NanciNet Digest 8-08-98
// Yet more analysis and opinionating on OVToo. Whew! :-) - MF
From: Michael Wilt (mwilt@smp.org>
Subject: musing 'bout OVToo
Well, I waited around patiently and long enough for Other Voices, Too
that I'm not much interested in getting embroiled in controversies over
pronunciation, breathing, phrasing, aging singers' voices, and all that.
Count me among the number that are enjoying this new album. I guess I'm
entitled to my 2 cents.
OVT came out the day before my family and I left on a 10 day, 2600 mile
road trip, so my first real listens happened going eastbound at 75 mph
(the old station wagon starts to rattle if I take it faster than that).
The trip became a rolling, traveling, exuberant, mini-folk-festival:
high quality songs performed by high quality people, paying tribute to
the songs, the writers, and one another as comrades-in-spirit, as
artists and friends and members of that goldanged much-maligned human
race.
Someone asked about the point of this album, and I think that about sums
it up for me. Heck, the title says it: Other Voices, TOO (and lots of
'em, not just Nanci), and A Trip Back to Bountiful--Horton Foote's
Bountiful is home and heart everything one holds dear, and for Nanci
Bountiful seems to be the songs and the people, the community of writers
and singers and listeners who have loved and supported this music
through thick and thin, through in-fashion and out-of-fashion, in
Carnegie Hall and in the college dormitory hall. I don't think Nanci
even dreamed of coming up with "definitive versions" here (and after a
life in folk music I'm sure she's learned the lesson that definitive
versions aren't what it's about). I don't think she was worried about
comparisons of OVT versions to others (I think some community colleges
offer courses in Comparative Folkie Versions 101, but I never took that
one). And I don't think she was looking for perfect phrasings or perfect
licks or perfect pronunciations (you can get those from Stone Phillips
or Katie Couric on the teevee, which frowns upon regionalisms).
Inconceivable? Not by long shot. Consummated, conceived, and born.
Given my mini-folk-festival view of this album, my expectations for the
songs change. "Desperadoes" becomes a sort of anthem to the working
class heroes who built this nation rather than one man's solo portrait
of one such man--but both approaches honor the song in different ways.
In OVT's "Deportees" a diverse community mourns its lost members, which
is as effective in its own way as the beautiful single-voiced recordings
of this song by the likes of Arlo Guthrie. It is utterly fitting that
Dave Van Ronk should add his voice to "He Was A Friend of Mine." It's a
more raucous version than those by Greg Brown and Bill Morrissey or Tom
Paxton, but being out there on the road was not always a mournful
experience. And Nanci's vocal tribute in the first verse to Rosalie
Sorrels is also quite fitting--it's not a dead-on imitation, but she
captures the quality and spirit of Rosalie's voice, and we all know the
impact of THAT other voice on Nanci's career.
The songs that are new to me are also well chosen and nicely done--Dress
of Laces, Try the Love, Yarrington Town--going from memory here. I'll
grant that OVT is not an album that, like OVOR, knocks you on the seat
of your pants with its greatness: but it's a mini-folk-festival, where
the sun may be too hot or maybe there's a threat of rain or the people
in front of you have a hungry wailing infant or the dimwits behind you
have drunk too much beer. It ain't the perfect concert experience but
you leave feeling like you've been somewhere and experienced something
good. It's not a polished Carnegie Hall, black-tie-only event with no
leg room and people who look at you snobbishly if you so much as sneeze.
In 1993, in an article called "Country Folk" by Sean Mitchell, Nanci
said:
"Every album has been different, every one has had a different
sound," she says, talking about a career that has flourished just beyond
the pale of the latest country boom, out there beyond the hit markers
posted by such talented mavericks as Mary-Chapin Carpenter and k. d.
lang. "By being an artist who is not mainstream, I've been allowed the
creative freedom to go my own way and explore anything I wanted to do
musically. I would hate to be a young artist today starting out and just
trying to identify themselves and maintain their original passions and
also have to deal with that phenomenon of 'How are we going to market
this person? What are they going to wear? What are we going to do with
their hair?' by the time I came to a major label, I already had a
certain sound, and no one ever tampered with me."
