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Clip Gillian Welch and David Rawlings perform their original "Red Clay Halo" at St. Lukes in London. From a BBC broadcast. Video
Filename: Red Clay Halo Gillian Welch & David Rawlings
Clip OCMS join Gillian and David Rawlings for an encore at St Lukes in London. This was broadcast on BBC4 Video
Filename: The Weight Gillian Welch & Old Crow Medicine Show
Clip Gillian Welch and David Rawlings at St Lukes in London on August 2, 04. From a broadcast on BBC4 Video
Filename: Caleb Meyer Gillian Welch & David Rawlings
Clip Gillian Welch and David Rawlings live at the Cambridge Folk Festival, july 31 04. Video
Filename: Gillian Welch Time (the Revelator)
Clip Gillian Welch and David Rawlings performing Annabelle at the Grand Old Opry, Nashville, in 1997. Video
Filename: Gillian Welch Annabelle
Clip clip Video
Filename: Alison Krauss Gillian Welch I'll Fly Away
Clip When love leaves, whether by death or by choice, an orphaned soul is left in its wake. This vacancy of love can be filled by the Father of us all ... Video
Filename: Orphan Girl Gillian Welch
Clip The way it would be (unrecorded as of yet) Video
Filename: Gillian Welch and David Rawlings The Way It Would Be

Gillian Welch
extracted from Wikipedia, the Free Encyclopedia, distributed under the GNU Free Documentation License

Gillian Welch
A slender, middle-aged woman playing guitar and singing into a microphone. She is wearing a cowboy hat and a red dress.
Gillian Welch performing at MerleFest in 2007
Background information
Born October 2, 1967 (1967-10-02) (age 42)
New York City, New York, U.S.
Origin Nashville, Tennessee, U.S.
Genres Bluegrass, Americana, rock
Instruments singing, guitar, banjo, drums
Associated acts Dave Rawlings Machine
Website gillianwelch.com
Notable instruments
1956 Gibson J-50

Gillian Howard Welch (born October 2, 1967 in New York City) is an American singer-songwriter. She performs with her musical partner, guitarist David Rawlings. Their sparse and dark musical style combines elements of Appalachian music, bluegrass, and Americana described by The New Yorker as "at once innovative and obliquely reminiscent of past rural forms".

Welch and Rawlings have released four critically acclaimed albums. Their 1996 debut, Revival and the 2001 release Time (The Revelator) received nominations for the Grammy Award for Best Contemporary Folk Album. Their most recent album is the 2003 release Soul Journey, which introduces electric guitar, drums and a more upbeat sound to their body of work.

Welch was an associate producer and performed on two songs for the O Brother, Where Art Thou? soundtrack, a bestselling platinum album that won the Grammy Award for Album of the Year in 2002. Throughout her career, Welch has collaborated and recorded with several distinguished musicians, including Alison Krauss, Ryan Adams, Jay Farrar, Emmylou Harris, and Mark Knopfler. In addition, Welch and Rawlings perform at many notable music festivals.

Contents

Early life

Gilliana 1 Welch was born on October 2, 1967 in New York City, and was fostered to Ken and Mitzie Welch in a pre-arranged adoption.1 Her biological mother gave birth while a freshman at Columbia University, and her father was a musician visiting New York City.1 Welch has speculated that her biological father could have been one of her favorite musicians, and she later discovered from her adoptive parents that he was a drummer.123 Alec Wilkinson of The New Yorker stated that "from an address they had been given, it appeared that her mother ... may have grown up in the mountains of North Carolina".1 When Welch was three, her adopted parents moved to Los Angeles to write music for the Carol Burnett Show. They were comedy and music entertainers, and once appeared on the The Tonight Show.1
"Orphan Girl"
The first track on Gillian Welch's first album Revival. This song exemplifies Welch and Rawlings' minimal arrangements and Welch's lyrics about outcasts
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Welch was introduced to the music of American folk singers Bob Dylan, Woody Guthrie, and The Carter Family at a young age. As a student at the progressive Westland Elementary School in Los Angeles, she sang folk songs with her peers.14 Welch later attended Crossroads School in Santa Monica, California for high school, where she was featured on a local television program as a student who "excelled at everything she did".1

While a student at the University of California, Santa Cruz, Welch played bass in a goth band, and drums in a psychedelic surf band; both bands did not last long.1 While in college, she heard a roommate playing an album by the bluegrass band The Stanley Brothers, and had an epiphany:

The first song came on and I just stood up and I kind of walked into the other room as if I was in a tractor beam and stood there in front of the stereo. It was just as powerful as the electric stuff, and it was songs I'd grown up singing. All of a sudden I'd found my music.5

After graduating from UC Santa Cruz with a degree in photography, Welch attended The Berklee College of Music in Boston, where she majored in songwriting.6 During her two years studying at Berklee, Welch overcame her shyness of performing, because in her own words, "You had to. In every class, you had to do things in front of about twenty people."16 Welch met her music partner David Rawlings at a successful audition for Berklee's only country band.78

Career

A man with his head down playing a guitar with a smiling, slender woman also playing guitar on stage. Both play in front of microphones.
Rawlings and Welch performing in Seattle in 2009

Upon finishing college in 1992, Welch moved to Nashville, Tennessee.9 She recalled, "I looked at my record collection and saw that all the music I loved had been made in Nashville—Bill Monroe, Dylan, the Stanley Brothers, Neil Young—so I moved there. Not ever thinking I was thirty years too late."1 Rawlings soon followed. In Nashville, the two first realized that their voices harmonized well after singing "Long Black Veil", and they started to perform as a duet.1 They never considered using a working name, so the duo were simply billed as "Gillian Welch".1 A year after moving to Nashville, Welch found a manager, Denise Stiff, Alison Krauss' manager. Both Welch and Stiff ignored frequent advice that Welch should stop playing with Rawlings and join a band.14 They eventually signed a recording contract with Almo Sounds.4 Following a performance opening for Peter Rowan at The Station Inn, producer T-Bone Burnett expressed interest in recording an album with Welch and Rawlings. Welch liked that Burnett was not planning to disturb their preference for minimal instrumentation, and agreed to take him on as a producer.10

Revival

For the recording sessions of Welch's debut, Revival, Burnett wanted to recapture the bare sound of Welch's live performance.10 Welch recalled, "That first week was really intense. It was just T-Bone, the engineer, and Dave and myself. We got so inside our little world. There was very little distance between our singing and playing. The sound was very immediate. It was so light and small."10 Later, they recorded several more songs and played with an expanded group of musicians; guitarist and Rock and Roll Hall of Fame inductee James Burton, bassist Roy Huskey, Jr., and veteran session drummers Jim Keltner and Buddy Harman.

The album was released in April 1996 to mostly positive reviews. Mark Deming of Allmusic called it a "superb debut" and wrote, "Welch's debts to artists of the past are obvious and clearly acknowledged, but there's a maturity, intelligence, and keen eye for detail in her songs you wouldn't expect from someone simply trying to ape the Carter Family."11 Bill Friskics-Warren of No Depression praised the album as "breathtakingly austere evocations of rural culture".10 Mark Guarino of The Chicago Daily Herald observed that the album was "cheered and scrutinized as a staunch revivalist of Depression-era music only because her originals sounded so much like that era because of the biblical imagery in the lyrics, Burnett's threadbare production and the plainly sung bleakness in her vocals".12 Revival is not without criticism—Ann Powers of Rolling Stone gave it a more lukewarm review, criticizing Welch for not singing of her own experiences, and "manufacturing emotion".13 Robert Christgau echoed this, stating that Welch "just doesn't have the voice, eye, or way with words to bring her simulation off".14

The album was nominated for the 1997 Grammy Award for Best Contemporary Folk Album, and lost to Bruce Springsteen's The Ghost of Tom Joad.15

Hell Among The Yearlings

1998's Hell Among the Yearlings continues Welch and Rawlings' rustic and dark themes; the songs' subject matter varies from a female character killing a rapist, a mining accident, a murder ballad, and an ode to morphine before death.16 Like Revival, Hell Among The Yearlings features T-Bone Burnett's sparse production that focuses on Rawlings and Welch's voices and guitars.1617

A slender woman with a black dress singing and playing guitar on stage.
Gillian Welch performing at the 2007 New Orleans Jazz Fest

The album has received favorable reviews—Robert Wilonsky of the Dallas Observer observed that Welch "inhabits a role so completely, the fiction separating character and audience disappears".18 Thom Owens of Allmusic stated that the album "lacks some of the focus" of Revival, but is "a thoroughly satisfying second album" and proof that her debut was not a fluke.19 No Depression's Farnum Brown commended the live and "immediate feel" of the album, Welch's clawhammer banjo (which she learned to play before recording the album),20 and Rawlings' harmonies.15 Similar to Revival, Welch was praised for reflecting influences such as The Stanley Brothers, but still managing to create an original sound.17 On the contrary, Chris Herrington from Minneapolis's City Pages criticized the songs' lack of authenticity. He wrote "Welch doesn't write folk songs; she writes folk songs about writing folk songs."21

O Brother, Where Art Thou?

