RECORDS VARY FROM HEAVY METAL TO PUNK : SAN DIEGO BANDS GET MUSIC SPINNING

On the local pop music scene, a few ambitious rebels weren’t content with playing just the Top 40. They stubbornly insisted on writing and performing their own music, even if the only way they could earn a living was by working day jobs at ice cream parlors and department stores.

A select few, like Ratt, Rough Cutt, and the Beat Farmers, were lucky. After years of paying their dues, they landed major-label recording contracts and consequently had someone else worry about studio expenses, manufacturing and distribution.

But most local pop acts did the work themselves. Some wanted quick exposure; others, a lasting memento for their fans. Still others, as Playground Slap drummer Michael Addis wrote in a letter to The Times, chose to release their own records “simply because the record companies we are talking to aren’t moving fast enough.”

Following are capsule reviews of albums, extended-play records and singles issued by local talent during 1986. Some have found their way into big chains such as Tower Records and Licorice Pizza, but most are available only at such independent record stores as Off the Record in East San Diego.

“Dancing Undercover” by Ratt: The third million-selling album by San Diego’s resident heavy metal kingpins is proof that local rock bands do, indeed, have a shot at international superstardom. Like the first two Ratt albums, “Dancing Undercover” is a full-fledged aural assault led by the frantic guitar leads of Robbin Crosby and the raunchy, cynical vocals of Stephen Pearcy. Standout cuts include the semi-hit “Dance” and the melodic “Looking for Love.”

“Rough Cutt Wants You” by Rough Cutt: Despite the backing of Warner Bros., one of the biggest record companies in the world, Rough Cutt hasn’t come close to duplicating the success of Ratt. Their second album shows why: Rough Cutt places more emphasis on metal than melody, and their fans tend to be heavy metal purists who like their music dirty, mean and nasty--but most of all, very, very loud.

“Van Go” by the Beat Farmers: The second album by San Diego’s contribution to the “American roots” fad is a bit slicker than their first. But once again, the Beat Farmers have managed to strip rock ‘n’ roll of its technological pretentions and get back down to the basics of guitar, bass and drums. Their robust sound is grounded in traditional country and laced with both the fervor of 1950s rockabilly and the gut-slamming intensity of Creedence Clearwater Revival. Outstanding cuts include lead singer Jerry Raney’s “Riverside,” highlighted by an infectious chicken-picking guitar riff, and drummer “Country” Dick Montana’s “Big Ugly Wheels,” a lascivious remembrance of a brief fling with some truck-stop queen.

“Frenzy” by Mojo Nixon and Skid Roper: Talkin’ bluesman Mojo Nixon and his washboard-strumming sidekick, Skid Roper, are back with their second album of rock ‘n’ blues craziness. Armed with such acoustic instruments as a harmonica, a banjo and something called the “Sonic Luv Jug,” the duo ravages the basic blues structure with violent strokes of new wave madness. The result: 14 iconoclastic tunes that include a crude come-on to MTV’s Martha Quinn and a deliciously eccentric acoustic version of Iron Butterfly’s heavy metal anthem, “In-A-Gadda-Da-Vida.” Also in the stores is a seven-song picture-disc EP that could be considered a “greatest hits” package--if the dynamic duo of perversity would ever have any.

“Ten Stories” by Jef Scott: Scott was smart--he moved to Los Angeles immediately after deciding on a career in music. His Epic Records debut is the result of more than two years in the studio and calls to mind recent works by Bryan Adams and John Cougar Mellencamp: good, solid rock ‘n’ roll, characterized by reflective lyrics and catchy melodies.

“The Playground Slap” by Playground Slap: The eponymously titled debut by one of San Diego’s leading new wave groups offers five scintillating tunes reminiscent of the gritty yet high-tech music of Gang of Four and Shriekback. Best cuts include the choppy “I Felt the Wind Blow” and the danceable “Blue Funk.”

“Father Napalm” by Slick: More new wave by a trio of brothers who toy with such disparate styles as 1970s glam-rock (“Gutter Trash”) and reggae (the title track). This album is remarkably innovative; a favorable comparison could be made with the first Talking Heads album.

“Significant Others” by Ministry of Truth: The album jacket shows the Statue of Liberty wielding a blood-drenched scepter, and that should give you a clue as to what’s inside: hard-core punk rock that ranges from the pessimistic nihilism of “Dim View” to the violent “Killer Machine.” But there’s also a human side to the Ministry of Truth. On “Scene Diego,” they deplore the frequent fights that erupt at local punk shows. Plus, their lyrics can be insightful--on “Dim View” they sing: “You’re just passing time / As time is passing you.” On top of that, on the album’s inner sleeve they even thank their parents.

“I Love It” and “Temporary Insanity” by Prowler: Don’t be surprised if this band follows Ratt and Rough Cutt into heavy metal’s major leagues. Singer Rob Palmer has both the range and the intensity of Ronnie James Dio. The twin-guitar attack of George Cataulin and Keith Larson is equal parts flash and substance. And the band as a whole has a good ear for melody, hooks and passion.

“Looking for You” and “One-Night Stand” by Twin Wire: Another local heavy metal upstart, Twin Wire borrows freely from the bold, bluesy sound of veterans like ZZ Top. They do it pretty well, even though the vocals are, at best, passable and the production could use a little polish.

“Neighborhood Watch” by Neighborhood Watch: This three-song EP mixes hard-core punk instrumentals with rap-like vocals. “Politics” offers some good advice: “The only way to deal with power / Is by making sure that you have some yourself.” “Sports Fan” is a not-too-subtle put-down of America’s infatuation with televised sports. “Man on My Street” is a dismal tale about a child molester.