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DISCID=4d0ef718
DTITLE=Johnny Cash / Personal File CD2
DYEAR=2006
DGENRE=Country
TTITLE0=Seal It In My Heart And Mind
TTITLE1=Wildwood In The Pines
TTITLE2=Who At My Door Is Standing
TTITLE3=Have Thine Own Way Lord
TTITLE4=Lights Of Magdala
TTITLE5=If Jesus Ever Loved A Woman
TTITLE6=The Lily Of The Valley
TTITLE7=Have A Drink Of Water
TTITLE8=The Way Worn Traveler
TTITLE9=Look Unto The East
TTITLE10=Matthew 24 (Is Knocking At The Door)
TTITLE11=The House Is Falling Down
TTITLE12=One Of These Days I'm Gonna Sit Down And Talk To Paul
TTITLE13=What On Earth (Will You Do For Heaven's Sake)
TTITLE14=My Children Walk In The Truth
TTITLE15=No Earthly Good
TTITLE16=Sanctified
TTITLE17=Lord, Lord, Lord
TTITLE18=What Is Man
TTITLE19=Over The Next Hill (We'll Be Home)
TTITLE20=A Half A Mile A Day
TTITLE21=Farther Along
TTITLE22=Life's Railway To Heaven
TTITLE23=In The Sweet Bye And Bye
EXTD=Originally Released May 23, 2006\nSony/BMG Music Entertainment\n"
EXTD=COLUMBIA/LEGACY"\nupc 827969426524\n\nAMG EXPERT REVIEW: Usually,
EXTD= when an artist of stature passes, the record company (or compani
EXTD=es, and sometimes even family, look at the sad posthumous legacy 
EXTD=of Townes Van Zandt for example) raid the vaults and unearth load
EXTD=sof embarrassing garbage along with a few gems. Personal File, is
EXTD=sued by Sony Legacy, is very different. For starters, other than 
EXTD=Hank Williams, there are no artists who have Cash's stature (argu
EXTD=ably not even Jimmie Rodgers). Secondly, this material was not st
EXTD=ored in Columbia's vaults but Cash's own. He began recording thes
EXTD=e songs -- most of disc one, and four songs from disc two -- at h
EXTD=ome in 1973, for no one but himself. The rest come from the his p
EXTD=ersonal file up through 1982. While closing down the studio, muse
EXTD=um, and store, John Carter Cash -- a fierce and honorable guardia
EXTD=n of his parents' legacies -- invited the folks from Legacy in to
EXTD=sort through the many reels of demos, TV appearances, the awardin
EXTD=g of honorary degrees, and speeches, and unreleased recordings. T
EXTD=hey found some tidy white boxes marked "Personal File," and it'sf
EXTD=rom these tapes alone the tunes were drawn. Many of these are old
EXTD= folk songs passed on through the ages, some Cash sang as a kid, 
EXTD=or heard from his companions: "Some of those old songs that I use
EXTD=d to sing when I was a kid I still remember every word to 'em. A 
EXTD=lot of 'em from the radio and I learned a lot of 'em from the boy
EXTD=s across the road, the Williams boys, there was Guy and Otis Will
EXTD=iams and Jack Williams. They didn't play the guitar or anythingbu
EXTD=t they sang a little bit and they had a Victrola..." and Cash rec
EXTD=alls the names, records, and performers, and then says "Bradley K
EXTD=incaid might have sung this song, I can't quite remember....."and
EXTD= then goes on to finish his intro and sing the song "There's a Mo
EXTD=ther Waiting at Home." He tells stories to introduce the tunes he
EXTD=re. This is as close to a private concert as one could ever get. 
