P RODUCER’ S N OTE J ULIA E CKLARON D IVINE I NTERVENTION

was a young composer mired in was by no means the norm for regional hen I first walked into the studio ing any misplayed notes or mis-sung words; jingles and local TV production recordings back in 1986, but Air Craft had re- at Air Craft Records that summer backing slowly and quietly away from the music in Pittsburgh when cently adopted the Sony 1/4” two-track open- of 1986, it was like walking into a mic during the climactic crescendo on one Justin Brown approached me reel digital format when Julia’s project arose. whole new world. I’d recorded song because if I increased the volume about arranging and producing Julia’s al- We mixed directly to digital, and made a before, but only in the cobbled-together without increasing my distance from the bum. I jumped at the chance to take on the safety master (in the Sony PCM Beta format) home studios that were all filk had to offer microphone I would blow out the mic or vast range of styles, colors, moods and po- for cassette duplication purposes. But in those days. My experience with otherwise “burn” the recording and tentials of Julia’s evocative songs, and the despite all of Eli’s efforts, neither of these “studio” recording consisted of we’d have to start over again.I had project was an opportunity to experiment masters could be located. So, ironically, the things like only being able to a vague sense that “real” studio with a whole spectrum of textures and CD you hold now was remastered by myself record after dark because musicians didn’t have these approaches. Countless hours were spent and Dave Bjornson from a 15 ips analog the next door neighbor same limitations, but it had creating this album, nearly all of them with two-track dub I had taken home with me was using power tools all never occurred to me that, wonderful engineer and good friend Henry from the studio back in 1986. It had been in day (and we had no real as a filker, I’d ever be able Yoder, without whose patience and good- my basement since then, and when I found soundproofing); only to record in a more will we’d have never survived the process. the tape, it was covered in mold and was un- being able to record be- professional venue. All The opportunity to bring in so many talent- fortunately on a brand and grade of analog fore dark because night- the same, I loved the ed musicians was another thrill (and when, tape notorious for deterioration and oxide- time brought the ghostly recording process. I loved fifteen years later, Julia and I reunited to shedding over time. It’s only through Eli’s voice of an Arab-language being able to do more with record “Roxanne,” it gave us both a warm determination to “rescue” this music that my radio station over our head- a song than just to back it up feeling to bring in guitarist John Maione old analog dub was playable at all, thanks to phones, reading what sounded with my own guitar playing, and from the original album). After hundreds of the work of VidiPax, a media restoration like erotic love poetry; having to I loved what some of the talented hours scattered over nearly two months, company in New York. record a thirteen minute song perfectly musicians I’d worked with could do with Divine Intervention emerged, and we were So no vestige of the original digital mas- the very first time, because everything was harmonies and back-up. And I loved the all very proud of the result. tering remains in this release, and the limita- laid straight to track, with no chance of feeling of connectedness that came with When, more than a decade later, Eli ap- tions of 15 ips tape are clearly discernable. “punching in” or otherwise fixing a perfor- working well with a bunch of other musi- proached me about a CD release, he had al- Yet the music and the enthusiasm we all felt mance except by re-recording it again from cians. I loved it when the song clicked, ready put in a Herculean effort to locate not when recording the album still remain, and the beginning; recording lead vocals, back- and everybody knew what everybody else one but two digital masters which had origi- perhaps that’s what is most important. up vocals, and accompaniment all at the was adding in a way that couldn’t be easily nally existed for this album. Digital mastering — Michael Moricz, September 30, 2002 same time with the same limitations on fix- explained in words. (In fact, legendary guitarist Leslie Fish and I were once accused ple rooms of different sizes, different shapes, dumped or redone or “salvaged as much as but it made me realize with heart-soaring of pulling our producer’s leg when we both different floor types. Moveable walls stood at possible” through the addition of several clarity that recording could be something swore we understood where to come in on a random angles next to walls covered floor- other voices because it was decided my vo- much more than I’d so far experienced. song just by feel.) to-ceiling with what looked like brown foam cals weren’t very good after all, and the evi- Talk turned to studio time, arrangements, Then, early in that fateful summer, Ann egg crates. Headphones hung from mic dence had convinced me that whatever love suggestions for people to work with me as Cecil mentioned that the father of a friend of stands and chairs, and Oriental rugs dotted people felt for my performances was based producer and engineer (since I certainly had Ann’s friend’s daughter owned a recording the hardwood floors. I’d learn later that the on the chemistry generated in live appear- no idea how to use the equipment myself). It studio. “You don’t go out to California to rugs were to soften the effect of sound waves ances, and not on the albums I’d recorded. quickly became apparent that the cost of record anymore,” she said, “but maybe you bouncing off the hard, bright surface of the The tape began, and there it was — my recording on