MAY 2010 ISSUE MMUSICMAG.COM REVIEWS HOLE CNobody’sOURT YARD Daughter HOUNDS [Universal] Court Yard Hounds [Columbia] The first album released under the Hole moniker since 1998’s Celebrity Skin is Areally side project of Dixie Chicks’ and Emily Robison, Court frontwoman Courtney Love’s second solo album—co-founder,Yard Hounds delivers much-anticipated insight—both musical and personal— songwriter and lead guitarist Eric Erlandson isn’t involved,into the sisters who have for so long ceded center stage to Chicks singer nor is any other previous Hole member. So it’s Love andNatalie three Maines. Though steeped in familiar instrumentation, the album ringers on 11 new songs—10 of which Love wroteoffers with little of the barn-burning brashness that made famous collaborators like Billy Corgan, Linda Perry and new guitarist Micko Larkin. (Perry(save gets perhapsfull credit on theone tune,gutsy “Ain’t No Son”). Instead, its delicate folk-pop “Letter to God.”) prettiness perfectly suits Robison’s more-than-capable voice and the Much of the riveting intensity of the group’s 1990s heyday appears to havejumble left along of emotions,with her former sunny Daniel Jackson and melancholy, that emerge in a song cycle 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 suchinspired devastating by effecther 2008back in thedivorce. day. they Maguire’s were showcases weeping for harrowing fi ddle displays and ofseamless naked emotion, She spits out her vocals with vengeful disdain on “Skinny Little Love sounds more dispassionate these days. The production Bitch,” overdriven guitarsharmonies roiling atop an are elastic welcome bassline that as always,doesn’t help—the and songsher one have anturn airless, on sanded-down lead vocals 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 and(“Gracefully”) attitude on the moreis so contemplative warmly affecting history suggests that listeners that she hasmay a compellingwish she story stepped to tell, and “Pacifi c Coast Highway,”to taking the stockmic asmore layers often. of acoustic Court and Yardperhaps Hounds she does. ably It’s demonstrates just not the one she’s that, telling whether on Nobody’s electric guitars chug along behind her. Daughter. –Eric R. Danton with their fellow Dixie Chick or without, these ladies’ talent runs deep. COURT YARD HOUNDS A side project 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–Katie probably Dodd 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 . 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 AS SEENprettiness IN: perfectly MAY suits2010 Robison’s M MUSIC more-than-capable & MUSICIANS voice and MAGAZINE 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 “Courtwish she Yard stepped toHounds the mic more often.delivers Court Yard Houndsmuch-anticipated 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 Fire Away tossing the English Beat, Herb Alpert and the insight—both musical andFor a dozen personal—into years, the [Mercer Street/Downtown] the 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 sisters WAINWRIGHTwho have for busierso andlong his sometimes ceded on theircenter 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 stage [Decca]to Chicks singerpride gotNatalie louder. Each Maines.” in Love,” a rockabilly-tinged tune with a soaring chorus. Even when 70 MAY 2010

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