DATE: Friday, July 25, 1997                 TAG: 9707240237

SECTION: DAILY BREAK             PAGE: E12  EDITION: FINAL 

TYPE: Record Review 

                                            LENGTH:  123 lines

CD REVIEWS

POP/ROCK

DWIGHT YOAKAM

``Under the Covers''

(Reprise)

PETE ANDERSON

``Dogs in Heaven''

(Little Dog/Mercury)

``If they had a hard time putting a finger on (1996's) `Gone,' they'll really have a hard time with this one.'' Pete Anderson, who has produced every Dwight Yoakam album, was talking last summer about this then-untitled project.

He nailed it. Pop/Rock, Country/Roots, whatever. Let the radio guys decide. Fans won't have a lick of trouble with ``Under the Covers,'' a grab bag of hits by The Beatles, the Rolling Stones, the Clash, the Kinks, Roy Orbison, Jimmie Rodgers and Sonny & Cher. That's for starters.

Calling them covers, though, is misleading. Yoakam ``covered'' the Blasters, Elvis Presley and Gram Parsons on 1984's ``Guitars, Cadillacs, Etc., Etc.'' His strides - and swagger - can be measured by the treatments this set gets.

Like the bluegrass spins on ``Train in Vain,'' with Ralph Stanley, and ``The Last Time.'' Or ``Baby Don't Go,'' a two-step with Sheryl Crow playing Cher. ``Claudette'' and ``Things We Said Today'' veer just a little; Yoakam gives ``Wichita Lineman'' an urgency Glen Campbell never imagined.

But the stunner is ``Tired of Waiting for You.'' Propelled by horns and a B3, he croons through the gin-and-vermouth arrangement like a veteran lounge lizard. Go Dwight. (Hint: Leave the CD on after the last cut.)

Yoakam, of course, has always been quick to credit a chunk of his success to Anderson. On 1994's ``Working Class,'' the producer/arranger/lead guitarist showed he wasn't a slouch at the mike, either.

Where he played all over the board on that debut, Anderson sticks closer to his Detroit roots on the splendid follow-up, drawing from the blues on ``Feels Like Mississippi,'' ``110 in the Shade'' and ``For You.'' An exception is the Dylanesque ``Henry Fate.'' So is ``Sherry,'' refigured into a lovely instrumental. It's almost as good as `94's ``Our Day Will Come.''

Best of all, Anderson, a wit with a pen, is clearly having one mighty good time. And why not? He's playing with the same cronies he recruited for ``Under the Covers.'' Talk about your one-two punches.

- Craig Shapiro, The Pilot

JOHN LYDON

``Psycho's Path''

(Virgin)

Neil Young once wrote of Johnny Rotten, ``It's better to burn out than it is to rust.'' Slowly, the sharp cynicism and cunning wit of John Lydon are showing signs of dilution.

Lydon indulges his pop/dance side on ``Psycho's Path,'' his first solo effort. Rythmic, keyboard-fueled music dominates every track. He has even enlisted The Chemical Brothers and Moby - electonica's movers and shakers - to do some mixing. Nevermind the power chords, there aren't any.

It sounds like Public Image LTD., only more tame. ``Grave Ride'' doesn't deliver on its title premise. The techno creations ``Dis-Ho'' and ``Open Up'' will find a home in European clubs. The accordian's push and pull on ``Sun'' is similar to Siouxie's ``Peek-A-Boo.'' It's the catchiest of the 11 tunes.

After the Sex Pistols' reunion, this is a big disappointment. It isn't the first time he's let us down. Where's your scowl, Johnny?

- Jeff Maisey, The Pilot

10,000 MANIACS

``Love Among the Ruins''

(Geffen)

Critics are howling about 10,000 Maniacs regrouping without lead singer Natalie Merchant. That's like the Stones without Jagger, some say.

But the band is intact. Besides the original stalwarts, founder/composer John Lombardo, who had as much to do with the sound as did Merchant, is back in the fold. The new lead vocalist is former backup singer Mary Ramsey, who had some success working with Lombardo in John and Mary.

Surprise. The re-formed band sounds like, well, 10,000 Maniacs.

Though some songs come off as Merchant soundalikes, Ramsey's voice is softer and more versatile; basicially, she needs to develop her style and come out from Merchant's shadow. In the meantime, her violin and viola give the Maniacs' solid folk/pop a pastoral sweep.

``Ruins'' occasionally gets too slick, leaving a bland aftertaste. But when the band takes off on Bryan Ferry's ``More Than This'' and its own compelling originals, it's clear 10,000 Maniacs still has something to offer.

- Eric Feber, The Pilot

JAZZ

DAVE BRUBECK

``In Their Own Sweet Way''

(Telarc Jazz)

Dave Brubeck sold a ton of records in the 1950s and '60s - while being villified by the critics. True, he wasn't the prototypical Bud Powell-style pianist, and his ``Take Five'' may be the most overplayed jazz number ever.

But some of the old quartet recordings have held up, and his piano style, with its block chording, remains unique. Here, accompanied by four of his sons, the 76-year-old Brubeck delivers lightly swinging, accessible jazz.

As usual, he doesn't hesitate to monkey with time signatures. Drummer Dan Brubeck gets workouts on ``In Your Own Sweet Way,'' which features five changes of meter, and ``Sweet Georgia Brown,'' dressed up in 7/4 time.

Cellist Matthew plucks out bebop lines on the Monkish ``Bifocal Blues.'' ``Dave 'n' Darius'' is a lovely slow blues for two pianos, and ``My One Bad Habit'' finds Chris blowing honeyed tones on bass trombone.

- David Simpson, The Pilot

COUNTRY

LILA MCCANN

``Lila''

(Asylum)

About a year ago, Lila McCann released ``Down Came a Blackbird,'' a powerful song about liquor, late-night accusations and a bad marriage. Zilch happened. Now included on her new album, it's finally getting some decent play.

In keeping with the trend in country, McCann is a high-school student with the voice, range and passion of a seasoned pro. Matter of fact, she's better than a lot of them.

``Blackbird'' bears repeated listens, but there are other jewels here, including ``Yippy Ky Yay,'' which has a line about Cary Grant, and the beautiful showpiece, ``A Rain of Angels.''

Many of the songs were written by her producer/mentor, Mark Spiro (Julian Lennon, Laura Branigan, Boyz II Men). If he works the PR mill, McCann can become a household name. Less deserving singers have made it. Hopefully, she is on the verge of success.

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

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