This
interview is copyright Joe Jackson and must not be used in part of whole
without permission in writing from the author.
Johnny Cash is angry. He may have had his artistic and financial differences with Sam Phillips, the founder of Sun record and the man who “discovered” him in 1955 , but he “agrees wholeheartedly” with Sam’s recent assertion that “a feel, an energy, a spiritual force” forms the core connective between all the best recordings Phillips made with him and with Elvis, Roy Orbison and Jerry Lee Lewis in the late 1950s.
Responding further to the claims Sam Phillips made last week in The Irish Times Cash refers to Kris Kristofferson, who is appearing with him on his forthcoming Irish tour.
“I was talking with Kris about definitions of “spiritual” music just the other day, and he said “your music and mine, it’s all spiritual, no matter what the subject matter is. Because there is a certain spirit in all the songs we record, the human spirit empowered by a greater spirit.” Yet when Kris says this, I know that, as with Sam Phillips and Elvis, neither he nor I are trying to tie that spirit down to any one religious base. There is no dogma attached, no doctrine. We’re not preaching.”
Cash’s anger stems from the fact that British journalist Roy Carr recently suggested that the true source of the energy at the heart of the Sun sound, may have been speed, rather than spirituality. Carr claimed that Cash’s colleague, and friend, Elvis Presley was not discovered, as legend has it, making a record for his mother’s birthday but that he wanted fame so badly he “peddled” his mother’s amphetamines to musicians at Sun. Johnny Cash is fully aware that such a claim turns the story of Sun, Elvis and the birth of rock ‘n’ roll on its head, transforming a folk-tale into a form of black fairy-tale.
“I first heard that story years ago,
and I can absolutely tell you it’s nottrue,”
he says. “Elvis didn’t take drugs then.
And that suggestion that all of us were on amphetamines at the time is
nonsense. Those first records made by Elvis and Jerry Lee and I were made back
when most of us hadn’t even heard of amphetamines.”
Johnny Cash has long since admitted that he
himself became addicted to pills but claims this is no longer is the case,
despite continuing mouth surgery which could easily result in a dependency on
painkillers. The last time I talked with him, in 1991, he was jabbing his neck
throughout our conversation, clearly in acute pain.
“I haven’t taken anything for pain in
several months. I don’t take any mood-altering drug at all, and I don’t
drink,” he says. “And I was on Sun Records three years and had moved
to Columbia records before I ever took an amphetamine. And although they say
Elvis may have started taking them during his time in the army, to stay awake
on guard duty, I don’t know about that because I wasn’t there with him. But I was with Elvis in 1955. The first tours
I did out of Memphis I did with Elvis, and I can tell you that neither I nor
Elvis, at that point, had taken a drug of any kind. I know that for sure.”
Laughing Cash ironically suggests that if
rock history revisionists are now trying to say that all Presley’s early hits,
and his own, jump-started rockabilly and rock ‘n’ roll into existence because
they all were “high” when recording them, this he sees as “a
compliment.”
“I’d use “high” in the context you
originally asked me this question!” he says. “The music was spiritual
and hooked into some higher force, or state of consciousness, that was there at
Sun Records, and in Memphis, at the
time. But, believe me, it had nothing to do with amphetamines.”
Whatever the source of their
musical/spiritual power there is a consistency in Johnny Cash’s recordings
which is unmatched in country music. From those Sun cuts like Get Rhythm through ground-breaking,
pre-St. Pepper’s concept albums such as Ride
This Train in 1960 right up to his latest album The
Mystery of Life Cash seems to carry in his voice, and songs, some
quintessence of America past, passing and to come – its shame and its
glory. Likewise, the show he is bringing
to Ireland, which also features his wife June Carter and the legendary Carter
Family. As with many of his albums, he consciously designed the programme of
songs to reflect the multiplicity of musical styles and sensibilities in
America.
“The whole idea of the show is to take
the audience back to the roots of our music,” he says. “That’s why,
apart from hits like I Walk the Line and
June and I singing Jackson we also do
traditional songs, going back to the turn of the century. It’s the same about
the gospel songs from the 1930s and that I heard every day on the radio back
when I was growing up. That’s where a lot of us got that spiritual base that fed
into rock ‘n’ roll. And I do some rockabilly like I recorded at Sun.”
