MHIC

Thu, April 08, 1999 at 05:12 AM

Summary: Tribute

Others have been very complete in describing the Tribute and the artists/songs. Here are a few other observations:

For the most part, the artists just came out and sang their songs; not many made made any comments on John or what he meant,etc. Interestingly, it was the "Big 3," Springsteen, Dylan and U2 who did preface their (taped) performances with some thoughts. To me, the most poignant was Springsteen when he said that John showed "Not only was it OK to tear down the barriers, it was important." 

When John Carter introduced Willie Nelson (as a member of the Cash "extended family") he said of John and Willie, "They were always rebels, but never without a cause."

Lyle Lovett has to be one of the most sincere and classy guys in the business. He, of course, inducted John into the Rock and Roll Hall of Fame in 1992 and performed at the Kennedy Center Honors in 1996. He did a GREAT "Tennessee Flat Top Box" (and he CAN play!. At then end, when John was walking down the line thanking all the performers, Lyle was clearly moved, and moving, when he took both of John's hands and said, "This is a great honor."

 U2's rendition of "Don't Take Your Guns to Town" was just plain weird.

 As previously mentioned, Raul Malo of the Mavericks was superb on "Man in Black."

 Sheryl Crow played the acordian!

 Wycliffe Jean's mid-"Delia's Gone" rap on a Johnny Cash/Rick Rubin theme was really neat, and was well-received.

 Rosanne, who was battling throat problems, nevertheless was able to introduce the video gospel segment and then Marty

Stuart and the Fairfiled Four. She re-invoked that classic line, "My father has the soul of a mystic." Powerful. 

Tim Robbins, who read a segment of the "Johnny Cash at Folsom Prison" liner notes, was neither convincing nor effective. He could have chosen more powerful segments from those classic notes. He did, however, manage to keep the focus on himself while, in the darkness, John's crew setup the stage and surreptiously brough him out to center stage for that stunning "Hello, I'm Johnny Cash."

 All 7 of the Cash/Carter children were present, the first time all were together in 10 years! The photo shoots backstage after the show were family reunion stuff!

 Who could not be moved to see Marshall Grant on stage with John for the first time since 1980?

 When John spoke to the crowd, it was interesting to hear who he thanked. He mentioned Sam Phillips and then Don Law, his producer at Columbia from 1958-1967. He also was referrring to Rick Rubin when he talked about "having the good sense to let me do what I was going to do anyway," although he got off-track and failed to mention Rubin by name. Rubin, by the way, WAS there. (And that is the Cash-Wycliffe Jean connection, to answer a previous post.)

 It is totally stunning to watch June Carter Cash in action. She had the place in the palm of her hand and received the only (non-John) standing ovation of the night. Her version of "Ring of Fire" was haunting, with John Carter Cash on guitar and Jason Carter (no relation) on fiddle. This is how she envisioned the song when she wrote it (and this is the same arrangement on the recorded version on "Press On," due out later this month.

 After the "I Walk the Line" finale, as the curtain calls began, June stayed off stage, but her husband kept motioning for her to come back and join him.

 Dave Matthews is a very nice guy.

 Emmylou Harris sings like she is sitting on a cloud because the other angels are jealous how much grander she is than any of them.

 Trisha Yearwood brought out the plaintive tone of "Sunday Morning Coming Down" which Kristofferson (who accompanied her) meant for the song to have when he wrote it. She is one of today's country's first class people.

 Mary Chapin Carpenter played guitar on "Flesh and Blood" behind Emmylou and with Sheryl Crow (Marty Stuart on mandolin). She was not a "featured" performer but was there anyway, because she "had to be there." Again, first class all the way.

 John Voight was gracious and seemed genuinely pleased to be the host.

 Finally, TNT showed people how to do a premier show. The ad materials, posters, billboard in Times Square, website, everything, was professional. There was not one thing cheesy about the whole production. And these Hollywood/showbiz types were always very respectful and had genuine affection for their subject. They honored him better than Nashville ever could, or, unfortunately, ever will.

 Tune in April 18. Great ratings will prove this was a project well-worth doing.