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DISCID=73118019
DTITLE=Johnny Cash / Personal File (disc 1)
DYEAR=2006
DGENRE=Country
TTITLE0=The Letter Edged in Black
TTITLE1=There's a Mother Always Waiting at Home
TTITLE2=The Engineer's Dying Child
TTITLE3=My Mother Was a Lady
TTITLE4=The Winding Stream
TTITLE5=Far Away Places
TTITLE6=Galway Bay
TTITLE7=When I Stop Dreaming
TTITLE8=Drink to Me Only With Thine Eyes
TTITLE9=I'll Take You Home Again Kathleen
TTITLE10=Missouri Waltz
TTITLE11=Louisiana Man
TTITLE12=Paradise
TTITLE13=I Don't Believe You Wanted to Leave
TTITLE14=Jim, I Wore a Tie Today
TTITLE15=Saginaw, Michigan
TTITLE16=When It's Springtime in Alaska (It's Forty Below)
TTITLE17=Girl in Saskatoon
TTITLE18=The Cremation of Sam McGee
TTITLE19=Tiger Whitehead
TTITLE20=It's All Over
TTITLE21=A Fast Song
TTITLE22=Virgie
TTITLE23=I Wanted So
TTITLE24=It Takes One to Know Me
EXTD=Originally Released May 23, 2006\n\nAMG EXPERT REVIEW: Usually, w
EXTD=hen an artist of stature passes, the record company (or companies
EXTD=, and sometimes even family, look at the sad posthumous legacy of
EXTD= Townes Van Zandt for example) raid the vaults and unearth loads 
EXTD=of embarrassing garbage along with a few gems. Personal File, iss
EXTD=ued by Sony Legacy, is very different. For starters, other than H
EXTD=ank Williams, there are no artists who have Cash's stature (argua
EXTD=bly not even Jimmie Rodgers). Secondly, this material was not sto
EXTD=red in Columbia's vaults but Cash's own. He began recording these
EXTD= songs -- most of disc one, and four songs from disc two -- at ho
EXTD=me in 1973, for no one but himself. The rest come from the his pe
EXTD=rsonal file up through 1982. While closing down the studio, museu
EXTD=m, and store, John Carter Cash -- a fierce and honorable guardian
EXTD= 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's 
EXTD=from these tapes alone the tunes were drawn. Many of these are ol
EXTD=d 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 us
EXTD=ed 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 bo
EXTD=ys across the road, the Williams boys, there was Guy and Otis Wil
EXTD=liams and Jack Williams. They didn't play the guitar or anything 
EXTD=but they sang a little bit and they had a Victrola..." and Cash r
EXTD=ecalls the names, records, and performers, and then says "Bradley
EXTD= Kincaid might have sung this song, I can't quite remember....." 
EXTD=and then goes on to finish his intro and sing the song "There's a
EXTD= Mother Waiting at Home." He tells stories to introduce the tunes
EXTD= here. This is as close to a private concert as one could ever ge
EXTD=t. The portrait is so intimate the listener is tempted not to bre
EXTD=athe. For example, when Cash introduces "Far Away Places," he tel
EXTD=ls a story of one of the first talent contests he entered (he got
EXTD= only two votes) and thinks back that it might have been his sele
EXTD=ction of material that did him in, but it was the first song he e
EXTD=ver sang in public. You can hear the memories, painful and hopefu
EXTD=l, float back into the singer's delivery. His reading here of "Sa
EXTD=ginaw, Michigan" contains no peremptory tale, but the song says i
EXTD=t all, and Cash brings the intimacy of the tune's tragic narrativ
EXTD=e to life in the present. Likewise, it's followed by other Northe
EXTD=rn-themed tunes, "When It's Springtime in Alaska" and "Girl from 
EXTD=Saskatoon," (written by Cash and Johnny Horton) before launching 
EXTD=into a devastating read of Robert Service's poem, "Cremation of S
EXTD=am McGee." "It's All Over" is an original that comes from Cash's 
EXTD=early days and was never recorded properly in the studio. There a
EXTD=re songs by the Louvin Brothers, John Prine ("Paradise"), Doug Ke
