Customer Reviews

The House Carpenter's Daughter

5 star:		(38)
4 star:		(10)
3 star:		(3)
2 star:		(5)
1 star:		(4)

 

 

My initial fears were that Natalie Merchant's new independently released folk album might be too "folksy" -- my expression for some music that can sound too dry, too unimaginative, or too old fashioned. But those concerns evaporated within a few seconds of hearing the playful fiddle of Judy Hyman dancing out of the speakers on the first track. Fifty minutes later, I knew I had another CD that would make its home in the pile near the CD player rather than in the proper shelves that are rarely consulted.

Of course, the centerpiece of this 11-song collection is Ms. Merchant's warm, round voice -- only now it is stripped of the polished and comparatively intrusive pop production qualities often evident in her recent mainstream releases. I thoroughly enjoy Ms. Merchant's previous work, going way back to 10,000 Maniacs and though Tigerlilly, Ophelia, and Motherland. But this CD is Ms. Merchant made plain to see and, as a result, a joy to listen to.

The song selection is the other key element to this collection, and even for folks who aren't so familiar with some the story behind these songs (like me), the well-written liner notes help to compensate. The arrangements themselves are intelligent and understated, and music is top-notch while staying in its proper supporting role.

The last selling point of this CD is the attractive package it comes in: a limited edition version that includes a smart booklet that, among other things, explains Ms. Merchant's view that folk music is simply something "universally loved and understood" that will "endure the test of time ... because it has made itself useful to so many of us." By that standard, the House Carpenter's Daughter is far more "folksy" that I initially feared -- and thank goodness for that.

a long time fan of the maniacs and natalie, i would like to say how happy i am for this next step in the musical exploration of her's. i have grown up with her music and have found much strength and voice through her poetry and conviction.
as i have lived, i have learned things i feel mimiced in natalie's voice and her approach to the art and science of muscial communication and discent. she speaks volumes in those slow thoughtful moments and other times her voice is full with emotions that have no words. i can imagine some people who wrote negative reviews can't hear her strength and maturing wisdom in her amazing music on this album. i'm blown away by the beauty of her voice. my god, it's thick with her desire to understand and express her interpretation of her art. not to mention the amazing musical work of the bangos, violins, guitars... wonderful.
so yeah, as someone who has respected natalie merchant for her strength of character and the stories she endured to tell, i feel more expression in her voice than ever. she touches me deeply.

When we last heard from Natalie two years ago, "Motherland" proved to be her major label swan song. Natalie has chosen to go her own way, not only in going truly 'indie' to issue her albums, but also musically. Subtitled "A Collection of Traditional & Contemporary Folk Music", it's Natalie's way of saying "please don't come looking for another Candy Everybody Wants". So ok, we get the idea, but the question is: is the new album any good?

The answer is a resounding YES. "The House Carpenter's Daughter" (11 tracks, 50 min.) is a gorgeous collection of songs. Album opener "Sally Ann" is one of the standouts, with great violin solos. "Which Side Are You On?" follows very nicely. The album overall reminds me of Steeleye Span and Fairport Convention, so it's not a surprise that Natalie covers the Convention's "Crazy Man Michael", just beautiful. "House Carpenter" is the epic center-piece of the album, with great banjo work. Song titles like "Weeping Pelgrim" and "Weeping Willow" convey that there is a lot of heartache, but Natalie has not lost her sense of humor, witness the witty (and danceable) "Soldier, Soldier" tune.

In all, this is wonderful album. It's become clear to me that with each subsequent album, Natalie strays further from the mainstream, with great results. No, you won't hear this on your localcommercial radio station. But Natalie has earned my trust that I can say I will buy a new Natalie album, sounds unheard, confident that she will surprise and delight me. I can only hope taht she will take this album on the road, often and loud... By all means, BUY THIS!

It's great! I was dubious at first but let me assure you, if you like traditional or roots music, this one's for you.
John Cashs' version of Wayfaring Stranger blew me away. Ms Merchant's version is quite different again but handled with equal gravity and appreciation. Also outstanding are Sally Ann, Which side are you on? (a stirring union song), Crazy Michael and Soldier, soldier. The traditional Down on Penny's Farm is energised and breathtaking hoedown music. Other styles are just as competently and confidently performed. Soldier, soldier is reminiscent of the bass heavy electric folk that Steeleye Span once did so well - though this has a more contemporary feel to it. The album is up there with Gillian Welch's Revelator which is one of the other really, really good modern folk recordings I've heard.

This is a departure of sorts, not just for Natalie Merchant, but also for any popular music singer. After all, how many pop (or alternative or whatever) artists would be comfortable releasing an album of the type of songs that hardly register in most Americans' idea of what music is?

