Aquarium Drunkard recently commented - Grieving Angel (or, What Happened to alt.Country) - on the demise of No Depression magazine as a sign on the wall that alt.country, and all its various strains is headed for a well deserved dirt nap.

Everybody wants to be Nietzsche and be the one to get the “God Is Dead” headline. So Jeff Tweedy decided to chase the hipsters and ape Radiohead and Al Green instead of pursuing his inner Jimmie Rogers. Good riddance. His work in Uncle Tupelo will always be respected but making Tweedy the canary in the alt.country coal mine a like holding up John Lydon as the torchbearer for punk. Public Image Ltd.? Punk is dead! Artist champion then abandon, or simply just cross for a spell, genres every day with questionable intentions and to mixed success. Their movement across genres doesn’t leave the genre left dead.

Yes, No Depression magazine was the go to messenger for the genre and its many branches, but their demise seems to be more a reflection on external forces - the economy, paper prices - and internal business opportunities not pursued - changing editorial direction, overlooking the power of advertising on the web - rather than a symbol of a genre’s demise. If Rolling Stone magazine pulled the plug tomorrow would people assume rock is dead? Hardly. We’d think that somebody at Rolling Stone really screwed up.

Some see the embodiment of the genres extinction in its commodification and acceptance by the mainstream. Abercrombie and the Gap start selling pearl snap western shirts. Urban Outfitters starts to sell John Deere caps for $30. the same ones you could once get for free with two bags of feed at the local supply store. Bullshit. When leather jackets with safety pins turned up in the windows of Macy’s New York store and Hot Topic sprang up in malls across the Nation many beat the drum of punks demise. Punk didn’t give a shit what they said and gave us Green Day, the Offspring and Rancid.

And as far as the acceptance of the mainstream, this is still music with folk and country in its DNA. It is made to be appealing and to be related to by all people living a workaday life. With troubles and families and simple joys. It is made to be accessible so mainstream acceptance is a sign of success. This isn’t alt.rock where where the rules appear to be when there is mainstream acceptance it’s a sign for the hipster herd to move on.

This is America, The sincerest form of flattery in our hyper-capitalist culture is to be co-opted by trend-spotters and sold to middle America by the yard. So what? For every Flying Burrito Brothers there will be an Eagles. There are plenty of thrift shops and seedy bars for those that know the real, better thing from the Plexiglas replica. A genre that is so rarefied and precious as to wilt at the first sign of filthy lucre was never a legitimate genre anyway. It was just a gleam in some PR agents eye that once obtained was cashed in and abandoned. Grunge anyone?

It used to be that sub-genres were prohibited by physical space to thrive. Tower and Peaches only had so many shelves to hold album, cassettes and CDs and a minimum wage staff that know nothing about music didn’t help to perpetuate the hidden gems. But that hurdle didn’t stop indy boutiques from filling the void by bringing expertise and products that could not be found at the big box music stores. Now the rules and economics have all changed and physical space for product is not an issue. Online retail can adapt and support genres and sub-genres as they establish themselves to be financially viable. Amazon offers an alt.country and Americana section featuring the likes of Tift Merrit, Neko Case and the Drive By Truckers and iTunes offers an essentials alt.country play list featuring Ryan Adams and Johnny Cash. For those that prefer the boutiques expertise and selection can head over to Miles Of Music.

The whole argument might just be moot. Country music as a singular entity is really just a newfangled marketing artifice. What we have come to think of as country music is a mongrel beast of Celtic tunes, sea shanties, blues and gospel music. Hell, what we know as country and rock music today cross pollinated in the 50’s at a little studio at 706 Union Avenue in Memphis, Tennessee and changed the music world forever.

People that argue that alt.country and its cousins Americana and roots music is some way diluting “true” country music ignore the genres history as already existing and enduring sub-genres Honky Tonk, Bakersfield Sound, Bluegrass Traditional Country, Yodeling, Country Boogie, Country Rock, Close Harmony, Square Dance, Jug Band, High Lonesome Sound and Western Swing. Like the English only crowd, they ignore the history of cultural evolution in an attempt to erect a legislative dam to keep the genre pure. I say put on the Rolling Stones “Sticky Fingers” and watch their heads explode.

