The standard line on
Nanci Griffith's five-year sojourn at
MCA Records is that
Griffith, a Texas-born
singer/songwriter, earned a major-label Nashville contract after four independent folkie releases on the basis of
Kathy Mattea's Top Ten
country recording of her song
"Love at the Five and Dime," at a time when
country music seemed more open to new sounds and
MCA's
Tony Brown was also signing such mavericks as
Steve Earle and
Lyle Lovett. But after two albums,
Lone Star State of Mind (1987) and
Little Love Affairs (1988), met resistance, failing to produce a major
country hit,
Griffith was transferred to the label's
pop division, where
Storms (1989) showed promise but
Late Night Grande Hotel (1991) turned out to be too much of a
pop move and turned off her existing fan base without attracting a new one. Then
MCA dropped her. After a sojourn at
Elektra Records,
Griffith returned to indie status with
Rounder in 2002, which oddly landed her back at
MCA, since the major had a distribution deal with
Rounder.
MCA has also reissued
Griffith's early albums, which gives the label a considerable stake in her catalog. So, there is a full-priced one-disc compilation of her actual
MCA recordings (
From a Distance: The Very Best of Nanci Griffith), a discount-priced
Millennium Collection best-of, and now this two-disc package combining all four
MCA albums with a few rarities. And when you listen to it from beginning to end, the standard line no longer seems to hold. The first two albums are no more
country than
Griffith's early "
folk" albums, and the last two are not so "
pop." The distinctions have more to do with production approaches, which pale before the dominant aspects of the music --
Griffith's sweet and sour voice with its distinctive twang and the terrific songs. Maybe there was something to the notion that
Griffith, who delighted in showing listeners what novel she was reading on her album covers, was a bit too erudite for a Nashville thrush, but the result is a set of songs, written by her and some well-chosen others, that stand up well a decade later and are likely to sound just as good many decades hence. ~ William Ruhlmann
