Revival [ORIGINAL RECORDING REISSUED]

Gillian Welch is not from Appalachia -- but you couldn't prove it by me that day. It was only later that I discovered this fact. Her style of songwriting, singing and playing never EVER comes across as false or contrived -- her heartfelt love of this music brings an honesty to it that is rare and refreshing in these times.

The combination of her songs and voice with the stunning abilities and sensitivity of David Rawlings (who co-wrote many of these songs) makes listening to this music a powerful, transporting experience. His guitar work is simply (and I mean 'simply') exquisite -- I can't find a song on this disc where his accompaniment isn't perfect. The lines he plays provide just the right background and fill, targeting the mood dead-on. I never get the feeling that he's showing off or posing -- he's simply trying to do everything in his power to frame these songs and Welch's voice for the audience to enjoy and appreciate. On the tracks where he sings as well, their voices blend as if they were destined to do so.

There are several standouts in this set, but every single track here is a 'keeper'. 'Orphan girl' is proably the best-known tune, being covered early on by no less an established performer than Emmylou Harris. 'Annabelle' is heartbreakingly beautiful, a mother relating the story of a child's death in the midst of an unimaginably hard life, trying to remain philosophical in the face of such tragedy: 'We cannot have all things to please us, no matter how we try -- until we've all gone to Jesus, we can only wonder why'.

The third track, 'Pass you by', simply roars with power, underscoring the story of a desperate individual entering into a life of crime, finding herself enjoying the 'rush' of taking her share from the rich man. 'Barroom girls' paints a picture of one-night stands with incredible imagery: 'Oh the night came undone like a party dress, and fell at her feet in a beautiful mess'. 'By the mark' sounds for all intents and purposes like a well-travelled traditional gospel song -- but it's another fine Welch/Rawlings composition. Their vocal blend on this song is particularly effective.

Welch sends chills up our collective spine on 'Paper wings' by channeling Patsy Cline, without for one instant sounding derivative, with another set of evocative lyrics: 'Angels were singing -- didn't you hear? If only I'd listened close when they whispered in my ear -- paper wings, paper wings, oh how could I expect to fly with only paper wings?' Welch stands in the shoes of a repentent moonshiner, advising those witnessing her final moments to 'Tear my stillhouse down', '...cause Satan he lives in my whiskey machine, and in my time of dying I know where I'm bound -- so when I die, tear my stillhouse down'.

The album ends with two of my three favorite cuts ('Paper wings' being the third). 'Acony bell' is a gorgeous paean to '...a simple flower so small and plain' that heralds the springtime in the mountains -- a symbol of hope and new life after a hard winter. 'Only one and only' speaks of that one person in the singer's life who would leave the biggest hole if they left -- and we all have one of those.

Special mention should also be made of the impressive and tasteful production talents of T-Bone Burnett. He provides just the right touch from where he sits in the recording process -- both on this release and Welch's sophomore effort HELL AMONG THE YEARLINGS (also an excellent cd).

The impressive songwriting of Gillian Welch and David Rawlings is, over time, building into a treasure-house of contemporary American acoustic music -- and if she's not from the hills of Arkansas or Kentucky or Tennesse, yet can write and sing these songs like this, more power to her. She and David have a true sense of honesty and a genuine talent for this music -- and they obviously love what they're doing.

Welch and Rawlings also put on a terrific live show -- if they come anywhere near your area, you owe it to yourself to see them. They are unpretentiously absorbed in this music, and it's a joy to behold.

Much is made about the fact that a girl from Los Angeles has such a feel for this type of music. I believe Welch's background actually gives her music an appeal beyond bluegrass and country. Yes, it's true that you can't get any more mountain-like than "Tear my Stillhouse Down", and the beautiful "By the Mark" is too deeply religious to make any big city album. But Welch's very best on this album appeals to the sensibilities of both city and country folk: The opening track "Orphan Girl" touches the loneliness in all of us and the hope of reunion; and the painfully sad "Barroom Girls" probably fits better in L.A. than Knoxville.

I'm hoping that Welch stays true to this type of music. Her popularity is exploding as a result of "O Brother, Where Art Thou" and she's getting air time on VH-1 Country with her incredible Elvis song. Please don't let us down Gillian.