Gillian Welch

"Boots No 1: The Official Revival Bootleg", was released on November 25, 2016. It received the status of 'universal acclaim', receiving a Metascore of 79, based upon eight critic reviews of the album. The album celebrates the 20th anniversary of Welch's debut album, Revival, and includes outtakes, alternate versions, and demos of the songs featured on the original, as well as eight new unreleased tracks.

On September 18, 2015, the duo released their second album under the band title Dave Rawlings Machine, Nashville Obsolete. The band includes Willie Watson, Paul Kowert, Brittany Haas, and occasionally includes Jordan Tice.

On September 16, 2015 the duo was awarded the Lifetime Achievement Award for Songwriting by the Americana Music Association.

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

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, The Decemberists, Solomon Burke and Mark Knopfler. Welch and Rawlings' contributions on Hitchcock's album Spooked was described by Christopher Bahn of The A.V. Club as "subtle but vital". She later created the cover art for Hitchcock's 2014 album The Man Upstairs. Mark Deming of Allmusic wrote that their work on Ryan Adams' album Heartbreaker "brought out the best in Adams".

The Harrow & The Harvest was released on June 28, 2011. Welch attributed the long time period between releases to dissatisfaction with the songs they were writing. She explained: "Our songcraft slipped and I really don't know why. It's not uncommon. It's something that happens to writers. It's the deepest frustration we have come through, hence the album title." The writing process involved "this endless back and forth between the two of us," Welch said, stating that "It's our most intertwined, co-authored, jointly-composed album."

Welch and Rawlings continued their partnership in the band Dave Rawlings Machine. Welch co-wrote five of the songs with Rawlings, and provided guitar and harmony vocals. Andy Gill of The Independent described the 2009 debut album A Friend of a Friend as "akin to one of Welch's albums, but with the balance of their harmonies swapped to favour Rawlings' voice". Although ostensibly Rawlings' first solo album, Alex Ramon of PopMatters noted the similarities to Welch albums. Paste Magazine' s Stephen Deusner praised A Friend of a Friend for incorporating "a wide swath of traditional American music," comments echoed by Rolling Stone' s Will Hermes and in the PopMatters piece.

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

In addition to the strong country influence, Welch also draws on a repertoire of such rock 'n' roll artists as Bob Dylan, Chuck Berry, Neil Young, the Grateful Dead and the Velvet Underground. She has noted alternative rock bands Throwing Muses, Pixies and Camper Van Beethoven "don't directly inform my music, but they're in there." Her cover of Black Star by Radiohead became notorious and was released as a single in 2005.

The Dave Rawlings Machine have toured North America, with the band originally composed of Rawlings, Welch and three members of Old Crow Medicine Show. The band is currently composed of Rawlings, Welch, Wilie Watson, Paul Kowert, and Brittany Haas. 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. 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". In 2011, Welch was a support act for Buffalo Springfield, who reformed and toured that year.

For the 2003 release, Soul Journey, Welch and Rawlings explored new territory. 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." Rawlings again produced the record. The album also reflected a change in the typically sparse instrumentation: Welch and Rawlings introduced a dobro, violin, electric bass and drums, and Welch later said, "Everything's not supposed to sound the same, you want it to reflect change and growth."

Geoffrey Himes of The Washington Post described Welch as "one of the most interesting singer-songwriters of her generation". 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". 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."

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

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

Time (The Revelator) received extensive critical praise, most of which focused on the evolution of lyrics from mountain ballads. For Michael Shannon Friedman of The Charleston Gazette, "Welch's soul-piercing, backwoods quaver has always been a treasure, but on this record her songwriting is absolutely stunning." Critics compare the last track, the 15-minute "I Dream a Highway", to classics by Bob Dylan and Neil Young. Zac Johnson of Allmusic described I Dream ... as akin to "sweetly dozing in the [river] current like Huck and Jim's Mississippi River afternoons". No Depression' s Grant Alden wrote, "Welch and Rawlings have gathered ... fragments from across the rich history of American music and reset them as small, subtle jewels adorning their own keenly observed, carefully constructed language." Time finished thirteenth in the 2001 Village Voice Pazz & Jop music critic poll. Time (The Revelator) appeared in best of decade lists of Rolling Stone, Paste, Uncut, The Irish Times, and the Ottawa Citizen. The album was nominated for the 2002 Grammy Award for Best Contemporary Folk Album, but lost to Bob Dylan's Love and Theft. Time peaked at No. 7 on the Billboard Independent Album chart.

