Copyright 1991 Times Newspapers Limited   
The Times
July 29, 1991, Monday
SECTION: Features
LENGTH: 342 words
HEADLINE: Jellyfish
BYLINE: David Toop
BODY:

Jellyfish, Town & Country
     JELLYFISH present a serious problem to any critic who is older
than ten. How can one write about the band without banging on about
their influences? This four-piece from San Francisco is clearly
brimming over with songwriting skill, instrumental ability,
 charm and panache. But are they the Beatles, the Monkees, the
Partridge Family or Jellyfish? 
     Although these thoughts were not stilled totally by the live
show, at least there were sufficient novelties and distractions to
limit the annoying mental games of name-that-tune. Keyboards,
guitar, drums and bass were ranged across the platform in a stra
ight line and drummer Andy Sturmer played standing up.
     Also surprising, in these days of rigid beats and mechanical
playing, were the numerous tempo changes, pauses and varied time
signatures. At one point, Sturmer even abandoned the group for a
moment to pursue a young woman who had jumped on stage. All thr
ee of these incidents were reminiscent of another era.
     The elements which make up a Jellyfish song are also
suggestive of the past, not to mention stolen from it. ''Calling
Sarah'' was typical in evoking the eroded memory of an early
Seventies pop hit. Like virtually everything Jellyfish played, this
was an 
original based heavily on a composite of late Beatles and other
groups from the sunset of psychedelia.
     ''The King Is Half-Undressed'' sounded quintessentially
Sixties, with its snaredrum hammering on the fours under summary
vocal harmonies, while ''Baby's Coming Back'' could have been
Herman's Hermits. This is the sort of song that causes wild dancing
and
 hand-waving at live shows. The fans obliged to such an extent that
I might have predicted a hugely successful future for Jellyfish,
were this 1981. The music business has become too fragmentary and
wayward for that, however.
     A cover version of ''Jet'', from the third Wings album, was a
perfect example of the melodic pop they were striving to equal. For
the audience they succeeded, but for the critic the problems of
pastiche linger.