** BEST DEAL ** JOHNNY CASH 5 LP IMPORT COLLECTION - 180 GRAM PRESS * NM 9/10 *

1) JOHNNY CASH "AMERICAN III" GERMAN 180 GRAM PRESS ***NM 9/10***

The Man in Black shows hints of gray on American III: Solitary Man, his first studio album since being interrupted by a series of serious illnesses in 1997. While the inevitability of aging has been the downfall of many of his contemporaries, Johnny Cash's dark convictions and powerful presence have gone from rough hardwood to solid stone. The stark beauty of his 1994 release American Recordings and the warm, friendly collaborations on 1996's Unchained combine to create two distinct moods: one of living-room jam sessions with invited friends, and another of stark solo (and near-solo) songs highlighting Cash's years and stories. Partnering once again with Tom Petty, the two join together on Petty's own "I Won't Back Down" and the Neil Diamond-penned title track. Cash also lays his lonesome hands on U2's "One" and reunites with fellow outlaw Merle Haggard on the stubborn "I'm Leavin' Now." These duets and well-known covers show an inviting side of Johnny Cash. But the real highlights of the album are those reminiscent of his American Recordings songs; they feature just the man and his guitar, with nothing else to clutter the story. The creaks and despair of the vaudeville song "Nobody" tell of a man who has become hardened by his solitude, while the Palace hymn "I See a Darkness" soars with the passion of a thousand gospel choirs, even though there are only two men singing. Although at times it is difficult to hear past Tom Petty's growl or Sheryl Crow's young harmonies in the more popular songs Cash covers, these obscure prison songs and country ballads sound as honest and heartfelt as his own compositions. At age 68, his warm baritone may waver but his passion never does. (AMDB)

Johnny Cash ‎– American III: Solitary Man
Label: American Recordings ‎– 51011 2794-2
Series: The American Recordings – 3
Format: Album, Reissue
Country: Europe Released:
Track List:
1 I Won't Back Down 2:09
2 Solitary Man 2:25
3 That Lucky Old Sun (Just Rolls Around Heaven All Day) 2:35
4 One 3:53
5 Nobody 3:14
6 I See A Darkness 3:42
7 The Mercy Seat 4:35
8 Would You Lay With Me (In A Field Of Stone) 2:41
9 Field Of Diamonds 3:15
10 Before My Time 2:55
11 Country Trash 1:47
12 Mary Of The Wild Moor 2:32
13 I'm Leavin' Now 3:07
14 Wayfaring Stranger 3:19
Phonographic Copyright (p) – American Recordings, LLC
Copyright (c) – American Recordings, LLC
Licensed To – Warner Music International
Record Company – Warner Music Group
Recorded At – Cash Cabin Studio
Recorded At – Akademie Mathematique of Philosophical Sound Research
Mixed At – Akademie Mathematique of Philosophical Sound Research
Mastered At – Oasis Mastering
Made By – Cinram GmbH
Credits:
Accordion – Sheryl Crow (tracks: 12, 14)
Art Direction – David Coleman (5)
Coordinator [Album Production Coordinator] – Lindsay Chase
Edited By [Digital Editing] – Billy Bowers, Chuck Turner (2)
Engineer – David Ferguson
Engineer [Additional Engineering] – D. Sardy*, David Schiffman, Richard Dodd
Executive-Producer [Associate Producer] – John Carter Cash
Fiddle – Laura Cash
Guitar – Larry Perkins, Marty Stuart, Merle Haggard, Mike Campbell, Norman Blake (2), Randy Scruggs
Mastered By – Eddy Schreyer
Mixed By – David Ferguson (tracks: 1 to 8, 10 to 14), David Schiffman (tracks: 9)
Organ – Tom Petty (tracks: 1)
Photography By – Danny Clinch
Photography By [Bells] – Martyn Atkins
Piano, Organ, Harmonium – Benmont Tench
Producer – Rick Rubin
Vocals – June Carter Cash (tracks: 9), Merle Haggard (tracks: 13), Sheryl Crow (tracks: 9), Tom Petty (tracks: 1, 2), Will Oldham (tracks: 6)
Notes:
Same as this release, except the Warner Music
Recorded at The Cash Cabin Studio, Hendersonville, TN and at The Akadamie Mathematique of Philosophical Sound Research, Los Angeles, CA.
Mixed at The Akadamie Mathematique of Philosophical Sound Research, Los Angeles, CA.
Mastered at Oasis Mastering, Los Angeles, CA.
℗ © 2000 American Recordings, LLC under exclusive licence to Warner Music International for the world outside of the U.S.A. and Canada. A Warner Music Group company.
Made in the E.U.

