NOVEMBER 2011 ISSUE MMUSICMAG.COM REVIEWS HOLE KNobody’sATE BUSH Daughter [Universal] 50 Words for Snow [Fish People/Anti] The first album released under the Hole moniker since 1998’s Celebrity Skin is really frontwoman Courtney Love’sThis is Bush’s first recording of all new music since the double-discAerial in second solo album—co-founder,2005, although earlier in 2011 she released Director’s Cut, which included songwriter and lead guitarist Eric Erlandson isn’t involved,slightly reworked versions of some previously released songs. Not so nor is any other previous Hole member. So it’s Love andmuch three a holiday album as a soft, meditative and lush rumination on winter, ringers on 11 new songs—10 of which Love wrote50 with Words for Snow will remind listeners of a time when musical artists collaborators like Billy Corgan, Linda Perry and new guitarist Micko Larkin. (Perrywere gets more full credit intent on one ontune, creating unified works rather than single-serving “Letter to God.”) downloads. Bush seems to be focusing less on her vocals and more on Much of the riveting intensity of the group’s 1990s heyday appears to havecreating left along a withstark, her almostformer visualDaniel Jackson mood. Guests Elton John (“Snowed in at 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 suchWheeler devastating Street”) effect back and in especially the day. they Stephen were showcases Fry, with for hisharrowing spoken-word displays of naked reading emotion, She spits out her vocals onwith the vengeful title disdaincut, are on “Skinnyused hereLittle likeLove actors sounds inmore a film. dispassionate This enchanting these days. The album production is Bitch,” overdriven guitars roiling atop an elastic bassline that doesn’t help—the songs have an airless, sanded-down feel that speeds up as the song araces timely toward reminder a climatic of pile-up a refreshingly at the doesn’t original fi t with herartist visceral whose persona. influence Courtney Love’s on others, tumultuous end. She shifts tempos and attitude on the more contemplative history suggests that she has a compelling story to tell, and “Pacifi c Coast Highway,”from taking Björkstock as to layers Sarah of acoustic McLachlan and perhaps and she most does. recentlyIt’s just not theJoanna one she’s Newsom, telling on Nobody’s is electric guitars chug along behind her. Daughter. –Eric R. Danton incalculable. –Steve Matteo 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 ‘Thiswish she stepped enchanting to the mic more often. Court Yard Houndsalbum ably is a 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 timely reminderFor a dozen years, the of [Mercer a Street/Downtown] 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- refreshinglyAll Days Are Nights: Songs naughty,original occasionally artist.’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 NOVEMBER 2011 M MUSIC & MUSICIANS MAGAZINE M3_v10.indd 70 5/14/10 3:37 AM.