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The redemption he found came from the love of a good woman (June Carter, the co-author of Ring Of Fire; the woman whose family also helped him overcome his addictions,) and in the shape of Bob Johnston, the new head of production at Columbia records. Cash had been playing prisons, along with the aforementioned Carter Family since the early 60s but these were considered risky events, not fit for public consumption. Cash knew that his empathy with incarcerated men drove him to performance levels that couldn't be matched by studio work. The new producer ok'ed the project and, backed by his Tennessee Three, June (now soon to be his wife), The Statler Brothers and Carl Perkins, he prepared for two shows.
Until now the only evidence of this day was mainly drawn from the first set where Cash - who by this time had garnered a reputation for diffident shows and even non-appearances - was on incredible form. This set (recorded at 9.40 in the morning!) of course had to include his 1955 hit, Folsom Prison Blues (the one where he shoots a man in Reno "just to watch him die"). You can imagine the reception.
Cash was determined to stand face to face with the gravity of the situation (he'd never served time, incidentally, but had seen the inside of jail cell). He played songs that dwell on darkness (Dark As A Dungeon) and the pathos of a life spent behind bars (Green Green Grass Of Home). But on this expanded edition we can hear the profanities he trades with the prisoners while ever-mindful to inject fun into proceedings with Egg Sucking Dog, Flushed From The Bathroom Of Your Heart, his duet of Jackson with June or the literal gallows humour of 25 Minutes To Go. Capping the performance is Greystone Chapel, rehearsed only the day before. It was written by Glen Sherley (a key figure in Cash's fight for prison reform), who was doing time in Folsom for armed robbery.
On its release, At Folsom Prison was lauded by critics who reached far beyond the country mainstream. He now spoke to a generation who now wanted more than just pop, seeing him as a true people's champion. These raw, honest performances made him a legend and this legacy edition (which includes both a DVD and the entire, somewhat exhausted, second performance) can only add to that. --Chris Jones
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Customer Reviews
Generally, it is annoying when songs get interrupted, but here, where nearly every otehr song has an interruption of some sort, they are welcome. Cash's interaction with the crowd, his responses to their shouts mid-song, and humourous remarks are really what make this album great.
There are even interruptions from the prison tannoy system, barking out prisoner numbers and telling them to go to reception. This gives it a stark reality.
Fortunately, you also get some of the best Johnny Cash songs as well! It would obviously start with Folsom Prison Blues, but others like 25 minutes to go, cocaine blues, and Orange Blossom Special are incredibly good. Recorded in a prison seem to give Cash's songs more meaning.
It's also great to have June Carter pop in for a couple of songs, including Jackson, and it's great to hear her voice when she arrives.
Greystone Chapel is the last song on this album, and this performance was the first time it had ever been sung by Cash for a recording...history in the making!
Not only is this the best Johnny Cash album ever, it is one of the best albums ever created. Fun, meaningful, sad, exciting, buzzing, this is what a live album is all about.
'At Folsom Prison' was my first Johnny Cash record, and I can think of no better introduction to his work. The style and content of the songs are varied, yet they incorporate themes both fitting to the venue and the body of work completed to that date (Johnny Cash was to write many more classic songs after 1968!).
'At Folsom Prison' is one of the few live albums that feels free of either novelty and blandness, yet gives a brilliant picture of the artist. You'll find the crowds almost threateningly receptive to lines such as 'I shot a man in Reno/ just to watch him die', contrasted by ironic prison humour ('25 Minutes to go') and brilliantly tongue-in-cheek love songs ('Flushed...'). The recording is remarkably atmospheric and clear, drawing you into the performance and giving real poignancy to Cash's laconic observations on prison (and American) life.
There is not a single track that feels out of place or inappropriate. For example- far from detracting from the original recording, the bonus tracks add a deal of variety and structure to the album; particularly 'Busted' and 'John Henry' (watch out for the 'dirty minds' comment!). And the rest is as startling as it was upon first release; as such, standout tracks tend to occur when the audience is at their most captivated- the opening 'Folsom Prison Blues' and the dysfunctional, jaunty 'Cocaine Blues'.
Epic and focused, dark and humourous, edgy and restrained- 'At Folsom Prison' serves as a fitting example to the inherant contradictions in Johnny Cash's work, and thus, inadvertedly, his genius. The biased teenager in me still dislikes most country music- but Johnny Cash has a universal appeal, a deal of which can be found on this album. This album is a great introduction to a fine artist and a landmark recording. There is simply no excuse for not owning it!
Never has a live recording been so full of passion, raw music and attitude from both the artist, the band and the audience.
Cash will hold you with his electric renditions of songs with the band and his wife-to-be sounding fine, June Carter. PLEASE buy this album for a taste of true rock and roll, true country and true music at it's best with Johnny Cash. You will feel like you're there with the man. You WILL laugh, smile, tap your feet and feel strong emotion from all songs. Priceless.
Johnny goes to prison and walks the line. Read more
This 1968 live recording is a bombshell of album & I fully agree with all the... Read more
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