2) JOHNNY CASH "AMERICAN IV: THE MAN COMES AROUND" LOST HIGHWAY 180 GRAM PRESS ***2-LP MINT 10/10***

Johnny Cash's fourth project with producer Rick Rubin continues on the same path as many of their previous releases: Cash's warm and rumbling baritone over minimal production and gentle duets with some surprising guests. One of the things that sets American IV: The Man Comes Around apart from the others is Cash's song selections. The success he experienced with his previous interpretations of contemporary songwriters (Soundgarden's "Rusty Cage," Nick Cave's "The Mercy Seat") is applied to this album with varying degrees of success. His throaty reading of Nine Inch Nails' "Hurt" easily fits into his "Man in Black" persona, and the spiritual conviction underlying Depeche Mode's "Personal Jesus" is certainly powerful. Unfortunately, the inclusion of "Bridge Over Troubled Water" (featuring a lost-sounding Fiona Apple) and a passionless snooze through the Beatles' "In My Life" should have been so much stronger (given the subject matter of both songs and Cash's prolific life story). One of the reasons his previous covers were so successful is that in the past he had chosen some pretty obscure songs (Bonnie Prince Billy's "I See a Darkness" and Beck's "Rowboat," to name a couple) and reinterpreted them with his unique perspective and unmistakable voice. However, there is really no need to hear his versions of the Irish standard "Danny Boy" or the clunky rendition of Sting's "I Hung My Head," since something about them just doesn't fit -- either Cash wasn't entirely comfortable with the song or the performance was never fully realized. Luckily, the new songs Cash wrote for the album are pretty strong, and his cover of the standard "We'll Meet Again" is among the best versions of the song ever recorded. It is a relief to hear that, although Cash's voice is clearly older and not the booming powerhouse it was in the earlier Sun and Columbia days, he's still got some punch left in him, and the wisdom he's gained in his later life seeps through between the grooves, revealing a man who has lived through it all and lived to tell the tale. (AMDB)

Johnny Cash ‎– American IV: The Man Comes Around
Label: American Recordings ‎– 440 063 336-1
Series: The American Recordings – 4
Format: 2 × Vinyl, LP, Album 180 Gram
Country: US Released: 2002
Track List:
A1 The Man Comes Around 4:26
A2 Hurt 3:38
A3 Give My Love To Rose 3:28
A4 Bridge Over Troubled Water 3:55
B1 I Hung My Head 3:53
B2 First Time Ever I Saw Your Face 3:52
B3 Personal Jesus 3:20
B4 In My Life 2:57
C1 Sam Hall 2:40
C2 Danny Boy 3:19
C3 Desperado 3:13
C4 I'm So Lonesome I Could Cry 3:03
C5 Streets Of Laredo 3:33
D1 Wichita Lineman 3:01
D2 Big Iron 3:53
D3 Tear Stained Letter 3:41
D4 We'll Meet Again 2:58
Manufactured By – Lost Highway Records
Marketed By – Lost Highway Records
Distributed By – Universal Music
Credits:
Art Direction, Design – Christine Cano
Guitar – Mike Campbell (tracks: A2 to A4, B2, B4, B5, C4, D4), Randy Scruggs (tracks: A1, C3, C5, D1 to D4), Smokey Hormel (tracks: A1 to A4, B1 to B4, C1, C4, D1 to D4)
Keyboards – Roger Joseph Manning Jr. (tracks: A4, B4,C1, D1, D2, D4)
Mixed By – David Ferguson
Photography By – Martyn Atkins
Piano – Benmont Tench (tracks: A1 to A3, B1, B2, B4, C1 to C5, D4)
Producer – Rick Rubin
Vocals, Liner Notes – Johnny Cash
Notes:
First release of this Album.
Made in the USA
Johnny Cash last studio recording
'Wichita Lineman' and 'Big Iron' are not featured on the CD release. Comes with B&W printed photo/info inner sleeves.
Barcode and Other Identifiers
Barcode: 0 440 063 336-1 8
Matrix / Runout: A: 440063337-1 Side 1
Matrix / Runout: B: 440063337-1 Side 2
Matrix / Runout: C: 440063338-1 Side 1
Matrix / Runout: D: 440063338-1 Side 2