A man and two women crowded around a microphone and singing. The man is on the left and wearing a dark blue suit and a white cowboy hat. The woman in the middle is wearing a black dress, and the woman on the right is wearing a green dress.
David Rawlings, Gillian Welch and Alison Krauss performing at the 2008 Austin City Limits Music Festival

Welch sang on two songs and served as an associate producer for the Burnett-produced soundtrack to the 2000 film O Brother, Where Art Thou?.22 She shares vocals with Alison Krauss on a rendition of the gospel song "I'll Fly Away". Dave McKenna of The Washington Post praised their version, saying that that the singers "soar together".23 Burnett and Welch wrote additional lyrics on the song "Didn't Leave Nobody but the Baby", sung by Welch, Emmylou Harris, and Krauss. The song is an expansion of an Alan Lomax-discovered tune from Mississippi, and was nominated for the 2002 Grammy Award for Best Country Collaboration with Vocals.24 The album became a bestselling platinum album, and won the 2002 Grammy Award for Album of the Year. The surprise success of the soundtrack led to a considerable career boost for Welch; she called the album a "mass media bomb", and appreciated its contribution to the popularity of folk music.2526

Time (The Revelator)

After Universal Music Group purchased Almo Sounds, Welch began her own independent label, Acony Records (named after the Acony Bell flower, subject of the song "Acony Bell" on Revival).412 The first release on Welch's new label was her 2001 album Time (The Revelator).12 All but one song on the album was recorded in RCA Studio B, a historic recording studio in Nashville.27 "I Want To Sing That Rock and Roll" was recorded live at the Ryman Auditorium as part of the sessions for the concert film Down from the Mountain.

A bearded man in a blue shirt and jeans and a woman in a black dress playing guitar on stage. The woman is singing. They are both slender and middle-aged.
David Rawlings and Gillian Welch performing at the 2009 Newport Folk Festival

Welch has said the album is about American history, rock 'n' roll, and country music.28 There are songs about The Assassination of Abraham Lincoln, the Titanic Disaster, John Henry, and Elvis Presley.27 The album was produced by Rawlings.29 Time continues Welch and Rawlings' style of mellow and sparse arrangements. Welch explained, "As opposed to being little tiny folk songs or traditional songs, they're really tiny rock songs. They're just performed in this acoustic setting. In our heads we went electric without changing instruments."30

Time (The Revelator) has received extensive praise from critics. The lyrics evolved from the mountain ballads present on previous albums, and this is a focus of critics in their reviews.223031 Michael Shannon Friedman of the Charleston Gazette stated, "Welch's soul-piercing, backwoods quaver has always been a treasure, but on this record her songwriting is absolutely stunning."31 The last track on the album, "I Dream a Highway", is a fifteen minute song compared to classic songs by Bob Dylan and Neil Young, and was described by Zac Johnson of Allmusic as "sweetly dozing in the current like Huck and Jim's Mississippi River afternoons".3031 No Depression's Grant Alden wrote, "Welch and Rawlings have gathered together fragments from across the rich history of American music and reset them as small, subtle jewels adorning their own keenly observed, carefully constructed language."22 Time finished thirteenth in the 2001 Village Voice Pazz & Jop music critic poll.32 It appears in best of decade lists by Rolling Stone, Paste, Uncut, The Irish Times, and The Ottawa Citizen.2933343536

The album was nominated for the 2002 Grammy Award for Best Contemporary Folk Album, which was won by Bob Dylan's Love and Theft.37 Time peaked at #7 on the Billboard Indepedent Album chart.38

In 2002, The Revelator Collection DVD was released. It features live performances and music videos of songs from Time, and some covers. The concert footage was filmed in 2001, and the music videos consist of Welch and Rawlings performing three songs at RCA Studio B. No Depression's Barry Mazor praised the DVD as an accompaniment for Time, and wrote that it is "one last exclamation point on that memorable and important project".39

