The DVD starts off at full-throttle with three non-stop performances. Cash and the Carter Family (his wife June Cater Cash, her sister Helen and June’s daughter Rosie), join Cash for a lively take on Carl Perkins’ “Daddy Sang Bass.” Cash sounds robust, as if bolstered by his cheerful attitude. Is the man in black actually happy? It would appear so. Helen and June don’t display very much sisterly harmony when they get their turn, but they’ve got plenty of pluck. The Carters take on “Keep On the Sunny Side,” and Helen takes a while to focus in on the melody, but their performance is a welcome slice of wholesome traditional music. Looking like quite the cowboy hippy, John Carter Cash injects some Memphis soul into the countrified proceedings with his take on “Georgia on a Fast Train.” Playing the role of boisterous good old boy, John Carter Cash makes the most of his few moments in the spotlight, belting out lines like “I’ve got a good Christian raisin’ and an eighth grade education, and there ain’t no need for you to treat me this a-way” with refreshing energy.

Cash follows his son’s performance with “Ring of Fire.” There’s a marked difference between this performance and past versions of the song, and it’s all about attitude. Cash feels none of the anguish or yearning that the lyrics hint at; it’s a happy, rather than hellacious fire he’s tending to here. But Cash’s delivery is sturdy and steady, and veteran guitarist Bob Wootton knows his way around the fret board, so this “Ring of Fire’ burns with plenty of warmth. Whipping off his jacket, Cash welcomes the crowd with his traditional greeting -- “Hello…I’m Johnny Cash,” and gets down to business with an energetic run through of “San Quentin.” Again there’s little of the malice associated with the song’s gritty history and Ball’s flippant piano runs further lighten the mood, but the band is tight, Cash’s baritone is gripping, and the crowd eats it up.

Cash offers an amusing anecdote about his inspiration for “Get Rhythm,” recalling a conversation he had with a shoe shine boy in Memphis. Noticing his lack of theatrics while performing his job, Cash said, “You don’t do a lot of popping with that rag,” to which the sage shoe shiner replied, “That’s the trouble with the world today, too much poppin’ and not enough shinin!” “Get Rhythm” chugs along at a non-threatening pace, with second guitarist David Jones displaying Dickie Betts-like precision on slide guitar. The ballad “I Miss Someone” isn’t very dynamic or even very romantic, but gives pianist Earl Pool Ball a few moments to show his stuff. “A Boy Named Sue” gets more of an oompah feel from W.S. Holland’s amped up beat, but the crowd still loves this off the wall ditty and claps along contentedly. Fully cognizant that the church-going audience might be offended by a particular word in the song, Cash censors himself with a loud “BEEP!” eliciting laughter

A mainstay of country music, “Ghost Riders in the Sky” draws applause from its opening notes. Cash is effectively animated, while his musical doppelganger, sourpussed Bob Wootton, gets in a few bars of professional picking before fading into the background.

A flummoxed Kris Kristofferson joins Cash for “Long Black Veil.” Kristofferson shies away from the mike to keep from stealing Cash’s thunder, content to strum along with a self-satisfied grin. Virtually inaudible (which is good given his craggy voice), Kristofferson might as well be Christopher Lee or Kris Kringle. He sticks around for “Big River,” singly flatly and unable to negotiate the harp that hangs around his neck like a noose. Is he inconsequential? Yes, but Kristofferson is thrilled to be sharing the stage with one of his idols, and despite his ineptitude, Kristofferson’s good intentions help spur Cash and the band into giving two more crackerjack performances.

Cash proudly acknowledges his silver wedding anniversary as he introduces June Carter Cash, and the duo smile their way through their signature tune, “Jackson.” Reunited with her sister Helen and daughter Rosie, June guides the Carters through a pleasing ride on “The Wabash Cannonball.” This time out, Helen holds her own during her solo, despite having to corral her false teeth. Rosie delivers a husky lead on “Will the Circle Be Unbroken.” While she’s nowhere near the vocalist her sister Carlene is, Rosie’s considerable determination gives “Circle” its goodtime gospel appeal. Watch closely and you’ll see one of the less than subtle cues between musicians when Helen Carter turns to guitarist David Jones and mouths the words “Pick it up.” Davey’s response is dutiful and immediate.

Irish singer Sandy Kelly, who scored big in her native country with her version of Patsy Cline’s “Crazy,” is the next guest invited to join the revue. She has a rich, traditional delivery that blends in well with “40 Shades of Green,” Cash’s tribute to Ireland. Cash introduces the tune by commenting, “They’re arguing about who wrote this song. I wrote it in ’59.” “Oh no you didn’t,” replies an audience member. Chuckling, Cash replies, “Oh yes I did!” The playful banter encapsulates the easy going, friendly atmosphere of the show from start to finish.

“Cash in Ireland” doesn’t have the historical significance or the nerve-wracking tension of his performances at Folsom Prison or San Quentin, but it’s a professional, personable show with rich sound that’s pleasing to watch. Instead of trying to impress the audience the members of the Johnny Cash Revue simply take joy in what they’re doing, which translated into an enjoyable evening for the audience that was there in 1993 and will undoubtedly please viewers in the present. So put on your long black veil, get rhythm, climb onboard the Wabash Cannonball and pick up this DVD.

Posted December 12, 2006 Permalink