// A bit more discussion of the symphonic edition of Nanci, a less 
// than flattering review, and more...Enjoy! [BP]

_________________________________________________________________

Subject: NN: OV Review
   From: Bell/Wrightson (onemansmusic@mindspring.com>

>From a Cleveland paper, from another list.
Sarah
      NANCI GRIFFITH'S VOICES: A Personal History of Folk Music.
      HISTORY OF FOLK MUSIC GETS TOO PERSONAL 
      review by ROBERT SANTELLI
      11/15/98 The Plain Dealer  Cleveland, OH
      
   There's really never been a hard and fast definition of American folk music.
It used to be that folk was music made by and for folks. Today, calling someone
a folkie can be the kiss of death in a music scene driven by units sold,
MTV-friendly videos, and sexy star-power. All too often true folk singers record
for small independent record labels that no one has ever heard of and rarely
sell a lot of records, no matter how good the music is. No one ever said that
the music business was an equal opportunity industry.
   Nanci Griffith is a folk singer who comes from a different mold. She makes
records for Elektra, a top music company; has hit albums that have crossed over
into country and alternative rock territory, and over the years has acted as a
folk ambassador in the pop world. Griffith is so proud of her folk roots that
she has written a book to celebrate them.
   Unfortunately, "Nanci Griffith's Other Voices" is not quite what the subtitle
suggests it is: a personal history of folk music.
   Rather, the book is more a loosely strung memoir that dwells far too much on
her Grammy Award-winning album, "Other Voices, Other Rooms," and its follow-up,
"Other Voices, Too: A Trip Back to Bountiful."
   Both albums are considered contemporary folk classics, not just because of
Griffith's ability to bring new life to such chestnuts as Woody Guthrie's "Do Re
Mi" and the traditional South-African song, "Wimoweh," but also because of her
homespun warmth and sincere love of the music. Writing a book about these two
albums is one thing; writing a personal history of folk music is another. 
   You think big things are coming when you open "Other Voices." 
   First, there's a foreword by John Lomax III, whose enthusiasm for Griffith
knows no bounds ("The world needs a lot more people like Nanci Griffith: long
may she live, sing, and share her life with us!") Then there is a preface penned
by Griffith in which she sums up her life, explains the origins of her love of
folk music, and
unveils the basic intention of her book: to pay tribute to the songwriters whose
songs she interpreted in her two volumes of "Other Voices." Finally, there is a
prelude written by Joe Jackson, the co-author of the book, which includes
testimonials from Griffith's record producer, Jim Rooney, and Steve Ralbovsky,
an Elektra
Records executive. All of this takes nearly half the book to accomplish.
   There is much to learn about Griffith, but little about the history of folk
music. The remainder of "Other Voices" is essentially a track-by-track analysis
of the songs Griffith covered on her two acclaimed albums.
   She explains why she selected the songs, gives insight into the artists who
wrote them and keeps things lively with anecdotes and remembrances that make
reading "Other Voices fun, if nothing else.
   In one part of the book, Griffith recalls a childhood meeting with folk
singer/mentor Carolyn Hester who wiped tears from the young Griffith's eyes
after the show. Later, the two singers became friends, and as Griffith writes,
"she remains an integral part of what I do."
   What Griffith does, and does very well, is sing and play folk music, rather
than write about it. Hard-core fans will find "Other Voices" worthwhile, but
readers looking to learn more about where folk music has been and why, despite
so many commerical obstacles, it endures, will have to look somewhere else.
   (Santelli is the Rock and Roll Hall of Fame and Museum's education director
and the author of "The Best of the Blues" (Penguin).)
	(Copyright (c) The Plain Dealer 1998)

_________________________________________________________________


Subject: NN: top ten
   From: Lauren LeBlanc (lleblanc@brynmawr.edu>

procrastinating away....
here's my top ten, but i don't have the new pj harvey album, the new joni
mitchell or the new liz phair album so i am not sure if this is subject to
change but for now, here it is...

1.irma thomas, marcia ball, tracy nelson: "sing it!" -- when i'm homesick
for new orleans, i put on this album and sing along.  i saw these three
divas this summer at the house of blues in new orleans -- if you have a
chance to see them, i highly recommend it!

