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Club Manufaktur

Le Trabendo

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Mudhoney is an American grunge band which formed in Seattle, Washington in 1988 and currently consists of Mark Arm, Steve Turner, Dan Peters and Guy Maddison.

Both Mark Arm and Steve Turner had been involved in numerous other projects before pursuing Mudhoney seriously as a band. By 1988 the classic line up was in place and they released their first EP titled 'Superfuzz Bigmuff' on Sub Pop Records. This EP has been cited as one of Nirvana's biggest early influences. The release of this and an early single 'Touch Me I'm Sick' gained the new band much needed attention and their sound became a success Stateside. Sonic Youth invited them to play as support on their upcoming UK tour which gave the band an international platform.

Over the band's career they have released ten albums, their first was released in 1989 and although this didn't achieve the band any commercial success, it gained critical attention and their fan base grew from there. The second album entitled 'Every Good Boy Deserves Fudge' charted at #34 in the UK charts, meaning Mudhoney began to gain notoriety on both sides of the Atlantic. 'Piece of Cake' remains their highest charting US release, debuting at #9 on the US Heatseekers chart.

Matt Lukin departed from the band in 2000 and was replaced by Guy Maddison who has been a constant member since. The band continued to tour and release material under the name Mudhoney, shortly after Lukin leaving the band returned to Sub Pop records and have released all their albums with them since.

Live reviews

I first saw Mudhoney in 1990 and they utterly blew me and my 18-year-old brain away. They were heavy, nasty, garagey, dorky, stupid, fun, intense and everything you want from a band when you're a teenager. Obviously being part of the Seattle scene helped them gain a global notoriety, but while the likes of Nirvana stole the headlines, Mudhoney retained their cult status. They've never been pure pop, but their songs - imbued and underpinned with a real sense of history of psych, blues, punk and garage rock - have always had an iconic feel to them, with real a unique wow factor to them.

So I try to see them every time they're in town, and the past few times I've seen them they've seemed relaxed, and really happy with where they are in their lives and careers. And they're still heavy as hell.

After excellent support sets from Barton Carroll and Wolf People, the band strode onto stage, glasses of red wine in hand, raising them to the crowd.

It was more or less a greatest hits set, with piledrivers like Suck You Dry and Into The Drink kicking things off, and then favourites like Sweet Young Thing Ain't Sweet No More, Touch Me I'm Sick, This Gift, You Got It, Hate The Police and Here Comes Sickness sprinkled throughout the rest of the set. Two songs I wasn't expecting and hadn't heard for a LONG time live were Flat Out Fucked (from their second LP), and You Stupid Asshole (from a rare split-12in EP with Gas Huffer) were also in there. And, of course, there was an eternally epic version of In 'N Out Of Grace in the encore, with The Money Will Roll Right In to finish things off.

Just a terrific show, packed full of old favourites, as well as songs from their last LP.

A note about the atmosphere. There was a nice gender split at the gig, which made for a really great, non-aggressive vibe. People danced and danced hard, but without any teeth-gritting nastiness.

As for Mudhoney, they've still got it after 27 years and can quite rightly be called legends.

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If you believe in the alternative universe theory, then there’s definitely one somewhere where Mudhoney are the biggest band on the planet; an alternate reality where they were grunge’s chosen ones, plucked from the obscurity of Seattle’s dive bars in the early 90s to go conquer the world. But while their contemporaries Nirvana imploded in tragic fashion, we can perhaps be thankful that fame and fortune never came knocking for Mark Arm and co. – they are, after all, still making records and playing shows with the energy of a band who will forever be able to channel the angst, energy and bratty humour of their early 20s. While not afraid to reel off crowd pleasing classics (barely a set goes by without ‘Touch Me I’m Sick’ or ‘Sweet Little Thing Ain’t Sweet No More’ getting blasted from the stage), Mudhoney is very much not a nostalgia act. Though everyone from the Pixies to the Replacements took huge breaks before returning and raking in the big bucks, Mudhoney have consistently released fine record after fine record for going on three decades, giving them a huge body of work to draw from. Now back on their spiritual home of Sub Pop Records (Mark Arm works in their warehouse, no less), their shows have both an air of contentment with their place in recent rock history about them, and a feeling that there’s still something excellent around the corner.

