GOLDFRAPP ~ "FELT MOUNTAIN"

Original released on CD Mute / CDSTUMM188 (UK 2000, September 11)

OST ~ "High Fidelity" (2000)

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.

CLÃ: "Lustro"

Edição original em CD Vadeca 7243.5.26506.2.0 
(PORTUGAL 2000, Maio 22)

Perhaps Clã's finest, putting to rest some of the forgettable funk lite of previous years and concentrating on honing their songwriting. Getting talented people like Manuel Cruz or Sérgio Godinho to write some lyrics was a cunning move as well, drawing from the sinergy some of their best tracks, such as "Sopro do Coração". Apart from "Fahrenheit" and the hit single "Dançar na Corda Bamba", "Lustro" is also more subtle and poppy than anything they had done before. And I've got to say that the lovely "Sangue Frio" is quite likely the great Clã song. (in RateYourMusic)

Este é um album que rivaliza o estatuto que "Kazoo" teve de trazer os Clã para a ribalta, passe a expressão. Embora sentimentalmente reconheça "Kazoo" como o melhor album, na minha opinião, dos Clã, este "Lustro", em termos qualitativos, é superior, e galvanizou o nome de Manuela Azevedo e companhia no panorama musical português, granjeando-lhes a eternidade. Desde o primeiro hit a sair para as rádios "Dançar na Corda Bamba", que até se poderá considerar a menos boa performance em todo o album, temos sons inolvidáveis, e também pouco usuais não só aos próprios Clã, como a tudo o que até então se tinha feito na música portuguesa dita "mainstream": "Fahrenheit", dotado de grande energia, "Bem Versus Mal", uma poderosa balada, "Depois do Amor", uma das melhores músicas do album, a par com "O Sopro do Coração", em que todo o potencial vocal de Manuela Azevedo se revela para nos desvendar uma inolvidável canção romântica, assobiada e contarolada milhares de vezes pelos casais mais apaixonados. Em resumo, um album ao qual ninguém sairá idiferente, um album que todo o apreciador de música portuguesa deverá ter na sua prateleira, não só a ganhar pó, mas também a sair de vez em quando para uma leitura óptica... (in RateYourMusic)