EXTD=The portrait is so intimate the listener is tempted not to breath
EXTD=e. For example, when Cash introduces "Far Away Places," he tells 
EXTD=a story of one of the first talent contests he entered (he got on
EXTD=ly two votes) and thinks back that it might have been his selecti
EXTD=on of material that did him in, but it was the first song he ever
EXTD= sang in public. You can hear the memories, painful and hopeful, 
EXTD=float back into the singer's delivery. His reading here of "Sagin
EXTD=aw, Michigan" contains no peremptory tale, but the song says it a
EXTD=ll, and Cash brings the intimacy of the tune's tragic narrative t
EXTD=o life in the present. Likewise, it's followed by other Northern-
EXTD=themed tunes, "When It's Springtime in Alaska" and "Girl fromSask
EXTD=atoon," (written by Cash and Johnny Horton) before launchinginto 
EXTD=a devastating read of Robert Service's poem, "Cremation of Sam Mc
EXTD=Gee." "It's All Over" is an original that comes from Cash'searly 
EXTD=days and was never recorded properly in the studio. There are son
EXTD=gs by the Louvin Brothers, John Prine ("Paradise"), Doug Kershaw 
EXTD=("Louisiana Man"), and many others. Disc two is a collection of d
EXTD=evotional songs, from well-known hymns like "Lily of the Valley,"
EXTD= "Farther Along," and "The Way Worn Traveler," to provocative tun
EXTD=es of unknown origin either in authorship or session detail, such
EXTD= as "If Jesus Ever Loved a Woman, (It was Mary Magdalene)"(and th
EXTD=is was how many years before the Da Vinci Code?) This tune and it
EXTD=s delivery -- as well as its recording quality -- are open to spe
EXTD=culation as to whether it is actually an original, improvised on 
EXTD=the spot, and uncredited because of its controversial nature. The
EXTD=re are gorgeous original songs such as "No Earthly Good,""What Is
EXTD= Man?" and the track Greil Marcus' bases his liner noteson, "A Ha
EXTD=lf a Mile a Day." Marcus does his usual "big-American-dream-hoped
EXTD=-for-via-small-gesture -- of performance" riff here, but it is po
EXTD=etic and moving nonetheless. In sum, this is an utterlywelcome an
EXTD=d perhaps necessary addition to the Cash catalog. Thisis history;
EXTD= it's lineage history in a sense, Cash not forgettingthe songs of
EXTD= his childhood or those he wrote for no other reasonthan to write
EXTD= them, or playing numbers by songwriters who were important to hi
EXTD=m. Personal File is an aural autobiography from oneof the nation'
EXTD=s greatest autobiographers; it's a portrait of theartist as a man
EXTD=, and a humble one at that. This is not even debatable as a purch
EXTD=ase by Cash fans, and goes a long way to explaining something so 
EXTD=mercurial it still slips by even as these songs are grasped and i
EXTD=nternalized. The sound quality is warm, wonderful, and immediate;
EXTD= it's almost like having Cash in your home. -- Thom Jurek\n\nAmaz
EXTD=on.com Editorial Review\nThe recordings Johnny Cash started makin
EXTD=g for Rick Rubin's American label in 1993 launched a journey thro
EXTD=ugh the Great American Songbook--from traditionaltunes to alt-roc
EXTD=k--that continued until, literally, the end of his life. What was
EXTD=n't known at the time was that Cash had anticipated the American 
EXTD=Recordings concept 20 years earlier. A series ofinformal private 
EXTD=sessions he recorded in 1973 featuring just voice and guitar--wit
EXTD=h a few numbers added between then and 1982--were left untouched 
EXTD=at his House of Cash studio, unearthed only after his death in 20
EXTD=03. These 49 songs, labeled "Personal File," show him exploring 1
EXTD=9th-century parlor tunes, Tin Pan Alley pop, gospel, little-known
EXTD= Cash originals, classic and contemporary country, and even a rec
EXTD=itation of Robert Service's poem "The Cremationof Sam McGee." On 
EXTD=many, his spoken introductions reveal personalties to a given num
EXTD=ber. Cash reprises early country fare like Jimmie Rodgers's "My M
EXTD=other Was a Lady" and "The Letter Edged in Black." He also revisi
EXTD=ts later country classics like the Louvin Brothers' "When I Stop 
EXTD=Dreaming," close friend Johnny Horton's hit "When It's Springtime
EXTD= in Alaska (It's Forty Below)," John Prine's "Paradise," and step
EXTD=daughter Carlene Carter's "It Takes One to Know Me." The second d
EXTD=isc is a virtual hymnbook, blending traditional gospel and A.P. C
EXTD=arter tunes with a sacred composition by Rodney Crowell and Cash 
EXTD=gospel originals. For those enchanted by the illness-ravaged soul
EXTD=fulness of Cash's later American recordings, hearing him in his p
EXTD=rime is not only breathtaking--it underscoresthe depth of his sti
EXTD=ll-remarkable musical vision. --Rich Kienzle\n\nAmazon.com Produc
EXTD=t Description\nDeep within the House of Cash, Johnny Cash's recor
EXTD=ding studio, office suite, and museum in Hendersonville, Tennesse
EXTD=e, behind the studio's control room, was a small vault-like space
EXTD= in which many of his most prized possessions were stored. A coll
EXTD=ection of rare firearms dating back to the 18th Century, some per
EXTD=sonal effects of Jimmie Rodgers, artwork and letters from fans al
EXTD=l over the world and much more was carefully arranged and locked 
EXTD=away for safekeeping. Then there were the tapes. Hundreds of them
EXTD=. Demos from songwriters, album masters, multi-tracks of the ABC 
EXTD=television series, and some boxes marked simply "Personal File." 
