Rock/Pop

Pugwash: Almond Tea as served by Pugwash

Pugwash is the cracked psychedelic vision of Irishman Thomas Walsh, who numbers Cotton Mather and Jason Faulkner among his friends. Almond Tea . . . is a 41-minute burst of rough 'n' ready power-pop with a distinctly Beatlesesque aroma, and would sit nicely opposite Cotton Mather's album, if home-taping wasn't (allegedly) killing music. With a little help from such friends as Keith Farrell, John Boyle, Geoff Woods and Colm Quearney, Walsh has put together a dirty dozen tunes, replete with clean lines, catchy hooks and crafty musicianship. There's nothing here which hasn't been done before, natch, but there are enough sparks of individuality in Missing The Point, Always Be and Shine On Norvell Jefferson to ensure Walsh won't become just another one of Irish rock's nowhere men.

Kevin Courtney

Blink 182: Enema Of The State

Not to be confused with Irish popsters Blink, although being confused might actually be an advantage when listening to this San Diego trio. If the crap pun in the album's title doesn't tip you off, then the jerky punk of Dumpweed, Aliens Exist and Going Away To College should give the game away. Blink 182 specialise in scatalogical ditties for delinquent college freshmen; songs such as Dysentery Gary, The Party Song and Mutt are asinine anthems for headbanging Butt-heads everywhere, so it's appropriate that the band feature in the hit gross-out comedy, American Pie. With the single, What's My Age Again?, reaching Number 2 in the Billboard rock charts, it looks like America is gleefully bending over and letting Blink 182 have their wicked way, but fans of intelligent rock are advised to butt out.

Kevin Courtney

Nanci Griffith: The Dust Bowl Symphony (Elektra)

When I worked on the Other Voices, Other Rooms book with Nanci Griffith, one of the few criticisms she reacted badly against was the claim that her sometimes-shrill voice irritates many listeners. But it's true. Likewise, the country-rock accompaniment on many of her songs has alienated those who might otherwise adore the tales Nanci tells, the classical structure of her songs. If you belong in either of these categories this is the album for you. The woman clearly is singing at a lower range, perhaps, because she is backed by

the London Symphony Orchestra on this album. Or, rather, she's just one more instrument in the sublime landscape created by the orchestra. And, yes, all the old songs, like Trouble in the Fields and It's a Hard Life Wherever You Go, positively gleam in these surroundings. Joe Jackson