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Nude With Boots Import

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Nude With Boots + A Senile Animal + Stag
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Product details

  • Audio CD (7 July 2008)
  • Number of Discs: 1
  • Format: Import
  • Label: Ipecac
  • ASIN: B00191WSWM
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: 142,706 in Music (See Top 100 in Music)

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
Listen  1. The Kicking Machine 2:46£0.79  Buy MP3 
Listen  2. Billy Fish 3:54£0.79  Buy MP3 
Listen  3. Dog Island 7:34£0.79  Buy MP3 
Listen  4. Dies Iraea 4:35£0.79  Buy MP3 
Listen  5. Suicide In Progress 4:48£0.79  Buy MP3 
Listen  6. The Smiling Cobra 3:44£0.79  Buy MP3 
Listen  7. Nude With Boots 3:37£0.79  Buy MP3 
Listen  8. Flush 1:09£0.79  Buy MP3 
Listen  9. The Stupid Creep 1:32£0.79  Buy MP3 
Listen10. The Savage Hippy 3:36£0.79  Buy MP3 
Listen11. It Tastes Better Than The Truth 5:20£0.79  Buy MP3 

Product Description

Our product to treat is a regular product. There is not the imitation. From Japan by the surface mail because is sent out, take it until arrival as 7-14 day. Thank you for you seeing it.

Customer Reviews

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Most Helpful Customer Reviews

1 of 1 people found the following review helpful By Mick B on 6 Jan. 2009
Format: Audio CD Verified Purchase
Melvins now with their second album with the reinforcement of Big Business and bass and (extra) drums. And it's even better than the previous An Senile Animal. Great humour and great riffs combined with the now 2 great drummers. It's a modern classic and shows The Melvins at their finest.
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3 of 5 people found the following review helpful By Mr. J. P. Young on 23 Oct. 2008
Format: Audio CD
'Nude With Boots' is the second album Melvins have recorded using the double-drumming lineup amalgamation with Big Business, and it is something of a puzzler compared to the (fairly) straightforward barbaric ultra-rock power of 2006's '(A) Senile Animal'. The dynamic range is considerably wider, not in terms of volume but in terms of tone, while the pacing is seemingly deliberately designed to keep the listener on their toes, following a pattern of fast-fast-slow, or loud-loud-quiet. What you wind up with is an odd, subtle record with a great deal to offer but a tendency to keep the listener at arm's length.
When I say 'tone', I mean that some of this stuff is the most upbeat and celebratory-sounding stuff this bunch of misanthropes have ever come up with. The excellent title track is so jubilant it will make you sing along without having a clue what's actually coming out of your mouth (see also the Fall's 'Stephen Song' for another example of the catchy-but-incomprehensible). The opening 'The Kicking Machine' sounds like some operatic fanfare played by elephants from from Mars, and 'Billy Fish', following quickly on its heels, ambles along in a sly but friendly manner, like some wisecracking drunk hustler.
But then we slam headfirst into the dense, unrelenting brick wall that is 'Dog Island' - and what I mean when I talk about the odd pacing becomes clear. This then eventually bleeds into a slightly aimless ambient digression - without Lustmord guiding things, drifty soundscapes are perhaps not the Melvins' ideal niche.
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2 of 4 people found the following review helpful By A. H. Dovey on 29 Jun. 2008
Format: Audio CD
Another great return from Melvins (again with Big Business filling in on the bass and the double drum ethic).
A bit more stellar and out there from the previous album, just check out track 3...a classic return to 'Bullhead' era sound and the track that follows this could easily provide a soundtrack to a possible 'Shining' remake.

All fans of Melvins will really love this album, and encourage new-comers. Easy on the ears, painful on the neck from headbanging, stressful on the hands of air guitarists and Dale Crover wannabe's. A must release for 2008...and then go purchase TORCHE - Meanderthal.
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0 of 1 people found the following review helpful By Aaron Silmon on 24 April 2009
Format: Audio CD
After witnessing Melvins at ATP festival, i purchased a couple of their albums. "Nude with Boots" was the second album that i bought after buying "Houdini", and i have not been disappointed.
This album is stomping and keeps me excited about new music as i've been feeling a little deflated about todays scene.
It gives me the rough and punching sound i was looking for. King Buzzo's vocals along with Jared Warren's harmonies on top sends a shiver down my spine, not to mention the fact that there are two drummers creating this massive sound.
The opening track, "The Kicking Machine", starts with a very Led Zeppelin style riff but completely throws you off that train of thought when the vocals come in.
"The Smiling Cobra" is completely on top form with a catchy riff and vocal line.
I will leave the rest to the listener as everyone will have a different opinion on this, but completely recommend this album among the other Melvins album you should buy.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 18 reviews
16 of 17 people found the following review helpful
Getting in a Groove 5 Aug. 2008
By Snow Leopard - Published on Amazon.com
Format: Audio CD
An amazing thing has happened with this album; it seems a lot like the Melvin's last album ("Senile Animal"). Consistency has never been a major concern for the band, but maybe they just decided not to release everything they'd come up with lately in an omnibus edition. In any case, here we are, treated with another Melvins album long after Grunge is dead, and most of the Indie bands that came after the Melvins originally helped to chart Indie in the first place (without ever making heaps of money at it) are also dead or have become self-parodies. And while all of the reviews here so far are enthusiastic, as often happens with Melvins reviews, there tends not to be a lot of detail. Here's some detail.