such a wonderful level was not can record something here.” floor, but at the time I had no idea that the voice sounding slightly muzzy and flat, not only more than filk studios had so far been So I walked into Air Craft excited by the microphones used to record music were so matching the guitar in the background, dirg- able to manage, it was much more than I (a possibility of recording again but also ner- sensitive (as opposed to simply fragile and ing along in a key that sounded like I should woefully underemployed college student) vous. I had played around at recording in easy to overload). have been singing a good two steps higher. could possibly afford. spare bedrooms and basements, but I wasn’t Justin and I finally took seats in the room And all at a room-filling volume, from But Ann Cecil came to the rescue again, a “real” musician. I wrote songs inspired by with the huge 24-track mixing board and me- speakers more than half my height. I wanted suggesting that I solicit “investors” to put up science fiction movies and books (among ter-tall speakers, and he plugged my cassette to sink under my chair. Justin listened for a the money to rent the studio time and hire other things); I had classical training, but I into a stereo bank. I tried not to apologize while, his face thoughtful, then began twid- the people necessary to record the album. couldn’t “jam,” and the producer at the last before the music started playing. I’d always dling with controls on the big panel. Things I And she offered herself as the first investor. recording label for which I’d worked had been secretly embarrassed by how I sounded didn’t understand started to change in the Thus the adventure began. We recorded complained frequently about my voice being on tape. I would record in the studio, come sound pouring out of the speakers. The gui- and mixed in the middle of the night because too loud, too big, too “rangey” — in general away from the performance happy and glow- tar became less tinny, my voice brightened, the studio would give us that time at a drasti- just too difficult to record. What if the “real” ing and thrilled with how things went, only came forward somehow in the mix, and — cally reduced rate (since no one else wanted musicians at Air Craft laughed at the to receive my copy of the finished product miraculously — I suddenly sounded full, to use it). We used music students, studio prospect of renting me studio time to make months later and wince at the sound of my rich and on key. regulars, and even the occasional spouse of one of these goofy sci-fi albums? own voice. Songs recorded in the higher end “Wow!” I exclaimed, too pleased with the an employee (we needed a lot of different I walked in with a couple of my tapes, and of my register sounded screechy and wob- result to make any attempt to seem profes- voices for the choir on “Hand of God”). I re- spoke with one of the owners, Justin Brown, bling; songs in my mid register often sound- sional and cool. “What did you do?” discovered the joys of working with other tal- about what I wanted to do. Justin greeted me ed just slightly flat to me, as though I wasn’t He lifted his eyebrows in surprise. “Just ented musicians, and learned the brand new cheerfully, and led me back to the area where quite keeping on key. Add to this the fact that cleaned it up a little. They had you way over- joy of working with a talented arranger. Sud- the actual recording went on — not just a I also often received phone calls weeks after compressed.” denly, I could do things with my music that tiny room lined with bookshelves, but multi- recording to tell me that tracks were being I had no idea what he was talking about, I’d never even considered before — some- thing more than just guitar and voice with When Divine Intervention was first re- about what I’d like to finally hear, and my perfect accompanist. Recording a bonus the occasional bodhran or bells thrown in leased in 1986, it was as a cassette tape with notes regarding the initial inspiration for track for this album without Michael’s input whenever handy. It truly seemed as if some the usual built-in limited lifespan. Fifteen each piece. The beauty he heard in my awk- was unthinkable, and it was absolutely won- higher power had stepped forward to make years later, plans to re-release the album as a ward strumming was (and still is) shocking to derful to work with him again after all these this wonderful experiment possible. CD were set in motion by a single person me; I think I realized for the first time that I years. More than anyone else, I have to thank There are always lots of people involved with the foresight and persistence to line up had actually created music when I listened to Michael for gifting Divine Intervention with in the production of a project like this, and the ducks who’d wandered away more than a other musicians playing what Michael heard the sound and spirit that sets it apart from each of them gives the final result part of its decade before. Working with his own time in my songs. A wonderful composer in his any filk album ever produced, before or since. unique color. But this album couldn’t have and money, Eli Goldberg tracked down long- own right, Michael shared his interpretations Finally, thanks to you, the listener. You’ve existed to begin with if not for the faith and misplaced master tapes, oversaw their with me without ever sacrificing what I want- guarded your Divine Intervention cassettes generosity of some very special people, who restoration and repair, sought out the origi- ed for a piece, and his brilliance challenged for fifteen years, talked wistfully of a CD, and continue to be supportive even through this nal investors, producers, and performers, me to try and hear more within my own apparently pestered Eli enough at conven- new release. Deep thanks to the original Di- and even encouraged my re-teaming