Music From Big Pink

Country chill, lo reproduje sin querer 2 veces y no me dio dolor de cabeza

Ah yes, my favorite southern rock band from Canada.

Sounded pretty but kinda faded into the background. Best song: This wheel's on fire

I thik I heard rhis album here at least five times. And maybe its just '60s. Just not my favorite dacade

It was good but no songs stood out for me except The weight

I already knew a little about these guys, having heard their second album because of the generator and the song "The Weight" (which I really adore a lot!) These guys were put on the radar by Bob Dylan by being his backing band which they supported his electric albums live. Then I suppose they went out on their own and started created some music, like this album here. Musically a lot of is a bit of mix between country, folk and rock. It also has some psychedelic-like effects applied to the instruments. There's quite a few different vocalists; pretty much the entire band takes turns. Not sure if I have a favourite but if I did, it would most likely be their drummer Levon Helm (props to a singer-drummer) who sings primarily on "The Weight" except for one verse. Because there is quite a few different vocalists that harmony vocals are quite present. I quite like the name of the album and the cover (the modern one, not original one.) Those factors take nearly as much precedence as well as the music itself to me. I also really love the descriptive lyrics that implant a lot of wonderful imagery into the brain. They're also happen to contain quite a few religious references, at least noticeable enough for a non-religious person to pick up. I'm not sure I liked the music, I kinda wish I did though, but I respect it a lot. Just one of those albums I like the idea of 'liking' it. I however firmly believe it deserves a place on a list of albums you must-hear before dying. Highlight Song/s: "Caledonia Mission", "The Weight" and "Long Black Veil"

paar prima nummers

I get that this is proper folk music, and I wanted to be into it more, but I couldn't get past the noddy pace of it all.

3/5

pretty nice

Don’t have time to labour on this. It didn’t offend me but it wasn’t anything to write home about.

a melhor música é "chest fever" porque tem todo um quê prog que eu AMO né? o resto das músicas é ok, outras até beeeem paradinhas que nçao curto muito.

This sounded more modern than I expected given the time period, which was cool, but still wasn't really for me.

much more soulful and bluesy than I thought. I definitely did not mind it but nothing really stood out to me. funny to learn that Bob Dylan did the album art tho!!

A jam band through and through. A lot of cool melodies, but nothing that really pulled me in. Some of the lyrics like in “Caledonia mission” were great and positive, but meh, didn’t fully get me to save it. I do love The Weight and I Will be Released, but Jack Johnson did a cover of that and it’s so much better.

The album generator just gave me The Band's self-titled a few days ago, and I already get to listen to more of them! I'm not mad about that at all, because this band is a good band. Although I do prefer their self-titled over Music From Big Pink. I will say that the B side of this album is incredible, and by itself probably clears most of their self-titled. For one, I love how they use all sorts of keyboards. Organs, clavinets, and Wurlitzers. I couldn't even tell what one of the instruments was on "This Wheel's on Fire." "We Can Talk" has a really cool time signature change. "Chest Fever" is the grooviest thing I've heard from The Band, and it has this weird breakdown in the bridge that blew my mind. Unfortunately, the A side, other than "The Weight," is just kinda boring. It's a little more ballad-focused than I personally would like, and the songs don't do very much to keep things interesting. I do like the use of Leslie speakers, though. The high points of this album give you The Band's best work. The low points are just boring. I recommend hearing this, though overall I prefer their self-titled. ----- #0023 Heard on: 13 Oct. 2026 Rating: ★★★★★★★☆☆☆ (62 / 342) Favorite track: This Wheel's on Fire Least favorite track: Caledonia Mission

More blues rock tripe. Again, not offensive, and fine enough but this really isn’t very exciting. The harmonies aren’t particularly good (‘this wheel’s on fire’ as an example) and songwriting likely helped establish a pattern that world be copied by many others since. It’s a little nicer when additional instruments added (the piano on ‘the weight’ helps lift it a little) but distinctly average otherwise.

