A take-no-prisoners performance of one of the best rock bands of the last two decades! Shot live in Madrid in 2007 with six cameras, and the band playin' the best and toughest hits of its career and a few of their most recent songs.
October 20th street date. After over 20 years together, Mudhoney sound nowadays as loud and unrestrained as ever, if not more. The proof is in this live album, recorded in Madrid in July 2007, where the band played many of their most defining songs in full frontal sonic attack mode. Recorded at the fine Madrid establishment El Sol in July of 2007, their recorded works always made a lot more sense after you saw them. I'm not sure that any such equipment exists that could adequately harness the unbridled horsepower of this combo, but this release comes mighty close.
October 20th street date. After over 20 years together, Mudhoney sound nowadays as loud and unrestrained as ever, if not more. The proof is in this live album, recorded in Madrid in July 2007, where the band played many of their most defining songs in full frontal sonic attack mode. Recorded at the fine Madrid establishment El Sol in July of 2007, their recorded works always made a lot more sense after you saw them. I'm not sure that any such equipment exists that could adequately harness the unbridled horsepower of this combo, but this release comes mighty close.
November 13 street date. Filmed by a professional camera crew at 1988’s Berlin Independent Days festival, Live In Berlin, 1988 captures the Seattle grunge pioneers’ first ever performance on foreign soil. Playing as representatives of Sub Pop Records to a crowd of curious punters, critics and members of Europe’s independent music community, the show was also the first Grunge gig in Europe, laying essential groundwork for Grunge’s subsequent global domination. A testament to the enduring vitality of the independent music scene, the release celebrates the 27th anniversary of !K7, a Berlin-based independent label and distributor with offices in New York and London, and an internationally renowned purveyor of electronic music in particular. In its early days, !K7 also served as a video production company run by label-owner Horst Weidenmüller, whose crew filmed a number of performances from that year’s Berlin Independent Days festival. Weidenmüller recently rediscovered the Mudhoney footage, realising that he held in his hands a crucial rock’n’roll document that had to be shared with the world. Besides its historical importance, Mudhoney: Live In Berlin, 1988 presents one of the greatest rock’n’roll groups of all time at their very best, a glorious mess of flailed hair, acidic caterwaul, gnarly riffage and fried guitar skronk as Mudhoney tear through material from their epochal (but then-unreleased) Superfuzz Bigmuff EP and eponymous debut album. The show’s wild, thrilling, and funny-as-fuck, much like Mudhoney themselves. You’ll wish you’d been there - now, thanks to this Mudhoney: Live In Berlin, 1988, you almost can be.
February 14 street date. In 1992 Mudhoney left Sub Pop and signed with Reprise Records. Having already worked on a batch of songs, they set out to demo what they had. The songs on this record would eventually be re-recorded and released on "Piece Of Cake", except the track "Knock It On The Head" which has remained unreleased until now. The energy and the vibe of these recordings reflect how Mudhoney wish the final "Piece Of Cake" would have sounded.
July 23 street date. By going back to basics with "Every Good Boy Deserves Fudge", Mudhoney flipped conventional wisdom. Not for the first time - or the last - they would be vindicated. A month after release in July 1991, the album entered the UK album chart at Number 34 (five weeks later, Nirvana's "Nevermind" entered at 36) and went on to sell 75,000 copies worldwide. A more meaningful measure of success, however, lay in its revitalisation of the band, casting a touchstone for the future. The record is a major chapter in Mudhoney’s ongoing story, the moral of which has to be: when in doubt, fudge it. "Every Good Boy Deserves Fudge" is a whirlwind of the band's influences at the time: the fierce 1960s garage rock of their Pacific Northwest predecessors The Sonics and The Lollipop Shoppe, the gnashing post-hardcore of Drunks With Guns, the heavy guitar moods of Neil Young, the lysergic workouts of Spacemen 3 and Hawkwind, the gloomy existentialism of Zounds, and the satirical ferocity of 1980s hardcore punk. This 30th anniversary edition, remastered by Bob Weston at Chicago Mastering Service, stands as testimony to the creative surge that drove them in this period. The album sessions yielded a clutch of material that would subsequently appear on B-sides, compilations, and split-singles. This edition includes all those tracks, and a slew of previously unreleased songs. First vinyl pressing is on blue-and-red vinyl.
