OPENS FOR EURYTHMICS : BEAUVOIR FEELS ALBUM ‘DRUMS’

At first glance, it might appear that Jean Beauvoir called his debut album “Drums Along the Mohawk” simply as a wry reference to the hair style that made him one of the more striking members of the Plasmatics and Little Steven’s Disciples of Soul.

But it also could be a reference to the Walter Edmonds novel and the John Ford film of the same name.

“I was afraid it might sound a little corny, my wearing a Mohawk and all,” Beauvoir said during a recent phone interview.

“But someone mentioned the name to me, and when I thought about the book and the movie, I felt something, felt some kind of vibe. I could see being in a canoe along the Mohawk River. And ‘ Drums Along the Mohawk’ just seemed to fit because there’s a lot of percussion on the record.”

Beauvoir--who opens Eurythmics’ shows tonight and Thursday at the Greek and Saturday at the Pacific Amphitheatre--should know exactly how much percussion is on the album, because he played all of it. Indeed, in addition to composing, arranging and producing the “Mohawk” material, he played all the instruments (with a few tiny exceptions).

“To tell you the truth, it wasn’t planned that way,” Beauvoir said, explaining that as he laid down basic tracks and reference points for the musicians he intended to bring in later, he developed a more specific idea about the sound he wanted. And he’d already achieved it himself.

That sound emphasizes heavy but tasteful use of synthesizers, economical guitar work and rock-solid rhythms as the backdrop for colorful and frequently wistful tales, often about the guy who didn’t get the girl.

“Drums Along the Mohawk” isn’t Beauvoir’s only current product. He got the job as producer of the Ramones’ new “Animal Boy” LP after co-writing and producing the New Yorkers’ European single “Bonzo Goes to Bitburg” (retitled “My Brain is Hanging Upside Down” in the United States).

“They’re a little afraid of producers coming in and trying to change their whole thing,” he explained. “But except for when they asked me for something different--’Well, Jean, we’d like a bit of what you feel in there,’ like on ‘Something to Believe In’ or ‘She Belongs to Me’--I just tried to keep the record as truly Ramones as possible.”

Beauvoir boasts a remarkably varied resume for someone just 24. Beauvoir, who grew up in New York and Chicago, joined his first rock band while in junior high. Before long, he hooked up with Gary U.S. Bonds, with whom he played off and on for three years.

After leaving Bonds, he became the bassist for the Plasmatics, the thrash-and-burn outfit fronted by Wendy O. Williams, whose greatest skill seemed to be destroying TVs, cars and guitars.

“It was an experience, a theatrical experience,” Beauvoir summarized, “but it wasn’t musically fulfilling.”

Far more fulfilling was his tenure in Little Steven & the Disciples of Soul, the group led by former Bruce Springsteen sidekick Miami Steve Van Zandt. Beauvoir’s as puzzled as most Little Steven fans over the band’s commercial failure--despite fiery live shows and two superb, politically charged albums.

“I really don’t understand it. It almost seemed like Steven was resented, in a way, for leaving Bruce,” he speculated. “I do feel Steven’s very talented, and I love his songwriting.” Whatever else Beauvoir may have picked up during the association, parts of “Mohawk” reflect a strong vocal resemblance to Van Zandt.

As a songwriter for hire, he’s collaborated with everyone from Nona Hendryx to John Waite to Paul Stanley of Kiss. Beauvoir doesn’t, however, view all of his associations as feathers in his Mohawked cap.

For example, after Sylvester Stallone saw the video of “Mohawk’s first single, “Feel the Heat,” he decided to make it the theme song of “Cobra.”

“That was a good experience, though I don’t know if it really helped the record,” Beauvoir observed. “Matter of fact, I think it hurt it. The movie didn’t do so well. But I still think it was a good opportunity.”