Bubblegum Music: Dirtbombs’ Ooey Gooey Chewy Ka-blooey!

The Dirtbombs’ Ooey Gooey Chewy Ka-blooey! is a victim of overblown expectation. Its not a bad record, really. As a fan of garage as well as old bubblegum music from the Brill Building heroes of yesteryear, I wanted desperately to love this record. I’m even a big fan of the guy who did the cover art. Honestly.

The LP has its share of victories but truth be told, I can’t help but feel like it didn’t quite go far enough. Mick Collins and the band hardly scratched the surface of this project’s potential.

There are some gems here, for sure. “Crazy For You” has an AM friendly vibe and catchy melody that manages to maintain a radio friendly feel despite it’s low-fi production. “Hot Sour Salty Sweet” is reminiscent of any number of 1910 Fruitgum Company or Ohio Express records and even has a little bit of a Tommy James thing going on.

One of my favorite cuts, “Sunshine Girl”, would have actually made a great Ramones record. Or a great Heartless Devils song.

Bubblegum artists had an amazing ability to hint at taboo subjects from behind a seemingly harmless facade. If you’re not sure what I’m talking about, pick up a copy of Bubblegum Music is the Naked Truth. Even the hard core bubblegum fan will learn a few things from the book. Those familiar Syracuse radio’s This is Rock n Roll Radio internet show will be pleased to know that Carl Cafarelli makes a particularly interesting contribution to the book.

Collins and The Dirtbombs don’t seem interested in investigating the lyrical aspects of bubblegum. Hell, that’s half the fun of listening to old hits like “Yummy, Yummy, Yummy” and “123 Redlight”.

You know Gary Panter from his “Buy or Die” record covers for Frank Zappa as well as several artists for San Francisco’s Ralph Records. Panter’s caricature of Ronald Reagan is something of legend. While I don’t share Panter’s politics, there is no denying his genius and the urgency with which his art can deliver a message. And yet his cover art here is anything but inspiring.

This isn’t a bad record and Mick Collins is to be commended for taking on a project that is not likely to get the approval of the commercial audience or his peers. Still, it could have been so much more.