All musical genres evolve and change, no matter what they started as. When Brian Eno coined the term “ambient” for the dreamy, drifty sound he became enamored with in the mid-’70s, it would have been impossible for him to imagine the different directions this stuff would go in over the next nearly half a century. APOLLO, the absolute ambient classic Eno created with his brother Roger and producing partner Daniel Lanois in 1983, found Lanois doing a strange thing: Introducing the pedal steel into otherwise spacey, Eno-esque soundscapes. It was an attempt to comment on astronauts reported fondness for traditional country music. Although viewed as sacrilege by ambient purists, somehow this new and unfamiliar blend worked.
Jonny Campos of Weeks Island (an ambient side project for the guitarist in Cajun band the Lost City Ramblers) was listening. He has just released DROSTE, a 5-track EP that features pedal steel and atmospheric background drone that removes almost every trace of anything you’d call “country.” This is meandering, often haunting ambience that makes a statement without wearing out its welcome. “Raccoon Island” could be the soundtrack for a couple lost in a swamp somewhere, evoking a non-panicky sort of displaced feeling, very much of the background-ish aesthetic that good ambient music excels at. “Fleur Pond” is more sparse but still gently cinematic, with Campos playing his chosen notes with definite deliberation. “Bayou La Chute” doesn’t vary too much, but the bending of a single string upward or downward adds drama and an evocation of being pretty far away from any familiar scenic touchstones. Curiously, this stuff is more purely ambient than Lanois’ diversions on the previously mentioned APOLLO. “Cybrien Bay” adds a repeating low-register tone for something a shade more intense and it contrasts nicely with Campos’ by now characteristic fluid pedal-steel flourishes. And the piece never makes it to the 3-minute mark, The opening “Point Fortuna” is nearly twice as long and represents Campos’ intention here the most memorably.
WEEKS ISLAND (Jonny Campos) (photo credit: WILL HAGAN)
With any sort of weird ambient music, it’s a given that it’s an “acquired taste.” But this is actually a nice little surprise… short, purposeful and totally authentic in its aims to create a southern-tinged atmospheric mini-set that has ambient textures but with pedal steel and the processing of it at the forefront. Let’s keep an eye and an ear on Jonny Campos; he’s demonstrated that he has a feel for this stuff, and meatier works may be in the offing down the road.
Two of my favorite things converge on Friday, July 12: Bloodshot Records and Old Rock House. The former is represented by the self-proclaimed “Converse cowboys,” the Dallas-Fort Worth band, the VANDOLIERS; the latter is one of my favorite places in the Lou to experience live music. The band is opening for PARKER MCCOLLUM, an artist of some repute in his own right, and touring in support of their third album and Bloodshot debut, FOREVER. As if you’re gonna need another reason to head out to the super-cool Old Rock House for this show, here’s a brief description from the band’s bio: “It’s twang and tattoos, grit and guitars, honky-tonk and horns, Tejano and Telecasters.” What more could you ask for on a Friday night?
(May 23, 2019; HOLLYWOOD CASINO AMPHITHEATRE, Saint Louis MO)
The more you see your rock heroes pass away or visibly age, the more nervous you get that an advertised performance might be the last chance you’ll get to see them. Hence, when I was “on the fence” initially about catching the Who’s May 23rd performance at Hollywood Casino Amphitheatre, a friend’s willingness to facilitate everything made all the difference. And I’m glad, because this was one hell of a concert. Pete Townshend and Roger Daltrey could have stopped years ago… it’s likely that their most towering musical achievements are behind them. But man, those two have still got it. And I love being reminded of past rock glories. Nothing wrong with nostalgia at all… that’s why we keep going back to enjoy the legends proving yet again why they deserve to be in that category.
