|
|
|
Welcome ! |
|
| |
 |
|
Mudhoney
Inside Job
Album: MUSICBLITZ Exclusive
Genres: Alternative,Punk
The Godfathers of Seattle punk return to the fold on this awesome new single, available exclusively on MUSICBLITZ! Rock or DIE, baby! |
|
|
|
|
| |
 |
| |
 |
|
| |
Now that the dust has settled around the “Seattle scene,” the truth can be told -- how a mythical band of four happy-go-lucky punk-rock lads inspired a city, and finally, a nation. Steadfast in their refusal to court stardom, Mudhoney remained the shadowy figures of Seattle’s Great Grunge Explosion. Sure, they eventually signed to a major label, but they also penned the classic kiss-off “Overblown,” with its all-too true lines, “Everybody loves us/Everybody loves our town/That's why I'm thinking the time for leavin' is now.”
Of course, the group was partly to blame for Seattle’s carpetbagger invasion -- without Mudhoney, there would’ve been no Nirvana, no Pearl Jam. Truth is, these boys were mixing their Stooges-Sonics-Ramones brew even before they assumed the name Mudhoney. Our story begins in the early '80s with prep-school students Mark McLaughlin and Jeff Smith, who played no instruments and sang nothing. This didn’t stop them from starting a band -- Mr. Epp and the Calculations -- which existed solely in flyers plastered around town. Caught in the act one night by two local promoters, McLaughlin and Smith were offered a show. Mr. Epp and the Calculations became a reality.
Eventually, McLaughlin (now calling himself Mark Arm) met another private-school kid, Steve Turner, and launched a new incarnation of Mr. Epp, called Green River, which included Jeff Ament and Stone Gossard (later of Pearl Jam). The new band was marked by musical tension from the start. Ament and Gossard’s love of Black Sabbath and their metallic ilk was tempered by their ability to play "Blitzkrieg Bop.” Turner and Arm remained in thrall to English punk, Cali hardcore, and '60s garage-rock. This volatile mix earned a loyal following, yet before Green River began touring, Turner decamped, fearing that he might be asked to don ripped spandex.
By 1987, Ament and Gossard had left too. Arm and Turner goofed around in a joke punk act called the Thrown-Ups, then decided to form a “serious” band. Their cohorts were bass player Matt Lukin, formerly the anchor of the Melvins’ grinding dirges, and drummer Dan Peters, who’d kept time in a darkly atmospheric band called Bundle of Hiss. Naming themselves after the Russ Meyer film Mudhoney, the four entered Reciprocal Recording with producer Jack Endino. Before they’d even played a show, Mudhoney created the generational anthem “Touch Me I’m Sick.” Taking college radio by storm, this instant classic helped vault its label, Sub Pop, into the stratosphere of underground rock circles. Granted, this is about the same height as the average major-label’s mailroom, still, Mudhoney were challenging people’s preconceptions of what an indie band could accomplish.
There were heady days ahead. Mudhoney's debut EP, Superfuzz Bigmuff, didn’t drop off the UK alternative chart for a year. The band recorded split singles with various friends, including Sonic Youth. Mudhoney's self-titled debut full-length appeared in 1989, followed by the kick-ass Every Good Boy Deserves Fudge in 1991. When director Cameron Crowe began filming Singles, a rather sanitized story about love amid the Seattle music scene, Mudhoney contributed the reality check “Overblown” to the soundtrack.
Soon, Reprise Records entered the fray. Mudhoney’s first release as major-label artists was Piece of Cake, produced by Seattle pop-meister Conrad Uno. After another EP, Five Dollar Bob’s Mock Cooter Stew, Mudhoney took its fans by surprise, recording a split EP with Austin folk icon Jimmie Dale Gilmore. My Brother the Cow, featuring the on-point critique of fake alt-rockers "Generation Spokesmodel," appeared in 1995. It took three years for the band to record a follow-up, Tomorrow Hit Today, but it proved to be yet another snarling, attitudinal masterpiece.
Then, with nary a word, Mudhoney was gone -- but many remained strung out on the group’s caterwauling raunch. “Inside Job,” their exclusive MUSICBLITZ single, is sure to get them straight. Lured back into the studio by MC5 guitarist and all-around good guy Wayne Kramer (who played bass on the track), “Inside Job” offers up the hard truths, the garage guitars, and the crashing rhythms that are quintessential Mudhoney. Rock or die, baby!
|
|
| |
| |
Jackie McCarthy |
|
| |
Jackie McCarthy is the former music editor of Seattle Weekly, and writes about music and other topics for CMJ New Music Monthly, Seattle Weekly, and Resonance on paper, and CDNow and Wall of Sound on the web.
|
|
|
|
|
|
A classic tune from a classic band. Muchoney lives!
Roky
If you already love Mudhoney, you will love this track. If you don't, you should - and this is a good beginning
Brian Cohen
filled with energy
waqaxayaw
|
|
more reviews
|
|
|
|
|
|
|
| |
for Mudhoney
|
Another Unofficial Mudhoney Page
|
Mudhoney Official Website
|
All Music Guide: Mudhoney
|
Mudhoney from Seattle, WA
|
Mudhoney (Fan Site)
|
|
|
|
Average Rating:
