The Musical Instrument Museum (MIM) in Phoenix recently unveiled an exhibit honoring the Carter Family and Johnny Cash. Located in MIM’s Artist Gallery, the exhibit provides guests with an overview of the musical careers of the artists and their historical impact.
Items on display in the Carter Family and Johnny Cash exhibits have never before been displayed for the public and come to MIM on loan from John Carter Cash, son of Johnny Cash and June Carter Cash, and Dale Jett, grandson of A.P. Carter. The items will be on display through April 2016.
“When I first visited MIM, I was excited by its inimitable beauty and scale. It has been a wondrous blessing to work with the staff there and help bring about the Carter Family / Johnny Cash display,†said John Carter Cash. “I feel it is inspired and shows a unique view into the history of country music that cannot be seen anywhere else.â€
The music of the Carters (A.P., Sara and Maybelle Carter) has been celebrated for nearly a century. The trio, which recorded more than 250 songs, is widely recognized for helping launch country music’s commercial beginnings and for inspiring many artists in later genres including bluegrass and rock.
Items on display in the Carter Family and Johnny Cash exhibits include:
· A.P. Carter’s 1929 Martin 00-28 guitar, played by the original Carter Family
· June Carter Cash’s custom Orthey autoharp and fingerpicks
· Johnny Cash’s black Manuel Cuevas stage suit which was worn in concert and features embroidered acorns and oak leaves
· Johnny Cash’s black Martin D-42JC signature guitar which was played in concert and on several of his “American†albums
· Johnny Cash’s 1936 Martin 5-18 guitar which was played by Cash, family and friends in Cash’s home and inlaid in the early 1970s with acorns and oak leaves
· Johnny Cash’s 2002 Grammy award for “Give My Love to Rose,†Best Male Country Vocal Performance
The exhibits also feature photographs from the Grand Ole Opry Archives and performance footage from several sources.
“It would be difficult to overstate the significance of these artists in American music,†said MIM curator for North America, Dr. Cullen Strawn. “It’s an honor to share their objects, songs and stories with our guests.â€
The Carter Family and Johnny Cash exhibits join the ranks of other country music-focused exhibits at MIM. MIM’s Artist Galley features instruments played by Elvis Presley, Roy Orbison, and the Nitty Gritty Dirt Band. In MIM’s United States/Canada Gallery, the Country exhibit displays items belonging to Marty Robbins, Buck Owens, Kix Brooks and others.
Entrance to MIM’s Artist Gallery is included with general museum admission.
The Musical Instrument Museum is located at 4725 E. Mayo Boulevard in Phoenix (corner of Tatum and Mayo Boulevards, just south of Loop 101). For general museum information and a full schedule of events, visit MIM.org or call 480.478.6000.
I know, I know. I don’t look a day over six. But it’s true! Your generally humble roots music blog, Twang Nation, turns 8 this month.
Where does the time go?
I started this on a lark. Cultural, geographical and psychological displacement of this Texan in New York City led me here. I gravitated toward the most stable ground that had always been there for me, music.
The great roots music I began to discover I wanted to share with a wider audience. And I wanted them share their findings with me. 8 years and three timezones later I’d say it’s going pretty well. I’m still chugging along, looking under rocks and atop branches to find and share great music.
And that’s saying something. In the midst of one of the worst times to become a musician there’s so music of it around, and more every coming across my desk(top) every day. I’m sure things were worse during the Great Depression and the Dust Bowl, and yet much of the music that I treasure was produced in those troubled times.
Maybe that’s the things about music. Even at it’s thematic darkest musics very presence is a sign of human optimism. Why else bother?
And these days optimism, and music, abounds. There’s more music than ever being produced in human history. Technology has allowed access to performance and strategy tools as a musician, and access and discovery for fans, than ever before. I hope I have contributed in some small way to your musical discovery. And with roots music awareness, Grammy categories and regularly appearances in TV shows and movies, the movement is showing to signs of slowing down.
And Twang Nation will be right in the middle of it. Bringing you the best in new and classic performers and live performances that remind us all that live music, made by fallible humans, can be intoxicating.
