![]() ![]() If “Bodysnatchers” isn’t the perfect Southern Gothic creeper, it’s close.īut as fixated on sadness, loss, damnation, and missed opportunities as many of the Grammy-nominated duo’s compositions are, you’ll also find joy in these refracted tales from America’s past. A moaning violin cuts the stillness between verses like a night bird crossing the moon, and the lyrics-filled with breath by the couple’s trademark close harmonies-spin a web of voodoo, soul-selling, and murder. The spare pace of the guitars evokes the quiet of the plantation-era Delta at midnight. The spirits of the past have never been more present than they are in Nashville Obsolete’s “Bodysnatchers,” where Rawlings channels the Devil-obsessed Mississippi blues pioneer Skip James in his keening tenor singing. Through all their subsequent albums-five under Welch’s name and a pair, including the new Nashville Obsolete, under Rawlings’ solo nom de plume David Rawlings Machine-two things have remained constant: their twined voices and guitars, and those ghosts. And it’s been that way since 1996, when the duo made the transition from respected Nashville songwriters to revered roots-music performers with Welch’s debut Revival. Ghosts glide and whisper everywhere in the music of David Rawlings and Gillian Welch. ![]()
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