EXTD=rshaw ("Louisiana Man"), and many others. Disc two is a collectio
EXTD=n of devotional songs, from well-known hymns like "Lily of the Va
EXTD=lley," "Farther Along," and "The Way Worn Traveler," to provocati
EXTD=ve tunes of unknown origin either in authorship or session detail
EXTD=, such as "If Jesus Ever Loved a Woman, (It was Mary Magdalene)" 
EXTD=(and this was how many years before the Da Vinci Code?) This tune
EXTD= and its delivery -- as well as its recording quality -- are open
EXTD= to speculation as to whether it is actually an original, improvi
EXTD=sed on the spot, and uncredited because of its controversial natu
EXTD=re. There are gorgeous original songs such as "No Earthly Good," 
EXTD="What Is Man?" and the track Greil Marcus' bases his liner notes 
EXTD=on, "A Half a Mile a Day." Marcus does his usual "big-American-dr
EXTD=eam-hoped-for-via-small-gesture -- of performance" riff here, but
EXTD= it is poetic and moving nonetheless. In sum, this is an utterly 
EXTD=welcome and perhaps necessary addition to the Cash catalog. This 
EXTD=is history; it's lineage history in a sense, Cash not forgetting 
EXTD=the songs of his childhood or those he wrote for no other reason 
EXTD=than to write them, or playing numbers by songwriters who were im
EXTD=portant to him. Personal File is an aural autobiography from one 
EXTD=of the nation's greatest autobiographers; it's a portrait of the 
EXTD=artist as a man, and a humble one at that. This is not even debat
EXTD=able as a purchase by Cash fans, and goes a long way to explainin
EXTD=g something so mercurial it still slips by even as these songs ar
EXTD=e grasped and internalized. The sound quality is warm, wonderful,
EXTD= and immediate; it's almost like having Cash in your home. -- Tho
EXTD=m Jurek\n\nAmazon.com Editorial Review\nThe recordings Johnny Cas
EXTD=h started making for Rick Rubin's American label in 1993 launched
EXTD= a journey through the Great American Songbook--from traditional 
EXTD=tunes to alt-rock--that continued until, literally, the end of hi
EXTD=s life. What wasn't known at the time was that Cash had anticipat
EXTD=ed the American Recordings concept 20 years earlier. A series of 
EXTD=informal private sessions he recorded in 1973 featuring just voic
EXTD=e and guitar--with a few numbers added between then and 1982--wer
EXTD=e left untouched at his House of Cash studio, unearthed only afte
EXTD=r his death in 2003. These 49 songs, labeled "Personal File," sho
EXTD=w him exploring 19th-century parlor tunes, Tin Pan Alley pop, gos
EXTD=pel, little-known Cash originals, classic and contemporary countr
EXTD=y, and even a recitation of Robert Service's poem "The Cremation 
EXTD=of Sam McGee." On many, his spoken introductions reveal personal 
EXTD=ties to a given number. Cash reprises early country fare like Jim
EXTD=mie Rodgers's "My Mother Was a Lady" and "The Letter Edged in Bla
EXTD=ck." He also revisits later country classics like the Louvin Brot
EXTD=hers' "When I Stop Dreaming," close friend Johnny Horton's hit "W
EXTD=hen It's Springtime in Alaska (It's Forty Below)," John Prine's "
EXTD=Paradise," and stepdaughter Carlene Carter's "It Takes One to Kno
EXTD=w Me." The second disc is a virtual hymnbook, blending traditiona
EXTD=l gospel and A.P. Carter tunes with a sacred composition by Rodne
EXTD=y Crowell and Cash gospel originals. For those enchanted by the i
EXTD=llness-ravaged soulfulness of Cash's later American recordings, h
EXTD=earing him in his prime is not only breathtaking--it underscores 
EXTD=the depth of his still-remarkable musical vision. --Rich Kienzle 
EXTD=\n\nAmazon.com Product Description\nDeep within the House of Cash
EXTD=, Johnny Cash's recording studio, office suite, and museum in Hen
EXTD=dersonville, Tennessee, behind the studio's control room, was a s
