Johnny Cash

Marshall Grant: Bassist at the heart of Johnny Cash’s

With musicians who could scarcely play their cheap and battered instruments, took drugs and drank heavily, fired guns and made bombs, Johnny Cash and the Tennessee Two sounds like a punk band from the mid-1970s, but they were the most seminal of the country groups from 20 years earlier. Marshall Grant played bass and can be heard on all their early records including the famed "Folsom Prison Blues" and "I Walk The Line". "We didn't work hard to get that boom-chicka-boom sound," he later admitted, "It was all we could play."

Black day for prison made famous by Johnny Cash

Investigators at Folsom State Prison in California are trying to piece together the series of events that led guards to use semi-automatic weapons to fire on a crowd of unruly inmates, leaving seven men needing hospital treatment for their injuries.

Album: Marty Stuart, Ghost Train

RCA's Studio B in Nashville was where Marty Stuart made his recording debut, aged 13, playing mandolin in Lester Flatt's band, so it's fitting he should return there for this rootsy traditional country outing, the best country album this year.

Album: Austin Lucas, Somebody Loves You (Suburban Home)

Like many a young Americana act, burly troubadour Austin Lucas cut his teeth on underground punk and hardcore before soaking up the sounds of his heritage (his father Bob Lucas, whose banjo stipples some of these eleven tracks, is a Grammy-winning songwriter).

More headlines

Album: Carlene Carter, Stronger (Yep Roc)

Carter lost four family members in 2003: mother June, sister Rosie, partner Howie Epstein and stepdad Johnny Cash. Not a good year, and it bottomed out a not hugely productive passage of life in general – her last new work came out in 1995. Life seems to have improved since and ‘Stronger’, though sunk firmly in the grief-and renewal groove you’d expect, makes for a broadly enjoyable return. Carlene’s stock vibe s rockin’ country with added perk. But there’s a lurking solemnity behind the bouncy frontage, most obviously in the title track, which is a direct address to Rosie. Good to hear her again, though.