Transcript for the Piece Audio version of Johnny Cash: Live at San Quentin

Johnny Cash: Live at San Quentin

Anthony DeCurtis: I don?t think it?s too much of an exaggeration to say that one of the reasons Johnny Cash liked to play in prisons is that I think he didn?t think it was too remote a possibility that he couldn?t been one of those people.

Bob Johnston: It blew my mind, because the powers that be really didn?t want it, thought it was a killer and thought it would ruin whatever career he had left at the time, and I thought it was one of the biggest records, I guess in history

JOHNNY CASH PLAYED PRISON CONCERTS FOR ALMOST HIS ENTIRE MUSICAL LIFE. THE FIRST ONE WAS IN HUNTSVILLE, TEXAS IN 1956, AND HE KEPT DOING THEM FOR 12 YEARS BEFORE HE GOT TO RECORD ONE AT FOLSOM PRISON IN CALIFORNIA.

A YEAR LATER, HE WENT TO SAN QUENTIN, DOWN THE ROAD FROM FOLSOM, AND MADE ANOTHER LIVE RECORD THAT REALLY LAID BARE HOW HE FELT ABOUT PRISONS. HE HAD NO LOVE FOR THEM AT ALL.

BUT THAT?S A DISLIKE OF PRISONS, NOT THE PRISONERS. CASH AND PRISONERS RELATED ON A DEEP LEVEL. WE?RE GOING TO HEAR ABOUT IN THE NEXT HOUR.

WE?RE JOINED BY PRODUCER BOB JOHNSTON, BASSIST MARSHALL GRANT, SINGER/SONGWRITER LARRY GATLIN, PHOTOGRAPHER JIM MARSHALL, MUSIC WRITER ANTHONY DECURTIS AND CASH?S SON JOHN CARTER.

I?M RODNEY CROWELL, AND WELCOME TO ?JOHNNY CASH: LIVE AT SAN QUENTIN.?

JUST NORTH OF SAN FRANCISCO, CALIFORNIA LIES POINT QUENTIN, HOME TO THE STATE?S OLDEST PRISON. SAN QUENTIN STATE PRISON WAS BUILT IN 1852, A TIME WHEN GOLD DIGGING 49ERS WERE CAUSING A LOT OF TROUBLE IN THE WILD WEST.

THEY CONTINUED TO CAUSE A RUCKUS ON THE INSIDE, TOO. SAN QUENTIN HAS ALWAYS HAD A REPUTATION AS A ROUGH PLACE TO BE, FULL OF GANGS, RAPE AND FEAR.

BOB JOHNSTON PRODUCED JOHNNY CASH?S LIVE CONCERTS AT FOLSOM AND SAN QUENTIN PRISONS.

Bob Johnston: Everybody was just kind of freaky there. I had one guy come over to me and I said ?how you doing?? and he said, ?okay,? and I said ?what are you in here for?? and he looked at me and said ?i?m in here because I beat three men with a baseball bat and I?d do the same damn thing again, if I got the chance!? and the guards were saying ?calm down, Charlie!?

Music: Folsom Prison Blues (3:00)

?FOLSOM PRISON BLUES,? ONE OF JOHNNY CASH?S EARLY SONGS ABOUT BEING LOCKED UP.

THE CONVICTS DESCRIBED THE FEAR OF PRISON LIFE IN THE 1969 DOCUMENTARY ?JOHNNY CASH IN SAN QUENTIN.?

San Quentin inmates: people terrified when they get there, trying to get out, family men who did crimes, like folks on street, fights in prison/prisoners killed get cleaned up very quickly.

ONE OF THE GUARDS TALKED ABOUT IT AS WELL.

San Quentin guard: have to join gang, clique to survive, become homosexual, most inmates have to deal, can?t be themselves, try to look bigger, act up to staff to look big as means of survival

RECORD PRODUCER BOB JOHNSTON.

Bob Johnston: One thing that I noticed above all when you walked through Quentin and walked through Folsom, too. On going and coming, I stood by the door and watched these convicts come through Folsom and parade in and out, and the same with San Quentin, and it?s the same thing. It?s like somebody walking by you and not even looking through you. It?s just a complete blank wall. And I said ?what?s that all about? Nobody smiles or says anything?? and he said ?because you say one word or out of kilter or something, all of a sudden you?re in a fight for your life, unless you?re already dead.?