EXTD=mall vault-like space in which many of his most prized possession
EXTD=s were stored. A collection of rare firearms dating back to the 1
EXTD=8th Century, some personal effects of Jimmie Rodgers, artwork and
EXTD= letters from fans all over the world and much more was carefully
EXTD= arranged and locked away for safekeeping. Then there were the ta
EXTD=pes. Hundreds of them. Demos from songwriters, album masters, mul
EXTD=ti-tracks of the ABC television series, and some boxes marked sim
EXTD=ply "Personal File." These are Johnny's most intimate sessions, r
EXTD=ecorded mostly in 1973 and then subsequently at his leisure. Just
EXTD= a lone voice and an acoustic guitar, singing songs and telling s
EXTD=tories about them. A concept that has since come to be thought of
EXTD= as revelatory but, as is evident in this stunning new set, is so
EXTD=mething Johnny Cash had been doing all along--if only for his per
EXTD=sonal file. \n\nAMAZON.COM CUSTOMER REVIEW\nSacred and secular, t
EXTD=his is the real Johnny Cash, 8/22/2006\nThe hype on these long-lo
EXTD=st home tapes is that they were unheralded precursors to the stri
EXTD=pped-down, raw-boned "American Recordings" series that sent Johnn
EXTD=y Cash's cool quotient through the roof in the 1990s... In a sens
EXTD=e that's true, although I would argue that these recordings are a
EXTD= different sort of creature altogether... Where the "American" al
EXTD=bums were a calculated bid to present Cash as a back-to-basics co
EXTD=untry avatar, an icon for the college rock scene to revere, these
EXTD= earlier tracks were, as the title implies, a much more private a
EXTD=ffair. \n\nBack in the early 1970s, when he was still at a profes
EXTD=sional peak, Cash kicked back and recorded copiously and at his l
EXTD=eisure in his private home studios; the master tapes were apparen
EXTD=tly unearthed after his death and combed through for the best mat
EXTD=erial, which has been issued for the first time as part of this 2
EXTD=-CD set. The first disc is secular material, with Cash singing so
EXTD=lo over a sparse acoustic guitar, with some intriguing choices in
EXTD= repertoire, but a pretty subdued feel overall. The second disc i
EXTD=s all gospel material, and this is where the real feeling comes i
EXTD=n -- Cash recorded plenty of religious music during his career, a
EXTD=nd these recordings are among some of his best. The song selectio
EXTD=n is particularly striking, with a bunch of songs that are way of
EXTD=f the beaten track. Country gospel tends to favor certain standar
EXTD=ds, tunes that entered the popular culture after the advent of th
EXTD=e recording industry, but many of the songs Cash selected were wa
EXTD=y off the beaten track, and demonstrated how deep his cultural ro
EXTD=ots ran... Likewise, the secular disc has some material on it tha
EXTD=t hearkens back almost to colonial times, showing how much of a s
EXTD=tudent of American song he really was. These sessions were almost
EXTD= certainly made just for fun, without much hope of commercial rel
EXTD=ease, and they provide a great glimpse into the kind of music Cas
EXTD=h was interested in, separate from the advice of family, friends 
EXTD=or record execs... It's pure, it's sincere, unpretentious, and ce
EXTD=rtainly a must-hear for diehard Cash fans.\n\nAMAZON.COM CUSTOMER
EXTD= REVIEW\nAn all too rare glimpse into the person behind the legen
EXTD=d of Johnny Cash., 8/14/2006\nReviewer: T. Ransom (Woodstock, GA 
EXTD=USA)\nPersonal File is just that - personal. The sparse arrangeme
EXTD=nts and accompanying stories breathe the true life of Johnny Cash
EXTD=. Too often, a man like Cash is overshadowed by the legend produc
EXTD=ed by the media, including excellent films like "Walk the Line". 