THE WHO (Pete Townshend) (photo credit: LS)
I’ll say upfront that TOMMY was a significant album in my life. Musically it is brilliant; conceptually, it was at the very least bold and adventurous. The “Overture,” which the band opened with, is one of my favorite pieces of music ever. Truly. With the full orchestra in tow (The Who have planned this tour to include local orchestras joining them along the way) and a rather dazzling lighting backdrop, the audience was immediately treated to sheer spectacle. A suite of TOMMY tunes, including the expected “Pinball Wizard,” fab as always, and the timeless brilliance of “We’re Not Gonna Take It,” roused the crowd plenty, but affected yours truly on a very emotional level. I won’t pretend that this wasn’t nostalgia of the deepest kind for me. I could tell you all the personal associations this music holds for me and how it transcends what rock tends to be on every single level, but then this would cease to be a review and instead turn into my diary. I’ll be disciplined here and just say… I loved it. And the orchestra added grandeur and layers of sonic dressing to Pete’s extraordinary compositions.
THE WHO (Roger Daltrey) (photo credit: LS)
I would have likely been okay if the band wanted to do the entire album, but they didn’t. Instead, “Who Are You” was next, a catchy but overly familiar song from their catalog. It’s one of those insidious tunes that you can’t escape with this band. Nothing wrong with it, and Roger Daltrey sings the crap out of it (Rog was in good voice tonight, by the way). But to assess where it stands in the scheme of things, try making a song out of your own name, to be cute. Or, try NOT to think of the theme song for a really, really successful TV crime show. Can’t do it, can you? Well who the hell are YOU? “Eminence Front” is a reasonably catchy later-period Who tune, which the crowd enjoyed. Familiarity tends to breed affection, especially with one of the greatest classic rock bands of all time. “Imagine a Man,” from the 1975 album THE WHO BY NUMBERS was pleasant and melodic and Pete seemed to be having a great time performing it. In fact, it’s worth mentioning that Pete and Roger both seemed to be in great spirits. Both addressed the audience repeatedly, commenting on the “nice people” of Saint Louis, our great rivers, and of course, the exciting status of a certain hockey team. More on that shortly. But a nice surprise for me personally was the song “Join Together.” It’s a quirky mid-period Who tune that I liked so much as a youngster, I bought the single. I would never have imagined they would perform that one; it was NOT a huge hit. But by god, here it was, complete with Jew’s harp and pure weirdness. Happy music fan! Two classic older tunes, “Substitute” and “The Seeker” came next, with Daltrey complimenting Townshend’s writing and stating how a certain lyric was one of the best lines Pete ever wrote, that being “I was born with a plastic spoon in my mouth.” The crowd listened attentively whenever Daltrey or Townshend addressed them, and this was truly a fun part of the show. Again, their upbeat moods were palpable. These guys know how much they need each other, and every time Daltrey sidled up to Pete and put his arms around him, you had to get a deep thrill. The “bloody Who” have been at it since the early ‘60s, my friends. You have to respect their longevity! A pair of classics from WHO’S NEXT were served up: “Behind Blue Eyes” and “Won’t Get Fooled Again,” the latter performed in an intimate acoustic style that made for one of the evening’s most tasteful choices. It’s a legendary song with heaps of gravitas, I just would have preferred a bit more intensity on the utterly classic closing line ”Meet the new boss/Same as the old boss,” which has been quoted so much in the years since its inception. You could hardly hear Daltrey sing the lines in this arrangement. But no matter; it was still a delight. Pete addressed the audience after that by apologizing, sort of, for ENDLESS WIRE and allowing that they were only going to do one song from that record, which was actually a guitar-pickin’ pleasure (“Tea and Theatre”). Pete then introduced a suite of songs fromQUADROPHENIA, which likely represented the grandest musical section of the show overall. The legendary guitarist is justifiably proud of his second double-album rock opera in a five-year span, and what struck me about this section is how under my skin these songs were, in some special little corner, even though I could name the titles on