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Emmylou Harris — Wrecking Ball (2CD/1DVD Set, Deluxe Edition) (2014)

Emmylou Harris — Wrecking Ball (2CD/1DVD Set, Deluxe Edition) (April 8, 2014)

USA Flag Emmylou Harris — Wrecking Ball (2CD/1DVD Set, Deluxe Edition)
Ξ   The one-time singing partner of Gram Parsons who became an enduring force in progressive country by the end of the 1970s. 
Born: April 2, 1947 in Birmingham, AL
Album release: April 8, 2014
Record Label: (Elektra/Asylum CD 61854, September 26, 1995/Nonesuch)
Duration:     53:08 + 46:43 => 99:51 
Format: 2 CD/1 DVD
CD 1:  Wrecking Ball
01 Where Will I Be     4:18
02 Goodbye     4:53
03 All My Tears (Be Washed Away)     3:42
04 Wrecking Ball     4:49
05 Goin’ Back to Harlan     4:53
06 Deeper Well     4:18
07 Every Grain of Sand     3:56
08 Sweet Old World     5:06
09 May This Be Love     4:45
10 Orphan Girl     3:15
11 Blackhawk     4:28
12 Waltz Across Texas Tonight     4:45
CD 2: Deeper Well: The Wrecking Ball Outtakes
01 Still Water (Daniel Lanois)     3:57
02 Where Will I Be? (alternate version)     4:16
03 All My Tears      3:24
04 How Will I Ever Be Simple Again (#1) (Richard Thompson)      3:38 
05 Deeper Well (#1)     2:20
06 The Stranger Song (Leonard Cohen)     5:25
07 Sweet Old World (alternate version)     5:28
08 Gold (Emmylou Harris)     3:19
09 Blackhawk (alternate version)      4:43
10 May This Be Love (acoustic)     2:18
11 Goin’ Back to Harlan     2:39
12 Where Will I Be? (alternate version-incomplete)     2:17
13 Deeper Well (#3)     3:09 ℗
DVD: Building the Wrecking Ball: A Documentary About the Making of Wrecking Ball
Written by:
Daniel Lanois 1, 11
Steve Earle 2
Julie Miller 3
Neil Young 4
Anna McGarrigle 5
Emmylou Harris / Daniel Lanois / David Olney 6
Bob Dylan 7
Lucinda Williams 8
Jimi Hendrix 9
Gillian Welch 10
Rodney Crowell / Emmylou Harris 12
Richard Bennett  Guitar (Tremolo), Unknown Contributor Role
Brian Blade  Drums
Malcolm Burn  Bass, Drums, Engineer, Mixing, Piano, Slide Guitar, Tambourine, Vibraphone, Vocal Harmony
Rodney Crowell  Composer
Bob Dylan  Composer
Steve Earle  Composer, Guest Artist, Guitar, Guitar (Acoustic)
Joe Gastwirt  Mastering
Tony Hall  Bass, Drums, Shaker
Emmylou Harris  Composer, Guitar, Guitar (Acoustic), Primary Artist, Vocal Harmony, Vocals
Jimi Hendrix  Composer
Mark Howard  Engineer, Mixing
Amy Hughes  Assistant Engineer
Sandy Jenkins  Engineer
Darryl Johnson  Chant, Keyboard Bass, Tom-Tom, Vocal Harmony
Bob Lanois  Photography
Daniel Lanois  Bass, Bass Pedals, Chant, Composer, Dulcimer, Guest Artist, Guitar (Acoustic), Guitar (Electric), Mandolin, Percussion, Producer, Vocal Harmony
Wayne Lorenz  Assistant Engineer
Anna McGarrigle  Composer, Vocal Harmony
Kate McGarrigle  Vocal Harmony
Kate & Anna McGarrigle  Guest Artist
Jim Merrill  Photography
Julie Miller  Composer
Rob Mitchell  Assistant Producer
Larry Mullen, Jr.  Drums, Guest Artist, Hand Drums
David Olney  Composer
Lisa Roberson  Assistant Engineer
Trina Shoemaker  Editing, Engineer, Mastering, Sequencing
Chris Stone  Assistant Engineer
Whitney Sutton  Copy Coordination
Gillian Welch  Composer
Lucinda Williams  Composer, Guest Artist, Guitar (Acoustic)
Neil Young  Composer, Guest Artist, Harmonica, Vocal Harmony
Origin review by Jason Ankeny;  Score: ****,5
Wrecking Ball is a leftfield masterpiece, the most wide-ranging, innovative, and daring record in a career built on such notions. Rich in atmosphere and haunting in its dark complexity, much of the due credit belongs to producer Daniel Lanois; best known for his work with pop superstars like U2 and Peter Gabriel, on Wrecking Ball Lanois taps into the very essence of what makes Harris tick — the gossamer vocals, the flawless phrasing — while also opening up innumerable new avenues for her talents to explore. The songs shimmer and swirl, given life through Lanois' trademark ringing guitar textures and the almost primal drumming of U2's Larry Mullen, Jr. The fixed point remains Harris' voice, which leaps into each and every one of these diverse compositions — culled from the pens of Neil Young, Bob Dylan, Jimi Hendrix, Steve Earle, and others — with utter fearlessness, as if this were the album she'd been waiting her entire life to make. Maybe it is.
