Aqualung - Jethro Tull - 1971 - 4/4 to 7/8
While primarily in 4/4, there's a notable shift to 7/8 time in the instrumental section. This unexpected change adds a dynamic and unpredictable element to the song.Cross-Eyed Mary - Jethro Tull - 1971 - 4/4 to 5/4
This song features a shifting time signature, moving between 4/4 and 5/4, creating a sense of rhythmic complexity and unpredictability.Thick as a Brick - Jethro Tull - 1972 - 5/4, 7/8
This epic, 44-minute track incorporates various time signatures, including 5/4 and 7/8, contributing to its progressive and unconventional structure.Locomotive Breath - Jethro Tull - 1971 - 4/4
Though primarily in 4/4, the song features a driving, almost machine-like rhythm that creates a sense of forward momentum, even within the confines of a common time signature.Desolation Row – Bob Dylan – 6/8
Subterranean Homesick Blues – Bob Dylan – 3/4
Third Stone from the Sun – Jimi Hendrix – 7/8
If 6 Was 9 – Jimi Hendrix – 5/4
Manic Depression – Jimi Hendrix (1967) – 5/4
Riders on the Storm – The Doors – 3/4
The Low Spark of High Heeled Boys alternates between 5/4 and 6/4
Dear Mr Fantasy features fluid rhythmic changes and syncopation
Empty Pages shifts rhythmic feel with free-form moments
Pearly Queen is in 6/8, creating a swinging groove
40,000 Headmen plays with rhythmic complexity and time signature shifts
I Robot The Alan Parsons Project 1977 7/8
Lonely Boy The Black Keys 2011 6/8
Gold on the Ceiling The Black Keys 2011 6/8
Little Black Submarines The Black Keys 2011 7/8
Pissing in a River Patti Smith 1976 7/8
The Eleven – Grateful Dead (1968) – 7/4
Uncle John's Band – Grateful Dead (1970) – 6/8
St. Stephen – Grateful Dead (1969) – 7/4, 4/4
Why – The Byrds (1966) – 7/8
No Quarter – Led Zeppelin (1973) – 6/8 – dark, dystopian
No Quarter Led Zeppelin - (Live at Madison Square Garden 1973) – 6/8
No Quarter – Led Zeppelin Live 1973 Premier Mix (1973) – 6/8
Black Dog – Led Zeppelin (1971) – 5/4
What Is and What Should Never Be – Led Zeppelin (1969) - mostly 6/8, with some variations
Kashmir – Led Zeppelin (1975) – 3/4, 6/8
The Rain Song – Led Zeppelin (1973) – 5/4, 7/8
In My Time of Dying – Jimmy Page (Arizona 1988) – Open G Tuning
The Crunge by Led Zeppelin is in 9/8 time, with a funky, reggae-inspired groove
Four Sticks by Led Zeppelin features a complex rhythm in 4/4, 7/8, and 3/4 time signatures
The Ocean – Led Zeppelin (1973) – 7/8, 4/4
Danger Bird – Neil Young (1975) – 7/4, 4/4
Revolution Blues – Neil Young (1974) – 5/4 – antiwar
We're Going Wrong" – Cream Disraeli Gears (1967) 4/4 parts in 6/8
Those Were the Days" - Cream Wheels of Fire (1968) 4/4 with moments of 6/8
The Great Gig in the Sky – Pink Floyd (1973) – 8/8, 3/4
Money – Pink Floyd (1973) – 7/4 – ruling class, corruption
Time – Pink Floyd (1973) – 4/4, 7/8
Red Hot Chili Peppers – Tearjerker (6/8)
Red Hot Chili Peppers – Dani California (3/4)
Red Hot Chili Peppers – Don't Forget Me (7/8)
Red Hot Chili Peppers – By the Way (6/8)
Red Hot Chili Peppers – Hump de Bump (5/4)
The Court of the Crimson King – King Crimson (1969) – 9/8, 5/8
I Want You (She’s So Heavy) – The Beatles (1969) – 3/4
The Weight – The Band (1968) – 6/8
