Having noted that, the main objective of this paper therefore is to analyze the existence of mythical Cash and how Tony engages the readers to understand the mythical nature of Cash. In addition, this paper tries to unravel some literary shortcomings that might have made the book more interesting if rectified.
Johnny Cash legacy and musical contributions has never been forgotten because he has remained a point to refer to when talking about punk and post-punk bands in both the US and the UK. American Recordings by Tony Tost was one of the four Rubin-produced American albums released before Cash passed away in 2003. American Recordings is a Broadway excavations of how Cash the Myth and Cash Man — the recording artist, husband, father, sinner, human —disheveled in what Tony acknowledges as Cash greatest works
The chapters of the book are streamlined whereby Tony advances his arguments about Cash’s mythology is a clever and concise manner. He demonstrates this point through a more advanced poetic voices that ensured a more clear and pure images as opposed to simply repetitiveness of the epic. For instance Tost writes;
“It’s like visiting the spot that songs come from.” By the end of the book, such quick-witted summaries are being tossed (Tost?) around with consummate skill; I particularly liked the description of Tom Waits as “the hobo Heraclitus of the postmodern world” (Tost, 56)
Taking the example above, it is clear that Tost is good at mythopoeic that accumulates around Cash’s work. As he explains, it does matter weather Cash shot another man in Folsom Prison and heard a train bound for Tevas; what matters is that Cash’s songs exist. He further argues that because Cash’s songs exist-and in mythical way-disparate elements is bonded together creating the patchwork quilt of American myth. According to Tost, in addition to his contribution to the myths, Cash also owned the ...
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