Welcome to the Welcome Wagon may be the most appropriately named record of the year. The title functions as a simple, friendly invitation to get to know the duo who make up the Welcome Wagon, Presbyterian pastor Vito Aiuto and his wife, Monique. The songs on this record connect the listener to the musicians because they come straight from the heart and soul of their creators. This debut album is a collection of twelve songs firmly rooted in the traditions of folk and gospel in which the themes of life, romantic love, and the more melancholic aspects of the Christian faith are explored.
Welcome to the Welcome Wagon is a gospel-folk album which is comprised of songs that were recorded in homes and churches around New York City between 2001 and 2008. The record’s charming warmth is amplified because it sounds like it was recorded by a bunch of friends who were having a great time together. Other than the two cover songs and a few hymn texts scattered throughout the album, most of the songwriting credits go to Vito Aiuto, though the orchestral arrangements are clearly the handiwork of Welcome Wagon friend, Sufjan Stevens, who also recorded and produced the record. Stevens doesn’t hi-jack this record as his own, though his presence is strongly felt—particularly on the more boisterous tracks like “Sold! To the Nice Rich Man” and “Hail to the Lord’s Appointed.”
If compared to something in Stevens’ own body of work, this has much more in common with his subtly brilliant Seven Swans (in content and sound) rather than his sprawling opus, Illinoise. Many of Stevens’ weapons of choice are present here including the banjo, the glockenspiel, the horns, and the choral singing—yet they don’t overwhelm these songs, which allows the album to sound pleasantly simple and accessible. Vocal responsibilities are split between Vito, whose soft voice sounds not unlike his producer’s, and Monique, who sings with an awe and innocence that is ideal for these songs. And it’s clear that these songs were designed for singing—the melodies are simple and infectious and will follow you around after only one or two listens.
Some of the greatest moments of the record are also its most mellow and visceral. The set opens with the tender “Up on a Mountain,” which begins with the careful, youthful voice of Monique. She is soon joined by a chorus of singers, setting a communal tone which is maintained throughout the record. “He Never Said A Mumblin’ Word” is a powerful, moving, country-folk dirge about the suffering of Christ. There’s also a stompy, sing-a-long in “But For You Who Fear My Name,” which features several layers of banjos and guitars circling one another. One of the finest songs here is “American Legion,” a touching, folk-y, love song with boasts some well-placed opera singing in the background that appears on more than one song in this set. “I Am a Stranger” is the longest cut here, clocking in at over six minutes, and it features a stellar, soulful gospel choir and some spindly electric guitars–it stretches the record to new places as it builds higher and higher to a glorious climax. The closer which follows is a short, gentle, and humble song, “Deep Were His Wounds, and Red,” which takes a joyful look at the work of Christ and its made all the more endearing by a female voice admitting, “I screwed up twice” at the end of the song.
Though most of the record is original material there are a few covers revealing a little bit of what might be playing in this pastor’s study. There is a cover of Velvet Underground’s “Jesus,” which features a heavenly chorus of voices that reaches for the sky as it tingles the spine. The other cover is a lesser known song by The Smiths called “Half a Person,” which you may have heard it if you managed to pick up this year’s The Sound of the Smiths [Deluxe Edition]. It’s song choices like this that indicate that the Welcome Wagon are making a record that they love and enjoy–with songs that are meaningful to them. Even these cover songs from the early New York rock ‘n’ roll of the 60s and the British alternative rock of the 80s are filtered through the gospel-folk style of the songs around them causing the whole album to stick together really well.
What makes this recording so endearing and unique is that it is such a personal, inviting album. Listening to it allows the listener to feel as if they know the passions and joys of the people who made it. Though the record is firmly rooted in the Christian tradition, it’s never saccharine or heavy-handed, which, sadly, is a somewhat rare feat for Christian musicians—making this achievement all the more impressive. The Welcome Wagon have been able to craft songs that honestly express their faith without neglecting the art, beauty, and pleasure of music. As a result it is not difficult to imagine listeners outside of the Christian faith enjoying these songs. I can’t remember the last time I heard a record that bore the heart and soul of its creators as well as Welcome to the Welcome Wagon and because of that it’s as welcoming and winsome as any record you’re likely to hear this year.
Welcome Wagon
Welcome to the Welcome Wagon
Asthmatic Kitty Records; 2008
Rating: 4.0/5.0
