Tuesday, December 29, 2009

Duane Eddy

Duane Eddy (born April 26, 1938) is a Grammy Award-winning American guitarist. He was inducted into the Rock and Roll Hall of Fame in 1994. He's been called "Rock and Roll's all-time, #1 instrumentalist".

Born in Corning, New York, in 1938, he began playing the guitar at the age of five. His family moved west to Arizona in 1951.

Music

In early 1954, in Coolidge, Arizona, Eddy met local disc jockey, Lee Hazlewood, who would become his longtime partner, co-writer and producer. They moved to Phoenix. His first album, Have Twangy Guitar Will Travel, contained six hit singles, and remained on the charts for 82 weeks.

John Fogerty wrote in Rolling Stone about his style, "His sound is one of those untouchable, unique things...Duane Eddy was the front guy...the first real guitar god in rock & roll."

Eddy's song "Some Kind-a Earthquake" was the shortest song to ever break into the Top 40, clocking in at 1:17. His band, The Rebels, featured several notable musicians, including Steve Douglas and Jim Horn, pianist Larry Knechtel, and guitarist Al Casey.

On January 9, 1959, Eddy’s debut album, Have Twangy Guitar Will Travel, was released, reaching #5, and remaining on the album charts for 82 weeks. In 1960, the UK's "New Musical Express" voted him World's Number One Musical Personality, ousting Elvis Presley. That same year, he appeared in and recorded the theme for the movie Because They're Young. The song became Eddy's biggest success, peaking at #4. "Rebel 'Rouser" peaked at #6, and "Forty Miles Of Bad Road" peaked at #9 in 1958 and 1959, respectively.

Eddy recorded an album of completely acoustic music, Songs Of Our Heritage.

During the 1960s Eddy launched an acting career, appearing in the films A Thunder of Drums, The Wild Westerners, Kona Coast, The Savage Seven, and two appearances on the television series Have Gun — Will Travel. In the 1970s, he produced album projects for Phil Everly and Waylon Jennings. In 1975, a collaboration with hit songwriter Tony Macaulay and former founding member of The Seekers, Keith Potger, led to a worldwide top ten record, "Play Me Like You Play Your Guitar". The single, "You Are My Sunshine", featuring Willie Nelson and Waylon Jennings, hit the country charts in 1977.

In 1986, Eddy recorded with Art of Noise, remaking his 1960 version of Henry Mancini's Peter Gunn. The song was a Top Ten hit around the world, ranking #1 on Rolling Stone Magazine's dance chart for six weeks that summer. "Peter Gunn" won The Grammy for Best Rock Instrumental of 1986. It also gave Eddy the distinction of being the only instrumentalist to have had Top 10 hit singles in four different decades in Great Britain.

The following year, a new album, the self-titled, Duane Eddy, was released on Capitol. Several of the tracks were produced by Paul McCartney, Jeff Lynne, Ry Cooder, and Art of Noise. Guest artists and musicians included John Fogerty, George Harrison, Paul McCartney, Ry Cooder, James Burton, David Lindley, Steve Cropper, and original Rebels, Larry Knechtel and Jim Horn.

In the spring of 1994, Eddy was inducted into the Rock and Roll Hall of Fame. Eddy's was featured that same year in Forrest Gump. Oliver Stone's Natural Born Killers used "The Trembler", a track written by Eddy and Ravi Shankar.

In 1996, Eddy joined Hans Zimmer on the soundtrack of Broken Arrow.

In spring, 1997, Eddy was inducted into the Rockwalk, placing his handprints and signature into cement.

In 2004, he was presented with the Guitar Player Magazine "Legend Award". Eddy was the second recipient of the award, the first having been presented to Les Paul. Among those who openly acknowledge his influence are George Harrison, Dave Davies (The Kinks), Hank Marvin (The Shadows), The Ventures, John Entwistle (The Who), Bruce Springsteen, Adrian Belew, Bill Nelson (Bebop Deluxe), and Mark Knopfler.

Signature guitars

The Gretsch "Chet Atkins 6120" model has long been associated with Eddy.

Awards

  • Number One World Musical Personality in the NME Poll (UK) 1960
  • Rock and Roll Hall of Fame Member 1994
  • Grammy Winner Best Rock Instrumental Peter Gunn 1986[4]
  • Grammy Nomination Best Country Instrumental (Doc Watson album) 1992
  • Rockwalk Induction 1997
  • Presented with "Chetty" award by Chet Atkins 2000
  • Guitar Player Magazine Legend Award 2004
  • Musicians Hall of Fame Member 2008

Discography albums:

  • Have "Twangy" Guitar—Will Travel (#5) -- Jamie JLP-3000 (Mono)/JLPS-3000 (Stereo) -- 1958
Original album covers are white with Duane Eddy sitting on guitar case and LP title in white. 2nd pressings show the same cover with LP title in green and red; 3rd pressings are red album covers with Duane Eddy standing Note: It is very likely that so called "original" version white letter covers do not exist.
  • Especially For You (#24) -- Jamie JLPM-3006/JLPS-3006—1959
  • The "Twangs" the "Thang" (#18) -- Jamie JLPM-3009/JLPS-3009—1959
  • Songs of Our Heritage -- Jamie JLPM-3011/JLPS-3011—1960
Original copies feature gatefold covers, later replaced with regular covers. Also pressed in limited quantites of red vinyl and blue vinyl
  • $1,000,000.00 Worth of Twang (#10) -- Jamie JLPM-3014/JLPS-3014—1960
  • Girls! Girls! Girls! (#93) -- Jamie JLPM-3019/JLPS-3019—1961
Front cover features photos of Duane with Brenda Lee and Annette Funicello
  • $1,000,000.00 Worth of Twang, Volume 2 -- Jamie JLPM-3021/JLPS-3021—1962
  • Twistin' With Duane Eddy -- Jamie JLPM-3022/JLPS-3022—1962
  • Twistin' 'N' Twangin (#82) -- RCA LPM-2525 (Mono)/LSP-2525 (Stereo) -- 1962
  • Twangy Guitar - Silky Strings (#72) -- RCA LPM-2576/LSP-2576—1962
  • Surfin' -- Jamie JLPM-3024/JLPS-3024—1963
  • Duane Eddy & The Rebels—In Person -- Jamie JLPM-3025/JLPS-3025—1963
  • Dance with the Guitar Man (#47) -- RCA LPM-2648/LSP-2648—1963
  • "Twang" a Country Song -- RCA LPM-2681/LSP-2681—1963
  • "Twangin'" Up a Storm! (#93) -- RCA LPM-2700/LSP-2700—1963
  • 16 Greatest Hits -- Jamie JLPM-3026/JLPS-3026—1964
  • Lonely Guitar (#144) -- RCA LPM-2798/LSP-2798—1964
  • Water Skiing -- RCA LPM-2918/LSP-2918—1965
  • Twangin' The Golden Hits -- RCA LPM-2993/LSP-2993—1965
  • Twangsville -- RCA LPM-3432/LSP-3432—1965
  • The Best of Duane Eddy -- RCA LPM-3477/LSP-3477—1965
  • Duane-A-Go-Go -- Colpix CP-490 (Mono)/CPS-490 (Stereo) -- 1965
  • Duane Eddy Does Bob Dylan -- Colpix CPL-494/CPS-494—1965
  • The Biggest Twang Of All -- Reprise R-6218 (Mono)/RS-6218 (Stereo) -- 1966
  • The Roaring Twangies -- Reprise R-6240/RS-6240—1967
  • The Vintage Years -- Sire SASH-3707-2—1975
  • Pure Gold -- RCA ANL1-2671—1978
  • Duane Eddy -- Capitol ST-12567—1987
Film appearances
  • Because They're Young (1960)
  • A Thunder of Drums (1961)


Monday, December 28, 2009

Lonnie Mack

Lonnie Mack (born Lonnie McIntosh, 18 July 1941, Dearborn County, Indiana) is a rock and blues guitarist/vocalist. In the early 1960s, he recorded several full-length rock guitar instrumentals strongly grounded in the blues, the best-known of which are "Memphis", "Wham!", "Chicken Pickin'" and "Suzie-Q". Mack's instrumentals from this period formed the leading edge of the virtuoso "blues-rock" guitar genre.

The first of these, 1963's "Memphis", was described by music historian Richard T. Pinnell, Ph. D., as "a milestone of early rock guitar" and, in 1980, was ranked by Guitar World magazine as the premier "landmark" rock guitar recording to date. In 1992, music critic Jimmy Guterman rated Mack's first album, 1963's The Wham of that Memphis Man!, No. 16 in his book The 100 Best Rock 'n' Roll Records of All Time. Mack's solos influenced a generation of rock guitarists.

