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Gumball were the highest-profile profession of indie gadabout Don Fleming, already a veteran of several rings, a visitor collaborator for most more, and a substantial maker who have — ironically — helped shepherd alternate rock and roll into it is major-label growth years. As Gumball’s vocalist, guitarist, and major songwriter, Fleming’s record-collector obsession with pop tradition and pop music, through the Monkees towards the Damned to Sonic Youngsters, reached complete fruition. Snatches of ’60s acoustic guitar riffs sat alongside ’80s guitar sound, and ’70s punk rubbed shoulder blades with ’70s schlock metallic; everything demonstrated his knack for dealing with the most severe pop music as critical rock and roll, while dirtying reputable indie sonic tips with (accurate to the band’s name) sugary-sweet bubblegum pop. Gumball appreciated a two-album stick to main label Columbia, and gained some notoriety as owners of possibly the largest assortment of eight-track tapes in the united states. However, they hardly ever broke to a wider market, and Fleming came back to his myriad various other pursuits. Ahead of developing Gumball in 1990, Fleming have been a member from the Washington, D.C.-structured Velvet Monkeys, where he initial caused Gumball drummer Jay Spiegel. Following Velvet Monkeys’ preliminary breakup within the middle-’80s, Fleming and Spiegel performed behind Jad Good in two Japanese on the semiregular basis, and finished up relocating to NEW YORK. There they dropped in with manufacturer/Shimmy Disk label mind Kramer, who became a member of them on bass to create B.A.L.L., a device focusing on ironic deconstructions of basic rock and roll numbers. After many albums, B.A.L.L. dropped victim to some contentious separation in 1990, and Fleming and Spiegel come up with a one-off, all-star edition from the Velvet Monkeys that included Dinosaur Jr.’s J Mascis, Sonic Youth’s Thurston Moore, and Pussy Galore’s Julia Cafritz. That same yr, Fleming and Spiegel shaped the more long term, straightforward Gumball with bassist Eric Vermillion. While focusing on their debut LP, Gumball released a self-titled, four-song preview EP for the English label Paperhouse. Their appropriate debut, the full-length Unique Kiss, premiered in 1991 for the indie Primo Scree and presented guest looks by Thurston Moore and Teenage Fanclub. It had been accompanied by a U.K.-just EP, Light Shines All the way through, which featured many fresh songs. By this time around, Fleming had currently produced significant major-label debuts by Teenage Fanclub (Bandwagonesque), Sonic Youngsters (Goo), and Dinosaur Jr. (Green Brain), along with a major-label offer for Gumball had not been long planned. In 1992, Columbia released the addresses EP Wisconsin Hayride like a teaser for Gumball’s label debut; it presented materials from far-ranging resources like Foetus, Dark Flag, the Damned, the tiny Faces, as well as the Mahavishnu Orchestra. Made by Butch Vig, the full-length Super Tasty found its way to 1993 to mainly reviews that are positive. The solitary “The Damage Done” got some achievement on substitute radio, but despite some certain polish and industrial potential, Super Tasty under no circumstances quite broke to a wide viewers. For the time being, Fleming’s profile like a maker continued to develop, thanks to focus on albums just like the Screaming Trees and shrubs’ Special Oblivion, the Posies’ Frosting over the Beater, and also Alice Cooper’s THE FINAL Temptation. For the time being, keyboardist Malcolm Riviera — an associate of the initial Velvet Monkeys lineup — officially became a member of Gumball. The band’s second major-label record, Revolution on Glaciers, premiered in 1994, and several of its music demonstrated Fleming’s conflicted emotions about the rock and roll underground having been therefore quickly absorbed with the music industry’s commercial mainstream. Unsurprisingly, Gumball disbanded shortly afterward. Fleming released the casual solo task and continuing his production profession, though on a far more sporadic basis than his early-’90s heyday.

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