David Rawlings

GILLIAN WELCH’S ALL THE GOOD TIMES AVAILABLE ON CD ON MARCH 5
VINYL COMING LATER THIS YEAR – PRE-ORDER HERE

ALBUM NOMINATED FOR 2021 GRAMMY AWARD FOR BEST FOLK ALBUM

INITIAL PRESSING OF THEIR TEN ACOUSTIC COVERS RECORDED AT HOME ON A REEL-TO-REEL SOLD OUT IN 48 HOURS

BOOTS NO. 2: THE LOST SONGS BOX SET OUT NOW VIA ACONY RECORDS- AVAILABLE HERE

Today, Gillian Welch & David Rawlings confirm that their Grammy-nominated All The Good Times, a new collection of ten acoustic covers recorded at home on a reel-to-reel, will be available on CD on March 5th, with vinyl coming later this year. The album, which contains songs by Bob Dylan, John Prine, Elizabeth Cotten, and Norman Blake, as well as new arrangements of traditional songs (full tracklisting below), is the first Welch/Rawlings collaboration to feature both of their names on the cover and received a 2021 Grammy nomination for Best Folk Album. All The Good Times was originally released in July 2020 as a surprise treat for fans, and the limited-edition handmade CD and LP first pressings sold out in 48 hours as a webstore exclusive. This new reissue will have revised art and packaging and be available via all retail channels worldwide for the first time. The album is available for pre-order here.

Recently, Gillian Welch released the physical box set for Boots 2: The Lost Songs. The set, available in vinyl or CD editions, contains the complete collection of their newly unearthed and celebrated cache of home demos and reel-to-reel recordings from the vault of Welch and Rawlings. The box set includes a deluxe package consisting of a 12-inch “old-school, tip-on” style box made by Stoughton Printing and a special 66-page song book with photos, lyrics, and guitar chords for all 48 tracks. The CD box will have the three volumes of Boots No. 2: The Lost Songs on three CDs in jewel cases. The LP box will include the three volumes on three 150 gram LPs housed in printed paper sleeves. “Purchase CD and pre- order vinyl box sets here. Production issues have caused a delay in the release of the vinyl box set. Please see gillianwelch.com for the most up to date information on vinyl box set shipment timings. Boots No. 2: The Lost Songs, Vol. 1 -3 are available digitally here.

Recent Critical Praise for Gillian Welch & David Rawlings
“…American Folk Masters…”
“ If you are Gillian Welch and David Rawlings, there’s a sense almost of predestination, as if you were traveling toward each other all along.”
-The New York Times

“There’s that harmony blend that no-one else can achieve besides these two.
They are so influential…”
-NPR Music
“This archival trove cements the singer-songwriter and her steadfast partner, David Rawlings, as modern masters of American folk.”
– Pitchfork“The protectors of the American folk song.”
– Rolling Stone“…mighty good new tracks…”
– Stereogum“American auteurs…”
-The Wall Street Journal“Fans of Gillian Welch have been rewarded for their customary patience with an abundance of albums released in 2020.”
-The Bluegrass Situation

Recently, The New York Times Magazine ran their interview with Gillian Welch and David Rawlings, and say of the pair: “The best duos and duet singers understand that creating harmony is sometimes a series of musical negotiations, sometimes a series of personal negotiations, sometimes both… If you are Gillian Welch and David Rawlings, there’s a sense almost of predestination, as if you were traveling toward each other all along.” Read the full interview here.

