Mudhoney

Universe: “Super Fuzz or Big Muff?”

Mudhoney: “Both!”

What else would you expect from a band that titled their mischievously visceral ’88 debut EP after both pedals (Superfuzz Bigmuff)?

Formed in the late ’80s by guitarists Mark Arm and Steve Turner after the dissolution of their band Green River (which included future Mother Love Bone and Pearl Jam cofounders Jeff Ament and Stone Gossard), Mudhoney long ago solidified themselves as the Seattle scene’s big brothers and tightest pack. Through their 11 LPs, five EPs, and six live albums, Mudhoney has routinely diversified and further defined their eccentric brand of raucous, aggressive, unfiltered rock ’n’ roll. Possibly more impressive than the band’s wide influence and devoted authenticity is the foursome’s bond. Drummer Dan Peters and bassist Matt Lukin (also a founding member of the Melvins) were the rhythmic bedrock for Arm and Turner’s exploding-M-80 tones since the beginning. (Arm and Turner have been friends since high school and have been playing off each other since then.) But Lukin left the band in 2001 because tour life became too much, and Guy Maddison has been thundering ever since. To see a group’s career that’s pushing past 35 years and only have one member swap is as inspirational as it is baffling. How?!

“We like each other a lot. We get along. We love what we’re doing,” remarks Arm. “Why stop, even if no one gives a shit?”

Friendship matters to Arm and Turner, but gear isn’t a concern unless it points them in one direction—east. More specifically, toward Detroit, Michigan. And even more specifically, to the Stooges. Both namecheck the livewire band and their raw power several times in our Rig Rundown. However, in a 2018 interview with Premier Guitar, they acknowledged regenerating sounds that echo influences from Neil Young and the Byrds to Devo and the Dead Kennedys. But after chasing “I-Wanna-Be-Your-Dog” sizzle, what else leads them to the gear they use? Has that mentality changed since the late ’80s?

“If you think about the aesthetics of where we come from—garage punk, and punk rock in general—a lot of it was made with cheap gear, and a lot of it was reclaiming gear that guitarists had kind of dismissed as garbage. Like the Mustang. That was my ultimate guitar back when I was a kid, but it was poo-pooed when I finally got one. I could get them for $150. The Danelectro and Silvertone amps were kind of high-rated garbage when we were getting into them. We based a lot of our sound on cheap gear, so it makes sense to me that I still buy the cheap gear,” concluded Turner.

They’re still pragmatic about their setups, preferring equipment that’s familiar and reliable. Where they chase the dragon is in stompboxes. Turner trusts the Big Muff (his favorite iteration is from the mid-’80s), while Arm’s torrid tone burns with a Super Fuzz clone. However, both have additional hot-sauce stompboxes and other effects on their pedalboards that are being auditioned trial by fire.

Hours before Mudhoney’s headlining set at Nashville’s Basement East, Arm and Turner brought PG’s Chris Kies onstage to catalog their setups. Turner started the party by talking about a pair of guitars—his battle-tested late-’60s Guild Starfire IV and a recently-acquired Fender Gold...

Universe: “Super Fuzz or Big Muff?”

Mudhoney: “Both!”

What else would you expect from a band that titled their mischievously visceral ’88 debut EP after both pedals (Superfuzz Bigmuff)?

Formed in the late ’80s by guitarists Mark Arm and Steve Turner after the dissolution of their band Green River (which included future Mother Love Bone and Pearl Jam cofounders Jeff Ament and Stone Gossard), Mudhoney long ago solidified themselves as the Seattle scene’s big brothers and tightest pack. Through their 11 LPs, five EPs, and six live albums, Mudhoney has routinely diversified and further defined their eccentric brand of raucous, aggressive, unfiltered rock ’n’ roll. Possibly more impressive than the band’s wide influence and devoted authenticity is the foursome’s bond. Drummer Dan Peters and bassist Matt Lukin (also a founding member of the Melvins) were the rhythmic bedrock for Arm and Turner’s exploding-M-80 tones since the beginning. (Arm and Turner have been friends since high school and have been playing off each other since then.) But Lukin left the band in 2001 because tour life became too much, and Guy Maddison has been thundering ever since. To see a group’s career that’s pushing past 35 years and only have one member swap is as inspirational as it is baffling. How?!

