Customer Reviews

Complete Live at San Quentin

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Asking "Which Cash prison album is best: San Quentin or Folsom Prison?" is like saying "Which of your lungs is your favourite?". They're both essential to ANY music collection. (If pressed by a particularly menacing and armed inmate, I'd lean towards the more atmospheric FOLSOM.) Which one you like best will probably depend on whether you want a more comprehensive take on Cash's music (the love songs and gospel on this one) or one aimed square at his audience (the prison song laden "Folsom").

Read the glowing praise from Merle Haggard (or Marty Stuart if you want someone of more recent vintage) and look at any critic's list of "Essential" country music and this will be on it. Look at the better pop critics' lists and even they will recognize this as the epochal moment in music that it is.

HIGHLIGHTS:
Choosing the best tunes here is hard, but I'll try. As on Folsom, Johnny performs an actual prisoner's song (T. Cuttie's "I Don't Know Where I'm Bound"). Cuttie's lyric is a classic tale about "rambling" and the search for identity. The reaction to the title song's line "San Quentin, may you rot and burn in He*l" is a "goosebump" moment for me. The audience loved it so much they demanded he sing it again...immediately. (Afterwards Cash remarks "I'm starting to like it myself" with a grin...) "Wanted Man" is surprisingly "commercial" for a collaboration with Bob Dylan. The "funny" songs on this one are also better than "Folsom": "Starkville City Jail" and alltime classic "Boy Named Sue" (which the liners note was being performed for the first time at this show..Cash actually had to read the lyrics off a sheet). "Daddy Sang Bass" is a great number,too...no doubt because the lyric (from Carl Perkins) reflected Cash's own upbringing. It's abetted by June Carter Cash, Perkins himself, and the Statler Brothers' harmony.

LOWS:
No clunkers at all this time. There's nothing here I'd remove...and that includes the bonus songs. This is as perfect as it gets on a song by song basis.

BOTTOM LINE:
I hope you're looking at this for 1 of 2 reasons:
1) You came here to vote on reviews
2) You're updating the copy you have to the newer remastered version.

If it's because you don't actually own this, click "Buy this" and hope that no one sees you do it. If someone does, lie and say you HAD a copy but it was stolen and you're replacing it.ESSENTIAL to every music collection.

I can safely say that any positive comment directed towards this album is 100% true. I have this on vinyl also, and this remaster is ten times as great. Just look at the tracklist here, it's practically a live hits album. Included is "I Walk The Line", "Darlin' Companion", "Boy Named Sue", "Peace In The Valley", "Ring Of Fire", and numerous other classics. However, what really makes "At San Quentin" amazing, is the between song chat between Johnny and the prisoners. It adds emotion and humor, and a real look at the kind of man Johnny was. This album alone solidified his status as rebel and legend. Another major plus besides the better sound and extra tracks is the price. This is the no-brainer of no-brainers. In summary, "At San Quentin" is the real Johnny Cash, it's real country, and even more than that it's just real good music.

This album, as 'At Folsom Prison', is a 'Classic' in the true sense of the word. Johnny is raw, honest, in control, moody, funny, scary, moving, inspired and unforgettable. A man's Man. This remastered version of San Quentin is truly a REVELATION! I've had these 2 prison-albums for quite a while, but now the best got even better; Johnny sounds like a hellhound and a saint at the same time. You will never hear an album like this and 'At Folsom Prison' again in your life, it's that impressive,unique, powerful, moving. Also his backing band which features Carl Perkins and June Carter a.o. is super. The sound of this album is just so incredible, it burns a whole through your soul, its contents: rockabilly, blues, gospel, country, folk, all rolled up in one blistering performance. I really hope that this amazing Man will go on with making great music and fully recover from his medical problems. I've got over 600 cd's and rate Johnny Cash as a musician, person, personality among the likes of Elvis Presley, James Brown, Jimi Hendrix, Miles Davis, Muddy Waters. Quintessential, go and buy this jewel!

Pay no attention to whatever critic asserted that this album should have "remained in solitary." The LP version was my first Johnny Cash album; I've since collected them all, but this new CD takes first place. What a show!