Soul Journey
"Wrecking Ball"
The final track on Gillian Welch's fourth album Soul Journey. The electric guitar and drums represent a new sound for Welch and David Rawlings
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2003's Soul Journey reflects Welch and Rawlings exploring new ground. Welch said, "I wanted to make it a happier record. Out of our four records, I thought this might be the one where you're driving down the road listening to it on a sunny summer day."40 Rawlings again produced the record, and instruments such as a dobro, violin, electric bass and drums were introduced. Welch said, "Everything's not supposed to sound the same, you want it to reflect change and growth."7

A skinny man in a white shirt and burnt red pants on stage stares into the camera while a woman next to him in a white dress focuses on playing her guitar. The woman is slender as well. The man looks to be in his 20s and the woman is middle-aged.
Justin Townes Earle & Gillian Welch performing in 2009

Soul Journey features three songs that mark the first time Welch and Rawlings recorded their own versions of traditional folk songs.41 On the original compositions, Welch's lyrics are more autobiographical than previous albums.12

The album has received mixed reviews. Allmusic's Zac Johnson wrote that it is "too casual and off-the-cuff", but called it a "wonderful, dusty summertime front-porch album, full of whiskey drawls and sly smiles, floorboard stomps and screen-door creeks".42 Jon Caramanica of Rolling Stone criticized the slower songs as "stagnant", but complimented the upbeat songs.43 Soul Journey also garnered significant acclaim. Mojo magazine's review read that the album is "pretty much perfect", and Uncut favorably compared it to Bob Dylan and The Band's The Basement Tapes.4445 Will Hermes of Entertainment Weekly wrote that Welch has "never sounded deeper, realer, or sexier".46

Soul Journey peaked at #107 on the Billboard charts, and #3 for Independent Albums.47

Future release

In a 2007 feature in The Guardian, critic John Harris expressed frustration that there had not been a Gillian Welch release in four years.48 Creation Records founder Alan McGee showed optimism in a 2009 blog entry about Welch and Rawlings testing out some new songs while opening some concerts for Rilo Kiley, and wrote "the long gestation period signals nothing less than a perfect album".49 Rawlings said in a November 2009 interview that recording for the next Gillian Welch album has started, but didn't have a clear estimate on a release date.50

Musical style

Welch and Rawlings incorporate elements of early twentieth century music such as old time, classic country, gospel and traditional bluegrass, combined with modern elements of rhythm and blues, rock 'n' roll, jazz, and punk rock.1 Alec Wilkinson of The New Yorker wrote that their musical style is "not easily classified—it is at once innovative and obliquely reminiscent of past rural forms".1

A man wearing a dark suit playing guitar while a slender woman in a black striped dress plays a banjo and sings on stage. They are middle-aged.
Gillian Welch playing banjo in a performance with David Rawlings

The instrumentation on their songs is usually a simple arrangement, with Welch and Rawlings accompanying their vocals with acoustic guitars, banjos, or a mandolin.1 Welch plays rhythm guitar with a 1956 Gibson J-50 (or banjo), while Rawlings plays lead on a 1935 Epiphone Olympic Guitar.51 The New Yorker's Wilkinson described Rawlings as a "strikingly inventive guitarist" who plays solos that are "daring melodic leaps".1 A review in No Depression by Andy Moore observed that "he doesn't play his big, coffee-colored, hollow body Gibson so much as he squeezes, strokes, chokes and does just about everything but blow into it".52 Jamie Cowperthwait of Rolling Stone wrote that Rawlings' guitar playing "makes the music swell and vibrate at all the right moments".53

Welch described her singing with Rawlings as different than traditional bluegrass duets that feature a lead singer and a tenor. Instead, she compared Rawlings' background vocals to a baritone.1

Themes

Many songs performed by Welch and Rawlings contain dark themes about social outcasts struggling against elements such as poverty, drug addiction, death, a disconnection from their family, and an unresponsive God.1 Despite Welch being the lead singer, several of these characters are male.1 Welch has commented, "To be commercial, everybody wants happy love songs. People would flat-out ask me, 'Don't you have any happy love songs?' Well, as a matter of fact I don't. I've got songs about orphans and morphine addicts."9 To reflect these themes, Welch and Rawlings often employ a slow pace to their songs. Their tempo is compared to a "slow heartbeat", and Cowperthwait of Rolling Stone observed that their songs "can lull you into near-hypnosis and then make your jaw drop with one final revelation".153

