Copyright 1990 The Chronicle Publishing Co. The San Francisco Chronicle JUNE 3, 1990, SUNDAY, SUNDAY EDITION SECTION: SUNDAY DATEBOOK; Pg. 51; LIVELY ARTS LENGTH: 891 words HEADLINE: Carter Comes Home Innovative artist and repertoire executive returns from Los Angeles as talent m BYLINE: JOEL SELVIN, CHRONICLE MUSIC CRITIC BODY: ALTHOUGH HE moved out of San Francisco 17 years ago, Carter always took every opportunity to return. As an artist and repertoire executive with Los Angeles-based record companies, he signed a a number of acts from the Bay Area, most recently Psychefunkap us last year during his stint at Atlantic Records. About 10 years ago, he came to the Fairmont Hotel to catch Tina Turner's performance, and ended up personally engineering one of the most spectacular comebacks in record-business history. Now he is moving back to San Francisco full time to work in talent management, convinced the city is on the verge of a renaissance. ''There has never been a more exciting time in San Francisco,'' said Carter, who gave up using his first name, John, many years ago. He signed Maximillion's Motorcycle Club, a local band led by Bryan Weisberg, specializing in something it calls ''speed pop,'' and is diving back into the bay night-life scene. ''I know I'm going to go out to see somebody,'' he said, ''and fall in love with the opening act.'' Carter, who used to be regional promotion director for Atlantic Records stationed in San Francisco, spent a dozen years as an artist and repertoire representative at Capitol Records, serving as a kind of staff producer and overseeing more than 20 albums, including hit records by Sammy Hagar, Bob Welch and Turner. He left the label on the heels of his success with Turner and whirled through similar jobs at A&M Records, Chrysalis and Atlantic before deciding to move back to San Francisco and go into manage ment. ''It really is the same thing as what I've been doing,'' he said. ''It just depends on which end of the phone you're on or which side of the desk.'' One of the local acts he signed to Atlantic was Beatnik Beatch, who won a Bammie a couple of years ago for its debut album before disbanding in a cloud of confusion and dissension over recording a follow-up LP. Beatch drummer Andy Sturmer came up with wh at Carter thought was an exciting set of new tunes and Carter put him together with producer Albhy Galuten, who had co-produced all the big Bee Gees hits from the ''Saturday Night Fever'' era. But as soon as Carter left the label, Atlantic cut Sturmer loo se and allowed his manager to buy back the tapes he recorded for the label. Carter couldn't help but feel somewhat vindicated when Sturmer's new group, Jellyfish, subsequently became the subject of an intensive bidding war among eight labels, with Charisma Records finally winning out. From The Mercury News Service: THE STATE COPYRIGHT (1993) STATE-RECORD CO. (COLUMBIA, SC) DATE: FRIDAY May 7, 1993 PAGE: 12D EDITION: FINAL SECTION: WEEKEND LENGTH: MEDIUM ILLUSTRATION: Photos, bw SOURCE: MICHAEL MILLER, Staff Writer MEMO: MUSIC MODERN ROCK ALBUMS HAVE BEATLES SOUL Suddenly, while standing at the gates to Strawberry Fields, the sheer magnitude of The Beatles legacy washed over me like a tidal wave. Scrawled on the two concrete gate posts were the names of people from all around the world, all relaying warm, glowing sentiments about how much John Lennon, Paul McCartney, George Harrison and Ringo Starr had meant to them. I realized that some of these people probably needed to get a life, you know, maybe try to catch up with what had been going on in the world since 1969, especially when it came to pop music. But I also realized that The Beatles' ability to stoke the fire s of imagination in young people from every race, culture and ethnic background might never be equaled again. It was February 1988, and I'd taken a day trip from London to Liverpool expressly to see The Beatles' hometown. I didn't know exactly what I'd do when I got there, maybe just walk down to the Cavern Club or stroll along Penny Lane. My