'He's Still Ingenious After All These Years.'

MARCH/APRIL 2011 ISSUE MMUSICMAG.COM REVIEWS HOLE Nobody’s Daughter P[Universal]AUL SIMON SoThe Beautifulfirst album released or So What under the Hole moniker since 1998’s[Hear Music/Concord Celebrity Skin] is really frontwoman Courtney Love’s secondElvis Costello, solo album—co-founder, himself no stranger to conveying songwriterhard-won wisdom and lead in song, guitarist pretty much nails it in Erichis liner Erlandson notes for isn’t Paul involved, Simon’s fi rst new album norin fi veis anyyears: other “This previous is a man Hole in full possession of Mark Seliger member.all his gifts, So it’slooking Love at and the three comedy and beauty ringers on 11 new songs—10 of life with clarity and the of which Love wrote with tenderness bought by collaborators like Billy Corgan, Linda Perry and new time.” Simon’s solo output guitarist Micko Larkin. (Perry gets full credit on one tune, has always been erratic, “Letter to God.”) a zigzag of indisputable Much of the riveting intensity of the group’s 1990s landmarks, most notably Daniel Jackson heyday appears to have left along with her former 1986’s Graceland, and bandmates, but there are fl ashes here of the snarling Too often, though, the slower songs trip her up. While once half-hearted efforts like fury Love deployed to such devastating effect back in the day. they were showcases for harrowing displays of naked emotion, She2006’s spits outSurprise her vocals. So with vengeful disdain on “Skinny Little Love sounds more dispassionate these days. The production Bitch,”Beautiful overdriven or So guitarsWhat, roiling atop an elastic bassline that doesn’t help—the songs have an airless, sanded-down feel that speedswhich reunites up as Simonthe song with races producer toward Phil a Ramone climatic for pile-up the fi rst at time the conundrumsdoesn’t fi t with sway her visceral to an persona.exquisite Courtneymelody playedLove’s tumultuouson African end.since She 1980’s shifts One-Trick tempos Ponyand attitude, leans toward on the themore classic. contemplative Drawing instrumentshistory suggests and Simon’s that she guitar, has whilea compelling “Love and story Blessings” to tell, setsand “Pacififrom a c trusted Coast wellHighway,” of infl uences—world-musictaking stock as layers instrumentation, of acoustic and pastoral,perhaps sheromantic does. imagesIt’s just notand the uptempo one she’s doo-wop telling onscatting Nobody’s in a electricR&B grooves, guitars gospel-inspiredchug along behind vocal her. jubilation—and boasting minimalist,Daughter. bluesy–Eric R. setting. Danton The poor sucker entering “The Afterlife” some of his sharpest songwriting in decades, Simon isn’t so fi nds himself bogged down in heavenly paperwork, but at least he much breaking new ground here as putting a new sheen on gets to do it to a swinging Cajun-esque rhythm. In 1968’s “Old COURT YARD HOUNDS A side project of new offering suggested that its creator was a few strides closer to what he does best. Dixie Chicks’ Martie Friends,”crafting something Simon mused truly monumental that it would in be both “terribly musical strange and social to be terms. 70.” Often he placesCourt a Yardlyric intoHounds a framework thatMaguire should byand defi nitionEmily NotThis atcold all—this and private fall, Simon set isn’t can it, although blow out that’s just probably that many due candles more to [Columbia] jar but instead fi ts snugly: In “Rewrite,” anRobison, author’s Courtfrustrating Yard knowingpersonal that circumstances he’s still ingenious than anything after all relatedthese years. to talent. –Jeff Wainwright Tamarkin 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, theAngles album marksoffers littlethe we’ve come to expect from him. Instead of serenadingThe title the ofperson All of the barn-burningTHE brashness STROKES that