Reviews by funny_character

This album is sort of an interesting guilty pleasure for me, which isn't to say I think it's bad or anything, there's just a lot here that could annoy me, and some of it does, but I manage to enjoy this album nonetheless. Honestly, a lot of my complaints center on Anthony Kiedis, which is an extremely common opinion in music spaces. Although, I will say I can't imagine anyone else singing for The Peppers. I actually kind of like his singing, it's a touch melodramatic, but it *is* compelling, and I do like a lot of the melodies here. Although I do *not* love his kind of rap delivery that he gets into, it just sounds goofy as hell. Also, he has a lot of terrible lyrics across this album. There are a few good lines, but wow, when he gets it wrong, he gets it *wrong*. He has all sorts of goofy little -isms in his writing that bug me, but I think the worst example across this album is
"Do you smell like a girl when you smile" off of Porcelain, which is otherwise such a tender, sweet song, and this just feels creepy, whether it was supposed to or not. It is also worth noting that even though I am sort of reluctantly willing to put up with Kiedis here, I still do think there's kind of a talent gap between him and the rest of the band. Chad Smith is an incredibly solid drummer here. Flea's slap-bass is iconic and super animated, he is a big reason this album is a space that makes sense for Kiedis, it just kind of works. And, last but not least, the guitarist here is John Frusciante, and I honestly think he's kind of the secret weapon here. He left The Chili Peppers after Blood Sugar Sex Magik, and became increasingly lost to a truly frightening heroin addiction. This was the first album he recorded after getting clean, and he basically had to teach himself how to play guitar again (Note: He also recorded a couple of fascinating solo albums before getting clean, they were lo-fi, intense, and *extremely* sad: I bring them up just because I happen to enjoy them for what they are and I feel that they are chronically overlooked, but explore at your own risk). The result is minimalistic, expressive, almost stylized, and often very sad-sounding playing. He is the sole counter balance to Kiedis' "Hip Bippity Bop California" flows and Flea's kinetic slapping. Without someone like him, I honestly think this would be like drinking a cup of simple syrup, but he adds so much emotional depth and complexity to the themes here through his playing that the album slots together *just right*. The songs here also just work, this was way more consistent than I remember. The first half is pretty much a laundry list of hits. Around The World, Parallel Universe, Scar Tissue, Otherside, and the mighty Californication kind of feel like they should sound overdone and cliched, but when I here these songs, I just like them. They're honestly sort of undeniable. Then the deep cuts in the second half bring everything together. The great songwriting and emotional range on songs like Easily, Porcelain, Emit Rennus, This Velvet Glove, Savior, and Road trippin' just work for me. Even if I'd like to think I'm too cool for The Chili Peppers, the fact of the matter is that this album just rocks. And while I have complaints, I *am* having a great time, so I won't complain.

Sometimes I have a tendency to think of the boilerplate "'80s" sound as having just emerged from a vacuum somewhere, and this listen served as a helpful reminder that that sort of thing is rooted in some very cool ideas. After freeing his brand of new wave from the tyranny of the electric guitar, Gary Numan ventured out into The Pleasure Principle. The music here is chilly, groovy synth pop/New Wave that, miraculously, doesn't sound dated. Gary Numan's vision of futuristic groovin' robot music is internally consistent enough, and well produced enough that it pretty effortlessly sucked me, as a listener, into its world, even 45 years later. The synth work's clunkiness even works, the songwriting incorporates enough post punk angularity that it manages to sound pretty natural and intentional in this context. His vocals also help sell it, Gary Numan is remarkably expressive for how deadpan he is playing it, and he slots wonderfully into the space he has created. On top of this, we have a pretty great tracklist here, really consistent honestly. Some favorites are Metal, Films, M.E., Conversation, Engineers, and ultra-hit Cars (which for a long time made me associate Gary Numan with the band The Cars, which is brain poison that I have only *just* escaped). This is absolutely worth a listen, some really sick, unique new wave, with a great palette and really consistent songs.

