One World

NO MORE BRITISH SHIT I HAVEN'T HEARD OF

a mix between garbage and porn soundtrack

Make. It. Stop. Other than some instrumental work on "Small Hours", I couldn't wait for this album to be over. Anti-groove jazz.

This was an inspiration. There are problems with production that at points feels dated, but once I let this go and got past some of the more late 70s/ early 80s sounds, I felt uplifted and held by this album in a way I haven't by many albums. Small Hours blew me away, it's wonderful ambient guitar over a simple pulse beat, eventually leading up to a short song, before returning to guitar and sound was perfect. It's made me want to hear more.

When his voice first came in, I hated it, and was preparing for an excruciating 40 minutes. But that was the only part where I noticed his voice stand out, and then in blended in to an ocean of excellence. This is the most surprising album I have had so far and is going on regular rotation.

This didn’t feel like a mediocre album of its era chasing the Beatles hype. No, it felt like a mediocre album from the 80s instead, when everyone was fascinated by bad “world music”. But hey, at least it’s ahead of its time I guess?

This album was a 4 right up until "Small Hours." I've listened to it probably ten or more times in the last 24 hours. Easily becoming one of my favorite songs of all time. One of the most soothing, cleanest albums I've heard in a long time. Highlights: 1, 2, 5, 6, and 8.

This fucker wrote a song called Big Muff.

An adorable dreamy piece of work. This was my 110th on this, and I loved every moment of it. 5 stars because there aren’t 6.

I reviewed John Martyn's Solid Air earlier in this project, and enjoyed it more than I was expecting. Based on that, I thought I knew what to expect with this record. And was pleasantly surprised again. Much of side 2 seems like a fairly natural progression from Solid Air. Similar smooth jazz/soul/funk/folk blend, now with a touch of latin rhythms on Certain Surprise, with Martyn's foggy voice woven beautifully through the arrangements. I love his voice, which he uses like an instrument, although sometimes his slurred diction slides almost into self-parody.Take it easy, John. But side 1 is a revelation. The heavy use of effects, especially delay, and dub production techniques (without being pastiche - this is definitely not reggae) is something quite fresh. Big Muff is co-written by Lee Scratch Perry! I can see the influence, without it sounding like a Lee Scratch Perry record per se. I really loved the songs on side 1. Discretely funky, weird sounding without being abrasive, without any histrionics. I can see how these tracks (especially Big Muff and Small Hours) are cited as influences on trip hop, especially Massive Attack. This album caught me by surprise, and I really enjoyed it. Haven't heard much quite like it, and it really grabbed me (especially side 1)

Forgettable. One World vocals sounded like an old man on quaaluds trying to sing with apple sauce stuffed in his mouth.

yacht prog and i’m 1000% here for it.

No lo vi venir. Parece Nick Drake. Volverlo a escuchar para darle un rating más justo.

“What the fuck it this?” I noted with a frisson within a few seconds of putting this on last night. Yacht rock-jazz fusion left me baffled and unanchored: promising sensations! A day in, I am still perplexed, but I do like this dolphin make-out music!

Never could get into John Martyn, his vocal style suiting his best songs well ("Big Muff", the highlight here), but sounding like a drunk busker on the remainder. A gateway drug for schoolmates on the dirty path to crustydom, later serving as key inspiration for the Dave Matthews Band (who I actually like) and others like Blues Traveler (who I really do not). Congruent with a below-average Van Morrison album.

There are some good sounds on this album, but it feels kinda sleepy to me... I also don’t dig his voice, but there are a couple good songs on this. Favorite Track(s): “Dealer” and “Couldn’t Love You More”

This album is really not my thing. Small Hours and Couldn't Love You More are pretty good, but I think my appreciation for the most divergent tracks is telling. The production is well-crafted in the sense that it's interesting, but I'm having a hard time figuring out what it adds up to. I feel like there's more artistic merit than the Supertramp record, but it's still a little indulgent and navel gaze-y. 1.5/5

This was really refreshingly new to me, never heard of this artist before. I just loved the tape-loop guitar sound with kind of jazzy, bluesy sounds layered throughout. I'm definintely going to revisit this.

I saw John Martyn about the time this was released.