2.belle and sebastian: "the boy with the arab strap" -- brilliant sardonic
pop from scotland.  hopefully, they'll play in paris while i'm they're next
semester (let's hear it for junior year abroad!)

3.tiny town: "tiny town" -- although the demise of the subdudes is a
devistating thing, tiny town is incredible.  i saw them play for three
hours last january at tipitina's on napoleon avenue; tommy malone is
incredible...

4.lucinda williams: "car wheels on a gravel road" -- i love this album for
all the reasons everyone else has given plus the fact that all of her
southern references make me laugh -- the fact that she thinks she can find
her love in slidell, louisiana.....

5.gillian welch: "hell among the yearlings" -- i love her voice and the
simplicity of her songs which are so full of underpinings.

6.rem: "up" -- sounds like a combination of the stirrings of "automatic for
the people" and "out of time" -- michael stipe can do no wrong, but this
album brings them back to where they are best.

7.jonatha brooke: "10 cent wings" -- this album came out in november of 97
but i saw someone else post it so i am too!  jonatha brooke is so amazing
and such a fabulous performer and kind woman.  i don't know if i would have
liked this if "angel in the house" was not one of my all-time favorite
albums, but nonetheless....

8.nanci griffith: "other voices, too" -- not what i expected (and i cringed
upon hearing "you were on my mind" and "who knows where the time goes") but
"dress of laces", "desparados," and "yarrington town" are so beautiful and
exquisitely nanci.

9.natalie merchant: "ophelia" -- after "king of may," the songs become
tedious, but the beginning of the album is wonderful.  dark natalie poetry.
she should have just spent the album experimenting with n'dea and that
trumpet player... "break your heart" is one of my favorite songs of this
year

10.los hombres calientes: "los hombres calientes" -- experimental jazz and
cuban music from new orleans.  the runaway hit at last year's jazz fest (i
wish i would have been there instead of studying away here at bryn mawr)

*****
i wish that i could add to this list a new album by sinead o'connor -- does
anyone know if she has plans for a new album anytime soon?

also, if anyone has contact with nanci, tell her to consider playing May
Day 2000 at Bryn Mawr College -- it's worth a try :)  it would be the best
graduation present after four years of hard work.


_________________________________________________________________


Subject: NN: Re: Symphonic Nanci
   From: BMiller224@aol.com

To chime in with what Susan Bond and several others have said, I'm looking
forward myself to hearing a "classical" version of Nanci's music.  Do people
still use the term "art music," or is that more of a 1930s thing?

Good analogy about soundtracks. Aaron Copland, my favorite American composer,
did soundtracks, aka "incidental music."  One of Beethoven's best-known works
was incidental music for Goethe's play "Egmont."  He also did incidental music
for a piece called "The Ruins of Athens," a play by August von Kotzebue that
was essentially a celebration written for the opening ceremonies of a new
theater in the Hungarian city of Pest (as in Buda-Pest).  Beethoven's music is
still played, but I'm not even sure a text of Kotzebue's play survived.

Paul McCartney's "Liverpool Oratorio" was not too well received, but I enjoyed
it, myself.  I don't know about the reception for his symphonic piece
"Standing Stone" last year.  But I have the impression it was better regarded.
The San Francisco Symphony played it this year, although I'm sorry to say I
haven't heard that one yet.

So there is plenty of "crossover" between classical and pop.  But it obvious
to me  that a symphonic piece is considerably more difficult to write than a
four-minute pop song with a repeating chorus.

But I'm looking forward to hearing some "classical" Nanci Griffith.

Bruce Miller
San Bruno, CA

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Subject: NN: Symphonic Nanci & Roy Rede?
   From: ZanderTX@aol.com

I really loved Roy Rede's version of Gulf Coast Highway on the remix page.
Does anyone know if he is working on the symphonic album?
Felice (new in town) Sampler.

