Heart Food

there's, like...

there is that the sort of like pure prairie vibes of that stuff and then when sometimes when she pairs it with the really intense orchestration on heart food it all of a sudden it kind of sounds like aaron copeland or something there's sort of like this like sweeping western classicism that's that's going on i mean she only has two records really, you know, uh, which makes talking about her body of work, you would think you would run out of fascinating things to say, but there's so much happening on those two records.

And then the third one that has, you know, also great material that sort of was materialized later in, you know, posthumously, but you realize it's like, wow, how many artists are there with like two records that you could talk this much about? And I don't know any really.

Yes.

Yeah, I think that's astute, Emily.

And I also think there's something even more like pointed about the music industry to say that I think is alluded to in the movie.

It might've been one of these interviews, but somebody says that heart food doesn't get the same kind of campaign that that some of the other albums get because, presumably, Judy Seale doesn't sell as well as they want it to.

I feel like it's a little hard to overstate how important it is to an album's success, like, the amount of work that a label puts into sharing it.