Time (The Revelator)

by

Gillian Welch

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This CD is a treat, a big step forward for Gillian Welch and her partner, David Rawlings, and easily their best work to date.

For those unfamiliar with Welch, she appeared five years ago with "Revival," a compelling recording that drew its inspiration from such early country acts as the Carter Family. Although a terrific singer and songwriter, Welch's close identification with a 70-year-old musical style threatened to mark her as a one-trick pony, an oldies act with little new to offer. Although this was a possibility, it was also quite unfair, as "Revival" was truly a strong and original work, despite the narrow stylistic borders. Welch's sophomore work, "Hell Among the Yearlings" (1998) demonstrated both greater ambitions and growth as a songwriter. Welch also made significant contributions to the "O Brother, Where Art Thou?" soundtrack album, one of the surprise hits of the first half of 2001.

"Time (The Revelator)" is a major leap forward. Welch and songwriting partner Rawlings (who backs her throughout on guitar and vocals) have produced their strongest batch of songs to date, some of which are far removed from the Carter Family-influenced style. "Revelator," the haunting opener, is a clear sign of their growth as writers and performers. Other highlights are "Elvis Presley Blues" and the 14-minute epic "I Dream A Highway," which is an astounding accomplishment. The only negative comment I have is that "I Want To Sing That Rock and Roll" is also included, in the same live version, on the recently released "Down From The Mountain" collection, an "O Brother, Where Art Thou" spinoff. Its a great song, though. Welch's beautiful vocals shine throughout, set within the understated but effective instrumental arrangements. This is intelligent and well-executed music that will appeal to fans of both country and folk.

I have mixed feelings about Gillian Welch. On one hand, I applaud her for sort of carrying the banner of traditional American music and showing that it's still vital and relevant today. On the other, something about her seems forced and contrived. Plenty of artists mine material, styles, or artistic forms from eras historically distant from themselves - some do so ironically (the annoying craze for all things "retro"), while others present the material straightforwardly, from a repertory/revival standpoint. Artists that succeed by doing neither are able to integrate the traditional with their own sensibility and perspective, and I think it's here that Welch is lacking. She has a wonderful voice, but to me she tries too hard to be the Depression era, Carter-familyish woman singer with the home-spun dress.