Inoffensive, but dull. Love the cover image though. Rating: 2

Yet another instance of an album that was largely mediocre and uninteresting (at least on single listen through) leading me to better music provided by the algorithm after it finished. How am I to think about that? This album didn’t do it for me but what it brought after does? Is it the restriction of an album - the fact that each song starts to feel similar to former vs open ended any “sounds like” artist? And maybe those sounds like artists are legitimately much better? Neil Young and Pink Floyd are huge steps up from most. So what to do? Should I give it more listens until it clicks? Or throw in towel and conclude not there? Today it’s the latter - I haven’t time or interest in giving this one another go. 2/5

Finalmente un album un po' più interessante ed ascoltabile. Melodie carine e canzoni che non saranno dei capolavori ma che messe insieme in un album come questo diventa una dolce melodia perfetta per le mie giornate autunnali. Ritornerò su quest'album durante un fredda giornata piovosa, con un thé caldo in mano ed una copertina sulle gambe.

An enjoyable listen. A couple of great tracks here including The Weight and Wheels on Fire. Wondered if the latter was a cover but actually it was co wriiten by a member of The Band and Bob Dylan

Pretty good

Not my jam

Amazing jam-session rock album. The only song I was familiar with going into this was "The Weight." The rest of the album is just as good, and highly enjoyable. I am definitely adding this album into my regular rotation.

The Weight is the only standout

a lovely chill listen on my commute, I enjoyed the previous album I reviewed on here and this is about on the same level if not another half star.

Tears Of Rage - 90 To Kingdom Come - 84 In A Station - 82 Caledonia Mission - 78 The Weight - 94 We Can Talk - 84 Long Black Veil - 85 Chest Fever - 87 Lonesome Suzie - 86 This Wheel's On Fire - 91 I Shall Be Released - 92 Music From Big Pink - 88

It's not terrible, I just don't like it very much.

Classic album. I had forgotten the song Chest Fever. I never knew the name, but I always liked that opening phrase. And "I Shall Be Released" is a Dylan masterpiece that I under-appreciated. I didn't know that The Band was the first to release it. This is an obvious 5-star effort.

Soulig folkrock. Gillar The Band och detta är ett solidt album. Kanske lite för få toppar trots att en av mina absoluta favoritlåter the Weight finns här för att jag riktigt kan motivera en fyra. Men trots allt gillar jag det så det får bli en 4a. Bäst är Tears of rage, The weight, Long black veil, I Shall be released

Better than I remember. Should Listen again.

These white boys got some soul.

I can hear this music coming out of my Uncle Jim's garage while he's tinkering on his old lawn mower with a Budweiser can in his hand and a Marlboro dangling out his mouth. And he says to me, "What's up Kel?", and I say, "I dunno Uncle Jim", and he says back to me, "the sky baby doll, the sky"... That's what this album sounds like, to me. It's pretty great.

I was excited to hear this, figured it would be a new favourite. Alas no, just one stand out song. Where was the magic on this record?

Love the instrumental and polyphonic sounds

Easy 5 for me. A lot of the time southern/country rock makes me roll my eyes a bit because with some artists it feels like they're putting on an act or appealing to a cartoon version of American roots music, but The Band's songs somehow feel genuinely ancient. There's a lot of soul in the instrumentation and singing, it's impossible for me not to be taken in.

this was pretty good

nada super diferente, mas imagino que pra época tenha sido. gostei do som e gostei de conhecer, tem uma vibe do que gosto de ouvir.

não consegui ouvir inteiro mas tava gostando até onde fui

First listen for most of these tracks. Solid album.

Nice

There are no words for the fact that perhaps the most Americana band ever is four-fifths Canadian.

Pretty great!

I found this a hard album to rate. On the one hand, the album's experimenting beauty in "Tears of Rage" and famed classic "The Weight" elevates it briefly to the pantheon of folk rock albums, but it is brought down by a lack of inventiveness in many of its other songs.

buen pop

Базовый и невыразительный американский рок 1960-х. Подходит для фонового прослушивания, но не предлагает достаточно интересных музыкальных деталей, чтобы уделять ему отдельное внимание.

They’re in the right track, they’ve got great tracks, but it’s uneven. Definite peaks and valleys. But overall VERY good album.

4/5

Mega fedt

udemærket, ikke noget at råbe hurra for. Sjovt hvordan bob dylan er involveret, og sejt album cover

I've tried this album several times, and just can't get into it. The Band is not very interesting to me at all. Are they respected musicians? Sure. Are they talented? Definitely. I'm just not interested in anything they have to say. It's dull to me. They sound dopey, like Goofy trying southern rock.

très très cool bien chill bien repos

Je m'attendais à une bouze et en fait c'était vraiment très sympa

Its just okay, I've heard better covers of some of these

Nah

Super fun album. It was over surprisingly quick, which I guess means I enjoyed it a lot. I love Bob Dylan a lot, so I was expecting to like this album too.