Livestock breeders often practice inbreeding to “fix” desirable characteristics within a population. However, they must then cull unfit offspring, especially when trying to establish the new and desirable trait in their stock. Alt.country, roots, Americana are the unfit offspring of the Nashville and corporate play list cultural breeders. These castoffs, misfits and outlaws make their own way in places across the globe. They make American music healthy and thrive by allowing a level of flexibility and brave experimentation that evolves the art and lays the groundwork to be culturally relevant to a new generation of fans.

Every day I’m contacted by new artists like the Dexateens, Twilight Hotel and the Whipsaws or their representatives that are taking alt.country, Americana, roots and Country music in exciting and sometimes unusual directions. Are they representative of country music? No, not in the officially sanctioned Nashville and mainstream radio sense, but there they are, listening to Johnny Cash and Kris Kristofferson and playing in their bedrooms and down at the the local bar. The are putting up a MySpace and Facebook page to allow people all over the world to discover them, refer the bands to their friends, and the artists can accumulate a list of fans so that they can serve them directly going forward. These artists have much to say and prove. Alt.country in and of itself is a merely a label that is only useful if representing a thing. Judging by my email, mailbox and experiences with local performances and conversations with artists and fans there is certainly a thing thriving out there that will not be denied, not matter what Nashville or cultural critics (me included) thinks.

I have to concur with the Twin-Cities country music critic Jack Sparks when he said “It’s important that I end this thought by saying everyone leading up to this, and everyone after, who writes an article about how “alt country” is dead, is a fucking moron.” Amen partner, amen.

Uncle Tupelo - Chickamauga

Johnny Cash - Folsom Prison Blues - Town Hall Party, Los Angeles, California 1959

Hopefully you already bought your ticket for The Johnny Cash 76th Birthday Bash (Feb 23) at Brooklyn’s Southpaw - 125 5th Ave. (@ St. John’s Place) Brooklyn, NY - because the event is SOLD OUT.

The show will feature Alex Battles’ Whisky Rebellion performing a full rendition of “At Folsom Prison” in celebration of the albums 40th anniversary.

Originally released in 1961 as Five Minutes to Live, this low-budget crime drama was later re-released as Door-to-Door Maniac. It’s a bit cheesy but is worth watching for Johnny Cash’s performance as a sadistic hit-man. The entire movie is on YouTube and is cut into 8 segments.

20th Century Fox has set a Walk the Line: Extended Cut DVD for release on 3/25. The film will feature 17 minutes of additional footage and the 2-disc set will also include audio commentary with co-writer and director James Mangold. The Johnny Cash Jukebox  feature offers 8 extended musical sequences from the film with new introductions, including Lewis Boogie, Get Rhythm, You’re My Baby, Jukebox Blues, Rock and Roll Ruby, That’s Alright Mama, Jackson  and Cocaine Blues and there is 2 more deleted scenes with optional commentary, the film’s theatrical trailer and 7 behind-the-scenes featurettes (Becoming Cash/Becoming Carter, Sun Records and the Johnny Cash Sound, The Cash Legacy, Folsom: Cash and the Comeback, Ring of Fire: The Passion of Johnny and June, Cash and His Faith and Celebrating the Man in Black: The Making of Walk the Line).

So I’m standing in line at the Starbucks near my work (yes, I do need a day job to supplement by blog) and as I’m  in front of the register making small talk with the lady (making fun of all the “soy-half-caf-dry-upside-down” doofus’) and I see a DVD/CD combo entitled “The Best of the Johnny Cash Show.” Now the cover is different from the one I’ve seen on the notoriously difficult to find version (at least difficult to find in Manhattan, where all the store are sold out. No country music fans in New York? HA!) so I’m a little suspicious, but I’ve had a hard time finding the other version and it was the last one, so I snatched it up with my Grande of the day.

The Starbucks version has only one DVD where the Sony Columbia Legacy has two. So, the Starbucks version omits some pretty tasty bits like Creedence Clearwater Revival playing “Bad Moon Rising” and Waylon Jennings doing “Only Daddy That’ll Walk The Line” and “The Singing Star’s Queen” with Johnny (Waylon’s “Brown Eyed Handsome Man” did make the SB cut.) But the Starbucks version does come with CD containing some performances not found on the original DVD.  Brenda Lee doing “Johnny One Time” and Johnny Cash,  The Carter Family and The Statler Brothers doing “Belshazzar” are some highlights.  Alas, the Starbucks version comes in a cheapo snap-case with no liner notes and I haven’t watched the DVD yet, so i don’t know if there are any interviews or features left out, but if you like me and finding it hard to find the original and want a CD of some of the selections, the Starbucks version is a nice make-due while waiting on the other to arrive in the mail.

