Head Hunters

On repeat during high school and college years. Perhaps the most accessible jazz album of all time for those more inclined towards rock music. So solid and catchy. Dictionary definition of a groove from start to finish. Might be the funkiest thing I've ever heard.

it's nice when my notes for a 1001 album can be easy like "it's head hunters" It's head hunters.

Absolutely classic and important album, to me at least. The grooves on this album are superb and arrangement is everything. Everyone was on

Not really my thing. I don’t enjoy 10 minute long jazzy instrumentals. Didn’t mind the first couple minutes, but 40+ minutes, nope.

I'm glad this album made one misstep so I don't have to give it a 5-star rating. If you reverse the order of "Sly" and "Vein Melter". As it is, it is only a 4.95-star album. Note: I rounded up.

5/5 Disagree and i'll fight you.

It feels almost inappropriate to review a Herbie Hancock LP. Perhaps he’s beyond the scope of critique and has ventured into that stratosphere of artists that simply need to be enjoyed, adored even. I was recently driving on my way to a business meeting, listening to KUVO (89.3 MHZ), Denver’s public radio jazz station, and heard a live cut that I immediately recognized as trumpeter, Miles Davis. It was from his 1964 concert at NYC’s Philharmonic Hall, a fundraiser (the musicians voluntarily played for free) for the Voter Education Project to register black voters in Louisiana and Mississippi. Of course, Miles Davis was his usual bad ass self, as were the rest of the players. When it came time for the pianist to solo, I almost had to pull my car over and stop. It truly took my breath away, one of the fastest piano improvisations I’ve ever heard. It was Herbie Hancock. So, I had high expectations for 'Head Hunters.' There are only four songs on this LP, predominately of the jazz/rock fusion genre, which is not something I typically enjoy. I lean more towards the ‘free’ jazz of folks like saxophonists John Coltrane and Ornette Coleman, or pianists Bill Evans and Sun Ra, cats like that. So, when ‘Chameleon’ began, this LP’s opener, with that oh so 70’s clavinet sound, some spacey synth work and such (by the way, at about the seven minute mark during one such synth solo, Hancock shifts up into a whole other key just for a moment while the band remains where they are, creating an incredible auditory experience), I was diggin’ it enough, appreciating the smooth textures; but, I wasn’t exactly floored. Hancock continued with some great Fender Rhodes electronic piano soloing for a while accompanied by a quick and funky drum and bass groove, and then layered on a lovely string synth arrangement. It gave me the impression of flying amidst the clouds. It was terrific, don’t get me wrong. But again, the jazz/rock fusion is not my thing. I recognized the second track, ‘Watermelon Man,’ and I bet a lot of folks who never listen to jazz will too. I’m guessing its been used in movie soundtracks or commercial ads, etc. Regardless, it was more of the same, with the addition of a cool little flute intro by Bennie Maupin, and then concluding the last minute or so with a nice bit of cross syncopation between flute and bass, the drums all the while keeping a steady beat. OK, that was cool, too. Maupin’s sax playing, though, was sounding a little pedestrian. And as I’ve no doubt been spoiled by the extraordinary talent of John Coltrane, I was prepared to give the LP three, maybe four stars and call it a day. Until the third track, ‘Sly.’ Beginning with a soft, mellow vibe (nice congas in the background), out of the blue about two minutes in, Hancock just stopped the whole thing down, then did this wild soaring thing on the synth, at which time the tempo took flight as well. For the next 7-8 minutes, the band was ‘going off the rails on a crazy train,’ in the words of vocalist Ozzie Osborn, but the train was free jazz rather than metal. And what a ride it was! It was almost as if the band said, ‘Allright, you’ve heard us just relaxing into the music, offering you our smooth jazz. But lest you think we’ve forgotten how to play hard core, buckle up brothers and sisters.’ Bennie Maupin lifted his sax to new heights, ala Coltrane. Then at the approximately five and a half minute mark, Hancock proceeded to set fire to the keys on his electric piano, like that live recording with Miles Davis I heard while driving. Now this was the shit! Man, by the time drummer Harvey Mason slowed back down to the original tempo to conclude the tune, I had to get out of my chair to go fetch my head which had tumbled off my neck at some point and rolled down the hall. I needed the final track at this point-‘Vein Melter’- the perfect way to end the LP, which began with a simple kick drum beat, and slowly adding a wa-wa bass, melancholy sax, and a vibrating electric piano, along with a lot of quirky synth sound effects throughout. Oh, and about two minutes in, some ethereal synth strings topping the whole thing like whipped cream on a sundae. This one begs for headphones and good bong hit, if you’re hip. In retrospect, I now understand and enjoy the first two jazz/rock fusion numbers, and their appropriate placement to the hard Be Boppin’ of ‘Sly,’ only to then finish with a great mellow closer. Like a musical stew, beginning with the prep work of chopping the vegetables and meat (‘Chameleon’), and then moving on to the saute stage (‘Watermelon Man’) caramelizing the ingredients, before the hard fucking boil of ‘Sly,’ and then letting the whole thing simmer for a while with ‘Vein Melter.’ The musical aroma filled the joint, and I wanted seconds, thirds. After it cooled, I sealed it all up in a Tupperware container and put it in the fridge for another helping tomorrow. This, my friends, is some good eatin’ for your ears. And I guarantee Head Hunters will fill ‘em right up. But whatever you do, don’t snack on any junk (Kenny G?) before this entree. Enter into this listen good and hungry. ‘Cause food/music always tastes best when you’re good and hungry.