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Subject: NN: Nanci and the LSOO
   From: "R. H. Mitchell" (o41@erols.com>

It turns out that there was a typo in the early story and Nanci will be 
recording not with the LSO but with the august LSOO: THE LEIDERHOSEN 
SOUSAPHONE OMMPAH ORCHESTRA.  New versions of her older songs will 
include "Love is a Hard Polka," "Nobody's Dumpling," "Bring the Prose to 
the Ski Lift," the Dylan classic "Cheese of German Milk," and my 
personal favorite, "One Blade Short of One of Those Swiss Army Knives 
that have two blades, a can opener, an awl, a corkscrew, an itsy-bitsy 
compass, wirecuters, pliers, nail file, litty bitty fork, flashlight on 
one end and a big old ring on the other so you can hang it on your key 
chain."

This will not be the band that accompanies her on the remake of perhaps 
her most moving song, "There's a Life Vest Under Your Seat, Mary 
Margaret."  That will be recored with the LSO--the Lute and Sackbutt 
Orchestra.

Requests for clarification should be address elsewhere.

Reid

// Reid...I didn't know you were a disciple of John Hodges...[BP]

_________________________________________________________________


Subject: NN: Top 10-Jerry Jeff Walker clarification!
   From: "Robert Pugsley" (RMP6@leicester.ac.uk>

Dear Ron and Steve (and anyone else who's interested),

According to the all-knowing, all-seeing, All Music Guide the Jerry
Jeff Walker album 'Cowboy Boots & Bathin' Suits' was released
on 14 April 1998.

Steve, need to change your list?!

Best wishes

Robert


_________________________________________________________________


Subject: NN: Guardian Newspaper
   From: Ann Tyas (ann@awnpb.demon.co.uk>

Hi,
Monday 23rd November
Don't forget to get a copy of today's Guardian- G2, or The Little Paper,
as I call it, to read an article on Nanci. Nothing you ardent fans won't
already know, but interesting to read another writer's perspective,
Ann Tyas
-- 
Ann Tyas


_________________________________________________________________


Subject: Re: NN: Guardian Newspaper
   From: "Robert Pugsley" (RMP6@leicester.ac.uk>

Ann wrote (((Don't forget to get a copy of today's Guardian- G2, or The Little
Paper,
as I call it, to read an article on Nanci. Nothing you ardent fans won't
already know, but interesting to read another writer's perspective>>>

In addition,

This is quite a good 'summation', and there's mentions of some subjects
which we've tackled here, the..erm...problems of being married to
Eric Taylor, the pills and the booze, the cancer scare, the reason she left
Texas - guess what, it was the weather ;-)

For those poor souls living in places other than dear old Blighty you can
read this illuminating interview (although I found the writing a bit
underwhelming to be honest)at...

	http://reports.guardian.co.uk/articles/1998/11/23/34547.html

...but be quick it won't be there for ever.  

Good to see a link to Rob Schrull's website at the end of the article as well.

best wishes

Robert (Pugsley)


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Subject: NN: Nanci's "new" songs
   From: "Devin Bramblett" (bramblett@jcn1.com>

    "There's A Life Vest Under Your Seat, Mary Margaret" has always been a
favorite of mine ... it has especially been a lifesaver when I am drowning
in the depths of despair.

Devin

" Don't accept that what is happening is
just a case of others' suffering
or you'll find that you're joining in the turning away."
~Pink Floyd~
bramblett@jcn1.com


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Subject: NN: Top Ten From a De-Lurker
   From: David Dubofsky (dadubofs@saturn.vcu.edu>

Hello Nancinetters:

For the last ~4 years, I have used the NanciNet to learn about many new
folk artists. My Top Ten of 98 includes several of these artists. It was
a great music-year. So much so, that my top ten this year must include
11 CD's.

11. Remembering Kate Wolf
10. The Horse Whisperer
9. Nanci: OVOR - II
8. Kate Campbell: Visions of Plenty
7. Billy Bragg and Wilco: Mermaid Ave.
6. Lyle Lovett: Step Inside this House
5. Kennedys: Angel Fire
4. Dar, Lucy, and Richard Shindell: Cry Cry Cry
3. Joe Ely: Twistin' in the Wind
2. The Mavericks: Trampoline
1. Lucinda Williams: Car Wheels On A Gravel Road

Two outstanding 1997 releases purchased in 1998:
Catie Curtis: Catie Curtis
Laura Love: Octaroon

1998 purchases not yet heard:
REM: Up
The Nields: Play
Freakwater: Springtime

1998 release to be purchased in my next batch:
John Gorka: After Yesterday

Only 25 top tens received so far!?!?! What is everyone waiting for?

