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Melvins Discussion / Songs that lived a second life on tour?
« on: August 01, 2018, 12:04:35 AM »
I happened to be reading today about Thou covering "Something in the Way" based on a BBC recording Nirvana did that had a loud/soft+feedback dynamic that supposedly transformed that song.

Wondering - for those of you who've been more shows and heard all the boots- what songs stand out to you as having takenon another life after the album came out. I think "Let It All Be" really escaped the Bootlicker recording pretty much as soon as they played it on stage.

"Eye Flys" obviously breathes a new one every year or so.

A couple of tracks may have grown some bigger muscles like maybe "Hag Me."

Are there any songs, especially not captured on a live album yet, whose definitive version for you is a live version?

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Melvins Lyrics & Tabs / 2017 A Walk With Love and Death (DEATH)
« on: July 16, 2018, 04:36:02 PM »
Some of this is fuzzy. Feel free to comment with your suggestions and I plan to re-edit my post as a see necessary.

BLACK HEATH:

Oh bright, beautiful
All green and small
Seeing through the atmosphere
The beautiful, black veil

Does this seem nasty?
Brutal and calm
This time in the graveyard on the fourth of July

My difference
A certain kind of playfulness
There's never enough left
Not a part of their world

It seems so easy for another slice of cake

Tri-state heavy now
The important event
A breath of violence
For the bigger the game

Oh bright, beautiful
All great and small
Seeing through the atmosphere
The beautiful black veil

Does this seem nasty?
Brutal and calm
This time in the graveyard on the fourth of July

It seems so easy
Now a nudge, a slice of cake


SOBER-DELIC (ACID ONLY):

That's the beautiful thing about remembering
It all seems natural but it don't mean a thing
What have I left here?
The capacity to carry it

I didn't notice
Part of the fabric of life
I didn't know it ever would
I didn't even when I could

Perspective of perplexity
Treat poeple like that, they'll break your arms and legs
You're going to miss me
When you have to take a chance

The heart is sadness
This action I foresee
I didn't ever know it would
I couldn't even when I could

That's the beautiful thing about nothing
It all seems horrible and it means everything
You won't miss me
You won't do a thing

It's not so bad now
It doesn't hurt like that
I didn't know it ever would
I couldn't even when I could


EUTHENASIA:

Fortunes and home
It mean to only roll
You sit atop my land
And took the only wall

Do you want to feel my heart?
I could be (I could be) inside your
Inside your...

I look for rolling
And took the only wall

Do you want to feel my heart?
I could be (I could be) inside you
Inside your...


WHAT'S WRONG WITH YOU?:

You don't understand me
You don't like my candy
You want a handy-dandy
Don't you even know?
That's not how it goes

What's wrong with me?
What's wrong with you?
What's wrong with me is what's wrong with you

You need an interpreter
Not a video worshipper
Because we're only getting stupider
On the telephone
With can and bong

What's wrong with me?
What's wrong with you?
What's wrong with me is what's wrong with you

I see how it's going to go
You roll your eyes as I speak in code
You pick a bone
I trip alone


EDGAR THE ELEPHANT:

These my friends and family
They come calling back
It's not supposed to be
Impossibilities

A half a billion miles
He's not alive to say
He died with the other three
And now we know his name
But we don't where or why
What do you see?
It's a medical team
To get it out of me

Vaccination
Vaccination, zeroes you have written by the fragile words and tongue

These my friends and family
They come crawling back
It's not supposed to be
Impossibilities


FLAMING CREATURE:

It's clear that they don't live long, eating up adrenaline
Or not at all

They can rewrite what they're seeing
Together they can tear apart
Or not at all

Specialize in what they're making
I don't want to see a thing
Or relaxing

Rewrite seeing what they're making
Together we can waste a lot
Or not
Specialize in what they're making
We can take it door to door
Or not at all

It's clear that they don't live long, heating up adrenaline
Or not at all

They can rewrite what they're seeing
Together they can tear apart
Or not at all

Every night is the king of the zombie
You might come close, but it's not quite clear
Oh, oh


CHRIST HAMMER:

Maybe you should help me
Maybe you should leave
What's wrong with the ride-along
Just across the street

A poor choice of words
And a poor choice of friends
I looked hard but it would not stop
Wrong side again (okay)
 
Something will not happen
Just a waste of time
Here we go with the cattleprod
And red wine
 
You lay there victim
You lay there dead
I don't know where I want to go
But this ain't it
 
