Living in Whitetop in the Blue Ridge Mountains of Virginia, Martha Spencer is a singer-songwriter, multi-instrumentalist, dancer, and with Wonderland, a deft collaborator. Combining traditional songs and her own compositions with no fluctuations in quality, those 16 selections are stylistically wide-ranging and yet focused, powerful yet inviting, and with the playing and singing sharp throughout. Additionally, there’s a consistent ease in execution that never gets too laid back, or too smooth, or too florid. Issued on double vinyl and compact disc, it’s a fine sophomore effort, out September 2 through Martha Spencer Music.
Martha Spencer opens Wonderland with an abundance of verve, singing in the title track like a honky-tonk gal that got hooked into cutting singles for Decca in the early ’60s, but without a trace of the middle-of-the-road-isms that big time labels saddled upon country singers back in the day; instead of syrup, there’s the spoons of Abby Roach, Joel Selvin’s robust fiddle, just a hint of Eddy-esque twang at the start, and a “boop-a-doop-a-doop” from Spencer that establishes the sense of fun in her approach.
But with Spencer’s crisp banjo plucking and warm harmonies, “Rags to Riches” quickly highlights the artist’s serious side, though don’t misapprehend that she’s dour. It’s a seriousness directly related to a background in traditional Appalachian music, as Spencer is part of the family-based Whitetop Mountain Band, amongst other outfits and projects.
That trad foundation is reflected in the sturdy string bass and chiming mandolin in “Bank of New River,” and in the guest vocals of Luke Bell in that track and Alice Gerrard in the following cut, the up-tempo “Come Home Virginia Rose.” Interestingly, every tack on the record thus far is a Spencer original, with her first foray into cover interpretation not a piece from the public domain (those will arrive on Wonderland soon enough) but Lee Hazlewood’s “Summer Wine,” with the rough depth of Kyle Dean Smith’s resonating cords so much like Hazlewood that it’s uncanny.
A major redirect comes with the sanctified “Walking in Jerusalem,” as guests the Legendary Ingramettes present a line of tradition that leads back to sublime gospel harmonizers like the Golden Gate Quartet, though the banjo does reinforce continuity. From there, “Virginia Creeper Line” hits a spot reminiscent of Emmylou Harris (or Alison Krauss and Gillian Welch) at her most roots-oriented, a sound that extends to later tracks “Wind and Rain,” “You’ve Rambled Too Long,” and “Creekfield Woman.” But then “Enchantress” delivers a welcome return to the chanteuse in cowboy boots vibe of the title track.
I’ll just mention that I’ve heard a lot of versions of “Hesitation Blues” (at least it feels like I have), none better than the one by the Holy Modal Rounders, but Spencer’s is pretty solid. For titular reasons, “Yodelady” adds to Wonderland’s breadth, but the cut is impressively restrained (this is not the DeZurik Sisters), and Abby Roach’s playing of the saw is a superb touch.
“Young Rover” is a late highlight, as Spencer’s harmonizing with Jaime Collins reminds me just a bit of Freakwater. That it’s another Spencer original drives home that she’s something special, as does a faultless version of The Country Gentlemen’s “Bringing Mary Home.” That leaves “Midsummer Serenade,” a gorgeous instrumental spotlight for Spencer’s banjo, as Wonderland’s finale, the record’s freshness secure and its maker clearly an artist to watch.
GRADED ON A CURVE:
A-
