Archive for the ‘Johnny Cash’ Category

The Highwaymen Live: American Outlaws (Release date: 5/20/2016)

Wednesday, May 4th, 2016

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www.cmt.com
by:  Samantha Stephens

It’s Johnny Cash, Willie Nelson, Waylon Jennings and Kris Kristofferson like you’ve never experienced them. That’s because this concert footage has never been seen before.

CMT has the video premiere of the super group’s performance of “Good Hearted Woman,” recorded live at the Nassau Coliseum in Uniondale, New York, on March 14, 1990.

It’s all part of the new collection The Highwaymen Live — American Outlaws, a CD/DVD package arriving May 20 with previously unreleased concert performances from the legends.

In addition to the complete concert from their 1990 tour, the Columbia/Legacy package includes various performances at Farm Aid and a previously unreleased version of Cash and Jennings’ take on Bob Dylan’s “One Too Many Mornings.”

American Masters — The Highwaymen: Friends Till the End, a new feature-length documentary on the supergroup, will premiere May 27 on PBS.

Johnny Cash, “Backstage Pass to a Willie Nelson Show”

Sunday, April 17th, 2016

The Highwaymen, “Desperados Waiting for a Train”

Friday, April 15th, 2016

highwaymen

www.DailyBeast.com

Johnny, Waylon & Willie do ‘Desperados Waiting for a Train’ in previously unseen footage.

There aren’t four more recognizable or legendary faces in music—country or otherwise—than those that comprised supergroup The Highwaymen. Formed unintentionally in 1984 in Montreux, Switzerland, when Johnny Cash invited Kris Kristofferson, Willie Nelson, and Waylon Jennings to be guests on a Christmas special he was taping, the foursome found a collaborative creative fire that would etch itself forever into the lore of country music.

“There’s the four of us standing there, grouped around microphones,” wrote Jennings in his autobiography, Waylon: An Autobiography. “The Highwaymen. John, Kris, Willie, and me. I don’t think there are any other four people like us. If we added one more, or replaced another, it would never work.”

Having four established artists known for doing what they want, when they want, work together is the sort of endeavor that can explode brilliantly or implode dramatically with equal ferocity. When it came to playing live for The Highwaymen, it was almost the latter, until the moment when they found a way to come together. Jennings addressed this in his book as well.

“When we first took The Highwaymen out live, it looked like four shy rednecks trying to be nice to each other. It almost ruined it. That didn’t work, for us and the audience, and it was really bothering me, how different we were on stage than when we were sitting around in the dressing room. [At one point] I was fixin’ to quit. I talked to John about it and he was feeling the same way. ‘I get a little nervous,’ he said. ‘I don’t want to look like I’m trying to steal your thunder.’ That was it. We were boring each other and the audience. It may be hard to think of Johnny Cash as intimidated, but that’s the way we were. You can’t have four big guys tiptoeing around each other on stage. Nobody has a good time. By the end of the week, with Willie dancing across the stage and John and Kris singing harmony neck-and-neck, we had the wildest show, and it made us a group.”

Over the course of their decade-long run, The Highwaymen released three records, charted multiple singles, and won a Grammy for Best Country Song for their tune, “Highwayman,” as well as playing barn-burner live shows that will forever rate as “you should have been there.” You can watch part of one of those performances below, featuring the song “Desperados Waiting for a Train,” filmed March 4, 1990, at the Nassau Coliseum in Uniondale, New York.

While there will never be another group like The Highwaymen, their legacy lives on with a celebratory new multimedia box set, The Highwaymen Live—American Outlaws, out May 20. Featuring unreleased footage—including the entire Nassau concert as well as Farm Aid performances—and songs, as well as wildly fun to read liner notes from music scholar Mikal Gilmour, the box set is complemented by a PBS documentary, American Masters—The Highwaymen, ’til the End, which premieres May 27.

Merle Haggard and Johnny Cash, “Sing Me Back Home”

Wednesday, April 6th, 2016

Music of Willie Nelson, Johnny Cash, Loretta Lynn honored by Charleston Symphony Orchestra

Thursday, March 10th, 2016

fiddler

www.charlestoncitypaper.com
by:  Vincent Harris

For the Charleston Symphony Orchestra’s fourth Pops show of the 2015-16 season, they’ve decided it’s time to give the Gaillard Center a good-ole down-home feeling. After saluting Latin music, Louis Armstrong, and holiday classics, the CSO is going country with a special Country Legends concert, saluting the icons of country music, along with a few surprising choices — ack, Billy Ray Cyrus.