Stupid hustle king
Things you got
He's not very good
He's all we got
Something should happen but we're almost out of time
 
Maybe you should help me
Maybe you should leave
Nothing wrong with the ride-along
It just stinks

You lay there evicted
You lay there dead
I don't know where I want to go
But this ain't it


CACTUS PARTY:

You close your eyes and count to ten
We're killing time not noticing again
Sometimes the world doesn't seem so strange

There were drugs running all around the room
But I didn't think those things would live too long
We were warned to keep away

I'm getting tired of yelling 'til I fall a dough
That hen dark rooster won't get dead on toe to toe
Watch it all going down the drain

There's one thing that you can never lose
The never ending scream of brainish fools
Close your eyes and count to three

Sometimes the world doesn't seem so strage
I had big plans, you take the good lord's place
Now it's all coming back to me

It's a beautiful thing and no mystery for all to see
I count sixteen but you can't count to three
Watch it all going down the drain

We were warned to try to keep ourselves away
Her had big plan of the good lord's faith
Close one eye and count to three


CARDBOA NEGRO

Dig deep, my hero
Like it was before
I walked for miles in your shoes and I couldn't wait
My secret's all compression
While shielding me and one day...

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Melvins Discussion / crowd work record / Plainfield / cowboy
« on: May 26, 2018, 06:52:31 PM »
In comedy you have artists like Don Rickles who have developed a crowd work routine. Their jokes are written to be reactions to common crowd interactions, plus improvisation.

I know Don Rickles put out a few albums like that, as has Harland Williams. Todd Barry toured a crowd work set. I think either Todd Barry or Dave Attell also has a crowd work special.

I'd love to see the Melvins do a whole album / tour of crowd work songs. I don't know exactly how it would work. But I think of "Montreal" and something else on Prick and maybe Tora Tora Tora or Singles 1-12.

The things an audience does are usually clap, cheer, chant and maybe stomp. But I bet if it were creatively done an audience could also do a variety of things like hum, snap, sneer, shriek, cough, etc.

This could be a terrible idea. I wish I were a billionaire so I could throw some money at them to find out.

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I was thinking about what underrepresented songs I might want to see on the upcoming tour. Started me thinking about these albums where one and only one song seems to be in permanent live rotation. I'm calling them the widows.

Widowed albums:

GLUEY PORCH TREATMENTS is the grandaddy of widows since they really only play "Eye Flys" with any regularity.

HONKY They only ever play "Lovely Butterfly" which is a great tune, but "Pitfalls in Serving Warrants" would be awesome live, as would the return of "Mombius Hibachi". Epic would the debut(?) of "They All Must be Slaughtered".

EGG NOG "Charmicarmicat" seems to be the only thing they've played since the endless residency. I miss "Antitoxidote"

OZMA "Oven" gets pulled out now and then. This whole album is rich with material waiting for the stage again. My picks right now are "Vile" and "Cranky Messiah"

THE MAGGOT "AMAZON" rules but the rest of this album is stunning, too. Give us "Green Manalishi" or "Manky" or "Judy" or "See How Pretty."

THIS MACHINE KILLS ARTISTS Chock full of good Buzz songs, most of which would make great Melvins songs. We've heard "Dark Brown Teeth" so it doesn't seem like there's a reason to prevent us from seeing "Rough Democracy" or "Drunken Baby" or "Vulgar Joke"

THE BOOTLICKER "Let It All Be" is the hit of this album and one of my favorite songs to see in any incarnation of the band. We could could hear almost any other track on here, though, amplified, and it'll be like new. Seems these used to get played and don't any more. "Jew Boy Flower Head" would be awesome with two bass players.

NEVER BREATHE/SIEG HOWDY "Halo of Flies" seems to get played on occasion, but there are a few pieces on here that could be reworked especially with Stephen or Pinkus doing the spiel. "Dawn of the Locusts" intrigues me.

ELECTRORETARD "Youth of America" is probably the only song that we'd ever expect to hear from this record, but "Interstellar Overdrive" or "Missing" could make a comeback.

PIGS OF THE ROMAN EMPIRE I thought it was only "Bloated Pope" but I guess "Pigs" has been pulled out on occasion. I'd love to see "Pink Bat" or "ZZZZ Best / Safety Third" for once.

HOLD IT IN "Onions Make The Milk Taste Bad" seems to be the keeper from this record. I'd expect some of this back in rotation if Pinkus is touring again. "Bride of Crankenstein" and "House of Gasoline" would rip.