There is a slight injustice when you consider the large sound Washington grunge rock outfit Mudhoney create still remains confined to some of the UK's smaller venues due to their niche appeal and lack of real commerciality. The fact they could play rings around the likes of Kasabian and Muse who continue to sell out arenas makes it all the more unjustified yet for everybody gathered in the intimate Institute in Birmingham, they feel as though they are in on some secret everybody else is missing out on.

You would never guess the boys have only made one appearance on the US charts with the force the fans sing along to the choruses of 'Good Enough' and 'Into the Drink'. Tonight is also about showcasing newer material with those characteristic riffs remaining ever present for 'What to Do With the Neutral'. The adoration from the audience is clear when the band returns for a momentous seven song encore featuring old favourites, new instrumental reworking and a couple of redesigned cover versions. Mudhoney simply does grunge well, and no amount of album sales are needed to back up this fact.

...I didn't go to the show because I went with friends the following night in Oakland (Where I live) and would have went solo on Sunday night at the Chapel in SF.

Note - I couldn't resell my ticket to the Sunday night show because it was a "Will Call" tickets only show (thanks a bunch Chapel). Plus the Vestry Bar is too effin loud with pretentious hipster wannabes, the drinks are too expensive, the bartenders are rude and in the music venue, there are no places to sit, other than the balcony.

The Oakland show was awesome, by the way. Fuzz kicked ass! Mudhoney was great, too. No opening act. Cool and intimate venue. Screw the city, the shift is across the bay - the Town is where it is happening, now. Or, didn't you know that?

Had my first “festival experience “ to this band in 1990, drifting in and out of consciousness to in and out of grace.

Best part of 30 years later I get the chance to see them again at St Luke’s. Never been here before but what an excellent venue, good size, atmospheric and good sound.

Mudhoney were a bit of a revelation, not just noise and energy, but more musicianship than I’d given them credit for. They were very obviously enjoying themselves, and put on a great show. Energy, enthusiasm and good tunes, right up my street. Not so sure me 18 year old daughter was quite so enthusiastic though....very screamy was her review!

Fans tastic no one plays like Mudhoney.on it again in Notts tonight After driving down to Brighton at 4 am on Tuesday morning and back up to Notts today I was greted by Dan on his pushbike crossing the road so stopped for a banter on last nights gig with him all good. sweet young thing ain't sweet no more !!!!

Fantastic show. Pure engergy from the legendary Grunge rockers who gave a very good performance. Giving us songs from Superfuzz, Mudhoney, My Brother the Cow and never albums it was a journey through most of the catalouge.

Also noteworthy was the support band cosmic psycho!

I bet the show was awesome. I bet FUZZ was epic. I decided not to go. It's a Tuesday night. Why does L.A. get all the good shows on Sunday and Tuesday?

I decided to stay in.

I am not going to bother buying any more Sunday or Tuesday night show tickets any more.

Mark Arm still fucking screaming like there is no tomorrow at 57yrs old. And the band is fucking rad. They played for over an hour with 30 mins encore. When Mark stopped playing guitar he screamed even loud. Unbelievable.

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Mudhoney is not due to play near your location currently - but they are scheduled to play 29 concerts across 11 countries in 2024-2025. View all concerts.

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Mudhoney to tour Europe

Mar 15, 2024 | CONCERTS , HOT NEWS FROM THE WORLD OF DRUMS , NEWS

Legends of the grunge scene, Mudhoney , are coming to Europe later this year to tour Germany, Spain, Poland and the UK!