Before Bruce Springsteen unleashed his Wrecking Ball or Miley Cyrus her “Wrecking Ball,” Emmylou Harris gave her 1995 studio album, produced by Daniel Lanois (U2, Bob Dylan) that title after a Neil Young composition. Harris’ Wrecking Ball embraced a more explicitly cutting-edge “rock” sound than many of her past traditional country efforts, and earned the artist a 1996 Grammy Award for Best Contemporary Folk Recording.  Nonesuch Records (sister label to Elektra/Asylum, the original home of Wrecking Ball) reissue this seminal alt-country effort in a deluxe 2-CD/1-DVD edition including an entire disc of previously unissued music and a new documentary film about the making of the album.
Harris and Lanois selected a hip array of songs for her eighteenth studio release. Wrecking Ball included renditions of Young’s title track and compositions by Steve Earle (“Goodbye”), Anna McGarrigle (“Goin’ Back to Harlan”), Bob Dylan (“Every Grain of Sand”), Lucinda Williams (“Sweet Old World”), Gillian Welch (“Orphan Girl”), Julie Miller (“All My Tears”) and even Jimi Hendrix (“May This Be Love”).  Songs by Lanois (“Where Will I Be,” “Blackhawk”) and Harris herself (“Deeper Well” with Lanois and David Olney, and “Waltz Across Texas Tonight” with Rodney Crowell) rounded out the eclectic set.  Tackling these diverse, accomplished songwriters was natural for Harris, who had previously recorded the songs of Lennon and McCartney, Pomus and Shuman, Chuck Berry, Paul Simon and her musical soulmate Gram Parsons alongside those by Hank Williams, Buck Owens, Dolly Parton and The Louvin Brothers.
Steve Earle, Neil Young, Lucinda Williams and Kate and Anna McGarrigle all performed on Wrecking Ball, along with a core band of Harris, Lanois, U2’s Larry Mullen, Jr., Malcolm Burn, Tony Hall and Daryl Johnson.   Following its release in September 1995, the album peaked on the Billboard 200 at No. 94, and received critical acclaim from outlets including Rolling Stone, Entertainment Weekly, Uncut and The Los Angeles Times.  Today, almost twenty years later, Harris continues to meld both the traditional and alt-country worlds to great effect, most recently on Old Yellow Moon, her Grammy-winning collaboration with Crowell.
What extras will you find on the upcoming reissue?  Hit the jump!
Nonesuch’s remastered and expanded Wrecking Ball adds a second disc of audio with 13 outtakes and alternates, including songs by Richard Thompson (“How Will I Ever Be Simple Again”), Leonard Cohen (“The Stranger Song”), Harris (“Gold”) and Lanois (“Still Water”).  The package’s third disc, a DVD, includes director Robert Lanois’ documentary film Building the Wrecking Ball.  The film features interviews and in-studio footage of Harris and Lanois as well as special guests Kate and Anna McGarrigle, Neil Young, Steve Earle, Brian Blade, and others. To celebrate this reissue, Harris and Lanois are also embarking on an eight-city tour in April which will include stops in Los Angeles, Chicago, New York, Boston and Toronto among other locations. (http://theseconddisc.com/)
Written by Hal Horowitz, May 5th, 2014 at 2:13 pm
Score: 4.5 out of 5 stars
Even with the luxury of 19 years to ponder, absorb and unravel its allure, Wrecking Ball still sounds groundbreaking. Many credit producer Daniel Lanois for pushing Emmylou Harris to work in a new sonic landscape back in 1995 when she was considered strictly a country/folk/bluegrass musician. But, as we find out from the DVD documentary on this expanded and remastered edition, the idea to work with Lanois was all Harris’. Even though this is as much his concept as hers, she was clearly ready to take the plunge into more adventurous waters.
