Houdini is the fifth studio album by the Melvins, released in 1993 on Atlantic Records. The album was the band's major label debut after releasing their previous albums on the independent label Boner Records. The album features a cover of the 1974 Kiss song "Goin' Blind". The songs "Hooch", "Lizzy" and "Honey Bucket" were released as singles with accompanying music videos. "Night Goat" is a partial re-recording of a song the band had released as a single in 1992. Nirvana's Kurt Cobain is given co-production credit alongside the Melvins on six tracks, for guitar on the song "Sky Pup" and percussion on the song "Spread Eagle Beagle". Background and recording Kurt Cobain was accepted by Melvins as a producer to the album after an A&R at Atlantic Records, who also ran Cobain's management company, suggested him. Despite receiving a co-producer credit, the extent of Cobain's involvement in the album is questionable. Andrew Earles, who included Houdini on his book Gimme Indie Rock: 500 Essential American Underground Rock Albums 1981-1996, stated that Cobain allegedly slept through most of the sessions. Jonathan Burnside, a collaborator of Melvins and engineer on Houdini, remembered: "It's not easy reminiscing about making the album Houdini with Kurt Cobain and the Melvins. Bad communication, drugs, major label profiteering, rehab, schedule blowouts, backstabbing, and album miscrediting... it was a devil's album." Speaking to Kerrang! in 2008, Melvins guitarist and vocalist Buzz Osborne, who later said in 2009 that Cobain was "in no shape to produce anything", remembered: Though the album's liner notes list Lorax as the band's bassist, she does not appear to have played on the album. On the credits for bass, Osborne stated: "This album is mostly just me and Dale Crover. Either I played bass or he did on almost all of it regardless of what the credits say…" The album's cover art features an illustration by graphic designer Frank Kozik. Music and composition Houdini features a sludge metal, grunge and doom metal sound. Spin critic Jonathan Gold described the record as "not precisely an accessible mainstream album in the 'alternative' mode, not with its random-sounding ten-minute percussion solo, mumbled, cut'n'paste Beef-heartian lyrics, and tempos so slow they make Flipper seem as speedy as Slayer." Earles thought that the album showcases two different versions of Melvins: "a noticeably better variety of the slow, ungodly heavy, yet melodic off-kilter doom-metal with which the band had made