//  More OVToo comments, a report from the Newport on the Road fest
//  in New Jersey, and some new pictures.  - MF


From: kenn lippert (lippert@fyi.net>
Subject: Other Voices Too Much - A Trip Back to Excess

Hey all,

Got my OVT from Village Records (came in the same shipment as Kate
Campbell's "Visions of Plenty" - bad timing for OVT), poster looks great.

I am sitting at the computer doing the bills and listening to OVT, (about
my third time through).  I am going to make comments on the tracks as they
come up in between paying Bell Atlantic and the sewage company.

Wall of Death - You almost always prefer the first version of a song that
you hear over any subsequent versions.  Nothing to change that here.  My
first (and only up to now) exposure to WOD was Pete and Maura Kennedy on
"River of Fallen Stars".  To my ears their track has much more pace,
excitement, and emotion. The guitar solo on OVT does nothing for me, and
the way the singers fade INTO the verses instead of jumping on them reminds
me of high school chorus when everyone was afraid to be the first to make a
sound for fear of being a half a measure early (yeah I did that in a
competition).

Who Knows Where the Time Goes? - This is the haunting kind of
interpretation I was expecting from Ms. Griffith.  But what the hell is a
win-tar?  To me that is a file compression program for wintel peecees.  The
unfortunate pauses in the phrasing remind me of Carly Simon's
"Anticipation" (or the ketchup commercial for that matter).  But the
subdued instruments and the close harmonies on the choruses make listening
a pleasure anyway.

You Were on My Mind - MAWHR-NIN !?!?!?  KANHNER ??!?  This is not a Texas
accent!  I have heard Nanci sing, speak, and even play with the sounds of
words plenty of times, but this is inconceivable!  And why is she redoing
this sixties pop song anyway (especially with the guitar solo a'la the
Monkees).  I am depressed.

Walk Right Back - Okay I know the Crickets were a big influence, and that
Nanci wanted to grow up to be one - but could we get over it already?
There is a reason that you aren't still hearing the Crickets on the radio
or seeing them up front at Border's.

Canadian Whiskey - Again, here is a haunting, obscure (to me anyway),
simple yet complex song worthy of Nanci's voice and vocal interpretation.
Makes me want to hear more Tom Russel.

Desperadoes Waiting for a Train - While I somewhat agree with Shawn that a
loner song like this loses its point when sung by a chorus - but then again
the chorus also makes the point that all of us are indeed DWFAT.  But yes,
Nanci does sound out of place amongst the "boys". "Kahn-tree, sheesh.  Who
is playing that lead electric guitar though?  Is it the same Richard
Thompson of WOD?  It is by far the best  lead guitar on any Nanci recording
in sometime.  Right up there with "From Claire to Here".

Wings of a Dove - A quaint old fashioned gospel tune, reminds me a bit of
"Are You Tired of Me Darling".  Its a nice change of pace.

Dress of Laces - This is the kind of intriguing, mysterious, magical
poignancy that I expect.  Here is the emotional child of "Tecumseh Valley".

Summer Wages  - Why oh why oh why oh why does Nanci think she needs to
imitate Jimie Dale Gilmore?!?  Maybe he is a talented poet, I'm sure he's a
nice guy, but I cannot STAND HIS VOICE!  If Nanci is going to walk his
nasal whiny (I've got diriticculitis!) path, I may never buy another album.
Its a shame too, 'cause this song had possibilities I think.  The Hooker
solo is classic Hooker, what a gem he is.  SEVEN-AHN-TEEN  eeck!
Inconceivable!

He Was a Friend of Mine - I suppose that this is some "classic" hobo song
or something.  I can imagine Guthrie or Rodgers doing this, but why is it
here?  How old is Dave Van Ronk anyway?  Did they have to drag him out of
the home to sing  or did he always sound like this?  Wouldn't YOU be
embarrassed?  If Nanci wants to honor her idols, fine but did they listen
to the playback?  The campfire chorus thing just doesn't work for me.  And
the last line Nanci does that hesitation thing again.  He was a _ friend of
mine.

Hard Times Come Again No More - Once again Nanci shows that voice that

brings me back to her again and again.  Even though the song is dated and
simple.  But as Kate says, "everything changes, but nothing does".  What is
a "Ling-gard" anyway - is it Hindi for some sort of "penis protection"?
Incoveivable!

