CD Album - Johnny Cash - Johnny Cash At San Quentin (The Complete 1969 Concert) - Columbia

CD Album

Artist:	Johnny Cash
Title:	Johnny Cash At San Quentin (The Complete 1969 Concert)
Label:	Columbia / Legacy
Country:	Europe
Date:	14 Aug 2000
Catalogue:	498176 2 / COL 498176 2
Barcode:	5099749817623
Format:	CD Album
Collection:	I Own It I Want It
Community:	23 Own
Price Guide:	Valuation Page
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Track	Artist	Title	Composer	Rating
01	Johnny Cash	Big River	J. Cash	8.0 Rate
02	Johnny Cash	I Still Miss Someone	J. Cash, Roy Cash Jnr	8.0 Rate
03	Johnny Cash	Wreck Of The Old 97	Arranged By J. Cash, B. Johnson, N. Blake	8.0 Rate
04	Johnny Cash	I Walk The Line	J. Cash	9.0 Rate
05	Johnny Cash	Darlin' Companion	J. Sebastian	8.0 Rate
06	Johnny Cash	I Don't Know Where I'm Bound	J. Currie	8.0 Rate
07	Johnny Cash	Starkville City Jail	J. Cash	8.0 Rate
08	Johnny Cash	San Quentin	J. Cash	9.0 Rate
09	Johnny Cash	San Quentin	J. Cash	8.0 Rate
10	Johnny Cash	Wanted Man	B. Dylan	8.0 Rate
11	Johnny Cash	A Boy Named Sue	S. Silverstein	9.0 Rate
12	Johnny Cash	(There'll Be) Peace In The Valley	T. Dorsey	7.0 Rate
13	Johnny Cash	Folsom Prison Blues	J. Cash	9.0 Rate
14	Johnny Cash	Ring Of Fire	J. Carter, M. Kilgore	8.0 Rate
15	Johnny Cash	He Turned The Water Into Wine	J. Cash	8.0 Rate
16	Johnny Cash	Daddy Sang Bass	C. Perkins	8.0 Rate
17	Johnny Cash	The Old Account Was Settled Long Ago	L. R. Dalton	8.0 Rate
18	Johnny Cash	Closing Medley: Folsom Prison Blues / I Walk The Line / Ring Of Fire / The Rebel-Johnny Yuma	J. Cash, J. Carter, M. Kilgore, B. Markowitz, A. Fenady	8.0 Rate

Notes

The American Milestones Series

16 page booklet

Original recordings produced by Bob Johnston
Produced for reissue by Bob Irwin

℗ © 2000 Sony Music Entertainment Inc.
Made in Austria
SACEM/BIEM

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Comments and Reviews


Quad5point1 ● 29th Jul 2019		Added disc variant with no artist, title or rights statement, also added Jewel Case Sticker



23skidoo 11th Apr 2015		The booklet is almost as fascinating as the CD (it's the same booklet in the US release), especially where Cash himself writes about the famous middle finger photo. You can tell that Johnny has a bit of a chip on his shoulder - he clearly didn't want to be filmed, for one thing. And I think he was (perhaps understandably) nervous about the San Quentin song (the joke about whether the guards will still speak to him - seen in the video clip - sounds pretty earnest), though not nervous enough to deny the prisoners an immediate encore. (Amazingly, given the space limitations of vinyl LPs, the original vinyl release features both performances of the song.) You also hear on the extended CD Cash talking about that song coming up and also mentioning, a number of songs before doing it, his new Boy Named Sue song. A song that was so new to Cash that the filmed performance reveals that he actually sang it while reading the lyrics. I actually prefer the Folsom Prison album (especially the extended version with the amazing Legend of John Henry's Hammer) but this is a fantastic set, too. If Cash never recorded anything else after these two, he'd have had more than enough classics to be immortalized.



sladesounds 5th Mar 2015		Review 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 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, the 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. All Music Guide Review by Stephen Thomas Erlewine 2 people found this review helpful. ✔︎ Helpful Review?



PCB5394 30th May 2014		Includes 16 page booklet.