ROSANNE CASH "Seven Year Ache" LP Mint Still Sealed 1981
$
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Description
Rosanne Cash Biography by Jason Ankeny
Seven Year Ache
Among the most celebrated and well-respected singer/songwriters to emerge from the country music community in the 1980s, Rosanne Cash is an idiosyncratic and innovative lyricist who can sound tough, insightful, and unguarded at will, and a vocalist with a strong, expressive instrument that can easily communicate the broad emotional spectrum of her material. While Cash's best-known work fell under the broad heading of "country," there was always an intelligence and ambition in her material and a soulful tone to her vocals that set her apart from her peers, and she was never afraid of using rock and pop flavors in her arrangements. Released in 1981, Seven Year Ache was a commercial and critical breakthrough for Cash that also defied the rules of how a commercial country record should sound, and on 1987's King's Record Shop, she explored a more traditional approach that still reflected her musical personality. As Cash put greater emphasis on her songwriting, her work became more introspective and her country leanings began to fade, as evidenced by 1993's The Wheel, and 2006's Black Cadillac and 2009's The List were the work of an artist exploring her personal and musical heritage while expressing herself in a passionate, adventurous manner.
Rosanne Cash was born on May 24, 1955, to iconic country singer Johnny Cash and his first wife, Vivian Liberto. Rosanne was raised by her mother in Southern California after her parents separated in the early '60s. She was largely uninfluenced by her father's music until she joined his road show following her graduation from high school; over a three-year period, she was promoted from handling the tour's laundry duties to performing, first as a backup singer and then as an infrequent soloist. Still, Cash remained unsure about choosing a career in music, and took some acting classes; not wishing to succeed solely on the basis of her family's influence, she also worked as a secretary in London and traveled extensively abroad.
Right or Wrong
After releasing an eponymously titled solo record -- later disavowed -- in Germany in 1978, Cash signed with Columbia Records, and began performing with Texas singer/songwriter Rodney Crowell, who produced three songs for her American debut, 1979's Right or Wrong. The record featured three Top 25 hits, including "No Memories Hangin' Round," a duet with Bobby Bare. The same year, she and Crowell also married. Cash issued her commercial breakthrough, Seven Year Ache, in 1981; not only did the album yield three number one singles, the title track even crossed over into the Top 30 on Billboard's pop chart. However, the follow-up, 1982's Somewhere in the Stars, was a rush job, recorded during Cash's pregnancy. While failing to repeat Seven Year Ache's success, it did produce two more Top Ten singles, "Ain't No Money" and "I Wonder."
Rhythm & Romance
After a three-year hiatus, Cash returned with her most significant artistic statement yet in Rhythm & Romance, a deft fusion of country and pop that won wide acclaim from both camps. The record earned her two more number ones, "I Don't Know Why You Don't Want Me" (co-written with Crowell) and a cover of Tom Petty's "Never Be You." In 1987, she issued King's Record Shop, a meditation on country music traditions that generated four successive number one hits in John Hiatt's "The Way We Make a Broken Heart," "Tennessee Flat Top Box" (a hit for her father in 1961), "If You Change Your Mind," and John Stewart's "Runaway Train." Also hitting number one was "It's Such a Small World," a duet with Crowell from his Diamonds & Dirt LP; not surprisingly, she was named Billboard's Top Singles Artist in 1988.rnia. Cash and Leventhal received a Grammy nomination for the track "Crossing to Jerusalem." In 2023, Cash released an expanded and remastered 30th Anniversary edition of The Wheel, which included 11 bonus tracks drawn from appearances on the TV series Austin City Limits and a live-in-studio set for The Columbia Records Radio Hour series; the latter included a guest appearance by David Byrne on "What We Really Want."