The entire affair will kick off with the theme from the legendary Western The Magnificent Seven, courtesy of the 24-piece CSO, under the direction of Maestro Ken Lam. After that, Lam and company will take the audience on a guided tour of country music history, from Hank Williams’ “Hey Good Lookin'” and Marty Robbins’ “El Paso” to Willie Nelson’s “On the Road Again” and Faith Hill’s “Breathe.” Along the way there will also be songs by Loretta Lynn, Johnny Cash, John Denver, and, the Gambler himself, Kenny Rogers.

“We’re trying to provide a show that’s got a little bit of something for everybody,” says the CSO Artistic Director Kyle Lane. “We have a very robust classical audience that likes to come see the orchestra do the works of Mozart or programs like that, but for the Pops we kind of have a different audience.”

For this show, the orchestra will be joined by two featured vocalists: Patrick Thomas and Rachel Potter. Thomas was a finalist on Season 1 of NBC’s The Voice, and Potter was a finalist on Season 3 of Fox’s The X Factor.

“They’re both really talented singers who specialize in country music,” Lane says. “We’re excited to bring them in, and along with the orchestra, they’re going to play some of the great country classics in pretty chronological order, which I didn’t realize until I started looking at the tunes. It starts out with the artists you’d think of as classic country, Dolly Parton and artists like that, and marches forward to today with artists like Carrie Underwood.”

Rather than simply have the orchestra serve as background accompaniment to Thomas and Potter, however, Lane says the CSO has sought out ways to be an integral part of the show. “For a lot of these songs, we’ve found a way to weave the orchestra into them,” he says. “For example, on Charlie Daniels’ ‘The Devil Went Down To Georgia,’ our concert-master is going to play the violin solos. That’s one of the easier ways we figured out, but there will be some creative arrangements with things like ‘Breathe.’ We’re mixing the classical and country styles to deliver something that’s a little more unique.”

(more…)

This day in Willie Nelson history: Highwayman begin tour at Houston Rodeo (March 3, 1990)

Thursday, March 3rd, 2016

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On March 3, 1990, Willie Nelson, Waylon Jennings, Johnny Cash and Kris Kristofferson perform at the Houston Livestock Show and Rodeo at the Astrodome, kicking off their first concert tour as the Highwaymen.

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Willie Nelson and Johnny Cash, “I Still Miss Someone”

Sunday, February 21st, 2016

Willie Nelson, Merle Haggard, “Missing ‘ole Johnny Cash”

Monday, January 11th, 2016

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Willie Nelson photo-bombs Johnny Cash and Kris Kristofferson, “Me and Bobby McGee”

Tuesday, December 8th, 2015

This day in Willie Nelson history, “Highwayman” recorded in Nashville, by Willie Nelson, Waylon Jennings, Johnny Cash and Kris Kristofferson

Sunday, December 6th, 2015

highwaymen

On December 6, 1984, Willie Nelson, Waylon Jennings, Johnny Cash and Kris Kristofferson record “Highwayman” at Nashville’s Moman Studios. Among the musicians on the session is guitarist Marty Stuart.

John Cash honored with Willie Nelson Lifetime Achievement Award by CMA

Saturday, November 7th, 2015
John Carter Cash accepts award for Johnny Cash who wins Willie Nelson Lifetime Achievement Award Award at ìThe 49th Annual CMA Awards,î live Wednesday, Nov. 4 at the Bridgestone Arena in Nashville and broadcast on the ABC Television Network.

John Carter Cash accepts award for Johnny Cash who wins Willie Nelson Lifetime Achievement Award Award.

www.allaccess.com

The Country Music Association (CMA) presented industry honors Wednesday night (11/4) during pre-televised festivities leading up to the national broadcast of “The 49th Annual CMA Awards”.  W.A.R. artist Jana Kramer presented both the WILLIE NELSON Lifetime Achievement Award and the Joe Talbot Award before the sold-out audience at the Bridgestone Arena in Nashville.  The Willie Nelson Lifetime Achievement Award is awarded to an iconic artist who has attained the highest degree of recognition in Country music and was established to recognize an artist who has achieved both national and international prominence and stature through concert performances, humanitarian efforts, philanthropy, record sales and public representation at the highest level.