L-R: Steve Turner, Guy Maddison, Mark Arm, Dan Peters (photo: Emily Rieman, Sub Pop press release)

Nirvana made grunge explode with the single “ Smells Like Teen Spirit ” and the album “ Nevermind ,” achieving multi-million sales. Pearl Jam , Soundgarden and Alice In Chains joined them very quickly, thus forming the Big Four of the grunge scene and dressing young people at the time in flannel shirts and Dr. Martens boots.

However, it was Mudhoney who were the first flagship band of the iconic Sub Pop label, as it was their debut EP “ Superfuzz Bigmuff ” and the single “ Touch me I’m Sick ” that were the first to succeed, and it was them who put Seattle on the map of the world music scene in the late 1980s. It is also worth noting that “ Superfuzz Bigmuff ” was among Kurt Cobain’s favorite records.

They weren’t as successful as the other bands we mentioned (and Stone Temple Pilots to boot), but they laid the foundation for the rock explosion of the first half of the 1990s, and their music is undoubtedly worth experiencing live.

The current lineup of the band features: Mark Arm (guitar, vocals), Steve Turner (guitar), Guy Maddison (bass) and drummer Dan Peters . The latter played in Nirvana for a while (and recorded the song “ Sliver ” with them), as well as with another grunge legend – The Screaming Trees.

The gigs include:

• Aug 30, 2024 – Schorndorf, Manufaktur
• Sept 8, 2024 – Madrid, Lula
• Sept 9, 2024 – Barcelona, Razzmatazz 2
• Sept 22, 2024 – Munich, Ampere
• Sept 23, 2024 – Berlin, SO36
• Sept 25, 2024 – Hamburg, Knust
• Sept 26, 2024 – Köln, Gebäude 9
• Sept 27, 2024 – Brighton, Concorde 2
• Sept 28, 2024 – Manchester, New Century
• Sept 29, 2024 – Glasgow, St Luke’s
• Oct 1, 2024 – Bristol, O2 Academy
• Oct 2, 2024 – London, Electric Ballroom

Official Mudhoney website: https://mudhoney.org/ FB: https://www.facebook.com/MudhoneyOfficial Instagram: https://www.instagram.com/mudhoney_/ YT: https://www.youtube.com/@mudhoneyofficial

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• Fri 27 Sep Brighton, Concorde 2 Mudhoney View tickets
• Sat 28 Sep Manchester, New Century Hall Mudhoney View tickets
• Sun 29 Sep Glasgow, Saint Luke's Mudhoney View tickets
• Tue 1 Oct O2 Academy Bristol Mudhoney View tickets
• Wed 2 Oct London, Electric Ballroom Mudhoney View tickets

Mudhoney Tour Dates

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• Fri, Jul 19 Rock The Boat Festival , Everett, WA
• Fri, Aug 30 Manufaktur , Schorndorf, Germany
• Sat, Aug 31 Paard van Troje , The Hague, Netherlands
• Sun, Sep 1 Bruis Festival , Maastricht, Netherlands
• Tue, Sep 3 Le Trabendo , Paris, France
• Wed, Sep 4 Le Bikini , Toulouse, France
• Thu, Sep 5 16 Toneladas , Valencia, Spain
• Fri, Sep 6 Boga Boga Festival , Donostia- San Sebastian , Spain
• Sat, Sep 7 Playa Club - La Coruna , La Coruna, Spain
• Sun, Sep 8 Lula Club , Madrid , Spain
• Mon, Sep 9 Razzmatazz , Barcelona, Spain
• Wed, Sep 11 Largo (IT) , Roma, Italy
• Thu, Sep 12 Viper Theater , Firenze, Italy
• Fri, Sep 13 Santeria Social Club , Milan, Italy
• Sat, Sep 14 Capitol Club , Pordenone , Italy
• Sun, Sep 15 Tvornica Culture Factory , Zagreb, Croatia
• Mon, Sep 16 Pogon Kulture , Rijeka, Croatia