THE CRYBABY "Okie from Muskogee" seems to creep up every now and then. Too bad we can't at least get "Blockbuster" or the other Yow one. "Divorced" seems way too much to ask, but I think we'd all shit ourselves.

FREAK PUKE "A Growing Disgust" is alone on the island nowadays. "Let Me Roll It" was a favorite from the Lite tour, and I'd love to get "Leon vs" amplified.


Currently Dead Albums:

SIX SONGS: I guess "Grinding Process" or "#2 Pencil" would be funny
EVERYBODY LOVES SAUSAGES: "Black Betty" and "Attitude" would be my live songs of choice form this record if the Bowie one is too daunting.
THREE MEN AND A BABY: Hard to say. "Read the Label (It's Chili)" would be welcome.
KING BUZZO/DALE/JOE: "Porg" or any of the Dale songs
TRES CABRONES: "City Dump" was fun and "Dogs and Cattle Prods" stands to make a comeback

Bonus Points:

COLOSSUS OF DESTINY: I'd be happy to have them pay homage to this record in any way to start the show.
PRICK: "Larry" is something I always want to hear live. "Jeff Thomas" from "Roll Another One" would make me happy, as would some take on "Montreal".
CHICKEN SWITCH: good luck!

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Melvins Album Discussion / decoding LOVE (A Walk With Love and Death)
« on: July 25, 2017, 02:03:01 PM »
Like a total fucking nerd I had to start taking notes. I've been on a loop with this record for a while. Anyone that can help hear things I couldn't make out would be greatly appreciated. Also open to wild speculation and inside jokes.

AIM HIGH:
   CLUES: This title seems to be deliberate. The graphic for AIM HIGH appears as the center two-page spread of both the LOVE and DEATH CD booklets (is this the same on other formats?)
   DRUGS: The word 'high' could be a double entendre
   SOUNDS: Begins with ambient public noise, likely a transportation stop (bus, plane, or airport). A man at 0:22 can be heard saying something about a ticket to Los Angeles. A woman with an accent is heard saying something about a "baby butt" and later "this one looks like you." A different young woman says "Yeah, they've been wanting... (???) sixties (???) continue. They have no location ... (???) ... Keith would... (???) seven point system... (???)." Women are also heard saying something in a foreign language (id?)
   INSTRUMENTS: Reverby piano and synthesizer playing a gentle baroque type of lullaby tune. Later a pair of modular synthesizers replace this.
   
QUEEN POWDER PARTY:
   DRUGS: 'Powder' in the title could also be a drug reference
   SOUNDS: Immediately we hear children playing outside, running and screaming. There is a helicopter circling loudly. A man laughs like Ricky Ricardo in the background. A man is heard saying "(???) .... three fourths of the people in the world are of 147 races ... (???) ... doesn't mean they're no good ... (???) ... like Satanin the flesh."
   INSTRUMENTS: Kick drum and rumbling squelchy hard-panned sounds that are likely distorted guitar but could also be keyboards.
   
STREET LEVEL ST. PAUL:
   CLUES: First reference to a specific city or town.
   SOUNDS: A long-drawn single-note voice or siren with a lot of echo/reverb, followed by a girl's voice with a severe impediment saying perhaps "why can't I move my mouth, though?" which suddenly slows down before it can fully finish. The voice/siren recurs during the instrumental part.
   INSTRUMENTS: Eeerie keyboards, feedbacky guitar soloing. Theremin. Ends with a long groaning.
   
THE HIDDEN JOICE:
   CLUES: Here a boy's voice could be reacting or doing free association on MELVINS album covers. Is this an homage to various art produced by Mackie for Buzz, thus the LOVE component? 'Naked looking guy' sounds an awful lot like 'nude with boots.'
   SOUNDS: A boy says "suspicious looking face, a flower with spikes, weird flowers, and skull. Static. Melvins. Skull face. Weird face. Uh, hair. I can't tell. Super weird looking guy. Naked looking guy." then off mic a man laughs seemingly in response to 'naked looking guy'.
   INSTRUMENTS: Reversed low rumbling sound. Then the reverby piano lullaby sound returns.
   
GIVE IT TO ME:
   DRUGS: Pitch-sped voice says "Yeah I took some drugs, yeah sure."
   SOUNDS: Crowd clapping and cheering. spoken intro above. Crowd claps and cheers again on end.
   INSTRUMENTS: Drums, bass. Some guitar. Lots of keyboards. Singing "let it go," then "give it to me." At ~2:15 a man says something I can't make out ("yo, is that like a (???)..."), sounding more like studio banter than field recording.
   
