is arguably the best of Johnny Cash’s early ‘80s albums, by virtue of its well-chosen material and consistently strong performances. There’s a seriousness of intent to this collection that links it with the Man in Black’s earlier work, heard most clearly in the two Bruce Springsteen covers featured here. The echoes of violence in the American heartland in the brooding “Highway Patrolman” and in the rocking title track are realized with great insight and power. There are an abundance of other standouts here as well, including Eric Von Schmidt’s Caribbean folk tune “Joshua Gone Barbados,” Guy Clark’s wryly evocative “New Cut Road,” and Jonathan Edwards’ galloping Western ballad “Girl from the Canyon.” June Carter Cash duets with Johnny on the bittersweet waltz “Brand New Dance,” setting things up for a spirited take on George Jones’ country anthem “I’m Ragged But I’m Right.” Brian Ahern handles his production duties with sympathy and taste, enlisting such session notables as guitarist James Burton, keyboardist Glen D. Hardin, and harmonica wiz Norton Buffalo to give the tracks a rootsy yet radio-friendly feel.
Johnny 99
Johnny Cash
is arguably the best of Johnny Cash’s early ‘80s albums, by virtue of its well-chosen material and consistently strong performances. There’s a seriousness of intent to this collection that links it with the Man in Black’s earlier work, heard most clearly in the two Bruce Springsteen covers featured here. The echoes of violence in the American heartland in the brooding “Highway Patrolman” and in the rocking title track are realized with great insight and power. There are an abundance of other standouts here as well, including Eric Von Schmidt’s Caribbean folk tune “Joshua Gone Barbados,” Guy Clark’s wryly evocative “New Cut Road,” and Jonathan Edwards’ galloping Western ballad “Girl from the Canyon.” June Carter Cash duets with Johnny on the bittersweet waltz “Brand New Dance,” setting things up for a spirited take on George Jones’ country anthem “I’m Ragged But I’m Right.” Brian Ahern handles his production duties with sympathy and taste, enlisting such session notables as guitarist James Burton, keyboardist Glen D. Hardin, and harmonica wiz Norton Buffalo to give the tracks a rootsy yet radio-friendly feel.