Have a Happy Holiday.

-David Dubofsky
Richmond, VA

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Subject: Re: NN: A Symphonic Nanci
   From: Mike Chesman (chesman@preferred.com>

Let me also join the ranks of those looking forward to hearing Nanci with
the LSO.  I can think of dozens of tunes that Nanci could revisit with an
orchestral backing.    However, I hope she'll provide us with some new songs
or perhaps some she's kept hidden away for this opportunity.   If she does a
few tunes by others, I think "Never Be The Sun" by Donagh Long would be a
perfect song for Nanci to cover.  You can hear it by Dolores Keane with
Emmylou Harris on the "A Woman's Heart 2" cd. 

If she can bring me to tears with just her guitar, I don't know how I'm
gonna handle the sound of the full string section of the LSO.

Mike    

_________________________________________________________________


Subject: NN: Book giveaway update
   From: Michael Wilt (handofgrace@yahoo.com>

Griffsters,

Due to a week-long experience of "internet servicus interruptus," I
was unable to access my email to complete the book giveaway. As a
result I'd like to extend the deadline for another week, to Saturday
November 28, since I won't have time to mess with this till then anyway.

I have not been inundated with responses, by the way (although the
Indigo Girls book is surely gone), so if you're even mildly interested
in anything I listed, go ahead and . See NanciNet Digest #98B17 for
the original posting, and add these two books to the list:

She's Got the Blues--a collection of tunes made famous by blueswomen
from Billie and Bessie to Ella and Janis.

The Songs of John Jacob Niles--for piano and low voice.

Michael Wilt

==
Michael Wilt
mwilt@smp.org
handofgrace@yahoo.com

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Subject: Re: NN: Re: Symphonic Nanci
   From: RonHennesy@aol.com

BMiller224@aol.com (Bruce Miller) writes:

(( So there is plenty of "crossover" between classical and pop.  But it
obvious to me that a symphonic piece is considerably more difficult to write
than a four-minute pop song with a repeating chorus. >>

I agree with everything you say.  

In addition to the examples you gave: The finale of Beethoven's 9th Symphony
notoriously has popular "ompah" brass band music, which the composer fits in
perfectly with the many other musical elements of the symphony.  Franz Liszt
wrote 19 classical piano pieces based on gypsy music, the fabulous "Hungarian
Rhapsodies."  Dvorak similarly used Czech popular musical elements in his
symphonies and string quartets.

In this country, Charles Ives incorporated ragtime, popular hymns, and band
music in his symphonies and sonatas.  George Gershwin combined classical and
blues styles in works like "Rhapsody in Blue" and "Porgy and Bess."  Roger
Miller composed a musical drama, "Big River," in the country music style.
Bernstein combines several styles in his immortal "West Side Story." There are
many other examples--in movie music too.

In the future I'd like to see a musical drama from Nanci. Maybe she could use
her novels for sources.

She obviously has a special talent for artistic collaboration.  A couple of
"dream teams" for me would be Nanci and master film composer and orchestrator
John Williams; and Nanci and fellow Texan, the novelist Larry McMurtry.  (For
those who don't know or have forgotten, among many other works, John Williams
composed the score to the "Star Wars" movies, and Larry McMurtry wrote the
novel "Lonesome Dove.")

Or have all three collaborate, with McMurtry writing the story line/drama
(maybe about old Texas); Griffith writing songs; and 
Williams composing overture, recitatives (if any), "incidental" music, and
orchestral interludes.

Ron Hennessy

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Subject: NN:Symphonic Nanci - & stereotypes
   From: "Steve Goldberger" (steve@aldgategroup.com>

John "and my sense of humor is sophomoric" Hodges  wrote:

"my stereo type is a magnavox 5 cd changer, with dual cassette deck and 15
pre-set stations. looking forward to hearing about others' stereo types."

As my recent heart surgery bruised ribs continue to slowly heal,  I could
not hold back the fit of laughter when I read the above.   Despite the
resluting pain, I could not resist to add my $0.02 worth. (Canadian - worth
$0.0000001 US).

My stereo type is a collection of vintage 70's Kenwood and Sony stuff with
assorted speaker types including Altec Lansing, B&O and various cheapo
boxes.

