The Complete MCA Studio Recordings (CD - 2003)

Personnel: Nanci Griffith (vocals, acoustic guitar); Mark O'Connor (acoustic guitar, mandolin, violin, viola); Byrd Burton (acoustic & electric guitars); Mac McAnally (acoustic guitar, background vocals); Billy Joe Walker, Jr.

Rick West (acoustic guitar); Phillip Donnelly (electric guitar); Jerry Donahue (electric guitar); Pat Alger (guitar); Lloyd Green (pedal steel guitar, dobro); Bela Fleck (banjo); Emory Gordy (mandolin, electric bass); John Catchings (cello); James Hooker (piano, Hammond B-3 organ, synthesizer); John Jarvis (piano); Roy Huskey, Jr. (upright bass); Mo Foster (electric bass); Russ Kunkel (drums, percussion); Fran Breen (drums); Albert Lee, Tanita Tikaram (background vocals).

Producers include: Tony Brown, Nanci Griffith, Glyn Johns, Peter Van Hooke, Rod Argent.

Compilation producer: Mike Ragogna.

Recorded between 1987 & 1991. Includes liner notes by Scott Schinder.

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 minimize