The House Carpenter's Daughter

by

Natalie Merchant

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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.

I am a huge Natalie and Maniacs fan. But from the first warble of this album I continue to be stunned at the change in Natalie's voice. She has occasionally sung a little flat, however I could forgive that because her voice was so exquisite and the songs so great.

But suddenly she sounds like she's got a mouth full of gauze or oatmeal or marbles or something. The sweetness and airy articulation - her trademark sound - just gone. Now she has this throaty garble going. What happened? I loved both Tigerlilly and Ophelia, but Motherland is where her voice really changed, and it was a shock. I can hardly listen to Motherland.

Is she doing it on purpose? Hard to imagine why. Was her voice affected by some illness? Is she taking muscle relaxants? Is it just age? She's not exactly aged. Reading other reviews here, the issue is mentioned by a few, but completely ignored by others. Personally I find the change so startling I can hardly listen to these last two albums.

The House Carpenter's Daughter looks great on paper as I love the way she has done traditional and old folk tunes in the past. Sally Ann and Wildwood Flower on Maniacs EPs were just magnificent. Also her work on the Wilco/Billy Bragg album of Woody Guthrie lyric songs was lovely. However, Sally Anne on this album is just way too slow and - same problem with the voice. It reminds me of what happened to Stevie Nicks's voice, how it went from rich and sweet to bleat, but that was a gradual thing.

It's like losing a national treasure. I am depressed.

If this is your only exposure to her and it leaves you flat, check out Ophelia before writing her off. Also, Our Time in Eden by 10,000 Maniacs is their best. Fantastic albums.