Also all the talk about symphonic nanci brings back fond memories of when a
rockin' country bluegrass http://www.aldgategroup.com/blackcreek.html
band I was in back in 1975 hired 20 members of the Toronto Symphony to play
on our single.

We had 16 string players and 4 french horns play some most beautiful and
funky parts.  It was truly a joy for me (a mere 21 yrs. old at the time) to
sit in the control room and watch these guys all in their 50's or 60's
swinging their heads and bodies to our music.  Afterwards, they all said
that it was a blast for them too.  These guys are real pros that enjoy being
put in challenging and different situtations.  I'm sure nanci's project will
be interesting and a quality work of art as usual.

Steve "Living in the present" Goldberger
Steve
http://www.aldgategroup.com/BumTickerPages/BumtickerHomePage1.htm
http://www.aldgategroup.com/stevesbands.html


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Subject: NN: NANCI'S BALLET
   From: Steve Makarsky (thekidd@flash.net>

Afternoon, All:  Must've been asleep & this may have been answered
before, but which of Nanci's songs were used in the ballet performed by
the Nashville Ballet?

Also, I wasn't aware she actually sang as part of the show... I just
assumed they were using her music.... 

Steve "When you don't know where you're going, any road will get you
there"

_________________________________________________________________


Subject: Re: NN: NANCI'S BALLET
   From: Bill Page (bpage@scctel.com>

Steve, et al...

The definitive report on the Nashville Ballet show can be found in the archives
for 5/29/96. It's buried among all the Kerrville reports (i.e., the official
1996 NanciNet convention). Yep, Nanci sang. 

There's a follow up discussion in the archives of 5/23/97, in which the song
list from the Boston Pops show is compared to that from Nashville, with the
resulting total number of orchestrated tunes available. 

Bill Page

_________________________________________________________________


Subject: NN: Re: NANCI'S BALLET
   From: "Shawn Kimbro" (skimbro@bhset.org>

Hi Steve,

I found the message I posted to the NN after the February
performance:

From: Shawn Kimbro (kimbro@planetc.com)
Subject: "This Heart"

The pastel curtains at the Polk Theater of the Tennessee Performing Arts Center
were illuminated with dozens of candy-colored hearts last night. And even more
hearts fluttered in the audience as we anticipated the beginning of Paul
Vasterling and Nanci Griffith's ballet of bittersweet love, "This Heart."  The
stage was set for the final performance and the entire Blue Moon Orchestra was
in place just to the right of the main stage.  Lee Satterfield smiled and waved
while James Hooker suspiciously scanned the balcony for seat-jumpers. He didn't
catch us, we were already in place right in front of Nanci's microphone!

What could possess NanciNet folkies to doll up in black dresses and new shoes
instead of t-shirts and hiking boots? Nothing short of Nanci's love stories. 
But in this performance Nanci didn't share her stories in
her aNGelic sing-song voice between songs, this time the Nashville Ballet
performed the familiar tales. The orchestra tuned, the lights dimmed, the
curtain went up and we sat on the edge of our seats in eager anticipation.

There was Nanci, alone in a single spotlight on the big empty stage. The crowd
applauded as she curtsied and walked over to her microphone. She looks great! 
Her hair is longer now, almost shoulder length with just the slightest hint of
grey. She wore a full-length dark green velvet dress with black lace up shoes. 
She strapped on her Taylor and cued the orchestra with a strum of the first
chord to "These Days in an  Open Book". Ballerina Nicole Johnson led the members
of the troupe on to the floor.  We couldn't decide who to watch,  Nanci, the
BMO, or the dancers on stage.

I'd like to have sat in on auditions for this heart.  I swear many of the
dancers *looked* like Nanci! In fact the resemblance was uncanny in one girl. 
The costumes were great.  Most of the girls danced in denim mini-skirts with
bare midriff tops (there was even a tube top!!!) and the guys wore jeans and
tanks or flannel. There was an equal amount of toe-dancing and foot stomping. 
The dancers really seemed to be enjoying
themselves, I noticed most were lip-synching the words. 