with works. Fun to work with, quick both verbally tions to start him on this quest. Your faithful- vine Intervention investors, Nancy Burridge, Michael Moricz for the bonus track, “Rox- and musically, and just enough of a science ness is just as much a part of this CD’s exis- Ann Cecil, Cheryl Crawford, David Jordan, anne,” that you’ll find on this CD. Eli’s con- fiction fan to appreciate that the subject mat- tence as everything I’ve mentioned before. David & Diana Stein, and Andrew Strass- tribution to the Divine Intervention CD rivals ters I wrote about really do matter — he’s the Thank you, and enjoy. mann. If you enjoy this album, and you ever the contributions made by the original DI in- perfect producer, the perfect arranger, the — Julia Ecklar, January 28, 2002 run into these people at conventions, make vestors, making him just as much a DI god- sure you tell them how much you appreciate parent. I’m grateful to him for making this their contribution to the art of filk. re-release possible. Thanks, too, to Justin Brown for welcom- My greatest thanks, though, is reserved for D IVINE I NTERVENTIONISBACK , ANDIT ’ SACD ing me at Air Craft Records, and for being Michael Moricz, the man so inadequately list- willing to set me loose with the right people. ed on the original liner notes as “Producer.” t one time I kept the cassette in on information content — on the story that’s One of those people was engineer Henry Yo- While Michael and Henry both held my hand my car, cycling, played over and being told — and not on technique. der, who put in more midnight hours with through the learning curve involved in work- over. The music still runs Julia Ecklar and her team are masters of more patience and good cheer than any per- ing at a real studio, it was Michael’s creativity through my head at odd mo- their techniques, as good as any in the popu- former has a right to expect. A great sound and vision that made this album so much ments, and some of it I can sing: “Lady- lar music world, but the songs tell powerful engineer is another of those invaluable more than anything I’d previously done. hawke,” “Terminus Est,” “Crane Dance.” stories. lynchpins, without whom the whole endeav- Michael provided the arrangements for each This is real music. I shouldn’t have to say These songs echo in your mind, calling up or couldn’t exist. Thanks, Henry, for being so song, working only with my original guitar- that to anyone. But science fiction and fantasy serendipitous realities. generous with your time and expertise. and-voice demos, my vague descriptions fans are used to music whose value depends — Larry Niven, October 12, 2002 -————————————————————————— 1. OVERTURE of my bedroom and said, “You’re writing a But it’s not just her beauty, for beauty I’ve seen Michael Moricz song for Ladyhawke, aren’t you?” (‘Though she outshines what beauty I know). Crimson and Crystal deck Her shadowed halls, It’s the faith she can place in the truth of a dream, And in incense and teardrops, Her voice gently calls. © 1986 Michael Moricz “How did you know?” I asked, startled. She shrugged. “It just sounded like The good she believes I can show. But in that silent kingdom, the sun never shines, For She’s locked it away in the fortress of Time. Ladyhawke.” I know I will always be weighted to ground, I still consider that one of the nicest com- ‘Though the path of the birds I admire, Her eyes, they are hollow like deep, empty pools, pliments anyone ever paid one of my songs. I But she makes me believe in the promise I’ve found And Her touch is like ice that makes mortal think Michael’s heroic orchestral arrange- 2. LADYHAWKE! Chasing flight’s dream ever higher. blood cool. ment and soaring “Overture” make it sound Her existence is longing; She’s waiting for me. Julia Ecklar even more like the Ladyhawke which was its For “unheard of” means only it’s undreamed of yet; My sweet Lady Death will soon set me free. eing asked to pick a favorite track off inspiration. “Impossible” means not yet done. an album is kind of like being asked The magic I’ve seen here I’ll never forget, For in mansions of shadow She wanders each night. -————————————————————————— to pick your favorite child — you The miracles love has begun. But She’s ever alone outside Time’s patterned flight. © 1986 Julia Ecklar As She lays down beside each new lover She takes, might actually have a favorite, but you feel My jesses are fear and my hood my own lies, She whispers their names and they never awake. guilty admitting it. Still, when backed into a My wings pinned to ground by my thieving. Each evening I swear that tomorrow I’ll fly, corner, I have to admit that “Ladyhawke!” Crimson and Crystal deck Her shadowed halls, But each dawn breaks not believing. 3. CRIMSON & CRYSTAL and the accompanying “Overture” (I think of And the time soon is coming when we’ll all be called Cynthia McQuillin them as a single piece) are among my three To lie down in the silence of Her crystal sleep, I’m a mouse among men, with no goals, no dreams, favorite cuts on Divine Intervention. rimson & Crystal” is one of the few Where She’ll watch us and guard us No reckon of right or of wrong. In Her crimson keep. I have very little control over what I But a magical maiden, more real than she seems, songs on Divine Intervention which I © 1979 Cynthia McQuillin choose to write music about. I never know Fills my soul with the glory of song. didn’t write, but which I liked what books or movies will inspire me, and enough to record. I can’t speak to what inspi- I’m sometimes disappointed that I never Ladyhawke! Ladyhawke! Fly bravely on, ration was at work for Cynthia McQuillin when 4. BURNISH ME BRIGHT come up with a song about something I really Wings spread at each morning’s light. she wrote this song, but I found my connec- Julia Ecklar love (Why haven’t I written anything for Buffy Ladyhawke! Ladyhawke! From dusk to