As befits a release on a fledgling indie label, Dualtone's tribute to Johnny Cash celebrates the feistier fringes of the Man in Black's catalog, adding a few mainstream milestones. In what is plainly a labor of love for all concerned, highlights extend from the pop innocence of "Ballad of a Teenage Queen" by Rodney Crowell (formerly married to Johnny's daughter Rosanne) to the folkier strains and husband-and-wife harmonies of "Pack Up Your Sorrows" by Bruce Robison and Kelly Willis to the honky-tonk majesty of "I Still Miss Someone" by pianist Earl Poole Ball. Some of the more familiar touchstones don't fare quite as well, with Billy Burnette turning in a tepid "Ring of Fire" and Dale Watson singing in a lower than comfortable register on "I Walk the Line," though James Intveld rises to the challenge of "Folsom Prison Blues." The house band and the largely acoustic arrangements give the 18-cut album more unity than many such projects, as the collection shows why one of the most influential and commercially successful artists in country's history remains an icon of alt-country as well.
While Johnny Cash at Folsom Prison, the 1968 album that made Cash a household word, spent only two weeks at No. 1, this 1969 follow-up topped the charts for 20 weeks. As with Folsom, the San Quentin LP had to be edited due to space limitations. Now, 31 years after the fact, the show can at last be heard in true perspective. All the original performances hold up, including the album's hit single: Shel Silverstein's "A Boy Named Sue," presented unbleeped for the first time. Equally impressive are the eight restored tracks and unexpurgated between-song patter. Cash's opening renditions of "Big River" and "I Still Miss Someone" are bracing. So are four closing songs teaming Cash with his complete performing troupe (the Carter Family, Carl Perkins, and the Statler Brothers). Their gospel performances ("He Turned the Water into Wine," "The Old Account," and an early version of "Daddy Sang Bass") are electrifying, as is a concluding medley featuring everyone. Cash is presented here at his roaring, primal best.
As part of Columbia/Legacy's ongoing celebration of Johnny Cash's 80th Birthday in 2012, the label assembled a series of compilations under the rubric "The Greatest." The concept of this 14-track compilation is clear: it is a collection of duets Cash cut for Columbia between 1967 and 1985. Some of these cuts appeared on albums by other artists ("Girl from the North Country" is pulled from Bob Dylan's Nashville Skyline), some were not released at the time (his George Jones duet "I Got Stripes" was a bonus track on the 2002 reissue of Silver), some are pulled from Cash's TV show (the opening "I've Been Everywhere" with Lynn Anderson)…
Duets is an album by country music singer Johnny Cash and his wife June Carter Cash, released in 2006. The album is made of duets by the singers mentioned before with songs that Cash had previously released. It is exactly the same as the '16 Biggest Hits' album by the same duo on Sony/BMG Legacy, only with a different cover.
This is the centre-piece of an extensive Johnny Cash Night on BBC Four. A major retrospective of Cash's life, times and music, it includes contributions from his daughter, Rosanne Cash, and son, John Carter Cash; his long-time manager, Lou Robin; and fellow musicians, including Little Richard, Cowboy Jack Clement, Kris Kristofferson, Merle Haggard and Elvis Costello.
A rare chance to see Robert Elfstrom’s 1969 classic film that captures the Man in Black at his peak, the first of many in a looming rollercoaster career. Fresh on the heels of his Folsom Prison album, Cash reveals the dark intensity and raw talent that made him a country music star and cultural icon. Elfstrom got closer than any other filmmaker to Cash, who is seen performing with his new bride June Carter Cash, in a rare duet with Bob Dylan and behind the scenes with friends, family and aspiring young musicians – painting an unforgettable portrait that endures beyond the singer’s death in 2003.
Johnny Cash was one of the most imposing and influential figures in post-World War II country music. With his deep, resonant baritone and spare percussive guitar, he had a basic, distinctive sound. Cash didn't sound like Nashville, nor did he sound like honky tonk or rock & roll. He created his own subgenre, falling halfway between the blunt emotional honesty of folk, the rebelliousness of rock & roll, and the world-weariness of country. Cash's career coincided with the birth of rock & roll, and his rebellious attitude and simple, direct musical attack shared a lot of similarities with rock. However, there was a deep sense of history – as he would later illustrate with his series of historical albums – that kept him forever tied with country. And he was one of country music's biggest stars of the '50s and '60s, scoring well over 100 hit singles.