ISSUE #25 MMUSICMAG.COM REVIEWS HOLE RNobody’sOBBEN FORD Daughter [Universal] Bringing It Back Home [Provogue] The first album released under the Hole moniker since 1998’s Celebrity Skin is really frontwoman Courtney Love’sThe title suggests that sometime during his four-decade career, second solo album—co-founder,Robben Ford abandoned the blues, but that’s not true. Even while songwriter and lead guitarist Eric Erlandson isn’t involved,immersed in jazz—he played with Miles Davis and was a member nor is any other previous Hole member. So it’s Love andof three the Yellowjackets—the gifted guitarist never completely strayed ringers on 11 new songs—10 of which Love wrotefrom with the genre. Still, this is his most blues-saturated record in some collaborators like Billy Corgan,time. WhetherLinda Perry andturning new to established songsmiths (Earl King, Allen guitarist Micko Larkin. (Perry gets full credit on one tune, “Letter to God.”) Toussaint) or penning his own material, Ford casts off the mannerisms Much of the riveting intensity of the group’s 1990s heyday appears to haveof lefthis along more with progressive her former Daniel Jackson work. The result is some of his most soulful, 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 suchemotionally devastating effect resonant back in themusic, day. theyas evidencedwere showcases by for hisharrowing original displays ballad of naked “Oh, emotion, She spits out her vocals Virginia”with vengeful and disdain the on “Skinnyminimalist Little “Traveler’sLove sounds more Waltz,” dispassionate credited these to days. wife The Anneproduction 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 Kerryraces toward Ford a andclimatic Michael pile-up at McDonald. the doesn’t fi tAnd with her there’s visceral persona.still plenty Courtney of Love’s rock tumultuous and 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,”funk. taking stock“Fair as Child”layers of acousticis built and on perhaps a grabber she does. of It’s a just groove, not the one and she’s histelling soulful on Nobody’s electric guitars chug along behind her. Daughter. –Eric R. Danton cover of Bob Dylan’s “Most Likely You Can Go Your Way and I’ll Go

COURT YARDMine” HOUNDS finds addedA side project depth of innew the offering organ suggested and thattrombone. its creator was Ford’s a few strides vocals closer to Dixie Chicks’ Martie crafting something truly monumental in both musical and social terms. Court Yard Houndsaren’t his greatestMaguire strength, and Emily butThis coldhe andgives private it setall isn’t he’s it, although got. –Jeffthat’s probably Tamarkin 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 vocals (“Gracefully”) is so warmly 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 ‘Forddemonstrates casts that, whether off with the their fellowmannerisms Dixie Chick or without, of his more blend of salsa, ska, samba, funk, and hip-hop these ladies’ talent runs deep. –Katie Dodd in ways few groups could conceive. Imagine Fire Away tossing the English Beat, Herb Alpert and the progressive work, and theFor a dozen result years, theis some[Mercer Street/Downtown] of hisTijuana 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 most soulful,WAINWRIGHT emotionallybusier and his resonant sometimes on theirmusic.’ 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 ISSUE #25 M MUSIC & MUSICIANS MAGAZINE

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