Worth Checking OutÖ by Dana Eric Misenheimer “2003
I originally had something else planned for this monthís column, but yesterday morning the news came that the great Johnny Cash had passed away. I really wasnít too surprised when I heard the news. Johnnyís health problems had been well publicized in recent years, and after his wife, June Carter Cash, passed away unexpectedly last spring, one suspected it was only a matter of time before he ran out of reasons to keep fighting. Still, it hit me like a ton of bricks, and I felt like I had lost one of my closest friends. I never met him, and God forgive me, I never went to see him perform, but it still felt that way. Iím sure Iím not alone. Thatís how Johnny was. Although to anyone not willing to look past the surface he may have appeared to be the clichÈ of a country music dinosaur, in reality he defied easy categorization. There was something in his music and his delivery that transcended boundaries of all kinds and was able to speak to the common thread that ties all humanity together. Johnny was unique and universal all at once, and he did it without a drop of pretension or posturing.
Since this is a column that centers on the guitar, I want to establish something right from the start. Johnnyís music is guitar music. Johnnyís body of work is a grab bag of Americana that contains a slice of just about every style of music that canít be played without the guitar. And Johnny wasnít just a poser like so many others for whom the guitar is just a prop they sling around their necks when onstage in an attempt to sell their authenticity. When Johnny strapped on a six string, it was because he was going to strum the living shit out of it. He was no technician, but that wasnít what Johnnyís playing was supposed to be about anyway. His whole approach to playing was to give himself a vehicle on which his voice could ride, and he did it with authority and, of course, that Johnny Cash originality.
On his early Sun recordings with the Tennessee Two (which later became the Tennessee Three with the addition of drummer W.S. ìFlukeî Holland in 1960) Johnnyís music is a hybrid of prehistoric rockabilly and rootsy honky tonk, with Johnny providing chugging rhythm guitar behind Luther Perkinsís spring reverb and twang drenched lead accompaniment, all supported by Marshall Grantís pumping upright bass. Throughout Johnnyís career, he always had ample support in the lead guitar department. After Luther Perkins passed away in 1968, Bob Wooten became Johnnyís go to guy for the twang duties, carrying on the tradition of perfectly suited country lead guitar that never got in the way of the music, but supported the melody and played perfect counterpoint to the Man in Blackís singing.
Other great pickers rode on Johnnyís midnight train along the way too. The Americana flame keeper, Marty Stuart, was literally a member of the house of Cash for a while. In addition to playing in Johnnyís band for several years, he was once married to one of Johnnyís daughters. And lest anyone forget, one of the greatest rockabillys to ever come down the pike, Carl ìBlue Suede Shoesî Perkins, spent a good portion of the sixties and early seventies on stage with Johnny.
Anyone who stills needs to be convinced of Johnnyís ability to speak with his guitar need only check out Johnnyís first album with Rick Rubin as producer, ìAmerican Recordings,î from 1994. This is Johnny all alone with only his own guitar playing as the chariot that carries his voice across the finish line of the listenerís consciousness. On most of these recordings, it sounds like Johnnyís not even using a pick, preferring to eliminate anything that could stand in the way between his inspiration and the strings. If youíve never heard these recordings before, one of the most intimate musical listening experiences youíll ever have awaits you. Itís like listening in on Johnnyís confessions to the Lord.
There was nothing remotely generic about Johnnyís voice. Once youíve heard that ever so slightly quivering baritone and been given a name to connect to it, within seconds of hearing it again you know itís Johnny. The deep, resonant register of Johnnyís voice conveyed a matter of fact credibility that epitomized sincerity while that slight waver displayed a willingness to be vulnerable to the depths of his emotions. When June sang with Johnny, her voice was like the sweet scent of an Appalachian wildflower turned into sound and floating around a massive oak tree with its leaves quivering in the wind. Just give a listen to Johnny and June five years prior to their wedding on the song ìWere You There (When They Crucified My Lord)î from the 1963 album, ìRing of Fire/The Best of Johnny Cash.î This is as pure and honest as music gets.
Fame is a currency that can open doors that wouldnít be penetrable otherwise. Johnny understood this, and as soon as his fame was worth enough to make it possible, he began performing in prisons. He always had a soft spot in his heart for the downtrodden, no matter how they got that way. It wasnít that Johnny didnít think these men should be held responsible for their crimes, or that they didnít belong there. He just correctly felt that if these men were treated like throwaways during their incarceration, they would be more likely to act that way upon their release, so he tried to bring some light into their lives with his music. He also believed in the forgiveness taught by his Lord and Savior, Jesus Christ.
On top of all this, Johnny was no stranger to trouble himself as he experienced the growing pains of fame and notoriety. His past problems with drugs and alcohol are well documented, but he never took a bravado attitude about those misadventures, nor did he ever try to run away from or hide them either. He was never too proud to admit an error and extend an apology, and in doing so Johnny showed the world how it was possible to learn from oneís mistakes and move on.
A further example of Johnnyís independent streak, championship of the disadvantaged, and use of fame was his recording and release of the concept album ìBitter Tearsî in 1964. Despite the objections of his record company and the fact that concept albums were an oddity in all styles of music at that time, let alone country music, Johnny defiantly put out a record that dealt entirely with the abuse and persecution of native Americans. Long before the hippies and counterculture hopped on the civil rights bandwagon, Johnny was telling the truth about Americaís own dirty little secret of ethnic cleansing. This epitomizes Johnnyís patriotism. He loved America, and because he did, he hated her lies.
Johnny is the only artist to be inducted into the National Academy of Songwriters, and the Country music, and Rock and Roll halls of fame. In 1st Corinthians 10:33 in the bible, the apostle Paul says, ìI also please all men in all things, not seeking my own profit, but the profit of many, that they may be saved.î This describes Johnnyís approach perfectly. By being true to himself and following his own vision, Johnny picked up the admiration and respect of musicians and music fans from all genres of music, giving them his candle lit tour of how to live life with integrity. The rock and rollers loved his defiant rebel attitude. The country and bluegrass fans revered his authenticity and sense of tradition. The folkies ate up his social consciousness. The gospel community embraced his proclamations of faith. Songwriters were in awe of his insight. And in a testimonial to how widespread Johnnyís influence was and will continue to be, black rappers who run for the door when country music is played set Johnny apart from their blanket condemnation of his most identifiable style and dig him for his outlaw mentality. If anyone purposely tried to have that sort of widespread appeal, he would be likely to come across as a pathetically diluted chameleon lacking in credibility, but Johnny ironically connected with an amazingly broad and diverse spectrum of the human race by remaining honest and not pandering to anybody.
The earthly race is over for this former member of the Highwaymen. The Man in Black is now clothed in white as he sits reunited with June in the presence of the Lord, singing songs of worship and praise. Thank you Johnny for giving America and the world a mirror to see ourselves with in your music. Thank you for being so generous with your talent and your heart. Thank you for never putting down your guitar and retiring while you were still with us.
Johnny left an incredible catalog of recorded music behind. Every stage of his career has something to offer. Next time youíre browsing through music at the store, go to Johnnyís bin and buy something. Buy anything. Go home, rid yourself of distractions, put Johnnyís music on, and let it fill the house. Share it with somebody you love.
It doesnít matter what record you listen to because as long as itís Johnny Cash, it will beÖworth checking out.