SEPT/OCT 2010 ISSUE MMUSICMAG.COM REVIEWS HOLE LNobody’sIZA MINNELLI Daughter [Universal] Confessions [Decca Records] The first album released under the Hole moniker since 1998’s Celebrity Skin is Whenreally covered Beyoncé’s “Single Ladies” in this frontwoman Courtney Love’s second solo album—co-founder,summer’s 2, it was one of the uneven sequel’s few songwriter and lead guitarist Eric Erlandson isn’t involved,high points. Likewise, Confessions, her first album in eight years, nor is any other previous Hole member. So it’s Love andshines three brightest when she’s at her most lighthearted, reveling in the ringers on 11 new songs—10 of which Love wrotetricky with rhythms of “You Fascinate Me So” and the subtle sauciness of collaborators like Billy Corgan,the Disney Linda Perryclassic and new“He’s a Tramp.” Unfortunately, the upbeat tunes are guitarist Micko Larkin. (Perry gets full credit on one tune, “Letter to God.”) few, and the stripped-down arrangements by pianist Billy Stritch do Much of the riveting intensity of the group’s 1990s heyday appears to havelittle left toalong differentiate with her former one Daniel Jackson ballad from the next. While she certainly has 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 suchthe devastating pedigree effect to backtackle in the Etta day. James’they were “At showcases Last,” forMinnelli’s harrowing displaysversion of nakeddoesn’t emotion, She spits out her vocals with vengeful disdain on “Skinny Little Love sounds more dispassionate these days. The production Bitch,” overdriven guitarsadd roiling much atop an interest elastic bassline to the that overdone doesn’t help—the tune. songs As havea collection an airless, sanded-down of some feelof 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 andthe attitude legend’s on the morelongtime contemplative favorites, history Confessions suggests that she does has a compellinggrant listeners story to tell, a and “Pacifi c Coast Highway,”brief taking glimpsestock as layers into of acousticMinnelli’s and tasteperhaps and she does. sly It’ssense just not of the humor.one she’s tellingBut ona Nobody’sfew electric guitars chug along behind her. Daughter. –Eric R. Danton surprises would have made for a more compelling package. –Katie Dodd 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 wish ‘[Grants]she stepped to the mic more listeners often. Court Yard Hounds ablya brief 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 glimpse into Minnelli’sFor a dozen years, thetaste [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- Allsly Days Are sense Nights: Songs naughty, of humor.’ 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 AS SEEN IN: SEPT/OCT 2010 M MUSIC & MUSICIANS MAGAZINE

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