Winnipeg Free Press - Section G - - ENTERTAINMENT -

JUSTIN Bieber is work­ing his way from the mall to the club. The sec­ond full-length al­bum from the 18-yearold su­per­star finds him strad­dling the line be­tween the tween-friendly pop that in­tro­duced him to the world and more adult-ori­ented fare that fea­tures heav­ier beats, some trendy dub­step, a ros­ter of guest stars, in­clud­ing Drake, Nicki Mi­naj and Lu­dacris, and the best pro­duc­ers money can buy.

Be­lieve starts with the shiny syn­th­pop banger All Around the World that sounds like some­thing off Brit­ney Spears’ Femme Fa­tale al­bum, com­plete with stut­ter­ing vo­cal ef­fects and a beat de­signed to be blasted in dance bars. The hit sin­gle, Boyfriend, finds Bieber in a more laid-back mood with hand­claps and elec­tronic ef­fects adding some colour to his prom­ise of fidelity. Swedish hit maker Max Martin writes and pro­duces the disco-fied Beauty and a Beat, fea­tur­ing a guest turn by Mi­naj.

When Bieber is just al­lowed to sing with­out any ef­fects there is a new maturity to his voice that comes from get­ting older, but some of his large pro­duc­tion team just can’t help dig­i­tally al­ter­ing it.

And no mat­ter the style, from thump­ing dance pop to the nu­mer­ous bal­lads, Bieber’s lyrics are never coarse or crass so par­ents THE lat­est al­bum from At­lantabased bel­ter Kelly Ho­gan is a col­lec­tion of cov­ers (and songs writ­ten specif­i­cally for her warm, sup­ple voice) that in­cludes tracks by An­drew Bird, Stephin Mer­ritt and Robyn Hitch­cock. I Like to Keep My­self in Pain fea­tures a blend of pop, coun­try and soul with a sweet, old-fash­ioned sound, partly ow­ing to her back­ing band, which fea­tures Booker T. Jones (who will be in Win­nipeg tonight at the Bur­ton Cum­mings The­atre as part of the Jazz Win­nipeg Festival) and Gabe Roth of the Dap-Kings.

With a voice that can sound sul­try, raw, heart­bro­ken or hope­ful, Ho­gan is a great in­ter­preter of dif­fer­ent song styles. On Ways of This World, writ­ten for Ho­gan by the late Vic Ch­es­nutt, she gets at the mourn­ful but de­fi­ant core of his writ­ing. On Daddy’s Lit­tle Girl, an ele­giac, retro num­ber penned by M. Ward about Frank Si­na­tra, Ho­gan is nar­rat­ing as Old Blue Eyes and, how­ever im­prob­a­bly, she sells it.

Her pain is our plea­sure on this classy, clas­sic al­bum. don’t have to worry, he hasn’t gone PG yet. Mostly the songs are ver­sions of ro­man­tic fan­tasies that some of his fans prob­a­bly have of him. On As Long as You Love Me he claims, “We could be starv­ing/ we could be home­less/ we could be broke... as long as you love me.” On the sunny R&B bal­lad Die in Your Arms he sam­ples Michael Jack­son’s We’ve Got a Good Thing Go­ing while croon­ing about how he wouldn’t mind dy­ing in your arms (there aren’t a lot of metaphors in a Bieber song). Be Al­right is an acous­tic bal­lad about miss­ing his girl­friend Se­lena Gomez while on tour. What a sweetie. Fans will def­i­nitely want the deluxe 16-track edi­tion with Maria, the song that ad­dresses Mariah Yeater’s false al­le­ga­tions that Bieber fa­thered her child. The beat and sub­ject mat­ter are rem­i­nis­cent of Jack­son’s Bil­lie Jean with a cho­rus of, “She’s not my baby/she’s not my girl.”

No one truly be­lieved the al­le­ga­tions, but his fans shouldn’t have a hard time con­tin­u­ing to keep be­liev­ing in Bieber as he takes the next step in his whirl­wind ca­reer with an al­bum that po­si­tions him nicely to make the move into adult­hood. to a song about a fa­ther with Alzheimer’s. The first sin­gle, Feel Like a Rock Star, is a duet with Tim McGraw des­tined to bring down the house ev­ery time they play it together on tour this summer.

But for ev­ery party an­them there’s a melan­choly tune.

The re­sult feels like an un­even al­bum, but in a world where the money is made on sin­gles and tours, fans prob­a­bly won’t care be­cause just as they start to cry in their beer, they’ll sing along with th­ese lines from Time Flies: “Talkin’ to a cutie/headin’ for the booty/The rip­tides rip­pin’, the sun­set’s dip­pin’/Smile that smile, you’ll be sayin’.”

½ AF­TER a rough start when first tapped to host Late Night, co­me­dian Jimmy Fal­lon has come into his own. One of the things that has made his show worth watch­ing (or catch­ing later on YouTube) are his mu­sic sketches where he im­per­son­ates fa­mous singers and/or is joined by other artists and co­me­di­ans.

Blow Your Pants Off fea­tures 15 of those tele­vised per­for­mances, in­clud­ing a duet with Paul McCart­ney on Scram­bled Eggs (an early ver­sion of Yes­ter­day), the med­ley His­tory of Rap with Justin Tim­ber­lake and his im­per­son­ation of Jim Mor­ri­son singing the Read­ing Rain­bow theme. His im­pres­sions are spot-on and his Neil Young is par­tic­u­larly im­pres­sive. Fal­lon does Young twice: once singing the Fresh Prince of Bel-Air theme and again with Bruce Spring­steen on the Wil­low Smith sin­gle Whip My Hair.

Un­for­tu­nately, no DVD is in­cluded and all of th­ese songs work bet­ter with the video. No one re­ally wants to hear the Fal­lon/Stephen Col­bert/Taylor Hicks ver­sion of Fri­day, but the chore­ographed spec­ta­cle was worth a laugh. AN­TON Bruck­ner was com­pos­ing a fourth move­ment fi­nale of his last sym­phony the year he died. Typ­i­cal per­for­mances of this mov­ing work, writ­ten for “Dear God,” end with the third move­ment ada­gio that Bruck­ner called his “Farewell to Life.”

But Bruck­ner had in­tended a fourth move­ment, sketch­ing some 600 fully scored mea­sures of about 650 in his plan. Af­ter his death in 1896, his Vi­enna home was ran­sacked and the fo­lios were widely dis­persed with some found later in Aus­tralia.

At­tempts to re­con­struct the fi­nale have taken place over the years. Here we get the new­est and lat­est re­sults of a stag­ger­ing foren­sic ef­fort by four mu­si­col­o­gists and one gets the feel­ing it does come from the com­poser him­self in the fi­nale’s scope and cul­mi­na­tion, leav­ing the sense that a per­for­mance of Bruck­ner’s Ninth with­out its fourth move­ment would be in­com­plete. There are no is­sues with the per­for­mance ei­ther as Rat­tle and the Ber­lin­ers main­tain Bruck­ner’s elu­sive cur­rent through the many cli­maxes and counter state­ments, plot­ting the work’s drama su­perbly with­out over­stat­ing.

A most im­por­tant re­lease.

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