TOMMY much more easily. But musically, this batch of songs: “The Real Me,” “I Am the Sea,” “The Punk and the Godfather,” “5:15” and the genuinely transcendent instrumental “The Rock,” exemplify the art form of rock and roll ascending to heights it rarely goes to, with riffs and cool harmonies and quirky little passages that only an inspired musician can conjure. History has already recorded Pete Townshend as having a kind of ambition and understanding of rock melodrama and emotional release in a truly pioneering manner. This was simply incredible stuff. Rock as ART. Who conceived of such a thing? “Love Reign Over Me,” of course, is indispensable Who, with Daltrey demonstrating that he is taking care of himself… he doesn’t screech excessively… he delivers only the drama and peak moments he knows he NEEDS to these days. His partner has suffered hearing problems and a voice that has “gone away to some strange place,” or however it was he put it. But there is something profound about such an influential group still aiming for the sonic heights, and when they GET there, it is shiver inducing. Such was the case with the closing “Baba O’Riley.” I can’t say enough about this one. Criminy. It’s a rock classic, yes. But the indescribable highlight of the show was having Rog and Pete kick ass backed by an electrifying orchestra on one of their grandest musical offerings, during which leggy violinist Katie Jacoby strolled out in a Saint Louis Blues jersey, attacking her instrument flawlessly on the climax of the song. The crowd went justifiably wild. It seems improbable that the Blues’ first appearance in the Stanley Cup finals, an aging rock band’s bid for one last dramatic chapter (they announced that they have a new album ready for fall, though they didn’t play anything from it), and the expansive power of a full orchestra would combine to such powerful effect here at what most of us came to know as Riverport, with floodwaters wreaking havoc nearby. But man, this was a moment! When you see and hear this sort of spectacle happening and creating another memory so potently, you appreciate it. It was so powerful that I didn’t sense ANY grumbling about the lack of an actual encore. You hit the giddy, transcendent heights and then you say farewell. The Who did so, acknowledging each and every sterling band member like Pete’s brother Simon Townshend and that Zak Starkey fellow, who has been manning the drums for them for years. And heck, how can you NOT appreciate the epic nature of a local violinist having a huge moment onstage? Everyone felt it, trust me.
THE HILLBENDERS meet PETE TOWNSHEND, 2015 (Gary Rea, Mark Cassidy, Nolan Lawrence, Pete Townshend, Chad Graves, producer Louis Jay Meyers, Jim Rea) (uncredited photo)
Springfield’s Hillbenders opened the show with an 8 or 9-song run through a biting mix of rock-flavored bluegrass. This quintet achieved notoriety for recording a bluegrass version of TOMMY that was way more resplendent than anyone expected. Townshend was more than a little impressed; he posed for photos with the band in Nashville a while back, and praised them to the hilt onstage here. It may have seemed odd to those not familiar with these matters that an acoustic bunch from down yonder in southern Missouri would be opening for rock legends, but I thought it was rather profound. Music should be surprising, unpredictable, and adventurous. It should continually shoot up the “sparks” of life. Everyone onstage did that tonight, and it was truly a thrill.
(February 17, 2016; THE BALLROOM AT THE SHELDON CONCERT HALL, Saint Louis MO)
I have long heard great things about the Sheldon Concert Hall but, though I have visited the venue in a sales capacity when I worked at WDLJ radio, I have never been to a show there. Needless to say, I was stoked for this one… not only would I have the pleasure of witnessing the amazing fiddling acumen of the three Quebe Sisters but, I would finally see a show at what has often been referred to as the “most acoustically perfect” room in the Midwest. Initially, I was brought low once I realized that the show was scheduled for another room at the Sheldon complex, the Ballroom located on the fourth floor. To call the Ballroom intimate is a bit of an understatement (the room is slightly larger than Off Broadway); the top floor location, high ceilings and general layout of the room concerned me: Would the acoustics be an issue here? Once the music started, however, all fears were laid aside, as the sound was phenomenal throughout the night.
