Fuzzbubble’s album is the perfect example of the successful combination of mainstream rock approach and irresistible melodies that often don’t get much of an understanding from the modern music consuming public.
With the perfectly calculated dose of compromise, the band triumphantly succeed in capturing the initial idea while still accommodating it to the cruel mainstream demands. The band’s name itself, covers the most adequate definition of their concept of the FUZZed guitars and the BUBBLEgum melodies.
At their very career beginning, the band won over the attention of the average audio consumer with the million-selling Godzilla soundtrack featuring their track Out There, as well as rock/rap fans with the Puff Daddy collaboration.
Thanks to this unusual media break, for a guitar pop band after all, they were ready for the “final move” determined to their planned “target”, the power-pop audience. The album kept it’s commercial moment thanks to the imaginative choice of producer, the ex-Guns’n’Roses button-man Mike Clink, and than again, the list of the “helping colleagues” is interesting enough to giggle the imagination of the most devoted power-pop fans.
The energetic pill at the beginning of the album called Bliss is enriched with the solo guitar of Eddie Kurdzel from the conceptual sympathizers, Redd Kross, the angelic background vocals of Suzanna Hoffs are all over the wonderful ballad Ordinary as well as on the imaginary White Album out-take When It Stops Raining (with a nice Harrisolo!) where she’s also joined by the moderndaze keyboard-wizzard Roger Manning.
When you add a couple of numbers with all the necessary power-pop attributes like Zero Superstar or the “revolverized” Big Time Nowhere and Real World as the “hey Jude”-finale, plus the supermegaultra hit (if we were in a more righteous world) Don’t Let It Get You Down, you get an album that surpasses all the standards!
[Released by Futura Primitive 2000]