Category Archives: Time

Little Things: Linda Ronstadt, “You’re No Good” (1974)

I had it planned: the last post before my exit (Outro #5, still coming) was to be on Little Feat, returning to the first band featured on this site. But while I was in the neighborhood of 1974 I dawdled … Continue reading

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Giving Us a Hard Time: Little Feat, “Fat Man In The Bathtub” (1973)

OK, I mean this in a male sexual way: our hero in “Fat Man In The Bathtub,” Spotcheck Billy, is having a HARD TIME getting sex with Juanita. Thus we don’t experience the song as proceeding “in its own good … Continue reading

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In Our Own Good Time: Little Feat, “Rock ‘N’ Roll Doctor” (1974)

Something you could say generally about phrasing is that it expresses an ownership of time: good players and singers proceed in their own good time and aren’t merely hustled along by the programmed “good time” of the song’s beat that everyone … Continue reading

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Spanner in the Works: Weaves, “Scream” (2017)

The simplest polyrhythm is three over two. (Two posts ago I noted frequent use of this triplet pattern in the Smithereens’ “Listen To Me Girl.”) The time is primarily defined by a duple pattern of two, and then a threesome … Continue reading

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When Did Pat Most Get to You? The Smithereens, “Listen To Me Girl” & “I Don’t Want To Lose You” (1986)

For Pat DiNizio (the sunglasses) 1955-2017 When did Pat most get to you? (Of course we’re talking about the band, not Pat alone.) I bet some would answer, “The whole somber mass of Green Thoughts” (1988). I feel like that too. But … Continue reading

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The Ten-Year Hook: The Rolling Stones, “Rocks Off” (1972)

As the poetically inevitable result of my complaint about The Trouble with Horns, Matt Smith made me a mix of great horn parts in rock (posted now in Mixes). When “Rocks Off” by the Rolling Stones came on, I wondered … Continue reading

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Intensity Ruse: Joan Osborne, “Right Hand Man” (1995)

Music is intense—it’s an intensification of tone and felt time—but a paradox of music is that its intensity ploys generate their own defeaters. The especially pure or loud tone just is the recognized idiom of that singer or instrument—the means, … Continue reading

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