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1
https://blog.discogs.com/en/essential-wax-with-buzz-melvins/?utm_medium=email&utm_source=mktg&utm_campaign=DC_EOY_171227

"Melvins’ Buzz Osborne is a superhero. Before Nirvana. Before Soundgarden. Before Tool. Before Slipknot. Before Mastodon. There was Buzz and Melvins. Godfathers of Grunge. From their EP debut in 1986 ‘Melvins,’ to this year’s ‘A Walk With Love & Death,’ Buzz has created, destroyed, toured, and lived at a furious pace. Now twenty-five albums in, recently The Guardian definitively stated, “most bands grow sedate with age; Melvins just seem to get sludgier.” If you’ve listened to ‘A Walk With Love & Death’ you’ll undoubtedly agree. At just 53 years of age, Buzz and his ever-changing cohorts in Melvins are constantly moving forward and continually on tour… which is where we caught up with Buzz and got the theme for this week’s Essential Wax."


2
Melvins Discussion / Melvins on (Australian) network TV! Rage - Red Couch
« on: December 05, 2017, 08:58:19 AM »
https://m.facebook.com/story.php?story_fbid=10156021717143708&id=195235013707


"Bringing their grimy post-punk influence to the red couch are sludge metal and grunge pioneers, (the) Melvins. Tune in this Saturday, December 9 from 10am and again that night from 12:20am on ABC."

I have no idea what this is.  :D

3
https://thevoidreport.wordpress.com/2016/04/05/interview-brian-walsby-on-art-humor-the-melvins/

Brian Walsby is an artist and musician whose name you could recognize from any number of things. A fixture of California’s 80s punk scene, Mr. Walsby was best known as a frequent contributor to zines like Maximum Rock and Roll and Flipside, as well as covers to singles like 7 Seconds’ Walk Together, Rock Together. Later relocating to North Carolina, he would go on to play in a slew of bands that included members of Superchunk, Corrosion of Conformity, and even Ryan Adams’ Patty Duke Syndrome. More recently, he has produced six volumes of his autobiographical comic Manchild, played in bands like Double Negative, and now The Davidians, and for the last eight years has toured with the Melvins, selling their merch and his artwork.

When I saw the Melvins last year at Trees, I didn’t know Brian Walsby. But, scoping out the merch table I was instantly drawn to the Melvins posters that parodied rock and roll and punk album covers. Without hesitation I purchased his spoof of the Misfits Horror Business, where he included the caption “Another Dumbass Who Will Buy Anything With The Crimson Skull On It.” I hung it on my wall at home and for days just laughed at how totally awesome it was. Unfortunately, I couldn’t really make out the artists name, so I posted it to a Melvins fan group on Facebook and got an answer in an instant.

I sent a friend a link to some of Brian’s work and he replied with, “I love the Black Flag album covers he makes fun of.” “I don’t think he’s making fun of them,” I replied. “No, he’s making fun of them. And it’s great.” I began to find myself thinking about the fine line between homage and parody, as well as the comedic roots of punk rock artwork in general. When I saw the Melvins had booked another tour passing through Dallas, I reached out to Brian for an interview. He kindly agreed and a few months later we got to chat between Melvins and Napalm Death sound checks and I had the chance to learn a little more about his art, music, and history with the Melvins. Enjoy!

***

the void report: How long have you been touring with the Melvins?

Brian Walsby: Probably eight or nine years, now. I met them in 1986 on their first ever tour, this was the summer of 86, and they went on this massively unsuccessful tour (laughs); and I met them then and we became friends. I started touring with them maybe about the time the two drummer line-up started, eight or nine years, ago…nine years I think.

the void report: Have you always sold your art on tour?

Brian Walsby: That started on the tour before I was officially employed. The first tour I did was the Senile Animal tour. I wasn’t working, I was just hanging out. Another guy was doing the merch, a guy name John Raymond. John Raymond is the brother of Dan Raymond who is really good friends with Buzz, going back to high school…before high school. He didn’t really like it, so I came on board.