Welch was an associate producer and performed on two songs of the soundtrack of the Coen brothers 2000 film O Brother, Where Art Thou?, a platinum album that won the Grammy Award for Album of the Year in 2002. She also appeared in the film attempting to buy a Soggy Bottom Boys record. Welch, while not one of the principal actors, did sing and provide additional lyrics to the Sirens song "Didn't Leave Nobody but the Baby." In 2018 she and Rawlings wrote the song "When a Cowboy Trades His Spurs for Wings" for the Coens' The Ballad of Buster Scruggs, for which they received a nomination for the Academy Award for Best Original Song. Welch has collaborated and recorded with Alison Krauss, Ryan Adams, Jay Farrar, Emmylou Harris, the Decemberists, Sam Phillips, Conor Oberst, Ani DiFranco, and Robyn Hitchcock.

Welch sang two songs and served as the associate producer for the Burnett-produced soundtrack to the 2000 film of the same name. She shared vocals with Alison Krauss on a rendition of the gospel song "I'll Fly Away." Dave McKenna of The Washington Post praised their version: the singers "soar together." Burnett and Welch wrote additional lyrics for the song "Didn't Leave Nobody but the Baby," sung by Welch, Emmylou Harris, and Krauss. The song is an elaboration of an old Mississippi tune discovered by Alan Lomax, and was nominated for the 2002 Grammy Award for Best Country Collaboration with Vocals. The platinum album won the 2002 Grammy Award for Album of the Year. The surprise success of the soundtrack gave Welch a career boost. Welch also made a cameo appearance in the film.

The duo's 1998 Hell Among the Yearlings continued the 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. Like Revival, Hell Among The Yearlings featured a sparse style that focused on Rawlings and Welch's voices and guitars.

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

Welch and Rawlings have collaborated on seven critically acclaimed albums, five released under her name, and two released under the name Dave Rawlings Machine. Her 1996 debut, Revival, and the 2001 release Time (The Revelator), received nominations for the Grammy Award for Best Contemporary Folk Album. Her 2003 album, Soul Journey, introduced electric guitar, drums, and a more upbeat sound to their body of work. After a gap of eight years, she released a fifth studio album, The Harrow & The Harvest, in 2011, which was also nominated for a Grammy for Best Contemporary Folk Album.

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." Bill Friskics-Warren of No Depression praised the album as "breathtakingly austere evocations of rural culture." The Arlington Heights, Illinois Daily Herald' s Mark Guarino observed that Revival was "cheered and scrutinized as a staunch revivalist of Depression-era music only because her originals sounded so much like that era." He attributed this to the biblical imagery of the lyrics, Burnett's threadbare production, and the plainly-sung bleakness in Welch's vocals. Ann Powers of Rolling Stone gave Revival a lukewarm review and criticized Welch for not singing of her own experiences, and "manufacturing emotion." Robert Christgau echoed Powers: Welch "just doesn't have the voice, eye, or way with words to bring her simulation off."

Upon finishing college in 1992, Welch moved to Nashville, Tennessee. 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." Rawlings soon followed. In Nashville, after singing "Long Black Veil," the two first realized that their voices harmonized well and they started to perform as a duo. They never considered using a working name, so the duo were simply billed as "Gillian Welch." A year after moving to Nashville, Welch found a manager, Denise Stiff, who already managed Alison Krauss. Both Welch and Stiff ignored frequent advice that Welch should stop playing with Rawlings and join a band. They eventually signed a recording contract with Almo Sounds. Following a performance opening for Peter Rowan at the Station Inn, producer T-Bone Burnett expressed interest in recording an album. Burnett did not plan to disturb Welch's and Rawlings' preference for minimal instrumentation, and Welch agreed to take him on as a producer.

Gillian Howard Welch (/ˈ ɡ ɪ l i ən ˈ w ɛ l tʃ / ; born October 2, 1967) is an American singer-songwriter. She performs with her musical partner, guitarist David Rawlings. Their sparse and dark musical style, which combines elements of Appalachian music, bluegrass, country and Americana, is described by The New Yorker as "at once innovative and obliquely reminiscent of past rural forms."

Gillian Howard Welch was born on October 2, 1967 in New York City, and was adopted by Mitzie Welch (née Marilyn Cottle) and Ken Welch, comedy and music entertainers. Her biological mother was a freshman in college, and her father was a musician visiting New York City. 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. 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". When Welch was three, her adoptive parents moved to Los Angeles to write music for The Carol Burnett Show. They also appeared on The Tonight Show.

The instrumentation on their songs is usually a simple arrangement, with Welch and Rawlings accompanying their own vocals with acoustic guitars, banjos, or a mandolin. Welch plays rhythm guitar with a 1956 Gibson J-50 (or banjo), while Rawlings plays lead on a 1935 Epiphone Olympic Guitar. The New Yorker' s Wilkinson described Rawlings as a "strikingly inventive guitarist" who plays solos that are "daring melodic leaps". A review in No Depression by Andy Moore observed that Rawlings "squeezes, strokes, chokes and does just about everything but blow into" his guitar.