Tommy Halloran (Abbie Steiling; Abbie Steiling, Tommy Halloran; Tommy Halloran) (photo credits: DARREN TRACY)
Local Jazz and Blues artiste Tommy Halloran left his combo – the exquisitely titled Guerrilla Swing – at home but, he wasn’t alone… he brought violin player Abbie Steiling along to keep him company. The duo worked their way through a set of mostly original material, primarily from Halloran and the Guerrilla’s 2014 offering, UNDER THE CATALPA TREES, stopping along the way for offerings from Irving Berlin (the opening number, “My Walking Stick,” originally performed by Ethel Merman in 1938; other memorable versions were by Tommy Dorsey and Louis Armstrong with the Mills Brothers) and Eddie DeLange and Louis Alter (“Do You Know What It Means To Miss New Orleans,” performed by Armstrong and Billie Holiday in the 1947 movie NEW ORLEANS). Tommy is a dabbler; he dabbles in a variety of styles, everything from Hot Jazz to Texas Swing to a form of jazzy Blues that is inherently Saint Louis in nature. Halloran has a supple, pleasant voice with just a hint of rasp on the uptempo tunes, like the… uh… highly-caffeinated “Caffeine.” His facial expressions, general demeanor and vocal phrasing bring to mind both Tom Waits and the incomparable Leon Redbone; his physical appearance and style of dress brings the term “disheveled gentleman chic” to mind. The more “love song” ballady numbers, like “Under the Catalpa Trees” and “Gardenias For Rita” highlighted Ms Steiling’s subtle, almost fragile violin work, as well as Tommy’s playful rhythm guitar; but, don’t think the pair incapable of kicking up a bit of the proverbial dust, if the tune called for it, as on “My Favorite Sin.” Even though this was my first exposure to Tommy Halloran, his is a familiar name in Saint Louis music circles. I can now understand the reverence with which many speak his name… I was left wanting more and would certainly relish the chance to hear a full-band dissertation from Guerrilla Swing in the future.
The Quebe Sisters (Grace Quebe; Sophia Quebe; Hulda Quebe) (photo credits: DARREN TRACY)
As impressed as I was by Halloran and Steiling, this night definitely belonged to Grace, Sophia and Hulda Quebe (which, according to their website, rhymes with “maybe”). The sisters have all been fiddle champions, both in their home-state of Texas and on a national level. Accompanied by Daniel Parr on upright bass and Simon Stipp on guitar, the ladies proved themselves proficient in everything from the Western Swing of Bob Wills and the Texas Swing of Ray Benson to the Big Band sounds of Ella Fitzgerald and Benny Goodman to the pure Country of Hank Williams, Connie Smith and Jeannie Seely and the myriad of connective styles between. The highlights came fast and furious, as the group kicked things of with an anthem of the Mexican Revolution of 1912, the instrumental workout, “Jesse Polka.” From there, it was on to a beautiful version of Hank Senior’s classic honky-tonk tear jerker, “Cold Cold Heart,” with amazing harmony vocals from the trio, huddled around a single microphone, like the radio and Opry stars of yore. The hillbilly boogie of Moon Mullican’s “Every Which A-Way” led into “Twin Guitar Special,” a classic fiddle hoedown from the Quebe’s biggest influence, Bob Wills and His Texas Playboys. Bridging the gap between Western Swing and the “tear-in-my-beer” Country and Western tunes so prominent in the 1960s was a number written by Cindy Walker and recorded by Wills, “Going Away Party.” The high harmony vocals and the plaintive strains of the fiddles lend an air of authenticity that three twenty-somethings like Hulda, Grace and Sophia simply should not possess. “If I Talk To Him” is full-on Country misery, as Sophia takes the lead on the Connie Smith sob-fest; the harmonies, as always, are beautiful but, it’s also nice to hear each sister take a lead.