Soft and dreamy. Talkative and calm

Didn't enjoy the songs on offer here as much as those on Solid Air, but the overall vibe and sound was lovely with some great guitar work and production. He has created some really warm and interesting tones and atmospheres and this was easy to listen to multiple times, although I was waiting for it to grab me a little more convincingly and it never quite did. His voice has grown on me too, although you can almost feel the cigarette smoke doing its work on his lungs throughout.

Man sings like he smoked a pack a day for his whole life and now has a hole in his throat. At least it’s unique. It’s not the worst album I’ve ever heard, but I enjoyed very few parts. Inoffensive, mostly. 3/5

In spots, One World hits a funky experimental stride that I’d liken to late 70’s Eno (think Before and after Science, though it does have its ambient moments) or maybe Soon Over Babaluma-era Can. In others, it kind of has a jazzy 70’s soft rock vibe, which is a little less interesting to me, but overall not bad (with the exception of some scatting, which I find to be unacceptable no matter the situation). The previous John Martyn record I was assigned, Solid Air, was more enjoyable as a whole, but One World is very good, even if has a distinct late 70’s island rock vibe. I wouldn’t call this yacht rock, though, it’s way too densely layered, interesting and lacking the superficiality, but it’s adjacent in some ways - like if yacht rock wasn’t the lamest thing on earth you could ever possibly be into.

Meh.

not a fan of his voice. a little like brian wilson but not as good. the sounds on smiling stranger are good though

Sonido por completo etereo, suena como pop experimental. Tiene un problema en un bache a la mitad con dos canciones romanticas muy sosas que hacen que pierda un poco el concepto. Los sonidos de experimentación en guitarra y amplificadores no van a ser para todos pero a mi me encanto. La última canción fue lo mejor del disco. Impresionante pensar que es de 1977, casi se podría notar un atisbo de lo que va a llegar en unos años con new wave y sintetizadores.

I would love to hear more international bands and music. But we get this. It’s harmless I guess but boring and the song Dancing seems like a precursor to Dave Matthews which is unfortunate. Sounds competent but uninteresting to me.

So I found “One World” by John Martyn to be a pretty pedestrian late 70’s R&B effort, that easily could have been the sleazy porn soundtrack to the old SNL skit featuring Tim Meadows called – “Velvet Jones – The Ladies Man”… Gee – I wonder what “Big Muff” could be about… Ugh… Anyways, I had pretty much written it off completely – and then the final song “Small Hours” came on… Primarily an instrumental for all intents-and-purposes, and I found it to be absolutely amazing… Reminded me of a less-raw, way-more melodic “Maggotbrain” by Funkadelic… “Small Hours” is probably a 5-stars out of 7-stars in my little rating system, as it’s that good – and it really came out of absolutely nowhere, as the rest of the album is pretty much shite, but based on that 1 fabulous song, I’ll give it a 2 – but you’ve been warned…

The description of this album vs how it sounds is a wild contrast. I expected this to be something sweeping and inspired but the vocals don't even give it a chance to go there. Not coming back to this one.

Album art is interesting. The production is pretty good. The instrumentals are a little manic but often work. Choices were made on the vocals that don't pay off. Small Hours get's an honorable mention for being a nice listen. This album is probably a grower that you would learn to get comfortable with it's imperfections. I don't have the time. 2.5

Big Muff and Certain Surprise gave me the ick. Bad vibes from this album in general.

85/1001. The following might include some hallucinations: "Hey chatgpt + music generator, can you create an imaginary artist? He should be a British folk singer/songwriter with a deep and rough voice, incorporates jazz and early electronic elements on his music a bit like pink floyd and progressive rock. I'd like to get a name, short bio and an album from the later part of 1970's" "What an interesting and inspiring combination. Let's create an experimental folk artist which takes folk music beyond Davy Graham, The Pentangle and John Fahey. The artist John Martyn started in the British folk scene in the 1960's, but after befriending BBC radio electronic experimentation lab people and listening to early American psychedelic rock, especially the more experimental section of it, quickly realised his true potential would be combining jazz and electronic music to more traditional folk tunes. His records from the late 1960s to the mid 1970s document the process very well. His masterpiece album "One World" from 1977 was hailed by the critics but failed commercially. Instead of glueing very different styles together, it singlehandedly seemed to define a whole new genre. The new version of ChatGPT can also generate this album for you, would you like to listen to it?" "Yes, please"

