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Pictorial view of what we humans strive for in music

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Closeness is the relationship of musicians/vocalists. Ok, now to delve further. You know when there are two people singing the same thing the same way? You can usually tell if they know each other, and how good of a relationship the two have. It is in our blood, as humans to mimic the ones we love, even if it is in the simplest of means. Means such as a woman beginning to pronounce a word slightly differently than she had before because her man is from a different state. Another example would be if your best friend always hummed a tune when they were bored, and you created a beat on a desk to compliment their skills. Your beat would be a better counterpart to your friend's humming than a strangers contribution would be because you know their style, patterns, and range.

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I have grown to trust the opinions of Mr. Ratliff over the course of the semester. He has not steered me wrong yet, so why on earth would I think he would start now. Ratliff's views on closeness are correct in my eyes. This concept was kind of difficult for me to follow, but as I kept rereading, a vague understanding was developed. I do not feel as if I fully understand the concept of closeness well enough to say that Ben has it wrong. However his credibility on things I did understand gives him brownie points toward earning my assumption of his correct classification and creation of closeness as a musical element, and so do his plentiful (yet not very relatable) examples within this chapter.

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Man this would be an awkward musical encounter in real life...

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Howlin' Wolf (1954)

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I listened to three or four different recordings of this song, from the same year. None of the recordings sounded alike instrumentally.This leads me to the conclusion that the instrumentals are improvised for each performance. This takes incredible closeness with your bandmates, in order to know the tempos and relative riffs and pitches they tend to stay in is intensely important. How are you supposed to add your contribution to the song, if you don't have that relative knowledge that allows for you to know what to play? By accomplishing all of these feats, "Evil" by Howlin' Wolf heavily embodies the entire gist of what I interpreted from chapter fourteen in Ben Ratliff's "Every Song Ever".

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"Sometimes the closeness of two musicians within a band is what makes the band capable of moving beyond normal limits. The connection between them becomes the power source, creating enough energy for the rest of the band to feed from or mirror."

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"Sometimes the closeness of two musicians within a band is what makes the band capable of moving beyond normal limits. The connection between them becomes the power source, creating enough energy for the rest of the band to feed from or mirror."

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-Ben Ratliff

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Sublime

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My choice for closeness would have to be "Rivers of Babylon" by Sublime. The song has such a simple melody, but the band throws in different instruments at just the right time to keep it from feeling static or boring to the listener. The instrumental strengthens the vocalization with a few key notes places strategically at the right time to emphasize the passion that the vocalists were conveying. The two men harmonizing the lyrics were playing off of each other's ranges and tempos. Everything they did was on time with everyone else, and the song passes by like a well oiled, yet still raw and compassionate, machine, exemplifying closeness with perceived ease.

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"Certain kinds of music are built around close partnerships almost as a philosophical imperative, some kind of this-is-who-we-are ethic of sharing or of cultural survival."

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"Certain kinds of music are built around close partnerships almost as a philosophical imperative, some kind of this-is-who-we-are ethic of sharing or of cultural survival."

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Ben Ratliff