Tags » Rock Aesthetics

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… 228 more words

Rock Aesthetics

Joy: The Beatles, "Here Comes The Sun" (1969)

Easter 2018

This is a movie hook post that wants to become a music hook post.

I’m starting with an image from Tarzan and His Mate  469 more words

Rock Aesthetics

Am I Early? XTC, "Earn Enough For Us" (1986)

You can’t always assume you’ll be welcome if you arrive earlier than expected. In music, at least, there are some generally good ways to grab your audience by showing up early, some of which have been discussed on this site: coming in slightly early on a vocal ( 616 more words

Rock Aesthetics

The Combination: Baby Animals, "Painless" (1991)

In the past I’ve lamented the quick passing of a moment of peak interest in a song. Like on an actual mountain peak, you have to face the fact that there’s scarcely anything there and 99% of your time is spent building up to it or dimly remembering it. 179 more words

Rock Aesthetics

Honest: Dire Straits, "Sultans of Swing" (1978)

“Sultans of Swing” was the breakthrough for Dire Straits’ wondrously fresh small-combo sound built around Mark Knopfler sensitively finger-picking his Strat. Weirdly, the song’s subject is a jazz band that plays “Creole music,” with horns “blowing Dixie,” not remotely like what Dire Straits play; nor do Dire Straits try to imitate them (except once in ironic counterpoint, when an expressive guitar fill follows the remark that Guitar George “doesn’t want to make cry or sing”). 209 more words

Rock Aesthetics

The Greatest/Worst "I": John Lennon, "I Found Out" (1970)

We already covered the “I” of “Gloria” and “Psycho Killer,” but that was in two special contexts. What about the first-person pronoun as something generally meaningful, one of our top go-to words? 208 more words

Rock Aesthetics

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 is dropped into the space for two, gliding waltz feel over stomping march feel. 237 more words

Rock Aesthetics