Johnny Cash | Bootleg Volume 11: From Memphis To Hollywood – CD Review

More treasure from the Johnny Cash archives has emerged. Bootleg Volume 11: From Memphis To Hollywood features a wide array of performances from a golden period in the singer’s career. Opening with an appearance on a KWEM radio show, Cash and his band, the Tennessee Two, play through four songs. Along with commercials, some read by Cash himself (sometimes not so expertly), including one about local sponsor Home Equipment Company, the man in black strums through a sparkling “Wide Open Road,” featuring Luther Perkin’s clear guitar jingle and some fantastic lyrics. There’s almost a square dance caller quality to how Cash handles the words to “One More Ride.” Then there’s “Belshazzar,” the band’s requisite “sacred song”. At one point, Cash asks for cards to be sent in for requests, proving to be a rather jovial host for what amounts to a quick 15 minutes on the radio.

The rest of the songs on the first disc are ‘Early Demos and Sun Rarities,’ which make up a pretty wide range of material. We get Johnny Cash with his acoustic guitar, running through versions of “I Walk The Line” (gotta love how he unabashedly changes keys in almost every verse of this song), a slower “Get Rhythm,” and “Train of Love” where his voice sounds spectacular despite the less than stellar recording. Cash sings best on the slower tunes, such as on slight laments like “Train” and “I’ll Cry For You.” He gets downright sassy on “You’re My Baby.” And who can resist the false starts on “Brakeman’s Blues,” the flumpy beat of “Big River,” rounded out by “Goodnight Irene,” “Restless Kid“ and “It’s All Over.”

The second disc features higher production with fuller band arrangements and spot-on vocals. Starting with the late 50s, but focusing mostly on the 60s, this 25-song disc starts with that distinctive muted one-note electric sound on “All Over Again.” Cash gets plenty of vocal help from the Anita Kerr Singers and the Carter Family (featuring June Carter, Cash’s wife). He’s also backed by musicians like Carl Perkins and Floyd Crammer. “I’ll Remember You” features some jaunty piano from James Carter Wilson that sounds nothing like Cash, but reveals a maturity that had crept into the man’s voice. “Johnny Yuma Theme,” like 13 others here, is a previously unreleased gem making its debut here. Lorne Greene (yes that Lorne Green!) joins Cash in the over-produced “Shifting, Whispering Sands.”

A demo of “Hardin Wouldn’t Run” proves to be a real treat with just Cash on guitar and vocal. “Thunderball,” is back to a full-band production, with a great vocal filling out an otherwise not-so-great song. But then Cash’s take on Dylan’s “On Too Many Mornings” comes off as if the song was written for him. “Foolish Questions” is a fun one in the “A Boy Named Sue” tradition with Cash strumming and singing with his tongue firmly planted in cheek. Along with the music, Bootleg Volume 11: From Memphis To Hollywood features a detailed essay written by famed music writer Ashley Kahn. Whichever way you go, this is music that truly has to be heard and appreciated — for fans, for casual admirers, and especially for Cash’s completists.

~ Ralph Greco, Jr.