Nanci traded guitars for the second song "Always Will" for which Vasterling has
choreographed a flirty pas-de-deux which showcased the talents of the dark eyed
Kathryn Beasley Gager and Mike Biggers.  I
imagined Nanci's senior prom and wondered if Hooker felt the urge to throw in a
short riff from "A Whiter Shade of Pale."  Next was "Outbound Plane" with eight
dancers swirling and spinning, sometimes soaring across the stage. I marveled at
the upper body strength of the guys as they effortlessly tossed the ballerinas
into the air. When everyone finally landed the BMO droned into the intro of
"Nobody's Angel". We listened carefully but there was no dog bark ;-).  During
this song Nicole Johnson danced with three guys.  She added a few jazzy hip
thrusts as she flirted between the trio of young suitors, never spending too
long with any one.

The next to last song was "The Wing and the Wheel".  I've never heard Nanci's
voice any finer than when she sang this song.  She even added a few trills and
lilts perhaps inspired by the accompaniment of a full
string section.  The couple dancing this pas-de-deux began very closely, their
legs intertwined, but then moved apart and danced separately as if to illustrate
a love-affair gone wrong.

And then came the finale "This Heart" in which all the dancer's rushed back on
to the stage. The choreography included country line-dancing, modern jazz moves,
and frequent clapping with the down-beat. I noticed Nanci's attention move
toward the dancers, it must have been thrilling for her to see this
culture-bending rendition of her music. 

The audience erupted into a standing ovation and Nanci led the BMO through an
additional verse while the audience clapped along.  I wonder how often that
happens at a ballet??

After the show a few NanciNetters joined the BMO onstage. Lisa Day quizzed Lee
about the future of the band. Maybe she'll tell us what Lee said?  I was
speaking to Doug Lancio when Kelly Sanderson popped up and gave me a big hug. 
Lisa headed toward James with that look in her eye, I tried to hold her back but
there's no stopping a woman with a crush! I finally pulled her away in time to
get a message from James to the NanciNet.  He said, "Tell 'em I said hello and
I'm listening in when they least expect it." 

I'd been informed my Montero would turn into a pumpkin at midnight so I started
looking for glass slippers where Nanci had stood.  Finding none I hurried up the
steps and off towards Hillsboro Village. Driving home
from Nashville this morning I had time to consider the events of the night
before.  If "This Heart" makes it anywhere close don't miss it. It's a must-see.
As I aimed my truck across the Cumberland Plateau and back toward the Smoky
Mountains, I realized that this heart is still somewhere in downtown Nashville.

Warm Regards,
-Shawn

_________________________________________________________________


Subject: RE: NN: Nanci's Ballet
   From: "M G" (tank1000@hotmail.com>

Hi all,

Steve Makarsky (thekidd@flash.net> wrote:
>Also, I wasn't aware she actually sang as part of the show... I just
>assumed they were using her music.... 

Which brings me to my question. Don't flame please. I am admitting ahead 
of time that, while I consider myself fairly well-rounded musically, I 
know almost nothing of Orchestal or Muzak Music. I have probably heard 
more of the Muzak due to grocery shopping.
The question is: Assuming Nanci isn't singing and a recording is made of 
an orchestral interpretation of one of her songs; and the recording is 
played in an elevator is it considered "Muzak"?

Where does one instrumental musical form stop and the other start? 
Number of instruments? Calibre of Musicians?

Just curious,
Mark "Instrumentals always bring out the stupid in me" Gale

_________________________________________________________________


Subject: NN: Performing with an orchestra
   From: Bill Page (bpage@scctel.com>

For those wondering why Nanci would want to sing with an orchestra, Susan Werner
recently told an interviewer that singing in front of an orchestra is one of the
best feelings on earth. "All those people making beautiful music just to
accompany you," or words to that effect. 

Bill Page

_________________________________________________________________


Subject: NN: top 6
   From: Steven Teich (teich@ohsu.edu>

1. McGarrigle Hour - Kate & Anna M
2. Spyboy - Emmylou (hard to choose between 1 & 2)
3. Step Inside This House - Lyle Lovett
4. Jubilation - The Band
5. OV2 - can't remember the artist, but maybe it'll come to me
6. Theme from The Apostle

--steve teich
teich@ohsu.edu                                                                  
               

_________________________________________________________________


Subject: NN: Top Ten reconsidered
   From: Halesbop@aol.com

Pugsley says:

>According to the all-knowing, all-seeing, All Music Guide the Jerry
>Jeff Walker album 'Cowboy Boots & Bathin' Suits' was released
>on 14 April 1998.