dawn, tion to it after seeing a poignantly done suicide the Vampire Slayer?). But I knew walking out Teach me the magic of flight. scene in a non-science fiction film. I was his is an example of the strange of the theater that the movie Ladyhawke had shocked and moved by the scene, and strongly ways in which my inspiration works. I feel strange lending help when I don’t even know woken up something in me. A few days later, I Where she’s headed or where she has been. driven to play this song all alone by myself. It I wrote this song after reading two was just playing through the strong, strum- But my heart answers, “Yes!” before my head says, was then that I “discovered” my performance wonderful children’s books by author Julia ming opening chords I could hear in my head “No,” of it, and the arrangement that survives, virtu- Cunningham, Burnish Me Bright and Far in when my roommate leaned through the door And, too soon, I am drawn in. ally unchanged, on this recording. the Day, which tell the story of a mute (but not deaf) boy in France who learns to be a The silence is everything, and ringing caption at the very end of the That falling ash and tainted land mime and goes out into the world to work lit- The wizard is the key. film: “The catastrophic events you have wit- Are not all that is left of Man, tle miracles with his art. They are dark, nessed are, in all likelihood, less severe than That trust can be alive again, There’ll be men left to try again. honest, moving books, with sensitive illus- I learn how to speak with my body and eyes. the destruction that would actually occur in I pantomime miracles in the magic silence buys. Tell me that humanity trations that beautifully capture the deli- the event of a full nuclear strike.” I’m no longer tied to a world bound in sound — Won’t repeat such insanity. cate nature of both mime and troubled If you listen carefully to the thunderstorm I silently soar away from the bitter, broken ground. Tell me in a year or more childhood. In this song, I wanted to recre- As I knew he must, the wizard hands to me in the prologue, you can hear the explosions There’ll be something worth living for. ate the feelings of isolation and hope that his throne. as the bombs fall. There’ll be nothing worth living for, motivate us all, and to try and give literal He mimes now to Heaven’s halls; -————————————————————————— So tell me how to go on. voice to the expressiveness of the lead char- I mime to trees, alone. © 1986 Julia Ecklar Tell me about hope. acter’s mimes. Tell me of nobility, Burnish me bright, before the night comes, -————————————————————————— Of dignity, humanity. And look down from Heaven’s height Tell me that the crowds I see A box made of glass keeps the real world at bay; To bless the mimes I’ve done. I feel the glass press in each word I can’t say. Are gathered out of loyalty, Of how the tears in dying eyes Like butterflies’ wings, Burnish me bright, before the night falls. Will see where our brief future lies. Crushed between the glass panes, I shine brighter than the stars. Yes, tell me how... A mute can’t for mercy beg, or cry to ease the pain. The silence makes me all. The glass passes sound only in, never out — © 1986 Julia Ecklar I hear what they say of me, Tell me how we’ve won. 7. TERMINUS EST I know the things they shout. Tell me we’re at least alive, Julia Ecklar We get to live before we die. This magical glass, no one but I sees. 5. APOCALYPSE Tell me what we’re waiting for, f you don’t know what the title A wizard might break this spell, Michael Moricz What lies beyond those bolted doors. means, brush up on your Latin or His magic set me free. © 1986 Michael Moricz Tell me that the world I’ll see go out and read Gene Wolfe’s excel- Is not all that it used to be. lent The Book of the New Sun series (consist- What magic is left in a world grown so old? Yes, tell me how... ing of the individual books The Shadow of the URVIVOR S ONG All magic died long ago, so we are often told. 6. S ’ S Torturer, The Claw of the Conciliator, The My wizard would know where the magic now hides — Julia Ecklar Tell me about hope. Sword of the Lictor, and The Citadel of the It passed into silence, where he keeps it yet alive. Tell me that the souls I see hile at heart a simple post-Apoca- Autarch — you can hear most of the titles Like magic, his hands teach my silence to sing, Who scream in silent agony And magically silence lets the butterfly take wing. lypse song, “Survivor’s Song” was Are not our only legacy, hiding in the lyrics). As a bonus, you’ll also specifically inspired not even by the That time will help those left to see learn the meaning of words like “fuligin,” And I am a hawk! A great, noble tree! 1983 movie The Day After, but by the frank We’ve grown beyond our frailty, “lictor,” and “autarch.” I read The Shadow of the Torturer, and was An ancient lesson I do learn. 8. FALLEN ANGEL accompaniment that I felt sounded good completely blown away by Wolfe’s world and Our job to slay the people, with it. So, unlike most of the other songs Our fate to do the evil. Julia Ecklar language. Stuck in Pittsburgh rush hour traffic on this album, “Fallen Angel” is heard here “Pity the poor prisoners, may the torturers burn!” on the way to work, the entire first verse just nyone who knows me knows that I the way it has always existed. Perhaps be- popped fully-formed into my head, guitar part We must not sway beneath our heinous work; am an Original Series Star Trek fan cause of this, “Fallen Angel” is the second of and all. I wrote it down, and played it for my Compassion is the greatest crime. the same way some people are my three favorite tracks on this album. friend Ann Cecil (who also loved the books), I take one life in kindness, Catholic and others are Greek. I have probably Michael Moricz quote of the day: telling her, “I’m going to wait until I read the They damn me for my