And yet there was a time when music was more a communal thing, something that brought people together (and not for a concert). With this album, Natalie Merchant has a wonderful collection of "folk" songs, ranging in time from the 17th to the 20th centuries, with stories about coal miners and treasure and lost loves and the like.

The collection is very good. The musicianship is very good. Ms. Merchant sings beautifully. If I had one tiny nit-pick about the album, it would be that it seems that from time to time it Ms. Merchant's voice almost overpowers the rest of the song being played. Especially being someone who is used to a more traditional style of folkmusic, it's caused me to have to listen to the album a couple of times to warm up to her style of singing these songs. However, it's a lovely album, and it's great to hear songs like this get some attention.

Being a big fan of Natalie Merchant, I wanted to buy this album even though I have no interest in Folk music whatsoever and was slightly dubious whether I would like it. However, this is a stunning album, every song is a gem - particularly Owensboro -and it shows off Natalie's immeasurable talent. I had to buy this album from the US as it's not currently available in the UK and am amazed that more people haven't discovered what they're missing.

Here is Miss Merchants quiet kiss off to the music industry. Never conforming to industry standards Merchant's time as solo pop star was short lived and amazingly successful in spite of her musical choices. Each cd documented her growth away from mass consumption and drew her deeper into her own vision and sound. Her major label swansong "Motherland" was sadly ignored, but laid the ground work for her new amazing cd "THCD" .

One only need listen to Merchants body of work to know her new cd is not about cashing in on any trends. The 10,000 Maniacs first major label cd "The Wishing Chair" is testament to this fact. There is really only a few near misses on "THCD," "Down on Pennys Farm" is one track that seems vocally uninspired. BUT the few misses aren't even noticed surrounded by the other stellar material -- my favorite "Owensboro" is Merchant at her finest hour. Merchants voice and somber mood are better suited for songs like 'Sally Ann" and "Diver Boy."

Congrats to Miss Merchant for choosing to age gracefully and appeal to her gracefully aging fans. Few artists of her popular past would ever consider such a "risk".

I waited soooo long for this album after going to many shows on her Folk Tour. Her voice is amazing, and I think it gets even better every year.

Don't think you like folk music?? Well, if you like Natalie's music, BUY THIS ALBUM. She does her own versions of these songs, and with that incredible voice, this is an album that any Natalie fan will love.........even if they are not into this genre of music.

Thanks Natalie for another incredible album. Keep 'em coming!!

I've had this cd for about 2 weeks now and I love it!

Having heard some of these songs (Which Side Are You On?, Diver Boy, Bury Me Under The Weeping Willow Tree, House Carpenter, and Poor Wayfaring Stranger) elsewhere, from versions dating as far back as the 1920's, I was curious to hear what Natalie did with them. She did what I had hoped she would do... she made them her own, as well as keeping true to the soul and integrity of the songs.

Natalie's voice and style are perfect for these songs. For those of you who are just fans of Natalie but don't know any of these songs, I think you will love this album. In one sense, it's like most of her other albums. Great performances of great songs. For those of you who are fans of Natalie AND know these songs from elsewhere... or who are coming to this album just because of these songs... you're in for a treat as well. It's great to hear Natalie's more spare-yet-buliding arrangement of The House Carpenter and compare/contrast it to the harder-edged Clarence Ashley version from the late '20s or early '30s (sorry, I'd have to go grab the Greenback Dollar cd to be sure of the exact year). Or to hear her take on Which Side Are You On? and compare it to a John Cohen version I love so much. This would be a great tune to hear her sing with Utah Phillips, with maybe just banjo accompaniment.

The comparing/contrasting could go on for a while, but the bottomline is that Natalie's versions stand on their own as great versions. Her Wayfaring Stranger will stop you in your tracks. It haunts me still.

I do wonder why Natalie made this only a 50(ish)-minute album, though. If all original songs I'd understand, but given the focus of this project, and such a wealth of amazing songs out there to choose from... those empty minutes just make me wonder about her potential versions of other songs. Omie Wise, Pretty Polly, Conversation With Death, Sugar Baby, Lady Gay, Bright Sunny South, etc...

Alas, we may never know. Unless she's saving these for Volume 2. I hope! Great album here. Thanks Natalie!

I loved every note of every song on this album. While it wasn't quite what I had expected, having had read the lyrics before hearing the actual songs, I fell completely in love. Ms. Merchant was either made to sing these songs, or they were written for her voice. She is remarkable in the way her mellow full voice wraps around each song, making the song her own, and yet still maintaining each song's individual beauty. She is one of the most authentic singers around today and this album is one of her best.

While I love 10,000 Maniacs, Ms. Merchant has grown so much since then and her voice continues to become more lovely and sincere with each new album.