Johnny Cash believes that if “music is to
keep on growing” then its musicians, and audiences, “must, every now and then,
return to the roots to see where we came from, who we are, in terms of our music.” He dismisses critics who suggest
that the newer breed of country singer, such as Billy Ray Cyrus, have moved so
far from an organic base that they now produce a kind of homogenised pap.
“I disagree with that. Billy Ray’s Achy Breaky Heart is the first song in a
decade that just two chords in it. You
can’t get back to basics any more than that!” he says, laughing.
Cash also happily notes that the Chieftains
latest project, Another Country,
featuring a brace of Nashville’s top artists, has been nominated for five
Grammy Awards. This kind of musical fusion makes “complete sense” to him, he
says, because Irish music had such a “profound effect” on early American music.
“I was reminded of that recently when I was up in the mountains of
Virginia, and I heard all those jigs and reels they play at their dances. All that came straight out of Ireland.”
In this context it also would make complete
sense for Johnny Cash and Bono to record together, a proposal apparently originally
put to the singer by Bono and a project Cash claimed he hoped would
materialise, the last time he and I
spoke. More recently
“Cowboy” Jack Clement, Cash’s original producer at Sun, and producer of
Rattle and Hum cuts like Angel of Harlem, told me he’d love to
produce Bono and Cash.
“I haven’t talked to Bono since the
last time I was in Ireland, so I can’t say how far the project has developed
in his mand” he replies in answer to the question of whether or not they
may make a trip into the recording studio this time around. “It would take
a lot of preliminary work, and there’d have to be a lot of conversations about
the material so, no I can’t see it happening right now. But, because we have identified that common
ground, I would really enjoy working with him, whenever we can set that
up.”
Johnny Cash, as with Bono, attended the
recent Presidential Inauguration celebrations in Washington. He is optimistic about the political
changeover, saying “Bill Clinton was born about 50 miles from where I was born,
in Arkansas, so it’s like one of our own boys made it.”
However, wouldn’t Johnny Cash agree that the
Southern United States of America, as with country music itself, is often
perceived as a breeding ground for racism? How does he think his fellow
Southerners will respond to the fact that 80% of the artists performing for
Clinton outside the Abraham Lincoln Memorial Centre were black? Didn’t Kennedy
find himself in conflict with Southern powerbrokers when he was seen to be
pushing through a Civil Rights Bill?
“Let’s take the Southerner out of this.
There are more Ku Klux Klan’s in the North than there are in the South, though
not many people talk about that” he says, a little defensively. “Yes,
Kennedy had that trouble, yet although he knew that would be the form of
resistance he’d meet, he was fearless, as far as I’m concerned. And I see that same fearlessness in Bill
Clinton. There are a lot of things he will do that will aggravate the far-right,
but I believe he too will push those things through because he knows it’s the
right thing to do.”
During the inaugural celebrations, Bill
Clinton was seen pushing through one crowd to acknowledge the presence of
Native Americans. Johnny Cash, as an
artist who, in 1964, recorded Bitter Tears,
an album graphically detailing both the physical rape of American Indian
women and the continuing political rape of their land and culture, says he is
“inspired” by such a sight. However, he
is not hopeful that Clinton can reverse the failure of successive American
Governments to recognise George Washington’s original pledge to Native
Americans or to turn Lincoln’s Gettysburg
Address into anything other than empty rhetoric- in relation to all men
being created equal.
“I think it would be impossible for
Bill Clinton to rectify the wrongs done,” he says, solemnly. “Because
we’ve been breaking treaties with the Native American for more than 200
years. Clinton could make his mark in
that direction by acknowledging some of those treaties that are still in
existence. And I think he will support
some of the claims in that area. If he does, it will be a huge step forward for
America.”
Yet although this music has been savagely
silenced by the political process in the United States, he firmly believes that
“the best thing Bill Clinton can do for America is get people singing again,
all people
Pausing before he concludes he sighs a sigh
that echoes with all the weight of his 60 years, and beyond. “If Sam
Phillips said to you that he believes his greatest gift to the world is that he
gave poor boys like Elvis and me, and millions more, a voice to sing with – he
is right. “he says. “That’s exactly what he did. And that’s the greatest gift you can give to
anybody.”
Copyright:
Joe Jackson 1993