Messages

the rather recent update to http://www.tama.com/ has mr crovers setup on it:

http://web.ibanez.co.jp/tama_artist.php?artist_id=48

it's pretty much the same as what is on http://www.themelvins.net/gear.html except the cymbals are not on it as those are no tama, but I guess that the stuff like the custom color name and such are a nice treat

is it true ?? i just read it at http://www.bnrmetal.com/ look for the melvins there and tell me its not true!!!

this is a good example of some people missunderstanding what's posted on blabbermouth.net (1, 2): "The band's first recording with new members Coady Willis (drums) and Jared Warren (bass) from BIG BUSINESS ..." without mentioning dale at all or the fact that coady is joining and not replacing dale.

[DCH]

DCH ("Deserted Cities of the Heart"
(Cream)

On this street where time has died
The golden treat you never tried
In times of old in days gone by
If I could catch your dancing eye

It was on the way
On the road to dreams, yeah
And my heart's drowned in your love stream, yeah
My heart's drowned in your love stream

On this dark street the sun is black
The winter life is coming back
On this dark street it's cold inside
There's no retreat from time that's died

It was on the way
On the road to dreams, yeah
And my heart's drowned in your love stream, yeah
My heart's drowned in your love stream

Has anyone seen this?

Night Goat - Melvins - From Album: A Live History of Gluttony and Lust
http://www.beanrocket.com/?feedseed=241

Betos setlist is missing "Second Comming" that was played for 30 seconds just before "Halo of Flies"

also some sources date this show 2000-09-21

I re-translated the first "half", within this board, I didn't found it in english and just posted a part of it.

here is some more of it, I gotta go to work now, maybe I'll finish it tonight... remember that I translate a translation here so it might be wierd and not exactly what buzz said

But it took you some time, until the MELVINS could freely do whatever you wanted.

Not that "Houdini" from 1993 is bad at all, but at that time it appeared to me that you guys were turning to mainstream - and from the middle of the 1990s you stopped to care and started to deal with things your own way again.

"Hmmm ... our approach was always, to try out something new, something we hadn't done before on the next record. The "Houdini"-record is a wierd record, really, especially if you look at what else was released during that time. "Houdini" was, at that time, the logical step after "Lysol". The answer to the question, were are we going from here? I disagree with you, in my opinion "Stoner Witch" was our most commercial release, it came out a year after "Houdini". But the tag 'commercial' on one of our records that's totally different, hahaha. To tell you the truth we've never been in the situation, where someone told us what to do and what not to do. Even Atlantic had no say in it. We had a contract with 100 % artistic control, they couldn't force us to do it their way and they did not try it either. We delivered the records including the artwork and that's it. Our deal was this: they had to pay us anyway, whenever they put it out or not, they couldn't force us to do a replacement for it. It was perfect. We had no problems with Atlantic doing the 3 records."

But that was more like the expection, wasn't it?

"Yeah sure, that's rare. And a lot of people had a diffrent view on the time we had a contract with a major label. It was a time when nobody knew what would sell and what didn't, and Dale and I didn't thought it would work out."

But now you have found the perfect solution for the MELVINS, FANT

According to the Limited Edition I just picked up, he plays on 'No Quarter' and not on the live version of 'You Lied', credits from the booklet:

[code]music:

third eye (live)
part of me (live)
push it (live)
message to harry manback II*
merkaba (live)
you lied (live)
no quarter*
lamc*

Tool is danny carey justin chancellor
maynard james keenan adam jones

Produced by Tool
Mixed by David Bottrill*
Engineered by David Bottrill*

All songs written by by danny carey justin chancellor maynard james
keenan adam jones & published by Toolshed Music/EMI Virgin Music
(ASCAP)expect:

"part of me" & "push it"
Written by by danny carey paul damour maynard james keenan adam
jones & published by Toolshed Music/EMI Virgin Music (ASCAP)

"No Quarter"
Written by Jimmy Page/Robert Plant/John Paul Jones
Published by Superhype Publishing, Inc. (ASCAP)

