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┌────────┐
────┤ Info ├─────────────────────────────────────────────────────────────────
└────────┘
Artist | Gillian Welch
Title | Boots No. 1: The Official Revival Bootleg
Genre | Folk/Rock Format | Album
Source | CDDA Time | 76:38
Label | Acony Records Store | 2016
Catalog | ACNY-1601 Rip | 2017
Bitrate | 209 kbps Size | 121.90 MB
Freq | 44.1 kHz Encoder | Lame 3.98.4
┌────────┐
────┤ Tracks ├─────────────────────────────────────────────────────────────────
└────────┘
CD 1/2
01. Orphan Girl (Alternate Version) 3:29
02. Annabelle (Alternate Version) 3:55
03. Pass You By (Alternate Version) 3:55
04. Go On Downtown (Revival Outtake) 5:45
05. Red Clay Halo (Revival Outtake) 3:24
06. By The Mark (Alternate Mix) 3:40
07. Paper Wings (Demo) 3:13
08. Georgia Road (Revival Outtake) 3:04
09. Tear My Stillhouse Down (Home Demo) 3:52
10. Only One And Only (Alternate Version) 4:20
CD 2/2
01. Orphan Girl (Home Demo) 3:28
02. I Don't Want To Go Downtown (Revival Outtake) 3:29
03. Rocket (Revival Outtake) 4:02
04. Barroom Girls (Live Radio) 4:10
05. Wichita (Revival Outtake) 2:50
06. One More Dollar (Alternate Version) 4:33
07. Dry Town (Demo) 2:55
08. Paper Wings (Alternate Mix) 3:56
09. Riverboat Song (Revival Outtake) 3:17
10. Old Time Religion (Revival Outtake) 2:06
11. Acony Bell (Demo) 3:15
┌────────┐
────┤ Notes ├─────────────────────────────────────────────────────────────────
└────────┘
Gillian Welch first appeared on the folk scene as a young singer/songwriter
armed with a voice and sensibility far beyond her years, earning widespread
acclaim for her deft, evocative resurrection of the musical styles most
commonly associated with rural Appalachia of the early 20th century. Welch
was born in 1967 in Manhattan and grew up in West Los Angeles, where her
parents wrote material for the comedy program The Carol Burnett Show. It
was as a child that she became fascinated by bluegrass and early country
music, in particular the work of The Stanley Brothers, The Delmore
Brothers, and The Carter Family.
When Welch released her debut album, "Revival", in 1996, plenty of
listeners and critics were taken aback by her strikingly accomplished
re-creation of the sound and mindset of country music of the 20s and 30s,
as if she'd miraculously stepped out of Harry Smith's Anthology of American
Folk Music into Nashville in the late 20th century. It soon became common
knowledge that Welch was born in New York City and had attended the Berklee
School of Music, leading many to question the sincerity of the artist and
the validity of the work. Twenty years later, Welch has released "Boots No.
1: The Official Revival Bootleg", a collection of outtakes, demos, and
alternate versions committed to tape before or during the making of
"Revival".
The front cover of "Boots No. 1" features a photo from the same sitting
that produced the "Revival" cover art, except this time Welch is holding an
electric guitar. The shot is a subtle but cheeky reminder of what should
have been the point all along: Gillian Welch wasn't a savant but an artist,
one who drew clear inspiration from the sounds of America's past, but used
them as a starting point to tell powerful and eloquent stories of her own.
And while Welch could pass for the lost member of The Carter Family when
she saw fit, "Boots No. 1" reveals there are plenty of other directions she
could have taken that would have been just as compelling and just as valid.
Most of the tracks here follow the essential template of "Revival" - Welch
and her constant collaborator David Rawlings blending their vocals and
guitars with minimal accompaniment, sometimes in glorious mono.
But the ragged but right rock & roll of "455 Rocket", the sinewy midnight
groove of "Pass You By", and the evocative Patsy Cline-isms of "Paper
Wings" (which appears in two versions, one featuring ethereal pedal steel
work from John R. Hughey) testify to Welch's versatility, as well as her
unerring skill as a singer and tunesmith. And while Welch had plenty of
gifted accompanists on board (no surprise with T-Bone Burnett producing the
sessions), you'd be hard-pressed to name two people who are as musically
simpatico as Welch and Rawlings, and his graceful, lively guitar work is a
joy to behold here.
"Boots No. 1" plays less like an expansion of "Revival" than a document of
a fertile period of creativity in the life of Gillian Welch, and while fans
of the original album will revel in it, you don't have to be familiar with
it to be dazzled by the subtle passion, intelligence, and eloquence of this
music.
┌────────┐
────┤ Group ├─────────────────────────────────────────────────────────────────
└────────┘