Nanci Griffith is one of the core Americana artists. She is never far from the top of our list features and Clint West’s entry in our Essentials feature is spot on as far as listening recommendations go. AUK’s Martin Johnson said in his obituary for her back in 2021, “it shouldn’t be forgotten that when she started her career her chosen genres were dominated by male artists. Through her own example and her songs, she has helped female artists from the ‘80s onwards achieve their own artist dreams.”
So, a book which discusses her career in terms of her songwriting should if done right become “an indispensable source for anyone wanting to learn more about all things Nanci.” Brian T. Atkinson has risen to the challenge by approaching his subject through interviews with her contemporaries, especially those she worked with and influenced. The foreword subtitled ‘A Conversation with the Indigo Girls, Kathy Mattea, and Lyle Lovett,’ sets out his intention. Mattea, whose first hit was with ‘Love At The Five And Dime’ is clear that she owes her career to Nanci Griffiths songwriting. Lovett similarly talks of Griffith championing him in his early days.
From there we take a largely chronological trip from Austin to Houston and Nashville, with brief biographical notes from Atkinson before allowing artists and others who knew her to speak.
Interesting as the early chapters are it’s the last two, ‘Clock without Hands: Nashville (The Later Years)’ and ‘Love and the Five and Dime: The Songwriting Legacy’ where the real heart of the book lies. There is a palpable sense of loss in the words of Rodney Crowell. Maura Kennedy’s describes playing ‘There’s A Light Beyond These Woods, (Mary Margaret)’ on Griffiths final tour which came shortly after Maggie Graham had herself passed. The chapter ends with Dave Alvin who told Atkinson; “Nanci had a passion for songs and songwriting… Generosity was Nanci Griffith – beginning middle and end. Print that story, There’s your book.”
Dar Williams talks of Griffith “trying to create a world of shared songs,” and the chapter Love and the Five and Dime: The Songwriting Legacy’ includes tributes from singers like Sarah Jarosz and Mary Gauthier, as well many less well-known names who share how Nanci Griffith’s writing affected them. Gauthier’s story of meeting Griffith at a songwriting circle where she was gifted one of Nanci’s guitars is another instance of the generosity and warmth that seems to be a common theme with people who met and knew her.
The Atkinson gives two lists of songs, in an appendix. One of Griffith’s own compositions and one of songs she covered, “ranked in hierarchical order.” As with all lists it is subjective but makes a good starting point for anyone new to her work. And that is the point of this book, I think. Pointing people towards her songs, whether sung by her or others. While writing this I’ve been listening to the excellent album ‘More Than a Whisper: Celebrating the Music of Nanci Griffith’ which features many of the artists who have shared their thoughts with Atkinson for the book. The sense of loss and regret which flows through ‘Love At The Five And Dime’ is only part of the legacy of Nanci Griffith. Her songs shine and continue to influence and inspire others to write. But the last word is given to Sarah Jarosz who says “I’ve read in a couple of interviews that Nanci felt forgotten. So sad. Nanci is beloved and revered all around the world, I wish she knew.”
If you are even marginally interested in songwriting, or in Nanci Griffith this is an essential read. On his website Atkinson teases that he has “submitted the manuscript for ‘Always Chasing the Sun: The Songwriting Legacy of Judee Sill’” to the same publisher. If they produce a book close to the Nanci Griffith volume it will be another stunning volume.