EXTD=These are Johnny's most intimate sessions, recorded mostly in 197
EXTD=3 and then subsequently at his leisure. Just a lone voice and an 
EXTD=acoustic guitar, singing songs and telling stories about them. A 
EXTD=concept that has since come to be thought of as revelatory but, a
EXTD=s is evident in this stunning new set, is something Johnny Cash h
EXTD=ad been doing all along--if only for his personal file. \n\nAMAZO
EXTD=N.COM CUSTOMER REVIEW\nSacred and secular, this is the real Johnn
EXTD=y Cash, 8/22/2006\nThe hype on these long-lost home tapes is that
EXTD= they were unheralded precursors to the stripped-down, raw-boned 
EXTD="American Recordings" series that sent Johnny Cash's cool quotien
EXTD=t through the roof in the 1990s... In a sense that's true, althou
EXTD=gh I would argue that these recordings are a different sort of cr
EXTD=eature altogether... Where the "American" albums were a calculate
EXTD=d bid to present Cash as a back-to-basics country avatar, an icon
EXTD= for the college rock scene to revere, these earlier tracks were,
EXTD= as the title implies, a much more private affair. \n\nBack in th
EXTD=e early 1970s, when he was still at a professional peak, Cash kic
EXTD=ked back and recorded copiously and at his leisure in his private
EXTD= home studios; the master tapes were apparently unearthed after h
EXTD=is death and combed through for the best material, which has been
EXTD= issued for the first time as part of this 2-CD set. The first di
EXTD=sc is secular material, with Cash singing solo over a sparse acou
EXTD=stic guitar, with some intriguing choices in repertoire, but a pr
EXTD=etty subdued feel overall. The second disc is all gospel material
EXTD=, and this is where the real feeling comes in -- Cash recorded pl
EXTD=enty of religious music during his career, and these recordings a
EXTD=re among some of his best. The song selection is particularly str
EXTD=iking, with a bunch of songs that are way off the beaten track. C
EXTD=ountry gospel tends to favor certain standards, tunes that entere
EXTD=d the popular culture after the advent of the recording industry,
EXTD= but many of the songs Cash selected were way off the beaten trac
EXTD=k, and demonstrated how deep his cultural roots ran... Likewise, 
EXTD=the secular disc has some material on it that hearkens back almos
EXTD=t to colonial times, showing how much of a student of American so
EXTD=ng he really was. These sessions were almost certainly made just 
EXTD=for fun, without much hope of commercial release, and they provid
EXTD=e a great glimpse into the kind of music Cash was interested in, 
EXTD=separate from the advice of family, friendsor record execs... It'
EXTD=s pure, it's sincere, unpretentious, and certainly a must-hear fo
EXTD=r diehard Cash fans.\n\nAMAZON.COM CUSTOMER REVIEW\nAn all too ra
EXTD=re glimpse into the person behind the legend of Johnny Cash., 8/1
EXTD=4/2006\nReviewer: T. Ransom (Woodstock, GAUSA)\nPersonal File is 
EXTD=just that - personal. The sparse arrangements and accompanying st
EXTD=ories breathe the true life of Johnny Cash. Too often, a man like
EXTD= Cash is overshadowed by the legend produced by the media, includ
EXTD=ing excellent films like "Walk the Line".With Personal File, we a
EXTD=re allowed to follow Johnny into a darkened studio. We get to hea
EXTD=r him pull out his guitar and lead us through a musical journey t
EXTD=hat sees him come to life in the lyrics and the stories of rememb
EXTD=rance. Most of these songs are not the kind that would sell an al
EXTD=bum. Those songs are brought to the singer by A&R experts with do
EXTD=llar signs in their eyes. These songs are life songs and death so
EXTD=ngs and faith songs. The listener is invited to sit quietly and l
EXTD=et the moments sink in. And, they do sink in. If you are a fan of
EXTD= A Boy Named Sue and Folsum Prison, thismay not be the best choic
EXTD=e for you. If you thirst for an intimate knowledge of a man and t
EXTD=he music deep in his soul, do not miss your chance to experience 
EXTD=Personal File. I am blessed to have nearly all of Cash's music on
EXTD= CD. But, Personal File quickly became my favorite.\n\nAMAZON.COM
EXTD= CUSTOMER REVIEW\nJohnny Cash Comes Over for Dinner, 6/26/2006\nR
EXTD=eviewer: Jim Newsom (Norfolk, VA)\nThe best ideas for songwriting
EXTD= are the true stories that happen to...especially to people. When
EXTD= you get into the human spirit, you getsome good ideas sometimes.
