 | | Reviews | | |  NATALIE MERCHANT
The House Carpenter's Daughter
Myth America MYTA1026.2
The responsibilities of newly-acquired motherhood coupled with a noble resolve to expunge the adult pop expectations of major record labels are factors which may have contributed to Natalie Merchant's appetite for creative independence. Divorced from Elektra Records after seventeen commercially successful years (with and without 10,000 Maniacs) The House Carpenter's Daughter is the inaugural release on Merchant's own label and finds her harnessing the sounds of banjo, electric guitar and those tremulously sensorial vocals to the (mutually) traditional songs of Britain and the Appalachian mountains (both Cecil Sharp and Harry Smith would give an approving nod of recognition) with a brooding intensity worthy of someone who really did start her career covering Joy Division songs.
Naturally, eyes, ears and expectations are drawn to her version of Fairport's unimpeachably sacrosant Crazy Man Michael. It's magnificent, of course, but despite the florid fiddle bridges, hushed church organ and brumal aura it lacks the bewitchment and penitency of Sandy Denny's original reading. More definitive is the choleric rendition of Whose Side Are You On?. Written - need anyone be reminded - by miner's wife Florence Reece during the murderous Harlan County, Kentucky strike of 1931 and subsequently adopted by everyone from Pete Seeger's Almanac Singers to Billy Bragg, it just has to be sung by a woman and Merchant's withering, wolf-from-the-door resilience brings the best out of a song that, elsewhere, could have been undermined by trenchant machismo.
Spiritual succour (the hymnal, cathartic Weeping Pilgrim), the encumbrances of blue collar toil (Down on Penny's Farm), unrequited love (The Carter Family's Bury Me Under The Weeping Willow) - all life, labour, love and death is here. Magnificent. Quite possibly one of the albums of the year.
Kevin Maidment - October 2003
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 What with her recent collaboration on the Billy Bragg/Woody Guthrie project, it seemed only a matter of time before Natalie Merchant came to the inevitable climax of her musical journey, and recorded an album of pue folk song, and it really is a joy. I suppose she has one of those voices that polarise opinion. I happen to love it. She uses it to heartbreaking effect on Weeping Pilgrim (for me, the outstanding track), and her the big ballads, like the title track, are perfectly suited to her tremulous, grand interpretations. A truly great album.
Wayne Jones, London
I've had this CD for a couple of months now and am still not tired of listening to it.Natalie's voice has fascinated me ever since I first heard it on the Chieftains cd Tears of stone and this album really suits her voice.I have favourites as I'm sure you will have but nothing on it disappoints me.Her unique voice makes songs I have known for ever seem brand new.The political and hymnal theme runs right through and her versions of Which side are you on? and Owensboro are truly excellent.Sally Ann is such a good opening song that I was loving the cd after 6 minutes.You'll probably have to look outside the Folk area to find this but the hunt will be worth it.A wonderful album and Iv'e not heard many better this year.
Alex Wilson, Cramlington
I ordered this album from Natalie's web site three months ago and can't stop playing it. Every track is superb with house carpenter and Down on pennys farm standing out. hope she plays live in the uk soon.
Adrian wroth, Windsor
We all know about Merchant's fantastic voice and if, like me, you were blown away by the title track from Motherland, then you'll be pleased to know that that tasteful, laid-back almost The Band-like sound is the starting point for this album, albeit in a more concentrated folk music context. What I like best about this album are the instrumental performances, especially the use of violin, banjo and judicious use of electric guitar where appropriate. The complementing and contrasting instrumental tonality and phrasing are immaculate, and Merchant has perfectly synced these in with her own stunning vocal performances. Natalie Merchants best album yet.
Jon Higgins, Thornbury near Bristol | | | | | | |  |
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Folk & Acoustic
