The Shaky Thunder of Redemption

13. JOHNNY CASH, "Hurt"
Produced by Rick Rubin; written by Trent Reznor

Universal International 779982 2003 Did not make pop charts

In the early twentieth century, it was not unusual for multiple artists or bands to record the same song at the same time. No one in or out of the music industry thought "Night and Day" "belonged" to Fred Astaire even though Cole Porter wrote it to exactly fit his range, any more than Frank Sinatra or Sarah Vaughn hesitated to record "Send in the Clowns" in the 1970s even though Stephen Sondheim wrote that song to be the perfect eleventh hour number for Glynis Johns in A Little Night Music. In the heyday of Tin Pan Alley and Broadway, musicians more readily understood, not only that you need not have written a song to perform it with conviction, but also that just because a song has been recorded brilliantly doesn't mean that all the marrow has been sucked from it.

These days, we call such recordings "cover songs," and they are sometimes seen as the refuge of the aesthetically desperate. One notable exception to this perceived rule was Rick Rubin's multi-album collaboration with Johnny Cash at the end of his career. Like most country performers, Cash had filled out his albums with covers all through the 1960s and 1970s, but that was the usual looking across from the Country chart to Pop, Rock, and Easy Listening and seeing what recent songs could be reworked in a slightly different generic vein. The songs Rubin brough to Cash in the 90s and early 00s constiuted more of an act of musicological recovery, reconsidering midchart rock songs of years before and stripping them down to their basics. The closest analogy to the Rubin-Cash project were Frank Sinatra's best records for Capitol in the 1950s and Ella Fitzgerald's "Songbook" albums for Verve from the same period. Both series recovered many fugitive songs from what might have seemed at the time like the disposable pop of the pre-World War II period. To the extent that we now talk (sometimes it seems obsessively) about the "Great American Songbook" of the 1920s and 1930s, that catalog was to a great degree sketched in outline by those Sinatra and Fitzgerald albums. No song is ever an instant "classic," not even in its original performance; it is made so over time, often by repeated reinterpretation. For some listeners, what Cash and Rubin proved with these records was that a heavy metal artist like Danzig, for example, was much more than just a haircut.

Especially now that we can listen to many of the tracks that Rubin and Cash rejected, it seems obvious that these sessions were the musicological equivalent of panning for gold. For every track that worked, at least five failed, sometimes for reasons that were almost impossible to fathom. But "Hurt" was the biggest nugget they unearthed, even if you can divorce it in your mind from Mark Romanek's sublime video for the track.

As Trent Reznor originally recorded it, "Hurt" is a song about addiction, and it sounds appropriately stoned. Reznor sings dreamily to his substance of choice, almost certainly heroin, calling it "my sweetest friend." Oblivion and even suicide seem like the only reasonable options for the singer to take, and we drift with him in a beautifully alienated, semi-industrial aural landscape. In this version of the song, self-indulgence>>>self-pity>>>self-immolation seems like a natural, almost easy progression.

Obviously, Johnny Cash himself knew a thing or two about addiction, but in his version, the song isn't just about that. The keyboard doesn't drift in his version either, the way it does in Reznor's. Usually, when geezers cover young rockers, they make the music softer, but this is a cover designed to give you the mother of all Excedrin headaches. The piano pounds. It thunders. It's more than the jackhammer feel of a hangover. It's the sound of the coming storm.

Is it the sound of judgment? For it seems unmistakable that Cash is singing about something much bigger than mere addiction. In his version, this is a song about sin, something that 90 days in Betty Ford or Promises can't really fix for you. And even without the clips from Cash's film The Gospel Road that Romanek interpolated in the video, we could probably guess that for Cash his "sweetest friend" is not the smack but the Savior. Reznor spoke of his "crown of thorns" ironically, as if the reference to the Christian New Testament was just another trick of the self-dramatizing addict. For Cash, though, it seems as if that image is the key to the whole song. So many of the songs that Cash tried to cover on these albums, from the time-honored "The Drunkard's Prayer" to Tom Petty's "Southern Accents" to Kris Kristofferson's "Lord Help Me, Jesus" come down to the same plea of the sinner--and often the substance abuser--begging for Jesus to give him a hand up from the barroom floor. But it is in the wholly godless Reznor's work that Cash finds what may be his greatest dramatization of the fallen Christian's desperate will for redemption.

Because in the end that's what separates Cash's cover from Reznor's original: the older singer's will. No matter what eventually happened to Reznor after he recorded his track, during it he sounds as if he's quite happy to nod off at the keyboard. For Cash, however, this is self-examination and not just self-pity. Bent and bowed, he is pulling himself up, and the earth around him is shaking with his effort. He might not succeed before the song ends--or he dies--but Jesus Christ you want him to.

Coalition of the Chillin'

568. BEWARE, Panjabi MC ft/Jay-Z
Produced and written by Janjua, Larson, Phillips, and Rai
Sequence 8012 2003 Did not make pop charts.

569. GALANG, M.I.A.
Produced by South Rakkas Crew, written by Maya Arulpragasm, Justine Frischmann, Steve Mackey, & Ross Orton
XL 41199 2003 Did not make pop charts

Bhangra rules! Proof that pop culture is always more complicated than it looks.

2003 was the height of popular American anti-Arabism, anti-Asianism and (let's be honest) anti-"Orientalism." Everything, anything, and anyone south of Russia and west of Laos was suspect in the eyes of most U.S. citizens, so it only makes sense that Sikh backing tracks were the rage that year not in the U.S. but in Tony Blair's Britain. Missy Elliott’s “Get Ur Freak On” had had a slightly similar sound two years before, but in these two cases the toasters had actual roots in the Indian subcontinent. Hip-hop has been top-down global since the late 1980s, but this was one of the few moments when what might formerly have been a local sound traveled into the pop mainstream in a Western country (and the pop underground in the U.S.), rather than having the corporate voice of hip-hop move in the other direction.
The only analogous moment I can think of was thirty years before that, when Manu Dibango’s “Soul Makossa” broke wide in the states.

Both Panjabi MC and MIA are British, of course, no matter what their ancestry. Without the transplanted and transformed cultures of its former colonies and imperial possessions, it’s hard to imagine where British culture would have been in the last quarter century. But what about m’boy HOVA? You could just chalk it up to cultural imperialism and repackaging, to the exoticism of The Other that US culture was trying to seduce/contain in the buildup to the invasion of Iraq, etc., but listen to the American's superimposed flow here. There is at least a pretence to self-conscious global politics. Jay's no Chomsky, but the last time I checked MC Noam's street cred was still sorely lacking.

Dissent was pretty rare stateside in the Shock and Y'Awl world of 2003. In a time and a place where a Sikh was pulled from a train and beaten because idiots thought he was a Muslim, maybe chillin to Panjabi MC was a political act. At least, it was a start. And no, now that you mention it, it don’t stop.