"You Lied"
Written by Peach (Oakes/Durling/James/Chancellor)
Published by Warner Chappell Music (ASCAP)

Additional Musicians
"Push It" Acoustic Tabla: Aloke Dutto
"No Quarter" Second Guitar: King Buzzo
"3rd Eye" Synthesizer: Vince De Franco
"Harry II" Keyboards: David Bottrill

Dr. Timothy Leary Excerpt From "How To Operate Your Brain" Appears
Courtesy of RetinaLogic

Studio Tracks Recorded At
The Lodge, Hollywood, California
Ocean Way, Hollywood, California

Live Songs Recorded At
Salt Lake City, UT
Portland, OR
San Diego, CA
Denver, CO

Mixed at Larrabee Sound North, North Hollywood, California

Mastered at Oasis Studio City, California by Eddy Schreyer

Live Sound by Ronald Oliver/Pete Reidling

films:
sober
prison sex
stink fist*

osborne, not osbourne

this information was needed ...
especially for me, because i can't read

Well that depends on where you look, my "Retroactive Abortion"-CD clearly lists him as "Buzz Osbourne" on the back cover even though all Melvins albums I have read "Buzz Osborne" whenever he's not listed as 'King Buzzo' or just "Buzz"

well, the drum/mumbling intro to creepy smell was ripped straight from the first 24 seconds of 'living in sin' from gene simmons kiss-solo-album, the rest ist original

And its not the same track that on the original Mangled demo.

you do realize that the "original" is a bootleg done by someone that might not have known the correct song titles?

I think becuz Cruz Records still owns the rights to release the Deep Six comp versions

I doubt that c/z would care (I mean 6 and 8/10 are c/z releases) but the original deep six (the one with the blue cover) was a limited edition of 2000 seven inches, it was rereleased in 1994 by a&m (interscope/geffen) with red/green cover art and I can imagine that such major label might object

here is the origin of each song (feel free to correct me/add stuff)

01 Easy As It Was - 8/10 Songs
02 Now A Limo - 8/10 Songs
03 Grinding Process - 8/10 Songs
04 #2 Pencil - 8/10 Songs
05 At A Crawl - 8/10 Songs
06 Disinvite - 8/10 Songs
07 Snake Appeal - 8/10 Songs
08 Show Off Your Red Hands - 8/10 Songs
09 Over Form Underground - 10 Songs
10 Cray Fish - 10 Songs
11 Easy As It Was - 6 Songs
12 Now A Limo - 6 Songs
13 Grinding Process - 6 Songs
14 At A Crawl - 6 Songs
15 Disinvite - 6 Songs
16 Snake Appeal - 6 Songs
17 Set Me Straight - Outakes from 1st 7 inch (Single, bootleg?)
18 Show Off Your Red Hands - Outakes from 1st 7 inch (Single, bootleg?)
19 #2 Pencil - Outakes from 1st 7 inch (Single, bootleg?)
20 Grinding Process
21 Snake Appeal
22 At A Crawl
23 Operation Blessing
24 Breakfast On The Sly
25 Ever Since My Accident - Kill Rock Stars (VA) (imho the quality is a little better on KRS)
26 Hugh

for all of you that can't get this uk album anymore or refuse to buy a major label album full of songs you already have. I'm not responsible for the stuff that is wrong with this (like cobain playing drums on a few songs etc) this is what comes with the album

Code Select Expand

MELVINS

Melvinmania
The Best Of The Atlantic Years 1993-1996

A brief history of heavyness (sic)

IT'S a clammy Sunday in August '92. As the midday sun starts to bear down on the Reading festival crowd you find
yourself wondering whether the heat's causing you to sweat or whether it's the beer form the night before. Tabitha Zu,
the first band of the day, are polite enough. Then a trio of miscreants step on the main stage and, in the words of the
gladitorial Russell Crowe, unleash hell...

