At San Quentin was released as a single-disc expanded edition in 2000 bearing the subtitle "The Complete Concert," so the appearance of the triple-disc Legacy Edition of the album a mere six years later brings up one simple question: if the 2000 edition was complete at a single disc, how is this set more complete? The answer is both complicated and simple. First, one disc of this three-disc set is a DVD containing the hour-long documentary about this concert shot for Granada TV in the U.K. and originally aired in 1969. Second, the 2000 CD more or less contained the entirety of Johnny Cash s portion of the concert, but this contains the entire concert, which means that it has performances from the other three acts on the tour: Carl Perkins the Statler Brothers and the Carter Family This, along with some extended audience chatter, accounts for the great majority of the previously unreleased material on these two discs: nine of the 13 previously unreleased cuts fall into this category, leaving only four Johnny Cash tracks that didn't show up on the previous reissue. All four songs are at the same level of excellence as the previously released At San Quentin music: there's a seamless medley of "The Long Black Veil" and "Give My Love to Rose," a rampaging "Orange Blossom Special," an excellent duet between Johnny and June Carter on "Jackson," and the very funny, very quick bawdy "Blistered." But Cash wasn't the only act on fire at San Quentin that night; his touring partners all turned in great moments, as they functioned as opening acts, intermissions, and support for Cash The Carter Family sings both traditional ("Wildwood Flower" and new ("Break My Mind" tunes, the Statler Brothers serve up their hit "Flowers on the Wall" and Glen Campbell s "Less of Me" with equal aplomb, and Carl Perkins is in prime form, tearing up "Restless" and the instrumental "The Outside Looking In" with some wild, ragged guitar.

At San Quentin was released as a single-disc expanded edition in 2000 bearing the subtitle "The Complete Concert," so the appearance of the triple-disc Legacy Edition of the album a mere six years later brings up one simple question: if the 2000 edition was complete at a single disc, how is this set more complete? The answer is both complicated and simple. First, one disc of this three-disc set is a DVD containing the hour-long documentary about this concert shot for Granada TV in the U.K. and originally aired in 1969. Second, the 2000 CD more or less contained the entirety of Johnny Cash's portion of the concert, but this contains the entire concert, which means that it has performances from the other three acts on the tour: Carl Perkins, the Statler Brothers, and the Carter Family. This, along with some extended audience chatter, accounts for the great majority of the previously unreleased material on these two discs: nine of the 13 previously unreleased cuts fall into this category, leaving only four Johnny Cash tracks that didn't show up on the previous reissue. All four songs are at the same level of excellence as the previously released At San Quentin music: there's a seamless medley of "The Long Black Veil" and "Give My Love to Rose," a rampaging "Orange Blossom Special," an excellent duet between Johnny and June Carter on "Jackson," and the very funny, very quick bawdy "Blistered." But Cash wasn't the only act on fire at San Quentin that night; his touring partners all turned in great moments, as they functioned as opening acts, intermissions, and support for Cash. The Carter Family sings both traditional ("Wildwood Flower") and new ("Break My Mind") tunes, the Statler Brothers serve up their hit "Flowers on the Wall" and Glen Campbell's "Less of Me" with equal aplomb, and Carl Perkins is in prime form, tearing up "Restless" and the instrumental "The Outside Looking In" with some wild, ragged guitar.It's all great music, but in this incarnation, At San Quentin doesn't have the pace of a record album, the way that both the original ten-track 1969 album and the 2000 CD did. With all this additional material - including a bunch of stage patter - this version of At San Quentin does feel like a re-creation of the original concert, so it ebbs and flows in its momentum as musicians circle on and off the stage, and it isn't quite as grabbing as the judiciously edited albums, which cut out the filler this CD purposely puts back. It makes for an interesting historical document; it's easy to forget that Cash toured with this kind of revue and it's a bit of a revelation to hear him as a ringmaster to this revolving-door country music carnival, and his offhand, sometimes off-color jokes about the water, the prison, and his backstage stash of pills are all welcome reminders of his sense of humor, something that can be overshadowed by the mythos of the Man in Black. But this At San Quentin, like the two previous At San Quentin albums, illustrates just what a complex, dynamic personality Johnny Cash was, while being a hell of a lot of fun. The 2000 CD is still the choice for those who just want the best of Cash himself, but for listeners who want to immerse themselves within the total experience of the concert - from reliving it via the CDs or through the documentary - this is certainly worth buying again. (by Stephen Thomas Erlewine, AMG)