>Steve, need to change your list?!

Thanks for doing the research, Pugsley! Yes, I'll take you up on that. My
original list is below. I would like to replace Buffett's "DSTC" with Jerry
Jeff's "Cowboy Boots & Bathin' Suits". I'm sure the Buffett selection had
raised a few eyebrows and trashed any credilbility I may have had anyway (g>.
But I think it's a great cd for what it is--a musical adaptation of Herman
Wouk's book--and easily Jimmy's best album in ten years or so. The
considerable musical and vocal talents of the Coral Reefer troupe are given
ample opportunity to shine on this record, much moreso than on typical Buffett
fare. But, "Cowboy Boots" is probably my favorite album of the last year or
so, so Jimmy walks the plank, so to speak. "Cowboy Boots" is the album old-
timer Buffett fans have been wishing Jimmy would make for years!

Johnny Adams- "Man Of My Word"
Dave Alvin- "Blackjack David"
XXX Jimmy Buffett- "Don't Stop The Carnival" (please remove from list)
Kate Campbell- "Visions Of Plenty"
Jerry Garcia & David Grisman- "So What"
Nina Gerber, etc.- "Treasures Left Behind- Remembering Kate Wolf"
Nanci Griffith- "Other Voices, Too"
Emmylou Harris- "Spyboy"
+++ Jerry Jeff Walker- "Cowboy Boots & Bathin' Suits" (please add to list)
Gillian Welch- "Hell Among The Yearlings"
Lucinda Williams- "Car Wheels On A Gravel Road"

   (I had written following comment when originally submitting my list):
One cd I'd like to mention which would have made the cut if it were released
in '98, but apparently came out late last year: Jerry Jeff Walker's "Cowboy
Boots And Bathin' Suits".

Thanks,
   Steve


_________________________________________________________________


Subject: NN: OV Review
   From: esa.toivonen@sci.fi (Esa Toivonen)

I don't quite understand Mr. Santelli's criticism here. It seems like he
would be disappointed because this book is not about folk music and it's
history in general, but just some personal memories connecting to some
special songs. I have not yet read the book, but somehow I feel like the
reviewer has expected more about the form of the book than what the
subtitle promises, although he writes:

> Unfortunately, "Nanci Griffith's Other Voices" is not quite what the
> subtitle suggests it is: a personal history of folk music. Rather, the
> book is more a loosely strung memoir that dwells far too much on her
> Grammy Award-winning album, "Other Voices, Other Rooms," and its
> follow-up, "Other Voices, Too: A Trip Back to Bountiful."

Why NOT use the special songs from accompanying cds as a skeleton for
this kind of "loosely strung memoir", as that kind of approach just
makes it really a personal thing? And knowing how much with care Nanci
has selected the songs, it also feels kind of relevant thing to do.
After all, she is a living big part of folk music and it's tradition and
history.

Anyway, even if the subtitle might be a little deluding, especially for
a person not knowing Nanci's music before, I don't think that would
justify the basic negativeness of the whole review. Just a thought, but
perhaps Santelli has been more upset about these formal things: 

> You think big things are coming when you open "Other Voices."
> First, there's a foreword by John Lomax III (...)

> Then there is a preface penned by Griffith in which she (...)

> Finally, there is a prelude written by Joe Jackson (...)

> All of this takes nearly half the book to accomplish (...)

This is even more presumable, considering that in common Santelli admits
Nanci has a lot of interesting things to tell about and has a cute way
to express herself in writing:

> There is much to learn about Griffith, but little about the history
> of folk music (...)

> She explains why she selected the songs, gives insight into the
> artists who wrote them and keeps things lively with anecdotes and
> remembrances that make reading "Other Voices fun, if nothing else (...)

After those lines I just can't see where the hell Santelli's concluding
remark aims at:

> What Griffith does, and does very well, is sing and play folk
> music, rather than write about it.

Perhaps some Nancinetters could offer us more consistent reviews of the
title. Or should I study the archives? (Just a few weeks in here.)

-- 
Esa
Finland

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