You Tube Jonnny Cash Look Again to the Wind
A Special Release Jubilant the 50th Anniversary of Cash's Landmark Anthology
Look Once more To The Wind: Johnny Cash's Bitter Tears Revisited
Of all the dozens of albums released byJohnny Cash during his virtually one-half-century career, 1964'sBitter Tears: Ballads of the American Indian was amid the closest to the artist'southward middle. A concept anthology focusing on the mistreatment and marginalization of the Native American people throughout the history ofthe U.s., its viii songs—amidst them "The Ballad ofIra Hayes," a #iii hit single for Cash on theBillboard country chart—spoke in frank and poetic language of the hardships and intolerance they endured.
Purchase The Album Amazon iTunes
Now, 50 years after it was recorded, a collective of top Americana artists has come together to reimagine and update these songs that meant so much to Cash, who died in 2003.Look Again To The Wind: Johnny Cash's Biting Tears Revisited (Sony Music Masterworks,Baronial 19), produced byJoe Henry (Bonnie Raitt,Aaron Neville), features American music giantsKris Kristofferson,Emmylou Harris,Steve Earle,Bill Miller,Gillian Welch andDavid Rawlings, andNorman and Nancy Blake, likewise as up-and-comers the Milk Carton Kids andRhiannon Giddens, interpreting the music ofBiting Tears for a new generation. As his project was for Cash, the new collection is a labor of dearest with a strong sense of purpose fueling its creation.
"Prior toBitter Tears, the conversation almost Native American rights had non really been had," says Henry, "and at a very pregnant moment in his trajectory,Johnny Greenbacks was willing to draw a line and insist that this be considered a human rights upshot, alongside the civil rights issue that was coming to fruition in 1964. Merely he likewise felt that the record had never been heard, so there's a real sense that we're existence asked to carry it forward."
Bitter Tears, widely acknowledged for decades as ane of Cash's greatest creative achievements, did not realize its stature equally a landmark recording easily and chop-chop. At the fourth dimension that Cash proposed the album, he was met with a cracking bargain of resistance from his record label. They felt that a song bicycle revolving around the Native American struggle as perpetrated past the white man took him too far afield of the country mainstream and Cash's core audience. Cash still released the album and although it did not perform likewise as he had hoped, he remained extremely proud of the album throughout his life.
Ironically, at the aforementioned time that his own label was balking considering it felt he would alienate the country audition with his Native American tales, Cash was finding a new set of admirers amid the burgeoning folk music crowd that had recently made stars of Bob Dylan,Joan Baez and Peter, Paul and Mary. Cash'south debut performance of "Ira Hayes" at the 1964 Newport Folk Festival had earned him rave reviews. His appeal was undeniably expanding across the country audition, and for those who did connect withBitter Tears, amidst them a 17-twelvemonth-erstwhile aspiring singer-songwriter namedEmmylou Harris, its music was revelatory and of import. "The record was a seminal work for her as a teenager," says Henry. "She bought the album make new and realized at that moment thatJohnny Cash was a folk singer, non a country singer, and was involving himself politically and socially in a manner that she had identified with the not bad folk singers at that moment."
Henry's awareness of Harris' affection forBitter Tears led him to invite her to contribute toExpect Once more To The Wind:Johnny Greenbacks'sBitter Tears Revisited. Following the epic, nine-minute album-opener "Equally Long as the Grass Shall Abound," written by Peter La Farge—a folk singer-songwriter with Native American bloodlines who Cash had befriended—and sung here by Welch and Rawlings, Harris takes the atomic number 82 vocal on the Cash-penned "Apache Tears," which besides features sweet, shut harmonies by the Milk Carton Kids, the duo comprisingKenneth Pattengale andJoey Ryan. For Henry, advisedly matching artist to song was integral to the integrity ofExpect Again To The Wind. For some of the tracks, that process required a bang-up deal of consideration. But when it came to deciding who would interpret "The Ballad ofIra Hayes," Henry apace zeroed in on Kristofferson.
Another of 5 songs on the original album written by La Farge, "The Ballad ofIra Hayes" is based on the true story ofIra Hamilton Hayes, a Pima Indian who was one of the six Marines seen raising the flag at Iwo Jima in an iconic World State of war Ii photograph. Hayes' moment of glory was followed upon his return to civilian life with prejudice and alcoholism—Cash, moved by Hayes' story and La Farge's recounting of it, vowed to record the song. When planning outLook Again To The Wind, Henry knew that only a few living singers could deliver the song the way he wanted to hear it. He called Kristofferson, utilizing Rawlings and Welch to sing background.