But, before all that happened I was just sitting around not doing anything, on that first tour, and just kind of started drawing stuff on the back of posters and one thing lead to another and it occurred to me, “maybe I could draw some stuff and sell them,” or whatever. That’s how it started. So, I would just get feedback from the guys and they would just encourage me to make really horrible posters. I was a little sheepish about, but I got up to speed. Some of them, the early ones were pretty brutal and they weren’t very good. But, the brutality of them, even the worse thing I’ve ever drawn…it’s like the worse it is the better it is for the person who’s buying it. But, the early ones were pretty…like… “burn in hell you junkie” and stuff about their friend Kurt Cobain, but they just said, “He had a really sick sense of humor, he would love this stuff.” So, if they’re not worried about it, you know…

the void report: Do the Melvins have some kind of quality control over what goes out? Or if it makes them laugh it’s good?

Brian Walsby: Yeah, well, I’ve never been censored or anything.

the void report: No, just your comment before about them getting you up to speed…

Brian Walsby: Yeah, getting me up to speed. It wasn’t like I wasn’t drawing stuff that was offensive enough, it wasn’t anything like that. It was just kind of getting used to the idea of cranking out posters. And the early ones, the first couple of tours, they weren’t very good. I’ve kind of got them refined now and I’m really surprised that people still like them and I’m grateful. But, I’m still selling them. It’s cool little art. Little trinkets, souvenirs. And people will send me pictures of some of them in frames in their homes. Some of them are pretty inappropriate and they’ll have a picture of the inappropriate poster with their children (laughs).
the void report: So, when are you doing these posters? In a hotel room? On the bus?

Brian Walsby: I did about 200 of them at home before the tour.

the void report: Okay, so you don’t really do any on the road?

Brian Walsby: No, I end up doing that. The 200 is just a head start. Eventually, I will sell all of those and have to do more.

the void report: So, when you’re doing them on the road…I just have it in my head you do them on the bus, but I realize that’s probably not the best place to draw.

Brian Walsby: I have done them in vehicles. It depends on what you’re riding in. But, if I can’t do them in a vehicle, if there’s not enough room, what I’ll do is just make a bunch in the hotel room. I get up early anyway. So, I’ll draw as many as I can, maybe nine or ten in a day. Some are kind of easy to draw, so I’ll stick with them, like the Peanuts stuff is easy, Beavis and Butthead, that’s not really hard to draw.

the void report: I’ve seen The Simpsons.

Brian Walsby: Yeah, the Simpson is not the most difficult thing to do. I just do a bunch of those and try to keep the momentum going.

the void report: So, you did 200 hundred before the tour. You could potentially make another 200?

Brian Walsby: Yeah, yeah.

the void report: Wow, so you’re selling about 400 of these on a tour?

Brian Walsby: Uh…yeah…about that. I don’t have an exact figure, really.

the void report: That’s impressive!

Brian Walsby: There was a 2-month tour and yeah, I think I sold about 400.

the void report: How do you keep track of what you’ve done in the past?

Brian Walsby: I don’t! (laughs) I just wing it. There’s not a whole lot of thinking involved.

the void report: (laughs) It’s more of a zen thing.

Brian Walsby: It’s just sort of an extra perk of working with the Melvins. The first thing is the merch and t-shirts, multiple trips to the van, especially on off days, moving stuff in and out, and I’m kind of anal about things. And no matter how anal I am, I still can’t get on top of it. It’s an endless thing. We’re going to Austin tonight and will probably sell a lot of stuff here, so when I get to Austin I’ll be pulling things out and maybe I’ll want to do a few posters. It’s a lot of work, it actually is. Everybody works pretty hard on the tour. It’s always been like that. But, it took some time to get used to.

the void report: So, where is the line between homage and parody?

Brian Walsby: Oh God…

the void report: Or is there?

