Her song, Orphan Girl, reminds me of the Carter Family song, "Motherless Children". Motherless Children has a hard time when the mother is dead. Motherless Children has a hard time when the mother is dead. They are driven out in the cold, God knows where to go, Motherless Children has a hard time when the mother is dead. Orphan Children has a hard time in this world. Orphan Children has a hard time in this world. Sister does the best she can but she really don't understand. Orphan Children has a hard time in this world.
Gillian and David have put incredibly beautiful guitar music and melody singing to this hundreds-years-old Child Ballad (Child 20) collected deep in the Appalachian Mountains by Cecil Sharp in the very early 1900's. It originated in England as a folksong (unknown writer) in a time unknown but perhaps in the 1600's. It died in England but was rediscovered in the Appalachians a couple of hundred years later. It had been brought over by English settlers who had sang it only amongst themselves on their porches until heard by Mr. Sharp, who notated the songs in a book then transcribed them to sheet music. The original, if you hear it from someone in the Appalachians singing it, without accompaniment (these are "unaccompanied ballads") would be virtually unrecognizable to this recording, for various reasons. It has been recorded many dozens of times by mostly unknown folk artists but also by Judy Collins and Joan Baez. There are hundreds of versions of this folk song. Gillian has picked through many of them to create her own version. I hope they record their versions of these Child and Roud Ballads. It would be a wonderful service to humanity and help many to be able to listen to these documents of the early American folk music tradition. These are the songs that created Bluegrass, hill music, folk music and then rock music. This music is one of the greatest gifts America made to the world and it all came from the Appalachian Mts. and the Appalachian people but people nowadays know nothing of it. But it is arguably one of their greatest heritages as Americans.
I'm a big fan, but I do see that Gillian, here, is rewriting her own history, claiming when hearing folk records at college she "might really become a musician." Conveniently left out is that she was already a musician playing in bands - a goth band and a psychedelic surf band. But, oh, well.
The sound quality of this video to me is unacceptable. Sounds like a 'vintage' mp3. How are filtering and compression artefacts like audible phase burbling even still allowed? Or possible?
Sadly, tubeyou,like Spotify and others,has their own "mastering" process. They can ruin a well-honed perfect mix like nobody else! Certain songs sound totally different on each platform. Annoying as heck to those that notice because we can't un-notice once we've heard it.
These two, David and Gillian are creators and performers of music in the highest degree,. Have been listening for years and always hear something old, much new and always a super treat.
I was there that amazing night in Dublin. it was as close to a perfect gig I've ever been to. Old Crow Medicine show opened, I'd not heard them before... I remember how great they were and wondering if she was right to bring them... they were powerful! As soon as she and Dave started playing though I knew I was in the presence of greatness. They had us spellbound! A beautiful night.
I really love Gillian and Dave. I was introduced to them via Time (The Revelator) in Oxford in about 1998, and have listened to them ever since. Saw them in London, Shepherd's Bush Empire, in 2003. For the encore they did Black Star. Blew me away. Gillian said that when she came to rehearse it she found she knew all the words, without even trying. I thought that this was a superb interview. She came across so well, and the interviewer, James Griffin, was brilliant. Thanks for uploading!
I wish the Civil Wars hadn't broken up in 2014 - they'd have jumped on this amazing song like flies on sugar and they'd have rocked it. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ooTyuRd9zSg.htmlsi=d6O_7ycWxZnn3AVZ
Who advised Conan that Emmylou was Gram's "album producer"? Or maybe he means (though if so his choice of words is poor as they suggest something else) that she produced not Gram's albums but the tribute album he is holding. That too is not the case. She co-executive produced the tribute album, which is to say she was not producer in the sense that the term "album producer" suggests. Harris should be-and likely was-embarrassed to receive a credit unduly on national television; so Conan (or whoever advised him) is doing her no favors here.
3:33 Why does he gather as much? Usually if there is a press kit or pre-interview, interviewers disguise as much. There is nothing apparent that would lead one to believe Gillian came to bluegrass and country in her twenties (all indications run the other way, in fact). Also, going back to the intro, in no way does she have a "modern sensibility." Her "sensibility" is, if anything, old-timey.
I'm not complaining, but no songs from their first two albums. How many artists with so few albums (5 or 6, depending on whether one counts O Brother Where Art Thou?) could manage to stay entirely away from their first two albums?