This year’s WILLIE NELSON Lifetime Achievement Award was presented to the late JOHNNY CASH, whose son JOHN CARTER CASH accepted on his behalf. The JOE TALBOT Award is presented in recognition of outstanding leadership and contributions to the preservation and advancement of Country music’s values and tradition and may be presented to a person as determined by the CMA Board Of Directors to recognize an initiative or long-term contribution.

This year’s JOE TALBOT Award was given to the late GEORGE JONES, whose widow NANCY JONES was in attendance to accept on his behalf. “The CMA AWARDS is a night when we recognize our brightest stars, songwriters, producers, and directors,” said CMA CEO SARAH TRAHERN. “But it is also an occasion for us to honor some of our industry’s most revered icons, who have carried the torch and helped to advance Country music around the world.”

Willie Nelson, Sheryl Crow, Rosanne Cash and others featured in Johnny Cash documentary

Friday, September 11th, 2015

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www.cmt.com
Johnny Cash: American Rebel

Saturday, September 12th
9 p.m., CMT

The life and artistry of the Man in Black will be celebrated in Johnny Cash: American Rebel, a CMT original documentary premiering Sept. 12 at 9 p.m. on the 12th anniversary of his death.

The film features exclusive interviews with Johnny Cash’s family, friends and admirers, including Willie Nelson, Eric Church, Sheryl Crow, Rodney Crowell, record executive Clive Davis, Merle Haggard, Kris Kristofferson, John Mellencamp, Kid Rock,  producer Rick Rubin, and others.

It marks the first time Cash’s son John Carter Cash, daughter Rosanne Cash and June Carter’s daughter Carlene Carter have all appeared in a film about him.

Johnny Cash: American Rebel is built around 12 essential Johnny Cash tracks spanning four decades that each deliver the passion, musicality and messages against war, injustice, racism and prejudice, including “Folsom Prison Blues,” “Jackson,” “San Quentin,” “Man in Black,” “Sunday Morning Coming Down,” “Ring of Fire” and “Hurt.” Each song illustrates a chapter in his life, as well the story of an ever-changing America from the 1950s to modern day, as told through interviews, archival concert footage, photographs and personal artifacts from the Cash family.

“There were so many different facets to him, such an undefinable depth to his character,” John Carter Cash said. “You could see it in his eyes, and it brought on mystery, and it brought on a need for, perhaps, understanding him in a deeper way and this is part of the appeal of who the man was.”

Derik Murray and Paul Gertz from Network Entertainment are executive producers of the film. Jordan Tappis directs and Derik Murray co-directs. Jayson Dinsmore, Lewis Bogach and John Miller-Monzon executive produce for CMT.

Johnny Cash: American Rebel marks the latest in a series of original documentaries from CMT. The first, Urban Cowboy: The Rise and Fall of Gilley’s, premiered to critical acclaim has been seen by more than 9 million viewers. More than 5 viewers tuned in for Morgan Spurlock’s Freedom: The Movie, which premiered last month.

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Highwaymen Prayer Candles

Tuesday, June 23rd, 2015

etsy

  • Handmade item  — Made to order —   Choose from red or white candles
  • $27.00/  set of 4
  • Ships worldwide from Petaluma, California

Creepy or cool?  You be the judge.

Willie Nelson, Johnny Cash, “I Still Miss Someone”

Sunday, June 7th, 2015

Waylon, Willie, Kris and the Renegades of Nashville

Sunday, May 31st, 2015

highwaymen

www.statesman.com
by:  By Joe Gross

American-Statesman Staff

Attention, people of Texas in general and Austin in particular: Michael Streissguth, author of “Outlaw: Waylon, Willie, Kris, and the Renegades of Nashville,” insists that the title is not personal.

Indeed, it absolutely makes sense.

When most folks think of outlaw country, they think of Texas. “Progressive” country, the Armadillo World Headquarters, hippies and rednecks getting together: These things are as crucial to the mythology of late 20th-century Austin as anything.