Brian Walsby: That’s a tough one. Well, if I draw something about…I can’t help but notice, this probably goes for other people who do a similar sort of thing that I’m doing. When I’m doing stuff where I personally have an appreciation for it, then I’m going to want to take more time and that would maybe be more of an homage. A parody would be maybe anything else. But, there are things that are kind of half and half. If I’m drawing something about something I don’t really care about, it’s probably going to be more of a parody than a homage. They’re not all winners. And beauty is in the eyes of the beholder. But, if I get too clever I know nobody’s going to buy it. But, at the same time I’m surprised by what gets sold. Like, “Can I sell a Harry Nilsson one?” And I did. That’s about as out there as you can get. I don’t really have a whole lot of time to worry about it. Or think about it. Definitely not cranking out masterpieces of artwork. It’s cool. It’s off-the-cuff and people seem to like it. It’s not labored over and I think that’s kind of cool. But, I couldn’t sit back and say that any of this is some kind of masterful piece of artwork. It’s just fun, in the moment, Mad Magazine kind of stuff.

the void report: I bring it up because when I was at this show last year, I didn’t know who you were.

Brian Walsby: I got beaned in the head by these too sullen teenagers.

the void report: What? At the show last year?

Brian Walsby: Yeah, with a quarter. They were being know-it-all, smart-ass teenagers and I lipped off to them and was a total jerk to get back at them. And they were kind of taken aback and disappeared. Then out of nowhere, I was selling some stuff, and wham this quarter hit me right in the head. But, then I thought, if I was them I probably would have done that (laughs). If I was those guys and then here’s this stupid asshole just giving me shit for being this excitable smart ass kid, I probably would’ve gone out of sight and just hurled a half dollar as hard as I could. So, I was like, I can’t really blame them. Yeah, that was the last time I was here.

the void report: Well, last year I got your poster that parodied the Misfits Horror Business. But, I didn’t know who you were. So, I posted on this cool Melvins fan group page on Facebook, “Hey guys, check out this rad poster! Anyone know who the artist is?” And instantly they told me and I felt kind of dumb. But, no more than usual. So, I looked up some of your work and sent a link to a friend of mine. He tells me, “I love when he makes fun of the Black Flag covers.”

Brian Walsby: Yeah, well I really like Black Flag and that’s always a good parody.

the void report: Well I said, “I’m not sure he’s making fun of them.”

Brian Walsby: I really like Black Flag and I know Buzz and Dale do, too. It’s just kind of like, their history is such an interesting and strange history, especially now. So, I’m paying tribute to a big influence on everybody. Plus, they’ve got a bunch of funny looking art.

the void report: I’m a big Raymond Pettibon fan.

Brian Walsby: Me too. I don’t think there’s any reason why he would’ve ever heard of me and I’m sure if he did he probably would think I’m a total asshole. But, he was definitely a huge influence on me as a kid. That had a lot to do with his association with Black Flag. So, I’m always up for a good Raymond Pettibon parody and I’ve done hundreds of those.

the void report: Well, I always loved his art on the Black Flag albums. And that’s what caught my attention with your Melvins stuff. Those were the CDs I didn’t want my parents to see (laughs).

Brian Walsby: Oh yeah, the stuff is creepy. And you don’t want to explain to your parents when they ask “What is this?” Especially the cover to Slip It In.

the void report: So, what’s going on with the Davidians?

Brian Walsby: We went out in January and played about a weeks worth of shows with a band from Perth, Australia called Helta Skelta. They’re a really good band, kind of like an Australian version of Wire, or something. We didn’t know who they were, or whatever, but we all got along well. And the Davidians is not a really serious, well, I don’t want to say not serious, but it’s a band that came out of the ashes of Double Negative. It’s cool. It’s still rooted, for lack of a better word, in aggressive punk rock, hardcore kind of music, I guess. But, we found a guitar player who plays kind of weird stuff, kind of a cross between Rowland S. Howard of the Birthday Party and Greg Sage of the Wipers. He knows about Greg Sage, but he doesn’t really know about Rowland S. Howard. So, his playing is a little strange and his songs are a little stranger than the Double Negative songs. We recorded eight songs for a twelve inch coming out on a record label called Sorry State Records, out of North Carolina. But, you know, it’s just like play when you can.

the void report: When is this twelve inch coming out?

