Customer Reviews

Dust Bowl Symphony

5 star:		(21)
4 star:		(13)
3 star:		(5)
2 star:		(2)
1 star:		(2)

 

 

I bought "The Dust Bowl Symphony" out of curiosity, not because of any burning desire to hear Ms. Griffith accompanied by an orchestra. My favorite memory of Nanci Griffith will always be from the night I discovered her at a concert in the mid-eighties: She opened for John Prine, and stepped out with only her guitar. I was floored by her talent, and became an instant fan.

Perhaps because I discovered Nanci during a solo tour, my favorite recording of hers by far has always been "One Fair Summer Evening," a live recording in which the musical accompaniment consisted only of her guitar and the keyboards of the rock-solid James Hooker. While I've always enjoyed her studio efforts, by comparison the results have always seemed overproduced to varying degrees.

Thus, when I brought "The Dust Bowl Symphony" home, I was predisposed to agree with Steven Solder's review: I was convinced that Ms. Griffith's splendid voice would be "smothered" in the orchestral arrangement. I was pleasantly surprised, however. The mix is well done, and for the most part, intrudes less on the richness of Nanci's voice than is the case in some previous studio recordings.

That said, I wouldn't point to this CD as a "must have" for new Nanci Griffith fans. I'd give the nod to "One Fair Summer Evening" or "Flyer" instead. Still, this recording hardly ranks as an "awkward tumble," as Mr. Stolder maintains. And, since the CD consists largely of re-worked fan favorites, I suspect that most long-time Nanci Griffith followers will find "The Dust Bowl Symphony" enjoyable, and perhaps, pretty doggone fun.

I am a long time Nanci Griffith fan. I really like her voice and her songs. The problem I had with this album is that her voice just does not go well with a full orchestra -- it tends to get lost. It would have been better to have a smaller group -- a chamber orchestra. My other complaint is related -- the vocals didn't have the 'bite' that I'm used to (thats not the right word but I can't think of a better one). Her songs have been about personal trials, triumphs and tribulations. Its like she sings to me personally. You can't get that same feeling when there's another 100 people (the orchestra) in the room.

I give it three stars because I still love to listen to her voice. For people not familiar with her music I'd recommend another album.

Oh, and the version of 'Its a Hard Life Where Ever You Go' is horrible -- you can't hardly hear it with the drums pounding.

I must admit that when I first heard of this album, I was really skeptical that Nanci could a) pull off an album with a full orchestra without getting covered up with the orchestration and b) do any of her songs further justice with an orchestra. But she has proven me wrong! Unlike her last two studio albums, which have been sub-par in my mind, she really shines on this album. The orchestrations are lush without being over-indulgent. While the orchestra takes away some of the earthy folkiness of some of the original versions of these songs, it definitely brings out the poetic beauty of her songs in a way that the studio could not...but without losing any of the honesty. Most of her songs simply soar with a new sense of majesty on this album. I will say though, that this album is much better appreciated after you've heard the original versions of these songs. So, this is definitely a disc for longtime nanci fans. First timers should try Flyer or Other Voices Other Rooms...or One Fair Summer Evening to get a taste of Nanci at her best before hearing this one. But, I heartily recommend this CD to anyone who just appreciates good honest music.

I was a little skeptical about this album. Many of these songs are old ones redone with an orchestra. I already loved the old versions and couldn't imagine she could improve on them. I was wrong. Not only does the orchestra add a certain richness to the old songs, but the maturity that Nanci has gained with age, makes many of the old messages more profound. I think "Its a Hard Life," is much deeper (if that is even possible) on this album, than on the original. Same goes for many others. As for "pre-war Kimball," I have heard it called "quirky," and "b-side," but I think it is one of my new favorites. The story behind it is that Nanci Griffith donated her piano to a children's music school. After she donated it, the school was fire-bombed and, presumably, the piano lost. The song has a lot of self-deprecating humor, for instance about her inability to play the piano with both hands, her desire for a "better" singing voice (as if that were possible), etc. Because of that, I feel like the real Nanci comes through. Anyway, buy this album!

I've been a Nanci Griffith fan ever since the mid-1980s after seeing her on Austin City Limits and then buying her LPs, tapes, and now CDs. Teaming- up with the London Symphony results in a wonderful selection of arrangements that combine the traditional Griffith melodies with the full richness that only an orchestra can create.

Nanci, if you ever have so much free time on your hands that you actually read these reviews, my message to you is: Do another "Dustbowl!"

Excellent for a seasoned Nanci fan. Beautiful renditions of favorites. If you're a novice, start with something like "Late Night Grand Hotel".

Back in Austin, a;bout 20 years ago at an old joint called "Emmalous" Nanci used to shush the talkers, chastise the smokers and then pick up her guitar alone and launch into incrediblely well crafted songs. I didn't like her then and am not crazy about her now (this year she sent our local rag - the Austin Chronicle - a borderline coherent missive about how misunderstood artists are). Now, haveing got all this off my chest I must say she has led us again into a lush incredibly well produced tour of her many past wonders. The lady can write and the fact the most of the songs are old only proves how valuable they are. The London symphony orchestra? A stroke of genius. Never overbearing, occassional jazz piano riffs, just simply beautiful and a must for any fan.

While I grow tired of the retrospectives, the collaborations and long for just Nanci and her guitar and some new songs, I must also step aside an let the artist lead in places I never would have thought worthwhile.

Well done Nanci, no smoking or talking down here.

I had never heard of Nancy Griffith, but I did trust my brother-in law's taste in music. What a wonderful CD! What an incredible artist. From the first song to the last, over and over it gets played no-stop at work and all weekend at home. Her words ring so true to life's wide and varied experiences. The opening song "Trouble in the Fields" makes me want to buy a field and a John Deere Tractor just so I can say those words to someone, one day. Songs about things we are willing to sacrifice, things we are willing to give up, things we could never give up on. "These Days.." spoke to so many facets of my life and I felt like it was written and sung just for me. Nancy's voice is a delight to listen to, so rich and graceful. The symphony accompaniment is such a beautiful touch. Everybody I know: You're getting this for Christmas!

As a Nanci Griffith fanatic for some fifteen years I am always interested in anything she releases, and the idea of an album of some of her best songs performed with a symphony orchestra was no exception. It was a tantalizing idea.

The results, while certainly pleasant and enjoyable, aren't exactly the most compelling of her remarkable career. The opening to "Trouble In The Fields" is nothing short of gorgeous, but after a while the arrangements with the London Symphony Orchestra tend to run together in a manner that really makes one long to hear the original versions again. While a cover of Buddy Holly's "Tell Me How" (with the Crickets no less) is a joy to listen to over and over again, the version of her own "Love At The Five and Dime" is a significant disappointment. It isn't just that the original from her superb "Last of the True Believers" album is better (which it unquestionably is) but I must admit I still am not sure what her fascination with Hootie and the Blowfish is - a question that begs to be repeated as that band's lead singer, Darius Rucker, duets with her on the song.

So, all and all, this is a nice, modest, and pleasant album, but it is really for fans only. Others who are interested in beginning their Nanci collection would probably be best advised to start elsewhere.

The Dust Bowl Symphony completely blew me away. I had never even heard of Nanci Griffith until I just happened to listen to this album at a listening station. When I tell people her album is a combination of Irish folk and dust bowl country they think I'm crazy. The lyrics and melodies stick with me for days after playing the CD. All in all one of my favorite albums of 1999.