EXTD=" -Johnny Cash \n\nAs both a songwriter and an interpretive singe
EXTD=r, Johnny Cash succeeded in getting into the human spirit as deep
EXTD=ly as any artist. A true original, thepurity of his artistry shon
EXTD=e through most clearly when it was least adorned. \n\nAfter the d
EXTD=eaths of Johnny and June Carter Cash in 2003, their son John Cart
EXTD=er Cash began going through things atthe House of Cash in Henders
EXTD=onville, Tennessee. Among the treasures in a room full of tapes w
EXTD=ere boxes marked "personal files." Those boxes contained recordin
EXTD=gs Johnny had made for himself of songs that he'd written and nev
EXTD=er recorded, songs that he remembered from his childhood, songs h
EXTD=e admired that had been written by others, songs that he would la
EXTD=ter record in more fully formed arrangements. A big chunk came fr
EXTD=om sessions laid down in July, 1973,when he was 41 years old. \n\n
EXTD=This new double disc set brings together 49 of those tracks. More
EXTD= than half are from that ten-day burst in the summer of '73. All 
EXTD=but two are just Johnny alone withhis guitar; the other two, from
EXTD= 1982, feature an uncredited second guitarist. The characteristic
EXTD= chink-chinka-chink that distinguished Cash's hits from the '50s 
EXTD=through the '70s is nowhere to befound. \n\nDisc one is devoted t
EXTD=o story songs, love songs, old favorites--the secular side of Joh
EXTD=n R. Cash. There's the Louvin Brothers' "When I Stop Dreaming," J
EXTD=ohnny Horton's "When It's Springtime in Alaska (It's Forty Below)
EXTD=," John Prine's "Paradise," The Carter Family's "The Winding Stre
EXTD=am," Lefty Frizzell's 1964 hit, "Saginaw, Michigan." Many of the 
EXTD=songs are prefaced with Cash's remembrances, explaining their ori
EXTD=gins or their importance to him.It's like having Johnny Cash sitt
EXTD=ing in your living room after dinner, playing guitar, sharing son
EXTD=gs and telling stories. Since these are recordings he apparently 
EXTD=didn't intend for public consumption, I can't help but wonder who
EXTD= he was talking to. Perhaps he envisioned these tapes as some sor
EXTD=t of aural time capsule, to be opened after his death. \n\n"Throu
EXTD=gh times of loneliness and heartbreak and despair and sadness," h
EXTD=e says in an introduction on the second disc, "I've always found 
EXTD=that a good song of inspirationwill lift me up, make me feel just
EXTD= a little bit better." \n\nDisc two contains 24 of those inspirat
EXTD=ional and spiritual songs, half of which are originals. One of my
EXTD= personal favorites is "What on Earth (Will You Do for Heaven's S
EXTD=ake)," a Cash composition thatfirst appeared on 1974's Ragged Old
EXTD= Flag. Considering the premise of The Da Vinci Code, "If Jesus Ev
EXTD=er Loved a Woman" takes on a connotation probably not envisioned 
EXTD=by its author, who is unknown, or the man in black who sings it h
EXTD=ere: "If Jesus ever loved a woman, I think Mary Magdalene was the
EXTD= woman that he loved." \n\nThis disc contains a few oft-performed
EXTD= gospel chestnuts--"Life's Railway to Heaven," "In the Sweet Bye 
EXTD=and Bye," "Farther Along," "The Lily of the Valley." But for the 
EXTD=most part, these are new or little known folk spirituals, deliver
EXTD=ed in that distinctive bigger-than-life voice that fills each tun
EXTD=e with both gravitas and joy.\n\nJohnny Cash was one of those per
EXTD=formers whose persona was asbig as his music. Here in his Persona
EXTD=l File, we catch a glimpse of the man beneath the persona all alo
EXTD=ne with the music he cherished the most. --Jim Newsom \n\nOrigina
EXTD=lly published in Port FolioWeekly, 6/27/06. \n\nAMAZON.COM CUSTOM
EXTD=ER REVIEW\nUp Close And Personal With the Man In Black, 6/24/2006
EXTD=\nReviewer: Robert I. Hedges (Burnsville, MN USA)\nLong before hi
EXTD=s collaborations with RickRubin, Johnny Cash understood the simpl
EXTD=e power of an acoustic guitar and his deep, haunting voice. This 
EXTD=CD is comprised of tracksdiscovered after his death in 2003, and 
EXTD=largely dates to 1973. Despite being over thirty years old, these