And believe me, the best is yet to come.
Keep up with us here on Facebook, Twitter, Instagram and tumblr and come along for the journey. As we all know the road goes on forever….
As a thank you, Twang Nation is giving away a prize pack of three great slabs of vinyl for your listening pleasure.
First up is the recent release of Johnny Cash lost and previously unreleased material, “Out Among The Stars,” on Vinyl. This is a far cry from the Columbia Records produced Cash and producer Billy Sherrill. The results are classic cash with a contemporary roost twist with help from John Carter Cash, Marty Stuart and Buddy Miller.
Nest up is the Lone Justice reissue from Omnivore Recordings, “This Is Lone Justice: The Vaught Tapes, 1983.” This album captures the raw talent of this alt.country pioneering band at their peak, touring L.A. punk clubs and taking no prisoners. Did I mention that this great album is on translucent red vinyl?!
And the best for last the Record Store Day Rhino records exclusive release of Gram Parsons’ Alternate Takes from GP and Grievous Angel. tHIS 2LP vinyl release IS audio sourced from “The Complete Reprise Sessions” released in 2005. Contains a postcard insert at the request of Gram’s daughter, Polly Parsons, for the Hickory Wind Ranch Recovery Community. Foil numbering.
Just leave a comment below to be entered for all three albums. Birthday salutations or a band you might have found out about from me would be cool.
Now the boring stuff: The winner needs to be located in the United States and will be picked at random, Sunday, July 27th, 12PM CST.
To celebrate the 50th Anniversary of one of Johnny Cash’s most personal releases, “Bitter Tears: Ballads of the American Indian,” Sony Music Masterworks will commemorate the occasion with “Johnny Cash’s Bitter Tears Revisited” ( August 19.) Produced by Joe Henry and featuring country and Americana music giants Kris Kristofferson, Emmylou Harris, Steve Earle, Bill Miller, Gillian Welch and David Rawlings, and Norman and Nancy Blake, as well as up-and-comers the Milk Carton Kids and Rhiannon Giddens. Each artist interpreting the music for a new generation. As his project was for Cash, the new collection “is a labor of love with a strong sense of purpose fueling its creation.”
Of all the dozens of albums released by Johnny Cash during his nearly half-century career, 1964’s Bitter Tears: Ballads of the American Indian was among the closest to the artist’s heart. A concept album focusing on the mistreatment and marginalization of the Native American people throughout the history of the United States, its eight songs-among them “The Ballad of Ira Hayes,” a #3 hit single for Cash on the Billboard country chart-spoke in frank and poetic language of the hardships and intolerance they endured.
“Prior to Bitter Tears, the conversation about Native American rights had not really been had,” says Henry, “and at a very significant moment in his trajectory, Johnny Cash was willing to draw a line and insist that this be considered a human rights issue, alongside the civil rights issue that was coming to fruition in 1964. But he also felt that the record had never been heard, so there’s a real sense that we’re being asked to carry it forward.”
Bitter Tears, widely acknowledged for decades as one of Cash’s greatest artistic achievements, did not realize its stature as a landmark recording easily and quickly. At the time that Cash proposed the album, he was met with a great deal of resistance from his record label. They felt that a song cycle revolving around the Native American struggle as perpetrated by the white man took him too far afield of the country mainstream and Cash’s core audience. Cash still released the album and although it did not perform as well as he had hoped, he remained extremely proud of the album throughout his life.
Ironically, at the same time that his own label was balking because it felt he would alienate the country audience with his Native American tales, Cash was finding a new set of admirers among the burgeoning folk music crowd that had recently made stars of Bob Dylan, Joan Baez and Peter, Paul and Mary. Cash’s debut performance of “Ira Hayes” at the 1964 Newport Folk Festival had earned him rave reviews. His appeal was undeniably expanding beyond the country audience, and for those who did connect with Bitter Tears, among them a 17-year-old aspiring singer-songwriter named Emmylou Harris, its music was revelatory and important. “The record was a seminal work for her as a teenager,” says Henry. “She bought the album brand new and realized at that moment that Johnny Cash was a folk singer, not a country singer, and was involving himself politically and socially in a way that she had identified with the great folk singers at that moment.”
