MARCH/APRIL 2011 ISSUE MMUSICMAG.COM REVIEWS HOLE SNobody’sARA EVANS Daughter [Universal] Stronger [Sony Nashville] The first album released under the Hole moniker since 1998’s Celebrity Skin is Onreally her first album in five years, Sara Evans courts country radio with a firm frontwoman Courtney Love’s second solo album—co-founder,determination. A slick package of twang pop, Stronger begins with more songwriter and lead guitarist Eric Erlandson isn’t involved,Hallmark schmaltz than Tennessee waltz: her remake of Rod Stewart’s late nor is any other previous Hole member. So it’s Love and’80s three hit “My Heart Can’t Tell You No” marks the nadir of a middling first ringers on 11 new songs—10 of which Love wrotehalf. with The second half is where you’ll find the winners: Songs like “Alone” collaborators like Billy Corgan,and “Ticket Linda Perry to Ride” and new (not the Beatles number) have an intelligence and guitarist Micko Larkin. (Perry gets full credit on one tune, “Letter to God.”) depth worthy of Evans’ talent. When she’s singing about heartache and Much of the riveting intensity of the group’s 1990s heyday appears to havemisery, left along the with results her former are magic. Daniel Jackson On “What That Drink Cost Me,” a nuanced 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 suchaccount devastating of substanceeffect back in theabuse, day. theyshe were plays showcases to the for strengths harrowing displays of her of plaintivenaked emotion, She spits out her vocals with vengeful disdain on “Skinny Little Love sounds more dispassionate these days. The production Bitch,” overdriven guitarsalto. roiling As atop a fittingan elastic finale, bassline thatEvans doesn’t essays help—the a bluegrass songs have versionan airless, ofsanded-down “Born to feel Fly,” 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 andoffering attitude a on hint the more of how contemplative her music history might suggests blossom that she if shehas a werecompelling to strip story awayto tell, and “Pacifi c Coast Highway,”the taking sonic stock astrappings layers of acoustic and andtake perhapsa more she organicdoes. It’s just approach. not the one she’s –Blake telling onBoldt Nobody’s electric guitars chug along behind her. Daughter. –Eric R. Danton

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 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 vocals (“Gracefully”) is so warmly affecting that listeners may joyfully energetic music you’ll ever hear. On ‘Songswish she stepped like to the mic more‘Alone’ often. Court Yard and Hounds ably ‘Ticket to 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 Ride’ have an intelligenceFor a dozen years, the [Mercer Street/Downtown] and 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 WAINWRIGHT busier and his sometimes on their latest, Fire Away, include “Are You Ready?,” a horn-and- depthAll Days worthy Are Nights: Songs ofnaughty, Evans’ occasionally percussion-driventalent.’ 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

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