“I love Bob Dylan, I really do. I love his early work, I love the first time he plugged in electrically, I love his Christian albums, I love his other albums.”
~Johnny Cash
In this series of post I’ll present all the Dylan covers by Johnny Cash I could find. They will be presented chronologically with facts related to the recording.
One Too Many Mornings Date: October 29, 1965 Location: Columbia Studio, Nashville, TN. Producers: Don Law – Frank Jones. Released: Johnny And June (1979), Bootleg Volume II: From Memphis To Hollywood (2011) & The Man In Black 1963-1969, Plus (1995)
“I love Bob Dylan, I really do. I love his early work, I love the first time he plugged in electrically, I love his Christian albums, I love his other albums.”
~Johnny Cash
In this series of post I’ll present all the Dylan covers by Johnny Cash I could find. They will be presented chronologically with facts related to the recording.
I like Johnny Cash a lot. I like everything he does really.
~Bob Dylan (to Nat Hentoff – Autumn 1965)
In the end, Nashville Skyline is a lovely album but not a heavyweight contender, though its effects were major ones. Country music was despised, hick music when Dylan took it up. People were divided into the hip and the non-hip. The counterculture was in full swing and riddled with its own self-importance and snobbery. Nashville Skyline was a hard pill to swallow: but it did ’em good.
~Michael Gray (Bob Dylan Encyclopedia)
The 5th recording session for ‘Nashville Skyline’ took place on February 18, 1969. One master versions emerged.. the lovely “Girl from the North Country”. Johnny Cash shared vocal on all 38 takes…this is a highly bootlegged sessions… and people have uploaded most of it on youtube…
picture of Johnny Cash & Bob Dylan.. NOT from the studio sessions
Some background from wikipedia:
Nashville Skyline is the ninth studio album by American singer-songwriter Bob Dylan, released in April 1969 by Columbia Records.
Building on the rustic style he experimented with on John Wesley Harding, Nashville Skyline displayed a complete immersion into country music. Along with the more basic lyrical themes, simple songwriting structures, and charming domestic feel, it introduced audiences to a radically new singing voice from Dylan—a soft, affected country croon.
The result received a generally positive reaction from critics, and was a commercial success. Reaching number 3 in the US, the album also scored Dylan his fourth UK number 1 album.
I like Johnny Cash a lot. I like everything he does really.
~Bob Dylan (to Nat Hentoff – Autumn 1965)
In the end, Nashville Skyline is a lovely album but not a heavyweight contender, though its effects were major ones. Country music was despised, hick music when Dylan took it up. People were divided into the hip and the non-hip. The counterculture was in full swing and riddled with its own self-importance and snobbery. Nashville Skyline was a hard pill to swallow: but it did ’em good.
~Michael Gray (Bob Dylan Encyclopedia)
The 4th recording session for ‘Nashville Skyline’ took place on February 17, 1969. Two master versions emerged.. the lovely “Tonight I’ll Be Staying Here With You” & “Nashville Skyline Rag”. Johnny Cash joined the session halfway through & they tried out “One Too Many Mornings”, “I Still Miss Someone” (Cash) & “Don’t Think Twice”. A video from one of the takes on “One Too Many Mornings” is available (& included in this post).. fantastic stuff!
“The song is the thing that matters. Before I can record, I have to hear it, sing it, and know that I can make it feel like my own, or it won’t work. I worked on these songs until I felt like they were my own.”
Released
October 17, 2000
Genre
Country, americana
Length
42:15
Label
American Recordings
Producer
John Carter Cash, Rick Rubin
American III: Solitary Man is the third album in the American series by Johnny Cash released in 2000 (and his 85th overall album). The album was notable for being Cash’s highest charting (#11 Country) solo studio LP since his 1976 One Piece at a Time, an album that reached No. 2 Country based on the title cut. To the present day, Cash’s studio albums for American have continued to sell & chart extremely well, as evidenced by the platinum #22 POP, #2 C&W American IV: The Man Comes Around (released one year before his death) and the gold, #1 on both charts, American V: A Hundred Highways.
I see a darkness (with guest Will Oldham, the composer of the song):
Between Unchained and Solitary Man, Cash’s health declined due to various ailments, and he was even hospitalized for pneumonia. His illness forced Cash to curtail his touring. The album American III: Solitary Man contained Cash’s response to his illness, typified by a version of Tom Petty’s “I Won’t Back Down”, as well as a version of U2’s “One”.
One (so much better than any other versions!):
American III: Solitary Man, just like Cash’s two previous albums produced by Rick Rubin, was a Grammy winner, taking home the award for Best Male Country Vocal Performance for Cash’s version of the Neil Diamond classic “Solitary Man”. Cash continued to receive critical appreciation for his American series of albums—on aggregate review site Metacritic.com the third album in Cash’s American series received a score of 80 (despite middling reviews from publications such as L.A. Weekly and Rolling Stone magazine) (from Wikipedia)
Track listing:
I Wont Back Down
Solitary Man
That Lucky Old Sun
One
Nobody
I See A Darkness
The Mercy Seat
Would You Lay With Me (In A Field Of Stone)
Field Of Diamonds
Before My Time
Country Trash
Mary Of The Wild Moor
I’m Leavin’ Now
Wayfaring Stranger
“You can stand me up at the gates of hell/ But I won’t back down”
But American III‘s high point is its two-song centerpiece. The first is Will Oldham’s “I See a Darkness”, on which it becomes clear that, perhaps because of his neurological disorder, Cash’s voice isn’t as sure and strong as it once was. When he quavers, with Oldham singing backup, “Is there hope that somehow you can save me from this darkness?” the effect is absolutely devastating. You won’t listen to the song the same after this. The shivers will eventually leave your spine, but the residue remains.
The Mercy Seat:
That song’s transcendent power also stems from its production, which, although still sparse, is relatively lush. The organ and piano that rise to match the guitar remain in use for Nick Cave’s “The Mercy Seat”. Chronicling the first-person thoughts of a man being executed, this song, more than any other on the album, was written for Cash. Building to a rumbling crescendo, he belts out, “And the mercy seat is smokin’/ And I think my head is meltin’.” This would’ve brought even Gary Gilmore to tears.