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On Tour This page contains all known confirmed shows for Mudhoney and related bands. A listing of previous dates can be found in the Tourbook . Return to the main page . Mudhoney Notes : Mudhoney should do a European tour around September, and that should be it for 2024 aside from maybe a couple one-off dates. 7/19/24 "Rock the Boat". Boxcar Park. Everett, WA Supported By : Sweet Water, Van Eps, Cloud Cover Tickets : eventbrite.com 8/30/24 Club Manufaktur e. V., Schorndorf, Germany 8/31/24 Paard. The Hague, The Netherlands 9/1/24 "Bruis Festival". Muziekgieterij. Maastricht, The Netherlands 9/3/24 Le Trabendo. Paris, France Supported By : Kid Congo Powers 9/4/24 Le Bikini. Toulouse, France 9/5/24 16 Toneladas. Valencia, Spain 9/6/24 "Bogaboga Festibala". Aieteko Parkea. San Sebasian, Spain Supported By : Lisabo, Melenas, Ithaka 9/7/24 Sala Playa Club. A Coruña, Spain Notes : This date was originally scheduled for Galicia, ES, with no venue listed. 9/8/24 Jaguar (Lula Club). Madrid, Spain 9/9/24 Sala Razzmatazz 2. Barcelona, Spain 9/11/24 Largo. Rome, Italy 9/12/24 Viper Theatre. Firenze, Italy 9/13/24 Santeria Toscana 31. Milan, Italy 9/14/24 Capitol. Pordenone, Italy 9/15/24 Tvornica Kulture. Zagreb, Croatia 9/16/24 Pogon Kulture. Rijeka, Croatia 9/17/24 Dorćol Platz. Belgrade, Serbia 9/19/24 Fléda. Brno, Czech Republic 9/20/24 Klub Proxima. Warsaw, Poland 9/21/24 Arena Wien. Vienna, Austria Supported By : Sowt 9/22/24 Muffatwerk. Munich, Germany 9/23/24 SO 36. Berlin, Germany 9/25/24 Knust. Hamburg, Germany 9/26/24 Gebäude 9. Cologne, Germany 9/27/24 Brighton Concorde 2. Brighton, England 9/28/24 Manchester New Century Hall. Manchester, England 9/29/24 St. Luke's. Glasgow, Scotland 10/1/24 02 Academy Bristol. Bristol, England 10/2/24 Electric Ballroom. London, England 10/3/24 Association La Clef. Saint-Germain-en-Laye, France 10/4/24 Le Botanique. Brussels, Belgium 10/5/24 "Come as You Are". De Effenaar. Eindhoven. The Netherlands Supported By : Buffalo Tom, Personal Trainer, Alien Chick Notes : This is a 12-act festival, spread across the venue's stages. 10/6/24 Vera. Groningen, The Netherlands Supported By : Sowt The Tripwires Dan plays drums in The Tripwires. 3/1/24 The Conor Byrne. Seattle, WA Supported By : Swedish Finnish, Patrons of Husbandry 4/17/24 Funhouse. Madrid, Spain 4/18/24 Monkey Man. Guadalajara, Spain 4/19/24 Sala Zeta. Zaragoza, Spain 4/20/24 "Crunch Festival". Quadernillos. Alcalá, Spain 4/21/24 16 Toneladas. Valencia, Spain 4/23/24 Riviera. Burgos, Spain 4/24/24 Los Picos. Liérganes. Spain 4/25/24 "Los Conciertos Del Campus". León, Spain 4/26/24 Octavo Arte Cervezas. Segovia-Octavo, Spain 4/27/24 Txiberri. Urduliz, Spain 5/24/24 The Tractor Tavern. Seattle, WA Supporting : The Young Fresh Fellows Home