For those unfamiliar with this Americana masterpiece that received nearly unanimous acclaim on its release and remains a high water mark in Harris’ bulging catalog, the dozen tracks are laced with Lanois’ now trademarked ominous atmospherics. Vocals are slurred, guitars are looped, drums subtly pound with tribal resonance all in the service of terrific, often obscure and deeply rearranged material from Bob Dylan, Neil Young, Lucinda Williams, Steve Earle and even Jimi Hendrix. The mix of folk/swamp/country and a hint of rock filtered through the Lanois mindset sounded nothing like anything Harris had previously recorded although Dylan’s 1989 Lanois produced Oh Mercy explored comparable territory with similarly successful results.
Wrecking Ball can be perceived as Harris’ Graceland, a project that changed how the world perceived Paul Simon and reinvigorated his career. Lanois recruited U2’s Larry Mullen Jr. as percussionist for the majority of the tracks and his understated work, along with jazz drummer Brian Blade’s, is essential to the dark, melancholy but never depressing vibe that flows from the first song to the last. The songs brim with loss, regret, longing, death and a general air of somber reflection perfectly revealed in music that captures Harris’ always crystalline vocals at their most raw and emotional.
It’s a goose bump raising performance that has lost none of its intensity over the years and is ripe for rediscovery in this updated version featuring wonderfully crisp remastering. A second audio disc of outtakes exposes some gems that didn’t make the cut including stripped down tunes from Richard Thompson and Leonard Cohen that while wonderful, haven’t been run through Lanois’ distinctive production mindset. Others such as two working versions of the stunning, enigmatic “Wishing Well,” Emmylou’s only co-writing credit on the disc, show the evolution of how the music was massaged and readjusted during the recording process.
The DVD’s 45-minute documentary on the making of the album is a terrific addition, even if many of the songs are accompanied by grainy footage of recording sessions at Lanois’ New Orleans home/studio. Only the omission of full live performances of Wrecking Ball material with Harris’ superb Spyboy band prevents this from being a perfect reissue of a near flawless album whose experimental beauty and daring musical approach remains fresh, inspirational and timeless. (http://www.americansongwriter.com/)
Artist Biography by Jason Ankeny
Though other performers sold more records and earned greater fame, few had as profound an impact on contemporary music as Emmylou Harris. Blessed with a crystalline voice, a remarkable gift for phrasing, and a restless creative spirit, she traveled a singular artistic path, proudly carrying the torch of "cosmic American music" passed down by her mentor, Gram Parsons. With the exception of only Neil Young — not surprisingly an occasional collaborator — no other mainstream star established a similarly large body of work as consistently iconoclastic, eclectic, or daring; even more than four decades into her career, Harris' latter-day music remained as heartfelt, visionary, and vital as her earliest recordings.
Harris was born on April 2, 1947, to a military family stationed in Birmingham, Alabama. After spending much of her childhood in North Carolina, she moved to Woodbridge, Virginia while in her teens and graduated high school there as class valedictorian. After winning a dramatic scholarship to the University of North Carolina, she began to seriously study music, learning to play songs by Bob Dylan and Joan Baez. Soon, Harris was performing in a duo with fellow UNC student Mike Williams, eventually quitting school to move to New York, only to find the city's folk music community dying out in the wake of the psychedelic era.
Still, Harris remained in New York, traveling the Greenwich Village club circuit before becoming a regular at Gerdes Folk City, where she struck up friendships with fellow folkies Jerry Jeff Walker, David Bromberg, and Paul Siebel. After marrying songwriter Tom Slocum in 1969, she recorded her debut LP, 1970's Gliding Bird. Shortly after the record's release, however, Harris' label declared bankruptcy, and while pregnant with her first child, her marriage began to fall apart. After moving to Nashville, she and Slocum divorced, leaving Harris to raise daughter Hallie on her own. After several months of struggle and poverty, she moved back in with her parents, who had since bought a farm outside of Washington, D.C.
