DATE: Monday, April 21, 1997                TAG: 9704210042

SECTION: LOCAL                   PAGE: B8   EDITION: FINAL 

TYPE: Music review 

SOURCE: BY JEFF MAISEY, SPECIAL TO THE PILOT 

                                            LENGTH:   48 lines

OPENING, THE BOO RADLEYS UPSTAGE BETTER THAN EZRA'S FUN BUT SAFE SHOW

In numerous ways, not measured by applause, The Boo Radleys were better than Ezra.

England's chart-busting sensations were vigorously entertaining, with a huge emphasis on power and pop. Largely unknown here in America, these seven-year creators of melodic, upbeat music gave one refreshing performance Saturday night at Norfolk's Boathouse.

Out of loud, screeching guitars came the absolute pop voice of the fancifully dressed Sice on the highly energetic ``C'Mon Kids.'' It was full of Oasis and Blur similarities, only played at maximum volume. The strange and psychedelic vibes unleashed on ``Meltin's Worm'' were pure magic from the late '60s.

You can't have great Brit-pop without brilliant harmonies every so often. The Boo Radleys obliged on the moving ``Everything Is Sorrow,'' which also included a nice guitar solo by Martin Carr. To recreate some of their earlier material, the quartet added a keyboardist, who doubled on the trumpet duties, giving the set a full sound.

Well done, mates!

The obvious reason for the nearly sold-out congregation was to see Better Than Ezra. Taking their name from Hemingway's ``A Moveable Feast'' the Louisiana trio carry a big bag of radio-played songs, and the delighted crowd didn't have to wait long to hear them.

After a somewhat noisy beginning with ``DeGaulle,'' Better Than Ezra drew a great reaction on their first huge hit ``Good.'' During the first six tunes, though, the sound system was bass-heavy and Kevin Griffin's vocals tended to get buried. The audience was unfazed.

Songs from ``Deluxe'' and the most recent ``Friction Baby'' were given equal attention. The jangling guitar exercises executed on ``Rewind'' and the slow funk of ``Normal Town'' were followed by the catchy hit ``King of New Orleans.''

The side lighting, which gave the effect of light shining through window blinds in deep blue, purple and an occasional bright white, was visually fantastic.

``Return of the Post Moderns'' was powerful on its noticeable chorus and creeping bass lines supplied by Tom Drummond. The real burst of energy from BTE came on ``Rosealia,'' followed by the heartfelt ``Desperately Wanting.'' The show ended with the dynamic ``In The Blood,'' their second-biggest hit.

So for the many couples in the audience seeking a nice romantic musical ``alternative'' to the movie theater, Better Than Ezra was a safe bet.

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