Rebel Rouser Extraordinaire. This should sum up the life of the late Johnny Cash: while playing before some of the meanest convicts on the planet in San Quentin, he wrote a song specifically about the horrors of that very prison. During his concert, recorded to make At San Quentin, he not only performed the song (titled "San Quentin", natch), which features sentiments such as, "San Quentin, I hate every inch of you/ You cut me and carve me through and through," and "San Quentin, may you burn and rot in hell," he performed it TWICE IN A ROW! And then, to top it off, after playing it the first time, he then asked, "If any of the guards are still speaking to me, can I get a glass of water?"
Cash was a unique performer, both in and out of the country genre proper. His early style, dubbed "chick-a-boom" for its sound-alike rhythms, featured lyrics borne of honesty in feelings and/or actions. And after success from his rise from the Sun Studio days to his early works for Columbia Records, Cash decided to record a live album on the grounds of a penal institution. The result was 1968’s At Folsom Prison, where, of course, his own famous intro was birthed: "Hello, I’m Johnny Cash." Armed with more material and more popularity, Cash decided that on February 24, 1969 (two days shy of his 37th birthday), he would go to even a meaner prison-hence, At San Quentin was born.
The original album (you all remember vinyl records, don’t you?) was released with 10 songs in 1969. In 2000, with the popularity of CD’s on the rise, giving more space for music, Columbia re-released the album, calling it "The Complete Concert". Six years later, this sucker is re-re-released (as Legacy Edition with some major add-on’s: the original 31-song concert, with opening acts Carl Perkins, The Statler Brothers, and The Carter Family, featuring Cash’s wife June, in addition to four more Cash songs that were on the (as it turns out) incomplete concert. Also included is a DVD of the event as it was taped for Granada TV in England, which is awesome-more on that later.
Cash had the ability to charm the balls off a Christmas tree, and he managed to pull off a show where he had the respect of the prisoners AND the guards, simply because prison was no stranger to the man in black. Cash had spent nights in jail, and one night was chronicled in one of the songs on here, "Starkville City Jail", where Cash managed to be both funny and bitter. On this package, it’s not just the songs that stand out, but Cash’s patter to the prisoners between (and sometimes during) songs. Even June Carter gets into the act when the Carter Family goes on as an opening act.
As for Cash’s songs, they all kick ass. Just listen to "Folsom Prison Blues", and hear the advent of heavy rock with Bob Wooten’s freak-out guitar. (Cash’s original guitarist, Luther Perkins, died seven months prior to the prison jaunt.) Cash also has a blast singing the tune, with a few "YEAH’s!" sprinkled in, and his mimicking of the guitar part. "I Walk the Line" finishes off with Cash jokingly admonishing a cameraman for being in the wrong position inside a prison. Of course, "San Quentin" gets the longest and loudest ovation-both times. This album also marked the debut of Cash’s biggest hit single, "A Boy Named Sue". He also does a fine job of covering Bob Dylan’s "Wanted Man", and John Sebastian’s "Darling Companion".
Perkins sounds simply amazing during his three-song appearance, and the intensity on "Blue Suede Shoes" comes through crystal clear. The Statler Brothers had a major hit with "Flowers on the Wall" (old-timers like me recognized the song as soon as the first verse was out), and a cover of Glen Campbell’s "Less of Me". The Carter Family did a lovely job on "Wildwood Flower", and adding vocals on Cash’s "Ring of Fire".
The DVD is a gem, as it shows the grim reality of life in one of the toughest penal colonies in the United States interspersed with Cash’s sometimes-funny, sometimes-deadly serious, but always intense songs and chit-chat. There are compelling interviews with both prisoners and guards. Also, if any of you have seen that classic shot of Cash extending his middle digit (included in the 40-page booklet which comes with the package), well, it came from the taping, when he got pissed that one of the cameras blocked the view between he and the audience. And speaking of the audience, at the time of the taping (how’s this for karma?), sitting in the first row was one Merle Haggard-yes, THAT Merle Haggard. And no, he wasn’t at San Quentin on a social call-twas a 15-year vacation from society for armed robbery (and he was drunk trying to commit the robbery, to boot).
This is the perfect package to capture one of the most dynamic musicians to ever grace Planet Earth. And with At San Quentin (Legacy Edition), the legacy of the early part of Johnny Cash’s career is set. The man in black provided us with one of the most colorful albums in the Columbia archives, and with the entire concert, including dialogue, a DVD, and a jaw-dropping booklet, the question of purchasing this is a no-brainer. Do it. (by Lou Friedman, PopMatters)