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• September 7, 2022 Setlist

Mudhoney Setlist at O2 Ritz, Manchester, England

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• Into the Drink Play Video
• Suck You Dry Play Video
• Nerve Attack Play Video
• Inside Job Play Video
• Prosperity Gospel Play Video
• This Gift ( first performance since 2017 ) Play Video
• Good Enough Play Video
• Judgement, Rage, Retribution and Thyme Play Video
• Sweet Young Thing (Ain't Sweet No More) Play Video
• Touch Me I'm Sick Play Video
• If I Think Play Video
• Get Into Yours Play Video
• Next Mass Extinction Play Video
• F.D.K. (Fearless Doctor Killers) Play Video
• Oh Yeah Play Video
• I'm Now Play Video
• Paranoid Core Play Video
• Chardonnay Play Video
• 21st Century Pharisees Play Video
• One Bad Actor Play Video
• When Tomorrow Hits Play Video
• In 'n' Out of Grace Play Video
• Who You Drivin' Now? Play Video
• Here Comes Sickness Play Video

Edits and Comments

10 activities (last edit by allenz , 14 Sep 2022, 18:24 Etc/UTC )

Songs on Albums

• 21st Century Pharisees
• Nerve Attack
• Next Mass Extinction
• Paranoid Core
• Prosperity Gospel
• Get Into Yours
• Here Comes Sickness
• When Tomorrow Hits
• Good Enough
• Into the Drink
• Who You Drivin' Now?
• Sweet Young Thing (Ain't Sweet No More)
• Touch Me I'm Sick
• F.D.K. (Fearless Doctor Killers)
• Judgement, Rage, Retribution and Thyme
• In 'n' Out of Grace
• One Bad Actor
• Suck You Dry
• I'm Now

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Mudhoney Gig Timeline

• May 22 2022 Great American Music Hall San Francisco, CA, USA Add time Add time
• Jun 05 2022 Wild Buffalo House of Music Bellingham, WA, USA Add time Add time
• Sep 07 2022 O2 Ritz This Setlist Manchester, England Add time Add time
• Sep 08 2022 SWG3 TV Studio Glasgow, Scotland Add time Add time
• Sep 09 2022 Rock City Nottingham, England Add time Add time

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By Stuart Berman

January 23, 2018

As anyone—or at least anyone over the age of 30—will tell you, the world is moving way too fast. Five weeks ago might as well be five years ago in today’s news cycle. Our social feeds are loaded with “want to feel old?” listicles of stuff that really isn’t that old . The avalanche of music now available at our fingertips—with our virtual listening piles growing exponentially by the second—can feel overwhelming . But then you remember that Mudhoney are still around, doing what Mudhoney have always done: laying down a fuzz-punk sludge that’s murky and quicksand-thick enough to stop time itself. And suddenly it’s as if order in the universe has been restored. Because in a world where everything is constantly changing, Mudhoney’s decision to endure and staunch refusal to evolve feel less like a case of comfort-zoned arrested development than a valorous act of defiance.

For a band that’s always trudged forward at its own unassuming pace—having survived peak grunge , the Judgment Night soundtrack , the ’90s alt-rock bust, cameos in Chris Farley flicks , the departure of original bassist/unofficial band mascot Matt Lukin, and the near-collapse of the music industry—2018 marks a rare moment of reflection. Mudhoney turn 30 this year, and they’re throwing themselves a party in the form of LiE , their first proper, widely available live album , featuring recordings culled from their 2016 European tour. Its purpose is seemingly two-fold: LiE functions as both career overview (albeit a highly selective one), and a testament to this veteran band’s undiminished snotty insolence.

Anyone who’s seen Mudhoney on recent tours knows the band can still bring it, and then some. After years of having his snarling voice compared to Iggy Pop , frontman Mark Arm has taken to acting more like him, too, by relinquishing his guitar for long stretches of the show, and becoming one of the few men of his vintage who can still credibly command a mosh pit. But LiE is ultimately less a vicarious recreation of the Mudhoney live experience than an oddly procedural vacation-slide-show summary of one. The individual performances are gut-punching in their potency—“Get Into Yours” in particular exudes a raw-nerved, I-can’t-believe-it’s-not-1989! quality, while the roiling “Poisoned Water‚” is a worthy ambassador for 1998’s way-underrated Tomorrow Hit Today . But the discrete presentation of the songs sucks them dry, with the abrupt fade-outs robbing the album of any in-the-room ambience and natural momentum.