Today is the 4th anniversary of Johnny Cash’s death at 71 years of age while hospitalized at Baptist Hospital in Nashville, Tennessee. I just had to put on Johnny Cash at San Quentin really loud and post this reminder. There will never be another Man In Black.

Johnny Cash - I Walk the Line (1959)

From Pitchfork.com - On September 18, CMV/Columbia/Legacy will release The Best of the Johnny Cash TV Show, a 2xDVD compiling 66 live performances from the 58 episodes of Johnny Cash’s 1969-1971 “The Johnny Cash Show”.

Kris Kristofferson hosts the DVD, which features performances from Bob Dylan, Stevie Wonder, Neil Young, Joni Mitchell, Ray Charles, Creedence Clearwater Revival, Louis Armstrong, Loretta Lynn, Neil Diamond, Jerry Lee Lewis, George Jones, Derek and the Dominoes, Roy Orbison, the Carter Family (including June Carter Cash), and Johnny Cash himself, among many others.

The set also features new interviews with John Carter Cash, Tennessee Three bassist Marshall Grant, Hank Williams, Jr., musical arranger Bill Walker, and hairstylist Penny Lane.

There will also be a single-disc CD version of the compilation available on the same day as the DVD.

The Best of the Johnny Cash TV Show (DVD):

01 Johnny Cash: “Ring of Fire”
02 Bob Dylan: “I Threw It All Away”
03 Johnny Cash and Bob Dylan: “Girl From the North Country”
04 Kris Kristofferson: “Loving Her Was Easier (Than Anything I’ll Ever Do Again)”
05 Louis Armstrong and Johnny Cash: “Blue Yodel #9″
06 Stevie Wonder: “Heaven Help Us All”
07 Creedence Clearwater Revival: “Bad Moon Rising”
08 Linda Ronstadt and Johnny Cash: “I Will Never Marry”
09 George Jones: Medley: “White Lightning” (with Johnny Cash) / “She Thinks I Still Care” / “The Love Bug” / “The Race Is On”
10 Johnny Cash: “Hey Porter”
11 Waylon Jennings: “Only Daddy That’ll Walk the Line”
12 Waylon Jennings and Johnny Cash: “The Singing Star’s Queen”
13 Waylon Jennings: “Brown Eyed Handsome Man”
14 Tammy Wynette: “Stand by Your Man”
15 Marty Robbins: Medley: “Big Iron” / “Running Gun” / “El Paso”
16 Johnny Cash: “Ride This Train”
17 Johnny Cash: “As Long as the Grass Shall Grow”
18 Johnny Cash: “Man in Black”
19 James Taylor: “Sweet Baby James”
20 Pete Seeger and Johnny Cash: “Cripple Creek”
21 Pete Seeger and Johnny Cash: “Worried Man Blues”
22 Johnny Cash: “Sunday Morning Coming Down”
23 Johnny Cash: “Old Time Religion”
24 Johnny Cash, the Carter Family, the Statler Brothers, Carl Perkins, and the Tennessee Three: “Daddy Sang Bass”
25 Mother Maybelle and the Carter Sisters: “Wildwood Flower”
26 Neil Young: “The Needle and the Damage Done”
27 Johnny Cash: “Tennessee Flat Top Box”
28 Joni Mitchell and Johnny Cash: “Long Black Veil”
29 Johnny Cash and the Tennessee Three with Carl Perkins: “Big River”
30 Johnny Cash: “I Walk the Line”
31 June Carter Cash: “A Good Man”
32 Derek and the Dominoes: “It’s Too Late”
33 Derek and the Dominoes With Johnny Cash and Carl Perkins: “Matchbox”
34 Charley Pride: “Able Bodied Man”
35 Bill Monroe and His Bluegrass Boys: “Blue Moon of Kentucky”
36 Loretta Lynn: “I Know How”
37 Jerry Lee Lewis: “Whole Lotta Shakin’ Goin’ On”
38 Johnny Cash: “Ride This Train (America the Beautiful, This Land Is Your Land)”
39 The Everly Brothers With Ike Everly and Tommy Cash: “Silver Haired Daddy of Mine”
40 Ray Charles: “Ring of Fire”
41 Johnny Cash: “A Boy Named Sue”
42 Conway Twitty: “Hello Darlin’”
43 Mother Maybelle Carter: “Black Mountain Rag”
44 Tony Joe White and Johnny Cash: “Pork Salad Annie”
45 Glenn Campbell: “Wichita Lineman”
46 Neil Diamond: “Cracklin’ Rosie”
47 Ray Price: “For the Good Times”
48 Roy Orbison: “Crying”
49 Roy Orbison and Johnny Cash: “Oh, Pretty Woman”
50 Johnny Cash: “Wanted Man”
51 Chet Atkins and Johnny Cash: “Recuerdo De La Alhambra”
52 Chet Atkins: Medley: “Country Gentleman” / “Mister Sandman” / “Wildwood Flower” / “Freight Train”
53 June Carter Cash With Homer and Jethro: “Baby It’s Cold Outside”
54 Merle Haggard: “No Hard Time Blues”
55 Merle Haggard and Johnny Cash: “Sing Me Back Home”
56 Carl Perkins: “Blue Suede Shoes”
57 Johnny Cash, the Carter Family, the Statler Brothers, and Carl Perkins: “The Old Account Was Settled Long Ago”
58 Roy Clark: Medley: “In the Summertime” / “12th Street Rag”
59 The Statler Brothers: “Flowers on the Wall”
60 Johnny Cash: “Working Man Blues”
61 Johnny Cash and June Carter Cash: “Jackson”
62 Johnny Cash and June Carter Cash: “Turn Around”
63 Johnny Cash: “I Love You Because”
64 Hank Williams Jr.: Medley: “You Win Again” / “Cold Cold Heart” / “I Can’t Help It If I’m Still in Love With You” / “Half As Much”
65 Johnny Cash: “A Wonderful Time up There”
66 Johnny Cash: “Folsom Prison Blues”