LUCKILY, CASH DIDN?T HAVE TO WORRY ABOUT THAT ON STAGE.

Music: The Long Black Veil/Give My Love to Rose (3:00)

JOHNNY CASH AND THE TENNESSEE THREE PERFORMED A MEDLEY OF ?THE LONG BLACK VEIL? AND ?GIVE MY LOVE TO ROSE,? FROM A LIVE RECORDING AT SAN QUENTIN STATE PRISON.

BOB JOHNSTON PRODUCED THE ALBUM.

Bob Johnston: What do you got there? You got a bunch of guards that are scared to death, with glasses, and their eyes blink continually behind that, they?re always poking their head up looking at somebody, always behind somebody, touching somebody, ?come here, do this, do that.? Man, I have no idea how those people stand it, not even one day.

EVERY PRISON HAS A COMBUSTIBLE MIXTURE OF FEAR AND POTENTIAL VIOLENCE, BUT THE QUALITY OF IT DEPENDS ON WHO IS BEING KEPT THERE.

Bob Johnston: What they told me is that they keep the old guys in Folsom, so if a riot breaks out you?re in trouble, but where they keep the young guys in San Quentin, that?s volatile.

SAN QUENTIN INMATES IN 1969.

San Quentin inmates: most paranoiac, bad killers end up at San Quentin

Music: Wanted Man (3:30)

?WANTED MAN? PERFORMED BY JOHNNY CASH AND CO-WRITTEN BY HIM AND BOB DYLAN.

YOU?RE LISTENING TO ?JOHNNY CASH: LIVE AT SAN QUENTIN.? I?M RODNEY CROWELL.

SAN QUENTIN ALSO HAS A LONG HISTORY OF CAPITAL PUNISHMENT. THERE?S ALWAYS A LONG DEATH ROW AT THE PRISON, THOUGH AT THE TIME JOHNNY CASH PLAYED THERE, NO DEATH SENTENCES HAD BEEN CARRIED OUT FOR A COUPLE OF YEARS. THEY DIDN?T START AGAIN UNTIL 1992.

HERE?S A PRISON GUARD TALKING IN THE 1969 DOCUMENTARY ?JOHNNY CASH IN SAN QUENTIN.?

San Quentin guard: steps before a gas chamber execution, life on death row comfortable, carried out on Fridays at 10am, phone call, chamber sealed, gas applied, 14-5 minutes total time, doesn?t show signs of pain

Music: I Don?t Know Where I?m Bound (2:20)

JOHNNY CASH PERFORMED ?I DON?T KNOW WHERE I?M BOUND,? WRITTEN BY ONE OF THE CONVICTS AT SAN QUENTIN STATE PRISON.

IN A MINUTE, HOW CASH?S PRISON CONCERTS CAME TO BE, HIS EXPERIENCES BEHIND BARS, AND A LOT MORE MUSIC.

I?M RODNEY CROWELL, AND YOU?RE LISTENING TO ?JOHNNY CASH: LIVE AT SAN QUENTIN.?

Break 1

WELCOME BACK TO ?JOHNNY CASH: LIVE AT SAN QUENTIN.? I?M RODNEY CROWELL.

THOUGH CASH HAD PLAYED PRISONS FOR A LONG TIME, IT WASN?T UNTIL PRODUCER BOB JOHNSTON ARRIVED THAT HE COULD RECORD AT ONE.

Bob Johnston: he came into the office one day, and I had just taken over Columbia in Nashville. So he came in and sit down leaning back in the chair and said ?I?ve always wanted to go to a prison to record and no one would ever let me in 7 or 8 years,? and he said ?I don?t suppose you will either, nobody will ever let me.? And I said ?really?? and I picked up the phone and called Quentin and called Folsom, got through to the warden at Folsom and said to the warden ?I got Johnny Cash here and he?s gonna come and do a concert for you.? And he said ?my god, hand the phone to him.? So I handed Johnny the phone and left.

THE BACKLASH FOR JOHNSTON AND CASH WAS SURPRISING.

