Johnny Cash - Bootleg, Vol. 4: The Soul of Truth MP3 Download

Bootleg, Vol. 4: The Soul of Truth buy CD music Recording information: Brighter Shade Studio, Atlanta, GA; Compass Point Studios, Nassau, Bahamas; The Sound Station Nashville, TN; Wedgewood Sound. Photographer: C. Taylor Crothers. Personnel: Brent Mason (electric ...

Bootleg, Vol. 4: The Soul of Truth CD music After the dark and chilling themes of 2006's BLACK CADILLAC, which saw Rosanne Cash dealing with the deaths of her mother, Vivian Liberto, her father, Johnny Cash, and her stepmother, June Carter Cash -- all of whom passed within a two-year span -- one might assume that her next project would move into an even deeper level of bleakness, but with THE LIST, it's immediately clear that she has instead found a more measured place to stand. It's a lovely and redemptive outing that looks back to go forward. When Cash turned 18, her father, alarmed that his daughter only knew the songs that were getting played on the radio, gave her a list of what he considered 100 essential American songs; Cash kept that list, and now she's drawn on it for this wonderfully nuanced outing that brims with a kind of redemptive timelessness. THE LIST is a renewal and a testament to life, and it belongs to her father as much as it belongs to her, a beautiful restatement of her father's passions, only now, they've become his daughter's treasures, as well. It's an affirming story, but that's all it would be if Cash didn't sing her heart out here. The opener, a version of Jimmie Rodgers' "Miss the Mississippi and You," is full of comfortable grace and sentiment, and Cash keeps that fine emotional tone throughout this set. Songs like the folk classic "500 Miles" feel at once both lovingly rendered and reborn for a new century in Cash's hands. There's also her fine rendering of Bob Dylan's "Girl from the North Country," a nice turn at Harlan Howard's "Heartaches by the Number" (which features Elvis Costello), a calm but still spooky duet with Jeff Tweedy on the faux-murder ballad "Long Black Veil," and a duet with Bruce Springsteen on Hal David and Paul Hampton's "Sea of Heartbreak." Cash sings with a calm, measured authority, and all these the songs fit together with the same sort of refreshing resignation and care. Adapters: John Leventhal; Rosanne Cash. Personnel: Jeff Tweedy, Rufus Wainwright, Elvis Costello, Bruce Springsteen (vocals); John Leventhal (guitar, dobro, mandolin, harmonica, harmonium, organ, Wurlitzer organ, drums, percussion); RIck DePofi (bass clarinet, horns, piano); Zev Katz, Tim Luntzel (upright bass); Joe Bonadio, Shawn Pelton (drums); Curtis King (background vocals). Audio Mixers: John Leventhal; RIck DePofi. Photographer: Deborah Feingold. Arrangers: John Leventhal; Rosanne Cash.