made the firstChicks time famous in (savethe in the farthestT cornerHE ofMOUNTAIN a packed theater, he’s Eternalssinging to himselfDeck in perhaps theAngles gutsy “Ain’t No Son”). Instead,Strokes’ its delicate decade- folk-pop an otherwise empty room. –David Styburski ostensibly refers prettiness perfectly[RCA] suits Robison’s more-than-capablelong history voice thatand GOATS to a fi ctional set of the jumble of emotions, sunny and melancholy, writingthat emerge inchores a song All Eternals DeckOzomatli’s music has beenTarot called cards, a collisionbut the [Merge] cyclehave beeninspired shared by her by 2008 all the divorce. members Maguire’s rather weeping than dominated fi ddle and OZOMATLI of styles, a cultural mash-up,Mountain and aGoats’ 20-car seamlessby lead singer harmonies Julian are Casablancas. welcome as always, Perhaps and the her shift one towardturn on latest draws less of its lyricalpileup juice of from genres. fortune-telling It’s also thansome from of thescientifi most c leaddemocracy vocals (“Gracefully”)explains why theis so scruffi warmly ness affecting and arrogance that listene thatrs heldmay inquiry and the lives of fadedjoyfully Hollywood energetic stars—as music you’ll befi ts ever idiosyncratic hear. On wishthe group’s she stepped previous to the records mic more together often. share Court the Yard stage Hounds here withably singer and songwriter Johnits fi fthDarnielle. album, It’sthe theL.A.-based latest in band a continued stirs its demonstratesnew‘He’s elements—sometimes that, still whether thewith albumingenious their fellow is an invitationDixie Chick to or an without, island- after evolution allaway from Darnielle’sblend of one-man,salsa, ska, lo-fi samba, roots: funk, The and Mountain hip-hop thesethemed ladies’ dance talent party, runs and deep. sometimes –Katie Doddit’s more artsy and dreamy. Goats have become a properin ways rock few band groups with could proper conceive. rock songs Imagine that No doubt Angles will provoke protest from some who fell in love retainFire Away Darnielle’s penchanttossing for striking the English lyrical imagery Beat, Herb and theAlpert occasional and the with the Strokes for bringing back the ’70sFor CBGBa dozen sound, years, butthe gut-punch[Mercer Street/Downtown] metaphor. He Tijuanamuses atBrass, the curse Caetano of immortality Veloso, and on Slyopener and straying fromR thatUFUS template doesn’t meanarrangements the group hason Rufusgiven “Damn These Vampires,” thedescribes Family theStone monsters into a magicalbehind mogul blender masks and up on going retro. The quieterthese pop tunesWainwright’s years.’are totally albums ’80s—one got youon “The get Autopsysome sense Garland,” of Ozomatli’s draws parallels eclectic between approach. modern High times points and half expects WAINWRIGHTto see Molly Ringwald or busierRalph andMacchio his sometimes starring onprimitive their humanlatest, Fireancestors Away on, include “Sourdoire “Are ValleyYou Ready?,” Song” and a horn-and-dedicates in the videos.All And Days intentionally Are Nights: Songsso or not,naughty, “Gratisfaction” occasionally is one percussion-driven“For Charles Bronson” blast toof …salsa-fl well, avored you can ska; guess. “Yeah All Yeah Eternals Yeah Yeah,”Deck of the better forThin Lulu Lizzy imitations outsideangry of a declarations full-blown tribute of gay anisn’t exultant the band’s Latin most pop anthempenetrating fi tted work, with shriekingbut it is another sax; and solid “Gay entry Vatos in act. –David Styburski[Decca] pride got louder. Each inthe Love,” Mountain a rockabilly-tinged Goats’ extensive tune canon. with –Erica soaring R. Danton chorus. Even when 6870 MAY 2010 MARCH/APRIL 2011 M MUSIC & MUSICIANS MAGAZINE M2-Vol2-Mag-beta20.inddM3_v10.indd 70 68 4/17/115/14/10 11:24 3:37 AMPM.

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