Wasn't That a Mighty Storm - I remember seeing a flood special on the
Learning Channel that talked about the Galveston flood.  A horrible,
horrible, tragedy - unfortunately so is this song.  The "Wimoweh" chorus
still doesn't sound any better.  Maybe its just that I despise too much
slide guitar, voices that can't sing any more, or monotony.  Inconceivable!

Deportee - This doesn't work for me completely, but you can hear the genius
of Guthrie coming through enough anyway.  With the right voices (but not
too many) this would be a real tear wringer.  I love hearing Spanish sung,
perhaps this will get me to buy some Tish Hinojosa.  But who is the poor
guy knockin' on death's door?  Odetta doesn't work for me either.

Yarrington Town - Another jewel for Nanci's voice and interpretation
(except for the excessive hesitation again).  This is the kind of song that
just pulls you out of your desperately normal life and takes you to another
time and place. Wish I didn't have to come back.

I Still Miss Someone - Somewhere between the Grand Old Opry and "Poet in My
Window" lies this track.  This is a great example of a "roots of Nanci"
song that isn't forced into modern times, or embarrassingly sung in some
false Gilmoresque nasality, but still lets you know its Nanci and she's
from Texas (not too close to Lubbock though).  I like it.

Try the Love - She can be a great harmonizer when she wants to be.  Sweet
and strong at the same time. Deceptively simple lyrics with that 30's sound.

The Streets of Baltimore - Nanci has written several songs with Harlan
Howard, most are not among my favorites.  Nothing to change that here
either.  Nanci really sounds like she's pushing her voice.  She usually
doesn't have to try this hard to sing powerfully.  I am worried about her
pipes.

Darcy Farrow - Save for the excessive accent, somewhere between Texas and
Dublin, this is magic as only Nanci can provide.  Again though, listen to
how often she takes breaths.  Compare with the incredible a'cappela closer
on the OFSE video.  Is this the same set of lungs?

If I Had a Hammer - I can  only refer again to what Hooker says on his web
page when he talks about meeting Nanci for the first time - a folk singer:
"I've never been a fan of that 'If I Had a Hammer' kind of folk music".  I
wonder how often Nanci throws that in his face these days?  I certainly
recognize the wonderful contributions of Pete Seeger to popular music as
well as folk, but again this chorus stuff just doesn't work for me.  I'll
probably be shutting of the cd when it gets to this track just like I do
for Wimoweh.  Inconceivable - "You keep using that word.  I do not think it
means what you think it means."


I have finished writing this missive after reading Hank Van Slyke's
incredibly moving telling of his journey to childhood while listening to
this same music.  It really hit me, and now I am sorry for some of what I
say here. But he and I obviously grew up in different times and with
different music in our blood and memories.  I am very happy for him (and
the rest of you) that can be so moved by this entire album - enjoy it well.
I fear it will not get the playtime in my stereo that OFSE, PIMW, and OVOR
do.  (Of course Kate Campbell has been monopolizing the playtime anyway
since I was lead to her Mississippi waters).


Well I think I've said enough for one post.  Sorry to waste the bandwidth.
Hope you are not paying for your connection by the byte.

kenn "How I miss your muddy waters" lippert

_________________________________________________________________

From: Dan Gerson (dpgerson@worldnet.att.net>
Subject: another OVT twocents

Well, I finally got my copy in the mail. So let me jump in the ring. After 3
times through, I'd rate it as one of the better efforts I've picked up
lately. Better than Kate Campbell's "Vision's of Plenty" or Steve Earle's
"El Corazon". As far as the comments so far about "Other Voices Too Many", I
strongly disagree. Most (not all) of them are well placed and welcome to me.

I don't think I've seen a lot of talk about how all those voices blend, so
I'll try that avenue. Let's start with the low end of the spectrum. I'm a
Lucinda Williams fan, but man her voice just doesn't mix with Nanci's. Much
too screechy and whiny. I don't think I've heard her sounding worse. "Wings
of a Dove" could make me seriously consider Atheism (as opposed to Emmylou's
"All My Tears" which makes me want to go to my knees and shout "Help me
Jesus!"). Somebody had their mind and ears somewhere else when this pairing
was decided on. It's such a shame considering how great Lucinda is when
paired correctly. Witness her and Steve Earle doing "You're Still Standing
There".