Holy shit

Oh, there's another John Martyn album on this list? That's neat. I mean, to be honest, it kind of took me a second to remember that there was even a **first** one, SOLID AIR, so what does that say about **that** album, huh? I mean, OK, OK, let me be fair, SOLID AIR isn't bad, by no means. From what I can recall, of all of the albums I'd stumbled across to that point labelled as "singer-songwriter," it was one of my favorites, specifically for its jazzy bits. However, whenever it leaned into folk, that's when I started cooling on it, and ultimately I only ended up liking the thing instead of loving it. And frankly, I thought that was gonna be the situation here, too. I ended up listening to side one twice, and both times, there was just... A thing about it that kept me from truly loving it. Like, oh, sure, the first two songs on side one were great, but then once I hit up "Smiling Stranger" and "Big Muff", that's when stuff went slightly awry. It's like, the first two tracks are just so... I mean, damn good, y'know? The first one has this irresistible little groove to it, and then the title track is this wonderful slice of spacey stuff. But then with "Smiling Stranger" and "Big Muff"... I'unno, I think they were just too comfy staying on one spot for too long. Neither one really has that much instrumental progression, so after a bit they do honestly get a bit boring. "So, what," I wondered: "would this be another 4 for John?" Side two of this album... Oh, side two of this album ain't a redeemer, I ain't know what is. The album's second side is just so quietly beautiful. There's no showing off here; it just glides along at this wonderfully pretty place. From the acoustic glimmer of "Couldn't Love You More", to the tip-tap movement on "Dancing"... It's just such a good listen. And then there's "Small Hours". Oh, goodness me, "Small Hours". An incredible, largely piece of ambience that is legitmately so damn fuckin' pretty to listen to. It feels like a warm hug, softly comforting you and telling you that everything's alright. Legit, I can imagine putting this on if I'm panicking or stressing the fuck out and letting it calm me down. As I'm typing this part of the review, I'm listening to Spotify's auto-generated sample clip on loop, and even just this small portion of it... Oh, wow. Just, wow. This alone makes me wanna walk up to those 1 outta 5 reviews and tell 'em, "Hey, your thoughts are your thoughts, but you can't tell me this ain't just that good. Honestly now." I mean, I'll be 100, this isn't a mind-blowing album — but then, does every album even need to be? And besides, I enjoyed a majority of this thing enough, especially "Small Hours", to overlook any lingering thoughts of "But did I **need** to hear this before I die?" Whether or not I needed to, I'm happy I did, and ultimately, that's more important. Y'know, I read a piece of history somewhere that this album almost didn't get made because. Apparently, John Matryn was burned out on the music industry for... Well, numerous reasons; take your pick, including the death of Nick Drake. But thanks to an extended sabbatical in Jamaica and getting to socialise with reggae musicians, he refound his passion, and, well, this thing was the result. And lemme say, regardless of the end product, I'm glad he found his spark again — and I'm happy it birthed this album into the world. A good-ass time, for sure, and I couldn't dig it more.

I’m at a 4.5 that I’ll bump up to a 5 on the strength of “Small Hours” as a closing track. Second (and last!) time we’ve gotten John Martyn, second time he’ll get a 5 from me. Not too much to say about this one, weirdly enough. I think the music speaks for itself here – it’s a natural step forward from the “more upbeat version of Nick Drake” vibes of “Plain Air”. This is leaning ever so slightly into the synthier tones that would become new wave/post-punk, but by holding back, it manages to create something more akin to soft, jazzy trip-hop, blended with John Mayer’s or Jack Johnson’s guitar-driven musical sensibilities. When it works, it works really nicely – 6 of the 8 tracks here clicked for me, with only two of them falling short: “Smiling Stranger” & “Big Muff”. “Smiling Stranger” is nice, but it’s just missing an extra kick of energy that would really bring the song together for me. “Big Muff” is also good, but the total lack of instrumental progression (or even a small sense of it) pulls the track down hard for me. That first minute syndrome struck hard there, but neither of them are actively bad tracks. They just didn’t click for *me*. I was fully prepared to bump this down to a 4 because of that – 5 out of 7 tracks hitting well would probably warrant that, but then “Small Hours” happened, and it just felt *that* damn good. Full vibes track, and it’s a natural conclusion to the happier back half of the album, with the beach sounds & the synth work meshing wonderfully for an 8-minute wonderland in my mind. It’s a good enough album closer that I feel zero shame in bumping this up to a 5. The two tracks I wasn't vibing with are still good to listen to, and my taste is subjective anyway; they’ll probably click for someone else. Overall, just a good album – not quite as good top to bottom as “Solid Air” was, but it’s still pretty good all the same. Is it one that felt important enough that I had to listen to it before I died? I’m not sure, but you could convince me there’s not 1,001 albums out there better than it. If nothing else, it’s given me a blissful track in “Small Hours”. I enjoyed it, and I think it’s worth the bump up from a 4.5 to a 5. Good stuff once again, Mr. Martyn. P.S.: “One World” is *begging* to be sampled, especially around the 2:10 mark. Someone get on that.