Brian Walsby: I have no idea. (laughs)

the void report: (laughs) Do you know what it’s called?

Brian Walsby: Yeah, it’s called City Trends. I have no idea what that means. The younger guys in the band do. I guess it’s some kind of urban hip-hop thing. But, I don’t know. I’m kind of out of touch. I still enjoy playing a lot, but I don’t do it as much. I still listen to music as much as I ever did, but playing it has dropped down a lot and seeing it has dropped down a lot.

the void report: Well, I’m sure when you get off tour you’re not dying to get out to another club.

Brian Walsby: Yeah, it’s a cross between that and there’s not really anybody I want to see. I’d like to see more, but when I get home the last thing I’m going to do is go out to the local bar with a bunch of drunk idiots and listen to shitty local bands. I just don’t want to do that.

the void report: As a drummer, do you and Dale ever talk drums?

Brian Walsby: Oh yeah, well a long time ago. But, he likes a lot of the same people I do, like Clive Burr of Iron Maiden. All the usual suspects, nobody really off the beaten path.

the void report: But, do you and Dale ever talk about stuff? Like you see him do something on a song and ask him about? I dunno, like technical stuff?

Brian Walsby: I think Dale now is better than he’s ever been. He’s got the brute force and everything and people are always like “He hits harder than anybody!” And well, at one time, he certainly probably did; but his strength is that he has this timing that just can’t be duplicated. He can do anything. He’s better now than he was even 10 years ago.

the void report: Hey, I really appreciate you taking the time. Do you have anything else going on that you want to mention?

Brian Walsby: Thanks, I appreciate it. I do other stuff, I have some comic books, Manchild, I only have a few left on this trip. Hopefully, I’ll find a new publisher and get another one out soon. And there will be another tour in the fall and I’ll probably be back for that.

4
Per Tom Flynn on Melvins Facebook Group.

" However long it takes for the plant to press the things, and more importantly, for me to get my shit together. Maybe four months or something like that"


5
Who's going?  :o

See you there!  8)

6
Melvins Discussion / Bootleg Melvins Shower Curtains?!
« on: June 04, 2016, 10:49:04 PM »
Do these Chinese bastards have no shame?  :o






8
Melvins Discussion / Melvins With Steven McDonald On Bass
« on: December 03, 2015, 06:05:49 AM »
I'm not very familiar with Redd Kross. What should we expect?

Does he have the same gear all the time? I'm watching the live on KEXP video right now and see a sunburst Fender P-Bass and an Ampeg stack.

Are his on the road antics as legendary as Pinkus, Trevor and Jared?

How much ass will that War Pussy 10" kick?

Will the band cover a Redd Kross song or two, like they covered Butthole Surfers songs with Pinkus?





Welcome to the gang, New guy.  :disagree: :buzz: :twisted: :mrgreen:

9
http://www.theguardian.com/music/musicblog/2015/nov/17/cult-heroes-melvins-buzz-osborne-kurt-cobain

The term “hardest working band in rock” is thrown around often, but Melvins are a viable contender. Since their 1987 debut, Gluey Porch Treatments, they have put out an average of nearly an album an year, as well as copious EPs, live albums, collaborations, solo ventures, side projects and other curios. Nearly 30 years later they show no signs of fading, and are now even functioning with several different concurrent lineups.

The core duo of Buzz Osborne (AKA King Buzzo; guitar and vocals) and Dale Crover (drums) have been through as many bassists as Spinal Tap have drummers, including Matt Lukin (who quit to join Mudhoney), Lori Black (the punk-rocking daughter of Shirley Temple), Mark Deutrom and Kevin Rutmanis. When the latter left in 2005, he was replaced by Jared Warren from sludge-rocking power duo Big Business. As if Crover’s drumming prowess wasn’t beastly enough already, he and Osborne also invited Big Business’s drummer, Coady Willis, into the fold, creating the most powerful Melvins sound to date, the double drum kits pounding listeners into submission like they’ve been caught between twin whirlwinds.

