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11 of 11 people found the following review helpful:
5.0 out of 5 stars
The Man in Black's Debut LP, August 4, 2002
Given how many times Cash's Sun catalog has been visited for CD reissues, it's truly amazing that his 1957 debut album -- and, in fact, the first long-player ever issued by Sun Records -- has never seen the laser-light of compact disc. Varese Vintage lovingly rights this wrong with a superb reissue of the original twelve tracks, five bonus cuts, newly penned liner notes from Bill Dahl, and the album's original cover art.Though the album's hits and singles have been collected on numerous CDs, many of the other tracks have appeared sporadically at best, and several have only been available on in Bear Family's "Man in Black 1954-1958" box set. More enticingly, this reissue is the first CD that reproduces the original track order, placing the album's trio of iconic original composition hits ("Cry! Cry! Cry!" "I Walk the Line" and "Folsom Prison Blues") in the context of Cash's recordings of other's songs. Cash's baritone, backed by the Luther Perkins' tick-tack guitar and Marshall Grant's upright acoustic bass, is equally at home fueling rhythmic train songs, such as Leadbelly's "Rock Island Line" and the traditional "The Wreck of the Old '97," as going down-tempo for prison laments such as Hank Williams' "(I Heard That) Lonesome Whistle Blow)" and Jimmie Skinner's "Doin' My Time". These initial sessions for Sun, spanning the 1955 recording of Cash's first single, "Cry! Cry! Cry!" to the album sessions in August 1957, are a study in minimalism. Cash's voice is front and center, and the Tennessee Two's accompaniment, unslicked by the later production flourishes of Jack Clement, gain power from their spareness. Bonus tracks include two contemporary flip-sides ("Hey, Porter!" and "Get Rhythm") and three previously unissued alternate versions. Of particular interest is the version of "Folsom Prison Blues" that was cut four months before the hit single. Cash's vocal is surprisingly tentative, rendered more towards his middle register than his trademark baritone's bottom end. With Elvis, Carl Perkins, and Jerry Lee Lewis providing the foundation rock 'n' roll sound of Sun Records, one might wonder why Sam Phillips decided to employ Johnny Cash's decidedly different catalog for the label's first long-player. A quick spin through this rock-solid debut, with album tracks that measure up to the hits, explains exactly why.
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