The Quebe Sisters (Daniel Parr; Grace, Sophia, Hulda Quebe; Simon Stipp) (photo credits: DARREN TRACY)
After a couple of true Country tunes, a version of Roy Rogers’ “Along the Navajo Trail” (which was later recorded by – among others – Wills and the Playboys; the Quebes recorded a version with Benson and his group, Asleep At the Wheel last year for an album called STILL THE KING: CELEBRATING THE MUSIC OF BOB WILLS AND HIS TEXAS PLAYBOYS) and “Once a Day,” written by Bill Anderson and originally recorded by Connie Smith, things started to get a bit adventurous with trips down avenues rarely traveled by a group such as the Quebe Sisters. These excursions included “How High the Moon,” a Jazz number first recorded by Big Band legend Benny Goodman and a later, more popular version by the duo of Les Paul and Mary Ford; “Be My Life’s Companion,” a vocal hit for both crooners the Mills Brothers and Rosemary Clooney; the Rhythm and Blues barn-burner (and early template for the music we call Rock and Roll), “Teardrops From My Eyes,” a song that propelled Ruth Brown to the top of the R and B charts; and set-closer “It’s a Sin To Tell a Lie,” a Country Blues ballad made popular by Fats Waller and recorded by the Ink Spots, among many others. As each of the trio, as well as Stipp and Parr, performed near-mind-numbing solos and the Quebes displayed further talents with dual and triple harmony fiddle leads, I, nevertheless, found myself engulfed in the sound of the transcendent female voices, blending in perfect harmony. Both Jeannie Seely’s “Leaving and Saying Goodbye.” a hit for Faron Young, and one of Willie Nelson’s most examples beautiful compositions, “Summer of Roses,” sent chills down my spine.
The Quebe Sisters (Grace Quebe; Daniel Parr, Sophia Quebe; Hulda Quebe) (photo credits: DARREN TRACY)
Aside from the already-alluded to “It’s a Sin To Tell a lie,” the final portion of the set was given over to classic Folk numbers, beginning with Woody Guthrie’s “Sally Goodin,” which turned into a fiery fiddle breakdown, again highlighting the individual and collective talents of the Quebe Sisters. Perhaps the most stirring moments of the show came with a medley of early nineteenth century Folk tunes, one quite English in origin, the other unmistakably American. Starting with the haunting “The Wayfaring Stranger,” the group’s strong vocals and the weariness evoked by the moans of the fiddles had the entire room transfixed; “Speed the Plow” was, likewise, very emotionally charged and moving. I’ve tried to give words to the soaring voices and exemplary playing of the Quebe Sisters; I’ve attempted to describe the genre-bending musical choices played on this night. I’m not exactly sure how best to describe what happened on the fourth floor of the Sheldon Concert Hall on the evening of February 17, 2016, other than to say that this was the music of America (call it “Americana,” if you must), played by what may very well be the best and the brightest we have to offer.
Ambition is an awesome thing. In music, it often leads to groundbreaking work or concepts, and this here album from Springfield, Missouri bluegrass band the Hillbenders is a doozy in that regard. The notion of doing a bluegrass interpretation of the Who’s legendary TOMMY album seems preposterous at first… how could the sonic intricacies and intense storyline of Pete Townsend’s magnum opus be re-interpreted in such a different genre, one as down to earth as Ozarks-style bluegrass? The fact that it works so well says a great deal about the abilities (and pure ATTITUDE) of this band – guitarist Jim Rea, mandolinist Nolan Lawrence, dobro player Chad Graves, banjo player Mark Cassidy and bass player Gary Rea. Pete Townsend himself gave a thumbs-up to the record and invited the band to a show on the Who’s recent tour, doing photos with them. So yeah, this crazy project is a success. But how does it SOUND? Well, the amazing thing is that the band largely sticks to the structure of the original songs. It’s just that in place of electric guitars, Roger Daltrey’s peerless vocals and Keith Moon’s powerhouse drumming, you get, well, acoustic instruments like banjo and dobro. There are no long, jammy bluegrass workouts of the type often seen in the genre… the Hillbenders adhere to the original song structures. That is striking on tracks like the magnificent “Overture,” the carefully rendered “Amazing Journey” (which really IS amazing in this sassy, grassy rendition) and the classic “Pinball Wizard,” a rousing performance in which the band makes sure their energy matches the original, and renders the concern about whether a banjo and mandolin could possibly match what Pete did on the original absolutely moot. “Tommy, Can You Hear Me” is delivered simply and soulfully, with perfectly pleasant harmonies. “Sally Simpson” becomes a truly curious hybrid, a song that, thematically, would likely never see its ilk on another bluegrass album. I mean, this is rock and roll in its energy and pure panache. What a revelation to hear the Who’s richly layered classic rock presented in such a different manner. It says something about the universality of music and themes that the Hillbenders could pull this off so thrillingly.
