Never having made it to the big time – at least not in the same way as its Northwest brethren – the Melvins have remained a vital part of the underground rock thing for the past twenty seven years or so. That’s a phenomenal accomplishment on its own. But even more impressive is the fact that over that expanse of time, the Melvins have continued to release vital and original music while collaborating with some of the rock scene’s most high profile low-lifes.

Forming back in 1982 and gigging around western Washington State, the Melvins found an like minded advocate in the likes of a teenaged Kurt Cobain while the group was still centered in Aberdeen. The logging town obviously didn’t hold too much in the way of chances for success and because of that, the group headed east to the soon-to-be cultural mecca of Seattle.

So early in the ‘80s, popular music, in the rock realm at least, was over run with hair metal. And while there are unquestionably similarities in not just the Melvins’ musical antecedents, but some of its tonal proclivities to the self aggrandizing genre, there was something radically different about this trio.

Initially comprised of Buzz Osbourne, Dale Crover (who was actually the group’s second percussionist, but the first to record with the band and performed on portions of Nirvana’s 1989 Bleach) as well as Matt Lukin, the band released its first album in the form of 1986’s Six Songs. The album might be considered as the band making a definitive statement of sludge and speed. But a few discs later, when the Melvins and its new bassist, Lori "Lorax" Black (Shirley Temple’s daughter – seriously), put out Ozma and moved to San Francisco should be considered the proper beginning of the group’s legacy.

There are a few initially startling inclusions here. Although, after considering the era in which band members grew up, a (sorta) cover of a Kiss song in the form of “Love Thing” makes sense. That one song, while a bit detached from the remainder of the album, with its relatively melodic guitar figure, retains all of the heavy attitude that tracks like “Koollegged” have.

While including an almost pop song, earlier on Ozma the truncated “Oven”  most befits the Melvins. As the second track on the disc, the stop and go drudgery of the track prepares listeners for what’s to come. It’s not metal, but the earliest proponents of the genre are present here in each disparate musical element.

After this disc and the group’s brief 3 year flirtation with a major label, King Buzzo and company moved to Mike Patton’s Ipecac imprint for a spate of releases towards the tail end of the ‘90s. Seeing a steady interest in the band, Patton even saw fit to reissue the ensemble’s back catalog. And today after incorporating Big Business into its line-up, the Melvins maintain a pretty steady touring schedule. Having a built in opening act, when necessary, probably doesn’t hurt the business end of it all. But regardless, these guys are kinda like an on-the-road history books. Find out…