Now to other end of the curve. There's a reason Nanci and Eric Taylor were
connected. They're on the same wavelength and it shows in "Dress of Laces".
God what an achingly beautiful song! Throw in  Lyle Lovett's velvet and you
have a rare work of art. I don't see how anybody who has experienced that
kind of malnourishment wouldn't be reduced to tears after hearing this song.
Nanci's voice captures perfectly the desperate vulnerability of the song's
protagonist. 

I heard a couple folks pan "Desperadoes". Did we hear the same thing? Paired
with the memory of the Letterman appearance, I find this one of the most
moving pieces I've heard since Nanci did "Tecumseh Valley". All that revered
talent on stage brought a large lump to my throat.

I also loved "You Were on My Mind". Brings back memories of a small town boy
visiting the horrible, magic Bay Area and hearing The Wee Five do it on KFRC
along with the Byrds covering "Mr. Tambourine Man".

There's not a bad tune in the rest of the bunch either. It's going to get a
lot of play on my machines.

BTW I'd have to give the award for the best review so far to Hank Van Slyke,
hands down. Made me want to run out in the yard and play catch with my
"Puppy". Well done, Hank!


Dan 'another underfed heart' G.

_________________________________________________________________
 
From: "Susan E. Marsh" (suzi-que@email.msn.com>
Subject: More Thoughts on OV2

Well, unlike most of you, I wasn't able to get Nanci's new album on the
first or second or even the third day it was out.  I have purposefully
refrained from reading most of the posts in here before listening because I
wanted to approach her new album with an unbiased mindset.  After finally
buying it yesterday and completing my once-through today, I have to say that
I'm not as enthralled as I hoped I would be.  Other Voices, Other Rooms was
my very first introduction to Nanci, and the powerful emotions that it
evokes to this day are hard to describe.  I spent most of my college nights
in bed with my Walkman headset playing "Across the Great Divide" and "Woman
of the Phoenix" over and over until drifted off into a state of utter
happiness.  So I guess you could say that always had quite an attachment to
the first OV album, and naturally any comparison that I make to it will fall
short.  That being said, however, I think I will come to appreciate this new
recording much as I have come to enjoy Blue Roses From the Moons.  There are
songs that have captured me right away and other songs that I'm sure I'll
take a liking to after a few more listens.  My immediate favorite has got to
be Darcy Farrow.  Of course, my parents practically raised me on John Denver
8-track tapes, so I've always felt a special kinship with his version of
this song.  When I heard Nanci sing it live last November at her Santa Rosa
show, all of my wonderful childhood memories came flooding back and I found
myself tearing up.  Her accapella version is one of the most beautiful I've
known.  Another frontrunner on my playlist is "You Were On My Mind" -- to
me, this song epitomizes the vocal range that I've come to know and love
from Nanci.  I'm probably in the minority here when I say that I *love* the
way she says "morning"!!  A different sort of twang, similar to to "Morning
Train" on BLRTM but with a different inflection.  I get shivers each time I
play it!!  As for the rest of the songs, I'm going to keep in mind that this
album was not meant to be a remake of OVOR but rather a tribute to just a
few of the artists who inspired Nanci.  Heck, if these people have brought
Nanci so much joy over the years, it sure wouldn't hurt me at all to take a
second listen!

Susan E. Marsh

_________________________________________________________________

From: "Aquarian Resourses" (Aquarian@1acc.com>
Subject: Set List 8/01/98 Newport Folk/Camden,N.J.

Love at the five and Dime
These days in an open Book(Plagued by feedback)
Who knows where the time Goes(very nice)
Three Flights Up
Wall of Death
Across the Great Divide
Ford Econoline
Sound of the speed of Lonliness
This Heart
If I had a Hammer.