EXTD= songs are technically crisp for the most part, and all are prize
EXTD=s for Cash fans. \n\nTheset is divided by theme: the first CD is 
EXTD="classic Cash," secularsongs of great diversity much like the res
EXTD=t of his catalog, the big difference being the intimacy of these 
EXTD=recordings. These recordings are not slickly edited in a studio, 
EXTD=and many feature spoken introductions from Johnny explaining the 
EXTD=significance of the songs to him. In every case the look into the
EXTD= mind of Johnny Cash is insightful and wonderful. The first CD is
EXTD= full of interesting pieces, and I enjoyed hearing them all, thou
EXTD=gh I wasn't especiallyfond of "The Cremation of Sam McGee." \n\nT
EXTD=he second CD is a selection of gospel tunes done simply and maste
EXTD=rfully. Many are classics from hymnals he learned as a child, but
EXTD= many are his own compositions that have never before seen the li
EXTD=ght of day. I enjoyedall the songs on the second CD (although I d
EXTD=idn't particularly care for the irregular meter on "If Jesus Ever
EXTD= Loved a Woman,") and a couple are standouts even by Cash standar
EXTD=ds. \n\nThe 49 songson this set are an absolute treasure trove fo
EXTD=r a Johnny Cash fan, and demonstrate better than any other work t
EXTD=he simple strength of his voice and an acoustic guitar. I highly 
EXTD=recommend "PersonalFile."\n\nAMAZON.COM CUSTOMER REVIEW\nRe-writi
EXTD=ng the Johnny Cashlegend, 6/21/2006\nReviewer: Mr. C. A. Rollings
EXTD= (UK)\nJohnny Cash biographers and discographers are going to hav
EXTD=e to do some revising now that these 49 gems have been unearthed 
EXTD=from the Man in Black's personal archive and released as a two-di
EXTD=sc set at what everyone will agree is an absolute bargain price. 
EXTD=This is pure unadorned Cash - just his voice and his accoustic gu
EXTD=itar - almost twodecades before Rick Rubin appeared and gave us t
EXTD=he American Recordings (and, hey! I'm still waiting for volume 5)
EXTD=. Sad to say, the choice of material is not as varied, or as inte
EXTD=resting, or as good, and sometimes Cash's delivery (as in "I'll T
EXTD=ake You Home Again, Kathleen") falters a bit - but who cares? Whe
EXTD=n you think of some of the dreadful stuff he laid down on CBS and
EXTD= Mercury in the 60s, 70s and 80s, and which these labels inflicte
EXTD=d on the public,you can only thank the stars that Johnny Cash lef
EXTD=t us these Personal Files to prove that what he was doing back th
EXTD=en wasn't all dross. A "must" for all fans of the Man in Black an
EXTD=d all historians of American roots music. \n\nAMAZON.COM CUSTOMER
EXTD= REVIEW\nbreathtaking, 6/7/2006\nReviewer: J. Johnson (Winchester
EXTD=, VA)\nRick Rubin got a lot of credit for recording Johnny Cash s
EXTD=tripped down togitar and minimal accompaniment. What he probably 
EXTD=should get credit for is helping Cash find the courage to release
EXTD= the type of material he had been doing in private for years. Thi
EXTD=s 2disc set isan amazing compilation of songs Cash had recorded a
EXTD=t house of cash. Clearly these show Cash at his rawest and the se
EXTD=lections are probably those closest to his heart-at least at the 
EXTD=time of recording. Some sound like songs Cash was considering to 
EXTD=record with his band-they fit so well you can hear the instrument
EXTD=s without them being present. Others are just songs that spoke to
EXTD= Johnny Cash.That alone is reason enough to listen. \n\nDisc one 
EXTD=are the typeof country songs that had fallen out of style in coun
EXTD=try music by the time they were recorded. These songs will never 
EXTD=be accused of sophistication. Songs about mothers, dying children
EXTD=, distant places that will never be seen by a country boy-all per
EXTD=formed withthe sparest accompaniment and raw vocals. The set also
EXTD= shows that Cash probably could have been a star within the early
EXTD= 60's folkscene had he chosen to follow that route. Highlights-th
EXTD=e first song, The Letter Edged in Black, Far Away Places, When I 
EXTD=Stop Dreaming, I Don't Belive You Wanted to Leave. The version of
