Johnny Cash - Discography

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1966 - Mean as Hell

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1967 - Carryin' On With Cash and Carter

Johnny Cash has called June Carter-Cash one of the most neglected artists in country music, whose contributions will always be overlooked in the shadow of her husband's own success -- his only regret, he says, in having married her. On the couple's 1967 release Carryin' On With Johnny Cash and June Carter -- recorded a year before their marriage and while Cash was still officially, unhappily wed to his first wife Vivian -- June emerges briefly not merely as a longtime backup singer or opening act, but as an equal and able performer and partner. Indeed, her gritty country voice is one of the album's greatest strengths, providing a nice complement and counter to Cash's famous, unadorned bass. Carryin' On contains the hit single "Jackson," along with "Long-Legged Guitar Pickin' Man," a boisterous, rocking and rolling minor hit featuring Johnny in the lead role and June as his lovably nagging "Big-Mouthed Woman." Other performances include less effective detours into folk-rockish and pseudo-soulful realms: They cut a fine cover of Richard & Mimi Farina's then-popular "Pack Up Your Sorrows" and wade a little awkwardly through Bob Dylan's "It Ain't Me, Babe," Johnny gracelessly spitting out the "babe" of the title against "Ring of Fire" mariachi horns. Both sides of the record end with versions of Ray Charles classics, "I Got a Woman" and an especially shaky "What'd I Say," which, like "Babe," may prove as endearing to Cash fans as irritating to less-dedicated listeners. While Cash seems a little uncomfortable, or at least out of place, on the Charles numbers, June sounds surprisingly at home and rescues the performances with her soulful, growling vocals. The album's lowest moment, meanwhile, is its second track, "Shantytown," in which syrupy female voices provide sentimental, Hee Haw routine choruses of "I live down in Shantytown/Where the chicken's 20 cents a pound." Despite such moments, though, the album manages to overcome its weaknesses by the strength of the couple's collaboration; Johnny and June, eternally genuine and altogether unembarrassed even in the midst of their worst or most ridiculous arrangements, can perform corny or ill-fitted material with such honesty and conviction that you have almost no choice but to believe and enjoy it. Along with the duo's unforgettable voices, the record's mix of harmonicas, banjo, dobro, and hot electric guitar licks lends a down-home, carefree spirit to the entire effort. This, on some level, is Johnny and June at home, or -- as on the cover -- kicked back in a grassy field, Carryin' On, and the world is better off for having witnessed the whole thing. 

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1967 - Greatest Hits Vol. 1

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1968 - At Folsom Prison (live)

Folsom Prison looms large in Johnny Cash's legacy, providing the setting for perhaps his definitive song and the location for his definitive album, At Folsom Prison. The ideal blend of mythmaking and gritty reality, At Folsom Prison is the moment when Cash turned into the towering Man in Black, a haunted troubadour singing songs of crime, conflicted conscience, and jail. Surely, this dark outlaw stance wasn't a contrivance but it was an exaggeration, with Cash creating this image by tailoring his set list to his audience of prisoners, filling up the set with tales of murder and imprisonment -- a bid for common ground with the convicts, but also a sly way to suggest that maybe Cash really did shoot a man in Reno just to watch him die. Given the cloud of death that hangs over the songs on At Folsom Prison, there's a temptation to think of it as a gothic, gloomy affair or perhaps a repository of rage, but what's striking about Cash's performance is that he never romanticizes either the crime or the criminals: if anything, he underplays the seriousness with his matter-of-fact ballad delivery or how he throws out wry jokes. Cash is relating to the prisoners and he's entertaining them too, singing "Cocaine Blues" like a b*st*rd on the run, turning a death sentence into literal gallows humor on "25 Minutes to Go," playing "I Got Stripes" as if it were a badge of pride. Never before had his music seemed so vigorous as it does here, nor had he tied together his humor, gravity, and spirituality in one record. In every sense, it was a breakthrough, but more than that, At Folsom Prison is the quintessential Johnny Cash album, the place where his legend burns bright and eternal. [This Expanded Edition of At Folsom Prison added three bonus tracks to the songs included in the original 16-track LP.] 

