Plugged (Fume)
A re-release of their 1993 cassette, Plugged features the
same six quirky tunes that tipped the scales toward the power end of
the
power/pop spectrum. With new art work, Plugged may lack some of
the
vitality of their live shows, but it’s a good invite into the Adult
world. If
you missed it the first time around, take this second chance because
their
proposed 7-inch is not out yet. – Doug Jenks

CRITTERS BUGGIN’

Guest (Loose Groove/Epic)
Featuring three former New Bohemians and oddball
Saxitar player
Nalgas Sin Carne, Guest kicks off Pearl Jam guitarist and
Critters’
producer Stone Gossard’s inexplicably funky Loosegroove vanity imprint.
Like
any instrumental outing, it all comes down to groove and musicianship.
Undeniably, they’ve got both down. But ultimately, opinion on
Guest comes down to deciding how necessary of a step bridging the gap between
Moroccan mood music and P-Funk really is. I’ve found it pretty damn
necessary.
(Critters Buggin’ play the White Rabbit Wednesday 3) – Andy
Langer

FRACTITIANS

Dark Passages (Aarchan)
A sampler of Sixties psychedelia, Dark Passages
is a CD
of surprising quality, craft, and authenticity. Exotic Arabesque, taut
classical Beatle motifs, bubblegum, transition beat poetry,
three-quarter
Quicksilver time, the grandiosity of the Moody Blues, even whiffs of
First
Edition – it’s all here. Fractitians demonstrate what can happen when
this
music is given back its dignity. – Stephen McGuire

RUBBERBULLET

(Last Beat)
This five-songer from Dallas’ Rubberbullet reveals a
pretty well
digested slab o’ L7, with Beth Clardy barking it out like Jennifer
Finch, and
the twin guitars alternately tearing and snapping, then droning (mostly
droning). Unfortunately, there no real songs to match the sound, save
for the
nasty “A Castle and a Crown.”

“Bonus Tracks” reviews all local and Texas-based
releases
commercially
available. Send to: “Bonus Tracks,”
TheAustin
Chronicle, PO
Box 49066, Austin, TX 78765; or send e-mail to music@auschron.com

This article appears in April 28 • 1995 and April 28 • 1995 (Cover).

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San Francisco native Raoul Hernandez crossed the border into Texas on July 2, 1992, and began writing about music for the Chronicle that fall, debuting with an album review of Keith Richards’ Main Offender. By virtue of local show previews – first “Recommendeds,” now calendar picks – his writing’s appeared in almost every issue since 1993.