There she returned to performing, starting a trio with local musicians Gerry Mule and Tom Guidera. One evening in 1971, while playing at an area club called Clyde's, the trio performed to a crowd that included members of the country-rock pioneers the Flying Burrito Brothers. In the wake of the departure of Gram Parsons, the band's founder, the Burritos were led by ex-Byrd Chris Hillman, who was so impressed by Harris' talents that he considered inviting her to join the group. Instead, Hillman himself quit to join Stephen Stills' Manassas, but he recommended her to Parsons, who wanted a female vocalist to flesh out the sound of his solo work, a trailblazing fusion of country and rock & roll he dubbed "cosmic American music." Their connection was instant, and soon Harris was learning about country music and singing harmony on Parsons' solo debut, 1972's G.P. A tour with Parsons' backup unit, the Fallen Angels, followed, and in 1973 they returned to the studio to cut his landmark LP Grievous Angel.
On September 19, just weeks after the album sessions ended, Parsons' fondness for drugs and alcohol finally caught up to him, and he was found dead in a hotel room outside of the Joshua Tree National Monument in California. At the time, Harris was back in Washington, collecting her daughter for a planned move to the West Coast. Instead, she remained in D.C., reuniting with Tom Guidera to form the Angel Band. The group signed to Reprise and relocated to Los Angeles to begin work on Harris' major-label solo debut, 1975's acclaimed Pieces of the Sky, an impeccable collection made up largely of diverse covers ranging in origin from Merle Haggard to the Beatles. Produced by Brian Ahern, who would go on to helm Harris' next ten records — as well as becoming her second husband — Pieces of the Sky's second single, a rendition of the Louvin Brothers' "If I Could Only Win Your Love," became her first Top Five hit. "Light of the Stable," a Christmas single complete with backing vocals from Dolly Parton, Linda Ronstadt, and Neil Young, soon followed; Harris then repaid the favor by singing on Ronstadt's "The Sweetest Gift" and Young's "Star of Bethlehem."
For her second LP, 1976's Elite Hotel, Harris established a new backing unit, the Hot Band, which featured legendary Elvis Presley sidemen James Burton and Glen D. Hardin as well as a young songwriter named Rodney Crowell on backup vocals and rhythm guitar. The resulting album proved to be a smash, with covers of Buck Owens' "Together Again" and the Patsy Cline perennial "Sweet Dreams" both topping the charts. Before beginning sessions for her third effort, 1977's Luxury Liner, Harris guested on Bob Dylan's Desire and appeared in Martin Scorsese's documentary of the Band's legendary final performance, The Last Waltz. Quarter Moon in a Ten Cent Town followed in 1978, led by the single "Two More Bottles of Wine," her third number one. The record was Crowell's last with the Hot Band; one of the tracks, "Green Rolling Hills," included backing from Ricky Skaggs, soon to become Crowell's replacement as Harris' vocal partner.
Released in 1979, Blue Kentucky Girl was her most country-oriented work to date, an indication of what was to come a year later with Roses in the Snow, a full-fledged excursion into acoustic bluegrass. In the summer of 1980, a duet with Roy Orbison, "That Lovin' You Feelin' Again," hit the Top Ten; a yuletide LP, Light of the Stable, followed at the end of the year. Shortly afterward, Harris quit touring to focus on raising her second daughter, Meghann. Evangeline, a patchwork of songs left off of previous albums, appeared in 1981. Shortly after, Skaggs left the Hot Band to embark on a solo career; his replacement was Barry Tashian, a singer/songwriter best known for fronting the 1960s rock band the Remains.
In 1982, drummer John Ware, the final holdover from the first Hot Band lineup, left the group; at the same time, Harris' marriage to Ahern was also beginning to disintegrate. After 1981's Cimarron, Harris and the Hot Band cut a live album, Last Date, named in honor of the album's chart-topping single "(Lost His Love) On Our Last Date," a vocal version of the Floyd Cramer instrumental. Quickly, they returned to the studio to record White Shoes, Harris' final LP with Ahern at the helm. Her most far-ranging affair yet, it included covers of Donna Summer's "On the Radio," Johnny Ace's "Pledging My Love," and Sandy Denny's "Old-Fashioned Waltz."
