in the past, i would've agreed that 7/8 and 11/8 were the weirdest, but - and maybe this is just because i've gotten more comfortable with those sigs - they're pretty easy to count out and sing along to when you break them up into 3-2-2 and 3-3-3-2 respectively. on the other hand, 5/4 comes back around so quickly that even if you're counting it out as 3-2 or 2-3, which you ought to, it's trickier to pull together. it's not necessarily hard to count, but singing to it is a much greater challenge because you can't cheat your settle into the groove. with 7/8, you can stall through three and rock out on the pairs. likewise with 11/8, you can waltz through the trio of threes and wait for them on the two. 5/4 doesn't give you that luxury. you can't cheat it, and i think that's why you'll hear people sort of drone out the vox on those types of songs.
on radiohead's bloom, for instance, thom is all, "you've got some neeeeeeerrrrrrrve, comin' heeeeeeaaaiiiiiuaarree." why? because it's really hard to use counterpoint effectively when you're busy counting. the obvious alternative is to basically rap your way through it (syllabically emphasizing every beat), but then you risk sounding like a scaley metronome, which is more or less what crack cloud does on their 5/4 banger, bastard basket.
some other geekier opinions i hold, though perhaps less contraversial:
A(add9) and Gmaj7sus2 are the two most beautiful guitar chords ever discovered. E(add9) and C#m (with the high e open) are close runners up though.
DADGAD should be the standard guitar tuning. no offense to open D or the current standard, but you can't never do no wrong in DADGAD.
while i don't buy into any of the philosophy or pseudo-science behind the argument, i do think tuning to 432 Hz (rather than 440) sounds better.
I love the simplicity, yet strong emotional conveyor of a minor third.
7/8 is fun to play... 5/4... I won't even try... hehe.
RoundTheBendI miss the comfort in being sadProfile Ground Control
Also, maybe not a "Controversial" opinion, but no album is a better experience at New Year's than Blonde On Blonde!!!!
Happy New Year everybody.
Yeah - Happy New Year, may this year bring more hope for everyone.
Also I don't get the connection between Blonde on Blonde and New Years... other than it's good.
Well me neither, other than a spiritual emotion of summing up the entire year. The musical variety are in the same ballpark as the year flashing before our jumps 🫢😎🤣 _________________ My Top 100 :
www.besteveralbums.com/thechart.php?c=4...amp;page=1
in the past, i would've agreed that 7/8 and 11/8 were the weirdest, but - and maybe this is just because i've gotten more comfortable with those sigs - they're pretty easy to count out and sing along to when you break them up into 3-2-2 and 3-3-3-2 respectively. on the other hand, 5/4 comes back around so quickly that even if you're counting it out as 3-2 or 2-3, which you ought to, it's trickier to pull together. it's not necessarily hard to count, but singing to it is a much greater challenge because you can't cheat your settle into the groove. with 7/8, you can stall through three and rock out on the pairs. likewise with 11/8, you can waltz through the trio of threes and wait for them on the two. 5/4 doesn't give you that luxury. you can't cheat it, and i think that's why you'll hear people sort of drone out the vox on those types of songs.
on radiohead's bloom, for instance, thom is all, "you've got some neeeeeeerrrrrrrve, comin' heeeeeeaaaiiiiiuaarree." why? because it's really hard to use counterpoint effectively when you're busy counting. the obvious alternative is to basically rap your way through it (syllabically emphasizing every beat), but then you risk sounding like a scaley metronome, which is more or less what crack cloud does on their 5/4 banger, bastard basket.
some other geekier opinions i hold, though perhaps less contraversial:
A(add9) and Gmaj7sus2 are the two most beautiful guitar chords ever discovered. E(add9) and C#m (with the high e open) are close runners up though.
DADGAD should be the standard guitar tuning. no offense to open D or the current standard, but you can't never do no wrong in DADGAD.
while i don't buy into any of the philosophy or pseudo-science behind the argument, i do think tuning to 432 Hz (rather than 440) sounds better.
Perhaps not too controversial, but some good opinions. I think it was John Petrucci that said the opening chord of Hemispheres by Rush is the best chord ever. F#7(11). It's certainly in contention. I like Am/F# as well as Asus2/F# a lot. There's something about that thumb on F# that makes it special. I've experimented with A(add9) a lot, it's a cool chord. DADGAD is fantastic, I really like to downtune half step as well. Alice in Chains (Cantrell's) guitar sound is incredible and also emotionally diverse. Slightly off kilter, can be heavy, beautiful or quirky. _________________ Overall chart Fake overall chart
Speaking of which, why do I barely tolerate the Boss, but Tom Petty is the shit?
I’m actually surprised at how many people (forum regulars) like Springsteen. He’s a pure dad rocker, yet people who hate the dad rock cannon still like him. Does Tom Petty have any good albums though? Think I’ve heard only his greatest hits comp. _________________ Overall chart Fake overall chart
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