Cash was known for his deep, calm bass-baritone voice, the distinctive sound of his Tennessee Three backing band characterized by train-sound guitar rhythms, a rebelliousness coupled with an increasingly somber and humble demeanor, free prison concerts, and a trademark, all-black stage wardrobe, which earned him the nickname "The Man in Black." He traditionally began his concerts by simply introducing himself, "Hello, I'm Johnny Cash," followed by his signature song "Folsom Prison Blues".
Much of Cash's music contained themes of sorrow, moral tribulation, and redemption, especially in the later stages of his career. His other signature songs include "I Walk the Line", "Ring of Fire", "Get Rhythm", and "Man in Black". He also recorded humorous numbers like "One Piece at a Time" and "A Boy Named Sue"; a duet with his future wife, June Carter, called "Jackson" (followed by many further duets after their wedding); and railroad songs including "Hey, Porter", "Orange Blossom Special", and "Rock Island Line". During the last stage of his career, Cash covered songs by several late 20th-century rock artists, notably "Hurt" by Nine Inch Nails and "Rusty Cage" by Soundgarden.
Johnny Cash was born on February 26, 1932, in Kingsland, Arkansas, to Ray Cash and Carrie Cloveree (née Rivers). He was the fourth of seven children, who were in birth order: Roy, Margaret Louise, Jack, J. R., Reba, Joanne, and Tommy (who also became a successful country artist). He was primarily of English and Scottish descent. As an adult he traced his surname to 11th-century Fife, after meeting with the then-laird of Falkland, Major Michael Crichton-Stuart. Cash Loch and other locations in Fife bear the name of his family.
At birth, Cash was named J. R. Cash. When Cash enlisted in the United States Air Force, he was not permitted to use initials as a first name, so he changed his name to John R. Cash. In 1955, when signing with Sun Records, he started going by Johnny Cash.
In March 1935, when Cash was three years old, the family settled in Dyess, Arkansas, a New Deal colony established to give poor families a chance to work land that they had a chance to own as a result. Cash started working in cotton fields at the age of five, singing along with his family while working. The Cash farm experienced a flood during the family's time in Dyess, which led Cash later to write the song "Five Feet High and Rising". His family's economic and personal struggles during the Great Depression inspired many of his songs, especially those about other people facing similar difficulties. Consequently, Cash had sympathy for the poor and working class throughout his life.
Cash was very close to his older brother, Jack. On Saturday May 12, 1944, Jack was pulled into an unguarded table saw at his high school while cutting oak into fence posts as his job and was almost cut in two. He lingered until the following Saturday, when he died. Cash often spoke of the horrible guilt he felt over this incident; according to Cash: The Autobiography, his father was away that morning, but Johnny, his mother, and even Jack himself, all had premonitions or a sense of foreboding about that day. His mother urged Jack to skip work and go fishing with his brother, but Jack insisted on working since the family needed the money at the time. On his deathbed, Jack said he had visions of Heaven and angels. Decades later, Cash spoke of looking forward to meeting his brother in Heaven.
Cash's early memories were dominated by gospel music and radio. Taught guitar by his mother and a childhood friend, Cash began playing and writing songs at the age of 12. When young, Cash had a high-tenor voice, before becoming a bass-baritone after his voice changed.
In high school, he sang on a local radio station. Decades later, he released an album of traditional gospel songs, called My Mother's Hymn Book. He was also significantly influenced by traditional Irish music, which he heard performed weekly by Dennis Day on the Jack Benny radio program.
In 1997, Cash was diagnosed with the neurodegenerative disease Shy–Drager syndrome, a form of multiple system atrophy. According to biographer Robert Hilburn, the disease was originally misdiagnosed as Parkinson's disease, and Cash even announced to his audience that he had Parkinson's after nearly collapsing on stage in Flint, Michigan, on October 25, 1997. Soon afterwards, his diagnosis was changed to Shy–Drager, and Cash was told he had about 18 months to live. The diagnosis was later again altered to autonomic neuropathy associated with diabetes. The illness forced Cash to curtail his touring. He was hospitalized in 1998 with severe pneumonia, which damaged his lungs.
During the last stage of his career, Cash released the albums American III: Solitary Man (2000) and American IV: The Man Comes Around (2002). American IV included cover songs by several late 20th-century rock artists, notably "Hurt" by Nine Inch Nails and "Personal Jesus" by Depeche Mode. Trent Reznor of Nine Inch Nails commented that he was initially skeptical about Cash's plan to cover "Hurt", but was later impressed and moved by the rendition. The video for "Hurt" received critical and popular acclaim, including a Grammy Award.
June Carter Cash died on May 15, 2003, at the age of 73. June had told Cash to keep working, so he continued to record, completing 60 more songs in the last four months of his life, and even performed a few surprise shows at the Carter Family Fold outside Bristol, Virginia. At the July 5, 2003, concert (his last public performance), before singing "Ring of Fire", Cash read a statement about his late wife that he had written shortly before taking the stage:
"The spirit of June Carter overshadows me tonight with the love she had for me and the love I have for her. We connect somewhere between here and Heaven. She came down for a short visit, I guess, from Heaven to visit with me tonight to give me courage and inspiration like she always has. She's never been one for me except courage and inspiration. I thank God for June Carter. I love her with all my heart. "
Cash continued to record until shortly before his death. His final recordings were made on August 21, 2003, and consisted of "Like the 309", which appeared on American V: A Hundred Highways in 2006, and the final song he completed, "Engine 143", which was recorded for his son John Carter Cash for a planned Carter Family tribute album.