3) JOHNNY CASH "AMERICAN RECORDINGS" 180 GRAM UK IMPORT ***MINT 10/10***

Johnny Cash was in the unenviable position of being a living legend who was beloved by fans of classic country music without being able to interest anyone in his most recent work when he was signed to Rick Rubin's American Recordings label in 1994. Rubin, best known for his work with edgy rockers and hip-hop acts, opted to produce Cash's first album for American, and as he tried to brainstorm an approach that would introduce Cash to a new audience, he struck upon a brilliant idea -- doing nothing. For American Recordings, Rubin simply set up some recording equipment in Cash's Tennessee cabin and recorded him singing a set of songs accompanied only by his acoustic guitar. The result is an album that captured the glorious details of Johnny Cash's voice and allowed him to demonstrate just how emotionally powerful an instrument he possessed. While Rubin clearly brought some material to Cash for these sessions -- it's hard to imagine he would have recorded tunes by Glenn Danzig or Tom Waits without a bit of prodding -- Cash manages to put his stamp on every tune on this set, and he also brought some excellent new songs to the table, including the Vietnam veteran's memoir "Drive On," the powerful testimony of faith "Redemption," and a sly but moving recollection of his wild younger days, "Like a Soldier." American Recordings became a critical sensation and a commercial success, though it was overrated in some quarters simply because it reminded audiences that one of America's greatest musical talents was still capable of making compelling music, something he had never stopped doing even if no one bothered to listen. Still, American Recordings did something very important -- it gave Cash a chance to show how much he could do with a set of great songs and no creative interference, and it afforded him the respect he'd been denied for so long, and the result is a powerful and intimate album that brought the Man in Black back to the spotlight, where he belonged. (AMDB)

Johnny Cash ‎– American Recordings
Label: American Recordings ‎– 5101-12792-1
Series: The American Recordings – 1
Format: Vinyl, LP, Album, Reissue 180 Gram
Country: UK Released: 2006
Track List:
A1 Delia's Gone 2:17
A2 Let The Train Blow The Whistle 2:15
A3 The Beast In Me 2:45
A4 Drive On 2:23
A5 Why Me Lord 2:21
A6 Thirteen 2:29
A7a Oh, Bury Me Not 3:52
A7b Introduction: A Cowboy's Prayer
B1 Bird On A Wire 4:00
B2 Tennessee Stud 2:54
B3 Down There By The Train 5:35
B4 Redemption 3:01
B5 Like A Soldier 2:49
B6 The Man Who Couldn't Cry 4:59
Manufactured By – Rhino UK
Marketed By – Rhino UK
Credits:
Art Direction – Martyn Atkins
Design – Christine Cano
Mastered By – Stephen Marcussen
Mixed By – Jim Scott
Photography By [Cover] – Andrew Earl*
Photography By [Other] – Martyn Atkins
Producer – Rick Rubin
Notes: ℗© 1994 American Recordings, LLC. Manufactured and Marketed by Rhino UK. 180 gram vinyl.
Barcode and Other Identifiers:
Barcode: 5051011279218
Matrix / Runout (Side A): B 710024-01 A1
Matrix / Runout (Side B): B710024-01 B1
Label Code: 5101-12792-1