Very fun, quite impressive. I wasn't sure if these were mostly covers or what.

Easily in my Top 5 all-time Bands, this album manages to pull off the rare feat of being a) Awesome and b) not as good as ‘The Band’. ❤️

lovely

Very little for me to get excited about with this album. Wondered why it was put into the 1001 - guess it was the Bob Dylan link - but I listened it through 3 times with growing disinterest, bordering on tedium for a lot of the songs. Chest Fever was my favourite song, maybe because it was notably different. Wheels On Fire was interesting in that I knew it from the Siouxie and the Banshee's cover, which I preferred. In A Station is OK but this album is rarely getting above background noise and is a disappointing addition to the list. A low 2 stars.

I liked but not in liked songs

A little too folky, not my thing, not the worst album I've ever heard though

Vibe: helioport gh city, watching the night sky or life on a farm, dr quinn Feels like: peaceful, slow dancing Time of day: not sure Songs saved for later/anything memorable: 0

4.5 stars. This one has the aura, but I think I like the tunes on the s/t a little bit more.

Slow, but some strong songs

Technically this is a debut album, but almost nothing about Music from Big Pink feels psychologically like a debut. It sounds like the work of musicians for whom the important judgements have already been made internally. They have spent years playing together, backing other people, working closely with Dylan; they do not seem to require the listener to certify that they are good enough. There are remarkably few of the little “look, we can do this” tells that often appear when a band is establishing itself on record. Nobody takes a solo simply because it is time to establish that the guitarist is formidable. The rhythm section does not periodically flex. Different styles appear without feeling like demonstrations of versatility. Even emotion is rarely presented as something whose intensity needs proving. I initially thought of that quality as humility, but that is not quite right. Humility is too much of a social posture. What I hear is self-assuredness, perhaps even a kind of internal validation: a band so certain of its own musical language that it has little need to advertise certainty. They sound post-proof. Tears of Rage established this within minutes. Richard Manuel sings a beautiful, wistful melody while the rest of the arrangement seems to move independently around him. Robbie Robertson’s thin, slightly weedy guitar tone carries a counter-melody rather than assuming the conventional role of “lead guitar”. It made me think immediately of George Harrison, not because Robertson particularly sounds like him, but because the guitar is being treated as colour, counterpoint and another voice in an arrangement rather than as conquest. The word that came to me was “orchestral”, though there is nothing particularly grand or symphonic about it. It is orchestral in method. The instruments seem to have independent melodic and textural responsibilities. They interlock without collapsing into a hierarchy of singer, backing band and featured player. There can be quite a lot happening without the music sounding busy. That first song was bloody gorgeous, and one reason it was so affecting was the lack of performativity. Nobody seemed to be selling the sadness. Manuel did not need to demonstrate anguish; the band did not need to swell dramatically around him. The song simply existed in its emotional state and left me to enter it. That became one of several qualities that seemed related without necessarily needing to be forced into one grand explanation. The songs are often structurally strange. The playing is extraordinarily assured. The lyrics frequently feel enigmatic or mythic. The arrangements can change state without announcing that they are doing so. All of those things coexist, but I am wary of pretending after one listen that I have found the single mechanism which explains them all. To Kingdom Come was the first song that made the album’s structural oddness really apparent. It seemed to arrive halfway through itself. The melody felt as though it had begun before I entered the room, and the whole song had the quality of a middle section for which the establishing and resolving sections had somehow been omitted. It was full of odd biblical and quasi-religious language, but the music beneath it was just as unsettled as the imagery. The title sounds as though it ought to imply a destination; the song never seemed particularly interested in arriving there. I sometimes describe songs as things that simply “come and go”, and this clarified what I mean. It is not necessarily a criticism and does not mean that a song has failed to register. Some songs announce themselves, establish a shape, develop it and conclude. Others appear, occupy a space for a while and disappear again. To Kingdom Come is an unusually pure example of the latter, and in this case the lack of arrival is part of its fascination. In a Station pushes the same quality somewhere dreamier. The opening seems to materialise rather than begin. Harmonically, I was repeatedly unsure where the song was going, but without ever experiencing the music as angular. That distinction mattered. The chords keep avoiding the place my ear expects them to go, but the voice-leading is smooth enough that I notice the unexpected destination rather than a disruptive turn towards it. Harmonically unsettled; texturally calm. That may be one reason the songs can feel more like atmospheres than resolved objects. In a Station even ends without giving the obvious harmonic full stop. Yet none of this sounds tentative. The Band do not seem to be asking whether I will accept these peculiar structures. They present them as though songs have always behaved this way. Caledonia Mission gave me another version of that confidence. It moves between something like a strummed hymn and something much closer to a groove, but the transition barely behaves like a formal section change. The song simply alters its physical state. Then it finishes with almost comic lack of ceremony: oh well, that is apparently it. The absence of ceremony runs surprisingly deep. Even when the songs are strange, nobody performs strangeness. There is no “look how enigmatic we are”, no underlining of an unusual chord, no signposting that the lyrics are deliberately mysterious. That may be where the long proximity to Dylan matters most. I do not hear Dylan imitation. What I hear is permission. Being around somebody that exceptional for so long must expand the range of things you regard as permissible in a song. Images do not have to connect neatly. Characters can appear without introduction. Religious language, jokes, folklore and apparent nonsense can coexist. A song does not have to explain its own symbolic system. Meaning can remain partially inaccessible without the songwriter apologising for it. But there is a difference between Dylan’s ambiguity and The Band’s. Dylan can surround himself with uncertainty and then suddenly say something that, for the duration of the song, has the force of an incontrovertible fact about existence. He has that extraordinary capacity for absolute veracity. The landscape may be unstable, but then one line lands and seems beyond argument. The Band are less interested in that