Cash purists who've seen the Granada TV special made in conjunction with the album know that this CD is neither "complete" nor "uncensored." At least two songs are missing: "Orange Blossom Special" and "Jackson." (At three different places on the disc you can hear convicts calling out the latter title; rest assured Cash and his wife did oblige them.) An off-color remark Cash made to a TV cameraman at the close of "I Walk the Line" has been trimmed. Also, unlike last year's "At Folsom Prison" reissue, the selections here are not in original running order. But knowing this diminishes neither the importance of what IS here, nor the CD's enjoyment factor.

This album marked the debut of lead guitarist Bob Wootten, who'd replaced the late Luther Perkins, originator of Cash's "boom-chicka-boom" backing. Wootten was never hotter than during his first year with the troupe, and his double-timed licks add to the sense of wild urgency that permeates the concert. And vintage rock-n-roll fans need to get this album if only to hear Carl Perkins. In addition to his licks on John Sebastian's "Darling Companion" and the classic "A Boy Named Sue," Perkins takes a verse of "The Old Account" and displays the kind of southern-black vocal soul that shows up Elvis for the pretender he was. Eric Clapton, among others, knew that Perkins was the real deal; the one verse here proves it.

But the main event is Cash. Rough-hewn, raw, unencumbered by neither the drugs of earlier years nor the sense of religious responsibility to come, this is the Man in Black's finest hour of the most successful year of his career. It is THE Cash album to own.

The 1969 live album "At San Quentin" is unquestionably the definitive recording of Johnny Cash during his "wild" years, although I have to admit a personal preference for the songs and performances captured the year before on "At Folsom Prison." That album had made Cash a recognizable star even to people who did not listen to Country music and "At San Quentin" catapulted him to the highest level as a recording artist. What remains constant is Cash's ability to feed off of his captive audience. When he plays to these prisoners you do not doubt for a second that he is one of them, a larger than life outlaw, even though the only time he spent behind bars was in a drunk tank. Cash is clearly on the edge as he rips his way through jailhouse ballads ("Starkville City Jail," "San Quentin"), rockabilly songs ("Big River"), and old hits ("I Walk the Line," "Ring of Fire"). But it is when Cash sings "A Boy Named Sue," a song written by Shel Silverstein, that he shows his absolutely mastery (the rest of us were just shocked by a hit record with a "bleep" on it).

This was a legendary album for decades and now this 2000 reissue literally doubles its length, from nine to eighteen tracks providing, as the cover proudly proclaims, the complete February 1969 concert. One of the "new" tracks is the other hit single that came off the album, "Daddy Sang Bass." But it is still totally amazing that you can take a definitive album by a major figure in modern American music and make it twice as long (imagine that being the case with any other great album from "Sgt. Pepper" to "Nevermind"; it blows your mind). There are a handful of albums that you should be checking out, if you do not already own them, to appreciate the Man in Black and his music and "At San Quentin" has to be one of the fingers you would tick off on the first hand you used. Johnny Cash, with his resonant baritone and distinctive sound, was one of the most imposing figures in country music in our lifetime and it is nice to know that when he died this past week that he was appreciated by even the most recent generation of music lovers.

After dealing with the lousy sounding, edited, bleeped CD issue that's been available for the last 12 years or so, this is a total god-send. The mastering is immaculate, and it even sounds better than the old LP. Most importantly, the concert is here in its complete form.

The best thing about this album is the fact that it reminds us that live albums don't have to be superflous... this one is absolutely essential. The songs, while familiar take on a unique character, not just of time but of place... there is a tension and energy evident. This recording places you in the prison mess hall. Sure, the venue is an acoustic nightmare, but those columbia engineers really knew what they were doing... it doesn't sound like carnegie hall, and it's not supposed to. This new remaster extracts all the ambient detail you need to "hear the room" on good audio gear. The instruments are correctly placed across the generous soundstage, and there is a real sense of the air around them. Cash's every phrasing nuance, cough, breath and chuckle is here. I know I'm making too much of the sound quality, but it really is essential to understanding how the listener can become totally involved in the record... it's not one to put on for one song. Sit in the sweet spot, start from the begining and just *listen*. Having the complete concert, patter, jokes and all gives it a certain dramatic tension... it's not just about the songs.

