NanciNet Digest 2-26-98
// West Coasters, rejoice -- Nanci's to perform at the Kate Wolf
// fest in June. Also today we have a thumbs-up for Gove, some more
// from the ballet show, Nanci's televised duet with Richard
// Thompson, and thoughts on the similarities between Nanci and Dar.
// - MF
From: Shelly Brisbin (sbrisbin@prismnet.com)
Subject: Nanci to play Kate Wolf Festival
Greetings friends,
Nanci is listed among the performers at this year's Kate Wolf Memorial Festival. The annual event, which honors Kate's memory, and is run by her family, will be
held in Sebastopol CA (north of San Francisco) on June 27 and 28. Featured
performers include Nanci, Cheryl Wheeler, Greg Brown, Sarah Elizabeth
Campbell, Laurie Lewis, Guy Clark, Ferron, Utah Phillips and many others.
Find out more at: http://www.monitor.net/kate/
-shelly
Shelly Brisbin sbrisbin@prismnet.com
Writer, Editor, Geek for Hire http://www.rahul.net/frankf/sdb.html
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From: Mike Chesman (chesman@preferred.com)
Subject: Gove's album (some Nanci Content)
I just got Gove Scrivenor's CD in the mail today and I want to give it a
great endorsement. The man has a fine voice and his choice of compatriots
is superb. Some of the musicians on the album include Pat McInerney (who
also produces), James Hooker, and Ron DeLaVega (all on more than a couple of
tunes). Along with some excellent original material, you'll find a song
each written by Guy Clark, Townes Van Zandt, and Bob Dylan. John Prine,
Lari White, and LeAnn Etheridge contribute on vocals. Of course, Nanci's
there adding backing vocals on the title cut "Shine On" but it truly is Gove
who shines on this entire album. The best part about this is the man is
going to be performing live at the Down Home in Johnson City, Tennessee on
March 13th and its only 15 miles from my home. I can't wait!
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From: bsweaver@juno.com (Robert S. Weaver)
Subject: re:Kim Forehand
Why, yes I have heard of Kim Forehand. I first heard her play in
the new folk contest at Kerrville. She has a really unique ability to
sing about things no one else could pull off in the way she does. I also
had the priviledge of talking to her on the phone once. Some friends and
I called and got her number from information and she graciously talked
with us and gave us the chords to "Cinderella's Song". I have the tape
she put out independently a number of years back and listen to it as I'm
driving occasionally. I don't know what she's been up to lately
though--does anyone else?
Peace,
Rebecca
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From: rta (rtaafa19@IDT.NET)
Subject: icq and nanci
Hi Folks,
Thanks to shawn and lisa for reports on "This Heart" ballet.
Have recently been chatting with people using icq ("I seek you"). On my
information sheet , I've said I have a passion for singer/songwriter music,
listing artists such as Steve Earle, John Hiatt, etc. But, of coure, I have
nanci listed first. So I get lots of messages and chat requests asking
"who is nanci griffith?" I'm am happy to tell these people exactly who
nanci is. I've gotten several responses back saying "wow! I bought the cd
you recommended (usually the mca years retrospective), I can't believe how
good she is" or
"I love this type of music, how could I have not heard of her before."
This has been an interesting experience. But I'm still waiting for the
first person to message, "I love nanci too!" So my icq# is 8285105, if
anyone would like to be first.
Take care,
Robert Arlinghaus
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From: Shawn Kimbro (kimbro@planetc.com)
Subject: Re: "This Heart"
Hi folks--
This from rec.music.folk was posted as a follow-up to the review of
"This Heart". There is some trivia here I didn't know and it sure adds a
little irony to the way Nanci opens the OVOR video huh? That also could
explain the extra vocal touches we noticed when Nanci sang "The Wing and
the Wheel". The friend Scott mentions who interviewed Nanci is probably
Maureen Needham. Maureen wrote a exceptional pre-performance article
about the Ballet in last week's "Nashville Scene" newspaper. I'll post
some excerpts from it in a later message.
-Shawn
-----------
Subject: Re: Nanci Griffith - "This Heart" Ballet - Review
Date: Wed, 25 Feb 1998 01:32:35 -0600
From: Scott Smith (scottesmith@home.com)
Organization: @Home Network
Newsgroups: rec.music.folk
References: 1
What most people don't know is that Nanci had some sort of painful
sounding dental surgery not long before this show. (Something to do
with the residual effects of having had her front teeth knocked out in a
youthful diving board accident... youch!) Because of this, when a
friend of mine interviewed her just two days before the performance
Nanci spoke with a very pronounced lisp. It's a small miracle she could
sing, but apparently nobody noticed anything was wrong.
