1937 Pre-War Kimball
Nanci Griffith · Other Songs - Nanci Griffith
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Oh, it sat in this corner for many a year
Through fireside parties, tears and cheers
And the hands of James Hooker flew over it's keys
And God know who else 'fore it came to me
And when I was alone I could be Julie Gold
It rang her "From A Distance" just like it was my own
I'd pretend I've the voice of Beth Neilsen Chapman
I wrote 'Late Night Grande' with just my right hand happenin'
Now it's keys rent the air in it's new place to stand
A gift for the children who'll play right and left hand
Just a 1937 Pre-war Kimball
Oh, with the grace of that three-quarter grand
Oh, the grace of that three-quarter grand
Oh, it's lonesome in this corner at five am
I'd call Harlan Howard, only he'd understand
All those melodies that came to be
Mornings in this corner, that piano and me
And I wished for the left hand like Glenn D. Hardin
I could play Jimmy Webb or perhaps Randy Newman
Ah, it's a blessing, it never met Jerry Lee's feet
Just the hands of those children is all this Kimball needs
I'll let it go, let it go
That piano I bought from Al Jones long ago
I've let it go, I've let it go
And I smiled as it rolled out my door
And the songs that we wrote, ah, note for note
That piano will always know
Now it's keys rent the air in it's new place to stand
A gift for the children who'll play right and left hand
Just a 1937 Pre-war Kimball
Oh, the grace of that three-quarter grand
Oh, the grace of that three-quarter grand
Oh, it's the grace of that three-quarter grand
And God bless the child
Who's got a song
Who's got a song
Who's got a song
1937 Pre-War Kimball
Nanci Griffith's '1937 Pre-War Kimball' stands as a testament to her enduring connection with the American folk and country traditions. Known for her distinctive voice and storytelling prowess, Griffith often explored themes of history, memory, and the passage of time in her songwriting. This track reflects her ability to craft intimate narratives that resonate with listeners familiar with the nuances of acoustic music. While the specific album placement for this recording remains less documented than her major releases, it fits seamlessly within her broader discography of evocative, character-driven songs. Griffith's work frequently bridges the gap between traditional folk structures and contemporary sensibilities, making her a vital figure in the genre. This song exemplifies her skill in capturing the essence of a moment or era, inviting audiences to reflect on the stories embedded within the music itself.