Johnny Cash Live at San Quentin

Johnny Cash - Johnny Cash Live at San Quentin

Johnny Cash Live at San Quentin
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CD Details

Artist: Johnny Cash
Edition: Music CD
Format: Extra tracks, Live, Original recording remastered
CD Release Date: 2000-07-04
Music Label: Sony
Soundtracks:
  1. Big River
  2. I Still Miss Someone
  3. Wreck Of The Old 97
  4. I Walk The Line
  5. Darlin' Companion
  6. I Don't Know Where I'm Bound
  7. Starkville City Jail
  8. San Quentin
  9. San Quentin
  10. Wanted Man
  11. A Boy Named Sue
  12. (There'll Be) Peace In The Valley
  13. Folsom Prison Blues
  14. Ring Of Fire
  15. He Turned The Water Into Wine
  16. Daddy Sang Bass
  17. The Old Account Was Settled Long Ago
  18. Closing Medley: Folsom Prison Blues/I Walk The Line/Ring Of Fire/The Rebel - Johnny Yuma

Music reviews of Johnny Cash Live at San Quentin

Music Review: Cash's classic prison album
Rating: 4 Stars

Those who have heard Johnny Cash's clasic album, At Folsom Prison, have, probably, been possessed of the seemingly contradictory feelings of both loving the album and wanting to hear something else in the same vein, and realizing that its novelty and sheer power could never be repeated. Enter Cash's second live prison album, At San Quentin: here, indeed, the novelty of hearing Cash deliver prison ballads to an outrageously active prison audience is not as endearing as it was the first time around. Thankfully, Cash does not try to repeat that concert; consequently, it does not dimish the impact and enjoyment level of this album, even if it as not as atmospherically exciting this time around. This time, instead of using a setlist that consisted almost entirely of songs relating to prisons, Cash gives a more well-rounded and varied show, similar to the sets he was playing at other, more traditional, venues at that time. To be sure, he includes a generous helping of those songs in the set -- San Quentin, which the inmates demand he sing twice; the off-the-cuff Starkville City Jail; and, of course, Folsom Prison Blues -- all of which garner extremely enthusiastic responses from the prison crowd. In additon to this, Cash also delivers versions of some of his then-recent hits: Big River, Daddy Sang Bass, Wanted Man (an oft-forgotten Bob Dylan composition prefaced by Cash's ringing endorsement of Dylan), and Ring of Fire. He also plays some older and more traditional songs, among them Wreck of The Old 97 and the best version of I Still Miss Someone that I have ever heard. He also played a short set of gospel songs, which were well-performed and sincere, and which the crowd seemed to truly appreciate. One thing Cash did not do, as he did at Folsom Prison, was play a short set of more humorous, light-hearted pieces. That is a good thing, as that section of said album was the most anemic, if well-intentioned, part of its running list. Cash does manage to elicit some laughter from the crowd, though, with the aforementioned Starkville City Jail and, of course, Shel Silverstein's unlikely composition, A Boy Named Sue, performed here for the first time, which became a smash hit. The performance of the latter tune sounds very spontaneous -- Cash himself was singing the song for the first time, having to read the lyrics off of a piece of paper, as he had not yet memorized them -- and yet sincere. In the hand of a lesser performer, this song could have easily come off as contrived and too silly and cute. Not so Cash: the song comes off well in the hands of the master. The musical troupe backing Cash also had a lot to do with the difference between this concert and San Quentin. Gone was long-time Cash guitarist Luther Perkins, the purveyor of Cash's signature "boom-chicka-boom" style of music. New guitarist, Oklahoman Bob Wooton, freed Cash from this time-honored constraint, and he sounds positively wild and enthusiastic about his new-found musical freedom. Also backing Cash are not one, not even two, but three other famous acts: The Carter Family, Carl Perkins, and The Statler Brothers. They all add another dimension and level to Cash's show, particularly on the gospel songs that come near the end of the concert, on which they all perform, and the closing medley in which they take turns singing bits of Cash's songs. Cash seems genuinely proud of this band of musicians, as well he should be, giving them lavish introductions and enticing the crowd to cheer for them. Of course, the main attraction of this album is how Cash plays to the audience, both with his song selection and his endearing, frequently funny, and occasionally rambling between-song banter. One is consistently aware that this kind of atmosphere would never exist anywhere but in a prison, and that is what makes the album so attractive and unique to the listener. If you loved Cash's Folsom Prison album, then pick up this inimitable follow-up, a classic in its own right, that remains Cash's best album in the eyes of many fans and critics.
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Description of Johnny Cash Live at San Quentin

Digipak reissue of 1969 album that's out-of-print in the US. 2001.
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. --Rich Kienzle

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