Maximum Prophet – Grateful Dead (1977) – 7/4
Dark Star, Grateful Dead, 1967, Varies (mostly 4/4, with sections in 5/4 and 7/4)
China Cat Sunflower, Grateful Dead, 1968, 12/8
Shakedown Street, Grateful Dead, 1978, 6/4
Terrapin Station, Grateful Dead, 1977, 7/4
Viola Lee Blues, Grateful Dead, 1966, 3/4
Caution (Do Not Stop on Tracks), Grateful Dead, 1969, 5/4
The Other One, Grateful Dead, 1968, 7/4
Let It Grow, Grateful Dead, 1978, 7/4
Eyes of the World, Grateful Dead, 1973, 12/8 (mostly)
Fire on the Mountain, Grateful Dead, 1977, 6/8
New Speedway Boogie, Grateful Dead, 1970, 3/4
Drums, Grateful Dead, 1978, Irregular/Free time (mostly)
King Solomon's Marbles, Grateful Dead, 1975, 7/4
Dancin' in the Streets, Grateful Dead, 1974, 6/8
Wharf Rat, Grateful Dead, 1971, 6/8
Close to the Edge – Yes (1972) – 5/4, 7/4
The End – The Doors (1967) – 9/8 – dark, dystopian
Turn It On Again – Genesis (1980) – 13/8
Stash – Phish (1992) – 7/4
Spoonman – Soundgarden (1994) – 7/4
Schism – Tool (2001) – 6/8, 7/8
21st Century Schizoid Man – King Crimson (1969) – 7/4, 5/4 – corruption, war
Hemispheres: Prelude – Rush (1978) – 7/8, 15/8
Elephant Talk – King Crimson (1981) – 13/8
The Pot – Tool (2006) – 7/4
Heart of the Sunrise – Yes (1971) – 7/8, 4/4
Tom Sawyer – Rush (1981) – 7/4
Sails of Charon – Scorpions (1977) – 7/8
Vicarious – Tool (2006) – 7/8
Aenema – Tool (1996) – 7/8, 4/4 – antiwar
Lateralus – Tool (2001) – 9/8, 7/8
Two Princes – Spin Doctors (1991) – 5/4
Turn It On Again – Genesis (1980) – 13/8
Fool's Overture – Supertramp (1977) – 7/4, 5/4
Sabbath Bloody Sabbath – Black Sabbath (1973) – 7/4
Red – King Crimson (1974) – 7/8
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The Revolution Will Not Be Televised – Gil Scott-Heron (1971)
- Time signature: Mostly 4/4
- Meaning: A powerful critique of the media and societal structures, advocating for real change outside of the mainstream narrative. The rhythm is steady and hypnotic, much like *No Quarter*, with its reflective tone.
- Time signature: 4/4
- Meaning: This ballad tells the story of Rubin Hurricane Carter's wrongful imprisonment and the corruption of the justice system. Dylan's haunting delivery of the story is underscored by a steady, unrelenting rhythm.
The Maker – Daniel Lanois (1989)
- Time signature: 4/4, with some unusual phrasing
- Meaning: A haunting, spiritual track that reflects on creation, power, and the forces of control in the world. Its ambient atmosphere and meditative quality are similar to *No Quarter*.
Break On Through (To the Other Side) – The Doors (1967) – 4/4 to 5/4 Features dynamic shifts in rhythm for a hypnotic drive.
Tuesday Afternoon – The Moody Blues (1969) – 5/4 Blends orchestral textures with an unusual time signature.
Can't Find My Way Home – Blind Faith (1969) – 6/8 Delivers soulful vocals with a rolling, waltz-like rhythm.
Love or Confusion – Jimi Hendrix (1967) – 7/4 Showcases Hendrix's psychedelic guitar wizardry.
Eight Miles High – The Byrds (1966) – 5/4 Pioneers raga rock with its innovative use of modal scales.
Sky Pilot – The Animals (1968) – 4/4 to 7/4 Combines anti-war lyrics with dramatic rhythm shifts.