In the space of half an hour the Melvins manage to bewilder, shock and delight the audience to varying degrees. This is
an audience familiar with every chord/howl on 'Nevermind'. Some are even aware of the common ties that bind tonight's
headliners Nirvana to the Melvins (wait up! If you don't know we'll tell you in a while!). But no one is quite ready for the
elephantine outpouring of heaviness, sheer force and hirsute heroics delivered by afro-delic frontman Buzz Osborne and
his crew.

The stunned reaction is proof that even among an audiance that's embraced the likes of Mudhoney, Soundgarden and
heavyweights Tad, the Melvins are still rank outsiders. In many ways it's the story of their entire career...

IN ALL honesty the Melvins have never fitted in. Thier overt love of metal has always scared away shoegazing alt.rock
chumps. Conversely their slo-mo approach to heaviness has also led to scathing criticism form certain quarters of the
metal press in capable of understanding their slothful power. The bands ability to polarise opinion is in itself a pretty
good indication of thier unique position in rock firmament. It's a position they've held since the early '80s when they
formed back in Aberdeen, Washington, and where, in the fine tradition of southern boogie lords Lynyrd Skynyrd, they
named themselves after someone they didn't like (in  this case a much-loathed grocery clerk form a store that Osborne
worked at).

The musical equivalent of the keg-party face-off between Black Sabbath and Black Flag, back in '84 the Melvins
established themselves as notorious anti-heros, drawing small crowds of like-minded deviants to thier infrequent
shows in the logging town. Among them was a teenage Kurt Cobain who, in the Melvins, found a band who mirrored his
nascent love of punk and proto-metal. For a while Buzz Osborne (also known by his more regal nomenclature of King
Buzzo) became Cobain's mentor and Kurt the bands roadie.

Early slabs o' wax like 'Melvins', 'Ozma', 'Bullhead', 'Lysol' and thier debut '8 Songs' - recently reissued in expanded
form as '26 Songs' on Mike Patton's Ipecac label and included garage demos - are audible evidence of the fact that
the Melvins have never tried to please anyone but themselves. Part doom, part punk, part noise, all rocking - all these
sets are requisite listening that mark the end of the first chapter of the
band's history. The beautifully packaged collection assembled here,
however, is a step further down the line than these aforementioned
releases. In many ways, this selection captures the Melvins at their
most direct and focussed. This is Chapter Two...

AS THE title suggests, this compilation (or complication for the
uninitiated) is culled from the three albums recorded for Atlantic
Records between 1993-1996. 'Houdini', 'Stoner Witch' and 'Stag' are
actually something of a trilogy. While each album manages to spiral off
into new directions at different times, if you play all three back-to-back
you'll notice that there's a common vibe and a sense of continuity.

1993's 'Houdini' is a hulking efford resplendent with its sleeve by
legendary punk art guru Frank Kozik. Listening to the uncompromising
bombast of 'Houdini' a decade on it's still hard to comprehend how
exactly a band as angular as the Melvins ended up on a major label.
Then again, when you reflect on the fact that thier old pal Cobain co-
produced six of the 13 tracks on the record and played drums on a
number of the tracks maybe there's some sly logic to the same said
deal.

Opener 'Hooch' starts with drummer Dale Crover's pernicious pounding. A few seconds later Osborne serves up a
charred, chugging riff before resorting to a menacing growl. 'Lizzy' allows Osborne to indulge in his much-publicised
Gene Simmons vocal fantasy with the man reliving his misspent youth and bellowing like the God Of Thunder himself.
Meanwhile, 'Honey Bucket' boasts the kind of riff that Metallica would be proud to claim to, 'Set Me Straight' plunders
Ace Frehley's book of hooks and, in retrospect, 'Pearl Bomb' boasts the kind of motorik drive that makes it hard to avoid
thinking about Queens Of The Stone Age.