kind of pronouncement. Dylan can stand in front of his mythology as preacher, prophet or carnival barker. The Band seem happier to pull up a chair and tell you a story. Chest Fever may be the most entertaining example of what happens when this comfort with incomprehensibility wanders into psychedelia. It begins with a wonderfully portentous organ and becomes psychedelic without pressing most of the standard psychedelic buttons. The dislocation comes from atmosphere, harmony, organ tone and the general sense that apparently ordinary musical materials have stopped obeying ordinary rules. Then comes the immortal problem: “She’s stoned,” said the Swede. What Swede? Where did he come from? The song has absolutely no interest in clearing this up. He arrives, pronounces and disappears. The whole thing is compelling and incomprehensible at the same time, and again the band play it with the certainty of people performing something perfectly self-evident. The snare sound on Chest Fever also hit one of my peculiar musical pressure points. Every so often I bond with an album partly through the sound of its snare drum. Here there is air around it, decay, room response: it sounds like an event taking place in physical space rather than a production effect labelled SNARE. It reminded me of what I loved about Dave Ruffy’s playing on Dexys’ One Day I’m Going to Soar. In both cases the drum seems embedded in a room and the room answers the hit. It is a tiny production detail in the scheme of the album, but these things matter disproportionately when they are repeated hundreds of times across a record. Somewhere during the listen, the lyrical world began to feel like an extended journey further down Highway 61. Except The Band have left the highway. Dylan is still out on the main road preaching, arguing, prophesying and heckling passers-by; these songs are wandering through the back roads and settlements. There are graveyards, biblical names, secret lovers, impossible obligations, strange errands, burning wheels and people who exist just long enough to contribute one unsettling detail. Track by track, some kind of American mythology seems to accumulate without ever being announced as mythology. The Weight consequently did not feel like the famous song arriving to interrupt the album. It was more a feeling of, “Ah, here we are.” Its verses belong entirely to the world that has already been established: Nazareth, Carmen, the Devil, Miss Moses, favours, burdens, encounters whose precise significance remains uncertain. Then the chorus opens and something changes. The story does not become clearer, but the emotional relationship to it does. Suddenly there is something communal to sing. The burden remains; somebody can help carry it. That places The Weight, for me, among those reassuring songs whose comfort does not depend on claiming that everything will be fine. He Ain’t Heavy, He’s My Brother works in a similar emotional territory. The difficulty is not erased. The answer is relationship. You do not necessarily get rid of what has to be carried; you stop carrying it alone. Long Black Veil reaches the album’s mythic America from another direction. Its narrative is frankly far-fetched: murder, concealed motive, a secret affair, wrongful conviction, execution and a veiled lover secretly mourning at the grave. On paper it is almost melodrama by checklist. Yet the performance is so restrained that it ceases to feel melodramatic at all. Nobody tries to make the story more tragic than it already is. They simply tell it, and its improbability begins to feel less like implausibility than folklore. My reaction when it finished was simply: that was good. Sometimes further critical elaboration would only weaken the judgement. We Can Talk offers a far more mundane kind of pleasure. It is almost arranged as a conversation, with voices passing the song between themselves rather than one singer occupying the centre. Its belief that talking may actually be useful is congenial enough to me anyway, but I particularly loved the throwaway exchange about whether someone had ever milked a cow. He had the opportunity, apparently, but was dressed for Sunday. It is exactly the sort of ordinary comic detail that stops the album’s larger symbolic world becoming inflated with its own importance. Then the music seems casually to mutate into a blues shuffle because apparently that is where the conversation has wandered. Lonesome Suzie immediately suggested Curtis Mayfield and the Impressions, but without feeling remotely like an imitation exercise. Again, an influence seems to have been metabolised rather than displayed. The song is full of helplessness: caring about somebody, seeing their sadness and wanting something better for them without having the power to supply the solution. It does not turn that helplessness into a grand emotional performance. It simply sits beside it. This Wheel’s on Fire returns to something closer to visionary or allegorical logic. The central image feels significant long before I could confidently say what it signifies. That may be true of a great deal of this album: symbolic force precedes explanation. One unexpected consequence of hearing all this was that My Morning Jacket suddenly sounded less unprecedented in retrospect. That is not the same thing as saying they are derivative or reducing them to pastiche. When I first encountered them, my musical map was narrower and they seemed to come veering out of nowhere. Music from Big Pink makes some of the antecedents audible: spacious ensemble playing, rural mysticism, songs that drift rather than snap into place, atmosphere emerging from the construction rather than being pasted on as décor. Nothing has become worse. The family tree has simply acquired another visible branch. That is one of the pleasures of listening backwards and sideways through a canon. An older record can change your understanding of music you already know. The album ends with I Shall Be Released, and I cannot imagine a better closing gesture. After so much wandering, burden, strange scripture and songs that resist obvious resolution, the final piece becomes almost hymnal. It felt like a gorgeous Sunday-morning ending to the album. What is particularly apt is that this is Dylan without the sort of hard fact about existence I had been thinking about earlier. The song does not prove its conclusion. It expresses faith in it. Release will come. A hymn does not have to demonstrate the truth of its belief. The act of singing can give that belief its weight. I was tempted while listening to keep dissecting the album because there is so much going on, but halfway through I realised I did not want to. I want to return to it and live in it. That feels important in itself. Some records provoke an urgent desire to understand their machinery. This one makes partial understanding pleasurable. I am quite happy for the Swede to remain unexplained. I do not particularly need to know exactly where To Kingdom Come begins or where In a Station thinks home is. I do not need every piece of this invented America to fit into one critical scheme. The verdict, on the other hand, required no such uncertainty. This was one of those rare first listens where the response was immediate and unambiguous. I understood enough to know that I loved it, and I am pleased that quite a lot of it escaped me.