Luther played the boogie Start
Johnny Cash Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
We never played the kind of songs that'd drive anybody wild
Played a railroad song with a stomping beat
We played a blues song, kinda slow and sweet
But the thing that knocked them off of their feet was, ooh-wee
When Luther played the boogie woogie, Luther played the boogie woogie
Luther played the boogie woogie, Luther played the boogie woogie
Luther played the boogie woogie, Luther played the boogie in the strangest kind of way
Play it strange
Well, we did our best to entertain everywhere we'd go
We'd nearly wear our fingers off to give the folks a show
Played jumping jive to make 'em get in the groove
We played sad songs, real slow and smooth
But the only thing that'd make 'em move was, ooh-wee
When Luther played the boogie woogie, Luther played the boogie woogie
Luther played the boogie woogie, Luther played the boogie woogie
Luther played the boogie woogie, Luther played the boogie woogie
Luther played the boogie woogie, Luther played the boogie in the strangest kind of way
Now damn Luther play the boogie straight
The lyrics of Johnny Cash's Luther's Boogie recount the story of a hillbilly band that has a difficult time getting their audience to react to their music. The band's repertoire includes railroad songs with a stomping beat, blues tunes with a slow and sweet melody, and jumping jive numbers to get the crowd in the groove. However, the song they play that really knocks the audience off their feet is when Luther plays the boogie woogie. Luther's eccentric style of play is so captivating that people can't help but dance to the music.
The chorus is repeated several times and emphasizes the power of Luther's boogie woogie playing in a strange way. It seems that Luther's unique approach to playing the piano creates an unforgettable sound that can't be replicated by any other band member. The other musicians realize that they need to let Luther's style take center stage and play the music straight if they want to keep their audience hooked.
The song tells a tale of musicians making a few attempts to captivate their listeners, but it is ultimately the unconventional style of one of the players that steals the show. It highlights the importance of finding one's niche and bringing a unique perspective to the stage.
Line by Line Meaning
We were just a plain ol' hillbilly band with a plain ol' country style
We were a simple band with a traditional country sound
We never played the kind of songs that'd drive anybody wild
We didn't play songs that would excite or energize the crowd
Played a railroad song with a stomping beat
We played a song about trains that had a strong, thumping rhythm
We played a blues song, kinda slow and sweet
We played a song in the blues style that was mellow and smooth
But the thing that knocked them off of their feet was, ooh-wee
However, the thing that really caught their attention was Luther's playing
When Luther played the boogie woogie, Luther played the boogie woogie
When Luther played the boogie woogie, he played it with skill and passion
Luther played the boogie woogie, Luther played the boogie woogie
Luther's expertise in playing the boogie woogie was undeniable
Luther played the boogie woogie, Luther played the boogie woogie
Luther's ability to play the boogie woogie was a defining feature of his playing style
Luther played the boogie woogie, Luther played the boogie in the strangest kind of way
Luther had an unconventional way of playing the boogie woogie that was unique and memorable
Play it strange
Luther was encouraged to continue playing the boogie woogie in his distinct style
Well, we did our best to entertain everywhere we'd go
We always put forth our best effort to please the crowds we performed for
We'd nearly wear our fingers off to give the folks a show
We played our instruments so vigorously that we would tire ourselves out
Played jumping jive to make 'em get in the groove
We played an upbeat style of jazz to get the audience dancing and feeling lively
We played sad songs, real slow and smooth
We also played slow, melancholy songs that were emotive and powerful
But the only thing that'd make 'em move was, ooh-wee
However, what really got the crowd going was Luther's boogie woogie playing
Now damn Luther play the boogie straight
The artist demands that Luther play the boogie woogie more conventionally
Lyrics © O/B/O APRA AMCOS
Written by: JOHNNY R. CASH
Lyrics Licensed & Provided by LyricFind
Anonymous
on Wayfaring Stranger
Wayfaring Stranger - The New Appalachians - Lyrics
I am a poor wayfaring stranger
Traveling through this world alone
There will be no sickness, toil or danger
In that grand land to which I roam
Well I'm going home to see my mother
I'm going home to a morning rose
I'm only goin' over Jordan
I'm only goin' over home
Musical Interlude
I know dark clouds will gather 'round me
I know my way is rough and steep
And beautiful fields lie just before me
Where God's redeemed there vigils keep
Well I'm going home to see my brothers
I'm going home no more to roam
I'm only goin' over Jordan
I'm only goin' over home
Musical Interlude
I'm going home to see my Father
I'm going home no more to roam
I'm only goin' over Jordan
I’m only goin’ where no one roams
I want to wear that crown of glory
When I get to that good land
I want to shout out salvation story
In concert with that blood washed band.
I'm going there to see my saviour
I’ll see his face no more to roam
I'm only going over Jordan
I'm only going over home
I'm only goin' over home