1 	Look At Miss Ohio 	4:16
2 	Make Me A Pallet On Your Floor 	2:45
3 	Wayside / Back In Time 	3:28
4 	I Had A Real Good Mother And Father 	3:14
5 	One Monkey 	5:36
6 	No One Knows My Name 	3:16
7 	Lowlands	3:19
8 	One Little Song 	3:12
9 	I Made A Lovers Prayer 	5:03
10 	Wrecking Ball 	4:56

Acoustic Guitar – Mark Ambrose
Bass – Jim Boquist, Matt Andrews (7)
Fiddle – Ketcham Secor
Performer [All Else] – David Rawlings, Gillian Welch
Resonator Guitar [Dobro] – Greg Leisz
Vocals, Guitar – Gillian Welch

Gillian Welch and David Rawlings may, in fact, shock and appall folk purists with their fourth album, Soul Journey. "Are those drums?" "Is that an organ?" "Wait a minute, is that an electric bass?!?" The album uses these musical elements to drive home a living-room, lazy-summertime jam-session feel that hasn't really shown itself on Welch's previous releases. The album's opener, "Look at Miss Ohio," evolves into her toughest rocker since "Pass You By" on her debut, Revival, and the whole album culminates in the relative cacophony of "Wrecking Ball," a drunked-up barroom stumble highlighted by Ketcham Secor's loping fiddle lines and Rawlings' fuzzed-out guitar solo. Between these bookends is a mixed bag of traditional folk songs ("Make Me a Pallet on Your Floor," "I Had a Real Good Mother and Father"), loose blues phrasing ("Lowlands," "No One Knows My Name"), and a number of trademark Welch/Rawlings near-whispered murder ballads and orphan love songs. The thing that shines through most clearly is that the group had a lot of fun making Soul Journey, but that doesn't necessarily translate into a terrific album. Aside from a handful of real solid honest-to-gosh gems, the whole album feels a little too casual and off-the-cuff to stand on equal footing with her other recordings. The choruses often become just repeated phrases over and over again ("Lowlands," "No One Knows My Name," "I Made a Lovers Prayer," and the unfortunate "One Monkey"), and the songwriting seems less developed, as if the initial construction of the song has taken a back seat to the sheer enjoyment of performing it. That being said, it is a wonderful, dusty summertime front-porch album, full of whiskey drawls and sly smiles, floorboard stomps and screen-door creeks. While it does not exactly meet the impeccable standards that her previous three releases set, it is still a fine addition to her discography and well worth listening to all summer long. ---Zac Johnson, AllMusic Review

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01. Scarlet Town 03:39			play
02. Dark Turn Of Mind 04:08
03. The Way It Will Be 04:48
04. The Way It Goes 04:02
05. Tennessee 06:36
06. Down Along The Dixie Line 04:50
07. Six White Horses 03:38			play
08. Hard Times 04:52
09. Silver Dagger 03:23
10. The Way The Whole Thing Ends 06:11

Gillian Welch - Banjo, Composer, Guitar, Hands, Harmonica, Vocals
David Rawlings - Banjo, Composer, Guitar, Harmonica, Vocals  

This album has been a very long time coming. Gillian Welch released her last set, Soul Journey, in 2003, just a year after the soundtrack album for O Brother, Where Art Thou? (in which she appeared alongside Alison Krauss) won a Grammy. She became a country/folk celebrity, and yet for eight years there has been no follow-up, apparently because she was unhappy with her material. Now, at last, comes this brave, minimalist set of new songs that sound as if they have been around for decades. The opening Scarlet Town is an elegant lament that could be an undiscovered folk ballad, Silver Dagger is not the traditional song popularised by Joan Baez but a new piece that sounds like an Appalachian folk standard. Down the Dixie Line is a classic southern lament, and The Way It Goes is a jaunty, bleak story about a girl gone wrong. Welch writes fine, timeless melodies, and her mostly gloomy lyrics are performed in suitably mournful, no-nonsense style. She is accompanied by her partner David Rawlings, providing such sparse and thoughtful guitar backing that it comes as a shock when he adds a delicate burst of harmonica or thigh-slapping percussion. --- Robin Denselow

Does the world still remember Gillian Welch? Maybe best known among mainstream listeners for her entanglement with the “O Brother Where Art Thou” soundtrack back in 2000, it’s been eight long years since Welch released an album.

But questions about timeliness lose meaning pretty fast when listening to Welch teamed with her nearly symbiotic collaborator David Rawlings. Long trafficking in a sometimes spare yet intricately drawn sort of Americana that could fit just as comfortably at the turn of the 20th century, their latest delivers the same deceptively simple alchemy of dustily lilting voices, vivid lyrical twists and crisp acoustic flourishes.

While previous albums could flirt with rambunctious elements — for a folk duo, anyway (drums! electric guitars!) — “The Harrow & the Harvest” generally sticks to Welch and Rawlings’ quiet, almost achingly intimate wheelhouse. “The Way It Will Be” finds the duo’s voices merged to otherworldly effect amid haunting admissions like “I can’t say your name without a crow flying by.” On “Six White Horses,” the banjo, handclaps and harmonica cradle their voices so cozily that a twilit front porch practically appears wherever you might be listening. With “Tennessee” casting a sideways glance at the grim classic “Moonshiner,” and “Scarlet Town” carrying a similar drive as Welch’s “Rock of Ages” from 1998, the duo aren’t necessarily taking listeners anywhere new. But considering how beautifully they’ve constructed their rustic world, it’s just a rare treat to have them take us back again. ---Chris Barton.

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