JOHNNY CASH - "At The Carousel Ballroom (April 24, 1968)"
After a tumultuous 1967 for JOHNNY CASH, the year 1968 was bookended by what would become his two iconic, highest-grossing albums, At Folsom Prison and At San Quentin.
But now, fifty-three years later, a lost chapter has emerged to enrich and complement the story of that very good year.
JOHNNY CASH AT THE CAROUSEL BALLROOM, recorded on April 24, 1968, captures the man in black at the height of his charismatic powers. Confidently departing from the more formalized setlist he’d been doing, we hear him in playful and powerful dialogue with his new bride June Carter and his longtime musicians—guitarist Luther Perkins, bassist Marshall Grant and drummer W.S. Holland—connecting with an audience more accustomed to the Grateful Dead and Jefferson Airplane.
What makes the performance even more significant is that it was recorded by the innovative sound wizard Owsley “Bear” Stanley in a verité style that startles with a clarity and dimension missing from the two more well-known releases. In 1968, it was just another entry in Bear’s continuing “sonic journal” of recorded shows, a means to keep improving his art. But thirty years later, Stanley would recognize it as one of a handful of the most significant performances he’d captured and there began its journey to a commercial release.
29.10. JOHNNY CASH – "At The Carousel Ballroom (April 24, 1968)"
1. Cocaine Blues
2. Long Black Veil
3. Orange Blossom Special
4. Going to Memphis
5. The Ballad of Ira Hayes
6. Rock Island Line
7. Guess Things Happen That Way
8. One Too Many Mornings
9. Don’t Think Twice, It’s All Right
10. Give My Love to Rose
11. Green, Green Grass of Home
12. Old Apache Squaw
14. Forty Shades of Green
15. Bad News
17. Tall Lover Man
18. June’s Song Introduction
19. Wildwood Flower
20. Foggy Mountain Top
21. This Land Is Your Land
22. Wabash Cannonball
23. Worried Man Blues
24. Long Legged Guitar Pickin’ Man
25. Ring of Fire
26. Big River
27. Don’t Take Your Guns to Town
28. I Walk the Line
“A masterpiece. Dad gave what I believe to be one of the most intimate and connected
shows I have ever heard.”
–JOHN CARTER CASH
“I don’t think there are any live recordings of Johnny that weren’t originally intended to be an album. So to be able to stumble across such a live recording during such a golden era for him, and find that it was recorded in such a dynamic way, is incredible. It’s an opportunity to show Johnny in a new light. When John Carter Cash heard the first fifteen seconds of this recording, he recognized it as something significant. It has a three-dimensional, dynamic quality that a lot of live music from that era does not have.”
–JOSH MATAS, brand manager of the Johnny Cash Trust
“When you hear this, you feel like you’re on the stage with Johnny and his band. That’s the kind of clarity that my father was able to achieve with his recordings. And this was one of the recordings that he had put a star next to, and said, ‘This is an important journal entry, and this needs to be advanced into the world so people can hear it.’”
–STARFINDER STANLEY, son of Owsley Stanley
“My hope is that this album will be viewed as the third essential chapter to the Johnny Cash live story in 1968, the missing piece between Folsom and San Quentin. Sonically, performance-wise, repertoire, historical significance, all the elements are there to give it that importance.”
–HAWK SEMINS, executive producer at the Owsley Stanley Foundation
Quelle: cmm-consulting for music and media