EXTD=With Personal File, we are allowed to follow Johnny into a darken
EXTD=ed studio. We get to hear him pull out his guitar and lead us thr
EXTD=ough a musical journey that sees him come to life in the lyrics a
EXTD=nd the stories of remembrance. Most of these songs are not the ki
EXTD=nd that would sell an album. Those songs are brought to the singe
EXTD=r by A&R experts with dollar signs in their eyes. These songs are
EXTD= life songs and death songs and faith songs. The listener is invi
EXTD=ted to sit quietly and let the moments sink in. And, they do sink
EXTD= in. If you are a fan of A Boy Named Sue and Folsum Prison, this 
EXTD=may not be the best choice for you. If you thirst for an intimate
EXTD= knowledge of a man and the music deep in his soul, do not miss y
EXTD=our chance to experience Personal File. I am blessed to have near
EXTD=ly all of Cash's music on CD. But, Personal File quickly became m
EXTD=y favorite.\n\nAMAZON.COM CUSTOMER REVIEW\nJohnny Cash Comes Over
EXTD= for Dinner, 6/26/2006\nReviewer: Jim Newsom (Norfolk, VA)\nThe b
EXTD=est ideas for songwriting are the true stories that happen to...e
EXTD=specially to people. When you get into the human spirit, you get 
EXTD=some good ideas sometimes." -Johnny Cash \n\nAs both a songwriter
EXTD= and an interpretive singer, Johnny Cash succeeded in getting int
EXTD=o the human spirit as deeply as any artist. A true original, the 
EXTD=purity of his artistry shone through most clearly when it was lea
EXTD=st adorned. \n\nAfter the deaths of Johnny and June Carter Cash i
EXTD=n 2003, their son John Carter Cash began going through things at 
EXTD=the House of Cash in Hendersonville, Tennessee. Among the treasur
EXTD=es in a room full of tapes were boxes marked "personal files." Th
EXTD=ose boxes contained recordings Johnny had made for himself of son
EXTD=gs that he'd written and never recorded, songs that he remembered
EXTD= from his childhood, songs he admired that had been written by ot
EXTD=hers, songs that he would later record in more fully formed arran
EXTD=gements. A big chunk came from sessions laid down in July, 1973, 
EXTD=when he was 41 years old. \n\nThis new double disc set brings tog
EXTD=ether 49 of those tracks. More than half are from that ten-day bu
EXTD=rst in the summer of '73. All but two are just Johnny alone with 
EXTD=his guitar; the other two, from 1982, feature an uncredited secon
EXTD=d guitarist. The characteristic chink-chinka-chink that distingui
EXTD=shed Cash's hits from the '50s through the '70s is nowhere to be 
EXTD=found. \n\nDisc one is devoted to story songs, love songs, old fa
EXTD=vorites--the secular side of John R. Cash. There's the Louvin Bro
EXTD=thers' "When I Stop Dreaming," Johnny Horton's "When It's Springt
EXTD=ime in Alaska (It's Forty Below)," John Prine's "Paradise," The C
EXTD=arter Family's "The Winding Stream," Lefty Frizzell's 1964 hit, "
EXTD=Saginaw, Michigan." Many of the songs are prefaced with Cash's re
EXTD=membrances, explaining their origins or their importance to him. 
EXTD=It's like having Johnny Cash sitting in your living room after di
EXTD=nner, playing guitar, sharing songs and telling stories. Since th
EXTD=ese are recordings he apparently didn't intend for public consump
EXTD=tion, I can't help but wonder who he was talking to. Perhaps he e
EXTD=nvisioned these tapes as some sort of aural time capsule, to be o
EXTD=pened after his death. \n\n"Through times of loneliness and heart
EXTD=break and despair and sadness," he says in an introduction on the
EXTD= second disc, "I've always found that a good song of inspiration 
EXTD=will lift me up, make me feel just a little bit better." \n\nDisc
EXTD= two contains 24 of those inspirational and spiritual songs, half
EXTD= of which are originals. One of my personal favorites is "What on
EXTD= Earth (Will You Do for Heaven's Sake)," a Cash composition that 
EXTD=first appeared on 1974's Ragged Old Flag. Considering the premise
EXTD= of The Da Vinci Code, "If Jesus Ever Loved a Woman" takes on a c
EXTD=onnotation probably not envisioned by its author, who is unknown,
EXTD= or the man in black who sings it here: "If Jesus ever loved a wo
EXTD=man, I think Mary Magdalene was the woman that he loved." \n\nThi
EXTD=s disc contains a few oft-performed gospel chestnuts--"Life's Rai
EXTD=lway to Heaven," "In the Sweet Bye and Bye," "Farther Along," "Th
EXTD=e Lily of the Valley." But for the most part, these are new or li
EXTD=ttle known folk spirituals, delivered in that distinctive bigger-
EXTD=than-life voice that fills each tune with both gravitas and joy. 
