ISSUE #25 MMUSICMAG.COM REVIEWS

BOOK HOLE 10Nobody’sCC Daughter [Universal] In Concert [Wienerworld] The first album released under the Hole moniker since 1998’s Celebrity Skin is really frontwoman Courtney Love’sThey’re usually described as “art-rock,” or some variation of that term, but more second solo album—co-founder,than anything, 10cc was a smart English pop band. After releasing a handful of well- songwriter and lead guitaristcrafted, durable AM radio hits and deceptively sophisticated albums in the ’70s, they Eric Erlandson isn’t involved, nor is any other previoussaid Hole their goodbyes in the early ’80s. While the original quartet—Graham Gouldman, member. So it’s Love andKevin three Godley, Eric Stewart and Lol Creme—reunited in 1991 for one album, they ringers on 11 new songs—10 of which Love wrotequickly with fell apart again. collaborators like Billy Corgan,Since 1999,Linda Perry the workingand new band has featured only Gouldman from the original lineup, guitarist Micko Larkin. (Perryand gets according full credit to on the one packaging, tune, the two 2012 U.K. concerts captured at two locations— “Letter to God.”) Much of the riveting intensityCardiff, of Wales, the group’s and Shepherd’s1990s Bush Empire in London—on this live 40th anniversary Daniel Jackson heyday appears to haveDVD left mark along Godley’s with her first former appearances with 10cc in three decades. Some online sources bandmates, but there are fl ashes here of the snarling Too often, though, the slower songs trip her up. While once dispute that detail, but either way, the chemistry that allowed 10cc to flourish in their fury Love deployed to such devastating effect back in the day. they were showcases for harrowing displays of naked emotion, She spits out her vocals heydaywith vengeful is intact, disdain even on “Skinny without Little half Loveof the sounds founding more dispassionatemembers present. these days. On Thesuch production hits Bitch,” overdriven guitarsas roiling “The atopThings an elasticWe Do bassline for Love,” that “Dreadlockdoesn’t help—the Holiday,” songs “I’m have Not an airless,in Love” sanded-down and “Rubber 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 andBullets,” attitude the on sharpthe more musicianship, contemplative catchyhistory hooks, suggests infectious that she melodieshas a compelling and smooth story to vocal tell, and “Pacifi c Coast Highway,”performances taking stock as layersare highly of acoustic estimable, and perhapsand the she addition does. It’s of just deeper not the albumone she’s cuts—“Life telling on Nobody’s Is a electric guitars chug along behind her. Daughter. –Eric R. Danton Minestrone,” anyone?—will come as good news to longtime fans. One of the highlights of the set, which contains no fewer than 17 hit songs, COURT YARD HOUNDS A side project of new offering suggested that its creator was a few strides closer to however, has nothingDixie Chicks’ to do Martie with 10cc.crafting Priorsomething to formingtruly monumental the band, in both Gouldmanmusical and social had terms. Court Yard Hounds Maguire and Emily This cold and private set isn’t it, although that’s probably due more to [Columbia] already establishedRobison, a lucrative Court Yard career personal as a songwriter, circumstances and than his anything versions related of to tunes talent. madeWainwright famous by the HolliesHounds (“Bus delivers Stop,” wrote“Look All Through Days Are AnyNights Window”), while his mother, Herman’s Kate McGarrigle, Hermits was much-anticipated dying of cancer, and there is a quiet, complex sadness even in its insight—both musical and(“No personal—into Milk Today”) the sisters and the who Yardbirds have less (“Forautobiographical Your Love”) material. are There’s positively nothing charming here except in 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 familiarthis instrumentation, context. –Jeff the Tamarkinalbum 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‘On vocals 10cc’s (“Gracefully”) hits, isthe so warmlysharp affecting musicianship, that listeners may catchy hooks, 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 infectiousthese ladies’ talent melodies runs deep. –Katieand Doddsmooth vocal performances are in ways few groups could conceive. Imagine Fire Away tossing the English Beat, Herb Alpert and the highly estimable, and the additionFor a dozen of deeperyears, the album[Mercer Street/Downtown] cuts will 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 WAINWRIGHTcome as good newsbusier to and longtime his sometimes fans.’ 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] 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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