Henry’s awareness of Harris’ affection for Bitter Tears led him to invite her to contribute to Look Again To The Wind: Johnny Cash’s Bitter Tears Revisited. Following the epic, nine-minute album-opener “As Long as the Grass Shall Grow,” written by Peter La Farge-a folk singer-songwriter with Native American bloodlines who Cash had befriended-and sung here by Welch and Rawlings, Harris takes the lead vocal on the Cash-penned “Apache Tears,” which also features sweet, close harmonies by the Milk Carton Kids, the duo comprising Kenneth Pattengale and Joey Ryan. For Henry, carefully matching artist to song was integral to the integrity of Look Again To The Wind. For some of the tracks, that process required a great deal of consideration. But when it came to deciding who would interpret “The Ballad of Ira Hayes,” Henry quickly zeroed in on Kristofferson.
Another of five songs on the original album written by La Farge, “The Ballad of Ira Hayes” is based on the true story of Ira Hamilton Hayes, a Pima Indian who was one of the six Marines seen raising the flag at Iwo Jima in an iconic World War II photograph. Hayes’ moment of glory was followed upon his return to civilian life with prejudice and alcoholism-Cash, moved by Hayes’ story and La Farge’s recounting of it, vowed to record the song. When planning out Look Again To The Wind, Henry knew that only a few living singers could deliver the song the way he wanted to hear it. He called Kristofferson, utilizing Rawlings and Welch to sing background.
“I wanted somebody whose relationship with Johnny Cash was not only musical but personal,” he says. “I’d worked with Kris on a couple of other things and I thought why not ask? Who else has a voice with that kind of power and authority?” That same sense of intuition guided Henry to choose the other participants and the material they would render. For La Farge’s “Custer,” the album’s third song, the producer knew instinctively that Steve Earle was the right man for the job. “Steve is an upstart, and there are very few people I can imagine working right now who could deliver a song that is that pointed in that particular way and do it authentically without cowering from it or making it feel a little too arch,” Henry says. “He really could embody the kind of swagger that that song insists upon.”
Similarly, Henry chose Nancy Blake (with Harris and Welch on backing vocals) for the Cash-written “The Talking Leaves,” Norman Blake to sing “Drums,” the Milk Carton Kids to lead “White Girl” (both of those authored by La Farge) and the powerhouse vocalist Rhiannon Giddens of the Carolina Chocolate Drops for the original album’s finale, “The Vanishing Race,” written by Cash’s good friend Johnny Horton. To bolster the album (the original, typical of mid-’60s vinyl LPs, ran just over a half hour), Henry fills out the track list of Look Again To The Wind with reprises of “Apache Tears” and “As Long As the Grass Shall Grow”-both sung by Welch and Rawlings-and ends the set with the title track, a La Farge tune that did not appear on the original Johnny Cash album but instead on the songwriter’s own 1963 release As Long as the Grass Shall Grow: Peter La Farge Sings Of The Indians. Here it’s sung by Bill Miller, with Sam Bush providing mandolin and Dennis Crouch upright bass, a fine and fitting coda to the collection.
From the start, Henry looked at the project as one that would require great personal commitment and responsibility on his own part. Approached as potential producer of the project by the man who first envisioned it, Sony Music Masterworks’ Senior Vice President Chuck Mitchell (who’d been in conversations with Antonino D’Ambrosio, author of A Heartbeat and a Guitar,a book about the making of Bitter Tears), Henry immediately understood the importance of the assignment. “Johnny Cash was my first musical hero and I feel a profound debt to him as an artist, and as a courageous one,” he says. “How could I say no to that?”
He also realized that the Bitter Tears album held a special place in Cash’s canon, and that in many ways the issues it raised still resonate today-this had to be apparent in the new versions. “Mr. Cash knew that if he took this on, even if his point of view was not adopted, he had the power to be heard,” Henry says.