Nanci's musical explorations may not always succeed and may not always
be to everyone's taste and may sometimes take in more of her heart
(Bountiful) than some would like, but I'm content to take the failures
and successes together, and to keep enjoying Other Voices, Too.
Michael "oh I never got over those blue eyes" Wilt
_________________________________________________________________
From: Petop@aol.com
Subject: Nanci's competition
In a message dated 8/6/98 2:06:22 PM Central Daylight Time, jcq@ABPEDS.ORG
writes:
(( And Bill Page is right that the old Nanci is the new Nanci's true
competition, not people like Lucinda, Gillian, and Kate. >>
This sentence raises an interesting point and also illustrates why Nanci must
take gambles, perhas some more drastic, than she has in the past; and that's
because there ARE more women out there successfully competing in the tradition
that Nanci once had staked out as her own. And, if you don't believe this,
than you are ignoring the entire Lilith Fair concept.
Given that there are just so many hours in a day which are devoted to
listening to music from intelligent female vocalists, now we have far more of
them from which to choose than we did even 10 years ago. So while it can be
argued (although I'm not sure it can be argued conclusively) that Lucinda,
Gillian and Kate may not be stylistic competition for Nanci, they are artists
worth spending time with, whose music will definitely enrich our lives. And
since we can't add minutes to the day, we must subtract from somewhere to add
these artists to our life's experiences. Thus, they do become competition for
Nanci.
As much as I enjoy Nancy and her music (and I have since I first saw her at
Kerrville over 20 years ago), she has never recorded an album equal to Gillian
Welch's "Revival," but then I can say the same thing about everyone except,
perhaps, a half-dozen artists. And no matter what I feel about OVT, Lucinda's
"Car Wheels on a Gravel Road" is still the finest album I've heard this year.
So Nanci's albums are going to compete with hers for time on my turntable as
they will with anyone. Therefore, Nanci must, in her own mind, at least (and
in the minds of many others) to come up with new reasons to say "Listen to me"
than the ones she has used previously.
Look how many incarnations Bob Dylan has been through since his first
recording came out 36 years ago. Some succcessful, others not. Yet last year
he records an album that demands people listen to him all over again and he
rejoins the competition game--Time Out of Mind probably spends more time on my
turntable than any other CD, and it's been almost 25 years since Dylan held
that distinction.
Competition is not about style--it's about time and that's what Nanci has
grasped so well.
_________________________________________________________________
From: jcq@ABPEDS.ORG
Subject: Nanci's Competition-Reply
Petop@aol.com made some excellent points. And I will readily agree that
Nanci is forced to compete for CD sales as well as time with the current
large crop of women singer-songwriter-musicians. It really is a great time
to be listening to women performers. They are coming out of the
woodwork. In fact, there are so many of them that I can't even keep
track. I still haven't given proper listens to Cheryl Wheeler and Lucy
Kaplansky, and Patty Larkin and Patti Griffith (did I get those spellings
right?), as well as others.
An irony here is that Nanci had a lot to do with making it possible for
these women to get a chance to be heard. So she's part of the source of
this "problem"! (And I bet she'd say she's glad of it, too.)
Another thing I want to agree with is that Lucinda's "Car Wheels" is at
this point, in my opinion, the best album of the year. Kate Campbell's
"Visions of Plenty" is right there with it, though. And I've only heard
Gillian's "Hell Among the Yearlings" once, but I can tell you from that that I
am going to love this one. It would not surprise me at all if at the end of
the year these are my top 3 CDs of 98.
But I still have to say that Bill's point was valid, in that Nanci is judged,
constantly, by what she has done before. While she doesn't operate in a
vacuum where the other women singer-songwriters are concerned, she
can't escape her own past stellar achievements, either. She will always
be compared to those earlier efforts. And it's a tough thing, too. (Imagine
being Paul McCartney and having the world, on the whole, refuse to
listen to anything you have done since 1970 because of how great the
Beatles were. I'd hate to think I'd never do anything as good as I did
when I was in my 20s, but that's the way the world sees it for him.)
Anyway, I guess my weasely response can be boiled down to: You're
both right!