After leaving Ahern, she and her children moved back to Nashville. There, Harris joined forces with singer/songwriter Paul Kennerley, on whose 1980 concept album The Legend of Jesse James she had sung backup. Together, they began formulating a record called The Ballad of Sally Rose, employing the pseudonym Harris often used on the road to veil what was otherwise a clearly autobiographical portrait of her own life. Though a commercial failure, the 1985 record proved pivotal in Harris' continued evolution as an artist and a risk taker; it also marked another chapter in her personal life when she and Kennerley wed shortly after concluding their tour. Angel Band, a subtle, acoustic collection of traditional country spirituals, followed, although the record was not issued until 1987, after the release of its immediate follow-up, Thirteen.
Harris, Dolly Parton, and Linda Ronstadt had first toyed with the idea of recording an album together as far back as 1977, only to watch the project falter in light of touring commitments and other red tape. Finally, in 1987, they issued Trio, a collection that proved to be Harris' best-selling album to date, generating the hits "To Know Him Is to Love Him" (a cover of the Phil Spector classic), "Telling Me Lies," and "Those Memories of You." The record's success spurred the 1990 release of Duets, a compilation of her earlier hits in conjunction with George Jones, Willie Nelson, Gram Parsons, and others. Fronting a new band, the Nash Ramblers, in 1992, she issued At the Ryman, a live set recorded at Nashville's legendary Ryman Auditorium, the former home of the Grand Ole Opry. At the time of the record's release, Harris was also serving a term as President of the Country Music Foundation.
In 1993, she ended her long association with Warner Bros./Reprise to move to Asylum Records, where she released Cowgirl's Prayer shortly after her separation from Paul Kennerley. Two years later, at a stage in her career at which most performers retreat to the safety of rehashing their greatest hits again and again, Harris issued Wrecking Ball, perhaps her most adventuresome record to date. Produced by Daniel Lanois, the New Orleans-based artist best known for his atmospheric work with U2, Peter Gabriel, and Bob Dylan, Wrecking Ball was a hypnotic, staggeringly beautiful work comprised of songs ranging from the Neil Young-penned title track (which featured its writer on backing vocals) to Jimi Hendrix's "May This Be Love" and the talented newcomer Gillian Welch's "Orphan Girl."
A three-disc retrospective of her years with Warner Bros., Portraits, appeared in 1996, and in 1998 Harris resurfaced with Spyboy. Following the release of Trio II later that year, she and Ronstadt again reunited, this time minus Parton, for 1999's Western Wall: The Tucson Sessions. In 2000 Harris returned with Red Dirt Girl, her first album of original material in five years, featuring appearances from Bruce Springsteen, Patti Scialfa, Jill Cuniff, and Patty Griffin. She also made an appearance on the soundtrack for O Brother, Where Art Thou?, along with a number of traditional blues, country, and folk artists. In 2003, Harris released Stumble into Grace; two years later, she collaborated with Conor Oberst on I'm Wide Awake, It's Morning, as well as recording a version of "The Scarlet Tide" with Elvis Costello for the soundtrack to Cold Mountain. The retrospective The Very Best of Emmylou Harris: Heartaches & Highways was also released in 2005 on Rhino Entertainment.
All the Roadrunning, a collection of songs written with Mark Knopfler over the course of seven years, was released in 2006. In 2007 Harris sang a duet with Anne Murray, which appeared on Murray's 2008 album Duets: Friends and Legends. The Brian Ahern-produced All I Intended to Be arrived in 2008 as well. Hard Bargain, Harris' 21st studio album, was released by Nonesuch early in 2011. Produced by Jay Joyce, the album featured the striking Harris originals "Darlin' Kate" (written for Kate McGarrigle) and "The Road" (written for Gram Parsons). She contributed vocals to three songs on the Nick Cave/Warren Ellis-composed score to the film Lawless, including "Cosmonaut" and "Fire in the Blood," as well as a reading of Townes Van Zandt's "Snake Song." Harris also recorded Old Yellow Moon, a duet album with songwriter Rodney Crowell, a reunited version of her Hot Band, and producer Brian Ahern. The album was issued in February of 2013.
Written: Gillian Welch
It seems appropriate that I am sitting down to write this in an August stupor.
For it was in a Tennessee August stupor that I first heard Wrecking Ball in its
entirety. It was 1995, and I was fresh out of college and newly transplanted to the
Music City. Nashville was quietly ablaze with the imminent release of Emmylou
Harris’s new record. People who had heard it and spoke about it got a wild electric
look in their eyes, like lightning looking for ground. The excited murmur was that
Emmylou Harris, with the help of producer Daniel Lanois, had performed that
rarest and most magical of artistic feats – the reinvention of self, true to form yet
entirely new.
