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Johnny Osbourne - On The Right Track A popular and enduring King Jammy's rework of the old Studio One staple 'Throw Me (More) A popular and enduring King Jammy's rework of the old Studio One staple 'Throw Me Corn' riddim which was also known as the 'I Need You' rhythm, due to the song so titled by Chuck Turner being the 'main' cut from the new digital version. Also hugely popular on this riddim were Admiral Bailey's 'Politician' and Cocoa T's 'Come Back' amongst many others. (Less)
JOHNNY CASH: ONE ON THE RIGHT: amphetamine-fueled hellcat SKULL Johnny Cash: An American Original Returns By ANTHONY DeCURTIS - Feb. 24, 2002 - On the cover of (More) Johnny Cash: An American Original Returns By ANTHONY DeCURTIS - Feb. 24, 2002 - On the cover of his album "Ragged Old Flag," Johnny Cash stands resolute, staring directly at the viewer and pointing to an American flag that is torn and tattered but still flying. His face looks as if it could grace Mount Rushmore. Like the flag behind him, that face is weathered and battle-worn, but nonetheless defiant. "She's been through the fire before," Mr. Cash intones on the album's title track, alluding to the flag and the country it represents," and I believe she can take a whole lot more." When "Ragged Old Flag" was first released in 1974, Mr. Cash intended the flag's scars to symbolize the shocks of American history, from the Revolutionary War to more contemporary upheavals like the Vietnam War and the Watergate scandal. When the album was reissued on Dec. 11, three months to the day after the terrorist attacks on the World Trade Center and the Pentagon, it took on an unmistakable new meaning. The flag on the cover clearly evokes the one recovered at the World Trade Center and recently displayed at the Winter Olympics, a stirring image of the country's determination to survive a devastating blow. What better artist to summon all that is worthwhile in the American spirit than the redoubtable Mr. Cash? Since 1997, he has struggled with autonomic neuropathy, a severe neurological disorder that has brought him close to death. For that reason, Mr. Cash was not feeling strong enough to participate in the various music-industry events that were organized immediately after Sept. 1 1. But with the rerelease of "Ragged Old Flag," along with his 1972 concept album, "America: A 200-Year Salute in Story and Song," Mr. Cash made an eloquent statement of his own. "Sept. 11 broke my heart," Mr. Cash said by telephone from Jamaica, where he can often be found when he is not at his home outside Nashville. "I watched it on television, and I guess I wanted to kill somebody myself. I do love this country, and I saw somebody take a really good shot at it. It was a striking blow at our morale. But I've recovered from that, just as this country is recovering. I believe this country will prevail." Interest in Mr. Cash has intensified at a time when his music - with its patriotic themes and dark undercurrents, its independent-mindedness and its spiritual reach - seems eminently suited to the cultural mood of the country. Tuesday marks Mr. Cash's 70th birthday, and to commemorate that event, Columbia/Legacy has begun an extensive reissue campaign that draws on the dozens of albums Mr. Cash recorded for Columbia between 1958 and 1993. Earlier this month saw the release of "The Essential Johnny Cash," a superb two-disc collection that also includes eight of the legendary tracks (like "I Walk the Line" and "Big River") Mr. Cash recorded between 1955 and 1958 for the influential Sun label, where Elvis Presley also established his career. In addition, remastered versions (with additional, contemporaneous tracks) of five of Mr. Cash's albums that have been out of print for years will be issued on March 19: "The Fabulous Johnny Cash" (1958), "Hymns by Johnny Cash" (1959), "Ride This Train" (1960), "Orange Blossom Special" (1965) and "Carryin' On With Johnny Cash and June Carter" (1967). Five more of Mr. Cash's albums will be reissued in July. While they represent just a small portion of Mr. Cash's recorded output, the five albums that will come out next month demonstrate how all of the qualities that have made Mr. Cash an American icon were present at the very start of his career. Most tellingly, in their stylistic range and ambition, they dramatize Mr. Cash's continuing conviction that he should be guided by no one's musical lights but his own. By the time of "The Fabulous Johnny Cash," Mr. Cash and his band, the Tennessee Two, had already established themselves as architects of the rockabilly sound, which blended the twang of country music with the raucousness of then-nascent rock 'n' roll. Just as important, Mr. Cash had already defined his persona as one of popular music's most incorrigible wild men, an amphetamine-fueled hellcat who had no patience for either country music's pieties or rock 'n' roll's teen-pop sentimentality. Indeed, anyone