Courtney Love
Since Hole bit the dust Courtney Love (the widow Cobain, mother of Frances Bean and wrangler of the Nirvana legacy) has managed to keep in the public eye, and in the tabloids, with several incidences of reckless behavior (often fueled by drugs), drug busts (see), court appearances (along with some no-shows) and a child custody hearing. All this could be the makings of a compelling "Behind The Music" program but was hell to live through. Love said so herself. With her notoriety exceeding her musical accomplishments (yet again) it was time to get down to business with the "comeback" album "America's Sweetheart," a title riff with irony. Considering Love's emotional state it was probably wise, and generous on her label's part, to surround her with musical heavyweights (producer Matt Serletic and songwriters Bernie Taupin and Linda Perry) rather than leave Love on her own. Breaking new acts is so hard. Better to dress up a known (if shaky) performer.
It's a terrible feeling to live in a place and know it's not home. Even worse, is not knowing where home is anymore. That's Love's life-dilemma through "America's Sweetheart." To quote another L.A. transplant, Jim Morrison, Love is trapped in a "prison of her own device." And Love seems to get that. The album opens with "Mono" which clearly shows she has her chops. Credit must be given to the superb musicianship and production for providing Love what she needs to get across. Love wades in and delivers a humorous cradle-robbing mash note to The Strokes' singer in "But Julian, I'm A Bit Older." Maybe the May West approach is her ticket. As might be expected "All The Drugs" is a little ragged and "I'll Do Anything" is over the top. "Give me one match so I can set myself on fire." But despite these lapses Love presents a solid collection of dark Hollywood/L.A. derived songs. She is not going to say everything is all right, because it's not.