Bootleg, Vol. 4: The Soul of Truth songs Released for the occasion of Johnny Cash's 78th birthday, American VI: Ain't No Grave is the final installment in the collaboration between Cash and Rick Rubin that began with 1994's American Recordings. These ten songs were cut during the same sessions for American V: A Hundred Highways. Guitarists Mike Campbell, Matt Sweeney, Smokey Hormel, and Benmont Tench on keyboards were present, as were other musicians. June Carter Cash died during routine surgery during these sessions. Cash, though grief stricken and with full knowledge that he too was dying due to complications from Parkinson's disease, worked as often as his health would allow. He died three months after these songs were recorded. Ain't No Grave is an elegiac and deeply spiritual album, a formal goodbye without regret from a man and an artist of almost mythic stature. The song selection is rooted in the Americana, folk, country, and gospel traditions. There is an excellent reading of Tom Paxton's "Wonder Where I'm Bound" that doesn't feel as lost as the original, but more a statement after reflecting on a life fully lived. Likewise his version of Sheryl Crow's "Redemption Day" sums up Cash's own long commitment to social justice, and the need for individual accountability; its statement of hope is underscored here not as a dream, but as a conviction. Kris Kristofferson's "For the Good Times" begins with the words: "Don't look so sad, I know it's over/But life goes on/And this ole world will keep on turning." It offers a portrait of the dignity and grace Cash performed with all his life. "I Corinthian's 15:55" is his last self-penned song, a sweet, country-gospel melody that echoes far beyond the margins of contemporary music to an earlier time, and looks at the future with unshakable faith. The title track is a country-gospel-blues by Brother Claude Ely -- it's a fierce showdown with the Reaper, with the singer winning it hands down. There are excellent covers of Bob Nolan's "Cool Water," a song Cash often sang live that expresses empathy for the downtrodden, and "Satisfied Mind," written by Jack Rhodes and Red Hayes, played on a lone acoustic guitar, which dispenses the truth of earthly life into two-minutes-and-forty-eight seconds. Ed McCurdy's "Last Night I Had the Strangest Dream" is a true anti-war song that serves as a testimonial. The album's final cut is Queen Liliuokalani's traditional Hawaiian ballad "Aloha Oe," one of the sweetest, most affectionate leaving songs ever written. And Cash's version? It's devastatingly beautiful; to the point of tears. If there were any justice, Ain't No Grave would be the last album released under Cash's name. It is not only a compelling contribution to his legacy, but an offering that closes the historic American Recordings series with the same stamp of quality that began it. ~ Thom Jurek Photographer: Martyn Atkins. Personnel: Jonny Polosky, Jonny Polonsky, Matt Sweeney, Mike Campbell , Smokey Hormel (guitar); Benmont Tench (piano, harpsichord, organ); Mike Leach, Jack Clement, Josh Graves, June Carter Cash, Larry Gatlin, Larry Perkins, Mac Wiseman, Mark Howard, Marty Stuart, Pat McLaughlin, Pete Wade, Randy Scruggs, Reggie Young , Mickey Raphael, Dennis Crouch, Dave Roe, Laura Cash . Audio Mixers: David Ferguson ; Greg Fidelman.

Bootleg, Vol. 4: The Soul of Truth album for sale Although new Billy Joe Shaver studio albums proved to be rarities in the early 2000s, THE REAL DEAL (2005) makes up for lost time with a solid set of the Outlaw Country performer's originals (and a bonus holiday tune). With a little help from Big & Rich, Nanci Griffith, and others, the ever-charming Shaver eases into his laid-back, often-humorous songs, reinforcing exactly why he's such a revered country artist. Liner Note Author: Kinky Friedman. Recording information: Blackbird Studios, Nashville, TN; Commerce Street Studios, Houston, TX; House Of David, Nashville, TN; Sunbird Studios, Spicewood, TX. Photographer: Cynthia S. Kinney. Personnel: Nanci Griffith, Big Kenny (vocals); Max Baca (bass voice, bajo sexto, bass guitar, background vocals); Jerry Hollingsworth (guitar); John Ilewelyn Evans, Roger Rabbit (electric guitar); Lloyd Maines (lap steel guitar, pedal steel guitar, dobro); Flaco Jiménez (accordion); David Carroll (bass guitar, background vocals); Ethan Pilzer (bass guitar); Sean Raiford, Sean Raiford (drums); Raul "Nunie" Rubio (background vocals); John Rich (vocals); Gabe Rhodes (guitar, pump organ); Joe Gracey (acoustic guitar, electric guitar); Paul Worley, Adam Shoenfeld (electric guitar); Mickey Raphael (harp); Richard Bowden (mandolin); Jonathan Yudkin, Warren Hood (fiddle); Michael Rojas (keyboards); Mark Patterson , Brian Barnett (drums); John Gardner (percussion); Kimmie Rhodes (background vocals); Kevin Fowler. Audio Mixers: Chris Stone; John Ilewelyn Evans.