EXTD= John Prine's Paradise shows that a record of just John Prine son
EXTD=gs would have been a great Cash project. \n\nThe second disc is g
EXTD=ospel music. Rodney Crowell's Wildwood In the Pines, the classic 
EXTD=hymn of invitation Have Thine Own Way Lord and Cash's own Sanctif
EXTD=ied set the table for the ending run of Farther Along, Life's Rai
EXTD=lway to Heaven and In the Sweet Bye and Bye. Talk about satisfyin
EXTD=g!!! \n\nThe set is accompanied by a great essay by Griel Marcus 
EXTD=who writes with such insight and sensitivity you come away feelin
EXTD=g that you know Cash better than you did before. \n\nIf you are a
EXTD= casual fan-you know Folsom Prison Blues and A Boy Named Sue, thi
EXTD=s may notbe for you. If you enjoyed the American Recordings, or l
EXTD=ike traditional folk/country and gospel music this will be one of
EXTD= the most satisfying records you'll listen to this year. \n\nAMAZ
EXTD=ON.COM CUSTOMER REVIEW\nUnearthed Treasures!, May 30, 2006\nRevie
EXTD=wer: James E. Bagley (Sanatoga, PA USA)\nIn Johnny Cash's storage
EXTD= room were boxes of old tapes simply labeled "personal file." Thu
EXTD=s the title of this pristing-sounding 49-song package of 1973-82 
EXTD=solo acoustic-guitar-and-voice obscurities (about half from a fiv
EXTD=e-day July 1973 marathon for a disc no label would release - appa
EXTD=rently, simplicity wasn't fashionable back then). \n\nAs he wande
EXTD=rs from maudlin old parlor ballads to covers of John Prine's "Par
EXTD=adise" and The Lovin Brothers' "When I Stop Dreaming," he reminis
EXTD=ces about high-school performances of pop standard "Far Away Plac
EXTD=es" (foreshadowing his career) and "Drink To Me Only With Thine E
EXTD=yes." Among four consecutive '73 tracks forming a Yukon theme are
EXTD= his buddy Johnny Horton's deadly "When It's Springtime In Alaska
EXTD=" and - reflecting Cash's taste for the bizarre - a narration of 
EXTD=Robert Service's "The Cremation Of Sam McGee." \n\nReligion fills
EXTD= disc two, highlighted by The Carter Family "Way Worn Traveler" (
EXTD=which Bob Dylan revamped into "Paths Of Victory"). Another gem - 
EXTD=still unrecorded by its author, one-time son-in-law Rodney Crowel
EXTD=l - "Wildwood In The Pines" sounds tailor-made for The Man In Bla
EXTD=ck. \n\nAs for step-daughter Carlene Carter's confessional "It Ta
EXTD=kes One To Know Me" (predating the softer version closing 2005's 
EXTD=Cash boxThe Legend) that ends disc one: "It's true that I used to
EXTD= be crazy and harder to love than most men." One of Cash's musica
EXTD=l strengths was his courage to shine light on his demons. \n\nAMA
EXTD=ZON.COMCUSTOMER REVIEW\nWhen The Thunder Spoke., May 26, 2006\nRe
EXTD=viewer: Michael F. Hopkins (Buffalo, NY USA)\n(from an extended f
EXTD=eature, copyright 2006 Michael F. Hopkins) \n\nA voice spoke thun
EXTD=der, strong and low. Firm as a handshake, he reaps and sows. Play
EXTD=ing onan  old guitar, he told the tales from which he  came. Sobe
EXTD=rly, the stories sang.  Rolling like mountain springs on a summer
EXTD='s  day, or thunder across the plains, the voice  of Johnny Cash 
EXTD=strikes deep and hits home  as never before. This previously unre
EXTD=leased  collection of The Man In Black spotlights  the man, his g
EXTD=uitar, and his ability to  reflect the aspirations of a nation in
EXTD=  ways to move the coldest heart. \n\nA wonderful collection of w
EXTD=ork songs, folk tales, lover's laments, limericks,  spirituals an
EXTD=d more, this is the workings  of a master storyteller heeding the
EXTD= Call,  sharing the summons with all. Chiefly  from the early 197
EXTD=0s, we hear Cash at  his finest, voice resonating with  tonal con
EXTD=viction; delivering the ethical  authority that would dominate th
EXTD=e series  from American Recordings which marked the  final years 
EXTD=of his life with some of his  greatest work. Those recordings cap
EXTD=tured a Cash ravished by age and abuse who, as  Billie Holiday di
EXTD=d, turned his despair  inside out into the purest expression  of 
EXTD=feeling and art. PERSONAL FILE showcases  the source of this expr
