DATE: Friday, October 24, 1997              TAG: 9710230264

SECTION: DAILY BREAK             PAGE: E12  EDITION: FINAL 

TYPE: MUSIC REVIEW

                                            LENGTH:  132 lines

CD REVIEWS

POP/ROCK

GREEN DAY

``Nimrod''

(Reprise)

What a dilemma. Green Day sold a combined 14 million copies of their previous national releases, ``Dookie'' and ``Insomniac.'' Should they stick to their punk roots or add a little variety and show some maturation?

The Berkeley, Calif., trio has, more or less, done both on ``Nimrod,'' an 18-song set of breathless power-pop/punk. There are touches of strings and a few horns. ``Scattered'' seems to ape the melody of America's ``Sister Golden Hair.'' ``Last Ride In'' is a short, surf/spaghetti Western instrumental.

But most of the ``stretching out'' is rather shallow. The majority of the disc sports the same pure pop filtered through Green Day's punk lens and guitarist Billy Joe Armstrong's I'm-angry-as-hell-but-I-don't-know-why lyrics.

Still, ``Nimrod'' is a hoot, full of Armstrong's keen songwriting instincts powered by the band's razor-sharp performance. Besides, even Barry Manilow would sound strong backed by the thunderous, stop-on-a-dime rhythm section of drummer Tre' Cool and bassist Mike Dirnt.

- Eric Feber, The Pilot

In concert: Green Day with Superdrag, 8 p.m. Nov. 9 at the Boathouse, Norfolk. $15 plus service charge; order at 671-8100.

EVERCLEAR

``So Much for the Afterglow''

(Capitol)

Your previous CD goes platinum. Next time, you a) capitalize by following form, or b) damn the expectations and test unchartered waters. Sound familiar?

Everclear faced a Green Day-like decision on ``So Much for the Afterglow,'' the follow-up to 1995's ``Sparkle and Fade'' and its big single, ``Santa Monica.'' Wisely, they chose the latter. Art Alexakis, the Portland, Ore., trio's songwriter, singer, guitarist and savvy producer, gives the disc more of a pop sheen than its grungy predecessor.

The title track begins with lovely Beach Boys harmonies; lonesome strings close the revved-up ``Amphetamine.'' Others feature banjo, mandolin, steel guitar, organ, toy piano and the bouncy horn section of Less Than Jake.

But if the sound is radio-friendlier, Alexakis writes from a darker place. He is a recovering addict whose brother and girlfriend OD'd. He was abandoned by his father. That anger and rejection give the disc its go-to-hell appeal. There's even a song called ``One Hit Wonder.''

Alexakis himself provides the balance. No rebel without a clue, he's 35, married and has a young daughter. There's a silver lining here, too.

- Craig Shapiro, The Pilot

JUDAS PRIEST

``Jugulator''

(CMC International)

Run for your lives. Judas Priest hath returned with its first studio album in seven years - and it's brutal.

With new vocalist Ripper Owens aboard, the resurrected quintet goes right for the jugular. A onetime fan who replaced his idol, god of British steel Rob Halford, Owens is well-equipped to take up Priest's heavy-metal crusade.

Virginia Beach's Scott Travis beats his drums of war, delivering punishing blows on ``Blood Stained'' and ``Decapitate.'' All 10 songs were written by guitarists K.K. Downing and Glenn Tipton, whose steel claws menace their fret-boards. You can hear the sparks fly.

``Cathedral Spires'' stands alone. It's enchanting vocals offer a flickering light among this album's dark images. If there is any hope in the future of metal, it is these blissful nine minutes.

- Jeff Maisey, The Pilot

JAZZ

DEE DEE BRIDGEWATER

``Dear Ella''

(Verve)

Dee Dee Bridgewater grew up absorbing Ella Fitzgerald's way with a lyric, her scatting ability.

You can hear that influence on this loving tribute. But Bridgewater doesn't ape the First Lady of Song; she conveys the singer's vocal essence - her ability to go from little-girl innocence to late-night romanticism to swinging exuberance - while putting her own stamp on these classic.

Don't miss ``Mack the Knife.'' Bridgewater begins sotto voce, with Ella's former husband, bassist Ray Brown, as accompanist. Later, pianist Lou Levy tips in, followed by drummer Andre Ceccarelli. The tempo quickens. Bridgewater evens scats a little before closing with a whisper.

There are gems like that throughout as Bridgewater covers the continuum, including a moving duet with guitarist Kenny Burrell on the title track.

- Marvin Lake, The Pilot

JOE HENDERSON

``Porgy and Bess''

(Verve)

Despite the appearance of two celebrity vocalists, Joe Henderson's masterful tenor sax is the star here.

He and his septet supply some new turns to Gershwin's dark harmonic alleys, transforming the mournful waltz ``My Man's Gone Now'' into a driving, funky, 4/4 vehicle. ``I Got Plenty o' Nuttin' '' becomes a lively modal piece that lets Henderson and guitarist John Scofield stretch out. His saxophone and Tommy Flanagan's piano are all that's necessary to weave a lovely ``Bess, You Is My Woman Now.''

The rest of the band shines on the last two numbers - a smoking ``There's a Boat Dat's Leavin' Soon for New York'' and a gorgeous ``Oh Bess, Oh Where's My Bess?'' Kudos to Dave Holland, bass; Jack DeJohnette, drums; Conrad Herwig, trombone; and Stefon Harris, vibes.

The only rough spots come when pop stars Sting (``It Ain't Necessarily So'') and Chaka Khan (``Summertime'') take the microphone. Say it ain't so, Joe.

- David Simpson, The Pilot

COUNTRY

BELLAMY BROTHERS

``Over the Line''

(Bellamy Brothers)

Things that are hard to ignore: A lovely sunset, a winning lottery ticket, a song called ``My Wife Left Me for My Girlfriend.''

It happened to a Bellamy buddy. You can hear about it on ``Over the Line,'' the latest, and straightest, release from Howard and David. The album's not as much fun as their others, but it offers enough offbeat stuff. The best is the Cajun ``Catahoula,'' a tribute to a pooch that is only one of two true American breeds. Jo-El Sonnier and Eddy Raven - Cajuns both - add to the fun.

``Mama Likes to Reggae'' is infectiously fun, too. And check out ``Wonderful Mistake.''

No mistake about their success. The Bellamys hold more Duo of the Year nominations from the Academy of Country Music and Country Music Association than any other, uh, duo.

- Frank Roberts, The Pilot ILLUSTRATION: [CD Covers]

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