I feel like one of these songs was definitely background music for one of those transitional Sesame Street sketches showing People in Their Everyday Lives.

An unconventional and accessible display of performing jazz masterfully despite nothing like this ever being done before. "Chameleon" is characterized by a recognizable funky bass line, electrifying piano and synths that come in and out at the forefront, and a groovy Miami-vibe half way in before slowly returning to the formula. "Watermelon Man" is an even stranger track, taking inspiration from African music with the beer blowing, and a much sexier, harder funk sound reminiscent of James Brown. There's so much going on that there's always something to idolize upon each listen. Has my favorite sax... there's even a segment around the 4-5 minute mark where I hear two saxes. "Sly" is the most colorful track for sure, undergoing a new transformation every couple minutes or so. It's crazy this is an album where people are calling THIS the weak track. Least iconic, yes, but impressively composed with attention made to each second. Starts and ends with a sexy spy theme, interluded with how fast can you keep up. "Vein Melter" is a slow, mellow, yet atmospheric closer to leave the audience satisfied after the insane displays shown previously. Feels a little classical here and there.

The funkiest jazz, most 70s sounding jazz fusion album ever

had a great time listening / weird-dancing to Watermelon Man with the girls before school. It starts out so goofy and strange, they were mesmerized… but then the bass and drums kick in and all of a sudden it’s a jam. i can absolutely hear HHs influence on modern hip-hop.

An insane, electrifying album from front to back. Incredible performances, engaging music. Can't speak any more highly of this one. Favorite tracks: "Chameleon", "Watermelon Man"

Groove-adelic. Loved the creativity and fun-kiness.

I liked it, cool music. Something completely new for me, but extremely enjoyable. Will listen to again.

Very funky. Loved this thought it was great, very different from pretty much anything else we've had so far. It was different but not in an experimental way. Loved the instruments, really well done. Even though the songs were long they didn't drag (take notes Bob Dylan). Loved this.

Herbie can cook. But after awhile, like everything instrumental, it just becomes background.

Herbie Hancock, Matt's more accessible, more likeable, older brother. He paints a glowing rainbow of joy upon the faces of everyone who meets him. Everyone apart from me. Colour my life with the chaos of trouble, I just can't stand the man! His music SUCKS! He's a greasy weasel, a gym instructor, a nuclear rocket, a baseball bat, a fat controller, a modest mouse, a toilet brush, the misadventures of Romesh Ranganation, a stain upon a front tooth, a garden gnome, a rainy afternoon, a cunt.

So happy to have gotten this today--the perfect antidote to the Morrissey pick earlier. I love how laid back this album is with the funk touches keeping it from being too cool. Every musician shines unobtrusively yet brilliantly.

More stars than songs. Impressive.

Herbie and his hunters are after your head, and once they find it, they’re going to fill that cranium with the funkiest, grooviest, sweetest cerebral candy your mind’s ever tasted.

I had no clue what I was walking into but was very happy with this music! Enjoyed it a lot!

today i learn the toejam & earl soundtrack was inspired by this and i fucking love it. groove after groove. jam after jam. funky fresh.

Actually really liked this. funny only hearing an album with 4 songs. not seen very often anymore

Starts exciting, but becomes a bit repetitive and uninspired. very nice bits but overall a bit too long. Sometimes you wonder if you did not put the same song on repeat.

