You Tube Jonnny Cash Look Again to the Wind

A Special Release Celebrating the 50th Anniversary of Cash's Landmark Album

Look Again To The Wind: Johnny Cash'south Bitter Tears Revisited

Of all the dozens of albums released byJohnny Greenbacks during his virtually half-century career, 1964'due southBiting Tears: Ballads of the American Indian was among the closest to the artist's centre. A concept anthology focusing on the mistreatment and marginalization of the Native American people throughout the history ofthe United States, its eight songs—among them "The Ballad ofIra Hayes," a #three hit unmarried for Cash on theBillboard state nautical chart—spoke in frank and poetic language of the hardships and intolerance they endured.

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At present, 50 years later on it was recorded, a collective of top Americana artists has come up together to reimagine and update these songs that meant so much to Cash, who died in 2003.Await Once again To The Air current: Johnny Greenbacks'due south Bitter Tears Revisited (Sony Music Masterworks,August nineteen), produced pastJoe Henry (Bonnie Raitt,Aaron Neville), features American music giantsKris Kristofferson,Emmylou Harris,Steve Earle,Bill Miller,Gillian Welch andDavid Rawlings, andNorman and Nancy Blake, as well every bit upwardly-and-comers the Milk Carton Kids andRhiannon Giddens, interpreting the music ofBiting Tears for a new generation. Equally his projection was for Cash, the new collection is a labor of love with a potent sense of purpose fueling its creation.

"Prior toBitter Tears, the conversation about Native American rights had non really been had," says Henry, "and at a very significant moment in his trajectory,Johnny Greenbacks was willing to draw a line and insist that this be considered a man rights issue, aslope the ceremonious rights issue that was coming to fruition in 1964. But he also felt that the record had never been heard, then there'south a existent sense that we're being asked to carry information technology frontwards."

Bitter Tears, widely best-selling for decades as 1 of Cash's greatest artistic achievements, did not realize its stature equally a landmark recording easily and quickly. At the time that Greenbacks proposed the album, he was met with a dandy deal of resistance from his record label.  They felt that a song wheel revolving around the Native American struggle as perpetrated past the white human being took him too far afield of the land mainstream and Greenbacks's core audience. Cash notwithstanding released the album and although information technology did non perform also every bit he had hoped, he remained extremely proud of the album throughout his life.

Ironically, at the aforementioned time that his ain label was balking because it felt he would amerce the state audience with his Native American tales, Cash was finding a new set of admirers among the burgeoning folk music crowd that had recently made stars of Bob Dylan,Joan Baez and Peter, Paul and Mary. Cash'due south debut functioning of "Ira Hayes" at the 1964 Newport Folk Festival had earned him rave reviews.  His appeal was undeniably expanding across the land audience, and for those who did connect withBitter Tears, among them a 17-year-old aspiring singer-songwriter namedEmmylou Harris, its music was revelatory and important. "The record was a seminal piece of work for her as a teenager," says Henry. "She bought the album make new and realized at that moment thatJohnny Cash was a folk vocaliser, not a country vocaliser, and was involving himself politically and socially in a way that she had identified with the bang-up folk singers at that moment."

Henry's awareness of Harris' amore forBitter Tears led him to invite her to contribute toLook Again To The Wind:Johnny Cash'sBitter Tears Revisited. Following the epic, nine-minute album-opener "As Long as the Grass Shall Grow," written by Peter La Farge—a folk singer-songwriter with Native American bloodlines who Greenbacks had befriended—and sung hither by Welch and Rawlings, Harris takes the lead song on the Cash-penned "Apache Tears," which likewise features sweet, close harmonies by the Milk Carton Kids, the duo comprisingKenneth Pattengale andJoey Ryan. For Henry, advisedly matching artist to song was integral to the integrity ofLook Once more To The Current of air. For some of the tracks, that procedure required a swell bargain of consideration. But when it came to deciding who would interpret "The Ballad ofIra Hayes," Henry quickly zeroed in on Kristofferson.