The Hillbenders (Nolan Lawrence, Chad “Gravy Boat” Graves, Gary Rea, Jim Rea, Mark Cassidy) (publicity photo)
Not everything brings the awe, though. Daltrey’s haunting “See Me, Feel Me” performance in its two appearances on the original is a work of vocal majesty that inevitably loses something in the simpler, more rustic approach taken here. Similarly, the drama and shifting elements of “Welcome” as a composition are diminished in this arrangement… maybe by this point, the sound is just getting too samey. And “We’re Not Gonna Take It” is missing an edge it badly needs. But gosh, songs like “Christmas” and especially, “Sensatiion,” are utterly inspired and perfectly performed by the Hillbenders, giving fresh life to compositions that most of us from the classic rock era know like the backs of our hands. There is something revolutionary about hearing a modest Ozark string band fearlessly take on a classic rock opera by legendary Brits, and do it with their own personalities and aesthetic intact, triumphantly. It’s a bold leap into rarified musical territory, and it proves once again that all things are possible if you’ve got courage, chops and, well, a pretty awesome source work. Here’s to the Hillbenders for TRULY “kicking out the jams” in every way.
There was a time when Cash ruled the world… a time before Rick Rubin and AMERICAN RECORDINGS and “Hurt.” In those days, a Johnny Cash concert was a cross-section of Americana: Equal parts Vaudeville, Grand Ole Opry and the Man’s hit variety show… you didn’t just get John, you would also get his wife, June Carter, along with her legendary family; his long-time friend and fellow Sun Records pioneer, Carl Perkins; >Cash’s famous backing band, the Tennessee Three (bassist Marshall Grant, drummer WS Holland and guitarist Bob Wootton) and longtime background singers, the Statler Brothers (real brothers Harold and Don Reid, Phil Balsley and Lew DeWitt), who were also one of the biggest Country acts of the day. MAN IN BLACK: LIVE IN DENMARK 1971 is a live television spectacular, originally available only in Australia on DVD… released thirty-five years after the event in 2006; it makes its American debut as an audio release (in a standard CD version, as well as a limited, Black Friday Record Store Day two-record set) here, nine years later.
MAN IN BLACK LIVE IN DENMARK 1971 (Marshall Grant, WS Holland, Johnny Cash, Bob Wootton, Carl Perkins) (video still)
The set starts with a rather mild take of Cash’s then-hit record, “A Boy Named Sue.” This version is nothing to write home about; the best description for the performance is probably “professional” and “workmanlike.” It is funny, though, when Johnny self-censors himself on the line “’Cause I’m the son-of-a-bitch that named you ‘Sue,’” replacing the pivotal invective, using “ …son-of-a-bleep… ” instead. Two songs in and it appears that the real problems here are a small, seemingly dispassionate audience and an equally dispassionate mix, not a lackluster performance by Cash, guest guitarist Carl Perkins and the Tennessee Three. This second tune, a serviceable reading of Kris Kristofferson’s “Sunday Mornin’ Comin’ Down,” is the first of three Kristofferson compositions featured in this set. Johnny’s halting spiel in Danish (or Swedish, as he calls it in a later exchange with June) – slow, reasoned and without inflection – kinda sums up the proceedings to this point. By the next number, a more lively version of Cash’s own “I Walk the Line,” the Man seems to be settling into his sterile studio environment. Carl Perkins’ brief solo set threatens to kick the proceedings into another gear, with a smokin’ version of the song that almost made him a household name… curse that Presley boy for recording his own version of “Blue Suede Shoes,” released (on the ELVIS PRESLEY album) just two months after Carl’s Sun single began its ascent to the top of the charts. “Matchbox” follows, a foot-stomping, hand-clapping Rockabilly highlight. Seemingly energized by Perkins’ performance, John offers up a truly heartfelt vocal on another Kristofferson masterpiece, “Me and Bobby McGee.”
