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Soon after the band would sign a deal with Boner Records Tupelo in Europe and record the album in May with a release in December. The sound on Ozma follows a similar structure to the sludgy sound established on Gluey Porch Treatments. Notably this is one of the only Melvins releases to feature lyrics in the booklet, with lyrics for ten of the sixteen tracks. The track listing that is printed on the CD lists 34 tracks, but the CD only has 33 tracks.
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Best viewed without Internet Explorer, in x resolution or higher. Looking through the length of the songs on this album, one may think that it is a hardcore punk album. Almost all of the songs are under 3 minutes.
With Black in on bass and the band relocated to San Francisco, the Melvins started, in a subtle way, exploring and developing their already-trademark sound further. Osbourne's tribute to Ozzy reaches new heights throughout -- opening track "Vile" in particular blends that and the running Gene Simmons fascination into a twisted monster, insistent, unnerving, and threatening all at once. Crover once again is the band's not secret weapon, as the clattering start of "Agonizer" and the subtle but spot-on tempo shifts on "Claude" make clear. Black's bass playing is steady-as-it-goes enough not to get in the way of anything, and she and Crover make enough bedrock thump for Osbourne to let loose with both his pipes and his guitar. Whether it's the creepily calm start of "Let God Be Your Gardener," plucking rather than bulldozing forward for once, or the grinding do-not-pass-go attack of "Raise a Paw," Ozma is out for blood and gets it. Also fun -- consider the lead-guitar melody of "Love Thing" and how it oddly resembles Pearl Jam's breakthrough hit "Alive" from a few years later. AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully. Blues Classical Country.