Scott
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From: Dan.Gerson@mckesson.com
Subject: Nanci and Richard Thompson
I just managed to watch my recorded version of Richard Thompson's
appearance on Sessions. Nanci appears and sings along on the last song
- something about a red headed girl and a motorcycle I think. What a
song! I was moved right down to my socks.
Among other things, I was amazed at how Nanci added her harmony just
at the exact right spots. Does anyone know if they practiced this
beforehand, or was Nanci just going by intuition? Does the recorded
version of this song have that same harmony? What's the name of the
song? Mr. Thompson already had my admiration, but this show spiked it
to a higher level. What a poet he is.
Dan G.
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From: Stenbock@aol.com
Subject: Re: Nanci and Richard Thompson
>>I just managed to watch my recorded version of Richard Thompson's
>> appearance on Sessions. Nanci appears and sings along on the last song
>> - something about a red headed girl and a motorcycle I think. What a
>> song! I was moved right down to my socks.
The song was "1952 Vincent Black Lightning", from one of my favorite RT
albums, "Rumor and Sigh". It has one of the most unforgettable lyrics
ever..."I've seen you at the corners and cafes it seems/Red hair and black
leather, my favorite color scheme."
The recorded version has no harmony, just RT alone on the guitar. It's a
moving song, and I bet it was an entirely different experience with Nanci
there...sorry I missed it. I've been fantasizing for YEARS what the two of
them would sound like together...I can't wait to hear the result.
Michael Cornett
Takoma Park, MD
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From: Dan.Gerson@mckesson.com
Subject: Nanci (and other greats) on bay area TV
I thought Bay Area Nancinetters would be interested in these 2 shows
on KTEH (channel 54, San Jose) on Saturday night:
7:00 Lawrence Welk Show Favorite Holidays L Welk Syndication/PBS
12:10 The Chieftains In Concert With Roger Daltry and Nanci Griffith.
This international success from Ireland performs with Daltry and
Griffith. PBS
Dan G.
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From: Shawn Kimbro (kimbro@planetc.com)
Subject: Re: "This Heart"
Hi again--
Here's an excerpt from Maureen Needham's article entitled "Love Story"
which appeared in the February 19, "Nashville Scene" newspaper:
---The concept for the piece is highly reminiscent of William Forsythe's
daring 1970s ballet "Love Songs" in which Aretha Franklin and other pop
artists crooned about love gone sour. Vasterling's piece, however, is
more upbeat and lighter in tone than Forsythe's. It has "more of a
glow," as leading dancer Kathryn Beasley Gager comments.
Still, what's a classically trained dancer and choreographer doing
dabbling in popular music? As it turns out, Vasterling was already a
fan of Griffith's, so it was easy for him to connect with her music....
Vasterling says he is delighted to work with singer Nanci Griffith. The
theme of "bittersweet love" appealed to him from the start because he
could "find new places" within himself to express feelings about
personal relationships. He finds Griffith's music "inspiring" but
insists that it is necessary for him to "tell his own story." Griffith,
in turn, states that she was delighted when she saw what Vasterling had
done: His piece, she comments, "was a great joy for me as an artist and
as a beholder in motion" ---
The article also includes some biographical information on Vesterling
and some of the dancers, mentions the songs featured, and includes a
picture of the stunning Nicole Johnson dancing to "Nobody's Angel".
Warm Regards,
-Shawn
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From: REBeffa@aol.com
Subject: California here she comes
I guess El Nino and allergies can't stop her.
I just heard today that both Nanci AND Guy Clark will be playing at the Kate
Wolf Folk Festival (near Sebastopol, CA) in June. Last year we had Dar
Williams, this year Nanci... not too shabby. There are many other wonderful
performers also such as Greg Brown, Ferron, Utah Phillips, Cheryl Wheeler,
Sarah Elizabeth Campbell and Nina Gerber of course, and more. It's a two day
show. Some performers play both days (like Greg Brown), some just one day
(like Nanci and Guy on the Sunday, I think, June 28).
There are some details up at the Kate Wolf website.
http://www.katewolf.com/festival/1998.htm . I'm sure there will be updated
info soon.
Ron Beffa
Clack's Cellar http://members.aol.com/clackclack/rebeffa1.htm
_________________________________________________________________
From: Marianne Montgomery (mmontgomery@WELLESLEY.EDU)
Subject: A Nanci reference in Dar Williams' newest release?
I was excited to see Nanci and Dar tie in one folkvote category
(http://www.folkmusic.org/folkvote97), since, different as they often are,
they're two of my absolute favorites. Listening to Dar's latest CD, "The
End of the Summer" in the car the other day (I'd temporarily put aside my
Nanci compilation in the spirit of New England rain), I noticed a line in
the song "Road Buddy" (about the American road ayth gone bad):
There's real estate signs in the cornfield stubble
I know there's love, I bet there's trouble
But you just can't span a lifetime from the road.
