Once In A Very Blue Moon [Remaster]

Performer: Nanci Griffith
Artist: Bela Fleck; Lyle Lovett; Mark O'Connor
Engineer: Jack Grochmal
Producer: Jim Rooney; Nanci Griffith
Distributor: Universal Distribution

Notes: Personnel includes: Nanci Griffith (vocals, acoustic guitar); Stephen Doster (acoustic & electric guitars); Pat Alger, Mark Howard (acoustic guitar); Phillip Donnelly (electric guitar); Lloyd Green (pedal steel guitar, dobro); Bela Fleck (banjo); Mark O'Connor (mandolin, mandola, violin, fiddle); John Catchings (cello); Terry McMillan (harmonica); Ralph Vitello (piano, synthesizer); Roy Huskey, Jr. (upright bass); Kenny Malone (percussion); Lyle Lovett (background vocals). Recorded at Jack Clement's Cowboy Arms Hotel and Recording Spa, Nashville, Tennessee between June 26 and July 2, 1984. Originally released on Philo (1096). All tracks have been digitally remastered. Griffith's third album marks the spot where her story, as they say, began to get really interesting; it's chock full of first-rate folk- and country-tinged songs (mostly her own, although she gets a lot of mileage out of folk veteran Bill Staine's "Roseville Fair"), superb musicianship by the cream of Nashville sessioneers, and utterly confident singing. Highlights include the wry story-song "Mary and Omie," which, despite being the most hardcore country tune on the album, is about a woman who can't wait to get the hell out of the South; and the delicately gorgeous folkie title track, featuring lapidary banjo work by then up-and-coming virtuoso Bela Fleck and heartbreaking high-lonesome backing vocals by the similarly up-and-coming Lyle Lovett.

Nanci Griffith has been a shining light in the American roots music community since the 1980s. Considered the female equivalent of maverick singer-songwriters such as Lyle Lovett and Dwight Yoakam, Griffith made several stellar albums that blended country, folk, and twangy rockabilly (she's an avowed Buddy Holly & the Crickets fan) into a sound distinctly her own. The Texas native recorded two albums of cover songs that made clear her influences extended well beyond the Lone Star state, and in 2007 she released RUBY'S TORCH, an album of pop standards and ballads that further extended her grasp on vintage American music.

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