blindness written more music inspired by some aspect of “French horns! It’s Star Trek, so there must other books in the series before finishing it, so And I’ll bear that stigma ‘til the end of my time. Star Trek than any other source during my ca- be french horns!” Her memories haunt me when I’m most alone; that I’ll really understand what it’s all about.” reer, and I’m confident that filkers will contin- -————————————————————————— No longer can I see the right. “Oh,” she said, a little dismally, “I don’t ue to mine that rich source for years to come. Unwilling penance claws me, My God, what have I done? think you want to do that.” I still believe that the decision to destroy Conciliation draws me Is this what I had to do? Five years after reading the last novel, I fi- Into my grim future, into Urth’s blackest night. the original Enterprise in Star Trek III was I paid to save six lives. nally finished the song. wrong, both from the point of view of a fan Was it worth the price of you? It has perhaps my favorite guitar accom- The sword of this sad lictor and as a writer. When I first saw the film, I I would take your spirit in me paniment of anything I’ve written (played on Of uncounted deaths can tell. was bouncing up and down in my seat in agi- To make you live again, electric guitar here), and something about Her blade marks the division tation, rattling off to my friends all the vari- But your fire dies across the sky. the word games I was able to construct in the Between living death and Hell. ous options still available to the characters My God, is this the end? lyrics still makes me very pleased with how before destruction of the ship became in- So as I journey toward a hated post, My steel and star-dry lady, the piece finally came out (five years of as- evitable — and if I can think of them on the Despair is in her finest hour. My soul’s death is at your hands. similation notwithstanding). Upon God’s path must I tread, fly like that, certainly my hero Kirk could. As your own death was at mine, love, Michael Moricz quote of the day: My fate to make and raise dead, But what was done, was done, and I ‘Though even I can’t understand “Have you ever thought about doing this Wielding like a sword an old and Urth-saving power. went home from the movie angry and dev- Why we gods can’t live forever. heavy metal?” If I but knew the use of what I’ve learned astated. I walked through the front door, Why should legends have to die? Some hope might override my strife. As you wail to sleep in glory, -————————————————————————— went straight up to my room, and com- Can death be so appalling? posed this song on the spot. From the be- My heart still seeks the sky. The shadow hovers o’er us, old and long, Humanity is calling ginning, I heard it in the same sort of or- Its power fuligin and vast. Me to be their Savior at the risk of my life, There are stars before my eyes, chestral setting that for me is part-and-par- Tradition slithers ‘round us; But they pale to your dying. Like serpent’s coils it’s bound us — While I must sew the Death cel with good Star Trek. For that reason, it You swore we’d outlive Time. Bound us to the shadow of the torturer’s mask. From which a new sun must rise. was only ever performed once in front of an Oh, my love, were you, too, lying? An ancient place the one I have and hold, © 1986 Julia Ecklar audience, because I couldn’t find a guitar What’s my life without your singing When I’m not but flesh and bone? “Find me a horse, a real big horse, for a horse But vengeance has tempered my sword, the living of one’s own life; I can’t count the Where have I damned my lover’s soul is a horse, of course, of course.”) Vengeance has tempered my sword. number of people who have contacted me To wander all alone? “Temper” is based on a novelette (and through the years to say they took comfort My companion was made to be half of me, later novel) by the same name. The horse in from this song while going through difficult But this death I can’t deny We were sealed in both body and soul. the song really was created out of the fires of times of their own. As you fade to distant ember. What is life to one Human alone? My need to steal from death the rising sun (and not cloned, as one clue- How can one, Unpartnered, be whole? Michael’s brilliance and flexibility as an Cost you, love. But I’ll remember. less editor suggested in her rejection letter), arranger are no more apparent than here. And I long to burn there with you, and graced the cover of the original cassette. He was slaughtered at night — not a warrior’s death. When I walked into the studio that night, he To never live again. All goodness seemed useless and vile. said, “I want to do it ad lib — you sing, I’ll play, Forever we would light the sky. -————————————————————————— Good let my fragile world be destroyed. and we’ll just let it go where it goes.” So there My God, is this the end? My oaths by such lies were defiled! We were sworn to protect a timeless land, was never an arrangement written down for © 1984 Julia Ecklar this song, just Michael on the piano and me Our steel pledged to greater goals, Forgive me, my Lords, for what I do. alone in the vocal booth, listening to the music Meant to serve what our Lords deemed as good, Know that this sinner is suffering, too. Part of a greater whole. and feeling our own ways. Kind of like life. 9. TEMPER OF REVENGE But your virtues pure don’t allow what I plan, Julia Ecklar And, by God, I’ll pay killers their due! -————————————————————————— We swore Lords a pledge with breath and tongue — © 1983 Julia Ecklar lthough I wouldn’t make my first A pledge I now break with my heart. “In all things, there must be balance.” Those beliefs impede what I’m called now to do, professional fiction sale until 1989, I So my teacher says to me. My allegiances sunder apart. “Living life’s the point of things, had been writing novels and short But balance is the key. stories since long before I’d ever first consid- My soul was torn from me this day; There is power in the balance ered writing songs. “Temper of Revenge” is Half of me lies interred in his grave. 