Cherry Blossom Clinic – The Move (1968) – 6/8 A quirky blend of rock and classical influences.
The Seeker – The Who (1970) – 5/4 Raw energy and introspection in an unconventional meter.
Ol' Man River – Jeff Beck Group (1969) – 7/4 Jazz-infused guitar virtuosity in a unique rhythm.
Mechanical World – Spirit (1969) – 6/8 Haunting lyrics with a slow, mournful rhythm.
Good Morning Little Schoolgirl – Ten Years After (1969) – 5/4 Bluesy rock with a distinctive rhythmic twist.
Salty Dog – Procol Harum (1969) – 7/4 Nautical-themed lyrics with a haunting, uneven rhythm.
White Rabbit – Jefferson Airplane (1967) – 5/4 Inspired by "Alice in Wonderland," with a hypnotic groove.
Incense and Peppermints – Strawberry Alarm Clock (1967) – 7/4 Psychedelic anthem with offbeat rhythms and vibrant melodies.
Tales of Brave Ulysses – Cream (1967) – 5/4 Combines mythological lyrics with a bluesy, irregular rhythm.
Revolution – The Beatles (1968) – 4/4 to 5/4 A hard-edged protest song with shifting rhythms.
Pretenders Songs with Syncopation, Unusual or Exotic Time Signatures
The Pretenders Brass In Pocket Live in London 2009 - 4/4 (with syncopation)
While the song is in 4/4, it features syncopated accents and off-beat phrasing, especially in the vocal delivery, giving it a swing-like feel.The Adultress (Live in Santa Monica, Sept. 1981) - 5/4
This track features a distinct 5/4 rhythm, creating a slightly off-kilter, jagged feel that adds to the emotional tension of the song.Pretenders - Back On The Chain Gang (Radio 2 Live At Home) - 4/4 (with syncopation and swing feel)
While the song is in 4/4, it incorporates syncopation, especially in the rhythm guitar and the vocal phrasing, which gives the groove a subtle swing.Pretenders - My City Was Gone (Loose in L.A.) Live HD - 3/4
The live version of this track incorporates a waltz-like 3/4 rhythm, contrasting with the more straightforward 4/4 version found on *Learning to Crawl*.Pretenders - Don't Get Me Wrong (Live in London) - 7/4 (sections)
The verses feature a subtle 7/4 rhythm, which adds rhythmic tension before resolving into the more conventional 4/4 chorus.THE PRETENDERS – The Wait [Live Audio] Paris Theatre, London 1979/01/02 - 7/4
The song is structured around a repeating 7/4 pattern in the verses, giving it a driving and slightly off-kilter feel.Kid - The Pretenders (1980) 192kHz/24bit FLAC 1080p Video - 6/8
This track features a 6/8 time signature, giving it a swaying, triplet-based groove that's more complex than standard rock time signatures.Pretenders - Mystery Achievement (Loose in L.A.) Live HD - 5/4
The song is built on a 5/4 time signature, with Chrissie Hynde's vocals adding fluidity over the odd rhythm, creating a sense of tension and release.Talk of the Town - Pretenders - LIVE - 5/4
This track also follows a 5/4 time signature, with the rhythm section driving the song forward and the vocals providing a melodic contrast.THE PRETENDERS ROOM FULL OF MIRRORS 1984-06-24.Dortmund - 3/4 (sections)
The song shifts between time signatures, with some sections featuring a 3/4 waltz feel, adding an unsettled quality to the overall track.The Pretenders - Hymn To Her (Live in Sydney) | Moshcam - 6/8
This track features a 6/8 rhythm in the verses, creating a lilting, soulful quality that contrasts with more straightforward pop tracks.The Pretenders on Austin City Limits "Middle of the Road" - 5/4 (intro and verses)
The intro and verses are in 5/4, adding a staggered, driving feel, which contrasts with the more straightforward 4/4 sections that follow.Pretenders - Tattooed Love Boys (Official Music Video) - 3/4
The intro and rhythm guitar sections have elements of 3/4 or 6/8, giving the track a jittery, yet rhythmic feel with a bit of swagger.Pretenders - I Go To Sleep (Official Music Video) - 3/4
This cover of Ray Davies' song features a 3/4 time signature, lending it a dreamy, waltz-like quality that contrasts with the band’s more typical rock rhythms.The Pretenders Private Life (live) - 7/4
The song features sections with a 7/4 time signature, creating a rhythmic tension that complements the song’s edgy, rebellious feel.Black Steel in the Hour of Chaos – Tricky (1995)
- Time signature: 4/4 (with shifting vocal rhythms)
- Meaning: A dark, trip-hop track about rebellion and resistance, specifically about incarceration and systemic injustice. The atmosphere is eerie, with deep, resonant beats similar to the mood of *No Quarter*.