ARRIVING AT 1994, the Melvins seemed to suffer a punk rock guilt trip. Releasing an album titled 'Prick' under the
pseudonym of Snivlem (read it backwards) on the Amphetamine Reptile label, the threesome - now including long-time
associate/producer Mark Deutrom on Bass - served up a collection of unlistenable noise and pointless arsing around.
Whether 'Prick' was an attempt to throw those off the scent who'd gotten into the Melvins via Cobain's patronage or their
increased profile, is unclear. Whatever is the point, it remains a fine example of the band's contrary nature.

In the contrast their Atlantic album of the same year, the fantastically named 'Stoner Witch', catches the band in forward-
looking form, packing anthemic qualities, sparkling production courtesy of GGGarth Richardson. Providing proof here
are another five tracks. 'Queen' is another menacing, riff-heavy cruncher. The post-thrash pig-noised power of 'Sweet
Willy Rollbar' sees the three-some with their foot to the floor. 'Revolve' is a rollicking pseudo-southern romp (like
Metallica-meets-Skynyrd in a garage). Elsewhere 'June Bug' is a piledriving instrumental detour.

If their 'Prick' trip of 1994 suggested that the
Melvins were itching to explore further routes
of noise and lunacy, then 'Stag' emerged in
'96 and illustrated the band's broad musical
palette. The sitar intro on 'The Bit' should
provide you with evidence of the fact. Then
there's the horn-heavy skronk of 'Bar-X-The-
Rocking-M'. The Zappa-meets-Minutemen
mersh of 'Tipping The Lion' follows in equally
inspired form. Just when you're getting
confused, the Melvins turn the tables and
serve up a bona fide pop tune in 'Black
Block' ... with added psychedelics, naturally!
Album closer 'Berthas' brings this whole set to
a close in fine rollicking style.

As if to underline their musical schizophrenia, the band followed 'Stoner Witch' with a series of live shows under the
banner of 'An Evening With The Melvins'. Consisting of three sets a night, it allowed the band to stretch out and highlight
the multiple aspects of their music. From straight-ahead rock through to dive-bombing noise attacks and on to the
downright weird, the shows were yet another fine example of the band's diversity/perversity.
Since then, of course, the band have continued to serve up albums which have continued to astound fans, confuse
critics and throw up new shapes.
As this point in the sleevenote process it is customary to sign off with a final flurry. We need to mention the band's
uncompromising approach again. We need to blather on about their significance. We need to underline their unique
qualities in a manner that far outweights the reality of their accomplishments. To do so in this case would be to do the
Melvins a grave disservice.

Uncompromising, significant, unique - the Melvins are all this and more...

Phil Alexander, London, England, June 2003

Phil Alexander is the Editor-In-Chief of MOJO, Kerrang! & Q. He has interviewed everyone from AC/DC to ZZ Top but
he's never interviewed the Melvins because he's too scared...

Tracks 1-5 are taken form the 1993 Atlantic album
"Houdini" All songs written by Melvins. (C) 1993
WB Music Corp. / Green Lantern Music / Prision
Bride Music, ASCAP (C) & (P) 1993 Atlantic
Recording Corp. for the US and WEA International
Inc. for the world outside of the US.

Tracks 6-10 are taken form the 1994 Atlantic album
"Stoner Witch" All songs written by Melvins. All
songs published by WB Music Corp. / Green
Lantern Music / Prision Bride Music, ASCAP (C) &
(P) 1994 Atlantic Recording Corp. for the US and
WEA International Inc. for the world outside of the
US.

Tracks 11-15 are taken form the 1996
Atlantic/Mammoth II, Inc. album "Stag" Lyrics by
King Buzzo & Music by Melvins. All songs
published by WB Music Corp. / Green Lantern Music
ASCAP (C) & (P) 1996 Atlantic/Mammoth II, Inc. for
the US and WEA International Inc. for the world
outside of the US.