CHICKEN BUTT:
   SOUNDS: Sounds like slightly pitch shifted sounds of kids acting out some fantasy battle or maybe playing a video game. A boy yells "attack him" and the threat "any of you come into the fire..." and various grunts and yells and unintelligible voices are heard.
   INSTRUMENTS: Synthesizer sounds.
   
EAT YOURSELF OUT:
   DRUGS: Man's voice at :54 "(????) is fine. You're high. You're Superman. You can do anything. And then I'm back in jail."
   SOUNDS: "Motherfucker, eat something for your face, motherfucker" through heavy effects processing. Some more unintelligible background voices from :10 to :50. At 1:40 the sound of kids screaming (perhaps at play, though perhaps more sinister) appears and continues throughout. At the end of this sound a girl clearly calls someone an "asshole" at 4:25. Then the effected "motherfucker" voice reappears.
   INSTRUMENTS: Sequenced synthesizers or synth with heavy delay. At 1:25 drums come in briefly, then different drums start and the song starts to trainwreck with two bass sounds. More synthesizers.
   
SCOOBA:
   SOUNDS: Old-timey samples say "Play it cool. Don't be a square. I dig that crazy beat. Yeah" and repeats musically "Scooba doop, booby doop, boobeda buppah. Baddup boobedebah." This voice returns at the end with "Hey doll, you're way" and then a brief woman's robot sampled voice sounding somewhat like it says "fuck me."
   INSTRUMENTS: Jazzy drums and bass play along ot the sample, and perhaps some other instruemnts (guitar?).
   
HALFWAY TO THE BAKERSFIELD MALL:
   CLUES: Second song title referencing a city or town.
   SOUNDS: ~2:00 sounds like an intercom or walkie talkie conversation including "any way they can come back by here today?" and then "(???) ... customer complaining ...(???) they enter, please, tomorrow morning." Then around 2:45 start various panned sounds like arguing and cursing.
   INSTRUMENTS: Eeerie sounds. Gurgling synth. Operatic voice throughout. Sequenced synthesizer. Various noises, likely synthesized.
   
PACOIMA NORMAL:
   DRUGS: A conversation goes "But yeah, that one time I got busted for drugs, had to do a bunch of time by the wayside" then "what was it like?" then "I don't know, a hundred man cell. What do you think?"
   SOUNDS: 'What do you think?" and "busted for drugs" get looped delay. Also a delay-looped voice says "I know"
   INSTRUMENTS: A slow drum machine beat. A very noisy distorted synthesizer. There may be distorted guitar at the back of this. A sudden guitar-ish soudn happens twice at ~1:50
   
PARK HEAD:
   SOUNDS: Street sounds and a woman whispering "(???) ... I gotta ask you ... (???) ... There's a fear. I filed a police report, and I thought they would take me away. I never respond to jury duty. Because they can't make me now ... (???) ... I won't do it. Eating snacks out of a vending machine. Wasting my time. Waiting. I hate the whole thing. It's gonna happen ... (???) ... I went once and I left. I left. And I never went back. Pay the fine. I don't care. Fuck it. Fuck you ... (???) ... The smell is disgusting ... (????) ... Shit. Fuck it. Fuck off. Don't tell me what to do ... (???) ... I throw you away. Because I hate you ... (???) ... I won't go. Fuck you." A dog whines and later a dog barks. A different voice says "There's this loud mouth guy, kinda fat, kinda like (Downpitched) Hitler." Then a voicemail/answering machine says "Hi, this is Alan I'm not able to answer the phone at teh moment, please leave a message. Thank you"
   INSTRUMENTS: A sequenced chiptune synth. Then an eerie incongruous synthesizer line. Another sequenced chip tune song comes in a bit later and slows down to end the track.
   
