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'!2G00BJ-Hbdcbg! Recording by the “Man in Black”

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'!2G00BJ-Hbdcbg! Recording by the “Man in Black” Johnny Cash At San Quentin Columbia CS 9827 personnel Johnny Cash (voc, g); June Carter Cash, Carter Family (voc); Bob Wootton (el-g); Marshall Grant (b); W.S. Holland (dr) tracks Wanted Man; Wreck Of The Old 97; I Walk The Line; Darlin' Companion; Starkville City Jail; San Quentin; San Quentin; A Boy Named Sue; Peace In The Valley; Folsom Prison Blues Johnny Cash was a country legend even during his lifetime, although, or perhaps because, he was very different from the numerous country singers with chequered shirts. When per - forming he chose to wear black as a symbol of solidarity with the oppressed and those who had no rights. His chosen outlaw image was just as convincing as the train-like boom-tiddy- catalogue # 9827 boom sound of his rhythm group who lent their typical sound to many of his 500 songs. At the very zenith of his career, Cash (who himself had committed a few minor offenses) had set contents 1 LP / standard sleeve the idea of singing and playing for the bad guys behind the prison walls for nothing. Ini - tially his suggestion to market the live recording was rejected, but finally his record com - pricecode pany decided to release the album At Folsom Prison . Fired by the success of his jailhouse SC01 recording, Columbia Records released At San Quentin shortly afterwards. The recording, in release date which Cash and his combo were frenetically applauded more or less at the end of each verse, February 2008 exceeded all expectations. Today it is still considered by Cash fans to be the best live barcode '!2G00BJ-hbdcbg! recording by the “man in black”. Johnny Cash war schon Lebzeiten eine Country-Legende, obwohl oder eben weil er sich von original recording 24 February 1969 live at San Quentin den vielen singenden Landburschen im Karohemd deutlich unterschied. Für seine Auftritte State Prison, USA, by Neil Wilburn and wählte er schwarze Kleidung als solidarisches Symbol für Unterdrückte und Entrechtete. Das selbst gewählte Image des Outlaws wirkte ebenso überzeugend wie der lokomotivarti - Bob Breault ge Boom-Chicka-Boom-Sound seiner Rhythmusgruppe, der vielen seiner 500 geschriebe - original production nen Songs eindeutigen Erkennungswert verleiht. Bob Johnston Auf dem Höhepunkt seiner Karriere zog es Cash, der selber nur ein paar Kleindelikte auf dem Kerbholz hatte, zu den schweren Jungs hinter den Gefängnismauern, für die er auch ohne Gage sang und spielte. Nach anfänglicher Ablehnung seines Vorschlags, diese Mit - schnitte zu vermarkten, rang sich die Plattenfirma schließlich doch noch zur Veröffentli - chung des Albums At Folsom Prison durch. Geläutert vom Erfolg der Knast-Scheibe, gab Co - lumbia wenig später At San Quentin heraus. Die Aufnahme, auf der Cash und seine Combo beinahe strophenweise spontane Jubelstürme ernten, übertraf alle Erwartungen und gilt unter Cash-Freunden noch heute als bester Live-Cut des “Man in Black“. WWW.SPEAKERSCORNERRECORDS.COM | [email protected].
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