Chore Of Enchantment is kind of fighting an uphill battle. While this is pretty good, and has a lot of things I like, it also happens to be a Folk tinged indie album from the late '90s. This was a time when there was an absolute bumper crop of great indie albums (folk tinged or otherwise). And like I said, this falling into my niche is nice on one hand, I even like the vocals, but on the other this is basically competing for bandwidth in the same space as some of my favorite albums ever, so I am not sure if this really made a huge impact on me. It honestly kind of feels like an odd choice for the list, but I am glad I heard it, so I can't complain too much. This is a lot of very down-tempo indie, with deadpan vocals, and some fun little detours, and like I said, I did enjoy it. This is the kind of thing I can recommend for one full listen, then pick and choose some favorite songs, you maybe don't need to keep exploring this if you're not that into it though. Some songs that I did really like were (Well) Dusted, which is a pretty great Country-slanting start, the interesting, but criminally short 1972, Satellite (my favorite here, probably because it's a little toothier than most of the album, and thus sticks out), and the Leonard Cohen-esque Bottom Line Man. Like I said, worth a listen, and I may even check out more of Giant Sand, they seem to have a lengthy discography.

This is the first physical album I ever bought with that cute little "Parental Advisory" sticker on it, and I could have done a hell of a lot worse. I'm not gonna say that the world needs this album right now, because the implication that world peace could be achieved by sitting everyone down with a Rage album is frankly stupid, but maybe *I* need this right now. In the present day, it is a deeply stupid time to be an American, and hearing just how much Rage Against The Machine seems to "get it" is on some level cathartic, but on another worrying, because if so many of the same issues and ideas confronted here feel prescient and fresh, then just maybe it has *always* been a stupid time to be an American. Now, this is a conclusion I came to a while ago, but this is certainly a cultural artifact which constitutes material evidence supporting that hypothesis. Rage Against The Machine may be the most successful band to ever explicitly combine Metal and Hip-Hop. And I think there is an argument that this may be the greatest album within its niche. Zack De La Rocha's powerful vocals, Tom Morello's distinct and iconic guitar work and Tim Commerford and Brad Wilk's groovy rhythm section makes for a formidable band. This album is an outburst of righteous, intelligent anger that captured the public through its intensity and fantastic songs, not to mention the incredibly powerful album art. This tracklist is just stacked. Bombtrack is very representative of the band's sound and it rockets out of the gate. Killing In The Name is an all-timer, one of the most iconic songs of the '90s, maybe ever. "Fuck You, I Won't Do What You Tell Me" is a mantra for a certain generation of music listeners, it is incredibly powerful. Take The Power Back gets groovy with it, bringing out the bass work. Settle For Nothing is incredibly dynamic, with its incredibly heavy riffs. And Rage Against The Machine just never runs out of steam. Bullet In The Head is the closest we have to a low point, but I honestly think it's a matter of personal preference. But even so, we get into Know Your Enemy, which just moves with so much energy. I'd like to take a moment to mention just how detailed all these compositions are, like there really isn't a lazy song here, there's always a great riff, or bridge, or solo around the corner. I only have so much to say about the last 4 songs here, like they are also sick as hell. Although I would like to make a mention of Township Rebellion, a super underrated song. I mean, if you're interested in metal *or* hip hop *or* you're just angry, throw this on, it's damn near perfect.

This isn’t bad, but I honestly think Buffalo Springfield is more significant as a catalyst to start Crosby, Stills & Nash, and more importantly to me, Neil Young’s solo career. Honestly, most people in this band went on to make better songs, but there is some good stuff here. Young’s Mr. Soul may be the best song here, but Everydays, Bluebird, and Rock & Roll Woman are also pretty enjoyable. Unfortunately some stuff here just isn’t as significant, and some of it even feels kind of incomplete. Like Broken Arrow, moments of it are fine, but it just feels super fragmented. If you are a fan of the artists that came out of this band, check this out, but I can’t imagine it’s worth it to everyone.

Fishbone is doing a really cool Ska/Punk/Funk/Metal/Hard Rock thing here, and it's honestly a really unique, eclectic sound. We kick off with a really fun, inspired Curtis Mayfield cover and keep the momentum up from there. Ma and Pa is a really fantastic punk-y ska song, and it is an early highlight. Honestly, it is hard to go wrong here, the only caveat is that the production sounds a little odd, maybe kind of dated, but I think it largely serves the sound. I also like the lyrics a lot here. Don't let songs like Bonin' In The Boneyard trick you, there is some really astute social commentary across here. Some other highlights are Pouring Rain, Deep Inside, One Day, and Slow Bus Movin'. I am really glad I heard this, it's really cool.