Lonnie Mack is also known for his "blue-eyed soul" ballads, and the diversity of his repertoire, which, at various times, emphasized country, blues, rockabilly, southern rock, R&B, roots-rock, bluegrass and gospel.

Mack released numerous singles and thirteen original albums from 1963 to 1990. He enjoyed commercial and critical success as a blues-rock recording artist during the 1960s and the latter half of the 1980s. However, an aversion to fame and its trappings led him to switch styles and even idle his career for lengthy periods. This may explain his simultaneous appearance, years later, in both "100 Greatest Rock Guitarists" and "Forgotten Greats and Unsung Heroes" lists. Today he is widely regarded as a ground-breaking rock guitarist, whose artistic impact far outreaches his commercial accomplishments.

Beyond his career as a solo artist, Mack recorded with The Doors, Stevie Ray Vaughan, James Brown, Freddie King, Joe Simon, Ronnie Hawkins, Albert Collins, Roy Buchanan, Dobie Gray and the sons of blues legend Arthur "Big Boy" Crudup, among others.

Career

Lonnie Mack's music career began in the mid-1950s. It included recordings of historical significance and followed a path marked by critical acclaim, periods of inactivity, rediscovery and comeback. Mack recorded as a featured artist from 1963 until 1990, and as a session musician from the early '60s until 2000. He performed often until recent years, and still appears at special events.

As a frontman, Mack has been described as rock’s first "virtuoso" lead guitarist and its first "guitar hero". Several other early rock guitarists, including Duane Eddy and Link Wray, have been described in similar terms. However, Mack's guitar recordings from the early 1960s are especially significant for having advanced the integration of blues guitar stylism (particulary in extended solos) into rock, thereby laying the groundwork of the virtuoso blues-rock guitar genre which took flight later in the decade.

By 1968, blues-rock had become the dominant rock guitar style, and Rolling Stone magazine had declared Mack to be "in a class by himself" as a rock guitarist. Today, critics view him as a pivotal figure in the history of rock guitar, having influenced every lead guitarist of his era, according to Guitar World magazine, "from Clapton to Allman to Vaughan" and "from Nugent to Bloomfield". His early vocal recordings also distinguish him amongst the "blue-eyed soul" singers of the 1960s.

Throughout his career, Mack's recordings reflected a unique mix of black and white musical roots. In a 1977 interview, Mack was asked about his merger of country and blues styles. "I think they're about the closest musics there are. They're the earth musics of the white and black people. Country is never gonna die, and neither is the blues---and rock and roll is a little bit of both." This often made Mack's music difficult to categorize stylistically. Music critic Alec Dubro summed it up: "Lonnie can be put into that 'Elvis Presley-Roy Orbison-early rock' bag. But mostly for convenience. In total sound and execution, he was an innovator".

Mack has sometimes been classified as a "rockabilly" or "southern rock" artist, for his many recordings blending roots-rock, country, rhythm & blues ("R&B") and blues styles. However, he also recorded entirely within single, distinct styles or genres, including country, roots-rock, classic R&B, soul, bluegrass, post-war urban blues and gospel music. In later years, Mack's approach to the combination of these genres was dubbed "roadhouse rock".

Musical influences

A few weeks before Mack's birth, his family moved from the Appalachians of southeastern Kentucky to the small share-cropping farm in southern Indiana where he was born and raised. Mack's parents and several close relatives were musicians, who instilled in him a love of bluegrass and traditional country music. Although there was no electricity on the farm, his family had a primitive battery-powered radio, and they were devotees of "The Grand Ole Opry" radio show. After the rest of the family had retired for the night, Mack would often log some radio time on his own, listening to early R&B and gospel music.

Mack began playing at the age of 7, using an acoustic guitar he had traded for a bicycle. While still a small child, he was playing guitar for tips at a hobo jungle near his home, and outside of the Nieman Hotel in nearby Aurora, Indiana.

Mack's mother was his earliest country guitar and singing influence, and a blind guitarist-gospel singer, Ralph Trotto, was his earliest musical mentor and blues guitar influence. In a 1992 interview, Mack recalled this period: "Back when I was 10 years old, my uncle, Harry Dawes, come in from Texas, and took me to see an old black man in northern Indiana. [He] played gut-bucket and slide and Robert Johnson-type guitar. I was into Merle Travis finger-pickin' style, and didn't realize I could adapt it over to some other kinds of music, but I learned from [him] how to do that. I got real happy about it, 'cause I thought I had something new. Then, all of a sudden, rockabilly came along, and I says, 'I been playin' that!' "

In several recordings, Mack refers to the influence (or his appreciation) of The Grand Ole Opry, Jimmy Reed, Ray Charles and Bobby "Blue" Bland. Early in his career, Mack recorded tunes by Reed, Charles and Bland. He has also cited '50s R&B vocalist Hank Ballard and country vocalist George Jones as singing influences. Mack recorded tunes by each of them as well. Various sources have noted that Mack's playing shows influences of R&B guitarist Robert Ward of the Ohio Players, electric blues guitarist T-Bone Walker (one of whose tunes he recorded), country guitarist Merle Travis and jazz guitarist Les Paul. Finally, Mack's highest-charting single, the 1963 instrumental "Memphis", was based on the melody of a Chuck Berry tune.

Early career

Mack dropped out of school at the age of 13, after an altercation with a teacher. In his mid-teens he began performing in roadhouse venues in and around Cincinnati, Ohio.

During the same period, Mack played guitar on two country recordings, "Too Late to Cry" and "Hey, Baby", with his cousins, Aubrey Holt, Harold Sizemore and Harley Gabbard. According to one source, the Sage label released these singles in March 1959, when Mack was 17. As a teen-aged solo artist in the late '50s, Mack recorded a cover of Clarence Poindexter's 1943 western swing hit, "Pistol-Packin' Mama" on the Dobbs label. These early, low-circulation Mack recordings have been out-of-print for decades.

In 1958, Mack bought the seventh Gibson Flying V guitar from the first run produced by that firm, which he used almost exclusively during his career. Mack, who is of both Scottish and Native American ancestry was attracted to the arrow-shaped instrument because of pride in his Indian heritage. The 1958 Flying V model is now considered highly collectible, only 81 of them having been shipped during that first year of its production.

By the late 1950s, Mack had assembled a band, and they were soon performing regularly throughout Kentucky, Indiana and Ohio, playing R&B-tinged rock & roll. In the early 1960s, Mack shortened his name from "McIntosh" to "Mack" and named his band "The Twilighters", after the Hamilton, Ohio club where they had a steady engagement.

About the same time, Mack started working as a session artist for Fraternity, a small record label in Cincinnati. There, he played guitar on a number of singles by local recording artists, including Max Falcon, Beau Dollar and the Coins, Denzil Rice and Cincinnati's prominent female R&B trio, The Charmaines. Several of these recordings are found on compilation CDs entitled Lonnie Mack: From Nashville to Memphis (Ace, 2004) and Gigi and the Charmaines (Ace, 2006).

"Memphis", "Wham!" and the birth of the blues-rock guitar

On March 12, 1963, at the end of a recording session with The Charmaines, Mack was invited to use the remaining twenty minutes of studio rental time. He recorded a bluesy, rockabilly guitar instrumental loosely based on Chuck Berry's 1959 UK vocal hit, "Memphis, Tennessee".

By the time "Memphis" was first broadcast in the Spring of 1963, Mack had already forgotten recording it and was engaged in a nation-wide performing tour with singer-songwriter Troy Seals. He did not know the tune had been released until a friend located him on tour, and told him it was climbing the charts. In a 1977 interview, Mack recalled: "I was completely taken by surprise. I never listened to the radio. I had no idea what was happening".

By late June, "Memphis" had risen to No. 4 on Billboard's R&B chart and No. 5 on Billboard's Pop chart. Up to that point in time, only two other rock guitar instrumentals had penetrated Billboard's "Top 5".

Still in 1963, Mack released "Wham!", a gospel-inspired guitar instrumental, which reached No. 24 on Billboard's Pop chart in September. He soon recorded several more full-length rock guitar instrumentals, including "Suzie Q", "Down in the Dumps", "Nashville", "Tension" and "Lonnie On The Move" in 1963 and "Chicken Pickin'" and "Coastin'" in 1964. Mack used a Bigsby tremolo arm on "Wham!" and several other tunes to achieve sound effects so distinctive for the time that the tremolo arm became better-known as the "whammy bar". To enhance the vibrato on these tunes, he employed a variant of Robert Ward's distortion technique, using a 1950s-era tube-fired Magnatone amplifier to produce a "rotating, fluttery sound".