T-BURG:
   SOUNDS: "No no no no" and then a man recounts a near-death hospital visit "I step back next thing you know I'm on the operating table. They had those electronic things where they go 'clear!' but I could tell you now I couldn't scream. I still remember the smell of burning hair on my chest. She just hit me with it. It was the worst feeling I ever had. I was popping up. She was going like this. I took a breath and and it felt like I hadn't breathed in years. I heard the doctor say 'welcome back' and said 'we got a lot to do but you're going to be okay.' ... Ten hours later ... And the thing about that was. They were going to amputate ... I got family ... fiber optics ... But the doctor told me ... What was weird was ... I'm going back ... (???) ... She grabbed me ... Closed eyes. I remember she grabbed part of my wrist ... She bend down. She said 'I told you' ... (???) ... The guy started smacking ... And I just flipped out. 'Did you just' ... (???) ... I was screaming. It's just us. I looked at her ... (???) ... There's nobody over there ... The blood just shot out of my wrist ... (???) ... Face ... Ambulance ... Lights ... It was so bad in fact ... (???) ... nurses come out ... (???) ... I remember the first day when I first woke up they had me strapped to the bed ... (???)" A bell dings at 2:45. "(???) ... goddamn machines ... (???). Thirty one years these motherfuckers stole from me. Fuck that shit. (???) ... A lot of 'em are dead."
   INSTRUMENTS: Synth drums with deep echo. Eerie synthesizer.
   
TRACK STAR:
   SOUNDS: Ambient outdoor noise, some unintelligible talking in Spanish and maybe jingling keys. Down-pitched voices talking "(????) Where you going? Fucking stupid fucking snapchat boy! Snapchat hoodrat!" there also appears to be a sampled song playing in the background in the third minute.
   INSTRUMENTS: Accordion. Eeries synthesier. Drums with delay. Bowed instrument (cello?). More synthesizers. Ascending synthesizer. Perhaps horns in the background. Drums pick up in the last minute.
   
THE ASSHOLE BASTARD:
   SOUNDS: Downpitched voice says "I'll take care if I ... you be animals and then ... (???) ... play with this napkin." This is quite certainly the same voice from 'Chicken Butt.' A different man's voice says something perhaps in a foreign language (id?). Downpitched voice returns "I died... (???) ... to my death ... (???) ... don't you care if I ..." Then a different voice says "(???) ... play some shit... (???) ... so many ..." then the Chicken Butt voice says "I got my sword ... I jumped and I died... to my death... I still have all my stuff... I'm going in special mode ... I'm going to take all my armor off, maybe."
   INSTRUMENTS: A relaxed funky drum beat. Roaring distant instrument noises. Drums stop. A screeching guitar comes and goes.


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Melvins Show Reviews / Los Angeles, Troubador, July 7, 2017
« on: July 10, 2017, 12:58:51 PM »
Seems like they played an expanded version of the set from Glen Helen Pavilion a few days earlier. I didn't take notes, but highlights were my namesake (AMAZON), The Kicking Machine, that Beatles cover (was it I Want to Hold Your Hand?), The Bit, Sacrifice, something from A Senile Animal and something from Stoner Witch. They also seemed to play some of the new stuff but I hadn't heard it yet since my pre-order isn't arriving until next week.

Show was sold out. The crowd was meh but no major issues. The opening band was fine. Lots of good merch if you like letterpress and vinyl and posters.

The Troubador is always great for a rock band and this was my third time seeing the Melvins there. Steven is better incorporated into the band this time around. He makes me laugh which is entertaining. His playing can be a little loose, but then he also really nails some of the tough stuff. Jared/Coady or Trevor are always welcome back, though. Buzz seems to stand stage left so I try to stay on that side anyway.

8
Melvins Discussion / MELVINS songs w/ profanity?
« on: April 16, 2014, 04:45:29 PM »
I was listening to Singles 1-12 the other day and I heard in [one of the tracks named after a city] Buzz yell 'fucking' as an adjective in his adlib.

It got me thinking... there seems to be no shortage of profanity in Melvins stage banter, interviews, samples in songs, and even song and album titles. But I can't for the life of me think of a Buzz-penned song where he sings a curse word. Maybe it's just my hearing/memory. What do you guys think?


curse words NOT sung by Buzzo:
Alive at the Fucker Club
Shit Sandwich
Real Fucking Nasty
Colossus of Destiny samples
Theresa screams dialog
Hooray For Me Fuk U
maybe the one on Honky with the record label phone calls?
maybe Anal Satan?
probably some cover songs

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Melvins Discussion / A Live History of Vengeance and Loathing
« on: January 13, 2011, 05:12:05 PM »
If "Houdini Live" got your mojo going, which album or other release(s) would you hope to see approached in a similar fashion?

My vote is for Ozma. Those songs are great when I hear them live, but the album recording (technically) always underwhelmed me.
If they do revisit Ozma in any way, I would prefer the Houdini Live treatment to the Gluey Porch re-issue treatment for that record.

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