Redemption Song – Bob Marley (1979)
- Time signature: 4/4
- Meaning: An iconic protest song calling for liberation from mental slavery. The soft, reflective nature of the acoustic arrangement contrasts with the urgency and power of the lyrics, creating a feeling of both peace and defiance.
- Time signature: 7/8, 4/4
- Meaning: A lyrical meditation on struggle and the cyclical nature of life, this song touches on the futility of constant labor and the resistance against oppressive systems, all wrapped in an atmospheric, indie-folk sound.
Shine On You Crazy Diamond – Pink Floyd (1975)
- Time signature: 4/4, 7/8
- Meaning: While this track is often interpreted as a tribute to Syd Barrett, it also explores themes of societal collapse, the loss of innocence, and the darkness lurking beneath the surface of fame and success.
- Time signature: 4/4, with shifting patterns
- Meaning: A song about overbearing control and the destructive effects of authoritarian figures, particularly in the family and society. The layered instrumentation and haunting melody create an atmosphere of tension and unease.
Up from the Skies - Jimi Hendrix
- Time Signature: 6/8 (compound time)
- Meaning: A psychedelic track with a jazzy rhythm, “Up from the Skies” explores themes of space and time. The 6/8 time signature gives it a rolling, dreamy feel, complementing the song’s abstract, otherworldly lyrics.
Castles Made of Sand - Jimi Hendrix Anthology Version
- Time Signature: 5/4
- Meaning: A melancholic yet beautiful song about the fragility of life and human existence. The 5/4 time signature creates an off-kilter, unstable feel, reflecting the impermanence and fleeting nature of the metaphorical castles in the song.
- Time Signature: 3/4 (waltz time)
- Meaning: One of Hendrix’s most iconic ballads, “Little Wing” has a spiritual and ethereal feel, with lyrics that evoke the image of a mystical figure soaring through the sky. The 3/4 waltz time enhances the song’s graceful, flowing mood, as if floating on air.
Life During Wartime – Talking Heads (1979)
- Time signature: 4/4 (with syncopated rhythms)
- Meaning: A song that deals with the paranoia and tension of living in a world on the brink of collapse, both politically and personally. Its infectious rhythm pairs with the underlying theme of resistance to societal oppression.
The Stranger – Billy Joel (1977)
- Time signature: 4/4
- Meaning: A track that explores themes of identity, isolation, and societal disillusionment. The narrative style paired with a somewhat somber melody and introspective lyrics fits the reflective mood theme.
King Harvest (Has Surely Come) – The Band (1969)
- Time signature: 5/4
- Meaning: A deep, soulful song with a political edge, fitting your taste for protest songs. The 5/4 time signature is subtle, but it adds a certain urgency to the melody.
- Time signature: 7/4
- Meaning: The classic anthem *Baba O'Riley* features a repeating 7/4 pattern, bringing an intricate rhythm to its anthemic, rebellious energy. It also connects to themes of youthful revolt and disillusionment.
Dancing with the Moonlit Knight – Genesis (1973)
- Time signature: 7/8, 5/4
- Meaning: A classic progressive rock track with shifting time signatures, Genesis' *Dancing with the Moonlit Knight* perfectly matches your taste for musical complexity, along with its commentary on British society.