Osborne and Crover see no need to postpone operations when Big Business have other commitments, however. In recent times they’ve hired members of Butthole Surfers (for 2014’s Hold it In) or performed as Melvins 1983, a lineup that includes their first-ever drummer Mike Dillard with the versatile Crover shifting to bass, and Melvins Lite, with Mr Bungle’s Trevor Dunn on double bass. The latter trio’s herculean task of performing in all 50 American states (plus Washington DC) in a record-breaking 51 days is captured in their hallucinatory new DVD.

For such a prolific and unpredictable group, the standard of Melvins’ output has remained remarkably high. While avant-garde projects such as 2001’s Colossus of Destiny proved too perversely indulgent for some sensitive listeners, and despite the odd mid-LP wobble such as 2013’s screwball cover of 99 Bottles of Beer, they’ve recorded some of the heaviest and most rewarding rock of the last three decades. With dazzling, detuned riffs spilling from Osborne’s fingers like sparks from an angle grinder, most of their albums flaunt a supreme balance of crushing heaviness, rowdy melodies, bizarre lyrics and general sonic weirdness. It’s a distinctive sound that the 2003 edition of the Rough Guide to Rock fittingly described as “what Sabbath would sound like with Captain Beefheart as chief songwriter”.

It’s an acquired taste, perhaps, but they’ve inspired everything from cult grindcore groups such as Pig Destroyer to drone-metal pioneers Sunn O))), Earth and Boris (who are named after a track on Melvins’ 1991 masterpiece Bullhead), and just about every grunge, alternative and noise-rock band that ever formed.

With dadaist lyrics about “the golden talking equine god” and “selling bulge egg tourniquet”, Melvins’ love for the surreal extends to their record sleeves, many of which exhibit disarmingly cutesy illustrations designed by Osborne’s wife Mackie, somehow both appropriate and antithetic to the music within. Such eccentricity was never likely to secure mainstream glory. The Jacksonville/Dallas 7in features live recordings of the band berating hostile audiences, captured during two of the many miserable slots they played in the mid-90s supporting the likes of Nine Inch Nails.

This was Melvins’ brief major-label period – they had signed to Atlantic after the grunge explosion, when similarly unconventional groups such as Jesus Lizard, TAD and Butthole Surfers were scooped up by A&R folk hungry to capitalise on Nirvana’s success. Unlike many of their contemporaries’ efforts, Melvins’ three major-label albums are noteworthy for their apparent lack of record company interference. Scattered between its more “normal” rock tracks, the “Atlantic trilogy” includes an
The term “hardest working band in rock” is thrown around often, but Melvins are a viable contender. Since their 1987 debut, Gluey Porch Treatments, they have put out an average of nearly an album an year, as well as copious EPs, live albums, collaborations, solo ventures, side projects and other curios. Nearly 30 years later they show no signs of fading, and are now even functioning with several different concurrent lineups.

Melvins clearly didn’t enter the music business to make friends and they’ve never been afraid of slaughtering sacred cows, Osborne’s relationship with Kurt Cobain being a case in point. Cobain idolised Melvins, roadied for them in his youth, and was so heavily influenced by them that Nirvana’s Milk It (1993) was startlingly similar to Melvins’ lesser-known It’s Shoved, released two years earlier. The Cobain association helped bring Melvins to the attention of a larger audience. And Cobain has a producer’s credit on Melvins’ 1993 LP Houdini, even though he was fired from the project for being strung out on drugs.

There's more. This is hard to copy and paste.