“We like each other a lot. We get along. We love what we’re doing,” remarks Arm. “Why stop, even if no one gives a shit?”

Friendship matters to Arm and Turner, but gear isn’t a concern unless it points them in one direction—east. More specifically, toward Detroit, Michigan. And even more specifically, to the Stooges. Both namecheck the livewire band and their raw power several times in our Rig Rundown. However, in a 2018 interview with Premier Guitar, they acknowledged regenerating sounds that echo influences from Neil Young and the Byrds to Devo and the Dead Kennedys. But after chasing “I-Wanna-Be-Your-Dog” sizzle, what else leads them to the gear they use? Has that mentality changed since the late ’80s?

“If you think about the aesthetics of where we come from—garage punk, and punk rock in general—a lot of it was made with cheap gear, and a lot of it was reclaiming gear that guitarists had kind of dismissed as garbage. Like the Mustang. That was my ultimate guitar back when I was a kid, but it was poo-pooed when I finally got one. I could get them for $150. The Danelectro and Silvertone amps were kind of high-rated garbage when we were getting into them. We based a lot of our sound on cheap gear, so it makes sense to me that I still buy the cheap gear,” concluded Turner.

They’re still pragmatic about their setups, preferring equipment that’s familiar and reliable. Where they chase the dragon is in stompboxes. Turner trusts the Big Muff (his favorite iteration is from the mid-’80s), while Arm’s torrid tone burns with a Super Fuzz clone. However, both have additional hot-sauce stompboxes and other effects on their pedalboards that are being auditioned trial by fire.

Hours before Mudhoney’s headlining set at Nashville’s Basement East, Arm and Turner brought PG’s Chris Kies onstage to catalog their setups. Turner started the party by talking about a pair of guitars—his battle-tested late-’60s Guild Starfire IV and a recently-acquired Fender Gold Foil Jazzmaster before kicking on his Big Muff and other pedals that unlocked Dante’s inferno. Then, Arm joined the fun by showing off his Gretsch Vintage Select ’59 Duo Jet that eventually gets pulverized by three different fuzzes.

Brought to you by D’Addario.

Full Rig Details: https://bit.ly/MudhoneyRR

Subscribe to PG's Channel: http://bit.ly/SubscribePGYouTube

Win Guitar Gear: https://bit.ly/GiveawaysPG

Don't Miss a Rundown: http://bit.ly/RIgRundownENL

Merch & Magazines: https://shop.premierguitar.com

PG's Facebook: https://facebook.com/premierguitar

PG's Instagram: https://www.instagram.com/premierguitar/

PG's Twitter: https://twitter.com/premierguitar

PG's Threads: https://threads.net/@premierguitar

PG's TikTok: https://www.tiktok.com/@premierguitar

[Brought to you by D’Addario: https://ddar.io/wykyk-rr]

© Copyright Gearhead Communications LLC, 2023

0:00 - D'Addario When You Know You Know

0:15 - Steve Turner Playing Intro

0:47 - Steve Turner's Fender Gold Foil Jazzmaster

4:09 - Steve Turner's 1968 Guild Starfire IV

6:21 - Steve Turner's Fender Hot Rod DeVille III

7:46 - Steve Turner on Fuzz Pedals

10:31 - Steve Turner's Pedalboard

14:41 - Mark Arm's G6128T-59 ’59 Duo Jet

16:17 - Mark Arm's Strings & Tunings

17:44 - Mark Arm's Fender Super Six

18:37 - Mark Arm on Fuzz Pedals

19:19 - Mark Arm's Pedalboard

#guitar #rigrundown #mudhoney #grunge #guitarist #guitarplayer #guitargear