Given that even the most produced Mudhoney album comes slathered with in-the-red scuzz, what you get here are essentially soundboard-quality live versions of songs that, with a couple of slightly jammed-out exceptions (like an extra-droned “The Final Course”), don’t differ all that much from their studio-recorded incarnations. The sequencing and song selection also leave something to be desired: the sullen Every Good Boy Deserves Fudge dirge “Broken Hands” (the closest this band has ever gotten to a power ballad) feels like a bummer note to go out on, especially when Mudhoney routinely end their nights with a blitzkrieged rip through Black Flag ’s “Fix Me.” (As a consolation prize, we get their black ‘n’ blue cover of Roxy Music ’s glam stomper “Editions of You” one track earlier, with Steve Turner’s queasily contorted leads ably subbing in for Brian Eno ’s sci-fi synth squeals.)

Naturally, LiE peaks in those rare moments when successive tracks from a given show are presented seamlessly—like when the mid-tempo Vanishing Point strut “What to Do With the Neutral” tees up the survivalist rallying cry “I’m Now,” from 2008’s The Lucky Ones . Not only is the latter track the best song Mudhoney has put out this century, it speaks to the band’s current state of mind as soundly as “Touch Me, I’m Sick” did back in 1988. True to this band’s contrarian, anti-sentimental nature, that signature, grunge-spawning single is nowhere to be found here—and neither are any of the other classic tracks from their iconic debut EP Superfuzz Bigmuff or the associated early seven-inches, even though they still comprise a healthy portion of the band’s current set lists. Mudhoney may be celebrating a milestone birthday this year, but LiE would prefer to highlight the band’s agelessness, by showing how more recent rave-ups like “I Like It Small” can hold their own alongside stage-diving standards like “Suck You Dry.” And if nothing else, the album proves that, for Mudhoney, there’s still no time like the present to get ripped apart.

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Nirvana may have been the band that put an entire generation in flannel, and Pearl Jam and Soundgarden both sold a lot more records, but Mudhoney were truly the band that made the ’90s grunge rock movement possible. Mudhoney were the first real success story for Sub Pop Records ; their music laid the groundwork for the movement that would (briefly) make Seattle, Washington, the new capital of the rock & roll universe. They took the sweat-soaked and beer-fueled mixture of heavy metal muscle, punk attitude, and garage rock primitivism that would become known as “grunge” to the hipster audience for the first time with early releases like 1988’s Superfuzz Bigmuff and 1989’s Mudhoney, and those fans would in turn sell it to a mass audience ready for something new. Mudhoney never scored the big payday some of their old running buddies did, though they did land a major-label deal that produced several strong albums, especially 1995’s My Brother the Cow and 1998’s Tomorrow Hit Today. Their importance on the Seattle scene cannot be underestimated, and their body of work — big, loud, purposefully sloppy, a little bit menacing, and even more funny — has stood the test of time better than their well-known colleagues. And they continued to produce strong, relevant music into their third decade on 2013’s Vanishing Point and 2018’s Digital Garbage.