Bob Johnston: It blew my mind, because the powers that be really didn?t want it, thought it was a killer and thought it would ruin whatever career he had left at the time, and I thought it was one of the biggest records, I guess in history, so I told him ?don?t worry about it, they?re calling me, too.? They called him and said they?d drop him cause it would ruin his career, and they called me and said they?d fire me, and I said ?i?m not doing anything, you guys are the boss.? So three months later we went to Folsom, took a plane, then took a bus out there. I remember one thing that happened, we were riding the bus and as you come off the main thruway there, you go by San Quentin, it?s San Quentin Road or whatever, and it?s got a big sign that says ?All visitors are subject to search from this point on.? And me and Johnny were both going through our coats (laughs) not that it means anything.

Music: Big River (1:46)

?BIG RIVER? PERFORMED BY JOHNNY CASH AND HIS BAND AT SAN QUENTIN STATE PRISON IN 1969.

ALL THROUGH HIS CONCERTS FOR PRISONERS, CASH HAD A STRONG CONNECTION WITH THE CROWD, TELLING JOKES AND FEELING COMFORTABLE WITH THEM. IT MADE AN IMPRESSION ON THE CONVICTS.

CASH?S SON, JOHN CARTER CASH.

John Carter Cash: You could not tell an ex-con in 1971 that Johnny Cash, or a con, at that time, in 1971 that Johnny Cash had never been to prison. They wouldn?t believe it. And if they knew for sure that he hadn?t gone to prison, they wouldn?t care. They considered him to be one of their own. That he?d been there, he knew what it was like, and the thing about it was is that his sympathy is so non-judgmental and understanding that he could go there.

CONTRIBUTING EDITOR TO ROLLING STONE MAGAZINE, ANTHONY DECURTIS.

Anthony DeCurtis: Yeah I think John saw the essential humanity of these guys in prison. I don?t think he saw them as some other species. I think that the way criminals are perceived now, I think then, and I think because of the world that John came from, a pretty hardscrabble world where you don?t get too many chances to make mistakes when you come out of that world. Once or twice, if you?re on the wrong side of a situation, you?re in the lockup, and that?s how John saw those guys. I don?t think he saw them as too different from anything that he grew up knowing.

BY THE TIME HE PLAYED SAN QUENTIN IN 1969, CASH HAD KNOWN THE INSIDE OF JAIL CELLS SEVEN TIMES, BUT JUST FOR OVERNIGHT STAYS.

BOB JOHNSTON READS FROM CASH?S AUTOBIOGRAPHY.

Bob Johnston: (reading) ?in 1965, I was arrested at the border in Texas with amphetamines in my guitar. Trashed June?s Cadillac after a performance at the Opry which ended with me kicking out every one its footlights, was arrested for accidentally starting a forest fire, and tried to drive a tractor over a cliff.? What happened with the forest fire, is that he started a fire in some Nashville forests, and they were going to sue him, everyone was going to sue him, and there was 5 Indian tribes that owned the land, and they deeded it to him! So they couldn?t get him. And he didn?t manage to kill himself, but he was very near murdered.

CASH ADMITTED TO BEING REALLY HOPPED UP ON DRUGS WHEN HE PLAYED FOLSOM PRISON IN 1968. ONE YEAR LATER AT SAN QUENTIN, HE HAD KICKED THE DRUGS, MARRIED JUNE AND REVIVED HIS RELIGIOUS FERVOR. HE WAS CLEARING HIMSELF OF A VERY LONG HAZE.

REGARDLESS OF THE DRUGS, CASH DIDN?T HAVE MUCH RESPECT FOR CERTAIN KINDS OF AUTHORITY. THE FAMOUS PICTURE OF HIM STICKING OUT HIS MIDDLE FINGER WITH A NASTY SNEER WAS CAPTURED AT SAN QUENTIN.

Jim Marshall: My name is Jim Marshall, I?m a photographer. I was hired by Columbia Records to photograph the San Quentin concert because I had done Folsom the year before, cause Johnny had asked the art director for me to do it.

Jim Marshall: The finger was done at soundcheck, and I said ?John, let?s do one for the warden,? and he flipped the bird.

SO CASH GOT A DIG IN TO THE WARDEN IN THE PHOTO, AND ON STAGE HE DECLARED HIS INDEPENDENCE FROM THE FILM CREW RECORDING THE SAN QUENTIN CONCERT.

Music: intro and I Walk the Line (3:15)

WITH AN EXTRA WARNING TO A BRITISH DOCUMENTARY CAMERAMAN, JOHNNY CASH PERFORMED ?I WALK THE LINE.?

YOU?RE LISTENING TO ?JOHNNY CASH: LIVE AT SAN QUENTIN.? I?M RODNEY CROWELL.