July 23 street date. By going back to basics with "Every Good Boy Deserves Fudge", Mudhoney flipped conventional wisdom. Not for the first time - or the last - they would be vindicated. A month after release in July 1991, the album entered the UK album chart at Number 34 (five weeks later, Nirvana's "Nevermind" entered at 36) and went on to sell 75,000 copies worldwide. A more meaningful measure of success, however, lay in its revitalisation of the band, casting a touchstone for the future. The record is a major chapter in Mudhoney’s ongoing story, the moral of which has to be: when in doubt, fudge it. "Every Good Boy Deserves Fudge" is a whirlwind of the band's influences at the time: the fierce 1960s garage rock of their Pacific Northwest predecessors The Sonics and The Lollipop Shoppe, the gnashing post-hardcore of Drunks With Guns, the heavy guitar moods of Neil Young, the lysergic workouts of Spacemen 3 and Hawkwind, the gloomy existentialism of Zounds, and the satirical ferocity of 1980s hardcore punk. This 30th anniversary edition, remastered by Bob Weston at Chicago Mastering Service, stands as testimony to the creative surge that drove them in this period. The album sessions yielded a clutch of material that would subsequently appear on B-sides, compilations, and split-singles. This edition includes all those tracks, and a slew of previously unreleased songs. First vinyl pressing is on blue-and-red vinyl.
October 1 street date. "My Brother the Cow" is the fourth studio album by Mudhoney. The album includes several direct references to bands that influenced Mudhoney's sound. For instance, "F.D.K. (Fearless Doctor Killers)" refers to the Bad Brains song "F.V.K. (Fearless Vampire Killers)", "Orange Ball-Peen" alludes to Captain Beefheart and Led Zeppelin, and "1995" pays tribute to The Stooges. Available as a limited edition of 1500 individually numbered copies on turquoise coloured vinyl.
April 7 street date. The world is filling up with trash. Humanity remains addicted to pollution. People are downing horse dewormer because some goober on television told them it cured COVID. The apocalypse is stupider than anyone could've predicted. Fortunately, the absurdities of modern life have always been prime subject matter for Seattle-based foursome Mudhoney, and the band take aim at all of them with typical barbed humor and muck-encrusted riffs on on their 11th studio album, "Plastic Eternity", a run through all the proto-genres of guitar rock with a keen eye on the inanities of the world in the 2020s. Mudhoney (vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters) remain the ur underground group, their gnarly primordial punk stew and Arm's sharply funny lyrics as potent a combination as they've been since the band's formation in the late 1980s.
April 7 street date. The world is filling up with trash. Humanity remains addicted to pollution. People are downing horse dewormer because some goober on television told them it cured COVID. The apocalypse is stupider than anyone could've predicted. Fortunately, the absurdities of modern life have always been prime subject matter for Seattle-based foursome Mudhoney, and the band take aim at all of them with typical barbed humor and muck-encrusted riffs on on their 11th studio album, "Plastic Eternity", a run through all the proto-genres of guitar rock with a keen eye on the inanities of the world in the 2020s. Mudhoney (vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters) remain the ur underground group, their gnarly primordial punk stew and Arm's sharply funny lyrics as potent a combination as they've been since the band's formation in the late 1980s.
April 7 street date. The world is filling up with trash. Humanity remains addicted to pollution. People are downing horse dewormer because some goober on television told them it cured COVID. The apocalypse is stupider than anyone could've predicted. Fortunately, the absurdities of modern life have always been prime subject matter for Seattle-based foursome Mudhoney, and the band take aim at all of them with typical barbed humor and muck-encrusted riffs on on their 11th studio album, "Plastic Eternity", a run through all the proto-genres of guitar rock with a keen eye on the inanities of the world in the 2020s. Mudhoney (vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters) remain the ur underground group, their gnarly primordial punk stew and Arm's sharply funny lyrics as potent a combination as they've been since the band's formation in the late 1980s.
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