![]() 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. Perkins is followed by Virginia's Statler Brothers (their "Flowers on the Wall" was immortalized in Pulp Fiction, and gets a rousing reception here). 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. ![]() 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. prison system (although Cash did eventually actively advocate prison reform, meeting with President Richard Nixon in July 1972). 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.
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