10. CRANE DANCE That allows a crane to stand. one of three songs on Divine Intervention That shattered life I can never retrieve, My son, you must learn balance Julia Ecklar based on my own writings, and all three are No well-meaning wizard can save. To assist your empty hands. based on characters and/or stories which any times, inspiration goes far be- never did see their way into print. Apparently, So find me a horse, as red as the sun; yond the actual seed that gave it “For balance guides the butterflies, they were more successful inspirations for Find me a blade that will make their blood run. birth. I began this song as a reaction And lets the seasons turn. I will ride out at dawn, while the sun’s in the sky, The greatness inside any man songs than they were subjects of fiction. (Fur- to the movie The Karate Kid, but it quickly So the buzzards can see where the bodies will lie. Is the balance that he learns.” ther proven by Michael and Henry, who, after Bring me my lance, bring my shield. turned into something more. The imagery of a long night of mixing, discovered that you Strong as my sword is the vengeance I wield. strength and balance that I’d taken from the In my life there’s been no balance — could sing most of the refrain from “Temper To seek vengeance is wrong, movie’s martial arts theme moved easily into I was taught to lose or cheat. of Revenge” to the theme song from Mr. Ed. Claim my masterful Lords, the greater theme of strength and balance in How am I to balance With no ground beneath my feet? And guides these empty hands. Now, our first trick’s not hard — song for the album entitled “Space Hero,” How will learning to be hurt and hate Like the crane, whose one leg bears his all, Take your pick, any card! so I wanted to write a song that did some- Help me to have a chance? With balance, I can stand. For the next I’ll need one volunteer. thing a little unexpected with the “fools” While a crane may stand by balance, © 1984 Julia Ecklar Saw through bricks with a comb — part of the theme. And what could be more You will never see one dance. Kids, don’t try this at home! foolish than young love? I can make silver coins disappear. The subject of the song — and the use For balance is a fairy tale 11. ONE MAN MAGICAL SHOW I may be a tad proud, but I’ll say right out loud, I never will achieve. of the steel-stringed guitar — was inspired Julia Ecklar So that all of the world may well know, The naive may find balance, I’m a simply unsurpassable, utterly irascible by Tanith Lee’s touching novel The Silver But the bitter can’t believe. don’t even remember what moved One man magical show. Metal Lover. me to write this song, since I don’t Still I try to catch my balance drink and can’t use that as an ex- From birth, I’ve been blessed -————————————————————————— Where the sand hills meet the sea. cuse. It’s just a jaunty celebration of another With uncommon finesse Do I need another’s faith, And charisma just short of divine. Foolish little girl, of the characters from my own unpublished Or my own faith in me? As if that weren’t enough, I am quite up to snuff To love a singer boy like me. fiction — a circus stage magician with a very With my head above the water In all civilized arts from good beds to good wines. Within my eyes, what do you see? I can sometimes see the land. healthy sense of self worth. Henry and If you told me love, Could it be I must see balance Michael supplied the voices of the barkers (I Any fool can plain see I’m the best best can be, I’d know it wasn’t true. Before I can understand supplied the names of the various strange But for those who might be a bit slow — It’s just another dream, circus attractions which had appeared in my I’m a simply unsurpassable, utterly irascible, It’s never what it seems To foolish girls like you. That balance is as balance does, stories). If you listen very carefully, you can Prestidigitational, arcanely sensational Between the left and right? One man magical show. hear the merry-go-round in the distance tin- Listen to my songs, Balance means you understand © 1986 Julia Ecklar The crane when it’s in flight. kling out “The Hand of God” (my favorite in- And not the things my eyes might say. joke on this album). My silver tunes will lead the way. Almost lost, can I find balance I’ll be all that you need, -————————————————————————— ILVER In the guise of what I fear? 12. S And keep you safe from harm. Could it be a test of fire Ladies and gents at the front of the tent, Julia Ecklar So come, let’s run away — Must make the balance clear? You will note there is naught up my sleeve. his is one of the few songs I ever You’ll find a better day This fire only balances My wizardry bold will end what doubts you hold; Within my patient arms. wrote “on commission.” The first The cold I’ve known so long. I will make the worst cynic believe. filk recording company I worked From this balancing, I will emerge From illusionry grand to the flame on my hand, Strings of silvered steel A single human strong. I’m a miracle from head to toe. for was putting together an anthology al- That flutter like my silver heart. I’m a prestidigitational, arcanely sensational bum with the vague theme of science fic- ‘Though flesh and steel must one day part, For balance tempers light and dark, One man magical show. tional heroes and fools. We already had a I’ll never leave you cold, I promise that is true. plot-line so many times in trying to “make it ter of the song, angry that I would so vocally -————————————————————————— You’ll need me for some time. work” that I was left in pretty much the same attack Christianity at a science fiction con- You stood simply regal, all shadow