Bootleg, Vol. 4: The Soul of Truth CD music Track Listing of songs: DISC 1: THE 1950S: KWEN Announcements and Advertistments; Johnny Cash Show Intro and Theme; Wide Open Road; Home Equipment Company Advertisement; One More Ride; Home Equipment Company Advertisement/Luther Perkins Intro; Luther's Boogie; Belshazzar Intro; Belshazzar; Closing Comments and Theme; Overton Park Shell "Country Music Jamboree" Advertisement by "Texas" Bill Strength, Broadcast August 4, 1955; I Walk the Line; Get Rhythm; Train of Love; Country Boy; My Treasure; Belshazzar; He'll Be a Friend; When I Think of You; I Just Don't Care Enough (To Carry On); I'll Cry for You; You're My Baby; Rock and Roll Ruby; Wide Open Road; Leave That Junk Alone; Brakeman's Blues [Incomplete]; Big River; I Couldn't Keep from Crying; New Mexico; Goodnight Irene; Restless Kid; Its All Over; DISC 2: THE 1960S: All Over Again; You Dreamer You; I'll Remember You; Johnny Yuma Theme; Five Minutes to Live; Losing Kind, The; Locomotive Man; Girl in Saskatoon; There's a Mother Always Waiting; Johnny Reb; Shifting, Whispering Sands; Send a Picture of Mother; Hardin Wouldn't Run; Thunderball; One Too Many Mornings; Frozen Logger, The; Foolish Questions; Bottom of the Mountain; Put the Sugar to Bed; You Beat All I Ever Saw; On the Line; Roll Call; Folk Singer, The; Six White Horses; Come Alone and Ride This Train;

Bootleg, Vol. 4: The Soul of Truth buy CD music You've got to be a Johnny Cash fan to truly appreciate what's happening on the third volume in Legacy's Bootleg series Live Around the World. This double-disc collection contains 53 tracks culled from 23 years, 1956 to 1979. The heart of its performances are from the Newport Folk Festival in 1964; a show for the troops in Long Binh, Vietnam in 1969; for Richard Nixon at the White House in 1970, and at the Osteraker Prison in Sweden in 1972. The sound varies in quality but the selection is stellar. The disc starts with songs from his earliest days at the Big "D" Jamboree in Dallas (with the Perkins Brothers), with Cash playing early versions of "I Walk the Line" and "Get Rhythm." The nervousness in the former tune is notable: Cash hums between verses to make sure he's on pitch. Three years later, he was imbuing his song choices with authority, even as he presented himself with humility to his audience. His version of "Cotton Fields" sounds like the taste of bitter memory more than of longing nostalgia. From the Newport gig (introduced by Pete Seeger), Cash is without drums but has plenty of electric guitar. The version of "Folsom Prison Blues" is one of the best on record. Cash introduces "Don't Think Twice It's Alright" with a hearty endorsement of Bob Dylan. The Vietnam show is all audience requests, performed when Cash had pneumonia. There are killer renditions of "Cocaine Blues," and "Jackson" in duet with with June Carter Cash. Disc two begins with a long, patronizing introduction by Nixon. Cash rises to the occasion without condescending to the audience by playing his then-current hit ("A Boy Named Sue"), his own "Five Feet High and Risin'," and Leon Payne's "Lumberjack" before launching into a set of country-gospel tunes backed by his band, the Carter Family, and the Statler Brothers. The prison gig in Sweden has him delivering a knock-out, uptempo take of Kris Kristofferson's "Sunday Morning Comin' Down" and a devastating read of the traditional "The Prisoner's Song," with a moving spoken intro. Playing Steve Goodman's "City of New Orleans" for a Columbia Records' convention, and the closing, honky tonk, piano-driven read of Billy Joe Shaver's "I'm Just an Old Chunk of Coal," from the Nashville Inn in 1979, underscore who and what Cash is: a free and egalitarian citizen and keeper of American song's flame. From folk to country, from past to present, his complex persona exemplifies his rare ability to stand and deliver to every audience, not only in the way they wanted him to but also, perhaps, in the way the needed him to. Bootleg, Vol. 3 showcases what we already know (intellectually, at least) about Cash in a very emotional and visceral way. ~ Thom Jurek Liner Note Author: Dave Marsh . Editors: Robert Johnson Lee ; Joe Lee . Photographers: Don Hunstein; Sandy Speiser; John Hamilton; JT Phillips; Leon Kagarise. Personnel: Robert Johnson Lee , Joe Lee (programming). Audio Mixers: Robert Johnson Lee ; Joe Lee .