RECORD PRODUCER BOB JOHNSTON.

Bob Johnston: he was locked up for the night in Nevada. His ?Hello, I?m Johnny Cash? upset his cell mate. ?He didn?t believe me,? said Cash, ?he had me by the neck saying ?if you?re Johnny Cash, sing!? I said I can?t sing, you?ve got me around the neck. He let me loose and I sang Folsom Prison Blues and the guy started crying and said ?you are Johnny Cash, aren?t you?? and I said yeah.?

MUSIC WRITER ANTHONY DECURTIS.

Anthony DeCurtis: He saw the inside of a jail cell now and again. A lot more was made of it than in fact it was in real fact. He did a night or two here or there for one reason or another. But he remembers, he would tell the story about how one jailer, I think it was down in Georgia, said to him how disappointed he was that Johnny Cash was acting the way he acted. That he was a fan of his music. And John was out of control, and high on pills and everything else, and the fact that that jailer would, that made an impression on John. He wrote about it years later, it stuck in his mind that somebody who cared about him would see him that way. That maybe taught him as much about, had a much bigger impact than the night he spent in jail, what this guy had to say to him.

SOME OF HIS EXPERIENCES WITH THE LAW LEFT A MUCH NASTIER IMPRESSION. CASH RELATED ONE TO THE CONVICTS AT SAN QUENTIN WITH A NEW SONG.

Music: intro and Starkville City Jail (3:30)

?STARKVILLE CITY JAIL? PERFORMED BY JOHNNY CASH AT SAN QUENTIN STATE PRISON.

MARSHALL GRANT PLAYED BASS WITH CASH FOR 25 YEARS.

Marshall Grant: we started doing prisons. It was because he felt, had such a deep feeling for these guys in prisoner, now he never did say that they didn?t deserve to be there, he never took that stance whatsoever. But he felt sorry for them because they were human beings that were locked up like dogs. Now that?s the way he looked at it.

SEVERAL PRISONERS WERE INTERVIEWED FOR THE DOCUMENTARY ?JOHNNY CASH IN SAN QUENTIN.?

San Quentin inmates: move at the bell, institutionalized, not allowed to think for self, getting jaded, if you can laugh in there, you can make it

Music: Blistered (1:46)

?BLISTERED? PERFORMED BY JOHNNY CASH AND BAND LIVE AT SAN QUENTIN.

PRISONS HAVE A LOT OF RULES. PRETTY MUCH EVERY ACTIVITY THAT AN INMATE CAN TAKE PART IN IS CAREFULLY CONTROLLED. CASH NEARLY STARTED A RIOT IN THE MESS HALL WHERE THE CONCERT TOOK PLACE.

RECORD PRODUCER BOB JOHNSTON.

Bob Johnston: So I went in with him, and he was loading in equipment, and I remember these guards were all clicking their weapons and everything, and when you come in, you?re supposed to sit down and you?re supposed to clap. You?re not supposed to whistle or cheer, and you certainly don?t stand up, and you sure as hell don?t get up on the table. So he had this song later on, he got caught with these people, and he knew he had it. He knew he had those people, and he knew he had those guards, and he did a song called ?San Quentin, you?ve been living hell to me?, and when he finished, all the prisoners were up, going ?HUH!? and going like that and he started and did it again, and when he did it again, they were all up on the table going like that, and you could barely hear him. And I was looking around and I thought, ?where?s the most guards? And they were over there by the door so I went over there by them because if anything happened, I wanted to be one of the first out.

CASH HAD THEM ALL RILED UP FROM THE PREMIERE OF HIS NEW SONG ?SAN QUENTIN,? SO HE REPEATED THE WHOLE THING.

Bob Johnston: So he did that (song SQ) and it took quite a while, took a while to get that crowd built up like that, and what he said about that thing was ?all the convicts were standing up on the tables. They were out of control during the second rehash of that song. All I would have had to do was say ?break,? and they were gone. Man, they were ready. I?ve got a book called Extraordinary Popular Delusion and the Madness of Crowds that I?ve studied for years, and I knew I had that prison audience where all I had to do was say ?take over? and they would have. Those guards knew it, too.? And then listen to this, ?I was tempted.? (laughs) That?s Johnny Cash.

THE INMATES EVEN BOOED THE GUARD WHO BROUGHT CASH SOME WATER ON STAGE.

