This 18-Song Collection Shows Why Barrett
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NOVEMBER 2010 ISSUE MMUSICMAG.COM REVIEWS HOLE SNobody’sYD BARRETT Daughter [Universal] An Introduction to Syd Barrett [Capitol] The first album released under the Hole moniker since 1998’s Celebrity Skin is Thereally driving force behind just three full-length albums—Pink Floyd’s 1967 frontwoman Courtney Love’s second solo album—co-founder,masterpiece The Piper at the Gates of Dawn, and the 1970 solo albums songwriter and lead guitarist Eric Erlandson isn’t involved,The Madcap Laughs and Barrett—the late Syd Barrett nonetheless had a nor is any other previous Hole member. So it’s Love andprofound three impact on rock. This 18-song collection, culled from the above ringers on 11 new songs—10 of which Love wrotealbums with and fleshed out with three essential singles, shows why Barrett collaborators like Billy Corgan,remains Linda such Perry a revered and new cult figure. “Arnold Layne” and “See Emily Play” sound guitarist Micko Larkin. (Perry gets full credit on one tune, “Letter to God.”) as fresh as ever, and warrant high-level slots in the British pop pantheon. Much of the riveting intensity of the group’s 1990s heyday appears to have“Bike” left along and with “Octopus” her former areDaniel Jackson nearly as good, each sporting melodies that bandmates, but there are fl ashes here of the snarling Too often, though, the slower songs trip her up. While once fury Love deployed to suchenthrall devastating and effect lyrics back that in the sparkle day. they like were demented showcases fornursery harrowing rhymes. displays of Even naked emotion,the She spits out her vocals with vengeful disdain on “Skinny Little Love sounds more dispassionate these days. The production Bitch,” overdriven guitarsdisjointed roiling atop anoddities—“Dark elastic bassline that Globe,” doesn’t for help—the instance—percolate songs have an airless, with sanded-down Barrett’s feel that speeds up as the song races toward a climatic pile-up at the doesn’t fi t with her visceral persona. Courtney Love’s tumultuous end. She shifts tempos andwhimsical attitude on thegenius. more contemplative By the mid-’70s, history suggests emotional that she andhas a mentalcompelling difficulties story to tell, and “Pacifi c Coast Highway,”had taking put stock an as endlayers toof acousticBarrett’s and recordingperhaps she career.does. It’s justThis not compilation,the one she’s telling sporting on Nobody’s electric guitars chug along behind her. Daughter. –Eric R. Danton five tracks newly remixed by Floyd’s David Gilmour, reminds us why his COURT YARD HOUNDS A side project of new offering suggested that its creator was a few strides closer to spiral into dysfunctionDixie Chicks’ constitutes Martie crafting one something of rock’s truly monumental saddest in both episodes. musical and social–RH terms. Court Yard Hounds Maguire and Emily This cold and private set isn’t it, although that’s probably due more to [Columbia] Robison, Court Yard personal circumstances than anything related to talent. Wainwright Hounds delivers wrote All Days Are Nights while his mother, Kate McGarrigle, was much-anticipated dying of cancer, and there is a quiet, complex sadness even in its insight—both musical and personal—into the sisters who have less autobiographical material. There’s nothing here except piano for so long ceded center stage to Chicks singer Natalie Maines. and vocal, and Wainwright doesn’t project his words in the way Though steeped in familiar instrumentation, the album offers little we’ve come to expect from him. Instead of serenading the person of the barn-burning brashness that made the Chicks famous (save in the farthest corner of a packed theater, he’s singing to himself in perhaps the gutsy “Ain’t No Son”). Instead, its delicate folk-pop an otherwise empty room. –David Styburski prettiness perfectly suits Robison’s more-than-capable voice and the jumble of emotions, sunny and melancholy, that emerge in a song Ozomatli’s music has been called a collision cycle inspired by her 2008 divorce. Maguire’s weeping fi ddle and OZOMATLI of styles, a cultural mash-up, and a 20-car seamless harmonies are welcome as always, and her one turn on pileup of genres. It’s also some of the most ‘Thislead vocals (“Gracefully”)18-song is so warmly collectionaffecting that listeners may shows joyfully energetic music you’ll ever hear. On wish she stepped to the mic more often. Court Yard Hounds ably its fi fth album, the L.A.-based band stirs its demonstrates that, whether with their fellow Dixie Chick or without, blend of salsa, ska, samba, funk, and hip-hop these ladies’ talent runs deep. –Katie Dodd in ways few groups could conceive. Imagine why Barrett remains suchFire Away a tossing the English Beat, Herb Alpert and the For a dozen years, the [Mercer Street/Downtown] Tijuana Brass, Caetano Veloso, and Sly and RUFUS arrangements on Rufus the Family Stone into a magical blender and Wainwright’s albums got you get some sense of Ozomatli’s eclectic approach. High points WAINWRIGHTrevered cultbusier and figure.’ his sometimes on their latest, Fire Away, include “Are You Ready?,” a horn-and- All Days Are Nights: Songs naughty, occasionally percussion-driven blast of salsa-fl avored ska; “Yeah Yeah Yeah Yeah,” for Lulu angry declarations of gay an exultant Latin pop anthem fi tted with shrieking sax; and “Gay Vatos [Decca] pride got louder. Each in Love,” a rockabilly-tinged tune with a soaring chorus. Even when 70 MAY 2010 NOVEMBER 2010 M MUSIC & MUSICIANS MAGAZINE M3_v10.indd 70 5/14/10 3:37 AM.