Jeff Qualls
_________________________________________________________________
From: "DeYoung, Andy G." (agdeyoun@utmb.edu>
Subject: Ramblin' Jack and Terri Hendrix
No comments about OVT here, just a couple of recommendations. The
Ramblin' Jack Elliott CD "Friends of Mine" is very good, with Nanci and
Emmylou lending their voices to Rex's Blues. Nice tune, nice harmonies.
Also, Terri Hendrix's new CD "Wilory Farm" is fantastic. Her voice is
strong and extremely versatile. She obviously had a lot of fun
recording this CD and it shows. One or two songs has a Dar
Williams-type semi-singing, clipped style, while some remind me of
Kimmie Rhodes swing-style offerings (and that is a high complement!).
Her just-plain folk-ballads are lovely. Overall a great CD from an
artist who bears watching as she struggles for exposure.
I plan to see her tomorrow night here in Galveston. Look her up on her
Web page http://www.terrihendrix.com.
Later from Galveston
Andy DeYoung
_________________________________________________________________
From: Mike Chesman (chesman@preferred.com>
Subject: Re: themz is figh-tin wahrds
I just wanted to make sure you understood that I'm not against the album. I
find it very interesting and I like quite a few of the tracks. Yarrington
Town, Wasn't that a Mighty Storm, I Still Miss Someone, Dress of Laces and
If I Had A Hammer to name a few. I accept the vision that Nanci is sending
us but I think our input also gets back to the artist. If I didn't care
much to have a dozen folks sing lead in one song or found a style out of
touch with my taste in another I think that's a valid comment. Diverse
points of view are always presented on Nancinet and the artist is always
free to choose the path they see as right for themselves anyway.
Mike Chesman
_________________________________________________________________
From: Maryl Neff (maryl@songs.com>
Subject: He was a friend of mine
Haven't had time to catch up on all the NanciNotes so I don't know if
anyone's addressed this part of Kenn's message (forgive any repetition):
Kenn said:
"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."
Dave Van Ronk was one of the folkies in Greenwich Village in the 1960s
along with people like Bob Dylan, Phil Ochs, et al. I saw Dave perform four
years ago -- I went only because I knew he'd been one of those '60s guys
and I wanted to ask some questions about Phil Ochs. I walked away pretty
impressed. While it's true that his voice is not at its peak on OV2, Dave
is an accomplished blues/folk artist and is highly respected for his
guitar-playing. If I hadn't seen him perform, I wouldn't like the song much
either. But having seen him, I'm thrilled that Nanci included him and that
particular song on the album. (It's the song he sang at a memorial concert
for Ochs' after Ochs committed suicide.)
Just my two cents. . .
Maryl
_________________________________________________________________
From: "Flanagan, Shirley" (FlanagaS@bsci.com>
Subject: OVT hits Galway, Ireland........... at last
I just bought my copy of OVT.........major delay as the import box got
lost on it's way to Galway, Ireland!
I've been reading for 2 weeks now how unhappy you all are at Nanci
Griffith's pronunciation, voice, breathing, guest artists etc. What is
with you all?????? I've just had 2 listens so far......... and it's a
classic! It's bloody brilliant.
I appreciate that you wanted to give an honest review of
her album but your complaints (or "nit-picking" as someone rightly put
it yesterday) just make you look like you're trying waaaaay too hard to
find something to say. OK, I could live without Wall of Death but
aren't there always songs you skip over on any album?
If Nanci quit tomorrow, I'd say good luck to her........she's done her
bit and a fine job she's made of it.
Shirley
Galway, Ireland
_________________________________________________________________
From: James_Troiano@umit.maine.edu (James Troiano)
Subject: Who knows, etc.
Hi folks: in the many comments on OV 2, there were several on the pause
in her version of " Who knows where the time..goes." We must remember
that Nanci is a poet herself, as well as a wonderful interpreter of
other people's poetry. (Remember that Time calls her "one of America's
great poets and songwriters." There is nothing gratuitous in a Nanci
Griffith song. I believe that little pause communicates: 1) the passing
of time and 2) her own sadness upon reflecting upon it. Live changes
that quickly--hers certainly did at least once and many of ours did
also at one time or another. Nanci knows the value of a sigh, or pause,
or a single phrase. Notice how the essence of the character's
frustration and desperation is captured in one opening verse in "Later
NIght Grand Hotel': "I'm working on a morning flight from anywhere but
here."