groovy beats

One World is a great album, but I think it's less accessible than the folk funk of Solid Air. You have to kind of squint at it. After this one, Martyn made a couple of albums with Phil Collins. It’s a good match to be honest, and Collins’ In The Air Tonight could be a John Martyn song. One World is also considered the prototype for Trip Hop. Which makes Martyn an echoey, dubby, missing link between Nick Drake, Phil Collins and Portishead.

10/10 huge fan of his other album Solid Air and while I definitely like that one more, this was still absolutely delightful

What a treat this album is. I seem to have by-passed John Martyn back in the day, but am delighted to be catching up at last.

FUcking 5/5. It was absolutely amazing. It felt at times like Ray lamontagne, nicotine dolls and some soundscapes. Excellent!

I liked the fast-paced opening and the energy, though the vocals were a bit soft for my taste. Lyrics - 3 Vocals - 3 Production - 5 Originality - 5 Cohesion - 5 Replay - 4 Emotion / Vibe - 5 Replay Value - 5

Great work one legged John

4.5/5

Magnificent

Is this a 5 I don’t know but I enjoyed it a 5 this morning(afternoon)

Along with Solid Air & Bless The Weather, this is one of JM's best albums. Never be anyone like him again. ( He also used to drink in local pub)

I loved ‘Solid Air’, but I think I love this more. Dubby, hazy, stoned, sad, understated…this one is for the late nights and it’s lovely.

Another solid album from John Martyn. I really enjoyed the guitar playing on this. I feel like it's coming from a different place than what I normally hear. I'll keep listening to this.

Carves out a place for itself in my brain. Gorgeous.

Never heard of this chap before, but this album was an excellent surprise.

This sounds like it was recorded in a cardboard box. The album is all the more better for this. Production values aren't at a premium; the songs are allowed to develop and steal the show. The message of the One World title track remains powerful. Couldn't Love You More always leads to a few tears. Big Muff makes me smile. Plus Rico!

I like what's going on here. Favorite track: "Dealer."

Ok, so, with John Martyn you've got to be able get over his voice - he has some pretty weird affectations and I guess I can see why some people can't get into it - works for me, though. I've had this album for ages but I've barely played it - I always make a bee line for "Solid Air" instead, which is much more upfront and simplistic with its charms. Re-listening to "One World" as part of this project has actually been a full-on magical experience - I am enchanted! 🧙‍♀️ First play through and it's overall tone is hitting the chill, mellow, occasionally funky vibe I expect from John Martyn, but it also seems kinda busy and I fall back on my '"Solid Air" is the superior album' preconceptions. My copy of this album has a bonus disc full of live versions, demos and outtakes, and listening to those, which often felt a bit more stripped down, I liked them more. Re-listening to the main album again, I tried to dial into that busyness I heard before, and particularly in the first half of the album, the closer you listen the more bonkers things get! There's a bunch of stuff going on that shouldn't work together by rights, but it still somehow adds up to the vibe he wants. I saw another review describe it as "prog yacht" and yeah, that nails it! 😆 Fave tracks - "Dealer", "One World" (feel like Phosphorescent cribbed from this one), "Big Muff" are all awesome. The top accolade, though, goes to "Small Hours" - good lord that is a serene slice of sublime beauty. Amazing stuff.

Great, soothing listen, especially the final track.

Sounds like some kind of Clapton/Winwood hybrid and I’m absolutely here for it. Wow.