Gillian Welch & David Rawlings- All The Good Times Track Listing

1. Oh Babe It Ain’t No Lie (Elizabeth Cotten)
2. Señor (Bob Dylan)
3. Fly Around My Pretty Little Miss (Trad. arr. Gillian Welch & David Rawlings)
4. Hello In There (John Prine)
5. Poor Ellen Smith (Trad. arr. Gillian Welch & David Rawlings)
6. All The Good Times Are Past And Gone (Trad. arr. Gillian Welch & David Rawlings)
7. Ginseng Sullivan (Norman Blake)
8. Abandoned Love (Bob Dylan)
9. Jackson (Jerry Leiber, Billy Wheeler)
10. Y’all Come (Arlie Duff)http://gillianwelch.com/
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Singer. Grammy-nominated songwriter. Producer. Award-winning guitarist. Since kicking off his career with 1996’s Revival — an album billed under Gillian Welch’s name, but featuring the indispensable co-writing, harmony-singing and instrumental chops of her musical partner — David Rawlings has woven one of the most acclaimed paths in Americana music. He reaches a new destination with his third solo album, Poor David’s Almanack, whose songs point to a frontman who continues walking the fine line between rootsy revivalism and bold innovation.

This is a modern folk album that wears its old-school influences on its sleeve. Like Bob Dylan’s early work, Poor David’s Almanack looks to archetypal songs of the American roots-music catalog for inspiration, using them as launching points for a wildly original tracklist. The high-lonesome harmonies and acoustic fretwork of “Midnight Train” jumpstart the album on an earthy note, while “Airplane” — a southern ballad featuring a string section arranged by Rawlings himself — reaches skyward. Rawlings even evokes the call-and-response format of old field songs during the chorus of “Good God a Woman,” then serenades a lover with the fiddle-fueled, countryfied “Come Over My House.” Throughout its 10-song tracklist, Poor David’s Almanack sounds both fresh and familiar, offering new music rooted in the tradition, texture and twang of the folk songbook.

“This is new territory for me, with songs that stick much closer to classic folk melodies and classic folk structures,” he explains. “Before, if I’d wanted to sing a song like ‘Midnight Train,’ I would’ve covered a traditional song that already exists. This is the first time I looked at myself and thought, ‘Wait, if I want to play music like that, I should make it myself,’ because I love that kind of music and I want to be a creator of it. I want to try and inject some of myself into that folk bloodstream.”

A leader of the contemporary folk revival, Rawlings began releasing albums with Gillian Welch in the mid-’90s, championing a more acoustic-based sound during the heyday of grunge. For more than two decades since, he has juggled multiple roles as a frontman, duo partner, sideman and behind-the-scenes producer. His vocals can be heard on the Grammy-winning soundtrack to O Brother, Where Art Thou?, whose multi-platinum sales and widespread popularity helped introduce old-time folk music to a 21st century audience, and his unique approach to the acoustic guitar has influenced a new generation of forward-thinking folkies, several of whom — including Dawes and Old Crow Medicine Show — have hired Rawlings to produce their own albums. Dawes’ Taylor and Griffin Goldsmith both make appearances on Poor David’s Almanack, as do multiple members of Old Crow’s past and present lineups, including Ketch Secor and Willie Watson. On an album filled with some of the brightest lights in Americana music, though, Rawlings’ star shines the strongest, whether he’s singing in a mercurial voice or leading his band through an instrumental section worthy of a front-porch picking party.

Half of Poor David’s Almanack was written alone — a first for Rawlings, who typically co-writes with Gillian Welch — and songs like “Money is the Meat in the Coconut” have already become staples of his live show, tossed into his setlist days after they were completed. Later, while recording the album to analog tape at Woodland Studios in East Nashville, Rawlings experimented with overdubs and other layered effects. Assisting him were a pair of top-shelf engineers: longtime collaborator Matt Andrews and legendary studio hand Ken Scott, whose work can be heard on landmark albums by the Beatles, David Bowie, and Elton John.

Influenced by new experiences, old sounds and classic books (including Benjamin Franklin’s Poor Richard’s Almanack, whose title serves as the basis for Rawlings’ own album), Poor David’s Almanack nods to its source material without borrowing. It’s a nod to the past and a step toward the future. “Cumberland Gap,” with its electric guitar solos and coed harmonies, even evokes the California folk-rock of Fleetwood Mac, pushing Rawlings into ever-evolving territory.

“That’s the beautiful thing about this kind of music,” he says. “It’s supposed to be a chain. Maybe it’s supposed to be a chain that looks like a circle. We’re all looking for our best way to contribute to the great musical landscape. We’re all trying to raise some little part of that building.”