Mudhoney’s timeline begins in 1980, when teenaged Mark McLaughlin (who would soon adopt the punk handle Mark Arm ) formed the band Mr. Epp and the Calculations with some high school friends from the Seattle suburb of Bellevue, none of whom actually knew how to play at the time. More interested in goofing off, breaking things, and posting flyers for shows that were never scheduled than actually making music, Mr. Epp didn’t get around to playing a show until late 1981, opening for a band called Student Nurse. Despite their legendary ineptitude (they were described as “the worst band in the world” on more than one occasion), Mr. Epp began to develop a following, and released a 7″ EP in 1982. In 1983, in a bid to sound more like a real band, the group added a second guitarist, Steve Turner , who had previously played in a garage band called the Ducky Boys . That same year they released their Live as All Get Out cassette, but things began to peter out for the group, and they played their final show in February 1984. In 1981, Arm and Turner , who’d become fast friends, also began playing in another joke-punk band, the Limp Richerds, and briefly placed their focus on that group until the Richerds also broke up near the end of 1984.

Eager to start playing again, Arm and Turner teamed up with drummer Alex Vincent, who had played with Turner in a short-lived band called Spluii Numa, and bassist Jeff Ament , who had recently arrived in the Northwest from Montana. When Arm decided he wanted to put down his guitar and concentrate on vocals, Turner asked former Ducky Boys guitarist Stone Gossard to join the group, and Green River was born. Along with fellow Washingtonians the Melvins , Green River were pioneers of a new Northwest rock sound, merging the snot-nosed sneer of punk with the minor-key thud of heavy metal. It didn’t take long for Green River to get noticed on the Seattle rock scene, and in 1985 the band released its first EP, Come on Down. By the time the record hit the streets, Turner had left the band to return to college (he was also growing disenchanted with the harder rock direction the band was following), and with new guitarist Bruce Fairweather, the band set out on a nationwide tour that was little short of disastrous, in large part because a delay in the record’s release had the band supporting an album that hadn’t come out yet. The band survived to make a second EP, Dry as a Bone, for a new Seattle label, Sub Pop Records , in 1987 — but by the time its first full-length album, Rehab Doll, was released in the summer of 1988, tensions between members of the band caused Green River to split up. Ament and Gossard formed a new band called Mother Love Bone ; Fairweather joined Love Battery , and Vincent went to law school.

Arm and Turner , meanwhile, had formed a side project while in Green River called the Thrown Ups , featuring graphic artist Ed Fotheringham on vocals. Essentially a more extreme example of the sort of goofy onslaught Arm and Turner had let loose with Mr. Epp, the Thrown Ups brought the two friends back together again, but Turner expressed a desire to form a new band that actually rehearsed songs before playing them in front of an audience. In his spare time, Turner began working up new material with Arm and drummer Dan Peters, who had played in Bundle of Hiss and Feast. Needing a bassist, the three hooked up with Matt Lukin, who had recently left the Melvins shortly before they left Washington for California. Naming themselves Mudhoney after a Russ Meyer film none of them had actually seen, the new foursome took the punk metal formula of Green River and the Melvins , added a dollop of ’60s garage rock swagger and a large portion of Fun House-era Stooges , and ran it all through the cheap stomp boxes Arm and Turner so cherished. Turner initially expected the band to last about six months.

In 1988, Sub Pop released the band’s first single, “Sweet Young Thing Ain’t Sweet No More” b/w “Touch Me I’m Sick,” with the EP Superfuzz Bigmuff following a few months later. The timing proved fortuitous. The indie circuit success of the Replacements and Big Black had created a demand at college radio and the underground club circuit for harder and heavier bands, and Sub Pop ‘s homegrown but earnest media blitz was helping to make “the Seattle Sound” — soon to be dubbed “grunge” — the next big thing, with Mudhoney the chief beneficiary. While the band’s first American tour was nothing to write home about, the Sub Pop hype machine had already begun to take hold overseas, and the band scored a European tour — mostly dates in Germany — in early 1989. A few months later, Sonic Youth , who’d been big fans of Green River , invited Turner and Arm ‘s new band to join them for a British tour, and soon Mudhoney found themselves the talk of the U.K. rock press. Superfuzz Bigmuff landed on the British indie charts and stayed there for the better part of a year, and the band wasted no time returning for a headlining tour, complete with massive press coverage and riotous shows. Word of the band’s rep in Europe quickly crossed the pond, and Mudhoney were the new heroes of underground rock by the time their first full-length album, simply called Mudhoney, came out in late 1989.