The back-to-back rips through "San Quentin" remain the highlights (with Johnny asking a gaurd "if any of them are still speaking to me" for a glass of water between takes)Sure, perhaps the 20th century may have produced *better* singers but none, and I mean none, were *braver* than the original man in black.

Your record collection and your life in general is imcomplete without this CD. Even if you have the old two-fer with this and "Folsom", spring for the new issue, and the new issue of "Folsom" as well... you can get them for under 10 bucks each, and that is probably the best thing you can do with 20 bucks these days... If you are new to Cash, skip the greatest hits for now and dive in with this disc... hearing the songs in this primal form and tense context will give you a better idea of the life-and-death nature of Cash's singing.

When I was a kid, I bought a special "two-fer" double LP that contained both LIVE AT SAN QUENTIN and LIVE AT FOLSOM PRISON and I always listened to them as companion pieces. Both crackle with incredible energy, raw and passionate performances, stellar singing and playing, and a tangible sense of danger.

To separate these two albums and try to choose a favorite between them is virtually impossible for me. Let's just say that both the FOLSOM and SAN QUENTIN recordings on CD are indespensible for me...definite "desert island discs." There's nothing stale or formulaic about the SAN QUENTIN, though it comes hard on the heels of the success of FOLSOM. It still sounds fresh and feral, as Johnny races through moments both sacred and profane.

As with FOLSOM, Johnny has incredible rapport with his "captive audience" who were actually anything but--as they listened to Johnny for those few fleeting moments, these prisoners were free indeed. Johnny wasn't going to do anything "by the book" just to satisfy the suits...proof of that is ample but most clearly illustrated when he immediately, deliberately, and gleefully reprises the snarling, intense title track after singing it through once.

Johnny sings many of his own standards and other well-known chestnuts as though he was performing them for the first time, with freshness and vitality. Of course, "Boy Named Sue" WAS being performed for the first time and it remains a hoot, even after all these repeated listenings 37 years later. And don't miss the great Gospel medley at the end, which is totally heartfelt and sincere...and fun. No maudlin sentimentality here; just an alive appreciation for the truth and comfort of the words and the significance of their context.

The packaging and liner notes here are tremendous. Overall, this is a stellar presentation that is not to be missed by any Johnny Cash fan or anyone interested in the core history of country, rock, Gospel, folk, rockabilly, and 20th Century American music.

Johnny Cash is undoubtedly as essential to American music as Chuck Berry, Bob Dylan, Elvis Presley, and Hank Williams. His contributions are admired by both country aficionados and rockers alike. On none of his releases is the reason why as apparent as with his "Live At San Quentin" release.

Here, we're treated to rousing renditions of early Cash classics "Big River," "I Still Miss Somone," and "I Walk The Line" alongside revamped versions of "Folsom Prison Blues," "Ring Of Fire," and "Wreck Of The Old 97." Needless to say, the addition of Carl Perkins to the list of backing musicians has a great deal to do with the musical quality of this show! However, the musical highlights don't stop there:

At San Quentin, Cash introduces new numbers / soon to be hits such as "A Boy Named Sue" and "Jackson," as well as the biting "San Quentin" and "Starkville City Jail." On the double-disc boxed set, Cash also welcomes upcoming act The Statler Brothers and bluegrass favorites The Carter Family (now consisting of Mother Maybelle and her daughters). No longer limited to merely country or gospel numbers, modern era folk and rock covers include the eclectic and often-covered "Break My Mind," the Lovin' Spoonful's "Darlin' Companion," Tom Paxton's "The Last Thing On My Mind," and Carl Perkins' classic "Blue Suede Shoes" (performed by the master himself)!

Cash's passing would leave an empty space in American music, but the legacy of recordings he left behind and the artists he inspired (and continues to inspire) will deservedly live on as a true American treasure.