When this great artist interprets someone else's work, the result is
never a perfunctory cover. She is often visibly shaken (recall live
performances of "Tecumseh Valley" or "If These Walls Could Speak.")
Every song on OV2 means something special to Nanci and she communicates
this to the fortunate listener. Every listen is a revelation. This is
precisely why I find her so engaging as an artist- I could listen to an
older album and find new meaning in her remarkable lyrics. These are
the reasons that Nanci Griffith is a extraordinary artist and most
others pale in comparison. Jim.
_________________________________________________________________
From: John Files (jfiles@ix.netcom.com>
Subject: Re: Re: themz is figh-tin wahrds
Shawn Kimbro wrote:
>What is the point anyway? (I'm completely serious here.)
I guess I see the point of OVToo as Nanci putting out an album that she
likes, an album that was totally into with no focus on satisfying anyone
other than herself. I think she just wanted to have fun and invite a
bunch of people she likes to take part and make an event out of it. I'd
say after all the touring and playing for everyone out there she's
intitled to be self-indulgent at times (just like all of us). We never
really know what the ideas are behind an artist's intentions anyway, so
this is just my guess.
John
_________________________________________________________________
From: Scaryxxx@aol.com
Subject: nanci on the road
I've been going crazy waiting to hear news of the present newport tour. I no
attendance has been low but someone must have gone who can share some
stories.What's Bromberg playing ,is he solo. What kind of response is Nanci
getting and how is she sounding? With all the disscusion of the new album
the tour stuff has been put aside ,but since were talking albums I'd like to
add that I rather like a lot of BRFTM and Nanci's orginals really stand
out(the one's she wrote solo) and the slant on diction I enjoyed on that
album but WOW the new one's in a whole new language ,but like much of her
material I'll put it down for a while and come back and really enjoy it
later(I hope).
waiting for some news Gary
_________________________________________________________________
From: Catelaw@aol.com
Subject: NanciNet #98806
Hello to all:
I find the microscopic examination of Nanci's song styling right up there with
any Rule Against Perpetuities discusion I sat through in my first year of law
school. In that context, John (Dr.) Files, a linguist,
re: Kenn Being A Bit Mean-Spirited... -Another Reply
qualifies as an expert witness as to an individual's dialect, the reactions of
people generally to an individual's dilect, i.e. Nanci Griffith's, and
particularly the spectacular variety of dialects found in Texas. If Nanci
Griffith were on trial, charged with, hmmmmmm Use of Non-Existent Dialect,
his opinion, that her pronounciation of "morning" is indeed native to her at
some level, would be evidence. Only expert witnesses can give an opinion
testimony that counts.
Of course that would only be relevant if Nanci Griffith was on trial in this
forum.
(Aside--I had one professor who had lived in so many different parts of the
country that we called her Professor MPD (multiple personality disorder) and
gave all of the various accents names. They were quite consistent and on
occasion made her sound like Linda Blair in "The Exorcist." So I'm totally
capable of dissecting and eviscerating dialectical quirks with the best of
them, especially if I'm bored.)
In my only other previous post to NN, I said,
"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..."
Since then, I have listened to OV2 at least 20 times, although most of those
have been passive listenings at my computer because I have been in the final
throes of completing a big project. Wednesday I had to go out of town to
attend the surgery of a very dear friend of mine. Joan is 33 (now) and
suffered a massive cerebral hemorrhage last October 21. Her story could easily
make her the poster child for health care reform in America, but suffice it to
say that because of some egregiously poor decisions by her HMO, the effects of
the bleed were terribly aggravated, eventually requiring Wednesday's surgery.
The surgery itself was long and complicated, fraught with the very real
possibilities that the anesthesia could kill her. I'm delighted to say that
she came through it great and will stand on her feet today for the first time
since October 21 last year. Still, the post-op pain was excruciating, and the
night of the surgery was especially difficult.
Throughout this experience, my mind replayed OV2. I can't express how
comforting it was or how it strengthened me when I wanted to just dissolve
with the enormity of it all.
