So by the transitive property, love is money?
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[6.12]
Anthony Easton: This is most likely a placeholder single, until the new album comes out and something more interesting replaces it. It is perfectly competent, with some lovely bits: some good percussion, beautiful guitar work, and his voice is as delightful as ever, but the writing is anonymous and sentimental in ways that are beneath his genial professionalism.
[6]
John Seroff: It’s likely a mix of the bittersweet homilies and the indie-sounding “Chopsticks” keys under the layers of strings but “Time Is Love” evokes direct comparison to John Mayer and DMB. YMMV as to whether that spoils the sharp performances or you’re able to take solace in the sturm und twang or (like me) you more or less split the difference.
[6]
Brad Shoup: The post-chorus guitar twinning speaks to the theme far better than the actual text. Gorgeous arrangement, though, and it’s kinda neat to hear him make amateur-night transitions between notes.
[6]
Edward Okulicz: “Time is Love” hits close to home and stabs me at the same time because it speaks to experiences and mistakes we’ve all made. Its lyrical concept — that it’s better to spend times with the person who matters — is potentially saccharine, but it’s handled lightly and doesn’t lay the lessons on too thick. But it also soothes me, because its melody isn’t saccharine, it is sweet and humble and beautiful. Its arrangement is surprisingly ornate and delicate like layers of honeycomb beneath Turner’s honeyed voice. It’s also sung with the wisdom of someone who’s let work and the unimportant things get in the way one too many times.
[9]
Alfred Soto: The slide guitar has more treacle than Turner’s voice, but that’s the worst thing about this crowd pleaser, which sports at least two unexpected curlicues from a mandolin and another guitar. A producer for a WB drama looking for an opening credit theme song could do worse.
[7]
Michaela Drapes: Sorry, Josh — I’m afraid you’re treading in some territory already well-trafficked by Joni Mitchell and Ben Folds telling the other side of this story. Unfortunately, the turgid arrangement and the fact that dude is actually already late and is depending his girl to patiently wait for him to show up are both such turnoffs here.
[2]
Pete Baran: A jolly country roll-along song shouldn’t have such fancy orchestration, is my first response. The break into fiddly Django-esque jazz guitar is arresting because it is so well done. Josh’s syrupy voice doesn’t seem out of place with the juxtaposition, and if this was an experiment, it’s almost wholly successful.
[7]
Jonathan Bogart: The warmth in his voice is like a summer’s day: overpowering and sleepy, full of meaningless platitude.
[6]