Daily Staff Writer

“Robert Bradley’s Blackwater Surprise”

Robert Bradley’s Blackwater Surprise

It’s a rare event in music history when a CD as great as “Robert Bradley’s Blackwater Surprise” comes along. The self-titled debut CD was designed to stand the test of time.

Indeed, 30 years from now it will prove to be an American masterpiece that ranks right up there with Marvin Gaye’s “What’s Going On?,” Bob Dylan’s “Highway 61 Revisited,” Neil Young’s “Harvest” or The Band’s “Music From Big Pink.”

Fortunately, we don’t have to wait that long to realize the talent this group possesses. Bradley has a unique, emotional voice that is capable of bringing tears to the eyes.

Guitarist Michael Nehra creates riffs that would make Bo Didley jealous. Drummer Jeff Fowlkes and bassist Andrew Nehra could jam with the likes of B.B. King, Robert Johnson or Eric Clapton and not break a sweat. They are all quite talented.

But when these four musicians join together, they create the type of musical energy and crystal clear emotion that reminds us of what a powerful mode of communication music has the potential to be, especially with lyrics that paint vibrant pictures of lost love, hypocritical politics and personal change.

“Bellybone” is the perfect example of this power. The song is a gritty rock-and-roll number with a blues infusion that is driven by memorable vocals and a very catchy rhythm. It seems almost impossible that such a full, emotional sound is created by only four musicians.

“Comin’ Down” is a beautiful song with a nice selection of string and horn arrangements and touching lyrics that stir the soul. “California” features golden vocals, complex instrumentation with a ton of depth, and excellent lyrics (“Way back in time/before the mountains/before the river/darkness was upon the deep/the world asleep/way back.”)

Infectious, dueling acoustic guitars that are mixed up with saxophone and piano sections make “Once Upon A Time” absolutely unforgettable. “Shake It Off” will also linger in your mind permanently with its shrimp Creole flavored Delta blues rhythm, thick-as-gumbo bass and a spicier-than-Cajun food guitar-driven bridge.

Unfortunately, there aren’t enough stars in our galaxy to give this disc the respect and response that it is due.

Hopefully, the Rock and Roll Hall of Fame will be able to rectify that in another 25 years when Robert Bradley’s Blackwater Surprise is inducted there. Above every one of today’s popular artists and groups, this virtually unheard of group certainly deserves the nomination.

5 stars out of five.

— Ben Jones

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“No More Glory”

MJG

Tony Draper may own the House that Suave built, but the rap duo Eightball and MJG literally built his record label from nothing into a multi-million media empire of Southern hip-hop music.

Now both artists are expanding with solo albums while maintaining strong ties to each other through guest appearances and a scheduled Eightball and MJG double album duo out in late ’98. MJG’s “No More Glory” is the first apple to fall from their music tree.

Unabashedly unapologetic, MJG is a born and bred “pimp for life” who spits “tales from the Suave side” while displaying a penchant for intelligent, thought-provoking rhymes which catch you off guard.

The album’s two covers may surmise his stance the best — blindfolded by a rolled confederate flag on the back in contrast to the burning confederate flag on the front. The dichotomy of repression versus rebellion fuels MJG’s fire for rapping.

“My ace in the hole, my angel, my pearl, but we still live as strangers,” laments MJG on “That Girl” as he gives up his love for the black woman.

MJG gives the flipside on “Black Mac is Back” with odes such as “take your drawers off baby, I’m comin to knock it off” that are actually mild compared to the misogynism of his rap brethern.

The contrast never ends. “Hip Hop Voodoo” is a testament to the power and prose of rap, while “Shine and Recline” is a laid back ode to making money and enjoying the good life.

MJG has the skill to display such a versatile range and make it believable and convincing, and the Suave House music production makes it bump in the trunk. Give MJG a chance for some refreshing Southern-fried, pimped-out funk rap.

4 1/2 stars out of five.

— Steve “Flash” Juon

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“Come On Over”

Shania Twain

Shania Twain has become a sex symbol in country music and in doing so, has assured herself the devotion of male country listeners. Yet, she is as popular with women because her music is very good at expressing just how women really feel.

Unfortunately, the latest release by Shania Twain will leave many fans disappointed.

“Come On Over” is the long-awaited follow-up to “The Woman In Me.” However, unlike the earlier CD’s great mix and variety, “Come On Over” is a bit stale — or perhaps it just seems so when compared to “The Woman In Me.” All 16 songs on the new CD are co-written by Shania Twain and Robert John “Mutt” Lange.

The pace of the album is very slow and, though it is only about 60 minutes long, it seems to last much longer.

Very few of the songs are distinctive or worth remembering. Many of the songs lack the originality and energy that is associated with a Shania Twain song.

Fans will cling to the already released songs, “Love Gets Me Every Time” and “Don’t Be Stupid.” These songs plus the last track, “You’ve Got a Way” are the best on the album, leaving 13 more ordinary songs on the CD.

The duet with Bryan White, “From This Moment On,” is less than inspiring and even after listening to it numerous times, there is not much to say about it.

Shania Twain has included a couple of the more whimsical songs she likes with “When” and “Honey, I’m Home.” They are fun songs and are good, but she has provided much better in the past.

Her past love songs have not been the most popular with fans and on this CD there are no standout songs that will change that except maybe “You’ve Got A Way,” the only song with real heart.

“Come On Over” is already a hit on the charts and has sold enough copies to ensure its success.

But when fans get it home and start to listen, they will find it is not all we hoped it would be.

2 1/2 stars out of five.

— Amanda Knief

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“The Sound of Power”

The Delstars

Surf rock isn’t dead yet — in fact, it’s coming back stronger than ever.

The post-Pulp Fiction revival of Dick Dale has sparked a whole new interest in chunky, funky guitar rhythms which become the song itself instead of a backdrop for 90-esque whining teenage angst.

Des Moines band The Delstars epitomize this sound; 90 percent of the band’s music features guitar playing while the singing of Matt Wellendorf plays a secondary role.

While Wellendorf and Lonnie Urich strut their stuff on Strats and Timmy Adelman provides bass, Tom Halverson provides a strong upbeat tempo on his vintage 1963 Ludwigs that gives every song “boogie” appeal.

The songs that do feature singing, such as “I’m the One” have a gruff, rough appeal and lyrics that chunk out enjoyable male machismo.

“The center of the universe is me/you don’t exist in my reality,” Wellendorf sings.

This album is a top-down Corvette cruise through the days when music was more fun than a means of making a living. Don’t be afraid to “ride the hamster wheel from Hell” with these rock-ripping groovemakers.

4 stars out of five.

— Steve “Flash” Juon