Johnny Cash – ‘Songwriter’ album review: one of the finest restorations of the century
THE SKINNY: As a longtime fan of Johnny Cash and his innovative, highly influential country music, I was delighted to hear that an album of previously unreleased music was on its way. Though enjoyable, such posthumous releases often leave fans short-changed with a discordant array of jagged offcuts cobbled together in a cash-grab compilation. Songwriter is nothing of the sort.
During his career, Cash prospered from his own songwriting but never shied from using the lyrics of others to bolster his records. June Carter’s ‘Ring of Fire’ and Nine Inch Nails’ ‘Hurt’ are perhaps the two most notable examples of this. One of the many beautiful aspects of the aptly-titled Songwriter is that each song contains lyrics written solely by Cash, with perfect, sonorous delivery to boot.
Cash recorded these 11 tracks during a 1993 demo session ahead of his signing with American Records and final career flourish working with producer Rick Rubin. The ‘Man in Black’s final albums consisted primarily of covers, and these demo sessions fell to dust and decay in the studio archives. Thankfully, John Carter Cash, son of Johnny and June, discovered the recordings and was blown away by the quality of his father’s lyrical and vocal work.
Working with co-producer David ‘Fergie’ Ferguson, Carter Cash isolated his iconic bass-baritone vocal and acoustic guitar tracks before painstakingly reproducing the songs with a carefully selected group of musicians. These included Marty Stuart, Pete Abbott, the late Dave Roe and Dan Auerbach of The Black Keys, who played guitar parts on ‘Spotlight’.
For all involved, the Songwriter restoration was a labour of love. In their meticulous and discerning production work, Carter Cash and Fergie have honoured Cash’s memory with one of the finest posthumous releases of the 21st century. The only contender is another of Cash’s albums, American V: A Hundred Highways.
Faithful to Cash’s country roots yet decidedly current in the mix, we hear familiar instrumental structures treated sporadically by classical and atmospheric synthesiser textures. The mix frames Cash’s vocal throughout as the primary focus, neither overstepping nor understepping the mark. Thus, despite a pleasing variety of emotions, paces and stylistic approaches, this beautifully restored vocal maintains a strong sonic identity.
For fans of: Atmospheric country tones, bootleg whisky and dressing all in black on September 12th.
A concluding comment from Alan Partridge: “There ain’t no grave that can hold his body down.”
‘Songwriter’ track by track:
Release Date: June 28th | Producer: John Carter Cash and David Ferguson | Label: Mercury Nashville
‘Hello Out There’: Songwriter sets out on a strong note with a greeting from the dearly departed. The production is a discerning mixture of country tones and modern echo effects that allow an ethereal consistency. [4/5]
‘Spotlight’: The label chose this one as a previewing single, and it’s easy to see why. Cash’s iconic, sonorous vocal penetrates, trading moments of allure with discerning bluesy electric guitar solos and organ work. [5/5]
‘Drive On’: In another inspired production, Cash’s traditional country sound is brought into the 21st century by well-placed synth tones. A cinematic view of the American West enters the mind’s eye as the eternal voice implores us to drive on. [4/5]
‘I Love You Tonite’: Adding some variety to the collection, this song is a classic acoustic country progression propelled by piano chords and a pedal steel guitar. Cash’s vocals are enriched by a warm harmony. [4/5]
‘Have You Ever Been To Little Rock’: A bold guitar progression is the most profound instrumental here, but underneath, carefully selected rhythm work provides depth. Meanwhile, Cash delivers some more vivid countryside imagery in the lyrics. [4/5]
‘Well Alright’: In a charming throwback to the Sun Records era sound, Cash spins the tale of an interaction between himself and an unnamed woman at a laundromat. It’s certainly not a poignant or particularly affecting narrative, but a fine example of Cash’s distinctive storytelling ability. [3.5/5]
‘She Sang Sweet Baby James’: A country album wouldn’t be complete without a mournful ballad. The perfect soundtrack for a dour, forgotten mid-west saloon, ‘She Sang Sweet Baby James’, focuses on the trials of baby James’ mother who “looked through the skies where heaven should be / Said could it be there’s no heaven for me?” [4/5]
‘Poor Valley Girl’: A lead guitar and banjo trade melodies in another narrative-driven country. Cash introduces another tragic female character, or potentially a prequel to the story of baby James’ mother. [3.5/5]
‘Soldier Boy’: A bouncy and optimistic bassline brings a sound unmistakably associative with Cash’s classic style as pioneered in classic songs like ‘Get Rhythm’ and ‘I Walk The Line’. Cash seems to warn the soldier boy not to be so hasty in leaving his childhood behind to join the military. [4/5]
‘Sing It Pretty Sue’: Presumably, this song doesn’t share a muse with Cash’s famous ‘A Boy Named Sue’. Instead, he urges a pretty romantic interest to pursue a worldwide showbiz career despite his wishes to live alongside her. [4/5]
‘Like A Soldier’: In a strong closer, Cash faces the mirror to explore his own feelings. The well-constructed lyrics seem to reflect the “crazy days” of Cash’s youth. Ostensibly, he shows his gratitude to June Carter Cash for showing him love and offering stability in the latter decades of his life. [4.5/5]
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