We're huge fans of music, as long as it's good. We've never tried to hide that ever, so that's been a big deal for us. Our influences are certainly varied - everything from The Rolling Stones to Throbbing Gristle and everything in between. Well, once I realized that that's what I wanted to do, then I tried to go in a direction that wasn't too heavily traveled. I was trying to figure out music that maybe made sense that hadn't quite been done like that before. What did such a broad spectrum of influences allow you to do once you started making music yourself? Your formative musical roots are incredibly varied. I know it is the Directors Cut, but I would rather sit through. It's as close to the original Melvins as we're willing to get. As with this version, the Cut eliminates scenes which I found enjoyable in the original. We get to write new songs with him with Mike in mind and Mike is not a full-time musician the way Dale and I are, so it's a really special thing to be able to do. What was fun about that is that we get to go back and play with our original drummer and with Dale, who is our normal drummer, playing bass. Why is that music with those particular players pivotal to your forward trajectory as a musician? The Melvins 1983 lineup revisits the early days of the band, which includes Mike Dillard. The hardest part was figuring out ones that would really work well in this scenario and we had to come up with 36 of them. It's about two-and-a-half hours of music. So, it wasn't too hard along those lines. Well, you've got to translate the material that was conceived on electric guitars into acoustic, but the power of the songs are there regardless. What was different, maybe even challenging about the way you played on Five Legged Dog? In terms of technique, playing acoustic instruments can be much different than electric ones. I think that's going to surprise a lot of people. The guys I play with - Dale and Steven are really good players and they're good singers and we were able to turn it into something. Well, it's pretty clear when you hear it that the songs are good, no matter how we did them. Nor should it be the idea here wasn’t to create a show-off. What does an acoustic format demonstrate about your music that otherwise isn't so apparent? The audio for the Director’s Cut was supervised by the original sound personnel, and as a result this mix isn’t the radical reworking that some seem to have expected.
Despite their major influence, their popularity is still quite underground and Buzz said it's "been nice" not ever having one big hit record.
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