Talking Heads that sounds urban and downtrodden at times. It's an unvarnished sound compared to future works, less syncopated and more groovy, strummy. Great album. Will listen to again. All tracks great. Standouts: I Zimbra Cities Life During Wartime Memories Can't Wait Heaven is amazing Animals is RAW and frenetic.

I took a piss I took a piss on you It's what you told me to do And it was all yellow 💛 ...I think it's hilarious. I can't be the only one who's made a similar rhyme to this song. Was actually surprised at how much of this album I remember, as it was played by members of my friend group at the time of release. I've always thought it was rather tepid music for responsible adults (which made it weird when certain friends would play it as everything else was bangin' electronic music or punk or hip hop, etc.), and my opinion really hasn't changed. Not the worse music in the world, but does absolutely nothing for me, save for the fun of replacing lyrics with piss pig themes.

"Natty Dread is the seventh album by Bob Marley and the Wailers, released in 1974. Previously Marley had recorded with Peter Tosh and Bunny Wailer as the Wailers, and this was his first record without them." Good album. Seems like cornerstone Reggae shit that anyone who loves Marley would want and need in their life. I'm always way-more into skanky and/or out-there, heavy dub laden with crazy mixing and space echo and all that shit, so the sound on this album doesn't hold my overall interest as much as it's very straightforward and honest in it's presentation, which itself isn't at all bad and absolutely well-played throughout. Plus Marley's backup female singers are always great. Won't likely be something I'll play again, but essential for anyone into Reggae. Rebel Music (3 O'Clock Roadblock) Natty Dread Talkin' Blues

Really interesting time-signature tweaks and breaks. Pockets everywhere of energetic bursts. There's lots of turns and quick transitions, with enough overarching themes or motifs to keep everything cohesive and moving. Everyone on this is very evidently locked in. Solid as fuck.

It's hard for me to listen to jazz, but if one is going to do so, this is the album. Has Coltrane on as well. I just don't get it. But it's cool. We don't have to talk about this. And please don't tell anyone about what I said above. And also: please make sure no one sees this review.

C'mon. What can even be said about this album? The production is like a West Coast-flavored Bomb Squad, not as followers but as true peers to the Bomb Sauad. The way the sampling is cut, the overlay of real-ass sounding dramatic spoken dialog, big-ass bass kicks with tight-ass high end elements. It's so goddamn sparkly and hi-def. The dynamics are all sloted together, each element occupying its own space in the frequency spectrum. It's that magic Dre touch. This album is absolute proof of Dre's utter prowess, his ear and ability to fill out the whole space and sound clean as fuck from the top to big-ass bottom. And Eazy-E is the fuckin' star. Everyone on here is great. Eazy just brings that shit every time. Second-half isn't as crazy as the first half, but still good shit. Tracks are a bit more minimal. Ends on some Freestyle type shit, like you'd be watching some break dancer silhouettes against a golden So Cal sunset backdrop in the hood while the credits for the album roll. Interesting where this album begins and ends. Classic as fuck album.

I don't know what to give this album. Like it's not the worse thing ever, but this was such a disappointing album when it came out. I was enormously into Show Your Bones (still love many tracks on the album) as well as loved much of Fever To Tell. This album was a big departure from their sound when I feel they should have kept going forward with what they had on Show Your Bones, that there was still a lot of meat on those bones. This album feels like they threw that away when there was more to eat! They can have such a great heavy sound. Instead it's this all over the place album that has no core, no sequence, no identity that feels genuine. This album sounds like what a solo Karen O album would be expected to sound like. Like dance-y, different vocal stuff, more fluff, less meat. It'd be okay if that's what it was. I don't feel like it does what it's doing very well, or at least I don't find it compelling. It's kinda see-thru, like you already got it figured out before it finishes telling you. It's like "oh okay, it's this kind of thing..." to each track, even though these tracks vary from one to the next, which is part of the issue: each track is another thing that sounds like it's part of something larger, but that larger thing isn't here, so you just have a piece of that larger thing; it's an album that is a collection of these disparate parts and pieces. I'm still salty 'cause I bought this album outright when it came out thinking there'd be no way I wouldn't like it, then was greatly let down and out whatever it cost (I bought it through a friend's Apple Music 'cause my broke-ass didn't have a computer at the time). My life was in a low place too. Not good associations going on. And I tried listening to get something it of this album and never could. That's it: 2 stars (tempted to go 1 star, but there's still way-worse music than this that I want to save 1-stars for). I don't like this album. I'd be okay never hearing it again.

Another album that's almost difficult to comment on 'cause it's so deeply embedded in my conscience. Listened to a million times and love every second of it. Upon re-listen after many years, this album still flies by so quickly, constituting the only "fault" of this album: it's so fucking good that it never lasts long enough. I was already on Polly and I'm like "wait wait, we can't already be most halfway through! It's been like 5 minutes!" Production seems to eschew punk purity ethics to do what's right for the music itself. What I mean is so much of the guitar here is effect-laden (which is all Kurt) and the rest of the instrumentation seems built around that. The drums and bass are like a structure around this alchemical sound generation coming from effected guitar and oft effected vocal doubling. There's no fear of overdubs or risking overproduction and it's all the better for it. Not that these songs wouldn't play great in raw form. But Vig's hand all over these tracks create this lasting monument, heavy and powerful, noisy but on-point, magical, confident without being an asshole. There's balance here without ever becoming stale. It's been said plenty times before, but if there was to be declared what the quintessential 90s "rock" album is, this is absolutely it. Incredible how this album front loads all the singles on side one, keeps the deep cuts on the second, and neither side is better or stronger or more energetic than the other (that said, the tracks in the second side hit so damn good, holy shit: Drain You, On A Plane). This album just keeps feeding you with goodies the whole way through, and like I said, the only drawback is it's all over too soon. Gotta go back to the front and start the smorgasbord all over again, which I've done many, many times. I've fuckin' aged but this album never will.

Fuckin' gross. "Gang Bang" is particularly disgusting. This album should be forgotten forever. There's no need to keep this around for any reason. It's so gross. Rompy, bawdy 70s rock. Lots of butt-ass swagger here. Some of the tracks start out decent if not totally by-the-numbers stock 70s rock, but the singer comes in and farts all over the place with his repulsive, overbearing, overconfident schtick. He almost sounds like a wannabe and very unconvincing Bon Scott. There moments where things gets almost showtune-y and it's fucking awful. This guy swears he's got this big charisma but it's just overbearing sexual harassment. This guy is seriously a creep. A lot of rape-y lyrics. Like, a lot. Terrible. Fuckin' awful. (I listened to this album before reading about the album/band as I want an uncolored listen the first time around, and turns out this Scottish band influenced AC/DC [which does make sense, though I would take Bon Scott any day])

Used to love this album when I was 12. Doesn't do quite the same for me now, but can't deny it's greatness in what it is. If I didn't have a previous connection with this album, I'd probably give it a 3. Having a past connection and perspective of the milieu in which this album was released, I easily give it a 4 and would understand someone else giving it a higher ranking. It's a great album, I just don't relate to it. It's cool though.