Seven Year Ache Review by Thom Jurek The bottom line is that Rosanne Cash's masterpiece Seven Year Ache paved the way for Garth Brooks, Shania Twain, Mary Chapin Carpenter, Shawn Colvin, and then some. Proclaimed by Cash and her husband/producer/collaborator, Rodney Crowell, as "punktry," the album adds an entirely new twist on the Nashville sound. Perhaps it is because this is L.A. country and reflects the cocaine bliss in the sound of the era as well as Fleetwood Mac's Tusk does. Utilizing everything from synthesizers and rock arrangements to pop ballad-styled charts and plenty of attitude, Seven Year Ache yielded three number one singles and songs by rock musicians such as Tom Petty and singer/songwriters like Keith Sykes and Steve Forbert. Of the singles, Cash penned two; the title track, which is a sorrowful indictment of her husband's philandering ways, and the shattering ballad "Blue Moon With Heartache." The third, the smash "My Baby Thinks He's a Train," was written by Asleep at the Wheel's Leroy Preston. Musically, the band included many of the same players from the Right or Wrong sessions, with the emerging vocal talent of former Pure Prairie League member Vince Gill. Forbert's "What Kinda Girl" is almost rockabilly in its shuffling intensity and punk bravado. It dares the listener to define the protagonist just to shatter the preconception. There's also a nod to tradition here in Cash's beautifully updated read of the Merle Haggard/Red Simpson nugget "You Don't Have Very Far to Go," complete with whinnying pedal steels and a honky tonk backbeat. In "My Baby Thinks He's a Train," Cash and Crowell very consciously offer a new generation interpretation of dad Johnny's sound. This rocks harder yet is smooth as silk and full of that desolate want Johnny offered in his delivery. But unlike her father's, this isn't a forlorn yearning want, it's a pissed off anthemic want. For the ambulance chasers, this record with its songs of infidelity and broken promises may indeed be the first crack in a marriage and collaboration that ended a decade later. The tempo borrows the old Tennessee Three rhythm, but sped up into the stratosphere, with a shifting Western swing line near the refrain. Over 20 years after it was first issued, Seven Year Ache sounds as fresh and revolutionary as it did when it was issued. Any album that stands that test of time in a field like country deserves to be regarded as a classic. Yes, this is the one that changed everything.Seven Year Ache Review by Thom Jurek The bottom line is that Rosanne Cash's masterpiece Seven Year Ache paved the way for Garth Brooks, Shania Twain, Mary Chapin Carpenter, Shawn Colvin, and then some. Proclaimed by Cash and her husband/producer/collaborator, Rodney Crowell, as "punktry," the album adds an entirely new twist on the Nashville sound. Perhaps it is because this is L.A. country and reflects the cocaine bliss in the sound of the era as well as Fleetwood Mac's Tusk does. Utilizing everything from synthesizers and rock arrangements to pop ballad-styled charts and plenty of attitude, Seven Year Ache yielded three number one singles and songs by rock musicians such as Tom Petty and singer/songwriters like Keith Sykes and Steve Forbert. Of the singles, Cash penned two; the title track, which is a sorrowful indictment of her husband's philandering ways, and the shattering ballad "Blue Moon With Heartache." The third, the smash "My Baby Thinks He's a Train," was written by Asleep at the Wheel's Leroy Preston. Musically, the band included many of the same players from the Right or Wrong sessions, with the emerging vocal talent of former Pure Prairie League member Vince Gill. Forbert's "What Kinda Girl" is almost rockabilly in its shuffling intensity and punk bravado. It dares the listener to define the protagonist just to shatter the preconception. There's also a nod to tradition here in Cash's beautifully updated read of the Merle Haggard/Red Simpson nugget "You Don't Have Very Far to Go," complete with whinnying pedal steels and a honky tonk backbeat. In "My Baby Thinks He's a Train," Cash and Crowell very consciously offer a new generation interpretation of dad Johnny's sound. This rocks harder yet is smooth as silk and full of that desolate want Johnny offered in his delivery. But unlike her father's, this isn't a forlorn yearning want, it's a pissed off anthemic want. For the ambulance chasers, this record with its songs of infidelity and broken promises may indeed be the first crack in a marriage and collaboration that ended a decade later. The tempo borrows the old Tennessee Three rhythm, but sped up into the stratosphere, with a shifting Western swing line near the refrain. Over 20 years after it was first issued, Seven Year Ache sounds as fresh and revolutionary as it did when it was issued. Any album that stands that test of time in a field like country deserves to be regarded as a classic. Yes, this is the one that changed everything.