MGMT are kind of a fascinating case study. Two collegiate avant synth guys start a pop group as a joke (so the story is often told), and pretty much immediately write a song so good that it becomes the figurehead of a scene (which didn't really exist at the time) as soon as it was given an opportunity. I guess they just had *it*, and by it I mostly mean a preternatural ear for melody. That aforementioned song was Kids, that aforementioned opportunity was Oracular Spectacular, and that aforementioned scene was 2000's indie pop (there exists a recording of Kids being played live in 2003, they really did hit it *that* early). In the hands of a lesser band, this is a perfect formula for a one hit wonder, but MGMT deftly avoided such an embarrassment. I think this is in part due to how they kind of started down their own path after this album, whether the public wanted to follow or not. But probably more importantly, the rest of Oracular Spectacular is also like *really* good. Hell, I don't even think Kids was the only hit on this album. The first half of this album really shows off that ear for melody, we are hit with like five ultra catchy synth pop tracks in a row. Time To Pretend is a strong start, catchy as hell and also setting up the themes here. Oracular Spectacular seems very focused on nostalgia and youth, as can also be seen in songs like Weekend Wars, The Youth, and of course, Kids. Speaking of weekend wars, another great song: a little texturally different than the opener, but just as immediate and engaging. The Youth slows it down and gives something a little psych-y, then we get the hits. Electric Feel almost feels like a disco song, all slinky and neon. Then, we have Kids, which really is as good as people say. It's one of those songs that kind of feels like it's just always existed. It is also very apparent on Kids just how good MGMT is at dialing in a synth tone. Like just the sound of that lead line is damn near iconic. Now that the audience has had some time to learn to trust MGMT and hear some crowd pleasers, the second half of the album switches it up a little. The textures are a little more out there, the song structures are a little less conventional, and the vibe is a touch more psychedelic, but MGMT manages to do this without really alienating anyone. Also, this material doesn't seem like it is trying to scare anyone after the hits, so much as it feels like MGMT feel like they have earned a little room to play around. 4th Dimensional Transition is honestly one of the better songs on the album. The percussion is super propulsive, and the slightly more abstract songwriting really works. Pieces of What feels really earnest, and it is a nice addition. And the last three songs are just as successful as these. I'm honestly surprised I liked this so much. It isn't quite getting the 5, but I'm gonna be coming back.

In the present day, Elton John kind of suffers from being one of those musicians who is really thought of as a celebrity before a musician. Sure, everyone knows songs like Rocket Man, Tiny Dancer, and Candle In The Wind, but it kind of feels like he is a little under-listened as far as full albums go. Going into this, I too mostly just knew some of the singles, but I am pleased to report that this has some real highlights on it. The first thing that stuck out to me here is that this is the one with Tiny Dancer, a fantastic song. You've probably heard it: grand and patient and tender. It's worth noting at this point that this phase of Elton John's career can be most helpfully thought of a collaborative effort between himself and lyricist Bernie Taupin. Elton John's songwriting ear, and Taupin's talent for lyrics is a pretty formidible one here. Tiny Dancer is a great example of the fruits of this creative partnership. Miraculously, the rest of side one more or less keeps up with Tiny Dancer's quality. Levon has anpther fantastic chorus, some great piano and some really amazing lyrics. Razor face brings some really cool alternative instrumentation to the mix. And Madman Across The Water (the title track) takes Elton John's glam sound into a darker, proggier space, and the result is really compelling. Unfortunately Side 2 can't quite keep up. Holiday Inn is just fine, and I can take or leave Rotten Peaches and All The Nasties, but the remaining two tracks are worth discussing. Firstly, let us discuss Indian Sunset, and the mess it makes me navigate. Firstly, the *sound* of this song is really good, it is another in a proggier pocket like the title track, and the string arrangements work really well, but none of that is the big thing with this song, let's talk lyrics. So, listening to this, it is clear that it is being written from a well meaning place, and as far as the poetic devices, pacing, and tension goes, it is actually pretty well executed, as in, this is *theoretically* well written. **However** the core narrative concept of this song is such a *fantastically* bad idea that these positives barely matter. Upon seeing this on the tracklist I figured we were in for another 70's and 80's "well meaning but ill advised song about the wrongs leveled against Native Americans (a weirdly common song type for this era). And on some level, it is this, but it is also so much more jaw-dropping. I would honestly urge you to read the lyrics yourself. All I will say is that I'm glad that Bernie Taupin is free from whatever force in his life convinced him that he *needed* to write a song in which Elton John theatrically portrays a young Native American warrior. The last song I would like to discuss here is Goodbye, which is a truly fantastic closer. However it commits the cardinal sin of being unconscionably short. As a whole, I thought this was a little uneven, but it has some really amazing highs and I enjoyed the experience in general.