As you can see a very short set(55 minutes) and Nanci went 
over her 40 minute time period which all the artists adhered
to with no encores. This was not good as forty minutes is not
enough. The major news of the show was there were no people.
I've never seen such a tiny crowd and everybody was wondering
where the people were. This does not bode well for future shows.
I suggest anyone wanting to see Nanci to get your ticket so the
show doesn't get cancelled due to lack of ticket sales.The new 
songs sounded good. Joe Werfelman

_________________________________________________________________
 
From: "Aquarian Resourses" (Aquarian@1acc.com>
Subject: Artist schedule Newport folk Camden

Nanci was the headliner,playing last at 10:00 Pm
The order of appearance went like this I believe:
Jimmie Dale Gilmore beginning at 3:00 oclock.
David Bromburg
Mark Cohn
Violent Femmes
Rickie Lee Jone
Joan Baez
John Hiatt
Nanci. All artists played 40 minute sets with no encores allowed.
Jimmie only got to play a 20 minutes set. Nanci played for 55
minutes and had some equipment problems. As I indicated earlier
the show was very poorly attended. 
Personally I wish they would cut the artist roster in half and allow
longer sets. It seemed Nanci just got going,and then she had to leave.
Maybe they'll work the bugs out for future shows. Joe Werfelman

_________________________________________________________________

From: Nigel Brown (nigel.brown@rd.bbc.co.uk>
Subject: OV Too from an OLD Folkie

This a real folk CD by my standards.  I half expected Steeleye Span on "Wall
of death" or a local group Touchstone on "Who Knows where the time goes" or
even the Waterson / Carthy family in one of its incarnations on Darcy
Farrow.  How about calling in Maddy Prior or Eliza Carthy for the London
performances in November?  I am happy with it and I can hardly remember when
I last played BRFTM!

Cheers

Nigel Brown

_________________________________________________________________

From: Shawn Kimbro (kimbro@planetc.com>
Subject: The Craft

"Double double toil and trouble" is a phrase that comes to mind upon
listening to "Hell Among The Yearlings", the much anticipated new album
by Gillian Welch.  There's no shortage of toil or trouble in this
collection of backwoods ballads crafted by this pale, bone-thin
songstress and her sorcerer symbiont, David Rawlings.  Welch's first
album "Revival" focused on the trials and tragedy of struggle-filled
lives and elevated her to near mythological status among fans of
acoustic music.  But the question on everyone's mind, including Welch's,
has been whether she could repeat that polished yet unpretentious
earthiness in a second album.

She did not.  This album has a much darker and supernatural feel. Gone
are the bright morning stars, spring flowers, and paper moons.  In their
place Welch brews up a sinister potion of murder, addiction, demon
possession, and despair.  The result is a haunting collection of macabre
ballads and eerie elegies that sound as if they might have been repeated
in secret mountain gatherings for generations.

Except for a cameo appearance by producer T-Bone Burnette, Welch and
Rawlings are the only musicians on the album.  The spare and simple
arrangements compliment Welch's lilting voice while Rawling's organic
harmony adds substance without overpowering.  Welch folds a new
ingredient into the potion when she lightly frails a minor-tuned banjo
on three of the songs.  She sweeps into high gear on the twangy "Honey
Now" then saunters into a slow sleepy rhythm in "Whiskey Girl".  "Rock
of Ages" is an original psalm of faith in times of trial while "One
Morning" is a mother's lament upon the death of a wayward son.  "Caleb
Meyer your ghost is gonna wear them rattling chains" she chants in
"Caleb Meyer", the story of the justifiable homicide of a drunken
rapist.  Then she personifies drug addiction as a lover in the Civil War
set "My Morphine". 

The album is a mesmerizing blend of musical style and crafty
songwriting.  Gillian Welch has returned to the well and again brought
up a bucket of sparse compositions that drip with both spell-binding
tradition and hypnotic innovation.  She stirs in just the right amount
of somber sentiment and ghostly instrumentation to produce a melange of
melodies befitting an acoustic priestess. "Fire burn and cauldron
bubble" - With "Hell Among The Yearlings", Welch once again proves she
is at the top of her craft.

Warm Regards, 
-Shawn

_________________________________________________________________

From: "Piela, Bo" (bpiela@genzyme.com>
Subject: Kate MacLeod

I've been reading NanciNet postings since October and always enjoy your
recommendations of artists who might appeal to fans of Nanci.  Here's
one from me:  If you like the folkier sides of Nanci, Lucy Kaplansky,
and Shawn Colvin, then you must check out Utah folksinger Kate MacLeod.
Kate has two CD's: "Constant Emotion" (1997, Waterbug) and "Trying to
Get it Right" (1995, Waterbug).  You won't be disappointed.  If anyone
has discovered Kate already and can testify to her brilliance, please
step up to the microphone.