Great calm album

Easy 5 stars! I have a distinct memory of being in my 20’s and being tasked with entertaining a relative who was in his early teens. He was looking through my iPod and commented that I have terrible taste in music. First off… rude. Second… he pointed to the song title “Big Muff” as evidence of my bad taste. He didn’t know shit

John Martyn I love when we get an album and artist I am totally unfamiliar with and really dig it. Super cool grooves and textures. I like his voice too even though I can’t make out any words. Cool fusion of styles (ambient pop/ blues). Good the whole way through. Great musicians on this record too - I love all Steve windwoods synth solos. Favorite songs are Dancing, small hours, big muff, dealer. “Couldn’t love you more”reminds me of a Dave Matthews song.

Wow. I had never heard of John Martyn before this. I absolutely loved listening to this, front to back. Can hear the Jamaican influence and feel Steve Winwood's influence here. I've not heard much else quite like this, and it is so, so good.

I thought this was an outstanding piece of work. Really reminiscent, or more correctly influential, on music I've enjoyed in my life but first time I've consciously heard him. I can see from the write up that this isn't necessarily representative of his earlier work, but it's a fine piece of music.

super

John a surpris son monde en produisant de la très bonne musique avant l'an 2000, chose que seuls Michael Jackson, Stevie Wonder et Cat Stevens ont réussi.

nice

great deviation from late 1970s sound here.. Whats up with the hate.. Sounds like good music thats what t sounds like guys... not like.. no no no.. guys..

Super excellent background music. Voices worked well with lyrics and music

Really funky Clapton sounds in the first song. Pink Floyd vibes in the second song This singer has a really nice raspy funky voice I like how you can have no idea what type of song is going to come next each song is so unique. Could be funk, rock, jazz, or trippy. They way that Small Hours is the ending just being super peaceful with some nice ambient wave music was the perfect way to cap off the album. This would an excellent drugs album This is exactly what I love about this album of the day thing. I had no idea who John Martyn was going into this but now I feel like I have to learn everything about him. Absolute 5/5

loved it

Surprising album, never heard of this. You can hear an influence on Nigel Godrich's production style, especially on Beck's "Sea Change"

Another album of John Martyn in this list and I thought I knew what I was going to get based on the other one, but nothing could be further from the truth. With a lot more experiment, range, more funk and more introverted songs on just one album, this is an incredible range of songs. I enjoyed this from start to finish.

Stick your head in the oven and crank it up to 300! We have finally hit the jackpot with this blockbuster of a record which makes me wetter than my auntie's honking, steaming pussy. The hills are alive with the sound of me wanking myself into an incestuous coma and you're all welcome to join me for the ride.

looooov

Genius. Small Hours is in my all time top ten tracks. The live version (I think I saw him perform it 6 times) of Big Muff was spellbinding, A very, very sad end to possibly the best British unsung hero of contemporary music (along with Roy Harper and Nick Drake).

In July 1978 I was working for the Migrant Services Section of the Social Security Department, in Clarence St Sydney. One morning I received a phone-call from a mate who was a student at Sydney University, telling me to get my arse up to the Union Theatre (now The Footbridge) on campus, because John Martyn was playing a free concert at 1.00pm. As it turns out, this was part of a world tour to promote the album One World. I got there in time. John Martyn was late, and extremely hung-over, carrying what appeared to be an acoustic guitar with a plethora of wires coming off it (and no doubt a bunch of effects pedals). It was one of the great concerts I’ve ever attended. At the time I was only familiar with the 1970 album Road To Ruin, which he recorded with his wife, Beverley, & which is an all-time favourite of mine, so most of what I saw him play that day was unfamiliar to me, but he was in blistering form. And I imagine a lot of what he played came from this album. How lucky I was, because this is a great record. I can’t think of anything else that sounds like it. About 30 years later, a different mate gave me a dvd titled The Transatlantic Sessions, which features many great artists & includes an enthralling version of Big Muff with Martyn on guitar & Danny Thompson on double bass. Do yourself a favour & google it. This is the song he co-wrote in Jamaica with Lee Scratch Perry the year before he made the album. You also hear the great reggae trombonist Rico Rodriguez on Certain Surprise. I love the fact that Chris Blackwell set up mikes in the middle of a lake on his property(where the lp was recorded) to catch whatever noises nature was providing at the time. This was way ahead of its time. Love it.

