Pitchfork评测Johnny Cash经典现场专辑At Folsom Prison

A companion piece of sorts to Columbia/Legacy's 2006 reissue of At San Quentin, At Folsom Prison is the greater of the two, if only because it was both such a risky endeavor and such a rewarding payoff. This 2xCD/DVD set of the Man in Black's infamous show captures a superlative performance, feisty and playful and a bit maudlin.

作为哥伦比亚遗产公司2006年重新发行的《在圣昆廷监狱》(At San Quentin)的姊妹篇，《在福尔瑟姆监狱》(At Folsom Prison)是两者中更伟大的一部，因为它既是一次冒险的尝试，也是一次有益的回报。这套2xCD/DVD收录了这位黑衣人不荣誉的表演，捕捉到了他最精彩的表演，活泼、俏皮，还有点伤感。

It's odd not hearing "Hello, I'm Johnny Cash" at the very beginning of this 2xCD/1xDVD set of the Man in Black's infamous show at Folsom Prison. His signature introduction-- as if he actually needed to tell an audience who he was-- is one of the best moments in recorded rock history, rendered in his immediately recognizable robust baritone and prompting unabashed applause. On all previous editions of this concert, whether vinyl, cassette, eight-track, or CD, have begun with that four-word intro, but Columbia/Legacy's new set relegates it to the actual moment in the show, well after Carl Perkins and the Statler Brothers have warmed up the crowd. Here it's revealed to be a rehearsed moment:

在福尔瑟姆监狱的2xCD/1xDVD套装《黑衣人》不光彩的节目一开始没有听到“你好，我是Johnny Cash”，这很奇怪。他的标志性介绍——好像他真的需要告诉观众他是谁——是录制的摇滚史上最美好的时刻之一，用他立即识别的强劲男中音呈现，并引发了毫不掩饰的掌声。在这场音乐会之前的所有版本中，无论是黑胶唱片、盒式磁带、八首曲目还是CD，都从四个字的介绍开始，但是在Carl Perkins和Statler兄弟让观众们兴奋起来之后，哥伦比亚遗产电视台的新场景将它降到了剧中的真实时刻。在这里，这是一个排练过的时刻:

Hugh Cherry: I need your help. When John comes out here, he will say-- and which will be recorded-- "Hi there. I'm Johnny Cash." When he says that, then you respond. Don't respond to him walking out. Welcome him after he says, "Johnny Cash." I'll have my hands up, and you just follow me.

Johnny Cash: Hello, I'm Johnny Cash.

Crowd: Goes nuts.

Hugh Cherry：我需要你的帮助。当Johnny来到这里时，他会说——那将被记录下来——“你好。我是约翰尼·卡什。”当他这么说时，你就会回应。不要回应他走出来。在他说“Johnny Cash”后欢迎他。我会举起手来，你只要跟着我。

Johnny Cash：你好，我是约翰尼·卡什。

监狱的犯人：失去理智了

Call it staged if you want, but the moment comes across as genuine, as if the emcee had told the prisoners what they had planned to do anyway. And it's justified by Cash's notoriously volatile performance, which made this concert the foundation of his mid-career resurgence and the framing device for the 2005 biopic Walk the Line. His countercultural appeal during the late 1960s and his abiding popularity throughout the 1970s are grounded in the rough-and-tumble energy he exudes on stage. This edition of At Folsom Prison is a companion piece of sorts to Columbia/Legacy's 2006 reissue of At San Quentin, but it's easily the greater of the two, if only because it was both such a risky endeavor and such a rewarding payoff. When Cash and his crew arrived to play this show, he had been playing prisons routinely and had even serenaded the rowdy crowds at Folsom before, but this was the first time anyone had seen any commercial benefit in recording a show.

如果你愿意，就把它称为舞台，但那一刻似乎是真实的，仿佛主持人告诉了囚犯他们无论如何都计划做什么。Cash不光彩的不稳定表演证明了这一点，这使得这场音乐会成为他职业生涯中期复苏的基础，也是2005年传记片《Walk the Line》的框架装置。他在20世纪60年代末的反文化吸引力和他在整个20世纪70年代的持久流行是基于他在舞台上散发的粗糙和翻滚的能量。本版《At Folsom Prison》是Columbia/Legacy2006年重新发行的《At San Quentin》的配套作品，但它很容易成为两者中的更大作品，即使只是因为它既是如此冒险的努力，也是如此有益的回报。当Cash和他的团队来演出这个节目时，他一直在监狱里经常演出，甚至之前在Folsom为喧闹的人群唱过小夜曲，但这是第一次有人在录制节目中看到任何商业利益。

Described as worried but determined before the show, Cash gives a superlative performance, feisty and playful and a bit maudlin. It's an ideal setlist, with every song playing to the prisoners: "25 Minutes to Go" and "Dark As a Dungeon" of course, but also "Green, Green Grass of Home" and "I Still Miss Someone", which evoke a more general sense of yearning. Furthermore, the definitive versions of several of his hits are here, including the raucous "Cocaine Blues" and "Folsom Prison Blues", but the show is equally remarkable for the banter he maintains with the prisoners. Playing off their excitement, he slyly portrays himself as a rebel: Before "I Still Miss Someone", Cash explains, "This show is being recorded for an album release on Columbia Records, and you can't say 'hell' or 'shit' or anything like that." Previously the latter has been bleeped out, but this reissue reinstates the expletive. "How does that grab you, Bob?" he asks, referring to producer Bob Johnston.