Reception

A middle-aged woman with long brown in a green tanktop sings into a microphone while playing guitar.
Gillian Welch performing at the 2009 Newport Folk Festival

Welch has received considerable critical praise. Geoffrey Himes of The Washington Post praised Welch as "one of the most interesting singer-songwriters of her generation".54 In 2003, Tom Kielty of The Boston Globe observed that she was "quietly establishing one of the most impressive catalogs in contemporary roots music", and a 2007 piece in The Guardian by John Harris called Welch "one of the decade's greatest talents".4855 Critic Robert Hilburn of The Los Angeles Times wrote, "At every turn, she demonstrates a spark and commitment that should endear her to anyone from country and folk to pop and rock fans who appreciate imagination and heart."56

When Welch's first two albums came out, critics questioned the authenticity of her music, as she was raised in Southern California, but performed Appalachian themed songs.81757 For Revival, Welch was criticized for "manufacturing emotion", and a review of Hell Among the Yearlings by Chris Herrington of City Pages stated, "Welch is someone who discovered old-time music in college and decided that her own sheltered life could never be worth writing about", and that she is "completely devoid of individuality".1321 Other critics rejected the notion that her background affects the "authenticity" of her music. The Wall Street Journal's Taylor Holliday defended Welch:

Stingy critics give Ms. Welch a hard time because she's a California city girl, not an Appalachian coal miner's daughter. But as Lucinda or Emmylou might attest, love of the music is not a birthright, but an earned right. Listen to Ms. Welch yodel, in a tune about that no-good "gal" Morphine, and you know she's as mountain as they come.17

No Depression's Farnum Brown echoed this: "Despite the fact that Welch wasn't raised dirt poor in some East Tennessee hollow, her grasp of the emotional and spiritual reach of old-time country music is undeniable".15

Influences and collaborations

A bearded man who looks to be in his 60s wearing a dark red shirt with and a woman with her arm around him. The woman is smiling and middle-aged. Huge white tents are in the background.
Bob Weir of the Grateful Dead and Gillian Welch at Hardly Strictly Bluegrass

Welch emphasizes music from a previous era as her major influence. She said that "by and large I listen to people who are dead. I'm really of the tried-and-true school. I let 50 years go by and see what's really relevant."57 Some traditional country artists Welch has acknowledged are The Stanley Brothers, The Carter Family, The Louvin Brothers, and The Blue Sky Boys.158 She explained her relationship with traditional music by saying, "I've never tried to be traditional. It's been a springboard for me and I love it and revere it and would not be doing what I do without the music of the Monroe Brothers, the Stanley Brothers and the Carter Family. However, it was clear I was never going to be able to do exactly that; I'm a songwriter."59

Rock 'n' roll artists Bob Dylan, Chuck Berry, Neil Young, The Grateful Dead and The Velvet Underground have all been listed as influences on Welch.1860 She has said that alternative rock bands Throwing Muses, The Pixies and Camper Van Beethoven are "great bands" that "don't directly inform my music, but they're in there".5760

Welch has recorded songs with a variety of notable artists including Ryan Adams, Ani DiFranco, Emmylou Harris, Jay Farrar, Alison Krauss, Old Crow Medicine Show, Bright Eyes, Robyn Hitchcock, Steve Earle, Ralph Stanley, Solomon Burke and Mark Knopfler.78616263 She is a member of the Dave Rawlings Machine, a band fronted by Rawlings. Their first album, A Friend of a Friend, was released in 2009, and Welch co-wrote five of the songs with Rawlings.64 The album was described by Andy Gill of The Independent as a "akin to one of Welch's albums, but with the balance of their harmonies swapped to favour Rawlings' voice".65

Artists who have recorded songs written by Welch include Jimmy Buffett, Trisha Yearwood, Joan Baez, Allison Moorer, Emmylou Harris, and Kathy Mattea.17666768

Performances

A group of musicicans, including one woman and four men crowd around two microphones, passionately singing. There are three guitarists and one man playing a stand-up bass.
The Dave Rawlings Machine performing at Waterloo Records in Austin, Texas, 2009