I was excited when I first started this record playing, because I think there should be more instrumental music and so often good music is spoiled when an artist opens their mouth. However, my excitement was quickly turned into irritation by all the extra noises that were repeated throughout the album.

Having only really heard Rock It before going into this album, I didn't know what to really expect - and not only is this REALLY different to that, it's also REALLY good! I love, love, LOVE this album - it's a masterclass in groove and staying in the pocket, with tracks ranging from funk to jazz to almost ambient, and stays just as long as it needs to, I'm kind of obsessed with it. Chameleon is now on my 'get founder's playlist, and I'm honestly looking forward to listening to this again and again.

The funkiest 40 minutes you'll spend. I don't really enjoy the overarching flute theme of Watermelon man, but it's hard to argue that it doesn't turn into something interesting.

Groovy and funky.

4 songs of pure stank. Meant to be played loud!

Would trip to this great jazz vibes 10/10

What a game changer! The premier jazz-rock-funk album. This is where it all started.

Synth funk with jazz and tribal roots? More please. This presented unexpected vibes as I had only heard of this artist and never took the plunge until the suggestion. The first track was worth the distraction from a bisy day. Now, I will have to explore this groups other works. The 2nd track had a tribal start that shifted into funk, then to jazz and the progressions were natural and not forced. Good variety in the solos. These were all saved for future plays on car rides.

Es el primer álbum de jazz que me salta, aunque no es jazz tan puro, combina muchos elementos de otros géneros y sonidos sintéticos, generados por computadora. A veces suena algo más Weather Report, a veces algo más tradicional mente jazz (como un swing) aunque siempre Hancock produce los temas agregando algunos sonidos muy particulares, en ese aspecto es bastante particular y algo curioso es que las canciones aunque duren 10 minutos tienen una novedad que hacen que siempre quieras escucharlas atentamente, en eso creo que se trata de una GENIALIDAD. A veces hasta incluso suena algo ambient el disco, es brutal.

Watermelon man is one of my favorite grooves of all time. Many of the albums we’ve listened to are so desperately trying to sound avante-garde, they forget you actually have to sound good too for your inventiveness to matter. Herbie does this and makes it feel effortless. One of my favorite quotes about art applies: “talent hits a target no one else can hit. Genius hits a target no one else can see. “

It’s a five after that first bass line. This album really taught me that dissonance in jazz isn’t just meant to be pretentious and gatekeepy. The funk can’t be contained

Actually amazing. Really cool funk/jazz combo. No words, just grooves.

Till this day I only knew one song by Hancock and I regret not having listened to this album before.

huh never ever would have listened to this of my own volition, so this is v interesante, no lyrics, just like...JAZZ and SYNTH its wonderful

Really enjoyable. Embarrassingly I only knew Rockit. This is really good

I hate that jazz stuff.....jeeesus a 13 minute track.......oh that is good, that was never 13 minutes, what's next oh more YES but it's not really jazz.

Fantastic album. Herbie Hancock is a fusion pioneer and this album is an excellent yet accessible foray into jazz funk fusion. The songs are very well constructed and build gradually and naturally. The musicianship is top notch of course and driven by Hancock’s playing of the Fender Rhodes electric piano. The improv breaks are impressive as well. This album is an absolute genre bending classic.

I feel stupid that I know almost all of this music but didn’t know it was ALL Herbie Hancock. What a legend.

Amazing groove. Instrumental jazz is not usually my thing but I may have to buy this on vinyl. Really cool. Even the synth is cool.

mhmmm i love me some cock fav: chameleon

Herby Hancock man, that’s one groovy motherfucker. Had a blast revisiting this one. Short and sweet and will get you dancing no matter what. Top stuff.

Awesome jazz fusion

Very creative album, like a fusion of jazz, funk, soul and more. Very experimental, it must have been groundbreaking when it was released

Time to get freaky - this is the antidote to all the nerdy, stuffy, boring, pointless, clean wankery played by white guys and called fusion. Herbie and the Headhunters are blasting off somewhere, and you are very much so taken along for the ride - even if the journey does lose direction here and there. Great tones and production, massive hooks and a tight rhythm section delivering an incredible groove throughout - this is an album where rhythm doesn't play a supporting role, but gives the whole thing life. The solos and harmonic explorations aren't memorable but also never detract from the mood. Favourite tracks: the riff in Chameleon, the middle of Watermelon Man, the groove in Sly

zorp like sounds/// LET'S GOOOOOOOO (скучно пиздец на самом деле, но не плохо, 3/5)

point5.

Pretty good, groundbreaking, but not my jam.

