Thus, it is no surprise that Soul Journey, Welch's fourth album, is no exception to this rule. The follow up to 2001's critically acclaimed Time (The Revelator), Welch once again delivers a collection of beautiful original songs sure to impress any listener of great folk music. While it fails to match the diversity and overall quality of Revelator, Soul Journey makes for a stunning album and excellent continuation of the style she has established over the last several years. Tracks such as the bluesy "Look At Miss Ohio" and "I Had A Real Good Mother and Father," with its soaring vocals as the prominent focus of the song, seem to echo the finest moments of Revival, Welch's debut album, while "One Little Song" and "Make Me A Pallet On Your Floor" conjure up thoughts of "Dear Someone" and "Everything Is Free" from her preceding release. While the album includes far more production (namely, the frequent use of drums) than her previous records, it does not overtake or drastically alter the sound, and in fact adds a folk/rock flavor to tracks such as "Wrecking Ball" (not to be confused with the title track of Emmylou Harris's 1995 album-this one is a Welch/Rawlings original).

While the entire album, from lyrics to arrangements to music, is the product of Welch and Rawlings' own creativity, the echoes of Welch's greatest musical influences cannot be hidden. Tracks such as "Lowlands" are reminiscent of songs by Neil Young and other musical geniuses of the early to mid-'70s and "Wayside" could easily be covered by Nanci Griffith with little differences between the two recordings. Most obviously, "No One Knows My Name" is strikingly Carter-esque, the tune even being an exact copy to the note of "Motherless Children," one of country music's first family's classic songs.

Whether one is a fan of traditional country, contemporary folk music, or beautifully crafted lyrics and songs, Soul Journey is a must for any CD collection. In the album's first track, Welch sings, "Oh, me oh my-oh-look at Miss Ohio." Look at Gillian Welch. This album, just like her previous three, is going to go far.

60 of 64 found the following review helpful:


so much more than �One little song��  Jun 09, 2003 By Larry L. Looney
...Gillian Welch has provided, with this, her fourth album, proof that she's not just a flash in the Americana pan. She's a talented, creative artist who has (thankfully) found a way to release her product on her own label, thereby controlling more aspects of the process than many artists are lucky enough to enjoy. Unfettered by the `do this - do that' voices in a corporate office, she and her songwriting/performing partner David Rawlings can see their vision placed into the hands of their fans untouched by the forces of corporate greed. And that's a real good thing. The duo's listeners have been able to see the songwriting talents at work in their recordings expand and mature over the course of their four releases - there are songs here that stand up to the best work on her astonishing debut album, REVIVAL, as well as the high points that can be heard on HELL AMONG THE YEARLINGS and TIME (THE REVELATOR).

The arrangements on these tracks are mostly simple - but don't make the mistake of reading `simple' as `empty' or `unimaginative'. Welch's voice and words are framed perfectly by her guitar and occasional, gentle banjo work - and as listeners have come to expect and appreciate, David Rawlings' accompaniment couldn't be more apt. If you've ever had the pleasure of seeing these two perform live, I'm sure one of the first things you noticed was how much in tandem they work - they're joined so closely in spirit that they accompany and play off each other without even looking, like four hands controlled by the same mind. This intermingling of talents translates nicely into their studio recordings as well - there's not a single note out of place or superfluous here. Each song is arranged to suit its lyrics and mood and emotion - nothing comes across as being added just because it was available.

`Miss Ohio' starts out the album in fine fashion with a theme explored by Welch in the past - the dichotomy that lives within all of us: knowing what is `right', what is `expected' of us, and at the same time giving in to the yearning inside of us to try something different, to `live out that fantasy' as the lyrics say. Take chances: "Oh, me-oh-my-oh, would you look at Miss Ohio - she's a-runnin' around with the ragtop down. She says "I wanna do right, but not right now"'. Welch repeats this phrase several times in the song, driving home the point.

`Wayside/Back in time' is a look back at the speaker's life - again, questions about `what could I have done different?' and `what would have happened if I...?', things we all ask ourselves from time to time. `Make me a pallet on your floor' and `I had a real good mother and father' are a couple of traditional tunes given very effective performances here - and Welch has personalized them a bit with the addition of some added original lyrics (the latter song being especially heartfelt, I thought).

When I read the review of this album in ROLLING STONE (they only gave it two stars - go figure), I noticed a comment about the `bluegrass arrangements' on some tunes. I suppose the reviewer was referring to `No one knows my name' - but the presence of a banjo and a fiddle doesn't make a song bluegrass. The song contains another reference to parents - combined with Welch's references to hindsight and rebellion, there's an air of personal nostalgia to some of the recording, but it never gets maudlin. The honesty in her lyrics and in her voice keeps it vital.