Welch and Rawlings have played many notable music festivals, including The Newport Folk Festival, Coachella Festival, The Telluride Bluegrass Festival, The Cambridge Folk Festival, MerleFest, The Austin City Limits Festival, and Farm Aid.85969707172737475 They have toured North America extensively, and have played in Europe, Australia, and New Zealand.8205976 Concert reviews have praised the chemistry between Welch and Rawlings on stage.7677 Tizzy Asher of The Seattle Post-Intelligencer wrote "there was a startling unspoken intimacy between them. They anticipated each other's movements and shifted when necessary to fit each other."77

The Dave Rawlings Machine have toured North America, with the band composed of Rawlings, Welch and three members of Old Crow Medicine Show.78 Welch and Rawlings also participate in group tours with notable musicians. In 2004, they were part of the Sweet Harmony Traveling Revue, a three-week US tour with Patty Griffin, Buddy Miller and Emmylou Harris.79 In 2009, The Dave Rawlings Machine joined Old Crow Medicine Show, The Felice Brothers and Justin Townes Earle for The Big Surprise Tour, a US tour described as a "roots-music extravaganza".80

Personal

Welch and Rawlings started dating in college, and have been referred to as a couple.1977 They reside in Nashville.

Discography

Main article: Gillian Welch discography

Footnotes

  1. ^ Pronounced with a hard /ɡ/

References

  1. ^ a b c d e f g h i j k l m n o p q r s t u v w x y Wilkinson, Alec (20 September 2004). "The Ghostly Ones". The New Yorker. http://www.newyorker.com/archive/2004/09/20/040920fa_fact_wilkinson. Retrieved 6 January 2010. 
  2. ^ Harris, John (3 June 2003). "USA today". The Guardian. http://www.guardian.co.uk/music/2003/jun/03/artsfeatures.popandrock. Retrieved 7 January 2010. 
  3. ^ Haiken, Melanie (23 July 2003). "The Orphan Girl Opens Up". Paste Magazine. http://www.pastemagazine.com/action/article/208/feature/music/gillian_welch. Retrieved 7 January 2010. 
  4. ^ a b c d Lewis, Randy (30 September 2004). "Where the soul leads". Los Angeles Times. http://articles.latimes.com/2004/sep/30/news/wk-pop30. Retrieved 7 January 2010. 
  5. ^ Simmons, Sylvie (25 September 2005). "Hillbilly Millionaire". San Francisco Chronicle. http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2005/09/25/PKGRAEQAS41.DTL. Retrieved 7 January 2010. 
  6. ^ a b Alden, Grant; Peter Blackstock (2005). Grant Alden, Peter Blackstock. ed. The best of No depression: writing about American music. University of Texas Press. pp. 219. ISBN 0292709897. http://books.google.com/books?id=a3yp8jLtGRAC&printsec=frontcover&source=bl&ots=c-wfGZ6Qvp&sig=iIhB1duuzZ-TeTFtUix0ewAL1bg&hl=en&ei=YlJmS4HdGMXTlAeB28GUCg&sa=X&oi=book_result&ct=result&resnum=4&ved=0CBoQ6AEwAw#v=onepage&q=&f=false. Retrieved 17 January 2010. 
  7. ^ a b c d Reed, James (7 November 2003). "Gillian Welch thrives in an old-time niche". The Boston Globe. http://www.boston.com/news/globe/living/articles/2003/11/07/gillian_welch_thrives_in_an_old_time_niche/. Retrieved 8 January 2010. 
  8. ^ a b c d e f Best, Sophie (5 November 2004). "Beverly hillbilly". The Age. http://www.theage.com.au/articles/2004/11/04/1099362285117.html. Retrieved 15 January 2010. 
  9. ^ a b c Sexton, Paul (1 February 2003). "Another Country". Times of London. 
  10. ^ a b c d Friskics-Warren, Bill (Summer 1996). "Orphan Girl of the Hollywood hills finds a high lonesome musical home in the heart of the Appalachians". No Depression. http://archives.nodepression.com/1996/07/orphan-girl-of-the-hollywood-hills-finds-a-high-lonesome-musical-home-in-the-heart-of-the-appalachians/. Retrieved 8 January 2010. 
  11. ^ Deming, Mark. "Revival: Overview". Allmusic. http://allmusic.com/cg/amg.dll?p=amg&sql=10:0zfpxqwhldae. Retrieved 9 January 2010. 