01) Chameleon - 6,0 02) Watermelon Man - 6,5 03) Sly - 4,0 04) Vein Melter - 5,5 TOTAL: 5,50 (55/100) How refreshing is to see 4 songs on the album after the double album yesterday... On the other hand, it's jazz. Maybe funk can save it. Let's see... aaaand it can't. I still hate jazz.

Funky

A great album and a long tiume favourite of mine. The beginning of the use of synths. I give it a 5 for its milestone status.

Being yet another classic from the master Hancock, this album is, without a doubt, a definitive work—not just in jazz-funk, but in music as a whole—owing to its vast and enduring influence. It’s not only fun and unpretentious, but also creative and fiercely groovy. At just 40 minutes and 4 tracks, with Chameleon and Sly both stretching past 10 minutes, each could have easily been 30 minutes long, and I would have still wanted more. Transcending genres and eras, Head Hunters remains one of my all-time favorite albums.

Disco, artista y portada incónicos. Hancock es un referente en múltiples géneros, sobre todo el Jazz pero también en el Funk (aquí por ejemplo), la fusión africana, Post-Bop, electro (Rock it)... ha tocado durante muchos y fructíferos años. Ha hecho de todo y siempre con un innegable sello de calidad. Cuatro años antes había participado con M. Davis en In a silent way, obra referencial del Jazz. NO incluye su mayor éxito: Cantaloupe Island (aún no la había compuesto). Este fue el disco más vendido del jazz en la historia en su momento, razones no le faltan. Si quieren leer una crítica completa, háganlo aquí: https://barroquita.com/2024/02/22/herbie-y-los-cazatalentos-entre-camaleones-sandias-y-mascaras-africanas/. La otra opción es darle al play y disfrutar del álbum.

Seminal and enjoyable on all accounts, not just for jazz-heads. Proficient (to say the very least) playing backed a lot of soul. Head Hunters offers slow-burn groove-fest jams as well as absolutely fiery fusion. At least half of the tracks here have become jazz standards, deservingly so. If this album interests you at all, definitely check out every album Herbie released from 1969 through the latter portion of the 70’s. Funky fusion for a lifetime.

One of the instrumental albums that I like the most, from the first second you can recognize that it is Herbie Hancock, I dare say that it is his best album.

Absolutely no notes. Flippin slaps. Right down to the album art. Turned off whatever wuss rock I was listening to and immediately laid on some Herbie. Seeing this rated highly really soothes my soul. I love that the most popular one star review guy got this and then immediately gave up on music; blew it!

Herbie Hancock has had a long and storied career with so many cresting waves that it’s hard to name any one time as the peak but 1973-1976 was undeniably special. Head Hunters (an album so great that the band he formed for it went on to their own successful career), documents Hancock at the forefront of another rising tide. But not just part of that wave, he helped point the way. This music is supple and propulsive. No doubt, that motion comes from one of the tightest rhythm sections in jazz fusion. Paul Jackson’s basslines are the atomic essence of groove, endlessly elastic, kinetic and hypnotic. Harvey Mason’s drumming is as deep in the pocket as the Mariana Trench, keeping everything simmering just below a boil. Hancock’s clavinet and synth work surfs right on top, playful, slinky and memorable. Popular music genres have been crossing streams since the day anyone put a boundary up. Hancock knew jazz was at its best when electrifying and accretive — absorbing funk, soul, pop and rock. Head Hunters fused it into something smooth, funky and fully locked-in.

One of my favorites. I really respect Herbie for going in this direction.

just some absolutely awesome stuff

Loved it.

Ahh.. the album that made me an insufferable jazz nerd in high school. Need I say more?

Easily my favorite Jazz album! It's just so funky and groovy that it's impossible to have a bad time while listening. That bass tone is legendary. I also love how slow they start playing Chameleon and then by the end of the song they are grooving so hard it's like 25-50 BPM faster then when they started. High 5.

As someone who is very interested in the development of electronic music I'm so glad to have heard this meld of synth and jazz!