Music: San Quentin (3:00)

JOHNNY CASH PERFORMED HIS NEW TUNE ?SAN QUENTIN? FOR THE INMATES AT THAT PRISON.

RECORD PRODUCER BOB JOHNSTON READS SOME OF CASH?S WRITINGS.

Bob Johnston: (reading) ?The culture of 1000 years is shattered with the clanging of the cell door behind you. Life outside, immediately behind you, becomes unreal. You begin to not care that it exists. All you have with you in the cell are your bare, animal instincts. I speak partially from experience ? I have been behind bars a few times ? involuntarily each time. I felt the same feeling of kinship with my fellow prisoners. Behind the bars, locked out from society, you?re being rehabilitated, corrected, re-briefed, re-educated on life itself, without giving you the opportunity of really reliving it. If you?re the object of a widely planned pogrom combining isolationism, punishment, taming, briefing, etc. designed to make you sorry for your mistakes, to re-enlighten you outside, so that when you?re released, if you ever are, you can come out clean to a world that?s supposed to welcome you and forgive you. Can it work? Hell no. How can this torment possibly do anybody any good.? That?s how Johnny Cash felt about the prisoners.

IN A MINUTE, A LOOK AT THE NIGHT OF ENTERTAINMENT THAT THE JOHNNY CASH SHOW BROUGHT TO THE PRISON, AND A LOT MORE MUSIC.

I?M RODNEY CROWELL, AND YOU?RE LISTENING TO ?JOHNNY CASH: LIVE AT SAN QUENTIN.?

Break 2

WELCOME BACK TO ?JOHNNY CASH: LIVE AT SAN QUENTIN.? I?M RODNEY CROWELL.

CONTRIBUTING EDITOR TO ROLLING STONE MAGAZINE, ANTHONY DECURTIS.

Anthony DeCurtis: I don?t think it?s too much of an exaggeration to say that one of the reasons Johnny Cash liked to play in prisons is that I think he didn?t think it was too remote a possibility that he couldn?t been one of those people. If you come out of a world in which you didn?t necessarily have a lot of opportunities, you were probably around some people who could end up in a prison. Merle Haggard was one of those people who heard Johnny Cash play at a prison. So I don?t think he needed anybody to explain to him why those people were there, or what might have brought them there. I think he understood that in a way that wasn?t purely intellectual. I think he understood the sociological reasons for it, but I think he knew who those guys were. I don?t think he felt particularly uncomfortable around them because a lot of those guys were like the guys he grew up with.

SOME OF THOSE PRISONERS WERE INTERVIEWED FOR THE DOCUMENTARY ?JOHNNY CASH IN SAN QUENTIN.?

San Quentin inmates: they?re hiding us, society made us, crime was being born poor, can?t fight for country, machine-like justice, of no consequence, visiting hours awkwardness and rules, state of limbo, unreal

SINGER/SONGWRITER LARRY GATLIN.

Larry Gatlin: Well, I think John basically felt that a lot of them got a raw deal. Now I know this, I say I know this about him, I know that he believed there was right and wrong in the world. And I saw, not 200 yards from where I?m sitting right now at the University of Texas there?s a sign over on one of the buildings, it says, something about down with prisons. Well, hello, as soon as people quit raping each other and shooting people and robbing people, then we can get rid of them. I think John would say put he bad guys in jail, treat them in a civil manner, but I think still, he understood the sociological and the historical and the racial implications of why people are driven to crime. So he had a compassionate side to him there that?s you know? So that?s, and I?m not trying to put words in his mouth, that?s what I think, that?s my impression. I went to 2, maybe 3 different prisons with him to do performances. And I know that as much as we enjoyed, I don?t know whether that?s the right word, as much as we felt a sense of fulfillment about going and trying to be a blessing to our fellow man, and entertaining our fellow man, I think he was always glad to leave. A jail ain?t fun. Okay? That?s bad English for an English major, but jail ain?t, this just in, film at eleven, jail ain?t fun. But I think he would say like, like I say, compassionate, empathetic to the sociological, racial, economic forces that drive some people, you know if your baby?s hungry, you gonna try to feed your baby. If that means stealing a car, if I had to steal a car to do it, I?d do it. You know? So, he absolutely did, because he was a human.