I feel like I should have known that this existed. Maybe it was a blind spot, maybe this fell through the cultural cracks, but it certainly *feels* important, and I don't think I've really heard anyone talk about it. For anyone out there unfamiliar with these three women: Linda Ronstadt is Country-Rock royalty, Emmylou Harris is a Country/Americana/Folk Singer-Songwriter, and Dolly Parton is popular enough that she is basically symbolic of women in country music, even today. These women had all been separately active for decades by the time this came out: with Ronstadt and Harris both getting started in the 60's, and with Dolly Parton having songwritten since 1956(!!!) when she was like 10 years old. Part of me is honestly confused that they went through with this when they did, in the late '80s, which wasn't exactly a hayday for traditional country. Maybe they wanted to prove they still had it, or prove that country itself still had it, or maybe they just enjoyed playing together, but regardless of the reason, it came out, and it is a pretty good album. These are basically well written, arranged and performed Country songs. Everyone brings their own distinct vocals and performance styles, and personalities but I will say the result here is an album that does feel like it kind of plays things by the book. Although, despite that, this is still consistent, solid country music. This feels very much like the 60's and 70's Country music that these three women originally got big from, just with a slightly glossier paint job, and they prove here that it is a style they have a deep and thorough understanding of. Songs like The Pain Of Loving You, Hobo's Meditation, and Rosewood Casket feel like instant classics. I've Had Enough, Wildflowers, and Farther Along have a dusty form of real beauty about them. Although frankly, if you can appreciate this style of music, I can't think of a reason you'd have any real problems with any of these songs. And I do think that may be in part due to how safe this play it. That being said, even if this didn't exactly change my life, it is still very solid.

Out of the pool of "canon" 2000's indie albums, this is not one of my *absolute* favorites, but I sort of get it. The tone here is like archetypal indie, like I could imagine a lot of this album in one of the sadder Wes Anderson films. This is charming, and quirky, but also sort of baroque
and deeply sad: but the sadness is never overwhelming. Out of this, Wilco pulls a few nearly perfect songs and some that are just good. I Am Trying To Break Your Heart, Radio Cure, Jesus etc., and Ashes Of American Flags are basically perfect songs. And everything else is at least good. Basically, the highs are there, but the connective tissue doesn't do as much for me. This has some perfect moments, but it just isn't all there.

On 3+3 The Isley Brothers assemble a pretty spectacular funk and soul album, with a little psych. What struck me first while listening to this is how good it *sounds*, the guitar tone, the synth tone, the vocals: all super rich and unique. There are also tons of amazing songs here, and while I know several are covers, I listened to the originals, and these interpretations are almost completely unrecognizable as their source material at times. And honestly, it is usually for the better. The originals here are also great. That Lady is a fantastic opener, and an amazing funk song. The rest of side one is also very good, but I do think this really takes it up a notch in its second half. What It Comes Down To and The Highways Of My Life are both originals, and they are incredible. And the two covers between them are among the greatest songs here. Sunshine (Go Away Today) is interpreted as a really odd, kind of unusually dark sounding funk song. And The Isley Brothers' interpretation of Summer Breeze may be the single greatest achievement here. We have the original folk song, covered as a soul song, with incredibly epic guitar solos and this super cool synth work. This was a pretty great listen, I just didn't get as much out of the first side, and the fact that many of my favorite tracks are covers kind of made my more hyperbolic praise pull back a little. Still amazing!

Didn't have a chance to really digest this one, but I did give it a listen. The big band songs are so bright and lively, really steeped in infectious joy, and the balladry is earnest and sweet. This is just incredibly pleasant, Ray Charles is a fantastic presence, whether crooning or providing some real energy, and the band here really knows what they're doing. I enjoyed this a lot, even though it was kind of a blur, and I'd say I am feeling a 4.