Of course I'm listening to it now while I write this, and I find myself
listening really hard for Use of Non-Existent Dialect violations, breathing
faux pas, and inappropriately included washed-up has-been old guys.
The same goes for BRFTM. Someone posted that none of the songs on it were of
the same caliber as "Wing and the Wheel." 1997 took a major toll on people I
am close to; in addition to Joan's stroke, my lifelong best friend's dearly
loved baby brother shot himself to death last July. It was an incredible blow
that sent us all reeling. "St. Teresa of Avila" is a gorgeous and perceptive
hymn to the awful feelings of loss and self-examination that come when someone
you love commits suicide. It at least gave me a place to start healing myself
so I can help family get through it.
My friends, there are so much bigger thangggggs (oops, playful Texas
inflection) in this world that on which we can reflect than the dissection of
Nanci Griffith's musical linguistics. Not the least of those is the glorious
message inherent in her music of peace, brotherly love, and human dignity
which can be easily outshouted by too much technical analysis.
Cate, in Atlanta
_________________________________________________________________
From: Susan Krauss (skrauss@hooked.net>
Subject: Re: Re: themz is figh-tin wahrds
At 09:32 AM 8/7/98 -0600, John Files wrote:
>I guess I see the point of OVToo as Nanci putting out an album that she
>likes, an album that was totally into with no focus on satisfying anyone
>other than herself. I think she just wanted to have fun and invite a
>bunch of people she likes to take part and make an event out of it. I'd
>say after all the touring and playing for everyone out there she's
>intitled to be self-indulgent at times (just like all of us). We never
>really know what the ideas are behind an artist's intentions anyway, so
>this is just my guess.
I think this is true. I've heard dozens of artists say that they write the
songs for themselves and are glad when other people appreciate them, but
the work is done to satisfy their own artistic and creative and emotional
needs. (Passing through the Today show yesterday I heard Vince Gill say
this exactly). I think some of the best albums (my favorites anyway) are
done because the artist just had to write or sing that song for themselves,
but because the song touched the artist, it will probably touch us too -
because the emotion or sentiment or story is universal.
_________________________________________________________________
From: "Tina Shackleford" (tshack@sprynet.com>
Subject: Re: OV2 No. 6 in country
> ... What a difference from the silly little comment by the
> review in Knoxville newspaper, which was composed of a sarcastic
> soundbite . That writer is not really a reviewer, but a self-appointed
> despot, who feels that if you are nasty enough you can create the
> truth. Apparently not. How silly he will feel as the album shows
> extraordinary popularity, the rave reviews continue to poor in and
> Nanci will receive her sixth grammy nomination and fourth grammy.
> Cheers, JIm Troiano
Nope, that writer is a reviewer, and calling him (or anyone) names does not
change that. Folks, reviewers are entitled to their opinions, even ones
you don't like. I'm sure it's not easy for writers who review Nanci's
music to write a less than favorable review -- she does seem to be almost
universally respected. That same reviewer also wrote thoughtfully and
complimentarily on Gillian Welch and Emmylou Harris, so you can't reject
all his comments out of hand.
As for the Grammies -- there you lose any argument. Winning those awards
does not certify anything on a recording except for trendiness. Even in
the folk category. Let's not forget that both Gillian Welch's Revival and
Richard Thompson's You?Me?Us? lost to Springsteen's Ghost of Tom Joad (not
a bad album, but I bet lots of voters never heard it). It was also the
first time that award had been televised.
Lots of what's popular today will be forgotten tomorrow -- Nanci will
endure as an artist, and her wonderful body of work is strong enough to
survive a few bad notices. If we think we must automatically praise her
new albums and condemn those who question her artistic choices, we show
little confidence in her lasting ability.
Off my soapbox,
Tina
_________________________________________________________________
From: Mike Chesman (chesman@preferred.com>
Subject: Item to Trade?
I purchased another copy of Portrait of an Artist, the twelve track promo
sampler that was issued by MCA at the time of Late Night Grande Hotel. The
CD sleeve features a different photo, but similar to the cover of LNGH, and
it is in black and white. For those that must know the title of each track
you'll have to suffer with these abreviations...
