Natalie Merchant Albums (5)
'The House Carpenter's Daughter'
Release Date 9/16/2003
Tracks 11
Label Myth America
See Album Tracklist and Review
What The Critics Say
Striving to preserve the kinds of songs that "teach us about what we know in our hearts," Natalie Merchant presents here 11 songs of traditional and contemporary folk music. Merchant's handpicked song choices run the gamut of the 20th century, with seven traditional tunes and four covers. The covers are an eclectic mix: the Waterboys-esque Horseflies song "Sally Ann" (ex-Horseflies Judy Hyman and Richie Stearns provide violin and banjo throughout the album), Florence Reece's coalminer hymn "Which Side Are You On?," Fairport Convention's gothic parable "Crazy Man Michael," and the Carter Family's love-lost weeper "Bury Me Under the Weeping Willow." From the track listing, one would expect a somber blend of acoustic instruments and dreamy vocals, but Merchant and company kick out the folk jams more often than not, and Merchant's bright production and energetic arrangements keep the pace lively. As befits the preservational nature of the project, Merchant's annotated liner notes give rhyme and reason to each selection. Reading about the harrowing genesis of "Which Side Are You On?" adds a wealth of poignancy and power to its message. But that's not to suggest that The House Carpenter's Daughter is an overly academic work, as the material varies enough in theme, tone, and rhythm as much as any of Merchant's preceding solo endeavors. Indeed it's actually quite refreshing to hear Merchant's voice consistently wrapped around a bold pedal steel guitar, a weeping fiddle, a rolling banjo, and gentle accordion undertones. Those weary of the traditional nature of the album needn't worry much, as rock textures hover around many a corner, percolating violently on "Diver Boy" before exploding fully on the humorous jumping-rope song "Soldier, Soldier." At turns slow, hazy, and beautiful and at other turns bounding with folk hoedowns, The House Carpenter's Daughter is a delightful exploration of Merchant's folk inspirations. Whether a listener is a folk newcomer or a die-hard folkie, or even a Merchant fanatic or not, this is an album bursting with delights. It proves Merchant's liner-notes theories about the power of folk music again and again. ~ Tim DiGravina, All Music Guide
What The Critics Say
Teaming up with T-Bone Burnett was a good, healthy move for Natalie Merchant. She had begun to sink into vaguely tuneless singer/songwriterisms with her second solo album, Ophelia, and the sag in artistic quality was notable -- which may have been why she bought time with a live album in 1999. Burnett helps restore some musical backbone to her music on Motherland, even if the record is hardly a gritty affair (apart from Merchant's voice, which seems to have deepened and grown tougher since the last time out). Still, there's some character within the sound -- atmospheric, blues post-folk-rock, music that breathes -- not nearly as precious as Tigerlily or any of the 10,000 Maniacs' records, for that matter, while retaining Merchant's signature sound. Upon first listen, none of the songs announce themselves, yet it all sticks together, and repeated plays reveal Motherland as a subtle grower that will satisfy her large cult. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Natalie Merchant is without a doubt one of the most unique voices in rock & roll. Her delivery is unmistakable, and from her years as lead singer for 10,000 Maniacs to her illustrious solo career, Merchant has never once failed to deliver passionate, powerful pop and rock songs that keep listeners humming the melody lines long after the music ends. On Live in Concert, Merchant delivers alternate live versions of some of her best-loved songs, including the excellent "Wonder," along with "Ophelia," "Beloved Wife," and "Carnival." The album was recorded live in New York City on June 13, 1999. Merchant is once again backed by her impressive band, which shines on all of her self-penned compositions including "San Andreas Fault" and "Seven Years." Of the 11 cuts, the two cover tunes are perhaps the most appealing. Sure, all of the music is great, but it is always a pleasure to hear a talented vocalist take a turn at interpreting the music of another artist. With her cover of David Bowie's "Space Oddity," Merchant holds her audience captive, delivering the tale of Major Tom's plight in a way that would undoubtedly please the author beyond belief. Merchant also delivers a fine reading of Neil Young's classic "After the Gold Rush," another impressive delivery and a perfect song choice for her vocal adaptation. On this, her third solo album, Natalie Merchant continues to grow and mature as one of pop's most impressive vocalists, and Live in Concert serves as a nice interim piece of work. ~ Michael B. Smith, All Music Guide
What The Critics Say
Tigerlily, Natalie Merchant's first solo record, does sound different than 10,000 Maniacs. Instead of relying strictly on jangly folk-rock, Merchant continues opening her music up as she did on Our Time in Eden, her last album with the Maniacs. From the understated groove of "Carnival" to the rolling "San Andreas Fault," the added emphasis on rhythmic texture works, creating an intimate but not exclusive atmosphere that holds throughout the record, even when her occasionally sophomoric, sentimental poetry threatens to sink the album in the weight of its own preciousness (as in "River," her tribute to the late actor River Phoenix). ~ Stephen Thomas Erlewine, All Music Guide