4) JOHNNY CASH "AMERICAN V: A HUNDRED HIGHWAYS" 2006 LOST HIGHWAY 180 GRAM PRESS ***MINT 10/10***

American V: A Hundred Highways is the long-awaited album of Johnny Cash's final recordings, the basic tracks for which (i.e., Cash's vocals) were recorded in 2002-2003, with overdubs added by producer Rick Rubin after his death on September 12, 2003, at age 71. Between 1994 and 2002, Cash and Rubin had succeeded in fashioning a third act for the veteran country singer's career, following his acclaimed 1950s work for Sun Records and his popular recordings for Columbia in the 1960s and '70s. In the '80s, Cash's star had faded, but Rubin reinvented him as a hip country-folk-rock elder at 62 with American Recordings (1994), his first new studio album to reach the pop charts in 18 years. Unchained (1996) and American III: Solitary Man (2000) continued the comeback, at least as far as the critics were concerned, though none of the albums was actually a big seller. But American IV: The Man Comes Around (2002), propelled by Cash's cover of Nine Inch Nails' "Hurt" and a powerful video, stayed in the pop charts longer than any Cash album since 1969's Johnny Cash at San Quentin. By 2002, however, Cash was in failing health, homebound and in a wheelchair, and he suffered a personal blow when his wife, June Carter Cash, died on May 15, 2003. The American series, which posited Cash as an aged sage and the repository for a bottomless American songbook, had already shown a predilection for gloom in the name of gravity; it's no surprise that the fifth and final volume would be even more concerned with, as three earlier Cash compilations had put it, God, Love, and Murder. The ailing septuagenarian certainly sounds like he's near the end of his life, but that said, he doesn't sound bad. Cash was never a great singer in a technical sense: he hadn't much range, his pitch often wobbled, and his lack of breath control sometimes found him grasping for sound at the end of lines. But he was a great singer in the sense of projecting a persona through his voice; his emotional range, which went from a Sinatra-like swagger to an almost embarrassingly intimate vulnerability, was as wide as the spread of notes he could hit confidently was narrow. Such a singer doesn't really lose that much with age; in fact, he gains even more interpretive depth. Listening to this album, one can't get around the knowledge that it is a posthumous collection made in Cash's last days, but even without that context, it would have much the same impact.
The album begins with two religious songs, Larry Gatlin's "Help Me," a plea to God, and the traditional "God's Gonna Cut You Down," which, in a sense, answers that plea. The finality of death thus established, Cash launches into what is billed as the last song he ever wrote, "Like the 309," which is about a train taking his casket away. The same image is used later in the cover of Hank Williams' "On the Evening Train," in which a man and his child put the coffin of a wife and mother on another train. Cash sings these songs in a restrained manner, and even has a sense of humor in "Like the 309," in which he complains about his asthma: "It should be awhile/Before I see Doctor Death/So it would sure be nice/If I could get my breath." In between the two train songs come songs that may not have been about death when their authors wrote them, but sure sound like they are here. As written, Gordon Lightfoot's "If You Could Read My Mind" seems to concern a romantic breakup expressed in literary and cinematic terms, but in Cash's voice, lines like "You know that ghost is me" and "But stories always end" become inescapably elegiac. Bruce Springsteen's "Further On (Up the Road)" is even easier to interpret as a call to the hereafter, with lines like "Got on my dead man's suit and my smilin' skull ring/My lucky graveyard boots and song to sing." These two songs make a pair with the album's two closing songs. Ian Tyson's "Four Strong Winds" is, like the Lightfoot selection, a folk standard by a Canadian songwriter, also nominally about romantic dissolution, although here the singer who is "bound for moving on" doesn't seem likely to come back. And the closing song, "I'm Free from the Chain Gang Now," may have lyrics implying that the unjustly imprisoned narrator has been set free, but in Cash's voice it sounds like he's been executed instead and is singing from beyond the grave. The four songs in between "On the Evening Train" and "Four Strong Winds," dealing with faith and love (the former expressed in a previously recorded 1984 Cash copyright, "I Came to Believe"), are weaker than what surrounds them, but they serve to complete the picture. And it's worth noting that Cash at death's door still outsings croaking Rod McKuen on the songwriter's ever-cloying "Love's Been Good to Me." Cash may never have heard Rubin's overdubs, but they are restrained and tasteful, never doing anything more than to support the singer and the song. If the entire series of American recordings makes for a fitting finale to a great career, American V: A Hundred Highways is a more than respectable coda. (AMDB)