problem was solved when I spotted a sign that announced ''Take a Beatles Tour of Liverpool.'' Eight other Beatles crusaders and I took a magical mystery tour that day, hosted by a Liverpudlian named Brian Howard, who drove our red minibus and delivered fascinating tales of the Fab Four in the witty, sometimes cynical style of John Lennon. We bounced around the streets of the British port city for the better part of four hours, stopping at early Beatle home sites and performing venues. There was Aunt Mimi's house on Menlove Avenue, the art college where Paul was introduced to John, the Reg istry Office at 64 Mount Pleasant St. where John and Cynthia were wed, and the Empress Pub at No. 10 Admiral Grove, where Ringo is still known to pop in for a pint whenever he's in town. I was reminded of all this during the preparations for tonight's big show, when Paul McCartney returns the favor and visits my hometown. I still listen to a Beatle album occasionally (usually the ''White Album'' or ''Abbey Road''), but I have to admit, most of Paul's solo efforts have been a bit dreary, except for ''Band on the Run.'' The influence of The Beatles on my listening habits, however, is indelible. Bands that display a strong sense of melody, better-than-average musical skills and knack for being adventurous have always impressed me. And more than a few of these bands -- R. E.M., Robyn Hitchcock & the Egyptians, XTC, Crowded House and Jellyfish to name a few -- have dipped into the Mersey sound more than once for their inspiration. So for all those Beatles fans who've slipped out of the modern pop mainstream, who shrink in fear at the mention of the phrase ''alternative rock,'' here are four reviews (below) of Beatle-influenced music that should help you realize that it's getting b etter all the time. NEW RELEASES: (**** 1/2) World Party, ''Bang!,'' Chrysalis: Karl Wallinger, the primary creative force behind World Party, is emerging as the pop maestro of the '90s. Two previous albums, 1987's ''Private Revolution'' and 1990's ''Goodbye Jumbo,'' were subtle masterwo rks, and the pure pop-rock abandon being honed there is fully realized on ''Bang!.'' Lyrics are provocative and topical; psychedelic electric guitars give way to acoustic guitars; and folk melodies are replaced by disco beats. Let's just say it's a brilli ant album. (****) The Trash Can Sinatras, ''I've Seen Everything,'' London/Polygram: ''Some bands are really good at contriving an image for themselves, but we're hopeless at that kind of thing,'' says Paul Livingston of Scotland's Trash Can Sinatras. ''We just lik e good songs.'' Good songs abound on ''I've Seen Everything.'' From the atmospheric ''Worked a Miracle'' to the seductively optimistic ''I'm Immortal,'' this shimmering, guitar-driven disc is cohesive and smartly crafted. (*** 1/2) Odds, ''Bedbugs,'' Zoo: The Odds are a rock 'n' roll quartet from Vancouver who take a more ragged approach than Wallinger or the Sinatras. This isn't to say they're a hard-core or metal band; call it garage pop with an attitude. Nice harmonies , hooks and cranked up guitars, with song length in that 3 1/2-minute range that radio programmers like. No ''save the planet'' lyrics, just witty words about the whimsical ways of love (check out ''Heterosexual Man''). A party album for lovesick Romeos a nd Juliets. (*** 1/2) The Posies, ''Frosting on the Beater,'' Geffen: The Posies are a Seattle band who have little in common with their grungy neighbors. Melodic rock, smooth vocal harmonies and scintillating lead guitar work are the crux of this biscuit, and the t otal effect is smart and tantalizing. ''Burn & Shine'' is a scary, minor-key number; ''Earlier than Expected'' is bright and sunny; and ''How She Lied About Living'' is almost metallic. The Posies' ''Dear 23'' was one of 1990's best, and this one should s core high in '93. CAPTION: 1. A Beatles Souvenir And Record Shop In Liverpool, England. Michael Miller / The State 2-5. (album covers) ''Bang!,'' ''I've Seen Everything,'' ''Bedbugs,'' ''Frosting on the Beater''