I will never forget that first listening. I was another new and unknown songwriter
in town, but I had recently made a friend, John Condon, at Asylum Records,
who offered to play the as-yet-unreleased album for me. John’s attic office was
uncomfortably and uniformly too hot. At that time, the vast majority of Nashville’s
music business was conducted in converted old two- and three-story houses. Some of them had air conditioning. On this day the air in the small brown room was heavy
and hanging motionless. It didn’t matter. In a moment I was transported.
Thinking back, my impression was one of veils blown aside, exposing stone,
blood, and bone. Lanois’s panoramas sounded both exultant and fierce. The pasts,
presents, and futures that Harris inhabited felt ecstatic, like walking out into high
fields inadequately clothed but continuing on, bravely trusting in spirit over flesh.
This is still my main memory from that listening in that small, sweltering office:
that a choice had been made – spirit over flesh. It was a powerful and timely statement
from an artist already looking back on a quarter-of-a-century career.
It is of inestimable worth when an artist tells the truth. To my ear, this is a
truthful record, and as such a timeless one. Nevertheless, it would be an omission
not to mention how meaningful Wrecking Ball was in the moment it came out, especially
for those of us who were casting about Nashville, trying to figure out the possible
relevance and face of folk music at the close of the 20th century. The record’s
sound was haunted but present. The songs were frank admissions of love, failure,
longing, loss, and faith. There were unflinching recollections of memories, painful
and dear, and there was something beautifully unfettered and impolite about the
whole thing. It definitely stirred up Nashville, which has repeatedly had to reconcile
its longstanding musical traditions with its desires to be current. Harris had confronted
the maelstrom head on. At the time, I was not fully aware of how brave this was. From my vantage
point, Harris had made it, was established, and would find acceptance for anything
she judged worth putting out. I was unaware of the pressures of dealing with the
legacy of your own work, and the risk of alienating some part of your audience by
surprising them and creating something they did not expect. I was naïve. Wrecking
Ball was the opposite. It emanated a wealth of artistic experience, a lifetime in
music. It was daunting to behold, but also gave courage. Here was a woman who had
not only forged a sound and an artistic identity for herself, but had turned around,
torn it apart, and forged a new one. This caliber of redefined artistry puts me in
mind of Bob Dylan, Neil Young, and Miles Davis.
But what was most shocking (to me) back on that hot August day was that
there amidst this glowing musical menagerie was a song of mine, “Orphan Girl.” It
was nothing less than astounding to hear my parsed couplets given such life. I was
propelled from the sequestered privacy of my bedroom into the wide world of song.
It was the greatest and kindliest shove anyone could have given me. And the record,
with its feet planted firmly atop the mountain of traditional American music, and
its gaze looking forward from the precipice, gave me an instant sense of belonging
and community. All of these songwriters, with the exception of Jimi Hendrix, were
alive and working. This was no collection of chestnuts. This was now. Not only
that, but most of them were living and writing in Nashville. And if, after my name
appeared in the album credits in such rarefied company, I would occasionally overhear around town, “Who is this Gillian Welch?” well, I was trying to
answer that in very short order, for myself and the world, as I set about making
my first record.
As I write this, it occurs to me that the question of identity is one we never
escape. Every artist answers it anew with each record, whether it is his or her first or
eighteenth. But this particular one, this Wrecking Ball, made that year with Daniel
Lanois and an alchemical congregation of musicians – this one is so generous an
offering and so illuminating a self-portrait that it cannot help but forever define
Emmylou Harris and her artistry.
You may be surprised to note, at this juncture, that I have not said a single word
about that voice. We take it for granted, as though it always was and always shall be.
But visiting again with Wrecking Ball – this magnificently recorded document of
Emmylou Harris’s voice – I find myself marveling at that which soars and crashes,
breaks, and takes flight again. There is something wind-whipped about it. It has the
paradoxical intimacy of the lone figure on the heath, that affinity one feels in wilderness,
no matter how vast, for all the violence and tenderness, all the ravages and
salvations inherent in any breathtaking landscape. It is what holds us and feeds us as
no table can. Perhaps there are hungers that only Art and Nature and Spirit can fill.
On the day that Wrecking Ball came out we all had a feast.
Nashville, August 2013

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