I love Bob but he can’t paint for shit. The album is good.

The Weight is such a classic and basically carries the album on its own. The rest is instantly forgettable.

Didn't mind this

Great album

I don't know what I was expecting from this album. As someone who has heard my uncle talk about how important and great and life-changing The Band are, I was at least expecting something interesting. But really it just sounded like some blues dudes doing country rock, and bored me quite a bit. Maybe you had to be there to understand the importance, maybe I'm just not a country rock kinda guy. I like them better when they Bob Dylan is singing. Choice Cuts - 'Chest Fever', 'This Wheel's On Fire'

This is definitely better than their other album on this list. Or maybe I was in a bad mood that day idk. These guys are so quintessentially 60s. Something about the vocal arrangements plus the organ and Beatlesy guitar riffs. They're definitely talented, and probably influential. The Weight was pretty good. Long Black Veil was my favorite.

my expectations were low but it was actually pretty frickin' cool. definitely prefer it over the other The Band record. The Weight alone gets it immortalized in americana, but it has some more cool sounds to offer. really embodies that clearance clearwater folksy rock vibe, even turns weirdly soulful sometimes. favorite song is probably We Can Talk. very strong 3

Rating: 6/10 May have to give this band another shot in the future cause I liked this effort more than the self-titled album we've gotten but they haven't really connected with me. They're technically good though, 60's country rock style that I'm just lukewarm about for no good reason. A few songs on the back-end got weirder and there was a shift between some decent songs and good songs through the whole album. I really liked The Weight, good track

Feels like what my dad would listen to but in a good way

The review from big listener.