LNGH,IAHLWYG,LATFAD,FAD,GCH,IWIWR,DSD,TITF,DMADL,IDWTAL,TALBTW,H
I would prefer to trade this for items that I don't have. I particularly
need the Storms 4 cut promo, KBCO vol 5, Live at World Cafe vol 2 and
certain singles (CD or vinyl) especially some of the U.K. singles. Would
immediately trade for the e-town performance from last October on CD (I know
this exists because someone beat me to a copy in an auction). Anyway, check
out my web site to see if you've got something I'm sorely missing) ...
http://pages.preferred.com/~chesman/ngmain.html
Thanks,
Mike
_________________________________________________________________
From: Kenn Lippert (lippert@fyi.net>
Subject: Re: NanciNet #98806
Let me state this plainly and simply. I have never heard Nanci Griffith
use the whiny nasal Jimmie Dale Gilmore voice that she did on BRFTM and
OVT before. Therefore I do not think (in my uninformed opinion) that it
is a natural accent or dialect of hers. That means she is affecting it
intentionaly. (And here is the point of my entire post) - I DON'T LIKE
IT! I DON'T UNDERSTAND WHY SHE CHOOSES TO DO SO.
I am not putting Ms. Griffith on "trial" for misuse of dialect, nor am I
begrudging her any fun she may want to have by recording albums after her
heart's deisire. But I don't have to like it just because she is Nanci
Griffith. I never accussed her of breathing "Faux Paus", I was CONCERNED
about her lack of breath control and stamina. Barbara Streisand may have
lost some range, but the control is still there. I don't think aging
neccessarily leads to the kind of shallow breathiness I hear (in someplaces) on
OVT.
The entire point of this mailing list is to discuss these sorts of likes
and dislikes withOUT becoming "mean spirited". A line I may have tiptoed
along in my original post (in jestful fun I assure you), but one which the
"Nanci IS GOD" Nanzi's have completed obliterated in their headlong rush
to her defense. (Yeah I went over it now).
As for the personal tragedies some of us have experienced, and the manner
in which Nanci's music has helped us through them, I am truly glad that you wer
able to gain something from the music. Re-read my original post near the
end when I talk about Hank Van Slyke's wonderful story.
kenn "I am finished with this thread" lippert
_________________________________________________________________
From: Brimpls@aol.com
Subject: Rodney Crowell & Nanci
Does anyone else love the blend of Rodney Crowell's and Nanci's voices on "I
Still Miss Someone" on OV2? I've loved his voice for a long time, and have
enjoyed seeing him perform live when he comes up to the Twin Cities. His duet
vocal with Nanci is just sublime, though. I love his phrasing. And it's
fitting that "I Still Miss Someone" is a Johnny Cash song, with Rodney's
familial link to JC. That song is just a treasure.
Is the book about "Other Voices, Too" available yet? Has anyone seen it?
Sabrina
_________________________________________________________________
From: roxylee (roxylee@earthlink.net>
Subject: Some Random Thoughts
Hello, fellow NN'ers,
I agree with Thom in that "More Than a Whisper" is my favorite NG song. It
has helped me through many a winter and has a special meaning for me.
The "moooawwnin" thing is irritating to me. I invited a friend over last
week and casually put on the new CD. When he first heard that, he began to
laugh. In my opinion, it detracts from the song. Any phrasing which is
highly exaggerated like that is distracting to me. I enjoy the unique
Nanci-ism style, but not when it goes this far. Just my opinion.
Nanci is allowed to just have fun with her music, for her own enjoyment
now. She did her Poet and Social Commentary Time and I think she just wants
to relax and jam. It's her prerogative, and we don't hafta like it.
I have almost all of her tapes/CDs and have yet to see her in concert. Now
that's sad! (G>
For those who haven't heard of Jerry Jeff Walker, I recommend giving him a
good listen. (He wrote Mr. Bojangles and many other touching songs). Also,
I like John Denver's version of Darcy Farrow. It has a romantic quality
that only a man could bring to the song (Again, my opinion only).
Roxy "delurks once a year" Villa
_________________________________________________________________
From: "Broyles, Julie A." (JABroyles@lyonlyon.com>
Subject: A few more words on More Than A Whisper
OFSE was the first NG album I ever heard. Who wouldn't fall in love
with her voice, songwriting, playing, Hooker's piano, her stories . . .
