From Publishers Weekly
The most notorious moment on the live 1968 album
Johnny Cash at Folsom Prison occurs when the Man in Black growls the killer line from his 1956 hit "Folsom Prison Blues"—"I shot a man in Reno just to watch him die"—and a convict whoops seemingly in solidarity. Actually, that reaction was added post-production, writes Streissguth: "[W]hat the record buyers heard after Cash uttered the bloody line was pure image-making.... In reality, the crowd had remained enthralled by the first glimpse and words of the black circuit rider before them,…saving their clamorous gusts exclusively for its conclusion." In this enlightening if slightly disjointed and occasionally hyperventilating look at Cash's most famous album, Streissguth examines not only the concert's genesis and the subsequent revitalization of Cash's career, but also
Folsom's difficult history, Columbia Records' reluctance about the project, and the role of the folk movement and late-'60s underground press in moving Cash's public image beyond the hillbilly clichés often plastered on country artists. Most compellingly, it presents a fond but unvarnished portrait of Cash, a moralistic, mordantly witty man fighting his own drug-addiction demons, who viewed his prison concerts (he gave more than 30) as a chance to connect with convicts, not preach at them. The myth-making studio tricks, it seems, were superfluous. 100+ photos not seen by
PW.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
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When on January 13, 1968, Johnny Cash, already recognized as a founder of rock and modern country music, performed at the California penitentiary made famous by his "Folsom Prison Blues," he took a large step toward superstardom. In this comprehensive look at the gig and the album that came out of it, Streissguth details how much of the song Cash lifted from previous works and how much actual commonality existed between Cash and the prisoners, who constituted a sympathetic but tough audience and lent a boisterous, enthusiastic backdrop to the recording. Streissguth also holds forth on the concert's and the album's implications for Cash's subsequent career and for rock's thereafter renewed relations with country. As an important piece of pop, rock, and country-music historiography and as a fitting remembrance of the late Man in Black, this photo-laden tidbit is essential.
Mike TribbyCopyright © American Library Association. All rights reserved
--This text refers to an out of print or unavailable edition of this title.