  12. ^ a b c d Guarino, Mark (12 September 2003). "Soul Journeying: Gillian Welch steps back in moving ahead". Chicago Daily Herald. http://www.mark-guarino.com/index.php?/soul-journeying-gillian-welch-steps-back-in-moving-ahead. Retrieved 9 January 2010. 
  13. ^ a b Powers, Ann. "Gillian Welch". Rolling Stone. http://www.rollingstone.com/artists/gillianwelch/albums/album/140386/review/5943788/revival. Retrieved 14 January 2010. 
  14. ^ Christgau, Robert. "Gillian Welch". robertchristgau.com. http://www.robertchristgau.com/get_artist.php?id=517. Retrieved 9 January 2010. 
  15. ^ a b c Brown, Farnum. "Hell Among The Yearlings". No Depression. http://archives.nodepression.com/1998/09/gillian-welch-hell-among-the-yearlings/. Retrieved 11 January 2010. 
  16. ^ a b Santelli, Robert (12 August 1998). "Gillian Welch: Hell Among The Yearlings". Rolling Stone. http://www.rollingstone.com/artists/gillianwelch/albums/album/254618/review/6209948/hell_among_the_yearlings. Retrieved 9 January 2010. 
  17. ^ a b c d Holliday, Taylor (21 August 1998). "The Divas of Credible Country—There's more to Nashville than meets the ears of radio listeners". Wall Street Journal. http://online.wsj.com/article/SB903657559785699500.html. Retrieved 12 January 2010. 
  18. ^ Wilonsky, Robert (23 July 1998). "Out There". The Dallas Observer. http://www.dallasobserver.com/1998-07-23/music/out-there/. Retrieved 11 January 2010. 
  19. ^ Owens, Thom. "Hell Among the Yearlings: Overview". Allmusic. http://allmusic.com/cg/amg.dll?p=amg&sql=10:hvfuxqujldhe. Retrieved 9 January 2010. 
  20. ^ a b Wilson, MacKenzie (7 August 2001). "liveDaily Interview: Singer-songwriter Gillian Welch". LiveDaily. http://www.livedaily.com/news/3459.html. Retrieved 15 January 2010. 
  21. ^ a b Herrington, Chris (29 July 1998). "Gillian Welch: Hell Among the Yearlings". City Pages. http://www.citypages.com/1998-07-29/music/gillian-welch-hell-among-the-yearlings/. Retrieved 9 January 2010. 
  22. ^ a b c Alden, Grant (September–October 2001). "Quicksilver Girl". No Depression. http://archives.nodepression.com/2001/09/quicksilver-girl/. Retrieved 10 January 2010. 
  23. ^ McKenna, Dave (24 December 2000). "'O Brother': This One's a Keeper". The Washington Post. 
  24. ^ Orr, Jay (7 January 2002). "O Brother, Williams Tribute Corner Country Grammy Nods". CMT.com. http://www.cmt.com/news/country-music/1451657/o-brother-williams-tribute-corner-country-grammy-nods.jhtml. Retrieved 11 January 2010. 
  25. ^ Appleford, Steve (16 May 2003). "Settling nicely into her skin". Los Angeles Times. http://articles.latimes.com/2003/may/16/entertainment/et-appleford16. Retrieved 10 January 2010. 
  26. ^ Curtis, Kim (6 November 2003). "The duet known as Gillian Welch". Associated Press. MSNBC. http://www.msnbc.msn.com/id/3075863. Retrieved 10 January 2010. 
  27. ^ a b Bessman, Jim (4 August 2001). "Gillian Welch goes back 'In Time' on Acony Disc". Billboard. http://books.google.com/books?id=yxIEAAAAMBAJ&pg=PA7-IA5&dq=gillian+welch+revival+grammy+nomination&source=gbs_toc&cad=1#v=onepage&q=gillian%20welch%20&f=false. Retrieved 11 January 2010. 
  28. ^ Donovan, Patrick (4 May 2004). "Bluegrass revelations". The Age. http://www.theage.com.au/articles/2004/05/03/1083436525588.html. Retrieved 11 January 2010. 
  29. ^ a b Simpson, Peter (26 December 2009). "Top 10 in popular music". The Ottawa Citizen. http://www.ottawacitizen.com/entertainment/songs+decade+popular+music/2381899/story.html. Retrieved 12 January 2010. 
  30. ^ a b c Johnson, Zac. "Time (The Revelator) > Overview". Allmusic. http://allmusic.com/cg/amg.dll?p=amg&sql=10:dxfrxqe0ldhe. Retrieved 11 January 2010. 
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