EXTD=\n\nJohnny Cash was one of those performers whose persona was as 
EXTD=big as his music. Here in his Personal File, we catch a glimpse o
EXTD=f the man beneath the persona all alone with the music he cherish
EXTD=ed the most. --Jim Newsom \n\nOriginally published in Port Folio 
EXTD=Weekly, 6/27/06. \n\nAMAZON.COM CUSTOMER REVIEW\nUp Close And Per
EXTD=sonal With the Man In Black, 6/24/2006\nReviewer: Robert I. Hedge
EXTD=s (Burnsville, MN USA)\nLong before his collaborations with Rick 
EXTD=Rubin, Johnny Cash understood the simple power of an acoustic gui
EXTD=tar and his deep, haunting voice. This CD is comprised of tracks 
EXTD=discovered after his death in 2003, and largely dates to 1973. De
EXTD=spite being over thirty years old, these songs are technically cr
EXTD=isp for the most part, and all are prizes for Cash fans. \n\nThe 
EXTD=set is divided by theme: the first CD is "classic Cash," secular 
EXTD=songs of great diversity much like the rest of his catalog, the b
EXTD=ig difference being the intimacy of these recordings. These recor
EXTD=dings are not slickly edited in a studio, and many feature spoken
EXTD= introductions from Johnny explaining the significance of the son
EXTD=gs to him. In every case the look into the mind of Johnny Cash is
EXTD= insightful and wonderful. The first CD is full of interesting pi
EXTD=eces, and I enjoyed hearing them all, though I wasn't especially 
EXTD=fond of "The Cremation of Sam McGee." \n\nThe second CD is a sele
EXTD=ction of gospel tunes done simply and masterfully. Many are class
EXTD=ics from hymnals he learned as a child, but many are his own comp
EXTD=ositions that have never before seen the light of day. I enjoyed 
EXTD=all the songs on the second CD (although I didn't particularly ca
EXTD=re for the irregular meter on "If Jesus Ever Loved a Woman,") and
EXTD= a couple are standouts even by Cash standards. \n\nThe 49 songs 
EXTD=on this set are an absolute treasure trove for a Johnny Cash fan,
EXTD= and demonstrate better than any other work the simple strength o
EXTD=f his voice and an acoustic guitar. I highly recommend "Personal 
EXTD=File."\n\nAMAZON.COM CUSTOMER REVIEW\nRe-writing the Johnny Cash 
EXTD=legend, 6/21/2006\nReviewer: Mr. C. A. Rollings (UK)\nJohnny Cash
EXTD= biographers and discographers are going to have to do some revis
EXTD=ing now that these 49 gems have been unearthed from the Man in Bl
EXTD=ack's personal archive and released as a two-disc set at what eve
EXTD=ryone will agree is an absolute bargain price. This is pure unado
EXTD=rned Cash - just his voice and his accoustic guitar - almost two 
EXTD=decades before Rick Rubin appeared and gave us the American Recor
EXTD=dings (and, hey! I'm still waiting for volume 5). Sad to say, the
EXTD= choice of material is not as varied, or as interesting, or as go
EXTD=od, and sometimes Cash's delivery (as in "I'll Take You Home Agai
EXTD=n, Kathleen") falters a bit - but who cares? When you think of so
EXTD=me of the dreadful stuff he laid down on CBS and Mercury in the 6
EXTD=0s, 70s and 80s, and which these labels inflicted on the public, 
EXTD=you can only thank the stars that Johnny Cash left us these Perso
EXTD=nal Files to prove that what he was doing back then wasn't all dr
EXTD=oss. A "must" for all fans of the Man in Black and all historians
EXTD= of American roots music. \n\nAMAZON.COM CUSTOMER REVIEW\nbreatht
EXTD=aking, 6/7/2006\nReviewer: J. Johnson (Winchester, VA)\nRick Rubi
EXTD=n got a lot of credit for recording Johnny Cash stripped down to 
EXTD=gitar and minimal accompaniment. What he probably should get cred
EXTD=it for is helping Cash find the courage to release the type of ma
EXTD=terial he had been doing in private for years. This 2disc set is 
EXTD=an amazing compilation of songs Cash had recorded at house of cas
EXTD=h. Clearly these show Cash at his rawest and the selections are p
EXTD=robably those closest to his heart-at least at the time of record
EXTD=ing. Some sound like songs Cash was considering to record with hi
EXTD=s band-they fit so well you can hear the instruments without them
EXTD= being present. Others are just songs that spoke to Johnny Cash. 