10
Some local press for the show tonight.
Something's missing, though....  :-k

11
Maybe some of you more knowledgeable guys like Chief, ilduclo, MA or Jules could tell me;
Can you think of another band that has written and released albums, as well as toured or played one-off shows with 3 different players on the same instrument, the way that the Melvins have in the last 4 years? They just keep rotating them. They've played at least one show with each bassist (Jared, Trevor, Pinkus) in the last 7 months.  :shock:

13
Have you ever rated, commented on or written a review of a Melvins release on Amazon.com?

14
Melvins Album Discussion / Hold It In
« on: February 21, 2015, 07:18:58 AM »
This is a very interesting album, to say the least.
Their first with Jeff Pinkus, of the Legendary Butthole Surfers.
And he even brought along his Butthole buddy, Paul Leary.
Leary brings the signature BHS production style, mixed with the Melvins hard crunch.
The project works well for me, but now that I've been listening to it for 4 months,
I have some observations;

The bass is extremely low (frequency-wise). I usually like this, but it doesn't work quite as well on this one.
I'm getting used to it, but it's a little disorienting, how the Paul Leary "Wall Of Sound" keeps chucking delay at you. I'm not sure that I like the feel of how all of this goes together.
It's like a grumbling tummy. Every time you listen. Not an attribute that keeps me coming back for more.

The treble is shelved pretty low. Dan Halen pointed this out. You combine this with the low bass, this album lives lower on your eq than most everything, other than classic gangsta rap.
You don't get the metallic sheen of the Atlantic years, or even the Kevin or Big Biz eras.
The guitar continues to sound like Freak Puke and Tres Cabrones, which is fine by me.
Many decry the lack of Gibson Les Paul tone and more conventional Marshall stack amplification.
Get used to it, King Buzzo has officially moved out of AC/DC and KISS territory, at least when it comes to his guitar rig. The riffs he's playing are more important to me, and on this album, they're excellent.

The mix of songs, alternating between late model Melvins, Pinkus/ Honky/ Melvins hybrid and Paul Leary LSD -inspired pop flows quite well. It's a Beatles-White Album type of affair. Different songwriters coming together to showcase their abilities, yet exhibiting a cohesive structure, where they all get to add their own flavor to each others songs.

I have my cassette I made of this CD, tracks in this order;
1-Bride Of Crankenstein-Pinkus on vocals, channeling King Buzzo rage.
7-Sesame Street Meat-a very solid Melvins tune, could have been on a dozen different Melvins
   projects.
3-Brass Cupcake-A more collaborative effort, exhibiting equal parts Melvins/ BHS song structures
   and vocals.
5-Onions Make The Milk Taste Bad-a continuation of Big Biz style Melvins.
6-Eyes On You-Leary pop song, with crazy, subversive lyrics. A stellar combination.
9-The Bunk Up-Perhaps a continuation of Dogs And Cattle Prods, from Tres Cabrones? Starts out
   with Melvins riffs from hell, continues devolving into weird interludes.
12-House Of Gasoline-the first 2 1/2 minutes are a great Melvins track. The next 7 minutes
   degrade into a drum-off between Dale and Pinkus?! Even without Coady on this project, Dale
   loves some call and response type cadences.
2-You Can Make Me Wait-pure Paul Leary pop genius. This one reminds me of songs that were
   popular on the radio in the late 70's, but in a good way.
8-Nine Yards-Pinkus being Pinkus. Sounds like Honky, but with Buzz instead of Bobby.
10-I Get Along (Hollow Moon)-Leary. What more can I say? I miss me some Buttholes!  :(
11-Piss Pistopherson-  :lol: see Nine Yards^
4-Barcelonian Horseshoe Pit-crazy ass instrumental. Did I mention Leary is a freakin' genius?
12b-here's where I put the final 3/4 of this track. It's brilliant, but it doesn't hold my attention
   very well.

So there you have it. Out of post-Big Biz, here's my decisive ranking (subject to change  :P )
1- Freak Puke
2-Tres Cabrones, This Machine Kills Artists, Hold It In (3-way tie)


15
Melvins Discussion / Do You Follow The Melvins Twitter Feed?
« on: February 11, 2015, 10:30:44 PM »
So, do you?  :o

*added link. Derp.  :P

melvins.net Twitter feed.
https://mobile.twitter.com/melvinsdotnet

Melvins.com Official Twitter feed.
https://mobile.twitter.com/melvinsdotcom

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