The Kicking Machine, at 2'44", gets things started. Yes, that opening guitar line is almost pop, but don't ignore that the song started with a gunked out drum noise and chime. If the Melvins have learned nothing else from many years of knowing Mike Patton, it's how to never miss a chance to put some odd bits together. Harmonized vocals ("little horned animals"), and up-tempo drums crisscross through the guitar lick for a bit before the "real" riff starts off; one of those marvelously non-4/4 seeming things kicking along with its unpredictable but oh-so-right changes. Boom-boom-boom, and it's over.

"Billy Fish," at 3'52", starts with a bunch of rolling drums that go on long enough to give you ample time to imagine 5 or 6 different riffs to come--but as usual the one that arrives hearkens more back to the Melvins' Houdini than anything you might have imagined. But even this proves to be a dodge; when the vocals finally set in, with Buzz's still excellent-sounding voice, the sound is grungy, buzzy, and kicking along at a grinning hyena-lope. Certainly, the endless quest for a bassist has finally been answered. Verse-chorus, and suddenly everything stops to go back to the opening drums; they weren't an introduction after all. A repeat of the buzz-grunge follows, but morphs into something completely new for the last minute of the song, though the new bit seems to follow inevitably from the front part. How do they make it all make sense?

"Dog Island," at 7'32", time-wise suggests a sludgy epic, and the opening *boom* and fuzzy down-tuned guitars and occasional tweaked high notes that escape the speakers seems to bear this out. (Check out the yummy tube-amp/Les Paul sounding notes oozing around.) Truthfully, the lick itself is probably worth the album--one of those chugging things with accents in all kinds of throat-grabbing places that only the Melvins seem to know how to do consistently. And if it just kept this up for 7 minutes, it'd be awesome enough, but at 3'20" suddenly the base drops an octave, the guitars start wailing (and you recognize where you sense this riff from, "The Maggot"), as it scoots into something else. Suddenly the bass drops again, and the vocals come in with all kinds of reverb, the sound-guy slides up the volume slider--epic begins to occur. At around 5'45", the band try to find their way out of the mood they've created, more or less, ending on the predictable cliche of drums, but the journey was still worth it.

"Dies Iraea," at 4'33" (funky spelling notwithstanding) is actually a cover of a Catholic medieval chant, the famous "Day of Wrath." (You'll know the melody, famously deployed at the beginning of Kubrick's "The Shining".) I'd guess Mike Patton suggested they cover this, but it's done with all the slow oozing power that the piece deserves, including a trailing off noisescape that manages to invoke "The Shining". (For all I know, maybe they're covering that movie's soundtrack.) At the very least, it's a stark contrast to the music that's gone before.

"Suicide in Progress," at 4'46", (if it's stoner rock at all) is mightily accelerated, but aficionados, please note (what would be) the extraordinarily complex guitar line for a stoner-rock outfit. For the first 90 seconds of the song, you might think it was a prog-rock instrumental, changing time signatures and all. Comes the full-stop, and then possibly a restatement of the song at 1/4 speed now, and a texture like many songs on "The Bootlicker". (Lyrics: "There's a little animal" ... a return from the first song? To be fair, Buzz's lyrics may make sense to him somehow, but one of the enduring joys of the Melvins is the total incongruity of the words; it's amazing Buzz can remember them.) Fade-out ... and suddenly, a brief quasi-industrial noisefest ... because that's how a proper Melvins song is put together.

"The Smiling Cobra," at 3'42", drives immediately through your forehead with another jumping, shifting guitar line intermixed with a few power chords to try to get a grip on, but generally it smashes around, off-beat accents and all, straight-ahead growling vocals ... all in the first 90 seconds. So of course you need a guitar solo then, and then morph away into a completely new riff. (It's the sound of the guitars, in particular that's so satisfying here.) You could mistake this for "typical" stoner rock, but not with headphones on.

"Nude with Boots," at 3'35", starts out more thumping drums, and then an exceptionally poppy/friendly guitar line. (Check out the bass guitar, though). And stays there ... surprise. I'd swear this was a cover, or not written by Buzz/Dale. What follows, "Flush," at 1'07", is a noisescape. Now, this is a review, not an analysis, but since (for me) "Nude with Boots" is the least satisfying song on the album for me, I find it charming that the next song flushes it, as it were. If nothing else, the swing from "pop" to "noise" couldn't be more apt as a contrast. (In an unforgivably interpretive mode, I have this dim suspicion "Nude with Boots" and "Flush" are references, maybe in title alone, to Sabbath's "Fairies Wear Boots" and "Fluff".)