Some other of 5 songs on the original album written by La Farge, "The Carol ofIra Hayes" is based on the true story ofIra Hamilton Hayes, a Pima Indian who was one of the vi 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 information technology, vowed to record the song.  When planning outLook Over again To The Wind, Henry knew that only a few living singers could deliver the song the mode he wanted to hear it. He called Kristofferson, utilizing Rawlings and Welch to sing groundwork.

"I wanted somebody whose relationship withJohnny Cash was not only musical merely personal," he says. "I'd worked with Kris on a couple of other things and I idea why not inquire? Who else has a vocalization with that kind of power 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 third song, the producer knew instinctively thatSteve Earle was the right man for the job. "Steve is an upstart, and there are very few people I tin imagine working right at present who could deliver a song that is that pointed in that particular way and do it authentically without cowering from information technology or making it feel a little too arch," Henry says. "He really could embody the kind of swagger that that vocal insists upon."

Similarly, Henry choseNancy Blake (with Harris and Welch on backing vocals) for the Cash-written "The Talking Leaves,"Norman Blake to sing "Drums," the Milk Carton Kids to lead "White Daughter" (both of those authored by La Farge) and the powerhouse vocalistRhiannon Giddens of the Carolina Chocolate Drops for the original album'southward finale, "The Vanishing Race," written by Greenbacks'due south good friendJohnny Horton. To bolster the album (the original, typical of mid-'60s vinyl LPs, ran only over a half hour), Henry fills out the runway listing ofLook Again To The Air current with reprises of "Apache Tears" and "As Long As the Grass Shall Grow"—both sung by Welch and Rawlings—and ends the set with the championship track, a La Farge melody that did not appear on the originalJohnny Greenbacks anthology just instead on the songwriter'southward own 1963 releaseEvery bit Long as the Grass Shall Grow: Peter La Farge Sings Of The Indians. Hither it'due south sung byBill Miller, withSam Bush-league providing mandolin andDennis Crouch upright bass, a fine and plumbing equipment coda to the drove.

From the first, Henry looked at the projection as 1 that would require great 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 virtually the making ofBitter Tears), Henry immediately understood the importance of the consignment. "Johnny Cash was my get-go musical hero and I experience a profound debt to him as an creative person, and as a mettlesome one," he says. "How could I say no to that?"

He also realized that theBiting Tears album held a special place in Cash'south canon, and that in many ways the issues it raised yet resonate today—this had to exist apparent in the new versions. "Mr. Cash knew that if he took this on, even if his bespeak of view was not adopted, he had the power to be heard," Henry says.

The album was recorded in 3 sessions: the first two inLos Angeles andNashville and, lastly, one at the Cash Cabin, in Cash's hometown ofHendersonville, Tennessee, wherePecker Miller cut his contribution. Providing the instrumental backing for most of the anthology areGreg Leisz (steel guitar, guitars), Keefus Ciancia (keyboards),Patrick Warren (keyboards for the L.A. sessions),Jay Bellerose (drums) andDave Piltch (bass).

TRACKLIST:

1. As Long every bit the Grass Shall Grow – feat.Gillian Welch &David Rawlings

2. Apache Tears – feat.Emmylou Harris w/The Milk Carton Kids

3. Custer – feat.Steve Earle west/The Milk Carton Kids

4. The Talking Leaves – feat.Nancy Blake w/Emmylou Harris,Gillian Welch &Dave Rawlings

5. The Ballad ofIra Hayes – feat.Kris Kristofferson westward/Gillian Welch &David Rawlings

6. Drums – feat.Norman Blake w/Nancy Blake,Emmylou Harris,Gillian Welch &David Rawlings

7. Apache Tears (Reprise) – feat.Gillian Welch &Dave Rawlings

8. White Girl – feat. The Milk Carton Kids

9. The Vanishing Race – feat.Rhiannon Giddens

10. As Long as the Grass Shall Abound (Reprise) – feat.Nancy Blake,Gillian Welch &Dave Rawlings

11. Wait Again to The Wind – feat. Bill Miller

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Source: http://billmiller.co/look-again-to-the-wind/