Deal with intimidating people Shat asrael g erl s and cam
Was there something in particular that drew you to Johnny Cash, something that made you feel you were the person to produce him?I think it came from the idea that, at that point in my career, I had worked pretty much exclusively with young artists, either making their first album or their second album.Prior to that he was executive news editor at e Week and news editor at Baseline.He also served as the East Coast news editor and finance editor at CNET Ultimately, after many experiments, we kind of looked at each other and decided that we liked the acoustic stuff—those first demos—better than any of the other experiments we tried.So we decided that’s what the first album should be.
And there was another part of him that was insecure about it and felt, “Well, if they don’t like this, I’m really in trouble, because this is really me.” At what point did he start to feel validated?
Of his many accomplishments, however, perhaps none has been more important than his collaborations with the late Johnny Cash.
Beginning with the seminal 1994 album , Rubin began a working relationship with Cash that continued until Cash’s death in September of 2003.
There’s something very beautiful in seeing someone allowing themselves to be vulnerable. How did you come to the decision on American Recordings, the first Cash album, that the approach was going to be as stripped-down as it was? We didn’t go into it with any preconceived idea of what that first album should be.
We recorded many different ways, with different bands and different players and different styles.