Rosanne Cash – Seven Year Ache Label: Columbia – JC 36965 Format: Vinyl, LP, Album, Terre Haute Pressing Country: US Released: 1981 Genre: Rock Style: Country Rock A1 Rainin' Electric Guitar – Frank Reckard Electric Guitar [Lead Electric Guitar] – Albert Lee Harmony Vocals – Maxayne Lewis* Written-By – Keith Sykes 2:54 A2 Seven Year Ache Handclaps – The Millah's Bros. Piano – Emory Gordy*, Glen D. Hardin* Rhythm Guitar – Emory Gordy*, Rodney Crowell Written-By – Rosanne Cash 3:15 A3 Blue Moon With Heartache Harmony Vocals – Maxayne Lewis* Written-By – Rosanne Cash 4:28 A4 What Kinda Girl? Electric Guitar [Lead Electric Guitar] – Albert Lee Slide Guitar – Hank De Vito* Written-By – Steve Forbert 2:47 A5 You Don't Have Very Far To Go Harmonica – Mickey Raphael Harmony Vocals – Ricky Skaggs Rhythm Guitar – Emory Gordy* Written-By – Merle Haggard, Red Simpson 2:35 B1 My Baby Thinks He's A Train Electric Guitar – Albert Lee Written-By – Leroy Preston 3:13 B2 Only Human Electric Guitar – Frank Reckard Harmony Vocals – Janice Gill, Vince Gill Rhythm Guitar – Rodney Crowell Written-By – Keith Sykes 4:00 B3 Where Will The Words Come From? Acoustic Guitar – Albert Lee Harmony Vocals – Rodney Crowell Mandolin – Emory Gordy* Piano – Glen D. Hardin* Written-By – Glen D. Hardin*, Sonny Curtis 2:45 B4 Hometown Blues Electric Guitar – Hank De Vito* Harmony Vocals – Rodney Crowell Written-By – Tom Petty 2:58 B5 I Can't Resist Electric Guitar – Hank De Vito* Electric Guitar, Acoustic Guitar – Emory Gordy* Harmony Vocals – Rosanne Cash Saxophone – Phil Kenzie Written-By – Hank DeVito, Rodney Crowell 3:25 Phonographic Copyright ℗ – CBS Inc. Copyright © – CBS Inc. Recorded At – Davlen Sound Studios Recorded At – Magnolia Sound Studios Mastered At – The Mastering Lab Pressed By – Columbia Records Pressing Plant, Terre Haute Manufactured By – Columbia Records Published By – Hotwire Music Published By – Atlantic Music Corp. Arranged By [String Arrangements] – Emory Gordy, Jr. (tracks: A2, A3, B3, B5) Bass – Emory Gordy* Design – Virginia Team Drums – Larrie Londin Electric Guitar – Jerry Mc Gee* (tracks: A1 to A3, A5, B2, B4) Electric Guitar [Electric Rhythm Guitar] – Hank De Vito* (tracks: A1, A2, A4) Electric Piano – Tony Brown (4) (tracks: A3, B3, B5) Engineer – Bradley Hartman, Donivan Cowart Harmony Vocals – Emmylou Harris (tracks: B1, B3 to B5), Rosemary Butler (tracks: A1 to A3, A5, B1, B5) Management – The Michael Gardner Company Organ – Booker T. Jones (tracks: A1, A4, B2, B4) Photography By – Beverly Parker (2) Piano – Tony Brown (4) (tracks: A4, A5, B2, B4) Producer – Rodney Crowell Producer [Production Assistance] – Arlene Katz, Emory Gordy*, Hank De Vito* Rhythm Guitar – Hank De Vito* (tracks: A5 to B2) Steel Guitar – Hank De Vito* (tracks: A2, A3, A5, B3) Columbia Records Pressing Plant, Terre Haute pressing.
© 1981 CBS Inc. ℗ 1981 CBS Inc. Manufactured by Columbia Records / CBS Inc. / New York, N.Y.
Recorded at Davlen Sound and Magnolia Sound, North Hollywood, CA. Mastered at The Mastering Lab, Los Angeles, CA. (The letter after the dash in the runout indicates which lathe was used, S = Slave)
Special thanks to the Millah's Bros. and to Phil Kaufman for not showing up.
Rodney Crowell and Emmylou Harris appear courtesy of Warner Brothers Records, Inc. Vince Gill appears courtesy of Casablanca Record and FilmWorks, Inc. Booker T. Jones appears courtesy of A&M Records. The Millah's Bros. appear courtesy of Drunk Monkey.
For Caitlin and Hannah.
Inner color sleeve includes "Seven Year Ache" lyrics and song's credits.
A2, © 1979 Hotwire Music and Atlantic Music Corp.. (BMI)
GOLDMINE GRADING
MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.
NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.
VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.
VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.
POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.
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