"I wanted somebody whose relationship withJohnny Cash was not only musical simply personal," he says. "I'd worked with Kris on a couple of other things and I thought why not ask? Who else has a vocalisation with that kind of ability and authorization?" That same sense of intuition guided Henry to choose the other participants and the material they would return. For La Farge's "Custer," the album's 3rd vocal, the producer knew instinctively thatSteve Earle was the right man for the chore. "Steve is an upstart, and there are very few people I can imagine working correct now who could deliver a song that is that pointed in that particular way and exercise information technology authentically without cowering from it or making it feel a little besides curvation," Henry says. "He really could embody the kind of swagger that that song insists upon."
Similarly, Henry choseNancy Blake (with Harris and Welch on backing vocals) for the Greenbacks-written "The Talking Leaves,"Norman Blake to sing "Drums," the Milk Carton Kids to lead "White Girl" (both of those authored by La Farge) and the powerhouse vocalistRhiannon Giddens of the Carolina Chocolate Drops for the original album'south finale, "The Vanishing Race," written by Cash's good friendJohnny Horton. To eternalize the album (the original, typical of mid-'60s vinyl LPs, ran just over a half hour), Henry fills out the track list ofLook Again To The Wind with reprises of "Apache Tears" and "As Long As the Grass Shall Grow"—both sung past Welch and Rawlings—and ends the set with the title track, a La Farge tune that did not appear on the originalJohnny Cash album merely instead on the songwriter'southward own 1963 releaseAs Long equally the Grass Shall Grow: Peter La Farge Sings Of The Indians. Here information technology's sung byBill Miller, withSam Bush-league providing mandolin andDennis Hunker upright bass, a fine and fitting coda to the drove.
From the showtime, Henry looked at the project as 1 that would require bang-up personal commitment and responsibility on his ain part. Approached equally potential producer of the project by the man who first envisioned it, Sony Music Masterworks' Senior Vice PresidentChuck Mitchell (who'd been in conversations with Antonino D'Ambrosio, author ofA Heartbeat and a Guitar, a book most the making ofBitter Tears), Henry immediately understood the importance of the consignment. "Johnny Cash was my first musical hero and I feel a profound debt to him as an artist, and equally a courageous one," he says. "How could I say no to that?"
He also realized that theBitter Tears album held a special place in Greenbacks's catechism, and that in many ways the bug it raised yet resonate today—this had to be apparent in the new versions. "Mr. Cash knew that if he took this on, even if his indicate of view was not adopted, he had the power to be heard," Henry says.
The album was recorded in three sessions: the commencement two inLos Angeles andNashville and, lastly, one at the Cash Cabin, in Greenbacks's hometown ofHendersonville, Tennessee, whereBill Miller cut his contribution. Providing the instrumental backing for most of the album areGreg Leisz (steel guitar, guitars), Keefus Ciancia (keyboards),Patrick Warren (keyboards for the L.A. sessions),Jay Bellerose (drums) andDave Piltch (bass).
TRACKLIST:
-
As Long as the Grass Shall Grow – feat.Gillian Welch &David Rawlings
-
Apache Tears – feat.Emmylou Harris w/The Milk Carton Kids
-
Custer – feat.Steve Earle w/The Milk Carton Kids
-
The Talking Leaves – feat.Nancy Blake w/Emmylou Harris,Gillian Welch &Dave Rawlings
-
The Ballad ofIra Hayes – feat.Kris Kristofferson w/Gillian Welch &David Rawlings
-
Drums – feat.Norman Blake w/Nancy Blake,Emmylou Harris,Gillian Welch &David Rawlings
-
Apache Tears (Reprise) – feat.Gillian Welch &Dave Rawlings
-
White Daughter – feat. The Milk Carton Kids
-
The Vanishing Race – feat.Rhiannon Giddens
-
As Long as the Grass Shall Grow (Reprise) – feat.Nancy Blake,Gillian Welch &Dave Rawlings
-
Look Again to The Wind – feat. Bill Miller
#LookAgain on Twitter!
#LookAgain Tweets
Source: http://billmiller.co/look-again-to-the-wind/
0 Response to "You Tube Jonnny Cash Look Again to the Wind"
Post a Comment