Bob Dylan, Johnny Cash “Girl From The North Country” - 1969

Johnny Cash’s first wife, the late Vivian Liberto Distin, will have her book I Walked the Line: My Life With Johnny posthumously released on Sept. 4 by Scribner Books. Before her death in 2005, Vivian told her story to TV producer Ann Sharpsteen, who shares an author credit on the book.

Vivian describes Cash’s early career, how June Carter entered their life and Vivian and Johnny’s divorce in 1966. Vivian is the mother of Cash’s four daughters. One of the daughters, Kathy Cash, says, “This book is the greatest part of my mother’s legacy as a wife, a grandmother, a matriarch, a mother and, most important, a woman in love.”

The book is based on thousands of letters exchanged by the couple before their marriage while he was overseas with the Air Force, co-writer Ann Sharpsteen said.

“The letters really reveal the real man, unclouded by drugs. Letters were his dreams, fears, a variety of subjects, fidelity, alcohol, faith. It’s like reading someone’s diary,” Sharpsteen said.
Kathy Cash, one of Johnny and Vivian’s daughters, said her mother visited her father in 2003 to tell him she wanted to do the book.

“He said, ‘Vivian, if anyone on this whole earth should write a book it should be you,”’ Kathy Cash said.

Distin was portrayed by Ginnifer Goodwin in the 2005 Johnny Cash biopic, Walk the Line. According to Kathy, the portrayal was inaccurate and unfair to her mother. John Carter Cash, Kathleen’s half-brother and executive producer of the film, responded that he understood her concerns

Popmatters.com has an excellent review of Robert Elfstrom’s documentary Johnny Cash: The Man, His World, and His Music (1969). The film highlights Cash at his career pinnacle and looks back at his upbringing in rural

Arkansas.From the review: More than that, he was content to dwell in contradiction; he didn’t try to resolve all his warring selves. He was equally the outsider rockabilly and the establishment patriot, the social protestor and the Billy Graham crusader. He gave us a model of cultural ambivalence that we could all identify with. He didn’t solve America’s identity problems, he showed us how to live with them.