BOOK FORMAT Hardcover, 9.75 x 13.25 in. / 144 pgs / 30 color / 120 bw.
PUBLISHING STATUS Pub Date 7/24/2018 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2018
PRODUCT DETAILS ISBN 9781909526563TRADE List Price: $49.95 CAD $67.50
AVAILABILITY In stock
TERRITORY NA LA ASIA AFR ME
"I think the prisoners really appreciated that Cash was there for them, and I really believe that John really believed that he was doing something right. He wanted to make a difference in these guys' lives. I really believe that a lot." —Jim Marshall
Introduction by Marty Stuart. Text by Scott B. Bomar.
A powerful portrait of a legendary musician by a legendary photographer
Carefully curated with full access to the Jim Marshall Archive, this powerful oversize volume offers the definitive view of Johnny Cash's prison concerts at Folsom in 1968 and San Quentin in 1969. Jim Marshall was the only official photographer present, and was granted unlimited access.
Backed by June Carter, Carl Perkins and the Tennessee Three, Cash performed two shows at Folsom. The resulting album was a hit in the United States, and reached number one on the country charts and the top 15 of the national album chart. Its popularity revitalized Cash's career and led to a follow-up album, At San Quentin, the following year. San Quentin became Cash's first album to hit number one on the pop charts and both it and its predecessor remain two of the biggest-selling live albums of all time.
From rehearsing with the band, to arriving off the bus outside the imposing prison walls, to shaking hands with prisoners and performing until sweat dripped down his forehead, Marshall captured the passion, authority and intimacy of Cash's legendary penitentiary performances. His "JC Flippin' the Bird at San Quentin Prison" has become one of the most iconic and most-copied photographs of the 20th century, a result of Marshall asking Cash to express what he thought about the prison authorities: "John, let's do a shot for the warden."
Johnny Cash was one of Jim Marshall's favorite subjects, something that is evident in his Folsom and San Quentin photographs. This body of work showcases some of the most arresting photographs of the country music star ever taken.
Featured image is reproduced from 'Johnny Cash at Folsom and San Quentin.'
PRAISE AND REVIEWS
Daily Beast
Malcolm Jones
There’s a raw, unselfconscious energy here that you miss in late-era Johnny ...Thank goodness Jim Marshall was there to capture it all.
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"John asked Columbia Records to have me come with them to Folsom Prison in 1968. I had been busted a few months before for shooting a guy so it was really a bit weird for me. When those gates banged shut I wondered when we were gonna get out again. Obviously it was very different from any other show… you had to sign a release, if you were taken hostage or anything they wouldn't negotiate for you! They weren't expecting any trouble but they had armed guards up in the towers. It was a real treat, the audience was great, respectful. Not all of them would have been Jonny Cash fans before but by the end they certainly were. If Johnny would've said, 'c'mon, let's crash out of here right now,' they'd have done it.'" —Jim Marshall continue to blog
"On January 13, 1968, at Folsom State Prison, California—and then again on February 24, 1969, at San Quentin Prison just outside San Francisco—Johnny Cash walked through the gates of an infamous jailhouse, empowered as if by divine authority with songs and dialogue that transported those congregations of prisoners to a sparkling world where they could freely breathe, far beyond the grim daily existence of being locked away behind stone walls and steel bars… Cash sang his songs with heartfelt conviction, and he knew that the prisoners knew exactly what he was singing about. He delivered them from the depth of his being, conveying the kind of wisdom that can only be earned by living—or at the very least fully comprehending—the weight of each and every word. The absolute beauty of those prison concerts is the sheer empathy, understanding, love and kinship that John R. Cash offered to every man in his audience." —Marty Stuart, Johnny Cash at Folsom and San Quentin: Photographs by Jim Marshall continue to blog
FORMAT: Hbk, 9.75 x 13.25 in. / 144 pgs / 30 color / 120 b&w. LIST PRICE: U.S. $49.95 LIST PRICE: CANADA $67.5 ISBN: 9781909526563 PUBLISHER: Reel Art Press/BMG Books AVAILABLE: 7/24/2018 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA LA ASIA AFR ME
Johnny Cash at Folsom and San Quentin Photographs by Jim Marshall
Published by Reel Art Press/BMG Books. Introduction by Marty Stuart. Text by Scott B. Bomar.
A powerful portrait of a legendary musician by a legendary photographer
Carefully curated with full access to the Jim Marshall Archive, this powerful oversize volume offers the definitive view of Johnny Cash's prison concerts at Folsom in 1968 and San Quentin in 1969. Jim Marshall was the only official photographer present, and was granted unlimited access.
Backed by June Carter, Carl Perkins and the Tennessee Three, Cash performed two shows at Folsom. The resulting album was a hit in the United States, and reached number one on the country charts and the top 15 of the national album chart. Its popularity revitalized Cash's career and led to a follow-up album, At San Quentin, the following year. San Quentin became Cash's first album to hit number one on the pop charts and both it and its predecessor remain two of the biggest-selling live albums of all time.
From rehearsing with the band, to arriving off the bus outside the imposing prison walls, to shaking hands with prisoners and performing until sweat dripped down his forehead, Marshall captured the passion, authority and intimacy of Cash's legendary penitentiary performances. His "JC Flippin' the Bird at San Quentin Prison" has become one of the most iconic and most-copied photographs of the 20th century, a result of Marshall asking Cash to express what he thought about the prison authorities: "John, let's do a shot for the warden."
Johnny Cash was one of Jim Marshall's favorite subjects, something that is evident in his Folsom and San Quentin photographs. This body of work showcases some of the most arresting photographs of the country music star ever taken.