Bo Piela

__________________________________________________________________

From: Catelaw@aol.com
Subject: Re: NanciNet #98730

A kind and respectful hello to all:

Bounding out of lurkdom for a brief spell before retiring again, just couldn't
resist putting in my two cents worth in about OV2.  I was in Texas (man is it
hot there) for the release, got the CD in Austin on Friday the 25th and didn't
get to give it a listen until my return home late on Monday the 27th.  My
biggest fear, normally the plane crashing, was greatly heightened by the
certain realization that I wouldn't get to hear the new CD this side of
Heaven.  I shouldn't have worried, because Townes, Kate, Stevie Ray, et al are
probably enjoying it up there, too.

Although I realize that part of the purpose of NN is critical review of
Nanci's music, I have been really surprised to hear the repeated complaints
about her pronounciation of certain words and other interpretive artistry.
I'm told that she occasionally lurks around NN also, and I wonder how those
kind of comments make her feel--not to mention the ones trashing the album,
its production, its arrangements, its artists, even its price...as someone
suggested, considering the sheer number of tracks and artists involved, it
would be hard to get more "bang for the buck."  I personally think that we're
all fortunate that MCA or some other label wasn't successful in squeezing her
into some slick commercial image that would have precluded some of the many,
many wonderful musical pieces she's given us over the years.

But then I think that may be part of the problem.  I recall reading somewhere
that the personal history involved in the writing and making of "Flyer" took a
tremendous toll on our heroine, to the point where she could only record
certain numbers without crying by wearing headphones and sitting knee-to-knee
with her band members.  How difficult it must be and to create something
that's so intricately a part of yourself and then lay it out like a first-born
child for the masses to devour and pick apart!  The fact is that she's a
fascinating person whom we'd all like to consider our good friend.  We want to
know all we can about her because she's lived an interesting/mysterious/tragic
life and maybe we somehow think the answers to our own questions about life
lie somewhere within her.  Maybe such intense scrutiny and devotion is
overwhelming and she's not yet rebuilt her reserves sufficiently to go through
any more soul-searching right now.  I'd not require it of her unless it's what
she chooses with a free and open heart...  Some will scoff at the analogy, but
I think we'd be wise to remember what happened to Princess Diana--the world
just "loved" her to death.

But, I digress. As to OV2, it's just a feast.  Being of similar age and
inclination, I've made several recent trips back to Bountiful and appreciate
the searching aspects of the musical trace she's orchestrated for us.  I love
hearing all the old (and new) desperadoes she included and have always found
her occasional odd inflections more endearing and interesting than
disquieting.  I may have missed it, since I only get the digest also, but I'm
really surprised that no one has mentioned the cut of "Wasn't That a Mighty
Storm," which made me tear up on the first listen.  Of course, though, I've
spent many, many days and nights in Galveston and often strolled through the
cemetery where the victims of the 1900 storm are memorialized...  "Dress of
Laces" is powerful, "Hard Times Come Again No More" and "If I Had a Hammer"
are performed in the finest tradition of those who lived and died for freedom,
justice, and human kindness.  As for "Deportee," considering the number of
Mexican immigrants that have died or come close to it trying to get to America
in the heat of this summer's Texas sun, I'd say it's pretty timely, lest we
forget.  "Wings of a Dove" was a lovely surprise and "The Streets of
Baltimore" with JP is classically tongue-in-cheek.  "Darcy Farrow," with only
Nanci's voice and Pat's drum, is compelling and fresh.  

I guess that's enough.  But don't give up on this musical smorgasbord
collection without giving it a chance.  It's different, but so's Nanci, and I
wouldn't want her to be any other way.  Thank you kindly, Nance, for this
wonderful anthology.

Cate "sprinting like a new spring doe by the fall of the night" in Atlanta
 
_________________________________________________________________
 
From: Andrew Layden (andrew.layden@strath.ac.uk>
Subject: Wall of Death

Hello again.

Hans' posting about Richard Thompson reminded me about something I forgot
to say yesterday.  I read that somebody wanted to know what the "Wall of Death"
was.  Yes, I know somebody gave an expanation, but I thought I'd give it a go.
The point of the song is lost if the listener does understand the metaphor.

It's sort of a large drum, sloped at the bottom.  The motorbike rider starts at
the bottom and rides around the wall inside the drum.  As his (or hers) speed
increases the rider is then able to climb the slope inside of the drum until
he is virtually horizontal.  The high speed of the bike whizzing round and round
the inside wall of the drum allows the rider to defy gravity.

