01	Delia's Gone						02:18
	02	Let The Train Blow The Whistle						02:15
	03	The Beast In Me						02:45
	04	Drive On						02:23
	05	Why Me Lord?						02:20
	06	Thirteen						02:29
	07	Oh, Bury Me Not			Introduction: "A Cowboy's Prayer"			03:52
	08	Bird On A Wire						04:01
	09	Tennesee Stud						02:54
	10	Down There By The Train						05:34
	11	Redemption						03:03
	12	Like A Soldier						02:50
	13	The Man Who Couldn't Cry						05:01

There are few artists who possess the seemingly unlimited crossover appeal of Johnny Cash. With American Recordings, the country legend somehow introduced himself to a modern rock audience by releasing a folk record. Of course, the Man in Black isn't your typical country musician, and American Recordings encompasses several different genres, but the folk label was applied chiefly because the songs feature Cash's vocals, acoustic guitar, and nothing else. Universally acknowledged as a country music icon, Cash found himself struggling to get any sort of support from country radio in the '90s as it became dominated by younger, pop-influenced acts. Not one to be discouraged by being shunned by the industry he helped to create, Cash signed with Rick Rubin's American Recordings, which was known for its hard rock and rap acts. Rubin, who had cut his teeth as a producer by working with Run-DMC and the Beastie Boys, was at the controls for the American Recordings album and comes off looking like a genius for simply giving Cash a mic and getting out of the way. The album opens with "Delia's Gone," a Cash original about murder that is both haunting and humorous. Several deftly chosen covers also appear, and Cash effortlessly makes each of them his own. One would be hard-pressed to think of a more perfect song for Cash to cover than Nick Lowe's "The Beast in Me." There is no one more qualified to perform a song asking God for salvation from one's inner demons than Johnny Cash. The diverse list of writers who also contribute songs includes Leonard Cohen, Kris Kristofferson, Glenn Danzig, and Tom Waits. Cash deftly applies his signature baritone and rhythmic guitar work to each track and creates what is ultimately a stark, foreboding, and supremely enjoyable album. For some reason, two tracks are live recordings from a performance at L.A.'s ultra-trendy Viper Room. The audience offers a few hoots and hollers, but it's unclear if it's because they're having a good time or because they think that's what country audiences are supposed to do. Taking Cash to the hipsters ultimately worked, as American Recordings was embraced by the alt-rock audience. "Delia's Gone" popped up on MTV and college radio, and Cash was a hit with a generation of listeners who had yet to be born when he had his first hit. American Recordings also garnered the 1995 Grammy Award for Best Contemporary Folk Album.