Recorded at Reciprocal Recording, Seattle, Washington.

Audio Mixers: Jack Endino; Johnny Sangster.

Audio Remixer: Johnny Sangster.

Liner Note Author: Charles Peterson .

Recording information: KCSB, Santa Barbara, CA (04/15/1988-02/23/1989); Metropol, Berlin, Germany (04/15/1988-02/23/1989); Raciprocal Recording, Seattle, WA (04/15/1988-02/23/1989).

Photographers: Michael Lavine; Charles Peterson .

Mudhoney didn't invent grunge, and Sub Pop Records had close to twenty releases under their belt when they unleashed the band's first 12" release, Superfuzz Bigmuff, in 1988. But if this wasn't the first shot fired in the battle to bring The Seattle Sound to the four corners of the world, it was the first one that well and truly hit the target. Superfuzz Bigmuff codified the first wave of grunge the way the Model T codified the first modern automobile; this is where the ingredients came together in a way that clicked with listeners, reworking the rudiments of hard rock and garage punk into a formula that made sense in the world of alternative rock. The band's snarky wit, brazenly sloppy guitar work, and songs that combined melodic hooks with Godzilla-sized riffage reinterpreted the visceral kick of metal into a format that celebrated its power while stripping it of its pomposity. And Superfuzz Bigmuff's six songs captured a great rock band as they were just starting to hit their stride; Mark Arm's vocals dripped attitude even when he was making fun of the material, Steve Turner's guitar work generated massive walls of fuzzy power, and drummer Dan Peters was Mudhoney's secret weapon: his crisp but forceful pounding giving the songs a rock-solid foundation no matter how far Turner and Arm drifted into the void of slop. Mudhoney made better and more compelling music than Superfuzz Bigmuff, but as a snapshot of the moment where grunge became a sound that meant something outside of a few dim Seattle beer joints, it's absolutely invaluable and a lot of grimy fun. ~ Mark Deming

Named after the band's favorite distortion pedal, Superfuzz Bigmuff was actually Mudhoney's first EP; the Superfuzz Bigmuff Plus Early Singles package collects that recording, as well as the A- and B-sides of their first two 45s and two covers (of the Dicks and Sonic Youth), all released in 1988-1989. Taken as a whole, this output makes a case for Mudhoney as the first true grunge band; due to the time constraints of the forms in which this material was originally released, it also makes for their best, most consistent album, as the band largely refrains from the sort of aimless, grinding Stooges updates that slow the momentum of most of its records. Instead, Superfuzz Bigmuff has all the best attributes of Mudhoney's Stooges fixation -- whether slow or fast, this music is grimy, raucous, and violently enthusiastic, with a stronger melodic sensibility than Iggy's band possessed. Mudhoney's dominant traits are simple chord progressions and a filthy-sounding, ultradistorted guitar racket, punctuated by Mark Arm's snarling, demonic howls. It isn't the most original approach to rock & roll, but when it all comes into focus -- as on their (and Sub Pop's) debut single, the ultimate grunge anthem "Touch Me I'm Sick" -- Mudhoney's power is absolutely throttling. "Touch Me I'm Sick" would be essential listening for anyone even remotely interested in the genesis of the Seattle scene, but the album is full of menacing, vital rock & roll, plus sharp songwriting that elevates several other songs to classic status. Mudhoney's musical range may be quite limited, but as Superfuzz Bigmuff proves, they can be amazing at what they can do. This is the birth of grunge, and a reminder of exactly why the music was christened with a word meaning "dirt." ~ Steve Huey

Rock & roll got a badly needed revitalizing overhaul with Seattle's grunge explosion of the late 1980's, and Mudhoney was there to make sure it got done right. Although nearly eclipsed by the success of such bands as Nirvana and Pearl Jam, Mudhoney was arguably the most important grunge band of all. Their "Touch Me I'm Sick" defined a generation of disenchanted middle-class malcontents bored stiff by the predictable mire that rock & roll had become.

SUPERFUZZ BIG MUFF compiles the band's rare early singles in one convenient package. Twelve essential tracks here, and they all rock mightily. If you're old enough you'll want to say that you were there--if you know what you're talking about, folks might believe you. Do yourself a favor and familiarize yourself with the rock & roll revival that was Mudhoney.

Mudhoney didn't invent grunge, and Sub Pop Records had close to twenty releases under their belt when they unleashed the band's first twelve-inch release, Superfuzz Bigmuff, in 1988. But if this wasn't the first shot fired in the battle to bring The Seattle Sound to the four corners of the world, it was the first one that well and truly hit the target. Superfuzz Bigmuff codified the first wave of grunge the way the Model T codified the first modern automobile; this is where the ingredients came together in a way that clicked with listeners, reworking the rudiments of hard rock and garage punk into a formula that made sense in the world of alternative rock. The band's snarky wit, brazenly sloppy guitar work and songs that combined melodic hooks with Godzilla-sized riffage reinterpreted the visceral kick of metal into a format that celebrated its power while stripping it of its pomposity. And Superfuzz Bigmuff's six songs captured a great rock band as they were just starting to hit their stride; Mark Arm's vocals dripped attitude even when he was making fun of the material, Steve Turner's guitar work generated massive walls of fuzzy power, and drummer Dan Peters was Mudhoney's secret weapon, his crisp but forceful pounding giving the songs a rock-solid foundation no matter how far Turner and Arm drifted into the void of slop. Mudhoney made better and more compelling music than Superfuzz Bigmuff, but as a snapshot of the moment where grunge became a sound that meant something outside of a few dim Seattle beer joints, it's absolutely invaluable and a lot of grimy fun. Now that seemingly every album of any importance is being given the two-disc expanded version treatment, Sub Pop has chosen to celebrate Superfuzz Bigmuff's twentieth birthday with a "Deluxe Edition" that expands the EP's lineup from six to thirty-two songs. Disc one contains the original EP along with eleven single sides, compilation tracks and demo tapes; ultimately, it's a souped-up version of the Superfuzz Bigmuff Plus Early Singles compilation that appeared in 1992, though the new track sequence makes more sense (the original six tunes appear in their proper order this time) and the remastering boosts the fidelity by an impressive degree. Disc two presents two live shows from the fall of 1988; the first nine tracks were recorded in Germany on October 10, and while a low-fi audience tape of this show has circulated for years, this version came from a multi-track recording of the gig, and the audio is quite impressive while the band rocks furiously and sounds gloriously silly between tracks, frequently bellowing, "Hey, everybody! We're Mudhoney!" and encouraging their fans to drop trou. The remaining six tracks come from a November 16 radio broadcast recorded in Santa Barbara; the fidelity is considerably lower and the performances meander a lot more, but if you dig your grunge slow, sloppy and Stooges-esque, this is the stuff for you. Like most upscale double-disc reissues, the deluxe version of Superfuzz Bigmuff was created with the loyal fan in mind and not the casual observer, but even for longtime Mudhoney loyalists who own previous releases of this material, the excellent packaging, remastering, and bonus live material makes this a must for anyone who ever hopped on board for the Mudride. ~ Mark Deming