According to music historian and guitar professor Richard T. Pinnell, Ph. D., Mack's expression of "blues stylism" in "Memphis" was "unique" in the history of rock guitar to that point, producing a tune that was both "rhythmically and melodically full of fire" and "one of the milestones of early rock and roll guitar".

Although the term "blues-rock" had not yet come into common usage in 1963, "Memphis" is now widely regarded as the first genuine hit recording of the blues-rock guitar genre. "Wham!" soon became the second.

Many prominent electric lead guitarists were influenced by these recordings early in their careers. In 1963, 17-year-old Duane Allman played "Memphis" repeatedly in his military academy dorm-room, stopping it, starting it, and slowing it down to play along, until he had finally mastered it. As a teenager, Stevie Ray Vaughan did the same with "Wham!". Later, Vaughan recorded covers of both "Wham!" and "Chicken-Pickin'". Western Swing guitarist Ray Benson, frontman for eight-time Grammy-winner Asleep at the Wheel, recounted a similar story, describing Mack as "my guitar hero".

"Blue-Eyed Soul" ballads

Mack's first recording successes were instrumentals. However, his roadhouse performances typically included both vocals and instrumentals. Accordingly, in 1963, Fraternity allowed Mack to record a number of tunes featuring his singing talents. Although Mack ultimately became better known for his guitar recordings, his early "blue-eyed soul" vocal recordings were critically acclaimed.

R&B radio stations throughout the South played Mack's gospel-inspired version of the soul ballad "Where There's a Will" in 1963, until he was invited to give a live radio interview with a prominent R&B disc jockey in racially-polarized Birmingham, Alabama. Mack recalls that when he appeared at the radio station, the DJ took one look at him, then said, "Baby, you're the wrong color", and canceled the interview on the spot.

After that, Mack recalls, there was a precipitous drop in the airplay time devoted to his vocal recordings on R&B radio stations. Fraternity delayed release of one of his signature soul ballads, "Why?" (recorded in 1963), as a single, until 1968, and then only as the "B" side of a re-release of "Memphis". As recently as 2001, one music critic characterized "Why?" as one of the "lost rock & roll masterpieces".

Despite the de facto blacklisting of Mack's vocal recordings on R&B radio stations, his 1963 cover version of Jimmy Reed's "Baby, What's Wrong," became a modest crossover pop hit (Billboard Pop, No. 93), particularly in the Midwest, Fraternity's traditional distribution market.

After the 1960s, Mack recorded fewer "pure" blues and soul ballads, and more country and rockabilly vocals.
Mack's mature singing style has been variously described as a "country-esque blues voice", and the "impassioned vocal style of a white Hoosier with a touch of Memphis soul". 1983's Live at Coco's contains several bluesy vocals in this style, including a version of T-Bone Walker's "Stormy Monday". Other examples include Mack's own soul ballad, "Stop", on 1985's Strike Like Lightning, and a gospel-drenched version of Wilson Pickett's "I Found a Love" on 1990's Live: Attack of the Killer V.

The Wham of that Menlhis man!

During 1963, after the release of "Memphis" and "Wham!", Mack returned to the studio several times to cut additional recordings, including instrumentals, vocals and ensemble tunes. Fraternity packaged several of these, along with his 1963 singles, into an album entitled The Wham of that Memphis Man!.

Mack played the guitar solos in a rapid, seamless and precise style. His vocals were strongly influenced by Black gospel music. All of the tunes were backed by bass guitar and drums, and many also featured keyboards and a Stax/Volt-style horn section. Several cuts included an R&B backup chorus, provided by The Charmaines. In his book, The 100 Best Rock 'n' Roll Records of All Time, Jimmy Guterman ranked the album No. 16, saying:

The first of the guitar-hero records is also one of the best. And for perhaps the last time, the singing on such a disc is worthy of the guitar histrionics. Lonnie Mack bent, stroked, and modified the sound of six strings in ways that baffled his contemporaries and served as a guide to future players. His brash arrangements insure that [the album] remains a showcase for songs, not just a platform for showing off. Mack, who produced this album, has never been given credit for the dignified understatement he brought to his workouts.

The Wham of that Memphis Man!
was released within weeks of the beginning of the British Invasion. Competing with likes of the Beatles and the Rolling Stones was an obstacle encountered by many, but Mack faced an additional challenge: In the words of critic John Morthland, "It was the era of satin pants and histrionic stage shows, and all the superior chops in the world couldn't hide the fact that [Mack] probably had more in common with Kentucky truck drivers than he did with the new rock audience". The Wham of that Memphis Man! has been reissued at least ten times, most recently in 2008. However, most of Mack's Fraternity recordings are not found on the album. Fraternity continued to release additional Mack singles during the 1960s, but never issued another album. Some of his Fraternity sides, including some alternate takes of tunes released in the 1960s, were first released three or four decades after they were recorded, on a series of Mack compilation albums.

Historical significance of Mack's guitar solos

In July, 1980, seventeen years after "Memphis" was first released, the editors of Guitar World magazine ranked it the premier "landmark" rock guitar recording of all time, immediately ahead of full albums featuring guitarists Mike Bloomfield, Elvin Bishop, Jimi Hendrix and Eric Clapton.

Mack's guitar style was a significant influence on guitarists Duane Allman, Stevie Ray Vaughan, Dickie Betts, Neil Young, and Ted Nugent, among others. It is also said to have had a profound influence upon the history and development of rock guitar, generally:

Transition period

In the mid-1960s, the public's musical tastes shifted radically due to the initial, "pop" phase of the "British Invasion". However, during the same period, the "folk music" movement in the US and the popularity of Black musical forms in both the US and the UK expanded the appeal of classic rural and urban blues among young whites of the baby boom generation.

Soon, a handful of predominantly white blues bands rose to prominence, including John Mayall's Bluesbreakers in the UK and The Paul Butterfield Blues Band in the US. During the mid-through-late 1960s, a new generation of electric blues guitarists emerged, including Jeff Beck, Eric Clapton, Jimi Hendrix and Jimmy Page, most of whom were, or soon became, frontmen for blues-based rock bands. The late 1960s witnessed the appearance of many such bands, most of which showcased the virtuosity of their lead guitarists. These included the enormously successful "power trios": Cream and The Jimi Hendrix Experience. By that point, blues-rock was recognized as a distinct and powerful force within rock music on both sides of the Atlantic. In 1968, these developments led to the rediscovery of Lonnie Mack's seminal blues-rock guitar recordings of the early 1960s.

Still in the mid-1960s, Mack released a succession of new singles on Fraternity, but none were major hits. During this time, Mack built a portfolio as an R&B recording-session guitarist. He worked with Cincinnati's premier record label, Syd Nathan's King Records, playing second guitar on a number of King-label recordings by blues singer-guitarist Freddie King, and lead guitar on several King-label recordings by "The Godfather of Soul", James Brown. Brown's band can be heard accompanying Mack on 1967's "Stone Fox"; beyond that, however, it was a Lonnie Mack R&B guitar instrumental. At the same time, Mack worked steadily as a session guitarist for John Richbourg's Soundstage 7 Productions in Nashville, backing soul singer Joe Simon and several other Richbourg R&B acts on Monument Records. He also played lead guitar on several Fraternity recordings of Cincinnati blues singer Albert Washington. None of the Washington tunes were major hits at home, but one featuring Mack's guitar ("Turn On The Bright Lights"), reportedly stayed on the pop charts in Japan for several years and all were later reissued in the UK.

Re-discovery

In 1968, with the blues-rock movement approaching full force, Mack entered into a multi-record deal with Los Angeles' Elektra Records, and relocated to the West Coast. The November 1968 edition of the Rolling Stone contained a major feature article on him, including a highly complimentary ("As a rock guitarist, Lonnie Mack is in a class by himself") review of his 5-year old Fraternity album, urging Elektra to reissue it. In 1970, Elektra obliged, reissuing The Wham of that Memphis Man!, with two additional 1964 tracks, under the title For Collectors Only. An October 1970 review of For Collectors Only in Rolling Stone compared Mack's guitar work to "the best of [Eric] Clapton".

The Wham of that Memphis Man!
remains Mack's most significant early album. In 1987, Gregory Himes of The Washington Post wrote: "With so many roots-rock guitarists trying to imitate this same style, this album sounds surprisingly modern. Not many have done it this well, though."