EXTD=ession, presenting  the legendary Country master at the  height o
EXTD=f his artistry. \n\nThis collection, straight from Cash's studio 
EXTD=in Tennessee, was gathered by  son John Carter Cash, and mastered
EXTD= for this Columbia/Legacy 2-CD release by  master engineer Vic An
EXTD=esini.  Full of anecdote and ambling warmth,  this is a portrait 
EXTD=of Life, Choice,  and Faith, an offering of the Highest  Order. \n
EXTD=\nListen to vintage classics such as "Drink To Me Only With Thine
EXTD= Eyes",  "In The Sweet Bye And Bye", or  "There's A Mother Always
EXTD= Waiting  At Home" sung with feeling, instead  of pomp and ceremo
EXTD=ny. Catch the  sparkling wit and skill of "A Fast  Song", or the 
EXTD=devotion reflected  in "It Takes One To Know Me".  Any questions 
EXTD=about the depth of  this man's beliefs, and how he felt  about th
EXTD=ose who heap all manner  of prejudice and other hatreds in  the n
EXTD=ame of religion? Listen to  the magnificent testimony of  "No Ear
EXTD=thly Good", and be  thoroughly enlightened. \n\nCome one, come al
EXTD=l,and listen to the majesty of this humble  call. The quiet thund
EXTD=ers on. \n\nA man, indeed, has come around.\n\nAMAZON.COM CUSTOME
EXTD=RREVIEW\nWhip The Devil, May 25, 2006\nReviewer: K. H. Orton (New
EXTD=York, NY USA)\nFirst off, if you're merely superficially curiousa
EXTD=fter the hype surrounding, "Walk The Line" this isn't for you. Ma
EXTD=ny songs feature spoken word introductions that may wear on theli
EXTD=stener in time. So this isn't something you'd throw on at a party
EXTD=, or are likely to bop around to while plugged into your i-pod. T
EXTD=hese recordings are best appreciated while sitting down and liste
EXTD=ning to as an entire album. The end effect is like having The Man
EXTD= In Black in your living room, giving you your own private concer
EXTD=t. Much like the magic wrought on the 1st American Recordings alb
EXTD=um. \n\nThough his later recordings with Rick Rubin were compelli
EXTD=ng, the ravages of illness were apparent. In addition, some song 
EXTD=choices ("Personal Jesus", anyone?) seemed a little "calculated".
EXTD= Not so here. This is sound of Cash in his prime, singing songs t
EXTD=hat deeply left their mark on him. This is a mix of now obscure c
EXTD=overs & sepia toned traditionals. Not to mention, some unheard& t
EXTD=ruely inspired originals. In terms of sound quality, this is far 
EXTD=from some bootleg Cash's former label dusted off in order to capi
EXTD=tolize on a posthumous surge in popularity. Even if it were, the 
EXTD=passion here will leave you breathless. \n\nThe 1st disc consists
EXTD= of so many unheard gems it's hard where to begin. If the morbid 
EXTD=sentimentality of "Engineer's Dying Child" doesn't choke you up, 
EXTD=there's something wrong with you. Same goes for his take on the L
EXTD=ouvin Brothers', "When I Stop Dreaming" & C. Walker's, "Jim, I Wo
EXTD=re A Tie Today". In less committed hands, alot of the material he
EXTD=re would've come off as mawkish. But not here. Among the orginals
EXTD=, "I Wanted So" is as starkly personal as it gets. The opening li
EXTD=ne, " I wanted so to tell that old man, oh so many things" isdeli
EXTD=vered with such dignified regret it can't help but hit home.Same 
EXTD=goes for the disc's closer, "It Takes One To Know One". A song wr
EXTD=itten by his step-daughter, Carlene that he masterfully makes his
EXTD= own. \n\nWhere disc I is more secular in nature, disc II is dedi
EXTD=cated to Cash's oft overlooked Gospel side. But don't let that sc
EXTD=are you off. If anything, things get even more powerful. The wear
EXTD=iness of "Way Worn Traveller" & "Look Unto The East" are undeniab
EXTD=le regardless of belief. Themes of Faith & Doubt wrestle througho
EXTD=ut but it all comes to a fore with the Cash original, "Sanctified
EXTD=". The way he belts out, " I'm trying to whip the devil, I'm tryi
EXTD=ng to get sactified" you can just hear the demons barely kept at 
EXTD=bay. \n\nAlong with the Unearthed boxed set, this is an alltoo ge
EXTD=nerous & unexpected offering. But where Unearthed was released wi
EXTD=th an air of eulogy & epitaph, Personal File is the unadorned sou