Astronomy Domine – Pink Floyd (1967)
- Time signature: 5/4
- Meaning: Early Pink Floyd with its spacey, experimental sound and rhythmic oddities. It creates a feeling of cosmic unease, aligning with the darker atmosphere of tracks like *The End*.
Yours Is No Disgrace – Yes (1971)
- Time signature: 7/4, 4/4
- Meaning: A great example of Yes’ intricate, shifting time signatures and progressive rock structure. The uplifting melody contrasts with heavy philosophical lyrics.
The Sound of Muzak – Porcupine Tree (2002)
- Time signature: 7/8
- Meaning: Porcupine Tree often explores themes of societal critique with complex time signatures, and this track is no exception.
Black Hole Sun – Soundgarden (1994)
- Time signature: 7/4
- Meaning: One of Soundgarden's defining tracks, with its dark, psychedelic tone and complex, yet accessible, time signature.
The Unquiet Sky – Anathema (2014)
- Time signature: 7/4
- Meaning: A more atmospheric, modern rock track with existential and philosophical lyrics, capturing a similar feeling to your Grateful Dead and Pink Floyd tracks.
My Generation – The Who (1965)
- Time signature: 5/4
- Meaning: A classic rock anthem with a rhythm that strays from the typical 4/4, representing youthful defiance and frustration.
- Time signature: 7/4
- Meaning: A darker, more atmospheric track with a post-punk vibe, *A Forest* creates a sense of desolation, akin to the haunting atmosphere of *No Quarter*.
Songs in Exotic Time: The Rhythms of Rock Music - Defiant Yet Contemplative
Literal and figurative, rock music has always heard another heartbeat than the rest. Within one of the genres largely filled with experimental uses of multiple musical elements, rock's employment of exotic time signatures counts as one of its most underappreciated aspects—but nonetheless thrilling. Until quite recently in the modern era of rock, songs were often centered around a simple 4/4 rhythm—a light, digestible, completely predictable bottom. Yet it is in those more unexpected realms of 5/4, 7/8, and even 15/8 time that some of rock's most groundbreaking songs will reside, inducing dissonance, tension, or even transcendence in their audience. Strange, difficult rhythms dismissed as overly technical and obtuse have become essential elements to some of rock's best and most thought-provoking songs. They add not just complexity but an emotional and thematic richness that pushes rock into new dimensions.
One of the most fascinating things about exotic time signatures is how seamlessly they integrate into rock's storytelling tradition. Take King Crimson's iconic track "21st Century Schizoid Man" (1969), for example. With its jagged 7/4 and 5/4 time signatures, this song is an audacious critique of war, corruption, and the disintegration of society. Chaotic rhythms reflect the song's dystopian themes, capturing a sense of confusion and unrest. Shifting meters mirror the instability of the world it describes, creating an unsettling atmosphere that makes the song feel alive, dynamic, and desperately urgent. The time changes don't just disrupt the rhythm; they drive the song's emotional intensity, catapulting the listener into its fragmented, tortured world.
In progressive rock, the complication of rhythm is often used to elevate a song's concept or message. Yes's "Close to the Edge" from 1972 stands tall as one such towering example. The track moves through sections in 5/4 and 7/4, its unusual time signatures used to reflect the philosophical themes of inner transformation and spiritual awakening. These irregular rhythms aren't here just to show off musical dexterity but are a mirror of the emotional and psychological journey being described in the song's lyrics. As the music shifts unpredictably, it's imitating the sense of personal growth and the search for enlightenment, both uneasy and beautiful. The rhythm complexities reflect the complexities of the human soul, making the song an immersive, deep experience that challenges the listener's perceptions of both time and self.