Johnny Cash is unique as a performer in his abilities to touch so many people of all ages, backgrounds, and musical tastes. His music and personality resonates in yuppies, felons, and everyone in between in a way that very few performers have ever grasped - or hope to grasp. People were, and are, electrified by the "Man In Black", peak form or no. When he is in peak form, though, there were precious few who were better. Nowhere is this more evident than this landmark concert disc.

This disc, like it's "sister" CD which preceded it ("At Folsom Prison"), has finally been remastered and released in unedited form. It was a long but ultimately satisfying wait. While "At Folsom Prison" is outstanding in its own right, there was just that something extra special with this "At San Quentin" concert that sets it apart as one of the best of all-time.

Here we finally get all of Johnny Cash's big hits, along with a few rarities, and some gorgeous gospel numbers. Perhaps the most notable thing about this disc is that it was the debut of "A Boy Named Sue", the Shel Silverstein-penned song that became a huge hit. In this unedited form, we finally get it unbleeped; this is welcome not for finally revealing the word that was sung beneath that bleep, but because the censor was such a distraction from the song's magic.

Perhaps what makes this performance so special also is that it caught Johnny Cash's regular touring show on tape, and they did not disappoint. Backing Johnny throughout are his famous "Tennesse Three" (Marshall Grant, Bob Wootten, and W.S. Hollins), as well as several musical legends: June Carter Cash (his wife) and two of her sisters, Carl Perkins, and the Statler Brothers. They all combine to provide that extra bit of spark and electricity to the already outstanding concert. Nowhere is this more evident in the dramatic gospel set near the end of the show and the wonderful medley that closes the show and highlights their talents.

Make no mistake: not only is "At San Quentin" one of Johnny Cash's best albums, it stands as one of the best albums of all-time in my opinion. Fans of Johnny Cash will want this in their collection alongside "At Folsom Prison". For those semi-interested in or new to Johnny Cash, this should be one of your first purchases. You will not be disappointed.

Johnny Cash's Prison Albums (Folsom & San Quentin) have long been the stuff of legend, but with the relatively recent release of Live At Madison Square Garden they form a remarkable trilogy: terrific live performances from '68,'69, and late '69, each with a different feel, and an evolution in each of the famous Johnny Cash-June Carter romance. At Folsom, they've yet to wed, at San Quentin, they have, and at Madison Square Garden, Cash proudly announces that June is home because she's pregnant with their son John Carter.

San Quentin stands as perhaps the best summation of these performances and this era, and what is all the more remarkable is how different it is from its Folsom Prison predecessor. There are but two songs overlapping the two ("Folsom Prison Blues" and "I Still Miss Someone") and the musical approach is significantly altered from the bare-bones, ragged-but-right stint at Folsom. For starters, the band is much larger, with Bob Wootton standing in at lead guitar for the tragically deceased Luther Perkins, in addition to the great rockabilly embellishments of Carl Perkins. The Statler Brothers join in on backing vocals, as do the Carter Sisters (providing an unbelievable trumpet imitation on "Ring of Fire"). This results in more fluid performances (no laughs in the middle of a line here), though the atmosphere is still about as volatile as Folsom Prison. This leads to some priceless between-song comedy ("If any of the guards are still speakin' to me..." and in response to the inmates jeering said guard, "Oh, you don't really mean that."), and with the dual performances of "San Quentin", the feeling that there could really be a riot.

Virtually everything there is to love about Cash can be found on this album. The songs display his reverence for contemporary songwriters (the Dylan-penned "Wanted Man" and John Sebastian's "Darlin' Companion"), his deeply authentic faith ("He Turned The Water Into Wine"), and his remarkable ability to sing for, rather than to, his audience (the aforementioned "San Quentin" and "Starkville City Jail"). More casual fans will be glad to see the presence of several Cash classics, including "Big River", "I Walk The Line", "Ring Of Fire", and the then-new "Daddy Sang Bass" and "A Boy Named Sue". For "Sue" fans, be sure to check out Live At Madison Square Garden for Cash doing a hilarious play on the bleeped/unbleeped versions of the song.

Johnny Cash At San Quentin has proved to be one of the most replayable discs in my collection. It's an essential purchase for the Cash fan and an ideal indoctrination for the Cash newcomer.