DATE: Friday, November 28, 1997             TAG: 9711260268

SECTION: DAILY BREAK             PAGE: E14  EDITION: FINAL 

                                            LENGTH:  132 lines

CD REVIEWS\

RAP

TIMBALAND AND MAGOO

``Welcome to Our World''

(Blackground/Atlantic)

On the intro to this 18-track debut, Timbaland asks, ``How many songs am I gonna hear on the radio that sound like mine?'' None. This Virginia Beach producer/rapper has a style all his own. The innovative beats are captivating.

Timbaland, paired with Norfolk-born Magoo, gives Hampton Roads major props. Portsmouth's Missy Elliott makes a guest appearance, as do the Buddha Brothers from 103-JAMZ and former JAMZ deejay Al B. Silk.

But this CD's strength lies in Timbaland's catchy cadences. His subtle monotone, paired with Magoo's nasal delivery, gives each track a unique flavor. It helps that the duo reverts to old-school style rap, with posturing and boasting of lyrical superiority.

Their special style first hit the airwaves with ``Up Jumps Da' Boogie,'' which became a monster hit thanks to its airy, haunting sounds and guest spots by Aaliyah, Missy and Ginuwine. On ``Clock Strikes,'' a funky beat is made better with guitar riffs and strings. ``Luv 2 Luv U'' uses violins and piano to add dramatic flair to the beats and cymbal-sticking. Fun returns with the fast-paced jam ``Peepin' My Style'' and ``15 After Da' Hour.''

Keep your ears open. Timbaland and Magoo are on a roll.

- Candy McCrary, The Pilot

POP/ROCK

METALLICA

``Reload''

(Elektra)

Metallica hinted at what to expect with ``Reload'' last April in Hampton. After 2 1/2 spectacular hours, they huddled around Lars Ulrich's drum kit, plugged into practice amps and capped the set by thrashing it out garage-style.

That's not to say the new CD whips up the frenzy of ``Kill 'Em All,'' but fans who (unjustly) criticized the adventurous ``Load'' will be glad to know it is more in keeping with the haymaker that was 1991's black album.

``Fuel,'' the first single, is indicative. James Hetfield spits out the lyrics like a bad aftertaste. ``Slither,'' a bookend to ``Load's'' ``Hero of the Day,'' and ``Prince Charming'' have the same caustic appeal. Conversely, ``Bad Seed'' and ``The Unforgiven II'' go nowhere.

A better first single is ``Attitude,'' and not only because of its sinister edge. Throw all your bullets in the fire / And stand there, Hetfield snarls. Why cure the fever? / Whatever happened to sweat?

Which is to say Metallica is not conceding anything. Listen to Marianne Faithfull's vocals on ``The Memory Remains'' or the hurdy-gurdy on the Celtic metal ``Low Man's Lyric,'' and it's clear one set of rules apply: Their own.

- Craig Shapiro, The Pilot

KMFDM

``The 9th Album''

(Wax Trax!/TVT)

KMFDM, the creme de la creme of electronic industrial music, has come a long way since forming in 1984 in a Paris whorehouse. Their new release, titled with five symbols (just call it the ``9th Album''), is an impressively constructed soundscraper.

The foundation of this hardcore dance album is its powerful vibe. Towering over a primitive core of synthetic bass and pulsating beats are electronically created sounds, filtered vocals and reflective, heavy-metal guitar.

Where ``Waste'' is an all-out assault, ``Stray Bullet'' is more thought-out, with a plethora of parts converging to make one killer song. The anthemic chorus on ``Anarchy'' rattles the brain.

For all its complexities, ``Leid Und Elend'' should be cherished for its simple vocal melody. No delusions of greatness on ``Megalomaniac,'' as KMFDM prove they are the best at what they do.

- Jeff Maisey, The Pilot

In concert: 96X Electric Xmas, with KMFDM, G. Love & Special Sauce and others. 7:30 tonight, Boathouse, Norfolk. $9.96 plus service charge; 671-8100.

TODD RUNDGREN

``With a Twist''

(Guardian)

Over his career, Todd Rundgren has dabbled in Top 40 pop, experimental electronics, the side group Utopia and a cappella music.

The material on the aptly named ``With a Twist'' may be old but the versions are new. In the liner notes, Rundgren says he's earnest about this new bossa nova approach. His seriousness, though, is obviously tempered with a wink.

Fronting a skilled quartet featuring Utopia mate Kasim Sulton (bass) and former Tubes drummer Prairie Prince, Rundgren offers his hits done up with breezy Brazilian lounge beats. His perfect pop voice is strong and effective; his sunny backing band never intrusive.

It all works. The tunes hold up even when doused with bossa nova rhythms and swirling Beach Boys harmonies. ``Hello, It's Me'' goes beyond Rio to achieve an exotic Esquival/Martin Denny feel.

``With a Twist'' is a sheer, unabashed pop delight.

- Eric Feber, The Pilot

COUNTRY/FOLK

SHANIA TWAIN

``Come On Over''

(Mercury)

Rejoice. The new Shania Twain album is here, and it is outstanding. Lengthy, too. She and producer/husband Robert John ``Mutt'' Lange wrote so many great songs, they wound up with 16 cuts.

That's the exciting news. The very exciting news is that Twain's first major tour begins in May.

Her first CD, ``The Woman in Me,'' went multiplatinum. ``Love Gets Me Every Time,'' the first single from the new CD, went No. 1 in record time. ``Don't Be Stupid,'' the second single, is what you will be if you pass on this album.

Twain's voice and Lange's inventive arrangements are a perfect marriage. ``Rock This Country'' comes across with drill-sergeant fervor; ``Black Eyes, Blue Tears'' is an excellent song about not tolerating spousal abuse. ``From This Moment On'' is a beautiful, classy duet with Bryan White.

``Come on Over'' is a breath of fresh country air. How fresh? Get a dictionary, pick some superlatives and pen your own rave review.

- Frank Roberts, The Pilot

DOC WATSON AND DAVID GRISMAN

``Doc & Dawg''

(Acoustic Disc)

Guitarist Arthel ``Doc'' Watson meets mandolinist David ``Dawg'' Grisman for some flashy picking on this down-home album - much of which was, in fact, recorded at Grisman's home.

Watson kicks off ``Sweet Georgia Brown'' at a slower tempo, but the song shifts gears twice so that it's roaring by the end. On ``Kentucky Waltz,'' he finishes his solo with a mandolin-like line. Turning the reins over to Grisman, he mutters, ``Oh, play it sweet, man.'' The mandolinist does just that.

They swap runs on ``Soldier's Joy,'' and Grisman plays incredibly delicate tremolos on ``Bluegrass Stomp.''

Watson's voice is in fine form. He gives a sensitive reading of ``Frankie and Johnny'' and yodels Jimmie Rodgers-style on ``Blue as I Can Be.'' There's even a bonus cut hidden in the grooves of track 14.

No doubt about it, this dawg'll hunt.

- David Simpson, The Pilot

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