Another band known for their bold use of unusual meters is Rush. Tracks like "Hemispheres: Prelude" from 1978, with its mind-bending 7/8 and 15/8 time signatures, transform the band's music into a labyrinthine journey. "Hemispheres" isn't just flash for its multiple time signature changes; they serve almost as a structural backbone to the song's narrative, treading themes of reason, emotion, and cosmic balance. The angular, twisting rhythms of these odd meters create a sense of tension and release, mirroring the philosophical conflict at the heart of the song. It's an intellectual journey both musically and lyrically, where the time signature is as important as the lyrics in conveying the themes of duality and conflict.
On the darker side of rock, Tool is one of those bands that have made complex rhythms an art of reflecting emotional fragmentation and psychic turmoil. “Schism” (2001), with its 6/8 and 7/8 time signatures, is a perfect example of how rhythm can mirror the internal dissonance of its subject matter. The song is about broken relationships and the feeling of alienation, and its shifting meters convey that sense of disconnection and the difficulty of finding resolution. The unusual time signatures here are not only a technical challenge but also an emotional one: this creates a feeling of unease and confusion, which perfectly fits the lyrical content. In the same vein, "Lateralus" (2001) took rhythmic complexity one step further with its 9/8 versus 7/8 sections. The track employs the Fibonacci sequence both in its lyrics and in its rhythmic patterns, creating an ethereal, spiraling structure that mirrors the song's themes of personal growth and the cyclical nature of life. Tool uses time signatures not as a way to break the shackles of conventional music but as a vehicle to channel emotions and philosophy.
While these progressive and experimental bands have made exotic time signatures their signature style, Led Zeppelin and Pink Floyd have also used complex rhythms to enhance their atmospheric sound and thematic depth. Led Zeppelin’s “Kashmir” (1975) is a masterclass in using exotic meters to evoke a sense of grandeur and mysticism. The combination of 3/4 and 6/8 gives the song a hypnotic, almost trance-like quality that perfectly complements the epic, otherworldly themes of the lyrics. The swirling rhythms, along with Eastern-inspired instrumentation, create a sound that feels vast, as if it could stretch into infinity. Similarly, "No Quarter" (1973) uses a steady 6/8 time signature to create an eerie, ominous atmosphere, matching the song's themes of isolation and existential despair. Here, the unusual time signature isn't merely a rhythmic affectation; it adds a dark shading to the song's mood, imbuing it with an element of foreboding.
Even the Grateful Dead—purveyors of supposedly free-form improvisation if ever there were any—ventured into exotic time signatures. "The Eleven" from 1968, for instance, is cast in 7/4 time, a perfect example of how even the most complicated rhythms can be shoehorned into what often seems like a no-brainer jam. The 7/4 rhythm is an unconventional foundation, but it works beautifully for Jerry Garcia's flowing guitar lines, which manage to convey forward motion without sacrificing the looseness of the band's improvisational performance. The rhythm feels natural, almost organic, despite its complexity, and the interplay between time and improvisation gives the song a sense of fluidity and freedom.
Exotic time signatures, such as 7/4, also find their way into songs like Soundgarden's "Spoonman" from 1994 to create an angular, infectious groove. The 7/4 rhythm pushes the song along, lending it a restless energy that perfectly complements the song's theme of rebellion and defiance. The odd time signature here serves to give the song a unique pulse, setting it apart from more conventional rock tracks. Likewise, The Beatles’ “I Want You (She’s So Heavy)” (1969), with its relentless 3/4 rhythm, uses a simple odd time to create a heavy, hypnotic groove that matches the intensity of the song’s passion and obsession.
The beauty of these songs is in how the exotic time signatures are used not just for musical novelty, but as an intrinsic part of the song’s emotional and thematic expression. These rhythms do not exist in a vacuum—they interact with the lyrics, melody, and overall structure to create something that feels new, unexpected, and profoundly affecting. In pioneering these new rhythmic frontiers, these bands have created songs that exceed the boundaries of expectation and push the possibilities of what rock music can be. In the realm of odd time signatures, rhythm isn't just a backdrop but a life force that molds the narrative, defines the mood, and drives the emotional power in music. These songs remind us that in rock, as in life, sometimes the loudest talking is done by unexpected, irregular beats.
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