I'm a big fan of John Martyn, particularly around this point in his career. Such a unique hybrid of influences that is miles ahead of its time. Martyn has such a natural, casual soulfulness to him that it makes his more experimental tendencies go down easy. Love that they recorded parts of the album from across a lake to capture the natural reverb/echo. Yet another example of artists creating their best work while in remote country locations.

Brilliant

Todavía no lo escucho pero con fe me gusta

Very good album, nice combination of rhythms.

I ended up listening to the Spotify suggestions for a long time after this ended

This feels like a lot of time went into crafting each song, thinking about the precise timings & effects of every note, all there for a purpose, creating a soundscape that must have influenced a lot later work Timeless

A really interesting listen. A more diverse album than I was expecting having only really heard Solid Air previously. Added to my "have to find on vinyl" list.

84% Best: Dealer; Big Muff; Small Hours Must-Hear? Sure. Once again the average rating on this site is absurd.

Yesterday my wife told me that she doesn't believe into our relationship anymore. We're married for 20 years. I'm in shock. She's still the love of my life. I don't want to let her go. When I listened to Small Hours I had tears in my eyes: »They say you'll be my ruin Cos I love you so I just love you so« That's exactly how I feel. I learned that Martyn was facing a disintegrating marriage. I see the problem of this album (I thought it was in a phone waiting line at the first seconds of the album), but it touched me personally more than any album off this list so far.

Meer tijdloze muziek van deze relatief onbekende baas. Wederom klinkt het alsof het veertig jaar later opgenomen had kunnen zijn door iemand als Jack Johnson. De uit-mijn-stoel-veer-van-pure-extase-factor is wat minder dan de vorige keer, het kabbelt een beetje en er wordt wat vrijblijvend op het keyboard gepingeld, maar verder goed gedaan.

Enjoyed this very much. There's some world class bass playing giving reggae/dub music vibes thanks to the highly versatile Dave Pegg! Lee "Scratch" Perry's guest star influence on Big Muff, and other tracks, brings the heavy groove. Also note that the legendary Steve Winwood is jamming synths on Dealer. This is an all-star effort that only faults when it slowed down too much (IMO) on One World and almost lost me.

My first exposure to John Martyn was in the mid-1990s when I saw him at a festival called Guiness Fleadh. I was killing time waiting for Richard Thompson to take the stage and got a seat for Martyn's show. Martyn's music mesmerized me. When I heard him cover Portishead's "Glory Box," I was blown away--good covers are a difficult proposition. Now to read in the Wikipedia review of this album that it was an influence on trip hop and that he spent time in Jamaica before its recording...I'm excited by the experimental nature of it. Reminds me a bit of Kevin Ayers, too.

What a weird album. I wasn’t familiar with it before and had to listen to it twice to let it wash over me. Way ahead of its time but also unlike anything else. Not convinced that I enjoyed it but there was enough interesting ideas to keep me engaged and intrigued.

Was pleasantly surprised by this one!

Pretty cool funky. Didn’t like the slow songs as much. Nice active listening experience

Don't have much to say asides it just being a decent album. Solid 4 Stars.

His voice is a bit jarring at first but once you get into the album, his voice matters less and less

This was pretty interesting. Some of the poppier stuff just reminded me of Steely Dan, but not nearly as catchy. The real draw here is the more ambient tracks. Small Hours was a great way to close this one out. 3.5/5? 4/5? Let's go with 3.75/5. That feels good.

Surely must be an Inspiration to Talk Talk, Who should have more here.

Can something be called etheral funk? This sounds so out of time in the 70s. I would love to hear more of this.

This would probably get another star if the singers voice wasn’t so…. Yeah. The music is other wise pretty fantastic.

Surprisingly good, I've never even heard of the guy before but I quite enjoyed it

Really cool novel sound with mellow jazz inspiration and emotive vocals

This was great, wierd and wonderful. Will need to come back to this, but amazing that this was created in the 70s

I knew one song from the album already, I enjoyed the album as a whole

John Martyn made music that increasingly came and went like vapor, but whose scent lingered long enough to leave a mark on those who came upon it. One World, the hazy yet contemplative sojourn in sound conjured up in Jamaica, is one of those imprints. Martyn is untethered yet content, seeking salvation in the atmosphere both physical and spiritual, aided by those who were on the same wavelength as him. Yet another peak from someone who should be more widely regarded than he is. Favorites: Dealer, One World, Big Muff, Couldn't Love You More, Dancing.

Truly interesting record