The album was recorded in three sessions: the first two in Los Angeles and Nashville and, lastly, one at the Cash Cabin, in Cash’s hometown of Hendersonville, Tennessee, where Bill Miller cut his contribution. Providing the instrumental backing for most of the album are Greg Leisz (steel guitar, guitars), Keefus Ciancia (keyboards), Patrick Warren (keyboards for the L.A. sessions), Jay Bellerose (drums) and Dave Piltch (bass).
TRACKLIST:
As Long as the Grass Shall Grow – Gillian Welch & David Rawlings
Apache Tears – Emmylou Harris w/The Milk Carton Kids
Custer – Steve Earle w/The Milk Carton Kids
The Talking Leaves – Nancy Blake w/ Emmylou Harris, Gillian Welch & Dave Rawlings
The Ballad of Ira Hayes – Kris Kristofferson w/ Gillian Welch & David Rawlings
Drums – Norman Blake w/ Nancy Blake, Emmylou Harris, Gillian Welch & David Rawlings
Apache Tears (Reprise) – Gillian Welch & Dave Rawlings
White Girl – The Milk Carton Kids
The Vanishing Race – Rhiannon Giddens
As Long as the Grass Shall Grow (Reprise) – Nancy Blake, Gillian Welch & Dave Rawlings
Look Again to The Wind – Bill Miller
No other technology has held a thematic sway over roots and county music like the the railway system (okay, maybe distilling) The train has been a symbol of freedom that has catured the iamginction of songwrietrs or generations.
In celebrate National Train day here are some my personal and fan picked favorites.
As a teenager Eaglesmith hopped a freight train out to Western Canada, and began writing songs and performing. It;s natural he’d write a great son about them.
Steve Earle’s post-addiction and post-prison is arguably his best. The GRAMMY-nominated “Train a Comin’ featured older material written when Earle was in his late teens but it;s maturity is evident in songs like “Sometimes She Forgets,” Mercenary Song,” and “Mystery Train part II” whose lyrics finished the day it was recorded.
“Orphan Train” tells the story of the orphan trains operated between 1853 and 1929, relocating about 250,000 orphaned, abandoned, or homeless children to foster homes located largely in rural areas of the Midwest. Julie Miller adds just the right atmosphere to this contemporary dirge,
500 Miles is a folk classic credited to Hedy West and made popular by acts like Peter, Paul and Mary (it was the second track on their US #1, May 1962 debut album).A slightly altered version was a hit by Bobby Bare in 1963. Roseanne Cash does a hulluva version from her release “The List.”
Billy Joe Shaver, with his late son Eddie picking in the strat, made an instant classic with this one.
https://www.youtube.com/watch?v=LpEElGVgv24
Guy Clark wrote “Texas – 1947†bout the first time a diesel sped through his hometown of Monahans in West Texas.
“Ben Dewberry’s Final Run” by Andrew Jenkins was covered by Johnny Cash, Jerry Douglas, Steve Forbert, Bill Monroe, Jimmie Rodgers and Hank Snow. Gillian Welch and Dave Rawlings give it fine turn.
Orange Blossom Special” is a classic by Johnny Cash. Johnny burns up the mouth harp on this one at San Quentin.
City of New Orleans” is a folk song written by Steve Goodman describing a train ride from Chicago to New Orleans. Arlo Guthrie had a hit with i on his 1972 album Hobo’s Lullaby. The way I see it, when Willie Nelson does a song it stays done.
https://www.youtube.com/watch?v=SnU2Tmqqv9g
John Carter Cash, son of Johnny and June Carter and owner and operator of Cash Productions, LLC and the Cash Cabin Studio in Hendersonville, Tennessee, has told the Guardian that that there is enough material left in the archives of his late father for several more posthumous albums and enough outtakes from the American Recordings sessions to fill another multi-disc box set.
Carter Cash said, There are a few things that are in the works right now – probably four or five albums if we wanted to release everything. There may be three or four albums worth of American Recordings stuff, but some of it may never see the light of day.â€
Rick Rubin said: “We released the work we had been planning to release along with John [Carter Cash] and the idea of the Unearthed boxset of outtakes was his idea. We will probably put out additional Unearthed material recorded since the last Unearthed box, in keeping with John’s wishes.â€
Here a John Carter Cash interview with country925fm where he discusses more releases.