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1968 - From Sea To Shining Sea

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1968 - Heart Of Cash

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1968 - Old Golden Throat

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1968 - The Holy Land

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1969 - At San Quentin (live)

To put the performance on Johnny Cash at San Quentin in a bit of perspective: Johnny Cash's key partner in the Tennessee Two, guitarist Luther Perkins, died in August 1968, just seven months before this set was recorded in February 1969. In addition to that, Cash was nearing the peak of his popularity -- his 1968 live album, At Folsom Prison, was a smash success -- but he was nearly at his wildest in his personal life, which surely spilled over into his performance. All of this sets the stage for Johnny Cash at San Quentin, a nominal sequel to At Folsom Prison that surpasses its predecessor and captures Cash at his rawest and wildest. Part of this is due to how he feeds off of his captive audience, playing to the prisoners and seeming like one of them, but it's also due to the shifting dynamic within the band. Without Perkins, Cash isn't tied to the percolating two-step that defined his music to that point. Sure, it's still there, but it has a different feel coming from a different guitarist, and Cash sounds unhinged as he careens through his jailhouse ballads, old hits, and rockabilly-styled ravers, and even covers the Lovin' Spoonful ("Darlin' Companion"). No other Johnny Cash record sounds as wild as this. He sounds like an outlaw and renegade here, which is what gives it power -- listen to "A Boy Named Sue," a Shel Silverstein composition that could have been too cute by half, but is rescued by the wild-eyed, committed performance by Cash, where it sounds like he really was set on murdering that son of a bitch who named him Sue. He sounds that way throughout the record, and while most of the best moments did make it to the original 1969 album, the 2000 Columbia/Legacy release eclipses it by presenting nine previously unreleased bonus tracks, doubling the album's length, and presenting such insanely wild numbers as "Big River" as well as sweeter selections like "Daddy Sang Bass." Now, that's the only way to get the record, and that's how it should be, because this extra material makes a legendary album all the greater -- in fact, it helps make a case that this is the best Johnny Cash album ever cut. 

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1969 - Dylan - Cash Sessions

01 One Too Many Mornings
02 Good Old Mountain Dew
03 I Still Miss Someone
04 Careless Love
05 Matchbox A6 Big River
06 That's Allright Mama
07 I Walk The Line
08 You Are My Sunshine
09 Ring Of Fire
10 Guess Things Happen That Way
11 ''T'' For Texas
12 Blue Yodel #3 

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1969 - Get Rhythm

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1969 - More of Old Golden Throat

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1969 - Original Golden Hits, Volume I

01 Folsom Prison Blues
02 Hey! Porter
03 So Doggone Lonesome
04 There You Go
05 Next In Line
06 Cry! Cry! Cry
07 I Walk The Line
08 Don't Make Me Go
09 Train of Love
10 Home Of The Blues
11 Get Rhythm 

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1969 - Story Songs Of The Trains And Rivers

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1969 - This Is Johnny Cash

Nine Pound Hammer 
Lorena 
The Long Black Veil 
When Papa Played The Dobro 
I Still Miss Someone 
Bad News 
The Streets Of Laredo 
Don't Think Twice, It's All Right 
Frankie's Man, Johnny

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1970 - Hello, I'm Johnny Cash

Side A
1. Orange Blossom Special
2. Daddy Sang Bass
3. Don't Take Your Guns To Town
4. The Ballad Of Ira Hayes
5. The Long Black Veil
6. Five Feet High And Rising
7. The One On The Right Is On The Left

Side B
1. Rosanna's Goin' Wild
2. What Do I Care
3. Man In Black
4. Don't Think Twice, It's Alright
5. See Ruby Fall
6. Blistered
7. Happy To Be With You 

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1964 - I Walk The Line

I Walk the Line is the nineteenth studio album by country and rock and roll singer Johnny Cash, released on Columbia Records in 1964. Half of the album, including its title track, are new versions of songs previously recorded by Cash at Sun Records and one for Columbia. The other half are new performances by Cash, two of which, "Bad News" and "Understand Your Man," became top ten singles on the Country & Western chart.

"I Walk the Line," "Folsom Prison Blues," "Give My Love to Rose," "Hey Porter," "Wreck of the Old '97," and "Big River" are new recordings of songs that had been released as either album tracks or singles on Sun prior to Cash signing with Columbia. "I Still Miss Someone" is a new version of a song that had appeared on Cash's first Columbia LP, The Fabulous Johnny Cash.

The album was certified Gold by the RIAA in 1967.

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1970 - Johnny Cash The Legend

1. Folsom Prison Blues
2. Hey Porter
3. So Doggone Lonesome
4. There You Go
5. Next In Line
6. Cry Cry Cry
7. I Walk the Line
8. Don't Make Me Go
9. Train Of Love
10. Home Of The Blues
11. Get Rhythm
12. Ballad Of A Teen Age Queen
13. Come In Stranger
14. The Ways Of A Woman In Love
15. You're the Nearest Thing to Heaven
16. I Just Thought You'd Like To Know
17. Give My Love To Rose
18. Guess Things Happen That Way
19. Just About Time
20. Luther's Boogie
21. Thanks A Lot
22. Big River

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1970 - Little Fauss And Big Halsy (soundtrack)

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1970 - Original Golden Hits II

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1970 - Rough Cut King Of Country Music

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1970 - Showtime

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1970 - Sunday Down South

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1970 - The Johnny Cash Show (live)

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1970 - The Singing Storyteller

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