? What a stunner this album is. My "boyfriend" of about a week at the
time gave it to me and later only wanted to know which song had really
grabbed me. Looking back, I think it must have been a test and I'm sure
he let himself fall for me because I was so moved by More Than A
Whisper. I'm in awe of Nanci's songwriting on this one, her delicate
fingerpicking, Hooker's perfect piano playing, and I've always been
lulled by her melodic humming. My daughter, who was about six at the
time, learned the words but asked me, "Mom, what's a smokey
conversation?" Thanks, Nanci, for helping my daughter acquire a poet's
perspective at such a tender age!
Julie "we broke up 'cause all he did was whisper" Broyles
_________________________________________________________________
From: "Aquarian Resourses" (Aquarian@1acc.com>
Subject: OV2
I loved the last sentence by cate in this post which read"Not
the last of those is the glorius message inherent in her
music of peace,love and human dignity which can easily be
outshouted by too much technical analysis"
I have been surprised by the nit picking and the "why's" over
the new record and nanci's phrasings.Nanci is one the great
songwriters of this age There's an intangible energy that I can feel
from her that goes beyond the music. It's a wonderful vibration
but one that I cannot articulate in words.
Personally I would have liked the new record to be more Nanci,but
I respect Nanci the artist for doing what she feels she needs to
do. Life and all things constantly change. New records lead to
expectations and sometimes expectations can take you out
of the moment-the present and what is.
I'm just thankful Nanci has released some new music. thankful
that that other presence beyond the notes is still there for me.
So thanks to Nanci for all the music and everything else and to
all in the nanci net.
Agreat musician was once quoted as saying"It ain't why? why?
It just is". Sincerly Joe Werfelman
_________________________________________________________________
From: "Blake Marshall" (bmarshall@worldnet.att.net>
Subject: Re: Dress Of Laces Question.
> Who was the person killed in the last verse of "Dress Of Laces" by the
> young girl in love and in tears, who hadn't seen the man she loved in
> years and all that stuff?
Some waterfront beer bar waitress is slinging Budweisers for drunken
sailors and decides to take one out for a spin. A short time later, in the
scheme of life, our heroine arrives on the planet. Daddy eventually rows
his dinky back out to sea, and Mommy keeps dishing out the drafts. And
then many years pass.
Mommy comes home one night from the salt mine, having sampled the company's
wet goods. Probably a quality control sort of thing. Well, who has Mommy
chanced upon between giggles and snorts, but the old salty dog.
Mommy turns up on the doorstep, Old Man in tow. Daddy quickly accustoms
himself to the relaxation to be found in a Lazy Boy, savoring the grits and
eggs, while his cigar bides its time on the coffee table. Our heroine has
little to add to the conversation. With all the gentility he can muster,
Daddy calls out to our heroine --- "Hey, Little Bit, ain't you got nothin'
to say to your Old Man? You know, a ship rat could get used to living like
this! Maybe I'll stick around for a while. Hey, Babe!!! Bring me one o'
them cold Buds! "
Emotions swirling, love, hate, anger, and sorrow mix together into an
uncontrollable state of confusion. Daddy starts calling out about the many
glorious and mysterious places to which he's travelled. Knowing what lies
ahead, Confusion pops a cap in Daddy.
......Uh...hope you we're not looking for the short answer. Sorry for the
rambling! I had some time to kill before work! :)
Blake
_________________________________________________________________
From: Barbie Roberts (flyer@ix.netcom.com>
Subject: Re: Newport Folk Festival
> Hello everyone!
Just wondering if anyone out there is going to the Newport Folk Festival at
Walnut Creek in Raleigh, NC next Saturday? My husband and I are going and will
be
insection 5, row T and we're wandering if any other big Nanci fans will be clos
by. Also, does anyone want to tailgate before hand....please e-mail and let us
know! This will be our first time seeing her!!!!
On another note (and I'm not sure whether it's been discussed) but EmmyLou
does a
wonderful cover of "Hard Times" on her CD "At the Ryman" (1992) as well as a
beautiful mix of Nanci's "It's a Hard Life Wherever You Go" and the song
"Abraham, Martin and John."
Barbie
_________________________________________________________________
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