Johnny Cash - Johnny Cash Live at San Quentin
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Canadian Music Store CD DetailsArtist: Johnny CashEdition: Music CD Format: Extra tracks, Live, Original recording remastered CD Release Date: 2000-07-04 Music Label: Sony Soundtracks:
Music reviews of Johnny Cash Live at San QuentinMusic Review: Cash's classic prison album
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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