They bring thunder with the first song. Subject matter aside, this is music written to leave marks on the listener. Groove-heavy fare is a big part of the band's pedigree, but this opener pushes that aside in favor of up-tempo, furious metal riffing. However, it isn't just senseless bludgeoning only slowing for the chorus. A brief, but surprisingly melodic guitar solo strengthens the song immeasurably. "Lo To No" is a song about supply and demand - the dealer's supply that can't meet the smoker's demand. Sherman shines here. Despite his admittedly limited vocal talents, Sherman is a smarter singer than many realize. He's modulates his voice to distinctive, and often humorous, effect on certain lines. Funky guitars and drums are a highlight of the song, but never dull the song's hard rock edge.
"Big Green Patch" kicks off with a tasty bass intro before the riff explodes into a simmering, slow-burn band performance. There's power aplenty in the music, but the deep groove on this track is more impressive. Sherman could be singing his grocery list over this slow, bluesy crawl and turning it off would still be hard. What stays with you musically about it isn't the heaviness, that's a given, but the melody - this is great party music, but that doesn't make it disposable. "Cottonmouth" reinforces that idea. This hilarious ode to the bad taste in the mouth after smoking good grass is premium entertainment no matter how you hear it, but this is another song succeeding on multiple levels. The memorable riff is probably the best on an album overflowing with great guitar and has an appealing melancholy vibe juxtaposed against the humor of the lyrics.
"Alligator Crawl" is pure swamp blues that moves like molasses down a wall. Sherman's growl testifies to the power of hillbilly weed like some stoner Tom Waits and wraps itself around the music like another lead instrument. "Eat Pussy", perhaps the metal's first paean to the joys of cunnilingus, is either the album's comedic highlight or else its low point. Probably a little of both, but it's ridiculous fun and a lot of that good time hearing this comes from its utter shamelessness. More power to anyone who enjoys making their lady feel good.
"Goin' Down To Harlem" adopts the lyric structure of a traditional blues for modern use. This touch might escape the attention of some, but it's further evidence of the talent powering the album. These are players from a tradition, musicians with a frame of reference going back further than ten or fifteen years, and the quality of the songwriting reflects that. This is a sizzling heavy rock track steeped in blues. "One Hit Wonder" is another tribute to the power of potent pot and, like any good comedy, derives its humor from accessibility and focus. It might seem a little remarkable to say in light of songs like "Eat Pussy", but this is one of the least self-indulgent albums in my recent memory. This lack of self-indulgence isn't in running times, but rather in the economized songwriting - every note or fill serves a purpose and the minimalist lyrics convey everything a listener needs to know. Isom unleashes a wicked torrent of slide guitar near the song's conclusion.
The title track opens as a guitar juggernaut with Sherman's phlegm-clotted wailing about a stoner and his failed blunt roll. Isom and company whip up a dark electrical storm behind him with dive-bombing string bends and a relentless chugging rhythm and, once again, the contrast between the powerhouse musical backing and comedic lyrics creates a wildly entertaining contrast. Everything begins falling apart around the seven-minute mark and the song soon disintegrates into a nearly three minute long feedback wash.
Go ahead and light one up when you hear this album for the first time, but don't come weak. Roll a big joint because this is big music in every respect - a big-lunged lunatic on vocals along with mammoth riffs and grooves. Weed Is Weed will get you laughing, but this is a blistering musical debut that will knock you back on your heels.
Words: J. Hillenburg
ReverbNation