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Johnny Cash - Remixed
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Send "Johnny Cash " Ringtones to your Cell 
| Roliingstones |
| This set of heavily doctored Johnny Cash tunes almost succeeds as musical comedy. Pete Rock adds an electronic shuffle in an otherwise faithful sendup of "Folsom Prison Blues," and the result is pleasantly goofy. And producer Philip Steir (No Doubt, Los Amigos Invisibles) amusingly inserts the fast-talking near-rap from Cash's "Get Rhythm" into a bumpy disco-house mix. The thing is, this wasn't intended as comedy — it's a "tribute" executive-produced by Snoop Dogg and the late singer's son, John Carter Cash. The most god-awful thing here comes from Alabama 3, the British novelty act responsible for the theme song to The Sopranos. Their contribution? The aptly titled "Leave That Junk Alone."...full text |
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| Pitchforkmedia |
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I've been scouring the book of Revelation for some mention of this album, figuring it had to be the soundtrack to the Four Horsemen's scourge or maybe the eight-track in the seven-headed beast's '66 Camaro. But no, Johnny Cash Remixed is nothing quite so earth shattering or notable. It's more like a small, remote geyser through which a little bit of hell bubbles up into our world. Don't get me wrong: I don't consider Cash's persona or his music sacrosanct, so I have no reservations about any artist wildly re-imagining or remixing his songs. In fact, the Man in Black has become such a paragon of Americana ideals that a little pedestal wobbling could be more than welcome. We need a new way to look at Cash and his music, but Remixed isn't it. These artists are engaging more closely with the myth than with the music, which means this project, dubious even at conception, becomes just another needless attempt to argue for Cash's relevance. Alabama 3 are the worst of the lot, continuing their streak of lame hick-hop gothicisms that started well before their overrated "Sopranos" theme. They rewrite "Leave That Junk Alone" as a startlingly obvious cautionary tale in which they play the junkies that saintly J.C. must counsel. Never mind that Cash was never so saintly, that his own battles with that junk were more complicated than a standard recovery narrative would suggest, or that such ambiguity was key to his lasting appeal and moral authority. Instead, Alabama 3 give an overly simple portrait of the man over tired beats, and it's not hard to imagine him rising from the grave to counsel them against creating such junk music....full text |
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| Latimesblogs |
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that doesn’t happen, it's just musical name-dropping, which is more often than not the case in this project built around the recordings Johnny Cash made in the ’50s for Sam Phillips at Sun Records in Memphis. It’s understandable that Snoop Dogg, who co-produced the album with Cash’s son John Carter Cash and Mathew Knowles, feels some kinship with Cash’s persona as a social outlaw and champion of the dispossessed. But the ominous minor-key orchestration at the heart of QDT Muzic’s remix of “I Walk the Line,” which features Snoop and leads off the album, is utterly out of sync with the bits of Cash’s version that seep through the sonic soup. Philip Steir’s heavy-handed techno take on “Get Rhythm” should work on a dance floor but probably won’t spur any club-goers to run out and explore more of the Man in Black’s catalog. Troublemaker’s stodgy groove on “Straight A’s in Love” ignores the swing in Cash’s vocal....full text |
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Johnny Cash lyrics