The masterpiece on this album - for me, at least - is `One little song'. It's a deceptively simple tune, a hauntingly beautiful melody, accompanied only by Gillian's gently-picked guitar - but the lyrics are some of the best I've ever heard addressing the ache in the heart of the songwriter: `There's gotta be a song left to sing, cause everybody can't've thought of everything...' For me, this song stands head and shoulders with `Orphan girl' and `Acony bell' on REVIVAL - it's destined to become a classic in her repertoire, sure to elicit a great response from her listeners.

`I made a lover's prayer' is likewise perfect - and the album ends with an upswing of energy in the last song, `Wrecking ball'. This final song, as well as `Miss Ohio', and, to some extent, `Wayside/Back in time' and `One monkey', show a bit of Gillian's more forceful side - but none of them are over-done. The gentle songs are exceptional - the production values held and applied by Rawlings here are excellent, giving each track an up-close, intimate feel. It's almost as if Gillian and David were sitting in your living room, playing just for you. Everything here is just as it should be - and aren't we the lucky ones for that...?

30 of 33 found the following review helpful:


Love makes us into madmen  Oct 09, 2003
I'm a very sensible guy. I love my wife, I love my children, I do my work, I pay my mortgage etc. However for the last few years I have been having a secret affair with Gillian Welch and Dave Rawlings and their art, an affair of the heart.

I'm simply in love with the sounds they make. Because I am in love the fact that I think Soul Journey is the fourth perfect CD that they have released may not mean much to you. You are free to dismiss such claims as the ranting of a madman, a man driven mad by love.

But if you are curious about what sounds could inspire such passion in an otherwise calm and collected soul.... Soul Journey or any of the others are fine places to start.

If I had to pick, I'd say in general that Soul Journey is their best CD yet. Something tells me the one to follow will be their best ever too.

They just keep getting darker and brighter, closer to the bone and closer to the light.

14 of 16 found the following review helpful:


Not as good as the previous few...  Sep 25, 2003 By Brandon Milner
Let's get the record straight... I am a huge Gillian Welch fan. I've been moved to tears of joy and sadness by her songs more times than I am comfortable to admit. So why does this album ring hollow for me? I'm not sure, but maybe the addition of all the extra instrumentation somehow detracts from the magic that David Rawlins and Gillian have when just a twosome. David is mostly absent here and his guitar counterpoint and harmonies are sorely missed. Replacing him are mundane drum and organ parts sounding like a bored Neil Young backup band.

Plus, the songs just aren't as strong on this record to me. The lyrics don't tell stories and where is a song that aches and swoons like Time (the revelator)?

3 stars for this album by this 5 star artist.

12 of 14 found the following review helpful:


Less IS more with Gillian Welch  Jul 09, 2003 By sorenrv "sorenrv"
I have been with Gillian Welch since the Revival CD and her subtle but haunting songs and voice have been a revelation to me. If anything Gillian Welch is subtle, she uses subtlety as a secret, or not so secret, weapon to get under the skin and into the heart and deeper, er, layers of the mind.

Compared to her two previous releases Soul Journey is and even more scaled down affair with even sparser instrumentations and arrangements. Is this good or bad? The way I see it is that there are lots of places to go for "the other thing", beuatifully crafted and oppulent productions, so seeing that Gillian and mate David dare to go in the other direction is very refreshing.

Listening to these songs are all about focusing on the simple truths, the beauty of Gillian's voice, the guitar tone, the snare drum hit that feels so present, so close to you, that you are continously overwhelmed by the intimacy of the listening experience.

Gillian's voice has developed since Time (The Revelator). It has become darker, a bit more sinister, and less playful. If anyone remembers the playful Paper Wings from Revival, with it's great, and very corny lyrics and melody, with a nod to Patsy Cline, such songs are absent from Soul Journey. But Gillian Welch is never sobbingly sad. She sings the songs like stories that have to be told with a remarkable quiet insistency.

I am very impressed with the production, the general sound of the CD. It sounds as if the production team (David and Gillian I presume) have used all the vintage gear they could lay their hands on, but married it with modern technology where that is appropriate (such as releasing on CD and not on vinyl). The sound combined with the sparse arrangements add up to an overall sound that leaves the confines of the stereo and grabs your senses as if they were actually in the room there with you. This is a remarkable development form Gillian's earlier CD, that were well produced, but, er, not on this CD's remarkable level.

So what more could one ask for? Not much, really. But I sense that the musical and lyrical universe Gillian Welch has explored is maybe in need for something new, some new angle and a fresh perspective, in the future. A songwriter like Bob Dylan has written about the same subjects for forty years but his language and metaphores have changed constantly. I hope Gillian Welch will NOT sit back and enjoy the ride now. I hope she will keep on searching her soul and dare to really surprise us with her next CD. Don't worry, we can take it. And may it be soon.

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