Now, I'm wondering if this is a reference to "Trouble in the Fields" or if
I'm just imagining connections between my two muses (the young Dar, just
gaining national recognition, recognizing Nanci's well-established folk
voice?), and if any other NanciNetters have a take on this.
Marianne
Now Playing: Kate Campbell, "Songs from the Levee"
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From: Dan.Gerson@mckesson.com
Subject: Re: A Nanci reference in Dar Williams' newest release?
Marianne and anyone else,
For a very interesting comparison of Dar and Nanci, check out the
Nancinet archives at:
http://www.rahul.net/frankf/Nanci/archives/96303.html
where you can read the very insightful piece by Nancinetter Deb
Thornton.
_________________________________________________________________
From: Bill Peete (peete@uicc.com)
Subject: Kate Wolf Festival
Howdy Folks,
I just ordered tickets for the Kate Wolf Festival! Got #s 1 and 2 :) The guy I
talked to (Cloud) said he's been working a long time to book Nanci and finally
got it confirmed. He said she would have a small group backing her up, not the
BMO. Definitely Nina Gerber though :) Their web-site has taken over 800 hits
since yesterday and he expects the tickets to vanish quickly once the word
gets out so if you think you might want to attend, act quickly.
jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj Oops! I had to remove a chunk of crud from
the j key! Hey that reminds me! Jennifer Berezan is going to be there too! She
was the singer/songwriter that took second place on my top 10 CD list for 1997!
Cheers,
Bill
http://www.cruzio.com/~billpeet
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From: "Hans Janssen" (hjanssen@mail.dotcom.fr)
Subject: Stone Country
Hi all,
I was just looking in my local CD-store in Middelburg and what did I found
there a country tribute to the Stones and with Nanci singing No Expectations
this was the only Stones song I didn't know, the other were all the
claasics.
After listening I decided not to buy the CD, because I only liked the Nanci
song. I think the reason I disliked the others because I stayed comparing
them with the originals.
I don't believe this was already on the NN.
met vriendelijke groeten,
Hans Janssen.
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From: "Deb Thornton" (dlt4@email.byu.edu)
Subject: Two years later: Dar and Nanci revisited
Hi yo NanciNuts---
I almost yielded to the temptation to respond when the Dar Williams
question came up again the other day, but resisted. I noticed that the date
of the post that Dan referenced was exactly two years ago today, and
perhaps it's appropriate to re-examine the works of the two now that each
has added to her body of work. May i update my post of two years ago, and
extend the comparison between the two writers?
It's funny to go back and see words from so long ago staring back from
the screen. Even the weather hasn't changed much. I drove home from Salt
Lake in a dangerous post-blizzard environment last night, having slogged
through a day that saw some 28 inches hit the ground and stick. The night's
prayer was "Please, God, let me finish my dissertation." (Hi, Ovella; yes,
i'm working on it, and i'll see you in a week or so when the weather
breaks.) As i predicted, i did grow weary of two songs on Mortal City, but
the poetry of it as a whole only amazes me more than it did two years ago.
The Honesty Room i still consider flawless, and "I Love, I Love" remains my
favorite Dar song, although there is a score of close seconds.
Let's recap: In the last two years i've been willing to drive 600
miles---one way---to see both of these singers, and i've since seen each in
concert four or five times. Both of the releases, Dar's The End of the
Summer, and Nanci's Blue Roses from the Moons, met with mixed responses,
both from published critics as well as from internet posters who reviewed
the albums. For example, Mark wasn't crazy about Dar's record, and another
esteemed list member said she also didn't care much for it. I am among the
people who think that Blue Roses is among Nanci's worst recordings; "St.
Teresa of Avila," one of my favorite Nanci tunes of all time---the fact
that it is co-written by Mary Margaret Heenie and fraught with her
Carmelite sensibilities really makes it a transcendent piece---mitigates
for the "not garishly off-key" (i can't identify the author of the
quotation, as he is one of the NanciNet's most faithful and i do respect
his right to privacy) version of "Gulf Coast Highway."
But there would be no point in a parallel comparison of the two
records except to say that they both reveal the singers' musical
roots---Nanci to her cap rock with its drooling drawling and Dar to her
suburban folk/rock origins. Now they are in different places in their
careers: Nanci's band of ten years has essentially broken up (wah! i didn't
sit with my friends at the concert, but got a seat by myself in case the
sorrow of seeing the BMO one last time caught up with me---i swear the fact
that their block of six seats was in row Q and mine was in row B had
nothing to do with it), and Dar has made one tour with a band, and her
audiences are starting to suffer for the lack of that "intimate" feel of
hearing just Dar and her guitar.