EXTD=That alone is reason enough to listen. \n\nDisc one are the type 
EXTD=of country songs that had fallen out of style in country music by
EXTD= the time they were recorded. These songs will never be accused o
EXTD=f sophistication. Songs about mothers, dying children, distant pl
EXTD=aces that will never be seen by a country boy-all performed with 
EXTD=the sparest accompaniment and raw vocals. The set also shows that
EXTD= Cash probably could have been a star within the early 60's folk 
EXTD=scene had he chosen to follow that route. Highlights-the first so
EXTD=ng, The Letter Edged in Black, Far Away Places, When I Stop Dream
EXTD=ing, I Don't Belive You Wanted to Leave. The version of John Prin
EXTD=e's Paradise shows that a record of just John Prine songs would h
EXTD=ave been a great Cash project. \n\nThe second disc is gospel musi
EXTD=c. Rodney Crowell's Wildwood In the Pines, the classic hymn of in
EXTD=vitation Have Thine Own Way Lord and Cash's own Sanctified set th
EXTD=e table for the ending run of Farther Along, Life's Railway to He
EXTD=aven and In the Sweet Bye and Bye. Talk about satisfying!!! \n\nT
EXTD=he set is accompanied by a great essay by Griel Marcus who writes
EXTD= with such insight and sensitivity you come away feeling that you
EXTD= know Cash better than you did before. \n\nIf you are a casual fa
EXTD=n-you know Folsom Prison Blues and A Boy Named Sue, this may not 
EXTD=be for you. If you enjoyed the American Recordings, or like tradi
EXTD=tional folk/country and gospel music this will be one of the most
EXTD= satisfying records you'll listen to this year. \n\nAMAZON.COM CU
EXTD=STOMER REVIEW\nUnearthed Treasures!, May 30, 2006\nReviewer: Jame
EXTD=s E. Bagley (Sanatoga, PA USA)\nIn Johnny Cash's storage room wer
EXTD=e boxes of old tapes simply labeled "personal file." Thus the tit
EXTD=le of this pristing-sounding 49-song package of 1973-82 solo acou
EXTD=stic-guitar-and-voice obscurities (about half from a five-day Jul
EXTD=y 1973 marathon for a disc no label would release - apparently, s
EXTD=implicity wasn't fashionable back then). \n\nAs he wanders from m
EXTD=audlin old parlor ballads to covers of John Prine's "Paradise" an
EXTD=d The Lovin Brothers' "When I Stop Dreaming," he reminisces about
EXTD= high-school performances of pop standard "Far Away Places" (fore
EXTD=shadowing his career) and "Drink To Me Only With Thine Eyes." Amo
EXTD=ng four consecutive '73 tracks forming a Yukon theme are his budd
EXTD=y Johnny Horton's deadly "When It's Springtime In Alaska" and - r
EXTD=eflecting Cash's taste for the bizarre - a narration of Robert Se
EXTD=rvice's "The Cremation Of Sam McGee." \n\nReligion fills disc two
EXTD=, highlighted by The Carter Family "Way Worn Traveler" (which Bob
EXTD= Dylan revamped into "Paths Of Victory"). Another gem - still unr
EXTD=ecorded by its author, one-time son-in-law Rodney Crowell - "Wild
EXTD=wood In The Pines" sounds tailor-made for The Man In Black. \n\nA
EXTD=s for step-daughter Carlene Carter's confessional "It Takes One T
EXTD=o Know Me" (predating the softer version closing 2005's Cash box 
EXTD=The Legend) that ends disc one: "It's true that I used to be craz
EXTD=y and harder to love than most men." One of Cash's musical streng
EXTD=ths was his courage to shine light on his demons. \n\nAMAZON.COM 
EXTD=CUSTOMER REVIEW\nWhen The Thunder Spoke., May 26, 2006\nReviewer:
EXTD= Michael F. Hopkins (Buffalo, NY USA)\n(from an extended feature,
EXTD= copyright 2006 Michael F. Hopkins) \n\nA voice spoke thunder, st
EXTD=rong and low. Firm as a handshake, he reaps and sows. Playing on 
EXTD=an  old guitar, he told the tales from which he  came. Soberly, t
EXTD=he stories sang.  Rolling like mountain springs on a summer's  da
EXTD=y, or thunder across the plains, the voice  of Johnny Cash strike
EXTD=s deep and hits home  as never before. This previously unreleased
EXTD=  collection of The Man In Black spotlights  the man, his guitar,
EXTD= and his ability to  reflect the aspirations of a nation in  ways
EXTD= to move the coldest heart. \n\nA wonderful collection of work so
EXTD=ngs, folk tales, lover's laments, limericks,  spirituals and more
EXTD=, this is the workings  of a master storyteller heeding the Call,
EXTD=  sharing the summons with all. Chiefly  from the early 1970s, we
EXTD= hear Cash at  his finest, voice resonating with  tonal convictio
EXTD=n; delivering the ethical  authority that would dominate the seri
EXTD=es  from American Recordings which marked the  final years of his
EXTD= life with some of his  greatest work. Those recordings captured 
EXTD= a Cash ravished by age and abuse who, as  Billie Holiday did, tu
EXTD=rned his despair  inside out into the purest expression  of feeli
EXTD=ng and art. PERSONAL FILE showcases  the source of this expressio
EXTD=n, presenting  the legendary Country master at the  height of his
EXTD= artistry. \n\nThis collection, straight from Cash's studio in Te
EXTD=nnessee, was gathered by  son John Carter Cash, and mastered for 
EXTD= this Columbia/Legacy 2-CD release by  master engineer Vic Anesin
EXTD=i.  Full of anecdote and ambling warmth,  this is a portrait of L
EXTD=ife, Choice,  and Faith, an offering of the Highest  Order. \n\nL
EXTD=isten to vintage classics such as "Drink To Me Only With Thine Ey
EXTD=es",  "In The Sweet Bye And Bye", or  "There's A Mother Always Wa
EXTD=iting  At Home" sung with feeling, instead  of pomp and ceremony.
