Rock, blues, and soul have always made for easy traveling companions; long before we got too caught up in the idea of musical genres and sub-divisions, tribes, and demarcations, no one really cared where the internal borders between this holy sonic triptych actually lay. The smarter artists, even today, don’t. Don’t Call Me Tina is just such an artist.
“Get What’s Coming (To You)” is one of those songs that has chart success written all over it, a song that sounds as if you have been listening to it half your life already, a timeless song that could have originated any time from the late fifties to last Saturday. And that, I suspect, is a pretty good definition of a song that could be labeled classic. (Not that us smarter people care about labels, do we, but you know what I mean.)
Guitars twang with fifties resonance and skank seductivley as most soulful licks often do, percussion does nothing more than click a beat to keep things on track, and Christina Brennan’s vocals are given enough room so that they are musically framed as the star of the show—dynamic, expressive, emotive.
But if you were going to pick a best supporting sonic actor, it would be an unexpected one. Space. The great thing about the song, one of the many great things, is that there is so much space being left to work its magic. Space to let things breathe and resonate, pool and percolate, drift and emanate, and it is this spaciousness that really makes the difference.
It’s a great song. Watch out, Bonnie Raitt; there’s a new kid on the blues-rock block!
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