who brings preconceived notions to Mr. Cash's music is likely to get upended. For example, Mr. Cash was an early, avid admirer of Bob Dylan at a time when conservative country audiences found little to like in Mr. Dylan's bohemian lifestyle or his politics of social protest. "Orange Blossom Special" includes three songs written by Mr. Dylan, and limned connections between folk music, country and rock 'n' roll that are now taken for granted. "There's no doubt about Bob Dylan's influence on my music and myself," Mr. Cash said. "We became friends, but I already was a fan of his. I still am. I go to the record shop with every release he has and buy his new CD - and his latest one, by the way, is the best yet. Bob is timeless. Invariably, before every day ends, there will be a Bob Dylan song that'll float through me." When Mr. Cash left Sun Records for Columbia in 1958, he cited the label's refusal to allow him to record an album of spirituals as one of the reasons for his departure. That particularly surprises younger listeners, for whom Mr. Cash is primarily known for being the forbidding "Man in Black," a precursor of hip-hop stars for whom courtrooms, boardrooms and the top of the charts are equally familiar. "Hymns by Johnny Cash," in fact, was Mr. Cash's second Columbia release. "I could not convince Sam Phillips about how important that music was to me," Mr. Cash said, referring to the founder of Sun Records. "His answer always was, 'I don't know how to sell hymns.' I understood that Sun was a very small company. But I didn't want to be restrained. I didn't want to be held back from doing anything that I felt was important for me to do on record or as a writer." Over the intervening decades, gospel music has remained one of the mainstays of Mr. Cash's repertory. In 2000, Mr. Cash released a thematically organized three-disc compilation called "Love God Murder," with each disc addressing one of the primary subjects that has preoccupied him throughout his life. He sees little difference among the three concerns. "My faith in God has always been a solid rock that I have stood on," Mr. Cash said. "I was a bad boy at times, but God was always there for me, and I knew that. I guess I even took advantage of that fact. It's hard to justify, I'm sure, so far as you're concerned. But to me it's not." "Roy Orbison wrote a song called 'My Best Friend,' and there's a line in there that says, 'A diamond is a diamond/ And a stone is a stone/ But man is part good/ And part bad.' I've always believed that the good will ultimately prevail, but there's a bad side of us that we have to keep warring against. I know I do." Because of his illness, Mr. Cash no longer performs in front of audiences, and his public appearances are rare. But he does continue to record, and he is up for a Grammy this week in the category of best male country vocal. Since he left Columbia in 1993, Mr. Cash has made three albums with the producer Rick Rubin that are regarded as among his finest. They are notable both for their austere sound - emphasizing the gravitas of Mr. Cash's incomparable voice - and the boldness of their song selection. On those records, Mr. Cash has performed versions of his own songs, traditional ballads, spirituals and material written by artists as varied as Beck, Glenn Danzig, Neil Diamond and Nick Cave. WHEN I signed with Rick's label about 10 years ago," Mr. Cash recalled, "I asked him what he would do with me that nobody else had done. He said, 'I would like for you to sit in front of a microphone with your guitar and sing every song you want to record.' I said: 'Whoa, that's a tall order. There are lots of songs over the years that I've wanted to do.' He said, 'Well, those are the ones that I want to hear.'" The two men are now collaborating on a fourth album, which they plan to release later this year. On the cusp of 70, Mr. Cash sees no reason to cease being adventurous or to be content with a tasteful celebration of the work he has already done. "The songs are coming from every direction," Mr. Cash said of his forthcoming album. "I've written two or three new ones, and I recorded a Sting song called 'I Hung My Head.' I've recorded a Marty Robbins song called 'Big Iron.' I'm recording 'The First Time Ever I Saw Your Face,' that Roberta Flack song. And I'm recording 'Hurt' by Nine Inch Nails." One of the more ominous characters on the contemporary music scene, Trent Reznor of Nine Inch Nails can be seen as one of Mr. Cash's many unruly progeny. That notion brings Mr. Cash delight. "When I heard that song, I thought, 'That sounds like something I could have written in the 60's,' " he said of "Hurt." "There's more heart, soul and pain in that song than any I've heard in a long time. I love it." (Less)
Beowulf - Lost My Head But I m Back On The Right Track 
2009-05-25 - extension: rar - size: 56 MB
Beowulf - Lost My Head But I m Back On The Right Track
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