and ire, How could I leave behind situation as with the song — power roiling vention where openness and acceptance More distance between us than that of the fire. A foolish girl like you? around untapped while I had only a messy were supposed to be the rule. I was shocked. I For difference is wrong and I’m different from you, lump of manuscript to show for it. hadn’t been thinking about Christianity when And you’ll crush what you can’t understand. Although of silvered steel, So I decided to reverse the process. In- I wrote the song — hadn’t been thinking I know I’ll always feel, You’ve taught me that sheltered we’re destined to stay; My foolish girl, for you. stead of letting the story guide the song, I about any existing religion, in fact, only about You claim that it’s right we should cower this way. © 1983 Julia Ecklar would let the song guide the story. I let the the obviously ill-conceived and alien tradi- For Man must never question what Nature has “story” of the song tell itself the way it wanted tions of the world I’d created in my fiction. planned. to, without worrying about anything I’d “The Hand of God” wasn’t intended as any You said it was all by God’s Hand. thought before in relation to the story. In the sort of veiled criticism of any particular reli- HE AND OF OD 13. T H G same way that I sometimes wrote a song gion, but rather one character’s specific reac- And we’re all in the hands now of God — Julia Ecklar From here on, mere mortals have failed. about something bigger and better than the tion to a particular set of people and events. No matter the cost or the cause, his is a song (my third favorite on Di- inspiration suggested, I would let the song “The Hand of God” was also the only The strength of the Lord must prevail. vine Intervention) with a checkered show me what the story ought to be. song where the volume of my voice became He shows us the wrong and the right, history. The tune and refrain came to I got 99% of the lyrics down in this way. an issue again, however briefly. There’s a Forbids us to speak and forbids us to fight, me very powerfully, but I wasn’t as clear about There was still one line in the last verse that I wild crescendo in the last refrain that’s also Protects us from Dangers what shape the lyrics should take. Unlike most couldn’t quite nail — I sang different words coupled with my going up a third in pitch. I Aprowl through the night, of my songs, I found myself rewriting the lyrics each time, trying to find the image that fit told Henry the sound engineer, “We might For we’re all in the hands now of God, extensively on “The Hand of God,” over and best. When I sang the song in public for the need to be careful here — I get really loud.” Now of God. We’re all in the hands now of God. over again, from vague imagery to extremely first time, I still didn’t know which lyric I was Henry assured me blithely, “That’s okay. specific ballad to I don’t even know what. And going to use. To my amazement, the line We’ll be fine.” We’re just two-legged rabbits, hid safe underground, it just wasn’t working. I could feel a great deal “while faith rots us like salt rots the land” (a Michael pitched it, “It gets really loud, Afraid to admit that we’ve long since been found. of power hiding in there somewhere, but I line I had never even thought before) simply Henry,” and Henry said again, “Don’t worry If we ignore death, it just might go away wasn’t sure how to pull it out. fell out of my mouth while I was singing. It about it, it’s okay. Just let ‘er rip.” And leave us back where we began. I finally realized that the reason I couldn’t was almost eerie, but it was the way this So I let ‘er rip. And when I hit the crescen- Just deny any questions outside a small range; figure what the song was about was because I song has always worked. do in the vocal booth, two rooms away, I Feel safe all our lives, for our lives cannot change; didn’t know what the story it grew out of was Later that night, a friend told me that she could just make out Henry throwing himself We’ll be told if it matters that we understand, about, either. This was another of my original had heard several people on an elevator talk- over the mixing board the way soldiers throw And be led to the end by God’s Hand. pieces, and I had changed the title, changed ing about the song. It seems they had left the themselves over live grenades. Needless to the setting, changed the theme, changed the filksing in a fury, offended by the subject mat- say, we had to redo that section. So behold here the triumph God’s wisdom has won — Behold here the damage that can’t be undone! I wonder how my world can live And if her bleeding I can’t staunch, 17. ROXANNE Stagnation is good, and we’re good to the core With all the hate she harbors. I’ll bleed along beside her. Julia Ecklar While faith rots us like salt rots the land. (Sleep, my weary world.) But I will not let her go, Previously unreleased And I’m scared of all how long it may last, No, I’ll never let her go. If your God helps the helpless, may He help you all well. And just how soon it all may end, s far as I know, this is the only filk- I am bound for the Outside to find my own hell. And I wish the power to stop it all When the stars have all burned out, If defiance means death, I would die before stand Could rest within my hands. I’ll sing to her in darkness. song inspired by Cyrano de Bergerac. Like a sheep to be thrown to God’s Hand. (Sleep, my weary world.) I have always loved this song, so it I’ve seen her people dying for And I pray a tender God may find me, was the first one I thought of when Eli sug- But we’re all in the hands now of God — Such bold and bloody causes. Huddled in the dark and cold, gested I re-team with Michael to produce a From here on mere mortals have failed. (Sleep, my weary world.) And grant the weary world I shelter bonus track for this CD. I could practically