Copyright 1993 Information Access Co., a division of Ziff Communications Co.; Copyright Hachette Magazines Inc. 1993 Audio April, 1993 SECTION: Vol. 77 ; No. 4 ; Pg. 85; ISSN: 0004-752X LENGTH: 121 words HEADLINE: Spilt Milk.sound recording reviews BYLINE: Tiven, Jon ; Tiven, Sally BODY: On their 1990 debut, Bellybutton, Jellyfish was entrenched in a late-'60s powerpop sound along with the apropos kitsch. On Spilt Milk, their follow-up, they're even more rooted in a '70s powerpop sound, also with the apropos kitsch. This time, kitsch i s less in the form of clothing (Mylar belts, crushed velour, platform heels) and more in the way of vintage instrumentation and production reminiscent of what Roy Thomas Baker did to beef up the Queen albums. Not much synthesier here, but plenty of real c ellos, harpsichords, an occasional string section, and lush, layered vocals that manage to work on the strength of the songs. One can only wonder which band Jellyfish will sound like three albums from now. 64 OF 132 STORIES Times Publishing Company St. Petersburg Times March 16, 1993, Tuesday, City Edition SECTION: TAMPA BAY AND STATE; ALTERNATIVE TOP 10; Pg. 5B DISTRIBUTION: TAMPA BAY AND STATE LENGTH: 850 words HEADLINE: 4 plus an attitude equal Bash & Pop BYLINE: ERIC SNIDER BODY: As I was scouring through the CD stacks in recent weeks, it became apparent that the time was right for another installment of the Alternative Top 10, one man's survey of great music that you're not likely to encounter on commercial radio or video statio ns. 1. Bash & Pop: Friday Night is Killing Me (Sire/Reprise) - After the Replacements fell apart, everyone wanted to know: What would Paul Westerberg come up with? Well, he's been beaten to the punch by former 'Mat bassist Tommy Stinson, who's put aside the bass, picked up a guitar and put together a raucously rockin' quartet called Bash & Pop. Friday Night is wall-to-wall raw hooks; slinky, Stones-style six-string work, and vocals with tons of attitude. 2. Various Artists: Manifestation/Axiom Collection II - Bill Laswell, a producer, composer and bassist, is probably the most prominent exponent of world-beat fusion - that is, taking ethnic musics from around the world and bringing them into a late 20th century context by applying modern technologies and grafting them with American sounds. His Axiom label consistently releases some of the most challenging, beat-heavy music to be heard anywhere. This sampler includes alternate mixes of tracks by Material, Praxis, Bahia Black, Nicky Skopelitis and others. It's a great way for adventurous listeners to get introduced to Laswell's unique muse. 3. Big Head Todd and the Monsters: Sister Sweetly (Giant) - Todd Park Mohr, big head or not, is a formidable new rock talent. He writes all the tunes on Sister Sweetly, which bridges alternative and mainstream rock. He sings in a gruff, soulful voice and plays earthy guitar. The band flows - whether on the slyly funky title track, the brooding rocker Broken Hearted Savior (shades of Pearl Jam) or the liltingly melancholy It's Alright - gracefully grooving through a variety of feels. The album could've us ed some solid uptempo material, but it's a promising debut nevertheless. 4. Basehead: Not in Kansas Anymore (Imago) - This is truly mutant stuff: Sort of hip-hop - Mike Ivey's rap-sing is languid and druggy; sort of rock - the guys play mostly their own instruments, cranking out rudimentary riffs and chords. The rhythm tracks are hypnotic, almost dub-oriented. Not in Kansas resonates with a don't-give-a-d--- attitude. The expletives are tossed off, not spat out for effect. Basehead has occasional points to make about race politics. 5. James Booker: Junco Partner (Hannibal/Rykodisc) - Of all the great New Orleans pianists, the late James Booker was probably the most accomplished of all - not the most original, perhaps, but an incredible technician and stylist. This solo session lays it all out: the funky blend of boogie, rhumba, blues, classical and more; the slippery-fingered ease at which Booker attacks the keys. This solo session from 1976 is one highlight after another. 6. Buddy Guy: Feels Like Rain (Silvertone) - The blues titan enjoyed a solid break-out last year with Damn Right, I've Got the Blues. This new disc sticks to the same winning formula: music rooted in Chicago blues, featuring Guy's busy-fingered solos and soulful yowl, but given an injection of pop-rock flavor. Star turns by Bonnie Raitt, Travis Tritt, Paul Rodgers and John Mayall add pizazz instead of gunking matters up. 7. Adrian Legg: Mrs. Crowe's Blue Waltz (Relativity) - Legg is a relative newcomer to the pantheon of solo acoustic guitarists, but what a find he is. His awe-inspiring technique is matched by sensitivity and melodicism. The Englishman is not preoccupied with bowling the listener over, although he can do so on a whim. Blue Waltz features a variety of country-picking things, some Celtic-inspired stuff, lovely ballads and other material that falls between the cracks. 8. Jellyfish: Spilt Milk (Charisma) - The music comes at you from all angles, a dizzying melange of styles - a hint of Queen here, Beach Boys there, Beatles, Supertramp, Squeeze. Jellyfish is so adept at borrowing and mixing it all together that the soun d is ultimately its own. Some of the songs are overdone, but the music makes no apologies for its pretentiousness and thus works. 9. The Chieftains: The Celtic Harp (RCA Victor) - Ireland's premiere Celtic folksters continue to charm with a variety of concept albums, this one featuring the brilliant sextet with lush accompaniment by the Belfast Harp Orchestra. The music may lack s ome of the Chieftains' usual energy, but it is sweet and lilting nonetheless. 10. The Five Blind Boys of Alabama: Deep River (Elektra Nonesuch) - In existence since 1939, the Five Blind Boys of Alabama have consistently lived up to the highest standard in the Southern gospel tradition. Yet the group, led by Clarence Fountain, is n ot an artifact. Through the years, the Blind Boys have stayed consistently contemporary, incorporating blues and funk, a capella and ballads. The rolling 4/4 soul-gospel of Look Where He Brought Me From simply has to stir you. GRAPHIC: BLACK AND WHITE PHOTO, (2); The group Bash & Pop featuring former Replacements bassist Tommy Stinso; James Booker 65 OF 132 STORIES