But Waylon Jennings, he of the massive voice, rugged persona and love of the guitar phaser-effect; Willie Nelson, he of “Red-Headed Stranger” and dealing with super-stardom better than most; Kris Kristofferson, he of a genuinely revolutionary way to write country songs: These guys were rebelling against Nashville, not Texas.

And Nashville was still (and is still) the world capital of country music, the center of the industry, the place where all three artists spent an awful lot of time.

“I do feel like Nashville lived in some ways in the shadows of this movement,” Streissguth says.

The Le Moyne College professor is the author of several books on country music, including two on Johnny Cash. “They had come from Texas, but they were based in Nashville, for the most part,” Streissguth says. (Willie’s Texas residency excluded.) “I wanted to tell the Nashville side of the story.”

Streissguth says the book started when he began to look into the life and times of the great Waylon Jennings.

“When ‘Crazy Heart’ with Jeff Bridges came out, it reminded me that Jennings had been dead (about seven years), and he seemed to be slipping from memory,” Streissguth says. He started getting into Waylon’s life and career, and that opened up the outlaw topic.

“Outlaw” traces the movement via the very different career paths of Jennings, Nelson and Kristofferson. All three intersected with each other’s careers, all three embodied a new way of thinking about (and writing and recording) country music.

But all three started at different points and arrived at very different places. Along with way, Streissguth folds in figures such as Billy Joe Shaver, Guy Clark, Rodney Crowell, Kinky Friedman, and, of course, Johnny Cash.

“I don’t want to say there is a specific path from Cash to outlaw,” Streissguth says. However, Cash is certainly a player, recording Kristofferson’s songs and engaging progressive singer-songwriters on his short-lived-but-increasingly legendary TV show, which featured performances from Kristofferson, Jennings and Bob Dylan.

In fact, Dylan’s recording “Blonde on Blonde” in Nashville is one of the key moments in the development of outlaw country. “There was one ‘a-ha!’ moment in writing this, and that was finding out that Kristofferson was working as a studio lackey during the ‘Blonde on Blonde’ sessions,” Streissguth says. “I don’t think you can’t discount how Dylan changed Nashville.”

Then again, Streissguth got a lot of time with Kristofferson. “He was very generous,” Streissguth says. “I didn’t talk to Willie, though I tried, and Waylon came alive for me through his drummer and confidant Richie Albright. Rodney Crowell, Guy Clark and Roseanne Cash were great as well.”

What emerges is a case for Nashville as its own incubator, a place where, for a brief period of time, this sort of songwriting flourished.

“I do think that we typecast Nashville,” Streissguth says. “There was very much a Greenwich Village-like scene in the West End,” the neighborhood that helped nurture all of the book’s heroes.

In fact, there were many aspects to Nashville in this period that Streissguth thinks have been under-reported or are becoming forgotten. An entire generation knows Kristofferson more as a character actor than a songwriter.

“It’s a cliche at this point, but Kristofferson’s songwriting changed Nashville, it really did,” Streissguth says. “And I developed a great appreciation for producers such as Fred Foster and Jack Clement. These guys were serious risk takers. They took chances on artists, and you need that in a vibrant scene. Anything that is pioneering involves money and risk.”

Streissguth notes that Clement collected these songwriters, giving them publishing deals and pushing them to think big about their careers. “He would say, ‘you’re a writer, but have you thought about performing? What about film-making?’”

Waylon, the reason for all of this research, also came under some revision.

“There was a lot of bluster surrounding him and this idea that the was rebelling for the sake of rebelling,” Streissguth says. “But you look at the nuances of his career, and he really had been beaten down by the Nashville machine. He was thinking about packing it in and becoming a session guitarist.”

And then there were Waylon’s personal habits. “Cocaine is almost a character in this book,” Streissguth says. (Speed is pretty important as well.) “I think Waylon’s suspicion of journalists and fans really harmed him in the long run. Had Waylon made himself more accessible to the world, the way Willie did, I suspect we would be talking about him in the same way as Willie.”

Ah, Willie. He really does emerge from “Outlaw” better than anyone.

“No question he becomes the quintessential outlaw figure,” Streissguth says. Kristofferson went Hollywood, Waylon flamed out, but Willie endured. “He’s remained on this even path, and he’s still such a powerful symbol of so many aspects of American culture.”