The most recent posthumous Johnny Cash album is “Out Among The Stars,” featuring 12 previously unreleased recordings from sessions in 1981 and 1984, on sale now.
On March 25, Columbia/Legacy will release “Out Among the Stars,” an album of lost songs recorded by Johnny Cash in the early 1980s produced by Billy Sherrill.
You can now see a video for the album cut “She Used to Love Me a Lot”, directed by filmmaker John Hillcoat (the man behind The Proposition, The Road, and Lawless as well as music videos for Nick Cave, How to Destroy Angels, Depeche Mode, and others)
The video is a collection of snapshots of the American Cash championed in song and deed intercut with shots of the Man in Black himself.
In Hillcoat words from an accompanying statement:
The lyrics seemed to speak to America as it is now, to the nation that loved him and to the great divide he fought so hard against. This divide has only grown exponentially since he died, so we wanted to show America under this stark light and as a homage to the very reason Cash always wore black: to the shameful increase of the disenfranchised and outsiders. At the same time, we wanted to reference the great man’s own struggle and journey from the love of his life to the burnt out ruins of his infamous lake house home, personal photographs, the cave where he tried to take his life but then turned it all around, the place he last recorded in and his last photo before his passing.
“She Used to Love Me a Lot” was written by Dennis Morgan, Charles Quillen, and Kye Fleming. In 1984, David Allan Coe was recorded the song on his album “Darlin’, Darlin”. Listen to the Elvis Costello remix of Cash’s version here.
As I posted a few months ago March 25 Columbia/Legacy will release a “lost” Johnny Cash album of 12 shelved recordings from the early 80s produced by Country Music Hall of Fame member Billy Sherill.
Putting aside the question “does a Johnny Cash need a remix?,” on March 11, a cut from the album, “She Used to Love Me a Lot” will be released on a 7″ with the below remix by Elvis Costello. The remix does appear on the album.
The recordings were unearthed by the label and Cash’s son John Carter Cash in 2012. It includes duets with both Waylon Jennings and June Carter Cash. Two tracks are credited as being written by Johnny Cash, “Call Your Mother” and “I Came to Believe”.
Listen to the original version of “She Used to Love Me a Lot”:
I’ve been hearing about Ken Burns’ new project focusing on Country Music for over a ear. Now PBS has made it a realty b announcing that the anticipated documentary, succinctly called called “Country Music,” will air in 2018.
That will be about 5 years worth of work on the one series. Sure that’s a long time
but it helpes to keep in mind that it’s a year less than he spent on his ten-episode miniseries detailing jazz. And given Burn’s attention to detail ranging from The Civil War and the history of baseball it’s satisfying to see that there is care being applied ot a genre we all love.
The origins and fundamentals of roots, folk and country music are vast . deep at least as deep and vast as many of the topics Burns has tackled before. I have faith that this is going to be a fascinating (and lengthy) series.
From the release “The country series explores the question, “what is country music.” It will track the careers of the Carter family, Jimmie Rodgers, Bob Wills, Hank Williams, Johnny Cash, Willie Nelson and others.”
“For over a century, country music has been a pivotal force in American culture, expressing the hopes, joys, fears and hardships of everyday people in songs lyrical, poignant and honest,” said PBS President Paula A. Kerger. “It is fitting that we have two of America’s master storytellers, Ken Burns and Dayton Duncan, tell the story on film of an art form that for generations has told America’s story in song.”
The documentary will follow the rise of bluegrass music with Bill Monroe and note how one of country music’s offspring – rockabilly – mutated into rock and roll in Memphis. It will show how Nashville slowly became not just the mecca of country music, but “Music City USA.” All the while, it will highlight the constant tug of war between the desire to make country music as mainstream as possible and the periodic reflexes to take it back to its roots.
That;s the part that will be interesting to me, how Burns handles the splinter threads of the genre. The aforementioned Bluegrass The Outlaws, Bakersfield and, as Steve Earle helped shepherd and deemed, “Great Credibility Scare of the Mid-1980s.”
