POP MUSIC REVIEW : Bellamys Keep the Spirit Flowing

Howard and David Bellamy have a way with the crowd. From the time they took the stage and broke into a spirited rendition of “Let Your Love Flow” at the Crazy Horse in Santa Ana on Monday, they had fans clapping and singing along on the likes of “Old Hippie,” “Too Much Is Not Enough” and “Feelin’ the Feelin’.”

The Florida-based duo has racked up 14 No. 1 country hits largely because they are not afraid to write songs that have hooks that could lay Larry Holmes out. During the much screamed-for “Redneck Girl,” the Bellamy Brothers were actually able to drop out for a few lines and watch the crowd happily crowing away as the song bounced merrily forward.

Yet for all the overt poppiness of their hits, the show’s strongest moment came during the subdued “You Ain’t Just Whistling Dixie.” A few synthesizer washes, lingering steel guitar notes and cymbal rolls set the stage for David Bellamy to sing a wistful song about life in the South. Although wry wordplay has always been their trademark, the overwhelmingly personal lyrics were treated with dignity as the piano plinked out a few notes of “Dixie” at the end.

From there, they launched into “Old Hippie,” another song about coming to terms with one’s life. While the Bellamy Brothers are in no immediate danger of being mistaken for two of the great thinkers of our time, their songs can reflect the struggles most people experience as they move toward maturity.

But their set was not all maudlin reflectiveness. Just when you thought they were going to get philosophical again, Howard thoughtfully began strumming his guitar as David sang about the lengths a man would go to for the love of a beautiful woman.

“I’d Lie to You for Your Love” is not only one of the more aching songs you’re likely to hear, it’s also one of the most honest--the man tells the woman anything he thinks might register, claiming that he’s everything from royalty to an astronaut to owner of the bar.

If there’s any problem with their show, it is the times when four guitar players and the bassist start crowding each other’s musical space. “Forget About Me” was turned into a shapeless, bludgeoned mess as guitar notes seemed to shower the stage. Indeed, things were much better when bass player Wally Bentz was adding his laconic harmonica embellishments and sometime-guitarist Harry Hibbard was making a steel guitar chime. Still, it’s a small fault and one that could easily be overlooked.