EXTD= Catch the  sparkling wit and skill of "A Fast  Song", or the dev
EXTD=otion reflected  in "It Takes One To Know Me".  Any questions abo
EXTD=ut the depth of  this man's beliefs, and how he felt  about those
EXTD= who heap all manner  of prejudice and other hatreds in  the name
EXTD= of religion? Listen to  the magnificent testimony of  "No Earthl
EXTD=y Good", and be  thoroughly enlightened. \n\nCome one, come all, 
EXTD=and listen to the majesty of this humble  call. The quiet thunder
EXTD=s on. \n\nA man, indeed, has come around.\n\nAMAZON.COM CUSTOMER 
EXTD=REVIEW\nWhip The Devil, May 25, 2006\nReviewer: K. H. Orton (New 
EXTD=York, NY USA)\nFirst off, if you're merely superficially curious 
EXTD=after the hype surrounding, "Walk The Line" this isn't for you. M
EXTD=any songs feature spoken word introductions that may wear on the 
EXTD=listener in time. So this isn't something you'd throw on at a par
EXTD=ty, or are likely to bop around to while plugged into your i-pod.
EXTD= These recordings are best appreciated while sitting down and lis
EXTD=tening to as an entire album. The end effect is like having The M
EXTD=an In Black in your living room, giving you your own private conc
EXTD=ert. Much like the magic wrought on the 1st American Recordings a
EXTD=lbum. \n\nThough his later recordings with Rick Rubin were compel
EXTD=ling, the ravages of illness were apparent. In addition, some son
EXTD=g choices ("Personal Jesus", anyone?) seemed a little "calculated
EXTD=". Not so here. This is sound of Cash in his prime, singing songs
EXTD= that deeply left their mark on him. This is a mix of now obscure
EXTD= covers & sepia toned traditionals. Not to mention, some unheard 
EXTD=& truely inspired originals. In terms of sound quality, this is f
EXTD=ar from some bootleg Cash's former label dusted off in order to c
EXTD=apitolize on a posthumous surge in popularity. Even if it were, t
EXTD=he passion here will leave you breathless. \n\nThe 1st disc consi
EXTD=sts of so many unheard gems it's hard where to begin. If the morb
EXTD=id sentimentality of "Engineer's Dying Child" doesn't choke you u
EXTD=p, there's something wrong with you. Same goes for his take on th
EXTD=e Louvin Brothers', "When I Stop Dreaming" & C. Walker's, "Jim, I
EXTD= Wore A Tie Today". In less committed hands, alot of the material
EXTD= here would've come off as mawkish. But not here. Among the orgin
EXTD=als, "I Wanted So" is as starkly personal as it gets. The opening
EXTD= line, " I wanted so to tell that old man, oh so many things" is 
EXTD=delivered with such dignified regret it can't help but hit home. 
