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Emmylou Harris - Cowgirl's Prayer
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Artist...............: Emmylou Harris
Album................: Cowgirl's Prayer
Genre................: Country
Source...............: CD
Year.................: 1993
Ripper...............: Exact Audio Copy (Secure mode) &
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.1.2 20050205
Quality..............: Lossless, (avg. compression: 57 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Ripped by............: flaboy on 5/12/2007
Posted by............: flaboy on 5/13/2007
News Group(s)........: alt.binaries.sounds.lossless
Included.............: NFO, LOG, PAR v2, CUE
Covers...............: Front Back CD
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Tracklisting
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1. (00:03:40) Emmylou Harris - A Ways To Go
2. (00:02:29) Emmylou Harris - The Light
3. (00:03:10) Emmylou Harris - High Powered Love
4. (00:03:09) Emmylou Harris - You Don't Know Me
5. (00:04:20) Emmylou Harris - Prayer In Open D
6. (00:03:33) Emmylou Harris - Crescent City
7. (00:05:33) Emmylou Harris - Lovin' You Again
8. (00:04:19) Emmylou Harris - Jerusalem Tomorrow
9. (00:03:59) Emmylou Harris - Thanks To You
10. (00:02:51) Emmylou Harris - I Hear A Call
11. (00:05:36) Emmylou Harris - Ballad Of A Runaway Horse
Playing Time.........: 00:42:39
Total Size...........: 244.12 MB
NFO generated on.....: 5/13/2007 12:43:29 AM
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All Music Review Reviewby Thom Jurek
Cowgirl's Prayer, recorded in 1993, was the last album Emmylou Harris
recorded before beginning a long association with producer and songwriter
Daniel Lanois, creating her band Spyboy, and recording her exit from Elektra
with Wrecking Ball. In other words, it was the last "traditional" Emmylou Harris
record. Produced by Allen Reynolds and Richard Bennett, it features 11
stellar cuts by songwriters such as Lucinda Williams ("Crescent City"),
Leonard Cohen ("Ballad of a Runaway Horse"), David Olney ("Jerusalem
Tomorrow"), Kieran Kane ("The Light"), Eddy Arnold (the classic "You Don't
Know Me"), and, in a welcome change, Harris herself ("Prayer in Open D").
This is also filled with Nashville session aces as well as Kane; backing vocalists
who include Trisha Yearwood, Alison Krauss, and Ashley Cleveland; and
famed bassist Edgar Meyer. The Arnold track, Harris' own composition, and
her reading of Williams' "Crescent City" are standouts to be sure, in that
Harris allows her voice to move deeper into the lyric than the arrangements
would normally allow. But it is on Olney's "Jerusalem Tomorrow" that the
weight of the album rests, with Al Perkins' whining pedal steel and Sam
Levine's clarinet winding their way through the mix. The story involves a
charlatan who heals the sick and makes a mute speak, a false prophet who
feels his game is being eclipsed by a strange, wandering Galilean who doesn't
charge for his works of wonder. When the false prophet encounters Jesus,
he decides to go along with his game as long as his way is paid, and prepares
to go into Jerusalem the next day. Given that it is spoken and not sung,
Harris dislocates her way of conveying emotion in a song; that she becomes
convincing as a male figure is another shapeshift, and finally that there is no
overly moral tone in her delivery, but strictly one of empathy, opens up not
only the song, but Harris and the rest of the album to an entirely different
set of critical criteria. Cowgirl's Prayer is one of Harris' most emotionally
honest and musically satisfying recordings that matches the intensity,
diversity, and musical ambition of her earliest works.
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