A short snippet of an early Sun single from Cash, “Guess Things Happen That Way,” is really more of an introduction to the Statler Brothers, who are finally featured more prominently on backing vocals. With the spotlight shining on them for such a short time, the Brothers kinda forgo their comedy schtick, putting the focus on the music; that means that we have one of the greatest vocal groups of any genre performing one of their biggest hits, the relatively new “Bed of Rose’s,” with the rhythm section of Holland and Grant finally hitting their stride. A brilliant version of one of the Statler’s best (and most beloved) tunes, the crossover hit “Flowers On the Wall,” is highlighted by Harold’s voice, as he digs a little bit deeper and gets a little bit lower on the musical register than at any other time in the quartet’s storied career. The familiar chugging groove that was Johnny Cash’s trademark is on display on one of the Man’s biggest hits, “Folsom Prison Blues.” Finally, John seems at ease with his surroundings, delivering a nice vocal on his signature tune, with Bob Wootton adding a great solo.
MAN IN BLACK LIVE IN DENMARK 1971 (June, Maybelle, Anita and Helen Carter, Marshall Grant, WS Holland, Johnny Cash, Carl Perkins, Bob Wootton, Harold and Don Reid, Phil Balsley, Lew DeWitt) (video still)
You can actually hear Johnny’s heartbeat quicken as he introduces the love of his life, Valerie June Carter-Cash. June always brought out the best in Cash and her playful growls on John Sebastian’s “Darlin’ Companion” pushes a somewhat pedestrian song over the top. John’s gruff voice plays beautifully against June’s sweet warble on “If I Were a Carpenter,” one of the most brilliantly conceived love songs of all time. This is one of the best versions I’ve ever heard. The number transitions right into the final Kristofferson tune, “Help Me Make It Through the Night.” The male-female duet completely changes the context of the song into something far different than any solo version – not necessarily better, just different. Johnny Cash was always a rebel, an outsider – a sympathetic and an empathetic everyman who, like Jesus Christ, would dine with sinners and saints alike, drawing attention to the plight of downtrodden and the forgotten, the worth of men imprisoned due to their bad decisions… men deserving of a second chance.And, of course, the insanity of war. With one song, in less than three minutes, he voiced his concerns in one of the most damning indictments of “Man’s inhumanity to Man.” That song, “Man In Black,” is still as powerful and moving now as then and you can feel the anger and the world-weary pain through the haze of nearly forty-five years with this version.
After Johnny’s heartfelt introduction, the legendary Mother Maybelle Carter is joined by daughters Anita and Helen for a rousing version of the traditional fiddle tune, “Black Mountain Rag,” with Maybelle’s auto-harp replacing the fiddle. June joins her sisters for “A Song To Mama,” a tribute with a sentiment that is still valid for most of us today. The ladies, a classic Country and Western trio, bring in Cash for a spoken word piece before he leads them in the final chorus. A highlight of a Johnny Cash show in 1971 was a kind of everybody-in free-for-all Gospel campmeeting. John and June, with the Carters and the Statlers, belt out their new single, “No Need To Worry,” before diving into the eighteenth century hymn, “Rock of Ages.” The set closes with a rocking, stomping, high energy call and response Christmas song, “Children, Go Where I Send Thee.” Perkins, who had been sitting back as a member of the band, joins the rest of the headliners, managing to get everybody worked up with an unrestrained fervor when his vocal part comes around on “Six for the six that never got fixed” and, just maybe, reveling in the fact that he was one of those six. Cash, sharing his microphone with Carl, gets tickled as the two do a little jig toward the end of the song… it’s a moment in time, as the two music legends revel in a decade-and-a-half of friendship. Johnny Cash is an artist that we will never tire of and, because of our continual need for a Cash fix, one whose archive will continue to be mined for whatever material is available; MAN IN BLACK: LIVE IN DENMARK 1971 may not be the greatest release in the Cash canon but, it is fun and captures the Man at the height of his popularity.