In the wake of Mudhoney’s success, a number of other Sub Pop acts began making big noise on college radio and the indie club circuit, including Soundgarden , Tad , the Fluid , and a trio of Melvins fans from Aberdeen, Washington, called Nirvana . However, while Sub Pop was doing a fine job of creating the Next Big Thing, they weren’t making much money at it just yet, and the label’s financial status was one reason Mudhoney’s second full-length album, Every Good Boy Deserves Fudge — which found them upping the garage punk quotient in their formula — didn’t hit stores until 1991. By the end of the year, Mudhoney were shopping for a new label, and they could have hardly chosen a better time; Nirvana had already taken the major-label bait in 1990, and by December of 1991, Nevermind had made them the biggest and most talked-about rock band in America. Soon, seemingly every band in Seattle was being offered a major-label contract, and Mudhoney signed a deal with Reprise/Warner Bros. Their first major-label album, Piece of Cake, made it clear that Mudhoney’s new corporate sponsorship wasn’t going to change their musical approach — but their presence on a major label seemed to alienate old fans, while the mass audience that had embraced Nirvana , Soundgarden , and Pearl Jam (featuring Arm and Turner ‘s old Green River bandmates Stone Gossard and Jeff Ament ) found Mudhoney’s work too eccentric for comfort. While Mudhoney remained a potent live draw, their record sales during their tenure with Reprise were disappointing, though they recorded two of their finest albums for the label: My Brother the Cow and Tomorrow Hit Today.

In 1999, after an extensive tour supporting Tomorrow Hit Today, Reprise announced that they had dropped Mudhoney from their roster, and shortly after that, the band announced that Matt Lukin had turned in his resignation, citing his dislike of touring. With the release of March to Fuzz, a comprehensive career-retrospective, many observers assumed that Mudhoney had called it a day, but in 2001 the band began playing a few live dates around the Northwest, with Steve Dukich (formerly with Steel Wool ) sitting in on bass. The shows went well enough that Mudhoney decided to take another stab at their career, and Guy Maddison — who’d been a member of Bloodloss , one of Arm ‘s many part-time bands — signed on as Mudhoney’s new official bassist. Arm and Turner also found time to record and tour with a side project, the garage-blues band Monkeywrench . When they came back together, they recorded Since We’ve Become Translucent and released it in the summer of 2002. The angry political and social commentary Under a Billion Suns appeared in 2006, followed by the deliberately raw return to their aggressive roots The Lucky Ones in 2008.

In the years following The Lucky Ones, Mudhoney toured regularly, with one of the highlights being a showcase of the entire Superfuzz Bigmuff album at the 2010 All Tomorrows Parties in New York. All this was preparation for a 25th Anniversary blow-out in 2013, when the band released their ninth studio album, Vanishing Point, and a home video release of the documentary I’m Now, which was screened at various film festivals in 2012. In 2018, Mudhoney celebrated their 30th birthday with the release of their first authorized, unlimited-edition live album, LiE (aka Live in Europe), recorded during a run of shows in 2016. The following year, the band got to work writing and recording their tenth LP. The lean and angry Digital Garbage arrived in September 2018. A year later, an EP compiled from Digital Garbage outtakes, Morning in America, was released as the band set out on a North American tour. In July 2021, Sub Pop and Mudhoney celebrated the 30th anniversary of the release of Every Good Boy Deserves Fudge with an expanded deluxe reissue that added a full disc of session outtakes, single sides, compilation tracks, and several takes from an early attempt at recording the LP the group scrapped because it sounded too clean and professional. ~ Mark Deming, Rovi

Having originally been born as a solo drum machine project by Bert Hoover, Hooveriii (pronounced “Hoover Three”) has now evolved into it’s true final form – a six member band adept at creating their own brand of psychedelic space rock.

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