Cash在演出前被描述为焦虑但坚定，他的表演非常出色，活泼、有趣，还有点伤感。这是一个理想的歌单，每首歌都是为囚犯播放的:“25分钟后”和“黑暗如地牢”当然，还有“绿，绿草的家”和“我仍然想念某人”，这唤起了一种更普遍的思念之情。此外，他的几首热门歌曲的最终版本也在这里，包括沙哑的“Cocaine Blues”和“Folsom Prison Blues”，但这场表演同样引人注目的是他与囚犯之间的玩笑。为了释放他们的兴奋，他狡猾地把自己描绘成一个叛逆的人:在《I Still Miss Someone》之前，卡什解释说:“这首歌正在哥伦比亚唱片公司录制专辑，你不能说‘hell’或‘shit’之类的词。”在此之前，后者已被淘汰，但这次重新发布恢复了填补内容。他问道:“鲍勃，你对此有何感想?”他指的是制片人鲍勃·约翰斯顿。

Cash played two shows that day, one at 9:40 in the morning and another at 12:40 in the afternoon. While previous editions of At Folsom Prison have reproduced the bulk of the first show while drawing one or two tracks from the second, the Columbia/Legacy edition presents both performances uncut and remastered, which gives the set a documentary feel as well as some historical weight. The first performance sounds tense and immediate, the second somewhat relieved, less energetic and therefore less urgent. The liners suggest that Cash was simply tired, but it seems more likely that the worst of it was over and he knew he had nothing left to prove at that point. Even so, the rough second-show performances of "Greystone Chapel" might just surpass Cash's first-show take. With June Carter and the Statlers, he runs through the song twice, channeling all his woe and weariness as he tries to get a good take. That the song's composer, Glen Sherley, was then a Folsom inmate not only lends it gravity, but also bolsters the suspicions Amanda Petrusich addresses in her Pitchfork review of At San Quentin-- namely, that Cash's prison shows "exploited the convicts' plight to buoy his own rep."

那天卡什演出了两场，一场在上午9点40分，另一场在下午12点40分。《At Folsom Prison》之前的版本复制了第一次演出的大部分内容，并从第二场演出中提取了一两首曲目，而哥伦比亚/遗产版则呈现了未删减和重新制作的表演，这给人一种纪录片的感觉，同时也有一些历史的重量。第一次表演听起来紧张而直接，第二次则有些放松，不那么精力充沛，因此不那么紧迫。这些台词表明卡什只是累了，但似乎更有可能的是，最糟糕的时候已经过去了，他知道自己已经没有什么可以证明的了。即便如此，“Greystone Chapel”第二场表演的表现可能会超过卡什第一场的表现。在琼·卡特(June Carter)和斯塔特勒一家(Statlers)的演唱中，他把这首歌从头到尾唱了两遍，把自己所有的悲伤和厌倦都发泄出来，试图得到一个好印象。这首歌的作曲者格伦·谢利(Glen Sherley)当时是福尔松监狱的一名囚犯，这不仅给这首歌增添了吸引力，还加强了阿曼达·彼得鲁西奇(Amanda Petrusich)在Pitchfork网站上对《在圣昆廷》(At San Quentin)的评论中提出的怀疑——也就是说，Cash的监狱节目“利用囚犯的困境来提升自己的形象”。

And of course, Cash never really did all the hard time he sang about in "Folsom Prison Blues"; his violations were largely misdemeanors (picking flowers in Starkville, Mississippi) rather than outright felonies (shooting a man in Reno just to watch him die). But his lackluster rap sheet doesn't make these two shows any less rewarding or meaningful. Rather, they have the force of empathic endeavors, as if he were doing penance for his notorious bad habits. Having courted his own prison sentences-- both literally and metaphorically-- Cash knew how little separated the free and the condemned, so he turned his angst into raucous country music during his first performance and breathed a deep sigh of relief during his second.

当然，Cash从未真正做到他在《Folsom Prison Blues》中唱歌的所有困难；他的违规行为主要是轻罪（在密西西比州斯塔克维尔摘花），而不是彻头彻尾的重罪（在里诺射杀一个人只是为了看着他死去）。但他乏善可陈的说唱单并没有让这两个节目变得不那么有回报或有意义。相反，他们有感同身受的力量，就好像他在为他不光彩的坏习惯进行忏悔。在从字面上和隐喻上宣判了自己的刑期后，Cash知道自由人和被定罪者之间几乎没有分开，所以他在第一次演出时将焦虑变成了喧闹的乡村音乐，并在第二次演出中深深地松了一口气。