Rapidshare Johnny Cash American V
Rapidshare Johnny Cash American V A Hundred Highways
Producer Rick Rubin ensured that Johnny Cash’s final decade was one that played to the elder statesman’s musical and ideological strengths. They recorded and released four albums together before Cash’s death in 2003 and this is the fifth collection. Cash’s vocals were recorded in 2002-2003, with Rubin adding the overdubs posthumously. Not surprisingly, the songs center around death and in Cash’s intimate, wobbling tone take on both a strength and fragility that is breathtaking in its splendor. It includes his final composition, “Like the 309,” where a train takes his casket away, and many other chilling glimpses at a man in declining health facing his final days. From Bruce Springsteen’s “Further On (Up the Road)” to folk standards such as Gordon Lightfoot’s “If You Could Read My Mind” and Ian Tyson’s “Four Strong Winds,” the songs take on a gravitas that makes their original intentions seem like a recounting of puppy love. In keeping with previous Rubin productions, the arrangements are quiet and well suited, orchestrated in spots with Cash’s voice front and center.
Producer Rick Rubin ensured that Johnny Cash’s final decade was one that played to the elder statesman’s musical and ideological strengths. They recorded and released four albums together before Cash’s death in 2003 and this is the fifth collection. Cash’s vocals were recorded in 2002-2003, with Rubin adding the overdubs posthumously. Not surprisingly, the songs center around death and in Cash’s intimate, wobbling tone take on both a strength and fragility that is breathtaking in its splendor. It includes his final composition, “Like the 309,” where a train takes his casket away, and many other chilling glimpses at a man in declining health facing his final days. From Bruce Springsteen’s “Further On (Up the Road)” to folk standards such as Gordon Lightfoot’s “If You Could Read My Mind” and Ian Tyson’s “Four Strong Winds,” the songs take on a gravitas that makes their original intentions seem like a recounting of puppy love. In keeping with previous Rubin productions, the arrangements are quiet and well suited, orchestrated in spots with Cash’s voice front and center.
Released for the occasion of 's 78th birthday, is the final installment in the collaboration between and that began with 1994’s. These ten songs were cut during the same sessions for. Guitarists, and on keyboards were present, as were other musicians. Died during routine surgery during these sessions., 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. Is an elegiac and deeply spiritual album, a formal goodbye without regret from a man and an artist of almost mythic stature.
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The song selection is rooted in the Americana, folk, country, and gospel traditions. There is an excellent reading of '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 's “Redemption Day” sums up ’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. '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 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 - it’s a fierce showdown with the Reaper, with the singer winning it hands down. There are excellent covers of 's “Cool Water,” a song often sang live that expresses empathy for the downtrodden, and “Satisfied Mind,” written by and, played on a lone acoustic guitar, which dispenses the truth of earthly life into two-minutes-and-forty-eight seconds. '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 's traditional Hawaiian ballad “Aloha Oe,” one of the sweetest, most affectionate leaving songs ever written. And s version?
It’s devastatingly beautiful; to the point of tears. If there were any justice, would be the last album released under ’s name. It is not only a compelling contribution to his legacy, but an offering that closes the historic series with the same stamp of quality that began it.