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...next song comes on with loneliness and violins, and it's not enough that later on in the album Buffett sings about adding saxophones to country music, "Yeah, cleaning up the muddy breaks," as a bass guitar licks up and down the scale. Or that at the very end of "3/4 Time" Buffett does a 6-minute monologue called "God's Own Drunk," wherein the hero is guarding a still, gets overcome by temptation, takes a few slashes, commences to get hot flashes, metamorphoses into God's Own Drunk and a fearless man, then sees "The Bear...a Kodiak-looking...

Author: By Tom Blanton, | Title: Bashed and Buffetted | 3/25/1976 | See Source »

Created 15 years ago in the west Kingston ghettos by amateur musicians, reggae is characterized by a scratchy, staccato guitar, incessant drumming and full-volume bass. Its rhythm is distinctive because, unlike rock, it emphasizes the first beat instead of the second. Harry Nilsson, Paul Simon, Paul McCartney and Eric Clapton have recorded songs with a reggae beat...

Author: /time Magazine | Title: Music: Singing Them a Message | 3/22/1976 | See Source »

...this atmosphere of raw capitalism. Marley's rock guitars, the tribal chanting of a group like Burning Spear, even Toots and the Maytals' infatuation with U.S. country-and-western, are allowed inside the reggae big top. Organs, saxophones and flutes often accompany the basic guitar-drum-bass troika...

Author: /time Magazine | Title: Music: Singing Them a Message | 3/22/1976 | See Source »

Producers also spike sales by making "dubs" of their hit releases. Designed for dancing, dubs consist solely of the five guitar-drum-bass rhythm tracks. Kingston's 70 discotheques crave "greatest hits" album dubs, but since they cost twice the normal amount, only the capital's top dozen discos can afford them...

Author: /time Magazine | Title: Music: Singing Them a Message | 3/22/1976 | See Source »

...onto the floor. Jealous singles. myself included, anxiously waited to dance with that one person, who managed to be engaged all evening. Students who in their everyday miens betray no trace of libidinal expression were liberated in that dark room, exhibitionists beneath the sensual pommeling of a bass guitar. This is a wonder of the Harvard party--the trans-mogrifications that straight-laced students undergo on the dance floor; one of the only real pleasures of Harvard parties is finding yourself dancing ferociously with someone whose usually upright demeanor only prompts idle fantasy. The room was--except for the intervals...

Author: By Philip Weiss, | Title: No Deposit, No Return | 3/22/1976 | See Source »

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