The 55th Annual GRAMMY Awards draws nigh. That famous night that the National Academy of Recording Arts and Sciences put on the most glitzy industry trade show. Though Americana and roots music comes to mind when you think of the GRAMMYs but there have been some great moments if you were paying attention.
Here are a few of my favorite GRAMMY moments over the years. Leave your in the comments, I’d love to hear about them.
Boston-based folk-pop performer Linda Chorney does the seemingly impossible and snags a 2011 nomination for the GRAMMY for Americana Album of the Year by employing elbow grease, sleepless nights and the Internet. This sets social media tongues wagging and puts PR pros and other music industry gatekeepers on their heels.
Extraordinary newcomer John Fullbright was nominated for a 2012 Americana Album of the Year GRAMMY for his debut studio full-length “From The Ground Up.†After his passionate performance of “Gawd Above” he lost out to the legendary Bonnie Raitt. Afterwords he said with a smile “If I’m going to lose Bonnie Raitt is the one I want to lose to.”
It appeared to be just a jam between two great roots acts, Mumford & Sons and The Avett Brothers. The ands joined together and the true intension was revealed as they backed Bob Dylan on “Maggie’s Farm” at the 2011 GRAMMYS.
https://vimeo.com/20567315
In a heartfelt 2012 GRAMMY tribute in honor of Levon Helm and the victims of Sandy Hook shooting Elton John, Mumford & Sons, Mavis Staples, Zac Brown , Alabama Shakes singer Brittany Howard and T Bone Burnett came together for a passionate rendition of The Band’s ” classic ” The Weight.”
http://www.youtube.com/watch?v=yunfRRZXRuc
After years of lingering in a career slump Johnny Cash scores the GRAMMY for Best Contemporary Folk Album in 1995 giving the latter part of Cash’s career much deserved attention and a spirit of vitality.
http://www.youtube.com/watch?v=tuRYmUBUwCo
This bonus moment goes out to Arlene – “O Brother Where Art Thou” Grammy Performance (2002)
Johnny Cash vast discography is not quite complete.
This march the Cash estate will release “Out Among the Stars,” a 12-track album that Cash recorded between 1981 and 1984 with producer fellow he Country Music Hall of Fame member Billy Sherill. Sherill, was also president of CBS Records Nashville at the time of the recordings.
This, of course is great news. but it gives me pause that Sherill was one of the architects of the “countrypolitan”
The upside is that the restoration of the album was handled by John Carter Cash with co-producer/archivist Steve Berkowitz along with Carlene Carter, Cash collaborator Marty Stuart, Jerry Douglas and Buddy Miller.
Speaking to the Associated Press, John Carter Cash said, “It was the ‘Urban Cowboy’ phase. It was pop country, and dad was not that.” Cash and archivists at Legacy Recordings first came upon the Out Among the Stars tapes last year. The recordings are just the latest gem from a massive personal archive that Johnny Cash and wife June Carter Cash recorded together throughout their careers.
Among the highlights of Out Among the Stars: a duet with Waylon Jennings and two featuring June Carter Cash.
“We were so excited when we discovered this,” said the younger Cash. “We were like, my goodness this is a beautiful record that nobody has ever heard. Johnny Cash is in the very prime of his voice for his lifetime. He’s pitch perfect. It’s seldom where there’s more than one vocal take. They’re a live take and they’re perfect.”
In spite of the records greatness, Columbia Records choose to indefinitely shelve the release and Cash was dropped from the label in 1986. Cash career withstood this indignity and he is now regarded as one of the most influential musicians of the 20th century.
“Out Among the Stars” Track Listing
01 Out Among the Stars
02 Baby Ride Easy [ft. June Carter Cash]
03 She Used to Love Me a Lot
04 After All
05 I’m Movin’ On [ft. Waylon Jennings]
06 If I Told You Who It Was
07 Call Your Mother *
08 I Drove Her Out of My Mind
09 Tennessee
10 Rock and Roll Shoes
11 Don’t You Think It’s Come Our Time [ft. June Carter Cash]
12 I Came to Believe *
* Written by Johnny Cash