Music: The Old Account (2:16)

?THE OLD ACCOUNT? PERFORMED BY JOHNNY CASH WITH THE CARTER FAMILY AND THE STATLER BROTHERS ON VOCALS, CARL PERKINS AND BOB WOOTEN ON GUITAR, MARSHALL GRANT ON BASS AND W.H. ?FLUKE? HOLLAND ON THE DRUMS.

YOU MAY HAVE NOTICED THAT GUITARIST LUTHER PERKINS IS NOT ON THE LINEUP HERE. CASH EXPLAINS ON STAGE.

(Cash tribute to Luther on stage, disc 1, track 16)

LUTHER PERKINS DIED TRAGICALLY WHEN HIS HOUSE SET ON FIRE. PRODUCER BOB JOHNSTON HEARD THE STORY ABOUT HOW GUITARIST BOB WOOTEN MADE IT INTO THE BAND SOON AFTER.

Bob Johnston: They told me that they were somewhere in Louisiana, and Cash was doing the show the next night or a couple of nights after it, or whatever, and this guy walked up out of the shadows and he looked just like Luther and he said, ?Mr. Cash, I know all your songs, can I play one with you?? and Cash said, ?yeah, which one?? and he said ?any of them.? And he got up and played all his songs and he was Cash?s guitar player from then on.

ROCK AND ROLL LEGEND CARL PERKINS TRAVELED WITH THE JOHNNY CASH SHOW, PLAYING GUITAR AND ACTING AS THE WARM-UP BAND. HERE HE IS OPENING THE NIGHT AT SAN QUENTIN WITH ONE OF HIS HITS.

Music: Blue Suede Shoes (3:00)

CARL PERKINS OPENED THE SHOW WITH ?BLUE SUEDE SHOES.?

YOU?RE LISTENING TO ?JOHNNY CASH: LIVE AT SAN QUENTIN.? I?M RODNEY CROWELL.

ANOTHER REGULAR FEATURE OF THE JOHNNY CASH SHOW WAS THE CARTER SISTERS. AS USUAL, JUNE CARTER CASH OPENS UP WITH A BIT OF COMEDY.

Music: The Last Thing on My Mind (2:30)

THE CARTER FAMILY SANG ?THE LAST THING ON MY MIND? FOR THE SAN QUENTIN AUDIENCE. JUNE WROTE IN 2000 THAT AT FIRST, SHE WAS SCARED OUT OF HER MIND THAT NIGHT.

IRONICALLY, THE SONG THAT BECAME A HUGE HIT FROM THIS CONCERT WAS MADE UP ON THE SPOT. POET AND SONGWRITER SHEL SILVERSTEIN HAD GIVEN JOHNNY CASH A POEM CALLED ?A BOY NAMED SUE.?

RECORD PRODUCER BOB JOHNSTON WATCHED IT HAPPEN.

Bob Johnston: So anyway we did it, and about halfway through the album, he turned around, and Carl Perkins was playing up there with him, and he turns to Carl and said, ?Carl, you know that poem of Shel?s about Sue?? and Carl said ?Yeah, but there ain?t no music for it.? And Johnny said, ?well play something.? So Carl started playing some music up there, whatever he wanted to play, and Johnny did that. Knocked the Stones out of #1, which blew my mind.

Music: A Boy Named Sue (3:45)

?A BOY NAMED SUE? IMPROVISED BY JOHNNY CASH, CARL PERKINS AND BAND AT SAN QUENTIN STATE PRISON IN 1969.

PHOTOGRAPHER JIM MARSHALL.

Jim Marshall: It was pretty nice. 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.

?JOHNNY CASH: LIVE AT SAN QUENTIN? WAS PRODUCED BY JOYRIDE MEDIA, PAUL CHUFFO AND JOSHUA JACKSON ARE THE PRODUCERS.

OUR EXECUTIVE PRODUCER IS JOHN VERNILE.

ALL SONGS ON THIS PROGRAM CAN BE FOUND ON THE LEGACY EDITION SET ?JOHNNY CASH ? AT SAN QUENTIN.?

SPECIAL THANKS GO TO JEFF JONES, ADAM BLOCK, JOHN JACKSON, ERIC MOLK, TOM CORDING, STEVE BERKOWITZ, SHANNON MUELLER, DERRICK GARTEN, BOB JOHNSTON, JIM MARSHALL AND ANDY CAHN.

I?M RODNEY CROWELL, AND THANKS FOR LISTENING.

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