Criticisms of Dar's release are also well made. To the ear, it is not
a folk album, but thematically and vocally it is very much a folk album,
one that shows an artist stretching her range in an organic way and growing
ever stronger. Before its release, she told me, "The folkies are going to
be mad at me because it's quite a rocker---it's got *drums* on it." But
there were songs for the purists on it as well, she assured me. Sure
enough, parts of it are plugged in and parts of it are synthesized. And, in
my opinion, the best of it is acoustic and as spare as The Honesty Room,
though her characteristic lyrical brilliance emanates through the
distinctly pop sounds of "Are You Out There," "What Do You Hear in These
Sounds," and "Teenagers, Kick Our Butts." One track, "Bought and Sold,"
sounds so much better electric than it did solo acoustic that i didn't
recognize it at first.
The End of the Summer see-saws with alternating raucous, in-your-face
songs and soft, gently observant, interior aspects of growing up, becoming
a person and relating to other people in a world that reeks of corruption.
The effect is jagged: on one track she is outside herself, partying and
hollering, then in the next song she is inside, the consummate introvert
trying to decipher herself and the world. The rock beat of one song
juxtaposed against the acoustic softness of the next one, followed by the
pop sounds of the next one and the hushed tones of the next one can either
jar the hell out of you or settle you into a rhythm that reveals the
contrast many people experience as they live both within themselves and
among people.
She goes back and forth, outside and inside, juxtaposing electric and
acoustic, discord against harmony, crafting a piece about living in the
self (the therapy song), living in a family and passing milestones ("The
End of the Summer"), maintaining consciousness and optimism in a world
prone to complacency ("Teenagers, Kick Our Butts"), surviving destructive
materialism ("Bought and Sold"), and finding relationships and losing them.
Sonically, the recording's instrumentation keeps shifting from
rock/pop to folk, back and forth, back and forth. Loud, quiet, outside,
inside, major, minor, loud, quiet, outside, inside, major, minor. To what
end? There is a clear invocation---"Are You Out There"---and the revelation
of the fullness of the universal elements of life, the pleasures and the
pains. The tension hits its breaking point in last two tracks, where she
reveals the abyss separating the painful present she cannot escape and the
future she wishes for. As a composer, she cannot escape the horrors of the
interior, cannot reconcile the two opposing forces, cannot bring the yin
and the yang together into harmony. No one has mapped the soul's most
difficult terrain as well as she does in "It's a War in There." Her song
ends abruptly, with a slight upturn of the instrumental melody but not the
vocal as she lapses into the silence and inevitable solitude of her own
backcountry's difficult terrain:
It's a war in there, it's a war in there
But you can hold me now.
You can hold me now.
The wordless, unreconciled being at the end of her composition faces a
treacherous present. There's a "now" she cannot escape, but wants to be
folded within. And so she leaves the benediction, the final blessing, to
another writer; the optimism and happy survival hoped for in "Better
Things" she can sing, but she cannot write. We all have to find our bridge
from paralysis to whatever Better Things are for us as individuals. Through
someone else's words she wishes us well in our own journeys. And so
throughout the coming-of-age album, the sole unifying force is the
persistent voice and the amazing consistency of the lyrics. And since they
hold together so well, the album has a stunning unity despite the
alternating raucous and hushed overall sound of the songs.
I also stated way back then that the best comparison is between Dar's
first two albums and Nanci's; if we compare Dar's first three, now that we
have them, with Nanci's first three, I still give Dar the clear edge in
voice (no contest) and lyricism (she matches Griffith's range of metaphor,
but has a superior dramatic sense), but not in guitar skills.
Nanci, too, went a bit electric on her third---did people say, what
was she thinking putting an electric guitar in "The Ballad of Robin
Winter-Smith," and what's that attitude in "Mary and Omie"---and she was
stretching out her voice, ranging from the wispy, girlish tones in
"Roseville Fair" and "Once in a Very Blue Moon" to the strong sounds of
"I'm Not Drivin' These Wheels." The album has percussion. Virtually all of
these articulate songs are about human relationships---or the lack of
them---, and they all have the charmed, literary flavor of her first
albums. And we get a clearer view of the artist herself in some of the more
confessional songs. "Friend out in the Madness" is one of my anthems, one
of Griffith's strongest lyrics.
As i noted before, i think the fourth album is the one that makes or
breaks. The first one is the most honest, the second one tries to extend
the trajectory of the first, and the third one usually branches out into a
more commercial direction, and the fourth one becomes one of the artist's
classics. We'll see, two years from now, how Dar's fourth---slated to be a
return to the acoustic and lean production values---compares with Nanci's
great fourth release.
I'm looking forward to it---
deb "still a true-believing coyote" thornton
"I reckon you think you been redeemed."
from Wise Blood, by Flannery O'Connor
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