Dale C-Drums King B-Vocals & Guitars Mark D-Bass

Tracks 1-5 Produced by Kurt Cobain & Melvins. Recorded at Brilliant Studios, San Francisco, CA & Razor's Edge, San Francisco, CA
Engineers: Jonathan Burnside, Billy Anderson & Lou Oribin. Second Engineer: Wolf Kesseler. Mixed at Hyde Street Studios, San Francisco,
CA & Prairie Sun, Cotati, CA by Kurt Cobain, Melvins, GGGarth Richardson & Billy Anderson. Second Engineer Joe Marquez & Tom
Doty. A&R: Al Smith. Booking: Peter Davis, Creature Booking. Band Photo: Don Lewis. Art Direction/Illustration: Frank Kozik. Art
Direction/Design: Valerie Wagner. Mastered by Stephen Marcussen at Precision Mastering. Special thanks to Danny Goldberg. Thanks to
Joe Hibbs (Tama), Pam Gore (Rhythem Tech), Ann Marie (Zildjian), Mike Feldman, The Briliant Crew (Alex Scull, Mike Supple & the rest)
Debbi Shane, Jeff Thomas, Smelly, Tom Hazelmeyer, Dan Raymond, Bobbie Gayle, Laura Gold, Michael Krumper, Tricia Kovic, Joe Grillo,
Amiira Ruotola-Largent, Melanie Nissen, Elizabeth Barett, Kathy Cantwell, Martha Schultz, Jason Lamb (DOD), Black Master Music.
Billy Anderson appears courtesy of Spilth. Bill Bartell appears courtesy of The Gasatanka Empire. Kurt Cobain appears courtesy DGC
Records.

Tracks 6-10 Produced by the Melvins & GGGarth. Recorded & Mixed by Joe Barrisi. Assisted by Geetus Guido South Aguto & Mike Elvis
Smith. Recorded & Mixed at A&M Studios, Hollywood, USA. Spiritual guidance by the Magic Eight Ball. Door Squeaking & Pencil
Sharpening by Scott Humphrey. Digital Editing, Back Cracking & Moog by Paul Dicarli. Management: David Lefkowitz. Art Direction:
Mackie Osborne. Photography: Annalisa & Chris Cuffaro. Special thanks to Mark Harvey & the staff at A&M, Scott Caudill the Hiwatt Guy,
Rich Friedrich at Dean Markley, Mark Wittenberg Fender Custom Shop, Ampeg, Gibson, Pam Gore/Rhythm Tech, Brent Anderson/Zildjian,
Aquarian Heads, Joe Hibbs form Tama & Ashli Lewis.

Tracks 11-15 Produced, Engineered & Mixed by Melvins, GGGarth & Joe Baressi. "Stag" was recorded and mixed at these locations: Sound
City, A&M Studios, Entourage, Falconer (London), Paramount, Kozlowski sound productions & at home.
Mastered at Precision Mastering by Stephen Marcussen & Ron Boustead. Illustration & Design: Mackie Osborne. Special thanks to: Davey
Stone, Bill Bartell, Greg Rogers & Al Smith. Management: David Lefkowitz. Bass on tracks 1-5 by Lorax. Bass on tracks 6-15 by Mark D.
This compilation (P) & (C) 1993, 1994, 1996 & 2003 Atlantic Records, WEA International Inc. & Warner Music UK Ltd. Compilation by Carlos
Anaia at WSM UK Designed by www.mentalblock.co.uk Mastering & Enhanced CD work by www.sonic-arts.com Thanks to Stuart Batsford.

www.melvins.com

Four Letter Woman is one my favorite Melvins songs. Does anyone know if it is an original?

Yes it is. With Yo Heart is a Malfunkshen cover. Anal Satan sucks

yeah, four letter woman is really great it's credited to "Buzzy", with yo hearth not yo hands is credited to "A. Wood & K. Wood" and anal satan is credited to "J. Ripper, Buzzy, Dale" (J. Ripper is Jonathon Burnside credited "Produced by Jonathan Burnside (aka J. Ripper)".

I think anal satan is funny knowing it's about sub pop trying to rip off the melvins with this single, hence it came out on sftri.

Buzz's birthdate is April 1, 1964.  He and his wife Mackie are both the sign Aries.

how did you find out? can anyone confirm/prove that?