While Leonard Cohen certainly has his many fans, I can't help but to think that he may be, in certain spaces, one of the most underrated artists in his nook. He is an underrated singer, guitarist, hell, depending on where you ask he may even be an underrated songwriter. Frankly, I think more people need to be honest about where he sits in the discussion about the "Great American Songwriter". Songs of Leonard Cohen is a great showcase of his talents, and probably one of the greatest debuts of all time. At times beautiful and earnestly sweet, very often profoundly sad, this album shows Cohen as a fully developed songwriter already. His guitar playing is understated and chilly, occasionally launching into a stunning classical guitar passage here and there. The arrangements (controversial to Cohen himself) are very creative and well utilized, when this becomes larger than a man and a guitar, it has some real impact. Almost most importantly, his lyrics are just fantastic. There are so many lines that I just love. He combines biblical allusion, visual poetics, and some incredible characterization across this album on the major hitters and deep cuts alike, all held together by his grimly self serious, and deeply expressive vocal performances. Running down classics here, Suzanne is one of Cohen's most celebrated songs, Master Song is chilling and kind of mysterious, Stranger Song is absolutely gripping. And Sisters of Mercy and Hey, That's No Way to Say Goodbye have also been cemented as absolute classics, among others. Personally, two of my favorites are some of the deep cuts here. Teachers is written in such a way that every line feels kind of shocking, it is just incredible writing. And one of my absolute favorite Leonard Cohen songs is also here: the deeply underrated One Of Us Cannot Be Wrong. This song's emotional palette is kind of horrific honestly,the lyrics are very specific, but also sort of surreal, and *incredibly* dour. And, it ends with some of the most true and honest sounding screaming I have ever heard on a song. It is just the kind of horrible, miserable, beautiful art that I crave. This album is just fantastic, there's no one else who can fill the place in my heart designated for Cohen, and music like this is why. This is just fantastic from front to back, with many of my favorite Leonard Cohen songs. This one is incredibly special.

Don't Stand Me Down seems like Dexys Midnight Runners' attempt to save themselves from "one hit wonder" status after making mega-hit "Come On Eileen", unfortunately, it seems like this may have sealed the deal. Don't Stand Me Down was a critical and commercial failure at the time, but there has been a bit of a critical shift over time towards the narrative that this was more a work of messy, misunderstood genius. And I will say, the components of the story are there, but I'm not sure I buy it. There are some daring and baffling aesthetic decisions made across this album, however nothing near daring or baffling enough to justify just how much of a mess this comes across as. The biggest sticking point for a lot of people seems to be the vocals, which are admittedly kind of odd. It is very sort of deep and deadpan, and sometimes it feels kind of out of key, but it sort of feels intentional. Regardless, I still have some problems with the intonation and annunciation. It feels like Kevin Rowland is trying to intentionally lean into his voice's quirks, but it kind of sounds like he is almost making fun of himself in a few of the more particularly sour moments of delivery here. Although, I will say, I could see these vocals working in a punk-ier setting. Another sticking point here is the spoken word aspect. Kevin Rowland was interested in working "conversations" into the middle of these songs, which is an idea I'm sure *someone* could have pulled off. However, the execution is *extremely* clunky, the mix usually renders the conversations nearly inaudible, and maybe most importantly, no one seems to be saying anything interesting. It is an experience akin to catching a few words from a conversation a table over while eating in a restaurant. On top of it a lot of these songs are just kind of boring to me and they really can't justify the incredibly long runtime on most of them. Most egregious may be One Of Those Things, which basically sounds like a vamp of a couple of bars from Sweet Home Alabama coupled with like a monologue. I can appreciate on some level that this took risks, but when the results are this awkward and unenjoyable, it is kind of hard to award any bonus points.

I mostly know Jethro Tull as "The Prog Band With The Flute" so I frankly expected this to have more or what I find annoying with some prog. However, I actually liked this quite a bit. It honestly scratches a different itch than most prog, the word that comes to mind to describe the sound of this is "Earthy". It's the acoustic passages, the relatively reigned in song structures, and the lyrics which I actually like quite a bit. There are all kinds of ultra visual character portraits and surprisingly relatable philosophical musings. For example, on one of my favorites here, the title track, we have both many of the greatest compositional moments on here as well as some super interesting lyrics which portray kind of a really ugly figure in a way that almost makes it impossible not to view him with at least some empathy. I also usually like the aforementioned flute on this project. The intro to Cross-Eyed Mary is really cool, and the flute break on My God is honestly kind of fascinating. Some other highlights on here are the light and folky Mother Goose, and the driving single Locomotive Breath. I will say that Cheap Day Return and Wond'ring Aloud are fine, but kind of insubstantial. And I'm not really into Hymn 43. But I liked this a lot! And I think it has some real highlights!

