I wanted to walk down the aisle to “Of The Father’s Heart Begotten,” not because of some particular affinity for the hymn, but because I love how singer-songwriter Jason Harrod ends it by going cosmic, as I call it, singing in falsetto “forever more and evermore,” straining toward the eschaton.
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I wanted to walk down the aisle to “Of The Father’s Heart Begotten,” not because of some particular affinity for the hymn,
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