Enjoyed it

This definitely had the Americana rock feel. Good melodies and vocals, reminded me of Tom Petty. Enjoyable album.

ja cool :)

definitely a band idk about THE band tho (was still fire) 7.5/10 best song - the weight

Профессионально, но по первым трекам хотел выключить, ибо Дилан не мое. А к середине прям даже здорово. Я в смятении. Тк моменты из этого диска слышны в более поздних работах более известных групп.

Like a cool morning cig w dad

Time for Bad Opinion Confession Time: I guess I just don't love The Band. There's a lot here, they're all very talented, and they can make a variety of sounds and songs but I just don't love it. I like it just fine, I guess. I don't think The Weight is a great song, I think Chest Fever could use some tweaks because there's something great there that zigs when I want it to zag, and I really don't care for the last three songs, even I Shall Be Released which seems to be well loved. Don't care much for Dylan, neither, but his version is better. Hard to get a real opinion here: it's good, but not great, and I like it, but don't love it.

I respect The Band. But a lot of it has led to too much body odor in the world. At this point, this is the only album of theirs that I need.

"The Weight" is a classic, and I didn't mind "Chest Fever," but the Band still does little to nothing for me. I find the vocals irritating—especially in "I Shall Be Released"—and their take on Americana just isn't my thing. Three stars for "The Weight," but otherwise this is another two-starrer.

Too slow. Scientists have been able to get various molds to play music. This is what it would sound like if depression was able to produce sound.

Bland

So so so tired of Americana or country rock. Give me the two separately, because it just feels like they use the country as an aesthetic. The Weight is cool though, don't know where I've heard it but I've heard it before.

Influential, sure, but the best? Guess that depends on if The Last Waltz is on the list.

Fantastic album, 4.5! Quality song writing, soulful singing, effective instrumentation, and interesting lyrics. The whole package!

just really solid end to end

This is the second "The Band" album to come up on this list for me. I've also now listened to them in the context of Bob Dylan's atrocious "Live 1966" album. Their backing there was really quite good, it's just a shame they were drowned out by Dylan. I do know some of these songs, but I have to say I don't think there's anything particularly special here. It's pretty generic, plodding, folk rock. The vocals aren't particularly good, but they're OK. The backing is mostly just uninteresting, but when there are little frills and whatnot they're competently done, so there's clearly some talent in there somewhere. Fine.

The cover art is really cute, might be the best thing bob dylan ever made. Granted idk what the inspiration is considering The Band doesn't look like that Yeh it's fine, nothing special tho. It feels like they are trying to accomplish every style but as a result there's no flow or standouts. something something 1000 punches once something something one punch 1000 times

Easily my favourite of the sort of “roots rock”, country-folk-psychedelic-comedown albums I’ve heard in a bit, probably because it feels like it has a broader stroke of influences than the average one. It’s got the regular stuff with the blues and folk and country and all that, but they manage to tap into some sense of gospel and soul that actually makes the whole thing sing where others don’t. It’s loose, but the vocals, trading and layering, sound fantastic and the the music just has this nice slow-and-steady walk to it, where it really does feel like you’re sat round a campfire or something and thus way less manufactured Americana.

3/5

really liked the weight but the rest was forgettable

Loved it I knew the album it’s great

such a great album by a band mostly forgotten about. "The Weight" is one of those timeless songs that is timeless.

The Band is so fascinating to listen to because each song is so unique and such a piece of crafted art. And really no one sounded like them at the time. Now there's a while Americana genre that sounds like them! Problem is they are hit and miss for me. Chest Fever was a highlight.

When saw "The Band" was the alblum of the day I was excited. Never listened to them before but knew they had a huge reputation. I was expecting a solid five. Was a little disappointed. I will give a solid 3.5. A good listen but nothing to get too excited about.