I've posted before on talk.bizarre how I've got a passion for music with odd time signatures, where odd means "abnormal", although a good measure of abnormality is that the topmost number in the meter is not even (except if it's 3; technically, you just get the prime factors from the top number, and if any are larger than 3, it's odd).

I'm so aware of time signature stuff that I can, without reference to anything, trivially sort the performers I listen to into clumps, depending on whether or not I own at least one song of theirs in an odd time signature (normally, but not this time, I count dropped beats as odd times as well, e.g. a single measure of 3/4 in a 4/4 song).

some very incomplete lists of "rock" music in odd times

(The Bobs aren't on any of them because I don't own any of their albums, but "Mopping, Mopping, Mopping" is in odd times... I kinda wonder if that's why it gets the weird vocal delivery...)

Performers who aren't/weren't afraid of odd time signatures, or at least not by "later" in their careers...

"Progressive" rockers, for whom it's just part of the genre

Performers who seem to have stopped using odd time signatures

Performers who have, like, one novelty song in odd times

Performers who I don't own anything by them with odd time signatures

Standout albums for odd-time signatures outside the prog-rock genre:

Once I mentioned on talk.bizarre an "Index of Meters", and perhaps I posted an attempt at it, I don't recall any more. The idea would be to attempt to document just what meters do get used. To give you a taste:

An index of (mostly prog-rock) 7/8 songs, again still off the top of my head so there may be a few more in my collection that I'm just not thinking of. Note that none of these (except the unnamed JCS songs) actually manage to stay in 7/8 for the whole song. The 5/4 and 7/4 songs are the only ones with that level of consistency. (There might be an old Genesis song that stays in 7/8 consistently as well, I have to listen some more.)

There are some great "strung together" bits, like the aforementioned Dream Theater song, and the Genesis song A Fifth of Firth.

On the other hand, it can get silly. With the 80's King Crimson, Fripp started experimenting (e.g. with Discipline and Frame by Frame) with layering one part playing in 7/8 and another in 13/8, thus creating a continually shifting pattern that doesn't repeat for 13*7 8th notes. I hesitate to call that 91/8; unfortunately, the rhythm section often plays 4/4, suggesting that it is best called "an interesting melody in 4/4".

The first song I ever wrote with lyrics was in 13/8. I couldn't really figure out how to make a convincing instrumental in 13/8 where the 13 sounded natural. So I came up with the idea of writing lyrics that wanted to flow in 13/8. I used the metrical scheme /u/u/u// (althought the text is readable with the last syllable short), and then sang each long syllable as a quarter note, each short as an eight; it comes out as 2+1+2+1+2+1+2+2, or 3+3+3+2+2, with no apparent "alternating sixes and sevens". It actually worked pretty well--the song sounded "natural" and flowing. Although the lyrics were kind of lame. I put the chorus in 5/4, and later discovered I had ripped off the chorus melody from Jethro Tull. Oops. And then a friend of mine played me a Rod Stewart song with the same chord changes as my verse--even though I swear I'd never ever heard that song before.