"The Stupid Creep," at 1'30", gets a lot done in its 90 seconds, but is mostly a palatte-cleanser of aggressive guitars and slithering bass lines that ends before it seems to start. Guerilla punk-sludge.

"The Savage Hippy," at 3'34" (contrasting with the stupid creep somehow?) is a mini-epic--huge drums boom incessantly, while down-tuned bass creeps around at unusually low subsonics--cymbals fill the sound with white noise, lyrics (sneer-howled) are buried in the miasma, while the guitar churns out power chords and string-scratches. A huge fish-flopping death-wail, and another reason why one needs to buy Melvin albums. The "chorus" (if you can find it) pays for the disc.

"It Tastes Better than the Truth," at 5'20, closes the album with martial drum, distorted mincing vocals, rising and falling skysaw guitars, and miscellaneous screams over the top. In the sense that this stew repeats to the end, it's a drone, and belligerently anti and satisfying; certainly a toothy-grinned way to end an album, but still nice enough to be programmed out when its charms wear thin.

Bottom line. If you liked "Senile Animal," you'll almost certainly like this. If nothing else, over the years, the Melvins have gotten better at making themselves sound awesome on disc--"Ozma" and "Bullhead" sound almost like novelties. Major-label recording maybe taught them the tricks; Ipecac has (continued) to give them all the leeway they need. Results: another worthy step forward in the Melvins canon. (And for any who wonder why they keep at it--watch Buzz playing "Dog Island" and you'll see; the fire is still there. And it here too.)
Melvins have never been better 13 Aug. 2008
By M. Grunert - Published on Amazon.com
Format: Audio CD
The newest Melvins release, Nude With Boots is damn good.

In 2006, the Melvins added the rhythm section of Coady Willis on drums and Jared Warren on bass and vocals with the release of A Senile Animal. This rhythm section along with Jared's contribution to vocals was a great addition to the Melvins sound. It was a ballsy and raw record but at the same time, the most precise and focused Melvins record I have ever heard. I saw them on that tour before I heard the album and was blown away!

Nude With Boots is an extension of A Senile Animal that refines their sound even further. It has some fine playing, and songs covering a variety of styles without getting too weird.

I have liked the Melvins for a long time but on most of their releases, I wish there was a little less experimental or ambient type stuff. The songs on the new disc are hard rocking, cohesive and cool. Don't worry old Melvins fans, even being a little less weird, it is still undeniably a Melvins record. Nobody sounds like them. I personally hope they keep pushing in this direction.
You definitely need to get this one. 8 July 2008
By Woodrow - Published on Amazon.com
Format: Audio CD
I'm a big Melvins fan, but don't love all their stuff. I loved A Senile Animal and this new one is great, too. If you're new to the band and don't know where to start, this is a great introduction to the band. It combines some of their most straight ahead rock stuff ever and a good sample of their more experimental side.

If you're already a fan, you probably know what to expect. The rock stuff is great, parts of it almost Zeppeliny and there's a little bit of cowbell. Some of the experimental stuff reminds me a little of the Pigs of the Roman Empire record with Lustmord. The title track is very commercial, too bad modern rock radio doesn't exist anymore.

Like the other reviewer, I've only listened to this once but I'll be playing it a lot in the coming weeks. Make sure you pick this up. And check out Mighty High...In Drug City while you're at it.
Melvins & Classic Rock? Fitting bedfellows. 10 Jan. 2011
By Nicholas Foley - Published on Amazon.com
Format: Audio CD
I've been aware of the Melvins for years but took my first swim into their oceanic discography in 2008 - taking a chance on their latest album at the time. The opening song grabbed my attention with its open spaced rhythms and a classic riff that evokes "Black Dog" and the album didn't let go until the very end. Then it's repeat time. Excellent driving music. The often syncopated drum combination of Crover/Willis together with the big harmonies of Buzzo/Warren turns what could have been average sludge/stoner metal songs (the likes of which The Melvins debatably turned into a science) into songs that strike you with their enthusiastic identity. It's cool to hear so many disparate influences come together to create an album so familiar yet very unique.
after nearly 25 years, the Melvins are at the top of their game 11 July 2008
By disgustipated - Published on Amazon.com
Format: Audio CD
i am a huge Melvins fan, and those like me have seen them go through different incarnations (and bass players). this line-up of original members King Buzzo and Dale Crover along with the fellas from Big Business is hard rocking, vocally and harmonically intriguing, but still the Melvins. i have my list of favorite Melvins' albums, and this one ranks up at the top - some of their best work. they have always been the band (like mr. bungle) that you either get or you don't - they have always done "their own thing", so it's often difficult to turn friends on to their music. this is one of their albums that your friends and first-time Melvins listeners might actually GET.
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