The first thing that leaps from the speakers is the ragged nature of Griffith’s vocals; usually so pure in tone despite her west-Texas twang, here they’re gravelly, frequently off-key (sometimes alarmingly so), and occasionally downright ill-considered when she playfully or emphatically exaggerates her already-pronounced accent. Michael Corcoran’s ten-year campaign of malicious things that he’s written about me—where does it come from? Online estimates of Nanci Griffith’s net worth vary. Stripped of most of the country elements that had been ladled over their studio versions, Griffith’s songs emerge crisp and timeless; indeed, these live recordings accomplish the rare feat of rendering their studio antecedents obsolete. All images, lyrics and music belong to their rightful owners. The set list also includes chestnuts from throughout her career: the 20-year-old chestnut “Bring the Prose to the Wheel (I’m Not Drivin’ These Wheels)” (download), “I Wish It Would Rain” from Little Love Affairs, and her tribute to Loretta Lynn, “Listen to the Radio” (download). As she takes a break in a Nashville photo studio, her handlers buzz around her, finalizing plans for seven upcoming shows in Dublin, Glasgow, and London. Griffith commanded a sizable cult following for many years. . Griffith responded to George Bush’s invasion of Iraq the way any good liberal folkie would: by whipping up a batch of anti-war songs and making a record. People with a low tolerance for preciousness have the hardest time with Griffith’s voice. The tepid critical response to Other Voices, Too prompted perhaps the most perplexing moment of Griffith’s career. She loves chili dogs. SHE WAS RIGHTEOUS. Nanci Griffith was born on July 6, 1953 in Seguin, Texas, USA as Nanci Caroline Griffith. Worth Blues,” the emotional elegy he wrote about his late friend. All Rights Reserved. And that’s all they see, the bad things. It drives me crazy.” Nobody is that innocent, the theory goes, especially someone who has been around for so long in such a cutthroat business, someone who leads a band and produces her own records. Late Night Grand Hotel barely scraped the bottom of the album chart, selling far fewer copies than Storms had and disappearing quickly from public notice. And this was just local press. Three years later she sent a letter to Texas Monthly about its negative review of Blue Moon, calling it “a cheap shot at me when I am only just now breaking into the national market . I fall into the person I was riding my bicycle down Burnet Road”—an Austin street from her youth. Through her father, a fan of traditional music, twelve-year-old Nanci met folksinger Carolyn Hester, who would become a big influence; at that age she also wrote her first song, “A New Generation,” and played her first gig, at the Red Lion, a downtown beat coffeehouse. Nanci Griffith is arguably the most important folk-music artist of her generation. Poet in My Window introduces a theme that Griffith would return to several times with great success in the coming years: romanticizing the folk troubadour. That statement is risky not so much because there are so many other contenders for the throne, but because we live in an era when the term “folk music” itself has lost considerable meaning — falling victim to record-biz economics and radio-industry pigeonholing. This was a wounded missive, the kind that comes from an artist who has never gotten her due, in Texas or anywhere else. Party of None: What I Miss About Restaurants, Slavery Was Integral to Texas’s Transition From Republic to Statehood, but This Textbook Doesn’t Tell the Full Story. Her letter was less a reply to brutality and abuse than an excuse to rant. The fact that a singer like Bogguss, with no discernable country inflection, could score with a Griffith song while the author’s own twangy, countrified tracks couldn’t buy airplay, must have driven Tony Brown crazy. She attended the University of Texas. The stories you want, in one weekly newsletter. Others, however, were just bad ideas executed poorly: Julie Gold’s “Heaven,” which has the distinction of being even more treacly than “From a Distance,” and a painfully overdramatic attempt at Tom Waits’ “San Diego Serenade” that is just plain wrong.

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