The Elektra years

Mack recorded three new albums with Elektra, including Glad I'm in the Band and Whatever's Right, both released in 1969. These were eclectic collections country and soul ballads, blues tunes, and updated versions of earlier recordings. In contrast to The Wham of that Memphis Man, both 1969 albums emphasized Mack's vocals and de-emphasized his guitar work. Only two instrumentals appear on these albums, a full-length blues guitar piece on Glad entitled "Mt. Healthy Blues", and a re-make of "Memphis". Despite the shift in musical emphasis, Mack's output from this period was well-received. This, from a contemporary assessment of Glad:


Mack's taste and judgement are super-excellent. Every aspect of his guitar bears a direct relationship to the sound and meaning of the song. [H]is voice is strong without straining and of great range and personality. [I]f this isn't the best rock recording of the season, its the solidest.


Representative of these two albums were two consecutive vocals on Whatever's Right. Mack sings Willie Dixon's "My Babe" in a soul style typical of that era. Within seconds of the closing measure on that tune, he begins his vocal on "Things Have Gone To Pieces", a country tune previously recorded by George Jones. He repeated the pattern in Glad by performing a country tune, "Old House", and the soul tune, "Too Much Trouble" in sequence. Mack continued to mix tunes in these and other genres throughout his recording career.

While still under contract to Elektra, Mack was invited to play on The Doors' 1970 album, Morrison Hotel. The original album's liner notes credited him with the electric bass parts on "Roadhouse Blues" and "Maggie M'Gill". However, in the ensuing years, some have questioned whether his contribution to the album stopped there.

Most of the speculation involves the tune "Roadhouse Blues". In an out-take (first released in 2006) from the first day of the recording session, the album's producer, Paul Rothchild, is heard bemoaning guitarist Robbie Krieger's efforts on the tune. Mack appeared the next morning, and the recording session resumed. On the take released with the 1970 album, singer Jim Morrison is heard calling out "Do it, Lonnie, do it" at the outset of a bluesy guitar break. Twenty years later, the band's drummer, John Densmore, wrote: Lonnie sat down in front of the paisley baffles that soak up the sound. A hefty guy with a pencil-thin beard, he had on a wide-brimmed hat that had become his trademark. Lonnie Mack epitomized the blues---not the rural blues, but the city blues; he was bad. "I'll sing the lyrics for you," Jim [Morrison] offered meekly. [Morrison] was unusually shy. We all were, because to us, the guitar player we had asked to sit in with us was a living legend.

Did Mack play more than bass guitar on this tune? Despite speculation to the contrary, the lead guitar on "Roadhouse Blues" remains officially credited to Robbie Krieger.

Mack's final Elektra album, The Hills of Indiana, was released in 1971. Foreshadowing the next decade of Mack's career, The Hills of Indiana represented a dramatic shift of focus away from R&B and blues-rock, towards the country end of the musical spectrum.

Flying "under the radar"

As the '70s began, Mack briefly assumed a "Chet Atkins-Eric Clapton role at Elektra, doing studio dates, producing and A&R."

In this capacity, Mack introduced Elektra to a number of artists from Nashville, Memphis and Muscle Shoals, Alabama, and Elektra flirted with the idea of starting a new label to record them. Mack also became involved in producing gospel singer Dorothy Combs Morrison, formerly lead vocalist for the Edwin Hawkins Singers of "Oh Happy Day" fame. Mack recorded Morrison singing a gospel version of "Let It Be" before The Beatles released their own version, and urged Elektra to release it immediately. However, corporate red-tape at Elektra delayed the release, and The Beatles were first-to-market. Undeterred, he urged Elektra to capitalize on The Beatles' success by releasing Morrison's version next. When further delays at Elektra allowed the next release to be Aretha Franklin's own gospel version, Mack resigned his corporate job.

By that point, Elektra had put together an old-fashioned whistle-stop tour of Mack's band, along with Mack's Memphis and Muscle Shoals artists, to be billed as "The Alabama State Troupers and Mount Zion Choir". According to Elektra producer Russ Miller, Mack disappeared six days before the tour was to begin. When Miller found him holed-up on a rustic, backwoods farm in Kentucky, Mack refused to join the tour, citing a dream in which he was hounded by the Devil, and from which he awoke to find his Bible opened to the passage: "Flee ye from Mount Zion". Years later, Miller recalled: "[Lonnie's] a real country boy. [T]hat was it for Lonnie".

Thus began a lengthy period of near-seclusion, during which Mack performed only sporadically, and recorded almost exclusively in a markedly pastoral, country-inflected style which reportedly disappointed his fans from the '60s. Fourteen years were to pass before Mack released another blues-rock album. The lyrics of several Mack tunes shed light on his decision to withdraw from the spotlight at age 29, accolades in hand and his star as a rock guitarist still rising. According to one tune, he yearned for the simple, anonymous, country life of his youth. According to another, "L. A. made me sick". In a third, Mack equated the pursuit of "fortune and fame" with selling one's soul to Satan. In a 1977 interview, Mack added:

Man, I ain't never had so much junk [as I had then]. Seems like the times I've been happiest in my life is when I've possessed the least. The best way to do it is to just never own nothing. I just want to pick. I don't have to prove anything. The way I see it, I'd rather get close [to fortune and fame] a whole bunch of times and back off, than go all the way and have nothing else to look forward to....Seems like every time I get close to really making it, to climbing to the top of the mountain, that's when I pull out. I just pull up and run.

In 1973, Mack teamed up with Rusty York on a traditional bluegrass LP, Dueling Banjos (QCA No. 304). Unavailable for over 30 years, Jewel Records re-issued it on CD in 2009 (JRC 920011). It contains 16 bluegrass standards in a dueling-banjos format, with guitar and fiddle. Mack played guitar on all 16 cuts and provided the sole vocal track ("I'll Fly Away") on this otherwise instrumental album.


In 1974, Mack played lead guitar in Dobie Gray's band. Gray is best-known for his hit tunes, "The 'In' Crowd" (later covered by The Ramsey Lewis Trio and others), "Drift Away" and "Loving Arms". As a Nashville-based black artist who wrote and performed both country and R&B material, his career can be seen as a mirror-image of Mack's. Mack's guitar work from this period can be found on Gray's 1974 album Hey, Dixie. Mack wrote or co-wrote four tunes on the album, including the title track. In March 1974, Mack performed as a member of Gray's band at the last broadcast of The Grand Ole Opry from Nashville's Ryman Auditorium.

In 1975, Mack was shot during an altercation with an off-duty police officer. Mack's account of the incident is preserved in one of his better-known late-career tunes, "Cincinnati Jail". According to the lyrics of that tune, the officer's car narrowly missed Mack while he was walking across a city street, whereupon Mack hit it on the fender, shouting "better slow it down!"; the officer stopped, emerged from his car, shot Mack "in the leg", then hauled him before a judge who threw him in jail. Mack recovered, but once again virtually disappeared from the music scene. During the next two years he neither recorded nor toured, but ran the "Friendship Music Park" in rural southern Indiana, which featured local bluegrass and traditional country artists.

In 1977, Mack signed with Capitol Records. There, he recorded Home at Last, a showpiece for his country ballads and bluegrass tunes. In 1978, he recorded another Capitol LP, Lonnie Mack with Pismo. A somewhat faster-paced album, Pismo featured country, southern rock and rockabilly tunes.

In 1979, Mack began working on an independent recording project with a friend, producer-songwriter Ed Labunski. The intended result was a country-pop album ultimately entitled South. However, Labunski died in an auto accident before the project was completed, and the unfinished album was not released for almost 20 years. Labunski's death also derailed Mack's and Labunski's plans to produce a young Texas blues-guitar prodigy named Stevie Ray Vaughan, who nonetheless was soon to become a key player in Mack's blues-rock comeback.

Shortly after Labunski's death, Mack traveled to Canada, where he entered into a six-month collaboration with American expatriate rockabilly artist Ronnie Hawkins. Hawkins is best known for having founded The Hawks, a popular Canadian roots-rock group which was later known as The Band. Mack's guitar work from this period can be heard on Hawkins' 1981 solo album, Legend In His Spare Time.

Comeback: strike like lightning

By the early 1980s, Mack had been largely absent from the blues-rock music scene for over a decade and his visibility as a recording artist had waned considerably. He chose this low point in his career to resume performing and touring, adopting a hard-driving blues-rock/rockabilly fusion style that became the cornerstone of his sound for the rest of his career.

His first album from this period was Live at Coco's, recorded in 1983. It is Mack's only mid-career roadhouse performance preserved on disc. Originally a "bootleg" recording, Mack sanctioned its commercial release in 1998. On Coco's, Mack and his band can be heard playing familiar tunes from the Fraternity era, lesser-known tunes from the '70s, tunes which appear on no other album (e.g., "Stormy Monday", "The Things I Used To Do" and "Man From Bowling Green") and tunes which did not appear on his studio albums until several years later (e.g., "Falling Back In Love With You", "Ridin' the Blinds", "Cocaine Blues" and "High Blood Pressure").

