DATE: Thursday, April 3, 1997               TAG: 9704030053

SECTION: DAILY BREAK             PAGE: E4   EDITION: FINAL 

TYPE: Album review

                                            LENGTH:   83 lines

BODY COUNT SURPRISES WITH A QUALITY ALBUM WITHOUT CONTROVERSY

Rock/Pop

Body Count, ``Violent Demise: The Last Days'' (Virgin)

Chalk up another one for Body Count, as notorious rapper turned vocalist Ice-T delivers an exercise in subcultural satire. The stunning surprise on ``Demise'' is that there is nothing controversial.

These repeat offenders of rock-solid music execute with conviction their brand of urban heavy-metal. Ernie-C's raging guitar work on the O.J. Simpson-inspired ``I Used to Love Her'' and his sonic simulation of an ambulance on ``Violent Demise'' are fantastic.

The strength of this album is in its diversity. ``Dr. K.'' merrily gallops to a punkabilly beat, where ``Strippers'' is pure, vulgar rap. Ice-T strikes a conciliatory note on the prophetic ``Last Days,'' stating, ``There's only one race, the human race, and if we don't get it together soon, this song is true.''

No bones about it, ``Violent Demise'' is not bad at all.

Jeff Maisey, The Pilot

Morphine, ``Like Swimming'' (Rykodisc)

On its fourth album, the compelling Boston-based trio proves that its sound and approach are no novelty act.

Led by singer/songwriter Mark Sandman, Morphine incorporates a small drum kit, baritone/tenor sax and two-string bass to forge a low-edge sound that brims with funk, cool '50s jazz, earthy R & B and tight rock.

Using solid songs spiced with cryptic, surreal lyrics, Morphine advances its unique sound with each release. Mark Coley blows a brassy, trainlike sax, while Sandman, alternating between lead and rhythm lines, holds things together with bass loops. Sometimes bass and sax shadow each other, sometimes they play off each other while drummer Billy Conway provides a foundation of deceptively simple percussion work.

A must for anyone bored with today's shallow, derivative rock.

Eric Feber, The Pilot

Gram Parsons & the Fallen Angels, ``Live 1973'' (Rhino)

This isn't the first time this recording, made before a studio audience at a Long Island radio station six months before Parsons died of a heroin overdose, has been released. It came out on vinyl in 1982 (and on CD in 1988) with songs rearranged and the encore and stage patter deleted. The original tapes were released in 1991 in a limited edition.

But six years is an eternity in the remastering lab, and with field leader Rhino at the helm, this vital recording is finally given its due.

Vital not only because it catches the one-time Byrd/Burrito Brother at his peak (around the release of ``G.P.'') or that it cemented Emmylou Harris' arrival, but because Parsons' influence on Son Volt, Wilco, the Jayhawks and an arm-length list of other No Depression bands couldn't be more apparent.

His own ``Drug Store Truck Drivin' Man'' (co-written with Roger McGuinn), ``Big Mouth Blues'' and ``The New Soft Shoe'' offer a short course; covers of ``Cry One More Time,'' ``Streets of Baltimore'' and ``Love Hurts'' show he was on the cusp of something new and significant. The latter, a duet with Harris, will give you shivers.

The Fallen Angels - guitarist Jock Bartley, Neil Flanz on pedal steel, drummer N.D. Smart II and bassist Kyle Tullis - lend perfect, empathic support. A must-have.

Craig Shapiro, The PilotJazz

Gary Burton & Friends, ``Departure'' (Concord Jazz)

Burton, who once played the vibraphone with George Shearing's quintet, duplicates that group's light, swinging sound with a top-notch band of his own. Accompanied by Peter Erskine (drums), Fred Hersch (piano), John Scofield (guitar) and John Patitucci (bass), he strives for a conservative, easy-on-the-ears treatment of standards.

Just because the music is accessible, however, doesn't mean it isn't rewarding. Check out the surprisingly lively ``September Song'' (usually a ballad) and the exquisite ``Poinciana,'' with its sparse, shimmering piano chords played in the Ahmad Jamal manner.

Guitar and vibes carry the melodies, shadowed closely by piano chords. Tight, tasteful ensemble passages build suspense.

This album contains some lovely, meditative jazz. And just when you're being lulled into a trance, along comes Scofield with his rock-edged guitar lines to wake you up.

David Simpson, The Pilot ILLUSTRATION: Photo

CHRIS CUFFARO/Virgin Records

Ice-T, left, and Ernie-C show diversity on ``Violent Demise.''

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