It's an extremely dangerous stunt that requires total commitment, masterly
control of fear and tremendous amounts of courage.  It is these qualities
that Thompson uses as the metaphor for his classic love song.  It is the
nearest "ride in the fairground" to being alive and trying to make a go of
a relationship.

As for Nanci's take on the song, I am warming to it but, I prefer the original
Richard and Linda Thompson version.  It's just too English for Nanci's voice
to adapt to (although I thought Who Knows Where the Time Goes? was nice).

Andrew Layden.

_________________________________________________________________
 
From: Lee_Zellweger@ReadersDigest.com
Subject: Can't stop listening....

I can't stop listening to "Try the Love" on OV Too...must have listened
about 100 times in the past 3 days.  I may be showing my ignorance, but
what else has Pat McGlaughlin (sp?) done and what about other recordings?
Can anyone fill me in?

P.S.  The rest of OV Too has some great moments too...not my favorite (just
gimme Nanci, please) but even the worst Nanci is far better than 99% of the
rest of what's out there.

_________________________________________________________________
 
From: "Bill Klontz" (kujunky@earthlink.net>
Subject: OV2 coments

one positive reaction: love the decision to let Ian Tyson do the Tom Russell
song (Canadian Whiskey) and let Tom do the Tyson (Summer Wages).  I've been
a huge Ian Tyson fan since way back when he and Sylvia
did Darcy Farrow - and that leads to my biggest disappointmen on OV2 - the
Ian and Sylvia version had wonderful guitar backup (by Monte Dunn, I
think) - and I was hoping for a very sparse version (a la "Tecumseh
Valley") but with a strong acoustic line.  Also, Nanci (or someone) decided
to leave out the second
verse - "Her voice was sweet as the sugar candy/ Her touch was as soft as a
bed of goosedown..."
And on the "Desperadoes" issue - I agree Nanci sounds way out of place on
that one with all those grizzled old sods  - but I think they all sound
great (yes, even JDG).

On another note - I just spend a week in Austin on business and had a great
discussion on the way to the airport with the cab driver on Texas
singer/songwriters  He was shocked that people like Nanci and Lyle are even
known outside of Texas!!!! He said Texans don't get feedback as to how their
native folks do on the 'outside.'  !!!!!
-wgk

_________________________________________________________________
 
From: John Morehead (johnm@monitor.net>
Subject: Delurking for Announcement

Hi everyone:

I am a newbie to the Nanci Griffith list, and I would like to make a
contribution.

For the third year running, I was a photographer at the June Kate Wolf
Memorial Music Festival in Sebastopol, CA.=A0 I have published my images
today on my website, and I'd like to invite the NanciNet list subscribers
to visit.=A0 See Nanci Griffith, Cheryl Wheeler, Laurie Lewis, 
Ferron, Greg Brown, Utah Phillips, Rosalie Sorrels, Guy Clark, and many
others during their performances at this fantastic event.

There are no advertisements here, and I am not connected with the event
at all, other than being a big fan.

After you have visited, I would greatly appreciate it if you would leave
a comment. These comments become a part of the exhibit, and are available
to all visitors.

During much of the time that I spent putting the images and site
together, I listened to the new Other Voices, Too CD.  I love
it. It wasn't first-sight (or first-hear) love; but it grew on
me. Unfortunately, it is now associated in my brain with cutting,
pasting, pointing, clicking, and publishing, sitting here at my
confuser. Oh well...

Now, take a look at
http://www.johnathome.com/katewolf


and enjoy the photos.

John

_________________________________________________________________
 
From: Shawn Kimbro (kimbro@planetc.com>
Subject: OVTOO, Etc.

http://www.knoxnews.com/today/detours/7294.htm

Check out the URL above for an article in yesterday's Knoxville paper
containing comments on Nanci, Emmylou, and Gillian's latest albums.
Here's some one-liners from the text:

Emmylou: "There's something reassuring in knowing that Harris can still
break your heart."  Grade: A-

Gillian:  "Instead of just recreating (Appalachian music, etc.) she is
greatly enriching it with potent new material."  Grade: A

Nanci:  "Other Voices, Other Rooms" was a fitting tribute to songs and
artists that she loves... Griffith's follow-up is less tribute than an
admission of writer's block."  Grade: D

-S

_________________________________________________________________

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