Still in 1983, Mack relocated to Texas, where he played regularly at venues in Dallas and Austin. Early in this period, Mack entered into a performing collaboration with the late Stevie Ray Vaughan. Little known outside of Texas in 1980, Vaughan's own career took off during this period; by 1985 he was an international blues-rock guitar sensation. Mack and Vaughan had first met in 1979, when Mack, acting on a tip from Vaughan's older brother, guitarist Jimmie Vaughan, went to hear him play at a local bar. Vaughan recalled the meeting in a 1985 interview:

I was playin' at the Rome Inn in Austin, and we had just hit the opening chords of "Wham!" when this big guy walked in. He looked just like a great big bear. As soon as I looked at his face, I realized who he was, and naturally he was blown away to hear us doing his song. [W]e talked for a long time that night. [Lonnie said] he wanted to produce us.

Mack and Vaughan became close friends after that first meeting. Despite the generation gap between them, Mack said that he and Vaughan "were always on the same level", describing Vaughan as "an old spirit...in a young man's body". Mack regarded Vaughan as his "little brother" and Vaughan said Mack was "something between a daddy and a brother". When Mack was stricken with a lengthy illness in Texas, Vaughan put on a benefit concert to help pay his bills; during Mack's recuperation, Vaughan and his bass-player, Tommy Shannon, personally installed an air-conditioner in his house.

In the purely musical sense, the relationship between Mack and Vaughan began long before they met. Vaughan said that "Wham!" was "the first record I ever owned",
that Mack was "the baddest guitar player I know", and that Mack "really taught me to play guitar from the heart". Vaughan's musical legacy includes four versions of "Wham!"---two solo versions and two dueling-guitar versions with Mack. He also recorded Mack's "If You Have To Know", and a take-off on "Chicken-Pickin", which Vaughan called "Scuttle-Buttin'".

Mack signed with Alligator Records in 1984, and, upon recovering from his illness, began working on his blues-rock comeback album, Strike Like Lightning. Mack and Vaughan co-produced the album. It became one of the top-selling independent recordings of 1985. Mack himself composed most of the tunes. Consistent with his live performance style, most of the cuts featured his vocals and driving guitar equally. Vaughan played second guitar on most of the album, and traded leads with Mack on "Double Whammy" and "Satisfy Susie". Both played acoustic guitar on Mack's "Oreo Cookie Blues".

Strike propelled Mack back into the spotlight at age 44. Much of 1985 found him occupied with a promotional concert tour for Strike which included guest appearances by Vaughan, Ry Cooder and both Keith Richards and Ronnie Wood of the Rolling Stones, among others. Videos of Mack and Vaughan playing cuts from Strike are found on YouTube and similar websites. In 2007, Sony's Legacy label released a 1987 "live" performance of Mack's "Oreo Cookie Blues" featuring Mack and Vaughan trading leads on electric guitar.

The Strike Like Lightning tour culminated in a Carnegie Hall concert billed as Further On Down the Road, a tip of the hat to Mack's 1964 recording by the same title. There, he shared the stage with blues guitar stylist Albert Collins and blues-rock guitarist Roy Buchanan. The concert was marketed on home video and remains available from Flying V Records on Mack's website.

Late career: Attack of the killer V

In 1986, Mack recorded another Alligator album, Second Sight, which featured both introspective and up-tempo tunes as well as an instrumental blues jam. In 1988, he moved to Epic Records, where he recorded the critically-acclaimed rockabilly album, Roadhouses and Dance Halls.

In 1990, Mack returned to Alligator to record a live blues-rock album, Attack of the Killer V, featuring two extended guitar solos and expanded renditions of earlier studio recordings. From one review: "This disc has everything that a great live album should have: a great talent on stage, an exciting performance from that talent, a responsive crowd and excellent sound quality...This is what live blues is all about!" Although Attack remains Mack's most recent recording as a featured artist, he continued to tour for several years. His most recent work as a session player can be found on the album Franktown Blues, recorded in 2000 by the sons of blues legend Arthur "Big Boy" Crudup. Mack played electric blues guitar on two cuts, "She's Got The Key" and "Jammin' For James".

Today

Despite reports of his demise, Mack lives in rural Tennessee, and is working on a memoir of his experiences as a rock & roll artist. Mack has not toured since 2002, but still occasionally performs at special events. On November 15, 2008, Mack was a featured performer at the Rock and Roll Hall of Fame's 13th annual Music Masters Tribute Concert, honoring electric guitar pioneer Les Paul.

Guitar style and technique

In the context of early '60s rock, Mack's extended guitar solos displayed exceptional speed, dexterity and improvisational skill. In Skydog: The Duane Allman Story, guitarist Mike Johnstone recalled the impact of Mack's playing upon rock guitarists in 1963: "Now, at that time, there was a popular song on the radio called 'Memphis'--an instrumental by Lonnie Mack. It was the best guitar-playing I'd ever heard. All the guitar-players were [saying] 'How could anyone ever play that good? That's the new bar. That's how good you have to be now'." Mack's guitar style is distinguished by "fingerstyle" and "chicken picking" techniques traditionally found in country, folk and bluegrass music, as well as lightning-fast runs and machine-gunned, whammy-fired climaxes pioneered by Mack himself. He manipulates the whammy bar with the little finger of his right hand, while picking at a 45-degree angle with the remaining fingers of the same hand, and bending the strings on the fret-board with his left. Stevie Ray Vaughan: "Nobody can play with a whammy-bar like [Mack]. He holds it while he plays and the sound sends chills up your spine". Although capable of "every finger-twisting blues lick, he doesn't show off; for most songs, he [plays] sustained melodies, and uses fast licks only at an emotional peak". In the early 1960s, Mack combined these stylistic and technical elements with powerful phrasing and "driving, complicated rhythms", to produce a radical new guitar style "now known...as blues-rock".

Discography
  • 1963: The Wham of that Memphis Man!
  • 1969: Glad I'm in the Band
  • 1969: Whatever's Right
  • 1971: The Hills of Indiana
  • 1973: Dueling Banjos
  • 1977: Home At Last
  • 1978: Lonnie Mack With Pismo
  • 1980: South (rel. 1999)
  • 1983: Live at Coco's (rel. 1999)
  • 1985: Strike Like Lightning
  • 1986: Second Sight
  • 1988: Roadhouses and Dance Halls
  • 1990: Attack of the Killer V
For more information over Lonnie Mack please visit his official website.

Johnny Cash

Johnny Cash (February 26, 1932–September 12, 2003), born J. R. Cash, was an American singer-songwriter and one of the most influential musicians of the 20th century. Primarily a country music artist, his songs and sound spanned many other genres including rockabilly and rock and roll (especially early in his career), as well as blues, folk, and gospel.

Cash was known for his deep, distinctive bass-baritone voice, the "chicka-boom" freight train sound of his Tennessee Three backing band, his demeanor, and his dark clothing, which earned him the nickname "The Man in Black". He traditionally started his concerts with the introduction "Hello, I'm Johnny Cash".

Much of Cash's music, especially that of his later career, echoed themes of sorrow, moral tribulation and redemption. His signature songs include "I Walk the Line", "Folsom Prison Blues", "Ring of Fire", "Get Rhythm" and "Man in Black". He also recorded humorous songs, such as "One Piece at a Time" and "A Boy Named Sue", a duet with June Carter called "Jackson", as well as railroad songs such as "Hey Porter" and "Rock Island Line."

Life

Heritage

Cash was of Scottish royal descent but he learned this only upon researching his ancestry. After a chance meeting with former Falkland laird, Major Michael Crichton-Stuart, he traced the Cash family tree to 11th century Fife, Scotland.]Cash Loch bears the name of his family. Scotland's

He had believed in his younger days that he was mainly Irish and partially Native American. Even after learning he was not Native American, Cash's empathy and compassion for Native Americans was unabated. These feelings were expressed in several of his songs, including "Apache Tears" and "The Ballad of Ira Hayes", and on his album, Bitter Tears.

Early life

Johnny Cash was born J. R. Cash in Kingsland, Arkansas, to Ray (1897-1985) and Carrie (née Rivers) Cash (1904-1991), and raised in Dyess, Arkansas.

Cash was given the name "J.R." because his parents could not agree on a name, only on initials. When he enlisted in the United States Air Force, the military would not accept initials as his name, so he adopted John R. Cash as his legal name. In 1955, when signing with Sun Records, he took Johnny Cash as his stage name. His friends and in-laws generally called him John, while his blood relatives usually continued to call him J.R.

