BACK IN BLACK

CBS’ decision to drop Johnny Cash after unparalleled 28 year partnership angered many people. Even at that time, in 1986, Cash still had a loyal following, playing sell-out concerts throughout the world and shifting more than 40,000 copies of every album he released. But this was not enough to justify the record company’s investment. Never one to consider retirement, Cash started looking for a new label.

Seven years later, and still with no recording contract, Cash met Rick Rubin during a show in California in early 1993. Rubin, who had produced the Red Hot Chili Peppers’ was forming a new label, Def American (American Recordings) and wanted to sign the legendary country songer. «To work with Johnny Cash will be an honour», Rubin said at the time. «I have respected him for years, both as a performer and a writer, and it’s going to be a pleasure having him with American». Many of the early sessions were experimental. Cash would revisit old songs and pick a few favourites, then Rubin would suggest other material for Cash to cover. Many of Rubin’s suggestions seemed strange to Cash, but he recorded them, nonetheless, only to discover that they ‘felt’ right.

The first album that resulted from those sessions was released in April 1994 and called, simply, "American Recordings". The sleeve pictured Cash with two dogs, one white and one black, to illustrate the themes of sin and redemption that the album embodied. It was the first release to feature only the word “CASH” in big, bold letters on the front, a stark and iconic design that would appear on all five of the main American releases. «I think I’m more proud of this than anything I’ve ever done in my life.» Cash said on its release. «This is me. Whatever I’ve got to offer as an artist, it’s here. I don’t think I ever worked so well with a producer.» The album received rave reviews. The Los Angeles Times called it ‘a milestone work for this legendary singer’, and Billboard went even further, saying, ‘Never has the Man In Black produced a work of such brilliance.’ It went on to win a Grammy.

The second set was called "Unchained" and appeared in November 1996. It would be almost four years before Cash would release another new album. In that time, he was diagnosed with a nervous disorder, having been twice misdiagnosed. In fact he was suffering from autonomic neuropathy, a disease which affects the nervous system. As time went on, it became clear that Cash’s touring days were over. Apart from the occasional appearance at places such as The Carter Fold, he would not take to the stage again. Life on the road had been a major part of Cash’s life and it was hard for him to accept that he would never tour again. But being off the road did give Cash more time to concentrate on writing and recording. He started researching new material and turned to songs he remembered from his youth, as well as the contemporary material suggested by Rubin and his own compositions, which had been the staple of his last two albums. Work on a third American album started in late 1999, with members of The Heartbreakers, Cash’s daughter-in-law, Laura Cash, Norman Blake, Randy Scruggs and Marty Stuart.

"American III: Solitary Man" was released in October 2000 and Cash wrote in the sleeve notes: «This album has been a long time coming, and I feel another in there somewhere». He certainly didn’t waste time finding it, and started writing again almost immediately. But there was no doubt that Cash’s voice was getting weaker and, though keen to record, some days he struggled to finish a song. His vocal style had changed from the low baritone that had become his trademark, and was now closer to spoken word. The title track was one of Neil Diamond’s many hits and, while not at the cutting edge of much of his work with Rubin, reflects his lonesome persona.

"American IV: The Man Comes Around" was released in November 2002 and became Cash’s first-ever platinum studio record. It has moments that are simply stunning, and Cash had no doubts about how the album stacked up next to its predeccessors. «I firmly believe that it’s the best record we’ve done,» he said, «It reaches out even further than the others did. It goes in so many directions, but they all come together with me and how I could make these songs my own. They come together in being my songs.» He described the theme of the album as being «the human spirit fighting for survival», adding, «It probably reflects a little of the maturity that I’ve experienced with the pain that I’ve suffered from the illnesses that brought me so close to death.» The album’s closing song was the old Vera Lynn favourite,”We’ll Meet Again”, with accompaniment from the whole ‘Cash Clan’. It was a touching, but chilling finale.

When June Carter Cash died in May 2003, after complications following an operation to replace a heart valve, Cash was devastated. Due to his ill-health, the recording sessions to the next album went slowly and there were many days that he would not feel like recording at all. Cash began work on about 60 songs at this time, but was admitted to hospital in late August. He was discharged in early September, and intended to head back to the studio to select tracks for the new album, but it was not to be. He quickly returned to hospital, and on 12 September 2003 the news came that Johnny Cash had passed away.

"American V: A Hundred Highways" was only released three years later, on 4 July 2006 in the States. One of the best tracks on the album is “Rose Of My Heart”, about his love for his late wife. “We’re the best partners this world’s ever seen”, he sings. “Together we’re close as can be / But sometimes it’s hard to find time in between / To tell you what you mean to me.” Cash’s voice may not have been strong, but the emotion he wrings out of almost every word is outstanding.

Once more Rato Records made all the homework and selected the very best from these five albums to assemble a great and lasting collection: 32 tracks in a double CD, representing the legacy of this Country True Legend. Hope you like the selection and the art work as well. Enjoy, this is for you.

