Trouble in the Field: A Conversation with Nanci Griffith
By Stuart Henderson 14 August 2012
Nanci Griffith has always been a difficult artist to categorize.
A kind of hybrid of the Greenwich Village folkies of the 1960s and the rough-hewn Texas singer-songwriters of the 1970s, Griffith has always been a little too country for many fans of the former and a little too folky for many fans of the latter (and sometimes a little too pop for everyone).
Her extraordinary records throughout the 1980s—Poet in My Window, Once in a Very Blue Moon, Last of the True Believers, Lone Star State of Mind, Little Love Affairs—were simply produced, mostly acoustic, and plainly revelatory in an era in which synthetic drums and keyboards were sneaking into the Nashville sonic template. For many listeners (myself included) this was very much part of the draw circa 1986: here was an acoustic country music, a country folk music, that felt timeless and yet, given the prevailing trends of the day, bravely antimodern. It was almost rebellious. Read full story here.