No matter the cost or the cause, And the bodies of the innocent One more chance to live. hear what Michael would do with the Just wash up on the lengthening shore The strength of the Lord must prevail. arrangement, and I was excited about how He shows us the wrong and the right, While the rising tide of history May God grant my precious world beautiful I knew the song could be. Forbids us to speak and forbids us to fight. Just ebbs and flows again. Another chance to live. But I’ll no longer run from the sounds in the night. © 1985 TJ Burnside Clapp Even though I’d only talked with Michael Leave it all in the hands now of God, now of God. Oh, make me a cradle to rock my weary world. a couple of times over the last fifteen years, We’re all in the hands now of God. Make me a gentle voice, when we got together it was like no time had © 1986 Julia Ecklar To soothe her when she weeps. 15. TEMPER OF REVENGE passed at all. Air Craft Records had long since Make my arms strong enough — INSTRUMENTAL passed away, so this time we recorded at an- To hold her when she wakes, Julia Ecklar other wonderful Pittsburgh studio, AAM. And make me a lullaby so sweet and fine Previously unreleased Recording at AAM was almost as different 14. LULLABY FOR That I can sing my weary world to sleep. © 1984 Julia Ecklar from my last experience as Air Craft had A EARY ORLD W W been from what I’d known before then. The TJ Burnside Clapp I wish that I could soothe away Her jagged shards of hatred. recording rooms looked pretty much the ne of the prettiest songs I’ve ever (Sleep, my weary world.) 16. LULLABY FOR same, but now it was digital equipment that heard, and a good tonic to the dark- And, ‘though my hands may bleed and burn, A WEARY WORLD lined the engineering booth’s walls, and ness and violence of many of the I’ll hold my broken world to me — EDITED INSTRUMENTAL computers which sat alongside the mixing other songs on the album. I just thought it Until her ugly scars are healed, TJ Burnside Clapp board. I was sent home with a freshly burned And peace may reign at last. was a beautiful note on which to end the Previously unreleased CD of the tracks we’d cut, instead of a labori- © 1985 TJ Burnside Clapp original album, and a sentiment we should If her fighting will not stop, ously cobbled cassette tape. cherish even more now than then. Then I’ll hold her that much closer In addition to his own talents, Michael was -————————————————————————— And sing my lullaby above the noise and pain of war. ! able to bring back John Maione, whose fabu- lous guitar work is heard throughout the origi- The limitless amazement that is you. PERFORMERS: Restoration Coordinator: Dan Gaydos nal Divine Intervention recordings. The three Joseph Bishkoff: Cello Restoration Engineers: Chris Lacinak and Nighttime is a friend to me — of us got together with an oboist, a pizza, and Jim Bouwcamp: Recorders Matt Thompson It hides my face and helps me see, lots of caffeine, and talked about everything Roxanne, Rick Daller: Trumpet from Broadway to Star Trek to Tori Amos be- What elegance dares bear the name Warren Davidson: Violin Digitally Remastered September, 2002 at tween working collectively and individually on Roxanne. Julia Ecklar: Acoustic Guitar AAM Studios in Pittsburgh, PA our tracks for the song. It was just like 1986, I’m drunken by the sight of you, Kathleen Faust: Piccolo Remastering Engineer: Dave Bjornson only better, and I wished we had a whole al- The heights my love has swept me to. Thomas Godfrey: Flute bum to work on instead of just the one song. I I’d drown in you and die a happy man. Janice Hawes: Horn Roxanne: was really sorry when the evening was over. James Hois: Oboe Recorded January, 2002 at AAM Studios in This moment is my very life, John Maione: Acoustic Guitar Pittsburgh, PA Your name a sweet and killing knife, -————————————————————————— Rick Malkin: Percussion Producer and Arranger: Michael Moricz Roxanne. The sparrows’ wings beat out your name. I know you almost love me, too, Bruce Marshall: Electric Guitars Engineer: James Kopaz My heart beats out the very same, Roxanne. Michael Moricz: Keyboards & Percussion Additional Engineering: Michael Moricz at Roxanne. So think that you’re with me tonight, Lori Naugle: Bassoon New Perspective Studios Two sounds etched bright upon my soul, And let me dream of all that might Russ Peterson: Tuba Roxanne. Have just been mine if I had dared, Renate Sakins: Oboe (“Roxanne”) Thanks to: Simone Bercu, Patrick Boyle, I fear the words that can’t express Roxanne. Jonathan Stubbs: Trombone & Electric Bass Ann Cecil, Lee Gold, Sharon Goldberg, The limits of your loveliness, © 2003 Julia Ecklar Tom Howell, Kristoph Klover, Bob Laurent, -————————————————————————— Barney Lee, Jim Partridge, Chris Procopio, Compact Disc Edition: Gretchen & Bill Roper, Lisa Rose, Joey Shoji, Recorded and Mastered July-August 1986 at Producer and Arranger: Michael Moricz Producer: Michael Moricz and Henry Yoder Air Craft Recording Studios Assistant Producer and Engineer: Executive Producer and Project Coordinator: Dormont Square, Pittsburgh, PA 15216 Henry J. Yoder Eli Goldberg For additional copies of this CD and Production Coordinator: R. Justin Brown Art Direction and Design: Richard Leeds other Julia Ecklar recordings, Originally released on cassette by Project Coordinator: Jon T. Armold (bigwigdesign.com) please e-mail [email protected] Air Craft Records (AC-C103, 1986) Cover Montage: Richard Leeds or call 1.888.434.3455. Producer’s Acknowledgments: Hawk Photo: Fernandina Tui De Roy Executive Producers: Nancy Burridge, Hollowood Music, Jean Gedeon and Mario (Minden Pictures) po 2003 Prometheus Music Ann Cecil, Cheryl Crawford, David Jordan, Melodia, Recorded Sound, Ltd., Mark Media Restoration by VidiPax in New York P.O. Box 71054 Andrew Strassman, and David & Diana Stein Rosato, and Ennio Morricone City, NY Sunnyvale, CA 94086