Overshadowed by the many other artists emerging from the ’90s Seattle grunge scene, Mudhoney’s second album is a sneaky grunge gem.
A fuzzy, buzzy fire lies at the heart of “Every Good Boy Deserves Fudge,” named after a mnemonic device for the treble clef scale.
While the punk influence is at the heart of Mudhoney’s melodies, it’s easy to hear how the group influenced others – singer/guitarist Mark Arm’s voice smacks of a less depressed Kurt Cobain.
Mudhoney, however, comes off like Nirvana’s punkier cousin who keeps it real on “Every Good Boy.” A number of the songs, such as “Fuzzgun ’91” or harmonica-fueled “Move Out,” are quick and punchy.
One standout track defies that formula, though. “Broken Hands” is a six-minute freakout that shows Arm’s guitar fury.
The reason “Every Good Boy” did not find a larger audience is that there’s no anthemic single, which many other members of Seattle’s grunge class of ’91 had on their way to the mainstream.
Nonetheless, it’s a wonder “Every Good Boy” didn’t find a wider audience.
Our Music Year is Daily Republic popular culture writer Nick DeCicco’s yearlong online review in 2012 of albums he had previously not listened to. The reviews will appear in print on their corresponding days during 2013. Reach him at 427-6966 or email@example.com. Follow him on Twitter at www.twitter.com/ndeciccodr.