DYLAN Makes a Detour to the Country Side

Original Released on LP - 1969, April 9
US - Columbia KCS 9825; UK - CBS 63601

Album com grandes influências da música country (a participação de Johnny Cash no tema de abertura é sintomática) atingiria contudo o 1º lugar na Grã-Bretanha e o 3º nos EUA. "I Threw It All Away" chegaria ao #30 na GB e ao #85 nos EUA; "Lay Lady Lay" (um tema extremamente sensual, que tinha sido escrito de propósito para o filme "Midnigt Cowboy" e posteriormente recusado) seria a faixa de maior êxito do album, conseguindo o #5 na GB e o #7 nos EUA. Finalmente, o 3º tema a entrar nas tabelas de vendas é "Tonight I'll Be Staying Here With You", que em Novembro chega ao #50 nos EUA.

One of Bob's sweetest, lightest albums and at about 28 mins his shortest too. Dylan turned his back on the counterculture and instead showed his longing to be a nashville crooner. His "country" voice sounds pretty good to me. Dylan had always had an appreciation of country music in particular Hank Williams and Jimmie Rogers. Hed hinted at approaching the music in places on "Blonde on Blonde" but here he surrenders to it utterly. It's the best of Dylan's post accident records before "Planet Waves" its seems domestic bliss had made a more relaxed Dylan prepared to make more laid back, less demanding music. Thats not to say the record is artless or without appeal , the songs all have a warmth and funkiness to them that was missing on "John Wesley Harding" - heck it's Dylan's sexiest record "to be alone with you", "tonight ill be staying here" and "lay lady lay" all create a warm romantic vibe; "country pie" is a whole heap of fun too; "I threw it all away" is a country classic, Dylan's wise lyric warns those who succumb to temptation of the consequences but the tune is just gorgeous. "Nashville Skyline" pissed off a lot of people at the time but Dylan never conforms to what people expect him to be , and he seems to take as much pleasure in dissapointing people as pleasuring them. This album sees Bob wandering off the highway to take in the air, to take in the sights. He'd be back on the highway again but not for a while and only when it suited him. Everyone likes to take a detour now and again. (in RateYourMusic)

"John Wesley Harding" suggested country with its textures and structures, but "Nashville Skyline" was a full-fledged country album, complete with steel guitars and brief, direct songs. It's a warm, friendly album, particularly since Bob Dylan is singing in a previously unheard gentle croon - the sound of his voice is so different it may be disarming upon first listen, but it suits the songs. While there are a handful of lightweight numbers on the record, at its core are several excellent songs - "Lay Lady Lay," "To Be Alone With You," "I Threw It All Away," "Tonight I'll Be Staying Here With You," as well as a duet with Johnny Cash on "Girl From the North Country" - that have become country-rock standards. And there's no discounting that "Nashville Skyline", arriving in the spring of 1969, established country-rock as a vital force in pop music, as well as a commercially viable genre. (Stephen Erlewine in AllMusic)

JOHNNY CASH At San Quentin

Original released on LP Columbia CS 9827

(US 1969, June 4)

To put the performance on "Johnny Cash at San Quentin" in a bit of perspective: Johnny Cash's key partner in the Tennessee Two, guitarist Luther Perkins, died in August 1968, just seven months before this set was recorded in February 24, 1969. In addition to that, Cash was nearing the peak of his popularity - his 1968 live album, "At Folsom Prison", was a smash success - but he was nearly at his wildest in his personal life, which surely spilled over into his performance. All of this sets the stage for "Johnny Cash at San Quentin", a nominal sequel to "At Folsom Prison" that surpasses its predecessor and captures Cash at his rawest and wildest. Part of this is due to how he feeds off of his captive audience, playing to the prisoners and seeming like one of them, but it's also due to the shifting dynamic within the band. Without Perkins, Cash isn't tied to the percolating two-step that defined his music to that point. Sure, it's still there, but it has a different feel coming from a different guitarist, and Cash sounds unhinged as he careens through his jailhouse ballads, old hits, and rockabilly-styled ravers, and even covers the Lovin' Spoonful ("Darlin' Companion"). No other Johnny Cash record sounds as wild as this. He sounds like an outlaw and renegade here, which is what gives it power - listen to "A Boy Named Sue," a Shel Silverstein composition that could have been too cute by half, but is rescued by the wild-eyed, committed performance by Cash, where it sounds like he really was set on murdering that son of a bitch who named him Sue. He sounds that way throughout the record, and while most of the best moments did make it to the original 1969 album, this 2000 Columbia/Legacy release eclipses it by presenting nine previously unreleased bonus tracks, doubling the album's length, and presenting such insanely wild numbers as "Big River" as well as sweeter selections like "Daddy Sang Bass." Now, that's the only way to get the record, and that's how it should be, because this extra material makes a legendary album all the greater - in fact, it helps make a case that this is the best Johnny Cash album ever cut. (Stephen Erlewine in AllMusic)

JOHNNY CASH - The Ring Of Fire (Live 1994)

EP SUN 113 (US, 1958)

JOHNNY CASH: "I WALK THE LINE"

This EP was released just as Johnny Cash was leaving Sun Records for Columbia Records and some of these tracks were previously released on Sun as early as 1956. In 1957, Johnny Cash became the first Sun Records artist to release a full length LP ("Johnny Cash with His Hot and Blue Guitar") which included all four of these tracks.

(I've found this rare EP on Dualtrack blog. Thanks for sharin' it)