NOVEMBER 2011 ISSUE MMUSICMAG.COM REVIEWS HOLE NNobody’sILS LOFGREN Daughter [Universal] Old School [Vision Music] The first album released under the Hole moniker since 1998’s Celebrity Skin is really frontwoman Courtney Love’sAmong his fine work in Bruce Springsteen’s E Street Band, stewardship second solo album—co-founder,of Grin and work alongside Neil Young on classics like Tonight’s the Night, songwriter and lead guitarist Eric Erlandson isn’t involved,Nils Lofgren once simultaneously enjoyed a prolific solo career. But as nor is any other previous Hole member. So it’s Love andhis three day job as an E Streeter has taken up increasingly more of his time, ringers on 11 new songs—10 of which Love wrotedevotees with have been left hoping he’d step out more on his own—and Old collaborators like Billy Corgan,School Linda should Perry satisfyand new those Lofgren loyalists. Boasting guest stars Paul guitarist Micko Larkin. (Perry gets full credit on one tune, “Letter to God.”) Rodgers, Lou Gramm and Sam Moore, the new album integrates relentless Much of the riveting intensity of the group’s 1990s heyday appears to haverockers left along with with bittersweet her former balladry.Daniel Jackson The focus frequently veers toward regret 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 suchand devastating reflection, effect givenback in the the day.wistful they tributes were showcases to vanished for harrowing icons displays (“Miss of nakedYou emotion,Ray,” She spits out her vocals “Ain’twith vengeful Too Manydisdain onof “SkinnyUs Left”), Little unblemishedLove sounds more looks dispassionate at the thesedifficulty days. Theof productionaging Bitch,” overdriven guitars roiling atop an elastic bassline that doesn’t help—the songs have an airless, sanded-down feel that speeds up as the song gracefullyraces toward (“60 a climatic Is the pile-up New at 18”)the anddoesn’t an fi t angrywith her indictment visceral persona. of Courtneyentitlement Love’s (“Old tumultuous end. She shifts tempos and attitude on the more contemplative history suggests that she has a compelling story to tell, and “Pacifi c Coast Highway,”School”). taking stock Lofgren’sas layers of acoustic ever-expressive and perhaps vocals she does. and It’s justriveting not the melodiesone she’s telling keep on Nobody’s the electric guitars chug along behind her. Daughter. –Eric R. Danton tunes grounded and easily accessible, while allowing plenty of sentiment

COURT YARDto HOUNDS shine through.A side –Lee project Zimmerman of new offering suggested that its creator was a few strides closer to Dixie Chicks’ Martie crafting something truly monumental in both musical and social 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 lead‘Lofgren’s vocals (“Gracefully”) is so warmly ever-expressive affecting that listeners may 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 vocalsthese ladies’ talent runsand deep. –Katie riveting Dodd melodies in ways few groups could conceive. Imagine Fire Away 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 keep the tunesWainwright’s grounded albums got you get some and sense of Ozomatli’s eclectic approach. High points WAINWRIGHT busier and 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]easily accessible.’pride got louder. Each in Love,” a rockabilly-tinged tune with a soaring chorus. Even when

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