Johnny Cash ‎– American V: A Hundred Highways
Label: American Recordings ‎– B0002769-01, Lost Highway ‎– B0002769-01
Series: The American Recordings – 5
Format: Vinyl, LP, Album
Country: US Released: 03 Jul 2006
Track List:
A1 Help Me 2:51
A2 God's Gonna Cut You Down 2:38
A3 Like The 309 4:35
A4 If You Could Read My Mind 4:30
A5 Further On Up The Road 3:24
A6 On The Evening Train 4:17
B1 I Came To Believe 3:44
B2 Love's Been Good To Me 3:18
B3 A Legend In My Time 2:37
B4 Rose Of My Heart 3:18
B5 Four Strong Winds 4:34
B6 I'm Free From The Chain Gang Now 3:00
Recorded At – Cash Cabin Studio
Recorded At – Akadamie Mathematique of Philosophical Sound Research
Mixed At – Akadamie Mathematique of Philosophical Sound Research
Mastered At – Sony Music Studios, New York City
Phonographic Copyright (p) – The American Recording Company, LLC.
Copyright (c) – The American Recording Company, LLC.
Phonographic Copyright (p) – Island Def Jam Music Group
Copyright (c) – Island Def Jam Music Group
Distributed By – Universal Music Distribution
Manufactured By – Lost Highway
Marketed By – Lost Highway
Credits:
Art Direction, Design – Christine Cano
Coordinator [Album Production Coordinator] – Lindsay Chase
Executive-Producer [Associate] – John Carter Cash
Guitar – Jonny Polonsky, Matt Sweeney, Mike Campbell, Pat McLaughlin, Randy Scruggs, Smokey Hormel
Mastered By – Vlado Meller
Mastered By [Assistant] – Mark Santangelo
Mixed By – David Ferguson, Greg Fidelman
Mixed By [Assistant] – Dan Leffler, Paul Figueroa*
Musician [Additional Musicians] – Dennis Crouch, Jack Clement, Josh Graves, Larry Perkins, Laura Cash, Mac Wiseman, Mark Howard (7), Marty Stuart, Pete Wade
Performer – Johnny Cash
Photography By – Martyn Atkins
Piano, Harpsichord, Organ – Benmont Tench
Producer, Liner Notes – Rick Rubin
Recorded By – David Ferguson
Recorded By [Assistant] – Jimmy Tittle
Notes:
Recorded at Cash Cabin Studio, Hendersonville, TN and Akadamie Mathematique of Philosophical Sound Research, Los Angeles, CA.
Mixed at Akadamie Mathematique of Philosophical Sound Research, Los Angeles, CA.
Mastered at Sony Mastering, NY, NY.
Pressed on 180 gram vinyl.
Barcode and Other Identifiers:
Barcode: 6 02517 00509 9