Cash was one of seven children: Jack, Joanne Cash Yates, Louise Garrett, Reba Hancock, Roy, and Tommy. His younger brother, Tommy Cash, also became a successful country artist.

By the age of five, J.R. was working in the cotton fields, singing along with his family as they worked. The family farm was flooded on at least one occasion, which later inspired him to write the song "Five Feet High and Rising". His family's economic and personal struggles during the Depression inspired many of his songs, especially those about other people facing similar difficulties.

Cash was very close to his brother Jack, who was two years older. In 1944, Jack was pulled into a whirling table saw in the mill where he worked, and cut almost in two. He suffered for over a week before he died. Cash often spoke of the horrible guilt he felt over this incident. According to Cash: The Autobiography, his father was away that morning, but he and his mother, and Jack himself, all had premonitions or a sense of foreboding about that day, causing his mother to urge Jack to skip work and go fishing with his brother. Jack insisted on working, as the family needed the money. On his deathbed, Jack said he had visions of heaven and angels. Decades later, Cash spoke of looking forward to meeting his brother in heaven. He wrote that he had seen his brother many times in his dreams, and that Jack always looked two years older than whatever age Cash himself was at that moment.

Cash's early memories were dominated by gospel music and radio. Taught by his mother and a childhood friend, Cash began playing guitar and writing songs as a young boy. In high school he sang on a local radio station; decades later he released an album of traditional gospel songs, called My Mother's Hymn Book. He was also significantly influenced by traditional Irish music that he heard performed weekly by Dennis Day on the Jack Benny radio program.


Cash enlisted in the United States Air Force. After basic training at Lackland Air Force Base and technical training at Brooks Air Force Base, both in San Antonio, Texas, Cash was assigned to a U.S. Air Force Security Service unit, assigned as a code intercept operator for Soviet Army transmissions, at Landsberg, Germany. On July 3, 1954, he was honorably discharged as a sergeant. Then, he returned to Texas.

Vivian Liberto

On July 18, 1951, while in Air Force training, Cash met 17 year-old Vivian Liberto (April 23, 1934, San Antonio, Texas—May 24, 2005, Ventura, California) at a roller skating rink in her native San Antonio. They dated for three weeks, until Cash was deployed to Germany for a three year tour. During that time, the couple exchanged hundreds of pages of love letters.

On August 7, 1954, one month after his discharge, they were married at St. Anne's Catholic church in San Antonio. The ceremony was performed by her uncle, Father Vincent Liberto. They had four daughters: Rosanne (born May 24, 1955), Kathy (born April 16, 1956), Cindy (born July 29, 1958) and Tara (born August 24, 1961). Cash's drug and alcohol abuse, constant touring, and affairs with other women (including future wife June Carter) led Liberto to file for divorce in 1966.


June Carter

In 1968, 12 years after they first met backstage at the Grand Ole Opry, Cash proposed to June Carter, an established country singer, during a live performance in London, Ontario, marrying on March 1, 1968 in Franklin, Kentucky. He had proposed numerous times, but she had always refused. They had one child together, John Carter Cash (born March 3, 1970).

They continued to work together and tour for 35 years, until June Carter died in 2003. Cash died just four months later. Carter co-wrote one of his biggest hits, "Ring of Fire," and they won two Grammy awards for their duets.

Vivian Liberto claims a different version of the origins of "Ring of Fire" in I Walked the Line: My Life with Johnny, stating that Cash gave Carter the credit for monetary reasons.

Career

Early career

In 1954, Cash and Vivian moved to Memphis, Tennessee, where he sold appliances while studying to be a radio announcer. At night he played with guitarist Luther Perkins and bassist Marshall Grant. Perkins and Grant were known as the Tennessee Two. Cash worked up the courage to visit the Sun Records studio, hoping to get a recording contract. After auditioning for Sam Phillips, singing mostly gospel songs, Phillips told him that gospel was unmarketable. It was once rumored that Phillips told Cash to "go home and sin, then come back with a song I can sell," though Cash refuted that Phillips made any such comment in a 2002 interview. Cash eventually won over the producer with new songs delivered in his early frenetic style. His first recordings at Sun, "Hey Porter" and "Cry Cry Cry", were released in 1955 and met with reasonable success on the country hit parade.


Cash's next record, "Folsom Prison Blues", made the country Top 5, and "I Walk the Line" became No. 1 on the country charts and entered the pop charts Top 20. Following "I Walk the Line" was "Home of the Blues", recorded in July 1957. That same year Cash became the first Sun artist to release a long-playing album. Although he was Sun's most consistently best-selling and prolific artist at that time, Cash felt constrained by his contract with the small label. Elvis Presley had already left Sun, and Phillips was focusing most of his attention and promotion on Jerry Lee Lewis. The following year Cash left the label to sign a lucrative offer with Columbia Records, where his single "Don't Take Your Guns to Town" became one of his biggest hits.

In the early 1960s, Cash toured with the Carter Family, which by this time regularly included Mother Maybelle's daughters, Anita, June and Helen. June, whom Cash would eventually marry, later recalled admiring him from afar during these tours.

He also acted in a 1961 film entitled Five Minutes to Live, later re-released as Door-to-door Maniac.

Outlaw image

As his career was taking off in the early 1960s, Cash started drinking heavily and became addicted to amphetamines and barbiturates. For a brief time, he shared an apartment in Nashville with Waylon Jennings, who was heavily addicted to amphetamines. Cash used the uppers to stay awake during tours. Friends joked about his "nervousness" and erratic behavior, many ignoring the warning signs of his worsening drug addiction. In a behind-the-scenes look at The Johnny Cash Show, Cash claims to have "tried every drug there was to try."

Although in many ways spiraling out of control, Cash's frenetic creativity was still delivering hits. His rendition of "Ring of Fire" was a crossover hit, reaching No. 1 on the country charts and entering the Top 20 on the pop charts. The song was written by June Carter and Merle Kilgore. The song was originally performed by Carter's sister, but the signature mariachi-style horn arrangement was provided by Cash, who said that it had come to him in a dream.

In June 1965, his truck caught fire due to an overheated wheel bearing, triggering a forest fire that burned several hundred acres in Los Padres National Forest in California. When the judge asked Cash why he did it, Cash said, "I didn't do it, my truck did, and it's dead, so you can't question it." The fire destroyed 508 acres (2.06 km2), burning the foliage off three mountains and killing 49 of the refuge's 53 endangered condors. Cash was unrepentant: "I don't care about your damn yellow buzzards." The federal government sued him and was awarded $125,172 ($845,341 in current dollar terms). Cash eventually settled the case and paid $82,001. He said he was the only person ever sued by the government for starting a forest fire.

Although Cash carefully cultivated a romantic outlaw image, he never served a prison sentence. Despite landing in jail seven times for misdemeanors, each stay lasted only a single night. His most infamous run-in with the law occurred while on tour in 1965, when he was arrested by a narcotics squad in El Paso, Texas. The officers suspected that he was smuggling heroin from Mexico, but it was prescription narcotics and amphetamines that the singer had hidden inside his guitar case. Because they were prescription drugs rather than illegal narcotics, he received a suspended sentence.

Cash was also arrested on May 11, 1965, in Starkville, Mississippi, for trespassing late at night onto private property to pick flowers. (This incident gave the spark for the song "Starkville City Jail", which he spoke about on his live At San Quentin prison album.)

In the mid 1960s, Cash released a number of concept albums, including
Ballads Of the True West (1965), an experimental double record mixing authentic frontier songs with Cash's spoken narration, and Bitter Tears (1964), with songs highlighting the plight of the Native Americans. His drug addiction was at its worst at this point, and his destructive behavior led to a divorce from his first wife and canceled performances.


In 1967, Cash's duet with Carter, "Jackson", won a Grammy Award.

Cash quit using drugs in 1968, after a spiritual epiphany in the Nickajack Cave, when he attempted to commit suicide while under the heavy influence of drugs. He descended deeper into the cave, trying to lose himself and "just die", when he passed out on the floor. He reported to be exhausted and feeling at the end of his rope when he felt God's presence in his heart and managed to struggle out of the cave (despite the exhaustion) by following a faint light and slight breeze. To him, it was his own rebirth. June, Maybelle, and Ezra Carter moved into Cash's mansion for a month to help him conquer his addiction. Cash proposed onstage to June at a concert at the London Gardens in London, Ontario, Canada on February 22, 1968; the couple married a week later (on March 1) in Franklin, Kentucky. June had agreed to marry Cash after he had 'cleaned up'. Rediscovering his Christian faith, taking an "altar call" in Evangel Temple, a small church in the Nashville area, pastored by Rev. Jimmy Rodgers Snow, son of country music legend Hank Snow. Cash chose this church over many larger celebrity churches in the Nashville area because he said that there he was treated like just another parishioner and not a celebrity.