Out of all of the UK based electronic albums I've been given through this project, this is one of the ones that does the least for me, but this does still manage to be pretty cool. This is a very influential, relatively early form of Acid House, and it isn't a genre I'm super familiar with, but just from this I haven't decided how I feel about it in general. There are a lot of very chunky, stylized sounding synths, and the percussion is pretty minimalist in general. There's also more kind of electro-pop than I was expecting. Sometimes this comes together to create something I like well enough, but at others I think this album sounds kind of dated. Although if I'm listening for sort of background music I can get through this pretty happily. It also helps that, especially for an electronic album, this is pretty short. Overall, I enjoyed my time, but this isn't a huge standout to me.

I had a pretty great time listening to this. I could probably do to check it out again, but from a first listen, what sticks out is just how joyful this project is. Honestly, if the execution were any worse, I'd maybe have a hard time taking this seriously. However, Carole King is just so earnest that this comes across as super sweet and empathetic. Just listening to this honestly kind of makes me feel good. That being said, I don't know if I like the music enough that I see myself coming back a whole ton, but I did really enjoy the listen I had.

Quite possibly the most popular Flaming Lips album, but it isn't my favorite. That being said, this is pretty fantastic. This is their legendary psych concept album, and it is just so colorful and emotionally complex for something that kind of presents itself as a little silly. The songs are amazing, the production is amazing, and the synths across this have a fantastic sound. Somehow, this isn't one I really analyze much, I kind of just put it on and get absorbed in it. This is a super rich, unique experience. I'm gonna hold off on the 5/5, but honestly, it could probably get there if the mood strikes me. I really do love this album.

It is not so strange an idea to me that country and punk can, or even should, be smashed recklessly together. Look at The Gun Club, Meat Puppets, the cowpunk scene at large, or even some of the alt country songwriters of the '90s like Will Oldham who definitely had some involvement in the punk world. Although I will say, even though Mekons have all the components of these two worlds, the stuff happening here on Fear And Whiskey is like some secret new thing. Like for a couple of tracks, before I was sold on this, I was convinced that this was just lunacy. We aren't quite starting with punk, it's more Post-Punk, almost New Wave. And while most of the examples I provided incorporate country more as "Americana", where the music is made a little dustier, maybe a little lower fidelity than a regular punk album, and the sound and palette reflect that, that isn't how Mekons really go about things. The sound here is pretty much pure Post-Punk (with some New Wave sheen), but the *songwriting* is *very* informed by country. Like this is country software on Post-Punk hardware or something. And, very importantly, the biggest aesthetic effect the country influence has here is the fiddle, which is a major part of these arrangements, and it sits super weirdly, because it is played in the super expressive, almost sour way that the fiddle manifests in Country Music. Throw some borderline spoken word on top of it all and add the occasional weird-o vocal effect here and there for good measure, and you're left with a real headscratcher. Like this isn't all *that* weird in the grand scheme of things, but all of the components here are so deeply mutated that I actually sort of struggle to fathom how they stumbled into this space: It almost has a surreal quality at times. More importantly, I have decided that I like it. Chivalry is a good picture of what’s happening here, it’s idiosyncratic, unique and kind of fun. There’s a little ‘80s cheese, but it kinda works here, just adds another axiom for me to gawk at. Although I was sold by the end of Trouble Down South, it’s conversely kind of a dark take on the sound. It has a sourness, and it’s kind of theatrical in a weird way too. In fact, I’ve heard some people mention that this is a concept album, and I think that tracks. Darkness and Doubt is cool too, it almost sounds like Modest Mouse for a couple of passages, and it honestly sort of makes sense. Country is great too, and I really like the cover of Lost Highway at the end. Although honestly, once you tap into the aesthetic, the songs are all pretty great. It really is fascinating music. I can imagine this isn’t for everyone, but give it a chance, it’s pretty cool!

The list has seen to it that I be given my second Bob Marley & The Wailers album not long after my first, and I'm not exactly complaining. What I have to say about this is honestly pretty similar to what I had to say about Catch A Fire, although I may have slightly preferred Catch A Fire. This is as chill and joyful and politically minded as any other Bob Marley I've heard. Marley is still a great presence, The Wailers are still super tight, and this is another great batch of songs. A great example of reggae, that I get a lot out of, and honestly, I don't have much more to say.