Rediscovering Johnny Cash: A Deeper Dive into ‘Songwriter’

In 1994, Johnny Cash and Rick Rubin launched one of the greatest comebacks in 20th-century American music with the release of American Recordings. Yet, at the dawn of the ’90s, such a revival seemed improbable. Without a major label for the first time since 1958, Cash found himself relegated to Branson, Missouri—a town infamous for its tacky theaters featuring faded stars. Even there, misfortune followed. The Johnny Cash Theatre, set to open in the summer of 1992, collapsed financially before its launch. When Cash finally performed there a year later, he was merely a fill-in for lounge singer Wayne Newton.

The posthumous release of Songwriter unveils previously unheard demos, shedding light on Cash’s remarkable comeback story—a narrative now etched in music history. These demos, recorded at Nashville’s LSI Studios in the early ’90s, were recently discovered by John Carter Cash, Johnny and June Carter Cash’s only child. Although the artist’s intentions for these recordings remain unclear, the decision to record at LSI was likely influenced by family ties, as the studio was co-owned by his stepdaughter Rosie and her then-husband Mike Daniel. Cash may have also intended to use these demos to secure a new label, a goal ultimately achieved through his partnership with Rubin in 1993.

Two tracks from Songwriter, “Drive On” and “Like a Soldier,” also appear on American Recordings, highlighting the contrast between the two projects. On American Recordings, these tracks are lighter moments amidst a stoic, sparse atmosphere. Conversely, on Songwriter, they are among the weightier pieces, as the album embraces Cash’s humor and sentimentality—qualities Rubin’s production notably avoided. “I Love You Tonite” exemplifies this, serving as a love letter to June Carter Cash, marveling at their enduring relationship and contemplating their future together.

While Songwriter addresses big themes, such as the fate of the planet on “Hello Out There,” it mostly focuses on smaller, more personal stories. Cash sketches vivid characters: single mothers sustained by their love of James Taylor, a flirtatious encounter at the laundromat (“Well Alright”), and an ode to the pretty girls from Little Rock. The album is light and rambling, reminiscent of his late Columbia and Mercury records from the ’80s.

Production and Legacy

Songwriter distinguishes itself through its posthumous production. John Carter Cash and longtime engineer David Ferguson transformed the dated LSI demos, stripping them down and adding new parts from notable musicians like Vince Gill and Dan Auerbach. The recordings now feature minimal instrumentation—mainly voice, guitar, and occasional harmony vocals from Waylon Jennings. These efforts highlight Cash’s unique voice, supported by contributions from at least 10 session players, including Marty Stuart. The production aims to create a sound closer to American Recordings than to his final Mercury albums.

The meticulous work of John Carter Cash and David Ferguson succeeds in liberating these songs from their period trappings. The refurbished warmth of Songwriter allows listeners to appreciate Cash’s clever lyrics and solid songcraft. Although these tracks are endearing—especially for fans of Cash’s whimsical and tender sides—they wouldn’t have revolutionized his career in 1993 like American Recordings did. That album captured Cash’s mythos; Songwriter showcases the enduring strength of his craft.