Folsom Prision Blues

Cash felt great compassion for prisoners. He began performing concerts at various prisons starting in the late 1960s. These performances led to a pair of highly successful live albums, Johnny Cash at Folsom Prison (1968) and Johnny Cash at San Quentin (1969).

The Folsom Prison record was introduced by a rendition of his classic "Folsom Prison Blues", while the San Quentin record included the crossover hit single "A Boy Named Sue", a Shel Silverstein-penned novelty song that reached No. 1 on the country charts and No. 2 on the U.S. Top Ten pop charts. The AM versions of the latter contained a couple of profanities which were edited out. The modern CD versions are unedited and uncensored and thus also longer than the original vinyl albums, though they still retain the audience reaction overdubs of the originals.

In addition to his performances at U.S. prisons, Cash also performed at the Österåker Prison in Sweden in 1972. The live album På Österåker ("At Österåker") was released in 1973. Between the songs, Cash can be heard speaking Swedish, which was greatly appreciated by the inmates.

"The Man in Black"

From 1969 to 1971, Cash starred in his own television show, The Johnny Cash Show, on the ABC network. The Statler Brothers opened up for him in every episode; the Carter Family and rockabilly legend Carl Perkins were also part of the regular show entourage. However, Cash also enjoyed booking more contemporary performers as guests; such notables included Neil Young, Louis Armstrong, Kenny Rogers and The First Edition (who appeared a record four times on his show), James Taylor, Ray Charles, Eric Clapton (then leading Derek and the Dominos), and Bob Dylan.

Cash had met with Dylan in the mid 1960s and became closer friends when they were neighbors in the late 1960s in Woodstock, New York. Cash was enthusiastic about reintroducing the reclusive Dylan to his audience. Cash sang a duet with Dylan on Dylan's country album Nashville Skyline and also wrote the album's Grammy-winning liner notes.


Another artist who received a major career boost from The Johnny Cash Show was songwriter Kris Kristofferson, who was beginning to make a name for himself as a singer/songwriter. During a live performance of Kristofferson's "Sunday Mornin' Comin' Down", Cash refused to change the lyrics to suit network executives, singing the song with its references to marijuana intact: "On a Sunday morning sidewalk / I'm wishin', Lord, that I was stoned."

By the early 1970s, he had crystallized his public image as "The Man in Black". He regularly performed dressed all in black, wearing a long black knee-length coat. This outfit stood in contrast to the costumes worn by most of the major country acts in his day: rhinestone suit and cowboy boots. In 1971, Cash wrote the song "Man in Black", to help explain his dress code: "We're doing mighty fine I do suppose/In our streak of lightning cars and fancy clothes/But just so we're reminded of the ones who are held back/Up front there ought to be a man in black."

He and his band had initially worn black shirts because that was the only matching color they had among their various outfits. He wore other colors on stage early in his career, but he claimed to like wearing black both on and off stage. He stated that, political reasons aside, he simply liked black as his on-stage color. To this day, the United States Navy's winter blue service uniform is referred to by sailors as "Johnny Cashes," as the uniform's shirt, tie, and trousers are solid black.

In the mid 1970s, Cash's popularity and number of hit songs began to decline, but his autobiography (the first of two), titled Man in Black, was published in 1975 and sold 1.3 million copies. A second, Cash: The Autobiography, appeared in 1997. His friendship with Billy Graham led to the production of a film about the life of Jesus, The Gospel Road, which Cash co-wrote and narrated. The decade saw his religious conviction deepening, and he made many evangelical appearances on Graham Crusade platforms around the world.

He also continued to appear on television, hosting an annual Christmas special on CBS throughout the 1970s. Later television appearances included a role in an episode of Columbo. He also appeared with his wife on an episode of Little House on the Prairie entitled "The Collection" and gave a performance as John Brown in the 1985 American Civil War television mini-series North and South.

He was friendly with every United States President starting with Richard Nixon. He was closest with Jimmy Carter, who became a very close friend. He stated that he found all of them personally charming, noting that this was probably essential to getting oneself elected.

When invited to perform at the White House for the first time in 1972, President Richard Nixon's office requested that he play "Okie from Muskogee" (a satirical Merle Haggard song about people who despised youthful drug users and war protesters) and "Welfare Cadillac" (a Guy Drake song that derides the integrity of welfare recipients). Cash declined to play either and instead selected other songs, including "The Ballad of Ira Hayes" (about a brave Native-American World War II veteran who was mistreated upon his return to Arizona), and his own compositions, "What is Truth?" and "Man in Black". Cash claimed that the reasons for denying Nixon's song choices were not knowing them and having fairly short notice to rehearse them, rather than any political reason.

Highwaymen

In 1980, Cash became the Country Music Hall of Fame's youngest living inductee at age forty-eight, but during the 1980s his records failed to make a major impact on the country charts, although he continued to tour successfully. In the mid 1980s, he recorded and toured with Waylon Jennings, Willie Nelson, and Kris Kristofferson as The Highwaymen, making two hit albums.

During this period, Cash appeared in a number of television films. In 1981, he starred in The Pride of Jesse Hallam, winning fine reviews for a film that called attention to adult illiteracy. In the same year, Cash appeared as a "very special guest star" in an episode of the Muppet Show. In 1983, he appeared as a heroic sheriff in Murder in Coweta County, based on a real-life Georgia murder case, which co-starred Andy Griffith as his nemesis. Cash had tried for years to make the film, for which he won acclaim.

Cash relapsed into addiction after being administered painkillers for a serious abdominal injury in 1983 caused by an unusual incident in which he was kicked and wounded by an ostrich he kept on his farm.

At a hospital visit in 1988, this time to watch over Waylon Jennings (who was recovering from a heart attack), Jennings suggested that Cash have himself checked into the hospital for his own heart condition. Doctors recommended preventive heart surgery, and Cash underwent double bypass surgery in the same hospital. Both recovered, although Cash refused to use any prescription painkillers, fearing a relapse into dependency. Cash later claimed that during his operation, he had what is called a "near death experience". He said he had visions of Heaven that were so beautiful that he was angry when he woke up alive.

Cash's recording career and his general relationship with the Nashville establishment were at an all-time low in the 1980s. He realized that his record label of nearly 30 years, Columbia, was growing indifferent to him and wasn't properly marketing him (he was "invisible" during that time, as he said in his autobiography). Cash recorded an intentionally awful song to protest, a self-parody. "Chicken in Black" was about Cash's brain being transplanted into a chicken. Ironically, the song turned out to be a larger commercial success than any of his other recent material. Nevertheless, he was hoping to kill the relationship with the label before they did, and it was not long after "Chicken in Black" that Columbia and Cash parted ways.

In 1986, Cash returned to Sun Studios in Memphis to team up with Roy Orbison, Jerry Lee Lewis, and Carl Perkins to create the album Class of '55. This was not the first time he had teamed up with Lewis and Perkins at Sun Studios. On December 4, 1956, Elvis Presley dropped in on Phillips to pay a social visit while Perkins was in the studio cutting new tracks, with Lewis backing him on piano. Cash was also in the studio and the four started an impromptu jam session. Phillips left the tapes running and the recordings, almost half of which were gospel songs, survived and have been released on CD under the title Million Dollar Quartet. Tracks also include Chuck Berry's "Brown Eyed Handsome Man", Pat Boone's "Don't Forbid Me", and Elvis doing an impersonation of Jackie Wilson (who was then with Billy Ward and the Dominoes) singing "Don't Be Cruel".

In 1986, Cash published his only novel, Man in White, a book about Saul and his conversion to become the Apostle Paul. He also recorded Johnny Cash Reads The Complete New Testament in 1990.

American recordings

After Columbia Records dropped Cash from his recording contract, he had a short and unsuccessful stint with Mercury Records from 1987 to 1991.
In 1991, Cash sang lead vocals on a cover version of "Man in Black" for the Christian punk band One Bad Pig's album I Scream Sunday.

His career was rejuvenated in the 1990s, leading to popularity among a younger audience not traditionally interested in country music. In 1993, he sang the vocal on U2's "The Wanderer" for their album Zooropa. Although he was no longer sought after by major labels, Cash was approached by producer Rick Rubin and offered a contract with Rubin's American Recordings label, better known for rap and hard rock.

Under Rubin's supervision, he recorded the album American Recordings (1994) in his living room, accompanied only by his guitar. That guitar was a Martin dreadnought guitar - one of many Cash played throughout his career. The album featured several covers of contemporary artists selected by Rubin and had much critical and commercial success, winning a Grammy for Best Contemporary Folk Album. Cash wrote that his reception at the 1994 Glastonbury Festival was one of the highlights of his career. This was the beginning of a decade of music industry accolades and surprising commercial success.

