Michael Streissguth

In 1968 it had been ten years since Cash had such huge success with "Ring of Fire" and "I Walk the Line". He was now a performer with a drug habit and the reputation for often no-showing at appearances, or playing when he was too high to remember the lyrics. His band had become his babysitters.
His appearance for two shows at Folsom was a big deal for the prison and inmates, but not much for Cash's label, Columbia Records. They barely participated, never thinking they'd end up with anything show more marketable, especially with an audience of inmates who might misbehave. Cash and his band, which included June Carter and guitarist Carl Perkins, did two shows on January 13, 1968. Included in their set was a song written by a Folsom inmate, and when the album became so big and was a career changer for Cash, it also changed the inmates life, securing him an early release from prison and a job with Cash's company, though the man ultimately couldn't adapt.
The author takes the reader in unexpected directions. You probably wouldn't expect a book about the recording of a famous album, even one recorded in a prison, to spend time explaining how prison prostitution works, or how race gangs pick their victims, but that information is here. There's a discussion of the record company's lack of interest in the recording until it became a hit, and of Cash's admiration and friendship with Bob Dylan, which may have played a part in the record's success. There are plenty of photos of the day and performance included. show less

And then, my head exploded. This book and I did not get off to a very good start. In the first paragraph, the author writes about Rosanne Cash's brain surgery, letting us know that her family, friends, and admirers were concerned because "on the heels of her father's death only four years earlier, the prospect of living without his most legitimate artistic heir ... seemed unbearable." Because I'm sure her husband and four children and other family members were so preoccupied about the show more musical legacy of Johnny Cash.

A few pages later, the author wags his eyebrows knowingly when he points out that while Rosanne wished to establish herself as an artist separate from her father, she kept her name when she got married. Come ON, it's her OWN NAME. It's her name! No has to justify or defend being called by one's OWN NAME. (Likewise, no one has to justify or defend having a new own name, either.)

So anyway, this book is about the making of the latest Rosanne Cash album, called The List, which is based on a list of significant country songs that her father wrote and gave to her in 1973. But, the twist is, she lost the actual piece of paper with the actual list on it, so this is a process of recreating the list based on her knowledge of country music and her father.

The selections, as well as discussions of songs that didn't make the cut, are interesting, and I was hoping there would be more discussion in the book about the history and influence of that music. On the plus side, it was a great way to get ideas for things to listen to.

There is also a lot of coverage on the actual creation of some of the recordings, which was less interesting to me because I'm not that musical of a person myself, and books about music often leave me a little cold. Do people write songs about reading?

One burning question I still have, though, is how is it possible that there aren't songs that she, or someone, remembers for sure as being on the list -- the way this book tells it, they are starting consideration for each song like it's a complete mystery. MAYBE it was on the list, MAYBE it was NOT on the list ... but she had the list for almost 30 years before she lost it, and if I'm understanding it correctly, used it to build set lists for her own tours. So really, there isn't ONE (or you know, two) songs that you remember being on there? I'd think at least one would stand out, maybe because she really liked it, or because she didn't care for it, or something.

Despite getting tired quickly of the author and his self-appointed therapist role, this was a fairly interesting (and quick) read for fans of Rosanne Cash. show less

Highways and Heartaches by Michael Streissguth is a fascinating look at both a specific era in country music as well as one of its many influences: bluegrass.

I listen to a little of everything but neither country nor bluegrass has ever been my primary genres. The country I like I tend to like a lot, and bluegrass is a form I prefer live to recorded. I have thoroughly enjoyed every bluegrass festival I have attended but had no desire to purchase albums. So I am coming to this with a knowledge show more of the names and a very small understanding of where they came from, in other words, not a fan but definitely a lot of respect.

I really enjoyed reading about the circuits these musicians traveled on their way to country stardom. My preference, as far as the two in the book title, has always been Stuart. I come away from this book with a better appreciation of both, as well as the many others mentioned. This is a book that is enriched by taking the time to look up music and videos. Reading about something is great, but also seeing/hearing it makes a world of difference.

Like any genre, what came before influences what comes after, whether through paying homage or working against some aspects. When we are talking about the intersection of two genres, there is a bit of crosspollination taking place, an adding or subtracting or even a substitution. Reading about the context within which such expression takes place is both fun and educational. That combination also leads to a better appreciation of the musicians and the music.

While bluegrass and country fans will be especially interested, I can easily recommend this to music lovers in general. Particularly if you supplement the book with audio and video you look up. If you like some of the peripheral people in this story (for me that includes Ronstadt) it will allow you to see them in a new light as well.

Reviewed from a copy made available by the publisher via NetGalley. show less

‘Way before the Highwayman road along the coach roads, before Jesus was a Capricorn and before Whiskey River - Nashville was a pretty boring place. All the producers were white, Baptist and walked the line. Things were on a straight, repetitive road. Until…..

In Outlaws Michael Streissguth takes us back to the early 1960s when a Rhodes scholar (Kris), a Texas DJ (Waylon) and a Methodist cotton picker (Willie) had a bit of an epiphany. Different places, different times but still the show more epiphany came. Why could they not produce their own music? Well, because “that’s not the way we do things.”

Through many bottles of pills and alcohol, through many joints and road trips somehow these men were able to accomplish their mission. Told by people who lived these years: Rodney Crowell, Ronny Light, Roseanne Cash and others this is just an entertaining look at history being rewritten and how some of our favorite names in country music became music heroes (not saints, for sure!).

Any historian of Nashville, country music or the above named stars will enjoy this book. I’d give it 5 stars! show less