Very funky and accessible jazz. Chameleon is an epic track, Watermelon Man is also fantastic and Sly is pretty great too. I didn't enjoy Vein Melter quite as much but I'm still giving this a 5 because the rest of the album already earned it.

herbie is yet another big influence in my music taste, i love most every thing he's put out in his lifetime, and this iconic album is no exception. it's probably one of his best, if not the best. very stylish and very funky, this album is essential to the world of jazz fusion, blending standard jazz rides and lines with VERY crazy keyboard solos and maybe the occasional african influence or two. there's probably studies about music that stimulates the brain in a positive way... this is certainly an example of that. only 4 large tracks on this one.

i always put off hearing this album but i'm soooo glad i finally gave it a listen Chameleon - 9/10 (a bit long but really good, was far from bored) Watermelon Man - 100/10 (i have no words this shit was just pure 🔥🔥🔥from beginning to end) Sly - 8.5/10 (another long but good one) Vein Melter - 6.5/10 (real slow and chill, sounds like music to sneak around at night to) this album really changed my perspective on jazz 4.8/5

funky, groovy, amazing instrumentation and soloing, tight, amazing keyboard playing, incredible sax, nasty hooks on watermelon man, nice drumming to accommodate the mesmerising passages 10/10

It was silly and I had a lot of fun

I feel cooler for having listened to this

Phenomenal stuff, Edgy but not rough Bassline that slaps Under the smooth I collapse A seminal album from a seminal year 5 stars, no fear

spacious

Nioce

2/6/25. Incredible jazz fusion by Herbie. Great musicianship and awesome sounds, all timer for me.

This was dope, Watermelon Man & Chameleon are classics, but the following two tracks are solid too. All felt very different but felt tied in together. It feels 70s with the clavinet, and it's definitely jazzy and funky. Drummer and bass were killing it, and keys/synth are the cherries on top. Plus there's just so many weird little accents throughout every song to keep it interesting.

Goes down easy, vibes vibes vibes

One of the best albums of all time.

It would be a classic with just Chameleon and Watermelon Man. The fact that the other half is here and is really good too is just icing on the cake. The snare that drives the lumbering Vein Melter caught my attention so much I had to play it again to listen to the other instruments.

This album is definitely a “where have you been all my life” album. It’s a psychedelic funk album…. What’s more to say? It’s fucking awesome and your wasting time by not listening to it right now!

This is one of my top 20 favorite albums of all time. Totally deserves a spot on this list

Diabolically groovy. Big 4.5

An all time classic, absolutely a tent pole of jazz funk fusion.

Desert island selection. One of those records where every note feels celestially preordained. Herbie Hancock is an American treasure, though people like me who first encountered him when "Rockit" became a hit may understandably require some convincing (BTW that has aged better than you might have guessed). The problem with records like this is what they spawned in terms of horribly inferior imitators. Definitely should have come with a DO NOT TRY THIS AT HOME warning label for other musicians who picked it up.

short track list, long trip, very fun journey

"It was a stone groove, my man" Standouts: The 15min-long "Chameleon" and "Watermelon Man"

