MARCH/APRIL 2011 ISSUE MMUSICMAG.COM REVIEWS HOLE JNobody’sOHNNY CASH Daughter [Universal] Bootleg Vol. II: From Memphis to Hollywood [Columbia/Legacy] The first album released under the Hole moniker since 1998’s Celebrity Skin is Thereally deluge of Johnny Cash vault material (and endless repackagings) frontwoman Courtney Love’s second solo album—co-founder,released since he ceased to walk the line on this earthly plane shows no songwriter and lead guitarist Eric Erlandson isn’t involved,sign of abating. The first set in this “bootleg” series, Personal File, only nor is any other previous Hole member. So it’s Love andscratched three the surface of the hundreds of demos, outtakes and home ringers on 11 new songs—10 of which Love wroterecordings with accumulated by the man over his lifetime. From Memphis collaborators like Billy Corgan,to Hollywood Linda Perry dips and new into that trove again, this time to take us back to guitarist Micko Larkin. (Perry gets full credit on one tune, “Letter to God.”) the very beginning of his career with an early radio appearance by a Much of the riveting intensity of the group’s 1990s heyday appears to havenervous left along and with green her former Cash andDaniel Jackson the Tennessee Two in May 1955. Following 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 suchthat devastating are 14 effectearly back demos in the day. of songsthey were that showcases he would for harrowing later displaysrecord of fornaked Sun, emotion, She spits out her vocals with vengeful disdain on “Skinny Little Love sounds more dispassionate these days. The production Bitch,” overdriven guitarsfeaturing roiling atop Cash an elastic alone bassline with that his doesn’tguitar. help—the The set songs adds have severalan airless, Sunsanded-down outtakes 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 andand attitude a disc on the of more B-sides contemplative and raritieshistory suggests from histhat she’60s has work a compelling for Columbia, story to tell, and “Pacifi c Coast Highway,”all taking of stockwhich as layersare ofworthy acoustic listening. and perhaps But she it’s does. the It’s justglimpse not the one of she’sthe tellingfirst on steps Nobody’s electric guitars chug along behind her. Daughter. –Eric R. Danton of a musical giant that makes this collection essential. –Stuart Munro 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 ‘It’swish shethe stepped glimpse to the mic more often. Courtof Yardthe Hounds firstably stepsits 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 of a musical giantFor athat dozen years, makes the [Mercer Street/Downtown] this 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- Allcollection Days Are Nights: Songs naughty, essential.’ 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 MARCH/APRIL 2011 M MUSIC & MUSICIANS MAGAZINE M3_v10.indd 70 5/14/10 3:37 AM.