5) JOHNNY CASH "UNCHAINED" ENGLAND IMPORT AMERICAN RECORDINGS LABEL***MINT 10/10***

After 1994's American Recordings revitalized Johnny Cash's career, he and producer Rick Rubin had to come up with an encore, and in some respects 1996's Unchained was the sort of album many were expecting American Recordings to be. Instead of the solo acoustic approach of American Recordings, Unchained paired Cash with a noted rock band Rubin had worked with in the past -- Tom Petty & the Heartbreakers, whose roots-conscious style and Southern heritage would seemingly make them compatible with the Man in Black. There's no arguing that Petty and his band sound fully committed on Unchained and deliver uniformly heartfelt and expert performances. However, part of what made American Recordings so effective was the opportunity to hear Cash's emotionally forceful vocals with only the most minimal accompaniment, and as good as the Heartbreakers are, in their presence Cash sounds a bit more restrained and less willing to push himself. Also, while having Cash cover Glenn Danzig's "Thirteen" worked unexpectedly well on American Recordings, taking on Beck and Soundgarden doesn't fare nearly as well here, and Cash's version of "Memories Are Made of This" may have been a better match in theory, but it doesn't quite make it in practice. But there are more than a few triumphant moments on this disc, including inspired recuts of "Country Boy" and "Mean Eyed Cat," a dignified and deeply felt interpretation of Petty's "Southern Accents," and a rollicking tear through "I've Been Everywhere" for the finale. If Unchained didn't seem like an event or an instant classic like its immediate predecessor, it confirmed Cash was still a vital artist with plenty of life in him, no mean feat for a man of 64 who'd been making records for more than 40 years. (AMDB)

Johnny Cash ‎– Unchained
Label: American Recordings ‎– 51011 2793-1
Series: The American Recordings – 2
Format: Vinyl, LP, Album
Country: UK Released: 1996
Track List:
A1 Rowboat 3:43
A2 Sea Of Heartbreak 2:42
A3 Rusty Cage 2:48
A4 The One Rose (That's Left In My Heart) 2:26
A5 Country Boy 2:31
A6 Memories Are Made Of This 2:19
A7 Spiritual 5:06
B1 The Kneeling Drunkard's Plea 2:31
B2 Southern Accents 4:41
B3 Mean Eyed Cat 2:32
B4 Meet Me In Heaven 3:21
B5 I Never Picked Cotton 2:38
B6 Unchained 2:52
B7 I've Been Everywhere 3:17
Phonographic Copyright (p) – American Recordings, LLC
Copyright (c) – American Recordings, LLC
Manufactured By – Rhino UK
Marketed By – Rhino UK
Credits:
Bass – Flea (tracks: A7)
Bass, Guitar – Howie Epstein
Drums, Percussion – Curt Bisquera (tracks: A7, B1), Steve Ferrone (tracks: A1 to A6, B3, B5, B7)
Engineer [Additional] – David Ferguson
Engineer [Assistant] – Eddie Miller, Greg Fidelman, John Ewing*, Michael Stock
Engineer, Mixed By – Sylvia Massy
Guitar – Lindsay Buckingham* (tracks: A2)
Guitar, Bass – Marty Stuart (tracks: A1, A4, A5, B3, B4, B6, B7)
Guitar, Bass, Mandolin, Other [Dobro] – Mike Campbell
Mastered By – Eddy Schreyer, Gene Grimaldi
Percussion – Juliet Prater (tracks: A3), Mick Fleetwood (tracks: A2)
Piano, Organ [B3], Organ [Vox Continental], Harmonium, Keyboards [Chamberlin] – Benmont Tench
Producer – Rick Rubin
Vocals, Guitar – Johnny Cash
Vocals, Guitar, Bass, Keyboards [Chamberlin] – Tom Petty
Notes:
Comes with b&w printed lyric/photo inner sleeve.
Marty Stuart appears courtesy of MCA Records Inc.
Tom Petty and The Heartbrakers, Flea and Mick Fleetwood appear courtesy of Warner Bros. Records Inc.
Lindsay Buckingham appears courtesy of Reprise Records
Recorded during 1995 and 1996 at Akademie Mathematique of Philosophical Sound Research, Hollywood, CA; Sound City, Van Nuys, CA; Oceanway Recording, Hollywood, CA; NRG Recording, North Hollywood, CA; and Cowboy's Arms Hotel and Recording Spa, Nashville, Tennessee

Barcode: 5051011279317
Matrix / Runout: 5101 127931 A-1
Matrix / Runout: 5101 127931 B-1

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