The California State Penitentiary at San Quentin is California's oldest prison, built by inmates and completed in 1852. Current prisoners include serial killers, child murderers, child rapists, kidnappers, and torturers; it is the only jail in California with an active death row. In 1969, Johnny Cash staged a live concert at San Quentin-- the previous year, Cash's recorded performance at Folsom Prison in Sacramento County had lasted 39 weeks on the Billboard chart, becoming his best-selling LP to date. At San Quentin outsold its predecessor, perching at the top of the chart for four consecutive weeks. The original LP featured 10 songs (edited for sequencing), a 2000 reissue offered 18 tracks, and now Legacy's 3xCD set houses all 31-- 13 of which were previously unavailable-- along with a British television documentary originally aired in 1969. Clearly, singing in prison is a veritable franchise.
Cash's decision to strum up a jail probably had as much to do with his own burgeoning mythology-- the Man in Black, the cold-blooded killer, the anti-Nashville rebel-- than any desire to remedy the U.S. prison system (although Cash did eventually actively advocate prison reform, meeting with President Richard Nixon in July 1972). All the ethical snafus inherent to the deed-- it's easy to argue that Cash exploited the convicts' plight to buoy his own rep, or to sympathize with the families of the prisoners' victims, who might not want to see their loved ones' killer clapping his hands to "A Boy Named Sue"-- are hard to dismiss, but At San Quentin is still a spectacular musical performance, one of the most mesmerizing live records in American history.
Some of the most notable new additions are the openers, which, for obvious reasons, weren't included on the original Cash LP or its reissue: Carl Perkins performs his own "Blue Suede Shoes" to warm up the crowd, complete with a rollicking electric guitar solo. Perkins is followed by Virginia's Statler Brothers (their "Flowers on the Wall" was immortalized in Pulp Fiction, and gets a rousing reception here). A late-incarnation of the Carter Family (now Helen, June, Anita, and Mother Maybelle) coo, warble, and Carter-scratch through "The Last Thing on My Mind" and "Wildwood Flower" before Cash finally strides onstage. Most of Cash's performance is familiar by now, but a medley of murder ballad "The Long Black Veil" and "Give My Love to Rose" is engrossing, and his "Orange Blossom Special", weirdly excluded from the other releases, is riddled with questionable double-harmonica and breathless asides.
The 1969 Granada Television documentary, narrated by a (now half-garbled) British voice, eschews typical docu-trappings, avoiding talking crit-heads and shot/voiceover pairings for multi-camera concert footage and an interesting (if brief) meditation on Cash's role as the archetypal western hero: a killer, a savior, and an outlaw. Or, the kind of musician who plays jails, inadvertently glorifying the warm glow of incarceration and making prison look a little bit more fun (plenty in the San Quentin audience are wearing sunglasses, smoking cigars, sneering at the camera, clapping and nodding their heads to Cash's clipped strums). Audience members are interviewed by the crew, probably to humanize their plight, but we get more talk about personal heroes (and not being able to fight for their country and how they miss their wives and how it's actually society's fault that they're all convicts) than any frank admissions of guilt (or details of their respective crimes).
June Carter, whose charm and verve remain intact, tries her best to look complicit, but something in her physical presence-- fidgeting, smiling too much and too big, sneaking sideways glances at Johnny-- seems to indicate general discomfort with the entire endeavor. Cash is accompanied, as usual, by the Tennessee Three, and his performance is jovial-- he jokes with the convicts, snickering "You're in the wrong place to bend over, don't you know it?"-- and clearly propelled by the audience's adulation.
The Legacy Edition is the most comprehensive document of Cash's night at San Quentin, and offers the most authentic portrait of the performance-- from the opening acts through the closing medley, the songs are presented chronologically. As confounding as it is that it took thirty-seven years for an unabridged release, this version of At San Quentin is a satisfying documentation of a still-questionable project. (by Amanda Petrusich, Pitchfork Media)

this is "2 in 1" , wash and go ! :D

But RAR... :pig:
SurowyTato BRAVO! :punk:

А откуда ей знать, что у спекулянта? Значит, это и не блондинка вовсе :lol: :p:

Шампунем то помылась,а куй забыла на польском форуме! :lol: :lol: :lol:

это рассказчик знает! логика у тебя какая-то... :rolleyes:

Одно другому не мешает :lol: :lol: :lol:

Что, не вписывается? :( Я и не читал особо :D:

И вроде нет такого в сети и откуда они такую моду взяли? :lol:
В ISO другое дело! :punk:

P.S. Помню такую идею, какая наивность была!

там что ещё и слово чудное надо? :fear2:

нихт мейн херц! :D: