elliott Smith, Memory Lane - 5/10, Holy cow, that's a really Piedmont blues/ragtime esque acoustic guitar line, vocals are a tad goofily pitched and have a robotic after vibration to them. Overall, meh. Fits the theme.
Ayreon, Day Ten: Memories - 3.5/10, Intriguing non-musical intro, synths are alright, vocals are bleh, acoustic guitar uses the most ass-bleedingly cliché chord progression and tempo combination ever. Electric guitar offers brief interjection that could be ambiguously misconstrued as original had they not heard a single generic improv solo on the electric guitar before this. I died of laughter at the voice at 4:13, so much for the big, epic narrator voice, this sounds more like a 16 year old struggling to lower the pitch of his voice only to discover his balls have yet to drop. Fits the theme.
Michael Jackson, Remember The Time - 7.5/10, Synths are funkier than James Brown's skin tight jumpsuits, Michael's vocal runs are slicker than an Alaskan oil spill, jumps into a perfectly executed shouty passage around the middle. The backing music needs to vary itself more though. Fits the theme.
Free, Remember - 5/10, Fuzz, crunch, blues, and a good groove on that guitar. Vocals are a smidgen generic. Guitar line becomes monotonous and droning after about two minutes sadly, seems they couldn't think of anything for him to do before the solo. The solo is alright. I wish the percussion and rhythm section got more in on the action. It'd add so much flavor. Fits the theme.
Prince, Purple Rain - 6.5/10, Formulaic as a ballad, but it's something Prince managed to make his own and prevent it from being soporific via his immutably unique vocal style. Fits the theme.
Steeleye Span, All Things Are Quite Silent - 6.5/10, Holy Celtic ballads Batman! The vocals couldn't be more evocative of a Celtic ballad if the singer self-identified as a potato-addicted Leprechaun with a surplus of gold pots, rainbows, and Lucky Charms. Instrumentation, though subdued, is good. Fits the theme.
Porcupine Tree, She's Moved On - 4/10, Vocalist overdosed on ambien and bumped his head on the mixing table's reverb knob while passing out before cutting this track. Instrumentation is meh. Soloing is meh. Fits the theme.
The Offspring, The Kids Aren't Alright - 3/10, First off "WE REVERSED THE TITLE OF AN INFINITELY SUPERIOR WHO SONG, LOLOLOLOLOLOLOLOLOLOLOLOL, CLEVER RIGHT!?!?". Generic, and ultimately emasculated imitation of hardcore punk and the Ramones. Vocalist is so antiseptic and varies his vocal runs so little it actually hurts. Fits the theme.
Defiance, Ohio, Oh, Susquehannah - 3/10, I like the instrumentation a little. Vocals sound like a horde of local barflys tried to form a doo wop quintet. Nasally hipster chick starts interspersing herself around 2 minutes in. Fits the theme.
Dag Nasty, Never Go Back - 7/10, Thank the lord, some real hardcore punk with a pair of nuts. Spoken word ranting mixed with the snotty punk vocals and shouts is awesome. The guitar and bass rip. Fits the theme.
Johnny Shines, Sweet Home Chicago - 7.5/10, Scintillating cover of the Robert Johnson classic by a man very close him, with curious and unique flourishes on the guitar licks, amazing groove, vocals pack a metric assload of dynamism and emotive power. Fits the theme.
Talking Heads, Memories Can't Wait - 7/10, Zoning, trippy opening, very cool. The rippling sound of the song overall is smooth and interesting. The shaky uneasiness the vocals all too lucidly convey is kickass too. I just wish it changed itself up more. Fits the theme.
Scarlet Leaves, Images of Memory - 6/10, Good ambience at the start, vocals are passable, they've got a dense slather of effects on them, so it's harder to discern their quality. Drum sound is kinda castrated. I enjoy the spacey, dreamlike quality the song has, the synths really build that texture well. Seems to have difficulty deviating from its main schtick and progression into something more interesting.
Regina Spektor, The Flowers - 6/10, Brilliant piano riffs when mixed with this vocal style. She sounds goofy with her pronunciation and phrasing in certain parts. That's part of what pulls you in I guess, cause it's unequivocally a sound I'd like to investigate further. The Eastern European beat goes nuts on the piano toward the end, cool stuff.
Nick Cave and The Bad Seeds, Where Do We Go Now But Nowhere - 7.5/10, Unique, somber crooning on this tune coupled to borderline Bob Dylan level lyrics. If Nick jumped further into his lower range, this would be even more epic.
Larry Lurex, Goin' Back - 6.5/10, Bright, soft singing from a young Freddie over an almost folksy instrumental arrangement. He sings in a style approximate to his later ballad style singing, but much more youthfully and vocally undeveloped.