Cash and his wife appeared on a number of episodes of the popular television series Dr. Quinn, Medicine Woman starring Jane Seymour. The actress thought so highly of Cash that she later named one of her twin sons after him. He lent his voice for a cartoon cameo in an episode of The Simpsons, with his voice as that of a coyote that guides Homer on a spiritual quest. In 1996, Cash released a sequel to American Recordings, Unchained, and enlisted the accompaniment of Tom Petty and the Heartbreakers, which won a Grammy for Best Country Album. Cash, believing he did not explain enough of himself in his 1975 autobiography Man in Black, wrote another autobiography in 1997 entitled Cash: The Autobiography.

Last years and death

In 1997, Cash was diagnosed with the neurodegenerative disease Shy-Drager syndrome. The diagnosis was later altered to autonomic neuropathy associated with diabetes. This illness forced Cash to curtail his touring. He was hospitalized in 1998 with severe pneumonia, which damaged his lungs. The albums American III: Solitary Man (2000) and American IV: The Man Comes Around (2002) contained Cash's response to his illness in the form of songs of a slightly more somber tone than the first two American albums. The video that was released for "Hurt", a cover of the song by Nine Inch Nails, fit Cash's view of his past and feelings of regret. The video for the song, from American IV, is now generally recognized as "his epitaph," and received particular critical and popular acclaim.

June Carter Cash died on May 15, 2003, at the age of seventy-three. June had told Cash to keep working, so he continued to record and even performed a couple of surprise shows at the Carter Family Fold outside Bristol, Virginia. At the July 5, 2003 concert (his last public performance), before singing "Ring of Fire", Cash read a statement about his late wife that he had written shortly before taking the stage:

The spirit of June Carter overshadows me tonight with the love she had for me and the love I have for her. We connect somewhere between here and heaven. She came down for a short visit, I guess, from heaven to visit with me tonight to give me courage and inspiration like she always has.


Cash died less than four months after his wife, on September 12, 2003, while hospitalized at Baptist Hospital in Nashville. He was buried next to his wife in Hendersonville Memory Gardens near his home in Hendersonville, Tennessee.

His stepdaughter, Rosie (Nix) Adams and another passenger were found dead on a bus in Montgomery County, Tennessee, on October 24, 2003. It was speculated that the deaths may have been caused by carbon monoxide from the lanterns in the bus. Adams was 45 when she died. She was buried in the Hendersonville Memory Gardens, Hendersonville, Tennessee, near her mother and stepfather.

On May 24, 2005, Vivian Liberto, Cash's first wife and the mother of Rosanne Cash and three other daughters, died from surgery to remove lung cancer. It was Rosanne's fiftieth birthday.

In June 2005, his lakeside home on Caudill Drive in Hendersonville was put up for sale by his estate. In January 2006, the house was sold to Bee Gees vocalist Barry Gibb and wife Linda and titled in their Florida limited liability company for $2.3 million. The listing agent was Cash's younger brother, Tommy Cash. The home was destroyed by fire on April 10, 2007.


One of Cash's final collaborations with producer Rick Rubin, entitled American V: A Hundred Highways, was released posthumously on July 4, 2006. The album debuted in the #1 position on Billboard's Top 200 album chart for the week ending July 22, 2006. Enough of Cash's music was left to put together a posthumous album which he had helped plan. The album, American VI, was planned for release in 2009.

Legacy

From his early days as a pioneer of rockabilly and rock and roll in the 1950s, to his decades as an international representative of country music, to his resurgence to fame in the 1990s as a living legend and an alternative country icon, Cash influenced countless artists and left a large body of work. Upon his death, Cash was revered by the greatest popular musicians of his time. His rebellious image and often anti-authoritarian stance influenced the punk rock movement.

Among Cash's children, his daughter Rosanne Cash (by first wife Vivian Liberto) and his son John Carter Cash (by June Carter Cash) are notable country-music musicians in their own right.

Cash nurtured and defended artists on the fringes of what was acceptable in country music even while serving as the country music establishment's most visible symbol. At an all-star TNT concert in 1999, a diverse group of artists paid him tribute, including Bob Dylan, Chris Isaak, Wyclef Jean, Norah Jones, Kris Kristofferson, Willie Nelson, and U2. Cash himself appeared at the end and performed for the first time in more than a year. Two tribute albums were released shortly before his death; Kindred Spirits contains works from established artists, while Dressed in Black contains works from many lesser-known artists.

In total, he wrote over 1,000 songs and released dozens of albums. A box set titled Unearthed was issued posthumously. It included four CDs of unreleased material recorded with Rubin as well as a Best of Cash on American retrospective CD.

In recognition of his lifelong support of SOS Children's Villages, his family invited friends and fans to donate to that charity in his memory. He had a personal link with the SOS village in Diessen, at the Ammersee Lake in Southern Germany, near where he was stationed as a GI, and also with the SOS village in Barrett Town, by Montego Bay, near his holiday home in Jamaica. The Johnny Cash Memorial Fund was founded.

In 1999, Cash received the Grammy Lifetime Achievement Award. In 2004, Rolling Stone Magazine ranked Cash #31 on their list of the 100 Greatest Artists of All Time.

In a tribute to Cash after his death, country music singer Gary Allan included the song "Nickajack Cave (Johnny Cash's Redemption)" on his 2005 album entitled Tough All Over. The song chronicles Cash hitting rock bottom and subsequently resurrecting his life and career.


The main street in Hendersonville, Tennessee, Highway 31E, is known as "Johnny Cash Parkway".

The Johnny Cash Museum is located in Hendersonville, Tennessee.

On November 2–4, 2007, the Johnny Cash Flower Pickin' Festival was held in Starkville, Mississippi. Starkville, where Cash was arrested over 40 years earlier and held overnight at the city jail on May 11, 1965, inspired Cash to write the song "Starkville City Jail". The festival, where he was offered a symbolic posthumous pardon, honored Cash's life and music, and was expected to become an annual event.

Portrayals

In 1998, country singer Mark Collie portrayed Cash for the first time in a short film, I Still Miss Someone. Shot mostly in black and white, it attempts to capture a moment in time for Cash during his darkest years, the mid 1960s.

Walk the Line, an Academy Award-winning biopic about Cash's life starring Joaquin Phoenix as Johnny and Reese Witherspoon as June (for which she won the 2005 Best Actress Oscar), was released in the United States on November 18, 2005 to considerable commercial success and critical acclaim. Both Phoenix and Witherspoon have won various other awards for their roles, including the Golden Globe for Best Actor in a Musical or Comedy and Best Actress in a Musical or Comedy, respectively. They both performed their own vocals in the film, and Phoenix learned to play guitar for his role as Cash. Phoenix received the Grammy Award for his contributions to the soundtrack. John Carter Cash, the only child of both Johnny and June, was an executive producer on the film.

Ring of Fire, a jukebox musical of the Cash oeuvre, debuted on Broadway on March 12, 2006 at the Ethel Barrymore Theatre, but closed due to harsh reviews and disappointing sales on April 30, 2006.

Awards and honors

Cash received multiple Country Music Association Awards, Grammys, and other awards, in categories ranging from vocal and spoken performances to album notes and videos.

In a career that spanned almost five decades, Cash was the personification of country music to many people around the world. Cash was a musician who was not tied to a single genre. He recorded songs that could be considered rock and roll, blues, rockabilly, folk, and gospel, and exerted an influence on each of those genres. Moreover, he had the unique distinction among country artists of having "crossed over" late in his career to become popular with an unexpected audience, young indie and alternative rock fans. His diversity was evidenced by his presence in three major music halls of fame: the Nashville Songwriters Hall of Fame (1977), the Country Music Hall of Fame (1980), and the Rock and Roll Hall of FameHank Williams Sr., Jimmie Rodgers, and Bill Monroe share the honor with Cash of being in all three. However, only Cash was inducted into the Rock and Roll Hall of Fame in the regular manner, unlike the other country members, who were inducted as "early influences." His pioneering contribution to the genre has also been recognized by the Rockabilly Hall of Fame. He received the Kennedy Center Honors in 1996. Cash stated that his induction into the Country Music Hall of Fame, in 1980, was his greatest professional achievement. He was nominated for best cinematography for "Hurt" and was supposed to appear, but died during the night. (1992). Only thirteen performers are in both of the last two, and only

In 2007, Cash was inducted into the Hit Parade Hall of Fame.

If you want to know more over Johnny Cash visit his own official website.