Della Mae- Della Mae (Rounder)
I’ve been playing this album regularly for the past few months, but couldn’t figure out what to write about it considering the number of quality reviews that have been published. But, once more into the breach…it is my vocation, after all.
Della Mae is the quintet’s third album, and features the four core members of the group with guest bassist Mark Schatz pitch hitting.
Vocal dynamo Celia Woodsmith continues to front the group and contributes some guitar, with the leads played by Courtney Hartman who also plays the banjo. Kimber Ludiker is the very expressive fiddler and Jenni Gardner handles the mandolin, certainly one of the group’s strongest assets. The album was recorded prior to Zoe Guigueno joining the group on upright bass.
I can’t locate my copy of the group’s previous Rounder album This World Oft Can Be, so I don’t have much to go by except my memory—which is fragile at the best of times. But I recall that album having a more apparent bluegrass foundation than does Della Mae. I do have their debut album I Built This Heart on hand, and the group’s sound has certainly changed over the course of time.
Gone are most obvious elements of bluegrass, and this is an noticeable evolution. Nowhere in the press sheet for the album, or in Ed Helms’ liner notes, is the word ‘bluegrass’ mentioned. They remain, however, a powerhouse outfit, pouring out a loud ‘n’ proud blend of soulful Americana. The sound adjustment is very apparent, and if the group is happy they are to be applauded for following their muse wherever it takes them.
Much attention has gone to the lead track, “Boston Town,” and Woodsmith’s working-woman’s anthem is certainly worthy of notice: like the finest songs of Maria Dunn, Hazel Dickens, and John McCutcheon, the labour-positive message is wrapped in optimum musical cloth. “Rude Awakening” is an incredible song, and Woodsmith’s voice can’t be contained, although it is completely controlled. Woodsmith and Hartman are the group songwriters, and wrote either together or individually eight of the album’s eleven songs.
Della Mae’s opening trio of songs is as strong a burst as I’ve experience this year. “Can’t Go Back” rounds out this powerful initial salvo, a song with interesting changes and impressive lyrics.
Hartman takes the lead on “Long Shadow,” a song she co-wrote with Sarah Siskind, a Fervor Coulee favourite. Hartman has a terrific voice, robust with a shade of mystery, and the song is a bit dark in its exploration of creative processes and (maybe?) mental health. Gardner also takes a solitary, rambunctious lead (“Good Blood”) bringing additional diversity to the Della Mae vocal sound.
In addition to “Good Blood,” there are two other (and more familiar) songs covered. “To Ohio,” recognizable perhaps to roots types via Emmylou Harris’s inclusion of the Low Anthem song as a ‘bonus track’ to the deluxe version of Hard Bargain. Equally impressive is the group’s interpretation of the (too) often recorded “No Expectations.” Although I am sure the world didn’t need yet another roots version of the song, Della Mae’s is darned enjoyable with great slide effects from (I presume) Hartman.
Della Mae is a hard-hitting album for folks who have been hit hard. And from my experience, that is most of us.
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