Live at the Mauch Chunk Opera House

The Wailin' Jennys | Format: Audio CD

Product Details

• Audio CD (August 11, 2009)
• Original Release Date: 2009
• Number of Discs: 1
• Label: Red House
• ASIN: B002EZLPHG
• In-Print Editions: MP3 Download
• Average Customer Review: 4.9 out of 5 stars  See all reviews (22 customer reviews)
• Amazon Best Sellers Rank: #5,705 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

25 of 25 people found the following review helpful:

4.0 out of 5 stars Close harmonies don't get much closer (studio or live), August 13, 2009

By 

Colin Spence (Formby, UK) - See all my reviews
(REAL NAME)   

This review is from: Live at the Mauch Chunk Opera House (Audio CD)

Not that this review is, in any way, biased you understand, but if the Wailin' Jennys ever come to the UK again, I'd walk barefoot over hot coals to get to see them in concert (I missed out last time); in the meantime, I'll just have to make do with this album.

The music on 'Live' is, essentially, 'uncluttered acoustic' - no electric guitars or keyboards (except accordion), and percussion is played on 4 tracks only. Of the 15 songs, 6 have been released on studio albums; 3 songs are sung a cappella, and of the remaining 12 songs, Jeremy Penner's violin playing features prominently on 10. Other instruments played (less frequently) include banjo, ukulele, mandolin, harmonica, and accordion; most songs have acoustic guitar and acoustic bass as accompaniment. The vocals are first rate and the harmonies are nothing short of stupendous - not only can the Jennys produce tight and faultless harmonies in the studio, but they can 'cut the mustard' live as well!; Heather Masse brings along her sumptuous contralto which fits seamlessly into the Jennys' format. The set is performed in front of an appreciative audience - interrupting only once to applaud Jeremy Penner's violin solo on `Deeper Well'. The sound quality is pretty good, but not up to the exceptionally high standard of the band's last two studio albums - the soundscape can be a little too bright at times.


Some comments about a selection of the songs :

DEEPER WELL (David Olney, Daniel Lanois, Emmylou Harris) - A somewhat more energized rendition than the studio version - driven along by rhythm guitar and bodhran; some freaky, 'out there' sounds from violin and acoustic bass. Nicky (mezzo-soprano) takes the lead vocals.

GLORY BOUND (Ruth Moody) - Ruth (soprano) leads on this gospel flavoured song which, vocally, is quite close to the studio version. The banjo/violin arrangement is a little different, and there is no percussion or tenor horn on the live version. The audience are invited to join in on the chorus, but their participation is barely perceptible.

BRING ME LI'L WATER SILVY (a cappella) (Huddie Ledbetter) - Much slower tempo than the Leadbelly original. Heather, on lead vocals, demonstrates a remarkable vocal range and lends a soulful, sultry edge to the song. Amazing 3-part harmonies - any closer and they'd be welded together. The song has a strong gospel feel to it - quite a different interpretation from the `folksier' studio version.

ONE MORE DOLLAR (Gillian Welch/David Rawlings) - An 'old-timey' folk (country?) number given a slight contemporary sheen. It's just made for the Jennys' gently soaring harmonies and Ruth's sweet soprano. Snare drum gives the song an easy rock-steady beat.

MOTHERLESS CHILD (Trad. arr. The Wailin' Jennys & Jeremy Penner) - More flawless harmonies, and Heather on lead vocals. Sung a cappella at a slow tempo for the first minute or so, then drums and bodhran step up the tempo for the remainder of the song. I found some of Jeremy's loose, almost 'free-form', violin playing briefly disconcerting.

CALLING ALL ANGELS (Jane Siberry) - Gorgeous slow tempo song, sensitively delivered by Nicky on lead vocals and Jeremy's wistful violin playing; beautifully controlled vocal harmonies complete the picture.


There is little I can fault with the vocal performances, and the harmonies are breathtaking. My only real disappointment is the violin playing - not to put too fine a point on it, there's just too much of it, and Jeremy Penner's approach is, at times, rather quirky and undisciplined. Both the Jennys and Jeremy are accomplished multi-instrumentalists, but they have only limited opportunities to demonstrate their versatility - and I think the album's instrumental balance and texture suffer as a consequence. I can't imagine ardent fans being disappointed with this album, but there are a few 'less folksy' sounding songs which may not be to everyone's taste.

Recommended (with a few reservations) for lovers of neo-traditional folk music - however, '40 Days' and/or 'Firecracker' might be better starting points for newcomers to the music of The Wailin' Jennys; also, `Live' (along with all of the band's other albums) is essential listening for vocal harmony junkies.

12 of 12 people found the following review helpful:

5.0 out of 5 stars Capturing the Magic, August 11, 2009

By 

J. Weber (Washington State USA) - See all my reviews
(REAL NAME)   

Amazon Verified Purchase

This review is from: Live at the Mauch Chunk Opera House (Audio CD)

Gorgeously lush, flawlessly precise harmonies are the hallmark of The Wailin' Jennys. You might think such precision would suffer in a live recording. But in this case, you'd be wrong. That's especially remarkable because "Live at the Mauch Chunk Opera House" was recorded during a single day, rather than being compiled from an entire tour. But maybe that's really not so remarkable: as thousands of concert-goers and millions of Prairie Home Companion radio listeners have discovered, every single Jennys performance is magical. Finally some of that live magic has been captured in a recording.

This is the Jennys' first live album. It's also the first since Heather Masse, the group's third alto, joined founding members soprano Ruth Moody and mezzo Nicky Mehta, and since they added instrumentalist Jeremy Penner as sideman.

Masse contributes a gorgeous, versatile voice with an amazing range. She blends perfectly with the voices of Moody and Mehta, while adding a soulful, jazzy influence to the Jennys' roots, folk, country and Celtic themes. Penner's inventive, dynamic fiddling seems at times distinctly unstructured, in marked contrast to the Jennys' precise harmonies. But the contrast works well, adding an extra dimension to the group's live shows, a little spice with the honey.

Mauch Chunk has two originals from each of the three Jennys, including Mehta's "Begin," which features prominently in the soundtrack of the movie "The Cake Eaters." Also included are two long-time Jennys concert staples that they haven't previously recorded: Jane Siberry's "Calling All Angels" and Ella Jenkins' "Racing with the Sun." But the most striking cover may be the live a cappella rendition of Lead Belly's "Bring Me a Li'l Water Silvy," previously recorded by the Jennys' on their 2003 debut self-titled EP. The new version provides a striking illustration of continuity and change during the group's seven-year evolution. While retaining the signature harmony, Masse's reinterpretation turns the straight-ahead folk version sung by founding alto Cara Luft on the 2003 EP into a soulful masterpiece.

It's been a long three-year wait since the Jennys' last album. But good things can be worth waiting for. Listening to Live at the Mauch Chunk is almost as good as being at a Wailin' Jennys concert, and that's very good indeed.

6 of 6 people found the following review helpful:

5.0 out of 5 stars I'm surprised that none of the previous reviews mentions "Bold Riley", August 17, 2009

By 

Jimmy (USA) - See all my reviews

This review is from: Live at the Mauch Chunk Opera House (MP3 Download)

Far and away the outstanding track on this outstanding CD. Much has already been written about the Jennys' peerless harmonies, but "Bold Riley" raises the bar to a new level. Ruth's soaring soprano in the last verse is an absolute gobsmacker.

Rarely do I find a CD where every track is winner - this is one. But I've been a Jennys' devotee since I first heard "The Parting Glass" several years ago, so an impartial review is out of the question.

Now I'm going to listen to "Bold Riley" and fall in love all over again.