EXTD=nd of Cash at his most vital & inspired. In short, essential list
EXTD=ening for fans & detractors alike.\n\nAMAZON.COM CUSTOMER REVIEW\n
EXTD=Hypnotizing, May 23, 2006\nReviewer: Soulboogiealex (Netherlands)
EXTD=\nJohnny Cash is without a doubt one of the most distinctvoices i
EXTD=n music history. Although his medium is country music, the man tr
EXTD=anscends it. Cash has throughout the years appealed to awide audi
EXTD=ence. In the sixties he appealed to the protest nation,in the sev
EXTD=enties he was a darling to the Punk scene; by the start of the ni
EXTD=neties the alternative audiences embraced him when he started wor
EXTD=king with Rick Rubin for the American Recordings. On these sessio
EXTD=ns Cash was recorded naked, just the man and his guitar. Cash had
EXTD=n't sound so fresh since the late sixties. Creatively his career 
EXTD=seemed to have gone down hill during the second half of the seven
EXTD=ties and the eighties. The release of the Personal Files show us 
EXTD=that Cash's muse was never missing during that period of time. \n
EXTD=\nThe music on Personal Files are all culled from the period his 
EXTD=career seemed slacking. Sonically they resemble the first release
EXTD= of his American Recordings; yet as the title promisesthese recor
EXTD=dings have a far more intimate feel. Throughout thesetwo discs yo
EXTD=u get the idea you're privy to a living room concertfor your ears
EXTD= only. The fact that some songs have a spoken introheighten this 
EXTD=experience. Some of the material here is very familiar and found 
EXTD=its way to the studio eventually, other songs are brand new to ou
EXTD=r ears, others still have been a part of the American songbook fo
EXTD=r generations. \n\nHere we get just Cash and his guitar, though b
EXTD=are, never boring. Cash has a hypnotizing quality that leaves you
EXTD= hanging on his lips, not missing a word. Like no other artist hi
EXTD=s material covers al aspects of life yet the most dominant themes
EXTD= are always guilt and redemption with Cash. His main strength is 
EXTD=he capability to remind of our own humanity. We all falter, we al
EXTD=l fail from time to time, yet most of us manage topick ourselves 
EXTD=up every time round and atone for out faults (or sins) in our own
EXTD= way. Cash confronts us with this constant duality in our lives, 
EXTD=our desire to better ourselves despite the fact we're destined to
EXTD= fall at times. If you don't get Cash, you've gota hole in your s
EXTD=oul. \n\nHalf.com Details \nProducer: Gregg Geller, John Carter C
EXTD=ash, Lou Robin \n\nAlbum Notes\nReleased less than three years af
EXTD=ter Johnny Cash's passing in 2003, Legacy's two-disc PERSONAL FIL
EXTD=E collection presents a wealth of previously unreleased material.
EXTD= Although the country legend recorded some of these 49 songs (inc
EXTD=luding "Tiger Whitehead" and "No Earthly Good") on other occasion
EXTD=s, the sessions here primarily showcase the Man in Black playing 
EXTD=for his own satisfaction in the House of Cash studio, accompanied
EXTD= only by his acoustic guitar. While the spare tunes clearly point
EXTD= to Cash's lauded 1990s comeback, they were cut between '73 and '
EXTD=82, a time when his musical career was on the wane, but he was st
EXTD=ill well known for his television appearances and evangelical wor
EXTD=k.\nWith no record company pressure to cater to the prevailing so
EXTD=und of the time, Cash sounds completely assured and at ease on th
EXTD=ese bare-bones tracks, whether covering the Louvin Brothers ("Whe
EXTD=n I Stop Dreaming"), taking on traditional tunes("Drink to Me Onl
EXTD=y with Thine Eyes"), or offering up rare originals ("It's All Ove
EXTD=r," "I Wanted So"), his bold, unmistakable baritone voice always 
EXTD=at the fore. Though this intimate set is primarily geared toward 
EXTD=devoted Cash fans, the performances on PERSONALFILE, which often 
EXTD=include spoken introductions, are so charming that those less fam
EXTD=iliar with the Man in Black will also find much to enjoy.
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