EXTD=Same goes for the disc's closer, "It Takes One To Know One". A so
EXTD=ng written by his step-daughter, Carlene that he masterfully make
EXTD=s his own. \n\nWhere disc I is more secular in nature, disc II is
EXTD= dedicated to Cash's oft overlooked Gospel side. But don't let th
EXTD=at scare you off. If anything, things get even more powerful. The
EXTD= weariness of "Way Worn Traveller" & "Look Unto The East" are und
EXTD=eniable regardless of belief. Themes of Faith & Doubt wrestle thr
EXTD=oughout but it all comes to a fore with the Cash original, "Sanct
EXTD=ified". The way he belts out, " I'm trying to whip the devil, I'm
EXTD= trying to get sactified" you can just hear the demons barely kep
EXTD=t at bay. \n\nAlong with the Unearthed boxed set, this is an all 
EXTD=too generous & unexpected offering. But where Unearthed was relea
EXTD=sed with an air of eulogy & epitaph, Personal File is the unadorn
EXTD=ed sound of Cash at his most vital & inspired. In short, essentia
EXTD=l listening for fans & detractors alike.\n\nAMAZON.COM CUSTOMER R
EXTD=EVIEW\nHypnotizing, May 23, 2006\nReviewer: Soulboogiealex (Nethe
EXTD=rlands)\nJohnny Cash is without a doubt one of the most distinct 
EXTD=voices in music history. Although his medium is country music, th
EXTD=e man transcends it. Cash has throughout the years appealed to a 
EXTD=wide audience. In the sixties he appealed to the protest nation, 
EXTD=in the seventies he was a darling to the Punk scene; by the start
EXTD= of the nineties the alternative audiences embraced him when he s
EXTD=tarted working with Rick Rubin for the American Recordings. On th
EXTD=ese sessions Cash was recorded naked, just the man and his guitar
EXTD=. Cash hadn't sound so fresh since the late sixties. Creatively h
EXTD=is career seemed to have gone down hill during the second half of
EXTD= the seventies and the eighties. The release of the Personal File
EXTD=s show us that Cash's muse was never missing during that period o
EXTD=f time. \n\nThe music on Personal Files are all culled from the p
EXTD=eriod his career seemed slacking. Sonically they resemble the fir
EXTD=st release of his American Recordings; yet as the title promises 
EXTD=these recordings have a far more intimate feel. Throughout these 
EXTD=two discs you get the idea you're privy to a living room concert 
EXTD=for your ears only. The fact that some songs have a spoken intro 
EXTD=heighten this experience. Some of the material here is very famil
EXTD=iar and found its way to the studio eventually, other songs are b
EXTD=rand new to our ears, others still have been a part of the Americ
EXTD=an songbook for generations. \n\nHere we get just Cash and his gu
EXTD=itar, though bare, never boring. Cash has a hypnotizing quality t
EXTD=hat leaves you hanging on his lips, not missing a word. Like no o
EXTD=ther artist his material covers al aspects of life yet the most d
EXTD=ominant themes are always guilt and redemption with Cash. His mai
EXTD=n strength is he capability to remind of our own humanity. We all
EXTD= falter, we all fail from time to time, yet most of us manage to 
EXTD=pick ourselves up every time round and atone for out faults (or s
EXTD=ins) in our own way. Cash confronts us with this constant duality
EXTD= in our lives, our desire to better ourselves despite the fact we
EXTD='re destined to fall at times. If you don't get Cash, you've got 
EXTD=a hole in your soul. \n\nHalf.com Details \nProducer: Gregg Gelle
EXTD=r, John Carter Cash, Lou Robin \n\nAlbum Notes\nReleased less tha
EXTD=n three years after Johnny Cash's passing in 2003, Legacy's two-d
EXTD=isc PERSONAL FILE collection presents a wealth of previously unre
EXTD=leased material. Although the country legend recorded some of the
EXTD=se 49 songs (including "Tiger Whitehead" and "No Earthly Good") o
EXTD=n other occasions, the sessions here primarily showcase the Man i
EXTD=n Black playing for his own satisfaction in the House of Cash stu
EXTD=dio, accompanied only by his acoustic guitar. While the spare tun
EXTD=es clearly point to Cash's lauded 1990s comeback, they were cut b
EXTD=etween '73 and '82, a time when his musical career was on the wan
EXTD=e, but he was still well known for his television appearances and
EXTD= evangelical work.\nWith no record company pressure to cater to t
EXTD=he prevailing sound of the time, Cash sounds completely assured a
EXTD=nd at ease on these bare-bones tracks, whether covering the Louvi
EXTD=n Brothers ("When I Stop Dreaming"), taking on traditional tunes 
EXTD=("Drink to Me Only with Thine Eyes"), or offering up rare origina
EXTD=ls ("It's All Over," "I Wanted So"), his bold, unmistakable barit
EXTD=one voice always at the fore. Though this intimate set is primari
EXTD=ly geared toward devoted Cash fans, the performances on PERSONAL 
EXTD=FILE, which often include spoken introductions, are so charming t
EXTD=hat those less familiar with the Man in Black will also find much
EXTD= to enjoy.
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