People used to dance to jazz. At the start of the twentieth century the nascent genre was born, and by the 1930s jazz was dominating airwaves and dance floors during the swing era, so called for the music’s rhythmic trait and the dance style it inspired. Jazz abruptly shifted out of the spotlight as popular music moved on to other budding genres including R&B and rock, and it was around this time that jazz permanently shifted its gaze inward, becoming less focused on inspiring corporeal reactions from its listeners on a dance floor and instead setting its sights on cerebral pursuits including technical expertise, experimentation, and improvisational prowess, making the music more complex and intentionally unpredictable — ultimately making it less approachable as it aged. By the early 70s Herbie Hancock was over a decade into his career, and he was determined to return jazz to the dance floor. During those first ten years Herbie made significant contributions to the growing catalog of jazz standards, scored, conducted, and performed three major motion picture soundtracks, and spent years as an integral member in a few of Miles Davis’ consequential bands of the late 60s. But the headier territory jazz was entrenched in frustrated Herbie. The three albums leading up to Head Hunters made with his Mwandishi band from ‘70-‘73 were arguably in this vein: while the music of that period was the most visceral and raw of his career (Sextant is another classic album of his), and the virtuosity and synchronicity of the band was undeniably on display during live shows at the time — these albums built on the spaced-out fusion aesthetic that bloomed after Miles Davis’ landmark fusion records Bitches Brew (1970) and In A Silent Way (1969), the latter of which featured Herbie on the Fender Rhodes. Jazz had become pretentiously self-indulgent during fusion’s rise, and was in desperate need of a fresh approach. The late 60s/early 70s was a revolutionary time for most musical genres. Herbie was a fan of all kinds of music, and Sly & The Family Stone was a particularly favorite band of his. Sly’s psychedelic spin on James Brown’s funk expanded that genre, and Herbie wondered whether he could intertwine jazz and funk in a similar fashion — and by doing so bring jazz back into the popular music fold, something young hip folks put on at parties and danced to, and that DJs played on popular radio. And so Herbie conceived an approach and assembled a band, the Headhunters. Their eponymous debut record changed jazz forever. It reached No. 13 on the Billboard charts and eventually went platinum, and it is the second-best selling jazz record of all time — it’s also worth noting that Herbie and Miles hold 5 places on that top 10 best seller list. The forty minute, four-track Head Hunters is stylistically and technically impressive, bursting with joyful funky energy every second of its run time. Every member of the Headhunters is firing on all cylinders, all aces on their respective instruments. The album is dominated by the rhythm section, and the grooves that come out of their collective pocket are so infectious. The record is propelled by Harvey Mason’s incredibly funky patterns. James Brown’s drummers Clyde Stubbeldield and John Starks are rightfully considered the greatest funk drummers of all time, but had Mason dedicated to playing how he did on this record his whole career he would’ve easily snatched that title from their deserving, time-keeping heads. Most of the record Mason is restrained, deceptively simple in his execution, but firmly locked into patterns that are so pleasantly off beat, a skill he honed playing a wide array of genres as one of the standout session drummers in the entire music business who backed countless jazz and rock stars during that era. With support from Paul Jackson on bass and Bill Summers on percussion (and famously on half-full beer bottle for the whistling riff that opens ‘Watermelon Man’), the rhythm section was firmly rooted in place allowing Hancock to express his unique sense of modalities and melodies using an assortment of electronic keys and synths. Head Hunters overachieved its aims, energizing a genre that had grown stuffy and intellectual, and propelling him even further ahead of his peers; Herbie was a jazz virtuoso with enough accolades to fill multiple careers at the time this album was released, and Head Hunters turned him into a pop star. Herbie remained fixed on that upward trajectory and continued to merge jazz with popular music trends decade after decade, consistently chipping away at the exterior of jazz music until a new form is born.

A true funk masterpiece!

Got about 5 seconds into Chameleon and instantly knew it was gonna be a banger. I’m really surprised by how much I enjoyed this one. Album cover is cool.

So good. a jazz-funk masterpiece and those synth bass lines just heralded a new era.

In my opinion not one of the greatest albums of Hancock but still great music.

This is the good stuff.

Love me some Herbie Hancock. Used to listen to this album regularly in college. 30 years later, it still holds up.

I like the album cover of this one. By the artist name, I could imagine that Buster would like this album. Amazing album. very jammy. Must be amazing to see live.

Amazing new find here! What a great mix of funk and jazz that never fails to be entertaining and exciting.

Jazzy, funky, synthy and all that good stuff!

Coincidentally heard this like 2 days ago lmao. Loved this, love the Herbie Hancock sound. You’d be hard pressed to find a Herbie Hancock album or, hell, a song I won’t like.

As smooth as it gets

This album, and I'd say Herbie Hancock in general, is one of the few that's mastered the art of being really really cool. The music here resonates with the listener not on a spiritual, emotional, or even visceral level - but on a level that's very subdued, not in plain sight but still strongly present...a "bass" level. Each percussive element, drum fill, key hit, bassline, and sax note is sequenced meticulously to ensure that these relentless grooves can go, at times, completely off the rails. This aspect can lead to something undeniably tight and groovy like on the faster vicious saxophone and key solo passages of 'Sly'. Or it can lead to something satisfying like that cute refrain on 'Watermelon Man' that uses space effectively enough to keep the listener slightly disoriented, constantly guessing, but hooked all the same. That key hit acting as an almost starters-pistol for this one particular passage is great... In general, I'd say 'Watermelon Man' is my favorite track here - it's just such an iconic piece of jazz, especially given its bottle flute opening. 'Chameleon' is another song that's just cool - an iconic and funky bassline is at the core of this one, and while it stays in that very repetitive place for a good chunk of the song, it eventually evolves into something unrecognizable with those keys and synth, becoming warmer and more elegant as the track blooms and opens up. Elegance is also the name of the game on the closer 'Vein Melter', especially in those closing minutes. It's easily the least "aggressive" song here and serves to send off an otherwise explosive album. Very few albums land in this unique space between electronic, jazz, and funk music. Because of that, I'd argue that this album lacks a strong "musical" identity, at least in the traditional sense...that's to say it's very eclectic in its styles and transitions. But there's a kick here, one you get from very few albums, a sense of satisfaction that's difficult to pin down, but is made clear as day when actually listening.