CD Review

RIHANNA / Rated R (Def Jam)

"I'm such a (expletive) lady," former R&B princess Rihanna warns on her latest album.

She's now tough as nails -- an assault victim who had to deal not only with her lover's betrayal, but also the unrelenting glare of the spotlight. Rated R is also tough to sit through.

On the one hand, Rihanna's fourth effort comes across as a gritty representation of an abuse survivor's range of feelings -- from sadness (Stupid In Love) to fear (Russian Roulette) to anger (Hard). On the other, Rated R feels too contrived -- like the Hollywood version of her life -- and too violent, thereby sending the wrong message to listeners.

Yet it's her softest track, Photographs, that proves to be the most powerful. "It should've been me and you / It could've been you and me / Before you broke my heart," Rihanna warbles. There's more anguish, soul and authenticity in those three lines than in the rest of the album. 'Ö'Ö'Ö

-- Sandra Sperounes, Edmonton Journal

SUSAN BOYLE

I Dreamed a Dream (Syco Music/Columbia)

Susan Boyle's clear but warm tone and stolid phrasing turns everything it touches on her debut release I Dreamed a Dream into a more songful version of New Age music.

It's relaxing to listen to those drawn-out syllables, gradually building toward a gentle, wavelike climax. Boyle possesses neither an impulse to swing nor an ounce of the blues and sings like she's in a place of worship.

Her unearthly calm and gently piercing timbre are her best qualities. It's what makes her version of the Rolling Stones' Wild Horses so touching. Instead of Mick Jagger's moaning, slightly derisive take on heartache, hers is truly resigned, the sound of someone who really understands and accepts life's limitations. Maybe that's why the sadder songs like Cry Me a River are the best. 'Ö'Ö1/2

-- Ann Powers, Los Angeles Times

HIDDEN CAMERAS

Origin: Orphan (Arts & Crafts)

Music fans can be a tough crowd. We fall in love with a band and then expect that band to keep doing exactly what we initially loved for the rest of its career. Progression, growth or maturation? Not for us! Keep the hits coming, just the way we like 'em.

It's tempting to ascribe a lukewarm reaction to the latest release from Toronto collective Hidden Cameras to this phenomenon. When a band known for its joyous choruses, cheeky lyrics and full-choir fanfares tones down the exuberance for a more measured approach, it's bound to put fans off.

But really, it's that maturity sounds so dreary and sober and inscrutable. Frontman-songwriter Joel Gibb is never at a loss for melody, but here he drags tunes out endlessly. There are exceptions: In the NA -- with its exultant, reverberating "Hey!" -- gets the blood rushing and A Little Bit is a horn-heavy lark, but dirges are the order of the day -- beautifully ornamented, but downers nonetheless.

There's no disputing the giddy spectacle of the Cameras' live shows, however. See for yourself when they play the Royal Albert on Monday. 'Ö'Ö'Ö

-- Jill Wilson

TEAM CANADA

Canadian Club Volume 1 (Independent)

Montreal mashup mavericks Team Canada (aka Grandtheft and D.R.one) are back with the highly anticipated followup to their debut, Classic Material Volume 1. Known for the genre smashing DJ performances where everything from straight-up club bangers, white label remixes, rock, hip hop and post-rave electro get equal speaker time, their sophomore release isn't much different.

Hosted by Toronto M.C. Kardinal Offishall, Canadian Club Volume 1 sees the duo dig deep and pull out their own remix-heavy gems featuring artists like David Bowie, Drake, The Red Hot Chilli Peppers and Three 6 Mafia. More than just a DJ mix, their second release showcases the busy Montrealer's skills in the studio. Instead of just stacking up the hottest tracks from the last year, Grandtheft and D.R.one obviously spent some time in the studio making fresh beats and custom edits that not only give their mix a unique twist, it proves why they are the hottest club DJs in the country right now.

Team Canada perform alongside locals Co-op and DJ Hunnicutt tonight at The Academy. 'Ö'Ö'Ö'Ö

-- Anthony Augustine

HUGH DILLON

Works Well With Others (Warner)

Canadian actor/songwriter Hugh Dillon has come a long way since his days as the frontman and resident bad boy for 90s-vintage hard rockers The Headstones.

With a few acting gigs under his belt -- most notably as Joe Dick in the excellent Bruce McDonald punk rock homage film Hard Core Logo -- Dillon now spends most of his time away from music. WWWO is Dillon's first true solo album and while he isn't breaking any new ground musically it is still a pretty solid set of tracks.

Dillon uses his actorly gravitas and an observational vocal tone to get most of the songs across in a way that sounds like he's lived nearly all of the words (Sentimental Me, Lucky Man). He can still burn a bit of rubber on tracks like Ignore That Call and Ten Feet Tall and the production by Tragically Hip dude Paul Langlois is engagingly solid. A victory for substance over attitude this time. 'Ö'Ö'Ö1/2

-- Jeff Monk

COUNTRY

SHANE YELLOWBIRD

It's About Time (OnRamp/EMI)

Ontario producer Jason Barry has given Shane Yellowbird's sophomore release the slick radio-friendly production that hits are made of and it sounds like it's about time he got that big U.S. record deal.

Brad Paisley fans will enjoy the high-octane guitar pickin' on the radio-active first single Barefeet on the Blacktop. Mid-tempo country rocker My Kind of Crowd will appeal to Montgomery Gentry fans. Most of the other cuts are reminiscent of radio mainstays like Dierks Bentley. 'Ö'Ö'Ö1/2

-- Bruce Leperre

JAZZ

TERRY CLARKE

It's About Time (BlueMusicGroup.com)

If you're a Canadian jazz fan, you know Terry Clarke. The drummer has appeared on so many recordings, in so many concerts that you can't help but have heard him.

Now it's his turn to issue a CD as a leader, and he has collected seven great concert tracks with the likes of guitarist Jim Hall and saxophonists Phil Dwyer, Joe Lovano and Greg Osby. The one constant throughout is Clarke's old friend Don Thompson on bass and piano.

Highlights include Say Hello to Calypso, a tribute to Sonny Rollins recorded at the Montreal Jazz Festival with Hall and Lovano on tenor sax, and Dwyer on tenor on his own Flanders Road, recorded in Toronto.

Clarke is a wonderful drummer who drives the band(s) here and takes some tasty solos. He's also adept at choosing great tracks. 'Ö'Ö'Ö'Ö

-- Chris Smith

CLASSICAL

LOUIS LORTIE, ORCHESTRE SYMPHONIQUE DE QUÉBEC

Mendelssohn: Piano Concertos 1 & 2, Symphony No. 5 (Reformation) (ATMA)

Lortie plays and conducts this Mendelssohn program, another release for the composer's bicentenary year, and is most enjoyable. Both piano concertos have calm and storm in their keys of G and D minor respectively, with finales of sunny exuberance and high virtuosity.

Lortie tosses off the high-wire parts with fleet-fingered ease. Elsewhere there is song and sympathy, especially the lovely slow movement of No. 2. The OSQ sounds like a partner in chamber music.

The Reformation symphony is generally well done if a bit lightweight in character, though the OSQ strings have their share of nicely arched phrases. 'Ö'Ö'Ö1/2

-- James Manishen

Republished from the Winnipeg Free Press print edition November 28, 2009 C4